Cinemaniac 2008

7/27/2019 Cinemaniac 2008

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CINEMANIAC / 2008BABETTE MANGOLTE /

GALERIJA ANEKS / ANA HUŠMAN / DORA

KATANIĆ / GALERIJAMMC LUKA /BRANKA

BENČIĆ / ANKE KEMPKESPULA / 20.07. - 10.08.



Izložba Cinemaniac, dio popratnoga programa Festivala igranog filma u Puli, poput

sličnih projekata na drugim filmskim festivalima – Future projections na Toronto film

festivalu, Forum epanded na Berlinaleu, Play Forward u Locarnu ili Eploding cinema na

Filmskom festivalu u Rotterdamu – od 2002. godine, predstavlja inovacije i ideje koje se

tiču izlaganja filmskih i video radova u galerijskom kontekstu, a kojemu infrastruktura

Pulskog filmskog festivala pruža kontekstualnu i organizacijsku platformu.¶ Izložba od

svojih početaka predstavlja aktivni istraživački kontekst koji omogućava prezentiranje

umjetničkih djela, mjesto susreta u kojem se integriraju društveni, kulturni, tehnološki,

medijski i estetski aspekti, sjecišta na kojima se susreću umjetnost, umjetnici, institucije

i publika, stvaraju novi oblici suradnje problematizirajući pitanja odnosa filma i

vizualnih umjetnosti te prezentira hrvatska i internacionalna produkcija, kako recentna

(mlađi autori) tako i neka antologijska djela umjetničkog videa, eksperimentalnog

filma i multimedijalnih instalacija.¶ Samostalno izlaganje Babette Mangolte na izložbi

Cinemaniac u okviru popratnog programa 55. Festivala igranog filma u Puli, prvo je

predstavljanje radova ove iznimne umjetnice u Hrvatskoj. Babette Mangolte, filmska

snimateljica, redateljica i fotografkinja prisutna je na sceni suvremene umjetnosti, filma,

plesa, kazališta i performancea od 1970-ih godina, a kao autorica i redateljica značajna je po svojim filmskim eksperimentima i konceptualnom pristupu filmu. Izložba uključuje

autoričine rane filmove i fotografije iz sredine 70-ih godina: filmove What Maisie Knew

(1975); The Camera: Je, La Camera: I (1977), kratki film (Now) (1976), seriju fotografija iz

filma What Maisie Knew i seriju konstruktivističkih fotokolaža Composite Buildings koja

je nastala prilikom fotografiranja njujorških fasada za film The Camera: Je, La Camera:

I.¶ Uz samostalnu izložbu Babette Mangolte u galeriji Aneks, u galeriji MMC Luka

predstavljaju se dvije umjetnice mlađe generacije: Ana Hušman, dobitnica Grand Pria

Dana hrvatskog filma i Dora Katanić, apsolventica na Akademiji likovnih umjetnosti u

Zagrebu. Ciklus slika Tko pjeva zlo ne misli Dore Katanić polazi od predteksta istoimenafilma Kreše Golika, kao dijela naše popularne kulture i filmske baštine, dok instalacija

Ane Hušman elementima scenografije korištene pri snimanju filma stvara ambijent

građanskog salona ili dnevne sobe, a kritička i humoristična interpretacija bontona

u filmu Ručak – manire čine čovjeka, norme ponašanja stavlja u ironijski kontekst. / BRANKA BENČIĆ

CINEMANIAC / 1

UVOD /



FETIŠ POGLEDA, FETIŠI DRUŠTVA / BABETTE MANGOLTE, ANA HUŠMAN / DORA KATANIĆ / Kao kompleksan i razvijen sustav reprezentacije film postavlja

pitanja o načinima na koje se (oblikovano dominantnim poretkom) strukturira viđenje i

užitak gledanja. Tijekom svoje povijesti razvio je poseban privid stvarnosti. Poigravajući

se napetostima između dimenzija vremena i prostora filmski kodovi i konvencije

stvaraju i pogled, i svijet, i predmet, i iluziju, a alternativan film propituje i dekonstruira

upravo unutarnje zakonitosti i odnose prema vanjskim formativnim strukturama. ¶ S

filmom se povezuju tri različite vrste pogleda: pogled kamere koja bilježi neki događaj,

pogled publike i pogledi što ih razmjenjuju likovi s filmskog platna. Upravo je mjesto/

pozicija pogleda, zahvaljujući mogućnostima njegova variranja, premještanja naglaska

i izlaganja, iako nije inherentno filmu ono što određuje film (a po svojem je potencijalu

različit od primjerice kazališta ili striptiza). Publika je apsorbirana situacijom na ekranu

i korištenjem subjektivne kamere. Mrak kinodvorane i pozicija gledatelja poigravaju se

voajerističkom maštom publike i naglašavaju iluziju

zavirivanja u privatni svijet.1

BABETTE MANGOLTE / Autoričini rani filmovi i

fotografije, iz sredine 70-ih godina, u kojima se baviodnosima fotografije i filma, poigravaju se normativima

narativnih struktura i istraživanjem prostora – interijera

i eksterijera, svjetlosti; u njima problematizira vrijeme, te

filmski jezik i njegovu logiku, poziciju kamere i poziciju

subjekta, konstrukcije subjektiviteta i subjektivnog

kadra, problematiku filmskog i fotografskog portreta,

kroz ono što se u teoriji nazivalo “teorijom pogleda”.

Prvi filmovi Babette Mangolte nastaju u vrijeme kada se

u časopisu Screen pojavljuje tekst Laure Mulvey Visualpleasure and narrative cinema. ¶ Rad Babette Mangolte

nastaje na nizovima opozicija koje se strukturiraju

poput binarnih parova: kontekstualizacijom statične

i pokretne slike, filma i fotografije, odnosa muško-

žensko, prostora i vremena, punog i praznog, fizičkog

i imaginarnog, postojanja i nepostojanja, pozitiva i

negativa, svjetla i tame, pitanja zvuka i minimalističkog

DOOMED POWER

OF THE FETISH* Teresa De Lauretis /Strategies of Coherence.Narrative Cinema, FeministPoetisc and Yvonne Rainer.U: Teresa De Lauretis:Technologies of Gender.Essays on Theory, Film AndFiction, Indiana Universitypress, Bloomington andIndianapolis, 1987.

Laura Mulvey: Vizualniužitak i narativni film, u:Feministička kritika i teorijalikovne umjetnosti (ur.Ljiljana Kolešnik), Centar zaženske studije, Zagreb, 1999

BABETTE MANGOLTE / NOW / 1976.

*

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pristupa. ¶ S formalnog aspekta kompoziciju kadra

karakteriziraju prizori u kojima prevladava statična

kamera, česta frontalna impostacija i srednji plan

koji se izmjenjuje s prizorima detalja i planom blizu,

a promjene očišta osim što doprinose naglašavanju

fragmentarnosti djela i mozaičnosti njegove

strukture, ističu i promjene pozicija subjektiviteta.

Dekonstruira se stabilna i fiksna pozicija

subjekta. Prostor, oblici i tijelo fragmentirani

krupnim planovima prerastaju u osnovni sadržaj

filma. ¶ Poput umjetničkih strategija, primjerice

u filmu The Camera: Je, La Camera: I, gdje uz

niz dihotomija (francuskog i engleskog jezika,

fotografskih i filmskih portreta, statične i pokretne

slike, mirovanja i dinamike), postavlja pitanje

subjekta – pozicije kamere i autora/redatelja, i

gdje zanemarujući narativnu komponentu, nauštrbradnje koja prelazi u drugi plan, Babette Mangolte,

kao što i sam naslov filma kaže2, pretvara korišteno

umjetničko sredstvo i primijenjeni postupak u

pravu temu svoga filma. ¶ Istražujući fotografiju u filmu The Camera: Je, La Camera:

I, Mangolte se usredotočila na detalje izraza lica u portretnoj fotografiji, i analizira

shizofreni odnos između aleatoričkog postupka u fotografiji i konceptualnog rada

na filmu.3 ¶ Kamera postaje mehanizam iluzije za proizvodnju renesansnog prostora,

pokreta kompatibilnih ljudskom oku, ideologije predstavljanja koja se vrti oko percepcije

subjekta. Ovo složeno međudjelovanje pogleda karakteristično je za film, a raspadmonolitne forme konvencionalnih pravila predstavlja osamostaljenje elemenata filmske

forme.4 “Fragment razara renesansni prostor i iluziju dubine koju zahtijeva priča,

potvrđujući plošnost filmskog ekrana, zadobivajući značajke isječka ili ikone, prije nego

li vjerodostojnosti predodžbe.5”¶ Komparativno promatrajući ne samo serije fotografija

i filmove poput What Maisie Knew, (Now) ili Composite Buildings već i autoričin rad pri

dokumentiranju plesnih performancea, primjećujemo strategiju fragmentiranja shvaćenu

ne samo kao umjetničko izražajno sredstvo, nego kao nužan i neizbježan postupak

CINEMANIAC / 3

BABETTE MANGOLTE / WHAT MAISIE KNEW? / 1975.

The I of the camera andthe I of the author/director– most often employed inclassical narrative film, isredirected to become thevery subject of the film,indeed, is written into histitle.” Christopher Eamon:The Photograph of a WomanWho..., objavljeno za retros-

pektivnu izložbu BabetteMangolte Spaces To SeeStories To Tell, Broadway1602, NY, 2007.

Eploring photography inher film The Camera: Je, LaCamera: I, Mangolte concen-trated on details of facialepressions in portrait pho-tography and analyzed theschizophrenic relationshipbetween Mangolte’s alea-tory camera in photography

and her conceptual work infilm. Anke Kempkes: Spacesto See, Stories to Tell,samostalna izložba BabetteMangolte, galerija Broadway1602, New York, 2007.

Laura Mulvey Vizualniužitak i narativni film, u:Feministička kritika i teo-rija likovne umjetnosti (ur.Ljiljana Kolešnik),Lj. Kolešnik, Centar za žen-ske studije, Zagreb, 1999

ibid.

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kojim se statičnim medijem (fotografijom) pokušava

dokumentirati aktivnost koja se odvija u vremenu, a

kontinuitet pokreta na taj se način fragmentira (gubi).

Takve slike postaju nizovi fragmenata, a najčešće se

prikazuju u serijama, dok im (mentalna, asocijativna)

montaža služi kao sredstvo povezivanja. 6

ANA HUŠMAN / Radovi Ane Hušman, bilo da je riječ o

videu, eksperimentalnom filmu, animaciji, višekanalnim

instalacijama, ili drugim projektima prilagođenim za

galerijsku prezentaciju, poput raznih istraživačkih

projekata svojevrsnoga društvenog karaktera i

angažmana, te suradničkih praksi kontekstualno

socijalno usmjerenih, posebno u posljednje vrijeme kada

autoricu okupiraju kodovi kulture i društvene norme,

polaze od istraživačkog rada – ”lakših” tema poput

kuharica ili bontona (pravila ponašanja), ili ”ozbiljnijih”

tema. Rad Ane Hušman zauzima široko diskurzivnopolje i kontekstualnog je karaktera. Jedna od njenih

čestih referentnih točaka očituje se kroz obradu i

interpretaciju motiva i detalja iz naše svakidašnjice,

sadašnjosti i bliske nam prošlosti, simboličkih praksi i

predmeta koji su njihov dio (tkanje čipki, pripremanje

jela, pravila ponašanja), te u propitivanju devalviranih

vrijednosti ili fetiša društva.¶ Autoricu je ovom zgodom

zanimalo kako se konstituiraju tradicijske vrijednosti i

norme ponašanja (simboličke ili ritualne prirode) kojeteže usaditi vrijednosti i norme putem ponavljanja

formaliziranih radnji. Privatna se percepcija izložbom

transformira u vizualni jezik, demontiraju se vrijednosti kulture i označiteljske prakse

na reprezentacijskoj razini.¶ U svom posljednjem umjetničkom projektu Po bontonu

autorica predstavlja pravila ponašanja Zapada. Film je predstavljen u formi video-

instalacije koja se sastoji od tri istovremene projekcije u loopu, zatim kroz animirani

film koji pokazuje nastanak scenografije te scenografiju samu. Stop-frame animacija

CINEMANIAC / 4

ANA HUŠMAN / RUČAK / 2008.

I had a clear sense thatthe final photographwas nothing more than afragmentation of the actionitself.” Babette Mangolte:My History (The Intracable),October Magazine 1998.Also: “I felt that series ofphotographs was moretelling that just one photo

and valued photos in bulkrather than a single unit.The contact sheet wasetremely important in withits multiplicity of shots andits compactness in tellingthe story behind the event.”Babette Mangolte: Balancingact between instinct andreason or how to organizevolumes on a flat surface inshooting photographs, filmsand videos of performancepublished in “After the Act.”

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predstavlja i sažima proces nastanka scenografije filmskog seta. Postav izložbe otkriva

neke dijelove kreativnog procesa, i samog, kao što je slučaj s animacijom, provučenog

kroz estetizirani filter. A posjetitelji izložbe i sami se nalaze u ambijentu transformirane

scenografije – u samom filmu. Vizualne informacije koje nam daje kostimografija i

šminka ovog animiranog priručnika za lijepo ponašanje u nastajanju smještene su u

sedamdesete godine prošlog stoljeća, u stan navodno prosječne (malo)građanske obitelji

u tadašnjoj Jugoslaviji .7 ¶ Videografija Ane Hušman broji cijeli niz eksperimentalnih

filmova koji se temelje na istraživanju mogućnosti animacije, fotografske i filmske

slike, montaže i predstavljaju rezultat medijalnog manipuliranja, dok se u pokretu

i slici naglašava i raspoznaje njihov artificijelni, konstruirani karakter. Lomovi slike

i jezik prepariranoga pokreta uz skokove, prekide i trzaje u montaži, označavaju

lomove društvenog konteksta koji naglašavaju humor i ironiju. U ornamentalnim

pokretnim vinjetama Ane Hušman, titravom prizoru, zvučnoj sinkronizaciji, odnosu

govora tijela i intonaciji, pronalazimo karakteristike

koje uz različite tehničke mogućnosti nadilaze prakse

konvencionalne reprezentacije i uspostavljaju sustav

koji se temelji na hibridnoj, manipuliranoj slici.DORA KATANIĆ / Ciklus slika Tko pjeva zlo ne

misli Dore Katanić polazi od predteksta istoimenog

popularnog filma Kreše Golika, podnaslovljenog

”ljubavna komedija s pjevanjem”. Unaprijed poznat

sadržaj najgledanijega hrvatskog filma u povijesti

promatraču omogućuje prepoznavanje i komične

situacije. Dora slika odabrane kadrove iz filma

kao portrete poznatih likova i emocionalni život

protagonista (tu su: kicoš gospodin Fulir, Franjo iAna Štefanek, mali Perica, teta Mina..., poznati nam

glumci: Relja Bašić, Mia Oremović, Mirjana Bohanec),

u kojima prema impostaciji likova naslućujemo

dijaloške scene. Prelaskom u drugi medij, statične

slike bez zvuka postaju ”dijalozi” ukriženih pogleda

koje likovi upućuju jedni drugima, te van polja

slike. Na slikama su prepoznatljive karakteristike

DORA KATANIĆ / TKO PJEVA ZLO NE MISLI / 2008.

Jasna Jakšić: Premaetiketi, emisija Triptih,Treći program hrvatskogradija, 2007.

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filmskog medija. Upotrebom Photoshopa, pomoćnog sredstva medijskog manipuliranja,

autorica zamrznute kadrove računalno obrađuje kao fotografije, oponašajući slikarske

efekte, koje potom ponavlja u radu koji izlaže, u tehnici ulja na platnu .8 I kod Dore

Katanić, iako u tradicionalnom mediju slikarstva, pronalazimo ideju slike koja je

postala predmetom medijalnog manipuliranja. Krešo Golik je 1971. godine nagrađen

Brončanom arenom za režiju, a film je po izboru Društva hrvatskih filmskih kritičara

proglašen najboljim hrvatskom filmom svih vremena.9 / BRANKA BENČIĆ

CINEMANIAC / 6

Ana Kršinić Lozica: Slika irelacije koje uspostavlja,Život umjetnosti 80/07.

Filmski leksikon,Leksikografski zavodMiroslav Krleža, Zagreb

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Since 2002, the Cinemaniac ehibition, like similar projects on other film festivals -

Future projections at the Toronto Film Festival, Forum Epanded at the Berlinale, Play

Forward in Locarno or Eploding Cinema at the Film Festival in Rotterdam - is part

of the side program to the Film Festival in Pula and presents innovations and ideas

concerning the ehibitions of film and video works in the contet of a gallery. The

infrastructure of Pula Film Festival is giving it a contetual and organizational platform.

¶ From the very beginning, the ehibition has been presenting an active research

contet enabling the presentation of art works and functioning as a meeting place

integrating social, cultural, technological, mediatic and esthetic aspects, a meeting

point for art, artists, institutions and the public, creating new forms of co-operation

raising issues on the relationship between film and visual arts and presenting Croatian

and international production, both recent (younger authors) and anthological video

art works, eperimental film and multimedia installations. ¶ Babette Mangolte’s solo

ehibition at Cinemaniac as a side program for the 55th Pula Film Festival is the first

presentation of works by this eceptional artist in Croatia. Babette Mangolte is a

cinematographer, director and photographer, present on the contemporary art, film,

dance, theatre and performance scene since the 70’s. As a director she is known forher film eperiments and a conceptual approach to film. The ehibition includes her

early films and photographs from the mid 70’s: films What Maisie Knew(1975); The

Camera: Je, La Camera: I (1977), a short film (Now) (1976), a series of photographs from

the film What Maisie Knew and a series of constructivist photo-collages Composite

Buildings which were created on the occasion of photographing the facades of New

York for the film The Camera: Je, La Camera: I. ¶ Along with Babette Mangolte’s

solo ehibition in the Aneks gallery, the MMC Luka gallery will present two younger

artists: Ana Hušman, Grand Pri winner at the Croatian Film Days and Dora Katanić,

undergraduate at the Visual Arts Academy in Zagreb. The painting cycle Tko pjevazlo ne misli / One Song a Day Takes Mischief Away by Dora Katanić originates from

the title of the homonymous film as part of our popular culture and film heritage,

while Ana Hušman’s installation creates the ambiance of a middle-class salon or

living room using elements of scenography from the film. The critical and humorous

interpretation of good manners in the film Ručak – manire čine čovjeka / Lunch –

manners make a man puts manners in an ironic contet. / BRANKA BENČIĆ

CINEMANIAC / 7

INTRODUCTION /



FETISH OF LOOKING, SOCIETY FETISH / BABETTE MANGOLTE, ANA HUŠMAN / DORA KATANIĆ / As a comple and developed system of representation, film

raises questions on the ways in which looking and pleasure (shaped by the dominant

hierarchy) are structured. In the course of its history, film has developed a particular

illusion of reality. By playing with tensions between dimensions of time and space,

film codes and conventions create both the view and the world, the object and the

illusion, while the alternative film questions and deconstructs the inner laws and

relations towards the outer formative structures. ¶ There are three different kinds

of view associated with film: the view of the camera which is recording an event, the

view of the public and the views echanged by the characters on the screen. Although

not inherent to the film, what determines it is the point of view (even if different for

its potential from theatre or striptease), owing to the possibilities of its variations, of

changes in accent and points of view (focalization). The audience is absorbed by the

situation on the screen and the use of a subjective camera. The darkness of the

cinema auditorium and the position of the viewer play

with the voyeuristic imagination of the audience and

point out the illusion of peeking into a private world.1

BABETTE MANGOLTE / In her earlier films and

photographs from the mid 70’s, the artist analyses

different relations - the relationship between

photograph and film, play with the norms of narrative

structures as well as space research – interiors and

eteriors, light, the issue of time, also cinematic

language and its logic, the position of the camera

and the subject, the construction of subjectivity and

the subjective frame, through genres of film andphotographic portraits, based on what theory called

“the theory of looking”. It is like a zeitgeist or a common

ground that Babette Mangolte’s first film works appear

at the time when Laura Mulvey’s tet Visual pleasure

and narrative cinema appears in Screen magazine. ¶

Babette Mangolte’s work is created and structured

as contetualization of still and moving images, film

BABETTE MANGOLTE / COMPOSITE BUILDINGS

DOOMED POWER

OF THE FETISH* Teresa De Lauretis:Strategies of Coherence.Narrative Cinema, FeministPoetics and Yvonne Rainer.In: Teresa De Lauretis:Technologies of Gender.Essays on Theory, Film andFiction,Indiana UniversityPress, Bloomington andIndianapolis, 1987.

Laura Mulvey: Visual pleasu-re and narrative cinema, in:Feminist critique and visualarts theory (ed. LjiljanaKolešnik), Lj. Kolešnik,Women Studies Centre,Zagreb, 1999.

*

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and photography, through male-female relationships,

space and time, full and empty, physical and imaginary,

positive and negative, light and darkness, issues of

sound (silence, speech, music) and a minimalistic

approach to it.¶ From the formal point of view, the

frame compositions are characterized by scenes

with predominantly static camera, frequent frontal

positioning and medium plan are interchanging with

details and close plans, while changes in focus not only

contribute to the pointing out of the fragmentarity of

the work and its mosaic structure, but also underscore

the changes of the position of subjectivity. The stable

and fied position of the subject is deconstructed. Space,

shapes and body, abstracted from the environment,

fragmented in close plans and fragment datails became

the main content of the film.¶ As eample, in the

film The Camera: Je, La Camera: I, where a series ofdichotomies are used (French and English languages,

photographic and film portraits, still and moving

image, stillness and movement) to raise the question

of subject – position of the camera and the director –

and where the narrative component is overshadowed

by putting the plot in the background, just like many

artistic strategies, Babette Mangolte turns the used

artistic means and procedure in the real topic of her

film, just as the title suggests.2 ¶ Eploring photographyin the film The Camera: Je, La Camera: I, Mangolte

concentrated on details of facial epressions in portrait

photography and analyzed the schizophrenic relationship between the aleatory camera

in photography and conceptual work in film.3 ¶ The camera becomes a mechanism

of illusion for the creation of a renaissance space, its movements compatible to the

human eye and the ideology of presentation revolving around the perception of the

subject. This comple interaction of views is typical of film, and the falling apart of

CINEMANIAC / 9

BABETTE MANGOLTE / WHAT MAISIE KNEW? / 1975.

The I of the camera andthe I of the author/director– most often employed inclassical narrative film, isredirected to become thevery subject of the film,indeed, is written into histitle.” Christopher Eamon:The Photograph of a WomanWho..., published for the

retrospective ehibitionBabette Mangolte SpacesTo See Stories To Tell,Broadway 1602, NY, 2007.

Anke Kempkes: Spaces toSee, Stories to Tell, BabetteMangolte’s solo ehibition,Broadway 1602 gallery, NewYork, 2007.

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the monolithic form of conventional rules represents

the gaining of independence of the elements

of film form.4 “A fragment takes apart the renaissance

space and the illusion of depth required by the

story, confirming the mono dimensional quality of

the film screen and gaining features of a segment

or icon, rather than the credibility of image.5” ¶ If

we comparatively observe not only the Mangolte’s

series of photographs and films like What Maisie

Knew, (Now) or Composite Buildings, but also her

work on documenting dance performances, we notice

she understands the strategy of fragmentation not

only as an artistic means of epression but also as

a necessary and unavoidable procedure used to

have a static media (photography) try and document

an activity in time, resulting in a fragmented (lost)

continuity of movement. Such images become series offragments, usually shown in series, while the (mental,

associative) editing serves as a means of connection.6

ANA HUŠMAN / Whether it’s videos, eperimental film, animation, multi-channel

installations or other projects adapted for gallery presentation, like various research

projects of social character and co-operation projects aimed towards a social contet,

Ana Hušman’s work stems from research work – “lighter” themes like cook books or

good manners manuals and more “serious” themes have been her topic ever since she

started dealing with culture codes and social norms. Ana Hušman’s work takes up a wide

discursive area and is contetual in character. One of her frequent points of referencereflects in the interpretation of motives and details from our everyday life, our present

time and the recent past, symbolic practices and objects that are part of them (lace

making, cooking, manners), as well as the questioning of devaluated values or social

fetishes. ¶ On this occasion the author was interested in how traditional values and

social norms originate (of symbolic or ritual nature), tending to instill values and norms

through repetition of formalized actions. Through the ehibition, a private perception

is transformed into visual language, the cultural values and defining practices on a

CINEMANIAC / 10

ANA HUŠMAN / RUČAK

Laura Mulvey: Visual pleasu-re and narrative cinema, in:Feminist critique and visualarts theory (ed. LjiljanaKolešnik), Lj. Kolešnik,Women Studies Centre,Zagreb, 1999.

Ibid.

I had a clear sense thatthe final photographwas nothing more than afragmentation of the actionitself.” Babette Mangolte:My History (The Intracable),October Magazine 1998.Also: “I felt that series ofphotographs was moretelling that just one photoand valued photos in bulkrather than a single unit.The contact sheet wasetremely important in with

its multiplicity of shots andits compactness in tellingthe story behind the event.”Babette Mangolte: Balancingact between instinct andreason or how to organizevolumes on a flat surface inshooting photographs, filmsand videos of performancepublished in “After the Act.”

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representational level are deconstructed. ¶ In her

latest artistic project entitled Po bontonu, the author

presents what are considered to be good manners in

the Western culture. The film is shown in the form of

a video-installation made up of three simultaneous

projections in a loop, then through an animated film

showing the creation of the scenography and in the

end the scenography itself. The stop-frame animation

represents and condenses the process of creation

of the scenography on the film set. The layout of the

ehibition reveals some parts of the creative process as

well as the process itself, as is the case with animation,

seen through an estheticized filter. The visitors find

themselves inside a transformed scenography – in

the film itself. The visual information given to us by

the costumes and make up of this animated manual

for good behaviour, are located in the 70ies, in anapartment of the then average (petty)burgeois family

in e-Yugoslavia.7 ¶ Ana Hušman’s videography counts

a whole series of eperimental films based on research

into the possibilities of animation, photographic and film

image, editing… and represents the result of mediatic

manipulation, while the movements and images point

out their artificial and construed character. Break-ups in

pictures and a language of a mounted movement with

jumps, interruptions and twitches in editing, signifythe break ups of the social contet which accentuate

humour and irony. In Ana Hušman’s ornamental moving

vignettes, a flickering scene, sound dubbing, relationship between body language and

intonation, we can find characteristics which, owing to various technical possibilities, go

beyond the practices of the conventional representation and set up a system based on a

hybrid, manipulated image.

DORA KATANIĆ / The cycle of images Tko pjeva zlo ne misli by Dora Katanić stems

CINEMANIAC / 11

DORA KATANIĆ / TKO PJEVA ZLONE MISLI

Jasna Jakšić: Prema etiketi,show Triptih, Third programof the Croatian radio, 2007.

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from the foreword of the homonymous popular film by Krešo Golik, subtitled “love

comedy with singing”. Since the content of the most popular Croatian film in history is

well known to the viewer, it enables him to grasp the comical situations. Dora paints

selected shots from the film as portraits of well known characters and the emotional

life of the heroes (the dandy Mr. Fulir, Franja and Ana Štefanek, little Perica, aunt

Mina…, known actors like: Relja Bašić, Mia Oremović, Mirjana Bohanec), in which the

impostation of the characters makes us guess the dialogues. The crossover to a different

media, static images with no sound become “dialogues” of eye contacts made by the

characters even outside the image itself. The characteristics of cinema as a medium

are recognizable in the images. Using Photoshop as a tool in media manipulation, the

author manipulates film frames on a computer as photographs, imitating painting

effects which are later repeated in her ehibited work as oils on canvas.8 Although in the

traditional medium of painting, in Dora Katanić’s work we can find the idea of an image

which has become the object of mediatic manipulation. In 1971 Krešo Golik was awarded

with the Bronze Arena for directing, while the film was declared the best Croatian

film of all times by the Association of Croatian film critics.9 / BRANKA BENČIĆ

CINEMANIAC / 12

Ana Kršinić Lozica: Slika irelacije koje uspostavlja,Život umjetnosti 80/07.

Filmski leksikon,Leksikografski zavodMiroslav Krleža, Zagreb

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ANA HUŠMAN / Rođena je 1977 u Zagrebu. Diplomirala na Odjelu za multimediju

i nastavnički smjer Akademije likovnih umjetnosti u Zagrebu. Sudjelovala je na

brojnim domaćim i inozemnim izložbama i festivalima. Trenutno radi kao vanjska

suradnica na Akademiji likovnih umjetnosti u Zagrebu. Videografija: Ručak

(2008), Plac (2006), Prigruf, (2004), Merzšpajz (2003), Kuća (2003), for 2, Apple

(2002), Daily progress (1999) Izložbe (izbor): 2007 Po bontonu, galerija Galženica,

Velika Gorica; Muštre, galerija 01, Zagreb; 2006 Razmjena, galerija Miroslav

Kraljević, Zagreb; 2004 C8H11N, galerija VN / skupne izložbe: 2007 Mapiranje

grada, MMC Luka, Pula; Performing the space, DAZ, Zagreb; Women at crossroads

of ideologies, Split; 28. Salon mladih, Zagreb, 2006; Insert, MSU, Zagreb, 2005.

DORA KATANIĆ / Rođena je u Zagrebu 1982.godine. Završila Školu primijenjene

umjetnosti i dizajna 2001.g. u Zagrebu. Apsolventica na Akademiji likovnih

umjetnosti u Zagrebu, slikarski smjer, u klasi prof. Duje Jurića. samostalne

izložbe: 2008. “Tko pjeva zlo ne misli”, Galerija Matice hrvatske, Zagreb.

Babette Mangolte / Rođena je u Francuskoj. Diplomirala je na L’Ecole nationale

de la Pgotographie e de la Cinemantigraphie. U New Yorku živi od 1972.godine. Od

sedamdesetih godina uključena je u newyoršku umjetničku scenu. Kao direktorfotografije surađivala je sa Chantal Ackerman na filmovima Jeanne Dielman (1975),

and News From Home (1976), te Lives of Performers (1972) and Film about a Woman

who... (1973) Yvonne Rainer. Prvi film koji je režirala je What Maisie Knew (1975),

slijede (Now) (1976), The Camera:Je, La Camera: I (1977). Sudjelovala je na brojnim

filmskim festivalima (Oberhausen, Toronto, Edinburgh, Berlinale), izlagala na brojnim

skupnim I samostalnim izložbama, uključujući Whitney Museum, New York; National

Gallery of Art, Washington, D.C.; Pacific Film Archives, Berkeley; Anthology Film

Archives, New York; Berlin Biennale 2008, te su joj priređene 2 retrospektive. Filmovi

Babette Mangolte nalaze se u kolekcijama internacionalnih muzeja poput GeorgesPompidou, Paris, MoMa, New York; New York Public Library, Belin Cinematheque..

Odabrana filmografija: Water Motor(1978), There? Where? (1979), The Cold Eye (1980),

The Sky on Location (1982), Visible Cities (1991), Four Pieces by Morris (1993).

CINEMANIAC / 13

BIOGRAFIJE /



ANA HUŠMAN / was born in Zagreb in 1977. She graduated from the Department of

Multimedia and Teaching at the Academy of Visual Arts in Zagreb. She participated

at numerous ehibitions and festivals in the country and abroad. At the moment she

is working as a subcontractor at the Academy of Visual Arts in Zagreb. Videography:

Ručak (2008), Plac (2006), Prigruf,( 2004), Merzšpajz (2003), Kuća (2003), for 2,

Apple (2002), Daily progress (1999) Ehibitions (selection): 2007 Po bontonu, gallery

Galženica, Velika Gorica; Muštre, gallery 01, Zagreb; 2006 Razmjena, gallery Miroslav

Kraljević, Zagreb; 2004 C8H11N, gallery VN / group ehibitions: 2007 Mapiranje

grada, MMC Luka, Pula; Performing the space, DAZ, Zagreb; Women at crossroads

of ideologies, Split; 28. Salon mladih, Zagreb, 2006 ; Insert, MSU, Zagreb, 2005.

DORA KATANIĆ / was born in Zagreb in 1982. She graduated from the School

of Applied Arts and Design in 2001 in Zagreb. Currently an undergraduate ABD at

the Academy of Visual Arts in Zagreb, painting class with the prof. Duje Jurić. Solo

ehibitions: 2008, “Tko pjeva zlo ne misli”, Matica hrvatska gallery, Zagreb.

BABETTE MANGOLTE / was born in France. She graduated at L’Ecole nationale

de la Photographie e de la Cinemantigraphie. She has lived in New York since 1972

when she became part of the New York art scene. As a director of photography shecollaborated with Chantal Ackerman on the films by Jeanne Dielman (1975), and News

From Home (1976), as well as Lives of Performers (1972) and Film about a Woman who...

(1973) girected by Yvonne Rainer. The first film she directed was What Maisie Knew

(1975), followed by (Now) (1976), The Camera: Je, La Camera: I (1977). She participated

at numerous film festivals (Oberhausen, Toronto, Edinburgh, Berlinale), ehibited

at numerous group and solo ehibitions, including the Whitney Museum, New York;

National Gallery of Art, Washington, D.C.; Pacific Film Archives, Berkeley; Anthology Film

Archives, New York; Berlin Biennale 2008, and had two retrospectives made. Babette

Mangolte’s films can be found in collections of international museums like GeorgesPompidou, Paris, MoMa, New York; New York Public Library, Belin Cinematheque.

Selected filmography: Water Motor (1978), There? Where? (1979), The Cold Eye (1980),

The Sky on Location (1982), Visible Cities (1991), Four Pieces by Morris (1993).

CINEMANIAC / 14

BIOGRAPHIES /



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