Words of Landscape

Aleksandra Estela Bjelica Mladenović

 

“But on the inside, no borders…”
Jean Tardieu

The main theme of the latest works of the artist couple diSTRUKTURA is the landscape  ̶ the urban landscape as a constructed image, a geographical notion and a social category. The works were created in the period 2013-2015 and are part of a broader project. In geographical terms the notion of the landscape refers to the Central European landscape but can also be understood more broadly as we go through the process of identifying our past and anticipating our cultural, social and political future. Their obsessive examination of what the defined space of the landscape offers is the method diSTRUKTURA resorts to in order to explain all the assumptions and consequences of the interpretation of this notion –  the “Central European landscape”. The justification for their procedure lies in the origin of the place (the geographical notion) and the distribution of the space of their origin. In their joint search of a perfect, precise, well defined landscape, the artists put an emphasis on the landscape as a constructed space.

When we refer to the landscape in the works of the artist couple diSTRUKTURA we are not referring to the representation of the landscape in classical painting but to constructed spaces that have a defined structure. We refer to the city not just as an urban mass but also as a space with a social fabric. We also refer to cultural, political, economic landscapes, urban architectural entities, ecological communities, geographical maps, all (un)limited structures whose dimensions point to the immeasurable (unlimited duration), the indefinite (unlimited movement), the reproducible (unlimited choice).

The works are realized in various media: painting, photography, video – although photography is the medium most often used by diSTRUKTURA in their projects – as if they want, through media diversity, to emphasize the diversity of landscapes as given, yet uncertain and variable structures. When we observe the works, we experience the landscape as an image – a representation that is elaborate, fragmented into tiny, miniature fields that remind us of a digital image. This pixelization warns us that we are deep into the 21st century where man is alienated from space even though he is physically in it, belongs to it, moves in it and marks it. How else could it be when our perception today is conditioned by digital media?

The works are also examples of a continuous deliberation about both the outer and inner space that surrounds us and mirrors us, about space as a (non)variable category. The intimate geography which we master as we move through a selected area directs us to identify, investigate, interpret its characteristics, its givens, its clear geometric statements. Despite its estrangement, this space – such as it is and in which we are – is nevertheless neither foreign nor unknown to us not to wonder, as Paul Virilio, “at which point does the city reveal its face?”.

* Aleksandra Estela Bjelica Mladenović is the curator at the Cultural Centre of Belgrade, Serbia.

Reči pejzaža

Aleksandra Estela Bjelica Mladenović

 

„Ali iznutra nema više granica. . . ”
 Žan Tardje

Najnoviji radovi umetničkog para diSTRUKTURA tеmаtizuјu pejzaž, urbani pejzaž kao konstruisanu sliku, geografski pojam, socijalnu kategoriju. Radovi su nastali tokom perioda 2013.-2015. i deo su širеg prојеktа. Pојаm pејzаž је gеоgrаfski оdrеđеn kао srеdnjееvrоpski, а mоžе sе shvаtiti i širе u pоstupku idеntifikоvаnjа sоpstvеnе prоšlоsti i аnticipirаnju budućnоsti – kulturnе, sоciјаlnе, pоlitičkе. Opsesivno ispitivanje mogućnosti pejzaža kao definisanog prostora diSTRUKTURA koristi kao metod objašnjаvаnjа svih pretpostavki i posledicа u tumačenju pomenutog pojma „srednjeevropski pejzaž”. Opravdanje u njihovom postupku je u poreklu mesta (geografski pojam) i rasporedu prostora odakle potiču. U potrazi za savršenim, preciznim, definisanim pejzažom umetnici u svojim zajedničkim akcijama stavlјaju akcenat na pejzaž kao konstruisan prostor.

Kada govorimo o pejzažu u radovima umetničkog para diSTRUKTURA ne mislimo na prikazivanje predela kao klasične slikarske teme, već na konstruisane prostore koji imaju definisanu strukturu. Govorimo o gradu, ne samo kao urbanoj masi, već i kao prostoru oblikovanog socijalnog tkanja. Takođe, mislimo na kulturne, političke, ekonomske pejzaže, na urbane arhitektonske celine, na ekološke zajednice, na geografske mape, na sve one (ne)ogranične strukture koje svojim dimenzijama upućuju na nemerlјivost (neograničeno trajanje), neodređenost (neograničeno kretanje), reproduktivnost (neograničen izbor).

Radovi su realizovani u različitim medijima – slika, fotografija, video – iako je fotografija najčešći medij koji diSTRUKTURA koristi u svojim projektima želeći da medijskom raznovrsnošću potenciraju i raznolikost pejzaža kao zadate a ipak nesigurne i promenlјive strukture. Posmatrajući rаdоvе pejzaž dоživlјаvаmо kao sliku  –  predstavu, razuđenu, razdelјenu na sitna, minijaturna polјa koja nas asociraju na digitalnu sliku. Ova pikselizacija nas upozorava da smo duboko u 21. veku, u kојеm je čovek otuđen od prostora, iako je fizički u njemu, pripada mu, kreće se, obeležava ga. Kako drugačije kad je naša percepcija danas uslovlјena digitalnim medijima?

Ovi radovi su, takođe, primeri kontinuiranog promišlјanja o prostoru koji nas okružuje i oslikava, kako spolјašnjem, tako i unutarnjem, o prostoru kao (ne)promenlјivoj kategoriji. Intimna geografija, koju savladavamo krećući se kroz odabrani prostor, upućuje nas da identifikujemo, ispitujemo, tumačimo njegove karakteristike, datosti, jasne geometrijske iskaze. I pored svoje otuđenosti, prostor, takav kakav jeste i u kojem јеsmo, ipak nam nije stran, niti nepoznat da bismo se zapitali, kao Pol Virilio, „u kom momentu nam grad otkriva svoje lice?”.

* Aleksandra Estela Bjelica Mladenović je kustoskinja u Kulturnom centru Beograd, Srbija.

Back to top