Dalibor Barić Michel Klöfkorn Antun Motika Ana Petrović ... · Izložba Paper Movies predstavlja...
Transcript of Dalibor Barić Michel Klöfkorn Antun Motika Ana Petrović ... · Izložba Paper Movies predstavlja...
Dalibor Barić
Michel Klöfkorn
Antun Motika
Ana Petrović
Marko Tadić
kustosica:
Branka Benčić
20. 7. − 6. 8.
MMC LUKA, Pula
Izložba CINEMANIAC / MISLITI FILM predstavlja dugoročnu istraživačku platformu
koja propituje veze filma, pokretnih slika i suvremene umjetnosti, koja se od
2002. godine realizira kao popratni program na Pulskom filmskom festivalu, u
galerijama MMC LUKA, zauzimajući format izložbe.
Cinemaniac je kontinuiran višegodišnji istraživački i izložbeni projekt koji
nastaje iz želje za predstavljanjem radova iz svijeta umjetnosti i filma,
radova koji nastaju na raskrižju medija, gdje filmski festival pruža kontekst
i organizacijski okvir. Od svojih početaka predstavlja aktivni kontekst koji
omogućava prezentiranje umjetničkih djela, mjesto susreta u kojem se
integriraju društveni, kulturni, tehnološki, medijski i estetski aspekti, sjecišta
na kojima se susreću umjetnost, umjetnici, institucije i publika, stvaraju novi
oblici suradnje, problematiziraju odnosi filma i vizualnih umjetnosti. Ona
je mjesto gdje se prezentira recentna hrvatska i međunarodna produkcija
filmova umjetnika, umjetničkog videa, eksperimentalnoga i alternativnog
filma te multimedijalnih instalacija, otkriva i artikulira baština alternativnog
filma i predstavljaju umjetnici i radovi antologijskog značaja.
Danas se afirmacija i reaktualizacija eksperimentalne, alternativne i amaterske
kinematografije te suvremene audiovizualne produkcije “filmova umjetnika”
podjednako odvija u prostorima galerija i muzeja, kina i filmskih festivala,
kroz pokušaje otvaranja novoga diskurzivnog prostora.
Izložbe u okviru prošle, sadašnje i buduće programske platforme Misliti
film, kao research in progress nastavljaju se na dosadašnja iskustva rada sa
pokretnim slikama, poput istraživanja i prezentacije kojima su u središnjem
interesu bili arhitektura i film (2009), medijska instalacija kao interface
(2006), zatim pulski festival MAFAF i baština alternativnog, eksperimentalnog
i amaterskog filma (2010), pogled unazad, podvlačenje crte, retrospektivni
CINEMANIAC X (2011), film drugim sredstvima kroz Filmski letak Slobodana
Šijana (2012), te Misliti film (2013) kojom je Cinemaniac obilježio 60-tu
obljetnicu Festivala igranog filma u Puli izložbom koja je okupila radove
umjetnika koji u svom radu na različite načine propituju film kao sustav
reprezentacije, “tehnologiju društva”, kompleksan sistem produkcije i
reprodukcije pokretnih slika.
U tom smislu izložbe predstavljaju nov društveni prostor u kojem se aktivno
radi na značenjima, pričama, povijesti i funkcijama kulturnog materijala.
Pridonose stvaranju kontekstualnog pristupa koji se temelji na izložbi kao
komunikacijskoj formi u koju se integriraju zajednički društveni, kulturni
i estetski aspekti, uvode u javne prostore teme, ideje, problemi, stvarajući
aktivnu interakciju socijalnog i kulturnog polja, gdje se opisuju i publici
predstavljaju društveni procesi i konteksti iz kojih proizlaze, te nagovješta
imaginacija i perspektive budućnosti.
Misliti film je proces, izložba, eksperiment, polazna točka, zaključak…
CINEMANIAC / THINK FILM is an ongoing research platform questioning the
relationships between cinema, moving images and contemporary art.
Established in 2002 as the side program at the Pula Film Festival takes place
in galleries of MMC LUKA, Pula and it is shaped in the exhibition format with
screening programs and artist’ talks and presenting the works of Croatian
and international artists aiming to bring them closer to a wide audience.
As an ongoing research and exhibition project, Cinemaniac emerged from
the desire to present works from the world of art and film at the crossroads
of these media. From its beginnings, it has been an active context enabling
the presentation of works of art, as a meeting place where social, cultural,
technological, media and aesthetic aspects integrate, an intersection
where art, artists, institutions and audiences meet, where new forms of
collaboration are formed, and where relationships between film and visual
arts are discussed. It is a place where recent Croatian and international
production of artists films, artistic videos, experimental and alternative films
and multimedia installations is presented, where alternative film heritage is
revealed and articulated, and artists and anthological works are presented.
