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Skoro niĹĄta
Uzorci bilja sakupljeni su u šetnji 29. 11. 2016. na putu od Šestina prema Medvedgradu. Sakupljeno je bilje koje raste uz put, obične trave različitih vrsta i sve ono samoniklo što se nađe na putu. Od bilja su napravljeni frotaži u kojima ostaje upisan pokret, trag i put; put koji ruka čini dok prelazeći preko papira ostavlja otisak, tragovi puteljka kojeg smo slijedili, broj koraka koje smo napravili, vrijeme koje smo proveli hodajući, zastajkujući, gledajući. Dijelovi teksta izvađeni su iz mjerničkih naputaka iz 1820. godine, u kombinaciji s opisima bilja ubranog uz put. Kroz njih me opsjedala slika trojice mladića kako mjere zemlju, zabijaju kolčiće u nju, odmjeravaju ju špagom, bilježe i opisuju. Oni su na licu mjesta morali klasificirati određenu parcelu kao polje, livadu, šikaru, šumu, opisati pojedini toponim što preciznije moguće. Zamišljam ta tri mlada vojnika kako hodaju 1850. godine zagorskim poljem, vruće im je i oprema im je teška, a sunce tuče. Sjeli bi pod drvo, a moraju ga opisati. Zabiti kolčiće, razvući špagu, namjestiti stol i mjeriti. Premjeriti zemlju i precizno upisati mjere. Razmišljam o njihovoj želji da legnu u hlad, pod drvo i o nepreciznosti koja se rađa iz želje da ubrzaju rad pa špagu vuku prečicom… Katastarske knjige, tada izrađene, koristimo i danas.
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šumski predjeli samostalna tijela skupina čestica leže jedna do druge zaokružena cjelina slobodni otvoreni posve maleni dijelovi točke više čestica linije
instrumenti: dvije manje jedna veća zastava mjernički stol mjernički lanac dug deset hvati četiri triangulacijska lista šestari mikrometarski šestar s vijkom održavaju se
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osoblje:
topografi crtači različiti drugi uglavnom stranci domaći ljudi nosači mjernih instrumenata nadzornik grafički triangulator geometar pripravnik figurant indikator dva muškarca nadničar
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barjak kravlji rogovi zviždaljke vikanje trčanje uokolo vrijeme zabuna 4. retka jug sjever počevši od istoka a, b, c, d 5. stupaca teku od zapada na istok počevši od sjevera s, e, f, g, h, i
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niti jedna točka pretpostavka točna tri vizurne zrake kutovi ni previše tupi ni previše oštri
protokol H jug sjever = sjever jug dva razmaka jednaka cijela linija njegov list preuzete točke povučene paralele
protokol I polja livade pašnjaci šume vinogradi
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svi javni putovi rijeke plovni kanali potoci neiskorištena zemljišta oko rijeka bare jezera obalna zemljišta nasipi otoci močvare
listopadno bogato razgranata gusta pravilna sivosmeđa plitko uzdužno raspucana nesimetrično urezanog ruba
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krupno nazubljeni širi u gornjoj trećini vrh im je tup obje strane gole na licu goli na naličju dlakavi na peteljkama skupljeni su u rese sjedeći su u pazušcima plitko obavijen kapicom nema peteljku na površini sjajni polukuglasti zaobljeno plosnati stoji ili sjedeći na kratkoj peteljci velikom ježolikom tobolcu
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Krajolik za sva vremena
