Instrument: 4 zinc-coated colorless iron plates (300X125 cm) hang from ceiling forming a square (X-shaped); The plates are lighted by 4 UV-lamps set on the walls, at height that enables plates to reflect the light; At the down edge in the middle of each plate, phallus-shaped battery run vibrators hang; At every quarter of a length of the plate, 5 cm above there is a white cotton-made bag filled with 5 kg of 4-8 mm crumbled stone; Inner floor of the square is covered by white paper; At every corner of the performance room, there is a loudspeaker that reproduces certain sound (quadraphonic). Performance: Movement 1: White-dressed female player plays for 10 minutes electrified saz amplified by two pocket Marshall amplifiers in front of the performance hall. Movement 2: 4 artists stand within the square take vibrator and play on the plate for 5 minutes. Movement 3: Sound from loudspeaker begins; the actors take sticks and other tools and use them to play on the plate for 18 minutes. Movement 4: The artists get out from the square, slowly cut hanging bags to allow stones to flow. After the stones flowed out, the actors use them for further playing. This act goes for 15 minutes Movement 5: The artists get back in the square, start to shake the plates in crescendo until maximum loudness I reached. Then they left the plate and get out from the square. Movement 6: Sounds from the loudspeakers continues.
In encompassing architecture of text, sound, light and movement, Ambrosia question four fundamental principles of its existence, playing with them in the context of a fascinating perspective. Escaping from a terrifying panopticum of infantilizing civilization, where opening is essentially closure of all possibilities, Ambrosia builds its own U-TOPOS as ARCHI-TOPOS, where no one can see everything. Aware of its minor temporal dimension and special limitations, Ambrosia people can be only (self) ironic witnesses of the play of open and closed; they are mare second hand smokers, fascinated by U and ARCHI- TOPOS of their own, by the perspective of pan-catastrophe. “Pasivni pušači – Second Hand Smokers” is an artifact within wider artistic concept which questions and revaluates AMBROSIA’s own position in a pan-catastrophic world.
Semra Kikić, Ognjen Šavija, Igor Banjac, Elvir Šahić, Maja Zećo, Adela Jušić and Nebojša Šavija–Valha
* Duplex/10m2 Gallery, Sarajevo, 26.09.2009. * FAKI Festival, AKC Medica, Zagreb, 21.05. 2011