Vježbanje prisutnosti kao princip u umjetnosti i životu: razgovor s Andreom Resner

Vježbanje prisutnosti kao princip u umjetnosti i životu: razgovor s Andreom Resner

Kategorija Razgovori | 08/07/2017 155

 

Početkom lipnja u Galeriji Bačva Doma hrvatskih likovnih umjetnika u Zagrebu otvorena je međunarodna grupna izložba ‘SCREEN PRESENT TENSE’ koja u fokus stavlja suvremene oblike performansa, a time i fenomen moderne tehnološke medijacije. Među dvanaest sudionika našla se i mlada splitska umjetnica Andrea Resner, čije polje djelovanja obuhvaća ilustraciju, grafiku, street art, instalaciju, fotografiju i performans. Atmosferično, opušteno i bajkovito odlike su koje prate njen interdisciplinaran rad, pa tako i posljednji video uradak predstavljen na aktualnoj izložbi, koji me potaknuo da s umjetnicom porazgovaram uživo.

Kako je teklo tvoje formalno obrazovanje?

Prvo sam upisala nastavnički smjer na Akademiji likovnih umjetnosti u Splitu. Nekako sam uopće kasno odlučila upisati Akademiju i na brzinu se spremila i upala na nastavnički smjer. Tada mi to nije mi bila neka želja ni cilj, dogodilo se samo od sebe pa sam ga odlučila i završiti. Puno mi je bolje postalo kada sam se prebacila na diplomski studij Likovne akademije u Zagrebu na Jabukovcu, tu je jednostavno Akademija imala puno više smisla nego u Splitu. No rad u školi u smislu nastavnice likovnog me zapravo nikad nije zanimao, više sam bila fokusirana na autorski rad. Kroz vlastiti rad mi je zanimljivo organizirati radionice i raditi s djecom i s odraslima, zapravo me to i zanima, ali ne u sustavu škole. Taj sustav mi nije nimalo privlačan u svom trenutnom obliku.
Ove sam akademske godine na Umjetničkoj akademiji u Splitu upisala magisterij na odsjeku Film i video, koji traje dvije godine i uglavnom se sve svodi na mentorski rad. Imamo jedno do dva predavanja, ostalo je fotografija, mentorski rad…i dogodine rad na diplomskom. Nisam imala namjeru nikad više ići nešto studirati, ali otvorila se ta mogućnost i pristala sam. Osjećala sam se spremnom nešto studirati, zrelije i posvećenije u smislu da znam što želim. Sad kada već nešto radim, ovo mi dolazi kao nadogradnja, za razliku od prvog studiranja gdje je to bilo više odrađivanje. Ali trebalo mi je vremena da se ponovno prilagodim ritmu studiranja.

Studij Filma i videa je došao kao logičan nastavak zbog performansa i svega čime se baviš?

Pa nisam ga zbog toga upisala, medij videa mi je prvenstveno postao sve prisutniji i sve interesantniji zadnje 3 godine. A film mi je već odavno toliko usađen, valjda kao i svima nama. Odgajana sam na filmu s roditeljima filmofilima i uvijek sam bila u tim krugovima. Ali to da sam uopće krenula na Film se dogodilo slučajno. Došla sam u devetom mjesecu na prijateljičinu obranu diplomskog rada, koji je ujedno bio performans te smo nakon toga svi, i profesori i studenti i prijatelji, otišli na piće. Profesor koji tamo predaje na faksu, kojeg sam u međuvremenu upoznala, rekao mi je: ‘Pa hajde dođi i ti na diplomski!’, to je bilo u ponedjeljak, a u petak su se trebale predati mape. U početku nisam bila za to, mislila sam kako nemam novaca za to. Ali kroz tih par dana je ta ideja sve više i više rasla i onda sam odlučila da ću ga upisati. Odsjek je dosta otvoren, rado primaju ljude s drugih smjerova na diplomski, tako da nije problem upasti. Isto tako sam imala spremne radove za pokazati, kolegici s faksa sam glumila u nekim njenim filmovima, tako da sam i preko nje bila povezana s Akademijom, takoreći sam bila već jednom nogom tu.

