Glej,
Olja Grubić: To our Delight

“Egalitarian cities, even regional confederations, are quite common in history — but egalitarian families or households are not.”
— David Graeber and David Wengrow

The era of technofundamentalism — or data colonialism — into which we have entered brings with it a deep sense of uncertainty. The future appears increasingly subject to the politics of control. We are entering a period of transformation, yet it is hard to imagine that it will end happily.

Although we often look back to the past and idealize it as a time of stability and safety, it is worth asking: for whom was that world truly stable and safe?

The most painful losses of freedom have not occurred at the level of states or systems, but within the most intimate spaces — between genders, between generations, between roles within households. It is often there, where we expect warmth and protection, that the deepest inequalities reside.

Yet history never stands still. Every generation destroys the old world and builds a new one from its ruins. But the question remains: will the new world be better? Biologically, we are inclined toward simple solutions, yet building requires patience; destruction is easier — and faster.

With her performance Nam v slast (For Our Pleasure), artist Olja Grubić continues her exploration of the connections between food and eating, identity, culture, and society. This time, she places us on a sugar-coated carousel of continuous work and creation — of building, breaking, and rebuilding — wrapped in an uplifting, hymn-like musical accompaniment. The piece unfolds as a contemplative repetition that expands into the social–private–political realm, asking whether we are capable of creating a world not only in our own image, but one that is a pleasure for all.