Poznań

228/
Marija Vauda
& Nikola Pilipovic (Serbia)
curator PAM
co-curators Raphaele Shirley and Lee Wells
_
Marija Vauda (Belgrade) graduated from the Academy of Applied Arts,
the Department of Sculpture, Belgrade, in 1986. Nikola Pilipović(Kikinda) holds
BA and MA degrees from the Academy of Fine Arts, Department of Painting,
Belgrade, which she graduated in 1986.These artists have been working very
actively on the Serbian contemporary art scene for 20 years now. Each of them
has held numerous solo and group exhibitions in the country and abroad (Slovenia,
Bulgaria, Grece, the Nederlands, Germany...). They create paintings, sculptures,
drawings, photography, phoperformances and texts as separate works or they
put them together in ambient installations and actions in the public space.
Marija Vauda and Nikola Pilipović have been working together since 1993,
but they started to sign their works as MANIK in 1999.
SELECTED EXHIBITIONS:
2008 Epic of Violence, drawings, the Gallery Magacin, Belgrade, RS /
2006 Full size image ambient, the Art Gallery of the Cultural Centre Belgrade, RS /
2004 The missing people, ambient, the Gallery of ULUS, Belgrade, RS /
2001 From China to Banat, action, Belgrade, RS / Epic of Violence, drawings, the
Gallery, Magacin, Belgrade, RS / Marija Vauda&Nikola Pilipović, installation, Modern
Gallery, Slovenj Gradec, SI / Pilipović, installation, Umetnostna Gallery, Maribor, SI /
1997 Inselfment, video and performace, 1997, Belgrade, RS / + Marija Vauda&Nikola
VERWERFUNG
The uninhabitable zone is a socially unacceptable but densely populated
space. Due to these qualifications it is essential in order to define, describe
and expand the area of the Subject. The process is reversible because
no matter how excluded the interfering infrastructure of the Subject
is from the contract, it is accepted as a derivative so the periphery
and the rejected, the excluded (Verwrenfung) become one surface
on the Body of society. To live in Verwerfung is to live in a de-territorialized
discontinuity, schizophrenically and machine-like, advocating plurality
as an act of creativity and thus a language of critique. We cannot avoid
hegemony/ the mainstream, we can only submit to it speeding up the end,
accepting and going into transformations as synthetic requirements
of the madness of illogical practice. In the gray, ghettoized, utopian
non-democratic zones language buzzes and is wedged.
The image/personality/subject/identity is autistic, rejected, isolated,
unnecessary and thus it is unavoidably satisfied, optimistic because it steals
language (the language of skills, the language of foreigners, the language
of psychology, the language of a nation, the language of economy,
the language of new technologies, forgotten languages, the languages
of all possible alienation) it intensifies its satisfaction and in a Riemann’s
surface departs and extinguishes itself like exhaustion and a decision
a machine would make.
Manik
>
VERWERFUNG, 2001
video, 10’30“
FOT. M. Vauda & N. Pilipovic