Tijelo bez organa — Ervin Kadić
10 – 25. 6. 2022.
Tijelo bez organa
Autor: Ervin Kadić; Kustos/Tekst: Šefik Tatlić.
Oslanjajući se na minimalistički pristup i na negaciju bilo kakvog drugog sadržaja osim onog nošenog samom formom umjetničkog rada, autor se u Tijelu bez organa u potpunosti posvećuje artikulaciji trodimenzionalne geometrijske apstrakcije u ulozi jedinog sadržaja izložbene cjeline. Nastavljajući se na Kadićevu prvu samostalnu izložbu Tamna Materija/Reljefna Masa,[i] gdje je naglasak bio na monokromatskoj upotrebi teksture i op(tičkog) arta u ulozi pretvaranja svjetla u integralni dio izloženih radova, ova se izložba, bazirana na nizu objekata/monolita lišenih bilo kakvog redundantnog sadržaja fokusira na uspostavljanje relacije između izloženih eksponata; stalne postavke u adresiranom prostoru te galerijskog prostora sâmog. Referirajući se, između ostalog, i na propoziciju američkog umjetnika Donalda Judda da je “Trodimenzionalnost [jedini] stvarni (real) prostor,”[ii] autorov rad, ovaj put u obliku trodimenzionalne minimalističke apstrakcije, stoji kao konfiguracija koja apsorbira i prostor i svjetlo, ali funkcionira i kao radikalna gesta ili tendencija ka proizvodnji novog prostora proizvodnje i interpretacije umjetnosti.
Smještanje izložbe u prostor Galerije Enver Krupić — u prostor u kojemu dominira memorijalna zbirka eponimnog akademskog slikara — je odraz intencije autora da svoje minimalističke, geometrijske objekte lišene kolorita i teksture postavi u kontrastni odnos i s umjetnošću lijepog i s definiranjem galerijskog prostora kao konfiguracije zidova-nositelja artefakata čiji je primarni prostor rezerviran za svojevrsno “izlaganje” publike. Tu se ne radi o kontrapunktu pristupima umjetnosti koji se danas (ili već odavno) smatraju klasičnim i koji imaju svoje mjesto u historijskom registru, već o kontrapunktu lokalno prisutnim idejama o umjetnosti koje spomenute pristupe danas reproduciraju kao vitalne i suvremene te koje, eksploatirajući između ostalog i lokalno prisutnu kompulzivnu fascinaciju prirodnim pojavama poput rijeka, umjetnost svode na (sitno)buržoasku estetiku naturocentrične refleksije biološkog okruženja. Ovdje se radi o tendenciji ka stvaranju kontrapunkta fokusu na kakofoniju kolorita, teksture, sadržaja i estetskog kao ciljeva umjetničke proizvodnje te o kritici definiranja galerijskog prostora kao svojevrsne “skele,” što je i razlog postavke izloženih objekata u relaciji s prethodno izloženim slikama, kao i kritički komentar na svođenje umjetnosti na monodisciplinarni normativni okvir. Stoga, Kadićevo Tijelo bez Organa nije izložba koja se događa u prostoru, nego intervencija u prostor koja galerijski prostor kao koncept konvertira u skup “organa” koji revolviraju oko izložene cjeline.
