Naravno da može bolje Mića Stajčić & Marko Crnobrnja
Of course it can be better Mića Stajčić & Marko Crnobrnja
Važno je na početku reći da naziv ove umetničke instalacije / hepeninga nema veze sa produkcijom istog. Nastao spontano, a takav i ostao. Autori su postigli ono sto su hteli. Rad se sastoji od video montaže i modifikovanog teniskog terena, galerijskog formata, na kojem autori igraju tenis prvog dana otvaranja. Zašto bas tenis? Moglo bi se smisliti dosta sjajnih objašnjenja koja bi zadovoljila kustokratiju i umetničku publiku kao sto je na primer situacija u zemlji, u kojoj umetnici jedva sastavljaju kraj s krajem, dok uspešni teniseri plivaju u novcu (što i zaslužuju). Možda bi se pak moglo ukazati na odnos izmedju publiciteta i količine publike koja posmatra tenis u odnosu na šaku entuzijasta koja posećuje izložbe savremene umetnosti. Medjutim, pravi razlog igranja tenisa u galeriji nije ni samim autorima bio sasvim jasan. Nastao kao reakcija na prostor, momenat i ograničen (citaj nepostojeći) budžet u kojem su se našli. Dva umetnika proizvode rad koji je u potpunosti drugačiji od onoga što oni inače rade. Rasni vajari, kako ih je nazvao ugledni nemački kurator Verkaufer, našli su se u situaciji da sa dve glave i četiri ruke naprave rad koji funkcioniše homogeno, bez ličnog pečata nekog od njih. Video prezentovan na zidu galerije u kojem autori pomeraju glave levo-desno kao da prate imaginarnu lopticu, inspirisana je činjenicom da su umetnici na kraju sami sebi najbolja publika, te je samim tim najvažnije da zadovolje sopstvene kriterijume.
It is important to say at the beginning that the name of this art installation / happening has nothing to do with the production of the same. It occurred spontaneously, and this remained so. The authors have achieved what they wanted. The work consists of a video instalation and modified tennis court, a gallery format, in which the authors are playing tennis on the first day of the opening. Why tennis? One might think a lot of great explanations that would satisfy the audience and art critics, like for example the situation in the country in which artists struggle to survive, while successful sport players are swimming in cash (which they deserve). Perhaps we could even point out the relationship between the amount of publicity attracted by tennis in relation to a handful of enthusiasts that visit the exhibitions of contemporary art. But the real reason for playing tennis in the gallery is something that even the authors themselves were quite clear with. It originated as a reaction to the space, momentum and limited (read nonexistent) budget in which they find themselves. Two artists are producing work that is completely different from what they normally do. Fine sculptors, as they were called by a prominent German curator Verkäufer, found themselves in a situation with two heads and four arms creating a work that functions homogeneously with no personal touch of either one of them. Video presented at the wall of gallery in which the authors move their heads from side to side as they follow an imaginary ball, is inspired by the fact that the artists are their own best audience, and it is therefore important to meet their own criteria.
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