BOOK AND EVENT / THE DISCREET CHARM OF PEACE

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BOOK AND EVENT / THE DISCREET CHARM OF PEACE

  1. 1. Fragments of time and place in photograpyBarbara Jakše Jeršič & Stane JeršičTHE DISCREET CHARM OF PEACEDISKRETNI ŠARM MIRUFragmenti časa in prostora v fotografiji
  2. 2. Sarajevo - Ljubljana - Portorož - Benetke - Dunaj - Munchen - San Francisco.2003 - 2005.Sarajevo - Ljubljana - Portorose - Venice - Vienna - Munich - San Francisco2003 -2005
  3. 3. Fragmenti časa in prostora v fotografiji Fragments of time and place in photograpyBarbara Jakše Jeršič & Stane JeršičDISKRETNIŠARMMIRUTHEDISCREETCHARMOFPEACE
  4. 4. Koroški pokrajinski muzejSlovenj Gradec02.09. - 24.10.2005Koroški pokrajinski muzejGlavni trg 242380 Slovenj GradecSlovenijatel : +386 (0)2 88 42055, 88 22930dir : +386 (0)2 88 22931fax: +386 (0)2 88 42055
  5. 5. Najnovejša serija fotografij Barbare Jakše in Staneta Jeršičanastaja v angažirani vizualizaciji sodobnih, z uniformnostjo glo-balizacije ožigosanih urbanih ambientov na različnih koncih sveta.S tenkočutnim prediranjem tančic zunanjega videza mestnegautripa se fotografa spuščata v zakulisje fragmentiranih okruškovživljenja, ki jim vselej zoperstavljata izpraznjeno, skoraj sterilnoizhodiščno podobo, nekakšno arhetipsko veduto prepoznavnemikrolokacije, v panoramskem posnetku razširjene v sugestivni,domala metaforični »psihološki portret« prostorov, neposeljenihs človekom, a z jasno čitljivimi sledovi njegove siceršnje prisot-nosti. Natančni, visoko estetizirani črno-beli posnetki ne sledijoindividualni identiteti izbranega okolja, ujeti skušajo vzdušjenapetosti pričakovanja: navidezne oaze miru in posvojene, organ-izirane varnosti so tudi prizorišča nenehne latentne nevarnostisodobnih urbanih spopadov.V arhitekturnih okvirih Ljubljane, Dunaja, San Francisca,Münchna, Benetk in ožigosanega mesta Sarajeva skušata Jeršičin Jakšetova poudariti dihotomijo človekovega funkcioniranjav ambientih sodobnega sveta, v katerem se individualnostposameznika utaplja v splošno sprejetih kodih zapovedanegaobnašanja množice. Na izjemno tenkočuten način opozarjata nasvojevrstno krizo identitete urbanega, saj izpostavljata konfliktmed arhitekturo oz. stavbami kot nosilkami lokalne prepoznavnos-ti, ter ljudmi, ki v naprezanju po aktualnem vživetju v zahteve časain prostora prostodušno podlegajo vzorcem globalnih trendov.Kot da bi bil realni prostor ujetnik sedanjega trenutka, kot da nebi bilo zgodovine, morda le še novica prejšnjega ali tega dneva,kot da bi vsaka individualna zgodovina izčrpala svoje motive in seznašla v nenehni izpraznjeni sedanjosti, prestreljeni s ponorelimhlastanjem za čim hitrejšo konzumacijo dobrin. Figure se zlivajoz okoljem, v njem izginevajo, se konformistično zapredajo vnjegove nevidne niti in skupaj z njim oblikujejo iluzijo navideznesimbioze, diskretnega šarma miru v hipertrofiranem ritmuvsakdanjega življenja. Krhkost logike urejenega, nadzorovanegastanja stvari najbolj jasno razgalja prav fotografija, saj kot podobane obstaja v realnem, vzvrtinčenem in pospešenem dojemanjučasa. Izrgana iz konteksta realnega časa, uklenjena v negib-nost in tišino, veliko prepričljiveje kot vseprisotna, neulovljivaelektronska gibljiva slika označuje stereotip vsakodnevnereciklaže globaliziranih vzorcev bivanja v sodobnem svetu.Življenje v večjih mestih s hitrim kopičenjem spreminjajočih sepodob in oblikovanjem vedno novih javnih prostorov kot ključnihelementov urbanih strategij resnično ne prinaša stabilnosti,nasprotno, povzroča razdrobljenost in izgubo orientacije.Fotografske podobe so lahko zato fotografije česarkoli: podobeklišejsko prepoznavnih prostorov mestne identitete in podobespregledanih, morda še bolj avtentičnih efemernih ambientov,ter kogarkoli: ljudi, ki so neznani drug drugemu, ki se zbirajov skupine, vrste, mimoidoči, ki se srečujejo v trenutku, ki nimaopraviti s preteklostjo.Razen morda v Sarajevu. V mestu nepredstavljivega trpljenja,kolektivnega sovraštva, medsebojne solidarnosti, dvoumnegaodpuščanja in globalne brezbrižnosti, v mestu brez vzora invzorca, z avtentično in znova vzpostavljeno, v marsičem vsiljeno,ponarejeno identiteto, ter nepreglednim labirintom sveže izko-panih grobov. Ali je tukaj, v nedrih bodoče skupne, zaokroženeEvrope nastavljeno zrcalo resnične mentalitete lažnih prerokovZahodnega sveta ter razgaljena demarkacijska linija Novegasvetovnega reda in njegovega razsutega sistema vrednot?Stane Jeršič in Barbara Jakše ne iščeta odgovorov in zaključenevizure sveta, saj se bržkone samo sprašujeta: Ali so sodobnaurbana okolja v resnici prisiljena v proizvajanje potrošniškementalitete kot edinega pragmatičnega cilja družbene strukture?Ali je vizualni red, kakršnega lovi njuna kamera, zgolj večnoponavljajoča se simulacija prostora v njegovi globalni, namišljenirazsežnosti nekakšnega umetno nadinvestiranega sveta, vkaterem ni več prostora za lucidno misel posameznika in epifanijopodobe - ikone, ki navdihuje?Marko KošanThe latest series of photographs by Barbara Jakše and StaneJeršič takes shape in the conscious and committed visualizationof contemporary urban environments in various parts of the worldthat have been “branded” by