goran kofi
drugi prostori
5. 9. 11. 2013.
drugi prostori
gorana kofia
antun marai
U svojim fotografskim i videoradovima nastalim posljednjih godina, mladi umjetnik
Goran kofi (1979.), koristei se multipliciranim vlastitim likom u razliitim stiliziranim,
mahom karikaturalnim situacijama, prije svega govori o svojem osjeanju suvremenog
svijeta. Slikama vlastitog tijela, kako izjavljuje,
govori o velikom drutvenom tijelu. Repetirani autorovi likovi akteri su istodobno duhovite i tragine prie: taj uvijek isti ovjeuljak,
ubrzanih trzavih pokreta, koji izvodi gegove,
oponaa predmete kao na pokretnoj traci,
stupa u stroju umnoen poput vojnika-robota uz uvjerljivo zlokobne militaristike zvuke,
koji puca na vlastite postrojene kopije... lik je
koji dokida iluzije o jedinstvenim individualnostima. kofievo mnotvo dakle nije skup
pojedinaca, nego mnotvo vlastitih klonova,
to upuuje na njegovo autokritiko podrazumijevanje da sebe ne izuzima iz sustava
anomalija suvremenog svijeta.
Na samostalnoj izlobi u Forumu, kofi izlae radove koncipirane u odnosu na konkretan galerijski interijer, a u njihovoj scenografiji,
za razliku od prethodnih u kojima su prostorne odrednice bile veinom iskljuene i u igri
je bila najee bijela pozadina, kofi ponovo uvodi konkretan ambijent; no i sada u iz-
elimo podrazumijevati: mir gorske idile naruen je padom ljudske bombe; cjelovitost
lica varka je iluzije odraza jedne polovice; lienost sile tee nije put u slobodu nego je,
naprotiv, njezino ogranienje.
kofi je umjetnik koji podjednako paljivo brine za istou i izbruenost ideje i preciznost tehnike izvedbe. Vie oduzimajui
nego dodajui, svodei stvar na minimum
elementa, na bit, on postie produktivnu suprotnost: slojevitost slike i znaenja. Iako po
formi ludian i aljiv, njegov je rad krajnje ozbiljan. Ne samo u smislu tretmana sadraja
koji eli komunicirati, serioznosti teme koja
je mimikrirana komunikativnim gegom nego
prije svega, ini se, po nainu upotrebe sredstva kojim se slui.
kofi je dijete 21. stoljea i njemu je, kao i
mnogim njegovim vrnjacima, familijaran
svijet medija i elektronikih igraaka. No tim
dostignuima suvremenih tehnologija, njihovim zavodljivim mogunostima on se dodue slui obilno, ali i racionalno. Vrlo je svjestan
da mogunosti digitalne fotografije, fotoopa, 3D oblikovanja itd. lako mogu zavladati neopreznim konzumentom. Stoga nastoji
zadrati mjeru, tovie, kritiki odmak u njihovoj upotrebi, kao i prema suvremenosti
uope, sa svim njezinim poremeenim pojavnostima. Otuda i ironija u njegovu radu
koja se ne iscrpljuje samo u karikaturalnoj
gesti, nego se odnosi i na sam upotrijebljeni
medij. Otuda u kofievu djelu este evokacije rudimentarnih oblika animacije, pojednostavnjene pantomime, burleske sline onima
iz doba prije zvunog filma...
Uz ostalo, kofi svojim radom poruuje da
tehnologija svojim zastraujue efikasnim
performansama nije jamstvo nadvladavanja
okorjelog primitivizma. tovie, moe ga ui-
other spaces
of goran kofi
antun marai
In his photographic and video works created
in the last few years, the young artist Goran
kofi (1979), exploiting multiplied images
of his own likeness in various stylised and
almost entirely caricatural situations, speaks primarily of his feeling about contemporary society. Through the images of his own
body, as he states himself, he speaks about the big body of society. The reiterated figures of the artist are the actors in a story at
once witty and tragic: this little man, always
the same, with rapid and jerky movements,
performs his visual gags, imitates objects as
if on a conveyor belt, falls into a rank multiplied like robotic soldiers with persuasively
ominous military sounds, shooting at its own
also lined-up copy a figure that does away
with illusions about unique individualities.
kofis multitude is not a set of individuals;
rather, a multitude of clones of themselves,
indicating his self-critical implication that he
cannot exempt himself from the system of
anomalies of the contemporary world.
