RADIVOTEŽA
Održavanje ravnoteže između rada i slobodnog vremena postalo je sve važnije u svijetu gdje tehnologija omogućuje konstantnu povezanost i dostupnost. Pitanje kako iskoristiti i pravilno balansirati vrijeme provedeno u radu potrebnom za preživljavanje i vrijeme posvećeno osobnim interesima, odmoru, obitelji i prijateljima predstavlja veliki izazov. U kontekstu promjena koje su nam u život donijeli pametni uređaji I globalne promjene a usko vezano uz pitanje odnosa rada i slobodnog vremena, je pitanje odnosa virtualnog i stvarnog. Suvremene tehnologije nude mogućnost rada i zabave isprepleteno, zahtjevajući kontinuiranu pozornost i povezanost, te posljedično zaustavljajući gibanje tijela i uopće potrebu za pokretom, ili boravkom u prirodi. Također povlašteni status koji virtualni život može zauzeti u životu pojedinca, primjerice kroz davanje veće važnosti online iskustvima i susretima u odnosu na izravne susrete u stvarnom svijetu, opasan je trend koji vodi u društvenu izolaciju u fizičkom smislu.
Te dvije teme objedinjene su u izložbi Vitra Drinkovića " Radivoteža - stvarno, virtualno, stvarno" koja se bavi se upravo tom temom ravnoteže rada i slobodnog vremena ( “života“), virtualnog i stvarnog, osvještavajući kompleksnost tog problema za one ljude koji većinu vremena provode radeći na računalu. Rad ovog umjetnika je metapozicijski, on sam sebe stavlja u ulogu pokusnog kunića i istražuje vlastite obrasce ponašanja, rutine i pokušaje da se iz njih izvuče, kritički propitujući samu prirodu života/umjetničkog procesa te svoje egzistencije kao slobodnog umjetnika.
Način na koji on pokušava riješiti taj problem i povremeno se izvući iz klinča tehnologija, paradoksalno, je upravo uz pomoć tehnologija, koristeći timere, podsjetnike i alarme. Njegovi radovi u obliku 3d modela Rad na kompjuteru, Rad dok spavam, 3d animacija Skakanje - vježbanje i 3d print Sklek alarm s puno ( polu-mračnog ) humora ilustriraju svijet pokušaja balansiranja predimenzioniranog virtualnog svijeta koji omogućuje kreativno ostvarenje, zabavu i novčanu naknadu s jedne strane, te održavanja tijela i tjelesnih potreba s druge. U 3D animaciji Skakanje - vježbanje gledamo umjetnika kako beskonačno puta ponavlja skok. Naravno, u virtualnoj stvarnosti sve je moguće pa tako i konstatno vježbanje, koje često izostaje u stvarnom rasporedu.
Također, egzistencija slobonog umjetnika/ce u prenesenom značenju mogla bi se povezati sa analogijom kontinuiranog skakanja gdje je potrebna konstantna aktivnost i angažman kako bi se opstalo unutar prekarne sfere svojeg primarnog bavljenja- umjetnosti. Teret bivanja “sam svoj šef” te društveni pritisak za konstatnom produktivnoscu koji se implementira kao dominantni narativ stvara kontinuirani pritisak.
Rad Sklek alarm je 3d printani fotogrametrijski sken samog umjetnika koji putem Arduina i 3d printanog mehanizma svakih 15 minuta “napravi 10 sklekova” kao podsjetnik- alarm da se odmakne od kompjutera te malo bavi fizičkom aktivnosti.
U radu Mjerač vremena efikasnosti alarmi i timeri dopunjeni su mjerenjem vremena fizičke efikasnosti koje umjetnik pretpostavlja da ima u svojem životu. Vremena u kojem misli da bi mogao uz zdrav “ balansiran “ život biti u “punoj radnoj spremi”. Na ekranu televizora putem Raspberry pi uređaja i programa odbrojava se 20 godina a timer je pokrenut na otvorenju izložbe."
