NMG @PRAKTIKA_Hrvoje Spudić: Rotoprojektor 4
Klub Kocka Gallery, Dom mladih Split, Ulica slobode 28
OPENING: Thursday, June 9, 2022, at 8 p.m.
The exhibition is open until June 12 and can be viewed by prior arrangement at +38598602701
ABOUT THE WORK:
Rotoprojection: a static projection that schematically represents a certain process which, with the use of light effects of rotational motion on an alternately colored background, obtains motion on the lines and schemes. 
Why do we need such a definition, if we can simply say: rotoprojection is a rotating projection?
Through his work, Hrvoje Spudić tries to find a definition that is neither this first one nor the other, which has been simplified to the core.
Rotoprojektor 4 is an artistic research that examines at least these dichotomies:
– Outdoor / Interior space
– Light / Darkness
– Static / Dynamics
– Receiving information (rotating camera) / – Providing information (rotating projector)
– Past / Present
In the fourth iteration of this research, the camera rotates in two axes, which is a novelty compared to other versions of the Rotoprojektor. Unlike previous versions that retain the staticity of the image, here the rotation of the entire format is achieved and an amazing moment of awareness of the format (16: 9) is achieved.
Using a DIY rotating table with a camera that (at 6 rpm) captures an endless panorama of the outdoor space of the playground, Spudić captures a space and a time, which he later translates using the same rotating table, placing a projector on it. At the moment of playing the projection, the translation of the exterior into the interior and the past time into the present begins.
In this way, the gallery space opens a window for us into an environment that is physically and temporally distant from us, allowing us to peek into that ambiance, but at the same time teleporting us (virtually) into that same space and time.
Hrvoje is not interested in what is beautiful around us, or even what is right (although he comes from the world of architecture). He is trying to find out: how much of what is around us is in fact real, and what is this reality made of? How much can be translated into other levels, other times, and other spaces: real, unreal, imaginary, virtual?
An additional element that emphasizes the concept of the exhibition is the choice of the gallery space in Kocka, which is below ground level, where – if you stay long enough – you can easily lose track of time. In Kocka, you forget about daylight, open spaces, latitudes, fields and meadows. In Kocka, you forget whether it is day or night, as well as how long you have been underground.
Time ceases to exist. Space ceases to exist.
Rotoprojektor jumps in here as a great reminder of the fragility of these two concepts, which largely determine and govern us and our lives.
Space = illusion.
Time = illusion.
ABOUT THE ARTIST:
Hrvoje Spudić (1987) is a researcher in media techniques and technology. In his artistic practice, he deals with sound, image, light, mechanical contractions, and print, entering their smallest units. So far, he has presented his works on platforms such as Sound art incubator, MMSU Rijeka, GMK, Mestimice svjetlo, Device_art 4.013, and Nano gallery. He graduated in 2015 from the Faculty of Architecture in Zagreb, where he is currently employed as an assistant in the Cabinet for Drawing and Plastic Design. He has been a long-term collaborator of the film laboratory Klubvizija SC and the association 25fps, where he holds a series of workshops on analog film techniques and analog screenings at the 25fps festival.
CURATOR: Katarina Duplančić
NMG CURATORIAL TEAM: Katarina Duplančić, Natasha Kadin, Vedran Perkov
DESIGN: Nikola Križanac
TRANSLATION: Katarina Duplančić
DOCUMENTATION: Tihana Mandušić
SETUP: Katarina Duplančić, Franko Sardelić Kolinac
DONORS: Ministry of Culture and Media of the Republic of Croatia, City of Split
MAVENA SUPPORTED BY: Kultura Nova Foundation
SPECIAL THANKS TO: KUM, MKC, PDM
 Lipovac, D. Metodika nastave tehninčkog i informatičkog obrazovanja, Kompjuter biblioteka, Beograd, 2008. pg. 166.)