Cinemaniac X (10 years) - Contemporary art and Cinema

Publikacija je tiskana prilikom realizacije izložbe CINEMANIAC X 17. 7. – 5. 8. 2011, MMC LUKA, uz obilježavanje deset godina izložbe CINEMANIAC pri Festivalu igranog ilma u Puli. Kustosica izložbe i urednica publikacije: Branka Benčić This book has been published on the occasion of exhibition CINEMANIAC X 17. 7. – 5. 8. 2011, MMC LUKA, marking 10 years of the CINEMANIAC project at the Pula Film Festival. Curated and edited by Branka Benčić Dalibor Martinis: Inside Maltese Falcon, video instalacija /video installation, 2001. DESETLJEĆE CINEMANIACA Mirjana Grahovac - Vojinović Desetljeće Cinemaniaca obilježeno je produkcijskim suradnjama, a odnedavno i umrežavanjima, što je Multimedijalnom centru LUKA predstavljalo izazov i zadovoljstvo. Nastajali smo nekako istodobno pa nas je taj projekt obilježio, vjerujem, na jednaki način kao i kustosicu Branku Benčić. Od samoga se početka Cinemaniac, popratni program Festivala igranog ilma u Puli, odlično uklapao sa samostalnim predstavljanjima značajnih imena hrvatske i međunarodne suvremene umjetnosti; uvijek je donosio u naše galerijske prostore zanimljive umjetničke osobnosti i birao teme koje su ne samo odražavale, već i anticipirale interese srodnih europskih projekata, pa i ilmskih festivala. Da je Cinemaniac ozbiljno postavljen i promišljen projekt pokazuje njegova dugovječnost i otvaranje novih poglavlja, naime, Cinemaniac putuje i predstavlja se drugdje, što je odlika originalnih koncepata. Posebno nas veseli što se ove godine Cinemaniacu pridružilo predstavljanje opusa Renate Poljak, realizirano zajedno s Pučkim otvorenim učilištem Poreč i Galerijom Rigo iz Novigrada te se ta kustoski oblikovana samostalna izložba istovremeno prikazuje na tri različite lokacije. Upravo je to pokazatelj kako kreativni potencijal Cinemaniaca nije potrošen, naprotiv, naziru se novi produkcijski odnosi i postavke, novi načini provedbe koji nam kazuju da ćemo Cinemaniac još dugo sa zanimanjem pratiti. U Puli, srpnja 2011. CINEMANIAC DECADE A decade of Cinemaniac is marked by production co-operations and, more recently, by networking, which has always been a challenge and a pleasure for the Multimedia Center LUKA. We were somehow growing and developing simultaneously, so that this project has deined us just as it has, I believe, deined the curator Branka Benčić. Since the beginning, Cinemaniac has been the sidebar program to the Pula Film Festival. In the irst couple of years it it in perfectly with solo presentations of important names of the Croatian and international contemporary art. It has always given our galleries interesting artist personalities and selected topics that not only relected but also anticipated the interests of similar European projects, as well as ilm festivals. Its longevity and the opening of new chapters in its work prove Cinemaniac to be a serious and well thought-out project. As a matter of fact, Cinemaniac is travelling and being presented elsewhere, which is a quality only interesting concepts have. We are particularly glad that, this year, Cinemaniac comes together with the presentation of Renata Poljak and her work, realized in co-operation with the Open University of Poreč and Rigo Gallery from Novigrad, meaning that this curated solo exhibition is being presented on three locations at the same time. This indicates that Cinemaniac’s creative potential has not yet expired, on the contrary, new production relations and settings are being born, as well as new ways of presentation, which means that we shall be following Cinemaniac with great interest for a long time in the future. Lala Raščić: Sorry Wrong Number, video, 2006. Pula, July 2011 2 3 Rä di Martino: La Camera, 16 mm ilm prebačen na dvd / 16 mm ilm transferred to dvd, 2006. 4 5 Ivan Faktor: John Ford Stagecoach / Poštanska kočija, fotograija / photograph, 1981. Branka Benčić CINEMANIAC X KUSTOSKI RAD SA POKRETNIM SLIKAMA CINEMANIAC X CURATING MOVING IMAGES Mišljenje ilma je putovanje između krajnje udaljenih točaka, tvrdi Jacques Rancière: s jedne strane postoji ono što se događa u stvarnosti projekcije, a s druge pak, sve ono što čini ilm povijesnim, društvenim ili ilozoijskim fenomenom.1 Kao kompleksan i razvijen sustav reprezentacije ilm postavlja pitanja o načinima na koje se, oblikovano dominantnim poretkom, strukturira viđenje i užitak gledanja. Tijekom svoje povijesti razvio je osebujan privid stvarnosti. Poigravajući se napetostima međuodnosa vremenskih i prostornih dimenzija ilmski kodovi i konvencije stvaraju i pogled, i svijet, i predmet, i iluziju, a alternativan i eksperimentalan ilm, ilmski i video radovi umjetnika, propituju, dekonstruiraju i rearanžiraju upravo unutarnje zakonitosti i odnose prema formativnim strukturama medija.2 Oblici pokretnih slika, od igranih do eksperimentalnih ilmova, ilmova i video radova umjetnika, formirani procjepom između mišljenja i čuvstva, ukidaju opreku varljive pojavnosti i substancijalne stvarnosti, a mogu se smatrati poput Thinking ilm is a journey between extremely distant points, says Jacques Ranciere, on one side there are the events in the reality of the projection, on the other is that which makes cinema a historical, social or philosophical phenomenon.1 As a complex and developed system of representation, the ilm poses questions about the ways seeing and the pleasure of looking are structured, shaped by the dominant system. During history, it has developed a special illusion of reality. Playing with the tensions between time and space the ilm codes and conventions create a view, a world, an object, and an illusion, and the alternative and experimental ilm, as well as artist ilm and video works test out and deconstruct the internal laws and relations towards outer formative structures.2 Moving images, from feature to experimental ilms and works of artist ilm and videos, formed by a gap between thought and sense, abolish all opposition between deceitful appearance and substantial reality, and can be considered an Alejandro Cesarco: Marguerite Duras India Song, 2 kanalni video / 2 channel video, 2006. vježba između stvarnosti i privida. Postoji trenutak u kojem se postupci poetična raskoraka preokreću u ontološke postupke umjetnosti pokazujući da je ona jedinstven svijet.3 Pismo kretanja svjetla ikcionalnu materiju svodi na osjetilnu, dok su ilmske slike, prema Deleuzeu, samo stvari, intimni događaji univerzalnog nastajanja, umjetnička radnja koja obnavlja snagu svjetskih događaja. Film kao ideja umjetnosti, zamisao novoga svijeta i dovršenje velikog sna epohe, prethodio je ilmu kao tehničkom sredstvu i zasebnoj umjetnosti. Prema Walteru Benjaminu ilmska slika i tehničke mogućnosti kinematografskog aparata predstavljaju pogled koji se prije nije mogao ni zamisliti. Priča koja govori o ilmu posuđuje se iz pripovijesti koju pričaju ilmski ekrani.4 Program CINEMANIAC deset je godina posvećen sustavnom promišljanju ilma u suvremenim umjetničkim i kustoskim praksama otvarao i otvara prostore presijecanja suvremene umjetnosti i kinematograije, u radu s pokretnim slikama i slikama iz projektora, načinima njihove kontekstualizacije i prezentacije u okvirima galerije i ilmskog festivala. Nastao iz želje za predstavljanjem radova iz svijeta umjetnosti i ilma, na raskrižju umjetničkih medija, CINEMANIAC se od 2002. godine realizira kao popratni program Festivala igranog ilma u Puli. Izložba od svojih početaka predstavlja aktivni istraživački kontekst koji omogućuje prezentiranje umjetničkih djela, mjesto susreta u kojem se integriraju društveni, kulturni, tehnološki, medijski i estetski aspekti, sjecišta na kojima se susreću umjetnost, umjetnici, institucije i publika, stvaraju novi oblici suradnje problematizirajući odnos ilma i vizualnih umjetnosti te prezentira hrvatska i međunarodna produkcija umjetničkog videa, eksperimentalnoga i alternativnog ilma i multimedijalnih instalacija. CINEMANIAC ulazi u prostor galerije koja postaje mjestom prikazivanja pokretnih slika. Promjenom prostora i uvjeta 9 exercise between reality and appearance. There is a moment in which the processes of poetic gap turn to ontological processes of art showing that it is one world.3 In the writing of the movement of light, ictional matter is reduced to sensible matter, while cinematographic images, according to Deleuze, are the things themselves, the intimate events of universal becoming, and they are the operations of an art that restores to the events of the world the power they had been. Film as an idea of art, of a new world and a conclusion of the big dream of an epoch, preceded ilm as a technical means and a separate artform. According to Walter Benjamin, the ilm image and the technical possibilities of the cinematographic apparatus represent a view that could not have been imagined before. The story of ilm is borrowed from the fable told by ilm screens.4 The project in front of us opens up a space for the intersection of contemporaryart and cinematography and has, for the last ten years, been dedicated to a systematic contemplation of ilm in contemporary artistic and curatorial practices, in the work with moving images, projected images and ways of their contextualization and presentation within the gallery and the ilm festival. At a crossroads of artistic media, born from the desire to present works from the worlds of art and ilm, CINEMANIAC has been a sidebar program of the Pula Film Festival since 2002. From its very beginnings, the show has represented an active context that enables the presentation of works of art. It is a meeting place that integrates social, cultural, technological, media, and aesthetic aspects, a meeting point for art, artists, institutions and the audience. It investigates the relationship between ilm and visual arts by presenting recent Croatian and international production, as well as anthological videos, experimental ilms and multimedia installations. Cinemaniac moves into the space of the gallery turning it into a place for the gledanja ističe se mogućnost novoga i drugačijeg pristupa. Slike iz projektora u galerijskom kontekstu ne mijenjaju samo izlagački prostor nego mijenjaju naše iskustvo i doživljaj umjetnosti. Projekcije transformiraju zadani galerijski prostor, angažiraju arhitekturu koju zauzimaju te stvaraju ambijent koji nastaje između optike i iluzije, geometrije i spektakla, umjetnosti i tehnologije, stvarajući kod promatrača osjećaj uronjenosti, namećući mu nove vizualne uvjete u proizvodnji subjektivnosti.5 Ovogodišnja izložba, CINEMANIAC X, zamišljena kao mala dinamična “retrospektiva”, predstavlja posvetu ilmu – odabirom radova koji se formiraju oko ilmskih referenci i citata, ilma kao dijela popularne kulture, te uključuje različite oblike informacija dokumentacijskog karaktera. Središnji interes izložbe usmjeren je na raznolike umjetničke prakse i djela nastalih na iskustvu gledanja ilmova, na “ilmskom načinu mišljenja” te ilmskoj estetici koji su oblikovali drugačiji pogled na svijet. Tematizirajući na razne načine koncept vizualnih medija i pokretnih slika, CINEMANIAC problematizira odnose prema ilmu, pojedinim ilmovima, situacijama, prema žanrovima, ilmskom mediju, ilmskom jeziku i izražajnim sredstvima ilma, tematizira prostorno-vremenske kategorije i odnose prema društvu i popularnoj kulturi, načine gledanja i modele reprezentacije. CINEMANIAC je produkt društva meta-medija, koje reciklira postojeće medijske slike, u kojem pojedino djelo funkcionira kao istraživački laboratorij u kojem se materijal sintetizira, analizira i kritički ispituje. To je “cut&paste” kultura, koja je naslijedila avangardne tehnike montaže i kolaža, te dodala tehnike sempliranja i digitalne manipulacije.6 Francuski kustos i teoretičar Nicholas Bourriaud u knjizi-eseju Postprodukcija – kultura kao scenarij: kako umjetnost reprogramira svijet upravo putem koncepta postupaka postprodukcije koji su prisutni u radovima suvremenih umjetnika poput Douglasa Gordona, Pierrea