DALIBOR MARTINIS - NEMAM VREMENA

Dalibor Martinis

NEMAM VREMENA I HAVE NO TIME

Galerija Bačva, HDLU, 1. - 26. 3. 2023.

Dalibor Martinis svoju je - za prostor Galerije Bačva specijalno osmišljenu - video instalaciju naglašeno ambijentalnih karakteristika naslovio Nemam vremena. Svima koji su pobliže upoznati s njegovim stvaralaštvom takav naslov nipošto nije iznenađujući. Riječ je, naime, o autoru u čijoj umjetničkoj strategiji vremenski čimbenik ima itekako važnu – neki će reći i ključnu - ulogu, to još od njegovih formativnih godina prije otprilike pola stoljeća pa sve do današnjih dana.

Za Martinisa vrijeme, zapravo, predstavlja fizičku dimenziju, kojoj će nerijetko pridavati i formalno-sadržajne konotacije.

Krajnje pojednostavljeno rečeno, njegov odnos naspram vremena predstavlja svojevrstan multimedijalno, štoviše

Osim toga, zdanje Meštrovićeva paviljona kao takvo itekako je nazočno u projekciji – naziv toga njezina dijela glasi HdluhdluldH – a tu su još i kontinuirana kružna vožnja automobilom oko Arc de Triomphe na Place Charles de Gaulle nazvana Champs Elysees… Recalculating! (GPS sustav kao odredište ima zadanu aveniju Champs Elysees pa će stoga svojim elektroničkim glasom uporno i uzaludno ponavljati uputstva gdje i kada valja skrenuti te tako napustiti kružni prometni tijek) te video prikazi na rotirajućoj bini smještene instalacije/scenografije A mene tu ni minute nema. Motiv kruga, baš kao i kretanja, u Martinisovoj video-instalaciji Nemam vremena posjeduju i naglašeno simboličko značenje.

transmedijalno, uvjetovan ekvivalent načinu kako klasični slikari i kipari pristupaju boji odnosno volumenu, a također i eventualnim motivima ili sižeima. U Martinisovim umjetničkim promišljanjima linearno-pravocrtan tijek vremena nipošto, međutim, ne predstavlja samorazumljivu činjenicu, pa će stoga i učinci prolaznosti poprimati posve nekonvencionalne konotacije i učinke. Martinis neke svoje radove, potencijalno i cjelokupan opus, podvrgava nelinearno koncipiranim temporalnim manipulacijama, svjesno relativizirajući mentalno-tvarne granice između odavna realiziranih projekata i njihovih nekoliko desetljeća kasnijih rekonstrukcija ili, preciznije rečeno, reinterpretacija. U tom smislu kao paradigmatski primjer nametat će se, dakako, njegov ciklus informatičkoga naziva Data recovery. Osim toga, Martinis je sklon i svojevrsnom premošćivanju protoka vremena, kreirajući pritom začudna ozračja unutar kojih vremenski jaz prestaje biti čimbenikom razdvajanja, nego povezivanja, a samim time i objedinjavanja. Gotovo da i nije potrebno spomenuti kako razgovor sa samim sobom uz vremensku zadršku od 32 godine, baš kao i upućivanje pitanja entitetu DM2077 s idejom da on – štogod bio i kakogod izgledao - na njih odgovori u 2077., predstavljaju najradikalnije manifestacije takvih njegovih postupaka.

Fizika već odavna raspolaže dokazima o suštinskoj povezanosti vremena i prostora, a upravo je svijest o postojanju vremensko-prostornog kontinuuma nužna za ispravno i cjelovito razumijevanje video instalacije Nemam vremena.

Taj je rad svojevrsna nadgradnja jedne ranije instalacije pod nazivom A mene tu ni minute nema, svojedobno realizirane kao Martinisovo scenografsko rješenje za potrebe kazališnog uprizorenja Krležine drame Aretej u Hrvatskom narodnom kazalištu u Zagrebu. O čemu se točno radi? Uz pomoć križno postavljenih pregradnih zidova umjetnik je središnji dio kružnoga prostora Galerije Bačva podijelio na četiri prostorije, pri čemu svaku od njih omeđuju dvije površine koje će ujedno služiti i kao ekrani za projekcije. U video instalaciju Nemam vremena uključeno je, dakle, osam identičnih projekcija, svaka sa svojim zidom (ekranom). Ali te projekcije uzajamno su precizno vremenski usuglašene, pa će stoga pojedini segmenti njihova sadržaja prividno “kružiti" konstrukcijom te se na taj način u pravilnom ritmu pojavljivati na zidovima svake od prostorija. Zanimljivo je usporediti kako se Martinis poigrava vremenom i prostorom u instalaciji/scenografiji A mene tu ni minute nema, a kako u video instalaciji Nemam vremena. Sve četiri prostorije – a zapravo se metaforički radilo o jednoj te istoj prostoriji - u spomenutoj su instalaciji/scenografiji bile opremljene stolom na kojem je vaza s tulipanima, dvama foteljama, samostojećom svjetiljkom, ogledalom i prikazom zidnoga sata. U radu Nemam vremena stolovi s foteljama izmaknuti su pak izvan prostorija – što, zapravo, znači i iz promatrane zone u zonu iz koje se promatra - a ogledala i satovi ustupit će svoja mjesta projekcijama. Nadalje, u sve četiri prostorije instalacije/scenografije A mene tu ni minute nema prevladavalo je statično ozračje, pri čemu su neumitan protok vremena sugerirali tek tulipani (izgled im je varirao u rasponu od potentne uspravnosti pa sve do onemoćale uvenulosti) i satovi (svaki od njih pokazivao je neko drugo vrijeme). Također, zahvaljujući rotirajućoj bini, cjelokupna je situacija bila podvrgnuta i monotonom te jedva zamjetnom, gotovo pa uspavljujućem, kružnom gibanju. Rad Nemam vremena koncipiran je, naprotiv, izrazito dinamično; segmenti njegovih projekcija ne samo da prikazuju i tematiziraju kretanje, već se i sami prividno "sele" sa zida na zid odnosno iz prostorije u prostoriju.

