Obalne galerije Piran







On works from the exhibition




Tilen Žbona
, Morphing Žbona-Meli, 2007

The construction scheme of photographic images from Tilen Žbona's Morphing series is established on the repeated transfer of the subject to objecthood. Thus the form and nature of matter are changing, the relations between the signifier and the signified are changing. The artist's technique is based on a series of layers of images, which derive from various procedures, and he confronts them between each other, with the viewer and ultimately also with himself as the author. The realities of the images do not intertwine, even though a provisional interpretive linear path can nevertheless be established. The television screen displays a picture of a video self-portrait. It is frozen in some pieces and running in others. The camera is shooting the scene with a long exposure, thus recording the materiality of time in the static image, once in its instant, then again in its condensation. But another person becomes involved in front of the screen in the direct trace of the body in time. Through the long exposure, its identity is blurred. What remains in the final photographic image is a light-colour stain which talks of a certain bodily presence in the world of the screen with video projection. And at the end there is also the viewer who stands before the photograph and does not enter it, but rather the photograph glows towards him.




Bojana Tomše
, from Cutting slides series, 2005

The Cutting Slides of Bojana Tomše are positive transparencies (slides) which have been cut up into tiny bits by the artist so as to be replaced into a new composition later. This can therefore not be classed as destruction, but rather as deconstruction. If it is possible to talk about destruction in terms of a direct relation to the represented world, about a relation that usually also takes place alongside the destruction of photographs, then the construction of a new world talks of its revaluation. What is established is a new relation towards representing reality. The world of references is employed merely as an initial art form - colour, shape, light. Even though we cannot wholly disregard that which has been photographed, that which stands before us is far more important. The world of references is only one of its building blocks, equal to all the others. It is especially important in creating and presenting relations between realities. Between the outside world, the artist's intimate world, the world of the object of a newly constructed photographic object, and the worlds of the observers. The new photographic object is an image built from the primary photograph and has now become a collage of its own fragments with traces, imprints of the artist's handiwork - glue, fingerprints, dust, etc.


Katarina Sadovski
, from Mindscapes series, 2005/06

The double nature in the photographs by Katarina Sadovski can only be noticed with the attentive gaze. Pairs of photographs are displayed like opened up butterfly's wings with a seeming symmetry of composition. The texture of the surface gravitates towards the middle, into the crevice, the point of distortion. Until the point that we comprehend the surface merely in its pictorial existence, we are confronting a visual effect. The drawing which we follow from a distance, from the mists to the clear details in close view, establishes its own reality as a whole. Yet in the instance that we become aware that this is a photograph, curiosity about its origin is awoken within. We want to know which body actually left the traces that can now be observed in these unusual forms. Ultimately it is not important where in the world of things the artist finds the matter which is interesting for her transformations into the final image. Similarly it is not important for the painter who is the manufacturer of pigment paints. However, the works of Katarina Sadovski nevertheless posses a double nature, they are amphibious. Actually, we first notice the here-present reality, materiality and corporeality of the surface of the photograph, yet in a certain moment it can happen that a distorted gaze shines through the crevice, and we behold a landscape from a distant world.


Günther Selichar
, Standby # 7, 2003/04

Günther Selichar generally deals with that which is usually overlooked or cannot be seen. In such a way he produced enlargements of switched off monitors in Screens Cold, which we normally see only switched on and hence do not notice their materiality, but only their functionality. In the Stand by series he has photographed the television receiver in standby mode, midpoint between being switched on and off. Using a thermal camera he has shot a frequency invisible to the human eye - infra red radiation. Photographing using IR light sensitive films is old practice, but here we are talking about a different approach. What is important in this case is recording the exact quantity of radiation in a limited region of temperature which is emitted by a selected object. The artist anticipated that the device, which is semi-revived, should emit something. It proved that it does in fact emit, however, not to the same extent everywhere. He recorded different regions of temperature, whose values are visible in different colours. This results in different colour combinations in the photographic image, which can be reminiscent of a generative computer graphic print, where the algorithm is set to different parameters that produce different results.



Tomo Jeseničnik, from Skeletons series, 2002

Tomo Jeseničnik's Skeletons series are extremely enlarged close ups of dried plants remains that on photographs put the viewer into an unusual position. They convey the object from the material world exactly and in every detail in the image. The object which is in fact not even so unusual if we see it in its natural environment and natural size. Here, however, it is isolated, secluded into whiteness, which takes away its gravity. It hovers before the viewer like a phantom in an undefined space, addressing him with all integrity, due also to its actual size, as beings completely on a par with each other. Yet here the umbilical cord begins to tear, which connects the skeleton on the photograph with the object of reference. Representation begins to gain independence. And it is taken further on this path by the contemporary experience of digital manipulation of photographs. The extreme variability of each pixel that constitutes the digital image does not only pose questions about the credibility of photography, moreover it equates photography with computer graphics. Sometimes it happens that we look at an image created in a computer program believing it is a photograph, then again when faced with a photograph we believe that it has nothing to do with reality. In the Skeletons precisely these doubts spring up, as to the type of reality that the object addressing us so directly derives from.


