Author Archive: Nina Dragicevic

Ustavite se. / Stop. (2021)

kompozicija za glas / composition for voice

May be a close-up of 1 person, body of water and indoor
Irena Tomažin Zagoričnik, foto Darja Štravs Tisu za Forum Nove Glasbe 2021

“Vadite se umirjenosti, gospa Woolf,” rečejo Virginii Woolf. “Tudi kultura mora delati denar,” reče tisti prostak. “Nimam časa,” reče tako rekoč vsakdo. Pa da “čas je denar.” Mora torej kulturnica delati čas? Hitrost, ki naj bi čas privarčevala in torej privarčevala denar, naj bi s tem ustvarila pogoje za ustvarjanje obeh, posameznici pa preživetje. V zvočnosti vdiha in izdiha, akceleraciji vitalnosti, se zgošča sodobnost. V tresavici jezika zveneči ritem preživetvene sile. Poslušati posameznico pomeni poslušati cel svet.

May be a close-up of 1 person, body of water and indoor
Irena Z. Tomažin performing Nina Dragičević’s piece 𝑺𝒕𝒐𝒑. (World premiere, a Zavod SPLOH commission), Forum nove glasbe / New Music Forum 2021. Foto: © Darja Štravs Tisu

World premiere: Forum nove glasbe / New Music Forum 2021, see from 02:28:31.

Fotografije / Photos

To telo, pokončno (ŠKUC, 2021)

Jenkova nagrada 2021 / Jenko Award Winner 2021



»imamo opravka z močno, silovito poezijo, ki si zasluži veliko pozornosti, saj se prepričljivo loteva kompleksnih in aktualnih tem, njeni prijemi pa so sveži in prav nič mainstreamovski«

»We are dealing with strong, powerful poetry, which deserves a lot of attention, as it convincingly tackles complex and current topics, and its approaches are fresh and in no way mainstream.«

MAJA MURNIK, Revija Sodobnost


»Silovit vzdih, celo. Nina D. ne privoli v vse, kar se lepi na telo, kar ga terorizira in disciplinira, in ne privoli in ne privoli in se to ne upošteva in je že lažje delati na sebi, se je že lažje nasmehniti fotografu, je že lažje izničiti sence, je že lažje gestalt in KVT, je že lažje in takrat se pričakuje, da se obupa, je že lažje, ampak se ne, ko telo pobira se vedno navzgor.  Telo ne more ven, lahko se sesuje le na vse strani, a zdi se tudi  da bolj kot sesuva  bolj gradi

NEJA BERGER (Radio Študent)

»pedantno paradiranje podob s pronicljivo portretiranimi sporazumevalnimi natrganinami, premolki in preskoki. Pesnica ima nos za zanesljive izrekanjske konstelacije, ki ozadju odzivnega odmerjanja premis sprožajo povečevanje sporočanjske presunljivosti in prepričljivosti. K monolitnejši povednosti vodi tudi lirično lomljenje ali odlamljanje dikcije ter latentno barvanje govora s pomenljivimi predihi. Priča smo mnogim neprosojnim asociacijam, ponavljanjem, elipsam in promenadno permutiranim mislim kot izbornim odvodom osrednjih občutenj.«

MARTINA POTISK (Delo)


»In ni, da ne štekam samoironije v verzih nina močna kritična nina steber generacije pa da take rabimo, ampak. Take mamo. Končno.«

»And it’s not that I don’t get the self-irony in the verses nina strong critical nina pillar of her generation and that these are the kind of people we need. However. We do have these kind of people. Finally.«

ALJOŠA HARLAMOV


Telo je nenehno na udaru. Vse ga zadeva, vse se lepi nanj. Telo ni zadnje zatočišče svobode, ampak točka, v katero svet neinhibirano zarezuje, obmetava ga z neskončnimi količinami besed in nasilja, včasih pa ga kratkomalo zaobide in tako izniči. 

Če je Dragičević v knjigi Ljubav reče greva mislila položaj posameznice v dobi vsenavzoče prekarnosti in če je na koncu ljubav rekla greva, se v To telo, pokončno, drugem delu avtoričine nastajajoče pesniške trilogije, vprašanje nadaljuje v: kaj pa potem?Ali je prihodnost možna?

