The artist’s first-person speech1 shown

on examples of Croatian contemporary

art, from the 1970s to the present day.

When he lost his job, David Holzmandecided to take control over his life in aslightly unusual way. With Godard’s claimin mind, according to which truth is pre-sented by twenty-four images in a second,Holzman decided to shoot a film-diary ofhis day-to-day life. Thus, he filmed hisneighbors, Penny, a girl who hates to befilmed, the windows of the next-door apart-ment, conversations with passers-by...Because of his obssessive need to recordhis own life, he started loosing his friends,and his girlfriend left him. But, it was allworth while, because none of the relation-ships he had ever had in his life, as wehave indirectly heard, had been honest.

The only unusual thing in the experi-mental film David Holzman’s Diary by JimMcBride is the fact that what we perceiveas radical autobiography, filmed in the sim-plest way, using a hand-carried camera, is,in fact, fiction (the character is fictitious).Actually, everything spoken in the first per-son is also fiction, because if we are to talkabout it at all, it has to be denied as one’sown in a way. Indirectly in the film, by wayof turned-on radio, we learn: the VietnamWar is raging, the year is 1968. In visualarts that is the time of grand beginnings ofnew art forms: performance, happening,behavior art, body art. What was earlierpresented by a genre of auto-portrait whereit was necessary for the artist to have a mir-ror, was replaced with forms through whichthe artists are working against the mirror.The tendency to make equal the artists’ cre-ative work and the real life is confrontedwith the art of immitation. For that pur-pose, the artists use photographs, films,texts and media in which they speak in firstperson about their subjectivity, place insociety and social repressions, desires,traumas, memories or the fight for genderequality.

In the last few decades, first-personspeech has become one of the priviledgedgenres in literature, but also in visual artswhich are, in doing so, moving away moreradically from the modernist practice ofusing impersonal, neutral or indirectspeech. Art history defines portrait as one ofits most frequent sub-types which has,through centuries reflected the develop-ment of society, from the times when the

Govor umjetnika u prvom licu1 na

primjerima hrvatske suvremene umjet-

nosti, od sedamdesetih do danas

Kada izgubi posao, David Holzman odlu-Ëuje uspostaviti kontrolu nad svojim æivo-tom na pomalo neobiËan naËin. DræeÊi seGodardove izjave da istinu predstavljajudvadeset i Ëetiri sliËice u sekundi, HolzmanodluËi snimati filmski dnevnik svoje svakod-nevice. Tako snima susjede, djevojku Pen-ny koja ne podnosi da je se snima, prozoresusjednog stana, razgovore s prolaznici-ma... Zbog njegove opsesivne potrebe zabiljeæenjem vlastita æivota poËinje gubiti pri-jatelje, a djevojka ga napuπta. No sve se toisplatilo, jer nijedan odnos u njegovu æivotu,kako to posredno doznajemo, nije zapravobio iskren.

U eksperimentalnom filmu Dnevnik Da-vida Holzmana Jima McBridea neobiËna jejedino Ëinjenica da je ono πto doæivljavamokao radikalnu autobiografiju, snimljenu nakrajnje jednostavan naËin kamerom iz ruke,zapravo fikcija (lik je izmiπljen), kao πto jeto, uostalom, i svaki govor u prvom licu ko-ji, da bi se u njemu uopÊe govorilo, na nekinaËin mora biti zanijekan kao vlastiti. Izfilma se posredno, preko sluËajno uklju-Ëenog radija, doznaje: u tijeku je rat u Vijet-namu, godina 1968. U vizualnim umjet-nostima to je vrijeme velikih poËetaka novihumjetniËkih oblika: performansa, hepenin-ga, umjetnosti ponaπanja, body arta. Onoπto je ranije predstavljao æanr autoportretaza koji je umjetnik nuæno trebao zrcalozamijenili su oblici kojima umjetnici radeprotiv zrcala. Umjetnosti oponaπanjasuprostavlja se teænja za izjednaËavanjemumjetniËkoga Ëina i stvarnoga æivota. U tusvrhu umjetnici rabe fotografije i video, fil-move, tekstove i medije kojima u prvomlicu govore o svojoj subjektivnosti, poloæajuu druπtvu i druπtvenim represijama, æelja-ma, traumama, sjeÊanjima, ili o borbi zaspolnu ravnopravnost.

U posljednjih nekoliko desetljeÊa govoru prvom licu postaje jednim od privilegira-nih æanrova u knjiæevnosti, a nije drugaËijisluËaj ni u vizualnim umjetnostima koje nataj naËin sve radikalnije napuπtaju moder-nistiËku praksu neosobnog, neutralnog iliposredovanog govora. Povijest umjetnostiautoportret definira kao jednu od svojih naj-ËeπÊih podvrsta koja je kroz stoljeÊa odra-æavala razvitak druπtva, poËevπi od vreme-na kada je umjetnik joπ anoniman uËesniku kolektivnom stvaranju, pa do onih raz-

iva r. jankoviÊ

ja je netkodrugii is someoneelse

52

sl.1: K. Leko, Torba. Predmet naen 1992. / The

Purse. Object found in 1992., 2000.

1 Termin Jeπe Denegrija u: M. ©uvakoviÊ, Pojmovnikmoderne i postmoderne likovne umetnosti i teorije posle1950, Beograd-Novi Sad, 1999. str. 1121 A term by Jeπa Denegri in: M. ©uvakoviÊ, Pojmovnikmoderne i postmoderne likovne umetnosti i teorije posle1950., Beograd-Novi Sad, 1999, p. 112

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1

artist was still an anonymous participant incollective creation, to those times when hewas fully recognized or even given a priv-iledged place in society. However, an auto-portrait also shows every biographical infor-mation of a personal nature which occursas a reflection of the artist’s creation, docu-ment or experiment. Ever since artists start-ed using their bodies, the artist’s first-per-son speech, ceased to be a question ofmimesis, and to the visual language areadded traces of narration which presupposean introduction of time dimension, takingover elements from other genres (such as,for example, journalistic or autobiographicliterary genre), coveying experience of reali-ty through the prism of their own story, bymeans of sounds, written or spoken wordsand images.

In our art, moving away from the neu-tral and impersonal speech used in mod-ernism, which was most radically support-ed by the representatives of the group Exat51, and followed by Nove tendencije (NewTendencies), was in the 1970s called inquestion by the emergence of new phe-nomena, especially Grupa πestorice autora(A Group of Six Authors), who often, in anon-institutionalized environments by theirexhibitions-actions, bring private records topublic domain (Ao voli Stipu, Ovo nije mojsvijet, Nisam lud da radim buræujske slike).Working on the speech of intimacy andsubjective behavior, they also ironize suchspeech. Miπko ©uvakoviÊ2, in the dictionaryof the Grupa πestorice catalogue (TheGroup of Six Autors), defines that positionas parasubjectivity: “In a way, they showthat the nature of existence is an illusion,and that the artificial product of the sym-bolic workings of language is present on theworld scene (societies, cultures, arts) evenbefore we achieve it in our intellectual orartistic development.”

