Vitar Drinković – ZOOM
2020. godina. Subotnja druženja u gradu u zimske večeri padoše u nostalgična sjećanja, hoardanje zaliha nova je razonoda, zagrljaji su out, maske su in, dodiri se sele u intimne, dobro dezinficirane prostore gdje se ruke peru, namirnice se peru, dobro izribaj da ne bi štogod ostalo. Korporacije poput Amazona, Zooma, eBayeva i Woltova našeg globalnog postkapitalističkog Levijatana dižu se na zadnje noge, parajući nosovima nebo (a bogme i financijske rekorde). U svemu tome – čovjek. Čovjek, koji je, kako želimo vjerovati, mjera svih stvari. No teško je tomu povjerovati u potpunosti kada nema načina na koji bi se njegova organička i strukturalna složenost u potpunosti povezala s digitalnom lepezom piksela, nula i jedinica, s brojkama na radiju, portalima, brojkama na Richterovim ljestvicama. Njegovo tijelo, čini se, postaje samo jedinična mjera u globalnom odbrojavanju, njegov zdrav razum running gag na društvenim mrežama. Čini se da odgovori na traganje za zrnom zdravlja i humanosti u svemu tome pristižu više u formi reklama koje nakon očajnih guglanja o self-help metodama podmuklo iskaču u kutcima virtualnih prostora nego u dijaloškim okvirima javne retorike.
Interaktivna instalacija ZOOM Vitra Drinkovića promišlja učinke i promjene koje je posljednja zemaljska godina ostavila na pojedinca, ali i kolektivnu psihu. Promatrač u ovu iskustvenu instalaciju ulazi fizički, sjeda na drvenu stolicu pred konstrukt sačinjen od 3D printanih dijelova, elektromotora, mikrofona i dvije plastične vrećice koje evociraju dva plućna krila te drvene stolice, dok mu dah tog protokiborškog bića struji po licu, a sjedalo pod njime zlokobno podrhtava. Vjerno svojem prepoznatljivom umjetničkom pristupu i propitivanju, u Drinkovićevu radu čovjek uistinu jest mjera svih stvari, ali svijet koji njegovi čudotvorni strojevi nastanjuju naginje prema transhumanističkom početku, u kojem sa zdravom dozom kritičnosti propituje što to točno znači biti čovjek, gdje se nalazi njegovo zdravlje, njegov zdrav razum, na izvedbeno kompleksan, a prezentacijski jednostavan način on nas suočava sa strahovima, anksioznošću i previranjima koja su tkalci nemira posljednjih dana. Svaki element instalacije: disanje dućanskih vrećica ispunjenih sitnišem, dah na licu, zoom zvuk elektromotora, udaljenost aparature od promatrača (1,5 m!), vibracije stolice nastale strujanjem zraka imaju direktnu poveznicu sa situacijom u kojoj se nalazimo kako lokalno, tako i globalno.
Uslijed cijele jedne godine provedene na digitalnim komunikacijskim kanalima, zemlje koja se pod nogama para i bića/ne-bića koja harače od nosa do nosa, jednog plućnog krila do drugog, misli do misli, nije neobično da su rečenice poput one „Vidimo se na Zoomu.“ ušle u uobičajene idiome najsuvremenijeg postpandemijskog rječnika i postaju sinonimom za rad, socijalizaciju, za nužnost življenja. Samo i dalje ostaje pitanje gdje je u svim tim klikovima prirodna ravnoteža homo sapiensa, čovjeka koji se igra, čovjeka koji cvjeta, čovjeka koji diše.
Marija Kamber
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Vitar Drinković - ZOOM
2020. Saturday gatherings in the city on winter evenings are fading away into nostalgic memories, hoarding supplies is a new favourite pastime, hugs are out, masks are in, touches move to intimate, well-disinfected areas where hands are washed, groceries are washed, rub, rub well to avoid anything left on the skin. Corporations like Amazon, Zoom, eBay and Wolt of our global post-capitalist Leviathan are rising to their hind legs, breaking the sky barrier with their proud noses (and, of course, financial records). In the middle of all, human being stands. Human being which, as we were brought up to believe, is the measure of all things. But it is hard to believe this statement completely when in almost no way its organic and structural complexity can be fully linked to a digital array of pixels, zeros, and ones, with numbers on the radio, portals, numbers on Richter scales. Its body, it seems, is becoming just a measuring unit in the global countdown, its common sense a running gag on social media. The answers to the search for a grain of health and humanity seem to arrive more in the form of advertisements that, generated by a desperate Googling about self-help methods, which ominously pop up in the corners of virtual spaces rather than in the dialogic framework of public rhetoric.
Interactive installation ZOOM by Vitar Drinković reflects on the effects and changes that the last year has left on the individual, but also on the collective psyche. The observer enters this experiential installation physically, sits on a wooden chair in front of a construct made of 3D printed parts, an electric motor, a microphone and two plastic bags that evoke human lungs, sitting on the trembling wooden chair, while the breath of this proto-cyborg creature flows over his face. True to his recognizable artistic approach, in Drinković's work man is truly the measure of all things, but the world inhabited by his miraculous machines tends towards a transhumanist inception, in which he questions with a healthy dose of criticism what it means to be human, where the health and sanity congregate, in a productionally complex, and presentationally simple manner he confronts us with the fears, anxieties, and turmoils that have been the weavers of the unrest of our most recent days. Every element of the installation: plastic bags which are “breathing”, air currents on the face, distance of the apparatus from the observer (1.5 m!), and vibrations of the chair caused by the air flow have a direct connection with the situation we are in, both locally and globally.
Due to a whole year spent on digital communication channels, the earth which splits under our feet, and creatures / non-creatures that roam from nose to nose, from one lung to another, thought to thought, it is not unusual that sentences like “See you at Zoom” have entered into the common idioms of the most modern post-pandemic dictionary and have become synonymous with work, socialization, the necessity of living. The only question which remains is of where in all those virtual clicks is the natural balance of homo sapiens, the man who plays, the man who blooms, the man who breathes.
Marija Kamber
