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abstract painting White, Yellow, Blue, and Black, one Coincidence, and one Object Artists: Ryan Barone , Charles Broskoski, Reynald Drouhin, Michael Kargl – aka carlos katastrofsky, Jan Robert Leegte, UBERMORGEN.com Curated by Birgit Rinagl, Franz Thalmair; CONT3XT. NET Then even your Abstract Paintings should convey a content? — Yes. They’re not the negation of content, not simply the facticity of painting, not an ironic paraphrase of contemporary expressionism? — No. — Not a perversion of gestural abstraction? Not ironic? — Never! What sort of things are you asking? (Gerhard Richter, interviewed by Benjamin Buchloh) A reduction of structure, material, and space; if colour articulates itself, independently of interpretation or context—does that make it autonomous? Monochromacity has been considered the most essential form of abstraction, having provided a source of inspiration for non-figurative and nonrepresentational tendencies in contemporary art, these ideas need to be taken still further in the age of digital images. The notion of a pure medium proposed by twentieth-century modernism with its ideals of autonomy is increasingly being pushed aside by mixed media approaches: In this post-medium condition, however, the autonomous realms of the world of technical devices and the intrinsic characteristics of the world of media retain their relevance. In fact, the specificity and autonomy of media is growing ever more differentiated. does the media quality of a digital image determine its appearance? If the Internet is used as a tool for communicating artistic expression, how does that relate to the history of art? Which ways of reading the Internet have users developed? These questions point to the fact that reflecting on this condition is not an end in itself, but at best an intrinsic and obvious undertaking. The exhibition White, Yellow, Blue, and Black, one Coincidence, and one Object presents eight international positions in Internet-based art that embrace monochromacity as a formal principle without clinging to the ideological aims of earlier artistic avant-gardes. The works on display implicitly address the deconstruction of the digital image via text (code) and explicitly ask whether, in the face of the present image overload, there are ways of escaping the so-called crisis of representation. It is therefore possible to read these abstract works of art as art about abstract art. Other than with the presentational medium of monochrome painting, their two-dimensionality, [3] which is limited by the browser and restricted to the screen, is not accepted as the boundary of the work. On the contrary, the exhibition encourages viewers to pursue the art into the world outside and to leave the exhibition in order to explore other contexts. This reference to the sociocultural context and the viewers’ response defines the exhibition’s political dimension. The focus is on the material, which is not solely necessary for the existence of these works but forms a complex system of implications and references to media and society. Between iconoclasm and image overload, autonomy and new forms of representation, the digital image needs to find a new position. It does so by reflecting upon itself and thus pointing to things other than itself. The exhibition White, Yellow, Blue, and Black, one Coincidence, and one Object addresses the conditions determining both the form and content of monochrome art works. The interaction between these closely linked levels is revealed in a mutual tension that arises when representing and represented, material and meaning come under scrutiny. Form does not become transparent with regard to content. On the contrary, when art is viewed it becomes unclear what the content is and what the object of representation is. [4] In the viewers’ perception this results in an oscillation between artwork, exhibition display, and media references, the political dimensions of which unfold in the etheric realm of the space–time continuum. It is this tension arising between art and politics, with neither of the two representing or instrumentalizing the other, that it is possible for art to become political. For art to develop a political dimension it is therefore necessary to approach the sensory world or the arrangement of the original material in a way that is different from what traditional political categories would appear to suggest.