Photo: J.Ostojić
Photo: J.Ostojić
Photo: J.Ostojić
Photo: J.Ostojić
Photo: J.Ostojić
subota, 27. kolovoza 2011.
nedjelja, 15. svibnja 2011.
ponedjeljak, 9. svibnja 2011.
Time after is an annual open submission exhibition hosted by Gallery Kortil in Rijeka and MKC in Split. The exhibition aims to provide an important international platform for contemporary visual art with an emphasis on supporting new and emerging talents from Croatia and UK.
Curator: Sabina Salamon Concept of the show: Emanuela Santini
Gallery Kortil
11 May – 31 May 2011 25 August - 4 September 2011
But what in speaking do we refer to more familiarly and knowingly than time?
Aurelius Augustine, Confessions, Book XI
There are many who claim that the question as to what is time is one of the hardest. It is comforting, however, that the notion of time does not have to be understood in order to sense time. Therefore, science and philosophy debate about time, while we live satisfied with naive-objectivist conceptions, contrary to the truth, and close to our need for time: lost time, hard time, optimistic time, stolen time….
In accord with our interest for the time that oscillates within a range of before and after, appearing as continuance, arising and maturation, becoming, by the way, experience of our existence (Bergson), the contest rules for the exhibition Time After consider the period of five years from graduation, as well as the art production within past two years, from 2008 until today. The accent on the period following graduation, Masters or doctoral degree, is a consequence of a presumption that this period can unfold in many different ways, in self-sufficient idling, in inhibition and fear of public critic, in a burst of creativity or omnipresence.
Since the algorithm of change is inscribed in time, logically there has to exist a precondition for change, an alteration of opposites, a reversal from a state of motion into a state of stillness. Aristotle spoke his mind on this matter by claiming that the time is a measure of stillness as much as it is a measure of motion. Much later on, Aurelius Augustine interpreted time as the subjective and transcendental category that exists within soul, thanks to memory, a peculiar database where, by plunking incessantly, we place event within temporary relations. Throughout the whole history of time research there persisted the above mentioned opposing viewpoints. One holds that time is the reality of soul, of the subject in a process of self-observation. The other, opposing, deems that time exist as an absolute notion, mathematic time, evenly flowing regardless of any external phenomena (Newton). Later on, Einstein too will classify time as objective, though not absolute, but relative phenomenon, the fourth spatial dimension.
Still, most of the scholars have come to incline to the metaphysical comprehension of time, considering it as the determinant of man's psychic and perceptual nature. This gives us impetus to think about time in an entirely personal sense. Finally, Hegel too has postulated such an utterly speculative definition of time, by claiming that time is a characteristic of being in general, revealed to us as something external. Yet perhaps most poetic and most human lines on time come from Augustine, who asked whether time measurements are illusion, since what is to measure if times past now are no longer, and times future are not yet. We have no other option but to agree, that the sense of time is pertaining to a personal inner vision of the world. The space, time’s counterpart, we use to see the external world (Kant).
In many cases, visual art gives a hint of overlapping between space and time, touching our inner sense of transience or continuance through the external, visible world. Parameters such as perception, barely visible change, whether in tempo, whether in the dynamics of image or sound, wake up our inner counter and enable the observer to respond to the known sense of time-lapse, that according to Aristotle is inscribed in our memory. The perception of time is especially impinged upon by the works that represent movement or are movable themselves (video, film). This exhibition contains several such works. However, we shall not go into them for the reason that the exhibition’s motif lays somewhere else entirely. The author of the exhibition’s concept, Emanuela Santini, does not posit time as either a visual problem or task. Rather, her impulse lays with providing artists with motive for communication during the crucial period, after they leave the educational institutions. If time is a form of self-observation and self-reflection on a journey to the self-consciousness (Kant) and if art is the only authentic relation to oneself (Heidegger) than twenty six (26) authors coming from various educational formats and cultural milieus are a sufficient sample to answer the question: What are we going to do with the time after?
Sabina Salamon
April 2011
ponedjeljak, 25. travnja 2011.
RACHAEL ALLEN
Untitled (mortuary table), 2011, mixed media, 110 x 42 x 50 mm
Miniature model making and drawing provide a stage for the exploration of mortal existence, where the fine line separating youth and age, birth and death highlights our vulnerable condition as human beings. The intimate juxtaposition of birth and mortality resides in familiar miniature objects; sentimental in relation to childbirth and juvenile times or with reference to debilitating age, illness, disease and death. They speak about our irreversible, inevitable journey from ‘the cradle to the grave’ and provide a platform for the projection of ones own authentic experience of true life. These objects nourish lived experience and are inseparable from the thoughts, feelings and associations anchored by them.
