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GALERIJA / GALLERY 90∑60∑90

2011. — 2015.


SIJEČANJ / JANUARY

VELJAČA / FEBRUARY

OŽUJAK / MARCH

GRUPNA IZLOŽBA /

Marko Pašalić

Moment sile / Momentum

GROUP SHOW

Majke i kćeri / Mothers and daughters

2011

TRAVANJ / APRIL

SVIBANJ / MAY

LIPANJ / JUNE

SRPANJ / JULY

KOLOVOZ / AUGUST

RUJAN / SEPTEMBER

LISTOPAD / OCTOBER

GRUPA AUTORA /

Thaumatrope

Yaniv Shentser &

Vlado Martek

MMC

Umjetnosti nema i kad je ima / There is no art − even when it is

Shentser

Puja / Puđa

Juliana Kučan

2012

Sonja Vuk

Kao da je bilo sad / As if it was now

GROUP SHOW

Majke i kćeri / Mothers and daughters

Promocija

Izbor video radova / Compilation of video works

kataloga / Promotion of the catalogue

Majke i kćeri / Mothers and daughters

Multimedijalni kulturni centar, Split

GRUPA AUTORA /

Lana Čmajčanin &

GROUP OF AUTHORS

Adela Jušić

Sandra Sterle

GRUPNA IZLOŽBA /

Nastavlja se... / To be continued...

Priče za laku noć / Goodnight stories

2013

Slika od zvuka / Picture of sound

PROSINAC / DECEMBER

Ana Belošević

GROUP OF AUTHORS

Mia Janković

GRUPNA IZLOŽBA /

STUDENI / NOVEMBER

Siniša Labrović

Kuća / House

GROUP SHOW

Prostor je taktika / Biti doma // Space is tactic / To be at home

KATA MIJATOVIĆ

Biti / To be

Jelena Jureša

2014

Zoran Pavelić

Marking Times

2015

Nicole Hewitt

Ova žena se zove Jasna 03 / This woman is called Jasna 03

Mira, skica za portret / Mira, study for a portrait + STILL

Nina Kurtela

Priroda i društvo / Nature and society

Sanja Iveković

DAN OKI

Na barikadama / On the barricades

Ivana Franke

Mind Crossing

Iako se kapital sve brže vrti oko zemlje, zemlja se i dalje jednakom brzinom... / As the capital is ever more rapidly travelling around the earth, the earth itself still...

FRANC PURG &

GRUPNA IZLOŽBA /

HEAvY METAL BAND,

GROUP SHOW

WOODOO MULE

20118

Da nam živi živi rad! / Long live labour!

Igor Grubić

Spomenik / Monument Pavle Pavlović

Lostland

Nicole Hewitt

Ova žena se zove Jasna 05 / This woman is called Jasna 05

Sandro Đukić

Potrošeni oblik / The Outworn Structure

Ana Bilankov

New Town Future Film


angažirana društvena pitanja kroz suvremenu umjetničku praksu. Izložbeni prostor Galerije 90-6090 sa svojim specifičnostima (dj, tribine, koncerti) i začudnom atmosferom bivše tvornice Jedinstvo zasigurno svojim posjetiteljima omogućuje neposredniji odnos spram umjetničkih djela. Time je projekt uspješno povezao alternativnu – nezavisnu kulturu sa suvremenim umjetničkim strujanjima te stvorio novu, a time i drugačiju, eksperimentalnu komunikacijsku platformu.

Sa zadovoljstvom predstavljamo katalog Galerije 90-60-90 kojim se zaokružuje gotovo petnaest godina rada 90-60-90 / Platforme za suvremenu umjetnost u prostoru bivše tvornice Jedinstvo. Od 2001. do 2010. u suradnji s Udruženjem za razvoj kulture (URK) Udruga provodi program Galerija Močvara a od 2011. do danas Udruga provodi program Galerija 90-60-90 u suradnji sa Zagrebačkim centrom za nezavisnu kulturu i mlade (POGON). Katalog kroz dvadeset i devet umjetničkih projekata predstavlja stotinu i dvadeset autora/ica koji su gostovali u programu Galerije 90-60-90 posljednjih pet godina.

Zahvaljujući financijskoj potpori Ministarstva kulture RH, Gradskog ureda za obrazovanje kulturu i sport Grada Zagreba te značajnoj podršci Zaklade Kultura nova uspjeli smo zadnjih godina realizirati i ambicioznije projekte, te je u 2014. godini program Galerije 90-60-90 u rubrici kulture Jutarnjeg lista proglašen projektom godine.

Od samog početka galerijski program 90-60-90 / Platforme za suvremenu umjetnost u svom radu nije strogo koncepcijski opredijeljen već podupire raznolikost medija i izražavanja suvremene umjetničke prakse. Takva je politika rada na jednom mjestu objedinila stariju generaciju uglednih suvremenih umjetnika s najmlađom generacijom umjetnika kao i one koji su svoje zamisli realizirali putem likovnih radionica poput Bojana Pantića, štićenika odgojnog zavoda iz Turopolja, čiji je impresivni performans Zatočeništvo zabilježen u prošlom katalogu Galerije Močvara.

Svojim dugogodišnjim radom projekt Galerija 90-60-90 našao je svoje mjesto na kulturnoj mapi grada Zagreba i kao takav predstavlja značajan doprinos suvremenoj umjetnosti i kulturi grada i šire. (Marijana Stanić)

Važno mjesto u programu pripada nizu kustoskih koncepcija / problemskih skupnih izložbi – Majke i kćeri (2011), Slika od zvuka (2012), Biti doma (2013), Heroji (2014), Da nam živi živi rad! (2015), kojima smo nastojali aktualizirati

(2011), Picture of sound (2012), To be at home (2013), Heroes (2014), Long live labour! (2015) – in which we tried to actualise engaged social questions through contemporary art practice.

It is a pleasure to present the 90-6090 Gallery catalogue, as a roundup of nearly fifteen years of activity of the 90-60-90 / Platform for Contemporary Art in the premises of the former factory Jedinstvo. In the period from 2001 until 2010, the Association executed the Močvara Gallery programme in collaboration with the Association for Development of Culture (Udruženje za razvoj kulture, URK). Since the year 2011, the Association has been executing the 90-60-90 Gallery programme in collaboration with Zagreb Centre for Independent Culture and Youth (POGON). The catalogue presents 25 art projects and 120 authors who have participated in the 90-60-90 Gallery programme over the last five years.

The exhibition space of the 90-60-90 Gallery, with its programme specificities (DJ, debates, concerts) and the peculiar atmosphere of the former factory Jedinstvo, enables its visitors to establish a more immediate relation with the works of art. In such a way, the project has successfully connected the alternative, independent culture and the contemporary art currents and established a new and different, experimental communication platform.

Since the very beginning, the gallery programme of the 90-60-90 / Platform for Contemporary Art had no strict conceptual framework. Instead, it supports the diversity of the media and expression in contemporary art practice. Such work policy allowed to gather at one place a generation of older, notable contemporary artists and members of the youngest generation of artists, and well as those who carried out their ideas through art workshops (one of them is Bojan Pantić, a protégé of the correctional facility in Turopolje whose impressive performance Captivity was presented in the previous catalogue of the Močvara Gallery).

Over the last few years, owing to the financial support of the Ministry of Culture of the Republic of Croatia and of the City Office for Education, Culture and Sports of the City of Zagreb as well as to the significant support of the Kultura Nova Foundation, we have been able to realize more ambitious projects. The culture section of the Croatian daily newspaper Jutarnji list rated the programme of the 90-60-90 Gallery as the most outstanding project in the year 2014. Through its longstanding activity, the 90-60-90 Gallery has placed itself on the cultural map of the city of Zagreb and as such it represents a notable contribution to the cultural and contemporary art scene of Zagreb and beyond. (Marijana Stanić)

An important place in the programme is given to curatorial conceptions / problem collective exhibitions – Mothers and daughters

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sebe u prostoru, odgovara otkrivanju sebe i diferencijaciji od drugih što je možda način da pronađemo i održimo vlastitu samobitnost. (Irena Bekić)

Izložbeni program 2013.: Biti doma Niz pojedinačnih i zajedničkih izložbi i akcija, okrugli stol, ciklus dokumentarnog filma u nastojanju da se obuhvati pojam/ideja doma s aspekta pripadanja/nepripadanja nekom prostoru ili zajednici kao i s aspekta stanovanja, u emotivnom i u egzistencijalnom smislu.

Autorice programa: Irena Bekić, Marijana Stanić Kustosica: Marijana Stanić Sudjeluju: Marta Banić Lana Čmajčanin Vida Guzmić Adela Jušić Siniša Labrović Kata Mijatović Barbara Majnarić Darko Masnec Stjepan Milas Martin Mrzljak Bojan Mucko Luka Smetiško Sandra Sterle i Lea Vene.

Polazeći od Baumannove teze o tekućoj modernosti i svijetu u kojemu nema čvrstih oslonaca, stabilnosti ni dugoročnosti, u kojemu su veze između ljudi krhke i bazirane na kratkotrajnim uzajamnim koristima i zadovoljenjima, zaustavljamo se na pojmu doma. Kako u takvim uvjetima ambijent u kojem živimo postaje dom? Je li dom vezan uz obitelj i kuću ili se osjećaj sigurne zone bazira na individualnom osjećanju/ prepoznavanju mjesta? S druge strane, zanima nas sam prostor. Pridavanje mjera i granica nekom prostoru, uspostavljanje odnosa s njim, upisivanje značenja, proces je dvostruke identifikacije: konstruiramo mjesto i prepoznajemo sebe kao pripadnike neke zajednice ili njezine apatride. Traganje za svojim mjestom, nastanjivanje

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nize ourselves as members of a community or as its apatrids. The search for our own place in order to settle there, correlates to the process of self-discovery and differentiation from others, which might be the way to find and maintain our own identity.

Exhibition programme 2013: To be at home A number of independent and collective exhibitions and art actions, a round-table discussion and a cycle of documentary films formed an attempt to cover the notion, that is, the idea of home from the aspect of belonging/not belonging to a space or a community, as well as from the aspect of habitation in both emotional and existential sense.

(Irena Bekić)

Programme authors: Irena Bekić, Marijana Stanić Curator: Marijana Stanić Authors: Marta Banić Lana Čmajčanin Vida Guzmić Adela Jušić Siniša Labrović Kata Mijatović Barbara Majnarić Darko Masnec Stjepan Milas Martin Mrzljak Bojan Mucko Luka Smetiško Sandra Sterle and Lea Vene.

Drawing from Baumann’s thesis of liquid modernity and the world in which there are no solid support, stability nor permanence, in which the bonds between people are so fragile and based on short-term mutual benefits and indulgences, we stop to reflect on the notion of home. How the space in which we live becomes our home in such circumstances? Do we relate the notion of home to our house and family or is our feeling of a safe zone based on individual feeling/recognition of a place? On the other hand, we are interested in the space itself. By measuring and limiting space, by attributing significance to a place and by relating to it, we engage in a process of double identification: we construct a place and thus recog-

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kolektivne identifikacije nešto što je protivno razumijevanju i funkcioniranju demokratskog društva danas?

Izložbeni program 2014.: Heroji Program u 2014. godini propituje temu kulta heroja i njegove društvene funkcije danas.

U širokom spektru društvene svakodnevice i kulturne industrije, od dječje sobe do medija, kult heroja opstaje u svojim različitim funkcijama; bilo da inicira solidarizaciju ili potiče na pobunu, on pojedinca okreće zajednici, jača osjećaj kolektivne pripadnosti, rušeći neprikosnovenost liberalnog individualizma i racionalnog izbora. (Ivana Mance)

Demokratska društva današnjice težimo zasnovati na racionalnoj osnovi: zajednički interesi, prvenstveno ekonomski, vladavina pravnog poretka, minimalni socijalni uvjeti nužni za reprodukciju rada, zajamčena univerzalna ljudska prava, visok prag tolerancije za kulturnu različitost itd. U takvom društvu pristajemo živjeti na temelju racionalne odluke o vlastitoj koristi, kakva god političkog i kulturnog opredjeljenja, socijalnog podrijetla ili rodnog identiteta bili.

Autorica programa i kustosica: Marijana Stanić Umjetnici: Sanja Iveković Igor Grubić Nicole Hewitt Jelena Jureša Dan Oki Pavle Pavlović

Ima li u takvom društvu mjesta za heroje u rasponu od "ratnih heroja" do malih pacijenata, od internacionalno gonjenih "zviždača" do humanitarnih aktivistica? Je li posrijedi doista civilizacijski atavizam ili kult heroja još uvijek ima bitnu društvenu, pa i političku funkciju? Jesu li nam heroji još uvijek potrebni kao čimbenici socijalne kohezije s jedne, ali i podjele, elementarne društvene diferencijacije na "mi" i "oni", s druge strane? Jesu li takve strastvene

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In a wide range of everyday social and cultural industries, from children's rooms to the mass media, a cult of the hero survives in its various functions, either to initiate solidarity or to encourage revolt. This cult directs individuals toward community, strengthens the sense of collective identity, ravaging an undisputed and incontestable liberal individualism and rational choice. (Ivana Mance)

Exhibition programme 2014: Heroes Democratic societies of today aspire to establish on a rational basis common interests, primarily economic ones; the rule of the legal system; minimum of social conditions necessary for the reproduction of labour; guaranteed universal human rights; a high tolerance for cultural diversity; etc. In such a society we consign to live on the basis of rational decisions on our own benefit, regardless of our political or/ and cultural orientation, social background or gender identity.

Programme author and curator: Marijana Stanić Artists: Sanja Iveković Igor Grubić Nicole Hewitt Jelena Jureša Dan Oki Pavle Pavlović

Is there in such a society a place for heroes ranging from "war heroes" to child patients, from internationally hunted "whistleblowers" to humanitarian activist? Is it really a civilization reversion, or a cult hero has still an important social and even political function? Are our heroes still needed as factors of social cohesion on the one hand, and also as dividers of elementary social differentiation on the "we" and "them"? Is such passionate collective identification something which is contrary to the understanding and functioning of a democratic society today? 9


želimo li da se radovi okupljeni u ovome ciklusu tumače kao međusobno povezani isključivo na narativnoj razini – razini tematiziranja vremena, koju također svi podrazumijevaju. Vrijeme je, dakle, i njihova tema, odnosno vrijeme jest značenjski ulog na temelju kojeg očitavamo značenje slika koje nude. Slike tako tumačimo kao svjedočanstvo nekog vremenskog tijeka, povijesnog ili egzistencijalnog, kao tragove prošlosti ili nagovještaje budućnosti, kao fragmente vremenitih cjelina, procesa čije granice nadilaze trenutačno vidljivu, kadrom određenu situaciju, kao konstelacije i odnose koji bi možda mogli inicirati događaj, mikro ili makro promjenu nakon koje svijet više neće biti isti. Bez mogućnosti da se unaprijed izvede neka zajednička pripovijest koja bi tematski objedinila umjetničke pristupe, ovaj ciklus izložbi svakako će biti prilika da se jedan klasičan misaoni problem kakav relacija vremena i slike nesumnjivo jest, otvori suvremenom umjetničkom iskustvu. (Ivana Mance)

Izložbeni program 2015.: Vrijeme Reprezentacija stvarnosti koja se mijenja u vremenu, vremenitog bivanja, oduvijek je bio izazov vizualnih umjetnosti kao umjetnosti dominantno određenih onom drugom temeljnom dimenzijom bitka, naime prostorom. Premda je umjetnost danas, u visokotehnološkim uvjetima proizvodnje, naizgled prevladala svoja medijska ograničenja, pretvoriti vrijeme u sliku, učiniti vremenski tijek odnosno mijenu vidljivom, ostao je esencijalno nepromijenjen zadatak. Upravo vrijeme zajednički je nazivnik ovog ciklusa izložbi Galerije 90-60-90. Ne računajući pritom ni na kakvo specifično shvaćanje vremena – primjerice, na fizikalno ili metafizičko, biološko ili kozmičko, povijesno ili subjektivno vrijeme, već adresirajući pojam u njegovoj apstraktnosti, ovaj je "izložbeni" koncept nužno fleksibilan. Radovi koje će okupiti međusobno će se uvelike razlikovati, no oslikovljenje vremena, njegova vizualnoprostorna konceptualizacija bit će zajedničko svima, bez obzira na medijsko opredjeljenje.

Autorica programa i kustosica: Marijana Stanić Umjetnici: Zoran Pavelić Nina Kurtela Franc Purg Sandro Đukić Ana Bilankov

Ovih se je elementarnih ontoloških dispozicija vizualne umjetnosti korisno prisjetiti ne

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of art in this cycle as correlated solely on narrative level – the level of thematizing time. Time is a base from which we read the meaning of images that they offer. We intepret the images as a testimony of a certain time flow, historical or existential, as traces of the past or hints of the future. We understand them as fragments of temporal wholes, of processes whose boundaries exceed the momentarily visible situation, as constelations and relations that could perhaps initiate a micro or a macro change after which the world will no longer be the same.

Exhibition programme 2015: Time The representation of reality that changes in time, the representation of being in time, has always been a challenge for visual arts as they are dominantly defined by that other fundamental dimension of being – space. Although, in today’s high technological conditions of production, art seems to have overcome its media limitations, transforming the time to image and making the time change become visible still remains an essentially unchanged task.

Without a possibility to create beforehand a joint story that would thematically envelop the artistic approaches, this cycle will definitely be an opportunity for a classic thought problem (the relation of time and image undoubtedly is one) to be subjected to contemporary artistic experience. (Ivana Mance)

It is precisely time that figures as a common denominator in this cycle of exhibitions at the Gallery 90-60-90. Not relying upon any specific understanding of time – such as physical or metaphysical, biological or cosmic, historical or subjective time, by addressing the notion in its abstraction, this ˝exhibition˝ concept is necessarily flexible. It will gather works of art that will greatly differ, but what they will all have in common, regardless of their medium choice, will be the visualisation of time, its visual and spatial conceptualisation.

Curator of the project: Marijana Stanić Artists: Zoran Pavelić Nina Kurtela Franc Purg Sandro Đukić Ana Bilankov

It is useful to recall ourselves of these elementary ontological dispositions of visual art if we don’t want to interpret the works

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GRUPNA IZLOŽBA / GROUP SHOW

GRUPA AUTORA / GROUP OF AUTHORS

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MAJKE I KÊERI MOTHERS AND DAUGHTERS

MARKO PAŠALIĆ

sliKA od zvuKA PiCtuRE oF sound

LANA ČMAJČANIN & ADELA JUŠIĆ

MoMEnt silE MoMEntuM

PRiËE zA lAKu noÊ goodnight stoRiEs

GRUPA AUTORA / GROUP OF AUTHORS

SANDRA STERLE

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MMC 50

122

nAstAvlJA sE... to bE ContinuEd... 132

YANIV SHENTSER & MIA JANKOVIĆ SHENTSER

PuJA / PuđA 62

GRUPA AUTORA / GROUP OF AUTHORS

PRostoR JE tAKtiKA / biti doMA sPACE is tACtiC / to bE At hoME 142

ANA BELOŠEVIĆ

thAuMAtRoPE 72

KATA MIJATOVIĆ

VLADO MARTEK

152

uMJEtnosti nEMA i KAd JE iMA thERE is no ARt − EvEn whEn it is

biti to bE

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SINIŠA LABROVIĆ

JULIANA KUČAN

162

KAo dA JE bilo sAd As iF it wAs now

KuÊA housE

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JELENA JUREŠA

SONJA VUK

172

izboR vidEo RAdovA CoMPilAtion oF vidEo woRKs 102

MiRA, sKiCA zA PoRtREt + STILL MiRA, studY FoR A PoRtRAit + STILL


NICOLE HEWITT

ovA žEnA sE zovE JAsnA 03 this woMAn is CAllEd JAsnA 03

ZORAN PAVELIĆ

MARKing tiMEs 242

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NINA KURTELA SANJA IVEKOVIĆ

nA bARiKAdAMA on thE bARRiCAdEs

PRiRodA i dRuštvo nAtuRE And soCiEtY 252

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IVANA FRANKE DAN OKI

iAKo sE KAPitAl svE bRžE vRti oKo zEMlJE, zEMlJA sE i dAlJE JEdnAKoM bRzinoM vRti oKo sunCA As thE CAPitAl is EvER MoRE RAPidlY tRAvElling ARound thE EARth, thE EARth itsElF still REvolvEs ARound thE sun At thE sAME sPEEd 202

Mind CRossing 262

FRANC PURG & HEAVY METAL BAND, VOODOO MULE

20118 272

GRUPA AUTORA / GROUP OF AUTHORS

dA nAM živi živi RAd! long livE lAbouR! 282

IGOR GRUBIĆ

sPoMEniK MonuMEnt 212

SANDRO ĐUKIĆ

PotRošEni obliK thE outwoRn stRuCtuRE 292

PAVLE PAVLOVIĆ

lostlAnd 222

ANA BILANKOV

nEw town FutuRE FilM 302

NICOLE HEWITT

ovA žEnA sE zovE JAsnA 05 this woMAn is CAllEd JAsnA 05 232


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VELJAČA

2011.