Aware of the limitations of self-presen-tation, they focus on the fight against clich-es which are usually used in regard to theways in which a person talks abouthim/herself, so that the subjective state-ments turn into performances.

In the work Moja godina (My Year),Æeljko Jerman, one of the members of theGrupa ©estorice (The Group of Six Authors)most consistently uses elements of every-thing that can be understood under thenotion of auto-biography, since the workitself is an amalgamation of elements of

doblja kada dobiva puno priznanje ili Ëakpovlaπteni poloæaj u druπtvu. No, autopor-tret predstavlja i svaki biografski podatakosobnoga karaktera koji se pojavljuje kaorefleks umjetnikova stvaranja, dokument ilieksperiment. Govor umjetnika u prvom licuotkad umjetnici poËinju koristiti vlastito tije-lo prestaje biti pitanjem mimezisa, a vizu-alni se jezik nadopunjuje tragovima nara-cije koji pretpostavljaju uvoenje vre-menske dimenzije, preuzimanjem elemena-ta iz drugih æanrova (kao πto su, primjerice,dnevniËki ili autobiografski literarni æanr),prenoseÊi zvukovima, ispisanim ili izgo-vorenim rijeËima i slikom iskustvo stvarnos-ti kroz prizmu vlastite priËe.

U domaÊoj umjetnosti, napuπtanje neu-tralnog i neosobnog govora moderne, kak-vog su najradikalnije zastupali predstavnicigrupe Exat 51, te nastavile Nove tendenci-je, osporavaju 70-tih godina nove pojave,osobito Grupa πestorice autora koji u nein-stitucionalnom okruæenju svojim izloæbama-akcijama nerijetko u javni prostor ubacujuprivatne zapise (Ao voli Stipu, Intimni

zapis, Ovo nije moj svijet, Nisam lud da

radim buræujske slike). RadeÊi na govoruintime i subjektivnom ponaπanju, takav go-vor istodobno ironiziraju. Miπko ©uvakoviÊ2

u rjeËniku kataloga Grupe πestorice autorataj stav definira kao parasubjektivnost: “Onina neki naËin pokazuju da je prirodnostegzistencije iluzija i da je artificijelni proiz-vod simboliËkog rada jezika prisutan nasvjetskoj sceni (druπtva, kulture, umjetnos-ti) i prije no πto ga mi u svom intelektual-nom ili umjetniËkom razvoju dostiæemo.”

Svjesni ograniËenja samoprikazivanja,usmjereni su na bitku protiv kliπeja kojimasu naËini govorenja o sebi najËeπÊe obi-ljeæeni, pa subjektivni iskaz pretvaraju uperformativni Ëin.

Æeljko Jerman, jedan od Ëlanova Grupeπestorice u radu Moja godina najdosljedni-je rabi elemente svega onoga πto se moæeobuhvatiti pojmom autobiografija, buduÊida taj rad u sebi objedinjuje elemente dnev-niËkog zapisa s jedne strane i obiteljskogfotoalbuma s druge. RijeË je o jednostavnukonceptu, o egzistencijalnoj gesti ostavlja-nja traga koja se kao temeljni motiv dodanas provlaËi u svim segmentima njegovarada. Jermanov fotoalbum sastavljen od365 fotografija popraÊen je dnevniËkim tek-stom i preciznom datacijom te od poËetkaraen sa svijeπÊu da Êe biti objavljen ujavnosti, donekle πkrto otkriva podatke izosobnog æivota.

54

sl.2: Æ. Jerman, Moja godina 1977. / My Year 1977.

sl.3: Æ. Jerman, Intiman zapis / Intimate record, 1975.

2 Grupa πestorice autora, SCCA, Zagreb 1998., str 63.

2 Grupa πestorice autora, SCCA, Zagreb 1998., p. 68

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Fotografije i dnevniËki zapisi uz njihpojavljuju se u svrhu dokumentiranja(uËestala rijeË iz vokabulara konceptualnihumjetnika u 70-tima) viπe nego u smislupotrebe narativnog (naraciju, dakako, valjashvatiti u πirem, ne samo u verbalnomsmislu) ispovijedanja vlastite intime. Noisto tako u Jermanovim je reduciranimfotografijama, kao i u πturim zabiljeπkama,zamjetljiv pristup koji nije Ëest sluËaj udoba konceptualne umjetnosti koja je odbi-jala bilo kakav emotivni naboj. Darko©imiËiÊ3 zamijetit Êe je kako Jermanov radpo svojoj strukturi jednostavan i gotovobanalan, a sadræi izuzetno uzbudljiv mate-rijal pri tome ga usporeuje s fotografskimopusom Augusta Sandera, Romana Viπnjikai Richarda Billingama. “U ono vrijeme to jeza mene u osnovi bio jedan Ëin samo-odræanja. To je uistinu bila moja velika æi-votna gesta koja me na neki naËin spasila.U to sam doba bio u teπkim krizama i viπenisam vidio smisao rada. Doπao sam naneki naËin do kraja kad sam iznio fotografi-ju na dnevno svjetlo, napisao Krepaj

fotografijo mislio sam - poslije toga nemamviπe πto raditi, a onda je sve malo po malokrenulo prema elementarnim procesima.Osnova svega bila je moja æelja da budemsvakodnevno prisutan u radnom procesu.”4

Godinu dana nakon Jermanove Mojegodine Dalibor Martinis 1978. u raduDalibor Martinis talks to Dalibor Martinispred kamerom sâm sebi postavlja pitanjana koja je odluËio odgovoriti u 2000. godi-ni. U tom je radu saæeta suπtina procesaautoreprezentacije kao potrage za tzv. osob-nim identitetom koji je, buduÊi da je sâmpredmet potrage bitno vremenska kategori-ja, izloæen neprekidnim promjenama i otpo-ran prema pokuπajima potpune spoznaje5.Problematika autoreferencijalne prezentaci-je u Martinisovu je radu Ëesta, joπ od prvihperformansa Autorportret D.M. iz 1977. iliAutoegzekucija iz 1978. Oba ova rada, kaoi neki njegovi kasniji autoreprezentacijskiradovi, predstavljaju radne auutoportrete,tj. refleksiju o stvaralaËkim procesima njegasamog u ulozi umjetnika : “SpajajuÊi dvijekrajnosti - Narcisa i zloËinca - crtajuÊi svoj“autoportret uz pomoÊ policijskog robota iruke anonimnog crtaËa, Martinis podjed-nako ironizira vlastitu poziciju umjetnikakoji crta “tuom rukom” kao i ulogu galeri-jsko muzejskog sustava koji “sakralizira”taj Ëin naknadnim izlaganjem crteæa anoni-musa na zidovima galerije” 6. Takav Êe sepristup zadræati i u novijim radovima

journalistic writing on one and a familyphoto album on the other side. We are talk-ing about a simple concept, about an exis-tential move of leaving traces which contin-ues to appear as a fundamental motive inall the segments of his creative work to thepresent day. His photo album, containing365 photographs is accompanied by thetext of the diary and precise dates and has,from the start, been created with theawareness that it would be released to thepublic, does not reveal his personal infor-mation to a great degree.

