{"id":535,"date":"2013-02-14T15:13:41","date_gmt":"2013-02-14T15:13:41","guid":{"rendered":"http:\/\/stage.grzinic-smid.si\/wp\/?p=535"},"modified":"2013-02-14T15:15:54","modified_gmt":"2013-02-14T15:15:54","slug":"obsession-2008","status":"publish","type":"post","link":"https:\/\/stage.grzinic-smid.si\/?p=535","title":{"rendered":"Obsession (2008)"},"content":{"rendered":"

OBSESSION, 2008\/ watch video>>\u00a0 <\/a><\/strong>
\nMarina Gr\u017eini\u0107 and Aina \u0160mid, in collaboration with\u00a0 Zvonka Sim\u010di\u010d<\/p>\n

DIALOUGE LIST<\/p>\n

Video \u2026has any
\nsense to make<\/p>\n

experimental videos
\nin Slovenia today?<\/p>\n

In the past we
\nproduced our videos<\/p>\n

with Slovenian television.<\/p>\n

\u017di\u017eek.<\/p>\n

Page 56.<\/p>\n

The person is fantastic.<\/p>\n

He writes
\ninteresting stuff:<\/p>\n

To me it seems
\nthat we need to take<\/p>\n

this radical step
\nand construct<\/p>\n

new conceptual
\ngenealogies, given<\/p>\n

that the Huntingtons
\nand the \u017di\u017eeks<\/p>\n

the Laclaus,
\nthe Bourdieus,<\/p>\n

or even better,<\/p>\n

the Giddens who
\nadvise Blair<\/p>\n

and the Becks who
\nadvise Schroeder,<\/p>\n

can no longer be
\nthose who guide<\/p>\n

critical thought
\nfrom the \u00bbother side\u00ab<\/p>\n

of colonial difference.<\/p>\n

Hence the importance
\nof considering the
\ngeopolitics of knowledge
\nwithin them.<\/p>\n