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Performans ‘Dream Whale’ na otoku Braču

 

Na aktualnoj izložbi u HDLU ‘Screen Present Tense’ predstavila si se s video radom iz 2015.godine pod nazivom ‘Dream Whale’. Performans izvodiš na otoku Braču, za koji sama kažeš da je ‘sveto mjesto’, mjesto tvog ‘privatnog ljetnog raja’, ali i ‘mjesto osobne traume i povrede’. Pritom kao materijal koristiš vunu bračkih ovaca da bi načinila oblik kita na tlu. Kako je došlo do ideje i kako je tekao proces nastanka rada?

Moglo bi se reći da je performans nastao kao posljedica mog cjelokupnog rada, odnosno kroz vlastitu poetiku. U početku je postepeno nastajao određeni narativ kroz moje crteže, instalacije, izložbe koje sam radila. Počelo je kroz, nazovimo to, inventuru djetinjstva, obiteljskog stabla i povijesti. Tako je počeo niz izložbi spomenutih tematika. Izložbe su bile povezane i sa snovima i životinjskim i biljnim motivima, sve se to prožimalo. Sama ideja za rad došla mi je dok sam radila poveznicu sa svojom majkom i bakom. Bilo mi je simbolično kako cijeli svoj život šišaju svoju kosu na kratko kao svojevrsni znak slobode. Baka je kao mala uvijek bila prisiljena imati duge pletenice, to ju je opterećivalo i onda je dočekala dan kad će se ošišati i biti slobodna. Iz tog razloga je šišala moju mamu otkad je ova bila mala, pa je moja mama isto tako uvijek održavala kratku kosu. Ja s druge strane imam prebujnu kosu koja je ujedno i moj identifikacijski znak. Tako da sam dobila ideju ošišati i svoju kosu, što se trebalo odviti na otoku Braču. Uz Brač sam usko vezana jer smo tamo imali kuću kad sam bila mala. Brač je i mjesto mog začeća i tamo sam provela svoje djetinjstvo, a onda sam ostala bez te kuće, tako da je naglo prekinuta veza s tim mjestom. Kitovi su se u jednom trenutku počeli javljati kao motivi u mojem radu nakon što su izbile sve te traume iz djetinjstva kroz radove. Kitovi i dupini su došli kao melem, kao životinje koje sve to liječe.

Ima li kit u radu neku biblijsku konotaciju?

Na nekoj svjesnoj razini nema. Postoji ta simbolika bivanja u utrobi kita, ali meni to tada nije bilo prisutno na svjesnoj razini. Više kao plutajući motiv, motiv vodene životinje kao simbol emocije. Prethodna serija radova odnosila se na prekidanje veze s domom, na odrastanje, odlaženja iz djetinjstva u odraslu dob, raskidanje sa starom idejom doma i građenjem nove, a kitovi i dupini bili su suputnici.
U videima koje radim osjeća se meditativna nota, koja je jako koncentrirana i jasna je namjera s kojom se radi i ako se to uspije prenijeti kroz medij, ako to probija kroz medij – onda je to uspješno.
2015. godine pokrenuta je radionica na Braču, pozvani su umjetnici da dođu raditi s odbačenom vunom. Na Braču ostane svake godine puno vune nakon što ošišaju ovce, ona stoji rasuta po cijelom otoku jer je ne uspijevaju prodati i nerijetko propada. Zaključila sam da ne moram nužno koristiti svoju kosu, nego zamjensku kosu odnosno vunu tih ovaca, plahih kopnenih životinja, s ciljem izrade kita, goleme morske životinje, a sve se zbiva u središtu otoka kraj Nerežišća. Konkretno sam na tom mjestu bila nekih pola godine prije i imala sam neko ne baš ugodno iskustvo, htjela sam na neki način zaliječiti i taj događaj i cijeli svoj odnos s Bračem kroz taj rad. Prije toga je nevezano uz ovaj rad nastao crtež djevojčice koja spava na kitu, tako da je to bilo točno prenošenje crteža u stvarni prostor.