Rachael Allen was born in Derby in 1984, and currently lives and works in Newcastle. On achieving a first class honours degree in Fine Art at Cumbria Institute of the Arts in 2008, Allen has established her expertise in miniature model making and drawing, and has exhibited regularly since graduating. She began her artist career by being selected for the Northern Graduate 08 at The Curwen and New Academy Gallery in London, followed by several group shows around the UK and solo exhibitions, of which includes Bricks and Mortar at Bath University Gallery, DNA at The Vault in Lancaster and Breach Birth at Lime Street Gallery in Newcastle. Most recently in 2010, Allen was represented at the Newcastle and Gateshead Art Fair, achieving subsequent sales and further exhibitions nationwide. In addition to artwork sales, she is actively involved in miniature model commissions and various arts related community work, with her most recent project facilitated and funded by Newcastle Science City.
MAŠA BAJC
Untitled (Lakescape), 2010, video
Untitled (Treescape) and Untitled (Lakescape) are video loops constructed from still images. Long-exposure still photographs are reassembled non-linearly, transitioning into each other. Very slow and subtle changes play with the viewer’s perception by enhancing the illusion of stillness in the moving image and challenging the viewer to become still in order to sense the movement. Framing of a sequence is fixed as the element of light differs in each still and consequently becomes essential to breathing life into inanimate imagery: movement occurs as a function of changing spatial qualities of each layer rather than from their succession in time. Created video loops can be understood as fixed views (or projections) that are infinitely in flux. There is no marked beginning or ending, no visible credits or titles. The light itself circulates in Treescape: the very element that makes the image now stares back at us. In Lakescape, waves already annihilated with long exposures rise up and fall down on the horizon never reaching the shore, forever stuck “in between”. The wonder of moving stillness touches the quitness we find within ourselves.
Maša Bajc is a Croatian artist (b. 1980) who currently resides in Rochester, NY and works in photography, video and installation. She obtained an MFA degree in Imaging Arts from Rochester Institute of Technology. She has exhibited in solo and group shows both in Europe and US. Her photographic work was recognized and awarded in several international competitions such as International Aperture Awards, International Photography Awards & Prix de la Photographie Paris.
LARA BADURINA
SINEGDOHA 1, 2x šperploča: 1800mm x 1500mm x 60mm
Lara Badurina rođena je 1968. u Rijeci. 1993. diplomirala kiparstvo, Akademija Likovnih Umjetnosti u Ljubljani. 2003. magistrirala na Akademiji Likovnih Umjetnosti u Ljubljani. Uz samostalno(24) i skupno (42) izlaganje bavi se scenografijom i oblikovanjem svjetla (30). Od 2003. asistentica na Akademiji Primijenjenih Umjetnosti u Rijeci, odsjek kiparstvo.
ANNA BAKER
Cells, 2010/2011, paper and threads, dimension variable
Resulting from my research at zoos and various museum archives a series of works focussing on swarming are being developed. I am looking into synchrony and group behaviours of bacteria, insects, fish and some mammals. I am particularly interested in group happenings where the individuals appear not to directly communicate with each other OR communicate only to serve their own ends. This recent work explores positive and negative space. Repetition of marks in the form of hand drawn grids on neutral surfaces has become a feature and has led to a minimalist aesthetic. ‘Cells’ describes individual cells that make-up a piece of work which evolves according to its location. The piece can grow or shrink depending on where it is installed. The work covers an entire wall or floor space and echoes the natural order of the inner workings of a living organism whilst describing its ever evolving nature. Central to the production of my work is my fascination with exploiting the potential of commonplace materials, such as lining paper, cooking oils, vinegars and candle wax; substances that are inexpensive, easily accessible and of a domestic nature. The familiarity of the materials, coupled with the ambiguous and sometimes alarming effect of the collective helps me question the power of group endeavour.
Anna Baker studied at Cardiff School of Art and Goldsmiths College, London. She is currently completing an MA in Fine Art at Camberwell College, London. Her work has been shown across Europe and China. She has received a number of awards including The Eleanor Hipwell Prize for Fine Art and The Dulcie Mayne Stephens Travel Award. Most recently Anna has been awarded residencies at Flat Time House, London and Frans Masereel Centrum, Belgium.
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