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Darije Petković, Duhovi preteklosti / Ghosts of the Past, 2009-2011

Darije Petković, Duhovi preteklosti / Ghosts of the Past, 2009-2011

Duhovi preteklosti

Otvoritev: 2. junij ob 19:30. uri

2. 6.–29. 6. 2014

Desni atrij, Magistrat, Ljubljana

KJE: Mestni trg 1, Ljubljana

O katerih stvareh lahko priča le fotografija, medtem ko besede ne morejo? Petkovićevi Duhovi preteklosti pripadajo liniji narativne fotografije. Z njimi avtor ustvarja reportažni prispevek o zbiranju ljudi na ideoloških shodih v Pliberku, Kumrovcu in na Ravni Gori. Tam prisotni ustaši, partizani in četniki vsi odgovarjajo na pet vprašanj: kdo, kdaj, kje, kaj in zakaj?

A fotografije odkrivajo še mnogo več – beležijo subtilne odnose obrazov in svetonazorov ter zgodovino, ki se odraža v sedanjosti. Fotografije beležijo spomin na prihodnost!

To velja zlasti za tisti del pripovedi, ki ne bi mogel biti ohranjen v katerem koli drugem mediju. Kompleksnost in globina fiziognomskih branj, interaktivne povezave med obrazi in svetonazori bi lahko pripeljali do novega načina iskanja izgubljenega časa. Napisan bi moral biti roman v takšnem obsegu, da bi zaobjel vse sloje, razloge in nenavadne bližnjice, ki jih fotografija zabeleži z enim samim fiksiranim odtisom stotinke sekunde izbranega trenutka. Petković na svojih fotografijah pogosto umešča protagoniste v idealizirane megličaste pejsaže.

Ta eksces kontrasta z brezpogojnim ravnovesjem krajine odpira velik prostor za notranji bestiarij vsakega izmed nas – ljudi. Osrednji zaplet pa se odvija na drugem nivoju, v sklopu družbenega kodiranja vlog in njihovih vsebin. Zastava kot najmočnejši vizualni simbol tega notranjega prostora je ustvarjena tako na simbolični kot dinamični ravni. Hitro in učinkovito nas uvaja v samo srž zgodbe in ne pušča dvoma o tem, kdo je lahko in kje se lahko nahaja človek, ki je oblečen v eno od uniform in maha z eno od zastav. Zgodbo lahko tako razumemo skozi ideološke in kulturne vzorce, ki si jih delimo z obravnavanimi upodobljenci. Ne, tudi mi nismo povsem izvzeti iz te zgodbe, saj je, če bi bili, skoraj zagotovo ne bi mogli razumeti.

Povedana fabula pušča vprašanja odprta. Pa vendar – ali nam način, na katerega je povedana, izrisuje kakšne odgovore? Na tem mestu se je treba ustaviti, fotografije namreč tvorijo serijo, ki deli dogodek na sekvence, da bi ga sploh lahko povedala. Kot celota pa fotografije iz ciklusa Duhovi preteklosti ponujajo znatno kompleksnejšo narativno sliko.

Pri Dariju Petkoviću se dogaja nek premik in tako se vsi – četniki, ustaši in partizani – spreminjajo v bizarne palčke. Še naprej si v naših kulturnih vzorcih stojijo zoperstavljeni in niso izgubili svojega zlega karakterja, so pa izgubili sovražnika. S tem pa so izgubili tudi svoj smisel. Kot vsak veliki zlikovec tudi oni potrebujejo junaka, ki se bojuje proti njim. Naš čas, ki ne pozna več herojev in utopij, ne more biti tudi njihov čas. Petković prikazuje izbrane statične, skoraj slikarsko klasične portrete, ki – posneti v analogni tehniki na negativu 6×6 – ob bogastvu detajlov tem duhovom preteklosti dodajajo nenavadno stvarnost.

Marina Viculin

Darije Petković, rojen 1974 v Zagrebu, je fotograf, profesor-asistent na oddelku za kinematografijo na Akademiji dramskih umetnosti in umetnik. Živi in deluje v Zagrebu.

Ghosts of the Past

Opening: 2 June at 7.30 pm

2–29 June 2014

City Hall, Ljubljana

WHERE: Mestni trg 1, Ljubljana

What can photographs tell us, that words cannot? Petković Ghosts of the Past belong to the tradition of narrative photography. Together, they form a reportage on the gathering of people at ideological meetings in Bleiburg, Kumrovac, Ravna Gora. Ustašas, Partisans, Chetniks alike respond to five questions: who, when, where, what and why?

But the images reveal much more. They record the subtle relationship between their faces and their worldviews; history reflected in the present. They record memories of the future! I’m specifically thinking of the parts of the story that could not be preserved in other media. The complexity and thoroughness of physiognomic reading, the interactive links between points of view and faces could perhaps constitute a new search for lost time. Perhaps it is best to write a novel and within its many volumes set out to capture all the layers, all the reasons and unexpected shortcuts that the image fixes in time and captures in one hundredth of a second.

In his photographs Petković often places the protagonists in idealised, misty landscapes. That excess of contrast with the unconditionally balanced landscape reveals a wide scope for the inner bestiary in each of us – human beings. The main plot takes place on another level, that is, within the framework of the social coding of roles and their properties. The flag, the most powerful visual symbol of that framework, constitutes it both symbolically and dynamically. It quickly and efficiently introduces us with very core of the story. It leaves no doubt about which man might be found where, dressed in which of the uniforms and waving which of the flags. Our reading of the story is informed by the ideological and cultural codes we share with the characters about whom the story is about. No, we’re not outside of the story, because if we were, we surely would not be able to relate to it.

The fable, once told, poses some open-ended questions: does way in which we were told the story, through the photograph, offer any answers? However, we should not limit ourselves to interpretation of the single photograph because it is part of a series. The series itself is sequential, cutting events in order to be able to tell them. Thus the photographs from Ghosts of the Past series, when taken altogether, offer a considerably more complex narrative picture.

With Darije Petković however there is a shift that occurs, and all the protagonists– Chetniks, Ustashas, and Partisans – become but ridiculous dwarfs. Still taking opposite sides in their/our cultural codes, they have not lost their evil nature. They have however lost their enemy and consequently, they have lost all meaning and purpose. Like all villains, they must have a hero to fights against. Our time, which has forgotten its heroes and lost its utopia, cannot be their time. Petković’s composed, static, portraits recall classical painting. Taken with an analogue, medium format 6 x 6 camera, the richness of detail only adds a strange reality to the ghosts of the past.

Marina Viculin

Darije Petković, born 1974 in Zagreb, is a photographer, assistant professor in the Cinematography Department at the Academy of Dramatic Arts and artist. He lives and works in Zagreb.