Opening of the exhibition on Tuesday, September 13 at 7 p.m., Project space DUM, Kolodvorska 6, Ljubljana
THINKING IN RELATIONSHIPS
The Light Chaser project can be understood as a continuation of the artist's thoughts on the relationship between the material and that which is on the edge of being perceived as material presence. Even though it is impossible to avoid the fact that ephemerality has always marked the artists thoughts on art it should be emphasised that with every project Fishkin attempts to establish new relationships linked to the research of space. Regardless of whether this is the real or symbolic space. If the series of exhibitions and the publication Light Matters attempted to define the individual »toposes« within Fishkin's artistic practice, the project Light Chaser focuses on the particular relationship between light and movement. However, this is not its only focus. The starting thought, Laszlo Moholy-Nagy's phrase »Thinking in Relationships« attempts to reflect Fishkin's thought on what an individual work of art can cause in relation to another work of art, space, time, the viewer and his experience.
If we focus on the relationship between light and movement, we need to stress that this relationship was addressed in a unique way already by the impressionists at the end of the 19th century, for they introduced light and movement to their canvasses with the use of various techniques. It is the relationship that »obsessed« the artistic practices as soon as Marinetti’s Manifesto of Futurism, which rejected tradition and strove towards speed, movement, industrialised society and technological progress, was published. A relationship that has been addressing artists in the spirit of historic avant-gardes ever since the 1950s. A relationship that is being constantly established and formed within the possibilities that emerge due to technological advancement.
Even though the present relationship cannot be defined exclusively as a form, for it also expresses a precisely defined, period determined ideological charge, it is the artist’s construction of the “symbolic space” of the work of art, the so-called “invisible presence” that surpasses the visible and haptic understanding of our environment, and with this also the various orientations of reading. With the project Light Chaser Vadim Fishkin opens the ephemeral fields and with it the issues that can be directly linked to the thoughts of the Polish art historian and curator Jerzy Ludwiński in his essay Unidentified art, in which he considers the various levels (object, space, time, imagination and totality) of artistic presentation and consequentially the reflections of the work of art. On the level of the object Fishkin creates a “choreography” of simple technological objects, direct progress indicators, to which he will ascribe new meanings, get rid of their primary function and directly show the possibility for their absurdity. Each and every object is defined in relation to space, and this creates a sort of emotional space of joint interlacing which in turn enables the viewer not to observe from a distance, exclusively from the “outside”, but to find himself “within” this interlacement. Even though space seems defined and limited by its physical appearance, it is the element of time that leads the viewer to the point in which possibility and improvisation play a key role. In the context of time the work of art is no longer exclusively a material or spatial structure, but starts becoming a process – a phenomenon that emerges on the edge and erases the borders between fine art and theatre.
Undoubtedly this is the symbolic field to which Fishkin tries to bring the entire “choreography” of the individual elements found within the Light Chaser project. Some sort of a closing level, which indicates a Brechtian turn in the direction towards the viewer, his experience, imagination, within which the work of art surpasses the borders of the “former” spatial and time structure. In this way the work of art can emerge anywhere and can embrace anything and everything and is thus concretised exclusively on the level of the viewer’s imagination. The work of art as a whole is not manifested on the level of individual levels of reflection, but as a “collective effort”, which surpasses the single-sided understanding of a work of art. Such art can function as a real space for the viewer.