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U radu Ivana Meseka osnovna idejaje simultanost vremena, æivljenjeistovremeno proπlosti i buduÊnosti usadaπnjosti. Instalacija pokuπavapredoËiti tu simultanost pomoÊuautentiËnih artefakata iz autorovebiografije, posloæene u policu samnoπtvom ladica, pretinaca, zakuta-ka proπlosti. Istovremeno se nasuprotni zid projiciraju slajdovi nakojima su motivi koji predstavljajuautorovo poistovjeÊivanje sa imagi-narnom buduÊnoπÊu...nadama,strahovima, oËekivanjima.
Ivan Mesek makes his general ideathe simultaneous passage of time,living the past and the future in thepresent. The installation tries toconvey this simultaneous livingusing authentic artefacts from theartist’s biography, placed in a cup-board with many drawers represent-ing corners of the past. At the sametime, projected on the opposite wall,are slides with motifs representinghis identifying with the imaginaryfuture… hopes, fears, expectations.
IVAN MESEKSimultanost / Simultaneous, 2002.instalacija / installation
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Time iz now rad Davora Mezakasadræi video projekciju umjetnika uautomobilu, projekciju prate tri TV-ana kojima se vrti video clip, nanaËin da na svakom TV- u video clipkasni po 1 sekundu. I dok je videoprojekcija prikaz nemontiranogtrenutka u kojem autor vozi automo-bil u alkoholiziranom stanju, poddojmom jakih emocija koje su u tomvremenu i prostoru, izmjenjene, jerautor ima iluziju da vozi bræe, naTV-u se vrte video clipovi na kojimasu montirane sekvence snimljene zaautorova boravka u Parizu, snimljenisu sluËajni prolaznici i autor u ulozipjeπaka. Drugo vrijeme kroz obje-ktivni i emotivni kontekst.Stroboscope, montiran u utoruispod TV-a, pulsira u vremenskomperiodu, nagalaπavajuÊi prolazakvremena.
Davor Mezak’s video projection isTime iz now, following him in a car,being shown on three different TVs,each one showing the clip with oneadditional second of delay. And,while the video projection is a pres-entation of unedited moments inwhich the author is driving whileunder influence of alcohol, becauseof strong emotions in that particulartime and space, the feeling ischanged because the author has anillusion of driving faster. The TVsshow edited clips of author’s trip toParis, along with pedestrians, andthe author himself being a pedestri-an. A different time shown throughan objective and emotional context.A stroboscope is mounted in agroove beneath the TV, pulsing in apredetermined sequence, simulat-ing the passage of time.
DAVOR MEZAKTime is now, 2002.video
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Zoran PaveliÊ je na otvorenjuizloæbe izveo performance DugaËkotijelo. Prvi put performanceDugaËko tijelo je izveden naSavskom nasipu 27.07.2000. bezprisutnosti publike, zatim15.12.2001. na otvaranju GalerijeMinima u Zagrebu i treÊi put u jed-nom galerijskom prostoru u Zagrebu12.05.2002. bez prisutnosti publike.Forma izvoenja je uvijek biladrugaËija. U performance jeukljuËen citat kolektivne akcijegrupe Gorgona Adoration, izvedenna otvorenju izloæbe Julijana Knifera1966. godine.DugaËko tijelo simbolizira put koji jesuvremena hrvatska umjetnostproπla od grupe Gorgona do danas.
Zoran PaveliÊ has performed LongBody at the opening of the show.This performance was premiered onthe Sava embankment without anyaudience on July 7, 2000, then onDecember 12, 2001 at the openingof the Minima gallery in Zagreb, andfor the third time, in a gallery inZagreb on May 12, 2002, again withno audience. The form of the per-formance was different each time.The quoting of the collective actioncalled Adoration by a group calledGorgon is incorporated in the per-formance, Adoration performed atthe opening of an exhibition byJulian Knifer in 1966.Long Body symbolizes the journeythe modern Croatian art has madefrom the Gorgon group until today.
ZORAN PAVELI∆DugaËko tijelo / Long body, 2002.performance
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Magdalena Pederin interaktivnomzvuËnom instalacijom Prolaz biljeæitrenutak prolaza kroz prostor udometu senzora. Svaki prolaz okidanovu zvuËnu sekvencu. U trenutkukada kroz domet senzora prolaziveÊi broj ljudi, sekvence zvuka sekonstantno mjenjaju, a zvuk se neprekida, a u sluËaju kada je u pro-storu manji broj ljudi, svaki prolazakokida novu sekvencu koja se pon-avlja nekoliko puta, da bi instalacijapotom preπla u stanje Ëekanja.
Magdalena Pederin uses her inter-active sound installation Passage toregister the moment of passingthrough the sensor area. Each passtriggers a new sound sequence.When more than one person passesthrough the sensor area at the sametime, the sound sequence changesconstantly and the sound neverceases; when there is a smallernumber of people in the area, eachpass triggers a new sequence,which loops several times, afterwhich the installation goes dormant.
