GMK: Shakespeare Among Us by Matija Prica

DIMItrIje BaŠIČevIĆ MaNGeLOS tOMISLaV GOtOVaC MLaDeN StIlINOVIĆ SaNja IVeKOVIĆ DalIBOr MarTINIS SVeN StILINOVIĆ VLaDO MarteK IGOr GruBIĆ GOraN trBuljaK ” SHaKeSPeare MeĐu Nama” / ”SHaKeSPeare aMONG uS” 14/11 9/12 2o17 Kustosica / Curator BrANKA STIPANČIĆ

Otvorenje / Opening 14. 11. / NOV 14 / 20.00 h

FOTO / PHOTO : Vlado Martek: Shakespeare među nama / Shakespeare Among Us, 2005 | DIZAJN / DESIGN : Ivan Klis, 2017

Video Chanoyu Sanje Iveković i Dalibora Martinisa kroz ”čitanje” Kakuza Okakure, koji piše o osnovama tradicionalne ceremonije ispijanja čaja, otkriva zen u scenama iz suvremenog života. Estetska i značenjska interakcija proizvodi se unutar samog djela i pokazuje kako umjetnik čita povijest i kako se u nju uključuje. Gotovčevi autoportreti iz 1960-ih hommage su ruskim ratnim i američkim detektivskim filmovima, francuskom pjesniku Jacquesu Prévertu, piscu scenarija i drugima. Oni su neka vrsta fotografskih eseja o filmskom mediju. Dio umjetnika negira ili ironizira temu vlastitog interesa i polemizira sa svojim izvorom. Mangelosovi Manifesti imaju uporište u različitim humanističkim i znanstvenim disciplinama. Mangelos se sa samosviješću filozofa skeptika koji je posumnjao u umjetnost sporio s čitavom plejadom likova svodeći svoje misli na kratke i precizne, ili, kako je sam rekao, ”superwittgensteinovske” teze, ispisujući ih na drvenim tablama, globusima i knjižicama. Devetero umjetnika sa zagrebačke umjetničke scene predstavlja svoje radove koji za reference imaju ideje drugih umjetnika, književnika, filozofa, psihoanalitičara, fizičara, režisera, muzičara, teoretičara filmske i video umjetnosti… Radovi su nastali u rasponu od 1960-ih godina do danas, afirmiraju erudiciju i maštu umjetnika i traže angažman gledatelja od kojeg se očekuje da, kao i umjetnik, poznaje druge autore jer upravo oni tvore kontekst za nove poruke pojedinih djela.

Kompleksnost radova proizlazi iz širine interesa ovih umjetnika, iz njihovih kritičkih i analitičkih stavova, citiranja, aludiranja, evociranja, iz reminiscencija… I na kraju Igor Grubić, umjetnik srednje generacije, u radu Crvena eskadrila — Slobodni let poezije, vraća priču na početak referirajući se na poetske agitacije Vlade Marteka iz 1970-ih akcijom bacanja papirnatih aviona s pjesmama koje je stariji umjetnik za njega odabrao. Pozivajući se na Marchela Duchampa Goran Trbuljak u svom radu Wow, Wow i ready-made proglašava sve frameove iz filmova koje je snimio za ready-made: “Godard je rekao da je film istina 24 puta u sekundi, Haneke da je to laž 24 puta u sekundi, dok je film za mene 24 snimljena ready-madea u sekundi.” Umjetnici tijelo postavljaju u odnos prema tekstu. Fotografiju svoga zavezanog tijela Sven Stilinović jukstaponira tekstovima Karla Marxa upućujući na slobodarske tradicije anarhizma, dok Mladen Stilinović u Donjem rakursu nudi svoju interpretaciju uputa koje je u Filmskom jeziku dao teoretičar filma Jerzy Plazewski. Vlado Martek ”preveo” je niz poetskih situacija u područje likovnoga. Njegova je ”poezija krenula u akciju”: poetskim agitacijama na ulici pozivao je ljude na čitanje Majakovskog, Rimabauda, Mallarméa i drugih; od snijega u šumi podigao je spomenik André Bretonu; konturama europskih država u svojim slikama i grafikama razvijao je složene naracije o crvenom Balkanu — melting potu krvavih kraljeva, komičnih i romantičnih šekspirijanskih junaka — okruženom zemljama označenima imenima njihovih civilizacijskih dosega: estetike, psihoanalize, lingvistike, antropologije, filozofije i etike u Shakespeare među nama.

