Jasa. Utter. The violent necessity for the embodied presence of hope

“I recognize that violence in whatever form it may manifest itself is a setback.” “Hope always has been one of the dominant forces in revolutions and insurrections, and ... I still feel hope as my conception of the future.” 
J. P. Sartre 1947 & 1980 

“Violence is ineffectual. Terrorism is ineffectual. Effectuality needs to come along with peaceful hope. Violent hope can only live in poetry, as in Apolli- naire’s verse Et comme l’Espérance est violente.” 
Stéphane Hessel, Indignez-vous, 2011 
The project “Utter / The Violent Necessity for the Embodied Presence of Hope” focuses on three major themes − resistance, collaboration, and hope that are accomplished by a longterm coexistence of a group of artists within an architectural shell, the co-creation of repetitive performative actions, and the production of harmonic moments. The project involves a spatial installation in a given space, an architectural drawing as a reflection of thoughts, the integral experience of an artwork, a long-lasting performance as a reflection of the necessity of believing in change here and now. Since an artwork is mainly an object of inspiration, I place Stéphane Hessel’s thought into the centre of the conceptional reference points: 
“To create is to resist. To resist is to create.” 
Stéphane Hessel 
Considering its features of a repetitive long-term performance, the project is a structured act of discipline. It is a call on collective sensibility. Through long-term repetitious actions, knowledge, and gestures in time sequences that last throughout the entire Venice Biennial, and the transformation of the gestures to rituals, the group of performers act like a nonviolent guerrilla body which by the power of poetry calls upon a pan- demic realisation of the idea about community and closeness − the common faith in the existence of true alternatives. 
The plain architectural drawing in one single white form combines the concept of a house, a sacral, a public, and a production space and constitutes the project’s formal foundation. 
It is my goal to confront an international audience with the overall project experience as a living functional mechanism driven by a solidarity of all elements involved: installation, individual visual elements, lighting, projections, sound, and performance. Thus, I intend to create and enable an overall experience of solidarity as an efficient way of operation. I believe in continuous and sustainable collaboration as a basis for the de- velopment and communicative value of the project. 
Due to the necessary existence of faith in values differing from those presently shaping the world, the existence of hope in art as a driving force needs to be violent. Not as the violence of hope of a suicidal poet on a bridge, as described by Apollinaire, but as a violent necessity for the embodied presence of hope. If ideology inspires and does not dictate, artwork can become genuinely political. 
“Utter” as a whole is the vibrating, pulsating core within the complex organism of the Biennial. In concordance with Enwezors’s curatorial intention of de-territorialisation, the concept of the Slovenian pavilion is set as a platform within the platform, a living microorganism within the macroorganism of the Venice Biennial. In this sense, we consciously and straightforwardly accept Enwezors’s words: 
“The world is bigger! We want to see and be seen. We want to speak.” 

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