Slobodan tomic perforacije by Slobodan Tomic

GALERIJA

SPLIT

galerija emanuel vidović

studeni—prosinac 2015.

the emanuel vidović gallery

November —December 2015

predgovor

introduction

“Only those who attempt the absurd will achieve the impossible. I think it's in my basement... let me go upstairs and check.” —m. c. escher

Multimedijalni umjetnik Slobodan Tomić je odmah po završenom studiju grafike na Akademiji likovne umjetnosti u Sarajevu uvidio da u postindustrijskom, informacijskom dobu sveprisutnih i svemoćnih elektroničkih medija koji utječu na stvarnost mijenjajući je kao i čovjeka, o toj istoj (nad)stvarnosti ne može progovoriti ukoliko u svoj rad ne uključi i te nove medije. Pritom nije odbacio stari medij, ali je tradicionalnu grafiku počeo tretirati kao dio prostorne instalacije ili ambijenta, u kojem grafički listovi ostvaruju odnos s virtualnim, računalno generiranim statičnim ili pokretnim grafikama. Tako se njegov interes za istraživanjem odnosa analognog i digitalnog, stvarnog i virtualnog može pratiti retrospekcijom njegovih radova. Prije osam godina Tomić je medije povezao u videografike, a 2011. godine u ambijentalne grafike. Ova nova multidisciplinarna i multimedijalna izložba, naslovljena “Perforacije”, eksponira autorovu ideju o probijanju perceptivne opne između dva različita entiteta, analognog i digitalnog, haptičkog i prividnog, vidljivog i nevidljivog.

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Immediately after graduating in Printmaking from the Academy of Fine Arts in Sarajevo, Slobodan Tomić, a multimedia artist, became aware that in the post-industrial, information age of omnipresent and all-powerful electronic media having an impact on the reality modifying it as they modify a human being, won’t be able to speak about the same (sub)reality unless he involves the new media in his work. However, he did not reject the old medium, but he started to treat the traditional etchings as part of the space installation or the environment, where the prints realize a relationship with virtual, computer-generated static or motion graphics. Thus, one may follow his interest in exploring the relationship between analog and digital, the real and the virtual during the retrospective view of his works. Eight years ago, Tomić linked media to video graphics and in 2011 in the ambient graphics. This new multidisciplinary and multimedia exhibition, under the title“Perforations”, exposes the author’s idea of breaking a perceptual membrane between two distinct entities, analog and digital, haptic and apparent, visible and invisible.

predgovor introduction

U prvom dijelu izložbe Tomić posjetitelja uvodi u nestabilan i promjenjiv prostor ciljajući na njegovu vizualnu percepciju optičkim i kinetičkim sredstvima. Cjelokupan doživljaj upotpunjuje zvučnim senzacijama, hipnotičkim ritmom glazbe Jana Tomića. Prostor ispunjava mobilnim formama različitih veličina, zapravo grafičkim otiscima na folijama od transparentnog najlona koji kao prostorni crteži vise na crnom koncu s plafona uspostavljajući dijalog s precizno režiranim animiranim sekvencama koje se projiciraju na zidne plohe. Te mobilne grafike imaju oblike hibridnih antropomorfnih stripovski stiliziranih figura i perforirane su pa svjetlo koje prolazi kroz njih baca sjene na zidove s projekcijom. Pokretne se forme interpoliraju s animacijama unutar projekcije i na simboličnoj razini prelaze iz trodimenzionalnog u kibernetički prostor, a animacije ih prate i nadopunjuju težeći sjedinjenju u zajednički prostor koji balansira između taktilnog i virtualnog. Animirane sekvence simuliraju trodimenzionalni prostor ispunjen antropomorfnim likovima koje okružuju prijeteće strukture u crno-bijelo-sivim tonovima. One se izmjenjuju, prolaze jedna kroz drugu i sudaraju se stvarajući ozračje hladnog high-tech prostora te kod promatrača pobuđuju asocijacije na katastrofične vizije teoretičara postmodernizma kao što su primjerice Lyotard, Baudrillard i Virilio koji su virtualizaciju svijeta putem elektroničkih medija prepoznali kao opasnost koja ugrožava samu čovjekovu bit pa čak i njegov opstanak pretvarajući ga u kiborga, tijelo nerazlučivo od njegove elektronske proteze. No, promatrač brzo prestaje razmišljati o sižeu jer ga počinje intrigirati način reprezentacije. Tomić ovdje primjenjuje

