prenos izvorne postavitve na vrtu ZDSLU v interier razstavnega prostora Hotel Mons
Likovna dela izbrana za predstavitev so objekti, artefakti, po formalni plati se delajo, da so
podobe ali skulpture, od časa in vremenskih vplivov patinirane najdnine. Z mahom, bršljanom
obrastle, (umetne rastline) v osnovi svojo bitnost simulirajo; so simulakri III.reda. So pravzaprav
scenografski elementi, objekti neke izmišljene stvarnosti. V kontekstu scenografije te
vzporednosti in skonstruirane zgodovine, simulirane arheologije, njihova materialnost,
objektnost, ki je izrazito scenografska, implicira način branja, ki je bliže videu kot slikarstvu;
plastenje podob se zgodi s sosledjem v postavitvi, linearno razpetost skozi čas. Osnova zamisli
Vzporednih resničnosti, Arheo utopij je pravzaprav poizkus videa z drugimi sredstvi; s sredstvi
slikarstva, kiparstva.
Po vsebinski plati se artefakti na eni strani spogledujejo z estetiko viktorianske dobe, simbolizmom,
na drugi pa pri emblematični redukciji staroegipčanskih, ali še starejših perzijskih
ali prazgodovinskih risarsko- slikarskih stvaritvah. So neke vrste simbolistične alegorije, poseljene
s podobami izmišljenih bitij, metuljčic,vil, rajskih ptic, fantazijske narave in arhitekture ali stilizirani
ideogrami fantazijskih kozmologij. Kompozicijski motivi, v katere so vključene tudi predelave
nekaterih avtorjevih zgodnjih slik, predstavljajo strnjene spomine na nekdanja slikarska raziskovanja,
sintetizirane v konceptualno formo. Prav tako pa je postavitev, kot prenos, tudi reminiscenca ambientalne
razstave z vrta galerije ZDSLU....
VZPOREDNE RESNIČNOSTI, ARHEO-UTOPIJE
Kaj pomeni prostor? In kaj ambient? Kaj pomeni tvoriti; imeti svoj; biti (v) prostor(u) / ambient(u)?
Vrt je lahko zaseben, zamejen in celo zastražen (ponavadi najpogosteje izrabljajo v ta namen pse) prostor. Lahko pa je za javnost odprt, razmejen prostor.
Ko obema, zasebnemu ali javnemu prostoru vrta, pridamo obliko - formo in funkcijo, torej ko interveniramo v prostor z nasadi - rastlinjem, cvetjem, okrasnimi in/ali likovnimi predmeti - objekti, postane prostor ambient. Z umestitvijo predmetov kot so klop, miza, stol, pručka, tabure..., s stezico - potjo in (energetsko postavljenimi) kamni ... postane prostor biti, bivanja. že latinski izraz abitare - v pomenu (pre)bivati, naseliti, ki je blizu tako besede kot pojma ambient, izraža to funkcijo. Ko prostor vrta in predmete v njem uporabimo za sedenje, sreč(ev)anje, razgovor ali kramljanje, postane to tudi socializacijski prostor.
Vrt je vedno in neogibno ambient znotraj drugega ambienta. Vedno je (po)vezan s sosed(stv)om ali z (z)grajenim objektom oziroma, kot tudi v primeru vrta DLUL, z urbanim okoljem - mestom ali (v primeru krajinskih, botaničnih vrtov) s primarno naravo. Mesto oziroma ambient vrta vedno določa človeška roka. Vedno je pogojen z dejavnostjo človeka in, edinstveno, z dimenzijo odprtega, brezmejnega - neba.
Vrt kot hortus conclusus; v smislu umetnostne zgodovine inkot filozofski termin ter vrsta likovnih (zlasti srednjeveških in renesančnih) upodobitev (izvorno zapisan v Solomonovi pesnitvi 4:12) ima vedno pomen zastrtega, zamejenega, zasebnega, od javnega prostora odmaknjenega, ambienta. Prav takšno funkcijo je imel v (srednjeveških, renesančnih, baročnih, ...) graščinah, dvorcih, palačah ... in najpogosteje jo še vedno ima.
