PLATEAURESIDUE

BREZ FIKCIJE NI SPOMINA

BREZ FIKCIJE NI SPOMINA /

THERE IS NO MEMORY WITHOUT A FICTION

2022 | video instalacija

Video in montaža: P L A T E AU R E S I D U E
Besedilo: P L A T E AU R E S I D U E
Pripoved: Rasto Pahor
Podpora: Pokrajinski muzej Maribor

V dvokanalni video instalaciji, izdelani posebej za Depo pohištva Pokrajinskega muzeja Maribor, sva se avtorja ukvarjala z vlogo muzejev, izročila in dediščine v vsakdanjih izkušnjah posameznika. Depo pohištva Pokrajinskega muzeja Maribor je služil kot povod za preizpraševanje lastne izkušnje preteklosti in iskanja vizualnih metafor ter eksperimentiranja z narativno strukturo umetniškega videa.

Predstavljeni poetični dvokanalni video esej vodi gledalca v cinematično izkušnjo rečne pokrajine, ki metaforično reprezentira tok časa in zgodovinskih dogodkov ter je odziv na prikaz preteklosti v muzejih in zbirkah, kakršna je na primer zbirka pohištva v depoju pohištva. Ključna dilema, ki jo avtorja izpostavljava v videu, je razcep med romantično-harmoničnim pogledom na preteklost in lastno nezmožnostjo imeti takšno izkušnjo v vsakdanu, napolnjenem z nasilnimi izbruhi kaosa in nepredvidenih katastrof.
Vzročno-posledična razmerja med preteklostjo in sedanjostjo so pogosto namenoma zabrisana zaradi specifičnih načinov reprezentacije preteklosti kot modela za tisto, kar obstaja danes. Najina kaotična izkušnja sedanjosti je lahko kompleksen generator idej, ki ga uporabljava za snovanje reprezentacij preteklosti zunaj prevladujoče muzeologije in zgodovine. Pri tem si pomagava z idejami velikih filozofov in velikega geofizika. To so Karel Marx, Walter Benjamin, Henri Bergson in Vladimir Ivanovič Vernadsky.
Avtorja sva za potrebe izdelave videa obiskala pokrajine, ki jih je zaznamovala dediščina splavarjenja. Splavarjenje je bilo pomembna gospodarska dejavnost prevoza lesa po rekah. Splavarji so žagan in tesan les vezali v splave in ga plavili po rekah v Sloveniji, po Savi celo do Beograda. Dediščina splavarjenja pa je močno zaznamovala tudi Maribor in druge kraje ob Dravi. Avtorja sva za izdelavo svojega dela obiskala in dokumentirala kraje v Zgornji Savinjski dolini.
V videu se prvoosebno soočava z nezmožnostjo vživetega doživljanja preteklosti in korenin svojih prednikov na način, kot ga reprezentirajo uradna zgodovina, dediščina in izročilo. Reka in okolica pri tem postaneta metafora časa, ki jo človeštvo s svojimi posegi stalno spreminja, reka pa se odziva s svojo divjo, nepredvidljivo naravo.

In a two-channel video installation, specifically created for the Furniture Depot of the Maribor Regional Museum, we explore the role of museums, tradition, and heritage in the daily lives of individuals. The furniture depot of the Provincial Museum of Maribor provided an opportunity to contemplate one's connection to the past and to experiment with visual metaphors and narrative structures within the art video.

The poetic two-channel video essay leads viewers on a cinematic journey through a river landscape, metaphorically symbolizing the passage of time, historical events, and responding to the presentation of the past in museums and collections, such as the furniture collection in the depot. The central dilemma highlighted in the video revolves around the contrast between a romanticized, harmonious view of the past and the inability to replicate such an experience in our chaotic everyday lives, filled with sudden outbursts of chaos and unforeseen disasters.
Causal connections between the past and present are often deliberately obscured, influenced by specific ways of portraying the past as a model for contemporary existence. Our turbulent experiences of the present can serve as a complex source of inspiration for constructing alternative representations of the past outside of mainstream museology and history. We draw upon the ideas of eminent philosophers and a notable geophysicist: Karl Marx, Walter Benjamin, Henri Bergson, and Vladimir Ivanovich Vernadsky.
We visited landscapes marked by the heritage of rafting, an essential economic activity involving the transportation of wood via rivers. Rafters would assemble sawn and hewn wood into rafts, navigating them down rivers in Slovenia, including the Sava River, reaching as far as Belgrade. The legacy of rafting has left a profound imprint on Maribor and other locales along the Drava River. To prepare for our work, we visited and documented sites in the Upper Savinja Valley.
In the video, we confront the challenge of experiencing the past in alignment with the interpretations presented by official history, heritage, and tradition. The river and its environs serve as a metaphor for time, continually shaped and altered by human interventions. Ultimately, the river responds with its untamed, unpredictable nature.