Sara Salamon, born in Rijeka in 1991, graduated Media Arts and Practices at the Academy of Applied Arts in Rijeka. She works in the fields of various artistic practices, as a visual artist, director of photography and film editor. In her work she is trying to betray the media.
Selection of solo exhibitions:
2021 - coarse object 1 / with Hrvoje Spudić, Croatian Association of Interdisciplinary Artists, Pula, HR
2021 - Archeological Excavations / Gallery VN, Zagreb, HR
2020 - Experiment Platform 1.3. — Performances for Surveillance Cameras / with Liberta Mišan and Lara Badurina, Gallery VN, Zagreb, HR
2017 - Margin, with Nina Zimmermann, Gallery SKC, Rijeka, HR
Selection of group exhibitions, projects and performances:
2021 – Pinky Swear (with Rina Barbarić, Koviljka Ljuština, Andrea Brozović, Kristina Paunovski, Nika Čuić and Anamaria Cvitković), ZOOM festival 2021 - Performing Arts Festival, Drugo more, Rijeka, HR
2021 – 60 000 knots, sound art composition for Slika od zvuka, Croatian National Radio, HR
2021 - Ilamar o tocar a la puerta / Gallery Kortil, Rijeka, HR
2021 - 12th ARTERIJA International Festival of Visual Arts / Museum Lapidarium, Novigrad, HR
2021 - 7 Faces of the City / Rijeka 2020 - European Capital of Culture – Times of Power, Gallery Kortil, Rijeka, HR
2020 - Youth Salon 2020 / with Hrvoje Spudić, curated group exhibition, The Croatian Association of Visual Artists, Zagreb, HR
2020 - Touch Me festival 2020 / collective M28; Kontejner, Nikola Tesla Technical Museum, Zagreb, HR
2018 - RISK CHANGE: Escape, Museum of Modern and Contemporary Art, Rijeka (with Hrvoje Spudić), HR
2018 - Sound Art Inkubator, Pogon Jedinstvo, Zagreb (with Hrvoje Spudić), HR
2017 - Experiment Platform 2.1., Experiment Platform collective, Gallery Kortil, Rijeka, HR
2017 - Urban Galapagos, intervetions in public space, audio walk and pirate radio, group of authors, public spaces in Rijeka, HR
2015 - Grad na drugi pogled, workshop exhibition, Museum of Modern and Contemporary Art, Rijeka, HR
2014 - INTERFACE 2014 - new media festival, Ex Bernardi (RiHub), Rijeka, HR
2014 - MAP in MOTION, group student exhibition, Gallery Alkatraz, Ljubljana, SI
2014 - Breaking Timeline, group student exhibition, University of Applied Sciences Karlsruhe, Karlsruhe, DE
2013 - Kroatien Kreativ 2013, group student exhibition, Medienhaus UdK, Berlin, DE
2020 - Between mobility control and social transformation - Art / Interdisciplinary Project Risk Change, Museum of Modern and Contemporary Art, Rijeka, HR
2020 - The Youth Salon award Vladimir Dodig Trokut, Iva Vraneković - to the artist for artwork soft objects, in group with Hrvoje Spudić
2020 - Award for Young Artist of the 55th Zagreb Salon for visual identity of the 30th Zagreb Music Biennale (in a group with Sven Sorić, Hrvoje Spudić and Tin Dožić)
2017 - Innsbruck Film Campus Award for Young Talents for cinematography of the film Sweet Sunshine
During my residency at the Q21/MuseumsQuartier, I want to develop video installation as part of my artistic research and ongoing work series “Archeological Excavations”.
In my work in a broader sense, I research the methods of media betrayal. “The media” is here considered as any object, material and process that serves to transmit potential information or meaning - light, image, echo, body, history – while “the betrayal” designates actions beyond or in spite of the intended or declared function.
“Archeological Excavations” are dealing with the “promise” and the “uncertainty” of the past and future – playing with viewers’ perception through mobile installations and objects in public or gallery space.
“Archaeological Excavations” create a cognitive dissonance through site-specific surrealism of a time-based installation; that is to say a slow absurd (disturbing) event. Dramaturgically, the key point of the work is the moment when we pass the excavations for the second time and notice that something is off in that scene.
The starting inspiration for my research in Q21 are (1) The Guardian’s a journalistic article “‘Millennia of human activity’: heatwave reveals lost UK archaeological sites” in which, ironically, English tourism and science (branch: history) flourish under climate change and global warming; and by (2) the scene from the “Treme”, TV series by David Simon, the episode “Right Place, Wrong Time”, in which a tourist bus comes to visit a city devastated by Hurricane Katrina. I want to research how to translate cognitive dissonance expressed by interplay of time and moving space into the film and video form, created for gallery space. My main focus is on question how to translate to film language the tension of a body in moving space and the tension between physical elements? What is the visual of the feeling you get when looking at the disaster?