Je. A telo potrebuje mir. V dobi, ki spodbuja nenehno komunikacijo, reprezentacijo vzdržljivosti in nekega »kul«, telo potrebuje vsekaj drugega: potrebuje mir. Dragičević začne knjigo z verzom nobenih besed, s tem pa odpre prostor glasovom mnogih teles, mnogih žensk in mnogih lezbijk, morda vseh teles. Prihodnost bo, ko se bodo njihova trpljenja, izničenja in kritika lahko nekaznovano izrekli. In res je, da telo včasih pade, zapiše, a ker je vse narobe / pravzaprav vstane

Dragičević s knjigo To telo, pokončno poglablja svojo posebno zmes kritičnega pogleda in liričnega sentimenta ter jezikovne in sintaksične domiselnosti v formi poeme. Aljoša Harlamov, avtor spremnega besedila, zapiše: »In ni, da ne štekam samoironije v verzih nina močna kritična nina steber generacije pa da take rabimo, ampak. Take mamo. Končno.«


Jenkova nagrada 2021 >>>

Program Ars, oddaja Izšlo je, Marko Golja >>>

Dnevnik, Portret, Maja Šučur: Nina Dragičević, pesnica: Telesa brez senc >>>

Literarni nokturno >>>

RTV Slovenija, oddaja Profil, Meta Česnik >>>

Revija Sodobnost, recenzija (odlomek), Maja Murnik >>>


Dragičević in Grom: To telo, pokončno, Cankarjev dom, 26. 10. 2021

Foto: © Nada Žgank


Video predstavitev nominirank in nominirancev za Jenkovo nagrado 2021

Zgodbe o knjigah in ljudeh: Manca Košir, Aljoša Harlamov, Nina Dragičević, To telo, pokončno

Sluhodvod: ljubi me brzo (2020)

 

ljubi me brzo
Delo nastaja na podlagi literarnega teksta Nine Dragičević ljubi me brzo, objavljenega leta 2016 v literarni reviji Idiot.
Zasedba (v abecednem vrstnem redu):
Nina Dragičević, Vid Drašler, Irena Tomažin Zagoričnik, Irena Yebuah Tiran

I. fragment: 28. 9. 2020, Španski borci
Javna vaja.

Koncept Sluhodvoda smo vzeli resno in tako v prvem dogodku odpiramo vrata v delovno-raziskovalni-razmišljevalni proces. Ljudje – spustili jih bomo na oder – se bodo lahko prosto gibali naokoli, prihajali, odhajali, mi pa se dobimo zato, da vadimo, diskutiramo itd.
Skratka, to ne bo koncert, vaja bo, s publiko se ne bomo obremenjevali.
Izhodišče:
Realnost: kontinuum fragmentiranj.
Mi imamo projekte, blagor nam.
Posrkali ideal dela, nič nam ne morete.
To nam je skupno.
Nimam časa vodi v več časa, a ti štekaš ta paradoks.
Moj ritem: kamen spotike.
Trk ritmov.
Modeliranje ritmov.
Daj, reči, hočeš reči: delavnica!
Pa makar puklo.
Ne moreš več.
Same sinkope blodimo po svetu.
Nenasitni in lačni.
Hiperproduktivni, se vidimo kdaj drugič.
Skupaj in nikjer.
Živeti skupaj: {nujno, komajda, LOL.}
You can’t hurry love, ljubi me brzo.
tvoj stoični obraz vodi neki vrag
tvoj anksiozni obraz treba vremena
moj izčrpan obraz,
Akceleracionizem zveni.
Sentiment trpi.
Erotika trpi.
Življenje je dolgo mi pravi, ko
pride življenje je kratko mi pravi, ko
odhajam, kdaj če ne zdaj
me roti in kdo če ne mi jo bodrijo
sestre megajre,
normalizacija nestrpnosti je triumfirala
še v zadnjem zatočišču ljubezni je namenila javni oder …
Clip z javne vaje:

Poročilo s I. fragmenta:

 


II. fragment: 1. 11. 2020, eter Radia Študent, Odprti termin za kulturo
Radijska igra ljubi me brzo
V literarnem tekstu ljubi me brzo, ki je ena sama poved, dolga približno dvajset strani, se Nina Dragičević potopi v učinke akceleracije na misel sodobne ljubimke, njeno željo in beganje, radijska igra pa ozvoči tok misli, poslušalki skozi radijski aparat ničesar ne prenaša, pač pa sam aparat predstavlja skelet, v katerem misel poteka in se zvoči.