 

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Crtež ‘Girl on a Whale’

 

Izložba u HDLU-u ‘Screen Present Tense’ uključuje i feministički predznak.

U rad nikad ne idem s idejom nekog feminizma i dosta se ograđujem od pojma kao takvog, (jer se općenito ne volim upuštati u ikakve ‘izme’) iako uvijek postoji ta nota, više možda kroz moj osobni moment traženja sebe kao žene i ohrabrivanja sebe u tom smislu, pronalaženje nekog unutarnjeg glasa ili nekog mjesta u društvu kao žene. Definiranje sebe kroz spol i rod mi je prije bilo dosta strano i zapravo sam shvatila da to proizlazi iz nekakvog srama definiranja sebe kao žene. To su stvari koje sam s godinama osvijestila – da je mene sram biti žensko jer se ženske kvalitete ne smatraju kvalitetama uopće. Kada je krenuo trenutak osvještavanja toga, osjećala sam se kao da želim biti žensko, bit ću u tome i stajat ću u tome. Tako da se to provlači kroz stvari koje radim.

Prije nekoliko mjeseci u Splitu izložila si u Pomorskom muzeju bakinu odjeću nasuprot djedovoj kapetanskoj uniformi.

To bi se moglo nazvati dosta feminističkim radom. Rad je bio napravljen za Dan žena i proizašao je iz obiteljske situacije i situacije koja je dosta emotivna, zapravo je natrpana emocijama. Ono što mi se sviđa kod toga jest da umjetnost postoji u smislu da možeš nešto što je trauma prenijeti u nešto drugo, ta transformacija koja se događa. To mi je možda bio najzahtjevniji rad koji sam napravila. Cijelo vrijeme sam se pitala trebam li to napraviti, koliko izlažem svoju baku ako stavljam njenu uniformu, promoviram li sebe time ili ipak radim nešto za nekoga. Dobila sam u Splitu konkretno pozitivan feedback od ljudi koje bi srela na ulici, što mi je jako ohrabrujuće. Tete u dućanu prepoznale bi me s priloga na televiziji i svi su imali vrlo pozitivan stav, ljudi su se vjerojatno osjećali podržano, pogotovo žene. Vjerojatno su se osjećale kao da im netko čuva leđa.
Radilo se o situaciji koju gledam cijeli život. Puno stvari u životu doživljavaš oko sebe, u svojoj obitelji, a da nisi svjestan jesu li one baš ispravne. Tek kasnije kad usporediš to s nečim drugim, vidiš da to postaje možda problematično, a uzimaš to zdravo za gotovo dok odrastaš uz to. Promatrala sam njihov stan, njihov odnos. Dida je kapetan, sve je puno njegovih slika, njegovih odličja, trofeja, a baka je oduvijek bila domaćica. Da nije bilo te strane, on ne bi mogao postizati ovo drugo, nedostajao je taj balans, mislila sam da ona isto zaslužuje svoje priznanje. Kada je prije par godina bila izložena njegova uniforma u Pomorskom muzeju u Splitu, došlo mi je pitanje ‘Ako je uniforma već simbol odavanja počasti nekome, zašto se ne bi izložila njena uniforma?’, ipak je i ona nešto napravila. Postoji institucija kao što je Pomorski muzej, gdje se uniforma može izložiti, ali ne postoji ni jedna institucija gdje se može izložiti uniforma neke domaćice koja je isto odradila svoj dio posla. To se podrazumijeva.
Prvotna ideja mi je bila izlagati njene kućne haljine u napuštene izloge u gradu, zatim sam odlučila pitati Pomorski muzej mogu li je izložiti. Polazila sam od toga da je institucija vrlo zatvorena i nisam bila sigurna hoće li mi to dopustiti, no ravnateljica Danka Radić je na prijedlog bila oduševljena. Još jedna zanimljiva okolnost bila je to što je Pomorski muzej točno nasuprot Likovne akademije, tako da su uniforme bile izložene jedna nasuprot drugoj, kao simbolični predstavnici muškog i ženskog principa, a nakon toga su bile zajedno unutar Pomorskog muzeja, kao svojevrsno prodiranje domaćice u taj hermetičan pomorski svijet.
Nakon toga izložila sam uniformu i u trgovačkom centru Prima Grad u Splitu. Izlog je bio od dućana koji prodaje stvari za domaćinstvo, tako da se instalacija posebno uklopila. U ovakvoj prostornoj intervenciji veća je i interakcija s ljudima, te se povlači pitanje kako umjetnost danas uopće može komunicirati sa što većim brojem ljudi. U galerije dolaze više manje uvijek isti ljudi, a ako želiš prenijet poruku na takav način, kako to uopće napraviš? Zbog toga mi je bilo posve prikladno da se radi baš o izlogu, o reklami, modernom načinu komunikacije s ljudima. Tu je i autobusna stanica, ljudi su mogli u prolazu stati i pročitati objašnjenje.