Kažu da živimo u vremenu protoka, iako neprestano nailazimo na situacije prepriječenosti i stagnacije. Rad Ane Hušman Skoro ništa 1 zasniva se upravo na kontrastima pokreta i mirovanja, statike i dinamike, zvuka i tišine. Glavnu ulogu nosi vjetar sa svojim različitim smjerovima i brzinama, iznenadnim refulima i povremenim bonacama. Ovaj neopipljivi fenomen koji naizgled dolazi niotkuda, a ne pripada nikome, snimljen je na području otoka Korčule. Zabilježen je prema različitim odrazima u okolišu, od pomicanja lišća i grana u eksterijeru do treperenja sjena u unutrašnjosti apartmana. Kao gledatelji krajolik sastavljamo iz odmjeravanja zapuha vjetra i trenja podloge, kako kaže autorica, iz složene mape feedbacka između unutarnjeg i vanjskog prostora. Krajoliku dopuštajući umirujuće djelovanje pa i milinu, Skoro ništa istodobno upućuje na pozadinske politike upravljanja prostorom i kultiviranja prirode, proigravajući očekivanja lagodnog razgledničkog obilaska otočkim krajem. Nabujalo tkivo (ne)vidljivog i (ne)čujnog koje se prikriva iza suprotivog naslova Skoro ništa, sastavljeno je od dva dominantna dijela. I prizori apartmana i otočke flore lišeni su prisustva ljudi, a da se njihov utjecaj po krajolik izrazito osjeća. Teme o čovjekovom učinku u preobrazbi prirodnog okoliša, o granicama kultiviranog i divljeg, prirodnog i proizvedenog otvaraju se zaobilazno. Pažnja se usmjerava na skliske odnose između pokreta i inercije; slike, zvuka i jezika, njihovih normativnih kodova i prigušenih stvarnosnih ishodišta. U prikazima eksterijera neprestano slijedimo stvarne zvukove vjetra. Vjetar osluškujemo u propuhivanju otočkog raslinja, u granama maslina ili krošnjama hrasta crnike. O lokacijama i vremenu nastanka informira nas prateća legenda te svako toliko umetnut crtež određenog bilja. 09. 02. 2015., Umjerena bura u trsci, MS – Mikrofon ispred stabljika (Plaža Pržina). Crtačke vizure oko vraćaju na same
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početke mapiranja pejzaža bez pomoći kamere, podsjećajući na pionirske poduhvate klasifikacije prirode u vidu slikovnih tabela sa pridruženim nazivljem. Za razliku od eksterijernih prizora, snimke interijera naočigled se doimaju inscenirano. Opremom, stilom uređenja, kao i detaljima – primjerice masovno prisutnim reprodukcijama arty motiva, unutarnji prostor primarno se pokazuje kao standardizirani proizvod, turizmom umnoženo nemjesto. Prizori apartmana pritom su ispražnjeni od zvukova in situ. Pomno pospremljeni i odriješeni od tragova svojih korisnika, djeluju nastanjeni tek vjetrom koji povremeno ulazi kroz odškrinute otvore. Snimke prati pomaknuta meteorološka prognoza. Spikerski glas opisuje Beaufortovu ljestvicu istražujući podudarnosti između jačine vjetra i njegova djelovanja na more, bilje ili kretnje ljudi. Vrijednostima Beaufortove ljestvice pridodani su umjetničini opisi zvučnih zapisa vjetra. Sedam bofora (...) Zvuk je suh i hrskav, povremeno se čuje škripanje. Dok kamera istražuje kuteve unutarnjih prostora, pogled se zaustavlja na detaljima koji su se našli naoko slučajno pojašnjavajući određenu jačinu vjetra – primjerice na reprodukciji jedrenjaka na olujnom moru koja nalikuje slikovnoj sinegdohi žestokog vjetra. Minuciozno razrađenim detaljima, pogled postaje svjestan vlastite ljepljivosti uz rutinske sheme, zatečen udvojenim optičkim i slušnim senzacijama koje testiraju i izvrću uspostavljanje klišeiziranih predodžbi. 2 Očekivana harmoničnost krajolika i zavodljiva koncepcija neutralnog prostora na kojoj počiva, a koja se doima samorazumljivom biva poljuljana. Šumovima unutar slika, razilaženjima u spojevima slike i zvuka, zalazimo u igru proturječja na kojoj je sazdan svaki krajolik. 3 Skoro ništa nas nenametljivo a dosljedno odvodi u propitivanje kulturno-povijesnih sastavnica pejzaža, njegove ekonomskopolitičke normiranosti i proizlazeće estetike.
