The place I took photos was island Krk in Croatia.
For this workshop inspiration were illustrations from Voynich Manuscript. Since its discovery in 1912, the 15th century Voynich Manuscript has been a mystery and a cult phenomenon. Full of handwriting in an unknown language or code, the book is heavily illustrated with pictures of unusual plants. The alphabet of this language contains a combination of unfamiliar and familiar symbols, some words and abbreviations in Latin and no punctuation marks. The letters are in lower case; there aren’t any double consonants, but there are many double, triple, quadruple and even quintuple strings of vowels.
The idea was to give each participant a freedom to ”translate” the Manuscript in his own words. To draw and write the recipes, referring to contemporary ecological and social problems, in our surrounding.
Osijek, Gallery Kazamat, 2019.
The names of asylum seeker children I hold conceptually-expressive workshops at the Elementary school in Travno are: Yadeen Abbas Mundher Al-Gburi, Taha Ahmadi, Amirali Ansari, Manea Atheer Manea Al-Sadoon, Hassan Jabbar Abbas Abbas, Bashar Maashi, Maryam Atheer Al-Sadoon, Shahad Maashi, Mehdi Deilami, Roshat Zaman Ahmad, Mikaeil Badan Firouz. Spontaneously, through drawing, graphics, installation, herbs printing, I’m trying to make them speak and sketch a memory of old home. It is amazing to see how quickly and naturally they learn and master a new language, adapting quickly to the new environment. I gave them a camera, and with my guidance, they photographed and recorded their own creative processes.
Workshops were performed in elementary school Gustav Krklec, 2019.
These photos were made from the window of a tram number 11 in Zagreb.
Photos were made in Croatia and India in 2016.
Installation and performance are referring to a person’s (ability) to engage environmental consciousness to think differently, accepting responsibility for their actions. The work consists of soil set up at the point of passage and papers with ecological terms like environmental justice, simplicity of life, local environmental care, clean technology, waste minimization etc. There is a microphone very near the soil, that amplifies the internal vibrations and external sounds-reactions of viewers. Sounds that I’m making are directed towards the soil, their intensity varies from very quiet ones, to the loud sounds of pain and grief. I’m inviting the viewers to join me, so 2 children and one adult came from the audience and made sounds with me. At the end, I gave to each of them, one ecological term with the written date and place, as a material performance artifact.
Event: Grisia Youth , summer 2019.
When I start a workshop, I used to say to my students that I’m not here to teach them art, but to give them a tool that will allow them to tell their desires, their dreams, their inner battles. Whether it’s through photography, painting, installation, film or one of the many other mediums to express one’s creativity; art provides a platform to raise awareness and encourages refugees to find their own potential. Being able to express ourselves without judgement is one of the most therapeutic aspects of making art.
In this performance I’m describing on the microphone, how my imaginary apartment and atelier would look like and how I could live from my work: to sell artifacts, photographs of the performances, to practice contemporary art methods with children in elementary school, so one day this children, could understand and buy contemporary art. I am trying to emphasize, how it is very important to have a working space separated from the sleeping area, that many young artists today do not have. At one point of my speech, I’m starting to refer to the audience, asking them to draw the floor plan of their imaginary apartment or atelier. From the mixture standing in front of the table (coconut, cocoa, ground nut, cranberries, dates, corn rose, apple juice) according to their sketches, I’m shaping their apartments and serving them on the paper plates, to be consumed.
Dedicated to all young people who work abroad and can’t do their art as much as they want (need).
Location: Museum of Contemporary Art, Zagreb
”Curious head is squinting flats with gray bricks. The associations are cluttering through the needle with the drops of adrenaline, blurring the little mirrors in my chest. Stepping over the color of distrust and reservation. Mind cuddling. Breathing out the plan.”
In this piece, I am researching a term ‘habitation’, as everyday passive action, drawing a focus on apartments as a fictive objects, impossible to afford to a young people today. I made interviews with friends living in rented apartments or with their parents, asking them to tell me a story about their living space. At some point in time, we recalled a working class-our parents and grandparents, which in socialism got their homes as a gift, because they were valuable workers, from different firms.
The focus of my work is to compare the time that was once and the present, as the two opposite poles. Today is a fantasy that some company would give an apartment to their employee.
With no money for our own home, we have more open possibilities for trying out life in other countries. But I wonder, how much are we forced on such life or do we really want to do it? If we have other options – which ones are they?
With the interviews released on the speakers and megaphone, I made an edible mixture of dried fruit, shaped in the form of my parents’ flat.
In front of the wall, but this time not home, but the impossibility of achievement, my frustration and helplessness are being shared with the audience, breaking the edible supporting walls of unfulfilled dream and offering them to the public, hoping that one day it will be easier, simpler and better.
Link to audio: https://soundcloud.com/user-2799856
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.