Marina Paulenka – DRUGI DOM

Marina Paulenka

Impressum

Rođena je 1985. u Vinkovcima. Godine 2010. završila je diplomski studij grafičkog dizajna pri Grafičkom fakultetu u Zagrebu, a u lipnju 2015. diplomski studij fotografije pri Akademiji dramske umjetnosti u Zagrebu.

Godine 2013. nagrađena je Posebnom rektorovom nagradom, a 2014. Dekanovom nagradom za akademsku izvrsnost. 2014. godine u sklopu Mjeseca fotografije u Ljubljani, na Photonic Moments Portfolio Reviewu osvojila je prvo mjesto za najbolji portfolio. Godine 2015. nominirana je za međunarodnu nagradu Essl Art Award CEE i Nagradu za hrvatsku suvremenu umjetnost THT@MSU. Radovi su joj predstavljeni na međunarodnim fotografskim festivalima Eastreet u Poljskoj, NEU/NOW, Aleppo u Siriji, Backlight u Finskoj, Photonic Moments u Sloveniji i festivalu MOB Format u Velikoj Britaniji. Fotografije su joj objavljivane u izdanjima časopisa i tjednika Zarez, Tvrđa, Quorum, itd. Od 2006. izlaže samostalno i na skupnim izložbama u zemlji i inozemstvu. Članica je HDLU-a i HDD-a.

Nakladnik / Publisher Hrvatsko društvo likovnih umjetnika / Croatian Association of Fine Artists, Trg žrtava fašizma 16, 10 000 Zagreb OIB: 89246742324 hdlu@hdlu.hr / www.hdlu.hr

Marina Paulenka was born in Vinkovci, Croatia, in 1985. She received her MA degree in Graphic Design from the Faculty of Graphic Arts, University of Zagreb and 2015 she received MA photography program of the Cinematography Department at the Academy of Dramatic Arts in Zagreb. She is a member of HDLU (Croatian artists’ associations) and HDD (Croatian Association of Designers).

She won the Dean’s award and the Special Rector’s Award.

In 2015 she participated at NOOR Nikon Masterclass in Belgrade with Andrea Bruce, Stanley Green, Kadir von Louhizen. She was a winner of Photonic Moments Portfolio Review 2014 at Month of Photography in Ljubljana, Slovenia. She was nominated for Erste Fragments 2014, ESSL ART AWARD CEE 2015, and T-HT@MSU 2015 Award for Croatian contemporary art. Screenings and work presentations at Eastreet, Aleppo Photo Festival, NEU/NOW, Backlight, Photonic Moments, MOB Format festival.

She has exhibited in numerous exhibitions in Croatia and abroad.

Radno vrijeme Galerije PM Srijeda – petak 11 do 19, Subota i nedjelja 10 do 18. Ponedjeljkom, utorkom i blagdanom. / Working hours Wednesday to Friday 11 am – 7 pm, Saturday and Sunday 10 am – 6 pm.

Monday, Tuesday and holidays — closed.

Marina Paulenka — Drugi dom / Second Home

Za naklad­nika / For the publisher Josip Zanki Upravni odbor HDLU / Executive board of HDLU Josip Zanki (predsjednik/president), Tomislav Buntak (zamjenik predsjednika/vicepresi­dent), Fedor Vučemilović (zamjenik predsjednika/vicepresident), Ida Blažičko, Ivan Fijolić, Monika Meglić, Melinda Šefčić Umjetnički savjet Galerije Bačva / Artistic board of Bačva Gallery Tomislav Buntak, Suzana Marjanić, Koraljka Kovač Dugandžić, Leonida Kovač, Ivan Fijolić, Josip Zanki, Ivica Župan Ravnateljica / Director Ivana Andabaka Stručna suradnica / Associate Martina Miholić Predgovor / Preface Leonida Kovač Prijelom kataloga / Catalogue Design Alma Šavar Prijevod / Translation Dunja Nekić Lektura / Proofreading Katarina Srdarev Tisak / Printed by Cerovski Naklada / Copies 150 Izložba je realizirana uz financijsku potporu Gradskog ureda za kulturu, obrazovanje i sport Grada Zagreba / The exhibition is financially supported by The Ministry of Culture of The Republic of Croatia and The City Office for Culture, Education and Sports Zagreb.

