Ana-Marija Senfner, mag. hist. art., et. mag. soc.<\/p>\n
Sanja Mer\u0107ep (1989., Zagreb) magistrirala je na diplomskom studiju Fotografije na Akademiji dramske umjetnosti Sveu\u010dili\u0161ta u Zagrebu. Prethodno je diplomirala na Ekonomskom fakultetu u Zagrebu, a potom niz godina radila u ogla\u0161iva\u010dkoj industriji. To je iskustvo oblikovalo i njezin umjetni\u010dki interes usmjeravaju\u0107i je prema istra\u017eivanju tema poput na\u010dina upotrebe i komercijalizacije javnog prostora. Dosada je imala tri samostalne izlo\u017ebe (Obala \u2013 Galerija Otok, Dubrovnik; Usporavanje \u2013 Galerija f8, Zagreb; U stvarnosti i u fikciji \u2013 Galerija Spot, Zagreb). Na natje\u010daju Muzeja za suvremenu umjetnost Zagreb za mlade umjetnike \u201cIvan Ko\u017eari\u0107\u201d 2024. godine osvojila je drugu nagradu za autorsku seriju fotografija Obala koja je otkupljena za kolekciju Muzeja.<\/p>\n
Photographic Series “2020”<\/p>\n
We are witnessing a visual silence, a departure from the constant stimuli of the postmodern city that throb through every pore of public life. Through calm, meditative scenes, seemingly benign at first glance, the artist draws us into the vortex of commodification and commercialization, processes that, under the guise of liberal epithets, mask an economy aimed at the exploitation of life in its entirety.
\nThe main motifs of the works\u2014those that depict the reality we have found ourselves in\u2014are objects: advertising billboards that dominate nature, the urban and rural landscape. These billboards, though opposed by their surroundings, are also clearly subordinated to them.
\nThe absence of content, the information we consciously or unconsciously process as we navigate the signposts of capitalist society, becomes a call to question what we consume and why we consume it.
\nPhotographed during the coronavirus pandemic, in a period when we were living in the “new normal,” the lack of advertisements on the billboards now serves as a reminder of the economic wheel that was (only) temporarily forced to slow down. The white surface\u2014the emptiness\u2014has a dual effect. On one hand, it signifies calm and pause, a rest for the senses; while at the same time, in this context, it transforms into a feeling of uncertainty in the face of changes to a familiar everyday life.
\nThe choice of subject matter in the photographic series 2020 once again reflects the artist\u2019s deep engagement with the themes of public space and its transformation, the social values it expresses, and her exploration of the domain of everyday life, which for her becomes an inexhaustible source of inspiration, contrary to the common tendency to disregard the significance of the everyday as a monotonous and insufficiently attractive sphere.
\nSanja Mer\u0107ep\u2019s previous works, portraying the Croatian coast, \u201cquiet\u201d and private moments in life, traces of urban rhythm, and even the dominant advertising structures that guide the eye\u2019s movement, become like data sets through which we analyze society, serving as a visual source for specific social phenomena, dynamics, and spatial relations.<\/p>\n
Ana-Marija Senfner, MA in Art History and MA in Sociology<\/p>\n
Sanja Mer\u0107ep (1989, Zagreb) earned her Master\u2019s degree in Photography from the Graduate Studies program at the Academy of Dramatic Art, University of Zagreb. She previously graduated from the Faculty of Economics in Zagreb and then spent several years working in the advertising industry. That experience shaped her artistic interests, directing her toward exploring themes such as the use and commercialization of public space.