Why\u00a0 you\u00a0 speak in English?<\/p>\n

Because they say
\nit is too much text.<\/p>\n

I am Walter Mignolo.<\/p>\n

Argentinean.<\/p>\n

In 1984, I took
\nUSA citizenship.<\/p>\n

\u2026the Huntingtons,
\nthe Giddens, the Becks\u2026<\/p>\n

\u2026can no longer be
\nthose who guide<\/p>\n

critical thought
\nfrom the \u00bbother side\u00ab<\/p>\n

of colonial difference.<\/p>\n

Hence the importance
\nof considering the<\/p>\n

geopolitics of knowledge
\nwithin them.<\/p>\n

What is today
\nimportant in Slovenia<\/p>\n

is the ERASED people.<\/p>\n

Each country\u00a0 has
\nits dirty stain.<\/p>\n

\u0160efik Tatli\u0107 explains:<\/p>\n

Post-socialist and former
\nEastern European societies<\/p>\n

perceive global capitalism
\nnot through future<\/p>\n

inequalities and class
\ndivisions, but with<\/p>\n

a willingness to
\nprepare their<\/p>\n

economies to adopt
\nglobal capitalism.<\/p>\n

European Union demands
\nfrom transitional societies<\/p>\n

are seen as
\nimplementation<\/p>\n

of several extremes,
\nfor example,<\/p>\n

the implementation of an
\ninformation society,<\/p>\n

but with the false
\npredisposition that<\/p>\n

it is a mere
\ntechnological structure,<\/p>\n

followed by extreme
\neconomic imbalances,<\/p>\n

extreme\u00a0 class
\ndivisions,<\/p>\n

fascistic
\nnationalistic regimes<\/p>\n

decoded as mere figures
\nin endless political games,<\/p>\n

with unequal distribution
\nof knowledge within<\/p>\n

local social structures
\nwhich conduct the<\/p>\n

whole process.<\/p>\n

Question:<\/p>\n

In the beginning
\nwill not say anything.<\/p>\n

Ana Vujanovi\u0107, Belgrade,
\nfree lance theoretician.<\/p>\n

Answer:<\/p>\n

When\u00a0 we talk about
\nexperimental video<\/p>\n

it is never about a
\nsimple experimental<\/p>\n

structure.<\/p>\n

We wanted to
\ndevelop video<\/p>\n

as a revolutionary
\nconcept.<\/p>\n

To develop different
\npolitics of affects<\/p>\n

and effects.<\/p>\n

When we talk
\nabout our videos<\/p>\n

it is not about
\nsimple editing.<\/p>\n

It is to produce
\na sticky work,<\/p>\n

as a\u00a0 sticky spit
\nbetween fingers.<\/p>\n

Each frame is first
\nabout life and politics,<\/p>\n

and then about art.<\/p>\n

In the video all
\nis contaminated.<\/p>\n

Each frame is
\nabout politics,<\/p>\n

about what is
\nout there, in society,<\/p>\n

and each politics
\nthat is brought from<\/p>\n

the outside in the
\nvideo is about<\/p>\n

this inside, that is art.<\/p>\n

Night portiere, a film by
\nLiliana Cavani, from1974.<\/p>\n

The main actress\u00a0 is
\nCharlotte Rampling.<\/p>\n

She is a concentration
\ncamp survivor.<\/p>\n

She is deadly and
\nsexually bond to the<\/p>\n

Nazi officer who abused
\nher in the camp.<\/p>\n

Three sisters, video,
\nfrom 1992.<\/p>\n

In the video the actress
\nMarinka \u0160tern<\/p>\n

reconstructs Charlotte
\nRampling completely.<\/p>\n

She were<\/p>\n

\u2212 \u00bbfuck!\u00ab \u2212<\/p>\n

wears the
\nNazi officer cap,<\/p>\n

Nazi officer
\ntrousers and breeches.<\/p>\n

We are in the
\nhistorical moment<\/p>\n

when it is necessary
\nto decide\u00a0 what is<\/p>\n

the destiny of the
\nsignifier \u201cJew\u201d<\/p>\n

\u2212\u00a0 \u201czoom in\u201d \u2212<\/p>\n

that can take a place
\nof an universal signifier.<\/p>\n

This is why\u00a0 Badiou
\nprovocative as always,<\/p>\n

argues that for Jews
\nis not a problem how<\/p>\n

to bear the name \u201cJew,\u201d
\nproudly or doubtfully,<\/p>\n

hidden\u00a0 or obviously,
\nbut that it is<\/p>\n

necessary today
\nto create a \u201cnew\u201d Jew,<\/p>\n

\u2212 Is this by
\nJelica \u0160umi\u010d-Riha?<\/p>\n

Yes, and Badiou! \u2212<\/p>\n

that the\u00a0 Jew of
\nour time has<\/p>\n

still to come.<\/p>\n

We played our
\nbest cards.<\/p>\n

Is anything left?<\/p>\n

Does this all
\nmake any sense?<\/p>\n

Answer:<\/p>\n

It is never enough
\npolitics about<\/p>\n

the state of the things.<\/p>\n

To be afraid of
\nbeing too political,<\/p>\n

is a fake feeling.<\/p>\n

These dialogues
\nare a process of<\/p>\n

political conceptualization.<\/p>\n

Not a process of
\nsimple hybridization.<\/p>\n

I am against
\nsimple layering<\/p>\n

with a bit
\nof modernization.<\/p>\n

Today is necessary
\nto establish<\/p>\n