Huyghea ili Christiana Marclaya ističe značaj korištenja alata kulturne reaproprijacije projection of moving pictures. The change of space and conditions of viewing bring out the possibility of a new and different approach. Projected images in a gallery context change not only the exhibition space but also our experience and perception of art. The projections transform the given gallery space, engage the architecture they occupy and create an ambience that comes into being between optics and illusion, geometry and spectacle, art and technology, creating in the observer a feeling of immersion, enforcing new visual conditions in the production of subjectivity.5 This year’s exhibition, CINEMANIAC X, is planned as a small, dynamic “retrospective” representing a dedication to cinema – through a selection of works shaped around cinema references and quotations, cinema as part of the popular culture, besides artworks, including various forms of information and documentation. The central point of interest of the exhibition are the various artistic practices and works created from the experience of viewing ilms, a “cinematographic way of thinking”, and the ilm aesthetics that have shaped a different view of the world. Through the various topics concerning the concept of visual media and moving images, CINEMANIAC relects on the relations o cinema, particular ilms, situations, genres, ilm media, ilm language and the means of expression of cinema. It refers to the spatial-temporal concepts and relations with society and popular culture, ways of viewing and models of representation. CINEMANIAC is the product of the metamedia society that recycles existing media images, a society in which individual works function as a research laboratory where the material is synthesized, analyzed and critically tested. It is a “cut&paste” culture which inherited avant-garde editing and collage techniques, adding sampling and digital manipulations techniques on its own.6 In his book – essay Postproduction. Culture as Screenplay: How Art Reprograms the World, the French curator and theorist Nicholas Bourriaud points out the importance of using the tools of cultural reappropriation of cinematography 10 Babette Mangolte: Composite Buildings, fotograije / photographs, 1978. Jasna Buić: Kino Zagreb / Cinema Zagreb, fotograija / photograph, 2003. 12 kinematograije. Postojeći se materijal preispituje, promišlja, reciklira i prerađuje, a umjetnički se rad upisuje u mrežu znakova i referenci. Arhiv fotografskih i ilmskih slika 20. stoljeća kao dio kolektivne memorije čuva se kroz radove umjetnika. Brojni su umjetnici razvili različite prakse dekonstrukcije i prerade arhiva, ističući važnost ponovnog čitanja i odnosa s prošlim. Danas je prostor između vizualnih umjetnosti i tradicionalne kinematograije zasićen crossoverima, hibridnim žanrovima koji onemogućuju razabrati jasne granice. Dok neki umjetnici posežući za postupkom aproprijacije, rade s postojećim materijalom (found footage upotrebljavan kao ilmski ready made), drugi istražuju beskrajne mogućnosti ilma i instalacije, hvatajući se u koštac s kodovima i strukturama medija (njegove narativne, dramatuške, montažne strukture…), te takve radove prikazuju prije svega u galerijama. U kontekstu takvih umjetničkih praksi suvremena umjetnost kao da postaje paralelna povijest, ali i budućnost pokretnih slika, te prostor u kojem se istražuju mogućnosti, granice i dispozitivi (ilmske) slike ali i novi kinematografski oblici. U knjizi Mjesto ilmova umjetnika autorica pokušava deinirati korpus ilmova umjetnika, smještajući ih u prostor “između” i airmira ih kao dio kritičke forme i prakse koja postavlja cijeli niz zanimljivih pitanja – od institucija galerija i muzeja, pitanja mjesta, tržišta, javne sfere, te pozicije i svrhe događaja. Mogli bi mapirati genealogiju onoga što nazivamo ilmovima umjetnika kao ideju ilmskog oblika koji nastaje na razmeđi drugih formi: eksperimentalnog ilma, instalacija, videa, performancea; pratiti odnose sustava umjetnosti i kinematograije, načine recepcije ilmskog djela u određenim kontekstima, preispitati odnose prema promatraču – kao posjetitelja galerije i kino publike; načine na koje takvo djelo funkcionira u okvirima tržišta (tržišta umjetnina i ilmske distribucije), te načine inanciranja njihove produkcije. Pokretne slike umjetnika, ilmovi i videa umjetnika, umjetnička su djela koja najčešće realiziraju 13 through the concept of postproduction processes present in the work of contemporary artists like Douglas Gordon, Pierre Huyghe or Christian Marclay. The existing material is reexamined, thought over, recycled and reconstructed, and the work of art is inscribed in a network of signs and references. The archive of photographic and ilm images of the 20th century, as part of the collective memory, is safeguarded through the works of the artists. Numerous artists have developed different archive deconstruction and reconstruction practices, pointing out the importance of rereading and relating to what is past. Today, the space between visual arts and traditional cinematography is so saturated with crossovers and hybrid genres that it is impossible to discern clear boundaries between them. While some artists work with existing material through appropriation (found footage / used as cinema ready-made), others research the endless possibilities of ilm and installation, coping with codes and structures of the media (its narrative, dramaturgical and editing structure…) and showing such works before all in galleries. In the context of such artistic practices, modern art seems to become a parallel history as well as the future of moving pictures, and the space in which to research the possibilities, boundaries and dispositions of ilm images as well as new cinematographic forms. In the book The Place of Artist Cinema, the author tries to deine the contingent of artist cinema, placing it into the space of “in-between” and afirming it as part of the critical form and practice that poses a whole series of interesting questions – from institutions like galleries and museums, to those of place, market, public sphere and position and purpose of the event. We could map the genealogy of what we call artist cinema as the idea of a ilm form coming into being on the margins of other forms: experimental ilm, installations, videos, performances; we could also follow the relations between the systems of art and cinematography, the modes of reception of a ilm in vizualni umjetnici šireći prostor (vizualnih) istraživanja, ispitujući likovno kroz medij ilma i videa, istražujući prirodu i povijest medija radeći u području različitih umjetnosti, dokumentirajući procese, instalacije, performanse i konceptualne zamisli. To su radovi koji nastaju izvan konteksta društvene proizvodnje zabave i spektakla. Od samih početaka kinematograije, ilm i umjetnost bili su povezani, a velik broj avangardnih ilmova upravo su ilmovi umjetnika – avangardni ilmovi koje su realizirali vizualni umjetnici poput Legera, Duchampa, Mana Raya. To je vrijeme kada vizualna umjetnost i kinematograija dijele zajedničku povijest. Kasnije, razvojem različitih medija, videa, televizije, kompjutora dolazi do razdvajanja, da bi se danas granice jednim dijelom ponovo približile, možda i zamutile. Za razliku od svojih prethodnika, koji su se u radu sa videom i eksperimentalnim ilmom usmjerili prema istraživanju samog medija, ili modela samoreprezentacije, putem video vinjeta performativnog karaktera, novi su umjetnički video radovi apsorbirali tehnologiju kulture spektakla, prihvaćajući različite prakse realizacije speciičnog oblika “narativnog” videa, upuštajući se u elaboraciju kompleksnijih kinematičkih odnosa i struktura, angažirajući slojevite procese dramaturgije i oblikovanja video slike, narativima koji nastaju releksijom uvjeta prošlosti i perspektiva budućnosti, releksijom društvenog, političkog, ekonomskog ili kulturnog konteksta. Na taj način nastaju vizualno dojmljivi radovi, speciičnih kinestetičkih kvaliteta. Osim toga, umjetnici se služe postupcima sličnim radu na ilmu – od rada s glumcima, korištenja scenograije, profesionalne rasvjete i montažom artikuliraju jezik sličan ilmskom. Sadržaj često predstavlja konceptualizaciju putovanja prostorom i vremenom, poljima imaginacije i sjećanja putem kojih formiraju nove svjetove, poznate ili izmišljene. U navedenoj knjizi, autorica pokušava grupirati različite skupine radova prema središnjim interesima, tako pronalazimo one radove kojima su preokupacije kolektivna memorija i politička certain contexts, question the relations towards the observer – as visitor of a gallery or cinema audience; ways in which such a work functions on the market (artwork market and ilm distribution), and ways of inancing their production. Artist moving images and artist cinema and videos, are works of art mostly created by visual artists widening the space of visual research, testing the visual component through the media of ilm and video, researching the nature and history of media and working in the area of various arts, documenting processes, installations, performances and conceptual ideas. These are works created outside the context of the social production of entertainment and spectacle. Ever since the very beginnings of cinematography, ilm and art have been connected and a large number of avant-garde ilms are artist ilms – avant-garde ilms created by visual artists like Leger, Duchamp, Man Ray. In that time visual art and cinematography shared a common history. Later, with the development of different media, like video, television, computers, there was a separation but only to have the boundaries partly rejoin, perhaps even blur, today. As opposed to its predecessors, who directed their videos and experimental cinema towards a research of the media itself, or the model of selfrepresentation, through video vignettes having the character of a performance, the new artist video works absorbed the technology of the spectacle culture, accepting the different realization practices of a speciic form of “narrative” video. They engaged into elaborating complex cinematic relations and structures, getting into stratiied processes of dramaturgy and video image shaping, narratives emerging from the relection of past conditions and future perspectives, relecting the social, political, economical or cultural context. This results in visually impressive works of speciic kinesthetic qualities. Besides, artists use processes similar to work on ilm sets – in the work with actors, staging, professional lighting and editing, they articulate a cinematic language similar to that of cinema. The 14 Cameron Gainer: The Shoot, video, 2003. pitanja, koji se konstituiraju oko javnog prostora i društvenog tijela, oni koji prihvaćaju karakter dokumentarnosti ilma i televizije, bave se pitanjima globalizacije, no koji međutim ne pripadaju žanru dokumentarnog ilma. Jedna od sljedećih učestalih kategorija su oni radovi koji re-kreiraju neki događaj (event – site), impliciraju ili uključuju neku rekonstrukciju (remake, re-stageing, re-enactment) koja i sama postaje novi događaj. Pred kraj dolazimo do dijela ilmova umjetnika koji izički konstruiraju kinematografske prostore, imitiraju prostor kina u galerijama, muzejima i drugim mjestima, stvaraju instalacije kao objekte, kutije, kontejnere, kulise, paviljone kao okvir za ilmove. Umjetnici su zaokupljeni kreiranjem društvenog prostora koji nije samo kontekstualan i diskurzivan, već i realan, umjetnički kreiran. Arhitektura kina, njezine materijalne izičke i institucionalne strukture, spektakl kinematograije i kino publika postaju referencijalno polje ovih radova. Filmske instalacije istražuju kodove kinematograije, ilmske sadržaje i alate artikulirajući releksivne i tehničke procese kako bi ukazale na iluzornost ilmskog medija, a istovremeno zadržavaju fascinaciju njime. Arhitektura kao okruženje u kojem se izvodi projekcija, od umjetničkih praksi