Ana Martinović
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  Ana Martinovic Image 1 Ana Martinovic Image 2  Ana Martinovic Image 3  
Unaware nocturne, 2006


Born in 1985, lives and works in Zemun.

Graduated from the Architectural Technical School in Belgrade. Studies at the Department of Film of the Megatrend University of Art and Design.

The series of photographs entitled “Unaware nocturne” imposes upon the viewer the role of a voyeur catching a moment of the intimate ritual of an unknown subject, who becomes an object in the eyes of the viewer.

Even though the “voyeur” watches a physical presentation, he/she does not possess either the image or the awareness of the individual.

In this case, a photograph as a static expression of a moment assumes the look of motion gently imbuing the photographs, simulating the ease of a ballet dance.

This simulation of movement also marks a little ritual arising in the course of a period of waiting for something entirely unknown to us.

Total reflection causes an unconscious knowledge of the presence of another person, it reaches the very eyes of the viewer and reveals a desire for exposure.

The fact that the remainder of the scene is hidden deepens the desire of the viewer to discover that which is hidden, and arouses the hidden voyeur inside of us who wishes to penetrate the world of another without consequences, to understand it and give his/her moral judgement, if only for a second.

This whole subtle atmosphere creates a sense of shyness in the viewer, whose object of observation is in the immediate vicinity and which seemingly does not react to his/her presence.

Rođena 1985. godine, živi i radi u Zemunu.

Maturirala na arhitektonskoj tehnićkoj školi u Beogradu. Student je Megatrend univerziteta za umetnost i dizajn, odsek film.

Serija fotografija nazvana Unaware Nocturne nameće posmatraču, dok stoji nadomak fotografija, ulogu voajera koji „hvata“ trenutak intimnog rituala nepoznatog subjekta koji, u očima posmatrača, postaje objekat.

"Voajer", iako posmatra fizički prikaz, ne poseduje ni sliku, ni svest o individui.

Fotografija, kao statični prikaz trenutka, u ovom slučaju postaje prikaz pokreta koji lagano prožima fotografije, simulirajući baletsku lakoću.

Ta simulacija pokreta oznacava, ujedno, i mali ritual te fotografije, koji je nastao u periodu iščekivanja nečeg nama potpuno nepoznatog.

Potpuno „odražavanje“ slike, reflektovanje prizora, prouzrokuje nesvesnu svest o prisustvu druge osobe, slika doseže do samih očiju posmatrača, i otkriva njegovu želju za razotkrivanjem.

To što je ostatak scene skriven produbljuje želju posmatrača da otkriva to skriveno, i budi u nama prikrivenog voajera koji želi da bez posledica prodre u tudji svet, i da ga, barem na sekund, razume, izričući svoj moralni sud.