mentalni mentor sklop sljedbenik 170 nan hoover sandro đukić

171 mentalni mentor sklop sljedbenik 172 Nan Hoover i Sandro Đukić

Izložba Nan Hoover i Sandra Đukića refleksija je i segment dijaloga koji traje veći dio Sandrova života. Njegov početak zbio se na dize- ldorfskoj akademiji, nastavio prijateljstvom, te traje do danas, San- drovim posvećenim arhiviranjem djela svoje mentorice. Sandrova montaža izloženih djela niz je asocijacija vezanih za ontološku temu – položaj materijalnog, smrtnog Uvijek je izrazito teško ući u tuđe dijalo- bića i njegovu transcendentnu ge, pa tako i u ovaj između Sandra Đukića mogućnost. Sandro stvara du- i Nan Hoover koji je zapravo trajao vrlo alistički kontrapunkt, narativ dugo. To i nije bio izravni dijalog, već koji počinje u dvorani nizozem- prije priča puna fantazija i asocijacija skih majstora Kunsthistorisc- dvoje eteričnih umjetnika. Ova je izložba, hes Museuma. Kontemplativni pretpostavljam, nastala Sandrovom željom. performans King’s gambit, koji On je izabrao svoje radove i radove Nan Ho- u dvorani nizozemskih majstora over koji mogu međusobno razgovarati, bez izvodi sa Slavenom Toljem, od- obzira na to radi li se o djelima koja su nosi se na položaj habsburških materijalna ili ona koja čine pokret, svje- imperatora i zrcali stanje skep- tlo, ili su samo neka gesta. Taj dijalog je tičnog individualca u merkanti- vrlo intiman, on je samo njihov i nisu ga lističkom svijetu. S nekoliko fo- vodili samo da bi komunicirali s publikom. tografija dvorane Sandro sažima Od 2008. godine, kad je Nan umrla, Sandro ljudske ambicije i pad – izgon iz vodi izvjestan monolog u kojem njih dvoje raja, ljubavnike u krčmi i kada- i dalje razgovaraju. Tu intimu zapravo bi vere lovačkog plijena, lihvare i najljepše bilo ostaviti njima i ne uplitati nadzornu kameru. Pokraj zami- se u nju. S druge strane, možda je ono što šljenog martira, Massysova Je- taj razgovor također obilježava generacij- remije, instalira pomrčinu (op- ska razlika među njima pa su njezini radovi tičku varku ostvarenu karakteri- za Sandra na izvjestan način i povijesni. stičnim kutom snimanja) – uvod Možda i zato on na ovoj izložbi evocira i u dijalog s Nan Hoover, koja je, donosi tristo godina slikarstva u taj dija- slijedeći stare majstore, slikala log. Dakle, oni očito razgovaraju o nečemu svjetlom. Eksperimentirajući s što je iznad situacije u kojoj se poznaju i izvorima svjetlosti, Hooverova je nalaze. Oni jednostavno razgovaraju o um- videoradovima, performansima i jetnosti koja na njih utječe te zašto je i fotografijama dematerijalizirala pod čijim utjecajem stvaraju. karnalni svijet i utjelovila duh,

Janka Vukmir

173 nan hoover sandro đukić koji mimo njega i u njemu prebiva. Njezin eteričan rukopis i Sandrov Nan Hoover racio susreću se trajno u zajedničkim temama – konstrukcijama i de- Still Movement, 1980. konstrukcijama perceptivnih iluzija, položaju čovjeka u prostoru i fotografija njegovu neizbježnome nestajanju. Sandro je u izložbu uvrstio posvetu 65,5 x 99,5 cm za Nan - snimku performansa Still Movement, izvedenog na izložbi Standard Pacific Time. Koncentriranimslow motion kretanjem Sandro usporava prolaznost.

Leila Mehulić Nan Hoover ?????? (na str. ???)

