tokst witton by SILVA KALEIC. KONACNA TEHNOLOGUA SLOBODE THE ULTIMATE TECHNO- OGY OF FREEDOM MANIPULACIJA PROSTOROM STVARNOSTI U HRVATSKOJ VIDEO UMJETNOST! Kad se u mome omiljenom komercijainom video spotu automobil Citrden 4 transformira u robota ko plese na stari hit Stuarta Prizea Jacques Your Body (makes Me Sweat), tada Korporacijska promidzba ‘posuduje od japanskin manga erti¢a s transformer- ‘ma, robotima Koll se po potrebi preobrazavaju u lastito vozilo. U komercijalnoj promidbi nema vise ‘scene robe: ako Je nekad roba bila vlastita reklama, ‘danas je reklama postala viastta roba, prema Vil ju, Naposijetku je reklama kao medij postala svoja vlastita poruka. Istodobno, montaza disjunktnih, onflktnih prizora kao brza lzmjena ekranskih slika (alogorliski prikaz modernog vremena), brze percep- lle sika-znakova iz igre marketinskim strategtjama [MANIPULATING THE SPACE OF REALITY IN CROATIAN. VIDEO ART In my favorite video commercial, a Citréen 4 turns Into a robot and dances to the old hit song Jacques Your Body (Makes Me Sweat) by Stuart Prize, show- Ing corporate marketing to have been inspired by Japanese anime about transformers, robots that can turn into vehicles. Commercial marketing does not ‘show its merchandise any more: f merchandise used ‘0 be its own advertisement, now the advertisement has become its own merchandise, according to Vili. Finally, advertisement as @ medium has become its ‘own message. At the same time, the editing of dis- Junctive, conflicting scenes into a fast paced succes: sion of screen images (an allegory of modern times), ‘quick perception of images/signs from the gamepostaje nedto ato prisvaja | Korlst! umjetnost kao Vlastit vizuaini jezik. Rijecima Yvesa Michauda, ‘nova ispraznost” umjetnosti proizadla je lz odusta Janja suvremene umjetnosti da odasije “metafizie ku, viersku Il flozofsku poruku o smislu postojanja’ Film je paradigmatska umjetni¢ka forma moderne: od 1960: to je elektronicka slika, umjetnost koja ‘sama sobe promisljalzravno prisvajajuel stvarnost (alli fmske materiale | tehnike: scenarlj, umjetnu tasvjotu, glazbenu temu, kostim, rekviite). Video Je tehnick termin koji se danas primjenjuje na umjet ost (podjednako analogne | digitalne) pokretne slike koja hvata stvarnost prema na¢elu istodob ‘osti, manipulira vremenom (vrljeme kao video me i) produzujuéi ga, ubrzavajuel, usporavajucl, fast forwardirajuél(probiranjem vremenskih odsjeéaka) of marketing stretegies, becomes something that appropriates and uses art a its own visual language As Yves Michaud said, the “new vacuity" of art ap peared when contemporary art decided not to con messages about the meaning of existence’ mis the paradigmatic at form of modernism; sinc 1960s, it has been the electronic imag selfanalyzing art that drecty appropriates reality (but iso film materials and techniques: scripts, artificial Jnting, musical themes, costumes, props}. Video ‘a technical term, nowadays applied tothe art (both slog and clita) of the moving image, which cap tures realty according to the principle of simultane ity, manipulates time (as a video medium) by havi it protracted, accelerated, slowed down, fastfor152 { zaustavijajué, il umnazajuct (vigestruki siojevi vremena). Nie potrebno saéekati da vrp- ea bude kemijski obradena ka- obi se mogia percipirati ska, Sto odgovara nestrplive) naravi suvremenoga éovjeka. Snima- nje (ne)dogadaje, “pustanje bi- ‘6a da bude" u realnom vreme- nw bez naknadnih intervene, 1H. obrade zapisa, najavjuje po- Javu reality showa. izolranje slike okvirom (u renesansi, ka da prestaje bitl ijednagavan prikaz i prikazano, predodzba | stvarmost) stvara dojam pogle- a kroz prozor. U 20. stoljecu ‘okvir slike Je zamijenjen kad- rom, unutar kojega