Branka Vujanović / “Intime” kao kritičke strategije / Intimacies as critical strategies / 2013

Čini se kao da je intima nepovratno potisnuta u naše vrijeme, opterećena informacijama i nadzorom i zavođenjem, slomljena pod odlučujućim uticajem svih drugih nivoa, Ali intima je još uvijek nepredvidiva sila...možda će intima i njeni umjetnički izrazi zapanjiti 21.vijek.

Brian Holmes, Afektivistički manifesto

Kritičke umjetničke strategije u promijenjenim uslovima “društva kontrole” podrazumijevaju introspektivno preispitivanje kompleksne mreže učinaka kojima se ne samo ekstenzivno (globalno) već i intenzivno (na nivou senzibiliteta koji određuje stilove života) u korijenu negira sama mogućnost otpora. Eksploatisane kao najprofitabilnija sredstva u proizvodnji spektakla globalnog kapitalizma, današnje intimne prakse se mogu shvatiti kao kontrolisane, automatizovane, inscenirane i “brendirane šeme postojanja”.

U istoriji umjetnosti od Kurbeovog (Courbet) Porijekla svijeta i Maneove (Manet) Olimpije do privatnog prostora Tanje Ostojić, radikalizacija intimnih izraza podrazumijeva ukudanje distance između umjetnosti i posmatrača. Ideologija neutralnosti posmatrača probija se dimenzijom realnog: uzvraćenog pogleda, realnog tijela, realnog događaja, realnog kontakta. Prisutna je takođe i svijest o “spektralnoj sjenci realnosti” koju smo u stanju doslutiti tek kroz fikcionalizaciju koja čini dio umjetničke procedure (kako pokazuje Slavoj Žižek u svom tumačenju Hičkokove filmske procedure).

Intima je prostor fantazije, otvaranja ka svijetu drugačijih pravila. To je prostor introspekcije, ali i prostor produktivne tenzije neočekivanog, stav kontra marginalizacije, stereotipa, ignorancije, homogenizacije i bezosjećajne birokratije. Za razliku od “intimizma” kao umjerenog modernističkog usmjerenja koje izbjegava radikalno preispitivanje odnosa sopstva i okruženja, intima kao umjetnička strategija kritički artikuliše ovaj odnos.

Radi se o artikulaciji individue, kao i o artikulaciji pred-individualnog i trans-individualnog. Pred-individualno se odnosi na specifičnosti društva i kulture u kojoj se individua artikuliše, a trans-individualno se odnosi na relacije kroz koje se artikuliše, od odnosa sa najbližima i neposrednim okruženjem, preko profesionalnog i društvenog života, do odnosa prema svijetu u cjelini.

Intenzivna upletenost privatnog svijeta u procese i okolnosti nad kojima nemamo kontrolu predstavljena je u djelima Borjane Mrđa. Ciklus crteža Cut-out momenti ističe singularnost sjećanja i snažan emotivni naboj međuljudskog odnosa. Ovi intenzivni i singularni momenti okruženi su tekstom o aktuelnim zbivanjima u svijetu. U video radu pod nazivom Transfiguracijaproces uplitanja, simbolizovan tradicionalnom formom splitanja djevojačke kose u pletenicu, nalazi kontrapunkt u bolnom procesu oslobađanja kose koja se zaplela u grani bora. Proces se odvija u enterijeru doma i u eksterijeru rodnog kraja umjetnice na Kozari. Pri tome se situacije iz realnosti ukazuju kao ritualne radnje “inicijacije” i “oslobađanja”.

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It would seem that intimacy is irretrievably weighted down in our time, burdened with data and surveillance and seduction, crushed with determining influence of all the other scales. But intimacy is still an unpredictable force...it may be that and its artistic expressions are what will astonish 21st century.

Brian Holmes, Affectivist manifesto

Critical artistic strategies in changed circumstances of the “society of control” involve the introspective questioning of the complex network of effects, through which the very possibility of ressistance is being negated, not only extensivly (globaly) but also intensively (on the level of sensibility that determines ways of life). Intimate practices today, exploited, as a most profitable means in the production of the spectacle of global capitalism, can be read as controlled, staged and “branded patterning of existance.”

In the history of art, from Courbet’s Origin of the World and Manet’s Olympia, to Tanja Ostojić’s Private Spaces, radicalizes expressions of intimacy point to the elimination of distance between the space of art, and the space of the viewer. They break thro the ideology of the viewer’s neutrality, by insisting on a dimension of the real: returned gaze real body, real event, real contact. There is also an understanding of the “spectral shadow of reality”, that we encounter only through fictionalization, as a part of artistic process (Slavoj Zizek gives the example of Hitchcock’s film procedure as revealing this “spectral shadow of reality”).

Intimacy is also a space of fantasy, a revelation of different set of rules. It is a space of introspection, as well as productive tension of the unexpected, the stand against marginalization, stereotypes, ignorance, homogenization and senseless bureaucracy. Intimacy is different “intimism”, a moderate modernist stream avoiding radical confrontation of the self, and its surroundings. Intimacy as an artistic strategy critically articulates this relationship. It is an articulation of individual, but also of pre-individual and trans-individual. Pre- individual points to specificities of society and culture in which the individual articulates itself, and trans-individual points to the relations through which s/he articulates her/his self, from the relation with the immediate surroundings, close family and friends, through the professional and social life, to the relation to the world in general.

The works of Borjana Mrđa deal with the ways in which intimacy is interwoven with processes and circumstances beyond our control. The drawings from the cycle Cut-out moments emphasize the singularity of memory and provide a powerful emotional charge of inter-humane relations. These emotionally charged singular moments are surrounded by the texts that thematize different contemporary happenings around the world. Her work Transfiguration engages the process of interweaving symbolized by a traditional form of braiding a girl’s hair. This process of braiding has its counterpoint in the painfully effort of releasing the girl’s hair from the branches of the tree. The processes take place in the interior environment of home, and the natural environment of Kozara, which is where the artist was born. Situations from everyday turn out to be ritual practices of “initiation” and “liberation”.

uzeto iz kataloga / taken from catalogue:

Izdavač / Publisher: JU Collegium artisticum; Za izdavača / For publisher: Gordana Anđelić-Galić; Kustosi / Curators: Branka Vujanović & Jon Blackwood; Tekstovi u katalogu / Texts in catalogue: Branka Vujanović & Jon Blackwood; Dizajn kataloga / Catalogue design: Merima Smajlović; Štamparija / Print: “Garmond”; Tiraž / 300