PLATEAURESIDUE

BREZ FIKCIJE NI SPOMINA

THERE IS NO MEMORY WITHOUT A FICTION

2021 | 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 treh 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, created especially for the Furniture Depot of the Maribor Regional Museum, we dealt with the role of museums, tradition and heritage in the everyday experiences of individuals. The furniture depot of the Provincial Museum of Maribor served as an occasion to question one's own experience of the past and search visual metaphors and experimentation with the narrative structure of the art video.

The presented poetic two-channel video essay leads the viewer into a cinematic experience of the river landscape, which metaphorically represents the flow of time, historical events and is a response to the display of the past in museums and collections, such as the furniture collection in the furniture depot. The key dilemma that we highlighted in the video is the split between a romantic-harmonious view of the past and one's own inability to have such an experience in everyday life, filled with violent outbursts of chaos and unforeseen disasters.
Causal relationships between the past and the present are often deliberately obscured, due to specific ways of representing the past as a model for what exists today. Our chaotic experience of the present can be a complex generator of ideas that we use to construct representations of the past outside of dominant museology and history. We help each other with the ideas of three great philosophers and a great geophysicist; Karel Marx, Walter Benjamin, Henri Bergson and Vladimir Ivanovich Vernadsky.

We visited the landscapes marked by the rafting heritage. Rafting was an important economic activity of transporting wood on rivers. The rafters tied the sawn and hewn wood into rafts and floated it down the rivers in Slovenia, along the Sava river, even as far as Belgrade. The heritage of rafting also left a strong mark on Maribor and other places along the Drava river. For the preparation of our work, we visited and documented the places in the Upper Savinja Valley.
In the video, we confront the inability to experience the past in the way that official history, heritage and tradition represent it. The river and its surroundings become a metaphor for time, which is being constantly changing by humanity with its interventions. And in the end, the river responds with its wild, unpredictable nature.