Jelavic Layout

7/30/2019 Jelavic Layout

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jela

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endulum


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Mali pogledi2003. 2009.

otograja100 x 70 cm


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Mali pogledi 82003. 2009.otograja100 x 70 cm


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Mali pogledi 62003. 2009.

otograja100 x 70 cm


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otograja100 x 70 cm


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Mali pogledi 42003. 2009.otograja100 x 70 cm


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otograja100 x 70 cm


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Ivanin zen

Ivana Jelavi malim pomacima postie velike rezultate. Da, ba tako, sasvimkontradiktorno, bez naglaenoga teorijskog okvira njezin se oblikovni princip sastoji

od hvatanja, uvrivanja, biljeenja i poveavanja mrvica ivota. Hvata ih i pokazujekao muice u letu. Spontano i bez napora! Sa sreom, bez euorije. Zasmijananeoekivanim u svakodnevnom.

Ona pronalazi naine da ono neuoljivo, naizgled nevano pokae u svimnjegovim dimenzijama. Kad u tome uspije, uvodi nas u dimenziju ivota koju svipoznajemo, ali ija je dierentia specica da neprestano izmie. Fluktuirajui obliksvakodnevnog spektakularan je tek sagledan u vremenu i prostoru, koji nadilazi nauobiajeni percepcijski ormat.

Zato ga smatramo nevanim. Zato o njemu ne volimo misliti. Kad se upustimo urazmiljanje o izmiuem, lako zapadamo u mistino, dajui ivotu osobine koje sustrane njegovoj protonosti. Ivana Jelavi protonosti pristupa protono, gotovo daje jedino to ini kadriranje pozornosti. Kao kada rukama s plaevima postavljenimpod pravim kutom u slovo L pokazujemo isjeak prizora u vidokrugu. Taj pokretgovori da je to ono to treba vidjeti, snimiti, da je to ono to je lijepo!

Nedostaju mi odgovarajui izrazi, svaka je rije pogrena jer je ograniavajua.Rije izraava namjeru i pravac, vektor, a ba to je ono emu sadraj ovoga radaizmie. To je izmicanje moda njegov pravi sadraj! Kako Ivana Jelavi to ini? Zatoona to ini?

Umjetnost usmjerava pozornost, upuuje na nesagledivo, pokuava nemogue.

Ivanini su radovi mali odsjeci svakodnevnog, izmaknuti tek toliko koliko je nunoda ih se uini uoljivima. Izvueni iz konteksta svakodnevnice Ivanini zen loopovistjeu posve neoekivanu snagu. Sluei se random principom pri odabiru vrlo malihdijelova velike slike ivota, ona izbjegava analitiku, restriktivno racionalnu metoduljudske misli. ini vidljivim, perceptibilnim neprestano duhovito promaivanjedoslovnosti.

No, ni taj postupak nije izravno koriten pri oblikovanju rada ve poiva u razininjegovog koncipiranja, u segmentu izbora siea koji nije ni zatvorena pria ni jasnoitljiv simbol. Karakter njezinog rada dobro je deniran kaoPendulum, to je naslov isamom radu i ovoj izlobe. Ni ne miruje, ni ne kree se!

Serija otograja biljei zateene situacije djejih instalacija u prostorimanjihovih svakodnevnih akcija: u kupaonici, na parkiralitu, u vrtu. Oni ostavljajusvoje male tragove igrakama koje su drugovrsni, samo njihovi predmeti. Postavljenina neoekivana mjesta djeji predmeti uspostavljaju novo znaenje i posvajajuprostore. Potopljeni brod na dnu kade, ronilac penja, srnice na zidiu, auti urednoparkiran na parkiralitu resemantiziraju zateenu situaciju. Rad Ivane Jelavi jesmjeten u opaanju i prenoenju tog trenutka uneobienja bez gubitka njegovogpravog karaktera. Fotograja je samo prenositelj!