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Predodžbe o krajoliku pokazuju se uvjetovane društvenim i proizvodnim odnosima usko vezanim uz politike upravljanja prostorom i prostorne raspodjele, među kojima je turistička apartmanizacija otoka i priobalja tek jedan od novijih fenomena. Poljepšavanje krajolika i njegova stilizacija radi promoviranja nacionalnog identiteta ispostavlja se kao kulturalni nadomjestak – pokušaj prerušavanja ekonomskog i strateškog iskorištavanja krajolika, koje seže u početke europskog imperijalizma. Razvijanje imperijalnih politika i teritorijalne kontrole odvijalo se paralelno usavršavanju mrežne geometrije koja je omogućila prilično točno mapiranje pejzaža, njegovo mjerenje i parceliranje, ukoliko se on sagledava sa statičke točke. To je olakšalo razvoj navigacije i tehnika kartografije koje su vodile u osvajanje prostora i kolonizaciju novih zemalja (...) Ujedno je doprinijelo razvoju znanstvenog pogleda koji je europski kozmos podijelilo u distinktivan vizualni registar. Perspektiva je djelovala kao babica rođenju modernosti, koja nam je, kako kaže filozof Martin Heidegger, dala svijet kao sliku. 4 Ostavljajući dojam objektivne, sveznajuće instance, koordinatna je mreža, uz standardizaciju mjernih jedinica i administrativno-pravnih propisa, postala bitnom tehnikom u upravljanju prostorom. Primijenjena na prirodni krajolik, omogućila je preglednije i unosnije nadziranje raslinja. Često neovisno o karakteristikama lokalne bioraznolikosti, razvijeni su planovi krčenja terena, kalkulacije o sadnjama i pošumljavanju. 5 Procesi kultiviranja prirode su u filmu odnosno videoinstalaciji prisutni pozadinski, pokazujući kako jedan master-plan ovisno o ekonomskim prilikama ustupa mjesto drugome, od standardizacije terena do standardizacije unutarnjih prostora. U pridodanim dijaprojekcijama vremenski protežan sustav kontrole nad pejzažom, ali i istodobne reakcije otpora i trenja, postaju žarišnim sadržajem. Dijapozitivi su naime sastavljeni iz ulomaka Katastarskog i mjerničkog naputka
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uvedenog 1820. na području Habsburške Monarhije, umjetničinih opisa bilja te slikovnog dijela, frotaža biljki koje je sakupila u šetnjama prirodom. Apstrahirani oblici, treperavi otisci tragova ruke nad tijelima biljaka, suprotstavljeni su tehničkom žargonu prvih mjernih poduhvata koji uporno pokušavaju premjeriti krajolik. I dok čitamo, niti jedna točka pretpostavka točna (...) vikanje trčanje uokolo vrijeme zabuna, spominjemo se one stare, ne vidjeti šumu od stabla kao podsjetnika na zaglavljenost u današnjim kulturno-turističkim politikama, čijim se redukcijskim modelima stvarnost svejedno ne daje sasvim kontrolirati. Ostaje barem dijelom neizmjerljiva. Neobuhvatljiva. Jogunasta poput vjetra.
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1 Skoro ništa postoji u dvije verzije, kao film i višekanalna instalacija. Rad je iniciran 2013. u sklopu višegodišnjeg projekta Skoro ništa: Remiksirati Ferrarijevu Dalmaciju, posvećenog francuskom skladatelju Lucu Ferrariju, koji je 1968. za vrijeme boravka u Veloj Luci snimio svoje najpoznatnije djelo Presque rien No. 1 – Lever du jour au bord de la mer / Skoro ništa broj 1 – zora na obali mora. 2 Usp., Gilles Deleuze, Film 2: slika – vrijeme, Filmski centar Srbije, Beograd, 2010., str. 42. - 45. 3 Krajolik je scena iz prirode posredovana kulturom. Podjednako je predstavljački i predstavljeni prostor, označitelj i označeno, okvir i ono što okvir sadržava, stvarno mjesto i njegov simulakrum, ambalaža i ambalažna roba. Usp., W. J. T. Mitchell, Landscape and Power, The University of Chicago Press, 2002., str. 5. 4 Adrian J. Ivakhiv, Ecologies of the Moving Image: Cinema, Affect, Nature, https://www.academia.edu/3469120/ Ecologies_of_the_Moving_Image_Cinema_Affect_Nature 5 Usp., James C. Scott, The Trouble with the View from Above, http://www.cato-unbound.org/2010/09/08/james-c-scott/ trouble-view-above
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Skoro niĹĄta
Uživanje u pogledu, mirisima i zvukovima političko je pitanje još od rađanja Evrope, kaže J. L. Nancy. Ideja krajolika nema ništa s idejom netaknute prirode. Krajolik je oblikovan planiranim procesima krčenja šuma, pošumljavanja, kontrolom i planiranjem sadnje uvjetovane ekonomskim, zdravstvenim i drugim politikama, koje su zabilježene u sistematiziranom i klasifikacijskom jeziku katastra. Mapirajući floru otoka, odnosno registrirajući otpor koji biljke pružaju vjetru i snimajući zvuk koji nastaje trenjem, bilježim zvučne signale koji govore o promjenama, modi ili ekonomskim prilikama određenog lokaliteta. Te se politike kultivacije poput vjetra vraćaju u naše kuće i apartmane, stvarajući složenu mapu feedbacka između unutarnjeg i vanjskog prostora.
