dima
  • BORDER BEHIND BORDERS/Survival of Borderliner

    " The body is a common place, an essential locus where subjectivity and all its consequences find their means of expression, and at once their place of materialization. It is precisely on the body that modern society exerts efforts to implement its edifying role through the authority of government. “Borderliner” is a response to the disciplinary urges of the state, or rather, of the regime. It nearly promises us emancipation and empowerment, or at least shows hope that change is possible where the other, as such, is allowed and accepted. We have witnessed an increase in violence, chauvinism, xenophobia, homophobia and in general increasing intolerance towards everything which represents that other. Such a social climate namely limits the freedom of individuals, provided that we understand the concept of freedom in the widest possible sense. From this impasse inspiration emerged, and with it the daring of Emma Szabo to delve into this essentially guerrilla art project, which, having won a city competition, gained the opportunity to become institutionalized through the realization of a solo exhibition. Like everything in this sluggish and dysfunctional state and social system, even this seemingly easy thing met with a number of obstacles and delays. Today, two full years later, Sabo has managed to secure the opportunity of realizing that which belongs to her. Social circumstances are virtually unchanged from two years ago and the time of the inception of “Borderliner”. Nonetheless, the personal and professional path of development inevitably continued to unfold. During that time the artistic work lived a life of its own in a certain artistic hibernation, which led to the supplementation of the original work with the video project “Room With the a Point of View”, which at the same time functions as a spatial installation. Being that the photographs display a wasteland, so to speak – a classicist environment adds to the impression of abandoned backdrops, while the presence of the only living organism expresses itself through an almost ancient representation of a nude male body – it is logical to assume that the process of creating these images was not at all either passive or carefree. The additional video project depicts precisely the level of adrenaline necessary for every re-evolutionary venture and guerrilla re-action of the actor in front of and behind the lens. Interestingly, by the insertion of the video project into the setting, the process of creating images attained a certain performative character. The recipients, however, are not witnesses to an artistic act as they are in performances, where they are frequently also the actors. The video project is a kind of artistic, tendentiously mounted document which offers several layers of reading. Whichever of them you identify or whatever you choose, you will be right. Only with the video project, that is, spatial installation, "Room with a point of view", is the exhibit finally conceptually completed. " Vera Vojvodić (excerpt from the text for the exhibition catalog)