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For English version please scroll down. O SERIJI Povej mi, kaj vidiš, in povem ti, kdo si Ko je švicarski psihiater Hermann Rorschach leta 1921 po eksperimentiranju z otroško igro...
Ko je švicarski psihiater Hermann Rorschach leta 1921 po eksperimentiranju z otroško igro objavil raziskavo o svojem slavnem psihološkem testu, je za vedno zaznamoval naše razumevanje gledanja in zaznavanja podob. Test je bil zasnovan z namenom, da poda diagnostično oceno osebnosti na podlagi opisov, ki so jih testiranci podali o desetih sličicah abstraktnih pack. Pacient naj bi ob gledanju na podobe projiciral svoja skrivna hotenja, komplekse in konflikte, z opisi pa deloma razkril svojo osebnost, saj »pravilni« in »napačni« odgovori v testu ne obstajajo – ustvarjen je bil, da pod barikado zavestnih odzivov razkrije našo podzavest.
Rorschach je razvil metodo, ki je dokončno potrdila, da enake podobe različni ljudje vidijo drugače – resničnost kot objektivno dejstvo ne obstaja, pač pa se razlikuje od osebe do osebe. Kako vidimo in razumemo podobe, je odvisno od tega, kakšen je naš način razmišljanja; gledalec pomen tvori šele s svojimi jezikovnimi kodi in nivoji razumevanja, izobraženostjo, kulturno in zgodovinsko pogojenostjo ter številnimi drugimi dejavniki. Test opozarja na dejstvo, ki je enako pomembno v umetnosti kot v psihoanalizi – da resničnost in njena interpretacija nista stabilni, nespremenljivi konstanti.
DK je umetnik, ki se je v svoji dolgoletni fotografski praksi v številnih delih posvečal konceptu videnja v fotografiji; nazadnje je motiv raziskoval v seriji Scotoma, ki je bila po večletnem procesu ustvarjanja predstavljena v Galeriji Jakopič. V njej je dela posvetil premisi, da gledalec s svojim pogledom soustvarja resničnost. Sanjske krajine je posnel v neposredni bližini svojega studia v Ljubljani, a jih je s pomočjo vizualnih asociacij poimenoval po oddaljenih krajih. S tem je neizogibno odprl vprašanje – ali je pomembno, kaj je ozadje nastanka fotografije, če gledalec v njej vidi nekaj povsem drugega? Izkušnja večletnega eksperimentiranja z aktom gledanja je pripeljala do ekstrapolacije tematike v novo fotografsko smer, prvič predstavljeno v Mali galeriji Cankarjevega doma.
V seriji del, ki po avtorjevih besedah predstavljajo šele uvod v proces, z naslovom Preostanki skoraj psihoanalitično odkriva, kaj podobi dodeli vrednost in kako gledalec pristopa k razumevanju podobe. Kot pravi DK: »V Preostankih preizprašujem, kaj vse je lahko podoba. Ali lahko neko pomensko podobo, morda celo lepoto, najdemo v zavrženih preostankih nečesa, kar je bilo nekoč namenjeno kot nosilec podobe? Posledično preizprašujem, ali je mogoče najti pomen in morda celo lepoto življenja v današnjem sodobnem trenutku, ki je zaznamovan z razkrojem vrednot ter sistemov in podsistemov, torej nosilcev tistega, čemur smo rekli človeštvo, človeška družba.«
DK pomena najpogosteje ne išče v verističnem prikazu vidnega in oprijemljivega, temveč v marginalnem in spregledanem. V najnovejšem projektu se je vrnil k ostankom starih fotografskih filmov, v katerih je ponovno ovrednotil opus s samega začetka lastnega fotografskega ustvarjanja v osemdesetih letih.