[5]—Autonomy could therefore be said to arise from the Here and Now when art is viewed. In this context, The White Website (2002) and The Black Website (2002) by UBERMORGEN.com carry modernist trends into a digital environment: the artist duo has set up websites with white and black monochrome surfaces. An accompanying essay by Hans Ulrich Obrist puts into words what the art shows on the screen: To be able to maintain its significance up against the sciences and their picture-producing procedures, art must look for a position beyond the crisis of representation and beyond the image wars straight into the blind spaces of the black black and the white. Referring to Kazimir Malevich’s Black Square (1913) and his white square (Suprematist Composition: White on White, 1918) Michael Kargl applies reductionist forms to the phenomenon of obsession with science and technology: his webzen (2009) not only points to Nam June Paik, one of the originators of media art, but also paraphrases spiritually motivated strategies, which are mediated in the programming code on which the work is based. Charles Broskoski, in turn, uses auto-generation to transform his personal reflections on opportunities for collaborating on the Internet into a collective, participatory process: Let’s Turn This Fucking Website Yellow.com (2007–2008) is the title of his website and also a clear instruction on what is to be done to turn a black monochrome surface into a yellow one. The responsibility in this time-based process lies entirely within the network. For Blue Monochrome .com (2008), Jan Robert Leegte articulates his critique of representation by drawing on the abundant freely available images on the World Wide Web. A simple zoom on the Pacific Ocean through Google Earth not only yields a view of a readymade—the blue, relief-like surface of the water—but also permits an insight into the economics of contemporary information hierarchies. The colour blue, that is, the colour clearly identified in art history and colour technology as International Klein Blue, is also the point of departure for Ryan Barone’s International Klein Blue (Google Monochromes) (2008). By presenting an endless sequence of eleven variants of one and the same—allegedly standardized—colour, which he discovered in a simple Google search, the artist disproves the assumption that categories like originality and authenticity count as parameters for digital art. The random appearance of hexadecimal colour codes provides the basis for Reynald Drouhin’s playful localization of virtual spaces, too. Deliberately ignoring users’ rights to free choice, he has programmed his IP Monochrome (2006) to generate colour surfaces on the basis of data about the location of the computer that is accessing his site. The resulting surfaces may be read as representations of the real context. Michael Kargl’s computer object all you can see (2008) also gives material form in real space to what is actually virtual. In a linear process lasting eight days, the artist displays all of the nearly 17 million colours that any computer screen is theoretically able to represent, proceeding from black to white, colour by colour, surface by surface, code by code, until perception arrives at zero. Birgit Rinagl & Franz Thalmair Weibel, Peter: Postmediale Kondition (Exhibition in the context of the art fair Arco, Centro Cultural Conde Duque, Madrid), 2006, online available under: [2] Röbl, Marie: Abstrakte Erb- und Patenschaft. Streiflichter auf Hintergründe, Kategorien und Raster, in: Pfaffenbichler, Norbert and Droschl, Sandro (Hg.): Abstraction Now (exhibition catalogue, Künstlerhaus, Vienna) 2004, p. 36, online available under: [3] Greenberg, Clement: Modernistische Malerei, in: Harrison, Charles and Wood, Paul (eds.): Kunsttheorie im 20. Jahrhundert. Künstlerschriften, Kunstkritik, Kunstphilosophie, Manifeste, Statements, Interviews, Hatje Cantz: Ostfildern - Ruit, vol. [4] Rebentisch, Juliane: Zur Aktualität ästhetischer Autonomie. Juliane Rebentisch im Gespräch mit Loretta Fahrenholz und Hans - Christian Lotz, in: Huber, Tobias and Steinweg, Marcus (eds.): Inästhetik. Theses on Contemporary Art, Diaphanes, Zurich/Berlin, 2008, p. 116 [5] Höller, Christian: Ästhetischer Dissens – Überlegungen zum Politisch - Werden der Kunst, in: Saxenhuber, Hedwig: Kunst + Politik. Aus der Sammlung der Stadt Wien, Springer, Vienna/New York, 2008, p. 190 Supported by City of Velika Gorica and Ministry of