knjblokpripema

8/6/2019 KNJBLOKpripema

1/32

- 3

-

-

-cinemaniac2009

-

/arhtturfl:subjtvprostor

JosDhlbrg,Rdmrto,

UrsulmyrDrO

/Architectureandlm:Thesubjective

spacesofJonasDahlberg,RdiMartino,

UrsulaMayerandDamirOko/

-BRankaBeni


2/32

4 -

-

-

-

CINEMANIAC 2009/ arttur l: subjtv prostor Jos Dlbr, R dmrto, Ursul mr Dr O /-

nsto z lj z prdstvljj ovj z svjt ujtost l, rdov rsrju ujt dj, pror CINEMANIAC rlzr s od 2002. od Fstvlu ro l u Pul. izlob od svoj pot prdstvlj tvstrv otst oj oouuj prztrj ujt djl, jstosusrt u oj s trrju drutv, ultur, tolo, djs stts

spt, sjt oj s susru ujtost, ujt, sttuj publ,stvrju ov obl surdj probltzrju ptj odos l vzulujtost t prztr rvts trol produj ujto vd,sprtlo ltrtvo l ultdjl stlj.c ulz u prostor lrj oj postj jsto przvj portsl. Projo prostor uvjt ldj st s ouost ovo drujprstup. Sl z projtor u lrjso otstu jjju so zlprostor o jjju sustvo dovljj ujtost. Projj trsforrjuzd lrjs prostor, rju rtturu oju zuzju t stvrju bjt

oj stj zu opt luzj, otrj sptl, ujtost toloj,stvrju od protr osjj urojost, u u ov vzul uvjt uprozvodj subjtvost. -Fls stlj struju odov torj, ls sdrj ltrtulrju rsv t pros o b uzl luzorost lsodj, stovro zdrvju fsju j. Ttzrju o ls vdo stlj projj u suvroj ujtost, dolzo do pot,do lvj o luzj so stu sl z projtor, u osovtorf (torfso prt), u vrj d su s sl pol

projrt. Pr Doqu P, od camere obscure pro Uls vl ustu br Lur do suvr vdo stlj, luzju rlost oouujsustv o projj port sl (1 ), do pr Wltru Bju,torfs prt prdstvlj pold oj s prj d dj j oozslt. aspt rlost ot prto postj jz jrtjlj spt, zld posrd stvrost prvj u svjtu t. (2) Uroj u projju,u prostor oj spujvju sl z projtor, osjo s uroj u ju, rttur postoj zo prostor trsforr s u prptvo polj.-

4 -

-

-


3/32

- 5

-

-

-

CINEMANIAC 2009/ Architecture ad lm: The subjectie spaces of Joas Dahlber, Rdi Martio, Ursula Maer ad Damir Oo /-

Derii from a desire for the presetatio of ioatios from the world of art ad lm, ofwors at the crossroads of the art media, sice 2002 the proramme Ciemaiac has beea cotiued presece at the Film Festial i Pula. The exhibitio has from its beiisrepreseted a actie ad iestiatie cotext, which eables the presetatio ofartwors, a place of ecouter i which social, cultural, techoloical, media ad aesthetic

aspects are iterated, itersectios at which art ad artists, istitutios ad audiecesmeet, create ew forms of collaboratio b tai issue with the relatio of lm ad theisual arts ad preseti Croatia ad iteratioal productio of art ideo, experimetalad alteratie lm ad multimedia istallatios.Ciemaiac moes ito the space of the aller, which ow becomes a place for thepresetatio of moi pictures. The chae of space ad coditios of iewi bri outthe possibilit of a ew ad differet approach. Projected imaes i a aller cotext doot chae just the exhibitio space, but also chae our experiece ad perceptio ofart. Projectios trasform the set aller space, eae the architecture that the occup

ad create a ambiece that comes ito bei betwee optics ad illusio, eometr adspectacle, art ad techolo, creati i the obserer a feeli of immersio, eforciew isual coditios i the productio of subjectiit.Film istallatios explore the codes of ciematoraph, the cotets ad tools of lm,articulati the reexie ad techical processes showi the illusoriess of the lmmedium, ad at the same time retaii their fasciatio with it. B mai a theme out oflm ad ideo istallatios ad projectios i cotemporar art, we arrie at the beii,at a emphasis o the power of illusio oer the er orii of imaes from projectors, atthe basis of the ciematoraph (the ciematoraphic machie) at a time whe pictures

started to be projected. Accordi to Domiique Paii, from the camera obscura ia Etrof the trai ito the statio of the Lumiere brothers to cotemporar ideo istallatios,the illusio of realit eables the suestie power of the projectio of moi pictures (1)while accordi to Walter Bejami, the ciematoraphic deice represets a iew thatcould ot preiousl eer or awhere bee imaied. The aspect of realit uhideredb the deice becomes the most articial of its aspects, ad the appearace of immediaterealit a apparitio i the techical world. (2) Immersed i the projectio, i the spacethat is lled up with pictures from the projector, we feel as if immersed i a ctio, ad thearchitecture of the existi phsical space is trasformed ito a perceptie eld.-

