ВИДЕО КОЛОНИЈА МОТОВУН 1976. / ВИДЕО ЦОЛОНY МОТОВУН ИН 1976
17:00 | Mala sala | Small Theatre
Retrospektiva / Retrospective
VIDEO KOLONIJA MOTOVUN 1976. / VIDEO COLONY MOTOVUN IN 1976
Uvodna reč / Introduction by Lucia Aspesi, Branka Benčić and Greg De Cuir, Jr
Un suono a testa, Michele Sambin, 7 min.
Open Reel, Dalibor Martinis, 4 min.
Monument, Sanja Iveković, 5 min.
Video Immunity, Dalibor Martinis, 3 min.
Instrukcije 1, Sanja Iveković, 6 min.
Untitled, Goran Trbuljak, 2 min.
Rekonstrukcije 1952-1976, Sanja Iveković, 8 min.
Untitled, Goran Trbuljak, 1 min.
Untitled, Goran Trbuljak, 6 min.
Triptych, Dalibor Martinis, 5 min.
Untitled, Goran Trbuljak, 30 sec.
Video je bio medij u usponu pred kraj šezdesetih i početkom sedamdesetih. Wolf Vostell i Nam June Paik već su napravili značajna dela koristeći video, dok je Jean-Luc Godard počeo da eksperimentiše ovim medijem sredinom sedamdesetih. Međutim, u tom periodu video-oprema nije bila lako dostupna umetnicima iz Jugoslavije, i tamo je nova umetnička forma dobijala snagu sporije nego u međunarodnim okvirima.
Godina 1976. bila je ključna za pojavljivanje video-arta na teritoriji Jugoslavije– da budemo sasvim precizni, u Istri, u Republici Hrvatskoj. Pomenute godine tamo su se za kratko vreme održale dve međunarodne radionice, u malim mvestima Brdo i Motovun. Susreti u Motovunu, kako su nazvani, održavali su se već nekoliko godina ranije, kao niz okupljanja jugoslovenskih i italijanskih umetnika sa ciljem izučavanja zanata i prakse. Susrete je inicirala Galleria dell Cavallino iz Venecije, u saradnji sa Muzejom savremene umetnosti u Zagrebu i Etnografskim muzejom u Pazonu. Te 1976. odlučeno je da susret bude posvećen istraživanju potencijala videa i temi „identiteta“. Među jugoslovenskim umetnicima koji su bili pozvani da učestvuju našli su se i Sanja Iveković, Dalibor Martinis i Goran Trbuljak, zajedno sa italijanskim pandanima Micheleom Sambinom, Claudiom Ambrosinijem, i drugima. Video radovi koje su oni proizveli na radionicama postali su ključni primeri ne samo njihovog ličnog umetničkog senzibiliteta, već i geneze video-arta u Jugoslaviji.
Ovaj program predstavlja odabrane video-radove nastale 1976. na susretu u Motovunu. Neki se direktno tiču radioničke teme identiteta, poput Martinisovog Triptiha. Drugi istražuju kretanje, poput Spomenika Sanje Iveković, a neki ispituju formalne osobine videa, poput Trbuljakovog Bez naslova. Svi predstavljaju fascinantno angažovanje u radu sa novim medijem i mestom koje će naseliti ujedinjavanjem različitih umetnika i umetničkih disciplina u predivnom predelu Jadrana.
Video was a growing artistic medium at the end of the 1960s and the beginning of the 1970s. Wolf Vostell and Nam June Paik had already made significant works using video, while Jean-Luc Godard began experimenting with the medium in the mid-1970s. However, video equipment was not widely available to artists in Yugoslavia in the 1970s, and as such the new art form gained traction at a slower pace than in other international settings.
1976 was a key year for the appearance of video art in the territory of Yugoslavia – to be specific, in the Istria region of the Republic of Croatia. In this year there were two international video workshops established close to each other, in the small towns of Brdo and Motovun. The Motovun meetings, as they were named, had already been taking place for a few years prior to this as a series of practice-based gatherings between Yugoslav and Italian artists. The meetings were initiated by Galleria dell Cavallino (Venice) with the collaboration of the Museum of Contemporary Art in Zagreb and the Ethnographic Museum in Pazin. In 1976 it was decided that the meeting should be dedicated to exploring the potential of video, along with the theme of ‘identity’. Among the Yugoslav artists invited to participate were Sanja Iveković, Dalibor Martinis, and Goran Trbuljak, along with their Italian counterparts Michele Sambin, Claudio Ambrosini, and others. The videos that they produced at this workshop stand as key examples of not only their own personal artistic development but also the genesis of video art in Yugoslavia.
This program presents a sampling of the videos created at the 1976 Motovun meeting. Some directly engage the workshop theme of identity, such as Triptych by Martinis. Others explore movement, such as Monument by Iveković. Still more investigate the formal properties of video such as the Untitled series by Trbuljak. All present a fascinating engagement with this new medium and the position it would inhabit in uniting a variety of artists and artistic disciplines in one beautiful Adriatic setting.