Culture of Republica Croatia. Sponsored by Combis [http://www.combis.hr/] Sonja Briski Uzelac, "Window, view" The exhibition of Sonja Briski Uzelac is, in a way, a hybrid exhibition: it is an exhibition of paintings and an ambient exhibition, a site-specific intervention. If seen as an exhibition of paintings, then we must say that the exhibition shows 30 paintings from the series “Squares” and “Rectangles”, the painting “Viator’s Perspective” and two small paintings that remind us of Malevich’s squares. If we view it as an ambient exhibition adapted to the specific character of the gallery space, then we must conclude that the exhibition shows 30 square and rectangular blue monochrome paintings in space so that their setup suggests perspective foreshortening, known from the tradition of Renaissance art. In that sense, “Viator’s Perspective” as a painting is a clear reference to the Renaissance mathematical construction of space on a two-dimensional surface, and the two small paintings, the blue and black square, are references to the opposite of this tradition of Western painting: to the concept of non- objective art of Kazimir Malevich. Sonja Briski Uzelac, the “educated painter”, as Miško Šuvaković calls her, is a professor and theoretician of art, and a painter who graduated from the Faculty of Fine Arts in Belgrade in 1976. She received her PhD in 1984 at the University of Belgrade. She lectured at the Faculty of Fine Arts in Belgrade, and is currently lecturing at the Faculty of Teacher Education in Zagreb and at the Academy of Applied Arts in Rijeka. She received an award at the 26th Youth Salon in Zagreb in 2001 for her contribution in theory. Roberta Vilić The painting of Roberta Vilić at the beginning of the 90s appeared at the end of the first wave of reception of European artistic tendencies, which was especially in the painting of the 80s marked by the return to the gestural, neo-expressionistic painting. In that context, to position oneself in relation to the tradition of informel, as the author has done, entailed several things: to reaffirm painting as a representative area of artistic work, to determine it as a non-mimetic activity and (auto)poetically interpret it as an expression of inner necessity. These originally modernistic settings are softened by introducing signs from other, non-painterly sign systems (numerical, alphabetic symbols, lexical and syntactic elements of the Croatian language) and on that level we can read certain changes in relation to the historic abstract expressionism. In that sense, the painting of Roberta Vilić as a painterly as well as a cultural sign system, can denote a specific history of modern and postmodern art in Croatia, since she quotes, reinterprets, makes intimate, softens the representative, heroic tradition of abstract expressionism, i.e. informel. Štefančić) Roberta Vilić graduated at the Academy of Fine Arts in Zagreb in 1998. She exhibited in solo and group exhibitions from 1992 in Croatia and abroad. She received the Award of the Italian cultural centre at the 28th Zagreb Salon and the 2nd award at the festival Art in Mainz. Andrea Robić, "Ah!" Andrea Robić, a young painter from Velika Gorica, presented herself with paintings whose field of painting spreads from individual canvasses to the walls of the gallery. By painting the gallery walls, she followed the painterly structure of the exhibited canvass and by doing so, realized a personal site specific work. Or as Vladimir Gudac points out in the introduction of the catalog: “In this case, the artist spreads out the sign of the “rigid gesture” using her color fields of soft dreams. This sign wants to, and does, escape the field of the canvass and point to the wideness of the imaginative fields of dreams and, so to say, suggest the fact of the unspeakable via a strong, hard color core and painful disruption of the wide line (or multiple lines) which would like to escape to the space beyond the painting and beyond painting, and especially to escape towards us, the audience-spectacors.” Andrea Robić graduated from the Academy of Fine Arts in 1998 and this is her fourth solo exhibition.