Today, the reaffirmation and reactualization of experimental, alternative and
amateur cinematography and the contemporary audiovisual production of
“artists’ films” is equally present in galleries and museums, cinemas and film
festivals through attempts of opening up new discursive spaces.
The exhibitions and projects within the past, current and future platform
Think Film, as research in progress, are a continuation of past experiences:
architecture and film (2009), exhibition as interface (2006), historical heritage
of alternative, amateur and experimental film through the research and
presentation of MAFAF Festival 1965 - 1991 (2010), a 2011 look backwards, the
retrospective CINEMANIAC X, and “cinema by other means” through the Film
Leaflet by Slobodan Šijan (2012). 2013 edition marked the 60th anniversary of
the Pula Film Festival with the exhibition Think film building up on the idea
of film/cinema as a complex and developed system of representation, re-
working codes and conventions, formative structures, historical narratives,
tensions of time and space, rethinking film/cinema as complex cultural forms,
critical methodology and social, ideological and technological apparatus.
Exhibitions are producing a new social environment for active work on
meanings, stories, history and functions of cultural material, contributing
to shape a contextual approach based on the exhibition as a form of
communication that integrates common social, cultural and aesthetic
aspects, introducing ideas and issues in public discourse, creating an active
interaction of social and cultural fields where social processes and contexts
are described, interpreted and presented to the audience, tracing possible
future perspectives.
Think film is a process, an exhibition, an experiment, a starting point, a
conclusion...
Tematizirajući koncept vizualnih medija i pokretnih slika, izložba
Paper Movies u okviru projekta CINEMANIAC 2014 ukazuje na široko
referencijalno polje “papirnatih filmova” i “filmova na papiru”,
angažira koncept “paper movies” problematizirajući odnose
prema filmu, prema pojedinim filmovima, filmskom mediju,
filmskom jeziku i izražajnim sredstvima filma, odnose prema
društvu i popularnoj kulturi. Kao istraživačka i izlagačka platforma
projekt je usmjeren na okupljanje umjetnika koji u svom radu
na različite načine formiraju specifičan odnos prema ideji filma
kao “prostora mišljenja”, filma “drugim sredstvima” i kritike
filmskog aparata, mjesta u kojem se reflektiraju aspekti društva
i kulture, gdje film postaje svojevrsna riznica. Kao i niz puta do
sada, i ovogodišnja izložba želi ukazati na kontinuitet interesa
za filmsko iskustvo koje poticaje crpi u povijesnim avangardama,
istraživačkim praksama konceptualne umjetnosti, povijesti, arhivu,
sjećanju, reaktualizaciji u kontekstu novog digitalnog protoka
slika, videa, teksta. Govori o potencijalnosti filma kao resursa za
njegovu disperziju u medijske formate koji danas omogućavaju
nove horizonte umjetničkih intervencija.
Odmaknuti od normativne tehnologije filmske produkcije, služe se različitim
istraživačkim pristupima, skromnim jeftinim sredstvima, ekonomičnim
izrazom, bilješkama, crticama, a putem drugih medija − teksta, kolaža,
fotografija, videa, i referiraju se na svijet filma, filmsku kulturu i jezik filma.
Pišući o Filmskom letku Slobodana Šijana kao praksi “kina drugim
sredstvima” Dejan Sretenović govori o razlaganju kinematografije na njezine
konstitutivne elemente koji se osamostaljuju kao autohtona područja
filmskog eksperimenta: scenarij, storyboard, montaža, kamera, fotografija,
filmska traka, svjetlo, zvuk, ekran i sl. 2
Premještanjem interesa s komercijalnog, industrijskog filmskog aparata,
suvremena praksa proizvodnje filma ukazuje i na mjesto filmskog
iskustva koje kontinuitet crpi u eksperimentu, povijesnim avangardama,
neoavangardi, povijesti, arhivu, sjećanju, rekontekstualizaciji… u kontekstu
novog digitalnog protoka slika, videa, teksta.
Vizualna produkcija “radova na papiru” (i filmskih radova s papirom)
umjetnička je praksa u kojoj autori eksperimentiraju s filmskim načinom
mišljenja, dok istovremeno afirmiraju jedno gotovo rubno umjetničko
područje ističući njegov istraživački potencijal. Na određen način projekt
uspostavlja kontinuitet interesa, povezujući prošlo i buduće, nadovezujući
se na retrospektivno predstavljanje Filmskog letka Slobodana Šijana 2012.
godine.
Izložba Paper Movies predstavlja fragmentarnu putanju “papirnatih filmova”
ili “filmova na papiru” koja se kreće od neoavangardnih dekompozicija u
fotokolažima Antuna Motike, oblicima eksperimentalne prakse, do radova
suvremenih umjetnika i radova umjetnika mlađe generacije, preuzimajući
naslov istoimene knjige Branka Vučićevića.