s kraja 1960-ih godina, postaje dio kritičkog diskursa 15 content often represents a conceptualization of a journey through space and time, through the ields of imagination and memory, in order to create new worlds, known or made up. In the mentioned book, the author tries to group various works according to their main interests. There are works dealing with collective memory and political issues, forming around a public space and the social body, those accepting the documentary character of ilm and television, dealing with globalization issues but not part of the documentary genre. Very frequent are also works that recreate an event (event-site), implicate or include a reconstruction (remake, re-staging, re-enactment) which then becomes a new event. In the end there are artist ilms that physically construct cinematographic spaces, imitate the space of a movie theater in galleries, museums and other places, create installations as objects, boxes, containers, scenes, pavilions as frameworks for the ilms. The artists want to create a social space that is not only contextual and discursive but also real, artistically created. The architecture of a movie theatre, its material, physical and institutional structure, the spectacle of cinematography and cinema audience become the ield of reference for these works. Cinema installations research koji se odnosi na institucije muzeja, arhiva, samog umjetničkog djela, te ontološkog i kulturološkog statusa umjetničke produkcije. “Deiktični zaokret” u recentnoj produkciji pokretnih slika umjetnika upućuje na projekciju kao događaj, i mjesto projekcije kao referencijalni prostor, upućuje na estetiku i praksu iluzioniranja, na formiranje subjektivnih okolina, osjećaje nesigurnosti i nestabilnosti.7 Govoreći o ilmskim i video projekcijama u suvremenoj umjetnosti dolazimo do isticanja moći iluzije koja stoji na samom nastanku slika iz projektora. Iluziju realnosti omogućavala je upravo sugestivna moć projekcije pokretnih slika – od camere obscure preko Ulaska vlaka u stanicu do imerzivnih okolina suvremenih projekcija u muzejima i galerijama. U njima se prostor prožet ljudskom sviješću nadomješta prostorom ispunjenim nesvjesnim, rekao bi Walter Benjamin. Za kustosicu Chrissie Iles, bijela kocka znači kraj određene vrste ilmskog iskustva, dok kustosi koji rade s pokretnim slikama ističu kako ilmske i video instalacije u galerijama oslobađaju gledatelja od ograničenja tradicionalnog ilma, gdje je kino dvorana shvaćena kao čahura. Projekcija u galeriji kao da postaje “portal” koji omogućava prijelaz u drugo vrijeme ili na drugo mjesto, generirajući cinematographic codes, contents and tools by articulating relexive and technical processes in order to point to the make-believe quality of the ilm media while at the same time keeping a certain fascination with it. Architecture as surroundings of the projection, ever since the artist practices of the late 60s, becomes part of the critical discourse related to the institutions of museums, archives, the work of art itself, the ontological and cultural status of the artist production. The “deictic turn” in the recent artist moving pictures production sees the projections as an event and the location of the projection as referential space. It points to the esthetics and practice of make-believe, to the formation of subjective surroundings, feelings of insecurity and instability.7 Speaking of ilm and video projections in contemporary art, we speak of the power of illusion which is at the core of the projected images. What makes the illusion of reality possible is the suggestive power of the projection of moving pictures – ever since the camera obscura, through the Arrival of a Train at la Ciotat, to the immersive environments of contemporary projections in museums and galleries. There, in the words of Walter Benjamin, a space informed by human consciousness gives way to a space informed by the unconscious. For Chrissie Iles, a white 14 Jonas Dahlberg: View Through a Park, video instalacija/video installation, 2009. različite prostorno vremenske veze i lomove. Za promatrača koji se nalazi uronjen u novi prostor, doživljaj intenzivira tjelesno iskustvo. Filmovi za galerije su hibridne forme koje se smještaju između institucija kina i galerije, propituju njihove konvencije, anticipiraju neke nove medijske prakse. Bilježe svoju povijesnu lokaciju između medijskih oblika i institucija, njihovih zamršenih odnosa, multipliciranjem dinamika prostora i vremena. Doprinose dislociranju (izmještanju) uvjeta promatranja, postaju načini kako da se pozornost usmjeri na složene odnose suvremenog subjekta u medijziranom prostoru i vremenu.8 Nastali na tradicijama eksperimentalnog, avangardnog i kratkog (igranog) ilma, apsorbiraju iskustva (konvencionalne) kinematograije – igranog i dokumentarnog ilma, ali i video umjetnosti – u novi, drugačiji medij, hibridnih karakteristika, promjenjivih kategorija, sklisko područje pokretnih slika koje ne omogućuje iksne deinicije. Branka Benčić je nezavisna kustosica. Kustosica i osnivačica CINEMANIAC-a od 2002. “La pensée sur le cinéma est un parcours entre des points extrêmement distants: il y a d’un côté ce qui se passe dans la réalité d’une projection, et de l’autre ce qui constitue le cinéma comme un phénomène historique, social – ou philosophique.” Entretien avec Jacques Rancière: L’affect indécis, Critique, br. 692-693: Cinephilosophie, Paris janvier-février 2005., str. 141-159. 2 Laura Mulvey: Vizualni užitak i narativni ilm, u Ljijana Kolešnik (ur.): Feministička likovna kritika i teorija likovnih umjetnosti: izabrani tekstovi, Centar za ženske studije, Zagreb 1999., str. 65-77. 3 Jacques Rancière: Film Fables, Berg Publishers, London 2006. 4 Isto. 5 Branka Benčić: Cinemaniac, katalog, Pula 2009. 6 Branka Benčić: Cinemaniac, katalog, Pula 2002. 7 Alison Butler: A Deictic Turn: Space and Location in Contemporary Gallery Film and Video, Screen, Vol. 51, Iss. 4, Oxford University Press, Oxford 2010, str. 305-323. 8 Isto. 1 17 cube means the end of a certain type of cinematic experience, while the curators working on moving pictures point out that ilm and video installations in galleries free the observer from the limitations of traditional cinema, where the theatre is considered a cocoon. A gallery projection becomes a “portal” enabling a passage to another time or place, creating different spatial and temporal connections and breakups. For the observer immersed in a new space the experience intensiies his bodily experience. Gallery ilms are hybrid forms placed between the institutions of cinemas and galleries, questioning their conventions, anticipating some new media practices. They record their historical location between media forms and institutions and their intricate relationship, by multiplying the dynamics of space and time. They contribute to the dislocation of the viewing conditions and become a way to direct the attention to complex relations of the contemporary subject in the mediatized space and time.8 They originate in the traditions of experimental, avant-garde and short (feature) ilms, absorbing the experience of conventional cinematography – feature and documentary ilm, as well as video art – in a new, different media with hybrid characteristics, changeable categories, a slippery area of moving pictures that do not like ixed deinitions. Branka Benčić is an independent curator. Founder and curator of CINEMANIAC, established in 2002. “La pensée sur le cinéma est un parcours entre des points extrêmement distants : il y a d’un côté ce qui se passe dans la réalité d’une projection, et de l’autre ce qui constitue le cinéma comme un phénomène historique, social - ou philosophique.“ Jacques Rancière : L’affect indécis, interview, Cinephilosophie, Critique 692 – 693, 2005. 2 Laura Mulvey: Vizualni užitak i narativni ilm (Visual pleasure and narrative cinema), in Ljijana Kolešnik (ur.): Feministička likovna kritika i teorija likovnih umjetnosti: izabrani tekstovi, Centar za ženske studije, Zagreb 1999., pp. 65-77. 3 Jacques Ranciere: Film Fable, Berg Publishers, London 2006. 4 ibid 5 Branka Benčić, Cinemaniac, catalogue Pula 2009. 6 Branka Benčić, Cinemaniac, catalogue, Pula 2002. 7 Alison Butler: A Deictic turn: space and location in contemporary gallery ilm and video, Screen 51: 4, Oxford University Press, 2010. 8 ibid 1 Damir Očko: The Boy with a Magic Horn, HD video, 2007. 18 19 Branka Benčić JAGODA KALOPER / PROMJENJIVE POZICIJE POGLEDA VARIABLE VIEWING POSITIONS Žena u ogledalu Jagode Kaloper autobiografski je ilmski kolaž u kojem autorica kombinira isječke iz ilmova u kojima je glumila posljednjih 45 godina (dakle, koristeći ih kao ilmski ready made) izmjenjujući ih s dokumentarnim kadrovima vlastita lika zrcaljenoga na relektirajućim površinama koje je proteklih sedam godina sama snimila digitalnom video kamerom. Lik žene prezentiran je i promatran kroz nekoliko mogućih narativa, kroz različite ilmske priče, njihov suodnos s dokumentarnim prizorima kao odnos konstruirane prošlosti i stvarnosti, kroz prizmu društvenih institucija kojima pripada i kinematograija, a koje uključuju umjetnički establishment, masovne medije i kulturne stereotipove. Nadovezujući se na literarnu paradigmu, autoportret se tradicionalno čita kao autobiograija. Autor je njegov subjekt i objekt. Kada su se, kroz autobiografski model, umjetnice prihvatile prikazivanja ženskog lika, preokrenule su tradicionalnu politiku moći, i prikazujući sebe, poremetile jednostavne konstrukcije razlika između subjekta i objekta u umjetničkom djelu. Konstitucija ženskog subjekta postaje osobni performativni čin koji smješta umjetnikovo (umjetničino) ja kao ja i kao model (drugo). Od sedamdesetih godina djelovanje feministički usmjerene teorije i prakse, prije svega koncentrirano na teoriju ilma, počelo je dekonstruirati strategije gledanja. Pozicije gledanja preispitivale su voajerističko i fetišističko gledanje koje dijeli subjekt od objekta. U prijelomu tradicionalnih binarnih opozicija muškog i ženskog, aktivnog i Woman in a Mirror by Jagoda Kaloper is an autobiographical ilm collage in which the author combines cuts from ilms she acted in during the 60s and 70s. She uses them as a ilm ready-made and interchanges them with frames she shot with a digital video camera showing herself mirrored in relecting surfaces. The igure of a woman is presented and observed through several possible narratives, through different ilm stories and through the prism of social institutions to which cinematography belongs and which include the art establishment, mass media and cultural stereotypes. If we take our cue from the literary paradigm, a selfportrait is usually interpreted as an autobiography. The author is both the subject and the object. When women artists took up the representation of the female igure, through the autobiographical model, they turned over the traditional policy of power and, representing themselves, disrupted the simple constructions of difference between subject and object in the work of art. The constitution of the female subject becomes a personal performative act that places the artist’s I as I and the model (other). Since the 70s, the feminist theory and practice, before all focused on ilm theory, started to deconstruct the viewing strategies. The viewing positions questioned the voyeurist and fetishist views which separated the subject and the object. The breakup of traditional binary oppositions between male and female, active and passive, brought changes in the traditional positions of power that used to be on the observer’s side, deined as male, while the observed object was deined female. Feminist discourses 20 Jagoda Kaloper: Žena u ogledalu / Woman in the mirror, video, 2010. pasivnog, promijenile su se i tradicionalne pozicije moći koje su do tada bile na strani promatrača, deiniranog kao muško, dok je objekt pogleda bio deiniran ženskim. Feministički su diskursi pokušali ukazati kako je tijelo