- 5

-

-


4/32

6 -

-

--

Ovoodj zlob pout rzlt tod uzt spu vzu

port sl (l, vd) rttur, zj oj prozvod forrju

s oo oj pojd lov, ls otv l sv ostrurju

subjtvtt u prostor ovr, t psolooj sboloj vltt

rttur, o odos zro ool, blo stvro rlo, blo

ujto rtjlo (zs, sorj). mo prozvodj zj,

jr v doj, ubojstvo l poljub, rzvj rzlt ootj spr

jst doj ( pr, dzlo, od, sob l ul). moo slobodo ustvrdtd postoj l oj sdr slu rttur. arttur l rtulrju

vot prostor, drju dzju bt zstjlo prostor stvrju

sustv przor vot stuj. evoluj t optul postup

prz prostoro ovr podrzujv sbolo l zstjlo jdstvo

rttoso prostor tropoloo jst, bz obzr d l j u so rdu

prz ljuds subjt l p j. V so drrj uovrvj przor,

drj proporj, lt rsvjt plr ostruju przor odro

prostoro struturrj, ortj sp prostor/jst dodto postjo opsvj ool ps stj protost. Rjju, ur

(odr) rttur l (torfs rprztj). Prostor j sv

o jdo od osov zrj srdstv, jsto tvorb zj, do jz

l svoj zrj srdstv stt l oouv posbo

sldvj prostor stvrost, o odos spr prpj prostor

vr, prblvju s Blrdovo poju "poto prostor" o prostor

j oj sdr oprro vrj u slub j oprsj vr.

Os to, rttur j dolo sv olo rz: o sttuolo

oruj, o z prostor (utrl l ) o rprztj. Od ujt

prs s rj 1960- od postj do rto dsurs, stlj o

prostor rtrtorjlzj sp 'otrju' sttuol ovr

ujtost, postju prld prostor z rzvoj sptvj dj, subjtvtt,

otpor, t rproduj, frstrutur ouj, fooloj

stt, dstblzrju ovolu pozju prztj ujto djl,

jov rlj rpj publ. (3)

-


5/32

- 7

-

- -

This ears exhibitio will attempt b arious methods to draw attetio to the specic

coectio of moi pictures (lm ad ideo) ad architecture, the meais that the

produce formi aroud the maer i which idiidual lms, lm motifs or sequeces

costruct subjectiit i spatial framewors, ad i the pscholoical or smbolic qualit of

architecture, as well as i relatios of a built eiromet, whether substatial ad real or

articial (mise-e-scee, set desi). I spite of the productio of meais, because some

eet, a murder or a iss, will deelop differet cootatios is--is the place of the eet

(a par, a lift, a corridor, room or street). We ca see quite freel that there is o lm at all thatdoes ot cotai some imae of architecture. Architecture ad lm articulate lii spaces,

dee the dimesio ad bei of the existetial space creati experietial scees of life

situatios. The eolutio of the techical ad coceptual procedures of he represetatio of

the spatial framewor presupposes a smbolic or existetial uit of the architectural space

ad the athropoloical place, irrespectie of whether i the wor itself the huma subject

is show or is ot. The actual compositio ad frami of the scee, the deitio of the

proportios, of the elemets of lihti impl the costructio of the scee ad a certai

spatial structuri, ad the use of a specic space/place additioall becomes a maer ofdescribi the emotioal ad pschic states of the protaoist. I a word, the iterpla of

(moder) architecture ad lm (ciematoraphic represetatio). Space is uderstood as

oe of the basic expressie resources, a place for the eeratio of meais, while the

lauae of a lm with its expressie resources ad stactic priciples maes possible a

special comprehesio of both space ad realit, as well as attitudes towards the perceptio

of space ad time, approximati to Bachelards cocept of poetic space as a space of the

imaiatio that cotais codesed time ad is there for the compressio of time.

Apart from that, architecture is ideoloicall uderstood at seeral leels: as istitutioal

surroudi, as phsical space (eutral or ot) ad as represetatio. From the artistic

practices from the ed of the 1960s it has become a part of the critical discourse, ad

istallatios as spaces of re-territorialisatio i a specic maer cotamiate the

istitutioal framewors of art, became a appropriate space for the deelopmet ad testi

of media, subjectiit, resistace, techical reproductio, ifrastructures of commuicatio,

pheomeolo ad aesthetics, destabilisi the coetioal positio of the presetatio of

the art wor, its relatio to ad receptio b the audiece. (3)

-


6/32

8 -

-

--

U zlo rdov tvro ujt View through a Park (Pogled kroz park)

JoNAsA DAhlbErgA,August 2008 (Kolovoz 2008)r DI MArtINo, Interiors

(Interijeri) UrsUlE MAyEr The Boy with a Magic Horn (Djeak s arobnim

rogom)DAMIrA okA prz prostor trjr strjr prdstvljju

poprt zbvj, prfortv jst z otvor rtv obl jst dj

s port r, bjt, rttos strutur, lzb djloz, susru

s protost. U j s zru odos zu rttos strutur

ouost sojl trj, bz obzr d l u j obtv ovj l , prostor prot ljudso svju, dojt s prostoro prot svjs.

