33. salon mladih - TROŠKOVNIK

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TROŠKOVNIK: PRIČA O NE/MOGUĆNOSTI EGZISTENCIJE BUDGET: THE STORY OF THE IM/POSSIBILITY OF SURVIVAL

33. SALON MLADIH - UMJETNICI 33RD YOUTH SALON - ARTISTS

162 IZLOŽBA NAGRAĐENIH AUTORA 32. SALONA MLADIH: FRAN MAKEK I MAK MELCHER EXHIBITION OF AWARDED AUTHORS OF THE 32ND YOUTH SALON: FRAN MAKEK AND MAK MELCHER

184 POPRATNI PROGRAM 33. SALONA MLADIH SIDE PROGRAM TO THE 33RD YOUTH SALON

Prije pojave kućnih računala, word dokumenata i online aplikacija, molbe državnim institucijama za financiranje izložbi ili umjetničkih projekata izgledale su potpuno drugačije. Nekoliko listova papira formata A4 kreiranih na pisaćoj mašini – biografija umjetnika/ce i vrlo općeniti prikaz mogućeg troška projekta. Danas svjedočimo vrlo egzaktnim specifikacijama. Projekcija troškova izložbe ili umjetničkog projekta izgleda poput troškovnika nabavke građevinskog materijala ili specifikacije nabave hrane za ugledni restoran na jadranskoj obali. Tablice word dokumenata izgledaju jednako bezlično i birokratski nestvarno, bilo da se radi o silabusu za neki kolegij, troškovima PR agencije ili o umjetničkom istraživanju navika tinejdžera u novozagrebačkom kvartu. Um umjetnika/ce tako biva rascijepljen na tri dijela: idealističku ideju, krutu materijalističku stvarnost i mrcvarenje vječnom birokracijom koja se inkarnirala u virtualni svijet. Kroz višegodišnje iskustvo organizacije projekata i kulturnih događanja kontinuirano smo se suočavale s intenzitetom ovog problema. Neke od aktivnosti kojima smo se bavile su kreiranje troškovnika izložbi i projekata s umjetnicima/cama, ali isto tako i pisanje izvješća o realiziranim programima koji se upućuju financijerima, Gradu Zagrebu i Ministarstvu kulture Republike Hrvatske.

S jedne strane mogle smo čuti bezbroj priča o tome kako je sve teže dobiti ikakva proračunska sredstva, a kad se ona i dobiju, budu premala. S druge smo strane bile svjedokinje sve kompliciranije, orvelijanske papirologije. Činjenice nam govore da je sve manje sredstava iz državnog proračuna (Ministarstvo kulture, gradovi i općine) za financiranje kulturnih djelatnosti u Republici Hrvatskoj. Ono što također predstavlja problem jest nepostojanje jasne kulturne strategije koja bi definirala omjer financiranja tradicijske kulture, kulturne baštine i suvremene kulturne produkcije.1 Sadašnjim modelom financiranje kulturnih djelatnosti je omeđeno i zatvoreno ili borbom za dominacijom određenog svjetonazora i političkih načela ili klanovskim lobiranjima kulturnih sektora koja se svode na to hoće li više novaca dobiti HNK ili HAVC i koji će muzej proračunskim sredstvima moći otkupiti više radova umjetnika koji su kućni prijatelji kustosa ili ravnatelja.

Samim time oštećuje se nastajanje i kvaliteta bilo kakve umjetničke produkcije. Dok je u nekim umjetničkim poljima, kao što je to, na primjer, film, situacija dobra, u vizualnim je umjetnostima stanje manje povoljno. Činjenica je da vizualni umjetnik ne može iz proračunskih sredstava osigurati sredstva za pokrivanje honorara namijenjenog produkciji vlastitog rada ili njegovom izlaganju. Logika državnih ili gradskih birokrata sastoji se u pretpostavci da vizualni umjetnik uvijek može prodati vlastito pojedinačno djelo, jer je ono

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Trenutno je na snazi Strateški plan Ministarstva kulture 2015. – 2017., međutim on ne daje odgovore na ono što bi trebala biti državna kulturna strategija u dužem periodu.

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Before the emergence of home computers, Word documents and online applications, the process of applying for the state funding of exhibitions or art projects was completely different. Several sheets of A4 paper written on a typewriter. An artist’s biography and a very general overview of the potential cost of the project. Nowadays, we witness to very exact specifications. Estimating the cost of an exhibition or art project looks like a bill of quantities for the calculation of construction costs or like placing food orders for some respectable restaurant on the Adriatic coast. Tables in a Word document look equally dull and bureaucratically unreal, whether they refer to a course syllabus, costs of a PR agency or an artistic research into the habits of teenagers in Novi Zagreb. The artist’s mind is thus split in three parts; an idealistic idea, rigid materialistic reality and the torture of eternal bureaucracy that incarnated in the virtual world. Through years of experience in organizing projects and cultural events, we would continually face the intensity of this problem. Some of the activities we managed include creating budgets for exhibitions and other projects with artists, as well as writing reports on realized projects for the institutions securing our funding, the City of Zagreb and the Ministry of Culture of the Republic of Croatia.

On the one hand, we heard countless stories about how it was increasingly difficult to get any funds, and how not even the received funds were sufficient, and on the other we were witnesses to an increasingly complicated, Orwellian-like paperwork. The facts tell us that there are less and less funds from the state budget (the Ministry of Culture, cities and municipalities) for financing the cultural activities in the Republic of Croatia. The problem is also the lack of a clear cultural strategy that would define the proportion of funding for the traditional culture, cultural heritage and contemporary cultural production.1 With the present model, the funding of cultural activities is restricted and limited, either by the struggle for the domination of a particular worldview and political principles, or by clan-based lobbying of cultural sectors that boils down to whether more money goes to the Croatian National Theatre or Croatian Audiovisual Centre and which museum can use the funds to buy more works from artists who are house friends of the curator or museum director. This alone damages the quantity and quality of any kind of artistic production. While in some artistic fields, in film for example, the situation is good, in the visual arts it is disastrous. The fact is that visual artists cannot count on public funds to cover their fees for the production of their own work or exhibition. According to the reasoning

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The state has been implementing the Strategic Plan of the Ministry of Culture 2015-2017, however this document does not provide answers to what the national cultural strategy should look like in the long term.

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materijalno, za razliku od glumca, književnika ili glazbenika. Logika je potpuno pogrešna, jer književnik može zatražiti potporu za pisanje svog rada,2 od izdavača može tražiti honorar za objavljivanje i postotak od prodaje te na kraju može tražiti honorar za nastup na sajmovima knjige. Identično je s filmskom produkcijom, pa tako HAVC ima i posebnu proračunsku stavku za nastupe na festivalima i promociju hrvatskog filma. U vizualnim umjetnostima, u većini slučajeva, financira se samo promocija umjetničkog djela u vidu troškova izložbe (bez honorara umjetniku),3 što je istovjetno festivalu ili sajmu knjiga. Za vrijeme Socijalističke Jugoslavije vizualni umjetnik je mogao računati na otkup minimalno jednoga svog rada nakon izložbe održane u značajnim muzejskim ili galerijskim prostorima, što se financiralo iz lokalnog proračuna. Od ovih primjera direktno povezanih s egzistencijom umjetnika iz drevnih je vremena ostala još samo forma samostalnog umjetnika, kojemu se mirovinsko i zdravstveno osiguranje uplaćuje iz državnog proračuna preko udruge Hrvatske zajednice samostalnih umjetnika (HZSU). Ono što je zanimljivo jest činjenica da je među korisnicima ovog prava najveći broj vizualnih umjetnika u odnosu na druge umjetničke profesije. Iz svega ovoga donijele smo zaključak da je vizualna umjetnost trenutno najbolji primjer struke u kojoj pojedinac ne radi da bi zarađivao, već dijametralno suprotno, zarađuje da bi mogao raditi.

Upravo to je bilo i naša prva premisa za problemska pitanja ovogodišnjeg 33. salona mladih, pod nazivom Troškovnik. Duboko smo svjesne da se koncept umjetničkog rada i samog autorstva kao takvog promijenio, ne samo zbog nastanka novih umjetničkih platformi već i zbog virtualizacije ljudskog društva i razvoja industrije zabave i slobodnog vremena. Jednako kako je termin (i percepcija) ljudskog rada kao golog fizičkog napora dolaskom računala i strojeva zamijenjen različitim nazivima (poput rada društvenog radnika ili dionika kreativnih industrija4), jednako su tako izmijenjeni i modaliteti umjetničkog stvaranja. Zbog svega toga je i sama umjetnička produkcija postala slojevitija i kompleksnija, što ne samo da utječe na školovanje budućih umjetnika već i na njihovu budućnost na hrvatskom i svjetskom tržištu rada. Pozivajući mlade umjetnike/ice da sudjeluju u radu Salona odlučile smo problematizirati načine na koje se umjetnik kao takav može boriti za svoju egzistenciju. Nastojale smo dobiti praktičan presjek metoda i rezultata kojima umjetnik potvrđuje svoje postojanje i djelovanje unutar domaće kulturno-umjetničke scene. Cilj 33. salona mladih jest preispitivanje, ne samo postojećeg modela financiranja umjetničkog rada, već i egzistencije mladih umjetnika; zbog činjenice da problem počinje među mladim generacijama, već pri odabiru zvanja i upisu na umjetničke akademije.

