galerie | michaela | stock
Archive
Sandro Đukić | Language as Ideology
PREVIEW & VERNISSAGE: 24.06.2021
FAIR DAYS: 25.-27.06.2021
WHERE: Marx Halle, Karl-Farkas-Gasse 19, 1030 Vienna
Booth G1, galerie michaela stock
Section: Interface – Contemporary New Media and Digital Art (curated by Marlies Wirth)
At the booth of galerie michaela stock the Croatian New Media artist Sandro Đukić deals with the changing relationships of media such as photography and video, but also with computer-controlled mechanisms like saving, documenting and data storage of realities. The artist uses research in and of archives and the multimedia presentation thereof.
Language as Ideology is a multimedia work – the installation including the digital archive on history of mining generated by computer algorithm, the video Daydream and a a large-format photograph from the Ironfactory Sisak – dealing with the issue of time, that is, duration and the transience of socio-historical phenomenon.
Read moreLanguage as Ideology is a multimedia work – the installation including the digital archive on history of mining generated by computer algorithm, the video Daydream and a a large-format photograph from the Ironfactory Sisak – dealing with the issue of time, that is, duration and the transience of socio-historical phenomenon.
Installation arch_0001_276 / GAME OVER – wish to reconsider reality? from 2021 is based on 10 years research on workers and miners heritage from town Labin in Istria. As a part of long term project Sandro Đukić was leading digitalization of documents and periodic for beginning of the 20 century until nowadays. Finally, over 9000 pages where processed with OCR software and text was split in six groups; from early period 1900 to 1920, telegraph correspondence between miners office in Labin and head office in Vienna – company managing strike breaks, rising after WW II optimism and glorifying productivity until collapse of socialism, until transitional period of nowadays.
All text was subject of “text mining”, text analyzing procedure, based on Noam Chomsky theory, and it was created lexicon / dictionary for each period. Using that dictionary, generated by computer algorithm, the text was produced. Despite sometime strange construction, one can with ease recognize the period as well as economy, culture as well as language as tool of ideology of the specific time. Finally, all that text, over 6000 sentences, become content of the Artist Books and prints as part of the installation.
The Ironworks factory Sisak in Croatia was a former industrial giant and pride of the socialist construction and progress. What was left today of the modernist complex, after about twenty years of transition, transformation and change of technological and economical paradigm, clearly witness the large format photograph taken by Sandro Đukić . The photograph Ironworks Sisak (arch_022_143_8749) bear witness to the negligence of society to their (in this case valuable industrial) heritage, as well as the negligence towards those involved, that is the workers who had once gained considerable income with their labor.
The third segment of this exhibition is the video piece Daydream characterized by its meditative-contemplative aura it completes the exhibited units and invites us to relax and think about the world we live in, think about the values and deficiencies of the past, and finally our future which we must cease to create with cheap consumerism, but with individual spiritual upgrade which had run the world until now.
The Croatian New Media artist, Sandro Đukić studied with the video art pioneers Nam June Paik and Nan Hoover. Consequently, he sees himself as a virtual-visual artist, tending to a critical interpretation of space and the beginning of creating a work of art. Being a New Media artist, he not only deals with the changing relationships of media such as photography and video, but also with computer-controlled mechanisms like saving, documenting and data storage of reality, which are subject to the process of photography and disclosure by the media. He swiftly changes between the aforementioned media – from spatial, architectonic and photographic installations and constructed films and, at the same time, creates several levels of meaning as concerns space. For the past 20 years, he has dedicated himself to the re-search in/of archives and the multimedia presentation thereof. Throughout the 20th and at the beginning of the 21st century, globalization in Eastern Europe has led to extensive changes. Trade, migration and new globally available technologies have accelerated economic structural change. At the same time, major social upheavals and tensions can be observed, manifesting themselves in drastic demographic changes. Sandro Đukić analyzes these socio-economic transformations within the global context, but also takes a look at the changes in ideology that are linked there to and that are triggered by memory from multiple perspectives. Đukić is primarily interested in the phenomenon of time and he tries to track down its duration and its circle. But he also explores the change of technological paradigm as well as deindustrialization. Transformation processes and visual change become visible from this temporal distance, developing a subjective glance on memories. The exploration of and reflection on systemic relations, the contextualization of the research results based on his photo archive are part of his artistic practice in order to illustrate differentiated perspectives of utopic modernistic complexes and possibilities of change through the loss of collective memory as a trigger for social concepts.
