50/68 Slike utopije

50/68 Slike utopije

Kategorija Osvrti | 06/04/2018 71

 

Jedna je od ključnih godina proteklog stoljeća u kojoj su se dogodile mnoge društvene i kulturne promjene 1968. čijih smo posljedica svjedoci danas. Godina u kojoj ulicama nisu marširale strukture, ispod pločnika nalazila se plaža, a bilo je zabranjeno zabranjivati, započela je studentskim prosvjedom na pariškom sveučilištu Sorbonne koji se kasnije prelilo na čitav svijet izražavajući opće nezadovoljstvo statusom quo: rasna nejednakost, rat u Vijetnamu, zastarjeli i okamenjeni sustav nemoćan odgovoriti na potrebe novih, mladih ljudi. Ustoličenu paradigmu strukturalizma, modernizma i metanaracija zamijenila je poststrukturalistička, postmodernistička, koja je dekonstruirala sve prijašnje velike priče i djelatna je sve do danas. Ono što je počelo sa studentima na Sorbonnei završilo je u krvi u Meksiku, a da ne bi bilo zaboravljeno poslužila je polustoljetna obljetnica koja se obilježava ove godine.

Na Filozofskom fakultetu Sveučilišta u Zagrebu sjećanje na 1968. godinu započelo je 21. ožujka na Europski dan umjetničke kreativnosti izložbom 50/68 Slike utopije na kojoj je sudjelovalo petero hrvatskih suvremenih umjetnika: Miran Blažek, Tea Hatadi, Kata Mijatović, Vlatko Vincek i Dino Zrnec, uz suradnju s Tehničkim veleučilištem u Zagrebu čiji su studenti Dora Deljac, Tin Perić i Duje Skender oblikovali vizualni identitet izložbe. Svakog umjetnika i njegovo djelo predstavljali su studenti kulturne antropologije Filozofskog fakulteta: Maja Flajsig, Matea Korda, Matija Krizmanić, Ines Suic i Helena Vodopija, pod mentorstvom dr. sc. Sanje Potkonjak, prof.  i dr. sc. Nevene Škrbić Alempijević, prof.

Radovi umjetnika izloženi su u prostorima Filozofskog fakulteta – hodnicima i atriju, počevši od samoga ulazu u zgradu fakulteta gdje se na platnu razapetom među dvama stupovima reproducira snimka ulaza fakulteta tehnikom live streaminga. Rad je to umjetnice Tee Hatadi U (ne)prisutnosti kojim propituje tehnologiju koja je omogućila nove medije. Godine 1968. novi mediji počinju donositi slike iz čitavog svijeta, pa tako i Vijetnama, a imaju i distopijski potencijal utemeljen upravo na znanstvenoj osnovi referirajući se na nastanak nekog novog svijeta pod kontrolom Velikog brata. Odabirući kadar ulaza na fakultet, umjetnica želi istaknuti nestalnost tijela u prolazu koje se na zaslonu pojavljuje na trenutak, a već u sljedećem nestaje.

 

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Tea Hatadi, U (ne)prisutnosti

 

Vlatko Vincek je na izložbi predstavljen dvama radovima. Prvi je video rad Prvo čitanje druge utopije koji prikazuje autora kako čita knjigu čije su stranice bijele. Autor dekonstruira ideju utopije kao nečega izvedivog te ju prikazuje uzaludnim pokušajem ostvarivanja apsurda koji prijeti da prijeđe u distopiju. Drugi dio rada ostvaruje strepnje prethodnog. Sastoji se od autentičnih predmeta iz 1968. godine, sjekire, slike autora iz iste godine na prvoj pričesti te videorada koji kombinira dva prethodna predmeta prikazujući siluetu djeteta koje si zabija sjekiru u glavu. Tako autor interpretira traumu doživljenu 1968. godine, intervenciju država Varšavskog pakta u Čehoslovačkoj i gušenja praškog proljeća čime je simbolički smrtni udarac zadan i studentskom pokretu, a slutnje od utopije bez ljudskog lika se ostvaruju.

