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...but then you notice it's still there...your childishness, and still with the same shameless question: «Why is it like that?» You decide to turn back once more to look inside, to listen to this unscrupulous voice ,to see the little fingers long for the invisible, to discover that curiosity wasn't soothed, just i… Read More
...but then you notice it's still there...your childishness, and still with the same shameless question: «Why is it like that?» You decide to turn back once more to look inside, to listen to this unscrupulous voice ,to see the little fingers long for the invisible, to discover that curiosity wasn't soothed, just ignored again and again until you learned 'to behave', to avoid the unsafe path, even if there were any answers... and there are none. Questions follow one another in quite short intervals and what you find in between are questions again, just set in the other direction. It's impossible to sleep. It's impossible to forget about yourself, to cut yourself out. There are different states of existence - those that are turned towards the inside, and those facing out, but you're always awaken somewhere. Animated. Desireous. You don't lose your inner child , it just gets quelled as a punishment for the curiosity which makes you ready to give.
I like it down here. I am impatient but still, not in a rush. It's too amusing! I haven't jet uncovered everything that needs to be uncovered to find the way back. I want to remember what it was that i promised not to forget. It's a pleasure to ask questions and feel unbound hands searching for my sources. I ask them to show me what it could be like (if there wasn't fear) and how it actually is. For real. I let them choose the roles and i love the fear that occures every time when something long untouched is reached again, every time when entering a new old room, no matter what may be housing inside! What's important is that something keeps happening, that I keep constantly moving...in one direction or the other.
I try not to define, but to give in as much as i can, just like i feel pleasure when i'm allowed to dive under foreign skin and demand with big childish eyes, which haven't jet learned to understand all that: «Show me Your nursery!» and to ask with big expectations: «Which game do You want to play?»
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born 9th October 1983 in Vukovar.
lives and works in Zagreb since 1996
member of Croatian Association of Artists (HDLU) since 2008
member of World Culture Artists Assotiation (WCAA) since 2014

Education:
2008 MFA at Academy of Fine Arts in Zagreb, Croatia
2006 semestral students exchange at Universitatea de Ar… Read More
born 9th October 1983 in Vukovar.
lives and works in Zagreb since 1996
member of Croatian Association of Artists (HDLU) since 2008
member of World Culture Artists Assotiation (WCAA) since 2014

Education:
2008 MFA at Academy of Fine Arts in Zagreb, Croatia
2006 semestral students exchange at Universitatea de Arta si Design Cluj-Napocca in
Transilvania
2002 graduated from School of Applied Arts and Design in Zagreb

Solo exhibitions:
2016 'Međuovisnost' / ' Interdependence', Razvid Gallery, Zaprešić
2015 'Babe i žabe'/ 'Frogs and Grandmothers', SC Gallery, Zagreb
2014 'Nastajanje/Nestajanje'/ 'Appearing/Disappearing', Oblok Gallery, Zagreb
2013 'Jedno/One', Prica Gallery, Samobor
2013 'Sasvim osobno/ Completely personal', VN Gallery, Zagreb
2013 'Kuća ima rogove pa opet selimo /The house has horns so we're moving again',
Gallery Događanja, Zagreb
2011 'In utero', Green Room Gallery, Zabok
2009 'Dioba/Division', Gallery Molekula, Rijeka

