In a time of student and pupil blockades, the author re-examines the position of their parents from the aspect of bodily exhaustion. A leap into the unknown for all of them represents a call to stand still (or to stop). Why does this call appear to be inevitably unachievable for parents? What kind of security arises from physical activity, as opposed to stillness?
ROOM 1: CHILDREN
The children have stopped. In a space that evades the logic of continuous movement, their decision to stop becomes a movement of resistance. In that space, standing is not passivity, but a conscious taking of a position. The call for a general strike addressed to parents remains unanswered. A gaze at one’s own feet in the mirror is the posing of a question: is to stand still the same as to vanish? The photographs are an archive of that attempt at halting — an intention to capture, freeze, and re-examine the movement through an image.
ROOM 2: PARENTS
The parents have not stopped. Guided by an internal imperative of movement, they reflect the basic paradox of labor: the impossibility of stopping within a system that rests on constant production and activity. Flour, as the material from which rolls (kiflice) are made, carries a gesture of support, but also of “tamed, safe” rebellion. Movement takes on the qualities of flour — a rolling pin is sharp, or quiet, or soft. After the performance, an audio-visual trace remains, witnessing the impossibility of a real break— a movement that exhausts itself but never ceases.
Opening and performance: 8 April 2026, 1900hrs
U vremenu studentskih i učeničkih blokada, autorka preispituje poziciju njihovih roditelja sa aspekta telesnog iscrpljivanja. Skok u neizvesnost za sve njih, predstavlja poziv da stanu. Zašto se taj poziv za roditelje ispostavlja kao neupitno neostvariv? Koja vrsta sigurnosti proizilazi iz telesne aktivnosti, za razliku od mirovanja?
SOBA 1: DECA
Deca su stala. U prostoru koji izmiče logici neprekidnog kretanja, njihova odluka da stanu postaje pokret otpora. U tom prostoru, stajanje nije pasivnost, već svesno zauzimanje pozicije. Poziv na generalni štrajk upućen roditeljima, ostaje bez odziva. Pogled na sopstvena stopala u ogledalu je i postavljanje pitanja: da li je stati, isto što i nestati? Fotografije su arhiv tog pokušaja zaustavljanja — namera da se slikom uhvati, zamrzne i preispita pokret.
SOBA 2: RODITELJI
Roditelji nisu stali. Vođeni unutrašnjim imperativom kretanja, oni reflektuju osnovni paradoks rada: nemogućnost zaustavljanja unutar sistema koji počiva na stalnoj proizvodnji i aktivnosti. Brašno, kao materijal od kojeg nastaju kiflice, nosi gest podrške, ali i „pripitomljene, bezbedne” pobune. Kretnja dobija kvalitete brašna – izvođačica je oštra, ili meka. Nakon performansa ostaje audio-vizuelni trag koji svedoči o nemogućnosti stvarnog prekida — o pokretu koji se iscrpljuje, ali ne prestaje.
Otvaranje i izvođenje performasa: 8. april 2026, 19h