Svaki od mojih projekata vodi me u epske potrage, u istraživanje dokaza, u iskopavanje kostiju i poniranje u daleku prošlost i misteriozne svetove. Samo što ja skoro sva svoja istraživanja sprovodim preko Skajpa, dakle, iskopavam Gugl alatima. Zato me zovu Indijana Džons iz vremena Gugla, kaže Imo
Each of my projects leads me into epic searches, researching evidence, digging up bones and peering into the distant past and mysterious worlds. The only thing is that I conduct almost all my research via Skype interviews, so I dig using Google tools. That’s why they call me the Indian Jones of Google times, says Humeau
R adovi francuskinje Margerit Imo (32), jedne od najvećih zvezda nedavno završenog 57. Oktobar- skog salona u Beogradu, sugerišu da je još pod utiskom bajki, iako ih interpretira na način vrlo zrele umetnice. Ona stvara, ili možda izmišlja, ili otkri- Tekst / Words: Dragana Nikoletić Fotografije / Photography: Julia Andreone / Margerit Imo / Stan Narten, JSP Photography
T he works of Frenchwoman Marguerite Humeau (32), one of the top stars of the recently completed 57th October Salon in Belgrade, suggest that she is still un- der the influence of children’s fairy tales, though she interprets them in the ways of a very mature artist.
She creates, or perhaps imagines into exist- ence, or reveals strange creations that came from the past, the future or some unknown dimen- sion. In particular, at the Salon, her Queen with Leopards has the soft feminine curves of over- sized hips, because she is simultaneously Venus and the great Earth Mother, but also creatures from the depths – a sea cow with powerful long- term memory abilities. Cast in bronze, it looks alive and succulent. As if such a “picture” is not enough, the Queen with Leopards addresses the audience with sounds and conveys a message from imaginary olden times. Why do you combine reality and fantasy, or actu- al events and so-called speculative narratives? - All my projects start with an enigma. My works usually aim at re-enacting, resuscitating and reviving worlds, ecosystems, lives, creatures, beings, presences and voices that are either ex- tinct, prehistoric or invisible. They might be worlds that have existed but no longer exist; worlds that might have possibly existed; that might never have existed; or worlds that might exist at the same time as ours but that we don’t know about and probably never will. I gather large teams of
va čudne stvorove koji su došli iz prošlosti, budućnosti ili neke nepoznate dimenzije. Konkretno, na Salonu, njena Kraljica leo- parda ima meke ženske obline predimen- zioniranih kukova, jer je istovremeno Vene- ra i Pramajka, ali i biće iz morskih dubina – morska krava sa sposobnošću dugoroč- nog pamćenja. Izlivena je u bronzi, a delu- je živa i sočna. Kao da takva „slika“ nije do- voljna, Kraljica leoparda obraća se publici zvukovima i prenosi poruku iz imaginar- nih davnina. Zašto u svojim delima kombinujete fantaziju, realne stvari i takozvane spekulativne scenarije? – Svi moji projekti počinju od neke za- gonetke i imaju za cilj oživljavanje svetova, eko-sistema, života, stvorenja, bica, prisu- stva, glasova koji su ili izumrli, ili su prai- storijski ili nevidljivi. Ponekad su to entiteti koji su postojali, ali više ne postoje, pone- kad su možda postojali, ili nikad nisu po- stojali, ili pak egzistiraju istovremeno sa nama, ali su nam nepoznati i verovatno ih
nikada nećemo spoznati. Proces rada uključuje okuplja- nje velikih timova stručnjaka koji mi pomažu da spekuli- šem o tome kako bi ti svetovi izgledali i funkcionisali da su vidljivi ili da postoje. Ja „iskopam“ dokaze – kosti, cr- teže, tekstove, a zatim uz pomoć stručnjaka popunjavam praznine u znanju spekulacijama i hipotezama. Krajnji cilj kombinovanja realnih stvari i spekulativnih scenarija u mom radu jeste dostići najveći mogući stepen reinkar- niranja unutrašnjih fizičkih doživljaja koje takvi spojevi izazivaju u nama. Kako doživljavate te nepoznate i nevidljive, mož- da i nepostojeće forme života i kako birate način da ih materijalizujete? – Načini na koje ih materijalizujem variraju od pro- jekta do projekta i obično su nerazdvojivi od predloška. Za svoj projekat Opera praistorijskih bica (2012) pokuša- la sam da reinpretetiram glasove praistorijskih stvorenja
experts to help me speculate on what these worlds might have been like. I “excavate” evidence, bones, drawings, texts. I then fill in the gaps in knowledge with speculation and hypothe- ses. My work therefore combines actual events and specula- tive scenarios in order to recreate visceral physical experienc- es, as-complete-as-possible re-enactments (or enactments) of these possible worlds. How do you perceive these unknown, invisible and extinct forms of life, and how do you choose the way in which to materialise them? - The way these forms of life are materialised vary from pro- ject to project. The choices are usually inherent to the original proposal. For my project “The Opera of Prehistoric Creatures” (2012), I was trying to revive the sound of prehistoric creatures by reconstructing their vocal tracts. In this specific case, the out- come was an opera made of sound-producing sculptures. An- other project was about resurrecting Cleopatra’s voice (Cleop-
Ja „iskopam“ dokaze, a zatim spekulacijama i hipotezama
popunjavam praznine u znanju: Margerit Imo I “excavate” evidence and then
fill in the gaps in knowledge with speculations and hypotheses
| 103
Made with FlippingBook interactive PDF creator