Prostor_Vrijeme_Autor, grupna tematska izložba koju su kurirale Iva Prosoli i Nina Đurđević, Francuski paviljon; Zagreb

Neki dan sam naletjela na natpis koji se pojavio na jednoj zgradi u Ilici, napisan pomalo sramežljivo, no dosljedno. ‘Životinje su lijepe. Neki ljudi su lijepi. Drugačijost je lijepa.’
Drugačijost je lijepa, da. Kao da to ne želimo shvatiti, prihvatiti. Kao da ne razumijemo da smo i mi u kategoriji drugačijosti, da nisu oni drugačiji nego mi. Ti i ja. Svi smo i isti i različiti. Svi se sastojimo od istih materijala različito sastavljenih. Kao što ista slova stvaraju različite riječi, isti tonovi različite melodije.
Isto, a opet različito. Možda baš zbog toga, kako bismo kroz svoju istost mogli neometano uživati u svim mogućim drugačijostima, kombinacijama sebe i svijeta oko nas.
Boris Cvjetanović, Luka Kedžo, Silvestar Kolbas, Mario Kučera, Jerko Macura, Nives Milješić, Barbara Šarić, Nikola Zelmanović i Tajana Zver drugačije su osobnosti. Svaka od njih imala je priliku fotografirati unutrašnjost Francuskog paviljona jedan dan u istom vremenskom periodu, od 10 do 18 sati. Prilikom snimanja svaki je autor bio slobodan koristiti prostor prema vlastitom nahođenju i sa vlastitim dodatnim sadržajima, no bez narušavanja prostora.
Cilj je projekta bio jeistražiti koliko istost uvjetuje različitost, koliko je ona stvar osobnog izričaja, a koliko zadatosti nametnutih uvjeta. Da li je uopće moguće predvidjeti smjer u kojem će pojedini autor krenuti s obzirom na informacije s kojima raspolažemo? Jesam li uopće sposobna zamisliti barem dio mogućih realizacija? Je li to uopće bitno? Možda i nije. Znatiželja je svakako zadovoljena.
Drugačijost je lijepa.

Nina Đurđević

The other day I came across an inscription on a building in Ilica, written somewhat timidly, but consistently. „Animals are beautiful. Some people are beautiful. Otherness is beautiful.“
Otherness is beautiful, yes. As if we resist understanding it, accept it. It is as if we do not understand that we are in the category of othernees, as if they are different from us. You and me. We are all both same and different. All of us consist of the same materials differently assembled. As the same letters create different words and the same tones compose different melodies.
Same and yet different. Perhaps because of this, we can enjoy our sameness unmistakably through all of our differences, the combinations of ourselves and the world around us.
Boris Cvjetanović, Luka Kedžo, Silvestar Kolbas, Mario Kučera, Jerko Macura, Nives Milješić, Barbara Šarić, Nikola Zelmanović and Tajana Zver are different personalities. Each of them had the opportunity to photograph the interior of the French Pavilion in one day in the same time period, from 10am to 6pm. During the shooting, each author was free to use the space at their own discretion and with their own additional content, however without disturbing it.
The aim of the project was to investigate how much the sameness is conditioned by diversity, how it is a matter of personal expression, and how it is conditioned by imposed circumstances. Is it possible to foresee the direction in which a particular author will start with respect to the information we possess? Am I at all able to imagine at least a few possible realizations? Is this important at all? Maybe not. Curiosity is certainly fulfilled. Otherness is beautiful.

