Margareta Lekić - Šuma

O autorici:

About the Author:

Margareta Lekić rođena je 1982. u Osijeku gdje živi i radi. Članica je HDLU-a Osijek, HDLU-a Zagreb i HZSU-a. Akademiju likovnih umjetnosti završila je u Zagrebu, na Odsjeku kiparstva, a na istoj akademiji trenutno je na doktorskom studiju, također na Odsjeku kiparstva. Zaposlena je na Umjetničkoj akademiji u Osijeku.

Dobitnica je brojnih nagrada i stipendija. Studijski je boravila u SAD-u, Austriji i Francuskoj. Od 2005. do danas sudjelovala je na devetnaest samostalnih izložbi, te na više od četrdeset skupnih izložbi.

Margareta Lekić was born in 1982 in Osijek where she now lives and works. She is a member of the Croatian Association of Artists Osijek, Croatian Association of Artists Zagreb and Croatian Freelance Artists Association. She has graduated from the Academy of Fine Arts in Zagreb, Department of Sculpture, where she is currently pursuing a PhD, also at the Department of Sculpture. She works at the Art Academy in Osijek. She has won numerous awards and scholarships and taken part in study visits to the USA, Austria and France. Since 2005 Margareta has exhibited in nineteen solo and more than forty group exhibitions.

Hrvatsko društvo likovnih umjetnika | Croatian Association of Fine Artists Galerija Prsten | Prsten Gallery Trg žrtava fašizma 16, 10000 Zagreb, Croatia | www.hdlu.hr Radno vrijeme: srijeda – petak 11 do 19h, subota – nedjelja 10 do 18h ponedjeljkom, utorkom i blagdanom zatvoreno.

Working hours: Wednesday to Friday 11am – 7pm, Saturday to Sunday 10 – 6pm, Monday, Tuesday and holidays - closed IMPRESUM | Nakladnik/Publisher: Hrvatsko društvo likovnih umjetnika/Croatian Association of Fine Artists, Trg žrtava fašizma 16, 10 000 Zagreb, hdlu@hdlu.hr, www.hdlu.hr | Za nakladnika/For the publisher: Josip Zanki | Upravni odbor HDLU/Executive board of HDLU: Josip Zanki (predsjednik/ president), Tomislav Buntak (dopredsjednik/vicepresident), Fedor Vučemilović (dopredsjednik/vicepresident), Ida Blažičko, Ivan Fijolić, Monika Meglić, Melinda Šefčić | Umjetnički savjet Galerije Prsten/Artistic board of Prsten Gallery: Tomislav Buntak, Suzana Marjanić, Koraljka Kovač Dugandžić, Branka Benčić, Ivan Fijolić, Josip Zanki, Ivica Župan | Ravnateljica/Director: Ivana Andabaka | Stručna suradnica/Associate: Mia Orsag | Predgovor/Preface: Daniel Zec | Grafičko oblikovanje kataloga/Catalogue Design: Duje Medić | Fotografija/Photography: Marin Topić | Prijevod/ Translation: Zana Šaškin | Lektura/Proofreading: Zana Šaškin | Tisak/Printed by Cerovski | Naklada/Copies: 150

MARGARETA LEKIĆ

ŠUMA / WOODS

Izložba je realizirana uz financijsku potporu Ministarstva kulture Republike Hrvatske i Gradskog ureda za kulturu, obrazovanje i sport Grada Zagreba kao program Galerije Karas u Galeriji Prsten / The exhibition is financially supported by the Ministry of Culture of the Republic Croatia and by the City Office for Culture, Education and Sports Zagreb as Karas Gallery program in Prsten Gallery.

Galerija Prsten | 5. listopada - 23. listopada, 2016.

Prsten Gallery | October 5 - October 23, 2016

Postavljajući pitanja o odnosu prirode i tehnologije u današnjoj civilizaciji (post-industrijskom dobu usmjerenom kontroli tehnologije), umjetnica svojim radovima oponaša stvarnost-prirodu, proizvodeći drugu stvarnost kojoj je cilj prikazati artificijelnu prirodu.

