Saša Karalić



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Quickening / Ubrzavanje
(Cat.)
01.09. - 01.10.1998
Museum for Contemporary Art RS
(fomer Gallery of Fine Arts)
Banjaluka
Bosnia and Herzegovina


Curator:
Saša Karalić


Artists:
Paul Bothen (SWE)
Isaac Carlos (ANL)
Renata Czajor (POL)
CM von Hausswolff (SWE)
Wim Jongedijk (NL)
Saša Karalić (NL/BiH)
Sara Mannheimer (SWE)
Zeljko Radinković (BiH)
Gilberto Reis (POR)
Sebastian Sanders (NL)
Tanja Schulte (GER)
Jelena Stefanović (SER)




Paul Bothen


Isaac Carlos


Renata Czajor


CM von Hausswolff


Wim Jongedijk


Saša Karalić


Sara Mannheimer


Zeljko Radinković


Gilberto Reis


Sebastian Sanders


Tanja Schulte


Jelena Stefanović





The English word “quickening” means picking up speed, acceleration, but also coming to life. That is also the name of the pregnancy period in which mother starts feeling her baby’s moves in her belly. In this period, according to traditional believe, baby is endowed with the soul of its own, that is, it becomes a human being.

The exhibition named “Quickening” has nothing to do with the overall analysis of acceleration of our planet or the civilisation, since that kind of acceleration becomes explained by political and technological causes time after time. This exhibition rather deals with the individual experience of passage through time, with the individual feeling of decline and waste, growth and renewal. It deals with the quickening that brings forth not only the excitement of the novelty but also fear and insecurity, together with the decline of social values.

A sudden acceleration brings us into the state of shock.
The body gets brutally pushed backwards, which makes the whole mental apparatus abandon its functions and let the instincts prevail. The old linguistic codes are forgotten, whereas the new ones have not been mastered yet. The old symbols wane and loose their function whereas the new ones have not been established yet. Out of nostalgia we reach for feeling of security we once had and create the absurd idols in the ruins of the old system of values. We do not resist the frightening speed and start taking part in the overall decomposition of reality. During the process of creation of “the new reality”, life goes on on the no man’s land, in a socially undefined space which Nietzsche’s Zarathustra would hail as ideal for the creation of Ubermensch, clear and transparent, non-contaminated by any kind of ideology, the space in which “the spirit of the new" could move freely.

In that space, however, nothing and nobody remain for too long. Searching for the security of a new social frame, in transit from one reality to another, one feels in that space like a refugee, insecure and frightened - the perfect servant of the newly arriving system. The burden of freedom, the “no man’s land effect” caused by the abrupt acceleration, can be borne only if the individual interior speed becomes superimposed to the general, collective one. Then the individual decision becomes socially relevant, while at the same time, individual and collective become differentiated. It is only on the no man’s land that art can become socially relevant in an authentic way, that it becomes the moving force of the new social change.

The exhibition “Quickening” therefore is neither the ultimate answer nor the seized absolute; it only attempts at pointing to the space defined by speed, at the individual vision of that space. It tries to recognise the movement which denotes the beginning of coming to life.

Saša Karalić