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VZPOREDNE RESNIČNOSTI, ARHEO-UTOPIJE
ambientalna postavitev na prostem
na vrtu Komenskega 8, Ljubljana
iz cikla Štirje letni časi na Vrtu / Pomlad 2008
26. maj - 19. junij 2008

Spremljevalni program:
26.5., ponedeljek;
19.00h- odprtje postavitve s performansom- komunikacijski stik z vzporedno resničnostjo,
20.00h- predvajanje kratkega filma skupine W.O.R.M.S., Brat moj Umetnik in Sestra Trenta,(režija: Uroš Smasek 1986).
29.5., četrtek; 20.00h- večer filmov skupine W.O.R.M.S.
30.5., petek; 20.00h- večer avtorskih in eksperimentalnih videov iz arhiva avtorja;(D.O.K. 1995-2005).
31.5., sobota; 17.00h- literarno popoldne; predvajanje knjige H.Hesse: Potovanje v jutrovo deželo.

http://www.dominik.si/

APOKRIF
So modreci, ki nosijo v sebi duše zvezd, jutra listov in čiste.
Slišiš med ovenelimi, kjer domotožje sanja stare prostore.
Strasti duše nosijo v sebi druge, boleče prikazni sežganih odmevov,
črvive sadeže glasu, sence od daleč prihajajocih kakor reka,
poljube joka in prazne drobtine spominov.
že dolgo je mračna moja duša, zdaj je zrela od glasnosti.
Kamni padajo razjedeni od mladosti in v sanjski vodi
Misli Bog; vsak kamen pravi:
“Pretemno izgovarjam ime noči v teh tvojih pitjih lune,
ko so listi zvezde in ko skrite spijo veje.”
»utim žile ljubezni in godbo, kako je nabrekla.
Ura mrtvih ur blazno poje o nekdanjih.
Pretemno izgovarjam, ime noči v teh strojih prej slišim kako;
in zveni bolj daleč.
Bolj kot rahlo tožeče zvezde in bolj daleč kot ves dež.
Večer v sivo pot gre in vse je deževno
Moja drevesna knjiga, posušena samota in nerazrezana
Podoba in stara žalost duše. Solzi iz pohištva
in mogoče zame prsi nimajo kristalne narave.
Srca in duše vlaken me bolijo, govorim moji vodi, če besede
Kakor pluta v zraku ostajajo.
In nekdanja žrtost bo žalost.
Večer v deževno sivo pot gre ugasli.
Z vdovo svoje zvezde odhajam v roko noči
Hodim po tvojih metuljih, krotilec tisočih let,
temnih poti - moj konec boš znova videl v noči ljubezni.
Krotilec zvezd, svojo modro pot pojdi po temnih stezah
dokler ne bo v srcu vesolja skrito moje.