a difference
\nin-between things.<\/p>\n

It is necessary to
\nposition ourselves<\/p>\n

as well towards
\nstate and<\/p>\n

governmental
\npolitics.<\/p>\n

When it comes
\nto\u00a0 freedom, it seems<\/p>\n

that in art all
\nis allowed.<\/p>\n

Wrong thinking!
\nExists a border.<\/p>\n

When it is
\ntransgressed,<\/p>\n

things become
\nreally contaminated<\/p>\n

Action!<\/p>\n

I will continue
\nwith history.<\/p>\n

What happens
\nwhen video<\/p>\n

starts to function
\nas polygon for<\/p>\n

performing history?<\/p>\n

When it is not
\nonly a setting<\/p>\n

for working methods:
\nfor research,<\/p>\n

experiment, technology,
\nbut when moreover<\/p>\n

it is\u00a0 a place for
\nperforming a traumatic,<\/p>\n

hidden history?<\/p>\n

Milo\u0161evi\u0107 and his
\nclique you can<\/p>\n

project on my ass!<\/p>\n

What are the so-called
\nlayers within\u00a0 video?<\/p>\n

Costumes, make up
\nthe mise-en-scenes,<\/p>\n

text and music,
\nup to sound and effects.<\/p>\n

All our videos are
\nartificial.<\/p>\n

In post-production
\nall the elements<\/p>\n

are additionally
\nartificially<\/p>\n

reorganized and
\ndoubled.<\/p>\n

Nothing is natural
\nin front of the camera.<\/p>\n

Nothing is natural in
\nthe process of editing.<\/p>\n

However, the result is
\nnot a technological effect.<\/p>\n

Although it is
\nabout effects.<\/p>\n

It is not about
\npsychology,\u00a0 but<\/p>\n

the\u00a0 structure
\nof the work.<\/p>\n

At the base of the
\nvideo work are:<\/p>\n

recycling, reconstruction
\nand repetition.<\/p>\n

These procedures
\nare used from theory<\/p>\n

to practice, from
\nmovement to crying.<\/p>\n

As who can better
\nspeak about the<\/p>\n

politics of affects,
\nand about the<\/p>\n

politics of history
\nthan replicants?<\/p>\n

This is for us the
\nnew\u00a0 logic of performativity.<\/p>\n

Good point of departure.<\/p>\n

Theory is for us
\nas hair brushing or<\/p>\n

cutting a line with
\na razor blade<\/p>\n

along the vein
\nof the arm.<\/p>\n

We need\u00a0 theory in
\norder not to perform<\/p>\n

facts and repeat
\npractical\u00a0 and<\/p>\n

conceptual mistakes.<\/p>\n

Or to put this
\ndifferently:<\/p>\n

Does not\u00a0 exist
\na meta-language,<\/p>\n

a place outside
\nthe work and its<\/p>\n

visual structure
\nfrom where<\/p>\n

the artist will
\nsafely and neutrally<\/p>\n

create.<\/p>\n

Has video any
\nimportance today?<\/p>\n

If\u00a0 for the official
\nart history is not<\/p>\n

relevant, then,
\nit is up to us<\/p>\n

to rewrite
\nits history.<\/p>\n

Conceptual history.<\/p>\n

It is about blood,
\nand not red.<\/p>\n

Indeed.<\/p>\n","protected":false},"excerpt":{"rendered":"

OBSESSION, 2008\/ watch video>>\u00a0 Marina Gr\u017eini\u0107 and Aina \u0160mid, in collaboration with\u00a0 Zvonka Sim\u010di\u010d DIALOUGE LIST Video \u2026has any sense to make experimental videos in Slovenia today? In the past we produced our videos with Slovenian television. \u017di\u017eek. Page 56.…<\/span><\/p>\n

Read more ›<\/a><\/div>\n

<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[317],"tags":[],"_links":{"self":[{"href":"https:\/\/stage.grzinic-smid.si\/index.php?rest_route=\/wp\/v2\/posts\/535"}],"collection":[{"href":"https:\/\/stage.grzinic-smid.si\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/stage.grzinic-smid.si\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/stage.grzinic-smid.si\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/stage.grzinic-smid.si\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=535"}],"version-history":[{"count":3,"href":"https:\/\/stage.grzinic-smid.si\/index.php?rest_route=\/wp\/v2\/posts\/535\/revisions"}],"predecessor-version":[{"id":539,"href":"https:\/\/stage.grzinic-smid.si\/index.php?rest_route=\/wp\/v2\/posts\/535\/revisions\/539"}],"wp:attachment":[{"href":"https:\/\/stage.grzinic-smid.si\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=535"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/stage.grzinic-smid.si\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=535"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/stage.grzinic-smid.si\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=535"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}