петак, 05. јун 2020.
петак, 24. април 2020.
Nova ekranizacija romana High Fidelity engleskog pisca Nika Hornbija, kao istoimena TV serija, premijerno je 14. februara prikazana na američkim platformama. Iako se roman zbiva u Londonu, još uvek nije dobio svoju britansku ekranizaciju. Filmska verzija iz 2000. u režiji Stivena Frirsa, zbivala se u Čikagu dok se radnja ove serije događa u Bruklinu. Ipak, najveća je promena to što je glavni protagonista, zaljubljivi vlasnik prodavnice ploča po imenu Robin, scenaristički pretvoren u istoimeni ženski lik u tumačenju Zoe Kravic.
Za neupućene, High Fidelity je romantična komedija o melomaniji - strastvenoj ljubavi prema muzici. Često neshvaćena i neuzvraćena, ta strast je ometana društvenim preprekama koje ponekad pogrešno zovemo - ljubavnim problemima. Ova serija bavi se onim emocijama koje su čulno neodvojive od polja materijalnog statusa, kategorije poslovnog talenta i sfere radnog vremena.
петак, 28. фебруар 2020.
Federiko Felini - sto godina od rođenja
Mišel De Sarto u knjizi Mistička fabula, opisuje slikarstvo Hironimusa Boša kao enciklopedijski umetnički izraz. Po njemu, za razliku od mnogih savremenih tumačenja, kultura renesanse nije za tadašnji društveni establišment predstavljala neposrednu niti prevashodno vizuelnu senzaciju. Likovni teoretičar Stamatos Skliris potvrdio bi ovu hipotezu po kojoj umetnosti renesanse i baroka zapravo nisu predstavljale ikonografsku istinu o ljudskoj civilizaciji, već svojevrsni naučno-kulturni rečnik civilizacijskih pojmova. Na taj način čitana, istorija umetnosti u Felinijevoj interpretaciji prestaje da deluje kao metafizičko svojstvo vizuelnog jezika već postaje enciklopedija evropske pismenosti, pročitana vizuelnim tehnikom. Slavna slika subjektivne stvarnosti iz Felinijivih ranih filmova, u Kazonovi prerasta u sliku stvarno slavnog subjekta. I umesto starinskog libida čežnjivo okrenutog ka modernoj budućnosti, ovde dobijamo moderni libido preusmeren ka starinskoj prošlosti.
Espreso, 25. 02. 2020.
недеља, 12. јануар 2020.
Exhibitions by Ivan Petrovic, Vladimir Mojsilovic and Natalija Simeonovic
Ivan Petrović's exhibition Making Off includes a documentary, printed frames taken from edited and unedited material, and a set-up of photographs.* This three-part project offers a technical comparison of different media formats, so thanks to Petrović, Walter Benjamin's remark made a hundred years ago is relevant again: The difficulties that photography gave to inherited aesthetics were children's play in comparison to the difficultiesthe inherited aesthetics had with film. Petrović's film (in addition to numerous panoramic shots and situations within the private environment) is composed of several scenes of conversation with Serbian artists. In these, the emphasis is not on dialogue but on the atmosphere and experiential importance of the presence of recorded subjects. In his photographic opus, Petrović had earlier treated his actors in a socially analytical way. Branislav Dimitrijević described his photographs not as images of events but as events of images.*
Petrović's approach, in which the recording process also represents the role of the author in the process, can spark our associations to many different artists in art history, not only within the cinema-verite movement, but also to Baroque painters who, like Rembrandt and Velasquez, enigmatically represented themselves in the social and political context of their time. The choice of portrayed characters here is as interesting as the choice of situations in which they find themselves: from group bohemian identification, through individual poetic melancholy, to collective creative exhibition, these actors possess official wit, team spontaneity and deliberate timidity, presenting themselves as sub literate persons, privately close, not only to the photographer, but also to the supposed auditorium of the exhibition. Because of this distinctiveness, what can be interpreted as the author's subjectivity in the choice of protagonists is actually an objective analysis of his audience. These characters are not determined by the degree of social authenticity, but by the degree of expertise in staging an authentic impression, thus being conceptually closer to being protagonists than social heroes, and Petrović's focus more closely matches the profile of the lyricist than the typology of the visual artist. Figuratively speaking, Petrović's characters form a kind of night watch for the entire domestic art auditorium; these portraits testify to our total affiliation with historical time and potential catalogs of the future.
