One picture is worth a thousand words. Proverbial

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1 110 Video was the new medium of the early 1960s. And it became a new medium again somewhere around 72 and 81 and once again in 92. People are always discovering video as a new medium Sol LeWitt One picture is worth a thousand words. Proverbial Understanding an age assumes approaching it via some insights into its historical, economic, social and technical-cum-technological Silva Kalčić characteristics, as well as the more or less dominant scientific, Self-actualization and Immanent philosophical, cultural and aesthetic trends that, by way of Contemporaneity of Video Medium paradigm or superstructure, synthesise the spirit of the time. It is here that the whole point of retrospectives inheres, because with the diachronic slice that they enable it is not only the development of some aspect of creativity that is analysed, but the time framework in which the given development took place, illuminated from the aesthetic angle. Our contemporary age, in which nothing is permanent except change and incessantly gathering momentum, best manifests its aesthetic sensitivity in the development of the medium of mobile and inconstant images: film, television, computer graphics and animations and video, which in a sense represents a synthesis or intermedium for them, as well as a distinct species of medium on its own. In the consideration of video as relatively new means for artistic expression, it is easy to notice that it gathers in all the important artistic ideas of the time, such as Abstract, Conceptual, Minimalist and Pop art, as well as photography, film and digital art. However, a special value attaches to the fact that in this medium the area of history of art and its categorical apparatus intersect with the domain of contemporary electronic technology, which comes with its own language and terminology, but also requires knowledge of specific technical skills such as video mixing, computer processing of images, scanning, encoding, programming and the use of computer software and loops. Like film, but even more so, video art is constructed around time and the course of time, enabling the artist creatively to extend, repeat, fast-forward and rewind (by way of feedback), decelerate and accelerate and even halt temporal sequences. At the beginning it borrowed its style of expression from film, and then in more recent times, from the mid-eighties, we venture to say, video clips started to make their own impact on film, with their terse and condensed method of

2 111 Video je bio novi medij ranih 1960-ih. A ponovno je postao novi medij negdje 72. i ponovno 81. i ponovno 92. Ljudi stalno iznova otkrivaju video kao novi medij. Sol LeWitt Jedna slika govori više od 1000 riječi. Narodna poslovica Shvaćanje nekog razdoblja podrazumijeva da mu pristupamo razumijevanjem njegovih povijesnih, gospodarskih, socijalnih i tehničkotehnoloških odrednica, ali i više ili manje dominantnih znanstvenih, filozofskih, kulturnih i estetskih stremljenja koja u smislu paradigmi, Silva Kalčić kao superstruktura, sintetiziraju duh vremena. U tome i jest Samoaktualizacija i imanentna cjelina smisla retrospektivnih izložbi, jer se dijakronijskim suvremenost video medija presjekom koji one omogućavaju ne analizira samo razvoj nekog aspekta stvaralaštva već se i iz estetskog kuta rasvjetljava vremenski okvir u kojem se dotični razvoj zbivao. Naše suvremeno doba u kojemu ništa nije stalno osim promjene i neprekidno rastuće brzine, svoj estetski senzibilitet ponajbolje očituje u razvoju medija gibljivih, nestalnih slika: filma, televizije, računalne grafike i animacije te videa, koji na neki način predstavlja njihovu sintezu intermedij ali i zasebnu medijsku vrstu. Razmatrajući video kao relativno novo umjetničko izražajno sredstvo, nije teško zamijetiti da on okuplja u sebi sve značajne umjetničke ideje našeg vremena poput apstraktne, konceptualne, minimalističke i pop umjetnosti, ali i fotografije, filma i digitalne umjetnosti. Međutim, ono što posebno privlači pozornost je činjenica da se u ovom mediju područje povijesti umjetnosti i njezin kategorijalni aparat presijecaju s domenom suvremene elektronske tehnologije, koja donosi svoj vlastiti jezik i terminologiju, ali i iziskuje poznavanje specifičnih tehničkih umijeća poput videomiksa, obrade slike računalom, skeniranja, kodiranja, programiranja i uporabe računalnog softvera i petlji (loop) itd. Kao i film, ali i više od njega, video je umjetnost sazdana oko vremena i njegova tijeka, omogućujući stvaratelju-umjetniku kreativno produljenje, ponavljanje, preskakanje unaprijed (fastforward) i unatrag (fastbackward u funkciji feedbacka), usporenje ili ubrzanje pa i zaustavljanje vremenskih sekvenci. Ona svoj jezik i izričaj u početku posuđuje od filmske umjetnosti, da bi u novije vrijeme, od sredine osamdesetih, usudili bismo se reći, videoklipovi počeli filmu nametati svoj sažet, komprimiran način

3 Self-actualization and Immanent Contemporaneity of Video Medium 112 silva kalčić expression, the rapid alternation of frames and particularly in their design (Ridley Scott s Blade Runner and Alan Parker s Hunger). Indeed, video, with the immediacy of its creation (unlike with film, which necessarily has to wait for the chemical processing of the reel, with electronic technology the recording is present immediately) and with its democratic (price, or economic) availability, has become in the true sense the medium of our time, opening up the somewhat heretical speculation of whether film might be on its way to experiencing the same fate that it inflicted on the printed word and the theatre. Television has been designed as a means of transmitting images in all their immediacy; video also rests on the illusion of operativeness in real or the same time, which is not historical time (although the thinking process is not instantaneous, but requires some interval of time, which might be a few seconds or minutes, but at any rate, it is something that is happening in space). Video has become so assimilated into the life of the 20 th and 21 st centuries that many effects are taken for granted and seem to be practically invisible. It is interesting that the shooting of non-events in real time without subsequent interventions, i.e., film processing, which in video art is one of the commonplaces, actually looked forward to the appearance of the new theatrical form of the reality show, which with its dynamics and spontaneity of utterance has started to push out the feature film, at least as far as the interests of the younger generation of viewers are concerned. Video, as compared with the other visual arts, has the practical advantage that it does not need either museum or gallery, i.e., no exhibition environment, not even a screen, doing away with the traditional exhibition set-up, and can be projected onto furniture or the nude human body, onto the wall, the ceiling or floor, the vaults of a cathedral). In some video installations the video equipment is featured; in the work of Nam June Paik for example the video does not mean just the pictures, but also the screens, the solid objects used to create sculptures in space, working as criticisms of the society of spectacle, the backdrop and the hardware have the main role, and the video image itself has become subordinate (as against this, conceptual art is message without medium), while the installation of monitors into walls (even as what are called multi-monitors, creating a dichotomy of static and dynamic) does away with the physical presence of the monitor as piece of furniture. The isolation of the screen, in any scale, creates a new video space reality; unlike film, video art is unconstrained by the projection room. The whole time of the existence of video art, authors have dealt with the testing out of the perceptional potentials of the medium, the medium that is capable of manipulating perception often

4 Samoaktualizacija i imanentna suvremenost video medija Big Brother (Reality Show), RTL Televizija, izražavanja, brzinu izmjena kadrova, a pogotovo svoj dizajn slike (Blade Runner redatelja Ridleya Scotta, Hunger Alana Parkera ). Dapače, video svojom neposrednošću nastajanja za razliku od filma nije nužno čekati rezultat procesa kemijske obrade slike, već zapis uporabom elektronske tehnologije nastaje trenutačno i demokratskom (cjenovnom, tj. ekonomskom) dostupnošću postaje u pravom smislu medij našeg doba, čime se načinje heretička teza - nije li filmski medij na dobrom putu da doživi istu sudbinu koju je on sâm svojedobno priredio knjizi ili kazalištu? Televizija je zamišljena kao sredstvo transmitiranja slike u svojoj neposrednosti; video također počiva na iluziji operativnosti u stvarnom ili istom vremenu, stoga to nije povijesno vrijeme (iako, mišljenje kao proces nije trenutno, već zahtijeva neko vrijeme to mogu biti sekunde ili minute, ali je svejedno nešto što se događa u prostoru). Video je toliko asimiliran u život 20. i 21. stoljeća da se mnogi njegovi učinci podrazumijevaju i čine gotovo nevidljivim. Značajno je uočiti da snimanje nedogađaja u realnom vremenu bez naknadnih intervencija, tj. obrade filma, koje je u video umjetnosti jedno od općih mjesta, zapravo najavljuje pojavu nove scenske forme tzv. reality showa, koji svojom dinamikom i spontanošću iskaza počinje danas istiskivati igrani film barem što se tiče interesa mlađih naraštaja publike. Također, video u odnosu na ostale vizualne umjetnosti ima praktičnu prednost u tome što ne treba muzej ni galeriju, tj. izložbeni okoliš, pa čak ni ekran dokidajući tradicionalni izložbeni postav, može se projicirati na namještaju ili nagu ljudskom tijelu (zidu, stropu, podu, svodu katedrale ) što ga, za razliku od filma, oslobađa ograničenja projekcijske sobe. U nekim se video instalacijama ističe video uređaj (primjerice za Nam June Paika video nisu samo slike nego i ekrani kao čvrsti predmeti pomoću kojih stvara skulpture u prostoru u funkciji kritike društva spektakla kulisa i pogonska mašinerija imaju glavnu ulogu, a sama video slika postala je sporedna nasuprot tomu, konceptualna umjetnost je poruka bez medija), dok ugradnja monitora u zidove (čak i kao tzv. multimonitori; u dihotomiji statično-dinamično) poništava fizičku nazočnost monitora kao komada pokućstva. Izoliranje ekrana, u bilo kojem mjerilu stvara novu realnost videoprostora. Sve vrijeme postojanja video umjetnosti autori se bave preispitivanjem perceptivnih potencijala medija, pri čemu medij koji je u stanju manipulirati percepcijom često aproprira izgled dokumentarca. Manipulacija svakodnevnim slikama u apstraktnu krajoliku anticipira digitalne aliteracije u fotografiji i videu danas, a zavodljiva (manipulativna) očekivanja ugrađena su u proces gledanja s parcijalnog i specijaliziranog gledišta. Tema videa ujedno je i tema odraza: Ako pogledaš izbliza u

5 Self-actualization and Immanent Contemporaneity of Video Medium 114 silva kalčić adopting the outward show of the documentary. Manipulation of everyday images into an abstract landscape anticipates the digital alliteration in photography and video today. The seductive (manipulative) expectations are built into the process of looking from a partial and specialised viewpoint. The theme of video is also the theme of the reflection: If you look up close into someone s eye, the first thing that you are actually going to see is your own image (Bill Viola, 1990). These can be considered the essential characteristics of video in the sense of art practice: 1. Temporal manipulativeness, which makes it close to film. Time and its layers make one of the central subjects of art of our time, video facilitating artistic expression with not just linear but also non-linear narrative structures, cyclical loops and so on. 1 G. W. F. Hegel: Aesthetics 2. Interactivity, which opens up new dimensions of creativity and actualisation, since it enables the immediate exchange and supplementation of the substance of the art project, the video installation, with the experiences and ideas of the observer, which derogates Hegel s thesis of the past character of the work of art 1. The observer is no longer watcher but collaborator and associate, which tests out and expands the very concept of the authorship of the artwork. 2 Immanuel Kant: Critique of Pure Reason 3. The use of the video camera as sensory extension of the human body and participant in the performance, which links it with conceptual art. The possibilities of video open up the way out of the labyrinth of the Kantian concept of space that cannot be empirically obtained (the thesis that space can never be comprehended at once in its completion, reliance on our intuition being needed 2 ). 4. Hybrid media. Today artists use video in combination with film, computer generated images and graphs with animation, virtual reality, coding and other digital achievements of the modern age. The creative and synthetic use of these technologically advanced means of expression opens up new possibilities of development, but also creates difficulties with respect to a coherent theoretical approach to video as medium because, from the phenomenological point of view, it is hard to find the common and unchanging essence that remains the same in all these changeable circumstances.

6 Samoaktualizacija i imanentna suvremenost video medija 115 nečije oko, prvo što ćeš ugledati, zapravo jedino što ćeš vidjeti bit će tvoja vlastita slika (Bill Viola, 1990.). Bitnim odlikama videa u smislu umjetničke prakse mogle bi se smatrati: 1. Vremenska manipulativnost, u čemu je blizak filmu. Vrijeme i njegovi slojevi jedna su od središnjih umjetničkih tema našeg doba, pri čemu umjetniku video omogućava izražavanje ne samo linearnim već i nelinearnim narativnim strukturama, cikličnim petljama itd. 1 G. W. F. Hegel: Estetika 2. Interaktivnost, koja otvara nove dimenzije kreativnosti i aktualizacije, s obzirom na to da omogućuje trenutnu razmjenu i dopunu sadržaja umjetničkog projekta, video instalacije, iskustvima i zamislima promatrača, što derogira Hegelovu tezu o prošlom karakteru umjetničkog djela 1. Promatrač od gledatelja postaje sudionik i suradnik, čime se propituje i proširuje i sam pojam umjetničkog autorstva. 2 Immanuel Kant: Kritika čistog uma 3. Uporaba videokamere kao senzorske ekstenzije ljudskog tijela i sudionika u performansu, što ga povezuje s konceptualnom umjetnošću. Mogućnosti videa otvaraju put izlaska iz labirinta kantovskog koncepta neuhvatljiva prostora (teza da se prostor nikada ne može odjednom u potpunosti sagledati, već nam je za to potrebno oslanjanje na intuiciju 2 ). 3 U zadnje se vrijeme ta situacija unekoliko mijenja jer se određeni broj mlađih umjetnika školovao u inozemstvu (Darko Fritz, Sandra Sterle, Alen Floričić i drugi), a i na hrvatskim se umjetničkim učilištima (Zagreb, Split) otvaraju odjeli na kojima je moguće izučavati nove medije. Godine na zagrebačkoj Likovnoj akademiji, čiji se program prethodnih devedesetak godina nije bitno mijenjao, osnovan je multimedijalni odjel, koji vodi Ivan Ladislav Galeta. Godine osnovana je Likovna akademija u Splitu, također s multimedijskim odsjekom, na čelu s Vladom Zrnićem. Nešto se malo o video umjetnosti uči na Studiju dizajna pri Arhitektonskom fakultetu u Zagrebu, i malo na Dramskoj akademiji: iako na njoj od do Dalibor Martinis predaje video i TV režiju na filmskom odsjeku Akademije, interes za video kasnije je na Akademiji oslabio. 4. Hibridnost medija. Danas umjetnici koriste video u kombinaciji s filmom, kompjutorski generiranim slikama i grafikom te animacijom, virtualnom stvarnošću, kodiranjem i ostalim digitalnim tekovinama novog doba. Kreativna sintetska uporaba ovih tehnološki naprednih izražajnih sredstava otvara nove mogućnosti razvoja, ali i stvara poteškoće u pogledu koherentnog teorijskog pristupa videu kao mediju jer, s fenomenološkog motrišta, postaje teško naći onu zajedničku, nepromjenljivu bît koja ostaje stalnom u tako promjenljivim okolnostima. 5. Problemi s određivanjem kritične skupine kojoj bi to bio osnovni medij. Umjetnici različite osnovne vokacije (slikari, skulptori, grafičari, konceptualni umjetnici itd.) video vrlo često koriste usputno, kao tek jedan od medija (Braco Dimitrijević, David Maljković, Marijan Molnar, Marijan Crtalić) ili pak za dokumentaciju umjetničke akcije (Vlasta Žanić, Zatko Kopljar, Grupa šestorice umjetnika, Sandra Sterle), pa ga je stoga teško smatrati medijem koji definira umjetnika ili neku umjetničku školu 3.

7 Self-actualization and Immanent Contemporaneity of Video Medium 116 silva kalčić 3 In recent times this situation has changed somewhat because a certain number of young artists have trained abroad (Darko Fritz, Sandra Sterle, Alen Floričić and others), and at Croatian art colleges in Zagreb and Split departments have been set up to teach and study the new media. In 1993 at the Zagreb Academy of Fine Arts, the curriculum of which had not essentially changed in the preceding ninety years, a multimedia department was established, run by Ivan Ladislav Galeta. In 1997 the Art Academy in Split was set up, also with a multimedia department, headed by Vlado Zrnić. A little is also taught about video art at the Design Course in the Architecture Faculty in Zagreb, and a bit at the Drama Academy; although at this school Dalibor Martinis taught video and TV direction in the film department from 1987 to 1991, interest in this institution for video later waned. 5. Problems of defining the critical group for which this would be the basic medium. Artists of various basic vocations (sculptors, painters, printmakers, conceptual artists) very often use video incidentally, as just one of the media among others (Braco Dimitrijević, David Maljković, Marijan Molnar, Marijan Crtalić) or for the documentation of some artistic action (Vlasta Žanić, Zatko Kopljar, the Group of Six Artists, Sandra Sterle), and hence it can hardly be used as the defining factor of a given artist or school 3. As already remarked, video is not just an artistic but also a technological medium, and in its beginnings was restricted to areas where the technology was accessible, above all in the USA, the UK, Germany and Austria, whence (as early as) the seventies it came here as well. INSERT a retrospective of Croatian video art, provides what is to date the most complete insight into the development of the art of video in our country in the last thirty years, but also in a certain way is a kind of witnessing to this time. Video works in this period appear in several forms, such as closed circuit videos, one-channel and multi-channel video, video installation, video film and in more recent works as interactive video backed up with computer programme support. Such a long period of time, even in a cultural area as restricted as ours, necessarily entails a fair amount of heterogeneity in choice of topic and approach to the theme, particularly since in Croatia artists (in the words of Mladen Stilinović), as well as in other countries of the former socialist system, unlike their western colleagues, who had to keep constantly polishing the same successful model in order to keep their market share, had the time to experiment with various topics and stylistic variations. As we have already said that video art brings together all the important artistic ideas of the age, classification, in the sense of affiliation to a given ideational and stylistic circle, will not be of primary interest here, since today styles, genres and even media in the age of interdisciplinarity are no longer good determinations of art and the way of thinking via the use of them has in many ways become obsolescent and superseded. The organising principle of classification, more suitable in our case, will be the area that the work covers and what it refers to. It should be borne in mind however that total unambiguity and strict mathematical consistency will not be possible for this classification because the art works are multi-layered, and the classification of a work into a given group is in some cases a matter of personal vision and reasons that are completely subjective to the person making the classification. Carrying out the consideration in this manner, it is possible within the exhibited framework, to focus on a few thematic units.