The photographs and the text of thediary that accompanies them, are theremore to document (a frequent word fromthe vocabulary of the conceptual artistsfrom the 1970s) rather than to narrate thestory of author’s personal life (narrationshould, of course, be understood in a widersense, not only verbal). But, at the sametime, in Jerman’s reduced photographs,and concise notes, we can notice a certainapproach which is not frequent in the peri-od of conceptual art which resisted everykind of emotional features. Darko ©imiËiÊ3

notices that Jerman’s work, although verysimple and almost banal regarding struc-ture, contains interesting material and com-pares it with the photographic works ofAugust Sander, Roman Viπnjik and RichardBillingam. “In those days, that was for mea certain way of self-preservation. It was,indeed, a big move in my life which savedme in a way. In those days, I was in diffi-cult situations and I did not see the purposeof my work. I hit rock bottom when Ibrought the photography to daylight andwrote Photography, die!, I thought therewas nothing left for me to do after that, andthen little by little it turned in the directionof elementary processes. My desire to be apart of the working process every day wasthe basis of later work.”4

In 1978, a year after Jerman’s workMoja Godina (My Year), in a work calledDalibor Martinis talks to Dalibor Martinis,Dalibor Martinis asks himself questions towhich he decided he would find theanswers in the year 2000. This work epito-mizes the essence of the process of auto-presentation as a search for the so-calledpersonal identity which is, being as anobject of search at heart a temporal catego-ry, exposed to incessant changes and whichresists attempts of complete apprehen-sion.5 The issue of auto-referrential presen-tation in Martinis’ work is not rare, appear-

55

sl.4 i 5: V. Delimar i Æ. Jerman, VjenËanje / Wedding,

1982.

3 Moja godina 1977., SCCA, Zagreb 19974 Iz razgovora prikazanog u emisiji Transfer, srpanj2000.5 M. VelËiÊ, Otisak priËe, Intertekstualno prouËavanjeautobiografije, August Cesarec, Zagreb 1991., str. 12

3 Moja Godina (My Year), 1977, SCCA, Zagreb 1997.4 From the conversation shown in the broadcastTransfer, July 2000.5 M. VelËiÊ, Otisak priËe (Story Print), IntertekstualnoprouËavanje autobiografije (Intertextual Study of Auto-biography), August Cesarec, Zagreb 1991, p. 12

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ing also in his performances: Autoprotret D.M. (Auto-portrait od D. M. ) from 1977 orAutoegzekucija (Auto-execution) from1978. Both works, along with some of hislater auto-presentational works, show work-ing auto-portraits, that is to say, they reflectthe creative process of the author himself inthe role of an artist: “By way of puttingtogether two extremes - a narcissist and acriminal - by drawing his auto-portrait withthe help of a police robot and a hand of ananonymous drawer Martinis equally ironizeshis own position as an artist who draws bysomeone else’s hand but also the role of thesystem of galleries and museums which“sacralizes” that act by exhibiting the worksof an anonymous artist on the walls of thegallery”6. He continues using that approachin his later works (Brain-Storm, 1998) anduses binary oppositions, which are very fre-quent in his work, such as oppositionsbetween the reality and the nature of adrawing, the rational and the intuitive,order and chaos, which is symbolically pre-sented in two of his auto-portraits. In avideo projection which is a part of the workLabirint (A Maze) from 1998, shows a facemade of two identical halfs; it continuallymoves to the left and to the right, whereasthe other auto-portrait is presented by anolder work - a vertically positioned marker(Umjetnik pri radu - The Author at work -1987), which hanging over a desk, makesa growing stain on a piece of plain whitepaper. However, in the catalogue for thisexhibition there was also a text of the diarywhich presented, in a narrative tone,author’s frustrations and some personalinformation. The dated parts were made ina dialogue with the computer softwarecalled Fred, clearly alluding to Freud, andin doing so he expresses his ironic attitudetowards the role of psychoanalysts in theindividual process of self-cognition.

Even though it represents a frequentphenomenon in the art of the 1970s to thepresent day, the first-person speech, most-ly occurs in the works of female artists. Inthe focus of contemporary feminist theories,especially in the 1990s, the studies aredirected towards the revelation of mecha-nisms of representation by pointing to thecontingent positions and the problem ofconstituting an identity.7 The problem ofauto-presentation has, from middle 1970s,been enriched with the introduction of newelements in the works of Sanja IvekoviÊ.Although they contain traces of a personalstory, their primary intention is to decon-

(Brain-Storm, 1998.) gdje se u binarnimoprekama koje su Ëesto prisutne u njegovuradu kreÊe u opozicijama izmeu stvarnos-ti i prirode slike, racionalnog i intuitivnog,reda i kaosa, u simboliËnoj se ulozi pojav-ljuju dva autorova portreta. U videoprojek-ciji koja je dio rada Labirint iz 1998. lice jemontirano od dvije identiËne polovice; onose neprestano mehaniËki pokreÊe u smjerulijevo-desno, dok je drugi autoportret pri-kazan jednim starijim radom - flomasteromu okomici (Umjetnik pri radu, 1987.) koji,objeπen iznad radnog stola, ostavlja sveveÊu mrlju na obiËnom komadu bijelogpapira. No, u katalogu za ovu izloæbu objav-ljen je i dnevniËki tekst u kojem u ispovjed-niËkom tonu iznosi vlastite frustracije i nekepodatke iz osobnog æivota. Datirani odjeljcinastali su u dijalogu s kompjutorskim soft-verom kojeg naziva Fred, s jasnom aluzijomna Freud, Ëime izraæava ironiËan stavprema ulozi psihoanalitiËara u individual-nom procesu samospoznaje.

