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BRANKO CVETKOVIČNE-PROSTOR | Nični PROSTOR NON SPACE | ZeroSPACE

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Galerija Božidar Jakac - nekdanja samostanska cerkevKostanjevica na Krki 22. 09. 2018—25. 11. 2018

BRANKOCVETKOVIĆ

NE-PROSTOR | Nični PROSTOR NON SPACE | ZeroSPACE

Ovitek / Cover PageSfumato: mirovanje / Sfumato: Standstill, 2010 (detajl)Orig. film: 8 x 10 in., C - print150 x 187,5

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Fotografska razstava NE-PROSTOR | NičniPROSTOR Branka Cvetkoviča prikazuje morje, ki pa je za fo-tografa predvsem »studijski paravan«, na katere-ga projicira svoje razmišljanje o prostoru in preko katerega vstopa v širše referenčno polje slikovnih problemov. V tem kontekstu so mu bliže od foto-grafskih referenc dialog s specifično slikarsko zgo-

dovino in problemi ploskve, površine, perspektive in svetlobe. Pri tem ga ne zanima fotografska re-interpretacija slikarstva, temveč fotografski vstop v območje slikovnega, ki je osnovan na razmerju med estetskostjo in dokumentarnostjo posnetka, med dejstvom posnetka in njegovo konceptualno premestitvijo.

Nadja Gnamuš

Objektivizem, ki naj bi ga zagotavljala mehanska fiksacija stvarne si-tuacije, že dolgo ni ontološki in epistemološki temelj fotografskega posnetka. Medtem ko se razmah fotografije v družbenem kontekstu navezuje na tehnološki razvoj in potrebe znanosti, pa njenega poetič-nega značaja že od začetkov ne navdihuje le čudežna kemija, s katero je mogoče zaustaviti lebdeče podobe, ampak fascinacija nad svetlobo, hipnostjo trenutka in nestanovitnostjo pojavnega sveta, ki jo je foto-grafija delila s slikarstvom. Reprezentacijski sistem fotografije ni samo tehnološki nadomestek perspektivičnega sistema klasičnega slikar-stva, pač pa je tako pri Daguerru kot pri njegovih slikarskih sodobni-kih, Constablu, Turnerju ali Corotu, v ospredju zanimanja kontingenca videza in raziskovanje svetlobnih učinkov in senc, ki nastajajo z razmi-ki v času. Fotografski pogled je bil predhodno ustvarjen v slikarstvu,1 medtem ko je slikarstvo kasneje tematiziralo fotografijo. V sodobnem postmedijskem času se ne ukvarjamo več z bistvom in identiteto po-sameznih umetniških medijev, saj je identiteta fleksibilna in odvisna od konteksta. Tako se tudi razmerja med fotografijo in slikarstvom vzpo-stavljajo na različne, bolj ali manj inovativne načine, ki nemalokrat pri-peljejo do popolne izmenjave videzov, pri čemer fotografija deluje sli-karsko in slika fotografsko.

1 Cf. Peter Galassi, Before Photography: Painting and the Invention of Photography, New York 1981.

PROSTOR PLOSKVE

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Branka Cvetkoviča poznamo predvsem po fotografi-jah industrijskih arhitektur, ki jih zaznamuje odma-knjena estetika jasne in izčiščene arhitektonske for-me, kakršno je uveljavila Düsseldorfska fotografska šola, v slovenski prostor pa vpeljala prav Cvetkovi-čeva fotografija. Fotografski cikel morskih gladin v nekdanji samostanski cerkvi ne predstavlja le pre-mika od urbane krajine v zatišje narave, ampak za-stavi popolnoma drugačen razmislek o razumevanju prostora. Fotografije v prostoru sakralne arhitekture vzpostavijo skoraj panteistično doživljanje narave, ki se na poti po prostoru prevesi v intimno panora-mo gledalčevega notranjega prostora. Podobe pou-stvarjajo potopitveni svet morske gladine, ki vzbuja dobro znana občutja prostranosti, ki jo nekje v da-ljavi prekinja horizont kot navidezna črta, na kateri se stikata morje in nebo. Morje in nebo sta arhetip-ska motiva, ki ju povezujemo tako z mitološkimi kot znanstvenimi razlagami o nastanku sveta in prav iz teh arhetipskih ozadij so izhajali tudi vzgibi japonske-ga fotografa Hiroshija Sugimota za cikel enih izmed najbolj poznanih fotografskih podob morja, Seasca-pes. Medtem ko Sugimotu morje vzbuja pomirjajoči občutek varnosti in elementarnost izkušnje, kakršno bi imeli pri vračanju v dom svojih prednikov, se na fotografijah Branka Cvetkoviča morje nahaja v legi abstrahirane morske krajine, ki je tako domačna kot nedoumljiva. Morska gladina je zajeta v abstrahirani izsek, ki ga lahko definira horizont kot ozemljitvena črta pogleda in prostorske umestitve, ki loči obmo-čje zemeljske površine od območja neba. Obzorje je pogosto ukinjeno ali pa postane črta, na kateri se morje in nebo izmenično pretakata, istovetita ali podvajata. Na fotografijah se odpira gladina Atlant-skega oceana, ki jo je avtor na večurnih opazovanjih in čakanjih fotografiral z visokega klifa na Madeiri. V pomiritvenih trenutkih sedenja na obali, gledanja v daljavo in poslušanja ritmičnega udarjanja valov se spremeni dinamika časa in zunanji prostor se zaobrne v prostornost misli. Gledanje postaja zre-nje in kraj, na katerem se trenutno nahajamo, nas mentalno ne zaposluje več. Cvetkovičeve fotografije zasledujejo natanko te trenutke prostorskega razte-lesenja, ki ga omogoči kontemplativna izkušnja bre-zinteresnega gledanja. Na fotografijah iz cikla Skrini (Screens) je oceanska gladina skrčena na ploskev in predstavljena kot abstraktna površina brez lokacij-

skih koordinat, ki jo na nekaterih posnetkih denatu-ralizirajo barvne intervencije in prestavijo v območje abstraktnih podob. Šele z zamejenostjo fotografske-ga reza je prostranost in odprtost morske krajine organizirana v definirano in strukturirano območje, ki (re)konstruira in ozemlji občutje neizmernega. Z mimetično fenomenologijo narave je tu posredovana mentalna izkušnja izstopa iz stvarnega v brezkrajni prostor, ki je zunaj izkustvenih koordinat.

