Izložba Darka Bavoljaka

DARKO BAVOLJAK

Dubrava – 5. 12. – 29. 12. 2016.

DUBRAVA

Danas se od umjetnika traži društvena analitičnost i angažiranost a fotografija, kao najrasprostranjenija dokumentaristička metoda, još se i sada prešutno smatra najmoćnijim sredstvom spoznaje stvarnosti. Jednom riječju, ono za što znanstvenicima trebaju desetine ispitanika i stotine intervjua umjetnik može sažeti u 7 slova!

Fotografija koja potencijalno obuhvaća široko područje znanja, iskustva, sjećanja i samim time i značenja, autorski je narativ Darka Bavoljaka kojim se od ranih 90. sustavno bavi. Već je njegova izložba “Budućnost”, u kojoj se bavio logotipovima robne kuće razorene u ratu, pokazala smjer njegovih interesa. To je umjetnost kao dio antropološke spoznaje kroz etnologiju naše svakodnevice, a sve to u nastojanju da se, izmjenom očišta, anticipira stvarnost.

Moguća metoda pozicioniranja njegovog umjetničkog rada metoda je kontekstualizacije i očituje se kroz njegov odnos prema društvenom, prema kulturnom i u konačnici kroz odnos prema kontekstu vlastitog rada, djelovanja i mišljenja.

U izložbi “Dubrava” Bavoljak se bavi grafitima ispisanima po fasadama, ulicama, kantama za smeće, napuštenim dućanima, radionicama… Preciznim istraživanjem i upornim traganjem on pronalazi 7 slova u kojima pokušava sažeti identitet tog velikog zagrebačkog kvarta. Priča na taj način postaje dvoslojna; u prvom sloju je tekstualni zapis ispisan kao oblik komunikacije pojedinca ili marginalne grupe sa širom kulturom, provokacija u javnom prostoru ili naprosto samo obavijest, dok je u drugom sloju Bavoljakova poruka za čiju preglednost koristi fotografiju koja mu služi kao posrednički medij u tom sagledavanju. Naravno, on ne prati samo tragove koji ostavljaju ono što je vidljivo, nego ih pažljivo bira, kadrira, ulazi u dijalog s već postojećim, pronađenim i istraženim i predlaže nove načine njihovih čitanja.

Autor u svom diskursu izloženog djela pokazuje i priopćava svoje stajalište, ideologiju i kontekstualnu pripadnost te u svakom slučaju ne polazi iz pozicije neutralnog promatrača. Svako slovo na fotografiji predstavlja za njega znak i on od znaka polazi i ulazi u “turbulentno područje događanja” koje je za njega “(događanje) turbulentno zbog toga što unutar fotografije ne struji samo vidljivost, nego i značenje i znanje.” (Reinhard Braun, Camera Austria u Arhivi preraspodjele i premjeravanja, GKD, Zagreb, 2014.)

Tako je prvo slovo D, slovo ispisano na brojnim mjestima toga predgrađa, početno slovo nogometnog kluba Dinamo. Ono je još k tome inkorporirano u plavo-crvenu šahovnicu i ovijeno pleternim obrubom. Ljubav prema Dinamu zasigurno je jedan od najjačih elemenata hrvatskog nacionalnog identiteta žitelja Dubrave, a iz njega su proistekli i Bad Blue Boys, navijačka skupina koja se često povezuju i s radikalizmom o čemu svjedoči i svastika u trećem slovu B. Da fašistička obilježja nisu dobrodošla u Europi, navijačima Dinama neprestano poručuje međunarodna zajednica velikim kaznama nakon ispada na utakmicama. Ti simboli su, međutim u posljednje vrijeme učestali u Hrvatskoj , kao i drugo slovo U kojem je upisan i križ. Taj znak povezuje na neki način dva disparatna pojma; ustaše (hrvatski profašistički pokret) i križ (najrašireniji i najizrazitiji simbol kršćanstva), koji kao ikonografski element u sebi sadrži križ na koji je bio razapet Isus Krist te označava njegovu patnju i iskupljenje za čovječanstvo. Da li je, i kako moguće pomiriti te dvije ideologije, ljubav prema svim bližnjima i isključivost prema različitima (Srbima, Židovima, Romima, «obojenima», homoseksualcima…) ne znamo, i pitamo se da li to znaju oni koji su poruku pisali.

Nakon političkih i nacionalnih parola Bavoljak kreće prema svakodnevnim porukama. Neriješena parkirna mjesta i zaustavljanje pred vratima ponukalo je nekoga da dizajnira vlastiti znak zabrane parkiranja. Prema kraju rada možemo primijetiti da se iz područja etike autor pomiče, na neki način u polje estetika. U slovima A netko se poigravao sa suvremenom tipografijom, a u slovu V pojavljuju se naznake street arta u iscrtanim flašicama pića na vratima propalog dućana.

