CRYSTAL C

Pioneer Works, Red Hook, New York

04/2014

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CRYSTAL C

Pioneer Works, Red Hook, New York

04/2014

CRYSTAL C

Tobačna oo1 & Vžigalica gallery, Ljubljana

2014

CRYSTAL C

Tobačna oo1 & Vžigalica gallery, Ljubljana

2014

TRISTAN & ISOLDE

Meta Grgurevič & JAŠA, National Opera and Ballet Theathre

2014

TRISTAN & ISOLDE

Meta Grgurevič & JAŠA, National Opera and Ballet Theathre

2014

CLOUD TAILOR

JAŠA & Jyrki Reiki, Sinne Gallery, Helsinki, Finland

2013

CLOUD TAILOR

JAŠA & Jyrki Reiki, Sinne Gallery, Helsinki, Finland

2013

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GODS CAME FOR DINNER LAST NIGHT

installation and performance at U3 - 7th triennial of contemporary art, MSUM Museum of contemporary art, Metelkova

20/06/2013

GODS CAME FOR DINNER LAST NIGHT

installation and performance at U3 - 7th triennial of contemporary art, MSUM Museum of contemporary art, Metelkova

20/06/2013

GALANTERIE MECHANIQUE

Meta Grgurevič & Urša Vidic in collaboration with JAŠA, Kalu & Bowrain

Mglc – International centre of graphic arts, Ljubljana, 30th Biennial of Graphic Arts

2013

GALANTERIE MECHANIQUE

Meta Grgurevič & Urša Vidic in collaboration with JAŠA, Kalu & Bowrain

Mglc – International centre of graphic arts, Ljubljana, 30th Biennial of Graphic Arts

2013

WHITE ROOMS

JAŠA, Junzi & Kalu / 9 track LP

2013

WHITE ROOMS

JAŠA, Junzi & Kalu / 9 track LP

2013

Rush is a string of moments captured throughout 2011 and 2012 at The Lovest project in MG/Museum of Modern Art in Ljubljana, which started in 2010.Video by Maša Nonkovič

White Rooms trailer

Crystal C / Leftfinger

Momentum / Leftfinger

APNEA'S RHAPSODY

On Stellar Rays Gallery, New York

2012

APNEA'S RHAPSODY

On Stellar Rays Gallery, New York

2012

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On Stellar Rays Gallery, New York, 2012

Installation view

Prints, print on carpet, c-print in frame, wood, rope, glue, colour

I used the medium of the Gallery solo-show as my main platform on which I conducted various elements that all played either a single tune or came together as a visual poem. Every piece in the show had precise instructions of presentation, and the public could choose which work they wanted to see (as often occurs) in gallery shows, only that here nothing could go out of the conceptual frame of the show. Two structured events emphasized the project's ability to create distinctive situation in a very natural way.

»Something about the elusive audio and the darkness downstairs makes everything on the street level appear more vivid and apparent upon our return, even if we don’t have a clue why. Whether collages on mirrors, swings, painted carpets and printed wallpaper, pigment prints, painted facial and hand casts, mixed media sculpture, or performative photographs, each of the objects now seems strikingly filled with meaning. We may not be able to ascertain what those meanings are, but in that indistinction, and when taken together, the show’s unity arises, what JAŠA calls his rhapsody of suspended breath.« (Roger Denson / Jaša's Fleeting Dream of Flight in Apnea's Rhapsody, Art Experience: New York City)

DIARY OF PERFECTION

part of Lords of Dirt, UGM Umetnostna Galerija Maribor

2012

DIARY OF PERFECTION

part of Lords of Dirt, UGM Umetnostna Galerija Maribor

2012

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SINGLE (ride out till you touch the sky)

A+A Gallery, Venice, IT

2012

SINGLE (ride out till you touch the sky)

A+A Gallery, Venice, IT

2012

Featured

THE YELLOW DOT

MSUM / Museum of Contemporary Art, Ljubljana, SI

2011

THE YELLOW DOT

MSUM / Museum of Contemporary Art, Ljubljana, SI

2011

BLOOM

Jerome Zodo Gallery, Milan, IT

2011

BLOOM

Jerome Zodo Gallery, Milan, IT

2011

THE LOVEST

Museum of Modern Art, Ljubljana, SI

2011-2014

THE LOVEST

Museum of Modern Art, Ljubljana, SI

2011-2014

THE LAST LANDSCAPE OF PLEASURE

Platform's studio, Vaasa, Finland

2010

THE LAST LANDSCAPE OF PLEASURE

Platform's studio, Vaasa, Finland

2010

wolf’s rain, for she had gold in her eyes, as nails up my dick, if they’ve killed him for what he did, I too have to, walk the same way, don’t try to find me, I looked for my boy, I spoke to him as a brother (whom I have pardoned), anyway I’m a lie, wanting somebody to like me, somebody to experience me, desire me, see me, I’m just an idiot who pretended to be in control, of all the worlds I had to see I got stuck in this one & it’s fine, empty be my friend, calm over my ever running feet, what if time goes and that’s it, will you fuck me if I sing a little, will you chase me if I die a little (robin’s belt was undone and her bra was around her neck) don’t try to find me, test the limits of your true devotion we’ve had enough, anyway I’m a lie, a notion of lie, on speed and dark, messy & well produced, sexy but disgusting

