Pričevanja / Testimonies

Razstava / Exhibition

Odprtje: sreda, buy 21. december ob 20. uri in bo na ogled do 27. januarja 2012.
Opening:
Wednesday, 21st of December, 2011 at 8 pm until 27th of January, 2012.
Lokacija / Location:
Photon – Center za sodobno fotografijo, Križevniška 10, Ljubljana
Odpiralni ?as do 30.12.2011: ponedeljek–petek: med 11.00-19.00, sobota–nedelja: 10.00-14.00.
Zaprto: 31.12.2011–2.1.2012
Odpiralni ?as januarja: ponedeljek–petek: 11.00-18.00.
Organizator:
Strip Core / Forum Ljubljana
Photon– Center za sodobno fotografijoVizualni material za novinarje se nahaja tukaj

03_Levitat DK (1970) je ?lan ljubljanske multimedijske umetniške in produkcijske skupine Strip Core. V svoji umetniški praksi se pove?ini poslužuje fotografskega medija, no rx s pomo?jo katerega ustvarja specifi?ne pomensko naglašene kompozicije, ki skozi vizualne metafore predstavljajo intimne in družbeno angažirane komentarje kot odziv na aktualno družbeno stvarnost. Svoja dela je predstavil v razli?nih kontekstih in razstaviš?ih v doma?em in mednarodnem prostoru. DK živi in deluje v Ljubljani.

Razstava Pri?evanja prinaša premierni prikaz najnovejše avtorske produkcije DK, umetnika in fotografa, ki že dobrih dvajset let aktivno soustvarja podzemno ljubljansko kulturno-umetniško prizoriš?e. ?eprav nova fotografska dela povzemajo nekoliko spremenjeno pomensko in formalno izraznost ter napovedujejo navidezen rez z dosedanjo estetiko, kažejo na postopno konceptualno nadaljevanje prepoznavnih avtorskih teženj. Kot ve?ina iš?o?ih ustvarjalcev je tudi DK podvržen nenehnem, ?etudi zelo subtilnem avtorskem spreminjanju in uvajanju novih referen?nih impulzov. Skrajno senzibilno sledi tokovom hitro spreminjajo?e se družbne stvarnosti, ki ji je slehernik ho?eš no?eš podvržen, ter vanjo intervenira na na?in podajanja neprizanesljivih komentarjev skozi natan?no zasnovane vizualne metafore. Zavedajo? se kratkega dosega umetnosti med širšo javnostjo se DK kriti?no odziva na dano situacijo, ko se (zahodni) svet neusmiljeno in ne ozirajo? se na kolateralne žrtve pani?no oprijema poslednjih bilk, ki bi prepre?ile skorajšnji zdrs v ponovno ekonomsko, družbeno, kulturno in humanisti?no kataklizmo. Gledalca vselej nagovarja iz distance, saj zgolj bežno nakazuje interpretacijske možnosti predo?enih podob. Sporo?ilo, skrito nekje med vrsticami vizualne govorice, je treba na podlagi ponujenih motivov in njihove percepcijske energije šele osmisliti. Pri?evanja prikazujejo popolnoma konstruirano podobje, linijo fotografskega ustvarjanja, ki jo je mo? posplošeno poimenovati režirana fotografija oziroma tableau vivant, kjer je celotni slikovni narativ sežet v eni sami (samostojni) podobi, ki oporeka obi?ajnemu sekven?nemu pripovedovanju zgodbe: kot v fotografskih serijah ali revijalnih foto esejih. Ta umetniški žanr pa na drugi strani ne skriva afinitete do figurativnega slikarstva iz ?asa pred iznajdbo fotografije, s ?imer na poseben na?in razkriva možnosti konstituiranja dolo?ene scene.[1]

DK k tovrstnemu umetniškemu snovanju pristopa z zavedanjem, da fotografija ne more prenesti objekta kot resnice ali bistva – da je ve?ni približek in zato vedno inscenacija. Na takšen na?in naslavlja sodobnega ?loveka in opozarja na možnosti popolnega razvrednotenja. Z insceniranim fotografskim principom, kjer si podobo najprej zamisli, jo nato zgradi, medtem ko je zamrznitev na fotografskem filmu zgolj poslednja instanca dolgotrajnega procesa, se spopada že vse od leta 1990, ko je nastalo delo The Big Wait, kar je v nekoliko predruga?eni lu?i nadaljeval leta 2008, ko sta bili v sklopu razstave in monografije Prehajanja k modernim skrbem objavljeni velikoformatni “igrani” podobi The Big Sleep in The Big Break. Prav iz tega formalnega in konceptualnega izhodiš?a se porajajo tudi nova dela. Od produkcije izpred 21 let se sicer odlo?ilno razlikujejo ter nakazujejo smernice avtorskega razvoja in zorenja: izkazujejo boljše tehni?ne pogoje in pri?ajo o dramati?nem in malone travmati?nem spreminjanju sveta. Ta se je pravzaprav od leta 1990 obrnil popolnoma na glavo.

