1st of May 1977, 2014
Four-channel installation, slide projection, sound, dimensions variable
Courtesy of the artist
1st of May 1977 is a deconstruction of an 8mm family film in which a small act of violence is isolated and played out while its cause remains concealed. Split into two separate locations, the work is comprised of a sound piece in one space, which is based on interviews with members from the two families who witnessed and directly participated in the act of violence, and a slide projection made from the 8mm film in the other. Considering the event occurred in 1977, it now exists as a distant memory for each person interviewed and the differences and discrepancies in their accounts attest to the subjective nature of memory and perception.
Originally captured in a single moment, the act of a boy throwing a rock at a girl’s head becomes 29 slides, which are then looped. By separating the testimonials of the witnesses and participants (the sound) with the “evidence” of the act of violence (the slides), the visitor also becomes a witness by carrying the contents of one space mentally to the other, or at least a thin remembrance of it. Because the two spaces are approximately identical in character and the distance between them is just long enough to begin the process of forgetting, the absence of the images and presence of sound in one space and the absence of the sound and presence of the images in the other space creates a parallel scenario to the act, which remains in question.
Dejan Kaludjerović (1972, Belgrade, Serbia) gained his MFA in Visual Arts at the Academy of Fine Arts in Belgrade, in 2004. Kaludjerović has been granted honourable Austrian citizenship.
Since the beginning of his career in Belgrade, Dejan Kaludjerović has been exploring the conjunction between consumerism and childhood, in order to analyse identity formations and the stability of representational forms. Most of his paintings, drawings, objects, videos and installations, use the processes of recycling, copying and re-enacting, thus creating patterns that simulate mechanical re- production, and criticise the homogeneity embedded in popular culture.
Kaludjerović’s work is part of many private and public collections, among others, MUSA, KONTAKT collection in Vienna and Salzburg Museum der Moderne, City Museum Belgrade, STRABAG collection etc. He has exhibited internationally at numerous solo and group shows in Europe, USA, Australia and Asia.