predgovor introduction

In the first part of the exhibition, Tomić introduces visitors an unstable and changeable space aiming at its visual perception with the aid of optical and kinetic means. Sonorous sensations, hypnotic rhythm of music produced by Jan Tomić fills out the entire event. He fills the room with the mobile forms of different shapes, i.e. graphic prints on transparencies hanging from the ceiling as spatial drawings on the black thread thus establishing a dialogue with the screening of precisely directed animated sequences on the wall surfaces. These mobile graphics are hybrid forms of anthropomorphic comic-strip stylized figures. They are perforated, so the light passing through them throws shadows on the walls with a screening. The mobile forms interpolate with animations within the screening and transfer from the three-dimensional in the cyberspace at a symbolic level, and the animations accompany and complete them seeking a union in the common space that balances between the tactile and the virtual. Animated sequences simulate a three-dimensional space filled with anthropomorphic characters that surround menacing structures in black-white-gray tones. They alternate, passing through each other and collide, creating an atmosphere of a cold high-tech space. At the viewer, they arouse associations to catastrophic visions of postmodern theoreticians such as Lyotard, Baudrillard, and Virilio, who recognized the virtualization of the world via electronic media as a danger that threatens the man’s very essence and even its survival, turning him into a cyborg with a body indistinguishable from its electronic prosthesis. But the observer soon stops thinking about the topic because the manner of representation begins to intrigue him.

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strategiju hipermedijacije1 i usmjerava promatrača kako na digitalni tako i na grafički medij koji mu je imanentan. Umjetnik kreira osebujan i visoko estetizirani virtualni svijet koristeći liniju, crno-bijeli kontrast i tonske varijacije crne, bijele i sive boje, elementarna izražajna sredstva klasične grafike prevedena u binarni jezik digitalnog sustava. Kontrolirajući proces animacije Tomić vizualizira faze koje prethode renderingu, procesu konvertiranja 3D žičanog modela u 2D sliku sa 3D fotorealističnim efektima koji se obavlja

Here, Tomić applies the strategy of hypermediacy1to guide the viewer both to the digital and the graphic medium, which is immanent to him. The author creates a distinctive and highly aestheticized virtual world using the line, black and white contrast and tonal variations of black, white and gray, elementary means of expression of the classical graphics translated into a binary language of the digital system. By controlling the process of animation, Tomić visualizes phases that precede to the rendering, the process of converting 3D wire

1 Bolter, Jay David; Grusin, Richard. Remediation, Understanding New Media.

The MIT Press, 1999. Str. 31—44.

The MIT Press, 1999 page 31—44.

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predgovor introduction

automatski posredstvom računala. Njega ne zanima tek renderirana slika kojoj kompjuterski program dodaje površine, materijale i osvjetljenje u cilju što veće sličnosti s vidljivim trodimenzionalnim svijetom, nego pronalazi novi način grafičkog izražavanja digitalnim alatima. Autor razotkriva strukturu radne površine 3D programa tako da i wireframe, inače nevidljivi kostur trodimenzionalnog crteža, igra ulogu u stvaranju konačnog vizualnog učinka. Arhitektura i antropološki oblici stapaju se u mrežama i kovitlacima wireframe crteža ili ogoljenih formi jakih kontrasta. Dok kamera okružuje virtualnu pozornicu i sagledava je u brojnim rakursima stvarajući dojam beskonačnog prostora, transparentni žičani i pikseliziran crtež prelazi u netransparentni solid model ili u pune, svjetlom definirane forme crno-bijelo-sivih ploha. Analitički pristup mediju Tomić iskazuje i u drugom dijelu izložbe serijom animacija na monitorima grupiranima u poliptihe i diptihe na kojima prikazuje radove iste tematike. Sučeljavanjem različitih faza radnoga procesa oblikovanja 3D grafike, variranjem ritma i rakursa, neprestano mijenja karakter prikaza usmjeravajući gledateljevu pozornost na proceduralne i “materijalne” osobine medija. Loop, cirkularno ponavljanje sekvenci, omogućuje istovremeno gledanje kadrova koji se prikazuju na više različitih zaslona. Unutar zaslona - projekcije animirane minimalistički pikselizirane i kontrastirane grafike međusobno se dotiču, sukobljavaju ili nadopunjuju tvoreći hibridnu cjelinu. Premda izmjenom animiranih grafika Tomić ilustrira proces rada na vizualizaciji računalne 3D animacije te istraživanjem njene radne površine razvija vlastiti grafički jezik, on

