Tekst o razstavi / About the exhibition
Razstava / Exhibition
Umetniki / Artists
Kustosi / Curators
Sponzorji / Sponsors
Press

Razstava Fade In Fade Out je zasnovana na različnih vidikih, tako umetniškega ustvarjanja kot kuratorske pozicije. Razstavljena umetniška dela razkrivajo vzorce delovanja med posameznikom in širšim družbenim kontekstom, v katerem se nahaja. Umetniki, znani na slovenskem in hrvaškem umetnostnem prizorišču kot tudi v mednarodnem razstavnem kontekstu, nastopajo kot glavni akterji prikazanih del. Pri tem ne gre za avtoportrete, temveč za preizspraševanje umetnikove pozicije. Umetnik sam je protagonist ali pa pripovedovalec zgodb, ki temeljijo na osebnih izkustvih.

Vadim Fiškin je v projektu Home TV Installation, izvedenem leta 1996 v Gradcu, nastopal kot televizijski voditelj. Gledalcem je dajal napotke, kako narediti domačo TV instalacijo, sestavljeno iz vsakdanjih predmetov. Gledalci so bili pozvani, naj svoje izdelke fotografirajo in jih pošljejo na naslov razstavišča, kjer je bil projekt razstavljen. Da bi gledalce vzpodbudil, jim je avtor ponudil nagradno igro, izžrebani gledalec je prejel nagrado. Home TV Installation kaže na banalizacijo jezika sodobne umetnosti in na ideološko moč medijev, v tem primeru televizije. Poleg tega se avtor poigrava s pomenom umetniškega dela in iskanjem mesta umetnika/subjekta v širšem, spreminjajočem se simbolnem redu, ki je sestavni del družbe, pa tudi z nezaupanjem do dominantnih avtoritet.

V videu Alena Floričića, Brez naslova (2001), se nam v nočnem prizoru skozi okno odpira pogled v razsvetljeno dnevno sobo. Gre za pogled navzdol, ki deluje vojeristično, nekako tako, kot da bi stali pred oknom. V sobi zaznavamo sneženje televizorja in osebo na kavču. Ta oseba je avtor sam. Deluje kot nekakšen hologram, ki izginja in se pojavlja, vendar njegovo pojavljanje ni nikoli dokončno. Floričić v vseh videih uporablja sebe - telo/umetnika/osebo - kot material, iz katerega so video dela ustvarjena. Kot pravi sam, gre za edini mogoč material, ki ga lahko uporablja. Značilna je ostrina, s katero obravnava sebe v vsakdanjih situacijah, ki so prepletene s satirično-sarkastičnimi elementi. Večina video del prikazujejo avtorja, ki opravlja različna nesmiselna dejanja. Ta se ponavljajo v neskončnost in marsikdaj delujejo samodestruktivno. Gre za konfrontacijo zasebnega in javnega in s tem tudi umetnika in dela ter gledalčeve recepcije. Prepletata se zgodbi avtorjevega vsakdana in paradoksalnega stanja, v katerem se je znašel.

Sašo Vrabič je v delu Vogue (2001) vzel za osnovno formo naslovnico revije Vogue ali bolje njeno ime. To je vsesplošno prepoznaven trade- oz. brand mark. Naslovnice se na prvi pogled skorajda ne razlikujejo od originalov. Ključna razlika je v tem, da se na skoraj vseh pojavlja avtorjeva podoba. Na spodnjem delu naslovnice je izpisan spremljevalni tekst. Gre za citate ali zgodbice različnih avtorjev, ki se nanašajo na različne vidike življenja v današnji kulturi. Delo lahko razumemo kot primerjavo kustosa in modnega kreatorja. Oba kreirata okus in estetiko s pozicije moči, vsak s svojega lastnega stališča. Po drugi strani pa se Vrabič postavi na mesto, rezervirano za lepotne ideale družbe in na tem mestu deluje kot nekakšen virus. Gledalca vodi k zavedanju o stereotipu lepotnega ideala, ki nam ga vsiljujejo mediji. Obenem pa je vseskozi prisotno umetnikovo preizspraševanje sebe in lastnega ustvarjanja. Mešanje javnega/medijskega in zasebnega/umetnikovega ter hkrati eskapističnega odnosa posameznika do širšega okolja je v ospredju našega branja tega dela.