Tem spremembam je iz dokaj intimne perspektive mogo?e slediti tudi v opusu DK, ki je uspel uspešno združiti oba ustvarjalna na?ina: dokumentarnega in insceniranega. Jeff Wall je fotografe razdelil na dve sekciji, “lovce” in “gojilce”, torej ustvarjalce, ki pristopajo k fotografiji bodisi na na?in lovljenja trenutka bodisi ustvarjanja (gojenja) situacije. DK je mo? umestiti v oba sklopa. ?eprav je vselej težil k principu konstruiranja, je ve?ina njegovih podob plod povsem naklju?no ujetega trenutka, ki se je preprosto zgodil nekje v toku življenja; številne omenjene fotografije pa ne glede na svojo hipno naravo dajejo vtis likovne intervencije, saj prav tako kot “igrane” podobe izpostavljajo specifi?no metaforo. Ujeti motiv torej predstavlja zgolj namig, medtem ko je osrednji pomen skrit v plasteh pod površjem. Vsebina posameznih fotografij je tako vselej dolo?ena s svojo formo in izborom motiva. V ta segment pa? ne moremo umestiti nekaterih koherentno zaklju?enih ciklusov, ki so nastali na druga?nih izhodiš?ih, pa? pa projekte, ki se razvijajo in dopolnjujejo v daljših ?asovnih razponih: to so proto-serije War, Animal, Silence in nenazadnje The Big.

Izhajajo? iz slednje, se tri fotografske podobe pod skupnim imenom Pri?evanja brez olepšav nanašajo na stvarnost vsakdanjika ter duh trenutnega (nestabilnega) ?asa. S centralno kompozicijsko natan?nostjo, ki pridobiva malone sakralno konotacijo, avtor dosega želeno mero dramati?nosti in monumentalnosti predo?enih motivov. Ti izpostavljajo pomembnost samozavedanja lastne nemo?i in vpetosti v neusmiljeno kolesje monstruoznega družbenega ustroja, ki ga slehernik pravzaprav poganja (tudi) sam. Podobno kot so srednjeveške freske ali baro?ne slikarije iz sten cerkva opominjale ljudstvo k samozavedanju in upoštevanju vzpostavljenih vrednot, so podobe Pri?evanj podobni opomniki ?loveštvu s kratkim zgodovinskim spominom, ki pa namesto k slepemu sledenju nagovarjajo k ponovnemu premisleku in nejevernosti. V tem duhu podoba v tema?nem prostoru vklenjenega levitata govori o ?asu brezizhodne ujetosti in nezavedne represije v obliki diktata norme. Novodobnega kvazi elitneža, ki iz lastne praznine, zdolgo?asenosti in objestne perverzije vsiljuje dekadentne družbene norme, DK prikaže kot gurmana, ki dobesedno srka so?loveka. Zaradi svojega prikradenega ali prirojenega družbenega statusa je prepri?an v svoj privilegij do popolne frivolnosti in nedosegljivosti pred zakonom.

Kljub mu?nemu in brezizhodnemu vzdušju, ki ga sprožajo posamezne podobe, je Pri?evanja mo? brati tudi kot izkaz avtorjevega prikritega idealizma: zavedanje lastne ujetosti (lahko) namre? vodi do skorajšnje osvoboditve.

Miha Colner

04_The Big_Hunger DK (born in 1970) is a member of Ljubljana-based multimedia artistic and production group Strip Core. His artistic practice mostly revolves around photography which helps him to create specific compositions that through selected visual metaphors provide intimate and socially engaged comments on now and here. Indeed, they are his response to current social and political reality. In his artistic career he exhibited his works in various contexts and venues both locally and internationally.