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Bijela, žuta, plava i crna, jedna slučajnost i jedan predmet Umjetnici: Ryan Barone , Charles Broskoski, Reynald Drouhin, Michael Kargl – aka carlos katastrofsky, Jan Robert Leegte, UBERMORGEN.com Kustosi: Birgit Rinagl, Franz Thalmair; CONT3XT. NET — [...] Onda bi, dakle, čak i vaše Apstraktne slike trebale biti značenjski sadržajne? — Da. — No nisu li one negacija sadržaja, tek slikarska činjeničnost, ironična parafraza suvremenog ekspresionizma? — Ne. — A perverzija gestualne apstrakcije? Nisu li ironične?— Nikada! Ma kakva su to pitanja? (Gerhard Richter u razgovoru s Benjaminom Buchlohom) Redukcija strukture, materijala i prostornosti; ukoliko boja artikulira samu sebe, nezavisno od interpretacije ili konteksta – čini li je to autonomnom? Monokromnost je smatrana najčišćom formom apstrakcije, a s obzirom da i dalje služi kao inspiracija ne-predmetnim i ne-reprezentacijskim tendencijama u suvremenoj umjetnosti, takvo poimanje zahtjeva prelazak u eru digitalne slike. Ideja „čistog“ medija, za koju se zalagao modernizam dvadesetog stoljeća, postavljajući ideal autonomije, sve više pada u zaborav usred pojave novih pristupa kombiniranim medijima: Međutim, u takvom su post-medijskom stanju autonomna područja iz svijeta tehnike i specifične karakteristike unutar svijeta medija osigurala i zadržala svoj status. Zapravo, specifičnost i autonomija pojednih medija nikada nije bila diferenciranija. [1] Na koji način kvaliteta medija kod digitalne slike definira njezinu pojavnost? Ako se internetom koristimo kao alatom za prenošenje umjetničkog izraza, kako se to odnosi prema povijesti umjetnosti? Koje su načine čitanja interneta razvili njegovi korisnici? Takva pitanja upućuju na činjenicu da promišljanje takvog stanja nije samo sebi svrhom, već je u najboljem slučaju inherentan i samorazumljiv čin. Izložba Bijela, žuta, plava i crna, jedna slučajnost i jedan predmet predstavlja osam međunarodnih pozicija s područja Internetske umjetnosti koje monokromnost prihvaćaju kao formalni princip bez posezanja za ideološkim ciljevima ranijih umjetničkih avangardi. Implicitno, izloženi radovi govore o dekonstrukciji digitalne slike putem teksta (koda), dok se eksplicitno bave pitanjem postoje li, u uvijetima trenutne prezasićenosti slikom, načini da se izbjegne tzv. kriza reprezentacije. Stoga je te apstraktne umjetničke radove moguće interpretirati kao radove o apstraktnoj umjetnosti. Za razliku od prezentacijskog medija monokromne slike, njihova dvodimenzionalnost, [3] limitirana pretraživačem i svedena na ekran, nije shvaćena kao ograničenje. Naprotiv, izložba potiče posjetitelje da se umjetnošću bave i u vanjskome svijetu, te da izložbu napuste kako bi istražili druge kontekste. Taj aspekt koji se bavi socio-kulturnim kontekstom i reakcijom posjetitelja određuje političku dimenziju izložbe. Naglasak je na materijalnome, koje ne samo da je nužan preduvijet za postojanje ovih radova, već formira kompleksan sistem implikacija i referenci na medije i društvo. Našavši se u području između ikonoklazma i prezasićenosti slikom, autonomije i pojave novih reprezentacijskih formi, digitalna slika mora pronaći novu poziciju. To čini na način da, promišljajući samu sebe, ukazuje na nešto drugo. Izložba Bijela, žuta, plava i crna, jedna slučajnost i jedan predmet propituje uvjete koji istodobno definiraju i formu i sadržaj monokromnih umjetničkih djela. Interakcija između tih blisko povezanih razina razotkriva se kroz obostranu tenziju do koje dolazi kada reprezentacija i reprezentirano, materijal i značenje, postaju objektima interesa. Formom se ne otkriva sadžaj. Naprotiv, kada se promatra umjetničko djelo, postaje nejasno što je sadržaj, a što objekt reprezentacije. [4] U percepciji promatrača to rezultira oscilacijom između umjetničkog djela, galerijskog izloška i medijskih referenci, čije se političke reference razotkrivaju u eteričnom prostorno-vremenskom kontunuumu. Upravo se kroz takvu tenziju između umjetnosti i politike, pri čemu niti jedan element ne reprezentira niti instrumentalizira drugi, otvara mogućnost da umjetnost postane politična. Stoga, kako bi umjetnost poprimila političku dimenziju, nužno je približiti se osjetilnoj stvarnosti ili izvornom stanju stvari na način koji se razlikuje od onakvog kakav su dale sugerirati tradicionalne političke kategorije. [5] – Moglo bi se, dakle, reći da autonomija proizlazi iz suvremenog prostornog i vremenskog konteksta unutar kojeg se umjetnost promatra. U tom kontekstu, radovi UBERMORGEN.com-a The White Website (2002.) i The Black Website (2002.) prenose modernističke trendove u digitalno okruženje: umjetnički je duo postavio web stranice bijele, odnosno crne površine. Popratni esej Hansa Urlicha Obrista