Spektar - Spectrum

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  • 2S PE K TA R

    L E I L A T O P I INFLATABLES 001 (12)2014.

  • 3AMBIJENTOM SPEKTAR UMJETNIKI DVOJAC II/KOUL nastavlja artikulirati svi jest o neumornom i sveprisutnom nasilju i pande-miji konzumeristike kulture. Njihov najnoviji ambijent naslovljen Spektar, predstavljen u NO Galeriji MSU-a, ukazuje na transforma-ciju mentalnog krajobraza i javnih prostora u mjesta namijenjena potronji nadziranima iskljuivo logikom profita.

    Vrijednost njihova rada lei i u injenici to su zaotrenu presliku globalnih tendencija pre obrazbi javnih prostora artikulirali kroz iskus tvo lokalnog konteksta itavim spektrom kontekstualno specifinih simbola. Naime, arine toke ambijenta ovaj puta su beton-ski multipli boca i rekvizita za plau. Dvojac postavlja u prostor dvjestotinjak betonskih odljeva boca gusto zbijenih na postamentu. I dok je u prethodnom ambijentu 0,50 ueni objekt bila plastina boca koju je mogue reciklirati i za nju dobiti pola kune, a koja je umjetni kom transformacijom postala bron-ani, muzealizirani predmet, sada tandem ii/Koul preoblikuje ve spomenutu bocu u vojsku bezimenih, no logo multipla, izlje-venih u betonu. Tako svima poznata boca, svima poznate robne marke, postaje dio bezi-menog, sivog prijeteeg mnotva u potpu-nosti liena marke tinke prepoznatljivosti ali i muzeolokog glamura prethodnog ambijenta.

  • 4Ambijent Spektar predstavlja tek jedan koloristiki trenutak, kolano/montanu fotografiju koja prikazuje superponiranu ambalau svih, na lokalnom tritu postojeih, marki prenih krumpiria stvarajui tako artefakt koji takoer postaje oglaivaki neprepoznatljiv pro-izvod bez loga. Tekstualni akcent ambijenta, od zrcala premazanog si vom bojom, jest sastavljena slika s natpisom das billigste Angebot (najjeftinija ponuda) koja postaje ironijski osvrt na marketinki posre-dovanu svakodnevicu. U namjeri da ostvari svoj glavni cilj kojemu je sve podreeno, a to je profit, moraju biti zadovoljeni odreeni kriteriji poput fleksibilnosti, mobilnosti i iznad svega isplativosti. Usmjerenost profitu u konanici e rezultirati prevlau uslunog sektora u naoj svakodnevici i potpunom promjenom koncepta rada a to nas opet vraa na zimmerfrei simboliku otjelovljenu u grupi sivih luftia i beton-skih artikala za plau. Oni nisu ovdje samo ueni umjetniki objekti predstavljeni poput muzejskog izloka, a beton nije samo materijal ko jim se jadranska obala neumjereno pretvara u apartmanski pakao. Prezentirani objekti snaan su otisak, odljev koji globalni kapitalizam upisuje u na mentalni i javni prostor osobito stoga to godinji odmor nije vie zajameno pravo ve povlastica.

    Strategija ambijenta Spektar, uz koritenje ready-made objekata i logo-tipova nositelja odreene drutvene simbolike, svojevrsna je presli-ka kasnokapitalistike logike, a koju Mark Fisher u djelu Kapitalistiki realizam: zar nema alternative?, iz 2009, opisuje kao sustav jedna-kosti. Takvo poravnavanje, prisutno je u umjetnikoj praksi tande-ma ii/Koul s jedne strane tehnikama brisanja logotipa i s druge strane umnaanja istog do njegove neprepoznatljivosti. Jednako kad je posrijedi religiozna ikonografija, artikli za plau, odabir auta, flaira-ne vode ili ipsa, kapitalistiki realizam ukida sve osim monetarne vri-jednosti ostavljajui, dakako, privid izbora. Otud monokromno sivilo itavog ambijenta, naglaeno specifinim potpisom dvojca ii/Koul, sivom izguvanom folijom koja simbolizira stanovit rekvijem izlozima zatvorenih trgovina koje su prestale biti isplative.

    Bogatstvo ne ukljuuje mnotvo stvari nego posjedovanje onoga za im eznemo, zakljuio je Jean-Jacques Rousseau u svom djelu O porijeklu neravnopravnosti ljudi iz 1754. Bogatstvo ovisi o udnji. Upravo ta udnja temelj je potroakih mehanizama koje komentira dvojac. Marketinka industrija, potiui nae apetite, zavladala je

  • 5naim umnim potencijalom i pogledom na svijet. Promatrajui radove dvojca ini se da suvremeni konzument teko stvara stav o tome to je vano i to mu je potrebno, ve se radije priklanja prijedlozima koje mu serviraju oglasi utjecajnih novina, copywriteri odnosno visoko estetizirane poruke jumbo plakata. David Ogilvy, u knjizi Ispovijesti reklamera, iz 1963, zakljuio je kako je ovjekov najve-i grijeh postaviti reklamni pano na mjestu s najljepim pogledom. Prisegnuo je da e, pod okriljem noi, kada se povue s Avenije Madison, putovati svijetom i trgati reklame. Ukoliko i ne doivimo umjetniki ambijent dvojca kao ohrabrenje na fiziki obraun s oglaivaima (i bivim oglaivaima), u svakom sluaju valja ga iitati kao poziv na pregovarako, pa ak i aktivistiko iitava nje poruka konzumeristike kulture.