MAGDALENA PEDERINProlaz / Passage, 2001.zvuËna instalacija / sound installation
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Lala RaπËiÊ u svom video raduLokacija 1 simultano prikazuje dvarazliËita video rada, dvije lokacije,koje postavlja jednu pored druge:svoj stan, tj. prostor ispred pro-zorskog stakla, gdje autorica izvodijutarnji ritual vjeæbanjem yogavjeæbe “pozdrav suncu”, i sobu, ukojoj je izloæen njen rad, prijeËiπËenja, kada je u njoj boraviolokalni skitnica.U dva se videa usporedno tematiziraprivatni prostor i javni prostor, koji jena jedno odreeno vrijeme dobiokarakter privatnog.
Lala RaπËiÊ simultaneously showstwo different video presentations inher video work Location 1. Theserepresent two locations situated onebeside the other: her apartment, infront of the window where theauthor does her morning Sun greet-ing yoga ritual, and the room whereher work is exhibited, but before thecleaning, when a local hobo residedthere.In those two videos, there arethemes of a private area and a pub-lic area which, for a while, becomesprivate.
LALA RA©»I∆Location 1, 2002.video
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Frane RogiÊ u prostornoj intervencijiSvjetlosni sat razliËite pozicije svijet-la bijelim prahom, naime na zgradiloæionice nalazi se 12 prozora kojipropuπtaju dnevno svjetlo u prostor,sluæeÊi se tim prozorima umjetnik jezabiljeæio 12 razliËitih pozicija svjetla(s obzirom na 12 razliËitih razdobljadoba dana) na tlu loæionice .PoËetak puta je poËetak dana(jutarnje svitanje) na prvom prozoru,a kraj je zavrπetak dana (zalazakSunca) na dvanaestom prozoru,izmeu je vrijeme u stvari svjetlosnainformacija prostora.
OznaËavanjem naene situacijeupada prirodne svjetlosti u prostor s12 prozora kroz 12 perioda dana srazmacima od 60 minuta, æelimprikazati putovanje ovog specifiËnogprostora kroz prirodno dnevno svjet-lo kretanjem sunca u jednom danu.Braπno odgovara boji svjetlosti kojase pruæa po tlu loæionice, a ujednoje i hrana kao i SunËeva svjetlost.Posjetioci rad raznose hodajuÊi poprostoru, time rad postaje neposto-jan, nestalan, nepredvidljiv kao πtosu i vrijeme i prostor u odnosu nakretanje. Crteæ na tlu pomalo nesta-
je i postaje dio fluida prostora i æiv-ota. /Frane RogiÊ
Frane RogiÊ has made a spatialintervention called Light Clock. In it,he has marked 12 positions of lightwith white dust; using 12 windowsof a local steam room which let thedaily light in and marking 12 differ-ent moments of light position on thefloor of the steam room.The start of the journey is the begin-ning of the day (dawn) comingthrough the first window, and theending is the end of the day (dusk)coming through the 12th window,and the time between actually rep-resents spatial information shownwith light.
By marking a situation of light com-ing into an area with 12 windowsthrough 12 periods of time spaced60 minutes, I want to show the jour-ney of this specific surroundingsusing natural daily light within oneday. Flour is well suited for thecolour of light which is shown on
the floor of the steam room; it isalso food and sunlight at the sametime. The visitors carry the work bywalking through the area, makingthe work seem immaterial, fleetingand unpredictable, just like the timeand the space in relation to move-ment. The drawing on the floorslowly disappears and becomes apart of the fluidity of space and life./Frane RogiÊ
FRANE ROGI∆Svjetlosni sat / Light clock, 2002.prostorna intervencija / spatial intervention
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Smiljana ©afariÊ u video radu WaterVieu koristi motiv vode. Autoricapokuπava problematiku osobnogpreviranja i intimnih pitanja:
Da li je naπ æivot most izmeuroenja i smrti - put od A do B?Kuda mi to idemo - ili se vrtimo ukrug?Da li se kreÊemo po pravcu ilispirali?”
Odgonetnuti kroz tematiziranje vodekao simbol vjeËnog kretanja, prom-jene, dubine nesvjesnog, ËistoÊe,bezvremene stvaralaËke snage, ali isnage koja ruπi svaku prepreku.Voda je, za potrebe rada snimana unoÊ punog mjeseca, prati je zvuËnainstalacija Nikole ©afariÊa.Smiljana tretira video kao slike unizu, ona objekt reproduciranjavlastitog rada, tj. TV prijemnik,doæivljava samo kao kutiju u kojoj seizmjenjuju slike.
Smiljana ©afariÊ uses a water motifin her video work Water View. Theauthor deals with the problem ofinner turmoil and intimate ques-tions:
Is our life a bridge between beingborn and dying - a line from A to B?Where are we going - or are we justspinning in a circle?Are we moving in a straight line or aspiral?
It is a trip of solving the riddle ofconstant motion, change, depth ofthe unconscious, cleanliness, powerto create that’s out of time, but alsothe power to destroy any obstacle,all through the theme of water beinga symbol of all these things.The water was filmed during the fullmoon, and is accompanied by amusical score by Nikola ©afariÊ.Smiljana regards the video streamas a sequence of pictures, and theobject of reproducing her own work,the television set, as simply a boxfor interchanging pictures.