S snemanja II. fragmenta ljubi me brzo. Foto: Sploh

 


III. fragment: januar 2021
TBA
Projektna stran na sploh.si >>>

Gospa, tega v realnosti ni (Kamizdat Records, 2019)

Ljubav reče greva (ŠKUC Lambda, 2019)

“Nina Dragičević’s poetry book Ljubav reče greva is certainly the most striking one of all in the past year.” –dr. Igor Divjak (Sodobnost)

“Zbirka Nine Dragičević Ljubav reče greva je zagotovo najudarnejša, kar smo jih dobili v preteklem letu.” dr. Igor Divjak

“Ljubav reče grave is an attempt to form a vocal dialogue of an individual with the sound of the external world, it is a performance of breathing, screaming, desire, fear, angst, affect and, most of all, humanity. This is really a performance of the phenomenon ‘love’.  And when love says let’s “go” into this performance, I go with her. To imagine, together with love, what is love.”  –Varja Hrvatin (Neodvisni.art)

“Ljubav reče greva je poskus vzpostavljanja glasovnega dialoga posameznika z zvočnostjo zunanjega sveta, je uprizarjanje dihanja, bivanja, kričanja, želje, strahu, tesnobe, stanj, občutkov in predvsem človeškosti. Tukaj gre v resnici za uprizarjanje pojma ljubav. In ko ljubav reče »greva« v to predstavo, grem jaz v to predstavo z njo. Si z njo predstavljat, kaj je to ljubav.” Varja Hrvatin (Neodvisni.art)

Ljubav reče greva is read as a majestic long poem, as a discourse of love in its highest form.” –Veronika Šoster (Večer, Festival Pranger)

“Ljubav reče greva se bere kot ena sama veličastna pesnitev, kot ljubezenski izraz najvišje vrste.” (Veronika Šoster)

Nina Dragicevic Ljubav rece greva
Ljubav reče greva (2019)

Ljubav reče greva is a complex and a stunning story of survival.” –Domen Slovinič (Literatura)

“Ljubav reče greva je kompleksna in presunljiva zgodba o preživetju.” Domen Slovinič (Literatura)

Ljubav reče greva is a tour de force, a flowing run of words, sounds, thoughts, voices, emotions, merciless rhythms, a perpetually moving, restless, polyphonic, elusive poem, soaked with the intensity of contemporary life, precarious struggles, urban pulse, hidden realities, captivated within the airtight murmur as absolute intensity which surrounds us silently or loudly, flows as meaning itself and is manifested in forms of relations, the intimate and the public, through constructing and disappearing of subjectivities within power plays, in collision with power plays.” –Luka Zagoričnik (Centralala)

“Ljubav reče greva je tour de force, tekoč drnec besed, zvenov, misli, glasov, občutij, neusmiljenih ritmov, drseča, nenehno se premikajoča, nemirna, večglasna, zmuzljiva poema, vtrta, utesnjena v intenziviteto današnjega življenja, prekarnih stisk, urbanega pulza, zastrte realnosti, ujete v nepredirljivost šuma kot čiste intenzivitete, ki nas tiho ali glasno obkroža, pomensko drsi in se različno uteleša v obliki medsebojnih odnosov, intime in javnega, v tvorjenju in razblinjanju subjektivitet v igrah moči, v trkih z njimi.” Luka Zagoričnik (Centralala)

“a lithesome, sonically insightful, rhythmical, masterfully carried out polyphonic painting” – dr.Irena Novak Popov, Urška P. Černe, dr. Marcello Potocco

“gibka, zvočno pronicljiva, ritmična, mojstrsko izpeljana večglasna akustična slikarija” dr. Irena Novak Popov, Urška P. Černe, dr. Marcello Potocco


“Nina Dragičević brings to the front xenophobia, homophobia, negative attitudes toward minorities and poverty … The in-depth listening of the expropriated lyrical subject brings about one of the more successful depictions of society and its commonly accepted anomalies.” –Aljaž Koprivnikar (RTV Slovenija, program ARS)

