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

Kamči Kamči

 
 
 
Aleš Senožetnik, Familiar Strangers, 2000

Aleš Senožetnik, Familiar Strangers, 2000

Jana Nakrst Dragaš, Blaž Janežič, Katja Jeras, Dušan Letnar, Simon Podgoršek, Aleš Senožetnik

Otvoritev: 8. 6. ob 20.00

Mali grad, Kamnik / Fotoklub Kamnik

 

Predstavljajmo si prijetno družinsko kosilo. Vse je krasno domačno, če odmislimo tisto malenkost ali dve, ki dogodek vedno nekako začinita. Tista zadrega, ki se pojavi v domačnem vzdušju in ga subvertira, obrne na glavo in ne dopusti, da bi bil on sam v polni meri. Tisto, kar onemogoča polno mero domačega v samem domu, natanko to je Kamči v Kamniku. Drugi kraj domačega kraja — njegovo prizorišče.

Razstavljena dela petih fotografov prikazujejo spopad s tem nestvorom, s spako, ki sitnari pri njih doma. Aleš Senožetnik ga na primer najde na fotografijah družinskega albuma kot tujca, ki je nehote vkorakal v kader, ki se malomarno sonči v ozadju srečne družine na dopustu ali ministranta, ki z rdečimi očmi spremlja enega od nujnih zakramentov. Simon Podgoršek se naseli v domače kraje drugih kot njihova težava, kot tisti, ki osvetli to, kar je že ves čas prisotno ali nastopi kot ta, ki ga že ves čas pričakujejo, kot dobrodošli nezaželeni gost. Jana Nakrst Dragaš tesnobo domačega kraja najde na popularni poti do Samotnega mlina. V minimalni spremembi, posegu v podobo, prizor v gozdu ni več ta, temveč drugi, ne povsem, a malenkost tuj. Blaž Janežič se s spako ponovno, kot v prvem delu, sooči v domači delavnici v procesu ustvarjalnega dela. Kje je stvar, ki jo je treba zagrabiti za roge? S premetavanjem tehnik ve, da nestvor nikoli ne leži v vsebini ustvarjalnega dela, temveč v njegovi formi, v tehniki, v bolščanju tiste materialnosti, ki ji je vsakršna vsebina ali celo sposobnost pomena odtekla in je ostal le še prazen glas, hreščanje glasilk, mešanje barve in prekrivanje brezpomenskih plasti vizualnih ostankov. Na podoben način mu je na sledi Katja Jeras. S preizkušanjem elementarnih fotografskih trikov ga prelisiči in se mu prikrade od zadaj tako blizu, da ugotovi, da je pred njo njen lastni hrbet. Dušan Letnar nestvor lucidno umesti v figure tistih, ki tako ali drugače poganjajo mesto, skrbijo zanj in ga razvijajo, a ga s tem hkrati uničujejo. Brez mestne politike in ekonomije zadeva ne bi imela ne moči ne obsega, obenem pa natanko zaradi politično-ekonomskega načina delovanja kraj propada.

Projekt Kamči je projekt izganjalcev hudiča, tiste skrajno tuje pošasti, ki se naseli v naš dom in se je človek nikakor ne more otresti, dokler ne prikliče izganjalcev, ki opravijo umazano delo. Potem je dom spet dom? Ne, potem se nočna mora šele začne. Dom propade, domačnost postane neznosna. Kaj je torej vrednost tega nestvora? Je tista stvar, ki se v domačemu kraju kaže kot njegova trenutna zadrega, kot tisto, kar še odpravimo in bo vse ponovno tako, kot je bilo. Natanko v tej obstrukciji je vrednost te prikazni — nikjer drugje ni tako doma kot pri nas, v domačnosti doma. Še več, nestvor je natanko obraz te domačnosti, tisti, ki ga načeloma uspemo pomesti pod tepih, a vedno nekako preseneti s svojo pojavitvijo tam, kjer ga nismo pričakovali. Nestvor je domačnost v najbolj originalni izvedbi in ravno to je njegova najbolj sitna in nadležna značilnost. Kamči kot nestvor je tisti privesek, ki bi mirno dobil naziv najstarejšega prebivalca Kamnika, če ga ne bi vsi tako radi nekako odpravili kot špilferderberja. To je tisto Unheimliche, ki se ne postavi v Heim temveč tam vseskozi že je, kot njegovo jedro, kot njegovo mesto, kot prizorišče.

(Peter Rauch)

Razstava je na ogled do 8. 7. 2016.

Odpiralni čas:
Dostopno zgolj v času vodenih ogledov

Naslov: Mali grad, Kamnik

Opening: 8 June at 8pm

Small Castle, Kamnik / Kamnik Photoclub

 

Imagine a nice family lunch. Everything is nice and homey, save for a thing or two, which is always there to spice up the occasion: That awkward moment that disturbs the homely atmosphere, subverting it, turning it upside down, preventing it from existing on its own. What makes the full measure of homely impossible in one’s home itself? That is is what Kamči is in Kamnik: The second location of one’s home–its setting.

The exhibited works, by five photographers, depict the conflict with this beast–the freak bothering them in their own home–and the setting where the conflict takes place. Aleš Senožetnik finds this freakish aspect in photographs from the family album where it is like a stranger, walking into shot by accident, or nonchalantly sunbathing in the background of a photograph of a happy family on vacation. Simon Podgoršek invades the homes of others, as their bother, as the one turning the spotlight onto what has always been there, or arriving as a welcome intruder. Jana Nakrst Dragaš finds the unease of home on a familiar road to Samotni mlin. Blaž Janežič faces the freak during the creative process, in his home workshop. Katja Jeras stalks it in a similar way, hoodwinking it by testing some basic photography tricks, sneaking up on it close, only to discover that what is in front of her is, in fact, her own back. Dušan Letnar astutely integrates the beast into the figures of those who propel the town forward, watch over it, and develop it, thus simultaneously destroying it.

In this process the artists become exorcists. When one’s home is invaded by a strange monster, one cannot seem to shake it off. Exorcists are called in to do the dirty job. Is this when home becomes home again? No, this is when the real nightmare begins. Home is destroyed, and homeliness becomes unbearable. What value is there, then, in this beast? The beast is what manifests itself at home as momentary awkwardness, as the thing one just has to do away with, and everything will be fine again. The value of the apparition lies in this obstruction–nowhere feels at home as much as home does, in the homeliness of one’s home. What is more, the beast is the face of this homeliness, and that is what we generally manage to sweep under the carpet, yet somehow, invariably it surprises us where and when we least expect it. The beast is homeliness at its most original, and this is what makes it particularly irritating and annoying. Kamči, as the beast, is the tagalong that could easily be Kamnik’s oldest inhabitant, where it not for the people so readily dismissing it as a spoilsport. The Unheimliche does not position itself in the Heim because it has always been there, as its core, its place, its setting.

(Peter Rauch)

The exhibition is open until 8 July 2016.

Gallery hours:
Accessible only during guided tours

Address: Mali grad, Kamnik