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0 bofora — tišina Dim se diže vertikalno u vis, zastave i lišće su nepomični, površina vode je kao ogledalo. Grane miruju, lišće se ne dodiruje, trenja nema. Bruj atmosfere, zrikavci. Sile otpora nema.
4 bofora — umjereni vjetar S tla se podižu prašina, suho lišće i papirići, zastava se razvija, njišu se manje grane. U krošnji hrasta crnike, zvuči kao bijeli šum. Čuje se udaranje lišća jedno o drugo, vjetar dolazi u zapusima. Zvuk je mesnat, mekan.
6 bofora — jak vjetar Zuji na predmetima, žice zvižde, njišu se i svijaju velike grane, teško je nositi kišobran. Šum je treperav, prilično ujednačen, povremeno se čuje dodirivanje grana jedne o drugu. Kontinuiran šumoviti huk, razliku čine zapusi vjetra.
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5 bofora — umjereno jak vjetar Njišu se veće lisnate grane, a i čitava mala stabla. Ljudima je neugodno, stvaraju se mali valovi. Čuje se zapuhivanje vjetra po masi koja pruža otpor. Otpor je mekan. U krošnji palme; zvuk je suh i šuštav, intenzivan i glasan.
3 bofora — slab vjetar Lišće se zajedno s grančicama neprekidno njiše i šušti, zastava leprša. Veći valići, kreste valića se počinju lomiti. Brzina vjetra 3.4 – 5.4 m/s, 12 – 19 km/h.
7 bofora — žestok vjetar Drveće se neprestano njiše, valovi se pjene, otežano je hodanje. Zvuk je suh i hrskav. Tu i tamo čuje se škripanje.
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Almost Nothing
The samples of plants were gathered on a walk from Ĺ estine to Medvedgrad, on November 29, 2016. Those were common, self-grown plants usually found along paths and roads. The plants were used to make frottage, which captured the movements, trails, the path. It captures the path created by the hand while leaving its print on paper, the trails on a road we followed, the number of steps we made, the time we spent walking, or lingering, or observing. Parts of the text were taken from surveying instructions from 1820 and combined with the description of the plants picked during the walk. In these items I saw an image of three young men measuring the distances using knotted cords, thus describing the land. They had to define the parcel, on the spot, and describe it as a field, a meadow, shrubbery or woods, to name them as precisely as possible. I imagine these three young soldiers, 1850, walking along a field; they are hot, their equipment is heavy and the sun is burning. They would like to sit under a tree, but they have to define it. They need to stake out reference points, spread the cord, set a table and take measures; to take down the numbers. I think about their desire to sit down, under a tree, and the imprecision growing out of their urge to speed up the tedious work, using shortcuts to spread and pull the cords... The cadastral books, dating back to those times, are used even today.