“Nina Dragičević postavlja na površje ksenofobijo, homofobijo, odklonilen odnos do manjšin in revščine …. Poglobljeno poslušanje razlaščene subjektinje v nadaljevanju prinaša ene bolj uspelih upodobitev družbe v njenih splošno sprejetih anomalijah.” Aljaž Koprivnikar (RTV Slovenija, program ARS)

“Upam si trditi, da v slovenski literarni krajini še nihče ni tako eksplicitno in povzemajoč različne ravni spregovoril o blodečih duhovih, ki sanjajo, da bodo nekoč redno zaposleni, da bodo dobili plačan dopust, regres, bolniško, nadomestilo za brezposelnost, da ne omenjam pokojnine. Ta histerični položaj honorarcev, od katerih je odvisen čedalje večji del produkcije in ki so izvzeti iz vsakršnega socialnega dialoga, je torej insceniran ne samo na način obujanja historičnega spomina tistega, kar je bilo, in še vedno je, pač pa predvsem tistega, kar se v družbi kaže kot strah pred neizogibnim. Njen umetniški kolorit – vidno je slišno, nevidno je slišno, in ko gre za žensko in/ali lezbično, za priklicovanje nevidnega v slišno.” Gabriela Babnik

“At some point she screamed so forcefully that we were thrown off our chairs. Her words were in harmony with the sonority of her book Ljubav reče greva; and in accordance with the way in which love overflows a human being. … She completely altered our experience of space in which only minutes ago we were taking part in a placid conversation about literature. The abyss between one and the other could not have been deeper.” –Klemen Kordež (Literatura)

“Vmes je enkrat tako zakričala, da nas je vse vrglo s stolov. Njene besede so bile v sozvočju s tonom njene zbirke Ljubav reče greva; in v skladu z načinom, kako ljubezen preplavi človeka. Hitro, brez predaha, brez premolkov in brez taktiziranja. V enem zamahu. Tako je brala. Z očmi, zbrano uprtimi v knjigo, je s svojimi besedami in s pomočjo vizualne kulise popolnoma »predrugačila« naše doživljanje prostora, v katerem smo bili še nekaj minut nazaj priča spokojnemu pogovoru o literaturi. Prepad med prvim in drugim sklopom ne bi mogel biti globlji.” Klemen Kordež (Literatura)


Nina Dragičević: Ljubav reče greva, koncertna izvedba knjige (Nina Dragičević, Anja Novak, Žiga Jenko), Stara elektrarna, 7.10.2019 25. Mednarodni festival sodobnih umetnosti – Mesto žensk /25th International Festival of Contemporary Arts – City of Women

“This book was nominated for the Veronika Award, and rightly so.” –Tonja Jelen (Poetikon Literary Journal)

“Pesniška zbirka Nine Dragičević je bila letos nominirana za Veronikino nagrado, in to več kot upravičeno.” Tonja Jelen (Poetikon)

LJUBAV REČE GREVA V ŽIVO NA RADIU ŠTUDENT


Nina Dragičević – Ljubav reče greva / Love Says Let’s Go from City of Women on Vimeo.

23. 4. 2019, Narodna galerija (National Gallery, Ljubljana) Koncertna izvedba knjige Ljubav reče greva (Concert performance of Ljubav reče greva) w/ Anja Novak, Žiga Jenko Foto: Domen Slovinič
Nina Dragičević: Ljubav reče greva, koncertna izvedba knjige (Nina Dragičević, Anja Novak, Žiga Jenko), Stara elektrarna, 7.10.2019; 25. Mednarodni festival sodobnih umetnosti – Mesto žensk /25th International Festival of Contemporary Arts – City of Women; Foto: Nada Žgank

[critics] 10 books from Slovenia; Literary Critics’ choice, 2020 >>>

[nominacija za nagrado Kritiško sito]

[nominacija za Jenkovo nagrado, ožji izbor / Jenko award nominee, finals]  Znanih je šest pesniških zbirk v ožjem izboru za Jenkovo nagrado

