Cinemaniac 2008
Transcript of Cinemaniac 2008
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CINEMANIAC / 2008BABETTE MANGOLTE /
GALERIJA ANEKS / ANA HUŠMAN / DORA
KATANIĆ / GALERIJAMMC LUKA /BRANKA
BENČIĆ / ANKE KEMPKESPULA / 20.07. - 10.08.
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Izložba Cinemaniac, dio popratnoga programa Festivala igranog filma u Puli, poput
sličnih projekata na drugim filmskim festivalima – Future projections na Toronto film
festivalu, Forum epanded na Berlinaleu, Play Forward u Locarnu ili Eploding cinema na
Filmskom festivalu u Rotterdamu – od 2002. godine, predstavlja inovacije i ideje koje se
tiču izlaganja filmskih i video radova u galerijskom kontekstu, a kojemu infrastruktura
Pulskog filmskog festivala pruža kontekstualnu i organizacijsku platformu.¶ Izložba od
svojih početaka predstavlja aktivni istraživački kontekst koji omogućava prezentiranje
umjetničkih djela, mjesto susreta u kojem se integriraju društveni, kulturni, tehnološki,
medijski i estetski aspekti, sjecišta na kojima se susreću umjetnost, umjetnici, institucije
i publika, stvaraju novi oblici suradnje problematizirajući pitanja odnosa filma i
vizualnih umjetnosti te prezentira hrvatska i internacionalna produkcija, kako recentna
(mlađi autori) tako i neka antologijska djela umjetničkog videa, eksperimentalnog
filma i multimedijalnih instalacija.¶ Samostalno izlaganje Babette Mangolte na izložbi
Cinemaniac u okviru popratnog programa 55. Festivala igranog filma u Puli, prvo je
predstavljanje radova ove iznimne umjetnice u Hrvatskoj. Babette Mangolte, filmska
snimateljica, redateljica i fotografkinja prisutna je na sceni suvremene umjetnosti, filma,
plesa, kazališta i performancea od 1970-ih godina, a kao autorica i redateljica značajna je po svojim filmskim eksperimentima i konceptualnom pristupu filmu. Izložba uključuje
autoričine rane filmove i fotografije iz sredine 70-ih godina: filmove What Maisie Knew
(1975); The Camera: Je, La Camera: I (1977), kratki film (Now) (1976), seriju fotografija iz
filma What Maisie Knew i seriju konstruktivističkih fotokolaža Composite Buildings koja
je nastala prilikom fotografiranja njujorških fasada za film The Camera: Je, La Camera:
I.¶ Uz samostalnu izložbu Babette Mangolte u galeriji Aneks, u galeriji MMC Luka
predstavljaju se dvije umjetnice mlađe generacije: Ana Hušman, dobitnica Grand Pria
Dana hrvatskog filma i Dora Katanić, apsolventica na Akademiji likovnih umjetnosti u
Zagrebu. Ciklus slika Tko pjeva zlo ne misli Dore Katanić polazi od predteksta istoimenafilma Kreše Golika, kao dijela naše popularne kulture i filmske baštine, dok instalacija
Ane Hušman elementima scenografije korištene pri snimanju filma stvara ambijent
građanskog salona ili dnevne sobe, a kritička i humoristična interpretacija bontona
u filmu Ručak – manire čine čovjeka, norme ponašanja stavlja u ironijski kontekst. / BRANKA BENČIĆ
CINEMANIAC / 1
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FETIŠ POGLEDA, FETIŠI DRUŠTVA / BABETTE MANGOLTE, ANA HUŠMAN / DORA KATANIĆ / Kao kompleksan i razvijen sustav reprezentacije film postavlja
pitanja o načinima na koje se (oblikovano dominantnim poretkom) strukturira viđenje i
užitak gledanja. Tijekom svoje povijesti razvio je poseban privid stvarnosti. Poigravajući
se napetostima između dimenzija vremena i prostora filmski kodovi i konvencije
stvaraju i pogled, i svijet, i predmet, i iluziju, a alternativan film propituje i dekonstruira
upravo unutarnje zakonitosti i odnose prema vanjskim formativnim strukturama. ¶ S
filmom se povezuju tri različite vrste pogleda: pogled kamere koja bilježi neki događaj,
pogled publike i pogledi što ih razmjenjuju likovi s filmskog platna. Upravo je mjesto/
pozicija pogleda, zahvaljujući mogućnostima njegova variranja, premještanja naglaska
i izlaganja, iako nije inherentno filmu ono što određuje film (a po svojem je potencijalu
različit od primjerice kazališta ili striptiza). Publika je apsorbirana situacijom na ekranu
i korištenjem subjektivne kamere. Mrak kinodvorane i pozicija gledatelja poigravaju se
voajerističkom maštom publike i naglašavaju iluziju
zavirivanja u privatni svijet.1
BABETTE MANGOLTE / Autoričini rani filmovi i
fotografije, iz sredine 70-ih godina, u kojima se baviodnosima fotografije i filma, poigravaju se normativima
narativnih struktura i istraživanjem prostora – interijera
i eksterijera, svjetlosti; u njima problematizira vrijeme, te
filmski jezik i njegovu logiku, poziciju kamere i poziciju
subjekta, konstrukcije subjektiviteta i subjektivnog
kadra, problematiku filmskog i fotografskog portreta,
kroz ono što se u teoriji nazivalo “teorijom pogleda”.
