Zoran Todorović (RS) No Title or Absent



/maybe a promise/

/what kind of a promise?/

/utopian, but you'd better imagine it as a sort of negative dialectics, we need something that binds us more solidly to the time and milieu we live in, without that we might easily get lost.


/well utopia is a kind of political reflection. It is simultaneously the 'nowhere' and the 'here' and 'now' and in that sense this may not be a promise, let's call it an invitation.

/what should it look like?/

/of course it is hard to believe again in some great negation, critique or opposition, therefore it is conceived as a situation, séance, intimate workshop, a sort of intersubjective laboratory, people come here to spend some time, something happens to them, they make a gesture, they get confused a little and they shift a little, identities slide a bit, they play around, its a kind of queer situation.

/what do they play with?/

/with various things.

/what do you have in mind?/

/conventional things, learned, everyday, historical, epochal, peripathetic. Hence habits and expectations i.e. all that which has made them. This should be an apparatus that can go through everything anew and investigate it and reject it. Namely, it should provoke norms and consequently create something.


/I hope it can create certain new values or at least re-examine or re-inforce others, produce certain hybrids in any case. it could create some kind of momentary relations that are not programmed as we're used to, or in other words to create a space for possible eccentric meetings.

/I cannot quite see the play's object/

/actually, it is too visible... Let's say one can play with everything we believe we are entitled to, we necessitate, with everything that constructs and defines us and without which we cannot be, with all we think we are. With our roles, especially those we play spontaneously. It is a heap of self-explanatory and not always confirmed things.

/so this could be a heap of things that supports our entire world/

/I know, but you're not always sure how the heap came here, you have not participated in it fully, you're even less sure if you need all of it, it is a kind of cultural residue, you can imagine that there would be much less things around if you made them yourself and how much would those things be possible for yourself and more important for the others. Furthermore, this residue often plays a repressive function and is not a result of a mere temporal stratification, but of certain struggles.

/it is not always simple to question repressive devices, you might turn out missing some of them/

/definitely yes, some of them.

/I do not se what is to gain/

/let's say you have a situation that puts the norms responsible for your formation to the test, norms you actually compromise with. We all make them consciously or unconsciously, but we can fantasize, imagine or produce a moment, some kind of para-insitution or strategy in order to confront the reality - which we all contribute to and which in return compromises us – with its real consequences. In other words the real of a certain reality is a collective hallucination that can be provoked by its own arsenal of contradictions and automatic functions. This is an effort to produce intersubjective space within this short cut, this is what we have.

/you cannot do it by yourself/

/you shouldn't, it's a social game.

/an example/

/well you can think of a friendly space for erotic cruelty or kind of aesthetics with a taste for conflict which is no denial or exclusion but rather demonstration of an absurdity, let's say the absurdity of the law.

/why cruelty?/

/well, a good way for to make the law become a visible delirium is to put your text (statement) into the mouth of the one who tortures you. Of course, in this case you find yourself in the position of a victim, unless you already have someone to represent you in that position. However, this version renders such a position very interesting, exciting and ambiguous. This sort of game is usually catastrophic, but it's only then that it thrives, it is a moment of transgression or noble effect of cruelty.

/let us bring some clarity into the eccentric meetings/

/OK ...

Zoran Todorović (RS)

Media artist, Zoran Todorović was born in Belgrade, in 1965. He earned a degree, painting major, at the Faculty of Fine Arts, but is best known for his new media and video work. He lives and works in Belgrade where he holds the the assistant professor position at the Faculty of Fine Arts, of the University of Arts in Belgrade. Todorović exhibited his works in numerous leading media art institutions and events in Europe and beyond, and was the author of the Serbian pavilion at the 53rd Venice Biennale. His works often deal with issues of surveillance and control, shedding light on uncomfortable truths and concealed motivations. In 2000 Todorović won the 41st October Salon award in Belgrade and in 2001 the International Media Art Award in Karlsruhe.