PAÇ FAT

Text by Marko Stamenkovic.

During the 1960s and 1970s, artists worldwide commonly incorporated ordinary materials such as postcards into their artistic endeavors, by which these materials transcended their utilitarian function. They served as a vehicle for artists to disseminate their own creations differently, extending beyond conventional verbal exchanges between senders and recipients. Within this context, certain artists, particularly those aligned with the Fluxus movement, recognized the profound and at times subversive role that postcards could assume within the art world of the era. For them, postcards represented a platform through which they could articulate and broadcast their unique worldviews to a wider audience. This engagement raised awareness about pressing societal concerns, spanning topics such as personal and collective identity, social strata, gender and sexuality, contagion and illness, political authority, and conflicts and wars.
Elsamina Musiq views postcards as symbols of genuine human affection, empathy, and mutual care, in contrast to the prevalent use of hashtags (#) in contemporary virtual and mobile communication. In her work titled "#paçfat" ("#goodluck"), she draws inspiration from an idea she first encountered during her elementary school years. It revolves around a distinct form of communication among friends and classmates, specifically through the exchange of postcards on special occasions like holidays. Her approach, therefore, may be seen as a discreet critique of technological advancements: she advocates for a more profound appreciation of personal interactions and centers on a collection of postcards from her past, each featuring a personal message and/or a simple drawing contributed by her former classmates. These messages often include a brief note that reads "good luck." Initially, Musiq finds this gesture seemingly straightforward or even contradictory ("Why would my classmates wish me luck during a vacation?" she ponders).