By recording impressions through a series of dialogue-drawings, we explore the modalities of architecture. We keep a graphic journal by paying frequent visits to the exhibition space throughout the exhibition season, almost ritually. The repeated journal entries, forebode an endless Godot-like drawing; it intertwines, superimposes, erases, traces, underlines, outlines…
At some point, an evaluation of the situation creates an exhibition.
It is imperative not to approach the wall in Drinčićeva Street as a blank exhibiting surface, a drawing plane – ignore its appearance and the layers time has brought to it. The juxtaposition of the wall’s potential for an exhibiting function and its current appearance put the context in a liminal state.
This wall is a canvas of reality. It summarizes all past and future images: notes and vestiges of thick time. According to Jeremy Till, it’s the present that critically gathers the past and also projects the future.
We will not fight the wall but rather, think about it and with it. We won’t act in haste and overlook it. It is essential to stop and see it. The wall must exclusively remain a wall, renouncing the new, foreign layers that cover it. It should only carry its own image.
The research aims to elicit the mechanism of auto reflection by confronting the wall and the observer with itself. In this way, the wall transcends its existence as a mere exhibition space, a backdrop, to assume the role of the foreground.
To give time to the wall means to restore it for yourself, and vice versa. Duration is necessary. We draw, we draw for a long time, we draw time.
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Filip Marinković was born in 1992 in Kraljevo, Serbia. He obtained a Master’s degree in Studies in Interior Architecture at the Faculty of Architecture, University of Belgrade. In his work, he deals with the concepts of time, senses, perception, the ordinary, mundane and overlooked. He is interested in exploring the nuanced thresholds and areas where spaces, things, and ideas emerge and go out of existence. Works as a graphic designer, book designer, and freelance interior designer.
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Jelena Janković was born in 1992. in Belgrade, Serbia. She graduated from the Faculty of Architecture, University of Belgrade, and obtained a Master’s degree in Architecture design. During her studies, she started teaching at the Department of architecture, as a teaching fellow for Undergraduate and Master academic studies. She is currently pursuing a PhD on the topic of Sensation in/with space. Her research focuses on the moment of contact between the object and the person, and the reaction – sensation that occurs at that time. The exchange taking place refers to the mutual permeation of what space awakens and offers at the same time, memory, reality, perception, the intertwining of the physical and the mental, a totality. She considers the meeting of humans and space to always be a new experience – an experiment. Besides architecture, her interests are philosophy, psychology, and art. She is engaged in theoretical work and freelance design.
Beleženjem utisaka kroz seriju dijaloških crteža istražujemo modalitete arhitekture. Učestalim posetama izložbenom prostoru, tokom čitave izlagačke sezone, skoro pa ritualno, vodimo grafički dnevnik. Unosi u dnevnik svojim ponavljanjem nagoveštavaju beskonačni godoovski crtež; on se prepliće, nadovezuje, briše, precrtava, podcrtava, docrtava…
Presek stanja u jednom trenutku postaje izložba.
Nužno je ne prići zidu u Drinčićevoj ulici kao čistoj izlagačkoj površini, podlozi za crtanje, ignorišući njegovu pojavnost i sve slojeve koje mu je vreme donelo. Suprotstavljenost funkcije izlagačkog potencijala i trenutne pojavnosti zida stavljaju kontekst u liminalno stanje.
Ovaj zid je platno realnosti. Na njemu se sažimaju sve prošle i buduće slike. Beleške i tragovi bujnog vremena. To je, po Džeremiju Tilu, sadašnjost koja nagomilava prošlost i drži budućnost u začetku.
Nećemo se boriti protiv zida, već misliti o njemu i sa njim. Nećemo ishitreno delati i preći preko njega. Važno je zaustaviti se i videti ga. Zid mora da ostane isključivo zid, odričući se novih, stranih slojeva koji ga prekrivaju. Trebalo bi da nosi samo svoju sliku.
Cilj istraživanja je izazivanje mehanizma autorefleksije, suočavanjem zida sa posmatračem i samim sobom. Na ovaj način zid prevazilazi svoje postojanje kao puki izlagački prostor, kao podloga, i preuzima ulogu prvog plana.
Dati vreme zidu znači vratiti ga sebi. Neophodno je trajanje. Mi crtamo, crtamo dugo, mi crtamo vreme.
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Filip Marinković je rođen 1992. godine u Kraljevu. Diplomirao je na Arhitektonskom fakultetu Univerziteta u Beogradu, na master studijskom programu za unutrašnju arhitekturu. U svom radu preispituje koncepcije vremena, čula, percepcije, običnog, svakodnevnog i previđenog. Interesuje ga istraživanje suptilnih pragova i oblasti u kojima prostori, stvari i ideje postaju i nestaju. Radi kao grafički dizajner, dizajner knjige i frilens projektant enterijera.
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Jelena Janković je rođena 1992. godine u Beogradu. Dipomirala je na Arhitektonskom fakultetu Univerziteta u Beogradu, na master studijskom programu Arhitektonsko projektovanje. U toku studija počinje sa radom na Arhitektonskom fakultetu na Departmanu za arhitekturu, u svojstvu studenta saradnika (demonstratora), na osnovnim i master akademskim studijama. Trenutno je student doktorskih studija sa temom Senzacija u/sa prostorom. Istraživanje je usmereno na trenutak stupanja u kontakt objekta i osobe i reakcije – senzacije koja nastaje u tom vremenskom trenu. Razmena koja se događa odnosi se na uzajamno prožimanje onoga što prostor budi i nudi istovremeno, pamćenje, stvarnost, percepciju, preplitanje fizičkog i psihičkog, ukupno. Smatra da je susret čoveka i prostora uvek novo iskutvo – eksperiment. Pored arhitekture njena interesovanja su usmerena ka psihologiji, filozofiji i umetnosti. Bavi se teorijskim radom i frilens projektovanjem.