Na temu rada i efekasnosti, te održavanja tijela nadovezuje se tema odmora, relaksacije. U radu Odmor, koji je realiziran kao kompjutorska igrica susrećemo se s distopijskom “kopijom” svijeta, koja se odvija unutar jednog zapuštenog i manje - više praznog kolodvora. Kao “starog” simbola dolozaka I odlazaka na odmor u ljetnim vremenima. ( gameplay video rada: Odmor / Vacation on Vimeo ) Iako naravno prepoznajemo zagrebački glavni kolodvor koji je fotogrametrijski skeniran te direktno prebačen iz stvarnog u virtualno, radi se o kolodvoru smještenom na stjenovitoj morskoj obali Hvara, okruženim “beskonačnim” morem punim plastičnog otpada. Uz odsutsvo drugih ljudi – igrača stvara se liminalni “ twilight zone” prostor, pun zabilježenih tragova života koji se “nekad” tu odvijao, sada potpuno prazan. Kolodvor na pročelju nosi zastarjeli neonski natpis ODMOR kao podsjetnik na ne tako davna vremena u kojima nije bilo bogatih digitalnih svjetova koji predstavljaju virtualno/stvarne prepreke opuštanju. Zagađenje prirode i digitalna intoksikacija u igrici Odmor stvaraju mračnu i apokaliptičnu sliku moguće budućnosti, kroz “digitalni odraz sadašnjosti”, upozoravajući na potrebu za djelovanjem u ovom trenutku dok s druge strane opuštajući zalazak sunca pokraj mora zove na prihvačanje svoje nemogućnosti da se promijeni svijet te otvara mogućnost opštanja I prihvačanja “kolektivne propasti “ . S vedrije strane umjetnik se igra s idejom da neoklasicistička devetnaestostoljetna zgrada kolodvora postane izložbeni prostor. Kolodvor, tako ujedno postaje mjesto svojevrsne retrospektive Drinkovićevih radova od kojih su neki interaktivni i mogu se aktivirati u virtualnoj šetnji prostorom, a koji uvijek imaju sličnu temu - odnosa čovjeka i tehnologije kroz egzistencialnu- prizmu, istraživanje osobnog I kolektivnog načina života.
“Rad dok spavam” je 3d sken – model umjetnika u poziciji za spavanje u stvarnom mjerilu te je refernca na poznati rad Mladena Stilinovića ali iz pozicije suvremenog mladog umjetnika u vremenu kasnog kapitalizma u Hrvatskoj.
Ležaljka za sunčanje u proširenoj stvarnosti prenesena je iz igrice u “međuvirtualni prostor”, gdje se slika stvarnog svijeta stapa sa slikom virtualnog u jednu stvarnosti prikazanu na ekranu mobitela ili tableta, kao “ hologram” u prostoru. Stolica za sunčanje kao I svi ostali modeli prebačeni su direktno iz stvarnog u virtualni svijet putem fotogrametrije, postajuću na taj način I virtualni 3d dokument tog objekta u tom vremenu. Virtualna stolica prisutna u prostoru zove da se na nju sjedne I domori, ali ne pruža mogućnost te radnje iz razloga njezinog ne postojanja u fizičkom svijetu. Omogućava nam da zamislimo da smo u nju legli ali ne možemo to I fizički izvesti. Rad ilustrira nemogućnost odmora, odmaka, oporavka gdje se stvara navika mentlnog rada I u vremenu koje nam je dodijeljeno za ( godišnji ) odmor.
U radu Motika s Hvara umjetnik sadržaj izložbe obogaćuje još jednom osobnom temom, a to je odnos spram umjetničkog i osobnog nasljeđa svog preminulog oca, također umjetnika Slavomira Drinkovića.