Fotografa zanima ukinitev evklidskega perspektivič-nega prostora, ki jo vzpostavlja z ukinitvijo horizonta in redukcijo dramatičnih svetlobnih premen v mo-nokromnih fotografskih površinah. »Prostor z nično perspektivo in nično svetlobo se izkaže kot dokonč-ni absolutni abstraktum prostora, ki vsebuje čas, ki limitira proti nič in je antiteza realnega prostora – antiprostor, ki ga imenujem ne-prostor ali nični pro-stor,« pojasnjuje Cvetkovič.2 Njegovo razmišljanje o prostoru se navezuje na filozofska premišljevanja in hipoteze moderne fizike s konceptom prostor-čas in predpostavkami n-dimenzij, ki so utrdili predstavo o neizmerljivem, neizmernem in nespoznatnem prosto-ru, ki ni ujet v konkretnost dimenzij in obvladljivost predmetnih in prostorskih konstelacij. S takšnim ra-zumevanjem časa in prostora so Cvetkovičeva foto-grafska raziskovanja tudi blizu referenčnemu polju abstraktnega slikarstva, kakršnega so v najradikalnej-ših pozicijah denimo zastopali Kazimir Malevič, Mark Rothko ali Ad Reinhardt. Za Maleviča je bilo slikarstvo simbolna pot h kontemplaciji in v kozmično razse-žnost, kjer izgine vsakršno zemeljsko doživetje, tako čustvo kot misel, in se začenja nova doba obstoja. Nekje je z značilno preroškim tonom zapisal: »Pre-bil sem obroč obzorja in ubežal okrožju stvari, obroč obzorja, ki oklepa umetnika in naravne oblike […].«3 Podobno se pri Cvetkoviču možnost približka hipote-tičnemu, a nespoznatnemu univerzalnemu prostoru nakaže z izstopom iz prostora evklidske globine, ki ga označi umik horizonta na Skrinih. Sintezo doseže z iz-ginotjem svetlobe in zatemnitvijo v fotografskem liku Črnega kvadrata, ki pomeni skrajno ukinitev orienta-cijske ozemljitve. V modernističnem slikarstvu izgon perspektive ni naznanil le novega slikarskega realiz-ma, temveč premik v duhovni perspektivi in filozofsko razumevanje prostora, ki se je oblikovalo skladno s hipotezami znanosti in astrologije.

Skrini: 7110 rdeči / Screens 7110 red, 2010Orig. film: 8 x 10 in., C - print150 x 150 cm

2 Zapis umetnika, neobjavljeni vir. 3 Navajam po Boris Groys, Celostna umetnina Stalin, Ljubljana 1999, str. 101.

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Črni kvadrati modernističnega slikarstva so zastopa-li radikalne umetniške izjave − absolutno redukcijo podobe, metafizično ikono ali zadnjo sliko. V foto-grafskem kontekstu črni kvadrat ni likovna invencija, temveč indeksikalni vpis oziroma sestav svetlobnih, foto-grafskih odtisov, ki v posnetku reprezentira idejo antiprostora.

Na Cvetkovičevih fotografijah se širjava prostora in globina časa prekrivata. Fotografski posnetki tran-skribirajo najmanjše atmosferske premike in spekta-kularne premene svetlob, ki spominjajo na kozmične prikaze narave, kakršne je upodabljal romantični sli-kar William Turner. S prikazovanjem časa in upoda-bljanjem učinkov narave se je skupaj z nekaterimi sli-karskimi kolegi prav v času vznika fotografije ukvarjal tudi angleški krajinar John Constable. V svoji knjigi o krajinskem slikarstvu je zapisal, »kako je v nekate-rih izmed krajinskih subjektov poskušal […] podeli-ti enemu samemu ujetemu trenutku bežečega časa trajno in uravnovešeno eksistenco, ter trajno zapisati mnoge od teh odličnih, a izginjajočih predstav, ki se nenehno dogajajo v spreminjanju večne Narave.«4 Daguerre je sočasno ugotavljal, da so slikarska pri-zadevanja po verodostojnem prikazu barv in svetlob vedno obsojena na napake, ki pa niso stvar nena-tančnosti slikarskega pogleda, temveč sprememb samega medija – svetlobe.5 Branko Cvetkovič je ne-kaj podobnega opazil pri fotografiji. Ta novi medij je sicer obljubljal, da bo prav z nezmotljivo tehnološko doslednostjo lahko zamrznil čas in tako prekosil sli-karstvo, toda kot je ugotovil, kamera trenutka skoraj ne more ujeti, saj se modus operandi naravnih po-javov stalno spreminja. »En trenutek ne obstaja, saj se prekriva z naslednjim. Tako je trenutek pravzaprav neskončen.«6 V tem paradoksu je bistvo časa, v ka-terem je trenutek istočasno že trajanje in eden izmed členov sklenjene verige. Podobno čas razlaga sodob-na fizika. Fizik Carlo Rovelli ga recimo razume kot nekaj, kar obstaja samo za nas, ne pa univerzalno, saj se čas razpenja v trajanju, zaradi česar ni razlike med preteklostjo in prihodnostjo ali med vzrokom in posledico. Cvetkovič to spoznanje intuitivno vključu-je v tehnična postopka manipulacije analognih foto-grafij, ki ju občasno uporabi. To sta multipla osve-tlitev in fotografska montaža oziroma prekritje dveh fotografij. Fotografska montaža omogoči vizualizacijo vmesnega časa, torej tistega, kar v človeškem vidu ni zaznano, ampak postane vidno z »očesom fotoa-parata« in sestavom mehansko zabeleženih podob.

