Ana Opalić

Od portretado vremena

naslovna fotografija / coverMama na Srđu, Dubrovnik, ljeto 2007. Mom at Mount Srdj, Dubrovnik, summer 200725 x 31,5 cmFine art print on Hahnemuhle Photo Rag 500 gsm

Rozana i Pero, Zagreb, proljeće 1998.Rozana and Pero, Zagreb, spring 1998

25 x 25 cmFine art print on Hahnemuhle Photo Rag 500 gsm

OD PORTRETA DO VREMENA

„Ono što me najviše zanima u fotografiji je iza pogleda. Razmaknuti pogled i onda snimiti.“ U ovom autopoetičkom iskazu hrvatske fotografkinje Ane Opalić najpreciznije je objašnjen njen stvaralački čin. Šta je iza pogleda u izložbi Od portreta do vremena? To su serije fotografija njene majke u različitim raspoloženjima i stavovima koje impliciraju jedan topao, nježan odnos pun razumijevanja, crno-bijele i u koloru kao i fotografije njenih prijatelja i porodice. Od porodičnog neosjetno prelazi na estetsko, najeksplicitnije je to u crno-bijelim fotografijama gdje su one kontrapunkt. Neka su vrsta unutrašnjih monologa umjetnice jer vrijeme koje prolazi mijenja i razara sve. Džeri Uelsman kaže: „Fotoaparat je način da se od nepostojane, fluidne materije ide u susret jednoj drugoj stvarnosti.“ Ana Opalić to i radi, ide u susret drugoj stvarnosti, onoj iza pogleda u serijama fotografija koje radi dugo, vraća se istoj temi, ali je ona na fotografijama uvijek drugačija.

„Odnos između fotografisanog i fotografa nije neutralan. Štaviše, njime je nemoguće upravljati, jer se najvažnije odigrava u ravni nesvjesnog. Fotografija je prvenstveno rezultanta odnosa uspostavljenih između dvaju „to“, između nagonskih težnji. Fotografovo „to“ ima dakle određenu ulogu, ali trpi i uticaj drugog „to“ i psihičkog ustrojstva. U svakom fotografu odigrava se nesvjesno, dijalektička igra uticaja između njegovog „ja“ koje nastoji da predviđa i gospodari, njegovog „to“ koje izražava uglavnom nagone i težnje okrenute ka spolja (dakle, prema fotografisanom i fotografiji) i njegovog „nad-ja“ koje fotografa poistovjećuje s „čuvenim“ kolegama, to jest estetskim, stilskim i tehničkim uzorima i pravilima; ovi uzori svakog fotografa potčinjavaju i usmjeravaju, privlače i parališu čak, i pogotovo, kada hoće od njih da se ogradi. „To je bilo odglumljeno“ svi budu obmanuti ili mogu biti obmanuti u fotografiji - i fotografisani, i fotograf i posmatrač fotografije“ (Fransoa Sulaž, Estetika fotografije, Edicija Foto Artget, Kulturni centar Beograda 2008.)

Odnos između fotografisanog i fotografa nije neutralan, što je najeksplicitnije na fotografijama mame Ane Opalić. Bol, izmučenost, poneki sjetni pogled, tuga i ponovo radost smjenjuju se na ovim fotografijama. Mizanscen je krevet, šiblje, spavaćica i na kraju duga. Ove fotografije svjedoče o uticaju dva „to“. Fotografija je prvenstveno rezultanta odnosa uspostavljenih između dvaju „to“, između nagonskih težnji, a najbliži i najkompleksniji odnos je odnos pojedinca sa majkom, što se iščitava i na ovim fotografijama. „Promišljam portret kao „vrijeme provedeno sa osobom koju prikazuje“ kaže Ana Opalić, što važi i za njen video rad Pismo. „Htjela bi se vratiti u prošlost“ je prva rečenica pomenutog videa. Kamera kruži po različitim elementima pejzaža i prati je tjeskoban zvuk vjetra ili preciznije oluje. Kadrovi su zamagljeni, gledalac je pomalo zbunjen jer tekst je jasan, poetski konotiran. Odjednom se vide siluete njene mame i umjetnice. Shvatate da je riječ o ispovjesti i postavljanju pitanja gdje je tu umjetnica jer „Ako se i vratiš... Koja Ti će se vratiti? Nije važno što ćemo reći. Riječi su kao zatvorena vrata.“

Nataša Nikčević

Marina Nodilo, Dubrovnik, ljeto 2005.Marina Nodilo, Dubrovnik, summer 200525 x 25 cmFine art print on Hahnemuhle Photo Rag 500 gsm

FROM PORTRAIT TO TIME

“What most interests me in photography is placed behind the view. Move apart the view and then photograph it.“ This auto-poetic statement by the Croatian photographer Ana Opalic most accurately explains her creative act. What is there behind the view at the exhibition From Portrait to Time? These are series of photographs of her mother in a variety of moods and attitudes which imply a warm, loving relationship full of understanding, both black and white and in colour, as well as photos of her friends and family. She imperceptibly passes from the family to the aesthetic; this is most explicit in the black and white photographs where they are a counterpoint. They present some kind of internal monologues by the artist because time that passes changes and destroys everything. Jerry Uelsman says: “The camera is a fluid way of encountering that other reality”. This is precisely what Ana Opalic is doing - she is moving toward another reality, the one behind the views in the series of photographs that she has been creating over a long period of time, returning to the same subject that is always different on the photographs.