Sandro Đukić ????? (na str. ???)

mentalni mentor sklop sljedbenik 174 Nan Hoover and Sandro Đukić

The exhibition of works by Nan Hoover and Sandro Đukić is a refle- ction and a segment of the dialogue that has continued throughout most of Sandro’s life. It first started at the academy in Düsseldorf, grown into a friendship, and still exists today in the shape of San- dro’s devoted archiving of his mentor’s work. Sandro’s combination of displayed pieces is a series of ontological associations – the positi- on of the physical, mortal being and his capability of transcendence. Sandro creates a dualist counterpoint, a narrative which begins in the Dutch masters hall at Kunst- It is always difficult to get into other historisches Museum. The con- people’s dialogues, like this between San- templative performance King’s dro Đukic and Nan Hoover, which in fact Gambit, performed in the Dutch went on for a very long time. It wasn’t a masters hall with Slaven Tolj, re- direct dialogue, rather a story, a tale fers to the position of Habsburg full of the fantasies and associations of emperors and mirrors the condi- the two ethereal artists. The exhibition, tion of a sceptical individual in a naturally, came into being in a sense at mercantile world. In several pho- the wish of Sandro. He chose his works and tographs from the hall, Sandro those of Nan Hoover that can speak to each compresses human ambitions other, no matter whether they are works that and the human downfall – exile are material or that consist of movement, from Paradise, lovers in a tavern light or just some gesture. This dialogue and hunting prey cadavers, loan is very intimate, it is theirs alone, has sharks and a surveillance came- not been kept up in order to be communi- ra. Next to the contemplative cated with an audience. From 2008, the year martyr, Massys’s Jeremiah, he in which Nan died, Sandro maintained a kind installs an eclipse (an optical illu- of monologue in which the two of them were sion created by way of a specific still in conversation. It would be best in shooting angle) – as introduction fact to leave this private matter theirs to the dialogue with Nan Hoover alone, without interfering with it. On the who, following in the footsteps other hand, perhaps what the conversation of the old masters, painted with also marks is the difference in their gener- light. Experimenting with so- ations, and that her works are for Sandro, urces of light, Hoover and her in a certain way, historical; perhaps it videos, performances and photo- is for this reason that at the exhibition graphs dematerialised the carnal

175 nan hoover sandro đukić world and embodied a spirit whi- he is evoking 300 years of and ch dwells beyond and inside of it. bringing them into the dialogue. Clearly, Her ethereal signature and San- then, they are talking of something that dro’s logic interweave eternally is above the situation they are in, in throught common themes – con- which they know each other. They are sim- structions and deconstructions of ply talking about the art that makes an perceptive illusions, position of a impact on them, and about why and under man in space and their inevitable the influence of what they create. disappearance. Sandro also included an homa- Janka Vukmir ge to Nan – a video of the Still Movement performance, conducted as part of the exhibition Pacific Standard Time. In focused slow motion, Sandro slows down the passage of time.

Leila Mehulić

Sandro Đukić ?????

mentalni mentor sklop sljedbenik 176 177 mentalni mentor sklop sljedbenik 178 179 razgovor

Razgovarali: najistaknutijim studentima, ustvari formi- Mladen Lučić (M.L.) rali ste jednu novu generaciju koja je u tom Sandro Đukić (S.Đ.) trenutku iskazivalaznatan otklon prema tada ustaljenim umjetničkim vrijednosti- M.L.: Ovo je deveta, predzadnja izložba ma. Donijeli ste drugačije vizualno raz- ovog ciklusa, a u njegovu početku bilo je mišljanje, s percepcijom koja se bazirala na rečeno da se sučeljavanja parova sledbenik novim medijima. Ja ne volim nekog nazivati - mentor neće odnositi izravno na odnos multimedijalnim umjetnikom, ali mislim profesor – učenik. Međutim, pred nama je da kod tebe ipak ta definicija funkcionira, upravo jedan takav primjer, ali koji je opet jer osim sa novim ti barataš i sa starim dosta daleko od takvog klasičnog odnosa, medijima, s klasičnim tehnikama, te radiš jer on varira u mnogo čemu. Dakle, Nan Ho- još nešto što je meni vrlo interesantno, over bila ti je profesorica na düsseldorfskoj arhiviraš. Radiš de facto arhive i biblioteke akademiji, ali ti si već došao u Düsseldorf s fileova, video stilova i nekih drugih formatai diplomom zagrebačke akademije. time se baviš već niz godina. Međutim, ja S.Đ.: Ja sam diplomirao par godina bi danas krenuo od kraja. Večeras je ovdje kasnije na zagrebačkoj akademiji. Naime, premijerno u Hrvatskoj izložen radKings završio sam akademiju u Zagrebu, ali nisam Gambit, odnosno Kraljev Gambit koji je diplomirao jer sam tada bio malo ljut na nastao prije mjesec, dva u Beču. Molio bi neke stvari i u žurbi sam otišao u Düssel- teda kažeš nešto više o tom radu. dorf. Onda sam par godina kasnije diplomi- S.Đ.: U zadnjih sam par godina u više na- rao i u Zagrebu. vrata boravio u Bečute surađivao s jednom M.L.: Damir Babić, Boris Bedrač i ti bili galerijom i nekim institucijama. Također ste tada na zagrebačkoj akademiji među sam često boravio u klasičnim muzejima,

