{"id":14141,"date":"2026-05-04T20:23:51","date_gmt":"2026-05-04T20:23:51","guid":{"rendered":"https:\/\/vagon.gallery\/?post_type=izlozbe&p=14141"},"modified":"2026-05-04T20:51:04","modified_gmt":"2026-05-04T20:51:04","slug":"rezim-snova","status":"publish","type":"izlozbe","link":"https:\/\/vagon.gallery\/en\/izlozbe\/rezim-snova\/","title":{"rendered":"Re\u017eim snova"},"content":{"rendered":"
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Re\u017eim snova: Pod svojim budnim okom<\/p>

Kori\u0161\u0107enje li\u010dnog \u017eivota kao preteksta za umetni\u010dku praksu u radovima \u017darka Aleksi\u0107a ponire duboko u intimu sneva\u010da. Otuda i izlo\u017eba Re\u017eim snova obuhvata tri postoje\u0107a rada kojima se fenomen sna ispituje u svojim razli\u010ditim pojavnim oblicima: kroz fizi\u010dki otisak tela na posteljini (instalacija od 168 fotografija pod nazivom Sanjari), uticaj medija javnog informisanja na
(kolektivnu) podsvest (vi\u0161ekanalna video-instalacija Re\u017eim snova \u2013 REM), te razumevanje pojma sna u metafori\u010dkom klju\u010du, kao nali\u010dja o\u010dekivanja i nadanja (video rad\/film Fla\u0161e za hleb). I dok Sanjari dokumentuju poslednjih \u0161est meseci koje umetnik provodi u Srbiji pre nego \u0161to \u0107e se odseliti na studije u inostranstvu, Fla\u0161e za hleb bele\u017ee prvih \u0161est meseci u novoj sredini, Be\u010du. Re\u017eim snova \u2013 REM, pak, ima op\u0161tije polazi\u0161te, a svoje premise o kontroli u kognitivnom kapitalizmu gradi na neo\u010dekivanoj homonimiji re\u010di REM, kao nazivu za fazu sna u kojoj se najintenzivnije sanja i skra\u0107enici za Regulatorno telo za elektronske medije u Srbiji. Od tri video eksperimenta u ovom rada dva su fokusirana na lice, ono upravo probu\u0111eno iz sna i ono koje neprestano tokom osamnaest sati gleda u ekran \u2013 bunovno, pasivno, beskrajno receptivno\u2026 REM se stoga u izvesnom smislu mo\u017ee okarakterisati i kao dokumentacija performansa, gde umetnik ispituje granice mentalne i fizi\u010dke izdr\u017eljivosti (budu\u0107i da tokom tih osamnaest sati samo nepomi\u010dno sedi pred ekranom), bukvalizuju\u0107i metaforu pasivnog recipijenta i dovode\u0107i je do apsurda voljnim zanemarivanjem elementarnih potreba. Dnevnik sna kao mentalne aktivnosti
neophodne za \u010dovekovo samoodr\u017eanje ovde postaje dnevnik auto-torture u kom je umetnik takore\u0107i sveden na puki provodnik sadr\u017eaja medija javnog informisanja. Ti sadr\u017eaji nisu samo jedan od elemenata koji konstitui\u0161e njegovu stvarnost, ve\u0107 u datom vremenskom periodu postaju su\u0161tina njegove stvarnosti. Kroz stilski jednostavan izbor da u jednom neprekinutom stati\u010dnom kadru snima svoje lice, umetnik gradi specifi\u010dan odnos prema autoportretu, pa iako autoportretsko bele\u017eenje nije njegovo sredi\u0161te, lice ostaje glavni vizuelni nosilac rada, ukazuju\u0107i na to kako se \u010ditav proces odra\u017eava na ispitanika. Ovo nije reprezentativni autoportret, ve\u0107 jedan neuobi\u010dajen \u017eanrovski obrt umetnika sa znamenjem svog zanata \u2013 umesto tradicionalne \u010detkice i palete, svo znamenje umetni\u010dkog \u010dina \u2013 maratonskog izlaganja sadr\u017eajima sedam kanala sa
nacionalnom frekvencom \u2013 odra\u017eava se na licu. Narativni element rada sastoji se od zvu\u010dne slike TV programa u jednoj, odnosno sna koji umetnik govori na svakih sat i po vremena bu\u0111enja u drugoj instalaciji. Ako je lice posredni izraz, onda je TV sadr\u017eaj, suo\u010den sa sadr\u017eajem snova direktni nosilac zna\u010denja. Tendenciozna nenau\u010dnost metodologije \u2013 subjekat je ovde ujedno i objekat \u2013 \u010dini ovaj rad prevashodno poku\u0161ajem da se kroz samopregor na sopstvenom primeru ispitaju dometi
medijskog brainwashing-a. Ipak, ta na-nauku-nalik ozbiljnost otvara prostor za pitanje koliko smo u stanju da sami sebe sistemati\u010dno pasivizujemo, a upravo je kontekst u kom se rad izla\u017ee, pored same metodologije, ono \u0161to ga \u010dini krajnje nelagodnim. Bolni\u010dki krevet sa polo\u017eenim televizorima prostor je na kom svojevoljno podle\u017eemo eksperimentu bez garancije da ne\u0107e biti\u00a0posledica.\u00a0<\/span><\/p>

