Željko Sarić
BIOGRAPHY
He was born in Zagreb into a “film” family, so he got involved in professional film production relatively early, as an assistant cameraman. Among others, he worked for four years with Fran Vodopivac, and with Oktavijan Miletić he collaborated as an assistant cameraman on his last film “Talijin trag”, 1978.
In 1983 he graduated from the Department of Filmmaking at the Zagreb Academy of Dramatic Arts. As a cameraman he worked on documentaries and short feature films with renowned Croatian directors of all generations: Rudolf Sremec, Šime Šimatović, Vatroslav Mimica, Nikola Babić, Vladimir Tadej, Zlatko Sudović, Eduard Galić, Radovan Ivančević, Petar Krelja, Jakov Sedlar, Mladen Juran, Zrinko Ogresta, Vinko Brešan.
In 1989, he shot the feature films “Hamburg-Altona” and “Vela ženidba” and the television drama “Žena”. From 1991 to 1996, as an external assistant cameraman – for all HRT programs, he shot over 200 titles of television shows (TV shows, reports and TV films). He shot a music video with David Bowie for the Chinese market.
Participated in the following international film festivals: Tampere, Regensburg, Drama, Athens, Tehran, Cottbus, Sao Paolo, Tangier and San Francisco. In 2001, he completed the experimental film “System of One”, which was shown at the Montevideo festival, and in early 2002 he directed “Dance Faust, Dance”.
He used the cinegraphy system in the realization of the experimental films “Prolazak Karla Draškovića” in 2006 and “Putnik” in 2009. In 2010, he directed the feature-documentary film “Tijana” based on his own script.
In 2001, he participated in a group exhibition of Croatian photographers entitled “Seeing Time”, which was presented in Beijing, Shanghai, Wiesbaden and Zagreb. In 2002, he participated in the international exhibition “From a Blink to a Glance” at the Art Pavilion in Zagreb and the group exhibition of contemporary Croatian art “The World Will Never Be the Same” in Amsterdam. In 2003, he presented a solo exhibition of cinegraphs at the House of Artists entitled “Dance Faust, Dance”, which refers to the experimental film of the same name. In 2006, he organized a solo exhibition “Magnitude” at the Badrov Gallery, which he presented in Čakovec, and in 2012, he opened Dokuart in Bjelovar with the cinegraph exhibition “Putnik”. In 2013, he opened a cinegraphy exhibition under the same name at the Croartfotoklub.
Filmography: list of auteur films and series
2022. Man and Space – season 2 – documentary series (4 ep.)
2021. Man and Space – documentary series (8 ep.)
2021. Reisinger – documentary film
2019. Point on A – contemporary Croatian architecture – doc. series (12ep)
2018. Professions personally – documentary series (12 ep.)
2017. Driving force – short documentary
2016. Prisoner – short documentary
2015. Sparks – feature documentary
2015. Center of Time – experimental film
2015. Space Icarus – short documentary
2014. Professions personally – documentary series (12 ep.)
2013. After lunch – experimental film
2013. Coffee is to blame for everything – short documentary
2013. Barren land – short documentary
2011. March – experimental film
2010. Tijana – documentary-feature film
2009. Traveler – experimental film
2009. Stories from the border – short documentary film
2008. Professions personally – documentary series (9 episodes)
2006. Our factory – short documentary
2006. Karl Drašković’s passage – experimental film
2005. Roses from Plitvička Street – short documentary
2004. Four days in December – short documentary
2003. The Cathedral Bell Ringer – short feature film
2003. Zagrebački bokci – short documentary
2002. Space Theatre – short documentary
2001. Dance Faust dance – experimental film
2000. System of One – experimental film
1999. Pictures of Time – short feature film
Željko Sarić
ŽIVOTOPIS
Rođen je u Zagrebu u “filmskoj” obitelji, tako da se relativno rano uključio u profesionalnu filmsku produkciju, u svojstvu asistenta snimatelja. Među ostalima, radio je četiri godine s Franom Vodopivcem, a s Oktavijanom Miletićem surađivao je u svojstvu asistenta snimatelja na njegovom posljednjem filmu “Talijin trag“, 1978.
