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MUTACIJE II: Zamrznjene gibljive slikeMUTATIONS II: Moving Stills

 
 
 

[lang_si]

Christiph Brech

8. junij – 27. julij 2012

Otvoritev & diskusija: petek, 8. junij ob 19. uri

Photon – Center za sodobno fotografijo Ljubljana

Peter Aerschmann / Christoph Brech / Elina Brotherus / Ori Gersht / Tuomo Rainio / Jutta Strohmaier

Projekt Mutacije II preizprašuje pricipe rabe videa s preučevanjem produktivnih odnosov, ki so se razvili med zamrznjenimi in gibljivimi slikami in ki dajo slutiti, kje je danes mesto sodobne umetnosti v Evropi.

V okviru Evropskega meseca fotografije, ki je prvič potekal leta 2004, se je bilo povsem legitimno in potrebno soočiti z globokimi spremembami, ki so se napovedovale, še posebej s tistimi, ki so se dogajale na področju sodobnega ustvarjanja podob. To je spodbudilo nastanek razstave z naslovom Mutacije I (2006), dogodka, ki je bil posvečen tehnološkim in umetniškim spremembam na polju fotografije.

Druga izdaja omenjenega dogodka, Mutacije II, poskuša storiti enako, tokrat na temo videa, in sicer s preučevanjem produktivnih odnosov, ki so se razvili med fiksnimi in gibljivimi slikami in ki dajo slutiti, kje je danes mesto sodobne umetnosti v Evropi. V času »post-medija«, v katerem sta na vsa komunikacijska sredstva in umetniške medije korenito vplivali globalizacija in digitalna konvergenca, stopamo v »obdobje, ki ga zaznamuje izkoriščanje hibridne tehnologije, v kateri umetniki na različne načine povezujejo video z vrsto drugih materialov« (M. Rush, Video Art, 2007) – t. j. fotografijo, zvočno umetnostjo, digitalnim videom, filmom, DVD-jem, računalniško umetnostjo, CD-Romom, grafiko in animacijo. Zato vsaka oblika umetnosti vse bolj pada »v okvir lastnih materialnih omejitev /…/, kar jo potiska naprej, tako da pokriva celotni spekter skupnosti, ki jo tvori skupaj z drugimi oblikami umetnosti« (L. Bellour, L’entre-images 2, 1999). Z opustitvijo statusa medija, ki zamrzne posneto resničnost, in z izposojo ene od osnovnih lastnosti video umetnosti – t. j. časovne dimenzije – postaja fotografija z najrazličnejšimi umetniškimi manipulacijami in tehničnimi hibridizacijami, tako analognimi kot digitalnimi, emancipirana.

Zato so se ustvarjalci razstave Mutacije II odločili predstaviti evropske umetnike, ki jih posebej privlači eksperimentiranje z novimi izraznimi oblikami. Tako kot Nancy Spector v svojem eseju Art Photography after Photography [Umetnost fotografije po fotografiji] so učinkovito preizprašali posebne kriterije, ki so nekoč omogočali začrtanje ločevanja med fotografom in umetnikom, ki dela s fotografijo. Vse več fotografov uporablja video, to pa spreminja posebne kriterije, ki opredeljujejo obe področji. Poleg raznolikih estetskih izhodišč in vizualnih tehnik, ki jih uporabljajo, nas umetniki, predstavljeni na razstavi Mutacije II, spodbujajo, da prestopimo teritorialne omejitve in akademske opredelitve, ki praviloma zamejujejo umetniška področja, in da raziščemo meje, ki jih ločujejo. Z drugimi besedami, razstava Mutacije II nas vabi k odkrivanju novih teritorijev in preučevanju tako fiksnih kot gibljivih slik skozi napetosti, ki jih motivirajo. Te vključujejo tudi ontološko napetost, ki izvira iz hibridizacije tradicionalne fotografske in gibljive podobe, in dialektično napetost med omejenimi možnostmi prikaza, ki so na voljo fotografijam, ter «neskončnimi percepcijskimi kombinacijami, v okviru katerih je mogoče opredeliti in artikulirati elektronske podobe» (Les nuouvelle images, 2001), še posebej video instalacije.

