Davor Mišković
–
Viktor Popović, an artist known for his precise and elegant installations, often created in dialogue with the historical and physical context of the exhibition space, has remained faithful to his method in the preparation and realization of the exhibition at Filodramrnatica. The building was constructed in 1890 and has since left numerous traces in the memories of people, records, documentation, while many artists and audiences have left their own traces in the physical space over the centuries. In his search for traces, Viktor found Ilario Carposio's photographs in the State Archives in Rijeka, depicting the original facade and interior of Filodrammatica, which served as the basis for the graphic part of the exhibition. The material used in the graphics was collected within the building — dust representing a material testimony of air flow is imprinted on Carposio's photographs, transforming them into impressions of a very bright spectrum.
These “ghosts” of photographic templates, exhibited as a series of graphics, clearly indicate the inevitable decay of original ideas and material achievements over time. In contrast to the process of disappearance expressed in monochromatic graphics, Viktor opposes an installation based on light, pointing to the existence of life that resists what time carries with it — entropy. Color photographs of the building's interior, displayed on lightboxes placed on furniture belonging to the building, simultaneously represent a contrast and a companion to the deteriorating structure. The dialogue between the graphic and installation arrangement, static and dynamic principles, and above all the illusion of order that conceals decay in the graphics and the chaos that actually contains order and resists decay in the installation, encapsulate the intellectual and emotional experience of Filodrammatica's users and visitors about Filodrammatica.
–
Viktor Popović, an artist known for his precise and elegant installations, often created in dialogue with the historical and physical context of the exhibition space, has remained faithful to his method in the preparation and realization of the exhibition at Filodramrnatica. The building was constructed in 1890 and has since left numerous traces in the memories of people, records, documentation, while many artists and audiences have left their own traces in the physical space over the centuries. In his search for traces, Viktor found Ilario Carposio's photographs in the State Archives in Rijeka, depicting the original facade and interior of Filodrammatica, which served as the basis for the graphic part of the exhibition. The material used in the graphics was collected within the building — dust representing a material testimony of air flow is imprinted on Carposio's photographs, transforming them into impressions of a very bright spectrum.
These “ghosts” of photographic templates, exhibited as a series of graphics, clearly indicate the inevitable decay of original ideas and material achievements over time. In contrast to the process of disappearance expressed in monochromatic graphics, Viktor opposes an installation based on light, pointing to the existence of life that resists what time carries with it — entropy. Color photographs of the building's interior, displayed on lightboxes placed on furniture belonging to the building, simultaneously represent a contrast and a companion to the deteriorating structure. The dialogue between the graphic and installation arrangement, static and dynamic principles, and above all the illusion of order that conceals decay in the graphics and the chaos that actually contains order and resists decay in the installation, encapsulate the intellectual and emotional experience of Filodrammatica's users and visitors about Filodrammatica.