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Potpore dodjeljuje Ministarstvo kulture pod nazivom Poticanje književnog stvaralaštva.

Kada usporedimo državne i lokalne natječaje za dodjelu proračunskih sredstava vizualnim (likovnim) umjetnostima unutar zadnjih 20 godina, vidjet ćemo istinitost ove tvrdnje.

4 Više o tome u Michael Hardt i Antonio Negri, Imperij, Multimedijalni institut, Arkzin, Zagreb, 2003.

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of state or municipal bureaucrats, visual artists can always sell their works, as opposed to actors, writers or musicians, because their work is material in nature. This reasoning is completely wrong because writers may apply for financial support for writing their works2, they can ask the publisher for a fee for publishing and a percentage of sales, and in the end, they can ask for a fee for their appearance at book fairs. The situation is identical with film production, and thus the Croatian Audiovisual Centre has a special budget item for festival appearances and promotion of Croatian film. In the visual arts, in most cases, the only thing that is funded is the promotion of an artwork in terms of costs of the exhibition (excluding the artist’s fee)3, which is the same as a book festival or fair. This absurd situation developed over time. Let us remind ourselves that the Habsburg Monarchy had a regulation which stated that the design of a building was the job of architects, making of ornaments and sculptures on the facade and in the interior was the job of sculptors, and painting of ceilings or walls was the job of painters. Nowadays, we see a situation in which (with honourable exceptions) external and internal appearance of buildings is entrusted solely to architects. In Socialist Yugoslavia, an artist could count on the purchase of at least one of his/ her work after an exhibition held in important museum or gallery spaces, which was funded from the local budget. Of all these examples, which primarily refer to the artists’ survival, the only remnant from the ancient times is an independent artist, whose health and pension insurance are paid from the state budget through the Croatian Freelance Artists Association. What is interesting is that the majority of the users of this right come from visual arts compared to other artistic professions. Based on all this, we concluded that visual art is currently the best example of a profession in which an individual does not work to make money, but diametrically opposite, makes money to be able to work.

This was precisely our first premise for the problematic issues of this year’s 33rd Youth Salon, named Budget. We are deeply aware that the concept of artwork and authorship as such has changed, not only because of the emergence of new artistic platforms, but also because of the virtualization of human society and the development of the entertainment and leisure industry. Just as the term (and perception) of human labour as a pure physical effort was replaced by different names with the advent of computers and machines (such as the work of social workers or creative industries stakeholders4), the same change happened with the modes of artistic creation. Due to all this, the art production also became more lay-

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Grants are awarded by the Ministry of Culture under the name Encouraging Literary Creation.

If we compare the state and local calls for the allocation of funds to visual arts in the last 20 years, we can prove this statement to be true.

4 More on this topic in Michael Hardt and Antonio Negri, Imperij [Empire], Multimedijalni institut, Arkzin, Zagreb, 2003 3

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Radi se, ironično, o školovanju koje je u većini slučajeva, financirano od strane države, samim tim ta ista država kontinuirano proizvodi buduće ovisnike i poluovisnike o državnom proračunu. Međutim, državni je proračun taj koji ne može nahraniti ovisnika niti ga naučiti da sam stvara i privređuje, već se čitav sustav drži na nekoj vrsti preživljavanja i pripreme za buduće odumiranje. Umjetnici koji se školuju na likovnim akademijama najčešće završavaju kao učitelji u školama, grafički dizajneri ili se bave djelatnostima koje s umjetnošću nemaju nikakve veze. Ako postanu samostalni umjetnici, najčešće su prisiljeni baviti se turističkim obrtom (proizvodnjom veduta namijenjenih publici plićeg i dubljeg džepa) ili bilo kakvim drugim poslom da bi mogli stvarati djelo koje će jednog dana prezentirati publici. Na prste se mogu nabrojati hrvatski umjetnici koji žive od svog umjetničkog opusa, a i ti su najčešće aktivni na međunarodnom tržištu, na kojem realiziraju karijeru i privređuju novčana sredstva. S aspekta izmijenjenog tržišta rada i novih formi industrija, kao što su to kreativne industrije, industrije slobodnog vremena, industrije društvenih mreža i računalne industrije, javlja se potreba za novim sustavima umjetničkog obrazovanja i kompetencijama u skladu s razvojem tehnologije, što su pitanja na koja će mladi umjetnici morati odgovarati u bliskoj budućnosti. 33. salon mladih nastoji odgovoriti na pitanje koliko je opstanak vizualne umjetničke produkcije moguć i kojim se sve sredstvima borimo protiv transformacije kulture u industriju slobodnog vremena, ali i nestanka umjetnika kao misleće i slobodne individue. Drugo pitanje koje otvaramo jest koliko prostora ostaje za potvrđivanje umjetničkog identiteta pojedinca, ali i kulturnog identiteta zemlje u kojoj trenutno živimo ili etniciteta koji postoji i potvrđuje se kroz kulturne konstrukte.

Na kraju smo željele provjeriti koliko ovakva situacija ipak razvija kreativnost umjetnika koji ne odustaju i ne predaju se besmislu, već potpuno suprotno – svojim radom kritički odgovaraju na sadašnji trenutak u društvu. Izložbu smo kreirale nakon žiriranja radova pristiglih temeljem javnog poziva uz još pet pozvanih autora, čiji nam je dosadašnji rad bio izuzetno zanimljiv u kontekstu mogućih odgovora na pitanja koja smo postavile.5 Radove umjetnika i umjetnica možemo podijeliti na više grupa s obzirom na predložene odgovore pitanjima koja smo postavile. Prvu grupu čine umjetnici/ice Ana Petrović, Antonio Kiselić, Iva Habus, Ana Sladetić, Miran Šabić, Melinda Šefčić, Marko Zubak i Janko Petrović. U svojem su radu pokušali direktno odgovoriti na pitanja: kako umjetnik preživljava, na koji način može formirati cijenu svog rada na tržištu rada, kolika je cijena materijala potrebnog za tehničku izradu umjetničkog dijela te pokazati kako umjetnik vrlo često odustaje od primarne zamisli umjetničkog projekta da bi mogao realizirati svoj rad i kako je naručeno umjetničko djelo nešto posve drugačije od umjetničkog opusa.6 Ovu grupu možda najbolje ilustrira rad umjetnika

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Pozvani autori su Vanja Babić, Mihael Giba, Bojan Mrđenović, Bojan Mucko i Janko Petrović Kao u slučaju rada Ive Habus Radovi za klijente.

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ered and complex, which not only impacts the education of future artists, but also their future placement on the Croatian and international labour market. By inviting young artists to participate in the Salon we decided to problematize the ways in which an artist can fight for his/her survival. We tried to get a practical overview of methods and results an artist uses to affirm his/her existence and activities within the increasingly looser national culture and art scene. The goal of the 33rd Youth Salon is to question not only the existing models of funding art-making, but also the survival of young artists; due to the fact that the problem starts among the young generations, already when choosing a profession and applying to art academies. The issue is, ironically, education, which is in most cases financed by the state, thus the same state continuously produces people who depend or half depend on the state budget. However, the state budget cannot feed these dependants or teach them how to create and make money; the whole system is on some sort of life-support and preparation for a slow death.

The artists that go to art academies mostly end up being school professors, graphic designers or working in professions that have nothing to do with art. If they become independent artists, they are mostly forced to work in tourism (and produce panoramic views for buyers with shallow and deeper pockets) or do any other type of work in order to be able to create works they could one day present to the public. Croatian artists that make a living with their art can be counted on the fingers of one hand, and these are mostly active in the international market, where they make a career and earn money.

From the aspect of a changed labour market and new forms of industries, such as creative, leisure industries, social network industries and computer industries, arises the need for new art education systems and competences in line with the development of technology, which are the questions to which young artists will have to find answers in the near future. The 33rd Youth Salon tries to answer the question to what extent is the survival of visual art production possible and what means we use to fight the transformation of culture into leisure industry, but also the question of the disappearance of an artist as a thinking and free individual. The second question we are asking is how much space is left for affirming the artistic identity of an individual, but also the cultural identity of a country we currently live in or an ethnicity that exists and affirms itself through cultural constructs.

In the end, we wanted to check how much this situation encourages the creativity of artists who do not give up or give in to absurdity, but just the opposite, use their work to critically respond to the current situation in the society. We created the exhibition after the works submitted to an open call were juried. Along with these, the exhibition also includes the works by five invited authors whose work was extremely interesting to us in the context of providing answers to the questions we raised.5 The works

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The invited artists are Vanja Babić, Mihael Giba, Bojan Mrđenović, Bojan Mucko i Janko Petrović.