Kot raj-ski, eden-ski vrt in vrt paradiža ima še veliko daljšo tradicijo. Kot vrt naslad (v smislu Boschevega, isto ponaslovljenega dela) in kot pravljični vrt, pa najdaljšo.
In če vrtu pridamo metuljko na stebričku, praproti, najdnine okruškov, 'obraz' v tleh, toaletno mizico za vilo z roso v stekleničkah, z mahovi porasle in prerasle kamnite klopi, vitrino s priborom za palčka in utopijo Ljubljane kot sliko - objekt, postane ambient arheo-utopij - vzporednih resničnosti kot je pričujoči avtorski poseg Dominika O. Križana v vrt-ni prostor DLUL.
Arh- in arhe- iz izvorno grške besede arhos, ki označuje pomen: prvi ... kot izvor(na), prvotna, pra-oblika, kot temelj, vzrok vsega obstoj(ečeg)a ... z mahovi, praprotjo, okruški - fragmenti kot fosilnimi ostanki in najdninami zrcali primat prvinske materije (in šele s poznejšimi posegi bitja - človeka) še nedotaknjene, deviške narave. V nasprotju s tem, kontradiktorno, prodira skozi to zamejen, strogo določen, urbani(ziran) prostor z zgradbami in bregovi. Ta pa na koncu ponovno oziroma (do)končno - izginja v mrzli, temačni mokroti primarnega zelenila (mahov, praproti, reke) ... neuničljivih, vedno znova porajajočih se poganjkov - kali - rasti vedno obnavljajoče se narave.
Tako kot je konsistentna - vzporedno potekajoča bit narave in materije, v tem primeru urbanega - mestnega prostora in ambienta vrta, tako sta vzporedno potekajoči nrav in misel bitja. In tako je vzporedno potekajoče tudi delo - družbeno angažirana likovna govorica multimedijskega umetnika Dominika O. Križana, avtorja številnih konceptov, projektov in režij. Najgloblje boste to spoznali na: www.dominik.si.
Zato ambientalna postavitev vrta DLUL kot utopija / utopično(st), kot zamisel, kot misel, ki v resničnosti ni mogoč(a), uresničljiva; kot zamisel ideal(neg)a, ne-u-res-nič-ljivega, ne-kraj(a) Dominika O. Križana apelira, provocira, projecira prav ta vrt arheo-utopij, ki z umestitvijo, poudarjanjem, zakrivanjem, izstopanjem, prepletanjem in plastenjem pridanih objektov kot pritiklin vrta, vrta v drobovje vzporednih resničnosti.
Vse in vsi bivamo v vzporedni(h) resničnosti(h), zato se je pomembno zavedati lastne biti in (zgolj) biti.
Helena Čretnik, umetniška kritičarka in kustosinja
PARALLEL REALITIES, ARCHAEO-UTOPIAS
What does space mean? And ambient place? What does it mean to create; to have one's own; to be (in) a space/an ambient place?
A garden can be a private, enclosed or even guarded space (dogs are usually used for the purpose). Or it can be a delineated space open to the public.
Once both purposes of a space, the private and the public, are endowed with form and function, i.e. when an intervention is made in the space with plants, flowers, ornamental and/or artistic objects, the space becomes an ambient place. By including things such as a bench, table, stool, tabouret, pathway, and stones (arranged in energising patterns), the space becomes a place of being, dwelling. The Latin word abitare (in the sense of to be, to dwell, which is so close in meaning to ambient, expresses this function well. When a garden space, with all the objects in it, is used for sitting, meeting, talking or chatting, it becomes a social space.
A garden is always and inevitably an ambient place within an ambient place. It is always connected with a neighbour(hood) or a building, or as in the case of DLUL's garden, with an urban environment - either a city or (like landscape and botanical gardens) with primeval nature. The ambience of a place is always determined by a human hand; it is inextricably connected with human action and the unique dimension of open, boundless skies.
The garden as a hortus conclusus, in the art-history sense, and as a philosophical concept and an artistic depiction (particularly from the Middle Ages and Renaissance and originally occurring in the Song of Solomon, 4:12) refers exclusively to a secluded, enclosed, private ambient place, separated from public space. This was its function within (mediaeval, Renaissance, Baroque, etc.) castles, mansions and palaces, and it has largely remained so.
