mena, želimo ih navesti, uêi u razliëite sobe i ko - liko nam je mo guêe, zadr žati se u njima. U prostoru iz ložbe obuhvaêene su po naëelu osobnih odabi- Dragana Sapanjošra ra dova i subjektivnih Ëitanja, što smo željele, kao Silvo Šaric Goran Škofic Tomislav Brajnovicstrogo OSOBNO donosi osam singularnih pri Ëa su - vremene umjetnosti, osam puta iz pr vog lica. Iako Alen Floricic su umjetnici bora viš tem, pre bi vališ tem, mjestom ro - appleenja zabilježeni u Istri, njihovo zajedniëko imenovanje pod is tarsku scenu, namjerno zaobila zimo kako bi naglasile da scena kao homogena i strukturi rana pojava ne postoji. Umjesto, vidimo niz pojedinaca, individualnih napora i osobnih raz govora, pr - vo sa so bom, potom s nama sa mima. Po la ze Êi od Ëi - Aleksandar Garbinnjenice da je sva ki sluëaj zaseban, po kušale bi ih ocrtati pojmom sobe koja sama po sebi upuêuje na najosobniji prostor, u kojem su in tros pekcija, razotkrivanje psihiëkih stanja i uvlaëe nje u nu trinu, još uvijek mo guêi. U fast life-u današnjice to nisu mo derne Davor Sanvincentiteme, i baš zato što za njih nemamo dovoljno vre- još jednu ra zinu projekcija osobnog, podcrtati na oko protuslov nim pojmovima u naslovu: Stro go osobno. Za nima nas soba u onoj mjeri u kojoj se u njoj može odraziti onaj koji u njoj boravi, spava i izdiše, koja ra zotkriva njezinu ili njegovu osobnost. Sanvincentijeva instalacija postavljena u kut galerije uvodi nas u pri vatnost posve jednostavnim postupkom: si - luetom ljud skog lika koja lagano titra u intervalima niskih frekvencija zvuka. Intimu je pojavno nemoguêe dohvatiti, buduêi izmiëe i ukazuje se na trenut ke, tek u inverziji, odrazu ili sjeni, u igri i zavaravanjima podražaja i naših reakcija. Prostor u kojem osluškujemo eho osamljenosti jednako kao i prisnosti Davor naznaëuje su gestivnim naslovom Udalje- Sandra Vitaljicna intimnost. Da bi nas odmak nuo od navike gleda- 19/10. - 10/11/2010.//Galerija Vladimir BuæanËiÊ
SAVJET GALERIJE VLADIMIR BUÆAN»IΔ Nevenka Arbanas Petar BariπiÊ Milan BeπliÊ Lilijana DomiÊ Viπnja Slavica Gabout Anton VrliÊ Anita ZlomisliÊ POKROVITELJI: Grad Zagreb, Gradski ured za obrazovanje, kulturu i šport, Ministarstvo kulture RH. TOMISLAV BRAJNOVIΔ ALEN FLORI»IΔ ALEKSANDAR GARBIN DAVOR SANVINCENTI DRAGANA SAPANJOŠ SILVO ŠARIΔ GORAN ŠKOFIΔ SANDRA VITALJIΔ strogo OSOBNO 19. listopad - 10. studeni 2010. CENTAR ZA KULTURU NOVI ZAGREB, Trg Narodne zaπtite 2, Remetinec, Zagreb GALERIJA VLADIMIR BUŽAN»IΔ NAKLADNIK Centar za kulturu Novi Zagreb, Trg Narodne zaπtite 2, Zagreb; tel./fax: 6140-189, 6140-190; e-mail: galerija. vladimir.buzancic@czk-novi-zagreb.hr, www.czk-novi-zagreb.hr ZA NAKLADNIKA Branko MariÊ UREDNICA KATALOGA Anita ZlomisliÊ KUSTOSICE Ksenija Orelj, Sabina Salamon FOTOGRAFIJE autori, Boris CvjetanoviÊ, Robert SošiÊ GRAFI»KO OBLIKOVANJE Ana ZubiÊ, Marin JukiÊ LEKTURA I KOREK TURA: Majda JuriÊ (engl.), Anita Zlo misliê (hrv.) PRIJEVOD NA ENGLESKI: Majda JuriÊ TISAK SveuËiliπna tiskara d.o.o. NAKLADA 300 primjeraka
1 Cavall Stanley, The World Viewed: Reflection on the Onthology of the Cinema, 1979. Harvard University Press; navod iz Remediation, understanding new media, J. D. Botler, R. Gruisin, The MIT Press, 1999., str.234. 2 Roland Barthes, Camera Lucida, Zapiski o fotografiji, ŠKUC FF, 1992., Ljubljana, str. 12. nja i fokusiranja konkretnih fiziëkih uporišta koji zapravo ne mogu biti vizualni dokazi za egzaktnu stvarnost, autor se poslužio apstrahiranom praznom sli kom Ëiji sa držaj biva provociran zvukom. Zvuk se koristi kao propusna zona koja nas približava sferi pojaëane os je tilnosti i pogledu u samog sebe gdje nailazimo labilnu iz vjes nost o postojanju. Subjektivnost je sazdana od onog što smo u stanju predoëiti, utoliko je individualnost postala izolacijom. Dakle, ustrajati na subjektivnosti predstavlja put natrag k uvjerenju o postojanju realnosti kao takve. 1 Odnosima vidljivog i nevid ljivog na suptilnoj se razini bavi i Sandra VitaljiÊ izvrêuêi neka od klasiënih pravila medija fo tografije. Širokim kadrovima nepoznatih krajolika nadilazi i dokumentarnost i pejzažnu fotografi ju kojoj na prvi pogled neosporno pripada. Jedins tveni primjer nijekanja zakonitosti žanra dostiže dugim kašnjenjem na mjesto dogaappleaja i za obi laženjem sadržaja o kojem želi govoriti. Niti je dokumentirala i reproducirala ono što se na tom mjestu doista dogodilo - po Barthesu je to jedina Ëvrsta okosnica fotografije 2 - niti je zabilježila pejzaž za volju pejzaža. Takav subverzivni obrat posti gla je izdajom promatraëeva oëekivanja, Ëitanja fotografije kao medija egzaktnog, izvjesnog i jasnog sadržaja o kojem ne možemo dvojiti utoliko što ga vidimo pred nama. U onom trenutku kada iz pridruženih tekstova saznajemo njegov sadržaj, u brisani prostor upisuje se ništavilo, praznina, gubitak. Estetsko motrenje dobiva povijesne i politiëke konotacije nakon saznanja da su mjesta anonimnih pejzaža, mjesta masovnih zloëina. Kako sadržaj ne dolazi neposredno iz fotografskog materijala, konstitutivni element doživljaja postaje drugi pogled, uspostavljajuêi se retroaktivno kroz pritisak neizrecivog koje želi biti izgovoreno. Time gledatelj biva uvuëen u intimnost i traumatiënost kolektivnog iskustva smrti. Kao i smrt, poëetak života predstavlja jedan od najintimnijih, najranjivijih i potpuno besramnih trenutaka. Postanak je tema videa Geneza Tomislava Braj noviêa. Doživljava se putem slike radio aparata u ledenim bespuêima krajnjeg Sjevera i umjetni kova glasa koji prenosi poruku demiurga. Motiviran osamom, tišinom i beživotnošêu okruženja, Tomislav na simboliëkoj nultoj toëki evocira Ëin kreacije života. Situacija je istovremeno veliëa nstvena koliko i apsurdna. Pitanje opstanka u nadmoênoj prirodi i jednoliënom, neprijateljski raspoloženom pejzažu, provocira osjeêaj zdvajanja i baëenosti, a duljim slušanjem biblijskog teksta, osjeêaj apsurda pojaëava se. Pokušaj stvaranja koji se referira i na kreativni umjetniëki rad biva ugušen u trenu u nepreglednom bijelom krajoliku. Paralelno raspršivanju rijeëi o poëetku ži vo ta, na nevidljivoj razini, odvija se otapanje ledenjaka i polarnih kapa, ugrožavanje vrsta i postu pno nestajanje staništa.
