Sing Mare, Sing my Precious... is an installation focused on gender and other stereotypes, which define the role of women in our society. Installation maps gender as a socially constructed pattern.
"A festive red carpet leads to the painting- installation “Sing Maro, Sing My Precious”, inspired by the work of the famous French artist from the era of romanticism, Théodore Géricault piece, The Raft of the Medusa. The artist recontextualises the topic, and instead of the characters in the original painting, she introduces our contemporaries who, in a rapture, celebrate one of the most venerated customs in Montenegro – the birth of a son / heir / rifleman / bloodline extender.
At the primary level of meaning, the artist depicts men in a state of celebratory trance, using an array of weapons and alcohol; on the secondary level, we associate the scene with Géricault’s raft, where we find adequate parallels and symbols; while on the tertiary level, it carries a much deeper meaning and speaks of an unevolved, static, patriarchal society confined by its own weaknesses. This painting is not mounted on a wall; rather, it levitates in space, like a warning hovering over our heads or standing in the way. It is set up as a kinetic installation, it requires the observer to move around it. The painting is interactive – the back side contains recipes for how to conceive a boy, and invites the visitors to write their own recipes... Behind it, the entire wall is flooded with such recipes and various tips. The artist also offers the observer ideas on how to reach that mindful state of exaltation and conceive an heir, a gunner, an extender of the lineage. She presents them with renowned recipes for how to conceive a boy, ranging from different sources, as well as mathematical formulas or folk remedies and teas. Through humour and playfulness, she manages to expose pressing questions and problems that burden our society. The painting is placed in a golden frame, and a ceremonial red carpet leads to it, as if it were in the Louvre, where the original painting is exhibited. This artistic gesture further reinforces the irony of the whole situation”.
During the exhibition a provocative gift was distributed for the public- Tea for male offspring. link: https://e1.pcloud.link/publink/show?code=XZ1x68ZiRE7N1okvLQb75K06UYUCYoQAw7y
https://e1.pcloud.link/publink/show?code=XZux68ZOoSCfN2hOTSw3MgOFuUB6fST8cYy
https://e1.pcloud.link/publink/show?code=XZnx68ZOXwvSNO7HbbpbajMqfTbtBOzklgk
https://e1.pcloud.link/publink/show?code=XZCx68ZFeOCkdJf3O7T1eeFtJLrLhoMLb6X
Along the installation the observer is forced to constantly listen to several repeating verses of Montenegrin folk wedding song
Sing Mare, My Little Lamb, which at times become unbearable.
Using the old folk wedding song Sing Mare, My Little Lamb, as the main motif and inspiration, I tried to offer a new reading of age- old content, but they now contradict the fun and joy they are meant to symbolise. By playing the song without its instrumental background, purposefully prepared for this exhibition, I invite spectators to pay attention to the lyrics, instead of rejoicing over the music. A powerful trembling voice sheds new light on the "good old tune". What was perceived as joyous and tender suddenly becomes threatening, sinister, sad, even eerie… The lyrics suddenly become clearer, and a new interpretation emerges. There is something about traditional folk songs in Montenegro, that is difficult to decipher, no matter from which perspective you think about them. The aspect of the feminine in these songs carries a bizarre combination of tenderness, love and cruelty. They clearly illustrate the framework of the traditional community, imbued with anxiety – a framework that dominates over all other aspects of life. The problem is that this framework prevails to this day, but it manifests itself differently.
link to the sound:
https://e1.pcloud.link/publink/show?code=XZLJGRZ4o1TDnab2QRweSEwHsnehhdGQJF7