Group exhibitions:
2016 'Blood And Honey Under Your Tongue', open studio in Ekserhuset Kristiansand,Norway
2016 'Memories', New Space Arts Foundation, Hue city, Vietnam
2016 '1st International exhibition of miniature in Kursalon', Kursalon, Lipik/ City museum
Pakrac/Format C, Osijek, Croatia
2016 'OSTEN Biennial Of Drawing', Osten Galerija, Skopje, Macedonia
2015 'CRTOMAT! The Little Festival Of Illustration And Cartoons', City museum, Virovitica,HR
2015 '4th ARTUM', City museum, Umag
2015 'Exhibition of recent members of Croatian Assotiation of
Visual artists', HDLU, Zagreb
2015 'InsideZone', Casa de Cultura, Borsec, Romania
2014 '22nd 21C ICAA Seoul International Art Festival 2014
Harmony', South Korea
2014 'Exhibition of recent members of Croatian Assotiation of
Visual artists', HDLU, Zagreb
2014 '5. Biennale ilustracije/5th Biennale of illustration', Klovićevi dvori, Zagreb
2013 'Realna situacija/The real situation', Gallery of Croatian Post, Zagreb
2012 'Akvareli na skeli/Aquarelle on scaffolding', City museum, Samobor
2012 'Sketchbook' exhibition, SC gallery, Zagreb
2012 'Sketchbook' exhibition, Gallery Zlati Ajngel, Varaždin
2012 'Sketchbook' exhibition, Galerija ALU, Zagreb
2012 Exhibition in Monika atelier, Medika, Zagreb
2012 2nd triennale of selfportreits, Gallery Prica, Samobor
2011 Exhibition of recent members of Croatian Assotiation of Visual artists, HDLU, Zagreb
2010 Exhibition of recent members of CroatianAssotiation of Visual artists, HDLU, Zagreb
2010 'Osten', World Gallery Of Drawing, Skopje, Macedonia
2008 'Vox Feminae', SC, Zagreb
2007 'Kiborgezija', Velesajam kulture, SC, Zagreb
2006 'inter (-aktiv)', Galerija SC, Zagreb
2005 'Passion inheritance', Starogradska vijećnica, Zagreb
1999 'Children's Global Vision', (INSEA), Queensland, Australia

Awards and comendations:
2012 1st prize of 2nd Triennale of Selfportraits, Gallery Prica, Samobor
2006 CEEPUS Grant for students exchange program at Universitatea de Arta si Design
Cluj-Napocca in Transilvania
2005 Dean's commendation for work in academic year 2004/2005

Festivals:
2015 'InsideZone Festival of Visual Arts and Poetry', Borsec, Romania
2014 '22nd 21C ICAA Seoul International Art Festival 2014
Harmony', South Korea
2004 'First Festival of Flying Graphics', Vrbnik,Croatia

Residencies:
2015 'InsideZone' Residency in Borsec, Romania

Colonies:
2012 'Aquarels on scaffolding', Samobor
2005 Art colony Plemenitaš, Plemenitaš
2003 Art colony, Jelsa

Workshops:
2007 'Art of wandering' with visual artist Damir Očko, SC, Zagreb
2006 'inter(-aktiv)' with visual artist Mirjana Vodopija, SC, Zagreb

Solo projects and collaborations:
2014 Illustrations for children's picture book 'Zimzelen' by Snježana Habuš
2013 Cooperation with film animator Ivana Jurić on movie 'PUPA'
2012-2013 Independent project 'R/W+HafoxaH' (art workshops for adults, performances,
design products of recycled materials) with visual artist Nina Bešlić
2006-2012 Set and graphic design for Association (5R) Dance and
Movement Therapy, Association Ritmovi and Association Ples Ritmova
2011-2012 Independent art workshops as a part of ''Ljeto na Strossu'' (organization by HDLU)
2008-2011 Independent workshops of creative movement and painting for preschool
children at International Center for Cultural Services, Travno, Zagreb
2009 Independent project, wall illustrations for Hotel Vespera, Mali Lošinj with visual artists
Mare Šuljak, Anita Celić and product designer Zoran Šunjić


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Anja Ivić
''Konstruiranje djetinjstva''

Osvrt na izložbu Ivane Ognjanovac Babe i žabe, Galerija SC, 3. 3. – 21. 3. 2015.
(Published 4/9/2015 in Zarez magazine)

Izložba Ivane Ognjanovac trenutno postavljena u Galeriji SC mnogo je toga, ali definitivno nije izložba konvencionalnog postava u … Read More
Anja Ivić
''Konstruiranje djetinjstva''

Osvrt na izložbu Ivane Ognjanovac Babe i žabe, Galerija SC, 3. 3. – 21. 3. 2015.
(Published 4/9/2015 in Zarez magazine)