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forest lands independent bodies a group of particles lying next to each other forming a whole free open small parts points more particles lines
instruments: two smaller one larger flag plain table Gunter’s chain ten feet long four triangulation sheets compasses a micrometer compass with a screw are held
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personnel:
topographs draughtsmen various others mainly foreigners local people carriers of measuring instruments supervisor graphic triangulator land surveyor trainee figurant indicator two men day labourer
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flag cow’s horns whistles 4 lines south north starting in the east a, b, c, d 5 columns running west east starting in the north s, e, f, g, h, not a single point correct presumption angles 3 points of the sights
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not too blunt not too sharp
protocol H his sheet south north – north south two spaces the whole line equal assumed points parallels drawn
protocol I fields meadow pasture woods vineyards all public roads rivers water ways
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streams unused land around rivers marshes lakes coastal land banks islands swamps
deciduous branchy dense regular brownish grey shallow longitudinal surface crack asymmetrically etched edge roughly serrated wider in the upper third the tip is blunt both sides bare
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bare head hairy tail on the stems gathered into tufts oblong lanceolate leaves dome less then its halves no steam glossy surface leathery shell pointed tip green to a dark red-brown before falling short stalk borne in a cup-shaped cupule
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Landscape for all Seasons
We are said to be living in a time of flow, although more often than not, we come across obstacles and states of stagnation. Ana Hušman’s work entitled Almost Nothing 1 is based on contrasts between motion and immobility, statics and dynamics, sound and silence. The leading role is performed by the wind with the various directions it takes, its sudden gusts and periods of serenity. This intangible phenomenon that seemingly comes from nowhere and belongs to no one was recorded on the island of Korčula. It captures different reflections of the wind in the environment, from the fluttering of leaves and the swaying of branches to the wavering of shadows in a tourist apartment. As the observers, we assemble the landscape by measuring the gusts of the wind and the friction of the surface; in the artist’s words – we perceive it through the complex feedback loop between the interior and exterior spaces. Almost Nothing allows the landscape to have a calming effect and even sweetness while at the same time it hints at the underlying policies of space management and nature cultivation thus belying the expectations of leisured, postcard views of the island. The swollen fibre of the (in)visible and the (un)heard behind the contradictory title Almost Nothing consists of two dominant parts. Both the scenes of the apartments and the island flora are devoid of humans. Still, human impact on the landscape is strongly felt. The themes of human influence on the transformation of natural environment, of boundaries between the cultivated and the wild, the natural and the artificial are revealed in an indirect way. The focus is directed towards the evasive relationships between motion and inertia; image opposed to sound and language, their normative codes and dimmed origins of reality. In outdoor scenes we follow the actual sounds of the wind. We hear it sweeping through the island
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vegetation, the branches of olive trees or the crowns of holly oak trees. The accompanying legend informs us about the locations and dates of the footage, and every now and then one finds an inserted drawing of a plant. For example, Sept. 9, 2015, Moderate Bora in the Weeds, MS - Microphone in front of the Stalks (Pržina Beach). The drawings take our eyes back to the very beginnings of landscape mapping without the use of camera, reminding us of the pioneering endeavors of classification of nature. Unlike the outdoor scenes, the indoor scenes are evidently staged. The interior, with its furnishings, design and details, such as omnipresent reproductions of arty motifs, presents itself primarily as a standardized product, a single item among the multiplied non-locations created by the tourist industry. The scenes of the apartment contain no in situ sounds. Thoroughly put in order and relieved of any traces of users, they seem to be inhabited only by the wind occasionally coming in through openings slightly ajar. The recordings are accompanied by an odd weather forecast. The presenter’s voice describes the Beaufort’s wind force scale exploring the correspondences between the force of the wind and its impact on the sea, plants and people’s movements. The artist adds to the values of the Beaufort’s scale her descriptions of the acoustic recordings of the wind. 7 Beaufort (…) The sound is dry and crisp. Occasional creaking. While the camera slides across the recesses of inner space, the eye lingers on details that appear to be accidental, while at the same time they attempt to clarify the wind force – e.g. on a reproduction of a sailboat on stormy sea, which seems to be a visual synecdoche of a strong wind. Minutely elaborate facets help us realize how stuck to routine schemes our perception has become. Our gaze is startled by doubled sensations, optic as well as acoustic, which test and turn the establishment of clichéd conceptions upside down. 2 The expected harmony of landscape and the seductive
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concept of neutral space that it relies on and which seems to be understandable in itself, suddenly becomes shaken. The sounds within pictures, divergence between the visual and the acoustic lead us towards the game of contradictions that creates each landscape. 3 Almost Nothing urges us unobtrusively but consistently to question the cultural and historical components of landscape, its economic-political normativity and ensuing esthetics. The assumptions about landscape appear to be conditioned by social and industrial relationships closely related to the politics of spatial management and distribution, where devastation of the shore and islands (mass "apartmanization") is just one of the latest social phenomena. The beautification and stylization of landscape in order to promote the national identity turns out to be a substitute for culture. It appears as an attempt to disguise the economic and strategic exploitation of landscape, which goes back to the beginnings of the European imperialism. The development of imperialist policies and territorial control took place simultaneously with the perfection of a grid geometry that allowed for an accurate mapping, measuring and dividing of landscape. This facilitated the development of navigation and mapping techniques that led to the conquest of space and the colonization of new lands (...) It also contributed to the development of a scientific gaze, which shifted the European cosmos into a much more distinctly visual or optical register. Perspective acted, in effect, as midwife to the birth of modernity – a modernity that, philosopher Martin Heidegger argued, has given us “the world as picture“. 4 Conveying the impression of an objective, omniscient structure, the coordinate system, along with the standardization of metrical units and administrative and legal regulations, has become an important tool for space
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management. Applied to nature, the coordinate system allowed for a more organized and more profitable control of plants. Often independent of the characteristics of local bio-diversity, the humans have developed plans for clearing the land and thinning the forests, for making planting calculations. 5 The processes of cultivating nature flow in the background, demonstrating that one master plan, depending on economic conditions, is always replaced by another, from the standardization of landscapes to the standardization of indoor spaces. The system of controlling the land but also the arising rebellion and friction become the focal points in this work. The slide projection contain excerpts from the The Cadastral and Surveying Instruction introduced in 1820 in the Habsburg Empire, artist’s description of plants and frottages of these plants collected in her walks in the country. The abstract forms, the quivering handprints on the bodies of the plants, are juxtaposed to the technical jargon of the first surveying endeavors, endeavors aimed at re-measuring of landscape. And while we read: not a single point correct presumption (...) yelling running around time confusion, we call to mind the old saying, cant’ see the forest for the trees. In other words, we are reminded of the fact that we are stuck in our cultural and tourist policies, whose reduction models are still unable to assume absolute control over reality. Reality remains somewhat immeasurable. Non-enclosable. Unruly, like the wind.