riječima artikulira ono s čime nas umjetnost suočava na ekranu: Kako bi uspjela održati svoju relevantnost usprkos znanosti i njezinoj produkciji slika, umjetnost mora nadići reprezentacijsku krizu i rat slika kako bi svoju poziciju pronašla u neartikuliranim prostorima crnoga i bijeloga. Referirajući se na Crni kvadrat (1913.) i bijeli kvadrat (Suprematistička kompozicija: bijelo na bijelome, 1918.) Vladimira Maljevića, Michael Kargl primjenjuje redukcionističke forme na fenomen opsesije znannošću i tehnologijom: ne samo da se svojim radom webzen (2009.) jasno referira na Nam June Paika, jednog od začetnika medijske umjetnosti, već parafrazira i duhovno motivirane strategije posredovane programskim kodom na kojem se ovaj rad tehnološki temelji. Charles Broskoski, pak, koristi auto-produkcijsku strategiju kako bi vlastita razmišljanja o mogućnostima suradnje na internetu transformirao u kolektivni, participatorni proces. Let’s Turn This Fucking Website Yellow.com (2007.-2008.) naziv je web stranice, a istovremeno i jasna uputa što nam je činiti kako bismo crnu monokromnu površinu pretvorili u žutu. Odgovornost se kod takvog vremenski određenog procesa u potpunosti nalazi na području Interneta. U Blue Monochrome .com (2008.) Jan Robert Leegte uspostavlja svoju kritiku reprezentacije pozivajući se na obilje besplatnih slika dostupnih na World Wide Webu. Jednostavnim zumiranjem Tihog oceana na Google Earth-u, Leegte ne otvara pogled samo na readymade – plavu, reljefnu površinu vode – već nam daje i uvid u suvremenu hijerarhiju informacijske ekonomije. Plava boja, tj. boja koja je u povijesti umjetnosti i tehnologiji boja jasno poistovjećena s pojmom International Klein Blue, također predstavlja polazište za Ryan Baroneov rad International Klein Blue (Google Monochromes) (2008.). Prikazujući beskrajan niz od jedanaest varijatni jedne te iste – navodno standardizirane – boje, do koje je došao jednostavnim guglanjem, umjetnik opovrgava pretpostavku da kategorije poput originalnosti i autentičnosti mogu biti prihvaćene kao valjani parametri na području digitalne umjetnosti. Jednako tako, zaigrano lokaliziranje virtualnog prostora Reynalda Drouhina temelji se na nasumičnom pojavljivanju heksadecimalnih kodova boja. Svjesno ignorirajući pravo korisnika na slobodu izbora, svoj je IP Monochrome (2006.) programirao tako da se obojane površine stvaraju na osnovu informacija o lokaciji računala s kojeg se pristupa web stranici. Dobivene površine mogu se tako shvatiti kao reprezentacije stvarnog konteksta. Računalni objekt Michaela Kargla all you can see (2008.) u stvarnom prostoru materijalnu formu daje nečemu što je zapravo virtualno. Kroz linearan proces u trajanju od osam dana umjetnik prikazuje svaku od gotovo 17 milijuna boja koje svaki računalni zaslon teoretski može reproducirati, krećući od crne prema bijeloj boji, boju po boju, površinu po površinu, kod po kod, sve dok se percepcija ne svede na nulu. Birgit Rinagl i Franz Thalmair (prevela: Sanja Horvatinčić) Weibel, Peter: Postmediale Kondition (Izložba u sklopu umjetničkog sajma Arco, Centro Cultural Conde Duque, Madrid), 2006., dostupno na stranici: http://vmk.zhdk.ch/flz/postmediale_kondition_weibel.pdf [2] Röbl, Marie: Abstrakte Erb- und Patenschaft. Streiflichter auf Hintergründe, Kategorien und Raster, u: Pfaffenbichler, Norbert and Droschl, Sandro (Hg.): Abstraction Now (katalog izložbe, Künstlerhaus, Beč) 2004., p. 36, dostupno na stranici: http://www.abstraction-now.net/catalogue/ABSTRACTION-NOW-DE.pdf [3] Greenberg, Clement: Modernistische Malerei, u: Harrison, Charles and Wood, Paul (ur.): Kunsttheorie im 20. Jahrhundert. Künstlerschriften, Kunstkritik, Kunstphilosophie, Manifeste, Statements, Interviews, Hatje Cantz: Ostfildern - Ruit, vol. [4] Rebentisch, Juliane: Zur Aktualität ästhetischer Autonomie. Juliane Rebentisch im Gespräch mit Loretta Fahrenholz und Hans - Christian Lotz, u: Huber, Tobias i Steinweg, Marcus (ur.): Inästhetik. Theses on Contemporary Art, Diaphanes, Zurich/Berlin, 2008., p. 116 [5] Höller, Christian: Ästhetischer Dissens – Überlegungen zum Politisch - Werden der Kunst, u: Saxenhuber, Hedwig: Kunst + Politik. Aus der Sammlung der Stadt Wien, Springer, Beč/New York, 2008, p. 190 U prilogu donosimo intervju koji je povodom izložbe Thomas Dreher vodio s kustosima izložbe. PDF Izložba je omogućena sredstvima Grada Velike Gorice, Ministarstva kulture RH i nesebičnom pomoći tvrtke Combis [http://www.combis.hr/]