Generalni pokrovitelj djelatnosti HDLU Varaædin:

Hrvatsko druπtvo likovnih umjetnika Varaædin

Varaædin, 1.6. - 15.6.2002.

od A do B

Izloæba “od A do B” nastala je ide-jom organizatora Ivana Meseka(HDLU Varaædin) da se iskorististari, napuπteni, monumentalniprostor stare loæione naæeljezniËkom kolodvoru u Varaædinuza potrebe izloæbe suvremeneumjetnosti. Ideja za iskoriπtavanjetog negalerijskog prostora potekla jezbog problema sa kojim se dugovremena susreÊe i organizator iostale institucije Ëiji je primarniinteres suvremena kultura, a to jekroniËni nedostatak adekvatnihprostora.

Suradnja HDLU Varaædin i menekao kustosa bila je produkt susretasa Ivanom Mesekom, i priodluËivanju kome u ruke povjeritikustoski dio posla organizator seodluËio za novo ime, mladu snagu,punu entuzijazma i energije. Odlukaje pala i krenuli smo na posao.Temu i koncepciju izloæbe namet-nuo je sam prostor i okruæenje ukojem se prostor nalazi. Vlakovi,traËnice, fluidnost prostora stare

loæione, zvuk dolaska i odlaskavlakova , sve je to nametalo VRIJEME za odabir teme. Unutarrazmiπljanja i promiπljanja o vre-menu kroz praksu filozofije, fizike alii kroz praksu svakodnevice, naslovizloæbe se nametnuo sam po sebi:od A do B.

A i B su Ëvrsti punktovi u prostoru ,izmeu njih je vrijeme, prostornanepostojanost, vremenom odreenadimenzija, komunikacija izmeu tedvije toËke.

Svladati put od toËke A do toËke Bpotrebno je vrijeme, kretanje. Zarazliku od prostora koji je definirankao kao dimenzija unutar koje jeomoguÊen opstanak æivog biÊa,stvari ili pojava jednog pored dru-gog, vrijeme (grË.hrónos, lat. tem-pus) je dimenzija slijeda biÊa jednognakon drugog, odnosno postojanjestvari, trenutaka u promjeni njihovanastajanja i nestajanja.

»ovjek u svom æivotu konstantno ideka neËemu novome, teæi ka onomeπto joπ nije bilo, tj. buduÊnosti, aliËim to u trenu dostigne, istodobnoprestiæe sadaπnjost i ostavlja je uproπlosti.Vrijeme, kao koncept, koje zajednosa prostorom odræava dvije stranenaπeg iskustva, omoguÊuje nam dastvaramo naπe slike o svijetu.

U skladu sa æeljama organizatora zapotrebe izloæbe raspisan je javninatjeËaj. NatjeËaj je bio otvoren zaautore sa podruËja kojim je prostorloæionice, æeljezniËkom prugomdirektno povezan, dakle sa podruËja

Zagreba, Varaædina, »akovca,Koprivnice. KonaËni odabir radova iautora se zaustavio na πesnaestautora, generacijski i umjetniËkiraznolikih: Tomislav BrajnoviÊ,Marijan CrtaliÊ, Marko ErcegoviÊ,Danko FriπËiÊ, Stjepan JerkoviÊ,Vladislav KneæeviÊ, Alem Korkut,Igor Kuduz, Ivan MaruπiÊ klif, IvanMesek, Davor Mezak, Zoran PaveliÊ,Magdalena Pederin, Lala RaπËiÊ,Frane RogiÊ, Smiljana ©afariÊ.

Umjetnici su sa svojim radovima,progovorili o vremenu na svoj indi-vidualan naËin. Uhvatili su jedantrenutak razmiπljanja o vremenu usebi, i podjelili ga sa publikom.Video radovi, interaktivne instalacije,zvuËne instalacije, intervencije uprostoru, performance, oæivijeli sustari prostor loæione, ostavljaÊu tragsadaπnjosti i buduÊnosti u ostatcimaproπlosti.

Martina MatiÊ

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A to B

The exhibition “A to B” came to lifewith an idea of the organiser, IvanMesek (HDLU), to use the old,monumental facilities of the steamroom at Varaædin’s train depot forthe purpose of a modern art exhibi-tion. The idea to use this non-galleryspace surfaced because of theproblem long endured by the orga-niser and other institutions whoseprimary interests lie with modernculture, that being a chronic short-age of adequate exhibition areas.

