SVE JE POD KONTROLOM
Izložba Marka Tirnanića pod nazivom „Sve je pod kontrolom“ je umetnikovo istraživanje u kompleksnom polju pozicija pojedinca, kao i odnosa dominantnih i pasivnih učesnika u društvenim zbivanjima i članova zajednice koji su napravili izbor između akcije i odsustva akcije. Izložba u umetničkom prostoru U10 je zapravo novi rad, koji se u velikoj meri bavi iskustvom publike i njenim učešćem u stvaranju „umetničkog rada“ kao i uloge same publike u društvu. Prostorna instalacija koja je deo ovog rada ima ulogu da se bavi stvaranjem zajedničkog, istog diskursa za sve konzumente sadržaja rada. Sve to, autor postiže stavljanem publike u podjednak, ravnopravni položaj. Marko u svom radu inicira suprotstavljanje sistemu, ne samo njegovim lošim segmentima, već i onim za koje bismo na prvi pogled rekli da su dobri. On pred nas stavlja suprotstavljanje dominantnoj ideologiji i učestvovanje u njoj kroz pasivno delovanje. Stoga se, kako instalacija, tako i video radovi, bave publikom i umetnikom, kroz neposredno iskustvo. Rad ukazuje i na neophodnost opredeljivanja u okviru nametnutih normi i ograničenja. Kontrola, poniženje, samoponiženje, odnos dominantnog i pasivnog, su neke od društveno intimnih pozicija čoveka koje se mogu učitati u izložbu „Sve je pod kontrolom“. ------------------------- EVERYTHING IS UNDER CONTROL Exhibition of Marko Tirnanić “Everything is Under Control” is the artist’s research in the complex area of positions of the individual, as well as a study of relations between dominant and passive subjects of the social processes and members of the community. Space installation, that is one part of this work has a role to create common, joint, and same discourse and place for all “consumers” of the work. All of these effects, author creates by putting the audience in the same, equal position. Marko, in its work, initiates confrontation to the system, not only in its bad segments, but also to these, which on first sight, we would qualify as good. He puts us in front of us conflict and opposition to the dominant ideology and participation in it, through passive attitudes and efforts. Therefore, installation, as well as the video work and other parts of this exhibition, have the focus and elaborate the audience and the artist, through their direct experience. Work is pointing out to the necessity to make choices in the field of imposed norms and given limitations. Control, humiliation, selfhumiliation, relations between dominant and passive are only some of the socially intimate positions of a person that could be read on the exhibition “All is Under Control”.

LJUBAV JE ZA SIROTINJU
Ljubav, kao prvi i osnovni mehanizam kontrole, poslužio je kao temelj za razradu umetničkog koncepta izložbe, analizirajući je kroz polje društvene i lične kontrole. Ljubav je za sirotinju predstavlja umetničku instalaciju u prostoru, koja publiku selektuje, dovodeći svakog ponaosob u situaciju da se opredeli za okvire u koje ga sistem smešta i istovremeno pružajući mu mogućnost da se odupre istom. Novi rad pod nazivom Ljubav je za sirotinju je mesto na kojem se uvodi kontrola od strane samog umetnika. Naime, galerijski prostor podeljen po dužini na dva dela, u jednom dozvoljava ulazak samo ženama, a u drugom, samo muškarcima. Ovakvu vrstu selekcije prave redari, čija će uloga, pored razdvajanja, biti i ta da fizički pretresu sve posetioce. Od druge polovine galerije uvodi se još jedno, regulativno telo i to u vidu suženja prolaza na meru širine tela umetnika. Iza te prepreke, posetioci, i dalje razdvojeni, dolaze do video radova, različitih u svakom delu, koji imaju ulogu predmeta želje i/ili predmeta konzumiranja. U video radovima Majka i ćerka i Vojnik, majka - oličenje savršene kontrole i vojnik – simbol održavanja i sprovođenja iste, zapravo gube kontrolu, uriniraju, a pred nama su slike predstavnika različitih autoriteta, na kojima su očigledne slabosti koje nose sa sobom. Uvođenje pravila i pravljenje podele na najbanalnijem nivou - na muški i ženski