Dalibor Barić

Michel Klöfkorn

Antun Motika

Ana Petrović

Marko Tadić

kustosica:

Branka Benčić

20. 7. − 6. 8.

MMC LUKA, Pula

Izložba CINEMANIAC / MISLITI FILM predstavlja dugoročnu istraživačku platformu

koja propituje veze filma, pokretnih slika i suvremene umjetnosti, koja se od

2002. godine realizira kao popratni program na Pulskom filmskom festivalu, u

galerijama MMC LUKA, zauzimajući format izložbe.

Cinemaniac je kontinuiran višegodišnji istraživački i izložbeni projekt koji

nastaje iz želje za predstavljanjem radova iz svijeta umjetnosti i filma,

radova koji nastaju na raskrižju medija, gdje filmski festival pruža kontekst

i organizacijski okvir. Od svojih početaka predstavlja aktivni kontekst koji

omogućava prezentiranje umjetničkih djela, mjesto susreta u kojem se

integriraju društveni, kulturni, tehnološki, medijski i estetski aspekti, sjecišta

na kojima se susreću umjetnost, umjetnici, institucije i publika, stvaraju novi

oblici suradnje, problematiziraju odnosi filma i vizualnih umjetnosti. Ona

je mjesto gdje se prezentira recentna hrvatska i međunarodna produkcija

filmova umjetnika, umjetničkog videa, eksperimentalnoga i alternativnog

filma te multimedijalnih instalacija, otkriva i artikulira baština alternativnog

filma i predstavljaju umjetnici i radovi antologijskog značaja.

Danas se afirmacija i reaktualizacija eksperimentalne, alternativne i amaterske

kinematografije te suvremene audiovizualne produkcije “filmova umjetnika”

podjednako odvija u prostorima galerija i muzeja, kina i filmskih festivala,

kroz pokušaje otvaranja novoga diskurzivnog prostora.

Izložbe u okviru prošle, sadašnje i buduće programske platforme Misliti

film, kao research in progress nastavljaju se na dosadašnja iskustva rada sa

pokretnim slikama, poput istraživanja i prezentacije kojima su u središnjem

interesu bili arhitektura i film (2009), medijska instalacija kao interface

(2006), zatim pulski festival MAFAF i baština alternativnog, eksperimentalnog

i amaterskog filma (2010), pogled unazad, podvlačenje crte, retrospektivni

CINEMANIAC X (2011), film drugim sredstvima kroz Filmski letak Slobodana

Šijana (2012), te Misliti film (2013) kojom je Cinemaniac obilježio 60-tu

obljetnicu Festivala igranog filma u Puli izložbom koja je okupila radove

umjetnika koji u svom radu na različite načine propituju film kao sustav

reprezentacije, “tehnologiju društva”, kompleksan sistem produkcije i

reprodukcije pokretnih slika.

U tom smislu izložbe predstavljaju nov društveni prostor u kojem se aktivno

radi na značenjima, pričama, povijesti i funkcijama kulturnog materijala.

Pridonose stvaranju kontekstualnog pristupa koji se temelji na izložbi kao

komunikacijskoj formi u koju se integriraju zajednički društveni, kulturni

i estetski aspekti, uvode u javne prostore teme, ideje, problemi, stvarajući

aktivnu interakciju socijalnog i kulturnog polja, gdje se opisuju i publici

predstavljaju društveni procesi i konteksti iz kojih proizlaze, te nagovješta

imaginacija i perspektive budućnosti.

Misliti film je proces, izložba, eksperiment, polazna točka, zaključak…

CINEMANIAC / THINK FILM is an ongoing research platform questioning the

relationships between cinema, moving images and contemporary art.

Established in 2002 as the side program at the Pula Film Festival takes place

in galleries of MMC LUKA, Pula and it is shaped in the exhibition format with

screening programs and artist’ talks and presenting the works of Croatian

and international artists aiming to bring them closer to a wide audience.

As an ongoing research and exhibition project, Cinemaniac emerged from

the desire to present works from the world of art and film at the crossroads

of these media. From its beginnings, it has been an active context enabling

the presentation of works of art, as a meeting place where social, cultural,

technological, media and aesthetic aspects integrate, an intersection

where art, artists, institutions and audiences meet, where new forms of

collaboration are formed, and where relationships between film and visual

arts are discussed. It is a place where recent Croatian and international

production of artists films, artistic videos, experimental and alternative films

and multimedia installations is presented, where alternative film heritage is

revealed and articulated, and artists and anthological works are presented.

