http___www.umjetnicki-paviljon.hr_hr_izlozbe_aktualna_izlozba__exhibitionId_78_w_a_1.xml
2.1 3.1 4.1 4.2 5.1 5.2 5.3 5.4 5.5 5.6 6.1 6.2 6.3 7.1 7.2 7.3 7.4 7.5 7.6 7.7 8.1 8.2 8.3 8.4 8.5 8.6 8.7 8.8 9.1 10.1 10.2 10.3 11.1 11.2 11.3 11.4 11.5 12.1 12.2 12.3 12.4 12.5 12.6 13.1 13.2 13.3 13.4 13.5 14.1 14.2 14.3 14.4 14.5 14.6 14.7 14.8 15.1 15.2 15.3 15.4 15.5 15.6 15.7 16.1 17.1 17.2 17.3 17.4 17.5 17.6 17.7 17.8 17.9 18.1 19.1 20.1 21.1 21.2 22.1 23.1 23.2 24.1 25.1 26.1 26.2 26.3
Irreversible In front of the Pavilion building, a windbag has been mounted. A windbag measures real wind in a real life situation here and now. A windbag visualises the wind for us to determine its direction and strength. However, here it is not about the wind. If I were interested in the wind, I would be studying the air pressures, the causes that generate the wind, and the types and characteristics of the winds. I would be talking to physicists, sailors and hang-gliders. But I am not interested in analysing the wind. The wind is only a means by which I produce movement, that is, change, and change is something that has always interested me. To be more precise, the perception of change. In the novel The Strange Life of Ivan Osokin, P. D. Ouspensky deals with the futility of man's will. Ivan Osokin messes up all life's opportunities. After pleading, he is given another chance, but does everything the same again. The work Heap shows this futility. It consists of two videos in which the wind takes turns in scattering and heaping. Between the scattering and the heaping the print Wind appears as a static picture of the continuous now. In an imaginary return to the original order, the papers, carried away by the wind, return to the heap from which they flew off. They return only to the same position, but in new time. In real life there is no "undo" option, that is only a digital invention. Even when erasing with a rubber, we keep going, keep creating, keep burning. Sometimes, although we unavoidably go on, our efforts are futile because everything returns to the original state. We make a heap, and the wind scatters it. It is as if, despite our will, nothing has changed, and there is only a traversed path, a closed circle, or a spiral which brings us back to more or less where we were. Is striving in vain, and progress an illusion? A heap can also be an utopia of correctability of unwanted events. The difference is only in whether we consider the change to be a positive or a negative one. If we were entirely indifferent towards change, possibly for us it would not exist at all. Possibly the change came into being as a consequence of valorisation, will and decision. Will and decision are themes of the works Departure, Ice and White. In the video Departure I simply walk off into a field and disappear in the distance. I am recorded as I really walk. It is entirely irrelevant when and where, but there is no stopping, no doubt, no hesitation. The work Ice is carried out in two media because within the work there are two different planes of existence. On the print there is the space actually recorded, in which the action is taking place and where the footprints in the snow point to my presence and the path walked along. The footprints end at the edge of a frozen lake. Walking on ice requires courage and decision-making. Here, as at any moment, there is a possibility. Once I had a dream. I was climbing at night up a hill, along ancient weed-choked temples and further amongst low vegetation. I came to the peak, and behind the peak there was a light so strong that I could not see a thing. It was marvellous, supernatural and entirely overtaking me. But I was afraid of walking further. I turned around and got down to the valley, where there were my friends and some other (drunk) people. What was needed? Courage. Often when carrying out some of my decisions I feel so unreal as if I were sketched doing that, and not real. Sometimes I give up, turn around and go back to my footprints. The footprints in the snow in the picture do not with certainty tell whether I have returned or left. Between the two works is White. I