prostor, stavlja publiku u neizbežnu situaciju da mora da donese odluku. Sam pristanak i odluka da se poštuju pravila podjednako je važna za ovaj rad, kao i svako odustajanje pred preprekama, koje često vidimo. Kao autor, na ovaj način pokušavam da napravim državu u državi, određeni sistem pravila po razumnim ili manje razumnim kriterijumima, polemišući sa ograničenjima kojima smo svakodnevno izloženi. Još jedan od važnih segmenata rada je taj da niko od publike zapravo neće imati mogućnost da pogleda celu izložbu, a samim tim ni ceo rad. To nas stavlja u poziciju da moramo da donesemo sud i o onome što nismo videli, čuli ili doživeli. Svaku izložbu procenjujemo na osnovu onoga što smo videli, a šta je sa onom drugom stranom koja je za nas ostala nepoznata? Jasno je da se kritički sud donosi kroz mogućnost percipiranja određenih sadržaja dovoljno jasnih da posmatrač može da ih smesti u određeni lični i saznajni kontekst, ali ovde je zanimljiva i ideja onoga što ne vidimo, ono o čemu ne znamo. Kako doneti sud o nepoznatom? Žak Ransijer u svojoj knjizi Sudbina slika - podela čulnog kaže - “tom regulisanju odgovara jedno drugo regulisanje, koje se tiče odnosa između znati i ne znati, između delovati i trpeti”. ------------------------ LOVE IS FOR THE POOR Love as the first and foremost control apparatus forms basis for this exhibition’s concept that artist analyses in the fields of social and personal control. Love is for Poor is an artistic spatial installation that selects its audience by placing each and every one into position to choose frameworks provided by system but also allowing for a possibility of resistance. New art work entitled Love is for Poor provides a place in which control is exerted by the artist. Gallery space is divided in two parts. One is women only while other is men only part. This kind of selection is enforced by gatekeepers whose role, besides separation, is to frisk all visitors. Starting from the second part of gallery another regulatory body is introduced: passage is narrowed to match artists’ body proportions. Beyond that obstacle, audience, still separated reaches videos that are different for each of those two segments and represent objects of desire and/or consumer goods. In videos Mother and Daughter and Solider, mother and soldiers – personifications of the perfect control - symbols of its establishment and upholding, lose control, urinate, and in front of us are images of various authority figures marred by evident weaknesses that they posses. By introducing rules and the most banal separation – into men and women space – inevitably places the audience into position to choose. Acceptance of the rules and accepting all the rules in equal measure is important for this project as well as is giving up in front of the obstacles that we often witness. As an author I am trying to establish state in state, a certain set of regulations based on more or less reasonable criteria and thus debating limitations that we face every day. Another important aspect of this work is the fact that no one in the audience will have an opportunity to see the whole exhibition and thus the work in its entirety. This is forcing us to give our judgment on that we have not seen, heard or experienced. Every exhibition is judged according to what we have seen but what of that other side that remains mystery for us? It is clear that critical judgment is reached through our ability to perceive certain items that are visible enough so that spectator can place them in certain personal and cognitive context but here we find it interesting the idea of what is unseen and unknown. How we judge the unknown? Jacques Rancière in his book The Future of the Image claims that - “that regulation is homologous to one another regulation of relation between to know and not to know, between to act and to be subjected to”. Kustoskinja izložbe : Zorana Đakovic Minniti https://vimeo.com/146549324 https://vimeo.com/142871390 https://vimeo.com/145056972 https://vimeo.com/141051343

ATTENTION!
