The multimedia artist Ksenija Turčić (1963) took her BFA in painting at the Academy of Fine Arts in Zagreb in 1987, class of Ferdinand Kulmer; in Como, in 1995, she completed the Corso Superiore di Arte Visiva organised by the Fondazione Antonio Ratti and directed by Joseph Kossuth. As soon as she had graduated from the Academy, at first exploring the energy properties of the painted field, she gradually abandoned the two-dimensional givenness of the painting and moved it away from the exhibition walls and out into the space. The first environments were structured with minimalist geometrically painted canvases, then monochromes, and then later, the picture being abandoned as a structural element of the space, with other materials, like glass, transparent film and mirrors, endeavouring to achieve with a minimum of resources used a maximum energy charge, which would transpose the emptiness of exhibition spaces into spaces of meditative, almost religious atmospheres (Fin de siècle, 1990; Lectisternium, 1992; Expiatio, 1993; Do ut des, 1995; Statum materiae, 1996; Feng shui, 1996; Garden, 1997; Ovum 1997)/
At the end of the nineties, Ksenija Turčić brought the electronic image into her visual language, shifting the representation from the level of minimalistically rationalised object to new explorations of invisible and psychological spaces (Sunt lacrimae rerum?, 1999; Slow motion, 2000; True Stories, 2000; Phase, 2001; Mistress, 2002; Smoking, 2004; Witness, 2011, House, 2014).
In the site-specific environment Kaleidoscope, Ksenija Turčić goes back again to her original interest in the phenomenology of space, which is now both medium and content of the artwork. “The Art Pavilion, with its impressive elongated and yet cruciform shape, with the glass dome, inspired me to think about it being treated not as a vessel that we fill with our works but rather as the internal form that by illusion opens up towards the external surrounding of some world that we usually discover and experience in a quiet of our own”. The fifteen scenes were shot at different times of the day, from dawn to dusk, at intervals of time within a calendar year. The scenes carry on from each other as compared to the real disposition of the places at which they are located behind the walls of the Pavilion. Moving around the space, the visitors are surrounded with fragments of a reality to which they do not usually pay attention, seldom raising their eyes in their daily routes. Although we are faced here with a literal transmission of the existing, immediate reality of place, its separation and dislocation create a suggestion of the presence of some different, extra-temporal order. The fragmented scenes of reality, manipulated, some more and some less, in post-production processes –time being speeded up, forms overlapped and merged – collaged into a kaleidoscopic game inside but also outside their frames, no longer represent reality, but reinterpret it so as to initiate mental processes, reflections about an individual being at the cusp of a time and a space in which traces of historical vicissitudes are inscribed.