Otvorenje izložbe — 2. ­listopada 2015. u 19:30 / Opening of the e ­ xhibition — October 2nd at 8 PM Galerija PM, 2 – 11. listopada 2015. / October 2nd – 11th, 2015

Od perspektivne do prozorske rešetke U genealogiji takozvanog realističkog prikaza u europskoj umjetnosti rešetka funkcionira kao svojevrsni genom.

Dovoljno je prisjetiti se one Albertijeve ili Dürerove — pomagala, naprave koja se ponekad naziva i veo ili crtačeva mreža, što posreduje nastanku iluzije da to što se vidi u slici izgleda upravo onako kao i u stvarnosti. A posrijedi je, zapravo, matematički konstrukt: geometrijska perspektiva koja nas, približavajući nam predmet interesa, nepovratno udaljava od stvarnog proizvodeći, paradoksalno, našu predodžbu stvarnosti.

U knjizi The Threshold of the Visible World Kaja Silverman podsjeća na općeprihvaćeno mišljenje u filmskoj teoriji prema kojemu film, posredstvom tehnologija kao što su camera obscura, nepomična kamera i stereoskop, u krajnjoj liniji, potječe iz renesanse, te na činjenicu da je vizualno polje u znatnoj mjeri određeno pravilima i ideologijom monokularne perspektive.

Stoga u filmu, kao i u fotografiji, kamera označuje točku s koje spektakl postaje shvatljiv, a održavanje perspektivne iluzije smatra se ovisnim o neometanom ispreplitanju promatrača s aparatom.¹ Taj se proces u teorijama gledanja naziva primarnom identifikacijom ili identifikacijom s aparatom, pri čemu u filmu ideološki efekt perspektive ovisi o identifikaciji s kamerom. Nadalje, Rebecca Schneider ukazuje na skrivene premise perspektive unutar patrijarhalne ekonomije značenja. Ona tvrdi da je perspektiva, kao pogled na svijet kojemu daje simboličku formu, duboko povezana s rodom. Naime, pogled oka koje gleda, ali koje se ne vidi, prodire u skopičko polje markirano distancom. Taj se pogled poima aktivnim, faličkim, on je subjekt prostora i konstituira se posjedovanjem prostora. Dano da bude viđeno, poima se pasivnim, feminizirano je, pretvoreno u objekt faličkog (pogleda) prodora, a ipak beskonačno nedostupno.² Projekt Marine Paulenke fokusira upravo odnos sintagme dano da bude viđeno i ženstvenosti dislocirane u kontekst koji izmiče normativno reguliranim prostorima ženskosti. I tu se rešetka, kao ono doista dano da bude viđeno pojavljuje istodobno u funkciji označitelja mjesta (radnje) i

aparata. Radi se, dakako, o disciplinarnom aparatu, ali istovjetnost termina za njegovo označavanje i riječi koja u hrvatskom jeziku označuje napravu za fotografiranje, sve je prije doli slučajna. Jer, povijest fotografije neodvojiva je od njezine biopolitičke misije. Allan Sekula inzistirao je na percepciji činjenice kronološke koincidencije pojave normativnih znanosti, fotografije i statistike, odnosno njihove interakcije u proizvodnji novog objekta: kriminalnog tijela.

Kriminalno, štoviše rodno određeno žensko tijelo, Foucaultovim riječima, nadzirano i kažnjavano, referent je serije fotografija koju Marina Paulenka snima u jednom ženskom zatvoru u Hrvatskoj.

Prisutnost toga tijela generirana je u fotografskoj slici kroz odsutnost konkretnih osoba iz vidljivih prizora. Ono što je dano da bude viđeno su stvari: odijevni i različiti upotrebni predmeti koji u režimu reprezentacije konotiraju ženskost, te namještajem opremljene prostorije izpražnjene od ljudskih bića, ali usprkos tome nastanjene njihovim životima. Posve nenalik brojnim igranim filmovima čija je radnja smještena u ženski zatvor, ili dokumentarcima koji nas suočavaju sa životnim pričama osuđenica i kažnjenica, fotografije Marine Paulenke propituju značenje samog pojma života.