Govor u prvom licu, iako predstavljatako Ëestu pojavu u umjetnosti od sedam-destih godina do danas, najËeπÊe je prisu-tan upravo u radovima umjetnica. U fokususuvremenih feministiËkih teorija, osobito udevedesetima, istraæivanja su usmjerena narazotkrivanje mehanizama reprezentacijeukazivanjem na rodne pozicije, kao i naproblem konstitucije identiteta7. RadovimaSanje IvekoviÊ od sredine sedamdesetih prob-lematika autoreprezentacije obogaÊuje senovim elementima. Iako sadræe tragove osob-ne priËe, njihova namjera odnosi se prven-stveno na dekonstrukciju strategija druπtvenekonstitucije pojedinca. Fiktivne priËe izTragedije jedne Venere i Dvostrukog æivota1976. nastaju mijeπanjem njezinih osobnihfotografija s fotografijama iz tabloida osobaiz svijeta glamura ili prizora iz crne kronike.Performans Un jour, violant koji izvodi1976. godine u Bologni parodija je procesamodifikacije æenske individualnosti premauzorcima æenskih Ëasopisa s reklamnimporukama za kozmetiËke preparate. I druginjezini radovi iz tog i kasnijeg razdoblja ukojima se pojavljuje ona ili fragmenti njezi-ne svakodnevice (Osobni rezovi 1982.;Svjetionik 1987.-1998.) kreÊu se izmeudimenzije privatnog i javnog, pozicije moÊipolitike i masovnih medija u kojima senzi-bilni æenski identitet pokuπava sagledatisvoju autonomnu poziciju.

Godine 1982. radikalnim postupkombrisanja granica koje dijele umjetnost od æiv-ota i dovodeÊi taj stav gotovo do krajnosti,

56

sl.6 i 7: V. Delimar, Iz ciklusa Razgovor s ratnikom ili

æena je nestala / From cycle: Conversation with the

warrior or women has disappeared, 1999/2000.

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6 Citat se odnosi na rad Autoportret D.M., N. Beroπ,Munjevito mozganje, tekst kataloga Brain-Storm, MSU,Zagreb 1998., str. 96 The citation refers to the work Autoportret D. M. (TheAuto-portrait of D. M.), N. Beroπ, Munjevito mozganje(Brain-storm), the text of the catalogue Brain- Storm,MSU, Zagreb 1998, p. 9.

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Jermanova tadaπnja æivotna suputnicaVlasta Delimar u njihovom zajedniËkom ra-du vjenËanje pretvara u umjetniËki Ëin. Na-kon crkvenog i opÊinskog ceremonijala, paru pratnji publike odlazi u galeriju gdje se smagnetofona reproducira govor matiËara isveÊenika. SluæeÊi se vlastitim tijelom kaonajradikalnijim oblikom govora u prvomlicu, Vlasta Delimar je svoj opus posrednoili neposredno proæela autobiografskim tre-nucima. No, osobna se priËa, nakon Vjen-Ëanja nastavlja zaogrnuta mitskim velima,u osebujnoj scenografiji prepunoj plas-tiËnoga cvijeÊa, Ëipki, zrcala, zlata, simbolaplodnosti... U potrazi za æenom koja je,kako tvrdi, “u 20. stoljeÊu skoro nestalakroz mnoge zablude feministiËkih ideologi-ja”, u svoj rad ukljuËuje ljude iz svoje bli-zine: poznanike, rodbinu, prijatelje, ljubav-nike. Nakon braka s Æeljkom Jermanom bil-jeæi poËetak nove veze neprekidno preispi-tujuÊi sve emocije kroz koje prolazi kaoæena i majka. Uz privatne simbole, koji suprisutni kao specificni elementi æenske sub-jektivnosti i parodiranja graanskih stereo-tipa æenskosti odjeÊom, njezin Êe glavnimedij ostati tijelo sa snaænim i neposred-nim erotskim nabojem, uz refleksije o nje-govim mijenama (Imam 40 godina) i pro-laznosti (Æena je nestala).

Osamdesete su godine obiljeæene prom-jenama motiva u mediju fotografije. Auto-portret kao tema u tom se razdoblju real-izira u mediju fotografije. Osim kod VlasteDelimar, on je obiljeæje rada umjetniËkogpara Bachrach-KriπtofiÊ. U oba sluËaja ujednostavne postupke dokumentiranja kojisu proizlazili iz demonstracije stava o izjed-naËavanju umjetnosti i æivota uvlaËi se duhsimulacije8 koji je donijela umjetnost post-moderne. Postupci samoprikazivanja Ëestosu povezani s egzibicionistiËkim kreiranjemimidæa u imaginarnim okruæenjima, izraæa-vanju naglaπenih emocija, mistiËnom fata-lizmu, uz zamjetan ironiËni odmak osvijeπ-tena stava o teatralnim postupcima kojimase konstruira slika intime.

Heterogene devedesete nalik su areninajrazliËitijih umjetniËkih strategija i para-lelnom trajanju razliËitih pojava koje se upostupku samoreprezentacije pojavljuju odsedamdesetih godina.

U Ambijentu iz 1998. godine slikaricaEdita Schubert na zidovima galerije izlaæekompjutorsku oznaku bar-koda, a u pros-tor postavlja πest stativa za fotografskiaparat na kojima se pojavljuje njezino licenaslikano akrilikom prema fotografskom

struct the strategies of the social constitut-ing of an individual. The fictitious storiesfrom the works: Tragedije jedne Venere(Tragedies of a Venus) and Dvostruki æivot(Double Life) from 1976, were made as amixture of her personal photographs andthe photographs of the persons from theglamour world from tabloids or scenesshowing accidents or bad situations. Theperformance Un jour, violant which waspresented in Bologna, in 1976, is a parodyof the process of modification of femaleindividuality according to the samples ofwomen’s magazines with commercial mes-sages for cosmetic products. Not onlythese, but also her other works from thisand later periods, in which either she or thefragments of her day-to-day life are present,revolve around the aspects of private andpublic domain, positions of power of poli-tics and the mass media in which the sen-sitive female identity tries to view itsautonomous position.

In 1982, in a radical procedure of eras-ing the borderlines that separate art and lifeand by bringing that attitude almost toextreme, Jerman’s life-companion in thosedays, Vlasta Delimir, transforms the wed-ding in a work of art as a concerted effort.After the ceremonies at church and the reg-istrar’s office, the couple, accompanied bythe public, goes to the gallery where thespeeches of the priest and the registrar arereproduced on the tape. Using her ownbody as the most radical form of first-per-son speech, Vlasta Delimir has directly orindirectly filled her creative work with auto-biographical moments. But, the personalstory, after the VjenËanje (the Wedding),continues, enveloped in mythical veils, in acomprehensive scenography full of plasticflowers, lace, mirrors, gold, symbols of fer-tility... In search of a woman which,according to her, “almost disappeared inthe twentieth century on account of manyfalse beliefs in feminist ideologies,” in herwork she includes the people from her sur-roundings: people she knows, relatives,friends, lovers. After her marriage to ÆeljkoJerman had ended, she marked the begin-ning of her new relationship by constantlyquestioning the emotions she had as a wifeand mother. Along with private symbols,which are present as specific elements offemale subjectivity and parody of bourgeoisstereotypes of femininity through clothes,the body with a strong and direct eroticcharge together with allusions to itschanges (Imam 40 godina - I’m forty) and

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sl.8: Bachrach&KriπtofiÊ, iz serije Portreti / from the

Portraits series, 1983./84.

