Video documentation of the art project time=money=time= by Darko Fritz . 2000 - 2001
script | directed by Darko Fritz
editing . Darko Fritz
camera . Darko Fritz
voice over . Marian Kemmer | Elaine Parker
sound . time=money=time= by Darko Fritz
sound production . Ivan Marušić Klif
production and post-production supported by BALTIC Centre for Contemporary Art . Gateshad
production . darkofritzpropaganda production . 2005
Time = Money. A banal truism, though truisms always hide something precisely because they are self-evident. Last year in Zagreb, Darko Fritz enacted an "artistic" project--one of the new, modern trams of the city of Zagreb displayed Time = Money = Time on its electronic board. The tram's normal destination was from the city Kunsthalle to the central square. But this time, the tram did not follow its linear traversal of the city space, it just circled the Kunsthalle. Unsuspecting passengers got on the tram, which was free of charge, outside the economy of profit. Frustrated, they didn't reach their destinations, since the tram moved through space but went nowhere. The economy of time as money (as time) has entailed, historically, a complex production of space--networks of canals, turnpikes, highways, train lines--which traverse social space (profane, sacred, personal, symbolic) and mark it as a representable, mapable geometric grid. But on this day, this particular tram in Zagreb was an active negation of its function as a means of transportation from point of origin to destination. The tram became not transport, but pure movement, without destination, without goal - in a sense, without time. This was one of several recent artistic projects originating in a territory labeled, not without ideological prejudice, "Eastern Europe"--projects that identify not with territory but with the act of movement itself, projects of impossibility insofar as they refuse the possibility of a project. And this is also perhaps what separates them (by a distance that remains incalculable) from the "historical project" of the avant-gardes.
Excerpt form the text by Joanne Richardson.
