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MARINA GRZINIC

 


The Balkan Lemmy Caution

 

Marina Grzinic es una de las artistas multimedia más importantes surgidas en la Europa del este. Vive y trabaja en Liubiana, Eslovenia, es doctora en filosofía e investigadora en el Centro de Investigaciones Científicas de la Academia Eslovena de Ciencias y Artes.

Marina Grzinic presenta en mediarama una retrospectiva de su obra como artista de videocreación realizada junto a su compañera Aina Smid. Trabajos como Laberinto, Luna 10 o Silencio, Silencio, Silencio, constituyen elaboraciones visuales y críticas acerca no sólo de cuestiones cardinales en el comienzo del siglo XXI, como la globalización, la sexualidad, el terror y el cyberespacio, sino reflexiones sobre el propio espacio político y cultural en donde su trabajo se lleva a cabo: la Europa del este tras el desmantelamiento de los regímenes comunistas y el tránsito a un nueva zona perfilada por la inseguridad y la ausencia de identidades o paradigmas para desarrollar proyectos colectivos o individuales.

Obra radical y comprometida, Grzinic se aleja de los lugares comunes y lejos de alagar al público -o a sí misma- nos presenta unas imágenes duras y abstractas cuya coherencia opera en una triple función, de un lado pertenecen a una realidad convulsa, de otro no pueden escapar a la propia condición femenina de la artista y por último se exigen una armonía visual radical y desgarradora.


Guns and Roses

 

        PROGRAMA DE MARINA GRZINIC AND AINA SMID EN MEDIARAMA.

 

        Primera parte:

 

Luna 10

video, BetacamSP, 10.35 min., color, stereo, produced by TV Slovenia, 1994

original title: LUNA 10

written and directed by: Marina Grzinic, Aina Smid

actors: Aljosa Rebolj, Blazka Müller

music by: Cyberbass (Peter Penko and Katarina Radman)

camera by: Miso Cadez

editing by: Tomo Zajc

sound by: Franci Suhadolnik

graphics by: Alenka Martincic

Insertos de films de neovanguardia de Emir Kusturica, Zivojin Pavlovic y Zelimir Zilnik realizados en el llamado periodo yugoslavo de los 70-80 son reeditados, releídos, recodificados en un formato de video que da soporte a una historia que contempla el papel de los diferentes medios de comunicación en la guerra de Bosnia y Herzegovina, en un tiempo en el que el mundo circulaba de la mano de cyborgs por las redes telemáticas.

Si es cierto que todos formamos parte de una gigante estructura de hipertexto, ¿entonces por qué no mostrar a través de las pantallas el video como un hipertexto que enseñe los oscuros lugares de nuestra presente existencia?

Luna 10 fue premiada en el Film festival en San Francisco.

 

Labirint (Labyrinth)

video, BetacamSP, 11.45 min., color, stereo, produced by TV Slovenia, 1993 written and directed by: Marina Grzinic, Aina Smid

coreography by: Tanja Zgonc

dancers: Matjaz Faric, Fredi Fontanot, Dominika Kacin, Vesna Lavrac, Sinja Ozbolt, Mateja Rebolj

music by: Borut Krzisnik

camera by: Andrej Lupinc

sound by: Drago Kocis

editing by: Zdene Kuzmic, Milan Milosevic, Andrej Modic

Este proyecto de vídeo-danza es una especie de mirada condensada poética y cínica sobre la situación presente en territorio de la antigua Yugoslavia. Movimientos de baile histéricos y agitados son puestos de forma yuxtapuesta con surrealistas imágenes artificialmente construidas, (basadas en las imágenes de Magritte) y flashes documentales de los campos de concentración donde los Bosnios viven en Ljubljana. El momento crucial del trabajo es la instalación del cuerpo en los sitios traumáticos del mundo externo e interno. La arquitectura de miseria y privación forma un territorio específico que obliga al cuerpo, la psique y la memoria de los bailarines a soluciones finales.