(4) arttur postoj o rprztj, o z, dulost rttur o

(zstjlo pstrto) prostor jz sl.

-


7/32

- 9

-

- -

I the wors of four artists exhibited View through a Parkof JoNAs DAhlbErg,August

2008 b r DI MArtINo,Interiors of UrsUlA MAyEr ad The Boy with the Magic Horn

of DAMIr oko the spaces represeted, iteriors ad exteriors represet scees of eets,

performatie places for ope arratie forms places where the moemets of the camera,

the ambieces, the architectural structures, the music ad dialoues, ecouter with the

protaoists. I them we ca see the relatios betwee architectural structures ad the

possibilities of social iteractio, irrespectie of whether ma resides i them or ot, ad

the space peraded with huma cosciousess is substituted for b a space peradedb the ucoscious. (4) Architecture exists as represetatio, as si, ad the dualit of

architecture as (existetial ad abstract) space ad its imae.

-


8/32

10 -

-

--

Svj o su lzb rttur jpstrtj od sv ujtost roo

j prvo so po sb rzuljvo. Uprvo lzb u rdov DAMIrA

okAzuz zju, fortvu pozju. UDjeaku s arobnim rogom,

lzb alfrd Stt prdstvlj supsttut z djlo, rdov su oblov

poput ls sfoj oj s rtvost rd lzbo opozjo

oto. kod Dr O poprt zbvj j ruvo zdj put

rdlt Svul bol u Zrbu, o prdtso prjr proplo

utopjso projt odr. Do dovr rdj ov vl uspjl drvvstj svoj ooljl ostruj btos zdov tvor zzoru

rttosu pozdu rd, uoj blso sjvrjo rotzu cspr

Dvd Frdr, vdo, tlj wrjso srju, pozuj sovtu

luou ru oju rju lov ostr u orsu vrjtu postoj

rttur o b opsl svoju ovu sojlu otvu pozju, prostor oj

postoj dj zu d zborv, zu oo to j blo, to j trblo bt

oo to j. (5) "U The Boy with a Magic Horn lov su spuj rtro

przo oju pruzju od prostor. To jov ost zprvo jdo ou

postojt o ors produt postoj rttur zrb Svul

bol. Lov postju do rttur, drdj vuu jd pr o

uspju", stvlj utor. (6)

--DamiR OkO: The BOy WiTh a magic hORn,2007, hD ViDeO / (ViDeO STiLL)

-


9/32

- 11

-

- -

Uderstadi that music ad architecture are the most abstract of all the arts is broadl

accepted ad i itself itelliible. It is music i the wors of DAMIr oko that taes

a siicat ad ee a formatie positio. I The Boy with the Magic Horn the music

of Alfred Schitte represets a substitute for dialoue, ad the wors are formed lie

lm smphoies the arratiit of which is built with musical compositio ad motae.

I Damir Oo the site of eets is the ruied buildi of the abadoed site of the

Zareb Uiersit Hospital, paradimatic example of the dowfall of a utopia project of

moderism. While the uished buildi of this reat usuccessful state iestmet,with its bare costructios ad cocrete walls, creates a uca architectural

bacroud to the wor, of a feeli close to the orther Romaticism of Caspar Daid

Friedrich, the ideo, based o a Waeria sceario, shows a dream ad hallucioeic

ame that is plaed b ures costumed i a oraic ariat of a o-existet

architecture i order to describe their ew social ad emotioal positio, a space that

exists somewhere betwee hope ad obliio, betwee what was, what should be, ad

what is. (5). I The Boy with the Magic Horn the ures are lled with a characteristic

emptiess that the tae from the space. Thus their costumes ca actuall ol exist as

a oraic extesio of the o-existet architecture of Zarebs Uiersit hospital. The

ures become part of the architecture, a superstructure o the acuum of a stor of

failure, cotiues the author. (6)

--DAMIR OkO: THE BOy WITH A MAgIC HORn,2007, HD vIDEO / (vIDEO STILL)

--


10/32

12 -

-

-

-

-

-DamiR OkO: The BOy WiTh a magic hORn, 2007, hD ViDeO / (ViDeO STiLL) / DAMIR OkO: THE BOy WITH A MAgIC HORn, 2007, HD vIDEO / (vIDEO STILL)

--


11/32

- 13

-

-

-

-

-DamiR OkO: The BOy WiTh a magic hORn, 2007, hD ViDeO / (ViDeO STiLL) / DAMIR OkO: THE BOy WITH A MAgIC HORn, 2007, HD vIDEO / (vIDEO STILL)

--


12/32

14 -

-

InterijeriUrsUlE MAyEr o to slov upuuj, przuju trjr odrst

obtljs u u Lodou, drs 2 Wllow Rod, rtt ero goldr

oj j ujdo jov ult do u oj j sjt zt prvt

zbr ujt rdov z sto prod. n tj prostor sldvo

uzju u obzr jov forl rtrst, v o prdstvlj zrz

odro voto stl. Dvj protost sjt u ovj jso dr

povjs bjt, prdstvljju lov u ovol rtv ovr.