Prvi filmovi Babette Mangolte nastaju u vrijeme kada se
u časopisu Screen pojavljuje tekst Laure Mulvey Visualpleasure and narrative cinema. ¶ Rad Babette Mangolte
nastaje na nizovima opozicija koje se strukturiraju
poput binarnih parova: kontekstualizacijom statične
i pokretne slike, filma i fotografije, odnosa muško-
žensko, prostora i vremena, punog i praznog, fizičkog
i imaginarnog, postojanja i nepostojanja, pozitiva i
negativa, svjetla i tame, pitanja zvuka i minimalističkog
DOOMED POWER
OF THE FETISH* Teresa De Lauretis /Strategies of Coherence.Narrative Cinema, FeministPoetisc and Yvonne Rainer.U: Teresa De Lauretis:Technologies of Gender.Essays on Theory, Film AndFiction, Indiana Universitypress, Bloomington andIndianapolis, 1987.
Laura Mulvey: Vizualniužitak i narativni film, u:Feministička kritika i teorijalikovne umjetnosti (ur.Ljiljana Kolešnik), Centar zaženske studije, Zagreb, 1999
BABETTE MANGOLTE / NOW / 1976.
*
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pristupa. ¶ S formalnog aspekta kompoziciju kadra
karakteriziraju prizori u kojima prevladava statična
kamera, česta frontalna impostacija i srednji plan
koji se izmjenjuje s prizorima detalja i planom blizu,
a promjene očišta osim što doprinose naglašavanju
fragmentarnosti djela i mozaičnosti njegove
strukture, ističu i promjene pozicija subjektiviteta.
Dekonstruira se stabilna i fiksna pozicija
subjekta. Prostor, oblici i tijelo fragmentirani
krupnim planovima prerastaju u osnovni sadržaj
filma. ¶ Poput umjetničkih strategija, primjerice
u filmu The Camera: Je, La Camera: I, gdje uz
niz dihotomija (francuskog i engleskog jezika,
fotografskih i filmskih portreta, statične i pokretne
slike, mirovanja i dinamike), postavlja pitanje
subjekta – pozicije kamere i autora/redatelja, i
gdje zanemarujući narativnu komponentu, nauštrbradnje koja prelazi u drugi plan, Babette Mangolte,
kao što i sam naslov filma kaže2, pretvara korišteno
umjetničko sredstvo i primijenjeni postupak u
pravu temu svoga filma. ¶ Istražujući fotografiju u filmu The Camera: Je, La Camera:
I, Mangolte se usredotočila na detalje izraza lica u portretnoj fotografiji, i analizira
shizofreni odnos između aleatoričkog postupka u fotografiji i konceptualnog rada
na filmu.3 ¶ Kamera postaje mehanizam iluzije za proizvodnju renesansnog prostora,
pokreta kompatibilnih ljudskom oku, ideologije predstavljanja koja se vrti oko percepcije
subjekta. Ovo složeno međudjelovanje pogleda karakteristično je za film, a raspadmonolitne forme konvencionalnih pravila predstavlja osamostaljenje elemenata filmske
forme.4 “Fragment razara renesansni prostor i iluziju dubine koju zahtijeva priča,
potvrđujući plošnost filmskog ekrana, zadobivajući značajke isječka ili ikone, prije nego
li vjerodostojnosti predodžbe.5”¶ Komparativno promatrajući ne samo serije fotografija
i filmove poput What Maisie Knew, (Now) ili Composite Buildings već i autoričin rad pri
dokumentiranju plesnih performancea, primjećujemo strategiju fragmentiranja shvaćenu
ne samo kao umjetničko izražajno sredstvo, nego kao nužan i neizbježan postupak
CINEMANIAC / 3
BABETTE MANGOLTE / WHAT MAISIE KNEW? / 1975.
