Prostor snova
\nPromatramo unutarnje stanje svijesti, koje je transformirano u trodimenzionalni, tehnolo\u0161ki posredovani prostor. Sredi\u0161nji fenomen na koji nam rad \u017eeli ukazati, ali ujedno i preispitati na\u0161a vizualna osjetila, pru\u017eaju\u0107i nam ambijentalno iskustvo, odnosi se na slo\u017eene procese snova. Elementi rada promi\u0161ljeni su na na\u010din da izazivaju konstantnu napetost izme\u0111u stvarnog i zami\u0161ljenog, fiksnog i distorzivnog, virtualnog i fizi\u010dkog prostora, stvaraju\u0107i tako prostornu simulaciju snova gdje se fragmenti iskustva reorganiziraju u nove konfiguracije. Grid od zelenog konca funkcionira kao vizualizirana mre\u017ea neuronskih impulsa, pomo\u0107u koje definiramo prostor raznim parametrima, mapiraju\u0107i mo\u017edanu aktivnost i stvaraju\u0107i osje\u0107aj navigacije kroz imaginarni sustav, evociraju\u0107i gamificirane prostore. Digitalne kompozicije ome\u0111ene gridom vizualni su zapisi REM faze sna koji stapaju arhitektonske oblike, fotografske isje\u010dke; podsje\u0107aju\u0107i na fluidnost i fragmentiranost snova. Ovim pristupom REM faza interpretira se kao virtualno okru\u017eenje u kojem je mogu\u0107e kretati se i analizirati, mapiraju\u0107i i strukturiraju\u0107i san kao \u0161to igra\u010d\u00a0radi dok se nalazi u virtualnom svijetu igre. Na trenutke sna u kojima se narativ raspada asociraju nas crne rupe na podu, a postavljena zrcala \u0161ire i razaraju percepciju, dodaju\u0107i interaktivni element radu koji dodatno destabilizira perceptivno polje. U sustavu u kojem se na\u0161ao posjetitelj, njegove kretnje, pogledi i fokus generiraju promjenu vizualne percepcije. Posjetitelju se otkriva autenti\u010dnost u nekontroliranim uvjetima u kojima snovi, vlastitom logikom, stvaraju slike. Uz poruku autorice: \u201eHrabro je sanjati\u201c, poziv na uranjanje u prostorni zapis vodi nas kroz slojeve koje otvara svaka promjena to\u010dke gledi\u0161ta i svaki impuls, gdje se slike i emocije isprepli\u0107u u beskona\u010dnu mre\u017eu vlastitog imaginarija, otvaraju\u0107i nove svijetove i mogu\u0107nosti.
\nAna-Marija Senfner, mag. hist. art. et mag. soc.<\/p>\n
Tea Ivkovi\u0107\u00a0ro\u0111ena je 1992. godine u Zagrebu. Maturirala je 2011. na grafi\u010dkom odsjeku \u0160kole primijenjene umjetnosti i dizajna u Zagrebu i iste godine upisuje preddiplomski sveu\u010dili\u0161ni studij Grafika na Akademiji likovnih umjetnosti Sveu\u010dili\u0161ta u Zagrebu. Diplomski studij Grafika zavr\u0161ava 2016. godine u klasi Mirjane Vodopije. Sudjelovala je na brojnim grupnim izlo\u017ebama, radionicama i likovnim kolonijama.\u00a0\u010clanica je HDLU-a od 2016. Dobitnica je nekoliko priznanja i nagrada za rad od kojih je najva\u017enija nominacija u finalu nagrade Radoslav Putar 2017. godine. Trenutno \u017eivi i radi u Zagrebu.<\/p>\n[\/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” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][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”][divider line_type=”No Line” custom_height=”30″][vc_column_text css=”.vc_custom_1765611083939{margin-top: 15px !important;margin-bottom: 30px !important;}”]\n
The Space of Dreams
\nWe observe an inner state of consciousness that has been transformed into a three-dimensional, technologically mediated space. The central phenomenon that the work seeks to highlight, while also questioning our visual senses by offering an ambient experience, relates to the complex processes of dreaming. The elements of the work are conceived to provoke constant tension between the real and the imagined, the fixed and the distorted, the virtual and the physical space, thus creating a spatial simulation of dreams where fragments of experience are reorganized into new configurations.
\nThe green-thread grid functions as a visualized network of neural impulses through which we define space using various parameters, mapping brain activity and creating a sense of navigation through an imaginary system, evoking gamified environments. The digital compositions framed by the grid are visual records of the REM sleep phase, blending architectural forms and photographic fragments, recalling the fluidity and fragmentation of dreams. Through this approach, the REM phase is interpreted as a virtual environment in which one can move and analyze, mapping and structuring the dream as a player would while navigating a virtual game world.
\nThe black holes on the floor evoke those dream moments when the narrative collapses, while the installed mirrors expand and disrupt perception, adding an interactive element to the work that further destabilizes the perceptual field. Within this system, the visitor\u2019s movements, gaze, and focus generate changes in visual perception. The visitor is confronted with authenticity in uncontrolled conditions in which dreams, guided by their own logic, create images. With the artist\u2019s message, \u201cIt is brave to dream,\u201d the invitation to immerse oneself in the spatial record guides us through the layers revealed by every shift in viewpoint and every impulse, where images and emotions intertwine into an infinite network of one\u2019s own imagination, opening new worlds and possibilities.
