MEMORABILIA
On Request
TANJA BALAC, selected by Shqipe Mehmeti. „MEMORABILIA“, video, 7'15'', 2019. An appeal is made to activity at the precise moment when perception gives rise to imitative movements which scan it, as it were, automatically. A sketch is thereby furnished to us, of which we recreate the details and the coloring by projecting into it memories more or less remote.— Henry Bergson, Matter and Memory To whom does the image belong to? Does it genealogically belong to the history of existence, does it belong to the final discourse that preserved its own shapes immortalizing them through balancing distortion or is it extracted from our memories and moved to a collective similarity characteristic of the passage of time that inevitably forces us to remember… certain places we have never known. In her creative circle Tanja Balać thematizes several essential issues that relate to contemporary expression, with strongly intertwined critical thought toward symbolic freedom and the fluctuation of the individual within societal contours, their memory and perceptive innateness for self-recognition in the hypothetical cognitive space of existence. Setting the potentials of the artistic proposition, the reception and the perception of the artistic work on a higher analytical level, she reexamines the possibilities of the aesthetical, inserting unique rhetorical points, which refer, above all, to the perception of the work, semiotically woven through disseminated narrative points in an aesthetic whole. The visual diagram points to an innate approach toward the artwork and to studying it within its framework, but the same does not, however, unconditionally refer to its pre-contextual connotation. Turning inward, self-exploration in and through the artistic process, point to the necessity of one being enclosed in one’s own world, filled with memory, but, as a matter of fact, the work with its apparent hermeneutics, emerges as a reflection of the collective context. The contextual displacement of the artwork from the poetic world of the author (poiesis) into the new post-media artistic and heterogeneous cultural discourse of contemporary practices (catharsis), paints complexly stratified dynamic relations in which the extension of the idea is aimed at clean rhetorical suggestions (aesthesis). ‘[Vidocq’s] unification of the very beginning of photography with its contemporary, digital life exemplifies trajectory that photography (and cinema) has taken, culminating in a unifying aesthetic of what many call convergence’- Nataly Rajcinovska Pavleska.