Boris Gaberščik
Svoboda / Freedom, 2017
srebroželatinasta fotografija na baritnemu papirju, tonirana s selenom / silver gelatin print on baryta paper, selenium toned
25.4 x 20.3 cm
edicija 3 + 1 AP / edition of 3 + 1 AP
Series: VON DIESER WELT
podpisana in datirana / signed and dated
For English version please scroll down. O SERIJI Boris Gaberščik je eden najbolj prepoznavnih ter v svojem opusu najbolj produktivnih slovenskih fotografov. Nazadnje se je predstavil z alkimistično navdahnjeno serijo...
For English version please scroll down.
O SERIJI
Boris Gaberščik je eden najbolj prepoznavnih ter v svojem opusu najbolj produktivnih slovenskih fotografov. Nazadnje se je predstavil z alkimistično navdahnjeno serijo Solve et Coagula, vendar alkimija, na katero se Gaberščik opira v svojih prejšnjih delih, za interpretacijo ne zadošča več. Mistične dimenzije njegovih prejšnjih del nadomesti posvetnost, izražena že v samem naslovu serije – Von dieser Welt ali »od tega sveta«.
Gaberščikov atelje je pravo pokopališče najdenih premetov, ki razprostrti na tleh čakajo na ponovno uporabo. Postavljeni pred objektiv pa so naenkrat kot vstali od mrtvih in pod mojstrsko manipulacijo svetlobe ponovno zaživijo. Vstajenje omenjenih predmetov morda zbuja biblično konotacijo, vendar nikakor nima sakralnega značaja, kar potrjuje tudi sam naslov serije. V Janezovem evangeliju namreč Jezus govori: »Moje kraljestvo ni od tega sveta,«[1] ist nicht von dieser Welt, Gaberščik pa zatrjuje nasprotno – svoje fotografije umešča v zemeljski svet, morda bolj, kot v katerikoli prejšnji seriji. Von dieser Welt ohranja tako nekatere elemente alkimistične mističnosti, razvidne v seriji Solve et Coagula, kot tudi koncept reda nad kaosom razvit v seriji Ordo ab Chao, vendar je zdaj v ospredju drugačen duh, ki izvira iz tega sveta in je njemu namenjen.
Avtor ohranja konsistentnost tako v uporabi tehnike kot v produciranju podob; svoj vizualni opus vzpostavi skozi nabor najdenih predmetov, plastičnih igračk, porcelanastih skodelic in počenih kozarcev, mrtvih ptic in žuželk, ki jih v najrazličnejših kombinacijah sestavlja v domiselne kompozicije. S premišljeno osvetlitvijo in mojstrskim manipuliranjem svetlobe in sence, ki Gaberščika uvršča v sam vrh slovenske fotografije, avtor vdihne življenje navidez neuporabnim predmetom. Doda jim plastičnost, ki jo Sosič označi za skoraj kiparsko,[2] zavrženim, ničvrednim predmetom pa poda status dragocenosti. S serijo zopet dokaže izvrstno razumevanje osvetlitve, ki v njegovih delih učinkuje tako tehnično kot vsebinsko, ter ustvarja optične in prostorske iluzije. Svetloba je ključna tudi pri vzpostavljanju atmosferičnosti fotografije, ki bi navsezadnje ob drugačni osvetlitvi lahko funkcionirala popolnoma drugače.
Za razliko od Gaberščikovih prejšnjih serij se Von Dieser Welt ne zavezuje več tihi kontemplaciji, pač pa izstopa iz samotarskega sveta predmetov v svet ljudi in družbenega dogajanja. Alkimija Gaberščiku predstavlja navdih skozi celoten opus, vendar Von Dieser Welt zbuja občutek, da je alkimistični duh prisoten le še v uporabljeni tehniki, vsebinsko pa avtor pogleduje drugam. S hudomušnostjo, ki je hkrati subtilna in zgovorna, avtor poimenuje svoja nova dela – Triumf civilizacije, ki na simbolični vrh postavi oljno cisterno in z zbadljivim naslovom opozarja na okoljevarstvene težave, Vzhod in zahod, kjer avtor sooči moderni, zahodnonemški Mercedes z zastarelim vzhodnonemškim Trabantom, Politična stranka, kjer je kup raznolikih porcelanastih posodic zložen v krhko celoto. S tovrstnimi temami avtor prvič predstavi pogled na svet, ki je veliko bolj kritičen in v prejšnjih delih redkeje izražen. Čeprav je avtorjeva motivika vedno osebno izpovedna se sentimentalnost v delih umakne racionalnosti, ta pa v kombinaciji z avtorjevo značilno tiho poetiko doseže močen učinek, ki je hkrati kritičen in humoren. Kompozicijsko je fotografijam tokrat skupna tudi postavitev, saj so sestavljanke predmetov konsistentno umeščene na horizont, kar dela med seboj povezuje in v seriji vzbuja občutek notranje enotnosti.