Fotografska postavitev vzpostavlja različna stanja, ki s fotografskimi rezi kot hipnimi prekinitvami fragmen-tirajo in procesirajo dinamiko časa. Morska gladina se spreminja v rizomsko površino brezštevilno množečih se gub, ki topografsko natančnost posnetka premesti v območje kontemplacije in na simbolno ravnino raz-tezanja časa in brezkončnega prostora.

V prostranih ladjah sakralne arhitekture morja od-pirajo duhovno doživetje, ki ne izvira iz metafizič-nih implikacij, ampak iz znanih pojavov in stvari. Onstran Črnega kvadrata, v prostoru cerkvenega kora, se oceanska gladina konceptualno zaobrne v praznem odsevu na fotografijah Mrtvih oči. Na kraju tega intimnega sanktuarija se povežejo in prepletejo smrt, krajina in občutek svetega. Boleče intimni po-snetki oči dokumentirajo odsotnost pogleda − pro-tislovno prisotnost odsotnosti − in nas postavijo v neposredno bližino z odmaknjenim strmenjem, ki vzbuja nelagodje pred nedoločenostjo in tujostjo praznine. V mrtvih očeh vlada popoln mir, kot da bi se vanje prezrcalil nični prostor spokojnih morskih gladin brez horizonta. Cvetkovič smrt pojmuje kot »najbolj elementaren pojem abstraktnega v celotni strukturi človeške zavesti in kot fizični abstraktum ne-prostora in ničnega časa«. Ta nepoznani kraj od-sotne zavesti je, kakor razlaga, »najbolj abstrakten način simboliziranja človeške predstave prostora, časa in zavesti oziroma nezmožnosti predstavljati si, da sploh ne obstajajo.«7

Toda nični prostor ni samo kraj ontološkega konca in zaprtja, tako kot črna na Črnem kvadratu ni slepota ali nevidnost, temveč sestav temnih svetlob oziro-ma lesketanje teme, kakršnega poznamo v nekaterih redkih trenutkih, ko zapremo oči. Predstava ničnega prostora kot antiteze prostora, ki jo Cvetkovič zasle-duje prek ploskve in svetlobe, ni toliko nekaj zunaj v pokrajini, kot je za steno našega očesa.

4 Navajam po: R. B. Beckett (ur.), John Constable's Discour-ses, 14. Zv., Ipswich 1970, str. 9 - 10.5 Navajam po: Geoffrey Batchen, Goreč od želje. Zasnovanje fotografije, Ljubljana 2010, str. 224.

6 Navajam iz pogovora z umetnikom, junij 2018.7 Zapis umetnika, neobjavljeni vir.

Skrini: No. 7 / Screens: No. 7, 2009Orig. film: 8 x 10 in., C - print150 x 222 cm

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Branko Cvetkovič's photographic exhibition NON-SPACE | ZeroSPACE shows the sea, which is predomi-nantly a 'study screen’ for the photographer onto which he projects his thoughts on space and through which he enters the broader referential field of image problems. In this context he finds the dialogue with a specific painting history and the problems with the

plane, surface, perspective and light to be closer than photographic references. He is not interested in the photographic reinterpretation of painting, but in the photographic entry into the field of images, which is based on the relationship between aesthetics and the documentary value of the shot, between the fact of the shot and its conceptual displacement.

Nadja Gnamuš

The objectivism that should be ensured by the mechanical fixation of the real situation has ceased to be the ontological and epistemological base of the photograph a long time ago. While the rise of photography in the social context is linked to the technological development and the needs of science, its poetic character has, from the very begin-ning, been inspired not only by the magical chemistry, with which it is possible to freeze floating images, but by the fascination with light, the fleeting nature of the moment and the volatility of the phenome-nal world that photography shared with painting. The representation system of photography is not merely a technological substitution of the perspective used in classic painting, for, as with Daguerre and his painting contemporaries Constable, Turner or Corot, the main interest is focused on the contingence of the appearance and the research of the light effects and shadows which emerge with time intervals. The photographic view was previously formed in painting,1 and painting la-ter thematised photography. In the contemporary post-media age we no longer deal with the essence or identity of individual art mediums, for the identity is flexible and dependent on the context. Thus, also the relation between photography and painting is established in various, more or less innovative ways, which often lead to a total exchange of appearances in which the photographs appear more like a painting and a painting more like a photograph.

1 Cf. Peter Galassi, Before Photography: Painting and the Invention of Photography, New York 1981.

THE SPACE OF A SURFACE

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We know Branko Cvetkovič mainly for his photo-graphs of industrial architecture, which are marked by the distant aesthetics of a clear and purified ar-chitectural form, as established by the Düsseldorf school of photography and introduced into Slovenia by Cvetkovič. The photographic cycle of sea surfac-es on display in the former monastery church does not only represent a move from the urban landscape into the tranquillity of nature, but leads to an en-tirely different understanding of the space. The pho-tographs in a space of sacral architecture establish an almost pantheistic experience of nature, which, as one travels through space, transforms into an intimate panorama of the viewer's inner space. The images recreate the submerged world of the sea surface, which arouses the well-known feeling of a vastness which is somewhere in the distance broken by the horizon as a virtual line where the sea and sky merge. The sea and sky are archetypal motives, which are linked to mythological as well as scientific explanations of the origin of the world and it is from these archetypal backgrounds that the interest of the Japanese photographer Hiroshi Sugimoto arose for the cycle of one of the best known photographic images of the sea, Seascapes. While Sugimoto's sea triggers a calming feeling of the safety and elemen-tality of the experience as one would have when re-turning to the ancestral home, the photographs of Branko Cvetkovič show the sea in the position of an abstract seascape, which is homely and yet unfath-omable. The sea surface is captured into an abstract section, which can be defined by the horizon as a grounding line of the gaze and spatial placement, dividing the earth's surface from the sky. The hori-zon is often annulled or it becomes a line, on which the sea and sky alternatively flow into one another, reflect or duplicate each other. In the photographs the surface of the Atlantic Ocean opens up, photo-graphed from the high cliff in Madeira during the artist’s many hours of observing and waiting. In the calming moments of sitting on the shore, gazing into the distance and listening to the rhythmical sounds of the waves, the dynamics of time change and the external space turns to the spatiality of thoughts. Viewing becomes staring and the place in which we are situated no longer mentally occupies us. Cvetkovič's photographs pursue precisely these mo-ments of spatial disembodiment that are enabled by the contemplative experience of gazing without a focus. The photographs from the series Screens re-duce the ocean surface to a plane that is presented as an abstract surface without any location coordi-