 

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Uniforma domaćice u Pomorskom muzeju u Splitu

Crtežom si se, pretpostavljam, krenula baviti još za vrijeme studija?

Ne baš. Dok je trajao faks, nisam skoro ništa napravila. Možda je to neka kočnica, taj presing da se nešto mora napraviti. Najlakše mi je kad me se samo pusti da radim. Procrtala sam kad sam išla na Erasmus razmjenu u Njemačku, a najviše sam počela raditi kad sam završila faks. Jedva sam dočekala završiti faks da krenem raditi nešto svoje i tada sam krenula s radom na seriji tih crteža. Oduvijek su u njima bili prisutni animalni motivi, povezanost s prirodom, s biljkama, gledam na to kao svoj dom. Imam i svoju estetiku za street art, iako sam ih počela u nekom trenutku spajati, jer sam prije držala sve te stvari odvojeno, pa sam shvatila da to nema smisla i počela sam ih ispreplitati. To mi je kao da odjeljujem sebe na različite segmente, a zapravo sam sve to ja.
S prvim izložbama sam krenula oko 2014.godine. Izlagala sam u Galeriji VN, a prva samostalna izložba bila mi je u Velikom Trgovišću, u osnovnoj školi Franje Tuđmana. Ta izložba je prvo bila zamišljena u jednoj galeriji u Zaboku, koja je krenula preuređivati prostor, tako da smo bili prebačeni u tu osnovnu školu. Bilo je to urnebesno i apsurdno, izložba je bila u učionici Franje Tuđmana.
Meni najvažnija izložba bila je kada sam živila sa Barbarom Radeljom. Živile smo u jednoj kućici poviše Kvatrića, tamo smo imale i radni prostor. Tada sam jedan dio te kućice preuredila i napravila izložbu. Izložba se zvala ‘Hommage to home age II’. U jednoj sobi su bili postavljeni crteži, slike i prostorne instalacije, u pozadini je išao soundtrack koji sam iskolažirala od raznoraznih zvukova. Bila je to potpuno atmosferična izložba. U dnevnom boravku i vrtu pio se čaj i jeli su se kolači. Tako je nastao ciklus tih radova.

 

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‘Hommage to home age II’

Kad si se počela baviti performansom?

Performans i video performans se počeo najviše događati kroz moje prijateljstvo s Anom Krolo. Prvi performans koji smo izvele, iako nije dokumentiran, bio su nešto kao personalni ritual. Napravljen za Veliku Gospu, kada je Ana izradila vijence od pronađenih biljaka koje smo uvečer išle puštati u more. Moglo bi se reći da je to bio performans posvećen ženskoj energiji. Tada sam doživjela snagu tog trenutka, važnost prisutnosti, koncentracije i namjere. Isto tako sam s njom počela raditi video performanse kao oblik dopisivanja. Ja bih snimila nešto i poslala joj, pa čekala njen odgovor, pa bi ona nešto snimila. I to već traje nekoliko godina, od 2014. Sada smo to počele prijavljivati na natječaje i galerije, pa možda bude uskoro neka izložba. Drugačiji su nam pristupi u tome, ja sam obično ispred kamere i izvodim performans, a ona je obično iza kamere, nešto promatra i ponekad se javlja kao narator. To su bili moji prvi izleti u performans.