umjetnik promiéija, pretraiuje, preispitu- je | mjeri prostor kojim se kre- 6°, svo) sociaini okvit, privatni {Javni prostor - svoj habitus u urbanom krajoiku, sinhronom, ‘apovijesnom, transkulturnom, ‘Simon Bogojvié Narath je je- ddan od prvih umjetnika u Hr vatsko} koji manipulira estet kom glazbenog spota | video lgara te radi 20 i 3D kompju torsku animaciju koristes! ma- kete, minijature | lutke, uz ork ginalni soundtrack. Video-ra dom Grad (The City, 1999.) for matom projekcije | tzv.films- og glazbom ironizira komerck Jali dugometraznt film 1 fm sko ofekte za kojima posete “tvornlea snova”, u jednom kadru gradi zeplet nagovjes- tajima dramatiénosti, no bez poantiranja. Stvarajuel imagi- nami prostor | ambijent gj je lurbs (maketa grada opasanog idinama, studijski podvrgnu: tog mijenama prirodnih cikiu 'sa) glavni protagonist, odnos- ro subjekt (ne)dogadanja, au: tor se od njega emotivno dis. tancira naglasavajuél umjet ost takvog svijeta. Produbij vanje dna Lorena Zivkoviéa Ku ikga je video Instalacija tz 2004, Okomito na objekt vel golemu zrealnu ih dimenzi warded (by selecting ime inter vals), and stopped or multiplied (muttiple time layers). To be able to see an image, one does ot have to wait for the tape to be chemically processed, which suits the impatient nature of modem man. Recording (non) events, “letting the being be in realtime without subsequent. activities, Le., without process ing recordings, announced the ‘advent of the really show. Iso lating a picture in a frame (in the Renaissance, which ereated the distinction between the pre senter and the presented, be ‘ween idea and reality) leaves the Impression of looking through window. In the 20th century, the picture frame has been replaced by the film shot, in which artists consider, inves tigate, question and measure the space they move in, their social framework, private and public spaces - their habitat in the urban landscape, which is synchronous, ahistorical, transcuttural ‘Simon Bogojevié Narath is one of the fist artists In Croatia to manipulate the aesthetic of music videos and video games, making 20 and 3D computer ‘animations using models, min- latures and dolls with original soundtracks. His video The City (2990), using the form of aro {ection and “im music” to mock ‘commercial feature films and film effects employed by the "dream factory", builds a plot in a single shot with dramatic hints but without a point. By cre ating an imaginary space and setting, where urbs (the model ofa walled town, artificially su jected to the effects of natural cycles) is the principal charac: ter or the subject of (non) events, the author keeps emo tionally aloof from it, stressing the artificiality of such a word Deepening the Bottom of Lorenploéu dljagonaino polozenu na pod galerie (Gliptoteka HAZU), prigvrécena je Sipka kruznog promjera - sugerra se ulazenje Sipke u podlogu i njezin ono strani kontinultet (pelaivajuel Okomit kilometar zemlje, delo Waltera de Maria koje se igra ‘smistenoseu umjetnosti lave deno u Kasselu 197. - mie. dena Sipka duga 1000 m oko- mito je usadena u zemlju, a je dino Sto se od nje vidi je okru- {g90 uzak vrh na povrdini. U Izlozbenom je prostoru objekt suéeljen vastito} video slici na ojo} je prikazan polozen na morsko dno. U gel évostrukog raza video slika kao “konaé- ra tehnologija slobode” prema Negroponteu, supostaviiena je Vlastitom odrazu sie! u zrealu kao 8kolski primjer simulakru ‘ma simulakruma, Poimajuei prolaznost kao éet- vrtu dimenaiiu svojthradova, vi {doo umjetnik Dalibor Martinis tu javnom prostoru njomackog, grada Rosenheima slaze “kom porieiju” (znaéenja kao w ove nel *kompoziclja viaka") od pedesetak crnih | srebraih Volkswagen Golfova (Parken Verboten, njem. Zabranjeno