Kako oznaëiti osobni prostor minimalnom gestom i samo jednim predmetom, biti nenametljiv, biti osjetan, zadržati svoju, pred tuappleim intimama? Silvo ŠariÊ markira Ëitav prostor jednom žaruljom, perifernim svakodnev nim predmetom. Lampadina u svom golom i ne dotjeranom obliku, strši na zidu poput kakvog zaostatka. Premda familijarna, svojom pojavnosti i naëinom funkcioniranja uzdržana je iz dnevne stvarnosti. MinimalistiËkom, a ekstremnom bi zarnosti narušava regularnost i prihvatljivost stvarnosti; zaëudna, uvodi labilnost karaktera onoga što predstavlja, bilo u inti mnom, privatnom ili javnom prostoru. ŠariÊeva artificijelna zbilja metafora je Ëovjekove otuappleenosti u današnjem svijetu u kojem autor ne nalazi smisao svoga postojanja pa se kao umjetnik osjeêa suvišnim i frustriranim, ali dovoljno jakim da snagom duha prebrodi postojeêe stanje. 3 Društvo o sebi ne voli pokazivati ružnu sliku, potiskuje ili cenzurira nepoželjnu ikonografiju, a upravo su takva ogledala zanimljiva Dragani Sapanjoš, Ëiji su radovi ispunjeni psihološkim slojevima i oštrim izražavanjem potisnutih osjeêaja. Pred nama su svjetlucave elegantne staklene Ëaše postavljene naopako na pod. Tako tvore mikro prostore u kojima kruže zatvoreni žohari. Djeluje da su životinje koje kod mnogih ljudi izazivaju strah i gaappleenje uspješno izolirane. Stavljanje štetoëina pod kontrolu je pak izvedeno obijesno i agresivno, po princi pima ponašanja tipiënim za ljudsku prirodu. Njihov je opstanak dvojben, a rijeë je o vrlo rasprostra njenim i prilagodljivim, jednim od najstarijih živih vrsta na Zemlji, koja se za razliku od ljudske malo mijenjala tokom evolucije. Za daljnje usporedbe Ëovjeka i žohara, služi nam naziv instalacije. Lucy s je vjerojatno najpoznatiji hominid, ženka na kojoj je, suprotno znanstvenim oëekiva njima, dokazano da uspravni hod prethodi razvoju ljudskog uma. Kroz povijesnu vertikalu detekti rani korijeni ljudske superiornosti, agresije i invazivnosti, svjedoëe o sklonosti obmanama vlastitom veliëinom. IstupajuÊi iz krugova vlastitih soba, strahova i taština, rasprostiremo zgusnute smotuljke vanjskog i nutarnjeg. Time tijelo koje je vidljivo i opipljivo poput kakve stvari, pogled usmjerava na sebe, a vlastitom pružnosti održava izvjesnost po stojanja i odnošenja spram ostalih. Pravi interes za sebe, uveden u romantizmu 4, promijenio se u digitalno doba. PomoÊu tehnoloških moguênosti raëunalne obrade podataka (slike), zauzima novi stav prema subjektu kao nositelju osobnosti, prihvaêajuêi njegovu rasklopivost i raspuknutost. Još uvijek u želji za dosizanjem to taliteta i blizine sebe, digitalni medij se zatiëe u umnožavanju, gladan mnogih i višestrukih pozicija koje bi u slijedu sekvenci trebale osigurati cjelovit uvid. To bi moglo biti porijeklo umnoženih Gorana ŠkofiÊa u bezbroj kloniranih sebe koji leže na parkirnim mjestima podzemne garaže. Autor nas uvodi u prostor slikarske (Albertijeve) perspektive i naglašava dvojnost realno-hiperrealno, na postojanje subjekta koji oscilira izmeappleu zbiljnosti i su bjektivne rastoëenosti na mnogo i svu g dje, mnogih (parkirnih) mjesta i mnogih (partikularnih) stajališta. Paralelno Barthesovoj 5 detekciji da je opsesija dvojnikom bila aktualna do trenutka izuma fotografije Ëija toënost otupljuje za ni manje za istog/drugog, u eri digitalnih medija ponovno nailazimo na priëu o dvojniku. Alen FloriËiÊ je dovodi kroz humoristiëan pogled na odnos dvojnika kao ljubavnog para, testirajuêi ideju dvojnika kao tjeskobnu prijetnju poroznom subjektu. Oda- 3 Mladen LuËiÊ: Silvo ŠariÊ, Muzej suvremene umjetnosti, Zagreb, 2006., str. 10. 4 Remediation, opus citatum, str 234-235. 5 Barthes, Roland: op. Cit. Str. 34.