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1 Amost Nothing is made in two versions, as a film and as a multi-channel installation. The piece is initiated in 2013, in the framework of a multi-annual project Almost Nothing – Ferrari Dalmatia, dedicated to the French composer Luc Ferrari, who in 1968, in his visit to Vela Luka, made his best-known work Presque rien No. 1 – Lever du jour au bord de la mer / Amost Nothing No. 1 – Dawn on a Seashore 2 Cf, Gilles Deleuze, Film 2: slika – vrijeme, Filmski centar Srbije, Beograd, 2010, p. 42 - 45 3 Landscape is a natural scene mediated by culture. It is both a represented and presented space, both a signifier and a signified, both a frame and what a frame contains, both a real place and its simulacrum, both a package and the commodity inside the package. Cf., W. J. T. Mitchell, Landscape and Power, The University of Chicago Press, 2002, p. 5 4 Adrian J. Ivakhiv, Ecologies of the Moving Image: Cinema, Affect, Nature, https:// www.academia.edu/3469120/ Ecologies_of_the_Moving_Image_Cinema_Affect_Nature 5 Cf., James C. Scott, The Trouble with the View from Above, http://www.cato-unbound.org/2010/09/08/james-c-scott/ trouble-view-above
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Almost Nothing
As Jean-Luc Nancy says, our pleasure in views, scents, and sounds has been a political issue since the birth of Europe. The idea of landscape has nothing in common with the idea of unspoiled nature. Landscapes are formed through planned deforestation, afforestation, and controlled planting. These processes are influenced by economic, health care, and other policies, documented in the systematic and taxonomic terminology of the land registry. By mapping the island flora and recording the resistance of the vegetation to the wind, as well as the resulting sounds of friction, I document the sound signals that reflect the changes, fashions and economic conditions of a particular location. These cultivation policies return to our houses and apartments like the wind, creating a complex feedback loop between the interior and exterior spaces.
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0 beaufort — calm Smoke rises vertically, leaves and wind vanes still. Sea surface smooth and mirrorlike. The branches are still, the leaves do not touch. There is no friction. Ambient noise, crickets, no resistance, no sound.
4 beaufort — moderate breeze Dust, leaves, and loose paper lifted, small tree branches move. Hair disarranged. In the black pine, sounds like white noise. Leaves rustling against each other, the wind comes in gusts. The sound is meaty. soft.
6 beaufort — strong breeze Larger tree branches moving, whistling in wires, steady walking difficult. The sound is fluttery, moderately steady, occasionally there is the sound of one branch touching another. A continuous hum, the differences come with the gusts of wind.
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5 beaufort — fresh breeze Whole trees moving, resistance felt walking against wind. Moderate waves 4 – 8 ft taking longer form, many whitecaps, some spray, walking takes more effort. We hear the wind blowing on a mass. Resistance is soft. In the palm tree the sound is dry, rustling, intense and loud.
3 beaufort — gentle breeze Leaves and small twigs constantly moving, light flags extended. Large wavelets, crests begin to break, scattered whitecaps. Wind knots 3.4 – 5.4 m/s, 12 – 19 km/h
7 beaufort — near gale Whole trees moving, white foam streaks off breakers, resistance felt walking against wind. The sound is dry and crisp. Occasional creaking.
