In a small space of a former shop in a “shopping town” [Privredni grad] under the Skenderija Centre in Sarajevo, four photosensitive paper-made human shaped shadows were attached one next to the other to an originally yellow-painted wall. The shadows were two-dimensional projection of bodies of four Ambrosia artists. Hanging from a ceiling, at various heights, there were four infusion bottles, each filled with different color: white, black, blue and red. Each bottle is connected to the related shadow by infusion tube with needle applied to the shadow’s “arm”. The colors have been permanently infused to the “arms” overflowing them and pouring into the shop’s floor, where they randomly mix making a permanently changing paint. In the middle of the space there was 19th century cannonball.Besides shadows, there has been 3X77 randomly torn pieces of the photosensitive paper attached to the three walls with screws at the holes previously used (most likely) for attaching shelves. On the front wall – made of glass – there were 4 texts relating, figures, colors and Arthur Rimbaud’s “Vowels”.
By AMBROSIA LAB as an installation and “Ambrosia boje” [Ambrosia Colors] as a performance, Ambrosia evokes significance of Arthur Rimbaud’s “Vowels” [Voyelles] as non-messengers. As such, contextualized through an installation in the space, Ambrosia embodies colored image of detextualized space. Following Rimbaud in his transgression of poetical single-dimensionality, through a play of artistic construction of “privileged place”, (non) colors, light, fluid, figures and sound create an atmosphere of cognitive curiosity over ritualized everyday life, which is dominated by single-dimensional labeling and which denies plurality by reducing it to a narrowed field of meaning. The performance interprets figurative possibility of presenting fundamental principles of Ambrosia’s existence by enchantment of an emotional demand for a reflection of belonging, and simultaneously questions the politics of identities and identity in general.
Shadows are: Elvir Šahić, Igor Banjac, Ognjen Šavija, Nebojša Šavija – Valha
@ SUBDOKUMENTA, project by CKD Charlama, Sarajevo, 2009, curetted by Jusuf Hadžifejzović.