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The Less I Know the Better

Author: Slavica Obradović
Belgrade Youth Center, Belgrade, January 2016.

READ CURATORIAL CONCEPT

Izložbom “The less I know the better” kontekstualizuje se pitanje slobode i izbora, i preispituje čovekova odgovornost kao i njegova (ne)mogućnost da preuzme istu. Razapet između mnoštva opcija i nesumnjivo slobodan, čovek današnjice je, zbog svega što mu je savremeni svet pojednostavio, u veoma nezavidnoj poziciji. Naviknut na instant rešenja i opštu hiperdostupnost, na brze promene, i naizgled neograničene mogućnosti, kada je suočen sa krucijalnim pitanjima egzistencije čovek se ispostavlja bolno nespremnim i nesnađenim. Ovu dihotomiju multisposobnog i potpuno nesposobnog čoveka, čoveka u procepu, autorka i preispituje.
Savremenost je donela mogućnost da odlučujemo sta smo i šta želimo da budemo. Unapred zadate forme se mogu ili ne moraju ispunjavati, konačno sve više razumemo performativnost roda i mogućnost drugačije identifikacije, možemo promeniti veroispovest, profesiju, stil, prisutnost u javnosti. Biramo i kreriramo sebe, i sa jedne strane prividno možemo sve, dok s druge, Slavica svojim radovima otvara pitanje znamo li uvek kako da se izborimo sa svim što nam je pred nama, kao i da li uopšte želimo toliko puteva pred sobom. Što je više puteva, to manje znamo kojim da krenemo. Čovek je slobodan da načini ma kakav izbor, kojih je pred današnjim čovekom bezbroj, ali upravo tom mogućnošću je, paradoksalno i sputan jer je za svaku donetu odluku direktno odgovoran i samo on snosi posledice i teret svog delovanja. Osećamo se slobodnim sve dok ne moramo da biramo, a izbori, bili oni prosti dnevni ili ozbiljniji životni, ne mogu se izbeći, a samim tim ni njihove posledice. 
Sartrovski rečeno, pojedinac jeste proklet slobodom koja mu a priori pripada i nedeljiva je od njega samog, a Slavica svojim delima, veoma suptilnim i pažljivo konstruisanim jezikom, govori o strahu o odgovornosti, i implicira odgovore na pitanje da li i u kojoj meri čovek oseća satisfakciju zbog te slobode, ili baš suprotno, njenu težinu.
Odbijajući da prihvati svet u kome se greške ne brišu tako lako kao na društvenim mrežama, čovek neretko ostaje nem i neaktivan pred ozbiljnim pitanjima, i radije bira indiferentnost, otvarajući sebi prostor za permanentno menjanje umesto donošenja odluka. Suprotstavljajući solidne forme i nedefinisane oblike autorka materijalizuje čovekovu potrebu za rešenjem i odgovorima, ali i prihvatanje čekanja kao prirodnog stanja umesto proaktivnog delovanja. Prividno sa dve noge na zemlji i jasnih obilka, ali zapravo veoma nedefinisani, nepotpuni, Slavičini ljudi čekaju da budu nađeni. Izjednačene u svojim nedostacima, neke od figura se nadopunjuju i zajedno čine treća, hibridna i nešto manje nesavršena, ali još uvek necelovita tela. Izuzeti od odgovornosti i delovanja, ovi ljudi su u pasivnoj, posve ličnoj potrazi za istinom.
VLADIMIR: E, pa? Krećemo li?
ESTRAGON: Da, hajdemo.
Ne miču se
Exhibition The less I know the better contextualizes the issue of freedom and choice, and examines man’s responsibility as well as his (in)ability to take it. Torn between a myriad of options and allegedly free to choose any, man of today is in a very unenviable position. Used to instant solutions and general hyper availability, faced with the crucial issues of human existence, an individual turns out to be confused and painfully unprepared. This dichotomy between super-capable, multitasking being and completely incompetent person, a person in between, author is trying to represent.
Contemporaneity has brought us an opportunity to decide what we are,  how do we want to represent ourselves, which gender we identify with, what is our religion, how do we want to be perceived. We create ourselves in all the possible ways and while on one hand it is beautiful to be able to construct anything, on the other it feels like constant struggle with all the possibilities which we might not even need. More roads there are, less we know which one to take. A person is free to make whatever choice, but precisely by that possibility is paradoxically restrained, because all decisions person make, make them directly responsible and them alone bears the burden and consequences of their actions. We feel free until the moment where we have to choose, but choices, be they daily or life changing, could not be avoided, as well as consequences they bring. Speaking in Sartrean language, an individual is cursed by its freedom, from which is inseparable, and Slavica’s work, in very subtle and carefully constructed language implies answers to the question of whether and to what extent one feels satisfaction because of this freedom, or just on the contrary, its weight.
Refusing to accept the real world where mistakes are not erased as easily as on social networks, the man often remains silent and inactive in front of serious issues, and chooses rather indifference, instead of making decision. By juxtaposing solid forms and non-defined shapes, Slavica has found a way to materialize the human need for solutions and answers, as well as tendency to consider waiting as natural state, instead of being proactive. Seemingly with two feet on the ground and steadily positioned, but actually undefinable and incomplete, Slavica’s people are simply waiting to be found. Equalized in their imperfections, some of the figures are complementary and only together form a third, hybrid, a little less imperfect but still incomplete bodies. Exempt from responsibility and action, these people are in passive, very personal quest for the truth.
VLADIMIR: Well? Are we going?
ESTRAGON: Yes, let’s go.
Both don’t move.

