Ana Peraica

Template:Notability Template:Proposed deletion/dated Ana Peraica (born 1972) is a media theorist and curator from Croatia. 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 who were part of the famous interventionTemplate:Vague created by the Red Peristyleon 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 uskokTemplate:Vague Elia Peraizza and the niece of USA politician Tony Peraica)Template:Citation needed

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. 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 newspapersTemplate:Citation needed in the middle of the election period in Croatia (a society still being divided and influenced by the World War II history).

Education

Template:BLP unsourced section 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, 2007Template:Vague). 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 (ibid.)

In her later writings she focuses mostly on photography. Her works are exemplaryTemplate:Citation needed 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.

She used photography as the evidenceTemplate:Vague 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 scientific photography, but also abstract and experimental). This leads her to the conclusion that theTemplate:Vague photographic theory is imprecise, and also that photographs are institutionalised as arguments, or supplements to arguments for themselves.Template:Vague

See also

• Copyleft
• Media Theorist
• Split
• Croatians

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

• Commercialisation of Images of th Revolution (PDF) Pavilion-2009.
• Smuggling-Avoiding Prohibitions in Arts and Culture Springerin, 3/4, 2009)
• Victims Symptom, PTSD and Culture, Lab for Culture 2007(PDF)
• Avi and DivX art (Video art on the survival edge), Springerin, 2/4, 2007
• A Shift of Representation of Worker: From Social Realism and Soros Realism- Springerin, 2/4, 2006
• Ferdinand Let's go to Sarajevo! Metonymical Symptoms of Viennese and Balkans in Contemporary Culture Springerin-2/4, 2005
• On Dalibor Martinis performances Climbing onto the empty pedestal of Tito and becoming a metalworker like Tito. Springerin, 1/4, 2005
• Also published in PAVILION Contemporary art and Culture Magazine 10/11,2007 (PDF)
• Media on the Trial The newly revived genre of courtroom drawings in the case against Milosevic. Springerin, 2/4, 2004
• Chauvinist And Elitist Obstacles Around YouTube And Porntube, A Case Study Of Home-Made Porn Defended As “Video Art”. IN Video Vortex Reader (PDF): Lovink G. and Niederer S. (ed.) INC Reader 4, Institute for Networked Cultures, Amsterdam, 18 - 19. 01 2008. 189-96
• Citation, falsification, expropriation (East and West from the original). IN Enigma Objekta / Enigma of an Object (PDF): Klobučar N, Karabogdan G. (ed.). Rijeka: Museum of Modern and Contemporary Arts Rijeka, 2006: 80-7.
• 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.
• 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.
• On the Indifference [inhabiting 'in-between' as a territory],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.

Croatian

• Žena na Raskrižju ideologija(PDF)(HULU, 2007)
• Simptom Žrtve (post-traumatski stresni poremećaj i kultura, Vizura, 2008
• Portret Zapada u Zabranjenoj Karikaturi. Zarez, 2006;177:30-2.
• Prepuknuće Žanra po Donjoj Polici, Amsterdamske Videoteke, Proganjanja I Vile Velebita Zarez, 2004, 142/, 18.11.)

Notes

• Chris Hables Gray: Postmodern War at Peak Empire, Science as Culture, Volume 16, Issue 2 June 2007: 109 - 128
• Ljiljana Kolešnik Irwinova Galaksija, Kvartal 3/4, 12. 2006, 43-44

External links

• Peraica snimku Tita sa Stepincem skrivao od cenzora, Slobodna Dalmacija daily, 22.05.2009
• Tajna obitelji Perajica s Peristila: kako je otkrivena zaedniča snimka Tita i Stepinca, Jutarnji list daily, 24.05.2009