AT THE DAWN OF YET ANOTHER AGE OF ABSURDITY: COMPOSITION NO. 3


a spatial and performing intervention

Supported by WE.ARE Institute

Atacama desert, Chile / December 2017

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AT THE DAWN OF YET ANOTHER AGE OF ABSURDITY: COMPOSITION NO. 3


a spatial and performing intervention

Supported by WE.ARE Institute

Atacama desert, Chile / December 2017

The feelings of regret, embarrassment, and shame, I felt as a child dreaming of lost history, culture and

knowledge came rushing in once I set foot in the desert of Atacama. Endless account of the destruction of the

native civilizations by European nations, autocratic regimes and present reckless exploitation of the

environment that only man can create. It seems that humanity and individual nations have an exquisite gift for

forgetting and embracing in contemporary politic's extremes of apparent setbacks on all frontiers that we, as a

society are facing now, from environmental meltdowns to nationalistic ideologies. Chile is no exception with it's

present presidential and parliamentary elections that threaten to send the country backward in the footsteps of

its darkest parts of history. The desert is made of communities that fight to maintain it's native language,

culture, and history. It embraces projects like A.L.M.A., one of the most significant observatories in the world

which is gathering data from the darkest pockets of the universe to give answers to the most basic question, of

how it all came to be. Needless to say, how one can feel powerless and small, when confronted with the

harshness and urgency of the boiling issues and therefore I need to continue, and primarily challenge myself,

my purpose and my advocacy in the given moment in time and space. Composition nNo. 3 will be executed in

the heart of the desert in a found and abandoned structure. 

The composition continues.

In light of our deep ambivalence about our global socio-economic situation, the question of the political

commitment, in art and elsewhere, seems to be calling out for alternatives that do not shy away into the usual

'underground'. The poetical, the individual act of defiance, a voice, sound, a repeating gesture as a poetical

stance and standing resistance.

Composition No. 1 & 2 saw JAŠA unravel in New York City and Folkestone, on his own, what he did for six

days a week, for 29 weeks, with a group of people, during the duration of the performance, the same issues,

the same questions.

In essence, the composition remains the same: ephemeral, gestural, a form of resistance, only now reacting to

a different context, as it molds in response to a delicate and menacing political climate. The core is an

architecture of resistance, which manifests actions through presence and language. Actions and interventions

are spread throughout the eight-day performance, reacting to the local, the temporal, a simplicity is fueled by

the urgency of the now, a repercussion in time and space, we must recoil quickly, react to what's happening

around us, in order to be immediate and relevant.

(Reactionary—immediacy is the medium. Relevancy—say it out loud, now, instantly, perform, proceed.)

There is tension under the surface. We have been swallowed by egocentrism. Today’s rapidly changing day-

to-day necessitates action, comment, responsibility, response. We are in an urgent state of ideological crisis

that has resulted in the psychological breakdown of society. The situation needs constant attention, it requires

reaction, as individuals and as different groups as a whole. All of it was there from the beginning; it now

depends on which elements will surface through, which emotions will become the generator for a certain

ideology. Art has always had the responsibility of being both a catalyzer and generator. Punk as an attitude

was a reaction to a stiffening tissue of the era; Dada was a necessary opposition to boiling extremes that

brought humanity to meet its most monstrous side. In each inch of our bodies lies a potential disaster; as we

are facing the most existential dilemmas on every step, each cell can decide to deteriorate and bring out the

worst in us while we are dreaming of beauty. At times, it may be better to limit yourself than to continue the

illusion of an all accessible freedom, which ends in nothing less than limitless ego. A lake of me-s to drown in,

a lake of us to love me.

Alternative forms of communication do exist; visual, musical, symbols, patterns— what we need are regular

executions, to be exercised regularly. An exchange of situations creates the uniqueness of experiences. A

Beuysian gesture in its potential to transform society. A simple exchange; a catalyst for hope. An act that will

be what it is. Through repetition, gesture, and embrace, we reach the shores of ones most authentic self. In his

recent composition’s, JAŠA limits himself into a reverse situation—an honest way to face the self in front of

self. Every thought can deteriorate. Every character can have many shades. A manifestation of a contrasting

process that embraces aggression as emotion in order to give birth to the poetic. The obscurity of space

reveals the preciousness of each gesture, gestures that parallel and overlap in time and space. All in one

body, a dance with gravity. Now. It is time to scream in the face of absurdity. Only together can we erupt and

break free. Openness. A dense cloud of energy and spontaneity. When all is said and done, we transition into

memory; we leave no trace. All in one body we walk…

EL FUTURO ES NUESTRO


EL FUTURO ES NUESTRO


On-site participatory action and permanent spatial intervention

2.12. & 3.12.2017

María Pinto, Chile


“El Futuro es Nuestro” is the first action of a series of intervention under the title  “BRAIDED”, a project founded in 2016 in New York

supported by EleStudio, HOP Projects, WE.ARE Institute & Embassy of the Republic of Slovenia Buenos Aires