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Marka Zubaka SOMA200. Umjetnik je stariji od 35 godina, međutim ovaj je rad nastao na temelju događaja prije deset godina kad je umjetnik odgovarao starosnoj dobi sudionika/ica Salona. Po principu ready-madea umjetnik svoju prodaju slika u Barceloni u vrijednosti od 1.200 eura, kojima je platio put u Njemačku, kupnju novog automobila i put natrag u Španjolsku (a što je izvedeno s nevjerojatnom preciznošću), danas prepoznaje kao umjetnički rad u kontekstu odgovora na pitanje o kontekstu ne/mogućnosti umjetničke egzistencije. Sljedeću grupu čine umjetnici/ce koji se performativno referiraju na zadanu temu, koristeći jezik angažirane umjetnosti, koja tematizira ili komentira društvene probleme. U nekim radovima, kao što je to slučaj kod Ane Zubak i Jelene Azinović, riječ je o izravnom statementu umjetnice koja štrajka; propituje svrhovitost takve akcije ili cinično pokazuje mogući nutritivno nedostatan ručak koji obiluje praznim kalorijama, pod staklenim poklopcem koji nalikuje svadbenom cateringu. Ozren Manojlović pokazuje nam kako umjetnici mogu zaraditi za život prijelazom u pivski biznis, dok Vanja Babić završava svoju akciju Pet posto za umjetnost arhivirajući novčana sredstva. Radovi Bojana Mrđenovića, Mihaela Glibe, Bojana Mucka i Pulske grupe polaze od tematiziranja nasljeđa javnog prostora i simboličkog urbanizma. Bojan Mrđenović propituje postsocijalističku devastaciju i papagajizaciju7 Trešnjevke, Bojan Mucko formatira akciju prenošenja objekata u svrhu iznošenja vlastitog stava o smislu umjetnosti, Mihael Giba poigrava se s mapom kriminalnih djela u gradu koju dovodi u kontekst bio-meteorološke prognoze vremena, dok se Pulska grupa bavi rezidencijalnim boravkom članova grupe u Madridu. Rad Jelene Lovrec pokazuje sudbinu umjetničkog rada koji se s jedne strane ne može prodati jer nema zainteresiranih kupaca, a s druge strane ga umjetnik/ica vrlo često nema gdje arhivirati niti čuvati, ali i dovitljivost umjetnice, koja se inspirirana s Berberovom sveprisutnošću, uvukla u domaćinstva. Umjetničko djelo doista nema cijenu, ne samo zato što predstavlja spiritualnu kategoriju, već i stoga što za njega ponekad i nema mjesta na tržištu.

Zadnja dva rada u ovoj grupi, Melite Matović Fligler i Tonke Maleković, preispituju novo okruženje kod umjetnica koje su promijenile mjesto boravka, bilo da se radi o novoj obitelji stečenoj za vrijeme boravka na rezidencijalnom programu kao u slučaju Melite Matović Fligler ili o privremenoj promjeni mjesta stanovanja i rada kao u slučaju Tonke Maleković. Treću grupu čine radovi umjetnika/ica Stipe Babića, Dragoslava Dragičevića, Ive Katalinić, Josipe Vranjković, Luke Kedže, Maria Matokovića, Mie Maraković, Mihaela Puntarića, double acta Orbanić i Plečko, Pavla Pavlovića, Marija Udženije i Ane Vuzdarić. Zajedničko im je promišljanje praznine i materijalnosti objekta koji je sveden na vanjsku teksturu ili zamišljeni umjetnički čin

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Zgrade papagajke ili Jozogradnja označavaju posttranzicijski urbanizam koji djeluje po principu pronađi potleušicu ili rupu između dvije zgrade te tamo ugnijezdi 10 posto odmaka od projekta za kojeg je dobivena lokacijska dozvola.

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can be divided into several groups with respect to the proposed answers to the raised questions. The first group consists of the following artists: Ana Petrović, Antonio Kiselić, Habus Iva, Ana Sladetić, Miran Šabić, Melinda Šefčić, Marko Zubak and Janko Petrović. In their works, they tried to directly answer the following questions: how does an artist survive, in which way can s/he define the price of her/his work on the labour market, what is the price of material needed for the technical production of an artwork and how, very often, an artist abandons the primary idea for an art project to be able to produce a work, and how a commissioned work is something completely different that an artistic oeuvre.6 This group is maybe best portrayed

by Marko Zubak’s work SOMA200. The artist is over 35, however this work is based on the events that happened ten years ago, when the artist was of the same age as the Salon participants. At the time, there was a sale of his paintings in Barcelona at which he made € 1200, which he then used to pay for his trip to Germany, buy a new car and go back to Spain (done with incredible precision). Marko Zubak recognized this event as a work of art in the context of giving an answer to the question of the im/possibility of artistic survival, based on ready-made principle. The following group is composed of artists who refer to the given topic in a performative manner, using the language of engaged art that thematizes or comments on social issues. In some works, as in the case of Ana Zubak and Jelena Azinović, the work is a direct statement of an artist on strike, bringing into question the purposefulness of such actions and pointing in cynical manner to a possible, nutritionally inadequate lunch rich in empty calories, displayed under a glass bell jar characteristic of catering for weddings. Ozren Manojlović shows us how artists can make a living by switching to beer business, whereas Vanja Babić finalizes her work Five Percent For Art by archiving funds. The works of Bojan Mrđenović, Mihael Giba, Bojan Mucko and the Pula group thematise the heritage of public space and symbolic urbanism. Bojan Mrđenović questions the post-socialist devastation and the phenomenon happening in Trešnjevka, called papagajizacija7, Bojan Mucko applies formatting to the action of transferring objects for the purpose of expressing his stand on the meaning of art, Mihael Giba plays with the map of crimes in the city, which he puts into the context of weather forecast, while the Pula group addresses their residency in Madrid. The piece by Jelena Lovrec reveals the destiny of an artwork with no interested buyers and no possibilities of being stored by the author. Inspired by Berber’s omnipresence, the resourceful author manages to make her way into housholds. A work of art truly does not have a price, not just because it represents a spiritual category, but also because sometimes there is no place for it on the market.

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Like in the case of Iva Habus’s work Works For Clients.

The buildings called papagajke or Jozogradnja symbolize post-transitional urbanisation which operates on the principle of finding a hovel or a hole between two buildings and sqeezing in a 10 percent deviation from the project for which a location permit was issued.

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putem medija skulpturalne instalacije, site-specifica i slike. Kada polaze od fotografije praznog billboarda u radu Stipe Babića ili recikliranih radova – objekta u radu Maria Matokovića ili zlatnog i crnog platna u radu Dragoslava Dragičevića, govore o ništavilu korporacijskog svijeta u kojem se reklamna poruka ili umjetničko djelo mogu jednako zamijeniti, reciklirati ili nestati te se na kraju pretvoriti u ikonoboračko zlatno ili maljevičevsko crno.

Iva Katalinić, Josipa Vranjković, double act Orbanić i Plečko, Mihael Puntarić i Luka Kedžo predstavljaju nam se skulpturama i objektima. Iva Katalinić, Josipa Vranjković, Orbanić i Plečko te Mihael Puntarić polaze od tradicijskih kiparskih formi prevedenih u jezik site-specific objekta poigravajući se idejom nekonvencionalnih i jeftinih materijala (čitaj i ekoloških) od kojeg je moguće kreirati umjetničko djelo. Luka Kedžo se u svom objektu Kyklop poigrava s real-time principom u društvenim mrežama, stari fotoaparat tako glumi mogući selfie promatrača, ali istovremeno predstavlja i recikliranje principa ready-madea kao jedine mogućnosti ekonomične produkcije danas. Mario Udženija slanjem rada internetom iz Njemačke propituje cijenu transporta i stvaranja virtualnog umjetničkog djela. Mia Maraković izlaže kostur vlastitih slika u obliku letvica blind rame, kao jedinog artefakta ako umjetnik/ ica odluči uništiti platno ili ga pak skinuti s rame. Ana Vuzdarić dokumentira pretvorbu studentice u djelatnu umjetnicu koristeći se Gurdijeffovim simbolom vodika. Zadnji umjetnik u ovoj grupi je Pavle Pavlović koji jedini poseže za medijem slikarstva, onog koje je nastalo nakon manifestnih slika Gerharda Richtera. Umjetnik poseže za računalnim, softverskim alatima kreirajući dekadentni, fetišistički svijet, upravo onaj koji konzumira industriju zabave i slobodnog vremena, iste one u kojima bi suvremena umjetnost trebala biti.

Zadnju grupu radova čine djela koja polaze od nastanka „crteža” i pitanja materijala kojim stvaramo umjetničko djelo. Duje Medić nam pokazuje ostatke olovki koje je potrošio za izradu svojih crteža, osvješćujući nam što u stvari čini trošak materijala za tehnički najjednostavniji i najjeftiniji umjetnički medij kao što je to crtež. Ivan Tudek olovkama ispisuje poruku o tome gdje se nalazi crtež, je li u olovci kao alatu ili u pohvali ruci umjetnika kao romantičarskom konceptu onoga koji stvara umjetničko djelo. Od crteža polaze i Vendi Vernić koja mu se u svojoj bilježnici opetovano i mantrički vraća, dok u drugoj bilježnici istovremeno ispisuje „Neću više crtati”.