DK lives and works in LjubljanaThe exhibition Testimonies presents the most recent artistic production of DK, an artist and photographer, who has been active on Ljubljana’s underground art scene for more than 20 years. Although his new works in terms of form and content somewhat digress from his mode of ex-pression and anticipate an apparent break with his previous aesthetic, they clearly show gradual conceptual pursuit of distinctive artistic tendencies. The same as the majority of ‘artists-in-search’, DK is also subject to constant creative mutations and the implementation of new referential im-pulses. With utter sensibility he follows the flows of quickly changing social realities that – like it or not – every individ-ual is subject to. He intervenes by way of  uncompromising comments in a form of precisely designed visual meta-phors. Aware of art’s short-range impact within the broader public DK critically reacts to and reflects upon the situation, depicting how (Western) world – ruthlessly, in panic and without any consideration for collateral damage – grasps at a straw to prevent another forthcoming economic, social, cultural and humanistic cataclysm. The spectator is always addressed within certain distance whilst possible interpre-tations of images are merely indicated. The message, hid-den somewhere between the lines of visual language, shall only become loud and clear on the base of motifs and their perceptive energy. Testimonies reflect fully constructed im-agery, the area of photographic practice often referred to as staged photography or tableau vivant, where the picto-rial narrative is concentrated into a single image, a stand-alone picture which opposes photographic narrative played out sequentially and printed as photo-stories and photo-es-says in picture magazines. Genre of staged photography clearly shows its affinity to figurative painting before the  invention of photography and demonstrates a shared un-derstanding of how scene could be choreographed for the viewer.[1]

DK’s affinity to such artistic approach is based on awareness that photography fails to transfer an object as ultimate truth or essence – indeed, it is a perpetual approx-imation and  therefore always staged. In such a way he ad-dresses the modern man drawing attention to the possibility of total devaluation. Since the production of The Big Wait in 1990, DK has been  dealing with the principles of staged photography, where final image is first conceived and cre-ated, whereas the photographic caption is the last instance of a long-term process. Such orientation continued and somewhat transformed with two big-format ‘feature’ pho-tographs, The Big Sleep and The Big Break, published for the exhibition and the monograph Passages to Modern Concern in 2008. His new works also originate from this formal and conceptual approach although they are signifi-cantly different from the production of 21 years ago. In-deed, the images illustrate artistic development and maturation, demonstrate better technical conditions and testify to the dramatic and traumatic changes of the world.

Since 1990 the world turned upside down and dramatically changed. These changes can very subtly, from intimate point of view, also be traced in DK’s body of work successfully join-ing both artistic universes – documentary and staged. Jeff Wall divided photographers into ‘hunters’ and ‘farmers’; i.e. artists who hunt a moment and those who create (breed) the situation. DK’s work reflects both options. Al-though he has always pursued the principles of construct-ing, most of his pictures are the result of a randomly captured moment that simply happed and occurred in the course of life. However, regardless their momentary nature a number of said photographs give the impression of artistic interventions; the same as staged images highlight a spe-cific metaphor. Thus the captured motifs are only a hint whilst the essence is always hidden few layers beneath the surface. In terms of content, any individual photograph is always determined by its form and selected motif. Of course this segment doesn’t include some coherent and completed series based on completely different premises, but the projects developed and completed during a longer time period – proto-series such as War, Animal, Silence and finally The Big.

Three photographs from The Big series entitled Testi-monies reflect the reality of everyday life and the spirit of the current (unstable) moment in history. By a precise cen-tral composition with nearly sacral and spiritual connota-tions the artist gives the images a dramatic and monumental edge. The motifs point out the significance of being aware of one’s own helplessness and entrapment into the machinery of monstrous social structure that an indi-vidual actually (also) propels by themselves. Similar to me-dieval frescoes or baroque paintings which drew people’s attention to self-awareness and adherence to the estab-lished values, the images of Testimonies seem to be re-minders to the humankind that has extremely short historical memory. Instead of convincing people to blindly follow regulations, DK’s images promote critical reconsid-eration and disbelief. Following this spirit, the image of chained levitate in a deep dark space speaks about the pe-riod of a dead-end entrapment and unconscious repression dictated by a norm. DK portrays a member of the new age so-called elite as a gourmet who literary sucks and swal-lows his fellow human’s brains. Out of his own emptiness and ruthless perversion he imposes opinion upon decadent social norms. Due to his appropriated or inborn social status he believes in the privilege of being completely frivolous and far beyond the law. Despite awkward and dead-end atmosphere provoked by individual photographs, Testimonies can also be inter-preted as a statement of the artist’s covert idealism: being aware of entrapment (might) lead to imminent liberation.

Miha Colner