Nadalje, suodnos naslova serije Drugi dom i vidljivih prizora u fotografskim slikama, otkrivajući ne samo kontradikciju između prava na privatnost i odsutnosti toga prava koju kaznionica implicira, vodi nas, posredstvom Freudovog termina unheimlich do pojma zazora, odnosno ekskluzije. Obrazlažući ekstenziju pojma, koji bi se u hrvatskom jeziku mogao označiti terminom jezovito, Freud poseže za lingvistikom i književnošću citirajući značenja riječi unheimlich specificirana rječnicima njemačkog jezika i oprimjerujući ih narativima iz njemačke književnosti.

Navodi tako da je značenje riječi unheimlich očito suprotno značenju riječi heimlich ili heimisch koje označuju nešto što je ‘pripadajuće domu’, ‘blisko’, ili ono s čim smo dobro upoznati. Zaključuje pritom da je unheimlich zastrašujuće upravo zato što nam nije poznato i blisko.³ I upravo tom nesvodivom razlikom između poznatog i bliskog i onoga što se takvim pričinja

ali to nije i ne može biti, odjekuje niz pitanja koje postavljaju fotografije Marine Paulenke. Pred nama je da razmislimo, možemo li sa sigurnošću ponuditi ikakav odgovor. Jer, zazidani prozor ne označuje isto što i grm hortenzija pod njim.

Leonida Kovač U Zagrebu, svibanj 2015.

1. Kaja Silverman, The Threshold of the Visible World, poglavlje ‘The Gaze’, Routledge, London–New York, 1996 2. Rebecca Schneider, The Explicit Body in Performance, Routledge, London, 1997 3. Sigmund Freud, The Uncanny, (trans. David McLintock), Penguin Books, London, 2003

Drugi dom, Izjava autorice Kaznionica u Požegi jedina je ženska kaznionica u Hrvatskoj u kojoj više od 130 zatvorenica izvršava kaznu zatvora u trajanju od šest mjeseci i duže. Hrvatskim ‘Zakonom o izvršavanju kazne zatvora’ određeno je da je fotografiranje ili snimanje zatvorenika dozvoljeno samo na način u kojem im se ne otkriva identitet.

S obzirom da povijesni reduktivni forenzički portreti svojim prikazom brišu sve osim kriminalnog identiteta, fotografijama zatečenih prizora spavaonica, ćelija, kupaonica, ‘osobnih’ stvari i njihovih nevidljivih tragova, pokušavam prikazati slojevit način života žena lišenih slobode, koje su u društvu često predstavljene i doživljene kao one ‘Druge’.

Unutar iste priče, prikazujem šest svojevrsnih klastera, u kojima vizualiziram teme poput ženskosti, intimnosti, majčinstva, doma, te nadzora i arhitekture, kako bih naglasila tragove ženske prisutnosti unutar kaznionice.

Preispitujem pojam slobode unutar i van arhitekture nadzorne institucije, uspoređujući ju pritom s obiteljskim domom, koji je često model prema kojem zatvorski sustavi funcioniraju u svrhu ‘preodgoja žena’. Prema mnogim feminističkim teorijama, obiteljski dom je središnje društveno poprište u kojem je žena istovremeno subjekt i objekt nadzora, no ako dom liči na zatvor kako onda promišljati javnu instituciju u kojoj zatvorenice izvršavaju kaznu zatvora?

From the Perspective Grid to the Window Bars

same time here the grid (bars) and that which is indeed given to be seen function as a signifier of the place (arena) and as the Grid functions as a kind of a genome in apparatus. It is, of course, the disciplinary the genealogy of the so-called realistic apparatus, and the identical term in representation in European art. Suffice is Croatian language, that is the word for the to recall that Alberti’s or Dürer’s — device ‘photograph-taking device’, is all but acciwhich is sometimes referred to as the veil dental. Since the history of photography or the grid, which mediates the creation of is inseparable from its biopolitical mission. illusion so that what is seen in the image Allan Sekula insisted on the perception looks exactly like in reality. And it is, in of chronological coincidence of the appearfact, the mathematical construct: geomet- ance of normative sciences, photography rical perspective which, paradoxically, by and, statistics, i.e. their interaction in the bringing the subject of our interest closer production of a new object: the criminal irreversibly moves us from the real, thus body. producing our own idea of reality.

