DORA BUDOR & MAJA ČULE (HR): KNOCKOFF

CIKLUS MLADIH HRVATSKIH AUTORA / THE YOUNG CROATIAN AUTHORS’ CYCLE & APAP – PERFORMING EUROPE

23.9.2012.PREMIJERA 20:00 Galerija SC/Ulaz besplatan / free entrance

DORA BUDOR & MAJA ČULE (HR): KNOCKOFF

Knockoff žanr imitacija je holivudskih blockbustera koji se bore za dio enormno visokih box-office zarada, gdje film parazitski primjenjuje elemente koji se mogu pronaći u originalnim blockbusterima na manjoj perfekcionističkoj skali: ograničen budžet, glumci s B-liste i loše izvedeni specijalni efekti. Krivotvorine i hibridi surealistički su svjesni simboličkih uvjeta ove igre ‘zmije i ljestava’ koje igramo kao žitelji Zapadne demokracije.

Za razliku od stvarnih proizvoda koji obećavaju autentično iskustvo materijalnog uspjeha, ovi zamjenski dvojnici sudionici su u statusnoj obmani. Kao i statusna tjeskoba, autentična je poželjnost (eng. wantness) kulturni proizvod – bez obzira od čega su one zapravo napravljene – od manje ili više slobodnog, konzumerističkog zapadnjačkog društva; u međuvremenu, predmeti koji su im približno slični osmišljeni su u društvenim kontekstima koji ne potpadaju nužno pod jurisdikciju demokratskog.

Pronalazeći nesavršenosti i kreativnu slobodu skrivenu pod zakonski sumnjivom holivudskom B produkcijom, slično je proizvodnji krivotvorenih konzumerističkih dobara kao izvora inspiracije. Narativ izvedbe prati kapitalistički robni fetiš slogana chopped and screwed kroz različite forme brendiranja do industrije zabave.

The knockoff genre is an imitation of Hollywood blockbusters that grab for a piece of enormous box office sales, wherein films parasitically apply elements found in original blockbusters on a less perfectionist scale: limited budget, B-list actors and poorly fabricated special effects. Counterfeits and hybrids are surreally aware of the symbolic terms in this game of snakes and ladders that we play as inhabitants of a Western democracy. 

Unlike the “real” products that promise an authentic experience of material success, these ersatz counterparts are complicit; our comrades in status-deception. Like status anxiety itself, authentic desirableness are the cultural products—regardless of where they are actually manufactured—of a more or less Western, “free” consumer society; the objects that approximate them, meanwhile, are by and large devised in social contexts that do not necessarily fall under the jurisdiction of the democratic.

Finding the imperfection and creative freedom hidden under law-infringing Hollywood B-rate production is very similar to production of counterfeit consumer goods as a source of inspiration. The performance narrative follows capitalist commodity fetish ‘chopped and screwed’ through different forms of brands to entertainment industry.

12-Aug-2012 20:49, Canon Canon EOS 5D Mark II, 4.5, 35.0mm, 0.017 sec, ISO 800
12-Aug-2012 20:22, Canon Canon EOS 5D Mark II, 5.6, 28.0mm, 0.017 sec, ISO 800
12-Aug-2012 20:43, Canon Canon EOS 5D Mark II, 4.5, 24.0mm, 0.017 sec, ISO 800
12-Aug-2012 20:43, Canon Canon EOS 5D Mark II, 4.5, 24.0mm, 0.017 sec, ISO 800
12-Aug-2012 20:44, Canon Canon EOS 5D Mark II, 4.5, 28.0mm, 0.017 sec, ISO 800
12-Aug-2012 20:44, Canon Canon EOS 5D Mark II, 4.5, 35.0mm, 0.017 sec, ISO 800
12-Aug-2012 20:45, Canon Canon EOS 5D Mark II, 4.5, 24.0mm, 0.017 sec, ISO 800
12-Aug-2012 20:44, Canon Canon EOS 5D Mark II, 4.5, 35.0mm, 0.017 sec, ISO 800
12-Aug-2012 20:23, Canon Canon EOS 5D Mark II, 5.6, 28.0mm, 0.04 sec, ISO 800