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

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GDJE SE SVE TEK TREBA DOGODITI / WHERE EVERYTHING IS YET TO HAPPEN 1. Skraćenica naslova projekta mogla bi se pri pokušaju izgovora kretati između dvije engleske riječi: wait (čekaj/čekati) i weight (težina) 2. Činjenica da namjerno preuzimamo rečenicu za katalog projekta Salon revolucije (HDLU, Zagreb, listopad 2008) dodatno potvrđuje iskaz. 3. Giorgio Agamben, “On Potentiality“, u Giorgio Agamben, Potentialities. Collected Essays in Philosophy, ur. Daniel Heller-Roazen, Stanford University Press, 2000 4. Ibid 5. Hannah Arendt: Vita Activa, Biblioteka August Cesarec, Zagreb,1991. 6. Razotkrivanje izostaje jedino kod zločinca i dobrotvora: prvi se mora skrivati od drugih a drugi mora biti bez sebe i čuvati anonimnost. Obojica su, prema H. Arendt usamljene figure - jedna protiv svih a druga za sve ljude. 7. Ugo Vlaisavljević: Rat kao najveći kulturni događaj - Ka semiotici etnonacionalizma, Maunagić d.o.o.- Mauna-fe, Sarajevo, 2007 8. Nakon pokolja na Tiananmenu 4. lipnja 1989, mnogi studenti emigriraju i nastavljaju svoju borbu za slobodu govora u zapadnim neoliberalnim demokracijama gdje je sloboda govora zajamčena ustavom, gdje argument za slobodu govora počiva upravo na diferencijaciji govora od djelovanja – govorenje se prema njemu ne može izjednačavati s djelovanjem, fizičkim sukobom, agresijom i time, navodno ne može utjecati na (de)stabilizaciju društva. 9. Jean-Luc Nancy, “Razdjelovljena zajednica“, u J.L.Nancy, Dva ogleda, Multimedijalni institut/Arkzin, Zagreb, 2004. 10. Jean-Luc Nancy, “O singularno pluralnom bitku“, u u J.L.Nancy, Dva ogleda, Multimedijalni institut/Arkzin, Zagreb, 2004. 11. Ono što dijelimo je nemogućnost zajednice i u upravo je u tom dijeljenju naša šansa za zajednicu. To je zajednica koja vas ne može poslati u smrt. Možete poželjeti dobrovoljno umrijeti, to je moguće, ali ne postoje nikakva očekivanja, osim očekivanja dijeljenja, koje nije samo riječ niti apstraktni koncept. Možete samo dijeliti upravo zato jer je u zajednici to nemoguće. To zvuči vrlo nejasno, zvuči kao ništa naspram svih tih velikih obećanja koja imamo o tome što će se desiti kada budemo imali zajednicu, ali upravo je ta nejasnoća, smatram, vrijedna istraživanja.’ Love and Community: A round-table discussion with Jean-Luc Nancy, Avital Ronell and Wolfgang Schirmacher, August 2001, The European Graduate School, Switzerland. 12. Razbijanje homogenosti identiteta kojeg nudi Nancyjev „singularno pluralni bitak“, ili pak Agambenov „whatever sigularity“ transgresija su postojećeg poretka stvari: „Ono što Država, međutim, nikako ne može tolerirati, je to da singularnosti formiraju zajednicu bez afirmiranja identiteta, da ljudi su-pripadaju bez nekog uvjeta pripadanja, kojeg je moguće reprezentirati (pa čak i u vidu neke jednostavne pretpostavke)... Za Državu, dakle, nikad nije bitna singularnost sama po sebi, nego samo njeno uključivanje u neki identitet, bilo-kakav identitet (ali mogućnost da se „bilo-kakvo“ (whatever) preuzme bez identiteta je prijetnja s kojom se Država ne može nositi.“) Giorgio Agamben, citirano prema: Suzana Milevska, „The Phantasm(s) of Belonging: Belonging without Having Something in Common“, Volksgarten Politics of Belonging. Ed. by Adam Budak, Peter Pakesch, Katia Schurl. Kunsthaus Graz am Landesmuseum Joanneum, 2008; 13. Asim Mujkić: Ideološki problemi konsocijacijske demokratije u Bosni i Hercegovini , Odjek, proljeće,2008. 14. Ahmad Beydoun: Civili, njihove zajednice i država u ratu kao društveni system u Libanonu, Status,br.12, 2007. 15. Jasmina Husanović: Politika je umjetnost (ne)mogućega? O ustavnoj reformi u BiH, dodatak časopisu Dani o ustavnim reformama u BiH, maj 2004. 16. Ibid 17. Alain Badiou, „Fifteen Theses on Contemporary Art“, predavanje održano 4. prosinca 2003, u the Drawing Center u New Yorku. Ovdje citirani dijelovi teksta preuzeti sa: www.lacan.com/frameXXIII7.htm 18. Rad Bez naziva izveden je kao seriji billboada u javnom prostoru. 19. Ivan Grubanov, iz teksta govora u performansu Govor ispred Narodne skupštine, 2006.