Spoken word by Jaša                                          

Camera/sound/edit by  Tobias Belliard

MUsic: “Run run se fue pal norte” interpreted by the “escuela las mercedes” orchestra

POETRY: BRAIDED by JAŠA, 2014

with special thanks to all the children of  “Escuela las mMercedes”, parents, the orchestra, staff and the director, the municipality of María Pinto, the mayor Jessica Mualim and all those who made it happen, Tomas, Andres and Sergio Poblete, Mario Hans, Josefina Speranza, Ignacio Paredes & Sebasitian Rojas Cereceda

At the dawn of yet another age of absurdity: composition no. 2


At the dawn of yet another age of absurdity: composition no. 2


01_C.no.2._JAŠA.jpg

a spatial and performing intervention

curated by Mitra Khorasheh

A collaboration between HOP Projects and The Performance Studio in association with WE.ARE Institute

02.09. – 10.10.2017, Folkestone, UK


'What is there to do but wonder', a stranger’s face seems to propose. He was standing not far, but far enough for the other to stare back. As he, the other, stared at the stranger's face, dark-skinned, he could not see the stranger's lips move. 'Why you do not want to accept my gift'? the stranger added. He, the other, continued to stare at the stranger's face and moving hands, gesturing. Almost out of final frustration, the stranger added 'I am about to leave (there will soon be nothing left for me--to die or live for--here). Nothing common. No 'us.' He, the other, melted into the usual crowd, and then they all stared, they stared back, The stranger opened his dark umbrella, right above the cliff. 'And I only wanted to make you all some eggs', he said right before disappearing. 'And I only wanted to make you all some eggs', echoed in everyone's heads.

 

*

 

The composition continues.

In light of our deep ambivalence about our global socio-economic situation, the question of the political commitment, in art and elsewhere, seems to be calling out for alternatives that do not shy away into the usual 'underground'. The poetical, the individual act of defiance, a voice, sound, a repeating gesture as a poetical stance and standing resistance.

Composition no. 1 saw Jaša unravel, on April 22, 2017, in New York City, on his own, what he did for six days a week, for 29 weeks, with a group of people, during the duration of the performance, the same issues, the same questions.

In essence, the composition remains the same: Ephemeral, gestural, a form of resistance, only now reacting to a different context, as it molds in response to a delicate and menacing political climate. The core is an architecture of resistance, which manifests actions through presence and language. Actions and interventions are spread throughout the eight-day performance, reacting to the local, the temporal, a simplicity is fueled by the urgency of the now, a repercussion in time and space, we must recoil quickly, react to what's happening around us, in order to be immediate and relevant.

 

words 1111.jpg

(Reactionary—immediacy is the medium. Relevancy—say it out loud, now, instantly, perform, proceed.) 

 

There is tension under the surface. We have been swallowed by egocentrism. Today’s rapidly changing day-to-day necessitates action, comment, responsibility, response. We are in an urgent state of ideological crisis that has resulted in the psychological breakdown of society. The situation needs constant attention, it requires reaction, as individuals and as different groups as a whole. All of it was there from the beginning; it now depends on which elements will surface through, which emotions will become the generator for a certain ideology. Art has always had the responsibility of being both a catalyzer and generator. Punk as an attitude was a reaction to a stiffening tissue of the era; Dada was a necessary opposition to boiling extremes that brought humanity to meet its most monstrous side. In each inch of our bodies lies a potential disaster; as we are facing the most existential dilemmas on every step, each cell can decide to deteriorate and bring out the worst in us while we are dreaming of beauty. At times, it may be better to limit yourself than to continue the illusion of an all accessible freedom, which ends in nothing less than limitless ego. A lake of me-s to drown in, a lake of us to love me.