The I of the camera andthe I of the author/director– most often employed inclassical narrative film, isredirected to become thevery subject of the film,indeed, is written into histitle.” Christopher Eamon:The Photograph of a WomanWho..., objavljeno za retros-
pektivnu izložbu BabetteMangolte Spaces To SeeStories To Tell, Broadway1602, NY, 2007.
Eploring photography inher film The Camera: Je, LaCamera: I, Mangolte concen-trated on details of facialepressions in portrait pho-tography and analyzed theschizophrenic relationshipbetween Mangolte’s alea-tory camera in photography
and her conceptual work infilm. Anke Kempkes: Spacesto See, Stories to Tell,samostalna izložba BabetteMangolte, galerija Broadway1602, New York, 2007.
Laura Mulvey Vizualniužitak i narativni film, u:Feministička kritika i teo-rija likovne umjetnosti (ur.Ljiljana Kolešnik),Lj. Kolešnik, Centar za žen-ske studije, Zagreb, 1999
ibid.
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kojim se statičnim medijem (fotografijom) pokušava
dokumentirati aktivnost koja se odvija u vremenu, a
kontinuitet pokreta na taj se način fragmentira (gubi).
Takve slike postaju nizovi fragmenata, a najčešće se
prikazuju u serijama, dok im (mentalna, asocijativna)
montaža služi kao sredstvo povezivanja. 6
ANA HUŠMAN / Radovi Ane Hušman, bilo da je riječ o
videu, eksperimentalnom filmu, animaciji, višekanalnim
instalacijama, ili drugim projektima prilagođenim za
galerijsku prezentaciju, poput raznih istraživačkih
projekata svojevrsnoga društvenog karaktera i
angažmana, te suradničkih praksi kontekstualno
socijalno usmjerenih, posebno u posljednje vrijeme kada
autoricu okupiraju kodovi kulture i društvene norme,
polaze od istraživačkog rada – ”lakših” tema poput
kuharica ili bontona (pravila ponašanja), ili ”ozbiljnijih”
tema. Rad Ane Hušman zauzima široko diskurzivnopolje i kontekstualnog je karaktera. Jedna od njenih
čestih referentnih točaka očituje se kroz obradu i
interpretaciju motiva i detalja iz naše svakidašnjice,
sadašnjosti i bliske nam prošlosti, simboličkih praksi i
predmeta koji su njihov dio (tkanje čipki, pripremanje
jela, pravila ponašanja), te u propitivanju devalviranih
vrijednosti ili fetiša društva.¶ Autoricu je ovom zgodom
zanimalo kako se konstituiraju tradicijske vrijednosti i
norme ponašanja (simboličke ili ritualne prirode) kojeteže usaditi vrijednosti i norme putem ponavljanja
formaliziranih radnji. Privatna se percepcija izložbom
transformira u vizualni jezik, demontiraju se vrijednosti kulture i označiteljske prakse
na reprezentacijskoj razini.¶ U svom posljednjem umjetničkom projektu Po bontonu
autorica predstavlja pravila ponašanja Zapada. Film je predstavljen u formi video-
instalacije koja se sastoji od tri istovremene projekcije u loopu, zatim kroz animirani
film koji pokazuje nastanak scenografije te scenografiju samu. Stop-frame animacija
CINEMANIAC / 4
ANA HUŠMAN / RUČAK / 2008.
I had a clear sense thatthe final photographwas nothing more than afragmentation of the actionitself.” Babette Mangolte:My History (The Intracable),October Magazine 1998.Also: “I felt that series ofphotographs was moretelling that just one photo
and valued photos in bulkrather than a single unit.The contact sheet wasetremely important in withits multiplicity of shots andits compactness in tellingthe story behind the event.”Babette Mangolte: Balancingact between instinct andreason or how to organizevolumes on a flat surface inshooting photographs, filmsand videos of performancepublished in “After the Act.”