nates, and which are in some shots denaturalised by the colour interventions and placed into the field of abstract images. It is only with the limitation of the photographic crop that the vastness and open-ness of the seascape is organised into a defined and structured area that (re)constructs and grounds the feeling of infinity. With the mimetic phenomenology of nature, the photographs mediate the mental ex-perience of stepping out of the real into an endless space that is outside the experience coordinates.

The photographer is interested in the elimination of the Euclidian perspective space, which he establishes by abolishing the horizon and reducing the dramatic light alterations on monochromatic photographic surfaces. »The space with zero perspective and zero light proves to be the final absolute abstract of the space, which includes time, limits towards zero and is the anti-thesis of the real space – and anti-space that I call non-space or zero space,« explains Cvetkovič.2 His thoughts on space link the philosophical thoughts and hypotheses of modern physics with the space-time concept and the assumption on n-dimensions, which have strengthened the idea of the infinite, vast and unknown space, which is caught in the concrete world of dimensions and the manageability of sub-ject and spatial constellations. With such an under-standing of time and space Cvetkovič's photographic explorations are also close to the referential field of abstract painting, as represented, in the most radical positions, by Kazimir Malevich, Mark Rothko and Ad Reinhardt. Malevich saw painting as a symbolic path to contemplation and into cosmic vastness, where all earthly experience, including emotions and thoughts disappear and a new period of existence begins. At one point he wrote in his characteristic prophetic tone: »I have broken through the ring of the horizon and have escaped the circle of things, the ring of the horizon that entraps the artists and the forms of na-ture (...).«3 Similarly, with Cvetkovič the possibilities come close to a hypothetical and unknown universal space with an exit from the Euclidian depths, an exit marked by the withdrawal of the horizon from the Screens. He achieves synthesis with the lack of light and the darkening in the photographic shape of the Black Square, which means an extreme abolition of the orientation grounding. In modernist painting the exile of the perspective did not merely announce new painting realism, but also a transition in the spiritual perspective and the philosophical understanding of the space which was formed in accordance to the hy-pothesis of science and astrology.

2 Records of the artist, unpublished source. 3 Quoted from the Slovene translation of Boris Groys, The Total Art of Stalin, (Slovene translation Celostna Umentnina Stalin, Ljubljana 1999, pg. 101.)

Skrini: črni kvadrat / Screens: Black Square, 2009Orig. film: 8 x 10 in., C - print150 x 222 cm

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In modern painting black squares represented radi-cal artistic statements – the absolute reduction of the image, the metaphysical icon or the last paint-ing. In the photographic context the black square is not an artistic intervention, but an index entry or an assembly of light, photo-graphic prints, which in the shot represents the idea of the anti-space.

The vastness of space and the depths of time merge in Cvetkovič's photographs. The photographic shots transcribe the smallest atmospheric movements and spectacular beams of light, which are reminis-cent of the cosmic depiction of nature as depicted by the Romantic painter William Turner. The English landscape painter John Constable and a few of his painting colleagues addressed showing time and depicting the effects of nature at the very time pho-tography was emerging. In his book on landscape painting he wrote, »he set out in some of his land-scape objects […] to give one brief moment caught from fleeting time a lasting and sober existence, and to render permanent many of those splendid but evanescent Exhibitions, which are ever occurring in the changes of external Nature.«4 At the same time Daguerre ascertained that painting that endeavours to credibly present the colours and light is always doomed to fail, however this is not a matter of the imprecise painting view but of the changes in the medium itself – light.5 Branko Cvetkovič discovered something similar in photography. This new medium promised that it would, with unmistakable techno-logical consistency, freeze time and thus surpass painting, but as he ascertained, the camera prac-tically cannot capture the moment, as the modus operandi of the natural phenomena is constantly changing. »A moment does not exist, as it is cov-ered by the next. Thus, a moment is in reality end-less.«6 The essence of time is hidden in this paradox, in which a moment is simultaneously a duration and one of the pieces in the chain. Modern physics explains time in a similar way. The physicist Carlo Rovelli understands time as something that exists merely for us, but is not universal, and instead time spans in its duration and as a result there is no dif-ference between the past and the future or between cause and effect. Cvetkovič intuitively includes this realisation into the technical processes of manipu-lating analogue photographs, which he occasion-ally uses. These are multiple exposures and pho-tographic montages involving a combination of two

photographs. The photographic montage enables the visualisation of the intermediary time, i.e. what is not seen by the human eye, but only becomes vis-ible to the 'eye of the camera' and the composition of mechanically recorded images.

The photographic exhibition establishes various states which, with photographic crops as momen-tary brakes, fragment and process the dynamics of time. The sea surface changes into a rhizome sur-face of endlessly multiplying creases, which trans-form the topographic preciseness of the shot into an area of contemplation and a symbolic plane of expanding time and infinite space.