“The relationship between the photographed and the photographer is not neutral. Furthermore, it is impossible to manage because the most important is taking place in the unconscious level. Photography is primarily a resultant of the relationships established between the two “it”, between the instinctive aspirations. The photographer’s “it” therefore has a specific role but it also suffers the influence of the other “it” and psychical structure. In every photographer there takes place the unconscious, the dialectical game of influence between his “ego” that seeks to anticipate and dominate, his “it” which mainly expresses the instincts and aspirations facing outward (that is, towards the photographed and the photography) and his “super-ego” which identifies the photographer with his “famous” colleagues, that is, the aesthetic, stylistic and technical models and regulations; these models subordinate and direct, attract and even paralyze every photographer, especially when he wants to get distanced from them. “That was faked”, everyone is deceived or can be deceived in photography – the person photographed, the photographer as well as the observer of the photography”. (Francois Soulages, Aesthetics of Photography, Edition Foto Artget, Belgrade Cultural Centre, 2008)

The relationship between the photographed and the photographer is not neutral and this is at its most explicit in the photographs of Ana Opalic’s mother. Pain, exhaustion, a melancholy look here and there, sadness and joy again alternate in these photographs. The mise-en-scene is a bed, brushwood, a nightgown and finally, a rainbow. These photographs bear witness to the influence of the two “it”. Photography is primarily a resultant of the relationships established between the two “it”, between the instinctive aspirations while the closest and most complex relationship is the relationship of an individual with his mother, which can be

interpreted on these photographs. “I think about a portrait as ‘time spent with the person it depicts’”, says Ana Opalic. This also applies to her video work Letter. “I would like to go back in time” is the first sentence of the mentioned video. The camera circles around different elements of the landscape and is followed by the restless sound of the wind or, more precisely, the storm. Cadres are blurred; the viewer is somewhat confused because the text is clear, poetically connoted. Suddenly you can see the silhouettes of the artist and her mother. You realize that it is about a confession and asking the question where the artist is because “Even if you do come back ... Which one of you will come back? It is not important what we say. Words are like closed doors.”

Natasa Nikcevic

Mama u Voćarskoj, Zagreb, proljeće 2016.Mom at Vocarska street, Zagreb, spring 201625 x 31,5 cmFine art print on Hahnemuhle Photo Rag 500 gsm

Mama u Bunićevoj, Zagreb, proljeće 2007.Mom at Buniceva street, Zagreb, spring 2007

25 x 35 cmFine art print on Hahnemuhle Photo Rag 500 gsm

Slaven, Sv. Marija, Dubrovnik, proljeće 2006.Slaven, St.Mary’s, Dubrovnik, spring 200625 x 25 cmFine art print on Hahnemuhle Photo Rag 500 gsm

Ana Opalić rođena je 1972. godine u Dubrovniku.

1997. godine diplomirala je TV i filmsko snimanje na Akademiji dramskih umjetnosti u Zagrebu. Bavi se fotografijom, videom i dokumentarnim filmom. Samostalno izlaže od 1991. godine.

1997. je nagrađena na godišnjoj izložbi Hrvatskog fotosaveza kao najbolja mlada fotografkinja.

Od 2000. ima status samostalne umjetnice pri HZSU. 2003. predstavljala je Hrvatsku na Venecijanskom bijenalu (zajedno sa Borisom Cvjetanovićem).

2009. dobila je 2. nagradu na izložbi T-HTnagrada@msu.hr

2016. godine u koautorstvu sa umjetnicom Vesnom Mačković dobila je 3.nagradu na izložbi T-HTnagrada@msu.hr

Osnivačica je i urednica web portala Suvremena hrvatska fotografija (www.croatian-photography.com)

Rediteljka je i snimateljka dokumentarnog filma Još jednom (Ana Opalić i Noah Pintarić, 2014.) koji je premijerno prikazan na Zagreb Dox međunarodnom festivalu dokumentarnog filma.Trenutno snima novi dokumentarni film Lijek.

U slobodno vrijeme bavi se muzikom. Članica je benda U pol’ 9 kod Sabe te benda Ti, ja i moja mama. Živi i radi u Zagrebu.

Izlagala je na više samostalnih i kolektivnih izložbi u Hrvatskoj i inostranstvu.

Ana Opalic was born in 1972 in Dubrovnik.

She graduated in TV and movie filming at the Academy of Dramatic Arts in Zagreb in 1997.

She is engaged in photography, video and documentary film. She has been exhibiting individually since 1991.

She was awarded as Best Young Photographer at the Annual exhibition of the Croatian Photographic Union in 1997.

She has the status of freelance artist at the Croatian Freelance Artists Association since 2000.

She represented Croatia at the Venice Biennial (together with Boris Cvjetanovic) in 2003.

She won the 2nd prize at the T-HTnagrada@msu.hr exhibition in 2009. She was co-author with the artist Vesna Mackovic when she won the 3rd prize at the exhibition T-HTnagrada@msu.hr in 2016.

She is founder and editor of the web portal Contemporary Croatian Photography (www.croatian-photography.com).

She is director and camerawoman of the documentary film Once Again (Ana Opalic and Noah Pintaric, 2014) which was premiered at the Zagreb Dox International Documentary Film Festival.

Currently she is filming a new documentary film entitled The Cure.

In her spare time she is engaged in music. She is a member of the group U pol ‘9 kod Sabe and the group Ti, ja i moja mama. She lives and works in Zagreb.

She has exhibited at several solo and group exhibitions in Croatia and abroad.

www.csucg.co.me Ana Opalić Galerija Klub Kruševac bb, PodgoricaIzdavač Centar savremene umjetnosti Crne Gore Za izdavača Nenad Šoškić

Kustoskinja Biljana Keković Tekst Nataša Nikčević Prevod na engleski Darja Marija VuletićFotografije Ana Opalić Tehnička realizacija izložbe Novica Vuković, Sava Radević, Nebojša

Raspopović Tiraž 150 Štampa DPC, Podgorica septembar 2016

ISBN978-86-85797-67-5COBISS.CG-ID30879248