IZLOŽBA: ODSUTNA

IZLOŽBA: ODSUTNA

Lokacija: Galerija umjetnina (Kralja Tomislava 15, 21000 Split)

 
Govoreći o besmislenoj potrošnji vremena i uzaludnom čekanju da nam bolje prilike padnu s neba, pisac Samuel Beckett kreira apstraktni i imaginarni lik Godota, glavnog junaka koji se nikada ne pojavljuje na sceni. Pritom je vrijeme neodređeno, a drama ne završava ništa drugačije negoli je počela. Na tragu Becketta nastaje recentna instalacija Nine Kamenjarin.
 
Segmenti multimedijalne, ambijentalne instalacije Odsutna, simboliziraju korake u procesu stvaranja umjetničkog djela. Posuda s glinom predstavlja pripremu koja prethodi umjetničkoj produkciji. Bacanje glinenih objekata o zid označava samu umjetničku produkciju. Mokri, zemljani objekti na zidu produkt su stvaranja, dok su otisci i odlomljeni dijelovi gline na papiru, postavljenom na podu ispod zida na koji se prethodno bacala glina, svojevrsna dokumentacija postupka. Izbačaj, zabilježen na video uratku, popraćen je tek natruhama autoričine prisutnosti: popratnim uzdahom i pojavljivanjem ruke koja svjedoči dislociranju autorice u pozadinu. Neprestano cirkuliranje snimke procesa stvaranja vodi besmislu Beckettova razmjera, naglašenom posebice činjenicom da sušenjem gline „slika“ nestaje. Proizvodnja time postaje uzaludna. Zvučni segment rada čini tup i prodoran zvuk sudara vlažne gline i zida. Čitava produkcija je brza i suzdržana, a zaokružuje ju simboličko vraćanje gline "zemlji", odakle je i uzeta.
 
Više informacija o izložbi dostupno je na http://galum.hr/izlozbe/izlozba/1718/.
 
 
 
 
Location: Museum of Fine Arts (Kralja Tomislava 15, 21000 Split)
 
Speaking of a pointless waste of time and the futility of waiting for better opportunities to just fall from the sky, writer Samuel Beckett creates an abstract and imaginary character of Godot, the main protagonist who never appears on stage. Consequently, time is indeterminate and the drama ends no different than it began. Nina Kamenjarin’s recent installation is created along similar lines as Beckett’s play.
 
Segments of the multimedia, ambient installation Absent, symbolize steps in the process of creating a work of art. The vessel of clay represents preparation that precedes artistic production. Throwing clay objects against the wall signifies artistic production itself. Wet, earthen objects on the wall are the product of creation, while imprints and broken pieces of clay on paper, placed on the floor under the wall against which clay has previously been thrown, are a kind of documentation of the process. The ejection, recorded on video, is accompanied only by hints of the artist’s presence: a collateral sigh and the appearance of a hand that witnesses the artist’s dislocation to the background. The continuous loop recording of the process of creation leads to an absurdity of Beckett’s proportions, particularly highlighted by the fact that the “image” disappears with the drying of clay. Production thus becomes futile. The audio segment of the work creates a dull and penetrating sound of damp clay smashing against the wall. The whole production is quick and restrained, and is completed with the symbolic return of clay to the “earth”, from where it was taken.
 
More information about the exhibition is available at http://galum.hr/en/exhibitions/exibition/1718/.
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