SHAKESPEArE MEĐU NAMA

Gotovac’s self-portraits from the 1960s are a homage to Russian war and American detective films, the French poet and screenwriter Jacques Prévert, and others. They represent a kind of photographic essay about the film medium. Other works in the exhibition are not that prone to criticism. Media artist Dalibor Martinis often uses ludic elements. He hangs a turned-on TV from the ceiling and covers it with a black sheet so that it would ”sing like a canary”, and dedicates it to John Cage. Sven Stilinović ironizes tautological conceptual works by Joseph Kosuth with the photograph Kosuth’s Teeth, while Mladen Stilinović uses quotes by Ludwig Wittgenstein, which he inscribes on chopping blocks, in a game of naming and ”political correctness” in My Sweet Little Lamb. Some of the artists negate or ironize the subject of their interest and polemicize with their source. Mangelos’s Manifests are grounded in various humanistic and scientific disciplines. With the self-awareness of a skeptic philosopher who questions art, Mangelos spars with a whole range of characters, reducing his thoughts to short and precise, or, as he himself put it, ”super-Wittgensteinian” theses, inscribing them on wooden boards, globes and booklets. Nine artists from the Zagreb art scene present their works which reference the ideas of other artists, writers, philosophers, psychoanalysts, physicists, directors, musicians, film and video art theorists … The works have been created in the period from the 1960s to the present and they affirm the artists’ erudition and imagination, counting on the engagement of viewers, who are expected to be familiar with the other authors since they provide the context for new messages of individuals works.

BRANKA STIPANČIĆ The complexity of the works derives from the large range of these artists’ interests and their critical and analytic attitudes, quotations, allusions, evocations, reminiscences… Finally, Igor Grubić, an artist of the middle generation, in his work Red Escadrille — Free Flight of Poetry brings the story back to the beginning by referring to Martek’s poetic agitations from the 1970s with his action involving throwing paper planes containing poems selected for him by the older artist. Referring to Marcel Duchamp, in his work Wow, Wow and Readymade Goran Trbuljak proclaims all the frames from his films readymades: ”Godard said that the cinema is truth 24 times per second, Haneke said that it is lies 24 times per second, and for me it is 24 readymades per second.” The artists put the body in an interrelation with the text. Sven Stilinović juxtaposes the photograph of his restrained body with Karl Marx’s texts, thereby referring to the freedom-loving tradition of anarchism, while Mladen Stilinović in his Low Angle, offers his interpretation of the instructions provided by the film theorist Jerzy Plazewski in The Language of Film. Vlado Martek ”translates” a series of poetic situations into the sphere of art. His ”poetry has gone into action”: his poetic agitations invite people to read Mayakovsky, Rimbaud, Mallarmé and others; in the woods he erected a monument to André Breton made of snow; in his contours of European states in his pictures and graphics he developed complex narratives about the red Balkans — a melting pot of bloody kings and comical and romantic Shakespearean heroes — surrounded by countries named after their contributions to civilization: aesthetics, psychoanalysis, linguistics, anthropology, philosophy and ethics in Shakespeare Among Us.