Kolaž, animacija, crtež, found footage, ready made, video, tekst, fotografija
i foto-sekvence podjednako su shvaćani kao dio filmskog eksperimenta,
eksperimenta “s filmom i oko filma”, prostor u kojemu se istražuju granice
medija. Radovi sažimaju multiplicirane vizure i poglede − podsjećaju nas kako
(na formalnoj i semantičkoj razini) film i kolaž omogućavaju kinematografsku
dekompoziciju, gdje se percepcija u obliku loma uspostavlja kao formalno
načelo.1
Umjetnici “filmom bez filma”, mahom “radovima na papiru” kao skromnim,
ekonomičnim, “siromašnim” modelom ulaze u prostore filmskog mišljenja
i reprezentacije filma, “filma drugim sredstvima”, predstavljaju različite
kinematičke eksperimente kojima su izgradili specifičan senzibilitet kroz
koji progovaraju kritička refleksija ili uznemirenost te analiziranje konteksta
referentnog/korištenog medija. To je niz nekonvencionalnih radova
intertekstualnog karaktera, koji predstavljaju autorske izraze umjetnika
filmofila i bogatstvo njihove citatne kulture.
1 Ja
mes
Don
ald:
Gra
d i k
ino,
u: V
izua
lna
kultu
ra
(ur.
Chr
is J
enck
s), J
esen
ski i
Tur
k, Z
agre
b 20
02
2 D
ejan
Sre
teno
vić
: Kin
o-sv
et S
lobo
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na, O
ko f
ilma,
ka
talo
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ložb
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alon
Muz
eja
Savr
emen
e U
met
nost
i, Be
ogra
d, 2
009.
Michel Klöfkorn LIqUId PAPEr, video, 2010
Povijest kolaža kao umjetničke prakse počinje u 20. stoljeću, paralelno dijeleći
kulturni kontekst s razvojem medija filma. Na taj način možemo primijetiti
kako, poput montaže u kinematografiji, kolaž predstavlja autentičan
umjetnički jezik i tehnologiju 20. stoljeća.
Izložba Paper Movies želi istražiti različite odnose između kolaža i filma
u suvremenim umjetničkim praksama imajući na umu povijesnu putanju
avangardne umjetnosti i pojavu eksperimenata u montaži kao radikalnog
umjetničkog jezika. Istraživanje bliskih procedura u radovima na papiru
(kolaž), pokretnim i nepokretnim slikama (montaža) otvara pitanja o
pronađenim slikama (found image, slika kao ready made) te fragmentaciji
i dis/kontinuitetu unutar slike. Pažnja se usmjerava na smisao djela koji se
shvaća čitanjem njegovih dijelova, kao i na načelo njegove konstrukcije,
a lomovi i imaginacija u umjetničkim postupcima dovode se u vezu s
prevođenjem ili metodama reprodukcije. Provocira se lom u recepciji koji je
analogan fragmentarnosti umjetničke tvorevine.3
U širem smislu - u likovnoj umjetnosti, književnosti ili filmu, kolaž predstavlja
svaki tekst građen od heterogenih materijala, dok je u užem smislu to likovni
žanr koji nastaje konstrukcijom, aranžiranjem i lijepljenjem različitih materijala
na podlogu. Kolažni postupak zasniva se na semantičkom premještanju
elemenata, postojećih poruka, fragmenata iz svakodnevnice, elemenata slike
i teksta iz masovnih medija i popularne kulture, slika iz novina, časopisa,
3 Pe
ter
Burg
er: T
eorij
a av
anga
rde,
A
ntib
arba
rus,
Zag
reb,
200
7.
Antun Motika ZbIrKA UMjETNINA grAdA PULE, fotokolaž / photocollage
oglasa i reklama u novu tvorevinu, kako bi se stvorilo umjetničko djelo
koje prikazuje raznovrsne prekide, složenu višeznačnost, necjelovitost,
nekonzistentnost mišljenja. Kolaž predstavlja prostor za eksperiment,
odbacuje racionalnost i koherentnost, angažirajući nove formalne
mogućnosti, stvarajući prostore fantastike.4
Fotokolaži Antuna Motike predstavljaju panoramu distorzija slika svedenih
do neprepoznatljivosti. U jednoj slici kombiniraju se dijelovi različitih
prizora stvarajući nove, čudesne kombinacije i začudne odnose. Vizualni
registar, arhiv fragmenata okupljenih u Motikinim fotokolažima obuhvaća
prepoznatljive elemente civilizacijskih slika − svijeta umjetnosti, popularne
kulture, poput umjetničkih djela, glumaca i glumica, predmeta ili strojeva,
dok postupak njihovog montiranja (slaganja) omogućava konstrukciju cjeline
iz heterogenog materijala, a prizor se istovremeno dekonstruira.