Kao jedan od osnovnih motiva video instalacije Nemam vremena neprijeporno se nameće oblik kruga, ali također i kružnoga kretanja. Na projekcijama, naime, dominiraju različiti aspekti upravo takva kretanja, prostor Galerije Bačva također je kružnoga oblika, a to isto vrijedi i za cjelokupan Meštrovićev paviljon u kojem se ona nalazi.

Krug, naime, predstavlja savršeni oblik bez početka i kraja, odnosno bez ikakva usmjerenja, što nedvojbeno sugerira umjetnikov nelinearan pristup vremenu. S druge strane, upravo je kretanje ono što definira prostorno-vremenski kontinuum. Brzina (a to znači kretanje) određuje se, naime, upravo na način da se prijeđeni put (kroz neki prostor) postavi u relaciju s u tu svrhu utrošenim vremenom. I da zaključimo: Martinisova najnovija video instalacija Nemam vremena svojim se nazivom ne referira tek na svakodnevnu i otresitu frazu, već otvara brojna znanstveno-filozofska pitanja iz kojih generira i velik dio njegova začudna opusa. Tko zna, možda naziv Martinisova sljedećeg projekta bude glasio Nemam prostora…

Vanja Babić

Dalibor Martinis's video installation with emphasized site-specific characteristics titled I Have No Time is specially designed for the Bačva Gallery. Such a title is by no means surprising to anyone familiar with his work. Namely, this is an artist in whose artistic strategy time factor has played a very important - some would say a key – role from his formative years, about half a century ago, until today. For Martinis, time represents a physical dimension to which he will often attach formal and substantive connotations. In extremely simplified terms, his relationship with time represents a kind of multimedia, or rather transmedia, conditioned equivalent to how classical painters and sculptors approached colour or

Meštrović Pavilion is very much present in the projection - the name of that part of it is HdluhdluldH - and there is also a continuous car ride around the Arc de Triomphe on Place Charles de Gaulle called the Champs Elysees... Recalculating!

(The GPS has the Champs Elysees Avenue set as its default destination, so it persistently and in vain repeats the instructions with its electronic voice where and when to turn and thus leave the circular traffic flow) and video displays on the rotating stage of the installation/scenography And I'm Not Here Even for a Minute. The motif of the circle, just like the movement, in Martinis's video installation I Have No Time also has an emphasized symbolic meaning. Namely, the

volume, as well as potential motifs or content. In Martinis's artistic reflections, the linear flow of time is by no means a self-evident fact, and therefore the effects of ephemerality take on completely unconventional connotations and effects. Martinis subjects some of his works, and potentially his entire oeuvre, to nonlinearly conceived temporal manipulations, consciously relativizing the mental-physical boundaries between projects realized a long time ago and their reconstructions or, to be more precise, their reinterpretations several decades later. In this sense, his series titled Data Recovery will, of course, be imposed as a paradigmatic example. In addition, Martinis tends to bridge the passage of time by creating strange atmospheres within which the time gap ceases to be a factor of separation but rather of connection and, therefore, of unification. It is hardly necessary to mention that talking to himself with a time delay of 32 years, just like asking questions to the entity DM2077 with the idea that he - whatever he was and whatever he looked like - would answer them in 2077, represents the most radical manifestations of such actions.

circle represents a perfect shape without a beginning and an end, that is, without any direction, which undoubtedly suggests the artist's non-linear approach to time. On the other hand, it is a movement that defines the space-time continuum. Speed (which means movement) is determined precisely in such a way that the distance travelled (through some space) is set in relation to the time spent for that purpose. And to conclude: Martinis's latest video installation I Have No Time not only refers to everyday and pert phrase but opens up numerous scientific and philosophical questions from which he generates a large part of his amazing oeuvre. Who knows, maybe the name of Martinis's next project will be I Have No Space.

Physics has long had the evidence of the essential connection between time and space; thus, understanding the existence of the time-space continuum is necessary for a correct and complete understanding of the video installation I Have No Time. This work builds on an earlier installation titled And I'm Not Here Even for a Minute, which Martinis previously created as scenography for the theatrical dramatization of Krleža's play Aretej at the Croatian National Theatre in Zagreb. What is it exactly about? With the help of partition walls placed crosswise, the artist divided the central part of the circular space of the Bačva Gallery into four rooms, each of which is bounded by two surfaces that also serve as projection screens. The video installation I Have No Time includes, therefore, eight identical projections, each with its own wall (screen). These projections are mutually precisely coordinated in time so that certain segments of their content will seemingly "circulate" the construction and thus appear in a regular rhythm on the walls of each of the rooms. It is interesting to see how Martinis plays with time and space in the installation/scenography And I'm Not Here Even for a Minute and compare it to the video installation I Have No Time. All four rooms - and in fact, it was metaphorically the same room - in the mentioned installation/scenography were equipped with a table with a vase of tulips, two armchairs, a free-standing lamp, a mirror, and a display of a wall clock. In the work I Have No Time, the tables with armchairs have been moved outside the rooms - which, in fact, means from the observed zone to the zone from which it is observed - and the mirrors and clocks are replaced with projections. Furthermore, in all four rooms of the installation/scenography And I'm Not Here Even for a Minute, a static atmosphere prevailed, with only the tulips (varying from potent uprightness to weakened withering) and clocks (each showing a different time) suggesting the inevitable passage of time. Also, thanks to the rotating stage, the entire situation was subjected to a monotonous and barely noticeable, almost lulling, circular movement. The work I Have No Time, on the contrary, is extremely dynamic; segments of his projections not only depict and thematize movement, but also apparently "move" from wall to wall, or room to room.