Today, the reaffirmation and reactualization of experimental, alternative and

amateur cinematography and the contemporary audiovisual production of

“artists’ films” is equally present in galleries and museums, cinemas and film

festivals through attempts of opening up new discursive spaces.

The exhibitions and projects within the past, current and future platform

Think Film, as research in progress, are a continuation of past experiences:

architecture and film (2009), exhibition as interface (2006), historical heritage

of alternative, amateur and experimental film through the research and

presentation of MAFAF Festival 1965 - 1991 (2010), a 2011 look backwards, the

retrospective CINEMANIAC X, and “cinema by other means” through the Film

Leaflet by Slobodan Šijan (2012). 2013 edition marked the 60th anniversary of

the Pula Film Festival with the exhibition Think film building up on the idea

of film/cinema as a complex and developed system of representation, re-

working codes and conventions, formative structures, historical narratives,

tensions of time and space, rethinking film/cinema as complex cultural forms,

critical methodology and social, ideological and technological apparatus.

Exhibitions are producing a new social environment for active work on

meanings, stories, history and functions of cultural material, contributing

to shape a contextual approach based on the exhibition as a form of

communication that integrates common social, cultural and aesthetic

aspects, introducing ideas and issues in public discourse, creating an active

interaction of social and cultural fields where social processes and contexts

are described, interpreted and presented to the audience, tracing possible

future perspectives.

Think film is a process, an exhibition, an experiment, a starting point, a

conclusion...

Tematizirajući koncept vizualnih medija i pokretnih slika, izložba

Paper Movies u okviru projekta CINEMANIAC 2014 ukazuje na široko

referencijalno polje “papirnatih filmova” i “filmova na papiru”,

angažira koncept “paper movies” problematizirajući odnose

prema filmu, prema pojedinim filmovima, filmskom mediju,

filmskom jeziku i izražajnim sredstvima filma, odnose prema

društvu i popularnoj kulturi. Kao istraživačka i izlagačka platforma

projekt je usmjeren na okupljanje umjetnika koji u svom radu

na različite načine formiraju specifičan odnos prema ideji filma

kao “prostora mišljenja”, filma “drugim sredstvima” i kritike

filmskog aparata, mjesta u kojem se reflektiraju aspekti društva

i kulture, gdje film postaje svojevrsna riznica. Kao i niz puta do

sada, i ovogodišnja izložba želi ukazati na kontinuitet interesa

za filmsko iskustvo koje poticaje crpi u povijesnim avangardama,

istraživačkim praksama konceptualne umjetnosti, povijesti, arhivu,

sjećanju, reaktualizaciji u kontekstu novog digitalnog protoka

slika, videa, teksta. Govori o potencijalnosti filma kao resursa za

njegovu disperziju u medijske formate koji danas omogućavaju

nove horizonte umjetničkih intervencija.

Odmaknuti od normativne tehnologije filmske produkcije, služe se različitim

istraživačkim pristupima, skromnim jeftinim sredstvima, ekonomičnim

izrazom, bilješkama, crticama, a putem drugih medija − teksta, kolaža,

fotografija, videa, i referiraju se na svijet filma, filmsku kulturu i jezik filma.

Pišući o Filmskom letku Slobodana Šijana kao praksi “kina drugim

sredstvima” Dejan Sretenović govori o razlaganju kinematografije na njezine

konstitutivne elemente koji se osamostaljuju kao autohtona područja

filmskog eksperimenta: scenarij, storyboard, montaža, kamera, fotografija,

filmska traka, svjetlo, zvuk, ekran i sl. 2

Premještanjem interesa s komercijalnog, industrijskog filmskog aparata,

suvremena praksa proizvodnje filma ukazuje i na mjesto filmskog

iskustva koje kontinuitet crpi u eksperimentu, povijesnim avangardama,

neoavangardi, povijesti, arhivu, sjećanju, rekontekstualizaciji… u kontekstu

novog digitalnog protoka slika, videa, teksta.

Vizualna produkcija “radova na papiru” (i filmskih radova s papirom)

umjetnička je praksa u kojoj autori eksperimentiraju s filmskim načinom

mišljenja, dok istovremeno afirmiraju jedno gotovo rubno umjetničko

područje ističući njegov istraživački potencijal. Na određen način projekt

uspostavlja kontinuitet interesa, povezujući prošlo i buduće, nadovezujući

se na retrospektivno predstavljanje Filmskog letka Slobodana Šijana 2012.

godine.

Izložba Paper Movies predstavlja fragmentarnu putanju “papirnatih filmova”

ili “filmova na papiru” koja se kreće od neoavangardnih dekompozicija u

fotokolažima Antuna Motike, oblicima eksperimentalne prakse, do radova

suvremenih umjetnika i radova umjetnika mlađe generacije, preuzimajući

naslov istoimene knjige Branka Vučićevića.