Mogli bismo zaključiti da Bavoljak, širenjem značenja izvan samog kadra fotografije i uvođenjem sekvence, aktivira način gledanja te fokus proširuje na misaone procese, pa njegov odnos između viđenog i spoznatog ulazi u polje performativnog djelovanja.

Njegov se interes, a samim time i interes promatrača, usmjerava na neki način prema sadržaju koji se nalazi iza fotografiranog predmeta; na uzavreli grad, oronule fasade, , bučne navijačke skupine, neriješene političke odnose, porast ekstremnog nacionalizma, konfuznu urbanističku, a samim time i saobraćajnu problematiku, napuštene lokale ali također i na živost i veselje novodolazećih mladih generacija majstora grafita i njihovu neopterećenu estetiku.

Sve je to Dubrava Darka Bavoljaka u nizu od 7 slova.

Jasmina Bavoljak
Zagreb, 18. 11. 2016.

Darko Bavoljak rođen je 1961 godine u Zagrebu. Završio studij snimanja na  Akademiji dramske umjetnosti u Zagrebu. Djeluje u području fotografije, filma, konceptualne umjetnosti i kustoskih koncepcija. Njegove fotografije se nalaze u privatnim kolekcijama, te u zbirkama fotografija Muzeja suvremene umjetnosti u Zagrebu i Muzeja moderne i suvremene umjetnosti u Rijeci. Član je HDLU Zagreb i HZSU-a.

Samostalne izložbe:
2014. Galerija Klovićevi dvori, Zagreb, Galerija Waldinger, Osijek, Putovanje ciklus Snapshoot
2013. Galerija Lamparna, Labin, Ovrha
2011. K.U.N.S. GALERIJA O.K. Rijeka, Budućnost 2011
2010.  K.U.N.S. GALERIJA O.K. Rijeka, Refleksije
2008.  Kula Lotrščak, Zagreb, Indija, s Ivanom Kožarićem
2007.  MMC galerija OK Rijeka , Indija s Ivanom Kožarićem
1998.  Galerija Luža art centar Dubrovnik, Mljet
1997.  MGC galerija FORTEZZA, Zagreb, Galerija,Čopor-horda, Pečuh, Mljet 1997
1994.  FOTODIFFUSIONE´94, Torino, Ciklus Budućnost
1992.  Kulturno informativni centar, Zagreb, Ciklus Budućnost
1991.  MGC Muzejski  prostor Zagreb, Ratne fotografije
1985.  Galerija foto kluba Zagreb, Zagreb, Fotografije

Važnije skupne izložbe:
2016. Bijenale industrijske umjetnosti, Labin
2015. Iz trbuha diva, MMSU, Rijeka
2014. Festival željezara, Sisak
2014. Dani performansa MMC-a, MMSU, Rijeka
2012. Strpljivo oko – Pejzažna fotografija u zbirci MMSU, Rijeka
2010. 45.Zagrebački salon, Zagreb
1997. Hrvatska fotografija, Zagreb
1996. 30.Zagrebački salon, Zagreb
1994. Likovna kolonija, Rovinj
1993. Hrvatska fotografija od tisuću devetsto pedesete do danas, MSU, Zagreb
1992. Objektiv rata, Muzejski prostor, Zagreb
1992. 23. Salon mladih, Zagreb
1990. 22. Salon mladih, Zagreb

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DUBRAVA

Today social analysis and engagement is sought from the artist, while photography, the most widely diffused documentary method is still tacitly considered the most powerful resource engaged with the perception of reality. In a word, what natural scientists need tens of questionnaires and hundreds of interviews for, an artist can sum up in seven letters.

Photography that potentially covers a wide field of knowledge, experience, recollection and accordingly meaning is the authorial narrative with which Darko Bavoljak has been systematically engaged since the early 1990s.

His exhibition The Future, in which he was concerned with the logos of department stores smashed up in the war, showed the direction of his interests.  This is art as a part of anthropological knowledge through the ethnology of our quotidian, in the endeavour, through a change in the angle of vision, to anticipate reality.

A possible method for the positioning of his artistic work is that of contextualisation and is manifested in his attitude to the social, the cultural and ultimately through his attitude to the context of his own work, activity and thinking.

In the exhibition Dubrava, Bavoljak takes up the topic of graffiti written on building facades, streets, trash cans, abandoned shops and workshops. With precise research and persistent enquiry he has found seven letters in which he attempts to sum up the identity of this large Zagreb neighbourhood, and so the story acquires two layers. In the first stratum is the textual record written as form of communication of individual or marginal group with the wider culture, a provocation in public space, or simply just an announcement. For the readability of the second layer of his message, he uses the photograph, which serves him as a mediating resource in this survey. Naturally, he follows not only the traces that leave what is visible, but he also carefully selects and frames them, gets into a dialogue with those already in existence, already found and researched, and suggests new ways in which they can be read.

