TEDYouth 2014
Brian Dettmer: Old books reborn as art
Brajan Detmer (Brian Dettmer): Stare knjige ponovo rođene kao složena umetnost
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Šta raditi sa zastarelom enciklopedijom u eri informcija? Sa skalpelima i okom za dobar remiks, umetnik Brajan Detmer pravi prelepe, neočekivane skulpture koje oživljavaju stare knjige.
Brian Dettmer -
Artist Brian Dettmer digs into a good book (literally, with a knife) to create beautifully intricate forms that reflect how we see old information in a modern world. Full bio
Artist Brian Dettmer digs into a good book (literally, with a knife) to create beautifully intricate forms that reflect how we see old information in a modern world. Full bio
Double-click the English transcript below to play the video.
00:12
I'm an artist and I cut books.
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Ja sam umetnik i ja sečem knjige.
Ovo je jedan od mojih prvih
radova sa knjigama.
radova sa knjigama.
00:14
This is one of my first book works.
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00:16
It's called "Alternate
Route to Knowledge."
Route to Knowledge."
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Zove se "Alternativni put ka znanju".
00:18
I wanted to create a stack of books so
that somebody could come into the gallery
that somebody could come into the gallery
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Želeo sam da stvorim gomilu knjiga tako da
kada neko uđe u galeriju
kada neko uđe u galeriju
00:22
and think they're just looking
at a regular stack of books,
at a regular stack of books,
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i misli da samo gleda
u običnu gomilu knjiga
u običnu gomilu knjiga
00:24
but then as they got closer they would
see this rough hole carved into it,
see this rough hole carved into it,
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kada priđe bliže, vidi ovu grubu rupu
urezanu u nju
urezanu u nju
00:28
and wonder what was happening,
wonder why,
wonder why,
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i zapita se šta se događa i zbog čega
00:30
and think about the material of the book.
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i razmisli o materijalu knjige.
00:32
So I'm interested in the texture,
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Dakle, mene zanima tekstura,
00:34
but I'm more interested in the text
and the images that we find within books.
and the images that we find within books.
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ali me više interesuju tekst
i slike koje se nalaze u knjigama.
i slike koje se nalaze u knjigama.
00:39
In most of my work, what I do is I seal
the edges of a book with a thick varnish
the edges of a book with a thick varnish
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U većini svojih radova, pričvrstim krajeve
knjige debelim slojem laka
knjige debelim slojem laka
00:43
so it's creating sort of a skin
on the outside of the book
on the outside of the book
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tako da se stvori koža
sa spoljne strane knjige
sa spoljne strane knjige
00:46
so it becomes a solid material,
but then the pages inside are still loose,
but then the pages inside are still loose,
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i postane čvrst materijal,
a stranice unutra su i dalje labave,
a stranice unutra su i dalje labave,
00:50
and then I carve
into the surface of the book,
into the surface of the book,
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i onda režem u unutrašnjost knjige
00:52
and I'm not moving or adding anything.
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i ne pomeram niti dodajem bilo šta.
00:54
I'm just carving around
whatever I find interesting.
whatever I find interesting.
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Samo režem oko bilo čega
što mi se učini interesantnim.
što mi se učini interesantnim.
00:57
So everything you see
within the finished piece
within the finished piece
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Dakle, sve što vidite u gotovom delu
01:00
is exactly where it was
in the book before I began.
in the book before I began.
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je tačno gde je bilo u knjizi na početku.
O svom radu mislim kao o nekom remiksu,
na neki način,
na neki način,
01:04
I think of my work as sort of
a remix, in a way,
a remix, in a way,
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01:07
because I'm working with
somebody else's material
somebody else's material
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jer radim sa tuđim materijalom
01:09
in the same way that a D.J. might be
working with somebody else's music.
working with somebody else's music.
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na isti način na koji didžej
radi sa tuđom muzikom.
radi sa tuđom muzikom.
01:12
This was a book of Raphael paintings,
the Renaissance artist,
the Renaissance artist,
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Ovo je bila knjiga posvećena slikama
Rafaela, renesansnog umetnika,
Rafaela, renesansnog umetnika,
01:16
and by taking his work
and remixing it, carving into it,
and remixing it, carving into it,
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i uzimajući njegov rad, remiksujući ga,
rezbareći ga,
rezbareći ga,
01:21
I'm sort of making it into something
that's more new and more contemporary.
that's more new and more contemporary.
