O Nike patikama i interkulturalnosti/ABOUT NIKE SHOES AND INTERCULTURALISM

Criticize This! – izložba “Stoka sa istoka”, Aleksandar Jestrović Jamesdin, Likovna galerija Kulturnog centra Beograda, 19. oktobar – 9. novembar 2011. (nagrada KCB-a na 50. Oktobarskom salonu u Beogradu 2009).

Piše: Ana Bogdanović

Bubnjarska palica sa koncerta Igija Popa pored majice sa njegovim likom naslikane uljem na džaku i video snimljen u erotskom zabavnom centru, koji se napaja strujom iz slike preopterećenog produžnog kabla, ispod portreta robota psa ljubimca. Preko puta kuhinjska polica sa predmetima iz maminog špajza i kalendarom za 2050. godinu sa slikama sinovljevih umetničkih podviga. Otisci Nike patika u bojama Benetona na belom platnu i jedan ukradeni nemački reklamni bilbord pretvoren u najavu autorove izložbe na ruskom jeziku. Nožem prerezan grkljan na portretu zombija uz parolu “Smrt slikarstvu”. Fotografije tetoviranih ruža u sećanje na nesrećno preminulu porno performans divu iz Hamburga i snimci umetnika kako kraul stilom preplivava fontane u različitim gradovima sveta. I jedna sveska koju možete čitati sa oba kraja – kao zbirku domaćih radova i kao kompilaciju impresija sa integracionog kursa koji stranci pohađaju u Nemačkoj. Sve ovo samo je deo izložbe pod nazivom “Stoka sa istoka” koju je beogradski umetnik, sa trenutnim prebivalištem u Berlinu, Aleksandar Jestrović Jamesdin (1972) kao laureat nagrade Kulturnog centra Beograda na 50. Oktobarskom salonu iz 2009. predstavio u Likovnoj galeriji KCB-a.

Jamesdin, kao što i nagoveštava njegov nadimak (lokalna, “narodska”, adaptacija imena nekada popularnog glumca), u svom radu inteligentno i duhovito promišlja i komentariše  teme, fenomene i događaje iz sveta popularne i medijski promovisane kulture. Kombinujući raznovrsne umetničke medije, kontinuirano unapređuje i potvrđuje svoj autentični umetnički izraz. Veoma zapažen na lokalnoj umetničkoj sceni tokom 2000-ih godina, na kojoj važi za tough guy-a sa ubedljivim stavom i predstavnika jedne nove linije savremenog srpskog slikarstva, Jamesdin pre dve godine odlučuje da se preseli u Berlin gde nastaje serija radova koja je izložena pod parolom “Stoka sa istoka”. Iz pozicije stranca, koji je u novoj sredini obavezan da pohađa integracijski kurs kako bi naučio nemački jezik, istoriju i kulturu, on reaguje na globalizacijske imperative multikulturalizma, slobodnog tržišta i brzog protoka informacija. Kao rezultat nastaju impulsivni umetnički komentari na najbanalnije konzumerističke i popularne manifestacije ovih fenomena. Tako raznobojni otisci đonova Nike patika zapravo predstavljaju duhovit odgovor na londonske nerede od pre nekoliko meseci u kojima su paradoksalno bile glavni plen anti-sistemski orjentisanih demonstranata (setimo se i u domaćoj javnosti svojevremeno aktuelnog youtube videa “Kosovo za patike”), plivanje po fontanama omaž je romskoj deci koja često leti upražnjavaju ovakve aktivnost, dok slika produžnog kabla sa upetljanim kablovima od kojih jedan zaista napaja mini televizor funkcioniše kao metafora opsesivnog odnosa savremenog muškarca prema najnovijim tehnološkim gedžetima.

U vremenu kada je ljudska pažnja, bombardovana efektivnim marketinškim sadržajima, svedena na svega nekoliko sekundi, Jamesdin uspeva da iznenađujućim i neočekivanim spojevima vizuelnih informacija u svojim radovima privuče i zadrži pažnju posmatrača, i pri tom ga dobro zabavi. Iako posredno koristi strategije savremenog medijskog i marketinškog plasiranja informacija, poruke koje svojim delima saopštava prevazilaze banalne poente. Svima prepoznatljive simbole popularne savremene kulture prikazuje kao proizvode koji negiraju uspeh i održivost ideoloških sistema iz kojih su nastali. Integrišući intimne crtice iz svog života u inteligentne komentare naše globalne svakodnevice, Jamesdin iskreno, direktno i bez ustezanja, pruža pogled u jedno drugačije okruženje u kome se svet oko nas posmatra i promišlja bez foliranja i predrasuda, iz umetničke pozicije koja ne koketira sa aktuelnim i pomodnim trendovima lokalne savremene umetničke prakse. Svesno odbijajući da umetničku praksu tretira elitistički, ali i prevazilazeći okvire pop arta, on u izložbenom prostoru stvara haos vizuelnih senzacija koje isprva zbunjuju, da bi ubrzo zatim jasno postale kompatibilni delovi celine u kojoj se ogleda slojevita kritička percepcija ikonografije savremenog društva i njenog upada u privatnu sferu pojedinca.

