9. 12. 2012.| Akademski filmski centar

 

ALTERNATIVE FILM/VIDEO 2012.

Nedelja / Sunday, 9. decembar

 

19:00 Mala sala / Small Hall

Autorska prezentacija / Author presents

LJUBOMIR ŠIMUNIĆ

 

 

Program:

 

PRESSION (1970-1975), 24 min

Production: Moon, Ljubomir Šimunić

 

GERDY ZLOČESTA VJEŠTICA / GERDY, THE NAUGHTY WITCH (1976), 16 min

Production: Moon, Dragan Taubner

 

SUMMER DREAMS (1978), 22 min

Production: Moon

 

HOLIDAY, LOVE ALL AROUND US / PRAZNIK, LJUBAV SVUDA OKO NAS, 24 min,

Nezavršen film / Unfinished film

Production: Moon

 


LJUBOMIR ŠIMUNIĆ se pojavljuje u beogradskom avangardnom filmu ranih 1970-tih godina. Rođen je u Beogradu 1942. godine i otpočeo je kao glumac u filmovima Slobodana Šijana i Dragomira Zupanca, generacije novih režisera.

Njegovi prvi filmovi realizovani su u saradnji sa slikarem Kostom Bunuševcom (Kosta Bunuševac): MAGIČNA STOLICA i DOLAZI TREĆI, a oba su nastala 1970. godine. Zatim sledi period njegovog intenzivnog zanimanja i bavljenja dokumentarnim filmom. U žiži njegovog interesovanja su ulica, ili da budemo precizniji, žene na ulici. Slike iz svakodnevnog života sa prijatnom erotikom proizvode dopadljive talase erektivnih naboja i praskanja pred našim očima. Filmovi: SVA PUTENOST BEOGRADA i ŠETNJE.
 

Oko početka 1972. godine on planira da osnuje sopstvenu kompaniju za snimanje i izradu filmova, jer je izrada takvih filmova bila nepoznata u profesionalnim produkcijskim krugovima. Pošto je bio zaokupiran tom idejom bio je prinuđen da odloži svoj rad na istraživanju višestrukih ekspozicija što je predstavljao pokušaj da se dokaže unutar i pomoću umetnosti tadašnje naučne činjenice koje su tvrdile da je samo jedan mali deo ljudskog mozga izložen toku informacija i da je samo taj deo sposoban da ih prihvati. U jednom od svojih intervjua on kaže: "Već do kraja 1971. godine počeo sam da razmišljam o dvostrukoj ekspoziciji. Oduvek sam bio impresioniran noćnim svetlima velegrada. Izlozi prodavnica, neonska svetla, rasveta na autoputu, pobuđuju predivne radosti dok jurite nekim nepoznatim gradom u Hi-Fi taksi vozilu."

Od tada, ova noćna atmosfera se može pronaći u svim njegovim filmovima: PRESSION; GERDI, ZLA VEŠTICA; ZVEZDANO PUTOVANJE, i PRVA NOĆ NA MORSKOJ OBALI.
 

Godine 1975., zajedno sa svojim prijateljem DRAGANOM TAUBNEROM (DRAGAN TAUBNER), koji je takođe radio zvuk u većini njegovih filmova, osniva MESEĆEVO PREDUZEĆE. Glavna odlika ove kompanije je bila, prilično neobična, a to je da su njih dvojica jedini i ekskluzivni producenti i stvaraoci tih filmova.

Kasnije, raspon njegovog interesovanja se širi. Pošto je bio voajer po prirodi on je ugrabio kameru kao oruđe s ciljem postizanja i dočaravanja mentalnog nasilja. Ženu ili muškarca iz Moždanog stripa. Otkopčane haljine, gaće koje se nose na nagom telu, raširene butine. UMETNOST NESTAJE U EREKCIJI.

Njegovi najznačajniji filmovi nastali su u ovom periodu: BURA; PUTOVANJE NA MORSKOM BRODU; LETNJI SNOVI; ŠTA SLAVICA OČEKUJE U ŽIVOTU; DOĐI DA OSTARIMO ZAJEDNO; MEKANO, itd. U poznijem periodu on se u svojim delima bavi analizom estetike čitavog audio-vizelnog medija tako što protrčava kroz čitavu istoriju filma i drugih masovnih medija. Završeni su sledeći filmovi: U ČAST ALFREDA HIČKOKA, TOPOVI U POSLEPODNEVNIM SATIMA; HOLIVUD ILI PROPAST.
 

Do 1976. godine, zahvaljujući SLOBODANU ŠIJANU, njegovi filmovi se prikazuju široj publici, i svi se oni danas mogu videti na javnim projekcijama. Svet filma svakako ne postoji, a članak od 5 stranica, uključujući naslovnu stranu i filmografiju na dve strane, sačinio je sam Šimunić. Sva sreća, Šimunić postoji, iako skoro niko izvan Beograda nije čuo za njega ili za njegov stvaralački opus. Šimunić je producirao svoja dela izvan mreže srpskih filmskih klubova (Kino-kljubova). On je svoje filmove prikazivao samo na privatnim projekcijama među prijateljima i samo su u dva navrata bili prikazivani van zemlje. Prvi put je to bilo na uticajnom Festival International du Jeune Cinema de Hzeres, koji je osnovao Marcel Maze, gde su tri od gore navedena filma pokupila Nagrade kritičara 1979. godine (Nagrada je deljena sa autorom Stuart-om Pound-om), od strane žirija koji je bio sastavljen od sledećih ličnosti: Takahiko Limura i Howard Guttenplan, a takmičio se protiv filmskih velikana kao što su babette Mangolte i Slobodan Valentinčić.
 