Sodelujoči na tečaju za kustose Sveta umetosti 2002/03 v organizaciji SCCA, Zavoda za sodobno umetnost - Ljubljana smo v iskanju koncepta razstave izhajali iz pogledov, ki so skozi proces dela pripeljali do zgoraj navedenih umetniških del. Preizspraševanje pozicije umetnika vidimo skozi preizspraševanje vloge sodobnih kuratorskih praks.

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The Fade In Fade Out exhibition has been conceived on different viewpoints of artistic making as well as the curatorial position. The exhibited works of art reveal the patterns which interweave a relationship between the inner workings of the individual and that of the wider social context in which it finds itself. The artists, well-known in the Slovene and Croatian art scene, as well as in the international exhibiting context, appear in leading roles within the presented works. This happens not by means of a self-portrait, moreover, through a re-examination of the artist's own position. The artist is himself the protagonist, or the storyteller, whose stories are based on personal experiences.

Vadim Fiškin appeared as a TV host offering viewers instructions as to how to produce a home made TV installation from everyday objects in his project Home TV installation, which was carried out in Graz in 1996. Viewers were summoned to photograph their products and send them to the address of the exhibiting venue where the project was presented. In order to encourage the viewers, the author created a competition. The winning entrant who was drawn from the lot received a prize. Home TV installation illustrates the banality of the language of contemporary art and the ideological strength of the media, in this case television. Beside that, the author plays with the notion of the meaning of the work of art and the search for a place for the artist/subject within a wider, ever changing symbolic order, which is a consistent part of society, as well as, the distrust towards dominant authorities.

In Alen Floričić's video (Untitled, 2001) a night scene of a window view opens up before us into a lit up living room. This is a view downwards, which somehow works voyeuristically, seeming as if one were somehow standing in front of the window. In the room a transmission of TV snow and a person lying on the settee can be perceived. The person is the artist himself. It works like some kind of hologram, appearing and disappearing, never disappearing totally. Floričić uses himself in all his video works - the body/artist/person - as the source material from which the videos are made of. What is typical is the sharpness with which he deals with himself in everyday situations, which are intertwined with satiric-sarcastic elements. Most video works present the artist performing different absurd actions. These repeat into infinity and often function self-destructively. It is about a confrontation between the public and the private, and with it also, the artist and the artwork, as well as the perception of the viewer. Interwoven is the author's everyday life and the paradoxical condition in which he has found himself.

Sašo Vrabič has taken the famous Vogue magazine front cover page, or rather its name, for the basic format for his work Vogue (2001). This is a generally recognisable trade, or rather, brand mark. The front cover pages, on first appearance, almost do not differ from their originals. The key difference is the fact that the artist appears on almost all of them. On the lower part of each page there is accompanying text. This is in the shape of quotations or short stories by various authors, referring to different viewpoints on life within today's culture. The work can be understood as a comparison between the curator and the fashion designer. Both create a taste and an aesthetic stemming from the position of power, each from his own viewpoint. On the other hand, Vrabič places himself in the position reserved for the beautiful ideals of society and in this position functions as some kind of virus. He leads the viewer into the realisation of the stereotypes regarding the notion of the beautiful ideal, which is being propagated by the media. At the same time present is the artist's re-examination of himself and his own artmaking. The mixing of the public/media and private/artist's, as well as the escapist relationship of the individual towards his wider environment, is in the forefront in the viewer's reading of this work.

For those of us, who have participated in the World of Art 2002/2003 course organised by the SCCA, Centre for Contemporary Arts - Ljubljana, the search for the concept of this exhibition has taken us to the viewpoint, which has, as a point of departure and through the actual processes of work, brought us to the above mentioned works of art. We see the re-examination of the artist's position through the re-examination of the role of contemporary curatorial practices.

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