FEBRUARY

GRUPNA IZLOŽBA / GROUP SHOW

MAJKE i KÊERI

izložba / psihologijsko istraživanje / ciklus dokumentarnog filma Autorice projekta i kustosice: Irena BekiĆ i Marijana Stanić

Mothers and Daughters exhibition / psychological research / cycle of documentary films Authors and curators: Irena BekiĆ and Marijana Stanić

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Ženska briga o djeci dio je kulturnog modela u svim društvima. U majčinom krilu započinje proces konstruiranja identiteta svake osobe, a majka predstavlja naše prvo socijalno iskustvo. Odnos majke i kćeri posebno je delikatan. U konstruiranju identiteta, kći prolazi kroz složeni proces identifikacije i diferencijacije unutar istog spola. Latentno prisutno brkanje i premještanje identiteta s majke na kćer i obrnuto ili čak nemogućnost njihova razlikovanja unosi napetost među njima. Ljubav, nježnost, sukob i otpor u neprestanom su prepletanju.

Psihologinje: Alessandra Pokrajac Bulian i Sanja Smojver-Ažić. / Psihologinje su za potrebe projekta sprovele istraživanje kvalitete odnosa majki i njihovih kćeri na pragu odraslosti i povezanost tog odnosa s psihološkim funkcioniranjem djevojaka na uzorku od 155 studentica riječkog Filozofskog fakulteta. Za potrebe istraživanja prvi su put korišteni upitnici iz međunarodnih istraživanja prilagođeni našim sudionicima. Popratni program: Ciklus dokumentarnog filma selektor: Oliver Sertić / Sastavni dio projekta je i ciklus dokumentarnih filmova na temu odnosa majke i kćeri. Ciklus filmova je prikazan u Splitu (MKC, Split, veljača 2012.) i u Dokukinu u KIC-u (Zagreb, studeni 2012.). Eva Mulvad: DOBAR ŽIVOT / THE GOOD LIFE/ DET GODE LIV Danska, 2010., 86'

Odnos majke i kćeri intimna je priča. Stiješnjena je društvenim i povijesnim okvirima uspostavljenim na dominantnom patrijarhalnom principu koji normira reprezentaciju majčinstva. Istovremeno, iako podrazumijevan, taj je odnos ženski prostor opiranja: stalnim iskliznućima i vraćanjima u normu, on ugrožava ideologiju koja ga kontrolira.

Amy Rose: TWINSET Škotska, 2010., 12’ Adelheid Roosen: MAMA / MUM Nizozemska, 2009., 20’ Marcin Janos Krawczyk: ŠEST TJEDANA / SIX WEEKS Poljska, 2009., 18’ Renata Gabryjelska: ZAJEDNIČKI ŽIVOT / GETTING ON Poljska, 2009., 30'

Projekt Majke i kćeri kroz intimne priče umjetnica i istraživački rad znanstvenica propituje optike, propušta glasove, razbija predrasude, istražuje moduse i značaj ovog odnosa. (Irena Bekić)

Jakub Stożek: IZVAN DOSEGA/ OUT OF REACH Poljska, 2010., 30' Nadine Kuipers, BIVŠA MAJKA / EX-MOTHER Nizozemska, 2010., 55'

Umjetnice: Claudia von Alemann (Njemačka), Mor Arkadir (Izrael), Corinna Belz (Njemačka), Tanja Dabo (HR), Vlasta Delimar (HR), Amela Frankl (HR), Nicole Hewitt (HR), Sanja Iveković (HR), Ana Opalić (HR), Ulrike Rosenbach (Njemačka), Marijana Stanić (HR), Irena Topić (HR), Mirjana Vodopija (HR), Vlasta Žanić (HR)

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Kino Tuškanac (Zagreb) – prikazana su tri filma koji tematiziraju odnos majke i kćeri: I. Bergman: Jesenja sonata J. B. Ulloa: Leptirova krila J. Žbanić: Grbavica

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Galerija Prozori (Zagreb): predstavljanje i projekcija filmova Claudie von Alemann

Izložba Majke i kćeri u MKC, Split, 2012. / The exhibition Mothers and Daughters at the MKC Split in 2012.

Okrugli stol / Velika dvorana Jedinstva (Zagreb) Sudjeluju: Alessandra Pokrajac Bulian, Sanja Smojver-Ažić, Andrea Zlatar, Nataša Govedić, Mirjana Adamović. Organizator: Udruga 90-60-90, MKC Split Postav izložbe: Marijana Stanić Tehnički postav: Tomislav Jadriško, AVC-Zagreb (Zagreb)/ Damir Delić, Joško Lovrić (Split) Fotografije i video dokumentacija: Ana Opalić, Vjeran Pavlinić, Josip Ostojić Oblikovanje vizualnog identiteta: Gordan Karabogdan Partneri: Dokukino; Galerija Prozori, Knjižnice grada Zagreba; Hrvatski filmski savez, Kino Tuškanac, MKC-Split; POGON – Zagrebački centar za nezavisnu kulturu i mlade Sponzori: AVC – Zagreb d.o.o.; EXE produkcija d.o.o.; HSM Informatika; IN2 d.o.o; Road Track – Satelitski nadzor vozila, Zagreb Medijski pokrovitelj: Jutarnji list, Zarez

Izložbu prati katalog Majke i kćeri koji obuhvaća sve segmente projekta. Promocija kataloga Majke i kćeri, studeni 2012. (KIC, Zagreb) / Promotion of the catalogue Mothers and Daughters, November 2012 (KIC, Zagreb)

Izložba Majke i kćeri održana je u Galeriji 90-60-90 (Pogon Jedinstvo) u Zagrebu 2011. i u MKC Split u Splitu 2012.

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Women’s care of children is present in every society as part of its cultural model. Each person’s process of constructing identity starts in the mother’s lap. Our mother represents our first social experience. The relationship between a mother and daughter is particularly delicate. In the process of constructing her identity, a daughter goes through the complex process of identification and differentiation within the same sex. The latently present confusion and displacement of identity from mother to daughter and vice versa, or even the impossibility to differentiate it, creates tension in their relationship. Love, tenderness, conflict and resistance continuously intertwine. The mother-daughter relationship is an intimate story. It is confined by the social and historical framework that was established on the dominating patriarchal principle which standardizes the representation of motherhood. At the same time, though implied, this relationship is also the women’s space of resistance: through continuous derailments and returns to the norm, it threatens the very ideology that controls it.

Artists: Claudia von Alemann (Germany), Mor Arkadir (Israel), Corinna Belz (Germany), Tanja Dabo (Croatia), Vlasta Delimar (Croatia), Amela Frankl (Croatia), Nicole Hewitt (Croatia), Sanja Iveković (Croatia), Ana Opalić (Croatia), Ulrike Rosenbach (Germany), Marijana Stanić (Croatia), Irena Topić (Croatia), Mirjana Vodopija (Croatia), Vlasta Žanić (Croatia)

Accompanying programme:

Psychologists: Alessandra Pokrajac Bulian and Sanja Smojver-Ažić. / The psychologists have conducted a survey research on the quality of relationships between mothers and their daughters on the threshold of adulthood and its connection to psychological functioning of young girls. The survey research was conducted on a sample of 155 female students of the Faculty of Philosophy in Rijeka. Questionnaires used in international survey researches were for the first time implemented in this survey and were modified to suit the survey participants.

Eva Mulvad: THE GOOD LIFE/ DET GODE LIV Denmark, 2010, 86'

Exhibition display: Marijana Stanić

Amy Rose: TWINSET Scotland, 2010, 12’

Mounting: Tomislav Jadriško, AVC-Zagreb (Zagreb) / Damir Delić, Joško Lovrić (Split)

Adelheid Roosen: MAMA / MUM The Netherlands, 2009, 20’

Photography and video documentation: Ana Opalić, Vjeran Pavlinić, Josip Ostojić

Round-table discussion / large hall of Pogon Jedinstvo (Zagreb)

Cycle of documentary films Selected by: Oliver Sertić / the cycle of documentary films on the theme of the mother-daughter relationship is the integral part of the project. The films were presented in Split (MKC, Split, February 2012) and at Dokukino in KIC (Zagreb, November 2012).

Participators: Alessandra Pokrajac Bulian, Sanja SmojverAžić, Andrea Zlatar, Nataša Govedić, Mirjana Adamović. Organisation: Association 90-60-90, MKC Split

Visual identity design: Gordan Karabogdan

Marcin Janos Krawczyk: SIX WEEKS Poland, 2009, 18’

Partners: Dokukino; Prozori Gallery, The Zagreb City Libraries; Croatian Film Association, Cinema Tuškanac, MKC-Split; POGON – Zagreb Centre for Independent Culture and Youth

Renata Gabryjelska: GETTING ON Poland, 2009, 30' Jakub Stożek: OUT OF REACH Poland, 2010, 30'

Sponsors: AVC – Zagreb d.o.o.; EXE produkcija d.o.o.; HSM Informatika; IN2 d.o.o; Road Track Satelitski nadzor vozila, Zagreb

Nadine Kuipers: EX-MOTHER The Netherlands, 2010, 55'

Media support: Jutarnji list, Zarez

The Cinema Tuškanac (Zagreb) screened three films that explore the mother-daughter relationship: I. Bergman: Autumn Sonata J. B. Ulloa: Butterfly Wings J. Žbanić: Esma’s Secret: Grbavica

Through intimate stories of female artists and the survey research conducted by female scientists, the project Mothers and Daughters examines the optics, passes voices, breaks prejudices and explores the modes and the importance of such relationship. (Irena Bekić)

The exhibition is accompanied by a catalogue encompassing all segments of the project. The exhibition Mothers and Daughters was held at the 90-60-90 Gallery (Pogon Jedinstvo) in Zagreb in 2011 and at the MKC Split in Split in 2012.

Prozori Gallery (Zagreb): Presentation and screening of films by Claudia von Alemann

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TRAVANJ

2011.

APRIL

MARKO PAŠALIĆ

Moment sile performans popratni program: DJ Sleaz-O-Sonic

Momentum performance accompanying programme: DJ Sleaz-O-Sonic

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se konačno stane licem u lice i prihvati promatranje kao aktivnost dvosmjernog utjecaja.

Performans Moment sile je interdisciplinarni umjetnički projekt koji relevantna znanstvena otkrića, spoznaje te teorije smješta u širi kontekst umjetnosti.

(Marko Pašalić)

Marko Pašalić rođen je 1976. u Zenici. Studirao je grafiku na Akademiji likovnih umjetnosti u Sarajevu i Zagrebu. U svom umjetničkom radu bavi se umjetnošću performansa, akcijama i istraživanjem na području digitalnih medija. Izlagao je na brojnim skupnim i samostalnim izložbama. Član je Hrvatskog društva likovnih umjetnika i Hrvatske zajednice slobodnih umjetnika. Živi i radi u Zagrebu.

Kako bi pokazao sličnosti i razlike te dvije djelatnosti kroz duhovitu, efektnu i eklatantnu demonstraciju jednostavnih fizikalnih pokusa, koji dokazuju te teorije, autor uz poziciju umjetnika, zauzima poziciju učitelja, odnosno znanstvenika, koji ujedno i postavlja pitanja o moralnim načelima suvremene znanosti kao duhovne discipline apstraktne spoznaje o mehanizmima djelovanja materijalnoga svijeta i umjetnosti kao djelatnosti materijalizacije duhovnih procesa ljudskoga bića. Performans je posvećen znanstveniku i umjetniku Richardu Feynmanu, dobitniku Nobelove nagrade za fiziku, predavaču te borcu za demistifikaciju znanosti, jednom od očeva atomske bombe, a osobito njegovim govorima Manje je bolje, O znanosti i religiji kojima kritizira način znanstvenog istraživanja koje za potvrđivanje vlastite točnosti uzima teorije koje nisu dokazane, odnosno autoreferencijalnost. Performans se kritički obraća ljudima koji zbog raznih slabosti nisu u stanju povjerene im društvene odgovornosti izvršiti na dobrobit zajednice, nego ih koriste samo za ostvarivanje sebičnih ciljeva, dakle u određenom trenutku svakome od nas. To je pokušaj da se ukloni zid projekcije između subjekta i objekta te da

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and accept the act of observing as a two-way influence activity.

Momentum is an interdisciplinary art project that places relevant scientific discoveries and theories in a wider context of art. In order to point out the similarities and differences between the two activities, the author engages in a funny, impressive and striking demonstration of simple physical experiments that confirm those theories. Along his role of artist, the author also takes the role of the teacher, that is to say the role of the scientist who questions the moral principles of contemporary science as a spiritual discipline of abstract understanding of the mechanisms of action of the material world and art as a materialisation of spiritual processes of the human being.

(Marko Pašalić)

Marko Pašalić was born in 1976 in Zenica. He is currently completing his studies at the Academy of Fine Arts in Zagreb. Pašalić has participated with his performances and art actions in numerous collective and several independent exhibitions. He lives and works in Zagreb.

This work of performance art is dedicated to Richard Feynman, American scientist, artist and the Nobel Prize recipient who advocated the demystification of science and was one of the developers of the atomic bomb. In his lectures Less is better and On science and religion, Feynman criticised the use of self-referential research methodology in which a research is confirmed as accurate on the basis of unproven theories. Momentum is critically addressing those individuals who, due to various weaknesses, are unable to perform their duties for the welfare of the community and who, instead, use them for selfish purposes. This is an attempt to remove the projection wall that has been placed between the subject and the object and to finally confront face to face

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GRUPA AUTORA / GROUP OF AUTHORS

MMC

— poduzeÊe u kulturi (1998.−2011.): rijeËka akcionistiËka i performerska scena izložba & performansi

MMC

— AN INDEPENDENT CULTURE ENTERPRISE (1998−2011): ACTION AND PERFORMANCE SCENE OF THE CITY OF RIJEKA EXHBITION & PERFORMANCES

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Martinovića Mrleta i Zorana Prodanovića Prlje, sadašnjih članova grupe Let 3 koji su djelovali u sljedećim bendovima – Strukturne ptice, Umjetnici ulice, odnosno bendovima Let 1 i Let 2) pa sve do generacije koja je obilježila razdoblje od devedesetih – npr. Davor Dundara iz multimedijalnoga benda Adapteri, a koji je performansima posvećen i svakodnevno i višemanje spontano, dakle, na ulici s obzirom da ga, kako ističe, prvenstveno zanimaju re/ akcije prolaznika. Nadalje ovom prigodom od mlađih snaga svakako spomenimo i modnu dizajnericu i performericu Tajči Čekadu te, primjerice, Lucana Zubovića (Taxist), jednoga od predvodnika nove riječke subkulturne scene na kojoj se istaknuo svojim body art akcijama u okviru kojih je koristio tjelesne modifikacije, a pritom je ostao zamijećen naročito prvim samostalnim performansom Kastriranje Kastra/Castro Castrato, izvedenim u Galeriji O.K. 25. listopada 2006. godine. Ukratko, izložbeni dio programa pod radnim nazivom MMC – poduzeće u kulturi (1998.-2011.): riječka akcionistička i performerska scena predstavit će dokumentaciju (katalozi, foto materijali, video zapisi) o projektima i djelovanju MMC-a (npr. Klub "Palach", Galerija O.K., projekt Goli otok – novi hrvatski turizam, FONA – Festival nove umjetnosti). (Suzana Marjanić)

Program MMC – poduzeće u kulturi (1998.-2011.): riječka akcionistička i performerska scena registrira povijest, praksu i teoriju burne akcionističke i performerske nove riječke scene nekoć okupljene u MMC-u i Galeriji O.K. Kluba Palach a danas u Klubu umjetnika na Sušaku (K.U.N.S.). Pored gostujućih umjetnika/ica performansa, program MMC – poduzeće u kulturi (1998.-2011.): riječka akcionistička i performerska scena podsjeća i na izrazito bitnu retrospektivnu izložbu 10 godina MMC-a (MMSU, Rijeka, 2007.), odnosno, na vizualnu praksu scene MMC-a i Galerije O.K. kao alternativnih institucija u kulturi koje su se svojim programima nimalo utopijskih devedesetih suprotstavljale heteronomijama svih vrsta u umjetnosti. Dakle, pored izvedbenoga dijela programa, koji predstavlja taj riječki segment akcija i performansa navedenih umjetnika/ ica, program MMC – poduzeće u kulturi (1998.-2011.): riječka akcionistička i performerska scena ujedno izložbeno dokumentira multimedijalnu praksu umjetnika/ ica koji djeluju od sedamdesetih godina, a svojim su se performansima i akcijama uključili u praksu MMC-a (npr. Zlatko Kutnjak, Sven Stilinović) preko generacije koja je akcionistički obilježila osamdesete (npr. Krešo Mustać, punk bendovi Termiti i Grč te izvedbene geste Predraga Kraljevića Kralja i Zorana Štajdohara Zoffa kao i Damira

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Uvod u program najavljen je okruglim stolom na naslovnu temu MMC – poduzeće u kulturi (1998. − 2011.): riječka akcionistička i performerska scena. Sudjelovali: Marino Baldini, Jasmina Bavoljak, Branko Cerovac, Damir Čargonja, Slobodan Večerina (odvjetnički ured Slobodan Večerina), Berislav Valušek, Janka Vukmir Performansi: narator – Mario Kovač Branko Cerovac / Majeutika dolaska na svijet jednog tranzicijskog, postkomunističkog poduzeća – u – kulturi; 20 min; Damir Čargonja / Pod lipom, Zagrebačka pivovara; 45 min; Neda Šimić Božinović/ Crkva u Vještici i Vampir u Vladi; 5-10 min; Jelena Tondini / Mjesto za pušenje; 10 min; Marijan Vejvoda / Schumacherov trokut; 20 min; Fiko Saliji / Motika; 20 min; Marina Musulin / Kad sam bila mala, htjela sam biti frizerka; 15 min; Zoran Krema, Video radovi; 60 min; Željko Kranjčević Winter / Da mogu barem nestajati na trenutke; 20 min, Tajči Čekada & Elda Čekada / Posmrtna odijela i urne; 30 min; Zoran Štajdohar Zoff & Sven Stilinović / Krv je moja svjetlost i moja tama; 15 min; Žak Valenta / Dijagnoza umjetnosti ili umjetnost kao dijagnoza; 30 min; Darko Brajković / dbdjnj vs. egzistencija; 20 min; David Belas / POD; 15 min; Jusuf Hadžifejzović /MMC depo; 20 min; Krešo Mustać / Vizualna higijena 2; 20 min; Josip Pino Ivančić / Hrvatska je država s greškom; 20 min; Iris Radivoj / Kakina; 10 min; Edvin Šabanović, Izet Medošević/ S one strane percepcijskog horizonta; 20 min; Sven Stilinović / Nevidljivi performans; 2 sata; Žarko Violić / Netaktilna zvučna skulptura: Pješački putevi, Jadran moj dnevni boravak; 30 min; Darko Bavoljak / Budućnost; 20 min; Dean Kljun / Krkuž; 15min; Vladimir Dodig Trokut / Sada ovdje i tu 2011., stvarna i nestvarna umjetnost; 30 min Glazbeni performansi: Josip Maršić, Ana Jurčić / Pop song; 6 min; The Rat Singers / Neda Šimić Božinović & Vladimir Wolfl; 10-15min; Leifert / glazbeni nastup; 40 min; Davor Dundara / Mozgići; 20 min

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bers of the band Let 3, formerly active in bands Strukturne ptice, Umjetnici ulice, Let 1 and Let 2) as well the generation of artists who have been active since the 1990s (such as Davor Dundara, member of the multimedia band Adapteri, known for his daily engagement in spontaneous performances on the street in which he is primarily interested in re/actions of the passers-by). We must also mention some of the younger names, such as the fashion designer and performance artist Tajči Čekada and Lucano Zubović (Taxist), one of the pioneers of Rijeka’s new subculture scene who came to prominence through his body art actions in which he used body modifications. Zubović received particular attention for his first independent performance "Kastriranje Kastra/Castro Castrato", which he performed at O.K. Gallery on October 25 in 2006.

The programme MMC – an independent culture enterprise (1998 – 2011): Rijeka performing and action scene records the history, practice and theory of the new turbulent performing and action scene in Rijeka. Formerly grouped under the roof of MMC and the club Palach’s O.K. Gallery, the scene is currently hosted by the Artist Club on Sušak (K.U.N.S.). Along guest performance artists, the programme MMC – an independent culture enterprise (1998 – 2011): Rijeka performing and action scene also recalls the highly important retrospective exhibition celebrating the 10th anniversary of MMC, held at the Museum of Modern and Contemporary Art in Rijeka in 2007. The exhibition looked back at the visual practice of MMC and O.K. Gallery in their role of alternative culture institutions whose programmes during the non-utopian 1990s opposed all kinds of heteronomy in art.

In short, the exhibition part of the programme under the working title MMC – an independent culture enterprise (1998 – 2011): Rijeka performing and action scene will present a documentation (catalogues, photo materials and videos) relating to MMC projects and activities (such as the Club "Palach", O.K. Gallery, project Goli otok – new Croatian tourism, FONA – Festival of New Art). (Suzana Marjanić)

Along with the performing part, the programme MMC – an independent culture enterprise (1998 - 2011): Rijeka performing and action scene also includes a documentary exhibition of multimedia works of various artists, covering several generations: artists (such as Zlatko Kutnjak and Sven Stilinović) active since the 1970s who joined the MMC practice, artists whose actions marked the artistic scene of the 1980s (Krešo Mustać, punk bands Termiti and Grč, Predrag Kraljević Kralj, Zoran Štajdohar, Damir Martinović Mrle and Zoran Prodanović Prlja – mem-

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The programme introduction took place on Thursday, May 26 at 12 PM (in POGON conference hall, 11 Kneza Mislava Street / 1st floor) with a round table discussion on the topic MMC − an independent culture enterprise (1998 − 2011): Rijeka performing and action scene.

