Don’t Take It Personally is a film concert that intertwines themes of historical denial, collective violence, exile, and resistance. It offers a biting indictment of human and societal behaviour during unstable times shaped by capitalism and imperial greed. In our stifling world, where an increasing number of people are denied the right to breathe, this cinematic score serves as a reclamation of that breath. Through the rhythm and cadence of the sequences, Juresa invites the viewer to experience capitalism and patriarchy as a porous infection, designed to emanate systemic toxicity into the smallest details of our daily routines.
2022
Aphasia performance is developed at the intersection of music, film, storytelling, and dance. Immersed in the atmosphere of a (post-war-zone)nightclub, the audience physically participates in an intimate investigation of violence, the world of perpetrators, bystanders, and individual responsibility.
2019
Aphasia (Act 3) brings to life a well-known photograph. Although it is never unveiled in the film, we recognize it described and interpreted in two mirroring doppelgangers, a monologue by journalist Barbara Matejčić and choreography of violence performed by Ivana Jozić.
2019
Aphasia film project is an unsettling inquiry into the representation of violence and the violence of representation. This documentary gesture explores how collective crimes keep being repeated and reflects on social and political constellations, unfolding constructions behind nation-states and national identities.
2019
A film poem filmed at Antwerp Zoo echoes diasporic voices of displacement. The work is inspired by the writings of W.G. Sebald, who offered an alternative model of memory through intertextuality and a metonymical narrative technique.
2018
Song consists of four chapters, each exploring the different connotations of the song ‘To You, Dear Mother’. They thematise the complex problematics of exile and place(lessness), with the song as the video’s lifeline.
2010-2015
Mira, Study for a Portrait is a work on absence, which uses the form of the portrait to explore the fragility of memory as well as the relationship between the photographic medium and perception.
2013
still / adjective / devoid of or abstaining from motion, uttering no sound: quiet, subdued, muted; calm, tranquil, free from noise or turbulence
still / adverb / always, continually
2012
Through the most intimate confessions of habitually unspoken, hidden dark thoughts, urges and needs outside acceptable or polite behaviour, altered images of oneself and others, as well as one’s life, this work brings us close to the inner struggle of a woman temporarily ’closed for inventory’.
2005-2009
In What it Feels Like for a Girl photography was chosen as the visual medium of the examination, and not only representation, of the female subject in contemporary culture.
