Difference between revisions of "Ana Peraica"

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'''Ana Peraica''' (born 1972) is a media theorist and curator from [[Croatia]].<ref>[http://uniri.academia.edu/AnaPeraica  Academia.edu-Ana Peraica]</ref> 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.
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'''Ana Peraica''' (born 1972) is a [[media theorist]] and curator from [[Croatia]].<ref>[http://uniri.academia.edu/AnaPeraica  Academia.edu-Ana Peraica]</ref> 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]].
 
  
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Peraica was born into a family of photographers<ref>[http://leonardo.info/rolodex/peraica.ana.html Leonardo.info]</ref> who were part of the famous intervention{{vague|date=October 2010}} created by the [[Red Peristyle]]on in the main square of the [[Diocletian's Palace]] in [[Split (city)]]. 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 (also a descendant of [[hajduk]] or [[uskok]]{{vague|date=December 2010}}<!-- the two are not even similar, the former were highwaymen and the latter were regular army --> [[Elia Peraizza]] and the niece of [[USA]] politician [[Tony Peraica]]){{Citation needed|date=December 2010}}
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Peraica was born into a family of photographers<ref>[http://leonardo.info/rolodex/peraica.ana.html Leonardo.info]</ref> who were part of the famous intervention created by the Red Peristyle on in the main square of the Diocletian's Palace in [[Split (city)]]. 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.
  
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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 [[Socialist Federal Republic of Yugoslavia|former 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.<ref>[http://translate.google.com.au/translate?hl=en&sl=hr&u=http://urednik.slobodnadalmacija.hr/Hrvatska/tabid/66/articleType/ArticleView/articleId/55647/Default.aspx&ei=cVr1S7fgFc6GkAWJnszxCA&sa=X&oi=translate&ct=result&resnum=1&ved=0CBoQ7gEwAA&prev=/search%3Fq%3DPerajica%2Bsnimku%2BTita%2Bsa%2BStepincem%2Bskrivao%2Bod%2Bcenzora%26hl%3Den%26client%3Dsafari%26rls%3Den 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.</ref> 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{{Citation needed|date=October 2010}} in the middle of the election period in Croatia (a society still being divided and influenced by the [[World War II]] history).
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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 [[Socialist Federal Republic of Yugoslavia|former 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.<ref>[http://translate.google.com.au/translatehl=en&sl=hr&u=http://urednik.slobodnadalmacija.hr/Hrvatska/tabid/66/articleType/ArticleView/articleId/55647/Default.aspx&ei=cVr1S7fgFc6GkAWJnszxCA&sa=X&oi=translate&ct=result&resnum=1&ved=0CBoQ7gEwAA&prev=/search%3Fq%3DPerajica%2Bsnimku%2BTita%2Bsa%2BStepincem%2Bskrivao%2Bod%2Bcenzora%26hl%3Den%26client%3Dsafari%26rls%3Den 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.</ref> 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 ==
 
== Education ==
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{{BLP unsourced section|date=November 2010}}
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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 ==
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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{{vague|date=October 2010}}), 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{{vague|date=October 2010}}). 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'' (ibid.)
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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{{vague|date=October 2010}}), 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{{Citation needed|date=October 2010}} 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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She used photography as the evidence{{vague|date=October 2010}}<!-- evidence of what? --> and used the photographic theory with arguments from the practice of photography, using a variety of photographs which could fit the same interpretation. Her action indicates that general theories are excluding specific (generally [[Photography#Science and forensics|scientific photography]], but also abstract and experimental). This leads her to the conclusion that the{{vague|date=October 2010}}<!-- which? --> photographic theory is imprecise, and also that photographs are institutionalised as arguments, or supplements to arguments for themselves.{{vague|date=October 2010}}<!-- Please reexpress. -->
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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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*[[Copyleft]]
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*[[Croatia|Croatians]]
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*[[media theorist|Media Theorist]]
 
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*[[Split (city)|Split]]
 
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*[[Croatians]]
 
  
 
==Books==
 
==Books==
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*[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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{{Persondata <!-- Metadata: see [[Wikipedia:Persondata]]. -->
 
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| NAME              =Peraica, Ana
 
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| ALTERNATIVE NAMES =
 
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| SHORT DESCRIPTION =
 
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| date of birth= 1972
 
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| PLACE OF BIRTH    =
 
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| DATE OF DEATH    =
 
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| PLACE OF DEATH    =
 
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| DATE OF BIRTH= 1972
 
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{{DEFAULTSORT:Peraica, Ana}}
 
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[[Category:Croatian writers]]
 
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[[Category:Croatian essayists]]
 
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[[Category:People from Split]]
 
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[[Category:Photography critics]]
 
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[[Category:1972 births]]
 
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[[Category:Living people]]
 

Revision as of 10:08, 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 (city). 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 former 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 2007Template:Vague), 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

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.

Notes

External links

Retrieved from "https://mywikibiz.com/index.php?title=Ana_Peraica&oldid=137115"