As one of the basic motifs of the video installation I Have No Time, the shape of a circle, but also of circular movement, is unmistakably imposed. The projections are thus dominated by different aspects of such movements, and the space of the Bačva Gallery is also circular, as is the entire Meštrović Pavilion in which they are placed. In addition, the building of

Vanja Babić

RAZLIKA KAO PONAVLJANJE Dragi Dalibore, uskoro ćeš imati izložbu naslovljenu Nemam vremena u galeriji Bačva. Iako si kao scenograf uprizorenja Krležinih drama u HNK, u kojima si razmjestio vrijeme u temporalno moduliranoj sobi, u intervjuu Večernjem listu izjavio kako Ja brže pišem nego li Ti čitaš, morat ću te nažalost razuvjeriti, ali na drukčiji način. U posljednje vrijeme ja permanentno kasnim za tvojim novim umjetničkim projektima, jer „nemam vremena“. Tako se, kao što možeš razabrati, međusobno nalazimo u situaciji koja savršeno karakterizira aporije suvremene umjetnosti, a koja ne može zaustaviti vrijeme iako je njezin paradigmatski medij upravo film. A film, kako je to dobro znao Jean-Luc Godard, počiva na tehnici montaže, za koju Giorgio Agamben, baveći se Debordovim filmovima apsolutnoga situacionizma, u svom tekstu Razlika i ponavljanje tvrdi da je u njoj posrijedi slikovno ubrzanje i zaustavljanje. Na taj način vrijeme se uistinu i zbiva u prostoru koji Einstein u svojoj teoriji opće relativnosti iskazuje znamenitom formulom E=mc2. Vrijeme se, dakle, događa kao proces kontingentne eksplozije i deterministički određene implozije informacija u prostoru koji nije nalik Newtonovu kontejneru za ubacivanje tvari, već Leibnizovu dinamičkome odnosu između mase, energije i brzine. Ono što pokreće ovaj prostor-vrijeme nije stoga neki teologijsko shvaćeni bog vremena. Umjesto njegove mjerodavnosti, na djelu je autopoietičko djelovanje čiste forme koja zamjenjuje ono što je skolastika nazivala transcendentalnim uvjetom mogućnosti nastanka bitka uopće. Iz svega postaje bjelodano da vremena nema bez prostora, i obratno, te da čovjek nije „su-vlasnik vremena“, a niti njegov namjesnik, iako mu se čini, kao i sv. Augustinu, da je vrijeme pitanje unutarnjeg iskustva tzv. subjekta. To da i Ti i Ja i svi Mi nemamo vremena proizlazi iz nužne akceleracije suvremenosti koja otpočinje, ne u 19. stoljeću s pojmom entropije, bez koje ne može postojati kibernetika, a u konzekvenciji i umjetna inteligencija.

Uostalom, predivnu definiciju apokalipse daje otac-utemeljitelj kibernetike Norbert Wiener kad na jednom mjestu kaže da je kraj svemira nužnost same logike Velikoga Praska i da upravo stoga naše mišljenje i djelovanje mora biti kao da smo bačeni na pusti otok bez igdje ikoga te ljudsko stvaralaštvo spašava čovjeka od utonuća u apatiju, jer je ono jedini smisao egzistencije u kozmičkim uvjetima, koji su deterministički zadani od samoga nastanka do kraja. Ubrzanje vremena počelo je, dakle, s kopernikanskom mobilizacijom znanosti i tehnologije u Novome vijeku i ovo je sada početak kulminacije života u tehnosferi za koji nitko osim kiborga i humanoidnih robota ne može biti spreman ni fizički, a niti metafizički.

Zašto? Iz jednostavnog razloga što nam nedostaje šesto osjetilo, o kojem je fantazirao još Malevičev mistički filozof znanosti i religije Pjotr D. Ouspenski. To je ono osjetilo koje više nije ništa ljudsko-neljudsko, a koje pripada „tehnosferi“ i može se uvjetno razumjeti polazeći od onog što Ti u svojem filmu N-ta kinematička tvornica čavala iz 2021. godine nastojiš vizualizirati i postaviti kao temeljni problem, ne samo za suvremenu umjetnost, već i za bit suvremenog mišljenja i življenja uopće. Kao što vidiš, u zakašnjenju sam za Tvojim projektima jer ti brže snimaš no što Ja mogu gledati. Evo osnovnih informacija o „tvom filmu“. Usput, na web portalu na engleskom jeziku tvrdja.com objavljen je tekst Leonide Kovač o filmu uz nekoliko crno-bijelih fotografija.

N-ta kinematska tvornica čavala, 2021.

Videomaterijal koji je autor snimio 1999. godine u Tvornici potkivačkih čavala u Karlovcu (zatvorenoj 2005.) sastoji se od 99 kadrova. Poseban softver svaki put kada se pokrene generira njihov novi slučajni redoslijed. Svaka generirana konfiguracija čini jedan jedinstveni autorski film N-ta Kinematska tvornica čavala Dalibora Martinisa, gdje N predstavlja redni broj svakog tako montiranog filma. Jedan film za svaki čavao. Što je, dakle, ovaj videomaterijal u filozofskome smislu, nego radikalna kritika ponavljanja u smislu pasivne reprodukcije događaja kako se pogrešno pripisivalo mehaničkome dobu, a za što je odgovaran upravo najznačajniji mislilac estetike u 20. stoljeću, Walter Benjamin, koji je tezom o gubitku aure uspostavio standard za shvaćanje novih medija, fotografije i filma, kao događaja kojim djelo u svojoj autentičnosti originala postaje tipizirano očitovanje kopija

i tako dovodi do novog shvaćanja odnosa prostora i vremena u društvu masovne industrijske proizvodnje. Iako je Benjamin imao jasan uvid u razliku fotografije i filma, onog optički nesvjesnog i onog što ima značajke konstrukcije događaja, zahvaljujući montaži, nije još dospio do toga da promisli kako tzv. mehanička reprodukcija u samoj sebi, u svojoj imanentnoj logici, jest latentno zbivanje singularnosti novog vremena čiste jednokratnosti i neponovljivosti.