U albumima Antuna Motike iz Zbirke umjetnina Grada Pule pronalazimo
zanimljivu skupinu fotokolaža mobilne strukture, kinematičkih svojstava.
Pojedine slike na podlogu nisu fiksirane sa svih strana, a slagane su jedna
iznad/ ispod druge, stvarajući rad namijenjen listanju, koji se strukturira kao
flip-book, dječja knjižica za animaciju. Takav se kolaž listanjem animira,
svakim okrenutim listom i svakim pomicanjem sličice dolazi do nove faze slike
i do nove kompozicije. Listanjem slika preobražavaju se figure i stvaraju nove,
a radove karakterizira dinamična, pokretna i promjenjiva struktura.
Kolažni found footage film All Catacombs are Grey Dalibora Barića temelji
se na gotičkoj noveli Carmilla (1871) Josepha Sheridana Le Fanua, koja je i
prije Barićevog “čitanja” doživjela niz filmskih adaptacija. Značenje djela
strukturira se unutar procesa remedijacije, oblika prijenosa, postavljajući u
središte interesa filma aproprijaciju postojećih, pronađenih slika shvaćenih
kao ready made, dok je naracija svedena u drugi plan.
4 Sa
lly O
'Rei
lly: C
olla
ge −
Div
ersi
ons,
Con
trad
ictio
ns, A
nom
alie
s, u
: Col
lage
: A
ssem
blin
g co
ntem
pora
ry a
rt, B
lack
Dog
Pub
lishi
ng, L
ondo
n 20
08.
Antun Motika ZbIrKA UMjETNINA grAdA PULE, fotokolaž / photocollage
Kolaži se strukturiraju oko zamišljanja kinematičkoga aparata, elemenata
kamere i projekcije/projektora, formalno jasnih elemenata, kvadrata prostora,
geometrijska okvira i kadrirana prizora.
Ana Petrović medijskim istraživanjima pristupa na nešto drugačiji način. U
seriji fotografija Bez naslova, koja je strukturirana kao foto sekvenca, autorica
bilježi prizor zrake svjetlosti iz projektora. Fotografija podjednako predstavlja
minimalističku gestu i interes usmjeren na kinematografski aparat kao
sredstvo produkcije i reprodukcije filma. Istovremeno LIFRAM Daumenkino
(kino za palac) je artist book kojim autorica artikulira interes za pretpovijest
filma, a njezino “papirnato kino” donosi “tehnologiju” prvih pokretnih slika.
Nastali različitim postupcima medijatizacije, radovi Antuna Motike, Dalibora
Barića, Michela Klöfkorna, Marka Tadića i Ane Petrović uspostavljaju vezu
s prošlošću putem medija reprodukcije slike, apostrofiraju vremensku
dimenziju, unutar koje se formira prisjećanje na arheologiju medijske prakse.
Film odiše određenom melankolijom koju dešifriramo kao nemoguć susret
s prošlim. Radovi Dalibora Barića predstavljaju sliku slike, reprezentaciju
reprezentacije, u njima kao da su konzervirani medij i vrijeme. Kao da se radi
o duhovima, prividu − All recordings are ghosts... priča o filmu kao mediju
smrti, duhovima - tvrdi Dalibor Barić, gdje referencijalno polje uspostavljeno
gotičkom novelom olakšava transfer značenja, medijskog postupka i stvaranje
atmosfere. Na tom tragu možemo se prisjetiti Derride, koji piše When the
very first perception of an image is linked to a structure of reproduction, then
we are dealing with the realm of phantoms.5
I Liquid Paper Michela Klöfkorna predstavlja refleksiju o medijima i
remedijaciji, uključujući materijal različitog porijekla i mnoštvo citata. Njegov
vizualni arhiv prisvaja slike iz časopisa, plakata, filmova, knjiga umjetnika, koje
autor izrezuje kao “geološke slojeve” u kontinuiranoj transformaciji. Klöfkorn
koristi različite tehnike animacije, prisvaja metodu cut-outa, izrezivanja
papira, prizora i slika koje montira i stapa na specifičan način kao da klize
jedna za drugom i pretapaju se u novo formiranim prizorima iz kojih izranjaju
nove slike i novi oblici. Radi se istovremeno o procesima transfiguracije,
protoku vremena i slika koje “teku” kao da poprimaju svojstva tekućine,
“liquid time”.
Imagine a Moving image Marka Tadića predstavlja imaginarno putovanje
prostorom konstrukcije, poetike i estetike kinematografa i filmske slike. U
kolažima i crtežima Marko Tadić gradi fragmentaran narativ koji pripovijeda
priču o filmu, a spektakl kinematografije i naglašavanje njezina konstruiranog
karaktera postaju referencijalno polje ovih radova. Tadić nizom kolaža i
crteža istražuje kodove kinematografije, filmske sadržaje i alate artikulirajući
refleksivne i tehničke procese koji ukazuju na iluzornost filmskog medija,
istovremeno naglašavajući fascinaciju njime.
