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Aleksandar Kujučev – I FELT HAPPY OH HOW I LIEDAleksandar Kujučev – BIO SAM SREĆAN OH, KAKO SAM LAGAO

In moments of anxiety, hope, desire, great sadness or happiness, our thoughts and feelings are becoming subtitles of the movie in which the world around us is just a random scenery. At that point we are becoming aware of the innate loneliness of each human being.U Likovnoj galeriji Kulturnog centra Beograda otvorena je izložba fotografija Aleksandra KujučevaBio sam srećan oh, kako sam lagao. Izložba će biti otvorena do 13. decembra 2014. godine.
Aleksandar Kujučev

Travelling sentences / Photographic ambientalization of textual fragments

At first glance, the content of these photographs seems as if presenting sequences of a game with let- ters, forming a series of typographic installations in various indoor and outdoor places. But these photos are not documents of a concrete poetry experiment. What they show are not compositional schemes which make the meaning of the words become secondary to their visual arrangement. They simply capture a relation between specific physical spaces and sets of ordinary sentences taken from a novel by Yukio Mishima, and layed down in those spaces in quite a conventional manner, using ready made letters from alphabet kids games, and other similar easy to find sources.

© Aleksandar KUJUČEV, Bio sam srećan/I Felt Happy
© Aleksandar KUJUČEV, Bio sam srećan/I Felt Happy
© Aleksandar KUJUČEV, Oh kako sam lagao/Oh How I Lied
© Aleksandar KUJUČEV, Oh kako sam lagao/Oh How I Lied

Both the sentences and the sites of their display were selected intuitively and spontaneously, without a clearly predifined set of criteria, and without a conscious plan how to com- bine them to produce a specific effect on the viewer. Therefore, the sentences do not illustrate the plot of the novel they were extracted from, nor even have a direct refference to it – they were sampled out as repositories of condensed thoughts and feelings that could be activated by being recontextualized and put into a direct relation with a specific visual content. On the other hand, the sites into which they were introduced also do not represent something beyond what they actually show, but simply have a visual dramaturgy of their own that has the potential to give way to an unique visual event when combined with an additional signifying element.

© Aleksandar KUJUČEV, Vreme je/The Time Has Come
© Aleksandar KUJUČEV, Vreme je/The Time Has Come

The relation between the sites which these photo- graphs show, and the texts encountered as displayed on these sites is for their author equivalent to the relation between the narrative of a movie in some uncomprehensible foreign language and the subtitles that help us follow it in a proper manner. The layer of meaning added by the use of the texts introduced within the frame of these images does not, therefore, add something completely foreign to the sites as they were viewed and captured by the author, but simply accentuate some of their features and activate their symbolic potential.

© Aleksandar KUJUČEV, Ti si samo jedno tužno neljudsko stvorenje/You Are Just Some Sad...
© Aleksandar KUJUČEV, Ti si samo jedno tužno neljudsko stvorenje/You Are Just Some Sad…

The subequential symbolization of these sites implies that an experienced meaning related to them is translated into the text that got introduced into their representation, and that they were this way made into ‘cultural objects’. As Charles Senders Peirce noted, images are not symbolic by themselves, but they become symbolic in context.So he wrote that “an island is just a small piece of land surrounded by water, but when John Donne says ‘no man is an island’ then the island takes on additional meaning.” In the case of these photographic works, the context relevant for their symbolization is intro- duced into them and is rendered decipherable not by adding a text to the image, but by introducing a text into the frame of the image, as an integral compo- nent of the recorded site. The textual level within the images simply makes explicit the intentionality by which the sites were selected on a pre-cognitive level.