 

Alternative forms of communication do exist; visual, musical, symbols, patterns— what we need are regular executions, to be exercised regularly. An exchange of situations creates the uniqueness of experiences. A Beuysian gesture in its potential to transform society. A simple exchange; a catalyst for hope. An act that will be what it is. Through repetition, gesture, and embrace, we reach the shores of ones most authentic self. In his recent composition’s, JAŠA limits himself into a reverse situation—an honest way to face the self in front of self. Every thought can deteriorate. Every character can have many shades. A manifestation of a contrasting process that embraces aggression as emotion in order to give birth to the poetic. The obscurity of space reveals the preciousness of each gesture, gestures that parallel and overlap in time and space. All in one body, a dance with gravity. Now. It is time to scream in the face of absurdity. Only together can we erupt and break free. Openness. A dense cloud of energy and spontaneity. When all is said and done, we transition into memory; we leave no trace. All in one body we walk…

THE LAST DANCE


THE LAST DANCE


JAŠA & Loup Abramovici

July 2nd, 2017, 10:00am-06:00pm, Museum of Natural History, Ljubljana

 

“What is there for a museum to be considered as a museum? How many stones, how much water, how many hours of work, how many workers?

How to honor the people, the different aspects, things that allow a visitor to face a mammoth or any other marvelous artifacts exposed in such a place with our own voice of passion and responsibility towards the now?”

*

The Artist choose The Museum of Natural History of Ljubljana as a fitting context for their durational performance entitled 'The Last Dance'. Open to the public on Sunday, June 2nd from 10 am to 6 pm, they will inhabit the rooms of the Museum. Their intentions are to exercise their will and convictions about potentials of an idea, concept if constrained to non-lasting forms. In contrast with historical and natural fact exhibited within the Musem, their gestures will come through only with the use of their presence, movement, and voices. Activity within the Museum of 'what was' will serve as a limitation and amplify of their manifested will and convictions. 

*

L: Different possible tracks crossed my mind as well. For instance, how would we be seen, what story would be told about us, if we were to be found a thousand years from now?

J: Or can the walls witnessing our actions pass on our intentions to new generations? People do. And they can tell stories.

SILENZIO_ETERNAL LOOPHOLES AND BRAIDED LINES


SILENZIO_ETERNAL LOOPHOLES AND BRAIDED LINES


Project by: Meta Grgurevič


Artistic overview and text: JAŠA

Curator: Michele Drascek
Construction of kinetic system in collaboration with France Petač
Choreography: Sanja Nesković Peršin
Performers: Marin Ino, Mateja Železnik, Tjaša Kmetec, Petar Đorčevski, Lukas Zuschlag, Richel Wieles
Music: Bowrain
Photography: Rosa Lux
Special thanks to DK, Rok Bogataj & Tjaša Gnezda

Project PDF

AT THE DAWN OF YET ANOTHER AGE OF ABSURDITY: COMPOSITION No. 1


a performing intervention, curated by Mitra Khorasheh

kHORASHEH + gRUNERT, Tanja Grunert Gallery, New York

04/2017

 

AT THE DAWN OF YET ANOTHER AGE OF ABSURDITY: COMPOSITION No. 1


a performing intervention, curated by Mitra Khorasheh

kHORASHEH + gRUNERT, Tanja Grunert Gallery, New York

04/2017

 

There is tension under the surface. We have been swallowed by egocentrism. Today’s rapidly changing day-to-day necessitates action, comment, responsibility, response. We are in an urgent state of ideological crisis that has resulted in the psychological breakdown of society. The situation needs constant attention, it requires reaction, as individuals and as different groups as a whole. All of it was there from the beginning, it now simply depends which elements will surface through, which emotions will become the generator for a certain ideology. Art has always had the responsibility of being both a catalyzer and generator. Punk as an attitude was a reaction to a stiffening tissue of the era, Dada was a necessary opposition to boiling extremes that brought humanity to meet it's most monstrous side. In each inch of our bodies lies a potential disaster; as we are facing the most existential dilemmas on every step, each cell can decide to deteriorate and bring out the worst in us while we are dreaming of beauty. At times, it may be better to limit yourself than to continue the illusion of an all accessible freedom, which ends in nothing less than limitless ego. A lake of me-s to drown in, a lake of us to love me.

Alternative forms of communication do exist; visual, musical, symbols, patterns— what we need are regular executions, to be exercised regularly. An exchange of situations creates the uniqueness of experiences. A Beuysian gesture in its potential to transform society. A simple exchange; a catalyst for hope. An act that will be what it is. Through repetition, gesture and embrace, we reach the shores of ones most authentic self. In his solo act, JAŠA limits himself into a reverse situation—an honest way to face the self in front of self. Every thought can deteriorate. Every character can have many shades. A manifestation of a contrasting process that embraces aggression as emotion in order to give birth to the poetic. For JAŠA, it is time to revisit utter, the violent necessity for the embodied presence of hope. It all started in Europe and exploded in America. Now. It is time to scream in the face of absurdity. 

LIMBO


video, 04:09, New York

2017

LIMBO


video, 04:09, New York

2017