 

Silence silence silence

video, digital Beta BetacamSP/PAL, 15.05 min, color, produced by TV Slovenia, 2001

original title: SILENCE SILENCE SILENCE

title in English: SILENCE SILENCE SILENCE

written and directed by: Marina Grzinic, Aina Smid

actors/performers: Janja Majzelj, Janez Skof, Uros Macek, Natasa Sultanov,

Ravil Sultanov, Robert Prebil

camera by: Andrej Lupinc

edited by: Vojislav Polic

sound by: Drago Kocis

graphics/animation: Miro Gomsi

music/ design of sound Silvo Zupancic

spoken languages: non

La historia de la película tiene varias partes.  Fragmentos: Histerismo, el alien humano o el cocoon de Kubrik, un espacio vacío de sacrificio,  el moderno Casper Hauser, The Wall/Pink Floyd/Berlin Wall/Anarchism. Cada uno de los fragmentos se cuentan de 0 a 2. El vídeo trata sobre las  relaciones en el espacio, parejas de macho-hembra y el teatro. El vídeo ha sido producido en una colaboración intensiva con el director de teatro Slovenian Vito Taufer, elaborando sus ideas sobre el vacío del espacio teatral, los actores y el sonido como palabra. El videofilm funciona con 4 elementos: la sangre, el aceite, el fuego y la niebla tóxica, que es conectada con la tierra en el trabajo filosófico de Alain Badiou y sus ideas sobre la éticas, el capital y la vacía democracia estatal. 

 

On the flies of the market place

video, BetacamSP/PAL, 7.00 min, color, produced by theatre PRESERNOVO GLEDALISCE, Kranj, Slovenia and VPK Ljubljana 1999

original title: O MUHAH S TRZNICE

title in English: On the Flies of the Market Place

written and directed by: Marina Grzinic, Aina Smid

actors/performers: Vesna Jevnikar, Pavle Rakovec, Darja Reichman, Ivan Rupnik, Vesna Slapar, Uros Smolej, Matjaz Visnar

camera by: Janez Stucin

edited by: Aljaz Rogelj

sound by: Omar Karalic

graphics/animation: Stanka Brljevic

music by: Eduard Miler (mix)

spoken languages: non

text written by Marina Grzinic

text in Slovenian;

Sobre las Moscas de la Plaza del Mercado es un vídeo que se ocupa de la idea del espacio europeo, dividido, sacrificado. Es un ejemplo visual, el mundo construido de manera surrealista con hechos y emociones, usando documentos de libros y revistas. Se plantea la pregunta de releer el espacio europeo: Este y Oeste Europeo. Con referencias a la historia, la filosofía (Kant) y las artes, el vídeo elabora la idea de Europa Oriental como el resto indivisible de todas las atrocidades europeas. Europa Oriental es un pedazo de mierda y el síntoma sangriento de los fracasos políticos, culturales y epistemológicos de este siglo.

 


        Segunda parte:

 

Good evening: pure sex, memories, philosophy... and politics of the body

Slovenian view

Curated by Marina Grzinic, Ljubljana

The program of video-films is based on the topic of the digitized body is primarily a research into content and concept and less into technology. Based on popular imagery of the found footage, re-found ambient, re-make sexuality, restate pornography, re-camouflage politics it leads the voyeuristic public attention to detailed insight into the body, sexuality, theater, surveillance, pleasure, pain, imagery and re-born totalitarian future. This program was conceived under the programming research conceived by Marina Grzinic when she curated a 20 hours presentation of radical practices in video and film from Eastern Europe for the Oberhaseun short film festival's special programs in 2000.

