Ruêica Πimunovi Sislej Xhafa
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t Ne ulazeÊi u analizu uzroka i posljedi- l Restraining oneself from doing analysis ruæica ca, pitanja koliko su za neke od bitnih of causes and effects, and from won- pojava na suvremenoj likovnoj sceni bili dering to which extent the fall of commu- πimunoviÊ vaæni ili presudni pad komunizma, nedavni nism, the recent wars in ex-Yugoslavia, ratovi na prostoru bivπe Jugoslavije, post- postcolonialism or the final realization of kolonijalizam ili konaËna provedba ideje o the idea of Europe as a union were crucial Europi kao o zajednici zemalja, moæe se for some important phenomena on the con- sislej xhafa - utvrditi da se Stari kontinent naπao pred temporary art scene, one could argue that zagreb boogie neodgodivim pitanjem odreenja vlastita the Old World faced the urgent question of identiteta. Umjetnici s donedavno izolira- determining its own identity. Logically, woggie nog dijela Europe postali su, logiËno, jedni artists from that part of Europe that was od najtraæenijih protagonista, dio bez kojeg until recently isolated became almost the je nemoguÊe sloæiti puzzle novih povijesnih most wanted protagonists, the indispens- sislej xhafa - okolnosti - shvatiti ih i konaËno procijeniti able part for completing the puzzle of the buduÊnost. Zapadni kustosi otkrivaju sva- new historical circumstances, in order to zagreb boogie kodnevno nove i nove zlatne rudnike, a tak- comprehend them and finally to assess the va je klima osigurala i da mnogi, koji su iz future. The western curators reveal new woogie politiËkih i drugih razloga htjeli stvarati na gold mines every day, and such climate Zapadu, dobiju priliku. Jedan je od njih ensured that many artists who wanted to Sislej Xhafa, Albanac s Kosova. Performan- create in the West now could seize their sima, instalacijama, fotografijom i videom opportunity. Sislej Xhafa, Albanian from na granici ironije i subverzije djeluje od Kosovo, is one of them. With his perfor- Italije i Nizozemske do Pariza, New Yorka i mances, installations, photographic and Tokija, prije svega na propitivanju osjetljivih video works bordering on irony and subver- polja /ilegalnih/ migracija, globalizacije i sion, he travels from Italy and Netherlands, multikulturalnosti. U performansu Stock Ex- to Paris, New York and Tokyo, questioning change, izvedenom na Manifesti 3 u Ljub- the sensitive fields of (illegal) migrations, ljani, bio je odjeven u poslovno odijelo i globalization and multiculturality. In his izvikivao vozni red vlakova ciljajuÊi na tlap- performance Stock Exchange, performed in nju da nas, napustimo li ekonomski nesta- Manifesta 3 in Ljubljana, he was wearing a bilnu tranzicijsku zemlju, Ëeka blagostanje business suit and calling out train schedule, Europske Unije. Xhafa je provocirao i kad je alluding to the illusion that, if we leave an transparentom visokim 12 metara prekrio economically unstable transition country, jednu talijansku crkvu koja se obnavljala i the well-being of European Union is just najavio gradnju dæamije. Smislio je i novu awaiting us. Xhafa was provoking also sportsku disciplinu, trËanje s deblom, a when he covered an Italian church, that osim πto je u Fondaciji Michelangela Pis- was being renovated, with a 12-meter ban- toletta u Bielli organizirao okrugli stol na ner, and announced that a mosque was koji je pozvao ostarjele antifaπiste nezado- going to be built there. He also invented a voljne cijenama elektriËne energije, ili, new athletic discipline, running with a poigravajuÊi se omiljenom temom Vanesse trunk, and besides organizing a panel dis- Beecroft, umjesto bijelih ljepotica na scenu cussion in Michelangelo Pistoletto Founda- doveo crne emigrante i skitnice, nadahnu- tion in Biella, to which he called aging Êe za sudjelovanje na projektu Nivea u antifascists complaining about high elec- amsterdamskoj Galeriji W1 39 nalazi u tricity prices - or playing with Vanessa Be- Rembrandtovoj NoÊnoj straæi koju pretvara ecroft's favorite theme and bringing to the u æivu sliku i happening. Proπle je godine scene black emigrants and vagabonds gostovao u Zagrebu. U suradnji s Galerijom instead of white beauties - he found enough proπirenih medija bio se u sveËanost inspiration to participate in the Nivea pro- otvorenja obnovljenog MeπtroviÊeva paviljo- ject in Amsterdam Gallery W1 39 in na ukljuËio site specific projektom Zagreb Rembrandt's Night watch, which he trans- Boogie Woogie. Njegov rad koji Êe, odluËe- formed to a living picture and a happening. no je, trajno osvjetljavati paviljon, neki Last year, he visited Zagreb. In collabora- hvale, drugi zbog njega negoduju. Jasno, u tion with PM Gallery he participated in the pitanju je ne samo Ëinjenica da se radi o celebratory opening of the renewed Meπ- iznimnom arhitektonskom zdanju, nego i o troviÊ Pavilion with his site specific project 1. S. Xhafa, Stock Exchange, 2000. njegovoj slojevitoj povijesno-politiËkoj