shvaćeno kao slika i prikazano statičnim (fotograija) i pokretnim slikama (ilm i video) ikoničko polje podložno aktivnom muškom pogledu. Žena u ogledalu ilmski je esej u kojem se isprepliću razine privatnog i javnog prostora, pitanja konstrukcije identiteta, pozicija glumice u svijetu spektakla i sustavu kinematograije. U njemu se isprepliću dva pogleda, pogled iznutra i pogled izvana, dva vremena i dvije stvarnosti, jedna konstruirana kao ikcija (prošlost) i druga formirana kao document (neposredna prošlost i sadašnjost) Tu se strategijama aproprijacije artikulira povijest kinematograije određenog prostora i vremena kojem je Jagoda Kaloper bila svjedok i aktivni protagonist, kinematograije koja u njezinom radu postaje arhiv i riznica, u službi individualne i kolektivne memorije. U Ženi u ogledalu Jagoda Kaloper postiže zanimljiv i slojevit rezultat. Ona prerađuje i preslojava vlastiti život i profesionalni životopis formiran kao kinematografski arhiv, arhiv ilmova u kojima je glumila. Rad je moguće sagledati iz nekoliko aspekata: kao potragu za identitetom, egzistencijalističku studiju, zapis o vremenu, tematiziranje pitanja intime i javnog društvenog prostora, razumijevanja, smisla, prošlosti, mladosti. Kolaž ilmskih isječaka, paralelno je montiran i jukstaponiran s privatnim video snimkama. Jagoda Kaloper formirala se kao vizualna umjetnica na Akademiji likovnih umjetnosti u Zagrebu, te je tijekom 70-ih i 80-ih izlagala u kontekstu konceptualnih umjetničkih praksi. Glumila je zapažene uloge u nizu važnih pa i kultnih ilmova od kojih su brojni zastupljeni u ovom ilmskom kolažu od Lisica Krste Papića, Kuće Bogdana Žižića, Ključa Vanče Kljakovića, Gravitacije Branka Ivande, Ponedjeljka ili utorka Vatroslava Mimice ili W.R. Misterije organizma Dušana Makavejeva. Za svoj tried to point out that the body, perceived as an image and represented statically (photograph) and in moving pictures (ilm and video), was an iconic ield subject to a male gaze. Woman in a Mirror is a ilm essay with intertwining levels of private and public space, issues of identity construction, the position of actresses in the world of spectacle and the cinematographic system. It intertwines two points of view, the one from the inside and the one from the outside. Appropriation strategies articulate the history of cinematography of a given space and time in which Jagoda Kaloper was a witness and an active protagonist, a cinematography that becomes an archive and a treasury in her work, in the service of individual and collective memory. In her Woman in a Mirror, Jagoda Kaloper achieves an interesting and stratiied result. She rewrites and sorts out again her own life and professional biography formed as a cinematographic archive, an archive of ilms she had acted in. The work can be viewed from several aspects: as a search for identity, an existentialist study, a record of time, an attempt at thematizing issues of intimacy and public social space, understanding, sense, the past, youth. A collage of ilm cuts is edited in parallel and juxtaposed with private video shots. Jagoda Kaloper played notable roles in a number of important and even cult ilms, many of which are found in this ilm collage, from Lisice by Krsto Papić, Kuća by Bogdan Žižić, Ključ by Vanča Kljaković, Gravitacija by Branko Ivanda, Ponedjeljak ili utorak by Vatroslav Mimica or W.R. Misterija organizma by Dušan Makavejev. For the role in the ilm Kuća by Bogdan Žižić she was awarded with the Golden Arena in Pula. Woman in the Mirror represents Jagoda Kaloper’s big comeback on the Croatian artistic scene. As opposed to Cindy Sherman who, using a masquerade strategy for the necessity of the series of photographs Untitled Film Stills, took over ictitious “roles” with a suitable pose and direction of the scene – lighting, wigs, costumes, make-up, with the 22 Jagoda Kaloper: Žena u ogledalu / Woman in the mirror, video, 2010. je rad dobila brojna priznanja i nagrade, Zlatnu Arenu u Puli za ulogu u Kući Bogdana Žižića… Žena u ogledalu predstavlja i veliki povratak Jagode Kaloper na hrvatsku umjetničku scenu. Za razliku od Cindy Sherman koja je u seriji fotograija Untitled Film Stills za potrebe umjetničkog djela strategijom maskerade preuzimala iktivne “uloge” prikladnom pozom i režijom prizora – osvjetljenjem, perikama, kostimom, šminkom, s ciljem subverzije stereotipnih uloga koje su žene imale u ilmovima, televizijskim emisijama i reklamama u 50-im i 60im godinama, uloge Jagode Kaloper su stvarne, a glumljene situacije nisu izmišljene scene, već pripadaju ilmovima koje prepoznajemo, koji predstavljaju dio profesionalne biograije Jagode Kaloper, žene i glumice. Video Jagode Kaloper Žena u ogledalu pokazuje nam kako žena prikazana kao znak funkcionira u vizualnoj kulturi, te kako načini reprezentacije strukturiraju i kontroliraju njezinu deiniciju u društvu. Riječi spektakl i spektator imaju isto podrijetlo, lat. speculum – zrcalo. Korištenjem arhivskog materijala i njegovom manipulacijom, Jagoda Kaloper kao da putem tehničkih sredstava manipulacije slike preuzima kontrolu i nadzor i nad svojim životom i prošlošću. Strategije montaže i kolaža postaju emancipacijske, a njezini likovi kao i ona sama, postaju oslobođeni okova priče. 23 aim of subverting the stereotype roles women had in ilms, TV shows and commercials in the 50s and 60s, Jagoda Kaloper’s roles are real and the acted situations are not made-up scenes but parts of ilms we recognize, representing part of the professional biography of Jagoda Kaloper, woman and actress. Jagoda Kaloper’s video Woman in a Mirror shows us how woman represented as a sign functions in the visual culture, and how ways of representation structure and control her deinition in society. The words spectacle and spectator have the same etymology, lat. speculum – mirror. By using archive material and manipulating it, Jagoda Kaloper seems to be taking control over her life and her past through technical means of image manipulation. Editing and collage techniques become emancipating and her characters, like herself, are freed from the bonds of the story. Branka Benčić RENATA POLJAK / DEKODIRANJE ILUZIJA DECODING ILLUSIONS Kroz simbole identiikacije, sjećanje, popularnu kulturu i modele reprezentacije, Renata Poljak progovara o Hrvatskoj, bivšoj Jugoslaviji, samoj sebi, emociji, inspiraciji i učinku plavog kao metafore smisla, o problemima, značenju i mogućnostima pripadanja kulturnom kontekstu, intervenirajući na suptilan način u socijalno političku javnu sferu. Dijalog privatnog i javnog, individualnog i kolektivnog, prošlosti i sadašnjosti, subjektivnost i releksija društvenog i političkog trenutka u radovima Renate Poljak zauzimaju posebno mjesto. U radovima koji se realiziraju u različitim medijima od fotograije, videa i instalacija, Renata Poljak kritički istražuje probleme vezane uz individualnu i kolektivnu egzistenciju, ukazuje na osobne i društvene komentare baveći se pitanjima o mogućnosti i nemogućnosti artikulacije, nakupljenim frustracijama, tjeskobama, nesporazumima, napetostima i lomovima, kroz sklopove referenci koji ukazuju na dinamiku moći i sukobe koji su i političke i osobne prirode, kojima autorica progovara o pripadanju kulturnom kontekstu, identitetu, dekodiranju iluzija. Umjetnička praksa Renate Poljak na taj način progovara iz speciičnih kulturoloških, ideoloških i socijalnih pozicija, ona se susreće sa sjećanjem, te pokušava učiniti vidljivima i ukazati na otpor novo formiranim drštvenim normama, svakodnevim rutinama ili tradicionalnim vrijednostima. Društvene skice detektirane kroz osobnu optiku autorice, postaju mjesto presijecanja vremena i emotivnih, psiholoških, socijalnih i izičkih prostora. Employing symbols of identiication, remembrance, popular culture and representational models, Renata Poljak speaks of Croatia, former Yugoslavia, herself, emotion, inspiration and the effect of blue as the metaphor of meaning, problems, connotation and the possibilities of belonging to a cultural context, subtly intervening into a social and political public sphere. A dialogue between private and public, individual and collective, past and present, subjectivity and relection on social and political moment, occupy special position in works by Renata Poljak. In her pieces that are realized in diverse media, ranging from photography and video to installations, Renata Poljak researches, in a critical voice, personal and social comments, tackling the issues of possibility and impossibility of articulation, built up frustrations, anxieties, misunderstandings, tensions and breaks, through referential assemblies pointing at power dynamics and conlict of both political and personal nature, used by author to speak of belonging to a cultural context, identity, the decoding of illusions. Artistic practice of Renata Poljak speaks from the peculiar cultural, ideological and social positions, and she encounters memory, attempting to render visibility of – and point at resistance to – newly formed social norms, everyday routines or traditional values. Social sketches detected though personal author’s views, are becoming a place where time and emotional, psychological, social and physical spaces intersect. 24 Renata Poljak: Skok / Jump, video, 2000. Steven Eastwood NEŠTO DRUGO U GEOMETRIJI FILMA SOMETHING ELSE IN THE GEOMETRY OF CINEMA Howard je Hawks za Veliki San (1946.) rekao: sve dok svaki kadar pršti i teče nitko neće zaista uvidjeti da radnja ilma nema nikakvog smisla. Film funkcionira od scene do scene, no kad se o njemu promisli, ne čini cjelinu, nema jedinstvene pripovjedne priče. Iz tog je razloga Veliki san jedan od najradikalnijih holivudskih ilmova svih vremena, jer cilja izravno na ilm kao pojavu. Postoji “pripovjedačka funkcija” koju Deleuze preuzima od Bergsona, korisnost unutar inteligencije i društva, ili svijeta kojeg živimo. Priča je uredna koniguracija, shema kroz koju može proći beskrajni broj događaja, pa i mi sami kao misleće jedinke. Deleuze postavlja tezu da upravo sposobnost gradnje naracije iz kaosa stvara ono što društvo čini stabilnim, a to je argument korišten nebrojeno puta u razgovorima o vjerskim više nego sekularnim društvima. Naracije koje smo stvorili za potrebe naših iznimno kompleksnih društvenih interakcija možemo sagledati kao ekstenzije sažetih jedinica smisla ostvarenih senzomotornom shemom. Deinicija Edwarda Branigana o onome što sačinjava naraciju približava se Bergsonovom opisu senzomotorne sheme: “Pripovijedanje je percepcijska aktivnost koja organizira podatke u poseban obrazac koji predstavlja i objašnjava iskustvo…, način organiziranja prostornih i vremenskih podataka u uzročno-posljedični lanac s početkom, sredinom i krajem koji utjelovljuje prosudbu o prirodi događaja”.1 I zaista, usporedba senzomotornog skeniranja i medijsko-organizacijskih principa može se proširiti na sadašnju metodu kreiranja pokretnih slika u DVD-u. Taj proces komprimiranja podataka traži sličnosti u sekvencijalnim ilmskim kadrovima ili isprepletenim video poljima kako Howard Hawks said of The Big Sleep (1946) that so long as each scene izzed and moved along nicely, nobody would really notice or care that the wider ilm made no sense in terms of plot. The ilm functions on a scene-to-scene basis, but when relected upon, it does not constitute a Whole; there is no uniied story to recount. This is what makes The Big Sleep one of the most radical Hollywood ilms ever produced, because it points directly to the cinema as an appearance. There is a ‘storytelling function’ that Deleuze derives from Bergson (Deleuze 1990), a utility within intelligence that makes an order of that which occurs between intelligence and society, or the lived world. A story is an orderly coniguration, a schema through which an ininite number of occurrences may pass, not least our selves, as thinking subjects. Deleuze makes the case that this capacity for building narratives from chaos forms precisely that which enables any society to remain stable, and this is an argument that has been made an innumerable amount of times for a religious rather than a secular society. The narratives we have fashioned for our highly complex social interactions can be seen as extensions of the compressed units of sense rendered by the sensorimotor-schema (SM-S). Edward Branigan’s account of what constitutes a narrative is close to Bergson’s description of the SM-S: ‘Narrative is a perceptual activity that organizes data into a special pattern which represents and explains experience [...] a way of organizing spatial and temporal data into a cause-effect chain of events with a beginning, middle, and end that embodies a judgment about the nature of the event,’ (Branigan. 