 

1.     Apsolutno, Good evening, 10 minutes, NTSC VHS, 1996 (Serbia)

2.     Mirko Simic, Do you hear the sound of silence, 2 minutes, NTSC VHS, 1992

3.     Borghesia: So Young, 20 minutes NTSC VHS, 1985

4.     Zvonka Simcic, Broek H-H-Hea...Egg, 1 minute, PAL VHS, 2000

5.      Zvonka Simcic: Lesbian kiss - documentary, 15.00 min, PAL VHS2000 - 2001

6.     Tatjana Vujinovic, Plastic, 2. 38 min, 1999 PAL VHS (Slovenia/Serbia)

 

         - Uselessness, theory and terror Vs. abstract collaboration.

In the context of the relation between globalization, post-socialism, capitalism, activism and the image, I would like to outline some topics that deal with positioning, theory and history, and, in addition, with  inconsistency and the impossible. My principal question is what kind of processes we can detect today in these paradigms, and how they serve or conflict with current artistic and cultural processes. My question is also if it is possible to subvert, to turn around and to re-think some old and new relations in theory, art practice and political activism.

                1. Global-multicultural-spiritual.

Multiculturalism is the cultural logic of global capitalism, as new spiritualism is its ideology; multiculturalism is not about nivelization, but about abstract multiplication. This is why global capitalism needs particular identities. In this triangle of global, multicultural and spiritual issues, the postpolitical must be seen not as the conflict between global and national ideological visions that are represented by competitive parties, but as abstract collaboration. As Jacques Rancière developed in his theory of the postpolitical, it is about the collaboration of enlightened technocrats (such as economists, lawyers, and public opinion makers) and liberal multiculturalists. This absolutely abstracted version of the functioning of institutions of art is at the same time legitimized by the bondage between nationally enlightened technocrats of postsocialism and international multiculturalists. It is a process carried out by a vast number of international, Trans-border and Trans-national exhibitions: a re-invented historiography that can be described as the international legitimization of the national enlightened technocrats of postsocialism by international multiculturalists. Both are servicing each other and the abstract collaboration. This abstract collaboration shows a radical discord between the effects of resistance and the institutions and mechanisms of power that provoke them, and the complicity of power, private capital and thought with mastery.

The true horror today are not horrifyingly violent projects in the art, as they function, paradoxically, as a protective shield that is fantasized as such, protecting us from the true horror - the horror of the abstract positioning of East and West, North and South,  art and economy, state terrorism and activism. The psychotic generating experience in itself is that this abstract collaboration functions as a protective shield (that protects in the end only the obscenely visibly art institutions and the power art structures in themselves) and erases all traces of difference, activism, positioning, etc. The art institution defense against the true threat is actually to stage a bloody, aggressive, destructive threat in order to protect the abstract, sanitized situation. This is the sign demonstrating the absolute inconsistency of the fantasmatic support and not only the inconsistency of reality in itself. Instead of the multiple reality talk, as who else but Slavoj Zizek would say, one should thus insist on a different aspect - on the fact that the fantasmatic support of reality, of the art structures and their mechanisms, is in itself multiple and inconsistent.

One possible way of understanding this new situation is that the effect of de-realization is an effect of juxtaposing reality and its fantasmatic supplement face to face: to parallel one near the other. The idea is to put together the aseptic, quotidian social reality, life itself, and  parallel it with its fantasmatic supplement. Several projects can be listed  that use in a very specific way this key concept of de-realization and de-psychologization or reality and of art (although we should be aware  that abstract positioning insists on the psychological moment and on  the psychology of the individual artist).  The net group 0100101110101101.ORG's life _sharing project (commissioned by The Walker Art Center, USA) presents a bizarre shift, a reversal (not from dull, drab life into the ecstasy of Internet art), but a radical detour from thousands of exciting possibilities of web designing to drab existence in itself, to the impotent situation of life, the disgusting impotence of everyday bureaucracy and the exchanging of e-mails. With such a gesture, that allows us to enter totally a private life, 0100101110101101.ORG is creating a hole in the brain of the machine as a kind of alien situation, a de-realization of the system of the computer and of the content of so called everyday life. A similar strategy was displayed by the Russian Ilya Kabakov, in one of his projects in 2000. He displayed in the exhibition space the reconstruction of the kitchen that was common to the proletariat in the socialist times, when Russia was known as the Soviet Union, and moreover through the window of this reconstructed kitchen, it was possible to watch delirious film sequences from the golden soviet time; films that were produced to give totally splendid communist future visions, with smiling faces, and people eager to work and to combat. It does not matter if real life in itself was an absolute horror vacuum, that  the kitchen was shared by multiple families with much less quantities of potatoes for the soup, more important was this fantasmatic supplement of life that was parallel to the inconsistent and miserable reality. And it was precisely this moment that was shared and presented in the exhibition space: Kabakov displayed the simple and poor soviet kitchen with its fantasmatic counterpart, through films and visual ideology.