bir motiva Ljubavnika (Gli amanti, 1895.) talijanskog simbolista Giovannija Segantinija, FloriËiÊ usporeappleuje brojëanu analogiju iz me appleu dvojnika i para, predstavljajuêi staru temu na sa svim novi naëin. Digitalne te hnologije vrlo ko n kretno i neposredno omoguêuju izraziti ono što je mo derna osjetila i prihvatila, da je osobno, subjektivno, unutarnje u temelju neprovidno i podvojeno. VraÊamo se u sobu, kroz Jerryjevu rupu. Ani mirani miš Jerry, Van Goghova životna i umje tniëka priëa, lucidno su spojeni s autobiogra fskim karakteristikama Aleksandra Garbina u njego voj Skulpturi za Manolu: Van Goghova soba u Arlesu. Instalacija prelama imaginarno i stvarno, duhovito i seriozno, a pri tom uspješno dovodi u ravnotežu zdravi humor naspram životne ozbiljno sti i tragiënosti. Oblikovana je izmjeniënom igrom prostornosti i prijenosom (metaforiëke i fiziëke) praznine kroz sjecišta medija slike, skulpture i arhitekture. Postavljena je kao pregradni zid, na prvi pogled prostorna barijera, a zapravo šuplji volumen koji u sebi zakriva maketu Van Goghove slike SpavaÊa soba u Arlesu (La Chambre de Van Gogh à Arles). Minijatura (1:10) je vidljiva samo kroz mišju rupu koja je smještena u podnožju zida. Prisjetimo se da je poznata slika nastala 1888. u vrijeme umjetnikove psihiëke rastrojenosti, kao specifiëni vid autoportreta i izraz obrane pred vlastitim rasapom (prijeke potrebe za duhovnim mirom). Garbinov rad ponire kroz valove osjeêa nja tuge i radosti, gubitka i oëuvanja, ranjivosti i zaštite, a pritom nam bezbroj pitanja o znaëenjima prepušta zakrabuljena u likovni rebus. Razum os tavlja u uskom prolazu, emocije i osjetila vode igru. Ksenija Orelj. Sabina Salamon.
...sebe i razmišljam o tome što se dešava, koje su ideje u opticaju. OpÊa potreba za privlaëenjem pažnje, šok, ekstremi, politiëka korektnost, ali i apatija, sve je istovremeno prisutno. Rezanje kože, pijenje mokraêe, plesanje agresije, pa do opetovane izjave umjetnost je mrtva. Poznata je formulacija kako je umjetnost djelatnost na razini religije, filozofije ili znanosti. Meappleutim, nemoguêe je i nepotrebno odvajati discipline. Ta podjela je povijesni konstrukt i nametnuta je kao nešto samo po sebi razumljivo. Sve discipline zajedno, svo znanje, iskustvo i mišljenje Ëine tj. formiraju spoznaju. Time i umjetnost možemo izjednaëiti s pojmom spoznaje. Za razliku od onog prvog statementa koji je uredno objašnjavao u kojim medijima radim i koje su mi umjetniëke strategije, ovdje želim to u potpunosti iskljuëiti kao nebitno. Definitivno mogu izjaviti da umjetnost nema nikakve veze s medijem, tehnikom, podlogom, vještinom, starošêu, materijalom... Umjetnost se ne može gledati i listati kao povijesnu slikovnicu. Spoznaje ili ima ili nema. Umjetnosti ili ima ili nema. Vjere ili ima ili nema. I na kraju, zbog Ëega, zbog koga, zašto? Odustati? Ne! ART IS COG- NIZANCE, COGNIZANCE MEANS LIFE/How much did my old statement change and what is defining me as an artist today? I am observing artists around me and reflecting on what is been going on, which ideas are circulating. A general need to attract attention, shock, extremes, political correctness, and also the apathy, all present simultaneously. Cutting one s skin, drinking urine, dancing one s aggression, down to the reiterated declaration claiming that Art is dead. A known formulation of art sees it as an activity at the level of religion, philosophy or science. However, it is impossible and unnecessary to separate disciplines. This division is a historical construct that has been imposed as something understood by itself. All the disciplines together, all the knowledge, experience and opinion make up i.e. form the cognizance. Therefore the art can be equalled with the notion of cognizance. As opposed to the first statement that neatly explained media I was working in and my artistic strategies, here I wish to entirely exclude this as irrelevant. I can definitely declare that art has nothing to do whatsoever with media, technique, substratum, skill, age, material... Art can t be observed and leafed through as if it was a historical picturebook. Cognizance either is or isn t. Religion either is or isn t. And finally, for which reason, for whom, why? No! Životopis/ Roappleen je u Zagrebu 1965. godine. Diplomirao je na Akademiji likovnih umjetnosti u Zagrebu 1999. godine.»lan je HDLU Istre i HDLU Zagreba od 1991. godine. Prvu godinu Likovne akademije završava u Den Haagu. Nastavlja studij na ALU u Zagrebu kod profesora Ðure Sedera. Završio je poslijediplomski studij MA na Central St Martins College of Art & Design u Londonu 2003. Skupno je izlagao u Hrvatskoj, Italiji, SAD-u, Nizozemskoj, Maapplearskoj, Velikoj Britaniji, Sloveniji, Irskoj, NjemaËkoj i BiH. Samostalno je izlagao u Hrvatskoj i BiH. Dobitnik je više nagrada i priznanja za svoj rad. Biography/Born in Zagreb in 1965. Graduated from The Academy of Fine Arts in Zagreb, in 1999. Has been a member of the Croatian Association of Visual Artists of Istria and Croatian Association of Visual Artists Zagreb ever since 1991. He completed the first year of art academy in Den Haag, and continued his study at the Academy of Fine Arts in Zagreb, under the tutelage of professor Ðuro Seder. Gained MA from the Central St Martins College of Art & Design in London in 2003. Participated at group exhibitions in Croatia, Italy, USA, Netherlands, Hungary, Great Britain, Slovenia, Ireland, Germany, Bosnia and Herzegovina. Had solo exhibitions in Croatia and Bosnia and Herzegovina. A winner of many awards and acclaims.//e-mail: brajnovic@yahoo.com//www.brajnovic.com UMJETNOST JE SPOZNAJA, SPOZNAJA ZNA»I ÆIVOT Koliko se moj stari statement promijenio i πto je to danas πto me definira kao umjetnika? Promatram umjetnike oko...
