Milica Lapčević
Talk with Sense, whate'er you please on,
Learn to relish Truth and Reason.
THUS we both should gain our Prize:
I to laugh, and you grow wise.
W. Wordsworth
On an autumn morning, I meet a friend R. P.
“These people, this country“ he says, narrowing his eyes against the wind “the way things are happening, this system is not for me. Well, I would go some place else, somewhere far away“, he comments reluctantly. “Everything is somehow abstruse, incorrect, immoral, vague. I would close my eyes with pleasure, and leave, just like that, with my eyes closed.“ I assure him that this ‘other’ is not significantly different, that other systems are flawed too. Not enough developed acknowledgment of individuals, bad relations with foreigners, contradictions within social politics, fractions of nationalistic parties …
After we part, I carry on thinking about this frequently repeated desire to leave one country, one system, and enter some other. These impressions merge into a conclusion – there is a propensity for bridging the gap between the inner vision of Arcadia, the piece of natural Paradise in which an individual is not subordinated to social laws but follows a natural order, and the uncertain transitional ground of one’s homeland, where apparently recognizable political processes are becoming experiments with unpredictable and often very negative social and economical outcomes.
An individual, who crosses from within a ‘proletariat dictatorship’, and real-socialism with actual and hidden contents of power and repression, to the status of liberal-capitalistic orientated member of a civil society ‘over night’, as is the case in the countries of former eastern Europe, can reach some unexpected and often critical conclusions while considering their own identity.
The collapse of a system of values and framework of behaviour, together with a changeable and unclear economical outlook, is certain to create a desire in anyone who is subordinated to a state in transition, to cross to a painless, elegant activities for a brief moment at least – while considering seriously the core, or correctly the blueprint of an electoral system and a structure of a state that comes as its clear reflection, – from the blurred surrounding of state in which the artist, Vojislav Klačar, lives and works. The Kingdom of Koreta. Why not?
“Although I intend to leave the description of this empire to a particular treatise, yet, in the mean time, I am content to gratify the curious reader with some general ideas. […] In choosing persons for all employments, they have more regard to good morals than to great abilities; for, since government is necessary to mankind, they believe, that the common size of human understanding is fitted to some station or other; and that Providence never intended to make the management of public affairs a mystery to be comprehended only by a few persons of sublime genius […].”
Swift, Jonathan, Gulliver's Travels, 1726.
Is it possible, in the slow but righteous walk through the election cycles of the Kingdom of Koreta, to witness: parties tearing apart, unforeseen riots, work closures on election procedures, influences of bribe and corruption, tragic, unpredicted events, as they are well known to happen in reality. The answer is negative, and not only because this is a created system that functions based upon patterns of ideal political vision, but because the path of fulfillment of this vision is enabled by persistent use of the important principle of pop artistic engagement which instructs that, as Alan Kaprow puts it – artists do not have to illustrate actual political events in order to answer to their pressure. The Kingdom of Koreta, as a system’s blueprint, enables the artist, as well as the viewer, to fully grasp the formative power of a concept and to start moving within a new pyramid of values by temporarily escaping the frameworks of reality.
Visual deciphering of the Kingdom of Koreta project contributes to a better understanding of its sustainability as an artistic project. By representing and multiplying individuals and parties in electoral processes, Klačar translates a sign into a language through which he expresses elements of parliamentary processes while at the same time building indubitable poetical attitude.
A distance towards the situation in the country in which the artist lives is underlined not only through these multiplications and the creation of an emblematic model that functions successfully, but with other features that the presented system has. These are transparent, healthy, consistent and functional acting, as well as a consequence in which is build convincing suggestion of a state model, contribution par excellance to ambitious attempts of considering political theory, which are so rare in transitional environments.
“But they suppose truth, justice, temperance, and the like, to be in every man's power; the practice of which virtues, assisted by experience and a good intention, would qualify any man for the service of his country, except where a course of study is required.” Swift, Jonathan, Gulliver's Travels, 1726.
Thus, I doubt that the Kingdom of Koreta has any flaws - it is not an unpleasant, destructive or wicked state as the one for living. Precisely this absence of flaws makes it ideal for all sorts of devising – its premises could be a base for a stage, film, animination or any other sort of adaptation, while the potential for creation based on Koreta as an imaginary kingdom in virtual space is similar to one offered by the Second life.
“But they thought [nothing could] be of such fatal consequence to the public weal, as the practices of a man, whose inclinations led him to be corrupt, and who had great abilities to manage, to multiply, and defend his corruptions.” Swift, Jonathan, Gulliver's Travels, 1726.
It is impossible to divert some people from their intentions to move, well, as far away as they can get. But while they are still in Serbia, they should take a few minutes for Koreta which speaks so much about the possibilites for dignity, action and progression, even within the framework of power distribution, political influence, elections and the survival of one state.
And something else, thinking about Koreta is definitely more healing from vertiginous jump from the cliffs of Arcadia directly into conceptualizing state practice ad hoc, because many of those roughly pushed into transitional circumstances are forgeting one more message from Jonathan Swift:
“Power is no blessing in itself, except when it is used to protect the innocent.”
Milica Lapčević (Belgrade) studied Art history at University of Bergen, Norway, English language and literature and Painting in Belgrade, New Media at Konsthogskolan in Stockholm, Sweden. Founding member of Artterror film and video production. Works as independant artist and art critic.