the uniformity of globalization. Sen-sitively piercing the veils of the external appearance of urban life,the photographers enter a behind-the-scenes space of fragmen-tary scraps of life against which they place an emptied, almoststerile initial image, a kind of archetypal view of a recognizablemicrolocation, expanded in a panoramic photograph into a sug-gestive, almost metaphorical “psychological” portrait of spacesunoccupied by human beings but with clearly legible traces oftheir presence. The precise, highly aestheticized black-and-whiteimages do not follow the individual identity of the chosen environ-ment; rather, they try to capture the atmosphere of the tensionof expectation: apparent oases of peace and adopted, organizedsecurity are also the settings for the constant latent danger ofcontemporary urban conflicts.Within the architectural frameworks of Ljubljana, Vienna, SanFrancisco, Munich, Venice and the stigmatized city of Sarajevo,Jeršič and Jakše try to emphasize the dichotomy of humanfunctioning in the environments of the modern world, in which theindividuality of the human being is drowned in generally acceptedcodes of the prescribed behavior of the crowd. In a very subtleway, they draw attention to the unique identity crisis of the urban,by exposing the conflict between architecture – or buildings – asthe props of local recognizability, and the people who, in their ef-forts to accustom themselves to the demands of time and space,ingenuously succumb to the patterns of global trends. As thoughreal space were a prisoner of the current moment, as thoughthere were no history but perhaps only news from yesterday ortoday, as though every individual history had exhausted its motifsand found itself in an unending, empty present, shot through witha frenzied clutching at consumption, as rapid as possible. Figuresblend with the environment, they disappear in it; they wrapthemselves conformingly in its invisible threads and, bonded withit, form the illusion of apparent symbiosis, the discreet charm ofpeace in the hypertrophied rhythm of everyday life. The fragilityof the logic of the ordered, controlled state of things is mostclearly exposed by the photograph: as an image it does not existin the real, vertiginous and sped-up conception of time. Torn fromthe context of real time, fettered in immobility and silence, it char-acterizes – far more convincingly than the omnipresent, elusiveelectronic moving image – the stereotype of the daily recycling ofglobalized patterns of living in the modern world.Life in big cities, with the rapid accumulation of changing imagesand the constant formation of new public spaces as key elementsof urban strategies, does not truly bring stability. Quite the oppo-site, it causes fragmentation and loss of orientation. Photograph-ic images can therefore be photographs of anything: images ofthe clichéd spaces of urban identity and images of overlooked,perhaps more authentic ephemeral environments; and of anyone:people who are strangers to each other, who gather in groups,queues, passers-by who encounter each other in a moment thathas nothing to do with the past.Except perhaps in Sarajevo. In a city of unimaginable suffering,collective hatred, mutual solidarity, doubtful forgiveness andglobal indifference, in a city without pattern or model, with anauthentic and re-established identity, in many ways imposed andfalsified, and a confused labyrinth of freshly dug graves. Or has amirror of the true mentality of the false prophets of the Westernworld been set up here in the bosom of the future common, com-plete Europe, and the demarcation line of the New World Orderand its fragmented system of values been laid bare?Stane Jeršič and Barbara Jakše are not looking for answers anda final vision of the world. They are probably merely asking them-selves: Are modern urban environments really forced into theproduction of a consumerist mentality as the only pragmatic goalof social structure? Is the visual order of the kind their camera ishunting merely an eternally repeating simulation of space in itsglobal, imaginary dimension of a kind of artificially overinvestedworld, in which there is no more space for the lucid thought ofthe individual and the epiphany of the image/icon that inspires?Marko Košan
  6. 6. Barbara Jakše Jeršič (1967) in Stane Jeršič(1957) ustvarjata na področju fotografije odleta 1987 in živita v Sloveniji. Izdala sta vrstomonografij, imela številne samostojne razstave inbila uvrščena v skupinske predstavitve vSloveniji kot tudi Evropi, Japonski in Ameriki.Njuna dela so vključena v uveljavljene javne inzasebne zbirke fotografije.www.portfolio.si/jaksejersic/barbara.jakse@guest.arnes.sistane.jersic@guest.arnes.siBarbara Jakše (1967) and Stane Jeršič (1957)have been working in the field of photographysince 1987 and lives in the Republic of Slovenia.In the next few years they published severalbooks, have many one-person exhibitions andhave been selected in different group shows inSlovenia as well as in Europe, Japan and theUnited States. Their photographs form part ofof well-known public and private collections ofphotography.

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