Битеф

Lozane (Švajcarska) dolazi instaladja proslavljenog reditelja Štefana Kegija, člana kolektiva Rimini protokol, pod naslovom Zaostavština, komadi bez ljudi. Reč je o spektakularnoj scenografiji, ~prostorno-vremenskoj kapsuli" u kojoj gledaoci mogu da idu od jedne do druge „celije", koje su krajnje realno i detaljno izgradene. Svaka od njih je uspomena na stvarne, nepoznate ijude koje su „projektovali" svoju smrt i način na koji žele da ih se jednom sećamo. Smrt se doživljava na snažan, iskustveni način.

Umetnički naglasak koji je sada stavljen na umetnost instalacija važan je, verujemo, iz nekoliko razloga. Pre svega, ovako se u institucionalnom domaćem kontekstu (još uvek dosta konzervativnom), potvrduje jedna od nespornih odlika savremene umetnosti: prožimanje formi, žanrova i čitavih umetnosti. Upravo je umetnost instalacija glavno polje gde se prožimaju izvođačke i vizuelne umetnosti, instalacije pripadaju i jednima i drugima. Međutim, treba istad jednu malu, ali važnu razliku: nijedna od tri instalacije na 52. Bitefu nije nastala u kontekstu vizuelnih umetnosti već su sve rađene za pozorišta ili festivale. Takode, isticanjem umetnosti instalacija pravi se i posveta jednom od najbitnijih pratedh programa Bitefa, onom posvećenom vizuelnim umetnostima, koji je postojao prvih desetak godina u istoriji našeg festivala. Pod umetničkim rukovodstvom Biljane Tomić i Ješe Denegrija upravo je ovaj prated program pozorišnog festivala, a ne neka likovna manifestacija, uveo na domaću scenu vizuelnih umetnosti radikalne eksperimente toga doba, Zato u pratećem programu 52. Bitefa organizujemo konferenciju na kojoj će se analizirati savremena umetnost kao polje estetskih ukrštanja, preplitanja, prožimanja.

Kada govorimo o umetničkim preplitanjima i ukrštanjima, treba istad i to da se u glavnom programu 52, Bitefa izdvaja još jedna umetnička celina, iako je ne ističemo posebno. Nju dne razlidti oblici muzićkog pozorišta: Odilo. Zatamnjenje. Oratorijum, Svita br. 3 'Evropa', Bolivud i Rekvijem za L. U kombinaciji s tri instalacije i ostalim predstavama koje, takođe, ne mogu da se podvedu pod dramski teatar, ovi muzički projekti dne da je glavni program 52. Bitefa, zaista, jedno mogućno, savremeno ostvarenje čuvenog ideala „Gesamtkunstwerk-a" Riharda Vagnera.

The programme segment which contains installations - Bitef’s main focus in terms of art form - presents another two projects which shift focus from the political to more intimate topics and points of view. From social cataclysms we move to the most personal topic there is: death. The Israeli project PA’AM created by young artist Nadav Barnea - who is this year's Bitef “discovery" - is a spectacular light and video installation. Eight TV sets, suspended in a physical space shaped and deconstructed by kaleidoscopic light, display abstract video works accompanied by voice recordings that tell stories of intimate betrayals, death of the loved ones, and painful memories. From the famous Vidy Theatre from Lausanne (Switzerland) comes an installation by the renowned director Stefan Kaegi, one of the members of the Rimini Protokoll, called Nach/ass, pieces sans personnes. it is a spectacular stage design, a “space & time capsule” where the audience walks from "cell” to “cell", all built in an utterly realistic and thorough way. Each of them represents a memory of real unknown persons who "devised” their deaths and the ways they wanted to be remembered. Death is experienced in a powerful and direct way.

A focus placed on the art of installation is, in our opinion, important for several reasons. First, in the local institutional context (still somewhat conservative) it proves one of the indisputable characteristics of modern art: interlacing of forms, of genres, and of entire arts. The art of installation represents the very field where performing and visual arts interweave, since installations belong to them both. There is, however, a small but significant difference: none of the three installations to be shown at 52 nd Bitef have been created in the context of visual arts - all of them were created for theatres or for festivals. Moreover, the focus on the art of installation also emphasizes one of the most important Bitef side programmes, one dedicated to visual arts which existed in the course of the first ten years of our festival. That side programme, led by Biljana Tomić and Ješa Denegri, and not some fine arts event, introduced to our visual arts scene some radical experiments of the time. Therefore, one of the side programmes of 52 nd Bitef will be a conference dedicated to the analysis of contemporary art as a field of aesthetic interweaving and interlacing.

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