© Aleksandar KUJUČEV, Ali od tog dana sam se promenio/But Since That Day I Have Changed
© Aleksandar KUJUČEV, Ali od tog dana sam se promenio/But Since That Day I Have Changed

Mieke Bal has introduced the notion of travelling concepts as concepts that we encounter as travelling between scientific disciplines, as well as between those disciplines and culture in general, changing constantly their semantic content. In the text titled “Travelling concepts in the humanities: A rough guide”, from 2002, she wrote that concepts are not fixed, but that they travel “between disciplines, between individual scholars, between historical peri- ods, and between geographically dispersed academic communities“, so that “their meaning, reach, and operational value differ”. In the case of this photo work, we do not encounter concepts as parts of some technical vocabularies, since the texts introduced into it were sampled out of a literary work exploit- ing ordinary language. So, one could not make a convincing argument by focusing onto concepts used in the texts, but, on the other side, perhaps one could introduce as a new category – the ‘travelling sentences’, as whole sentences travelling between the literary field and the field of visual art, in which they acquire new and different semantic contents.

© Aleksandar KUJUČEV, Šta znači mrzeti nekoga/What Does It Mean To Hate Somebody
© Aleksandar KUJUČEV, Šta znači mrzeti nekoga/What Does It Mean To Hate Somebody

They appear as ambientalized textual fragments in the frame of the photo work, conveying the meaning of the scenes in which they are placed in quite an enigmatic manner, as if only providing with a code to decipher those visual events for which those scenes were chosen to be sites of encounter, and leaving then to the viewer to engage in the process of their articulation and interpretation.
Stevan Vukovic

© Aleksandar KUJUČEV, Ponekad zamišljam sebe kako vodim neki potpuno drugačiji život/Sometimes I Imagine Myself Having...
© Aleksandar KUJUČEV, Ponekad zamišljam sebe kako vodim neki potpuno drugačiji život/Sometimes I Imagine Myself Having…
© Aleksandar KUJUČEV, Iznenada i bolno, sva su se sećanja vratila jedno po jedno/Suddenly And Painfully All The Memories...
© Aleksandar KUJUČEV, Iznenada i bolno, sva su se sećanja vratila jedno po jedno/Suddenly And Painfully All The Memories…

Aleksandar KUJUČEV
Aleksandar KUJUČEV
Aleksandar Kujučev (Belgrade, 1965) graduated and obtained his BA degree in Graphic Design and Photography from the Faculty of Applied Arts and Design in Belgrade.
He has exhibited his works of art solo around former Yugoslavia as well as in Japan, the USA, Russia and France.
He won several scholarships for residence stays in the USA and France. His works of art are included in the collections of the Museum of Applied Arts in Belgrade and Zuisho-Ji in Tokyo.

Aleksandar Kujučev has been the first Serbian photographer so far whose interview and a collection of works were published in the prestigious French magazine “Photo”.
His collaboration with the greatest Yugoslav and Serbian rock and pop stars drew attention to his unusual, open experimental and unique approach towards photography.
As a fashion photographer, this prominent photographer is best known for his collaboration with various Serbian avant-garde fashion designers.
He was the winner of Pantene Beauty Awards for Best Fashion Photography in 2007.

Two years earlier, he had been voted the Best Serbian Advertising Photography at the Festival “Zlatni Petao”.
His professional engagement includes working with all major advertising agency in Serbia as well.
Aleksandar Kujučev has been awarded for photography at the most relevant international festivals too: New York Festivals, Eurobest, Print, Epica and Cresta.

U trenucima strepnje, nade, žudnje, velike tuge ili sreće, naše misli i osećanja postaju titlovi filma u kojem je svet koji nas okružuje samo slučajna scenografija. Tada postajemo svesni suštinske usamljenosti svakog ljudskog bića.
Aleksandar Kujučev

© Aleksandar KUJUČEV, Bio sam srećan/I Felt Happy
© Aleksandar KUJUČEV, Bio sam srećan/I Felt Happy
© Aleksandar KUJUČEV, Oh kako sam lagao/Oh How I Lied
© Aleksandar KUJUČEV, Oh kako sam lagao/Oh How I Lied