Fotogrametrijski sken motike sa Hvara koja je se koristila u obitelju umjetnika više generacija ommage je ocevom odnosu prema fizičkom radu I svojem rodnom mjestu, tradiciji rada sa zemljom I gradnje s kamenom. Kroz mladost umjtnik je puno pomagao ocu u raznim graditeljskim radovima te su zajedno gradili mali atelje u Jelsi na Hvaru koje je nakon očeve smrti ostao nedovršen. Hologramska kopija motike predstavlja pitanje vremena I usmjerenja umjtnika u ovom životnom perioudu. Primiti stvarnu ili virtualnu motiku, ili oboje.
Cjeloživotni očev projekt gradnje ateljea, predstavljen je jako uvečanom virtualnom polegnutom
motikom ( unutar igre “Odmor” te u realnoj veličini u proširenoj stvarnosti u galeriji ). koja s jedne strane simbolizira odnos spram osobne tradicije i prenošenja nasljeđa, a s druge strane odnos spram hvarske ili otočke tradicije fizičkog rada.
Suradnici na projektu:
Olga Majcen Linn, kustosica izložbe
Antonio Kutleša, umjetnik – konzutatnt za 3d printanje, 3d print rada "Sklek alarm"
Branimir Štivić, umjetnik i programer, programiranje rada "Mjerač vremena efikasnosti"
Format C, umjetnička organizacija koja se bavi DIY kulturom, tehnologija proširene stvarnosti
Program je financiran od strane Ministarstva kulture i medija Republike Hrvatske i Grada Zagreba
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WOLIBRIUM
Maintaining a balance between work and free time has become increasingly important in a world where technology enables constant connectivity and availability. The question of how to use and properly balance the time spent in work necessary for survival and the time devoted to personal interests, rest, family and friends is a big challenge. In the context of the changes brought to our lives by smart devices and global changes, and closely related to the issue of the relationship between work and free time, is the issue of the relationship between the virtual and the real. Modern technologies offer the possibility of work and entertainment intertwined, requiring continuous attention and connection, and consequently stopping the movement of the body and the general need for movement, or being in nature. Also the privileged status that virtual life can take in an individual's life, for example by giving more importance to online experiences and encounters compared to direct encounters in the real world, is a dangerous trend that leads to social isolation in the physical sense.
These two themes are united in Vitro Drinković's exhibition "Radioteža - real, virtual, real", which deals with this very topic of the balance of work and free time ("life"), virtual and real, making people aware of the complexity of this problem for those people who most of the time spend working on the computer. The work of this artist is metapositional, he puts himself in the role of a guinea pig and investigates his own behavior patterns, routines and attempts to get out of them, critically questioning the very nature of life/artistic process and his existence as a free artist.
The way he tries to solve this problem and occasionally get out of the clinch of technology, paradoxically, is precisely with the help of technology, using timers, reminders and alarms. His works in the form of 3d models Working on the computer, Working while I sleep, 3d animation Jumping - exercise and 3d print Push-up alarm with a lot of (semi-dark) humor illustrate the world of trying to balance an oversized virtual world that enables creative realization, fun and financial compensation from one on the one hand, and maintenance of the body and physical needs on the other. In the 3D animation Jumping - exercise, we watch the artist repeat the jump endlessly. Of course, everything is possible in virtual reality, including constant exercise, which is often absent in the real schedule. Also, the existence of a freelance artist in a figurative sense could be connected to the analogy of continuous jumping, where constant activity and engagement is needed in order to survive within the precarious sphere of one's primary occupation - art. The burden of being "your own boss" and the social pressure for constant productivity, which is implemented as a dominant narrative, creates continuous pressure.
The work Push-up alarm is a 3d-printed photogrammetric scan of the artist himself, who "does 10 push-ups" every 15 minutes via Arduino and a 3d-printed mechanism as a reminder-alarm to step away from the computer and do some physical activity. In the work Efficiency timer, alarms and timers are supplemented by measuring the time of physical efficiency that the artist assumes he has in his life. The time in which he thinks he could be in "full working readiness" with a healthy "balanced" life. 20 years are counted down on the television screen via the Raspberry pi device and program, and the timer was started at the opening of the exhibition."
