POLITIKE NEVIDLJIVOSTI

GALERIJA GRAFICKOG CENTRA

Pariska 16, Beograd

10.11.-10.12.2011

PHOTO GALLERY

„Politike nevidljivosti“ („DECA-KIDS“)

Kroz svoj višegodišnji „work in progress“ projekat „DIZAJN IDENTITETA MLADIH“, razmatram stanje anomije na koje ukazujem kroz prikaz medijski generisanih, tranzicionih kolektivnih identiteta mladih, kojima se kroz matrix medija masovnih komunikacija u ponašanje ugrađuju nametnuti globalni kulturni klišei. Medijski uspeh, slava, bogatstvo ili bunt postaju uzori generacijama mladih, i dobar su pokazatelj kako srpsko društvo tumači duštvenu i ekonomsku tranziciju ka neoliberalnoj demokratiji. Prikazujući kolektivne matrice ponašanja mladih uočljivih u javnom urbanom prostoru, zapravo ukazujem na slabosti srpskog društva u tranziciji, u kojem su ranjive grupe, žrtve tranzicije. Srpsko društvo još uvek baštini svoj kulturni identitet na osnovu etnocentričnih autoritarnih modela vrednosti i nema izgrađenu kulturu poštovanja prava (ljudskih, manjinskih, rasnih, rodnih …), što kao direktnu posledicu ima zanemarenost najugroženijih grupa građana, koja proističe iz neefikasnih društvenih normi, zakona, propisa i vrednosti. Sve raširenija društvena anomija doprinosi konfuziji u moralnoj svesti pojedinca, što dovodi do potpune dezorijentisanosti građana u traganju za socijalno poželjnim obrascima ponašanja. Naličje ove pojave se ogleda u porastu delikventnog ponašanja i diskriminaciji prema drugačijem i drugačijima.

Projekat  „Politike nevidljivosti“ kao drugi javno prikazan projekat iz ciklusa „DIZAJN IDENTITETA MLADIH“, tematizuje postojanje ne-vidljivih mladih Roma, koji usled sistemske nebrige države, postaju tranzicione žrtve. U begu od stvarnosti, mladi Romi, nevidljivo gluvare urbanim zonama, gde unutar svojih grupa, verno podražavaju „stvarnost medija“ i ideologiju svojih idola.

Stanje anomije na koju ukazujem, ne iznenađuje u sredini u kojoj se kriminal ne kažnjava, počinioci mnogih zločina ne otkrivaju. Posledice toga su da nasilje eskalira, obespravljenost, siromaštvo, depresija i maloletničeka delikvencija su u usponu. Množe se vršnjačke bande, prodesničarski vandalski obračuni mladih sa policijom ili sa manjinskom populacijom. Kulturna klima je u fazi retradicionalizacije, te umesto povećanja tolerantnosti prema drugom i drugačijem, na sceni su homofobija, mizoginija i ksenofobija. Društvenu stvarnost oblikuju vrednosti popularne kulture, TV “rijaliti”, „life stile“ uspešnih (npr.„Grand“ ili „Pink“) zvezda estrade i sporta, žuta štampa. Društvene konstelacije diktiraju komercijalizacija i profit. U ovoj mondijalizaciji stvarnosti, ne zaostaje ni politički – finansijski establišment. Mediji su zamenili funkcije roditelja, obrazovnog sistema i ideologije. Biti „inn“, biti „brendiran“ (kloniran), utopiti se u „main stream“ za mnoge mlade je vrhunski ideal i dokaz društvenog uspeha. Ni znanje, ni ideja, ni solidarnost, ni veština, nisu merilo uspeha i „kulturnih vrednosti“. To su zapravo novac i potrošačka doktrina neoliberalnog kaptalizma. To je poražavajući rezultat nedovršene srpske tranzicije, na sredokraći između bespuća tradicije i neomeđene modernosti. U takvom okruženju, u kojem vaspitni i obrazovni kadar nema autoritet i kredibilitet kod mladih, a sistem ih podržava u odustajanju od etičkog kodeksa vaspitanja, devijantne pojave kod mladih, posebno onih koji dolaze iz nižih socijalnih slojeva i marginalizovanih grupa, su gotovo pravilo. Ali, kako je njihovo asocijalno ponašanje nevidljivo za srpsku javnost i nadležne institucije, ipak je začudno u eri digitalnih medija. Dakle, zaključak bi bio, da se pojave koje sam registrovala i obradila ignorišu sa namerom. Kojom, i šta se krije iza ove „politike nevidljivosti“?