1992: 31). In fact, the comparison between sensorimotor 26 bi duplirao postojeći detalj slike umjesto da ga nerestano ponovno renderira. Na primjer, sekvenca krajolika ima vrlo malo pokreta te se stoga može u manjem ili većem obimu kopirati kao podatak od kadra do kadra. Ako u kadar uđe objekt koji se kreće, poput ptice, kompresor pojačano radi kako bi renderirao njegove detalje. Zato brzo rezani ili gusto preklapani strukturirani ilmovi i scratch video radovi vrlo teško izlaze kao DVD. Klasična se kinematograija zasniva na organizacijskom principu inventara, od teksta do liste snimanja, od scenarija do rasporeda i montaže. Dramsko snimanje je zatvoreni sklop.2 Industrijska ilmska proizvodnja je spajanje točkica snimateljskog teksta, pod vremenskim i inancijskim pritiskom. Pri dramskom snimanju postoji niz elemenata koje se poklapaju da bi se dobila deinirana cjelina. Dani snimanja su razlomljeni za potrebe logističke realizacije tih numeriranih elemenata, snimljenih i presloženih u skladu s montažerskim planom (inače bi se snimali nesekvencijalno). Nešto se posebno događa pri montaži. U težnji za zatvorenom i hermetički zapečaćenom narativnom cjelinom otvaraju nam se beskrajne mogućnosti. Naravno, u ilmskoj je industriji to rijetkost jer montažer radi po zadanoj strukturi. To je ono što Deleuze zove logikom lančanosti, naracijom kao shemom, onim što sačinjava neku vrstu geometrije ilma u kojoj glavni lik “samo glumi jer on prvi vidi” (Deleuze). Počinjemo s “nasiljem” (Heath), u suprotnosti s normom kojoj se moramo prilagoditi na putu prema jedinstvu (Greimas)3. Počinjen je prekršaj i tijek naracije slijedit će ritam ponovna uspostavljanja stare homogenosti ili utemeljenje nove, jer “svaka Steven Eastwood: Of Camera, 16 mm, 2003. scanning and the organising principles of media can be extended to the current method for authoring moving images to DVD. This process of data compression looks for similarity within sequential ilm frames or inter-laced video ields, in order to duplicate existing picture detail rather than continually re-render it. For example, a landscape sequence may in fact feature very little movement, and therefore can be more or less copied as data from frame to frame. If a more profoundly moving object such as a bird enters frame, the compressor has to work harder to render its detail. It is for this reason that rapidly cut or densely superimposed structural ilms and scratch videos are extremely dificult to author as DVDs. Classical cinema is founded on the organizing principle of the inventory, from script to shotlist to storyboard, to schedule to edit decision. A drama shoot is a closed set.2 Industry feature production is like joining the dots of the shooting script, under time and economic pressure. On a drama shoot there are a number of cells needed to concoct a deined whole. Shoot days are broken up into the logistical realization of these cells, which are numbered and, when shot, re-assembled in order in the edit suite (they would commonly have been ilmed non-sequentially). In the edit suite something peculiar happens. In the pursuit of a closed and hermetically sealed narrative Whole, an ininite series of possibilities opens up. Of course, within the ilm industry this is rarely the case, as the editor is given a template to work to. And this is what Deleuze calls the logic of enchainment, narrative as schema, that which constitutes a kind naracija predstavlja kulturna uvjerenja o uspjehu” (Branigan). Shemu priče lako je identiicirati, jer sve što gledatelj ili čitatelj mora učiniti kako bi došao do značenja jest potražiti vjerojatnosti dodijeljene događajima te prepoznati obrazac kroz ponavljanje i rimu, odnosno, kako kaže Barthes, logiku “već pročitanog”4. U knjizi Film i ilozoija, Alain Badiou daje sažeti prikaz normativne kinematograije ili “neoklasične kinematograije” kako je on naziva, te njenu simpatiju prema pornograiji, obiteljskim zajednicama i romantičnim parovima, opisima pretjeranog nasilja i otrcanim radnjama (ono što Goddard, a kasnije i Deleuze, nazivaju “lošim ilmovima”). Filmske slike nisu jezik ili kod. Pro-ilmski prostor, bio on arhitektonski robustna prostorija ili naherena kuća, više je od same priče te stoga moramo tražiti pukotine i praznine gdje postojeći prostori i cjelokupna struktura zdanja klasičnog ilma bivaju lako zapaljive. Klasična kinematograija podređuje se sekvenci: kamera – prostorija – vlastita ličnost – zdanje, gdje su vlastita ličnost ilmskog identiteta, njegov način pripovijedanja i likovi u skladu s zdanjem ilma, drugim riječima s njegovim arhitektonskim redom. No mi tražimo nemoguća zdanja i lutajuće prostore unutar mjesta. Radikalni ilm slijedi obrazac: kamera – prostorija – topografska nesigurnost. Umjesto vlastite ličnosti koja boravi u zdanju (teorija identiteta Freuda i Junga), postoji “nešto drugo”, liminalni ilm – postajanje ilma dok izgara, dok se ruši poput kuće. Tijekom prikazivanja DVD inačice ilma Of Camera (Eastwood, 2003.) u galeriji MMC-a LUKA, disk je zatajio dok je išla oštećena odjavna špica, zaustavljajući se i ponovno kretajući bez reda, stvarajući uznemirujući i prikladan nastavak prethodno snimljenih događaja. Ovdje tijelo ilmskog teksta proizvodi ponašanje u tijelu njegova sredstva za playback, uvodeći daljnje urušavanje zidova montaže i neočekivane praznine u onome što je bila zadana vremenitost. Steven Eastwood je ilmski redatelj i umjetnik. www.cinemaintothereal.com of geometry of cinema, within which the hero, ‘only acts because he is the irst to see,’ (Deleuze 1986: 70). We begin with “violence” (Heath 1975), a contrary to the norm that must be worked through towards unity (Greimas 19683). There has been a violation and the course of the narrative will follow either the reinstatement of the old homogeneity, or the founding of a new one, for ‘every narrative re-enacts cultural beliefs about success.’ (Branigan. 1992: 25). The schema of story is so identiiable that all the viewer or reader need do in order to arrive at meaning is look for assigned probabilities to events, and recognize pattern through repetition and rhyme, what Barthes calls the logic of the, ‘already read,’ (Barthes. 19884). In Cinema and Philosophy, Alain Badiou gives a concise account of normative cinema, or “neoclassical cinema” as he puts it (Badiou 2003: 111), and its predilection for pornography, the unit of families and romantic couplings, the depiction of excessive violence, and hackneyed plots (what Godard, and then Deleuze, called ‘Bad ilms’). The ilmic image is not a language or a code. The pro-ilmic space, whether the architecturally robust room or the crooked house, is more than a story, and we must look, therefore, for the emergence of ruptures and gaps, where the chambers within, and the overall structure of the house of classical cinema are found to be highly combustible. Classical cinema conforms to the sequence: camera - room - self - house, where the self of the ilm’s identity, its mode of telling and its characters, is consistent with the house of the ilm, in other words its architectural order. But we are after impossible houses, and the errant spaces within places. A radical cinema follows the light line: camera - room - becoming - togographical uncertainty. In place of the self, residing in a house (the theory of identity in Freud and in Jung) there is “something else,” a liminal ilm - the becoming of the ilm as it burns up and collapses as a house. During a screening of the DVD version of Of Camera (Eastwood. 2003) at MMC LUKA Gallery, the disc faltered whilst playing 28 1 Branigan dijeli naraciju u četiri paradigme ili teksta: narativna ikcija (roman), narativna ne-ikcija (povijest), ne-narativna ikcija (poezije), ne-narativna ne-ikcija (esej). Što se tiče shema strukture priče poziva se na model Tzvetana Todorova u pet stupnjeva, iako bismo se jednako mogli osvrnuti i na Vladimira Proppa, A.J. Greimasa, Josepha Campbella ili bilo koju njihovu holivudsku derivaciju (Rob Mckee, Dov Simmons). Tom Gunningov termin “narativni sustav” opisuje kako je taj sustav (od 1908. do 1909.) određen potrebom prikazivanja psihološko određenih likova čije unutarnje motivacije priču guraju naprijed, uzrokujući ili bivajući uzrokovane lančanim slijedom događaja. Kao što je u teoriji više puta rečeno, ovakvo određenje likova uglavnom je isključivo muško, s namjerom izgradnje muškoga prodornog pogleda (Laura Mulvey, Tania Modleski). Mulvey kaže da je svaki gledatelj, bez obzira na spol, muško u smislu vlastite identiikacije s “izgledom” ilmskog teksta. Proces je to koji odražava ono što Luce Irigaray zove “prevladavanjem vizije u našoj kulturi” i vodi k objektivizaciji i seksualnim odnosima odvojenim od tijela. Heath piše kako su kinematograija i psihoanaliza suvremene. Obje su speciične konstrukcije muške žudnje strukturirane na nedokučivoj prirodi ženstvenosti, gdje je žena ono nedokučivo drugo, objekt želje (Heath). Stoga neprikazivanje, nepripovijedanje ili nepredstavljanje izaziva ono što Deleuze naziva osvajačkim, odnosno muškim pogledom. Irigaray piše da je ono ništa viđeno, odnosno ono što se ne može osvojiti pogledom, prijetnja za muške teorije i prakse prikazivanja (što uvijek neizbježno vode objektivizaciji). 2 Kad je dokumentarist Nick Broomield snimio ikcijski ilm nije mu se svidjela rigidnost snimateljskog teksta i rasporeda, bunio se kako nema ničeg otvorenog ili neočekivanog u tome. 3 Kako piše Branigan, Greimas to oplemenjuje govoreći kako Ra di Martino, La Camera, 2002. je naracija “posebno razrađivanje suprotnosti, subsuprotnosti, obrnutosti i kontradiktornosti”. 4 Barthes piše: “Logika na koju se odnosi naracija nije ništa drugo do logika već pročitanoga”. 29 the (on-screen) distressed closing credits, stopping and starting without regularity and forming an unsettling and itting extension of the pre-recorded events. Here, the body of the ilm text produces behaviour in the body of its vessel for playback, introducing further collapse, to the walls of the edit, and unexpected gaps in what had been a ixed temporality. Steven Eastwood is a ilmmaker and artist. www.cinemaintothereal.com 1 Branigan proceeds to subdivide narrative into four paradigms, or texts: narrative iction (the novel); narrative noniction (history); nonnarrative iction (many kinds of poetry); nonnarrative noniction (the essay). For schemas of story structure he refers to Tzvetan Todorov’s ive-stage model (Tzvetan Todorov, The two principals of narrative diacritics, Vol. 1 No. 1 Fall 1971: 39) although we could equally look to Vladimir Propp, AJ Greimas, Joseph Campbell or any number of their Hollywood derivatives (Rob Mckee, Dov Simmons). Tom Gunning’s term the ‘narrator system’ accounts for how this system (from around 1908-1909) was determined by the need to deliver the psychological individuation of characters whose interior motivations helped propel the story forward, producing and in turn produced by, causal chains of events. As has been much theorized, this character individuation is almost exclusively male, intended for the ediication of a male gaze (see, Laura Mulvey [1975] and Tania Modleski [1988]). Mulvey makes the point that any audience member, regardless of their sex, is gendered as male in terms of their identiication with the ‘look’ of the ilm text, a process that echoes what Luce Irigaray calls ‘the predominance of vision in our culture,’ and leads to objectiication and disembodied sexual relations. Heath writes that cinema and psychoanalysis are contemporaneous. Both are a speciic construction of male desire structured on the riddle of the nature of femininity, with the female as the unknowable other, as the object of a desire. (Heath. 