SHAKESPEArE AMONG US

WOW, WOW & rEADYMADE

Warhol iz svoga filma Kiss izvlači dva kvadrata, uvećava ih i stavljanjem između pleksiglasa stvara objekt, Gotovac posvaja inserte iz tuđih Filmovi u kojima su predmeti crtani rukom su hand-made, a oni gdje su snimljene već postojeće filmova i naziva ih Osjećaj 1, 2, 3… i ready-made filmovima, dok Buren svoja industrijski obojana stvari su ready-made. prugasta platna, koja jesu ready-madeovi, uopće Ako vjerujemo da je Duchamp u mediju filma ne zove tako, a fotografije instalacija tih platna našao inspiraciju za ideju o ready-madeu, naziva photo-souvenir i vrlo je striktan oko gdje svaki snimljeni stvarni predmet odabran iz toga da ih ne izlaže. Ono što ja nazivam readyživota na ekranu postaje izdvojen, uvećan, važan, made ne pokazujem posebno, to ostaje tamo onda vraćajući se toj njegovoj prvotnoj polaznoj gdje je snimljeno — na filmskoj vrpci, dok one točki, svaki predmet u nekom filmu koji sam fotografije na kojima se vidi kako snimam neke snimio postaje za mene ready-made zabilježen od 3710880,216 ready-madea zovem foto na filmskoj traci. suvenirima i njih izlažem. Režiseri s kojima sam radio filmove snimali su Svjetlomjer je predmet koji je bio pomoćno ljude, likove i priče, ja sam snimao predmete. sredstvo pri snimanju 150440,103 readyU gotovo svakom fotogramu filmske vrpce filmova madea i on se može izlagati. koje sam snimao snimljen je i neki ready-made. Knjiga o filmskoj tehnici bila je pomoćno sredstvo pri snimanju 15044,103 ready-madea GODARD JE REKAO DA JE FILM ISTINA 24 i može se izlagati. PUTA U SEKUNDI, HANEKE DA JE TO LAŽ 24 PUTA U SEKUNDI, DOK JE FILM ZA MENE Pan-glass je predmet koji je bio pomoćno 24 SNIMLJENA READY-MADEA U SEKUNDI. sredstvo pri snimanju 3710880,216 ready-madea i može se izlagati. Itd. U filmu čije je trajanja 95 minuta snimio sam 137440,008 ready-madea. Kad ljudima pokažem fotografije nekih predmeta, oni kažu: “Wow”. Broj ready-madea koje sam snimio, u c/b ili koloru, u razdoblju od trideset godina iznosi Zatim im pokažem kameru s kojom sam ih 3710880,216, u 27 filmova čija je minutaža snimio, a oni tad kažu: ”Wow, wow”. Zaključio 95 minuta, i u kojima su snimana 24 ready-madea sam da je bolje pokazati instrument s kojim u sekundi. sam nešto snimao nego samu sliku. Broj od 3710880,216 takvih ready-madea ipak Od Duchampove Fountain iz 1917. prošlo je, je aproksimativan jer podrazumijeva da su svi dakle, svega sto godina, što je tek djetinjstvo filmovi, bez naslovnica i odjavnica, iste dužine te ready-madea ako ga usporedimo s tehnikom da su neki predmeti snimani u više kvadrata ulja na platnu koje je staro 500 godina. filmske vrpce od ostalih. Za petsto ili više godina ljudi će i dalje raditi ready made, ali možda više neće biti filma, niti Neki sve posvajaju od drugih, ja posvajam samo će se znati tko je napravio Fountain. ono što je autorski već 1/3 moje. GORAN TRBULJAK, 2017.

I categorize the films that I’ve made into handmade and readymade films.

and he calls the photographs of those canvases photo-souvenirs but he doesn’t exhibit them.

Handmade films are those in which objects are drawn by hand, and readymade films are those in which actual, already existing things are recorded.

What I call my readymades I expressly do not show, it stays where it was shot; on film tape, while the photos which show me shooting some of the 3710880,216 readymades are called photo-souvenirs and those I do exhibit.

If we believe that Duchamp found inspiration for his idea of the readymade in the medium of film, where every recorded object taken from life becomes isolated, enlarged, significant, then returning to his starting point, every object in the films that I’ve made becomes for me a readymade recorded on film. The directors that I worked with shot people, characters and stories, while I shot objects. In almost every photogram of film tape of every film that I ever made, a readymade is present.

The light meter is an object that used to be an auxiliary tool for shooting 150440,103 readymades and it can be exhibited. A book about film techniques was an auxiliary tool for shooting 15044,2013 readymades and it can be exhibited. A pan-glass is an object that was an auxiliary too for shooting 3710880,216 readymades and it can also be exhibited. Etc. When I show people photographs of some objects they say: ”Wow”. Then I show them the camera I used, and they say: ”Wow, wow”.