Musical performances: Josip Maršić, Ana Jurčić / Pop song; 6 min; The Rat Singers / Neda Šimić Božinović & Vladimir Wolfl; 10-15 min; Leifert / musical performance; 40 min; Davor Dundara / Little brains; 20 min

Participants: Marino Baldini, Jasmina Bavoljak, Branko Cerovac, Damir Čargonja, Slobodan Večerina (law office Slobodan Večerina), Berislav Valušek, Janka Vukmir Performances / Jedinstvo (Large hall): Narrator: Mario Kovač Branko Cerovac / The maieutics of the birth of a transitional, post-communist enterprise – in – culture; 20 min; Damir Čargonja / Under the linden tree, Zagreb Brewery; 45 min; Neda Šimić Božinović / Church in the Witch and Vampire in the Government; 5-10 min; Jelena Tondini / Smoking area; 10 min; Marijan Vejvoda / Schumacher’s triangle; 20 min; Fiko Sliji / Hoe; 20 min; Marina Musulin / As a child, I wanted to be a hairdresser; 15 min; Zoran Krema / Video works; 60 min; Kranjčević Željko Winter / If only I could disappear for moments; 20 min; Tajči Čekada & Elda Čekada / Burial clothing and urns; 30 min; Zoran Štajduhar Zoff & Sven Stilinović / Blood is my light and my darkness; 15 min; Žak Valenta / Diagnosis of art or art as diagnosis; 30 min; Darko Brajković / dbdjnj vs. existence; 20 min; David Belas / POD; 15 min; Jusuf Hadžifejzović / MMC depot; 20 min; Krešo Mustać / Visual hygiene 2; 20 min; Josip Pino Ivančić / Croatia is a defective state; 20 min; Iris Radivoj / Kakina; 10 min; Edvin Šabanović, Izet Medošević / On the other side of the perceptual horizon; 20 min; Sven Stilinović / Invisible performance; 2 hours; Žarko Violić / Non-tactile sound sculpture: Footpaths, Adriatic - my living room; 30 min; Darko Bavoljak / Future; 20 min; Dean Kljun / Krkuž; 15 min, Vladimir Dodig Trokut / Here and now 2011, the real and unreal art; 30 min

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Yaniv Shentser (Jeruzalem, IL) & Mia Janković Shentser (Zagreb, HR)

Puja / Puđa audio-kinetička instalacija / audio-kinetic installation

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Audio-kinetička instalacija, robotički orkestar konstruiran je miješanjem medija i kultura. Orkestar čine instrumenti izgrađeni kao skulpture, inspirirani različitim tradicijama graditeljstva instrumenata diljem svijeta. Ove skulpture/instrumenti/ roboti figurativnog su karaktera, animalno-humanoidno-mehaničkih anatomija koji kreiraju scenske situacije svojim oblikom, djelovanjem i svjetlom.

Mia Janković Shentser rođena je 1977. godine u Zagrebu. Diplomirala je na Akademiji likovnih umjetnosti u Zagrebu. Od 1998. izlaže unutar umjetničkih udruga, grupa i samostalno kao kiparica, slikarica, umjetnica performansa, izrađivačica maski, scenografije i ilustratorica na brojnim projektima u zemlji i inozemstvu. Studira klesarstvo u Indiji (2005/06) Banares Hindu University, Varanassi, te keramiku u Izraelu (2007/08), Studio Ida, Jeruzalem. Njezini radovi dio su privatnih i javnih zbirki. Živi i radi u Zagrebu. Yaniv Shentser rođen je 1973. u Jeruzalemu. Studira na Akademiji muzike i plesa u Jeruzalemu, gdje specijalizira klasičnu perzijsku glazbu 1994/97. godine. Podučava bubnjeve, komponira za samostalne projekte, kazalište, ples i film. Također se bavi i performansom te graditeljstvom inovativnih instrumenata. Živi i radi u Zagrebu.

Sadržajem i estetikom skulpture evociraju mitologije i atmosfere tradicija Afrike, Azije, Evrope… Izrađene od prirodnih materijala (papir, drvo, keramika, metal, koža) skulpture su dodatno obogaćene ulogom instrumenta te hibridnim muzičkim tradicijama i izrazima, uključujući i elektronsku.

Internetska stranica: http://yanivshentser.wix.com/puja

Miješanjem skulpturalnomitološke, vizualne i muzičkoritualne, scenske kompozicije stvara se nova, suvremena tradicija. Instrumente dijelom pokreću mehaničke naprave aktivirane MIDItron sučeljem [Musical Instrument Digital Interface – elektronski signali koji se putem MIDitrona pretvaraju u različite voltaže, omogućavajući kontrolu i komunikaciju senzora, električnih mašina i sl. preko elektronskih klavijatura, kompjutera i drugih elektronskih naprava...], a dijelom ih sviraju muzičari. (Puja; sanskrt – naklonost, poštovanje, odavanje počasti, obožavanje; hinduistički ritual darovanja božanstvima, posebnim osobama i gostima u različitim prilikama i raznim oblicima.)

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(Puja; Sanskrit – affection, respect, honour, worship; a Hindu ritual of showing reverence to deities, special people and guests on different occasions and in various forms).

This audio-kinetic installation, a robotic orchestra, was created by combining different media and cultures. The orchestra consists of musical instruments that were built as sculptures, inspired by different traditions of making musical instruments from all over the world. The sculptures/instruments/ robots are of a figurative character and have animal-humanoid anatomies which create scenic situations through their shape, effect and light.

Mia Janković Shentser was born in 1977 in Zagreb. Graduated from the Zagreb Academy of Fine Arts. Since 1998, she has been exhibiting her work together with artistic groups and associations as well as on her own, as a sculptor, painter, performance artist, illustrator and maker of masks and scenography. She has participated in numerous projects in Croatia and abroad. Studied masonry in India (2005/06) at the Banares Hindu University, Varanassi and ceramics in Israel (2007/08) at Studio Ida, Jerusalem. Her works of art are included in several private and public collections. She lives and works in Zagreb.

Their content and aesthetics evoke mythologies and atmospheres of African, Asian and European traditions… The sculptures are made in natural material (paper, wood, ceramics, metal, and leather) and additionally enriched with the role of musical instrument as well as with hybrid musical traditions and expressions, including the electronic music.

Yaniv Shentser was born in 1973 in Jerusalem. Studied at the Jerusalem Academy of Music and Dance, specialising in classical Persian music. Works as a drum teacher and composes music for independent projects, theatre, dance and film. He is also active in performance art and constructs innovative musical instruments. He lives and works in Zagreb. Web page: http://yanivshentser.wix.com/puja

The combination of the sculptural and mythological, visual and musically ritualistic, scenic composition creates a new, contemporary tradition. The musical instruments are in part played by musicians and in part run by mechanical devices activated through MIDItron interface [Musical Instrument Digital Interface – by the means of MIDItron, electronic signals are converted into various voltages, enabling the communication and control of sensors, electrical machinery etc. through electronic keyboards, computers and other electronic devices…].

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Ana Belošević

Thaumatrope Instalacija / INSTALLATION

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Prva i početna slika ove instalacije – mehaničke animacije od koje kreću ostale animacije upravo je inspirirana tom "čarobnom" optičkom igračkom Thaumatropeom. Prvobitne "animacije" (thaumatrop, zoetrop, praxinoscop) bile su namijenjene zabavi; razbijanju rutine i unošenju čarolije u svakodnevnicu, nisu pričale priče ni prenosile poruku. Služeći se jednostavnošću i repeticijom, koju pružaju ti pioniri pokreta i optičke iluzije, pokušat ćemo ispričati priču o našim "svakodnevnicama i rutinama".

Ana Belošević rođena je 1979. u Zagrebu. Diplomirala je na Akademiji likovnih umjetnosti u Zagrebu. Od 2003. aktivno se bavi umjetničkim radom. Od 2004. bavi se ilustracijom te je objavila preko 30 naslovnica knjiga izdavačke kuće Algoritam.

Svaku scenu koja se sastoji od četiri frame-a pokreće elektromotor stvarajući nesavršenu ali konstantnu i kontroliranu čaroliju pokreta. Scene, njih 12, postavljene su u krug – sve se susreću u početnoj sceni koja je ujedno i kraj, i svaka predstavlja klasične, banalne ili ne tako banalne epizode u našim danima: cvrkut ptice u krletci, ujutro se budimo, doručkujemo, pijemo kavu, pušimo, idemo na posao… Dinamičnost i razvoj priče ovisi o kretanju gledatelja. Svojim kretanjem gledatelji povezuju scene i odlučuju u kojim će se smjerovima priča razvijati.

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The first and the starting image of this installation – mechanical animation which was a starting point of all the animations, is inspired by this "magical" optical toy called Thaumatrope. Early "animations" (thaumatrope, zoetrope, praxinoscope) had an entertainment role, to break the routine and to bring the magic into everyday life. They didn’t tell stories or had morals in them. By using simplicity and repetition that those motion and optical illusion pioneers offer, we will try to tell the story about our everyday life and routines.

Ana Belošević was born in 1979 in Zagreb. She graduated from the Academy of Fine Arts in Zagreb. Since 2003 she is actively engaged in arts. Since 2004 she works as an illustrator, publishing over 30 front pages for the publishing house Algoritam. She lives and works in Zagreb.

Every scene, made of 4 frames, is moved by electromotor and creates an imperfect but constant and controlled magic of movement. The 12 scenes are placed in a circle – they all meet up at the first scene, which is also the last scene. Each scene represents classical, banal, or not so banal episode in our daily lives; bird calls in the cage, waking up in the morning, having a breakfast, drinking coffee, smoking, going to work… The dynamics and the development of the story depends on the movement of the viewer. He is the one that is connecting the scenes and decides how the story develops.

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TRAVANJ

2011.

APRIL

Vlado Martek

Umjetnosti nema i kad je ima Instalacija

There is no art − even when it is INSTALLATION

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Instalacija se doslovno sastoji od knjiga i prozora. Knjige poezije sasvim različitih autora iz raznih vremena naglašavaju da poanta nije u izboru autora nego medija, kako medija poezije tako i medija knjige. Dakle, knjigama poezije prekrivena su, blokirana okna, površine prozora. Prozori daju vidike, ponekad su najznačajniji i najprivlačniji dio stana. Sad, instalacija donosi obrat vrijednosti: knjige i to knjige poezije preuzimaju vrijednost i privlačnost prozora, kao ponuđeni vidik. Doista, to je slijepi vidik, ali samo što se retine oka tiče – navikle na pogled u prostor. Instalacija nudi "slijepi" pogled, pogled u knjige, poeziju, umjetnost, svojevrsni ljudski beskraj. Pogled dublji i problematičniji, zahtjevniji.

Vlado Martek rođen je 1951. u Zagrebu. Diplomirao je književnost i filozofiju. 70-ih godina član je Grupe šestorice, a rad mu je multimedijalnog izraza – od akcija, ambijenata, grafita do poezije, grafike i slikarstva. Izlagao je na brojnim skupnim i samostalnih izložbama. Živi i radi u Zagrebu.

Oduzimanjem svjetla prostoriji, pokrivanjem površina prozora, daje se drugačije, drugo svjetlo, svjetlo umjetnosti (patetika par exellence, zar ne?). Sekundarna priroda instalacije možda je u agitiranju čitanja, pogotovo čitanja poezije kao skroz sublimne, sažete stvari/ fenomena. Namjera je stoput veća od vidljivog materijala, tzv. artefakta instalacije. Radi se o favoriziranju praznine unutar omeđenog prostora i posebnog napora za instrumentaliziranjem pogleda i gledanja kao općeg mjesta arta. Instalacija prelazi u ambijentalno. Rad: Umjetnosti nema i kad je ima postaje ambijent (s potrebnom količinom praznine). (Vlado Martek)

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the view and the act of looking as a commonplace of art.

The installation literally consists of books and windows. Poetry books of different authors from various time periods indicate that it is not the choice of author that matters, but the choice of the medium of both poetry and books. Therefore, the window surfaces will be covered and blocked with poetry books.

The installation becomes ambient. Work: There is no art and when it is, it transforms into ambiance (with the necessary amount of void). (Vlado Martek) Vlado Martek was born in 1951 in Zagreb. Graduated in literature and philosophy. During the 1970s he was a member of the artist collective Group of Six Authors. Martek is a multimedia artist whose work includes art actions, ambiances, graffiti, graphic art, painting and poetry. His works have been showcased at numerous collective and independent exhibitions. He lives and works in Zagreb.

The windows in our apartments and houses are there to open views and they sometimes make the most important and the most attractive element of our living space. This installation reverses values, in which poetry books take over the value and attractiveness of the windows and become themselves the offered view. To our eye retina, accustomed to look into space, this appears to be a blind view. This "blind" view, however, is a view into books, poetry and art, into a certain kind of human infinitude. A view much more profound, problematic and challenging. By taking away the light from the room and covering the windows’ surfaces, a new, different light is created, the light of art (pathetic par excellence, is it not?) The secondary nature of this installation can perhaps be found in agitation of reading, particularly of reading poetry through sublime and concise phenomena. The intention is a hundred times greater than the visible material, the so-called installation artefact. This installation is about favouring the void, within limited space and a specific effort to instrumentalise

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TRAVANJ

2012.

APRIL

Juliana Kučan

Kao da je bilo sad video instalacija

AS IF IT WAS NOW VIDEO INSTALLATION

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Namjera video instalacije nije prikazati linearnu izmjenu stanja već preklapanjem stvoriti vizualno zanimljiv sadržaj u istodobnosti nečega što u stvarnosti nije istodobno. Sjećanja koja su dio prošlosti, iščekivanja i maštanja o budućnosti te sadašnjost kao takva postoje u svijesti istodobno.

Juliana Kučan rođena je u Rijeci 1974. godine. Diplomirala na Akademiji likovnih umjetnosti u Zagrebu. Od 2000. godine izlaže na skupnim i samostalnim izložbama te surađuje na različitim projektima animiranog filma. Živi i radi u Zagrebu.

Iako smo naviknuti da stvari "treba" složiti po "redu", što najčešće znači linearno, naša su sjećanja rijetko linearna, kao i naša iščekivanja. U preklapanju sekvenci jednog te istog stabla u različitim stanjima (različita doba godine, dana, vremenskih prilika) relativiziran je linearni protok vremena te se dovodi u pitanje određenost onoga što se događa sada ili onoga što se već dogodilo. Sekvence su snimljene kroz period od godine dana tako da postoje mali pomaci u kutu snimanja. (Juliana Kučan)

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The intention of the video-installation is not to show a linear change in the situation but to create, by overlapping, a visually compelling content in the simultaneity of something that in reality is not happening at the same time. Memories, which are part of the past, anticipations, and fantasies about the future, and the present as such, do exist in the conscience at the same time.

Juliana KuÄ?an was born in Rijeka in 1974. She graduated from the Academy of Fine Arts in Zagreb. Since 2000 she exhibited in group and solo exhibitions, and works on various projects of animated films. She lives and works in Zagreb.

Although we are used that things "should" be arranged in "order", which most often means linearly, our memory is rarely linear, as well as our anticipation. The overlapping sequences of the same tree in different conditions (different times of the year, day, weather conditions) is a relativised linear flow of time, and it brings into question the definition of what is happening now and what already happened. Those sequences were recorded over a period of one year so there are small shifts in the shooting angle. (Juliana KuÄ?an)

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RUJAN

2012.

SEPTEMBER

Sonja Vuk

Izbor video radova: MY WAY (2006, 1’4’’) / MENTAL PRISON (2006, 3’11’’) / MATERIAL GIRL IN A MATERIAL WORLD (2010, 1’17’’) / REKONSTRUKCIJA (2009, 15'32'' ) / COSMOCLUB (2004, dio video instalacije, 2 x 11'13") / ZORRO PROJECT (2008, 16’13’’) / RIBE (2003., dio instalacije Home Sweet Home)

compilation of video works MY WAY (2006, 1’4’’) MENTAL PRISON (2006, 3’11’’) MATERIAL GIRL IN A MATERIAL WORLD (2010, 1’17’’) REKONSTRUKCIJA (2009, 15’32’’) COSMOCLUB (2004, part of a video installation, 2 x 11'13") ZORRO PROJECT (2008, 16’13’’) RIBE (2003, part of the installation Home Sweet Home)

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Video radovi jedne osobe potječu iz njezinih različitih životnih razdoblja, no istodobno i u istom prostoru; svojevrsno su upoznavanje s tom osobom. Iako prezentirani video radovi imaju različite teme i interese, s obzirom na domenu privatno – javno, oni tvore cjelinu, baš kao što je i svaka osoba cjelina međusobno povezanih sustava vrijednosti, interesa, motiva, stavova... te svih biološki danih i stečenih osobina koje su u međusobnoj interakciji. Osobine pojedinca/pojedinke nastaju u procesu interakcije s okolinom te u jedinstvenom načinu prilagodbe pojedinca/pojedinke njegovoj/njezinoj okolini. Svaka je osoba jedinstvena prema načinu na koji rješava svoj ljudski problem, smatra Fromm, no ističe i da je slična ostalim ljudima, budući da s njima dijeli općeljudsku situaciju i njoj svojstvene egzistencijalne dihotomije.

Sonja Vuk završila je Akademiju likovnih umjetnosti u Zagrebu, Akademiju likovnih umjetnosti i umjetničkog obrazovanja u Tilburgu (Nizozemska) (trodimenzionalni odjel) te poslijediplomski studij iz trodimenzionalne umjetnosti na istoj. Stekla je titulu magistra umjetnosti iz videa i novih medija na Akademiji za likovnu umjetnost i oblikovanje u Ljubljani te pohađa doktorski studij iz likovne pedagogije na Pedagoškom fakultetu u Ljubljani. Bavi se instalacijama, video umjetnošću te socijalnim i edukativnim projektima. Sudjelovala je na brojnim samostalnim i grupnim izložbama te video festivalima u zemlji i inozemstvu. Dobitnica je više nagrada i priznanja za svoj rad, a njezini radovi nalaze se i u zbirkama – Sveučilišna biblioteka (fundus crteža), Zagreb; Institut za suvremenu umjetnost, Dunaujvaros, Mađarska; International Museum of Women, San Francisco, SAD; Muzej moderne i suvremene umjetnosti, Rijeka, Hrvatska. Živi i radi u Zagrebu.

Važno je, stoga, neprekidno promatrati samog sebe, svoju okolinu te ono što nas je odredilo i određuje nas. Ovi video radovi istražuju upravo to: intimno, društveno, povijesno, etičko... Sve ono što njihovu autoricu definira kao osobu. (Sonja Vuk)

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The video works were made by the same person at various periods of her life, but at the same time and in the same space they also represent an introduction to that person. The presented video works are of different themes and interests, nevertheless in regard to the domain of the private-public, they form a whole - just as every person is a whole of interconnected systems of values, interests, motives, stances‌ and all biologically given and acquired characteristics that mutually interact. The characteristics of an individual result from the process of interaction with the environment as well as from the unique way in which that individual adapts to his/her surroundings. Fomm believes that every person is unique in the way of dealing with his/her human problem. Nevertheless, he also stresses that every person is similar to other people, as they all share a general human situation and its inherent existential dichotomies.

Sonja Vuk graduated from the Zagreb Academy of Fine Arts and from the Academy of Fine Arts and Art Education in Tilburg, Netherlands where she also completed her postgraduate studies. She received a post-graduate MA degree in video and new media art from the Ljubljana Academy of Fine Arts and Design and is currently attending PhD studies in art education at the Faculty of Pedagogy in Ljubljana. Vuk has participated in numerous independent and collective exhibitions and video festivals in Croatia and abroad. She is a recipient of numerous awards and mentions for her work. Her works are included in the collections: National and University Library (Print Collection), Zagreb, Croatia; Institute of Contemporary Art, Dunaujvaros, Mađarska; International Museum of Women, San Francisco, U.S.; Museum of Modern and Contemporary Art, Rijeka, Croatia. She lives and works in Zagreb.

Therefore, it is important for us to continuously observe ourselves, our environment and everything that defines us. This is precisely what Sonja Vuk explores in her video works: the intimate, social, historical, ethical‌ all that defines her as a person. (Sonja Vuk)

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RUJAN

2013

SEPTEMBER

GRUPA AUTORA / GROUP OF AUTHORS

SLIKA OD ZVUKA 2' 2011/2012

TreĆi program Hrvatskog radija & Galerija 90-60-90

PICTURE OF SOUND 2 2011/2012

Croatian Radio Three & 90-60-90 Gallery

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Na otvorenju je uživo izveden audio rad Bojana Gagića Pozitivan povrat akustičkog signala. Riječ je o izvedbi improvizirane kompozicije koja nastaje isključivo mikrofonijom.