Jedno od prvih direktnih iskustava ako živite ili radite u Beču jeste »jugo« iskustvo koje je i par decenija nakon što više ne postoji, nadživelo Jugoslaviju. Da li je u pitanju identitet ili imidž? Ipak, (ako je verovati podacima objavljenim na internetu), 2014. u Beču živi oko 300.000 tzv. Jugoslovena (od oko 1.700.000 stanovnika glavog grada Austrije) čija se integracija svodi na reprodukciju jeftine radne snage, koja paradoksalno, u najvećem broju slučajeva čuva »demokratski sistem« iz kojeg su zvanično, pa skoro isključeni. Međutim, da je ideja »jugoslovenstva« preživela u Austriji, govori i činjenica da kada neko od ljudi koji rade na ulazima kao obezbeđenje čuje da govorite prepoznatljivim jezikom, ulazite bez ikakve procedure provere i čekanja. Marko Tirnanić je tokom boravka u Beču, preuzeo na jedan dan ulogu ovih »bitnih struktura društva«, prilagođavajući svoj izgled stereotipnom izgledu »ljudi na vratima«, šišajući se i oblačeći odeću tipičnu za obezbeđenje. Bez obzira na prethodno iskustvo slobodnog ulaska u galerijski prostor Ministarstva kulture Republike Austrije, ovoga puta posetioci su bez pogovora pristajali da nepoznati čovek (umetnik) proveri sadržaj njihovih ličnih stvari, istovremeno obuvajući bez ikakvog prethodnog uputstva ili naredbe jednokratne navlake za obuću koje su stajale u kutiji ispred galerije. Čovek je izgledao toliko uverljivo da je u jednom trenutku na otvaranju grupne izložbe savremene umetnosti u Beču, šetala masa u nazuvcima duboko verujući da je to normalna procedura i nove mere bezbednosti. Međutim, performans zapravo počinje u trenutku kada posetioci na samom kraju izložbe (ili izlasku iz galerijskog prostora) vide na ekranu direktan snimak sa ulaza, shvatajući da je reč o umetničkom činu u kojem su nesvesno učestvovali. Kroz isti umetnik zapravo razotkriva vezu između konstantne paranoje, granica prostora slobode i lične odgovornosti. A to je kontekst sa kojim se svakodnevno srećemo, samo se naša pažnja na isti (attention) razlikuje u odnosu na obim, trajanje, fluktuaciju i intenzitet ograničenja sredine u kojoj živimo. Namerni odabir galerijskog prostora za izvođenje performansa ne želi da zaštiti isti, već ga takođe podvrgne kritičkom preispitivanju sopstvene pozicije tj. dometa i ograničenja institucije i onih koji te institucije čine. Da li je tačno da se i taj poslednji prostor slobode pretvorio u »nemesto« (Ože) na kojem je zajednički život samo proizvod unapred određenih pravila koja se bez pogovora poštuju? Zorana Đaković Minniti ----------------- ATTENTION! One of the first direct experiences, if you live and work in Vienna is the »yugo« experience, that outlived Yugoslavia, few decades after its dissapearance. Is it the identity or image? If one trusts the data published on the internet, in 2014 there are nearly 300.000 so called Yugoslavs – Yugos out of 1.700.000 inhabitants of the Austrian capital city. Their integration is a mere reproduction of cheap labor work, that is, paradoxically in many cases protecting the »democratic system« from which they are nearly excluded. However, one of the proofs that the idea of »Yugoslavs - Yugos« survived in Austria is the fact that, if someone from the security hears you speak one of the languages from ex Yugoslavia, you will enter any venue without due procedure, checks or waiting in a line. Marko Tirnanić has, during his stay in Vienna, taken the role of one of those »important structures of the society« adjusting his apperance to stereotipical looks of security personnel and »doorman« by having a specific short haircut and wearing the typical. Although they had previous experience of free entrance to the gallery of Ministry of Culture of the Republic of Austria, this time visitors are complying to an unknown man (artist) checking their belongings, pockets, personal bags. At the same time, without any prior order or explanation, visitors are putting surgery caps, that were in a box in front of the gallery, on their shoes. The artist appeared to be so convincing that at one moment, at the oppening of a group exhibition of contemporary art, all visitors walked in shoes covered by sugery caps, deeply convinced that such act is the regular procedure and new safety measure. However, the performance actually begins when the visitors at the very end of the exhibition, or when exiting the gallery space, spot on a screen live broadcast from the entrance, thus realising that it is a work of art in which they, unintentionally participated in. Through this work, the artist is actually unveiling the relationship between constant paranoya, limits of personal freedoms and responsabilities. This context is daily encountered by all of us, only our attention to it differs with regards to scope, lenght, fluctuation and intensity of limits and constraints of the living environment. By intentionaly choosing gallery space for this performance, the artist does not want to protect it, but rather to expose it to critical rethinking of his own position, reach and limits of the institution. Is it true that even this last piece of free space and liberty has become »non-place« (Augé) whereby the common life is only a product of predetermined unconditionally respected rules? Zorana Đaković Minniti