Iskustvo sa Vagonom je prelepo. Oduševljena sam načinom na koji Isidora vodi galeriju, programom, umetnicima koji u njoj rade i koji su pomogli da izložba izgleda tako kako sam zamislila. Ova izložba je takođe početak saradnje galerije Vagon sa Šok Zadrugom čija sam članica i tome se posebno radujem, i nadam se da ćemo uskoro moći da uzvratimo gostoprimstvo Isidori, Katarini ili nekome od sjajnih umetnika koji su deo Vagona.
With these words, the conversation for our blog began with the artist Andreja Kargačin from Novi Sad, whose exhibition “Neugenics” was open at the Vagon Gallery in October of the previous year. We talked about the body. About control over one's own body. About perceptions and plans. Andreja is also a writer, choreographer, director, and visual artist. Through this conversation, we introduce you to this young, talented woman.
I: The exhibition you presented to the public was titled “Neugenics.” Knowing that eugenics is a set of beliefs aimed at improving the genetic quality of humans by excluding groups considered inferior, is your “Neugenics” actually a critical commentary on eugenics as an idea of controlling human existence and reproduction?
A: There is something called “liberal eugenics,” which deals with genetic engineering and attempts to distance itself from the eugenic practices of the twentieth century (such as Nazi eugenics), emphasizing that it does not have any racial or otherwise discriminatory intent. Critics of liberal eugenics agree that classifying genetically inherited traits as positive or negative based on any criteria is problematic in itself, and if something requires a footnote to distance itself from Nazism, it certainly does not speak in its favor. To me, it seems that, like most things that describe themselves as liberal, liberal eugenics is discriminatory because it is only available to the rich and privileged individuals. In this sense, “Neugenics” is a critique of both classical and liberal eugenics, but it is also ambivalent because it accepts the fact that evolution has not ended with humans.
I: You were a ballerina. We know that ballerinas are often obsessed with their bodies and everything their bodies can do. We also know that their bodies suffer because of this. How did you feel about your body at that time?
A: Meni se kod baleta najviše dopao taj dril, što uopšte nije njegova poenta. Za mene je balet bio sinonim za kontrolu. To nije svačiji doživljaj, ali balet jeste jedna zla imperijalistička dvorska umetnost koja je služila da ilustruje kako je kralj iznad običnih smrtnika, kako je savršen i nadljudski, tako da je moj osećaj uvek bio ispravan, na neki način.
I: Da li je upravo balet i taj odnos prema vlastitiom tijelu uticao na tvoje promišljanje o tijelu generalno i kako danas vidiš sebe i svoje tijelo u odnosu na taj nekada period ?
A: Always as an instrument.
I: What does it mean to have control over our own body? Do we actually have it? Are we even aware today of our body and how our lifestyle affects it? Do we take our body for granted?
A: The work with the waste materials of the body for “Neugenics” started precisely from this question: What do I own, in a material sense, what doesn’t belong to anyone else and I don’t have to borrow or buy? This led me to the conclusion that these waste materials are the only things I truly own, because the working class does not own its body. I think we don’t think about this much and it’s not entirely clear to us.
I: We live in a world where aesthetic body modifications are more prominent than ever. Social media has brought many good things, but it has also brought negative aspects in terms of imposing beauty standards and external appearances. How do you view this social image that prescribes norms for perfect facial and body proportions? How can we free ourselves from these influences?
A: Generally, we are obsessed with individuality and the idea that personality can (and must) be bought. I find it truly disturbing how far this obsession goes, not only with physical appearance but also with being preoccupied with oneself. I believe this prevents us from living in any kind of community.
I: Can we be free in our bodies today? Can we enjoy them?
A: Of course we can, but I don’t think I can, nor am I interested in it.
I: Ti si i rediteljka, koreografkinja, vizuelna umjetnica i spisateljica što je veoma zanimljivo. Na koji način spajaš ove različite forme umjetnosti u stvaranju performansa i predstava?
A: Smartam da je jedino što zaista odvaja umetničke discipline tržište. Tržište vizuelnih umetnosti je dugačije od tržišta izvođačkih umetnosti i tako dalje. To nisu umetničke i suštinske razlike. Ja ne odvajam svoju umetničku praksu u različite kanale. Trudim se da se igram sa očekivanjima različitih tržišta. A što se tiče stvaralačkog procesa tudim se da prilagođavam formu ideji i sadržaju i da se ne ograničavam drugim stvarima.
I: Prošle godine dobila si priznanje Iskre kulture, na čemu ti čestitam. Smatraš li da je društvo u kojem živimo spremno da prihvati nove iskre na nebu kulture?
A: To priznanje mi mnogo znači jer sam ja na neki način neoavangardna umetnica i takvi umetnici retko dobijaju velika priznanja na počecima karijere. Mislim da naše nove generacije imaju gomilu hrabrih i neobičnih umetnika i da će društvo morati da bude spremno, htelo, ne htelo.
I: Do you write? Do you read? What occupies your attention, what topics interest you these days?
A: Besides the things I read for my projects, I am reading Patriarch's Autumn and preparing for the fall of the criminal drug cartel led by Andrej Vučić and his unfortunate brother. In addition, my current obsessions and the themes of my future works are bureaucratic trauma, the relationship between the People's Republic of China and Serbia, and artificial intelligence.
I: Is something new in the works?
A: At the moment, aside from fulfilling our civic duties, we are looking forward to a new performance at BITEF, a premiere in Subotica, new joint projects with the Šok Cooperative, and new visual works that are different from anything I have done so far.