The co-operation between HDLUand myself as a curator was a prod-uct of a meeting between myselfand Ivan Mesek, and in decidingwho should have the curator’s job inthis undertaking, the organiserdecided it should be someone new,young, full of enthusiasm and ener-gy. The decision was made and itwas time to go to work. The themeand conceptions of the exhibitionwas suggested by the space and thefacilities themselves, as well as theirsurroundings. The trains, the tracks,

fluidity of old steam room space, thesound of trains coming and going,this all came to gather to form TIMEas the main theme. Thinking abouttime through philosophy, physicsand everyday life, the title of theexhibition also almost appeared onits own: A to B.

A and B are fixed points on space,between them is time, spatial non-existing, a dimension decided bytime, a communication betweenthose two points.

To make the journey between pointA and point B, one needs time.Whereas space is defined as adimension in which living creatures,things or manifestations can coexistbeside one another, time (Greekhrónos, Latin tempus) is a sequen-tial dimension in which beings fo-llow one another, i.e. there is a pointin time where they appear,moments of change, and the pointof their disappearance.

Man is constantly going forward inhis life, yearning for that which hasn’t happened yet, i.e. the future,but the second he gets there, healready leaves the present behindand sends it into the past.

Time, as a concept, representingtwo sides of our experience togetherwith space, allows us to form a pi-cture of our world.

In step with the organiser’s wishes,a public tender was announced forthe exhibition’s needs. It took intoconsideration artists from areas the

steam room is directly connected tovia the tracks; Zagreb, Varaædin,»akovec, Koprivnica. The final pickof works and authors stopped at 16,of various generations and artexpression: Tomislav BrajnoviÊ,Marijan CrtaliÊ, Marko ErcegoviÊ,Danko FriπËiÊ, Stjepan JerkoviÊ,Vladislav KneæeviÊ, Alem Korkut,Igor Kuduz, Ivan MaruπiÊ Klif, IvanMesek, Davor Mezak, Zoran PaveliÊ,Magdalena Pederin, Lala RaπËiÊ,Frane RogiÊ, Smiljana ©afariÊ.

The artists have, through their work,individually spoken about time.They have caught a moment ofthinking about time within them-selves and are sharing it with theaudience. Video works, interactiveinstallations, sound installations,spatial interventions, performances,have made the old steam roomcome alive, leaving a trail of thepresent and the future in the rem-nants of the past.

Martina MatiÊ

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Tomislav BrajnoviÊ se predstavio sadvije instalacije, za potrebe kojih jekoristio objekte koje je zatekao pri-likom ranijeg razgledavanja prostora.U instalacija Vlak za nikamo umjet-nik je iskoristio sjedala vagona,postavio ih u prostor izmeutraËnica, i na prednju stranu sjedalaprojecirao slike - slajdove. Slike suto ljudi bliskih umjetniku, uhvaÊeniu trenutku spavanja u vlaku. Uovom radu prisutna je i socijalnadimenzija u kojoj su sjedala iz vlaka,koji viπe ne postoji i koji nema odre-diπte, metafora za druπtvo kojenema jasnog cilja. Projekcija slajdo-va samo naglaπava to stanjeizgubljenosti u prostoru i vremenu.U instalaciji Usporavanje koriπtenasu vrata vagona. Unutar duguljastihprozora instalirani su ink jet printevi,segmenti umjetnikove figure saodreenim pomakom, kako bi sesugeriralo kretanje tj. vrijeme.Oba rada su autoreferencijalna iodnose se na umjetnikov doæivljajprolaska vremena , u kojimasjeÊanje na putovanje vlakom zauzi-maju vrlo vaæno mjesto.

Tomislav BrajnoviÊ presents twoinstallations, for which he usesobjects found while he examinedthe exhibition area before the show.For the installation Train to Nowherehe uses train-car seats placedbetween the rails and a projection ofslides pointed toward the front ofthe seats. The social dimension isshown through the metaphor ofseats being on a non-existent trainand with no destination, represent-ing a society with no clear goals.The projection of slides showingsleeping persons only reinforces thisstate of being lost in space andtime.The installation Slowing Down usestrain car doors. Inside the elongatedwindows he installed ink jet print-outs of himself with a certain move-ment, to simulate motion, i.e. time.Both works ere self-referenced andare related to the author experienc-ing the passage of time, in whichtrain travelling plays a very impor-tant role.