With such a procedure, that allows us to externalize our innermost fantasies in all their inconsistency, the artistic practice stages a unique possibility to act out the fantasmatic support of our existence. Or another possible example: the project entitled Salon de Fleurus that can be found in the private apartment in New York, open to the public since 1992 (41 Spring Street, New York). The Salon de Fleurus re-constructs one of the most significant collections of modern art from the turn of the previous century, created in 1906-07 by the American author and literary critic Gertrude Stein (1874-1946), with the help of her brother Leo Stein, in their Paris apartment at 27, rue de Fleurus. Again, what we have here is the fantasmatic scenario of the most inner mechanism of the logic of functioning and of the system of modern art.



                2. Who are the mothers of the monsters?

In cyberspace, as we are warned by Zizek, traumatic scenes, that did not take  place in life, but were never ever consciously fantasized, are having even more of an important role, showing clearly that the real is a pure virtual entity, an entity which has no positive ontological consistency. But still this is only one level. Visualization(s) with film and imagining technologies show clearly ideological engendered boundaries, and a safely established oxymoron -- distance-proximity -- relations, in the real world and as well as in its fantasmatic film scenarios. If we remember, the chief military commander Ripley, from the blockbuster film 'Alien', had to use a lot of strength to get rid of the alien creature in the fourth film of the series, which was  released in 1997. The creature recognized that Ripley was its biological mother, and this was possible only and solely as Ripley, in comparison to the previous 3 films, was in Alien 4, cloned, i.e., an artificially procreated human entity, and not a true human woman, as she was in all the films before. This same biological mother had to destroy the Alien with its total dematerialization into the extraterrestrial world. Despite this, the love gesture of the Alien was something both morbid and also extremely romantic and emphatic. We can agree with S. Stensly's thoughts, that in the world of high technology, cloning and bio chips, the fantasmatic, emphatic relation between two monsters (or a cyborg cloned) or a human and a monster, tells us more about social relations, interactions and the politics of love, than any other type of sexual relationship and power restrictions and control between humans, no matter the sexual orientation and preferences in the real world. Ripley, despite being cloned, was still too human, and therefore still too ideologically problematic to fit with a science fiction story. In the industry of the moving image and its ideological support we are still faced with the problem that only a relationship between something, that is semi human and the mucus substance is  ALLOWED, and POSSIBLE. Empathy and sexual relationship between a human being and that which applies for the status of a human being is a forbidden territory. This applies to the first film featuring cyber-cloning  entitled Bladerunner: the relationship between the exterminator and the film heroine Rachel functions smoothly as they are both replicants, rather then a male who is copulating with a female cloned entity. This is why they are functioning as a perfect realization of the fantasmatic love couple (both being almost identical to human beings, without actually being them). The logic of the sexual/emphatic relation is as follows: The love and sex relation in the exchange of empathy between the mucus microorganism modeled substance and the human being, in the capitalistic industry of the moving image, that for now were not yet consumed, come always at the point of a strategic distance. I will call this distance the safety distance to keep the hygienic border relationship between us and the formless other conform to the ideology, that we can produce all the other live entities (and this we goes to the capitalistic production machine, as who better can do this), but we - or perhaps it is better to say "THEY" - will not have sex and/or exchange empathy with them. Is it not such a safe distance to be found in reality itself? Is it not similar to the one that is proposed by the conscious first world middle class when relating to the so called third world, and even when relating to the second world, that is situated in the heart of Europe (and known as the Eastern Europe territory)? Through UNICEF and similar organizations, they -- the wealthy enough middle, and the over wealthy upper class - are sending each months 1US$ for an African kid and in such a manner allow the kids to survive, but it is a question, if the kids, besides surviving, can live as well? The relationship is externally emphatic, if we judge from the letters written full of love and thankful thoughts by the African children. But this relationship is absolutely abstract, does not require any kind of real contact, and it is without any kind of  possibility that such a contact will transmit contagious illness or similar. Similar to this is the position of the Alien in Alien 4 when searching for
love and tenderness. All stay at a safe distance. The safety distance teaches us, who can be the mothers of the monsters, how the real children should look like and what are the borders of our sexual-paternal-maternal lust. To return to radical politics means to demand the universal of politics, and not to be squeezed into the narrowly confined politics of constant exaggeration and constantly renewed identities and needs. This is crucial for an understanding of both the changing position of the self and identity. What becomes apparent here is that the relation of the subject, with its body, history, geography, space, etc. in front of the computer console takes on a kind of paradoxical communication which is not direct, but a communication with the excrescence behind it, mediated by the third gaze: that of the computer machine. What is at stake here is the temporal loss of the subject's symbolic identity: the subject is forced to perceive that he/she/it is not what he/she/it  thought they were. This somebody-something else that can be perceived as body, monster, excrement, geographical and organizational politics may also be attached to the rhetoric and logistic of space. We can be taken else-where and no-where.

