It Seems We Did Manage To Get a Grip Around Some Kind of a Meaning Lately


Meta Grgurevič & JAŠA

29.11.2018

Viba Film

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It Seems We Did Manage To Get a Grip Around Some Kind of a Meaning Lately


Meta Grgurevič & JAŠA

29.11.2018

Viba Film

A site-specific installation developed in the past two months uses the volume and the character of the given space as a necessary framing for a new sculpture of monumental dimensions. The artwork combines modular grid structure, the element of nature, sound and light. The artists often use different media to create an experience of an all-encompassing environment, molding the ephemeral into a palpable temporary presence. The work talks to an embedded notion of beauty and positive grandeur in all of us; humanity’s capability to learn, accept, grow and protect. All materials are used to create a temporal installation, a fleeting and sublime experience that will remain in our shared memory of today will be returned to its previous state (therefore creating zero waste).

Future is a matter of projection, but mostly a consequence of actions we mindfully trigger today.

Ljubljana, 29.11.2018

AT THE DAWN OF YET ANOTHER AGE OF ABSURDITY: COMPOSITION NO. 5


with performances in collaboration with

Martina de Lugnani

Peter Furlan

Isa-Bela Mrevlje

Supported by WE.ARE Institute

04/07/2018 ESPRONCEDA - Center for Art and Culture, Barcelona

AT THE DAWN OF YET ANOTHER AGE OF ABSURDITY: COMPOSITION NO. 5


with performances in collaboration with

Martina de Lugnani

Peter Furlan

Isa-Bela Mrevlje

Supported by WE.ARE Institute

04/07/2018 ESPRONCEDA - Center for Art and Culture, Barcelona

JAŠA_sketch_Barcelona wall.jpeg

 

WRITING JUST ANOTHER LOVE LETTER TO MY CONSCIOUSNESS


site-specific intervention

05/11/2018

Kamera Gallery, Kino šiška

WRITING JUST ANOTHER LOVE LETTER TO MY CONSCIOUSNESS


site-specific intervention

05/11/2018

Kamera Gallery, Kino šiška

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“A year ago, during an amazing concert by Benjamin Clementine at Kino Šiška, I needed a break; what was happening onstage blew my mind, so I had to step outside. Waiting for my drink, I looked to my right and focused on the big white wall. Then I saw the piece. A site-specific intervention that shifts the element of stage lights onto the wall and puts a written statement in the center. A frozen moment of elusiveness and the defiant persistence of a thought. A verse from an old song of mine that keeps on lingering in my mind, to the point that it assumes its autonomy. So I searched my pockets for a piece of paper, an action of recurring beginnings. A fragment of all the songs of tomorrow.”

JAŠA, October 2018

 

The Lovest, revisited (2018)


Organisation: RAVNIKAR GALLERY SPACE and WE.ARE institute in cooperation with Kino Šiška

Kino Šiška, June 2018

The Lovest, revisited (2018)


Organisation: RAVNIKAR GALLERY SPACE and WE.ARE institute in cooperation with Kino Šiška

Kino Šiška, June 2018

With selected art posters and a documentary film, the Lovest, revisited presents the project the Lovest, which lived and breathed from 2011 to 2014.

Strategically and in terms of content, it is a continuation of the project I’m Culture, with which the visual artist JAŠA left a significant mark on the Triennial of Contemporary Art in Slovenia in 2010, curated by Charles Esche. The artist developed a strategy of the relationship towards the entire exhibition and space, focusing on the unused areas. He carried out a series of events that took place in all areas and functional groups. They were set in the between-space, the coat check and the non-functional café, among the toilets, next to the lecture hall and elsewhere, opening up a chaotic world, diametrically opposed to the orderly exhibition aesthetic that dictated the walls of the gallery one floor up. The entire happening attracted a new, younger audience to the Museum of Modern Art, excitedly paying close attention to the happening, full of fun, humor, subjugation, destruction and shock. With the intervention nearly merging with the space, it seemed a shame for the project to come to a sudden end.

