"In him we trust” ( U njega verujemo) poslednji je deo trilogije i nastavak ranije započetih prostornih i performativnih radova Lines,rows, columns (Dormitory)  (Linije, redovi, kolone (Spavaonica) i Babylon the Great (Veliki Vavilon). Sva tri rada inspirisana su psihološkim procesima preuzimanja odgovornosti za sopstveni život, aktivnog rada na sebi i osamostaljivanja od nametnutnih normi i očekivanja društva.Radovi skreću pažnju na konstrukte društvenog poretka ali i naše lične bilo da se tiču izazova iskrene komunikacije sa sobom i drugima ili ideje verovanja u sebe ili drugoga.

Takođe, ova trilogija ispituje konstrukte ličnih relacija prema pitanjima rodnog identiteta i integriteta pokušavajući da locira limite sopstvene, ženske perspektive u sagledavanju i poimanju drugosti odnosno muškarca. Muško telo se u ovim performativnim instalacijama posmatra, doživljava i uključuje i kao subjekt i kao objekt. U procesima razumevanja i susretanja sa drugošću koja se želi i za kojom se čezne a polazeći od sopstvenih ranjivosti i izloženosti, zamenom klasičnih, očekivanih raspodela uloga i reprezentacija obnaženo i izloženo, muško telo tako postaje medij osetljivosti, nelagodnosti, senzualnosti.

Performans u trajanju “In Him We Trust”  dotiče se tematike verovanja odnosno preispitivanja onoga u šta zapravo verujemo kroz doslovno podražavanje/odigravanje opšte poznate scene Strašnog suda. Strašni sud ili sudnji dan predstavljava verovanje eshatoloških religija u poslednji i konačni sud koji će na kraju istorije biti izveden nad ljudima kako bi razdvojio pravedne od grešnih, nakon čega će pravedni kao nagradu zadobiti večni život a grešni konačnu smrt kao kaznu. Performeri igraju uloge iz standardne ikonografije ove kompozicije koja postaje živa i u pokretu.  Rad je zamišljen da se izvodi jednom kao osmočasovni site-specific performans i u direktnoj je vezi sa zgradom BITEF teatra- nikada dovršenom katedralom nemačke evangelističke crkve.

Publika će tokom trajanja performansa moći da dolazi i odlazi, sedi, posmatra ili kontemplira reenactmant ove religijske kompozicije čime se ne oživljava samo konkretna scena već se angažuje potencijal samog objekta transgresirajući se u njegovu prvobitnu namenu. Telo i pokret ključni su faktor i emocionalno asocijativni potencijal ovog rada uobličen spontanom koreografijom koju performer, prirodno i bez glume, izvode na konstrukciji koja podražava renesansni dojam perspektive. Rad potencira direktno i intimno suočavanje sa jednom od najprezentnijih biblijskih tema koja se oživljava, događa, improvizuje, transformiše i traje pred publikom.

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In Him We Trust" is the last part of a trilogy and the continuation of two previous site-specific works: "Lines, rows, columns (Dormitory)" and "Babylon the Great". All three works are inspired by psychological processes of taking responsibility for one's own life, active work on oneself and making independent stance from the imposed norms and expectations of society. The works draw attention to the constructs of social order but also our personal ones, whether they concern the challenges of honest communication and ideas of belief within ourselves and with the others.

The works examine the personal relationships on issues of gender identity and integrity, trying to understand and interpret the limits of one's own / female perspectives in perceiving and understanding the otherness - men. In these performative installations, the male body is experienced both as a subject and as an object. In the process of understanding and encountering the other who is desired and longed for, and starting from our own vulnerabilities and exposures, by replacing the classic and expected roles of representations, the naked and exposed male body becomes a medium of sensitivity, discomfort and sensuality.

The durational performance "In Him We Trust" deals with the topic of trust and re-examines what we believe in through the recreation of the well- known scene of The Last Judgment. The Judgment Day represents the belief of eschatological religions in the last and final judgment which at the end of history will be performed over people to separate them: the righteous man will receive eternal life as a reward and the sinful man will have the final death as punishment. Performers play the roles from the standard iconography of this composition that becomes alive and moving. The work is intended to be performed once as an eight-hour site-specific performance. It is directly related to the building of BITEF Theatre - a never completed cathedral of the Evangelical church.

During the performance, the audience will be able to come and go, sit, observe or contemplate a reenactment of the religious composition, which doesn't only enlivens a particular scene or event but engages the potential of the object itself by transgressing to its original purpose. Body and movement are a key factor and an emotional association to the work. The scene is shaped by a spontaneous choreography made by natural body movement of the performers who are free to interact without acting while performing on a scaffolding construction that simulates the renaissance impression of perspective. The work emphasizes the direct and intimate confrontation with one of the most representative biblical themes which is brought into life - happens, improvises, transforms and lasts in front of the audience.

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O AUTORKI:

Ivana Ivković (rođena 1979. u Beogradu) diplomirala je slikarstvo i magistrirala crtež  na Fakultetu likovnih umetnosti u Beogradu, gde je trenutno na doktorskim studijama iz oblasti slikarstva. Od 2002. godine izlagala je na više samostalnih izložbi u Srbiji, Austriji, Nemačkoj, Libanu, Italiji, Španiji, SAD-u, Turskoj, Danskoj, Kanadi, Indiji i učestvovala na nekoliko značajnih grupnih izložbi u zemlji i inostranstvu. Tri puta je bila finalistkinja Politikine nagrade za najuspešniju izložbu, 2007, 2010 i 2019. godine. Dobitnik je stipendije KulturKontakta i iz Beča (Austrija) 2008, Residency Unlimited organizacije iz Njujorka (SAD) 2012, Casa dell Artestipendije u Bodrumu (Turska) 2013, kao i stipendije grada Linca (Austrija) za 2014, stipendije Ministarstva kulture Kvebeka u Montrealu, stipendije Beirut Art Residency iz Libana, kao i nekolicine drugih programa. Njeni radovi se nalaze u Telenor kolekciji savremene srpske umetnosti, u kolekciji Muzeja grada Beograda kao i u nekoliko značajnih privatnih kolekcija u Njujorku, Bazelu, Lisabonu i Turskoj.

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ABOUT THE AUTHOR:

Ivana Ivković (born 1979 in Belgrade / Serbia) holds a M.A. degree in Drawing from the Faculty of Fine Arts in Belgrade. Since 2002 she has exhibited in several very successful solo shows in Montreal, Belgrade, New York, Beirut, Duseldorf, Vienna, La Coruña, Bodrum, Basel, Calcutta and Copenhagen as well as many group shows internationally. She is a three-time finalist of the prestigious Politika prize for the best exhibition and the holder of KulturKontakt Vienna, Austria, Artist in Residence scholarship for 2008, Residency Unlimited New York, USA, Artist in Residence scholarship for 2012, Casa dell Arte, Bodrum, Turkey, Artist in Residence scholarship for 2013, Les Gens Heureux, Artist in Residence program, Copenhagen , Denmark for 2013, scholarship of the City of Linz for 2014, Austria, Beirut Art Residency scholarship for 2015 and Can Serrat Barcelona full stipend for 2016. Her works are part of Telenor Collection of Serbian Contemporary Art, Collection of the Museum of Belgrade city and of several important private collections in New York and Basel.