Gaberščik o sebi rad reče, da ni umetnik, je fotograf. Prav dejstvo, da pojma umetnost in fotografija med sabo pojmovno ločuje, priča o njegovem zavedanju specifičnosti medija fotografije in predanosti njegovi tradiciji. Tudi v svoji najnovejši seriji avtor pokloni nekatera dela fotografom, ki jih občuduje, na primer češkemu Ivanu Pinkavi (Materia za I. Pinkavo) in ameriškemu Paul Outerbridgeu (Polom jajca P. Outerbridgea). Da je avtor zaprisežen fotograf, potrjuje tudi pregled njegovega opusa, ki je tako tehnično kot estetsko zvest tradiciji fotografije. Dela namreč producira izključno analogno, negative pa razvija sam v svojem laboratoriju, kjer jih nato tonira s selenom. Avtorjeva zavezanost fotografiji pa ne pomeni, da je v njenem polju zamejen. Njegovo široko zanimanje in vpetost v najrazličnejša polja znanosti in umetnosti se kaže v »hommage-ih« - slikarjema Georgu Baselitzu in Paul Kleeju, izumitelju Von Kempelenu in pisateljema Terry Pratchettu in Umbertu Ecu.
Gaberščikovemu opusu vlada konsistentnost, a nikakor monotonost, s serijo Von Dieser Welt pa znova potrjuje, da nikakor ni enodimenzionalen avtor. Nasprotno, zdi se, kot da se avtor skozi vsako novo serijo spreminja in nadgrajuje. Tako je Von Dieser Welt serija, ki je bolj kot katerakoli druga napolnjena s hudomušno družbeno kritiko, iluzionističnimi kompozicijami, pa tudi melanholično poetiko, tako značilno za Gaberščikov opus.
Hana Čeferin
[1] Sveto pismo, Jn 18:36.
[2] Sarival Sosič, Svet tihožitij Borisa Gaberščika, in: Boris Gaberščik: Fotografije, p. 84-88, Ljubljana, Mestna galerija Ljubljana, 2008.
ABOUT THE SERIES
Boris Gaberščik is one of the most recognizable and most productive Slovenian photographers. He recently presented himself with the alchemically inspired series Solve et Coagula. Yet alchemy, which provides a basis for Gaberščik’s previous work, does not suffice for interpretation any longer. The mystical dimensions of his works are now substituted by the profane, which is expressed in the very title of the new series – Von dieser Welt or “of this world”.
Gaberščik’s atelier is a cemetery of found objects, which strewn across the floor await their revival. When he sets them in front of the lens, they seem to rise from the dead, and begin a new life under the photographer’s masterful manipulation of light. The resurrection of the objects might suggest a biblical connotation, but is in no way sacral in character, a fact supported by the very title of the series. While Jesus says in John’s gospel: “My kingdom is not of this world,” [1] ist nicht von dieser Welt, Gaberščik claims the opposite – he places his photographs in the earthly world, more so than he has done in his previous series. While Von dieser Welt retains certain elements of alchemy observed in Solve et Coagula, as well as the Ordo ab Chao concept of order above chaos, the essence of the work is now different. It is something that originates from this world and is intended for its inhabitants.
The artist remains consistent both in technique and imagery; he builds his visual opus through an array of found objects, plastic toys, porcelain cups and cracked glasses, dead birds and bugs, all of which he arranges in numerous combinations and compositions. With calculated lighting and masterful manipulation of light and shadow, which places Gaberščik in the very peak of Slovenian photography, the author breathes life into seemingly useless objects. He creates a depth and shape which Sosić deems almost sculptural,[2] and he awards a status of treasure to discarded, worthless objects. Gaberščik proves once again that he has an expert understanding of light, which has both technical and content-related effects in his work, and is used to create optical and spatial illusions. Light is also crucial in establishing the atmosphere of the photo – after all, the feel of the photograph could function very differently under another light.
