ANICA VUČETIĆ VIDEO INSTALLATIONS

Transcription

1 ANICA VUČETIĆ VIDEO INSTALLATIONS

2

3 LONG TRIP, video environment 2001 Slide projection of night-sky on a transparent textile fabrics (4x3m), video projection of swimmer swimming on the edge of the round plate (R=19cm, hanged 1,20m from the ground), ventilator.

4

5 SINGULAR, video installation 2001 TV set placed on the floor in a horizontal position, in wooden case (0,5x0,7x0,6m), video projection of the body immersed in the water.

6 MESSENGER, video environment 2005 Round projection surface (R=2,8m), glass bottle (H=50cm), stand for the bottle (H = 1,3m), DVD projection of the full Moon and water drops on the surface (5 loop), DVD projection of a diver (3 30 loop).

7

8

9 COMPRESSION, video environment 2006 Round projection surface (R=2,5m), transparent textile fabric (3,5 x 2,8m), two plastic plates (25 x 32cm), DVD projections of the full Moon, sea wave and a diver, sound of the wind. Compressions is a video-ambient which offers the observer three elements, three symbols in motion. Moving throughout a dark space and looking at the projection of the full moon, waves and an underwater shot of a woman jumping into the water, the observer has a chance to project the contents of her/his subconscious onto the offered pictures and to start or continue exploring and measuring her/his inner space. Slow motion picture and sound in this work can have a hypnotic, almost magical agency by turning the observer's focus onto the given picture. As she/he would be falling asleep peacefully, the observer is here invited to submerge into the space of her/his subconscious by the images of archetype symbols.

10

11

12

13

14 REFLECTIONS, Exhibition in 2007: IRIS 2007, video installation (10 22, loop), projection R = 2,8m; ROOM 2007, video installation (1 52, loop), projection R = 1m. CHERRY 2007, video installation (13, loop), projection R = 0,4m; Reflected in eye, one cherry tree grows from winter until summer in 13 seconds. The period of five months is compressed almost in a couple of blinks, while the observer stayed still, looking at the tree. This could be the statement about the time, which is disarming us by fastness of changes, tempting our strength and ability of adaptation. CUT, video installation 2008 (3 33, loop)

15 PLEDGE, video environment 2007, (1 7 loop), projection on a transparent textile fabric (1,8m X 1,8m), glass (2m X 2m).

16

17 SECOND AND A HALF, video installation 2009 (51 in loop)

18 FLOWING IN, video environment 2009 The image of a whirlpool recorded under the surface of the water shows flowing into one s own depths, abyss, void, descent in silence and emptiness. Dynamic motion towards and away from the centre of the form expands into space, exploring its defined boundaries through image and sound. Real space does not exist, only the unconscious space wherein man establishes a dialogue with himself and with the other.

19

20

21

22 VOYAGE 2009, video installations and environment

23

24

25

26 CREATION, video installation 2013

27 The exhibition THE FALL (video environment, 2013.) is comprised of three images-ambiences in a row, from an image of nothingness, to an image of creation, to an image of fall. In the dark space of nothingness the observer encounters a stirring, dark surface that, with its circular motion, has a tendency to draw him into its mass. In the image of creation the body is dissolved in the water, in an effort to separate itself from the vertical block of the condensed substance of water. A long, black hallway leads to the final image the fall, which is actually a jump, a rebound, an elevation. In each of these images, in a certain way, substance is defying its essence. The hot circular surface of tar, which reflects the surrounding space like a mirror, filmed from up close, projected in slow motion, almost covers by reflex the heavy, sticky, dense substance under the surface. The vertical block of water, out of which the body emerges, defies gravity and it seems that the cohesive structure of the water has been changed; its density has been achieved by slowing down the recording. In the last image the fall transforms into a jump and in this way defies gravity again. The body, which would fall through the diluted substance of air, is actually being pushed up in the air by an invisible force.