parkiranje, 2000.), svojevrsnu Klavijaturu urbanog mera, Predmetima kojima je osnovna funkelja pokret, prevaliivanie Ludaljenosti, Martinis stvara ne omiénu branu koja onemogu éuje prolaznike w prolazenju ustaljenim koridorima kretanja | rometest ustaljenost svako- dnevnice. Koristeé! VW-e kao anakove Morseove abecede is- _plsule “Zabranieno parkiranie katkad je Wepo”. Prepozna- vanje urbane estetike u par iranim automobilima (Sto su ‘nek! prolaznicliséitali kao mar: kketingit rik, uostalom svi su ssponzorski automobill odmah rasprodani) povezano jo s por: kom za éije Je 1scitavanje pot rebno poznavati primijenjeno kodiranje; jednako €e tako os: Zivkovie Kuljs is a video instal lation from 2004, At right angles toalarge object -an enormous mirror board ving dlagonally on the floor ofthe gallery (the Cro atian Academy Glyptotheque ‘a round rod is fastened, seem Ing to enter the base and con tinue beyond it (calling to ming he Ver Walter sel In 1977, which plays with the sense of art ~ a brass rod sal Earth Kilometre by Maria, made in Kas 1000 m long was vertically plan ted Into the ground, with only the round top protruding from the surface). In the exhibitior space, the object is facing its ‘own video Image, which shows it lying on the sea bottom. In this game of reflections, the video image, as the “ultimate technology of freedom” accord Ing to Negroponte is confronted Image as a classical example ofthe simulacrum’s simula Considering transience as the fourth dimension of his works the video artist Dalibor Marti ris used the public space of the German city of Rosenheim as he setting for his composition (as in “train composition”) of ‘some fifty black and siNer Volks: wagen Golf cars (Parken Ver bboten, German fr “no parking” 2000), ike a piane keyboard on By placing objects Which are basically meant to move, to cover distances, Mar. a city sca tinis created an immobile bar rier that prevented passers-by fiom walking on their traditional routes and cisrupted the wel y. Using as Morse code signs, he ordered life of every vi wrote "No parkingis sometimes beautiful’. The recognition of the urban aesthetic in parked cars (seen by some passers-by as a marketing trick ~ in fact all the sponsored cars were immediately sold) was related tothe message, which could be read only withthe knowledge ofa4 ‘atl skrivena poruka suvreme- ne umjetnostl onima koji ne govore njezin jezik Komputzivio snimanje koje rezultira snimkom koje u pot: Jem nastaje, problematizranje Prostora i Granice - perimetra kuce | privatnog I javnog pros- tora, pogled dolje kroz prozor stana u novozagrebackom ne- boderu toma je video rada 17. kat (17 stories, 2001.) Lale Raséié. Mada umjetnica s ro- itejima u ratu sell Sarajeva 1 Zagreb, iz obteliske kuce u vertikalni stambeni komprimat koji istrazuje voze¢l se liftom oz njegowu utrobu od ferobe- tona. Audio-taktilno-vizuaino Istrativanje prostora, kao i bi \ezenje strukture percepelje tema Je ovog video rada brzo lamjene kadrova ~ dinamike montaze; tema alijenacije po- vezana je s lokacijom koja ne podrazumijeva samo tijelo ite Fitorl, veé i mentofakte (poput ‘strana od visine) van sfere vid livog. tz (samo)terapeutskih razloga | kao nacin prilagodbe Lala lzvodi “monologni” reat time ritual vrtoglavog spusta nja na uzicl, zapravo lzbaciva nja kamere (koja “leti” zra Kom) kroz prozor zgrade, te je onovno uviaéi premjeravajuel now 2ivotni prostor | mentaino a arhivirajuel. Toma distoke cle | relativnosti pojma doma trotirana je bez ressentimenta wu postupku registracije bez Intervenelfe, sto podrazumijeva operativni prineip po kojemu kamera postaje sredstvo im personalnog pogieda i statis. tleke registracije, prema Hrvo- ju Turkoviéu. U flmu Plavi bar Sun, udsko