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 ...
Naslov projekta Gde se sve tek treba dogoditi postavlja pred kustosa, umetnika i kritičara odgovoran zadatak – on na prvi pogled zabranjuje svaku trenutnu refleksiju ili retrospektivno mišljenje i tera nas na odlučan skok u budućnost, na zamišljanje još-ne-postojećeg. Dok je budućnost kao vera u bolje sutra i nezaustavljivi progres čovečanstva bila sastavni deo modernističkog projekta, danas se ta ista vizija reprodukuje i multiplikuje kao nostalgična slika nekog boljeg “juče”. Anticipacija–projekcija–optimizam, zahtevi su korporativnih politika budućnosti – mislite pozitivno, iako smo vas juče otpustili sa radnog mesta; glasajte za nas, iako su vaši ratovi i vaša beda primarni resursi našeg kapitala. Ako vam se budućnost ne čini dovoljno lepom, pokušajte da je zamislite ponovo. A šta je sa savremenom umetnošću? A šta je sa savremenom umetnošću? Savremena umetnost voli budućnost, zato što smatra da budućnost nudi neobavezujući beg iz nepodnošljivog sada. Savremena umetnost voli utopiju, zato što misli da je po sredi društvena fantazija koja garantuje neograničenu slobodu. Savremena umetnost ne voli jasne planove, političku propagandu, didaktičke vrednosti i moralizam. Savremena umetnost voli ambivalencije i neopredeljenost. Savremena umetnost misli budućnost kao puku apstrakciju, kao nešto što se nalazi izvan istorije. A budućnost se ipak ne događa izvan istorije, već predstavlja njen integralni deo. Štaviše, budućnost nikada nije figurisala kroz potpuno izostavljanje prošlosti, već je uvek bila u aktivnom odnosu sa njom. Modernizmi i avangarde, zabljesnuti 162 The title of the project, Where Everything Is Yet to Happen, places a responsible task in front of curator, artist and critic – at first glance it bans every momentary reflection or retrospective thinking and drives us to a determined leap into the future, thinking out the still-not-existing. While the future, as belief in a better tomorrow and the inexorable progress of humanity was a component part of the Modernist project, today the same vision is reproduced and multiplied as a nostalgic picture of a better “yesterday”. Anticipation – projection – optimism are the requirements of the corporate politics of the future – think positive, although we made you redundant yesterday; vote for us, although your wars and your poverty are the primary resources of our capital. If the future doesn’t seem nice enough to you, try to rethink it. And what about contemporary art? And what about contemporary art? Contemporary art loves the future, because it thinks the future offers the nonobligatory flight from the unbearable now. Contemporary art loves utopia, because it thinks that it is about a social fantasy that guarantees unlimited liberty. Contemporary art does not like clear plans, political propaganda, didactic values and moralism. Contemporary art loves ambivalences and not taking sides. Contemporary art thinks of the future as a mere abstraction, something that is located outside history. And the future does after all not happen outside history, but rather represents an integral part of it. What is more, the future has never figured through a total omission of the past, rather it has always had
svetlošću sa horizonta revolucije, mislili su ‘bolje sutra’ kao novum koji raskida sa prošlošću. Čak je i science fiction ustanovio pogled u vreme koje dolazi, sa glavom okrenutom unazad ... barem u smeru metamorfoza sadašnjice. Projekcija budućnosti se samim tim uvek pojavljuje kao neka vrsta kritičke korekcije prošlosti i sadašnjosti. Gde se sve tek treba dogoditi nije poziv na iskorak u bestežinsko stanje, već predlog koji ima svoje prostorne i vremenske koordinate, i koji postavlja akcenat na geopolitičku konstelaciju događaja. On uzima Bosnu i Hercegovinu kao mesto odakle budućnost treba da se misli upravo zbog post-Jugoslovenskih konflikata, zločina i genocida, beskrajnog protektorata međunarodne zajednice i etno-politike kao jedine aktivne politike. A šta su perspektive budućnosti u periferalnom neo-liberalizmu, obeleženom brzim bogaćenjem i još bržim osiromašenjem, permanentnim nestabilnostima i baukom fašizma? Tumačenje broj 1. BUDUĆNOST U (PERIFERALNOM) NEO- 2. LIBERALIZMU Prelom Kolektiv, Avgust 2007. Postoji upečatljiva razlika između onoga kako budućnost shvatamo danas i načina na koji je ona bila shvatana pre 30 godina. Od 19. veka ideju modernosti karakteriše snažno uverenje u nezaustavljiv tehnološki progres koji se smatrao glavnim sredstvom napretka čitavog čovečanstva. O takvoj perspektivi blistave budućnosti svedoči i science fiction koji se razvija u novu nauku – futurologiju. S postmodernističkom mišlju ovakva ideja progresa je dovedena u pitanje i tokom vremena je odbačena. Međutim, ta promena ne označava toliko an active relationship with it. Modernisms and the avant-gardes, radiating light from the horizon of the revolution, thought of a better tomorrow as an invention that breaks with the past. Even science fiction established a view into the time that is coming, with its head turned backwards... at least in the direction of a metamorphosis of the present. A projection of the future thus by the mere fact