Drugim riječima, ono što je bit mehaničke reprodukcije nije monotono ponavljanje istoga, već ubrzano proizvođenje različitoga i drugoga. Naravno, to će ponajbolje pokazati Gilles Deleuze u Razlici i ponavljanju, svojem najvažnijem djelu i najznačajnijem misaonome dostignuću post-mehaničke ere, koju nazivamo danas digitalnom, a ja to nazivam autopoietičkom logikom vizualizacije tehnosfere kao računanja-planiranja-konstrukcije novoga. Što je novo ako ne simulakrum kontingencije samoga događaja kojim se samo-proizvodi objekt X, a ne iz nekog izvanjskoga uzroka stvaranja, odnosno ono što Ti u ovome svojem djelu nazivaš i pokazuješ zorno, kako svaka generirana konfiguracija proizvodi svaki pojedinačni novi film. Za tako nešto potreban je softver koji se, dakako, sam od sebe pokreće i tako stvara čiste kontingencije. Čavli u kinematičkoj tvornici nisu otuda isti u beskonačnost, nego su beskonačno različiti u svojoj istosti. To je fantom tipiziranja i mehaničke reprodukcije, koja izaziva dosadu jer se neprestano, kao i suvremena umjetnost, samo ubrzava i zaustavlja. Novo je, dragi Dalibore, dosadno, jer je zastarjelo samim činom svoje kinematičke proizvodnje. Gledati Tvoj film znači biti-u-vremenu koje, upravo zato što je ubrzano, zahtijeva svoje zaustavljanje i ponovno vizualiziranje koje je uvijek novo, i tako do kraja svijeta. Čavli su čavli, a softver je softver. Samo je vrijeme ono koje nema vremena jer je uvijek u prostoru čiste ireverzibilnosti. Astrofizičari koji govore o metaverzumu, ili o mnoštvu različitih svemira, na tvojoj su strani i vjerojatno su u Tvornici potkivačkih čavala u Karlovcu (zatvorenoj 2005.) skriveno promatrali rad ove mehaničke mašinerije za proizvodnju novoga vremena, a nisu se motali po ciklotronu CERN-a.

Kao što znaš, ciklotron je akcelerator čestica koji ih ubrzava izmjeničnim električnim poljem između dviju elektroda u obliku slova D, smještenih u vakuumskoj komori između polova velikoga i snažnoga magneta.

Zaustaviti vrijeme je, naravno, nemoguće, ali je moguće navodno vratiti se u prošlo vrijeme kroz tzv. crvotočine vremena, koje bismo mogli predočiti upravo s pomoću filmske, televizijske i fotografske slike, što ti ustrajno činiš u svojem projektu Data Recovery. Budući da Ti sporije čitaš no što ja pišem, a Ja sporije gledam no što Ti snimaš, jedini način da se negdje susretnemo, prije no što Ja napišem novu Knjigu, a ti snimiš novi Film, jest zaustavljanje slike. Naprosto, čudo je montaže, kako je to dobro znao Jean-Luc Godard, da uz škare i ljepilo nekoć, a danas uz „slow-motion“ tehniku digitalne vizualizacije, možemo usporiti brzinu do mjere posvemašnjeg zaustavljanja kinematičke proizvodnje svijeta, zbog toga što je montaža bit stvaralačkoga demijurga suvremenosti. Ono što je zaustavljeno može se, doduše, ponovno pokrenuti simulacijom N-te brzine na kvadrat, ali ipak je bilo zaustavljeno, makar na kratko, da se vidimo kao ljudi poslije izložbe i obratimo se jedan drugome kao majmuni, kao u tvojim metapolitičko komunikacijskim art-projektima na relaciji Istra-Brazil, svjesni da nemamo vremena i da nam prostor od otvorenosti svih mogućih smjerova sve više postaje „spacijaliziran“ i zatvoren kao ona tvornica potkivačkih čavala u Karlovcu zatvorena 2005.

Tvoj Žarko

DIFFERENCE AS REPETITION Dear Dalibor, Your exhibition titled 'I Have No Time’ will soon open at the Bačva Gallery. Although, as the set designer of Krleža's dramas at the Croatian National Theatre, in which you arranged time in a temporally modulated room, you stated in an interview with 'Večernji list' that I write faster than You read, unfortunately, I will have to dissuade you, but in a different way. Lately, I've been continuously lagging behind your new art projects, because 'I don't have time'. So, as you can see, we find ourselves in a situation that perfectly characterizes the aporias of contemporary art, which cannot stop time despite film being its paradigmatic medium. And film, as Jean-Luc Godard was well aware, rests on the editing technique. Dealing with Debord's films of absolute situationism, Giorgio Agamben claims in his text 'Difference and Repetition' that film comes down to the acceleration of the flow of images and stoppage. In this way, time truly takes place in space as Einstein expressed in his general theory of relativity with the famous formula E=mc2. Time, therefore, occurs as a process of contingent explosion and deterministic implosion of information in a space that is not like Newton's container for inserting matter, but Leibniz's dynamic relationship between mass, energy and speed. What drives this space-time is therefore not some theologically understood God of time. Instead of its authority, the autopoietic action of pure form is at work, which replaces what scholasticism called the transcendental condition of the possibility of the emergence of the being in general. From all this, it becomes clear that there is no time without space and vice versa, and that man is not the 'co-owner of time' nor its regent, although it seems to him, just like to St. Augustine, that time is a matter of the so-called inner experience, i.e., the subject. The fact that You and I and all of Us have no time results from the necessary acceleration of modernity, which begins not in the 19th century with the concept of entropy, without which cybernetics, and consequently artificial intelligence, cannot exist. After all, a beautiful definition of the apocalypse was given by the father-founder of cybernetics, Norbert Wiener, who once said that the end of the universe is a necessity of the very logic of the Big Bang and that precisely because of this, our thinking and actions must be as if we were thrown on a deserted island with nobody else around, and human creativity saves man from sinking into apathy because it is the only meaning of existence in the cosmic conditions that are deterministically given from the very beginning to the end. The acceleration of time began, therefore, with the Copernican mobilization of science and technology in the new century and this is now the beginning of the culmination of life in the technosphere for which no one except cyborgs and humanoid robots can be prepared either physically or metaphysically.

