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Branko Lenart – ‘Body.Language 1971 – 2010′

 
 
 

 

5. november 2010 – 5. januar 2011  

Galerija Dom KULTure Ptuj

Fotografsko oko se je že v 19. stoletju posvetilo golemu, predvsem ženskemu telesu. Z izbranim fokusom govorice telesa Branko Lenart klasični in priljubljeni motiv akta dodatno razširi. Ta pristop ne pomeni izpodrivanja ali celo izgube golote, veliko bolj kaže na to, da obstajajo drže, geste, dotiki, da v enem ali drugem primeru obstaja tista veličina človeškega telesa, ki mu v širnem naravnem prostoru zagotavlja njegovo mesto. Preteklost in sedanjost, umetno in naravno oblikujejo obzorje projekcije za srečevanje z motivom, ki ga tu ne omejuje zgolj poželjivo oko.

Parametri kakovosti vse večje ponudbe tovrstnih upodobitev na nobenem drugem tematskem področju – tudi pri umetniški fotografiji – zaradi čutno-erotičnih in ne nazadnje seksualnih komponent, ki so tu v središču, niso tako ogroženi, da bi se jih ob ”mikavni” sliki sploh še zaznavalo. Ali Branko Lenart poimenuje serijo del Body.Language, ki jo sestavlja vse od leta 1971, zato, da se distancira od širokega polja fotografije akta, ali da oko odpre nekemu drugemu pogledu in novi izkušnji golote? Odgovori na to vprašanje se pred gledalcem razkrivajo na različne načine. Zlasti telesni fragmenti, ki so postavljeni pred pokrajinske in naravne teksture, razširjajo običajni vokabular. Dlani in roke, stopala in noge so skrčeni na skulpturalne oblike in so v kontrastu s skalnim reliefom. Prav tako karakterističen ter nezamenljiv trenutek te slikovne tehnike predstavlja poseben način komunikacije z golim telesom. To je fotograf sam, ki intervenira z iztegnjeno dlanjo na nasproti postavljeno telo in trenutek akcije prevesi  v strogo trajno kompozicijo. Okamneli goli človek je v izrezih fotografsko reproduciran, v isti drži in istem formatu postavljen nasproti ležečega na skalnatem obrežju. Z izbranim fokusom govorice telesa Branko Lenart klasični in priljubljeni motiv akta razširi. Ta pristop ne pomeni izpodrivanja ali celo izgube golote, ampak veliko bolj kaže na to, da obstajajo drže, geste, dotiki, da v enem ali drugem primeru obstaja tista veličina človeškega telesa, ki mu v širnem naravnem prostoru zagotavlja njegovo mesto. Preteklost in sedanjost umetno ter naravno oblikujeta obzorje projekcije za srečevanje z motivom, ki ga tu ne omejuje zgolj poželjivo oko.

Werner Fenz

Branko Lenart, Body and Soul, 1975

from November 5, 2010 until January 5, 2011

Galerija Dom KULTure Ptuj


Back in the 19th century, the photographic eye became dedicated to the naked – predominantly female – form. With a refined focus on body language, Branko Lenart additionally extends the classical and popular motif of the nude. Rather than ousting or even losing nudity, his approach points out poises, gestures and touches, whilst the pre-eminence of a human body vindicates its place in the immensity of the natural milieu. Past and present, artificial and natural, form the horizon of projection to meet a motif which, in this particular case, is not confined to the lustful eye.

Due to the sensual-erotic and ultimately sexual components of such photographs, their quality parameters are more at risk in this thematic field than they are in any other; indeed, in contact with such alluring images, ones perception can be somewhat blurred. Does Branko Lenart call his work in progress since 1971 Body.Language in order to distance himself from the broad field of nude photography, or to open the eye to a new experience and a somewhat different perspective of nudity? The answers to such questions are revealed in a variety of ways; for example, body fragments are posed in front of landscape, and natural textures extend the regular vocabulary. Hands and arms, feet and legs are reduced to their sculptural forms and set in contrast with a rocky relief. As much a characteristic and distinctive element of this image forming technique is its special communication with the nude; the photographer himself intervenes with an open palm to the body placed in front of him, thus transforming the moment of action into a rigorous permanent composition. The detail of a petrified nude is photographically reproduced in the same pose and format, and placed against an individual lying on a rocky shore.

With a refined focus on body language, Branko Lenart additionally extends the classical and popular motif of the nude. Rather than ousting or even losing nudity, his approach points out poises, gestures and touches, whilst the pre-eminence of a human body vindicates its place in the immensity of the natural milieu. Past and present, artificial and natural, form the horizon of projection to meet a motif which, in this particular case, is not confined to the lustful eye.

Werner Fenz

Branko Lenart, Body and Soul, 1975