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Reenactmedia

Otvoritev: 30. maj ob 18. uri

30. 5.–20. 7. 2014

Photon – Center za sodobno fotografijo, Ljubljana

KJE: Trg prekomorskih brigad 1, Ljubljana

Avstrijski umetniški kolektiv G.R.A.M. so leta 1987 ustanovili Günther Holler-Schuster, Ronald Walter, Armin Ranner in Martin Behr. »Band« zadnjih deset let ustvarja kot duo (Holler-Schuster & Behr) in dela na različnih poljih umetniškega ustvarjanja: fotografija, film, video, performans in slikarstvo.

Njihova najbolj znana opusa sta Paparazzi in Reenactments, ki se ukvarjata s popularnimi ali zelo znanimi vrstami podob, ne glede na njihov izvor (popularna kultura, množični mediji). Podobe so manipulirane, uprizorjene, navajane ali »semplane«.

V seriji Reenactments, ki sta se je Günther Holler-Schuster in Martin Behr lotila leto po Paparazzih, znova naredita – kot napoveduje sam naslov – že obstoječe slike. Vendar pa v tej seriji opazimo določen razvoj. Njen prvi del, Innocent Anarchists (1998-1999), sestavljen iz prizorov iz filmov Stana in Olia, ki kaže glavne junake v bolj ali manj nerodnih situacijah, daje ton celemu projektu: malo klovnovski, malo pretiran, malo prismuknjen, vendar nikoli preveč. V Inspired by… (2001) se zdi, da umetnika iščeta primerne teme, ki bi se jih lotila. Po eni strani najdemo v seriji ikonske fotografije iz polja umetnosti, ki so krožile daleč izven njegovih meja, po drugi pa podobe, ki poosebljajo nekatere trenutke pomembnih zgodovinskih dogodkov.

Tu lahko tudi že dojamemo njuno specifično strategijo ustvarjanja podob, ki jo – po mojem mnenju – bolje opišemo z glagolom »redo« [narediti znova] kot pa »reenact« [ponovno uprizoriti]. Rekel bi, da podobe nimajo ničesar opraviti z igranjem ali uprizarjanjem, temveč so čiste (profane) konstelacije gest. To zahteva kratko razlago. V vseh fotografijah opusa Reenactment najdemo umetnika, druge »pozicije« zasedajo ljudje, izbrani posebej za to priložnost, nikoli profesionalni igralci, opaziti ni niti najmanjšega poskusa vživljanja v »vlogo«, kar je najbolj očitno na obrazih, ki niso nikoli povsem »sinhronizirani« s tistim, kar se dogaja na sliki, kar napeljuje na misel, da zavestno sodelujejo v nekakšni igri. Videti je, kot bi se znašli v tem ali onem položaju, vendar jim je pomen tega položaja povsem tuj. Zato bi si upal trditi, da fotografija, video ali performans za G.R.A.M. niso medij izbire, temveč je to gesta.

Krzysztof Pijarski

www.photon.si

Reenactmedia

Opening: 30 May at 6 pm

30 May – 20 July 2014

Photon – Centre for Contemporary Photography, Ljubljana

WHERE: Trg prekomorskih brigad 1, Ljubljana

The Austrian artists collective G.R.A.M. was founded in 1987 by Günther Holler-Schuster, Ronald Walter, Armin Ranner and Martin Behr. The ‘band’ has been working for the past 10 years as a duo (Holler-Schuster & Behr) in various fields of artmaking: photography, film, video, performance and painting.

Among their best known body of work are Paparazzi and Reenactments which are mostly focused on famous or very popular type of images, no matter where these images come from (e.g. popular culture, mass media etc). Images from these fields are being manipulated, enacted, quoted or sampled.

In Reenactments – started one year after Paparazzi took shape –Günther Holler-Schuster and Martin Behr redo, as the title suggests, already existing pictures. In this series however, one cannot help but notice a certain development. Its first installment, Innocent Anarchists (1998-1999), consisting of scenes from Laurel & Hardy films that show the protagonists in more or less embarrassing situations, sets the tone of the whole project: a little clownish, a little over-done, a little goofy, but never too much. Then, in Inspired by… (2001), the artists seem to be looking for an adequate topic to take on. On the one hand we’ll find there iconic photographs from the sphere of art that circulated well beyond it while on the other, images showing particular moments from significant events of global and historical importance that have come to embody them.

Here one can already understand their specific strategy of image-making that – in my view – is better described by the verb “redo” than “reenact”. In support of this claim I would say that those images have nothing to do with acting or staging; rather, they are pure (or profane) constellations of gestures. This will take some explaining. In all of the Reenactment pictures we find the artists themselves, the other possible “positions” in the image taken up by people cast especially for this occasion, never professional actors; there is not the slightest attempt to project oneself empathically into the “role,” something that is most pronounced in the expressions of those who are always slightly out of sync with what is happening in the picture, suggesting that they are knowingly taking part in come kind of play. It is as if they found themselves assuming this or that position whose sense and meaning is foreign to them. For this reason I am inclined to claim that it is not photography, or video, or performance that is the medium of choice for G.R.A.M., but gesture.

Krzysztof Pijarski

www.photon.si