predgovor introduction

models in a 2D image with 3D photorealistic effects that are carried out automatically using a computer. He is not interested in a merely rendered image to which a computer program adds surfaces, materials, and lighting to achieve more similarity with a visible three-dimensional world, but he finds a new graphic expression with the aid of digital tools. The author reveals the structure of the 3D desktop program so that the wireframe, which is an invisible skeleton of a three-dimensional drawing, becomes an element of the graphic manner and along with, plays a role in the creation of the final visual effect. Architecture and anthropological forms merge in the networks and swirls of the wireframe drawings or denuded forms of strong contrasts. As the camera is surrounding the virtual stage viewing it from numerous angles, creating the impression of infinite space, the transparent wire and pixelated drawing is being transferred to a nontransparent solid model or a full black-white-gray surface defined by the light.

se ne odriče ni semantičkog potencijala svojih radova. Animirane sekvence intrigiraju svojim značenjem i izazivaju različite konotacije. Beskonačno ponavljanje motiva sa stepenicama niz koje se kotrljaju hibridi čovjeka i stroja, citat kultne filmske sekvence iz filma Oklopnjača Potemkin Sergeja Mihajloviča Ejzenštejna u koju ruski redatelj uvodi overlapping vremena i prostora pa su vrijeme i prostor duži od zbiljskih, ukazuje na medij koji može manipulirati vremenom i prostorom, ali isto tako i čovjekom koji se ne može oduprijeti njegovom utjecaju. Istovremeno, unutar drugog poliptiha loopaju se sekvence s prikazom spiralnih građevina koje prizivaju u sjećanje «beskonačne građevine» nizozemskog grafičara Mauritsa Cornelisa Eschera. Ove samoslične izomorfne tvorevine su daljnjom manipulacijom dovedene do krajnjeg kontrasta, do grafizama koji svojom fraktalnom strukturom zapravo zrcale strukturu digitalnog medija.2

Tomić also gives evidence to the analytical approach to the medium in the second part of the exhibition by a series of animations on monitors grouped in polyptychs and diptychs displaying works of the same topic. By confronting different phases of the working process of the 3D graphics modeling, by varying the rhythm and angle, he is constantly changing the character of the display directing the viewer’s attention to the procedural and“material” media properties. Loop, a circulated repeat of sequences, allows the simultaneous viewing of frames displayed on multiple screens. Within the screen - screenings of animated in a minimalist manner pixelated and contrasted graphics touch, clash or complement with each other forming a hybrid entity. Although Tomić illustrates

Tomić je dosljedan u radikalnom asketizmu dok promišlja ontologiju medija pa fotorealističku 3D grafiku pokušava ogoliti do razine primarne računalne grafike, odnosno do matrice piksela. Ta je matrica, viđena u svjetlu kvantne teorije koja je uvela matričnu nelinearnu percepciju svijeta, ni manje ni više, Matrix, gospodarica stvarnosti. nela žižić

perforacije perforations

2 Vidi: Manovich, Lev. The Language of New Media. The MIT Press, 2001. Str. 30—31.

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the working process on the visualization of 3D computer animation by alternating animated graphics and develops his graphic language by researching its desktop, he does not waive any semantic potential of his works. Animated sequences are intriguing by their meaning, and they provoke different connotations. Endless repetition of motifs with a series of steps along which hybrids of man and machine roll down, the quotations of the cult film sequences from the film Battleship Potemkin by Sergei Mikhailovich Eisenstein in which Russian director introduces overlapping of time and space, so time and space are longer than the genuine. Thus, it indicates a medium that can manipulate time and space, but also a man who can not resist its influence. Simultaneously, the sequences loop within another polyptych depicting the spiral buildings that call to mind the “endless building” by Maurits Cornelis Escher, a Dutch graphic artist. These self-similar isomorphic structures are brought to the final contrast with the help of further manipulation, to the graphisms that mirror the structure of the digital media2 with its fractal structure. Tomić is consistent in his radical asceticism while he is reflecting the ontology of media and trying to denude the photorealistic 3D graphics to the level of the primary computer graphics, i.e. to the matrix of pixels. This matrix is, as viewed in the light of the quantum theory that introduced the nonlinear matrix perception of the world, no more, no less the Matrix, the mistress of reality. nela žižić