Izložba Ivane Ognjanovac trenutno postavljena u Galeriji SC mnogo je toga, ali definitivno nije izložba konvencionalnog postava u kojoj se zbiva uobičajeni jednosmjerni prijenos znanja. Ako se prethodno upoznamo s ranijim radovima autorice, zamijetit ćemo da se ta izložba odlično nastavlja na njezin prijašnji rad koji se bavi razvojem čovjeka i njegovog postojanja u fazi djetinjstva (npr. Kuća ima rogove pa opet selimo…), što je osvježenje s obzirom na to da većina autora fokus stavlja na odraslu fazu. Druga područja autoričina interesa su nasljeđe, međuljudski odnosi, kauzalnost, ali i stereotipi i ideali nastali upravo u obiteljskom domu.

Iz samog smještaja izložbe Babe i žabe na skučenom gornjem katu Galerije SC izložba višestruko profitira, kako zbog svog karaktera, tako zbog posebnog dojma i atmosfere koju izaziva priroda navedenog prostora. Osim što smo kao posjetitelji visinski udaljeni od donjeg kata galerije, prostor koji se nalazi ispod nas vidimo kroz maleni otvor u zidu kroz koji nam se posjetitelji izložbe u prizemlju mogu činiti kao umanjene osobe nesvjesne našeg znatiželjnog dječjeg pogleda. Zaigrani činjenicom da se nalazimo na jednom skrivenom, tajnom prostoru nalik dječjoj kućici na drvetu, odmah nam se potencira aura kojom na nas djeluje izložba. Perspektivom onoga "koji to još ne razumije", odnosno djeteta, pružena je mogućnost ogoljavanja ponašanja odraslih, društvenih normi i naslijeđenih pravila. U tom iznimno intimnom prostoru gornjeg kata vješanjem slika, više njih na jednoj vrpci, stvoren je raster koji ulazi u prostor, osvaja ga te organizira i usmjerava naše kretanje i poglede, opet nas zaigravajući kao djecu. Dakako, dječji namještaj, postavljen kao epicentar svih visećih izložaka, također priziva tu atmosferu, ali budući da je snaga jezika kojim izložba progovara dovoljno jaka sama po sebi, taj namještaj je samo točka na "i", a nikako temeljni znak pomoću kojeg izložba pokušava komunicirati svoju misao.



Igra skrivača

Zanimljivo je upravo to što je leksik izložbe naizgled jednostavan i izrazito izravan te nas već sa stepenica uvlači u svoj izolirani dio svemira. Prelazeći s prostora na ono što ga ispunjava, izloške, možemo ih općenito definirati kao kolaže fotografija, što onih u boji, što crno-bijelih, i crteže s dodanim rukopisima (narodnim poslovicama). Svi izlošci su dimenzija obične fotografije, uhvaćeni u jednostavne bijele okvire za slike, čime njihova puna ekspresivnost izbija iz samih njih, a ne iz onoga što ih za/okružuje. Po dvije fotografije u jednom okviru omogućavaju dvostrano sagledavanje, a ta nas efektnost poziva na daljnju komunikaciju i igru s izlošcima oko kojih kružimo, ili pak čekamo da nam se oni sami obrate nekom neočekivanom asocijacijom ili usporedbom. Ta djelomična igra skrivača koju neprekidno igramo s kolažom budi u nama davno zakopanu zaigranost i u isti trenutak otkriva sve jaču nostalgiju prema fazi u koju ta zaigranost pripada, djetinjstvu.