uho pronadeno u trav Je kanal, ovor u drugl svi Jet —ima i istu ulogu kamera u Lalinom video radu? Video se éesto koristi za doku- mentiranje performansa (sto je {dakako potrebno razikovati od the coding applied; in the same way, the message of contempo: rary art will remain hidden to those who do not speak its lan guage. Compulsive recording resulting In a shot completely the prod: Uuct ofthe moment it originated, ‘questioning space and bound ary — the perimeter of a house ‘and private and public space, the view from the window of an ‘apartment in a Novi Zagreb shy. scraper ~ is the subject of the Video of Lala Rascie called 17 ‘tories (2001). During the war, the young artist and her parents ‘moved from Sarajevo to Zagreb, from a family house to a vert cal residential concentrate, which she explores by riding the levator through its entrails of iron and conerete. The auditve tactile/visual exploration of space, as well asthe record of the structure of perception, is the subject of this video, with a succession of shots edited ina fast rhythm; the theme of alien ation ig related to the location Which does not assume only body and territory, but also cts (such as fear of heights) beyond the visual sphere. For (selftherapeutic reasons and as an adaptation ‘method, Lala performs the reat time *“monoiog” ritual of 2 diz: 2ying descent down the rope — actually, she throws the camera (which “fies through the air) ‘ut of the window of the bulla ing, and pulls it back in, mea ‘suring the new ting space ana ‘mentally archiving it. The theme Of dislocation and the relatity of the idea of home is treated without any ressentimentin the procedure of recording without intervening, which assumes the ‘operating principle whereby the ‘camera becomes the means of the impersonal glance and sta- tistical registration, accorcing to Hrvoje Turkovie. In Blue Vorautonomne forme video-perfo- mansa): umjetnica Tanja Dabo izvodi devet polusatnih lagtenja 55 cotvornlh metara poda loz benog prostora (objaénjavajuet to potrebom za smanjenjem distance instituc sumjetnik; netko bi je mogao iscitati kao ironiénu vieualizaciju potrebe instituelja za podvrgavanjom | posiuhom umjetnika, buduel da Tanja tijekom lastenja les!) Galerie Mirostav Kraljevie ne postedino pred otvorenja izlozbi iz programa galerie. To potom rekonstrura “igrokazom” Lag tonje Galerie Mirostav Kral Wié 2002. sljedeée godine u okviru projekta Broadcasting u net.kulturnom klubu [mama] ‘gdje pred publikom Galeriju Utjelovjuje njezin tadasnjl vo- dite Branko Franceschi koji s pozicije (nadosobne) institucije I {esobne) muskarea, u pozi do- kolice -lezeeI na sof! od bijelog skaja, daje upute umjetnici ko- Je dijetove poda nije dobro opra la te Ih jo jodnom treba proei krpom. Marko Ercogovié u video rad Vjetar vrtuljak (2003) postav lja kameru na djeéju vrtesku u dubrovaékom parku, suéelice Gradu. Vjetar s lakoéom i ne Prekidno okreée “ringlépit”, pi tom kamera (kao konjié karu sela) u jodnom kadru kaptira slike judi u protazenju parkom, vegetacii | parkovnog namjeé taja, perlodiéno hvatajuelsliku zidina s turistiekih razglednica (u repetitivno} sekvenciprispo obivo) sezonskim turistiékim clklusima), pri éemu staina akumulacia istoyjetnih ill velo lignin podataka potinje popri ‘mati osobine lzrazito osobnog pristupa. Sandro Dukié u seri fotografia | videu Put oko svi {Jota u100 dana (1982.