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Patricija Stepanović Patricija Stepanović

 
 
 
Patricija Stepanović, Interzone, 2013

Patricija Stepanović, Interzone, 2013

Interzone

Otvoritev: 10. junij ob 20. uri

10. 6.–27. 6. 2014

Galerija Alkatraz, Ljubljana

KJE: Masarykova 24, Ljubljana

Fotografije Patricije Stepanović, ki vsakdan prikazujejo kot širen in neprijazen prostor klavstrofobičnega brezčasja, kažejo na željo po hkratni eksistenci v dveh različnih svetovih in neizogibnem zdrsu v vmesno polje, kjer se družbeno sprejemljivi zakoni vsakdanjega logičnega sklepanja umaknejo v drugo perspektivo. Nasprotno pa napake nosijo ustvarjalni naboj in so bolj oznaka individualne aktivnosti, kot zgolj hiba v sistemu.

Patricija Stepanović komaj drugič razstavlja v Sloveniji, saj je po srednji šoli odšla v London, kjer je lani dokončala študij umetniške fotografije na London Metropolitan University. Trenutno živi in ustvarja v Göteborgu, na Švedskem. Osnovni vir njenega navdiha prihaja iz nadrealizma 20. in 30. let in njegovega zanimanja za umetniške postopke dekonstrukcije razumevanja zakoreninjenih pojmov, kot sta lepota in estetika, iskanja nenavadnih povezav, odkrivanja tujih kultur in načinov izražanja.

V njenem umetniškem ustvarjanju je preizpraševanje lepote središčna kategorija, ki jo uporablja za raziskovanje sveta. Na njenih črno-belih fotografijah se nahajajo prizori iz narave, ki niso nič nenavadnega za srednjeevropsko prehodno klimatsko območje. A to ni udomačena narava, ki prinaša počitek ali olajšanje. Njena podoba včasih vzvalovi na odsevu vode, vedno pa nas pospremi v vmesni čas in prostor, kjer so obrisi znani, domišljijska vsebina pa se umika in vceplja občutek tujosti. Fotografije Patricije Stepanović vsakdan prikazujejo kot širen in neprijazen prostor brezčasja, ki je, paradoksalno, klavstrofobičen. Edina oseba, ki je prisotna na fotografijah, je gola ženska, ki ne išče stika z gledalcem in je pravzaprav le še en element odtujene narave.

Avtorica na fotografijah večkrat razčleni telo in mu s tem odvzema kontekste, ki mu jih nalaga kultura, da se lahko osredotoči le na estetski učinek. Ta postopek fetišizacije, kot jo razume avtorica, je orodje, ki na način podoben mikroskopiranju, omogoča prepoznavanje subjektivne lepote, ki bo rešila svet (F. Dostojevski). S tem ko telesa vplete v pokrajino kot njen neločljivi del, se njeno iskanje razširi na lepoto podobe. Poetika lepote, kot jo prikazuje, pa se skriva v srhljivem in nedostopnem. Estetika umetnice ima eksistencialen prizvok: iskanje smisla v soočenju s tujim svetom vodi v smer iracionalnega in mističnega, s smisli, ki nastajajo le iz subjektivnih vzgibov in so namenjeni označevanju sebe. Tudi v procesu nastajanja fotografij so napake vrsta avtoričinega podpisa; praske na negativih, manipulacija kemikalij pri razvijanju negativov in druge intervencije so tam namenoma.

Na razstavi so postavljeni tudi foto kolaži avtorice. Združevanje raznorodnih podob oz. objektov v njih še bolj intenzivno kaže na željo po hkratni eksistenci v dveh različnih svetovih, govori o njunem združevanju, iskanju skupnega preseka in neizogibnem zdrsu v vmesno polje, kjer se družbeno sprejemljivi zakoni vsakdanjega logičnega sklepanja umaknejo v neko drugo perspektivo. Nasprotno pa napake nosijo ustvarjalni naboj in so bolj oznaka individualne aktivnosti, kot zgolj hiba v sistemu.

Ana Grobler & Sebastijan Krawczyk

www.galerijalkatraz.org

Interzone

Opening: 10 June at 8 pm

10–27 June 2014

Alkatraz Gallery, Ljubljana

WHERE: Masarykova 24, Ljubljana

The photographs of Patricija Stepanović, showing the everyday life as a vast and unamiable space of claustrophobic timelessness, indicate the longing for a simultaneous existence in two different worlds, and the inevitable slip into the interzone, where the socially acceptable laws of the daily logical conclusion retract to another perspective. On the contrary, however, it is mistakes that bear a creative potential and represent more an indication of individual activity than a mere defect in the system.

This is only the second time that Patricija Stepanović is exhibiting in Slovenia, as she had, after secondary education, left for London where she finished the study of fine art photography at the London Metropolitan University last year. At present she lives and works in Göteborg, Sweden. Her primary source of inspiration stems from the surrealism of the 20’s and 30’s of the 20th century, and their interest for artistic approaches of deconstruction of the understanding of the well-rooted notions like beauty and aesthetics, the search for extraordinary connections, exploration of foreign cultures, and ways of expression.

Questioning the beauty is the focal category that she uses in her exploration of the world. In her b/w photographs we can find scenes from nature; nothing unusual for the Central European climate zone. However, this is no tamed nature that brings us relief and repose. Sometimes its image lulls in the reflection of water, but always it escorts us into the inter time and space, where the contours are familiar, whilst the fantasy content retreats, inculcating the feeling of alienation. The photographs of Patricija Stepanović show the everyday as a vast and unamiable space of timelessness, that is, paradoxically, claustrophobic. The only person present in the photographs is a naked woman who is not seeking contact with the viewer, and actually represents another element of the alienated nature.

The author in her photographs often dismembers the body, thus stripping it of the contexts imposed on it by the culture, in order to be able to focus only on its aesthetic effect. This procedure of fetishization, as understood by the author, is a tool, similarly to a microscope, enabling the recognition of subjective beauty that will change the world (F. Dostojevski). By intertwining the bodies into the landscape as its inseparable part, her quest expands to the beauty of the image. The poetics of beauty as she is showing it, is concealed in the shudder and the unapproachable. The aesthetics of the artist has an existential undertone: the search for the meaning in the confrontation with an unfamiliar world leads into irrational and mystical; with the meaningfullness, created only from subjective impulses, that are purposed for one’s own identification. Also in the process of the making of the photographs it’s the mistakes that represent a kind of author’s signature; scratches on the negatives, manipulation with the chemicals during the development of the negatives, and other interventions, are there quite deliberately.

At the exhibition we also find the author’s photo collages. Compiling of heterogeneous images and objects in them indicates even more intense desire for a simultaneous existence in two different worlds; it speaks about their merging, a search for their common cross-section, and the inevitable slip into the interzone, where the socially acceptable laws of the daily logical conclusion retract to another perspective. On the contrary, however, it is mistakes that bear a creative potential and represent more an indication of individual activity than a mere defect in the system.

Ana Grobler & Sebastijan Krawczyk

www.galerijalkatraz.org