mentalni mentor sklop sljedbenik 180 koji su mi moram priznati stvarno fascinan- dam i volila je Rembrandta. Da li ti je to tni i sve me više privlače usprkos tome što negdje bilo na pameti? sam cijeli život obilazio muzeje suvremene S.Đ.: Nije mi to bilo na pameti. Kao umjetnosti. Ovaj je rad nastao u Kunst- dijete višesam puta bio u - historische museumuu Beču jer, osim već skom Rijksmuseumu koji je valjda jedno navedenog, postoji još nekoliko razina zbog od najsvijetlijih mjesta, vrlo slično kao i kojih mi je bilo interesantno nešto tamo Kunsthistorische museum, alijoš je korak napraviti. Jedno je bilo osobno iskustvo dalje, radikalniji je. Nan Hoover inače spo- nekog bližeg dodira sa slikama, umjetnina- minje Rembrandta i njeni performansi se ma, svime što se tamo nalazi. Druga stvar ustvari bave svijetlom što se može iščitati koja mi se činila vrlo interesantnaomje ta kao neka referenca natog velikog baroknog povjesna relacija Beča i Zagreba koja je slikara, jer je problem svijetla jako znača- toliko isprepletena raznim političkim, druš- jan u njenom radu. Možda je tu neka naša tvernim i kulturnim vezama da kad dođeš u poveznica, ali ja smatram da ono što nas taj muzej sve ti je nekako poznato, osjećaš doista povezuje su stajališta estetike, etike se ko doma. Kad sam radio prvu samostal- i morala, jer smo ustvari zajedno djelili ne- nu izložbu unazad par godina u Beču, onda kakav duhovni i etički prostor. To je ono što sam rekao da mi je bilo drago da izlažem u mi se čini kao nekakav značajni moment, glavnom gradu. ovi formalni momenti se mogu ili ne moraju M.L.: Meni je žao što to i nije glavni grad. dodirnuti. S.Đ.: Ono što je isto tako vrlo važno je M.L.: Pa, cijeli ovaj ciklus izbjegava te soba u kojoj se odvija taj performans.Per- formalne elemente, jer upravo idemo na tu formans je djelomično rađen s namjerom priču poveznaosti duhovnog zajedništva. da se napravi upravo ova fotografija i ovaj Nan ti je dugo bila mentorica. S čime te je u foto-session, dakle da se dokumentira jed- stvari fascinirala? no stanje. Ono što je zanimljivo možda je S.Đ.: Možda bi ovdje, kako bi se opisao da je to soba sanizozemskim, dakle sjever- profesorski i mentorski odnos sa studenti- njačkim slikarstvom. To je u stvari nizozem- ma, moglo biti zanimljivo reći što je u stvari ski barok, 17.stoljeća, začetak građanskog bilo studiranje u Düsseldorfu. To je tzv.Frei društva, u stvari početak nečega što mi se Kunst akademija, dakle, uopće ne postoji čini da je paradigma koju danas živimo. U struktura akademije u klasičnom smislu.Ja toj sobi uopće nema biblijskih motiva, nego vjerujem da ako bi danas želio nostrificirati su isključivo svjetovne teme: trgovine, svoju diplomu, to ne bi bilo moguće, jer orgije, baratanje novcem u mom indexu, nakon pet godina studija, M.L.: Da, to je slikarstvo protestanata. nema niti jedne ocjene, niti jednog potpisa. Oni ne slikaju Bibliju... Dakle, to je nešto što se događalo potpuno S.Đ.: Mislim da smo i mi djelomično po- izvan sustava.Usprkos tome to je službe- stali protestanti, jer je to neki civilizacijski na, državna akademija. Nan se takođerna okvir koji nas danas dodiruje. taj način ponašala. To nisu bila klasična M.L.: Možda je i ova sklonost nizozem- predavanja, ona je u stvari imala nekakav skom baroku jedna od tvojih poveznica s mentorski pristup koji je bio, ne znam kako Nan Hoover koja je 76-te došla u Amster- bi to točno rekao, nekakav odnos jedan