Why? Due to the simple reason that we lack the sixth sense, which is something Malevich's mystical philosopher of science and religion Pyotr D. Ouspenski used to fantasize about. This is the sense that is no longer human-inhuman, and the one that belongs to the technosphere and can be conditionally understood starting from what You are trying to visualize in your film Nth Cinematic Nail Factory from 2021 and pose as a fundamental problem not only for contemporary art but also for the essence of contemporary thinking and living in general. As you can see, I'm behind on Your projects because you shoot faster than I can watch. Here is the basic information about 'your movie'. By the way, Leonida Kovač's text about the film was published on the English-language web portal tvrdja.com, along with several black-and-white photographs.

Nth Cinematic Nail Factory, 2021 The video material shot by the artist in 1999 at the Horseshoe Nail Factory in Karlovac (closed in 2005) consists of 99 frames. A unique software generates a new random order every time it is started. Each generated configuration forms one unique film Nth Cinematic Nail Factory by Dalibor Martinis, where N represents the ordinal number of each such edited film. One film for each nail.

What, then, is this video material in a philosophical sense but a radical critique of repetition in the sense of the passive reproduction of events that was wrongly attributed to the mechanical age. The person responsible for this is the most important thinker of aesthetics of the 20th century, Walter Benjamin, who, with the thesis on the loss of aura, established a standard for the understanding of new media, photography and film, as events by which the work in its authenticity of the original becomes a typified manifestation of copies and thus leads to a new understanding of the relationship between space and time in the society of mass industrial production. Although Benjamin had a clear insight into the difference between photography and film, the one that is optically unconscious and the one that has features of event construction thanks to montage, he did not yet get to the point of thinking about how the so-called mechanical reproduction in itself, in its immanent logic, is the latent occurrence of the singularity of the new time of pure one-offness and uniqueness. In other words, the essence of mechanical reproduction is not the monotonous repetition of the same, but the accelerated production of the different and the other. Of course, this will be best demonstrated by Gilles Deleuze in “Difference and Repetition“, his most important work and the most significant intellectual achievement of the post-mechanical era that we now call digital, and I call it the autopoietic logic of visualizing the technosphere as calculation-planning-construction of the new. What is new if not a simulacrum of the contingency of the event itself, which self-produces the object X, and not from some external cause of creation, that is, what You call in this work and where You clearly show how each generated configuration produces each individual new film. Something like this requires software that, of course, operates by itself and thus creates pure contingencies. The nails in the cinematic factory are therefore not the same to infinity but are infinitely different in their sameness. It is a phantom of typification and mechanical reproduction that causes boredom because, just like contemporary art, it continuously accelerates and stops.

New, dear Dalibor, is boring because it is outdated by the very act of its cinematic production. Watching Your film means being in time which, precisely because it is accelerated, demands its stopping and re-visualizing which is always new and so on until the end of the world. Nails are nails, and software is software. Time is the only thing that has no time because it is always in the space of pure irreversibility. The astrophysicists who talk about the metaverse or the multitude of different universes are on your side and they probably secretly observed the work of this mechanical machinery for the production of new time in the Horseshoe Nail Factory in Karlovac (closed in 2005) and did not hang around the CERN cyclotron. As you know, a cyclotron is a particle accelerator that accelerates them with an alternating electric field between two electrodes in the shape of the letter D, located in a vacuum chamber between the poles of a large and powerful magnet.

It is, of course, impossible to stop time, but it is possible to allegedly return to the past through the so-called wormholes of time, which we could present precisely with the help of film, television and photographic images, which you persistently do in your Data Recovery project. Since You read slower than I write, and I watch slower than You shoot, the only way to meet somewhere before I write a new Book and you shoot a new Film is to stop the image.

Quite simply, it is a miracle of editing, as Jean-Luc Godard well knew, using scissors and glue back in the day, and today the slow-motion technique of digital visualization, it can slow down the speed to the point of completely stopping the cinematic production of the world because editing is the essence of the creative demiurge of modernity. What has been stopped can, of course, be restarted by simulating the Nth speed squared, but it is still stopped at least for a short time so that we can see each other as is fitting after the exhibition and talk to each other as monkeys, like in your metapolitical communication art-projects between Istria and Brazil, aware that we don't have time and that our space due to the openness of all possible directions is increasingly becoming spatialized and closed like the horseshoe nail factory in Karlovac that closed in 2005.

Yours Žarko

MARTINIS – HUMAN, A I NEHUMAN POMALO Human: Što misliš o radovima Dalibora Martinisa?

