Vanesa
Cvahte
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»very private...*«
19. november 1999 – 5. december
1999, otvoritev 19.11.1999 ob 18. uri
Galerija likovnih umetnosti
Slovenj Gradec*
Kustos razstave: Vanesa
Cvahte
Koordinacija: Katarina Hergold
Mirjana Rukavina
Mirjana Rukavina se je rodila leta
1969 v Mariboru. 1997 je zaključila študij na Likovni akademiji na Dunaju.
Rukavinini mediji so slikarstvo, video ter video instalacija in performans.
Razstavljala je v Sloveniji in Avstriji. Zadnji projekti: Galerija Cult
(samostojna razstava 1999, Dunaj), Multimedijski center Kibela (samostojna
razstava, Maribor, 1999), »SiQ 1999« (skupinska razstava sedmih slovenskih
umetnikov, Kunsthalle Exnergasse, Dunaj 1999).
Štipendije in nagrade: štipendija
za nadarjene študente Akademije likovne umetnosti, Dunaj (1995), štipendija
Ministrstva za znanost in napredek Republike Avstrije (1996), štipendija
Ministrstva za kulturo Republike Slovenije, nagrada Likovne akademije umetnosti,
Dunaj (1997). Odkup dela »After Gery Hill« Ministrstva za kulturo Republike
Avstrije (1998).
Rukavina se v svojih video delih
delih ukvarja s problematiko telesa. Zanimajo jo predvsem telesne fiziološke
anomalije oziroma estetske »napake« človeškega telesa ter družbena
recepcija in človekovo intimno dojemanje tovrstnih fenomenov. Pri delu
je v veliki meri izhajala iz lastnih izkušenj (v mlajših letih je nosila
medicinski steznik), zadnja dela in koncepti pa so posledica raziskovanja
te tematike v specifičnih družbenih okoljih in sredinah.
ČAKALNICA, video-instalacija, novo
delo za razstavo »very private«.
Ambientalna postavitev Rukavine
zaobsega triptihno video-projekcijo ter monitor v stilizirani bolnišnični
čakalnici. V »Čakalnici« smo soočeni z dogajanjem v operacijski dvorani
- z rekonstrukcijo operacije, ki pa vsled okolja sugerira efekt »neposrednega
prenosa«. Rukavina nam najintimnejšo intimo človeka – odpiranje in poseganje
v njegovo telo, ki ni dostopno niti samemu »protagonistu«, ne prikazuje
na način televizijskih znanstvenih oddaj, kjer je človek le indikator napredovanja
v medicini, temveč skozi način postavitve in montaže izpove svoje osebno
dojemanje tovrstnega posega. Človek je v njeni instalaciji poetično bitje,
ki ga k življenju tokrat ni »obudil« bog, temveč človek. »Neposredni prenos«
operacije ni reduciran (samo) na viške operacije, niti ni sistematsko selektiran
z določenim ciljem, temveč je estetiziran tako, da nas privede do ontoloških
misli o človekovi eksistenci, ki je tukaj bolj kot kdajkoli odvisna od
tostranskega: od soljudi. Snemalec: Rajko Bizjak
MIRJANA RUKAVINA
Mirjana Rukavina was born in Maribor
in 1969. In 1997 she graduated from the Academy of Fine Arts in Vienna.
She has been engaged in painting, video, video installation and performance.
She exhibited in Slovenia and Austria. Her last projects include: Cult
Gallery, Vienna (personal exhibition, 1999); Kibla Multimedia Centre, Maribor,
1999; SiQ 1999 (group exhibition by seven Slovene artists, Kunsthalle Exnergasse,
Vienna, 1999).
Grants and awards: Talented Students
Grant, Academy of Fine Arts, Vienna (1995); Ministry of Science and Technology
Grant, Republic of Austria (1996); Ministry of Culture Grant, Republic
of Slovenia; Academy of Fine Arts Award, Vienna (1997); purchase of her
work After Gery Hill by the Ministry of Culture, Republic of Austria (1998).
In her works Rukavina deals with
the issue of the body. She is primarily interested in physiological anomalies,
or aesthetical »faults« of the body, and the social and individual intimate
perception of such phenomena. Her work sources largely from her own experience
(she wore medicine corset when young), while in the recent years her works
and concepts have been based on her explorations of these issues in specific
social environments and surroundings.
WAITING ROOM, video installation,
made especially for the »very private« exhibition.
Rukavina’s installation consists
of a triptych video projection and a monitor in a stylised hospital waiting
room. The Waiting Room confronts us with happenings in the surgery room,
with a reconstruction of an operation, while the environment suggests that
we are looking at the »direct transmission«. Rukavina presents the innermost
intimacy of a person: opening and incising of a human body, which is impossible
even for the »protagonist« himself/herself. The presentation does not feature
the style of scientific television programmes in which man is merely a
sign of the progress in medicine; rather, with the mode of installation
and editing Rukavina has asserted her personal apprehension of such operations.
Man in her installation is a poetic being, not »animated« by God, but rather
by man. The »direct transmission« of the operation is not reduced (merely)
to the highlights of the operation, nor systematically selected in the
direction of a definite goal, but rather presented in an aesthetic manner
to induce ontological reflections about human existence that depends –
in this case more than ever – on the earthly factor, on other people.
Camera: Rajko Bizjak