Where Everything is Yet to Happen (“Can you speak of this? -Yes, I can.”) When, not long after the opening of the first SpaPort exhibition in Banja Luka in September 2008, we were invited by the project board to be curators of the second version of this show, the basic question that made us think about whether to accept the invitation, and if so, in what way, was the issue of the ambivalence of our own position. This ambivalence stems, on the one hand, from the unease of contributing to the proliferation of biennials, that occupy spaces of conflict, instability and social and political tensions in order to offer art as a (more or less self-confident) response to a state of urgency. On the other hand, our position is particular in that, although invited from outside into a context that is for us, for all practical purposes, new, it certainly cannot be looked at separately from the common, post-war and post-Yugoslav experience that all of us, in the area of the so-called Western Balkans, share. Such a constellation creates a tension between the position in which one addresses the “task” from both within and without, through the ambivalence of the question of who is “speaking” and in whose name, and to whom this “speech” is addressed. Avoiding an approach which would assume such “messianic” role for workers in culture who have as their aim the detection of that “state of emergency” and finding an indication of its “resolution”, we decided - in substance and in the sense of format - not to make a “monologic” exhibition that would explicitly thematise what seems to us once again an almost predetermined focus – a representation of Bosnia-Herzegovina as a post-war, pre/ post-emergency space of instability, the normalisation of which is now unfolding also via this cultural project, sponsored by a Swiss foundation. On the other hand, it was impossible to neglect that same reality. The basic contours that were thus, ultimately, developed as the framework of the project, were articulated through the concept of potentiality, the awareness that - in spite of the uncertainty of the future of the actual project and the future of the actual social and political context in which it was developing - one could (and one had to), then, get into an open and long-term process of imagining that which was already in advance constructed as impossible. It is, moreover, a process that embraces uncertainty as its choice and that, through the establishment of collaboration and communication at several levels, develops as a long-term project constantly in the state of “becoming”; a project that is gradually, by small steps, establishing its presence on the local and the international artistic scene and with the public, thus waiting for its own articulation, that is - the articulation of what is yet to happen. The title Where Everything is Yet to Happen (WEIYTH) 1 , contains references to duration, GDJE SE SVE TEK TREBA DOGODITI / WHERE EVERYTHING IS YET TO HAPPEN
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Naposljetku, kolaboracija s kojotom
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da svatko ima trenutačan i neogran
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1. In pedagogical discourse, both c
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flow in which these positions are a
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The nets of voluntariness, enthusia
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Eyal Weizman 665/Manje zlo Prije ne
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uveća dobro. Oba slučaja potvrđu
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Manje zlo je uobičajeno opravdanje
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skali od manje ili više nečega, n
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edukciju patnje. 25 Put prema utopi
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koju nanose “manja” ili da bi s
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sastojao se u “vještini rukovođ
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councils set up by the Nazis), she
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ously most often about the sufferin
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the beginning of a possible archive
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losophy: If God governs the world a
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a better world possible. Marx saw t
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festa7 seeks to start unpacking thi
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lib. arb. I.v.12). In her presentat
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Namjera našeg priloga je stvaranje
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1. 2. 3.
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“S jeseni, kada počnu vetrovi, l
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prožimanjem fakata i fikcije, Kiš
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Naime, u poljsko-hrvatskom, a zasig
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Danas Poljaci žive u etnički čis
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Yael Bartana Mary Koszmary (Noćne
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Jednom kulturom, ne možemo osjeća
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Želimir Žilnik Kenedi se vraća k
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ulica, jer sve mi je to vrlo sumnji
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small. But anyway, thank you, I sha
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Neka geografska područja muče svo
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postalo neodrživim. Sačuvala je c
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A.C.A.B. Multimedijalna instalacija
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Ronen Eidelman Trinaest principa 1.
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Ronen Eidelman The Thirteen Princip
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Aydan Murtezaoğlu HIP ACTIVIST - L
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Nina Möntmann Učestvuju / With co
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zamjenjuje pravo istraživanje i pr
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Njihove muke, oklijevanja i nedoumi
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Yael Bartana Jews! Fellow countryme
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Esra Ersen If You Could Speak Swedi
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Jelena Vesić Učestvuju / With con
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svetlošću sa horizonta revolucije
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se zaustavi na lociranju ovih ‘ne
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Bratstvo i jedinstvo! Komunizam - p
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jena prostitucija i pomaže ženama
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kim uslovima svakako deli gore pome
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Studenskog kulturnog centra u Beoga
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umetnička aktivnost trebalo bi da
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Lutz Becker Kino beleške, Film 29
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Biografije / Biographies A.C.A.B. j
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U svom radu bavi se uglavnom odnoso
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Dutch, Van Abbe Museum, Eindhoven a
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Muzeju Stedelijk, SMART Project Spa
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Erden Kosova je kritičar koji živ
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Ko-urednik je knjige Wörterbuch de
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Copenhagen. (2005) The Oberhausen S
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Želimir Žilnik (1942, živi i rad
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