8 Samoaktualizacija i imanentna suvremenost video medija 117 Kako je već rečeno, video nije samo umjetnički već i tehnološki medij, pa je u svojim počecima bio ograničen prvenstveno na područja u kojima je ta tehnologija bila dostupna, prije svega na SAD-e, Veliku Britaniju, Njemačku i Austriju, odakle je (već) sedamdesetih godina i došao k nama. INSERT retrospektiva hrvatske video umjetnosti, pruža dosad najpotpuniji uvid u razvoj ove umjetničke prakse na našem tlu u zadnjih tridesetak godina, ali je na određen način već i izborom tema, ali i formatom i tehnologijom snimki (analogno/digitalno) svojevrsno svjedočenje toga razdoblja. Video radovi se u tom periodu pojavljuju u više oblika, poput videa zatvorenog kruga, jednokanalnog i višekanalnog videa, video instalacija, video-filma, te u novijim radovima kao interaktivni video praćen računalnom programskom podrškom. Tako dug vremenski period, čak i na ovako ograničenom kulturnom prostoru poput našeg, podrazumijeva priličnu raznovrsnost u odabiru tema i pristupa temi, osobito stoga što su kod nas umjetnici (riječima Mladena Stilinovića), kao i u ostalim zemljama bivšeg socijalističkog sustava, za razliku od svojih zapadnih kolega koji su morali uglavnom brusiti stalno istu uspješnu shemu kako bi se održali na tržištu, imali vremena eksperimentirati s raznim temama i stilskim inačicama. Kako smo već prije istakli da video umjetnost okuplja u sebi sve značajne umjetničke ideje našeg doba, to nam klasifikacija u smislu pripadnosti određenom idejno-stilskom krugu ne bi bila od primarnog interesa, budući da danas stilovi, žanrovi pa čak i mediji u doba interdisciplinarnosti nisu više dobre odrednice umjetnosti i način razmatranja kroz njih umnogome je prevladan i zastario. Organizirajući princip klasifikacije, podesnije u našem slučaju, bilo bi područje koje uradak zahvaća i na što se on referira. Pritom treba imati na umu da potpuna jednoznačnost i stroga matematička dosljednost ovakve klasifikacije nije moguća budući da su umjetnički radovi višeslojni, pa je svrstavanje djela u određenu skupinu u nekim slučajevima stvar osobnog viđenja i subjektivnih razloga samog autora klasifikacije. Provodeći razmatranje na taj način, moguće je u okviru izloženog uočiti nekoliko tematskih cjelina:

9 Self-actualization and Immanent Contemporaneity of Video Medium 118 silva kalčić 1. The specific problems of the identity of individual and group, country and its borders and the re-examination of their determinants in contemporary conditions. The collapse of the concept of distance, the elimination of the difference between close and far as consequence of the growing speed of communication and the parallelism of dialectically opposite processes of globalisation and regionalisation are incontestably features of the world today. The concept of territory or land and its boundaries loses its firmness and clarity of sense in conditions of, on the one hand, the collapse of the old interest groups and on the other the creation of new and contemporary kinds of integration. Migration set off by economic and political processes casts doubt upon our ideas of the homogeneity of a populace inhabiting an area within certain borders as well as exacerbating problems of individual and ethnic group identity crises, particularly those that have been displaced from their typical settings. Thus modalities of seeking the cohabitation of various patterns of culture and civilisation and interaction among them constitute one of the burning problems of the current age. The general uncertainty about the outcome of these trends, the disappearance of traditional Gebornheit and the relativisation of private individual space as a result of media surveillance are at the roots of the sense of anxiety that besets contemporary mankind, increasingly itself an open project. In our particular situation, this is all amplified by the fall of the socialist regime, the collapse of the Yugoslav federation, the Homeland War and the migrations linked with it, events that in a certain way are adding to the acuteness of the problems addressed above. Just as man is in history, so history is in man ( Historical man is at the same time creator and product of his world, states Bauman): by consideration of works created before and after the wars in the region it is possible to comprehend the dimensions of the crisis, qualitatively and quantitatively, the collective trauma, in the spirit of which (site-specific) or in contrast to which, with universal and intimate themes, these works are created. In the video work 17 Stories, Lala Raščić deals with the issues of space and borders. In the nineties the young artist and her family moved from the family house in Sarajevo to a tower block in New Zagreb. For therapeutic (self-therapeutic) reasons, as means of adaptation, Lala dizzyingly drops her camera on a rope, throws it down, in effect, letting it fly in the air in the act of registration, through the window, out of the house, and once again pulls it into the indoors measuring up the new setting. Private and public space are intertwined through the archivist s coldness with which the infrastructure elements of the building are counted up and the subjective

10 Samoaktualizacija i imanentna suvremenost video medija Ksenija Turčić: Residency, Specifični problemi identiteta pojedinca i kolektiviteta, ozemlja i njegovih granica te preispitivanje njihovih odrednica u suvremenim uvjetima. Kolaps pojma distance, ukidanje razlike blizu-daleko kao posljedice rastuće brzine komuniciranja te usporednost dijalektički suprotnih procesa mondijalizacije i regionalizacije, neupitne su značajke suvremenoga svijeta. Pojam teritorija/ozemlja i njegovih granica gubi čvrstinu i jasnoću smisla u uvjetima s jedne strane raspada starih interesnih tvorevina, a s druge strane nastanka novih suvremenih integracija. Migracije stanovništva potaknute ekonomskim i političkim procesima dovode u pitanje naše predodžbe o etničkoj, kulturnoj pa čak i jezičnoj homogenosti puka (engl. folk, franc. peuple) nastanjenog u okvirima zadanih granica (koga točno to one i od koga uopće ograđuju i nisu li danas svedene samo na semipermeabilne opne ovojnice globalno kompetitivnih ekonomskih organizama?), ali i zaoštravaju probleme krize identiteta pojedinca i etničkih skupina, osobito onih izmještenih iz svojih tradicionalnih habitusa. Tako modaliteti traženja kohabitacije različitih kulturnih i civilizacijskih obrazaca te njihova interakcija postaju jedan od gorućih problema današnjice. Opća neizvjesnost ishoda ovih kretanja, nestanak tradicionalnog Geborgenheita i relativizacija privatnog prostora pojedinca kao posljedica medijskog nadzora u korijenu su osjećaja tjeskobe koji muči suvremenog čovjeka, koji i sam sve više postaje otvoreni projekt. Na sve se to u našoj specifičnoj situaciji navezuju povijesni pad socijalističkog društvenog poretka, raspad jugoslavenske federacije i Domovinski rat te tragične migracije svezane s time, događaji koji na izvjestan način još i zaoštravaju gore izložene probleme. Kao što je čovjek u povijesti, i povijest je u čovjeku ( Povijesni čovjek je ujedno stvaralac i proizvod svoga svijeta, tvrdi Bauman): razmatranjem djela nastalih prije izbijanja i po završetku ratova u regiji moguće je sagledati razmjer kvalitativne i kvantitativne krize i kolektivne traume, u duhu koje (site-specific), ili nasuprot kojoj univerzalno-intimnih tema nastaju ti radovi. Zasebna tema je doživljaj grada (New Yorka u videu Residency Ksenije Turčić), mjesta zavođenja bez žudnje: prema Benjaminu grad je metafora onog drugoga od Ja, prolaznik kojim je kaledioskop u kojemu se ogleda svjetina i urbani pejsaž. Problematiziranjem Prostora i Granica bavi se Lala Raščić u video radu 17 Stories. Mlada se umjetnica devedesetih seli s obitelji iz obiteljske kuće u Sarajevu u nebodersku gradnju Novog Zagreba. Iz (samo)terapeutskih razloga i kao sredstvo adaptacije, Lala vrtoglavo spušta na uzici, zapravo baca, kameru (koja leti zrakom u činu označavanja) kroz prozor, izvan kuće te je ponovno uvlači u indoor prostor

11 Self-actualization and Immanent Contemporaneity of Video Medium 120 silva kalčić 4 It is interesting that the author himself speaks about this work as an expression of anger in his initial inability to understand and accept the mode of existence and functioning of the gigantic complex conglomerate called America. According to his own words, later on he saw this less radically. manner in which the file is visualised (D. Fritz). The marginal details of everyday life take on a kind of surplus meaning. The topic of dislocation and the relativity of the concept of home are treated without ressentiment, for after all, house and homescape are much too steeped in nationalist hysteria. So they should be used just as a metaphor for contemporary nomadic nostalgia. Nothing more. (Ž. Paić). In the video work Exchange of Goran Trubuljak, the artist takes on the role of painter in an urban area in India, an essentially different cultural environment that has the oriental cyclical conception of time. In the long (static) narrative frame we can see Trbuljak at a very busy crossing ( the coerciveness of earthly infrastructure is still just as inappropriate to the development of rapid communication says Virilio); he sketches a subject, attracting the attention of passers-by who, at first from a distance, and then without restraining the language of gesture, comment on the artist s work, after which comes a quick auction, in which the artist barters his picture (or commodity) for a rickshaw ride (a service). With social interaction subserving an artistic happening, Trbuljak thematises social and intercultural communication, as well as the role of the artist in society. By contrast to the force of the emotional engagement in the video Love Shot, 1996, based on a then not distant personal and social trauma, Zlatko Kopljar today produces his message with more restraint and more mediation. Construction no. 9 (K9, 2003) of Zlatko Kopljar is a performative serial based on the idea of repetitive self-disposition in a state of subservience and genuflection the artist kneels on a white piece of cloth in public spaces, in the typical urban points of New York, the mecca of contemporary culture, in a black suit and white shirt, pilgrim from the periphery, internalising western culture as his own. The video image is coded with the artist s DNA. The work is a highly overt allusion to the oneway flow of culture and information, from centre out to the outskirts of the globalised world, gradually changing the world as a community of different people with the world conversation of the same 4. In the video work Memories (1999) Renata Poljak compares the colloquial word tata daddy with the underground alias Tito. These two-syllable words written out by hand merge in their meanings and images commenting ironically on the highflown slogan of Father of the Homeland that is used every now and then in political history, while split into syllables and uttered and repeated with ever increasing speed lose their original meanings and articulation and become universal signs of musical beat with a spectral overtone of automatic weapon fire. The young artist rejects the imposed great and fateful themes with typically adolescent revolt dances to loud electronic music in her

12 Samoaktualizacija i imanentna suvremenost video medija 121 Lala Raščić: 17 Stories, premjeravajući novi habitus. Privatni i javni prostor se isprepliću kroz arhivarsku hladnoću prebrojavanja infrastrukturalnih elemenata zgrade i subjektivnog načina vizualizacije te datoteke (D. Fritz). Marginalni detalji svakodnevice dobivaju svojevrstan višak značenja. Tema dislokacije i relativnosti pojma doma tretirana je bez ressentimenta, uostalom, dom i zavičaj odveć su natopljeni prizvucima nacionalističke histerije. Zato ih valja rabiti samo kao metaforu suvremene nomadske čežnje. I ništa više (Ž. Paić). U video radu Razmjena Gorana Trbuljaka, umjetnik preuzima ulogu slikara u javnom urbanom prostoru Indije, bitno različitog kulturnog okruženja s istočnjačkim cikličnim poimanjem vremena. U narativnom dugom (statičnom) kadru vidimo Trbuljaka na vrlo frekventnom križanju ( Prinuda zemaljske infrastrukture i nadalje je jednako neprimjerena razvoju brzine komunikacije, tvrdi Virilio): on skicira motiv, privlačeći pažnju prolaznika koji najprije s distancom, a potom bez uzdržavanja jezikom gesta komentiraju umjetnikov rad, slijedi kratka licitacija u kojoj je umjetnik sliku (robu) razmijenio (trampio) za vožnju rikšom (uslugu). Socijalnom interakcijom u funkciji umjetničkog happeninga Trbuljak tematizira društvenu i interkulturalnu komunikaciju, kao i ulogu umjetnika u društvu. Nasuprot silini emotivnog angažmana u videu Love Shot/Ljubavni hitac 1996., temeljenoj na tada nedavnoj osobnoj i društvenoj traumi, Zlatko Kopljar danas svoju poruku iznosi suzdržanije i posredovano. Konstrukcija broj 9 (K9, 2003.) Zlatka Kopljara je performativni serijal zasnovana na ideji repetitivnog samopostavljanja u stav podložnosti i klanjanja umjetnik kleči na bijelom platnu (četverokut maramice utjelovljuje pauzu, fizičko odmicanje; oblikom prizivajući simbol za zemlju, ovaj svijet, u kršćanskoj ikonografiji) na javnim mjestima, referentnim urbanim točkama New Yorka, Meki suvremene kulture, u crnom odijelu i bijeloj košulji hodočasnika s periferije koja zapadnu kulturu usvaja kao

13 Self-actualization and Immanent Contemporaneity of Video Medium 122 silva kalčić Zlatko Kopljar: Love Shot, 1996.

14 Samoaktualizacija i imanentna suvremenost video medija 123 Zlatko Kopljar: K9 Compassion, Zanimljivo je da sam autor govori o ovome radu kao izrazu svoga bijesa u početnoj nemoći da shvati i prihvati način opstojnosti i funkcioniranja gigantskog zamršenog konglomerata zvanog Amerika. Kasnije je, po vlastitim riječima, u svojemu stavu ponešto reterirao. vlastitu. Video slika (K9 Compassion) kodirana je umjetnikovom DNK. Rad je vrlo jasna aluzija na jednosmjerne kulturne i informacijske tijekove koji idu od centara ka periferiji globaliziranog svijeta, zamjenjujući postupno svijet kao zajednicu različitih ljudi svjetskim razgovorom istih 4. U video radu Sjećanja (1999.) Renata Poljak prispodobljuje kolokvijalnu riječ tata konspirativnom imenu Tito. Te dvije dvosložne riječi ispisane rukom prožimaju se u značenjima i slici riječi ironizirajući pompoznu krilaticu Otac domovine za kojom se periodično poseže u političkoj povijesti, a rastavljene u slogove i izgovorene te ponavljane, sve brže, gube svoja izvorna značenja i artikuliranost te postaju univerzalne oznake takta glazbe uz sablasni prizvuk rafalne paljbe. Mlada umjetnica odbacuje nametnute velike i sudbonosne teme tipičnom adolescentskom pobunom - pleše na vrlo glasnu elektroničku glazbu u svojoj sobi što utjelovljuje kulturalni prostor doma (djetinjstvo, obitelj, zajednica). Prijelaz od zajednice (Gemeinschaft) k društvu (Gesellschaft), smatra se sukusom moderne povijesti koja zadobiva cikličan oblik (savija se) u razdobljima tranzicije. Najsustavnije o temi osobne i društvene tranzicije promišlja Kristina Leko, zapravo u svim svojim video radovima (Povijest kolača/ Her nd Day, Shopping a local History, News from Zagreb, Sarajevo International ). Rrenata Poljak: Sjećanja / Memories, 1999.

15 Self-actualization and Immanent Contemporaneity of Video Medium 124 silva kalčić Kristina Leko: Sarajevo International, 2001.

16 Samoaktualizacija i imanentna suvremenost video medija 125 Leo Vukelić / Vladimir Frelich: Lost Amigos IV, Identitet suvremenog čovjeka postao je nomadski: bljeskovi krajolika u mimoilaženju, on the road ikonografija prisutna je u videoitinereru na temu odnosa identiteta i izmještenosti: Leo Vukelić&Vladimir Frelih u Lost amigos I i II iznose iskustvo transnacionalnog putnika (no za razliku od pješaka, motrioca pejsaža, njegovo kretanje nije usklađeno s dinamizmom promjena u okolišu; sinkronom, apovijesnom, transkulturnom i paradigmatskom urbanom pejsažu ). Mass image igra masovnim slikama: repetitivni ritam sekvenci vožnje kabrioletom, ljudskih krajolika, urbanih šumova, hedonističkog lifestylea, distorzije vremena i mjesta prema ideji Ludwiga Wittgensteina svijet je sve što je slučaj, izmjenjuje se s kritikom konzumerizma (u jednom kadru istaknute su maloprodajne cijene svih zastupljenih predmeta, čime je istaknuta činjenica kako se cijeli vidljivi svijet može tretirati kao tržišna roba), a ulaskom u štafelajnu sliku (koja je opet samo predložak za zaslon na automobilskom prozoru) što podsjeća na priču iz Kurosawinih Snova, ironizirana je tradicionalna mimetička umjetnost. Kratkim kadrovima, croma key tehnikom i kolažnom cut-and-paste slikovnom i glazbenom kompozicijom, Lost amigos nimalo slučajno podsjeća na komercijalni video klip; istodobno dinamikom špice, glazbenim krajobrazom, montažom i narativnom strukturom video rada, ironiziran je komercijalni dugometražni film i filmski efekti.