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predstavlja i sažima proces nastanka scenografije filmskog seta. Postav izložbe otkriva
neke dijelove kreativnog procesa, i samog, kao što je slučaj s animacijom, provučenog
kroz estetizirani filter. A posjetitelji izložbe i sami se nalaze u ambijentu transformirane
scenografije – u samom filmu. Vizualne informacije koje nam daje kostimografija i
šminka ovog animiranog priručnika za lijepo ponašanje u nastajanju smještene su u
sedamdesete godine prošlog stoljeća, u stan navodno prosječne (malo)građanske obitelji
u tadašnjoj Jugoslaviji .7 ¶ Videografija Ane Hušman broji cijeli niz eksperimentalnih
filmova koji se temelje na istraživanju mogućnosti animacije, fotografske i filmske
slike, montaže i predstavljaju rezultat medijalnog manipuliranja, dok se u pokretu
i slici naglašava i raspoznaje njihov artificijelni, konstruirani karakter. Lomovi slike
i jezik prepariranoga pokreta uz skokove, prekide i trzaje u montaži, označavaju
lomove društvenog konteksta koji naglašavaju humor i ironiju. U ornamentalnim
pokretnim vinjetama Ane Hušman, titravom prizoru, zvučnoj sinkronizaciji, odnosu
govora tijela i intonaciji, pronalazimo karakteristike
koje uz različite tehničke mogućnosti nadilaze prakse
konvencionalne reprezentacije i uspostavljaju sustav
koji se temelji na hibridnoj, manipuliranoj slici.DORA KATANIĆ / Ciklus slika Tko pjeva zlo ne
misli Dore Katanić polazi od predteksta istoimenog
popularnog filma Kreše Golika, podnaslovljenog
”ljubavna komedija s pjevanjem”. Unaprijed poznat
sadržaj najgledanijega hrvatskog filma u povijesti
promatraču omogućuje prepoznavanje i komične
situacije. Dora slika odabrane kadrove iz filma
kao portrete poznatih likova i emocionalni život
protagonista (tu su: kicoš gospodin Fulir, Franjo iAna Štefanek, mali Perica, teta Mina..., poznati nam
glumci: Relja Bašić, Mia Oremović, Mirjana Bohanec),
u kojima prema impostaciji likova naslućujemo
dijaloške scene. Prelaskom u drugi medij, statične
slike bez zvuka postaju ”dijalozi” ukriženih pogleda
koje likovi upućuju jedni drugima, te van polja
slike. Na slikama su prepoznatljive karakteristike
DORA KATANIĆ / TKO PJEVA ZLO NE MISLI / 2008.
Jasna Jakšić: Premaetiketi, emisija Triptih,Treći program hrvatskogradija, 2007.
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filmskog medija. Upotrebom Photoshopa, pomoćnog sredstva medijskog manipuliranja,
autorica zamrznute kadrove računalno obrađuje kao fotografije, oponašajući slikarske
efekte, koje potom ponavlja u radu koji izlaže, u tehnici ulja na platnu .8 I kod Dore
Katanić, iako u tradicionalnom mediju slikarstva, pronalazimo ideju slike koja je
postala predmetom medijalnog manipuliranja. Krešo Golik je 1971. godine nagrađen
Brončanom arenom za režiju, a film je po izboru Društva hrvatskih filmskih kritičara
proglašen najboljim hrvatskom filmom svih vremena.9 / BRANKA BENČIĆ
CINEMANIAC / 6
Ana Kršinić Lozica: Slika irelacije koje uspostavlja,Život umjetnosti 80/07.
Filmski leksikon,Leksikografski zavodMiroslav Krleža, Zagreb
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Since 2002, the Cinemaniac ehibition, like similar projects on other film festivals -
Future projections at the Toronto Film Festival, Forum Epanded at the Berlinale, Play
Forward in Locarno or Eploding Cinema at the Film Festival in Rotterdam - is part
of the side program to the Film Festival in Pula and presents innovations and ideas
concerning the ehibitions of film and video works in the contet of a gallery. The
infrastructure of Pula Film Festival is giving it a contetual and organizational platform.