Godine 1983. diplomirao je na Odsjeku filmskog snimanja zagrebačke Akademije dramske umjetnosti. Kao filmski snimatelj radio je dokumentarne i kratke igrane filmove s priznatim hrvatskim redateljima svih generacija: Rudolf Sremec, Šime Šimatović, Vatroslav Mimica, Nikola Babić, Vladimir Tadej, Zlatko Sudović, Eduard Galić, Radovan Ivančević, Petar Krelja, Jakov Sedlar, Mladen Juran, Zrinko Ogresta, Vinko Brešan.
1989. snimio je igrane filmove “Hamburg-Altona” i “Vela ženidba“ te televizijsku dramu “Žena“. Od 1991.-1996. u svojstvu vanjskog suradnika snimatelja – za sve program HRT-a snimio je preko 200 naslova televizijskih emisija (tv izložbi, reportaža i tv filmova). Snimio muzički spot sa Davidom Bowiejem za kinesko tržište.
sudjelovao na sljedećim međunarodnim filmskim festivalima: Tampere, Regensburg, Drama, Atena, Teheran, Cottbus, Sao Paolo, Tanger i San Francisco. Godine 2001. završio je eksperimentalni film «Sustav jednoga» koji je prikazan na festivalu u Montevideu, a početkom 2002. režira «Dance Faust, Dance».
Sistem kinegrafije primjenjuje kod realizacije eksperimentalnog filma “Prolazak Karla Draškovića“ 2006. i “Putnik“ 2009. godine. Po vlastitom scenariju 2010. režira igrano – dokumentarni film “Tijana“.
Tijekom 2001. sudjelovao je na skupnoj izložbi hrvatskih fotografa pod nazivom “Vidjeti vrijeme“, koja je predstavljena u Pekingu, Šangaju, Wiesbadenu i Zagrebu. Godine 2002. sudjelovao je na međunarodnoj izložbi “Od miga do micanja“ u Umjetničkom paviljonu u Zagrebu i skupnoj izložbi suvremene hrvatske umjetnost “Svijet više neće biti isti“ u Amsterdamu. U Domu likovnih umjetnika 2003. predstavio samostalnu izložbu kinegrafija pod nazivom “Dance Faust, Dance“ koja se referira na istoimeni eksperimentalni film. Godine 2006. priređuje samostalnu izložbu “Magnitude” u galeriji Badrov, koju predstavlja u Čakovcu, a izložbom kinegrafija „Putnik“ otvara 2012 g. bjelovarski Dokuart. U Croartfotoklubu 2013. otvara izložbu kinegrafija pod istim nazivom.
Filmografija: popis autorskih filmova i serija
2022. Čovjek i prostor – sezona 2 – dokumentarna serija (4 ep.)
2021. Čovjek i prostor – dokumentarna serija (8 ep.)