5 J.
Der
rida:
La
dans
e de
s fa
ntom
es. C
itira
no u
: In
stal
acija
kao
inte
rfac
e, C
inem
ania
c, P
ula,
200
6.
Marko Tadić IMAgINE A MovINg IMAgE, kolaž, crtež / collage, drawing, 2012
Working with concepts of visual media and moving images,
the exhibition Paper Movies, within the project CINEMANIAC 2014,
points to a wide referential field of “paper movies”, engaging
the concept of “paper movies” by questioning relations
between films, as medium, language and means of expression,
as well as the attitudes to society and popular culture. As a
research and exhibition platform, the project gathers artists
that form a specific relationship with the idea of film as “space
of reflection”, film “by other means” and the critique of the
film apparatus, a place reflecting aspects of society and culture
where film becomes a sort of treasury. Just as a number of times
before, exhibition wants to point out the continuity of interest
for film experience drawing the inspiration on historical avant-
gardes, research practices of conceptual art, history, archives,
memories, their re-actualization in the context of new digital
flow of images, videos, texts. It speaks of the potential of film
as a resource for its dispersion in media formats which, today,
enable new horizons of artistic interventions.
Michel Klöfkorn LIqUId PAPEr, video, 2010
Beyond the normative film production technology, they use various research
approaches, modest cheap means, economical expression, notes, scribbles,
and by means of other media − text, collage, photographs, videos, they refer
to the world of film, film culture and film language.
When writing on the Film Leaflet by Slobodan Šijan as a practice of “film
by other means”, Dejan Sretenović speaks of the deconstruction of integral
elements of film which become an independent area of film experiment:
screenplay, storyboard, editing, camera, photography, film strip, light, sound,
screen, and similar.
By shifting the interest from the commercial, industrial film apparatus,
the contemporary practice of film production points to the place of film
experience drawing its continuity from experiment, historical avant-gardes,
neo-avant-garde, history, archives, memories, re-contextualization… in the
context of a new digital flow of images, video, text. It speaks of the potential
of film as a resource for its dispersion in media formats today opening up
new horizons for artistic interventions.
The visual production of “works on paper” (and film works with paper) is
an artistic practice that enables artists to experiment with film, while at the
same time affirming a new, almost marginal artistic area stressing its research
potential. In a certain way the project establishes a continuity of interest,
connecting past and future, following up on the retrospective presentation of
Film Leaflet by Slobodan Šijan in 2012.
The exhibition Paper Movies represents a fragmentary trajectory of “paper
movies” or “movies on paper” which moves from neo-avant-garde
decompositions in Antun Motika’s photo-collages, forms of experimental
practice, to the works of contemporary artists and emerging artists, taking
over the title of the homonymous book by Branko Vučićević.
Collage, animation, drawing, found footage, ready made, video, text,
photography are equally taken as part of the film experiment, the experiment
“with film and around film”, a space in which the boundaries of the
media are explored. The works summarize multiplied visions and views −
remind us of how (on a formal and semantic level) film and collage enable
cinematographic decomposition where perception in the form of breaks
establishes itself as a formal principle.
With the “film without film”, largely “works on paper” as modest,
economical, “poor” model, the artists enter the spaces of film thinking
and representation of film, “film by other means”, representing various
cinematic experiments through which they constructed a particular sensibility
expressing a critical reflection or restlessness, and the analysis of the context
of the referential/used medium. It is a series of unconventional works of
intertextual character representing author expressions of cinephile artists and
the richness of their quotation culture.
Ana Petrović bEZ NASLovA, serija fotografija / photography series, 2011
The history of collage as artistic practice begins in the 20th century sharing
the cultural context with the development of film medium. In that way, like
montage in cinematography, we can see collage representing an authentic
artistic language and technology of the 20th century.
The exhibition Paper Movies wants to explore different relationships between
collage and film in contemporary practices bearing in mind the historical
trajectory of avant-garde art and the appearance of experiments in montage
as a radical artistic language. The exploration of similar procedures in works
on paper (collage), moving and still images (editing) raise the issue of found
footage (found image, image as ready made), and fragmentation and dis/
continuity within the image. The attention is directed towards the meaning
of the work that is understood by reading its parts, as well as towards the
principle of its construction, while the breaks and the imagination in artistic
procedures are associated with translation and reproduction methods. A
break in reception is provoked, analogous to the fragmentariness of the work
of art.