181 nan hoover sandro đukić na jedan. Prvenstveno vrlo osobni i ljudski s videom.U jednom intervjuu koji sam odnos koji je težio da umjetnost bude neki nedavno slušao kaže da joj je prijatelj tada teren za slobodnu razmjenu naših raz- preporučio da kupi kameru. S tim da u to mišljanja.Ono što se meni dogodilo s Nan vrijeme, nije postojao uopće pojam video je, da se u tom vremenu mog boravka u umjetnosti. Ona je nekom igrom slučaja Düsseldorfu, formirala neka duhovna veza, dobila video kameru u ruke, upalila je i a onda se to produžilo na cijeli život. Ona počela snimati. Prve dvije godine radila je, na neki način, moj životni mentor, ili moj je te eksperimente i nije uopće znala da neki stariji sudrug, prijatelj, kolega. Igrom li itko drugi to radi. Dakle, ona je stvarno slučaja našao sam se u Berlinu prije njene bila nekakav usamljenik koji se igrao. Ono smrti, tako da sam s njom proveo njenih na čemu je ona inzistirala cijeli život, do zadnjih par mjeseci. I tada sam joj asistirao samog kraja, jeda paralelno s vidoem radi i na njezinim projektima, jer je radila do sa- crteže, oni nisu ovdje izloženi ali to su crteži mog kraja, kao što sam to činio niz godina. s crnim kredama i ona je cijelo vrijeme go- Ustvari, to je više bilo specifično druženje vorila da je kamera druga vrsta kista kojim uz duge razovore što smo ih vodili radeći na radi. Mogu vam reći svojevrsni background arhivima. ovdje izloženih radova, odnosno kako su M.L.: Ono što je meni kod Nan Hoover oni rađeni. Iza nas je “Returning to Fuji”. fascinantno to je da do 76-te nije uopće To je u stvari tehnika koju ona primjenjuje, radila video, onda se susrela s jednim no- tzv. “in camera editing”. Dakle ona snima u vim medijem i krenula odmah, intenzivno kontinuitetu bez prekida neku situaciju, te i impulzivno u njegovo istraživanje, a već tako snimljeni material bez post-produk- godinu dana poslije izlagala je na Docu- cije, dakle bez naknadne montaže, postaje menti u Kasselu. Vrlo dobro znamo, tko, filmom.U ovom konkretnom slučaju “Fuji kad, kako i zašto može tamo izlagati. Nakon Mountaina”, ona je složila jednu kutiju sa toga je imala samostalku u Momi, te po- papir mašeom. S prednje strane ta je kutija staje de facto, jedno od prvih imena video probušena i ima paus ispred kamere, a sa umjetnosti. Ja mislim da je kod nje ipak strane se dva dva svijetla lagano kreću. bilo značajan i susret sa Karlom Apelom, Kako se pomiću kroz prostor, mijenjaju se utemeljiteljem Kobre, čuvene protokon- sjene, odnosno snimljena scena. Tako da ceptualne grupe iz Nizozemske. Da je prije je ovo neka kombinacija performansa, žive radila sa tim bojama, da je krenula na jednu snimke i slikanja svijetlom. elementarnost boja i da joj je kasnije, kad M.L.: I hommage cameri-obscuri. je otkrila taj jedan svijet svijetla i pokreta, S.Đ.: I to. Nan Hoover je video shvaćala čime se de facto, cijeli život primarno bavi- kao neki suvremeniji kist koji radeći crtež la u svom vizualnom izričaju. Da je, u stvari, sublimira problem svijetla i pokreta. Drugi u stratu znala što hoće, i to je provodila vrlo rad, ovaj “Intercept the Ray” u biti je per- jasno, konkretno i bez ikakvih oscilacija.Da formans koji je rađen za video snimku. U li je sad to moj dojam?Ti si ipak bio puno manjem prostoru projecira se dijapozitiv bliži. s njenim crtežom, a s folijama radi svije- S.Đ.: Evo, prvo jedna mala samo isprav- tlosni crtež sa sjenama. Krećući se tijelom ka.Nan već 73-će u stvari počinje raditi kroz prostor, Nan dodatno mijenja tu sliku.

