{"id":449,"date":"2016-09-15T13:37:52","date_gmt":"2016-09-15T10:37:52","guid":{"rendered":"http:\/\/fotoart.bg\/?p=449"},"modified":"2025-02-18T00:31:27","modified_gmt":"2025-02-17T21:31:27","slug":"je-suis-je-%d0%b0%d0%b7-%d1%81%d1%8a%d0%bc-%d0%b0%d0%b72016-%d0%bd%d0%b0-%d0%b2%d0%b5%d0%bd%d0%b5%d0%bb%d0%b8%d0%bd-%d1%88%d1%83%d1%80%d0%b5%d0%bb%d0%be%d0%b2-subhuman-theatre","status":"publish","type":"post","link":"https:\/\/fotoart.bg\/en\/%d0%b1%d1%80%d0%be%d0%b9\/%d0%b1%d1%80%d0%be%d0%b9-5\/je-suis-je-%d0%b0%d0%b7-%d1%81%d1%8a%d0%bc-%d0%b0%d0%b72016-%d0%bd%d0%b0-%d0%b2%d0%b5%d0%bd%d0%b5%d0%bb%d0%b8%d0%bd-%d1%88%d1%83%d1%80%d0%b5%d0%bb%d0%be%d0%b2-subhuman-theatre","title":{"rendered":"Je Suis Je, 2016 by Venelin Shurelov (SubHuman Theatre)"},"content":{"rendered":"<p><em><strong>Je Suis Je<\/strong><\/em>, 2016<br \/>\n00:03:05; B\/W; Silent; 16:9; Full HD video<br \/>\nauthor of \u0432\u0438\u0434\u0435\u043e: <strong>Venelin Shurelov<\/strong> (SubHuman Theatre)<br \/>\ncameraman Vesselin Hristov<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Je Suis Je<\/strong><\/p>\n<p>&nbsp;<\/p>\n<p>author of text: Vessela Nozharova<\/p>\n<p>&nbsp;<\/p>\n<p>A Man in the Path of the Blast Wave. This freeze-frame scene seems like something we\u2019ve seen a million times in action movies, documentaries, and news reports from crisis zones. We imagine it the moment we see the first frame of destruction caused by explosions\u2014whether from attacks, wars, or local and global disasters. Yet, inevitably, we remain mere spectators, allowing ourselves the minimal comfort of detachment. We are the untouched, spared from the fate of thousands of others. But is that really the case?<\/p>\n<p>In his video installation Je Suis Je (I Am I), Venelin Shurelov places himself\u2014physically and in reality\u2014directly in the path of the blast wave. The scene is carefully choreographed, even theatrical, yet it clearly unfolds outside a studio or stage, following distinct dramatic rules: a beginning, a tense middle, and a final recapitulation. The artist\u2019s body undergoes a physical trial, but more than that, it becomes a collective image of a human being in crisis. A person experiencing an extreme state of mind, surviving an attack, enduring destruction\u2014only to emerge still as themselves.<\/p>\n<p>The title itself invites contemporary interpretations. The phrase Je Suis, or I Am, has gained widespread use in recent years as an expression of solidarity with others\u2019 suffering. But here, it takes on a much deeper, cathartic meaning\u2014because it is in the first person, directed inward: Je Suis Je (I Am I).<\/p>\n<p>Through his own body, Shurelov constructs a universal image of a person in extremis. He compels us to truly experience our empathy\u2014not just for those who endure physical violence, but also for those battling internal storms and the emotional devastation of daily life, often in complete solitude.<\/p>\n<p>&nbsp;<\/p>\n<p><a href=\"https:\/\/www.subhumantheatre.com\/\">www.subhumantheatre.com<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Je Suis Je, 2016 00:03:05; B\/W; Silent; 16:9; Full HD video author of \u0432\u0438\u0434\u0435\u043e: Venelin Shurelov (SubHuman Theatre) cameraman Vesselin Hristov &nbsp; Je Suis Je &nbsp; author of text: Vessela Nozharova &nbsp; A Man in the Path of the Blast Wave. This freeze-frame scene seems like something we\u2019ve seen a million times in action movies,&hellip; <\/p>\n<p class=\"more-link-p\"><a class=\"more-link\" href=\"https:\/\/fotoart.bg\/en\/%d0%b1%d1%80%d0%be%d0%b9\/%d0%b1%d1%80%d0%be%d0%b9-5\/je-suis-je-%d0%b0%d0%b7-%d1%81%d1%8a%d0%bc-%d0%b0%d0%b72016-%d0%bd%d0%b0-%d0%b2%d0%b5%d0%bd%d0%b5%d0%bb%d0%b8%d0%bd-%d1%88%d1%83%d1%80%d0%b5%d0%bb%d0%be%d0%b2-subhuman-theatre\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":770,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[47,43],"tags":[],"class_list":["post-449","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-47","category-43","xfolkentry","clearfix"],"translation":{"provider":"WPGlobus","version":"3.0.6","language":"en","enabled_languages":["bg","en"],"languages":{"bg":{"title":true,"content":true,"excerpt":false},"en":{"title":true,"content":true,"excerpt":false}}},"acf":[],"_links":{"self":[{"href":"https:\/\/fotoart.bg\/en\/wp-json\/wp\/v2\/posts\/449","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/fotoart.bg\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/fotoart.bg\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/fotoart.bg\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/fotoart.bg\/en\/wp-json\/wp\/v2\/comments?post=449"}],"version-history":[{"count":19,"href":"https:\/\/fotoart.bg\/en\/wp-json\/wp\/v2\/posts\/449\/revisions"}],"predecessor-version":[{"id":1951,"href":"https:\/\/fotoart.bg\/en\/wp-json\/wp\/v2\/posts\/449\/revisions\/1951"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/fotoart.bg\/en\/wp-json\/wp\/v2\/media\/770"}],"wp:attachment":[{"href":"https:\/\/fotoart.bg\/en\/wp-json\/wp\/v2\/media?parent=449"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/fotoart.bg\/en\/wp-json\/wp\/v2\/categories?post=449"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/fotoart.bg\/en\/wp-json\/wp\/v2\/tags?post=449"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}