Mozarts Catalogue

MOZARTSJelena Jureπa

u saradnji sa / in collaboration with:Dejan ©olajiÊ

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Jelena Jureša Transfer of (inner and outer) borders

“Language is like skin: I rub my language against the other. It is as if I had words instead of fingers, or fingers at the tip of my words.” Roland Barthes

Every exhibition of contemporary art is a possibil-ity of opening up a different space, and its inter-pretation serves, above all, to emphasize a propo-sition for contemplation outside the established patterns. In her latest reflections, through the form of video portraits produced by a combina-tion of narrative, music and image, Jelena Jureša is interested in the issue of cultural identity. The videos present subjects, young, academically ed-ucated polyglots from Eastern Europe, dressed up as “Mozarts”, selling concert tickets in the streets of Vienna. But rather than their predetermined and fixed identities, the issue here is a complex juxtaposition of different signifiers (de)construct-ing these identities: costumed bodies in constant motion in public space, their biographies and fa-vourite songs sung by an authentic “inner” voice.

The thought of someone implies the acknowledg-ment of that person as a subject and, therefore, the irreducibility of otherness. Jelena Jureša de-constructs fixed identities as she does not treat the Other as a predetermined and fixed object from Eastern Europe, whose identity is erased by the act of putting on the Mozart costume. By a constant process of translation of different layers,


Jelena Jureša Premeštanje (unutrašnjih i spoljašnjih) granica

„Jezik je kao koža: trljam moj jezik, o jezik drugog. Kao da imam reËi umesto prstiju, ili prste na vrhovima reËi.”Roland Barthes

Svaka izložba savremene umetnosti je moguÊnost otvaranja jednog drugaËijeg prostora, a njena in-terpretacija služi pre svega da bi se naglasila pro-pozicija za razmišljanje izvan utemeljenih šablona. U svojim poslednjim promišljanjima, kroz formu video portreta nastalih kombinovanjem narativa, muzike i slike, Jelena Jureša se interesuje za pi-tanje kulturnog identiteta. Video radovi predstav-ljaju subjekte, mlade, akademski obrazovane poliglote, poreklom iz istoËne Evrope, maskirane u „Mocarte”, koji na ulicama BeËa prodaju kon-certne karte. Ali umesto sagledavanja njihovog unapred zadatog i fiksiranog identiteta, ovde je reË o kompleksnoj jukstapoziciji razliËitih oznaËitelja koji te identitete (de)konstruišu: kostimiranih tela koja su u stalnom pokretu u javnom prostoru, njihovih biografija i omiljenih pesama otpevanih autentiËnim „unutrašnjim” glasom.

Misao o nekome podrazumeva priznavanje te osobe kao subjekta, i samim tim, nesvodivost drugosti. Jelena Jureša dekonstruiše fiksirane identitete jer drugog ne tretira kao unapred zadati i statiËni objekat iz IstoËne Evrope, Ëiji je iden-titet poništen preoblaËenjem u Mocartov kostim. Neprestanim procesom prevoenja razliËitih slo-


inner and outer languages, she revitalizes iden-tity consideration. Lacan articulates this linguistic dimension by insisting on the Other as the space developed between signifiers which represent the subject. With all the included signifiers, the space allows for the appearance of otherness or a man-ifestation of difference which remains between here and there. Video works represent a space where the dimension of structural inter- and intra-subjectivity is realized.

The method which Jelena Jureša applies is an act of deconstruction (Derrida) in its own right, that is, of a careful reading of differences, of the marginal, the secondary, so that the strengths and efforts to displace an entire system can be noticed in a turn of the inherited hierarchy of concepts and values inherent to the essentialistic perception of identity. The dimension of intersubjectivity in which every-thing is defined as a function of speech in relation to the Other is the basis for identity consideration. The focus is on flux, on fluidity, on agency in the contemporary context where subjects are rooted in the fact that they are in constant motion. As a turn of inherited hierarchies, deconstruction is realized here through a consideration of identity which is not binary and does not survive through the rhetoric of ‘us’ vs. ‘them’, but rather creates a horizontal hybrid typology.

