Dino Bićanić / ''Everything Is Going to Be a Memory''
Dino Bićanić’s Time measurement
Dino Bićanić exhibition entitled Everything Is Going to Be a Memory intertwines two narratives about time. The first comprises around two hundred photographs documenting the author’s daily walks along the familiar route during a period of six months and the other is made of readymade objects that symbolise the passing of time: digital hand watch on a gesso cast of his own arm, a pear poked through with a straw or an apple left to rot and decompose during the course of the exhibition, hourglass made of two Corona beer bottles filled with sand, cigarette printed with an information telling us how long it would take for it to burn out, clock whose hands were replaced by the statement expressed in the exhibition title: sooner or later, everything will become a memory. Inscribed in cyclic form along the clock’s outline and observed in the context of other artworks, this sentence is a code for interpretation. It is not about nostalgic exhalation or mourning of the past, but the artist’s statement about the uncertainty of presence, more precisely, overlapping of layers belonging to different realities of phenomena.
Starting with a viewpoint that different realities are defined by different spatial-time measures, Bićanić determines the exhibition space as a hybrid space comprising various layers of reality. Spatially, it is marked by two-dimensional photography frieze located on the wall, occasionally ‘deepened’ by using video and three-dimensional objects. These are ready made objects that are, by their nature, double transformed realities. Extracted from a reality in which they had cause and role within the economy of utility, in new context they become absurd fragments of an alien system. The exhibition space, as the author says, takes on a form of a movie maker in which objects serve as tools, elements of a world that can be constructed. In truth, it is an ironical version of high-tech interface created by low-tech or pre-technological approaches, an irony of his own position as an artist, a member of Y generation with high-tech demands in a low-budget environment.
On one hand, exhibition represents transfers of levels of reality and, on the other, problematizes the very notion of time, simultaneous human effort to subdue and control it.
A considerable fact is that Dino Bićanić resides in Hvar, island maximally exploited in terms of tourism, which implies extreme and unhealthy asymmetry of the locals’ life rhythm: short and intensive period of work and over-crowdedness and long periods of passivity, inaction and spatial emptiness. In such constellation, time flow is unbalanced and private life loses structure and functionality.
Series of interventions performed on the headlines of Globus weekly magazine, bought in the artist’s household without exception ‘for as long as he can remember’, but never read, speak about it. Purchasing newspapers in regular intervals is a strategy of taming unstructured time. By intervening into headlines during a period of one year, the artist promotes them into personal objects and dialogue with the world external to the island and time itself.
Walks performed by the artist during six winter months function in the similar way. Every day at the same time he crosses one kilometre from his house to bay and back. These walks are documented by photographs showing familiar scenes and random meetings: neighbours, dogs, lowered window shutters, automobiles, benches…
By taking photographs, he claimed space he already made his own before through actions such as carving text into wooden bench or by walking. In this act of double appropriation realities are layered out. Daily life in Hvar becomes artistic material, and daily routine an art event. His photographs testify about the trivialities that, set aside in this way, mark decelerated off-season timeline, simultaneously becoming a basis for personal cartography and anti-postcards.
Observed from the perspective of opening statement, they are memories of insignificance, memory of almost nothing. However, in a changed perspective, a ‘degree of slowness is equal to the strength of memory; a degree of speed is equal to the strength of forgetting.’
Dino Bićanić exhibition Everything Is Going to Be a Memory also talks about exhausting arrhythmia of an island, reflected in a symmetrical intensity of summer euphoria and winter boredom, as well as the asymmetry of their length, speed and slowness. Seemingly contrasted, euphoria and boredom come from the same consumerist dream. Thrill, innovation, imitation: we always need to be forced into niches of greediness, elevate whims of some into general necessity. In this area, we are not guilty of wanting too much, but too little’, wrote Pascal Bruckner in the essay entitled Redemption by Abundance. Everything is subordinated to gaining quick and maximum satisfaction, from having fun to making money. However, since the content of it is quickly exhausted, pleasure is only short-term. ‘It is delightful and disappointing’, says Bruckner, ‘that desire fits so well with its realisation’. Since the desired content is undemanding and flexible, the range of expectations is lowered, and intellectual inertness causes boredom. Although it is lacking exclusivity of melancholy or charm of leisure time, boredom is not exclusively negative mode. It contains critical aspect, showing, more directly than related phenomena, that some aspects or lives are deeply unsatisfactory. ‘If boredom increases, that means there is a serious error in society or culture as an instance that provides meaning’. This is the error Dino Bićanić points to with this exhibition.
 Milan Kundera. Slowness. Zagreb. Meandar, 2007, p. 25
 Pascal Bruckner. Redemption by Abundance. In: Poverty of Wellfare. Zagreb. Algoritam, 2004. p. 42
 Lars Fr. H. Svendsen. The Philosophy of Boredom. Zagreb. TIMpres, 2010. p. 28
Dino Bićanić (1980. Bihać, BiH) graduated from the School of Fine Arts in Split, and in 2007 from the Sculpture Department of the Arts Academy in Split, class of prof. Kažimir Hraste. He has been exhibiting at solo and group exhibitions from 2006. He is the recipient of one of three equal awards of last year’s 39th Split Salon.
- Gallery of Fine Arts, Split
- the Windows Gallery, Zagreb
- Gallery Alkatraz (with Vedran Pekov) Ljubljana
- SC Gallery, Zagreb
- Gallery Galić, Split
- Public Open University, Split
Rođen je u Bihaću.
Diplomirao je kiparstvo na Umjetničkoj akademiji u Splitu u klasi prof. Kažimira Hraste godine 2007.
- 2013. izložba u Salonu Galić, Splitu ,
- 2008. Hvar, Čovjek koji gleda televiziju
- 2008. Split, Premijere 01
- 2013. , 38. Splitski salon
- 2012. , Dimenzije humora u Osjeku, Splitu i Puli
- 2012. Zagrebu ,u Gliptoteci HAZU, Jedanaesti trijenale hrvatskog kiparastva