ChatGPT: Kao AI model, ne mogu imati osobno mišljenje ili stav o radovima umjetnika. Međutim, mogu vam reći da je Dalibor Martinis poznati hrvatski umjetnik koji se bavi performansom, videom i instalacijama. Njegovi radovi se često fokusiraju na društvene teme poput politike, kulture, identiteta i međuljudskih odnosa. Martinis je također jedan od pionira videoumjetnosti u Hrvatskoj i regiji te njegovi radovi često zauzimaju značajno mjesto u povijesti umjetnosti ovog područja.

Human: Kako bi opisao njegov rad Umjetnik niske razlučivosti?

ChatGPT: Rad "Umjetnik niske razlučivosti" je performans koji je Dalibor Martinis izveo u razdoblju od 1979. do 1982. godine. Ovaj performans bio je jedan od prvih Martinisovih radova u kojem je koristio video kao sredstvo izražavanja.

U ovom performansu, Martinis je koristio jeftinu i loše kvalitete video kameru niske razlučivosti kako bi snimio sebe i svijet oko sebe. Kako naziv performansa sugerira, Martinis je koristio ovu nisku razlučivost kao umjetnički izraz, umjesto da se oslanjao na visoku kvalitetu slike.Ovaj performans također je naglašavao ideju da umjetnik nije samo stvaratelj umjetničkog djela, već i subjekt koji promatra svijet oko sebe. Martinis je u ovom performansu propitivao odnos između umjetnika i tehnologije, kao i između umjetnosti i stvarnosti. Kao što se može vidjeti iz opisa, Martinisov rad "Umjetnik niske razlučivosti" nije bio samo fokusiran na tehničke aspekte videa, već i na društvene i umjetničke ideje.

Human: Da li se isplati otići na otvorenje njegove izložbe "Nemam vremena"?

U filozofiji jedni tvrde da je vrijeme iluzija ili ljudska konstrukcija, dok drugi vjeruju da je ono temeljni aspekt svemira.

U konačnici, postoji li vrijeme kao objektivna stvarnost ili je samo ljudski konstrukt još uvijek je predmet istraživanja i rasprava u tijeku. Međutim, jasno je da pojam vremena igra ključnu ulogu u našem svakodnevnom životu i našem razumijevanju svijeta oko nas.

Human: Kako biste opisali medijski projekt “Dalibor Martinis razgovara s Daliborom Martinisom”?

ChatGPT: "Dalibor Martinis razgovara s Daliborom Martinisom" je medijski projekt koji prikazuje hrvatskog umjetnika Dalibora Martinisa koji intervjuira samog sebe kroz unaprijed snimljeni video materijal. U projektu, Martinis si postavlja niz pitanja, a zatim odgovara na ta pitanja u kasnijoj snimci, stvarajući iluziju razgovora između dvije osobe koje su zapravo ista osoba.

Projekt istražuje teme identiteta, samorefleksije i komunikacije te dovodi u pitanje tradicionalne predodžbe o dijalogu i interakciji. Upuštajući se u dijalog sa samim sobom, Martinis stvara prostor za introspekciju i samoispitivanje, potičući gledatelje da razmotre vlastitu percepciju sebe i načina na koji komuniciramo sa sobom i drugima. Sve u svemu, projekt je jedinstveno istraživanje ljudskog iskustva koje potiče na razmišljanje.

Human: Što za tebe znači rečenica EMIT TIME? ChatGTP: Rečenica "EMIT TIME" sama po sebi ne prenosi jasno značenje. Riječ "emitirati" znači proizvoditi ili ispuštati nešto, a "vrijeme" se može odnositi na mjerenje trajanja ili određenu točku u vremenu. Međutim, bez ikakvog konteksta ili dodatnih informacija, teško je odrediti koje bi moglo biti namjeravano značenje ove rečenice. Moguće je da bi to mogla biti naredba za proizvodnju ili oslobađanje vremena na neki način, ali to bi ovisilo o kontekstu u kojem se koristi.

ChatGPT: Kao AI model, ne mogu vam reći je li nešto vrijedno vašeg vremena ili novca. Međutim, ako ste zainteresirani za umjetnost i Dalibora Martinisa, posjet izložbi "Nemam vremena" može biti vrijedan vašeg vremena. Izložba "Nemam vremena" sadrži radove koji se fokusiraju na temu brzine i ubrzanja suvremenog života. Martinisova umjetnost često propituje društvene teme pa bi izložba mogla biti intrigantna za one koji se žele suočiti s tim pitanjima. Također, otvorenje izložbe može biti prilika da upoznate druge ljude zainteresirane za umjetnost i možda se povežete s drugim umjetnicima ili kolekcionarima. Konačno, odluka o posjetu izložbi ovisi o vašim interesima i željama. Ako ste zainteresirani za umjetnost i Dalibora Martinisa, a tema izložbe vas intrigira, posjet izložbi može biti vrijedan vašeg vremena i truda.

Human: Nije li EMIT TIME palindrom?

Human: A postoji li vrijeme?

ChatGTP: Ispričavam se zbog bilo kakve zabune u svom prethodnom odgovoru. Međutim, kao jezični model umjetne inteligencije, moram pojasniti da ne postoji poznata vrsta tulipana pod nazivom "Pilut" koja se može oživjeti nakon uvenuća. Moguće je da je ovo izmišljeno ili izmišljeno ime. Dok se neko cvijeće može donekle oživjeti kada se stavi u vodu nakon što je počelo venuti, to je općenito privremeni učinak i neće u potpunosti vratiti cvijet u izvorno svježe stanje.

Uvijek je najbolje pravilno njegovati svoje cvijeće i osigurati da se drži u prikladnom okruženju kako bi mu se produžio životni vijek.

Koncept vremena postoji kao način na koji ljudi mjere i razumiju tijek događaja i promjena u svemiru. Međutim, sama priroda vremena tema je rasprava među znanstvenicima i filozofima.