-1989.) putuje ne faktiéki vee kroz me- dije croma-key postupkom u ‘stualju spajajucl svoje autopor tretne fotogratije sa slikama vet, the human ear found in the grass is a channel, an opening into another world ~ does the ‘camera in Lalas video have the Video is often used to document performances (which should be distinguished, of course, from video performance): the artist Tanja Dabo performed nine haltnour sessions of polishing 55 square meters of exhipition space (ex planing it as the need to reduce he distance between the inst tution and the artist it could also be interpeted asthe ironic Visualization of the need of i stitutions for the submission ‘and obedience of artists, since Tanja polished on her knees) of the Miroslav Krajevic Gallery immediately before the opening of the gallery's regular exhib tions, She reconstructed itnext year In the “dramatic piece’ called Polishing the Mirosiav Krajevic Gallery, 2001 within the Broadcast ng project in the imamal net.cultural club, where the audience saw the Gallery ‘emboaied by Branko Frances: Chi its manager atthe time, who held the (suprapersonal) post: tion of institution and the (per sonal) position of man, leisurely lying on a white vinyl sofa end telling the artist which parts of the floor she did not wash prop ery and would have to rewash, In his video Merry-Go-Round Wind (2003), Marko Ereegovie places the camera on a chit dren's merrygoround in Du brovni in the park facing the td City. The wind turns the car ‘use! easily and continuously while the camera (like @ carou sel horse) records a single shot of people walking through the park, plants and park objects, city walls familiar from tourist postcards (in a repetitive se uence reminding of seasonal tourist eyles), where the conegzotiéno-atraktivnih, arkadlj- stant accumulation of identical skih “netaknutih” krajobraza or very similar data starts to as na fotografijama unajmijenim sume the characteristics of a od agencija sa slikovnim arhi- very personal approach. Sandro vima. Virtualnim putovanjem —Dukle, in his series of photo kroz imaginame prostore puto- graphs and his video Around the Vanja umjetnik ronizrainstant- World in 100 Days (1992-1999) turizam. does not actually travel, bi U video eseju, umjetnoséu po- uses the media with the chro stedovanom transcedentiranju _ma-key technique in his studi, ‘vlastte” stvamosti Tomislava combining his selt-portrit pho Paveliéa Plamen sam, ja sam tographs witn pictures of exotic br. 3 (naziv je prijevod stiha and attractive Arcadian “un. Tristana Tzare) umjetnikperfor- touched” landscapes on photo mer, “kostimiran” u smislu od graphs rented from agencies JevanjaIskislvo odjece bijele with pcture archives. The artist's bole, nalazi se ubijeloj sobi na virtual trip through imaginary ssnimku dodatno “obijejeno)" travel spaces macks instant razmazanom" predugom eks- tourism. pozicijom te prosijavanjem In the video essay of Tomislav dnevne svetlosti kroz prozor _Paveli¢, the art mediated tan Sto razgraduje forme | dovodi _ scendence of his “own” reality, upitanje iiéku pojavnost um- Flame Alone, | Alone No. 3 (the Jetnika. On sjedi s rukama na titles taken from averse of Tr koljenima, nepomiéan, nas- stan Tzaral, the artist perfor pram kamere. Kraj njogaje dru- mer, “costumed” in the sense a stolica, prazna, na nju sje- of wearing only white clothes, daju “posjetitel"itamo ostaju is ina white room that is add ‘neko, uvijek isto vijeme te na tionally “whitened” on film by odsustvo verbalne omunikaci- the “smeared” prolonged expo Je | djelovanja reagiraju svo)- sure and the daylight flooding stvenim govorom tijela | zna- the room, decomposing forms ladenjem neke preokupacije, and questioning the artist's mikroadnje gotovo na razini physical appearence. He is sit odsvijesti, Kojim ¢e potisnuti ting withhiis arms on his knees, nelagodu i osjeéaj dugotra}- immobile, facing the camera. nosti protazenja vremena. “To Next to him there is a second, su video zapist performativnih empty chair, where “visitors” sit seanst ~ koje su radene wvijek down and stayor atime (atways, uistodoba