v okviru mednarodnega projekta Performing the Museum (Muzej v gibanju)

Søren Thilo Funder: Nicholas Brady (Target Audience/Ciljna publika)

2016, HD-Video, 12’13”

Sørena Thila Funderja je k sodelovanju povabil Muzej suvremene umjetnosti iz Zagreba. Delo Nicolas Brady (Ciljna publika) ima tako literarne kot zgodovinske reference, hkrati pa odseva pogled na sedanjost in muzej kot institucijo.

Skupina najstnikov se giba po razstavnih prostorih, arhivih in kletnih hodnikih Muzeja suvremene umjetnosti v Zagrebu, vseskozi pa se vračajo k prvi hrvaški avantgardni sliki ‘Pa-fa-ma’ Josipa Seissla. Njihovo gibanje spominja na  impulzivno energijo igrišča med odmorom. Med modernističnimi deli se odvija čudna igra skrivalnic, ki lahko na nek način zbudi tudi predstave o srednješolskih strelskih pohodih. Znotraj postavitve stalne zbirke muzeja se odvija nervozna, strašljiva situacija s talci, napadeni so mladi v muzeju umetnosti.

V videu se pojavi tudi lik iz znanstveno fantastične novele Phillipa K. Dicka z imenom Nicolas Brady.

Prek telepatskega toka povzročene video podobe kažejo skrivno zbirko moderne umetnosti, ki se nahaja v zaklonišču v Leningradu.  Neskončni tok modernih klasikov, ki presegajo količino možne produkcije bombardira Bardijevo zavest in pri njem vzbudi nov kritičen pogled. Ta epifanski video prenos oddaja satelit Valis. V videu Nicolas Brady (Ciljna publika) je ta satelit prevzel obliko abstraktnega dela  ‘Pa-fa-me’ Jossipa Seissla in modernistični liki se počasi obračajo okoli svoje osi ter se tiho vrtijo skozi prostor.

Med ekspresivnim gibanjem mladostnikov v fiksni strukturi muzejskega prostora in potencialom nove zamišljene umetniške zbirke, o kateri govori znanstvenofantastično literarno delo, video   Sørena Thila Funderja Nicolas Brady (Ciljna publika) ustvari zgodbo, ki odraža skrite odnose moči v strukturi in arhitekturi (umetniškega) muzeja ter zgodovine hrvaške in mednarodne avantgardne umetnosti.

Søren Thilo Funder was invited to participate in the project by Museum of Contemporary Art Zagreb (MSUZ). The work Nicolas Brady (Target Audience) has literarry and historical references, at the same time it reflects the position of a museum.

A group of teenagers are moving through the exhibition spaces, archives and basement hallways of the Museum of Contemporary Art in Zagreb, always returning to the first Croatian Avant-garde painting, ‘Pa-fa-ma’ by Josip Seissel. Their movements recall the impulsive energy of playground during recess. The strange game of hide-and-seek that plays out among the modern artworks might also evoke the imagery of high school shootings. The museum is depicted in a sort of hostage situation – the art museum is under siege and this nervous eerie situation plays out playfully in the museums permanent collection. Somewhere else Philip K. Dick’s character Nicolas Brady is being induced with a telepathic stream of handheld video footage of secret modern art collection concealed in a bunker in Leningrad. And endless torrent of modern classics, disturbingly exceeding any realistic volume of such productions, bombards his consciousness and ignites a new critical sight. This epiphanic video transmission is relayed to Nicolas Brady via the godlike satellite Valis. In Nichloas Brady (Target Audience) the satellite takes the shape of Josip Seissel’s ‘Pa-fa-ma’ and the solid modernistic formations slowly revolves and turns on its on axis, spinning silently through space. In a playful clash between the expressive movements of the youngsters in the fixed structure of the museum space and the odd potential of new imagined art collections through fiction literature, Nicolas Brady (Target Audience) creates a tiny orbit around a modernistic satellite invested in the hidden power relations in the architecture and structure of the (art)museum and the history of Croatian and international avantgarde art.