Ana Opalić Od portreta do vremena

Ana Opalić
Od portreta
do vremena
naslovna fotografija / cover
Mama na Srđu, Dubrovnik, ljeto 2007.
Mom at Mount Srdj, Dubrovnik, summer 2007
25 x 31,5 cm
Fine art print on Hahnemuhle Photo Rag 500 gsm
Rozana i Pero, Zagreb, proljeće 1998.
Rozana and Pero, Zagreb, spring 1998
25 x 25 cm
Fine art print on Hahnemuhle Photo Rag 500 gsm
OD PORTRETA DO VREMENA
„Ono što me najviše zanima u fotografiji je iza pogleda. Razmaknuti pogled i
onda snimiti.“ U ovom autopoetičkom iskazu hrvatske fotografkinje Ane Opalić
najpreciznije je objašnjen njen stvaralački čin. Šta je iza pogleda u izložbi Od
portreta do vremena? To su serije fotografija njene majke u različitim raspoloženjima
i stavovima koje impliciraju jedan topao, nježan odnos pun razumijevanja, crnobijele i u koloru kao i fotografije njenih prijatelja i porodice. Od porodičnog
neosjetno prelazi na estetsko, najeksplicitnije je to u crno-bijelim fotografijama gdje
su one kontrapunkt. Neka su vrsta unutrašnjih monologa umjetnice jer vrijeme koje
prolazi mijenja i razara sve. Džeri Uelsman kaže: „Fotoaparat je način da se od
nepostojane, fluidne materije ide u susret jednoj drugoj stvarnosti.“ Ana Opalić to i
radi, ide u susret drugoj stvarnosti, onoj iza pogleda u serijama fotografija koje radi
dugo, vraća se istoj temi, ali je ona na fotografijama uvijek drugačija.
„Odnos između fotografisanog i fotografa nije neutralan. Štaviše, njime je nemoguće
upravljati, jer se najvažnije odigrava u ravni nesvjesnog. Fotografija je prvenstveno
rezultanta odnosa uspostavljenih između dvaju „to“, između nagonskih težnji.
Fotografovo „to“ ima dakle određenu ulogu, ali trpi i uticaj drugog „to“ i psihičkog
ustrojstva. U svakom fotografu odigrava se nesvjesno, dijalektička igra uticaja
između njegovog „ja“ koje nastoji da predviđa i gospodari, njegovog „to“ koje
izražava uglavnom nagone i težnje okrenute ka spolja (dakle, prema fotografisanom
i fotografiji) i njegovog „nad-ja“ koje fotografa poistovjećuje s „čuvenim“ kolegama,
to jest estetskim, stilskim i tehničkim uzorima i pravilima; ovi uzori svakog fotografa
potčinjavaju i usmjeravaju, privlače i parališu čak, i pogotovo, kada hoće od njih
da se ogradi. „To je bilo odglumljeno“ svi budu obmanuti ili mogu biti obmanuti
u fotografiji - i fotografisani, i fotograf i posmatrač fotografije“ (Fransoa Sulaž,
Estetika fotografije, Edicija Foto Artget, Kulturni centar Beograda 2008.)
Odnos između fotografisanog i fotografa nije neutralan, što je najeksplicitnije na
fotografijama mame Ane Opalić. Bol, izmučenost, poneki sjetni pogled, tuga i
ponovo radost smjenjuju se na ovim fotografijama. Mizanscen je krevet, šiblje,
spavaćica i na kraju duga. Ove fotografije svjedoče o uticaju dva „to“. Fotografija
je prvenstveno rezultanta odnosa uspostavljenih između dvaju „to“, između
nagonskih težnji, a najbliži i najkompleksniji odnos je odnos pojedinca sa majkom,
što se iščitava i na ovim fotografijama. „Promišljam portret kao „vrijeme provedeno
sa osobom koju prikazuje“ kaže Ana Opalić, što važi i za njen video rad Pismo.