In the vast naves of the sacral architecture the seas open a spiritual experience that does not stem from metaphysical implications, but from known phe-nomena and objects. Beyond the Black Square, in the space of the church choir, the oceanic surface conceptually turns into an empty reflection in the photographic series Dead eyes. In this intimate sanctuary death, landscape and the feeling of holi-ness become linked and intertwined. The painfully intimate shots of eyes document the absence of the gaze – the contradictory presence of absence – and place us in direct proximity with the distant gaze which arouses discomfort with the vagueness and the alien void. The dead eyes reflect total tranquil-lity, as if they mirrored the zero space of the tranquil sea surfaces without a horizon. Cvetkovič under-stands death as »the most elementary abstract no-tion in the entire structure of human consciousness and as a physical abstract of the non-space and zero time«. This unknown space of the absent conscious-ness is, as he explains, »the most abstract way of symbolising the human perception of space time and the perception or the incapability of imagining that they do not exist.«7

However, the zero space is not merely a space of the ontological end and closure, in the same way as the black in the Black Square is not blindness or invis-ibility, but a system of dark lights or the glittering of darkness as we know it in certain rare moments when we close our eyes. The notion of the zero space as the antithesis of the space that Cvetkovič follows through the surface and light, is not so much something outside, in the landscape, as it is behind the wall of our eye.

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4 Quoted from: R. B. Beckett (ed.), John Constable's Disco-urses, Vol. 14., Ipswich 1970, pp. 9 - 10.5 Quoted from: Geoffrey Batchen, Goreč od želje. Zasnova-nje fotografije, Ljubljana 2010, pg. 224.

6 Quoted from a discussion with the artist, June 2018.7 Records of the artist, unpublished source.

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Temne slike: temno siva / Dark Pictures: Dark Grey, 2009Orig. film: 8 x 10 in., C - print130 x 162,5 cm

Temne slike: svetlo modra / Dark Pictures: Light Blue, 2009Orig. film: 8 x 10 in., C - print130 x 162,5 cm

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Modro srebrno morje s horizontom / Blue Silver Horizon Sea, 2009Orig. film: 8 x 10 in., C - print150 x 187,5 cm

Sfumato: beli žarki / Sfumato: White Rays, 2009Orig. film: 8 x 10 in., C - print150 x 187,5 cm

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Skrini: dnevni lesk – srebrna modra / Screens: Daylight Luster – silver blue, 2009Orig. film: 8 x 10 in., C - print150 x 187,5 cm

Skrini: sončni lesk - zlato / Screens: Sunlight Lustre- gold, 2009Orig. film: 8 x 10 in., C - print150 x 187,5 cm

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Skrini: 8310 vijolični / Screens: 8310 violet, 2010Orig. film: 8 x 10 in., C - print162,5 x 130 cm

Red Flash Royal: škrlatno morje v temini / Red Flash Royal:Scarlet Sea in Darkness, 2010Orig. film: 8 x 10 in., C - print150 x 187,5 cm

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Skrini: 9310 Klein modri / Screens: 9310 surface Klein blue, 2010Orig. film: 8 x 10 in., C - print162,5 x 130 cm

Skrini: 9610 purpurno rdeči / Screens: 9610 purple crimson, 2010Orig. film: 8 x 10 in., C - print162,5 x 130 cm

3130

Skrini: luna na lastnem siju na morju / Screens: Moon – Light on the Sea, 2010Orig. film: 8 x 10 in., C - print150 x 187,5 cm

Stik dveh: sonce na dveh morjih / On Two To: Sun on Two Seas, 2009Orig. film: 8 x 10 in., C - print150 x 225 cm

3332

Stik dveh: belo morje na belem morju s horizontom / On Two To: White Seas on One Horizon, 2009Orig. film: 8 x 10 in., C - print150 x 198 cm

Stik dveh: modro srebrni morji na horizontu / On Two To: Blue Silver Horizon Seas, 2009Orig. film: 8 x 10 in., C - print150 x 225 cm

3534

Skrini: beli kvadrat / Screens: White Square, 2009Orig. film: 8 x 10 in., C - print150 x 150 cm

Skrini: vijolični kvadrat / Screens: Violet Square, 2010Orig. film: 8 x 10 in., C - print150 x 150 cm

3736

Sfumato: zavese / Sfumato: Curtains, 2009Orig. film: 8 x 10 in., C - print150 x 187,5 cm

Sfumato: sončni preboj / Sfumato: Sunblaze, 2009/10Orig. film: 8 x 10 in., C - print150 x 187,5 cm

3938

Eternity Fine: jutranji čad / Eternity Fine: Morning Mist, 2009Orig. film: 8 x 10 in., C - print150 x 187,5 cm

Eternity Fine: v beli megli / Eternity Fine: In White Mist, 2009Orig. film: 8 x 10 in., C - print150 x 187,5 cm

4140

Eklipsa 1 / Eclipse 1, 2010Orig. film: 8 x 10 in., C - print130 x 162,5 cm

Eklipsa 2 / Eclipse 2, 2010Orig. film: 8 x 10 in., C - print130 x 162,5cm

4342

Mrtve oči I / Dead Eyes IOrig. film: 13 x 18 cm, C - print142 x 196 cm

4544

1992

Stara elektrarna Ljubljana, KUD France Prešeren, Ljubljana Old Power Station Ljubljana, KUD France Prešeren, Ljubljana

1996

Plečnikova tržnica, Mestni muzej Ljubljana Plečnik`s Marketplace, City Art Museum, Ljubljana

1997

Lux Plantarum, Galerija Krka, Ljubljana Lux Plantarum, Krka Gallery, Ljubljana

Past Spaces, pregledna samostojna razstava Evropskega meseca kulture, Tiskarna Ljudske pravice, LjubljanaPast Spaces, selected solo exhibition of European Month of Culture, Tiskarna Ljudske pravice, Ljubljana

1998

Svetloba sence - risba oblike, Cankarjev dom, Ljubljana Light of Shadow – Drawing of Form, Cankar Cultural Centre, Ljubljana

2004

deKons (Dekonstrukcija svetlobno - zaporednih konstrukcij vesoljskih ravnin: prostori prostorov), Mestni muzej, Ljubljana deKons (Deconstruction of Light – Sequential Constructions of the Space Planes: The Spaces of Spaces), City Museum, Ljubljana