7 U teoretsko - istraæivaËkom radu ovim se aspektom unas najiscrpnije bavila Leonida KovaË, analizom radovaNaste Rojc, Sanje IvekoviÊ, Edite Schubert, KatarzineKozyre i Ane OpaliÊ. L. KovaË, Whose body-whosedesire? Notes on modernist representationon thefemale body and on the space beyond it, Gender Studiesin Arts and Culture, Bratislava, 1999., str. 19-29; L.KovaË, Ana OpaliÊ, MSU, Zagreb, 2000.; L. KovaË, tekstu katalogu Recycled Positions, Ernst Museum,Budimpeπta 1993.7 In the theoretical research work, this was studiedexhaustively by Leonida KovaË, analyzing the works ofNasta Rojc, Sanja IvekoviÊ, Edita Schubert, KatarinaKozyra and Ana OpaliÊ. L. KovaË, Whose body - whosedesire? Notes on modernist representation of the femalebody and on the space beyond it, Gender Studies in Artsand Culture, Bratislava, 1999. p. 19-29; L. KovaË, AnaOpaliÊ, MSU, Zagreb, 2000; L.KovaË, text in the cata-logue of Recycled positions, Ernst Museum, Budapest,1993.

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8

immortality (Æena je nestala - The Womanhas vanished), still remained as her mainmedium.

The 1980s were marked by the chang-ing of motives in the photoraphic medium.In this period, the auto-portrait, as a theme,is realized through the medium of photog-raphy. As in the case of Vlasta Delimar, italso marked the work of the artistic coupleBachrach-KriπtofiÊ. In both cases, the spiritof simulation8 brought through post-mod-ernist approach, is being added to the sim-ple procedures of documentation whichcame out of presenting the attitudes onattempts to make art and life equal. Theways of self-presentations are often con-nected with the exhibitionist image creationin fictitious environments, in expressions ofaccentuated emotions, mystic fatalism,with a noticeable ironic distancing of theconscious position on the theatrical proce-dures by which the image of intimacy iscreated.

The heterogenous 1990s are like anarena of the most different artistic strategiesand the parallel duration of various phe-nomena which have been emerging in theprocess of self-presentation from the1970s. In the work Ambijent (Ambiance),paintor Edita Schubert exhibits, on thewalls of the gallery, a computer bar-codesign, and sets in the room six stands forphoto cameras which show her face paint-ed in acrylic according to the photographicmodel. With this work she points to a prob-lem of encoding her own identity as apaintor, and also, the encoding of painting“which does not represent, but self-repre-sents testifying to the position of her ownspeech within the value-system encoded forthe purpose of exchange.”9

Working with pipettes in plaster castingfrom 1998 on which, in form of stickers,she pasted photographs connected withcertain periods of life, she indicatively callsBiografija 1998 (Biography), confirmingPaul de Mann’s thesis that biography is away of disfiguration in which the text andthe author are united under the sign of theirdisuniting, while the auto-biographer con-siders himself a biographer, and not anauto-biographer.10

One of the more important characteris-tics of the culture of the twentieth centuryis, according to Roland Barthes, the suppo-sition according to which the photographyis seen as a subtitute for memory. In this

predloπku. Tim radom postavlja problema-tiku kodiranja identiteta sebe kao sli-karice, pa tako i samog slikarstva “koje nereprezentira, nego samoreprezentira, svje-doËeÊi o poziciji vlastitog govora unutarsustava vrijednosti kodiranih za potreberazmjene”9.

Rad s epruvetama u gipsanim odljevi-ma iz 1998. na koje u obliku naljepnicalijepi fotografije vezane uz pojedina æivotnarazdoblja, indikativno naziva Biografijom1998, potvrujuÊi tezu Paula de Manna oautobiografiji kao postupku obezliËavanja ukojem se tekst i autor ujedinjuju podznakom njihova razjedinjavanja, dok auto-biograf sebe promatra zapravo kao biografa,a ne kao autobiografa10.

Jedna od bitnih odlika kulture ovogastoljeÊa, kako svjedoËi Roland Barthes,pretpostavka je o fotografskom nadom-jestku pamÊenja. U tom kontekstu obitelj-ska fotografija predstavlja jedan od najrudi-mentarnijih oblika autobiografije. PostupakJelene PeriÊ sastoji se od jednostavne kon-ceptualne geste izlaganja fotografija izobiteljskog albuma. Isprinte fotografijaprekriva mutnim pjeskarenim staklom kojepodsjeÊa na prozirni papir iz starinskihalbuma. To doprinosi sugestiji vremenskeudaljenosti u skladu s autoriËinom nam-jerom koja ukazuje da, iako osobna povijestljudi ne postoji bez fotografija, one juistodobno reduciraju na gomilu zaleenihslika u kojima ostaju zabiljeæeni tek ritualifotografiranja11.

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sl.9 i 10: J. PeriÊ, 19.3.1962., 2000./2001.

8 J. Baudrillard, The Ecstasy of Comunication u: H.Foster, Postmodern Culture, Pluto Press, London 1983.9 L. KovaË, Edita Schubert - Biografija ili kodovi iden-titeta, Horetzky, Zagreb 2001., str. 2038 J. Baudrillard, The Extasy of Communication in: H.Foster, Postmodern Culture, Pluto Press, London 19839 L. KovaË, Edita Schubert - Biografija ili kodovi iden-titeta (Bigraphy or Identity Codes), Horetzky, Zagreb2001, p. 203.

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10 Zaπto ne bih govorio o sebi samome, kada to “sebi”viπe nije ja, P.de Mann, Autobiografija kao razobliËenje,Knjiæevna kritika br. 2, 1988., str. 119-128. (cit. premaM. VelËiÊ, Otisak priËe, August Cesarec, Zagreb 1991.)10 Zaπto ne bih govorio o sebi, kada to “sebi” viπe nije ja(Why not talk about myself, when that “me” is not meanymore), P. de Mann, Autobiografija kao razobliËenje(The Autobiography as Disfiguration), Knjiæevna kritikano. 2, 1988., p. 119-128. (quoted in referral to M VelËiÊ,Otisak priËe (Story Print), August Cesarec, Zagreb 1991).