Rad Luke Hrgovića i Dina Juliusa naručile smo nas dvije osobno, kao You Tube clip za našu akciju Pucanj u prazno održanu u galeriji PM, HDLUa u siječnju 2016. godine. Naručeni video nismo mogle platiti i tražile smo od Luke Hrgovića da ga za nas napravi besplatno. Umjetnik je to i učinio, međutim kad je pročitao našu koncepciju 33. salona mladih prepoznao je čitav događaj kao rad i prijavio ga je na žiriranje. Žiri za odabir radova uvrstio je rad Luke Hrgovića i Dina Juliusa u selekciju Salona – ne zato da bi tako vratio uslugu koju su umjetnici učinili nama kustosicama.8 Uvrstio ga je stoga da

8 Što predstavlja postojeći oblik korupcije u Republici Hrvatskoj po modelu razmjene dobara, ali ne kao potlača, već po principu ti meni besplatno, a ja tebi vraćam javnim dobrom ili proračunskim novcem.

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The last two works in this group, made by Melita Matović Fligler and Tonka Maleković, question the new surrounding of an artists who changed his/her place of residence, either in a new family, acquired during a residency, as in the case of Melita Matović Fligler or because of a temporary change of residence and place of work, as in the case of Tonka Maleković.

The third group includes the works by Stipe Babić, Dragoslav Dragičević, Iva Katalinić, Josipa Vranjković, Luka Kedžo, Mario Matoković, Mia Maraković, Mihael Puntarić, Orbanić and Plečko double act, Pavle Pavlović, Mario Udženija and Ana Vuzdarić. They all reflect on the emptiness and materiality of an object reduced to its external texture or an imaginary artistic act through the medium of sculpture, installation, site-specific work and painting. When they take as their starting point the photograph of an empty billboard, like in the work of Stipe Babić, or recycled works – objects, like in the work of Mario Matoković, or gold and black canvases, like in the work of Dragoslav Dragičević, they talk about the nothingness of corporate world in which an ad or a work of art can be equally replaced, recycled or disappear, and in the end turn into the iconoclast golden or Malevich-like black. Iva Katalinić, Josipa Vranjković, Orbanić and Plečko double act, Mihael Puntarić, Luka Kedžo present themselves with sculptures and objects. Iva Katalinić, Josipa Vranjković, Orbanić and Plečko and Mihael Puntarić base their work on traditional sculptural forms translated into the language of site-specific objects, by playing with the idea of unconventional and cheap materials (read environmental as well), which can be used for creating a work of art.

In his object Kyklop, Luka Kedžo plays with the real-time principle of social networks, an old camera plays a possible selfie of the observer, but at the same time it also represents the recycling of a ready-made principle, as the only possibility for a cost-effective production today. Mario Udženija, by sending his work from Germany by the Internet, questions the price of transporting and creating a virtual work of art. Mia Maraković exhibits the skeleton of her paintings in the form of canvas stretcher bars, as the only artefacts that remain if an artist decides to destroy the canvas or remove it from the frame. Ana Vuzdarić documents the transformation of a female student into an active artist using Gurdjieff’s hydrogen symbol. The last artist in this group, Pavle Pavlović, is the only one who uses the medium of painting, emerged after Gerhard Richter’s manifesto paintings. The artist reaches for computer, software tools, creating a decadent, fetishist world, precisely the one that consumes the entertainment and leisure industry, the same one contemporary art should be a part of.

The last group includes works that deal with the emergence of “drawing” and the question of materials we use to create a work of art.

Duje Medić exhibits what is left of the pens he used up to create his drawings, making us aware of the actual expense of the technically simplest and cheapest artistic medium such as drawing. Ivan Tudek uses pencils to write a message about where the drawing lives, in the pencil as a tool or in the praise of the artist’s hand as a Romanticist concept of the one who creates a

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pokaže da ni nas dvije, niti bilo koji drugi hrvatski umjetnik/ica nisu cijepljeni od toga da nešto rade besplatno, niti od toga da druge pitaju da za njih rade besplatno. Ovime se vraćamo na početak, jer svima nam je jasno da novca u umjetničkoj produkciji nema dovoljno. Međutim ono čega „ima” jest zajednički statement da je umjetnička kreacija u Hrvatskoj živa. Ovim stavom i mantrom Troškovnik, zaključujemo uvodnik u meditaciju koja se nalazi pred svima vama, kao (ne)mogućnost čitanja umjetničke egzistencije.

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work of art. Drawing is used as a starting point in the work by Vendi Vernić, who repeatedly returns to it like a mantra, drawing into one notebook, while writing into a second one: “I will never draw again.”

The two of us personally commissioned Luka Hrgović’s and Dino Julius’s work, a YouTube clip for our performance Blank Shot set in the PM Gallery of the Croatian Association of Artists in January 2016. We were not able to pay for the commissioned work, so we asked Luka Hrgović to do it for free. The artist agreed to it, but upon reading our concept for the 33rd Youth Salon, he recognized the work we commissioned as his application for the Salon. The jury made a decision to include Luka Hrgović’s and Dino Julius’s work in the Salon, but not because we wanted to return the artist’s favour to the curators.8 This work was selected in order to show that neither the two of us, nor any other Croatian artist are not vaccinated against working for free or asking someone to do something for free. This takes us back to the beginning, because we are all aware that the money in art production is insufficient. What we do have is our mutual statement that artistic creation is very much alive in Croatia. With this attitude and Budget mantra, we conclude the foreword into a meditation in front of you, as the (im)possibility of reading artistic existence.

8 Which represents an existing form of corruption in the Republic of Croatia, following the model of exchange of goods, but not as a potlatch, but following the principle you give it to me for free and I will return the favour with some public good or budget money.

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JELENA AZINOVIĆ U se, na se, poda se, 2016., kombinirana tehnika, 22 x 40 cm In. On. Under. Me, 2016, mixed media, 22 x 40 cm

Ciklus U se, na se, poda se Jelene Azinović, sastoji se od različitih plastičnih skulptura hrane s određenim distorzijama, a baziran je na ideji o nedostatnosti zadovoljenja primarnih potreba i hedonističkom pristupu životu, za kakav nismo financijski sposobni, a bazira se na propitivanju: što jesti, kako izgledati i kako zadovoljiti partnera/icu, pri tom zatomljujući ikakvo duhovno ili kulturno razvijanje.

Burger i hot dog, izloženi na 33. salonu mladih, napravljeni su kako bi izazvali simpatično raspoloženje, svijetlih boja, žućkastih tonova sličnog vizualnog jezika koji se koristi kod oglašavanja hrane u okolini, a kako bi privukli osobu da misli na hranu, da inducira glad, s razlikom da u ovom slučaju ne postoji mogućnost za zadovoljavanje te potrebe. Burger i hot dog izrađeni su od plastike i postavljeni pod „staklena zvona”. Staklo kao svojevrsni pijedestal, implicira na neuravnoteženost prioriteta koje razvijamo. Objekti, premda izrađeni od plastike, izloženi su poput kakve dragocjenosti.

In. On. Under. Me by Jelena Azinović is a series of works composed of various plastic sculptures of food with certain distortions, based on the idea of the impossibility to meet the primary needs and a hedonistic approach to life, for which we are not financially capable. The work questions what to eat, how to look and how to please a partner, by suppressing any spiritual or cultural development in the process.

A burger and a hot dog, exhibited at the 33rd Youth Salon, are created to induce an amiable atmosphere. With their bright colours, yellowish tones, similar to the visual language used in advertising food in this area, they aim to make one think about food, to induce hunger, the difference being that in this case there is no way for one to satisfy that need. The burger and hot dog are made of plastic and placed under “glass domes”. Glass as a kind of pedestal points to the imbalance of the priorities we have developed. These objects, although made of plastic, are exhibited like some kind of valuables.

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VANJA BABIĆ Rad u kutiji, 2016., instalacija, 22 x 40 cm Work in a Box, 2016, installation, 22 x 40 cm

POSEBNA POHVALA 33. SALONA MLADIH SPECIAL ACKNOWLEDGMENT OF THE 33RD YOUTH SALON

„Novac je nešto što svakodnevno susrećemo, sastavni je dio života.

Većina ljudi je u konstantnoj borbi oko zarade, trošenja, balansa i raspodjele”, navodi Vanja.

Kroz rad 5% za umjetnost umjetnik se bavi vlastitim odnosom prema novcu. Izdvaja 5% iznosa od zarade svakog pojedinačnog honorara prekarijatskog rada i upotrebljava ga kao materijal za produkciju vlastitog umjetničkog rada.

Kroz izlaganje ovog rada, sada u kutiji, Vanja se bavi kronologijom njegovog nastanka i razvoja: osmišljavanje, izrada, financiranje, postavljanje, izlaganje, ponovno zapakiravanje i skladištenje. Rad, između ostalog, postaje vrsta štednje izvan bankarskog sustava, gdje umjesto spremanja novaca ispod madraca, autor novcu daje drugi smisao i značaj, a pritom, kroz umjetnički pristup povećava njegovu vrijednost.