Talk with Sense, whate'er you please on,
Learn to relish Truth and Reason.
THUS we both should gain our Prize:
I to laugh, and you grow wise.
W. Wordsworth
On an autumn morning, I meet a friend R. P.
“These people, this country“ he says, narrowing his eyes against the wind “the way things are happening, this system is not for me. Well, I would go some place else, somewhere far away“, he comments reluctantly. “Everything is somehow abstruse, incorrect, immoral, vague. I would close my eyes with pleasure, and leave, just like that, with my eyes closed.“ I assure him that this ‘other’ is not significantly different, that other systems are flawed too. Not enough developed acknowledgment of individuals, bad relations with foreigners, contradictions within social politics, fractions of nationalistic parties …
After we part, I carry on thinking about this frequently repeated desire to leave one country, one system, and enter some other. These impressions merge into a conclusion – there is a propensity for bridging the gap between the inner vision of Arcadia, the piece of natural Paradise in which an individual is not subordinated to social laws but follows a natural order, and the uncertain transitional ground of one’s homeland, where apparently recognizable political processes are becoming experiments with unpredictable and often very negative social and economical outcomes.
An individual, who crosses from within a ‘proletariat dictatorship’, and real-socialism with actual and hidden contents of power and repression, to the status of liberal-capitalistic orientated member of a civil society ‘over night’, as is the case in the countries of former eastern Europe, can reach some unexpected and often critical conclusions while considering their own identity.
The collapse of a system of values and framework of behaviour, together with a changeable and unclear economical outlook, is certain to create a desire in anyone who is subordinated to a state in transition, to cross to a painless, elegant activities for a brief moment at least – while considering seriously the core, or correctly the blueprint of an electoral system and a structure of a state that comes as its clear reflection, – from the blurred surrounding of state in which the artist, Vojislav Klačar, lives and works. The Kingdom of Koreta. Why not?
“Although I intend to leave the description of this empire to a particular treatise, yet, in the mean time, I am content to gratify the curious reader with some general ideas. […] In choosing persons for all employments, they have more regard to good morals than to great abilities; for, since government is necessary to mankind, they believe, that the common size of human understanding is fitted to some station or other; and that Providence never intended to make the management of public affairs a mystery to be comprehended only by a few persons of sublime genius […].”
Swift, Jonathan, Gulliver's Travels, 1726.
Is it possible, in the slow but righteous walk through the election cycles of the Kingdom of Koreta, to witness: parties tearing apart, unforeseen riots, work closures on election procedures, influences of bribe and corruption, tragic, unpredicted events, as they are well known to happen in reality. The answer is negative, and not only because this is a created system that functions based upon patterns of ideal political vision, but because the path of fulfillment of this vision is enabled by persistent use of the important principle of pop artistic engagement which instructs that, as Alan Kaprow puts it – artists do not have to illustrate actual political events in order to answer to their pressure. The Kingdom of Koreta, as a system’s blueprint, enables the artist, as well as the viewer, to fully grasp the formative power of a concept and to start moving within a new pyramid of values by temporarily escaping the frameworks of reality.
Visual deciphering of the Kingdom of Koreta project contributes to a better understanding of its sustainability as an artistic project. By representing and multiplying individuals and parties in electoral processes, Klačar translates a sign into a language through which he expresses elements of parliamentary processes while at the same time building indubitable poetical attitude.
A distance towards the situation in the country in which the artist lives is underlined not only through these multiplications and the creation of an emblematic model that functions successfully, but with other features that the presented system has. These are transparent, healthy, consistent and functional acting, as well as a consequence in which is build convincing suggestion of a state model, contribution par excellance to ambitious attempts of considering political theory, which are so rare in transitional environments.
“But they suppose truth, justice, temperance, and the like, to be in every man's power; the practice of which virtues, assisted by experience and a good intention, would qualify any man for the service of his country, except where a course of study is required.” Swift, Jonathan, Gulliver's Travels, 1726.
Thus, I doubt that the Kingdom of Koreta has any flaws - it is not an unpleasant, destructive or wicked state as the one for living. Precisely this absence of flaws makes it ideal for all sorts of devising – its premises could be a base for a stage, film, animination or any other sort of adaptation, while the potential for creation based on Koreta as an imaginary kingdom in virtual space is similar to one offered by the Second life.
“But they thought [nothing could] be of such fatal consequence to the public weal, as the practices of a man, whose inclinations led him to be corrupt, and who had great abilities to manage, to multiply, and defend his corruptions.” Swift, Jonathan, Gulliver's Travels, 1726.
It is impossible to divert some people from their intentions to move, well, as far away as they can get. But while they are still in Serbia, they should take a few minutes for Koreta which speaks so much about the possibilites for dignity, action and progression, even within the framework of power distribution, political influence, elections and the survival of one state.
And something else, thinking about Koreta is definitely more healing from vertiginous jump from the cliffs of Arcadia directly into conceptualizing state practice ad hoc, because many of those roughly pushed into transitional circumstances are forgeting one more message from Jonathan Swift:
“Power is no blessing in itself, except when it is used to protect the innocent.”
Milica Lapčević (Belgrade) studied Art history at University of Bergen, Norway, English language and literature and Painting in Belgrade, New Media at Konsthogskolan in Stockholm, Sweden. Founding member of Artterror film and video production. Works as independant artist and art critic.