Tomislav BrajnoviÊ GENEZA, 2009. video, 1 56, loop GENESIS, 2009 video, 1 56, loop
... i p(ostaju) tek nosioci apstraktnog znaëenja. Prikaz sam kroz video uradak ponovno prizemljio i, umetnuvši svoj lik na mjesta obiju prikazanih figura, u autoreferencijalnoj maniri naoko otvorio odreappleena pitanja... This work has risen as a free variation of The Lovers by Italian painter Giovanni Segantini. It is a sort of diversion over the artificial symbolist staging of the mentioned work in which human figures, though depicted in the realist manner, loose their earthly, ground-level features to become (remain) merely the carriers of an abstract meaning. Using a video work, I have again grounded the depiction. By inserting my own figure in the place of both depicted figures, I have apparently opened certain questions, after a self-referential manner. Životopis/Roappleen je 1968. godine u Puli. Diplomirao je Likov ne umjetnosti na Pedagoškom fakultetu u Rijeci, a magistrirao Video i nove medije na Akademiji za likov nu umetnost in oblikovanje u Ljubljani. Radi kao profesor na Školi za primijenjenu umjetnost i dizajn u Puli te kao vanjski suradnik na Akademiji primijenjenih umjetnosti u Rijeci. Izlagao je na velikom broju samostalnih i skupnih izložbi u zemlji i inozemstvu, izmeappleu ostalog u Centru za suvremenu umjetnost PS1 u New Yorku, Kunsthalle Bethanien u Berlinu, Rennaisance Society u Chicagu. Bio je jedan od predstavnika Hrvatske na 51. biennalu u Veneciji 2005. godine. Biography/Born in 1968 in Pula. Graduated visual arts from the Pedagogical Faculty in Rijeka. Holds MA in video and new media from the Academy of Fine Arts and Design in Ljubljana. Works as a professor at the Scholl of Applied Arts and Design in Pula, and is also an associate at the Academy of Applied Arts in Rijeka. He exhibited at many solo and group exhibitions in Croatia and abroad, including the PS1 Center for Contemporary Art in New York, Kunsthalle Bethanien in Berlin, Renaissance Society in Chicago. FloriËiÊ was one of the Croatian representatives at the 51st Venice Biennial in 2005.//E-mail : alen.floricic@ gmail.com Ovaj je rad nastao kao slobodna varijacija na djelo Ljubavnici talijanskog slikara Giovannija Segantinija. To je svojevrsna diverzija na artificijelnu simbolistiëku inscenaciju spomenutog djela u kojoj ljudske figure, iako prikazane u realistiëkoj maniri, gube svoja zemaljska, svojstva...
BEZ NAZIVA / UNTITLED 01/05, 2005. video, 45, loop, 2005. BEZ NAZIVA / UNTITLED 01/05, 2005 video, 45, loop, 2005 Alen FloriËiÊ
...u prirodnoj veliëini. Druga strana zida povezuje ih mišjim otvorom koji je zapravo ulaz u sobu. Izrezani otvor pretpostavlja miša Jerryja. Želio sam stvoriti neku vrstu kratkog spoja, ili vizualnog šoka spajajuêi dvije dimenzije. Rad takoappleer predstavlja, ili spaja dva lika; prvog iz stvarnog života i drugog izmišljenog, iz animiranog filma. Postavljam pitanje gledatelju, da li je pri kraju svog tragiënog života Vincent postao miš Jerry? Manolu sam upoznao sredinom osamdesetih godina za vrijeme njenog boravka u Rovinju. Radila je na Institutu za biologiju i istraživanje mora na projektu marikulture gdje su iz jajašaca uzgajali pravu ribu brancina. Ja sam završavao studij kiparstva i Ëesto smo se sastajali kod moje none i moje tete gdje smo pojeli kamion friganog kumpira kojeg je pripremala u jednoj staroj skorenoj padeli. Taj mi je frigani kumpir ostao duboko usaappleen u memoriju. Manolu više nisam sreo i viπe nisam okusio takav frigani kumpir. Ova skulptura je posveêena Manoli. A brief explanation of Sculpture for Manola Van Gogh s Bedroom in Arles 1888. Following Van Gogh s painting from 1988, I have made a model of a room in a ratio of 1 to 10. The model is placed on the other side of a naturally-sized wall fragment. The other side of the wall is connected via a mouse hole, which is actually a room entrance. A cut opening presents Jerry Mouse. By joining two dimensions I wished to create a kind of circuit, or visual shock. This work also presents or connects two figures, first one from the real life and the other an imaginary, cartoon character. This is my question to the obser ver: did Vincent, by the end of his life, became Jerry Mouse? I have met Manola in the late 80s, during her residence in Rovinj where she was working at the Institute of Marine Biology, on a marine culture project that consisted in raising sea basses from eggs. I was completing the sculpture study at the time. We often met at my grandma s and aunt s place, where we ate a truck of French fries which she prepared in an old caked pot. These French fries are deeply etched in my memory. I have never met Manola again and I have never tasted such French fries again. This sculpture is dedicated to Manola. Životopis/Roappleen je u Rovinju 1955. godine. Diplomirao je kiparstvo 1988. na Accademia di Belle Arti di Brera u Milanu. Izlagao je na više samostalnih i skupnih izložbi u Hrvatskoj i inozemstvu. Dobitnik je nekoliko nagrada za svoj rad. Biography/ Born in Rovinj in 1955. He graduated from the Accademia di Belle Arti di Brera in Milan with a degree in sculpture in 1988. He has exhibited his work in numerous group and solo exhibits in Croatia and abroad. He has won a number of awards for his work.//e-mail: algarbin@yahoo.com Kratko objaπnjenje Sculpture for Manola 'Van Goghova soba u Arlesu 1888'. Prema slici koju je naslikao 1888. godine, izradio sam model sobe u omjeru 1:10. Model je postavljen s druge strane fragmenta zida koji je...
