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PETER RAUCH: Objekti in dogodek PETER RAUCH: Objects and the Event

 
 
 

Peter Rauch, Hug Machine, 2010

11. junij – 23. junij 2012

Otvoritev & performans: ponedeljek, 11. junij ob 18. uri

Nova galerija, Delavski dom Trbovlje

V fotografijah Petra Raucha je ‘nekaj’, kar se kot neprijetno darilo priplazi v gledalca, ki je ugodil želji podobe. Ta ‘nekaj’ se lahko razkrije prav zato, ker podobe, ki jih išče in izbira fotograf, predstavljajo znano, neprivlačno ali vsakdanje, hkrati pa niso enostavne. Ničesar drugega ne izjavljajo kot to, kar so. Ta jasnost omogoča, da z natančnim opazovanjem latentnost izginja in daje mesto neprijetni slutnji. Ko jih gledamo, se v nas naseli nelagodje.

– serija Objekti
Produkcija: Aksioma – Zavod za sodobne umetnosti, Ljubljana, 2010-2012
www.aksioma.org

– projekt Dogodek
Produkcija: Federacija, Ljubljana, 2011-2012
www.federacija.net

– predstava:
Melodije Refleksije – likovna predstava z glasbo
režija: Andreja Podrzavnik, oblikovanje: Peter Rauch, glasba: Sašo Kalan
Produkcija: Federacija, Ljubljana, 2012

V središču gledane površine je asfalt razpokan. Odkrušene črne kepe so se zakotalile po svetlem pesku. Taisti rob ceste so že popravljali. Razpoka je nastala na novi cestni zaplati. Levo od nje manjka lep kos travne ruše. Videti je, kot bi trava pogorela. Za razpoko je rumena črta, asfalt, še ena rumena črta, travni rob in gozd z jaso v ozadju. Tu stojita tudi beli obcestni signalni količek in temno siva palica, ki nosi prometni znak. Ljudi ni. Živali ni. Avtomobilov ni. Mirno je, toda ta mir ni prijeten.

Fotograf je izbral in ohranil podobo. Večkrat se je odločil zanjo. Izbral je prizor, negativ in še fotografijo za cikel ter za razstavo. Ve fotograf več od nas?

Fotografija ne prizna ne kje ne zakaj je nastala. Podoba razpoke v asfaltu ne pove, zakaj je tu, govori zgolj, kaj je: »Sem podoba razpoke v asfaltu. Odtisnila sem se od realnega predmeta in zdaj sem podoba na papirju. Ne vem, zakaj sem tu, toda želim, da me opazujete. Hočem biti gledana. Hočem pokazati, da sem.«

Ne le v Razpoki, v vseh fotografijah Petra Raucha je ‘nekaj’, kar se kot neprijetno darilo priplazi v gledalca, ki je ugodil želji podobe. Ta ‘nekaj’, se lahko razkrije prav zato, ker podobe, ki jih išče in izbira fotograf, predstavljajo znano, neprivlačno ali vsakdanje, hkrati pa niso enostavne. Ničesar drugega ne izjavljajo kot to, kar so. Ta jasnost omogoča, da z natančnim opazovanjem latentnost izginja in daje mesto neprijetni slutnji. Ko jih gledamo, se v nas naseli nelagodje.

Fotograf je pripravil dogodek, na katerem sta se igrala fotografija in performans – performans fotografske produkcije. En medij se je na zanimiv način prelil v drugega in spet nazaj. Dogodek o prenosih med izraznimi načini se je v Objektih in dogodku preobrazil v podobe podob o tem, kakšen je bil dogodek. Tisto, kar je fotografu ostalo po dogodku, je postalo material za postavitev, ki jo gledate v njeni novi inkarnaciji – v fotografiji. Doživetje ne obstaja več, podobe pa so bile tolikokrat remediirane, da je njihov označenec za gledalca vprašljiv. Občutje nestabilnosti gledanega povzroči nelagodje, značilno za Rauchove fotografije.

