Exhibitions

12 July – 6 August 2019 (opening 12 July at 21:00)   

CURATOR Hassan Abdelghani

ORGANISER Makina Gallery

Photographing extras*, the people who fill the space behind the leading actors in a film, Jasenko Rasol destabilises the hierarchy of the film set where they are just vehicles for a given function. By bringing them to the forefront, recording their personal gestures or actions, he transfers them from the anonymous collective space into the zone of singularity. In a more general sense, the position of extras in film is a metaphor of geopolitical relationships, where large parts of the society (or whole nations, and even continents) are excluded from the decision-making process. But if we move through the thick political-camouflage cloud that assures us it isn’t so, we notice that all of them are also cast as - extras.

Extraswere photographed in the films: Love or Death (2014), directed by Daniel Kušan;The High Sun (2015), directed by Dalibor Matanić, All the Best (2016), directed by Snježana Tribuson; Escape to the Sea (2017), directed by Veljko Bulajić; The Diary of Diana B (2018), directed by Dana Budisavljević.

*AN EXTRA is a person who appears somewhere in the background and has no lines […] Extras need to act as per the director’s direction, moving as the director tell them to - left, right, forward, backward - or just stand or sit. Extras are never in close-ups, and if they are, their compensation is higher.

Extras are often required to do things that are not usually a part of their jobs, but this then falls under the category of acting extras. (https://artt.hr/work/statist/)