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O SERIJI

Alkimistični laboratorij Borisa Gaberščika

Gaberščikova tihožitja so vedno polna simbolike in aluzij, vendar lahko na njegova dela gledamo tudi s povsem umetniškega vidika (predvsem zato, ker avtor sam razlikuje med umetniškim in vsebinskim pristopom in oba pristopa združuje). Avtor v svojih delih uporablja preproste in hkrati zapletene kompozicije, ki pogosto presegajo meje evklidskega prostora in prehajajo v iluzijo in nadrealizem, medsebojne odnose, ki jih vzpostavljajo oblike in svetloba, ritem ponavljajočih se geometrijskih oblik, subtilno svetlobo, bogate tonske vrednosti, modernistično estetiko in perfekcionizem pri obdelavi fotografij.

S serijo tihožitij Solve et Coagula je Gaberščikov laboratorij končno razkril svojo pravo alkimistično naravo, svoj motiv, dušo, svojo copula mundi. Je prostor, kjer se dogajajo alkimistični procesi preobrazbe materije in kjer poteka nematerialna, simbolna transmutacija, ki preobraža samega alkimista. Ko se združita duhovna in materialna raven, se zgodi alkimija in takrat nastane zlato. Ko pravim, da je Gaberščikov laboratorij (in ne Gaberščik sam) končno razkril svojo pravo alkimistično naravo, imam v mislih njegovo izjavo, da nismo mi tisti, ki posedujemo predmete, ampak oni, predmeti, posedujejo nas. Tako ga osvoji alkimistična prvobitna materija, Materia Prima - Massa Confusa, svet predmetov iz njegovega laboratorija, ki jih srečujemo na njegovih fotografijah in jih je tja ponesel tok časa. Po prelomnici v svojem življenju se je avtor ponovno srečal s hermetično filozofijo, gnosticizmom in starodavno mistično tradicijo v Zahodni Evropi – alkimijo. Začel je razmišljati o idejah, ki so jih predstavljali ti ideološki tokovi. Podobe iz serije, poimenovane po alkimistični maksimi Solve et Coagula, prinašajo avtorjevo vizualizacijo razmišljanj o alkimistični tradiciji in ustaljenih temah – podobe želijo predvsem predstaviti vprašanja in ne odgovorov. Večina nepoznavalcev povezuje alkimijo zgolj z utopičnim izdelovanjem zlata, vendar gre za kompleksno ezoterično kozmološko doktrino z bogatim izročilom in raznoliko zgodovino. Takšnega znanja ne najdemo le v Evropi, temveč tudi v kulturni zgodovini Indije, Kitajske in arabskega sveta. Zahodna alkimija je svoj razcvet doživela v renesansi in baroku, pozneje v 17. stoletju pa se je postopoma razdelila na mistični in znanstveni pol; v 18. stoletju je znanstveni pol postopoma postal kemija, mistični pol pa je preživel kot hermetična filozofija. Mistični vidiki alkimije so ponovno zaživeli konec 19. stoletja z Zlato zoro, s teozofskimi in tradicionalističnimi interpretacijami ter zlasti z jungovsko interpretacijo alkimistične simbolike. Temelj alkimije je opus (delo) in običajno vključuje dva vidika: materialni vidik – transmutacijo kovin v zlato ali srebro, pripravo filozofskega kamna; in mistični, duhovni vidik – notranji vidik, ki vključuje samega alkimista. Edinstvenost alkimije kot ezoterične znanosti je prav v združitvi materialnega in duhovnega. Temeljna maksima Solve et Coagula (raztopiti in strditi) se nanaša na prvobitno materijo, ki je dojeta kot stanje čiste potencialnosti, ontološko stanje, ki nima posebne oblike, ne le v smislu kovin, temveč tudi na splošno v kozmogonskem smislu. To stanje se imenuje Materia Prima, kaos, Massa Confusa. To je ontološko stanje kaosa pred začetkom kozmosa. Kovine imajo s svojo specifično obliko kot del kozmosa ousio (bistvo) ali obliko (aktualizacijo). Alkimistična predpostavka je naslednja: »Če bi bilo mogoče raztopiti specifično obliko kovin (na primer obliko bakra) in jih vrniti v stanje kaosa in čiste potencialnosti, potem bi jim bilo mogoče vtisniti novo specifično obliko, novo bistvo, in jih kot take transmutirati.