Kritički diskurs koji želim da otvarim ovim projektom, ukazuje na preko potrebno preispitivanje društvenih vrednosti, kao i merila i kriterijuma razvoja srpskog društva, a istovremeno pozivam na odgovornost autoritete vlasti čiji nedostatak političke volje se očitava u sve očiglednijoj anomiji u našem društvu.

Zapuštenost te dece o kojoj svedoče ove potresne fotografije i grafički radovi, upozorenje su da se ono što se danas dešava romskoj deci, sutra  može desiti bilo kom detetu u Srbiji, budući da vlast ne vodi odgovornu ni socijalnu, ni kulturnu, ni obrazovnu politiku u zemlji.

Budući da sam i sama roditelj, pozivam građane da se zainteresuju i da izvrše pritisak na vlast kojoj deca ne smeju da ostanu nevidljiva, bez obzira na njihovu versku ili rasnu i nacionalnu pripadnost. To bi istovremeno značilo da vlast preuzima odgovornosti za svoje građane i za razvoj srpskog društva u celini,  u kojem se za nauku ne bi izdvajalo 0,02% a za kulturu 0,6 % od ukupnog BDP-a, što je slučaj danas, već mnogo više, imajući u vidu da su mnoge evropske ekonomske studije utvrdile da su ulaganja u kulturu i obrazovanje dugoročno najbolja investicija. Vlast ne može neodgovorno da rasprodaje budućnost svojih građana tako što će voditi restriktivnu monetarnu politiku, a znanje tretirati kao robu, već mora ulagati u kulturni i kreativni kapital i mlade, budući da su mladi najveći resurs srpskog društva.

Gabriela Vasić

Beograd, oktobar 2011.

Radovi:

  • Projekat nastaje na osnovu prikupljene foto-dokumentacije od 2004 do 2010. na nekoliko lokacija u Beogradu, a sadrži fotografije, digitalne crteže, Facebook dokument prepisku u fotoalbumu „Deca-Kids“ autorke, koja je poslužila kao potsticaj za ovaj umetnički projekat. „Zapisi sa Facebook-a“ ukazuju na različite poglede građana o „Romskom pitanju“ i ova diskusija nam otkriva kako pulsira Dekada Roma u Srbiji. Ovi zapisi su integralno prikazani kao “copy-paste” dokument sa Interneta.Radovi iz serije „Ulica“ i „Dunavski nasip“ čine fotografije i digitalni crteži, rađeni prema fotografijama sa mobilnog telefona ili digitalnog fotoaparata. Radove iz grupe “Ulica” čine prikazi dečaka  od 9 – 13 god. koji neometano (nevidljivo) „duvaju“ lepak u srcu prestonice. Jedan dečak stoji nag, kao odmetnik od „ekipe“ koja ga je ubacila u Terazijsku česmu, budući da je odbio da učestvuje u njihovim aktivnostima (mart 2007). Umnoženim linijskim prikazom dečaka, želim da sugerišem na halucinogeno stanje u kojem se oni nalaze pod dejstvom lepka.  Ova grupa crteža je štampana na providnom pleksiglasu i formira prostornu instalaciju u formi kubusa koji visi sa plafona galerije, tako da nagoni posmatrača da obilazi oko nje i da svojim kretanjem menja vizuru. Postavku u galeriji prate foto portreti hip hop “fakira” sa Dunavskog nasipa u Krnjači na kojima se simulira slava poznatih zvezda muzičke industrije i dva crteža dečaka u natprirodnoj veličini koji su postavljeni u formi muralske slike bočno od ulaza u galeriju (visine 200m). Varirajući način na koji su crteži tretirani (classic i multiview), zapravo nastojim da aktiviram jasniju percepciju društvene pozicije ove omladine. Treću grupa radova pod nazivom „Santa Claus“ čine fotografije nastale iz komunikacije sa jednim romskim dečakom koji je u toku jedne umetničke prezentacije u februaru 2009., boravio u Galeriji ULUS, štiteći se od zime. Dečak je hteo da pozira kao model ispred umetničkih radova, i u toku tog pseudo modnog „session-a“, kroz razgovor autorka otkriva poreklo i funkciju belila /korektora na rukama, zubima i ustima dečaka, i dogovaraju da operu belilo sa ruku i lica dečaka.
  • Ovaj rad se emituje kao “slide shaw” na velikom TV monitor