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Ana Hušman radi eksperimentalne filmove u kojima istražuje mogućnosti animacije, dokumentarnih elemenata u filmu, glasa i artikulacije, kao i rada s amaterima. Zanimaju je odnosi filmske slike, video slike, digitalnog fotografskog zapisa, odnosi između vremena i kvadrata. Nastoji analizirati postupak stvaranja filmskog kadra i njegovo raščlanjivanje. Od 2008. radi kao docentica na Odsjeku za animirani film i nove medije pri Akademiji likovnih umjetnosti u Zagrebu. Njezini su radovi prikazani na brojnim filmskim festivalima, samostalnim i grupnim izložbama, primjerice 9. Gwangju Biennale, 2012.; 22 i 56. Oktobarski Salon, Beograd, 2012. i 2016.; Nam June Paik Art Center, Yongin, 2013.; Ludwig Museum of Contemporary Arts, Budimpešta, 2010.; IFF Rotterdam, 2009.; DOK, Leipzig 2006. Za svoje radove Plac 2006., Ručak 2008., Nogomet 2011. dobila je više domaćih i internacionalnih nagrada. Sudjelovala je u brojnim žirijima festivalskih i galerijskih programa u Hrvatskoj.
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Ana HuĹĄman makes experimental films in which she explores the scopes of animation, the possibilities of work with nonprofessionals, aspects of voice and articulation and documentary elements in films. She is interested in the relationship between the cinematic image, the video image, the digital photographic record, the relationship between time and the frame, the process of producing the cinematic frame and its deconstruction. Since 2008 she has been working as an assistant professor at Department of Animation and New Media at the Academy of Fine Arts in Zagreb. Her works are shown in numerous film festivals and solo and group exhibitions, such as 9th Gwangju Biennale 2012; 22nd and 56th October Salon 2012, 2016, Belgrade; Nam June Paik Art Center, Yongin 2013; Ludwig Museum of Contemporary Arts, Budapest, 2010; IFF Rotterdam, 2009; DOK, Leipzig 2006. For her works The Market 2006, Lunch 2008, Football 2011, she received several national and international awards. She was also a jury member in different festivals and gallery programs in Croatia.
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Skoro ništa – Almost Nothing 160 dijapozitiva (80 cb, 80 boja) 160 slides (80 bw, 80 color) HD, 16 mm, 1920 x 1080, boja, stereo, loopovi, različita trajanja HD, 16 mm, 1920 x 1080, color, stereo, loop, different duration Scenarij i režija – script and directing Ana Hušman direktor fotografije – Director of photography Ivan Slipčević montaža – editor Iva Kraljević obrada zvuka – sound mastering Tomislav Domes tekst čitali – read by Gordana Kovačić, Christian Bushill filmsko skeniranje, postprodukcija – film scan, postproduction Studio Ater koloristica – colorist Mirela Budimić produkcija – production Studio Pangolin, 2016. / pangolin.hr sufinancirano – supported by HAVC, Multimedijalni institut Inicijator projekta Skoro ništa – Remiksirati Ferrarijevu Dalmaciju, Petar Milat Project Almost Nothing – Ferrari Dalmatia initiated by Petar Milat Rad je objavljen pod licencom Creative Commons Imenovanje-Dijeli pod istim uvjetima 3.0 Hrvatska. – This work is licensed under the Creative Commons Attribution-Share Alike 3.0 Croatia. www.anahusman.net
Izložba – exhibition Ana Hušman / Skoro ništa 15. 6. – 6. 7. 2016., MALI SALON izdavač – publisher Muzej moderne i suvremene umjetnosti Museum of Modern and Contemporary Art za izdavača – for the publisher Slaven Tolj suizdavač – copublisher Studio Pangolin tekstovi – texts Ksenija Orelj (68 - 73), Ana Hušman prijevod, korektura – translation, proofreading Lidija Toman (86 - 91), Nicole Hewitt grafičko oblikovanje – graphic design Marino Krstačić-Furić & Ana Tomić tisak – printing Kerschoffset, Zagreb naklada – print run 500 broj kataloga – catalogue no. 351 © MMSU, Rijeka, 2016. CIP zapis dostupan u računalnom katalogu Sveučilišne knjižnice Rijeka pod brojem 130928060 ISBN 987-953-8107-03-0
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