READ CURATORIAL CONCEPT

Izložbom The less I know the better kontekstualizuje se pitanje slobode i izbora, i preispituje čovekova odgovornost kao i njegova (ne)mogućnost da preuzme istu. Razapet između mnoštva opcija i nesumnjivo slobodan, čovek današnjice je, zbog svega što mu je savremeni svet pojednostavio, u veoma nezavidnoj poziciji. Naviknut na instant rešenja i opštu hiperdostupnost, kada je suočen sa krucijalnim pitanjima egzistencije čovek se ispostavlja bolno nespremnim i nesnađenim. Ovu dihotomiju multisposobnog i potpuno nesposobnog čoveka, čoveka u procepu, autorka i preispituje.
Savremenost je donela mogućnost da svako jutro odlučujemo sta jesmo, koja je naša polna pripadnost, koje smo veroispovesti, koje primarne profesije, kako ćemo se predstaviti. Biramo i kreriramo sebe, i sa jedne strane možemo sve, dok s druge, kao da ni sami ne znamo kako da se izborimo sa svim što nam je omogućeno, kao i da li uopšte želimo toliko puteva pred sobom. Što je više puteva, to manje znamo kojim da krenemo. Čovek je slobodan da načini ma kakav izbor, kojih je pred današnjim čovekom bezbroj, ali upravo tom mogućnošću je, paradoksalno i sputan jer je za svaku donetu odluku direktno odgovoran i samo on snosi posledice i teret svog delovanja. Osećamo se slobodnim sve dok ne moramo da biramo, a izbori, bili oni prosti dnevni ili oni životni, teži, ne mogu se izbeći, a samim tim ni posledice. Sartrovski rečeno, pojedinac je proklet slobodom koja mu a priori pripada i nedeljiva je od njega samog, a Slavica svojim delima, veoma suptilnim i pažljivo konstruisanim jezikom, implicira odgovore na pitanje da li i u kojoj meri čovek oseća satisfakciju zbog te slobode, ili baš suprotno, njenu težinu.
Odbijajući da prihvati stvaran svet u kome se greške ne brišu tako lako kao na društvenim mrežama, čovek neretko ostaje nem i neaktivan pred ozbiljnim pitanjima, i bira radije indiferentnost, ili fluidnost, otvarajući sebi prostor za permanentno menjanje umesto donošenja odluka. Suprotstavljajući solidne forme i nedefinisane oblike autorka materijalizuje čovekovu potrebu za rešenjem i odgovorima, ali i prihvatanje čekanja kao prirodnog stanja umesto proaktivnog delovanja. Prividno sa dve noge na zemlji i jasnih obilka, ali zapravo veoma nedefinisani, nepotpuni, Slavičini ljudi čekaju da budu nađeni. Izjednačene u svojim nedostacima, neke od figura se nadopunjuju i zajedno čine treća, hibridna i nešto manje nesavršena, ali još uvek necelovita tela. Izuzeti od odgovornosti i delovanja, ovi ljudi su u pasivnoj, posve ličnoj potrazi za istinom.
VLADIMIR: E, pa? Krećemo li?
ESTRAGON: Da, hajdemo.
Ne miču se.
Exhibition The less I know the better contextualizes the issue of freedom and choice, and examines man’s responsibility as well as his (in)ability to take it. Torn between a myriad of options and allegedly free to choose any, man of today is in a very unenviable position. Used to instant solutions and general hiper availability, faced with the crucial issues of human existence, an individual turns out to be confused and achingly unprepared. This dichotomy between super-capable, multitasking being and completely incompetent man, a man in between, author is trying to represent.
Contemporaneity has brought us an opportunity to decide each morning what we are,  how do we want to represent ourselves, which gender do we more feel like ours, what is our religion, how do we want to be perceived. We create ourselves and while on one hand we can do anything, on the other it feels like constant struggle with all the possibilities which we might not even need. More roads there are, less we know which one to take. A man is free to make whatever choice, but precisely by that possibility is paradoxically restrained, because all decisions he make, make him directly responsible and he alone bears the burden and consequences of his actions. We feel free until the moment where we have to choose, but choices, be they daily or life changing, could not be avoided, as well as consequences they bring. Speaking in Sartrean language, an individual is cursed by its freedom, from which is inseparable, and Slavica’s work, in very subtle and carefully constructed language implies answers to the question of whether and to what extent one feels satisfaction because of this freedom, or just on the contrary, its weight.
Refusing to accept the real world where mistakes are not erased as easily as on social networks, the man often remains silent and inactive in front of serious issues, and chooses rather indifference, instead of making decision. By juxtaposing solid forms and non-defined shapes, Slavica has found a way to materialize the human need for solutions and answers, as well as tendency to consider waiting as natural state, instead of being proactive. Seemingly with two feet on the ground and steadily positioned, but actually undefinable and incomplete, Slavica’s people are simply waiting to be found. Equalized in their imperfections, some of the figures are complementary and only together form a third, hybrid, a little less imperfect but still incomplete bodies. Exempt from responsibility and action, these people are in passive, very personal quest for the truth.
VLADIMIR: Well? Are we going?
ESTRAGON: Yes, let’s go.
Both don’t move.