Unlike the exhibited photographs, the conflict of interest between personal, public and private, as well as the dilemma of whether the author chooses actors or actors choose him, leave traces on Ivan Petrović's film work. Hence, the visual suggestions in portraying the characters act more like his desire to glorify his heroes ideologically than to establish a common relation to history through a critical distance towards them. In a way, Petrović's photographs displayed at the Making Off exhibition are historical testimonies devoid of political significance. We see exactly the opposite case when it comes to his film - here we get political testimonies of controversial historical significance.
Therefore, the photo album from the film speaks of the degree of difference between the two types of visual expression: while Petrović's film aesthetics lead us in the direction of cinematic documentation, his photo-aesthetics is closer to the world of dramatic fiction. Frames taken from the film are not in the function of propaganda material, but vice versa - Petrović's film is a behind-the-scenes program on making photo-tropes on the same subject. On the other hand, the landscapes in the film seem more realistic than the mimetic representations of nature in photographs (frames). The authorial fluctuation between documentary (visual) and fiction (dramatic) is a dilemma that has largely captured the whole of 20th-century mediology. This exhibition shows how a visual story became more intriguing and provocative category than a visual document, and how much the reading of a painting today is a more avant-garde act than viewing it. That is why Petrović's indulgence in cinematic impression simultaneously raises a twofold authorial question: is a direct film without a screenplay really more convincing than a photo of life that has a screenplay?
Published in the exhibition catalogue MAKING OFF, 2019
* A documentary, as well as frames from unedited and edited material, have the same title as this exhibition, and date from 2011 until present time. Exhibited photographs date from the early 2000s and are part of Ivan Petrović's private archive never shown in public.
* Unexpected Stagings – On Ivan Petrovic’s Photographs, exhibition catalogue Everything is Good, Center for Photography, Belgrade, 2017
First two photos above - Making Off in Dom kulture Studentski grad: Maida Gruden, Ivan Petrovic. Photos by: Dusica Stojanovic. Instalation view, decembar 2019, photos by: Ivan Petrovic
Little Civil Discussions with Boxing Gloves, an art exhibition by Vladimir Mojsilovic
These paintings remind us nostalgically of the political satire of Otto Dix or the materialistic lucidity of Max Beckman, pointing to the origins of modernist visual art styles and tendencies on whose wings the largest part of the artistic auditorium had been maturing academically over the decades.
New Moment, 2020.
An Other Two, an art exhibition by Natalija Simeonovic
As in the previous exhibition A-Part-Ness, Natalija Simeonović continous to interpret the history of alchemic symbolism through visual arts. Characteristic of the alchemic procedure, the framework of the exhibition An Other Two is thematically contextualised by the synthesis of two academic fields: science and art.
Alchemic experiments characteristic of the late Middle Ages in Christian Europe where carried out at a time when concepts like rational and spiritual, linguistic and numerical, magical and technical, creative and investigative were nor treated as separate systems of human culture. Alchemic operations which were combinatory and synthetic resemble the what we today call the multimedial structure of a work of art. Thus Natalija Simeonović grading the four phases of the alchemic cycle uses the visual technique not only for aesthetic reasons but for a storytelling narrative and mathematical calculations as well. Using the grading system, from black to red, from image to text, from singular to plural, from mixture to solution, from anima to animus, Natalija Simeonović puts this exhibition together as if it was an illustrated book bound by gallery space.
The subject matter of these paintings and the techniques used are not just means for transferring expression but they depict the aim of a transcendental ritual which invokes the spirit of the times when elements of the creative act did not only operate through the meaning they conveyed but also through the physical and chemical characteristics used in a process that does not symbolize the incarnation of the divine state into the human body (From Father to Son) but the redirection of the human body into divine state (Ascension of Virgin Mary). Representing the archetypical path of the feminine creative principle, these images of fеminization want to transform the gaze of the observer from the viewer towards the reader, from the pupil to the master, from Mars to Venus, from man to woman, further in Circle.
Publihed in exhibition catalogue An Other Circle, 2013.