„Htjela bi se vratiti u prošlost“ je prva rečenica pomenutog videa. Kamera kruži
po različitim elementima pejzaža i prati je tjeskoban zvuk vjetra ili preciznije oluje.
Kadrovi su zamagljeni, gledalac je pomalo zbunjen jer tekst je jasan, poetski
konotiran. Odjednom se vide siluete njene mame i umjetnice. Shvatate da je riječ
o ispovjesti i postavljanju pitanja gdje je tu umjetnica jer „Ako se i vratiš... Koja Ti
će se vratiti? Nije važno što ćemo reći. Riječi su kao zatvorena vrata.“
Nataša Nikčević
Marina Nodilo, Dubrovnik, ljeto 2005.
Marina Nodilo, Dubrovnik, summer 2005
25 x 25 cm
Fine art print on Hahnemuhle Photo Rag 500 gsm
FROM PORTRAIT TO TIME
“What most interests me in photography is placed behind the view. Move apart
the view and then photograph it.“ This auto-poetic statement by the Croatian
photographer Ana Opalic most accurately explains her creative act. What is
there behind the view at the exhibition From Portrait to Time? These are series
of photographs of her mother in a variety of moods and attitudes which imply a
warm, loving relationship full of understanding, both black and white and in colour,
as well as photos of her friends and family. She imperceptibly passes from the
family to the aesthetic; this is most explicit in the black and white photographs
where they are a counterpoint. They present some kind of internal monologues
by the artist because time that passes changes and destroys everything. Jerry
Uelsman says: “The camera is a fluid way of encountering that other reality”. This
is precisely what Ana Opalic is doing - she is moving toward another reality, the
one behind the views in the series of photographs that she has been creating over
a long period of time, returning to the same subject that is always different on the
photographs.
“The relationship between the photographed and the photographer is not
neutral. Furthermore, it is impossible to manage because the most important
is taking place in the unconscious level. Photography is primarily a resultant
of the relationships established between the two “it”, between the instinctive
aspirations. The photographer’s “it” therefore has a specific role but it also suffers
the influence of the other “it” and psychical structure. In every photographer
there takes place the unconscious, the dialectical game of influence between his
“ego” that seeks to anticipate and dominate, his “it” which mainly expresses the
instincts and aspirations facing outward (that is, towards the photographed and
the photography) and his “super-ego” which identifies the photographer with his
“famous” colleagues, that is, the aesthetic, stylistic and technical models and
regulations; these models subordinate and direct, attract and even paralyze every
photographer, especially when he wants to get distanced from them. “That was
faked”, everyone is deceived or can be deceived in photography – the person
photographed, the photographer as well as the observer of the photography”.
(Francois Soulages, Aesthetics of Photography, Edition Foto Artget, Belgrade
Cultural Centre, 2008)
The relationship between the photographed and the photographer is not neutral
and this is at its most explicit in the photographs of Ana Opalic’s mother. Pain,
exhaustion, a melancholy look here and there, sadness and joy again alternate in
these photographs. The mise-en-scene is a bed, brushwood, a nightgown and
finally, a rainbow. These photographs bear witness to the influence of the two “it”.
Photography is primarily a resultant of the relationships established between the
two “it”, between the instinctive aspirations while the closest and most complex
relationship is the relationship of an individual with his mother, which can be
interpreted on these photographs. “I think about a portrait as ‘time spent with the
person it depicts’”, says Ana Opalic. This also applies to her video work Letter.
“I would like to go back in time” is the first sentence of the mentioned video.
The camera circles around different elements of the landscape and is followed by
the restless sound of the wind or, more precisely, the storm. Cadres are blurred;
the viewer is somewhat confused because the text is clear, poetically connoted.
Suddenly you can see the silhouettes of the artist and her mother. You realize that
it is about a confession and asking the question where the artist is because “Even
if you do come back ... Which one of you will come back? It is not important what
we say. Words are like closed doors.”
Natasa Nikcevic
Mama u Voćarskoj, Zagreb, proljeće 2016.