17 Self-actualization and Immanent Contemporaneity of Video Medium 126 silva kalčić own room, which embodies the cultural space of the house (childhood, family, community). The transition from community (Gemeinschaft) to society (Gesellschaft) is held to be at the core of modern history, which takes on a cyclical form, bending, in periods of transition. It is in her video works that Kristina Leko thinks most systematically about the theme of personal and social transition: in History of a Cake/Her 25802nd Day, Shopping a local History, News from Zagreb, Sarajevo International. Human identity today has become nomadic: nomadic narration and on the road iconography are to be found in the video itinerary on the topic of the relation of identity and displacement: Leo Vukelić and Vladimir Frelih in Lost amigos I and II bring out the experience of the transnational traveller (but unlike the foot traveller, the observer of the landscape, the movement of this traveller is not harmonised with the dynamism of changes in the environment: synchronous, ahistorical, transcultural and paradigmatic urban landscape ). Mass Image is a game with mass images: a repetitive rhythm of sequences of driving in a convertible, of human landscapes, urban forests, hedonistic lifestyle, distortion of time and place according to the Wittgensteinish idea that the world is everything that is accident, alternates with a critique of consumerism (in one frame the retail prices for all the objects are given, bringing out the fact that the whole of the visible world can be treated as a market commodity), and with the entry into an easel painting (which again is just a pattern for a curtain on a car window) which recalls a story from Kurosawa s Dreams, traditional mimetic art is also subject to irony. With short frames, the chroma key technique and a collaging cut-and-paste pictural and musical composition, Lost amigos, not at all coincidentally, recalls the commercial video clip: with the dynamics of the credits, the musical landscape, the montage and the narrative structure of the video work, commercial feature-length film and film effects are deflated. 04-P Library, 2000 of Sandro Đukić are journal video films broken up in the computer into single-frame photograms, printed out in narrative sequences, and numbered on the pages of the book, then photographed with digital camera (Reality of the Picture Picture of Reality): a procedure of accumulation, multiplication and archiving of data qua critical commentary on the contemporary phenomenon of media surveillances that tends to produce the disappearance of private space. An egg each morning (2002) by Marijan Molnar recalls in its title the once popular ad slogan of a once powerful but, with the shift to the market economy, now defunct company. Four monitors show almost identical scenes photographed with a static camera in four successive mornings, with the same repetitive action the camera records the artist, sitting face-on at

18 Samoaktualizacija i imanentna suvremenost video medija P Biblioteka, Sandra Đukića dnevnički su video filmovi kompjuterski razbijeni na kadrove-fotograme, isprintane u narativne nizove i numerirane na stranicama knjige, potom snimljene digitalnom kamerom (Stvarnost slike Slika stvarnosti): postupak akumulacije, umnožavanja i arhiviranja podataka kao kritički komentar suvremene pojave medijskog nadziranja koje vodi nestanku privatnog prostora. Svako jutro jedno jaje (2002.) Marijana Molnara nazivom priziva u sjećanje nekad popularni reklamni slogan nekoć snažne, a u međuvremenu, prelaskom na tržišnu ekonomiju, propale kompanije. Na četiri monitora prikazane su gotovo identične scene snimljene statičnom kamerom kroz četiri uzastopna jutra s uvijek istom, repetitivnom radnjom kamera bilježi umjetnika koji sučelice sjedi za kuhinjskim stolom, nad bijelim tanjurom sa žutim rubom što je inverzija boja jajeta, i obavlja uvijek isti ritual, s najvećom koncentracijom: uzme jaje u ruke, oguli ga i pojede. Humorni element ovih prizora su Molnarove kapice sa šiltom, svakoga dana druge boje i s drugim, jasno istaknutim logotipom. Kao što su te fetišističke kapice industrijski fabricirana roba, tako su i jaja u umjetnikovim rukama industrijski proizvodi s otisnutim žigom. Jaja su poslužila kao metafora umjetnosti preživljavanja, svakidašnjeg održavanja gole egzistencije; gdje prestaje život, a počinje umjetnost? Auditivna dimenzija videa je glas spikera koji čita vijesti (akcija Sindikata sisačke Željezare i jedanaesta obljetnica pada Vukovara ): posredovanjem medija svijet ulazi u samački dom u iseljenoj provinciji. Marijan Molnar: Svako jutro jedno jaje... / One egg each morning..., Problemi svojstveni rodu kao takvom, Što bi se moglo podvesti pod prethodni slučaj, ali se iz razloga preciznosti i bolje artikulacije promatra izolirano tzv. ženska umjetnost. Ishodište ovih tematskih posezanja je rodni pojam žene kao socijalnog te spolne razlike kao psihofizičkog konstrukta. Radovi izražavaju stavove vezane uz rodne odnose ucijepljene u strukturu društva (čime se bave Sanja Iveković, Kristina Leko, Vlasta Delimar, Renata Poljak, Tanja Dabo, Sonja Vuk), ali i ženin intimni prostor (Sanja Iveković, Breda Beban, Vlasta Žanić, Tanja Golić). Mnoge predstavljene umjetnice propituju svoj rodni identitet, jezik roda ili ulogu roda u socijalnom kontekstu, no samo neke od njih odabiru strategiju feminističke umjetnosti. Postavlja se pitanje potrebe za rodnom umjetnošću, te njezinim pozicioniranjem u šire okvire umjetničke produkcije. Rad mnogih od predstavljenih umjetnica baziran je na tijelu i njegovoj reprezentaciji, tijelu kao robi, fetišu, rodno i politički korektnom tijelu koje promovira čitav skup vrijednosti iza slike. Neki radovi tematiziraju izlaganje tijela javnom pogledu, posredovano

19 Self-actualization and Immanent Contemporaneity of Video Medium 128 silva kalčić a kitchen table, over a white plate with a yellow border the very inversion of the egg s colour performing each morning the same ritual with the greatest of concentration: taking an egg in his hand, peeling it and eating it. The humorous elements of these scenes are in Molnar s peaked caps, a different colour each day, with a clearly printed logo. Just as the fetishist caps are industrially fabricated goods, so the eggs in the artist s hands are industrial products, also with a stamp imprinted on them. The eggs serve as a metaphor for the art of survival, the act of sustaining bare existence each and every day; where has life stopped, and art begun? The audio dimension of the video is the voice of the television newsreader reading the news (the campaign of the workers of Sisak Steelworks and the eleventh anniversary of the fall of Vukovar): through the media, the world enters this bachelor house in the depopulated province. 2. The problems proper to gender as such, which could well be subsumed in the previous case, but for reasons of precision and better articulation is looked at separately women s art. The point of departure for these thematic endeavours is the gender concept of woman as a social, and sexual difference as psycho-physical, construct. The works express views related to gender relations inoculated into the structure of society (which is the subject of Sanja Iveković, Kristina Leko, Vlasta Delimar, Renata Poljak, Tanja Dabo, Sonja Vuk) and also woman s intimate space (Sanja Iveković, Breda Beban, Vlasta Žanić, Tanja Golić). Many of the artists presented examine their gender identity, the language of gender and the role of gender in the social context, but only some of them have chosen the strategy of feminist art. The question arises as to the need for gender art, and concerning its positioning in the wider framework of artistic production. The work of many of the women artists presented is based on the body and its representation, the body as commodity, fetish, a gender- and politically-correct body that promotes a whole set of values behind the image. Some works thematise the exposure of the body to the public gaze, mediated by contemporary technologies. Even pornography, a phenomenon in the origin of which the discovery of photography as veristic medium played a part (dealt with in the work of Darko Fritz Crypted TV Porn, ). Baudrillard speaks of the post-modern work, which rests on the idea that simulation precedes reality, not vice versa, with pornography being more sexy than sex, the simulation more real than the reality, which leads to the disappearance of the real. Porn today has less a function of social subversion, more that of channelling the frustrations of people who aim at eternity, but can have only its substitute, the moment of ecstasy (Milan Kundera).

20 Samoaktualizacija i imanentna suvremenost video medija 129 Sandro Đukić: O4-P biblioteka / 04-P Library, 2000.

21 Darko Fritz: Crypted TV Porn,

22

23 Self-actualization and Immanent Contemporaneity of Video Medium 132 silva kalčić Sonja Vuk: Cosmoclub, Marshall McLuhan In the archive put together it can be seen that video production was sensibly increased in the nineties, when video became a mass art medium. A new generation of video artists, more numerous than ever, was created, in which the previous practical gender exclusiveness was broken up (with the exclusion of Sanja Iveković and Breda Beban, video works had been made by men) and many women started working in this medium, which could be taken as yet another argument in favour of the postulate of its democratic nature: as in Rodchenko s time, artists were adopting new technologies that became available and affordable 5. The history of video art is young and coincides with the change in the social status of woman and with the beginning of women s increased visibility in public life and in positions of authority. Instructions no. 1 is a video performance by Sanja Iveković; the artist first of all draws lines or arrows along which massage of the face and neck is to be performed an intimately female action that is witnessed only by the camera-mirror and the performer, after which with the massage they are erased or reduced to unrecognisable scrawls, since the action itself does away with its own plan. The routine movements that have the purpose of the care and embellishment of the appearance and the discretion of the actual operation are turned with the voyeur s eye of the lens into private space coloured with an intimate female nuance.

24 Samoaktualizacija i imanentna suvremenost video medija 5 Marshall McLuhan 133 suvremenim tehnologijama. Pa čak i pornografiju, pojavu u čijem je nastanku posredovalo upravo otkriće fotografije kao verističkog medija (tematiziranu u radu Darka Fritza Crypted TV Porn, ). Baudrillard govori o postmodernom svijetu koji počiva na ideji da simulacija prethodi stvarnosti, a ne obratno, pri čemu je pornografija seksualnija od seksualnosti, simulacija realnija od zbilje, što dovodi do nestajanja zbiljskoga. Pornografija danas ima manje funkciju socijalne subverzije, a više kanaliziranja frustracija čovjeka koji teži vječnosti, a može imati samo njezin nadomjestak: trenutak ekstaze (M. Kundera). U prikupljenom arhivu razvidno je da je video produkcija osjetno povećana devedesetih, kada video postaje masovnim umjetničkim medijem. Niče novi, brojniji nego ikada, naraštaj video umjetnika u kojem je zamjetno razbijanje dotadašnje gotovo rodne ekskluzivnosti (s izuzetkom Sanje Iveković i Brede Beban, video radove stvarali su umjetnici). Kako mnoge umjetnice počinju stvarati u ovom mediju, to bi moglo poslužiti kao još jedan argument u prilog postavci o njegovoj demokratskoj naravi: kao u Rodchenkovo doba, umjetnici usvajaju nove tehnologije koje postaju dostupne i priuštive, prema starima se odnoseći poput retrovizora 5. Povijest video umjetnosti je mlada i koincidira s promjenom društvenog statusa žene i početkom njene povećane vidljivosti u javnom životu, u pozicijama moći. Instrukcije br. 1 je video zapis performansa Sanje Iveković: umjetnica prvo tintom izvlači crte strelice duž kojih se izvodi masaža lica i vrata - intimno ženska radnja kojoj svjedoče samo zrcalo-kamera i performerica kako bi one potom, masažom, bile izbrisane ili svedene na neprepoznatljive škrabotine, budući da sama radnja dokida svoj plan. Rutinski pokreti koji imaju za svrhu poljepšanje i njegu vlastitog izgleda te diskretnost same operacije, voajerskim okom objektiva bivaju transformirani u privatni, intimnom ženskom nijansom obojani prostor. Video rad Renate Poljak Ja domaćica!, namijenjen prikazivanju na videozidu koji danas pripada povijesti medija, ima humorno-nadrealnu radnju: žena pod vodom, u ronilačkom odijelu, obavlja uobičajene kućanske poslove, a upornost kojom te poslove želi dovršiti priziva nevidljivost, kratak učinak rada kućanica. Video rad s bizarnim prizorima preispitivanja ustaljenih obrazaca ponašanja, a potom prosvjeda zbog zatvorenosti kruga društvenih uloga nastavlja se, i na neki način dorađuje kao misao u radu Skok gdje se autorica ruga dekorativnosti suvremene žene opterećene reprezentativnim i pin-up-girl izgledom, neodlučno hodajući tamo-amo daskom za skok u bazen ( Ako skočim, skinut će mi se šminka ). Video radovi Sandre Sterle dokumentiraju umjetničine

25 Self-actualization and Immanent Contemporaneity of Video Medium 134 silva kalčić Renata Poljak: Skok / Jump, The author was given this explanation by Branko Franceschi, director of the Museum of Modern and Contemporary Art in Rijeka, who was born in Zadar. The video work of Renata Poljak I the Housewife! is meant for showing on a video wall, which today belongs to the history of the medium; it has a humorous and surreal action. A woman underwater, in a diving suit, is carrying out the usual household actions, and the persistence with which she wants to finish the chores invokes the invisibility or the short effect of the work of the housewife. A video work with bizarre scenes of testing out the regular patterns of behaviour and then of protest because of the closed circle of social roles goes on and in a manner is worked out as a thought in the work Jump where the female artist mocks the decorativeness of the contemporary woman who is too fixated with an up-market pin-up-girl appearance, walking irresolutely up and down the diving board. If I dive, my make-up will come off. The video works of Sandra Sterle document the artist s own performance actions, asking for viewer empathy, collusion, assumption of the role of attentive listener, best girl-friend, i.e., to play through the screenplay in their mind that she is passing through physically and/or emotionally. True Stories are four stories about a woman s self-reexamination and lack of self-confidence, plus concomitant narcissism. In the best, first, story, the artist dressed up as Minnie Mouse, calls upon us to show her secret, as in the old children s game of the Zadar region 6, in which little girls bury some secret objects, while the boys attempt to

26 Samoaktualizacija i imanentna suvremenost video medija 135 Renata Poljak: Ja domaćica! / Me, the Housewife!, performativne akcije, pritom se traži od gledatelja empatija, sudioništvo, preuzimanje uloge pažljivog slušatelja, najbolje prijateljice, tj. da u svojoj svijesti odvrti scenarij kroz koji ona, fizički i/ili emocionalno, prolazi. True stories su četiri priče o ženinom samopreispitivanju i nedostatku samopouzdanja, te istodobnoj narcisoidnosti. U najboljoj, prvoj priči umjetnica kostimirana u Minnie Mause zove nas da nam pokaže svoju 6 Autorici je ovakvo objašnjenje dao Branko Franceschi, tajnu, kao u staroj dječjoj igri uvriježenoj na zadarskom području 6 : ravnatelj MMSU Rijeka, rođen u Zadru. djevojčice zakopaju svoj tajni predmet, a dječaci ga pokušavaju pronaći, otkopati i zadržati, ili uništiti. Sterle ističe nemogućnost postojanja umjetničkog djela kao vlastitog, fiksnog entiteta već se ono uvijek isprepliće s rodnim i društvenim identitetom umjetnika. Interaktivna instalacija Ljubavnica Ksenije Turčić, virtualna žena koja na svako muško pitanje, pritužbu ili primjedbu ima spreman poželjan odgovor, karikatura je patrijarhalnih društvenih očekivanja koja se postavljaju pred ženski rod. Umjetnica se na humoran način poigrava s dominantnim stereotipima, denuncirajući pritom žensku submisivnost i obvezujuću samozatajnost kao funkcionalni komplement muške dominantne predodžbe o sebi. Višekanalne instalacije promiču korištenje multipliciranih slika kao načina dekonstrukcije tradicionalnih filmskih tehnika i preispitivanja estetike frontalne slike, tj. paradigme filmskog ekrana i monitora. Fenomenologijom gledanja video rada bez sumnje dominiraju

27 Self-actualization and Immanent Contemporaneity of Video Medium 136 silva kalčić find it, dig it up and keep it or destroy it. Sterle fastens on the impossibility of the existence of an art work as a fixed entity of its own but something that is always interwoven with the gender and social identity of the artist. The interactive installation Mistress of Ksenija Turčić, a virtual woman who has a ready and winning answer to every male question, accusation or complaint is a caricature of the patriarchal social expectations put before the female gender. In a humorous way, the artist plays with the dominant stereotypes, denouncing the while female submissiveness and obligatory self-deprecation as a functional complement to the male dominant idea of himself. Sandra Sterle: Istinite priče / True Stories, Multi-channel installations promote the use of multiplied images as a way of deconstructing traditional film techniques and re-examining the aesthetics of the frontal image, i.e., of the paradigm of film screen and monitor. Manipulative expectations of allure are also present in the process of watching; without any doubt the phenomenology of watching a video work is always dominated by the observer s psychological strategies of finding meanings learned by the consumption of the television image. The five-channel installation of Breda Beban called Beautiful Exile shows five women lying on white sheets, the camera focused on their head-andshoulders views, showing them in an intimate act of autoeroticism. Each of them is concentrating on the same objective, which they achieve in different times, probably each in her own manner. The twenty-first century has brought mass exemption for the coercion to exert physical strength for the performance of heavy labour. In the 18 th century a man was mobile thanks to his own strength or in the best case animal muscles, and in the 20th century

28 Samoaktualizacija i imanentna suvremenost video medija 137 Ksenija Turčić: Ljubavnica / Mistress, Paul Virilio: Brzina oslobađanja promatračeve psihološke strategije iznalaženja značenja, naučene konzumacijom televizijske slike. Peterokanalna instalacija Brede Beban Beautiful Exile prikazuje pet žena koje leže na bijelim plahtama, kamera je fokusirana na njihove glave i ramena, prikazujući ih u intimnom činu samozadovoljavanja. Svaka od njih usredotočena je na isti cilj, koji dosežu u različitom vremenu i vjerojatno svaka na svoj osobni način. Dvadeset i prvo stoljeće donosi masovno oslobađanje od prinude fizičke snage nužne za obavljanje teških poslova. Čovjek koji je u 18. stoljeću bio mobilan zahvaljujući uporabi vlastite snage ili u najboljem slučaju životinjskih mišića, u 20. st. postaje motoriziran, a u 21. st. već bismo mogli govoriti o pojavi motilnog čovjeka koji uglavnom koristi gornje ekstremitete i napravi tek po koji korak 7. U takvoj konstelaciji odnosa muškarac sa svojom dominantnom fizičkom snagom postaje u velikoj mjeri izlišan. Većinu poslova današnje žene mogu obavljati bar jednako uspješno, budući da je težište zbivanja i zarade koncentrirano u uslugama,

29 Breda Beban: Beautiful Exile, 2003.

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31 Self-actualization and Immanent Contemporaneity of Video Medium 7 Paul Virilio: Speed and Politics 140 silva kalčić people became motorised; in the 21 st we might speak of the appearance of the motile human being that on the whole uses only the upper extremities and takes just the occasional step 7. In this constellation of relations, men, with their dominant physical strength, became unnecessary, and today s women can perform most jobs at least equally successfully, since the focus of events and earning is on services, management, marketing, communications and office work, in which female sociability and emotional intelligence are increasingly to the fore. The world of virtual jobs is increasingly female, and the male is imaginary in it. As in the video, in real life contemporary woman is alone; the pleasure of consummation of the real male (?) being is replaced by the intimate space of female fantasising, and the white of the sheet as passive background of the picture recalls the psychological tests of the imagination of the projective type. Pleasure, satisfaction and orgasm as well as control of personal existence are all in her own hands. 3. Problems of perception of space Space in this group of works is conceived as matrix, the object of consideration being small shifts in perception. There are various spatial models and interpretations involved along the lines of the redefinition of the white cube of the gallery the experienced and lived-through or the represented space. Public space in the video image underlines the fact that the birthplace of art is shifting moving out of the gallery to the city (today, in the time of contemporary art, galleries and museums are being abandoned and there is a move into public space, or the white room is being turned into a black box meant for the projection of slides, videos and films). In the video works, what is more, what is characteristic is the privatisation of space in the sense of the individualisation of spatial experience: disorientation, fragmented space. Investigation of the structure of space, perceived as network of possible trajectories of movement, can be seen in Goran Trbuljak s Untitled no. 3 of 1973, where the camera eye follows the line of the joints on a tiled floor, choosing at each crossroads one of the possible directions that will lead it eventually from indoors to the outside space. Although the problem is treated planarly in this work Trbuljak hints at one possible representation of space as a reticulated volume. In the contemporary environment, human movement acquires the form of corridor. In her video Reconstruction (1976) Sanja Iveković puts a camera in space at various levels, corresponding to the various stages of her growingup. With constant movement of the camera, items and fragments of the space are shown from an uncommon perspective and extreme close-up,

32 Samoaktualizacija i imanentna suvremenost video medija 141 menadžmentu, marketingu, komunikacijama i uredskom poslu u čemu feminina socijabilnost i emotivna inteligencija dolaze do izražaja. Svijet virtualnih poslova postaje sve više ženski, a muškarac u njemu imaginaran. Kao i na videu, u zbiljskom životu suvremena žena je sama; užitak konzumacije stvarnog muškog(?) bića zamijenjen je intimnim prostorom ženske fantazije, a bjelina plahte kao pasivna pozadina slike podsjeća na psihološke testove imaginacije projektivnog tipa. Užitak, sladostrašće, klimaks, kao i kontrola vlastite egzistencije, sve to je u njenim rukama. Goran Trbuljak: Bez naziva br. 3 / Untitled No. 3, Problemi percepcije prostora. Prostor je u ovoj skupini uradaka predmnijevan kao matrix, pri čemu su predmet razmatranja mali perceptivni pomaci. U igri su različiti prostorni modeli i interpretacije na tragu redefinicije Bijele kocke (White cube) galerije proživljeni i iskustveni, ili reprezentirani prostor. Javni prostor na video slici podcrtava činjenicu da se rodno mjesto umjetnosti pomiče izmješta iz galerije prema gradu (danas, u suvremeno doba umjetnost napušta muzeje i galerije i izlazi u javni prostor ili se bijela soba pretvara u crnu kutiju (black box) namijenjenu projekcijama dijapozitiva, video i filmskih radova). Nadalje, u video radovima karakteristična je privatizacija prostora u smislu individualizacije prostornog doživljaja: dezorijentacija, fragmentirani prostor. Propitivanje strukture prostora, percipiranog kao mreža mogućih trajektorija gibanja, može se vidjeti u radu Gorana Trbuljaka Bez naziva br. 3 iz godine, gdje oko kamere slijedi linije fuga na opločenom podu, odabirući na svakom križanju neku od mogućih putanja koja će ga, na koncu, odvesti iz unutarnjeg prema vanjskom prostoru. Iako je problem plošno tretiran, Trbuljak ovim radom daje naslutiti jednu moguću reprezentaciju prostora kao premreženog volumena. U suvremenom okolišu ljudsko kretanje dobiva formu koridora. Sanja Iveković u video radu Rekonstrukcija (1976.) postavlja u prostoru kameru na različite razine, koje korespondiraju raznim stadijima njenog odrastanja. Stalnim kretanjem kamere predmeti i fragmenti prostora bivaju prikazani iz neobične perspektive i krajnje blizine čime se otvara intimni mikrokozmos, stran optici normalnog odraslog promatrača. Kod instalacija zatvorenog kruga česta je promjena uloga u tradicionalnom odnosu subjekta i objekta, umjetnik ili sâm promatrač postaju eksponat ili performer. Tehnikom izravnog video prijenosa zatvorenog kruga, projekciju posjetitelja koji promatraju izložbu moguće

33 Self-actualization and Immanent Contemporaneity of Video Medium 142 silva kalčić opening up an intimate microcosm, foreign to the optics of the normal adult watcher. In closed circuit installations, there is a frequent swapping of roles in the traditional relation of subject and object, the artist or the observer becomes exhibit or performer. With the technique of direct closed-circuit video transmission it is possible to see the projection of the visitors to the exhibition in a different room (Vlasta Žanić, Sandro Đukić, Ivan Marušić Klif who uses VJing mode). The refraction of the observer s image in a countless number of mirror images draws him into the dark, discourages him from contemplation and urges him to action smoke, drink, talk to people. The work thus starts the process of investment (inclusion) of space in space (space of exhibition in space of video projection), the observers of the exhibition being observed as they observe (according to Duchamp s historical decision: I accord just as much importance to the person who looks at the work of art as to the person who created it ). According to the inevitable Lacan, observation is necessarily linked with the awareness of being observed. It is easy to imaging that such a process of investment can go on theoretically to infinity. Tomo Savić Gecan uses the strategy of the closed circuit video installation in other media, observation being replaced meanwhile with the presence or the absence of presence. Darko Fritz creates in End of the Message ( ) a hybrid project in seven phases on the topic of accumulation of inessential information and the undeniability of the fact of the constant surveillance of everyday life. It starts with a fax action (Rijksmuseum Twente, 1995) in which a half an hour communication via modem is recorded on a roll of fax paper typing out the typographic images: NO VALUE, VALUE ON and END OF THE MESSAGE. Also used are original artworks created between the end of the 17 th and the end of the 20 th century from the museum archives that are used to produce the kind of decorative backdrop that is anyway usually considered the function of history. The materials collected during the several phases of the project are shown on three screens of the video installation (Archives Live!). The first shows a shot of the security camera directed towards a convex mirror fixed to the ceiling, in which the installation in the Rijksmuseum is to be seen. On the second screen are video-caps, on the whole portraits of visitors, indistinguishable in the first projection because of the rapid compression of images. The third shows scenes captured with the video surveillance system in a bank in Zagreb, where one of the phases of the first work was carried out. The art work here is created as a programme of the transmission, collecting and archiving of data.

34 Samoaktualizacija i imanentna suvremenost video medija 143 je vidjeti u drugom prostoru (Vlasta Žanić, Sandro Đukić, Ivan Marušić Klif koji koristi moduse VJ-inga). Refrakcija promatračeve slike u beskonačnom broju zrcalnih odraza uvlači ga u tamu, obeshrabruje ga u kontemplaciji i potiče na činjenje puši, pij, razgovaraj s ljudima. Rad tako začinje proces ulaganja (inkluzije) prostora u prostor (prostora izložbe u prostor video projekcije), pri čemu promatrači izložbe bivaju promatrani kako promatraju (prema povijesnoj Duchampovoj odluci: Onomu tko umjetničko djelo gleda dajem jednaku važnost kao onomu tko ga je stvorio ). Prema neizbježnom Lacanu promatranje je nužno povezano sa sviješću da si promatran. Lako je zamisliti da se takav proces ulaganja može teoretski nastaviti do u beskonačnost. Tomo Savić Gecan pak, koristi strategiju video instalacije zatvorenog kruga u drugim medijima, pritom je promatranje zamijenjeno naprosto prisutnošću, ili izočnošću nazočnosti. End of the Message ( ) Darka Fritza je hibridni projekt u sedam faza na temu akumuliranja nebitnih informacija i nepobitnosti činjenice neprestanog nadziranja svakodnevnice. Započinje telefaks akcijom (Rijksmuseum Twente, 1995.) u kojoj se polusatna komunikacija preko modema bilježi na rolu faks papira, ispisujući tipografske slike: NO VALUE, VALUE ON i END OF THE MESSAGE. Korišteni su i originalni umjetnički radovi nastali u razdoblju od kraja 17. do kraja 20. stoljeća iz muzejske arhive koji su u funkciji štafaže, dekora stvarnosti kakvim su inače tretirani sačuvani fragmenti povijesti. Materijali prikupljeni tijekom nekoliko faza projekta prikazuju se na tri ekrana video instalacije (Archives live!). Prvi prikazuje snimku nadzorne kamere usmjerene prema konveksnom zrcalu, pričvršćenom na strop, u kojemu se ogleda instalacija u Rijksmuseumu. Na drugom su ekranu video-stills, uglavnom portreti posjetitelja, nerazlučivi u prvoj projekciji zbog ubrzanja komprimirane slike. Na trećem, emitiraju se scene kaptirane sistemom video nadzora u banci u Zagrebu, gdje je jedna od faza prvog rada bila izvedena. Umjetničko djelo ovdje nastaje kao program transmisije, prikupljanja i arhiviranja podataka. Video je 2D medij u koji je ugrađena iluzija 3D prostora: Erwin Panowsky je smatrao da je renesansna perspektiva stavila promatrača u centar hipotetskog svijeta, prikazanog na slici na kojoj je perspektivna linija, sa svojom točkom iščeznuća na horizontu slike, povezana s očima promatrača koji stoji ispred nje. Kadar je zamijenio okvir slike: Slika je bila uvijek ono što vidimo kroz prozor: okvir slike zamijenio je prozorski okvir (Zvonimir Radić).

35 Self-actualization and Immanent Contemporaneity of Video Medium 144 silva kalčić Video is a 2D medium in which the illusion of 3D space is incorporated. Erwin Panofsky through that Renaissance perspective had placed the observer right in the centre of a hypothetical world shown on the painting on which the perspective line, with its vanishing point on the horizon, is connected with the eyes of the observer standing in front of it. The frame is replacing by the frame of the painting. The painting was always what we see through the window: the picture frame replaced the window-frame (Zvonimir Radić). 4. Aspect of man as political being (zoon politikon) and problems connected with public expression of viewpoints, social status and general and individual security political art. In Croatian video art it is primarily artists of the intermediate generation like Sanja Iveković (Lighthouse, General Alert), Ivan Faktor and Ivan Ladislav Galeta (TV Sniper) that are concerned with what Hall Foster calls traumatic realism, along the lines of the utopian idea of the seventies about the radical change of society with video, or perhaps the idea of video as a means of social change. Croatian video though, even during the war in the first half of the nineties, is not political art in the sense of being used by some ideology or alternatively of denouncing a system, but is only to an extent political, by its use of the rhetoric of democracy, emancipation (Bourriaud) and feminist actionism. Artists of the generation of the 1960s+, it would seem, ignored the fact of the war, and were absorbed in personal themes in their works, partially because of the political apathy typical of the new generations, and partially led by the Felix Gonzalez-Torres idea that the most successful of all political moves are those that do not seem to be political. I never wanted to be political, I just wanted my work to be politics (Vito Acconci); here too were are moving along the lines of the Beuys idea about social sculpture, in the sense of the manner in which we shape the world in which we live and in which political activity takes on the form of artistic practice liberated from the meaning or symbol or illustration. It is time-and-site-based art or Kontext-kunst that dominates, according to the idea of subjectivity as irreversibly decentred: interactiveness is the social form that produces human relations, while the topic of identity is often conceived through the sense of social or statutory exclusion. But unlike artists from Bosnia- Herzegovina (such as Jasmila Žbanić) who deal directly with the topic of the war they have gone through, right until the present day, video in Croatia has been seen to be a subjective medium, putting a distance between it and the objective reporting of the TV. In spite of the war, the artists of the nineties are mainly oriented to the creation of private and chamber-sized works,

36 Samoaktualizacija i imanentna suvremenost video medija 145 Darko Fritz: End of the message, Aspekt čovjeka kao političkog bića (zoon politikon) te problemi vezani uz njegovo javno izražavanje stavova, društveni status te opću i pojedinačnu sigurnost politička umjetnost. U hrvatskoj video umjetnosti traumatičnim realizmom (termin Halla Fostera) primarno su zaokupljeni umjetnici srednje generacije poput Sanje Iveković (Svjetionik, Opća opasnost), Ivana Faktora ili Ivana Ladislava Galete (TV snajper), na tragu utopističke ideje iz sedamdesetih godina o radikalnoj promjeni društva videom, odnosno poimanja videa kao sredstva društvene promjene. Hrvatski video, čak ni tijekom rata u prvoj polovici devedesetih godina, ipak nije politička umjetnost u smislu služenja ideologiji ili denunciranja sistema, već je to tek donekle, uporabom retorike

37 Self-actualization and Immanent Contemporaneity of Video Medium 146 silva kalčić

38 Samoaktualizacija i imanentna suvremenost video medija 147 Ivan Marušić Klif: VJ-ing, 2005, (INSERT na zatvaranju izložbe / at the exhibition closing) demokracije i emancipacije (Bourriaud) te feminističkim akcionizmom. Umjetnici generacije su, čini se, ignorirali činjenicu rata zaokupljeni osobnim temama u svojim radovima, djelomično zbog političke apatije svojstvene novim generacijama, a dijelom vodeći se idejom Felixa Gonzalesa -Torresa da su najuspješniji od svih političkih poteza oni koji se ne čine političkima. Nikada nisam želio biti političan, želio sam da moje djelo bude politika (Vito Acconci): tu smo na tragu Beuysove ideje o socijalnoj skulpturi, u smislu načina kako oblikujemo svijet u kojemu živimo i u kojemu politička aktivnost poprima formu umjetničke prakse oslobođene značenja simbola ili ilustracije. Dominira time-and-sitebased, odnosno Kontext-Kunst prema ideji subjektiviteta kao nepovratno decentriranog: interaktivnost je društvena forma koja proizvodi ljudske odnose, dok se tema identiteta često poima kroz prizmu društvene

39 Self-actualization and Immanent Contemporaneity of Video Medium 148 silva kalčić often within the determinants of conceptual art, which means that it is enough to adumbrate the idea for the work to be complete, as against the practices of the TV production. While Baudelaire claimed that memory is the great measure of art; art is the mnemonics of the beautiful film is a kind of memory of the view after the end of history, the spirit is shown so that it incessantly returns (Derrida writes about hauntology that has a dominant effect on today s discourse ). In the film of Fritz Lang Der müde Tod, 1921, there is a woman in love making a complex deal with Death who is going to bring a loved man back to life for her if she performs three labours in three different countries and historical epochs. Similarly, Ivan Faktor conceives his exhibition Fritz Lang und Ich (2003) wanting to bring Osijek back to the condition of being a living town. By the procedure of transferring images from heterogeneous media and using matrices from history, the author makes a diachronic comparison of the Homeland War and the Nazi persecutions. In the technique of urbs as protagonist, he juxtaposes documentary images (shots from the hand of an Adorno jargon of authenticity) of the acrophobic life in the town occupied and bombarded, to inserts from the films of Lang and the scene of a funeral monument showing a photograph of a certain Nada Lang (a girl with a coincidentally Jewish surname who died in 1937 and is buried in the cemetery in Osijek) which he animates in a macabre movement (according to Barthes Death is the eidos of the shot, that intention according to which the subject looks at the image). And while in Fritz s film M there is a beggar who writes the first letter of the word Morder in chalk on his hand and in passing imprints it on the coast of the murderer thus marking and stigmatising him (which leads to the arrest and punishment of the criminal), in Faktor s work it is to do with urbicide, and the murderer of the town cannot be fingered/denounced, we conclude Rothko in line with this stated that history cannot be shown in pictures, nor should images be shown through history. The Sanja Iveković video work General Alert Esmeralda is edited from material shown on public television at moments when the last projectiles in the nineties were fired at Zagreb. Over the subtitled Mexican soap the warning ZAGREB GENERAL ALERT is as it were pasted. The second version of the video work is montaged from a sequence of a Godard (his work always contains a shift in perception) film that is repeated in a loop, with Belmondo s babbling of one and the same thing leading us to a state of great irritation, of elevated adrenaline at a chemical level like a forgotten feeling of being in a city under fire. The video work of Vlasta Delimar within the framework of the exhibition project Conversation with a warrior or the woman has disappeared ( ) speaks out about the pointless of war

40 Samoaktualizacija i imanentna suvremenost video medija 149 i legalističke ekskluzije. No, za razliku od bosanskohercegovačkih umjetnika (poput Jasmile Žbanić) koji se izravno bave temom proživljenog rata, kontinuirano do danas, video se u nas pokazao subjektivnim medijem, postavljajući odmak od objektivnog izvještavanja televizije. Unatoč činjenici rata, umjetnici devedesetih su usmjereni ka stvaranju intimističkih i komornih djela, često unutar odrednica konceptualne umjetnosti što znači da je dovoljno naznačiti ideju da bi se djelo smatralo cjelovitim, suprotno uzusima televizijske produkcije. Dok je Baudelaire tvrdio da je pamćenje veliko mjerilo umjetnosti; umjetnost je mnemotechne lijepog film je svojevrsno pamćenje pogleda, nakon kraja povijesti, duh se prikazuje tako da se neprekidno vraća (Derrida piše o hauntologiji koja dominantno utječe na današnji Ivan Faktor: Fritz Lang und ich, diskurs ). U filmu Fritza Langa Umorna smrt (Der müde Tod, 1921.) riječ je o zaljubljenoj ženi koja sklapa kompliciranu pogodbu sa Smrću koja će joj vratiti u život voljena čovjeka ako izvrši tri zadatka u tri različite zemlje i povijesne epohe. Slično tomu Ivan Faktor koncipira svoju izložbu Fritz Lang und Ich (2003.) želeći Osijek vratiti u stanje živog grada. Postupkom prijenosa slika iz heterogenih medija te korištenjem matrica iz povijesti, autor dijakronijski Domovinski rat prispodobljuje nacističkim progonima. Prema ključu urbsa kao protagonista, supostavlja dokumentarne slike (snimke iz ruke adornovskog žargona autentičnosti ) akrofobijskog života u gradu pod okupacijom i granatiranjem, insertima iz filmova Fritza Langa te prizoru nadgrobnog spomenika s fotografijom izvjesne Nade Lang (djevojke koincidentnog židovskog prezimena umrle i pokopane na osječkom groblju) koji animira u makabristički pokret (prema Barthesu Smrt je eidos snimke, ona namjera prema kojoj subjekt gleda na snimci koju mu izrađuju). I dok se u Fritzovom filmu M radi o prosjaku koji je na dlan napisao kredom prvo slovo riječi Mörder i u prolazu ga otisnuo na kaput ubojice označivši ga i stigmatiziravši (što dovodi do uhićenja i kažnjavanja zločinca), u Faktorovom djelu radi se o urbicidu, a u ubojicu

41 Self-actualization and Immanent Contemporaneity of Video Medium 150 silva kalčić 8 As early as the mid-sixties the American intelligence community was interested in experiments with very short (a few tenths of a second) subliminal messages broadcast over TV media. Viewers were asked to report noticing anything strange during the watching of the usual programmes. The experiment produced surprising effects, and the advertising companies became interested. The project was abandoned, allegedly, for its harmful effects on human psychology. and similar games for big boys (the warrior is weary, with clear symptoms of PTSP, taking pills). Art was in this always if not the most efficient then the best (although art does not point the figure and does not serve the good, thinks M. Dumas). A powerful finger-pointing at the siege of Dubrovnik is achieved by Slaven Tolj in the video documentation of a performance with Marija Grazi called Food for Survival. Two spouses stripped to the waist feed each other with an amorphous mass from tins chucked from planes, and there is a lack of any pleasure in feeding incomparable to the state of deprivation that goes along with being in war. In his escaped in video, David Maljković deals with Vojin Bakić as author of modernist abstract sculptures, mirror-smooth metal surfaces and architectural monuments of sculpture on Petrova gora, symbol of the Partisan war, the historical value of which is relativsed in the nineties when its metal coat is stripped off and the access road is torn up with the caterpillar tracks of battle vehicles, overgrown with weeds. Sanja Iveković s Lighthouse also talks of the last regime in a synchronic collage of sequences; this is primarily envisaged as a video installation. Still an intriguing piece of work in this set is the video To America I say (2002) of Dalibor Martinis. A binary coding (audible Morse signals) of the threatening message of Osama Bin Laden ( no one will be safe ) in which he announces to the government of the USA, as Chomsky says, the end of the end of history has been inserted into a sequence showing transmissions from a steel tower along with the words Radio Picture (explaining the novelty of the sound film, the letters linking visual and linguistic systems of presentation; language as institutionalisation of the symbol, articulated language as symbolic abstraction) that starts the projection of the first film King Kong. In the video installation Inside the Maltese Falcon of the same artist, occupied with communication as the material of the work, coding is done by the implantation of stretches of black tape by way of the zero while the recorded parts have the role of the one, the ultimate effect of which is the hardly perceptible flickering of the cinegram. Without their own knowledge and consent, viewers are led to follow ancillary things that they are not aware of at all, which fits in excellently (like oil on fire) to the debates that have from the sixties constantly been held concerning the possibility of the abuse of communications technology and the impossibilities of total public control of it 8. Ivan Ladislav Galeta also deals with the always fresh and current topic of terrorism (this time without a name) in TV Sniper. Starting from the fact that when a television image is shot, the subject of the action (a person) is always in the centre of the frame, the target circle drawing on the TV screen (on which the daily state-run television channel is broadcast daily).