¶ From the very beginning, the ehibition has been presenting an active research
contet enabling the presentation of art works and functioning as a meeting place
integrating social, cultural, technological, mediatic and esthetic aspects, a meeting
point for art, artists, institutions and the public, creating new forms of co-operation
raising issues on the relationship between film and visual arts and presenting Croatian
and international production, both recent (younger authors) and anthological video
art works, eperimental film and multimedia installations. ¶ Babette Mangolte’s solo
ehibition at Cinemaniac as a side program for the 55th Pula Film Festival is the first
presentation of works by this eceptional artist in Croatia. Babette Mangolte is a
cinematographer, director and photographer, present on the contemporary art, film,
dance, theatre and performance scene since the 70’s. As a director she is known forher film eperiments and a conceptual approach to film. The ehibition includes her
early films and photographs from the mid 70’s: films What Maisie Knew(1975); The
Camera: Je, La Camera: I (1977), a short film (Now) (1976), a series of photographs from
the film What Maisie Knew and a series of constructivist photo-collages Composite
Buildings which were created on the occasion of photographing the facades of New
York for the film The Camera: Je, La Camera: I. ¶ Along with Babette Mangolte’s
solo ehibition in the Aneks gallery, the MMC Luka gallery will present two younger
artists: Ana Hušman, Grand Pri winner at the Croatian Film Days and Dora Katanić,
undergraduate at the Visual Arts Academy in Zagreb. The painting cycle Tko pjevazlo ne misli / One Song a Day Takes Mischief Away by Dora Katanić originates from
the title of the homonymous film as part of our popular culture and film heritage,
while Ana Hušman’s installation creates the ambiance of a middle-class salon or
living room using elements of scenography from the film. The critical and humorous
interpretation of good manners in the film Ručak – manire čine čovjeka / Lunch –
manners make a man puts manners in an ironic contet. / BRANKA BENČIĆ
CINEMANIAC / 7
INTRODUCTION /
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FETISH OF LOOKING, SOCIETY FETISH / BABETTE MANGOLTE, ANA HUŠMAN / DORA KATANIĆ / As a comple and developed system of representation, film
raises questions on the ways in which looking and pleasure (shaped by the dominant
hierarchy) are structured. In the course of its history, film has developed a particular
illusion of reality. By playing with tensions between dimensions of time and space,
film codes and conventions create both the view and the world, the object and the
illusion, while the alternative film questions and deconstructs the inner laws and
relations towards the outer formative structures. ¶ There are three different kinds
of view associated with film: the view of the camera which is recording an event, the
view of the public and the views echanged by the characters on the screen. Although
not inherent to the film, what determines it is the point of view (even if different for
its potential from theatre or striptease), owing to the possibilities of its variations, of
changes in accent and points of view (focalization). The audience is absorbed by the
situation on the screen and the use of a subjective camera. The darkness of the
cinema auditorium and the position of the viewer play
with the voyeuristic imagination of the audience and
point out the illusion of peeking into a private world.1
BABETTE MANGOLTE / In her earlier films and
photographs from the mid 70’s, the artist analyses
different relations - the relationship between
photograph and film, play with the norms of narrative
structures as well as space research – interiors and
eteriors, light, the issue of time, also cinematic
language and its logic, the position of the camera
and the subject, the construction of subjectivity and
the subjective frame, through genres of film andphotographic portraits, based on what theory called
“the theory of looking”. It is like a zeitgeist or a common
ground that Babette Mangolte’s first film works appear
at the time when Laura Mulvey’s tet Visual pleasure
and narrative cinema appears in Screen magazine. ¶
Babette Mangolte’s work is created and structured
as contetualization of still and moving images, film
BABETTE MANGOLTE / COMPOSITE BUILDINGS
DOOMED POWER
OF THE FETISH* Teresa De Lauretis:Strategies of Coherence.Narrative Cinema, FeministPoetics and Yvonne Rainer.In: Teresa De Lauretis:Technologies of Gender.Essays on Theory, Film andFiction,Indiana UniversityPress, Bloomington andIndianapolis, 1987.
Laura Mulvey: Visual pleasu-re and narrative cinema, in:Feminist critique and visualarts theory (ed. LjiljanaKolešnik), Lj. Kolešnik,Women Studies Centre,Zagreb, 1999.
