MANIFEST

SIVO NA SIVOM (ultimativni suprematisti)

Dalmacija nije plava i bijela kao što se to voli naglašavati u turističkim sredstvima oglašavanja. Prava Dalmacija je siva kao kamen od kojeg je sačinjena i malo je koja boja ostavila tako snažan utisak na dalmatinskog čovjeka kao siva. Ovaj je čovjek neprestano ratovao sa sivim kamenom otimajući mu ono malo plodne zemlje, ali ga je znao i iskoristiti gradeći od njega svoje nastambe, kuće, ulice, rive, gradove...
Zapravo sve što u Dalmaciji ima trajnu vrijednost, izgrađeno je od kamena. On je bio okosnica sustava vrijednosti stoljećima. Karakter, religija, ljubav, čovjek... sve se to vrednovalo kroz metaforu kamena. Tvrda opstojnost Dalmacije crpila je energiju iz „tvrde stine“. I dok su ljudi na takvom tlu, bez pomoći suvremenih tehničkih sredstava svoj usud kopali, tukli, lomili, klesali, da bi iz svog tog truda stvorili nešto dobro i
lijepo, netko im je u tome uvelike pomagao; tovar, odnosno magarac. Siv kao i taj sveprisutni kamen. Tvrdoglav i topao, tvrd i mek. Životinja osobnosti slične ljudskoj. Inteligentna životinja koja uglavnom sluša svog, ne gospodara, nego suputnika, sunevoljnika, ponekad iz nekih svojih neobjašnjivih razloga odbije poslušnost tako tvrdo, da ne postoji način da ga se makne s mjesta. Sutradan će zaspalog težaka odnijeti iz polja domu kojeg zajedno dijele. Jer su i čovjek i tovar najčešće spavali pod istim krovom. Tovar u prizemlju, čovjek malo poviše na katu. Zato se kaže da čovjek i tovar znaju više nego samo čovjek. Ni tovar, a bo’me ni čovjek nisu mogli znati da budućnost donosi strojeve. Strojeve koji će promijeniti ne samo način života, nego i odnos prema životu. Došli su automobili, bageri, traktori i tovar je postao suvišan. Malo po malo, pa sve brže, magarci su nestajali i postali ugrožena vrsta ne samo u gradovima, nego i u najmanjim selima. Mladi ljudi više nemaju priliku upoznati magarca. Ne osjećaju njegovu mekoću i toplinu, ne zagledaju mu se u oko, ne smiju se njegovom trzanju ušima. Ne žive s njim i ne osjećaju zahvalnost što im on nosi teret umjesto njih. Samo još pojedini mesari trebaju magarce , kako bi opskrbili neke restorane na dalmatinskim otocima mesom koje bogatim turistima željnim antičkih delicija draži nepce i um. Vrijeme je informatičkog doba. Industrijsko doba je odavno prošlo zenit i vuče civilizaciju prema neizvjesnom kraju. Ljudi još uvijek rade u tvornicama a na poljima više i ne. Malo po malo i sve brže, ljudi postaju „online“. Pretvaraju se u mimetička bića ovisna o digitalnim tehnologijama. Nedovoljno se primjećuje da digitalne tehnologije preuzimaju čovjekov život. Već sad su nestala mnogobrojna zanimanja i zanati koja danas rade ili računala ili strojevi upravljani računalima, a proces se neumitno nastavlja i biva sve brži. Čeka li nas sudbina tovara kojega je industrija učinila suvišnim u čovjekovu životu? Što je čovjek lišen samopotvrde kroz rad? Vjerujemo li zaista da u suvremenom svijetu možemo opstati ako sav kamen prekrijemo asfaltom, a sva polja pretvorimo u betonske strukture? Tehnologija i kapital čine intelekt i emociju suvišnom što nas u konačnici dovodi upitnosti opstanka nas kao ljudske vrste. Koliko još imamo vremena? Ako se osvrnemo na sudbinu tovara, vrlo malo. Oni su istrajavali nekih stotinjak godina od pojave prvih upotrebljivih automobila. U digitalnom svijetu sve ide puno brže. Daljinski upravljane letjelice za snimanje i nadgledanje su već duže vrijeme tu. Nano tehnologija, genetska modifikacija i manipulacija, bio tehnologije, čipiranje djece... sve se to događa već sad. Starije generacije ljudi će se vjerovatno malo ljutiti a potom jednostavno odumrijeti u svijetu koji dolazi, oni srednje generacije će se pokušati prilagoditi, a oni najmlađi neće ni znati za neku drugu opciju. Tako smo paradoksalno sami sebe osudili na suvišnost. Želeći si učiniti život lakšim, doveli smo se do ruba egzistencije. Jer kao što su brodski motor i električno vitlo uništili život u moru, a razni sonari, fishfinder i skeneri ga dotukli, tako će genetski inženjering i digitalizacija kapitala, filozofski gledano uništiti smisao našeg postojanja. Kao što je težak život čovjeka u ovim krajevima prije pojave industrije iznjedrio prekrasne kamene palače, domišljatu pučku arhitekturu, najljepše socijalne rituale te elegantne drvene brodice i dalmatinsko višeglasno pjevanje, tako nas je tehnički napredak čovjeka doveo umjesto u društvo blagostanja, u dekadentni aetički modul bez ikakve odgovornosti prema svojoj biološkoj i kulturološkoj okolini, postupno nam uzimajući tlo pod nogama, na koje se lako zaboravi ležeći u udobnoj tehnološkoj postelji.
Ovaj projekt osvještava navedenu pozadinu i čini korak u smijeru koji konkretizira odnos umjetnosti, tehnologije i života kroz umjetnost. Magarac umjetnik i njegove ljudske kolege umjetnici, postat će ultimativni suprematisti, oni koji će pružiti otpor svijetu koji smo sami stvorili a koji nas želi uništiti.

