FOR KIDS AND ADULTS
the play exhibition
Nikos Arvanitis, Hubert Czerepok, Marko Crnobrnja, Marija Đorđević, Petra Feriancova, Karolina Freino, Nenad Jeremić, Alicja Jodko (DWF/Entropia), Vladimir Perić, Vedran Perkov, Joanna Rajkowska, Milorad Stajčić, Katarina Šeda, Janek Simon, Kama Sokolnicka, Predrag Terzić, Miloš Tomić, Vova Vorotniov, Zorka Wollny, Martin Zet
Curators: Dušica Dražić, Anna Mituś, Una Popović and Joanna Stembalska
Awangarda gallery, BWA Wrocław
7 Sept – 2 Oct 2011
Wita Stwosza 32
OPENING RECEPTION: 7 Sept from 7 to 9 PM
Muzeum Sztuki Współczesnej Belgrad
The exhibition continues in Salon of the Muzeum of Contemporary Art in Belgrade: 4/11-4/12/2011
on the photograph: Petra Feriancova, Public Playgrounds – From My Dad’s Research (2010)
“For, to speak out once for all, man only plays when in the full meaning of
the word he is a man, and he is only completely a man when he plays.”
J. C. Friedrich Von Schiller, Letters Upon The Aesthetic Education of Man, 1794
The works presented in the exhibition “For Kids and Adults” deal with the phenomena of play and game, without which one cannot imagine any human community. We are interested in
the role played in its dynamics by space (whether real or virtual) as well as spontaneous (i.e. play) and structured (i.e. game) ludic transactions which define it – its emergence, integration, modification and decomposition.
Play is still associated with the culture of free time, which – in modern societies – is separated from what is productive, and dismissed to what is private and foolish. The social experience of the last decade forces us to look critically at that separation, and to perceive play as an inspiring experience in which we act independently from any social control and individual or group purpose, and through which we can gain space for the longed-for freedom.
Zorka Wollny, Flee the Frame, Ankara 2010
Analyzing culture as a system of rules, hierarchies, behaviours, decision making, manipulation and accumulation of knowledge, play may be considered an activity through which we can introduce changes to the very system, and operate within it. How we play is preconditioned by the environment, a total system which includes space – political, social and personal. At the same time, play may influence and change that environment. Play also refers to the movement, look, quest, creation – these are “tools” which can be used in the action within a (possible) process.
There shall be a communion between the formal impulse and the material impulse – that is,
there shall be a play drive – because it is only the unity of reality with the form, of the accidental with the necessary, of the passive state with freedom, that the conception of humanity is completed. And it is exactly in this sense that the exhibition refers to the play drive (originally Spieltrieb), a term introduced in Schiller's Letters Upon the Aesthetic Education of Man, denoting a formative process which resists time and persists from the first to the last day of man's life. As observed by Ranciere in his Esthetiques comme poitique, Schiller’s revolutionary contribution was to create the idea of political change by revisiting what he called the distribution of the sensible – what and how we perceive with our senses is determined by what we accept as our ascribed function in the community. According to his Letters, the change would be possible if we were to cease perceiving art as separated from life, and play as separated from work (living form).
Predrag Terzic, izvodenje rada 25 x 15m, photo: Dusica Drazic
Playing requires no skills or knowledge, it rather creates circumstances whereby one can independently create or improve physical, social and political skills, and accumulate knowledge. Once you determine the rules, what is merely play turns into a game. In games, motives get blurred, and often to play becomes overshadowed by to win. It creates a competitive urge to be(come) the best.
Marko Crnobrnja, Najpierw mnie
The exhibition loosely refers to historical contexts of play and game, drawing from the political potential of “action” and transactional character which bonds the community. The explosion of the notions of play and games in various fields, from literature to architecture, coincided with essential political and social changes in this part of Europe in the 1980's and 90's. But the critical and social potential of the play drive had already been crucial in the 60's and 70's. Its subversive edge and potential was revealed in various movements, including Fluxus and Situationists, later followed in Poland, especially in Wrocław, by the Orange Alternative and the group LUXUS, as well as by numerous conceptual artists in former Yugoslavia.
What is displayed in the projects and works created by the invited artists is the formative, economic and political dimension of play and games, with special significance of art in public space and its critical character.
Seminars, lectures and workshops for children and adults will accompany the exhibition
Milorad Mica Stajcic, Over the Rainbow (2010)
Vladimir Peric, MUSEUM OF CHILDHOOD
Vladimir Peric, MUSEUM OF CHILDHOOD
Pień drzewa jest zrobiony ze styropianu, dzięcioł wycięty z kartonu.
Wewnątrz pnia jest umieszczona rurka ze zwojnicą. Rytmiczne
przyciskanie blaszki sprawi że papierowy ptak będzie naśladował ruchy
prawdziwego stukającego w drzewo dzięcioła. (Tadeusz Rathman,
Zrób Sam Vademecum - Dla Dzieci i Rodziców)
model: Janek Simon
podziękowania dla Jakuba de
Barbaro (pomoc przy sesji zdjęciowej)