\nAna-Marija Senfner, MA in Art History and Sociology<\/p>\n
Tea Ivkovi\u0107\u00a0was born in 1992 in Zagreb. She graduated in 2011 from the Graphic Arts Department of the School of Applied Arts and Design in Zagreb, and in the same year enrolled in the undergraduate program in Graphic Arts at the Academy of Fine Arts, University of Zagreb. She completed her graduate studies in Graphic Arts in 2016 in the class of Mirjana Vodopija. She has participated in numerous group exhibitions, workshops, and art colonies. She has been a member of the Croatian Association of Artists (HDLU) since 2016. She has received several recognitions and awards for her work, the most notable being her nomination as a finalist for the Radoslav Putar Award in 2017. She currently lives and works in Zagreb.<\/p>\n[\/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” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][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”][divider line_type=”No Line” custom_height=”30″][vc_column_text css=”.vc_custom_1765611098413{margin-top: 15px !important;margin-bottom: 30px !important;}”]\n
Thanipe e sunengoro<\/p>\n
Dikhas o andruno xali e minsakoro, koleske keras transformacia ano trindimezie, tehmologikano la\u010dhardo thanipe. O ma\u0161karutno fenomeno savo so mangel i buti te sikavel amenge, ama ko jekh thaj te kerel rodljaripe amare vizuelnikane ho\u0161ipande, deindoj amen ambientalnikano nakhlipe, si phandlo e kompleksnikane procesonca e sunengoro. E elementia e butjakere si gindljarde e\u00a0\u010dhandesa te keren konstantikano maripe ma\u0161kar o\u00a0\u010da\u010dutno thaj gindime, fiksikano thaj distorzivikano, virtualnikano thaj fizikano thanipe, kerindoj adjaxar thaneskiri simulacia e sunengiri kote so e fragmentia e nakhlipaskere keren reorganizacia ane neve konfiguracie. O grido katar xarialo thav kerel funkcioniripe sar vizuelizirime mre\u017ea ke neuronikane impulsia, dende dumesa koleske das definicia sar thanipe ke ververikane parametria, mapirindoj e godjakoro aktivipa thaj kerindoj xo\u0161i sar navigacia ko imaginarnikano sistemo, kerindoj evociripe e gamificirime thanipangoro. E digitalnikane kompozicie trujalkerde e gridosa vizuelnikane si xramovipa ko REM faze e suneskere save so phanden pe ke arhitektonikane forme, fotografikane\u00a0\u010dhinipa; liparindoj amen ko fluido thaj fragmentoja e sunengere. Akale resipasa i REM faza kerel pe interpretacia sar virtualnikano trujalkeripe koleste \u0161aj te mi\u0161kinel pe thaj analizirinel pe, mapirindoj thaj strukturindoj o suno sar so o khelutno kerel kana arakhel pe ko virtualnikano sundal e khelipaskoro. Ko momento e sunengoro kolende o narativo kirnjol asocirinel amen ke kale xevja ko podo, a e\u00a0\u010dhivde xajne buvljaren thaj phagljaren i percepcia, deindoj la interaktivnikano elemento e butjakoro savo so d\u017eipherde destabilizirinel i perceptivnikani umal. Ano sistemo saveste arakhel pe o vizitori, leskere mi\u0161kipa, dikhipa thaj fokuso generirinen averdipe e vizuelnikane percepciake. E vizitoreske pu\u010darel pe autentipe ane bikontrolirime \u0161artia savende e sune, plesutne logikasa, kerdaren e pikture. Uzal o vakeripe e auktorkakoro: \u201eBarikane si te suninel pe\u201c, o akharipe te gnurinel pe ano thanipaskoro xramovipe legarel amen ke plastia save so putaren sakova averdipe e dikhipaskere nuktakoro thaj sakova impulso, kote so e pikture thaj e emocie katlen pe ani biagorikani mre\u017ea ki plesutni imaginaria, putarindoj neve sundala thaj \u0161ajdipa.
\nAna-Marija Senfner, mag. hist. art. et mag. soc.<\/p>\n
Tea Ivkovi\u0107\u00a0biame si 1992. ber\u0161 ano Zagrebo. Matura kerdas ano 2011. ko grafikano kotor katar \u0160kola va\u0161i aplicirime arto thaj dizajno ano Zagrebo thaj xramonel pe adava ber\u0161 ko anglodiplomakere univerzitetikane studie Grafika ki Akademia e artoskiri ko Univerziteto Zagreb. O master studij Grafika agorkerel ko 2016. ber\u0161 ani klasa e Mirjanakiri Vodopija. Lel than ke but grupakere pradar\u0161ane, butjakere sikavipa thaj artikane kolonie. D\u017eeni si ki HDLU katar 2016. Dende si lake nekobor angigaripa thaj pursake va\u0161i buti kolendar si majbari i nominacia ano finale e pursakeskiri Radoslav Putar 2017. ber\u0161. Akana d\u017eivdinel thaj kerel buti ano Zagrebo.<\/p>\n[\/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” 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