    SPEKTAR 001

    2014.

  • 6WITH THEIR SPECTRUM AMBIENCE, THE II/KOUL ART DUO is continuing to articulate the awareness of the unrelenting and omni-present violence and pandemic of consumerist culture. Their latest am-bience named Spectrum, presented at the Museum of Contemporary Arts NO Gallery, points to the transformation of mental landscape and public spaces into consumer-oriented spaces controlled only by the logic of profit.

    The value of their work is also contained in the fact that they articulated a sharp replication of global tendencies of public space transformations through local context experience, using an entire spectrum of con -textually specific symbols. More accurately, the ambiences focal points are now concrete multiples of bottles and beach paraphernalia. The duo places about 200 concrete moulds of densely arranged bottles on a plinth in the museum space. And while their previous ambience 0.50, focused on the desired object of a recyclable plastic bottle worth 0.50 kuna, which was turned into a bronze musealised object through artistic transformation, the ii/Koul tandem is now reshaping the said bottle into an army of anonymous, no-logo concrete-cast multiples. A famous brand bottle known to everyone thus becomes a part of an anonymous, grey threatening multitude, fully devoid of both marketing recognisability and museological glamour of the previous ambience. The Spectrum ambience represents only one colouristic moment, a collage/montage photograph depicting a superimposed packaging of all French fries brands existing on the local market, creating an artefact that also becomes a no-logo product, commercially unrecognisable. The ambiences textual accent, from a mirror painted in grey, is a com-posed image with inscription das billigste Angebot (the cheapest offer) which becomes an ironic review of the marketing-mediated daily life. With the intention of achieving its main objective to which everything needs to conform profit certain criteria like flexibility, mobility and

  • 7S P E C T R U M

    L E I L A T O P I

    ABSTRACTION 001

    (300X500)

    2014.

  • above all cost efficiency need to be fulfilled. A focus on profit finally results in the do minance of the service sector in our daily lives and a complete change of the con cept of work, which brings us back to the zimmerfrei symbolism embodied in a pile of grey inflatable beach mattresses and concrete beach gear. Here they are not only desired artistic objects presented like museum exhibits, and concrete is not only a material which rapidly and excessively turns the Adriatic Coast into a summer apartment hell. The displayed objects are a powerful print, a mould inscribed by global capitalism onto our mental and public space particularly because holiday is no longer a guaranteed right but a privilege.

    The strategy of the Spectrum ambience, next to using ready-made objects and logotypes as bearers of certain symbolism, is a kind of replication of late-capitalist logic, described in 2009 by Mark Fisher in his Capitalism Realism: Is There No Alternative? as a system of equality. Such levelling is present in the ii/Koul duos art practice on the one hand through techniques of erasing logos, and on the other by multiplying them to the point of unrecognizability. Equally so, with religious iconography, beach gear, car choice, bottled water or French fries, the capitalist re alism abolishes everything except the monetary value, leaving, of course, only the illusion of choice. This is the source of the monochromatic grey of the entire ambience, highlighted by the ii/Koul duos specific signature. In grey creased foil, which symbolises a kind of requiem for the derelict shop windows of now non-profitable stores.

    Wealth does not entail a multitude of things, but only the possession of things we long for, concluded Jean-Jacques Rousseau in his On the Origin of Inequality Among Men from 1754. Wealth depends on desire. It is this desire that forms the basis of consumer mechanisms, commented by the duo. Marketing industry, stimulating our appetites, has taken the reigns of our mental potential and world view. Observing the duos work, it seems as though a contemporary consumer is struggling to form an opinion on what matters and what he needs, but rather opts for the suggestions placed before him by the ads in influential newspapers, copywriters, and the highly aestheticized billboard messages. David Ogilvy in his book Confessions of an Advertising Man from 1963 concluded that a mans greatest sin is to place a billboard at a place with the most beautiful view. He swore that when he retires from Madison Avenue he would travel the world and destroy billboards during night time. Even if we do not perceive the artistic ambience of this duo as an encouragement to attempt a physical conflict with the advertisers (and former advertisers), in any case we should read it as a call for negotiation and activism in interpreting the messages of consumerist culture.

  • Izdava Publisher Muzej suvremene umjetnosti Museum of Contemporary Art,