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DUBA SAMBOLEC
"Collectors" #2
bord og uv-lys, video-projeksjon, lyd, neon tekst, planter
19. april - 12. mai 2002
Duba Sambolec er født 1949 i Ljubljana i Slovenia og har
siden 1992 vært leder på skulpturavdelingen ved Kunstakademiet
i Trondheim. Hun arbeider med skulptur, video, foto og lydinstallasjoner,
har deltatt i en rekke gruppeutstillinger nasjonalt som internasjonalt
og holder nå sin 30. separatutstilling hos oss i trans-art,
Trondheim.
Duba er politisk og sosialt engasjert, noe som gjenspeiler seg i
hennes kuntneriske virke. Hun er en intelektuell kapasitet som det
er på høy tid å presentere for et større
publikum.
***
"In the age of media, we have a "hot" TV and
a "cold" radio. Naturally, rather hot then cold one fascinates
us more. Some years ago, I saw the news on the TV and I hardly fell
asleep that night. However, what made this experience too hot for
me was, the invisible and the unheard. The report showed women from
Srebrenica silently sitting on the staircase in front of the city
hall for days, waiting for something to happen. They were expecting
from the authorities some explanation for their disappeared male
family members. Nevertheless, nobody came out of the building.
* I was thinking for a long time what to do with this image that
decided to stay in my brain. Its persistence and insistence were
probably deriving from my empathy and, from the women's point of
view; I somehow identified with their conviction that there have
to be answers to their questions. Anyhow, what amazed me really
was their calm and silent determination. Recently, I also heard
and saw on the TV the report concerning the trials on war criminals
in Den Hague. An official from Belgrade made a statement: "We
in Balkans do not practice written documentation of events in general.
Therefore, it is normal that there are none on the ten years of
war". This statement surprised me because I know different.
The self-defense of people involved into the bloody war is based
on destroying the evidence, on their post-war pretended amnesia
and even on falsification of their own history, which all protects
them from facing the guilt. Such a statement also emphasizes the
fragility of the social contract and it's institutions. It doesn't
take much that we find ourselves in the state of barbarism.
* Consequently, I had an intention to name this show: This is no
art. This is no ex-hibition.This is Pure Beauty. Nevertheless, it
is a show, due to my acknowledgement, that no traumatic or other
kind of experience is transferable and comprehensible. Anyhow, in
our negotiation with the real, we have to articulate something and
this something is the "Collectors" #2 show. The place
is a structure of fragments that point to the gaps in the web of
"missing evidence", which are objects, landscapes, missing
people and survivors, whose utterances might never be heard. Anyhow,
they are present in their silence, which in the aftermath of carnage,
a group of people in Europe is insisting to break through. The situation
derives from non-linear, "rhizomatic" thinking and requires
visitor's conscious decoding and connection of meanings. What you
see, hear and feel are composite elements that form the narration
of a memorial. It is rather an atmosphere then a solid object-artifact.
It takes time to heal and recover but the wound-pain tends to stay
open and insists as a solid presence in fragmented memory.
* I am interested in how our actions and interpretations change
places. What might be for a tourist an exotic place for holidays
turns out to be for someone else the wasteland inhabited by ghosts
and death. The beauty of exotic places and wastelands has to be
inspected thoroughly. They have to be viewed closely and profoundly
all with the aim that we claim our own living as a multiform flow.
Consequently, we are capable to resist the tendencies, which insist
to interpret our existences as one-dimensional/flat case disposable
for abuse and manipulation."
Duba Sambolec,
Trondheim, March, 2002
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