The Sun Compasses / work in progress /

The project is imagined as a participatory, eat-art, sound installation with the theme of recording, writing, modeling, and sketching a bumblebee route. Part of the work includes thinking about food and climate neutrality. Outlining different narratives of more-than-human species, I want to materialize the puzzle of all life’s entanglement.

Over the past century, several bumblebee species have declined in range and abundance. Threats include habitat loss and fragmentation, pesticides, parasites, pathogen spillover, and climate change. Within the piece, the aim is to silently transform one’s soul and to peacefully enjoy listening and watching bumblebees. Bumblebee buzzing disappearance is a metaphor for lacking our own capabilities to center, calm, communicate, and be in the moment now with the Earth.

A central part of the project are Performative bumblebee listening walks. Within them, we’ll record bumblebee sounds, sketch their route, identify flowers and different bumblebee species, write a prose poem, and make very gentle and calm performance pieces.

Caressing

Exhibition The Visible Ones, Museum of Contemporary Art in Zagreb, performance Caressing, in collaboration with artist selma banich and Art Gallery Split

In the context of the continuous attack on our lives and the normalization of increasingly frequent attempts at social fascism that subordinates us to the violence of gender and moral supremacy – those who kneel and pray, the call to caress puts sensation and touch into experiential focus as a feminist act of rebellion and resistance. We placed the intervention of the “affective” in the broader social and spatial context of Peristyle, as the scene of numerous encounters, conflicts and demonstrations of power, dominated by the performances of politicians, artists, fans, supplicants and tourists. Starting from the experiences of multiple asymmetries, especially those of gender, class and status that define our position in relation to the centers of power, with this intervention we questioned the imposed social norms. Combining the critique of power relations in the sphere of artistic work with the critique of social regimes that, deepening the existing asymmetries, continue to subjugate us, we created a tactile, sensory and edible mobilization of the embodiment of defiance and pleasure.

By caressing, accompanied by eat-art poetry in prose, we called for the empowerment of the multi-layered reality of female energies present in us and around us.

poems 2023/2024

we melted the smell of snow away

Snow turns into rain as it covers the layers of mud

And the sods of grass grown prematurely

Slipping underneath my fingers and losing balance

Like flour

From a cake I cannot knead

Snuck into the pillow case to hide away

Droplets of dried ichor

The nostrils rolling a sensation in the making

Symbiotically infused with sweet herbs

I am holding my breath and tickling the white fur

Lulled by the upper side

That is breathing

 beating

Thriving

Spilling into the grooves of my palm

Thinning a line with the tip of the index finger

Drawing your shape

Feet worn from climbing, joints well-oiled

We melted the smell of snow away

That is avoidable in surrender

With rapid squeaky inhalations

I’m shaking off the mud

The belly tightening to the left

As I pull on and scratch the adjustment

To the lack of four-legged company

—————————————-

Dragging traces

I tear off the scab

From the thigh

Upside-down snow

Floats on a black tile

dragging traces

Unearthing the waiting

Of dry skin

Numb in the grooves

With streams of brought days

I sob with awareness

Of the disease growing weaker (I will taste it some day)

The overwhelming cramp

Yours, now mine

In the flashes of a film on repeat

Rushes of blood flow

Or foundations once used for take-off

Washed-up the forces

Removed the uprooted weeds

Through inklings

Of cold whiffs

Through the hallway,

Your shape is flickering

And eyelashes,

like a hedgehog, are crawling through

An opaque emptiness

Of particles accidentally afloat

   The insides of the horizon

I didn’t shift my trajectory

For heads to touch tickling

A lake in the aorta

Circling backwards

Throwing me

Into that

The next first sniffing

Stained Whiteness

with a fresh scar

The insides of the horizon

Dragging traces

You accepted and endured

Another black presence

Attitudes

Of jealously while holding guard

Bypassing those bigger than you

While pushing us in new directions

Now

Using my thumb and index finger

I determine the dryness of the fern

My pupils are swirling

The measurements of black woodpeckers

Input knocking signals

The audibility of playful blackbirds

Singing songs on branches

Body language through movement

Learnt from you

An inhalation kept in the throat

Sharpened by bitterness

Bouncing through

Imprinted memories

In symbiosis with lonely rotations

I am catching invisible vines

 to find

Balance

that is missing

Monochrome (c)anine autism

There was undergrowth across the road

Darkness was wheezing under shaky branches

You were standing on the wall

Teleporting into branches

The neighbour told me;