The topic of work and efficiency, and maintaining the body is followed by the topic of rest and relaxation. In the work Rest, which was realized as a computer game, we encounter a dystopian "copy" of the world, which takes place inside a neglected and more or less empty station. As an "old" symbol of arrivals and departures on vacation in summer. (gameplay video of the work: Odmor / Vacation on Vimeo) Although of course we recognize Zagreb's main station, which has been photogrammetrically scanned and directly transferred from the real to the virtual, it is a station located on the rocky sea coast of Hvar, surrounded by an "endless" sea full of plastic waste. With the absence of other people - players, a liminal "twilight zone" space is created, full of recorded traces of life that "once" took place there, now completely empty. Kolodvor has an outdated neon sign VACATION on its facade as a reminder of the not-so-long-ago times when there were no rich digital worlds that present virtual/real obstacles to relaxation. The pollution of nature and digital intoxication in the game Vacation create a dark and apocalyptic image of a possible future, through a "digital reflection of the present", warning of the need to act at this moment, while on the other hand, a relaxing sunset by the sea invites acceptance of its impossibility to change the world and opens the possibility of sharing and accepting "collective ruin". On the bright side, the artist is playing with the idea of turning the neoclassical nineteenth-century station building into an exhibition space. Kolodvor thus also becomes the place of a sort of retrospective of Drinković's works, some of which are interactive and can be activated during a virtual walk through the space, and which always have a similar theme - the relationship between man and technology through an existential prism, an exploration of personal and collective lifestyles.
"Working while I sleep" is a 3D scan - a model of an artist in a sleeping position on a real scale and is a reference to the famous work of Mladen Stilinović, but from the position of a contemporary young artist in the time of late capitalism in Croatia. The sunbed in augmented reality has been transferred from the game to the "intervirtual space", where the image of the real world merges with the image of the virtual into one reality displayed on the screen of a mobile phone or tablet, as a "hologram" in space. The tanning chair, like all other models, was transferred directly from the real world to the virtual world through photogrammetry, thus becoming a virtual 3D document of that object at that time. The virtual chair present in the space invites you to sit on it and fall asleep, but it does not provide the possibility of this action due to its non-existence in the physical world. It allows us to imagine that we have laid down in it, but we cannot physically do it. The work illustrates the impossibility of rest, retreat, recovery, where the habit of mental work is created even in the time allotted to us for (annual) vacation.
In the work Motik from Hvar, the artist enriches the content of the exhibition with another personal theme, which is the relationship with the artistic and personal legacy of his deceased father, also an artist, Slavomir Drinković. A photogrammetric scan of a hoe from Hvar, which was used in the family of artists for several generations, is an homage to the father's relationship to physical work and his birthplace, the tradition of working with earth and building with stone. Throughout his youth, the artist helped his father a lot in various construction works, and together they built a small studio in Jelsa on Hvar, which remained unfinished after his father's death. The hologram copy of the hoe represents the question of time and direction of the artist in this period of his life. Receive a real or virtual hoe, or both. The father's lifelong project of building a studio is represented by a greatly enlarged virtual tableau with a hoe (within the game "Vacation" and in real size in augmented reality in the gallery). which, on the one hand, symbolizes the relationship with personal tradition and the transmission of heritage, and on the other hand, the relationship with the Hvar or island tradition of manual labor.
Collaborators on the project:
Olga Majcen Linn, curator of the exhibition
Antonio Kutleša, artist - consultant for 3d printing, 3d print of the work "Sklek alarm"
Branimir Štivić, artist and programmer, programming of the work "Efficiency Timer"
Format C, an arts organization dealing with DIY culture, augmented reality technology
The program is financed by the Ministry of Culture and Media of the Republic of Croatia and the City of Zagreb