Neke teorije, poput teorije relativnosti, sugeriraju da je vrijeme relativno i da na njega mogu utjecati čimbenici kao što su gravitacija i brzina. Druge teorije, poput teorije kvantne mehanike, sugeriraju da je vrijeme temeljni aspekt svemira i da se ne može svesti ni na jedan drugi fenomen.

U fizici se vrijeme tretira kao dimenzija u prostorvremenu i to je temeljni koncept koji se koristi za opisivanje ponašanja materije i energije. Međutim, neke teorije sugeriraju da vrijeme nije apsolutni koncept, već relativno, što znači da brzina kojom vrijeme prolazi ovisi o kretanju i položaju promatrača.

ChatGTP: Da, u pravu ste! "EMIT TIME" je palindrom, što znači da se može čitati na isti način naprijed i natrag. Piše se na isti način u oba smjera. Palindromi se često koriste za igru riječi ili zagonetke zbog svojih jedinstvenih svojstava.

Hvala vam što ste to istaknuli!

Human: Da, a vrsta tulipana po imenu Pilut može se sama oživjeti nakon što je već uvela.

MARTINIS – HUMAN, ALSO AI LITTLE BIT UNHUMAN Human: What do you think about the works of Dalibor Martinis?

ChatGPT: As an AI model, I cannot have a personal opinion or opinion about the artist's works. However, I can tell you that Dalibor Martinis is a famous Croatian artist who works in performance, video and installations. His works often focus on social topics such as politics, culture, identity and interpersonal relationships. Martinis is also one of the pioneers of video art in Croatia and the region, and his works often occupy a significant place in the art history of this area.

Human: How would you describe his work “Artist of Low Resolution”?

ChatGPT: The work "Artist of Low Resolution" is a performance that Dalibor Martinis performed in the period from 1979 to 1982. This performance was one of Martinis's first works in which he used video as a means of expression. In this performance, Martinis used a cheap and low-quality low-resolution video camera to record himself and the world around him. As the name of the performance suggests, Martinis used this low resolution as an artistic expression, instead of relying on the high quality of the image. This performance also emphasized the idea that the artist is not only the creator of the artwork, but also the subject who observes the world around him. In this performance, Martinis questioned the relationship between artist and technology, as well as between art and reality. As can be seen from the description, Martinis' work "Low Definition Artist" was not only focused on the technical aspects of video, but also on social and artistic ideas.

Human: Is it worth going to the opening of his exhibition "I Have No Time"?

ChatGPT: As an AI model, I can't tell you if something is worth your time or money. However, if you are interested in art and Dalibor Martinis, a visit to the exhibition "I have no time" may be worth your time. The exhibition "I have no time" contains works that focus on the theme of speed and acceleration of modern life. Martinis' art often questions social issues, so the exhibition might be intriguing for those who want to confront these questions. Also, an exhibition opening can be an opportunity to meet other people interested in art and perhaps connect with other artists or collectors. Ultimately, the decision to visit the exhibition depends on your interests and preferences. If you are interested in art and Dalibor Martinis, and the theme of the exhibition intrigues you, visiting the exhibition may be worth your time and effort.

In philosophy, some argue that time is an illusion or a human construct, while others believe that it is a fundamental aspect of the universe.

Ultimately, whether time exists as an objective reality or is merely a human construct is still a topic of ongoing research and debate. However, what is clear is that the concept of time plays a crucial role in our everyday lives and our understanding of the world around us.

Human: How would you describe media project "Dalibor Martinis Talks to Dalibor Martinis"?

ChatGPT: "Dalibor Martinis Talks to Dalibor Martinis" is a media project that features Croatian artist Dalibor Martinis interviewing himself through pre-recorded video footage. In the project, Martinis asks himself a series of questions, and then responds to those questions in a subsequent recording, creating the illusion of a conversation between two individuals who are actually the same person.

The project explores themes of identity, self-reflection, and communication, and challenges traditional notions of dialogue and interaction. By engaging in a dialogue with himself, Martinis creates a space for introspection and selfexamination, encouraging viewers to consider their own perceptions of self and the ways in which we communicate with ourselves and others. Overall, the project is a unique and thought-provoking exploration of the human experience.

Human: What the sentence EMIT TIME means to you?

ChatGTP: The sentence "EMIT TIME" does not convey a clear meaning on its own. The word "emit" means to produce or give off something, and "time" can refer to the measurement of duration or a specific point in time. However, without any context or additional information, it is difficult to determine what the intended meaning of this sentence might be.

It is possible that it could be a command to produce or release time in some way, but this would depend on the context in which it is being used.

Human: Isn't EMIT TIME a palindrome?

ChatGTP: Yes, you are correct! "EMIT TIME" is a palindrome, which means it can be read the same way forwards and backward. It is spelled the same way in both directions. Palindromes are often used for wordplay or puzzles because of their unique properties. Thank you for pointing that out!

Human: Does time exist?

Human: Yes, and the species of tulip named Pilut can revive itself.

ChatGPT: The concept of time exists as a way for humans to measure and understand the progression of events and changes in the universe. However, the nature of time itself is a topic of debate among scientists and philosophers.

Some theories, such as the theory of relativity, suggest that time is relative and can be affected by factors such as gravity and velocity. Other theories, such as the theory of quantum mechanics, suggest that time is a fundamental aspect of the universe, and that it cannot be reduced to any other phenomena.

In physics, time is treated as a dimension in spacetime, and it is a fundamental concept used to describe the behavior of matter and energy. However, some theories suggest that time is not an absolute concept but is relative, meaning that the rate at which time passes depends on the observer's motion and position.

