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.
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).
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 (Zagreb).
* right to be informed of all matters pertaining to him/her.
2. * right to counsel and assistance in solving the problem in accordance with his / her best interest.
3. * right to respect his / her opinion.
4. * right to help other pupils in a school institution.
5. * right to complaint that can be given to the teachers, the director and the school board.
6. * right to participate in the work of the pupils school council.
7. * right to suggest improvement of the educational process and the educational work.
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.
Feel shame, given the signs of shyness, shame.
Description of intervention:
The basic idea of the project is a space installation on the path of celebrities in the city of Opatija. Installation is made of plants in order to form the word ‘s h a m e’ or ‘s r a m’ in Croatian. Through these word I ask myself and public: ‘What does it mean to feel shame?’ We were ashamed of something in puberty and while growing up, but is shame a virtue or a flaw in adult human being? If it is a virtue, should every person have a dose of shame in itself? Surrounded by media and politicians that constantly lie without a shred of shame, this issue is trying to encourage passers-by to define by themselves what the word shame in the present moment means to them.
The performance is divided in two parts; first, where I stand quietly for a while in the middle of medicinal and aromatic plants. In front of me is the pot with boiling water. Suddenly I approach to the pot and … Continue reading →
Slowly moving from one side of the street to the other, I’m trying to share teas that increase immunity, calm palpitations, insomnia, stress and return strength to the body. Mixture is consisted of herbs such as hyssop, dandelion root, chamomile, … Continue reading →
The starting point of the exhibition Intertwining was the joint space of the gallery and the neighborhood library, specific situation that required a solution: to recognize the reasons, opportunities and methods of intervention. The Gallery, which is minimized on a series od windows, is prone to things sliding in or out. Based on the statistics, which indicate that young Croatian literature is not being read enough, I am doing a performance piece of writing out texts taken from Croatian literature on the windows. The public life of the neighborhood pulsates around the library so texts are firstly intended for the people living there.