“We will be parents

Both of them escaped

And she was in heat”

The monochrome path of white fur

Laid down by tiny brown dots

She scraped the steps left behind

With cyclic dog stunts

Through layers of runaway seconds

On a leash provided moments later

In a small semi-circle of ignoring

Or quick casual sniffs

The tail upright like a radar

Receiving scent puzzles

Briskly avoiding all else

Disinterested muteness

Devotion to greenness

 tree skins

a landscape in shrubbery

discovered stops

sieved autism (towards his own kind)

While December and November were too warm

The lifted paw was adjusting

Other smells

Remaining airborne too long

And when you would lap water at nighttime

Or get sick

The hairless areas radiated coldness

After the first long emptying of the bladder

You turned around, dragging in the direction of home where the pillow resides

In close proximity to the radiator

This proximity interrupts the flow of my body

The unfilled places

The ringing ears materialising

The offspring

That you never made

 Februaries

An open green bean

Slightly skewed seed

Removed from the forest

 into the jacket front pocket

Februaries

Awakened caterpillars

One of which started nibbling the sesame seed I dropped

I reconstructed the movement

Of stepping over the forest water

And the one beside me on my way to work

The stream is not too muddy today

And one duck

Swung his body against the current

The white colour of fur drawing me magnetically

I stop

Mutter at 15 and at last week’s −5

I used to stop your body from shivering with a blow-dryer

And pulled on your vest

Now the smaller one is touching yours on the inside

Of a wardrobe with broken edges

A conversation was accidentally struck up today

That it’s been a year and a half since his has also been gone

 Walkingaroundhimandsniffinghim

 like newly grown trees

            the joints spell out impressions

in jolts

of the lake’s curves

i am subtly avoiding going back to the embankment

i will find the sniffing of shrews and mice

the sounds bouncing off

the reconstruction

of slugs

lifted by a plantain leaf

that made room for runners

thoughts spinning

about your passage through the underpass

the two roads

where you shook me upside down

Drowned me in worry

In lying down

adventures gone cold

while waiting (for me)

on trampled grass

in front of the building

 

zones of trajectories

Through the efforts of the eye muscle’s tickling

The mountain ahead is silhouetted

My eyes are locked on the white spot in motion

The drawn up strength

A tangle of forest shadows

The chased down smell of rabbit hops

Labyrinth zones of trajectories

Are connected with movements

Of lungworts and yarrows

In waiting

The point of progress

 is approaching

from an unbelievable source

Anachronistically brown

observations of the wetness

the traces of soil disappear

a metamorphosis of vibrations

contagion

pulsations of joy

Eyes brimming with the pleasure of digging

rolling around in mud and carcasses

(now) scattering while being extracted from the collage of memories

the water doesn’t go above your elbows

The flow of turns in

The lurking of powers

Of movement on the peninsula

Of sniffing

Sand particles sticking

The wrinkling of torn water lilies

On tiny half-soaked lumps

Deep green is racing

Caught up by the addition of blue

Through the elation

Of orange skins

The nostrils are detecting

The smell of sludge

Carried through the wind’s draught

Changes of space in

The speed of bodily control

Programmed urges

Their enforcement

The water doesn’t go above your elbows

It hardly touches the lower belly

While they swim into the deep

Crying out from the lake

In duplicated rotations

You are shaking,

Smoothing the sedge

Manifesting a change in landscape

The undergrowth thinning

The echo pulsating

air gone warmer

The waves of green shadows stretch the soil

The expanse pouring over the scattered flower heads

Sods of grass warming the air

With trees resonating from a distance

Sweetly stretched out through invisible trajectories

Filled with particles of birdsong                      

The topography of smells carrying the thought:

“Maybe now you’re the awakened bumblebee,

gently decoding the newly opened stamens?”

I look back at the well-known meadow,

 That one time when it was full of red clover

Strewn with thick bee bodies

Cleaned in a children’s neighbourhood clean-up

Somewhere below the lung bones

You are with me

I’m looking back in thoughts

To construct your body rubbing

Against the bitter dandelion sprouts,

And the emerging molehill cake

Hearkened by the energy of thriving

IN A NAMELESS DREAM

In a nameless dream, the paws and body flinched rhythmically.