Subjt ovdj j jd tr, prfortv j rttur, prfortvostrtulr u odosu zu prostor, subjt r. moto s zjjuju

rzlt plov trjr s l bz lov, zjo ro bjl drov s o

u boj, drov l strj , frt s tjl u ltoj odj,

ujt djl l prostor, to d su lov uovr uodoso rttur

ujt prdt o sbol rvzt. Ptr Woll j u jz "arttur

Fl" (Architecture and cinema: Places and Non Places) stuo o su stubt

sbol slt rv. njov zj z vrtlu orzju prostor

dopros strutur tjl rv. Przor stubt u povjst torj

svojo fotoou, opozjo, strjo, utv sj

prsptv srj prdstvljju zo drt lt, poput oo

u "Vrtolv" alfrd hto l stubt u Odss u lu Srj esst,

u sjj przvju przor lbrt. Uprvo j loju otv lbrt Ursul

mr sorstl uInterijerima justpozjo przor stubt sulptur Brbr

hpwort o b dobl jdstv zjs prr trut pojl

sustvost sbolu przor.

-

-URSULa mayeR: inTeRiORS, 2006, SUPeR 16 mm,cOLOR anD BLack & WhiTe. / (FiLm STiLL)

- -


13/32

- 15

-

Interiors of UrsUlA MAyEr, as the title suests, shows iteriors of a moderist famil

house i Lodo, at the address 2 Willow Road, b architect Ero golder, which

is at the same time his cult house i which a celebrated priate collectio of wors of

art of the same period is located. I this wa we do ot see the space b tai ito

cosideratio its formal characteristics, rather it represets a reectio of a certai

life stle. The two protaoists located i this clearl deed historical ambiece do

ot represet ures i coetioal arratie terms. The subject here is ot the ol

actor, for the architecture is almost performatie, ad performatieess is articulatedi the relatio betwee space, subject ad camera. I the motae, arious plaes

of the iterior alterate, with or without ures, blac ad white frames alterati

with those i colour, frames of ouer ad older wome, framets of female bodies

i eleat clothi, artistic wors or spaces, such that the ures are framed b the

iterrelatio of architecture ad wors of art as smbol ad requisite Peter Wolle, i

the booArchitecture and Cinema: Places and Non-Places , poited out the wa that

stairwells are the smbolic seleto of a buildi. Their importace for the ertical

oraisatio of space cotributes to the structure of the bod of a buildi. Scees

of stairs i the histor of ciematoraph, with their photoeic charm, compositio,

asmmetr, camera ales ad perspectie foreshorteis represet a exceptioall

dramatic elemet, lie that i Alfred Hitchcocs Vertigo or the stairwell i Odessa i

the lm of Serei Eisestei, ad recall to memor the scees of the labrith. It is

actuall the aalo of the motif of labrith that Ursula Maer used i Iteriors throuh

the juxtapositio of the stairs ad the sculpture of Barbara Hepworth i order to obtai

a uique sematicall impreated momet ad to ehace the suestieess ad

smbolism of the scee.

--URSULA MAyER: InTERIORS, 2006, SUPER 16 MM,COLOR AnD BLACk & WHITE. / (FILM STILL)

--


14/32

16 -

--

-URSULa mayeR: inTeRiORS, 2006, SUPeR 16 mm, cOLOR anD BLack & WhiTe. / (FiLm STiLL)

--


15/32

- 17

--

-URSULA MAyER: InTERIORS, 2006, SUPER 16 MM, COLOR AnD BLACk & WHITE. / (FILM STILL)

--

Kolo o 2008 r DI MArtINo f d j dj l


16/32

18 -

-

Kolovoz 2008r DI MArtINo forr s oo przor srdj djlo s.

Do j o odl vzul rprztj ssv u sldu s uobjo

przo rzovor ur rprzttvo uutrj stubtu

v rs (bourgeois) pl, o ut prpd ovolo

djlou, v dostrur, budu d su rpl lov pjv, jov

r pruzt z ovs slov, to dopros rtjlost so

przor lv jov ostrur rtr. Ovv vol zvdb sso

zovoro, odoso otpjvo zjtju rju zv otst, u poljbzro l psurd u fuj j dostruj zj. Poovo lzo

slu stubt o lt rttoso rj, t drturj

prostor jst rtulj psoloo ft. Fls zrj srdstv,

ddtoj ostloj tosfr bjtu oj podsj lodr

strj rzdoblj ls povjst, protost zldju o d su s l

rvo jstu, do zrzut przor l rdj stvrju pord bz lo l

rol vz. Sl zvuu o d j zo srott dopros ftu

zudost.

