Descarcă revista în format PDF - idea

Exista posibilitatea de a te sui pe schele. Apoi puteai coborî aøa cum ai urcat sau îfliputeai da drumul pe panta din spate, care era a patra laturæ a monumentului, la rîndulei o metaforæ. Cel aflat sus nu ræmîne în mod necesar acolo. Întîlnim aici, în egalæmæsuræ, un aspect ludic, care îngæduie o abordare cu umor a acestor chestiuni, într-uncontext care altfel e complicat. Cu toate acestea, ideea mea iniflialæ era cæ oameniipot participa. Oamenii deveneau astfel sculptura lipsæ atunci cînd urcau pe monument.Øi acest lucru a funcflionat foarte bine, chiar dincolo de aøteptærile mele, avîndîn vedere cæ, încæ din prima zi, pærinfli însoflifli de copii au ocupat spafliul, formîndu-secozi pentru coborîrea de pe monument. Asta înseamnæ pentru mine un mare succes,întrucît chiar dacæ oamenii vin doar pentru a coborî panta din spate, ei vor realizarapid cæ aceastæ pantæ nu este folositæ într-o manieræ obiønuitæ. Mai mult, aceastæpantæ le va permite sæ vadæ restul expozifliei øi sæ aibæ o abordare voioasæ a arteicontemporane.¬ Cum a fost perceputæ aceastæ instalaflie de cætre spanioli? În aceste vremuri aleprotestelor – miøcærile Indignados au început în Spania – au arætat spaniolii un interesaparte faflæ de opera ta?√ Cînd mi-am început activitatea la Madrid, nu mi-am imaginat cæ va exista o asemeneamobilizare politicæ a poporului spaniol în acelaøi timp. A fost o coincidenflæ incredibilæøi magnificæ. Dovada cea mai frumoasæ a fost cæ titlul expozifliei a ajuns directpe Puerta del Sol, ca un slogan printre altele. Sînt extrem de mîndræ de acest lucru.Acestea sînt complimente care devin parte din viaflæ øi sînt magnifice. Mai mult,aceasta ræspunde unuia dintre obiectivele operei mele, crearea unei legæturi întreartæ øi viaflæ. Lucrez cu subiecte care vin din viaflæ, le integrez în opera mea, acumaceste elemente venind din expoziflie au fost integrate din nou în viafla realæ. Estecea mai mare recompensæ de care un artist poate avea parte.¬ Putem gæsi în aceastæ instalaflie elemente recurente (cîntul, scandarea, efemerul,o însemnatæ prezenflæ femininæ) øi probleme (construirea de istorie øi de identitate) pecare le foloseøti frecvent în munca ta. De asemenea, sloganurile politice pe care le expuiøi de care te ocupi aici mæ fac sæ leg acest proiect de altele douæ realizate înainte –Women at Work – Washing-up [Femei la muncæ – spælatul], 2001, øi Avanti popolo,2002. Existæ, într-adevær, o legæturæ?√ Dupæ Women at Work, care dateazæ din 2001, am încercat sæ extind problemele.Pentru Women at Work am folosit sloganuri ale lui Tito, care erau legate deistoria Iugoslaviei. De data aceasta, am lucrat cu sloganuri politice øi economice din1911 øi pînæ în 2011, ceea ce mi-a permis sæ studiez mai în profunzime istoria acestorultimi 100 de ani (o experienflæ pe care sper sæ o continui).Pentru instalaflia de la Madrid, am adunat øi o arhivæ de 140 de sloganuri, cu ajutorulcæreia putem mæsura temperatura politicæ. Textele care însoflesc aceste sloganuri(aflate la dispoziflia vizitatorilor, împreunæ cu lozincile însele, pe întreagaduratæ a expozifliei) au fost scrise de Bojana Pejić, Henriette Sölter øi Mara Traumane.Mai mult, în special în contextul politic actual, apar zilnic noi sloganuri. În cadrulcercetærii noastre a fost interesant de observat modul în care sloganurile trec de lapoliticæ la economie øi invers. Putem afla astfel, privind la lozinci, ce se întîmplæ îndomeniul politic øi economic într-o anumitæ epocæ. Dar ceea ce e la fel de interesantde observat este faptul cæ, odatæ scoase din contextul lor, nu mai øtim desprece idee sau poziflie criticæ a fost vorba. De exemplu, acest magnific slogan italian,care a fost totuøi unul fascist: „Sîntem ultimii din ziua de ieri, dar primii din ziua demîine“, ar fi putut fi, foarte bine, øi un slogan din mai ’68. Dacæ le scoatem din context,orice este posibil, øi acest lucru deschide posibilitæfli imense.Am tratat aceste lozinci în moduri diferite în instalaflia mea de la Madrid. Ele au fostclasificate în funcflie de cinci criterii: an, orientare politicæ sau economicæ, conflinut/semnificaflie,jocuri copilæreøti (ultimul cuvînt al unei propoziflii