“Money is something we see everyday, it is an integral part of life. The majority of people is in constant struggle over wages, spending, balance and distribution,” says Vanja.

Through his work 5% for art the artists deals with his own relationship with money. He puts aside 5% of each individual amount he earns from his precarious work and uses it as the material for the production of her own work.

By exhibiting this work, now in a box, Vanja deals with the chronology of its creation and development: creation, execution, financing, setting up, exhibiting, wrapping up again and storing. Work, among other things, becomes a kind of saving outside the banking system, in which instead of putting the money under the bed, the artist gives another meaning and significance to money, and in doing so, increases its value through the artistic approach.

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STIPE BABIĆ TRANS-BILLBOARD, 2016., NE-intervencija u privatiziranom javnom prostoru na billboardu, dokumentacija, 2 fotografije, 12 x 14 cm TRANS-BILLBOARD, 2016, NON-intervention in a privatized public space on a billboard, documentation, 2 photographs, 12 x 14 cm

Korporativni horror vacui koji je uspostavila oglašavačka industrija brendiranjem javnog prostora i najmom billboarda kojima se formiraju signali u javnom prostoru nešto je na što smo toliko navikli da toga uopće nismo svjesni.

Prema znanstvenim istraživanjima Bornsteina i D’Agostina (1996.), nesvjesno primljen živčani stimulus može utjecati na buduće djelovanje. Svakodnevni život koloniziran je naprednim kapitalizmom (Društvo Spektakla-Guy Debord), privatizacijom gradskog prostora i pretvorbom javnog prostora iz nečeg što možemo koristiti u spektakularni produkt koji možemo jedino konzumirati.

Trans - Billboard Stipe Babića u stvari je NE-intervencija na billboardu u javnom prostoru. Sastoji se od billboarda pročišćenog od poruke, u stanju ireverzibilnog procesa NEgiranjem poruke, NE intervenirajući u uništavanje plakata koji je tako ostavljen industriji, da ga nakon što je oglas istekao uništi i ponudi slobodan javni prostor za oglašavanje. Fokus umjetničke NE-intervencije je proces oslobađanja MEĐU-PROSTORa između dvije faze u montaži plakata: odljepljivanja starog i zaljepljivanja novog oglasa. Prazan billboard, izražene teksture nataloženog ljepila i papira. Pročišćenjem javnog privatiziranog prostora iz prljavog aktivnog djelovanja na podsvijest, prevodi nas u stanje oslobođenja podsvijesti od nametnute poruke.

Ideja je osloboditi javni prostor i podsvijest građana od nametnutih poruka te osvijestiti građanstvo o funkcijama reklamnih prostora u svrsi promocije spektakularnog produkta.

By branding public space and renting billboards that create signals in public space, the advertising industry has created a corporate horror vacui which we became so accustomed to that we do not even notice it anymore.

According to Bornstein and D’Agostino (1996) unconsciously perceived stimuli can influence future action. Everyday life is colonized by advanced capitalism (The Society of the Spectacle – Guy Debord), by the privatisation of urban space and transformation of public space from something we can use into a spectacular product that can only be consumed.

Stipe Babić’s Trans-Billboard is in fact a NON-intervention on a billboard in public space. It is composed of a billboard without a message, in the irreversible process of NEgating the message, NOT intervening into the destruction of a poster that is thus left at the industry’s mercy, to destroy it after an ad expires and to offer free public space for advertising. The focus of the artistic NON-intervention is the process of liberating the INTER-SPACE between the two stages in poster installation: taking down the old and putting up a new advertisement. An empty billboard, visible accumulations of glue and paper. By purifying public privatized space from the dirty active impact on the subconscious mind, it takes us into the state of freeing our subconscious minds from the imposed message.

The idea is to free public space and the subconscious minds of citizens from the imposed messages and raise the awareness of citizens about the functions of advertising spaces in service of promoting a spectacular product.

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DRAGOSLAV DRAGIČEVIĆ Bez naziva 013, 2016., kombinirana tehnika, diptih, 120 x 100 cm Untitled 013, 2016, mixed media, diptych, 120 x 100 cm

Bez Naziva 013 Dragoslava Dragičevića je diptih koji imitira već tradicionalne simbole vrijednosti - zlato i naftu. Dragičević ove ikone materijalnog bogatstva, koristeći surogate kao što su akrilne boje, prevodi u formu umjetničkog djela, koje je danas nedostupno većini društvenih slojeva. Dvostrukost vrednovanja, očišćena od slikarskog motiva, potiče na promišljanje o vrijednostima suvremenog društva.

Untitled 013 by Dragoslav Dragičević is a diptych that mimics the commonly accepted symbols of value – gold and oil. By using surrogates such as acrylic paint, Dragičević transforms these icons of material wealth into a form of art, which is nowadays inaccessible to most social classes. The duality of evaluation, without a motif, encourages thinking about the values of contemporary society.

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MIHAEL GIBA Sunčano uz mogućnost razbojništva, 2010. -, internet instalacija, promjenjive dimenzije Sunny With A Possibility Of Robbery, 2010 -, Internet installation, variable dimensions

HPB 3. NAGRADA 33. SALONA MLADIH HPB 3RD AWARD OF THE 33RD YOUTH SALON

Prema izvješću UN-a o praćenju utjecaja ekonomske krize na kriminal, u periodu 2008.-2009. pojačala se kriminalna aktivnost građana te je jasno da ekonomska klima utječe na količinu kriminalnih radnji građana. Građani već imaju putem nacionalnih televizija dostupne informacije o tome hoće li sutra pokisnuti, kako da se obuku te kako će se osjećati, a s obzirom na to da iz Hrvatske ekonomska kriza nikako da odseli, nije zgorega uputiti ih u koje dijelove grada da ne zalaze.

Projekt Sunčano uz mogućnost razbojništva započeo je 2010. godine kao odgovor na vremenske prognoze koje uz klasičnu prognozu sadrže i biometeorološki segment, odnosno predviđaju i zdravstveno te emocionalno stanje građana. U sklopu projekta Giba je kreirao aplikaciju koja prikuplja podatke Policijske uprave zagrebačke o kriminalu u Zagrebu. Za svaki događaj policija objavljuje vrijeme, lokaciju i vrstu događaja, a Gibina aplikacija na temelju tih podataka prikuplja i podatke Državnog hidrometeorološkog zavoda o vremenskim uvjetima u trenutku kriminalnog djela na lokaciji izvršenja. Na temelju vremenske prognoze i policijske statistike, aplikacija prognozira vjerojatnost zločina u pojedinim zagrebačkom kvartovima.

According to the UN report on monitoring the impact of the economic crisis on crime, the criminal activity of citizens increased in the period between 2008 and 2009 and it is clear that the economic climate has an impact on the criminal activity of citizens. The national television already informs citizens on whether they could get wet tomorrow, how to dress and how they will feel, and since the economic crisis shows no signs of leaving Croatia, it would not hurt to instruct them on which parts of the city to avoid.

The project Sunny With A Possibility Of Robbery began in 2010 as a reaction to television weather forecasts, which, along with the common weather forecast also contain a bio-meteorological segment, that is they predict the health and emotional wellbeing of citizens. For this project Giba created an application that collects crime statistics for the City of Zagreb from the Zagreb Police Administration. For each event the police publishes time, location and type of event. Then Giba’s application, based on these data, collects the data from the National Meteorological Institute about the weather conditions at the time of the crime at the location where it happened. Based on weather forecasts and police statistics, the application predicts the probability of crime in Zagreb neighbourhoods.

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IVA HABUS Radovi za klijente, 2016.

Freedom (za hodnik), drvene boje na papiru, 70 x 50 cm Ogledalo (za dnevni boravak), crtež, digitalni kolaž,print na platnu, 70 x 50 cm Čuvar Jelenko (za spavaću sobu), akril na impregniranom papiru, 138 x 154 cm Works for Clients, 2016 Freedom (for a hallway), coloured pencils on paper, 70 x 50 cm Mirror (for a living room), drawing, digital collage, print on canvas, 70 x 50 cm Jelenko the Guardian (for a bedroom), acrylic on impregnated paper, 138 x 154 cm

Habus predstavlja radove koje je producirala prema narudžbama. Naručene slike trebale su zadovoljiti uvjete poput in motiva, specificiranog kolorita, što većih dimenzija, no nerijetko i što povoljnijeg materijala. Iva Habus problematizira opstanak mladog umjetnika, prisiljenog raditi po narudžbi isključivo zbog zarade. „Pristajem na sve narudžbe za koje sam sigurna da ih mogu odraditi, poslušam želje naručitelja, unesem i dio svoje osobnosti u svaki rad, no ne potpisujem ga. Narudžbe od kojih zarađujemo ne utječu na umjetnički razvoj niti pridonose kulturno-umjetničkoj sceni, no uglavnom ih svi prihvaćamo. Postavljam si pitanje za što se u stvari školujemo? Naša se profesija nerijetko banalizira, a njena ozbiljnost umanjuje”, navodi autorica.