Nedavno si u Medici u Sivoj galeriji imala performans i izložbu s Petrom Grimanijem pod nazivom ‘Safe Zone’. Ovo vam je jedna u nizu suradnji, kako je krenulo?

Nas dvoje smo krenuli kao par, ali smo u ljubavnoj vezi i počeli raditi zajedno. Tako smo osnovali tandem Resner/Grimani. On je već 20 i nešto godina u performansu, i to mu je primarni medij. Moji radovi prije toga bili su uglavnom izvedeni pred kamerom, a izvođenje performansa pred ljudima izvodila sam jedino s njim, tu je bio nastavak tog iskustva. Idući korak bio bi da se sama okušam u tome i da izvodim sama pred publikom.
Cijeli naš projekt Resner/Grimani vrlo je sveobuhvatan, uključuje puno toga. Krenulo je kao istraživanje zajedničkog rada i muško-ženskih odnosa, zatim kao neka narcisoidna igra, propitivanje selfie-kulture. Dio performansa uključivao je da nosimo fluorescentna odijela, koja su dosta invazivna i dominiraju prostorom. Na to se nadovezivalo naslikavanje, poziranje za kameru i sve što to uključuje. Uz taj segment, taman kad smo ga pokrenuli, bili smo na umjetničkoj rezidenciji na Sardiniji i kad smo se vraćali u Hrvatsku krenuo je prvi val izbjeglica i istovremeno su na Sardiniju dolazili imigranti. Tako da se to sve skupa poklopilo, pa smo se u svojem radu počeli referirati i na tu situaciju. Traženje doma i prostora ‘safe zone‘ postale su dominantna tema. Serija izložbi koje smo pokrenuli vrti se oko tog termina, no radi se o vrlo izmiješanom eksperimentu. U tim svim izložbama bilo je mnogočega, tako da je zadnja izložba u Sivoj galeriji bila dosta pročišćenija. Isto tako se bavila svim tim temama, ali ipak na neki ogoljeniji način.

 

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Izložba s Petrom Grimanijem ‘Čestit Božić te sretnu i uspješnu Novu 2017. godinu žele vam RESNER/GRIMANI’, Salon Galić, Split, 2016.

Baviš se i fotografijom, unutar koje si također razvila zasebnu estetiku.