 Sensing a deer

Mud beneath the grooves of the nails, the thistles playfully stuck to the coat

Decomposing forest corpses buried beneath the humus, anticipating your rolling

Duplication and camouflage

In order to soar through the scents even faster

To mark the paths known to no one but you

To compete with fungi and moss

The guttural release of your hushed bark

Flows through my lungs and I laugh

Imagining you coming back unrecognisable

Today I awoke from dreaming of you dreaming

And catching the dust

Latching onto my salty face

to accept the new means to enter the struggle

Truth is an emotion, it flows through our body. Veins, chest, heart. And the question is how much do we hear her rustling, her warmth melting in our chests. We bathe in a storm of warm and cold that murmurs and shakes under the flash of the thunder that revives and changes us.

 To accept the new means to enter the struggle. Determinedly shaped and strengthened while looking at the same things differently. To accept the new means to save ourselves from the pond of our own ego, needs and images of the world as a big market, from which we were taught to grab, choke, cry, vomit. If we cannot have an emotional and sincere relationship with ourselves, we cannot dig up the truth in a dark mine to shed light on the crisis of this crumbling world. These waters and the rivers, which are becoming more and more polluting day by day. We pile up plastic products, fill baskets and watch the garbage fall as the crows scatter it. But no, it is not our responsibility, let others take care of it. Work or responsibility, or a bad habit, or turning our head to a problem? The king has been naked; whispering while crying, holding fireflies, and bird feathers.

Behind the hard sound, dismembered, notched, the thought of a shadow remained. She fell to the ground and was soaked by the grass. Like a sponge, she sucked up the memory. On veins running in all directions. The crust of a waterfall that descends to the roots. Echoes of stories and whispers from the benches. The wings remained on the ground, sadly building a memory. The red-hot heads will turn red. An untold story will whine. Two missing and one clawed, no branches. The grass twisted under the relentless heat. The ant disappeared into the ground.

The body changes its daily gesture. The iris of the eye makes a bottom-up movement. But something is missing in the view, in the breath of the landscape harmony. The giant is gone. His chest went numb with grief, and hand went wild. The skin between the fingers screams and wants to leave a mark, in this cruelty that has remained. Hug the phantom tree with your body. React with rebellion, turn it into letters, string it like a cloud’s dance, let out a rain of words, correcting this fallen future.

Dives of Her Courage

On the dives of her courage,

They exhale silences, & frozen conformism,

Fallen feathers of good-intention,

Her rights are crumbs in the wind,

Tucked under the hellebore veins,

Through the rotten foundations,

She’s attuning her reality,

With dancing clouds in her lungs poles.

Come!

She’ll pull out Lines on your palm,

Offering the sipping of Unsatisfied freedoms.

Come!

By caressing she’s giving you support,

While pouring mud on the patriarchy.

Stopping the circulations of imposed realities,

We’ll shake off the spasms,

Entwine out roots with pulses of struggle,

In solidarity for each other.

Put on the Line- participative workshop for children

Children’s world is full of dangers; real & imagined. Most children’s fears are normal and temporary. Statistics show that the probability of children serious injuries during unstructured outdoor play is extremely low. Today’s children are obsessed with technology, which sometimes they cannot resist. Outdoor group games are less and less attractive to them, they experience less of the physical world around them and spend more time in the virtual world. The goal of the workshop was to encourage the children and give them ideas for some new joint outdoor games. We used quick drawing, rubber jumping and performance technique.

Notes under (her) cheekbones

The piece is a sketch for an artistic intervention in the Dotršćina, Zagreb memorial park. During the Second World War, the Ustasha regime used this location for the mass killing of anti-fascists, Serbs, Jews and other victims of terror. Scientific research determined about 7,000 victims, and that number is not final. The fundamental goal is to return the memorial area of the park to the collective memory, through the contemporary art interventions, organized every year on the World Day of Peace (September 21).

Although my project was not selected that year, I made a land art intervention at the beginning of spring. In it, I deal with signs that are naturally formed in the bark of forest trees. I painted a row of young trees with beetroot juice and found features on them that I attributed to women. Thus, the forest indirectly evoked the memory of the young and brave women who died here, and their names remained, as in everything, behind the dominance of the male gender.

