Blowing on a Dandelion, 2016.
mixed media, video loop
Dandelion: video, 0'15''
Blowing: video, 2'31''
From the catalogue “Artificial nature”, Daniel Zec, Museum of Fine Art, Osijek, Croatia
(…) The installation Blowing on a Dandelion consists of two electronic devices with the ability of video playback and two different video sequences in a repeating cycle. Opposite to the mobile phone, which reproduces a loop recording of a dandelion that is slightly moving, a tablet is set, which repeatedly plays back a video of the author trying to blow on that same dandelion, but fails. In this paradoxically constructed (simulated) battle of human against nature, the nature wins. The work refers to the author’s previous works, such as the video Hole Digging – Impossibility of Defeating Nature (2010). This absurd situation, based on the property of unreality which makes the content of the visual presentation (what it is about) contradictory to experience and rational reasoning, can be viewed in the context of behavioral manifestations of the absurd in postmodernism, which show the behavior of artists and their relationship with the objective world. The work can be seen as a form of simulation, in the sense of an audiovisual presentation of a fictional situation in the moment of expecting the emergence of the real situation, but beyond the theory of man as a consequence of the spectacle and challenge of consumption: the author sets her work in contrast to simulationism, negating Baudrillard’s “life in the world of simulation” and taking the view that despite the idea of a man as an object of simulation, technological advance does not have a negative connotation, an inhumane sphere. The works of Margareta Lekić do not deal with consumer culture or simulation models of modern media, even though that same models and media are used in them. They do not refer to theory or the simulationism art movement of the 80s and 90s.
The symbolic connotations of this work – a technology that saves nature from destruction – the author sets as a leitmotif of the exhibition. (…)
Photos by: Marin Topić