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Nobel Laureate Elias Canetti, in his essay collection »The Masses
and the Power«, in chapter »Double Mass: The War«, states among other
things: »How do the warrior masses form? (...) It is a very unusual procedure.
People come to the conclusion that they are threatened by physical
destruction and they publicly display this kind of danger to the world.
'I might get killed', they say, and while doing so they think 'because I
want to kill this man or the other' (...) No matter whether we are the
attackers or not, we will always try to create the illusion that we are
the ones being endangered«.
The ambiance installation called »The Genocide«, by Dejan
Kaludjerović (1972), offers one of many possible answers to the
issue of »life endangerment of one nation«. Dejan treats his art
perception of the genocide in three parts, which with their ironic
cynicism leave a powerful impression and call for raising consciousness
and admitting »I wanted to kill this man or the other«; for the ones who
did it, as well as for the ones who know who did it. In all totalitarian
regimes the masses are kept obedient by impudent propaganda about the
outer and inner endangerment, and the fact that whatever may be, the one
propagating it is the innocent one, and if he is innocent then the masses
are innocent as well. How did Dejan Kaludjerović elaborate this
»story«? He portrayed the masses by a multitude of footwear neatly lined
up in a choir ensemble arrangement. And the footwear is various: from
baby slippers, shoes, country, city and suburban winter and summer
footwear, to satin, silver, patent leather ladies' or gentlemen's shoes.
Of course, this »exhibition« of shoes is a story of our natures and
customs: everything dirty stays in front of the house. Inside, there is
HE, The Big Brother, TV set that speaks »the truth, the whole truth, and
nothing but the truth«. It is dressed in camouflage uniform with pockets
full of ammunition, enclosed by the darkness which emphasizes the mysterious
quality of its untouchable power. And from beyond come the innocent
voices of the children from the choir »Kolibri« (The Hummingbird) singing
the song called »The Guest« (Princess of Istanbul / had a guest...),
accompanied by the sounds of the war, and ending with sirens and
explosions. Great!
Since we're completely innocent, and we can calmly wash our hands,
Dejan offers us the new Serbian soap called »The Spring soap«, made from
lilies (the symbol of innocence, often painted in Annunciation scene) in
the shape of the heart. There is only one »minor« thing that matters -
the soap is placed in the cannon barrel. Kalu|erović organized this
part of the installation as a billboard hanged over the gallery entrance,
leading us in fact into the exhibition. »The Genocide« installation
captivates with the way of thinking of a young man (and a promising
artist), because the most important thing of all is what the young people
think about what happened and how did it happen. Dejan's installation
should be added to the project called »Serbia, the original
version«, if the exhibition is going to go on. But even if it's not
included, the exhibition will be seen in Ljubljana, in May 2001, at the
international art festival - Festival Break 21.
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