Svim kolažima je baza stara obiteljska, školska ili naprosto fotografija iz djetinjstva iz koje su izrezani i odstranjeni lica i detalji, a ubačeni detalji s nekih drugih fotografija, nerijetko upravo s one suprotstavljene. Spomenuti natpisi, rečenice na svakom izlošku, podsjećaju na prva tanka i nesigurna dječja slova, i kao takvi se slažu s prikazima na kolažima te ih ironično, duhovito i domišljato nadopunjuju. Treba spomenuti i da nas jedan kraći tekst, ispisan na dječjem stoliću, uvodi u samu izložbu kao svojevrsna literarna podloga i najava. Što se tiče izložaka, odnosno kolaža, moguće je usporediti njih, njihovo nizanje i tematsku povezanost sa stripovima: jednostavno definirane granice kolaža, odnosno nenametljivi okvir, u njemu izrezane fotografije s nadodanim oblačićima s komentarima i dječjim crtežima. Iako dječji, kolaži i crteži izvedeni su jako precizno i kvalitetno, pa se doimaju kao fine minijature koje imitiraju dječji crtež i rad, što je prilično teško jer se čovjek mora odupirati nagonu da nešto nacrta bolje, pogotovo ako je po obrazovanju akademski slikar ili slikarica.

Kolaži se bave odnosom djece i roditelja, stereotipima u obiteljskoj hijerarhiji, odgojem, ukratko – obitelji i djetinjstvom. Slojevitost samih tih pojmova i odnosa u obitelji izložba dokazuje svojom fizičkom kompleksnošću kojom nas upućuje u dječju sferu koju je moguće čitati iz niza perspektiva. Možemo se složiti da svaka obitelj ima vlastitu mitologiju u kojoj, dakako, postoji hijerarhija, u kojoj su djeca često u središtu zbivanja zbog svoje krhkosti i želje za pažnjom, sve dok jednom ne odrastu i stanu rame uz rame s odraslima te počnu shvaćati što se to sve oko njih događa. Upravo tom obiteljskom hijerarhijom se, s jedne strane, izložba Babe i žabe poigrava. Na ironičan način okuplja na jednom mjestu sve proživljene faze gledanja na obitelj i dom iz dječje perspektive. Fotografije koje imaju svoje prvotno vrijeme i mjesto u kojem su nastale i svoje prvotno značenje Ognjanovac uzima i intervencijom transformira u nešto potpuno drugo. Time djelomično čuva vlastitu intimu, a nama predstavlja promijenjeno značenje u šaljivom i ironičnom svjetlu.



Vraćanje u djetinjstvo

To idealizirano razdoblje djetinjstva i specifična pozicija gledanja na svijet također nose i pojedine negacije – nećeš, ne možeš i ne shvaćaš – koje izložba također predstavlja, no i pretpostavlja kao nužne ili čak poželjne. Uplitanje narodnih poslovica i doskočica u rukopise na kolažima priziva u sjećanje taj daleki imaginarni prostor u kojem su se one zaozbiljno upotrebljavale na dnevnoj bazi, prostor koji većinu nas podsjeća na bake, djedove, none i noniće. Ognjanovac nam nesebično daje nešto odista privatno, vlastiti obiteljski album na dlanu, upriličen da bi postao višestruko primjenjiv na iskustva iz djetinjstva nas samih. Najednom, u tom spletu tuđih uspomena, naviru naše vlastite, pri čemu su pojedine prikazane situacije i šaljivi popratni komentari identični onim našima, što ukazuje na repetitivnost načina odnošenja prema djetetu u različitim, međusobno nepovezanim, obiteljima i okolinama.

Izložba Babe i žabe ljušti i razotkriva ponašanje roditelja, a ne samo djece. Davno smo shvatili da ipak nije sve što roditelj kaže istina, iako je u djetinjstvu riječ roditelja bila nepobitno i nesumnjivo istinita. Zanimljivo je da se određeni tip tvrdnji i rečenica pojavljuje od kuće do kuće i postaje uvriježena "laž" koju kao da je neki prototip roditelja izmislio da olakša posao svim ostalima koji muku muče s potomcima u toj njihovoj pomalo napornoj fazi. Također, stil i leksik koji Ivana Ognjanovac odabire i razvija intervencijama u obiteljske fotografije zaista je jedinstven i zanimljiv upravo iz te perspektive. Prisvajajući metodu kolaža i odabirući tematiku u kojoj koristi tako osobne posjede kao što su obiteljske fotografije, ona razvija poseban stil koji sad već možemo prepoznati kao tipično njezin. Ognjanovac nas uspijeva uvući u iskonstruiranu, samoj sebi dovoljnu atmosferu u kojoj nas fotografije i uspomene iz njezinog doma i djetinjstva odvode u neke davno zaboravljene sfere i stanja, što fizička, što psihička.

