P74 KINO: Dalibor Martinis

Vljudno vabljeni na projekcije izbranih filmov Daliborja Martinisa v sredo, 5. 6. 2019, ob 19.00 uri v Center in Galerijo P74. Projekcije bodo na ogled do 27.6. 2019.

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Nestabilne podobe, nestabilni časi

Dalibor Martinis je svoje konceptualno umetniško ustvarjanje pričel v poznih šestdesetih in zgodnjih sedemdesetih letih. Iniciacijo svoje video prakse je doživel v okviru mednarodne bienalne prireditve Trigon 1973 (podobno kot Sanja Iveković, Boris Bućan, Goran Trbuljak). Video tedaj ni bil zgolj nov medij, temveč globalno umetniško gibanje, ki je razširil izrazne možnosti, povezal fizično in konceptualno, raziskoval telo umetnika ipd. Zakaj je njegova umetniška produkcija tako vznemirljiva, intrigantna in provokativna? Verjetno zato, ker uporablja subtilne oblike diverzije samega medija (Nada Beroš) in ne efekte na prvo žogo. Gledalca sooča s protislovji, ki so umetnosti imanentna, opozarja na mejo, ki nastaja z avtorjevim vstopom v sam medijski ustroj. Hkrati se zaveda, da mediji umetnosti preprosto niso dovolj, zato uporablja strategijo kritične intervencije in konceptualizacije vidnega in zamišljenega.  

P74 KINO Nestabilne podobe, nestabilni časi prinaša avtorski izbor sedmih video del iz obdobja dobrih štirih desetletij. Video Odprti kolut (1976) je video performans, ki predstavlja zgodnjo eksperimentalno fazo umetnikovega ustvarjanja. Tu je umetnik hkrati objekt in subjekt video dela. Gledalec sledi navijanju video traku okoli umetnikove glave (na traku so video posnetki umetnika, ki si glavo ovija v video trak), dokler ga ta popolnoma ne ovije. Če je v prvih video delih identiteta avtorja namerno prikrita, oziroma se v kadru ne pojavlja z obrazom,  je video DM 1978 govori DM 2010 njegovo pravo nasprotje. Nastal je kot fiktivni TV intervju s samim seboj. Leta 1978 si je v performansu v Western Front Art Center v Vancouvru v Kanadi pred živo publiko zastavil serijo vprašanj, po 32 letih pa v televizijski oddaji Drugi format na Hrvaški televiziji nanje odgovoril. Tokrat sta bila v središču avtor, gibanje in potovanje v času. Video V imenu ljudstva (2013) je filmska kontemplacija o naravi družbe in posameznika v njej, zgrajena iz odlomkov znanih filmov in izpeljave besedil situacionista Guya Deborda. Video Odesa/Stopnice/1925/2014 (2014) uporabi znamenito filmsko sceno odeških stopnic kultnega filma Križarke Potemkin Sergeja Eisensteina. A tokrat so dogodki projicirani na dejansko stopnišče in se prepletajo z resničnimi zvoki pridobljenimi s posnetki na YouTubu, ki so jih objavili udeleženci dogodkov v ukrajinski Odesi aprila leta 2014. Zaključimo z interaktivno instalacijo Koma (1996), enim od njegovih najpopularnejših del, s katerim je sodeloval tudi na Beneškem bienalu leta 1997. Gledalec je tu postavljen v specifično vlogo: vlogo sodnika in eksekutorja. Delo lahko interpretiramo kot prevpraševanje meja sadizma, poželenja in smrti.

 

Dalibor Martinis je diplomiral na Akademiji za likovno umetnost v Zagrebu. Razstavlja od leta 1969. Med leti 1987 – 1991 je predaval video in televizijsko režijo na filmskem oddelku igralske akademije v Zagrebu, med leti 2007-2012 pa na Akademiji uporabnih umetnosti Univerze na Reki. V letih 1991 – 1992 je predaval kot gostujoči profesor na Ontario Collage of Art v Torontu. Leta 1993 je ustanovil družbo Multimedia Lab za razvoj multimedijskega softvera. Njegov konceptualistični in medijski umetniški opus je obsežen in raznovrsten. Martinis se v svojih delih ukvarja s problematiko komunikacije v družbi in v javnem prostoru, z zgodovino in javnim spominom, s strategijami metapolitičnega delovanja, razmerji med fizičnim in virtualnem ipd. Sodeloval je na številnih najpomembnejših svetovnih manifestacijah sodobne umetnosti, med drugim na Bienalu v Sao Paulu, Documenti, Beneškem bienalu, v Muzeju moderne umetnosti v New Yorku, v Stedelijk muzeju, Muzeju sodobne umetnosti v Zagrebu, poleg tega pa tudi na številnih najpomembnejših filmskih in video festivalih mdr. v Oberhausnu, Berlinu, Tokyu, Montrealu, San Franciscu, Locarnu. Dalibor Martinis je  prejemnik številnih mednarodnih nagrad, njegova dela pa so uvrščena v najpomembnejše mednarodne zbirke sodobne umetnosti.

