“We say, who is civilisation for? And of course, um, I think most people would immediately have an answer. I think most people would say it should, uh, benefit human beings. It should sustain the human project. It should benefit the overall, uh, biosphere, the ecosystem of the earth so that this all continues.
That’s probably who civilisation is for, but it’s never quite that simple. When I was much younger, I came up with an image to help me think about who the beneficiary is of our activities, whether we’re engineers or writers or anything else. And I call this the circle of empathy, by the way, the term empathy, um, had its origins in the, uh, uh, circle of psychologists and poets in Germany, uh, about a century ago.
Um, and the original use of the term was essentially imagining what virtual reality would be like someday in the original use of the term.
Uh, there was an example given that somebody might be able to imagine themselves as a leaf or as a mountain, and that as people could exercise their imagination to become different parts of reality, that that would also help them appreciate each other and develop a sympathy for one another’s different position…”
– Jaron Lanier
If only someone could imagine himself as a fly. With this a debate is being opened – “is it even worth to be a fly”?
To be fly has a lot of perks one of which is the ability to fly. Imagine that transportation doesn’t de-pend on driving well-known vehicles. Imagine to move without the monopoly of the car manufacturers, fetishism on brands, no races of who is owning the most prestigious car, no showing off, no more of the usual “2 tons of iron driven by a 50 kg driver”, plus all of this – no more driving only on designed roads, end of fees, toll taxes, fines, no more “without being able to repair your car”, without the threat of various sanctions or accidents. Without the constant arousal if the timid by the only instance to exercise legitimate violence.
As a bonus to the ability of flying comes the ability of cling to all sorts of surfaces, orientation with a different angle on the horizon, almost like the abolition of gravity. This, in turn, abolishes the habitation of housing in the form as we know it. Not just housing, in all – cities are becoming unnecessary. The division of center-periphery, prestige locations, any attempts to divide regions due to class segregation or the search for that prestige is eliminated. By attaching to any surface, you find that potentially it offers protection…
*If only someone could imagine himself as a fly, 2022 The text above is part of the sound installation in water tower reservoir.
Пърформанс, Желко Терзиев, 2022, с участието на Софи Шушкова
Този запис е направен по време на изложбата: “Ако си тъжен, получаваш ритник в задника”, проект на Желко Терзиев в Галерия +359
Желко Терзиев завършва бакалавърска степен по живопис в Националната художествена академия през 2001 г. В класовете на Божидар Бояджиев / Андрей Даниел, а през 2005 г. – Магистърска степен в класа по Нови медии на Петер Коглер в Академията за изобразително изкуство, Виена.
Самостоятелните му изложби включват: „Котката на Шрьодингер“, заедно с Красимир Терзиев, галерия „+359“, София, 2021; „Ако дърво падне в гората и наоколо няма никого, дали ще произведе звук?“ заедно с Красимир Терзиев, галерия „+359“, София, 2018; Клуб „Осмата топка“, София, 2008; „Опак“, галерия Пистолет, София; „No Comments“, галерия Ирида, София, 2001.
Някои от изложбите в които е участвал са: 2021 „Хербариумът като място за съхранение на идеи“, Национална галерия Софийски арсенал – Музей за съвременно изкуство и Арт Проджект Депо, София 2019; Форматиране на отсъствието. АРХИВ. 2018 и 2019, галерия +359; “Радикален формален анализ”, галерия +359, 2020, куратор Петер Цанев; „Обект на желанието“, галерия „Аросита“, София, 2018; „Substories“, като част от Project Do-nau, Карлсруе, 2015; „Substories Toys“, галерия „Академия“, София, 2014; „So We Are Friends“, галерия „Пистолет“, София, 2011; „SUB form Substories“, галерия „Райко Алексиев“, София, 2011; „Avalanche, Apocalypse Now, episode 4“, nbsp Gallery, Париж, 2007; фестивала Diagonale, Виена, 2006; XI Bienial of Young Artists from Europe and Mediterranean, Атина. През 2008 г. е номиниран за наградата Gaudenz B. Ruf Award.
*The title is a part of a poem by Jenya Dimova.
