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Hardware Nostalgia
Author: Branislava Anđelković
The aesthetic of the first Terminator movie, structured around machines that get out of human control, every day becomes less ad less a threatening product of the progress, and more and more romanticized nostalgia for human belief that progress of mechanical technology cannot be stopped and that grandiosity of heavy hardware in itself has the potential to imply the strength that goes out of the control of its constructors. In relation to the second film of the sequence, which is dominated by sophisticated computer effects, cyber-aesthetic of the liquid metal and synthetic material replaced by body tissues, the first Terminator today seems like a document of the last phase of development of modernism: material and technology are brought to perfection but still armored with a real space, and conventional states of aggregation, with stressed monumentality and solidness as the main aims of mechanical technology.
Huge machines, huge like cranes, have lost their threatening potential with the coming of micro technology, and the obsession with creating micro-dimensions is exactly what grants the possibility of romanticizing old machines, regardless of their obvious utilitarianism. There is not much left of synonyms: construction, progress, prosperity – only utility within the disciplines or human activities (architecture, heavy industry) where the size is conditioned by the object that ocupy large areas in space. Consistently romanticised painting reduces them to human (gallery) dimensions. Of course, it could be done with digital technologies or 3D animation, but that would conceptualize other kinds of problems and imply patronizing superiority of miniature technologies, and in certain way dislocate another crucial aspect which machines like cranes undoubtedly posses. Although huge machines have lost everything but their monument-like monumentality, they still have their almost exclusive capacity to be installed in space and to set instalation in space.
Huge construction machine already represents an installation in space and need not be repeated as an installation in a gallery. Its two-dimensional representation becomes a document of the installation – so that artistic intervention appears only when the existing state is documented. Therefore, the landscape in the paintings of Simonida Rajcevic does not appear as autonomous; it is constructed by the shapes of the cranes and is discursively determined by the use of gold establishing in that way also a relation towards modernistic heritage.
Unlike modernistic painting, those paintings do not provide the real kind of fulfillment: closure, balance, harmony. Although there is a feeling that these elements are present, that the debt to the formalistic, clasical painting has been acknowledged, the presence of gold reminds us of the feeling of uneasiness, uneasiness which Sherrie Levine in her “great golden knots” recognizes as the uneasy death of modernism.
Branislava Andjelkovic
(Translation by Helena Obradovic)
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