A human being should be able to change a diaper, plan an invasion, butcher a hog, conn a ship, design a building, write a sonnet, balance accounts, build a wall, set a bone, comfort the dying, take orders, give orders, cooperate, act alone, solve equations, analyse a new problem, pitch manure, program a computer, cook a tasty meal, fight efficiently, die gallantly.
Specialization is for insects.
Robert Heinlein, Time Enough for Love, 1973
DECAMERON 2.0 is a piece for three musicians, two dancers and technology, a meditation on quarantine, the connection and the relationship between analog and digital. Ten characters, five living and five digital, share their experiences from quarantine and transform isolation into connection. Their stories range from mythical to contemporary: tales of entrapment and the need for company; of warriors and magic; of battling one’s demons; stories of restlessness and quests for things lost; a search for meaning and loosing oneself to an illusion; of coping with despair and the challenges of love; finally, of renouncing perfection in favour of being human. While the characters' main idea is to pass the time, a deeper need also arises: to listen and be heard, to give and receive; to share pain and feel understood.
Inspired by the Boccacio‘s timeless tales quarantine, DECAMERON 2.0 shows the power of stories and our need for connection as well as the phenomenon of online life. Why do we feel the urge to share our inner life with one another? In a time when connection is only possible online, do our digital personalities detach from us with an identity, a life of their own? Where can we find comfort in a time of isolation? The piece plays with these questions and finally shows how we all, like Scheherezade, can save our lives with stories.
I want to give a picture of my time with the means of my time.
Architecture should make us feel different, if not, engineering should be enough.
...So it’s not that I would be against theory in art per se (nor that it’s impossible to do it, there are people who are doing it well, like Jan Zalesak, for example), it’s just that in my own work I try not to base it on theory, but base it on the artworks themselves. For me, the key to everything is always the art. When I started out as a curator it was because of the artworks, not because of some theory. It doesn’t mean that I’m not conscious of theory, just that I am suspicious of them. For me, they can be easily instrumentalized...
Tradicionalno, ovim ustanovama se nije upravljalo, već se njima administriralo.
Tako se 1988. godine nekadašnji ravnatelj londonskoga Victoria i Albert Museuma Sir Roy Strong prisjeća da planiranje, određivanje ciljeva i izrada dugoročne strategije nikada nisu bili dijelom muzejskoga života kakvoga se sjećam iz pedesetih i šezdesetih...Sve do sada muzeji su bili izvan glavne struje upravljačkoga profesionalizma. Posljedice su u mnogim slučajevima bile gotovo fatalne...
Stjepan Meštrović, Strateški menadžment u kulturi na primjeru Muzeja Grada Splita, 2016.