1981:169). Therefore not showing, telling or representing challenges what Deleuze would call the Masters, or the male gaze. Irigaray writes that the nothing seen, i.e., the not masterable by the look, is threatening to male theories and practices of representation (always inevitably leading to objectiication). 3 When documentary ilmmaker Nick Broomield made a iction ilm he detested the rigidity of the shooting script and schedule, complaining there was nothing open or unexpected about it. 3 As Branigan writes, Greimas reines this, to say that narrative is ‘a special working through of contraries, subcontraries, converses, and contradictories,’ (Branigan. 1992: 9, referring to Greimas & Rastier, The interaction of Semiotic Constraints, Yale French Studies 41 [1968]). 4 Barthes (1988) writes, ‘The logic to which the narrative refers is nothing other than a logic of the already-read.’ Leila Topić WORLD DOESN’T NEED ANY MORE FILMS, WORLD DOESN’T NEED ANY MORE VIDEO ART - Kodwo Eshun, The Otholith Group, 2010. Je li moguće da je glazba danas vodeće i najradikalnije područje gdje se otkrivaju i uvježbavaju kulturalni modeli što će ih potom preuzeti druga područja „ratovanja“ – teorija, ilozoija, književnost, likovnost, životni stilovi, dizajn, možda čak i znanost? Zoran Roško u „Glazba-nastavljanje evolucije drugim sredstvima“, 2002. Razmišljajući o tekstu koji bi povezao utjecaje ilmske industrije na suvremeno video stvaralaštvo, prvo mi je, naravno, pala na pamet strategija aproprijacije. Zgodan početak pripovijesti o ranim ilmskim aproprijacijama zvuči ovako: Godine 1953. bivši privatni detektiv iz Los Angelesa Kemp Niver započeo je s projektom restauracije američkih ilmova iz ranog razdoblja nijemog ilma. Papirnate kopije (paper prints) bile su čuvane u Kongresnoj knjižnici te ih je Niver sličicu po sličicu, oko 5000 ilmova, uz pomoć jednostavnog uređaja za premotavanje prebacio na 16 mm ilmove. Jedan od ilmova bio je i „Tom, Tom frulašev sin“ (Tom, Tom the Piper’s son) kratka dječja pričica o krađi svinje, potjeri i hvatanju. 1969. Ken Jacobs, američki ilmski eksperimentator, prisvaja taj kratki ilm, usporava ga, zamrzava, raspršuje zrnaste mrlje izvornika i stvara novo djelu u trajanju od Is it possible that music is today the leading and most radical area where we discover and practice cultural models that are later to be taken over by other areas of “battle” – theory, philosophy, literature, visual arts, lifestyles, design, perhaps even science? Zoran Roško in “Music – evolution continued by other means”, 2002. Contemplating a text that would connect the inluences of ilm industry on contemporary video art, the appropriation strategy was the irst to cross my mind. A nice beginning of the story of early ilm appropriations goes like this: in 1953, Kemp Niver, an ex private detective from Los Angeles, began the project of restoration of early silent American cinema. Paper prints were kept in the Congress library and by means of a simple rewinding device, Niver transferred around 5000 ilms to 16 mm ilm. One of the movies was “Tom, Tom the Piper’s son”, a short children’s story on the theft of a pig, a chase and apprehension. In 1969, Ken Jacobs, an American ilm experimenter, takes that short ilm, slows it down, freezes it, scatters the grainy spots of the original and creates a new piece lasting almost ninety minutes. The effect, as David Bordwel1 says, was drawing attention to a world of details every scene is teeming with”. Jacobs used to describe his own work in Grinbergian terms, saying that he wanted to “bring to the surface a multirhythmic collision – a struggle of dark and light bidimensional areas of force ighting for their identity of form from edge to edge”. Anyhow, why a text about the inluence of cinema on contemporary video art? As a matter of fact, the happiest possible ending to the story on the relationship of recent video production and cinema is the “Golden Lion” for the best artist awarded to Christian Marclay. Not even a month ago, the international jury of the 54th Venice biennale presented the Golden Lion for the best artist to Marclay and his 24-hour video installation “The Clock” – made of more than a thousand ilm frames at the same time telling the real time. A prize from such a distinctly mainstream institution as the 30 Tim Etchells: Starfucker, video, 2002. Davor Mezak: Zvrk/Whirl, video, 2002. gotovo devedeset minuta. Učinak, kako navodi David Bordwel,1 je bio usmjeravanje „pozornosti na svijet detalja kojima vrvi svaki kadar“. Jacobs je opisivao vlastito djelo u grinbergovskim terminima bilježeći kako je želio na „površinu iznijeti multiritmičku koliziju – borbu tamnih i svijetlih dvodimenzionalnih područja sile koja se od ruba do ruba bore za identitet obličja“. No, zašto upravo tekst o utjecajima ilma na suvremeno video stvaralaštvo? Naime, kao najsretniji mogući epilog pripovijesti o međuodnosima recentne video produkcije i ilma jest „Zlatni lav“ za najboljeg umjetnika dodijeljen Christianu Marclayu. Naime, prije nepunih mjesec dana, međunarodni žiri 54. Venecijanskog bijenala dodijelio je glavnu nagradu za najboljeg umjetnika upravo ovome autoru i njegovoj 24 satnoj video instalaciji „The Clock“- djelu sastavljenom od više od tisuću ilmskih kadrova koje istodobno prikazuje i realno vrijeme. Upravo nagrada tako izrazito mainstreamovske institucije kakvo jest venecijansko Bijenale mogla bi biti savršeni happy end za tekst o aproprijaciji ilmskih djela, found footageu i video produkciji. Nažalost, ovaj sretni „rasplet“, san svakog autora o preklapanju naručenog teksta i recentnih umjetničkih praksi, posjeduje glitch - naime, Marclayev „The clock“ zapravo vrlo malo duguje strategiji aproprijacije. Iako u utjecajnoj knjizi francuskog teoretičara i kustosa Nicolasa Bourriauda „Postproduction“, a koja opisuje i neke od pojava kojima se bavi ovaj tekst, autor navodi kako je aproprijacija prvi stupanj postupka postprodukcije. No, čitav Marclayev opus zapravo ukazuje na posve drugu pripovijest: ulazak estetike remixa na velika vrata dominantnih vizualnih strategija. Preciznije, ono što je posebno zanimljivo jest činjenica da Marclayevi umjetnički postupci proizlaze iz pojava DJ-ovskih Cut’n’mix postupaka, sampliranju, hiphopu odnosno principu recikliranja ili prenamjeni podatkovnih ileova. Uz to, nemoguće je zanemariti i transformaciju proizvodnih alata umjetnika (analogno u digitalno) koja je dovela do obrata u svijesti. Naime, dok je postmoderno odbijanje originalnosti, razvidno Venice biennale could be the perfect happy end for a text on the appropriation of ilms, found footage and video production. Unfortunately, this happy ending, every author’s dream on the overlapping of a commissioned text and recent artistic practices, has a glitch – in fact, Marclay’s “The Clock” actually owes very little to the appropriation strategy. Although the French theorist and curator Nicolas Bourriaud in his inluential book “Postproduction”, describing some of the phenomena dealt with in this text, says that appropriation is the irst stage of postproduction. However, the whole of Marclay’s work tells a different story: remix esthetics’ grand entrance into the dominant visual strategies. To be more precise, what is interesting is that Marclay’s artistic procedures originate in the DJ’s Cut’n’mix actions, sampling, hip hop, i.e. the principle of recycling or conversion of data iles. Besides, we cannot neglect the transformation of the artists’ tools (analogue into digital) which resulted in a change of conscience. As a matter of fact, while the post-modernist refusal of originality, visible in the appropriational works of authors like Robert Prince or Sheri Levine, was closer to its supposed antithesis – artistic originality – and Jacobs’ analysis of the possibilities of his own medium was a typically modernist idea – Marclay’s creative pattern is closer to phenomena like sampling, remixing, bricoleur strategies2, or even Apple’s commercial for iTunes from 2007 “Rip.Mix.Burn” than to post-modernist processes of appropriation. For phenomena that spent almost a decade on the margins of dominant culture in the mid 90s, like the activities of new media experimenters, cultural hackers, club DJs and VJs and texts by David Toop, Kodwo Eshun or Lev Manovich, Marclay’s award2 means a ticket not only to the front row of the visual scene but right into the VIP box. This thesis is corroborated not only by the publication of the afore mentioned Borriaud’s “Postproduction”, which was written after Toop’s and Ashun’s texts, but also by the artistic biography of Cristian Marclay saying that he, as visual artist, composer, turntableist4 and DJ, attracted by punk rock, began his artistic career 32 u aproprijacijskim djelima autora poput Roberta Princea ili Sheri Levine, bilo bliže svojoj navodnoj antitezi- umjetničkoj originalnosti – a Jacobsovo analiziranje mogućnosti vlastitog medija bilo tipično modernistička ideja - Marclayev kreativni obrazac srodniji je pojavama poput samplinga, remixa, bricoleurskih strategija2, ili čak appleovoj reklami za iTunse iz 2007. „Rip.Mix.Burn.“ nego postmodernističkim postupcima aproprijacije. Nagradom Marclayu3, fenomeni koji su gotovo desetljeće titrali na rubovima dominantne kulture od sredine 90ih, poput aktivnosti novomedijskih eksperimentatora, kulturalnih hackera, klupskih DJ-a i VJ-a te tekstova Davida Toopa, Kodwa Eshuna ili Leva Manovicha, dobile su ulaznice ne samo za prvi red spektakla unutar vizualne scene nego i VIP ložu. Potvrda ove teze razvidna je, ne samo u objavljivanju već spomenute Borriaudove „Postprodukcije“ a koja je, dodajmo, napisana nakon tekstova Toopa i Eshuna, već i kroz umjetničku biograiju Christiana Marclaya u kojoj se bilježi kako je Marclay, vizualni umjetnik, kompozitor, turntableist4 i DJ, privučen punk rockom, započeo umjetničku karijeru krajem sedamdesetih pjevajući uz unaprijed snimljene zvukove koristeći gramofon/e kao instrument improvizacije. Uz to, Marclay je kupovao rabljene gramofonske ploče (nikad skuplje od dolara) koje je potom manipulirao prilagođavajući ih svojim potrebama: proizvod je bio remix sampliranih zvukova od Johna Cage, preko Jane Birkin i Jimija Hendrixa do Frederica Chopina, mixana na nekoliko gramofona - praksa koje je zaključena nastupima s zvučnim imenima poput Johna Zorna ili grupom Sonic Youth. I prije „The Clock“- Marclay je stvorio fascinatnu video/glazbenu instalaciju naslovljenu „Video Quartet“(14-minutnu zvučnu video instalaciju naručila je SFMoMA 2007.) gdje je umixao ilmove i soundtrackove u kojima protagonisti sviraju/pjevaju; od Dustina Hoffmana koji svira ksilofone iz „Midnight Cowboy“, segmente muzičkih klipova, zapise koncertnih nastupa preko kultne Audrey Hepburn koja pjeva „Moon river“ u „Breakfast at Tiffany’s“. Unutar polja suvremene 33 at the end of the 70s singing to pre-recorded sounds using turntables as improvising instruments. Marclay also bought used records (never more expensive than a dollar) and manipulated them to suit his needs: the result was a remix of sampled sounds from John Cage through Jane Birkin and Jimi Hendrix to Frederic Chopin, mixed on a number of turntables – a practice concluded with performances with famous names like John Zorn or the Sonic Youth. Even before “The Clock” Marclay had created a fascinating video/musical installation entitled “Video Quartet” (a 14-minute sound and video installation commissioned by SFMoMA in 2007) where he mixed ilms and soundtracks in which the protagonists play/sing; from Dustin Hoffman playing the