VZPOREDNE RESNIČNOSTI, ARHEO-UTOPIJE
Kaj pomeni prostor? In kaj ambient? Kaj pomeni tvoriti; imeti svoj; biti (v) prostor(u) / ambient(u)?
Vrt je lahko zaseben, zamejen in celo zastražen (ponavadi najpogosteje izrabljajo v ta namen pse) prostor. Lahko pa je za javnost odprt, razmejen prostor.
Ko obema, zasebnemu ali javnemu prostoru vrta, pridamo obliko - formo in funkcijo, torej ko interveniramo v prostor z nasadi - rastlinjem, cvetjem, okrasnimi in/ali likovnimi predmeti - objekti, postane prostor ambient.
Z umestitvijo predmetov kot so klop, miza, stol, pručka, tabure..., s stezico - potjo in (energetsko postavljenimi) kamni ... postane prostor biti, bivanja. Že latinski izraz abitare - v pomenu (pre)bivati, naseliti, ki je blizu tako besede kot pojma ambient, izraža to funkcijo. Ko prostor vrta in predmete v njem uporabimo za sedenje, sreč(ev)anje, razgovor ali kramljanje, postane to tudi socializacijski prostor.
Vrt je vedno in neogibno ambient znotraj drugega ambienta. Vedno je (po)vezan s sosed(stv)om ali z (z)grajenim objektom oziroma, kot tudi v primeru vrta DLUL, z urbanim okoljem - mestom ali (v primeru krajinskih, botaničnih vrtov) s primarno naravo. Mesto oziroma ambient vrta vedno določa človeška roka. Vedno je pogojen z dejavnostjo človeka in, edinstveno, z dimenzijo odprtega, brezmejnega - neba.
Vrt kot hortus conclusus; v smislu umetnostne zgodovine inkot filozofski termin ter vrsta likovnih (zlasti srednjeveških in renesančnih) upodobitev (izvorno zapisan v Solomonovi pesnitvi 4:12) ima vedno pomen zastrtega, zamejenega, zasebnega, od javnega prostora odmaknjenega, ambienta. Prav takšno funkcijo je imel v (srednjeveških, renesančnih, baročnih, ...) graščinah, dvorcih, palačah ... in najpogosteje jo še vedno ima.
Kot raj-ski, eden-ski vrt in vrt paradiža ima še veliko daljšo tradicijo. Kot vrt naslad (v smislu Boschevega, isto ponaslovljenega dela) in kot pravljični vrt, pa najdaljšo.
In če vrtu pridamo metuljko na stebričku, praproti, najdnine okrupkov, ‘obraz’ v tleh, toaletno mizico za vilo z roso v stekleničkah, z mahovi porasle in prerasle kamnite klopi, vitrino s priborom za palčka in utopijo Ljubljane kot sliko - objekt, postane ambient arheo-utopij - vzporednih resničnosti kot je pričujoči avtorski poseg Dominika O. Križana v vrt-ni prostor DLUL.
Arh- in arhe- iz izvorno grške besede arhos, ki označuje pomen: prvi ... kot izvor(na), prvotna, pra-oblika, kot temelj, vzrok vsega obstoj(ečeg)a ... z mahovi, praprotjo, okruški - fragmenti kot fosilnimi ostanki in najdninami zrcali primat prvinske materije (in šele s poznejšimi posegi bitja - človeka) pe nedotaknjene, deviške narave. V nasprotju s tem, kontradiktorno, prodira skozi to zamejen, strogo določen, urbani(ziran) prostor z zgradbami in bregovi. Ta pa na koncu ponovno oziroma (do)končno - izginja v mrzli, temačni mokroti primarnega zelenila (mahov, praproti, reke) ... neuničljivih, vedno znova porajajočih se poganjkov - kali - rasti vedno obnavljajoče se narave.
Tako kot je konsistentna - vzporedno potekajoča bit narave in materije, v tem primeru urbanega - mestnega prostora in ambienta vrta, tako sta vzporedno potekajoči nrav in misel bitja. In tako je vzporedno potekajoče tudi delo
- družbeno angažirana likovna govorica multimedijskega umetnika Dominika O. Križana, avtorja ptevilnih konceptov, projektov in režij. Najgloblje boste to spoznali na: www.dominik.si.
Zato ambientalna postavitev vrta DLUL kot utopija / utopično(st), kot zamisel, kot misel, ki v resničnosti ni mogoč(a), uresničljiva; kot zamisel ideal(neg)a, ne-u-res-nič-ljivega, ne-kraj(a) Dominika O. Križana apelira, provocira, projecira prav ta vrt arheo-utopij, ki z umestitvijo, poudarjanjem, zakrivanjem, izstopanjem, prepletanjem in plastenjem pridanih objektov kot pritiklin vrta, vrta v drobovje vzporednih resničnosti.
Vse in vsi bivamo v vzporedni(h) resničnosti(h), zato se je pomembno zavedati lastne biti in (zgolj) biti.