*
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and photography, through male-female relationships,
space and time, full and empty, physical and imaginary,
positive and negative, light and darkness, issues of
sound (silence, speech, music) and a minimalistic
approach to it.¶ From the formal point of view, the
frame compositions are characterized by scenes
with predominantly static camera, frequent frontal
positioning and medium plan are interchanging with
details and close plans, while changes in focus not only
contribute to the pointing out of the fragmentarity of
the work and its mosaic structure, but also underscore
the changes of the position of subjectivity. The stable
and fied position of the subject is deconstructed. Space,
shapes and body, abstracted from the environment,
fragmented in close plans and fragment datails became
the main content of the film.¶ As eample, in the
film The Camera: Je, La Camera: I, where a series ofdichotomies are used (French and English languages,
photographic and film portraits, still and moving
image, stillness and movement) to raise the question
of subject – position of the camera and the director –
and where the narrative component is overshadowed
by putting the plot in the background, just like many
artistic strategies, Babette Mangolte turns the used
artistic means and procedure in the real topic of her
film, just as the title suggests.2 ¶ Eploring photographyin the film The Camera: Je, La Camera: I, Mangolte
concentrated on details of facial epressions in portrait
photography and analyzed the schizophrenic relationship between the aleatory camera
in photography and conceptual work in film.3 ¶ The camera becomes a mechanism
of illusion for the creation of a renaissance space, its movements compatible to the
human eye and the ideology of presentation revolving around the perception of the
subject. This comple interaction of views is typical of film, and the falling apart of
CINEMANIAC / 9
BABETTE MANGOLTE / WHAT MAISIE KNEW? / 1975.
The I of the camera andthe I of the author/director– most often employed inclassical narrative film, isredirected to become thevery subject of the film,indeed, is written into histitle.” Christopher Eamon:The Photograph of a WomanWho..., published for the
retrospective ehibitionBabette Mangolte SpacesTo See Stories To Tell,Broadway 1602, NY, 2007.
Anke Kempkes: Spaces toSee, Stories to Tell, BabetteMangolte’s solo ehibition,Broadway 1602 gallery, NewYork, 2007.
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the monolithic form of conventional rules represents
the gaining of independence of the elements
of film form.4 “A fragment takes apart the renaissance
space and the illusion of depth required by the
story, confirming the mono dimensional quality of
the film screen and gaining features of a segment
or icon, rather than the credibility of image.5” ¶ If
we comparatively observe not only the Mangolte’s
series of photographs and films like What Maisie
Knew, (Now) or Composite Buildings, but also her
work on documenting dance performances, we notice
she understands the strategy of fragmentation not
only as an artistic means of epression but also as
a necessary and unavoidable procedure used to
have a static media (photography) try and document
an activity in time, resulting in a fragmented (lost)
continuity of movement. Such images become series offragments, usually shown in series, while the (mental,
associative) editing serves as a means of connection.6
ANA HUŠMAN / Whether it’s videos, eperimental film, animation, multi-channel
installations or other projects adapted for gallery presentation, like various research
projects of social character and co-operation projects aimed towards a social contet,
Ana Hušman’s work stems from research work – “lighter” themes like cook books or
good manners manuals and more “serious” themes have been her topic ever since she
started dealing with culture codes and social norms. Ana Hušman’s work takes up a wide
discursive area and is contetual in character. One of her frequent points of referencereflects in the interpretation of motives and details from our everyday life, our present
time and the recent past, symbolic practices and objects that are part of them (lace
making, cooking, manners), as well as the questioning of devaluated values or social
fetishes. ¶ On this occasion the author was interested in how traditional values and
social norms originate (of symbolic or ritual nature), tending to instill values and norms
through repetition of formalized actions. Through the ehibition, a private perception
is transformed into visual language, the cultural values and defining practices on a
CINEMANIAC / 10
ANA HUŠMAN / RUČAK
Laura Mulvey: Visual pleasu-re and narrative cinema, in:Feminist critique and visualarts theory (ed. LjiljanaKolešnik), Lj. Kolešnik,Women Studies Centre,Zagreb, 1999.
Ibid.
I had a clear sense thatthe final photographwas nothing more than afragmentation of the actionitself.” Babette Mangolte:My History (The Intracable),October Magazine 1998.Also: “I felt that series ofphotographs was moretelling that just one photoand valued photos in bulkrather than a single unit.The contact sheet wasetremely important in with
its multiplicity of shots andits compactness in tellingthe story behind the event.”Babette Mangolte: Balancingact between instinct andreason or how to organizevolumes on a flat surface inshooting photographs, filmsand videos of performancepublished in “After the Act.”