TOMISLAV BRAJNOVI∆Vlak za nikamo / Train to nowhere, 2002.instalacija / installation

Usporavanje / Slowing down, 2002.instalacija / installation

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Marijan CrtaliÊ u video raduRonjenje pozabavio se granicamaizdræljivosti vlastitog tijela uodreenom vremenu i uvjetima.Video je snimka autorovog lica uro-njenog u vodu u staklenom lavoru iprikazuje reakcije istog lica na osta-janje organizma bez zraka.NaranËasto osvijetljenje u radu po-dsjeÊa na filmski glaumur, kojiopuπta promatraËa sve do trenutkakada autor ostaje bez daha, πto jepopraÊeno nekontroliranimgrËenjem facijalnih miπiÊa. U kon-tekstu cijelokupnog autorovog opusai ovaj radi konotira ritualni pristupsamome sebi, πto implicira autorovoanalitiËko poigravanje na rubu ele-menata vode i zraka kao simbolaæivota i smrt, ovostranog i onostra-noga, poznatog i nepoznatog.

Marijan CrtaliÊ deals with the limitsof his own body in particular timeand conditions in his video Diving.The video films the author’s faceinside a glass dish and shows thereactions of his face as the organ-ism loses all its air. The orange light-ing reminds us of movie glamour,which soothes the onlooker up untilthe time the author has no more air,which is indicated by uncontrollablecontraction of his facial muscles.Taking into context the author’sentire opus, this work also shows aritual approach to himself, implicat-ing the author’s analytical play withelements of water and air symboliz-ing life and death, this and thatside, the known and the unknown.

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MARIJAN CRTALI∆Ronjenje / Diving, 2002.video

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Marko ErcegoviÊ u video radu Vjetar- vrtuljak biljeæi trenutak kada vjetarsvojo prirodnom snagom pokreÊekameru instaliranu na djeËjemvrtuljku, kamera snima bez prisut-nosti ljudske ruke. Kadar se kreÊesa lijeve na desnu stranu, odnosnosa desne na lijevu, i na taj naËin rel-ativizira put od A do B.

Marko ErcegoviÊ’s video Wind-Carrousel marks a moment whenthe wind moves/operates the cam-era installed on a children’s car-rousel on its own, without the helpof human hand. The frame movesfrom left to right, then from right toleft, in this way making the pathfrom A to B a relative matter.

MARKO ERCEGOVI∆Vjetar - Vrtuljak / Wind-Carrousel, 2001.video

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Danko FriπËiÊ, u paralelnom pros-toru utora smjestio je dva TV-a,jedan prije drugoga, na kojima seneprestano vrte video radovi u“loop-u”. Prvi video rad Poljubacsmrti, tematizira problematikukomunikacije æivog i neæivog, prije-laz iz stanja u stanje. Drugi videoKojim god putem krenula ostanivjerna sama sebi, tematizira emo-cionalni i etiËki aspekt puta, odnos-no dinamike razvoja osobe, tj. biÊa.Postav radova predstavlja materijalnii fizioloπki raskorak izmeu ta dvaaspekta ljudskog putovanja. Postavjednog aspekta prije drugog, jeuËinjen bez ikakve naznake sugeri-ranja vrijednosti.

Danko FriπËiÊ placed two TVs withnon-stop looping video footage, oneatop the other, in parallel grooves.The first video work, Kiss of Deathdeals with problems of communica-tion between the dead and the liv-ing, with the passing from one stateof being into another. The othervideo, Whichever Way You Take,Stay True To Yourself deals withemotional and ethical aspects of thejourney, i.e. the dynamics of per-son’s - or being’s - development.The placement of one aspect beforethe other bears no actual value oftheir worth.

DANKO FRI©»I∆Kojim god putem krenula u æivotu, ostanivjerna samoj sebi / Whichever way youtake, stay true to yourself, 2002.

Poljubac smrti / Kiss of death, 2002.video

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Stjepan JerkoviÊ je u svojoj pros-tornoj intervenciji od A do Bnaglasio kontinuitet vremena i kre-tanja, kao konstante u ljudskom æi-votu, naglaπavajuÊi da je æivot samoput, putovanje, i to na naËin da jegornju plohu desnih traËnica uprostoru obojio u æutu floruscentnuboju.

