Nicoline van Harskamp - DeLVe | Institute for Duration, Location and ...
Nicoline van Harskamp - DeLVe | Institute for Duration, Location and ...
Nicoline van Harskamp - DeLVe | Institute for Duration, Location and ...
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kao građani koji “poštuju red”, obilježeni<br />
odjećom koja otkriva njihovo donekle<br />
povlašteno klasno podrijetlo. Nedostaje<br />
im angažman koji posjeduju prosvjednici<br />
i stoga ih je lako poistovjetiti s neprogresivnom,<br />
srednjom osnovom društva; ali<br />
ono na što Murtezaoğluova želi ukazati jest<br />
činjenica da uspjeh svakog političkog aktivizma<br />
u potpunosti ovisi o svjedočanstvu<br />
tih prolaznika i svjedoka. U ranijim<br />
radovima umjetnica je nastojala problematizirati<br />
olako odbaci<strong>van</strong>je masa od strane<br />
inteligencije, kao i praksu samočestitanja,<br />
demonizacije i polarizacije koja je iz toga<br />
proizašla.<br />
Hip Activities predstavlja trenutak u kojemu<br />
napetost između tih dvaju društvenih segmenata<br />
ustupa mjesto njihovu prolaznom,<br />
ali suosjećajnom približa<strong>van</strong>ju, iako su<br />
njihove razlike i dalje prisutne te se čak<br />
naglašavaju kroz očiti anakronizam. Slike<br />
“pratnje” koja se infiltrira u ulične mase<br />
i “svjedoka” koji radoznalo promatraju<br />
događaje sa svojih balkona ne pripadaju<br />
sadašnjosti poput prosvjeda, nego nekom<br />
drugom vremenu, naime kraju šezdesetih<br />
godina prošlog stoljeća, povijesnom razdoblju<br />
obilježenom društvenim nemirima<br />
koji su na mahove osiguravali političkom<br />
aktivizmu potporu javnosti.<br />
Optimistički ton u ciklusu fotografija Hip<br />
Activities paradoksalno je naštetio načinu<br />
na koji je djelo izlagano. Murtezaoğluova<br />
je osjetila potrebu da ga povuče s velike<br />
izložbe u Beirutu 2005. jer je šokantno<br />
ubojstvo Rafika Haririja nekoliko tjedana<br />
prije otvaranja izložbe potpuno dislociralo<br />
eu<strong>for</strong>iju kojom je ciklus bio prožet. Isto se<br />
dogodilo 2007. godine, kada je umjetnica<br />
otkazala prezentaciju fotografskog ciklusa<br />
u Turskom paviljonu na Bijenalu u Veneciji<br />
nakon traumatičnog ubojstva Hranta Dinka<br />
u Istambulu: čak je i indirektno predstavljanje<br />
zemlje nakon tog ubojstva za nju<br />
belong to the sociology of the demonstrators,<br />
but rather appear as “orderly”<br />
citizens marked by the dress-code disclosing<br />
their slightly more privileged class<br />
<strong>for</strong>mation. They lack the engagement the<br />
demonstrators possess, there<strong>for</strong>e they can<br />
be easily associated with the non-progressive<br />
middle ground of the society; but what<br />
Murtezaoğlu tries to hint at is the fact<br />
that the success of any political activism is<br />
fully dependent on the testimony of these<br />
passers-by <strong>and</strong> witnesses. In her previous<br />
works, the artist tried to problematise<br />
the hasty dismissal of the masses by the<br />
intelligentsia <strong>and</strong> the consequent practices<br />
of self-congratulation, demonisation <strong>and</strong><br />
polarisation.<br />
Hip Activities presents the moment in<br />
which the tension between these two social<br />
segments gives way to a transient but<br />
sympathetic approximation, while their<br />
differences are maintained, or even accentuated<br />
by an obvious anachronism. The<br />
images of the “escorts” that fuse into the<br />
crowd on the street <strong>and</strong> the “witnesses”<br />
that watch the events curiously from their<br />
balcony belong not to the present as the<br />
demonstrations do, but rather to another<br />
date, namely the end of sixties, a historical<br />
period which was marked by social upheavals<br />
that momentarily granted political<br />
activism public support.<br />
The optimistic tone in the Hip Activities<br />
paradoxically harmed the way the work<br />
has been exhibited. Murtezaoğlu felt the<br />
urge to withdraw the piece from a major<br />
show in Beirut in 2005 since the shocking<br />
assassination of Rafik Hariri a couple of<br />
weeks be<strong>for</strong>e the exhibition opening completely<br />
displaced the euphoria invested in<br />
it. The same happened in 2007; the artist<br />
cancelled the presentation of the photographic<br />
series from the Turkish pavilion<br />
in Venice Biennial after the traumatic as-