xylophone in “Midnight Cowboy”, musical clips segments, recordings of concerts, all the way to the cult Audrey Hepburn singing “Moon River” in “Breakfast at Tiffany’s”. Within the frame of contemporary popular music, “Video Quartet” is really nothing new – among other things it looks up to the innovative 7-minutecomposition by Grandmaster Flash „The Adventures of Grandmaster Flash on the Wheels of Steel“ from 1981. Speaking of visual experiments – Marclay is not so innovative here either: his experiments were anticipated by those of Paul D. Miller aka DJ Spooky or Robin Rimbaud aka Scanner. In 2004 Miller does his ilmic-musical-multimedial performance entitled „DJ Spooky’s Rebirth of a Nation“, a remix of Grifith’s „The Birth of a Nation“ where he puts together the choreographic recordings of Bill T. Jones and his own compositions. In 2000 Scanner writes: “Sampling and recontextualization of sound and image are very important in our contemporary culture: We sometimes fail to realize that. I think the problem with music is that it is controlled so much by the discographers. They really believe that they own that music in a way”.5 Four years later, Rimbaud makes his audio-visual performance in which he recontextualizes sounds and segments from Antonioni’s ilm “L’ Eclisse” creating a complex diary having sound images of Rome, where the ilm was shot, intertwine with Scanner’s music and J Tobias Anderson: Sliced Classics, video, 2003. Nicole Cousino: The Bird, video, 2002. popularne glazbe, „Video Quartet“ uistinu nije ništa novo - uzori se mogu pronaći, između ostalog, u inovativnoj sedam-minutnoj skladbi Grandmaster Flasha „The Adventures of Grandmaster Flash on the Wheels of Steel“ iz 1981. Kada je riječ o vizualnim eksperimentima - ni ovdje Marclay nije posve inovativan: preduhitrili su ga eksperimenti Paula D. Millera aka DJ Spooky ili Robina Rimbauda aka Scanner. Tako 2004. Miller izvodi svoju ilmskoglazbenu-multimedijsku izvedbu naslovljenu „DJ Spooky’s Rebirth of a Nation“, remix Grifithove „The Birth of a Nation“ u kojoj spaja koreografske zapise Billa T. Jonesa i vlastite skladbe. 2000. Scanner bilježi: „Postupci sampliranja i rekontekstualizacije zvuka i slike su vrlo važni u našoj današnjoj kulturi: To je nešto što ponekad ne uspijevamo shvatiti. Mislim da je s glazbom problem u tome što je izdavačke kuće toliko nadziru. Oni zaista misle da na neki način posjeduju tu glazbu“.5 Četiri godine poslije, Rimbaud izvodi audio-vizualni performans gdje rekontekstualizira zvukove i segmente Antonionijevog ilma „L’Eclisse“ tvoreći složeni dnevnik u kojemu se prožimaju zvučne slike Rima gdje je ilm snimljen, s Scannerovim skladbama te originalnim ilmskim zvukom i slikama. Naravno, nije moguće zanemariti i razvoj odnosno dostupnost softewra za montažu koji su pridonijeli zanimanju umjetnika a potom i teoretičara za remix postupke. Oko 2000. Godine, Appleov Final Cut Pro, program za montiranje, dosegao je cijenu koju je kustos Muzeja moderne umjetnosti iz San Francisca Benjamin Weil nazvao „consumer level“, dostupnom cijenom. Spoj tehnologije i nepresušnog obilja digitaliziranih slika percipiranih kao sirovina stvorio je uvjete koje je popularna glazba dosegla već u kasnim 80ima s albumima poput „It Takes a Nation of Millions to Hold us Back“ „Public Enemyja“ ili „3 Feet High and Raising“ trija „De La Soul“- ranim remek djelima hiphopa. Ipak, Marclayevo posezanje za postupcima preuzetim iz hiphopa ili strategijama karakterističnima za borce slobodnog softvera ne mogu objasniti njegovu mainstream popularnost 35 original ilm soundtrack and images. Of course, we cannot neglect the development and availability of editing software that has contributed to the interest of artists, and later also theorists, for remixing procedures. In the year 2000, Apple’s editing program Final Cut Pro, reached a price that Benjamin Weil, curator on the Museum of Modern Art in San Francisco, called “consumer level”. A mixture of technology and an inexhaustible abundance of digitalized images perceived as raw material, created the same conditions that popular music had reached in the late 80s with albums like „It Takes a Nation of Millions to Hold us Back“ by „Public Enemy“ or „3 Feet High and Raising“ by the trio „De La Soul“– early hip hop masterpieces. Nevertheless, Marclay’s reaching for techniques taken over from hip hop or strategies characteristic of free software ighters cannot explain his mainstream popularity, i.e. the queues of museum directors and gallerists eager to show Marclay’s recent installations in their institutions. It seems that the secret to the “Marclay phenomenon” partly lies in the mood of the audience. When viewing Marclay’s installations, the audience is thrilled in recognizing fragments of their favourite Hollywood ilms, they sing along to forgotten musicals, remember their favourite video clips from the 80s, are amazed at the abundance of unknown ilm material (lucky witnesses say that “The Clock” also features a young Milena Dravić looking at a wrist watch). Marclay consciously gives independence to his ilm fragments which he can later process, sample, transform, remodel – regardless of what they originally or contextually meant. The mentioned processes are equal to the observer’s processing or articulation of information in the digital era. Digitality implies the freedom to separate the meanings from information in order to process them again and have some new experience come out of that process. What also contributes is the fact that when consuming remixed works, we mobilize the certaeuvian procedure of silent production6 because to be using and genuinely observing a work of art means to have the odnosno redove muzejskih ravnatelja i galerista koji su željni prikazati Marclayeve recentne instalacije u vlastitim institucijama. Čini se da tajna „fenomena Marclay“ leži djelomično i u raspoloženju publike. Naime, gledajući Marclayeve instalacije publika oduševljeno prepoznaje fragmente omiljenih hollywoodskih ilmova, pjevuši uz zaboravljene mjuzikle, prisjeća se najdražih video klipova 80ih, čudi obilju nepoznate ilmske građe ( sretni svjedoci tvrde da se u „The Clock“ pojavljuje i Milena Dravić u mladim danima kako pokazuje na ručni sat). Marclay svjesno osamostaljuje svoje ilmske fragmente koje zatim može obrađivati, samplirati, preobražavati, remodelirati – neovisno o tome što su izvorno ili u svom kontekstu značili. Spomenuti postupci jednaki su promatračevoj obradi i artikulaciji informacija u digitalnoj eri. Jer digitalnost podrazumijeva upravo slobodu odvajanja značenja od informacije kako bi ih se ponovo obradilo i u tom procesu izronilo novo iskustvo. Zahvalna je i činjenica kako prilikom konzumacije remixiranih djela mobiliziramo certaeuovski postupak nečujne proizvodnje6 jer koristiti i uistinu promatrati određeno djelo znači i posjedovati znanje o njegovoj mogućnosti izvrtanja, remixiranja u našu korist. Uz to, spomenuta djela dokazuju kako suvremeni umjetnički proizvod prestaje biti krajnji cilj već jednostavno trenutak u beskonačnom lancu doprinosa, kako autora tako i konzumenta djela. Recentnih primjera remixiranja ilmova ima još7; tako Harun Farocki, proslavljeni ilmski teoretičar i umjetnik je 2006. kreirao video instalaciju naslovljenu „Workers Leaving the Factory in Eleven Decades“ u kojoj se na 12 horizontalno poredanih ekrana pojavljuju scene iz ilma kojeg su braća Lumiére snimila ispred tvornice u Lyonu u 19. Stoljeću. Uranjajući u ilmska desetljeća, Farocki je pronašao srodne scene iz „Metropolisa“ Fritza Langa (1926.) Chaplinovih „Modern Times“ (1936.) Antonioniove „Red Desert“ (1964.) do von Trierove „Dancer in the Dark“ (2000.) stvorivši tako novu diskurzivnu mrežu odnosa tvornica i knowledge of its potential twisting and remixing to our advantage. Besides, the mentioned works prove that the modern art products are no longer the end goal but simply a moment in the endless chain of contributions, from both the author and the consumer. There are other examples of ilm remixes; in 2006 Harun Farocki7, the renowned ilm theoretician and artist, created a video installation entitled „Workers Leaving the Factory in Eleven Decades“ in which scenes from the ilm made by the Lumiére brothers in front of a factory in Lyon in the 19th century, appear on 12 horizontally aligned screens. Delving into cinematic decades, Farocki found similar scenes in “Metropolis” by Fritz Lang (1926), Chaplin’s „Modern Times“ (1936), Antonioni’s „Red Desert“ (1964) and von Trier’s „Dancer in the Dark“ (2000) thus creating a new discursive network of relationships between factories and workers. The next example is the installation by the German author Hartmut Bitomsky entitled “Cinema to Death”, 2006, in which he uses 122 ilm frames saying the following: “When we say that death is a cinematographic axiom, it is not necessarily true at irst sight: cinematography is more interested in the killing and less in death itself. Cinematography problematizes actions, not states”. Bitomsky samples and remixes ilms like Hitchcock’s “Torn Curtain” (1966), Siegel’s „The Killers (1964), Godard’s „Bande a part“ (1964) or Vidor’s „Duel in the Sun“. Also interesting is the example of „Histoire du cinema“ by Klaus Wiborny who recorded ilm classics by Grifith, Murnau or Welles from the TV screen noting only the changes of the frames. He later created a 25-minute-whole made from around eight thousand cuts.8 Instead of the conclusion, we should shed light on the peak of popularity of the remixing strategy. The shift towards the popular is not starting from a center of power and then spreading like a tidal wave over various disciplines. That shift begins almost at the same time on different disciplinary locations, in totally differing conigurations and forms of 36 radnika. Sljedeći primjer je instalacija njemačkog autora Hartmuta Bitomskyja naslovljena „Cinema and Death“ iz 2006. u kojem koristi 122 ilmska kadra bilježeći sljedeće: „Kada se govori da je smrt kinematografski aksiom, to ne mora biti istina na prvi pogled: kinematograiju više zanima ubijanje a manje smrt sama po sebi. Kinematograija problematizira akcije a ne stanja“. Bitomsky samplira i remixira ilmove poput Hitchockovog „Torn Curtain (1966.)“, Siegelovih „The Killers (1964.), Godardov „Bande a part“ (1964.) ili Vidorov „Duel in the Sun“. Zanimljiv je i primjer „Histoire du cinema“ Klausa Wibornyja koji je s televizijskog ekrana snimao ilmske klasike od Grifitha, Murnaua ili Wellesa bilježeći samo promijene kadrova. Potom je stvorio 25 minutnu cijelinu od oko osam tisuća rezova.8 Umjesto zaključka, valja rasvijetliti vrhunac popularnosti strategije remixa. Obrat prema popularnom ne kreće iz jednog centra moći da bi se širio poput plimnog vala različitim disciplinama. Taj obrat gotovo istodobno započinje na različitim disciplinarnim lokacijama, u posve različitim koniguracijama i oblicima institucija i pojedinaca da bi se manifestirao u svojoj sveukupnosti u centrima moći kakvo je, između ostalih, venecijansko Bijenale vizualne umjetnosti. Činjenica jest se da je Christian Marclay stvorio popularna djela, u smislu onoga što se sviđa najvećem broju ljudi. Jednako tako, djela poput „The Clock“ i „Video Quartet“ postala su popularna i u smislu hallovske terminologije teatra popularnih fantazija što znači da ćemo ih vjerojatno iščitati upravo onako kako ih je njihov tvorac zamislio. Ukoliko se zapitamo zašto primjerice spomenuta djela multimedijskih nomada poput Scennera ili Paula D. Millera nisu osvojila nagrade mainstreamovskih institucija odgovor valja potražiti u njihovom karakteru. Ona, kada su nastala, još uvijek su se nalazila u području svojevrsne semiotičke gerile odnosno predstavljala su autentičan supkulturni proizvod koji je bio izazov hegemonijskom diskursu. No, sudbina supkulturnih strategija, kako bilježi 37 institutions and individuals in order to become manifest in its entirety in centers of power like, among others, the Venice Biennale of visual arts. It is a fact that Christian Marclay has created popular works, in the sense of what most people like. It is also true that works like “The Clock” and “Video Quartet” have become popular also in the sense of Hall’s terminology of theatre of popular fantasies meaning that we shall probably interpret them just the way their creator had intended. Should we ask ourselves why works by multimedia nomads like Scanner or Paul D. Miller did not win awards from mainstream institutions, the answer is probably in their character. In their time they were still in the area of a sort of semiotic guerilla, representing an authentic subcultural product that posed a challenge for the hegemonious discourse. As Hebidge9 says, the destiny of subcultural strategies is to take on a commercial form very soon after their irst appearance. Although they are created for personal needs and presentation practices, and thought up to be against hegemonies, they become a generally available, commercial form. Therefore, until the next disciplining of subversive and subcultural strategies and their inclusion in the dominant visual patterns, we ought to ind 24 hours for Marclay’s “The Clock” and enjoy. Leila Topić, curator at Museum of Contemporary Art, Zagreb. David Bordwel, „On the history of Film Style“, Croatian Film Association, 2005., p.133 …from a bricoleur’s point of view, (virtual) the world is a large production landscape, a huge construction site crammed with raw material, a self-rennovating machine for articulation, conversion and affects. Josephine Berry: „Naked code: net art and free software movement“, in Libra Libera, 2002. For more information on the term bricoleur, see the works of Claude Lévi-Strauss. 