In contrast with Gaberščik’s previous series, Von dieser Welt is no longer bound to silent contemplation, but ventures out from the solitary world of objects into the world of people and social action. Alchemy has been Gaberščik’s inspiration throughout his entire creative work, yet Von Dieser Welt invokes the feeling that alchemy is present only in the technical aspects of his work, while the artist searches elsewhere for meaning and content. With a playfulness which is both subtle and telling, the author names his newest works – Triumph of Civilization, which places an oil cistern on a symbolic peak, reminding us of environmental issues, East and West, where he confronts a modern, West-German Mercedes against an antiquated, East-German Trabant, Political party, where porcelain cups are composed into a fragile whole. Through such topics, the author presents his world view for the first time – one that is much more critical and less frequently expressed in his other works. In these works, sentimentality is somewhat replaced by rationality, even though Gaberščik’s content is always of a personal nature. This, combined with his characteristic poetic silence, achieves a powerful effect which is both critical and humorous. The photographs in the new series are connected through composition as well, since object-structures are consistently placed on the horizon, the line of which is always visible. The horizon helps link the works together and creates a sense of unity in the series.
Gaberščik likes to stress that he is a photographer, not an artist. The very fact that he contextually differentiates between the two terms speaks volumes of his awareness of the medium of photography, and his passion for its tradition. He dedicates some of his works to photographers he admires, such as Czech Ivan Pinkava (Materia for I. Pinkava) and American Paul Outerbridge (Disaster of Paul Outerbridge’s Egg). A review of Gaberščik’s opus attests to the fact that he is a sworn photographer, who is both technically and aesthetically loyal to the tradition of photography – his works are exclusively analogue, developed from negatives in his laboratory and toned with selenium. The artist’s commitment to the field of photography does not imply, however, that he is limited by it. His interests are diverse and extend to different areas of art and science, which can be observed in his “hommages” – to painters George Baselitz and Paul Klee, inventor Von Kempelen and writers Terry Pratchett and Umberto Eco.
Gaberščik’s opus is ruled by consistency but never monotony, and Von dieser Welt establishes that he is in no way a one-dimensional photographer. In fact, he is the opposite, and it seems that he is changing and improving with each new series. As such, Von dieser Welt is a series unlike any of his prior works – filled with humorous social criticism and compelling optical illusions, but also a certain melancholy elegance, so typical of Gaberščik’s work.
Hana Čeferin
[1] Holy Bible, Jn 18:36.
[2] Sarival Sosič, Svet tihožitij Borisa Gaberščika, in: Boris Gaberščik: Fotografije, p. 84-88, Ljubljana, Mestna galerija Ljubljana, 2008.
O SERIJI
Boris Gaberščik je eden najbolj prepoznavnih ter v svojem opusu najbolj produktivnih slovenskih fotografov. Nazadnje se je predstavil z alkimistično navdahnjeno serijo Solve et Coagula, vendar alkimija, na katero se Gaberščik opira v svojih prejšnjih delih, za interpretacijo ne zadošča več. Mistične dimenzije njegovih prejšnjih del nadomesti posvetnost, izražena že v samem naslovu serije – Von dieser Welt ali »od tega sveta«.
Gaberščikov atelje je pravo pokopališče najdenih premetov, ki razprostrti na tleh čakajo na ponovno uporabo. Postavljeni pred objektiv pa so naenkrat kot vstali od mrtvih in pod mojstrsko manipulacijo svetlobe ponovno zaživijo. Vstajenje omenjenih predmetov morda zbuja biblično konotacijo, vendar nikakor nima sakralnega značaja, kar potrjuje tudi sam naslov serije. V Janezovem evangeliju namreč Jezus govori: »Moje kraljestvo ni od tega sveta,«[1] ist nicht von dieser Welt, Gaberščik pa zatrjuje nasprotno – svoje fotografije umešča v zemeljski svet, morda bolj, kot v katerikoli prejšnji seriji. Von dieser Welt ohranja tako nekatere elemente alkimistične mističnosti, razvidne v seriji Solve et Coagula, kot tudi koncept reda nad kaosom razvit v seriji Ordo ab Chao, vendar je zdaj v ospredju drugačen duh, ki izvira iz tega sveta in je njemu namenjen.
