Tišina je ovde gluvoća / Silence is deafness here

Kolektivna izložba

4. jul – 25. jul 2019.

Galerija Podroom, Kulturni centar Beograda

Izložba „Tišina je ovde gluvoća“ analizira različite migracije koje obeležavaju ove prostore: od figure gastarbajtera/ke, preko rata i tzv. raspada Jugoslavije, do Balkanske rute. Ukoliko bismo pokušali da mapiramo sva prošla i sadašnja kretanja, dobili bismo pokretnu sliku nalik mravinjaku – reke ljudi ugrožene egzistencije. Međutim, ovo nije pokušaj mapiranja svih kretanja u potrazi za budućnošću, već prikaz fragmenata određenih putovanja. Kako ih percipiramo? Kako se prema njima odnosimo? Kako u njima učestvujemo? Kako se u okviru njih pozicioniramo? Kako ih (ne) prevazilazimo?

*Nika Autor
*Filmske novosti 63

*Doplgenger
*i u očima gladnih raste gnev
*Svetska mapa migracija

*Maja Hodošček
*Obećana zemlja

*Bojan Mrđenović
*Dobrodošli
*Obnova
*Budućnost

*Davor Konjikušić
*Aura: f37

*Nemanja Čađo
*Ko si ti? Šta želiš ti? Šta radiš ti?

*Pokretnica kolektiv
*Soba sudbine

*Minipogon

Prateći program:

Sreda, 10.7.2019. u 19:30 h, Magacin u Kraljevića Marka 4
Projekcija sa diskusijom
HVALA VAM NA VAŠOJ SLUŽBI, SAD, 2017, 108 min, igrani
režija: Džejson Hol
Film predstavlja i vodi diskusiju: Nenad Porobić, Kino klub Barut.

Petak, 12.7.2019. u 18:00 h, Galerija Podroom, Kulturni centar Beograda
Razgovor o readmisiji i integraciji Roma povratnika
Dejan Marković, Forum Roma Srbije

Ponedeljak, 15.7.2019. u 17:30 h, Galerija Podroom, Kulturni centar Beograda
Razgovor Život po ovulaciji
Ivana Smiljanić, umetnica

Petak, 16.7.2019, Galerija Podroom, Kulturni centar Beograda
Razgovor Njujork, Njujork, e pa šta je
Jelena Mijić, umetnica

Sreda, 24.7.2019. u 19:30 h, Magacin u Kraljevića Marka 4
Projekcija sa diskusijom
NE OSTAVLJATI TRAGOVE, SAD, 2018, 109 min, igrani
režija: Debra Grenik
Film predstavlja i vodi diskusiju: Nenad Porobić, Kino klub Barut.

Četvrtak, 25.7.2019.
Vođenje kroz Kaluđericu i Bulbuder
Na dve vode i tri vetra: logike partije, kapitala i radničke klase rešavaju stambeno pitanje u SFRJ, Nebojša Milikić
17.00h Polazak sa tramvajske stanice kod Vukovog spomenika (svi tramvaji do Cvetkove pijace).
17.20-17.30h Polazak sa početne stanice 309 kod Cvetkove pijace
17.45-19.15h šetnja kroz Kaluđericu, razgovor i osveženje
19.35-19.40h povratak do Cvetkove pijace,
19.45-20.00h povratak do centra grada (tramvaji 6, 7, 12, autobus 79 itd.)

Naziv izložbe pozajmljen je iz knjige „Sedmi čovek. Knjiga u slikama i rečima o iskustvu stranih radnika u Evropi“[1] Džona Berdžera i Žana Mora, u saradnji sa Svenom Blombergom. Knjiga je kolaž fotografija, beleški, citata, poezije koji govore o evropskoj ekonomskoj migraciji nakon Drugog svetskog rata iz siromašnih evropskih zemalja ka razvijenim zemljama Zapadne Evrope i sa sela u grad:
„Marks (1867): U fabrici postoji mrtav mehanizam, nezavisan od radnika a oni su mu pripojeni kao dodatak… mašinski rad do krajnosti zamara živčani sistem… prigušuje mnogostranu igru mišića i oduzima čoveku svaku slobodnu telesnu i duhovnu delatnost.

