a se esse

CIX gallery, July 1 - 14, 1998

BODY WITHOUT CONSEQUENCES

When considering the features of the genders and their influence on the development of human relations, one can note that they, in essence, are more dependent on situations, than on their nature. Situations in which are dominant relations formed on basis of forces, of weaker and stronger. Here even the genders themselves are conditioned by these relations, whereby their biological setup plays a minor role. Hence, we have situations where some men are masculine, while the others are feminine. On such occasions, there are no individual features, just determinations according to the strength. On the other hand, where that strength is not dominant or is on the margins, we have a situation that is determined as a relation of pure genders, whereby the coincidence is, a priori, denounced. The gender is tragic privilege, because it is the first sign of the original clash; the genders do not generate the clash, the clash determines the genders. - R. Barthes. The causal conditionality for such a relationship is evident. But what happens when the causal and analogous accession in the Historical context loses its support in considering some other situations. Situations where the critical relation of forces is not a condition for setting up of postulates, that are possible and sustainable "only in the satisfaction" of the closed system. If one accepts that such contents exist, it is unavoidable to establish the reason, i.e. the value. The answer is Duration. To conclude Duration as time, one needs in advance a given articulation that is aware of its featured evidence. It is the asexuality. The asexual as a price for Maintenance and consistency, as well as the absence of the aforementioned critical proportion of forces. Duration is not connected to the desire for motivation. Its essence lies in the non-relation. There is no past and present tense. Only the future in the current state without the possibility for difference. Neutrality. Duration is a shape of situation, a way of maintaining, where the Time as a power takes part and brings in the History, thus losing the necessary aureole. Duration is denial of Time. Silent maturing. Duration, because of its inflexibility, can be reached only in expansion and in slow approach to the Art. This Work of Maznevski represents a realized metaphor from the absence of sex. Its asexual form fills in the spirit of the consistency and the inability of the relativity. Here the relation between the sensual and the intelligible is lost, as opposed forms of existence.

This object of installation nature, as defined by the aspect of the artistic terminology, is actually a body presence, because of its structure that has spatiality in itself. A body with non-reflexive stand. Pre-reflexive experience. The inability for its determination in our flexible and rational world for a successful operation, in its neutral existence makes possible the permanent becoming, without its decoding. This indetermination is its constant and essential determination. There is no split as a first trait of a neurotic condition. Here the classical dichotomy subject-object is surpassed, because it does not show the internal possibilities of the subject, and vice versa, there is no liberation of the object by the subject.

Since the work of Maznevski, as a realization of the idea of duration as a form of non-existence of genders, is a human gesture and does not doubt its participation in the net of psychological and social factors. So, knowing the certain, recognizable context, out of which the body is extracted, provides tension which is in correlation with the human need for the tragic feeling, or like a verbal image. But, it exists explicitly as a diversity, still as a neutral body and irreversible situation in the actual space of its setting.

Finally, considering the position of the work itself, one can express a satisfaction of a theoretical regard that one deals here with an honest immanent sense which calls for an abstract formalizing. Of course, with a limited openness for possibilities when decoding, due to its infectious associative poetic attraction, which is always a descriptive challenge.

Dejan Budjevac