am standing amidst whiteness, so motionless that at first glance the scene appears as a projected image. However, if spectators look more closely, calm down and concentrate, they will notice that I am breathing. And not going anywhere. On the other side, a spectator who walks around the projection screen will again find an image of me from the back. My front part is not there, there is no forward to go. Everything is the same. That is what makes movement unnecessary. In the central part of the exhibition area there are several photos and a drawing. In the photos, laundry dream of being released from the hanging line even though they are not able to control their path, feathers escape from the pillow and leaves fall off the branches (to fade). Between the photos there is a drawing of me flying, but actually I am falling. Just as the scarves, leaves and feathers fly in the air carried by the wind, without conscience, will or power of control, in the same way we are left to the flow of time without any tools or the ability to control movement in time. It carries us. The only thing that gives us an illusion of control is the will to choose among the possibilities we encounter. The same will which I have above accused of generating changes and time. Which reminds me of another dream. I dreamed that I was flying above hills at dusk. Below me were groves, fields and villages with lights in a valley. On the ground something was running, wanting to grab and destroy me, something dark, like a horrible animal, or more of them. Probably death. But my flight, as it mostly is in dreams, was of such a nature that I was not able actively to fly or rise, but only to maintain the height, and that only when I was entirely calm, and not striving. As soon as I attempted to maintain altitude, I began to fall, and any action on my part made me fall. Fortunately, the landscape below me gradually declined towards the valley and, as I occasionally lost altitude, the ground declined. I was aware that the valley had its lowest point and that there the end of me was unavoidable. And I was resigned to it, enjoying the beauty of lights, the space around me and the wind. MIRJANA VODOPIJA Biography MIRJANA VODOPIJA graduated from the Graphic Arts Department of the Academy of Fine Arts in Zagreb under Professor Miroslav Šutej in 1987. Since 1985 she had 28 solo exhibitions and participated in about two hundred group exhibitions or curatorial concepts in Croatia and abroad and in several international residence projects. She has won numerous national and international art awards. In her artistic accomplishments – by imbuing different artistic disciplines, from drawings and graphics, through light objects, drawings with filaments, installations and video installations up to the large size photographs and ambiances – Mirjana Vodopija has created a unique and versatile artistic body of work, whose main characteristics are contemplativeness and innovativeness in the specific approach to the phenomenon of light and movement. Art historians and theorists have written about her work – in books, Croatian and international specialized and art magazines (Kontura, Grafika, Grapheion, etc.). A comprehensive monograph about her art written by Branko Franceschi was published by the publishing house Fraktura in 2004. Her works are included in the collections of major Croatian museums and galleries: Museum of Contemporary Art in Zagreb, Modern Gallery in Zagreb, Department of Prints and Drawings of the Croatian Academy of Sciences and Arts in Zagreb, Museum of Modern and Contemporary Art in Rijeka, Print Collection of the National and University Library in Zagreb, as well as the Print Inventory of the Tamarind Institute, Albuquerque, New Mexico, USA, and other museum and private collections. Since 1987 she has worked as an external consultant at the Croatian National Television (HRT) as a designer of numerous sets, title sequences, jingles and illustrations as well as visual identities for the shows in their production. From 1987 till 2007 she worked as an independent artist. She is also a member of the Croatian Association of Visual Artists (HDLU). Since 2007 she has been employed at the Academy of Fine Arts in Zagreb as an associate professor and since 2012 she has been the Associate Dean of Academic and Student Affairs.