--R Di maRTinO: aUgUST 2008, 16mmTRanSFeRReD TO DVD / (ViDeO STiLL)

- -

August 2008 of r DI MArtINo is ie shape aroud the presetatio of a cetral


17/32

- 19

-

August 2008 ofr DI MArtINo is ie shape aroud the presetatio of a cetral

dialoue scee. While as model of isual represetatio it is completel i lie with the

usual id of depictio of a coersatio of a ma ad a woma o a rad iteral

staircase of some rad boureois masio, it does ot, howeer, belo to the

coetioal dialoue, rather, decostructs it, sice the replies of the characters are

su, ad their seteces are tae from ewspaper headlies, which cotributes to

the articialit of the actual scee ad stresses its costructed ature. Such a ocal

performace ad the sese of what is said or su displace the arratio out of itscotext ito the eld of the bizarre or absurd ad sere for the purpose of decostructi

the meai. Oce aai we come upo a imae of a staircase as a elemet of

the architectural imaiar, the ciematic dramatur of space ad the place of the

articulatio of a pscholoical effect. With ciematoraphic expressie resources, i

a decadet ad ostalic atmosphere ad setti that recalls the melodramas of the

older period of lm histor, the protaoists seem as thouh the had bee cauht out

of place, while the froze scees deoid of a actio create a order without a loical

or ratioal coectio. Souds ad imaes seem to hae eaded schroicit ad

cotribute to the effect of mai-strae.

--R DI MARTInO: AUgUST 2008, 16MMTRAnSFERRED TO DvD / (vIDEO STILL)

--


18/32

20 -

--

-R Di maRTinO: aUgUST 2008, 16mm TRanSFeRReD TO DVD / (ViDeO STiLL)

--


19/32

- 21

--

-R DI MARTInO: AUgUST 2008, 16MM TRAnSFERRED TO DvD / (vIDEO STILL)

--

U duo pruto dru u Pogledu kroz park JoNAsA DAhlbErgA r


20/32

22 -

-

U duo pruto dru uPogledu kroz parkJoNAsA DAhlbErgA r

polo z jdo st, pro pr lz u dru st. Przor prdstvlj rtturu

ool grr Pr u nw yoru, jdo prostlo prvto pr

mttu, oj postj prdt ujtov zj trprtj,

prdstvlj ztvoru otrolru oolu. mlol prz trjr

strjr stovro su sbls rob. To su prostor rotrso

rtr o "stroj z prtvrj prvro u vjo". cro-bjl przor,

osjj odsutost prz, vrj oj o d stoj, doju s unheimlich,

to j dodto potro vrlo sporo lzo ro oj usporv vrj

rdj. U ljpot prozvd j uprvo produlj trjj. gldtlj j

zvd protrj przor, bljj jov foolo obljj,

tztt, otrst, rtj, dtlj (7), utor o d dj ouost d

s sto u svjtu oj przuj, d protro strujo. Pr

Dluzu, tvo przvj vr, jov vzulzj prpd st opt

svojstv prdstvlj dj poprju svojstv "tu" (liquid time) oo

o d lbd zu prolost sdjost, oslr zu jv s.

--JOnaS DahLBeRg: VieW ThROUgh a PaRk,2009. SingLe channeL ViDeO inSTaLLaTiOn(ViDeO STiLL)

-

-I the lo uiterrupted frame of View through a Parkof JoNAs DAhlbErg the camera


21/32

- 23

-

p g

slowl slides ia the par from oe at to aother. The scee presets the architecture

ad eiromet of gramerc Par i new yor, the ol remaii priate par i

Mahatta, which has become the object of the artists iterest ad iterpretatio, ad

represets a closed ad cotrolled eiromet. The melacholic empt iteriors ad

exteriors are at the same time spectral ad maical. These are spaces of a romaticist

character as machie for the trasformatio of the temporar ito the eteral. The

blac ad white scees, the feelis of absece ad emptiess, time that seems to be

stadi still, ie the impressio of bei unheimlich, which additioall poits up the

er slow pa of the camera that slows dow the time of the actio ee. The effect

of beaut is produced actuall b this exteded duratio. The iewer is seduced b the

obseratio of the scee, the recordi of its pheomeoloical characteristics, the

itesities, cotrasts, moemets, details (7) ad the author is as if ii us the chace

to ihabit the world that he shows us, to obsere ad explore. Accordi to Deleuze,

this id of rederi of time, its isualisatio, belos to pure optical properties ad

represets a maer where, tai o the properties of liquid time it seems to be

oati betwee past ad preset, oscillati betwee wai ad dreami.--JOnAS DAHLBERg: vIEW THROUgH A PARk, 2009.SIngLE CHAnnEL vIDEO InSTALLATIOn(vIDEO STILL)

--


22/32

24 -

--

-JOnaS DahLBeRg: VieW ThROUgh a PaRk, 2009. SingLe channeL ViDeO inSTaLLaTiOn / (ViDeO STiLL)