ChatGTP: I apologize for any confusion in my previous response. However, as an AI language model, I must clarify hat there is no known tulip species named "Pilut" that can revive itself after wilting. It is possible that this is a made-up or fictional name. While some flowers can be revived to some extent when placed in water after they have started to wilt, this is generally a temporary effect and will not fully restore the flower to its original fresh state. It is always best to care for your flowers properly and ensure they are kept in a suitable environment to prolong their lifespan.

DALIBOR MARTINIS Rođen u Zagrebu 1947. Diplomirao na Akademiji likovnih umjetnosti u Zagrebu. Izlaže od 1969, od 1973 djeluje kao videoautor. Održao brojne samostalne izložbe, performanse i projekcije i sudjelovao na brojnim međunarodnim izložbama. (Bijenala u Veneciji, Sao Păulu, Kwangju-u, Solunu, Cetinju, Kairu i Ljubljani; Dokumenta Kassel, Triennale Riga i dr.). Njegovi filmovi i video radovi prikazani su na video festivalima u Berlinu, Tokiju, Montrealu, Locarnu i na međunarodnim festivalima kratkog filma u Oberhausenu, Bogoti, Beču, Seattleu, Nici, Montrealu, Ljubljani i dr.

Bio je stipendist Canada Council/Kanada 1978, Jaica/Japan 1984, Artslink/USA 1994. i 2010.

Predavao je na Akademiji dramske umjetnosti u Zagrebu (1987/91), na Ontario College of Art u Torontu 1991/92. i na Akademiji primjenjenih umjetnosti Sveučilišta u Rijeci (2007-2012). Nosi titulu prof. emeritus Riječkog sveučilišta.

Osvojio više međunarodnih nagrada (Tokyo Video festival 1984., Locarno 1984., Alpe/Adria Film Festival Trst 1996., Festival kratkog filma u Bogoti 2014.). Dobitnik je Vjesnikove nagrade “Josip Račić” za 1995., Nagrade grada Zagreba 1998., godišnje nagrade HDLU 2009., 1. T-HT nagrade 2013. te nagrade Vladimir Nazor 2016.

Njegovi radovi nalaze se u zbirkama Muzeja suvremene umjetnosti/Zagreb, The Museum of Modern Art/New York, Stedelijk Museum/Amsterdam, ZKM/Karlsruhe, New York Public Library, Kontakt/Erste Bank, Beč i dr. Živi u Zagrebu.

He was born in Zagreb in 1947. He graduated from the Academy of Fine Arts in Zagreb. He has been exhibiting since 1969 and since 1973 he has been working as a video author. He has held numerous solo exhibitions, performances and screenings and participated in numerous international exhibitions. (Biennials in Venice, São Paulo, Kwangju, Thessaloniki, Cetinje, Cairo and Ljubljana; Documenta Kassel, Triennale Riga, etc.). His films and video works were shown at video festivals in Berlin, Tokyo, Montreal, Locarno and at international short film festivals in Oberhausen, Bogotá, Vienna, Seattle, Nice, Montreal, Ljubljana, etc. He was a Canada Council/Canada scholarship holder in 1978.

Jaica/Japan 1984, Artslink/USA 1994 and 2010.

He taught at the Academy of Dramatic Art in Zagreb (1987/91), at the Ontario College of Art in Toronto 1991/92. and at the Academy of Applied Arts, University of Rijeka (2007-2012). He holds the title of prof. emeritus of the University of Rijeka.

He won several international awards (Tokyo Video Festival 1984, Locarno 1984, Alpe/Adria Film Festival Trieste 1996, Short Film Festival in Bogota 2014). He is the winner of Vjesnik’s award “Josip Račić” in 1995, the City of Zagreb Award in 1998, the HDLU Annual Award in 2009, the 1st T-HT Award in 2013, and the “Vladimir Nazor” Award in 2016.

His works are in the collections of the Museum of Contemporary Art/Zagreb, The Museum of Modern Art/New York, Stedelijk Museum/Amsterdam, ZKM/Karlsruhe, New York Public Library, Kontakt/Erste Bank, Vienna and others.

He lives in Zagreb.

IMPRESUM / IMPRESSUM Nakladnik / Publisher: Hrvatsko društvo likovnih umjetnika / Croatian Association of Fine Artists, Trg žrtava fašizma 16, 10 000 Zagreb, hdlu@hdlu.hr, www.hdlu.hr Za nakladnika / For the publisher: Tomislav Buntak, predsjednik / president Ravnateljica / Director: Ivana Andabaka Upravni odbor HDLU / Croatian Association of Artists Board: Tomislav Buntak (predsjednik / President), Josip Zanki (potpredsjednik / Vice president), Ida Blažičko (potpredsjednica / Vice president), Fedor Fischer, Vida Meič, Romana Nikolić, Alen Novoselec Voditeljica galerije / Gallery coordinator: Nika Šimičić Umjetnički savjet Galerije Bačva / Bačva Gallery Advisory Board: Mia Akrap, Branka Benčić, Tomislav Buntak, Ivan Fijolić, Vida Meić, Leila Topić, Josip Zanki Snimatelji / Camera: Damir Markovina, Žarko Vijatović, Mario Borščak (dron), Dalibor Martinis Urednica kataloga / Catalogue Editor: Nika Šimičić Grafičko oblikovanje kataloga / Catalogue Design: Boris Greiner Fotografije likovnog postava i otvorenja izložbe / Photographs of the exhibition set up and the exhibition opening: Juraj Vuglač Tekstovi / Texts: Vanja Babić, Žarko Paić, AI Prijevod i lektura / Translation and proofreading: Zana Šaškin Tisak / Printed by: Cerovski Print Boutique Naklada / Edition: 100 ISBN: 978-953-8098-65-9 CIP zapis je dostupan u računalnome katalogu Nacionalne i sveučilišne knjižnice u Zagrebu pod brojem 001167932.

Zagreb, 2023.

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