dana te uvjek sjed- the same period); they react to nom osobom ~ kolima se ispl- the lack of verbal communica tuje Komunikacija oslobodena tion and activity by engaging in razioga ili unaprijed odredena particular body talk, finding so sadriaja; to je pokudaj Komu- _mething to do, an almost sub nikacije na najosnovalj] razini, conscious micro-actvty, in or F ono] su-bivanja” (Tomislav Pa- der to repress their uneasiness velle) and the sense of the slow pass. lako je gledatelj Gesto sudionik ing of time. “Those are video (kod tz instalacijazatvorenog records of performance ses kruga simulira se strategila sions - made always at the ee nadziranja kamerom) | nuzan same time of day and always: > Yeti pe svledok postojanja video rada with a single person - testing oer" (Kod prostorih instalacii) Ge- communication without a cause ince sto ga dovréavajucl (ponajprije or with a predetermined con‘otvorenoséu mentalnog pristu: pa), gledateljova oéekivanja od videa oblikovana su konvenct: Jama filma. Pogetkom 19701h kada je zapocela produkelja vi doo umjetnosti w Hrvatsko), po Imane kao “antl-televizija”, oéekivalo so da ée nastupit! “viljeme umjetnosti bez umjet- nika” kad €0 svi raditi umjet ost demokratléne video slike Video monitor, ta kutlja op sjena 1 peepshow nudi supsti ‘ucljuza stvamost, razliite ob- ke mediski napravj nosti: virtual realty, mixed rea 1estvar Iity, Infinitive reality te, naa nimi, realistic reality kao model stvarnosti kojim se pr kriva manipulaclja stvarmoseu, lzolacija video ekrana, ugrad ‘a monitora u zidove iN grad: ‘ja zida od monitora (video wall koji w ovom trenutku pripada ovijesti media), povecava osje aj nove reainostizvane “video- prostor” koji ne treba muzo} ii aleriju za prezentaciju: video slika mote biti projiciana na rnamjestaj, na nago iudsko tije fo, na 2 J, strop | uostalom ka- todralnisvod (kao dogadaj pro- stora, prema Tohumijevo) tvrd njl Noma prostora bez doga aja). Konzumacija video rada natalost zahtijeva odgodenu padnju | izvjesn utroéak vreme na, pa ponavijam preporuku (Josea Saramaga): “Treba dati ‘womena vromenu”, Video slike. tent; it is an attempt to com municate on the most basic level, the level of co-being. (Tomislav Pavetie), Although the viewer is often a participant (“closed-circuit in stallations” simulate the strat xy of camera supervision) and a necessary witness of the ex istence of the video (in spatial Installations), often completing it (primariy by the openness of the mental approach), what the viewer expects from the video has been shaped by film con ventions. In the early 1970s, when Croatia started producing Video art, which was seen as ‘antitelevision”,itwas thougnt (announce a “time of art with. out artists", where everyone would create the art of the democratic video image. The video screen ~ that box of ill sions and peepshow - offers & substitute realty, various kinds of mediacreated reality: virtual reality, mixed reality, infinitive reality and, most interestingly realistic reality as a model of reality hiding the manipulation of realty, The isolation of the video sereen, the installation of screens into walls or the con struction ofa video wall (which is already a part of media his {ory intensifies the feeling of a new reality called “videospace’ which does not need museums or galleries to be shown: a video image can be projected on fur riture, ona naked human body, (on a wall, on @ ceiling, or even on a cathedral vault (as an event of space, according to Tehumi's saying There is no space without event). Unfortu rately, the consumption of a video require ertain degree of attention and a time period so let me cite @ recommenda tion (by Jose Saramago): “Time needs to be given some time. Video images.