Stjepan JerkoviÊ, in his interventionA to B, emphasizes the continuity oftime and movement as constants inhuman life, stressing that life is justa road, a journey, by placing fluo-rescent colour on the upper part ofthe right train rails in the exhibitarea.

STJEPAN JERKOVI∆od A do B / A to B, 2002.prostorna intervencija / spatial intervention

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Sekvence unutar video rada Fullrange Vladislava KneæeviÊa pred-stavljaju ekstremna usporavanjaprotoka vizualnih informacija unutarrelativne transmisije. Odnos priva-tnosti i medijskog prostorauspostavljen je koriπtenjem analog-nih i digitalnih efekata na osnovnimuzorcima slike. Fragmenti su toaviona i rakaeta opremljenih kame-rama, i privatni prostori opremljeniTV prijemnicima. Ratna borbenasituacija ulazi u privatnu sferu prekomedija. UveÊanja i smanjenja slikudovode do ruba apstraktnog nepre-poznavanja slike.

Vladislav KneæeviÊ presents hisvideo work Full Range withsequences of extreme slowing ofvisual information inside a relativetransmission. The relation of privateand media space is achieved usinganalogue and digital effects onbasic picture samples. These arefragments of aeroplanes and rocketsfitted with cameras, and privateareas fitted with television sets. Thewarring situation passes over intothe private sector through media.Enlarging and reducing bring thepicture to the point of abstract non-recognition.

VLADISLAV KNEÆEVI∆Full range, 2001.video

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Alem Korkut je na Ëetri punkta uprostoru izloæio instalaciju Vrijeme, uprostoru su izloæena Ëetri sata i tona mjestima gdje se oni uobiËajenonalaze: dva zidna na zidu, jedanstolni na polici i jedan ruËni na ruciËuvara izloæbe. Sva Ëetiri su crna, sacrnom kazaljkom sekundarom.

Vrijeme je subjektivna kategorija, auniverzalna percepcija vremena jeupitna. Ipak, ma koliko se ona raz-likovala od sluËaja do sluËaja, ili odosobe do osobe, oko jednog Êe sesvi sloæiti: vrijeme prolazi, teËe,leti…Kako god to verbalizirali, vri-jeme se uvijek stavlja u dinamiËkekategorije

ÆeljezniËki kolodvor je mjesto gdjeljudi Ëekaju vlakove koji dolaze iodlaze po odreenom vremenskomrasporedu. Boravak na kolodvoru jeusko vezan uz vrijeme, na svakomkoraku su postavljeni satovi, a ljudisvakodnevno na njemu traæe vre-menski orijentir.Nakon intervencije, brojke, kao nitidrugi orijentiri na koje smo naviklida ih nalazimo na satovima, ne pos-toje. Na njemu se kreÊe samo jednakazaljka. Crna je, kao i poleina nakojoj se okreÊe. Potreban je stanovitinapor da se uoËi, jedva se nazire tokretanje, ali ipak postoji, sekunduza sekundom, kazaljka kruæi.Vrijeme leti… /Alem Korkut

Alem Korkut has placed his installa-tion Time on four different points inthe area. These are places whereone may usually find clocks, whichare the objects of his installation;two wall clocks, one table clock anda watch on the hand of the galleryguard. All four are black, with thesecondary handle also being black.

Time is a subjective category, andits universal perception is question-able. Still, as much as it varies fromcase to case, or person to person,everyone agrees on one thing: timepasses, flows, runs… Whicheverway we verbalize it, time is adynamic category.

The train station is a place wherepeople wait for trains coming andgoing according to a specific timeschedule. Time spent in the stationis closely tied to the passing of time,clocks on every step, and peoplelook to it to orientate in time.After the intervention, numbers, orany other orientating means we areused to seeing on clocks/watches,cease to exist. There is only onehandle. It is black, just as the back-ground it is mounted on. An effort isneeded to see it, you can hardly seethe movement, but it is there nonethe less, second by second, thehandle goes around.Time flies… /Alem Korkut

ALEM KORKUTVrijeme/ Time, 2002.instalacija / installation

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Igor Kuduz transparentom Gdjeumire autoritet, raa se slobodaiskazuje temeljni stav autora, pruæamoguÊnosti da razmislimo o vre-menu u kojem æivimo, koje nasoËekuje i koje je bilo iza nas.