[finalistka za veronikino nagrado / Veronika award finalist] Žirija za Veronikino nagrado nominirala pet zbirk >>>  // Delo: Brane Piano: Cvet štirih pesnic in enega pesnika >>>

[recenzija] Mojstrica multiplih realnostiVarja Hrvatin, Neodvisni.art, 24. 3. 2020

[recenzija nastopa / performance review] Klemen Kordež, Na ostrem rezilu medkulturnega stika, ludliteratura.si, 29. november 2019 >>>

[recenzija / review] Igor Divjak, Nina Dragičević: ljubav reče greva, revija Sodobnost 10/2019 >>>

[recenzija / review] Gabriela Babnik, … reče umetnost pripada ljudem … rečem umetnost ne pripada …, Vrabec Anarhist, 29. januar 2019 >>>

[recenzija / review] Domen Slovinič, Neznosnost teže bivanja ali kako danes preživeti?, LUD Literatura, 2. maj 2019 >>>

[recenzija / review] Vid Bešter, Kosilo nekega molja, Radio Študent: Nekaj sredstev – vedno na voljo >>>

[tv] TV Slovenija, Pisave (ur. Alenka Zor Simoniti), maj 2019 >>>

[tv] Televizija Slovenija, 8. dan, 25, april 2019 >>>

[tv] Televizija Slovenija, Kultura, Ljubav reče greva: nova knjiga Nine Dragičević, 22. marec 2019 >>>

[Photo]: Nina Dragičević: Ljubav reče greva, koncertna izvedba knjige (Nina Dragičević, Anja Novak, Žiga Jenko), Stara elektrarna, 7.10.2019;
25. Mednarodni festival sodobnih umetnosti – Mesto žensk /25th International Festival of Contemporary Arts – City of Women; Foto: Nada Žgank

Nagrada Vitezinja poezije 2018

via Založba Pivec

“Prvič se je zgodilo, da je tako strokovno žirijo kot občinstvo prepričala ista pesem, gre za pesem brez naslova, ki se začenja z verzom in seveda mi ni …”

OBRAZLOŽITEV STROKOVNE ŽIRIJE (dr. Irena Popov Novak, Urška P. Černe, Marcello Potocco)

Nina Dragičević: in seveda mi ni

V nenaslovljeni pesmi je nemogoče zgrešiti njen zvočni impulz: najprej dolgi, notranje razčlenjeni, nato kratki verzi, kjer ni nobenih ločil. Temu se pridružuje večglasje, notranji monolog in neizrečeni komentarji, ki jih prekinja v kurzivi zapisani govor drugega. Čeprav bi oblikovanost na določenih mestih lahko spomnila na neovantgardno poigravanje s črkovnimi in besednozvočnimi enotami, pa avtorica svojo pesem zaobrne v podčrtanje pomena, tako da ji črkovni znak postane temelj za gradnjo narativa. Tako vznika obramba pred simbolno močjo družbenega diskurza, torej družbena kritika z modernimi sredstvi. Zgodba je ali bi lahko bila realna, vsekakor ima močno prezenco realnosti. Jasno je, da protagonistki ni do tega in se ji ne gre tja. Namreč na radio, vadit govor. Zaradi črke ć, kajti to je kršitev slovenske slovnice (fonologije), in zaradi guturalne izgovarjave glasu r, tudi to je kršitev slovenske slovnice (fonetike). Skratka, napaka − čefurka, ki pogrkuje. Napačnost telesa in kulture. Njih, ironično poimenovanih komisija, tribunal, konzilij, ki ugotavljajo sposobnosti in »pravnomočno«− zapisano narazen, da posebej opazimo moč, ki tako rekoč uradno odloča o sprejemljivosti in sposobnosti, − »skrbi le še domovina (dom vina?)«

