WAITING FOR THE POLITICAL MOMENT-a project concieved by Frans-Willem Korsten, Bram Ieven in collaboration with Katarina Zdjelar for artistic part of the project
Over the past decades, several political and cultural theorists have argued that the domain of politics, and even the very idea of the political, has been hollowed out. Scholars from rather diverse fields, like Chantal Mouffe, Claus Offe, Jacques Rancière, Saskia Sassen, Ellen Meiksins Wood and John Bellamy Foster to name a few, have argued that politics appears to have lost its proper status or has been submerged in the more powerful and encompassing infrastructures of late capitalism. Such an emptying out of the political domain is in itself not an altogether new phenomenon in the history of the West. A historical parallel can be drawn with the way in which the political domain was vacated by the Roman Catholic Church from the early Middle Ages onwards. Machiavelli, for one, like Marsilius of Padua before him, struggled with this emptying out of the domain of politics. The least we can say is that, due to its obstinate recurrence, the issue is worth studying from a diachronic perspective, paying attention to the way it develops through history. It may also be rewarding to consider the hollowing out of the political as a structural problem inherently belonging to politics itself, or to study how scholars in different times have addressed it, and possibly to interconnect their analyses and solutions. We propose to do that in relation to a key concept in this matter: the political moment – the moment of the political and the moment in the political.More information here .
WHEN YOU TAKE ME AS I AM…, performance by Katarina Zdjelar and Jan Verwoert as a part of Lecture Performance exhibition, curated by Jelena Vesić, Radmila Joksimović, Kathrin Jentjens, and Anja Nathan-Dorn, CZKD, Belgrade, 2010. .
PARAPOETICS-sreening program January, 2010, TENT., Rotterdam.
This screening programme investigates the political in language, and the ways in which language shapes individual and collective experience. The selected works touch on the impact of assimilative language policies – where an official language is imposed to foster ‘national unity’. But they also show instances where adopting or rejecting a language or a mode of speaking form strategies of self-empowerment or resistance. Language here appears as a weapon and as a shield, with the ability to protect or liberate and to wound. The programme will present films by Marina Abramovic, Maria Bustnes, Phil Collins , Dani Gal and Jacqueline Goss, and is curated by Katarina Zdjelar and Anke Bangma in conjunction with Zdjelar’s solo exhibition Parapoetics, curated by Mariette Dölle at TENT., Rotterdam. . .
INSTEAD OF A PERFORMANCE, contribution to TIME BOOK, TIME festival 2009, Gent, Belgium. Instead of a performace is a discussion organized by the Centre for Cultural Decontamination in Belgrade in 1996 on the occasion of protest against Milosevic’s vote rigging. The contribution is an adapted version of original transcript of discussion previeously published in its integral form by the Centre for Cultural Decontamination in Belgrade. Text is adapted by Katarina Zdjelar. For text click here. .
RESONANT BODIES, VOICES, MEMORIES-sreening program in conjuction with the book project Resonant Bodies, Voices, Memories, curated by Anke Bangma, Deirdre M. Donoghue, Lina Issa, Katarina Zdjelar, 2009.
It has become common to understand memory, voice and even bodily knowledge and sensations as something we not simply have, but something we do. But when the ability to remember, feel or speak gets disrupted, even this sense that we are engaged in doing – in interacting with and acting in the world – becomes a question. What happens to our sense of self and our relation to others when we try to relate to places where we are not, to a voice that does not seem to be our own, or to a body that we don’t seem to be in control of? With films and audio works by Samuel Beckett, Lina Issa and Fanni Futterknecht, Alvin Lucier, Anri Sala, Imogen Stidworthy, Katarina Zdjelar, and Artur Zmijewksi, amongst others. .
WOLKOM YN IT HEITELAN a project organized by Elke Uitentuis and Wouter Osterholt at Fries Museum, Buro Leeuwarden, 2007. For the project “Wolkom yn it Heitelan”, Zdjelar has organized a tailor-made language classes for illegal immigrants living in the Friesland. Each participant would get his personal tutor and work with him for a period of time on specific challenge that each participant had, ranging from writing, reading, speaking, pronunciation, translation…. In general, tutors would be native Dutch or Fries speakers, but during the project, immigrants with better command of the language would act as tutors to their fellows that had basic or very poor command of it. The project functioned as an alternative language school but also as a platform for exchange. . . .