--


23/32

- 25

--

-JOnAS DAHLBERg: vIEW THROUgH A PARk, 2009. SIngLE CHAnnEL vIDEO InSTALLATIOn / (vIDEO STILL)

-

-U s s (R d mrto) l bz djlo (Dr Oo, Ursul mr, Jos

-(1) Doqu P:Should we put an


24/32

26 -

-

Dlbr), u prostor sprj od ljud jov zo prsustv, poput

Pogleda kroz parkJos Dlbr u oj tr, u prostoru j odro

prsustvo ovj put pold, posrdstvo t svojstv r

objtv uljz, o oj ld. S lo s povzuju tr rzlt vrst pold:

pold r oj blj doj, pold publ pold to rzjjuju

lov s lso plt. Uprvo j pozj pold, zvljuju ouost

jov vrrj, prjtj ls zlj, oo to odruj l.

Publ j psorbr stujo ru ortj subjtv r.

mr odvor l zr lrjs prostor pozj ldtlj porvju s

vojrsto to publ lvju luzju zvrvj u prvt svjt.

kr postj z luzj z prozvodju rsso prostor, port

optbl ljudso ou doloj prdstvljj oj s vrt oo prpj

subjt. O t ouost otrv opto-svjso o to

j psolz otrl oso-svjso. (8) Ovo sloo udjlovj

pold rtrsto j z l, rspd oolt for ovol

prvl prdstvlj osostljj lt ls for. ko opls rzvj sustv rprztj l postvlj ptj o oj s

(oblovo dot porto) struturr vj ut ldj. Tjo

svoj povjst rzvo j posb prvd stvrost. Porvju s ptost

zu dzj vr prostor ls odov ovj stvrju pold,

svjt, prdt, luzju, ltrtv l proptuj dostrur uprvo

uutrj zotost odos pr vjs fortv strutur.(9) Prostor

j to poprt odro drtso zbvj, povjso doj l prz

voto bjt, roz pojvu dst zu zro ool rjvz z ljuds subjt, rttos l urb prostor postj prdto

utooo vzulo sprt. (10 )

-

brANkA bENI

end to a projection, Otobr 110, miT

Prss, 2004 (str. 23-40)

(2) Wltr Bj: Umjetniko djelo

u razdoblju tehnike reprodukcije, U,

78/79, Zrb, 2006 (str. 22- 32)

(3) crss ils:Into the light -

Projected image in American art

1964 1977, t. Wt musu of

ar art, 2002.



78/79, Zrb, 2006 (str. 22- 32)

(5) Dr Oo, zjv o rdu

(6) z rzovor s Jso J,

glrj mroslv krljv, Zrb,

2007.

(7) Slvoj :Pervertitov vodi kroz

lm, atbrbrus hDP, Zrb, 2008.

(str. 9)



78/79, Zrb, 2006 (str. 22 - 32)

(9) Lur mulv: Vizualni uitak i

narativni lm, u: Feministika kritika i teorija likovnih umjetnosti, ctr

z s studj, Zrb, 1999. (str.

65 77)

(10) mroj mrdulj, prvt

orspodj

-

-

-I the scees with (R di Martio) or without dialoue (Damir Oo, Ursula Maer, Joas

-(1) Domiique Paii:Should we put an end


25/32

- 27

-

Dahlber), i scees emptied of people ad their phsical presece, lie View through

a Parkof Joas Dahlber, i which there are o actors, i a space that is the ecoded

presece of ma ia the aze, throuh the mediatio of the techical characteristics of

the camera - the les the itruder, the ee that sees. Three differece ids of aze are

coected with lm: that of the camera that records some eet, the aze of the public

ad the loos that the people o the scree exchae with each other. It is actuall the

positio of the loo, thas to the possibilit of its ariatio, its shifti of emphasis

ad setti-forth that determies the lm. The audiece is absorbed with the situatio

o the scree ad with the use of the subjectie camera. The daress of the ciema

or the dareed aller space ad the positio of the iewer pla with the oeuristic

imaiatio of the audiece ad emphasise the illusio of peeri ito a priate world.

The camera is a mechaism of illusio for the productio of a Reaissace space, of

moemets compatible to the huma ee of a ideolo of represetatio that turs o

the perceptio of the subject. With its techical possibilities it reeals to us the opticall-

uaware, just as pschoaalsis reeals the istictiel-ucoscious. (8) This complex

iteractio of iews is characteristic of the lm, ad the breadow of the moolithicform of the coetioal rules represets the achieemet of idepedece of the

elemets of lm form. As complex ad deeloped sstem of represetatio, the lm

poses questios about the was of structuri seei ad the pleasure of iewi (ie

shape b the domiat sstem). Duri histor, it has deeloped a special illusio of

realit. Plai with the tesios betwee time ad space the lm codes ad coetios

create a iew, a world, a object, ad a illusio, ad the alteratie lm tests out ad

decostructs the iteral laws ad relatios with the exteral formatie structures. (9).

