paulina jazvić
TRANSCRIPT
Little menu, 2007
Instalation
Exhibited at Modern Gallery & Studio “Josip Račić”, Zagreb, Croatia(January 12 - February 04, 2007)
Little menu, 2007
installation view
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The new spatial installation Little Menu is a relation-al work, of personal and markedly auto-referential properties with a typical self-depreciating post-mod-ern narrative impulse, loquacity and free flow of as-sociation, while the artist has explained her attitude towards her work and perception of reality as fol-lows:
“It is important to me that in what I do there is a story, for me to state my viewpoint about what set me off on the given work, I look around me, I walk
and observe things; I often collect them to be able to use them in pulling off some installation I have imagined.”
This collecting component is present, o an obses-sive extent perhaps, in this work too. We will across the familiar materials - Perspex, glass, plastic, fabric and diverse objects such as plates, nails and man’s shirt with nails, bowls with water, transparent trays, lace, cigarettes, rent painter’s canvas, fashion la-bels carefully served up on a white table with eight
Little menu, 2007
installation view, detail
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chairs. There would be too much chance of arbitrari-ness in going in to the symbolism of eight, but what we can certainly see is the empty chairs on which no one sitting, with no one enjoying the meal, in-stead of the communal event of sharing food, while the repast served is anyway of a symbolic nature, sometimes with overtones of cannibalism. The atti-tude to the ready-made is different from what is was in the historical avant-garde.
Paulina Jazvić, with her gift for collecting and trough the change in the context of use-objects, i.e., via the serving cold and uncommon and in fact mor-bidly surrealist fare knits up her relational stories, which, with great irony but without cynicism, probe
this author’s role in everyday life: woman, mother, artist, university lecturer, her relation to man, wom-en, maternity, tradition, painting and art, trademarks and smoking/cigarettes - all segmented forms of her persona - from which number of other relations and structures can be derived; these structures cannot be changed, only survived. Trough the change in context, the artist changes the content and the vi-sual situation.
By arrangement of these inorganic things in the context of ingredients that are usually edible, but which are anything of the selected material and its polysemic code.
Željko Marciuš
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Petero umjetnika problematizira pitanje tijela, odije-vanja i umjetnosti, te njihove međusobne odnose... Umjetnici se bave pitanjima visoke i niske, elitne i popularne kulture, a poseban je naglasak na pristu-pu tretiranja tijela i podvrgavanju represivnim mje-rama modnog diktata.
Fashion talks, 2005
Instalation
Exhibited at MMC Luka, Pula, Croatia(November 4 - November 5, 2005)
Fashion talks, 2005
installation view
Paulina Jazvić pokušava ugurati idealno žensko tijelo, kakvim je smatrano tijelo lutke Barbie, unu-tar bijelog IKEA okvira. Barbie pruža otpor, pa ju se ukalupljuje lomeći joj noge i vrat. Upotrijebljene ci-pele uz tekstualne poruke, stvaraju pak instalaciju dnevničkog karaktera.
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Fashion talks, 2005
installation view
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Fashion talks, 2005
installation view
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Fashion talks, 2005
installation view
Things I think about in my bathroom, 2003
installation
Exhibited at Gallery Galženica, Velika Gorica, Croatia(April 23 - May 14, 2003)
Things I think about in my bathroom, 2003exhibition view
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Paulina is exhibiting her past, which has bean repre-sented into the subconscious. Memories immersed in water.
She drowned her Little Shop of Horrors published by Matica Hrvatska, along with some everyday notes and a series of personal belongings. Every-thing is left to float in the sandbags filled with water.
In time, memories fade away and water dissolves the objects.
We easily get more relaxed if we are immerged in water. We float in slow motion. We surrender our thoughts, but water is powerful. Water slows down the time and erases distances.
Things I think about in my bathroom, 2003installation view
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Self-control becomes futile. We surrender to the mass of water, which takes over us. We surrender to it, and it just like falling asleep. We fall into water just like we fall asleep. Dreams are our connection to the subconscious.