Avtor ohranja konsistentnost tako v uporabi tehnike kot v produciranju podob; svoj vizualni opus vzpostavi skozi nabor najdenih predmetov, plastičnih igračk, porcelanastih skodelic in počenih kozarcev, mrtvih ptic in žuželk, ki jih v najrazličnejših kombinacijah sestavlja v domiselne kompozicije. S premišljeno osvetlitvijo in mojstrskim manipuliranjem svetlobe in sence, ki Gaberščika uvršča v sam vrh slovenske fotografije, avtor vdihne življenje navidez neuporabnim predmetom. Doda jim plastičnost, ki jo Sosič označi za skoraj kiparsko,[2] zavrženim, ničvrednim predmetom pa poda status dragocenosti. S serijo zopet dokaže izvrstno razumevanje osvetlitve, ki v njegovih delih učinkuje tako tehnično kot vsebinsko, ter ustvarja optične in prostorske iluzije. Svetloba je ključna tudi pri vzpostavljanju atmosferičnosti fotografije, ki bi navsezadnje ob drugačni osvetlitvi lahko funkcionirala popolnoma drugače.
Za razliko od Gaberščikovih prejšnjih serij se Von Dieser Welt ne zavezuje več tihi kontemplaciji, pač pa izstopa iz samotarskega sveta predmetov v svet ljudi in družbenega dogajanja. Alkimija Gaberščiku predstavlja navdih skozi celoten opus, vendar Von Dieser Welt zbuja občutek, da je alkimistični duh prisoten le še v uporabljeni tehniki, vsebinsko pa avtor pogleduje drugam. S hudomušnostjo, ki je hkrati subtilna in zgovorna, avtor poimenuje svoja nova dela – Triumf civilizacije, ki na simbolični vrh postavi oljno cisterno in z zbadljivim naslovom opozarja na okoljevarstvene težave, Vzhod in zahod, kjer avtor sooči moderni, zahodnonemški Mercedes z zastarelim vzhodnonemškim Trabantom, Politična stranka, kjer je kup raznolikih porcelanastih posodic zložen v krhko celoto. S tovrstnimi temami avtor prvič predstavi pogled na svet, ki je veliko bolj kritičen in v prejšnjih delih redkeje izražen. Čeprav je avtorjeva motivika vedno osebno izpovedna se sentimentalnost v delih umakne racionalnosti, ta pa v kombinaciji z avtorjevo značilno tiho poetiko doseže močen učinek, ki je hkrati kritičen in humoren. Kompozicijsko je fotografijam tokrat skupna tudi postavitev, saj so sestavljanke predmetov konsistentno umeščene na horizont, kar dela med seboj povezuje in v seriji vzbuja občutek notranje enotnosti.
Gaberščik o sebi rad reče, da ni umetnik, je fotograf. Prav dejstvo, da pojma umetnost in fotografija med sabo pojmovno ločuje, priča o njegovem zavedanju specifičnosti medija fotografije in predanosti njegovi tradiciji. Tudi v svoji najnovejši seriji avtor pokloni nekatera dela fotografom, ki jih občuduje, na primer češkemu Ivanu Pinkavi (Materia za I. Pinkavo) in ameriškemu Paul Outerbridgeu (Polom jajca P. Outerbridgea). Da je avtor zaprisežen fotograf, potrjuje tudi pregled njegovega opusa, ki je tako tehnično kot estetsko zvest tradiciji fotografije. Dela namreč producira izključno analogno, negative pa razvija sam v svojem laboratoriju, kjer jih nato tonira s selenom. Avtorjeva zavezanost fotografiji pa ne pomeni, da je v njenem polju zamejen. Njegovo široko zanimanje in vpetost v najrazličnejša polja znanosti in umetnosti se kaže v »hommage-ih« - slikarjema Georgu Baselitzu in Paul Kleeju, izumitelju Von Kempelenu in pisateljema Terry Pratchettu in Umbertu Ecu.
Gaberščikovemu opusu vlada konsistentnost, a nikakor monotonost, s serijo Von Dieser Welt pa znova potrjuje, da nikakor ni enodimenzionalen avtor. Nasprotno, zdi se, kot da se avtor skozi vsako novo serijo spreminja in nadgrajuje. Tako je Von Dieser Welt serija, ki je bolj kot katerakoli druga napolnjena s hudomušno družbeno kritiko, iluzionističnimi kompozicijami, pa tudi melanholično poetiko, tako značilno za Gaberščikov opus.
Hana Čeferin
[1] Sveto pismo, Jn 18:36.
[2] Sarival Sosič, Svet tihožitij Borisa Gaberščika, in: Boris Gaberščik: Fotografije, p. 84-88, Ljubljana, Mestna galerija Ljubljana, 2008.