Habus exhibits her commissioned works. The commissioned paintings were supposed to meet the conditions laid down by the clients, which include using in motifs and specified colours, they had to be as large as possible, but also very often made with the cheapest material possible. Iva Habus problematizes the survival of a young artist, forced to create commissioned works solely for profit. “I accept all commissions if I am certain that I can fulfil them, I listen to clients’ wishes, I also add a part of my personality to each work, but I do not sign them. The commissions that bring money do not impact our artistic development nor contribute to the cultural and art scene, but mainly we all accept them. I ask myself why do we educate ourselves?

Our profession is often trivialized, and its seriousness is diminished,” says the artist.

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LUKA HRGOVIĆ I DINO JULIUS Kako su kustosice 33. salona mladih žicale reklamu za svoju samostalnu izložbu, 2016., video diptih, 1’30” How the Curators of the 33rd Salon Scrounged for the Advertisement for their Solo Exhibition, 2016, video diptych, 1’30”

Hrvatski umjetnici vrlo često nešto rade besplatno, ali često i druge pitaju da za njih nešto odrade besplatno, pa tako i nas dvije, jer novca za umjetničku produkciji nema dovoljno. „Kolegice Mia Orsag i Martina Miholić su me „žicale” da im za njihovu samostalnu izložbu napravim video pozivnicu. Kažem „žicale” jer mi za taj rad nisu ponudile nikakvu novčanu kompenzaciju. S obzirom na sve manji budžet u kulturi, to me nije previše iznenadilo. Iako sam u tom trenutku bio u izuzetnoj gužvi oko reklama koje produciram, montiram, snimam i režiram i od kojih zarađujem, prepoznao sam situaciju i odlučio uskočiti u pomoć. Umjetnicima danas nije neobično raditi „pro bono” i svoje talente i vještine pružati kao usluge struci i kolegama.”

Very often Croatian artists do something for free, but they also ask others to do something for for free, the same as the two us did, because there is not enough money for artistic production.

“My colleagues Mia Orsag and Martina Miholić asked me to make a video invitation for their solo exhibition. Actually, they scrounged for it because they did not offer me any financial compensation. Due to shrinking budgets in the culture, I was not too surprised by this. Although I was extremely busy with the advertisements I produce, edit, make and direct and from which I make money, I knew what this was about and decided to step in and help. It is not unusual for artists nowadays to work “pro bono” and provide their talents and skills to do a favour for the profession and their colleagues.”

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IVA KATALINIĆ Horror Vacui, 2015. - 2016., instalacija, kombinirana tehnika, promjenjive dimenzije Horror Vacui, 2015 – 2016, installation, combined techniques, variable dimenzions

Iva svoj rad započinje prikupljanjem otpadnih materijala poput žice, plastike, tekstila i papira te materijala. Uz pomoć takvih materijala gradi instalaciju-crtež u prostoru te ga tretira kao prazan papir koji pokušava u potpunosti ispuniti. Ovaj rad u nastanku otvara nebrojene mogućnosti za istraživanje materijala, ali i spajanje umjetničkih medija. Koristeći troškovnik kao svojevrstan kod ili zadatak, u igri linija pomoću kojih oblikuje prostor, Iva gradi ambijent koji nije ograničen financijama, a istodobno ima funkciju očuvanja okoliša. Tako primjerice od iskorištenih, izrezanih offset tiskarskih ploča nastaju skulpture. Iva propituje na koje načine upravo tanki buđeti postaju kreativni okidači pri stvaranju novih vrijednosti i jesu li korisni u smislu istraživanja primijenjivom i u kreativnim industrijama. „Ovim radom želim pokazati kako promišljanje ekologije kroz umjetnost ne treba gledati kao izlizanu temu već upravo suprotno, kao na nešto neiscrpno i temeljno, nešto čemu danas treba i težiti”, navodi autorica.

Iva’s work begins with collecting waste material like wire, plastic, fabric, paper and other material. Using it, she builds installations – spatial drawings, which she then handles as empty paper to be entirely filled out. This work in progress opens up numerous possibilities for exploring materials, as well as combining art media. By using a budget list as some kind of a code or task within the game of space-creating lines, Iva builds an ambiance unlimited by finance, while at the same time protective of the environment. For example, used up and cut out offset printing plates become sculptures. Iva examines in which ways the low budgets precisely turn into creative triggers hat lead to introducing new values, as well as whether they are useful within a research applicable to the creative industry. “The idea behind this work is to indicate that viewing ecology through art is not a worn out subject, but rather unfailing and basic, something thing to strive towards,” says the author.

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ANTONIO KISELIĆ LEDINSKY Staklenik, 2016., papir i kemijska olovka, 21 x 29 cm PlantHouse, 2016, pen and paper, 21 x 29 cm

Staklenik je popis troškova i materijala potrebnih za izradu kućne kutije za rast i uzgoj bilja. Troškovnik je autor pronašao na stolu u dnevnom boravku kuće svojih prijatelja te ga kontekstualizirao u umjetnički rad. „Nezaposlen sam, a želim živjeti od svog rada, točnije od rada u području umjetnosti i kulture. Shodno tomu, neko vrijeme sam razmišljao o tome da zasadim biljke koje bi nakon njihovog životnog ciklusa mogao prodati, a pri tom se i malo se bolje upoznati s kultiviranjem”, navodi Antonio Kiselić Ledinsky.

Pronalazak alternativnih modela ekonomije i razmjene dobara (u ovom slučaju izradom home-made kutije za uzgoj bilja), razvijanje njihovih kvaliteta, bilo za prodaju na crnom tržištu ili osobnu konzumaciju u svrhu uštede novca, akt je slobode izbora za kreacijom ekonomije preživljavanja, ali i sukreacije ekonomije užitka. „Ovaj rad stoga predstavlja prijetnju konceptu kapitalizma koji propisima i stegom Države provodi kontrolu nad svim alternativama razvoja u svrhu održavanja uspostavljene hegemonije. Zbog toga je ovo umjetničko djelo podložno reproduciranju i dijeljenju u svrhu dokidanja apsolutizma kapitalizma, a samim time i države”, navodi autor.

PlantHouse is a list of expenses and materials needed for the construction of a homemade plant box. The artist found the list on a living room table at his friends’ house and he contextualized it into a work of art.

“I am unemployed, and I want to make a living with my work, specifically the work in the field of art and culture. Because of that, for a while I though about planting some plants that I could sell after their life cycle, and at the same time also learn more about cultivation,” says Antonio Kiselić Ledinsky.

Finding alternative models of the economy and exchange of goods (in this case by making a homemade plant box), developing their qualities, be it for the sale on the black market or for personal consumption in order to save money, is an act of freedom of choice to create the economy of survival, but also to co-create the economy of pleasure.

“For this reason this work poses a threat to the concept of capitalism that, through regulations and discipline imposed by the State, exercises control over all development alternatives in order to maintain the established hegemony. Therefore, this work of art is subject to reproduction and sharing for the purpose of destroying the absolutism of capitalism, and thus the state itself,” says the artist.

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LUKA KEDŽO KYKLOP, G.M.B.H., 2015., fotografija / objekt, 2 kom x 150 x 100 cm, 3 kom x 30 x 60 cm KYKLOP, 2015, photography / object, 2 kpc x 150 x 100 cm, 3 pc x 30 x 60 cm

HPB GRAND PRIX 33. SALONA MLADIH HPB GRAND PRIX OF THE 33RD YOUTH SALON

„Tumačenje, opravdanje, istraživanje, autonomija, fondovi, financiranje, struka, rad, zarađivanje, koncept, umjetnički rad, djelo, umjetničko djelo, materijalnost, kompleksnost, školovanje, egzistencija, model financiranja, ironija, tržište rada, tehnologija, pojedinac, realnost, produkcija, kreativnost, scena, kultura... No što je s djelom, koje se po sebi otkriva kada razmaknemo sve ove zastore?” propitkuje Luka Kedžo.

Umjetnik koristi materijal koji smatra primarnim za svoje stvaralaštvo - fotografsku opremu. „Krenuo sam u kreiranje ovog rada iz obijesti i želje da samoj opremi zadam uvjete koje ja proživljavam kao radnik i kao umjetnik. No, materijal ne razumije, a umjetnik ne odustaje. Izgleda da to smo na to pristali od početka.”

“Interpretation, justification, research, autonomy, funds, financing, profession, work, making money, concept, artwork, work, work of art, materiality, complexity, education, existence, financing model, irony, labour market, technology, individual, reality, production, creativity, scene, culture...But where is the work, which reveals itself when we open all those curtains?,” Luka Kedžo asks himself.

The artist uses the material he sees as the most important for his work – photographic equipment.

“I started creating this work out of arrogance and desire to define conditions for the equipment, the same ones I experience as a worker and as an artist.

However, the material does not understand, and the artist does not give up. It seems that we have agreed to it from the beginning.”

