There was Drago Ivanuša's solo project La Bête Humaine – Human Beast (2019). It sought (and found) the social and the political analogies with the time of Jean Renoir's creation of the eponymous film (after Emil Zola's novel). The La Lison train rushes through an early morning which will give birth to the day in which a murder will happen.

Now, Human Beast continues.

If the cinematic presentation of the world bore a certain similarity with the lived reality which, just like that train raced towards a possible, although by no means desired form, the train has now arrived. The similarity of a pre-ward atmosphere metamorphosed into a living experience: in front of our very eyes, the society which a few moments before appeared as an achievement, is now in full decay into its end. Where to from here?

Into persistence. Persistence is continuation, a new or another gaze, an activation and reconsideration of the possibilities for change. In that, the piano, this bourgeois object, is a tool for persistence.

# where persistence seems foolish it is only reasonable # jean renoir knew something # in art there is resistance

© Matija Lukić