V množici starih podob, ki so bile v nekaterih primerih zavržene, poškodovane ali neprimerno hranjene, je začel opažati celo vrsto fascinantnih »napak« – fotokemičnih poškodb, zarez, prask, nenavadnih izrezov in drugega. A prav ti so postali nosilci pomena, saj so bili še vedno podobe nečesa, čeprav so bili ustvarjeni le kot stranski produkt tega, kar je bilo na fotografiji izvorno v ospredju. Ko umetnik »napake« postavi v fokus upodobitev, se pred nami razgrnejo z množico mogočih interpretacij; od živalskih obrisov, antropomorfnih figur, duhov, pošasti, do skrivnostne prostranosti vesolja. Tovrstne motive je umetnik začel načrtno poustvarjati v svojem studiu v raziskovanju koncepta napačnega in naključnega v ustvarjalnem procesu. DK se v seriji zopet poigrava s konceptoma fikcije in tvorjenja pomena, gledalca pa izzove, da v vsaki podobi poišče lastno resnico.
Izmed vseh umetniških sredstev posebej fotografija velja za zmožno najbolj objektivno prikazovati resničnost ali je celo razumljena kot inherentno verodostojna. A za DK-ja fotografija nikoli ni bila enoznačna z reprezentiranjem resničnosti. Zanima ga komuniciranje med podobo in gledalcem ter pomensko polje, ki se vzpostavi v procesu gledanja. Vprašanje namreč ni, kaj fotografija pove o realnosti, temveč kaj pove o njihovem avtorju, ali še bolje, kaj pove o nas samih? Njegove fotografske podobe delujejo kot svojevrsten Rorschachov test – s fluidnimi formami nihajo med abstraktnim in oprijemljivim, ponujajo neskončne poti razumevanja in gledalca vabijo, da jih poskuša razvozlati. DK zopet poudarja dejstvo, da je umetnost več kot le reprezentacija podob, je priložnost za kontemplacijo in razumevanje samih sebe, za popotovanje v lastni jaz in soočenje s podobami, ki jih umetnost lahko prikliče globoko iz podzavesti.
Hana Čeferin
DK je diplomiral na FPS v Münchnu, magistrski naziv pa je prejel na IVAS v Kölnu. Več kot trideset let je član umetniškega kolektiva Strip Core. Vrsto let je prebival in deloval med Ljubljano, Kölnom, Münchnom, Dunajem in Beogradom.
Njegov kreativni proces temelji na umetniškem raziskovanju, ki rezultira v globoki vizualni reprezentaciji tem s pogosto socio-političnim in socialnim predznakom. V zadnjem času njegovo raziskovanje odkriva tudi širok nabor dilem fotografskega medija. Od razmerja med subjektom in objektom do vprašanj horizonta percepcije ter raziskave razmerja med resnico in podobo, med resničnim in virtualnim ter med verodostojnim in lažnim. Izjemen opus z izvirnim vizualnim in konceptualnim pristopom k fotografiji spodbuja zavedanje dejanske resničnosti skozi vizualno pripoved, a ne skozi nemuden efekt, temveč se uspe gledalca dotakniti na bolj sublimni ravni, a zato z daljnosežnejšim učinkom.
Njegovo delo je bilo predstavljeno v mednarodnem prostoru ter objavljeno v več publikacijah in dveh monografijah. Dela DK se nahajajo v zasebnih in muzejskih zbirkah doma in v tujini.
ABOUT THE SERIES
Tell Me What You See, And I’ll Tell You Who You Are
When in 1921, after experimenting with a children’s game, Swiss psychiatrist Hermann Rorschach published a study into his famous psychological test, he lastingly impacted our understanding of seeing and perceiving images. The test was developed with the purpose of establishing a psychodiagnosis based on a subject’s perceptions of ten inkblot images. By looking at the images, a patient supposedly projects their secret desires, complexes and conflicts into the visual stimuli generated by the inkblots while partly revealing their personality through their perceptions. This is due to the test having no “correct” and “wrong” answers – it was created to reveal our subconscious mind behind a barricade of conscious responses.