A Muscle Fits into the Hollow of my Palm

2023. Gallery Prsten, Zagreb

The whirlwind dried up into a silence of protruding joints poking out. The muscle  fits into the hollow of my palm. I lift the body that is overflowing my chest with warmth. Pink with a black dot, rumpled mounds of dry skin and thinned out white hairs that the storms laid flat. A patch of brown steeply illuminates the area below the two air openings. Veins of red streams surface from the crevices. One narrow path has been left bald, bare atop. As if bound by invisible weights flowing down onto the body from the lungs.” N.B.

The day after he was gone, I went into the forest, pressured by the bitterness and the weight on my lungs. My eyes were constantly darting around and looking back, around and ahead, searching for what they had been watching over for eight years. An emptiness lingered behind me, my view awash with salty tears, hoping for the return of what went missing. As I walked on, heavy-pettaled white flowers started appearing. Hellebore – a poisonous plant – a folk remedy for terminating pregnancies. An image of a tired gaze, asking me for help, was spinning in my mind. As if stabbed by a knife, a feeling of having betrayed him overwhelmed me. Paws and body, they are the forests and nature, while the drooping head is just like the disappearing oceans and jungles. He left too early; his body internally consumed by tumors. He was left a skeleton, a mere shadow of the dog he once was. This too is a sight we behold each day; nature fading, fires turning trees into skeletons, plastics poisoning wildlife and contaminating our oceans, seas, rivers and streams. We eat food pumped up with various artificial additives to prolong its shelf life. This is what we feed our pets with, too. We are sick, they are sick. And then what do we do? Do we give ourselves injections to fall asleep?

This piece is a participatory installation consists of poetry, drawings, sound and objects taken from nature and returned to it. It was exhibited as a part of group exhibition How to Look at Natures?-Art and the Capitalocene

“Have you ever witnessed dogs or cats adopting some of our states and illnesses? If so, share that experience in a few of sentences.

Poems:


Blurred in their non-existence

2022. Locations: Flower square, park Tuškanac, Vlaška street- Zagreb

Performative action, supported by Domino Association, in public square ”Cvjetni trg” in Zagreb/ December 2022.

The action of wrapping the monument is a continuation of the work in which I collected people’s statements about  rising food prices and local, climate-neutral food. Entering into a conversation with random passers-by, I became aware that a large number of people daily do not have the possibility of a cooked, hot meal. The topic of poverty is primarily neglected, and there are no concrete and consistent solutions to address this problem. The fact that restaurants that want to donate food have to pay VAT on the donation is devastating, as is the fact of how much food is wasted in large stores. The crisis of rising food and energy prices will create a new wave of poverty. Through the gesture of wrapping monuments with cheap, thin paper, in a symbolic way, I cover some parts of them to attract the attention of passers-by. On the piece I wrapped, as well as on the thicker cardboard, which partly looks like a banner for an imagined protest, I write my own poem in prose, inspired by the collected stories of people.

Under the branches of withered will

Blinking tremors mirror their flash

Passing within unknown crowd

Threads twisted, gray, gravitating

Bending for articles from the back shelves

Counting the outlines of the shadows with their irises

Heads looking deeply down

Drowned by public criticism

Swallowing malaise

Under the branches of withered will

Drawing an internal scream

Without a warm meal, building a shame

And while the rays of that same shame spread

To our fridges bombarded with food

We allow, we do not react

Our senses are numb

We are rotting like a thousand pieces

Of unsold fruit and broken gifts

Blurred in their non-existence

The river in me; the river around me; Erosion of a Future Memory

Gallery CEKAO; Public Open University/Gallery FELtspace Adelaide

‘Erosion of a Future Memory’ is in response to collaborative research activity between Adelaide based Gail Hocking and international Croatian artist Nikolina Butorac  for exhibiting at FELtspace Adelaide December 2021 AND Gallery Cekao – Cultural Centre University of Zagreb, Croatia April 2022 

Truth is an emotion, it flows through our body. Veins, chest, heart. And the question is how much do we hear her rustling, her warmth melting our in our chests. We bathe in a storm of warm and cold that murmurs and shakes under the flash of the thunder that revives and changes us. To accept the new means to enter the struggle. n.b.