Putujuće rečenice / Fotografska ambijentalizacija tekstualnih fragmenata
Na prvi pogled, sadržaj ovih fotografija deluje kao da predstavlja sekvence neke igre sa slovima, kojima se formira serija tipografskih instalacija u različitim enterijerima i eksterijerima. Ali ove fotografije nisu dokumenti eksperimenata u oblasti konkretne poezije. To što one pokazuju nisu kompozicione sheme koje značenje reči čine sekundarnim u odnosu na njihov vizuelni raspored. One prosto hvataju odnos između specifičnih fizičkih prostora i niza običnih rečenica koje su preuzete iz romana Jukia Mišime i položene u te prostore na prilično konvencionalan način, uz upotrebu gotovih slova iz slagalica i drugih lako dostupnih dečjih slovnih igara.

© Aleksandar KUJUČEV, Vreme je/The Time Has Come
© Aleksandar KUJUČEV, Vreme je/The Time Has Come

I te rečenice i mesta njihovog prikazivanja odabrani su intuitivno i spontano, bez jasno unapred definisanih kriterijuma izbora, kao i bez svesnog plana kako će se oni kombinovati da bi proizveli neki specifičan učinak na posmatrača. Stoga te rečenice ne ilustruju radnju romana iz koga su preuzete, pa nemaju čak ni neposredne reference na nju – one su semplovane kao skladišta kondenzovanih misli i osećanja koja se mogu aktivirati njihovom rekontekstualizacijom i postavljanjem u odnos sa specifičnim vizuelnim sadržajima. Sa druge strane, mesta u koja su te rečenice uvedene takođe ne predstavljaju ništa osim toga što u datom trenutku pokazuju, već samo u sebi nose svojevrsnu vizuelnu dramaturgiju, sa potencijalom da u sprezi sa nekim dodatnim značenjskim elementom pruže mogućnost za odigravanje jedinstvenog vizuelnog događaja.

© Aleksandar KUJUČEV, Ti si samo jedno tužno neljudsko stvorenje/You Are Just Some Sad...
© Aleksandar KUJUČEV, Ti si samo jedno tužno neljudsko stvorenje/You Are Just Some Sad…

Odnos između prizora koje ove fotografije pokazuju i tekstova koji se zatiču kao prikazani u okviru tih prizora za autora je ekvivalentan odnosu između narativa nekog filma na nekom nerazumljivom stranom jeziku i titlova koji pomažu da se taj narativ prati na pravi način. Sloj značenja koji dodaje upotreba tekstova koji su postavljeni u kadrove tih fotografija stoga ne dodaje nešto potpuno strano prizorima koje je sagledao i zahvatio autor, već prosto akcentuje neke njihove karakteristike i aktivira njihov simbolički potencijal.

© Aleksandar KUJUČEV, Ali od tog dana sam se promenio/But Since That Day I Have Changed
© Aleksandar KUJUČEV, Ali od tog dana sam se promenio/But Since That Day I Have Changed

Simbolizacija ovih prizora koja zatim sledi uključuje i to da se neko njihovo značenje koje se našlo u polju autorovog iskustva prevede posmatraču putem teksta koji je uveden u polje predstave, koje na ovaj način mesto prizora pretvara u „predmet kulture“. Kao što je Čarls Senders Pers zapisao, slike nisu simboličke same po sebi, već one postaju simboličke u nekom kontekstu. Tako je on tvrdio da je „neko ostrvo samo mali komad kopna okružen vodom, ali nakon što je Džon Don izjavio da ‘nijedan čovek nije ostrvo’ ostrvo je preuzelo i jedno dodatno značenje“. U slučaju ovih fotografskih radova relevantan kontekst njihove simbolizacije je u njih uključen i načinjen čitljivim ne tako što je slici spolja dodat tekst, već tako što je tekst uveden kao sadržaj samog kadra slike, kao integralna komponenta snimljenog prizora. Tekstualni nivo u okviru ovih slika samo čini eksplicitnom intecionalnost kojom su ti prizori bili izabrani na prekognitivnom nivou.

