Difference between revisions of "Ana Peraica"

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== Education ==
 
== Education ==
  
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Peraica has graduated in Art history and Philosophy at the University of Zagreb, continuing with a post-academic program in the theory department at the Jan Van Eyck Academie, Maastricht, PhD Studies at ASCA (Amsterdam School of Cultural Analysis, Theory and Interpretation), University of Amsterdam. She defended her doctorate thesis entitled Photography as the Evidence at the International Course of Philosophy and Modernity, University of Rijeka. She was awarded UNESCO-IFPC and BKVB funds.
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Peraica has graduated in Art history and Philosophy at the ''University of Zagreb'', continuing with a post-academic program in the theory department at the Jan Van Eyck Academie, Maastricht, PhD Studies at ASCA (Amsterdam School of Cultural Analysis, Theory and Interpretation), University of Amsterdam. She defended her doctorate thesis entitled ''Photography as the Evidence'' at the International Course of Philosophy and Modernity, University of Rijeka. She was awarded UNESCO-IFPC and BKVB funds.
  
 
== Work ==
 
== Work ==
 
Peraica's writings were distributed online via mailing lists Nettime and Syndicated  back in the 90s. Her work in media theory and criticism is characterised by her specific background of post-socialism (Gray, 2004 and Gray 2007), focusing on economic differences among Post-modern and the Post-socialist art movement. She finds them crucial even in cultural production, as without a free market of ideas and copyright laws authorship appears different. Most of these are seen as a turning point in analysis (Kolesnik, 2006; Irwin, 2007, Sandomirskaya, 2007). These are formulated in earlier texts [http://text/knowledge/selectors/peraica.pdf Anonymous artist, nameless hero, unknown history] (IRWIN, East Art Map, Afterimage/MIT Press, 2006) and ''Corruption of the Grand Narrative of Arts''  
 
Peraica's writings were distributed online via mailing lists Nettime and Syndicated  back in the 90s. Her work in media theory and criticism is characterised by her specific background of post-socialism (Gray, 2004 and Gray 2007), focusing on economic differences among Post-modern and the Post-socialist art movement. She finds them crucial even in cultural production, as without a free market of ideas and copyright laws authorship appears different. Most of these are seen as a turning point in analysis (Kolesnik, 2006; Irwin, 2007, Sandomirskaya, 2007). These are formulated in earlier texts [http://text/knowledge/selectors/peraica.pdf Anonymous artist, nameless hero, unknown history] (IRWIN, East Art Map, Afterimage/MIT Press, 2006) and ''Corruption of the Grand Narrative of Arts''  
  
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In her later writings she focuses mostly on photography. Her works are exemplary in the field of authorship and copyright. They are not only limited to post-socialism, but generally criticise art history as a discipline. She feels art history writings barely introduce Modernist demands into the interpretation of the very works of the Modern. She used [[photography]] as a medium on a mere level of illustration replacing original artworks with the photographs. Some crucial examples of this are institutionalisation of photographs instead of the original artworks as Alfred Stieglitz photo of [[R. Mutt]]'s (Marcel Duchamp) Fountain, Alberto Korda's Che Guevarra, but also Zvonimir Buljevic's Red Peristyle.
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In her later writings she focuses mostly on photography. Her works are exemplary in the field of authorship and copyright. They are not only limited to post-socialism, but generally criticise art history as a discipline. She feels art history writings barely introduce Modernist demands into the interpretation of the very works of the Modern. She used [[photography]] as a medium on a mere level of illustration replacing original artworks with the photographs. Some crucial examples of this are institutionalisation of photographs instead of the original artworks as Alfred Stieglitz photo of R. Mutt's (Marcel Duchamp) Fountain, Alberto Korda's Che Guevarra, but also Zvonimir Buljevic's Red Peristyle.
  
 
==See also==
 
==See also==
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==Books==
 
==Books==
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* Ana Peraica (ed.): Victims Symptom (Institute for Networked cultures, [[Amsterdam]], 2009.
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* Ana Peraica (ed.): Victims Symptom (Institute for Networked cultures, Amsterdam, 2009.
 
* Grzinic and Reitsamer (eds): Worlds of Feminism Queer and Networking Conditions, Loecker Verlaag, [[Vienna]], 2008, ISBN 978-3-85409-472-2
 
* Grzinic and Reitsamer (eds): Worlds of Feminism Queer and Networking Conditions, Loecker Verlaag, [[Vienna]], 2008, ISBN 978-3-85409-472-2
 
* Irwin (eds): East Art Map, Afterall/MIT Press, London/New York, 2006, ISBN 978-1-84638-022-8. ISBN 1-84638-022-7
 
* Irwin (eds): East Art Map, Afterall/MIT Press, London/New York, 2006, ISBN 978-1-84638-022-8. ISBN 1-84638-022-7
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* [http://text/knowledge/selectors/peraica.pdf Anonymous authors, Nameless Heroes, Unknown Histories (A local overview of strategies and motifs of variable x] (PDF) IN: IRWIN (ed.): East Art Map. London / Los Angeles: Afterall Publishing / MIT Press, 2006:163-74.
 