2005

Backstage, Cankarjev dom, Ljubljana Backstage, Cankar Cultural Centre, Ljubljana

En Face, Narodna galerija Slovenije, Ljubljana En Face, National Gallery of Slovenia, Ljubljana

2010

NE-PROSTOR / Nični PROSTOR, MünchenNON-SPACE / ZeroSPACE, Munich

2006

Figura v začetku stoletja, pregledna razstava Slovenskega društva likovnih kritikov, Velenje Figure at the beginning of century, selected exhibitions by the Slovenian Association of Fine Art Critics, Velenje

Nova fotografija, po izboru dr. Borisa Gorupića, ŽalecNew Photography, selection by Ph.D. Boris Gorupić, Žalec

Transitions, Mesec fotografije, DunajTransitions, Month of Photography, Vienna

Mesec fotografije, Galerija Photon, LjubljanaMonth of Photography, Photon Gallery, Ljubljana

2007

Politično, razstava Slovenskega društva likovnih kritikov, VelenjePolitically, selected exhibitions by the Slovenian Association of Fine Art Critics, Velenje

Dunajski sejem - Sejem mednarodne sodobne umetnosti, DunajVienna Fair – International Contemporary Art Fair, Vienna

VELIKE SAMOSTOJNE RAZSTAVE / MAJOR SOLO EXHIBITIONS

IZBRANE RAZSTAVE /SELECTED EXHIBITIONS

2008

Dunajski sejem - Sejem mednarodne sodobne umetnosti, DunajVienna Fair – International Contemporary Art Fair, Vienna

Trst Fotografia, razstava Galerije Photon, Narodni dom, TrstTrieste Fotografia by Photon Gallery, Narodni dom, Trieste

2010

MARE NOSTRUM, pregledna razstava, Galleria Forni, BolognaMARE NOSTRUM, selected exhibition, Galleria Forni, Bologna

2011

One Season Show, Prom-Galerie, München One Season Show, by Prom-Galerie, Munich

Konec kot začetek, pregledna razstava, Galleria Ono Arte, BolognaThe End as the Beginning, selected exhibition, Galleria Ono Arte, Bologna

Slovenska fotografija 1991 - 2011, pregledna razstava, po izboru dr. Primoža Lampiča, MAO, LjubljanaSlovenian Photography 1991 – 2011, special selected exhibition curated by Ph.D. Primož Lampič, MAO, Ljubljana

2014

City Perspectives, Ankerbrotfabrik, Galerija Photon, DunajCity Perspectives, selected exhibition by Photon Gallery, Ankerbrotfab-rik, Vienna

Magija umetnosti – Protagonisti slovenske sodobne umetnosti 1968 - 2013, po izboru kustosa Aleksandra Bassina, Villa Manin, ItalijaMagic of Art – The Protagonists of Slovenian Contemporary Art 1968 – 2013, selected by curator Aleksander Bassin, Villa Manin, Italy

2015

Magija umetnosti – Protagonisti slovenske sodobne umetnosti 1968 - 2013, po izboru kustosa Aleksandra Bassina, Künstlerhaus, DunajMagic of Art – The Protagonists of Slovenian Contemporary Art 1968 – 2013, selected by curator Aleksander Bassin, Künstlerhaus, Vienna

Magija umetnosti – Protagonisti slovenske sodobne umetnosti 1968 - 2013, po izboru kustosa Aleksandra Bassina, Gliptoteka, ZagrebMagic of Art – The Protagonists of Slovenian Contemporary Art 1968 – 2013, selected by curator Aleksander Bassin, Gliptoteka, Zagreb

2017

Vse vrste presenečenj - zbirka Carmen Würth, po izboru direktorice zbirke C. Sylvie Weber, muzej Würth, Künzelsau - Gaisbach, NemčijaAll Kinds of Surprises - Viewing the Carmen Würth Collection, selected by the Director of Würth Collection C. Sylvia Weber, Museum Würth, Künzelsau - Gaisbach, Germany

Branko Cvetkovič se je rodil 15. aprila 1951 v Novem mestu. Diplo-miral je iz politične ekonomije pod mentorstvom enega najbolj zna-nih jugoslovanskih ekonomistov dr. Franceta Černeta, na Ekonom-ski fakulteti Univerze v Ljubljani. Po opravljenem delu za različne raziskovalne institucije je služil kot strokovnjak za delovno silo za vlado Republike Sejšeli. Prav tako je bil imenovan za strokovnjaka za Organizacijo združenih narodov Habitat.

S fotografijo se je začel ukvarjati leta 1986 in 1987 na Sejšelih. Ta naključen začetek in kasnejšo obsedenost sta sprožila njegova fascinacija s svetlobo - spominjanje otroške zavesti o svetlobi na hišah njegovega rojstnega kraja - in naraščajoča občutljivost za li-kovno umetnost, ki izhaja iz študentskih let. Kljub temu sta njegova prva dva neodvisna, še vedno amaterska projekta bila Kreolske hiše in kontinuirano konceptualno snemanje luči nad otokom Silhouet-te. Po vrnitvi domov je opustil svoje delo kot ekonomist in nadalje-val z delom kot umetnik v prepričanju, da ima poklic umetnika večji pomen ter večjo in trajno vrednost. Začel je profesionalno delati na fotografiji; nadgradil je svoje tehnične sposobnosti in dojema-nje likovne umetnosti. Od leta 1990 je samostojni fotograf, ki dela predvsem v arhitekturi, industriji in umetnosti; v zgodnjih letih se je ukvarjal tudi z ustvarjalnim in umetniškim upravljanjem in obli-kovanjem.

V letih 1992 - 1998 je bilo nagrajenih več del, kjer je Cvetkovič igral vlogo ustvarjalnega, konceptualnega ali umetniškega direktorja, sooblikovalca in fotografa.

Branko Cvetkovič prebiva v Ljubljani.