42 Samoaktualizacija i imanentna suvremenost video medija 151 grada se ne može pokazati/prokazati prstom, zaključujemo Rothko je shodno tomu ustvrdio da se povijest se ne pokazuje slikama, niti bi se slike trebale pokazivati kroz povijest. Video rad Sanje Iveković Opća opasnost Esmeralda montiran je od materijala emitiranog na državnoj televiziji u trenucima kada su posljednji projektili u devedesetima ispaljivani na Zagreb. Preko titlovane meksičke sapunice nalijepljeno je upozorenje OPĆA OPASNOST ZAGREB. Druga verzija video rada montirana je od sekvence Godardovog (Godardova ostvarenja uvijek sadrže tzv. perceptivni pomak ) filma koja se ponavlja u petlji, pri čemu nas Belmondovo brbljanje uvijek istog dovodi do stanja iritacije, povišenog adrenalina na kemijskoj razini nalik zaboravljenom osjećaju prebivanja u napadnutom gradu. Video rad Vlaste Delimar u okviru izložbenog projekta Razgovor s ratnikom ili žena je nestala ( ), progovara o besmislu rata i sličnih igara velikih dječaka (ratnik je umoran, s očitim simptomima PTSP-a, uzima tablete). Umjetnost je u tome uvijek bila ako ne najefikasnija, onda najbolja (iako umjetnost ne pokazuje prstom i ne služi dobru, smatra M. Dumas). Snažno upiranje prstom na opsadu Dubrovnika postiže Slaven Tolj u video dokumentaciji performansa s Marijom Grazi Hrana za preživljavanje. Dvoje supružnika razodjevenih do pojasa međusobno se hrane neartikuliranom smjesom iz limenke bačene iz aviona, izostaje užitak hranjenja neprispodobiv stanju depriviranosti koje ide uz bivanje u ratu. David Maljković u svojoj eskapadi u medij videa bavi se Vojinom Bakićem kao autorom modernističkih apstraktnih skulptura, zrcalno glatkih metalnih površina i arhitektonske spomeničke skulpture na Petrovoj gori, simbola partizanske borbe čija je povijesna vrijednost relativizirana u devedesetima kada je oguljen i njezin metalni plašt, a prilazna cesta, razrovana gusjenicama borbenih vozila, obrasla korovom. O prošlom režimu u sinkronijskom kolažu sekvenci govori i Svjetionik Sanje Iveković, primarno mišljen kao video instalacija. Još uvijek intrigantan uradak u ovoj skupini je video To America I say (2002.) Dalibora Martinisa. U sekvencu emitiranja čeličnog tornja uz lettering Radio Picture (objašnjavajući novinu zvučnog filma; slova povezuju slikovni i lingvistički sustav prezentacije; govor kao institucionalizacija simbola, artikulirani jezik kao simbolička apstrakcija) kojom započinje projekcija prvog filmskog King-Konga umetnuta je binarno kodirana (zvučni Morseov signal) prijeteća poruka Osame Bin Ladena ( nitko neće biti siguran ) u kojoj vladi SAD-a navješta, kako kaže N. Chomski, kraj odmora od povijesti. U video instalaciji Inside the Maltese Falcon istog autora, zaokupljenog komunikacijom kao materijalom djela, Slaven Tolj: Hrana za preživljavanje / Food for Survival, 1993.

43 Self-actualization and Immanent Contemporaneity of Video Medium 152 silva kalčić Sanja Iveković: Opća opasnost - Esmeralda / General Alert - Esmeralda, Sanja Iveković: Opća opasnost Godard / General Alert Godard, 2000.

44 Samoaktualizacija i imanentna suvremenost video medija 153 Vlasta Delimar: Razgovor s ratnikom ili žena je nestala / Conversation with a warrior or a woman has disappeared,

45 Self-actualization and Immanent Contemporaneity of Video Medium 154 silva kalčić Magdalena Pederin: Logoreja / Logorrhea, Magdalena Pederin: Ime je anagram / The name is an anagram, Magdalena Pederin: ChatLivingRoom, Spatial installations that examine the co-presence and interference of virtual and real reality. A video image can be documentary, i.e., it can serve to create visual archives of everyday life: in this case, the real coincides with its own image in a finite time span, without the character of an event. In the opposite case, the video image represents an absolute departure from reality. The camera becomes a means of an impersonal viewpoint and statistical registration according to the principle Hrvoje Turković calls reduction and variant-repetition, the aim being to find system in accidental phenomena, which is the operative procedure in film medium used and developed to the point of system by Andy Warhol. Thus video art often deconstructs the language of film, with fictional narration, repetition, fragmented dialogues and surreal juxtapositions. In addition, video art today is used in various forms of media-constructed reality: virtual reality, mixed reality, infinitive reality. Realistic reality is a model of media reality with which the manipulation of the real is concealed. If the viewers expectations connected with the video are shaped according to cinema conventions, then the distance from the memory of the classic film represents a format of endless repetition, the creation of accidental, intermittent and heterogeneous space of paradoxical dysfunctionality; absurd narration, lack of emotion participation or identification with figures and action. Galeb Vekić makes us of the canned laughter of a fictional audience enjoying mass market performances and unkind sensations (other people s gaffes and perilous situations), typical of the sitcom.

46 Samoaktualizacija i imanentna suvremenost video medija 155 kodiranje se vrši implantiranjem crnih odsječaka vrpce u funkciji ništica dok nasnimljeni dijelovi imaju ulogu jedinica, što za konačni učinak ima jedva primjetno treptanje kinegrama. Gledatelj je bez vlastitog znanja i privole naveden da prati dodatni sadržaj kojega uopće nije svjestan, što se izvrsno uklapa (kao ulje na vatru) u rasprave što se još od šezdesetih godina neprekidno vode o mogućnostima zloporabe komunikacijske tehnologije i nemogućnostima njene potpune javne kontrole 8. Uvijek i ponovno aktualnom temom terorizma, ovoga puta bezimenog, bavi se Ivan Ladislav Galeta u TV snajperu. Polazeći od činjenice da je kod snimanja televizijske slike u središtu kadra uvijek subjekt radnje, odnosno čovjek, ciljni krug nacrtan na TV ekranu na kojemu se emitira dnevni televizijski program. Željko Kipke: Rekonstrukcija sna mijenjam vlastiti stan za imanje izvan grada / Reconstruction of a dream Trade my flat for a property outside the town, Još sredinom šezdesetih američka obavještajna zajednica interesirala se za pokuse s vrlo kratkim (nekoliko desetinki sekunde) sugestivnim porukama, emitiranim preko TV- medija. Gledatelji su zamoljeni da se jave ukoliko bi primijetili išta neobično tijekom gledanja uobičajenih programskih brojeva. Pokusi su polučili iznenađujuće efekte tako da su se za njih zainteresirale i reklamne tvrtke. Projekt je, navodno, napušten zbog škodljivog utjecaja na ljudsku psihu. Slične fizičke reakcije u djece polučili su prvi japanski crtići Pokemons. 5. Prostorne instalacije koje propituju suprisutnost i interferenciju virtualne realnosti i zbiljskog. Video slika može biti dokumentaristička, tj. može služiti stvaranju vizualnih arhiva svakodnevice: u tom slučaju, stvarno se podudara s vlastitom slikom u konačnom timespanu, bez karaktera događaja. U suprotnom, video slika predstavlja apsolutan odmak od stvarnosti. Kamera postaje sredstvo neosobnog pogleda i statističke registracije prema principu koji je Hrvoje Turković nazvao redukcija i varijantno ponavljanje, a sa svrhom pronalaženja sustava u slučajnim pojavama, što je kao operativni postupak u mediju filma učestalo koristio i do cijelog sustava razvio Andy Warhol. Dakle, video umjetnost često dekonstruira jezik filma: fikcionalnom naracijom repeticijom, fragmentiranim dijalozima i nadrealnim jukstapozicijama. Također, video umjetnost se danas koristi različitim oblicima medijski konstruirane stvarnosti: virtual reality, mixed reality, infinitive reality. Realistic reality je model (medijalne) stvarnosti kojim se prikriva manipulacija realnim. Ako su gledateljeva očekivanja u pogledu videa oblikovana konvencijama kina, odmak od memorije klasičnog filma predstavlja format beskonačne repeticije, stvaranje slučajnog, isprekidanog i heterogenog prostora paradoksalne disfunkcionalnosti; apsurdna naracija, pomanjkanje emotivnog sudjelovanja ili identifikacije s likovima i radnjom. Galeb Vekić se koristi nasnimljenim smijehom imaginarne publike koja uživa u masovnim predstavama i grubim senzacijama (tuđim gafovima i pogibeljnim situacijama), a tipičan je za sitcom serijale. Frane Rogić je na izložbi u Galeriji PM (2002.) na četiri strane svijeta (wraparound) u galerijskom krugu postavio virtualne prozore (koje ovaj čudnovato projektiran, montažnim parapetima definiran prostor, u stvarnosti nema;

47 Self-actualization and Immanent Contemporaneity of Video Medium 156 silva kalčić At the PM Gallery in 2002 in a wraparound exhibition in the gallery s circular space Frane Rogić placed virtual windows (which this strangely designed space defined by its montage parapets in reality does not have; Three in the Dark is hence the title of the show). This is a poly-perspective view of the gallery space via the repeated loop projection of the nocturnal exteriors of the street scenes, busy car and tram traffic that ricochet off the walls of the exhibition venue located as it is in the centre of a roundabout. Like a picture of a colourful picture, and he s interested in bodily secretions and then equates this with the walls through which breach the TV secretions of the tedium of reality (Marijan Crtalić, Exhibition with the language of exhibition ). Measuring with the compass, Rogić reconstructed the crossroads of the Victims of Fascism Square in Zagreb (where the gallery is located); all four cardinal points. But the communication of interior and exterior is but an illusion, instead of a live link (G. Blagus s term) the author offers us an asynchronous shot. The problem of site-specific video installation however is the impossibility of giving a meaningful presentation at another site. In the spatial installation of Dalibor Martinis Supper at Last, a video of a real supper the artist had had with friends is projected (3 projectors) onto a table spread with a red tablecloth, along with lighted candles in neo-baroque candlesticks. From that supper into the exhibition room the situation of table, food in plates on which things are cut, stabbed and shifted around is translated, but not the actors, only the movements of the hands of whom as they manipulate their cutlery are captured. At any place of the table, any of the visitors to the show can sit down, join the spread (in the principle of virtual collusiveness of peep-culture) and also listen with earphones to sections of monologues in a hypothetical conversation in which persons who marked the 20 th century take place from the real and the novelised Freud to the anthropomorphic mouse Mickey. The interaction of ad and music spots and video art is two-way, continuous and vigorous (See: VIP campaign 2006). In the video ambience of Kristijan Kožul Discohome (Matica hrvatska Gallery, 2002), the artist on a white television searches for fun strolling in a vacuumous white space to the rhythm of chill-out music while above his head a disco sphere rotates. The central part of the exhibition space was occupied by a vast buried sphere stuck with fragments of mirror. The sphere was a spatialised point, the embodiment of hedonism and popular culture, a Kohinoor, a ready-made that at the same time emitted (light show) and absorbed (like a black hole) the light of the associated spot. Pascal Bruckner speaks of contemporary humanity as eternally immature, with the imperative of consumerism and

48 Samoaktualizacija i imanentna suvremenost video medija Zoran Pavelić: Glas umjetnika / Artist s Voice, Trojica u tami je stoga bio naziv izložbe). Radi se o poliperspektivizaciji galerijskog prostora putem opetovane loop projekcije noćnih eksterijernih uličnih prizora, intenzivnog automobilskog i tramvajskog prometa koji uistinu udara na vanjske zidove izložbenog prostora, smještenog usred kružnog toka. Kao, slika šarene slike, a zanimaju ga tjelesne izlučevine pa onda to poistovjećuje sa zidovima kroz koje probijaju TV izlučevine dosade stvarnosti (Marijan Crtalić, O izložbi jezikom izložbe). Mjereći kompasom, Rogić je rekonstruirao raskrižja na Trgu žrtava fašizma: na sve četiri strane svijeta. No komunikacija interijera i eksterijera je samo privid, umjesto živog linka (termin G. Blagusa) autor nam je ponudio asinkronu snimku. Problem je kod site-specific video instalacija, međutim, nemogućnost smislene prezentacije na drugoj lokaciji. U prostornoj instalaciji Dalibora Martinisa Napokon večera na trpezu zastrtu crvenim stolnjakom, uz postavljene zapaljene svijeće u neobaroknim svijećnjacima, projicira se s tri projektora video zapis stvarne umjetnikove večere s prijateljima. S te je večere u prostor izložbe prenesena situacija stola, hrana u tanjurima na kojima je se reže, nabada i premješta, ali ne i akteri od kojih su kaptirani samo pokreti ruku u baratanju priborom za jelo. Na neko od mjesta za stolom može sjesti bilo tko od posjetitelja, pridružiti se objedu (prema načelu virtualnog suučesništvo peep-kulture) i pritom poslušati sa slušalica monološke isječke hipotetskog razgovora u kojemu sudjeluju osobnosti koje su obilježile 20. stoljeće, od stvarnog i romansiranog Freuda do antropomorfnog miša Mickeya Mausa. Međusobni utjecaj reklamnog i glazbenog spota i video umjetnosti je dvosmjeran, kontinuiran i intenzivan (vidi: VIP kampanja 2006., koja poseže za fraktalnim psihodeličnim formama). U video ambijentu Kristijana Kožula Discohome (Galerija Matice hrvatske, 2002.) na bijelom televizoru umjetnik u potrazi za zabavom šeće zrakopraznim, bijelim prostorom, u ritmu chill-out glazbe dok iznad njegove glave rotiraju disko kugle. Središnji dio izložbene prostorije zauzela je predimenzionirana ukopana kugla obložena komadićima zrcala. Kugla je oprostorena točka, utjelovljenje hedonizma i popularne kulture, kohinoor, ready-made koji istovremeno kaledioskopski emitira (light show) i absorbira (kao supermini supernova) svjetlost pridruženog spotlighta. Pascal Bruckner govori o suvremenom čovjeku kao vječnom nedozrelom nad kojim visi imperativ konzumerizma i razonode, kulta sreće i neprestane ushićenosti. Nećeš se odreći ničega imperativno je načelo toga stanja. Kugla je cijelim oplošjem obložena komadićima zrcala odražavajući, i tako multiplicirajući u beskonačnu sliku, okolni prostor. Kožulov rad govori o ispraznosti potrage za razonodom, teroru užitka.