SCULPTURE FOR MANOLA VAN GOGHOVA SOBA U ARLESU, 2008. instalacija, kombinirana tehnika, model skala 1:10, 220x120x40 cm SCULPTURE FOR MANOLA VAN GOGH S BEDROOM IN ARLES, 2008 installation, mixed media, scale model 1:10, 220x120x40 cm Aleksandar Garbin
..., slika govori. Treba biti prisutan, prisutan u slici u trenut ku slike, prisutan u djelu u trenutku djela. Od poëetka svog rada fasciniran sam stanjima i oblicima ljudskih osjeta i percepcija. Nema naëina da dokažemo da plavu boju ili odreappleeni ton svi doživljavamo na jednak naëin. Meappleutim, po razliëitim pokazateljima možemo zakljuëiti da naši perceptivni organi rade sliëno. Pomna promatranja, zapažanja i istraživanja koja prožimaju znanstvenu i umjetniëku sferu okosnica su mog stvaranja. Moje se djelovanje grana na tri medija; audiovizualne instalacije (fiziëkog ili interaktivnog tipa), prostorna intervencija (u urbanom i društvenom tkivu) te živi mediji (audiovizualni performansi i koncerti). Ispitujem estetske i kvalitativne moguênosti razliëitih medija u funkciji direktne komunikacije sa posjetiteljem/promatraëem, postavljajuêi istog u poziciju propitivanja, otkrivanja i širenja vlastitih kognitivnih i emotivnih mapa. UranjajuÊi sebe u perceptivne scenarije, posjetitelj postaje neizbježan dio samog rada, reflektirajuêa misaono-tjelesna struktura, aktivna prisutnost u vremenu i prostoru. Recentne koncentracije i djelovanja nastavljam u smjeru vremensko-prostorne poetike u otvorenom dijalogu sa ljudskom doživljajnom sferom. Prepoznatljiva nit vodilja, koja se proteže kroz radove, ne iskljuëuje tendenciju svježih analiza i pristupa te odabira da se manifestira kroz bilo koji od navedenih medija. Stvaranje je zaobljeno, baš kao i život. Our existence is constituted between appearance and disappearance. Our being is the center of sensed experiences, an unique creature of unpredictable active presence. The beginning is inarticulate, the image speaks. It is important to be present, present in the image at the time of the image, present in the act at a time of action. From the beginning of my work I was fascinated by conditions and forms of human senses and perception. There is no way to prove that all of us can experience a blue color or a specific tone in the same way. However, according to different indicators, we get to conclusion that our perceptive apparatus are functioning in a similar way. Notices, observations and research that pervade the scientific and artistic spheres constitute the framework for my work. My activity is diverging across three media: audiovisual installations (physical or interactive type), spatial interventions (in the urban and social tissue) and live media (audiovisual performances and concerts). I am exploring qualitative and aesthetic possibilities of various media as a function of direct communication with the public (visitor, observer) by setting them in a position of questioning, discovering and expanding their own cognitive and emotional maps. By immersing themselves in perceptive scenarios, visitors are becoming an inevitable part of the work itself, a reflective thinking-body structure, an active presence in time and space. My recent concentration and action is a continuous research in the direction of time-space poetics in an open dialogue with the human sphere of perception. The recognizable guiding principle that extends through my works does not exclude a tendency of fresh analysis and approach, as well as the choice to be manifested in any of mentioned media. The creation is rounded, just like life itself. Životopis/Davor Sanvincenti a.k.a. Messmatik roappleen je 1979. godine. Multimedijalni je umjetnik, Ëlan HDLU-a. Od poëetka svog rada zaokupljen je ispitivanjem meha nizama ljudskih stanja i percepcija - posljednjih se godina intenzivno bavi istraživanjem podruëja audiovizualnog i antropologije vizualne kulture, razvijajuêi eksperimentalna video ostvarenja i uranjajuêe instalacije koje su presjek video umjetnosti i performansa. Dobitnik je više nagrada meappleu kojima je i Nagrada Radoslav Putar 2010. za umjetnika do 35 godina. Njegova se fiziëka video instalacija pod nazivom 1001 nalazi u audiovizualnoj zbirci Muzeja suvremene umjetnosti u Zagrebu. Biography/Davor Sanvincenti a.k.a. Messmatik was born 1979. He is a Croatian multimedia artist, member of HDLU - Croatian Association of Visual Artists. Over the last years he has been specifically interested in a field of audiovisual research and anthropology of visual culture, particularly oriented at the conditions and forms of human senses and perceptions, developing experimental videos and immersive installations which are at the intersection of video and performing art. He is a recipient of several art awards, including the Radoslav Putar Award 2010 for the best Croatian artist under 35. His physical video installation 1001 takes part of the AV collection of the Museum of Contemporary Art in Zagreb.//E-mail: render_001@hotmail.com Izmeappleu nastanka i nestanka naπe je postojanje. Naπe je biêe centar doæivljajnih iskustava, jedinka nepredvidivog aktivnog postojanja.u poëetku je nijemo...
UDALJENA INTIMNOST, 2010. audiovizualna instalacija, 100x100x100 cm, 10 (loop) DISTANT INTIMACY, 2010 audiovisual installation, 100x100x100 cm, 10 (loop) Davor Sanvincenti
...utaknutih u prostor koji povezuje ove fragmente umjetniëkog djela s arhitekturom koja ga okružuje. Spremnik objekata, stvari i ljudi, u kojem kvantiteta zraka varira s obzirom na zapreminu sadržaja. Ova spona izmeappleu spremnika i sadržaja odnosi se na moj rad, u tolikoj mjeri da se sadržaj - publika - opisuje kao bilo koji drugi materijal koji formira umjetniëko djelo. Na taj naëin, rad se analizira i percipira kao voljan te se Ëini živim, ili bar pokušava takvim postati. Bitan dio moga istraživanja su osjeêaji... UznemirujuÊi osjeêaj nezgodnosti koji skulptura evocira takoappleer je bio esencijalnim dijelom mojeg istraživanja, kao i finalnog rezultata; bilo da je provociran nejasnoêom tehnološkog prijenosa, ili pak izravnijom osobnom ili emocionalnom percepcijom (koja biva evocirana u publici jednom kada rad oživi). Coincidences that gain a meaning, the silence of words, and the scream that symbolises realisation and consciousness, have broken down into several uncombinable pieces of a jigsaws puzzle, embedded in a space that links this fragments of art work with the architecture that surrounds it. The artwork reminds you of a container, depicting the nature of the space around it. A container of objects, things and people, in which the quantity of air varies according to the volume of its content. This connection between container and content is related to my work, so much that the content, the audience, is described as any other material forming the piece of art. In this way, the artwork is thus analyzed and perceived as willful and appears to be animate, or at least strives to become so. An essential part of my research is the feeling... The disturbing feeling of awkwardness that the sculpture evokes has also been an essential part of my research, and of the final result; be it provoked by the unclarity of the technological transmission, or by a more direct personal or emotional perception (which is evoked in the audience once the artwork comes to life). Životopis/Roappleena je 1979. godine. Diplomirala je 2004. na Accademia di Belle Arti di Brera u Milanu. Izlaže od 1999. uglavnom u Hrvatskoj i Italiji. 2010. godine bila je meappleu finalis tima Nagrade Radoslav Putar za najboljeg umjetnika do 35 godina.biography/born in 1979. Graduated in 2004 from the Brera Visual Arts Academy, Milan. Has been exhibiting since 1999, mostly in Croatia and Italy. In 2010, Sapanjoš was one of the finalists for Radoslav Putar Award given to the best artists under the age of 35.//E-mail: sapanjos.dragana@gmail.com SluËajnosti koje zadobivaju znaëenje, tiπina rijeëi, krik koji simbolizira realizaciju i svijest, razlomili su se na nekoliko nespojivih dijelova slagalice,...