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9 10

U interaktivnom radu Sandre SterleLikovi iz 1998. reprezentacija identitetastrukturirana je u pet dijelova koji govore opet razliËitih “likova”: Minie Mouse, Oto-Ëanka, Red Hat, Nucleare, Pjesnikinja.Kroz svih pet priËa provlaËi se traumatiËniosjeÊaj raslojenog subjekta sapetog izmeuintimnih (ponekad i lokalno obojenih) sje-Êanja i stereotipa kojima se ta sjeÊanjazaodijevaju kako bi na globalnoj razini pos-tala prepoznatljivim, a time i komunikatibil-nim modelima. No isto tako, svijest o raslo-jenosti istodobno je svijest o shvaÊanjuidentiteta kao kategorije koja izmiËe samojednoj definiciji. Pet likova za okruglim sto-lom koji se aktiviraju pritiskom miπa naraËunalu, a predstavljaju umnoæene auto-rice, pitaju se: “Tko sam? Nisam sigurna.Pretpostavka individualnosti naπe je naj-veÊe ograniËenje.”

TraumatiËna dimenzija spoznaje zatvo-renosti vlastitog psiholoπkog prostora, jed-nako kao i nedostupnost tuih, okosnicomje rada Ksenije TurËiÊ Slow motion iz 2000.Neosobni govor kojim minimalistiËki ispitu-je razliËite perspektivne modele u prostorukrajem devedesetih zamijenila je reprezen-

context, a family photograph represents oneof the most basic forms of auto-biography.Jelena PeriÊ’s procedure consists of a sim-ple conceptual move of exhibiting the pho-tographs from the family album. She coversthe prints of the photographs with thicksand-glass which reminds us of the trans-parent paper from the old albums. Thatcontributes to the suggested time distancein accordance to the author’s intentionwhich points to the fact that, even thoughthere is no personal history without photo-graphs, they, at the same time, reduce it toa bunch of frozen images in which only therituals of photography are registered.11

In Sandra Sterle’s interactive workLikovi (Characters) from 1998, the repre-sentation of identity is structured in fiveparts which talk about five different “char-acters”: Mini Mouse, OtoËanka (IslandGirl), Red Hat, Nucleare, Pjesnikinja(Poetess). The traumatic feeling of a frag-mented subject torn between the intimatememories and the stereotypes which enveilthose memories in order to make them rec-ognizable and debatable on a global scale,can be found in each of the five stories.

59

sl.11: E. Schubert, Ambijent / Ambiance, 1998.,

Foto / Photo: A. MaraËiÊ

11 R. Barthes, Camera Lucida, Reflections on Photogra-phy, Vintage, London 1993., str. 76 - 78

11 R. Barthes, Camera Lucida, Reflections on Photogra-phy, Vitage, London, 1993, p. 76-78.

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11

But, in the same way, the awareness of thefragmentation is, at the same time, anawareness of understanding the identity asa category that is not in accordance withonly one definition. Five characters at theround table that are activated by a mouse-click, and that represent the multiplicatedauthor, are asking themselves: “Who am I?I’m not sure. The pre-supposition of ourindividuality is our biggest limitation.”

The traumatic aspect of realization ofthe closed nature of our own psychicspaces, and the inaccessibility to others’, isa focal point of Ksenija TurËiÊ’s work SlowMotion from 2000. The impersonal speechthrough which she studies the various mod-els of view in space in a minimalist way, atthe end of the 1990s, she replaced withthe representational analysis of mental andpsychological mechanisms. The ambiancesshe created in 1998 in her video projec-tions, face us, through the prism of our per-sonal realizations, with the inability to cre-ate a stable psychological space in theworld today (Sunt lacrimae rerum, 1998).Relying on the architectural disposition ofthe space where she exhibits her work, shesuggests that the visitor should participateand take a look into the closed world of inti-macy, and in doing so, she makes a pow-erful, catarctic effect. The title of the workTrue Stories from 2000 by itself connotes afeeling of personal confession. As in theprevious work, on the video projection ofSlow Motion we again have a face detail,more precisely the eyes in a huge size, onlynow, along with the eyes of the author, wecan see on the four walls of the gallery, thevideo projections of her friends’ eyes whichchange their expressions in dramatic ampli-tudes. The projection is accompanied bythe sounds of heart-beating in differentrhythms which, by constant stopping andstarting again transparently presents a sim-ple metaphor for dying out and revival ofemotions - the theme of her works is neverthe content of individual or someone else’sconfession per se, which is, actually, com-pletely unimportant, but a pure representa-tion of the psychological mechanisms. “... Iwant to get to the explanation of the situa-tion, or, in fact, becoming aware of the sit-uation, that no one lives alone in this world,that is, that our reactions, our stories andconclusions become different because welisten to other people’s stories. Very often ithappens in a group of friends, when theirstories and their reactions start influencingsome of my reactions and vice versa.”12

tativnom analizom mentalnih i psiholoπkihmehanizama. Ambijenti koje od 1998. gradivideoprojekcijama suoËavaju nas, kroz priz-mu osobnih spoznaja s nemoÊi danaπnjiceu uspostavljanju stabilna psiholoπkog pros-tora (Sunt lacrimae rerum, 1998.). Oslanja-juÊi se na arhitektonsku dispoziciju mjestana kojem izlaæe posjetitelju sugerira sud-jelovanje i zavirivanje u zatvoreni svijetintime, Ëime postiæe snaæan, katarktiËni uËi-nak. Naziv rada True stories iz 2000.godine veÊ sâm po sebi konotira atmosferuosobne ispovijedi. Kao i u prethodnom raduSlow motion, na videoprojekciji je prisutandetalj lica, toËnije hiperdimenzioniranihoËiju, no sada uz autoriËine, sva Ëetiri zidagalerije prekriva videoprojekcija oËijunjezinih prijateljica Ëiji se izrazi mijenjaju udramatiËnim amplitudama. Projekcija je

praÊena zvukovima otkucaja srca u ra-zliËitim ritmovima koji, naizmjeniËnimzaustavljanjem i zapoËinjanjem transparent-no predoËavaju jednostavnu metaforu oodumiranju i ponovnom buenju emocija -tema njezinih radova nikad nije sâm sadræajosobne ili tue ispovijesti koji je zapravoposve nebitan, koliko ogoljela reprezentaci-ja funkcioniranja psiholoπkih mehanizama.“...æelim prodrijeti u objaπnjenje situacije,

ili zapravo osvjeπtavanje situacije, da nitko

ne æivi sam na ovom svijetu, to jest da naπe

reakcije, naπe priËe i zakljuËci postaju dru-

gaËiji zato πto sluπamo tue priËe. Vrlo

Ëesto se to odvija u grupi prijateljica, kad

njihove priËe i njihove reakcije poËinju utje-

cati na neke moje reakcije i obrnuto.”12

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sl.12: S. Sterle, Crveni πeπir/Red Hat, 1996.