3 A shift in the paradigm of important awards is also visible in the 2010 Turner’s Award being presented to the Otholith group dealing with „post studio“ practice questioning the nature of recorded history using and combining found material from various sources, especially ilm footage (http://channel.tate.org.uk/media) 1 2 Hebidge9, jest da vrlo brzo nakon što se pojave stječu robni oblik. I premda nastale za vlastite potrebe i prezentacijske prakse te zamišljene protuhegemonijski, pretvaraju se u općedostupnu, tržišnu formu. Stoga, do sljedećeg discipliniranja subverzivnih i supkulturnih strategija i upisivanja istih u dominantne vizualne obrasce, valja pronaći 24 sata za Marclayev „The clock“ i uživati. Leila Topić je kustosica Muzeja suvremene umjetnosti u Zagrebu. 1 David Bordwel, „O povijesti ilmskog stila“, Hrvatski ilmski savez, 2005., str.133 2 …Iz brikolerskog gledišta, (virtualni) svijet se pokazuje kao jedan veliki proizvodni krajobraz, golemo gradilište zatrpano sirovinama, samoobnavljajući stroj artikulacije, preinačenja i afekata. Josephine Berry: „Goli kôd: net art i free softver pokret“, u Libra Libera, 2002. Za više o pojmu bricoleura potražiti djela Claudea Lévi-Straussa. 3 O smjeni paradigmi velikih nagrada govori i dodjeljivanje Turnerove nagrade 2010. Otholith grupi koji primjenjuje „post studio“ praksu propitujući prirodu zabilježene povijesti koristeći i kombinirajući pronađeni materijal iz raznih izvora, posebice ilmski materijala (http://channel.tate.org.uk/media) 4 Turntablism je vještina manipuliranja zvukovima i stvaranja glazbe uz korištenje gramofona. Wikipedia navodi kako je termin izmislio 1995. DJ Babu kako bi uveo razliku između DJ-a koji samo reproducira glazbu s ploča i onoga koji izvodi glazbu dirajući i manipulirajući gramofonske ploče i mixete kako bi proizveo zvukove. 5 U Libra Libera, Scanner: Zvukovni polaroidi, Zagreb, 2002. 6 Bourriaud navodi tvrdnju Michaela Certaua iz njegova djela „Practice of Everyday Life“ kako postoji skriveni pokret u paru Proizvođač-Potrošač gdje potrošač mobilizira skrivene postupke koji se mogu nazvati „nečujnom proizvodnjom“. U Nicolas Bourriaud, „Postproduction“, Lukas & Sternberg, NY, 2002. 7 Ovaj tekst bio bi nedovoljan za isticanje svih primjera stoga navodim samo one radove koje sam osobno vidjela strukturirane u izložbu/projekt: primjerice instalacije Farockog, Bitomskyja i Wibornyja na izložbi „Kino wie noch nie“ u bečkoj Zakladi Generali 2006. Praksa Rimbauda predstavljena je tijekom Projekta „Broadcating“ WHW-a 2002. dok je Millerova aktivnost i perfomans predstavljena kroz program “mamatronik“ Multimedijalnog instituta mama-e, 2004. 8 Za nadahnutiji i veoma duhovit opis učinka Wibornyjevog rada pogledati tekst Ante Jerića objavljen na www.kulturpunkt. hr/i/kulturoskop/509 9 U Dean Duda „Kulturalni studij-ishodišta i problemi“,AGM, Zagreb, 2002.str. 106. Turntablism is the art of manipulating sounds and creating music using phonograph turntables. Wikipedia says the term was coined by DJ Babu in 1995 to describe the difference between a DJ who just plays records, and one who performs by touching and moving the records, stylus and mixer to manipulate sound. 5 In Libra Libera, Scanner: Sound polaroids, Zagreb, 2002. 6 Bourriaud mentions Michael Certeau’s statement from his work „Practice of Everyday Life“ saying that there is hidden movement in the couple Producer-Consumer where the consumer mobilizes hidden procedures that can be called „silent production. In Nicolas Bourriaud, „Postproduction“, Lukas & Sternberg, NY, 2002. 7 This text is not enough to point out all examples, therefore, I am mentioning only those works I saw in person structured in an exhibition/project: for example installations by Farocki, Bitomsky and Wiborny at the exhibition „Kino wie noch nie“ at the Generali Foundation in Vienna in 2006. Rimbaud was presented within the project „Broadcating“ WHW 2002, while Miller’s activity and performance was presented through the program “mamatronic“ of the Multimedia Institute mama-e, 2004. 8 For a more inspired and very humorous description of the effect of Wiborny’s work see the text by Ante Jerić published at www.kulturpunkt.hr/i/kulturoskop/509 9 In Dean Duda „Cultural study - origins and problems“, AGM, Zagreb, 2002, p. 106. 4 Ivana Vučić: Nina in Berlin, fotograije/photographs 38 39 Ursula Mayer: Interiors, 16 mm ilm prebačen na dvd / 16 mm ilm transferred to dvd, 2006. 40 41 2002 - 2011 ARHIV / ARCHIVE CINEMANIAC CINEMANIAC umjetnici/artists umjetnici/artists Pogled na izložbu / installation view, 2004. (D. Mezak) 48 Pogled na izložbu / installation view, 2005. (J. T. Anderson) 49 Pogled na izložbu / installation view, 2006. (Alejandro Cesarco, Steven Easwood) 50 Pogled na izložbu / installation view, 2007. (Cecilia Lundqvist, Lala Raščič) 51 Pogled na izložbu / installation view, 2008. (Ana Hušman) 52 Pogled na izložbu / installation view, 2008. (Babette Mangolte) 53 Pogled na izložbu / installation view, 2010. Pogled na izložbu / installation view, 2009. (Rä di Martino, Ursula Mayer) 54 (Nevidljivi/ Invisible MAFAF – Tomislav Gotovac, Ivan Faktor, dokumentacija, documentation) 55 2004 - Branka Benčić, Frane Rogić, Davor Mezak 2005 - J. T. Anderson 2006 - Mirjana Grahovac - Vojinović, Branka Benčić, Leila Topić, Sandro Ðukić 2006 - Miro Ploj, Branka Benčić 2006 - Branka Benčić, Mladen Lučić 2006 - Steven Eastwood 2004 - Ivan Faktor 2008 - Anke Kempkes, Babette Mangolte, Ana Hušman IZLOŽBE / EXHIBITIONS Index 2002 - 2011 UMJETNICI / ARTISTS CINEMANIAC CINEMANIAC umjetnici/artists umjetnici/artists 2011 CINEMANIAC X - 10 godina 10 years Jagoda Kaloper / Žena u ogledalu Woman in the mirror; Renata Poljak / Radovi Works 2000 - 2010 2010 Informativni program - Nevidljivi MAFAF (alternativni ilm i MAFAF 1965 -1990) Invisible MAFAF (alternative ilm practices and MAFAF festival 1965 - 1990). 2009 Arhitektura i ilm: Subjektivni prostori Architecture and Cinema: Subjective spaces; Jonas Dahlberg, Ursula Mayer, Rä di Martino, Damir Očko. 2008 Babette Mangolte, Ana Hušman, Dora Katanić Fetish of looking, society fetish. Kustosica Curated by Branka Benčić and Anke Kempkes. 2007 Retro, remake, replay - Cecilia Lundqvist, Lala Raščić, Ivan Fijolić. 2006 Instalacija kao interface Installation as interface: Alejandro Cesarco, Steven Eastwood, Sandro Dukić. 2005 J Tobias Anderson: DeAction; Dan Oki: Oxygen 4, (MSU Museum of contemporary art Zagreb) CINEMANIAC CINEMANIAC CINEMANIAC CINEMANIAC umjetnici/artists umjetnici/artists umjetnici/artists umjetnici/artists 2004 Dennis Adams, David Crawford, Ivan Faktor, Nicole Hewitt, Ana Lozica, Davor Mezak, Mezak / Friščić / Rogić, Sandra Vitaljić. 2003 J T Anderson, Sylvia Borda, Petar Brajnović, Jasna Buić, Mladen Burić, Nicole Cousino, John Davies, Matija Debeljuh, Ivan Faktor, Andrea Flamini, Darko Fritz, Alen Floričić, Cameron Gainer, Shirin Kouladjie, Joanna Malinowska, Dalibor Martinis, Davor Mezak, Jillian Mcdonald, Hillary Mushkin, Viktor Rebernak, Sandra Sterle&Dan Oki. 2002 Bulent Bas, Bull.Miletic, Petar Brajnović, Tomislav Brajnović, Filip Cenek, Howie Cherman, Branko Cvjetičanin, Tim Etchells / Forced Entertainment, Andrea Flamini, Florin Fara, Danko Friščić, Nicole Hewitt, Tomislav Jurica Kaćunić, Miroslav Kulchitsky, Davor Mezak, Miriam Rhomberg, Frane Rogić, Aleksandra Rotar, Stanza, Ivana Vučić, Igor Zirojević Kustosica Curated by Branka Benčić Izložbeni prostori Exhibition venues MMC LUKA, gallery Aneks 62 A Adams Dennis, Anderson J. Tobias B Borda Sylvia Brajnović Petar Brajnović Tomislav Buić Jasna Bulent Bas, Burić Mladen C Cherman Howie Cesarco Alejandro Cizek Filip Cousino Nicole Crawford David Cvjetičanin Branko D Dahlberg Jonas Davies John Debeljuh Matija 63 Ð Ðukić Sandro E Eastwood Steven Etchells Tim F Faktor Ivan Fara Florin Fijolić Ivan Flamini Andrea Floričić Alen Friščić Danko Fritz Darko G Gainer Cameron Gotovac Tomislav (Antonio Lauer) H Hewitt Nicole Hušman Ana K Kaloper Jagoda Kaćunić Tomislav Jurica Katanić Dora Knežević Vladislav Kouladjie Shirin Kulchitsky Miroslav L Lozica Ana, Lundquist Cecilia, M Malinowska Joanna Mangolte Babette Martinis Dalibor Mayer Ursula Mcdonald Jillian Mezak Davor Miletić Bull Mushkin Hillary Mustać Zdravko O Očko Damir Oki Dan P Poljak Renata R Rä Di Martino Raščić Lala Rebernak Viktor Rhomberg Miriam Rogić Frane Rotar Alexandra S Stanza Sterle Sandra V Vitaljić Sandra Vučić Ivana Z Zirojević Igor IMPRESSUM Nakladnik Publisher Udruga MMC LUKA, Istarska 30, 52100 Pula, 052 224 316, www.mmcluka.hr, [email protected] Za nakladnika For the publisher Mirjana Grahovac - Vojinović Koncepcija izložbe i publikacije Exhibition and publication concept Branka Benčić Urednica Editor Branka Benčić Tekstovi Texts Branka Benčić, Steven Eastwood, Leila Topić, Mirjana Grahovac - Vojinović Fotograije Photographs ljubaznošću umjetnika, arhiv MMC LUKA, arhiv Glasa Istre, osobne arhive Courtesy of the artists, MMC LUKA archive, Glas Istre archive and personal archives Naslovnica Cover J Tobias Anderson: Sliced Classics, 2003. Postav izložbe Exhibition set-up Branka Benčić Tehnički postav Technical set-up Miro Ploj Prijevod Translation Iva Štekar Lektura Proofreading Miodrag Kalčić Kina Dizajn Graphic design Petra Počanić Organizacija Organization Udruga MMC LUKA Suradnica Assistant Tea Bičić Partner Partner Pula Film Festival Izložbeni prostori Exhibition venues Galerija Aneks, MMC LUKA, Istarska 30, Pula Tisak Print: Kerschoffset, Zagreb Naklada Number of copies 300 Izložba je realizirana sredstvima Ministarstva kulture RH, Hrvatskog audiovizualnog Centra, Grada Pule, Istarske županije, TZ grada Pule, OTP banke. ZAHVALE: Hvala svim umjetnicima i suradnicima, HDLU Istre gdje je sve počelo, nekadašnjim i sadašnjim djelatnicima MMC LUKA i Festivala; Petri Počanić. Prijateljima. Lovri. Mami i tati. Ova izložba posvećena je vama. - Branka MMC LUKA zahvaljuje Muzeju suvremene umjetnosti u Zagrebu na posudbi rada Jagode Kaloper, Glasu Istre na ustupljenim fotograijama, Muzeju suvremene umjetnosti Istre i Sajmu knjige na tehničkoj podršci; Pula ilm festivalu; svim institucijama i suradnicima koji su sudjelovali u realizaciji Cinemaniaca u proteklih deset godina, Robertu Pauletti, Gordani Trajković, Miru Ploju. ISBN 978-953-99730-6-1