Nicoline van Harskamp - DeLVe | Institute for Duration, Location and ...

zamjenjuje pravo istraživanje i pripremu.
Prikrivene i subverzivne komunikacijske
strategije ili strateško odbijanje komunikacije
suprotstavljaju se glavnoj struji i
imaju važnu ulogu u stvaranju karaktera i
kvaliteta novih društvenih formacija.
Svi video radovi u mom prilogu izložbi
prikazuju slike nekog govornika koji
izokreće standarde komunikacije. Tako,
dinamičan političar koga Yael Bartana
prikazuje u radu Mary Koszmary iz 2008.
godine koristi jezik propagande iz Drugog
svjetskog rata, zalažući se za povratak
Jevreja u Poljsku, te empatično propovijeda
praznom stadionu, dok lijepo obučeni
bombaš-samoubica u videu Sharifa Wakeda
To Be Continued iz 2009. godine umjesto
mučeničke poruke pripovijeda priče iz
Hiljadu i jedne noći. U radu Esre Ersen If
You Could Speak Swedish iz 2001. godine
narod koji se preselio u novu, stranu
zemlju sluša kurs jezika i pripovijeda lične
priče iz nekadašnjeg zavičaja na švedskom,
iako ne razumije taj novi jezik.
Jezički čin je u svim radovima posebno iritantan,
s obzirom da je stavljen u neobičan
kontekst ili, pak, potpuno izokreće
očekivani sadržaj i govornu intenciju. Umjetnici
se poigravaju stereotipima jezika i
očekivanjima koja ti stereotipi kreiraju.
Video Sharifa Wakeda To Be Continued
iz 2009. godine prikazuje dobro poznati
vizuelni jezik video poruke bombašasamoubice
neposredno prije nego što
krene da ispuni svoju misiju, odnosno
postane mučenik. Ali, umjesto njegovih
posljednjih riječi, čovjek na video snimku
čita priče iz Hiljadu i jedne noći, odgađajući –
poput Šeherezade – trenutak smrti. Waked
razrješava tu zgusnutu vezu i uzajamnu
podršku vizuelnog jezika i izgovorene
riječi, koja nam je postala isuviše poznata
iz novijih televizijskih emisija, i kojom se
Finally in the age of a “meeting culture” in
a neoliberal business world, communication
is often practiced as an end in itself
and replaces proper research and preparation.
Covert and subversive communication
strategies or the strategic refusal of
communication are opposed to the mainstream
use of communication and play a
significant role in creating the character
and quality of new social formations.
All video works in my contribution to
the exhibition show images of a speaker,
who converts communication standards:
Yael Bartana’s dynamic politician in Mary
Koszmary, 2008, uses propaganda language
from WWII to plead for Jews to return
to Poland, and is emphatically preaching
to an empty stadium; the dressed-up
suicide-bomber in Sharif Waked’s video To
Be Continued, 2009, is narrating tales from
the Thousand and One Nights instead of
a martyr message; and in Esra Ersen’s If
You Could Speak Swedish, 2001, people, who
moved to a new foreign country participate
in a language course and are telling
personal stories form his/her homeland in
Swedish, without already understanding
the new language.
The act of speech is highly irritating in all
the works, because it is set in an unusual
context or completely controverts the
expected content and intention of speech.
The artists are playing with stereotypes of
language and the expectations these are
creating.
Sharif Waked’s video To Be Continued, 2009,
exposes the familiar visual language of the
video message of a suicide bomber, just
before he is going to fulfil his mission to
become a martyr. But instead of his final
words, the man in the video reads stories
from the Thousand and One Nights, delaying
- like Scheherazade - the moment of his
death. Waked resolves the dense connec-