12

U devedesetima, osim motiva raslo-jenosti identiteta i svijesti o ograniËenjimakoja postavlja medij reprezentacije, kao isklonosti dekonstrukcijama intimnog psiho-loπkog prostora, kontinuirano se nastavlja itendencija ispreplitanja osobne i opÊe povi-jesti. Takav pristup doÊi Êe do izraæaja uradovima umjetnika sarajevske scene ukojima se zbog dramatiËnih okolnosti kaomotiv pojavljuje diskurs svjedoËenja13. Unovije vrijeme oko tog su motiva koncipiraniciklusi Vlaste Delimar koje izvodi s neka-daπnjim ratnikom, zapovjednikom Hrvatskevojske Milanom BoæiÊem.

S vjerom u jezik koji je sposoban uje-diniti rasuto æivotno iskustvo u radu KolaË iglas Kristina Leko svoju ljubavnu priËu, kojase u odreenom trenutku nije realiziralazbog konkretnih ratnih uvjeta, pripovijedana Ëetiri razliËita jezika, dok se na ekranudugi crni kadrovi smjenjuju s bljeskovimascena iz razdoblja Drugog svjetskog rata ipekare u kojoj zajedno s radnicima izrauje“TrokolaË”. On se sastoji od razliËitih sas-tojaka karakteristiËnih za kulture nacijakoje se pojavljuju u njezinoj nesretnoj priËi,dodajuÊi joj na taj naËin na kraju sama, ako

In the 1990s, except from the motive ofthe fragmentation of identity and the awa-reness of the limitations which are set bythe medium of representation, along withthe tendency of deconstructing the intimatepsychological space, we can also notice acontinuation of the tendency of intermin-gling of the personal and general history.Such an approach can be seen in the worksof the artists from the Sarajevo scene inwhich, on account of the dramatic circum-stances, a discourse of witnessing or testi-fying appears as a motive. 13 In recenttimes, the works of Vlasta Delimar, are alsostructured on the basis of that motive andare realized in cooperation with the formerwarrior, Commander of the Croatian ArmyMilan BoæiÊ.

Believing that language can unite thefragmented life-experience, Kristina Leko,in her work KolaË i glas (Cake and voice),tells her love story, which at a certainmoment could not have been realizedbecause of the concrete war-conditions, infour different languages, whereas on theother screen we can see long black shotswith the fashing scenes from the SecondWorld War and the bakery in which she,

61sl.13.: K. TurËiÊ, Slow Motion, 2000.

13

12 Prikazano u emisiji Transfer, srpanj 2000.13 I. R. JankoviÊ, Danica DakiÊ, U prolazu madame X,HRT 3, emisija Triptih, 30. 05. 2000. Ta se tematika,osim u radu Danice DakiÊ, pojavljuje i u radovimainspiriranim dogaajima u BiH umjetnica Jenny Holzer,Rebecce Horn i dr. 12 As shown in the broadcast Transfer, July 2000.13 I. R. JankoviÊ, Danica DakiÊ, U prolazu madame X,HRT 3, broadcast Triptih, May 5, 2000. Except in thework of Danica DakiÊ, that theme can also be found inthe works of Jenny Holzer, Rebecce Horn et al, inspiredby the events in Bosnia and Herzegovina.

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together with other workers, makes aTrokolaË (Triple-cake). It consists of differ-ent ingredients characteristic of cultures ofnations that appear in her unhappy story,giving it in that way, if not a happy, than atleast a sweet ending.14 In a more recentwork Mes objets trouves, the traces of per-sonal story are present in the form of arte-facts (grandmother’s bag, tapes, a juice-maker, a glass from Ikea, family photo-graphs, Sony batteries...) in the context ofthe gallery which, at the same time, simu-lates both the museum and the store. Theoriginal “found objects” are displayed onthe museum showcases under glass,whereas their reproductions are, in variuosforms, put on shelves, and the author sellsor trades them for objects which are, in heropinion, of the same worth, actualizing theBenjamian question of the aura of a work ofart15, and also, in the same context, theissue of selling personal history, that is,putting her own identity in the system ofcommercial values. Collecting objects forthe purpose of trying to encompass an indi-vidual identity, is a fundamental character-istic of the artistic practice of MarijanCrtaliÊ too, but in his work we can findanother problem, the one connected withthe technological possibilities of represent-ing reality, or to be more precise, its repro-duction. In his inventory we can find achaotic collection which consists of archeo-logical samples from the Sisak-area wherehe was born, maps, collection of variousbranches, clothes from earlier periods andphotographs from the periods in which heis wearing them, map of the Moon, photo-graphs of stellar constellation, mass mediastars, cartoon characters... There arealways several levels: the physical dimen-sion of the object and its virtual presence inthe photograph or video recording, themedia through which the crude reality isreflected and the setting in a concretesocio-political context. The content of thevideo projects usually presented supportingthe works at the accumulative exhibitionalsettings, we can view as attempts at radicalauto-biography since the author constantlyfights the structural limitations so as toachieve a feeling of continuum of time andpresent the mixture of various sensationsand information which chaotically gothrough his consience. His procedurereminds us of the hero from the beginningof this text, who records everything in orderto understands who he really is. But,CrtaliÊ’s extroverted and from time to time