trebuie sæ fie primulmonument on the pedestal, it would have pierced through the glassceiling of the palace, therefore the very possibility of the monumentwas excluded.In this monument there were integrated five videos which title isWende, signifying “change, twist“ [in German] and which is in directconnection with the fall of the Wall in Berlin. Starting from this politicalevent I have looked, during a period which I have limited to 100years, from 1911 to 2011, at other political occurrences which havedetermined profound changes and which have arrived suddenly.In this logic, I haven’t selected the two world wars which had a longerduration. I have preferred to choose events which have changed theworld in a fast way, from one day to another we could say.In the exhibition, six political-historical events were projected on fivescreens, and these were: the October Revolution, the Spanish civilwar, and connected to it, the arrival in Europe of totalitarianism,right and left, then May ’68, the falling of the Berlin Wall and finally,the recent revolutions of 2011. All these scenes were presented in ametaphorical way. There was also an important series of references,which allowed for the connection with each event to be made: forthe October Revolution the montage hinted to the work of Eisenstein,for May ’68 there were paving stones but which were not presentedin foreground, etc.One could climb on the scaffolding. Then one could either step downthe same way or take the slide which was the fourth side of the monument,equally a metaphor. That one who is on top won’t necessarilystay there. We find here equally a playful aspect, allowing for a humorousapproach towards these issues, in a context which otherwise is verydifficult. However, my initial idea was that people could participate.People became thus the missing sculpture when they climbed the monument.This has functioned very well, even beyond my expectations asfrom the very first day parents with children have occupied the space,waiting queues were formed for descending the monument. This is forme a big success, for even if people only come to descend the slide,they will quickly realize that this particular slide is not used in an ordinaryway. Moreover, this slide will allow them to see the rest of theexhibition and have a joyful approach to contemporary art.¬ How was this installation perceived by the Spanish? During thistime of protests – the Indignados movements, which have startedin Spain – did they show a particular interest in your work?√ When I started my work in Madrid I couldn’t think there wasgoing to be such a political mobilisation of the Spanish people atthe same time. It was an incredible and magnificent coincidence.The most beautiful proof was that the title of the exhibition wastransported directly on the Puerta del Sol like a slogan amongstothers. I am extremely proud of this. These are compliments thatbecome part of life and they are magnificent. Moreover, this respondsto one of the aims of my work, of creating a connection between artand life. I work with subjects that are coming from life, I integratethem in my work, now these elements coming from the exhibitionhave been integrated again in the real life. It’s the greatest rewardan artist can have.¬ We can find in this installation such recurring elements (the chant,the ephemeral, a big feminine presence) and issues (the constructionof history and identity) which you often use in your work. Also, thepolitical slogans which you exhibit and deal with here determine meto link this project with two others realised before – Women at Work– Washing-up, 2001 and Avanti popolo, 2002. Can we indeed tracethis lineage?√ After Women at Work, which dates back to 2001, I tried tobroaden the issues. For Women at Work I have used slogans of Titowhich were connected to the history of Yugoslavia. This time, I haveworked with political and economic slogans from 1911 to 2011, whichallowed me to study more in depth the history of these last 100 years(an experience which I hope to continue).For the installation in Madrid, I have also gathered an archive of 140slogans, through which we can measure the political temperature.108