ABOUT THE SERIES
Boris Gaberščik is one of the most recognizable and most productive Slovenian photographers. He recently presented himself with the alchemically inspired series Solve et Coagula. Yet alchemy, which provides a basis for Gaberščik’s previous work, does not suffice for interpretation any longer. The mystical dimensions of his works are now substituted by the profane, which is expressed in the very title of the new series – Von dieser Welt or “of this world”.
Gaberščik’s atelier is a cemetery of found objects, which strewn across the floor await their revival. When he sets them in front of the lens, they seem to rise from the dead, and begin a new life under the photographer’s masterful manipulation of light. The resurrection of the objects might suggest a biblical connotation, but is in no way sacral in character, a fact supported by the very title of the series. While Jesus says in John’s gospel: “My kingdom is not of this world,” [1] ist nicht von dieser Welt, Gaberščik claims the opposite – he places his photographs in the earthly world, more so than he has done in his previous series. While Von dieser Welt retains certain elements of alchemy observed in Solve et Coagula, as well as the Ordo ab Chao concept of order above chaos, the essence of the work is now different. It is something that originates from this world and is intended for its inhabitants.
The artist remains consistent both in technique and imagery; he builds his visual opus through an array of found objects, plastic toys, porcelain cups and cracked glasses, dead birds and bugs, all of which he arranges in numerous combinations and compositions. With calculated lighting and masterful manipulation of light and shadow, which places Gaberščik in the very peak of Slovenian photography, the author breathes life into seemingly useless objects. He creates a depth and shape which Sosić deems almost sculptural,[2] and he awards a status of treasure to discarded, worthless objects. Gaberščik proves once again that he has an expert understanding of light, which has both technical and content-related effects in his work, and is used to create optical and spatial illusions. Light is also crucial in establishing the atmosphere of the photo – after all, the feel of the photograph could function very differently under another light.
In contrast with Gaberščik’s previous series, Von dieser Welt is no longer bound to silent contemplation, but ventures out from the solitary world of objects into the world of people and social action. Alchemy has been Gaberščik’s inspiration throughout his entire creative work, yet Von Dieser Welt invokes the feeling that alchemy is present only in the technical aspects of his work, while the artist searches elsewhere for meaning and content. With a playfulness which is both subtle and telling, the author names his newest works – Triumph of Civilization, which places an oil cistern on a symbolic peak, reminding us of environmental issues, East and West, where he confronts a modern, West-German Mercedes against an antiquated, East-German Trabant, Political party, where porcelain cups are composed into a fragile whole. Through such topics, the author presents his world view for the first time – one that is much more critical and less frequently expressed in his other works. In these works, sentimentality is somewhat replaced by rationality, even though Gaberščik’s content is always of a personal nature. This, combined with his characteristic poetic silence, achieves a powerful effect which is both critical and humorous. The photographs in the new series are connected through composition as well, since object-structures are consistently placed on the horizon, the line of which is always visible. The horizon helps link the works together and creates a sense of unity in the series.
Gaberščik likes to stress that he is a photographer, not an artist. The very fact that he contextually differentiates between the two terms speaks volumes of his awareness of the medium of photography, and his passion for its tradition. He dedicates some of his works to photographers he admires, such as Czech Ivan Pinkava (Materia for I. Pinkava) and American Paul Outerbridge (Disaster of Paul Outerbridge’s Egg). A review of Gaberščik’s opus attests to the fact that he is a sworn photographer, who is both technically and aesthetically loyal to the tradition of photography – his works are exclusively analogue, developed from negatives in his laboratory and toned with selenium. The artist’s commitment to the field of photography does not imply, however, that he is limited by it. His interests are diverse and extend to different areas of art and science, which can be observed in his “hommages” – to painters George Baselitz and Paul Klee, inventor Von Kempelen and writers Terry Pratchett and Umberto Eco.
Gaberščik’s opus is ruled by consistency but never monotony, and Von dieser Welt establishes that he is in no way a one-dimensional photographer. In fact, he is the opposite, and it seems that he is changing and improving with each new series. As such, Von dieser Welt is a series unlike any of his prior works – filled with humorous social criticism and compelling optical illusions, but also a certain melancholy elegance, so typical of Gaberščik’s work.
Hana Čeferin
[1] Holy Bible, Jn 18:36.
[2] Sarival Sosič, Svet tihožitij Borisa Gaberščika, in: Boris Gaberščik: Fotografije, p. 84-88, Ljubljana, Mestna galerija Ljubljana, 2008.