ne sretni, onda barem slatki, svrπetak14. Unovijem radu Mes objets trouves, tragoviosobne pripovijesti prisutni su u obliku arte-fakata (bakina torba, kasete, sokovnik, Ëaπaiz Ikee, obiteljske fotografije, Sony bateri-je...) u kontekstu galerije koja istodobnosimulira muzej i trgovinu. Originalni “pro-naeni predmeti” nalaze se u muzejskimvitrinama pod staklom, dok su njihovi dvo-jnici u raznim oblicima razmjeπteni na poli-cama, a autorica ih prodaje ili mijenja zapredmete koji prema njezinoj procjeni imajusliËnu vrijednost, aktualizirajuÊi benja-minovsko pitanje aure15 umjetniËkog djela,a u tom kontekstu i pitanje rasprodaje osob-ne povijesti, tj. uklapanje vlastita identitetau sustav træiπne vrijednosti. Kolekcioniranjepredmeta u svrhu πto cjelovitijeg pokuπajaobuhvaÊanja vlastita identiteta temeljnimsu obiljeæjem i umjetniËke prakse MarijanaCrtaliÊa, no ovdje se pojavljuje joπ jednaproblematika, povezana s tehnoloπkim mo-guÊnostima reprezentacije stvarnosti ili toË-nije, njezine re-produkcije. U njegovuinventaru nalazi se kaotiËna zbirka kojusaËinjavaju arheoloπki primjerci s podruËjaSiska gdje je roen, zemljovidi, zbirka gran-ja neobiËnih oblika, odjeÊa iz raznih æivot-nih razdoblja i fotografije iz razdoblja nakojima se u toj odjeÊi pojavljuje, karte Mje-seca, fotografije zvijeæa, zvijezde masov-nih medija, junaci iz crtiÊa... Uvijek jeprisutno nekoliko razina: fiziËka dimenzijapredmeta i njezina virtualna prisutnost nafotografiji ili videosnimci, medijima kroz kojeÊe se reflektirati surova svakodnevica ismjeπtenost u konkretni socio-politiËki kon-tekst. Sadræaj videoradova koji se obiËnopredstavljaju prateÊi rad u kumulativnimizloæbenim postavima moguÊe je shvatiti ikao pokuπaj radikalne autobiografije buduÊida se autor neprestano bori protiv struktu-ralnih ograniËenja kako bi postigao dojamkontinuuma vremena i predoËio mijeπanjerazliËitih senzacija i informacija koje kao-tiËno prolaze kroz njegovu svijest. Njegovpostupak pomalo podsjeÊa na junaka izfilma s poËetka ovog teksta koji snima svekako bi shvatio tko je. No, CrtaliÊev seekstrovertiran i povremeno ekscentriËan ju-nak, koji je ujedno sâm CrtaliÊ, u spozna-toj nemoÊi smjeπtanja vlastita identiteta uokvir te nemoguÊnosti njegove konaËne de-finicije, prepuπta osjeÊaju gubitka fiziËkogboravka u prostoru i vremenu. Virtualni do-æivljaj vlastite egzistencije otkriva se zapra-vo (sudeÊi po nazivima radova kao πto je,

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sl.14: M. CrtaliÊ, Crkva/The Church, 2000.

14 Autorica u ispovjedoj naraciji uz “priËa” rabi pridjeve“sretna” i “nesretna”, Ëime ironiËno aludira na naËinkazivanja kakvo se pojavljuje u pripovijetkama i bajka-ma.15 “Danaπnji masovni konzument umjetnosti,naime,preferira da mu se umjetnost pribliæi, da mu se dostavi.On ne æeli putovati u daljinu, ne æeli se uputiti u drukËi-ju oblast ili kontekst da bi original doæivio kao original.Naprotiv, taj isti konzument æeli da original doe knjemu - i doista original to Ëini, ali kao kopija.” Roenjeaure govor je Borisa Groysa, koji je dræao 27. rujna2000. na inicijalnoj konferenciji novog internacionalnogBenjamin-druπtva u Barceloni (www.walter-benjamin.org), prijevod Petar Milat14 Along with the word “story”, in her confessional nar-ration, the author uses adjectives “happy” and “unhap-py”, and in doing so ironically alludes to the way of nar-ration in short-stories and fairy-tales. 15 “Today’s mass art consumer wants art to come tohim, to be delivered to him. He does not want to travelin distance, he does not want to have set foot in a dif-ferent place or context to experience the original as anoriginal. Qite contrary to that, that same consumerwants that the original comes to him - and that is what,in fact, the original is doing but in the form of a copy.”The Birth of an Aura is a speech by Boris Groys, held onSeptember 27, 2000 at the initial conference of the newInternational Benjamin Association in Barcelona(www.walter-benjamin.org), traslation by Petar Milat.

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primjerice, Transcedentalna teleportacija) ikao njegov krajnji cilj. U radu Crkva, ukojem nazivom aludira na sakralizacijuegzistencijalnog prostora , to Êe eksplicitnoizraziti kao: “...dematerijalizaciju tvarnog,odnosno digitalizaciju postojeÊeg i poisto-vjeÊivanju mozga s “glavom” videokamere.”Izmjeπtanje razliËitih razina percepcijestvarnosti odvija se neprestano, kao pro-naena metoda bijega od drugih, jednakokao i od samoga sebe.

Suvremeno shvaÊanje granica privat-nog i javnog prostora sve jasnije svjedoËikako se viπe nije moguÊe vratiti modelusubjekta koji nije tumaËen druπtvenim i kul-turnim kontekstom i znaËenjem. Svijest onestabilnosti identiteta i njegovoj reprezen-tacijskoj konstrukciji u knjiæevno-teoretskojterminologiji dobro se ogleda u pojmu auto-fikcija kojim se sve ËeπÊe zamjenjuje po-jam autobiografija ili govor u prvom licu.Pokazalo se, naime, da korak od ispovjed-noga govora u prvom licu do fikcije nijevelik. Ono πto u zgotovljenoj aubiografiji osi-gurava sigurnost smisla i garantira osobniidentitet samo su njezin oblik i granice,dok Êe ona prava, kaotiËna i nepredvidlji-va stvarnost, tomu uvijek iznova æeljetiumaknuti. t

excentric hero, being also CrtaliÊ himself,realizing the inability to put his own identi-ty in the frame of that inability of his ownfinal definition, gives in to the feeling ofloosing his physical presence in time andspace. The virtual experience of his ownexistence is revealed, in fact, (judging fromthe titles of the works such as, for example,Transcendentalna Teleportacija (Trans-cendental Teleportation)) as his ultimategoal. In the work Crkva (Church), in whichhe alludes to the sacralizing of existentialspace, he explicitely expresses it as:“...dematerialization of the material, that is,the digitalization of the existing and identi-fication of mind with the ‘head’ of the videocamera.” Changing of different levels of per-ception happens constantly as a newly-found method of running away from others,but also from oneself.

Contemporary view of boudariesbetween the private and public spaces tes-tifies more and more clearly to the fact thatit is no longer possible to go back to themodel of subject which is not interpretedthrough its social and cultural context andmeaning. The awareness of the instabilityof identity and its representational structurein the terminology of literary theory, can beseen in the term auto-fiction which is beingmore and more used instead of auto-biog-raphy or first-person speech. It has beenseen that the gap between a confessionalfirst-person speech to fiction is not big atall. What in a completed auto-biographygives sense and guarantees personal identi-ty, are only its form and boundaries, where-as the real, chaotic and unpredictable realitywill always try to find away of eluding it. l

prijevod / translation: Ivana MaruπiÊ

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sl.15: K. Leko, Glas i kolaË / The Voice and the Cake,

1999. Foto / Photo: B. CvjetanoviÊ

sl.16: E. Schubert, Biografija / Biography, 1998.

≥ Iva R. JankoviÊ - povjesniËarka umjetnosti i likovna kritiËarka. Æivi i radi u Zagrebu.Iva R. JankoviÊ - art historian and critic.Lives and works in Zagreb.

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