May 21st - 25th, 2012
Opening on May 21st, at 19h
One-channel installation Endoce(p)t by a group of young authors Bugzzz (Jelena Maksimović, Nemanja Trećaković, Marko Salapura) represents a technically challenging assembly, which primarily focuses on the human individual, but also on the aspects of time and space. The field in front of the projection is covered with sensors- cameras through-which the observers become integrated into the work. By moving his hands the observers alter the image and sound, directly transforming the work, which then takes on a different shape. The projection is realized on a modular panel, which is compromised from plates, elevated more or less, with rectangular or square shapes. Through this gesture, the projection becomes a fragmented image with a series of mistakes or malfunctions – glitches. Every shot is stylistically different and troughs this it takes on the format of micro-narratives
The fact that the recipient distorts, disrupts the work, becoming a part of it, points to the constant and inevitable change of the linear course of time of the video. Because of this, it is fair to say that the whole installation exists as an immediate, and above all, a temporal work in progress.
The video, duration circa 10 min, follows a string of everyday actions: showering/hygiene, breakfast/food, driving a car/mobility, going to the supermarket/shopping, playing video-games/entertainments. The daily routine of a depersonalized character that does not include the presence of the other, that is to say, it excludes society, and depending on the observer, it can get an epithet of fictive/real. Mainly in Endoce(p)t, a state which characterizes strong, but inarticulate emotions, a person is in a breach of confusing and abstract thoughts, while Endoce(p)t is strong pain medicament. In light of this, an alienated person which refuses to become an active member of society and does only those tasks which he is comfortable with, creates his reality, or his utopia, without the clamps of social constructs and normative behavior.
In her essay on video art American art critic Rosalind Krauss claims that video art is an inherently narcissistic medium, experienced like a “mirror” in a relation of the artist to the camera, and especial towards the monitor. Endocr(p)t proves precisely this, but in a more complex form. Here, it is about a video, that deals primarily with self-reflection. Permeated with a does of an apocalyptic atmosphere and completely narcissistic, seen in the frame of an interactive installation that introduces the participant, the whole of the work becomes a platform for something personal and cognitive.