The exhibition is formed out of the desire of presenting the MMSU Collection outside of the well-known gallery walls. In addition to works from our Collections, it brings together the works of authors represented in the October Salon Collection and the works of invited artists. This show mixes different means of artistic expression that edge on the space between static and moving images, between sound and mute visuality in which voice is strongly felt. From classical media to video and installation. It will show works mostly created in the last ten years apart from the drawing book by Slava Raškaj that was made in 1899.
Silent Shout: The whole story can only be whispered into your ear tries to encompass familiar artistic practices that deal with the phenomenons on the edge of language and sensibility that use visual elements first and foremost to shape soundscapes in between necessity of elocution and escape into voicelessness. No matter if they ground themselves into sound or aleatory choice of mute visuality, artworks open liminal spaces in already linked mixture of visibility and loudness. Besides dialogical and rational criteria, they are also grounded into introspective assessment of intimate, naked instances that are part of the silence. Beyond intelligible articulation of sound, they resurrect secondary voice modalities, from gasping for a breath and voice lagging towards scream suppression that is released from time to time to find desired resonance. Human voice is established as the basic projection of personal space. Its limits and gaps are anticipated as it opens to others.
Foreclosed for its sensibility, voice mutates into a silent shout. It becomes more present in its lack. In Marija Ančić's work, gaping mouth points to a scream that remains silent as "eruption of the Real', invasion in which reality bursts through the mouth, a hole through which whole of the body escapes. (Gilles Deleuze, Francis Bacon: The Logic of Sensation, 1981.) Quite opposite to the ideal articulation of the voice as laid back and sensible semantic activity, exhibited artworks concentrate on the voice in its lack, as a negative or a shadow of the speech. They are formed around the edges of the communications. They register presence of the lack. Providing no easy answers, they give meaning to the scream as an organic lament for something that is lacking, that is hard to get, unknowable. They use reduction as a rhetorical practice, as a skill of what isn't, of what has purposefully been purposefully left out, and yet can be recognized in tense voice, its tremors and stutters. They bring out things that are usually hidden – unwanted insecurities, exclusions, tilts in deep-seated check-boxes of reality. They appear as Communication Interference in the series of drawings by Mirna Kutleša, or as outgrowths on the cultivated and unwanted body in Paula Muhr's photo-installations (Double Flowers). Davor Sanvincenti's installation Distant Intimacy juxtaposes exposed and shadowed body through blinking of a hidden human silhouette. It lingers in the time gap between intimacy and the need for distance and separation. This hesitation is met with a scream, often silent for others. Don't you hear that terrible scream that some call silence? (Werner Herzog, The Enigma of Kaspar Hauser, 1974.)
By resting on what is unspoken, overlooked or unacceptable, artworks stop on obstacles set by penetrating or hidden expression. Often, they evoke absurdity or melancholy wit. In the audio installation Put your faith in by Ivana Pegan Baće, intimate invocation is set as a public action in the middle of the city. In modulated voice, she keeps repeating a line from a song Who will love me now by PJ Harvey, line that is seemingly falling straight from heaven or, possibly, from the inward of the random passerby. Just like it is not quite clear if the imprint of the blue square in Untitled by Dino Zrnec is just a negative of the blue monochrome on the far side of the room, or it is just seeping through a taut canvas on which it is discerned?
On Silent Shout, a crisis in narration and understanding is translated into a crisis of a vocal performance. Sideways are put to the fore, from murmur to a whisper. They can be experienced as love stories that are told in an indecent whisper to a selected ear. Instead of a clear speech that fits more readily into verbal communication but is also more readily lost in the cacophony of information, these artworks are telling a story about double contemporary discontent – at the same time we are lacking words and yet we have too many of them. As Susan Sontag writes in the essay Aesthetics of Silence (1967.), A genuine emptiness, a pure silence, are not feasible — either conceptually or in fact. If only because the art-work exists in a world furnished with many other things, the artist who creates silence or emptiness must produce something dialectical: a full void, an enriching emptiness, a resonating or eloquent silence. Silence remains, inescapably, a form of speech (in many instances, of complaint or indictment) and an element in a dialogue.
In collaboration with: Cultural Centre of Belgrade.
Thanks to: ARTISTS, Zorana Djaković Minniti, Aleksandar Jestrović / Jamesdin & the whole team of Cultural Centre of Belgrade
Supported by:Ministry of Culture of the Republic of Croatia, City of Rijeka, Republic of Serbia Ministry of Culture and Information, City of Belgrade
Photo: Dalibor Martinis, Membrana tympani, 1995.