ƨqqiʜꟼ lliႱ
performans 31 minut SULUV galerija 1. 2. 2020. Performans se realizuje kao reakcija na saznanje o ubistvu Jill Phipps, britanske aktivistkinje za životinjska prava. Nju je u 31. godini života 1. februara 1995. godine pregazio kamion koji je prevozio živu telad povodom avionskog transporta iz Bagintona za Amsterdam, a potom širom Evrope. Vozač kamiona nije osuđen, iako različite aktivističke grupacije širom Evrope kontinuirano podsećaju na ovaj slučaj svakog 1. februara u godini, dana okarakterisanog kao Jill's day. Posledica ovakvog aktivističkog angažmana nije redak primer, a većina sličnih nije dobila razrešenje. Performativnu akciju karakteriše suptilna intervencija na protestnim panelima na kojima su poznati aktivistički slogani ispisani unazad, nalik na refleksiju ogledala, a koji su preuzeti iz memorijalnog dokumentarca Jill's film, prvi put emitovanog 2005. godine. Pozicionirani u galerijskom prostoru, stvaraju veštačku atmosferu javnog skupa, a čiju statičnost remeti akcija dobacivanja veštačkog buketa belih ruža. Tokom trajanja performansa, dinamičnost se razvija pronalaženjem različitih kreativnih načina kako buket prebaciti na drugu stranu, aludirajući na izbegavanje odgovornosti za smrtni slučaj koji nije dobio svoje razrešenje. Performans izveden uz asistenciju Danijele Matović performance 31 minutes SULUV Gallery 1st of February 2020 The performance is realized as a reaction to knowledge of the murder of Jill Phipps, a British animal rights activist. At 31 years of age, on the 1st of February , 1995, she was run over by a truck that transported live calvs for air transport from Baginton to Amsterdam, and then across Europe. The truck driver has not been convicted, although various animal rights activist groups across Europe constantly reminds others of this case on every 1st of February, the date that is known as the Jill's day. The consequences of this kind of activism are not a rare example, and most of the others have not been solved. Performing action is caracterised by subtle intervention on typical protest panels featuring activist slogans that are written backwards , as if they are reflected in mirror, and which are taken from documentary called Jill's film, first screend in 2005. Placed in the gallery, they create an artificial atmosphere of a public gathering, but whose static is disrupted by throwing an artificial bouquet of white roses. During the performance, the dynamics is changing by trying to find creative ways how to pass the bouquet to other side, alluding to irresponsibility for death case which is not solved. Performed with the assistance of Danijela Matović

Magični ćilim / The Magic Rug
instalacija ćilim, 83kg morske soli promenljive dimenzije 2019. Magični ćilim jeste interaktivna site-specific instalacija koja se sastoji iz redimejd objekta, ćilima, i 83kg morske soli, moje fizičke težine. Poznata narodna izreka “Ne guraj probleme pod tepih!” inspiracija je za nastanak rada koji predstavlja bukvalnu ilustraciju iste unutar koje svoju težinu prevodim u morsku so, globalni simbol transformatora negativne energije u pozitivnu. So oblikujem u uzvišenja različitih visina aludirajući na raznovrsnost svakodnevnih problema sa kojima se suočavamo, a čija razrešenja odlažemo ili ih izbegavamo. Dobijeni trodimenzionalni prejzaž prekrivam ćilimom ne bi li kod posmatrača prouzrokovao radoznalost za otkrivanjem šta se nalazi ispod. Pri svakim direktnim kontaktom sa radom, da li podizanjem ćilima ili koračanjem preko njega, formira se svesnost o slojevitosti rada kao i o potrebi samog autora da interakcijom komunicira sa posmatračem o univerzalnim problematikama svakodnevnog funkcionisanja i njihovim mogućim razrešenjima. installation rug, 83kg of sea salt dimensions variable 2019 The Magic Rug is an interactive site-specific installation consisting of a ready-made object, rug, and 83kg of sea salt, my current weight. The famous folk saying “Do not sweep problems under the carpet!” is the inspiration for the creation of a work, which is a literal illustration of it within which I transfer my weight to sea salt, a global symbol of the transformer of negative energy into positive. I mold salt into elevations of different heights, alluding to the variety of everyday problems we face and whose solutions we delay or avoid. I cover the resolting three-dimensional landscape with a rug to cause the observers curiosity to discover what lies below. At every direct contact with the work, wheter by lifting the rug or stepping on it, an awareness of the complexity of the work is formed, as well as the authors need to interact with the observer about the universal problems of daily functioning and their possible solutions.

Plavi zec, čudni zec, jedini na svetu!
intervencija na zečijoj rukavici i tekstu promenljive dimenzije 2019. Često su životinje glavni akteri prvih književnih dela sa kojima se deca susreću, a karakteristično za njih je upravo to što su idealizovani na način da su uglavnom dobroćudnog karaktera i da, bez obzira što su u tim delima u čestom kontaktu sa lovcima, uspevaju da izbegnu svoju smrt na razne načine. Pesma “Plavi zec”, Duška Radovića, jedna je od prvih sa kojom se upoznajemo tokom školskog obrazovanja i koju takodje učimo napamet. Fascinacija ovom pesmom proizilazi iz glavnog motiva, plavog zeca, koji je kao takav unikatan i sposoban za vršenje najrazličitijih radnji. U poslednjoj strofi pesme zec uspeva da pobegne lovcu iz vreće nasamarivši ga kako ima želju da se dotera pred upoznavanje sa decom. Na tekstu intervenišem precrtavanjem te strofe i uz priložene otcepljene stranice pesme, prilažem jednu zečju rukavicu plave boje. Rad direktno dovodi u pitanje sisteme najranijeg školskog obrazovanja uspostavljanjem kontakta intervenisanog teksta i ofarbane zečije rukavice. Stvara se logički sled u kojem lukavi zec ne uspeva da u poslednjem momentu pobegne ushićenom lovcu i završava kao odevni predmet. Ovim intervencijama akcentujem postupak autora i školskog sistema koji idealizuju odnose ljudi i životinja, a tom idealizacijom decu prepuštaju kasnijem suočavanju sa surovom istinom, u kojoj njihovi tadašnji omiljeni junaci zapravo ne uspevaju da nasamare svoga lovca. intervention on rabbit fur glove and split pages of the book dimensions variable 2019 Often, animals are the main actors of the first literary works that children encounter, and it is characteristic for them that they are idealized in a way that is largely benign and that, despite the fact that in these works they are in frequent contact with hunters, they manage to escape death in various ways. The poem by Dusko Radovic, Blue Rabbit, is one of the first ones we are introduced to during our education and also one we learn by heart. The fascination with this poem stems from the main motif, the blue rabbit, which, as such, is unique and capable of performing a variety of actions. In the last verse of the song, the rabbit manages to escape the hunter’s sack by deceiving him with a false desire to clean up before meeting children. In my intervention, I alter the text by crossing this verse out, and present, along side the torn pages of the poem, a single blue rabbit fur glove. The work directly calls into question the systems of the earliest school education by establishing contact with the altered text and the painted rabbit glove. A logical trail is created in which a cunning rabbit fails to escape the ecstatic hunter at the last moment and ends up as a garment. By these interventions, I emphasize the act of the authors and the educational system that idealize the relations between people and animals, and through this idealization leave children to later confrontation with the cruel truth, in which their favorite heroes then do not manage to trick their hunter.