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Galerija MKC, Dom mladih Split, Ulica slobode 28 OPENING: Thursday, 25th February 2021, at 20:00 Exhibition is opened untill Friday, March 5t, you can see it by calling 0955627223. I came across an interesting story recently. A team of scientists, mostly astronomers, was tasked with presenting the results of their research, involving data collection using radio telescopes, to a government-appointed committee of finance planners. In contrast with the classic optical telescope which utilizes a lens to gather visible light, thereby allowing us to observe celestial bodies and phenomena with our own eyes, the radio telescope gathers and measures cosmic radio waves. Radio telescopes facilitate the collection of large quantities of mathematical data, which is subsequently interpreted by scientists and used as a foundation for further inferences and all manner of theoretical advances. The team of scientists, knowing fully well that a tedious sequence of numbers, graphs and calculations would not mean a thing to the laypeople appointed to the committee, decided therefore to present their data in pictorial form. In other words, this was a visualization, or visual interpretation, of scientific articles. To serve as the basis for the production of this imagery they had settled on the landscape paintings of English painter William Turner. Certain collections of data were assigned distinct colorings, all sampled from Turner’s work. The variability in the data was, consequently, expressed through shifts in color tone and changes to the modes of “painting”, the “brushwork”… The images thus obtained could be understood by the committee. They felt familiar and immediate to them. The scientific data was made clear(er) by virtue of the visual quality imparted to it. This approach enabled the scientists to successfully convey the results of their work to the members of the committee, and to justify their research costs. Robert Fišer’s work is also rooted in science, more specifically in quantum theory. However, unlike the inventive scientists from our story, Fišer does not venture into the visualization of science. Rather, he takes certain basic concepts from quantum theory (hyperspace, dark matter, black hole, event horizon, etc.) and uses them as the foundation for further reflection, or as a theoretical backdrop to his artistic explorations of pictorial or visual language. Just as he strips these concepts down to their bare essences – his frequent use of excess serving only to better establish or point to this more general rule – Fišer pares down his own visual language to the bare necessary minimum. This reductionist approach allows him to put forth his musings on the nature of fundamental visual vocabulary items such as image, space, or medium. Of course, the resulting reduction of visual elements does not entail a reduction at the level of meaning or concept. All of Robert Fišer’s work is deeply deliberate. The scientific bedrock which supports his work is never so austere as to become banal or anecdotal. His own elaborations relating to the conceptual provenance of his work display considerable (scientific) exactness and clarity. Seeing as the pieces being exhibited on this occasion come with a unique key by which to read and interpret them, it is probably best to allow the author’s own words, or at least a handful of paraphrases thereof, to elaborate on the exhibit further: Dark Matter 2 represents Fišer’s meditations on the nature of visibility and invisibility; on the existence of elements of reality that are visible only by virtue of the effects they leave in their wake. A site-specific installation, Dark Matter 2 makes use of the floorplan of a given gallery. It is an object comprised of unfurling forms, parts of which have been treated with a special coating of paint. This paint is only visible when exposed to UV light (or rather UV radiation). But even under UV light we cannot actually perceive this paint layer directly, we may only observe the visible light reflected off of nearby surfaces, such as the floor in this case. 10-44 seconds: a logarithmic mathematical expression that denotes the scale of the brief time period directly after the Big Bang, when time and space came into being – the two fundamental attributes of our perception of reality. It is these two attributes that are given form in Fišer’s 10-44 sec. The artist projects an overlay of white noise onto an object in the exhibit space, and in doing so transforms the object into raw time, space and matter. White noise, of the type one might find on a TV screen after scheduled programming