A mere two weeks after the conclusion of the triennial, the project evolved into a new one, called the lovest. Together with his collective, the artist established an alternative entrance through the window, allowing visitors to enter and exit freely, and painted the windows of the gallery basement in bright colours. With both interventions, he aimed to soften the façade of the “old lady” and/or the dilemma that turned many away before even entering the gallery. He soon moved his studio into the gallery, building form and structure on a daily basis and leaving his doors open during the official gallery opening times. The installation attaining a satisfactory form was followed by organised events that soon competed with all the other Friday night gatherings. The period coincided with a broader “renaissance” of the club scene in Ljubljana and elsewhere.

Over time, the lovest became an excellent instrument of active experimentation in combining individual media into a whole of events that – regardless of the debauchery, happening, concert, dancing, performance or other raging – always ended with the same words by the legendary gallery doorman: “The museum is closing.” The author aimed to utilise the form of a club or party as an artistic form, a participatory Gesamtkunstwerk. As he adds today: “Speaking about the lovest is speaking about life as we saw and lived it.”

The opening of the the Lovest, revisited exhibition was followed by a premiere of the short documentary film the lovest, revisited (25 min), directed by Maša Nonković and JAŠA, at Kino Šiška. On her own initiative, Maša Nonković followed the happening and captured it on tape, with the author fearing that the events will lose authenticity due to the presence of documenting. It later became clear that today this is the only document capable of distilling the atmosphere of that time.

the lovest, revisited is a tribute to the young and active production at the time: JAŠA and the entire team; Luka Uršič – KALU, Nina Vidrih, Janez Vidrih, Aljaž Košir – Fejzo, Primož Nemec, Griša Šoba, Metka Dolenec, Michel Drascek and Meta Grgurevič, Urša Vidic, Taja Toplak, Saša Šuštar, Marko Požlep, Maša Nonković, LeftFinger and KUD LJUD; at the Museum of Modern Art: Zdenka BadovinacIgor Španjol and Adela Železnik; and many others who contributed to individual events as authors – thank you!

The project is dedicated to the late Maks Soršak, Assistant Director of the Museum of Modern Art.

Thank you to the following external collaborators of individual the lovest events: Bartillier, Bowrain, Crisitiana Palandri, Dick & Greta, Eldo Willer, ENKA, Felis Catus, Giorgio Guidi, Irena Tomažin, Junzi, Jyrki Riekki, Lux, Matej Stupica, Matjaž Brulc, Mina Fina, Monsieur Moo, Neon Dekadence & Mique, Nicola Genovese, Nina Fajdiga (and Jasmina Križaj, Leila McMillan), Paul Destieu and Julien Toulze and Otto ProdRoman UranjekRuff RogaSoftskinson, Some1else, The MIha Artnak, Uroš Abram, Vladimir Mićković, Yanya, Your Gay Thoughts, Žakpižon, Zeleni Zajec.

And all of you who came and were part of the whole. Thank you, JAŠA. 

NOWHERE / NOW HERE


Spatial conception, site-specific interventions, large scale installation & original framed and in-situ artworks

Art Tartini Hotel, Piran

NOWHERE / NOW HERE


Spatial conception, site-specific interventions, large scale installation & original framed and in-situ artworks

Art Tartini Hotel, Piran

JAŠA turns his attention towards an old hotel in the seaside town of Piran; what we end up with is a philosophical examination of transient private and collective spaces. The monumental project, NoWhere / NowHere in Art Hotel Tartini has been conceptualized and realized as a site-specific work of art as a whole. A meditation on the relationship between art and architecture, hotel and guest, utopia and reality, possibility and the impossible; various elements come together to create an overall experiential narrative.

An existing architectural frame holds within it a concentration of bygone times, a history of people that once where, a space so extremely over-layered with the material, a heavy presence of an accumulated past, a blank slate that still holds memories and emotions of the no more. A challenge is presented, an archeological approach of sorting through physical layers and metaphorical traces left behind. A search for utopia begins. The impossibility entices a more significant challenge. Does this ideal space exist or is it just a figment of our imaginations?