2021. Reisinger – dokumentarni film
2019. Točka na A – suvremena hrvatska arhitektura – dok. serija (12ep)
2018. Profesije osobno – dokumentarna serija (12 ep.)
2017. Driving force – kratkometražni dokumentarni film
2016. Zatvorenik – kratkometražni dokumentarni film
2015. Iskrice – dugometražni dokumentarni film
2015. Središte vremena – eksperimentalni film
2015. Svemirski Ikar – kratkometražni dokumentarni film
2014. Profesije osobno – dokumentarna serija (12 ep.)
2013. Nakon ručka – eksperimentalni film
2013. Kava je kriva za sve – kratkometražni dokumentarni film
2013. Jalova zemlja – kratkometražni dokumentarni film
2011. Mimohod – eksperimentalni film
2010. Tijana – dokumentarno-igrani film
2009. Putnik – eksperimentalni film
2009. Priče s granice – kratkometražni dokumentarni film
2008. Profesije osobno – dokumentarna serija (9 ep.)
2006. Naša tvornica – kratkometražni dokumentarni film
2006. Prolaz Karla Draškovića – eksperimentalni film
2005. Ruže iz Plitvičke ulice – kratkometražni dokumentarni film
2004. Četiri dana u prosincu – kratkometražni dokumentarni film
2003. Zvonar katedrale – kratkometražni igrani film
2003. Zagrebački bokci – kratkometražni dokumentarni film
2002. Svemirski teatar – kratkometražni dokumentarni film
2001. Dance Faust dance – eksperimentalni film
2000. Sustav jednog – eksperimentalni film
1999. Slike vremena – kratkometražni igrani film
ŽELJKO SARIĆ – CINEGRAPHY
Something completely different from Zagreb
SRF 360
In the late 90s, a well-known and recognized cinematographer, collaborator in many film and TV projects and author of several of his own short experimental and feature films, Željko Sarić decided to explore the possibilities of a photographic camera that his father Hrvoje Sarić had invented and constructed back in 1972. This invention, a rotating camera that records 360 degrees (total panorama), although sensational for its time, did not seem to arouse the expected interest, although the public was familiar with both the construction and the brilliant recordings that Hrvoje Sarić had made. It seems that at the time mentioned, various reasons prevented this from happening, for which there was no longer room in the 90s, so Željko Sarić now began to use the possibilities of this synchronous-rotary camera in an innovative way.
This is a camera that is loaded with ordinary 36-shot film, the principle of analog photography is used, and this is certainly the first significant characteristic of this endeavor. Namely, if this were a digital recording, everything would take on a different meaning, indeed, everything could become banal and uninteresting. What fascinates us is precisely the fact that this is the most classic direct photography. It is known that awareness of the characteristics of the medium in which the image was created directs the observer’s attention towards a specific aesthetic experience. In simpler terms, the miracle of an image is the combination of the experience of its visual effect and awareness of how (with what technique) it was created.
Cinegraphic uniqueness
Sarić’s photographic images are created by having film flowing in the camera itself, by having the camera itself rotate continuously around its axis the desired number of times, and by having the photographer move along the desired path and speed. The combinations between these possibilities result in an almost fascinating effect. From these photographic images, it is often impossible to reconstruct those segments of reality that the images depict. The compressions and distortions of time and space are confusing and go beyond the human ability to perceive known reality.
Cinematic scenario
A significant part of the innovative approach is also contained in the fact that the photographs made so far are the result of a carefully thought-out scenario, in which Sarić successfully uses his rich experience as a cinematographer and author.
Cinematic coloring
In the entire works made so far, such as: « Karla Drašković’s Passage », 2001, a series of photographs for the exhibition of the Croatian selection as part of the International Photography Biennale in Amsterdam 2002 and the solo exhibition entitled: « Dance Faust dance » 2003, set in the ring space of the House of Croatian Artists in Zagreb, one can notice most of the procedures and effects that characterize the possibility of working with the SRF 360 camera, as well as the uniqueness of the author’s procedure. In addition to the deeply disturbing scenes that we encounter on a thematic and spatio-temporal level in these long or serial paintings, color, the result of light compressions or “smearing”, is also one of the essential aesthetic factors of Sarić’s paintings.
Vladimir Gudac
ŽELJKO SARIĆ – KINEGRAFIJA – CINEGRAPHY
Nešto sasvim drugo iz Zagreba
SRF 360
Krajem 90-tih poznati i priznati filmski snimatelj, suradnik u mnogim filmskim i Tv projektima i autor više vlastitih kratkih eksperimentalnih i igranih filmova, Željko Sarić odlučio je istražiti mogućnosti fotografskog aparata kojeg je davne 1972 godine izumio i konstruirao njegov otac Hrvoje Sarić. Taj izum, rotirajući fotoaparat koji snima 360 stupnjeva ( totalnu panoramu ) iako senzacionalan za svoje vrijeme kao da nije pobudio očekivani interes, mada je javnost bila upoznata i sa konstrukcijom i sa briljantnim snimcima koje je Hrvoje Sarić ostvario. Izgleda da su se u spomenuto vrijeme tome ispriječili razni razlozi za koje 90-tih više nije bilo mjesta pa je Željko Sarić, sada na inovativan način počeo koristiti mogučnosti tog sinkrono-rotacijskog fotoaparata.