Rorschach’s method definitively confirmed that different people perceive the same images differently – reality as an objective fact does not exist, but varies from person to person. How we perceive and understand images depends on our way of thinking; the viewer interprets meaning through their language codes and levels of understanding, education, cultural and historical determinism, and many other factors. The test draws attention to a fact as relevant in art as in psychoanalysis – that reality and its interpretation are not stable, invariable constants.
DK is an artist who, in his long photographic career, has devoted many of his works to the concept of the gaze in photography; Most recently, he has explored this motif in Scotoma, a series presented at the Jakopič Gallery after years in the making. The works in this series focus on the premise that viewers help shape reality with their perception of it. He shot dreamscapes in the immediate vicinity of his Ljubljana studio, but named them after distant places by means of visual associations. This inevitably raised the question of whether the background to a photograph’s conception actually matters if a viewer sees something completely different in it. The experience of years-long experimentation with the concept of looking led to the extrapolation of the theme into a new photographic direction, presented in Cankarjev dom’s Small Gallery for the first time.
In a series of works titled Remnants, works that according to the artist constitute only an introduction to the process, DK investigates, in an almost psychoanalytic way, what gives the image value and how viewers engage with visual imagery. In DK’s words: “In Remnants, I’m examining what qualifies as an image. Can some meaning-carrying image, perhaps even beauty, be found in the discarded remnants of something that was once intended as an image carrier? Consequently, I am re-examining whether it is possible to find meaning, and perhaps even the beauty of living, in our contemporary moment, marked by disintegration of values, a collapse of systems and subsystems, i.e., the bearers of what we used to call humanity, human society.”
DK most often seeks meaning in the marginal and the overlooked rather than in a veristic representation of the visible and concrete. In his latest project, he reused remnants of old photographic films, with which the artist re-evaluated his body of work created in the 1980s, at the very beginning of his photographic career.
In a multitude of old pictures, some of them discarded, damaged or poorly preserved, he began to notice a series of fascinating “flaws” – photochemical damage, notches, scratches, unusual cutouts and more. But it was precisely these discards that became the carriers of meaning – because they were still images of something even if created only as a by-product of what was originally in the foreground. When the artist places the representational focus on the “flaws”, they start to unfold before us in a multitude of possible interpretations, from animal contours, anthropomorphic figures, ghosts and monsters to the mysterious vastness of the universe. The artist systematically recreated such motifs in his studio with the intention of exploring the concepts of the erroneous and random in the creative process. In the series, DK is once again experimenting with the concepts of fiction and creation of meaning, while challenging the viewers to find their own truth in each image.
Of all the artistic means of expression, photography is considered to be the medium that records reality most objectively, or is even inherently truthful. But for DK, photography has never equalled a representation of reality. He is interested in the communication between the image and the viewer, and the semantic field established in the viewing process. The question for the artist is not what a photograph says about reality, but what it says about its author, or, better yet, what it says about us. His photographic images function as a sort of Rorschach test – their fluid forms hovering between abstraction and concreteness, offering endless ways of understanding, and inviting the viewer to try and decipher them. DK re-emphasizes the fact that art is more than simply a representation of images, but an opportunity to contemplate and understand oneself, to undertake a journey toward the inner self and confront imagery that art can conjure up deep from the subconscious.
Hana Čeferin
DK graduated from FPS in Munich and obtained his master’s degree from IVAS in Cologne. He has been member of the Strip Core art collective for over thirty years. He lived and worked between Ljubljana, Cologne, Munich, Vienna and Belgrade for a number of years.
His creative process is based on artistic research, which results in an in-depth visual representation of themes often touching on socio-political and social issues. Recently, his research has also revealed a wide spectrum of dilemmas facing the photographic medium. From the subject/object relationship to the questions of the perception horizon and research into the truth/image, real/virtual, and authentic/false relationships. With an original visual and conceptual approach to photography, the remarkable body of work encourages awareness of actual reality through visual narrative, not through immediate effect, however, but touching the viewer on a more sublime level, yet with a far-reaching impact.
His work has been presented internationally and published in several publications and two monographs. DK’s works form part of private and museum collections in Slovenia and across the world.