As a Paradise or a Garden of Eden, its tradition reaches back much further, while as a garden of earthly delights (in the sense of Bosch's painting) and as a fairy-tale garden, it traces its beginnings even further back in history.
And if we endow it with a buddleia on a column, ferns, recovered chippings, 'a face' in the ground, a dressing table for a fairy with bottled morning dew, moss-covered stone benches, a display cabinet with gnome paraphernalia, and a utopia of Ljubljana as a painting - an object, it becomes an ambient place of archaeo-utopias - parallel realities, such as in the case of the intervention of Dominik O. Križan in DLUL's garden.
The prefixes arch~ and archae~ from the Greek word archos, with the meaning of the first one, the origin(~al form), the basis and cause of all existence, together with the mosses, ferns and chippings (fragments) as fossil remains and findings, reflect the leading role of primordial matter (and only through subsequent interventions, of a being - a human) of which unspoilt, virgin nature is composed. In contrast, and as a contradiction, there is the interference of an enclosed, rigidly defined urban(ised) space, with buildings and brims, which yet again, or ultimately, dissipates in the cold, murky dampness of primeval greens (mosses, ferns, rivers), which arise from the imperishable shoots - sprouts - emerging time and again from continually regenerating nature.
Just as the being of nature and matter, in this case an urban space and the ambient garden, is consistent - and parallel - so are the nature and thought of a being. And in this way, so is the socially engaged artistic language of the multimedia artist and director Dominik O. Križan, author of a long list of concepts and projects. Find out more at: www.dominik.si.
Križan's ambient layout at DLUL, as a utopia, as an idea, as a thought, which is impossible to realise in the real world; as an idea of an ideal, an un-real-is-able non-place appeals to, provokes and projects this very garden of archaeo-utopias, which drills into the core of parallel realities with its setting and emphases, and by concealing, exposing, intertwining and layering artefacts as integral parts of the garden.
Everything and everyone lives in parallel reality(ies)...and therefore, the sole thing to be aware of is one's being.
Helena Čretnik, Art Historian and Curator
Ambientalna postavitev z naslovom Vzporedne resničnosti, Arheo-utopije predvideva dosledno upoštevanje danih prostorskih pogojev ter vključitev v obstoječo strukturo kot nadgradnja v dveh smislih:
1 - hortikulturna ureditev vrta, vzpostavitev otočkov rastja, humusa, praproti in mahov okoli že obstoječega rastja, dreves in robnih zidov vrta.
2 - konceptualna nadgradnja umešča unikatne umetniške objekte in artefakte, ki s strukturami in patino simulirajo svoj izvor in materialno stanje, časovno določenost in starost ter so dopolnitev obstoječe atmosfere. Simulakri, odkruški arhitekturnih elementov celote, ki jo narava nazadnje preraste. Zvočni material prav tako simulira ambientalno podobo gozda, poezija, Apokrif, ki ga zaslišimo tu in tam, pa je pesem vile iz globin pozabe ...
Postavitev predvideva uporabo ambienta tudi za predstavitvene dogodke, projekcije in predavanja ter tako vzpostavlja vrt kot javni urbani prostor, ki je naraven, namenjen druženju in komunikaciji - tako kot starodavno ognjišče ...
Dominik Olmiah Križan
The ambient installation entitled Parallel Realities, Archaeo-Utopias envisages full compliance with the given space and the inclusion in the existing structure as its upgrade in the following two senses:
1 -horticultural: arranging the layout of the garden by creating humus and planting new vegetation, such as ferns and mosses, around the existing shrubs and trees and garden walls.
2 -conceptual: the placing of one-off art pieces and artefacts, which simulate their origins, physical state, time determination and age through their structure and patina, and complement the existing atmosphere. These are simulacra and chippings of architectural elements which are ultimately overgrown by nature. Audio materials simulate forest ambience, while the poetry (Apocrypha), which is heard from time to time, is the song of a fairy from the depths of oblivion.
The layout of the ambient site is such that it may be used for presentations, projections and lectures, thereby establishing the garden as a natural urban space intended for socialising and conversing, like an ancient hearth.