Branko Cvetkovič was born on April 15, 1951 in Novo mesto, Slovenia. He graduated in political economics under the mentorship of one of the best known Yugoslavian economists Ph.D. Prof. France Černe, at the Faculty of Economics of the University of Ljubljana. After work-ing for various research institutions he served as an expert for man-power for the government of the Republic of Seychelles. He was also appointed as an expert for the United Nations Organization Habitat.

He started to become involved with photography in 1986 and 1987 in the Seychelles. This coincidental beginning and later obsession was triggered by his fascination with light – a reminiscence of a childhood awareness of the light on the houses of his birthplace – and an emerging sensitivity to fine art, dating from his student years. Nevertheless, his first two independent, and still amateur, projects were the Creole houses and a continuous conceptual re-cording of the light above the island Silhouette. After his return home he abandoned his work as an economist and went on to work as an artist, a profession in his belief of greater importance and of greater and lasting value. He started to work professionally in pho-tography; upgrading his technical skills and perception of fine art. Since 1990 he has been a free-lance photographer working mainly in architecture, industry and art; in the early years he also dealt with creative and artistic management and design.

In the years 1992 – 1998 several works were awarded, where Cvetkovič played a role as a creative, conceptual or art director, co-designer and photographer.

Branko Cvetkovič resides in Ljubljana.

BIOGRAFIJA / BIOGRAPHY

4746

Skrini: beli kvadrat / Screens: White Square, 2009, No. 3/3Film No. 34, 35brez okvirja / unframed: 150 x 150 cmz okvirjem / framed: 183 x 183 cm

Skrini: vijolični kvadrat / Screens: Violet Square, 2010, No. 3/3Film No. 8210, 8310brez okvirja / unframed 150 x 150 cmz okvirjem / framed 183 x 183 cm

Skrini: črni kvadrat / Screens: Black Square, 2009, No. 3/3Film No. 36, 38brez okvirja / unframed 150 x 222 cmz okvirjem / framed 193 x 265 cm

Skrini: No. 7 / Screens: No. 7, 2009, No. 3/3Film No. 25, 26brez okvirja / unframed 150 x 222 cmz okvirjem / framed 193 x 265 cm

Skrini: 9610 purpurno rdeči / Screens: 9610 purple crimson, 2010, No. 0/EAbrez okvirja / unframed 162,5 x 130 cmz okvirjem / framed 168,5 x 136 cm

Skrini: 9310 Klein modri /Screens: 9310 surface Klein blue, 2010, No. 0/EAbrez okvirja / unframed 162,5 x 130 cmz okvirjem / framed 168,5 x 136 cm

Skrini: 5510 temno zlati / Screens: 5510 dark gold, 2010, No. 0/EAbrez okvirja / unframed 162,5 x 130 cmz okvirjem / framed 168,5 x 136 cm

Skrini: 9810 modri zeleni /Screens: 9810 blue green, 2010, No. 3/3brez okvirja / unframed 162,5 x 130z okvirjem / framed 168,5 x 136 cm

Skrini: 8310 vijolični /Screens: 8310 violet, 2010, No. 3/3brez okvirja / unframed 162,5 x 130 cmz okvirjem / framed 168,5 x 136 cm

Skrini: 2010 srebrni titan /Screens: 2010 titanium silver, 2010, No. 0/EAbrez okvirja / unframed 162,5 x 130 cmz okvirjem / framed 168,5 x 136 cm

Red Flash Royal: škrlatno morje /Red Flash Royal: Scarlet Sea, 2010, No. 3/3Film No. 9010 multiplebrez okvirja / unframed 150 x 187,5 cmz okvirjem / framed 156 x 193,5 cm

Red Flash Royal: škrlatno morje v temini / Red Flash Royal: Scarlet Sea in Darkness, 2009, 2010, No. 3/3Film No. 9010 multiple, 61brez okvirja / unframed 150 x 187,5 cmz okvirjem / framed 156 x 193,5 cm

Skrini: sončni lesk – zlato / Screens: Sunlight Lustre- gold, 2009, No. 3/3Film No. 37 multiplebrez okvirja / unframed 150 x 187,5 cmz okvirjem / framed 156 x 193,5 cm

Skrini: dnevni lesk – srebrna modra /Screens: Daylight Luster – silver blue, 2009, No. 3/3Film No. 33 multiplebrez okvirja / unframed 150 x 187,5 cmz okvirjem / framed 156 x 193,5 cm

Skrini: lunin sij na morju /Screens: Moonlight on the Sea, 2010, No. 3/3Film No. 510brez okvirja / unframed 150 x 187,5 cmz okvirjem / framed 156 x 193,5 cm

Skrini: luna na lastnem siju na morju /Screens: Moon – Light on the Sea, 2010, No. 3/3Film No. 5110 multiplebrez okvirja / unframed 150 x 187,5 cmz okvirjem / framed 156 x 193,5 cm

Stik dveh: sonce na dveh morjih /On Two To: Sun on Two Seas, 2009, No. 3/3Film No. 86, 87brez okvirja / unframed 150 x 214,5 cmz okvirjem / framed 156 x 220,5 cm

BRANKO CVETKOVIČ

NE-PROSTOR | Nični PROSTORNON-SPACE | ZeroSPACE

Razstava v Galeriji Božidar Jakac – nekdanja samostanska cerkev. Kostanjevica na Krki, 22. 9. 2018–25. 11. 2018

Exhibition in Božidar Jakac Art Museum – former monastery church, Kostanjevica na Krki, 09/22/2018 – 11/25/2018

Seznam razstavljenih štiriinštiridesetih del /List of exhibited forty-four works:

Sončni tok / Sun-flux, 2009, No. 3/3Film No.: 84, 83brez okvirja / unframed 150 x 150 cmz okvirjem / framed 183 x 183 cm

Stik dveh: modro srebrni morji na horizontu /On Two To: Blue Silver Horizon Seas, 2009, No. 3/3Film No. 75, 76brez okvirja / unframed 150 x 225 cmz okvirjem / framed 156 x 231 cm