Kolaž, animacija, crtež, found footage, ready made, video, tekst, fotografija

i foto-sekvence podjednako su shvaćani kao dio filmskog eksperimenta,

eksperimenta “s filmom i oko filma”, prostor u kojemu se istražuju granice

medija. Radovi sažimaju multiplicirane vizure i poglede − podsjećaju nas kako

(na formalnoj i semantičkoj razini) film i kolaž omogućavaju kinematografsku

dekompoziciju, gdje se percepcija u obliku loma uspostavlja kao formalno

načelo.1

Umjetnici “filmom bez filma”, mahom “radovima na papiru” kao skromnim,

ekonomičnim, “siromašnim” modelom ulaze u prostore filmskog mišljenja

i reprezentacije filma, “filma drugim sredstvima”, predstavljaju različite

kinematičke eksperimente kojima su izgradili specifičan senzibilitet kroz

koji progovaraju kritička refleksija ili uznemirenost te analiziranje konteksta

referentnog/korištenog medija. To je niz nekonvencionalnih radova

intertekstualnog karaktera, koji predstavljaju autorske izraze umjetnika

filmofila i bogatstvo njihove citatne kulture.

1 Ja

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Michel Klöfkorn LIqUId PAPEr, video, 2010

Povijest kolaža kao umjetničke prakse počinje u 20. stoljeću, paralelno dijeleći

kulturni kontekst s razvojem medija filma. Na taj način možemo primijetiti

kako, poput montaže u kinematografiji, kolaž predstavlja autentičan

umjetnički jezik i tehnologiju 20. stoljeća.

Izložba Paper Movies želi istražiti različite odnose između kolaža i filma

u suvremenim umjetničkim praksama imajući na umu povijesnu putanju

avangardne umjetnosti i pojavu eksperimenata u montaži kao radikalnog

umjetničkog jezika. Istraživanje bliskih procedura u radovima na papiru

(kolaž), pokretnim i nepokretnim slikama (montaža) otvara pitanja o

pronađenim slikama (found image, slika kao ready made) te fragmentaciji

i dis/kontinuitetu unutar slike. Pažnja se usmjerava na smisao djela koji se

shvaća čitanjem njegovih dijelova, kao i na načelo njegove konstrukcije,

a lomovi i imaginacija u umjetničkim postupcima dovode se u vezu s

prevođenjem ili metodama reprodukcije. Provocira se lom u recepciji koji je

analogan fragmentarnosti umjetničke tvorevine.3

U širem smislu - u likovnoj umjetnosti, književnosti ili filmu, kolaž predstavlja

svaki tekst građen od heterogenih materijala, dok je u užem smislu to likovni

žanr koji nastaje konstrukcijom, aranžiranjem i lijepljenjem različitih materijala

na podlogu. Kolažni postupak zasniva se na semantičkom premještanju

elemenata, postojećih poruka, fragmenata iz svakodnevnice, elemenata slike

i teksta iz masovnih medija i popularne kulture, slika iz novina, časopisa,

3 Pe

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Antun Motika ZbIrKA UMjETNINA grAdA PULE, fotokolaž / photocollage

oglasa i reklama u novu tvorevinu, kako bi se stvorilo umjetničko djelo

koje prikazuje raznovrsne prekide, složenu višeznačnost, necjelovitost,

nekonzistentnost mišljenja. Kolaž predstavlja prostor za eksperiment,

odbacuje racionalnost i koherentnost, angažirajući nove formalne

mogućnosti, stvarajući prostore fantastike.4

Fotokolaži Antuna Motike predstavljaju panoramu distorzija slika svedenih

do neprepoznatljivosti. U jednoj slici kombiniraju se dijelovi različitih

prizora stvarajući nove, čudesne kombinacije i začudne odnose. Vizualni

registar, arhiv fragmenata okupljenih u Motikinim fotokolažima obuhvaća

prepoznatljive elemente civilizacijskih slika − svijeta umjetnosti, popularne

kulture, poput umjetničkih djela, glumaca i glumica, predmeta ili strojeva,

dok postupak njihovog montiranja (slaganja) omogućava konstrukciju cjeline

iz heterogenog materijala, a prizor se istovremeno dekonstruira.

U albumima Antuna Motike iz Zbirke umjetnina Grada Pule pronalazimo

zanimljivu skupinu fotokolaža mobilne strukture, kinematičkih svojstava.