GODARD SAID THAT THE CINEMA IS TRUTH 24 TIMES PER SECOND, HANEKE SAID THAT IT IS LIES 24 TIMES PER SECOND, AND I’ve come to the conclusion that it is better to FOR ME IT IS 24 READY-MADES PER SECOND. show the instrument that was used for shooting In films that last 95 minutes, I shot 137440,008 than the image itself. readymades. Since Duchamp’s Fountain, 1917, it has only been 3710880,216 is the number of readymades that I’ve shot, in black and white or in color, over the period of thirty years in 27 films that last 95 minutes, and in which there were 24 readymades shot per second.

The number of 3710880,216 such readymades is, however, approximate because it implies that all films, without opening and closing credits, have the same length, and that some objects were given more frames than others. Some people adopt from others I adopt only that which is already 1/3 mine From his film Kiss Warhol extracts two frames, enlarges them, and by placing them in plexiglass creates an object, Gotovac adopts inserts from other people’s films entitles them, Feeling 1, 2, 3, etc. and readymade films, while Buren doesn’t even use that term for his industrially painted striped canvases, which are readymades,

Šid, 1921 – Zagreb, 1987

1 MANIFEST O JEDNOM BIVŠEM ČOEKU | MANIFESTO ON AN EX-MAN C. 1977 – 1978 ”learning how to be above people / he forgot how to be a man” Akril na dasci | Acrylic on board, 46 × 30,5 cm

a hundred years, which is merely the readymade’s childhood if we compare it to the oil painting technique which is 500 years old. In 500 or more years people will still be making readymades but perhaps there will be no films anymore nor will anyone know who made the Fountain. GORAN TRBULJAK, 2017

Otisnuo sam izabranu poeziju na crvenim papirima i od njih napravio papirne avione koje sam potom bacao s krova ‘Mamutice’, najveće i najnastanjenije zgrade sagrađene u periodu socijalizma u Zagrebu.” (I. G.)

1 DONJI RAKURS | LOW ANGLE, 1978 Olovka na papiru, c/b fotografije | Pencil on paper, b/w photographs, 4 × (27.6 × 29.5 cm)

2 JANJE MOJE MALO | MY SWEET LITTLE LAMB, 1993 Štambilj i flomaster na daskama | Stamp and felt pen on wooden boards, 9 × (31.5 × 15 cm) 3 ČOKOLADA – HEIDEGGER | CHOCOLATE – HEIDEGGER, 2015 Diptih: akril na platnu | Diptych: acrylic on canvas, 20 × 25 cm; diameter 20 cm

Drugi radovi na izložbi nisu tako skloni kritici. Ludički elementi česti su kod medijskog umjetnika Dalibora Martinisa koji je upaljeni televizor objesio sa stropa i prekrio ga crnom krpom ”kako bi propjevao kao kanarinac”, i posvetio ga Johnu Cageu. Sven Stilinović ironizira tautološke konceptualne radove Josepha Kosutha fotografijom Kosuthovi zubi, a citati Ludwiga Wittgensteina koje je ispisao na daskama za rezanje mesa poslužili su Mladenu Stilinoviću u igri imenovanja i ”političke korektnosti” u My Sweet Little Lamb.

BRANKA STIPANČIĆ

The video work Chanoyu by Sanja Iveković and Dalibor Martinis, through a ”reading” of Okakura Kakuzō, who writes about the Japanese tea ceremony, reveals zen in scenes in everyday life. The aesthetic and meaningful interaction is produced within the work itself, showing how the artist reads history and how s/he engages with it.

WOW, WOW I rEADY-MADE Filmove koje sam radio dijelim na hand-made i ready-made filmove.