mentalni mentor sklop sljedbenik 182 Snimano je u kontinuitetu, u jednom kadru. Jedan od motiva koji se ovdje u mojim radovima pojavljuje je i Vanitas. Vanitas govori o prolaznosti, a mene je zanimao taj odnos memorije i protoka vremena, što je na neki način i veza s radovima Nan Hoo- ver, usprkos tome što su oni na formalnoj razini potpuno različiti ali problem trajanja ili problem vremena naša je zajednička dodirna točka. M.L.: Počeli smo s tvojim radvima, pa bi I završili recimo s tvojim planovima u sko- rijoj budućnosti? Imati ćeš fenomenalnu izložbu koju ti radim u Muzeju suvremene umjetnosti Istre. S.Đ.: Bilo bi dobro kad bi znao termin. M.L.: Kraj godine. S.Đ.: Kraj godine, može. Na jesen se vraćam u Düsseldorf gdje nastavljam rad na arhivi Nan Hoover. Dakle digitalizacija 25.000 dijapozitiva, negativa i slideova. Paralelno s tim u ekipi sam koja radi retros- pektivnu izložbu Nan Hoover, ali isto još ne znam termin. Početkom sljedeće godine u Močvari ću izložiti fotografsko-arhivski projekt, koji se bavi memorijom, a radim i Artist- bookove u kojima prikupljam fotografije, koje sam snimio na nekim posebnim i neobičnim lokacijama iz našeg prostora i naše stvarnosti.

183 nan hoover sandro đukić conver- sation

Dialogue participants: M.L.: Damir Babić, Boris Bedrač and you Mladen Lučić (M.L.) were among the leading students at the Sandro Đukić (S.Đ.) Zagreb Academy of Fine Arts then; in fact, you formed a new generation, which at that M.L.: This is the ninth and penultimate ex- time exhibited a considerable deviation from hibition of this series, and at the beginning it the established art values of the time. You was said that the juxtaposition of the mentor had a different kind of visual thinking, with / follower pairs would not directly refer to perception based on the new media. I don’t the relationship of teacher and student. But like calling anyone a multimedia artist, but what we have now is just such an example, I think that in your case, it definitely works, although, again, pretty far from the classic for as well in the new you also are adept in relationship of the kind, because it varied the old media, the classic techniques, and in a good many things. So, Nan Hoover was you are doing something else that is very your teacher at the academy in Düsseldorf, interesting to me, archiving. You are de facto and you arrived in Düsseldorf with a degree making archives and libraries of files, video in your hand from the academy in Zagreb. stills and some other formats, and you’ve S.Đ.: I actually graduated a couple of been into this for a number of years now. years later at the Zagreb academy. That is, However, today, I’d like to set off from the I had done the course, but hadn’t taken end. This evening the work King’s Gambit is the degree, for I was then a bit angry about being exhibited in Croatia for the first time, certain things, and went off in a huff to Düs- a work that was created a month or two ago seldorf. And then a couple of years later I got in Vienna. I wonder if I could ask you to say a my degree in Zagreb. bit more about the piece.