© Aleksandar KUJUČEV, Šta znači mrzeti nekoga/What Does It Mean To Hate Somebody
© Aleksandar KUJUČEV, Šta znači mrzeti nekoga/What Does It Mean To Hate Somebody

Mike Bal je uvela koncept putujućih pojmova kao pojmova koje zatičemo kako se kreću između različitih naučnih disciplina, kao i između tih disciplina i kulture uopšte, stalno menjajući svoj semantički potencijal. U tekstu pod nazivom „Putujući pojmovi u humanistici. Grubi vodič“ iz 2002. godine napisala je da pojmovi nisu fiksni, već da putuju „između disciplina, između individualnih istraživača, između istorijskih perioda i između geografski raspršenih akademskih zajednica“, tako da „njihovo značenje, domet i operacionalna vrednost variraju“.

© Aleksandar KUJUČEV, Ponekad zamišljam sebe kako vodim neki potpuno drugačiji život/Sometimes I Imagine Myself Having...
© Aleksandar KUJUČEV, Ponekad zamišljam sebe kako vodim neki potpuno drugačiji život/Sometimes I Imagine Myself Having…

U slučaju ovog fotografskog rada mi se ne suočavamo sa pojmovima iz nekih tehničkih rečnika, pošto je tekst koji je u njih uveden semplovan iz književnog dela koje se koristi običnim jezikom. Stoga se ne bi mogao načiniti uverljiv argument fokusiranjem na pojmove koji se u tim tekstovima koriste, ali, s druge strane, možda se može uvesti nova kategorija „putujućih rečenica“ kao celih rečenica koje se kreću između polja kniževnosti i polja vizuelnih umetnosti, u kome ostvaruju nove i drugačije semantičke sadržaje. One se pred posmatračem pojavljuju kao ambijentalizovani tekstualni fragmenti u kadru fotografskog rada, prenoseći značenje scena u koje su postavljeni na veoma enigmatičan način, kao da pružaju kod za dešifrovanje tih vizualnih događaja za koje su date scene izabrane kao mesto odvijanja, ostavljajući posmatrača da se sam upusti u proces njihove artikulacije i interpretacije.
Stevan Vuković

© Aleksandar KUJUČEV, Iznenada i bolno, sva su se sećanja vratila jedno po jedno/Suddenly And Painfully All The Memories...
© Aleksandar KUJUČEV, Iznenada i bolno, sva su se sećanja vratila jedno po jedno/Suddenly And Painfully All The Memories…

Aleksandar KUJUČEV
Aleksandar KUJUČEV
Aleksandar Kujučev je rođen 1965. u Beogradu.

Diplomirao je na Fakultetu primenjenih umetnosti i dizajna u Beogradu, kao grafički dizajner i fotograf.
Samostalno je izlagao širom bivše Jugoslavije, kao i u Japanu, Americi, Rusiji i Francuskoj.
Dobitnik je stipendija za studijske boravke u SAD i Francuskoj.

Dela mu se nalaze u kolekciji Muzeja primenjenih umetnosti u Beogradu, kao i u kolekciji Zuisho-Ji u Tokiju.
Prvi je i za sada jedini srpski fotograf kome je objavljen intervju i zbirka radova u prestižnom francuskom časopisu “Photo”.
Brojne saradnje sa najvećim jugoslovenskim i srpskim rok i pop zvezdama skrenule su pažnju na njegov neobičan, često eksperimentalan i jedinstven pristup fotografiji.

Kao modni fotograf najpoznatiji je po umetničkoj saradnji sa srpskim avangardnim modnim kreatorima.
Dobitnik je nagrade Pantene Beauty Awards kao najbolji srpski modni fotograf u 2007, a na festivalu „Zlatni Petao“ 2005. proglašen je za najboljeg srpskog advertajzing fotografa.
Sarađivao je sa svim većim srpskim reklamnim agencijama.
Kao fotograf je nagrađivan i na najznačajnijim međunarodnim advertajzing festivalima: New York Festivals, Eurobest, Print, Epica i Cresta.

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