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download PDF READER - HULU-a Split

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PLATFORMA<br />

izlàgati<br />

(se)<br />

izlágati<br />

izlàgati<br />

(se)<br />

izlágati<br />

THE PLATFORM<br />

Središnja tema ovogodišnjega <strong>Split</strong>skog salona,<br />

bijenalne manifestacije suvremene umjetnosti,<br />

propitivanje je izložbe kao mjesta vlastite<br />

izloženosti i kao potencijalnog mjesta artikulacije<br />

laži kao legitimnoga sredstva galerijskog<br />

pripovijedanja.<br />

Jedan od zanimljivijih pojmova naspram kojih<br />

se relacionira život jest ‘laž’. Pritom činjenica<br />

semantičkog šuma što ga u hrvatskom jeziku<br />

generira približavanje dvaju glagolskih oblika:<br />

izlàgati (izreći laž) i izlágati /se/ (izložiti /<br />

se/), postaje iznimno provokativna. Upravo u<br />

tom šumu ogleda se platforma 37. splitskog<br />

salona. U obzir se uzimaju sve tematske<br />

mogućnosti, sva moguća istraživanja putova<br />

‘urbane laži’, negiranja ili iskrivljavanja istine,<br />

odnosno njezine manipulacije; od političkih,<br />

osobnih, rodnih i socijalnih impulsa do propitkivanja<br />

samoga sredstva umjetnosti i<br />

The central topic of this year’s <strong>Split</strong> Salon, a biennial<br />

event in contemporary art, is the querying<br />

of the exhibition as site of one’s own exposure<br />

and as potential site for the articulation of<br />

the lie as legitimate means of gallery narration.<br />

One of the interesting terms to which life is<br />

related is the lie. Provocative here is the fact<br />

of the semantic noise that is generated among<br />

the Croatian public by approximating two<br />

verbal forms: izlàgati (to tell a lie) and izlágati<br />

se (to exhibit or expose oneself).* The platform<br />

of the 37th <strong>Split</strong> Salon takes its cue from<br />

this noise. All thematic possibilities are taken<br />

into account, all possible investigations of the<br />

paths of the “urbane lie”, the negation or distortion<br />

of truth, or its manipulation; political,<br />

personal, familial and social impulses as well<br />

as querying of the actual means of art and the<br />

possibility it has of being manipulated. Nor

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