Iza uma

ABOUT

The post-structuralist contextualization of the interrelations between different forms of art, such as literature and music or literature and visual arts, opens exciting possibilities for materialization of concepts, which transcend boundaries of mononuclear models. This approach provides an option for re-evaluation of the perception of reality, laying the groundwork for deeper philosophical reflections on the essence of human existence. Simply put – words and images become witnesses of an idea that opposes the concept of the singular spacetime reality. An artistic work mutates into a form of communication with eternity, becoming a bridge between the material and the immaterial, connecting the tachyonic worlds of immediacy and permanence. By tracing a path into the prairies of human nature, it poses fundamental questions about the being of time, identity and meaning.

The intermedial music performance Iza uma [ΔE×ΔT≥Ħ2×(1–(V^2/C^2))1] is explicitly designed for the Radmilja necropolis and encompasses the entire area. The historical context, location, language, music, light, silence, and the ambient sounds are equaly important components under the overarching umbrella of the artistic concept. The symbolic basis of the work consists of several poems by Mak Dizdar: Ruke, Radimlja, Zapis o štitu, Svatovska. Scenographic interventions, light projections (3D mapping of the entire necropolis), digital sculptures, recontextualization of the ensemble, the design of lighting and sound projections, aim to generate a sense of detachment from reality, positioning Radimlja in a timeless interspace analogous to the Event Horizon.

Iza uma [ΔE×ΔT≥Ħ2×(1–(V^2/C^2))1]: Few words about the title

ΔE×ΔT≥Ħ2×(1–(V^2/C^2))1 is a fictional formula that represents the variation (or extension) of the uncertainty principle in quantum mechanics, combining elements of the energy-time uncertainty principle and elements of relativistic effects in a non-standard form. It embeds the thematic interplay between science, philosophy, and art, reflecting the intricate dynamics of the underlying concept of transience and permanence, material, and immaterial realms, as well as the exploration of temporal and spatial dimensions within the artistic context.

Historical Context

Most of the gravestones date from the 15th and 16th centuries. An inscription on one of the monuments is the most reliable indication of the time of origin. According to this, the necropolis can be linked to the time when the Hrabren-Miloradović family lived in Batnoge or Ošanići. Numerous Illyrian burial mounds in the immediate vicinity indicate the continuation of the tradition of burial next to ancient graves.

The monuments of this necropolis are arranged and aligned in a northwest-southeast direction, with the head of the deceased in the northwest and the feet in the southeast. Limestone from the nearby quarry on Ošanić Hill, about 800 meters northeast of the necropolis, was used for the carving, where an unfinished stećak still stands today. The basic shapes were most likely carved in the quarry itself, while the finishing and decorations were made in the necropolis to avoid damage during transportation. 

The necropolis consists of 133 tombstones, 63 of which are decorated, which means that the Radimlja necropolis is one of the most decorated necropolises in Bosnia and Herzegovina. Among the decorative motifs, the curved cloverleaf and twisted ribbons stand out in terms of number and workmanship, as well as motifs with symbolic meaning such as the sun (circle), stars and the crescent moon. Particularly noteworthy are the “ducal figures” and male figures with raised arms.

Belma Bešlić-Gál [05/2024]