Nina Đurđević

San o dalekim prostranstvima začet je u misli o omeđenom prostoru. Pre pohoda na nepoznato, veliki osvajači egzotičnih zemalja bili su zatočenici umilnih pritvora sopstvenih soba.
U tim sobama, u tim poznatim prostorima gospodare potencijali čežnjivih daljina, a svaki pokušaj viđenja prostora na isti način je nemoguć. Jer sopstvenih soba ima koliko i različitih sopstava, kao što u neumitnom protoku vremena jedna pojava nikad nije ista.
Boris Cvjetanović, Luka Kedžo, Silvestar Kolbas, Mario Kučera, Jerko Macura, Nives Milješić, Barbara Šarić, Nikola Zelmanović i Tajana Zver ostali su izvan prostora u koji su na kratko uronili i time nam omogućili da zamislimo njegove potencijalne verzije.
Za Borisa Cvjetanovića taj prostor predstavljen je kao algoritam svedenosti u nastajanju. Pre nego što zamislimo gotove prostorne strukture, možemo se osloniti na njegov jednostavan narativ logičkih, gotovo geometrijskih figura koje se nenametljivo prikradaju percepciji posmatrača, ostavljajući pažnju daleko izvan fokusa dovršenog.
U naglašenoj igri svetlosti i konkretnosti koju nam nudi opus Silvestra Kolbasa ponuđeno je nekoliko tumačenja postojeće panorame – prostor konkretizovan aktivnošću čoveka u njemu, i prostor prepušten sam sebi u apstraktnoj teksturi nagoveštaja s one strane posmatračke logike. Nasuprot tome, ili možda baš sasvim prikladno se nastavljajući na to, Luka Kedžo osvetljava funkcionalnost zamišljene prostorije kao karakteristiku njene protočnosti, pokreta u statičnosti, blagog potresa u izgradnji.
Mario Kučera i Jerko Macura vode nas na put izvan sopstvene sobe. Kučera to čini senovito-dirljivim pokušajem romantiziranja onoga što vidimo i što bi moglo biti poznato da nije zauvek izobličeno maštom. Jerko Macura osvežava ideju putovanja i prerušava poznato u čežnju za nepoznatim pri čemu se jasne granice između ova dva gube.
Tu igru čežnje dalje nastavlja Nikola Zelmanović ne oduzimajući pri tom ništa od zavodljivosti i lepote nagoveštaja. Barbara Šarić nam nudi moguće opcije funkcionalnog prostranstva koje počinje iza svojih granica, a Nives Milješić iskorakom u medij reči pretpostavlja mogući epitaf svakog zamišljenog toposa.
I na kraju, oduzmemo li putovanju osvajačke ćudljivosti, dolazimo do ranjivosti i magnetske privlačnosti poznate teritorije, koju Tajana Zver lako prepoznaje prepuštajući auditorijumu svako dalje reprogramiranje poznatih detalja u (pre)poznatom okruženju.
Kad su autori izašli iz prostora koji su na trenutak zauvek narušili, tiho su za sobom ostavili otškrinuta vrata za nove moreplove. Geografska mapa neosvojenih daljina može se docrtati ponovo probuđenom, zapravo nikad izgubljenom čežnjom za nepoznatim koja se pretvara u prepoznavanje već doživljene lepote.

Radmila Ercegovac

A dream about far away expanses was conceived in thoughts about a confined space. Before their voyage to the unknown, the great conquerors of the exotic countries were at first the captives in the humble detention of their own rooms.
In these rooms, in these familiar spaces the potentials of wistful distances rule and every effort to see space in the same way is impossible. Seeing that one’s own room has as many different identities as, in the unmistakable flow of time, one phenomenon is never the same.
Boris Cvjetanović, Luka Kedžo, Silvestar Kolbas, Mario Kučera, Jerko Macura, Nives Miljesić, Barbara Šarić, Nikola Zelmanović and Tajana Zver were outside of space in which they were briefly immersed and thus enabled us to imagine its potential versions.
For Boris Cvjetanović this space is presented as an algorithm of emerging stilisation. Before we can imagine the final spatial structures, we can rely on his simple narrative of logical, almost geometrical figures that unobtrusively overwhelm the observer’s perception, leaving interest far beyond the focus.
In the accentuated game of light and concreteness offered by Silvestar Kolbas’ oeuvre, we are faced with several interpretations of the existing panorama – the space is concretised by the activity of a man in it, and the space is left to itself in the abstract texture hinted beyond the observational logic. By contrast, or perhaps quite appropriately, continuing to do so, Luke Kedžo illuminated the functionality of the imagined room as a characteristic of its flow, a movement in motionless space, a mild earthquake in construction.
Mario Kučera and Jerko Macura led us on a voyage beyond their rooms. Kučera did this with a shadowy, sentimental attempt to romanticize what we see and what might be known – had it not been always distorted by the imagination. Jerko Macura refreshed the idea of ​​traveling and disguised the known in the longing for the unknown, with clear boundaries between the two being blurred.
Nikola Zelmanović continued this game of longing, without taking away the seductive and the beauty of insinuation. Barbara Šarić offered us the possible functional range of vastness that begins behind its borders, and Nives Milješić, in medium breakthrough, assumes the possible epitaph of every conceived topos.
And finally, if we take away from the voyage the captivating mood, we come to the vulnerability and the magnetic attraction of the well-known territory, which Tajana Zver easily recognized by leaving the audience with any further reprogramming of familiar details in a (pre)familiar environment.
When the authors left the space that they shattered for a moment, they quietly left the doors ajar for new sailors. A geographic map of unconquered distances can be dotted down in the re-awakened, never truly lost longing for the unknown, which turns into recognition of the already-experienced beauty.

Radmila Ercegovac