Nelagodje je seveda tudi del ‘problematične družbene realnosti onkraj vrat razstavišča’, vendar se tam z njim ne moremo soočiti, saj se vsak dan borimo z mlini na veter realnosti. Očiščenost izbire objekta v fotografiji olajša usmeritev na primarno skušnjo nelagodja, ki je v tem zgodovinskem trenutku vsebolj prisotna. Tisto, kar ponujajo Objekti in dogodek, je usmerjanje pozornosti s pomočjo čutenja in razmišljanja – verjetno edina resnično družbeno koristna funkcija, ki jo lahko ponudi umetnost.

(Petja Grafenauer)

www.dd-trbovlje.si

www.snabyrow.com

Peter Rauch, Hug Machine, 2010

11 June – 23 June 2012

Opening & performance: Monday, 11 June at 6 pm

Nova galerija, Delavski dom Trbovlje

Peter Rauch’s photography contains “something” that – as an unpleasant gift of sorts – creeps into the viewer who complies with the wish of the image. This “something” can be revealed precisely because the images, searched for and selected by the photographer, represent the familiar, the unattractive or the banal, while at the same time they are not undemanding. They state nothing but what they are. This clarity makes it possible for latency to gradually disappear and give way to an unpleasant sense of foreboding during observation. While looking at these images, we are gradually inhabited by unease.

– Objects series
Producer: Aksioma – Zavod za sodobne umetnosti, Ljubljana, 2010-2012
www.aksioma.org

– Event producer
Producer: Federacija, Ljubljana, 2011-2012
www.federacija.net

– Performance:
Melodije Refleksije – visual performance with music
directed: Andreja Podrzavnik, design: Peter Rauch, music: Sašo Kalan
Producer: Federacija, Ljubljana, 2012

In the centre of the observed surface, the asphalt is cracked. Lumpy black scraps have rolled into the light-coloured sand. The same roadside has been patched before. The crack has appeared in the new patch. To the left of it, a piece of turf is missing. It looks as if the grass has burned. Behind the crack, there are a yellow line, asphalt, another yellow line, a bit of turf and a forest with a clearing in the background. There are also a white roadside marker and a dark grey stick supporting a traffic sign. There are no people. No animals. No cars. It is quiet, but this stillness is not pleasant.

The photographer has selected and preserved this image. He chose it several times. He chose the scene, the negative and the photograph to use in a cycle and an exhibition. Does the photographer know more than we do?

The photograph does not acknowledge where it has been taken, or why. The image of the crack in the asphalt does not say why it is here; it merely tells what it is: “I am an image of a crack in the asphalt. I am an imprint of a real object and now I am an image on paper. I do not know why I am here, but I do want you to observe me. I want to be looked at. I want to show that I am.”

Not only The Crack, but all photographs by Peter Rauch contain “something” that – as an unpleasant gift of sorts – creeps into the viewer who complies with the wish of the image. This “something” can be revealed precisely because the images, searched for and selected by the photographer, represent the familiar, the unattractive or the banal, while at the same time they are not undemanding. They state nothing but what they are. This clarity makes it possible for latency to gradually disappear and give way to an unpleasant sense of foreboding during observation. While looking at these images, we are gradually inhabited by unease.

The photographer prepared an event in which photography and performance were brought into play – a performance of photographic production. One medium moved into the other and out of it again in an interesting way. In Objects and the Event, the event about transfers between means of expression has been transformed into the images of images that depicted the event. What the photographer was left with after the event became the material for the staging you are observing in its new incarnation – in photography. The experience no longer exists, whereas the images have been re-mediated so many times that their signified has become dubious for the viewer. The sense of instability that pervades the viewed produces the unease that distinguishes Rauch’s photography.

The unease is, of course, also part of the “problematic social reality that extends beyond the exhibition space”; however, we cannot confront it there, for we are fighting the windmills of reality on a daily basis. The purity of the choice of object in photography makes it easier for us to focus on the primary experience of unease, which is becoming more and more present in this historical moment. Objects and the Event offer guidance to our attention by means of feeling and thinking – which is probably the only truly socially beneficial function that art can offer.

(Petja Grafenauer)

www.dd-trbovlje.si

www.snabyrow.com