Slika od zvuka je emisija pokrenuta na Trećem programu Hrvatskog radija 2009. godine s namjerom da paralelno s kritičkim praćenjem suvremene umjetnosti u ostalim emisijama uspostavi mogućnost da u programu nastaju te da se premijerno izvode umjetnička audio djela. Odnosno, da se potakne specifična vrsta audio stvaralaštva (sound arta) koja nastaje kao ogranak suvremenih multimedijalnih umjetničkih praksi, a čije je porijeklo pretežno u vizualnoj i konceptualnoj umjetnosti. Istodobno, zahvaljujući mogućnostima radijskog medija, emisijom Slika od zvuka ostvarena je šira difuzija takvih radova, mnogo šira nego što bi to bilo izvedivo samo u njihovoj, primjerice, galerijskoj prezentaciji.

(Evelina Turković, urednica emisije i kustosica Slika od zvuka) POPIS AUDIO RADOVA PREZENTIRANIH NA IZLOŽBI SLIKA OD ZVUKA 2: Hrvoje Hiršl: Boje šuma; Sandra Sterle: Carevo novo ruho; Tomislav Pavelić: Sto pokušaja da se promijeni sve, emitirano; Ana Hušman: Scena 1,2 i 3, emitirano; Dan Oki: Prohujalo s vihorom; Boris Cvjetanović: Fotoaudio; Mladen Stilinović: Simfonija tramvaja; Luka Hrgović: Ritam zalaska; Antun Maračić: Peripatetičke teme; Mirjana Batinić: Ljubljana, Berlin, Split; Nicole Hewitt: Eho Europe; Tanja Deman: Nedjeljno jutro; Brandon LaBelle: U eteru; Bojan Gagić: intuitivna kompozicija zvukova mikrofonije; Ksenija Turčić: Kompozicija; Goran Škofić: Koraci; Luiza Margan: Prekrajanje, ili, prije no što se vijori, šije se i ori!; Kontekst kolektiv: O solidarnosti: zašto je važno misliti o studentskim pokretima 20. veka; Nermin Duraković: Vodič kroz danski sustav socijalne pomoći; Braco Dimitrijević: Free Bach

Kako je ova vrsta umjetnosti proizašla iz vizualne umjetnosti, nakon radijskog emitiranja pokušavamo je uvijek vratiti u galerijske prostore. Zato smo u Galeriji 90-60-90 u prostoru POGON-a / Zagrebačkog centra za nezavisnu kulturu i mlade (prostor bivše tvornice Jedinstvo) prezentirali produkciju Slike od zvuka u 2011. i 2012. godini. Prezentirano je ukupno dvadeset audio radova suvremenih umjetnika koji su premijerno bili emitirani na Trećem programu Hrvatskog radija. Pri tome je, naravno, posebna pažnja posvećena postavu, zamišljenom u skladu s karakterom audio radova izvorno emitiranih putem radio prijemnika.

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Organizacija: Treći program Hrvatskog radija & Galerija 90-60-90 Kustosica projekta: Evelina Turković, Treći program HR Tehnička suradnja: Bruno Molnar, Hrvatski radio Autori postava: Hrvoje Hanzec, Marijana Stanić, Evelina Turković Internetska stranica: http://radio.hrt.hr/emisija/slika-od-zvuka/742

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of an Acoustic Signal, an improvised composition created entirely by audio feedback.

Picture of Sound is a programme that was launched on Croatian Radio Three in 2009, with the intention to, in addition to the critical coverage of contemporary art aired in other programmes, provide the possibility for the works of art to be created in the programme and to be performed for the first time on the air. The programme aims to encourage a particular kind of audio work, i.e. sound art, which is a branch of contemporary multimedia artistic practices, the origins of which lie principally in visual and conceptual art. At the same time, thanks to the capacities of the radio medium, such a programme allowed a much wider diffusion of these works than would have been the case had they been performed in, for example, a gallery presentation.

(Evelina Turković, editor and curator of Picture of Sound) AUDIO WORKS PRESENTED AT THE EXHIBITION PICTURE OF SOUND 2: Hrvoje Hiršl: The Colours of Noise; Sandra Sterle: Emperor’s New Clothes; Tomislav Pavelić: A Hundred Attempts to Change Everything, broadcast; Ana Hušman: Scene 1, 2 and 3, broadcast; Dan Oki: Gone with the Wind, broadcast on 19.6.2011; Boris Cvjetanović: Photo-audio; Mladen Stilinović: Tramway Symphony; Luka Hrgovović: The Rhythm of Sunset; Antun Maračić: Peripathetic topics; Mirjana Batinić: Ljubljana, Berlin, Split; Nicole Hewitt: Echo Europe; Tanja Deman: Sunday Morning; Brandon LaBelle: On the Air; Bojan Gagić: Intuitive Composition of Audio Feedbacks (working title); Ksenija Turčić: Composition; Goran Škofić: Steps; Luiza Margan: Retailoring, or, before it waves, we sew and sing!; Context Collective: On solidarity: why it is important to reflect on the students’ movements of the 20th century; Nermin Duraković: A Guide to Danish Social Welfare System; Braco Dimitrijević: Free Bach

As origins of this form of art lie in visual arts, we always try to bring it back to gallery spaces after the radio broadcast. Therefore, the 90-60-90 Gallery (in the premises of Pogon Jedinstvo) presented audio works that were produced in the programme Picture of Sound in 2011 and 2012. The gallery presentation included twenty audio works of contemporary artists, which have been broadcast for the first time on the Croatian Radio Three. In doing so, a particular attention was given to the exhibition display, which was envisioned in accordance to the character of the audio works, originally being broadcast on the radio. The exhibition’s opening was accompanied by Bojan Gagić’s live performance of his audio work Positive Feedback

Organisation: Croatian Radio Three & 90-60-90 Gallery Project curator: Evelina Turković, Croatian Radio Three Technical cooperation: Bruno Molnar, Croatian Radio Exhibition design: Hrvoje Hanzec, Marijana Stanić, Evelina Turković Web page: http://radio.hrt.hr/emisija/slika-od-zvuka/742

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TRAVANJ

2013.

APRIL

Lana Čmajčanin & Adela Jušić

PriËe za laku noÊ prostorno-zvuČna instalacija

Goodnight Stories spatial audio installation

Izložbeni program 2013.: Biti doma

Exhibition programme 2013: To be at home

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Tijekom rata u Bosni i Hercegovini ljudi su živjeli i spavali u podrumima, ponekad tjednima ne napuštajući te prostore. Sarajevo je bilo pod opsadom 1425 dana. To je najduža opsada jednog glavnog grada u povijesti modernog ratovanja. Zbog neprestanog granatiranja, živjeti u stanovima i kućama bilo je gotovo nemoguće. Zgrade su imale podrume s malim prostorijama, svaka namijenjena jednom stanu. Te su se prostorije transformirale u spavaonice. Prava njihova namjena je spremište, stoga su one bile vrlo male, svega metar široke i dva metra dugačke. Bile su pune starih ili nepotrebnih stvari. Čim su prve granate pale na Sarajevo, ljudi su ispraznili spremišta. U njih se mogao ugurati krevet i ništa drugo. Ponekad bi u njima spavalo čak troje ljudi.

Lana Čmajčanin rođena je 1983. godine u Sarajevu, gdje je i diplomirala na Akademiji likovnih umjetnosti. Osnovala je Udruženje za kulturu i umjetnost CRVENA čija je i aktivna članica. Ujedno je članica i Udruženja likovnih umjetnika Bosne i Hercegovine. Izlagala je na brojnim samostalnim i skupnim izložbama. Živi i radi u Sarajevu. Internetska stranica: http://www.lanacmajcanin.com

Adela Jušić rođena je u Sarajevu 1982. godine. Diplomirala je na Akademiji likovnih umjetnosti u Sarajevu 2007. godine i magistrirala na Univerzitetu u Sarajevu i Bologni 2013. godine – Ljudska prava i demokracija u Jugoistočnoj Europi. Članica je i jedna od osnivačica Udruženja za kulturu i umjetnost CRVENA. Njezin rad nerijetko polazi od osobnog iskustva i memorije, a cilj mu je biti feministički i politički angažiran. Njezin rad uključuje video, instalacije, videoperformans te feminističke didaktičke radove u javnom prostoru koji se uglavnom sastoje od teksta. U radovima se koristi narativom i svojim glasom kao glavnim elementom izražavanja. Izlagala je na brojnim samostalnim i skupnim izložbama u zemlji i inozemstvu. Važnije izložbe: Frestas – Trijenale umjetnosti, Sorocaba, São Paolo, Manifesta 8; Murcia, Videonale Kunstmuseum Bonn; Image Counter Image, Haus der Kunst, München; Ja više nikada neću pričati o ratu, Färgfabriken, Stockholm. Rezidencijalni programi – ISCP, New York, Kulturkontakt Vienna itd. Dobitnica je nagrada za svoj umjetnički rad – YVAA 2010., Henkel Young Artist Price CEE (2011) i Specijalne nagrade Oktobarskog salona (2013). Živi i radi u Sarajevu.

Teško je zamisliti život u podrumu. Ljudi su ondje oformili specijalnu zajednicu s vlastitim pravilima i novim sistemom opstanka. Dijelili su sve – hranu i garderobu, sreću i jad. Kroz pisane i audio intervjue skupile smo priče o onome što se odvijalo u podrumima u vrijeme rata. Zvučna instalacija sadrži šest priča naših prijatelja i rođaka koji su u to vrijeme imali 10 do 14 godina. (Lana Čmajčanin i Adela Jušić)

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Internetska stranica: https://adelajusic.wordpress.com

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During the war in Bosnia and Herzegovina, people lived and slept in the cellars, sometimes not leaving it for weeks. Sarajevo was under the siege for 1425 days. That is the longest siege of the capital in the history of modern wars. It was impossible to live in the houses/flats due to constant shelling. Buildings had cellars with small chambers, each for every apartment. They were transformed into dormitories. Since they were originally storage rooms, they were really small, 1m x 2m. They were full of old or unnecessary things. When shelling started in Sarajevo, people cleaned them and placed beds in them. There was no space for anything but beds, and sometimes 3 people would share one. It is hard to imagine how it is to live in the cellar. People formed their special community there, together with new rules and new survival schemes. They shared everything, food, clothes, joy and misery. We collected stories through written and audio interviews about what was going on in those cellars during the war. The audio installation has 6 stories of our friends and cousins, aged from 10-14 at that time. (Lana Čmajčanin and Adela Jušić)

Lana Čmajčanin was born in Sarajevo in 1983. She graduated from the Academy of Fine Arts in Sarajevo. She founded the Association for Art and Culture CRVENA, and is an active member. She is a member of the Association of Applied Artists of Bosnia and Herzegovina. She exhibited in numerous group and solo exhibitions. She lives and works in Sarajevo. Web page: http://www.lanacmajcanin.com

Adela Jušić was born in Sarajevo in 1982. Graduated from the Academy of Fine Arts in Sarajevo in 2007. In the year 2013, she received her MA in Democracy and Human rights in South East Europe at the Universities of Sarajevo and Bologna. She is a member and the co-founder of CRVENA - Association for Culture and Art. Her personal experience and memory often serve as the starting point in her feminist and politically engaged work. Her artistic practice includes video, installation, video performance and feminist didactic works in public space which mostly consist of text. Jušić uses narration and her own voice as the principal elements of expression in her work. Her works have been presented at numerous independent and collective exhibitions in Croatia and abroad. Notable exhibitions: Frestas - Triennial, Sorocaba, São Paolo, Manifesta 8; Murcia, Videonale Kunstmuseum Bonn; Image Counter Image, Hause der Kunst, München; Ja više nikada neću pričati o ratu / I will never talk about the war again, Färgfabriken, Stockholm. Residential programs – ISCP, New York, Kulturkontakt Vienna, etc. Awards: YVAA Award (2010), Henke Young Artist Prize CEE (2011) and the 54th October Salon Special Prize (2013). She lives and works in Sarajevo. Web page: https://adelajusic.wordpress.com

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LIPANJ

2013.

JUNE

Sandra Sterle

Nastavlja se... video instalacija

To Be Continued ... video installation

IzloĹžbeni program 2013.: Biti doma

Exhibition programme 2013: To be at home

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U vremenu u kojemu živimo brišu se granice između umjetnosti, tehnologije, dizajna i života. Evolucijom nastali biološki algoritmi i programi održavanja biljnog i životinjskog svijeta alterirani su čovjekovim hakiranjem žive stvarnosti te njenim oblikovanjem i industrijalizacijom. Polazeći od videoperformansa Okolo naokolo (1996., 2003., 2010...), koji sam dosad izvela tri puta, a namjera mi je da ga ritualno nastavljam svakih sedam godina, izložba u dvorani Jedinstvo povezuje promjene koje nastaju u vremenu kao posljedica ubrzanog procesa tehnološkog zastarijevanja te kolizije simbola na raskrižju novonastalih ekonomskih i političkih horizonata.

Sandra Sterle rođena je 1965. u Zadru. Diplomirala je na Akademiji likovnih umjetnosti u Zagrebu 1989. godine te je nastavila školovanje na Kunstakademie u Düsseldorfu 1995/96. godine. U njezinim projektima često se isprepliću mediji filma, videa, umjetnosti performansa, instalacije, teksta, fotografije, aproprijacije i kolaža. Zanimaju je autentična iskustva i načini njihovih prevođenja u prostor umjetnosti te paradoksi suvremenog društva. Članica je i umjetnička direktorica udruge Kazimir koja se bavi organizacijom kulturnih događaja te umjetničkom produkcijom koja istražuje tehnološka, estetska i etička pitanja. Od 1991. do 2000. živi i radi u Amsterdamu, a od 2001. godine predaje kolegije Novi mediji te Performans i Video na Umjetničkoj akademiji Sveučilišta u Splitu. Izlagala je na brojnim samostalnim i skupnim izložbama u zemlji i inozemstvu. Živi i radi u Zagrebu i Splitu. Internetska stranica: http://sandrasterle.com

Polazeći od lokalnog pejzaža kao refleksije unutarnjeg i vanjskog prostora pratim zatvaranje bioloških ciklusa i otvaranje novih... (Sandra Sterle)

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Boundaries between art, technology, design and life are being erased in the time we live in. The biological algorithms and programmes for preservation of plants and animals, arisen with evolution, are altered by hacking of live reality, its shaping and industrialisation. Starting from video performance Round and Round (1996, 2003, 2010‌) that I already performed 3 times, with intention to perform it as a ritual every 7 years, exhibition in Jedinstvo is connecting changes that happen as a result of accelerated process of the technological obsolescence and collision of symbols on the crossroads of new economical and political horizons.

Sandra Sterle was born in 1965 in Zadar. Graduated from the Academy of Fine Arts in Zagreb in 1989 and continued her studies at the Kunstakademie in DĂźsseldorf in 1995/96. Sterle in her projects often interlaces film, video, performance art, installation, text, photography, appropriation and collage. She is particularly interested in authentic experiences and their translation into art, as well as in the paradoxes of contemporary society. She is a member and the artistic director of "Kazimir" - Association for the Promotion of Culture, Art and Audio-visual Production which is involved in organising cultural events and focuses on artistic productions that explore technological, aesthetic and ethical concerns. In the period from 1991 until 2000 she lived and worked in Amsterdam. Since the year 2001, Sterle has been teaching New Media and Performance and Video Art at the Art Academy of the University of Split. Her works have been presented at numerous independent and collective exhibitions in Croatia and abroad. She lives and works in Zagreb and Split.

Starting from the local paysage as a reflection of the inner and outer space I observe the closing of biological cycles and opening of the new ones‌ (Sandra Sterle)

Web page: http://sandrasterle.com

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RUJAN

2013.

SEPTEMBER

GRUPA AUTORA / GROUP OF AUTHORS

Prostor je taktika / Biti doma prostorno zvučna instalacija

Space is tactic / To be at home sound installation

Izložbeni program 2013.: Biti doma

Exhibition programme 2013: To be at home

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Izložba Prostor je taktika / Biti doma polazi od koncepta doma kao praznog mjesta koje se ispunjava apstraktnim bilješkama repetitivnih iskustava boravka u vlastitom domu. Prostor predvidljivog i očekivanog daje poticaj za razvijanje dramaturgije koja očuđava svakodnevicu, ostavljajući prostor za individualne interpretacije izloženih fragmenata. Projekt Prostor je taktika / Biti doma nadovezuje se na tri ranije održane izložbe; Prostor je taktika I. u Galeriji Jogurt, Prostor je taktika II. u Galeriji SC 2011. te izložba Prostor je taktika III. održane u okviru Velesajma kulture 2012. godine. Sudjeluju: Marta Banić, Vida Guzmić, Barbara Majnarić, Darko Masnec, Stjepan Milas, Martin Mrzljak, Bojan Mucko, Luka Smetiško i Lea Vene.

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The exhibition Space is tactic / To be at home is based on the concept of ‘home’ as an empty space being filled with abstract notes of repeating experiences of being at one’s own home. The space of the predictable and the expected incites a dramaturgy that makes our common everyday life become strange, allowing space for individual interpretations of the exhibited fragments. The project Space is tactic / To be at home is a continuation of the three previously held exhibitions: Space is tactic I, held in 2011 at Jogurt Gallery, Space is tactic II, held in 2011 at Student Centre Gallery and Space is tactic III, held as part of the 2012 Culture Fair festival (Velesajam Kulture). Participants: Marta Banić, Vida Guzmić, Barbara Majnarić, Darko Masnec, Stjepan Milas, Martin Mrzljak, Bojan Mucko, Luka Smetiško and Lea Vene.

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PROSINAC

2013.

DECEMBER

Kata Mijatović

Biti video instalacija

To Be video installation

Izložbeni program 2013.: Biti doma

Exhibition programme 2013: To be at home

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Izložba polazi od pretpostavke da je u bazičnom smislu kuća/dom u kojem sve vrijeme živimo zapravo život koji nam je poklonjen, u kojem postojimo. Naši životi (posredstvom tijela) u metafizičkom smislu funkcioniraju kao "kuće" u koje smo uselili, ušli smo u njih rođenjem a napuštamo ih smrću. U video instalaciji Biti ta je situacija izravno vizualizirana na sljedeći način – na tlu je postavljen pravokutnik od soli na kojemu su pojednostavljene makete crnih kućica od obojanog stiropora bez vrata i prozora, različitih dimenzija. Snimka postavljene situacije (snimana odozgo iz ptičje perspektive) projicira se na zid do poda na kojem je postavljena instalacija od soli, na način da projekcija snimke na zidu i instalacija na podu čine dva spojena pravokutnika. Projekcija u koju se "seli" situacija na tlu naglašava da je riječ o postojanju i pogledu na postojanje (projekciji postojanja), u odnosu na ono što od njega možemo ili ne možemo vidjeti iz naših kuća/života. Video instalacija je ozvučena skladbom Homeway osječkog noise pop ženskog benda Leave, koji je djelovao početkom 90-ih u Osijeku. Nostalgična Homeway, koja govori o domu iz jednog ratnog vremena, iz perspektive "ostati ili otići", emotivan je proboj u crno-bijelu hladnu konstrukciju instalacije. Video Vožnje naizgled konkretizira putovanje "kući". Riječ je o snimci panoramskih prizora vožnji snimanih kroz zasnježeno prozorsko staklo autobusa kroz koje je vidljiv zimski pejzaž slavonskih ravnica i sela uz cestu na putu Zagreb –

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Osijek. Na video snimci naknadno su umontirane riječi/pojmovi koji se pojavljuju i nestaju u različitim dijelovima kadra. Riječi su preuzete iz mog online rada Mreža snova iz 2002. godine www.g-mk.hr/ online/dreams, u kojemu je 30-ak mojih snova, odsanjanih u Baranji 1991. (popraćenih fotografijama Zorana Pavelića), a umreženo je u strukturu nalik labirintu kroz koju kretanje omogućuju riječi/ pojmovi ključni za pojedini san, koji u radu funkcioniraju kao linkovi za snove. U Vožnjama se tako fizičko putovanje prema "doma", odvija paralelno sa simboličkim kretanjem u psihičke prostore snova, odsanjanih u prostoru prema kojem se putuje. (Kata Mijatović) Kata Mijatović rođena je 1956. godini u Branjini. Diplomirala je na Pravnom fakultetu u Osijeku 1981. godine. Studirala je slikarstvo na Accademia di belle arti u Firenci i Akademiji likovnih umjetnosti u Zagrebu gdje je i diplomirala 1997. godine. Od 1988. do 1991. članica je neformalne umjetničke grupe Močvara u Baranji, a od 2005. do 2010. članica je Umjetničkog odbora Baranjske umjetničke kolonije. Voditeljica je Galerije AŽ Atelieri Žitnjak, Zagreb od 2005. godine. Osnovna preokupacija njezinog umjetničkog rada je preispitivanje složenih odnosa svjesnog i nesvjesnog, istraživanje interakcija vidljivog vanjskog svijeta i nevidljivih unutarnjih psihičkih prostora. Poseban segment u okviru tih istraživanja čine radovi /projekti sa snovima kao osnovnim konstruktivnim i motivirajućim sadržajem. Baveći se fenomenom sna, ovi radovi problematiziraju percepciju stvarnosti u odnosima svjesno-nesvjesno i istražuju funkciju nesvjesnog u konstruiranju stvarnosti. Izlagala je na brojnim samostalnim i skupnim izložbama u zemlju i inozemstvu. Predstavljala je Hrvatsku na 55. Međunarodnoj izložbi umjetnosti – La Biennale di Venezia 2013. Članica je Umjetničke grupe PLEH. Živi i radi u Zagrebu kao samostalna umjetnica. Internetska stranica: http://arhivsnova.hr

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This exhibition departs from the premise that, in a basic sense, our home/house in which we live all the time, is actually a life that is given to us, in which we exist. Our lives (through our bodies) in a metaphysic sense function like "houses" we move in when we are born, and we leave when we die. In video installation To Be this situation is directly visualized in the following way – there is a rectangle made of salt on the ground, with simplified models of the black houses made from coloured Styrofoam, without windows or doors, of various sizes. A recording of the set up (filmed from the bird’s eye view) is projected on the wall next to the salt installation, in a way that installation and the set-up create two connected rectangles. This projection highlights the existence and our vision of existence (projection of existence), depending on what we can or we can’t see from our houses/ lives. Homeway song makes an audio part of this installation, and belongs to a pop female band Leave from Osijek, from the beginning of the 90’s. Nostalgic Homeway speaks about a home from the war period, from "stay or leave" perspective, and is an emotional breakthrough in the cold, black and white construction of the installation. The video Rides seemingly concretizes the ride home. It’s made from recorded panoramic images, taken from the snowy bus window, with a winter paysage of the Slavonian plains and villages, on the way from Zagreb to Osijek. Words and terms are subsequently added to the vid-

eo, and they appear and disappear in different parts of the frame. They are taken from the artist’s online work Dream Net, from 2002, www.g-mk.hr/online/dreams containing 30 dreams, dreamt in Baranja in 1991 (photos by Zoran Pavelić). The network is maze-like structure, and moving is connected with words/terms that are crucial to each dream, and they function like links. In Rides the physical journey home is happening parallely with symbolic journey into the psychic realm of dreams, dreamt in the space of our destination. (Kata Mijatović) Kata Mijatović was born in 1956 in Branjina. Graduated at the Faculty of Law in Osijek in 1981. Studied painting at the Accademia di belle arti in Florence as well as at the Zagreb Academy of Fine Arts, from which she graduated in 1997. In the period between 1988 and 1991 she was a member of the informal art group Močvara in Baranja. From 2005 until 2010 she was a member of the Artistic committee of the Baranja art colony. Since 2005, Mijatović has been directing the AŽ Atelieri Žitnjak Gallery. The main focus of her art practice is to question the complex relations of the conscious and the unconscious as well as to explore the interactions between the visible outside world and the invisible inner mental spaces. Her works/projects with dreams as fundamental constructive and motivating content form a specific segment in these researches. Dealing with the phenomenon of dream, these works problematize the perception of reality in relations conscious-unconscious and explore the function of the unconscious in the construction of reality. Her works have been presented at numerous independent and collective exhibitions in Croatia and abroad. She represented Croatia at the 55th International Art Exhibition – La Biennale di Venezia in 2013. Member of the artist group PLEH. She lives and works in Zagreb as an independent artist. Web page: http://arhivsnova.hr

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PROSINAC

2013.

