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Matej Sitar


  • UGM Studio 2 Trg Leona Štuklja Maribor, Upravna enota Maribor, 2000 Slovenia (map)

Matej Sitar / Majhna meditacija o času in prostoru ter Brezno
UGM Studio, Trg Leona Štuklja 2
31. avgust - 29. september 2018
Kustosinja: Andreja Borin, višja kustosinja UGM

Produkcija: Umetnostna galerija Maribor
www.ugm.si

otvoritev: 31. avgust 2018, 19.00
otvoritveno vodstvo: 31. avgust 2018, 18.30

Matej Sitar se je v Mariboru samostojno predstavil leta 2008 v Fotogaleriji Stolp s serijo fotografij Tsurai, ki so nastale na potovanju po Japonski, ob koncu avgusta pa prihaja ponovno, tokrat v UGM Studio z dvema fotografskima serijama, nastalima v zadnjih treh letih. Prva, »Majhna meditacija o času in prostoru« razkriva umetnikovo intimno doživljanje sveta, druga, »Brezno«, se od intimnega pogleda usmerja v družbeno in splošno bivanjsko sfero in naslavlja aktualne teme kot so negotovost, tesnobnost, brezperspektivnost in izgubljenost globalnega sveta, v katerem živimo.

Majhna meditacija o času in prostoru se pred gledalcem odvija kot preplet različnih podob. Nekatere so trdno zasidrane v fizičnem svetu, z drugimi se fotograf odmika od fizičnega in približuje razmišljujočemu, kontemplativnemu ali sanjavemu doživljanju. Sitarjeve fotografske podobe nastajajo na različnih nivojih realnosti. Enkrat se na široko odpirajo narativnosti, drugič nagovarjajo neizrečeno/nakazano/sluteno in puščajo odprta vrata občutenju in gledalčevi interpretaciji. Zdi se, da je fotografov pristop vsaj toliko razumski kot intuitiven, zanimajo ga vmesni prostori, ki nastajajo v odmiku od realnega, ločnice med temi prostori in ustvarjanje povezav. Pripoved tako ponekod spremeni svoj tok, se odmakne, zasuče, spet približa in nato vrne nazaj na konkretno izhodišče. Če bi likovne podobe prevedli v literarni jezik, bi dobili realno zasnovano pripoved, ki mestoma prestopi realni okvir v prid fantastičnemu ali domišljijskemu, obenem pa se preko liričnega opisa narave ali kontemplacije o pomenu časa, minljivosti in naključnosti v mehkem loku vrača nazaj v realno, da bi opozorila na dragocene trenutke nekega bivanja.

Druga serija z naslovom Brezno se osredotoča izključno na en motiv. Gre za nočni motiv morskega pomola, ki mu je umetnik sledil skozi daljše obdobje. Ime Brezno nakazuje na simbolni pomen serije, ki jo fotograf sam interpretira kot odziv na aktualne politične teme in občutenje duha časa, v katerem živimo. Serija se začenja s fotografijo svetilke, nadaljuje s skupino ljudi na pomolu, ki strmijo v neko točko v daljavi in nadaljuje s fotografijo morja, strele, pa spet morja in ljudi… Pomol kot začasen in omejen prostor trenutnega bivanja, na katerem sobivajo neznanci, podobe ljudi, ki kažejo na točko v daljavi ali se sklanjajo nad vodo, kot bi v njej iskali odgovore, podobe osamljenega pomola v popolni temi ter fotografije strele in bližnji posnetki morja, vse to namiguje na aktualne slike beguncev, ki sledijo točkam v daljavi, se rešujejo na neznane terene, se pogovarjajo z neznanci na istem pomolu in strmijo v morje, od katerega je odvisno njihovo preživetje. Fotograf z različnimi prijemi potencira napetost pripovedi: prevladujoča temina nočnega motiva, šibka osvetljava, osamitev pomola, ponekod tudi zrnatost fotografij. Maloštevilni elementi pripovedi so tako posebej poudarjeni, vsako sprememba v kadriranju, vsaka gesta ali drža protagonistov v tem praznem, v temo potopljenem prostoru močneje odmeva. Z minimalnim variiranjem tako dosega različne učinke, ki segajo od umirjenosti do dramatičnosti. Širše vzeto lahko Brezno beremo tudi kot prispodobo našega lastnega bivanja v vsem njegovem razponu: iskanje prave smeri, približevanje obali, sobivanje z neznanci, preživljanje neviht in nepredvidljivega morja ter trenutki zaupljive bližine dveh zaljubljencev, s katerimi se serija izteče. Z ljubeznijo torej, ki osmišlja in (edina) kaže izhod iz brezna.

