Cinema Solution
Four models representing my own intimate imagination of different historical types of cinema.
The models were a part of the Movie Tales exhibition which took place in Škuc Gallery, Ljubljana in February 2001. (T.P.)

Lost Cinema
Cardboard, tape, glass, plexiglass, wood, 100 x 90 x 120 cm, 2001

Lost Cinema - the model and accompanying text wish to expose the problem concerning the stand taken by Bauhaus. Most of all it questions the Gropius intention to link art to the big industrial capital. The link actually took place after WW II with American corporative sponsorship.
The stand can be understood as the first step into the era of conglomerate of megamuseum and multiplex, into the era in which art is considered to be part of entertainment industry. (T.P.)

Deconstructed Cinema, paper, wood, tape, plexiglass, 155 x 150 x 110 cm, 2001

Deconstructed Cinema - Kiesler’s idea of a 100% cinema was realised in 1928 at Film Guild Theatre in New York. The idea was practised to the greatest extent in the American second-run and socialist village theatres. The decline of this concept in the 1970s marks another key moment in the process of transformation of the classical cinema. This moment of decline is also the main idea of the model - transformation and destruction of the screen and the way it is observed. (T.P.)

Underground Cinema
Cardboard, tape, plexiglass, wood, 70 x 100 x 115 cm, 2001

Underground Cinema - How the decline of the golden era of the classical cinema could be perceived today? The decline took place somewhere in the 1960s and the field of art it is represented in a unique way in an unrealised project “Underground Cinema” by Robert Smithson. The question would be as follows: what happens after the cinema is moved underground, what kind of transformation takes place? (T.P.)

Cinema Cinema Dream
Colour prints, clamps, plexiglass, 140 x 50 x 60 cm, 2001

Cinema Cinema Dream - I wanted to bring attention to the Chris Marker’s creative statement which seems paradigmatic for the transition from the celluloid to the electronic media. In the idea for the model I tried to unite both of his conceptual extremes which are: on one hand the transforming the still image into a intimate story (La Jetee, 1963) and on the second hand the moment which takes place in the field of electronic media where we observe the individual’s intimacy amalgamating into collective dream (see Marker’s web site).
In this case, the object is just a model of the space impossible to exist, of a theatre which can no longer exist as such. (T.P.)


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