VOZ RARA: Between the Sounds by Katarina Zdjelar

Between the Sounds is a screening of Katarina Zdjelar’s films at Grand Union.

The Serbian-born, Netherlands-based artist Katarina Zdjelar explores language and sound in relation to cultural contexts. Through her works, she interrogates the role of voice and sound in defining the collective unconscious. Because the performers in her work often undergo a process of training or practice, she shows how this necessitates a need for adaptation or meeting cultural and social connotations. In this way, Zdjelar focuses on the functioning of language in relation to themes such as identity, authority and community.

The Perfect Sound (2009) shows an individual attending an English language accent removal class, and examines migrant integration policies in the UK. Similarly, Shoum (2009) follows two non-English-speaking Serbian men attempting to transcribe the lyrics of ‘Shout’, a song by the UK band Tears for Fears, thus inventing a language that is part phonetic English, part Serbian. My Lifetime (Malaika) (2012) documents a rehearsal of the Ghanaian National Symphony Orchestra, making a comment on postcolonial ideological transfer.  Aitormena. World jautsitsaitsutsitsaitsugunea (2012) explores the adoption of the Basque language by bands in Spain following the death of General Franco, revealing connections between politics and symbolic capital. In Unison (5’28?, 2009)  focuses on the production of voice as a social event, on the formation of a single voice as a collective act. It is a slow, intimate, concentrated portrait of an anonymous blonde woman, who, according to the movement of her mouth is obviously singing, however we hear no sound. We see her trying to sing in tune with two other singers, constantly hovering between the two looking for confirmation. The work’s title, »In Unison«, playfully hops between a literal and metaphorical meaning: It means singing in one voice, but the expression has also come to denote ‘having the same opinion’.The work thus mediates between the individual and the communal voice, which is made manifest here both in musical and sociopolitical terms.

This event is part of VOZ RARA curated by Grand Union Curators-in-Residence Anna Santomauro and Valerio Del Baglivo.

Katarina Zdjelar (*1979, Belgrade, Yugoslavia) received an MFA at Piet Zwart Institute, Rotterdam 2004-2006.  Recent solo exhibitions include But if you take my voice what will be let to me, Serbian Pavillion at the 53rd Venice Biennial (2009),  Parapoetics, TENT, Centrum Beeldende Kunst, Rotterdam(2010);  Stepping In-Out, Center  for Contemprary Art Celje (2011) and selected group exhibitions include Morality. Act II: From Love to Legal, Witte de With Centre for Contemporary Art, Rotterdam (2009); Art Sheffield, Life-A User’s Manual, Sheffield (2010); ar/ge kunst,Galerie Museum, Katarina Zdjelar & Michael Hoepfner, curated by Luigi Fassi, Bolzano/Bozen  (2010); Rearview Mirror,The Power Plant Contemporary Art Gallery (2011);  DLA WAS/FOR YOU,Muzeum Sztuki, Lodz (2012). The artist lives and works in Rotterdam and Belgrade.

http://katarinazdjelar.net/act-i-ii

 

 

 

Between the Sounds is a screening of Katarina Zdjelar’s films at Grand Union.

The Serbian-born, Netherlands-based artist Katarina Zdjelar explores language and sound in relation to cultural contexts. Through her works, she interrogates the role of voice and sound in defining the collective unconscious. Because the performers in her work often undergo a process of training or practice, she shows how this necessitates a need for adaptation or meeting cultural and social connotations. In this way, Zdjelar focuses on the functioning of language in relation to themes such as identity, authority and community.

The Perfect Sound (2009) shows an individual attending an English language accent removal class, and examines migrant integration policies in the UK. Similarly, Shoum (2009) follows two non-English-speaking Serbian men attempting to transcribe the lyrics of ‘Shout’, a song by the UK band Tears for Fears, thus inventing a language that is part phonetic English, part Serbian. My Lifetime (Malaika) (2012) documents a rehearsal of the Ghanaian National Symphony Orchestra, making a comment on postcolonial ideological transfer.  Aitormena. World jautsitsaitsutsitsaitsugunea (2012) explores the adoption of the Basque language by bands in Spain following the death of General Franco, revealing connections between politics and symbolic capital. In Unison (5’28?, 2009)  focuses on the production of voice as a social event, on the formation of a single voice as a collective act. It is a slow, intimate, concentrated portrait of an anonymous blonde woman, who, according to the movement of her mouth is obviously singing, however we hear no sound. We see her trying to sing in tune with two other singers, constantly hovering between the two looking for confirmation. The work’s title, »In Unison«, playfully hops between a literal and metaphorical meaning: It means singing in one voice, but the expression has also come to denote ‘having the same opinion’.The work thus mediates between the individual and the communal voice, which is made manifest here both in musical and sociopolitical terms.

This event is part of VOZ RARA curated by Grand Union Curators-in-Residence Anna Santomauro and Valerio Del Baglivo.

Katarina Zdjelar (*1979, Belgrade, Yugoslavia) received an MFA at Piet Zwart Institute, Rotterdam 2004-2006.  Recent solo exhibitions include But if you take my voice what will be let to me, Serbian Pavillion at the 53rd Venice Biennial (2009),  Parapoetics, TENT, Centrum Beeldende Kunst, Rotterdam(2010);  Stepping In-Out, Center  for Contemprary Art Celje (2011) and selected group exhibitions include Morality. Act II: From Love to Legal, Witte de With Centre for Contemporary Art, Rotterdam (2009); Art Sheffield, Life-A User’s Manual, Sheffield (2010); ar/ge kunst,Galerie Museum, Katarina Zdjelar & Michael Hoepfner, curated by Luigi Fassi, Bolzano/Bozen  (2010); Rearview Mirror,The Power Plant Contemporary Art Gallery (2011);  DLA WAS/FOR YOU,Muzeum Sztuki, Lodz (2012). The artist lives and works in Rotterdam and Belgrade.

http://katarinazdjelar.net/act-i-ii