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JELENA LOVREC Still Life / Still Alive, 2016., fotografija, 42 okvira 40 x 40 cm Still Life / Still Alive, 2016, photography, 42 frames 40 x 40 cm

POSEBNA POHVALA 33. SALONA MLADIH SPECIAL ACKNOWLEDGMENT OF THE 33RD YOUTH SALON

Still Life / Still Alive nastao je kao rezultat višetjedne umjetničke akcije Želim bit’ k’o Berber u sklopu koje je Jelena poklanjala sve svoje radove slučajnim prolaznicima, motivirana potrebom da svoje radove učini vidljivima, ne samo kolegama i struci, već i široj javnosti. „Istovremeno bolno ironično, ali s nekom dozom istine, pomislila sam kakve su to prakse, razmjene, razgovori, dogovori, pregovori, mjeseci, godine, desetljeća nužni kako bi umjetnik postao poznat?”

Natovareni u velika kolica za kupovinu, radovi su osvanuli na nekima od najfrekventnijih punktova u Zagrebu, a umjetnica je pozivala prolaznike da se uključe u akciju uz pomoć slogana poput: „sve dam samo da ne prodam”, „uzmi i nosi” ili „no cash, just carry”...

Svaku osobu koja se odlučila za udomljavanje, umjetnica je fotografirala s odabranim radom, a bilo je nužno ispuniti Darovnicu na kojoj je, između ostalog, stajala klauzula kojom se Obdarenik obvezuje čuvati stečeni rad i poslati Darovatelju fotografiju rada nakon što ga smjesti u svoj dom.

Upravo ti izlošci-fotografije Obdarenika novi su radovi koje su posjetitelji 33. salona mladih mogli udomiti. Prema navodu autorice, ideja projekta se zasniva na neprekinutom poklanjanju radova.

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Still Life/Still Alive was a result of a weeks-long art project Želim bit’ k’o Berber (I Want to Be Like Berber) during which Jelena was giving her work away for free to passers-by, motivated by the need to make her works visible, not only to her colleagues and the profession, but to the general public as well.

“Painfully ironically, but also with some truth in it, I asked myself what kind of practices, exchanges, discussions, deals, negotiations, months, years, decades are needed for an artist to become famous?”

Stacked in a large shopping cart, the works appeared at some of the busiest places in Zagreb, and the artist invited passers by to join the action using slogans such as: “giving all for free just not to sell it”, “take and carry away” or “no cash, just carry” ...

The artist photographed each person who opted for adoption with their chosen work, and each adopter had to fill in the Deed of Donation that, among other things, contained the clause by which the Donee undertakes to take care of the acquired work and to send the Donor a photo of the work after they hang it in their home.

These exhibits-photographs sent by the Donees are the new works that the visitors of the 33rd Youth Salon could adopt.

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TONKA MALEKOVIĆ Tranzicija, 2015./2016., multimedijalna instalacija, promjenjive dimenzije Transition, 2015/2016, multimedia installation, variable dimensions

Tranzicija Tonke Maleković jedan je segment rada Spaces Between (Living) Places (u nastavku SB(L)P), nastalog u sklopu trogodišnjeg međunarodnog projekta Goethe-Instituta, Actopolis. SB(L)P je istraživački rad u kojem umjetnica, kroz vlastito iskustvo radne migracije na relaciji Hrvatska-Njemačka i seriju susreta i razgovora s drugim protagonistima sa sličnom recentnom biografijom, proučava zajednički fenomenološki fundus migrantskog iskustva; uzroke recentnih masovnih odlazaka iz zemlje, ali i procese konstruiranja osjećaja identiteta i pripadanja novom mjestu/kulturi/zajednici. Za razliku od SB(L)P-a, koji je potraga za zajedničkim identifikacijskim točkama i traženjem zajedničkog iskustva u kontekstu izmještenosti, Tranzicija u prvi plan postavlja autoričinu vlastitu priču. Rad se sastoji od audio zapisa cjelovitog razgovora s kulturnom antropologinjom Petrom Kelemen; video rada dokumentarista Matije Kralja s isječcima istog razgovora te skupine fotografija; prizora koje je autorica usputno bilježila za vrijeme svog jednogodišnjeg boravka u Stuttgartu, a kroz koje se identificirala s novom životnom situacijom i novim mjestom života.

Tonka Maleković’s Transition is a segment of her work Spaces Between (Living) Places (hereinafter SB(L)P), created within a three-year long international project of the Goethe-Institute, Actopolis. SB(L)P is a research work in which the artist, through her own experience of labour migration between Croatia and Germany and a series of meetings and discussions with other protagonists with similar recent biographies, studies a common phenomenological database of the migrant experience; the causes of the recent mass departures from the country, but also the processes of constructing the feelings of identity and belonging to a new place/culture/community. Unlike SB(L)P, which represents the search for common points of identification and common experience in the context of displacement, “Transition” puts forward the artist’s own story. The work consists of the audio recording of an interview with the cultural anthropologist Petra Kelemen; a video work by a documentary filmmaker Matija Kralj with clips of the same interview and groups of photographs; and scenes that the artist recorded in passing during her one-year stay in Stuttgart, through which she identified herself with a new life situation and new residence.

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OZREN MANOJLOVIĆ Pulfer, 2016., instalacija / akcija, promijenjive dimenzije Pulfer, 2016, installation / action, variable dimensions

„Sjedio sam s dečkima na pivi. Tema razgovora je bilo mnogo, a kao i uvijek svele su se na par istih. Red hokeja, red ženski i red stanja u državi prekinuo sam idejom koja mi se dugo vrtjela po glavi. Volio bih proizvoditi vlastitu pivu!” navodi autor, pojašnjavajući kako su tada kroz smijeh i zafrkanciju shvatili da ideja uopće nije loša. „Jedino znanje o pivarstvu koje smo imali bilo je kako piti pivu, a sve ostalo nam je bilo potpuna nepoznanica”. Unatoč tome, tada su odlučili otvoriti pivovaru. „Nestrpljiv, odlazim kod (tada za mene, majstora pivara) Hrgovića, koji mi u detalje objašnjava proces kuhanja domaće pive. Euforični zbog novo stečenog znanja, u Jurinoj garaži počinjemo kuhati pivu... I tako godinu dana... Svake nedjelje nalazili smo se u garaži na novom kuhanju. Malo po malo piva nam je ispadala sve bolja, a Žina se prirodno nametnuo kao glavni kuhar. Pive je bilo sve više, a Žina je bio sve bolji. No, kao i većina stvari, pivarstvo je skup sport pa smo uskoro zaključili kako moramo prodavati da bismo mogli ulagati u daljnji razvoj. Počeli smo prodavati pivu svima koje poznajemo i tako smo zarađivali novac za buduća kuhanja.” Danas autori doista imaju svoju pivovaru, koja djeluje kao d.o.o te su po zanimanju pivari iako su strukom dvojica umjetnika, jedan magistar vinarstva i vinogradarstva i jedan magistar povijesti. Ozren Manojlović, Hrvoje Galić, Darko Kožina i Matej Jurčić tako su Pulferom spojili art i craft.

“I was having a beer with guys. We talked about many different things, but it all came down to several usual ones. I interrupted this exchange between hockey, women and situation in the country with an idea I had been playing with for a while. I would like to make my own beer!” says the artist, explaining how, through laughter and jokes, they realized that this idea was not bad at all. “The only knowledge we had about making beer was how to drink it; everything else was a complete mystery.” Nevertheless, they decided to open a brewery. “Impatient, I went to see (at the time, the master brewer) Hrgović, who explained me in detail the process of making beer at home. Euphoric because of the newly acquired knowledge, we started making beer in Jura’s garage...And so we did it for a year...Each Sunday we used to meet in the garage for a new beer making session. Little by little our beer was improving, and, spontaneously, Žina imposed himself as the main chef. The amount of beer grew, and Žina was getting better at making it. But, like most things, brewery is an expensive sport, so we soon concluded that we had to sell to be able to invest in further development. We started selling beer to everyone we knew and that is how we earned money for future beer making sessions.” Now the artists really have heir own brewery, which operates as an Ltd and they are brewers by profession, although two of them are fine art graduates, one has an MA in Wine Making and the other an MA in History. Thus, with Pulfer, Ozren Manojlović, Hrvoje Galić, Darko Kožina and Matej Jurčić combined art and craft.

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MIA MARAKOVIĆ A da odustanem?, 2016., instalacija - letvice i snop nedovršenih slika, promjenjive dimenzije Should I Just Give Up?, 2016, installation - stretcher bars and a bundle of unfinished paintings, variable dimensions

Mia Maraković koncipirala je rad pod nazivom A da odustanem? kao instalaciju sačinjenu od letvica i snopa zamotanih, nedovršenih radova. Uzduž svake letvice je ostatak slike koja je izrezana i pospremljena na mjesto na kojem je nedostupna javnosti. Autorica za svoj rad kaže: „Snop zamotanih i nedovršenih radova, koji su nesigurno zalijepljeni samo jednom ljepljivom trakom, čekaju svoju priliku. Čitav proces uzrokovan je pitanjima koja me svako toliko zaokupiraju. Trebam li nastaviti stvarati? Ima li sve ovo uopće ima smisla? Hoće li netko vidjeti to što stvaram? Kako sve ovo funkcionira? A da odustanem?”