hours, consists for the most part of cosmic background radiation. Wormhole is a site-specific installation. The horizontal and vertical lines on the walls represent the spacetime continuum. The intermittent breaking of these lines, as well as their displacement or transitions between different materials, amount to a sense of eccentricity and irregularity. But at the same time these transgressions both accentuate and affirm an underlying order. It is precisely the departures from that order that exert a unifying effect on the entire space. They function as wormholes connecting distant elements in the space, giving rise to a general ambience – a space as well as a hyperspace. Event Horizon is a polyptych composed of two surfaces that reflect light along their boundaries, illuminating the space which divides and separates them. Within the general theory of relativity, the term event horizon, in its most general sense, is used to describe a spatiotemporal boundary between two regions, such that the two regions are unable to establish any kind of communication with one another. The term is most often associated with the phenomena of black holes. Upon traversing the event horizon of a black hole and entering the region within, all conventional rules and natural laws cease to function. Matter, energy, and even light, are unable to escape the confines of such a space. Sooner or later, any and all entities within the event horizon will become compacted into a point of singularity. The principles that inform Robert Fišer’s process and work are not unlike those governing an event horizon: the various elements that make up his art are compacted, both physically and theoretically, as far as they can possibly go. This entire exhibit can be regarded as a kind of event horizon. On the one hand there is the physical, or “normal” world-space-universe, the one that is scrutinized by such scientists as the ones we encountered earlier in this text. And on the other hand there is the world of art, where Fišer has found his life’s work. Of these two worlds, the former teaches us what is possible, but the latter declares that anything is. For it is precisely through art, not reality, that all things are made possible. Vedran Perkov ABOUT THE AUTHOR: Robert Fischer was born in Osijek in 1976. He graduated in 2012 at the Academy of Arts in Osijek and have been actively exhibiting since 2008, so far he has had several solo and group exhibitions. Awarded several times for his work. Member of the Croatian Society of Fine Artists in Osijek and one of the founders of the Popup project. He is engaged in painting and multimedia. He lives and works in Osijek. AUTHOR: Robert Fišer CURATOR: Vedran Perkov NMG PROGRAMME CURATORS: Natasha Kadin, Vedran Perkov DESIGN: Nikola Križanac TRANSLATION: Ivan Berecka EXHIBITION LAYOUT AND DOCUMENTATION: Tihana Mandušić DONORS: Croatian Ministry of Culture and Media, the City of Split MAVENA SUPPORTED BY: The National Foundation for Civil Society Development, the Kultura Nova foundation ACKNOWLEDGEMENTS: KUM, PDM, MKC
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NMG@MKC_Robert Fišer: Tamna stvar Galerija MKC, Dom mladih Split, Ulica slobode 28 OTVARANJE: četvrtak, 25. veljače 2021. u 20:00 Izložba je otvorena do petka, 5. ožujka, a najaviti se možete na 0955627223. Nedavno sam pročitao zanimljivu priču. Skupina znanstvenika, uglavnom astronoma, trebala je vladinom odboru, odnosno financijerima, predstaviti rezultate svojih istraživanja u okviru kojih su podatke prikupljali pomoću radioteleskopa. Za razliku od klasičnog, optičkog teleskopa, koji kroz leću prikuplja vidljivu svjetlost omogućujući nam da svojim okom vidimo nebeska tijela i pojave, radioteleskop prikuplja i mjeri svemirske radiovalove. Pomoću radioteleskopa prikuplja se velika količina matematičkih podataka koje znanstvenici kasnije interpretiraju, prema njima donose zaključke ili na njima grade različite teorije. Znajući da suhoparan niz brojeva, grafova i izračuna neće ništa značiti ne-stručnjacima iz komisije, znanstvenici su odlučili predočiti im podatke u obliku slika. Radilo se, dakle, o vizualizaciji, odnosno vizualnoj interpretaciji znanstvenih izvještaja. Kao osnovu za izradu slika upotrijebili su pejzaže engleskog slikara Williama Turnera. Pojedinim skupinama podataka dodijeljene su određene boje koje nalazimo na Turnerovim slikama. Varijacije u podatcima posljedično su mijenjale tonove boje, način „slikanja“, „poteze“… Dobivene slike komisija je mogla razumjeti. Bile su im familijarne i bliske. Znanstveni podatci postali su im jasni(ji) jer su u njima vidjeli likovnu kvalitetu. Znanstvenici su na ovaj način uspjeli