Vael Šavki | Wael Shawky
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Wael Shawky Image 1   Wael Shawky Image 2
Pećina ”Amsterdam”, 2006 (kadrovi iz videorada)
The Cave ”Amsterdam”, 2006 (video stills)


Born in 1971 in Alexandria, Egypt.
Lives and works in Cairo.

www.thetownhousegallery.com

The Cave ”Amsterdam”, 2006 (video stills)

The title Cave refers to a chapter located in part number 15 in the Koran. It has over seven different stories but the essential one is the story of the Cave of the seven sleepers. Originally a Greek legend, the tale can be found in the Latin work of Gregory of Tours and in many religious writings. In the Islamic version, the seven religious men who lived in the City of Ephesus in Turkey around 250 AD are trying to take refuge from persecution by hiding in a cave. God put them to sleep for 309 years and after they awoke they found that Christianity had become the dominant faith of the empire. […]

The link between all the stories is the relationship between knowledge and power. Although the audience may consider the twelve minutes’ recital a sociological translation of a self-portrait, it is also a presentation of two systems that have nothing to do with each other, a supermarket and religious speech. Questioning the dominance of each upon the other leads once again to the dialogue between power and knowledge. The behaviour of the performer is part of this conflict, as the audience can’t read the performer’s political or ideological position. In that sense the way of reciting the text as a news report delivers the sound of neutrality that enhances the gap between the two hybridized systems; at the same time religious speech becomes an equivalent of the dominance of the capitalistic media that considers its speech an indubitable form of fact.

Rođen 1971. godine u Aleksandriji u Egiptu.
Živi i radi u Kairu.

www.thetownhousegallery.com

Pećina „Amsterdam”, 2006 (kadrovi iz videorada)

Naslov Pećina odnosi se na poglavlje u odeljku Korana broj 15. Ono sadrži više od sedam različitih priča, ali bitna je priča o Pećini sedam spavača. Izvorno nastala kao grčka legenda, ova priča može se naći u delu na latinskom Grgura iz Tura i u mnogom verskim spisima. U islamskoj verziji, sedam vernika koji su živeli u gradu Efesu u Turskoj oko 250. godine pre naše ere pokušavaju da pronađu utočište od proganjanja skrivajući se u pećini. Bog ih je uspavao na 309 godina, i pošto su se probudili, ustanovili su da je hrišćanstvo postalo dominantna vera carstva. […]

Sve te priče povezuje odnos između znanja i moći. Premda publika može ovaj recital od dvanaest minuta smatrati sociološkim prevodom autoportreta, to je takođe i prikaz dva sistema koji nemaju ništa zajedničko jedan sa drugim, supermarketa i verskog govora. Preispitivanje dominacije jednog od njih nad drugim ponovo vodi do dijaloga između moći i znanja. Ponašanje izvođača je deo ovog konflikta, pošto publika ne može da pročita političku ili ideološku poziciju izvođača. U tom smislu, način izgovaranja teksta kao vesti daje neutralan ton koji naglašava jaz između dva hibridna sistema, a istovremeno verski govor postaje ekvivalent dominacije kapitalističkih medija koji svoj govor smatraju nesumnjivim vidom činjenice.