Kazimir Maljevič nije rođen kao suprematista, izlagao je prvo kao kubista sa grupom „Magareći rep“, težak život i istinsko umjetničko srce pretvorilo ga je u suprematista. Kao i maljevič, mi krećemo od magarećeg repa, i znamo da će nas naše srce i težak rad odvesti na put ultimativnih suprematista. Tako prvi od magarećih umjetnika nosi ime „Kazimir Maljevič“.

Marina Abramović nije rođena kao „baka performansa“, rođena je kao dijete ratnika, partizana iz drugog svjetskog rata. Odbacivanjem simbola te razvijanjem emocionalne komponente umjetnosti, izdigla se do umjetnika koji koji nam iznova pokazuje da su umjetnik i emocijavažniji od simbola. Stoga drugi od magarećih umjetnika nosi ime „Marina Abramović“.

 

Umjetnici koji pristanu ući u ovu našu borbu, bez obzira na njihove prijašnje radove i angažmane odbacit će svoje rođeno ime i u okviru ovoga projekta zvati će se „sivi“, sve do trenutka dok naša nastojanja ne počnu pozitivno utjecati na biološko i sociološko stanište oko nas. Tehnologija koju će prenositi magarac, a koristiti umjetnik, pokazat će suvremenom čovjeku kako da misli i radi direktno u prirodi i sa prirodom uz sve odgovornosti koje iz toga proizlaze. Znamo da bez odgovornosti nema ni opstanka... Niti umjetnika...nit tovara. Nedaleko od najbliže utabane ceste pojavljuje se mogućnost rada i međusobne komunikacije koristeći se obnovljivim izvorima energije, prostor za produkciju, akciju i diskusiju. To je prilika za istinskog umjetnika da osvjesti drugačiji pristup kulturi i donese novi svježi duh u divlje rastuće urbano tkivo moderne civilizacije. Mi tvrdimo da priroda ima još puno toga za poručiti nama ljudima a mi smo zaboravili slušati njezine savjete. Osnovni cilj ovog projekta je asimilirati istinske umjetnike i životinju kojoj prijeti izumiranje na njezinom prirodnom staništu, (a sve uz pomoć visoke tehnologije), u kreatvnu radnu jedinicu koja je sposobna vršiti pozitivan utjecaj na svoju okolinu. Indirektan cilj projekta je da se u realizaciju uključi što šira društvena zajednica (s naglaskom na djecu i mlade te socijalno najosjetljiviju i sve mnogobrojniju skupinu društva- beskućnike).
Kako na nacionalnom tako i na međunarodnom nivou ovo je prvi i jedinstveni proces u svijetu kojega bi rado vidjeli kao primjer koji se umnožava u raznim varijantama i na raznim mjestima. Ovdje se tehnologija ne koristi kao sredstvo za stjecanje moći ili kapitala, nego kao sredstvo kreativnih komunikacija u cilju transformacije svijeta u kojem živimo u bolje mjesto za čovjeka i svijet oko nas.

Zbog očigledno otegotnih okolnosti, za ovako značajan projekt imamo vrlo ograničeno vrijeme mogućnosti njegove realizacije, a dugoročno sličan model intersektorske suradnje može pokrenuti niz sličnih pozitivnih projekata u društvu, koji mogu globalno stvari napraviti boljima. Stoga trebamo vašu pomoć.

prvi od sivih,
Hrvoje Cokarić

MANIFEST

GREY ON GREY (the ultimate suprematists)

Dalmatia is not blue and white, as it is common to emphasize in tourist means of advertisement. The real Dalmatia is grey like a rock from which it is made of and little did any other color leave an impression on a Dalmatian man as grey one. This man was constantly in war with the grey rock, taking from it that little piece of fertile land, but he knew how to use it, building from it his quarters, houses, streets, Rivas, cities…

