Director Biography – Lara Badurina
Lara Badurina (Rijeka, 1968) is a visual artist whose experimental artistic projects explore themes from everyday life. In them, the artist creates conceptual frameworks of different approaches to developing a sense of space and its specificities, as well as the interdisciplinary methodology for its shaping and perception.
She earned her Master’s degree in 2003 on the topic of “Documents in art” at the Academy of Fine Arts and Design of the University of Ljubljana. Since the late 80s she has continually been the author of various exhibits, theatre scenographies and light designs both in theatres and in other venues. She has been rewarded for her work with multiple national and international rewards.
She earned her Master’s degree in 2003 on the topic of “Documents in art” at the Academy of Fine Arts and Design of the University of Ljubljana. Since the late 80s she has continually been the author of various exhibits, theatre scenographies and light designs both in theatres and in other venues. She has been rewarded for her work with multiple national and international rewards.
SYNOPSIS
As part of her Hommage series, visual artist Lara Badurina presents a new work, this time in the form of an experimental film. After her tribute to Dan Flavin (2015), Badurina now pays homage to Jean-Luc Godard. Hommage series is generally inspired by artists who explored space and influenced Badurina’s work. With this work specifically, Badurina refers to Godard’s use of narratives (“Weekend” (1967), ”Band of Outsiders” (1964), ”Sympathy for the Devil” (1968)) and his innovative jump cuts. By realizing the work on non-typical locations and by dividing the scenes based on what is near and what is far, Badurina reveals the fragility of the picture itself.Throughout “jogginggodard, removie” the artist develops and explores various female roles inspired by Godard’s heroines (Anna Karina and Anne Wiazemsky).The concept of the film was based around the idea of the live performance inside a museum, which premiered in 2019 at the Zagreb Museum of Contemporary Art. It had a continuous linear order from beginning to end, that was then changed when the author inserted edited scenes into surveillance camera frames, and by doing so, she contrasts different dramatic compositions. The synchronized surveillance cameras suggest that the events happened simultaneously.