The RETRO-VISION concept has as its
goal the conceptualization of works through their determination
in precise time-space coordinates that function outside of
dominant existing models. Determinants of topic and content
have been left out. Certain references have been offered that
should provide the basic framework for different approaches
to working with video.
RETRO-VISION is conceived as a time-line. Directions of movement
within the time-line differ by certainty, changeability and
presence on the past-future line. Social surroundings, ideological,
family, personal - are different registries of thinking which
cut through every dot on that line. In suspended motion, they
blend as given, established, unchangeable. The other side of
the time-line points to the will, desire or need for changing
the existing, looking towards the possible and thinking in
the context of the future. The visionary distancing from the
certain, common - openness for the unknown - is related to
the possibility of projecting oneself into the virtual, with
the tendency of actualizing in the future.
In current circumstances, the distinctiveness of the RETRO-VISION
timeline is the social context that determines it. Transition,
a period of undetermined duration, is sharpening and destabilizing
the usual tension between the past and the future. The past
remains too strongly in the present. The future is condensed
into the shortest possible time determinants, being uncertain,
cut and removed. The destabilized character of the time-line
spreads like an echo to all registries, from personal to social.
Every thought about the future becomes burdening, subordinated
to past experience or an unfulfilled wish.
The observation of the time-line through production is actualising
the relation between the past and the future: RETROartistVISION.
At the same time, it enables the correction of movement and
consciousness-raising of the decision about determination,
that is derived from work with the registries of thought, from
actual retro-observation to virtual distancing.
Maja Stankovic, Visual Art Curator’s
Associate |