To je pesem o odrinjenosti, občutju ne-varnosti, ki ga je nevroznanost nedavno locirala kot pravo poškodbo, močna (vsakokratna) večina pa se mu še zmeraj posmehuje. Tudi njen sogovorec v skrajni interpretaciji spada v to nacionalno strumno večino. Opisan je ambivalentno, na eni strani celo kot njej naklonjen, njej blizu, v resnici pa njej neskončno daleč. Le tako lahko razumemo distanco, nenehno odtekanje, odhajanje in vračanje, ki jo govorka izpostavlja do njega, in razumemo njegov morebiti dobronamerni nasvet, s katerim se pesem konča:nasvet o asimilaciji, ki je sicer potopljen v banalno, navidez kritično brbljanje. Ona pa na radio, v nestrpno okolje, v večino mora, za kruh. V tej gibki, zvočno pronicljivi, ritmični, mojstrsko izpeljani večglasni akustični slikariji »smeh ihti«. Nekdo je monumentalne drže, nekdo ni te sreče: »skratka (še kar sem tu zelo močno šibka)«.Pravzaprav je z vsakim izrečenim glasom izpostavljena očitanju, »saj se sploh ne znaš izgovoriti«. Od tod tudi pomisel, da fašizem ni nikdar dokončno zaspal, ampak ga znova obujajo, pri čemer ga vselej pripisujejo drugim. Krepak duh poznavanja jezika, ki ga ta poezija izkazuje z besednimi igrami, zamolki in ironijo, je učinkovit kontrapunkt prav tisti napačnosti, ki jo protagonistki očitajo v imenu ljubezni do domovine. Se čudite, da si je avtorica izbrala za šifro Nebodijetreba?

Med njima je glasba: Glasba v konstrukciji lezbične scene

Dragičević - Med njima je glasba

Foto: Petra Hrovatin

Med njima je glasba je esejistično-znanstvena monografija, v kateri avtorica tematizira vlogo glasbe v konstrukciji lezbične scene. Preko spretnega prepletanja socioloških, kulturoloških, glasbeno-teoretskih in filozofskih podstati ter močno prisotne osebne izkušnje se nam razkriva povezovalni, navigacijski, tvorni in mestoma razdiralni značaj glasbe, ki zmore tvoriti stik mnogo preden je spregovorjena beseda.
Ali, kot zapiše Nataša Velikonja v spremni besedi, avtorica “dalje plete trdno analitsko rdečo nit njenega dela, vez med glasbo/zvokom in seksualnostjo, tokrat skorajda izključno lezbično seksualnostjo. Gre za tematiziranje glasbe kot konstrukcijskega dejavnika lezbične scene, za vpogled v zgodovino ustvarjanja glasbe s strani lezbijk, pa tudi za analizo glasbenih prioritet v lezbičnih okoljih, klubskih, produkcijskih, radijskih, festivalskih. Gre pa tudi za tematiziranje glasbe kot elementa seksualne ali erotične subjektivizacije lezbijk.” In nadaljuje: “Raziskovanje glasbe kot elementa konstrukcije lezbične scene je nekaj novega. Nekaj novega je raziskovanje glasbe kot momenta v konstrukciji lezbične identitete, pa tudi raziskovanje glasbe kot elementa konstrukcije seksualne subjektivitete pri lezbijkah … Nina pokaže na kompleksnost oblikovanja lezbične subjektivitete na primeru ljubljanske lezbične scene preko tematiziranja glasbe s področja Jugoslavije, ki v mnogih krogih zaradi svoje pogosto problematične, tudi nacionalistične in seksistične provenience ni ravno zaželena, pa vendar je v klubskem življenju lezbijk močno prisotna.”

Naslov / Title: Med njima je glasba: Glasba v konstrukciji lezbične scene / The Music Between Them: Music in Construction of Lesbian Spaces

Izdajatelj / Publisher: Društvo Parada ponosa / Ljubljana Pride Association

Leto / Year: 2017

Spremna beseda / Foreword: Nataša Velikonja

 

Recenzija / Review: Marko Karlovčec: Atonalnost konstrukcije lezbične želje in želeči erotizirani zven. Odzven, 26. 3. 2018.

And then what?: The future of lesbianism (European Lesbian Conference, October 2017, Vienna)

The following text is a transcript of a presentation at the European Lesbian Conference, which was held in Vienna in October 2017. The presentation was a part of the session Lesbian imagination: production, publication and sharing of lesbian culture, which hosted Hilary McCollum, Karin Rick, Nataša Velikonja, Nina Dragičević, Renate Klein and Susan Hawthorne.

