ABOVE ALL WE ARE NOT DONE


WhiteBox NY, New York

11/08/2016

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ABOVE ALL WE ARE NOT DONE


WhiteBox NY, New York

11/08/2016

The project consists of a sculptural intervention and series of performances. Within the show's political frames it seemed to me to literally occupy the sections of the designated space with a sculptural duplication of the same space. An angle a corner became my stage to testify my position within the broader political environment. Before the opening, I constructed the section with a crucial help of Drew, the technician who worked at the White Box at that moment. After the wooden structure was completed I invested the time at my disposal to start with layerings of colors; a seemingly pure esthetic action and statement that took a classical painterly approach to gain depth of color as a reflecting body within the show of variously loud political pieces. The action it self put my position and the work's intention under a question mark. For the opening performance, I started looking for one of the 'invisible' workers wich in New York are usually of Latin or Asian provenance. It was a great shock to me with what kind of distrust my proposal was met. I was offering a full payment plus complete anonymity, still, it seemed almost impossible, until we did find the right person through White box's personnel. He started painting the piece at 6 pm with yellow, to be followed with pink, baby blue and black, only to start again. His face was hidden within a black hoodie; his movement was impeccable. While he had to wait for the layers to dry, he was hiding at the back of the sculpture. When the opening concluded, he simply left. In the coming days, I came sporadically and unannounced during the opening hours and followed the same patteren.

On the 8th of November 2017, the day, eve of the presidential elections in the USA, the piece awaited the public in its last black state. I reached out to a group of artist to perform the last act amidst various action it space. Marty Cacic, Maura Pelletri, Jaanika Paerna, Xiren Wang and Franc Lesbros joined me for the action wich consisted of setting a base in the basement waiting for the peak of the night, right before the results would hit in. First I spray painted the text on it, then everyone else joined me. We surrounded the piece, all dressed in black and covered in hoodies, standing silently. With the given mark we approached the piece and lifted it unanimously. The actions lasted as long as we could.

After the results had come, space was gripped by chaos and nervosis, one of the consequences our camera with all the documentation was stolen, that is why I reached out again to restage the action on the last day before the installation was destroyed. This time Giorgio Guidi, Marty Cacic and Franck Lebros joined me.

JAŠA

UNTITLED 2017


curated by Maxime Van Melkebeke, offspace.xyz New York

07/11/2016

UNTITLED 2017


curated by Maxime Van Melkebeke, offspace.xyz New York

07/11/2016

UNTITLED 2017 is a performance, action, and intervention by JAŠA, live-streamed in real time for 6 hours in November 2016. Within the continuation of the cycle UNTITLED (2015, 2016, 2017), JAŠA's message is persisting in content that is relevant, for individual situations and for those communities that are, or should be. Facing a new period of celebrating the ego per-se, critical distance, and honesty is an imperative.

“We will never shut up, as we are so many, that is why I asked you to do this. This particular action, this time...” 

UNTITLED 2017, time-laps, 02:43

ULAY & JAŠA / CUTTING THROUGH THE CLOUDS OF MYTH


Site-specific installation and performance, curated by Mitra Khorasheh, Kustera Projects, New York

05/2016

ULAY & JAŠA / CUTTING THROUGH THE CLOUDS OF MYTH


Site-specific installation and performance, curated by Mitra Khorasheh, Kustera Projects, New York

05/2016

Cutting Through The Clouds of Myth was a series of actions, an intimate happening, an experiential installation and a language of communication. Two personas with radically different approaches to performance and in drastically different moments in life were placed within a space for a specific duration of time. This room was at once far too tiny and too vast for the both of them. This juxtaposition, this placement in time and space created a necessity of opposites to co-existence. The necessity to co-exist on a common ground was the only common ground; co-existence became a bare fact rather than a statement.
ULAY’s use of time and space is radical. True to his legacy, he came in and left his mark; he was the only protagonist in the action. Whereas JAŠA’s approach to performance centres on molding time into something less palpable, through creating a rhythm that goes beyond what it seems. The environment and JAŠA’s actions are one of the same, a body where every autonomous element works within the wholeness. By virtue of the necessity to co-exist, JAŠA created a reacting environment for and to ULAY; progressive, reactionary, a landscape, a soundscape, a physical condition, a living atmosphere within which each (artist) can stand for what he is and who he is. 

