Identita in mutazione
Luan Bajraktari & Marko Marković
Hin qetu e del qaty, is an albanian saying that means „going in and going out...“ representing a situation that is not too unpleasant, but not really welcomed either. There are two doorways leading into the exhibition space of Futur II. By connecting the two entrances via a slim pathway consisting of a garden fence, Luan Bajraktari is rendering the much bigger rest of the room unusable, including the lavatory. The narrow route is going to be entered both ways, so space is going to become very scarce. Perhaps people will actually line up to use it just one way, in silent agreement, avoiding the otherwise inevitable closeness to a stranger, or worse: someone disliked. That would be sneaky, but still an unsuccessful evasion, for the run would be orchestrated by the artist in any case. The words manipulation and herd come to mind. Little room is left for self image when your only choice is to move forwards or backwards. Speaking of predetermination, the accessible sculpture is build as a reaction to the space as a given. Consequently, it is absorbing the room, claiming it as a part of itself. Possibly generating a claustrophobic feeling, the length of the walk is bearable, so one can rationalise that there is nothing to fear besides the probably unwanted proximity. But then again, barbed wire is mounted on top of the fence, aggravating the transit and further shaping ones movements. The assumption that it could prove awkward might be entirely wrong, for it may turn out jolly good fun too, evoking a connection that elsewise never could have been made. Perhaps this is where human adaptability and resilience will find expression once again, turning the coercion into folksiness. Bajraktari’s origin (Kosovo) suggests other interpretations, just as his love for gardens, as it is very common for people from the Balkans, but he will have none of it. It’s about the here and now, the confinement and its subtle effects, the reduction of ones will and the handling of that fact within this space.
by Sandra Petrasevic