Ana Hušman u svojim radovima raščlanjuje strukturu i teksturu filmskih elemenata kroz različite forme filma, instalacije, knjige, zapisa slike, zvuka, teksta. Eksperimentira s mogućnostima animacije, dokumentarnim i igranim elementima u filmu, glasom i artikulacijom. Unutar radnih procesa, zanima ju propitivanje i obrtanje pozicije amaterskog i profesionalnog subjekta performativnosti, samog medija te struktura koje diktiraju i proizvode obrasce ponašanja. Radi kao izvanredna profesorica na Odsjeku za animirani film i nove medije Akademije likovnih umjetnosti u Zagrebu i suosnivačica udruge RESTART, gdje već dugi niz godina vodi program filmske edukacije za velike i male. Od 2003. godine članica je umjetničke organizacije Pangolin. Njezini radovi osvojili su više domaćih i internacionalnih nagrada, a prikazani su na brojnim samostalnim i grupnim izložbama i filmskim festivalima širom svijeta (International Film Festival Rotterdam, DOK Leipzig, Gwangju Biennale, Oktobarski Salon Beograd, Medienturm Gallery Graz, Ludwig Museum of Contemporary Arts Budimpešta). Filmografija: Radije bih bila kamen (2024), Soba za dan (2018), Volim te, Ines (2017), Skoro ništa (2016), Razglednice (2013), Nogomet (2011), Ručak (2008), Plac (2006), Prigruf (2004), Home (2003), Meršpajz (2003), for 2 (2003), Daily Progress (1999).
Ana Hušman’s practice disassembles the structures and textures of cinematic elements through film, installation, books, sound, image and text. Hušman experiments with the possibilities of animation, documentary and fictional cinematic methods, and the possibilities of the recorded voice and its articulation. Her working process questions and plays with the positions of the amateur and the professional subject of performativity, the medium itself, and the structures that dictate and produce patterns of behavior. She teaches at the Department of Animation and New Media at the Academy of Fine Art in Zagreb, and is co-founder of the documentary film organization RESTART where she has been holding film education programs for children and young people for many years. Since 2003. she is a member of Pangolin, an artist run organisation working in film, visual art and research practices where she produces films, books and other works. Her works have been shown at film festivals and exhibitions worldwide, including: International Film Festival Rotterdam, DOK Leipzig, Gwangju Biennale, October Salon Belgrade, Medienturm Gallery Graz, Ludwig Museum of Contemporary Arts Budapest. Filmography: I Would Rather Be a Stone (2024), A Room for Living (2018), I Love You, Ines (2017), Almost Nothing (2016), Postcards (2013), Football (2011), Lunch (2008), The Market (2006), Prigruf (2004), Home (2003), Meršpajz (2003), for 2 (2003), Daily Progress (1999)
www.anahusman.net
www.pangolin.hr
Ana Hušman
Radije bih bila kamen, 2024. / I Would Rather Be a Stone, 2024
video, 23'52'' (stereo, boja, digitalna i 16 mm filmska kamera) / video, 23'52'' (stereo, color, digital and 16mm film camera)
Autorica / Director and scriptwriter: Ana Hušman
Direktor fotografije / Director of photography: Ivan Slipčević
Montaža i postprodukcija slike / Editing and image post-production: Iva Kraljević
Glazba, dizajn i miks zvuka / Music, sound design, sound mix: Ivan Zelić
Snimanje zvuka / Sound recording: Ivna Jurković
Postprodukcija zvuka / Sound post-production: Studio Nazor
Producentica / Producer: Ana Hušman
Produkcija / Production: Studio Pangolin
Distribucija / Distribution: Bonobostudio
Lokacija snimanja je područje Like, zanemaren i slabo naseljen kraj Hrvatske. U Drugom svjetskom ratu prilično je stradala. Stanovništvo je bilo siromašno, a zemlja škrta. Glavna namirnica bila je krumpir, djeca su išla u školu i paralelno radila u polju i brinula se o stoci. Većina generacije rođene 1940-ih odselila se u gradove ili inozemstvo. Jedna od mikrolokacija je Kosinjska dolina gdje je 2021. godine krenula izgradnja akumulacijskog jezera, hidroelektrane i tri brane na rijeci Lici zbog čega će se potopiti dva sela u kojima još stanuju ljudi. U procesu izrade jezera u krajolik će se injektirati 75 tisuća tona cementa. Promatrajući krajolik i modele suživota živih i neživih bića promatram kako se gradi sjećanje, nastaju i nestaju narativi, implementiraju se dodatni elementi, kako u sjećanje tako i u krajolik. Promatram lišajeve i njihove nepokretnosti, vrijeme i ustrajnost, kamenolome kao crpilišta, procese usitnjavanja, rastakanja i prenamjene kao otvorene mogućnosti primjenjive i na filmske postupke. Vrijeme šuma, kamenoloma i lišajeva promatram kao spori pomak, kretanje nevidljivo u krajoliku kao i kretanje živih bića i mikroorganizama. Filmskim uslojavanjima, trostrukim ekspozicijama, obiteljskim arhivima, kombinacijama fotografije i videa preklapam teksture događaja, osobine karaktera i sedimente sjećanja. Razmišljam na koji način političke, ekonomske, ekološke i okolnosti kulture utječu na otvorenost narativa, na ljude i ostala bića.
The film was shot on location in Lika, a neglected and sparsely populated region of Croatia. It was heavily affected during World War II. The population was poor and the land was barren. Potatoes were the main food. Children went to school, worked the fields and took care of the livestock. Most of the generation born in the 1940s moved to cities or abroad. One of the micro-locations is Kosinj Valley where the construction of a reservoir, a hydroelectric power plant, and three dams on the Lika River will completely submerge two still populated villages. To create the lake, 75 thousand tons of cement will be injected into the landscape. Through observing the landscape and models of cohabitation between living and non-living entities, I examine the ways in which memories are built, how narratives are created and how they disappear, how new elements are implemented both in memory and in the landscape. I explore lichen and their immobility, time and perseverance, quarries as sources, processes of fragmentation, breaking down and transformation as open possibilities applicable to film techniques. I perceive the time of the forest, the quarries, and lichen as a slow shift, an invisible movement in the landscape, like the movement of living beings and microorganisms. Using cinematic layering, triple exposures, family archives and combinations of photographs and videos, I overlap textures of events, characteristics and sedimentations of memories. I explore the ways in which political, economic, ecological and cultural circumstances impact the openness of the narrative, of the people and of other beings.
