Taking as a prototype for the work a water polo meet between Korea and France, in Water Pulu 1869 1896 Ivan Ladislav Galeta totally changes the perception of this sport. The ball, an object that is usually dynamic, becomes static, remaining in the same place in the take. “[T]he technical manipulations lead to the problematization of the space and time being constructed. Thus the subject is not what is represented in the film image – Water Pulu 1869-1896 is not about Water Polo game – it does not document a match and has no concern with how it is played nor who wins or loses. This work follows a single ‘arbitrary’ (‘arbitrary’ here meaning ‘chosen’ not it’s more popular corruption ‘random’) strategy. By an optical printing technology, the ball is held in the center of the image. All the elements that we would expect to be stable, the pool edge and the players artificially swirl around the ball. The ball which we would expect to move in space remains the fixed reference point of an experience. Already in this I, the spectator, am disorientated – the film image contradicts my expectation of how ball will behave – at least how I might expect it to ‘behave’ in the cinematic representation. This means I can not apply my normal template of understanding and instead need to construct a personal and new concept in order to experience the spatial relationships as they develop in time. The construction of time from the cinematic representation becomes problematic not verified as ‘true’ by an historical tradition already implanted in our consciousness.” From the work of Malcolm Le Grice “Singing about wine – thoughts on the work of Ladislav Galeta” from the publication Zero-point landscape, Zagreb, MSU, 2011.
Ivan Ladislav Galeta (HR) Water Pulu 1869 1896
Experimental film, 16mm/35mm, 12’08’’, 1987
Ivan Ladislav Galeta (HR)
Ivan Ladislav Galeta (Zagreb, 1967.-2014.) graduated from the School of Applied Arts in Zagreb (1967), followed by a degree in fine arts from the Faculty of Teacher Training (1969) and Pedagogy from the Faculty of Humanities and Social Sciences in Zagreb (1981). From 1977 to 1990, he was the manager of the University of Zagreb Students Multimedia Centre (MM), the first systematic venue for the screening of national and international experimental film and video art in Croatia. He was the founder and manager of the art cinema Filmoteka 16 (1991-1994). He initiated the introduction of animation (2000) and new media studies (2004) at the same Academy. In 1993 he became an associate media lecturer at the Academy of Fine Arts in Zagreb, and from 2007 he was a full-time professor.
He has been making films since 1969 and videos since 1975. Since 1973 he has been exhibiting objects-installations, photographs-installations, expanded cinema presentations, video and TV works, texts, sound installations, spatial interventions, environmental projects and actions. In the mid 1990s he adopted an environmental approach to art with references to Henry David Thoreau, Karel Čapek, Masanobu Fukuoka, Bill Mollison, James Joyce, Bela Hamvas, Claude Monet and others. His works are kept in the Museum of Contemporary Art in Zagreb, the Centre Georges Pompidou, Oberhausen, the Croatian Film Clubs’ Association… He has won numerous awards, including a medal of honour from the Ministry of Culture and Communications of the French Republic in 1999.