Stvarni pejsaži / Real landscapes

Dragan Babović

13. 2. - 3. 3. 2018.

Stvarni pejsaži / Real landscapes

Datum dešavanja: 13.02.2018

Pročitano:224 puta

Mesto dešavanja: Bartselona / БартcелонаKomentari: 0

Grad:Beograd

Adresa:Belgrade Design District, 1 Sprat, lokal 96

Autentično umetničko delo sebe ne tumači, ono nas samo zaskoči pitanjem oko kojeg onda obigravamo odgovorima.
Pitanje koje se ovde postavlja u najmanju ruku je filozofsko: Kakva je realnost ovih slika? Da li je „ono” na slici realno zato što je tako viđeno, ili je viđeno zato što je realno? Ako je slika samo odraz, čega je ona odraz?
I sam nadahnut istim pitanjem, a nemoćan da odgovori pojmovnim jezikom, Platon je naslikao stoznačnu sliku –  čuvenu Alegoriju pećine (Država, VII knjiga). Kroz njene igre senki i svetlosti izgleda da smo se i sami zaputili čim smo kročili u ovu galeriju. Zasenjeni bojama i oblicima, koje nijedna fotografija ne uspeva da uokviri a da ih pritom ne prelije u drugu, zapitajmo se da li smo zatočenici ili oslobeđenici iz njegove priče?
 
„Zamisli da ljudi žive u nekoj podzemnoj pećini, i da se duž cele pećine provlači jedan širok otvor koji vodi gore, prema svetlosti. U toj pećini žive oni od detinjstva i imaju okove oko bedara i vratova tako da se ne mogu maći s mesta, a gledaju samo napred, jer zbog okova ne mogu okretati glave. Svetlost im, međutim, dolazi od vatre koja gori iznad njih i daleko iza njihovih leđa.
Zar misliš da oni vide nešto drugo osim svojih senki i senki drugih ljudi, koje svetlost vatre baca na suprotan zid pećine? Oni uopšte nijednu stvar neće smatrati realnom, osim senke predmeta koje su napravili ljudi….
I kad bi neko od njih bio oslobođen okova i bio prinuđen da odjednom ustane, da okrene vrat i da pođe i pogleda prema svetlosti, dok pri svemu tome oseća bolove, a od svetlosti ne može da vidi one stvari čije je senke nekad gledao, šta misliš šta bi odgovorio kad bi mu neko rekao da je sve dotle gledao samo koještarije, da je sada mnogo bliže realnosti i da vidi pravilnije, pošto je okrenut većoj istini?
Kad bi ga sad odande neko silom odvukao uz težak i nepristupačan izlaz ne puštajući ga dok ga ne izvuče na sunčevu svetlost, zar ne bi on tada trpeo muke i ljutio se što ga ovaj vuče, i zar mu se, kad bi zatim došao na svetlost, oči ne bi zasenile tako da ne bi mogao videti ništa od onoga što mi zovemo stvarnim?
Morao bi da se navikne na svetlost kad bi hteo da vidi predmete gore. U početku bi najlakše raspoznavao senke, onda slike ljudi i ostalih predmeta u vodi, a same njih još docnije. Zatim bi, gledajući svetlost zvezda i meseca, lakše video nebeska tela i samo nebo noću, nego sunce i njegovu svetlost danju.
Najzad će moći, mislim, da vidi i posmatra samo sunce onakvo kakvo je ono po sebi i na svome mestu, a ne njegove slike u vodi ili na nekom drugom mestu…”
 
Naše duhovno oko, isprovocirano da izađe iz tame pećine na zaslepljujuću svetlost saznanja, ovde se oprašta s Platonom, jer on je ovde stao. On je umetnost prezreo, nazvavši je obmanom čula, kopijom kopije jedinog originala stvarnosti – sveta ideja, i sledstveno tome, najudaljenijom od istine.
A da li je tako? Zar nam upravo ova nesvakidašnja serija umetničkih fotografija ne otvora prolaz do realnosti do koje se ne bismo mogli nikada vinuti pukim intelektualnim aparatom? Štaviše, zbunjeni, nijednoj ne možemo nadenuti ime. Prepušteni samo „čistom” viđenju, kojim ne upravljamo više, pred svakom od njih bačeni smo u ambis novog smisla. Dok naš duh putuje zatalasano, tačkasto, ka tajanstvenom horizontu, možda pročišćen.

English:
 
An authentic artwork does not interpret itself, it captures us with a question which we surround with responses. The question that arises here is, at least to say, philosophical: What is the reality of these photographs? Is "that" in the photo real because it is so seen, or is it seen because it is real? If the image is only a reflection, what is it a reflection of?
Inspired by the same question, and unable to respond using a conceptual language, Plato painted a stylized image - the famous Allegory of the Cave (The Republic, Book VII). It seams like we have been trapped by the game of shadows and lights as soon as we walked into this gallery. Dazzled by colors and shapes, which no photo succeeds to frame without transfusing them to another photo, let’s ask ourselves whether we are detainees or liberators from his story?

Behold! human beings living in a underground den, which has a mouth open towards the light and reaching all along the den; here they have been from their childhood, and have their legs and necks chained so that they cannot move, and can only see before them, being prevented by the chains from turning round their heads.  Above and behind them a fire is blazing at a distance,
And do you see, they see only their own shadows, or the shadows of one another, which the fire throws on the opposite wall of the cave? To them, I said, the truth would be literally nothing but the shadows of the images.
when any of them is liberated and compelled suddenly to stand up and turn his neck round and walk and look towards the light, he will suffer sharp pains; the glare will distress him, and he will be unable to see the realities of which in his former state he had seen the shadows; and then conceive some one saying to him, that what he saw before was an illusion, but that now, when he is approaching nearer to being and his eye is turned towards more real existence, he has a clearer vision, -what will be his reply?
And suppose once more, that he is reluctantly dragged up a steep and rugged ascent, and held fast until he's forced into the presence of the sun himself, is he not likely to be pained and irritated?  When he approaches the light his eyes will be dazzled, and he will not be able to see anything at all of what are now called realities.
He will require to grow accustomed to the sight of the upper world.  And first he will see the shadows best, next the reflections of men and other objects in the water, and then the objects themselves; then he will gaze upon the light of the moon and the stars and the spangled heaven; and he will see the sky and the stars by night better than the sun or the light of the sun by day?
Last of he will be able to see the sun, and not mere reflections of him in the water, but he will see him in his own proper place, and not in another…''.

Our spiritual eye, provoked to emerge from the darkness of the cave to the flaming light of knowledge, forgoes here with Plato, because Plato has stopped here. He despised art, calling it a delusion of the senses, a copy of the copy of the only original, reality - a world of ideas, and consequently, the farthest of the truth.
However, is that the truth? Isn’t this peculiar series of artistic photographs our reality getaway that we could never reach by mere intellectual apparatus, but only by camera? Moreover, confused, we could not name not even one photo. Depending only on a "pure" vision, which we do not control anymore, we are thrown into the abyss of a new sense before each of them. While our spirit travels staged, dotted, towards a mysterious horizon, perhaps purified.

 


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