At this one-man exhibition in the Forum, kofi exhibits works conceived in some relationship to the given gallery interior; he brings
back the concrete setting into the sceno-
bers of times: firstly with a literal location at different points of the gallery and then, in each
work in itself, by duplication or contrast of the
meaning of the scene, the manner of projection or the character of the surreal image in
which the idea of gravitation is abolished. It
need not even be said that all the works have
in common the abstract, virtual space of a
digitally manipulated static or moving image that is opposed to or compared with the
real. Or as the author himself says: I am interested in the relationship, i.e. the place where real space is connected up with the parallel
space (such as for example, virtual space, invisible space, metaphysical space and reflection of the space). Im interested in their interaction, the combination of these dimensions.
In the first work, Lake, we meet an idyllic Alpine landscape that seems unreal in its beauty and peace. In the foreground is the lake,
bounded by greenery and mountains, and
we can hear the appropriate sounds of small
animals. But this absolute peace is suddenly
brutally interrupted with the noisy fall of a human body into the water, as if it were a bomb.
After the ferocious and turbulent disturbance of the initial image, the sounds are eliminated, until the troubled surface of the lake
is gradually calmed, and the little sounds return. The human figure, however, that of the
author himself, after his disruptive intrusion, does not emerge from the water, rather
the original image is tacitly renewed, and the
work repeats in its loop.
This approach allows the artist at once to speak out concisely and yet also directly about
the global problem of the disrupted ecological equilibrium, resulting from human interventions into the natural setting, and at the
same time to give expression to his subjecti-
ployed. The pedestal is still the bearer of artistic contents, but instead of being a base for
the physical artefact, the pedestal has become a screen for the temporary projected image. Bearing in mind the projected motif, the
figure of the artist that, deprived of the force
of gravity, floats above the floor seeking a resting point in the corners of the walls of the
room, the role of the actual base too dissolves. The pedestal, notwithstanding the fact
that it retains the framework of its own rectangularity, becomes an object of insecurity, its function as base is disputed, and to the
mass of the cube, the projected image opposes the negative of a sterile and anonymous
interior; the firmness of the block of the pedestal is decomposed by the incursion of the
illusion of the spatiality.
What links these superficially fairly different
works, apart from the constant presence of
the more or less readable likeness of the artist himself is, as the title suggests, the relativisation of the firm supports that the everyday, like it not, we want to take for granted:
the peace of the alpine idyll is disrupted by
the falling of the human bomb; the completeness of the human face is an illusion, the reflection of one half; being exempted from the
force of gravity is not the way to freedom but,
on the contrary, confinement.
kofi is an artist who equally carefully
attends to making his work clean and polished and to the precision of the technical
execution. Subtracting more than adding,
reducing the matter to the minimum of elements, to the essence, he achieves a productive opposition: a layering of image and meaning. Although in form ludic and joking, his
work is ultimately serious. Not only in the sense of the treatment of the content that he wis-
the pre-talkie era. Among other things, kofi tells us with his work that technology with
its terrifyingly effective performances is not
guarantee for getting the better of entrenched primitivism. It can in fact make it all the
more malign.
For this reason, the apparently playful and
carefree work of kofi, which is engaged
without being overemotional or moralistic, is
an invaluable idiom in the context of the art
scene at home and abroad.
10
11
izloci | exhibits
biografija
biography
full hd video
400 x 225 cm
fotoprojekcija na postamentima |
photo projection on the pedestals
stallations.
lima.
Suoavanje | Facing
full hd video
Americi.
150 x 85 cm
trajanje | duration: 2:57 min (loop)
godina | year: 2013.
kontakt | contact
Ogranienje | Constraint
fotoprojekcija na postamentima |
e-mail: goranskofic@gmail.com
www.goranskofic.com
12
13
samostalne izlobe |
tisak | printing
one-person exhibition
Kerschoffset, Zagreb
gf@kic.hr
tun Marai)
izdava | publisher
(kust. WHW)
Preradovieva 5, Zagreb
naklada | edition
lomon)
250
www.kic.hr
__________
nagrade | awards
izlobu-nagradu omoguili |
ravnateljica KIC-a
Vladimir ajkovac)
Beni)
Hrvatska
urednik | editor
Antwerpen)
Antun Marai
Hrvatska
predgovor | preface
Antun Marai
Janka Vukmir)
Makedonija
Marina Viculin)
Yaygara)
Makedonija
Rosanda Tometi
ka Beni)
Hrvatska
prijevod | translation
Graham McMaster
Cuturescapes, Basel
la Topi)
ribor, Slovenija
Goran kofi
pi)
Hrvoje Lonar
den Lui)
ostvaralatva, Hrvatska
fotografije | photographs
Hrvatska
fotoprojekcija na postamentima |
vatska
vac)
14
naslovnica | cover:
Ogranienje | Constraint, 2013.