 

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Vlatko Vincek, Prvo čitanje druge utopije

 

Dvodijelni rad Ispod pločnika plaža koji se nalazi u hodniku na prvom katu i u atriju fakulteta djelo je umjetnika Dine Zrneca. U atriju se nalazi svlačionica kakvu nalazimo na skoro svakoj plaži, međutim, ovdje je riječ o strukturi koja ne skriva, nego otkriva. Umjetnik aludira na suvremenu želju čovjeka da bude viđen i izložen, čak i u intimnim trenucima. Dok svlačionica otkriva, drugi dijelovi rada skrivaju. Riječ je o ručnicima koji su omotani oko jedne od kopija metopa s atenskog Partenona koje se nalaze na zidu prvog kata. Omotana metopa trebala bi zaintrigirati promatrača da osvijesti važnost i vrijednost predmeta koji se nalaze unutar Filozofskog fakulteta, a koji su kopije važnih djela svjetske umjetničke baštine. Svlačionica i ručnici povezani su s revolucionarnom godinom preko grafita koji se u to vrijeme pojavio u Parizu: Sous les pavés – la plage (Ispod pločnika je plaža), a nastao je nakon što su studenti uklonili pločnik ispod kojeg je bio pijesak.

 

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Dino Zrnec, Ispod pločnika plaža

 

Umjetnik Miran Blažek predstavio se svojim prvim videoradom Monumoment koji nastaje spajanjem riječi moment (trenutak) i monument (spomenik). Rad prikazuje pročelje zgrade Filozofskog fakulteta u kojoj se svjetla izmjenično gase i pale. Poveznica s 1968. godinom je u trajanju rada (snimka traje 68 sekundi) i u predmetu njezinog fokusa – fakultetu. Autor podsjeća na važnost visokoškolskih obrazovnih institucija u protestima 1968. godine te skreće pažnju i na događaje u Zagrebu iste godine, a tema utopije ili distopije pojavljuje se tematiziranjem jedne sveučilišne sastavnice u kojoj se svjetla pale ili gase.

 

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Miran Blažek, Monumoment

 

Posljednji je rad na izložbi instalacija Kate Mijatović. Umjetnica za svoj predložak koristi slogan poznatog govora Martina Luthera Kinga I have a Dream koji je obilježio borbu protiv rasne nejednakosti u američkom društvu šezdesetih godina. San iz slogana doslovno je shvaćen kao nesvjestan rad mozga tijekom spavanja i rekontekstualiziran tako da nalazi svoj kontrapunkt u noćnim morama koje se nalaze ispod njega, a preuzete su  iz Arhiva snova koji okuplja preko 2 000 snova na nekoliko jezika. Različitost i upitnost uspjeha ideja za koje se Martin Luther King borio predstavljene su i grafički, njegov je slogan otisnut crnim slovima na bijeloj površini, dok su noćne more ispod njega otisnute bijelim slovima na crnoj površini, naglašavajući tako njihove suprotstavljene karaktere. Vjerojatno sasvim slučajno, na crnoj površini vidljiv je odraz promatrača u staklu koje prekriva tekst, dok promatra pojedini rad, ostavljajući ga tako s nelagodom kada vidi samog sebe usred tuđe noćne more.

 

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Kata Mijatović, I have a Dream

 

Izložba 50/68 Slike utopije rezultat je suradnje različitih institucija i može se smatrati uspješnom u svojoj namjeri da propita što danas znači revolucionarna 1968. godina i koje je njezino naslijeđe, ali i da pokaže kako se prostor Filozofskog fakulteta može aktivirati i iskoristiti kao izložbeni prostor za suvremenu umjetnost, što bi trebalo prepoznati kao pozitivno i nadati se da će ubuduće ovakve suradnje biti češće.

Fotograf: Jasenko Rasol

Fotografija naslovnice

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