Pojedine slike na podlogu nisu fiksirane sa svih strana, a slagane su jedna

iznad/ ispod druge, stvarajući rad namijenjen listanju, koji se strukturira kao

flip-book, dječja knjižica za animaciju. Takav se kolaž listanjem animira,

svakim okrenutim listom i svakim pomicanjem sličice dolazi do nove faze slike

i do nove kompozicije. Listanjem slika preobražavaju se figure i stvaraju nove,

a radove karakterizira dinamična, pokretna i promjenjiva struktura.

Kolažni found footage film All Catacombs are Grey Dalibora Barića temelji

se na gotičkoj noveli Carmilla (1871) Josepha Sheridana Le Fanua, koja je i

prije Barićevog “čitanja” doživjela niz filmskih adaptacija. Značenje djela

strukturira se unutar procesa remedijacije, oblika prijenosa, postavljajući u

središte interesa filma aproprijaciju postojećih, pronađenih slika shvaćenih

kao ready made, dok je naracija svedena u drugi plan.

4 Sa

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Antun Motika ZbIrKA UMjETNINA grAdA PULE, fotokolaž / photocollage

Kolaži se strukturiraju oko zamišljanja kinematičkoga aparata, elemenata

kamere i projekcije/projektora, formalno jasnih elemenata, kvadrata prostora,

geometrijska okvira i kadrirana prizora.

Ana Petrović medijskim istraživanjima pristupa na nešto drugačiji način. U

seriji fotografija Bez naslova, koja je strukturirana kao foto sekvenca, autorica

bilježi prizor zrake svjetlosti iz projektora. Fotografija podjednako predstavlja

minimalističku gestu i interes usmjeren na kinematografski aparat kao

sredstvo produkcije i reprodukcije filma. Istovremeno LIFRAM Daumenkino

(kino za palac) je artist book kojim autorica artikulira interes za pretpovijest

filma, a njezino “papirnato kino” donosi “tehnologiju” prvih pokretnih slika.

Nastali različitim postupcima medijatizacije, radovi Antuna Motike, Dalibora

Barića, Michela Klöfkorna, Marka Tadića i Ane Petrović uspostavljaju vezu

s prošlošću putem medija reprodukcije slike, apostrofiraju vremensku

dimenziju, unutar koje se formira prisjećanje na arheologiju medijske prakse.

Film odiše određenom melankolijom koju dešifriramo kao nemoguć susret

s prošlim. Radovi Dalibora Barića predstavljaju sliku slike, reprezentaciju

reprezentacije, u njima kao da su konzervirani medij i vrijeme. Kao da se radi

o duhovima, prividu − All recordings are ghosts... priča o filmu kao mediju

smrti, duhovima - tvrdi Dalibor Barić, gdje referencijalno polje uspostavljeno

gotičkom novelom olakšava transfer značenja, medijskog postupka i stvaranje

atmosfere. Na tom tragu možemo se prisjetiti Derride, koji piše When the

very first perception of an image is linked to a structure of reproduction, then

we are dealing with the realm of phantoms.5

I Liquid Paper Michela Klöfkorna predstavlja refleksiju o medijima i

remedijaciji, uključujući materijal različitog porijekla i mnoštvo citata. Njegov

vizualni arhiv prisvaja slike iz časopisa, plakata, filmova, knjiga umjetnika, koje

autor izrezuje kao “geološke slojeve” u kontinuiranoj transformaciji. Klöfkorn

koristi različite tehnike animacije, prisvaja metodu cut-outa, izrezivanja

papira, prizora i slika koje montira i stapa na specifičan način kao da klize

jedna za drugom i pretapaju se u novo formiranim prizorima iz kojih izranjaju

nove slike i novi oblici. Radi se istovremeno o procesima transfiguracije,

protoku vremena i slika koje “teku” kao da poprimaju svojstva tekućine,

“liquid time”.

Imagine a Moving image Marka Tadića predstavlja imaginarno putovanje

prostorom konstrukcije, poetike i estetike kinematografa i filmske slike. U

kolažima i crtežima Marko Tadić gradi fragmentaran narativ koji pripovijeda

priču o filmu, a spektakl kinematografije i naglašavanje njezina konstruiranog

karaktera postaju referencijalno polje ovih radova. Tadić nizom kolaža i

crteža istražuje kodove kinematografije, filmske sadržaje i alate artikulirajući

refleksivne i tehničke procese koji ukazuju na iluzornost filmskog medija,

istovremeno naglašavajući fascinaciju njime.

5 J.

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rida:

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s fa

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es. C

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: In

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ania

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ula,

200

6.