\nSo far, she has held three solo exhibitions (The Shore \u2013 Otok Gallery, Dubrovnik; Slowing Down \u2013 f8 Gallery, Zagreb; In Fact and in Fiction \u2013 Spot Gallery, Zagreb). In 2024, she won second prize in the \u201cIvan Ko\u017eari\u0107\u201d competition for young artists, organized by the Museum of Contemporary Art in Zagreb, for her photographic series The Shore, which was acquired for the Museum\u2019s collection.<\/p>\n
Fotografikani seria \u201e2020\u201c<\/p>\n
Siam tasdivia va\u0161o vizuelnikano nih\u0161abo, cxidipe katar savaxtune ikerkeripe e postmodernikane dizakere save so but sig nakhen ano sakova kotor e putarde d\u017eivdipaskoro. Prekal e \u0161anime, meditativnikane sikavdipa, ko jekhto dikhipe benignikane, i auktori legarel amen ano duneko e komodifikaciakoro thaj komercializaciakoro, proceso so si teli phak e liberalnikane epiteteskoro so kerel maskiripe e ekonomiake sava isi resarin te kerel eksploatacia ko sahno d\u017eivdipe. \u010cekatno motivo e butjengoro, adala so sikavena o \u010da\u010dipe saveste arakhlajm amen, kerel o objekto \u2013 reklamnikano panoia, save so keren dominacia e prakritasa, urbanikane thaj ruralnikane thanipasa, save so si mamujkerde, ama thaj si akcentirime si telo lende. O nanipe e saikerinakoro, informacie saven minsale vaj poxari minsale kerjakerasa cxidindoj pe kori o orientiria e kapitalistikane amalnipaskoro, sikavela akharin ko pu\u010dljaripe adaleskoro so konzumirinas thaj soske konzumirinas. Fotografirime kana sas i pandemia e korona viruseskoro, ano periodo kana d\u017eivdindam ano \u201enevo normalnikano\u201c o nanipe e reklamakoro ke panoia, avdive si lipardipe thaj ko ekonomikano \u010dekreko kova (sade) ko tikno vaxt mangljolas te xarinkerel amen. Parni tabla, \u010du\u010dipa, isi les dujrigengoro palpalunipe. Jekhe rigatar sikavel o \u0161anipe thaj i dajandin,dajandipe e xo\u0161ipangoro, d\u017eikote ano jekh vaxt akale kontekstoste kerel transformacia ano xo\u0161ipe e bisigurnipaskoro kana isi averdipa ano pend\u017eardo sakodivipe.
\nO alusaripee motivengoro ani fotografikani seria \u201e2020\u201c panda jekhvar sikavel i autorikani pretenzia e tematikenca katar e putarde thanipa thaj lengoro averdipe, amalnikane baripenca save sikaven pe, ama thaj e butikeripasa ki rig savi sikavel o sakodivutno d\u017eivdipe, kova so lake a\u010dhovel bi\u0161uko xango e inspiraciakoro mamuj o kerdo bisteripe e d\u017eanlipaskoro e sakodivipaskoro sar monotonikano thaj nabut atraktivnikano sferipe. D\u017eiakanutne butikeripa e Sanja Mer\u0107epakere save so kerde portetiripe e hrvatskakere uzalpanjipa, \u201enih\u0161abime\u201c momentora katar o privatnikano d\u017eivdipe, e dire katar urbanikano ritmo, thaj sa d\u017ei e superiornikane reklamnikane konstrukcie kola so d\u017ean pal e jakhakoro mi\u0161kipe, ovena sar e setia e evidentengoro kolengere arkasa resas d\u017ei o analiziripe e amalnipaskoro, deindoj amenge vizuelnikano xango va\u0161e specifikane fenomenia, dinamika thaj relacie ano thanipa.<\/p>\n
Ana-Marija Senfner, mag. hist. art., et. mag. soc.<\/p>\n
