Enter POMeCA
For the grownups and the little ones
When you step over the threshold, on your right-hand side, children can have fun by Shooting; if they shoot Chris Burden into his chest, they will get a nice present - small balloons in the form of the Goodyear dirigible. In the vicinity of Up and down (Oldenburg's kerchief), you can observe spectacular acrobatic stunts in the interior of the gigantic Skating Rink (Richard Serra), or if you can spare the excitement, you can play the game of Twister in the nearby small park (Pollock). After buying a ticket at a discount (Mr. Warhol), the family can choose between a relaxing ride in the outstanding panoramic (bicycle) wheel enjoying the view of the overall POMeCA (Duchamp), and the exciting Electric Railway System (Sol Le Witt). Children are not recommended to enter the Tunel of Love (Acconci is masturbating under the fake floor), Mc Donalds (which serves as a church for the eternal and symbolically long wedding between Jeff Koons and Ciccolina), and the neighbouring structure where Ulay and Marina Abramović almost pressed to each other, greet the audience naked.

Discover POMeCA
Work in progress, to which works are added – practically and imaginatively – on daily basis, is in a potentially infinite and recursive progression which dematerialises it by changing it into an unbelievable and surreal moto perpetuo. It is here where De Dominicis finally achieves to create squares by throwing rocks into a small lake (which are immediately collected and catalogued by Marc Dion), where Beuys is endlessly multiplying (thus replacing the gardeners) in order to manage green surfaces in a better manner, where Schneider has decided to build his last house and live in it.
Public is advised not to enter the Small Power Station where two guards are forced to supply the dynamo with enough power to keep the whole facility going by working the pedals of two bicycles.

Emotional Tension. Formal Elegance. An Attempt at Absorption
These are the most authentic and most connotative features of the hypersensitive structures of Dragana Sapanjoš, the works which, when in contact with the external, seek to avoid their rigid, transfixed, semi-monumental form. Most of all, these works demand the gaze from the audience out of a sheer necessity as suggested by their material subscripts, "because the lack thereof would cause their disintegration". It is no wonder that the observer always represents the "material" in the poetics and constructive logic of this young artist. Just think about "Sim" (2003), an emblematic work in which a suffocating and elegant structure is wrapped around 700 pharmacist ampoules containing analytically catalogued scents of almost all people the artist has came to know. Emotional tension. Formal elegance. And an attempt at absorption. Namely, the observe becomes a constituent part of the work – by sweating under the heat of the lights of a projector. Or, for example, "Hcl", a tunnel in which a strong fan dazzles and attracts the attention of disoriented observers, or "You can find me if you want me in the garden", an ecstatic roller coaster where the heartbeat of observers is measured by a pulsimeter while they (playfully and agitatedly) roll down its structure. This remarkably prolific artist (if we bear in mind that she manually creates all of her artefacts "with a hammer and a screwdriver") dresses her works in a garment of charm and semantic ambiguity in a continuous search of the perfect detail. This is visible in "The security from the object" (2004), an impressive column which, abundant in Victorian remains – so refined and elegant – desperately seeks a contact just to implode into a disturbing animal howl. On the other hand, "(In circle)" is a curved video projection in which distinguished gentlefolks-shadows utter disturbing proclamations of love as some spectres of consciousness (or maybe conscience); or "e. doc" in which a silent wall listens to the surrounding sounds just to bounce them subsequently in a distorted and bleak echo as if they have metabolised.
The artist is (yet again) exhibiting in the RIGO Gallery in Novigrad her most recent and most complex project that is still in progress. The acronym POMeCA coming from Park of Modern & Contemporary Art is a work continuously redefining itself which appropriates the most versatile and complementary media. Gradually enriched with photographs, installations, performances, this project breathes, by means of mise en scene of the absurd, thus building lucidly and ludicrously the im-possible place located in the surreal reality, or, vice versa, in the system of art. Shall Dragana Sapanjoš, this time completely protected from any doubt, drawn us once again with this (apparently) naive mythopoiesis into her enigmatic ecosystem as was the case with her previous poetics?
The reader or the observer have been warned.
Luca Bertini