Pink Nightingale
Pink Nightingale / 2018 installation, dimensions variable plaster, clay, plastic, bandages, shredded office paper, woolen thread, reflective surface, wooden panel; looped sound (5’58”), looped video (1’00”) Have you ever closed your eyes, looked towards the sun and gazed into the back of your eyelids? You can see the bright pinkish-red colour of your blood through the skin. You are looking from the inside of your body outwards. The body is porous, it inhales - lets in, and exhales - lets out. At any given moment, we are surrounded by a mist of matter coming from our insides. We alternately dematerialise and recompose. The work attempts to show how the duality of our existence is reflected in our body’s state - the pressure and release, being held and letting go, the pull and the push, subtlety and aggression. The viewer is both a witness and participant in a body’s unravelling. Inside, our bodies are full of ‘artefacts’ – past feelings, past experiences, behaviours and memories, which all take some space. We carry these artefacts within ourselves every day. Inside, our bodies are full of ‘artefacts’ – past feelings, past experiences, behaviours and memories, which all take some space. We carry these artefacts within ourselves every day. Pink Nightingale borrows a part of the title from a well-known bird that sings at night. At night, we are closer to ourselves, closer to our subconscious and our fears are more pronounced, as if we know that as sleep approaches, we will connect with all that makes us alive and tears us apart. -- instalacija, dimenzije variraju gips, glina, plastika, medicinski zavoji, iseckan kancelarijski papir, vuna, reflektivna folija, drveni panel, zvuk u loop-u, (5’58”), video u loop-u (1’00”) Da li ste se ikad zatvorenih očiju zagledali u sunce? Obično se vidi ružičasta boja osvetljene kože kroz kapke. U tom trenutku, gleda se iz unutrašnjosti tela, kroz telo. Razmišljajući o telu kao kameri koja u svakom momentu registruje hiljade čulnih impulsa, s druge strane, telo je u isto vreme i porozna materija - naizmenično i konstantno, telo se dematerijalizuje i re-materijalizuje. Rad se kroz ove principe bavi dualitetom postojanja viđeno kroz stanje tela u bilo kom datom trenutku - dualitet tenzije i opuštanja, obnavljanja i razlaganja, uzimanja i davanja, nežnosti i agresije. Rad se tako može videti kao događaj otvaranja jednog tela, iznutra ka spolja, gde posmatrač postaje ujedno i svedok i (sa)učesnik događaja. Objekti se mogu interpretirati kao ‘artefakti’ tela, nosioci osećanja, traumi ili sećanja koji su se ‘fosilizovali’ u telu. Pink Nightingale (slavuj ružičaste boje) naslov rada pozajmljuje od slavuja, ptice koja se uglavnom noću čuje. Noću se čini da smo bliži svojoj podsvesti i da se strahovi jače osećaju - kao da znamo da kako se noć približava, tako se i povezujemo sa arhetipskim strahovima i opasnostima koji su nekada noću postojali.

Strange Place / Čudno Mesto
STRANGE PLACE Čudno Mesto / 2019 installation; object and sound wood, acrylic paint, shredded newspaper, plaster, natural Norwegian moss, looped sound: ambiental whale, water and fire sounds, 20” The work Strange Place takes the form of a diorama, traditionally a miniature representation of a particular scene or event. In this particular case, the slightly bizarre visual setting and unfitting sound is intentionally difficult to place geographically or otherwise, prompting the audience to weave their own narrative and project their own interpretations of what the presented scene is or isn’t. The theatrical, viewer-oriented display further mirrors the enactment, or staging of one’s ego or self. Along these lines, you are invited to explore any illogical, inconsistent parts of your self, as they reflect through the immersive, meditative aspect of the piece. -- instalacija: objekat i zvuk drvena konstrukcija, akrilna boja, iscepkane novine, gips, prirodna, trajna, norveška mahovina, zvuk u loop-u: ambijentalni zvukovi kitova, vode i vatre, 20” Rad Čudno Mesto konceptualizovan je kroz formu diorame - obično manjeg objekta koji prikazuje određenu scenu, istorijski događaj ili pejzaž. U ovom slučaju, pomalo bizarna, delom organska predstava uz zvuk koji se ne uklapa u predstavu s namerom je teško odrediti “odakle” potiče u geografskom ili istorijskom smislu. Nedostatak poznatih referenci podstiče posmatrača da istka sopstveni narativ i projektuje sopstvenu interpretaciju toga šta ovaj objekat jeste ili nije. Teatrični objekat koji je napravljen za i okrenut perspektivi posmatrača omogućuje bilo kakve projekcije posmatrača. Posmatrač se time poziva da istraži i promisli o svim nekonzistentnim i nelogičnim delovima svoga ega - svoga ja. SOUND: https://soundcloud.com/isidora-krstic-1/strange-place

ARCADIA
ARCADIA Arkadija / 2019 Video installation HD video with sound, 11’17’’ During her artist residency in Sète, France, Isidora Krstić filmed the surrounding with an intention to generate the vision of a utopic landscape (Arcadia). A dissonance is created when the intentionally idealised images are juxtaposed with an ominous sound - slowed down background noise - emphasising the nature of filmed footage as an artefact of the past. The fragmented video alludes to the artist’s inability to immerse herself in the present moment due to her own interfering memories, fears and projections. The video is a document of the pursuit of safety and comfort, or the lack of it thereof, where the format and experience of the residency, becomes both the subject and method of the work. -- Video instalacija HD video sa zvukom, 11’17’’ Tokom svog rezidencijalnog umetničkog boravka u primorskom gradu Set (Sète), u Francuskoj, Isidora je skupljala video zapise delova Seta i Monpeljea, kao i zvučne zapise iz aviona, na putu ka Setu. Snimljene scene su birane sa namerom da stvore predstavu idiličnog utopijskog pejzaža, u antičkom smislu - arkadije, u ovom slučaju idiličnog juga Francuske. Ali brujeći zvuk videa (pozadinski zvuk snimaka usporen oko 50 puta) stvara disonancu između slike i zvuka naglašavajući time prirodu filmskog medija kao artefakta prošlosti, kao i problematičnost idealizacije jednog mesta. Delom zaklonjeni video snimci referišu na nemogućnost da se postigne osećaj prisutnosti u sadašnjem trenutku, i simuliraju prirodu sećanja kao fragmenta doživljenog. Video predstavlja dokument potrage za jednostavnim osećajem dobrobiti i bezbednosti, ili nedostatka istih, gde format i iskustvo samog rezidencijalnog boravka postaju ujedno i jedna od tema samog rada. VIDEO: https://vimeo.com/369278445 (Best viewed in fullscreen with headphones / Video je najbolje gledati u fullscreen-u sa slušalicama)