Daniel Tomičić
Things I think about in my bathroom, 2003detail
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Things I think about in my bathroom, 2003detail
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Housewife of Croatia, 3003
Instalation in two parts (diptych)
plexiglass, glass, objects
ø 90 cm, 40 cm depth
Housewife of Croatia, 2003I. part of installation
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Housewife of Croatia, 2003II. part of installation
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Housewife of Croatia, 2003
II. part of installation, details
Paulina Jazvić combines the impoverished aesthet-ics of suburban grocers’ shops and the elite Prada boutiques, using them solely as cultural phenom-ena whose absurd new contextualization within a work of art evokes neither the production relations of capitalism nor the metaphysics of their possible absolution. (…)
Although the articles used - pins, perfumes, nail var-nish, juice extractor, children’s dolls, Apaurin, etc., all stored away into preserve jars for winter food stores, on into plastic bags filled with water - sug-gest an anchor being cast into the very heart of con-flict, the final objectification of a work of art subjects all those artistic ordinariness of an object-without-meaning they may have and which could still, per-haps, have maintained the illusion of a link to au-thentic pop-culture.
Krešimir Purgar
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Bibliobus art, 2003
installation view, detailBibliobus art, 2003
installation
Exhibited in Bibliobus of Fran Galović Library, Koprivnica, Croatia
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Buvljak u bibliobusu
Paulina Jazvić dosad je izlagala slike, ambijente i instalacije koje su po svojem sadržaju i formi bile maštovita nakupina najrazličitijih stvari, uglavnom iz inventara osobne mitologije. Tu je praksu nastavila i u ovome projektu: na poticaj mlade kritičarke Ane Tuk, Paulina je lokalni isluženi bibliobus nakratko učinila odlagalištem svakodnevnih predmeta koji više nemaju funkciju ili su nezanimljivi kao uporab-ne stvari
Neposredni povod za instaliranje ambijenta Biblio-bus Art mlade zagrebačke autorice Pauline Jazvić prestanak je rada bibliobusa koprivničke Gradske
Bibliobus art, 2003
installation view, detail
knjižnice i čitaonice. Budući da je riječ o odlasku putujuće knjižnice u mirovinu, a ne o nekoj inciden-talnoj, društveno uvjetovanoj situaciji, intervencija u bibliobusni prostor nije znak protesta, nego poen-tiranje njegove (odumirajuće) kulturne, prostorne i semantičke kvalitete. Ta se akcija, dakle, referira na one vrijednosti koje je isluženi bibliobus imao kao putujuća institucija, kao kulturalna metafora i kao stvarni fizički prostor, ali tek u sretnom preklapanju s tematskim, idejnim i oblikovnim postupcima koje je autorica već prije definirala zaštitnim znakom svoga umjetničkog djelovanja.
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Ljepota tričarija ambalaže i slično. U osmišljenoj umjetničkoj akciji i u vrlo pažljivo aranžiranoj instalaciji ti predmeti, kao samostalne cjeline i, posebno, u međusobnim od-nosima, izazivaju mnoštvo asocijacija: od postupaka koji upućuju na morbidnosti suvremene civilizacije, preko podsjećanja na prenatrpanost predmetima u modernim shopping-centrima i ekoloških stavova o svijetu kao velikom skladištu do izravno konotirane ideje o (ne)značenju knjige u današnjem društvu. Autorica, naime, na police putujuće knjižnice i u slo-bodni prostor postavlja i knjige, koje u programiranoj zbrci jedva da odvajamo od tričarija, a kao poentu nameće i eksplicitno odvagivanje knjige kao duhov-ne vrijednosti i (makete) automobila kao fetiša potro-šačke kulture.