Helena Čretnik, umetniška kritičarka in kustosinja

Ambientalna postavitev z naslovom Vzporedne resničnosti, Arheo-utopije predvideva
dosledno upoštevanje danih prostorskih pogojev ter vključitev v obstoječo strukturo
kot nadgradnja v dveh smislih:

1. hortikulturna ureditev vrta, vzpostavitev otočkov rastja, humusa, praproti in mahov
   okoli že obstoječega rastja, dreves in robnih zidov vrta.
2. konceptualna nadgradnja umešča unikatne umetniške objekte in artefakte, ki s
   strukturami in patino simulirajo svoj izvor in materialno stanje, časovno določenost in
   starost ter so dopolnitev obstoječe atmosfere. Simulakri, odkruški arhitekturnih elementovcelote, ki jo narava nazadnje preraste. Zvočni material prav tako simulira ambientalnopodobo gozda, poezija, Apokrif, ki ga zaslišimo tu in tam, pa je pesem vile iz globin pozabe ...

Postavitev predvideva uporabo ambienta tudi za predstavitvene dogodke, projekcije in
predavanja ter tako vzpostavlja vrt kot javni urbani prostor, ki je naraven, namenjen
druženju in komunikaciji - tako kot starodavno ognjišče ...
Dominik Olmiah Križan

Prenos razstave s kamero na medmrežje v realnem času: http://www.dominik.si

PARALLEL REALITIES, ARCHAEO-UTOPIAS
ambient installation of art in the open
in the garden Komenskega 8, Ljubljana
from Cycle Four seasons in the Garden / Spring 2008
26 May - 19 June 2008

APOCRYPHA
There are wise men who carry inside the souls of stars, the mornings of leaves and cleanliness.
You can hear among the faded ones, where homesickness dreams of ancient spaces.
The passions of the soul carry inside other, painful apparitions of incinerated echoes,
The rotten fruits of voice, the shadows of those coming from afar, like a river,
The kisses of crying and empty snippets of memories.
For a long while my soul has been gloomy, now it has ripened with loudness.
Stones are falling, etched by youth in dream water
God; thinks each stone says:
“Too dark I utter the name of the night, while you drink the Moon,
When leaves are stars and when branches sleep hidden.”
I feel the vessels of love and the music, how it has swollen.
The death hour tolls like mad for those who have passed on.
Too dark I utter; the name of the night; in these machines I realize it sooner;
And it sounds more distant.
More than the quietly moaning stars and farther than all the rain.
The evening is taking a grey path and rain is everywhere
My tree book, dried up solitude and an uncut
Image and the ancient misery of a soul. Is dripping like tears from the furniture
And perhaps to me the bosom has no crystal nature.
The hearts and souls of fibres pain me, I speak of my water if words
Like cork remain floating in the air.
And the former saturation will be sadness.
The pale evening embarks on its grey path.
With my star’s widow I am leaving into the hand of the night
I tread on your butterflies, the tamer of thousands of years
of gloomy paths - you shall see my end again in the night of love.
The tamer of stars, walk your wise way on dark paths
until in the heart of the universe lies hidden my own.

