Taste of Life/SCHNITT09


Taste of Life/Concept and Direction Darko Dragičević Director of Photography Brian Paneccasio Starring Laura Wall, Jessica Warner, Austin Stack, Jennifer Nielsen, Chase Elder, Lizzie Owens, Michelle Jubin, Katie Hunt-Morr, Brooke Corcoran, Marina Boynton-Schmidt, Elizabeth Lincoln, Andrea Paustenbaugh, Darko Dragičević Exhibitions Projecting the unperformed (solo exhibition), Performa & Platforma Festival, Media Nox Gallery, Maribor, SI (2016), group exhibition, Rothaus, Zürich, CH (2014), People Who Work Here (group exhibition), David Zwirner Gallery, New York City, US (2012), Retrospective: Film and Video Works, Wexford Art Center, Wexford, IE (2012), group exhibition, Oslo Kunsthall, Oslo, NO (2011), group exhibition, The Forgotten Bar Project, Berlin, DE (2010), PLATOON, Berlin, DE (2010), Glasslands, Brooklyn, New York, US (2008) Publications ’The Readymades’, Broken Dimanche Press (2011) SCHNITT09/Concept and Artworks Darko Dragičević Concept and Exhibition Design Branka Blasius In cooperation with HFG Karlsruhe und dem Zentrum für Medien Kunst Mentor Wilfried Kühn Exhibition Taste of Life (solo exhibition), realized in collaboration with Branka Blasius, various locations, Berlin, DE (2009)

The project Taste of Life consists of 12 video pieces followed by 12 pages from various published materials. It was produced in New York City between January 2007 and June 2008
The main plot is one story about the time spent in and physical absence within a domestic space like an apartment in a big city. Body, as such, is understood as one of them.
Some of the questions the project deals with are what happens in the spaces when they are left behind and if there are no more ‘users’ in them? What are the every day traces of the previous actions that still remain, quietly moving and ‘living’ their own lives without a necessity of any physical presence?

SCHNITT09 was an artistic duo founded in the winter of 2008 by Visual Artist Darko Dragičević and Architect Branka Blasius. The duo's only work was the exhibition of Dragičević’s project Taste of Life in March of 2009
SCHNITT09’s main interest was in exploring the interaction between an artwork and the space it occupies.

For the project Taste of Life the first thing the duo had in mind was not the classical gallery situation but the so called ‘alternative exhibition space’ where the preconditions of the artworks were clear; the work had be integrated and exhibited in an every day situation. It had to create an intimate, pleasant and trustworthy atmosphere.
Through research of the alternative exhibition spaces, Dragičević and Blasius took into consideration abandoned places with a wide range of former functions such as: industrial buildings, schools, an abandoned swimming pool, but as well as private apartments.
Blasius: …However, none of those spaces were sufficiently connected with the concept of the work. What I wanted to avoid is the danger of predomination of the exhibition place over the work itself, which can easily happen if we are not dealing with the classical gallery situation. After long research and talks with the artist, I finally came to the most suitable place for presenting his work: the camping van. What is especially interesting about the camper is the possibility of changing places in a city every day during the exhibiting period. Through those changes it is possible to explore how the work functions in the different contexts of the places, which are also marked by spectators with a different social contexts. The questions being considered is: how does the work ‘react’ to the different locations where it will be placed? Not only will the work go through different social and economic backgrounds, but also through different urban landscapes.
What is to be concluded is the fact that the work is not appealing to a specific public; the occasional passer-by is the one we wanted to attract.
The idea behind it is that it is a work-in-progress, since by changing location every day and searching for the next available parking spot; it was never firmly fixed.
The camping van as exhibition space created the wanted, intimate atmosphere of the artist’s own living space, which was also presented to the visitors. Dragičević actually lived in this space and left his every day traces during the period in which the exhibition lasted.
And at last, the camper itself was directly connected to the idea of a ‘wondering exhibition’.