Struganje, bušenje, glačanje, kovanje, buka hidrauličnog alata, tresak udaranja supstance o drugu supstancu i struganja supstance drugom supstancom. Potrebno mu je mnogo vremena da se privikne na buku. I sama buka udara i struže druge supstance. Odjeci prožeti upornim ritmovima, pa svaki bude prekinut pre nego što se završi; ništa ne prestaje i ništa ne počinje. Kad buka popusti ili kad on izađe iz radionice, ne nastupi tišina, jer su isti uporni, amputirani ritmovi i dalje prisutni u njegovoj glavi i, pošto ih oseća a ne može ništa da čuje, čini mu se da je ogluveo.

Tišina je ovde gluvoća.“

Iako su migracije tema izložbe, ovo je ipak i pre svega izložba o radu. Potreba za dostojanstvenim radom i dostojanstvenom zaradom sa jedne, i eksploatacija i sistemska represija sa druge strane, objedinjuju sve navedene radove, iako ne uvek eksplicitno. Da bismo to razumeli, moramo razumeti klasnu borbu.*

Da bismo razumeli zašto slobodna telesna i duhovna delatnost nisu svima zagarantovane, moramo razumeti klasnu borbu.
Da bismo razumeli dehumanizaciju, moramo razumeti klasnu borbu.
Da bismo razumeli otuđenje od rada, moramo razumeti klasnu borbu.
Da bismo razumeli kriminalizaciju borbe za život, moramo razumeti klasnu borbu.
Da bismo razumeli kriminalizaciju spašavanja drugih života, moramo razumeti klasnu borbu.
Da bismo razumeli pasivizirajući efekat viktimizacije, moramo razumeti klasnu borbu.
Da bismo razumeli sveprožimajuću birokratiju, moramo razumeti klasnu borbu.
Da bismo razumeli žice, nasilje, smrt, moramo razumeti klasnu borbu.
Da bismo razumeli privatizaciju, moramo razumeti klasnu borbu.
Da bismo razumeli deindustrijalizaciju, moramo razumeti klasnu borbu.
Da bismo razumeli klimatske promene, moramo razumeti klasnu borbu.
Da bismo razumeli izbegličke kampove, moramo razumeti klasnu borbu.
Da bismo razumeli rasizam, moramo razumeti klasnu borbu.
Da bismo razumeli siromaštvo, moramo razumeti klasnu borbu.
Da bismo razumeli zašto se kultura i umetnost komodifikuju, moramo razumeti klasnu borbu.
Da bismo razumeli kreativne industrije, moramo razumeti klasnu borbu.
Da bismo razumeli džentrifikaciju, moramo razumeti klasnu borbu.
Da bismo razumeli ratove, moramo razumeti klasnu borbu.
Da bismo razumeli tzv. raspad Jugoslavije, moramo razumeti klasnu borbu.
Da bismo razumeli kolonijalizam, moramo razumeti klasnu borbu.
Da bismo razumeli ženski reproduktivni i kućni rad, moramo razumeti klasnu borbu.
Da bismo razumeli zašto je emancipacija tako teška, moramo razumeti klasnu borbu.
Da bismo razumeli deložacije i borbu za krov nad glavom, moramo razumeti klasnu borbu.
Da bismo razumeli zašto je čovek čoveku vuk, moramo razumeti klasnu borbu.
Spisak je dugačak. Dopunite sami.

*KLASNA BORBA – izraz suprotnih klasnih interesa između klasa. Ona je pokretačka snaga istorije svih klasnih društava. Klasna borba se vodi u svim osnovnim sferama društvenog života – ekonomskoj, političkoj, ideološkoj. Suština klasne borbe je u preuzimanju političke vlasti, koja služi za preuzimanje i ekonomske vlasti. Borba za političku vlast je najviši, najizrazitiji i najradikalniji vid klasne borbe. Ona se nastavlja borbom za ekonomsku vlast, a ova dalje ideološkom borbom, koja ima za cilj da integriše i koordinira ponašanje članova jedne određene klase, odnosno dezintegraciju klase protiv koje se vodi klasna borba, kao i da pridobije za saveznike one društvene strukture koje se neutralno odnose prema toj klasnoj borbi. Menjajući forme i metode, zavisno od konkretne istorijske situacije, klasna borba dovodi do socijalne revolucije, kao najzaoštrenijeg vida klasne borbe. Procesom socijalne revolucije, dolazi do promene nosioca političke vlasti – do tada vladajuća klasa gubi svoje privilegovane pozicije, a klasa koja je bila eksploatisana, oslobađa se njene vlasti. Time se stvaraju novi društveni odnosi, a proces klasnog uobličavanja i narastanja klasnih konflikata, započinje se iznova.
Uočavanje i saznanje suštine klasne borbe, je osnova za razumevanje zakonitosti razvitka klasnog društva. „Da težnja jednih članova datog društva odudara od težnje drugih, da je društveni život pun protivrečnosti, da nam istorija pokazuje borbu među narodima i društvima, kao i unutar njih, a osim toga još i smenu perioda revolucije i reakcije, mira i rata, zastoja i brzog progresa ili pada – te činjenice su opštepoznate. Marksizam je pokazao osnovnu nit koja dozvoljava da se otkriju zakonitosti u tome, da ga tako nazovemo: lavirintu i haosu, teoriju klasne borbe.“ (Lenjin)