Marko Tadić IMAgINE A MovINg IMAgE, kolaž, crtež / collage, drawing, 2012

Working with concepts of visual media and moving images,

the exhibition Paper Movies, within the project CINEMANIAC 2014,

points to a wide referential field of “paper movies”, engaging

the concept of “paper movies” by questioning relations

between films, as medium, language and means of expression,

as well as the attitudes to society and popular culture. As a

research and exhibition platform, the project gathers artists

that form a specific relationship with the idea of film as “space

of reflection”, film “by other means” and the critique of the

film apparatus, a place reflecting aspects of society and culture

where film becomes a sort of treasury. Just as a number of times

before, exhibition wants to point out the continuity of interest

for film experience drawing the inspiration on historical avant-

gardes, research practices of conceptual art, history, archives,

memories, their re-actualization in the context of new digital

flow of images, videos, texts. It speaks of the potential of film

as a resource for its dispersion in media formats which, today,

enable new horizons of artistic interventions.

Michel Klöfkorn LIqUId PAPEr, video, 2010

Beyond the normative film production technology, they use various research

approaches, modest cheap means, economical expression, notes, scribbles,

and by means of other media − text, collage, photographs, videos, they refer

to the world of film, film culture and film language.

When writing on the Film Leaflet by Slobodan Šijan as a practice of “film

by other means”, Dejan Sretenović speaks of the deconstruction of integral

elements of film which become an independent area of film experiment:

screenplay, storyboard, editing, camera, photography, film strip, light, sound,

screen, and similar.

By shifting the interest from the commercial, industrial film apparatus,

the contemporary practice of film production points to the place of film

experience drawing its continuity from experiment, historical avant-gardes,

neo-avant-garde, history, archives, memories, re-contextualization… in the

context of a new digital flow of images, video, text. It speaks of the potential

of film as a resource for its dispersion in media formats today opening up

new horizons for artistic interventions.

The visual production of “works on paper” (and film works with paper) is

an artistic practice that enables artists to experiment with film, while at the

same time affirming a new, almost marginal artistic area stressing its research

potential. In a certain way the project establishes a continuity of interest,

connecting past and future, following up on the retrospective presentation of

Film Leaflet by Slobodan Šijan in 2012.

The exhibition Paper Movies represents a fragmentary trajectory of “paper

movies” or “movies on paper” which moves from neo-avant-garde

decompositions in Antun Motika’s photo-collages, forms of experimental

practice, to the works of contemporary artists and emerging artists, taking

over the title of the homonymous book by Branko Vučićević.

Collage, animation, drawing, found footage, ready made, video, text,

photography are equally taken as part of the film experiment, the experiment

“with film and around film”, a space in which the boundaries of the

media are explored. The works summarize multiplied visions and views −

remind us of how (on a formal and semantic level) film and collage enable

cinematographic decomposition where perception in the form of breaks

establishes itself as a formal principle.

With the “film without film”, largely “works on paper” as modest,

economical, “poor” model, the artists enter the spaces of film thinking

and representation of film, “film by other means”, representing various

cinematic experiments through which they constructed a particular sensibility

expressing a critical reflection or restlessness, and the analysis of the context

of the referential/used medium. It is a series of unconventional works of

intertextual character representing author expressions of cinephile artists and

the richness of their quotation culture.

Ana Petrović bEZ NASLovA, serija fotografija / photography series, 2011

The history of collage as artistic practice begins in the 20th century sharing

the cultural context with the development of film medium. In that way, like

montage in cinematography, we can see collage representing an authentic

artistic language and technology of the 20th century.

The exhibition Paper Movies wants to explore different relationships between

collage and film in contemporary practices bearing in mind the historical

trajectory of avant-garde art and the appearance of experiments in montage

as a radical artistic language. The exploration of similar procedures in works

on paper (collage), moving and still images (editing) raise the issue of found

footage (found image, image as ready made), and fragmentation and dis/

continuity within the image. The attention is directed towards the meaning

of the work that is understood by reading its parts, as well as towards the

principle of its construction, while the breaks and the imagination in artistic

procedures are associated with translation and reproduction methods. A

break in reception is provoked, analogous to the fragmentariness of the work

of art.