* [http://text/knowledge/selectors/peraica.pdf Anonymous authors, Nameless Heroes, Unknown Histories (A local overview of strategies and motifs of variable x] (PDF) IN: IRWIN (ed.): East Art Map. London / Los Angeles: Afterall Publishing / MIT Press, 2006:163-74.
 
* [http://www.cfront.org/cf00book/en/ana-confront-en.html Con/FRONT! Radio-active ideological junk second hand truths about East and West]] IN: Kessi A, Miraztchiev E, Sevova D. (ed.). Communication front 2000 international project of electronic and media art and cultural Crossing Points East – West. Art Today Association, Plovdiv, Bulgaria, 2002: 17-8.
 
* [http://www.cfront.org/cf00book/en/ana-confront-en.html Con/FRONT! Radio-active ideological junk second hand truths about East and West]] IN: Kessi A, Miraztchiev E, Sevova D. (ed.). Communication front 2000 international project of electronic and media art and cultural Crossing Points East – West. Art Today Association, Plovdiv, Bulgaria, 2002: 17-8.
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====Croatian====
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==Croatian==
 
 
*[http://www.bestartpractices.it/archive.asp?redas=yes&somepubl2_action=300&somepubl2_image_id=148323 Žena na Raskrižju ideologija](PDF)(HULU, 2007)
 
*[http://www.bestartpractices.it/archive.asp?redas=yes&somepubl2_action=300&somepubl2_image_id=148323 Žena na Raskrižju ideologija](PDF)(HULU, 2007)
 
*[http://www.ceeol.com/aspx/issuedetails.aspx?issueid=99ad804d-ab45-44a7-9bf0-0062c310a7df&articleId=1da00132-59a8-4313-be21-5f2893be0394 Simptom Žrtve (post-traumatski stresni poremećaj i kultura], Vizura, 2008
 
*[http://www.ceeol.com/aspx/issuedetails.aspx?issueid=99ad804d-ab45-44a7-9bf0-0062c310a7df&articleId=1da00132-59a8-4313-be21-5f2893be0394 Simptom Žrtve (post-traumatski stresni poremećaj i kultura], Vizura, 2008
 
*[http://www.zarez.hr/177/z_esej.htm Portret Zapada u Zabranjenoj Karikaturi]. Zarez, 2006;177:30-2.
 
*[http://www.zarez.hr/177/z_esej.htm Portret Zapada u Zabranjenoj Karikaturi]. Zarez, 2006;177:30-2.
 
*[http://www.zarez.hr/142/vizualna3.htm Prepuknuće Žanra po Donjoj Polici, Amsterdamske Videoteke, Proganjanja I Vile Velebita] Zarez, 2004, 142/, 18.11.)
 
*[http://www.zarez.hr/142/vizualna3.htm Prepuknuće Žanra po Donjoj Polici, Amsterdamske Videoteke, Proganjanja I Vile Velebita] Zarez, 2004, 142/, 18.11.)
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== References ==
 
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{{Reflist}}
 
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==Notes==
 
==Notes==
 
* Chris Hables Gray: [http://www.informaworld.com/smpp/content%7Edb=all%7Econtent=a779659370%7Etab=linking Postmodern War at Peak Empire], Science as Culture, Volume 16, Issue 2 June 2007: 109 - 128
 
* Chris Hables Gray: [http://www.informaworld.com/smpp/content%7Edb=all%7Econtent=a779659370%7Etab=linking Postmodern War at Peak Empire], Science as Culture, Volume 16, Issue 2 June 2007: 109 - 128
 
* Ljiljana Kolešnik [http://hrcak.srce.hr/file/15739 Irwinova Galaksija], Kvartal 3/4, 12. 2006, 43-44
 
* Ljiljana Kolešnik [http://hrcak.srce.hr/file/15739 Irwinova Galaksija], Kvartal 3/4, 12. 2006, 43-44
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== References ==
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{{Reflist}}
  
 
==External links==
 
==External links==
 
*[http://urednik.slobodnadalmacija.hr/Hrvatska/tabid/66/articleType/ArticleView/articleId/55647/Default.aspx Peraica snimku Tita sa Stepincem skrivao od cenzora], Slobodna Dalmacija daily, 22.05.2009
 
*[http://urednik.slobodnadalmacija.hr/Hrvatska/tabid/66/articleType/ArticleView/articleId/55647/Default.aspx Peraica snimku Tita sa Stepincem skrivao od cenzora], Slobodna Dalmacija daily, 22.05.2009
 