 

And then what?: The future of lesbianism

Imagine the European lesbian community a hundred years from now. It’s the 22nd Century. All the activist work has paid off: the hegemonic society had finally given up and granted the homosexuals equal rights, the homosexual people from Chechnya are now safe – that is, they’ve been given permanent asylums abroad -, not one lesbian is beaten up in the middle of Sarajevo, the pride parade in Rio is green with envy because now the LGBT people in Macedonia, Montenegro and Albania are hosting the largest pride parades in history, lesbians are not only holding hands in public spaces, they now all have the right to get married, to adopt each other’s children etc. Lesbian lives are finally decent lives.

So, a hundred years from now, after all has been said and done, after we have achieved what we strived for … then what? What will remain of us, the lesbians, those eternal nomads, refugees, as Monique Wittig puts it? Will the lesbian remain at all? What will she be remembered of? She will be said to had fought many battles, she had struggled both with the outer world as well as her own sisters, but what will remain of her after her explicit political efforts are no longer needed?

Nothing.

Because in our struggles, we have failed to put sufficient emphasis on forming, strengthening, expanding, sharing, documenting, archiving our cultural, artistic, intellectual achievements. We have failed to preserve our common lesbian culture. And I suggest that our culture  and arts are precisely what might assure us with our future.

In its most basic interpretation, art can be understood as space which is not this space. It is everywhere but here. It is the opposite of this and here, and therefore, it is the opposite of life as we know it. But, who is we who claim to know this life?

Throughout the history, lesbians were a taboo; in Europe, for example, in the 19th Century, after biopolitics really kicked in, lesbianism was not even criminalized – in society, it was simply non-existent. One might remember Queen Victoria, a kind of a supreme ruler of a certain era, who claimed that there was no such thing as lesbianism. In Yugoslavia, homosexuality was criminalized, but there was not even a word about lesbiansim. How did the lesbians reply to that? How do we even know about them from that time? We know of them because: They. Created. Art. They were poets, novelists, painters, composers. By making art, they articulated their desires, they formed their specific vocabularies, they discussed their lives and wrote, painted, sang about them extensively, and on the way, they connected, started creating lesbian scenes, spaces, bars, clubs, publishing houses, bookstores, libraries, galleries, concerts, albums, music festivals … Creating art was a way of not only articulating their lesbian desires and identities, and not only forming utopias as ideas of an alternative, but actual alternatives, utopistics, as Wallerstein would call them. The real utopias, the alternative realities which are not only historically possible, but are also better from the current realities. They created what in the material realities was non-existent.

In that sense, it is the lesbian art which assures us with both historical and current presence of lesbianism, as well as its future. And a century later, here we will be. Or will we? In rather successful projects, also known as necro-capitalism and hyper-digitalisation, and through a new cycle of traditionalisation of society as well as anti-identity or queer politics of the late 20th Century, the lesbian is disappearing. After all, look at us here, we came to a lesbian conference, but somewhere on the way, lesbian was equipped with an asterisk; when did that happen, and why? Why were we mostly asked about our gender when applying to this european lesbian conference, a conference on sexual difference? There is a name for what is happening both out and inside this large lesbian community. It is called the disappearance of lesbianism. Or, as Bonnie M. Morris says, the disappearance of L. The L is being extinguished.

Let us not be fooled: the process mentioned can not be stopped easily. If it can be stopped at all. Therefore, the question that remains is, again: what will be left of us? Or, put in another way, what is the future of lesbianism? Is there a future of and for lesbians?

Perhaps. But it requires serious work. It demands us to go back to our roots, to the strategies that got us where we are now, or, as a lesbian singer from the 80s Judy Reagan said when she was singing about butch and femme lesbians: remember who pointed the way. With each new generation, the knowledge about lesbian histories is further away. Disinterest in knowledge is a rather common phenomenon of current times, but it is not some historical amnesia, it is simply anti-intellectualism, hatred towards knowing. It is our responsibility to preserve our histories. In the European context we have an insanely rich history (as well as presence) of lesbian arts. Nataša here just presented the first anthology of contemporary European lesbian poetry. A book long overdue, but still, and precisely because of that, one of the most important books for lesbians in this area. In that sense, we do speak about our poetry, literature, about Renee Vivien and Gertrude Stein, Audre Lorde, Pat Parker, Elizabeth Bishop, Kirya Traber, etc. But, you see, we are persistently overlooking, or rather, overhearing a crucial constituent of lesbian as an identity,  subjectivity in becoming and a political body. What we don’t speak about or rarely mention is our music.