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činim ga nečim novijim i savremenijim.
01:25
I'm thinking also about breaking out
of the box of the traditional book
of the box of the traditional book
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Takođe razmišljam da proširim
svoje delo iz tradicionalne knjige
svoje delo iz tradicionalne knjige
01:29
and pushing that linear format,
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i da proguram linerani format,
01:31
and try to push the structure
of the book itself
of the book itself
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i strukturu same knjige
01:35
so that the book can become
fully sculptural.
fully sculptural.
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tako da knjiga može u potpunosti
da postane skulptura.
da postane skulptura.
01:41
I'm using clamps and ropes
and all sorts of materials, weights,
and all sorts of materials, weights,
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Koristim stege i kanape
i sve vrste materijala, tegove
i sve vrste materijala, tegove
01:45
in order to hold things
in place before I varnish
in place before I varnish
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kako bi stvari stajale na mestu
pre nego što ih prelakiram,
pre nego što ih prelakiram,
01:48
so that I can push the form
before I begin,
before I begin,
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kako bih mogao da poguram formu
pre nego što počnem,
pre nego što počnem,
01:50
so that something like this
can become a piece like this,
can become a piece like this,
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tako da nešto poput ovoga
može postati delo poput ovoga
može postati delo poput ovoga
01:55
which is just made
from a single dictionary.
from a single dictionary.
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koje je napravljeno od jednog rečnika.
01:58
Or something like this
can become a piece like this.
can become a piece like this.
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Ili nešto poput ovoga
može postati delo poput ovoga.
može postati delo poput ovoga.
02:06
Or something like this,
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Ili nešto kao ovo,
02:08
which who knows what that's going to be
or why that's in my studio,
or why that's in my studio,
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za koje niko ne zna šta će od njega
ispasti, ili zašto je u mom studiju,
ispasti, ili zašto je u mom studiju,
02:12
will become a piece like this.
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može postati delo poput ovoga.
Tako da mislim da je jedan od razloga
zašto ljude uznemiruje uništavanje knjiga
zašto ljude uznemiruje uništavanje knjiga
02:16
So I think one of the reasons
people are disturbed by destroying books,
people are disturbed by destroying books,
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zašto ljudi ne žele da cepaju knjige
02:20
people don't want to rip books
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02:22
and nobody really wants
to throw away a book,
to throw away a book,
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i niko zapravo ne želi da baci knjigu
02:24
is that we think about books
as living things,
as living things,
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taj da mi mislimo o knjigama
kao o živim stvarima,
kao o živim stvarima,
02:26
we think about them as a body,
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mislimo o njima kao o telima,
02:28
and they're created
to relate to our body, as far as scale,
to relate to our body, as far as scale,
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i one su stvorene da se povežu
sa našim telima što se dimenzije tiče
sa našim telima što se dimenzije tiče
02:31
but they also have the potential
to continue to grow
to continue to grow
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ali one takođe imaju potencijal
da nastave da rastu
da nastave da rastu
02:33
and to continue to become new things.
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i da postanu nove stvari.
02:35
So books really are alive.
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Dakle, knjige su zaista žive.
02:38
So I think of the book as a body,
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Ja o knjigama razmišljam kao o telu,
02:40
and I think of the book as a technology.
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i knjigu vidim kao tehnologiju.
02:43
I think of the book as a tool.
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Vidim knjigu kao alatku.
02:48
And I also think of the book as a machine.
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A vidim je i kao mašinu.
02:52
I also think of the book as a landscape.
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A takođe i kao pejzaž.
02:54
This is a full set of encyclopedias
that's been connected and sanded together,
that's been connected and sanded together,
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Ovo je ceo set enciklopedija koje su
spojene i išmirglane zajedno,
spojene i išmirglane zajedno,
02:59
and as I carve through it,
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i kako ih rezbarim
03:01
I'm deciding what I want to choose.
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odlučujem šta želim da izaberem.
03:03
So with encyclopedias,
I could have chosen anything,
I could have chosen anything,
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Sa enciklopedijama mogao sam
da izaberem bilo šta
da izaberem bilo šta
03:05
but I specifically chose
images of landscapes.
images of landscapes.