PARALLEL REALITIES, ARCHAEO-UTOPIAS
What does space mean? And ambient place? What does it mean to create; to have one’s own; to be (in) a space/an ambient place?
A garden can be a private, enclosed or even guarded space (dogs are usually used for the purpose). Or it can be a delineated space open to the public.
Once both purposes of a space, the private and the public, are endowed with form and function, i.e. when an intervention is made in the space with plants, flowers, ornamental and/or artistic objects, the space becomes an ambient place. By including things such as a bench, table, stool, tabouret, pathway, and stones (arranged in energising patterns), the space becomes a place of being, dwelling. The Latin word abitare (in the sense of to be, to dwell, which is so close in meaning to ambient, expresses this function well. When a garden space, with all the objects in it, is used for sitting, meeting, talking or chatting, it becomes a social space.
A garden is always and inevitably an ambient place within an ambient place. It is always connected with a neighbour(hood) or a building, or as in the case of DLUL’s garden, with an urban environment - either a city or (like landscape and botanical gardens) with primeval nature. The ambience of a place is always determined by a human hand; it is inextricably connected with human action and the unique dimension of open, boundless skies.
The garden as a hortus conclusus, in the art-history sense, and as a philosophical concept and an artistic depiction (particularly from the Middle Ages and Renaissance and originally occurring in the Song of Solomon, 4:12) refers exclusively to a secluded, enclosed, private ambient place, separated from public space. This was its function within (mediaeval, Renaissance, Baroque, etc.) castles, mansions and palaces, and it has largely remained so.
As a Paradise or a Garden of Eden, its tradition reaches back much further, while as a garden of earthly delights (in the sense of Bosch’s painting) and as a fairy-tale garden, it traces its beginnings even further back in history.
And if we endow it with a buddleia on a column, ferns, recovered chippings, ‘a face’ in the ground, a dressing table for a fairy with bottled morning dew, moss-covered stone benches, a display cabinet with gnome paraphernalia, and a utopia of Ljubljana as a painting - an object, it becomes an ambient place of archaeo-utopias - parallel realities, such as in the case of the intervention of Dominik O. Križan in DLUL’s garden.
The prefixes arch~ and archae~ from the Greek word archos, with the meaning of the first one, the origin(~al form), the basis and cause of all existence, together with the mosses, ferns and chippings (fragments) as fossil remains and findings, reflect the leading role of primordial matter (and only through subsequent interventions, of a being - a human) of which unspoilt, virgin nature is composed. In contrast, and as a contradiction, there is the
interference of an enclosed, rigidly defined urban(ised) space, with buildings and brims, which yet again, or ultimately, dissipates in the cold, murky dampness of primeval greens (mosses, ferns, rivers), which arise from the imperishable shoots - sprouts - emerging time and again from continually regenerating nature.
Just as the being of nature and matter, in this case an urban space and the ambient garden, is consistent - and parallel - so are the nature and thought of a being. And in this way, so is the socially engaged artistic language of the multimedia artist and director Dominik O. Križan, author of a long list of concepts and projects. Find out more at: www.dominik.si.
Križan’s ambient layout at DLUL, as a utopia, as an idea, as a thought, which is impossible to realise in the real world; as an idea of an ideal, an un-real-is-able non-place appeals to, provokes and projects this very garden of
archaeo-utopias, which drills into the core of parallel realities with its setting and emphases, and by concealing, exposing, intertwining and layering artefacts as integral parts of the garden.
Everything and everyone lives in parallel reality(ies)…and therefore, the sole thing to be aware of is one’s being.

Helena Čretnik, Art Historian and Curator

The ambient installation entitled Parallel Realities, Archaeo-Utopias envisages full compliance with the given space and the inclusion in the existing structure as its upgrade
in the following two senses:

1. horticultural: arranging the layout of the garden by creating humus and planting
   new vegetation, such as ferns and mosses, around the existing shrubs and trees and
   garden walls.
2. conceptual: the placing of one-off art pieces and artefacts, which simulate their origins, physical state, time determination and age through their structure and patina, and complement the existing atmosphere. These are simulacra and chippings of architectural elements which are ultimately overgrown by nature. Audio materials simulate forest ambience, while the poetry (Apocrypha), which is heard from time to time, is the song of a fairy from the depths of oblivion.

The layout of the ambient site is such that it may be used for presentations, projections and lectures, thereby establishing the garden as a natural urban space intended for socialising and conversing, like an ancient hearth.

Dominik Olmiah Križan

Real time web streaming: http://www.dominik.si

Izvedbo razstave je omogočila Mestna občina Ljubljana.

Komenskega 8, 1000 Ljubljana, tel.: +386 1 434 9465
e-naslov: info@dlul-drustvo.si, www.dlul-drustvo.si