DIMITrIJE BAŠIČEVIĆ MLADEN STILINOVIĆ Beograd, 1947 – Pula, 2016 MANGELOS

SVEN STILINOVIĆ Zagreb, 1956

1 KOUSTEETH (KOSUTHOVI ZUBI | JOSEPH KOSUTH’S TEETH), 1980 c/b fotografija | b/w photograph, 17,8 × 24 cm, Ed. 2/7, printed in 2015 2 BEZ NAZIVA (VEZANA FIGURA) | UNTITLED (BOUND FIGURE), 1980 Flomaster na papiru i c/b fotografija | Felt pen on paper and b/w photograph, 19 × 20 cm; 40 × 30 cm

SANJA IVEKOVIĆ

Zagreb, 1949 2 ŠIDSKA TEORIJA (NO-ART) | SHID-THEORY (NO ART), 1978 Sitotisak na papiru | Silkscreen on paper, 35 × 25 cm, 4 stranice | sheets Izdanje umjetnika, povodom izložbe u Podroomu, Zagreb, 1978 | Artist’s edition, published on the occasion of exhibition at Poodrum, Zagreb, 1978 3 MANIFESTI | MANIFESTOS, 1978 Sitotisak na papiru | Silkscreen on paper, 20,4 × 15 cm Izdanje umjetnika povodom izložbe u ATD | Artist’s edition published on the occasion of exhibition at ATD, Zagreb

TOMISLAV GOTOVAC Sombor, 1937 – Zagreb, 2010

DALIBOr MArTINIS Zagreb, 1947

1 CHANOYU, 1983 Video, kolor, zvuk | Video, color, sound, 11’ Produkcija | Production: Video CD’83, Open edition ”Jednostavnost, unutarnji mir, harmonija, postizanje istančanosti posve prirodnim sredstvima — to su, kako kaže autor istoimene knjige Kakuzo Okakura, osnovne vrijednosti Chanoyu, tradicionalne japanske čajne ceremonije. Koristeći se jednom tipičnom bračnom svađom uz instant čaj i uključeni televizor taj se video bavi naoko suprotnom temom. No, prividno izgubljeno suglasje ipak je tu. Ispod površine očiglednog, u minimalnim gestama i pogledima, u pokretima predmeta i zvukovima koje pri tome proizvode, kriju se ljepota i sklad.” (D. M.) ”Simplicity, serenity, harmony, achievement of great subtlety through entirely natural means — these are, as Kakuzo Okakura writes in his eponymous book, the main values of ’chanoyu’, the traditional Japanese tea-ceremony. By using a typical conjugal quarrel, with instant-tea and with the TV on, the video deals with the seemingly opposite subject. But, the apparently lost unity is still here. Below the surface of the obvious, in minimal gestures and looks, in movements of the objects and sounds that they make, there is beauty and harmony.” (D. M.)

1 GLAVE | HEADS, 1960 C/b fotografije | B/w photographs, 5 × (60 × 50 cm), Digitalni tisak, Ed. 2/5

Rekviziti korišteni u ovoj seriji fotografija su objekti korišteni pri izradi filmova. Serija fotografija je vrsta foto eseja o mediju filma.” (T. G.) ”Myself in front of a film developing bowl, a light bulb, wire around the neck, mirror, cigarette in my mounth: this photograph is a tribute to Jacques Prévert and the films for which he wrote the scripts: * QUAI DES BRUMES / Port of Shadows * LE JOUR SE LEVE / Daybreak * LES ENFANTS DU PARADIS / The Children of Paradise.“ The props used in this series are objects used in film-making. The series is a kind of photographic essay about the medium of film.” (T. G.) 2 PRAVAC (STEVENS-DUKE) | STRAIGHT LINE (STEVENS-DUKE), 1964 16 mm film, C/b, zvuk | B/w, sound, 6‘40‘‘ (on DVD)

Zagreb, 1951

1 ČITAJTE PJESME HÖLDERLINA, RIMBAUDA, MALLARMÉA, TRAKLA, MANDELJŠTAMA, PESSOE, CELANA | READ THE POETRY OF HÖLDERLIN, RIMBAUD, MALLARMÉ, TRAKL, MANDELJŠTAM, PESSOA, CELAN, 2008 Offset na papiru | Offset on paper, 29.5 × 41.5 cm, Naklada | Edition of 100