We want to materialize a sequence of different memories, which form activities that honestly depict the current state of the planet and us, through the gesture of writing, poetry, drawings, ephemeral interventions, performances and sculptural objects that can shape boundaries, indicate trajectory, and enable views.

The accidental audience is the seed of reality that processes the artistic act, thereby growing together with the artist.  Art activity can express the elements of truth in the culture, so every time a work of art is created, new meanings are rewriting old ones. 

Wanting to learn more about the past of the Sava River, Nikolina Butorac led workshops in two nursing homes in Trešnjevka, asking the protégés to associatively draw a positive memory for her; the smell of the river, the water that called for bathing, the plants that grew near it. She composes the resulting works into new collages, which follow the photographs of Gail Hocking’s artistic interventions in the empty riverbeds of South Australia, reminding us of the great droughts, shortages of drinking water and fires that have become more prevalent in recent years. Part of the work are artifacts, created by a symbiosis of natural and artificial, taken from several different places that the artists addressed important for their research. At the opening, Nikolina Butorac handed out blank papers to the audience, asking them to draw or write a new work that would protect the river and raise awareness of the importance of water, and hung their drawings among other works. Nikolina Butorac was a mentor for a collective performance piece by students of the non-verbal theater- academy for art and culture in Osijek, focusing on the river Drava. They were re-examing their own responsibility towards social and environmental events that surrounded them and conducting research about the possibilities of overlapping individual and collective experiences.

A Reverse Line Game, 2022.

Gallery Događanja, Zagreb

In this piece, I designed games that should contribute to understanding and recognizing specificity as a virtue. One of the games is the distortion of the accepted norm – in the game, a person without dyslexia is put in a situation of seeking assistance, as opposed to the division of roles within the school system, where dyslexic people are still stigmatized. Dyslexic myself, I want to achieve two-way, equal communication, in which the values of different perceptions are equalized, and differences enrich each other. In addition to photographs as notes of interference in the park’s public space, I used collected natural artifacts, such as dried lichens, branches, soil, my dog’s hair, my own hair, red pepper powder, leaves, cones. The park is a place where my breathing has changed from shallow to deep and where the traces of bitterness, discouragement and misunderstanding caused by school have slowly disappeared.

A game of drawing and solving puzzles, some letters are written upside down, so the team is looking for a person with dyslexia, who will contribute to faster solving and playing the game.

N e i g h b o r s;

draw a neighbor who is unusual to you in some way. Have you ever helped a neighbor? Write the story with chalks on the sidewalk!

L i v e s o f g a m e s f r o m o t h e r p a r t s o f t h e w o r l d; find peers who were born in a distant land. Ask them to teach you a new open air game!

G a r b a g e; collect garbage from the meadow and throw it in a larger container. Draw the most interesting object you have found!

S n o w:

ask parents or grandparents how much snow there was before and where the sledding points were. Draw a map of these points!

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Pacify of Shivers-Exhibition of the Earthquake Artifacts 2021

Gallery Prozori, Zagreb

Exploring personal discomforts and fears initiated by the earthquake experience,I conducted a series of workshops in Zagreb’s libraries. Workshop participants are invited to engrave or print their feelings on objects from their flats that have fallen and been damaged in the earthquake, making the everyday object not only a direct conduit of emotion, a place of rebellion or frustration but also a point in communication, the intersection of different narratives. These objects, collected through several months of artistic action, have become a kind of anti-souvenirs that recorded a common experience, becoming a well-known place and point of recognition of the community of citizens affected by the earthquake. I exhibit them in a glass case, which on the one hand musealizes them, and on the other contrary to the exhibition rules, pushes, twists, stacks broken plates and jugs, building a space of tension between the value and worthlessness of things, artifacts and everyday objects. On some of them, the owners have written a critique of inert city and state structures. In this twisting of the inner outwards, the intimate feeling turns into a collective and, indirectly, a dedication to the city; “wounded city”, writes one of the participants in the workshops. I’m using the scaffolding on the front of the Gallery building, which, precisely because of the slow and long construction work, this time related to the energy renovation of the building, is out of its function. The third segment of the work was my performance at the opening. I’m writing the names of the streets damaged in the earthquake on the construction helmet, and visitors are helping me. The helmet – the index of damaged locations – is invested in the display case among other items.