Actually, everything that has permanent value in Dalmatia is made of stone. It was the backbone of the value system for centuries. Character, religion, love, man… all of this was valued through the metaphor of stone. The hard existence of Dalmatia took energy from the “hard stone”. So while people were, on that sole, without the help of contemporary technical means, digging, beating, breaking, carving their fate, trying to make something good and beautiful out of their effort, someone was a great help; Tovar that is, the donkey. Grey like the omnipresent stone. Stubborn and warm, hard and soft. An animal with a personality that is similar to human. An intelligent animal that mostly listens to its, not master, but companion, and sometimes out of his inexplicable reasons denies obedience, so determined, that there’s no way for him to move from one spot. Tomorrow he will carry a sleeping peasant from the field to the home that they share. Because most often man and donkey slept under the same roof. Donkey on the ground floor, and the man on the first floor. That’s why they say that man and donkey know more than man alone. Neither donkey, nor man could have known that the future brings machines. Machines that would not only change the way of life, but our relationship with life. Cars, baggers and tractors came, and so donkey became redundant. Little by little, and then faster, donkeys disappeared and became an endangered species, not only in cities, but also in small villages. Young people don’t have a chance to meet donkeys anymore. They don’t feel their tenderness and warmth, they don’t gaze into their eye and they don’t laugh at the lurch of their ear. They don’t live with him and they don’t feel gratitude towards him for carrying their burden instead of them. Now only a few butchers need donkeys, so they can supply some restaurants on Dalmatian islands with meet that incites taste buds and mind of rich tourists. It is the informatics age. The industrial age has long surpassed its peak and it pulls civilization towards an uncertain end. People still work in factories, but not in fields. Little by little, and faster, people become “online”. They become mimetic beings, addicted to digital technologies. It is not enough noticed that digital tech nologies are taking over man’s life. Already now numerous occupations and crafts are gone, today computers or machines managed by computers are taking over, and the process continues unquestionably and becomes faster. Should we expect the same fate as the donkey that the industry made redundant in man’s life? What is a man without self-affirmation through work? Can we really believe that we can survive in the contemporary world if we cover every rock with pavement, and if we turn every field into concrete structures? Technology and capital make intellect and emotion redundant, which in the end brings us to the question of our survival as a human kind.