In a wider sense − in visual arts, literature or film, collage represents every

text constructed of heterogeneous material, while in a narrower sense it is

a visual genre created with construction, arranging and gluing of various

materials on a surface. The collage procedure is based on semantic shifts of

elements, existing messages, fragments of everyday life, elements of image

and text from mass media and popular culture, pictures from newspapers,

Marko Tadić IMAgINE A MovINg IMAgE, kolaž, crtež / collage, drawing, 2012

Dalibor Barić ALL CATACoMbS ArE grEY, film, 2014

The meaning of the work is structured within the process of remediation, the

form of transfer, putting in the focus of interest of the film the appropriation

of existent, found images taken as ready made, while narration is in the

background. The film exudes a certain melancholy we decipher as the

impossible encounter with the past. Dalibor Barić’s works represent the

image of an image, the representation of representation, as if they were

preserving both the medium and the time. As if they were ghosts, illusions

− All recordings are ghosts… a story of film as medium of death, ghosts

− claims Dalibor Barić, where the referential field established by the gothic

novel enables the transfer of meaning and the creation of atmosphere. Along

these lines we can think of Derrida’s lines When the very first perception of

an image is linked to a structure of reproduction, then we are dealing with

the realm of phantoms.

The work Liquid Paper by Michael Klöfkorn also represents a reflection on

media and remediation, including material of various origins and a multitude

of citations. His visual archive makes use of pictures from magazines,

posters, films, artist books, that the author cuts out as “geological layers”

in continuous transformation. Klöfkorn uses various animation techniques,

adopts the method of cut-out, cutting paper, scenes and images he edits

and merges in a particular way as if they were emerging and sliding one after

the other and composing newly formed shapes, scenes and forms. What we

have here are processes of transfiguration, the passing of time and images

that “flow”, taking over the characteristics of “liquid time”.

Imagine a moving Image by Marko Tadić represents an imaginary journey

through the space of construction, poetics and aesthetics of cinema

and moving image. In his collages and drawings Marko Tadić builds a

fragmentary narrative telling the story of film, while the spectacle of

cinematography and pointing out its constructed character become a

magazines, announcements, advertisements, into a new creation, in order

to create a work of art showing various breaks, a complex ambiguity,

incompleteness, inconsistency of thought. The collage represents a space

for experiments, it refutes rationality and coherence, engaging new formal

possibilities, creating spaces of fantasy.

Photo-collages by Antun Motika represent a panorama of distorted images

reduced to unrecognizability. One image combines parts of different scenes

creating new, magical combinations and fascinating relations. The visual

registry, the archive of fragments gathered in Motika’s photo-collages

encompasses recognizable elements of civilizational images − of the world

of art and popular culture, like works of art, actors and actresses, objects

or machines, where the procedure of their editing (assembling) enables the

construction of a whole from heterogeneous material, while the scene is

being deconstructed.

In Antun Motika’s albums in the Art Collection of the City of Pula, we can

find an interesting series of photo-collages of a mobile structure, cinematic

features. Single images are not fixed to the underlying surface on all sides

and are assembled one above / under the other, creating a work meant to

be leaved through, structured as flip-books, a children’s animation booklets.

Such a collage is animated by flipping its pages, with every turned leaf and

every movement of the image, there is a new phase of the image and a

new composition. By flipping the pages the figures are transformed and

new figures are created, while the works present a dynamic, moving and

changeable structure.

The collage found footage film All Catacombs are Grey by Dalibor Barić is

based on the Gothic novel Carmilla (1871) by Joseph Sheridan Le Fanu, and

has already seen adaptations into various films before Barić’s “reading”.

referential field of these works. With a series of collages, Tadić explores the

codes of cinema, the contents and tools of film articulating those reflexive

and technical processes pointing to the illusory character of the film medium,

while at the same time stressing the fascination with it. The collages are

structured around the imagination of the cinematic apparatus, elements of

camera and projection/projector, formally clear elements, squares of space,

geometrical frames and a framed space.

Ana Petrović has a somewhat different approach to the exploration of the

media. In a series of photographs Bez naslova (Untitled) structured as a photo

sequence, the author records the scene of a ray of light from the projector.

The photograph represents both a minimalist gesture and an interest

directed towards the cinematographic apparatus as means of production

and reproduction of film. At the same time, LIFRAM Daumenkino (thumb

cinema) is an artist book with which the author articulates her interest in the

prehistory of film, and her “paper cinema” brings the “technology” of the

first moving images.

Created using various processes of mediatization, the works of Antun

Motika, Dalibor Barić, Michel Klöfkorn, Marko Tadić and Ana Petrović

establish a connection with the past by way of the image reproduction

medium, articulating the dimension of time within which the remembrance

of the archaeology of media practice is formed.

Ana Petrović LIFrAM dAUMENKINo, artist book, 2011.

Dalibor Barić (1974.) bavi se

eksperimentalnim filmom i

animacijom istražujući tradicionalne

žanrove poput horora ili science

fictiona. Korištenjem pronađenih

materijala tehnikama kolaža realizira

sofisticirane psihodelične naracije koje

zamagljuju granice stvarnosti. Njegov

rad ispituje područje umjetničke

produkcije u digitalnom okruženju

kroz ideje aproprijacije, simulacije/

replike i autentičnosti.