Dragana Sapanjoš LUCY S, 2010. ambijentalna instalacija, staklene Ëaše, žohari (blatta lateralis) LUCY S, 2010 ambient installation, glasses, cockroaches (blatta lateralis)
...meappleutim, zbog specifiënog fosforescentnog pigmenta s kojim je premazana, ona apsorbira svjetlo iz prostora. Na taj naëin ostvarena je inverzija u funkciji obje kta, pri Ëemu jedna funkcija ne negira drugu. Po za tva ranju galerije (gašenjem svjetla) sijalica neko vrijeme emitira primljeno svjetlo. Ovaj je aspekt rada ne vidljiv posjetitelju. Zamislio sam Lampadinu kao odraz suprotnosti (istina-laž, vidljivo-nevidljivo, privatno-javno...) na relacijama gale rija/rad/promatraë kako na fiziëkom i idej nom tako i na emotivnom planu. A plaster cast of a bulb is installed at the gallery wall. By itself, a bulb invokes the idea of light creation. However, due to a specific feature of being coated with a phosphorescent pigment, it absorbs the light from the surrounding space. This achieves an inversion in the object s function, in which process one function doesn t negate the other. After closing down the gallery (by shutting off the light) a bulb emits the received light for a while. This work s aspect is invisible to a visitor. I have imagined Lightbulb as a reflection of opposites (truth - lie, visible - invisible, private - public...) in relations including gallery / work / observer, at the psychical and ideational, as well as emotional plans. Ži votopis/roappleen je 1965. godine u Puli. Diplomirao je kipar stvo u klasi profesora Josipa DiminiÊa na Pedagoškom fakultetu u Rijeci 1990. godine. Nakon završetka studija boravi u Rimu 7 godina. Kao dobitnik ArtsLink stipendije 1998. godine boravi u Bostonu i New Yorku. Dobitnik je stipendije Pollock-Kras ner fondacije iz New Yorka. Radi kao restaurator u Hrvatskom restauratorskom zavodu, Radionica Vodnjan, JuršiÊi i kao viši asistent na Akademiji primjenjenih umjetnosti u Rijeci. Biography/ Born in 1965 in Pula. Gradated sculpture under a tutelage of professor Josip DiminiÊ from the Pedago gical Faculty in Rijeka, in 1990. Subsequently lived in Rome for 7 years. As a receiver of ArtsLink scho larship in 1998 he resided in Boston and New York. A recipient of scholarship awarded by Pollock-Krasner Foundation from New York. Works as a restorer at JuršiÊi - based Vodnjan Workshop of the Croatian Restoration institute, and is also a senior assistant at the Academy of Applied Arts in Rijeka.//E-mail: silvo.saric@pu.t-com.hr Gipsani odljev æarulje postavljen je na zid galerije. Æarulja sama po sebi kod posjetitelja stvara ideju o stvaranju svjetla,...
Silvo ŠariÊ LAMPADINA, 2007. svjetlosna instalacija, gips, fosforescentni pigment, grlo za žarulju, kabel LIGHTBULB, 2007 light installation, plaster, phosporescent pigment, lamp base, electric cable
...pozivam promatraëa da se poistovjeti. To potenciram smještajuêi ga u uobiëajene prostore i angažirajuêi ga svakodnevnim poslovima. Element apsurdnog, prisutan u radovima, smišljen je da potakne promatraëa na promišljanja na relaciji obiëno - apsurdno ili koliko je obiëno iz naše okoline projekcija neke druge realnosti obiënog. Tijelo, pejzaž, zvuk, radnja - sve je podložno manipulaciji i deformaciji. Kako bi se neposredno približio i prikazivao takvu zbilju, koristim se elektronski manipuliranom slikom i videom, ona je nezamjenljiv medijski okvir promišljanja o današnjici. Radovi nazvani Parkirališta serija su fotografija u kojima na geometrijski oznaëenim površinama zamjenjujem automobile ljudskim tijelima. PloËnik, dakle mjesto predviappleeno za automobil dobio je novog stanara - ljudsko tijelo. U radu se automobil personificira. S jedne strane imamo boju, veliëinu, cijenu, model, a s druge svjetlopute ili tamne, visoke ili niske, bogate ili siromašne... automobil je stvoren kako bi kontrolirao naš ukus, želje, materijalne moguênosti i potrebe. Ëesto se tim strojem rangira neëija uspješnost, a zanemaruju one prave ljudske vrijednosti. Koliko se truda i materijalnog troši njegujuêi automobil, a koliko na njegu i održavanje ljudskih relacija. Danas je središte zanimanja stroj, materijalno, šopingiranje, popust u garaži u središtu grada, pozivnica za razvikani party. Projekt Parkirališta zamišljen je kao dokumentacija akcije i performansa u javnom prostoru, a dio je promišljanja o urbanoj nela godi gdje grad postaje poprište potpunog zanemarivanja ljudskosti i svega onoga što se nekada nazivalo ljudskom mjerom. In my work I use my own body as an instrument, a communication channel to interpret various situations. However, situations in my works are not simply my private situations. I borrow my own body, so called artist s body, using it as a denominator of the social body or big body, by which I invoke the observer to identify. This is intensified by locating it into usual spaces and engaging it at everyday tasks. My work features an element of the absurd, conceived to stimulate an observer to reflect on the relation between the ordinary and the absurd, as well as on how much is the ordinary that surrounds us a projection of some other reality of the ordinary. Body, landscape, sound, action - everything is subject to manipulation and deformation. In order to close in and present such a reality, I employ electronically manipulated image and video, these being an irreplaceable framework for refection on the present time. The works titled Parking Lots are actually the series of photographs where the cars on geometrically marked plots are being replaced with human bodies. A pavement, therefore a place allotted for a car, has gained a new tenant - human body. Car is being personified in my work. On one hand we have colour, size, price, model, and on the other hand we have fair or dark, tall or short, rich or poor... car was created in order to control our taste, desires, material possibilities and needs. This machine is often used to rank somebody s success, while neglecting the true human values. How much effort and how many material assets are spent while taking care of the car, and how much is invested in nurturing and maintaining the human relations. Today the centre of interest is the machine, material, shopping, discount in the garage at the city centre, invitation to a trendy party. Parking Lots project is conceived as a documentation of the action and performance in a public space, and is a part of reflection on urban discomfort, where the city became a stage of complete neglect of humaneness and everything that was once called human scale. Životopis/Roappleen je 1979. godine u Puli. Diplomirao je video oblikovanje na UmjetniËkoj akademiji u Splitu u klasi profesora Dana Okija. Za svoj rad je 2009. godine nagraappleen nagradom Radoslav Putar za najboljeg umjetnika do 35 godina. U 2010. godini boravio je na prestižnoj rezidenciji ISCP (International Studio & Curatorial Program) u New Yorku. Izlagao je na više izložbi i festivala u Hrvatskoj i inozemstvu.»lan je HDLU Istre i HZSU. Biography/Born in 1979 in Pula. Graduated video design from the Art Academy in Split under the tutelage of professor Dan Oki. In 2009 he won Radoslav Putar award in a category of the best artist under the age of 35. In 2010 he won a prestigious residence at ISCP (International Studio & Curatorial Program) in New York. He exhibited at many exhibitions and festivals in Croatia and abroad. A member of the Croatian Association of Visual Artists of Istria and of the Croatian Freelance Artists Association.//E-mail: goranskofic@gmail.com//www.goranskofic.com U radu koristim svoje tijelo kao instrument, kanal u komunikaciji za interpretaciju raznih situacija. No, situacije u radovima nisu samo moje privatne situacije. Svoje tijelo tzv. umjetnikovo tijelo posuappleujem, koristim kao oznaëitelja druπtvenog tijela ili velikog tijela kojim...