I can propose a further theoretical-political positioning. The idea of this positioning or of taking a (conceptual) specific ground is to philosophically denote and to articulate a proper Eastern European position. This idea is not grounded in the simple game of identity politics, whereby specific monsters/entities search for their rights in cyberspace; rather it is a militant response to this constant process of fragmentation and particularization. Even more, I insist on the re-politicization of the cyberworld through taking a ground that is not a geographical space or a location on the geographical map of the New Europe, but, as E. Said would say, it is a ground that is a concept, a paradigm of such a space.



                3. Capital-democracy-ethics.

Absolute profanation and secularization are important processes. They are initiated by capital itself. This logical inversion may be summarized in the words of Baudrillard: "After all, it was capital which, throughout history, fed on the destruction of every referentially, every human objective, which completely loosened every differentiation between false and real, good and evil, in order to introduce a radical law of equivalence and exchange, the iron law of its power. Capital was the first to perform intimidation, abstraction, deterritorialization, non-connectdness, etc. (...) Nowadays this logic is turning against it." Alain Badiou argues that it does not matter, if this disintegration of referentially nodes is going on in an almost barbaric way, still it has, as Baudrillard in the 80s was already implying, something of the ontological value. The processes of disintegration, that are the side effects of capitalism, put under question the mythos of presence, and of total visibility, and, last but not least, the fetish of the absolute One. The machine of capital itself is showing that the essence of presence is multi-layered, is multitude. This multitude was termed by Peter Weibel as zones of visibility and zones of invisibility. It is necessary to take the inconsistency produced by capital as an inconsistency of the multitude in itself. Democracy is, on the other hand, in this triangle, according to Badiou, just an economic democracy, connected with nothing else than bureaucracy, while ethics is, perhaps, the politics of the real. Democracy is a norm, inscribed in the relation of the subjects to the liberal state. Democracy is the form  which is fostered by the state and stand solely and purely for a minimum of consensus achieved regarding economy and state apparatuses functionality. State democracy, argues Badiou, is constantly perpetuating the consensual organization of community and the law of normality. Normality is the way of disseminating the norm. It is always a situation or a codex of normatively imposed regulations which define what multitude is. This process of establishing and nurturing the norm is termed by Badiou: Counting for the One. The One is the one the capital and is conforming to what may be defined the tyrannical-dominating- imperial entity. Counting for the One is what the abstract position is effectuating. Counting for the One, for the tyrannical dominating entity, for the logic of the capital, is a method how the western Europe and the north America function. They count: one, two, three new states will be part of the Whole of the (Western) Europe. The counted states are just the object of the Western Europe's phantasm. But with counting for the One, using such a method, we will never come to the Other, that is Two.  With counting we will never come to the Other. The Other is defined with the fact that we start to count at two. Two is not 1+1, and this is why instead of saying it is the Other, Lacan, according to Alenka Zupancic, says it is Two.