Romina Dušić, Breaths I, 2007

The strategies employed in constructing a photographic image as an autonomous object can be various and may follow various approaches in grasping the meaning of autonomous. Romina Dušić has always been thinking about the photograph as an image which does not refer to a certain outside world. She builds it directly from her own inner self in an expressivity of feelings and only feelings. Any story that the photograph could contain is removed, and the spaces, which we can find analogies to in the material world, are merely the viewer's hazard of imagination. Therefore it is vital that the image takes the form reminiscent of the solutions of modernist abstraction. But if these are the terms in which we remember the photographic investigations of abstract forms in nature from the early 20th century on, then Romina Dušić presents a total turning. In her photographs, recognisable forms change into abstraction. They do not contain an awe of nature and its forms, but the shapes which the artist has set up herself with the process which can most easily be described as recycling. She has reworked the raw material from the world of existence by putting it through her own poetic mills to produce a subtle and unique material.

Bojan Radovič has recorded a wall in the house in which he used to live and has recently returned to using a optical scanner. Scanning reminds of producing a photogram (the artist entitled his works produced using this process and shown in an exhibition in 2004, scanograms), however, in this case a problem occurs in adopting analogies. The photogram is known as an original and only impression of a certain recording of light. In the digital example, however, these relations crumble. The common aspect between the scan and the photogram is the direct physical contact between the object and the light sensitive surface. Old expressions are used purely for practical reasons and no particular differences can be seen in this context between the recording produced along the whole of the surface of the picture and the one made centimetre by centimetre. Like in the case of the photogram, in scanning there is also no intermediary optic device which transforms the object before its light falls onto the surface. It is a direct reflection. The main difference, however, is in the fact that the scanner emits light and therefore also records the structure of the surface of the object and not only its outlines. What is significant in Radovič's work is precisely the structures and textures of the recorded surfaces. And also the relations between the final printed image and the scanned surface. In the exhibition we meet a 3 metres long piece of wallpaper which is glued directly onto the wall. The recorded surface is only about 30 cm big, and even though it has been much enlarged, this relation is actually hardly noticeable. This is why the piece of wallpaper comes with a scale which indicates the measurements. The surface on the wallpaper seems as if it has amalgamated into the surface of the wall onto which it has been stuck. A complete transfer of a wall from a different time and place has occurred. Now we can experience it in the gallery as a whole. Alive, with our living body.

Bojan Radovič, sp_070527_006, 2007 (1996)


Andraž Beguš
, from GTA: Reality project, 2007

Images of computer reality exist in computer programs which can be perceived by the user as reality. Of course they are limited to their own program, but that is after all the characteristic of every reality. It is only the observer's inner world of perception that attributes the outside world meanings, and it is only at this point that the link between the signifier and the signified is established. With project GTA: Reality Andraž Beguš places before us photographs shot with a camera simulated in a computer program. With a camera which belongs to the same reality as the world it records. These are not digital images before us. Computer constructed images have been printed as photographs. They have left their original world and have taken on the form of materially present objects which we are so very much used to. We are used to photographs with their shiny surface and the spaces that they contain in order to reveal them to us, so that we can enter them, so that we can believe in their existence. These photographic images establish an uninterrupted connection between the reality of the computer program and the physical reality of the observer, whom the latter reaches through the optic device - the device for constructing reality.


Jennifer Scales
, Der Weg ist das Ziel 10, 2007

The painter leans directly onto the canvas with his body and leaves his trace there. The stroke is the path that he walks, climbs, crawls over. What about the photographer? Where is the photographer's gesture? To be present and the spasm of the moment is a very ordinary and narrow designation for photography. Jennifer Scales' work is about something else. By releasing the camera's shutter she is not searching for authenticity in the time and place of the shot. What is there is her direct presence in the photograph. Not the presence of a recorded image, but the image as a stroke of her body. She uses the camera with a long exposure like a painter uses his brush. She places herself, opens the shutter and pulls so that a trace remains after her stroke. Yet what is important here is not a blurred or shaken photograph that merely embodies a distorted image of its object of reference, it is motion itself and the expressivity of the artist's gesture. The presence of the represented object is linked to the coincidence of a certain encounter which gives forth an autonomous image. There is no memory of time and place here, this is a living image of motion and the present moment of the observer before the photograph, like before a painting of a paintbrush and pigments. Through the photographic technique, however, it nevertheless reveals itself in its innocence, purity, freedom from burden of the materiality of the application of paint. But because of the observer's body, still not free of the outside, physical world, even though in somewhat mythical form.

Translation: Arven Šakti Kralj Szomi