 

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THE RELATIONS


FRIEZE London

10/08/2016

THE RELATIONS


FRIEZE London

10/08/2016

The Relations is a composition in space and time, a series of interconnected yet autonomous gestures that meld imagery, poetry and performance together with his sense of responsibility. JAŠA notes, “appearance and perception are at the core of my interest in The Relations, the space-in-between, the gaps, the uttering of one’s emotion, the urgency to believe even if “the believing” does not have an obvious structure, or better I do not want it to have one”. Situations become images in JAŠA’s work; imagery constructed in relation to the tension between the detail and its dissected wholeness, which at once might occur as familiar yet distant. Looking at a diversity of relationships and associations to memory, repetition and re-emergence, JAŠA disrupts the familiar and entices the unexpected with his integration of the spatial and temporal. With constant re-materialization, we reach an apparent logic that seduces and bewilders. The trigger of a familiar situation creates an image constellation; independent gestures lead to an intensified experience. There is present-ness yet a simultaneous remoteness, hopefulness balancing vulnerability, beauty, and symmetry balancing chaos, tranquility balancing turmoil, a visual order that is at once nostalgic and open. Sounds echo and collide in harmony within this carefully choreographed atmosphere that seemingly relies on an invisible script. In The Relations, JAŠA embraces the monumental which constantly tiptoes onpersistent delicacy of the sensual, physical, direct, raw and loud. The latent scream seems to persist—maybe one of his most personal signatures—as it takes on interconnectivity of facts, interpretations and existence.

CHRONICLES


 

 

CHRONICLES


 

 

NOTES AND THOUGHTS OF THE ARTIST ON THE INSTRUMENT

For 29 weeks, 6 days of the week, a group of performers and collaborators orchestrated by the author, spent embedding what through time became a precise and meaningful manifestation of artistic will and resistance within an artwork. An important passage from embodying to embedding occurred as disciplined smearing of the structure’s surfaces, passionate in its strict devotion to continuous execution with clear marks of not only presence but also a powerful message.

UTTER has, as a system, from its very beginning, embodied the notion of passing time and the acknowledgment of its expected end. Therefore mindfully executed (pointless) acts performed in UTTER as a wholesome instrument gained meaning and strength. It is important to point out that it has never been the project’s intention to disclose the process but to use it as its main driving force. Utter was a profound manifestation of a well-planned structure and execution braided into one breathing wholeness or “Togetherness”.

FROM EMBODYING TO EMBEDDING

It all comes out of mastering the "distillation"; embedding a thought process into an autonomous work. It only works when this process enables an object to obtain its own autonomy, which does not belong to you anymore. You were lucky enough be the medium and executor - a vicious game of giving and taking, of gaining and losing, of hurting and loving, the moment I call; It feels like tip-toeing on the edge of a euphoric sense of beauty, or more commonly, the creative process.

In the spirit of the project, uninstalling consisted of two crucial parts, the disappearance of the original structure and conception and fragmentation of singular works of art that now stand as autonomous testimonies of what needed to happen; creation and resistance. Structuring the project was based on the parallel development of

singular bodies of work, that once together formed as one. Up-close, one was able to focus on one singular element in order to grasp the fractal conception of the work (from detail to whole and back). Chronicles / Log. No 1 focuses on this exact drive of the creative process, comprehending it’s totality and fragility. An obsessive or (better) inspired vision to deliver and comprehend singular works (as enclosed micro-environments/ documents of existence) and at the same time to question the resilience of singularity and therefore almost visceral necessity to stitch them into a wholesome breathing organism.

Proportion, the relation of size or medium has always played a very important role in my work, where I highlight the contrast or similarity and this is another important angle within this show. The reality and perception of how this singular works occupy and define space. The space in-between, the gaps, the air is so very important as for the public to seize their opportunity of experience, as for the artist to create the right rhythm of how they work together. And as the subtitle “The violent necessity for the embodied presence of hope” proposes, it can be loud as it can be caressing, but most of all it is necessary.

Chronicles / Log. No 1. is all about precision, elegance, and punctuality. All in the service of the inevitability of one's touch and how it covers the given material with existence.
This is the beauty, the need, and responsibility towards one's creation.
What we need to do on the way to achieve every next step, who we need to become, it's simply like facing a white canvas every morning, this perfect moment of everything and nothing, as one single beat of the heart.