Karen Nhea Nielsen + Marko Gutić Mižimakov
Karen Nhea Nielsen (b.1990) is a visual artist, performer and a collector of notes, quotes, thoughts and situations which she is replaying over and over in her head; and then I said and then you said and then I looked him in the eyes and said no. Working with and in relations to others her practice revolves around the ambiguous relationships we have with institutions, processes and people. She holds an MFA from the Royal Danish Academy of Fine Arts, Schools of Visual Arts. Besides, she has a big fascination with rabbits.
Marko Gutić Mižimakov (b. 1992) works with performance, animation, choreography, text and sometimes sound. Since 2017 he has been collaborating with fellow artists, dancers and performers on a series of projects based on interaction with animated figures named affective clones. Recently he is looking into proximities of drag performance and images synthesized by machine learning. He lives and works in Zagreb. After graduating New Media from the Academy of Fine Arts in 2018, he initiated the project Čvorište (The Hub) in GMK.
Karen Nhea Nielsen and Marko Gutić Mižimakov have been collaborating in several projects since they met in Zagreb in 2017, and would like to thank Nika Pećarina for composing the autumn theme music so Lilyslava8 and AmpersandG8 have something to dance to in thank you for being here with me.
We think together
We work together
We have ribs
We used to have big teeth
We have aches
We are young
Šta je za tebe zajednički jezik mladih?
I wish to talk as a we, but then you said that you hate when people are talking on behalf of you, and I agreed, that's not what I want, but then maybe not speak as we but be a we, however that works.
Kako izgleda proces nastanka jednog tvog rada?
We think together
We work together
We have ribs
We used to have big teeth
We have aches
We are young
Koji su izazovi stvaranja umetnosti onakvom kakvom je ti stvaraš?
To the whole, we oppose the parts. As parts taken out of their whole or a togetherness of several wholes that is of ourselves, individuals being in common.
Da li si ti umetnik/ca i šta za tebe predstavlja ta reč?
The word as presence, as feeling as sense (more than meaning).
Koji je tvoj beg od stvarnosti? Imaš li uopšte potrebu za begom?
I noticed I slightly moved my body out of your space when I walked around the space in squares so I wouldn’t interrupt your space.
I noticed you slightly moved your body out of my space when you walked around the space in squares so You wouldn’t interrupt my space.
We stopped dancing but we are still able to show how it's done.
Šta za tebe znači biti inovativan?
Nor history nor etymology can produce something like sense.
Something which is still in front of us, which is still to be discovered, or which is still to come.
Imaš li plan za budućnost? Gde tvoja umetnička praksa može da te odvede?
She said something about that we are not limited to two, and I felt she wanted to make a point more than she actually believed it. That's how you speak most of the time, you ask me what's my favorite dish or film or color, just so you can make the point that you don't want to distinguish the world like that. But you still have a favorite color, it’s purple, and you like to go to the cinema and watch Scandinavian dramas. I like hot dogs, I said and you laughed.
Šta je najviše uticalo na tebe da postaneš ono što si sada / da se baviš time čime se baviš?
I guess it started with the notion of a we, and a wish to separate the presumptions of the we with the word, like if we could start with a we without any meaning except that we are more than one without being limited to two or three or whatever preferred number.
Kako bi opisao/la mladu srpsku kulturno-umetničku scenu?
Belonging as presence, as feeling as sense (more then meaning).
Na koji način te tvoj idejni i stvaralački proces oblikuje i/ili menja kao ličnost, da li uopšte?
... as something beautiful and common as something slightly nau-se-a-ting.