Ili kako kaže Ken Loach – If we don’t understand class struggle, we don’t understand anything.

Kustoskinja: Mirjana Dragosavljević

Izložba se realizuje u saradnji sa Ksenijom Đurović, Anom Vuković, Katarinom Kostandinović, Zoranom Đaković Miniti.

Organizatori: Kultuni centar Beograda, BRINA, Kulturni centar Magacin, Kino klub Barut

English

Collective exhibition

4. July – 25. July 2019.

Podroom Gallery, Cultural Centre of Belgrade

The exhibition Silence Is Deafness Here analyses the various migrations that have marked this region: from the figure of Gastarbeiter, through the war, and the so-called breakup of Yugoslavia, to the Balkan route. If we try to map all past and present movements, we will get a moving image resembling an anthill – a river of endangered people. However, this is not an attempt to map all the movements in the search for the future but to see the fragments of certain journeys. How do we perceive them? How do we deal with them? How do we participate in them? How are we positioned within them? How do we (not) overcome them?

Artists: Nika Autor, Doplgenger, Maja Hodošček, Bojan Mrđenović, Davor Konjikušić, Nemanja Čađo, minipogon, Pokretnica kolektiv (Željka Jakovljević, Ina Madžar, Jovana Rakić, Frosina Dimovska, Mia Inić, Jelena Alempijević, Nataša Vranešević, Sara Tošić)

Accompanying Programme

Saturday, 06/07/2019
Guided tour through Kaluđerica and Bulbuder
On two waters and three winds: the logics of the party, capital and the working class solved the housing problem in the SFRY
10:00 Departure from the tram stop at the Vuk Monument (all the trams to Cvetkova pijaca /market/)
10:20-10:30 Departure from the bus No. 309 terminus at Cvetkova pijaca
10:45-12:15
Walking in Kaluđerica, talking and refreshments
12:35-12:40
Back to Cvetkova pijaca
12:45-13:00
Returning to the city centre (trams No. 6, 7, 12, bus No. 79 etc.)

Wednesday, 07/10/2019 at 19:30, Magacin in Kraljevića Marka 4
Screening and discussion Thank You for Your Service, USA, 2017, 108 min, a feature film directed by Jason Hole
Presentation and moderation: Nenad Porobić, Cinema Club Barut.

Friday, July 12, 2019 at 18:00, Podroom Gallery, Cultural Centre of Belgrade
Discussion on readmission and integration of Roma returnees
Participants: Dejan Marković, Forum Roma of Serbia, moderated by: Mirjana Dragosavljević, curator of the exhibition

Monday, July 15, 2019 at 17:30, Podroom Gallery, Cultural Centre of Belgrade
Discussion: Life According to Ovulation
Participants: Ivana Smiljanić, artist, moderated by Mirjana Dragosavljević, curator of the exhibition

Friday, July 19, 2019, Podroom Gallery, Cultural Centre of Belgrade
New York, New York, and So What
Participants: Jelena Mijić, artist, moderated by Mirjana Dragosavljević, curator of the exhibition

Wednesday, 07/10/2019 at 19:30, Magacin in Kraljevića Marka 4
Screening and discussion: Leave No Trace, USA, 2018, 109 min, feature film
directed by Debra Granik
Presentation and moderation: Nenad Porobić, Cinema Club Barut.