49 Self-actualization and Immanent Contemporaneity of Video Medium 158 silva kalčić Kristijan Kožul: Discohome, fun, the cult of happiness and incessant excitement hanging over it. Don t deprive yourself of anything is the principled imperative of this condition. Over the whole surface of the sphere pieces of mirror are stuck, multiplying the surrounding space into an endless image. Kožul s work speaks of the vanity of the search for fun, the reign of terror of pleasure. A special group consists of video clips created with computer 3D visualisation (models, animated drawings, diagrams), the computer taking on the role of virtual studio. Here we take for granted the creation of a virtual space and of idiosyncratic spatial models in a play of changes of scales, video that takes on the form of a commercial video clip with rapid interchange of frames and the iconography of retro-futurist chic. A phantasmagoric world is created, with a linear flow of time that is often interrupted. The vivid and flamboyant colours create a moving fresco (the visual noise, the cacophony of colours and sounds): form dominates content; the video image is aestheticised. Simon Bogojević Narath, Davor Mezak, Igor Kuduz, Darko Fritz, Sandro Đukić, Dan Oki (aka Slobodan Jokić) are artists who regularly use the computer in their video production, particularly in the area of animation, as well as techno music, IR video and other technological implants. Narath s work in the area of 2D and 3D computer animation, in which he also uses models, miniatures and dolls, with original soundtrack, is best seen in his Plasticata (2003). In the video

50 Samoaktualizacija i imanentna suvremenost video medija 159 Simon Bogojević Narath: Grad / The City, Posebnu skupinu čine video klipovi stvoreni kompjutorskom 3D vizualizacijom (makete, animirani crteži, dijagrami), pri čemu računalo preuzima ulogu virtualnog studija. Tu podrazumijevamo stvaranje virtualnog prostora i ideosinkratskih prostornih modela u igri promjena mjerila, video koji preuzima formu komercijalnog videoklipa s brzom izmjenom kadrova i ikonografijom retro-futurističkog chica. Stvara se fantazmagorijski svijet često poremećenog tijeka linearnog vremena. Jarke, goruće (flamboajantske: kaleidoskop pulsirajućih slika) boje stvaraju pomične freske (vizualna buka, kakofonija boja i oblika): forma dominira nad sadržajem; estetizacija video slike. Simon Bogojević Narath, Davor Mezak, Igor Kuduz, Darko Fritz, Sandro Đukić, Dan Oki (akronim od Slobodan Jokić) su umjetnici koji redovito koriste računalo u videoprodukciji, naročito na području animacije, kao i techno-glazbu, infracrveni video i ostale tehnologijske proteze. Narathov rad na području 2D i 3D kompjuterske animacije, pri čemu koristi i modele, minijature i lutke, uz originalni soundtrack, najbolje se ogleda na primjeru Plasticata (2003.). U video radu Grad/The City formatom projekcije i tzv. filmskom glazbom ironizira komercijalni dugometražni film i efekte uvriježene u filmskoj industriji, u jednom dugom kadru gradi zaplet s nagovještajima dramatičnog. Temama budućnosti cyberbody i robotika bave se Narath (Hand of the Master) i Vladimir Knežević (Convergence). Izdvojeno

51 Self-actualization and Immanent Contemporaneity of Video Medium 160 silva kalčić work The City with the format of projection and so-called film music he subjects the commercial feature film and the effects inveterate in the movie industry to irony, building in one long frame an imbroglio with hints of high drama. Narath (Hand of the Master) and Vladimir Knežević (Convergence) deal with themes of the future cyberbodies and robotics. A separate chapter in this unit belongs to computer and classic animation along the lines of the Zagreb School of animation and the biennial world animated film festival in Zagreb. Also interesting is the reduced animation of the cartoon film by Denis Krasković (How the damned from hell saved the gangster Ronald Reagan), with the recorded confessional monologue of criminal and junkie (who just happens to have a very well known name), who through clinical death underwent catharsis and became a priest. The pattern of the depiction of clinical death: the conversation with known deceased, spiced with their abode in the fires of hell, dealing with the before and after treatment of this theme all this represents an attempt to give an answer to the issue of the point of existence (the archetypal what are we here for?). Animation of video image by the insertion of drawings or capturing changes created between the camera s being switched on and off was produced among the first by Ivo Deković (Stein und Meer, 1976; Sonnenmaler, ). Heiko Daxl, German media theorist and artist, author of interesting projects such as Electronic Landscape and the event Media-Scape, was invited to Croatia via his wife Ingeborg Fülepp, with whom he jointly creates his works. At Insert he is represented with an interesting chamber work of theirs, Agantgarde-robe with a rhythmical animation of lockers that make up a grid or pattern through the repetition of the same things. The unpredictability of the direction of movement, the violence of the opening and closing of doors of the lockers with their crash, creates an exciting dynamism of action, suspense like a good thriller as in the magnetic attraction with animation effect in Ana Kadoić s video Reconstruction. A special subgroup in this unit consists of video sculptures (Alem Korkut; in an enlarged sense, the works of Davor Mezak Raft of the Medusa and Waterbed), where we can put all video instillations with frozen video images (like Viaduct by Simon Bogovjević-Narath), and video loop projects with a model in space. According to Ilya Kabakov the installation is a genre that takes the place of the icon, the fresco and images on canvas. Video becomes painted canvas, a pastiche of fluid, painterly paintings (Maja Rožman); or, according to Bergson, it is possibly linked with the topical, virtually linking itself to the real, the connection of the possible and the existing is the same as that between the model and the copy of it the concept is realised in the model before it is produce din the copy.

52 Samoaktualizacija i imanentna suvremenost video medija 161 poglavlje u ovoj cjelini pripada kompjutorskoj i klasičnoj animaciji na tragu Zagrebačke škole crtanog filma i bijenalnog svjetskog festivala animiranih filmova u Zagrebu. Zanimljiva je reducirana animacija crtanog filma Denisa Kraškovića (Kako su prokleti iz pakla spasili gangstera Ronalda Reagana), s nasnimljenim ispovjednim monologom kriminalca i narkomana (slučajno planetarno poznatog imena), koji je kroz kliničku smrt doživio katarzu i postao svećenikom. Obrazac prikaza kliničke smrti: razgovor sa znanim pokojnicima, začinjen njihovim prebivanjem u paklenoj vatri, bavljenje before and after tretmanom ove teme pokušaj je davanja odgovora na pitanje smisla postojanja (arhetipsko zašto smo ovdje?). Animaciju video slike umetanjem crteža ili kaptiranjem promjena nastalih između paljenja i gašenja kamere među prvima provodi Ivo Deković (Stein und Meer, i Sonnenmaler, 1981./82.). Heiko Daxl, njemački teoretičar medija i umjetnik, autor zanimljivih projekata poput Elektroničkog pejsaža te manifestacije Media Scape, povezan je s Hrvatskom preko supruge Ingeborg Fülepp s kojom supotpisuje radove. Na Insertu je predstavljen njihov zanimljivi komorni rad Avant-garde robe s ritmizacijskom animacijom garderobnih ormarića koji čine raster, pattern, ponavljanje istog. Nepredvidivost smjera pokreta, silovitost otvaranja i zatvaranja vratašaca ormarića uz tresak, stvara uzbudljiv dinamizam radnje, suspense nalik dobrom trileru kao i u magnetskom privlačenju s animacijskim efektom u videu Reconstruction Ane Kadoić. Zasebnu podskupinu unutar ove cjeline čine i video skulpture (Alem Korkut; u proširenom smislu radovi Davora Mezaka Splav meduze i Vodeni krevet), gdje možemo svrstati sve video instalacije sa zamrznutom video slikom (poput Vijadukta Simona Bogojevića-Naratha), i video loop projekcije s modelom u prostoru. Prema Ilji Kabakovu instalacija je žanr koji zauzima mjesto ikone, freske i slike na platnu. Video postaje obojeno platno, pastiš fluidnih, slikarskih slika (Maja Rožman); odnosno, prema Bergsonu, moguće je povezano s aktualnim, virtualno se vezuje uz stvarno, poveznica mogućeg i postojećeg je ista kao između modela i njegove kopije koncept je ostvaren u modelu prije nego je izveden u kopiji. Komemorativan rad Vlaste Žanić Svijeća za Editu sastoji se od in situ (na Trijenalu kiparstva, Gliptoteka 2003.) performansa izrade divovske svijeće guljenjem velikih grumena voska i potom zapaljena, kiparske forme u nastajanju i nestajanju što je dokumentirano video snimkom popraćenom tekstom u spoju skulpture i video skulpture. I na koncu, ovdje možemo svrstati i video radove koji prisvajaju jezik filma i televizije koji dominira jezikom suvremene vizualne kulture:

53 Self-actualization and Immanent Contemporaneity of Video Medium 162 silva kalčić Ivo Deković: Sonnenmaler, The commemorative work of Vlasta Žanić Candle for Edita consists of an in situ performance (at the Sculpture Triennial at the Croatian Academy Glyptotheque in 2003) of making giant candle by scraping vast lumps of wax, subsequently lit, sculptural forms in the making and vanishing, documented by a video accompanied by a piece of writing, in a merger of sculpture and video sculpture. Finally, here we can also place video works that appropriate the language of film and television, dominated by the language of contemporary visual culture: filmicity, inserts (quotes), frame repetition, filmic narration (video work with fibula; narrator as voiceover, as suprainterpretation, as stage directions, as semantic-and-narrative dimension of the work). The paradigmatic ambience of Slaven Tolj (at the exhibition Cinema Sarajevo in Celje) with the Tornatore-esque title Kino Jadran consists of a dry projection, without film (the only source of light in the room is the flickering light square projected with super-eight, the sound of the projector), the heavy and opaque curtains that bring in the olfactory dimension of the ambience (of stagnation), the packed ranks of folding chairs that, however, cannot be opened and used.

54 Samoaktualizacija i imanentna suvremenost video medija 163 Denis Krašković: Kako su prokleti iz pakla spasili gangstera Ronalda Reagana / How the damned from hell saved the gangster Ronald Reagan, filmičnost, inserti (citatnost), repetitivnost kadra, filmska naracija (video rad s fabulom; pripovjedač-narator kao glas u offu kao nadinterpretacija, didaskalija, odnosno semantičko-narativna dimenzija rada). Paradigmatski ambijent Slavena Tolja (na izložbi Cinema Sarajevo u Celju) tornatoreovskog naziva Kino Jadran sastoji se od suhe projekcije, bez filma (jedini izvor svjetlosti u prostoriji je titrav svijetli kvadrat projiciran s osmice ), zvuka projektora, teških neprozirnih zavjesa koje uvode mirisnu dimenziju ambijenta (miris ustajalosti), zbijenih redova stolica na preklop koje se, međutim, ne mogu rastvoriti i rabiti

55 Self-actualization and Immanent Contemporaneity of Video Medium 164 silva kalčić Ana Kadoić: Rekonstrukcija / Reconstruction, 2002.

56 Samoaktualizacija i imanentna suvremenost video medija 165 Maja Rožman: Žice / Wires, 2004.

57 Self-actualization and Immanent Contemporaneity of Video Medium 166 silva kalčić Davor Mezak: Vodeni krevet / Waterbed, 2000.

58 Samoaktualizacija i imanentna suvremenost video medija 167 Vlasta Žanić: Svijeća za Editu / Candle for Edita, 2003.

59 Self-actualization and Immanent Contemporaneity of Video Medium 168 silva kalčić Pasko Burđelez: Pođimo negdje drugdje i počnimo sve ispočetka / Let us go to another place and start over, Investigation of psychological conditions and relations Features: marked textuality of works and the creation of a dramaturgy of the video-recording the moment of expectation, of anticipation. The literal space is transformed psychological into a way of fragmenting the image. The Freudian concepts of instincts, wishes and dreams (inspiration by dreams is its leitmotif, a practically banal commonplace in the history of art; Kata Mijatović does video performances on the topics of friends donated dreams). Transfer of identity. Use of sounds: loud shouting that the audience feels as aggression in the video installation the isolated sound box called Scream of Nika Radić; swearing at a person in front of the monitor (oneself at on the opposite screen), and then contrition (apologies) in the video so entitled (on two opposed monitors at the level of the visitor s face) by Marijan Crtalić. The sound and video installation of Danko Friščić exploits the Munch theme of the expression of fear (the scream), where the sound is given body, or visualised on the screen by a frozen image that slips. Similarly, Nam June Paik models and deforms the video image by placing magnets on the side of the monitor, a procedure similar to DJing or VJing. Pasko Burđelez shoots from the front a Citizen wall-clock in a vacuum of a second embodied by the hand that because of a practically discharged battery never manages to get to the next line on the dial, though constantly waving at it. The author calls this long second authentic time. Or the

60 Samoaktualizacija i imanentna suvremenost video medija Istraživanje psiholoških stanja i odnosa. Značajke: naglašena tekstualnost radova i stvaranje dramaturgije video snimke moment iščekivanja, anticipacije. Literalni prostor transformiran je u psihološki na način fragmentacije slike. Frojdovski koncepti instinkta, želje i snova (nadahnuće snovima je lajtmotiv, gotovo banalno mjesto u povijesti umjetnosti: Kata Mijatović radi video performanse na temu doniranih snova prijatelja). Transfer identiteta. Korištenje zvuka: glasno vikanje (na nepoznatom islandskom jeziku; poruka je komunicirana na nelingvalnoj razini, artikulirana samo modalitetima tona) koje gledatelj doživljava kao agresiju u video instalaciji izoliranoj zvučnoj kutiji Vrisak Nike Radić; psovanje na osobu pred ekranom (samog sebe na ekranu nasuprot), i potom kajanje (ispričavanje) u istoimenoj video instalaciji (na dva sučeljena monitora u razini posjetiteljeva lica) Marijana Crtalića. Zvukovna i video instalacija Danka Friščića eksploatira munchovsku temu ekspresije straha (vriska), gdje je zvuk opredmećen, odnosno vizualiziran na ekranu zamrznutom slikom koja bježi. Slično tomu, Nam June Paik modelira/deformira videosliku postavom magneta na stijenke monitora, što je postupak sličan DJ-ingu i VJ-ingu. Pasko Burđelez frontalno snima Citizen zidni sat, u vakumskoj sekundi utjelovljenoj kazaljkom koja se zbog gotovo ispražnjene baterije sata ne uspijeva premjestiti na sljedeću crticu brojčanika, zamahujući stalno prema njoj. Autor tu dugu sekundu naziva autentičnim vremenom. Odnosno, to je integralna verzija vremena što ga se izgubi, u smislu neproživljenosti trenutka, bezglavo žureći. Tzv. vremenski zasnovana (time based) umjetnost na ovaj način funkcionira poput psihološkog metronoma. U drugom video radu, Pasko leži u travi razodjeven do pojasa, u pozadini je razgledničarska vizura Grada, i kada se naposljetku okrene (moment radnje ) vide se golemi plikovi, alergijska reakcija na travu: za potpuno razumijevanje ovog video rada potrebno je naglasiti da autor živi u Dubrovniku gdje radi kao vrtlar. Tipično za hrvatske video umjetnike je da nastupaju kao performeri u svojim video radovima, što ne podrazumijeva nužno autoreferencijalni pristup. Često je razlog tomu praktična činjenica financijske nemogućnosti unajmljivanja profesionalnih izvođača (glumaca, plesača, statista). Radovi Alena Floričića, čini se, negdje su između. Povezuje ih percepcija tijela kao živog, organskog objekta reduciranog na elementarne funkcije gibanja, trzanja ili disanja, medijem ekstrahirane, prerađene i ritmički strukturirane (odnosno dekonstruirane). Autor svoj rad objašnjava nemogućnošću tzv. angažirane umjetnosti ; na njega su primjenjive odrednice poput body-arta, akcionizma, konceptualizirane

61 Self-actualization and Immanent Contemporaneity of Video Medium 170 silva kalčić Tomislav Pavelić: Plamen sam, ja sam sâm (br. 3) / I am a flame, I am alone (No. 3), integral version of time that is lost in the sense of the failure to experience the second that hurries headless on. So-called time-based art in this way functions like a psychological metronome. In the second video work, Pasko lies in the grass, bared to the waist, in the background a postcard vision of Dubrovnik, and when at last he turns over, the moment of the action, we can see vast patches on him, result of an allergic reaction to the grass. For full understanding of this work it has to be pointed out that the author lives in Dubrovnik and is employed as a gardener. It is typical of Croatian video artists that they function as performers in their video works, which does not necessarily mean an auto-referential approach. The reason for this is often a practical fact, i.e., the financial inability to hire professional performers (actors, dancers, extras). The works of Alen Floričić it would seem, are somewhere in between. They are linked by perception of the body as live, organic object reduced to the elementary functions of movement, twitching and breathing, extracted, reworked and rhythmically structured (deconstructed) by the medium. The author explains his work by the impossibility of what is called committed art : to him can be applied such definitions as body art, actionism, conceptualised mechanisation, cyber-performing. Bearing the title Untitled, his stylistic exercises in short form always start off from the artist s body, which moves, while the face shows no emotion, remain the Buster Keatonish face of stone. The kinetic alternations of light and colour, the winking lights on a tree suggest merriment, the festive specialiness of the moment in the video Untitled no. 5 is opposed to the motionless figure of the artist in his tracksuit in the sitting room seated on a chair next to the tree. Is this what the celebration of the festive season looks like in most Croatian homes?

62 Samoaktualizacija i imanentna suvremenost video medija 171 Kata Mijatović: Marijanov san / Marijan s Dream, 2005.

63 Self-actualization and Immanent Contemporaneity of Video Medium 172 silva kalčić Dalibor Martinis: Koma / Coma, 1997.

64 Samoaktualizacija i imanentna suvremenost video medija 173 Alen Floričić: Bez naziva No. 5 / Untitled No. 5, Alen Floričić: Bez naziva No. 1 / Untitled No. 1, mehanizacije, cyber-performinga. Noseći oznaku Bez naziva, njegove stilske vježbe kratke forme uvijek polaze od umjetnikova tijela, koje se pokreće ali lice ne pokazuje emocije, to je basterkeatonovsko kameno lice. Kineza boja i svjetla, treptanja lampica na boru sugerirajući veselost, svečanu posebnost trenutka u videu Bez naziva No. 5, supostavljen je nepomičnoj figuri umjetnika koji u trenirci, u dnevnoj sobi sjedi na stolici kraj bora. (Tako zasigurno izgleda proslava blagdana u većini hrvatskih domova?!) Iako ovdje nije primjereno govoriti o kriteriju osobnog sviđanja, ovaj rad ističem i na razini osobnog akordiranja. U video eseju pokazanom na Insertu, tj. video dokumentaciji performativnih seansi Tomislava Pavelića Plamen sam, ja sam sâm br. 3 (naziv je prijevod stiha Tristana Tzare) umjetnik-performer, kostimiran u smislu odijevanja isključivo odjeće bijele boje, nalazi se u bijeloj sobi na snimci dodatno obijeljenoj, razmazanoj predugom ekspozicijom te prosijavanjem dnevne svjetlosti kroz prozor što razgrađuje forme i dovodi u pitanje fizičku pojavnost umjetnika na snimku. On sjedi s rukama na koljenima, nepomičan, naspram kamere. Kraj njega je druga stolica, prazna, na nju sjedaju pozvane osobe, poznate i važne umjetniku, i tamo ostaju dvadeset minuta (pokazano u videu u real timeu) te na odsustvo verbalne komunikacije i djelovanja reagiraju svojstvenim govorom tijela, u situaciji naprosto subivanja.