Fotografija me oduvijek privlačila, i zapravo mi se kroz fotografiju dogodila neka vrsta oslobađanja. Kad sam krenula fotografirati, bila sam dosta zakačena za ideju tehnički dobre fotografije i često sam upadala u frustraciju što moja fotografija ne izgleda kako sam je zamislila ili kako bi vidjela negdje neke fotografije. Drugim riječima nisam znala što sve treba imati za postići određeni efekt. Moja estetika nije toliko specifična, i dosta je popularna u zadnje vrijeme ta snapshot fotografija s idiot analognim kamerama. Film mi je oduvijek bio draži nego digitalija, iako u zadnje vrijeme i koristim digitaliju jer s tim mogu postići neke druge stvari. Dugo vremena mi je bila draga baš ta analogna fotografija i njezine greške. Ne imati očekivanja, to sam naučila baš kroz idiot kamere. Fotografiraš nešto, osim što nemaš preview kao na digitalnim aparatima, da znaš odmah je li ispalo dobro ili nije, trebaš i čekati da se ispuca film da ga razviješ. Tako da mi je razbijanje tih očekivanja i igranje s greškama bilo potpuno oslobađajuće – jedan dio posla obavim ja, a drugi dio prepustim faktoru iznenađenja. Također su mi postale zanimljive greške koje sam dobivala i naučila sam kako postići neku grešku koju želiš. No nakon nekog vremena postane dosadno, kad više nije izazov i kad znam kako ću nešto postići.
Prije dvije godine održala sam radionicu o snapshot fotografiji s idiot kamerama koja se zvala ‘Idiot oslobađa’ u Galeriji Umjetnina u Splitu. Radionica je trajala dva dana i bazirala se na razbijanju tih očekivanja. Ove godine sam radila radionicu crtanja bez gledanja, koja ima isti taj princip. Crta se ili zatvorenih očiju ili s pregradom tako da ne vidiš papir na kojem crtaš, nego samo gledaš u objekt koji crtaš. Radionica je zamišljena tako zato što, kada postoji očekivanje kako treba nešto izgledati, ljudi se često zakače na to i ne mogu uopće uživati u procesu koji se događa. Crtalo se i sa štapom na vrhu kojeg je ugljen ili kreda, pri čemu je teško kontrolirati pokret i na kraju dobiješ skroz drugi oblik od onog koji bi dobio kad se trudiš crtati. Moglo bi se reći da to kao tao filozofija – odbaciti očekivanja i biti u zenu, u putu, jer očekivanja najčešće vode u razočaranje. Kad se uživa u procesu koji se događa, iz toga može izaći puno više. A kad si već na cilju, pa ga ili postižeš ili ne postižeš, to može voditi u frustraciju. Čak i ako ga postižeš, pomisliš da možeš i korak dalje. Tako da je lako upasti u klopku. Ovako mislim da je oslobađanje dobar princip, naučiš ga kroz jedan segment pa ga možeš primjenjivati na neke druge aspekte života. To što sam naučila kroz fotografiju, mogla sam kasnije primijeniti u crtanju, slikanju ali i životu, ma da je to u životu nekad manje nekad više uspješno.

 

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‘Fibre’ – digitalni kolaž

Čiji rad u struci posebno cijeniš, odnosno postoji li netko za koga bi rekla da imate sličan senzibilitet i imaš li neke uzore?

Uopće ne pratim toliko cijelu scenu, nego mi svako toliko nešto privuče pozornost i bude inspirativno. Petar Grimani i Ana Krolo, kako sam već spomenula, dvoje su ljudi s kojima imam blizak odnos i čiji rad jako osjećam i cijenim. Poznajem još dosta kreativnih ljudi i umjetnika u svojem okruženju, no Petrov i Anin rad mi je nekako jako blizak i dosta sam naučila, odnosno primila iz njihovog rada.
Sve više u zadnje vrijeme otkrivam rad od Momčila Goluba. A od stranih umjetnika, koje najviše otkrivam preko interneta, dugo vremena je to bila Monica Canilao, američka umjetnica koja isto radi crteže i prostorne instalacije. Ne znam kako sam došla do nje, no mnogo moje estetike u početku je bilo inspirirano njenom. Na primjer kombiniranjem papira, tkanine i raznoraznih materijala, akumulacijom svega. Zapravo sve što ti je blisko nekako preuzimaš. Ona isto tako ima opušteni pristup, spomenuto ‘razbijanje očekivanja’ koje sam pronašla i u njenom izričaju. Još jedna osoba koja mi je zanimljiva je Bianca Casady. Zanimljivo mi je to istraživanje ‘sjenovite strane’. S jedne strane mi je vrlo inspirativno što postoji netko tko istražuje to na takav poetičan način, pa je to sigurno utjecalo i na moj rad, kao nekakvo ohrabrenje. Joan Jonas i njeni radovi na prošlom Venecijanskom biennaleu su me dojmili, kao i filmovi Agnes Varda, posebice njen autobiografski dokumentarac.

Više o Andrei i njezinim radovima možete saznati na njezinoj službenoj stranici http://andrearesner.tumblr.com/.
Sve fotografije pripadaju umjetnici.

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