Bibliobus art, 2003
installation view, detail
Paulina Jazvić dosad je izlagala slike, ambijente i instalacije koje su po svojem sadržaju i formi bile maštovita nakupina najrazličitijih stvari, uglavnom iz inventara osobne mitologije. Tu je praksu nastavila i u ovome projektu: na poticaj mlade kritičarke Ane Tuk, Paulina je lokalni isluženi bibliobus nakratko učinila odlagalištem svakodnevnih predmeta koji više nemaju funkciju ili su nezanimljivi kao uporab-ne stvari. Uzeti u doslovnom značenju, predmeti iz njezina ambijenta čine se kao kaotični skup odbače-nih, još samo eventualno na buvljaku važnih tričari-ja, poput igračaka, starih fotografija, okvira, bočica,
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Curenje vremena... Akcija u bibliobusu još se na jednoj razini dotiče prijašnjih autoričinih radova i temeljnih određenja njezine umjetničke strategije. Njezin interes vezan je, naime, i uz pitanja recepcije umjetnosti danas i uz traženje boljih i komunikativnijih tipova izlagačke politike. Izlaganje u bibliobusu, odnosno preobraz-ba njegova sadržaja u prostor umjetničke akcije, korespondira tako s njezinom praksom izlaganja u frekventnim prostorima omladinskih klubova, čitao-nica i banaka. Stoga boljeg umjetnika i smislenije akcije za otpraćanje staroga koprivničkog bibliobu-sa u mirovinu teško da bi se moglo naći.
Marijan Špoljar
Bibliobus art, 2003
installation view, detail
Ipak, najveći razlog za instalaciju u bibliobusu na-lazimo u asociranju ideje prolaznosti i trošnosti. U prostorni okvir istrošenoga putujućeg busa za knjige Paulina Jazvić instalira predmete koji svojom funk-cijom, postavom, vrijednošću i semantičkim svoj-stvima izravno upućuju na temporalna određenja: curenje vremena pretvara predmete u ropotarnicu (ili, u najboljem slučaju, u skladište uspomena), vre-menski tijek zaustavlja kulturni mehanizam kojem je pokret bio najvažnije svojstvo.
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Bibliobus art, 2003
installation view, details
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Little Shop of Horrors II, 2002
Instalation
Exhibited at Močvara, Zagreb, Croatia(March 21 - March 22, 2002)
Little Shop of Horrors II, 2002installation view, detail
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Little Shop of Horrors II, 2002installation view, detail
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Little Shop of Horrors II, 2002installation view, detail
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Little Shop of Horrors II, 2002installation view, detail
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Pinky room, 2002
InstalationExhibited at Gliptoteka HAZU Gallery, Zagreb, Croatia(September 10 - September 25, 2002)
Pinky room, 2002installation view, detail
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By the author’s intervention the objects of everyday use are transferred to the domain of art, thus creat-ing a new atmosphere full of strong coloristic charge and taking on a new meaning contrary to stereo-types.
Janka Vukmir
In her installations fashioned from various materi-als and found objects, shown lately at the Gallery of Matica Hrvatska, Močvara Club and Gallery VN she points out the element of collecting.