In a wider sense − in visual arts, literature or film, collage represents every
text constructed of heterogeneous material, while in a narrower sense it is
a visual genre created with construction, arranging and gluing of various
materials on a surface. The collage procedure is based on semantic shifts of
elements, existing messages, fragments of everyday life, elements of image
and text from mass media and popular culture, pictures from newspapers,
Marko Tadić IMAgINE A MovINg IMAgE, kolaž, crtež / collage, drawing, 2012
Dalibor Barić ALL CATACoMbS ArE grEY, film, 2014
The meaning of the work is structured within the process of remediation, the
form of transfer, putting in the focus of interest of the film the appropriation
of existent, found images taken as ready made, while narration is in the
background. The film exudes a certain melancholy we decipher as the
impossible encounter with the past. Dalibor Barić’s works represent the
image of an image, the representation of representation, as if they were
preserving both the medium and the time. As if they were ghosts, illusions
− All recordings are ghosts… a story of film as medium of death, ghosts
− claims Dalibor Barić, where the referential field established by the gothic
novel enables the transfer of meaning and the creation of atmosphere. Along
these lines we can think of Derrida’s lines When the very first perception of
an image is linked to a structure of reproduction, then we are dealing with
the realm of phantoms.
The work Liquid Paper by Michael Klöfkorn also represents a reflection on
media and remediation, including material of various origins and a multitude
of citations. His visual archive makes use of pictures from magazines,
posters, films, artist books, that the author cuts out as “geological layers”
in continuous transformation. Klöfkorn uses various animation techniques,
adopts the method of cut-out, cutting paper, scenes and images he edits
and merges in a particular way as if they were emerging and sliding one after
the other and composing newly formed shapes, scenes and forms. What we
have here are processes of transfiguration, the passing of time and images
that “flow”, taking over the characteristics of “liquid time”.
Imagine a moving Image by Marko Tadić represents an imaginary journey
through the space of construction, poetics and aesthetics of cinema
and moving image. In his collages and drawings Marko Tadić builds a
fragmentary narrative telling the story of film, while the spectacle of
cinematography and pointing out its constructed character become a
magazines, announcements, advertisements, into a new creation, in order
to create a work of art showing various breaks, a complex ambiguity,
incompleteness, inconsistency of thought. The collage represents a space
for experiments, it refutes rationality and coherence, engaging new formal
possibilities, creating spaces of fantasy.
Photo-collages by Antun Motika represent a panorama of distorted images
reduced to unrecognizability. One image combines parts of different scenes
creating new, magical combinations and fascinating relations. The visual
registry, the archive of fragments gathered in Motika’s photo-collages
encompasses recognizable elements of civilizational images − of the world
of art and popular culture, like works of art, actors and actresses, objects
or machines, where the procedure of their editing (assembling) enables the
construction of a whole from heterogeneous material, while the scene is
being deconstructed.
In Antun Motika’s albums in the Art Collection of the City of Pula, we can
find an interesting series of photo-collages of a mobile structure, cinematic
features. Single images are not fixed to the underlying surface on all sides
and are assembled one above / under the other, creating a work meant to
be leaved through, structured as flip-books, a children’s animation booklets.
Such a collage is animated by flipping its pages, with every turned leaf and
every movement of the image, there is a new phase of the image and a
new composition. By flipping the pages the figures are transformed and
new figures are created, while the works present a dynamic, moving and
changeable structure.
The collage found footage film All Catacombs are Grey by Dalibor Barić is
based on the Gothic novel Carmilla (1871) by Joseph Sheridan Le Fanu, and
has already seen adaptations into various films before Barić’s “reading”.
referential field of these works. With a series of collages, Tadić explores the
codes of cinema, the contents and tools of film articulating those reflexive
and technical processes pointing to the illusory character of the film medium,
while at the same time stressing the fascination with it. The collages are
structured around the imagination of the cinematic apparatus, elements of
camera and projection/projector, formally clear elements, squares of space,
geometrical frames and a framed space.
Ana Petrović has a somewhat different approach to the exploration of the
media. In a series of photographs Bez naslova (Untitled) structured as a photo
sequence, the author records the scene of a ray of light from the projector.
The photograph represents both a minimalist gesture and an interest
directed towards the cinematographic apparatus as means of production
and reproduction of film. At the same time, LIFRAM Daumenkino (thumb
cinema) is an artist book with which the author articulates her interest in the
prehistory of film, and her “paper cinema” brings the “technology” of the
first moving images.
Created using various processes of mediatization, the works of Antun
Motika, Dalibor Barić, Michel Klöfkorn, Marko Tadić and Ana Petrović
establish a connection with the past by way of the image reproduction
medium, articulating the dimension of time within which the remembrance
of the archaeology of media practice is formed.
Ana Petrović LIFrAM dAUMENKINo, artist book, 2011.