4
5
6
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representational level are deconstructed. ¶ In her
latest artistic project entitled Po bontonu, the author
presents what are considered to be good manners in
the Western culture. The film is shown in the form of
a video-installation made up of three simultaneous
projections in a loop, then through an animated film
showing the creation of the scenography and in the
end the scenography itself. The stop-frame animation
represents and condenses the process of creation
of the scenography on the film set. The layout of the
ehibition reveals some parts of the creative process as
well as the process itself, as is the case with animation,
seen through an estheticized filter. The visitors find
themselves inside a transformed scenography – in
the film itself. The visual information given to us by
the costumes and make up of this animated manual
for good behaviour, are located in the 70ies, in anapartment of the then average (petty)burgeois family
in e-Yugoslavia.7 ¶ Ana Hušman’s videography counts
a whole series of eperimental films based on research
into the possibilities of animation, photographic and film
image, editing… and represents the result of mediatic
manipulation, while the movements and images point
out their artificial and construed character. Break-ups in
pictures and a language of a mounted movement with
jumps, interruptions and twitches in editing, signifythe break ups of the social contet which accentuate
humour and irony. In Ana Hušman’s ornamental moving
vignettes, a flickering scene, sound dubbing, relationship between body language and
intonation, we can find characteristics which, owing to various technical possibilities, go
beyond the practices of the conventional representation and set up a system based on a
hybrid, manipulated image.
DORA KATANIĆ / The cycle of images Tko pjeva zlo ne misli by Dora Katanić stems
CINEMANIAC / 11
DORA KATANIĆ / TKO PJEVA ZLONE MISLI
Jasna Jakšić: Prema etiketi,show Triptih, Third programof the Croatian radio, 2007.
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from the foreword of the homonymous popular film by Krešo Golik, subtitled “love
comedy with singing”. Since the content of the most popular Croatian film in history is
well known to the viewer, it enables him to grasp the comical situations. Dora paints
selected shots from the film as portraits of well known characters and the emotional
life of the heroes (the dandy Mr. Fulir, Franja and Ana Štefanek, little Perica, aunt
Mina…, known actors like: Relja Bašić, Mia Oremović, Mirjana Bohanec), in which the
impostation of the characters makes us guess the dialogues. The crossover to a different
media, static images with no sound become “dialogues” of eye contacts made by the
characters even outside the image itself. The characteristics of cinema as a medium
are recognizable in the images. Using Photoshop as a tool in media manipulation, the
author manipulates film frames on a computer as photographs, imitating painting
effects which are later repeated in her ehibited work as oils on canvas.8 Although in the
traditional medium of painting, in Dora Katanić’s work we can find the idea of an image
which has become the object of mediatic manipulation. In 1971 Krešo Golik was awarded
with the Bronze Arena for directing, while the film was declared the best Croatian
film of all times by the Association of Croatian film critics.9 / BRANKA BENČIĆ
CINEMANIAC / 12
Ana Kršinić Lozica: Slika irelacije koje uspostavlja,Život umjetnosti 80/07.
Filmski leksikon,Leksikografski zavodMiroslav Krleža, Zagreb
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ANA HUŠMAN / Rođena je 1977 u Zagrebu. Diplomirala na Odjelu za multimediju
i nastavnički smjer Akademije likovnih umjetnosti u Zagrebu. Sudjelovala je na
brojnim domaćim i inozemnim izložbama i festivalima. Trenutno radi kao vanjska
suradnica na Akademiji likovnih umjetnosti u Zagrebu. Videografija: Ručak
(2008), Plac (2006), Prigruf, (2004), Merzšpajz (2003), Kuća (2003), for 2, Apple
(2002), Daily progress (1999) Izložbe (izbor): 2007 Po bontonu, galerija Galženica,
Velika Gorica; Muštre, galerija 01, Zagreb; 2006 Razmjena, galerija Miroslav
Kraljević, Zagreb; 2004 C8H11N, galerija VN / skupne izložbe: 2007 Mapiranje
grada, MMC Luka, Pula; Performing the space, DAZ, Zagreb; Women at crossroads
of ideologies, Split; 28. Salon mladih, Zagreb, 2006; Insert, MSU, Zagreb, 2005.
DORA KATANIĆ / Rođena je u Zagrebu 1982.godine. Završila Školu primijenjene
umjetnosti i dizajna 2001.g. u Zagrebu. Apsolventica na Akademiji likovnih
umjetnosti u Zagrebu, slikarski smjer, u klasi prof. Duje Jurića. samostalne
izložbe: 2008. “Tko pjeva zlo ne misli”, Galerija Matice hrvatske, Zagreb.