Pri tome koristi instalacije koje uključuju umjetne materijale i gotove, industrijski proizvedene predmete izvanumjetničkog podrijetla, videoprojekcije i tehnološki napredne elektroničke naprave, kojima nastoji naglasiti uporabu tehnologije u suvremenom, tehnološki razvijenom društvu, u funkciji čovjekova ovladavanja prirodom. (...) Ludički momenti manifestiraju se i kroz interaktivni karakter drugih instalacija i radova. Interakcija posjetitelja s djelom ostvaruje se prolaskom pokraj instalacije, čime ona postaje pokretna (Lišće 1, Lišće 2, što „raste in vitro, u sterilnom laboratorijskom okružju kontroliranih uvjeta temperature i svjetlosti”), ili direktnim fizičkim kontaktom (Biljke na pumpanje). Svojstvo interaktivnosti, uključivanja promatrača/publike u samo djelo, njihova involviranja u umjetničko iskustvo, jedno je od specifičnih svojstava umjetničkog izričaja Margarete Lekić. (...) Instalaciju Puhanje maslačka čine dva elektronička uređaja s mogućnošću reprodukcije videozapisa i dvije različite videosekvence u ponavljajućoj petlji. Nasuprot mobitelu, na kojemu se reproducira loop snimka maslačka koji se neznatno pomiče, postavljen je tablet, koji opetovano reproducira videosnimku autorice koja isti maslačak pokušava otpuhati, ali ne uspijeva. U ovako paradoksalno konstruiranoj (simuliranoj) bitki čovjeka protiv prirode, priroda po-

bjeđuje. (...) Simboličke konotacije ovoga rada – tehnologija koja spašava prirodu od uništenja – autorica postavlja kao lajtmotiv cjelokupne izložbe. (...) Svojim novim radovima Margareta Lekić želi potaknuti na razmišljanje o značenju i smislu življenja u svijetu kojim dominira suvremena tehnologija, navodeći na shvaćanje o nerazdvojivosti čovjeka kao bića prirode i prirode tehnološkog progresa. Izložbu obilježava stav umjetnice o tehnološkom napretku kao nužnom i neosporivom, odnosno nečemu što ne dovodi do dehumanizacije: Ljudsko i neljudsko više se ne smatraju suprotnima, nego paralelnima: suvremeni je čovjek shvatio da ga tehnologija može uništiti i zato djeluje na unapređenju pozitivnog odnosa spram prirode, vlastitog bića i kulture, te na razvijanju pozitivnog gledanja na mogućnosti tehnološke kreacije. (…) Strah od tehnologije je neutemeljen; čovjek je prirodno biće i njegov pokušaj da u potpunosti zamijeni prirodu tehnologijom besmislen je, jer će tehnologija uvijek biti u službi čovjeka, a ne obratno. Napretkom tehnologije neće doći do nestanka bitka, a samim time i nestanka umjetnosti, filozofije, poezije, niti do dehumanizacije društva.

Iz predgovora kataloga izložbe Umjetna priroda, autor teksta i kustos izložbe Daniel Zec, Muzej likovnih umjetnosti, Osijek, 2016.

By asking questions about the relationship between the nature and technology in the present civilization (post-industrial age focused on the control of technology), the artist creates works in which she mimics the reality-nature, by producing another reality which aims to represent artificial nature. In doing so, she uses installations made of artificial materials and ready-made, industrially manufactured objects of the non-art origin, video projections and technologically advanced electronic devices, by which she tries to emphasize the use of technology in contemporary, technologically advanced society, for the purpose of man’s mastery over nature. (...) Ludic moments also manifest themselves through the interactive character of other installations and works. Visitors interact with the work by passing near the installation, at which moment they become mobile (Leaves 1, Leaves 2, “which grow in vitro, in a sterile laboratory environment with controlled temperature and illumination”) or by a direct physical contact (Pumping Plants). This interactive feature; inclusion of the viewer/audience into the work, their involvement in the artistic experience, is one of the specific properties of Margareta Lekić’s artistic expression. (...) The installation called Blowing Dandelion is made of two electronic devices with video playback capability that can play two different video sequences in a loop. Opposite the mobile phone, which reproduces a loop recording of a slightly moving dandelion, there is a tablet, which repeatedly plays back a video of the author trying to blow the same dandelion, but with-

out success. In this paradoxically constructed (simulated) battle of man versus nature, nature wins. (...) The symbolic connotations of this work – technology that saves nature from destruction – the author sets as a leitmotif of the entire exhibition. (...)

With her new works, Margareta Lekić wants to encourage reflection on the meaning and purpose of life in a world dominated by modern technology by making one understand the inseparability of the man, as a being of nature, and the nature of technological progress. The exhibition is marked by the artist’s attitude on the technological process as necessary and indisputable, that is, something that does not lead to dehumanization: The human and nonhuman are no longer seen as opposites, but as parallels: the modern man has realized that technology can destroy him and therefore works on improving the positive attitude towards nature, his own being and culture, and on developing a positive outlook on the possibilities of technological creations. (...) Fear of technology is unfounded; man is a natural being and his attempt to completely replace nature with technology is meaningless, because technology will always be at the service of man, and not vice versa. The advancement of technology will not lead to the disappearance of Being, and thus the disappearance of art, philosophy, poetry or dehumanization of society.

From the foreword to the exhibition catalogue Artificial Nature, the author of the text and curator Daniel Zec, Museum of Fine Arts, Osijek, 2016.