19. 3. – 5. 5. 2019

»Cogito ergo sum« (Mislim, torej sem) v kartezijanskem spominu vzpostavlja tisto, kar bi lahko imenovali prvi korak k samoafirmaciji, toda človeško življenje je hkrati umeščeno v proces mediacije pod pogoji, ki označujejo njegov obstoj. Razstava, ki bo na ogled med 19. marcem in 5. majem v Galeriji mesta Ptuj, bo ponudila dela in instalacije, ki izražajo svoje misli o za nekatere marginalnih in za druge temeljnih motečih dejavnikih ter definirajo obsesivna in nerešena vprašanja vsakega posameznega avtorja in, to je treba poudariti, tudi mnogih izmed nas, ki v življenju delujemo na kritičen način.  V naslovu, s katerim smo poimenovali dogodek  – »Variacije / Smernice« – lahko najdemo sledi raziskav, usmerjenih v lastno notranjost, in introspekcije, zaznamovane s čustvenimi toni.

Nataša Kos nam s pomočjo fotografij predstavlja avtoportrete, tako rekoč notranjost, ki drugim izza tančice odstira naše občutke, seveda nevidne, tudi z zamegljenostjo in teatralnimi pozami. Z gledanjem skozi objektiv avtorica vidi, kaj se skriva za vsakdanjimi predmeti; toda njene fotografije ne razkrivajo ničesar pomirjujočega, saj delujejo kot subtilna metafora osamljenosti in človeške izoliranosti.

Bagrat Arazyan, ruski umetnik armenskega rodu, v svojih instalacijah ujame trenutke sanj, ki jih včasih navdihuje kino, včasih pa njegova lastna podzavest, in na ta način ustvarja dialog med seboj in zunanjim svetom, ki slej ko prej privede do ekspresivne askeze; slednja tvori praznino, belino, tišino, ki presega vse uporabljene tehnike in stile. Resnični pomen vsakega od tvorjenih znakov in oblik pa se nikdar ne pojavlja v eksplicitni obliki – gre za pesem, posvečeno življenju in vsakodnevnemu obstoju.

V obratno smer pa se nagiba beograjska umetnica Sanja Ćopić, ki v svojih videih in performansih s pomočjo zaslona in kamere raziskuje pojme avtentičnosti in sočutja, z namenom, da preko fotografskih posnetkov ustvarja intimen odnos s pogledom vsakega od gledalcev. Tovrsten pogled pa avtorica dojema kot nekaj danega, ne umetnega, in na ta način ustvarja voajersko vzdušje, ki razkriva živost uprizorjenega performansa, pa čeprav gledalec opazuje vnaprej posneti video. Nazoren primer je »Crying«, kjer je jok kot skrivna in univerzalna telesna funkcija notranjega življenja slehernika gledalcu predstavljen v skoraj neznosni dimenziji intenzivnosti in neposrednosti.           

Lucia Flego se po drugi strani pri delu osredotoča predvsem na človeško bitje, in sicer ne toliko na samo telo kot na čustveno in razmišljujoče bitje v svojih heterogenih manifestacijah, ki se razširja in množi, vse dokler ne ustvari kolektivnega makro izraza, ki črpa vsebino celo v urbani arhitekturi. V avtoričinih delih pravzaprav pogosto naletimo na pot, ki se občasno razvije iz duše ali duha in opisuje, kako se ta občutek izraža navzven. S tem, ko izhaja iz obleke, umetnica daje pomen vsebini in posledično osebni dimenziji, tako kulturni kot duhovni, pri tem pa obleka kot abstraktni koncept, kot je značilno za instalaciji »Angeli med nami« in »Lahkotna obleka«, nadomesti telo in sočasno nakazuje njegovo prisotnost.  

Za konec so tukaj še dela slikarja Giovannija Pulzeja – platna, na katerih so predstavljene prestolnice sveta, so natrpana s podobami skoraj brezobličnih obrazov, ki izražajo izolacijo in osamljenost, stanje, ki ga dodatno okrepi še živopisnost prizorov. Svetleče, skoraj fluorescentne barve, ki prevladujejo v njegovih delih, poudarjajo okolje, v katerem dominirajo tehnologije in nenaravna površnost. Sočasno pa nam njegove akromatske stvaritve, ki izhajajo iz črnine in se razvijajo v obsežne odtenke sivine, predstavljajo upadanje notranje globine. Toda podoba angela, ki venomer stoji v središču pripovedi, kliče k razmisleku o nepričakovanem dogodku, ki lahko spremeni odnos do samega sebe in življenja. R



In Cartesian memory, “cogito ergo sum” (I think, therefore I am) lays down that, which could be referred to as the first step towards self-affirmation, yet at the same time human life forms part of the process of mediation under conditions marking its existence. The exhibition on display between 19 March and 5 May 2019 at the Ptuj City Gallery offers art works and installations which express ideas about disturbing elements, to some marginal and to others fundamental, and define the obsessive and unresolved issues of each and every author-artist, as well as – and this needs to be highlighted – of many of us, who act critically in our lives. The event’s title, Variations / Directions, discloses traces of exploration turned inwards, of introspection characterized by emotional undertones.     

Nataša Kos uses self-portrait photography to present, as it were, the interior, which unveils to others our feelings (invisible, naturally), through the use of, among others, the effect of blurriness and dramatic poses. By looking through the objective the author sees what is hidden behind everyday objects, although her photographs reveal nothing soothing or reassuring, because they act as a subtle metaphor for human solitude and isolation.     

The installations of Bagrat Arazyan, Russian artist of Armenian descent, capture moments from dreams, sometimes inspired by the cinema, and sometimes by his own subconscious. In this way the artist creates a dialog between himself and the external world, to the point of reaching an expressive asceticism resulting in an emptiness, whiteness, quietness, which goes beyond any kind of used technique or style. Nevertheless, the true significance of each of his signs and forms never emerges in an explicit form – it is a song dedicated to life and our everyday existence.   

Belgrade-based artist Sanja Ćopić tends towards the reverse direction: in her videos and performances, she explores notions of authenticity and compassion mediated through the screen and camera, in order to create an intimate relationship with each individual viewer by means of the photographic image. She considers the observer’s view as something inherent, not artificial, which helps her create a voyeuristic atmosphere through which this staged performance feels vigorously alive, even though the viewer is in fact watching a pre-recorded video. This is best observed in the work Crying, where crying as a hidden bodily function, universal to the inner life of every individual, is presented to the viewer in a dimension of almost unbearable intensity and immediacy.

Lucia Flego, on the other hand, focuses on the human being not so much in the physical sense, as in the sense of people as emotional and contemplating beings in all the heterogeneous manifestations of themselves, which expand and multiply until they create a collective macro-expression, which draws even on urban architecture. In Flego’s works it is actually quite often that we come across a process that evolves from the soul or from the spirit from time to time, and describes how this feeling is expressed on the outside. By taking the dress as a starting point, the artist gives substance to the content and in turn, to the personal dimension (both cultural and spiritual), whereby the dress as an abstract concept, like in the works Angels Among Us and Light Dress, replaces the body and at the same time implies its presence.   

Finally, there are the works of painter Giovanni Pulze – canvases depicting the capitals of the world, brimming with images of almost formless faces expressing isolation and solitude, a condition further enhanced by the vivid scenes. Brilliant, almost fluorescent colours that dominate his works accentuate an environment ruled by technology and unnatural superficiality. At the same time his achromatic creations, which depart from the black and evolve into an extended range of greys, represent the waning of inner depth. However, the figure of the angel, which is always central to the narrative, encourages a reflection on something unexpected which may change the relationship towards oneself and one’s life.