Josip Pino Ivančić (HR) Remains of the Remains

performance, 2016

Since the crucifix is an age-old symbol of human suffering omnipresent from the Roman Empire (when crucifixion was one of the means of torture and execution) and the foundation of Christianity until the present age, the cross and the man on the cross have been chosen as the backbone of the performance’s message. This scene is often used in theatres, religious feasts (Easter), performances, films and in general in the visual arts, and gives rise to no scandal even in lands where Christianity put down roots into all levels of society.

Least of all is the scene of the crucifix considered an insult to religious feelings. Quite to the contrary, the revivification of this scene has transmitted a message about the universality of human suffering on the road to truth and a message that all people are the same before the cross, because we all carry our own to which during our lives we are nailed. At the second level of the performance is the wish to subject to criticism commerce in objects of devotion, getting rich at the expense of credulity, hugger-mugger criminal tycoonisation and privatisation, which are no longer sins but very profitable and well-developed business, no longer at odds with ethics, protected from unpredictable situations, with business flowering.

Josip Pino Ivančić (HR)

Josip Pino Ivančić is a performer, visual artist, and musician, known to the alternative cultural scene since the early 1970s, when he joined the circle of conceptualists and performance artists. At that time, he played “mental spirit music” with friends, and under the influence of Beuys he started the process of creating the so-called “social sculpture.” Thus he was already becoming part of a small group of conceptual artists who were actively questioning the socialist value system, primarily the meaning of labour and the position of workers.

Ivančić’s position outside the centre and his experience of working at the Uljanik shipyard gave him the right to radicalize his art even further. During the 1980s, he pursued his artistic interests at the intersection of music, performance, and visual arts, and since the 1990s, the public has known him as one of the most provocative Croatian performers and as an alternative experimenter with the new media.