Modro srebrno morje s horizontom / Blue Silver Horizon Sea, 2009, No. 3/3Film. No. 37brez okvirja / unframed 150 x 187,5 cmz okvirjem / framed 156 x 193,5 cm

Stik dveh: belo morje na belem morju s horizontom /On Two To: White Seas on One Horizon, 2009, No. 3/3Film No. 113, 112brez okvirja / unframed 150 x 198 cmz okvirjem / framed 156 x 204 cm

Bele svetlobe: belo morje / White Lights: White Sea, 2010, No. 3/3Film No. 4610brez okvirja / unframed 150 x 187,5 cmz okvirjem / framed 156 x 193,5 cm

Eternity Fine: v beli megli /Eternity Fine: In White Mist, 2009, No. 3/3Film No. 47brez okvirja / unframed 150 x 187,5 cmz okvirjem / framed 156 x 193,5 cm

Eternity Fine: oceanski čad /Eternity Fine: Ocean Mist, 2009, No. 3/3Film No. 45brez okvirja / unframed 150 x 187,5 cmz okvirjem / framed 156 x 193,5 cm

Eternity Fine: jutranji čad /Eternity Fine: Morning Mist, 2009, No. 3/3Film No. 71brez okvirja/unframed 150 x 187,5 cmz okvirjem/framed 156 x 193,5 cm

Eklipsa 1 / Eclipse 1, 2010, No. 3/3Film No. 3910, 3710brez okvirja / unframed 130 x 162,5 cmz okvirjem / framed 136 x 168,5 cm

Eklipsa 2 / Eclipse 2, 2010, No. 3/3Film No. 2210brez okvirja / unframed 130 x 162,5cmz okvirjem / framed 136 x 168,5 cm

Eklipsa: oceanske sipine /Eclipse: Ocean Dunes, 2009, No. 3/3Film. No. 101brez okvirja / unframed 130 x 162,5 cmz okvirjem / framed 136 x 168,5 cm

Temne slike: temno siva /Dark Pictures: Dark Grey, 2009, No. 1/3Film No. 15brez okvirja / unframed 130 x 162,5 cmz okvirjem / framed 136 x 168,5 cm

Temne slike: svetlo modra /Dark Pictures: Light Blue, 2009, No. 1/3Film No. 2brez okvirja / unframed 130 x 162,5cmz okvirjem / framed 136 x 168,5 cm

Temne slike: čadasto siva /Dark Pictures: Misty Dark Grey, 2010, No. 3/3Film No. 710brez okvirja / unframed 130 x 162,5 cmz okvirjem / framed 136 x 168,5 cm

Temne slike: sivo modra z refleksom /Dark Pictures: Grey Blue with Reflected Sea, 2010, No. 3/3Film No. 310brez okvirja / unframed 130 x 162,5cmz okvirjem / framed 136 x 168,5 cm

Sfumato: mirovanje / Sfumato: Standstill, 2010, No. 3/3Film No. 4110, 1510brez okvirja / unframed 150 x 187,5 cmz okvirjem / framed 156 x 193,5 cm

Sfumato: sončni preboj / Sfumato: Sunblaze, 2009, 2010, No. 3/3Film No. 98, 4210brez okvirja / unframed 150 x 187,5 cmz okvirjem / framed 156 x 193,5 cm

Sfumato: zavese / Sfumato: Curtains, 2009, No. 3/3Film No. 29okvirja / unframed 150 x 187,5 cmz okvirjem / framed 156 x 193,5 cm

Sfumato: beli žarki / Sfumato: White Rays, 2009, No. 2/3Film No. 88brez okvirja / unframed 150 x 187,5 cmz okvirjem / framed 156 x 193,5 cm

Sfumato: temni žarki / Sfumato: Dark Rays, 2009, No. 3/3Film No. 22, 23brez okvirja / unframed 150 x 150 cmz okvirjem / framed 156 x 156 cm

Mrtve oči I / Dead Eyes I, No. 3/3brez okvirja / unframed 142 x 198,7 cmz okvirjem / framed 185 x 241,7 cm

Mrtve oči / Dead Eyes II, III, IV, V, VI, VII, No. 3/3brez okvirja / unframed 27 x 37 cmz okvirjem / framed 70 x 70 cmTehnični podatki / Technical data:

Vsa dela so posneta na film 8 x 10 inčev, Ektachrome E100 G, razen cikla Mrtve oči, ki so posneta na film13 x 18 cm, Ektachrome 64 T.

Originals are on the LF film 8 x 10 in., Ektachrome E100 G, except the cycle Dead Eyes which are taken on the film 13 x 18 cm, Ektachrome 64 T.

Vsi originali, vsa dela / All originals, all works © BRANKO CVETKOVIČ

C – printEpson ULTRA CHROME K3 VM inkHahnemühle Fine ART Photo Rag Baryta 315 gsm, paper

Velikoformatna kamera/Camera LF: Sinar P2

Leče / Lenses: Rodenstock: Apo-Sironar W 210, Apo-Sironar W 300, Apo-Macro-Sironar 180, Fuji: Fujinon C 600.

4948

Izdala in založila / Published by:Galerija Božidar Jakac

Zanjo / Represented by:Goran Milovanović

Organizacija razstave / Exhibition Organization:Kristina T. Simončič

Besedilo / Text: dr. Nadja Gnamuš

Postavitev razstave / Exhibition Installation:Branko Cvetkovič

Tehnična izvedba razstave / Technical supportFranci Gramc, Bruno Hočevar

Lektoriranje / Language Editor:Meta Uhan

Angleški prevod / English Translation:Sunčan Stone

Fotografija / Photography:Branko Cvetkovič

Oblikovanje / Graphic Design: Matic Tršar

Tisk / Printed by:R-Tisk

Naklada / Edition:300

Kostanjevica na Krki, september 2018

Razstavo so omogočili:

Generalni sponzor:Krka d.d.

REPUBLIKA SLOVENIJAMINISTRSTVO ZA KULTURO

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