sud- Zagreb Boogie Woogie. His work, which bini. U svakom sluËaju, rijeË je, pogleda li will, as it has been decided, permanently 26 INTERVIEW 1 provide MeπtroviÊ Pavilion with light, pro- voked mixed reactions. Clearly, it is not only because of the fact that this is an exceptional building, seen from an architec- tural standpoint, but also because it had a complex historical/political fate. In any case, Xhafa's work presents a step away from it. But, the artist says that, besides paying tribute to the rich lumino-kinetic and geometric tradition, from Exat and New Tendencies to the present, it is a continua- tion of his dealing with the migrations theme. llCroatia is well known by its, I dare say, crazy kinetic and geometric experiments; from the fifties, much was accomplished in this field. Therefore, I became interested in the kinetics, moving light before all, in the way Croatian artists were treating it. Zagreb Boogie Woogie, which naturally recalls Mondrian's Broadway Boogie Woogie, con- 2 3 sists of neon lights placed on the pillars of the circular façade of MeπtroviÊ Pavilion. se Xhafina praksa, o svojevrsnom odmaku The installation is visible only during the od nje. Ali umjetnik Êe reÊi kako je, osim πto night, and I use four colors of light - yellow, je hommage bogatom lumino-kinetiËkom i blue, white, and red - which are Mondrian's geometrijskom naslijeu od EXAT-a i Novih basic colors, too. In so doing, I do not insist tendencija naovamo, ostvarenje nastavak on the esthetics, but on the physical expe- njegova bavljenja temom migracija rience of the work, on movement. The installation, and, of course, the magnifi- nn Hrvatska je poznata po, gotovo bih cence of the modernist building, can be mogao reÊi, ludim kinetiËkim i geometrij- fully experienced only from a distance. It is skim eksperimentima. Na tom je polju od best if you drive around the building in a pedesetih postignuto iznimno mnogo. car. To see some things clearly, you need Zaintrigirala me, dakle, kinetika, prije svega distance. That is why I included the move- svjetlo u pokretu na naËin kako su se tim ment. In this way, I emphasize the mean- fenomenom bavili ovdaπnji umjetnici. ing of geographical determination and Zagreb Boogie Woogie, πto je, naravno, po- exchange, all the time believing that the vezano s Mondrianovim Broadway Boogie migration culture is characteristic of Woogiejem, sastoji se od neona postav- Croatia, too. When I refer to Mondrian's ljenih na stupovima kruænog proËelja Meπ- work, it is because of the physical and emo- troviÊeva paviljona. Instalacija se vidi jedi- tional mobility it contains and emits. Of no tijekom noÊi, a koriste se Ëetiri boje course, the interpretation of both traditions svjetla - æuta, plava, bijela i crvena - πto su stems from my dealing with the theme of i Mondrianove osnovne boje. Pri tom manje movement, or more precisely, migration. inzistiram na estetici, a viπe na fiziËkom doæivljaju rada, na pokretu. Instalacija i, llThe Zagreb project seems to be a kind dakako, veliËajnost modernistiËkog zdanja, of stepping away from your practice, in potpunoma se doæivljavaju tek s dovoljne which irony is inevitable, as you had udaljenosti. Najbolje ako se automobilom already shown in your first noted action, a kruæi oko zgrade. Da bi se neke stvari vid- kind of subversion in Venice Biennale in jele jasnije, potreban je odmak. Zbog toga 1997. sam ukljuËio pokret. Na taj naËin potenci- I was born in Kosovo and when I left it, ram znaËenje zemljopisne datosti i razmje- I was not forced to do so, as many others ne, a sve vjerujuÊi da je i Hrvatskoj svoj- were, but I left because of my personal rea- stvena kultura migracija. Kada se pozivam sons. I was studying and working in Italy, in na Mondrianov rad, to je zbog fiziËke i emo- London, and now in New York. Mobility is 28 RAZGOVOR cionalne pokretljivosti koju sadræi i odaπilje. Naravno, interpretacija oba naslijea proiz- lazi iz mog bavljenja temom kretanja, toËni- je migracija. nn ZagrebaËki projekt Ëini se na neki naËin odmakom od vaπe prakse u kojoj je ironija neizostavna, kao πto ste bili pokaza- li veÊ svojom prvom zapaæenom akcijom, svojevrsnom subverzijom na venecijan- skom Bijenalu 1997. godine. Roen sam na Kosovu i kad sam oti- πao, to nije bilo zbog prisile, kao kod mnogih drugih, nego zbog osobnih razloga. Studirao sam i radio u Italiji, Londonu i sada u New Yorku. Pokretljivost je dio moje kulture, emigracija i migracija su dio al- banske kulture na Kosovu, a vjerujem i druπtava koja ga okruæuju. Radi se, meu- tim, o vrlo starom fenomenu, a danas moæ- da stvaramo neku vrst stereotipa raspravlja- juÊi o njegovu podrijetlu. O emigrantima, boat people kako ih se naziva od Vijetnam- skog rata, govorimo iz pozicije suvremenos- 4 ti. Dakle, ono Ëime sam se bavio do 1997. a part of my culture, emigration and migra- 2-3. S. Xhafa, Nivea, Amsterdam, 2003. nisam javno pokazivao, a tada sam shvatio tion are a part of Albanian culture in Koso- 4.