The West Island
Dva videa, Súgandisey Island Lighthouse i The West Island, su deo serije radova nastalih tokom nedavnog boravka na umetničkom rezidencijalnom boravku na Islandu. Oba snimka su napravljena sa iste geografske tačke i to tako da jedan predstavlja pogled ka zapadu, a drugi ka istoku. Unutar galerijskog prostora, projekcije će biti tako pozicionirane da zadrže ovaj odnos iz prirode, imitirajući osu istok – zapad ostrva. Na zapadnoj strani prostorije će biti postavljen video Súgandisey Island Lighthouse na kojem se vidi svetionik snimljen u rano jutro, uz povremeno prisustvo dve osobe. Njihovo kretanje prati ritmično okretanje lampe svetionika uz prisustvo vrlo specifičnog zvuka signalnog uređaja. Na suprotnoj strani galerije će se nalaziti drugi video, The West Island s prizorom broda koji veoma sporo uplovljava u luku. Imerzivni (plutajući) električni zvuk signalnog uređaja svetionika biće razdvojen i emitovan na više odvojenih kanala, tako da čini vezivnu nit između ova dva prizora. Sa frekventnim intervalom od tri sekunde, na koliko se zvuk pojavljuje, smenjivaće se i svetlosni kolorit celokupnog ambijenta: zeleno-beli i crveno-beli. Ideja je da ovom video instalacijom stvorim ambijent za umetničko istraživanje lične i čulne dimenzije iskustva posmatranja prizora, uobičajenih ili nepoznatih, egzotičnih ili svakodnevnih. Takođe, u oba video rada postoji motiv potrage, one koje nas primorava da stvari pažljivije i obazrivije gledamo. … The West Island The two video works, Súgandisey Island Lighthouse and The West Island, are part of a series of pieces following a recent stay at an art residency in Iceland. Both were filmed from the same geographic point, one focused towards the east and the other towards the west. Their projection in the gallery space will be positioned in a way that maintains this relationship to the environment, imitating the eastern axis – the west of the island. The Súgandisey Island Lighthouse video will be installed on the west side of the space. The work shows the lighthouse filmed in the early hours of the morning, with the occasional appearance of two people. Their movements follow the rhythmic rotations of the lighthouse beacon and the very specific sound of the signaling device. The second video, The West Island, is located on the opposite side of the gallery and depicts a scene of a boat slowly coming into the port. The immersive (floating) electric sound of the signaling device will be divided and played on different channels, acting as a thread that links the two scenes. The color of the lighting in the space will shift from green-white to red-white at regular three-second intervals, in sync with the sound. My idea with this video installation is to create an environment for the artistic exploration of the personal and sensory experience of watching a scene, common or unknown, exotic or everyday. The motif of searching is also present in both video works, forcing us to look more closely and attentively. Vimeo: https://vimeo.com/deliclidija 1. Súgandisey Island Lighthouse - https://vimeo.com/267639131 2. The West Island - https://vimeo.com/267750822

In Search of the Miraculous
U potrazi Lidija Delić preuzima fotografski dokument plovidbe holandskog konceptualnog umetnika Jan Bas Adera i litografskim postupkom ga prebacuje na površinu papira iz brodskih knjiga Jugoceanije. Na taj način se potencijalni registar ulaska i izlaska brodova iz kotorske luke, spaja sa Aderovim diskursom u jedno stanje stvari, odnosno u neko polje smisla. U prazan registar brodskih knjiga upisuje se nagoveštaj jedne plovidbe sadržan u preuzetom fotografskom dokumentu. Celokupan utisak instalacije koja je pred nama postaje personifikovana luka koja poručuje posmatraču da plovi dalje, i dalje, i dalje... Kao takva ona teži da postane mesto (locus) umetnosti. Jednostavna poruka otkriva nam složen konceptualni okvir koji je konstituiše. U pokušaju da pređe Atlantski okean Jan Bas Ader je zauvek nestao. Njegova plovidba određena je stremljenjem da se motiv romantičarskog putovanja unese u metod konceptualne umetnosti. Potraga za određenom dubinom, kao reakcija na racionalističku plošnost, daje nam dobar šlagvort za tematizovanje pitanja o lokalizaciji umetnosti. Ako je filozofska misao nerazdvojiva od kreativnog izlaganja izvesnog stanja stvari, onda se može konstatovati da je konceptualna rigidnost filozofije primorana na konstantnu reviziju, pri čemu se njeno stanje stvari transformiše u nizove nagoveštaja nekog smisla. (…) Svet je sve što je slučaj , na samom početku Tractatus-a nam poručuje Ludvig Vitgenštajn (Ludwig Wittgenstein). Subjekt–objekt odnos svesti prema svetu ostvaruje se u delatnosti (Fenomenologija duha). U spoju ove dve tvrdnje pronalazimo slučaj kao izvesnu stvar u vaskolikoj mreži relacija. Pošto nas savremenost, na tragu Dišanovskog (Marcel Duchamp) readymade postupka, uči da je svakoj stvari potrebno