 

You are cordially invited to attend the opening of the exhibition P74 KINO: Dalibor Martinis on June 5, 2019 at 7pm at the P74 Gallery in Ljubljana.

 

UNSTABLE IMAGES, UNSTABLE TIMES

Dalibor Martinis began his conceptualistic artistic creativity in the late sixties and early seventies. He experienced the initiation of his video practice in the framework of the international biennial Trigon 1973 (similarly as Sanja Iveković, Boris Bućan, Goran Trbuljak). Video then was not just a new medium, but a global artistic movement that expanded its expressive possibilities, connected the physical and the conceptual, explored the body of the artist, etc. Why is its artistic production so exciting, intriguing and provocative? Probably because it uses the subtle forms of diversion of the medium itself (Nada Beroš) and not its effects just for their own sake. It confronts the viewer with contradictions that are immanent to art, draws attention to the boundary created by the author’s entrance into the very medium structure. At the same time, it is aware that the art mediums are simply not enough, and therefore it uses the strategy of critical intervention and the conceptualization of the visible and the imagined.

P74 KINO Unstable images, unstable times brings the selection of author’s seven video works from the period of four decades. Video Open Reel (1976) is a video performance that represents the early experimental phase of the artist’s creativity. Here the artist is at the same time the object and subject of the video work. The viewer follows the winding of the video tape around the artist’s head (on the tape there are videos of the artist winding his head in the video tape) until it is completely swathed. If in the first video works, the identity of the author is deliberately concealed, or the author does not appear in the shot with his face, the video DM 1978 Talks to DM 2010 is their exact opposite. It was created as a fictional TV interview by the artist with himself. In 1978, in a performance in the Western Front Art Centre in Vancouver, Canada, he asked himself a series of questions in front of live audience, and after 32 years he answered them in TV program Another Format on Croatian Television. This time, the emphasis was put on author, movement and time travel. Video We the People (2013) is a film contemplation on the nature of society and the individual in it, created from the excerpts from famous movies and the derivations from the texts of the situationist Guy Debord. Video Odessa/Stairs/1925/2014 (2014) uses the famous scene of the Odessa’s stairs from the cult movie The Battleship Potemkin by Sergei Eisenstein. But this time, the events are projected onto the actual staircase and intertwined with the real sounds from the footages on YouTube published by participants of the events in the Ukrainian Odessa in April 2014. We conclude with the interactive installation Coma (1996), one of his most popular works with which he also participated at the Venice Biennale in 1997. Here, the viewer is put in a specific role: in the role of the judge and the executer. We can interpret this work as questioning the boundaries of sadism, lust, and death.

Dalibor Martinis graduated from the Academy of Fine Arts in Zagreb. He has been exhibiting since 1969. Between 1987 and 1991, he lectured on video and television directing at the Film Department of the Academy of Drama Art in Zagreb, and between 2007 and 2012 at the Academy of Applied Arts of the University of Rijeka. Between 1991 and 1992, he lectured as a visiting professor at the Ontario College of Art in Toronto. In 1993, he founded Multimedia Lab for the development of multimedia software. His conceptualistic and media artistic opus is extensive and diverse. In his works, Martinis deals with the problem of communication in society and in the public space, with history and public memory, with strategies of metapolitical action, relationships between the physical and the virtual, etc. He has participated in many of the world’s most important manifestations of contemporary art, such as Sao Paolo Biennale, Documenta, Venice Biennale, at The Museum of Modern Art in New York, Stedelijk Museum, The Museum of Contemporary Art in Zagreb, and besides that at many of the most important film and video festivals, for example in Oberhausen, Berlin, Tokyo, Montreal, San Francisco, Locarno. Dalibor Martinis was awarded with several international awards, and his works are placed in the most important international collections of contemporary art.

 

Program Zavoda P.A.R.A.S.I.T.E. podpirata Ministrstvo za kulturo RS in MOL, Oddelek za kulturo.

Zavod P.A.R.A.S.I.T.E. je član ASOCIACIJE - društvo nevladnih organizacij in samostojnih ustvarjalcev na področju kulture in umetnosti.

 

Kontakt:  

Zavod P.A.R.A.S.I.T.E.

Center in Galerija P74, TPB 1, 1000 Ljubljana

p74info@zavod-parasite.si  

m 040 370 199

Vir: Center in galerija P74, Napovednik.com

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