Činilo se kao da sam tom izložbom dobila vremeplov koji mi je omogućio barem privremeni fiktivni povratak u djetinjstvo. U tome je i uspjeh cijele izložbe, koja je uspjela obiteljsko iskustvo jedne obitelji primijeniti kao istinu većeg stupnja, odnosno značaja za druge ljude. Drugim riječima, ta izložba sačinjena od nečijih osobnih uspomena i iskustava iz prostora obiteljskog doma i privatne memorije djetinjstva može se uzeti kao okvirni referent za djetinjstvo uopće. Izložba Babe i žabe dobiva puninu kao izložba načinjena izravno za ljude, što za ljude iz obitelji autorice, a što za druge. Unatoč tome što samo ona i njezini bližnji znaju pravu priču iza prikazanih fotografija, nesebičnim dijeljenjem i spomenutim intervencijama pristupačni način govora te izložbe ulazi u prostor svih posjetitelja, kao što smo mi ušli u njezinu intimu i barem nakratko opet postali djeca.


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‘DISAPPEARING/APPEARING’, 2014
by Josipa Bubaš

Self-portraits by Ivana Ognjanovac reflect the transformative process of emergence from extinction. They reflect an intense and intuitive approach to identity, awareness of the instability of the same and the need for destruction in order to create. Pencil and ink drawings are rather rough scrapings, exposing the old, the unnecessary, the completed. Collages, like ghosts, seem to emerge out of the primordial amorphous mass as if they’re taking shapes before our very eyes. The rhythm of amplitudes is intense – the pattern is always the same: the face of an artist looking towards the within, permeable and allowing. The fallen pieces of the self are taking various forms, and the artist is pulling them through various drawing procedures that reflect the multiplicity of codes, states and potentials. Old layers are scraped of the paper, exposed and disposed. The new that is emerging is just a possibility to be met yet, to be allowed to come to life. The cycle of disappearance and emergence is one of eternal movement, immanent instability and life and identity that seeks its way towards transformation. Thus it takes its organic, natural path. Ognjanovac delves deep into herself, towards that within where death of the old and birth of the new are taking place simultaneously and at the same time consistently, uncompromisingly and with full awareness exposes herself to the process of shifting the layers, without fear of releasing the old and the new birth.

(Essay is published in the exhibition catalogue, Ivana Ognjanovac ''DISAPPEARING/APPEARING'' in Oblok Gallery in Zagreb 2014)

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''COMPLETELY PRIVATE'', 2013
Completely personal, completely political (excerpts)
by Jasna Jakšić