minimalno određenje da potvrdi svoju egzistenciju, odnosno da inauguriše određeno stanje stvari. U našim glavama ostaje sledeće pitanje: gde se konstituiše umetnost, tačnije: na kojim mestima nastaje umetnost kao izvesno stanje stvari? Tekst: Velimir Popović .... In search Lidija Delić takes photographic documentation of sailing from a Dutch conceptual artist Jan Bas Ader and, through the lithographic technique she transposes it on the paper from the logbooks of the shipping company Jugoceanija. Thus, the potential registrar of entering and exiting of ships in Kotor harbor is merged with Ader’s discourse into one state of affairs, that is one field of sense. The allusion of one sailing contained in the taken photographic record is inscribed into the empty registrar of logbooks. The entire impression that the installation creates in front of us becomes a personified harbor which calls for the observer to sail further, and further, and further…This way it aspires to become the locus of art. The simple message reveals a complex conceptual frame it is constituted of. In the attempt to sail across the Atlantic Ocean, Jan Bas Ader disappeared forever. His sailing is determined by the striving to insert the motif of the Romantic voyage into the method of the conceptual art. The search for a specific depth, as a reaction to the rationalistic flatness, figures as a good buzzword for the thematization of the question about the localization of art. If the philosophical thought is inseparable from the creative exhibition of a certain state of affairs, then it can be stated that the conceptual rigidity of philosophy is forced to the constant revision, with which its state of affairs is transformed into the series of hints of a certain sense. The world is all that is the case , Ludwig Wittgenstein told us in the very beginning of the Tractatus. The subject-object relationship of the consciousness towards the world is realized in activity (The Phenomenology of Mind). In the connection of these two claims, we find case as a certain thing in the omnipresent net of relations. Since contemporaneity, along the lines of Duchamp’s readymade approach, teaches us that each thing needs a minimal determination to confirm its existence, that is to inaugurate a determined state of affairs. In our minds, there rests a following question: where is art constituted, more precisely: what are the loci in which art is born as a certain state of affairs? Text: Velimir Popović

SUNSET Journeys
Projekat SUNSET Journeys konceptualno predstavljala sintezu različitih elemenata. Dok je delo predstavljeno u svom konačnom obliku kao instalacija od 40 slika uramljenih duplim drvenim ramovima, u procesu stvaranja instalacije koristila sam ličnu foto arhivu sa svojih putovanja iz proteklih nekoliko godina. Ove slike jarkih i živih boja, i očigledno sakriven tekst, urađene su na papirima brodskih knjiga koje sam našla u zgradi Jugooceanije u Kotorskoj luci u Crnoj Gori. Kada se slika otvori, na desnoj strani ispisani su detalji o poreklu motiva sa slike. Izvlačeći slike, objekte i reči iz njihovih utvrđenih kontekasta, ovo delo izaziva osećaj neodređenosti u kojoj kontrast između realnosti vizuelnih predstava i relnosti koju one oslikavaju postaje jasno vidljiv. Ove slike/objekti stapaju pejzaže i zalaske sunca sa redovima i kolonama tabela, poteze četkice sa algoritmima za sortiranje i kategorizaciju. “Kultura slika” doba u kome živimo karakteriše naša vera u sposobnost vizuelne predstave da objasni naučne i političke fenomene, i susret sa neskladom prisutnim u umetničkim delima može da izazove proces preispitivanja ovakvih status quo pretpostavki. The project SUNSET Journeys conceptually represents a synthesis of different elements. Whilst the work is presented in its final form as an installation of 40 paintings framed in double wood frames, the process of the installation, I used personal photo archive from my journeys/travels over the past few years. These colourful and vivid images, and clearly concealed texts, were created on logbook that I found in the Jugooceanija building in Kotor harbour, Montenegro. Technically, when the first image opens, on the right-hand side is written the details of where the pictures motive origins. Extracting images, objects, and words from their established contexts, this work challenges a sense of uncertainty in which the contrast between the reality of visual images and the reality they depict becomes clearly visible. These paintings/objects meld landscapes and sunsets with the rows and columns of spreadsheets, brushstrokes of colour with the algorithms of sorting and categorization. The image-culture age we live in is characterized by our faith in the capacity of visual images to explain scientific and political phenomena, and the encounter with dissonance present in artworks can trigger a process of questioning these status quo assumptions.