65 Self-actualization and Immanent Contemporaneity of Video Medium 174 silva kalčić Although here it is not appropriate to talk about the question of personal likings, I would particularly highlight this work because of the level of personal accord. In the video essay shown at Insert, i.e., a video documentation of performance sessions of Tomislav Pavelić I m a flame, I am no. 3 (translation of a verse of Tristan Tzara) the artist-performer, costumed in the sense that he is wearing clothing that is entirely white, is in a white room on the shot additionally whitened or smeared by over-exposure, and the scattering of daylight through the window, breaking up the form and calling into question the physical phenomenality of the artist in the shot. He is sitting with hands on knees, motionless, vis-à-vis the camera. Next to him is another chair, only empty, which can be sat upon by invitees, important and known to the artist, and their they stay twenty minutes (shown in real time in the video) and in the absence of any verbal communication or action, they react with the typical body language, in a situation of simple co-existence. Coma (Venice Biennial, 1997), an interactive installation of Dalibor Martinis, is closed by the intervention of visitors to the exhibition. The video image here is not self-sufficient. It is not moving (against its own nature), in the sense that what is depicted is not only static but also without any energy, unformed (the stupefied artist in a straitjacket in a cramped box, head rested on a white hospital board), until the viewer completes the work, not only with his presence but also his activity: all that needs to be done is to press the red button. This actives the virtual electric shock that passes through the artist s head, and brings him to life (which was probably the intention of proponents of electroshock therapy). He starts reading aloud in Latin which can be interpreted as a critique of the pointlessness (not using formal knowledge) or abuse of the humanist concept of education (galvanic experiments with patients and inmates were carried out by physicians using ordinary protocols). The autonomous factor of the video work is, hence, the visitor, the actor who presses the button. This actor can be looked at either from the aspect of being willing to inflict pain, or that of his readiness of use the artist s offer to play with him and torture him, as against the widespread viewpoint of the untouchabilty of the creator of high or great art (any artist who appears at the Biennial has an a priori status of important artist in the eyes of the public). The interactiveness of the installation functions here as a psychological test of the visitors inherent sadistic urges. Dan Oki s Oxygen O4, a tale about the astronaut Luka Vitlov, functions in a similar way in the sense that there is autonomous participation by the visitor. It is made as a jigsaw of various versions of a linearly structured tale stored on an internet

66 Samoaktualizacija i imanentna suvremenost video medija 175 Koma (Venecijansko bijenale 1997.), interaktivna instalacija Dalibora Martinisa dovršava se intervencijom posjetitelja izložbe. Video slika ovdje nije samodostatna, ona je nepokretna (suprotno svojoj prirodi) u smislu da je ono što prikazuje ne samo statično nego i bez energije, neuobličeno (obamrli umjetnik u luđačkoj košulji u tijesnoj prostornoj kutiji, glave naslonjene na bijele bolničke pločice) sve dok gledatelj svojom ne samo nazočnošću već i aktivnošću dovrši djelo: sve što treba učiniti je pritisnuti crveni gumb. Time se aktivira virtualna struja koja prolazi kroz umjetnikovu glavu i on živne (što je valjda bila namjera i promicatelja elektrošokova u liječništvu, ili pokusa galvanizacije). Počinje čitati na latinskom što se može protumačiti kao kritika nesvrhovitosti (nekorištenja formalnog znanja) ili zloupotrebe humanističkog koncepta obrazovanja (strujne eksperimente s bolesnicima i zatvorenicima provodili su liječnici koristeći uobičajenu medicinsku metodologiju). Autonomni čimbenik video rada je, stoga, posjetitelj izložbe-akter koji pritišće gumb. Njega se može posebno razmatrati s aspekta spremnosti nanošenja boli ili spremnosti preuzimanja uloge onoga koji donosi odluku o nanošenju boli Drugomu te, također, s obzirom na spremnost da iskoristi umjetnikovu ponudu da se igra s njime i da ga muči, nasuprot uvriježenom stavu o nedodirljivosti Kreatora tzv. visoke ili velike umjetnosti (umjetnik koji nastupa na Bijenalu a priori u očima publike ima status značajnog umjetnika). Interaktivnost instalacije ovdje funkcionira kao psiho-test posjetiteljevih intimnih sadističkih nagnuća. Na sličan način u smislu autonomnog sudioništva posjetitelja funkcionira i interaktivna instalacija Dana Okija Oxygen O4, priča o astronautu Luki Vitlovu. Film je napravljen kao slagalica različitih verzija linearno strukturirane priče pohranjene na internet stranici, prema odabiru posjetitelja izložbe: oni mogu montirati svoje vlastite varijante igranog filma, uključivo sretni epilog, tako da ga rekonfiguriraju dekonstruiraju, utječu na podjelu uloga, poredak kadrova te kronološki slijed prizora, ispremiješaju titlove iz ponuđenog scenarija ili ispišu vlastite dijaloge. Konačni rezultat takve interakcije biva u velikoj mjeri vizualni iskaz stavova i sklonosti publike. 7. Autoreferencijalnost. Video se ovdje javlja kao mjesto iskustva. Ich-forma, tijelo i identitet umjetnika u video performansu; ili umjetnik preuzima alter-ego u video teatralizaciji Lale Raščić The Invisibles. Kućni ambijent kao čimbenik osobnog identiteta (Kristina Leko, Renata Poljak, Lala Raščić, Ana Hušman). Kamera je obično statična, radnja se

67 Self-actualization and Immanent Contemporaneity of Video Medium 176 silva kalčić page, according to the choice of people attending the exhibition. They can cut and edit their own variants of the film, including a happy epilogue, by reconfiguring it, deconstructing, affecting the apportionment of the roles, the order of frames and the chronological sequence of scenes, mix up the titles of the given screenplay or write out their own dialogues. The final result of such an interaction is to a great extent a visual expression of the audience s views and inclinations. Ana Hušman: Melšpajz / Cookies, Self-referentiality Video as place of experience. The Ichform, body and identity of the artist in video performance, or artist takes on an alter ego in the video theatricalisation of Lala Raščić The Invisibles. The domestic setting as factor of personal identity (Kristina Leko, Renata Poljak, Lala Raščić, Ana Hušman). The camera is usually fixed, the action goes on in front of it (often very slowly), which enhances the chamber effect of selfre-examination (introverted introspection): an almost contemplative video image. The video image as site of experience. Self-presence. Transgression of the limits of formalist aesthetics. From the time of hand prints left on the walls of caves, artists have felt the need to observe and visually present their own figure, in an attempt of communication with the future and the present. Unlike the production before and after the nineties, which was institutionally supported, most of the video production in the nineties was made abroad, in residency programmes, during periods of exile; or they were home-made videos of low technical quality, which again is not a barrier in their achievement of the level of art. A special group consists of monologue sketches shot with a consumer camera without any postprocessing, the main hero of the films being the artist him/herself. Here we can include mediated (shot) existential performances (the anthology piece My Life and Mantra of Marijan Crtalić) as kind of self-portrait, diary in which the artist has a parallel life, records and then narrates memories, experiences, wishes and dreams; K. Golestan calls them the most perverted form of haiku. The video camera can literally be an extension of the artist s body; the arm s-length self-portraits of Sandro Đukić shot with successive snapping, with their multiplicity make up the artist s visual archive. Then the successive taking of a large number of digital pictures can be viewed as a video sequence. Đukić s Around the world in 100 days ( ) is a cycle of self portraits (a film made up of slides) photographed in the chroma-key procedure. Hiring photographs of landscapes from visual archives as spaces for the journey (the wallpaper behind the self-portrait) the artist submits the destination industry to irony, mocking the phenomenon of instant tourism and the imperative of enjoyment. Hallelujah the Hill by Weekend

68 Samoaktualizacija i imanentna suvremenost video medija 177 Lala Raščić: Nevidljivi / The Invisibles, odvija ispred nje (često naglašeno sporo) što osnažuje komorni dojam samopreispitivanja (introvertne introspekcije): gotovo kontemplativna video slika. Video slika kao mjesto iskustva. Samoprisutnost. Transgresija granica formalističke estetike. Još od pećinskih otisaka dlana ruke opstaje nagnuće umjetnika da promatra i likovno prikazuje vlastiti lik, u pokušaju komunikacije sa suvremenošću i budućnošću. Za razliku od produkcije prije i poslije devedesetih, koja je instutucionalno podupirana, veći dio video produkcije u devedesetima nastaje u inozemstvu, u emigraciji ili tijekom residency programa; ili su to home-made video radovi niske tehničke kvalitete što nije zapreka u postizanju umjetničke razine. Posebnu skupinu čine monologni skečevi, snimljeni kućnom kamerom bez post-procesinga, a glavni junak tih filmova je sam umjetnik. Tu možemo ubrojiti i posredovane (snimljene) egzistencijalne perfomanse (Marijan Crtalić, antologijski Moj život ili Mantra) kao vrst autoportreta, dnevnika u kojima umjetnik vodi paralelni život, bilježi i potom kazuje uspomene, doživljaje, želje i snove; K. Golestan naziva ih the most perverted form of haiku. (Video)kamera može i doslovno biti ekstenzija umjetnikova tijela: autoportreti na dužini ruke Sandra Đukića snimljeni uzastopnim okidanjem foto-aparata svojom množinom tvore zalihost, slikovni arhiv. Pritom uzastopno okidanje velikog broja digitalnih slika može biti iščitano kao video sekvenca. Đukićev Put oko svijeta u 100 dana ( ) je ciklus autoportreta (film realiziran od slajdova) snimljenih croma-key postupkom. Unajmljujući fotografije krajolika iz slikovnih arhiva kao prostore putovanja (slike-tapete u pozadini autoportreta) umjetnik ironizira destination industry, fenomen

69

70 Samoaktualizacija i imanentna suvremenost video medija Sandro Đukić: Put oko svijeta u 100 dana / Around the world in 100 days, instant turizma i imperativnog uživanja. Hallelujah the Hill Weekend Arta (Aleksandar Battista Ilić, Ivana Keser, Tomislav Gotovac) također je svojevrsni landartistički film načinjen od fotografija (hodanje kao umjetnost, bez nužde proizvodnje umjetničkih artefakata, pa čak ni ostavljanja tragova umjetnosti). Video radovi, često intuitivno, slijede filozofiju dekonstruktivizma koristeći strategije disjunkcije (montaža disjunktnih, konfliktnih slika kao brza izmjena TV slika, alegorijski prikaz modernog vremena, brza percepcija slika-znakova), decentriranja (izmještanja), disharmonije, transgresije, disritmije ili pomaka iz simetrične osi (Vlatka Horvat: Out on a Limb: stalno iznova pronalaženje stanja ravnoteže pri balansiranju na panju na jednoj nozi; Iva Marija Bitanga, Exercise: fiksirani kadar umjetničina balansiranja na vršcima prstiju) Pritom su često antropocentrični i autorefleksivni: kamera ima ulogu zrcala, sučelja za samopromatranje u radovima Sanje Iveković Make-up-make-down (dotjerivanje za izlazak, crtanje lica, anticipacija budućih uzbuđenja izražena basovima disco glazbe: Fly Robin Fly, a zatim se radnja uzastopno ponavlja u potpunoj tišini) i Osobni rezovi/personal cuts, u radu Ogoljavanje Vlaste Žanić (gledatelj iz vizure toaletnog ogledala promatra nedignitetni rutinirani čin čupanja dlačica obrva kratkim trzajima pincete; izmak iz očekivanog predstavlja inercija kojom se radnja prolongira sve dok i posljednja dlačica ne bude iščupana s korijenom; umjetnost koja sama sebe promišlja, usmjerenost na raščlanjivanje pojma umjetnosti ), Tattoo Vlade Zrnića i u ranim (nastalih po iseljenju u Los Angeles 1974., na tragu Bečkog akcionizma) komornim crno-bijelim radovima Ante Božanića uvijek uz prisutnu slutnju, ili otvoreni iskaz konfrontacije s kamerom, autoagresije, odnosno protopunkerskog agresivnog samooslobođenja iz sustava agresije (Zdravko Mustač u Buketu uvodi plesnu koreografiju simboličke tučnjave cvijećem, pozivajući se na primarnu dihotomiju crno-bijelo, ružno-lijepo). Imanentna postmodernoj misli je podređenost Subjekta kategoriji Drugog kao zrcala (nasuprot Drugoga). Prema Baudrillardu društvenu scenu i zrcalo zamijenili su zaslon i mreža: zrcalo kao model je passé, ono fizički oslikava lik i priprema ga za transcedenciju, dok je ekran neogledalna površina na kojoj se odvijaju elektronički generirane operacije. Video radovi umjetnika poput Marijana Crtalića, Danka Friščića, Vlatka Vinceka temeljeni su na nagonu za pretjerivanjem, oniričkim iracionalnim, fantazmagorijskim pomakom, skliznućem u opskurno. Nagon za pretjerivanjem rezultira svojevrsnim horror vacui gubitkom pauze ili intervala. Video radovima s tautološkim

71 Self-actualization and Immanent Contemporaneity of Video Medium 180 silva kalčić Vlasta Žanić: Ogoljavanje / Laying Bare, 2002.

72 Samoaktualizacija i imanentna suvremenost video medija 181 Vlatka Horvat: Out on the Limb, Vlatka Horvat: Restless, Vlatka Horvat: In Place, 2003.

73 Self-actualization and Immanent Contemporaneity of Video Medium Iva Matija Bitanga: Vježba / Exercise (No. 03), silva kalčić Art (Aleksandar Battista Ilić, Ivana Keser, Tomislav Gotovac) is also a kind of land-art film made up of photographs (of walking-as-art-form, without the need for producing artistic artefacts or even leaving any traces of art). Often intuitively, video works follow the philosophy of deconstructivism, using the strategy of disjunction (montage of disjunctive and conflicting images as rapid interchange of TV images, an allegorical presentation of modern time, a rapid perception of images-as-signs), decentring (displacement), disharmony, transgression, de-rhythm or movement away from the symmetrical axis (Vlatka Horvat: Out on a Limb: constantly again finding states of equilibrium while balancing on a stump on one leg; Iva Marija Bitanga, Exercise: fixed frame of the artist s balancing on the tips of her toes). Quite often they are anthropocentric and selfreflexive: the camera has the role of mirror, interface for self-observation in the works of Sanja Iveković Make-up Make-down (getting ready to go out, drawing on a face to the bass sounds of disco: Fly Robin Fly, and then in total silence). Personal Cuts, in the work Laying Bare of Vlasta Žanić (the viewer from the viewpoint of the dressing table mirror watches the undignified routine act of plucking eyebrows with twitches of the tweezers; the deviation from the expected is the inertia with which the work is prolonged until the very last hair is pulled out at the roots; art that thinks up itself, orientation to the analysis of the concept of art). Tattoo of Vlado Zrnić and in the early (created after the move to Los Angeles in 1974, on the lines of Viennese actionism) chamber black and white works of Ante Božanić always with a presentiment or even open statement of confrontation with the camera, auto-aggression, or proto-punk aggressive self-liberation from the system of aggression (Zdravko Mustač in Bouquet brings in dance choreography of a symbolic punch-up with flowers, invoking the primary dichotomy of black and white, ugly and beautiful). Immanent to postmodern thinking is the subordination of Subject to the category of the Other as Mirror (opposite the Other). According to Baudrillard, screen and network have replaced social scene and mirror; mirror as model is passé, it physically images the figure and prepares it for transcendence, while the screen is the non-mirror surface on which electronically generated operations go on. Video works of artists such as Marijan Crtalić, Danko Friščić and Vlatko Vincek are based on the urge to exaggerate, on dreamlike and irrational, phantasmagoric shifts, slippage into the obscure. The urge to go too far results in a kind of horror vacui with the loss of pause or interval. Video works with the tautological accumulation of motifs, bizarre and abstruse confrontations of objects or actions, with the form of infinite repetition (the video loop) corresponding to the polyperspectivism of the

74 Samoaktualizacija i imanentna suvremenost video medija 183 Vlado Zrnić: Tattoo, 1996.

75 Self-actualization and Immanent Contemporaneity of Video Medium 184 silva kalčić Alem Korkut: Memento Mori, image. The video installation of Alem Korkut Memento Mori implies an urge for self-destruction innate to all beings. The screen image of the clay model of a head is complemented with an aquarium filled with water which takes the clay sculpture (artist s portrait) and breaks it down. The post-modern (embodied in the reality show) always wants to replace the illusion of self-expression with social dialogue (equally illusory). Some artists consciously resort to the making of a video art like routine TV commercials (the new emptiness of art derived from modern art s giving up on transmitting metaphysical, religious or philosophical messages about the point of existence, according to Michaud), with its pertaining iconography (Marijan Molnar, Leo Vukelić), through standing-in, talking of themselves; they assume the aesthetic of the home-video according to the pattern of keeping a diary or use video like an aide-mémoire or family album: up close and personal (Ana Šerić in the excellent still-student video

76 Samoaktualizacija i imanentna suvremenost video medija 185 Vlatko Vincek: Metanoia, nagomilavanjem motiva, bizarnim i zaumnim sučeljavanjima predmeta ili radnji, poliperspektivizacijom slike odgovara forma beskonačnog ponavljanja tzv. petlje (video loop). I video instalacija Alema Korkuta Memento Mori implicira poriv za samouništenjem prirođen svim bićima. Ekranskoj slici glinenog modela glave supostavljena je druga, akvarij napunjen vodom, koja pred nama razgrađuje glineni model umjetnikov portret. Postmoderna (utjelovljena reality showom) uvijek želi zamijeniti iluziju samoiskazivanja (self-expression), društvenim dijalogom (podjednako iluzornim). Neki umjetnici svjesno posežu za pravljenjem video umjetnosti poput rutinskih TV reklama ( nova ispraznost umjetnosti proizašla je iz odustajanja suvremene umjetnosti da odašilje metafizičku, vjersku ili filozofsku poruku o smislu postojanja, prema Michaudu), s pripadajućom ikonografijom (Marijan Molnar i Leo Vukelić demonstiraju proizvod ili postupak u kvazi-marketinškom klipu), preuzimaju estetiku kućnog videa prema obrascu vođenja dnevnika ili koriste video poput memorijske proteze ili obiteljskog albuma: up close and personal (Ana Šerić u izvrsnom, još uvijek studentskom videu Bakino). Video budućnosti bit će bez sinopsisa, bez montaže, bez post-procesinga; bit će dug, nepripremljen i dosadan poput života življenog kroz svakodnevicu.