And even more: to say that the Other is two- means not explaining the difference between the One and the Other, but to point to the difference immanent in the Other. The third possibility is the Other of the Other (Zupancic), that means that the third option, between One and the Other, is not in fact a third way, or possibility. The third option is actually already inherent in the Other: the Two of the Other stay for its most internal obstacle. The Other of the Other means that the Other is to be perceived not as the double or the repetition of the One, but parallel to it! In such a constellation the History of the world is not the History of the lost mythical One, but is the History with two parallel sources. In this way, for example, Eastern Europe, Africa, etc., perceived as Two and not simply the Other of the One, can be seen as one of the possible sources. I would like to remind you that to be present at the same time, to be parallel, not to become the other from the One, the Other after the One, is also one of the possible strategies in art and culture, with the effect of radical de-realization; juxtaposing reality and its fantasmatic supplement face to face: and parallel one near the other.  I can also give a further critical remark, although it can not diminish the proposed important cut with the counting for the One. Capital has destroyed and de-fragmented the structure of the institution of the One, also in the first world theory and philosophy edifice, and it is now that this same philosophy and theory is trying to find a rational, theoretical outline to this total process of fragmentation, not to have to get rid of the historical, philosophical and theoretical edifice in which the One is still grounded. So to cut the counting for the One is a forced selection, and not a generous act of mutual understanding. To cut, to stop the counting for the One is, therefore, the most important process in the space of art and politics, and this cut can be seen as a new way of acting, perceiving, functioning in art and culture today. To cut, to stop the counting for the One, producing the inconsistency of the One, is always a result. This inconsistency can be seen as a parallel process to the one explained above, as the inconsistency of the real world and as well its fantasmatic scenarios. We can see therefore in such a context also the importance of the law of total de-sacralization fostered by capital as well.  And philosophy and art will have a chance to re-articulate the position of art and practice with politics, if they would take the impossible possibility to elaborate a project that cuts with the state politics, or better to say, if they will be in position to elaborate concepts that make visible what is for the state, for the capital edifice, an its cultural and democratic institutions seen, perceived as impossible. Insisting on the impossible, and making visible what is not possible to be seen, and re-articulating it, is a way of a possible cut of the counting for the One.

Marina Grzinic Mauhler works as researcher at the Institute of Philosophy (FI) at ZRC SAZU, Ljubljana, Slovenia, and is involved in video art and media productions, done in collaboration with Aina Smid,
Ljubljana. Grzinic can be found at
margrz@zrc-sazu.si

 

        References:

Alain Badiou, lecture at the Venice conference on Art and Reality, organized by Ciro Brunni, GERMS, Paris, 15-17, March, 2001; participants: M. Richir, A. Badiou, H. Szeemann, M.Grzinic, D. Goldoni, J.M. Chouvel, and altri.

Jean Baudrillard, "The Precession of Simulacra", in Art and Text, Spring 1983, p. 28.

Marina Grzinic, Fiction reconstructed: Eastern Europe, Post-socialism and the Retro-avant-garde, Vienna: Edition selene in collaboration with Springerin, 2000.

Jelica Sumic Riha, "A Matter of Resistance", in Filozofski Vestnik (Acta Philosophica), No. 2/1997, special number on Power and Resistance. Eds., Jelica Sumic Riha and Oto Luthar, FI ZRC SAZU, Ljubljana 1997, pp. 127-153.