DECEMBER

Siniša Labrović

KuÊa video instalacija

House video installation

Izložbeni program 2013.: Biti doma

Exhibition programme 2013: To be at home

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U Rječniku simbola Jeana Chevaliera i Alaina Gheerbranta stoji da je kuća, kao i grad i hram, "u središtu svijeta, ona je slika univerzuma. (...) (...) identifikacija tijela s kućom tipična je za budizam." U irskom shvaćanju obitavališta kuća simbolizira stajalište i položaj čovjeka spram neograničene moći drugoga svijeta. Prema Bachelardu, kuća znači unutrašnje biće. Katovi, podrum i tavan simboliziraju različita stanja duše. Podrum odgovara nesvjesnom, tavan duhovnom uzdizanju. Također, prema Bachelardu, kuća je i ženski simbol utočišta, majke, zaštite, majčinih grudi. "Svugdje pođi, kući dođi" i "moja kućica, moja slobodica" poznate su narodne uzrečice. Dom je, na prvom mjestu, topao. Što znači "ostati bez kuće i kućišta" možda bi najbolje mogle posvjedočiti izbjeglice iz posljednjih ratova na ovim prostorima.

Siniša Labrović rođen je 1965. u Sinju. Diplomirao je hrvatski jezik i književnost na Filozofskom fakultetu u Zagrebu 1997. godine. Vizualnim umjetnostima počeo se baviti 2000. godine. U svom umjetničkom radu izražava se kroz akcije, umjetnost performansa, grafite, urbane intervencije, video i fotografiju. Izlagao je na brojnim samostalnim i skupnim izložbama u zemlji i inozemstvu. Važniji projekti: multimedijalni projekt Stado. org (2005); performans Gloria (guslarska izvedba tekstova iz magazina Gloria, 2007); akcije Kažnjavanje (2002), Obilježavanje (2010) i Zavijanje ranjenika (2000) te serije Fraze i Pišanje. Na 11. Istanbulskom bijenalu 2009. godine predstavio je rad Postdiplomsko obrazovanje / Postgraduate Education. Predstavljao je Hrvatsku na 13. Venecijanskom bijenalu arhitekture 2012. godine zajedno s Pulskom grupom, Hrvoslavom Brkušić, Igorom Bezinovićem i Borisom Cvjetanovićem. Radovi mu se nalaze u zbirkama Muzeja suvremene umjetnosti u Zagrebu, Galerije umjetnina u Splitu i Umjetničke galerije u Dubrovniku. Živi i radi u Zagrebu. Internetska stranica: https://labrovic.com

Vještičina kuća iz Ivice i Marice upozorava na višeznačnosti, opasnosti pretjerane žudnje za sigurnošću i moći privida. Upravo je otkriveno da su tri žene trideset godina živjele kao robinje u "običnoj kući" u Londonu. Prema Kevinu Balesu, vodećem istraživaču oblika modernoga ropstva, trideset milijuna ljudi danas "živi zarobljeno". Natascha Kampusch i Wolfgang Priklopil. Elisabeth Fritzl i njezin tata, Josef Fritzl. (Siniša Labrović)

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In The Dictionary of Symbols by Jean Chevalier and Alain Gheerbrant there is a definition of the house, as well as the city and the temple, ‘in the middle of the world, the picture of universe …identification of the body and the house is also typical for Buddhism. In Irish culture a house symbolizes a standpoint and man’s position in relation to the unlimitless powers, or the other world. According to Bachelard, house represents an inner being. Floors, cellar and attic symbolize different phases of the soul. Cellar represents the unconscious part, an attic spiritual upliftment. Also, as Bachelard states, a house is a female symbol of a shelter, a mother, protection, mother’s breasts."There is no place like home" and "my home is my castle" are well known tradional quotes. Home is, above all, a warm place. To stay without "a home, housing", is something that refugees from our regions are very familiar with.

Siniša Labrović was born in 1965 in Sinj. He graduated in Croatian language and literature at the Faculty of Philosophy in Zagreb in 1997 and has been an active practising visual artist since 2000. His artistic practice includes art actions, performance art, graffiti, urban interventions, video and photography. His works have been presented at numerous independent and collective exhibitions in Croatia and abroad. Notable projects: multimedia project Stado.org / Flock.org (2005); performance Gloria (one-stringed fiddled performance of texts from women’s magazine Gloria, 2007); art actions Kažnjavanje / Punishment (2002), Obilježavanje / Marking (2010) and Zavijanje ranjenika / Dressing the Wounded (2000); series Fraze / Phrases and Pišanje / Pissing. His work Postdiplomsko obrazovanje / Postgraduate Education was presented at the 11th Istanbul Biennial in 2009. Labrović represented Croatia at the 13th Venice Architecture Biennale in 2012, along with Pula Group, Hrvoslava Brkušič, Igor Bezinović and Boris Cvjetanović. His works are exhibited in the Museum of Contemporary Art in Zagreb, the Gallery of Fine Arts in Split and the Dubrovnik Art Gallery. He lives and works in Zagreb. Web page: https://labrovic.com

The house from Hansel and Gretel warns about ambiguity, danger of strong longing and the power of illusion. It was recently discovered that 3 women in their 30’s lived as slaves in an ordinary house in London. According to Kevin Bales, the leading researcher of the modern slavery, 30 millions of people are still living "in captivity". Natascha Kampusch and Wolfgang Priklopil. Elisabeth Fritzl and her father, Josef Fritzl. (Siniša Labrović)

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TRAVANJ

2014.

Jelena Jureša

APRIL

Kustosica / CURATOR: Branka Benčić

Mira, skica za portret video instalacije

STILL AUDIO instalacijA

Mira, study for a portrait video installation

STILL AUDIO installation

Izložbeni program 2014.: HEROJI

Exhibition programme 2014: HEROES

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Mira, skica za portret multimedijalni je "biografski" rad koji istražuje granice sjećanja, problematizujući odnos fotografske slike i percepcije. Kroz jednosatni video promatračima zadajem nov način čitanja pokretne slike, šifrirajući mjesto kao medijsku odrednicu u koji se upisuju i brišu različita značenja. Rad prati život Mire i njene obitelji od perioda prije njezinog rođenja pa do njezine tragične smrti, koristeći se različitim materijalima i strategijama – putem arhivskih fotografija, videa i fotografija kao markera mjesta oživljava se obiteljska povijest Mirinih predaka, porodice bosanskih Židova koja je stradala na najokrutniji način u logorima na tlu bivše Jugoslavije. Prvi dio rada jest povijesno vrijeme sa svojim objektivnim tijekom, oslonjenim na poznate povijesne događaje. Drugi dio rada ne čini klasičan arhiv već kombinacija videa, fotografije i narativa, pri čemu narativ suprotstavljen slici dobiva ulogu istinitog svjedoka. Mirin život korespondira s kratkim periodom mira i postojanjem jedne države (Mira je stradala 1990. u prometnoj nesreći u okolici Pakraca, gdje su ubrzo počeli nemiri koji su označili kraj Jugoslavije i početak rata. MIRA, skica za portret je intimno preispitivanje granica sjećanja – priča o jednoj ženi, jednoj obitelji, jednoj zemlji i tri rata. Istovremeno, na posredan način, kroz izrazito intiman monolog naratora, rad propituje temu različitih uloga žene – majke, supruge, djeteta...

Rad STILL sastoji se od videoinstalacije, zvučne instalacije, fotografija i teksta. Zvučna instalacija je snimak probe sarajevskog dječjeg kora Princess krofne, a snimljene pjesme bile su veoma popularne u bivšoj Jugoslaviji. Članovi kora nisu bili ni rođeni u vrijeme kada su pjesme koje izvode bile najpopularnije. Štoviše, članovi kora rođeni su nakon rata i raspada Jugoslavije. Princess krofne, dječji kor, osnovao je Zlatko Bostandžić 1993. godine, tokom opsade Sarajeva – za djecu od 6 do 14 godina starosti – kako bi im omogućio aktivnosti kojima bi se radovala svake nedjelje. Jedan član kora izabrao je naziv Princess krofne, u vrijeme kada je mogućnost da se ova poslastica nađe u Sarajevu bila nepostojeća. (Jelena Jureša) Izložbu prati artist book Mira, Study for a Portrait u izdanju FOTOHOF, Salzburg (2014), te katalog koji je realiziran u suradnji: Savremena galerija u Zrenjaninu, Galerija 90-60-90 u Zagrebu, MMC Luka Pula, Trieste Contemporanea u Trstu, Muzej savremene umetnosti RS u Banja Luci, Museum im Rathaus u Gleisdorfu.

Jelena Jureša rođena je u Novom Sadu, gdje je i diplomirala na Akademiji umjetnosti. Njezino vizualno istraživanje oslonjeno je na ispitivanje reprezentacijskih (ne)moći "slike" – fokus njezinog rada je portret u najširem smislu. Njezin umjetnički senzibilitet navodi je da u središte svog umjetničkog koncepta postavlja pitanja rodnog, socijalnog, klasnog – ukratko, bilo kojeg identiteta. Fotografska slika je polazište njezinog promišljanja drugosti, bilo da se radi o mediju fotografije, videa ili o audiovizualnoj instalaciji. Izlagala je na brojnim samostalnim i grupnim izložbama. Trenutno je doktoranticaistraživačica – Ghent University, Faculty of Arts and Philosophy, Research Centre S:PAM (Studies in Performing Arts & Media) i KASK Conservatorium. Internetska stranica: http://jelenajuresa.com

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lation, photographs and text. The sound installation is a recording of Sarajevo’s children’s choir Princess krofne, singing songs that were one very popular in ex-Yugoslavia. The members of the choir were not even born at the time when those songs were at their peak of popularity. Moreover, they were born after the end of the war and the split of Yugoslavia. The children’s choir Princess krofne was founded by Zlatko Bostandžić in 1993 during the siege of Sarajevo, for children between 6 and 14 years of age, so as to provide them an activity to look forward to every Sunday. One of the choir members chose the name Mira, study for a portrait (Eng. cream puffs), a sweet that was impossible to find in Sarajevo at the time.

Mira, study for a portrait is a multimedia biographical work, exploring the limits of remembrance and the relation between the photographic image and perception. In an hour-long video, the viewer is given a new way to read moving images, in which a place is coded as a media guideline in which different meanings are being written and deleted. The work follows the life of Mira and her family in the period between her birth and her tragic death, using different materials and strategies. Archive photographs, videos and photographs as signifiers of place bring to life the story of Mira’s ancestors, a family of Bosnian Jews who were killed in the cruellest way in concentration camps in ex-Yugoslavia. The first part of this work is a historical, objective flow of time, leaning on wellknown historical events. The second part is not a classical archive, but a combination of video, photography and narrative, in which the latter, opposing the image, gains the role of a true witness. Mira’s life corresponds to a brief period of peace and existence of a state (Mira died in 1990 in a traffic accident near Pakrac, where soon afterwards began riots that marked the end of Yugoslavia and the beginning of war). Mira, study for a portrait is an intimate review of limits of remembrance - a story of a woman, a family, a country and three wars. At the same time, through the narrator’s very intimate monologue, the work indirectly explores the theme of different roles of women: mother, wife, child…

(Jelena Jureša) The exhibition also includes an artist book Mira, Study for a Portrait, published by FOTOHOF, Salzburg (2014), and a catalogue carried out in cooperation with the Contemporary Gallery in Zrenjanin, 9060-90 Gallery in Zagreb, MMC Luka Pula, Trieste Contemporanea in Trieste, Museum of Contemporary Art of Republic of Srpska in Banja Luka, Museum im Rathaus, Gleisdorf.

Jelena Jureša was born in Novi Sad, where she graduated from the Academy of Arts. Her visual research relies on examining the representational (lack of) power of "image" portrait in the broadest sense being the focus of her work. Her artistic sensibility directs her to focus her artistic concept on issues of gender, social, class and every other possible identity. Jureša uses the photographic image as the starting point in her creative contemplation of otherness, be it through the medium of photography, video or video and sound installation. Her work has been showcased at numerous independent and collective exhibitions. Currently she is a PhD researcher at Ghent University, Faculty of Arts and Philosophy, Research centre S:PAM (Studies in Performing Arts & Media) and KASK Conservatorium. Web page: http://jelenajuresa.com

The work STILL consists of a video-installation, a sound instal-

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LIPANJ

2014.

JUNE

Nicole Hewitt, u suradnji s / iN COLLABORATION WITH:

Jasminom Ravnjak, Vidom Guzmić i Ivanom Slipčevićem

Ova žena se zove Jasna 03 Skica za epizodalni povijesni roman u filmskom obliku u deset nastavaka / work in progress performans + druženje , DJ DR Hewitt

This woman is called Jasna 03 sketch for a filmed historical novel in 10 episodes / work in progress performance + gathering, DJ DR Hewitt

Izložbeni program 2014.: HEROJI

Exhibition programme 2014: HEROES

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Ova žena se zove Jasna 03 kao polazište uzima međuprostor osobne i službene povijesti, proces postojanja i nepostojanja na filmu, u arhivu i u društvu, prevođenje i prenošenje društvenih percepcija, upisivanje i neupisivanje u kolektivnu memoriju sadržaja i poruka, slika, filmova i teorija. Projekt koristi osobne memorije, arhivski materijal i fiktivne situacije susreta između aktera koji se nisu nužno ni susreli. U nedavnoj posjeti Galeriji Whitechapel u Londonu Jasna je kupila knjigu o ruševinama. Preko ruševina, ostataka i forenzične arheologije Jasna razmišlja o mogućnosti neživog da govori o povijesti, odnosno o memoriji objekta.

Nicole Hewitt bavi se filmom i videom. U novijim radovima istražuje mogućnosti dokumentarnog jezika unutar fiktivne strukture, propitujući specifičnosti filmskog iskaza i odnos između "prikaza" i "retorike" te filmskog i "stvarnog" vremena. Noviji radovi sve se više koncentriraju na izvedbu jezika recitacijom, pjevanjem i testimonijalom. Uz filmsku praksu, bavi se istraživanjem teorije i prakse suvremene umjetnosti. Filmovi su joj prikazivani i višestruko nagrađivani na brojnim svjetskim festivalima. Organizira, kurira i kokurira mnoge radionice, izložbe i seminare. Docentica je na Odsjeku za animirani film i nove medije Akademije likovnih umjetnosti u Zagrebu, a kao vanjska suradnica predaje na Department of Visual Cultures, Goldsmihts College u Londonu. Živi i radi u Zagrebu. Internetska stranica: http://www.pangolin.hr/hr/tko-smo-2/ nicole-hewitt

Tema treće epizode projekta čini glas i misli Jasne, polufikcijskoga lika službenice pri Međunarodnom sudu za ratne zločine u Den Haagu. Montažom teksta i slika projekt stvara opipljiv narativ između službenih i osobnih priča, propitujući procese vidljivosti i nevidljivosti u medijima i arhivu, prijevod i prijenos kolektivnih percepcija te upisivanje i neupisivanje u kolektivno pamćenje sadržaja i poruka slika, filmova i teorija. U epizodi Jasna 03 / Ruševine Jasna pronalazi knjigu o ruševinama u Galeriji Whitechapel. Razmišlja o slikama ruševina u njezinom gradu i njihovom statusu u akademskom diskursu. Ruševine, ostaci i forenzička arheologija Jasnu potiču na razmišljanje o materijalnim svjedocima ili o pamćenju objekata.

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The interspace between the personal and official history, the process of existing and not existing in film, archive and society, the translation and transmission of social perceptions, as well as the inscription and non-inscription into collective memory of content and messages, images, films and theories serve as the starting point for this project. The project uses personal memories, archival materials and fictional encounters of actors who may have not even met. During her recent visit to the Whitechapel Gallery in London, Jasna bought a book on ruins. Ruins, remnants and forensic archaeology trigger Jasna’s reflections on the possibility of the non-living to speak of history, that is, of the memory of objects. Episode 3 of an ongoing project dealing with the voice and thoughts of Jasna, a semi fictional administrator at the Hague War Crimes Tribunal. The project uses a montage of text and images to weave a tentative narrative between official and personal histories, questioning the processes of visibility and invisibility in the media and in the archive, the translation and transfer of collective perceptions, and the inscription or non inscription into collective memory of the content and messages of images, films and theories.

Nicole Hewitt works in film and video. Her recent works explore the possibilities of using documentary language in a fictional structure, questioning the specificities of film expression and the relation between "representation" and "rhetoric", as well as between the "real" time and the time in film. In her recent works, Hewitt puts focus on the language performance through recital, signing and testimonial. Along filming, Hewitt is also engaged in researching contemporary art theory and practice. She is a recipient of several awards for her films which have been presented at numerous festivals around the world. She organizes, curates and co-curates many workshops, exhibitions and seminars. Hewitt currently holds the position of assistant professor at the Department for Animated Film and New Media at the Academy of Fine Arts in Zagreb and also teaches as external associate at the Department of Visual Cultures at Goldsmiths College in London. She lives and works in Zagreb. Web page: http://www.pangolin.hr/hr/tko-smo-2/ nicole-hewitt

In episode Jasna 03 / Ruins Jasna comes across a book about ruins in the Whitechapel Gallery. She reflects on the images of ruins in her own town and their status in academic discourse. Ruins, remains and forensic archaeology trigger Jasna’s reflections on material witnesses, or the memory of objects.

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LIPANJ

2014.

