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