Goran ŠkofiÊ PARKIRALIŠTA, 2010. inkjet print, 120x160 cm PARKINGS, 2010 inkjet print, 120x160 cm
...krajolici, veê mjesta koja su zbog svog povijesnog konteksta dobila snažnu simboliku i na razne naëine kreirala nacionalni identitet. Šume, polja ili rijeke, dio su narodnih bajki i mitova, no postali su dio politiëke retori ke i davali legitimitet sustavima i ideologijama. ZnaËenje mnogim dogaappleajima mijenja se u promi jenjenim okolnostima, bez obzira što je mjesto, Ëak i uz ljudsku intervenciju, obiëno isto, golo, sliëno mjestima na kojima se ništa važno nije dogodilo. Neka su mjesta opêe poznata i svaki Êe stanovnik Hrvatske, pa i cijele regije, odmah ukljuëiti balast opêih znanja i medijskih interpretacija u išëitavanje fotografije. Druga su pak mjesta zaboravljena, prešuêena ili tek nedavno otkrivena. Na njima nikada neêe stajati spomen obilježje niti Êe mjesto dobiti pijetet koji zaslužuje. Tako fotografije postaju svojevrsna markacija. Infertile Grounds/The photographs from the Infertile Grounds series are marked by trauma, historical events and human experience. The locations in the photographs are not just beautiful landscapes, but sites that have strong symbolism due to their historical context and the fact that they have, in different ways, formed the national identity of Croatia. Woods, fields and rivers are part of folk tales and myths, but have also become part of a rhetoric legitimizing political systems and ideologies. The meaning of many events and sites have changed due to altered circumstances, regardless of the fact that the place, even with human intervention, has remained the same, bare and similar to other places where nothing important has ever happened. Some places are well known and everyone in Croatia, or in the region, will bring a whole range of general knowledge and media interpretations to their reading of the photographs. Other places have been forgotten and knowledge of them suppressed or uncovered only recently. They will never be marked by a memorial or get the reverence they deserve. Thus the photographs become a method of marking them for the future. Životopis/Sandra VitaljiÊ roappleena je u Puli 1972. godine. Magistrirala je fotografiju na Akademiji za film i TV u Pragu, a na istom fakultetu apsolvirala je doktorski studij iz povijesti i teorije fotografije. Zaposlena je kao izvanredni profesor na Odsjeku snimanja Akademije dramske umjetnosti u Zagrebu. Njeni radovi nalaze se u stalnom postavu Moderne galerije u Zagrebu i zbirci Muzeja moderne i suvremene umjetnosti u Rijeci. Ëlanica je ULUPUH-a i HDLU-a. Dobitnica je stipendije ArtsLink (1997.) u Ansel Adams Center for Photography, San Francisco,CA i Fulbright (2006. - 2007.) u Rochester Institute of Techno logy, Rochester, NY. Biography/Sandra VitaljiÊ was born in Pula in 1972. She took her master s degree at the Academy of Performing Arts, Film and TV in Prague. Currently she is ABD in the doctoral course of the same institution, having specialised in the history and theory of photography. She is employed as associate professor at the Cinematography Department of the Academy of Dramatic Art in Zagreb. She is a member of the artists associations ULUPUH and HDLU. Her works are placed in the permanent display of the Modern Gallery in Zagreb and in the collection of the Museum of Modern and Contemporary Art in Rijeka. She was awarded the following scholarships: in 1997, ArtsLink at The Ansel Adams Center for Photography, San Francisco,CA; in 2006-2007, a Fulbright at the Rochester Institute of Technology, Roches ter, NY.//E-mail: sandra.vitaljic@gmail.com//www.issavitale.com Neplodna tla Pejzaži na fotografi jama iz serije Neplodna tla obilježeni su traumom, povijesnim dogaappleajima i ljudskim iskustvom. Mjesta odabrana za fotografiranje nisu samo lijepi...
