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O SERIJI

Scotoma - Mračenje

Vse od uničenja moje domovine Jugoslavije živim v globalizirani žepni koloniji, kjer se nas nenadoma tičejo vsi veliki svetovni problemi, vendar o njih nimamo besede. Medtem ko se stanje sveta zavija v temo, se pogosto spominjam svojega očeta, ki je bil primoran živeti v treh različnih režimih, brez da bi se premaknil, razen ko so ga pregnali mladi možje v uniformah. Desetletja kasneje so prišli drugi mladi možje. Od takrat smo videli veliko uniform, ki so ljudi preganjale z njihovih domov.Utrujen od poplave fotografij, ki prikazujejo krize in rutinske grozovitosti, spremenijo pa ne ničesar, razen tega, da zgolj še večajo našo neobčutljivost, ki je pravzaprav oblika samoobrambe, sem razmišljal o tem, ali je dokumentarna fotografija v post-stvarnem svetu sploh še pomembna. Kako lahko fotografije prikažejo naš »sodobni« trenutek, ne da se izgubijo v vseh njegovih manifestacijah?Serija Mračenje od gledalca zahteva, da med iskanjem odgovorov na ta vprašanja zavzame drugo perspektivo. Sestavljajo jo dva diptiha in pentaptih. Na začetku so fotografije, ki vključujejo nejasno vizualno besedilo, kasnejše fotografije pa namenoma ne vsebujejo nobene informacije. Od situacij, ki vključujejo življenje – proti njegovemu postopnemu pojemanju.Fotografije so posnete na resničnih krajih in so sledi mojih srečanj s svetom. Ker vse razpravljanje, ki smo mu priča danes, ne prinese nobenih rešitev, so fotografije vizualizacije mojih meditacij o trenutku, v katerem smo. So fotografske materializacije nečesa, kar je v osnovi miselni objekt. V procesu njihovega nastajanja sem iskal razumevanje onkraj vsakodnevnih narativov in izgovorov. Tako obenem prikazujejo post-stvarno družbo, nejasnost fotografij pa izraža tudi mojo izkušnjo v post-stvarni družbi.

ABOUT THE SERIES
Scotoma - Darkening

Since the destruction of my homeland*, I have found myself living in a globalized pocket colony, where all big world issues are applied to our lives, without us having any say. As the world situation is getting darker, I often think of my father, who had to live through six regimes without moving, except when some young men in uniforms displaced him.A couple of decades later, some other young men came. We have watched many different uniforms forcing people away from their homes since then.Made weary by the flood of photographs showing crises and routine atrocities, that has changed nothing, but ultimately only enhanced our insensitivity as a form of a self-defense, I had to rethink whether documentary photography still possesses any relevance in our post-factual world. How can photographs visualize our “contemporary” moment, without getting lost in all its manifestations?The Darkening series asks us to take a different perspective when addressing those questions. The series comprises two diptychs and one pentaptych. It begins with images that possess a vague visual text, and intentionally progresses to those completely void of information. From situations that contain life – towards its gradual fading.The photographs are taken in real places and are traces of my encounters with world. Since all the reasoning that we witness today seems incapable of producing any solutions, they are visualizations of my meditation on our contemporary moment. The photographic materialization of what is primarily a mental object. In the process of their making, I was searching for an understanding beyond daily narratives and excuses. While depicting post-factual society, their opacities also express my experience of it.- DK*the former Yugoslavia