SALON REAL / VIRTUAL: 3# Sandro Đukić | Road movie - 3D virtual exhibition by galerie michaela stock

SALON REAL / VIRTUAL: 3# Sandro Đukić | Road movie

Sat, 11/07/2020 to Thu, 01/14/2021

curated by:

3# Salon: Sandro Đukić| Road Movie
7.11. – 3.12.2020

Opening: Saturday, 7.11., 11 - 17h
Timeslot every 15 min / one by one person/ come and go

Two fireside chats are planned with Sandro Đukić / TBA

In the third edition of Salon Real / Virtual, works by the Croatian artist Sandro Đukić are on display. As a new-media artist he always deals with co-relations of different media such as photography, video, computer-processing, storing, documentation and archiving data, that resemble reality exposed to this process of photographing and disclosing through media.

In the show Road Movie the artist's gaze is not only turned inwards but also directed to what is easily overlooked to the unspectacular and his analog and digital photos become documents of the past and present moment. By doing so, he applies different layers and meanings of space. Furthermore, he refers in his work to the questions of time, durance and transience.

In Salon Real Sandro Đukić shows photographs out of the series Correlation of inner images. These works demonstrates the transience of the body, relationships to other people, as well as the “inner life” of human beings and deals with the difference between image and reality, focus lies on the subjective inner reflection of the reality.

The digital exhibition in Salon Virtual highlights the analogue photo series Road movie by Đukić.The monumental black and white images depicts the Icelandic landscape photographed during the artist’s residence in 1992. In order to document his adventure, Đukić took with him two disposable cameras with a small number of shots and two black and white films. Sandra Križić Roban describes his working method as follows: “Sandro’s documentation of his travels seems to have come about without a previous plan: what drives him is an obsessive and compulsive habit in which many things look similar at the first glance. This time he was concentrated on every single shot, deliberately relying on aesthetics, on the visual impressiveness of the landscape, whose lasting qualities he did not have to prove by manic, continuous shooting of almost every experienced moment. Above all, during the shooting he was interested in the exploration of a pure, reduced relation to oneself, nature, and adventure.“

It seems as if the photographs from his series profit from absence of that which characterizes cinematography, like lasting, real time and narration. Đukić`s chosen approach points to many things in the photographs we cannot see and our certainty in what we see is questioned. The naked and lonely panoramic landscape conveys a new experience of space. The spatial proportions the images are unique, nature dramatic and at first glance free of existential elements. This can be interpreted as pure existence freed from any narrative elements and knowledge.

Đukić refers in the monumental images of the Icelandic landscapes directly to the context of the road movie aesthetics as a visual and intellectual point of departure and remember us of Wim Wender’s movies. His landscapes mediate certain graveness, a personal experience that cannot be retold and in front of the viewer stretches a desolate and uncommunicative terrain. The road navigates us by a singular vision of space and time, and the possible means, we might use to travel between them, which exist just outside of our present reality. This road is the space of life in Đukić`s photography of the longue durée - it is the landscape upon which the lone journeys of individual lives take place and intersect. What the viewer sees is only a desolated and uncommunicative terrain, a “floating” place where the narrative lies.
Curriculum Vitae
The Croatian New Media artist, Sandro Đukić studied with Đuro Seder in Zagreb, with Nan Hoover in Düsseldorf and Nam June Paik in NY. 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. He swiftly changes between the afore mentioned media - from spatial, architectonic and photographic installations and constructed films and, at the same time, creates several levels of meaning as concerns space. 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. For the past 20 years, he has dedicated himself to the re-search in and of archives and the multimedia presentation thereof.

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