Sanja Mer\u0107ep (1989., Zagreb) magistririnda ko Diplomikane studie Fotografija Akademia Dramakere artengiri Ko Univerziteto Zagreb. Angleder adava diplomirinda ko Ekonomikano fakulteto ano Zagreb, a pal adava kerda buti ki komercialikani industria. Adaja eksperienca kerda lake te ovel la artikano intereso thaj putarda lake drom ko rodljaripa e temengoro phandle e labaripasa thaj komercializaciasa ko putardo thanipe. D\u017ei akana sas la trin korkorutne pradar\u0161ane (Obala \u2013 Galerija Otok, Dubrovnik; Usporavanje \u2013 Galerija f8, Zagreb; U stvarnosti i u fikciji \u2013 Galerija Spot, Zagreb). Ko konkurso e Muzeumeskoro vase nevevaxtune artia Zagreb terne artutnenge \u201cIvan Ko\u017eari\u0107\u201d 2024 ber\u0161 lelja dujto pursaka va\u0161i autorikani seria fotografie save si kinljarde va\u0161i kolekcia e Muzeumeskiri.[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” disable_element=”yes” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=”” gradient_type=”default”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][toggles style=”minimal”][toggle color=”Default” heading_tag=”default” heading_tag_functionality=”default” title=”+Komentatorica+”][vc_column_text]\n
Uz izlo\u017ebu \u201cPoezija Drage Gervaisa\u201d<\/p>\n
Va\u017eno (iako u medijskom prostoru zanemareno) polje suvremenog problematiziranja odnosa rije\u010di i vizualnog, likovna je kritika. \u201cEseji o slikarstvu\u201d francuskog filozofa i knji\u017eevnika Denisa Diderota smatraju se prete\u010dom likovne kritike jer autor, kroz vlastite izvje\u0161taje o izlo\u017ebama \u2013 Salonima, raspravlja o knji\u017eevnosti, umjetnosti i umjetni\u010dkoj gesti, upli\u0107u\u0107i pritom osobno stajali\u0161te u kriti\u010dki sud temeljen uglavnom na tome svi\u0111a li mu se pojedini rad ili ne, \u0161to je s dana\u0161njeg stajali\u0161ta problemati\u010dno. Suvremena pozicija kriti\u010dara ovisi o njegovoj upu\u0107enosti u aktualna dru\u0161tvena, politi\u010dka, umjetni\u010dka i druga zbivanja te sposobnosti da vlastito \u201c\u010ditanje\u201d vizualne kulture, prenese publici.<\/p>\n
No, odnos teksta i \u201cslike\u201d izaziva interes jo\u0161 od antike. \u201cUt pictura poesis\u201d (u prijevodu: Neka poezija bude kao slika) poznat je Horacijev stih rimskog pjesnika kojim ovaj autor poziva na pauzu u naraciji u obliku slikovitog opisa, a \u010dija je zada\u0107a opustiti slu\u0161atelja (kasnije \u010ditatelja), u napetom misaonom procesu. I upravo se to tuma\u010di kao po\u010detak dvojbe u narednim razdobljima o tome je li slika nadmo\u0107na nad tekstom ili ona tek zavodi duh. Pravi interdisciplinarni izazov donosi prijelaz iz 19. na 20. stolje\u0107e kada promi\u0161ljanje o tekstu i njegovoj vizualnoj mo\u0107i postaje temelj za poigravanje umjetni\u010dkim izri\u010dajem. Pa, primjerice, poema \u201cBacanje kocki nikada ne\u0107e ukinuti slu\u010daj\u201d francuskog pjesnika St\u00e9phanea Mallarm\u00e9a, koja nagla\u0161ava vizualnost pri \u010ditanju, inspirira konceptualnu umjetnost, a \u201cKaligrami\u201d Guillaumea Apollinairea primjer su istra\u017eivanja osjetilnog svijeta kroz kreiranje slika od stihova. U dana\u0161nje, slikovitim sadr\u017eajima optere\u0107eno vrijeme, pravi je izazov privu\u0107i pa\u017enju \u010ditatelja, a zada\u0107a kulturno-umjetni\u010dkih sadr\u017eaja je da ga (vizualno) opismeni na tom putu.<\/p>\n[\/vc_column_text][\/toggle][\/toggles][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” disable_element=”yes” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]