Bark by kuda.org/GKP is a contribution to Several Panoramas for One Phenomenology of the Irrational by Zoran Todorovic
SR: Aplikacija za mobilne uređaje na kojoj možete videti “Lavež”, audio-vizuelnu instalaciju u kojoj element forme jednog dela umetnosti – “Nekoliko panorama za jednu fenomenologiju iracionalog”, umetnika Zorana Todorovića – stvara delo “Lavež”, i čije „vođenje“ je bilo element forme dela umetnosti “Izdaja i forma: Refleksije o umetnosti i mišljenju”, Marine Vishmidt i Anthony Ilesa. Ovo je otvoreno delo i intervencija kojom je umetnička organizacija na distanci od umetničkog dela kao oblika kulturalizacije politike umetnosti.
Sadržaj aplikacije se može videti samo u galeriji Kunstpavillon – Tiroler Künstlerschaft u Insbruku, pošto je aplikacija geografski kodirana.
EN: Application for smartphones with which you can see Bark, an audio-visual installation in which elements of the form of the work of art Several Panoramas for One Phenomenology of the Irrational by Zoran Todorovic, create a work entitled Bark, whose guidance is the element of form of the work of art Treason and Form: Reflection on Art and Thought by Marina Vishmidt and Anthony Iles. The whole sequence comprises an open work and an intervention whereby an art organization assumes the distance of an art work to counter the culturalisation that dilutes the politics of art.
The content of the application could only be seen in the gallery Kunstpavillon – Tiroler Künstlerschaft in Innsbruck, since it is geographically coded.
DE: Smartphone App “Lavež” (Bellen), eine audio-visuelle Kunstinstalation, in der ein Element der Form eines Kunstwerkes – “Nekoliko panorama za jednu fenomenologiju iracionalnog” (Einige Panoramen für eine Phänomenologie der Irrationalität) – von Künstler Zoran Todorovic, das Kunstwerk “Lavez” schafft und dessen “Führung” ein Element der Form eines anderen Kunstwerkes – “Izdaja i forma: Refleksije o umetnosti i misljenju” (Verrat und die Form: Eine Reflexion über Kunst und die Meinung”) von Marina Vischmidt und Anthony Iles bildet. Das ist ein offenes Kunstwerk und eine Intervention, durch die sich künstlerische Organisation auf einer Distanz gegenüber dem Kunstwerk als einer Form von Kulturalisierung der Politik der Kunst befindet.
Das App ist nur in der Galerie vom Kunstpavillon – Tiroler Künstlerschaft in Innsbruck abrufbar, da das App geografisch kodiert ist.
Bark by kuda.org/GKP is a contribution to, and reworking of, one element of Several Panoramas for One Phenomenology of the Irrational by artist Zoran Todorović. In relation to their research and publishing activities around the Belgrade Surrealist group, members of kuda.org/GKP were invited by Zoran Todorović to take part in a work which sought to stage a series of three conversations (the artwork is still undergoing further development) at resonant sites of cultural and political contestation in ex-Yugoslavia. The discussants, who comprised, at different times: Biljana Andonovska; Ivana Momčilović and Slobodan Karamanić; and GKP members, Branka Ćurčić and Zoran Gajić. At each site they attempted to open up histories, tensions and contemporary conditions for cultural production in ex-Yugoslavia, through their differing positions on the role of the Belgrade Surrealist group in the military and political histories of ex-Yugoslavia. The three sites featured in Todorović’s panoramas are: the Museum of Contemporary Art in Belgrade; Sutjeska, a national park and location of one of the key battles in WWII (a turning point for communist partisan forces fighting against the Axis powers and one in which Surrealist poet Konstantin ‘Koča’ Popović demonstrated his will to put down his pen and pick up a gun to fight as a partisan); and Vrnjačka Banja, in present-day Serbia a spa, but at the time a sanatorium where Marko Ristić, another key Belgrade surrealist, waited out the war in uneasy comfort.
The intervention of kuda.org/GKP constitutes the inclusion of one more site, one which is not seen as a site of past historical events and places, but rather as an actual site of polemics which are still being conducted about the question of art and politics (the workspace of kuda.org/GKP). The audio of the fourth screen is an enunciation regarding struggles in the artistic and activist fields on the present terrain of the former Yugoslavia (the text from which the audio is drawn is, ‘The University and the Academy Are Today’s Political and Conceptual Super-ego’).
In the presentation of the Panoramas at Kunstpavilion the artwork is not translated (into English or German), which enables an encounter with its opacity and irreducible factuality. The realization of Bark is informed by elements of a previous artwork by Zoran Todorović, Gypsies and Dogs, a piece that was received controversially, and which provoked a discussion about political correctness. This evoked reflections on what we are calling a ‘culturalization of politics’, specifically the culturalization of the politics of art. By ‘culturalization’ we mean the reduction of politics to culture, of politics naturalized as a cultural instance. We see culture as a reactionary concept when it is taken for a spontaneous social fact.
In Gypsies and Dogs, cameras were attached to stray dogs and Roma children who beg on the streets. Images were thus recorded that mechanically testified to their situation. The de-subjective process of recording rather than making in that piece and the ensuing debates encouraged us to apply similar principles of freedom of interpretation and organization to the Panoramas material in the production of Bark. We took ‘the dogs’ perspective’ in cultivating a deafness to claims about the necessity of translation, of understanding and interpretation, and answered with the work of art that resulted. Thus we keep the work open to the linkages which an aesthetic experience can provoke.
GKP, The University and the Academy Are Today’s Political and Conceptual Super-ego, http://www.metamute.org/community/your-posts/translation-anomiebonhomie-serbo-croatian
Zoran Todorovic, Gypsies and Dogs: http://www.zorantodorovic.com/gypsies_and_dogs.htm