Critical intimism of mental archives
Multimedia project, 2010 -
Projekat Kritički intimizam mentalnih arhiva u teorijskom smislu preispituje procese, strategije i formate mentalnog mapiranja određenog prostora i vremena u punoj heterogenosti njihovih konteksta. U video instalaciji Autobuska stanica Prijedor – Autobuska stanica Banja Luka narativna perspektiva mapiranja je iz prvog lica jednine (umjetnik prema sredini), te u site-specific instalaciji Tačke kritičnog intimizma u trećem licu jednine (umjetnik-umjetnost unutar sredine).
U praktičnom, produkcijsko – performativnom aspektu, projekat iskušava spremnost umjetnika da publikuje svoje aktivne-mentalne arhive u punoj voluminoznosti svakodnevnih banalnosti, riskirajući destrukciju i prizivajući običnost. Sa druge strane, provocira se interaktivnost publike i rasprave na koherentne probleme kao što su legitimnost naracija, medju-intelektualne utopije, aktivni arhivi, relativnost konteksta itd. što čitav projekat čini otvorenim za različite ekstenzije.
1] Bus station Prijedor - Bus station Banja Luka, video, 52min
The Project Prijedor bus station - Banja Luka bus station in the theoretical sense questions the processes, strategies and formats of mental mapping of a certain space and time in full heterogeneity of their contexts.
From a practical, production - performance aspect, the project tests an artist’s willingness to publish their active - mental archives in the full voluminosity of everyday banalities, risking destruction and inviting mediocrity. On the other hand, an interactivity of the audience is provoked together with a discussion of coherent problems such as the legitimacy of narration, inter-intellectual utopia, active archives, the reality of context etc. which renders the whole project open to many different extensions.
Through insisting on multifacetedness, the project additionally problematizes the conceptual ontology of the artist - art function within the (in)stability of contemporary societal perceptions in “the age of culture” but also in its future.
(text beside video projection / download - srpski jezik)
It was February. I just had my inbox checked before going to visit Prague for few days. There was an e-mail from Protok collective from Banja Luka that sent me a call for proposals for the project named “INVENT TURA | mapping histories and territories of Bosnia and Herzegovina”, formulated and curated by two German ladies who are living and working in Bosnia this year.
I had nice time in Prague. During my trip back to Brno I started to think about possible works for INVENT TURA, what the mapping histories and geography meant for me, who was doing it, how they were doing it? Why those two Germans ladies have such a stereotyped approach? It’s just one more boring repetition, a procedure to make social based art project focused on Bosnia and Herzegovina.
While I was thinking about it and observing the landscape through the bus windows, I asked myself: what am I doing now? Is it some kind of mapping territories and histories of some special space? Are we all some kind of active archives? How are we doing it? I started to examine myself about what I was thinking while perceiving some, even if not interesting, Czech winter landscape. To reassume, I was thinking about:
Road traffic signs
Songs that I was listening during the trip
Fields
Sex
historical events connected to one particular space
It was a quite heterogenic situation.
I had good feeling that I should do the work in Bosnia, during one of my ritual trips between Prijedor and Banja Luka. In the project application I will describe the way in which the author through cognitive reflections of the available images of a space questions the method in which the past is encoded inside the subject or takes into account the most diversified implications that the subject possesses in the moment of the receiving of images/information as an important factor in the process of the mental mapping of the space and its history.
I also decided to do it in the form of subtitle - textually, in some kind of performance after I record my trip with the camera. I will sit down in front of the computer, to play and pause the recorded material and to start writing my reflections. Just once, honestly and without any future corrections, without any ethical filter.
IN THAT MOMENT I STARTED TO BE AFRAID OF WHAT MY THOUGHTS WILL BE
P.S. In mapping histories and territories there are always some kind of compromise situation. Example: I forgot to think about my parents during the performance. After it, I found some place in my written reflections for them too.
2] Critical points of intimacy, site-specific
Natpisi svojom strukturom podsjećaju na memorijalne ploče. Sadržaj natpisa, svojom običnošću je u funkciju destrukcije posebne važnosti događaja kojim se ispunjava uslov za obilježavanje mjesta.
Kao subjekti su postavljeni umjetnik ili umjetnost kao idealizovane intelektualne kreacije, dok je njihova radnja - intimizam u suprotnosti sa karakterom njihovih socijalnih identiteta.
Intimizmi su postavljeni u različitim vremenima. U pojedinim slučajevima oni naslućuju geopolitičku situaciju postajući ekstrovertni intimizmi konstelacija (primjer: Na ovome mjestu 1992. riječ umjetnost nije izgovorena 798 časova), dok su u drugim slučajevima unutar situacionih okvira (primjer: Na ovome mjestu 03.09.1921. umjetnik se požalio supruzi na jake bolove u stomaku).
Dio ploča ostavljene su nedorečene, sa pisaljkom pored, nudeći mogućnost interakcije sa slučajnim prolaznikom, čiji nam zapisi daju uvid u metaretoričke kontekste i društvene ugovore.
At this place, June 3, 2019, having discussion about morality, art and politic in one nearby pub, artist get sick.
