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Natečaj za Večerne projekcije Open call for Evening Projections

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Marko Lipuš – ‘Photo-Cartoons’

 
 
 

Marko Lipuš: Iz serije 'Fotokartuni'

24. november – 18. december 2010

Galerija Photon – Center za sodobno fotografijo Ljubljana


Fotokartuni se nahajajo na presečišču med skeniranim in digitalnim fotomaterialom. V programih za obdelavo slik lahko umetnik sestavlja in obdeluje te digitalne predloge in s tem, ko meša različne fotografske predloge (skene, digitalne slike različnih kakovosti) in črtne risbe, nastane svojevrstna in dinamična estetska oblika. Slogovno so fotokartuni mešanica stripov in karikatur, ki odsevajo trenutno razpoloženje in sodobni duh časa. Neodvisna in samostojna izrazna površina je primerljiva s pop artom, ki se opira na Andyja Warhola in Royja Lichtensteina, ter jo razumemo kot citat.

Kot umetnika me poleg fotografsko estetskega izvajanja neke ideje zanima predvsem proces nastajanja, tematiziranja tehničnega postopka in njegovega prelamljanja. Moja dosedanja fotografska pot v polju analogne fotografije je bila predstavljena s projektom Praskanke, na digitalnem področju pa je ta avtentična izrazna oblika izražena v fotografičnih kartunih.

Digitalna fotografija dopušča nove pristope in nove umetniške možnosti. Nizanje pikslov ustvarja osnovno obliko digitalne fotografije. Realistična slika je v digitalni obliki sestavljena iz posameznih digitalnih slikovnih pikic, razpustitev realnega pa pomeni osnutek mojih fotokartunov. Nizanje digitalnih barvnih pikic v drugačni, nerealni obliki je osnova omenjene izrazne estetike. Spreminjanje nizanj pikslov je temeljna značilnost tega fotografsko-umetniškega projekta. Digitalna tehnika omogoča nove umetniške oblike in z njimi razširja dosedanje fotografsko zaznavanje.

Fotokartuni se nahajajo na presečišču med skeniranim in digitalnim fotomaterialom. V programih za obdelavo slik lahko umetnik sestavlja in obdeluje te digitalne predloge. Ko meša različne fotografske predloge (skene, digitalne slike različnih kakovosti) in črtne risbe, nastane svojevrstna in dinamična estetska oblika. Slogovno so fotokartuni mešanica stripov in karikatur, ki odsevajo trenutno razpoloženje in sodobni duh časa. Neodvisna in samostojna izrazna površina je primerljiva s pop artom, ki se opira na Andyja Warhola in Royja Lichtensteina, ter jo razumemo kot citat.

Na umetnika lahko kopiranje digitalne fotografije v analogno obliko učinkuje utrujajoče, kakor da poskuša nova umetniška oblika, kot je digitalna fotografija, posnemati staro, analogno fotografijo. Moj umetniški odgovor na to vprašanje so fotokartuni.

Skozi svoje delo si prizadevam, da je umetnost uporabna tudi v realnem življenju. Brez dvoma je treba fotografsko umetnost v klasičnem umetniškem smislu predstavljati v galerijah, da sproži umetniški in družbeni diskurz, sam pa želim poleg tega zagotoviti tudi dodatne možnosti uporabe omenjenih fotokartunov.

Težnjo, da najdejo rokodelske fotografske podobe v vse večjem številu pot v galerije in muzeje, je mogoče postaviti pod vprašaj: Ali se podoba iz časopisa kot rokodelska fotografija lahko predstavlja v galeriji kot forumu za umetnost? Smiselno je prelomiti ta trend in zahtevo obrniti, kar bi potemtakem pomenilo, da se fotografsko umetniška dela ne prikazujejo samo v galerijah in muzejih, temveč se pojavljajo tudi v vsakdanjem življenju. Moji fotokartuni se poslužujejo te ”obrnjene možnosti”, kot se je to zgodilo v sodelovanju dnevnim časopisom Der Standard, kjer je bila objavljena tedenska serija z naslovom Der Gedanke (Misel).

Fotokartuni so bili leta 2008 nagrajeni z likovnim priznanjem Banke Austria in bodo leta 2010 izšli v tiskani knjižni izdaji.

Marko Lipuš

From November 24 until December 18, 2010

Galerija Photon – Centre for Contemporary Photography Ljubljana


Photocartoons are a blend of scanned and digital photo-material. Image editing software allows the artist to compose and edit digital templates, as well as create an original and dynamic aesthetic form through mixing line drawings with various photographic samples, scans and digital images of various qualities. In terms of style, photocartoons are a mixture of comic strip and caricature, reflecting current moods and contemporary spirit. The individual and autonomous aesthetic exterior can be compared to the pop art of Andy Warhol and Roy Lichtenstein, and, accordingly, understood as a quotation.

As an artist I am – further to the photographic and aesthetic realisation of an idea – particularly interested in the development process, the issue of technical procedure and its ‘breaking through’. Thus far, my artistic endeavours in the field of analogue photography are summed-up in the Scratches project, whereas in digital photography this authentic form of expression is reflected in the photographic cartoons.

Digital photography facilitates new approaches and artistic expressions. The basis of digital photography is the alignment of pixels, and a realistic picture is composed of an array of single pixels, whilst the dissolution of reality provides the concept of my photographic cartoons. Such artistic expression is based on the alignment of digital colour pixels in a different, non-realistic form. The modification of pixel configuration is a basic characteristic of this photo-artistic project. Indeed, digital technology allows new artistic forms, thereby expanding the thus far prevalent perception of photography.

The Photocartoons are a blend of scanned and digital photo-material. Image editing software allows the artist to compose and edit digital templates, as well as create an original and dynamic aesthetic form through mixing line drawings with various photographic samples, scans and digital images of various qualities. In terms of style, photocartoons are a mixture of comic strip and caricature, reflecting current moods and contemporary spirit. The individual and autonomous aesthetic exterior can be compared to the pop art of Andy Warhol and Roy Lichtenstein, and, accordingly, understood as a quotation.

An artist may find the concept of copying digital photography into an analogue format arduous and boring; it feels, however, as though a new artistic form – i.e. digital photography – is attempting to imitate the old analogue. My artistic answer is the photocartoon, and in this I also strive to make my art applicable in real life. Undoubtedly photography, in the classical sense, should be exhibited in galleries in order to promote artistic and social discourse, and, further to this, I strive to provide additional possibilities for the application of photocartoons.

In my opinion, the increasing tendency of displaying handicraft photography in galleries and museums is questionable: can an image in the press be exhibited in a gallery or other such venue where ‘art’ is presented? It seems reasonable and necessary to break and reverse this trend. Photographic artworks should not merely be exhibited in galleries and museums, but also be present in everyday life. My photocartoons make full use of this reverse path, testimony to which is provided by collaboration with the Austrian daily Der Standard, which published a weekly series entitled Der Gedanke (The Thought).

Photocartoons, which received Bank Austria Art Award in 2008, will be published in a printed book version in 2010.

Marko Lipuš

Marko Lipuš: From the series: 'Photocartoons'