PROJECTS


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PROJECTS


2017

At the dawn of yet another age of absurdity: Composition No. 1, kHORASHEH + gRUNERT, Tanja Grunert Gallery, New York

2016

UNTITLED 2017, offspace.XYZ, New York
Above All We Are Not Done, WhiteBox NY, New York
The Relations, Frieze London, London
Cutting Through the Clouds of Myth, Kustera Projects, New York
CHRONICLES / Log No.1, UGM Gallery, Maribor, SI

2013

Cloud Tailor (with Jyrki Riekki), Sinne Gallery, Helsinki, FI
Galanterie Mechanique (project by Meta Grgurevič & Urša Vidic with Kalu and Bowrain, Škuc Gallery, Ljubljana, SI
Father & Son / Drawing a Line Through the Clouds of Myth (curated by Michele Drascek) Museum of Modern Art, Ljubljana, SI
The Lovest, Museum of Modern Art, Ljubljana, SI
White Rooms (project by LEFTFINGER)

2010

Big Kiss… (for the stranger), X-OP-ART project (with Rasmus Hedlund), Maa space, Helsinki, FI
The Lovest / The Begining, Simulaker Gallery, Novo Mesto, SI
Review-Preview, Ganes Pratt Gallery, Ljubljana, SI
The Last Landscape Of Pleasure, Platform’s studio, Vaasa, FI
The Lovest, Museum of Modern Art, Ljubljana, SI

2007

REVIEW – PREVIEW, Ganes Pratt Gallery, Ljubljana, SI
Nowhere to be Seen, DIGISTARS by Kibla, Kontekst Gallery, Beograd, SRB
Acting Out, Galleria L’Occhio, Venice, IT
One Hit Wonder KIBLA, Maribor, SI
Radikal Chick, Equrna Gallery, Ljubljana, SI

 

 

 

 

2015

UTTER / the violent necessity for the embodied presence of hope / Pavilion of Slovenia, 56th Venice Biennial, Venice, IT
UNTITLED, 2015 / Krampf Gallery at Contemporary Istanbul, TUR
UTTER / the violent necessity for the embodied presence of hope / Mahler & Lewitt Studios, Spoleto, IT
THIS IS NOT THE SEASON TO STAY SILENT, Flow Festival, Ljubljana, SI

2012

APNEA’S RHAPSODY, On Stellar Rays Gallery, New York
SINGLE (ride out while touching the sky) A+A Gallery, Venice, IT
FRIENDLY WAR (with Jyrki Riekki), Kibla, Maribor, SI
THE LOVEST, Museum of Modern Art, Ljubljana, SI
 
2009

RADIKAL chic / book / 00-09 projects reviewed, Vale-Novak’s Publishing, Ljubljana, SI
WHAT IT TAKES FOR THE HEART TO EXPLODE INTO STARS, City Gallery Nova Gorica, SI
PUSHBANG, (with Mark Požlep), Magdalena festival, Pekarna, Maribor, SI
FINGERSTICK RADIO, (with Mark Požlep & guests), Celje, SI
TIME TO BECOME POETS (with Mark Požlep), The Branch, Sextan et plus, La Friche Belle de mai, Marseille, FR
FUCKED UP DREAMER (with Luka Uršič) part of Akto_4 public spaces, Bitola, SI
FOR A BETTER TOMORROW (with Viktor Bernik, Meta Grgurevič), City Art Museum, Ljubljana, SI

2006

LET’ S PUT AN END TO ALL THE DISASTERS, Ganes Pratt Gallery, Ljubljana, SI
LET’ S MAKE AN END TO ALL THE DISASTERS part of THE LIGHT/ Sarajevo winter festival 2006, Sarajevo, BIH
BLA BLA ME, France Mihelič Gallery, Fo.Vi Gallery & public space, Ptuj, SI

2014

CRYSTAL C, Pioneer Works Center for Art & Innovation, New York
ULTRA HEATED HEARTS, Pioneer Works Center for Art & Innovation, New York
CRYSTAL C, Tobačna oo1 & Vžigalica Gallery, Ljubljana, SI
TRISTAN & ISOLDE (with Meta Grgurevič), Opera & Ballet National Theatre, Ljubljana, SI