mentalni mentor sklop sljedbenik 184 S.Đ.: In the last few years I have had S.Đ.: I think that we too have partly several stays in Vienna, and worked with become Protestants, because that’s the a gallery and some institutions. I was also framework for the civilisation that impinges often in the classic museums that, I have to on us today. admit, are really fascinating, and attract me M.L.: Perhaps this fondness for the Dutch more and more, although the whole of my Baroque is one of the links with Nan Hoover life I have been going around museums of who in 1976 arrived in Amsterdam and fell in contemporary art. This piece was created in love with . Was that somewhere the Kunsthistorisches Museum in Vienna, at the back of your mind? for, apart from the level already mentioned, S.Đ.: No, it wasn’t. As a child I visited the there are several others that got me inter- Amsterdam Rijksmuseum several times, ested in doing something there. One was one of the lightest of places, very similar to the personal experience of a closer contact the Kunsthistorisches, but a step further on, with the , artworks, everything that more radical. Nan Hoover actually mentions is there. The second thing that seemed very Rembrandt and her performances really interesting was the historical relationship deal with light, which can be read off as a between Zagreb and Vienna, which is so reference to that great Baroque painter, for much interwoven with other various politi- the problem of light is very important in her cal, social and cultural links that, when you work. Perhaps that is a link between us, but I come into that museum, everything seems think that what really does connect us is the familiar, you feel quite at home. When I did standpoints in aesthetics, ethics and mo- my first personal exhibition a few years back rality, for in fact we shared a kind of spiritual in Vienna, then I said that I was pleased to and ethical space. That is what seems an be exhibiting in the capital. important factor to me, the other, formal, M.L.: I’m sorry that it isn’t the capital. factors can be connected with each other, S.Đ.: What is also very important is the but don’t have to be. room in which the performance unfolded. M.L.: Well, the whole of this series avoids The performance was partially made for the those formal elements, for actually we are sake of taking this photograph, and doing getting on to the story of connectedness and just this photographic session, of document- spiritual togetherness. Nan was your mentor ing a situation, then. What is interesting for a long time. What was it about her that perhaps is that this is a room with Dutch, i.e. fascinated you? northern, painting. In fact, Dutch Baroque, S.Đ.: Perhaps it would interesting here, in 17th century, the beginning of bourgeois order to describe the relationship between society, in fact, the beginning of what seems teacher /mentor and student, to say what to me the paradigm in which we are living studying in Düsseldorf was in reality. This today. In that room there are no Biblical sub- was the so-called Frei Kunst Academy, jects at all, they are all secular topics, trade, that is, there was no academy structure in orgies, handling money. the classic sense. I believe that if I wanted M.L.: Oh yes, Protestant painting. They today to get my degree accredited here, I don’t paint the Bible... wouldn’t be able to, for in my transcript,

185 nan hoover sandro đukić after five years of studies, there is no grade, facto, she primarily dealt the whole of not a single signature. It is something that her life in her visual idiom. That, in fact, happened completely outside the system. at the start, she knew what she wanted, And yet, it is an official, state academy. Nan and carried it out very clearly, concrete- acted in the same way. She didn’t do classic ly, without any wavering. Is that my lectures, in fact, she had a kind of mentor’s impression now? At any rate, you were approach, which was, I don’t exactly know much closer. how to put it, but, one-to-one. Primarily, a S.Đ.: Well, first of all a bit of a correc- very personal and human relationship that tion. In 1973 Nan was already starting had the ambition of making art the ground to work with video. In an interview that for the free exchange of our thoughts. What I recently listened to she says that a happened to me with Nan is that during my friend suggested she should buy a cam- stay in Düsseldorf, a kind of spiritual con- era at that time. But at that time, there nection was formed, which then extended was no such conception at all as video to the whole of life. She is, in a sense, my life art. By some quirk of fate she got hold coach, or some older companion, friend, col- of a video camera and started shooting. league. By chance, I happened to be in The first two years she did experiments, before she died, and spent the last couple of without knowing whether anyone else months of her life with her. And then I was was doing them. She really was a kind helping in her projects, for she worked to of a loner who was just playing. What the very end, as I had done for a number of she did insist on the whole of her life, years. In fact, it was more a specific kind of right to the end, was that in parallel with association with long conversations that we videos she also did , they are had working on the archives. not shown here, they were drawings M.L.: What is fascinating about Nan in black chalk, and the whole time she Hoover to me is that up to 1976 she didn’t said that the camera was a different work with video at all, and then she met a kind of brush she worked with. I can tell new medium, and at once set out, with great you a kind of background to the works vigour and very impulsively, to explore it, and on show here, that is, how they were just a year later was exhibiting at the done. Behind us is Returning to Fuji. Documenta. We know very well who can In essence, this is the technique she exhibit there, when, how and why. After that employs, i.e., in-camera editing. She she had a solo show in MoMA, and became, shoots some situation continuously, de facto, one of the leading names in vid- without a break, and this recorded eo art. I think that in her case, though, the material, without any post-production, meeting with , the Cobra found- without editing, is the . In this case, er, famed proto-conceptual group from The Fuji Mountain, she arranged a box with , was important. That she had papier maché. This box is perforated worked with these colours earlier, set out at the front and there is tracing paper onto a kind of elementariness of colours in front of the camera; at the side, and that later, when she had discovered this two lamps are slowly moving. As they world of light and movement, by which, de move through the space, the shadows