Tre\u0107i video eksperiment u okvir instalacije predstavlja niz brzomenjaju\u0107ih\u00a0<\/span>skrin\u0161otova: kona\u010dno se otkriva sadr\u017eaj TV programa, ali ne u svojoj celosti, ve\u0107 kroz izolovane\u00a0<\/span>slike koje autor bira da prika\u017ee, a koje kao u no\u0107noj mori fle\u0161uju pred na\u0161im o\u010dima. Te slike\u00a0<\/span>toliko su prepoznatljive (li\u010dnosti, studiji, logo, zabavni, informativni program\u2026) da nije\u00a0<\/span>potrebna ni \u010ditava sekunda da bi ih publika registrovala, toliko su duboko urezane da \u010dine\u00a0<\/span>ikonografski kor na\u0161e svesti. I dok Re\u017eim snova \u2013 REM fenomen sna uzima doslovno, kao\u00a0<\/span>klju\u010dni motiv i predmet istra\u017eivanja, preostala dva rada prilaze mu indirektno.<\/span><\/p>

U Sanjarima nema sadr\u017eaja snova, niti njegovih sneva\u010da, ve\u0107 samo fizi\u010dkog otiska nesvesnih kretnji dvoje ljudi u periodu od \u0161est meseci, tokom kojih svakog jutra nastaje po jedna fotografija posteljine (razli\u010ditih kreveta). Aran\u017eirane u grupi na zidu galerije, poprimaju gotovo apstraktan karakter koji na prvi pogled zanemaruje dokumentarnost i sva potencijalna zna\u010denja pred izrazitom slikovno\u0161\u0107u foto-instalacije. Budu\u0107i da je re\u010d o radu koji je nastajao neposredno pre nego \u0161to \u0107e se autor, motivisan umetni\u010dkim pozivom, iseliti iz zemlje, izrazito formalisti\u010dki utisak koji fotografije u ovom poretku ostavljaju u izvesnom smislu korelira i sa jakim mladala\u010dkim umetni\u010dkim aspiracijama koje delo tretiraju gotovo kao samodovoljnu formu. Uz to, sama metodologija ima ne\u0161to od nadrealizma, podse\u0107aju\u0107i \u010dak na rejografiju, gde posteljina funkcioni\u0161e kao fotosenzitivni papir, a telo kao uklonjeni predmet. Ipak, treba uo\u010diti da se san ovde, za razliku od Re\u017eima snova \u2013 REM tretira kao ne\u0161to \u0161to izmi\u010de, ne\u0161to toliko daleko u polju duha da ga vizuelni medij mo\u017ee dosegnuti ne ni kroz telo koje sanja, nego kroz otisak tog tela. Stoga se u izvesnom smislu mo\u017ee razumeti i kao su\u0161ta suprotnost radu Fla\u0161e za hleb gde se umetnik sa svojom partnerkom, istom onom sa kojom je radio Sanjare, suo\u010dava sa opredme\u0107enim snom (no\u0107nom morom?) \u017eivota u Be\u010du.<\/p>

Fla\u0161e za hleb se, poput Sanjara, nastavljaju na liniju samobele\u017eenja, ali za razliku od Sanjara kroz filmski medij posti\u017eu grubu sliku koja se svesno odri\u010de formalizma i apstrakcije prethodnog dela. I mada dokumentarno nije neutralno po sebi \u2013 \u010demu u prilog govori i \u010dinjenica da je ve\u0107 sama odluka da se zapo\u010dne snimanje \u010din svesnog izbora, ovde nema mnogo eksplicitnih
umetni\u010dkih intervencija (slika je, kako se to \u010desto govori, sirova) i sva tragika \u017eivotne infrastrukture koja vodi ostvarivanju snova organski proizilazi iz sadr\u017eaja (kao, primera radi, jedna od najefektivnijih scena u filmu, gde u dugom neprekinutom kadru fla\u0161e lupkaju u kesi na putu do supermarketa). Umetnik bira da snimi jednu od egzistencijalno najte\u017eih epizoda
zajedni\u010dkog \u017eivota u inostranstvu \u2013 trenutak u kom partnerka i on ostaju bez materijalnih sredstava i nose fla\u0161e na recikla\u017eu ne bi li od te transakcije obezbedili sebi novac za hranu. Medijatizacija sopstvene realnosti u trenucima najve\u0107e frustracije \u010dita se ne toliko kao poverty (auto-)porn, koliko kao jedino mogu\u0107e re\u0161enje, kao rastere\u0107ivanje realnosti, udaljavanje od nje i
pretvaranje svakodnevice u fikciju. Ovo duboko zadiranje u privatno i doslednost u gotovo opsesivnom samodokumentovanju otvara svet izrazito egzibicionisti\u010dko-voajerske izlo\u017ebe. I mada postoji znatan hronolo\u0161ki odmak od trenutka nastanka ovih radova, znakovito je koliko su prilike na kolektivnom planu ostale stati\u010dne, po\u010dev od ose\u0107aja neophodnosti da se iskora\u010di iz mati\u010dne umetni\u010dke sredine, preko\u00a0velikih ekonomskih i egzistencijalnih previranja nakon \u0161to se u tome uspe, pa sve do problema\u00a0<\/span>koji je danas u dru\u0161tvenom smislu mo\u017eda i najznakovitiji \u2013 mesta medija javnog informisanja u\u00a0<\/span>kolektivnom sanjanju. Pa ipak, Re\u017eim snova se ne zaustavlja samo na tome, ve\u0107 o snu govori\u00a0<\/span>sveobuhvatno, od poetske slike do distopijske parabole.<\/span><\/p>