Četiri rada koja su izabrana za ovu projekciju, snimljena su i montirana unutar kamere, a on ih objašnjava sledećim rečima: to su dela voajera, međutim to nije prvo tumačenje. U početku Pression (1970-1975) ili Gerdi, zločesta vještica, 1973-76) nas očaravaju svojim bogatstvom slika i muzičkih ritmova. Slike su pažljivo i do tančina montirani unutar kamere tokom perioda od 3 do 5 godina, tokom kojih je Šimunić držao svoju duplu 8mm kameru u frižideru da bi sprečio da ne-razvijenoj celuloidnoj filmskoj traci ne istekne rok važnosti. A found footage neverovatne snage je ručno odabran sa njegovog televizora, koji je postao dokument gledanja tokom sredine 1970-tih godina u Jugoslaviji, kao i čitav niz razmišljanja iskazanih i efektom superimpozicije integrisanih u njegovim suludom radu "Vožnje taksijem".  U radovima Letnji snovi (1976-1978) i Šta Slavica očekuje u životu, 1978) scopopohilia postaje eksplicitna ali ne i nedovoljno obuhvatna. Šimunić je osamljeni umetnik i njegov pogled čini nam se da je podjednako izokrenut. On postaje skoro vidljiv kroz svoj vojerizam i ovaj predivni element nije nenameran.

                                                                                                                        Prevod: Mihailo Ristić
 

Ljubomir Šimunić appears in Belgrade Avant-Garde film in early 70`s. He was born in Belgrade in 1942, and started as actor in films made by Slobodan Šijan and Dragomir Zupanc, the New Generation directors.

His first films are rea lized in cooperation with painter Kosta Buneševac: MAGIC CHAIR and THE THIRD ONE IS COMING, both made in 1970. Then, a period of his intense interest for the dokumentary follows. In the focus ofhis interest is the street, or the women in the streets to be precise. Images of everyday life`s pleasant erotics producing the agreeable waves of erection burst in front of our eyes. Result: ALL THE FLESH OF BELGRADE and THE WALKS.
 

By the beginning of 1972 he intends to found his own Company to make films, since the existence of such kind of films was unknown to professi onal production. Being preocc upied with this idea he had to postpone his work on investigating multiple exposures, which represented an attempt to prove in and by art the current scientific facts which claimed that only a small part of human brain is exposed and able to accept the flowing informations. In one of his interviews he says: „By the end of 1971 I started to think of double exposure. I have always been impressed by the night lights in the city. Shop windows, Neons, Highway Lights, arouse the charming excitements while you are running through the unknown city in a HI-FI taxi-cab.“
 

Ever since, this night atmo sphere is to be found in all of his films: PRESSION, GERDY, THE WICKED WITCH, THE STARS TRIP, FIRST EVENING ON THE SEA-SIDE.

In 1975, together with his friend DRAGAN TAUBNER, who alao nade sound in most of the films, he founds the MOON COMPANY. The main feature of this company was that, quite unusually, the two of them were their movies` only and exclusive producers and makers.

Later on, the scope of his interests expands. Being voyeur in his nature he grabbed the camera as a weapon aimed at attaining the mental violence. The Wo-Man in action of Brain-Strip. Unbuttoned dresses, panties worn on naked body, stretched thighs. THE ART MELTS INTO ERECTION.

The most important films are made in this period: THE STORM, TRIP ON THE SEA-SHIP, SUMMER DREAMS, SLAVICA`S EXPECTED LIFE TRAPS, COME AND GET OLD TOGETHER, SOFT et al. The latest period of his work deals with the analysis of the aesthetics of the whole audio-visual medium by running through the entire history of the film and other mass/media. Completed are the following films: IN HONOUR OF ALFRED HITCHCKOK, THE GUNS IN THE AFTER-NOON, HOLLYWOOD OR BUST.
 

By the mid 1976, thanks to SLOBODAN ŠIJAN, his films are shown to wider audience, and all of them may be seen today in public showings.

Movie World of course does not exist, the 5 page article, including a full cover page and a two page filmography, was made up by Simunic himself. Luckily, Simunic does exist, even though hardly anyone outside Belgrade has ever heard of him or his work. Simunic produced his work outside the Serbian film clubs frameworks. He showed them only in private screenings among friends and only twice were they shown outside the country. The first time was at the influential Festival International du Jeune Cinema de Hzeres, established by Marcel Maze, where three of the above four films picked up the Critics` avard in 1979 (shared with Stuart Pound) by a jury including Takahiko limura and Howard Guttenplan and competing against greats such as Babette Mangolte and Slobodan Valentincic.
 

The four works on show here, shot and edited on camera, are as he deseribes them: the work of a voyeur, yet this is not the first reading. Initially Pression (1970-1975) or Gerdy, The Wicked Witch (Gerdy, zlocesta vjestica, 1973-76) overwhelm with their abundance of imagery and musical rhythm. The images are painstakingly edited-incamera over a period of 3 to 5 years, during which Simunic kept his double 8mm camera in the fridge to prevent the undeveloped celluloid from expiring. Found footage of the most amazing strength is hand-picked from his television set, becoming a document of viewing in mid-70s Yugoslavia as well as a train of thought, superimposed on his spaced out „taxi rides”. With Summer Dreams (1976-1978) and Slavica`s Expected Life Traps (Sta Slavicu ocekuje u zivotu, 1978) the scopophilia becomes explicit but not unelaborate. Simunic is a reclusive artist and his gaze seems equally inverted. He is almost visible through his own vozeurism and this beautiful element is not an unintentional one.

 

 



Vrste materijala u arhivi: , Plakat Audio snimak

Signature: Pl/12/12; A/12/12