Percepcija prostora u ovom slučaju znači njeno razgledavanje. Ona predstavlja zaustavljeni dio procesa, čime je protok vremena definitivno prekinut. Zamrznuto vrijeme dozvoljava postupnu percepciju izložaka, čime sadržaj izložbe – pripreme za film – promovira u događaj.
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Volim te, Ines tematizira nemogućnost dijaloga između ljubavnog para (Damir Bartol Indoš i Tanja Vrvilo) koji se tvrdoglavo prepire oko, ni više ni manje, teorije pravilnog osvjetljenja. Namjerno izvještačena dikcija u kombinaciji s apsurdnom repeticijom teksta razotkriva svu komičnost jeftinih dramatičnih konflikata iz telenovela, pri čemu već stavljanje radikalnih, neavangardnih performera u poziciju ljubavnog para čini urnebesan komentar za sebe. Pritom televizijski studio sa zelenim platnom čini filmsku kulisu koju Hušman svjesno iščašeno i naprasno generira, kako bi gledatelj bio cijelo vrijeme svjestan artificijelnosti prizora. U tom smislu, autorica je ponudila inovativnu i komičnu dekonstrukciju televizijskih sapunica, čiji uspjeh uvelike duguje životopisnim protagonistima.
VIDEOFORUM screenings programme, organized by the ‘Kreativni sindikat’ association, brings a selection of the current international production of experimental, animation and artists’ films. Beside its primary activity – film production, as a logical step in the association’s development, ‘Kreativni sindikat’ has a goal of bringing together a selection of interconnected activities, all aiming toward research, understanding, contextualization, promotion, presentation of the recent audiovisual production by the Croatian and international contemporary artists – starting with self-produced work, and giving context to works by artists who find their ways in different formats, discourses and models, dealing with moving images, works balancing the fine line between existing canons of representation and production of film and artists’ video, animation, experimental film, and -contemporary art, institutional framework of cinema production, festivals, galleries and museums. The programme provides a showcasing platform for the work produced outside of the entertainment industry context, often distant from the dominating narratives of the cinematographic production. VIDEOFORUM is formed as a meeting point between artwork and the audience, a place of conversation and discussion, of artistic appearances-mapping, found in the ‘in-between’ space – as a part of the critical form and praxis, overflowing with questions.
The programme comprises of two blocks of screenings, gathering works of eight Croatian and international contemporary artists of the same generation, but with varied backgrounds.
Adelita Husni-Bey, Damir Očko, Eli Cortinas, Ibro Hasanović, Ana Hušman, Francesco Jodice, Marko Meštrović, Davor Sanvincenti
by Ivana Meštrov
»The flattened image ironically makes us aware of the space that separates us from the object of vision, as opposed to this space being naturalized and, thus going unnoticed. Because frames and segments we are looking at are not parts of our daily perspective. By meditating and organizing different spectatorial positions, Hušman actually talks about relationships.«
Prior to the Zagreb presentation, the ongoing project had already been presented in the Museum of Fine Arts Split (5/09-1/10/2017), and is concurrently showing in Akademie Schloss Solitude Stuttgart (9/11-17/12/2017), where it was partly developed during Ana’s residency program.
Ana Hušman’s film uniquely registers variations, frictions and narrative potentials of an urban living space-apartment which testifies about tensions, relationships and reconfigurations of its multiple lives and living conditions in a wider, social context.
Re-assembling theoretical references, various literary sources and personal observations, Ana Hušman portrays one of our living environments, and plays with different levels of realities (from the maquette recomposition towards the real-life frames of her living room). The key protagonists, artist’s collaborators as well as the artist herself, could be living there now, could have lived there at a certain point, or may just start to inhabit the specific space. In that specific procedure, a film collaborator becomes a film subject, never just a mere actor, the living room becomes a model for an ongoing exercise in multiple retelling styles, and the overall film structure deploys itself in an extended film-exhibition installation. Skillfully inhabiting us with her poetic universe, the artist, nevertheless, offers us enough self-critical tools to keep us at a safe distance of the mere »magic of the cinema«. And, while we move safely within and out of the artist’s working notes, collective recordings, text and sounds, all those separate elements help us to re-establish the well deserved balance between poetry, collective reflexion processes and spatial components that shape us.
Text by Ivana Meštrov
Curated by Ivana Meštrov
Opening Tuesday, 5 September, 2017 8:00 p.m.
Rehearsals for a film, Ana Hušman’s solo exhibition in the Museum of Fine Art in Split introduces Ana Hušman’s recent film Almost Nothing (2016), and a film in the making 6 by 7 Meters, Rehearsals for a Film (2017). With each of these projects Ana Hušman records spatial signals and movements of their social mechanisms.
by Rohan Crickmar
Almost Nothing, by Ana Hušman (2016)
Non-Places: Beyond the Infinite (Nemísta: Za horizontem nekonečna), by Péter Lichter (2016)
Two short experimental films coming out of an Eastern European milieu and focusing primarily on what isn’t seen does not necessarily posit an aesthetic trend, but it is remarkable how both Ana Hušman and Péter Lichter skirt around the visible as a defining element of each of their most recent shorts.
Common is the notion that the south lies at the opposite of north and that the north is supposedly ascendant, more prone to power, and closer to the imagined center. The south is cast as the peripheral and the dispossessed and that it gathers at the perceived fringes of province on a map of asymmetries. Such a curious psycho-geographical, or geopolitical, imagination yields another antinomy: the west and the east, bearing more or less equivalent valences as north and south. This procedure of organizing the world reduces the latter into polarities and verticalities, the west is modern and everywhere yet the east is timeless and afar. The situation where the south and the east cohere to form the coordinate of the southeast is exceptional. It is possibly a double negation: not north, not west. And as such, it is a productive locus: it is not the center, twice.
Participating artists: Art Labor (Vietnam), Pio Abad (The Philippines), Jon Cuyson (The Philippines), Maung Day (Myanmar), frombandungtoberlin.net (trans-national), Nilbar Güreş (Turkey), Ahdiyat Nur Hartata (Indonesia), Maja Hodošček (Slovenia), Ana Hušman (Croatia), Eisa Jocson (The Philippines), Šejla Kamerić (Bosnia and Herzegovina), Li Jinghu (China), Dalibor Martinis (Croatia), Sebastian Moldovan (Romania), Jakrawal Nilthamrong (Thailand), Aemilia Papaphilippou (Greece), Raluca Popa (Romania), Lia Perjovschi (Romania), Marko Tadić (Croatia), Saša Tkačenko (Serbia), Pradeep Thalawatta (Sri Lanka), The Bureau of Melodramatic Research (Romania), Lyno Vuth (Cambodia), Zhou Tao (China)