But, let us peek with Dreković’s camera into another aspect of human existence in prison. If he, as an ontological space is deprived of any subjectivity and if the norm strictly determines him so that by cancelling the events it actually also touches upon man, the basic question is who he is in prison, except being limited to the function of space, objectivised, so-called. This question actually opens the very essence of the existence of man in conditions when the disciplinary apparatus of the sate imposes its norm upon him. Man is namely, only left with the fact of expressing and defending his personality by intervening on his own body. Dreković therefore captures tattoos, this metonymic game of the swastika on prisoner’s skin, or the image in which the skin of the prisoner implies a face of a person that floats between the male and female, or it is transsexual. In this way, body appears as a sign of freedom, speech of the person, exposed to discipline and punishment. However, isn’t it all that is left for man also in the first, so-called real time, where we are sentenced to system being internalised into our psyche and mind with the Lacanian production of desires. In other words, if the prison is a space for disciplining and punishing, isn’t the space of freedom but an illusion, because there the system is internalised inside us, turning us into its mental subjects?
Dženat Dreković – Review