THE MAP WILL SHOW DIFFERENT ROADS WHICH LEAD THROUGH THE SAME COUNTRY AND OF WHICH WE COULD TAKE ANY ONE AT ALL, BUT NOT TWO.
— Ludwig Wittgenstein
Take a Place, 2014
Materials: plaster, textile, plastic, paint, metal, c-print on dibond, sound
The Installation, Take a Place, asks its viewers so many questions: can we associate ourselves with certain places? Does this association constitute a vital source of both individual and cultural identity and security? Can a certain place be a point of departure from which we orient ourselves to the world? Or, did we become universal contemporary nomads who spend their lives in a migration between places, whereby the experience of the journey, or of movement, is more important than the experience of the place itself?
If places are not relational or historical or otherwise not concerned with identity such as airports, crossroads, and supermarkets, they are called “non-places”. They are the real factors of our existence. In her work titled Take a Place, Jovana Popić invites us to reconsider how we individually navigate the world in which we live. She argues that places are still important and profound centers of human experience, and that the conscious experience of movement is also deeply connected to them.
The large-scale spatial installation, Heterotopia, consisting of plaster reliefs, contemporary orientation marks and sound, pits notions of place with non-place. It illustrates the tension between thoughts concerned with the universal versus the territorial, an issue of global interest today, more than ever before.
For the determination of identity through concrete experiential traces, Jovana includes methods of archeology, anthropology and sociology in her art. She poses questions of human existence, on transience and phenomena of socialization. Subjective as associative access to her installations serve her research of environment, in which the recipient is involved, because “only through the reconstruction of a sense of connection, which refer to the traces, [is] the actual artwork constituted.” (Christian Boltanski)