Radi se o osobnom stavu i sagleda-vanju dvije stalne i nepromijenjiveideje, odnosno teænje, a moæda imotiva. Na, uvjetno reËeno, najuni-verzalnijoj razini ocrtava se teænjaËovjeka da bude slobodan i teænjada bude sputan. Upravo bavljenjemumjetnoπÊu Ëovjek ocrtava i nastojiispuniti teænju za slobodom (bezobzira kako mi to zvali; πirinomduha, umjetniËkim horizontima ilinekim drugim postignuÊima).Mislim da je to bavljenje jedno odnajekspresivnijih i najneukrotivijihËovjekovih slobodarskih aktivnosti.Kako je to povijesna i druπtvenakonstanta sa kojom nema pomirbe,Ëinilo mi se to kao vrlo adekvatna iiskrena “parafraza” od A do B.Teæiste bih ipak ostavio na prvomdijelu parole, koje je kudikamovaænije i ne bih posebno troπio rijeËini energiju na pitanje autoriteta kaosuprostavljene “vrijednosti”.Vrlo jednostavno, jedini autoritet kojipostoji na planeti, a tada ga teπkotako moæemo i zvati, jest znanje. Akad smo veÊ kod posjedovanjaznanja vrlo smo blizu poËetku priËeo samoj slobodi. Sve ostale “kon-senzualne” Ëinjenice o autoritetimaproizaπlim iz odreenog druπtvenogili dræavnog ureenja ili konteksta suvirtualne i nepostojeÊe i neodraæavaju nikakve vrijednosti. Zatokada imamo posla sa autoritetimauopÊe, imamo posla sa samima

sobom. Odgovor zaπto je tome takoleæi u svakom »ovjeku ponaosob iodgovore na ta pitanja moæemo datisamo u skladu sa vlastitim znanjem.Pa su i odgovori razliËiti. /IgorKuduz

Igor Kuduz uses his banner WhereAuthority Dies, Freedom is Born torelay the author’s general position,and gives us the possibility to thinkabout time in which we live, whichawaits us and which has alreadypassed.

Its all about the personal positionand comprehension of two constantand unchanging ideas, or longing,and possibly motives. But, univer-sally speaking, the most basic levelconsists of man’s longing to be freeand to be constrained. It is by artthat he actualises this longing forfreedom (no matter what we call it;freedom of spirit, artistic horizons orsome other accomplishments). Ithink this deals with one of the mostexpressive and wildest free activitiesknown to man. As this is a historicaland social constant with which wecan’t be content, it seemed like agood and honest paraphrasing of Ato B.Still, I would put an emphasis onthe first part of the slogan, which ismuch more important, and wouldnot waste much energy or words onauthority being an opposite “value”.

To put it simply, the only authorityon this planet, and we can hardlycall it that, is knowledge. And whenwe talk about the acquisition of

knowledge, we are close to thebeginning of the story about free-dom. All other “consenting” factsabout authorities surfacing fromspecific government or social sys-tem or context are virtual or nonex-istent and don’t carry any real value.For that reason, when we deal withauthorities, we are really dealingwith ourselves. The answer to whythis is so lies within each personand the answers to those questionscan be given only in accordance toeach person’s own knowledge.Therefore, the answers are also dif-ferent. /Igor Kuduz

IGOR KUDUZGdje umire autoritet, raa se sloboda /Where authority dies, freedom is born,2002.transparent / banner

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Ivan MaruπiÊ Klif predstavio se inter-aktivnom instalacijom bez naziva.Video kamera je postavljena na roti-rajuÊi stativ, koji kameru rotira posve tri osi. RaËunalo naizmjencezadaje sluËajno odabrane trodimen-zionalne pozicije A i B, interpoliranjihove vrijednosti, i tako upravljakretanjem rotirajuÊeg stativa.Kamera snima posjetitelje, a slika sedirektno prenosi na Ëetiri razliËitoorijentirana crno bijela televizora.Cijela instalacija se nalazi na rad-nom stolu koji je naen u prostoru.

Ivan MaruπiÊ Klif presented hisinteractive installation without aname. A video camera is placed ona rotating stationary, which rotatesthe camera on all three axes. Thecomputer arbitrarily varies threedimensional points A and B, inter-polates their values, and in this wayregulates the rotating system. Thecamera is filming the visitors andthe picture is directly shown on fourdispersed black and white televi-sions. The entire installation isplaced on a work desk found in theexhibit area.

IVAN MARU©I∆ KLIFBez naziva / Untitled, 2001.instalacija / installation