članovima komisije prenijeti rezultate svoga rada i opravdati troškove provedbe istraživanja. Radovi Roberta Fišera također imaju korijen u znanosti, točnije u teorijama kvantne fizike. No, za razliku od dovitljivih znanstvenika iz priče, Fišer ne poseže za ilustriranjem znanosti. On uzima osnovne pojmove kvantne teorije (hiperprostor, tamna tvar, crna rupa, horizont događaja itd.) kao polazište za promišljanje, kao teorijsku podlogu u umjetničkom istraživanju likovnog, vizualnog jezika. Kao što same pojmove ogoljuje do njihove suštine, vrlo često ekscesom uspostavljajući ili ukazujući na pravilo, Fišer i svoj vizualni izričaj svodi na najmanju moguću mjeru. Redukcijom likovnosti iznosi svoja razmišljanja o osnovnim terminima likovnog jezika kao što su slika, prostor ili medij. Redukcija likovnih elemenata, dakako, ne rezultira redukcijom u značenjskom, konceptualnom smislu. Svi radovi Roberta Fišera duboko su promišljeni. Znanstvena podloga, prema kojoj nastaju, nije dovedena na nivo banalnosti ili dosjetke. U svojim objašnjenjima o konceptualnom porijeklu radova Fišer je (znanstveno) egzaktan i jasan. Budući da radovi prikazani na ovoj izložbi imaju ključ po kojemu se čitaju i interpretiraju, najbolje ih je objasniti citiranjem ili parafraziranjem samog autora. U radu Tamna tvar 2 Fišer promišlja o vidljivom i nevidljivom; o segmentima stvarnosti koji su vidljivi samo po posljedicama koje ostavljaju. Tamna tvar 2 je site- specific instalacija postavljena na podu galerije. Radi se o objektu razlistanih formi kojem je na neke dijelove površine nanesena specijalna boja. Ta boja postaje vidljiva tek kada je se izloži UV svjetlu (zapravo, UV zračenju). Ni pod UV svjetlom, međutim, mi ne možemo izravno vidjeti sloj boje, već samo vidljivu svjetlost reflektiranu o obližnju površinu, u ovom slučaju na pod. 10-44 sekundi matematički je logaritam koji predstavlja kratak period koji je uslijedio nakon Velikog praska, kada su nastali vrijeme i prostor, odnosno osnovne dvije vrijednosti našeg poimanja stvarnosti koje Fišer otjelovljuje u radu 10-44 sec. Umjetnik projicira bijeli šum na objekt u prostoru, pretvarajući ga tako u vrijeme, prostor i materiju. Većinu bijelog šuma, koji inače vidimo kao snijeg na TV zaslonu kada nema programa, uzrokuje pozadinsko kozmičko zračenje. Crvotočina je site-specific instalacija. Horizontalne i vertikalne linije na zidovima predstavljaju prostorno-vremenski kontinuum. Povremeno prekidanje linija, njihovo izmještanje u prostor ili nadomještanje u drugom materijalu, djeluju poput ekscesa, nepravilnosti. U isto vrijeme one naglašavaju i potvrđuju red, poredak. Takvi odmaci u isto vrijeme povezuju prostor u jedinstvenu cjelinu. Djeluju poput crvotočine koja spaja udaljene elemente tvoreći ambijent, odnosno prostor i hiperprostor. Poliptih Horizont događaja izrađen je od dvije površine čiji rubovi reflektiraju svjetlost na prostor koji ih razdvaja i odjeljuje. U općoj teoriji relativnosti termin horizont događaja je uopćeni naziv za vremensko-prostornu granicu koja dijeli prostor na dva dijela između kojih je nemoguća komunikacija. Najčešće taj termin vezujemo uz fenomen crne rupe. Ulaskom u prostor unutar horizonta događaja prestaju važiti uobičajena pravila i zakoni fizičkog svemira. Materija, energija, pa niti svjetlost, ne mogu izaći iz takvog prostora. Prije ili kasnije svaka će se stvar unutar horizonta sabiti do točke singulariteta. Takav je i princip rada i stvaranja Roberta Fišera: elemente od kojih gradi djelo on fizički i teorijski sažima do krajnje točke mogućega. Cijelu ovu izložbu doživljavam kao svojevrsni horizont događaja. S jedne strane imamo fizički, „normalni“, svijet – svemir – prostor, onaj kojega proučavaju znanstvenici s početka ovog teksta, dok je s druge strane svijet umjetnosti kojim se Fišer bavi. Na jednoj strani je moguće, dok je na drugoj strani sve moguće. Jer upravo u umjetnosti, za razliku od stvarnosti, sve je moguće. Vedran Perkov O AUTORU: Rober Fišer rođen je u Osijeku 1976. godine. Diplomirao 2012. na Umjetničkoj akademiji u Osijeku. Aktivno izlažem od 2008. godine, te je do sada ostvario više samostalnih i skupnih izložbi. Za svoj rad nekoliko puta nagrađivan. Član Hrvatskog društva likovnih umjetnika u Osijeku i jedan od osnivača Popup projekta. Bavi se slikarstvom i multimedijom. Živi, radi i djeluje u Osijeku. KUSTOS: Vedran Perkov KUSTOSI PROGRAMA NMG: Natasha Kadin, Vedran Perkov DIZAJN: Nikola Križanac PRIJEVOD: Ivan Berecka POSTAV i DOKUMENTACIJA IZLOŽBE: Tihana Mandušić DONATORI: Ministarstvo kulture i medija RH, Grad Split MAVENU PODRŽAVA: Nacionalna zaklada za razvoj civilnog društva, Zaklada Kultura nova ZAHVALE: KUM, MKC, PDM