JUNE

Sanja Iveković

Na barikadama desetkanalna video instalacija (2012)

On the Barricades desetkanalna video instalacija (2012)

IzloĹžbeni program 2014.: HEROJI

Exhibition programme 2014: HEROES

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"Što znači zatvoriti oči mrtvima? Ta je gesta toliko poznata iz bezbrojnih filmova. Nađe se leš, ruka ožalošćene osobe ili policijskog službenika pređe licem. Zatvaranje otvorenih očiju mrtve osobe – ta se radnja čini toliko poznatom, a samo je mali broj ljudi pozna iz stvarnog života. Ustvari, toliko je poznata da se rijetko postavlja pitanje o tome što zapravo znači. Sanja Iveković je također zatvorila oči mrtvih. U svom projektu Na barikadama za 8. bijenale u Gwangjuu pod naslovom "10, 000 života" čiji je kustos Massimiliano Gioni, hrvatska umjetnica koristila je portret-fotografije ljudi koji su mrtvi ili proglašeni nestalima trideset godina. Svi portretirani ljudi bili su žrtve višednevnog masakra koji su počinili vojska i policija nad ljudima Gwangjua 19. svibnja 1980. Na 325 slika kojima je Demokratsko udruženje za časne osobe i obitelj žrtve omogućilo pristup Ivekovićki, mrtvi ili nestali ljudi vide se onako kako su izgledali tijekom života, otvorenih očiju. Uz pomoć Photoshopa i dijelom uz korištenje dodatnih fotografija, Iveković je digitalno zatvorila oči ljudi na fotografijama. To je rezultiralo galerijom od oko 361 rekonfiguriranih crno-bijelih slika ljudi koji se pred očima gledatelja pojavljuju zatvorenih očiju, a slike su dijelom sastavljene od različitih vizualnih informacija. Oni koji upiru pogled bez gledanja. Koji ne uzvraćaju pogled već ga otklanjaju pokretom. Koji se predaju tmini." (Iz teksta Toma Holerta, O pjevušenju zajednice. Na barikadama Sanje Iveković)

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Suradnici na projektu − Quangju

Suradnici na projektu − Zagreb

Kamera: Lee Seong Taek

Grafička obrada: Sanja i Rene BachrachKrištofić

Umjetnici performansa: Minkyung Kim, Hyunjoo Lee, Jeongeun Shim, Jeongwook Park, Jimin Kim, Younghee Kim, Byungjae Kim, Jeongmin Lee, Changsoo Seo, Changhyun Hong, Jeongsun Yang, Keunyoung Chun, Namgyeong Hong

Video montaža: Miroslav Sikavica Tehnička podrška: Igor Brkić, Jakov Kerep Postav: Igor Brkić, Sanja Iveković, Jakov Kerep, Marijana Stanić

Organizacija: Namgyeong Hong Video instalacija Na barikadama je prikazana na 8. bijenalu u Gwangjuu (Južna Koreja), a trenutno se nalazi u kolekciji Musée d’Art Moderne Grand-Duc Jean, Mudam Luxumbourg.

Djelo Sanje Iveković obilježeno je kritičkim diskursom o politici slike i tijela. U njezine umjetničke strategije ubrajaju se analize medijske konstrukcije identiteta kao i politički angažaman, solidarnost i aktivizam. Djeluje na području umjetnosti performansa, videa, instalacija i javnih akcija od početka 1970-ih godina. Njezin se rad od devedesetih godina bavi propašću socijalističkih režima i posljedicama trijumfa kapitalizma i tržišne ekonomije nad uvjetima života, posebice kod žena. Izlagala je na brojnim samostalnim i skupnim izložbama u zemlji i inozemstvu. Dobitnica je niza priznanja za svoj umjetnički rad. Važnije izložbe: Monuments Should Not be Trusted, Nottingham Contemporary, Nottingham (2016); Kiev Biennale, Kiev; Transmissions: Art in Eastern Europe and Latin America, 1960-1980, MoMA, New York; The Feminist Avantgarde of the 1970s, Hamburger Kunsthalle, Hamburg; So You Want to See, e-flux, New York; Ich war, ich bin, ich werde sain!, DAAD Gallery, Berlin (2015); Na barikadama (On the Barricades), Pogon, Zagreb; Belfast Art-Histories, Museum der Moderne Salzburg, Salzburg (2014); (2014) Uknown Heroine, Calvert22/South London Gallery; Invisible Women, Espaivisor Gallery, Valencia (2013); Visages du Langage, Mac/Val, France; Waiting for the Revolution, Mudam Luxembourg; DOCUMENTA13 (2012); Sweet Violence, MoMA, New York, (2011). Živi i radi u Zagrebu.

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"What does it mean to close the eyes of the dead? This gesture is familiar from countless films. A corpse is found, the hand of a bereaved person or a police officer brushes over the face. Closing the open eyes of the dead person – this action seems so familiar, yet only a few people know it from real life. So familiar, in fact, that the question is rarely asked about what it actually means. Sanja Iveković has also closed the eyes of the dead. In her project On the Barricades for the 8th Gwangju Biennale, curated by Massimiliano Gioni under the title "10,000 Lives", the Croatian artist used portrait photographs of people who have been dead or declared missing for thirty years. All of the people portrayed were victims of a days-long massacre carried out by military and police on the people of Gwangju beginning 18 March [May?] 1980. In the 325 pictures, which were made available to Iveković by the archive of the May 18 Democratic Association for Honorable Persons and Victim’s Family, the dead or missing people are seen as they looked in life, their eyes open. With the help of Photoshop and partly using additional photographs, Iveković closed the eyes of the people in the photographs digitally. This resulted in a gallery of about 316 reconfigured black and white pictures, partly composed from different visual information, of people appearing before the viewer with closed eyes. Those who gaze without looking. Who do not return the gaze, but reject it gesturally. Who surrender themselves to darkness." (A fragment from the text On the Humming of the Community. On the Barricades by Sanja Iveković, written by Tom Holert.)

Project collaborators − Quangju

Project collaborators − Zagreb

Camera: Lee Seong Taek

Graphic processing: Sanja i Rene BachrachKrištofić

Performers: Minkyung Kim, Hyunjoo Lee, Jeongeun Shim, Jeongwook Park, Jimin Kim, Younghee Kim, Byungjae Kim, Jeongmin Lee, Changsoo Seo, Changhyun Hong, Jeongsun Yang, Keunyoung Chun, Namgyeong Hong

Video editing: Miroslav Sikavica Technical support: Igor Brkić, Jakov Kerep Exhibition design: Igor Brkić, Sanja Iveković, Jakov Kerep, Marijana Stanić

Organisation: Namgyeong Hong

The installation On the Barricades was presented at the 8th Gwangju Biennale in South Korea and is currently part of the collection of MUDAM, The Grand Duke Jean Museum of Modern Art in Luxembourg.

Sanja Iveković’sworks of art are characterised by the critical discourse dealing with the politics of image and body. In her artistic strategies Iveković incorporates the analysis of identity constructions in the media, as well as political engagement, solidarity and activism. Since the 1970s, she has been working in a range of media such as performance, video, installations and actions. Since the 1990s, she deals with the collapse of socialist regimes and the consequences of capitalism and market economy on living conditions, particularly of women. Her works have been presented at numerous independent and collective exhibitions in Croatia and abroad. She is a recipient of numerous awards and mentions for her work. Notable exhibitions: Monuments Should Not be Trusted, Nottingham Contemporary, Nottingham (2016); Kiev Biennale, Kiev; Transmissions: Art in Eastern Europe and Latin America, 1960-1980, MoMA, New York; The Feminist Avantgarde of the 1970s, Hamburger Kunsthalle, Hamburg; So You Want to See, e-flux, New York; Ich war, ich bin, ich werde sain!, DAAD Gallery, Berlin (2015); Na barikadama (On the Barricades), Pogon, Zagreb; Belfast Art-Histories, Museum der Moderne Salzburg, Salzburg (2014); (2014) Uknown Heroine, Calvert22/South London Gallery; Invisible Women, Espaivisor Gallery, Valencia (2013); Visages du Langage, Mac/Val, France; Waiting for the Revolution, Mudam Luxembourg; DOCUMENTA13 (2012); Sweet Violence, MoMA, New York, (2011). She lives and works in Zagreb.

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STUDENI

2014.

NOVEMBER

DAN OKI

Iako se kapital sve brže vrti oko Zemlje, Zemlja se i dalje jednakom brzinom vrti oko Sunca VIDEO INSTALACIJA

As the capital is ever more rapidly travelling around the Earth, the Earth itself still revolves around the Sun at the same speed VIDEO INSTALLATION

Izložbeni program 2014.: HEROJI

Exhibition programme 2014: HEROES

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U specifičnoj crnoj kocki Pogona Jedinstvo umjetnik će glasom naratora i video instalacijama uobličiti pitanje odnosa klimatskih promjena i religioznosti. Slike svijeta kao fluidnih odnosa organske i anorganske materije nasuprot antropocentričnoj personifikaciji odnosa čovjeka i boga. Ukoliko suprotstavljenim očima evolucioniste ili kreacioniste gledamo na klimatske promjene, dobivamo sasvim drugu sliku iste stvarnosti. Zašto ove dvije slike svijeta od kojih je prva sigurno bliža stvarnosti perzistirano opstaju kao suprotstavljeni par?

račun iluzije (koje nikako da se oslobodimo) kako bi Suncu ipak trebalo biti bitno vrti li se kapital oko Zemlje brže ili sporije." (iz teksta Borisa Greinera)

Dan Oki umjetnik je koji od druge polovice osamdesetih djeluje u Europi, na različitim područjima medijskih umjetnosti poput eksperimentalnog filma i videa, instalacija, kompjutorske animacije, interneta, fotografije i performansa. Studirao je film i video na De Vrije Academie u Den Haagu, u klasi Franza Zwartjesa, te na Odjelu za vizualnu umjetnost pri Hogeschool voor de Kunsten. Njegovi su radovi izlagani u brojnim europskim i svjetskim kulturnim centrima te institucijama za novomedijske umjetnosti.

"Formalno gledajući, ova multimedijalna instalacija konačnu informaciju proizvodi kombinacijom dvaju sadržajno odvojena kanala. U ovome slučaju ti elementi, audio i video (glas i slika), mogu biti protumačeni i kao duhoviti prijevod osnovnih pojmova iz geneze, odnosno suvremena onomatopeja onoga što bijaše na početku: Riječ i Svjetlo. Suštinski, u vezu se dovodi organska i anorganska materija s antropocentričnom personifikacijom čovjeka i boga. Niz tih kontakata ili dvojstava započet je već i naslovom koji ironizira kontakt trenutnog i vječnog, uvodeći konkretne okolnosti na makrouniverzalnu pozornicu. Ironija, međutim, ne ide toliko na račun bilo koje od suprotstavljenih strana, koliko možda na račun njihove postojeće ali apsurdne kombinacije, ali najviše na

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At Pogon Jedinstvo and its specific interior space that resembles a black cube, the artist will use video installations and narrating voice to formulate the relation between climate changes and religiousness. The images of the world as fluid relations of organic and inorganic material are opposed to the anthropocentric personification of the relation between man and God. If we observe climatic changes through confronted eyes of an evolutionary or a creationist, we will perceive an entirely different image of the same reality. Why do these two images of the world, the first certainly being much closer to reality, continue to persist as an opposed pair? "From a formal aspect, the final information in this multimedia installation is produced by a combination of two channels of different content. These audio and video elements (voice and image) in this particular case can also be interpreted as a witty translation of the fundamental notions of genesis, that is, as a contemporary onomatopoeia of what was in the beginning: the Word and the Light. Essentially, this work establishes a correlation between the organic and inorganic material and the anthropocentric personification of man and God. A number of such contacts or dualities are already initiated in the title which ironizes the contact of the temporary and the eternal and introduces concrete circumstances onto a macro-universal stage.

The irony, however, is not so much at the expense of any of the opposing parties, as is it perhaps at the expense of their existing, yet absurd combination. But the irony is above all at the expense of illusion (of which we cannot break free) that the Sun should care about the speed at which the capital travels around the Earth." (An excerpt from the text written by Boris Greiner)

Dan Oki has been active on the European art scene since the second half of the 1980s, working in various forms of media art such as experimental film and video, installation, computer animation, Internet, photography and performances. Oki studied film and video at De Vrije Academie in The Hague (in the class of Franz Zwartjes) and visual art at the Hogeschool voor de Kunsten. His works have been presented at numerous European and world cultural centres and new media art institutions. He lives and works in Split and Zagreb.

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PROSINAC

2014.

DECEMBER

Igor Grubić

Spomenik (rad u nastajanju), 35 minuta & BJ Nilsen, glazbeni performans

MonumenT (work in progress), 35 minutes & BJ Nilsen, musical performance

Izložbeni program 2014.: HEROJI

Exhibition programme 2014: HEROES

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Poetski, eksperimentalni dokumentarni film bavi se jednom prvorazrednom kulturnom i političkom temom na meditativan, filozofski način. Bit će to prikaz nekoliko apstraktnih, modernističkih spomenika iz doba socijalizma koji zajedno s moćnom prirodom koja ih okružuje čine dojmljive vizualne metafore, svojevrsnu vizualnu poeziju. Spomenik je zamišljen kao vizualni esej (bez dijaloga i naracije) o "životu" tih impresivnih djela socijalističkog kiparstva i stanju u kojem se nalaze, propitujući njihovu današnju svrhu. Iako se to na nekima gotovo ni ne vidi, mnogi od spomenika bili su bombardirani, djelomično srušeni ili teško "ranjeni" tijekom 90-ih. Upravo je sustavno uništavanje antifašističkih spomenika u Hrvatskoj tijekom prve polovice 90-ih i Domovinskog rata, kad je stradalo oko 3000 spomenika, bilo motivacija za snimanje filma.

Igor Grubić djeluje od 1996. godine kao multimedijalni umjetnik. Njegov rad obuhvaća umjetničke intervencije u javnom prostoru, performanse, fotografiju i video radove. Od 2000. godine radi kao producent i autor dokumentaraca, televizijskih reportaža i društveno angažiranih reklama. Svoje radove prezentirao je u mnogim međunarodnim institucijama i na raznim manifestacijama. Višestruko je nagrađivan. Važnije izložbe: Manifesta 4, Frankfurt; Tirana Biennale 2; 50. Oktobarski salon, Beograd; 11. Istanbulsko bijenale; 4. Fotofestival, Mannheim; Manifesta 9, Genk; Sweet Dew – since 1980, Gwangju Biennale 20th Anniversary Special Project. Živi i radi u Zagrebu. Internetska stranica: http://kreativnisindikat.org/hr/igor-grubic

Uz prikazivanje filma Spomenik održan je koncertni nastup švedskog kompozitora i sound artista BJ Nilsena. Glazbeni performans prati nijemu projekciju u skladu s filmskom naracijom.

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This poetic and experimental documentary film explores a first-class cultural and political topic in a meditative and philosophical way. The film will depict several abstract, modernist monuments built during Socialism which, together with its strong environment, create impressive visual metaphors and a certain kind of visual poetry. Monument is envisaged as a visual essay (without dialogue nor narration) exploring the "life" of those impressive socialist sculptures and their current state, as well as questioning their present purpose. Even though it is almost impossible to notice damage on some of the sculptures, many of them were bombed, partially demolished or severely "wounded" during the 1990s. The systematic destruction of the anti-fascist monuments that took place in Croatia in the first half of the 1990s and during which around 3000 monuments were destructed, served as a motivation for this film.

Igor Grubić has been active in the field of multimedia art since 1996. His work includes photography, video, performance art and art interventions. Since 2000, Grubić has been working as a producer and author of documentary films, television reports and socially engaged advertisements. His works have been presented at numerous international institutions and various art events. Recipient of several awards. Notable exhibitions: Manifesta 4, Frankfurt; Tirana Biennale 2; 50th October Salon Belgrade; 11th Istanbul Biennale; 4th Fotofestival, Mannheim; Manifesta 9, Genk; Sweet Dew – since 1980, Gwangju Biennale 20th Anniversary Special Project. He lives and works in Zagreb. Web page: http://kreativnisindikat.org/hr/igor-grubic

The film screening was accompanied by a concert performed by BJ Nilsen, Swedish composer and sound artist. The musical performance follows the silent film screening in accordance to the film’s narration.

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PROSINAC

2014.

DECEMBER

Pavle Pavlović

Lostland serija slika / photographic series

Izložbeni program 2014.: HEROJI

Exhibition programme 2014: HEROES

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U novoj seriji slika Lostland Pavle Pavlović se bavi specifičnim problemom voajerizma vezanim uz današnje društvo u kojemu virtualni i fizički aspekt postaju međusobno ovisni. Zbog ogromne količine informacija kojima smo svakodnevno bombardirani sve je teže diferencirati proživljeno iskustvo od virtualnog. S obzirom na to da je njegov način rada direktno vezan uz fotografije skupljene putem interneta, na neki način počinje i sâm biti vezan za to tuđe iskustvo koje u procesu rada slike u potpunosti preuzima. Serija slika zamišljena je kao životni ciklus imaginarnog pojedinca, tj. segmentima života za koje umjetnik smatra da u velikoj mjeri mogu predstavljati ponavljajući uzorak u suvremenom društvu spektakla. Početna ideja proizlazi iz misli da u današnjem svijetu više ne postoje heroji – u smislu muzičkih, umjetničkih individua ili mislilaca koji su na neki način formirali misao ili rušili barijere svoga vremena.

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Pavle Pavlović rođen je 1983. godine u Beogradu. Diplomirao je na Akademiji likovnih umjetnosti u Zagrebu. U svojim radovima bavi se specifičnom problematikom voajerizma, internetom kao odrednicom svakodnevice, proučavajući granice na kojima balansiraju virtualno i realno. Izlagao je na brojnim izložbama u zemlji i inozemstvu. Važnije izložbe: Solarfall, Galerija SC, Zagreb, 2014.; Document 1, Galerija Karas, Zagreb, 2011.; Artigo Rio, Rio de Janeiro, Brazil, 2014; Glo’art Gallery, Lanaken, Belgija; 2013. – Novi hrvatski realizam, Gliptoteka HAZU, Zagreb; One sided story, HDLU, Zagreb; 48. Zagrebački salon, HDLU, Zagreb; MUTATIS MUTANDIS, Halle 14, Spinnerei, Leipzig, Njemačka; 2012. – In Our Backyards, Werkschau Spinnerei, Leipzig, 2014. Glo‘art Residency, Lanaken, Belgija. Živi i radi u Samoboru i Zagrebu. Internetska stranica: http://www.pavlepavlovic.com

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In his new photographic series, Pavle Pavlović explores the specific issue of voyeurism related to contemporary society in which the virtual and the physical aspect become co-dependent. Due to the enormous amount of information that we are exposed to on a daily basis, it becomes more and more difficult to differentiate the real experience from the virtual one. Given that his method of work is directly related to photographs collected from the Internet, Pavlović himself starts to associate to the others’ experiences which he entirely adopts in his work process.

Pavle Pavlović was born in 1983 in Belgrade. Graduated from the Academy of Fine Arts in Zagreb. His work deals with the specific issue of voyeurism and the Internet as a determinant of the everyday life, exploring the limits on which the realistic and the virtual are balancing. His work has been presented at numerous exhibitions both in Croatia and abroad. Notable exhibitions: Solarfall, Student Centre Gallery, Zagreb, 2014; Document 1, Karas Gallery, Zagreb, 2011; Artigo Riom Rio de Janeiro, Brazil, 2014; Gallery Glo’art, Lanaken, Belgium, New Croatian Realism, Gliptoteka HAZU, Zagreb, 2013; One sided story, HDLU, Zagreb, 2013; 48th Zagreb Salon, HDLU, Zagreb, 2013; MUTATIS MUTANDIS, Halle 14, Spinnerei, Leipzig, Germany, 2013; IN OUR BACKYARDS, Werkschau Spinnerei, Leipzig, 2012; Glo’art residency, Lanaken, Belgium, 2014. He lives and works in Samobor and Zagreb.

The photographic series was envisioned as a life cycle of an imaginary individual, that is, a collection of life segments which the artist considers to form a possible repeating pattern in the contemporary world of spectacle. The initial idea is drawn upon the thought by which there are no longer any heroes left in the present-day world – there are no longer any musical and artistic individuals or thinkers who once used to shape the thoughts and break the barriers of their time.

Web page: http://www.pavlepavlovic.com

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PROSINAC

2014.

DECEMBER

Nicole Hewitt, u suradnji s / IN COLLABORATION WITH:

Jasminom Ravnjak, Vidom Guzmić i Ivanom Slipčevićem

Ova žena se zove Jasna 05

Skica za epizodalni povijesni roman u filmskom obliku u deset nastavaka / work in progress performans + druženje, DJ DR Hewitt

This woman is called Jasna 05

sketch for a filmed historical novel in 10 episodes / work in progress performance + gathering, DJ DR Hewitt

Izložbeni program 2014.: HEROJI

Exhibition programme 2014: HEROES

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Kao mutaciju filmskog projekta, s kojim se bavi već dvije godine, Nicole Hewitt predstavlja skicu za povijesni roman u filmskom obliku u epizodalnom performativnom izdanju, koji kao polazište uzima međuprostor osobne i službene povijesti, proces postojanja i nepostojanja u medijima, u arhivu i u društvu, prevođenje i prenošenje društvenih percepcija, upisivanje i neupisivanje u kolektivnu memoriju sadržaja i poruka, slika, filmova i teorija.

Biografija na stranici 182.

Uzimajući kao gradbene elemente materijale iz sjećanja ekspertnog svjedoka, vlastita sjećanja, Jasnina sjećanja, diskurse koji su je oblikovali kao autoricu, teorije koje su je oblikovale kao subjekt, prikaze koji su je petrificirali kao objekt, ratne migracije koje su nas obilježile kao izmještene i nikad u skladu s vlastitom prošlošću, forma povijesnog romana u filmskom obliku dozvoljava pristup koji kreće iz dokumentarnog, ali implicira narativni postupak i fikcionalizaciju prekinutih povijesti kroz različite formate – film, tekst, slide projekcija, performans / recitacija.