Dalibor Barić (1974.) bavi se
eksperimentalnim filmom i
animacijom istražujući tradicionalne
žanrove poput horora ili science
fictiona. Korištenjem pronađenih
materijala tehnikama kolaža realizira
sofisticirane psihodelične naracije koje
zamagljuju granice stvarnosti. Njegov
rad ispituje područje umjetničke
produkcije u digitalnom okruženju
kroz ideje aproprijacije, simulacije/
replike i autentičnosti.
Dalibor Barić (1974) is a Croatian
experimental filmmaker whose works
often explore traditional genres like
science fiction and horror. Using
found objects as his source material,
Barić uses collage techniques in order
to produce sophisticated psychedelic
narratives that often blur the lines
between our outer and inner realities.
Moreover, Barić’s work also calls into
question issues surrounding artistic
practices in the digital age including
ideas about authenticity, simulation/
replication and appropriation.
Radovi / Selected works:
Amnesiac on the Beach (2013); The
Spectres of Veronica (2011) New
Hippie Future (2011); Pain so light
it appears as tickle (2010); The Mind
from Nowhere (2010); The Horror
of Dracula (2010); Ghost Porn in
Ectoplasm! But how? (2010); Nymph
Gloss Atari (2010)
Festivali /Festivals: 25 FPS
International Experimental Film
and Video Festival; Festival Les
Instants Vidéo; Festival of Different
and Experimental Cinemas, Paris;
International Short Film Festival
Oberhausen; S8 Mostra de Cinema
Periférico; Tabor Film Festival;
Alternative Film Video, Belgrade,
Serbia; Impakt Utrecht
Michel Klöfkorn (rođen 1967. u
Njemačkoj, živi u Frankfurtu) je
umjetnik koji se bavi crtežom,
poviješću filma, estetikom,
analognim filmom i digitalnim
videom. Studirao je slikarstvo,
crtanje i film na Hochschule für
Gestaltung u Offenbachu. U to
je vrijeme radio muzičke video
spotove te je snimio 30 spotova za
najbolje njemačke grupe. 1998. je
dobio nagradu za najbolji njemački
muzički video na Danima kratkog
filma u Oberhausenu. Njegov
posljednji film je xx-xx-xx (2014).
Michel Klöfkorn (born in 1967
in Germany, lives in Frankfurt) is
an artist with a background in
drawing, film history, aesthetics,
analog film and digital video. He
studied painting, drawing and film
at the Hochschule für Gestaltung
in Offenbach. Worked with music
video producing 30 music videos
HDLU Osijek. Suosnivačica je
umjetničke organizacije POPUP.
Izlaže radove na samostalnim i
grupnim izložbama u Hrvatskoj i
inozemstvu. Živi i radi u Osijeku.
Ana Petrović, multimedia artist, in
her work examines the boundaries
of media. Born in 1985 in Bjelovar.
Graduated from the Art Academy
in Osijek (2011), mentored by
doc. Vladimir Frelih. Works as
assistant for Video and Film and
Photography, UAOS, member of
HDLU Osijek, and photographer
for The Gallery Kazamat, publisher
HDLU Osijek. Co-founder of the
art organization POPUP. Exhibiting
works in solo and group shows in
Croatia and abroad. Works and
lives in Osijek.
Marko Tadić je rođen 1979. u
Sisku. Diplomirao je na Akademiji
likovnih umjetnosti u Firenzi. Radi
kolaže, animacije i crteže. Izlagao
je na samostalnim i grupnim
izložbama, te filmskim festivalima u
Hrvatskoj i inozemstvu - u Zagrebu,
Ljubljani, Kasselu, Berlinu, Los
Angelesu i New Yorku. Nagrade:
28. Salon mladih (Zagreb, 2006.),
Nagrada Radoslav Putar za mladog
hrvatskog umjetnika. Sudjelovao
je na rezidencijama i studijskim
programima: 18th Street Arts
Center, Los Angeles, SAD (2008.);
KulturKontakt, Beč, Austrija
(2008.); ISCP, New York, SAD
(2009.); Kultur Bunker, Frankfurt,
Njemačka (2010.) i Helsinki
International Artist Programme,
Helsinki, Finska (2011.). Živi i radi
u Zagrebu.
Marko Tadić, born in 1979 in
Sisak, Croatia. Graduated at
the Academy of Fine Arts in
Florence, Italy. Works with collage,
animation, drawings. Exhibited
at solo and group exhibitions
and film festivals in Croatia and
internationally, at venues in
Zagreb, Ljubljana, Vienna, Kassel,
Berlin, Los Angeles and New York.
