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Hypothetical Similarity
Looking at the works of Ivana Popov opens a considerable number of questions, and the search for sensible answers requires the readiness to accept a variety of possibilities. The unconcealed quotations from Japanese art, are the best opportunity to draw the attention of the observer, at the beginning of this text, having in mind that the introduced quotations are traditional and also that most traditional Japanese artists are men, that we are in front of works, that invoke cultural, social, geographic and, last but not least , feminist theoretic elaboration of the visual material. For an audience which is taught to relate art to the cultural heritage and tradition automatically, it is necessary to emphasize that referring to foreign tradition, in this case without hindrance, we should not see as stylistic borrowing, relying on the succession of styles in art has never got us anywhere, but in this case, it would represent mediation between indifference and ignorance.
The Copernican principle should have broken mankind a long time ago of the habit of perceiving this planet as the centre of the
Looking at the works of Ivana Popov opens a considerable number of questions, and the search for sensible answers requires the readiness to accept a variety of possibilities. The unconcealed quotations from Japanese art, are the best opportunity to draw the attention of the observer, at the beginning of this text, having in mind that the introduced quotations are traditional and also that most traditional Japanese artists are men, that we are in front of works, that invoke cultural, social, geographic and, last but not least , feminist theoretic elaboration of the visual material. For an audience which is taught to relate art to the cultural heritage and tradition automatically, it is necessary to emphasize that referring to foreign tradition, in this case without hindrance, we should not see as stylistic borrowing, relying on the succession of styles in art has never got us anywhere, but in this case, it would represent mediation between indifference and ignorance.
The Copernican principle should have broken mankind a long time ago of the habit of perceiving this planet as the centre of the
Japanese art is often referred to as perfect, but to the contrary, it is dedicated to the worship of the imperfect. In the same way, it is reffered to as "authentic" and "distinctive", while it is evidently eclectic, with much more European influence that we are ready to recognize. Nevertheless, in the works of Ivana Popov, the use of natural materials, dried flower petals etc. does not only point to previous readings, but directly calls to mind traditionally feminine artifacts. Through its academic narrative, history of art has been structured on the history of painters and sculptors for centuries. Only occasionally, one comes across an anonymous woman who embroidered, weaved or made something through long-lasting, hard and minute work.
To talk about the work of Ivana Popov actually means to talk once more about the oldest question posed by both critics and artists: the attitude towards one`s own work. By offering her own map of different traditions and visual conceptions, Ivana Popov actually offers a map of her own creative process. We are invited to relate in a personal way to the human qualities of
universe and the insignificant size of Europe should teach
the Europeans to view the world through the
relativism of space surfaces and in this way
change or, at least, become conscious of their
eurocentric viewpoint. In the same context,
a necessity arises to turn the attention of
the viewer to another eurocentric habit:
the iconographic reading of visual
material. Iconic reading is based on
the hypothetical similarity between
the sign and the object.
Nevertheless, such an approach
should not be confused with the
assumption that the image refers
to something only on grounds of
similarity, which would be an iconic
act. We are the ones who give the
sign a meaning in this way making
it significant.
On the other hand, why Japan?
Of course, a question formalated
like this, opens another question.
Why not apan? Every picterial
tradition can offer the artist a context
in witch to create, regardless of the
limits witch traditionally designed context
would potentially impose on the artist
coming from the same tradition. Playing with
tradition, however, always enables its
transgression. In this way, it is possible to
to appropriate elements of tradition by putting them
in the context of a personal project, and doing this
imperfection built into the art work. The depth of feelings
should be reachable to the viewer. It is on these
premises that the Japanese concept of art is
based. The emotional investment is
understood. Everything that excluded
women from public life for centuries (their
wish to produce objects which are
comfortable, pleasant, harmonious in
colour, precisely cut, in other words,
to be a source of pleasure for
everyone they encounter) opens a
possibility for Ivana Popov to annul
the taboo on the feminine
approach to material (neutral
materials, flowers) or form (which
demands skills which European
men do not know). Paradoxically,
she finds space for such an
opening of an artistic practice
which was in the framework even
more radical in excluding women
from society and public life. Still, it is
the Japanese artist who points to
the subtlety and vulnerability of
feelings, and the imperfection of the
world. "With no eye on eternity, he
quickens at the sight of unexpected
beauty and cherishes its impermanence". He
promotes the feeling of social equality and
mutual love which is lacking in rigid social
hierarchies of the real world.
completely exclude the elements of style, which compulsively define the given tradition.
A whole series of collages creates a balance between stylistic prejudice, on the one hand, and prejudice of tradition and kinship, on the other. In these works the similarity between Japanese and European traditions become apparent, in the overt borrowing of, at first sight incompatible foreign ideas. However, while Europeans borrow from other practices whimsically and inconsistently, the Japanese approach has adopted the incorporation of foreign ideas through invariable patterns so that harmony of the work is not affected.
Bibliography:
Pollac, Graselda, "Preface: Feminism and the Politics of Ignoranse"; The Sissidence of Thought", from Generations and Geographies in the Visual Arts, Routledge, 1996
Bal, Nieke, "Reading Art" from G.Pollock, Generations and Geographies in the Visual Arts, Routledge, 1996
Baker, Joan Stanly, Japanese Art, Thames and Budson, 1992
Pollac, Graselda, "Preface: Feminism and the Politics of Ignoranse"; The Sissidence of Thought", from Generations and Geographies in the Visual Arts, Routledge, 1996
Bal, Nieke, "Reading Art" from G.Pollock, Generations and Geographies in the Visual Arts, Routledge, 1996
Baker, Joan Stanly, Japanese Art, Thames and Budson, 1992