By performing, I materialize my stiffness in the environment and society that is mostly indifferent to contemporary creative expressions. Shame comes from trying to introduce myself to someone and tell him what I’m doing. Shame is also due to the fact that I find it difficult to find a job in my profession. In this work I create artifacts of shame and pain by imprinting in my own blood all that makes my identity – things on me and in my bag such as identity card, student index, employment record book, health card, condoms, arts association membership card, as many coins as I have in the wallet, the food I carry in the bag, etc. Some prints will be clear, but most of them will become bloody abstract stains. During the printing I will try to present myself to the audience and describe the themes and the focus of my artistic creation.
The concept of work is how to present today’s education through the children’s eyes. I’m wondering how and where are the pupils experiencing and practicing these educational achievements in their everyday life: appropriateness, regularity, vigorous proof, constraint, appointment, empowerment?
In a performance I’m giving a command to audience: Please read the Pupils rights from ”The Education Law in Elementary School of the Republic of Croatia”.
I’m repeating after the audience, tightening my neck with a bushy branch. When the audience read the 7 pupils rights, I’m telling them to invent a new right, based on their good or bad school experience. Afterwards, as a materialized memory of that moment, I’m giving the seeds of corn to the audience to plant somewhere in the garden of the Cultural Center of Pescenica.
Rights of the student:
- The right to be informed of all matters pertaining to him/her.
2. The right to counsel and assistance in solving the problem in accordance with his / her best interest.
3. The right to respect his / her opinion.
4. The right to help other pupils in a school institution.
5. The right to complaint that can be given to the teachers, the director and the school board.
6. The right to participate in the work of the pupils school council.
7. The right to suggest improvement of the educational process and the educational work.
There’s often this dream I’m having;
I’m in a car with 3 other people, their faces I don’t know, but somehow we’re connected. A driver starts to insanely accelerate, and we hit a car from the other direction. We are in the air and I’m seeing and feeling in slow motion. There is no pain but I know we won’t survive.
Dreams are our subconscious diary. I’m experiencing this slow motion hit day by day. In a reality it has a weight and pain, without blood, but strongly striking my mental part. Impossible to express myself and show how much I have to give to society, I remain ignored. With this piece my anxiety is being materialized. I am printing my senses and body parts; ears, lips, hands, legs, eyes, finger tips and nipple tips, sex determined organ, with my blood, to the glass square tiles. In some parts of the body I can get a clean print, but most of them are blurry abstract stains. Small glass prints should stand on a light background so the structure of dried blood could be most visible.
In this piece thoughts are focused on my friends, young artists unable to be what they really are, unable to show and share this beautiful energy and potential. To be accepted and appreciated in our small community. I wonder why our society is so emotionally and creatively blind? What I can conclude is a lack of education, starting from elementary school that has reduced visual arts culture to just one shameful hour per week, to high schools that have History of Art also one hour per week. This is a work in progress, and it can be developed as an action or performance in a gallery or public space, with visitors to participate. Blood is the same organic substance that connects all people, and numbness seems to be a feeling of the time. So I ask myself again, how to indicate need for creative people and stop their internal bleeding? Maybe in slow motions, with a lot of persistence toward myself and everybody around me.
The project is a work in progress, and my focus is finding an answer to the trigger which activates our love for knowledge. I have interviewed artists from around the world on a residency program Cultivamos Cultura in Sao Luish (Portugal), asking them when did they fall in love with knowledge, what is knowledge and which subject would they invent and introduce into the school curriculum. I am searching for the period of time when we discovered and started to yearn for knowledge. Was it in the time when we were educated? Or later in life? How to awake person’s desire for new knowledges that can be used on a daily basis? The project is a critique of existing school systems, which are constructed on information recipience, without their practical use.