Babette Mangolte / Rođena je u Francuskoj. Diplomirala je na L’Ecole nationale
de la Pgotographie e de la Cinemantigraphie. U New Yorku živi od 1972.godine. Od
sedamdesetih godina uključena je u newyoršku umjetničku scenu. Kao direktorfotografije surađivala je sa Chantal Ackerman na filmovima Jeanne Dielman (1975),
and News From Home (1976), te Lives of Performers (1972) and Film about a Woman
who... (1973) Yvonne Rainer. Prvi film koji je režirala je What Maisie Knew (1975),
slijede (Now) (1976), The Camera:Je, La Camera: I (1977). Sudjelovala je na brojnim
filmskim festivalima (Oberhausen, Toronto, Edinburgh, Berlinale), izlagala na brojnim
skupnim I samostalnim izložbama, uključujući Whitney Museum, New York; National
Gallery of Art, Washington, D.C.; Pacific Film Archives, Berkeley; Anthology Film
Archives, New York; Berlin Biennale 2008, te su joj priređene 2 retrospektive. Filmovi
Babette Mangolte nalaze se u kolekcijama internacionalnih muzeja poput GeorgesPompidou, Paris, MoMa, New York; New York Public Library, Belin Cinematheque..
Odabrana filmografija: Water Motor(1978), There? Where? (1979), The Cold Eye (1980),
The Sky on Location (1982), Visible Cities (1991), Four Pieces by Morris (1993).
CINEMANIAC / 13
BIOGRAFIJE /
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ANA HUŠMAN / was born in Zagreb in 1977. She graduated from the Department of
Multimedia and Teaching at the Academy of Visual Arts in Zagreb. She participated
at numerous ehibitions and festivals in the country and abroad. At the moment she
is working as a subcontractor at the Academy of Visual Arts in Zagreb. Videography:
Ručak (2008), Plac (2006), Prigruf,( 2004), Merzšpajz (2003), Kuća (2003), for 2,
Apple (2002), Daily progress (1999) Ehibitions (selection): 2007 Po bontonu, gallery
Galženica, Velika Gorica; Muštre, gallery 01, Zagreb; 2006 Razmjena, gallery Miroslav
Kraljević, Zagreb; 2004 C8H11N, gallery VN / group ehibitions: 2007 Mapiranje
grada, MMC Luka, Pula; Performing the space, DAZ, Zagreb; Women at crossroads
of ideologies, Split; 28. Salon mladih, Zagreb, 2006 ; Insert, MSU, Zagreb, 2005.
DORA KATANIĆ / was born in Zagreb in 1982. She graduated from the School
of Applied Arts and Design in 2001 in Zagreb. Currently an undergraduate ABD at
the Academy of Visual Arts in Zagreb, painting class with the prof. Duje Jurić. Solo
ehibitions: 2008, “Tko pjeva zlo ne misli”, Matica hrvatska gallery, Zagreb.
BABETTE MANGOLTE / was born in France. She graduated at L’Ecole nationale
de la Photographie e de la Cinemantigraphie. She has lived in New York since 1972
when she became part of the New York art scene. As a director of photography shecollaborated with Chantal Ackerman on the films by Jeanne Dielman (1975), and News
From Home (1976), as well as Lives of Performers (1972) and Film about a Woman who...
(1973) girected by Yvonne Rainer. The first film she directed was What Maisie Knew
(1975), followed by (Now) (1976), The Camera: Je, La Camera: I (1977). She participated
at numerous film festivals (Oberhausen, Toronto, Edinburgh, Berlinale), ehibited
at numerous group and solo ehibitions, including the Whitney Museum, New York;
National Gallery of Art, Washington, D.C.; Pacific Film Archives, Berkeley; Anthology Film
Archives, New York; Berlin Biennale 2008, and had two retrospectives made. Babette
Mangolte’s films can be found in collections of international museums like GeorgesPompidou, Paris, MoMa, New York; New York Public Library, Belin Cinematheque.
Selected filmography: Water Motor (1978), There? Where? (1979), The Cold Eye (1980),
The Sky on Location (1982), Visible Cities (1991), Four Pieces by Morris (1993).
CINEMANIAC / 14
BIOGRAPHIES /
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