Međutim, ova izložba također funkcionira i kao antipod ideji o umjetnosti kao praksi dekodiranja kreativnosti u robno-tržišnu kategoriju i kao aparatu integracije slika (image-a), oblika i tekstura u kakofoniju sociopolitički i općenito kritički inkonsekvencijalne cirkulacije sadržaja. Referirajući se na koncept Tijela bez organa koji prvi put spominje pisac Antonin Artaud, filozofi Gilles Deleuze i Félix Guattari u svojoj adaptaciji koncepta navode sljedeće:
Puno tijelo bez organa je neproduktivno, sterilno, nerodno i nekonzumabilno. […] Tijelo bez organa je neproduktivno iako je proizvedeno na određenom mjestu u određeno vrijeme u konektivnoj sintezi; kao identitet produciranja i produkta; šizofreni stol je tijelo bez organa. Tijelo bez organa nije dokaz originalnog ništavila, niti je ono ostatak izgubljene totalnosti. Prije svega, ono nije projekcija i nema ništa s tijelom samim, ili pak slikom tijela. Ono je tijelo bez slike [image-a]. (Deleuze, Guattari 2003, 8)
Ako se slika, oblik i tekstura percipiraju kao hipotetički “organi” koji subvertiraju multidimenzionalnu proliferaciju umjetnosti i koje kapitalistička ekonomija pažnje pretvara u konzumabilne kategorije, Kadićevo Tijelo bez organa i njegovi integralni dijelovi u obliku “golih” geometrijskih objekata zapravo predstavljaju eksplicitnu glorifikaciju negacije slike, oblika, kolorita i teksture u ulozi, navodno esencijalnih, komponenti produkcije umjetnosti. Drukčije rečeno, radi se o gesti odbacivanja estetski konzumabilnog, produktivnog i kreativnog kao kompenzacija za kritički potentno. U referenci na Deleuzeov i Guattarijev argument, autorovo lišavanje trodimenzionalnog objekta bilo kakve estetske intervencije, i svođenje ovih objekata na puko, minimalističko prisustvo; na čistu negaciju kreativnog interveniranja u materiju, zapravo i jeste odraz dekodiranja kreativne intervencije ili normativno definirane kreativnosti uopće kao kritički impotentnih označitelja. Autor anorganski objekt lišen teksture, kolorita, pa čak i odsjaja, stoga artikulira kao svojevrsno tijelo čija je primarna funkcija određena i manjkom elemenata podložnih normativnom čitanju i viškom potencije ka eksponiranju “lijepog,” estetskog i kreativnog kao “organa” koji kompromitiraju interdisciplinarnu, multidimenzionalnu i političko-ideološku potenciju umjetnosti. Kadićevo Tijelo bez Organa upravo prihvaća neproduktivno, sterilno i nekonzumabilno kao karakteristike umjetničkog rada sposobnog da adresira produktivno/kreativno, nesterilno/autentičnog i konzumabilno kao hegemonijsko.
Ova izložba zapravo glorificira neproduktivno, sterilno, i nekonzumabilno upravo kao antipod logici koja implicira da je bilo kakva, navodno ideološki netaknuta, individualna ekspresija nužno i društveno konstruktivna. Rečeno na drugi način, minimalistička apstrakcija Tijela bez Organa je svojevrsni, konceptualno oblikovan odgovor na teror kreativnosti koji se manifestira kroz (glorifikaciju) ideološke ideje da se bilo kakva kreativna ekspresija; bilo kakva manifestacija kognitivnog interijera paradigmatskog konzumenta ujedno kvalificira i kao dokaz postojanja subjektiviteta. U onom smislu, tj. do one mjere do koje je masovna diseminacija kreativnosti, organizirana između ostalog i tehnološki posredovanom komunikacijom, postala oblikom kompenzacije za kolektivnu psihopatologiju prouzročenu deregulacijom subjektiviteta, izložba Tijelo bez Organa je ujedno i eksplicitna manifestacija objektne prirode paradigmatskog, “postideološkog” konzumenta, ali i tendencija ka proizvodnji multidisciplinarne i kritički prefiksirane artikulacije umjetnosti.
Body Without Organs
Author: Ervin Kadić; Curator/Text: Šefik Tatlić; Exhibition setting: Jasminka Ljubijankić, Šefik Tatlić and Ervin Kadić.
By relying on a minimalistic approach and the negation of any other content but the one carried solely by the form of the artistic work, the author has produced Body Without Organs as a manifestation of complete dedication to the articulation of three-dimensional geometrical abstraction in the role of the only content of the exhibited whole. As a continuation of Kadić’s first solo exhibition Dark Matter/Embossed Mass,[iii] where the emphasis was placed on monochromatic usage of textures and op art in the role that rendered light into an integral part of presented works, this exhibition, based on a cluster of objects/monoliths deprived of any redundant content, focuses on the establishment of a relation between exhibited works; already present permanent setup and the gallery space itself. In reference to a proposition made by an American artist Donald Judd that “Three dimensions are real space,”ii the author’s work, this time in the form of three-dimensional minimalistic abstraction, stands as a configuration that is absorbing both the space and the light, as well is it functions as a radical gesture or a tendency toward production of a new space of production and interpretation of art.