The space is thus the scee of a certai dramatic actio, a historical eet or presetatioof lii ambiece, ad throuh the pheomeo of the distace betwee built

eiromet ad arratio related to the huma subject, the architectural or urba space,

it becomes a subject of autoomous isual experimet. (10)

-brANkA bENI

to a projection, October 110, MIT Press,

2004 (pp. 23-40)

(2) Walter Bejami: Umjetniko djelo u

razdoblju tehnike reprodukcije, U, 78/79,

Zareb, 2006 (pp. 22- 32)

(3) Chrissie Iles:Into the light - Projected

image in American art 1964 1977, cat.

White Museum of America Art, 2002.

(4) Walter Bejami: Umjetniko djelo u


Zareb, 2006 (pp. 22- 32)

(5) Damir Oo, statemet about the wor

(6) From a tal with Jasa Jai, galerija

Mirosla kraljei, Zareb, 2007.

(7) Slaoj ie:Pervertitov vodi kroz flm,

Atibarbarus i HDP, Zareb, 2008. (p. 9)(8) Walter Bejami: Umjetniko djelo u


Zareb, 2006 (p. 22 - 32)

(9) Laura Mule: Vizualni uitak i narativni

flm, i:Feministika kritika i teorija

likovnih umjetnosti, Cetre for Womes

Studies, Zareb, 1999. (pp. 65 77)

(10) Maroje Mrdulja, priatecorrespodece

-

-

-JoNAs DAhlbErg

-


26/32

28 -

-

-

Ro/Bor 1970, Uddvll, Swd. v rd u Stoolu. /Curretl lies ad

wors i Stocholm, Swede.

-

Sostl zlob (zbor)/ Solo Shows (selectio)

glr nord, Stool Swd /Ju d azpuru mdrd Sp /2008

glr Fosl, Wrsw Pold / gllr nord Stool Swd / mzzo

d art modr 2007 glr Fosl, Wrsw Pold /2006 kostll Bousls

musu, Uddvll Swd (solo) / nu kustll St. gll. St gll Swtzrld

(solo wt J mus) / Fr Bouro, Djo, Fr /2004 26. So Polo

Bl (ol prztj /national representative)

-

Sup zlob (zbor)/ group Shows (selectio)

2009 T grd illuso ntol cort hll, Tp Tw / Tr. T trpt

modr art kustusu Stuttrt gr / multpl t Flus

m gr /2008 Two-fold fto Pkm llr Bj c / Wdr cotporr Vdo art mzz dl Sl Plzzo Pubblo, S, itl / art

Ultd, art Bsl / 2007 Usu nol klsbru gllr, nw yor USa /

htrotops art Bl of Tsslo gr / cross Wlls ct coul

gllrs, gro Sp / Putu, Futur, Pru /2006 Drlds bur

kusll Budpst hur / idl ct ivsbl ct Zos Pold/Potsd

gr / ir Sp cll all 31, mdrd Sp , Tp Bl, Tw,

/T Urb codto musu d Pvljos, alr ntrlds / T modr

exbto modr must Stool, Swd / Dr Pls, St momusu of art, St mo USa / Prosptv Sts, V austr.

-

28 -

-

-

-r DI MArtINo

-


27/32

- 29

-

- 29

-

Ro 1975. u Ru. Od 2005. v u nw yoru. /Bor i Rome i 1975. Lies i new

yor sice 2005.

-

Sostl zlob (zbor) /Solo Shows (selectio)

2009Artscape, Vlus culturl cptl of europ, Vrtj gllr /The Night Walker

and Other Works, caV cobr Portul /August 2008, motor gllr, Ro /2008

The Night Walker, mz gllr, Tur, itl /2007The Red Shoes - Prst Futur,

artss, Tur /2006La camera, Prstto (nw aqusto) macRO, Ro, itl

/2005 motor gllr, Ro

-

Sup zlob (zbor) /group Shows (selectio)

2009Italics, mca, co /Work.in.Space, cout hous, Bllsbrd, Dubl /

Lumen, ctro P, Prto /The Buffer Zone, ar ad Ro /Financial

District, iScP Studos, Broo ny /2008Manifesta7, Rovrto, itl /Italics, Plzzo

grss, V /How Soon Is Now?,AIM pror, Brox musu, ny /Hot Season,itl art now, Strs musu, Oslo /2007Senso Unico, PS1, ny /Off Screen,

