Iz predgovora Dalibora Prančevića, galeriji Kula, Split (16.02.2023. -16.04.2023.)
Izložbenim događajem Jelena Perić se, nakon gotovo osamnaest godina Antine smrti, vraća kolaborativnome postupku, no kroz pojačani emotivni angažman i intimnu formu. Ona bira Antine radove i artikulira postav vođena ponajprije čistim estetskim zahtjevom baš kao što je to nekoć radila zajedno sa svojim suprugom. Na pozadinama pompejanske crvene boje postavlja različite Antine radove pomno usklađujući formate i koloristička rješenja. Djela zauzimaju strateške pozicije same prostorije ne zasićujući je svojom brojnošću. Važan ključ ovoga izložbenoga čina postavljen je na samome početku izložbe i to u Jeleninoj aproprijaciji sadržaja muzejske legende što stoji na grobnici kralja Filipa II. Reminiscencija na taj muzealizirani lokalitet u Vergini više je. Kao i u kraljevsku kriptu i u galeriju Kula pristupa se kroz mali vratni otvor da bi se potom spustilo u kvadraturom možda nevelik ali dojmom doista monumentalni galerijski prostor. Crvena boja izložbenih panoa također podsjeća na postav bogatog inventara grobnice. Moguće je ustvrditi da je ovdje riječ o svojevrsnoj osobnoj arheologiji, susretu s radovima nakon njihove tridesetogodišnje zapakiranosti i uskladištenosti. Antini monokromi nanovo su vani i doprinose svečanosti ugođaja kasnoantičkoga prostora, specifičnu narav i energiju kasnoantičkoga prostora Jelena koristi za inicirati dijalog koji je istovremeno i osoban i univerzalan. Umjetničino iskustvo i njezino sjećanje na usnulu baštinu transponirani su u izložbenu kompoziciju splitske galerije koja, potom, svojom estetskom dorađenošću upućuje promatrača dalje k nekim drugim asocijativnim nizovima i postavljanju pitanja što se nalazi s onu stranu vremenitosti, odnosno kako se shvaća i piše bezvremenost.
2023. Zagreb, Lexart, ciklus Duali, Zapisi za svakoga i ni za koga
Kako spasiti umjetničko djelovanje mrtvog umjetnika s kojim si nekoć živio i radio. Uvijek su nam bili važni prostor i vrijeme. Izabrani tekstovi ispisani su pomoću ručno rađenih šablona, koje su dio Antine ostavštine, suhim ultramarin pigmentom, sasvim nježno, jedva vidljivo na zidu. Pulsno-kodna modulacijaꜘ zvučnog zapis prati podnožje zidova galerije. Zvučni zapis snimljen je prilikom uspona na Medvednicu po snijegu 28.02.2023. godine u trajanju 00:04:09. Zvučni zapis je pandan Antinoj akciji „Nebo“ u kojoj je pozvao prijatelje na šetnju do Cmroka i da načasak podignu glavu i posvete nekoliko trenutaka fascinaciji neba.
J.P. 19.03.2023.
Iva R. Janković : Jelena Perić – T:0º C https://hrcak.srce.hr/file/385624
From the preface: Beyond Temporality, Gallery Kula, Split
With the latest exhibition event, Jelena Perić is returning to the collaborative process, almost eighteen years after Anto’s death, but through increased emotional engagement and an intimate form. She selects Anto’s works and articulates the display guided primarily by pure aesthetic requirement, just as she once did with her husband. On the background of the Pompeian red, she sets-up various works by Anto, carefully matching the formats and colouristic solutions. The works occupy strategic positions in the room itself without saturating it with their abundance. The observer is expected to try and interpret the meaning of Jelena’s artistic curation, actually her intimate conversation, through aesthetic stimuli. An important key to this exhibition act is installed at the very beginning of the exhibition, in Jelena’s appropriation of the content of the museum label that stands at the tomb of King Philip II of Macedonia, written by Manolis Andronikos, an archaeologist who discovered the tomb in the late 1970s in the Greek town of Vergina.
There are several reminiscences of this musealised site in Vergina. The Kula Gallery, like the royal crypt, is entered through a small doorway and then one descends into the gallery space that may not be large in terms of square footage, but it leaves a truly monumental impression. The red colour of the exhibition panels is also reminiscent of the richly displayed inventory of the tomb. It may be argued that this is a personal archaeology of sorts, an encounter with the works after they have been packaged and stored for thirty years. Anto’s monochromes are out again and contribute to the solemn atmosphere of the late antique space. Jelena uses the specific nature and energy of the late antique space to initiate a dialogue that is both personal and universal. The artist’s experience and her memory of the dormant heritage are transposed into the exhibition composition of the gallery in Split, which then, with its aesthetic sophistication, ushers the observer toward some other associative sequences and the question of what lies on the other side of temporality, that is, how timelessness is understood and written.
Dalibor Prančević
2023. Zagreb, Lexart, Records for Everyone and for No One
How to preserve the artistic practice of deceased artist with whom you once lived and worked. Space and time have always been important to us. The chosen texts are printed using hand-made stencils that are part of Anto′slegacy. With dry ultramarine pigment, very gently and barely visible on the wall, the texts emerge. A pulse-code modulation oft he audio recording follows the base of the gallery walls. The audio was recorded while ascending Medvednica in the snow on February 28,2023, lasting 4′9″, and it serves as a counterpart to Anto′s action Sky, in which he invited friends for a walk to Cmrok, and to briefly lift their heads and devote a few moments to the fascination with sky.
J.P. 19.03.2023.
Iva R. Janković : Jelena Perić – T:0º C https://hrcak.srce.hr/file/385624