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ali sam posebno izabrao slike pejzaža.
03:10
And with the material itself,
I'm using sandpaper
I'm using sandpaper
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Sa samim materijalom, koristim šmirglu
03:12
and sanding the edges
so not only the images suggest landscape,
so not only the images suggest landscape,
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i šmirglam krajeve, tako da nisu samo
slike te koje sugerišu na pejzaž
slike te koje sugerišu na pejzaž
03:16
but the material itself
suggests a landscape as well.
suggests a landscape as well.
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nego i sam materijal sugeriše na pejzaž.
03:21
So one of the things I do
is when I'm carving through the book,
is when I'm carving through the book,
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Jedna stvar koju radim kad rezbarim knjigu
03:24
I'm thinking about images,
but I'm also thinking about text,
but I'm also thinking about text,
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je ta da razmišljam o slikama,
ali i o tekstu
ali i o tekstu
03:28
and I think about them
in a very similar way,
in a very similar way,
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i o njima razmišljam na veoma sličan način
03:30
because what's interesting
is that when we're reading text,
is that when we're reading text,
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jer je interesantno to
da dok čitamo tekst,
da dok čitamo tekst,
03:33
when we're reading a book,
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dok čitamo knjigu,
03:35
it puts images in our head,
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stvaramo slike u glavi
03:36
so we're sort of filling that piece.
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tako da na neki način dopunjujemo to delo.
03:38
We're sort of creating images
when we're reading text,
when we're reading text,
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Stvaramo slike dok čitamo tekst,
03:42
and when we're looking at an image,
we actually use language
we actually use language
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i dok gledamo sliku,
mi zapravo korisitimo jezik
mi zapravo korisitimo jezik
03:44
in order to understand
what we're looking at.
what we're looking at.
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kako bismo razumeli u šta gledamo.
03:47
So there's sort of
a yin-yang that happens,
a yin-yang that happens,
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Tako da se dešava neka vrsta jing-janga,
03:49
sort of a flip flop.
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neki flip-flop.
03:51
So I'm creating a piece
that the viewer is completing themselves.
that the viewer is completing themselves.
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Ja kreiram delo koje posmatrač
sam dovršava.
sam dovršava.
03:57
And I think of my work
as almost an archaeology.
as almost an archaeology.
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O svom radu mislim
skoro kao o arheologiji.
skoro kao o arheologiji.
04:00
I'm excavating and I'm trying
to maximize the potential
to maximize the potential
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Iskopavam i pokušavam
da povećam potencijal do maksimuma
da povećam potencijal do maksimuma
04:03
and discover as much as I possibly can
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i otkrijem što je moguće više
04:06
and exposing it within my own work.
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i izložim ga kroz svoj rad.
04:10
But at the same time,
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Ali u isto vreme
04:11
I'm thinking about this idea of erasure,
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razmišljam o ideji brisanja
04:13
and what's happening now that most
of our information is intangible,
of our information is intangible,
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i o tome što se sada događa da je
većina naših informacija neopipljiva,
većina naših informacija neopipljiva,
04:18
and this idea of loss,
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i ta ideja o gubitku,
04:21
and this idea that not only is the format
constantly shifting within computers,
constantly shifting within computers,
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i ideja da nije samo format ono što se
konstantno menja sa kompjuterima,
konstantno menja sa kompjuterima,
04:25
but the information itself,
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nego i sama informacija,
04:28
now that we don't have a physical backup,
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i sada kad nemamo
fizičku rezervu podataka,
fizičku rezervu podataka,
04:30
has to be constantly updated
in order to not lose it.
in order to not lose it.
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moramo je stalno ažurirati
kako je ne bismo izgubili.
kako je ne bismo izgubili.
04:35
And I have several dictionaries
in my own studio,
in my own studio,
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I ja sam imam nekoliko rečnika
u svom studiju,
u svom studiju,
04:38
and I do use a computer every day,
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i kompjuter koristim svakodnevno,
04:41
and if I need to look up a word,
I'll go on the computer,
I'll go on the computer,
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i ako treba da potražim reč,
otići ću za kompjuter
otići ću za kompjuter
04:43
because I can go directly
and instantly to what I'm looking up.
and instantly to what I'm looking up.