The referent of Marina Paulenka’s seIn the book The Threshold of the Visible ries of photographs taken in one women's World Kaja Silverman recalls the widely prison in Croatia is criminal, moreover held viewpoint of film theory according gendered female body, which is, to use to which cinema, via technologies like the Foucault's terms, surveyed and punished. camera obscura, the still camera and the The presence of this body is generated in a stereoscope, is derived in some ultimate photographic image through the absence sense from the Renaissance, and the of concrete persons from the visible scene. fact that its visual field is to a significant What is given to be seen are things: clothdegree defined by the rules and ideology of ing and various things that in the regime monocular perspective. Since, in cinema, of representation connote femininity. as in photography, the camera designates and Furniture equipped rooms devoid of the point from which the spectacle is renhuman beings are nevertheless inhabited dered intelligible, and maintenance of the with their lives. Quite unlike many films perspectival illusion is assumed to depend whose plots take place in women's prisons upon a smooth meshing of the spectator or documentaries that introduce us to the with that apparatus. In the theories of life stories of female prisoners and convicts, viewing this process is referred to as the Marina Paulenka’s photographs question primary identification or identification the meaning of the very concept of life. with the apparatus, wherein cinema the Furthermore, the correlation between ideological effect of the perspective is dethe title of the series Drugi dom (Second pendent on the identification with the ap- home) and visible scenes in photographic paratus.¹ Furthermore, Rebecca Schneider images, reveal not only the contradiction points to the hidden assumptions within between the right to privacy and the a patriarchal economy of meaning. She absence of that right which the penitenclaims that perspective, like the worldview tiary implies, but also it leads us through to which it gives symbolic form, is deeply Freud's term unheimlich to the concept of gendered. That is, the seeing eye is unseen, abhorrence, or exclusion. Explaining the however its gaze penetrates a scopic field extension of the term, which uncanny, marked by distance. That gaze is rendered Freud reaches for linguistics and literature active, phallic, it is subject to and consticiting the meaning of the word unheimlich tuted by propriety of space. The given to specified in the dictionaries of German be seen, rendered passive, is feminized, language and exemplifying it with the narmade into an object of phallic (gaze) pene- ratives of German literature. He explains tration, yet infinitely inaccessible.² that the meaning of the word unheimlich Marina Paulenka’s project focuses is opposite to the meaning of the word precisely on the relation of the phrase heimlich or heimisch signifying something given to be seen and dislocated femininity that is ‘home related’, close or something in the context which eludes normative that we are very familiar with. He conregulated areas of femininity. And at the cluded that the unheimlich is frightening

precisely because we do not know it or we are not familiar with it.³ This irreducible difference between the familiar and close, and what appears as such but is not and cannot be, is precisely that what resounds through series of questions raised by Marina Paulenka’a photographs. It is on us to think if we can positively offer any answer. Because the walled window does not signify the same as hydrangea bush underneath it.

Leonida Kovač Zagreb, May 2015

Second Home, Artist statement Požega Penitentiary is the only female prison in Croatia where more than 130 prisoners serve their prison sentences of six months to more. Croatian ‘Law Execution of Sentences of Imprisonment’ states that photographing or filming of prisoners is allowed only in a way in which they cannot be identified.

Due to the fact that historical reductive forensic portraits in their depictions delete everything except the criminal identity, I am trying to show the complex way of women’s lives deprived of their liberty, with photographs of existing scenes in dormitories, cells, bathrooms, ‘personal items’ and their invisible traces, as they are often presented and experienced in society as the Others.

Within the same story, I present six clusters, through which I visualize topics such as womanhood, intimacy, motherhood, home, and surveillance and architecture, in order to emphasize the traces of the presence of women inside the prison.

I question the notion of freedom inside and outside of supervisory institutions’ architecture, while comparing it with a family home, which is often a model under which the prison system operates for a purpose of the ‘re-education of women’.

According to many feminist theories, a family home is the central social scene in which a woman is simultaneously the subject and the object of control, but if a home looks like a prison how do we then perceive a public institution in which prisoners serve their prison sentences?