*[http://www.jutarnji.hr/clanak/art-2009,5,24,,164337.jl Tajna obitelji Perajica s Peristila: kako je otkrivena zaedniča snimka Tita i Stepinca], Jutarnji list daily, 24.05.2009
 
*[http://www.jutarnji.hr/clanak/art-2009,5,24,,164337.jl Tajna obitelji Perajica s Peristila: kako je otkrivena zaedniča snimka Tita i Stepinca], Jutarnji list daily, 24.05.2009
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<div style="overflow:auto;height:1px;">
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[[Person_First_Name:: Ana]] [[Person_Last_Name::Peraica]]
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[[Country_Code:=Croatia]]
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[[City:=Rijeka]]
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Revision as of 10:27, 28 May 2011

Ana Peraica (born 1972) is a media theorist and curator from Croatia.[1] Her writings, most of which copyleft, have been translated into many languages English, German, French, Bulgarian, and Polish. She teaches at the University of Rijeka.

Peraica was born into a family of photographers [2] who were part of the famous intervention created by the Red Peristyle on in the main square of the Diocletian's Palace in Split. Her family are from Split and have been living there for generations. She was the daughter of portrait photographer Dražen Peraica and the granddaughter of the photographer Antonio Perajica and the niece of USA politician Tony Peraica.

In 2009 she had shown movies that were hidden from the communist government censorship in the family's antique basement. They were recorded by her grandfather Antonio Perajica who was a Commissar of Film and Photography of the Yugoslavia. This work when collated amounted to nine 16mm edited tapes, running for a total length of 45 minutes, that had never shown to the public before. They came to the attention of the media and they were one of the lengthier films that were filmed during World War II. They contained an image of Bishop Alojzije Stepinac and Josip Broz Tito appearing together.[3] The meeting of these two was erased from other visual documents by the Yugoslav communist government. The film gained media attention and filled double pages in all Croatian daily newspapers in the middle of the election period in Croatia (a society still being divided and influenced by the World War II history).

Education

Peraica has graduated in Art history and Philosophy at the University of Zagreb, continuing with a post-academic program in the theory department at the Jan Van Eyck Academie, Maastricht, PhD Studies at ASCA (Amsterdam School of Cultural Analysis, Theory and Interpretation), University of Amsterdam. She defended her doctorate thesis entitled Photography as the Evidence at the International Course of Philosophy and Modernity, University of Rijeka. She was awarded UNESCO-IFPC and BKVB funds.

Work

Peraica's writings were distributed online via mailing lists Nettime and Syndicated back in the 90s. Her work in media theory and criticism is characterised by her specific background of post-socialism (Gray, 2004 and Gray 2007), focusing on economic differences among Post-modern and the Post-socialist art movement. She finds them crucial even in cultural production, as without a free market of ideas and copyright laws authorship appears different. Most of these are seen as a turning point in analysis (Kolesnik, 2006; Irwin, 2007, Sandomirskaya, 2007). These are formulated in earlier texts Anonymous artist, nameless hero, unknown history (IRWIN, East Art Map, Afterimage/MIT Press, 2006) and Corruption of the Grand Narrative of Arts

In her later writings she focuses mostly on photography. Her works are exemplary in the field of authorship and copyright. They are not only limited to post-socialism, but generally criticise art history as a discipline. She feels art history writings barely introduce Modernist demands into the interpretation of the very works of the Modern. She used photography as a medium on a mere level of illustration replacing original artworks with the photographs. Some crucial examples of this are institutionalisation of photographs instead of the original artworks as Alfred Stieglitz photo of R. Mutt's (Marcel Duchamp) Fountain, Alberto Korda's Che Guevarra, but also Zvonimir Buljevic's Red Peristyle.

See also

Books

  • Ana Peraica (ed.): Victims Symptom (Institute for Networked cultures, Amsterdam, 2009.
  • Grzinic and Reitsamer (eds): Worlds of Feminism Queer and Networking Conditions, Loecker Verlaag, Vienna, 2008, ISBN 978-3-85409-472-2
  • Irwin (eds): East Art Map, Afterall/MIT Press, London/New York, 2006, ISBN 978-1-84638-022-8. ISBN 1-84638-022-7
  • Ana Peraica (ed.): Žena na Raskrižju Ideologija, HULU, Split, 2007, ISBN 978-953-96831-7-5

Articles

Croatian

Notes

References

  1. ^ Academia.edu-Ana Peraica
  2. ^ Leonardo.info
  3. ^ Slobodna Dalmacija-Perajica Recording with Tito and Stepinac hidden from the Censors Perajica's film tape, which, among other things recorded the bombing of Split during the Second World War was hidden for decades in a Kamenica and left, until 1984.

External links

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