2.1 3.1 3.2 4.1 5.1 6.1 6.2 7.1 7.2 7.3 7.4 7.5 7.6 8.1 8.2 8.3 9.1 9.2 9.3 9.4 9.5 9.6 9.7 10.1 10.2 10.3 10.4 10.5 10.6 10.7 10.8 11.1 12.1 12.2 12.3 13.1 13.2 13.3 13.4 13.5 14.1 14.2 14.3 14.4 14.5 14.6 15.1 15.2 15.3 15.4 15.5 16.1 16.2 16.3 16.4 16.5 16.6 16.7 16.8 17.1 17.2 17.3 17.4 17.5 17.6 17.7 18.1 19.1 19.2 19.3 19.4 19.5 19.6 19.7 19.8 19.9 20.1 21.1 22.1 23.1 23.2 24.1 25.1 25.2 26.1 27.1 28.1 28.2
Mirjana Vodopija (1963.) jedna je od najistaknutijih hrvatskih umjetnica. Tijekom tri desetljeća svoje umjetničke aktivnosti bavila se istraživanjima prirode, a svoje radove je oblikovala u raznim likovnim medijima, od grafike i crteža, preko fotografije i videa, o instalacija i ambijentalnih instalacija. Do sada je svoje radove predstavila na izložbama nal četiri kontinenta i sudjelovala u nizu međunarodnih skupova, razmjena, rezidencijalnih programa, te je za svoj rad višekratno nagrađivana Nepovratno Pred zgradom Paviljona postavljena je vjetrulja. Vjetrulja je mjerač prirodnog vjetra u stvarnoj životnoj situaciji ovdje i sad. Vjetrulja vizualizira vjetar kako bismo odmjerili njegov smjer i snagu. Ipak, ovdje se ne radi o vjetru. Da me zanima vjetar, učila bih o tlakovima zraka, uzrocima nastajanja vjetra i vrstama i karakteristikama vjetra. Razgovarala bih s fizičarima, jedriličarima i zmajarima. Ali, ne zanima me analiza vjetra. Vjetar je samo sredstvo kojim proizvodim pokret, to jest promjenu, a mijena je nešto što me oduvijek zanimalo. Točnije, percepcija mijene. U romanu Čudan život Ivana Osokina, P. Ouspenski priča o uzaludnosti ljudske volje. Ivan Osokin upropasti sve prilike u životu i uz silne molbe dobije mogućnost proživjeti život ponovno ali opet sve učini isto. U radu Hrpa je ta uzaludnost. Sastoji od dvije videoprojekcije na kojima vjetar naizmjenično rasipa i sakuplja hrpu. Između rasipanja i sakupljanja je print Vjetar, statična slika stalnoga sada. U zamišljenom povratku u prvobitni red, papiri se, nošeni vjetrom, vraćaju na hrpu s koje su odletjeli. Vraćaju se samo na mjesto, ali u novome vremenu. U stvarnom životu nema opcije „undo“, to je samo digitalna izmišljotina. Čak i kada brišemo gumicom, idemo dalje, stvaramo dalje, gorimo dalje. Ponekad su, iako neminovno idemo dalje, naša nastojanja uzaludna jer se sve vraća u prvobitno stanje. Slažemo hrpu, a vjetar je raznosi. Kao da se unatoč našoj volji ništa ne uspijeva promijeniti, već je samo prijeđen put, zatvoren krug, ili barem spirala koja nas je vratila približno tamo gdje smo bili. Je li nastojanje uzaludno, a napredak iluzija? Hrpa može biti i utopija o ispravljivosti neželjenih događaja. Razlika je samo u tome smatra li se promjena pozitivnom ili negativnom. Kad bismo bili potpuno ravnodušni prema promjeni, možda ona za nas ne bi niti postojala. Promjena je možda nastala kao posljedica valorizacije, volje i odluke. Volja i odluka su teme radova Odlazak, Led i Bijelo. U videu Odlazak jednostavno odlazim u polje i nestajem u daljini. Snimljena sam kako stvarno hodam. Sasvim je nevažno kada i gdje, ali nema zastajanja, dvojbi ni kolebanja. Rad Led je izveden u dva medija jer unutar rada postoje dvije različite razine postojanja. Na printu je stvarni snimljeni prostor u komu se radnja odvija i gdje stope u snijegu ukazuju na moju prisutnost i na prijeđeni put. Stope završavaju na rubu zaleđenog jezera. Za hod po ledu je potrebna hrabrost i odluka. Ovdje, kao i u svakom trenutku, postoji mogućnost. Svojedobno sam sanjala san. Penjala sam se noću uz brdo pokraj starih zaraslih hramova i dalje kroz nisko raslinje. Došla sam do vrha, a iza vrha je sjala svjetlost koja je bila tako jaka da nisam mogla razaznati ništa u njoj. Bila je predivna, nadnaravna i potpuno me obuzimala. Ali bilo me je strah ići dalje. Okrenula sam se i spustila u dolinu gdje su bili moji prijatelji i neki drugi (pijani) ljudi. Što je trebalo? Hrabrost. Često se pri provedbi nekih svojih odluka osjećam tako nestvarno kao da sam nacrtana