Desired Restraints

Otázka „Co si vlastně skutečně v životě přejete?“ vypadá jako reklama na nějaký další produkt, další nejprodávanější svépomocnou DVD sérii podporující úplnou kontrolu vlastní zmatenosti. V lesklém, hladkém hávu zkrotí uklidňující hlas naši individualitu a nabádá, kterak rozvrhnout svůj životní styl či kariéru a to bez jakýchkoliv pochybností o vlastní identitě. Analogie mezi svobodnou volbou a svobodou, jak ji filozofka Renata Salecl rozebrala ve své analýze volby, je jedním z nejhlubších bludů pozdního kapitalismu. Neomezené možnosti nás vůbec neosvobozují. Spíše nás více než cokoli jiného soustavně udržují na pokraji duševního kolapsu. Tlak domnělé nutnosti výběru všeho nabízeného je neúnosný a nebere žádné ohledy na stav jedince ve společnosti (např. na příslušnost k určité sociální skupině atd.).
Rezonance této teorie se ozývá v mnoha pracích nejen vybraných umělců (v tomto případě představujeme výběr čtyř videoperformancí) a dává vzniknout mnoha absurdním situacím, které vyjadřují hluboké psychologické pocity úzkosti. Brilantní satira vybraných děl spočívá v jejich jasném a zjednodušeném příběhu, který zasahuje samotné jádro problému, v zobrazení jedné malé banality vykonstruovaných ideálů o dokonalém životě.
Videoperformance zpracované na bázi konstantního opakování způsobují nepohodlné, ponuré pocity, vyvolané jejich agresivním, iracionálním a sebe-destruktivním charakterem. Performující umělci působí zmateně, znecitlivěně a především nervózně. Zdá se, že žádné místo, mimo stav vlastní mysli, nejsou schopni osvobodit.
Neexistuje žádný náznak, jak se vymanit z nepříjemné situace, žádná možnost okamžitého uspokojení, pouze povinné, stále se opakující chování.

Ida Hiršenfelder

01 One more kick

Video Any Čigon pracuje s motivem selhání a nemožnosti vytržení. Umělkyně se oddává extrémní námaze v zanícené touze uniknout z vymezení stlačeného prostoru užitím celé síly svého těla proti zdi.

Video by Ana Čigon portrays failure and impossibility of rapture. The artist plays out extreme exertion wanting to break out of the boundaries of a compressed space by launching the entire force of her body into walls. She continues her compulsory behaviour even thou her repetitive self-destructive actions do not show even a slightest trace of success. It seems not to be possible to break out of the compressed cube much like in surreal psychological thriller Cube. The individual is trapped not only by the physical space, but also by the fact that one cannot conceive the space outside of the known environment.

 

Formally, the artist edits the video using a method of measuring the boundaries of the video screen – a method adopted by the early experimental video artists who questioned the medium of television and mass media which trapped reality into the television box. The artist translates the interest of the video artist from social to intimate space. ‘One more kick’ is a video with ironic message that is slowly revealed in the textual part inside the video and bring a strong feeling of disappointment.

Ana Čigon

Ana Čigon (1982) graduated at Academy of Fine Arts and Design, Ljubljana as a painter. Currently she is a student of Master programme (MA) of Interface Cultures at The University for Art and Industrial Design (Kunstuniversität), Linz, Austria. Apart from painting she explores video and new-media art practices. Physical restraint plays an important part in her expression, which is also a result of her performance experiences gained in amateur contemporary dance groups.

She is one of the rare video artists who continue a rich history of video dance genre in Slovenia. In a number of her works, she deals with the social statues and the role of women in society. In 2009 she was a finalist for the Essl Award and a winner of OHO Group Award for younger artists.

02 It will be ok

Tendence k ideální volbě pro zajištění úplného pohodlí v životě vytváří extrémní potíže. Umělkyně pohrávající si s dětským zvířátkem zobrazuje tento rozpor dokonale.

The tendency to make a perfect choice to secure complete comfort in life produces extreme discomfort. The artist petting a stuffed animal portrays this contradiction of discomfort perfectly. Stretched on a white sofa, dressed in pure white she comforts herself with a hollow phrase so very characteristic of hopeless situations. ‘It will be ok’ brings about a resignation not an encouragement. This perfectly spotless image is too sterile for a cosy homey feeling.

It is quite disturbing how she automatically repeats the phrase almost as a mental patient in an asylum. She associates the whiteness of her clothes, the sofa and the dog with the whiteness of a mental institution. Caressing of the dog is a bizarre gesture to portray dislocated affections. A dog or any other pat animal often functions as a compensation for the lack of social interactions. The whole scene is cold and detached, accompanied by a distant ticking of the clock emphasizing the solitude and the slow passing of time.

Vesna Bukovec

Vesna Bukovec (1977) graduated and completed her post-graduate studies in Sculpture at the Academy of Fine Arts and Design in Ljubljana. She works as an independent artist and as part of an art group KOLEKTIVA (with Metka Zupanič and Lada Cerar).

She works in a variety of media (video, photography, drawing, installation) and approaches (research, appropriation, participation, etc.), with irony being a frequently used artistic strategy.