The treatment of the Other that Jelena Jureša ad-vocates is emphatic, profound and complex. Di-alogue is not held with the Other whose identity is predetermined, but his complexities and mutabil-


jeva, unutrašnjih i spoljašnjih jezika, ona revitali-zuje promišljanje identiteta. Lakan artikuliše ovu jeziËku dimenziju insistiranjem na drugom kao na prostoru razvijenom izmeu oznaËitelja koji zastu-paju subjekat. Sa svim oznaËiteljima koje ukljuËu-ju, taj prostor dozvoljava pojavljivanje drugosti tj. manifestaciju razlike koja opstaje izmeu ovde i tamo. Video radovi su prostor gde se ostvaruje di-menzija strukturalne inter i intrasubjektivnosti.

Postupak koji Jelena Jureša primenjuje svo-jevrstan je Ëin dekonstrukcije (Derida), tj. pažljivog išËitavanja razlika, marginalnog, sekundarnog, kako bi se u preokretu nasleene hijerarhijepojmova i vrednosti svojstvenih esencijalistiËkom poimanju identiteta, uoËile snage i naponi za premeštanje Ëitavog jednog sistema. Dimenzija intersubjektivnosti u kojoj je sve definisano kao funkcija govora u odnosu na drugog, osnova je za promišljanje identiteta. Fokus je na protoku, na fluidnosti, na delovanju u savremenom kontekstu u kojem su subjekti ukorenjeni u Ëinjenici da su u stalnom pokretu. Dekonstrukcija, kao preokret nasleenih hijerarhija, ovde se ostvaruje kroz promišljanje identiteta koji nije binarno orijenti-san i koji ne opstaje kroz retoriku mi vs. oni, nego kreira horizontalnu hibridnu topologiju.

Odnos prema drugom za koji se Jelena Jureša zalaže, empatiËan je, dubok i kompleksan. Dija-log nije voen sa drugim Ëiji je indentitet unapred zadat, veÊ se njegove kompleksnosti i promenjlji-vosti simultano razvijaju i stimulišu tokom trajanja video rada. „Mocarti” zato nisu samo priËa o iden-


ities develop simultaneously and stimulate in the course of the video recording. Therefore, “Mo-zarts” is not only a story about identity, but about dynamism, about the necessary process of trans-lation. About taking a position in which signs are no longer fixed and meanings depend on per-spective and situation. There is no more centre, the support of language; instead, the relation-ship with the margins (of language, subjects, cul-tures...) is problematized. Various margins change places and are displaced; they point to multiple perspectives of considering the Other and decon-struct any centred thinking. Video portraits create knowledge of the impossibility of fixing borders, of extended translational capacities, that is, of lan-guages and cultures which are in contact and flow in different directions.

Maja ∆iriÊ


titetu, veÊ o nestatiËnosti, o neophodnom procesu prevoenja. O zauzimanju pozicije u kojoj znakovi više nisu fiksirani, a znaËenja zavise od perspe-ktive i situacija. Nema više centra, oslonca jezi-ka, veÊ se problematizuje odnos sa marginama (jezika, subjekata, kulture...). RazliËite margine premeštaju se i izmeštaju, ukazuju na mnogo-struke uglove promišljanja drugog i dekonstruišu svako centrirano mišljenje. Video portreti stvara-ju znanje o nemoguÊnosti fiksiranja granica, o proširenim prevodilaËkim kapacitetima, odnosno, o jezicima i kulturama koji se meusobno dodiru-ju i razlivaju u raznim pravcima.

Maja ∆iriÊ


Tzveta je roena 1976. godine, u Bugarskoj. U BeËu živi poslednjih 10 godina. Prvobitan razlog njenog dolaska u BeË bile su studije. Udata je i majka je dvogodišnjeg Petra. Govori bugarski, francuski, nemaËki i španski. Voli da sluša Sade i Depeche Mode. Omiljena bugarska pesma joj je pesma „Kukla” grupe Atlas.

Tzveta was born in Bulgaria in 1976. She’s been living in Vienna for the past 10 years. The primary reason for her arrival in Vienna was her studies. She’s married and is the mother of a two-year-old boy named Petar. She speaks Bulgarian, French, English, German and Spanish. She likes to listen to Sade and Depeche Mode. Her favourite Bulgar-ian song is ‘Kukla’ by Atlas.



Stratzimir je roen 1976. godine, u Bugarskoj. U BeËu živi od 1998, a upravo je diplomirao meunarodnu ekonomiju. Pored bugarskog govori engleski, nemaËki i ruski jezik, a služi se i španskim i italijanskim. Muziku bira shodno raspoloženju. Sluša hevi metal, hard rok, džez, D&B, elektronsku i klasiËnu muziku. Omiljena pesma mu je „Smoke on the Water” grupe Deep Purple.