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Nicole Hewitt presents a sketch for a filmed episodic historical novel. Hewitt chose the interspace between personal and official history as a starting point for this work, the process of existing and not existing in the media, archive and society, the translation of social perception as well as the process of inscribing and not inscribing in the collective memory of content, messages, images, films and theories.

Biography on page 182.

Hewitt used the memories of the expert witness, her own memories and Jasna’s memories, discourses that have shaped her artistically, theories that have formed her as a subject, images that have petrified her as an object as well as war migrations that have marked us as displaced and never being in harmony with our own past. The form of a filmed historical novel thus allows a documentary approach, but also implies a narrative process and fictionalization of disrupted pasts through different formats film, slide projection, performance / recital.

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OŽUJAK

2015.

MARCH

Zoran Pavelić

MARKING TIMES PROSTORNA INSTALACIJA / installation

Izložbeni program 2015.: VRIJEME

Exhibition programme 2015: TIME

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Radovi s izložbe bave se procesom bilježenja u vremenu, praćenjem vremena, markiranjem vremena prije ulaska u "to" vrijeme. Serija fotografija i prostorna instalacija koje čine izložbu svojevrsno su vizualno čitanje vremena u kojem je vrijeme medij posredovan kroz "sliku" – fotoakciju, fotosliku, fotoobjekt, fotoinstalaciju, fotovideo, foto rečenicu, zvuk i glas… Središnji rad izložbe instalacija Marking Times, prezentira vrijeme kao objekt + čovjek, određeni "komad" vremena, koji bi mogao biti čekanje. Duga crna cijev koja visi u prostoru galerije materijalizira mogućnost "hvatanja" vremena u prostoru. Izložba Marking Times se sastoji od serije fotografija i istoimene prostorne instalacije, duge crne cijevi koja visi u prostoru galerije. Kustosice: Ivana Mance, Marijana Stanić

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Zoran Pavelić rođen je 1961. u Osijeku. Godine 1988/1991. osnivač neformalne umjetničke grupe Močvara / Baranja. God. 1998. diplomirao slikarstvo na Akademiji likovnih umjetnosti u Zagrebu, klasa Đure Sedera. Izlaže od 1984. godine. Multimedijalni umjetnik – osnovna intencija njegovog umjetničkog rada / istraživanja je mjerenje društvene i političke težine (ili lakoće) umjetnika, umjetnosti i umjetničkih institucija. Zanima ga utjecaj i suodnos različitih medijskih, geopolitičkih i drugih čimbenika na poziciju umjetnika i umjetnosti u društvu. Akcije, intervencije, performansi, ili site-specific radovi u javnim prostorima najčešće postavljaju pitanje komunikacije s umjetničkim i kulturološkim slojevima nasljeđa ili propituju značaj umjetničkih pojava, osobnosti, institucija u okolnostima odnosa velikih i malih sredina, centra i periferije. Radi u različitim medijima – slike, crteži, video, fotografija, nevidljive akcije i performansi, instalacije, knjige umjetnika… "Bitno je da se čuje glas umjetnika" njegova je često korištena krilatica. Umjetnički voditelj i član grupe PLEH od 2007. godine. U izdanju umjetničke organizacije PLEH 2012. izašla mu je knjiga Zoran Pavelić – Politički govor je suprematizam s tekstom Ružice Šimunović o njegovu dosadašnjem radu. Internetska stranica: http://issuu.com/zoranpavelic/docs/zp

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The exhibited works explore the process of inscribing in time, of observing time and marking time before entering ‘that’ time. A series of photographs and an installation represent a somewhat visual reading of time in which the time serves as a medium expressed through "image" – photo action, photo painting, photo installation, photo video, photo phrase, sound and voice… The central work of art, installation Marking Times, presents time as object + man, a defined 'fragment' of time, which could be an act of waiting. A long black tube hanging in the gallery materializes the possibility to "catch" the time in space. The exhibition Marking Times consists of a series of photographs and an installation, a long black tube hanging in the gallery space. Curators: Ivana Mance, Marijana Stanić

Zoran Pavelić is a multimedia artist, born in 1961 in Osijek. Founder of the informal art group Močvara / Baranja. Graduated in painting in 1998 from the Academy of Fine Arts in Zagreb, in the class of Đuro Seder. He has been exhibiting his work since 1984. The main intention of his art practice is to measure the social and political weight (or lightness) of an artist, art and art institutions. Pavelić is interested in the way in which different media, geopolitical and other factors affect the position of art and artists in society. Art actions, interventions, performances and site-specific works of art in public space most often refer to communication with artistic and cultural heritage and question the importance of art phenomena, personalities and institutions in circumstances defined by the interrelation of small and bigger communities, that is, the city centre and the periphery. Pavelić works in a large range of media: painting, drawing, video, photography, invisible art actions and performances, installation, artist books… "It is important to hear the artist’s voice" is his often used motto. Since 2007, he is the artistic director and member of the art group PLEH. In the year 2012, PLEH published a book about his work, Zoran Pavelić – Politički govor je suprematizam (Zoran Pavelić – Political Speech Is Suprematism), written by Ružica Šimunović. He lives and works in Zagreb. Web page: http://issuu.com/zoranpavelic/docs/zp

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SVIBANJ

2015

MAY

Nina Kurtela

Priroda i društvo video instalacija

Nature and Society video installation

Izložbeni program 2015.: VRIJEME

Exhibition programme 2015: TIME

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Performans Priroda i društvo sastoji se od hodanja koje kreće iz centra urbanog tkiva – trga ispred institucija Europske unije u Zagrebu te prolazi rutom prema sjevernom rubu grada, sve do šume, pri čemu obilježavam prijeđeni put. Mapirajući krajolik, ostavljajući trag, obilježavam prostor i vrijeme kroz koje se krećem. Referirajući na priču o Ivici i Marici braće Grimm, koja je kanonizirana u 19. stoljeću, u doba velikog siromaštva, neimaštine i gladi gdje roditelji nerijetko ostavljaju djecu u šumama, povlačim paralelu s današnjim ekonomsko-političkim stanjem te umjesto kamenčića, odnosno kruha ostavljam kovanice eura na putu prema šumi. Time istražujem mogućnosti poništavanja vrijednosti novca s obzirom na promjenu okoliša kroz koji hodam. Na području grada, posebice gradskog centra koji na simboličkoj razini predstavlja ekonomsku i političku moć, novčići imaju svoju razmjensku vrijednost, dostupni su bilo kome i otvaraju prostor interakcije. Na periferiji, gdje urbani prostor postepeno nestaje, vrijednost novca dovodi se u pitanje, da bi na kraju, u šumskom krajoliku, mogla biti potpuno poništena, barem na simboličkoj razini, iako ne nužno i na stvarnoj.

prostor i novo iskustvo vizualnog i izvedbenog krajolika unutar crne kutije. (Nina Kurtela) Performans Priroda i društvo izveden je i snimljen u sklopu UrbanFestivala 13, u produkciji BLOK-a, a izložba je realizirana u produkciji Udruge 90-60-90.

Montaža: Marija Prusina Fotografija: Branimir Hainš, Damir Žižić, Danko Stjepanović Postav: Sven Jonke, Petar Kurtela Tehnička podrška: Jakov Kerep, Hiperprodukcija d.o.o.

Nina Kurtela rođena je u Zagrebu 1981. Diplomirala je na ALU u Zagrebu u klasi prof. Rašića i UdK – HZT Contemporary Dance, Choreography, Context u Berlinu. Njezin je rad multidisciplinaran i site-specific, pri čemu uključuje specifične zajednice, preispituje monetarne vrijednosti ili istražuje ideje razmjene koje stvaraju različite društvene odnose. Preispitujući identitet i intimnost, istražuje načine na koje različiti postupci tijela i osobito specifične društvene, kulturne i urbane sfere određuju čovjekovo ponašanje, utječu na naše iskustvo i pogađaju nas. Izlagala je na brojnim izložbama u zemlji i inozemstvu. Dobitnica je niza stipendija i nagrada. Živi u Zagrebu i Berlinu. Internetska stranica: www.ninakurtela.com

Izložba Priroda i društvo prevodi iskustvo performansa u izložbeni prostor, koristeći dokumentacijski materijal i dokaze već izvedenog performansa i doživljenog iskustva, istovremeno unoseći nove elemente, stvarajući novi

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Kamera: Jasenko Rasol, Srđan Kovačević

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the above mentioned performance to translate its experience in the exhibition space, while also introducing new elements in order to create a new space and a new experience of the visual and performative landscape inside the black box.

The performance Nature and Society consists of a walk through the city of Zagreb. The route starts in the very centre of the urban tissue – at the square in front of the EU institutions in Zagreb, continuing to the northern part of the city until finally reaching the forest. Throughout the walk I mark the travelled distance; by mapping the landscape and laying a trail in it, I also mark the space and the time that I’m moving through.

(Nina Kurtela)

The performance Nature and Society was realised as a part of the 13th edition of UrbanFestival (production by BLOK).

I use the reference to the Brothers Grimm’s story of Hansel and Gretel (published in the 19th century at a time of great poverty and famine when parents often abandoned their children in forests) to draw a parallel to the present-day economic and political situation. Instead of pebbles and bread crumbles, I drop euro coins on my way to the forest, hence exploring the possibilities of invalidating money in relation to the change of environment that I’m walking through. The city area, particularly the city centre which is regarded as a symbol of economic and political power, is a zone where coins have their exchange value. They are available to everyone and they open a space for interaction. On the other hand, at the city’s periphery where the urban space gradually disappears, the money value starts being questioned to finally become invalid, at least symbolically, in the forest landscape.

Camera: Jasenko Rasol, Srđan Kovačević Montage: Marija Prusina Photography: Branimir Hainš, Damir Žižić, Danko Stjepanović Set-up: Sven Jonke, Petar Kurtela Technical support: – Jakov Kerep, Hiperprodukcija d.o.o.

Nina Kurtela was born in 1981 in Zagreb. Graduated from the Academy of Fine Arts in Zagreb and UdK – HZT Contemporary Dance, Choreography, Context in Berlin. In her multidisciplinary and site-specific work, Kurtela includes specific communities, questions monetary values and explores the notions of exchange through which different social relations are established. By questioning the notions of identity and intimacy, Kurtela explores the ways in which different body procedures and specific social, cultural and urban spheres determine human behaviour and affect us and our experience. She has participated in numerous exhibitions in Croatia and abroad and is a recipient of several scholarships and awards. She lives in Zagreb and Berlin. Web page: www.ninakurtela.com

The exhibition Nature and Society uses the documented material of

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SRPANJ

2015.

JULY

Ivana Franke

Mind Crossing INSTALACIJA / INSTALLATION

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kroz percepciju i iskustvo, odnosno utjecaja naše svijesti na okolinu, pitanju granice između unutrašnjeg i vanjskog svijeta te poroznosti stvarnosti i imaginacije.

Izložba Mind Crossing nastavak je projekta Seeing with Eyes Closed te također problematizira vizualno iskustvo slika koje nastaju u našoj glavi uslijed izloženosti stroboskopskom svjetlu različitih frekvencija zatvorenih očiju. Nastale slike nemaju uporište u izvanjskoj stvarnosti, njih se doživljava kao halucinacije.

U Galeriji 90-60-90 instalacija je izložena zajedno s dokumentacijom istraživanja.

Važan dio projekata čini istraživanje i analiza fenomena kvazi-halucinacija te razloga njihovih pojavljivanja u suradnji s neuroznanstvenicima teoretskim i eksperimentalnim metodama. Unutar projekta Seeing with Eyes Closed eksperiment je obuhvaćao subjektivne izvještaje ljudi izloženih stroboskopskom svjetlu, dok je unutar projekta Mind Crossing snimljena kortikalna aktivnost mozga pomoću video EEG-a (elektro-encefalogram) tijekom izloženosti stroboskopskom svjetlu različitih frekvencija Intermittent Photic stimulatora. Frekvencije kortikalne aktivnosti mozga analizirane su i "prevedene" u frekvencije titranja svjetla te tvore prostorno-vremensku mapu koja ujedno vizualizira snimljenu kortikalnu aktivnost mozga izloženog stroboskopskom svjetlu – odnosno subjekta koji doživljava kvazi-halucinacije, i sama je stroboskopski objekt koji ih proizvodi kod gledalaca. Instalacija je eksperimentalni model za daljnja znanstvena i umjetnička istraživanja koji dodaje razinu kompleksnosti pitanju utjecaja okoline na našu svijest

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Ivana Franke rođena je i educirana u Zagrebu (Akademija likovnih umjetnosti), te je nakon toga sudjelovala na nekoliko rezidencijalnih i istraživačkih programa (CCA Kitakyshu, Japan, Institut za prostorna istraživanja, UdK, Berlin). Njezina praksa je karakterizirana korištenjem znanja iz drugih disciplina – neuroznanosti, matematike, optike i arhitekture u istraživanju rubnih prostornih, vizualnih i imaginarnih fenomena. Ti fenomeni uključuju halucinacije, multistabilne slike, prostore više dimenzija, rubove vidljivosti, općenito fenomene koji su nemjerljivi i nebrojivi također objektivnim znanstvenim metodama i procesima objektivacije subjekta, te utječu na tijelo i um gledatelja u smislu dezorijentacije, osjećaja nesigurnosti u prostoru, preispitivanja osjećaja i koncepata prostora i vremena i sebstva. Izlagala je na brojnim samostalnim i skupnim izložbama u zemlji i inozemstvu. Važnije izložbe: Structures of the Invisible, Vasarely Foundation u Aix-en-Provence, Insert 2014 – Cutting Edge of Global Contemporary, New Delhi, I look at you and I see Nothing, Sharjah Art Foundation, Beam in Thine Own Eye, MoNA Museum, Hobart, Australija. Također je surađivala na brojnim projektima s arhitektima (Petar Mišković, Studio Up, 3LHD) te je predstavljala Hrvatsku na Venecijanskom bijenalu te Venecijanskom bijenalu u arhitekture. Živi i radi u Berlinu. Internetska stranica: http://www.ivanafranke.net

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The exhibition Mind Crossing is continuation of the project Seeing with Eyes Closed. It questions the visual experience of the images that arise in our head as a result of exposure to the different frequencies of the stroboscopic light, when eyes are closed. The resulting images do not have a foothold in outer reality, they are experienced as hallucinations.

artistic research that adds a level of complexity when it comes to questioning the environmental influences on our consciousness through perception and experience and influence on our awareness of the environment. It questions the border issues between the inner and outer world, and the porosity of the reality and the imagination. The installation and the documentation of the research were exhibited at the 90-60-90 Gallery.

An important part of the project included research and analysis of the phenomenon of quasihallucinations and the reasons of their occurrence in reference with neuroscientist’s theoretical and experimental methods. Within the project Seeing with Eyes Closed experiment included subjective reports of the people exposed to the stroboscopic light, while the project Mind Crossing included recorded cortical brain activity using video EEG (electroencephalogram) during exposure to the stroboscopic light of different frequencies of the Intermittent Photic Stimulator. On the basis of this research it incurred an experimental installation with LED lights, which is operated by means of selected data recorded on EEG player. The frequencies of cortical brain activity were analyzed and "translated" into the frequency of oscillation of the light and form a space-time map that at the same time visualizes recorded cortical activity of the brain exposed to stroboscopic light and the subject experiencing a quasi-hallucinations, and itself is a facility that produces quasi-hallucinations for the viewer. This Installation is an experimental model for further scientific and

Ivana Franke was born in Zagreb. She has graduated from the Zagreb Academy of Fine Arts and has since participated in several residential and research programmes (CCA Kitakyshu, Japan, Institute for Spatial Experiments, UdK, Berlin). In her art practice, Franke implements knowledge from other disciplines (neuroscience, mathematics, optics and architecture) so as to explore marginal spatial, visual and imaginary phenomena. These phenomena include hallucinations, multistable images, multidimensional spaces, margins of visibility and generally phenomena that cannot be measured nor counted by objective scientific methods and processes of subject objectification. Such phenomena affect the viewer’s mind and body in terms of disorientation, feeling insecure in space and questioning the feelings and concepts of space, time and self. Franke has participated in numerous individual and collective exhibitions in Croatia and abroad. Notable exhibitions: Structures of the Invisible, Vasarely Foundation in Aix-en-Provence, Insert 2014 – Cutting Edge of Global Contemporary, New Delhi, I look at you and I see Nothing, Sharjah Art Foundation, Beam in Thine Own Eye, MoNA Museum, Hobart, Australia. She has also collaborated with architects in numerous projects (Petar Mišković, Studio Up, 3LHD). Franke represented Croatia at the 52nd Venice Biennale in 2007 and at the 9th Venice Architecture Biennale in 2004. She lives and works in Berlin. Web page: http://www.ivanafranke.net

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LISTOPAD

2015.

OCTOBER

Franc Purg & heaVy metal band, WOODOO MULE

20118

video instlacija + performans / video installation + performance

Izložbeni program 2015.: VRIJEME

Exhibition programme 2015: TIME

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Dok nam vid daje najviše opipljivih informacija o svijetu oko nas, priroda viđenoga podređena je našoj spoznaji. Hegemoniju uma nad vanjskom realnošću nazivamo iluzijom. Performans i video instalacija upravlja s odnosom između vidljivog i spoznatljivog, konkretno između privida i hinjenja. Zajedničko im je pretvaranje, razlikuje ih stupanj (ne)svjesnosti. Dok je privid nešto što se nije dogodilo, a um se pretvara da jest, hinjenje označava nešto što um dobro zna da se događa ili će se dogoditi, ali se pretvara da nije. Video instalaciju koja stvara privid prati zvučni ritual, performans, koji se baziraju na repeticiji. Jedina stvar koja se ne ponavlja je spisak više od 20 000 latinskih naziva.

Franc Purg (SLO) živi u Londonu. Njegov rad obuhvaća široki raspon audio-vizualnih medija – instalaciju, performans, fotografiju, video, zvuk. Od 2006. godine djeluje u umjetničkom tandemu sa Sarom Heitlinger iz Londona. Izlagao je na brojnim samostalnim i skupnim izložbama – festivalima u galerijama i muzejima diljem svijeta. Internetska stranica: http://francpurg.net

Franc Purg čita abecedni spisak ugroženih biljnih i životinjskih vrsta na latinskom jeziku, a heavy metal sastav Voodoo Mule na svako pročitano ime odreagira s jednakim zvučnim odgovorom. Pošto je spisak gotovo beskonačan, trajanje rituala je nepredvidljivo.

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The sense of sight is our biggest source of palpable information about the world that surrounds us. However, the nature of what is seen depends on our knowledge. The hegemony of the mind over external reality is called illusion. The video installation and the performance act control the relation between what can be seen and what can be comprehended, the relation between illusion and pretence. Pretence is what they have in common, while they differ in (un)awareness. Illusion is something that has not happened, but what mind pretends to have happened. In pretence, our mind is aware that something is or is about to happen, however it pretends as if nothing is happening. The video installation creates an illusion and is accompanied by a sound ritual, based on repetition. A list of more than 20 000 Latin names is the only element that does not repeat itself.

Franc Purg (SLO) lives in London. He works in a large range of audio and visual media, such as installation, performance art, photography and video and sound art. Since 2008, Purg has been collaborating with the Londonbased artist Sara Heitlinger. His works have been showcased at numerous independent and collective exhibitions at many festivals, galleries and museums around the world. Web page: http://francpurg.net

Franc Purg will read an alphabetical list of endangered animal and plant species, written in Latin. At the same time, the heavy metal band Voodoo Mule to each pronounced name from list will retort with the same sound response. We cannot estimate the duration of the ritual, as the list of names is almost infinite.

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STUDENI

2015.

NOVEMBER

GRUPA AUTORA / GROUP OF AUTHORS Autorica koncepcije / CONCEPT: Leila Topić Kustosica / CURATOR: Marijana Stanić

Da nam živi živi rad! Long live labour! 282

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Plaćeni rad ne čini nas sretnim! Dapače, pretvorio se u oblik suvremenog ropstva. Tvrtke u kojima kulučimo od devet do pet podvaljuju nam iluziju o napredovanjima, pripadnostima korporacijskoj kulturi i mogućnostima mobilnosti. Stoga valja poticati lijenost i zabušavanje jer alternativa nedostatku vremena nije posjedovanje materijalnih bogatstava ili uspješne karijere. Kroz radove suvremenih umjetnika i pisaca te glazbene spotove izložba ironijski kodiranog naziva Da nam živi živi rad! uzdiže dokolicu, promišlja lijenost i ismijava odanost korporacijskim vrijednostima liberalnog kapitalizma. Umjetnici: Željko Badurina, Siniša Labrović, Vlado Martek, Antonio Paucar, Julien Prévieux, Oliver Ressler, Christina Schultz, Mladen Stilinović, Péter Szabó, David Thorne, Marko Vojnić Gin, Damir Žižić / Kristian Kožul, Fokus grupa + oblikovanje Rafaela Dražić Tekstovi: Paul Lafargue, Milan Kundera, Corinne Maier, Ivan Gončarov, Tadeusz Rozewic, John Keats, Herman Mellville, Oscar Wilde, Jadranka Pintrić, Aleksandar Hut Kono… Autorica koncepta: Leila Topić Kustosica: Marijana Stanić

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Paid work doesn't make us happy! On the contrary, it has turned into a type of modern slavery. The companies that make us slave away at nine-to-five jobs trick us into believing the illusion of advancement, belonging to a corporate culture and all the possibilities of mobility within the entrepreneurial system in order to get us to work even more. This is why laziness and slacking should be encouraged, because the possession of material goods and successful careers is not an alternative to having no time. The ironically titled exhibition Long Live Labour! uses contemporary artists' and writers' works and music videos to mock the concept of loyalty to the corporate values of liberal capitalism. Artists: Željko Badurina, Siniša Labrović, Vlado Martek, Antonio Paucar, Julien Prévieux, Oliver Ressler, Christina Schultz, Mladen Stilinović, Péter Szabó, David Thorne, Marko Vojnić Gin, Damir Žižić / Kristian Kožul, Fokus grupa + graphic design Rafaela Dražić Texts: Paul Lafargue, Milan Kundera, Corinne Maier, Ivan Gončarov, Tadeusz Rozewic, John Keats, Herman Mellville, Oscar Wilde, Jadranka Pintrić, Aleksandar Hut Kono… Concept: Leila Topić Curator: Marijana Stanić

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PROSINAC

2015.

