LJUBAV JE ZA SIROTINJU
Ljubav, kao prvi i osnovni mehanizam kontrole, poslužio je kao temelj za razradu umetničkog koncepta izložbe, analizirajući je kroz polje društvene i lične kontrole. Ljubav je za sirotinju predstavlja umetničku instalaciju u prostoru, koja publiku selektuje, dovodeći svakog ponaosob u situaciju da se opredeli za okvire u koje ga sistem smešta i istovremeno pružajući mu mogućnost da se odupre istom.
Novi rad pod nazivom Ljubav je za sirotinju je mesto na kojem se uvodi kontrola od strane samog umetnika. Naime, galerijski prostor podeljen po dužini na dva dela, u jednom dozvoljava ulazak samo ženama, a u drugom, samo muškarcima. Ovakvu vrstu selekcije prave redari, čija će uloga, pored razdvajanja, biti i ta da fizički pretresu sve posetioce.
Od druge polovine galerije uvodi se još jedno, regulativno telo i to u vidu suženja prolaza na meru širine tela umetnika. Iza te prepreke, posetioci, i dalje razdvojeni, dolaze do video radova, različitih u svakom delu, koji imaju ulogu predmeta želje i/ili predmeta konzumiranja. U video radovima Majka i ćerka i Vojnik, majka - oličenje savršene kontrole i vojnik – simbol održavanja i sprovođenja iste, zapravo gube kontrolu, uriniraju, a pred nama su slike predstavnika različitih autoriteta, na kojima su očigledne slabosti koje nose sa sobom.
Uvođenje pravila i pravljenje podele na najbanalnijem nivou - na muški i ženski prostor, stavlja publiku u neizbežnu situaciju da mora da donese odluku. Sam pristanak i odluka da se poštuju pravila podjednako je važna za ovaj rad, kao i svako odustajanje pred preprekama, koje često vidimo. Kao autor, na ovaj način pokušavam da napravim državu u državi, određeni sistem pravila po razumnim ili manje razumnim kriterijumima, polemišući sa ograničenjima kojima smo svakodnevno izloženi. Još jedan od važnih segmenata rada je taj da niko od publike zapravo neće imati mogućnost da pogleda celu izložbu, a samim tim ni ceo rad. To nas stavlja u poziciju da moramo da donesemo sud i o onome što nismo videli, čuli ili doživeli. Svaku izložbu procenjujemo na osnovu onoga što smo videli, a šta je sa onom drugom stranom koja je za nas ostala nepoznata?
Jasno je da se kritički sud donosi kroz mogućnost percipiranja određenih sadržaja dovoljno jasnih da posmatrač može da ih smesti u određeni lični i saznajni kontekst, ali ovde je zanimljiva i ideja onoga što ne vidimo, ono o čemu ne znamo. Kako doneti sud o nepoznatom? Žak Ransijer u svojoj knjizi Sudbina slika - podela čulnog kaže - “tom regulisanju odgovara jedno drugo regulisanje, koje se tiče odnosa između znati i ne znati, između delovati i trpeti”.
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LOVE IS FOR THE POOR
Love as the first and foremost control apparatus forms basis for this exhibition’s concept that artist analyses in the fields of social and personal control. Love is for Poor is an artistic spatial installation that selects its audience by placing each and every one into position to choose frameworks provided by system but also allowing for a possibility of resistance.
New art work entitled Love is for Poor provides a place in which control is exerted by the artist. Gallery space is divided in two parts. One is women only while other is men only part. This kind of selection is enforced by gatekeepers whose role, besides separation, is to frisk all visitors.
Starting from the second part of gallery another regulatory body is introduced: passage is narrowed to match artists’ body proportions. Beyond that obstacle, audience, still separated reaches videos that are different for each of those two segments and represent objects of desire and/or consumer goods. In videos Mother and Daughter and Solider, mother and soldiers – personifications of the perfect control - symbols of its establishment and upholding, lose control, urinate, and in front of us are images of various authority figures marred by evident weaknesses that they posses.
By introducing rules and the most banal separation – into men and women space – inevitably places the audience into position to choose. Acceptance of the rules and accepting all the rules in equal measure is important for this project as well as is giving up in front of the obstacles that we often witness. As an author I am trying to establish state in state, a certain set of regulations based on more or less reasonable criteria and thus debating limitations that we face every day.
Another important aspect of this work is the fact that no one in the audience will have an opportunity to see the whole exhibition and thus the work in its entirety. This is forcing us to give our judgment on that we have not seen, heard or experienced. Every exhibition is judged according to what we have seen but what of that other side that remains mystery for us?
It is clear that critical judgment is reached through our ability to perceive certain items that are visible enough so that spectator can place them in certain personal and cognitive context but here we find it interesting the idea of what is unseen and unknown. How we judge the unknown? Jacques Rancière in his book The Future of the Image claims that - “that regulation is homologous to one another regulation of relation between to know and not to know, between to act and to be subjected to”.
Kustoskinja izložbe : Zorana Đakovic Minniti
Kamera: Miša Obradović
Zvuk: Nestor Janković
