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lence of a force. It grazes the stillness in the
flash of temporary commonality. The intensity
is guaranteed; it allows fullness. But it is con-
trolled, with a duration that will arrive at an
end. It already trembles, it is human, and is
veiled with tears.
Of the playfulness of the Inuit race, nothing
remains.
An image depicts the couple on the ground.
Their heads are posed. She covers her face
with one hand. Now they are silent.
The sound disdains sentimentality. But here
and elsewhere, regardless of the technical
forms it takes, it allows your boundless no-
stalgia for the future to emerge. It is a kind of
nostalgia that has no possibility of distraction.
*
In December 2016, in a gallery in Ankara, du-
ring the inauguration of a photographic exhi-
bition the Russian ambassador was killed.
Amateur videos show a man in a black suit
jacket firing several shots.
I do not think I could have predicted all this
when, four years ago, after being encouraged
by finding you in a space designated for art,
you created the same impact in the room of
a Polish museum.
I do not even think you've been able to con-
sciously anticipate the surgical and terrible
indifference with which a visionary—cultural,
political, social—would be confronted. But
you have ambushed the contemporary. And
this is something only art can do.
Daniela Zangrando
Kollaps, Aufstieg,
2013, AV per voce sola, 2ch video – 6ch suono, 40’ / AV for solo voice, 2ch video - 6ch sound, still di produzione /
Production still, Visoko (Bosnia Herzegovina). Courtesy of the artist, Paolo Boldrin e / and Anna D’Amelio. Foto / Photo: Ala D’Amico
