Sightseeing
Sightseeing video loop, 9’ 20”, 2016 Turistička fotografija je vrlo specifičan žanr fotografije, ne po svojim umetničkim kvalitetima, već kao forma u kojoj se reflektuju mnoge karakteristike savremenog načina prikupljanja informacija. Ideja da se nešto zabeleži, vremenom postaje vid reagovanja na događaje. Zahvaljujući tome, fotografisanje postaje univerzala aktivnost kojom ljudi verifikuju svoje prisustvo na određenom mestu, odnosno vid učešća u određenom događaju. Pored toga, razvoj fotografije praćen je i drastičnim povećanjem obima fotografske prakse. Do pre petnaestak godina, mobilni telefoni još uvek nisu bili i fotoaparati, a cena analogne fotografije, iako ne visoka, bila je savim dovoljna da ne dozvoli eksploataciju fotografije u današnjim razmerama. Rad Sightseeing je jedna moguća rekonstrukcija kretanja pogleda i kamere. Novi prizori se beleže kroz niz detalja, koji zatim sklapaju širu, kaleidoskopsku sliku nekog mesta, a zatim se pažnja preusmerava na novi izvor informacija, koje se akumuliraju preko starih. Sve informacije potencijalno ostaju sačuvane, ali količina svežih slika često ne dozvoljava ozbiljniju reviziju starih. Želja da se sadašnji momenat ne zaboravi retko nam ostavlja dovoljno vremena da se setimo nečega što nismo hteli da zaboravimo. Sightseeing video loop, 9’ 20”, 2016 Tourist photography can be understood as a very specific photo genre, not as much because of its artistic aspects, but rather due to its social and cognitive functions. Touristic use of this medium induced the development of a form that in many ways reflects contemporary approach to data collection. In time, the idea of keeping a memory by taking a photo became a method for reacting on events. Therefore, photography became a universal activity for verifying someone’s presence on a certain place and a way to participate in an event. Apart from that, development of photography was followed by a dramatic increase of its usage in everyday life. Until fifteen years ago, mobile phones still haven’t been used as cameras, and the price of analog photography, although not very high, was high enough to limit exploitation of photography as it happens today. The work Sightseeing is one possible reconstruction of movements of an eye and a camera. New views are captured through the series of details that can create a wider kaleidoscopic image of one place; our attention then redirects to a new source of information, to be accumulated over the old ones. All the data is potentially saved, but the quantity of the new pictures rarely leaves enough time to review the old ones. In trying to preserve the memory of the present moment, we are usually left with too little time to recall things we once wanted to remember. http://www.nemanjaladjic.com/sightseeing.html

Fall
Pad jednokanalni video 5’ 00”, 2015 Posetiocu izložbe, odnosno posmatraču nekog umetničkog rada se kroz način na koji je rad realizovan i postavljen može dodeliti određena uloga. Pozicija posmatrača može biti aktivna ili pasivna, odnosno može varirati od aktivnog učešća do slučajnog ili neutralnog svedočenja. U videu Pad, posmatrač je postavljen kao subjekat. Rad je inspirisan scenom iz romana Dopler, autora Erlenda Lua, u kojoj je glavni akter žrtva nezgode. On se nalazi u prelomnom momentu, onakvom kakav je ponekad neophodan za sprovođenje velikih promena. Sa svakodnevnih, praktičnih pitanja, subjekat se usmerava na ono što je fundamentalno i upravo u tom stanju ima šansu da savlada inertnost i sprovede promenu koju smatra neophodnom. Fall one channel video 5’ 00”, 2015 The use of different methods in realizing and installing the artwork can impose different roles on the visitor of the exhibition. The viewer’s position can be an active or a passive one, the work inviting him to react differently – to participate to a great degree, to reflect on the work from a neutral angle, or even to just make an accidental observation. The video Fall puts the observer in the position of the protagonist. The work is inspired by a scene from the novel Doppler, written by the author Erlend Loe, in which the main character becomes a victim of an accident. He reaches a turning point, a moment that precedes great changes. The subject’s thoughts shift from everyday matters and practical questions to fundamental aspects of life and this condition gives him a chance to overcome inertness and to conduct a change that he sees as necessary. http://www.nemanjaladjic.com/fall.html

Papierschnitzel
Papierschnitzel video instalacija, loop 8’, 2013 Rad Papierschnitzel sadrži isečke različitih pejzaža koji se međusobno uklapaju jedni u druge i stvaraju potpuno novu pokretnu sliku. Većina pejzaža koje putujući posmatramo ima svoju logiku, karakterističnu strukturu, raspored planova i opaža se kao niz promičućih slika. Raščlanjivanje jedne scene na planove, rastavljanje na elementarne slike i proizvoljno kombinovanje tih elemenata jeste veoma blisko logici digitalne slike. To više nije velika jedinstvena celina, već niz elemenata koji se pamte svaki za sebe i mogu se prekombinovati po potrebi. Svako moguće tumačenje jedne takve scene jednako je proizvoljno koliko i kombinovanje elemenata, prvenstveno zato što su nam elementi samo delimično poznati. Prepoznajemo ih kao deo iskustva koje je posledica površnog, brzog posmatranja. Takvi pejzaži predstavljaju vizuelni materijal čiju životnost apsorbujemo kao neku vrstu energije, dok sam sadržaj tih prizora ostaje potpuno nebitan. Druga bitna ideja ovog rada vezana je za prostor u kom se nalazi posmatrač, prostor prevoznog sredstva. Provodim dosta vremena putujući autobusom ili vozom i s obzirom na to da su skoro sva ostala mesta opterećena praktičnim aktivnostima, retko gde imam priliku da razmišljam u mirnoj atmosferi kakva vlada u autobusu ili vozu. Pri posmatranju promičućih pejzaža mogu se javiti razne dobre ideje. U mom slučaju, kada se prisetim nekih putovanja, mogu čak da povežem ideje sa prizorima koje sam u tom momentu posmatrao. Papierschnitzel video installation, loop 8’, 2013 The work Papierschnitzel contains cutouts of various landscapes that fit into each other, creating a completely different movable landscape. Most landscapes we observe while travelling have a logic of their own, a distinctive structure of planes, and essentially, they appear as a line of moving pictures. So, to decompose a scene into planes and rudimentary pictures, and then let these elements combine themselves arbitrarily, is in accord with how we observe things nowadays. It is not a big homogenous whole, but an array of elements that can be memorised separately and recombined when needed. Each possible interpretation of such a scene is as arbitrary as combination of the elements. We do not know the elements as such, but we may recognise them, since we may have already seen them elsewhere. Therefore, the act of watching those landscapes is very superficial. They represent visual material, whose liveliness we absorb as some kind of energy, but it’s content stays irrelevant. Another important idea of the work is connected to the space in which an observer is positioned, the space of a vehicle. I spend a lot of time traveling by buses and trains and since all the other places are overloaded with practical activities, I can rarely spend time thinking in such a calm atmosphere like in a bus or a train. A lot of ideas can come to a person’s mind while watching those landscapes. In my case, when I recall some journeys, I can even relate certain ideas to the views I observed in that moment. http://www.nemanjaladjic.com/papierschnitzel.html