Slavoj Zizek, The Art of the Ridiculous Sublime: On David Lynch's Lost Highway, Seattle: The Walter Chapin Simpson Center for the Humanities, 2000.

Alenka Zupancic, "Nietzsche in nic" (Nietzsche and Nothingness), in Filozofski Vestnik (Acta Philosophica), Ljubljana, No. 3/2000.

 

WEST / Male / Scums - Godard's Masculin

EAST / Female / Monsters - Godard's Féminine

Dance Macabre - Balkan 2000

Jack  Dempsey's concerto


The Real Rosemary


Images are  all from On the Flies of the Market Place by Grzinic/Smid, video 1999

 

        LECTURE: GRZINIC AND SMID' SEX WITHOUT FLUIDS: BERGMAN THROUGH GODARD.

 

Marina Grzinic, philosopher and  Aina Smid, art historian, both  live and work in Ljubljana,  Slovenia, started in 1982 (in the  time of  a  deep ex-Yugoslav socialism period) to work  collaboratively in the field of  video art (before  that they  had a women punk band  and  were active in a body performance group); in these 19 years of constant collaboration they moved  also toward   installation works, multi media works (CD-ROM) and Internet. Grzinic,  who  devoted her work  also to writings, and  is  perceiving it,  as  being parallel to making films -  IT IS NOT DIFFERENCE BETWEEN THESE TWO PRACTICES  - said  Godard  - will try to decode in her presentation the intersection of cultural, political and theoretical strategies lying beneath their double - GRZINIC and SMID acting and directing  productions (27 videos, a 16mm film, a  video performance work, 10 video-media installation, an  interactive CD-ROM, 2 Internet projects). This lecture has to be taken as a  paradigmatical research into  cultural tactics and media practices  within the  former Eastern European space, and not merely as a historical accident, which ended with the fall of the Berlin Wall.

Grzinic and  Smid, the post-socialist children of Karl Marx, adopted by the coca cola multinational corporation, are  today drowned into citations,  mixture of genre styles, documentary, montage without continuity and with  wild change of rhythm.

On the Flies of the Market Place (video work by Grzinic/Smid done 1999) deals with the idea of the European space, divided, sacrificed.  In an exemplary visually  constructed surrealistic world of facts and emotions, using documents from books and magazines,  the video raises the question of rereading  the European space: East and West Europe. With references to history, philosophy (Kant) and arts the work  elaborates  the idea of the Eastern Europe as the indivisible remainder of all European atrocities. Grzinic stated in this video work: Eastern Europe is a  piece of shit and the bloody symptom of the political, cultural and epistemological failures of this century.

Two important  approaches and aesthetics of film  production are put one against the other in this video: Bergman vs. Godard. Eddie Constantine in the film Alphaville - The Adventures of Lemmy Caution (by Godard), who much before  James Bond was addicted to alcohol, women and action,   is  re-staged (re-born) in this video and put in relation to  Bergman. In On the Flies of the Market Place  the reconstruction of the famous  scene of chess game from Det sjunde inseglet - The seventh seals (1956) by Bergaman where death is trying to win the game took place.  In  On the Flies of the Market Place all the elements are identical to Bergman's: from the possession of  bodies of the actors, scenography, to the angle of the camera. But in the video by Grzinic and Smid, instead of  what was going on in the original Bergman film,  Szabo's Mefisto is playing chess with a reincarnation of Giulietta Masina  from  Fellini's La strada. In On the Flies of the Market Place  Bergman's death is replaced by Mefisto, giving in such a way a  pathological twist to death through double personalities and  ritualistic symbolism.