How much more time do we have? If we look back on the fate of the donkey, very little. They lasted for about a hundred years since the appearance of the useful cars. In the digital world, everything goes much faster. Remote controlled flying machines for filming and surveillance exist for a long time now. Nano technology, genetic modification and manipulation, bio technology, putting chips in children, all of this is happening now already. Older generations of people will probably be a little mad at first, and later just be extinct in the world that comes, the middle generations will try to adjust, and the youngest won’t know of any other option. In that way, paradoxically we have condemned ourselves to redundancy. In wanting to make our life easier, we have driven ourselves to the edge of existence. Because as boat motors and electrical reel destroyed sea life, and various sonars, fish finders and scanners finished the job, in the same way genetic engineering and digitalization of capital, from a philosophical stand, will destroy the meaning of our existence. Just like man’s hard life in these parts, before the appearance of industry, brought beautiful stone palaces, ingenious folk architecture, the most beautiful social rituals and elegant wooden boats and Dalmatian polyphonic singing, in the same way technical improvement brought man into a decadent unethical module without any responsibility towards his biological and cultural environment instead into welfare state, slowly taking the ground from under our feet, which we easily forget about laying in our comfortable technological bed. This project awakens said background and takes a step in the direction that specifies the relationship between art, technology and life through art. Donkey the artist and his human colleagues, artists will become the ultimate suprematists, the ones that will show resistance to the world that we ourselves made, and a world that wants to destroy us.

Kazimir Maljevič was not born as a suprematist, first he exhibited as a cubist with a group “Donkey tail”, a hard life and a true artistic heart made him a suprematist. Just like Maljevič, we start from the donkey tail, and we know that our heart and hard work will take us on a journey of ultimate suprematists. So the first of donkey artists is named “Kazimir Maljevič”.

 

Marina Abramović was not born as the “grandma of performance”, she was born as a child of a warrior, a Partisan from World War Two. Discarding symbols and developing emotional components of art, she has risen to the artist who over and over shows that the artist and the emotion are more important than the symbol. Thus, the second donkey artist is named “Marina Abramović”.

 

Artists that accept to enter our battle, regardless to their earlier works and engagement, they will discard their birth name and within the framework of this project will be called “grey”, until the moment when our efforts start to positively influence the biological and sociological state around us. The technology that will be transported by the donkey, and used by the artist, will show the contemporary man how to think and work directly in nature and with nature, with all the responsibilities that come from it. We know that without responsibility there is no survival… nor artists… nor donkeys. Not far from the nearest beaten road there is a possibility of work and mutual communication, using renewable sources of energy, space for production, action and discussion. It is a chance for a true artist to aware a different approach to culture and to bring a new fresh spirit into a wild growing urban tissue of modern civilization. We say that nature has a lot more to say to us, and we forgot to listen to her advice. The essential goal of this project is to assimilate true artists and an animal that is threatened with extinction in its natural habitat (and all with the help of high technology), into a working unit that is capable to make a positive influence on its environment. The indirect goal of the project is to include in the realization a wider social community (with emphasis on children and youth, as well as socially most delicate and more numerous social group – the homeless).
This is a first and unique process in the world, on a national and international level, that we would very much like to see as an example that will multiply in various versions and in various places. Here technology is not used as a mean to get power or capital, but as a mean of creative communication with a goal to transform the world we live in into a better place for man and the world around us. Because of obviously mitigated circumstances, we have very limited time for the possible realization of such a meaningful project, and a long term similar model of intersectoral cooperation can launch a chain of similar positive projects in society, that can globally make things better. Thus, we need your help.

 

The first of the greys,
Hrvoje Cokarić