mentalni mentor sklop sljedbenik 186 change, or the scene shot does. This is a photographic archive project in Močvara, kind of combination of performance, live dealing with memory, and I am also making recording and light painting... artist books in which I am bringing together M.L.: ... and hommage to the camera photographs that I have shot in some par- obscura. ticular and uncommon sites in our area and S.Đ.: That too. Nan Hoover understood our reality. video as a kind of more contemporary brush that in making a sublimated the problem of light and movement. Another work, this Intercept the Ray, is in essence a performance, which was done for the video recording. In a smallish room a slide with her drawing is projected, and with plastic sheets a light drawing with shadows is made. Moving bodily through the space, Nan additionally changes the picture. It is shot continuously, in a single take. One of the motifs that appears here in my works is Vanitas, which talks of transience, and I was interested in the relation between memory and the passage of time, which is in some sense a connection with the works of Nan Hoover, although they are at a formal level very different, yet the problem of duration, the problem of time, is a point at which we touch. M.L.: We started with your works, and I would close, let’s say, with your plans for the fairly immediate future? You are going to have a fantastic exhibition that I am doing for you at the Istrian Museum of Contempo- rary Art. S.Đ.: It would be good if I knew the dates. M.L.: End of the year. S.Đ.: End of the year, ok. In the autumn I am going back to Düsseldorf, where I am going on with work on the archives of Nan Hoover. The digitisation, then, of 25,000 dia- positives and negatives. In parallel with this, I’m part of a team that is doing a Nan Hoover retrospective, but I don’t know the date of that either. Early next year I shall exhibit a

187 nan hoover sandro đukić mentalni mentor sklop sljedbenik 188 189 Sandro Đukić