Dalibor Barić (1974) is a Croatian

experimental filmmaker whose works

often explore traditional genres like

science fiction and horror. Using

found objects as his source material,

Barić uses collage techniques in order

to produce sophisticated psychedelic

narratives that often blur the lines

between our outer and inner realities.

Moreover, Barić’s work also calls into

question issues surrounding artistic

practices in the digital age including

ideas about authenticity, simulation/

replication and appropriation.

Radovi / Selected works:

Amnesiac on the Beach (2013); The

Spectres of Veronica (2011) New

Hippie Future (2011); Pain so light

it appears as tickle (2010); The Mind

from Nowhere (2010); The Horror

of Dracula (2010); Ghost Porn in

Ectoplasm! But how? (2010); Nymph

Gloss Atari (2010)

Festivali /Festivals: 25 FPS

International Experimental Film

and Video Festival; Festival Les

Instants Vidéo; Festival of Different

and Experimental Cinemas, Paris;

International Short Film Festival

Oberhausen; S8 Mostra de Cinema

Periférico; Tabor Film Festival;

Alternative Film Video, Belgrade,

Serbia; Impakt Utrecht

Michel Klöfkorn (rođen 1967. u

Njemačkoj, živi u Frankfurtu) je

umjetnik koji se bavi crtežom,

poviješću filma, estetikom,

analognim filmom i digitalnim

videom. Studirao je slikarstvo,

crtanje i film na Hochschule für

Gestaltung u Offenbachu. U to

je vrijeme radio muzičke video

spotove te je snimio 30 spotova za

najbolje njemačke grupe. 1998. je

dobio nagradu za najbolji njemački

muzički video na Danima kratkog

filma u Oberhausenu. Njegov

posljednji film je xx-xx-xx (2014).

Michel Klöfkorn (born in 1967

in Germany, lives in Frankfurt) is

an artist with a background in

drawing, film history, aesthetics,

analog film and digital video. He

studied painting, drawing and film

at the Hochschule für Gestaltung

in Offenbach. Worked with music

video producing 30 music videos

HDLU Osijek. Suosnivačica je

umjetničke organizacije POPUP.

Izlaže radove na samostalnim i

grupnim izložbama u Hrvatskoj i

inozemstvu. Živi i radi u Osijeku.

Ana Petrović, multimedia artist, in

her work examines the boundaries

of media. Born in 1985 in Bjelovar.

Graduated from the Art Academy

in Osijek (2011), mentored by

doc. Vladimir Frelih. Works as

assistant for Video and Film and

Photography, UAOS, member of

HDLU Osijek, and photographer

for The Gallery Kazamat, publisher

HDLU Osijek. Co-founder of the

art organization POPUP. Exhibiting

works in solo and group shows in

Croatia and abroad. Works and

lives in Osijek.

Marko Tadić je rođen 1979. u

Sisku. Diplomirao je na Akademiji

likovnih umjetnosti u Firenzi. Radi

kolaže, animacije i crteže. Izlagao

je na samostalnim i grupnim

izložbama, te filmskim festivalima u

Hrvatskoj i inozemstvu - u Zagrebu,

Ljubljani, Kasselu, Berlinu, Los

Angelesu i New Yorku. Nagrade:

28. Salon mladih (Zagreb, 2006.),

Nagrada Radoslav Putar za mladog

hrvatskog umjetnika. Sudjelovao

je na rezidencijama i studijskim

programima: 18th Street Arts

Center, Los Angeles, SAD (2008.);

KulturKontakt, Beč, Austrija

(2008.); ISCP, New York, SAD

(2009.); Kultur Bunker, Frankfurt,

Njemačka (2010.) i Helsinki

International Artist Programme,

Helsinki, Finska (2011.). Živi i radi

u Zagrebu.

Marko Tadić, born in 1979 in

Sisak, Croatia. Graduated at

the Academy of Fine Arts in

Florence, Italy. Works with collage,

animation, drawings. Exhibited

at solo and group exhibitions

and film festivals in Croatia and

internationally, at venues in

Zagreb, Ljubljana, Vienna, Kassel,

Berlin, Los Angeles and New York.

Awards: 28. Youth Salon (Zagreb,

2006) and Radoslav Putar Award

for young Croatian artist (Zagreb,

2008). Participated in residencies

and study programs: 18th Street

Arts Center, Los Angeles, USA

(2008); KulturKontakt, Vienna,

Austria (2008); ISCP, New York,

USA (2009); Kultur Bunker,

Frankfurt, Germany (2010) and

Helsinki International Artist

Programme, Helsinki, Finland

(2011). Lives and works in Zagreb,

Croatia.

for hit German bands at the time.