GOrAN TrBULJAK Varaždin, 1948

1 WOW, WOW I READY-MADE | WOW, WOW AND READY MADE, 2017 Tekst na zidu, knjiga snimanja, panglas | Wall text, panglass

2 ETIKA I ESTETIKA | ETHICS AND AESTHETICS, 1996 c/b fotografija | b/w photograph, 59 × 44.5 cm, Ed. 3/5, printed in 2015

2 FONTANA | FOUNTAIN, 2017 Ink jet print na platnu i c/b fotografija | Ink jet print on canvas and b/w photograph, 2 × 30 × 20 cm 3 DOSTOJEVSKI | DOSTOYEVSKY, 1991 Akril na platnu | Acrylic on canvas, 70 × 50 cm

★

4 DERRIDA, 1995 Sitotisak na papiru | Silkscreen on paper, 33 × 42 cm, Ed. 6/35 5 SHAKESPEARE MEĐU NAMA | SHAKESPEARE AMONG US, 2005 Sitotisak na papiru | Silkscreen on paper, 70 × 100 cm, Ed. 15/35 6 NEVIDLJIVI TRST 3 | INVISIBLE TRIESTE 3, 2010 Sitotisak na papiru | Silkscreen on paper, 33 x 42 cm, Ed. 26/30

”Ja ispred posude za razvijanje filma, žarulja, žica oko vrata, ogledalo, cigareta u ustima: ova fotografija je posveta Jacquesu Prévertu i filmovima za koje je napisao scenarije: * QUAI DES BRUMES / Obala u magli * LE JOUR SE LEVE / Dan se rađa * LES ENFANTS DU PARADIS / Djeca raja

VLADO MArTEK

”I asked Vlado Martek, inspired by his wellknown actions ‘Read the poetry of Hölderlin, Rimbaud, Mallarmé, Trakl, Mandeljštam, Pessoa, Celan’, to select one poem by each of the seven — in the opinion of Vlado Martek, most relevant — poets. I printed the selected poetry on red papers and made paper airplanes which I then threw from the roof-top of the Mamutica (’the Gigant’) building — the largest and the most populated building, made in the period of socialism in Zagreb”. (I. G.)

IGOr GrUBIĆ DALIBOr MArTINIS

1 SLIKA JE VIRUS | IMAGE IS VIRUS, 1983 Video, kolor, zvuk | Video, color, sound, 15’30’’ Produkcija | Production: Meatball, Den Haag Open edition 2 “KAVEZ”– HOMMAGE JOHNU CAGEU | ”CAGE”– HOMAGE TO JOHN CAGE, 1990 Instalacija | Installation ”TV monitor obješen sa stropa prekriven crnom krpom da pjeva kao kanarinac” | ”TV monitor hanging from the ceiling covered with a black sheet to sing like a canary” (D.M.)

Zagreb, 1969

1 CRVENA ESKADRILA (SLOBODAN LET POEZIJE) | RED ESCADRILLE (THE FREE FLIGHT OF POETRY), 2008 Kolor fotografije i tekst na papiru | Color photographs and text on paper, 90 × 120 cm, Ed. 3/5 Mali papirni avioni | Small paper airplanes

IMPrESUM SHAKESPEARE MEĐU NAMA | SHAKESPEARE AMONG US 14/11– 9/12/2017 IZDAVAČ | PUBLISHER Galerija Miroslav Kraljević, 2017. KUSTOSICA/UREDNICA KATALOGA | CURATOR/EDITOR Branka Stipančić UMJETNICI | ARTISTS Dimitrije Bašičević Mangelos, Tomislav Gotovac, Igor Grubić, Sanja Iveković, Vlado Martek, Dalibor Martinis, Mladen Stilinović, Sven Stilinović, Goran Trbuljak PRIJEVOD | TRANSLATION Tihana Bertek LEKTURA | PROOFREADING Dušanka Profeta

”Zamolio sam Vladu Marteka, potaknut njegovim poznatim akcijama ’Čitajte pjesme’ (Hölderlina, Rimbauda, Mallarméa, Trakla, Mandeljštama, Pessoe, Celana) da izabere po jednu pjesmu od tih sedam (njemu najznačajnijih) pjesnika.