Sandra VitaljiÊ NEPLODNA TLA, KLJU» BRDOVE»KI, 2009. giclée print, 120x100 cm INFERTILE GROUNDS, KLJU» BRDOVE»KI, giclée print, 120x100 cm
strictly PERSONAL brings forth eight singular narratives of the contemporary art, eight times first-person speech. Residence, dwelling, birthplace marks all of these artists as Istrian. Here, however, we are deliberately bypassing the label of Istrian art scene in order to stress a fact that the scene as a homogeneous and structured notion is not existent. Instead, we are looking at a series of individuals, individual efforts and personal dialogues, first with oneself and then with us all. Starting with a fact that each case is separate, we shall try to respectively delineate them by applying a notion of room. By itself, room refers to the most intimate space, where introspection, revealing psychic states and dragging into the interiority, are still possible. These are not modern themes in today s fast life and it is exactly because we do not have enough time for those that we wish to cite them, to enter various rooms and stay in those rooms, as much as possible. A showroom comprises these stories following the principle of personal choice and the subjective readings of artworks, since we wanted, as yet another level of the projection of personal, to underline apparently contradictory notions within the title: Strictly Personal. We are interested in the room to the extent in which it can reflect a person that dwells, sleeps and breathes out in that same room, that reveals his or her personality. Sanvincenti s installation, placed in a gallery s corner, initiates us into the privacy through an entirely simple procedure: a silhouette of a human figure that lightly vibrates in the intervals of low sound frequencies. Intimacy can t be grasped as a phenomenon, since it is elusive, disclosing itself only at moments, only in inversion, reflection or shadow, in play and deceptions of stimuli and our reactions. Davor uses a suggestive title, Distant Intimacy, to denote a space in which we listen to the echo of loneliness as well as intimateness. In order to remove us from the habit of watching and focusing at the concrete physical strongholds, which actually cannot provide visual proofs for the exact reality, the author employs an abstracted empty image whose content provokes the sound. The sound is used as a permeable zone that draws us near to a sphere of amplified sentiency and an inward gaze, wherein we find the unstable certainty of existence. Then our subjectivity became what is present to us, individuality became isolation. The route to conviction in reality was through the acknowledgement of the endless presence of self. 1 Sandra VitaljiÊ also deals with relations between visible and invisible on a subtle level, reversing some of the classical rules of photographic media. By using wide frames of unknown landscapes, she surpasses both documentary and landscape photography, as the domains she indisputably belongs to at first sight. She achieves the unique example of negating the genre laws by arriving too late at the scene and by bypassing the content she wishes to speak about. She neither documented nor reproduced what really happened on the spot - and Barthes holds this to be a single firm linchpin of the photography 2 - nor did she record the landscape for the sake of the landscape. She attained such a subversive turn by betraying obser ver s expectation, by reading the photography as a medium of exact, certain and clear content which we can doubt insofar as we are not seeing it in front of us. In that moment when we acknowledge its content from the accompanied texts, erased space becomes inscribed with nothingness, emptiness, loss. The aesthetic gaze gains historical and political connotations after we figure out that the places of anonymous landscapes are the places of mass crimes. Since the content doesn t stem directly from the photographic material, a constitutional element becomes the second gaze, retroactively established through the pressu re of unspeakable that wishes to be uttered. Thus, the observer is drawn into the intimacy and trauma of the collective experience of death. Same as death, life s beginning pre sents one of the most intimate, most vulnerable and completely shameless moments. Origin is the theme of Genesis, a video by Tomislav Braj noviê. It is experienced via an image of radio receiver set in the icy wilderness of the extreme North and through the artist s voice which transmits demiurge s message. Motivated by seclusion, silence and lifelessness of the environment, Tomislav evokes the act of the life s crea tion, at the symbolical zero point. The situation is simultaneously magnificent as much as it is absurd. The question of survival in the midst of superior nature and monotonous, inimical landscape, provokes the feeling of despair and rejection, and further listening to the biblical text amplifies the feeling of absurdity. The attempt of origination, referring also to the creative artistic work, is smothered within vast white expanse, in no time. Parallel to dispersing the words on the beginning of life, the invisible level hosts melting of the icebergs and polar ice caps, species endangerment and the gradual disappearance of habitats. How to denote a personal space with a minimal gesture and a single object, 1 Cavall Stanley, The World Viewed: Reflection on the Ontology of the Cinema, 1979, Harvard University Press; quote from Remediation, Understanding New Media, J. D. Botler, R. Gruisin, The MIT Press, 1999, p. 234. 2 Roland Barthes, Camera Lucida, Zapiski o fotografiji, ŠKUC FF, 1992, Ljubljana, p. 12
3 Mladen LuËiÊ: Silvo ŠariÊ, Muzej suvremene umjetnosti, Zagreb, 2006, p. 10. 4 Remediation, op. cit., p. 234-235. 5 Barthes, Roland, op. cit., p. 34. how to be unobtrusive, to be sentient, to retain one s own intimacy in front of the others intimacies? Silvo ŠariÊ marks an entire space with a single bulb, a peripheral daily object. In its naked and unpolished form, Lightbulb protrudes from the wall like a sort of remnant. Though familiar, its appearance and functioning mode withhold it from the daily reality. Minimalist, yet extreme bizarreness disrupts reality s regularity and its acceptability; peculiar, it introduces the lability within a character of what s being presented, whether in intimate, private or public space. ŠariÊ s artificial reality is a metaphor of man s alienation in the modern world in which the artist cannot find his purpose and feels superfluous and frustrated, but nevertheless strong enough to surmount this state by his spirit. 3 The society does not like to look at its own ugliness, instead suppressing and censoring undesirable iconography, and it is actually those mirrors that Dragana Sapanjoš finds interesting. Her works are filled with psychological layers and the sharp expression of suppressed feelings. Set upside down on the floor, shiny elegant glasses create microspaces wherein circle the enclosed cockroaches. It looks as if the animals that provoke fear and loathing in many people are therefore successfully isolated. However, placing the pest under control is executed wantonly and aggressively, following the behavioural principles typi cal of human nature. Cockroaches survival is questionable, and this is very widespread and adaptable, one of the oldest livings species on earth, that didn t change much during the evolution, as opposed to the hu man species. For the further comparisons between man and cockroaches, we can use the installation s title. Lucy s is probably the most famous hominid, a female on whose case, contrary to scientific expectations, it was proven that the erect posture preceded the development of human mind. The roots of human superiority, aggression and invasiveness, detected through historical vertical, testify of the tendency towards being deluded by one s own greatness. Stepping out from the circles of one s own rooms, fears and vanities, we are spreading the condensed rolls of interiorities and exteriorities. In this manner, the body that is visi ble and tactile like a thing, draws the gaze to itself, and its own stretch maintains the certainty of existence and relating to the other. Introduced during Romanticism, 4 the true interest for the self has been changed in the digital age, when technological possibilities of computer data (image) processing enabled new attitude towards subject as the carrier of personality, in a manner of accepting its foldability and crackedness. Still desiring to reach totality and the proximity of self, digital media is caught in multi plication, hungry for many and mani fold positions that should ensure a total insight through a series of sequences. This could be the origin of Goran ŠkofiÊ being multiplied to an impossible infinity of cloned selves that lie on the parking places in an underground garage. The author introduces us into the space of painterly (Alberti s) perspective and stresses duality between real and hyper-real, within reflection on the existence of subject that oscillates between reality and subjective decomposition to many and everywhere, to many (parking) places and many (particular) viewpoints. Parallel to Barthes 5 detection that the obsession with a double was actual to the moment of invention of photography, whose precision blunted the interest in the same/