It was February. I just had my inbox checked before going to visit Prague for few days. There was an e-mail from Protok collective from Banja Luka that sent me a call for proposals for the project named “INVENT TURA | mapping histories and territories of Bosnia and Herzegovina”, formulated and curated by two German ladies who are living and working in Bosnia this year.
I had nice time in Prague. During my trip back to Brno I started to think about possible works for INVENT TURA, what the mapping histories and geography meant to me, who was doing it, how they were doing it? Why those two Germans ladies have such a stereotyped approach? It’s just one more boring repetition, a procedure to make social based art project focused on Bosnia and Herzegovina.
While I was thinking about it and observing the landscape through the bus windows, I asked myself: what am I doing now? Is it some kind of mapping territories and histories of some special space? Are we all some kind of active archives? How are we doing it? I started to examine myself about what I was thinking while perceiving some, even if not interesting, Czech winter landscape. To reassume, I was thinking about: Road traffic signs; Songs that I was listening during the trip; Fields; Sex; Historical events connected to one particular space;
I had good feeling that I should do the work in Bosnia, during one of my ritual trips between Prijedor and Banja Luka. In the project application I will describe the way in which the author through cognitive reflections of the available images of a space questions the method in which the past is encoded inside the subject or takes into account the most diversified implications that the subject possesses in the moment of the receiving of images/information as an important factor in the process of the mental mapping of the space and its history. I also decided to do it in the form of subtitle - textually, in some kind of performance after I record my trip with the camera. I will sit down in front of the computer, to play and pause the recorded material and to start writing my reflections. Just once, honestly and without any future corrections, without any ethical filter.
IN THAT MOMENT I STARTED TO BE AFRAID OF WHAT MY THOUGHTS WILL BE
The work is part of project entitled “Critical intimism”, which experiments with subject-social readings, confronting contemplation (monologue) to specified living circumstances caught by video or photography.