|Darko Fritz on Sat, 10 Oct 2009 17:36:56 +0200 (CEST)|
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|<nettime-ann> exhibition ::: Reconstructions: private = public = private = public =|
. Reconstructions: private = public = private = public = (Selection of Works by Croatian Contemporary Artists) 11 - 18 . 10 . 2009 . REX . Belgrade openinig: Saturday 10 . 10. 2009 . 19 h Curator: Darko FritzArtists: Helena Bulaja . Boris Cvjetanovic . Ivan Faktor . Sanja Ivekovic . Zeljko Jerman . Andreja Kuluncic . Dalibor Martinis . Edita Pecotic . Goran Trbuljak . Slaven Tolj
English web site: www.rex.b92.net/private_public Serbian web site: www.rex.b92.net/privatno_javnoThe exhibition 'Reconstructions: private = public = private = public =' examines the feminist perception from the 1970s: 'the private is the public' i.e. 'the private is the political' using various positions selected from Croatian contemporary art since the seventies, and outside the feminist discourse. The continuity of four decades of creative work of certain artists, as well as the interaction between the new works of art and the artistic expression of the 70s, are the focal points of this exhibition. Jerman's art diary works 'My Year' ('Moja godina') (1977) and 'My Month' ('Moj Mjesec') (1982), as well as the video artwork 'Make Up – Make Down' (1978) by Sanja Ivekovic and Goran Trbuljak's posters, are representative examples of the artistic perception of the relationship between the private and the public, expressed in a form of artists' first-person point of view through various media typical of the 1970s 'new art practices' (performance art, text, photography, video art). Apart from these works which use the artist's own body and/or personal experience, the exhibition also presents more recent works created in the era characterized by complex relations established after the phenomenon of reality TV in the 1990s, the erosion of privacy due to security measures introduced post September 11, and the ubiquity of personal audiovisual technologies and their application in online social networks in recent years. Communication of (non-artistic and mostly trivial) personal and private content in public places became commonplace, from passive listening to other people's conversations over mobile phones in public places to active communication with a large number of people, like for example within the social network web site FaceBook, where apart from communication with so-called 'friends' (with an illusion of being able to freely select people to communicate with) users legally allow the corporation to use their personal information.
Critical positioning of the personal, on one side, and reconstruction and recontextualization of historical events and facts, on the other side, are the tools used by artists to shape new examinations of the personal and the private. Several of the presented works use the documentary film form and documentary or archival material.
... The exhibition critically examines the use of communication media as well as the 'old' and 'new' technologies within the artistic discourse, ranging from the 'first-person point of view' to the critical analysis of the relationship between the personal and public space. The starting media forms of the works of art vary from artists' own bodies (performance of Slaven Tolj, acting of Sanja Ivekovic, Jerman's self-portraits) to intimate diary reports and notes (Zeljko Jerman, Boris Cvjetanovic) to personal comments and statements (Sanja Ivekovic, Goran Trbuljak). Various forms of public space were used, both physical and virtual; galleries, urban locations owned by corporations or urban public areas (Trbuljak's posters, performance by Slaven Tolj), as well as virtual space like television (Martinis), the Internet (Bulaja) or the system of city surveillance cameras (Slaven Tolj).
The personal and the public always communicate in both directions and sometimes (increasingly so) cannot be separated by a clear boundary or any boundary at all. Relationships between the personal and the private are dynamically activated in any given time, influenced by the ever-changing political context and the fluid technological apparatus used in the role of a mediator, and reinterpreted in various poetic and objective views in the works of art that have been critically examined. Darko Fritz
Carried out with the support of the Ministry of Culture of the Republic of Serbia, City of Belgrade - Secretariat for Culture, Stability Pact for South Eastern Europe/Goethe Institute Belgrade . Media support: RDP B92, Vreme, Danas, See Cult
----------------------------------- REX . Jevrejska 16 . Belgrade . Serbia tel/fax: + 381.11.3284 534, + 381.11.3284 299 . www.rex.b92.net . email@example.com open daily 12 -18 h _______________________________________________ nettime-ann mailing list firstname.lastname@example.org http://www.nettime.org/cgi-bin/mailman/listinfo/nettime-ann