Jaša / Vaasa, 6.1.2010

THE LOVEST / THE BEGINNING

Simulaker Gallery, Novo Mesto

2010

THE LOVEST / THE BEGINNING

Simulaker Gallery, Novo Mesto

2010

Installation view; Paint, UV neon lights, colored straws, fishing line, used glasses, bottles, feathers, wooden structure. Sculpture “Can You Imagine...”; wood, fabric, tape, glue, polyurethane, paint, custom made clothes and shoes (from artist's movie “Sweet Life”), wig and rope.

Installation view; Paint, UV neon lights, colored straws, fishing line, used glasses, bottles, feathers, wooden structure, musical instruments, cables, cardboard boxes

BIG KISS... (for the stranger)

part of X-OP-ART project, (in collaboration with Rasmus Hedlund), Maa space, Helsinki

2010

BIG KISS... (for the stranger)

part of X-OP-ART project, (in collaboration with Rasmus Hedlund), Maa space, Helsinki

2010

RADICAL CHIC

Artist book documenting JAŠA's work between 2000-2009.

RADICAL CHIC

Artist book documenting JAŠA's work between 2000-2009.

TIME TO BECOME POETS

JAŠA & Mark Požlep
The Branch, Sextan et plus, La Friche Belle de mai, Marseille

2009

TIME TO BECOME POETS

JAŠA & Mark Požlep
The Branch, Sextan et plus, La Friche Belle de mai, Marseille

2009

Installation view; wooden structure and panels, blueback print, glue, paint, neon light,
plastic napkin, video projection loop, residue of various construction material
multiple dimensions

The residency in Marseille was a process which manifested itself within a vast gallery space. Using abandoned theater equipment, construction elements and material and requisites we build a space of complete fragmentation within the given space. For a month and a half, the artists inhabited the installation, building with a constant process of drawing and erasing, which in the language and construction translates to building and destroying. The installation itself became a live organism of memories, a labyrinth of associations, sounds and images.

FINGERSTICK RADIO

JAŠA, Mark Požlep & guests

abandoned public spaces, Celje

FINGERSTICK RADIO

JAŠA, Mark Požlep & guests

abandoned public spaces, Celje

FEAR IS MY GOD

part of A CAMEL IS A HORSE DESIGNATED BY A COMMITTEE (ATTEMPTS AT REWRITING THE WOR(L)D)

Palazzetto Tito and public spaces, Venice, Italy

2009

FEAR IS MY GOD

part of A CAMEL IS A HORSE DESIGNATED BY A COMMITTEE (ATTEMPTS AT REWRITING THE WOR(L)D)

Palazzetto Tito and public spaces, Venice, Italy

2009

Installation view; wooden structure and panels, plasterboards, commercial city posters, glue, paint, 33 neon lights, video projection and sound, DVD loop of 8 min
410 cm x 280 cm x 60 cm

The inspiration for this work came from Kubrick’s Space Odyssey 2001 black monolith, because of its form and radiating sound. The intention was to create a black box of contemporary society (which eventually became a self-portrait). A plain container on the outside, packed with many disturbing elements on the inside. The piece was accessible from all sides, but it created difficulties for the public; at the back, an installation neon lights were creating a beautiful sight from afar, but once inside the room, it became unbearable. The public could go inside the box, but once in, the sound became so intense it was impossible to stay. The smell, created with large quantities of spilled detergent and annoying flickering of the UV –lights had the same effect.

Along with the installation, the artist developed a performative alter-ego called “Bobby, the Neighbour.” For the opening, he disguised himself walked around like any other visitor. On the peek of the opening, he closed the only entrance door of Palazzo Tito with a chain and a lock. What followed was a half an hour of a crescendo of the nervous atmosphere created by the public locked in the exhibition space. After a while, he was pushed to the wall with demands from the public of handing over the key. As a performing climax, the artist starting screaming and showing the key, eventually placing it in his "secondary" anus (Bobby’s sewed body). After a while, the bravest took the challenge to get the key. Angela Vettese (the legendary Italian art critic) chased him around the exhibition space before eventually being tackled to the floor, and she managed to pull the key out.

»What's the meaning of mocking the world if you can't mock the byproduct result you sometimes present, this work is about an embodiment of byproduct effects.«

The project got the Award of the Fourth Epson FAR Prize for artistic research as recognition for its artistic achievements.