Sandro Đukić je rođen u Zagrebu 1964. go- Sandro Đukić was born in 1964 in Zagreb, dine, gdje je nakon završene Škole primije- where after completing the School of Ap- njenih umjetnosti diplomirao na Akademiji plied Arts he graduated from the Academy likovnih umjetnosti, u klasi prof. Đure Se- of Fine Arts in the class of Professor Đuro dera 1989. godine. Iste godine upisuje se na Seder in 1989. In the same year he enrolled Kunstakademie u Düsseldorfu, gdje boravi in Kunstakademie in Dusseldorf where he do 1993. kao gostujući i redovit student, u stayed until 1993 as a visiting and full stu- klasi prof. Nam June Paika i klasi prof. Nan dent in the classes of Professors Nam June Hoover. Na toj akademiji pohađao je Maj- Paik and Nan Hoover. At the same academy, storsku radionicu od 1993. do 1994. godine he attended a Master’s course from 1993 – (prof. Nan Hoover). Izlagao je na mnogim 1994 (Professor Nan Hoover). He took part samostalnim i skupnim izložbama u Hrvat- in numerous solo and group exhibitions skoj, Njemačkoj, Austriji, Italiji, Španjolskoj, in Croatia, , Austria, Italy, Spain, Nizozemskoj, Islandu, Sloveniji, Srbiji, Češ- the Netherlands, Iceland, Slovenia, Serbia, koj, Sjedinjenim Američkim Državama itd. Czech Republic, the of Amer- Dobitnik je brojnih stipendija i rezidencij- ica… He is a recipient of numerous schol- skih boravaka. Kao predavač sudjelovao je arships and study visits. As a lecturer he na više domaćih i međunarodnih simpozija. participated in several national and interna- Njegovi se radovi nalaze u javnim i privat- tional symposiums. His works can be found nim zbirkama. Dodijeljena mu je nagrada in public and private collections. He received Saveza društava likovnih umjetnika Hrvat- an award by the Association of Visual Artists ske 1991. na 16. Bijenalu mladih umjetnika, of Croatia in 1991 (at the 16th Biennale of Moderna galerija Rijeka, posebna Nagrada Young Art, Modern Gallery Rijeka, Rijeka, grada Pule (Tu smo 3, Muzej suvremene Croatia), a special award of the town of Pula umjetnosti Istre, Pula) 2010. i ArtsLink (Here we are 3, Museum of Contemporary Art Independent Projects Award 2011. godine. of Istria, Pula) in 2010 and ArtsLink Indepen- Član je HZSU-a, HDLU-a i HULUS-a. dent Projects Award in 2011. He is a member of HZSU (Croatian Association of Indepen- dent Artists), HDLU (Croatian Association of Visual Artists) and HULUS.

mentalni mentor sklop sljedbenik 190 Nan Hoover

(Bay Shore, New York, 1931. – Berlin, She was born in Bay Shore, New York as 2008.) Nancy Dodge Browne, and between dance Rođena je u Bay Shoreu, New York, kao and she soon chose painting and Nancy Dodge Browne, a uskoro se između and enrolled in Corcoran College plesa i vizualnih umjetnosti odlučila za of Art and Design in Washington, DC where slikarstvo i skulpturu te se upisala na Cor- she studied from 1950 until 1955. In 1969 she coran College of Art and Design u Washin- settled in Amsterdam where she soon began gtonu D.C. gdje studira od 1950. do 1955. to experiment with new media, primarily godine. U početku izlaže skulpture, slike i with video. In 1977 she exhibited at Docu- crteže u Washingtonu, a nešto poslije i u menta 6 in Kassel, and a year later she had a New Yorku. Njezini prvi radovi tematski su solo exhibition in the vezani za ljudsku psihu i tijelo, a rađeni su u in New York (MOMA). A series of exhibitions, stilu američkog apstraktnog ekspresioniz- projections, installations and performances ma s nadrealističkim elementima. in the most prestigious museums and gal- Godine 1969. nastanila se u Amsterdamu, leries of the world followed. She taught at gdje 1971. upoznaje uglednog nizozem- the San Francisco Art Institute in 1986, from skog umjetnika Karela Appela, a 1973. 1987 until 1997 she was a Professor of Video nizozemskog slikara Richarda Heftija, koji and Film at the Art Academy in Dusseldorf, je uči tehnikama snimanja i videa te Nan and in 1998 and 1999 she taught at the Gerrit odmah počinje eksperimentirati s novim Rietveld Academy in Amsterdam. She lived medijima. Godine 1976. zajednički otvaraju in Berlin from 2000 until her death in 2008. prvi amsterdamski višemedijski centar De Appel, koji ubrzo postaje kultno umjetničko okupljalište. Nan se u potpunosti opredije- lila za videoumjetnost te već 1977. izlaže na Documenti 6 u Kasselu, a sljedeće godine samostalno izlaže u Muzeju moderne um- jetnosti u New Yorku (MOMA). Slijedi niz izložbi, projekcija, instalacija i performansa u najprestižnijim svjetskim muzejima i galerijama. Predaje na San Francisco Art Institute 1986.godine, od 1987. do 1997. video i film na Umjetničkoj akademiji u Düsseldorfu, a 1998. i 1999. predaje na Gerrit Rietveld Academy u Amsterdamu. Od 2005. živi u Berlinu, gdje nastavlja sa svojim umjetničkim i pedagoškim djelova- njem sve do smrti, 2008. godine.

191 nan hoover sandro đukić