The title of the exhibition is borrowed from the book A Seventh Man, a book in images and words on the experiences of migrant workers in Europe, by John Berger and Jean Mohr, in collaboration with Sven Blomberg. The book is a collage of photographs, notes, quotes, poetry about European economic migration after World War II, from poor European countries to developed Western European countries and from rural to urban areas:

“Marx (1867): In the factory there exists a dead mechanism, independent of the workers, which incorporates them as living cogs… factory work exhausts the nervous system to the uttermost… it does away with the many-sided play of the muscles, and confiscates every atom of freedom, both in bodily and in intellectual activity.

Grinding, drilling, scouring, forging, the noise of hydraulic tools, thunder of substances striking into one another, and grinding of a substance with another substance. It takes a long time to get used to the noise. The noise itself strikes and grinds other substances. The echoes imbued with persistent rhythms, and each interrupted before it finishes; nothing stops and nothing starts. When the noise is reduced or when he leaves the workshop, there is no silence, because the same persistent, amputated rhythms still appear in his head and, since he feels them and cannot hear anything, it seems to him that he has become deaf.

Silence is deafness here.”

Although this is an exhibition on migrations, it is primarily an exhibition on work. The need for dignified work and dignified profits, on the one hand, and exploitation and systemic repression, on the other hand, unite all the mentioned works, although not always explicitly. To understand that, we need to understand class struggle.*

To understand why free physical and mental activity is not guaranteed to everyone, we need to understand class struggle.
To understand dehumanization, we need to understand class struggle.
To understand the alienation of labour, we must understand class struggle.
To understand the criminalization of the struggle for life, we need to understand class struggle.
To understand the criminalization of rescuing others’ lives, we need to understand class struggle.
To understand the passivating effect of victimization, we need to understand class struggle.
To understand the all-pervasive bureaucracy, we need to understand class struggle.
To understand wires, violence, death, we need to understand class struggle.
To understand privatization, we need to understand class struggle.
To understand deindustrialization, we need to understand class struggle.
To understand climate change, we need to understand class struggle.
To understand refugee camps, we need to understand class struggle.
To understand racism, we need to understand class struggle.
To understand poverty, we need to understand class struggle.
To understand why culture and art are commodified, we need to understand class struggle.
To understand creative industries, we need to understand class struggle.
To understand gentrification, we need to understand class struggle.
To understand wars, we need to understand class struggle.
To understand the so-called breakup of Yugoslavia, we need to understand class struggle.
To understand colonialism, we need to understand class struggle.
To understand the reproductive and domestic work of women, we need to understand class struggle.
To understand why emancipation is so difficult, we need to understand class struggle.
To understand evictions and the struggle for a roof over the head, we need to understand class struggle.
To understand why man is a wolf to man, we need to understand class struggle.

The list is long. Add to it yourself.

* CLASS STRUGGLE – expression of the opposite class interests among classes. It is the driving force of the history of all class societies. Class struggle is conducted in all the basic spheres of social life – economic, political, ideological. The essence of class struggle is to take over political power, by means of which economic power is obtained, too. The struggle for political power is the highest, most pronounced and most radical type of class struggle. It continues with the struggle for economic power, which then continues with ideological struggle, whose aim is to integrate and coordinate the behaviour of members of a particular class, that is, to disintegrate the class against which the class struggle is led and to gain the social structures that are neutral about that class struggle for allies.

By changing its forms and methods, depending on a particular historical situation, class struggle leads to a social revolution, as the most escalated form of class struggle. The process of social revolution brings about a change of those in political power – the ruling class loses its privileged positions, and the class that has been exploited gets free from its power. This creates new social relationships, and the process of class shaping and escalation of class conflicts begins again.

Recognizing and understanding the essence of class struggle is the basis for understanding the legality of the development of a class society. “It is common knowledge that, in any given society, the striving of some of its members conflict with the strivings of others, that social life is full of contradictions, and that history reveals a struggle between nations and societies, as well as within nations and societies, and, besides, an alternation of periods of revolution and reaction, peace and war, stagnation and rapid progress or decline.Marxism has provided the guidance —i.e., the theory of class struggle – for the discovery of the laws governing this seeming maze and chaos. (Lenin) – A Small Self-Managers’ Lexicon, Savremena administracija, Belgrade, 1976

Or, as Ken Loach says – “If we don’t understand class struggle, we don’t understand anything”.

Mirjana Dragosavljević

*Cover photograph: Bojan Mrđenović, Welcome, 2007-2011