Ante Kuštre / The the end
S P L I T h e t h e e n d: art at third sight
A certain incoherence and even the split between life and art have always been a theme and a means to approaching art phenomena. Thus, one could understand that it is possible to live outside of the artistic world and visual language overall. Therefore, the synthesis of art and life itself has become most imperative and an obvious ambition of avantgarde movements in art and literature throughout the 20th century, to this day, without even defining or precising the meaning of this recurring mantra.
Either way, there is a similar ambition of reviving and reconstructing the touchpoints of the separated sides of a presumably unified whole, which is present in the work of the art collective Ante and Kuštre , but also in the process of the split and the affirmation of ambiguity as the founding bases of the whole existence of this unique art entity. It is important, however, to point out how these two elements collide and oppose, but also rely on one another and could not exist outside one another. In this relation of absolute dialectic, their unity is recognized as a special dynamics, not necessarily a reconciliation.
Finally, it seems that the word “reconciliation” has lost its suggestive poetic potency, and has adopted the barrenness brought by the abuse within the contemporary political context. Decisively, we are dismissing it here, as we advocate more mobile and fruitful relations.
In a certain way, Ante and Kuštre deal with the standart history of Split, that which is distinctive of the physical and the mental climate of a city and its language. Primarily, they are trying to perceive the inner and outer split, mutually inseparable; to activate the heteronymy of Split and split, the name of the city and the anglophone word. Ante and Kuštre set up the performance of gallery visits: there is a physical border which seeks that the guests present an invitation to participation. However, one can question the space, the location of this participation. Where is the inner/outer split, within the framework fo this specific art narrative? Is it the capilary of Salon Galić gallery, or the artery of Marmontova street? What kind of metaphorical and urban maps are we speaking here? It is a matter of choice and the observation and experience of an individual. Although the two Splits – the capillary and the artery – are separated by a door and a step, they are mutually subordinated and accepting of each other. They are but two differences which explain each other and create a tension necessary for a space of action and reaction. Still, we are speaking of a unique art intervention space.
It appears that there were several guidelines present in the 4-chapter exhibiting story. Ante and Kuštre are using an idea conceptually linked to paradox or the permanent transformation into the opposite; what is most specific now becoms most abstract, and vice versa. Ante is transforming into Kuštre, Kuštre to Ante. It takes looking at their objects with all their metonymous variations and metaphoric superstructures, with meanings that often parasitically existed upon chosen quotidien objects (former or present). This kind of exhibition “architecture” brings about the omnipresent ambivalence, duality, division, splitting.
Finally, the airiness of the Marmont artery is opposed to the comprised space and the tightness of the Galić capilary. Yet, all is equal and opposite, equally speaking, showing and denouncing; there is contact between parallel histories and experiences, the future is anticipated and the perspective is set. A parallelism that is constructed in this way actually contains the idea of totality and knowledge that is in the dynamics of eternal contemplation and transformation – otherwise, it would die.
As both Ante and Kuštre confirm, plunging into the silence of the inner ocean results in insights and cognitions that change optics and everyday routines. Kako Ante i Kuštre potvrđuju, poniranje u tišinu nutarnjeg oceana rezultira uvidima i spoznajama koji mijenjaju optiku i svakodnevnu rutinu. At times, they take us back to the sources with the most clear and free substances, but the sedimentation of “waste” is not irrelevant as it is an indicator of course experience, but also choice. This is where the circle is simultaneously opened and closed, contaminated and cleansed.
Born on March 6th (just like Michelangelo, Wayda and Marquez) 1955, in Sombor (like Gotovac). After finishing his studies in the Classical Gymnasium “Natko Nodilo” in Split, he graduated from the Faculty of Law in Split (1977) and got his diploma in comparative literature and sociology from University of Zagreb in 1980. He had his first solo exhibition that same year.
Kuštre worked as a journalist and a film critic for “Slobodna Dalmacija” from 1983 to 1998.
He scripted and co/directed his first short movie in 1986.
He works as a freelancer from 1998. Since 1996, he recorded and directed over 30 short, medium and feature-length documentaries, travelogue TV episodes, video journals and videos. His work was displayed in over 50 solo and group exhibitions in Croatia and abroad.
Media of expression: text, drawing, collage, photography, photo/collage, photo/drawing, video, film, happening, performance, installation, air-art.
He is a member of HULU, HZSU, HDLU, HDFD.
He is the president of RADDAR.
He lives and works in Split.