In his discourse of the work exhibited he shows and communicates his standpoint, ideology and contextual affiliation.  In any case, he does not start of from the position of neutral observer.  Every letter in a photo is for him a sign, and from a sign he starts off and gets into the “turbulent area of events” that is for him “turbulent because there is not only visibility streaming in the photograph but also meaning and knowledge” (Reinhard Braun, Camera Austria in Arhivi preraspodjele i premjeravanja, GKD, Zagreb,  2014).

Thus the first letter, D, a letter written in many places of this suburb, is the initial letter of the soccer club Dinamo.  It is in addition incorporated into a blue and red checker board pattern and wound round with braiding.  Love for Dinamo must be one of the strongest elements of the Croatian national identity of Dubrava-dwellers, and out of it stemmed the Bad Blue Boys, the supporters’ club that is often linked with some form of radical politics, as shown by the swastika in the third letter B.  Dinamo supporters are often given the message that neo-fascist symbols are not welcome in Europe by the big fines imposed after outrages at matches.   But the symbols are in recent times ever more common in Croatia, as is the letter U in which a cross is inscribed.  This sign links as it were two entirely disparate concepts – the Ustasha or Croatian fascist movement with the cross, obviously the most widely disseminated and distinct symbol of Christianity – the iconographic element implicit in which is the cross on which Christ was racked and also his suffering and redemption of mankind.  Whether it is possible to reconcile these two ideologies, love for one’s neighbour on the one hand and the exclusion of the other (Serbs, Jews, Roma, coloured people, homosexuals) we do not know, and wonder if those who wrote the message do.

Having done with political and nationalist mottoes, Bavoljak moves on to messages of everyday.

The chaos in parking places and the habit of parking in front of gates prompted someone to design his own no parking sign.  Towards the end of the work we can observe that from the area of ethics the author makes a shift off towards the field of aesthetics. In the letter A someone is having fun with contemporary typography, and in the letter V some hints of street art appear in the liquor bottles drawn on the door of a failed shop.

We might conclude that by broadening his meaning outside the actual frame of the photo and by bringing in the sequence he activates the manner of looking and expands the focus to the thinking process, and his ratio between the seen and the known comes into the field of performative activity.

His interest, and accordingly the interest of the spectator, is directed in a sense to the content that lies behind the object photographed: the bubbling city, the dilapidated facades, the rowdy supporters’ groups, the unresolved political relations, the rise of extreme nationalism, the problems related to a confused urbanism and in consequence a confused traffic situation, abandoned shops and cafes, but also to the vivacity and merriment of the upcoming younger generations, graffiti craftsmen and their uninhibited aesthetic.

All this is Darko Bavoljak’s Dubrava in a string of seven letters.

Jasmina Bavoljak
Zagreb, November 18, 2016

 

Darko Bavoljak, born 1961 in Zagreb, where he completed studies at the Academy of Dramatic Arts.
In addition to photography and film, worked on conceptual and curatorial projects.
His photos are in the photo collection of Museum of Contemporary Art, Zagreb and Museum of Modern and Contemporary Art, Rijeka.
Member of Croatian association of artist.

SOLO EXHIBITIONS
2014. Gallery Klovićevi dvori,Zagreb, Gallery Waldinger, Osijek, Traveling, cycle Snapshoot
2013. Gallery Lamparna, Labin, Enforcement
2011. K.U.N.S. Gallery O.K. Rijeka, Future 2011
2010. K.U.N.S. Gallery O.K. Rijeka, Refleksije
2008. Kula Lotrščak, Zagreb – India with Ivan Kožarić
2007. MMC Gallery O.K. Rijeka, India with Ivan Kožarić
1998. Gallery Luža art centar Dubrovnik, Mljet
1997. MGC, Galerija Fortezza, Zagreb, Mljet 1997
1994. FOTODIFFUSIONE´94, Torino, cycle Future
1992. Kulturno informativni centar, Zagreb, cycle Future
1991. MGC, Muzejski prostor, Zagreb War Photographs
1985. Photo Club Gallery, Zagreb, Photographs

GROUP EXHIBITIONS (SELECTION)
2016. Indusrial Art Biennial, Labin
2016. Iz trbuha diva, MMSU, Rijeka
2014. Festival steelworks, Sisak
2014. Days of performance MMC-a, MMSU, Rijeka
2012. Patient eye – Landscape photography in the collection MMSU Rijeka
2010. 45. Zagreb salon
1997. Croatia photo, Zagreb
1996. 30. Zagreb salon
1994. Art colony Rovinj
1993. Museum of Contemporary Art, Zagreb, Croatian Photography from 1950 to Today
1992. Zagreb, War Lens
1992. 23. Youth Salon, Zagreb
1990. 22. Youth Salon Zagreb

fotografije s otvorenja izložbe snimio Čedomil Gros


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The exhibition was realized with the support of City Office for Education, Culture and Sports of the City of Zagreb.