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jer mogu u trenutku direknto da pogledam
ono što tražim.
ono što tražim.
04:47
I think that the book was never really
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I mislim da knjiga nikada zapravo
04:49
the right format
for nonlinear information,
for nonlinear information,
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nije bila pravi format
za nelinearne informacije,
za nelinearne informacije,
04:52
which is why we're seeing reference books
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i zbog toga referentne knjige
04:54
becoming the first to be
endangered or extinct.
endangered or extinct.
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prve postaju ugrožene i izumrle vrste.
05:01
So I don't think that the book
will ever really die.
will ever really die.
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Ja ne mislim da će knjige ikada izumreti.
05:04
People think that now that we have
digital technology,
digital technology,
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Ljudi misle da će sada kada imamo
digitalnu tehnologiju
digitalnu tehnologiju
05:08
the book is going to die,
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knjige izumreti,
05:10
and we are seeing things shifting
and things evolving.
and things evolving.
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i vidimo kako se stvari
menjaju i razvijaju.
menjaju i razvijaju.
05:13
I think that the book will evolve,
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Mislim da će se knjiga razviti,
05:15
and just like people said
painting would die
painting would die
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i baš kao što su rekli
da će slikarstvo izumreti
da će slikarstvo izumreti
05:18
when photography and printmaking
became everyday materials,
became everyday materials,
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kada su fotografija i štampa postali
svakodnevni materijali,
svakodnevni materijali,
05:23
but what it really allowed painting to do
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ali šta se zapravo dogodilo je da
05:25
was it allowed painting
to quit its day job.
to quit its day job.
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je dozvolilo slikarstvu da napusti
svoj dnevni posao.
svoj dnevni posao.
05:27
It allowed painting to not have to have
that everyday chore of telling the story,
that everyday chore of telling the story,
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Dozvololilo je slikarstvu da prestane da
obavlja svakodnevni posao pričanja priče,
obavlja svakodnevni posao pričanja priče,
i slikarstvo je postalo oslobođeno i
konačno je moglo da ispriča svoju priču
konačno je moglo da ispriča svoju priču
05:34
and painting became free
and was allowed to tell its own story,
and was allowed to tell its own story,
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05:37
and that's when we saw Modernism emerge,
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i tada je iskrsnuo modernizam,
i videli smo kako se slikarstvo
razvija na više grana.
razvija na više grana.
05:39
and we saw painting
go into different branches.
go into different branches.
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05:41
And I think that's what's
happening with books now,
happening with books now,
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I mislim da je to ono što se
sada događa sa knjigama,
sada događa sa knjigama,
sada je kada većina naše tehnologije,
većina naših informacija,
većina naših informacija,
05:44
now that most of our technology,
most of our information,
most of our information,
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05:46
most of our personal and cultural
records are in digital form,
records are in digital form,
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većina naših privatnih i društvenih zapisa
u digitalnom formatu,
u digitalnom formatu,
05:51
I think it's really allowing the book
to become something new.
to become something new.
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mislim da to zaista dozvoljava knjigama
da postanu nešto novo.
da postanu nešto novo.
Mislim da je ovo izuzetno uzbudljivo vreme
za umetnika poput mene,
za umetnika poput mene,
05:54
So I think it's a very exciting time
for an artist like me,
for an artist like me,
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05:56
and it's very exciting to see what
will happen with the book in the future.
will happen with the book in the future.
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i jako je uzbudljivo videti šta će se
u budućnosti desiti sa knjigama.
u budućnosti desiti sa knjigama.
06:00
Thank you.
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Hvala vam.
06:01
(Applause)
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(Aplauz)
ABOUT THE SPEAKER
Brian Dettmer -Artist Brian Dettmer digs into a good book (literally, with a knife) to create beautifully intricate forms that reflect how we see old information in a modern world.
Why you should listen
New York–based artist Brian Dettmer carves intricate sculptures from outdated materials like encyclopedias, textbooks, maps and cassette tapes. To create his works Dettmer seals the object with varnish, then swiftly and deftly moves through it with an X-Acto knife until he comes out the other side, cutting away material to form something new. His beautiful carvings reflect how, in a digital information landscape, even the oldest forms of knowledge can be repurposed.
More profile about the speakerBrian Dettmer | Speaker | TED.com