.webp)
Archacobotany & The Apocalypse
In her lecture-performance ARCHAEOBOTANY & THE APOCALYPSE, via narrative and media content, Raščić presents ongoing artistic research begun in 2023 for her new project and lifelong endeavor. With the aim of covering the entirety of her Sarajevo studio with paintings in the 'buon fresco' technique, the project was inspired by the artist's encounter with two historical figures. One is the Roman empress Sabina Poppaea and the other is Wilhemina Jashemski, an archaeobotanist who revolutionized this discipline in the 1970s with work on the excavation site of Sabina Poppaea’s villa in Oplontis near Pompeii.
All dates
Archacobotany & The Apocalypse
In her lecture-performance ARCHAEOBOTANY & THE APOCALYPSE, via narrative and media content, Raščić presents ongoing artistic research begun in 2023 for her new project and lifelong endeavor. With the aim of covering the entirety of her Sarajevo studio with paintings in the 'buon fresco' technique, the project was inspired by the artist's encounter with two historical figures. One is the Roman empress Sabina Poppaea and the other is Wilhemina Jashemski, an archaeobotanist who revolutionized this discipline in the 1970s with work on the excavation site of Sabina Poppaea’s villa in Oplontis near Pompeii.
Raščić uses the reconstruction of the gardens and wall paintings of the Villa Poppaea, buried by volcanic ash during the eruption of Vesuvius, as a polygon for reflection on the relationship between man and nature and its representations. In the context of escalating manifestations of climate change and atmospheric-geological events, the artist reaches toward archaeobotanical methods, contemporary image and media theory in order to arrive at formal, visual and theoretical conclusions that include traditional artistic as well as contemporary media techniques. In terms of content, the project is conceptualized through the elaboration of several constructs: from the personal experience of both Poppaea's and the artist’s own garden, via an investigation of the repertoire of Roman garden fresco painting, to speculative considerations of the eruption of Vesuvius as an example of the apocalyptic might of nature.
©Photo Kata Mijatovic
©Photo Ajla Salkić
Lala Raščić
Lala Raščić is a multimedia artist exploring tangible and immaterial cultural formulae to build narratives that are manifested through video, live performances, installation environments, objects and drawings. Her interests are simultaneously trained on contemporary and historical storytelling practices, complex systems of mediated knowledge production, as well as folkloric forms and mythology. Her work inhabits the space between concept and theatricality, often confronting the idea of high culture with popular, mass-media, and traditional cultural expressions, via a critical, namely, feminist position. Her practice at-large encompasses esthetics, feminism, historization and artistic production, as an ongoing, interdisciplinary, and modular endeavor anchored in the narrative and based on the subversion of civilizational tropes and the exploration of their transformative potential set against the backdrop of contemporary ontologies. Through a persistent challenge of the dominant patriarchal authority of ‘telling’, ‘knowing’, or ‘doing’ her position of narrator/maker is inseparable from the female-gendered embodiment of the same. In her work, be it verbally delivering a scripted monologue or dedicating herself to craftsmanship, the act of performing is the emancipatory fact.
Lala Raščić, born 1977 in Sarajevo, is currently living and working in Sarajevo and Zagreb. Raščić’s work has been presented in both international and regional solo and group shows, amongst others, at Kunsthaus, Graz; Manifesta 14, Prishtine; Röda Sten Konsthall, Gothenburg; Galerija Nova, Zagreb; MAXXI, Rome; Kunstverein Hamburg; MANN, Napoli; KADIST, Paris; ACA, Lafayette; Museum of Contemporary Art, Zagreb; National Museum of BiH, National Art Gallery and the Historical Museum of BiH, Sarajevo; GfZK, Leipzig; Sigmund Freud Museum, Vienna; 54th October Salon in Belgrade and The Renaissance Society, Chicago. Raščić had attended artist-in-residence programs at the Rijksakademie, Amsterdam; Museums Quartier, Q21, Vienna; Platform Garanti, Istanbul; and Cite des Arts, Paris, amongst others. Raščić is the recipient of several awards including the Future of Europe Award, YVVVA, Zvono Award. Raščić holds a MA/BFA degree from the Academy of Fine Arts, Zagreb. She is a member of artists’ associations in Croatia and the Sarajevo feminist organization CRVENA. As of 2017, with CRVENA, Raščić administers and organizes the Nona Residency in her studio in Sarajevo.
Practical information
Address
Quai Karolina Rijeka
Accessibility
Dates and times
Wednesday September 17, 19:00 to 20:00
Safety
ADDITIONAL INFORMATION
EXPERIENCES On board
Immersive exhibition "Présentes
Created with the exceptional collaboration of the Musée du Louvre, this exhibition highlights female figures in Mediterranean civilization, thanks to the digitization and modeling of part of the Louvre's collections. A two-stage experience: an introductory film to provide context, followed by an immersive experience in a 16-meter-long tunnel covered by 120 m2 of LED screens.
A sound journey through the Mediterranean
An immersive sound experience designed by Ircam, inviting the public to explore the richness and diversity of the Mediterranean through headphones equipped with spatialized sound.
.webp)
© Elisa Von Brockdorff
The artists
Frequently asked questions
Yes, the boat is freely accessible on site. However, you can pre-book your time online on our website.
For reasons of safety and preservation of the boat, high heels and stilettos may not be worn on the boat.
The museum boat is open to all free of charge. To find out on which quay it will be moored, or to pre-book your slot, consult the page dedicated to your town.
Appropriate facilities have been set up on the Festival site for the reception and access of people with reduced mobility. The boat is equipped with a 1m-wide ramp, accessible to people with reduced mobility, but may require the accompaniment of a third party due to its gradient of over 6%. Access to the aft deck and immersive exhibition is possible. However, the upper deck is not accessible. Please inform us in advance of any special accessibility requirements, so that we can make the necessary arrangements.