Radi se dakle o aparatu koji se puni običnim lajka filmom od 36 snimaka, koristi se princip analogne fotografije i to je zasigurno prva značajna karakteristika ovog pothvata. Naime kad bi ovdje bila riječ o digitalnom zapisu sve bi dobilo drugi predznak, dapače sve bi to moglo postati banalno i nezanimljivo. Ovako fascinira upravo to što se radi o izravnom najklasičnijem fotografiranju. Poznato je naime da svijest o karakteristikama medija kojim je slika ostvarena usmjerava promatračevu pozornost prema specifićno estetskom doživljaju. Jednostavnije rečeno čudo slike je spoj između doživljaja njezina vizualnog ućinka i svijesti o tome kako ( kojom tehnikom ) je nastala.
Kinegrafska posebnost
Sarićeve fotografske slike nastaju tako što u samom aparatu teće film, tako što se sam aparat okreće kontinuirano oko svoje osi željeni broj puta i tako što se fotograf kreće željenom putanjom i brzinom. Kombinacije između ovih mogućnosti, rezultiraju gotovo fascinantnim učinkom. Sa tih fotografskih slika često je nemoguće rekonstruirati one segmente stvarnosti koje slike prikazuju. Kompresije i distorzije vremena i prostora zbunjujuće su i nadilaze čovjekovu sposobnost percipiranja poznate stvarnosti.
Kinegrafski scenarij
Znaćajan dio inovativnog pristupa sadržan je i u tome što su do sad ostvarene fotografije rezultat pomno smišljenog scenarija, pri ćemu Sarić uspješno koristi svoje bogato iskustvo filmskog snimatelja i autora.
Kinegrafsko obojenje
U dosad ostvarenim cijelinama kao što su : « Prolaz Karla Draškovića «, 2001, serija fotografija za izložbu hrvatske selekcije u sklopu Bienala internacionalne fotografije u Amsterdamu 2002 i samostalne izložbe pod nazivom : « Dance Faust dance « 2003 postavljene u prstenastom prostoru Doma hrvatskih likovnih umjetnika u Zagrebu, može se uoćiti većina postupaka i ućinaka koji karakteriziraju mogućnost rada sa SRF 360 fotoaparatom kao i posebnost autorova postupka. Osim duboko uznemirujućih prizora sa kojima se na tematskoj i prostorno-vremenskoj razini susrećemo na ovim dugim ili u nizu postavljenim slikama, boja, rezultat svjetlosnih kompresija ili « razmazivanja » također je jedan od bitnih estetičkih čimbenika Sarićevih slika.
Vladimir Gudac
Cinegraphy definition.
Cinegraphy is a creative analogue-digital medium that unites photography, film, video, painting, sculpture, rhythm, and more. It delves deep into the mysteries of light and space, time, and the infinite possibilities of reality. By exploring artistic, cinematic, and photographic perspectives, this captivating discipline offers a unique glimpse into the scope of invisible space 360 degrees. Whether capturing a moment in time or painting a picture that lasts a lifetime, cinegraphy is a powerful and effective tool for creating and communicating new ideas.
Cinegraphy Procedure
A 165-centimeter photographic film in Leica format is placed in the SRF camera (Synchronous Rotary Photo-Camera, 35mm) constructed by Hrvoje Sarić in 1972. The author of the film, Željko Sarić, uses a second camera constructed in 1976. The rotation of the camera around its axis takes from 1 to 18 seconds, which can make the exposure long. The lens is covered by a slit allowing 1/16 visibility. The dimensions of the slot are 24mm in height and 1mm in width. This cover functions as a compendium to prevent unwanted reflections in the lens during camera rotation. The film sensitivity is 400 ASA, Kodak brand. The exposed film was scanned and generated through a computer.
The final result is an experimental film by Željko Sarić, titled “Hommage” (2024), featuring black and white and color footage with sound, having a duration of 6.16 minutes. The film comprises six inserts of footage shot by the same author over the past two decades.
Artistic advisor: Ivan Paić
Željko Sarić, born in 1951 in Zagreb, graduated from the Academy of Dramatic Arts. He has made a significant number of films as a cinematographer and director, and his works have been exhibited at art exhibitions.