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Video radPendulum i snimka peromansa statinom kamerom biljee autoricukako izvodi jednostavnu akciju u prostoru i vremenu. Monotonost i jednostavnostizvoene aktivnosti dovodi gledatelja u stanje zadovoljne mirnoe. I potaknutiugodom tog trenutka tek kasnije upustiti emo se u istraivanje njegovog izvora. Naoba je dupliranjem lika autorici podarena mogunost dvostruke egzistencije. Ona

istovremeno i ostaje i odlazi! Ili ona u jednom nivou egzistencije slika dok u drugomgradi i balansira s obinim kunim aama. Takvim multipliciranjem otvorena suvrata razliitim dimenzijama nae egzistencije. Rekla bih da je to ono to proizvodiosjeaj zadovoljne mirnoe. To je isti onaj pomak i posvajanje kakav proizvode idjeje instalacije na neoekivanim mjestima!


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M V

Ivanas Zen

Ivana Jelavi takes small steps only to achieve big results. Yes, it is contradictory,there is no emphasizes on a theoretical ramework; her artistic principles basically

consist o catching, xing, noting and enlarging various ragments o lie. Somehow,Ivana manages to capture and present them naturally- spontaneously andeortlessly! With a lot o happiness and without any euphoria. She is ull o laughteror the unexpected in our everyday lives.

Ivana is also very successul in nding ways to make the invisible and seeminglyunimportant visible in all its various dimensions. And when she does that, she takesus to a dimension o lie that we know but whose dierencia specifca is continuouslyescaping us. A fuctuating orm o what seems common becomes spectacular only iit is seen in the time and space that goes beyond the usual orm that our perceptiontends to choose.

This is the reason why we nd it unimportant. This is why we do not like tothink about it. When we start thinking about the things that escape us, we geteasily trapped in the mystical, attributing to lie some characteristics that oppose itsfuctuation. Ivana Jelavi approaches fuctuation by fuctuating and that approachseems to be the only rame o her attention. It is like we use our hands to put thethumbs under the right angle or the shape o the letter L in order to show theragment o the scene in ront o us. That very movement indicates what has to beseen or recorded and what is beautiul!

In that respect, the author o these words lacks adequate terminology- every

word seems to all out o the context because it limits the meaning. A word can onlyindicate an intention or a direction or a vector and that is the very thing the contento Ivanas work avoids. And that avoidance might be its true content! And how doesIvana Jelavi do that? Why does she do that?

The art directs our attention, directs us to what cannot be seen, and tries theimpossible. Ivanas work is composed o small ragments o everyday lie, slippingaway at the right measure to make them perceivable. Taken out o the context oquotidian, Ivanas Zen loops acquire an unexpected orce. Using the random principlewhen choosing small pieces o the bigger picture o lie, she avoids the analytical andrestrictively rational method o the human thought. Constant, witty evasion o the

literariness Ivana makes visible and perceptive.But that act is not directly applied in the work ormation; it rather relies on the

level o its concept, in the choice o the subject that is neither a rounded story nor aclearly recognizable symbol. The character o her work is well-dened asPendulum,which is at the same time the title o her work and this exhibition. It is neither still,nor does it move!

A series o photographs records the situations o various childrens installations inthe interiors where they do most o their daily activities: in a bathroom, at a parkinglot, in a garden. They are leaving their small traces with toys that are objects that


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belong only to them and serve a dierent purpose. Childrens objects are placed inunexpected places to establish a new meaning and to adopt new spaces. A boat sunkon the bottom o a bathtub, a climbing scuba-diver, awns on a wall, a toy car parkedon a parking lot all seek or a new semantic interpretation o a given situation. IvanaJelavis work is ounded in the perception and the transposition o that unusual

moment without losing its true character. Photography is here merely a mediumused to convey such a message!

Pendulum and the perormance recorded with a static camera present the authorperorming a simple action in time and space. Monotony and simplicity o thisaction makes the viewers calm and satised. The pleasure o that moment lateron leads to an exploration o its source. Duplicated image o the author opens apossibility or double existence. It is simultaneously present and elusive! In otherwords, Ivana at one sphere o existence depicts only to construct and balance withsimple glasses at the other. This multiplicity opens the doors or various dimensions

o our existence. I would say that this nally results in a sense o satisying calmness.It is the same elusion and adoption we experience with the childrens installationsput at unexpected places!


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Autoportret2003.

video, 350


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Pendulum2012.

video, 630


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Pendulum2012.

video, 630


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sa snimanja video rada Pendulum2012.


