Complicity in the making is seen as a gesture of hospitality. It does not propose just an exhibitionary dialogue between works by two artists, Petra Feriancova and Marko Tadić, but is imagined as a possible complicity devised to unfold ideas, methodologies, interests and behing the processes and structures that frame them. “The spectator is held before an appearance in a state of ignorance about the process of production of this appearance and about the reality it conceals,” claims Jacques Ranciere in The Emancipated Spectator[i]. Artistic gestures focus on examining spatial relations and interactions between the objects and the subjects, following the thoughts by Celine Condorelly Structures are not the shape of things, but the underlying principles behind how things appear.[ii]
The exhibition is seen more as situation that inhabits the space bringing together a constellation of formal elements of spatial construction, found objects, images and film, inviting an observer to connect different narratives of the possible fragmented whole. An exhibition is a construction that continuously unfolds – as a series of experiences oscillating between different conditions. In that sense, the displayed works are seen as a series of interrelations and cracks intertwined in their temporary environment. Underscoring visibility of architectural elements, moduls, set of constructions and props, as carriers, and support structures, Marko Tadić with the support by Petra Feriancova are articulating a display space, its temporariness, ephemerality, its fluid, almost performative character of moving through space.
[i] Jacques Ranciere, The Emancipated Spectator, Verso, 2011
[ii] Celine Condorelli, Support Structures, Sternberg Press, 2009
