At the dawn of yet another age of absurdity:

composition no. 2.

A spatial and performing intervention





Folkestone Triennial: October 1 – 10, 2017


In partnership with HOP Projects 



The composition continues. In light of Brexit, ‘Fake News’ and our deep ambivalence about our global socio-economic situation, the question of the political commitment in art resurfaces once more. Composition no. 1 unraveled in the heart of Trumplandia on April 22, 2017 in New York City. In essence, the composition remains the same; ephemeral, gestural, a form of resistance, only now reacting to a different context as it molds in response to a delicate and catastrophic political climate globally. The core is an architecture of resistance, which manifests actions through presence and language. Actions and interventions are spread throughout the 10 day durational performance; reacting to the local, the temporal, a simplicity is fueled by the urgency of the now, a repercussion in time and space, we must recoil quickly, react to whats happening around us in order to be immediate and relevant.



Reactionary—immediacy is the medium. Relevancy—say it out loud, now, instantly, perform, proceed. There is tension under the surface. We have been swallowed by egocentrism. Today’s rapidly changing day-to-day necessitates action, comment, responsibility, response. We are in an urgent state of ideological crisis that has resulted in the psychological breakdown of society. The situation needs constant attention, it requires reaction, as individuals and as different groups as a whole. All of it was there from the beginning, it now simply depends which elements will surface through, which emotions will become the generator for a certain ideology. Art has always had the responsibility of being both a catalyser and generator. Punk as an attitude was a reaction to a stiffening tissue of the era, Dada was necessary opposition to boiling extremes that brought humanity to meet it’s most monstrous side. In each inch of our bodies lies a potential disaster; as we are facing the most existential dilemmas on every step, each cell can decide to deteriorate and bring out the worst in us while we are dreaming of beauty.



At times, it may be better to limit yourself than to continue the illusion of an all accessible freedom, which ends in nothing less than limitless ego. A lake of me-s to drown in, a lake of us to love me.  Alternative forms of communication do exist; visual, musical, symbols, patterns— what we need are regular executions, to be exercised regularly. An exchange of situations creates the uniqueness of experiences. A Beuysian gesture in its potential to transform society. A simple exchange; a catalyst for hope. An act that will be what it is. Through repetition, gesture and embrace, we reach the shores of ones most authentic self. In his recent composition’s, JAŠA limits himself into a reverse situation—an honest way to face the self in front of self. Every thought can deteriorate. Every character can have many shades. A manifestation of a contrasting process that embraces aggression as emotion in order to give birth to the poetic. For JAŠA, it is time to revisit utter, the violent necessity for the embodied presence of hope. It all started in Europe and exploded in America. Now. It is time to scream in the face of absurdity. 


Mitra Khorasheh




JAŠA (Mrevlje-Pollak) was born in Ljubljana in 1978. He studied at the Accademia di Belle Arti in Venice and has since been a unique presence in Europe’s artistic landscape. He is one of Slovenia’s most prolific and influential contemporary artists, driven by his distinctive interpretations of situation, narrative, sculpture and performance; an artist who transforms spaces into experiences and propels them toward their poetic potential. Pushing artistic boundaries through uncompromising vision for almost two decades, JAŠA has created a rich and remarkable body of work that includes multiple critically acclaimed solo shows and projects in Europe and the US. In his two active studios in New York and Ljubljana, Slovenia, JAŠA has created a unique environment, one which allows him to cultivate contextual and visual eventuality that is integral to his work.