The instinct is to strip it bear, make it white, rip it raw, a blank canvas. Whiteness becomes the starting point, an immaculate theme that lingers beyond and into what will be. Strip it bare in order to see and hear. Feel. The whiteness holds the air, not only for a new imprint to be embedded but permits light and air to seep in. A state of surreal emptiness allows listeners into the rooms.

Does the space define the art or does the art define the space? For JAŠA, it is a constant dance, an intricate back and forth, both of which are approached with responsibility - the result being what had to happen.

“I came up with rules to only break them eventually so I could breathe into the material, giving them an autonomous life, to embed a certain attitude and approach.”

With his central large-scale glass installation, JAŠA subverts the emotional experience of the viewer. The beauty of the sublime, an unbearable lightness, a presence of a constant threat. A statement that is as much aesthetic as it is political. A half a ton of broken glass is suspended from the ceiling upon everyone that steps in. This frozen rain hangs in the heart of the space, its democratic center, accessible by anyone and everyone, visible from all angles, it is the common ground. Walk bellow a plethora of broken glass, an inevitable unpleasant feeling of threat permeates, an intentional balancing of beauty and menace that further ripples throughout the whole.

Walls and floors that whisper. An interchanging of whispers, of sporadic bits and parts that elude to a narrative, but never a logical narrative that one would expect. The tale is what traps the visitors there, in NowHere. The entrapment is sincere, a sincere act of curiosity. “When the eye opens to curiosity, you hear whispers that you never heard before.”

“My work is about enduring within a certain situation, allowing the ephemeral to mold reality as long as possible.”

In his manifesto, Wayne Koestenbaum positions the hotel as a space for possibility, posing the question, “Does one check into a hotel or does the hotel condition check into you?” With this monumental work of art, JAŠA entraps the viewer within his narrative, a place of pure poetry where writing disappears. Invisible writing. Writing on the walls. A place of fiction, of fragments, of quotations and palimpsests of what was, what is, what will be. A place where both dragons and little mice fly. A narrative that arises from the need to overcome the dictum of “I miss you”— how to give more words, shapes, and colors to the empty spaces standing in between us, between us all. To inhabit it with something else. The reality. NowHere. Within the actual architecture and structure of living, the ephemeral becomes an experience of a palpable orchestration of elements that bring the “NoWhere” into “NowHere.” A piece of broken glass can be turnedfrom a discarded element into a new luring sculpture; its reason is light, its rhythm is time. Poetry does define life, and when it does nobody is short of greatness.

- Mitra Khorasheh and JAŠA

AT THE DAWN OF YET ANOTHER AGE OF ABSURDITY: COMPOSITION NO. 4


Museum of Contemporary Art Zagreb

14.06.2018

MSU + UGM

Supported by WE.ARE Institute

AT THE DAWN OF YET ANOTHER AGE OF ABSURDITY: COMPOSITION NO. 4


Museum of Contemporary Art Zagreb

14.06.2018

MSU + UGM

Supported by WE.ARE Institute

What does it mean to come home? Am I going towards new home or an option of home? Before the tragic flood

of devasted people who had to flee their homes in Syria, that has found a way, on foot through the Balkans, and

the region has seen its share of complete destruction and human tragedy. I was ten years old, when the country

I was born into, Yugoslavia, broke into pieces. What used to be a peaceful, colorful and above friendly, became the

platform of all unleashed hatred, aggression, and brutality. For years I struggled to cope with all the contemporary

nonsense, manipulation and power that has divided the once beautiful country into smaller sections, I happened to

be in one of them, and it has ever since felt as if the world I was born into, shrank to the size of a housing storage.

Newly imposed borders made us strangers, almost obliged to follow the mentality of division, segregation, and

nationalism. Power is an option, that should come with a strong sense of responsibility, no matter which sector it

molds, hence in politics, therefore, it should have been a prevailing and only dictating rule. However, we all know

well, that that is not the case, unfortunately. Nevertheless, the rebellion starts from within, and it is here where

walls can actually collide, every day, brick by brick.

*

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 & 3 saw JAŠA unravel in New York City, Folkestone and Atacama

desert 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 is happening around us, being

immediate and relevant.

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

proceed.)

There is tension under the surface. Egocentrism has swallowed us. 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 particular 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 significant 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 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 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...