Completely Private, an exhibition by three young artists, Maria Knezić, Ivana Ognjanovac and Ružica Dobranić in Vladimir Nazor Gallery stages a fictional household private space, whose parts at the micro level have been turned into a battlefield for power among household members: kitchen, bathroom, bedroom, children's room, attic.
The cover of The House Has Horns So We’re Moving Again, another block form the series of collages by Ivana Ognjanovac, features Braco i Seka, the legendary faces from chocolate wrappers and very predictable heroes of children's literature with mainly educational purpose. The work, according to the author, a work in progress, which "deals with clichés associated with the ideal home, family, education, social roles / hierarchy (gender, age) and sexuality!" The basis of the work is the author's personal and family history, told with distorted dates, actors and events – historical contribution here is only emotional, far from any sort of realism or literal contextualization. The historical distance, so palpable in the use of photographs as found objects, or, more precisely – pictures, gives additional impetus for challenging stereotypes, drawing them into a narrative of fictional personal and family history. The size of the book and the infantile handwriting and drawing simulate child's precision and spontaneity in translating the symbolic system in the process of adopting the visual language. What is artificial here, though even this artificiality is hidden by sloppy cutting of the collage, are only the old photographs, that could potentially be a hidden treasure from a long unopened drawer. But all this is in the service of mediating the disclosure of imposed gender roles, which are speaking from tapestries, picture books, films, folk wisdom and from a good part of the oral family tradition ... The second part of the installation is an audio recording, based on children's stories: Babaroga, the archetypal female monster endowed with horns which represent the patriarchal authority and because of which she can not leave her home: in her service, working in the mine in the basement of the house, there are numerous tiny nameless creatures, hidden like illegal immigrants sentenced to endless labor. Babaroga and the creatures, as well as the visitors from whose frenetic stories she absorbs the outside world, are reminiscent of fantastic creatures from H. Miyazaki's Spirited Away. The terrifying clamor of Babaroga's basement and the senseless slave labor, scarier even than the donkey's suffering to which Pinocchio had been sentenced, are awaiting the naughty children. The question remains whether those children who refuse to accept the given roles are naughty, too.

The territory is divided with adhesive tape, the contours are drawn, and each of the artists is in charge not just of one room but also of one of the functions of the house. But in the allocated rooms it is not to be expected to find personal interpretations of the private space. One can rather assume that it is all about potential dynamics of taking up space, and, finally, about the last redefinition of defending the private.

(Essay is published in the exhibition catalogue ''Ružica Dobranić, Marija Knezić, Ivana Ognjanovac - COMPLETELY PRIVATE'' in Gallery Vladimira Nazora in Zagreb 2013)

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'ONE', 2013
Between unity, within opposites
by Josipa Bubaš


Bifurcation, interweaving and intertwinin, layers of Yes and layers of No, what we see and what we feel, what is and /or what is not, head and viscera, mind and body – those are the elements of the art games played by Ivana Ognjanovac. The dance between the extremes becomes a communication rather than a struggle of opposites, whilst the artist consistently and organically opens spaces within which the two become one.
Accordingly, in her works there are no straight lines, no strictly separated forms. The work consists of opposites that coexist, complement each other, come together and develop, always in a natural quiver, common vibration, resonance, more of an impulse than of a meaning. The smallest elements of expression, the words Yes and No written with a marker or a ballpoint pen constitute a form by creating layers and layers of contrast, more or less transparent. Intertwining lines of circularly written words, together make a noise of interlaced letters devoid of meaning, creating a field dressed in the form of pulsing self-portraits.

Head or viscera, mind or body, depending on the point of view, are just one aspect of communication between the opposites, of the intertwining of vibrations, of the creation of oneness out of differences. This pulsating field of mind and body is the main distinctive motif that the artist spreads throughout the gallery. In the series ‘One’ they are enlarged, placed on the walls, facing up or down, always keeping the same form, while the tonal gradation is achieved by overlapping layers. Plunging inward, into the essence of the organic, the artist with an almost meditative approach finds and /or creates the basic elements that expand and develop, suggesting an expansion of impulses. To these impulses she gives ambiguous shapes composed of meanings that are being transformed within themselves, reflecting the ongoing game of dichotomies, as well as their interdependence.

The tendency towards the organic, the natural and the physical is visible in the act of spreading the soil over the floor of the gallery in the work ‘Seedlings’. In this work she uses the motif of the womb/head again. Red and blue works, one of which symbolizes earth and fire and the other water and air, are set on the soiled ground and arranged in rows of same motifs in different colors. Just like delezhen rhizomes, constantly branching and forming in an open and direct contact with reality, in constant motion and interwebbing, Seedlings by Ivana Ognjanovac make a branched structure in which the individual elements are only parts of the process, stages in the transformation, in the merging and the interwebbing, the noise of mixed colors, letters and meanings that have lost a fixed position and thereby the domination over the process, turning sense into just a sliding point during the transformation. By turning the gallery floor into soiled ground, the artist transforms the conventional space into an organic structure in which the ground breaths together with the works, suggesting the pulsing of the field, being in a constant state of transition between Yes and No, between inside and outside, between womb and mind, immersing into a state of continuous becoming, in which the opposites are not mutually refuted but jointly create.