1998 awarded Best German Music

Video, Kurzfilmtage Oberhausen.

His most recent film is xx-xx-xx

(2014)

Izložbe i festivali / Exhibitions

and Festivals: Frankfurter

Filmschau, Trickfilmfestival

Stuttgart, Kurzfilmtage

Oberhausen, Videofest Kassel, ICA

London, Steirischer Herbst, Kai

Middendorff Galerie Frankfurt am

Main

Antun Motika (Pula, 1902. −

Zagreb, 1992.) Studirao kiparstvo

na Akademiji likovnih umjetnosti

u Zagrebu, 1921. (R. Valdec),

opredjeljuje za slikarstvo i diplomira

1926. (M. Vanka, Lj. Babić). 1928.

− 1929. objavljuje karikature u

listu Koprive. 1929. − 1940. bio je

srednjoškolski nastavnik u Mostaru,

a od 1941. − 1961. profesor na

Školi primijenjene umjetnosti u

Zagrebu. Njegov slikarski opus

proizlazi iz postimpresionističke

tradicije europskog slikarstva.

Od 1940ih počinje se sustavno

baviti eksperimentima koristeći

kolaž, dekalkomanije, “dimnice”,

fotografiku i organske materijale.

Donacija Antun Motika dio je

Zbirke umjetnina Grada Pule.

Antun Motika (Pula, 1902 −

Zagreb, 1992) Studied sculpture

at the Academy of Fine Arts in

Zagreb under prof R. Valdec in

1921, and later decided to switch to

painting, graduating in 1926 from

the class of prof M. Vanka and Lj.

Babic. Between 1928 − 1929 Motika

published illustrations in the

satirical magazine Koprive / Nettles.

Between 1929 − 1940 he was a high

school teacher in Mostar, and

from 1941 − 1961, Professor at the

School of Applied Arts in Zagreb.

Motika's art derived from the post-

impressionist tradition of European

painting. From the 1940s he

began to experiment with collage,

decalcomania, smoke, photo-

graphics, and organic materials.

The Antun Motika donation is part

of the Art Collection of the City

of Pula.

Ana Petrović, multimedijalna

umjetnica, u radu se bavi

istraživanjem granica medija.

Rođena je 1985. godine u

Bjelovaru. 2011. diplomirala

je na Umjetničkoj akademiji

Osijek, pod mentorstvom doc.

Vladimira Freliha. Asistentica

na kolegijima Video i film i

Fotografija, UAOS, članica

HDLU-a Osijek, te fotografkinja

za Galeriju Kazamat, izdavaštvo

Dalibor Barić ALL CATACoMbS ArE grEY, film, 2014

Nakladnik / Publisher

Udruga MMC LUKA

MMC LUKA Association

Istarska 30, Pula, Croatia

T +385 52 224 316

mmcluka@mmcluka.hr

Za nakladnika / For the publisher

Mirjana Grahovac- Vojinović

Urednica / Editor

Branka Benčić

Tekst / Text

Branka Benčić

Fotografije / Photographs

Ljubaznošću umjetnika

Courtesy of the artists

Zbirka umjetnina Grada Pule

Art Collection of Pula

Prijevod / Translation

Iva Štekar

Lektura / Proofreading

Nevena Trgovčić

Dizajn / Design

Oleg Morović

Partner

Pulski filmski festival

Pula Film Festival

www.pulafilmfestival.hr

Tisak / Print

MPS Pula

Naklada / Number of copies

300

Postav izložbe / Exhibition set up

Branka Benčić

Tehnički postav izložbe / Technical set-up

Miro Ploj

Program je realiziran sredstvima / The program has been made

possible with the funding provided by:

Grada Pule, Hrvatskog audiovizualnog centra, Ministarstva

kulture Republike Hrvatske, Istarske županije, TZ Grada Pule

City of Pula; Croatian Audiovisual Center; Ministry of Culture,

Republic of Croatia; Region of Istria; Tourist Office Pula

Zahvale / Aknowledgements:

Umjetnicima / Artists; Zbirka umjetnina Grada Pule/ Art

Collection City of Pula, Kai Middendorff Galerie na posudbi

radova / for work loans; prijateljima/friends, suradnicima/

collaborators, Aleksandri Sekulić na knjizi Neobični doživljaji

gospodina Benjamina u zemlji boljševika / Aleksandra Sekulić

for the book The Unusual experience of Mr. Benjamin in the

country of Bolsheviks that nurtured the idea for this exhibition.