NATALIJA VUJOŠEVIĆ
|
||||||||||
|
||||||||||
NATALIJA VUJOŠEVIĆ
Interview mit Petar Æukoviæ P.C.: To whom do you address the CONFESSION in your work Pink Confession? Who is supposed to hear that confession? A confession, couldn’t one say, always assumes awareness of guilt and desire to atone for it? N.V.: I wouldn´t call it a CONFESSION, but rather CONFIDING (releasing, purifying). It is a way of addressing the public. In this case I don’t want to restrict the idea of public within frames of space and time because the moment when this statement is packed up in the form of artwork it becomes irreversibly given to insight; it starts to have its own life. I offered this uncensored version of myself not in order to be judged (because I haven´t done anything wrong, nor have I been accused of anything), but to be accepted as I am. That is a criticism of a public that does not accept weaknesses, as well as weariness of the “superhuman” pressure, imposed by the time in which we live. P.C.: Were the sentences uttered by the narrator carefully constructed, i.e. do they have some order, or were they created after the well-known method of so-called stream of consciousness? Or are they actually a combination of these two methods? N.V.: While I was preparing the textual part of the work I needed as many different sentences as possible, so I asked a couple of friends to help; I made a selection from everything we had written. I chose those that fitted in and I put the text together. It has a tempo of its own. It starts with basic personal data (name, date of birth, nationality, etc.), continues with a series of entangled, more or less important statements and ends in “calmness,” a type of recognition of faith. P.C.: Why PINK? Does that point to the so-called female écriture? N.V.: Actually I´m not sure that I know what the female écriture is. For me, pink is synonymous with utopia, naïveté, and has nothing to do with gender. P.C.: Why did you decide that the sentences which can be regarded as profoundly intimate should be spoken by the narrator instead of by yourself? What is the end point of creation of such distance? N.V.: That is the only way to express my intimate aspect towards the outside - to relocate it together with its form and voice. Maybe there’s something else, but... it will remain secret. P.C.: The blurred image of your face in slow motion is, as I understand it, part of the artificialization of your work. Can you explain that further? N.V.: I have never thought about it in that way. I really do see myself like that. That is just one of elements rendering the work whole. By itself it doesn´t say much. |