motvdo - ntrlds md art isttut /Carte Blanche, elzbt D gllr,

nyc /TV Dinners, Lmak PROJecTS, nw yor /2006Altered, Stitched and Gathered,

PS1 art ctr, Lo isld ct, nw yor /Busan Biennale Sout kor /The

Mind/Body Problem, artsts Sp, ny 2005TriennaleTorinoTreMusei, Sdrtto R

Rbudo Foudto & cstllo d Rvol /Follow Your Shadow, gam, Bolo

-

-

-

-UrsUlA MAyEr

-


28/32

30 -

-

-

Ro u austrj. v rd u Lodou. /Bor i Austria. Curretl lies ad wors i

Lodo

-

Sostl zlob (zbor) /Solo Shows (selectio): 2009Ursula Mayer, Zl

audtoru, Wtpl art gllr, Lodo, Uk /Lunch in Furgllr Jultt

Jo, astrd, nL /Concept Film, wt Dort mrrtr, kustvr

mdtur, grz, aT /2008Nought to Sixty, ica, isttut of cotporr arts,

Lodo, Uk /2007The Crystals of Time, Ltos, musu of modr art, Lz, aT /

Ursula Mayer, ctrl musu, Utrt, nL /Ursula Mayer, gllr motor, Ro,

iT

-

Sup zlob (zbor) /group Shows (selectio): 2009HEAVEN, ats Bl,

gR /2008Rooms look back, Bsl kustll, Bsl, ch /Pierotting, gllr

Jultt Jo, astrd, nL /Modern Ruin, gllr of modr art, Brsb,

aU /Cabinet of Imaginations, ntwor, alst, Be / art Bsl Fls, ch /PlayForward, itrtol Fl Fstvl Loro ch / Tru Ro, Vll Stu,

mu, d kustll kl, kl, De /2007 Tru Ro,Allegories of Love

from the Renaissance to the Present, kustll,V, aT /Invisible Mend, Lux,

Lou gllr, Lodo, Uk /Held together with water, m musu, V, aT /

Depiction, perversion, repulsion, obsession, subversion, Wtt d Wt, Rottrd,

nL /2006Facts and Fictions, Rcm art musu, nj, c /Mise en scne,

m, sowroo for d, Rottrd, nL /No space is Innocent, strsr

rbst, Foru Stdtpr, grz, aT-

30 -

-

-

- -DAMIr oko


29/32

- 31

-

- 31

-

-

Ro u Zrbu 1977. od. /Bor 1977 i Zareb, Croatia

-

Sostl zlob (zbor) /Solo exhibitios

2009 T a of hppss, Lotrr13 Stdts kustll m, De / T

a of hppss, ad Sloss Soltud, Stuttrt, De /2008 Sf w out,

gllr 102, Zrb, hR /2007 T ed of t World, mroslv krljv gllr,

Zrb, hR / W dos grvt ts fll?, Tr isttut of cotporr

art, Tr, aL (Wt n. Dodo d S. k) /2006 T mss mout,

Brut, Osj, hR / grd, gllr Vn, Zrb, hR

-

Sup zlob (zbor) /group exhibitios (selectio)

2009 Wodr wr t dus wt, Tz d cro gllr, Slro, iT / Dl

wt Fr, ad Sloss Soltud, Stuttrt, De / Vdo europ, L Frso,

FR, urtd b P. Pror /2008 cOmUnicOLOgy, Projtru Rrstrss,

Stuttrt, De, urtd b k. Lo / 4t Bus itrtol Vdo Fstvl, Bus,kor / Rotrs itrtols-Prs-Brl-mdrd / Slo of Rvoluto, hDLU,

Zrb, hR, urtd b a. mj & i. Bo / Wr t st ds, nssusr

kustvr, Wsbd, De / R-rd of t futur, itrtol Trl of

otporr art, Pru, cZ, urtd b ntl ho & J-Fros Rtt /

13t Bl of ou rtsts, Pul, iT / crot Frst mut, Vrt, avst, S /

2007 Sowr fr w, Lotrr13 / Stdts kustll m De / T

post expr, d/art/07 - Sd, austrl / hros Trsto, al

Row gllr, nott, Uk, urtd b J. J / Rotrs itrtols-Prs-Brl-mdrd-

-

-


30/32

32 -

--

-

-

iprssu

-


31/32

- 33

-

-

nld /Publisher: mmc Lu / istrs 30, 52100 Pul, Tl: 052/ 224 316

Z ld /For the publisher: mrj grov-Vojov

kopt prdovor /Exhibitio cocept ad foreword: Br B

Urd /Cataloue editor: Br B

Fotorj /Photoraphs: ljubzou ujt / courts of rtsts d

LUX (Lodo), glr nord (Stool), motor (Ro). Ursul mrproduto stll, poto: T Brotrto

Prjvod /Traslatio: gr mmstr

gro oblovj /graphic desi: Bl_mllr

Postv zlob /Exhibitio set-up: Br B

T postv zlob /Techical set-up: mro Ploj

izlob prostor /Exhibitio eue: glrj ax, mmc Lu, istrs 30, Pul

Suorztor /Oraisatio support: Pul Fl Fstvl

T opr: aRa eltro, Powrco sst d.o.o.

Ts /Prit: krs, Zrb

nld /number of copies: 300

izlob j rlzr srdstv /Fiacial support: grd Pul, istrs upj,

mstrstvo ultur Rh, TZ Pul-

-

-


32/32

34 -

-

-

Zvl/Acknowledgements:hvl/Thankyou:rtsts,LUX(Lodo),glrnordrk(Stockol),motor(Ro),S()jkjuistr+FstvlPolsadrtceurop,PulFlFstvl,mrkoLul-

knjblokpripema

Documents