The placement of this exhibition in the space of Enver Krupić’s gallery — in the space in which a memorial collection of eponymous academic painter dominates — is a manifestation of a tendency on behalf of the author to place his minimalistic, geometric objects deprived of color and texture in contrast relation to both the art of the beautiful and to the definition of gallery space as a configuration of walls that carry artifacts; the central space of which otherwise serves as a space in which an audience is “exhibited.” This is not about making a counterpoint to those approaches to art, which are today regarded as classical and that already have a place in historical registers, but about a counterpoint to locally present ideas about art that reproduce said approaches as vital and contemporary in the present time and which are, by exploiting locally present compulsive fascination with natural occurrences such as rivers, reducing art onto a petty-bourgeois aesthetics of naturocentric reflection of the biological environment. That said, this exhibition is about a tendency toward creating a counterpoint to a focus on the cacophony of colors, textures, content, and the aesthetical as aims of artistic production, as well as to defining gallery space as a “scaffold,” which is the reason for the placement of the exhibited objects in relation to the present paintings, as well as it is a critical comment on reduction of art onto a monodisciplinary normative frame. Kadić’s Body Without Organs is not an exhibition that takes place in a space, but an intervention into space that converts gallery space as a concept into a cluster of “organs” that revolve around the exhibited whole.
However, this exhibition also functions as an antipode to the idea of art as a practice of decoding creativity into a commodified category and as an apparatus that integrates images, shapes, and textures into a cacophony of socio-politically and generally critically inconsequential circulation of content. By referring to the concept of a body without organs first used by Antonin Artaud, philosophers Gilles Deleuze and Félix Guattari argue the following in their adaptation of the concept:
The full body without organs is the unproductive, the sterile, the unengendered, the unconsumable. […] The body without organs is nonproductive; nonetheless it is produced, at a certain place and a certain time in the connective synthesis, as the identity of producing and the product: the schizophrenic table is a body without organs. The body without organs is not the proof of an original nothingness, nor is it what remains of a lost totality. Above all, it is not a projection; it has nothing whatsoever to do with the body itself, or with an image of the body. It is the body without an image. (Deleuze, Guattari 2003, 8)
If an image, shape, and textures are perceived as hypothetical “organs,” which are subverting a multidimensional proliferation of art and which have, by the capitalist attention economy, been turned into consumable categories, Kadić’s Body Without Organs and its integral parts in the shape of “naked” geometric objects are an explicit glorification of the negation of image, shape, color, and texture in the role of, supposedly essential, components of art production. Differently put, this exhibition is a gesture of rejection of aesthetically consumable, productive, and creative as compensations for the critically potent. In regards to Deleuze’s and Guattari’s argument, the author’s deprivation of three-dimensional objects of any aesthetic intervention, as well as a reduction of said objects onto a mere minimalistic presence; onto a pure negation of creative intervention into matter, actually represent a position that decodes creative intervention or normatively defined creativity in general as critically impotent signifiers. Kadić articulates the inorganic object; deprived of texture, color, and even glare, as a body whose primary function is determined by both the lack of those elements submissive to normative reading, as well as by a surplus of potency towards exposing “the beautiful,” the aesthetic and the creative as “organs” that compromise interdisciplinary, multidimensional and politically-ideological potency of art. Kadić’s Body Without Organs embraces the nonproductive, sterile, and unconsumable as basic characteristics of art able to address the productive/creative, non-sterile/authentic, and consumable as hegemonic. This exhibition glorifies non-productive, sterile and the unconsumable exactly as an antipode to a logic, which implies that any, allegedly ideologically untouched, individual expression is also socially constructive. Differently put, minimalistic abstraction contained in Body Without Organs is a conceptual response to a terror of creativity, which manifests through (a glorification) o fan ideological idea that any creative expression; any manifestation of a cognitive interiority of paradigmatic consumer automatically qualifies as a token of the existence of subjectivity. In that sense, i.e. to that extent the mass dissemination of creativity, organized among other ways by technologically negotiated mass communication, has been organized as a form of compensation for collective psychopathology caused by deregulation of subjectivity, Body Without Organs is both an explicit manifestation of object-like nature of paradigmatic, “postideological” consumer, as well as it is a tendency towards producing multidisciplinary, critically prefixed, articulation of art.
[i] Tamna Materija/Reljefna Masa – Autor: Ervin Kadić, Kustos: Šefik Tatlić, Sound Design: Adi Dizdarević. Gradska galerija Bihać, 03. – 20. Septembar 2020.
[ii] Judd, Donald. 1965. “Specific Objects.” Arts Yearbook 8. https://atc.berkeley.edu/201/readings/judd-so.pdf (accessed May 30, 2022)
[iii] Dark Matter/Embossed Mass – Author: Ervin Kadić, Curator: Šefik Tatlić, Sound Design: Adi Dizdarević. City Gallery Bihać, 03 – 20 September 2020.
Reference/s:
Deleuze, Gilles, Guattari, Félix. 2003. Anti-Oedipus – Capitalism and Schizophrenia. Trans. Robert Hurley, Mark Seem, and Helen R. Lane. Minneapolis: University of Minnesota Press.