Scenski prostor - Stage design, Nataša Murge Savić & Siniša Ilić, photo Siniša Ilić crop

Scenski prostor – Stage design, Nataša Murge Savić & Siniša Ilić, photo Siniša Ilić crop

The working title of the concept of national settings is:

” Power (less) – Response (ability)”

We live in a world of continuous warfare fabricated to increase profit. Ideas such as equality, the right to health care or education exist only in the Occupy movements and dissertations. Everything else is a constant race for possession. Money, material goods, people. Politics have the run of ideology that is equated with business. In this world, the greatest resistance is to be free. Freedom doesn’t lie in ownership. Freedom is the power to disagree. To leave. To speak up. Freedom is a political choice. If you adopt Brecht’s thesis that those who identify themselves as apolitical, actually agree on policies that are implemented over them, then every decision is political and so is artistic performance. That is why the National participation of Serbia in selection of Prague Quadrennial 2015 deals with politics in its theoretical and practical meaning, as well as all processes in which it is involved in contemporary society. Art is one of the mediums of operation. Following the 60’s, when art had a specific social significance, politics, when faced with loneliness that art could entail, appropriated it by moving art into the field of “freedom” and separating it from other areas of life. Creating the belief that freedom from responsibility and consequences would also mean freedom from interference. Today, however, even this minimal freedom is no longer politically acceptable, which has paradoxically renewed the influence of art on life.
Performance of Serbia in the National exhibition of Prague Quadrennial 2015 is inspired by the position and importance of politics in contemporary society, as well as the relation that politics establishes to art and culture and the processes created in these relationships. Both terms are considered in the broadest sense of the word, including the questions of politics and processes in contemporary art and culture (primarily in theater and performing arts). It also denotes the policies and processes that define the social, political, economic and ideological character of today’s world and particularly Serbia in this context.
The work which will represent Serbia in Prague will consist of a series of art / authors’ projects, which will follow one another, day after day, forming as a whole on the semantic and on the technical and production level. Selected artists will have the gallery space available that day to realize the work of art.
This space will be completely recorded with security cameras, thus the act of creation will be publicized and relocated out of the “atelier” situation, personal, creative space of artists into bureaucratic “public” space of officials. At the end of each day material will be archived and stored in the area of exposure until the completion of the Quadrennial. In addition to documentation created by archiving the elapsed time, during the period of exposure the events in the gallery will be shown in livestream.
Kafka’s house, in accordance with the metaphors that he and his masterpiece signify today, has been consciously selected as the exhibition space. This further complicates the meaning of what will be displayed, performed and exhibited. The artists selected, will find themselves out of place; in front of observers, passers-by, an audience, relocated from their personal space. They will work while relying on each other in Kafka’s house – in a public space, in front of the security cameras. The artists will have to learn from each other while attempting to change policies through artistic processes. They will have to examine personal boundaries and reinforce each other. To make art that concerns us. To change a world that does not concern us.