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Published by dejan krsic

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Categories:Topics, Art & Design
Published by: dejan krsic on May 31, 2011
Copyright:Attribution Non-commercial


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Te Croaiapreeaioa e
54thBiennaledi Venezia
 AntonioG. LAUER
Tomislav GOTOVAC
Commissioners &Curators:
What,How & forWhom
stuctualist an expeimentallm in the ome Yugoslavia,with
‘Nameless uthors’ssoc.’
, a theate collective thatopeates as an inepenent atisticinitiative, oganisationally similato a numbe o pecaious cultualinitiatives ome in Coatia inthe late s an ealy sin opposition to the ominantcultual policy. The exhibitionis conceive as a el o iction between the cooinates o the atsystem an at’s autonomy thatinvolves the viewe in examiningthe wok o spectating.The title o the exhibition,
One Needs to LiveSel-Confdently... Watching 
a quote taken om
Tomislav otovac
, in many ways summaises
’s atistic ceo,
 but it is also a emanthat govene the ecision to engage with hiswoks in the Coatian pesentation at the eniceBiennale. t is an attempt to ask questions aboutthe meaning an actuality o 
’s atisticlie, which spanne ve ecaes, o longe, i weconsie that o him lie an at pose a cuiouscombination that guie his continuous stivingto stuctue eality as at. hat is the actualityo his wok, his unestaning o eeom anatistic autonomy? How shoul we look at theothe sie o the notion o the atist-ebel?Shoul we view his autonomy not only asiniviual engagement stiving o moe atisticeeom an expeimentation, that pouceimpessive aesthetical coheence – which itcetainly i, but also as autonomy that engagewith the blin spots o powe in ways that aeimpotant o pesent times?The statement
One Needs to Live Sel-Confdently... Watching 
is ubiquitous enough toinclue a eman o us to take
Responsibility  or Things Seen
which is the title o the site-specic installation by
Conceptualisingthe absence o peomes an the complex elo iction between a stage an exhibition space,thei installation sets the spatial paametes o the exhibition. The tansomation esults in thesuggestion o a peomance space behin a ooleaing to the ajoining stoage space, an theeplication o this wall in the space. This spatialisposition complicates the meanings o stagean backstage, taking into account the selectionan conitions o 
’s pesentation. Onthe othe han
’s woks cannot escapethe conitions an poceues set by
’sinstallation, whose main inteest lies in anexamination o the ‘much maligne capacityo images to captue ou imagination’. Theiinstallation tansoms the exhibition space intoan analytical laboatoy o the examination o the powe o images, meiate esponsibility,ieent moes an conitions o viewing anthei citical an tansomative possibilities,using as its ‘mateial’ woks by
Tomislav otovac
.But the installation also aesses a boae seto questions elate to his pesentation in thenational pavilion as well as
himsel,the cult gue o the Coatian neo-avant-gae,the ‘aical’ atist whose ‘anachistic’ esie lehim to uncompomisingly sacice his comot
Needs to Live Sel-Confdently ...
The courage to open up towards the possibility not to see, is theproper tryout o the ‘new, dierent order o things’ and ‘the crisis o thinking’ that theatre & dance company BADco. is practicing sinceits ounding in 2000. It was then that two dancers/choreographersand two dramaturgs ounded the independent art company thatwas legally obliged to have a Croatian name. English word ‘BAD’ wasthus reinterpreted as an acronym or the
Nameless Author’s Society
Bezimeno autorsko društvo
). In this paradoxical twist, naming whichun-names, they have anticipated their uture tradition o openingup problems and endlessly deerring the end in the orm o thesolution to the interpretative situation. BADco. sees potentialitynot as a mental ghost, but as a proper mode o existence.
Una auer
, intouction to the publication
on theoccasion o the th annivesay o 
’s wok
The exhibition,
One Needs to Live Sel-Confdently... Watching,
ntonio . auer
Tomislav otovac
an theatecollective
om Zageb. The at o 
Tomislav otovac
is base on the iea o ‘global iecting’, not only as applie to lm iecting, but also as it extens into eveyay lie.
.’s atistic pactice, opeatingat the intesection o theate, peomance an ance, engages with aeenition o the peomative act, an o the establishe elations between the auience, peomes an peomance.The ocus o the exhibition is on a citical iscouse base on thethematisation o the poceues o watching, moes o spectating, anthe politics o attention, within exhibition conventions an beyon.The exhibition’s stance is one that
escibes as
theatre by other means,
juxtaposing the atistic position o 
Tomislav otovac
, the ecentlyecease atist consiee a pionee o boy at, peomance, an
Responsibiliy or Things Seen: Tales in Negaive Space,
Dinko Rupčić
“I can’t imagine liewithout art and Icouldn’t imagine artwithout anarchism. Idon’t like it when peopletreat other people’slives anarchically, but to behave anarchically inart is the main conditionor art to survive andkeep moving, to escapeossilization. Whatis more perect thanBach, Michelangelo, theEgyptian pyramids, theGreek columns, theRussian avant-gardeand avant-garde lm?They are it. What next?I think that people whoopen those small hiddenholes on all levels in artare really the greatestanarchists and they arethe ones who have tosacrice their successand their comorts inlie. Nothing will happenin art in any other way.”
“At is Reality”,
in convesationwith
ranka Stipančić
,st publishe innewspapes
8.10.1998,№ 12/VI, Zageban success an whose woks involving hisnake boy neve cease to shock.
Responsibility or Things Seen: Tales in NegativeSpace
is not a eaction o intevention into
’s wok, but takes ‘
’ as a poblemaoun which it evolves, which is moe than justan element o its ‘site-specicity’.
Tomislav otovac
’s pesentation inclueshis key stuctual an expeimental lms, ana seies o photogaphs om the ealy 6sthough to the en o the s. t ownplaysthe ecupeation o his opus within the naativeo Coatian national at histoy an the usualclichés o the uneepesente issient whoought o the eeom o atistic expession inthe ak times o communist epession, as thestoy goes in the stana eaings o the ‘boyin socialism’. The selection o his woks attemptsto accentuate specic poceues whose stictiscipline an analytical possessiveness otentespasse into excess an tansgession, toeinoce once again the systemic oganisingpinciple that unelies them, maintainingthei autonomy as the ultimate esponsibility
  G. L
Tv Gv
The Forenoon o a Faun,

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