28 FALL, video installation 2013

29

30 NOTHINGNESS, video installation 2013

31

32 FROM THE OTHER SIDE, video installation 2015; 8 47 HD, loop Window glass membrane separates two shadows that appear in front of and behind the window. It seems like they are occasionally touching. They do not see each other, but only anticipate the presence of the other one. The observer may notice that it is actually the same person on both sides. Slow motion picture and sound, almost as an act of seduction or hypnosis, introduces the observer to a state of heightened concentration on a given picture and open the space for the projection of individual mental contents. With this work I show humans constant quest of ulterior, testing his internal borders, the effort to grasp the inaccessible and inexpressible. The thin line of separation between our inner psychic space and the space around us can often mislead us and make us believe more firmly in the external, the more tangible and material world. In my video installations and ambiences I lead the viewer into a darkened gallery space, where he has at the disposal moving images and symbols associated with the collective unconscious, in relation to which the observer projects his own unconscious individual contents and has the opportunity to explore them. I work on the process of individuation and the ratio of the external and the internal space of the individual. The destination for my work is the Self, the Individual, turning towards its own core in order to explore itself and establish harmony.

33

34 ANICA VUČETIĆ was born in 1962 in Belgrade, former Yugoslavia, Serbia. She works on video installations and video environments. EDUCATION: University of Arts in Belgrade Faculty of Fine Arts: Graduate Studies Bachelor of Arts, Painting (1981/ 86); Postgraduate Studies Magister of Arts, Painting (1986/ 89). Selected ONE-MAN SHOWS: Environments, Mobiles, Installations (1994), Gallery of the Association Of Visual Artists of Serbia, Belgrade, Serbia; Nostalgia (1995), Museum of Contemporary Art - MAC USP Ibirapuera, São Paulo, Brazil; Environmental Works (1999) and Dreams about the Big Wave (2001), Museum Ludwig Forum for International Art, Aachen, Germany; Video installations (2002), Galeria 23 y 10, ICAIC Instituto Cubano del Arte y la Industria Cinematograficos, Havana, Cuba; Compression (2006) and Flowing In (2009), Belgrade Cultural Centre, Belgrade, Serbia; Reflections (2007), Remont Gallery, Belgrade, Serbia; Cut (2008), Art Gallery Nadežda Petrović, Čačak, Serbia; A Long Trip (2010), Museum of Contemporary Art of Republic of Srpska, Banja Luka, Bosnia and Herzegowina; Flowing In (2011), Maribor Art Gallery, Maribor, Slovenia; The Big Wave (1997) and The Fall (2013), Exhibition Room of the Museum of Contemporary Art Belgrade, A Long Trip (2015), Centre for Contemporary Art of Montenegro, Podgorica. Selected GROUP EXHIBITIONS: Yugoslav Documenta 1987, Collegium Artisticum, Sarajevo, Bosnia and Herzegowina; Einfluss (1998), Temporäre Galerie, Mönchengladbach, Germany; Hanging Around (2000), Kultur Centrum Sittard, Holland; Edible Women (2005), Emmersive New Media, Toronto; Valeurs (2005), Espace Culturel François Mitterrand du Conseil général de la Dordogne, Périgueux, France; Crossroads (2006), Leksands Kulturhaus, Sweden; We Would Like To Present (2007), Art Museum of Togliatti, Togliatti, Russia; Disclosure/Underlined Memory (2008), Musee d Art Moderne, Saint-Etienne, France (Museum of Contemporary Art of Republic of Srpska, Banja Luka; National Gallery, Skoplje, Macedonia; The Museum of Byzantine Culture, Thessaloniki, Greece); Carrefour3 (2009), Nicolas Salmeron Cultural Centre Gallery, Madrid, Spain; Closeness Contemporary Art Scene of Serbia (2009), TOKI Art Space, Tokyo, Japan; Serbian contemporary art (2010), Eskilstuna konstmuseum, Eskilstuna, Sweden; Remont in Pula (2009) and We are here 2 (2010), Contemporary Art Museum of Istra, Pula, Croatia; Sensing Realities (2015), Galerie B , Montréal, Canada; Montréal, Canada; Everyday Scenes (2016), Randers Kunstmuseum, Denmark. AWARDS: The Prize of the Memorial of Nadežda Petrović and The Prize of the Public, Čačak, Serbia, 2005; Grand Prix at The 9 th International Biennale of Miniature Art, Gornji Milanovac, Serbia, 2008; Politika Award, for the best exhibition in 2008, Belgrade, Serbia, anica_vuc@yahoo.com