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Performance / instalation / exhibition Authors: Boris Kadin & Andrej Mirčev The project titled Danilo Kiš’s Dream is envisaged as an interdisciplinary research and a multimedia recreation / performance portraying the search for the long vanished Central European world and the symptoms of it’s destroyed urbanity. By taking Kiš’s literary oeuvre as a narrative and referential framework and reinterpreting it in different contexts and media, ranging from photography, video, live performance and hybrid theatre installations, we aim to create new receptive potentials within which Kiš’s poetics can be asserted and made topical sometime before 2009, the year which marks the 20th anniversary of his death. The motif which triggered the project is based on a visual/performative reconstruction of a hypothetical dream in which Kiš brings his father Eduard back to life. Eduard, who disappeared in 1944 in one of the Nazi camps retells in various ways what happened to him and how he disappeared. Formally, Danilo Kiš’s Dream stems from the documentary-cum-fictional photographed performance which is being further transformed into different media. Concerning the content of the project, the constructed scenes iconically mark the fragile appearance of the character lost in a ruined and deserted room on the outskirts of the town which, thus, becomes metonymy for a vanished world. The first stage of the project comprises 22 black and white photographs which were given different citations from Danilo Kiš’s literary and biographical oeuvre. Such artistically shaped material represents the first draft, or more specifically, scheme whose further development and presentation depend primarily on a given space. The project has up to now been carried out as a performance and video installation at the 8th international conference of the Ivan Slamnig Days, organised by the Faculty of Philisophy and Art Academy in Osijek. The work was also published as a sort of photographic diary/imaginary chronicle comprised of 10 photographs and 10 short stories in the Tema magazine, published by the Centar za Knjigu, Zagreb. Considering its open structure which remains unfinished and invites correspondence, the project will strive to be presented in galleries but also in literary spaces and theatre. The presentation of all of the project’s stages is planned for 2009. The activities planned to be carried out up to then are following: Exhibition of photographs, texts and documentary video material of the performances in Osijek and Subotica Audio-video installation and performance in Novi Sad containing different elements from the Osijek and Subotica performances Preparation and publishing of a book with photographs and texts, Centar za kulturu (Culture Centre), Pančevo Installation in the ITD theatre, Zagreb Final exhibition The final stage of the project would include an exhibition/installation/performance which would unite all the materials created in the meantime and offer the audience an insight into a complex media restructuring that the work will have gone through. By applying different media and forms of presentation in performing various segments in the mentioned towns, the aim is primarily to suggest a complex phenomenon of eradication of a culture and mentality which remains alive only in traces. Conversely, it is exactly by refusing to accept a pathetic role of victim, the work in its performative variations distances itself critically and ironically from the initial material. Thus, it is repeatedly inquisitive and deconstructive in relation to the different media used in the artistic process and different audiences.
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Performance / instalacija / izložba Autori: Boris Kadin i Andrej Mirčev Projekt San Danila Kiša zamišljen je kao interdiciplinarno istraživanje i mulitmedijsko-arheološka rekreacija/izvedba potrage za nestalim svijetom Srednje Evrope i simptomima njegovog urušenog urbaniteta. Uzimajući književni opus Danila Kiša kao narativni i referencijalni okvir te reinterpretirajući ga u različitim kontekstima i medijima: od fotografije i videa do žive izvedbe i hibridnih, teatraliziranih instalacija, stvaraju se novi recepcijski potencijali unutar kojih Kišova poetika biva višestruko eksponirana i ponovno aktualizirana uoči 2009. godine, kada će se navršiti 20 godina od autorove smrti. Motiv koji je inicirao projekt, temelji se na vizualno/izvedbenoj rekonstrukciji jednog hipotetičnog sna u kom Kiš oživljava svog oca Eduarda, nestalog 1944. u nekom od nacističkih logora, i koji potom na različite načine pripovijeda što se dogodilo i kamo je nestao. S formalnog aspekta, San Danila Kiša izrasta iz dokumentarno-fikcijskog foto performansa koji se dalje transformira i transponira u različite medije. Sadržajno pak, riječ je o insceniranim prizorima kojima se ikonički markira fragilna statua lika izgubljenog u napuštenoj sobi na rubu grada i koji na taj način postaje metonimijskim označiteljm jednog svijeta koji je iščezao. U prvoj fazi projekta San Danila Kiša kreirane su 22 crno-bijele fotografije kojima su kasnije dodani i dopisani različiti citati iz literarno-biografskog opusa Danila Kiša. Ovako oblikovani materijal predstavlja prvobitnu skicu, točnije rečeno partituru, čija dalja izvedba i utjelovljenje u prvom redu ovise o prostornim dispozicijama u kojima se projekt prezentira. San Danila Kiša realiziran je kao performans i video instalacija u okviru međunarodnog znanstvenog skupa 8. Dani Ivana Slamniga, u organizaciji Filozofskog fakulteta u Osijeku i Umjetničke akademije. Kao neka vrsta fotografskog dnevnika/imaginarija sastavljenog od 10 fotografija i deset kratkih priča, rad je objavljen u časopisu Tema, koji izdaje Centar za Knjigu Zagreb. Obzirom na otvorenu strukturu koja ostaje dopisiva i nedovršena, projekt će se dalje usmjeravati ka različitim uprizorenjima u galerijskim, ali i drugim, teatarsko-literarnim prostorima. Projekt se realizira kao izložba/instalacija/izvedba koja objedinjuje sve materijale nastale u procesu razvoja projekta te publici pružila uvid u kompleksno medijalno restrukturiranje kroz koje je rad prolazio. Izvodeći raznolike segmente u pojedinim gradovima te varirajući medije i načine prezentacije, želi se u prvom redu ukazati na kompleksni fenomen zatiranja jedne kulture i jednog mentaliteta koji još preživljava samo u tragovima. S druge strane, upravo odbijajući patetičnu identifikaciju sa žrtvom, izvedbena varijacije rada uspostavljaju kritičku i ironijsku distancu spram početnog materijala koji se iznova, obzirom na drugačiju publiku i medij, propituje te dekonstruira.