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ROCKER OF IDEAS

BREZ FIKCIJE NI SPOMINA

2022

14. 06.-13. 08. 2022
Temporary exhibition
Ogledni depo pohištva, Kino Partizan

BREZ FIKCIJE NI SPOMINA
In the two-channel video installation, the authors deal with the role of museums, traditions, and heritage in the everyday experience of an individual. The furniture depot of the Maribor Regional Museum is used by the authors to question their own experience of the past, search for visual metaphors, and to experiment with the narrative structure of an art video.

The presented poetic essay leads the viewer into a cinematic experience of a river landscape that metaphorically represents the flow of time and historical events and is a response to depictions of the past in museums and collections, such as the furniture collection in the Maribor Regional Museum.
The key dilemma highlighted by the authors in the video is the rift between a romantic-harmonious view of the past and their own inability to have such an experience in everyday life filled with violent outbursts of chaos and unforeseen catastrophes. The cause-and-effect relationships between the past and the present are often deliberately blurred due to specific ways of representing the past as a model for what exists today. Their chaotic experience of the present can be a complex generator of ideas that they use to construct representations of the past outside of prevailing museology and history. They use the ideas of three great philosophers and a great geophysicist - Karel Marx, Walter Benjamin, Henri Bergson, and Vladimir Ivanovich Vernadsky.

For the purposes of making the video, the authors visited landscapes marked by the heritage of rafting. Rafting was an important economic activity of transporting wood along rivers, for the needs of which rafters tied sawn and cut wood into rafts and floated it on rivers in Slovenia, along the Sava river even to Belgrade. Maribor and other places along the Drava river were also strongly marked by the heritage of rafting. For the purposes of preparing the video installation, the authors visited and documented places in the upper Savinja Valley where their ancestors worked as rafters.

In the video, the two authors are directly confronted with the inability to vividly experience the past and the roots of their ancestors in the way they are presented by official history, heritage, and tradition. The river and its surroundings thus become a metaphor for time/ for constant change with humanity’s perpetual interventions, while the river responds with its wild, unpredictable nature.
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