Po Gillesu Deleuzeu in Felixu Guattariju »ne obstaja teritorij brez vektorja, ki vznemiri ta teritorij /…/, brez poskusa, da bi poiskal svoj teritorij nekje drugje« (G. Deleuze, L’abécédaire de Gilles Deleuze, 2004). Če omejimo to filozofsko vprašanje na polje umetnosti, bi lahko dejali, da je specifična dinamika vsakega umetniškega trenda centrifugalna sila, ki teži k odmiku polja od obstoječih konvencij in norm, nekakšen «izhodni vektor», katerega obstoj temelji na tem, kako nov je njegov pogled na svet. Kar je tem evropskim umetnikom skupno, je način, na katerega izpostavljajo fotografijo in/ali video različnim oblikam popačenja. Na ta način odkrivajo linije perspektive, ki nastajajo na mejah dveh teritorijev, vzpostavljajo nov režim podobe in percepcije; poleg tega potisnejo fotografski in videografski idiom do njunih meja in prav te meje so tisto, kar ustvarja potrebne pogoje za pojav izvirnosti in »sloga«, kot ga opredeli Deleuze. Ti novi eksperimenti v potiskanju fotografije in videa prek roba običajno pripisanih mej nam ponujajo edinstveno priložnost za svež pogled na svet in nas spodbujajo, da na novo zastavimo vsakdanja življenja in jih vidimo, z besedami Merleau-Pontyja, »na način umetniškega dela«.

(Jean-Luc Soret)

www.photon.si

[lang_en]

Christiph Brech

8 June – 27 June 2012

Opening & discussion: Friday, 8 June at 7 pm

Photon – Centre for Contemporary Photography Ljubljana

Peter Aerschmann / Christoph Brech / Elina Brotherus / Ori Gersht / Tuomo Rainio / Jutta Strohmaier

Mutations II aims to question the principles of video by exploring the productive relationships that have developed between fixed and moving images and providing a sense of where contemporary art stands in Europe today.

In the context of the European Month of Photography first held in 2004 it was both legitimate and necessary to look collectively at the profound changes afoot in the world, and in particular those taking place in the field of contemporary images. This was the motivation behind the 2006 exhibition entitled Mutations I, an event focusing on technological and artistic change in the area of photography.

The second edition of the event, Mutations II, aims to pursue this line of thought on the subject of video, this time exploring the productive relationships that have developed between fixed and moving images and providing a sense of where contemporary art stands in Europe today. In a context where all means of communication and artistic media are affected by globalization and digital convergence, the era of “post-medium” we are entering is “a period characterized by the exploration of hybrid technology, in which artists combine and recombine video with a wide variety of other materials” (M. Rush, Video Art, 2007) – i.e. photography, sound art, digital video, film, DVD, computer art, CD-Rom, graphics and animation. Each art form thus increasingly falls “within the bounds of its own material limits /…/ pushing them further, to cover the entire spectrum of the community it forms along with other art forms” (L. Bellour, L’entre-images 2, 1999). By abandoning its status as a medium for freezing recorded reality and by borrowing one of its essential features, namely the temporal dimension, from video art, photography is becoming emancipated via all kinds of artistic manipulations and technical hybridizations, both analogue and digital.

The people behind Mutations II have thus chosen to showcase European artists who have in common a taste for experimenting with new forms of expression. Like Nancy Spector in her essay Art Photography after Photography, they have effectively questioned the specific criteria that used to make it possible to draw a distinction between a photographer and an artist working with photography. A growing number of photographers are using video, and this is changing the specific criteria that define both crafts. Apart from the diversity of their aesthetic standpoints and of the visual techniques they use, the artists presented in Mutations II encourage us to step beyond the territorial considerations and academic definitions which tend to ring-fence artistic fields, and to explore the boundaries that separate them. In other words Mutations II invites us to discover new territory, investigating both fixed and moving images via the tensions that motivate them. These include an ontological tension between that which is momentary and that which takes place over time, an aesthetic tension arising from the hybridization of the traditional photographic image and the moving image, and a dialectical tension between the limited display possibilities open to photographs and “the infinity of perceptional combinations within which electronic images can be defined and articulated” (Les nuouvelle images, 2001), particularly video installation.

According to Gilles Deleuze and Felix Guattari, “there can be no territory without a vector for exiting that territory /…/, without an effort to reterritorialize oneself elsewhere” (G. Deleuze, L’abécédaire de Gilles Deleuze, 2004). If we restrict this philosophical question to the field of art, we might suggest that the specific dynamic of any artistic trend is a centrifugal force that tends to move it away from current conventions and norms, an “exit vector” whose very existence is predicated upon how new its worldview is. What these European artists have in common is the way they submit photography and/or video to various forms of distortion. In this way they explore the lines of perspective that form at the boundaries of the two territories, setting up a new regime of image and perception; by the same token they push the photographic and videographic idiom to its limits, and it is these very limits that constitute the necessary condition for the emergence of originality and of “style” as defined by Deleuze. These new experiments in pushing photography and video over the edge of their habitually assigned boundaries give us a unique opportunity to take a fresh look at the world and encourage us to re-invent our daily lives, seeing them “according to the artwork” to quote Merleau-Ponty.

(Jean-Luc Soret)

www.photon.si