"Performans "AVA" prvi put je izveden 1991. godine u Podgorici u okviru izložbe "Privatno - javno" Dragoljuba Raše Todosijevica. Iako je ponavljanje inkompatibilno performansu, razlog njegovog ponavljanja leži u dvosmislenosti formalne situacije: ambijentalna struktura Rimskog bunara koja predstavlja istu topografsku prostorno-vremensku, "titanijumsku" verziju matrice ovog puta je poprište metamorfoze objekta u instrument posredstvom inverzne telesne akcije. Literarnost situacije demonstrira ukidanje tradicionalnih geometrijskih predstava prostora i vremena: topografija performansa smeštena je u trenutno sažimanje dubine i vremenske perspektive. Vreme je postavljeno u perspektivu, a ne u prostor. Percepciju dogadaja pored mase i energije upotpunjuje informacija, efemerna treca dimenzija olicena telenadzorom dogadaja. Najdramaticniji su pocetak i završetak. Svi ostali elementi rada spadaju u domen spontanog: improvizacija, intuicija, imanencija, instant ... integracija bioloških i informatickih potencijala. Body-art akciju (uz napomenu da je svako muzicko izvodenje samo po sebi body-art) upotpunjuje izvodenje komada "ACGT za sedamnaest nevesti". Komad je tematski i strukturno inspirisan arhitekturom dvostruko helikoidalnog stepeništa Rimskog bunara. Kritika informaticke karte ljudskog genoma."
Miša Savić

o autoru:
Miroslav Miša Savic (1954, Beograd) je završio Fakultet muzicke umetnosti u Beogradu, odsek za kompoziciju i orkestraciju, u klasi prof. Vasilija Mokranjca. Od pocetka javnog bavljenja muzikom, sredinom sedamdestih godina, pored klasicnih formi predstavljanja svog rada, izvodio je i performanse, organizovao prostorne - zvucne ambijente i instalacije, snimao video radove i bavio se drugim, u to vreme novim eksperimentalnim oblicima nove umetnosti isticuci bitnost njihove zvucne dimenzije. Medju njegove najvažnije performanse spadaju: AVA (1992, Podgorica, "Privatno - javno")
AURIS (1991, Sarajevo, "Obala"), NE ZVUK / ZVUK, SVIRATI / NE SVIRATI (1981, Pariz, "Bijenale mladih"), ZAGREJANI - KRUŽECI - ZVUK - KLAVIRA (1977, Bec, "Galerija Ursule Krincinger"), 24 SATA / AKORD (1977, Beograd, "Aprilski sureti", SKC).

Miša Savić-Mipi
A V A
The Apology of Aquae
performance/multimedia installation

"The performance "AVA" took place in Podgorica (Montenegro) as part of the exhibition Private - public by Dragoljub Raša Todosijevic in 1991. Although repeating is incompatible to a performance, the reason for it lies in the ambiguity of a formal situation: the ambient structure of the Roman Well (Kalemegdan Fortress in Belgrade), representing the same topographic space-time, "titanium" version of the matrix, is this time a site of the objects metamorphosing into the instruments through an inverse body action. The literary character of that situation demonstrates rescinding traditional geometric ideas of space and time: the topography of the performance is placed in an instantaneous contraction of depth and time perspective. Time is set up in the perspective and not in the space. Information and the ephemeral third dimension, which is embodied in the remote controlled events, supplement the perception of events besides mass and energy. The inception and the end are the most dramatic. All other elements of the work are in the domain of the spontaneous: improvisation, intuition, immanence, moment…the integration of biological and informational potentials. Body-art action (NB: every music performance itself is body-art) is completed by the performance of the play ACGT for 17 brides. It is inspired thematically and structurally by the architecture of double helicoidal staircases of the Roman well. The critique of the human genome information chart."
Miša Savić

about the author:
Miroslav Miša Savic (1954, Belgrade) graduated from the Faculty of Music Art in Belgrade, at the Department of Composition and Orchestration, under the tutorship of Prof Vasilije Mokranjac. From the very first public appearances in the 70s, besides the classic forms of his work presenting, he carried out performances, created space-sound ambiences and installations, shot video works and engaged in other at that time experimental forms of new art emphasizing the relevance of their sound dimension.
The most important performances: AVA (1992, Podgorica, "Private - public")
AURIS (1991, Sarajevo, "Coast"), NON SOUND / SOUND, TO PLAY / NOT TO PLAY (1981, Paris, "Youth Biennale"), HEATED - CIRCLING - SOUND - OF PIANO (1977, Vienna, the " Ursula Krinzinger" Gallery), 24 HOURS / ACCORD (1977, Belgrade, "April Encounters", the Students' Cultural Center).