CINEGRAPHY
Film „ HOMMAGE “ (2024) / text intertitles /
(photography-film-video-painting-sculpture- rhythm)
EVERYTHING IS TIME
INSEPARABILITY OF LIGHT AND SPACE
MEHR LICHT (Goethe’s quote)
TIME IS A PAINTER
PERMUTATION OF REALITY
RESEARCHING artistic – cinematic – photographic PERSPECTIVE
SCOPE OF INVISIBLE SPACE 360
INFINITY OF TIME
Explanation
Cinegraphy encompasses photography, film, video, painting, sculpture, and rhythm, and explores the inseparability of light and space, the infinite nature of time, and the permutation of reality. It is research into artistic, cinematic, and photographic perspectives, examining the scope of invisible space 360 degrees.
Cinegraphy, a term that integrates multiple art forms, invites us to consider the profound connection between light and space. This inseparability echoes Goethe’s famous last words, “Mehr Licht,” calling for more light and emphasizing its critical role in human perception. Kazimir Malevich’s paintings, Black Square and White Square serve as quintessential examples of this exploration. Black Square, with its stark abstraction, represents a radical simplification of form and content, akin to the concept that everything is time, encapsulating a moment in the infinite continuum.
On the other hand, White Square delves into the subtleties of light and space, highlighting their inseparable nature. This work reflects the essence of cinegraphy, where light is not merely an element but a pivotal force that shapes and reshapes reality. As we consider the infinity of time, it becomes clear that time itself is a painter, continuously altering our perception and understanding of space and light.
In cinegraphy, the permutation of reality is a recurring theme. This art form challenges conventional boundaries, presenting a 360-degree perspective that encompasses the visible and the invisible. By researching artistic, cinematic, and photographic perspectives, cinegraphy expands our scope of invisible space, uncovering layers of reality that often remain hidden. This comprehensive view aligns with Malevich’s avant-garde approach, where the simplicity of form invites deeper contemplation of the underlying complexities.
The rhythm inherent in cinegraphy mirrors the dynamic nature of reality. Through the interplay of different mediums, this art form captures the fluidity of time and space, transforming static images into vibrant narratives. This rhythm underscores the belief that everything is time, and through time, art evolves and permutates, offering new insights and perspectives.
Cinegraphy’s exploration of the infinite nature of time and space invites us to look beyond the immediate and consider our perception’s broader implications. It encourages us to see light and space as intertwined elements that define our reality, much like how Malevich’s White Square suggests a boundless space shaped by light’s subtle nuances.
In conclusion, cinegraphy and Malevich’s works share a profound commitment to pushing the boundaries of perception. They challenge us to embrace the inseparability of light and space, to understand that time is a painter continuously shaping our reality and explore the infinite possibilities that lie within the permutation of reality. Through this artistic journey, we gain a deeper appreciation of the complex interplay between light, space, and time, and the infinite nature of our perception.
Definicija kinegrafije.
Kinegrafija je kreativni analogno-digitalni medij koji ujedinjuje fotografiju, film, video, slikarstvo, skulpturu, ritam i drugo. Zadire duboko u misterije svjetla i prostora, vremena i beskonačnih mogućnosti stvarnosti. Istražujući umjetničke, filmske i fotografske perspektive, ova zadivljujuća disciplina nudi jedinstven pogled u opseg nevidljivog svemira od 360 stupnjeva. Bilo da snimate trenutak u vremenu ili slikate sliku koja traje cijeli život, kinegrafija je snažan i učinkovit alat za stvaranje i komuniciranje novih ideja.
Kinegrafski postupak
U SRF kameru (Synchronous Rotary Photo-Camera, 35mm) koju je konstruirao Hrvoje Sarić 1972. godine stavlja se fotografski film od 165 centimetara Leica formata. Autor filma Željko Sarić koristi drugu kameru konstruiranu 1976. Rotacija kamere oko svoje osi traje od 1 do 18 sekundi, što može učiniti ekspoziciju dugom. Leća je prekrivena prorezom koji omogućuje vidljivost 1/16. Dimenzije utora su 24 mm visine i 1 mm širine. Ovaj pokrov funkcionira kao sažetak za sprječavanje neželjenih refleksija u objektivu tijekom rotacije fotoaparata. Osjetljivost filma je 400 ASA, marke Kodak. Izloženi film je skeniran i generiran putem računala.
Konačni rezultat je eksperimentalni film Željka Sarića pod nazivom “Hommage” (2024.), koji sadrži crno-bijele i kolor snimke sa zvukom, u trajanju od 6,16 minuta. Film se sastoji od šest inserata materijala koje je isti autor snimio u posljednja dva desetljeća.
