Razstava »Moja dežela, ki ne obstaja« skozi oči kustosinje

Želeli sva ustvariti koncept kulturnega in umetniškega potovanja. Želeli sva izvedeti, kaj je res in kaj ne, če je predstavljeni material lahko del resničnosti ali ne. Se soočamo z arhivskim gradivom, ki predstavlja resnično potovanje ali gre samo za idejo, koncept, ki se pojavlja v umetniški razstavi v slogu dokumentirane fikcije?

Razstava prikazuje tujca/-ko, ki skuša vstopiti in se vključiti v novo deželo, nove navade in korak za korakom postati del skupine. Tako razstava v opazovalcu vzbuja občutke radovednosti ob ideji potovanja in eksotičnega preko ritualov in navad gostujoče dežele. To je glavni subjekt razstave.

Razstava je pravzaprav referenca na etnografske razstave, ki so bile priljubljene skozi vso zgodovino umetnosti in nas popeljejo v navade, načine in življenje ljudi neke določene populacije.
Tukaj pa sva želeli dodati še sodoben medij, in sicer fotografijo in video, saj so etnografske razstave ustvarjene z namenom da prikažejo vsebino glede na življenje ljudi: prikazujejo predmete iz neke določene dežele ali družbe in starodobne običaje, vendar iz vidika sodobne estetike. To niso prikazi cirkuških fenomenov ali čudaških predmetov, temveč imajo močnejši umetniški koncept.
Tako sva želeli poustvariti idejo odhoda v tujo deželo, kasneje pa vračanja domov z obilico predmetov, idej in izkušenj, kar na koncu sestavlja etnografsko razstavo. Najin cilj je bil, da se zlijeva s populacijo. Ko sva to dosegli, sva lahko prikazali vse te predmete in ideje v muzeju in jih predstavili zahodni populaciji. »Moja dežela, ki ne obstaja« se želi poigrati s to idejo integracije in publiko prepričati, da sta umetnici res bili v tisti neznani deželi. Nazaj sta prinesli rastlino, kamen ter fotografije in video kot dokaze. Prav ti dokazi so bili sredstvo integracije preko ritualov in navad. Namen razstave je prav tako poigrati se z resničnim in neresničnim. Smo priča simulakru ali gledamo nekaj povsem resničnega? Opazovalec se med tem spraševanjem sam dokoplje do svojega mnenja.

Ideja realnega in nadrealnega je v umetnosti, in še posebej v fotografiji, prisotna že ves čas. Medij fotografije, ki je bil izumljen in se pričel uporabljati v 19. stol., je bil sprva sredstvo prikazovanja resničnosti. Vendar je postopoma, zahvaljujoč določenim tehnikam in postopkom, fotografija postajala vse bolj zamegljena in je z lahkoto spremenila videz resničnosti. Tako lahko fotografija postane simulaker resničnosti, kar pomeni, da jo lahko spreminjamo in se kljub temu pretvarjamo, da prikazujemo resnico.
Je »Moja dežela, ki ne obstaja« refleksija iniciacijskega popotovanja umetnic, ki sta želeli spoznati ljudi neke dežele in njihove navade ali je le simulaker?
To je eno izmed glavnih vprašanj razstave …

Avtorici: Jade Clisson, Clementine Clenet, prostovoljki Evropske prostovoljske službe

The exhibition “My land that doesn’t exist” through the eyes of the curator

We wanted to create a concept of a cultural and artistic trip. We wanted to know what is true or false, if the presented material can be part of the truth or not. Are we dealing with archival footage representing a real trip or is it just an idea, a concept which appears in a cultural exhibition such as a docufiction? It shows how a foreigner tries to enter and integrate themselves to a new land, new customs and step by step become part of the group. This exhibition evokes within the spectator thoughts of wonder about the notion of travel and exotic via all rites and customs of the hosting country. That is the main subject of the exhibition.

The exhibition is actually a reference to ethnographic exhibitions, which have been popular throughout the History of Art, bringing back habits, customs and the life of a certain population.
Here however we wanted to add a contemporary medium, such as photography and video, because ethnographic exhibitions are presented to provide content in relation to the population: they report objects from a certain country or community, show the rites but with a contemporary aesthetic perspective. They’re not represented as fair phenomena or objects of curiosity, but have a stronger artistic concept.
However, we wanted to replay the idea of going to a foreign country and bringing back objects, ideas and experience, which would later build up to an ethnographic exhibition. Our goal was to integrate ourselves with the population. Once we’ve achieved that, we could show and present all these objects and ideas at the museum and to the occidental population. ”My land that doesn’t exist” aims to play on this idea of integration, to show to the public that the artists have really been to this unknown land. They brought back a plant, a stone and photographic and video evidence, which were the medium of integration through rites and customs. Furthermore, the aim was to play with the false and the truth. Are we in front of a simulacrum or are we seeing the whole truth? While wondering, the visitor should be able to create his own opinion.

This idea of real and surreal is very present in art and particularly so in the photography. In fact, this media, which was invented and used from the beginning of the 19th century, was firstly used as a way to record the reality. But little by little, thanks to particular techniques and direction, the photography becomes blurry and can easily transform this reality. Therefore, the photography can become a simulacrum of the reality, which means that we can transform it and still pretend to show the truth.
Is “My land that doesn’t exist” the reflection of an initiation trip performed by artists, who wanted to meet a population and their customs, or is it just a simulacrum?
This is one of the main questions of this exhibition…

Authors: Jade Clisson, Clementine Clenet, EVS volunteers

Info: Mladinski informacijsko-svetovalni center INFOPEKA, Ob železnici 16, 2000 Maribor, 02 300 68 50, 041 481 246, infopeka@infopeka.org

MISC INFOPEKA 2019 | Avtorji | Politika uporabe piškotkov