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Ivana JelavI

Roena u Splitu 1971. godine. Osnovnu i srednju kolu zavrava u Dubrovniku. 1997.diplomira na Umjetnikoj akademiji u Splitu kod pro. Gorkog uvele sa video radom Jedani teoretskim radom iz kolegija vizualna komunikacija Semiotika televizijske reklame. lan jeHDLU-a, a od 1999. djeluje kao samostalni umjetnik.

SamoStalne izlobe i performanSi

1996. Jedan, perormans, Solinska ulica, Split1999. pilja, galerija Kovaka 3, klub Otok, Dubrovnik2001. Vrijeme je kratko, Galerija proirenih medija, Zagreb2003. Tragovi, MMC Kuglana 2, Koprivnica2003. Bez naziva, perormans, Mala ronta novog plesa i perormansa, Zagreb - Kulturni

kapital Evrope 30002010. Mali pogledi, Galerija A, Zagreb, Kua Vlaha Bukovca, Cavtat2011. izloba 1,2,3, Galerija Greta, Zagreb

Skupne izlobe i projekcije (izbor)

1996. Otok, Art radionica Lazareti, klub Otok, Dubrovnik1997. Let, Dom mladei, Split1997. S koje strane granice, meunarodna izloba i simpozij, galerija Rigo, Novigrad1998. Otok II, Art radionica Lazareti, klub Otok, Dubrovnik1998. ROOT estival, Hull Time Based Arts, Hull, Engleska (izbor hrvatskog videa u selekcije

Sanje Ivekovi)1998. 33. Zagrebaki salon, Klovievi dvori, Zagreb1998. 25. Salon mladih, Gliptoteka HAZU, Zagreb1999. Stop the war, Raum ur Kunst, Graz, Austria

1999. Public district, E. Filla Gallery, st nad Labem, eka Republika1999. 999 - pregled situacije na jugu, Art radionica Lazareti, klub Otok, Dubrovnik2000. Maniesta 3, Moderna galerija, Ljubljana, Slovenija2000. Co_ operation, Elektra/Art radionica Lazareti, klub Otok, Dubrovnik2001. 26. Salon mladih, Zagrebaki velesajam, Zagreb2001. Digital Orgy :BEFF3, The Third Bangkok Experimental Film Festival, Bangkok, Tajland

(izbor hrvatskog videa u selekciji Ane Devi)2002. Hot Destination / Marginal Destiny, Art radionica Lazareti, Dubrovnik2002. Dok palme njiu grane, Karantena 6, Art radionica Lazareti, Dubrovnik2003. Visura aperta, Festival vizualnih i audio medija, Momjan 2003., Galerija Nova, Zagreb2003. 33. Splitski Salon ivotna i umjetnika stvarnost hrvatske obale, Palaa Milesi-Zavod

HAZU, Split2003. Alternative Film-Video 2003, estival, Akademski lmski centar, Dom kulture

Studentski grad, Beograd2004. Millennium, Film workshop inc., New York (predstavljanje hrvatske video umjetnosti,

selektor Ivan Paji)2004. Jugoslavenski bienale mladih, Vrac2005. Susjedstva na daljinu, Art radionica Lazareti,Dubrovnik, Cetinje, Mostar2005. INSERT Retrospektiva hrvatske video umjetnosti, Muzej suvremene umjetnosti,

Zagreb


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2005. Suvremena dubrovaka umjetnost, Muzej moderne i suvremene umjetnosti, Rijeka iUmjetnika galerija Dubrovnik

2006. Libertas, HDLU, Zagreb2007. Otoka karta, Zlarin i Klovievi dvori, Zagreb2009. Tu smo, U susret otvaranju Muzeja suvremene umjetnosti Istre, Pula

2009. Cijena umjetnosti, Ateljeri itnjak, Zagreb2010. Vizura aperta, 10. estival vizualnih i audio medija, Momjan2011. Umjetnost i hrana, Ateljeri itnjak, Zagreb2012. Tu smo 3, meunarodni bijenale suvremene umjetnosti, Pula

Ivana JelaviHeinzelova 47, 10 000 Zagrebmob: 091 5659 414e-mail: [email protected]


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orGanizacija izlobe /

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Mali poglediotograja100 x 70 cm2003. 2009.

Pendulumvideo, 6302012.

Perormance / Bez nazivavideo, 6502003.

Autoportretvideo, 3502003.

Bez naziva

audio, 439

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