« Proces transformacije poteka v sedmih korakih, ki jih predstavljajo kalcinacija, raztapljanje, ločevanje, združevanje, fermentacija, destilacija in koagulacija. Eksperimentalno delo v alkimističnem laboratoriju se osredotoča na izdelavo kamna modrosti, pri čemer je združevanje nasprotij, ki so povezana v popolno ravnovesje, manipulacija žvepla in živega srebra, končni poseg. V besedilih je simboliziran s sveto poroko kralja in kraljice (konjunkcija), Sonca in Lune. Alkimistični opus povezuje oba dela: kemično prizadevanje alkimistov in mistično plat alkimije, alkimist »trpi«, ko »trpi« snov, z njeno »smrtjo« alkimist tudi notranje umre. Reinkarnacija in zmagovito vstajenje snovi poveličujeta alkimistovo dušo. Branje alkimističnih besedil je potrebno za globlje razumevanje alkimističnih veščin in simbolov, hkrati pa gre za tako imenovano iniciacijsko prakso prenosa skritih veščin preko posvečenih adeptov. Naslovi fotografij že iz tega precej površnega opisa dovolj zgovorno razkrivajo povezave s temami alkimije: Solve et Coagula, Massa Confusa, Tabula Smaragdina, Kakor zgoraj, tako spodaj, kakor spodaj, tako zgoraj, Solutio, King and Queen (Coniunctio), Sulphur, Fatum, Demiurg, Ouroboros ... in vas hkrati vabijo k odkrivanju skrivnosti razstave, ki jo varuje edina podoba, oblikovana zunaj alkimističnega laboratorija, varuh skrivnosti. Tako kot alkimist v svojem laboratoriju obogati snov in iz navadnih kovin ustvari zlato, tako Gaberščik v svojem fotografskem laboratoriju ustvarja srebrne podobe. Ko jih obarva z žveplom, nastane ultimativna stvaritev, kamen modrosti. S pomočjo fotografije, njegove Massa Confusa, se mrtvi in pozabljeni predmeti preoblikujejo, oživijo in skozi snov govorijo o metafizičnem. Fotografski studio in predmeti v njem so avtorjeva Copula Mundi. Povezujejo telo, avtorja in njegovo dušo z božanskim, duhom in svetlobo. Današnji pomen besede laboratorij izhaja iz latinske besede laboratorium, ki povezuje dve besedi: labor (težko prizadevanje, napor) in oratorium (kraj molitve). Laboratorij je torej prostor za delo in molitev. Gaberščik v svojem fotografskem laboratoriju združuje oboje. Neutrudno delo, labor, je način, ki ga uporablja pri ustvarjanju fotografij in je zato vreden poglobljenega pogleda, še posebej za nekoga, ki ga ne pozna in si težko predstavlja način, kako ustvarja svojo izrazito prepoznavno estetiko. Tehnologija, ki jo uporablja za izdelavo fotografij, zahteva podrobno poznavanje tehnoloških in optičnih lastnosti fotografske opreme in omogoča izjemno temeljito sledenje ter globinsko ostrino na velikem območju na sliki. Zahteva izračun območij globinske ostrine glede na fotografski film, objektiv in zaslonko. Filmi imajo nizko občutljivost (pod 25 ASA), čas osvetlitve pa je dolg – tudi do štiri minute. Oprema se v tehnični izvedbi v natančni mehaniki in optičnih podrobnostih (izvedba zaslonke in leč, posledično optična moč, na primer difrakcija svetlobe) razlikuje od prevladujoče sodobne opreme in vpliva tudi na estetiko slike. Gaberščikov nagovor je tehnološko in posledično estetsko blizu fotografom Skupine f/64, ki so verjeli, da fotoaparat bolje vidi kot pasivni opazovalec oziroma da prikazuje svet natanko takšen, kakršen je. »Na vprašanje, zakaj fotografiram, si odgovorim, da zato, da vidim, kako bi bil ta predmet videti fotografiran; ker je to zame nekaj povsem drugega.« Drugi del laboratorijskega rituala zahteva veščine za izdelavo fotografij s klasičnim kolodijskim postopkom, ki danes postaja »skrivno« znanje. Filmi, fotografski papir in kemikalije izginjajo s trga, zato je treba preizkusiti formule, prilagoditi postopek in razmerja, ki glede na razpoložljivi material omogočajo želene učinke. Uporablja nekatere skoraj sto let stare postopke, ki jih je kot alkimist v iskanju in prizadevanju za končni cilj prilagodil sam. Molitev v alkimističnem, fotografskem laboratoriju Borisa Gaberščika časti svetlobo.