77 Self-actualization and Immanent Contemporaneity of Video Medium 186 silva kalčić Granny s). Video of the future will be without a synopsis, without editing, without post-processing; it will be long, unprepared and as tedious as the life that is lived every day. 8. Mediterranean mythemes Along with the sea (i.e., water) the running motifs of the large and specific group of regionally coloured video works are the sounds of the summer heat (cicadas), panoramic shots of open sea, maquis and pines; swimming and lying on the beach, taking clothes off liberation from civilised habits through the archetypal language of the body Sandra Sterle deals with a remove from this feeling of comfort, while traditional habits and the sociological Mediterranean myth based on personal history are set out by Renata Poljak; Zdravko Mustač, Vlado Zrnić, primarily film authors, and Ivo Deković, have given this group of works definition and the symbolisation of the genre. Water/ sea is absorbed darkness and immersive imaginary; above the surface, below the surface, the fluid depths, the immersive experience, fusion with the dark, the sublime elementary colours, the spirituality, the emptiness, fragmentation, liturgical effect, the destabilising of convention thought patterns, the mood of Breton-esque, convulsive beauty, or the experience of outstanding happiness and anxiety, a mixture of panic, joy and terror. Water has the effect of mirror: the narcissist body, refraction of the image of the body and the infinity of the mirror images. Once, Joško Marušić made a gruesome cartoon film for adults called Fisheye. Fisheye is the name for the very wide angle lens that gives the effect of a large angle of vision and the condensation of the image of the world similar to looking under the water. Toni Meštrović, Loren Živković Kuljiš and Željko Blače deal with sea as cyberspace in their video works. In the Toni Meštrović work Blue Note (2003), a sequence of an air bubble in a dark blue sea, heading towards the surface, but never reaching it, is repeated in regular temporal intervals, with an even rhythm. The domed bubble that moves and pulse invokes forms of primitive organisms like jelly fish the tentacles of which are replaced by little bubbles that follow the main jellyfish upwards like an echo effect. The New Age sound of gurgling is shot with a hydrophone, giving a feeling that what we perceive is not a video image, but the very sensation of being immersed into an ambience that will encompass us whole. Deepening the bottom by Loren Živković Kuljiš is a little-known video installation of With a large scale artefact, a vast mirror on which a circular cross section rod has been perpendicularly fastened, the entry of the rod into the base and its continuity on the other side, is juxtaposed in the exhibition room with its own video image, showing it placed at the bottom of the sea. In

78 Samoaktualizacija i imanentna suvremenost video medija 187 Ana Šerić: Bakino / Granny s, Mediteranski mitemi. Uz more (tzv. vodu) protežni motivi specifične i velike skupine ovako regionalistički obojenih video radova, su zvuci ljetne žege (zrikavci), panoramske slike pučine, makije i borova; kupanje i ležanje na plaži, razodijevanje oslobođenje od civilizacijskih uzusa kroz arhetipski govor tijela Izmakom iz sugeriranog osjećaja ugode bavi se Sandra Sterle, dok tradicijske uzuse i sociološki mediteranski mit temeljen na osobnoj povijesti razlaže Renata Poljak; Zdravko Mustač, Vlado Zrnić, primarno filmski autori te Ivo Deković, dali su ovoj skupini radova definiranost i simbolizaciju žanra. Voda/more je apsorbirani mrak i imerzivni imaginarij: iznad površine i ispod površine, fluidna dubina, imerzivni doživljaj, fuzija s tamom, sublimne elementarne boje, spiritualnost, praznina, fragmenacija, liturgijski efekt, destabiliziranje konvencionalnih misaonih obrazaca, raspoloženje bretonovske konvulzivne ljepote odnosno iskustvo izvanredne sreće i tjeskobe, mješavine panike, radosti i terora. Voda ima i efekt zrcala: narcističko tijelo, refrakcija slike tijela i beskonačnost zrcalnih odraza Joško Marušić je svojedobno napravio sablastan crtani film za odrasle Riblje oko. Riblje oko naziv je i širokokutnog objektiva koji daje fotografski efekt velikog vidnog kuta i sažimanja slike svijeta slično gledanju pod vodom

79 Self-actualization and Immanent Contemporaneity of Video Medium 188 silva kalčić Toni Meštrović: A Blue Note, Toni Meštrović: Abysses, 2004.

80 Samoaktualizacija i imanentna suvremenost video medija 189 Ivo Deković: Fischer, Ivo Deković: Strand / Beach, Morem kao cyberspaceom bave se u svojim video radovima i Toni Meštrović, Loren Živković Kuljiš, Željko Blaće U videu Tonija Meštrovića Blue Note (2003.) repetitivno, u pravilnim vremenskim odsječcima tj. ujednačenog ritma, samoobnavlja se sekvenca mjehura zraka (u tamnoplavom moru), koji teži prema gore, prema površini, nikada je ne dosežući. Kalotasti oblik koji se kreće i pulsira priziva oblike primitivnih organizama, poput meduze čiji su kraci zamijenjeni mjehurićima koji slijede klobuk zraka poput jeke (ecetera efekt). New-ageovski zvuk grgljanja snimljen je hidrofonom, pridajući osjećaj da ono što percipiramo nije video slika, već senzacija uranjanja u ambijent koji nas cijele obuhvaća. Produbljivanje dna Lorena Živkovića Kuljiša je malo poznata video instalacija iz godine. Artefakt velikih dimenzija (golema zrcalna ploča na koju je okomito pričvršćena šipka kružnog promjera, sugerirano je ulaženje šipke u podlogu i njezin onostrani kontinuitet), u izložbenom je prostoru sučeljen vlastitoj video slici koja ga prikazuje položenog na dno mora. U igri dvostrukog odraza supostavljena je zrcalna slika, metafora težnje za spoznajom, slici videa kao konačne tehnologije slobode (prema Negroponteu). Marko Ercegović u video rad Vjetar vrtuljak (2003.) postavlja kameru na dječju vrtešku u dubrovačkom parku, sučelice Gradu. Vjetar s lakoćom i neprekidno okreće ringišpil, pritom kamera (kao konjić karusela) u jednom kadru kaptira slike ljudi koji prolaze parkom, vegetacije i parkovnog namještaja, periodično hvatajući sliku zidina s turističkih razglednica (u repetitivnoj sekvenci prispodobivoj sezonskim turističkim ciklusima), pri čemu stalna akumulacija istovjetnih ili vrlo sličnih podataka počinje poprimati osobine osobnog heterodoksnog iskaza. U drugom radu istog umjetnika, kinetički raster čiopa pred pozadinom neba također reprezentira spomenutu mitopoetiku, audio-vizualni mediteranski mitem. I sama dolazeći iz turističke regije, Tanja Dabo u novom video radu Dobrodošli (2005.) polazi od teme turističke usluge i savršenog turističkog radnika samopostavljenog u ulogu domaćina.

81 Self-actualization and Immanent Contemporaneity of Video Medium 190 silva kalčić Marko Ercegović: Vjetar vrtuljak / The Wind Carrousel, this game of double reflection, the mirror image, metaphor of aspiration for knowledge, is opposed to the image of the video, as ultimate technology of freedom (after Negroponte). In the video work The Wind Carousel (2003) Marko Ercegović places the camera on a children s merry-go-round in a Dubrovnik park, facing on to the old city. The wind easily and constantly turns round the merry-go-round and the camera, like a horse on the carousel, in one frame captures pictures of people passing through the park, the vegetation and the park furnishings, sometimes taking pictures of the walls from the tourist postcards (in a repetitive sequence similar to the seasonal tourist cycles), with the constant accumulation of identical or very similar information starting to take on the features of a personal statement. In another work of the same artist, the kinetic grid of martins in front of the background of the sky also represents the said mythopoeia, the same audiovisual Mediterranean myth. Coming herself from a holiday-making region, in her new video work Welcome (2005), Tanja Dabo starts off from the topic of the tourist service industry and the perfect tourist employee self-deployed in the role of host. Architecture also, in the manner of self-presentation, shifts the architectural media and techniques towards the video image. And so, the research into Goli otok, in the island chain of prison islands, which because of their isolation in the past have become desirable destinations for tourists in the present, and the project for the sustainable development of the island, shaped in video is composed of digital photos (recalling the film

82 Samoaktualizacija i imanentna suvremenost video medija 191 Tanja Dabo: Dobrodošli / Welcome, Arhitektura također, u načinu samoprezentacije, pomiče arhitektonske medije i tehnike prema video slici: tako je istraživanje Golog otoka, u arhipelagu otoka-zatvora koji su zbog izoliranosti u prošlosti postali poželjne turističke destinacije u sadašnjosti, te projekt održivog razvoja otoka, uobličeni u video načinjen od digitalnih fotografija (prizivajući filmsku tehniku izmjene stanovitog broja sličica u određenom vremenu). Traume identiteta i različitosti podjednako su kolektivne i individualne: naime arhitektonski tim Studija UP na čelu s Leom Pelivan i Tomom Plejićem napravio je video rad (Re:Island 44º52 N/14º49 E, 2005.) kojim je rekonstruirana mreža političkih zatvora lociranih na otocima Changuu Island (Tanzanija), Saipan (Japan), Sahalin (Rusija), Robben Island (JAR), Alcatraz (SAD) i Goli otok (Hrvatska). Autentificirajućim motivima prirodnih ljepota lokacija i pojedinosti oblika izgrađenog okoliša s tragovima humane (ljudske) sklonosti kažnjavanju, grade virtualni arhipelag otoka-zatvora ustanovivši da je većina kažnjeničkih otoka danas transformirana u poželjna turistička odredišta. Goli otok do jučer državna tajna, a danas s dvadeset tisuća kontroverznih internetskih stranica čeka novi početak, odnosno projekt održivog razvoja. I na koncu, moglo bi se bez zlobe primijetiti da se na tragu pet Bataillovih tema (svijet, slika, umjetnost, seks, sport) hrvatska video umjetnost bavi mediteranskim mitemom zasigurno s daleko više uspjeha od domaće filmske industrije.

83 Self-actualization and Immanent Contemporaneity of Video Medium 192 silva kalčić technique of the alteration of a given number of little pictures in a certain time). Identity and difference traumas are equally collective and individual: the architectural team Studio UP headed by Leo Pelivan and Tom Plejić made a video work (Re: 44º52 N/14º49 E, 2005) that reconstructs a network of political prison camps located on islands Changuu Island in Tanzania, Saipan for Japan, Sakhalin for Russia, Robben Island for the SAR, Alcatraz (USA) and Goli otok (Croatia). With establishing motifs of natural beauties of the locations, and with individual details of the shapes of the built environment containing traces of the human penchant for punishment, they build a virtual archipelago of island prisons, concluding that most of the penal colonies of yesteryear are today among the more desirable tourist destinations. Goli otok a state secret until a short time ago today with twenty thousand controversial web sites, waits a new beginning. And finally, it might be without malice observed that along the lines of the five Bataille themes (world, image, art, sex and sport) Croatian video art deals with the Mediterranean mytheme a great deal more successfully than the domestic film industry. Conclusion How much is the experiment built into the term experimental film and comprising its essence (starting with the moving images created by pulling coloured glass sheets through the projector of Antun Motika) crucial in the creation and understanding of the video work? The statement of Goran Trbuljak of the early seventies seems a key to the understanding of the art of the 20 th century: The artist is the one whom others give the opportunity to be so. A video work is one that is admitted to be such. Croatian video production has provided an abundance of live art material, so that it was not very easy to find common factors. The procedure of classification that has been carried out then should not be understood as something definitive and final but only as a conceivable framework and a set of signposts for easier negotiation in the polysemous reality of art (with emphasis on the production of the nineties and the first years of this century, where it is possible to compare the critical mass of works). The common characteristic of these video works is structural simplicity usually just a small number of sequences or elements, often repetitive, with variations in the way they are combined. What is different in these works is that with some, video is used as style and as medium, making them metalinguistic explorations and analytical video; in others, video has served to record the personal processes of art actions. The contemporary artist is in the position of philosopher, for the work that they create is not, in principle, managed by any pre-established rules. Art today seeks new, free movements

84 Samoaktualizacija i imanentna suvremenost video medija 193 Zaključak Koliko je eksperiment, ugrađen u naziv eksperimentalni film i bivajući njegovom biti (počev s pokretnim slikama nastalima povlačenjem obojenih staklenih pločica kroz projektor Antuna Motike) ključan u stvaranju i razumijevanju video rada? Izjava Gorana Trbuljaka iz ranih sedamdesetih čini se ključnom za razumijevanje umjetnosti 20. stoljeća: Umjetnik je onaj kome drugi za to daju priliku video rad je onaj koji se kao takav priznaje? Hrvatska video produkcija je ponudila obilje žive umjetničke građe, tako da traženje zajedničkih faktora nije nimalo lagan zadatak. Klasifikacijski pristup kakav je proveden stoga ne bi trebalo shvatiti kao nešto definitivno i konačno, već samo kao mogući okvir i putokaze za lakše snalaženje u višeznačnoj umjetničkoj stvarnosti (s naglaskom na produkciju devedesetih i prvih godina 21. stoljeća gdje je kritičnu masu radova moguće uspoređivati). Zajednička karakteristika navedenih video radova je strukturalna jednostavnost obično se sastoje od malog broja odjeljaka (sekvenci) ili sastojaka (elemenata), često repetitivnih, s varijacijama kombinacija među njima. Različito je kod ovih radova da se kod jednih koristi video kao stil i kao medij, to su metajezička istraživanja ili analitički video, kod drugih je pak video poslužio za bilježenje osobnih procesualnih umjetničkih akcija. Suvremeni umjetnik je u poziciji filozofa jer rad koji stvara nije, u načelu, upravljan ranije uspostavljenim pravilima. Umjetnost danas traži nove, slobodne tijekove imaginacije, ne stoga što bi tražila svoje mjesto već da bi ponovno izumila, proizvela samu sebe. Daljnje stvaranje video slike, može se predvidjeti, kretat će se u smjeru interaktivnosti: društvo spektakla 68., baudrillardovsko društvo ceremonije osamdesetih te društvo sudionika devedesetih zamijenjeno je društvom interaktera. Osim interaktivnosti, daljnje naznake razvoja videa kao umjetničkog medija govore o kretanju u smjeru smještanja u javni prostor: medijske fasade umjesto skulptura u javnom prostoru. U prilog interakciji arhitekture s videom ide i primjer riječkog arhitektonskog ureda Randić-Turato koji svoje projekte/realizacije i promišljanje arhitekture prezentira video klipom sa zvučnim surround efektima i glazbenom narativnom potkom, nastalom u suradnji s Letom 3 (videoprezentacija prostorno-programske studije razvoja Hartere, negdašnje Tvornice papira Rijeka). S digitalizacijom medija potiru se razlike između videa i eksperimentalnog filma, odnosno filma kratke forme; na rubu ovih izražajnih formi laviraju Nicole Hewitt, Goran Škofić, Goran Dević, Tomislav Gotovac. Dimenzija zvuka video rada također će vjerojatno imati sve istaknutiju ulogu (od tišine ili eksperimentalnog zvuka/neartikuliranog hrapavog tona nalik šumu ili korištenja eksperimentalne glazbe ranog videa, do narativne/dijaloške strukture i koincidencije ritma slike i glazbe).

85 Self-actualization and Immanent Contemporaneity of Video Medium 194 silva kalčić 9 By Paul Greenhalgh words in different context: of the imagination, not in order to seek its own place, but rather to reinvent and produce its own self. Further creation of the video image, one can predict, will head in the direction of location in public space: media facades instead of sculptures in public space. Tending to support the interaction of architecture with video is the example of Rijeka architecture studio Randić-Turato, which presents its projects and realisations and ideas about architecture with video clips and surround effects, with a musical narrative thread, created together with the group Let 3 (in a video presentation of the old Rijeka Paper Factory re-development programme). With digitalisation of the media all the differences between video and experimental film or short film tend to be erased; Nicole Hewitt, Goran Škofić, Goran Dević and Tomislav Gotovac skirt the shores of these forms of expression. The dimension of video work sound will also probably have an increasingly important role (from silence or experimental sound, of some unarticulated rough sound such as interference or the use of the experimental music of early video, to narrative and dialogic structure and coincidence of rhythm of picture and music). Martinis claims that his works have a fourth dimension, that of ephemerality, while Duchamp claimed that the life of a work of art was about 5 to 10 years, and after that it was no longer art. Apart from the fact that it expresses the spirit of the time (for example, the acceleration of popular culture) or comments, even criticises the social moment, analogue video track has the additional value of impermanence, ephemerality, in the sense that the electronic recording gets wiped in time; it is also very subject to mechanical wear, chemical reactions to the atmosphere and so on. The new media (video and other electronic media; as new devices arrive on the market, so artists find ways to make works adapted to the new requirements of the new machine) are on the whole not lasting and they are hard to preserve; they are also meant for reproduction from machines that rapidly obsolesce. With the introduction of the digital video, a copy that can be made by the artist, or anyone else just as well, will achieve a quality identical to the original s. Still, discussion ranges about the status of the medium of the video image as autonomous work of art. Video is a reproductive art work, in a time of universal reproducibility, and this reproducibility is a part of a video work, and in the single channel form its status as original is tested out, while it is incontestable in the case of the video installation. With the shift-over from analogue to digital medium, there is still the open question of whether digital art, based on a fortuitous approach to the data, can still tell tales and even tell lies 9. illusion or disguise of any kind was synonymous with a lie Zagreb, 2006

86 Samoaktualizacija i imanentna suvremenost video medija Riječima Paula Greenhalgha u drugom kontekstu illusion or disguise of any kind was Martinis tvrdi da njegovi radovi imaju četvrtu dimenziju, onu prolaznosti; dok je Duchamp tvrdio da je životni vijek umjetničkog djela oko 5 do 10 godina a nakon toga ono nije više (suvremena?) umjetnost. Osim činjenice da izražava duh vremena (npr. akceleraciju popularne kulture) ili komentira, čak kritizira društveni trenutak, analogni video zapis ima dodatnu kvalitetu netrajnosti, efemernosti u smislu brisanja elektroničkog zapisa s vremenom; također izrazite podložnosti mehaničkom habanju, kemijskim reakcijama na atmosferalije i sl. Novi mediji (video i drugi elektronički mediji; kako novi uređaji stižu na tržište, tako umjetnici pronalaze načine da naprave djela prilagođena zahtjevima novog uređaja) uglavnom nisu trajni i teško ih je konzervirati, isto tako namijenjeni su reproduciranju iz uređaja koji brzo zastarijevaju (što otvara novo pitanje autentičnosti video instalacija čije su komponente zamijenjene novima, ispravnima i ažuriranima, odnosno aktualiziranima). Uvođenjem digitalnog video zapisa kopija, koju jednostavno može napraviti i netko drugi osim umjetnika, dostiže kvalitetu istovjetnu originalu. I dalje se vodi diskusija o statusu medija-nosača video slike kao autonomnog umjetničkog djela. Video je reproduktivno umjetničko djelo, u doba opće reproduktibilnosti, a ta reproduktibilnost dio je video rada pa se kod jednokanalne forme propituje njezin status originala naprotiv neupitan u slučaju video instalacija. Sa smjenom analognog medija digitalnim, ostaje otvoreno i već postavljeno pitanje može li digitalna umjetnost, temeljena na slučajnom pristupu podacima, još uvijek pričati priče pa čak i lagati 9. synonymous with a lie Zagreb, 2006.

87 Dan Oki: Kisik 4 / Oxygen 4, (INSERT- postav / display view)

88