ENGLISH TRANSLATION

„The Policy of Invisibility“  („KIDS“)

In the scope of my year’s long “work in progress” project “DESIGN OF YOUNG PEOPLE’S IDENTITY”, I have been examining the state of anomie and drawing the public’s attention to this phenomenon via a presentation of the media-generated, transitional and collective identities of young people into whose behaviour the imposed global cultural clichés are implanted through the matrices of the mass media communication. Media success, fame, wealth or rebellion, are gradually becoming the role models of young generations, and they represent good indicators of how the Serbian society interprets the social and economic transition towards a neo-liberal type of democracy. Showing those collective matrices in the behaviour of young people that are visible in our urban public space, I actually call attention to the flaws of the Serbian society in transition where the vulnerable groups are victims of this transition. The Serbian society still passes onto young generations its cultural identity based on the ethnocentric and authoritarian models of value, and it does not possess an advanced culture of respect for the rights (human, minority, racial, gender etc.), which has, as a direct result, neglect of the most vulnerable groups of citizens. Such neglect comes out of inefficient social norms, laws, regulations and values. All the more widespread social anomie contributes to confusion in the ethical mind of an individual, which leads to complete disorientation of the citizens in their pursuit of some socially desirable patterns of behaviour. The flip side of this phenomenon reflects in rising delinquency and discriminations towards the different and the other.

“The Policy of Invisibility”, as the second publicly presented project from the cycle “DESIGN OF YOUNG PEOPLE’S INDENTITY”, thematizes existence of the (in)visible young Romany people who become victims of the transition, due to the systematic neglect of the State. In order to escape from the harsh reality, the young Romany people hang out invisibly in various urban zones, where they reproduce faithfully, within their cliques, “reality of the media” and ideology of their idols.

The state of anomie, which I have been researching, is not surprising in an environment where crimes go by unpunished and the perpetrator of many crimes undetected. And the consequences are:  escalation of violence, deprivation, poverty, depression and juvenile delinquency.  The number of peer gangs increases day by day. Extreme right-wing hooligans clash with the police or brutally attack minority groups. The cultural climate is in the phase of reviving the traditional values. Therefore, instead of witnessing the increase of tolerance towards the other and the different, we encounter homophobia, misogyny and xenophobia. Our social reality is shaped by the values of popular culture, television reality shows, the “life style” of rich and famous music stars (e.g. Grand Show or Pink Television), sport stars and tabloids. Commercialisation and profit dictate the social constellations. In this globalisation of reality, our political and financial establishment is not left behind. The media have taken the roles of parents, education system and ideology. To be “in”, to be “branded” (cloned) and to go with the flow represent the ultimate ideal and proof of social success among many young people. Neither knowledge nor ideas, nor solidarity, nor skills are measures of success and “cultural values”. However, money and the consumer doctrine of neo-liberal capitalism are. It is a devastating result of the unfinished transition in Serbia which is in-between the by-ways of tradition and unbounded wastelands of modernity. In such an environment, where educators and teachers have no authority and credibility among young people and the systems supports their abandoning the ethical code of education and upbringing, deviant phenomena among young people, especially those from modest social backgrounds and marginalised groups, are almost the rule. I wonder how it is possible in the digital era that their anti-social behaviour remains invisible to the Serbian public and authorities. Ergo, I can only conclude that the phenomenon I have recorded and processes are ignored on purpose. Why and what is behind this “policy of invisibility”?

