Tatjana Nešović
10 

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  Tatjana Nesovic Image 1 Tatjana Nesovic Image 1  
  Tatjana Nesovic Image 4 Tatjana Nesovic Image 1 Tatjana Nesovic Image 5  
In the Eye of the Beholder2005


Born in 1976 in Skoplje.
Lives and works in Belgrade.

In the Eye of the Beholder, 2005

The work In the Eye of the Beholder consists of two self-portraits and painted eyes containing hidden video camera for surveillance; camera recordings are broadcast on a monitor set apart from the pictures. Thus the position of the viewer is problematised in a number of ways. Firstly, a visitor to the gallery becomes the object of a work of art, which, even though it appears to be finished and “perfect” in a traditional sort of way actually represents part of a larger work existing in a temporal continuum. While one visitor watches the picture, unaware of being “watched”, another visitor watches his reaction to the picture-watcher on the monitor. Through this realisation of the metaphor, I play with the notion of “the look of a picture”, taken for granted, as an illusion achieved by technical means. Then, by placing cameras in the painted eyes, possibilities are created for playing with the traditional subjectivist view of art, contained in the expression “Beauty is in the eye of the beholder”, to which the title of the work points. In this work, where the viewer is himself part of a work of art, and the seemingly innocent, painted work is also a viewer, the phrase in question assumes new dimensions, which both deepen it and reduce it to the point of absurdity (if we understand the picture and the cameras as viewers, what is being judged is the beauty of gallery visitors). In this way, the notion of beauty as an aesthetic category is also problematised. Finally, the use of a video surveillance system introduces the theme of the tendency of contemporary civilisation to control every form of existence.

Self-portraits may bare the intimate, inner life of artists. The viewer, while watching the picture unaware of it watching him, may bare a part of himself through his reaction. The artist and the recipient become equal when it comes to exchanging personal matters. By creating confusion in connection with the identity and the intentions of the viewer, the work In the Eye of the Beholder blends people into art, and thereby they become more open to mutual influences.

Rođena 1976. godine u Skoplju, živi i radi u Beogradu.

In the Eye of Beholder, 2005.

Rad In the Eye of Beholder se sastoji od dva autoportreta i slike oka u kojima su skrivene videokamere za nadzor, i njihov se snimak projektuje na monitor postavljen odvojeno od slika. Tako se na više načina problematizuje pozicija posmatrača. Najpre, posetilac galerije postaje objekat umetničkog dela koje i sâmo, iako izgleda kao tradicionalno dovršeno i „savršeno”, zapravo predstavlja deo većeg rada koji postoji u vremenskom kontinuumu. Dok jedan posetilac posmatra sliku, nesvestan da je „posmatran”, drugi posetilac na monitoru posmatra njegovu reakciju na sliku-posmatrača. Ovom realizacijom metafore, poigravam se  predstavom o „pogledu slike”, prihvaćenom zdravo za gotovo, kao iluzijom postignutom tehničkim sredstvima. I zatim, postavljanjem kamera u naslikane oči, otvara se mogućnost i za poigravanje tradicionalnim subjektivističkim shvatanjem umetnosti, sažetim u izrazu „Lepota je u očima posmatrača”, na koji upućuje naziv rada. U radu u kojem je posmatrač i sâm deo umetničkog dela, a naizgled nevino, naslikano delo, takođe posmatrač, ova fraza dobija nove dimenzije, koje je istovremeno produbljuju i svode na apsurd (ako sliku i kamere shvatimo kao posmatrače, sada se sudi o lepoti posetioca galerije). Na taj se način problematizuje i pojam lepote kao estetske kategorije. Na kraju, upotrebom sistema za videonadzor, uvodi se tema težnje savremene civilizacije da kontroliše svaki oblik postojanja.

Autoportreti mogu da ogole intimni, unutarnji život umetnika. Posmatrač, dok posmatra sliku nesvestan njenog pogleda, kroz svoju reakciju može da ogoli jedan intimni deo sebe. Umetnik i recipijent postaju ravnopravni u razmeni ličnih sadržaja. Rad In the Eye of Beholder, stvarajući konfuziju u vezi sa identitetom i namerom posmatrača, stapa ljude i umetnost, tako što oni postaju otvoreniji za međusobne uticaje.