Matej Sitar je umetniški fotograf s široko paleto delovanja. Za različne revije in fotografe fotografira arhitekturne prostore, v omejeni nakladi izdaja foto-knjige pod lastno znamko The Angry Bat, na svojem blogu The Angry Bat's – nice photobookstedensko predstavlja foto-knjige najrazličnejših domačih in tujih avtorjev, ob tem pa tudi redno razstavlja. Trenutno živi in deluje v Mariboru. V svoji založbi je do sedaj izdal tri svoje foto-knjige: Morning sun (2015), America, my way (2012) in Tsuriai (2010), kot tudi Nocturno Andreja Lamuta, Requiem Gorana Bertoka in American Cowboy finske fotografinje Karoliine Paatos. Za knjigo America, my way je prejel nagrado EMZIN. Je prejemnik več štipendij in dobitnik prestižne nagrade Essl za mladega sodobnega umetnika (2009).

 


Matej Sitar / Small Meditation on Time and Space & Abyss
UGM Studio, Trg Leona Štuklja 2
31 August - 29 September 2018
curated by: Andreja Borin, UGM senior curator
Production: Umetnostna galerija Maribor

www.ugm.si

opening: 31 August 2018, 19:00
guided tour: 31 August 2018, 18:30

Matej Sitar introduced himself to Maribor in 2008 with a solo exhibition at Photogallery Stolp of the Tsurai series of photographs which emerged from his travels in Japan. At the end of August he is making another appearance, this time at UGM Studio with a set of two photographic series, created during the last three years. The first, Small Meditation on Time and Space, reveals the artist's intimate experience of the world, the second, entitled Abyss, switches from the intimate view to the general social sphere of existence and addresses topical issues, such as uncertainty, anxiety, lack of perspective, and the disorientiation of the global world we live in.

Small Meditation on Time and Space unfolds in front of the observer as an array of various images. Some are firmly anchored in the physical world, with others, the photographer moves away from the corporeal and approaches the pensive, contemplative, or dreamy experience. Sitar's photographic images arise at different levels of reality. Some are widely open to narrativity, others bespeak the unsaid/indicated/anticipated and hold a door open for the sensation and the interpretation of the observer. It seems that the photographer's approach is equally rational as it is intuitive. He is drawn by interim spaces that emerge as a departure from reality, by the distinction between these spaces, and by the creation of connections. Consequently, the narrative occasionally changes its course, moves away, twists, draws closer again, and then returns to the initial reference point. Yet, translating visual images into literary language would result in a realistic narrative which, in favour of the fantastic or the imaginative, sporadically goes beyond reality and at the same time, giving a lyrical description of nature or a contemplative reflection on the meaning of time, transience, and randomness, returns to the real in a gentle curve in order to point out the precious moments of a certain existence.

The second series entitled Abyss focuses exclusively on one motif. It is the night motif of a sea pier, which the artist pursued over a longer period of time. The title Abyss indicates the symbolic significance of the series that the photographer himself interprets as a response to current political affairs and a feeling of the spirit of the times we live in. The series begins with the photo of a lamp, continues with a group of people on the shore staring at some point in the distance, then with a photograph of the sea, of lightning, and again of the sea, and of people ... The pier as a temporary and limited space of current residence on which strangers coexist, images of people indicating a point in the distance or bending over the water as if searching for answers in it, images of a secluded pier in total darkness, photographs of lightning and close shots of the sea, all this evokes an allusion to the current images of refugees who are following points in the distance, reaching unknown territories, talking to strangers on that same pier, and staring at the sea on which their survival depends. Using different approaches, the photographer emphasizes the narrative's suspense: the dominant theme of the night motif, the weak lighting, the isolation of the pier, and sometimes the graininess of the photographs. Only few elements of the narrative are specifically highlighted; each change in the framing, each gesture or attitude of protagonists in this empty space immersed in the darkness resonates more strongly. He thus achieves various effects, ranging from calmness to drama, using minimal variation. Broadly speaking, we can also perceive the Abyss as an illustration of our own existence in all its ranges: finding the right direction, approaching the coast, coexisting with strangers, surviving storms and unpredictable seas, and finally moments of confiding closeness of two lovers with whom the series ends. Hence, with love that gives meaning and (solely) shows a way out of the abyss.

Matej Sitar (1980) is an art photographer of wide-spectrum interests. He works as an architectural photographer for different architects and magazines, publishes limited edition photo-books under his own brand The Angry Bat, presents photo-books by different authors on his The Angry Bat – nice photobooks blog on weekly bases and still finds time to exhibit regularly. Currently he lives and works in Maribor. His publishing house has so far produced three of his own photo-books: Morning sun, 2015; America, my way, 2012; Tsuriai, 2010, as well as Nocturno by Andrej Lamut,  Goran Bertok's  Requiem and American Cowboy by the Finnish photographer Karoliina Paatos. He was awarded the EMZIN price for his book America, my way, several artistic grants and the prestigious Essl Award for young contemporary artist (2009).

 

Earlier Event: September 14
Nuša Košar, Inflacija časa
Later Event: September 14
Miran Mišo Hochstätter