Recorded Memories: Europe South-East /

 Sjećanja brzo nestaju. Koliko ona traju i koliko su postojana? Da li je moguće konzervirati sjećanje? Da li se moguće oduprijeti stalnim najezdama procesa zaborava? Umjetnost je oduvijek bila svojevrsnom pobunom protiv nezaustavljivog ritma svakodnevnice za kojim kaska nepovratna prošlost. Fluidnost sjećanja je potrebno materijalizirati kako bismo ih u određenim momentima mogli prizvati. Materijalizacija sjećanja se odvija i putem umjetnosti, pa su upravo muzeji i galerije važne institucije u uspostavljanju veze s prošlošću. Kao javne institucije u službi društva, muzeji i galerije putem različitih aktivnosti djeluju na kreiranje kolektivnog pamćenja. Zbog toga je i nastao projekat Recorded memories: Europe. South East. Predstavljanje projekta je započelo izložbom u sarajevskoj galeriji Collegium Artisticum, 12.09. godine.

 Recorded memories izložba je objedinila radove 23 umjetnika i umjetnice iz 11 država i aktivno učešće 11 kustosa iz Jugoistočne Europe. Poslije posljednjeg velikog praska na ovim prostorima, društvima koja se još uvijek hvataju za slamku nacionalnog identiteta, Recorded Memories nudi video radove, fotografije i instalacije: s ciljem propitivanja načina na koji se odvija sam proces oblikovanja kulturnog pamćenja. Izložba je medij kojim su se oduvijek prenosile kulturne poruke. Međutim, dok se ranije postavkama pokušava iznijeti poetika koja odiše modernističkom težnjom za totalitetom, Recorded Memories predstavlja pokušaj narativnog pluralizma. Što to zapravo znači? Ranije se akcenat stavljao na univerzalnu priču, u kojoj su jasno utvrđivane strane, njihov međusobni odnos i sama poenta priče. Međutim, vjerovatno poučeni iskustvom bolesnog narcističkog izričaja, počeli smo se okretati sa mjesta modernističkog pripovjedača prema mogućnosti paralelnog obraćanja. Tako je ova izložba dopustila suživot istovremenim pričama na bliskim, ali ipak različitim geografskim koordinatama kako bi donijela polifoničnu priču o snimljenim sjecanjima. Ono što hoću reći je da radovi izloženi u Collegiumu prevazilaze nacionalna previranja i postaje jedinstvena u smislu prihvatanja drugosti koja nam je nekoć bila mnogo strana. Iako Recorded Memories polazi od različitih vrsta, tematika i načina na koje oblikuje narative, oni su ipak podčinjeni jednom problemu: problemu ispisivanja pojedinačnog i kolektivnog pamćenja, njihovog preplitanja i funkcioniranja.

 U izložbi su učestvovali i radovi Milomira Kovačevića. Kod Kovačevića redanjem različitih ciklusa fotografija u vodoravni niz, također postavlja se pitanje o onome što smo bili i što smo sada. Pored radova iz ciklusa “Pioniri” i Titovih portreta iz perioda Jugoslavije prikazanih u sredini za koju se smatralo da su nekada uljepšavali, Kovačević stavlja prikaze uništenih Titovih portreta i novu generaciju “pionira” s ručno pravljenim puškama. Kovačević zapravo kompariranjem ukazuje na čestu potrebu da odbacimo onaj segment prošlosti za kojeg smatramo da narušava naš trenutni “image.”

 Propitujući individualni i kolektivni identitet ova izložba postaje univerzalni zapis tragova evropskog sjecanja. Riječ je o fotografijama, video radovima, instalacijama koje koji autentično funkcionišu unutar vlastitih okvira pojedinačne, tragične priče, ali koji ujedno ukazuju na potrebu da se razumije drugost: ne kako bi se suosjećali, već da nasilje protiv drugih prihvatimo kao nasilje protiv sebe.

Memories disappear quickly. How long do they last and how stable they are? Is it possible to conserve memory? Is it possible to resist the repeated invasions of the process of forgetting? Art has always been a kind of rebellion against the relentless pace of everyday life for which lags irretrievable past. Fluidity of memory is required to materialize in order to recall them in certain moments. The materialization of memories takes place through art, so museums and galleries are important institutions in establishing the connection with the past. As a public institution in the service of society, museums and galleries through different activity affect the creation of collective memory. Consequently, in that way the project Recorded memories: Europe. South East originated. Presentation of the project began with an exhibition in Sarajevo’s Collegium Artisticum, on September 12.

Recorded memories exhibition is integrating the works of 23 artists from 11 countries and the active participation of 11 curators from South East Europe. After the last big bang in this region, societies are still clutching at the straws of national identity, Recorded Memories offers video works, photography and installation: with the aim of questioning the way in which process of shaping cultural memory takes place.  However, while earlier settings tried to bring poetry that exudes a modernist desire for totality, Recorded Memories is an attempt at narrative pluralism. What does it really mean? Previously, the emphasis was placed on the universal story, which clearly measured sides,  the relationship between them and the very point of the story. However, probably learned by experience of ill narcissistic expression, we began to turn from the modernist narrator to the possibility of parallel speech.

So this exhibition allowed the coexistence of simultaneous stories on close, but different geographic coordinates in order to bring polyphonic tale of captured memories. What I mean is that the works presented at the Collegium transcend national turmoil and becomes unique in the sense of accepting the otherness that used to be unfamiliar to us. Although Recorded Memories is based on different types, subjects and the way in the narrative is shaped, they are still subordinative  to one problem: the problem of printing individual and collective memory, their overlapping and function.

 The exhibition included the works of Milomir Kovacevic. In his work by placing different photo series in horizontal range, also raised some questions of what we were and what we now are. In addition to works from the series “Pioneers” and Tito’s portrait from the Yugoslav period presented from enviroment where they were consideded desirable, Kovacevic puts representations of destroyed Tito’s portrait and a new generation of “pioneers” with handmade guns. By comparing, Kovacevic actually points to the frequent need to discard the segment of the past that  we feel like  it violates our current “image.”

 Examining individual and collective identity, this exhibition becomes a universal record of traces from  European memory. Thoe are  photographs, video worksand installations that authentically operate within their own framework of individual, tragic stories, but which also suggests the need for understanding the otherness: not to sympathize, but to realize that violence against others, is the violence against ourselves.

Elma Hodžić

Recorded Memories: Europe South-East is open now at Collegium Artisticum and runs until the 7th October. Admission is free. A catalogue accompanying the show is available, priced at 20 KM.

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