5. Petra Kovačić
 Petra Kovačić, "Act(ing)", 2009. Picture by Darko Vaupotić Autor Krešimir Sivončik Oliver Frljić, Petra Kovačić, Milijana Babić, Grupa ABS, Ivica Buljan, East Rodeo, Ljiljana Tasić — Sjene se čine kao iskonski, tradicionalni oblik kazališta. Koliko je taj medij oslobađajući, a koliko ograničavajući? Sjena kao pojam, pa tako i kao motiv u bilo kojem mediju, označava nešto mistično, gotovo transcedentalno. Ako „umjetnik u svom djelu nastoji postići magičan nivo“, onda korištenje sjene kao medija jest olakšavajući faktor. Priznamo li umjetnosti njezin transcedentalni karakter, mogućnost upotrebe sjene, odn. refleksije kao materije samog djela, svakako je i oslobađajući. Ograničavajući je utoliko što olako korišten, takav medij brzo i neprimjetno može postati kič. Stoga je važno sliku koju se refleksijama/sjenama stvara ogoliti do najosnovnijeg i najsnažnijeg.
Svi smo upoznati s tvrdnjom da je vrijeme relativan pojam. Što smo kao civilizacija „napredniji“, vrijeme postaje sve važnije i doživljava se kao prolazno – ono naizgled nezaustavljivo teče, bespovratno prolazi. Stavljeno u odnos s umjetničkim djelom, ono dobiva novo značenje. Naime, umjetnička djela su u svojoj naravi neuništiva, vječna, a „čovjek je besmrtan ukoliko njegova djela žive“. Kod klasičnih vidova umjetničkog izražavanja, vrijeme je trajan pojam, dok kod novijih medija, vrijeme postaje sastavni dio rada/djela i određuje njegovo trajanje. Ja nastojim u jednom „isječku“ vremena uhvatiti onu trajnost, u sadašnjosti prikazati njegovu vječnost. U opisu performansa baratate pojmovima koji su uobičajeno u suvremenom poimanju rezervirani za duhovnost. Kakav je vaš odnos (u ovom radu) prema duhovnosti? Često koristim te pojmove, jer je svaki moj rad vezan uz duhovnost, bilo u osobnoj ili u umjetničkoj domeni. Svi oni vezani su uz pitanje čovjeka i njegove uloge u ovom svijetu i životu, kakvim ga većina poznajemo. Odnose se na određeni aspekt čovjekovog duhovnog/duševnog razvoja i napredovanja. Tu temu nalazim uvijek uzbudljivom i neiscrpnom. U ovom radu propitujem situaciju fizičkog ograničenja gibanja i izmjene njegovih dviju refleksija na sferu duhovnog – nemir, srdžbu, bijes, kao jednu krajnost i mir, mirovanje, kontemplaciju, kao krajnji cilj. — The shadows seem to be primordial, traditional form of the theater. To what extent is this medium liberating, and to what it is constraining? The shadow as a term, and thus as a motive in any medium, denotes something mystical, almost transcendental. If the “artist in his work endeavors to achieve a magical level,” then the use the shadows as the media is a mitigating factor. If we recognize to the art its transcendental character, the ability to use shadows, i.e.. reflections as a matter of the work itself, is certainly liberating. Limiting is in the extent that thoughtlessly used, such medium can be quickly and surreptitiously become kitsch. Therefore, it is important to dismantle the image created by reflections / shadows to the most fundamental and powerful. The rest and the motion are determined by the dimension that is hard to explain: time. In your work, how do you relate to this dimension? We are all familiar with the statement that the time is a relative term. As more “advanced” we are as a civilization, the time is becoming increasingly more important and is it experienced as temporary – it seemingly unstoppably flows, irrevocably passes. Put into relation with the work of art, it obtains a new meaning. Specifically, the art works in their very nature are indestructible, eternal, and “a man is immortal if his works live.” In the classical forms of artistic expression, the time is the persistent notion, while the newer media, the time becomes an integral part of the work / works and determines its duration. I try in a “clip” of time to catch that durability, in the present to show its eternity. In the description of the performance, you use the terms which are commonly, in the modern concepts, reserved for spirituality. What is your attitude (in this work) to spirituality? I use frequently these terms, since all my work is related to spirituality, whether in personal or artistic domain. All of them are related to the question of man and his role in this world and life, in the way the majority of us knows it. They relate to a particular aspect of the human spirit / soul development and progression. This topic I always find exciting and inexhaustible. In this work, I question the situation of the physical constraining of the motion and the changes of its two reflections on the spiritual sphere – anxiety, anger, rage, as one extreme and peace, stillness, contemplation, as the ultimate goal. |