ABOUT THE SERIES

The alchemical laboratory of Boris Gaberščik

Gaberščik’s still lifes are always full of symbolism and allusions, but his work can also be viewed from a purely artistic point of view (especially because the author himself is able to distinguish between the artistic and content-based approach and he mostly prefers to combine the two approaches): simple and at the same time complex compositions which often exceed the limits of Euclidean space and venture into the illusionary and surreal, the relationships mutually established by shapes and light, the rhythm of repetitive geometric shapes, subtle light, rich tonal values, modernist aesthetics and perfectionism in photographic processing.
With the series of still lifes, Solve et Coagula, Gaberščik’s laboratory finally brought forth its true alchemical nature, its motive, soul, copula mundi.[1] It is a place where alchemical processes of the transformation of the matter happen and where the immaterial, symbolic transmutation which transforms the alchemist himself occurs. When the spiritual and tangible levels are combined, alchemy happens and then gold is made. When I say that Gaberščik’s laboratory (and not Gaberščik himself) finally brought forth its true alchemical nature, I am referring to his statement that it is not us who possess the objects, but they, the objects, possess us. Thus, he is conquered by the alchemical primordial matter, Materia Prima – Massa Confusa, the world of objects from his laboratory which we encounter in his photographs and were carried there by the flow of time. After the turning point in his life,[2] the author again met with the hermetic philosophy, Gnosticism and the only century lasting mystical tradition in Western Europe – alchemy. He began thinking about the ideas put forward by these ideological currents. The images from the series, named after the alchemical maxim, Solve et Coagula, bring the author’s visualization of reflections on the alchemical tradition and topics that are established – in particular, the images want to present questions and not answers. Most of the non-proficient connect alchemy solely with utopian gold making, but it is a complex esoteric cosmological doctrine with a rich tradition and diverse history. Such knowledge is not only found in Europe but also in the cultural history of India, China and the Arab world. Western alchemy experienced its heyday in the Renaissance and Baroque, and later in the 17th century it gradually split into the mystical and scientific pole; in the 18th century the scientific gradually becomes chemistry, whereas the mystical half survives as Hermetic philosophy. Mystical aspects of alchemy experienced a re-emergence in the late 19th century with Golden Dawn, with theosophical and traditionalist interpretations, and especially with Jungian interpretation of alchemical symbolism. The foundation of alchemy is Opus (Work) and normally involves two aspects: the material aspect – the transmutation of metals into either gold or silver, the preparation of the philosopher’s stone; and the mystical, spiritual aspect – the internal aspect which involves the alchemist himself. The uniqueness of alchemy as esoteric science is precisely the merging of the material and spiritual. The fundamental maxim Solve et Coagula (dissolve and coagulate) alludes to the primordial matter which is perceived as the state of pure potentiality, the ontological state which has no specific form, not only in terms of metals, but also generally in the cosmogonic sense. This condition is called Materia Prima, chaos, Massa Confusa. It is the ontological status of chaos before the beginning of the cosmos. Metals have, with their specific form as a part of the cosmos, ousia (essence) or form (actualization). The alchemical premise is as follows: “If it were possible to dissolve a specific form of metals (for example the form of copper) and return them into the state of chaos and pure potentiality, then it would be possible to imprint a new specific form, new essence on them and as such transmute them.”