2 See: Manovich, Lev. The Language of New Media. The MIT Press, 2001 page 30—31.

predgovor introduction

1. prostorija 1 st room 1 projekcija screening diptih diptych Animacija Animation Trajanje Duration: 03:24 mobil mobil Najlon, crni konac, grafiÄ?ki otisci na prozirnoj foliji Nylon, black thread, graphic prints on transparencies

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15 perforacije perforations

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17 perforacije perforations

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2. prostorija 2 nd room 2 poliptih polyptych Animacija Animation Trajanje Duration: 03:58 3 diptih diptych Animacija Animation Trajanje Duration: 04:12 4 diptih diptych Animacija Animation Trajanje Duration: 03:02

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2. prostorija 2 nd room

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37 perforacije perforations

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3. prostorija 3 rd room 5 diptih diptych Animacija Animation Trajanje Duration: 05:44

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3. prostorija 3 rd room

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3. prostorija 3 rd room

popis izložaka list of exhibits

životopis

1. prostorija 1st room

2. prostorija 2nd room

Slobodan Tomić rođen je u Splitu 1960. godine. Diplomirao je na Akademiji likovnih umjetnosti u Sarajevu 1984. godine na Odsjeku grafike, u klasi profesora Dževada Hoze. Od 1988. godine sudjeluje na mnogobrojnim skupnim i samostalnim izložbama u Hrvatskoj i inozemstvu, kao i na festivalima eksperimentalnog i animiranog filma. Istražuje na polju grafike, animacije i novih medija. Dobitnik je nekoliko međunarodnih nagrada za grafiku i kratki film.

1 projekcija screening

2 poliptih polyptych

diptih diptych

Animacija Animation

Trajanje Duration: 03:58

Živi u Splitu i docent je na Umjetničkoj akademiji u Splitu gdje predaje kolegije Grafika i Računalno 3D oblikovanje.

Trajanje Duration: 03:24 3 diptih diptych mobil mobil

Animacija Animation

Najlon, crni konac, grafički

Trajanje Duration: 04:12

otisci na prozirnoj foliji Nylon, black thread, graphic prints on transparencies

4 diptih diptych Animacija Animation Trajanje Duration: 03:02

3. prostorija 3rd room

biography Slobodan Tomić was born in Split in 1960. In 1984, he graduated from the Graphic Department of the Academy of Fine Arts in Sarajevo under professor Dževad Hozo. Since 1988, he has taken part in numerous group and solo exhibitions in Croatia and internationally taking part in festivals of experimental and animated films. He explores in the field of graphics, animation and new media. He has obtained several international awards for graphics and short films.

5 diptih diptych Animacija Animation Trajanje Duration: 05:44

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He lives in Split and is Assistant Professor at the Arts Academy University of Split, where he teaches graphic art and 3D modelling.

samostalne izložbe

1984.

Studentski centar, 2. biennale

one-man exhibitions

jugoslavenske studentske grafike, Beograd

1988.

Galerija Protiron, Art ljeto, Split

1987.

Salon hdlu, Biennale suvremene

hrvatske grafike, Split

1992.

Salon Galić, Inicijacije, Split

1999.

Dioklecijanovi podrumi,

Crteži - strukture, Split

2004. 2007.

Salon Galić, Zlatni paviljon, Split Salon Galić, Društvo mrtvih

1989.

Etnografski muzej, Art ljeto:

Splitski umjetnici 80-ih, Split

1991.

Salon hdlu, Biennale malog

formata,Split 1991.

Salon hdlu, Biennale suvremene

pjesnika, Split

hrvatske grafike, Split

2012.

Salon Galić, Ritam zločina, Split

1992.

Salon HDLU, Neki vidovi likovne

2013.

Green Room, Zabok

2013.

Galerija Striegl, Sisak

2014.

Galerija Roman Petrović,

Sarajevska zima, Sarajevo

2003.

1993.

Umjetnici protiv rata (Kunstband durch

Europa), Berlin, Bonn, Bertonigla,

hazu – Kabinet grafike, 1. hrvatski trijenale grafike, Zagreb

skupne izložbe

group exhibitions

2000.

Trijenale hrvatske grafike, Zagreb

1984.

Colegium Artisticum, Radovi studenata

2001.

Međunarodna izložba Ex libris, Rijeka

Akademija likovnih umjetnosti

Festival videomedeja, Novi Sad

2015. interbifep - međunarodno bijenale

2008.

nontzeflash animazio 2008.

2008.

Video Art Festival Miden,

2009.

9. međunarodni grafički bijenale

2003.