kako to činim, a ne stvarna. Ponekad odustanem, okrenem se i vratim svojim stopama. Po stopama u snijegu na slici ne može se sa sigurnošću utvrditi jesam li se vratila ili sam otišla. Između ta dva rada je Bijelo. Stojim usred bjeline, toliko nepomična da na prvi pogled scena izgleda kao da je riječ o projiciranoj fotografiji. Ipak, ako se zagledamo, umirimo i koncentriramo, primijetit ćemo da dišem. I ne idem nikamo. Gledatelj koji zaobiđe projekcijsko platno, s druge strane će opet zateći sliku mene odzada. Nema moje prednje strane, nema naprijed kamo bi se moglo ići. Sve je isto. Zato je pokret nepotreban. U srednjem dijelu izložbenog prostora nalazi se nekoliko fotografija i jedan crtež. Na fotografijama rublje sanja da se oslobodi s užeta, pa makar ne moglo kontrolirati svoj put, perje bježi iz jastuka i lišće otpada s granja (da bi uvenulo). Između fotografija je crtež mene kako letim, ali zapravo padam. Kao što marame, lišće i perje lete zrakom nošeni vjetrom, bez svijesti, volje i moći upravljanja, tako i mi bivamo prepušteni toku vremena bez ikakvog alata i mogućnosti kontrole kretanja vremenom. Nosi nas. Jedino što nam daje iluziju kontrole je volja za izborom između mogućnosti na koje nailazimo. Ona ista volja koju gore optužujem da je rodila mijenu i vrijeme. Ovo me podsjetilo na drugi san. Sanjala sam da letim iznad brežuljaka u sumrak. Ispod mene su bili šumarci, polja i seoca sa svjetlima u dolini. Po tlu je trčalo nešto što me želi ščepati, uništiti, nešto mračno, kao neka strašna životinja, ili više njih. Valjda smrt. Ali moj let je bio, kao što i je najčešće u snovima, takve prirode da nisam mogla aktivno letjeti niti se uzdizati, nego samo održavati visinu i to samo kada sam potpuno mirna i ne nastojim. Čim nastojim održati visinu, propadam, i bilo kakva akcija čini da propadam. Na sreću, krajolik poda mnom je lagano padao prema dolini i kako sam ja povremeno gubila visinu, tako se spuštao i teren. Bila sam svjesna da dolina ima svoju najnižu točku i da mi je tamo neminovan kraj. I bila sam pomirena s time i uživala u ljepoti svjetala,u prostoru oko mene i vjetru. MIRJANA VODOPIJA Životopis MIRJANA VODOPIJA je diplomirala 1987. godine na grafičkom odjelu Akademije likovnih umjetnosti u Zagrebu u klasi profesora Miroslava Šuteja. Od 1985. do danas ostvarila je 28 samostalnih izložbi i sudjelovala na dvjestotinjak skupnih izložbi ili kustoskih koncepcija u zemlji i inozemstvu te na više međunarodnih rezidencijalnih projekata. Dobitnica je brojnih likovnih nagrada nacionalnog i međunarodnog karaktera. Tijekom svojeg umjetničkog djelovanja – prožimanjem različitih umjetničkih disciplina, od crteža i grafika, preko svjetlosnih objekata, crteža žarnim nitima, instalacija i videoinstalacija, do fotografija velikih formata i ambijenata – Mirjana Vodopija je stvorila jedinstven i raznolik umjetnički opus u kome se, kao osnovne karakteristike njezinog rada, očituju kontemplativnost i inovativnost u specifičnom pristupu fenomenu svjetla i pokreta. O njezinom su radu pisali povjesničari i teoretičari umjetnosti – u knjigama, domaćim i inozemnim stručnim i umjetničkim časopisima („Kontura“, „Grafika“, „Grapheion“ itd.). Opsežna monografija o njezinom umjetničkom djelovanju s tekstom Branka Franceschija objavljena je 2004. godine u izdanju izdavačke kuće „Fraktura“. Djela su joj uvrštena u zbirke važnijih hrvatskih muzeja i galerija: Muzeja suvremene umjetnosti u Zagrebu, Moderne galerije u Zagrebu, Kabineta grafike HAZU u Zagrebu, Muzeja moderne i suvremene umjetnosti u Rijeci, u Grafičku zbirku Nacionalne i sveučilišne knjižnice u Zagrebu, grafičku zbirku Tamarind Instituta, Albuquerquea, New Mexica, SAD-a, kao i u druge muzejske i privatne zbirke. Od 1987. godine do danas neprestano djeluje i kao vanjski suradnik HRT-a kao autorica brojnih scenografija, špica, jinglova i ilustracija te vizualnih identiteta emisija u njihovoj produkciji. Od 1987. do 2007. djeluje kao samostalna umjetnica i član je HDLU-a. Od 2007. godine radi na Akademiji likovnih umjetnosti u Zagrebu, trenutno u zvanju izvanrednog profesora, gdje od 2012. obnaša dužnost prodekanice za nastavu i studente.