03 Grant me my wish

Grant me my wish je jednou ze tří videoinstalací s názvem Tre Desideri (Tři přání), které byly původně koncipovány pro festival Passaggi a Nord-Ovest v italské Bielle v roce 1999. Instalace byly vystaveny ve významných veřejných prostranstvích, např. v sídle komunistické strany, mateřské škole a na radnici.

‘Grant me my wish’ is one of three video installations entitled Tre desideri (Three Wishes) that were initially conceived for Passaggi a Nord – Ovest Festival in 1999, Biella, Italy. The installations were exhibited in prominent public spaces like the Communist Party headquarters, a Kindergarten and Town Hall.

All three videos portrayed fish. They were placed in huge bathtubs. One fish was set in an idyllic tropic environment, the other struggled for its life in a dried out periodic lake waiting for the people to save her, the last one was expected to grant the wish that was being made. But what was the wish that ought to be granted? For the initial project a web page was set up for the public to write down their anonymous wishes, but it has turned out that the imagination of the people is very impoverished when it comes to wishing things. People wish for health, money and abstract happiness. They wish for thing that even they do not understand so how would the poor gold fish suppose to make sense out of confused minds.

‘Grant me my wish!’ is a video performance where the artist strikes a fish head-down on the white surface. A swinging light bulb and dim lighting emphasize the horror effect of the scene. The artist is extorting wishes out of a fish, repetitively torturing the dead corpse of the animal, which is in no position to be generous, not only because it is very dead, but because the artist has no idea what he actually wishes for. The wishes in uniform consumer oriented society have no focus; they are constantly distracted by other choices that are equally unimportant. This video is in all its terror actually quite ironic and at the end of the day also challenges the hypocritical moralism of animal protectors who find this conduct unacceptable and appalling. This is not to advocate ethical relativism, but only to mark that a dead fish cannot feel pain or grant wishes.

Zmago Lenárdič

Zmago Lenárdič (1959) studied philosophy and sociology at Faculty of Arts in Ljubljana and later painting at Academy of Fine Arts in Ljubljana. As early as 1989 he was a member of Glej Experimental Theatre. In 1992 he received DAAD scholarship at Atelierhaus in Worpswede Germany. He is primarily a painter who is interested in visual dynamic of the image, colour and light.

At the end of 90s he ventured into the field of video art, video installation and performance. From 2004 he is an Associate Professor at the Department of Painting at the Academy of Fine Arts in Ljubljana, where he teaches ‘Form Concept’.

Jasna Hribernik

Jasna Hribernik (Maribor, 1959) is a film director. She studied film and television directing at the Academy for Theatre, Radio, Film, and Television in Ljubljana, and attended a two year course of documentary directing at the Discovery Campus Master School in Munich.

She lives in Ljubljana where she works as an independent film director and creator of video films, video installations, and other multimedia works. She directed over 40 videos about art and artists; she collaborates with theatre, dance performers and opera houses.

04 Wear V-VIII

Wear V-VIII je součástí nepřetržité série videoperformancí v umělcově ateliéru. Tomaž Furlan se zabývá souvislostí těla a lidského chování ve společnosti.

Wear V-VIII is part of a continuous series of video performances set up in the artist’s studio. The artist explores the concepts of body and human behavior in society.
Static shots from different angles focus the attention on the artist’s action and its sense or rather nonsense. Using poor materials and mechanical devices, the artist transforms himself in a kind of automaton constrained in heavy iron constructions. He performs highly absurd and often extremely painful actions in a monotonous iterative way. In this video he operates a mechanism that painfully strikes the back of his head each time he successfully places an iron weight into a casket.

 

He operates to the rhythm of the main theme of the Star Wars soundtrack. This paradoxical situation shows how daily routine is becoming more and more automated and dependent on technological apparatuses, which are supposed to make life easier, but instead they incarcerate an individual into a series of strange activities that inflict damage on the physical and mental capabilities. (Source: DIVA Station).

Tomaž Furlan

Tomaž Furlan (1978) studied BA at Academy of Fine Arts and Design in Ljubljana. His education as a sculptor is highly evident in the heavy iron constructions that he builds for his video performances as well as for theatre set designs. These constructions can be exhibited also as individual objects, but they are best presented in the video performance pieces.

The central role in his work is played out by the specific importance of his studio place at Metelkova mesto Autonomous Cultural Zone. He also often collaborates with independent artists e.g. Metelkova 2025 at Vžigalica Gallery (2008).

05 Ida Hiršenfelder - Biografie

Ida Hiršenfelder (1977) teoretička současného umění, asistentka DIVA Station (Digital Video Archive) v SCCA, Centru pro současné umění v Lublani. Spolupracuje s Ljudmila (Ljubljana Digital Media Lab) a Aksioma – Institut pro současné umění.

Publikuje texty v Radio Student, Dnevnik Daily, Art Worlds, Maska, autorka několika uměleckých katalogů.

06 Autoři výstavy

Kurátor: Ida Hiršenfelder
Autor textů: Ida Hiršenfelder
Realizace: Lenka Střeláková a Janek Rous
Publikováno: 17. 7. 2011