Stratzimir was born in Bulgaria in 1976. He’s lived in Vienna since 1998. He’s just got his degree in International Economics. Apart from Bulgar-ian, he speaks English, German, Russian, and can also communicate in Spanish and Italian. He chooses music according to his mood. He listens to heavy metal, hard rock, jazz, electronic music, drum’n’bass and classical music. His favourite song is ‘Smoke on the Water’ by Deep Purple.



Mila studira u BeËu. Smatra da godina i mesto roenja ne govore mnogo o osobi. Pored mater-njeg jezika, govori engleski, nemaËki, italijanski, španski. Voli da sluša džez, rok, haus. Omiljena pesma joj je „Need You Tonight” grupe INXS.

Mila studies in Vienna. She thinks the year and place of birth don’t reveal much about the per-son. She is from Eastern Europe. Apart from her mother tongue, she speaks English, German, Ital-ian and Spanish. She likes to listen to jazz, rock and house music. Her favourite song is ‘Need You Tonight’ by INXS.



Adel je roen 1985. godine u Srbiji. U BeËu je tri i po godine. Studira. Nakon završetka studija vo-leo bi da ode iz Austrije. Ne planira da se vrati u Srbiju. Govori srpsko-hrvatski, nemaËki, engles-ki, arapski i pomalo maarski. Sluša sve, osim hevi metal muzike. Voli da sluša grupu Queen, a posebno pesmu „The Show Must Go On”. Omilje-na domaÊa pesma mu je „9000 metara” Željka SamardžiÊa.

Adel was born in Serbia in 1985. He’s been in Vi-enna for three and a half years. He studies. Af-ter graduation, he’d like to leave Austria. He’s got no plans to go back to Serbia. He speaks Serbo-Croatian, German, English, Arabic and a bit of Hungarian. He listens to any music except heavy metal. He likes to listen to Queen, especially the song ‘The Show Must Go On’. His favourite Ser-bian song is ‘9000 metara’ by Željko SamardžiÊ.



Nizar je roen 1979. godine na Kosovu. U BeËu pohaa studije engleske i španske filologije. Gov-ori albanski, srpsko-hrvatski, bugarski, engleski, nemaËki, italijanski i španski. Sluša džez. Voli da sluša „Merre Lehte” u izvoenju grupe Fanfara Ti-rana. Najdraže pesme su mu: „Ne me quitte pas” Jacques Brel, „Torna a Surriento” Giuni Russo, „Temptation” Diana Krall i „Evidence” grupe Faith No More.

Nizar was born in Kosovo in 1979. He studies Eng-lish and Spanish Philology in Vienna. He speaks Albanian, Serbo-Croatian, Bulgarian, English, German, Italian and Spanish. He listens to jazz. He likes ‘Merre Lehte’ in the version of Fanfara Ti-rana. The songs dearest to him are: ‘Ne me quitte pas’ by Jacques Brel, ‘Torna a Surriento’ by Giuni Russo, ‘Temptation’ by Diana Krall and ‘Evidence’ by Faith No More.



Jelena Jureπa

MOZARTSVideo montažaVideo Editing:Dejan ŠolajiÊ Audio produkcijaAudio Production:Hammer Production

MuzikaMusic:Aleksandra BerËek,Milena StanojeviÊ,Sonja Gobec,Jovan MatiÊ,Vojislav Malešev

Finalna obrada zvukaFinal Sound Editing:Ilja PopoviÊ

Umetnica želi da se zahvaliDragani MarinkoviÊ (SOKOJ)i Kameliji RadoviÊ (Ginger)na pomoÊi u obezbeivanju pravana korišÊenje muziËkih numera.

The artist wishes to thankDragana MarinkoviÊ (SOKOJ)and Kamelija RadoviÊ (Ginger)for their help in obtaining theright to use the songs.


