Met kock
Slovenska poezija v novih medijih

DADAMantra

Vanja Mervič, 2009–2013

Audio-vizualna instalacija v sedmih dejanjih

Vizualna podoba DADAMantre ponazarja dneve, ki so postavljeni v simbolični okvir števila sedem. Dnevi so označeni s starimi rimskimi imeni, ki zaznamujejo planete, in pripadajočimi simboli.

Audio-vizualna instalacija DADAMantra ima osnove v dadaistični »simultani« poeziji kot najvišji stopnji semantične in sintaktične nepovezanosti, ki jo je avantgardistični pesnik in esejist Tristan Tzara razvil po letu 1915. Tzara je zagovarjal tako ustvarjanje kot destrukcijo, iz katere nastanejo nove umetniške forme. Razvil je osebni slog avtomatičnega pisanja poezije s kaotično združenimi besedami, ki jih je naključno izrezal iz časopisov. V Dadaističnem manifestu, objavljenem v tretji številki revije DADA, ki je izšla decembra 1918, je med drugim zapisal: »…dada: popolno in nesporno zaupanje v vse, kar je produkt spontanosti.«[1] V reviji so bila hkrati porušena vsa pravila tipografije in ureditve besedil (manifestov, poezije in oglasov), ki niso bila oblikovana po nekem logičnem redu.

Podoben način, ki vključuje fragmentacijo religioznih tekstov in njihovo ponovno združitev z uporabo aleatorične metode ustvarjanja, je pri kreaciji DADAMantre uporabil tudi Vanja Mervič.[2] Vrstni red besed, vzetih iz petih različnih verskih besedil, je prepustil čistemu naključju.

Neosebna molitev, ki jo bere softver, spodbuja k razmisleku o sedanji religioznosti, ko vera v krščansko cerkev postopoma izgublja svojo moč in ko ljudje iščejo alternativne načine za zadostitev svojih duhovnih potreb. Sodobni medij, ki posreduje obiskovalcem novo molitev, odvzame religioznim besedilom tradicionalno zaznavo in jim da novo dinamiko. Zvočna instalacija istočasno modulira razstavni prostor po arteficialnih zvočnih resonancah in kreira meditativno vzdušje, ki sproži v gledalcu čustveno odzivnost.

Nataša Kovšca

  1. Irene E. Hofmann, Documents of Dada and Surrealism: Dada and Surrealist Journals in the Mary Reynolds Collection, Art Institute of Chicago, 2001, str. 6. Vir: http://www.artic.edu/reynolds/essays/hofmann.PDF.

  2. Aleatorika [iz lat. alea kocka, naključje, drznost] se kot kompozicijski postopek danes najpogosteje uporablja v glasbi. Ustvarjalci so odkrili velik potencial aleatorične metode kreiranja tudi v kombinaciji z novimi tehnologijami, ko vlogo »ustvarjalca« prevzame računalniški program, ki s pomočjo kode v digitalnem mediju sam generira podobe.

Audio-visual installation in seven acts

Visual image of DADAMantra represents days, set in a symbolic form of the number seven. Days are marked with ancient roman names, which correspond to planets (dies Solis, dies Lunae, dies Martis, dies Mercurii, dies Jovis, dies Veneris, dies Saturni) and their symbols.

Audio-visual installation DADAMantra is based in dadaistic simultaneous poetry which has the highest degree of semantic and syntactic disconnection. It was developed by avant-garde poet and essayist Tristan Tzara after 1915. Tzara was arguing this form of poetry as a destruction to create new art forms. He developed his personal style of automatic writing by chaotically combining words, cut from a newspaper. In Dadaistic manifesto, published in the third edition of DADA magazine in december 1918, he wrote: »…dada: total and undoubted trust in everything produced in spontaneity.« In the same publication all rules of typography and text editing not designed in a logical order, were destroyed.

In his installation DADAMantra, Vanja Mervič used a similar pattern, including de-fragmentation of religious texts and their re-merging by using aleatoric method of creation. The order of words taken from five religious texts is left to pure coincidence.

The prayer, impersonally read by a software, stimulates us to rethink todays religiousness, when faith in Christianity is slowly losing its power and when people are searching for alternatives to satisfy their need for spirituality.

Contemporary medium which mediates to visitors the new prayer deprives the texts of a traditional religious perception and gives the prayer a new dynamic. But simultaneously, the sound installation creates a meditative atmosphere, which triggers an emotional response in the spectator.

Nataša Kovšca

  1. Irene E. Hofmann, Documents of Dada and Surrealism: Dada and Surrealist Journals in the Mary Reynolds Collection, Art Institute of Chicago, 2001, p. 6. Source: http://www.artic.edu/reynolds/essays/hofmann.PDF.

  2. Aleatorics [from lat. alea: a dice, coincidence, daring experiment] is a compositional principle mostly used in music. Also in the new technologies domain the aleatoric method provides many creative opportunities when the role of the „creator“ is taken over by the computer program, which creates images in the digital medium by itself using a code.