Sensory Body: Researching Self Through Community
Dora Ramljak (2001., Croatia)
Researcher of materials and pre-conceptions, bringing importance to sensorial perception of the
world around us with the aim to create a more approachable reality. A tendency to explore variety
of media gives me opportunity to expand photographic practice further, to experiment in the realm
of soundscape, installation and (public) space interventions.
Deconstructing normativity and decontextualizing it, challenges its nature while allowing me to
grasp the world that surrounds me. Heavily research-based practice allows the democratic and
educational nature of art to become a key, a multilayered entrance into a subjective experience.
Striving for a sense of softness, the works provide a critical perspective on our society and its
structural complexity. Working between contrasts of active and passive, between reflecting and
creating, the process of making plays an integral role in my final work as it is bringing forward my
Restlessly, my dedication to experimenting, experiencing, learning, and relearning, guides the
exploration of space and time in an intuitive and respectful manner. I believe that art is a shared
tool that can shapeshift and find its purpose in all social spheres. I see myself as a provider of
tools and space that bends what is present.
Materialising spaces that are interrupting the regularity provides a place where care, dialogue, and
reflection are desired outcomes. Unraveling materials whose fragility and stiffness disturb
passivity and call for involvement, the personal imprint on the process of the work is shifting
between me as a maker and the audience. A sense of transgression, and freedom to reclaim your
being and further position yourself creates work in a constant process of change. As metal rusts,
the process is affecting the beginning with no way back.
Sustainability of actions emerges when institution isn’t restricted to its own spaces, members, knowledges. The extension of the institutional power of an institution in the urban territory would allow for the inclusion of cultural sector as a collective, progressive tool.
Institution = garden
The core lies in three principles: asymmetry, borrowed scenery, contemplation. These design principles are derived from Japanese gardeners whose approach towards taming nature for human need is respectful towards circularity of nature and community.
The garden enhances the background scenery; it doesn’t try to hide or mask it. I would like to create a program for bridging institution/ residency and creating a site specific network that allows for growth and exchange between diversity of individuals. This open source network/database would function on the scale of the local area and it would welcome artists and citizens of the cities to enter their skills, what they are curious about to learn and where in the city they desire to see a change. This method allows artists to understand how to give and take from the community in specific time.
Asymmetry. Nothing in nature is symmetrical, linear. I would like to approach sustainability from the point of spiral design of desire. Therefore, I am looking to observe the exhibition sites as spirals that extend to the city and understand how can what is shown, the material, the artwork curated function not only in the white cube but in the city itself. Asymmetry is here because I would like to create a transportable exhibition space that could be positioned anywhere in the city and welcome exchange and discussion.
Contemplation. Art is often regarded as aesthetic and unproductive.How can art, culture be a carrier of desired changes in our society? It starts with community and learning from the other.