NAPOMENE

„Ne me quitte pas” je pesma koju je napisao i prvi put otpevao Jacques Brel 1959. godine. „Smoke on the Water” pesma je britanskog hard-rok benda Deep Purple, prvi put objavljena na njihovom albumu Machine Head, 1972. godine. Autori pesme su: Ritchie Blackmore, Ian Gillan, Roger Glover, Jon Lord i Ian Paice.„Need You Tonight” prvi je singl sa albuma Kick australijske grupe INXS. Autori pesme su: Andrew Farriss i Michael Hutchence.„Kukla” je pesma bugarske grupe Atlas, objavljena 1992. godine. Muziku je napisao Peter Popov, pijanista grupe, a na tekst Dimitra Voeva, pesnika, kompozitora, pevaËa i bas gitariste, osnivaËa kultne bugarske grupe New Generation. „9000 metara” je pesma Željka SamardžiÊa, popularnog pop-folk pe-vaËa u Srbiji. Autori pesme su Marina TucakoviÊ i Saša DragiÊ.

NOTES

‘Ne me quitte pas’ is a song by the Belgian singer-songwriter Jacques Brel, written and sung for the first time in 1959. ‘Smoke on the Water’ is a song by the British hard rock band Deep Purple, first released on their album Machine Head in 1972. It was written by Ritchie Blackmore, Ian Gillan, Roger Glover, Jon Lord and Ian Paice.‘Need You Tonight’ is the first single from the album Kick by the Aus-tralian band INXS. It was written by Andrew Farriss and Michael Hutch-ence.‘Kukla’ is a song by the Bulgarian band Atlas, released in 1992. The music was written by Peter Popov, the band’s pianist, for the text by Dimitar Voev, a poet, composer, singer and bass guitarist, founder of the cult Bulgarian band New Generation. ‘9000 metara’ is a song by Željko SamardžiÊ, a popular pop-folk singer in Serbia. It was written by Marina TucakoviÊ and Saša DragiÊ.


Jelena Jureπa was born in Novi Sad in 1974, where she finished her studies at the Academy of Arts. She has participated in solo and joint exhibitions in Serbia, France, Croatia and Austria.During artistic residential stays in Paris in 2004 and 2005, she created the works from the Tour-ists series. In her latest works, in which she ad-dresses the issue of gender, that is, cultural iden-tity, the narrative is in the foreground and is united with the image in the form of a textual or auditory record (What It Feels Like for a Girl, 2005 - 2009; Mozarts, 2009). Her visual research is based on the exploration of the communicational qualities of the image. Her work focuses on the portrait, through which she examines the relationship between the observer and the observed via the given possibility of un-derstanding the portrayed subject and problema-tizing the question of what the image does or does not convey. The photographic image is the starting point of her creative consideration of the portrait, irrespective of whether the medium is photography, video or an audiovisual installation.


Jelena Jureša roena je u Novom Sadu 1974, gde je završila studije na Akademiji umetnosti. Izlag-ala je na samostalnim i kolektivnim izložbama u Srbiji, Francuskoj, Hrvatskoj i Austriji.Tokom umetniËkih rezidencijalnih boravaka u Parizu, 2004. i 2005. godine, realizovala je radove iz serije Tourists. U poslednjim radovima, u kojima se bavila pitanjem rodnog, odnosno kulturnog identiteta, narativ je u prvom planu i objedinjen je sa slikom u vidu teksta ili audio zapisa (What It Feels Like for a Girl, 2005 - 2009; Mozarts, 2009). Njeno vizuelno istraživanje oslonjeno je na ispi-tivanje komunikacijskih kvaliteta slike. Fokus njenog rada je portret putem kog ispituje odnos posmatraËa i posmatranog kroz ponuenu mo-guÊnost razumevanja portretisanog subjekta i problematizovanja pitanja: Šta slika govori, a šta ne? Fotografska slika je polazište njenog kreativnog promišljanja portreta, bilo da se radi o mediju fotografije, videa ili o audiovizuelnoj instalaciji.



IzdavaË:Galerija Zvono,ViπnjiÊeva 5, Belgrade, Serbiawww.galerijazvono.com

Za izdavaËa:Ljiljana TadiÊ

Lektura:Aleksandra Kolar, Boris Pendelj

Prevod:Arijana LuburiÊ-CvijanoviÊ

Lektura engleskog teksta:Terence McEneny

GrafiËko oblikovanje:Slavimir StojanoviÊ Design

©tampa:©tamparija Stojkov, Novi Sad

Tiraæ:300

ISBN 978-86-86041-06-7

CIP - Каталогизација у публикацији Библиотека Матице српске, Нови Сад

COBISS.SR-ID 246657031http://vbs.rs/cobiss/


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