Bohemi z Montparnassa Bohemians from Montparnasse

Jean Cocteau & Veno Pilon Jean Cocteau & Veno Pilon

2016

Sebastião Salgado: Geneza Sebastião Salgado: Genesis

pregledna razstava fotografskega velikana overview exhibition of the notorious photographer

2016

PhotoMagicPhotoMagic

Stane Jagodič, Gábor Kerekes, Branko Lenart Stane Jagodič, Gábor Kerekes, Branko Lenart

2016

Portfolio Review 2016

  Festival Fotonični trenutki – Mesec fotografije 2016 vabi fotografe, da predstavijo svoja dela na Portfolio Review, ki bo potekal […]

2016

Natečaj za Večerne projekcije Open call for Evening Projections

Mednarodni natečaj za sodobne fotografe International contest for contemporary photographers

2016

Dik Bouwhuis Dik Bouwhuis

 
 
 
Dik Bouwhuis, Ulcinj, Montenegro, Tursitične krajine - Sprehod ob Sredozemskem morju, 2010

Dik Bouwhuis, Herceg Novi, Montenegro, Tursitične krajine: Sprehod ob Sredozemskem morju, 2009-2010

Turistične krajine: Sprehod ob Sredozemskem morju

Otvoritev: 3. junij ob 20. uri

3.6. – 28.6. 2014

LP bar / Atrij ZRC, Ljubljana

KJE: Novi trg 2, Ljubljana

Z zakoncema Becher kot najbolj značilnima predstavnikoma nam je zadnje četrtina 20. stoletja ponudila konceptualno fotografsko prakso, v kateri je bila objektivnost razumljena kot resničnost in resnica. Sčasoma in pod vplivom nemškega filozofa Hans-Georga Gadamerja (Resnica in metoda) mi je postalo jasno, da obstaja neskladje med tovrstnim razumevanjem objektivnosti in njenim metodičnim zasledovanjem.

Po drugi strani pa sem bil priča enostranski subjektivnosti preveč individualistične interpretacije in ‘reprezentacije’ resničnosti. Po našem splošnem razumevanju objektivnost izključuje subjektivnost in obratno, v globlji izkušnji resnice in resničnosti pa se zdi, da ena brez druge ne obstajata.

Ko razmišljamo o umetniškem delu, lahko postanemo turisti, ki potujejo skozi področja, v katerih poosebljenja objektivnosti in subjektivnosti v hrepenenju, da bi se za trenutek zbližali in preobrazili v nekaj, kar ju presega, zapeljujejo druga drugo s pomočjo barv, oblike in prostora. V teh redkih trenutkih sinteze lahko doživimo manifestacijo resnice ali neomejene resničnosti. V mojem trenutnem fotografskem ustvarjanju to področje zapeljevanja, soočenja in transcendence najde svojo materializacijo v krajinah, kjer preživljamo počitnice – zame je namreč umetnost tam, kjer je človek ne pričakuje. Jedro mojega dela kot umetnika je iskanje popolnega ravnovesja med objektivnostjo in subjektivnostjo, ki omogoča doživetje globlje resnice.

Sredozemsko turistično krajino lahko razumemo kot kolektivno čustveno in mentalno krajino. Je mitična krajina. Obljubljena krajina, krajina velikih pričakovanj in globokih hrepenenj. Zame tudi okolje, v katerem sem preživljal počitnice svojega otroštva. V številnih pogledih je tudi krajina transformacije. Obala Sredozemlja se od druge svetovne vojne neprestano prenavlja. Konglomerati obalnih turističnih središč se postopno spreminjajo v linearni megapolis, ki se razprostira od juga Portugalske do juga Turčije. Začasna krajina, ker jo na višku sezone množice turistov preobrazijo v nekakšno vsakogaršnjo zemljo, ko je sezone konec, pa pustijo za sabo največje mesto duhov na svetu, nikogaršnjo zemljo.

Umetnik vzame banalni objekt iz njegovega vsakdanjega konteksta in ga postavi v drugačen kontekst, v katerem dobi objekt drugačen pomen. Jaz pa sem, kot umetnik, ki hodi [walking artist] začel tako, da sem se postavil v ta drugi svet, v to turistično krajino. S konceptualnim načinom dela in tehnikami, ki so jih uporabili že nadrealisti (kot je brezciljno pohajkovanje), sem izkusil, kako se »pomen« večinoma vsakdanjih objektov in struktur, ki oblikujejo turistična področja, pod vplivom okolja in moje lastne psihološke zaznave v tem kontekstu okrepi in transformira.

Dik Bouwhuis

www.lpbar.si

Dik Bouwhuis, Ulcinj, Montenegro, Tourist Landscapes: A walk along the Mediterranean Sea, 2009-2010

Dik Bouwhuis, Herceg Novi, Montenegro, Tourist Landscapes: A walk Along the Mediterranean Sea, 2009-2010

Tourist Landscapes: A Walk Along the Mediterranean Sea

Opening: 3 June at 8 pm

3-28 June 2014

LP bar / ZRC Atrium, Ljubljana

WHERE: Novi trg 2, Ljubljana

With the Bechers as its most exemplary representatives, the last quarter of the 20th century showed us a conceptual photographic practice in which objectivity was understood as reality and truth. Over a course of time, influenced by the ideas of the German philosopher Hans Georg Gadamer (Truth and Method), it became clear to me that there is a discrepancy between this understanding of objectivity and the methodical pursuit of it.

In our general understanding of the terms, objectivity excludes subjectivity and vice versa, but when considering a more profound experience of truth and reality, the one doesn’t seem to exist without the other.

When contemplating a work of art we may become tourists travelling through a zone where the personifications of objectivity and subjectivity are seducing each other by means of colour, form, and space in their longing to come together for a moment and transform into something that surpasses either. In this rare moment of synthesis we may experience a manifestation of truth or unbounded reality. For my current photographic work this zone of seduction, confrontation and transcendence finds its materialisation in the landscape of our holidays because for me, art is there, where you don’t expect it. At the core of my work as an artist is my looking for a perfect balance between objectivity and subjectivity in order to experience a deeper sense of truth.

The Mediterranean tourist landscape can be understood as a collective emotional and mental landscape. It’s a mythical landscape; a landscape full of promise, a landscape of great expectations and deep desires. For me it was also the holiday environment of my childhood. In many ways, it is a landscape of transformation. Since the World War II the Mediterranean coast is under permanent reconstruction. Conglomerations of seaside tourist resorts have been gradually transforming the seascape in a linear mega-polis stretching out from the south of Portugal to the south of Turkey. During high season the tourist masses transform the landscape into a kind of everyman’s land and when the season is over they leave it behind a no man’s land, the largest ghost town on earth.

An artist can take a banal object from its everyday context and place it in another context by which means it may possibly take on a different meaning. As a meandering artist I, on the other hand, started off by placing myself in this other world, this tourist landscape. Supported by a conceptual framework and techniques that were already used by the surrealists (such as the aimless stroll), I experienced how the “meaning” of everyday objects and structures that shapes the tourist zone can be intensified and transformed under the influence of that environment and my own psychological perception in that context.

Dik Bouwhuis

www.lpbar.si