Autentičnim umetničkim stavom koji se ne zadovoljava jednoličnim i jednosmernim prihvatanjem stvarnosti, kao i specifično neposrednom i efektnom odnosu prema medijima u kojima svoje komentare prenosi, ovaj autor opravdava nagradu koja mu je pre dve godine uručena. A, da li je “Stoka sa istoka” opravdala znanje stečeno na integracionom kursu, ostaje neizvesno

Tekst je nastao u sklopu projekta Criticize This! koji organizuju Kulturtreger i Kurziv iz Hrvatske, SEEcult.org i Beton iz Srbije, te Plima iz Crne Gore. Projekat se realizuje u sklopu programa “Kultura 2007-2013” Evropske komisije. Sadržaj ove publikacije isključiva je odgovornost organizatora projekta Criticize This! i ni na koji način se ne može smatrati da odražava gledišta Evropske unije.

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Aleksandar Jestrović Jamesdin: Beast from the East. Exhibition marking the occasion of the Culture Centre Belgrade Award at the 50th October Salon 2009, October 19 – November 9, 2011, Culture Centre Belgrade Gallery

By: Ana Bogdanović

A drum stick from an Iggy Pop concert next to a T-shirt with his picture painted in oil on sack canvas and a video made at an erotic entertainment centre, which is powered through an over capacitated extension cord under a portrait of a robot pet dog. Standing opposite, a kitchen shelf with object from mom’s pantry and a calendar for the year 2050 with paintings of her son’s artistic endeavours.
Prints of Nike tennis shoes in Benetton colours on white canvas and a stolen German billboard commercial turned into a Russian poster for the artist’s exhibition. Throat cut with a knife on a portrait of a zombie, with the motto “Death to Painting”. Photographs of tattooed roses which pay tribute to the tragically deceased porno performance diva from Hamburg and videos of an artist swimming freestyle in fountains in cities around the world. And a book that you can read from both ends – as a collection of homeworks and as a compilation of impressions from an integration course foreigners take in Germany. All this is only a part of a show called “Beast from the East” that the Belgrade artist Aleksandar Jestrović Jamesdin (1972), a Culture Centre Belgrade Award laureate currently residing in Berlin, presented at the 50th October Salon in 2009 at the CCB Gallery.

Jamesdin, as the nickname implies (a local, populist adaptation of the famous actor’s name), contemplates themes, phenomena and events from the world of popular and media-propelled culture in an intelligent and witty way. Through a combination of various artistic media, he is constantly improving and establishing his authentic artistic expression. Extremely noticed at the art scene during the 2000′s, when he was perceived as a tough guy with a strong attitude and a representative of a new current in contemporary Serbian painting, Jamesdin decided to move to Berlin two years ago where this cycle was created, named “Beast from the East”. From the point of view of a foreigner who finds himself in new surroundings and is obliged to attend an integration course in order to study German language, history and culture, he reacts to the globalisation imperatives of multiculturalism, free market and fast-flowing information. As a result, there are impulsive artistic comments of the most banal consumerist and popular manifestation of these phenomena. In this way, the footprints of Nike tennis shoes in various colours actually represent a funny response to the London riots from a few months ago, when they paradoxically fell prey to the anti-system oriented rioters (let’s not forget the once very viral YouTube video “Kosovo for tennis shoes”), swimming in fountains is an homage to Roma children who often enjoy such an activity during the summer, while the painting of an extension cord with entangled wires among which there is a wire that powers a mini TV – all of which functions as a metaphor for the obsessive relation between the modern man and the newest techno gadgets. In a time when people’s attention is bombarded by brief marketing content, reduced to only a couple of seconds, Jamesdin manages to attract and focus the audience’s attention with surprising and unexpected blends of visual information, and have fun while doing so. Although he vicariously uses contemporary media strategies and marketing placements of information, the messages that come across from his work go beyond any banal points. He demonstrates popular symbols of popular culture that are recognized by everyone as products which negate success and sustainability of the ideological systems from which they originated. By integrating intimate everyday bits into intelligent comments of our global everyday lives, truthfully, directly and with no holding back, Jamesdin provides a view towards a different surrounding where the world around us is observed and thought of without falsehood or prejudice, through a form and artistic standpoint that does not flirt with current fashionable trends of the local artistic practice. By consciously refusing to treat artistic practice as elitist, and rising above the pop-art framework, at the exhibition venue he creates sensory visual chaos that is confusing at first, and then they soon clearly become compatible pieces of an integrated whole where critical perception of modern society’s iconography is reflected and invades individual’s private sphere.

With an authentic attitude as an artist who does not settle for a monotonous, one-way acceptance of reality, as well as with a particularly immediate and powerful approach to the media that he shares his comments with, this author has justified the award given to him two years ago. And as for the “Beast from the East” and whether it justified what was taught at the integration course, that is something which still remains uncertain.

This publication has been produced with the assistance of the European Union. The contents of this publication are the sole responsibility of Criticize This! and can in no way be taken to reflect the views of the European Union.

published by

http://www.criticizethis.org

http://www.seecult.org

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