2011

(the yellow dot), MSUM / Museum of Contemporary Art, Ljubljana, SI
IT’S O-KEY, Avista Showroom, Milan, IT
BLOOM, Jerome Zodo Gallery, Milan, IT
TO BE MODERN, Spiga 2, Milan, IT
DOLPHIN’S DREAM, Viafarini, Milan, IT
THE LOVEST, Museum of Modern Art, Ljubljana, SI

2008

STARDIM, to whom it may concern my life is falling apart, part of Akto_3, abandoned summer cinema, Bitola, SI
AGAINST THE HISTORY FOR A BIT OF GOOD OLD LOVE (with Mark Požlep), Center of Contemporary Art, Celje, SI
IN GOOD WE TRUST, Ganes Pratt Gallery & Theater Glej, Ljubljana

2005

THE BIG SHOW, Hribar’s Gallery / S Gallery/ Cazamati space, Ljubljana

2004 & 2003

DAFNE revisited (with Crash in Progress & Plan9, Benjamin Produkcija, Passaporta), A+A Gallery, Venice, IT
World of its Own, Accademia di Belle Arti di Venezia, Venice, IT
QUATRO GIORNATE DI BERLINO (Crash in Progress), 87MA MOSTRA COLLETIVA BEVILAQUA LA MASA, Venice, IT
LE SIGNORINE (Crash in Progress),GEMINE MUSE, Galleria Internazionale d’arte Moderna Ca’ Pesaro, Venice, IT
DAFNE (Crash in Progress & Plan9, Benjamin Produkcija, Passaporta), Spazio Thetis, Venice, IT

 

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


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


a performing intervention

curated by Mitra Khorasheh

Saturday April 22 / kHORASHEH + gRUNERT

 

 

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. 

ABOVE ALL WE ARE NOT DONE


ABOVE ALL WE ARE NOT DONE


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


UNTITLED 2017


offspace.xyz New York

07/11/2016

UNTITLED is a series of performances, actions and interventions that JAŠA started in 2015. “We will never shut up, as we are so many, that is why I asked you to do this. This particular action, this time, within and without.” After two years his message is still and even more relevant, for individual situations and for those of communities that are, or should be. Facing a new period of celebrating the Ego-per se, critical distance and honesty are an imperative.

 

THE RELATIONS


THE RELATIONS


DALSTON PIER / FRIEZE LONDON

08/10/2016

05:00 - 09:00 PM

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.

CUTTING THROUGH THE CLOUDS OF MYTH


CUTTING THROUGH THE CLOUDS OF MYTH


Kustera Projects, New York

2016

ULAY & JAŠA: Cutting Through the Clouds of Myth
site specific installation and performance, curated by Mitra Khorasheh
MAY 6 – JUNE 1, 2016
PERFORMANCES ON MAY 6,7, AND 8  
 

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 moulding 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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CHRONICLES


CHRONICLES


CHRONICLES / Log No.1:
“UTTER
The violent necessity for the embodied presence of hope by JAŠA”

25. 3. 2016-22. 5. 2016, UGM Maribor Art Gallery

NOTES AND THOUGHTS OF THE ARTIST 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.

UTTER / the violent necessity for the embodied presence of hope


UTTER / the violent necessity for the embodied presence of hope


 

THIS IS NOT THE SEASON TO STAY SILENT


THIS IS NOT THE SEASON TO STAY SILENT


 

CLOUD TAILOR


CLOUD TAILOR


GODS CAME FOR DINNER LAST NIGHT


GODS CAME FOR DINNER LAST NIGHT


APNEA'S RHAPSODY


APNEA'S RHAPSODY


THE YELLOW DOT


THE YELLOW DOT


BLOOM


BLOOM


SENTENCES


SENTENCES


UNTITLED, 2015 / JAŠA / Istanbul, 2015

Glare / JAŠA / New York, 2014

Comma / JAŠA / New York, 2014

Absalon / JAŠA /  Ljubljana, 2014

Crystal C / JAŠA / New York, 2014

CRYSTAL C / JAŠA / Ljubljana, 2013

UTTER / Day 4 / Week 4 / Venice, 2015

 
 

DIARY OF PERFECTION


DIARY OF PERFECTION


SINGLE (ride out till you touch the sky)


SINGLE (ride out till you touch the sky)