Performance / three canal projection / 25′ 12”
The audience in the hall was viewing a triple video projection. Two projections showed the video recordings of the artist rambling through the woods and raving among detritus and waste in his cellar, which were filmed previously. The third projection was the real-time broadcast of the artist’s performance in the next room in which he lay down, headfirst and motionless in a heap of pills and feathers.
Graffiti on the main road at the border between Croatia and Bosnia and Herzegovina
The work was performed on the very spot where the artist’s father was killed in the bombing of the town on September 23rd, 1992. Kopljar marked the spot with a white rectangle under which he wrote the date of his father’s death as a sequence of numbers: 23091992. About ten days later, the wheels of passing cars had fully erased the mark.
Performance / stereo sound / 30′
The artist was lying prone on a sheet. He covered his ears with his hands. Two large loudspeakers set in front of his head sent forth a sharp, irritating sound, to the point of being unbearable. The audience entered the space and walked past him. The artist remained in the same position for half an hour. When the sound was suddenly interrupted, he got up and left.
Action / mini DV video / 8′ 39”
Exhibition: Here Tomorrow curated by Roxana Marconi. The artist blocked the entrance to the Museum of Contemporary Art in Zagreb with a 12-tonne block of reinforced concrete that was custom-made to fit the entrance.
Performance / Mini DV video / 3′ 41″
The audience entered a dark gallery where, in the spotlight, there was a piece of white linen in the center of the floor. Two long wooden sticks were laid out in parallel to the edges of the fabric. A sound of whipping that was digitally distorted was heard echoing throughout the gallery. The quick rhythm and raucous sound of whipping eventually slowed, so that the auditory modulation increased in length and depth, to the point of becoming unrecognizable.