SMILJANA ©AFARI∆Water Vieu, 2002.digitalni video / digital video
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Tomislav BrajnoviÊ(1965, Zagreb), - izlaæe od / exibitssince [email protected], 098 718 147
Vlak za nikamo / Train to nowhere, 2002.instalacija / installation
Usporavanje / Slowing down, 2002.instalacija / installation
Marijan CrtaliÊ(1968, Sisak), - izlaæe od / exibitssince [email protected], 098 511 605
Ronjenje / Diving, 2002.video
Marko ErcegoviÊ(1975, Dubrovnik), - izlaæe od /exibits since [email protected] 510 8440
Vjetar - Vrtuljak / Wind-Carrousel, 2001.video
Danko FriπËiÊ(1970, Zagreb), izlaæe od / exibitssince [email protected] 091 505 1833
Kojim god putem krenula u æivotu, ostanivjerna samoj sebi / Whichever way youtake, stay true to yourself, 2002.
Poljubac smrti / Kiss of death, 2002.video
Stjepan JerkoviÊ(1955, Ljepunice, BIH), izlaæe od /exibits since [email protected] 091 524 90 22
od A do B / A to B, 2002.prostorna intervencija / spatial inter-vention
Vladislav KneæeviÊ(1967, Zagreb), izlaæe od / exibitssince [email protected] 5131 330
Full range, 2001.video
A to B
Alem Korkut(1970, Travnik), izlaæe od / exibitssince [email protected], 091 5121 421
Vrijeme / Time, 2002.instalacija / installation
Igor Kuduz(1967, Zagreb), izlaæe od / exibitssince [email protected], 098 280 863
Gdje umire autoritet, raa se sloboda /Where authority dies, freedom is born,2002.transparent / banner
Ivan MaruπiÊ Klif(1969, Zagreb), izlaæe od / exibitssince [email protected], 098 660 436
Bez naziva / Untitled, 2001.instalacija / installation
Ivan Mesek(1971, Varaædin), izlaæe od / exibitssince 1992.
[email protected] 541 3779
Simultanost / Simultaneous, 2002.instalacija /installation
Davor Mezak(1968, Zagreb), izlaæe od / exibitssince [email protected]
Time is now, 2002.video
Zoran PaveliÊ(1961, Osijek), - izlaæe od / exibitesince 1984.tel: 01 233 4073
DugaËko tijelo / Long body, 2002.performance
Magdalena Pederin(1968, Split), izlaæe od / exibitssince [email protected] 377 4330
Prolaz / Passage, 2001.zvuËna instalacija / sound installation
Lala RaπËiÊ(1977, Sarajevo, BIH ), izlaæe od /exibits since [email protected] 533 9234
Location 1, 2002.video
Frane RogiÊ(1973, Karlovac), izlaæe od / exibitssince [email protected] 6178 022
Svjetlosni sat / Light clock, 2002.prostorna intervencija / spatial inter-vention
Smiljana ©afariÊ(1973, »akovec), izlaæe od / exibitssince [email protected] 5920 381
Water Vieu, 2002.digitalni video / digital video
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Organizator izloæbe / Organizers of the exhibitionHDLU Varaædin (www.hdlu-varazdin.hr)
Institut za suvremenu umjetnostZagreb (www.scca.hr)
IzdavaË / PublisherHDLU Varaædin
Za izdavaËa / For the publisherIvan Mesek
Mjesto odræavanja / VenueNapuπteni prostor nekadaπnjeloæionice æeljezniËkog kolodvora,Supilova ulica, Varaædin
Kustos / CuratorMartina MatiÊ
Organizacijski odbor / Organisation BoardIvan Mesek, Ksenija Kipke, AlenNovoselec
Koordinator / CoordinatorIvan Mesek
Postav / Exhibition set-upMartina MatiÊ i autori
Urednik kataloga / EditorMartina MatiÊ
Predgovor / PrefaceMartina MatiÊ
Fotografije u katalogu / PhotographsMarko ErcegoviÊ i autori
Generalni pokrovitelj:Lektura / Proof ReadingZoran DuËakijeviÊ
Prijevod / TranslationDenis Pajtak
Dizajn / DesignIgor Kuduz; Pinhead_Ured, Zagreb
Tisak / Printed byMiniprint Logo, Varaædin
Naklada / Edition350 primjeraka / copies
Zahvala / AcknowledgementHÆ - VuËa vlakova i odræavanje æeljezniËkih vozilaHÆ - Jedinica vuËe vlakova VaraædinHÆ - Jedinica vuËe vlakova Bjelovargospodin BraniloviÊgospoa Vlatka ©koriÊ
Pri realizaciji izloæbe pomogli
VARKOM dd, VaraædinARSENAL IVEZI∆, VaraædinPARKOVI dd, VaraædinMINIPRINT LOGO, VaraædinKONCERTNI URED, VaraædinPRIJEVODI DU»AKIJEVI∆, VaraædinACT PLAVEC, Varaædin
Sponzori izloæbe:
