The Kiss, revisited (2013-)
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Kot že Barthes pove, je fotografija večna ponovitev istega trenutka. Na prvi pogled, bi dodala. Kot je naš vidni aparat influenciran s strani čustev, tako je pogled na določen trenutek vedno drugače obarvan, jasen ali zamegljen, toplejši ali hladnejši.
Fotografija, ki je pravzaprav selfie se loti prav tega – ponovne obravnave trenutka, zamrznjenega v času. Odmeva v brezčasnosti navezave na več trenutkov v zgodovini umetnosti (Auguste Rodin, Constantin Brancusi, Gustav Klimt).
Poudarjeni so različni vidiki iste stvari, razblinja splošno ontologijo fotografije, ki tehnično reproducira in razjasnjuje svet v smislu znanstvene preciznosti.
Tehnika je živa, odstopa od nosilca, spominja na delovanje mikroorganizmov (na nekaterih delih je to želatina, torej je še kako organska) ali pa nam ponuja več plasti slike.
Isti kader torej živi v prostoru, vibrira preko več različnih doživljajev.
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Like alreadyBarthes said, photography is an eternal repetition of the same moment. On the first sight, I'd add. Like our visual apparatus in influenced by our emotions, so is the sight of a specific moment always colored differently, clear or blurred, warmer or colder.
Photography, that is actually a selfie holds to that – a repetition of reviewing the certain moment, frozen in time. It echoes in the timelessness connected to several moments in the Art's History (Auguste Rodin, Constantin Brancusi, Gustav Klimt).
Different aspects of the same thing are emphasized, it dissolutes the general ontology of Photography, that technically reproduces and explains the world in means of scientific precision.
The technique is alive, it separates form the base, reminds us of micro organisms (on some parts it's gelatin, so it's actually organic matter) or gives us more layers.
Same scene lives in the space, vibrating through different experiences.