A critical discourse I want to initiate with this project indicates that there is an urgent need to re-examine our social values, as well as standards and criteria regarding development of the Serbian society. At the same time, I am calling on the authorities to assume their responsibility because the lack of their political will is evident in today’s ever growing anomie within our society.

Neglect of these children, and these dramatic and disturbing photographs and prints corroborate my claim, represents a warning of what is happening to the Romany children today and what might happen to each and every child tomorrow in Serbia since the authorities do not implement a responsible social, cultural and educational policy in the country.

In view of the fact that I am a parent myself, I am inviting our citizens to take an interest in this issue and to put a pressure on the authorities whom our children should not remain invisible to, regardless of their religious, racial or ethnic background. It would also mean that the authorities are willing to assume responsibility for their citizens and development of the entire Serbian society, where 0,02% of the gross national income is invested in science and only 0,6 % in culture. And these percentages should be significantly higher, taking into consideration the fact that many European economic studies have shown that financing culture and education represents one of the best long-term investments. The authorities cannot and should not trade in the future of their citizens irresponsibly by implementing a restrictive monetary policy and by treating knowledge as goods. They ought to invest money in culture, creativity and young people because the youth is the most valuable resource of the Serbian society.

By Gabriela Vasic

Belgrade, October 2011

Works:

  • The project was developed from 2004 and 2010, based on the gathered photo documentation, on several locations in Belgrade. It contains photographs, digital drawings, Facebook documentary correspondence in the author’s photo album „Deca-Kids“ which has served as a motivation for this art project:. „Zapisi sa Facebook-a“ (Facebook Notes) show our citizens’ view of the “Romany issue” and this debate reveals us how the Decade of the Romany People in Serbia pulsates. These notes are presented in an integral version as “copy-paste” documents on the Internet.
  • The works from the series „Ulica“ (The Street) and „Dunavski nasip“ (A Dyke on the Danube) consists of photos and digital drawings created from the photos taken by a mobile phone or a digital camera. The works from the series “Ulica” (The Street) show boys from the ages of 9 to 13 who freely (invisibly) sniff glue in the heart of our capital. One boy is standing naked, like an outcast from the gang who have thrown him into Terazije Fountain, because he has refused to take part in their activities (March 2007). By a multiplied linear image in drawings, I try to imply the hallucinogenic state of these boys mind. This group of drawings is printed on transparent Plexiglas, and it formats a space installation in form of cube, hanging from the gallery ceiling, for the purpose of making an observer go around it and change his point of view. The set-up in the gallery is accompanied by the photo portraits of hip hop fakirs from a dyke on the Danube in the residential area of Krnjaca. These portraits simulate the fame of our famous music stars. There are also two drawings of boys in full size which are placed in form of mural on the lateral wall of the gallery (height: 200m). By means of treating the drawings in different manners (classic and multiview), I actually try to activate an unambiguous perception of these young people’s position in the society.
  • ·         The third group of works, bearing the title „St. Clause“, contains photos created during the conversation with a Romany boy who came into the Gallery of ULUS, where there was a art presentation on in February 2009, in order to get warm. The boy wanted to pose as a model in front of works, and in course of this pseudo-fashion shoot “session”, the author discovered the origin and function of the white powder on the boy’s hands, teeth and mouth. I made a deal with the boy to wash his hands and face. This work is projected as a “slide shaw” on a huge TV screen.


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One thought on “POLITIKE NEVIDLJIVOSTI

  1. Pingback: Romi! Tretiram vas jednako kao sve ostale pripadnike ljudskog roda. – POMIRITE SE SA TIM!

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