Međunarodna izložba Ex libris, Rijeka

Suva igla, Užice, Srbija

2003.

Palača Milesi, Prvi međunarodni

2009. Suvremena grafika Hrvatske i BIH,

splitski grafički biennale, Split

Mostar

2004. 2005.

Međunarodna izložba Ex libris, Rijeka

2015.

18th International Print Biennial, Varna,

www.festivalmiden.gr

Bugarska

film, video i multimedija

film, video and multimedia

nagrade

2009.

iv splitgraphic international graphic

art biennial, Split 2007.

urban screens Conference + Public

2011.

v splitgraphic international graphic

Projects, Manchester (UK), October

art biennial, Split

11—14, 2007 on BBC outdoor screens

2011.

Collegium Artisticum, Izložba 100

2008.

internacionalni projekt,

grafičara BiH i Hrvatske: Otisci-Utisci,

www.revijaamaterskogfilma.hr

www.thyes.com/flag-metamorphoses/

Sarajevo

flag-animation.html

International Biennal Contest

GraMarina-2007 (Grand Prix) 2008.

International Filmaka short film contest

What on Earth is going on

2009.

iv splitgraphic International Graphic Art

raf Zagreb, Biennial nagrada za inventivnost u grafici

2008.

5th Naoussa Film Festival,

Naoussa, Grčka

2012.

6. hrvatski trijenale grafike, Zagreb

2012.

Galerija A. Augustinčića, Izložba

2008.

dérapage8, non-narrative video festival,

nastavnika kiparskog odsjeka Umjetničke

Montréal, Canada,

akademije u Splitu, Klanjec

www.derapage.ca

2013.

Where is printmaking? In search of new

2008.

Web Biennial 2007 - Web-art bijenale, Istanbul

competition 2007., Gdańsk Sobieszewo, Poljska

awards 2007.

flag metarmophoses

wincenty pol internationalexlibris

Muzej Vojvodine, 12th International Video

portreta, Tuzla

—2007.

http://webbiennial.org/galleries/g3.htm

2008.

www.splitgraphic.com

Palača Milesi, Inkrustacije, Split Međunarodni Ex-libris bijenale, Pančevo

interbifep - međunarodno bijenale

2006.

2007.

2002. Mali salon grafike, Mostar

portreta, Tuzla

Kaštel Lukšić

Jugoslavije, Sarajevo

2013.

bijenale grafike, Split,

Palača Vitturi, Božićna izložba,

2007.

Splitgraphic, 3. međunarodni

Grožnjan 1997.

2007.

2003.

2006. situacije, Split

Trijenale hrvatske grafike, Zagreb

Filmaka.com, (entry level win)

meanings, Contemporary Art Gallery 2007.

International biennale GraMarina-2007

in Opole as part of the International

2008. 1st thermaikos 2min film festival,

(Prva nagrada), Odessa, Ukrajina

Print Triennial in Kraków 2013

Grčka

SLOBODAN TOMIĆ

tehnička pomoć

fotografije

perforacije perforations

Technical assistance

photographs

Marko Batarelo

Zlatko Sunko

Jasna Perhoč galerija emanuel vidović

Pedro Saldanha de Magalhaes

the emanuel vidović gallery

lektura proof-reading

studeni—prosinac 2015.

marketing

November —December 2015

Daniela Jeličić

Nada Topić

organizator izložbe

Izložba je realizirana uz potporu Grada Splita.

translation

exhibition organization

The exhibition has been made possible with the help

Aleksandra Radman-Tomić

prijevod

Muzej grada Splita The City Museum of Split

of the Ministry of Culture of the Republic of Croatia and the Split City.

grafičko oblikovanje i priprema graphic design & dtp

kustosica izložbe

izdavač

Karlo Kazinoti

curator

published by

Mišo Komenda

Nela Žižić

Muzej grada Splita / The City Museum of Split Papalićeva 1, Split, Hrvatska / Croatia

tisak

autor likovnog postava

Tel./fax. + 385 (0)21 344917, 360171, 360172

printed by

exhibiton lay-out

muzej-grada-st@st.htnet.hr

Kerschoffset, Zagreb

Slobodan Tomić

www.mgst.net naklada

stručni suradnik u postavu izložbe

za izdavača

edition

expert assistance in exhibiton lay-out

publisher

300

Mirko Gelemanović

Narcisa Bolšec Ferri

autor glazbe

autorica kataloga

music

catalogue author

Jan Tomić

Nela Žižić