‘Germs’ are smaller drawings arranged irregularly on the gallery walls. Formed on the same principle as ‘Seedlings’, they set up a communication by dissolving the form, expanding the impulse, interweaving the meanings. By expansion strategy the author, with this exhibition creates an ambient in which she transforms the regular and the straight into the curved and the organic, thereby softening the fixed gallery space.

Inside of the womb and the head, the red and the blue, behind Yes and No a space with no meaning opens up, a space underneath the words, underneath the conventional. The author consistently and thoroughly indulges into sensory, non-verbal and experiential plunging inside, which is in line with the logic of contradictions that leads outwards from the inside. Thus by peeping inside the self, meaning gets transformed into impulse, into a field that tends to change and expand. Between polarities arises a space of open possibilities, where every moment is a new decision and every move of the pen a new breath. Ivana Ognjanovac patiently opens this space to highlight the continuous existing in the in-between, in which it is possible to integrate the reality that, reduced to its smallest particles, creates a continuous vibrating tissue of ostensible contradictions.

(Essay is published in the exhibition catalogue, Ivana Ognjanovac ''ONE'' in Prica Gallery, Samobor 2013)

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‘’THE HOUSE HAS HORNS SO WE’RE MOVING AGAIN’’, 2013
By Ivana Gabrić

By using the fragments of family memories, Ivana Ognjanovac challenges and questions the stereotypes of the ideal home, happy family, education and social hierarchy, extending them to the context of the collective memory. In a charmingly subversive way, she plays with the old black and white family photographs, cuts them up and reassembles them, scribbles and writes on them, thus demystifying personal and family mythology. In this way she creates a series of works which were decontextualized and put into a new context, thus gaining a number of new, often humorous meanings. The author complemented her sketchbook with enlarged prints of a few, according to the authors’ opinion, emblematic works. Despite the seemingly serene tones, these photo collages possess a sharpness and wisdom of a premature child who playfully tells the family drama of exile and constant migration and the search for personal identity. But what is particularly intriguing are the realistic comments, intentionally incorrectly dated to emphasize the fragility and sensitivity of memories and the arbitrariness of their subsequent dating.
Through subsequently modified family dramas, Ivana actually speaks about a much more serious problem, which is put in a wider context of our social and national history. By doing so, she disputes the uncritical acceptance of our recent history, the ‘‘correctness’’ of which its creators are still debating. Thus, in her collages she successfully creates an intentional and emotionally charged fusion of the real and the imaginary, the old and the new, the lost and the found. She also questions the glorification of some events from our socio-political reality and cultural heritage, as well as the suppression of some other, in which the crucial role is played by the media manipulated by the ruling structures as the main counterfeiters our recent history.
This exhibition owes its intriguing name to an ancient Slavic saying used in Slavonia to explain children that it was time to go home after visiting neighbors and relatives, which gave Ivana an initial impulse to conceive the whole cycle. Except that in her case returning home is a very questionable, since her family moved so many times that the initial idea of home became completely dissolved, which additionally highlights the absurdity of the whole situation (Eg. The photocollage with a photograph of people getting out of a train with comments like: I wanna go home!- I don't!)
Ivana plays wittily even with difficult family situations, for example, in the works The Beloved Deceased, The Funeral, 09, Scribbled and I Already Have, she clearly expresses her indestructible positivism and the desire to lead a normal life. A work with a distinct force is an old yellowed postcard with a faded inscription “Before the war,” suggesting how quickly our memories are fading and how incoherent they are. In her specific humorous way, Ivana has attempted to resolve the traumas of the past so they do not fade away like this old postcard.
(Essay is published in the exhibition catalogue, Ivana Ognjanovac ''THE HOUSE HAS HORNS SO WE’RE MOVING AGAIN'' in Gallery Događanja, Zagreb 2013)

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