[3] The process of transformation occurs in the seven steps: Calcination, Dissolution, Separation, Conjunction, Fermentation, Distillation and Coagulation. The experimental work in the alchemical laboratory focuses on creating the philosopher’s stone, where combining the opposites which are connected in perfect equilibrium, the manipulation of sulphur and mercury, is the ultimate interference. In the texts, it is symbolized with the holy marriage of King and Queen (Coniunction), the Sun and the Moon. The alchemical Opus connects both parts: the chemical endeavour of the alchemists and the mystical side of alchemy, the alchemists “suffers” when the substance “suffers”, with its “death”, the alchemist also dies internally. The reincarnation and triumphant resurrection of the substance glorifies the soul of the alchemist. Reading of alchemical texts is required for a deeper understanding of alchemical skills and symbols, at the same time it is about the so-called initiatory practice of the transmission of hidden skills through hallowed adepts. Titles of the photographs even from this quite superficial description eloquently enough reveal links with the themes of alchemy: Solve et Coagula, Massa confusa, Tabula Smaragdina, As above so below, as below so above, Solutio, King and Queen (Coniunctio), Sulphur, Fatum, Demiurg, Ouroboros… and at the same time invite you to discover the secrets of the exhibition protected by the only image formed outside the alchemical laboratory, the Guardian of Secrets. Just as the alchemist in his own laboratory enriches the matter and from base metals creates gold, Gaberščik in his photographic laboratory creates silver images. When he tones them with Sulphur, the ultimate creation occurs, the philosopher’s stone. With the help of the photography, his Massa Confusa, dead and forgotten objects transform, become alive and through the material speak about the metaphysical. The photographic studio and the objects in it are the author’s Copula Mundi. They connect corpus, the author and his soul with the divine, spirit and light. Today’s meaning of the word laboratory derives from the Latin word laboratorium which connects two words: labor (difficult endeavour, effort) and oratorium (a place of prayer). Laboratory is therefore the space for work and prayer. In his photographic laboratory Gaberščik combines both. Tireless work, labor, is the way he uses for making photographs and is thus worthy of a deeper look, especially for someone who is not familiar with it and who finds it difficult to imagine the way he creates his distinctly recognizable aesthetics. The technology used for making photographs demands a detailed knowledge of technological and optical properties of the photography equipment and it allows exceptionally thorough tracing, as well as depth of field over a vast area on the image. It requires calculating the zones of depth of field depending upon the photographic film, lens and aperture. Films are of low sensitivity (below 25 ASA), whereas the exposure time is long – even up to four minutes. The equipment in technical implementation in precision mechanics and optical detail (the realization of the aperture and lenses, consequently the optical power, for example diffraction of light), differs from the dominant contemporary equipment and also affects the aesthetics of the image. Gaberščik’s address is technologically and consequently aesthetically close to the photographers of Group f/64 who believed that the camera sees better as a passive observer or it shows the world exactly as it is. “When asking myself a question why I take photographs, I answer that it is to see how this object would look photographed; because to me this is something completely different.” The second part of the laboratory ritual requires skills for making photographs with the classical collodion process which is today becoming the “secret” skills. Films, photographic paper and chemicals have been disappearing from market, it is necessary to test formulas, adjust the procedure and proportions which enable the desired effects considering the available material. He uses some of the almost hundred year old procedures that, as an alchemist in search of and striving for the ultimate goal, he had adjusted himself.Prayer in the alchemistical, photographic laboratory of Boris Gaberščik honours light.