DECEMBER

Sandro Đukić

Potrošeni oblik video instalacija + fotogrqfija + umjetnička knjiga

The Outworn Structure video installation + photography + artist book

Izložbeni program 2015.: VRIJEME

Exhibition programme 2015: TIME

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Riječ je o multimedijalnom radu, odnosno seriji radova – video instalaciji i arhivu analogne fotografije – umjetničkim knjigama, koji se bave problemom vremena (King's Gambit, Potrošeni oblik/The Outworn Structure, video instalacija Daydream). Radovi na izložbi posebno se odnose na tri aspekta elaboracije fenomena vremena: promjenu tehnološke i ekonomske paradigme kao i ideologije sjećanja. Osim motiva industrije, istraživanje uključuje dokumentaciju dekapitiranih spomenika koji su naročito zanimljivi s obzirom na entropijsku prirodu sustava društvenih vrijednosti i kolektivne memorije, kao i distopijskih mjesta zaboravljene i potisnute ideologije. Osim fotografskog arhiva u formi umjetničkih knjiga izložba uključuje i video u kojemu umjetnik, među ostalim, koristi i tehniku stop animacije – ubrzavajući i usporavajući snimljene situacije dodatno naglašavajući problem vremena i trajanja u namjeri prenošenja narativne razine projekta na osjetilnu. "Jednostavno rečeno, serija Potrošeni oblik – The Outworn Structure odraz je društva u kojemu živimo i kao takva zauzima svoje mjesto u Đukićevim, ali ne i samo njegovim arhivima. Ovom serijom radova Sandro Đukić potvrđuje načelo da je autorski osmišljena i tehnološki korektno provedena dokumentacija najžešći kritičar stvarnosti, a da ujedno svojim, u biti ekspresivnim narativom, konstataciju smješta u umjetničke

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sfere. Treći segment ove izložbe je video rad Daydream koji svojom meditativno-kontemplativnom aurom zaokružuje izložene cjeline i poziva nas da u miru promislimo o svijetu u kojemu živimo, o vrijednostima i nedostacima prošlosti te, konačno, o našoj budućnosti koju bi trebalo prestati kreirati jeftinim konzumerizmom, već individualnom duhovnom nadgradnjom, koja je taj svijet do sada i pokretala." (Iz teksta Mladena Lučića, Potrošeni oblici)

Projekt King`s Gambit ostvaren je u suradnji s galerijom Michaela Stock iz Beča.

Lokacija: Kunsthistorisches Museum Wien / Saal XII

Autor: Sandro Đukić

Datum: 29.05.2015.

Produkcija: Sandro Đukić i Galerie Michaela Stock

Produkcija: Branka Cvijetičanin, Davorka Perić, Michaela Stock, Nikša Brajdić Šlujo

Sudionici: Sandro Đukić & Slaven Tolj

Medijski umjetnik Sandro Đukić rođen je u Zagrebu 1964. godine gdje je diplomirao na Akademiji likovnih umjetnosti 1989. godine. Studirao je na Kunstakademie Düsseldorf od 1989. do 1993. godine kao gostujući i redovni student, gdje je pohađao i Majstorsku radionicu od 1993. do 1994. godine. Izlagao je na brojnim samostalnim i skupnim izložbama u zemlji i inozemstvu. Kao predavač sudjelovao je na brojnim domaćim i međunarodnim simpozijima. Radovi mu se nalaze u javnim i privatnim zbirkama. Živi i radi u Zagrebu. Internetska stranica: http://www.sandrodukic.com/hr

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The Outworn Structure is a multimedia series of works – an installation composed of video and an analogue photography archive – artist-books dealing with the issue of time (King's Gambit, The Outworn Structure, video installation Daydream). The pieces in the exhibition deal with three aspects of the phenomenon of time: the shift of the technological and economical paradigm, ideology and memory. Other than the motif of industry, the research includes the documentation of decapitulated monuments which are especially interesting in regards to the entropic nature of systems of social values and collective memory, as well as the dystopic-like places of forgotten and repressed ideology. Along the photography archives in the form of artist-books the exhibition includes video in which the artist, among other techniques, uses that of stop-motion animation – by accelerating and decelerating the recorded situations the problem of time and duration is emphasized with the intention of transferring the narrative levels of the project to that of the sensory. "Simply put, the series The Outworn Structure is a reflection of the society which we inhabit, and as such takes its place in Đukić's, though not only his, archives. With this series of works Sandro Đukić confirms the principle by which a technologically correct artistic concept of documentation is the best critic of reality. Without denying its expressive narrative the statement is still situated in

the field of art. The third segment of this exhibition is the video piece Daydream, characterized by its meditative-contemplative aura it completes the exhibited units and invites us to peacefully rethink the world we live in, the values and deficiencies of the past, and finally to rethink our future which we must cease to create with cheap consumerism, but with individual spiritual upgrade which had run the world until now." (From the text Outworn Structures, Mladen Lučić)

The project King's Gambit is realized in collaboration with the Michaela Stock Gallery from Vienna. Author: Sandro Đukić Production: Sandro Đukić and Michaeka Stock Gallery

Location: Kunsthistorisches Museum Wien / Saal XII Date: 29.05.2015. Production: Branka Cvijetičanin,, Davorka Perić, Michaela Stock, Nikša Brajdić Šlujo

Participants: Sandro Đukić & Slaven Tolj

Sandro Đukić is a multimedia artist, born in Zagreb in 1964. Graduated from the Zagreb Academy of Fine Arts in 1989, in the class of Đuro Seder. In the period from 1989 to 1993, Đukić studied at the Kunstakademie Düsseldorf as a visiting and regular student in the class of Nam June Paik. At the same institution he also attended a Master course from 1993 to 1994. His works of art have been presented at numerous independent and collective exhibitions in Croatia and abroad. He has participated as a presenter in several symposiums, both in Croatia and abroad. His works are included in several public and private collections. He lives and works in Zagreb. Web page: http://www.sandrodukic.com/hr

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PROSINAC

2015.

DECEMBER

Ana Bilankov

New Town Future Film video, fotografija + multimedijalna instalacija / video, photo + multimedia installation

IzloĹžbeni program 2015.: VRIJEME

Exhibition programme 2015: TIME

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Eksperimantalni video radnog naziva New Town Future Film priziva zvukom i slikom neko realno i istovremeno imaginarno mjesto u budućnosti s referencama na sadašnjost i prošlost. Mjesto između utopije i distopije s referencama na postindustrijski krajolik je New York, ali moglo bi biti i negdje drugdje. Poetski jezik "priče" u pozadini – mišljeno je kao fragmenti dijaloga, muzike, vijesti itd. s radija visokih frekvencija, a između uvijek prekid za zvučnim "bijelim šumom" – propituje fenomene mjesta (specifičnog i apstraktnog) i vremena (prošlost, sadašnjost, budućnost), kao i individue, kolektiva, odsustvo memorije i fikcionalne konstrukcije ljudskog osjećanja i razmišljanja. (Ana Bilankov)

"Gledajte dovoljno dugo filmski kadar Ane Bilankov i primijetit ćete da se u njegovoj sintaksi rascijepa nalazi niz plavih čestica nalik onima koje vidite promatrajući u noći prozore stanova u kojima titra svjetlo televizora. I wonder when the violence starts… You always get murdered when you go to New York. I've seen it on Television. – govori muški glas iz off-a dok na ekranu bljesak munje rasvjetljuje arhitekturu lučkog postrojenja. Poput stroboskopskih bljeskova u Godardovom filmu. U postupku montaže New Town Future Film operira figurom rascijepljenog, paradoksalno udvojenog ekrana, koji lišavajući narativ koherencije dopušta da se pojavi kristal-slika. Ono daleko, i malo bliže, ali još uvijek asimptotski udaljeno.

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Deleuze naziva kristal-slikom točku nerazlučivosti dviju različitih slika, aktualne i virtualne, pri čemu je ono što se vidi u kristalu vrijeme samo komadić vremena u čistom stanju, sama distinkcija između dvije različite slike koja se nastavlja rekonstituirati. Kristal-slika nije samo optička, već je ona, štoviše, i stvar zvuka." (Iz teksta Leonide Kovač Post Scriptum).

Radovi na izložbi: 1. MAN, SHIP AND A LANDSCAPE (POLAR NIGHT), 2013., video, 4 min, bez zvuka, loop 2. NEW TOWN FUTURE FILM, 2015., video, 18:30 min., zvuk 3. SHE FOR SHIP or REGATTA IN WHITE (Galileo Galilei, Galileo, Meridian, Sun Vista), 2015., instalacija 4. UNTITLED (APOLLO MOONLANDING & HALL OF PRESIDENTS), 2015., serija fotografija, inkjetprint, 110 x 92 cm Ana Bilankov multimedijalna je umjetnica rođena u Zagrebu. Njezina konceptualna i kontekstualna umjetnička praksa uključuje medije kao što su fotografiija, video/ eksperimentalni film, video instalacija i tekst. Studirala je povijest umjetnosti i germanistiku na Sveučilištima u Zagrebu i Mainzu (diplomirala u Zagrebu), umjetničku fotografiju na Wiesbadener Freie Kunstschule te postdiplomski studij "Umjetnost u kontekstu" (M.A.) na Universität der Künste u Berlinu i University of the West of England u Bristolu. Dobitnica je više stipendija za studijske boravke u inozemstvu, kao što je stipendija Berlinskog senata za kulturu za New York 2014., kada je bila pozvana i na postproducijsku rezidenciju u The Wexner Center for the Arts, Columbus, Ohio, USA. Izlagala je na mnogobrojnim samostalnim i grupnim izložbama, a njezini eksperimentalni video radovi prikazivani su na više filmskih i video festivala, na kojima je i nagrađivana. Živi i radi u Zagrebu i Berlinu. Internetska stranica: http://www.anabilankov.com

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"If you look long enough at the take in the Ana Bilankov film you will notice that in its syntax of splits and ruptures there is a series of blue particles like those that you will see looking at night into the windows of flats in which the light of the TV is flickering. I wonder when the violence starts. You always get murdered when you to go New York. I’ve seen it on television, says a male voice over, while on the screen the flash of lightning lights up the architecture of the dock facilities. Like the stroboscopic flashes in the Godard film. In the editing procedure, New Town Future Film works with the figure of the split, paradoxically doubled screen, which, depriving the narrative of any coherence, allows the crystal image to appear. The distant, the little closer, but the still always asymptotically distant. Deleuze refers to the point of the indiscernibility of the two images, the actual and virtual, as the crystal image, in which what is seen in crystal is time itself, a little bit of time in the pure state, the very distinction between two different images that keeps on reconstituting itself. The crystal image is not just optical, for it is also, what is more, a matter of sound." (A fragment from the text Post Scriptum written by Leonida Kovač)

Exhibited works: 1. MAN, SHIP AND A LANDSCAPE (POLAR NIGHT), 2013, video, 4 min, loop 2. NEW TOWN FUTURE FILM, 2015, video, 18:30 min., sound 3. SHE FOR SHIP or REGATTA IN WHITE (Galileo Galilei, Galileo, Meridian, Sun Vista), 2015, installation 4. UNTITLED (APOLLO MOONLANDING & HALL OF PRESIDENTS), 2015, photo series, inkjetprint, 110 x 92 cm Ana Bilankov is a multimedia artist born in Zagreb. Her conceptual and contextual art practice includes a wide range of media such as photography, video/experimental film, video installation and text. Bilankov studied art history and German studies at the University of Zagreb and at the University of Mainz (she graduated from the University of Zagreb), as well as art photography at the Wiesbadener Freie Kunstschule. She attended postgraduate studies "Art in context" (M.A.) at the Universität der Künste in Berlin and at the University of the West of England in Bristol. Recipient of several scholarships for study visits abroad - the Berlin Senate for Cultural Affairs awarded her a scholarship for a study visit to New York in 2014 and in the same year she was invited to participate in a postproduction residency programme at The Wexner Center for the Arts in Columbus, Ohio. Her works have been showcased at numerous independent and collective exhibitions. Bilankov is a recipient of several awards for her experimental films which have been presented at numerous film and video festivals. She lives and works in Zagreb and Berlin. Web page: http://www.anabilankov.com

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i drugih oblika prezentacije umjetničkog rada.

90-60-90 / Platforma za suvremenu umjetnost upisana je u registar Udruga Republike Hrvatske 2001. godine od kada aktivno sudjeluje u kulturnom životu.

Specifičnost djelatnosti Galerije 90-60-90 odnosi se na pripremanje i produkciju programa koji uključuju različite kulturne subjekte ispreplićući polja njihova djelovanja, te različite prezentacijske oblike i programe koje karakterizira tematska objedinjenost unutar jednog izlagačkog ciklusa ili programa. U potrebi za preispitivanjem slike suvremenog svijeta, u programu se polazi od tematiziranja svakodnevnih prezentacija stvarnosti, međusobnih odnosa i modela komunikacije te odabira životnih strategija.

Misija Udruge je promicanje i razvoj kulturnog i umjetničkog stvaralaštva uključivanjem suvremene likovne scene unutar nezavisnih alternativnih kulturnih prostora namijenjenih mladima, te provođenje inovativnih edukativnih i društveno-angažiranih projekata na području vizualne umjetnosti. Najvažniji programi Udruge su Galerija 90-60-90 i Što ima u gradu?. Galerija 90-60-90 obuhvaća niz likovnih događanja s ciljem promoviranja suvremene likovne umjetnosti u okviru alternativnih izložbenih prostora propitujući zahtjeve umjetnika i publike kao i poziciju institucije "galerije" danas. Galerija 90-60-90 smatra važnim približiti likovne sadržaje mladoj publici koja ne pripada likovnim krugovima, a organizacija izložbi u alternativnim prostorima omogućava neformalan pristup umjetničkom djelu.

Programi u sklopu Galerije 90-60-90 organiziraju se u Zagrebačkom centru za nezavisnu kulturu i mlade – POGON.

Programska koncepcija galerije usmjerena je na novomedijske oblike suvremene umjetničke prakse što uključuje prostorne i zvučne instalacije, video projekcije te interdisciplinarne i intermedijalne radove. Također, namjera je programom ponuditi prostor za kustosko istraživanje, umjetnički eksperiment i propitivanje mogućnosti izložbe

screenings and interdisciplinary and intermedia works of arts.

The 90-60-90 / Contemporary Art Platform has been active in cultural life since its registration at the Register of Associations of the Republic of Croatia in 2001.

The programme also aims to offer a place for curatorial research and artistic experimentation, as well as for exploring the possibilities of the exhibition format and of other forms of presenting works of art.

The mission of the Association focuses on the promotion and development of cultural and artistic work through inclusion of contemporary visual art scene in independent alternative cultural spaces aimed at young audience. Its mission also includes implementing innovative educational and socially engaged projects in the field of visual art, in accordance with the highest standards of cultural production.

The Gallery’s activity is distinct in its programme preparation and production: it involves various cultural subjects – thus interweaving their fields of work and various presentation forms and programmes characterised by the unifying theme of each cycle of exhibitions. With the need to reexamine the image of contemporary world, the programme draws upon thematizing everyday presentations of reality, interrelationships and communication models, as well as from choices of life strategies.

The Association’s most important projects are Gallery 90-60-90  and What’s on in the city? The Gallery 90-60-90 hosts numerous visual art events, aiming to promote contemporary visual art within alternative exhibit spaces, all the while questionning the demands of artists and audiences as well as the present-day position of the "gallery" as an institution. The Gallery 90-60-90 finds important to make visual art become more available to young audience who is not involved in the art world, while organising exhibitions in alternative spaces allows a more informal approach to the works of art.

The programmes within the Gallery 90-60-90 are organised at POGON – Zagreb Centre for Independent Culture and Youth.

The Gallery programme focuses on new media forms of contemporary art practice, including space and sound installations, video

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Galerija 90-60-90 / 90-60-90 Gallery 2011 – 2015

Dizajn kataloga / Catalogue design

www.udruga906090.org / www.upogoni.org

Jasenko Rasol Boris Cvjetanović Mario Boršćak Branimir Hainš Vjeran Pavlinić Andraž Purg Saša A. Sedlak

Organizator / Organisation

90-60-90 / Platforma za suvremenu umjetnost // 90-60-90 / Contemporary Art Platform Partner / Organisation partner

POGON – Zagrebački centar za nezavisnu kulturu i mlade / POGON – Zagreb Center for Independent Culture and Youth Predsjednica 90-60-90 / Platforme za suvremenu umjetnost i kustosica Galerije 90-60-90 / President of the Association and Curator of the 90-60-90 Gallery

Marijana Stanić

Tehnička realizacija izložbi / Technical support of the exhibitions

Jakov Kerep Luka Božić Goran Goldin Matija Jelić Zvonimir Kesić Milan Prerad Andrija Santro Mladen Tomić Izdavač / Publisher

90-60-90 / Platforma za suvremenu umjetnost // 90-60-90 / Contemporary Art Platform Urednica / Editor

Marijana Stanić Prijevod / Translation

Ivana Bertić Rašeljka Bilić Vedrana Dević Graham McMaster Luja Šimunović Helena Šintić Korektura / Proof-reading

Suzana Marjanić

Rafaela Dražić

Fotografije / Photography

Tisak / Printed by

Kerschoffset

Naklada / Print run

500

Zahvale / Special thanks

Nenad Barić Irena Bekić Rafaela Dražić Ana Kolega Olga Majcen Linn Ivana Mance Suzana Marjanić Martina Mezak Iva Pasarić Vjeran Pavlinić Milka Tešanović Emina Višnić

Sponzori / Sponsors: MD Partner, AVC – Zagreb d.o.o., EXE produkcija d.o.o., HSM Informatika, IN2 d.o.o, Road Track – Satelitski nadzor vozila, Staklo Piletić, d.o.o., Treći program hrvatskog radija / Croatian Radio Three, Hrvartska radio televizija / Croatian Radiotelevision, Ministarstvo obrane Republike Hrvatske / The Ministry of Defence of the Republic of Croatia, HDLU – Hrvatsko društvo likovnih umjetnika / Croatian Association of Artists, Eldra d.o.o., Gradsko dramsko kazalište Gavella / City Drama Theatre Gavella, Hrvatsko narodno kazalište u Zagrebu / Croatian National Theatre in Zagreb, Muzej suvremene umjetnosti u Zagrebu / Museum of Contemporary Art, Zagreb, Galerija Vladimir Nazor / Vladimir Nazor Gallery, WHW / Što kako i za koga // What, how & and for whom, Galerija Miroslav Kraljević / Miroslav Kraljević Gallery, Alpro Att d.o.o., Hiperpro-dukcija d.o.o., Livada produkcija d.o.o., KUNSTTRANS Zagreb d.o.o., Sportsko rekreacijski centar Jarun / Jarun Sports and Recreation Centre, Gallery Barbara Thumm Publikacija je tiskana sredstvima Gradskog ureda za obrazovanje, kulturu i sport Grada Zagreba. / This catalogue has been printed with funds supplied by the City Office for Education, Culture and Sports of the City of Zagreb.

Projekt podržali / Supported by

Grad Zagreb – Gradski ured za obrazovanje, kulturu i sport, Ministarstvo kulture RH, Zaklada "Kultura nova" / The City of Zagreb – City Office for Education, Culture and Sports, the Ministry of Culture of the Republic of Croatia, Kultura Nova Foundation, Hrvatski Audiovizualni Centar / Croatian Audiovizual Centre

isbn 978-953-97396-2-3 cip ...

Profile for Galerija 90-60-90

Galerija 90-60-90 2011. - 2015.  

Novi katalog Galerije 90-60-90 zaokružuje gotovo petnaest godina rada 90-60-90 / Platforme za suvremenu umjetnost u prostoru bivše tvornice...

Galerija 90-60-90 2011. - 2015.  

Novi katalog Galerije 90-60-90 zaokružuje gotovo petnaest godina rada 90-60-90 / Platforme za suvremenu umjetnost u prostoru bivše tvornice...

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