In compliance with the restrictive measures taken by the Government of RS to limit the second wave of the Coronavirus pandemic, Cankarjev dom has cancelled or rescheduled all events. All exhibitions are temporarily closed.
Significant changes have occurred in the field of photography over the recent decades, changes most notable in the genre of fine art photography or on the metadiscoursive level. Contrary to the mass use of the medium enabled by digitisation (including ‘smart’ phones) and in most cases not rising above superficiality of expression and often gross uninventiveness, contemporary art photography focuses on researching and reflecting upon the very nature of the image, its illusoriness and elusiveness and, of course, the fact that its representation of the empirical world, which we perceive spatially, is planar, i.e., two-dimensional. In this respect, the choice of a motif is often secondary, except when it underpins the photographer’s basic idea at a symbolic or narrative level. The selected work of Mare Mutić also falls within this context.
Using an original compositional approach, the artist addressed the issue of the relationships between the plane and the space, and ‘objectified’ the image in a specific way by composing – from repetitions of a motif on transparent plastic film in various formats with smaller deviations from the basic (largest) surface – a construction that gives the viewer a more convincing impression of depth of the picture field. Through the large dimensions of the featured photograph, reality is approximated even further, and the interaction between what is offered on view and the one who views becomes more intense, even though the physical distance is preserved. The awareness that what is in front of us is a segment of nature created through photographic means and procedures, that is, its downscaled model, rather than an actual natural milieu is the differentia specifica that substantiates the visual creation as a result of a creative process, an implementation of a particular artistic concept rather than a simple imitation of an existing one. Mutić’s photographic reflections present us with a narrative in which primal sensory perceptions are enhanced through a pronounced personal sensitivity, a sensitivity focused not only on what to represent, but also on how to represent it so that the content and form might blend into a genuine contemporary address, one beyond the conventional norms of the medium.
Brane Kovič (1953) is an art historian, art critic, translator and publicist. An internationally established freelance curator, Kovič is invited to serve on various international juries and speak at professional congresses, conferences and symposia. His particular specialty is writing about photography and organizing photographic exhibitions. Among others, he has organised and coordinated a project marking 150 years of photography in Slovenia (Ljubljana City Gallery and Architectural Museum, 1989–1990) and introduced some of the greatest names in world photography, including Jeanloup Sieff and Helmut Newton, to the Slovenian public. Many of his articles and discourses were published in Serbian, Croatian, English, French, Italian, Spanish, Bulgarian and Albanian in addition to Slovenian. He lives and works in Ljubljana.
Mare Mutić (1969) is a freelance artist involved in diverse genres of visual art. In his work, Mutić mostly explores photography and video. He holds exhibitions at home and abroad, and has received several international awards for his achievements. His photographic eye focuses on theatre, architecture, nature and urban life. He lives and works in Ljubljana.