Pinky room, 2002installation view, detail
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Pinky room, 2002installation view, detail
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Pinky room, 2002installation view, detail
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Anyone has own Angel, 2001
InstalationExhibited at Kula Lotrščak, Zagreb, Croatia
(November 15 - November 29, 2001)
Anyone has own Angel, 2001exhibition view
Angels are good. One should have one’s own an-gel. (…)
He will guard, protect and save you. It is important to know how to chose the right angel. One can choose them by meters. They are on display and there is little difference between them at first glance. (…)
You contact him trough prayer. While you are pray-ing you have to concentrate on thoughts and ex-clude the world around you. (…)
You will see various pictures in your prayer. You will muse about your identity as transvestites do. This is deep question which could make you feel sad, but your guardian angel will show you the beauty in natural balance. (…)
Daniel Tomičić
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Anyone has own Angel (Angel corner), 2001installation view, detail
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Anyone has own Angel, 2001installation view, detail
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Anyone has own Angel (Angels on centimeters), 2001installation view, detail
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Little Shop of Horrors I, 2001
Instalation
Exhibited at Matica hrvatska Gallery, Zagreb, Croatia(December 20, 2001 - January 4, 2002)
Little Shop of Horrors I, 2001installation view, detail
Soba sitnih čudesa
Paulina Jazvić je uza zidove cijele jedne galerijske prostorije postavila mnoštvo kartonskih kutija ra-zličitih veličina omotanih u raznobojne papire koji izgledaju kao pokloni, a služe kao police za razno-vrsne malene predmete. I sa stropa vise raznoliki predmeti. Neke od objekata nalazimo u svakoj kući: lutke, kutijice za kreme i od čajeva, cipele, knjižice. Neke baš i ne u svakoj kući: obješene osušene mi-ševe. No, svi objekti su prenamijenjeni. Lutkina je odvojena glava završila u staklenoj posudi s tekući-
Izrovan, pun zapreka i pomalo stravičan, hodnik koji vodi u galeriju Matice hrvatske u Zagrebu - to je odgovarajući uvod u ambijent koji se upravo tamo može i pogledati - rad umjetnice Pauline Jazvić, koja je uz dizajn odjeće i tekstila ove godine zavr-šila Likovnu akademiju u Zagrebu, što se odražava u njezinu radu. Suprotno trenutnom raspoloženju zvončića i Djeda Mraza, njezina izložba naslovom, ali ne i elementima, od toga odudara. Nazvana je naime »Mala prodavaonica užasa«.
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Little Shop of Horrors I, 2001installation view, detail
nom te izgleda kao nasmiješena beba u formalinu. Druga glava je otvorena i dobila još jednu unutra, a treća se nalazi u šalici na gramofonu.
izgledaju kao u formalinu ne asociraju na organe i degenerirane pojave kakve nalazimo na patologiji, već su smiješne.
Uz nabrojeno tu su predmeti kojima se koristila u svome dizajnerskom poslu kao krojačka lutka ili koje je sama napravila kao lutke od platna, jastuci i slike, a svi zajedno čine nebrojeno minijaturnih instala-cija koje su često popraćene duhovitim natpisima. Ništa u ovoj prodavaonici nije stravično. Lutke koje
Kao i u većini prodavaonica i ovdje na izlasku mo-žete donirati za hrvatske umjetnike, kako vam kaže natpis, koji nije tragičan, već ironičan. Osim toga, prostor nije u polutami, ne djeluje kao neki misti-čan stari dućan, već u djelu sudjelujemo pod jakim osvjetljenjem uz muziku. U toj prodavaonici-igraoni-
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Little Shop of Horrors I, 2001installation view, details
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Little Shop of Horrors I, 2001installation view, details
ci možemo proučavati, čeprkati po bezbrojnim inte-resantnim stvarčicama koje u potpunosti zaokupe našu pažnju.
Pulina Jazvić, perspektivna mlada umjetnica, posta-vila je tako pretrpan ambijent koji je istodobno dječja soba, intimni alkemičarski laboratorij i soba luđaka, a podsjeća na manirističke sobe čudesa s fetusima i patuljcima. No, umjesto kemikalijama tamo se ek-sperimentira s istrošenim predmetima koji postaju raznolike duhovite, bizarne, ironične ili samo vese-le, vedre i zabavne instalacije.
Ta mogućnost da se udubimo u malena istraživa-nja i virenja tuđih predmeta je jedan od zanimljivijih aspekata izložbe. Tako smo uvučeni u prostor ne-estetiziranih predmeta koji nisu »lijepo« upakirani niti masovno dostupni, te prostor koji ne sliči niti jed-noj prodavaonici potrošačkog društva. Sunčica Ostoić
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Massages, 2000
Instalation
Massages, 2000installation view, details
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Massages, 2000installation view, details
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