In On the Flies of the Market Place personalities as Mia Farrow from Rosemary Baby, Mafia emblems and the boxer Jack  Dempsey  are, carefully reconstructed, re-playing small parts. USA capitalism was always about  demons, Mafia and sport. The tempo in On the Flies of the market place  is elliptically growing  from hallucination, schizophrenia, apathy, sexual frustrations,  to suddenly eclipse  into  a mute  end: Costa Gavras' cadavers from his film  Missing from 1982  are brought  to life. The theoretical  matrix  developed  in this video is based onto the theoretical work of Grzinic, and is possible to perceive it as a  subversion of  Masculin-féminine film  by Godard done in  1966. In 1999 (please see the twisted number game as well: 1966-1999) Grzinic/Smid have a new proposal: the female side is the side of Eastern Europeans,   or, as it is coined by Grzinic, Eastern Europe is  the monster  (matrix)  and the male side is the side of  Western Europeans,  or,   the scum of society matrix.

The myths of science fiction   are suppressed in this video  into psychedelic paths. We can develop at least three fiction paradigms in Grzinic/Smd  work:  political fiction,  space-fiction and horror (vacui)- that is what is precisely about in On the Flies of the Market Place.

 

 


Marina Grzinic Mauhler (margrz@zrc-sazu.si) is doctor of philosophy and works as researcher at the Institute of Philosophy at the ZRC SAZU (Scientific and Research Center of the Slovenian Academy of Science and Art) in Ljubljana. She also works as a freelance media theorist, art critic and curator. Marina Grzinic has been involved with video art since 1982. In collaboration with Aina Smid she has produced more than 30 video art projects, a short film, numerous video and media installations, Internet websites and an interactive CD-ROM (ZKM, Karlsruhe, Germany). Marina Grzinic has published hundreds of articles and essays and 8  books.  Grzinic took part in the Apex Art Residency Program, New York, April 2001.

Her last book is Fiction Reconstructed. Post Socialism and the Retro - Avant Garde, Edition selene in collaboration with springerin, Vienna 2000

 

List of other books, recent texts and editing projects by Marina Grzinic:


** Grzinic: In a Line for Virtual Bread. Time, Space, the Subject and New Media in a Year 2000, Ljubljana, 1996

** Grzinic: Fiction Reconstructed. New Media, Video, Art, Post Socialism and the Retro - Avant Garde. Essays in Theory, Politics and Aesthetics, Koda Ljubljana 1997

**Spectralization of Technology: From Cyberferminism to Elsewhere and Back, eds., Marina Grzinic and Adele Eisenstein, MKC, Maribor 1999 (texts by Sollfrank, Oldenburg, Reiche, Huffman, Ursprung, Jahrmann and Grzinic)

** The Body Caught in the Intestines of the Computer, Women Strategies or Strategies by Women, eds., Grzinic and Eisenstein, MKC Maribor 2000 (texts by Czegledy, Hakola, Huffman, Klonaris and Thomadaki, Lialina, Lister, Nedkova, Ostojic, Vesna, Volkart and Grzinic)

** Grzinic: Exposure Time, the Aura, and Telerobotics, in The Robot in the Garden: Telerobotics and Telepistemology in the Age of the Internet, ed., Ken Goldberg (Cambridge, Mass.: MIT Press) 2000

** Grzinic: Strategies of Visualisation and the Aesthetics of Video in the New Europe, in Culture and Technology in the New Europe: Civic Discourse in Transformation in Post-Communist Nations, ed., Laura Lengel (London: Ablex Publishing Company) 2000 

** Grzinic: Spectralization of Europe in Net_Condition, eds., Peter Weibel and Timothy Druckrey (Cambridge, Mass.: MIT Press and ZKM, Karlsruhe), 2000

** The Last Futurist Show, ed. Marina Grzinic, MASKA, Ljubljana 2001 (texts by Druckrey, Steyerl, Schollhammer, Klonaris and Thomadaki, Djordjevic, IRWIN, 0100101110101101.org, Fehr, Manovich and Grzinic)

  **Gallery Dante Marino Cettina - Future perspectives, ed. Marina Grzinic, Gallery Marino Cettina, Umag, Croatia 2001 (texts by Steyerl, Schollhammer, Keser/Ilic, Boubnova, Milevska, Scherlock and Grzinic)

 

 



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