The exhibiton in Ostavinska gallery is the result of Anna Jarosz’ and Astrid Vlasman’s residency at Belgrade Art Studios. Astrid has lived and worked in Serbia for three months, Anna spent a month inBelgrade. Together they are showing the artistic result of their stay in Belgrade.
Anna Jarosz: I was sat at the corner of a table
The exhibition is a result of a month-long residency at Belgrade Art Studios. The work presented is a visual sketch and experimentation around ongoing research that Anna Jarosz has been undertaking during her stay in Belgrade. “I was sat at the corner of a table” is a reflection around the notion of superstition and its connection to the collective experience of trauma. An exploration of significant cultural links between the artist’s motherland of Poland and the host country Serbia, and furthermore how the uncertainty of current reality allows space for superstitious beliefs to re-emerge and flourish. Yet, pre-Christian pagan beliefs stand as a direct juxtaposition to the religion that is strongly embedded in the societies and cultures of both countries. Superstition becomes, in a way, a safe haven for those who have lost their minds, but also exist in a collective unconsciousness and is characterised by a fear of the unrevealed. The main research questions that Anna Jarosz poses are how trauma connects the experiences of people living within the same social structure and how the mythologies around superstition determine the system of beliefs and navigation of the community.
Astrid Vlasman: Serbian woman
Four paintings from the series “Serbian woman” are made out of material that has recently been found in Belgrade. These so-called „paper paintings“ are covered with torn out posters, handwritten recipes, school notebooks, theatre posters, and children’s drawings. Napkins and wrapping paper have also been used and oil paint has been added. Astrid used herself as a model for the work, through which she entered a personal connection with her environment. Fragments from Belgrade have been added. In the background there are shapes from the city to be seen such as downspouts and fans. The underlying layers in the paintings remain visible. The layering of various types of paper ensures a paper skin. Tearing and sticking to canvas is the technique that preserves the vibrancy of paper. The volatility of old paper is cherished and appreciated as a mean of expression with which the work shapes. The technique of tearing and gluing creates the work piece by piece, whereby the inside, the bottom layer, the hidden side also become visible. Despite this old tear-paste technique that is used, the work is about people today. Women in awkward situations or attitudes are present in the work. They look lost or withdrawn into the world. The uneasiness of people in their (social) environment shows the vulnerability. In this vulnerability, the women confront the visitor’s gaze. In other recent work, abandoned spaces are shown. Rooms and kitchens that look like someone was just there. Man, and the place he occupies are the most important subject in all work.
Friday (opening): 17:00-21:00
IZLOŽBA JE OTVORENA:
Petak (otvaranje): 17:00-21:00
U skladu sa važećim merama Vlade Republike Srbije za suzbijanje epidemije virusa Covid-19, u zatvorenom prostoru je obavezno nošenje maske za lice i držanje fizičke distance.