:: Riccardo Benassi
Memorijal je sofsticirani izraz kašnjenja koji nam dopušta da uvek stižemo na vreme, 2010
Sve dok je protok vremena zaustavljen i dok nam je u tom mirovanju pažnja usmerena na neku ciglu ili mermernu ruku neke skulpture, mi nismo u toku.
Tim činom samo bismo komentarisali momenat, prevodeći ga u sadašnjost etiketama, ceremonijama i govorima. Kada slavimo godišnjicu mi samo podvlačimo zakašnjenje. Pošto 25. Memorijal Nadežde Petrović čine oni koji su živi, centralnu ulogu zauzima vreme koje ćemo provesti skupa. Naša lična i subjektivna dobra volja postaje osnov za Memorijal. Neposredno individualno iskustvo je postavljeno nasuprot čistoj ideji i deduktivnom sistemu izuzeća koje ta ideja implicira. Iz tog razloga moj rad je nestala putanja, zgusnuta praznina nestajanja, ista praznina koju već poznajemo kao integralni deo sveta. Organizacija zvučnog prostora ima za cilj da oslobodi posetioca ograničenja svakodnevice i pritisaka vremena, na taj način vraćajući u sklad fiziološke uspone i padove. Prostor napravljen od filca i zvuka usmeren je na pojavu trenja stvorenu pri ulasku u život, dok posmatrač angažovanjem prošlosti optički uklanja elemente okruženja. Memorijal će se rasuti i umnožiti kroz subjektivna iskustva publike, konačno se utvrđujući kao isključiva evolucija sećanja.
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A Memorial is a sophisticated form of tardiness that allows us to always be on time, 2010
As long as we stop the flow of time and concentrate it on a brick or a marble arm of a statue, we are out of the game. We would just be saying something about it, eventually translating it for the present, with labels, ceremonies and speeches. Even when we celebrate an anniversary we are just tracing a delay. Since the 25th Nadežda Petrović Memorial is created by the living, the central role is taken by the time we will spend together. Our personal and subjective free will becomes the basis of the Memorial. The direct individual experience is opposed to the purity of the idea and the deductive system it implies. For those reasons, my work is a vanished path, a dense fade in the void, the same void you already know as an integral part of the realm. The superimposed sound organization aims to free the viewer from the everyday constriction and pressure of time, rebalancing the body’s physiological highs and lows. The environment made of felt and sound focuses on friction created by an entrance of life, as the viewer in her aggregation of past is retinically eliminating some portion of the environment. The Memorial will scatter and multiply through subjective experiences of the audience, finally ossifying in exclusive evolution of memory.
25th Memorial Nadezda Petrovic 