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ISSN 1409-6900 | UDK 82+7     Blesok no. 117 | volume  | December, 2017



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                     Peer-reviewed journal
Blesok no. 117December, 2017
Gallery Reviews

Dženat Dreković - Review

Translation to English: Elizabeta Bakovska


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Dženat Dreković - Review

Prison is an obsessive theme in art since its modern beginnings until nowadays. Without any doubt, it contains the very essence of the modern vision of human society and civilization structures of discipline and punish, from the Kafkaesque image of castle as a phantasmagoric and spatially incomprehensible core of power to the permanent trial which the institutions of the social system carry on against man. Foucault determines prison as another space, i.e. a heterotope in which the social procedures of discipline and punishing show themselves in full light, and in accordance with this, the space of the prison and the organization of life in it are the most precise image of the social norms and hierarchical structures of power. Andrić’s view that prison best shows the character of a power, and the people inside it the essence of its legal order comes from the awareness about the nature of totalitarian social patterns. The Damned Yard is a gloomy picture of the prison in which it is not only the prisoners, but also the guards that are deprived or freedom, i.e. the power itself can not leave the prison due to the paranoia which has flooded the system from the bottom to the top, be the prison mental, inner or real with manifestations of violence, torture and accusations without any guilt and court trials that are outside the legal norm.
     Just as the politics has become an ontology of the modern man, the prison has become its dead house and a crucial ontological topos, just as Dostoyevsky wrote in his Notes from Underground and Notes from the Dead House, as he experienced not only the Siberian prison, but also the death sentence.
     Dženat Dreković enters the prison with the lens of his photo camera; apart from the Cyrillic signs on the doors we can not know where this prison is, what society and which power apparatus reflect their power and their understanding of punishment in it. Actually, it is not even important which time and what social system that prison belongs to, since Dreković is not interested in the political in the prison, as a reflection of the social structure of power outside it. The photographer has turned this political into a hint of the ontology of prison, its structure of existence, to symbolically express the very logos of the prison, the essence of the






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