Mom at Vocarska street, Zagreb, spring 2016
25 x 31,5 cm
Fine art print on Hahnemuhle Photo Rag 500 gsm
Mama u Bunićevoj, Zagreb, proljeće 2007.
Mom at Buniceva street, Zagreb, spring 2007
25 x 35 cm
Fine art print on Hahnemuhle Photo Rag 500 gsm
Slaven, Sv. Marija, Dubrovnik, proljeće 2006.
Slaven, St.Mary’s, Dubrovnik, spring 2006
25 x 25 cm
Fine art print on Hahnemuhle Photo Rag 500 gsm
Ana Opalić rođena je 1972. godine u Dubrovniku.
1997. godine diplomirala je TV i filmsko snimanje na Akademiji
dramskih umjetnosti u Zagrebu. Bavi se fotografijom, videom i
dokumentarnim filmom. Samostalno izlaže od 1991. godine.
1997. je nagrađena na godišnjoj izložbi Hrvatskog fotosaveza kao
najbolja mlada fotografkinja.
Od 2000. ima status samostalne umjetnice pri HZSU. 2003.
predstavljala je Hrvatsku na Venecijanskom bijenalu (zajedno sa
Borisom Cvjetanovićem).
2009. dobila je 2. nagradu na izložbi [email protected]
2016. godine u koautorstvu sa umjetnicom Vesnom Mačković dobila
je 3.nagradu na izložbi [email protected]
Osnivačica je i urednica web portala Suvremena hrvatska fotografija
(www.croatian-photography.com)
Rediteljka je i snimateljka dokumentarnog filma Još jednom (Ana
Opalić i Noah Pintarić, 2014.) koji je premijerno prikazan na Zagreb
Dox međunarodnom festivalu dokumentarnog filma
.
Trenutno snima novi dokumentarni film Lijek.
U slobodno vrijeme bavi se muzikom. Članica je benda U pol’ 9 kod
Sabe te benda Ti, ja i moja mama. Živi i radi u Zagrebu.
Izlagala je na više samostalnih i kolektivnih izložbi u Hrvatskoj i
inostranstvu.
Ana Opalic was born in 1972 in Dubrovnik.
She graduated in TV and movie filming at the Academy of Dramatic
Arts in Zagreb in 1997.
She is engaged in photography, video and documentary film. She has
been exhibiting individually since 1991.
She was awarded as Best Young Photographer at the Annual
exhibition of the Croatian Photographic Union in 1997.
She has the status of freelance artist at the Croatian Freelance Artists
Association since 2000.
She represented Croatia at the Venice Biennial (together with Boris
Cvjetanovic) in 2003.
She won the 2nd prize at the [email protected] exhibition in 2009.
She was co-author with the artist Vesna Mackovic when she won the
3rd prize at the exhibition [email protected] in 2016.
She is founder and editor of the web portal Contemporary Croatian
Photography (www.croatian-photography.com).
She is director and camerawoman of the documentary film Once
Again (Ana Opalic and Noah Pintaric, 2014) which was premiered at
the Zagreb Dox International Documentary Film Festival.
Currently she is filming a new documentary film entitled The Cure.
In her spare time she is engaged in music. She is a member of the
group U pol ‘9 kod Sabe and the group Ti, ja i moja mama. She lives
and works in Zagreb.
She has exhibited at several solo and group exhibitions in Croatia and
abroad.
www.csucg.co.me Ana Opalić Galerija Klub Kruševac bb, Podgorica
Izdavač Centar savremene umjetnosti Crne Gore Za izdavača Nenad Šoškić
Kustoskinja Biljana Keković Tekst Nataša Nikčević Prevod na engleski Darja Marija Vuletić
Fotografije Ana Opalić Tehnička realizacija izložbe Novica Vuković, Sava Radević, Nebojša
Raspopović Tiraž 150 Štampa DPC, Podgorica septembar 2016
ISBN978-86-85797-67-5
COBISS.CG-ID30879248