always appears as a kind of critical correction of past and present. Where Everything Is Yet to Happen is not a call to a dive into a state of weightlessness, but a proposal that has its own spatial and temporal coordinates, and that places its accent on the geopolitical constellation of events. It takes Bosnia and Herzegovina as a place whence the future should be thought about precisely because of the post-Yugoslav conflicts, crimes and genocides, the endless protectorate of the international community and ethno-politics as the only active politics. And what is the outlook of a future in a peripheral neo-liberalism, marked by rapid enrichment and still faster impoverishment, permanent instabilities and the menace of fascism? Interpretation No 1. FUTURE IN A (PERIPHERAL) NEO-LIBER- ALISM 2. Prelom Kolektiv, August 2007 There is a stark difference between how the future is perceived nowadays and how it was presented some 30 years ago. From the outset of the 19th Century the idea of modernity was characterized by a firm belief in the unstoppable technological progress that was considered the main vehicle of betterment for all mankind. This view of a glorious future is evident from the development of science fiction to the founding
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Naslov projekta Gde se sve tek treba dogoditi<br />
postavlja pred kustosa, umetnika i<br />
kritičara odgovoran zadatak – on na prvi<br />
pogled zabranjuje svaku trenutnu refleksiju<br />
ili retrospektivno mišljenje i tera nas na<br />
odlučan skok u budućnost, na zamišljanje<br />
još-ne-postojećeg. Dok je budućnost<br />
kao vera u bolje sutra i nezaustavljivi<br />
progres čovečanstva bila sastavni deo<br />
modernističkog projekta, danas se ta<br />
ista vizija reprodukuje i multiplikuje kao<br />
nostalgična slika nekog boljeg “juče”.<br />
Anticipacija–projekcija–optimizam,<br />
zahtevi su korporativnih politika<br />
budućnosti – mislite pozitivno, iako smo<br />
vas juče otpustili sa radnog mesta; glasajte<br />
za nas, iako su vaši ratovi i vaša beda<br />
primarni resursi našeg kapitala. Ako vam<br />
se budućnost ne čini dovoljno lepom,<br />
pokušajte da je zamislite ponovo.<br />
A šta je sa savremenom umetnošću?<br />
A šta je sa savremenom umetnošću?<br />
Savremena umetnost voli budućnost,<br />
zato što smatra da budućnost nudi<br />
neobavezujući beg iz nepodnošljivog sada.<br />
Savremena umetnost voli utopiju, zato što<br />
misli da je po sredi društvena fantazija koja<br />
garantuje neograničenu slobodu.<br />
Savremena umetnost ne voli jasne planove,<br />
političku propag<strong>and</strong>u, didaktičke vrednosti<br />
i moralizam.<br />
Savremena umetnost voli ambivalencije i<br />
neopredeljenost.<br />
Savremena umetnost misli budućnost kao<br />
puku apstrakciju, kao nešto što se nalazi<br />
iz<strong>van</strong> istorije.<br />
A budućnost se ipak ne događa iz<strong>van</strong> istorije,<br />
već predstavlja njen integralni deo.<br />
Štaviše, budućnost nikada nije figurisala<br />
kroz potpuno izostavljanje prošlosti, već<br />
je uvek bila u aktivnom odnosu sa njom.<br />
Modernizmi i a<strong>van</strong>garde, zabljesnuti<br />
162<br />
The title of the project, Where Everything Is<br />
Yet to Happen, places a responsible task in<br />
front of curator, artist <strong>and</strong> critic – at first<br />
glance it bans every momentary reflection<br />
or retrospective thinking <strong>and</strong> drives us to<br />
a determined leap into the future, thinking<br />
out the still-not-existing. While the<br />
future, as belief in a better tomorrow <strong>and</strong><br />
the inexorable progress of humanity was a<br />
component part of the Modernist project,<br />
today the same vision is reproduced <strong>and</strong><br />
multiplied as a nostalgic picture of a better<br />
“yesterday”.<br />
Anticipation – projection – optimism are<br />
the requirements of the corporate politics<br />
of the future – think positive, although we<br />
made you redundant yesterday; vote <strong>for</strong><br />
us, although your wars <strong>and</strong> your poverty<br />
are the primary resources of our capital.<br />
If the future doesn’t seem nice enough to<br />
you, try to rethink it.<br />
And what about contemporary art?<br />
And what about contemporary art?<br />
Contemporary art loves the future,<br />
because it thinks the future offers the nonobligatory<br />
flight from the unbearable now.<br />
Contemporary art loves utopia, because it<br />
thinks that it is about a social fantasy that<br />
guarantees unlimited liberty.<br />
Contemporary art does not like clear plans,<br />
political propag<strong>and</strong>a, didactic values <strong>and</strong><br />
moralism.<br />
Contemporary art loves ambivalences <strong>and</strong><br />
not taking sides.<br />
Contemporary art thinks of the future<br />
as a mere abstraction, something that is<br />
located outside history.<br />
And the future does after all not happen<br />
outside history, but rather represents an<br />
integral part of it. What is more, the future<br />
has never figured through a total omission<br />
of the past, rather it has always had