Umjetnički savjetnik: Ivan Paić
Željko Sarić, rođen 1951. u Zagrebu, diplomirao je na Akademiji dramske umjetnosti. Snimio je značajan broj filmova kao snimatelj i redatelj, a radovi su mu izlagani na likovnim izložbama.
KINEGRAFIJA
Film „ HOMMAGE “ (2024) / međunaslovi teksta /
(fotografija-film-video-slika-skulptura- ritam)
SVE JE VRIJEME
NEODVOJIVOSTI SVJETLA I PROSTORA
MEHR LICHT (Goetheov citat)
VRIJEME JE SLIKAR
PERMUTACIJA STVARNOSTI
ISTRAŽIVANJE umjetničko – filmsko – fotografske PERSPEKTIVE
OPSEG NEVIDLJIVOG PROSTORA 360
BESKONAČNOST VREMENA
Obrazloženje
Kinegrafija obuhvaća fotografiju, film, video, slikarstvo, skulpturu i ritam te istražuje neodvojivost svjetla i prostora, beskonačnu prirodu vremena i permutaciju stvarnosti. To je istraživanje umjetničkih, filmskih i fotografskih perspektiva, ispitivanje opsega nevidljivog prostora u 360 stupnjeva.
Kinegrafija, pojam koji integrira višestruke umjetničke forme, poziva nas da razmotrimo duboku vezu između svjetla i prostora. Ova neodvojivost odražava poznate Goetheove posljednje riječi, “Mehr Licht”, pozivajući na više svjetla i naglašavajući njegovu kritičnu ulogu u ljudskoj percepciji. Slike Kazimira Maljeviča, Crni kvadrat i Bijeli kvadrat služe kao suštinski primjeri ovog istraživanja. Crni kvadrat, svojom izrazitom apstrakcijom, predstavlja radikalno pojednostavljenje forme i sadržaja, slično konceptu da je sve vrijeme, sažimajući trenutak u beskonačnom kontinuumu.
S druge strane, Bijeli kvadrat prodire u suptilnosti svjetla i prostora, ističući njihovu neodvojivu prirodu. Ovo djelo odražava bit kinegrafije, gdje svjetlost nije samo element, već ključna sila koja oblikuje i preoblikuje stvarnost. Dok razmišljamo o beskonačnosti vremena, postaje jasno da je vrijeme samo slikar, neprestano mijenjajući našu percepciju i razumijevanje prostora i svjetla.
U kinegrafiji je permutacija stvarnosti tema koja se ponavlja. Ova umjetnička forma dovodi u pitanje konvencionalne granice, predstavljajući perspektivu od 360 stupnjeva koja obuhvaća vidljivo i nevidljivo. Istražujući umjetničke, filmske i fotografske perspektive, kinegrafija proširuje naš opseg nevidljivog prostora, otkrivajući slojeve stvarnosti koji često ostaju skriveni. Ovaj sveobuhvatni pogled u skladu je s Maljevičevim avangardnim pristupom, gdje jednostavnost forme poziva na dublje promišljanje temeljne složenosti.
Ritam svojstven kinegrafiji odražava dinamičnu prirodu stvarnosti. Kroz međuigru različitih medija, ova umjetnička forma hvata fluidnost vremena i prostora, pretvarajući statične slike u živopisne narative. Ovaj ritam naglašava uvjerenje da je sve vrijeme, a kroz vrijeme se umjetnost razvija i permutira, nudeći nove uvide i perspektive.
Kinegrafsko istraživanje beskonačne prirode vremena i prostora poziva nas da pogledamo dalje od neposrednog i razmotrimo šire implikacije naše percepcije. Potiče nas da svjetlo i prostor vidimo kao isprepletene elemente koji definiraju našu stvarnost, slično kao što Maljevičev Bijeli kvadrat sugerira bezgranični prostor oblikovan suptilnim nijansama svjetla.
Zaključno, kinegrafija i Maljevičeva djela dijele duboku predanost pomicanju granica percepcije. Izazivaju nas da prihvatimo neodvojivost svjetla i prostora