Kustoskinja izlo\u017ebe: Ana Filipovi\u0107<\/span><\/p>

\u017darko Aleksi\u0107 (1985, Knja\u017eevac) radi u razli\u010ditim medijima integri\u0161u\u0107i iskustvo, fotografiju, video, instalaciju i performativnost. Njegova postdisciplinarna umetni\u010dka praksa zasniva se na ispitivanju svesti, mentalne obrade i ve\u0161ta\u010dke inteligencije: u vezi sa dru\u0161tveno-politi\u010dkim problemima kognitivnog kapitalizma i sticanja znanja, obrazovanja, dematerijalizovanog rada i nadzornog kapitalizma, kao i razradom obrade podataka kao \u0161to su biomarkeri i korelacioni podaci prikupljeni pomo\u0107u nau\u010dnih mernih ure\u0111aja i dru\u0161tvenih mre\u017ea. \u017darko je izlagao na brojnim samostalnim i grupnim izlo\u017ebama u Srbiji i inostranstvu. Trenutno predaje na Odseku za Nove Medije Fakulteta Likovnih umetnosti u Beogradu.<\/p>

Ana Filipovi\u0107 (Beograd, 1998) zavr\u0161ila je master studije na Odeljenju za istoriju umetnosti Filozofskog fakulteta u Beogradu, gde trenutno poha\u0111a doktorske studije i radi kao istra\u017eiva\u010d- pripravnik pri Institutu za istoriju umetnosti. Kriti\u010darka je portala \u201cFilmoskopija\u201d i saradnica nekoliko doma\u0107ih i me\u0111unarodnih filmskih festivala, me\u0111u kojima i Festivala autorskog filma. U proteklih nekoliko godina sticala je praksu u nekim od najzna\u010dajnijih institucija kulture u Srbiji i doprinela realizaciji ve\u0107eg broja izlo\u017ebi savremene umetnosti. Autorka je vi\u0161e nau\u010dnih radova i stru\u010dnih tekstova. Saradnica je Centra za Ameri\u010dke studije Filozofskog fakulteta u Beogradu. Primarna oblast njenog interesovanja ti\u010de se vi\u0161estrukih odnosa filmskog medija i moderne umetnosti, odnosno savremenih umetni\u010dkih praksi.<\/p>

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Re\u017eim snova: Pod svojim budnim okom Kori\u0161\u0107enje li\u010dnog \u017eivota kao preteksta za umetni\u010dku praksu u radovima \u017darka Aleksi\u0107a ponire duboko u intimu sneva\u010da. Otuda i izlo\u017eba Re\u017eim snova obuhvata tri postoje\u0107a rada kojima se fenomen sna ispituje u svojim razli\u010ditim pojavnim oblicima: kroz fizi\u010dki otisak tela na posteljini (instalacija od 168 fotografija pod nazivom Sanjari), […]<\/p>\n","protected":false},"author":14,"featured_media":14142,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"class_list":["post-14141","izlozbe","type-izlozbe","status-publish","has-post-thumbnail","hentry"],"acf":[],"yoast_head":"\nRe\u017eim snova - Vagon Gallery<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/vagon.gallery\/en\/izlozbe\/rezim-snova\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Re\u017eim snova - Vagon Gallery\" \/>\n<meta property=\"og:description\" content=\"Re\u017eim snova: Pod svojim budnim okom Kori\u0161\u0107enje li\u010dnog \u017eivota kao preteksta za umetni\u010dku praksu u radovima \u017darka Aleksi\u0107a ponire duboko u intimu sneva\u010da. 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