INDIA SONG, performance by Katarina Zdjelar as a part of If I Cant Dance I Don’t Want to be part of your Revolution (2007) Performance India Song is based on an adaptation of Marguerite Duras’s text India Song – a story that takes place in colonized India of the 1930s and follows the impossible love between the wife of the French ambassador and vice-consul in Lahore. The performers translate the text as a novel text, theatre text and as a film script. The viewer can be carried away with the intensely passionate story of Anne-Marie Stretter, or be guided by the unexpected stage directions by Marguarite Duras, which are included in the text as a part of the script. Performance takes the form of a public reading in which performers are revealed only through their accented voices which put an accent on displacement inherent in the story and allow the viewer to imagine places, people and actions, rather than seeing them on the stage. Text adapted and performance directed by Katarina Zdjelar. Performed by Özlem Altin, Maja Bekan, Ruth Leg, Lina Issa and Katarina Zdjelar at CASCO and Huis A/d Werf in Utrecht as a part of If I Can’t Dance, I Dont Want To Be Part Of Your Revolution, a rolling curatorial platform developed by Annie Fletcher and Frederique Bergholtz.
BEING HERE TWO, video screening at TENT., Rotterdam, November 2006 Being Here Two is a video screening curated by Katarina Zdjelar, with works by G.W.Pabst, Anri Sala, Hito Steyerl, and Imogen Stidworthy. The film and video screenig focused on works which look at different aspects of translation, such as in a video Alex by Imogen Stidworthy which is based on the treatment of a patient with a psychosomatic voice disorder( shown as a video projection); challenges bent around performing sounds in a post-colonial cultural setting are explored in Lakkat by Anri Sala (shown as a video projecion, played one after another in British English version and American English version); economy of language and translation in The Threepenny Opera by G.W.Pabst (simultaneously playing in French and German versions on two monitors); and translation of text into video lecture in The Articulation of Protest by Hito Steyerl (a video lecture made in 2006 using the text from the essey published in 2002). . .
ROUND TRIP. EXCERCICES DE STYLE , text piece, 2005. This project is a collection of reoccurring and collective dreams of immigrants, based on conducted interviews in 2004/5 . Regardless of their different origin and background, they all share the very same dream/nightmare. Within the dreams, the return to a home country or host country is impossible. A chain of inhibitions and inexplicable events follow the dreamers’ physical actions and the memory reference of a locality they come from is censored within their de-territorialized subjectivity. In a dream, the dreamers hover and stay at non-place, such as airport, train station… Text piece is here .
Workin’ Progress. Open call for a closed meeting, discussion piece 2005~2007 Workin’ Progress. Open call for a closed meeting is a series of semi-public discussions. With this project Zdjelar is interested in incidental or potential transfer and exchange of knowledge that occurs within a group of individuals who come together around a shared subject of interest. The starting point for the joint discussions is a text “Universality in culture’ by Judith Butler, which is sent to the participants who sign up for one of the discussions in advance. The invitations for participation are sent through the mailing list of an institution in which the discussion takes place. Whoever signs up can activly participate; there is no additional audience. Workin’ Progress. Open call for a closed meeting took place in Serbia, Belgrade, at the Museum of Contemporary Art, Salon, with: Stevan Vukovic, Jelena Vesic, Vlatko Ilic, Vladimir Jeftic, Svebor Midzic and Katarina Zdjelar; in the Netherlands, Rotteram, at the Het Wilde Weten with: Liesbeth Bik, Milica Tomic, Eva Fotiagi, Bram Ieven, Stani Michiels, Robert Suermondt, Tamuna Chabasvili, Adi Hollander and Katarina Zdjelar; in Turkey, Istanbul at Platform Garanti Centre for Contemporary Art, with: Elmas Deniz, Selda Asal, Mohr Ulrike, Minna Rainio, Elif Ozgen, Leyla Gediz, Selim Birsel and Katarina Zdjelar. This project is part of series of different platforms for speculation developed in the same period, including Pink Duck, a reading group organized by Renee Ridgway, Thomas Michelon, Bart van der Heide, Siebe Tetero, Simon Ferdinando, and Katarina Zdjelar on different locations in Rotterdam and Amsterdam.