With this space intervetion I want to encourage people of all ages to tell me a story about their creative strategys, that stimulates them to open creative channels applicable in practical life. When I collected people’s statements I wrote them down on the stones that I removed and put back in the sidewalk. These are some of their thougts:
Knowledge comes from my interacting with the world. Gail Hocking
Knowledge is pattern seeking: lost and found and lost and found. Before I knew what knowledge was and everytime ideas syncronize for me for the first time. Sarah Hermanutz
Knowledge is a process that takes the mistakes from the future and moves them into the past, they skip the future. Nenad Popov
Knowledge is an illusion that destroys previous ilussions. It is oximoronic endles task which allows us to turn unknown unknowns into something else, expending our awareness of our own ignorance. Manuel Furtado
Special thanks to Martha De Menezes and Cultivamos Cultura.
In this ephemeral space intervention I planted herb installation in the forest area. From one part of the forest, I repalnted cover ground plants, lat.sedums, to another part of the forest. From those plants I shaped the word: ”Working? ”
I chose that word as the gude mark and a stopping place in the forest. I’m relating it to the current social and economical problems that are especially felt by young generations of people. This is a place for reflection and self reflection.
The work is consisting of performances where in front of the audience my collaborator Darko Brajkovic and I are lying covered with a mixture of bay leaves, sage, lavender and lemongrass. We are slowing our breathing, sinking into a dream, focusing on the smell of herbs. Herbs are covering our head, chest, torso and legs. We are relaxing and waiting for a certain memory to be awaken by the smell of herbs. In that position we are lying for 15-20 minutes. Then, we’re getting up and writing down our experience in a blank book, inviting the audience to do the same.
Inspiration for this work I have found in Proust’s reflections on time and memory. He says that relived time is not gone forever, but can be summon through our senses. In this performance we are recalling our memories with the scent of smell.
A garden is a living thing, a place that is marked and sometimes abandoned.
The basic concept of the project was to plant interactive land art installation with medicinal and edible herbs. Herbs were planted to shape the form of letters that formulate the sentence: ”Moment, now”.
Through the research of period of time ”now” I’m trying to find out what are the most common thoughts that throw our mind out of the present moment. When talking about the presence I don’t necessarily think about having one’s full concentration, but more spontaneous and natural awareness of this moment through creative activity.
The meaning of the word ”now” subtly pervades through problems in my close society, such as: uncertainty, volatility, corruption, environmental and social crisis etc.
By using the gesture of planting, I occupied myself, trying to leave the product of my experience to the viewer and passerby.
For me, creativity means a lot of variations, views and different actions, that are producing reading of a specific problem. I use the performance as a medium that creates an awareness of the body and live space installations, made of plants, which by planting, are bringing us back in the ‘moment now’.
Special thanks to Ars Kozara for their support and help with my project.
In these exhibition stons are marking the ritual, persistent game of waves and passage of time along with the change in shape. I am stopping the flow of waves by breaking their persistence, and claiming the stones as the ritual continues. The process results with the text on the stones where we find printed recipes, and sometimes drawings of plants. Many titles have a cynical deflection like “Tea against capitalism” or “Mixture against greed.”
I am presenting several unprinted pebbles and a tool for writing on the stones. From observer I am seeking for intervention in the form of comments on the non-printed stones.
I am combining environmental and social issues with the problem of education. Let us remember, a long time ago, Plato says: “Ignorance is the root of all evil”. His opinion undermines the whole Western, Christian civilization which has become a target to raise loads of illiterate believers / consumers to blindly serve invented nationalism or religious dogma.
It reveals that the problem of ecology breaks with the problems of poor and profit based education. Bad environmental solutions good education can fix. Because education broadens horizons, sharpen perception of the world around us. The trained person can more easily resist nationalisms, segregations by color, sexual orientation, etc. Education carries a freer approach to life and moves away from dogma. The trained person is not subject to advertising or political usurpation opinions. Education carries the idea of sharing. The trained person has awareness of environmental neglection and aggressive exploitation of neoliberalism.
Special thanks to the Gallery Fonticus for their support with my project.
I’m trying to point out how mass media and drug corporations are transforming people into consumption addicts. On that subject, as a part of pubic space garden, I’ll make a Minimalist Garden, made of empty medical boxes and bottles in witch I’ll plant local medicinal plants. This minimalistic garden installation will be mobile, so it could be moved into the inner space.