Awards: 28. Youth Salon (Zagreb,
2006) and Radoslav Putar Award
for young Croatian artist (Zagreb,
2008). Participated in residencies
and study programs: 18th Street
Arts Center, Los Angeles, USA
(2008); KulturKontakt, Vienna,
Austria (2008); ISCP, New York,
USA (2009); Kultur Bunker,
Frankfurt, Germany (2010) and
Helsinki International Artist
Programme, Helsinki, Finland
(2011). Lives and works in Zagreb,
Croatia.
for hit German bands at the time.
1998 awarded Best German Music
Video, Kurzfilmtage Oberhausen.
His most recent film is xx-xx-xx
(2014)
Izložbe i festivali / Exhibitions
and Festivals: Frankfurter
Filmschau, Trickfilmfestival
Stuttgart, Kurzfilmtage
Oberhausen, Videofest Kassel, ICA
London, Steirischer Herbst, Kai
Middendorff Galerie Frankfurt am
Main
Antun Motika (Pula, 1902. −
Zagreb, 1992.) Studirao kiparstvo
na Akademiji likovnih umjetnosti
u Zagrebu, 1921. (R. Valdec),
opredjeljuje za slikarstvo i diplomira
1926. (M. Vanka, Lj. Babić). 1928.
− 1929. objavljuje karikature u
listu Koprive. 1929. − 1940. bio je
srednjoškolski nastavnik u Mostaru,
a od 1941. − 1961. profesor na
Školi primijenjene umjetnosti u
Zagrebu. Njegov slikarski opus
proizlazi iz postimpresionističke
tradicije europskog slikarstva.
Od 1940ih počinje se sustavno
baviti eksperimentima koristeći
kolaž, dekalkomanije, “dimnice”,
fotografiku i organske materijale.
Donacija Antun Motika dio je
Zbirke umjetnina Grada Pule.
Antun Motika (Pula, 1902 −
Zagreb, 1992) Studied sculpture
at the Academy of Fine Arts in
Zagreb under prof R. Valdec in
1921, and later decided to switch to
painting, graduating in 1926 from
the class of prof M. Vanka and Lj.
Babic. Between 1928 − 1929 Motika
published illustrations in the
satirical magazine Koprive / Nettles.
Between 1929 − 1940 he was a high
school teacher in Mostar, and
from 1941 − 1961, Professor at the
School of Applied Arts in Zagreb.
Motika's art derived from the post-
impressionist tradition of European
painting. From the 1940s he
began to experiment with collage,
decalcomania, smoke, photo-
graphics, and organic materials.
The Antun Motika donation is part
of the Art Collection of the City
of Pula.
Ana Petrović, multimedijalna
umjetnica, u radu se bavi
istraživanjem granica medija.
Rođena je 1985. godine u
Bjelovaru. 2011. diplomirala
je na Umjetničkoj akademiji
Osijek, pod mentorstvom doc.
Vladimira Freliha. Asistentica
na kolegijima Video i film i
Fotografija, UAOS, članica
HDLU-a Osijek, te fotografkinja
za Galeriju Kazamat, izdavaštvo
Dalibor Barić ALL CATACoMbS ArE grEY, film, 2014
Nakladnik / Publisher
Udruga MMC LUKA
MMC LUKA Association
Istarska 30, Pula, Croatia
T +385 52 224 316
Za nakladnika / For the publisher
Mirjana Grahovac- Vojinović
Urednica / Editor
Branka Benčić
Tekst / Text
Branka Benčić
Fotografije / Photographs
Ljubaznošću umjetnika
Courtesy of the artists
Zbirka umjetnina Grada Pule
Art Collection of Pula
Prijevod / Translation
Iva Štekar
Lektura / Proofreading
Nevena Trgovčić
Dizajn / Design
Oleg Morović
Partner
Pulski filmski festival
Pula Film Festival
www.pulafilmfestival.hr
Tisak / Print
MPS Pula
Naklada / Number of copies
300
Postav izložbe / Exhibition set up
Branka Benčić
Tehnički postav izložbe / Technical set-up
Miro Ploj
Program je realiziran sredstvima / The program has been made
possible with the funding provided by:
Grada Pule, Hrvatskog audiovizualnog centra, Ministarstva
kulture Republike Hrvatske, Istarske županije, TZ Grada Pule
City of Pula; Croatian Audiovisual Center; Ministry of Culture,
Republic of Croatia; Region of Istria; Tourist Office Pula
Zahvale / Aknowledgements:
Umjetnicima / Artists; Zbirka umjetnina Grada Pule/ Art
Collection City of Pula, Kai Middendorff Galerie na posudbi
radova / for work loans; prijateljima/friends, suradnicima/
collaborators, Aleksandri Sekulić na knjizi Neobični doživljaji
gospodina Benjamina u zemlji boljševika / Aleksandra Sekulić
for the book The Unusual experience of Mr. Benjamin in the
country of Bolsheviks that nurtured the idea for this exhibition.