Lillian Faderman wrote in Odd Girls, Twilight Lovers that “in its success in reaching large numbers of lesbians, women’s music was perhaps the most effective of all the enterprises undertaken by the lesbian-feminist community in the 1970s.” She was speaking about the North American movement, not European lesbian collectives. However, there is a rich history and presence of musicians, composers lesbians (in Europe). I suggest that we dig into precisely that history.

Why? Because sound, and therefore sound arts are in the core of both the world and the construction of lesbian spaces. As Jacques Attali said, the world is to be listened at. Sounding is unavoidable, it is what assures our presence. The sounding of lesbian, lesbian desire and lesbian identity is presence of lesbian. And on the other hand, it is important to learn about, preserve and create our sound arts, because music has an incredible power to speak of the unspeakable. Even more, it emerges in the midst of socialisation. It is literally between the two, who together are lesbians. It is through being with lesbian that makes a lesbian; it is the need for socialisation which is the initial lever for a lesbian movement. In that sense, I propose the lesbian socialisation to be observed as a specific music, a constant sounding of that which is indescribable in conventional terms. It is through sounding that lesbian becomes a political force. In that sense, for example, Pride parades are not a march of bodies, but a force of loudness, declaration of existence by sounding existence. Resistance is more than anything audible. That means that, added to the rich history of literature and other arts as well as their authors that are being discovered, analyzed, published and archived in Europe, we must urgently do the same with music. Yesterday we heard a wonderful performance of Ethel Smyth’s music in production of Attilia Kiyoko Cernitori and Angelika Silberbauer. But Ethel Smyth is just one of many composers lesbians in Europe. Even more, our lives are not a repetition of history. Among us there are incredible lesbian artists which we have never heard of, because despite the easiness of connecting online, our artistic works are lost in the endless pool called the Internet. And in Europe, our communities are, of course, quite dispersed. The importance of our history and our present and the need for connecting, which is also in the core of this conference, are then the reason for what I am about to propose:

In Ljubljana, at ŠKUC Association, we are developing a digital archives, streaming, publishing and event organising platform that would (and will) connect lesbian artists – starting in Europe, but with no real geographical limitations. I present to you the Lesbian Arts Platform

With the Lesbian Arts Platform we aim to map the unheard and the unseen and the unread, to document lesbian artists and their works, to make unheard heard, unseen seen, unread read, and to offer a domicile to lesbian artists. This means, first, creating a digital encyclopedia of lesbian artists, collecting archives all over Europe, researching the educational curriculum, analyzing it and making a public statement on the representation of lesbian artists in our history books, making an action plan for changing the situation, which is, quite frankly, terrible. Second, it means forming a lesbian arts journal and a publishing space for books and music. Third, it means organising an annual symposium on lesbian arts as well as regular events across Europe, enabling live-streaming, for every lesbian should have access to her culture. And fourth, we are planning the first lesbian residency for lesbian artists in Europe.

We are looking for partners in this complex project. My time is up, but I can discuss the details with all who are interested later.

Nina Dragičević

Slavne neznane / Predstavitev knjige / Book Presentation

Pritličje, Mestni trg 2, Ljubljana

28. 2. 2017 / February 28 2017

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Predstavitev je tudi zvočna instalacija, ki je nastala v sodelovanju s Stašo Guček iz  Iniciative za ženske s čutom za tehnologijo, znanost in umetnost – Č I P k e (RAMPA Lab /Kersnikova) ter s pomočjo Tjuša Aljančiča.  V instalaciji smo ozvočili dvorano, s prisotnostjo in dinamikami publike v prostoru pa je nastala neponovljiva kompozicija, ki je nakazovala na nastajanje prostora in neizogibnosti posledic prisotnosti. Uvodne besede: Nataša Velikonja

The presentation was carried out as a sound installation, made in collaboration with Staša Guček of Č I P k e (RAMPA Lab /Kersnikova) and Tjuš Aljančič. Trough a set-up of contact microphones, which were in interaction with the audience, we exhibited the becoming of space. Introduction: Nataša Velikonja.

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