Spajalica > Copula

Art interventions in public space, MMSU Rijeka

ISAAC CORDAL – Cementne pomrčine / Cement Eclipses

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ISAAC CORDAL – Cementne pomrčine / Cement Eclipses, Photo by Saša Bogojev

U Rijeku nam u četvrtom činu migriraju novi stanovnici – minijaturni, srednjovječni, proćelavi muškarci iz poznate serije Cementne pomrčine koju nam donosi Isaac Cordal. Figurice poslovnih ljudi zagledanih u mobitele i pokunjenih građana opterećenih brigama vješto su uklopljene na povišenja riječkih fasada. Prolazeći pored njih obično ih niti ne uočavamo zaokupljeni upravo onim istim radnjama koju mali cementni sugrađani diskretno reflektiraju. Obitavajući uglavnom iznad nas, naših ustaljenih trasa i vidokruga, tvore svojevrsnu mrežu – paralelan svijet koji zrcali širu sliku društva obilježenog nelagodom. Istovremeno svojim pažljivo odabranim kompozicijama posreduju asocijacije upisane u međuprostore između lika, pozadine, i radnje koja ih prati, a nas – slučajne prolaznike, promiče u katalizatore značenja. Potičući nas da učitamo vlastite interpretacije onoga što simboliziraju, pomažu nam da se sagledamo izvana te barem donekle osvijestimo psihičke i tjelesne automatizme rutinizirane svakodnevice. Ako makar na trenutak zastanemo, možda je ono što ćemo osjetiti duboka tuga koja izvire iz samoga središta naše egzistencije. Ali barem smo stali, a empatična, nepomična solidarnost cementnih sugrađana možda će nam donijeti makar tračak optimizma prije nego nastavimo s poražavajućim rutinama dana. Uostalom, cementni čovječuljci će nas i sutra dočekati na istom mjestu, samo ako se u sveopćoj jurnjavi sjetimo na trenutak zastati i podignuti pogled.

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In the fourth act, new inhabitants migrate to Rijeka – the miniature, middle-aged, bald men from the well-known series Cement Eclipses by Isaac Cordal. The figurines of business people staring at their phones and gloomy citizens burdened with worries are placed with careful deliberation along the upper parts of Rijeka’s facades. We mostly do not notice them while passing by, as we are absorbed precisely in the states and activities that these figurines discreetly reflect. Hovering above us, above our firmly fixed routes, they create a parallel world that mirrors the image of the society stricken with discomfort. Through their carefully arranged compositions, these figurines mediate the associations pertaining to their character, their background and their situation, and we – random passersby, are promoted into the catalysts of meaning. By encouraging us to load our own interpretations of what they symbolize, they help us examine ourselves from the outside and, at least to some extent, become aware of mental and physical automaticism of our everydayness. If we stop, at least for a moment, perhaps what we would feel is the sadness emanating from the core of our existence. But at least we stopped, and the emphatic, motionless solidarity of our cement fellow-citizens might offer a glimpse of optimism, before we continue with our devastating routines. Anyway, these tiny fellows will wait for us tomorrow at the same place, but only if we remember to stop for a second, and raise our gaze.

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