Mia Maraković created the work Should I Just Give Up? as an installation made of stretcher bars and a bunch of rolled, unfinished works. Along each stretcher we can see what is left of a painting that was cut out and stored in a place inaccessible to public. The artist describes her work as “A bunch of rolled and unfinished works, loosely taped together with just one piece of adhesive tape, which are waiting for their chance. The whole process was caused by questions that bother me from time to time. Should I continue to create? Does any of this make any sense? Will anyone see what I am creating?

How does all this function? Should I just give up?”.

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MARIO MATOKOVIĆ Prolaznost, 2016., instalacija, kolaž, diptih, 200 x 230 cm Transience, 2016, installation, collage, diptych, 200 x 230 cm

Serija radova pod nazivom Prolaznost nastaje kao osvrt na radove koje je Mario napravio posljednjih godina, a koji kao takvi nikada nisu „vidjeli svjetlo dana”. „U svaki pojedini rad uložena je energija, koncentracija i studioznost te se prema tome, na određenoj psihološkoj razini, povezuju sa mnom, kao i u kontekstu fizičkog zauzimanja prostora. Kako vrijeme prolazi, pojavljuju se i problemi, od nedostatka fizičkog prostora za pohranjivanje i arhiviranje radova, do psiholoških momenta poput pitanja dobrih radova koji su meni osobno, iz perspektive umjetnika, postali nezanimljivi, pa ih ostavljam iza sebe.

Dodatno, problematiziram percepciju okoline spram pojma suvremene umjetnosti i umjetnika. Sam spomen navedenih termina često je nerazumljiv i neprihvatljiv u kontekstu šire zajednice. Simptomatičnost ovog problema proizlazi iz kontinuiteta lošeg odnosa umjetnosti i obrazovnih institucija što kao ogledni primjer možemo vidjeti u zanemarivoj zastupljenosti predmeta Likovne kulture u školama. Kreativnost se najčešće sagledava kroz iskrivljenu prizmu, što dovodi do iskrivljenosti interpretacija umjetnosti i kulture. Uzmemo li u obzir navedene probleme, možemo zaključiti da je nepostojanje tržišta i (ne)zainteresiranosti za umjetnost logičan ishod ovakve situacije.

Performativni čin uništavanja mojih starih radova je reakcija na trenutno stanje. Rekompozicijom istih sugeriram njihov uvjetni kraj, no istovremeno novi početak. Ponovnim komponiranjem produciram nove radove. Ovom sinergijom razvija se nova energija, nova estetika. Vizualna komponenta starih radova (poput izraženih likovnih elemenata kao što su boja, crta, ploha...) izostaje i nastaje nov rad u kojemu je naglašena tekstura površine i jednoličnost plohe.”

The series of works Transience was created as a review of the works Mario created in the last couple of years, which never “saw the light of day”.

“Energy, concentration and meticulousness are put into each individual work and thus, at a certain psychological level, as well in the context of physical occupation of space, the work is connected to me. Various problems arise over time, from the lack of physical space for storing and archiving works, to the psychological moment in which I lose personal interest in some good works; they become uninteresting from an artist’s perspective, so I leave them behind.

Additionally, I problematize how the environment perceives the idea of contemporary art and artist. In the context of the wider community, the mere mention of these terms is often incomprehensible and unacceptable. Symptomatic quality of this problem arises from the continuity of the bad relationship between art and educational institutions, an example of which we can see in the negligible representation of the school subject of Visual Arts.

Creativity is often perceived through a distorted prism, which leads to distortion in the interpretation of art and culture. Considering the above problems, we can conclude that the lack of market and (dis)interest in art are a logical outcome of this situation.

The performative act of destroying my old works is a reaction to the current situation. By recomposing the same I suggest their conditional end, but at the same time a new beginning. By recomposing them again I produce new works. This synergy gives birth to a new energy, new aesthetics. The visual component of old works (such as visible visual elements; colour, line, surface...) disappears, giving way to a new work with a visible texture and monotony of the surface.”

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MELITA MATOVIĆ FLIGLER Nova obitelj, 2015./2016., foto-instalacija, 150 x 100 cm New Family, 2015/2016, photo-installation, 150 x 100 cm

„Okosnica rada Nova obitelj je problematiziranje kulturnog i socijalnog kapitala (Bourdieu). Kada umjetnik napušta državu i započinje novi život kao imigrant, često se susreće s gubitkom socijalnih veza s prijateljima i obitelji te gubitkom klasnog statusa. Točnije, susreće se s prelaskom iz srednje u radničku klasu (Skeggs)”, citira autorica. Izlaganje obiteljskih fotografija, u pomno uređenom dnevnom boravku, dio je predstavljanja obitelji srednje klase u većini domaćinstava.

Melita proučava što se događa kada se na zidu, umjesto portreta članova obitelji srednje klase, nađu osobe s kojima imigrant provodi vrijeme.

“The work New Family problematizes cultural and social capital (Bourdieu). When an artist leaves the country and begins a new life as an immigrant, s/he is often faced with the loss of social ties with friends and family and the loss of class status. More precisely, s/he is faced with the transition from middle to working class (Skeggs),” quotes the artist. Exhibiting family photographs, in a carefully decorated living room, is a part of representing middle class families in the majority of households.

Melita studies what happens when, instead of portraits of middle class family members, the portraits on the walls show persons with whom an immigrant spends their time.

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DUJE MEDIĆ Bez naziva, 2016., instalacija, promjenjive dimenzije Untitled, 2016, installation, variable dimensions

Instalacija Duje Medića broji preko 1000 potrošenih olovaka. Olovke je umjetnik iskoristio od sredine 2010. do kraja 2015. godine za produkciju svojih crteža. „2010. godine sam počeo pripremati svoju prvu izložbu crteža i uvidjevši da trošim puno olovaka (u prosjeku svaki drugi dan potrošim jednu), odlučio sam ih sve sačuvati, imajući na umu da bih ih jednom mogao iskoristiti za novi rad. Tijekom vremena ideja za rad se nije razvijala, a olovke su se nastavile gomilati i čini se da je ta hrpa postala rad sam po sebi. Svi ostaci su TOZ-ove B6 olovke. Zanimljivo je da su zadnji komadići sačuvani u vrijeme kada je TOZ otišao u stečaj i počeo gasiti svoj pogon. Crteži se ne prodaju ali se olovke stalno kupuju i gomilaju, a ova hrpa je dokaz da su moji radovi, materijalno i financijski govoreći, samo trošak”, navodi Duje.

Duje Medić’s installation counts more than 1000 used pencils. The artist used these pencils in the period 2010 - 2015 to produce his drawings. “In 2010 I started preparing my first exhibition of drawings and as I saw that I was using a lot of pencils (on average I used one every other day), I decided to keep them all, having in mind that one day I might use them for a new work. Over time the idea for this work did not develop, and the pencils continued to pile up and it seems that this pile became an artwork in itself. All the remains are TOZ B6 pencils. It is interesting that the last preserved pieces are from the time when TOZ went bankrupt and started to shut down its production. The drawings are not being sold, but the pencils are being bought and accumulated all the time, and this pile is the proof that my works, materially and financially speaking, are only an expense,” says Duje.

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BOJAN MRĐENOVIĆ Čija Trešnjevka, 2016., video, 7’26” Whose Trešnjevka, 2016, video, 7’26”

Čija Trešnjevka polazi od interesa za mehanizme koji oblikuju grad, odnosno urbanu infrastrukturu. Trešnjevka, koja širenjem grada od periferije postaje centar, doživljava intenzivnu urbanu transformaciju, prvenstveno kroz stanogradnju. Snimajući ambijent suvremene Trešnjevke, Bojan prikazuje grad ne onakvim kakav jest, nego onakvim kakav bi želio, odnosno mogao biti.

Film se sastoji od dijelova teksta Epohe trešnjevačkih desetljeća Drage Kastratovića iz knjige Crvena Trešnjevka objavljene 1982. godine u izdanju Instituta za historiju radničkog pokreta Hrvatske, i vizualne refleksije tog teksta u ambijentu suvremene Trešnjevke. „Pitanje je na koji način se od tada do danas razvijala ideja razvoja crvene, radničke Trešnjevke. Na koji način se zamišljala tada, a na koji način se danas zamišlja i planira budućnost Trešnjevke? Čije Trešnjevke?” navodi Bojan.

The starting point of the work Whose Trešnjevka is the interest in mechanisms that shape the city, and the urban infrastructure. Trešnjevka, a neighbourhood which, as the city expands, turns from a periphery into a centre, experiences an intensive urban transformation, primarily through housing contraction. By recording the ambience of contemporary Trešnjevka, Bojan shows the city not as it is, but as it wishes, or could be.

The film is made up of parts of the text “The Epoch of Trešnjevka Decades” by Drago Kastratović, from the book Red Trešnjevka, published by The Institute for the History of the Labour Movement of Croatia in 1982, and a visual reflection of the text in the environment of contemporary Trešnjevka. “The question is how the idea of the development of red, working-class Trešnjevka evolved from then until today. How did we see it then, and how do we see and plan the future of Trešnjevka today? Whose Trešnjevka?” says Bojan.

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BOJAN MUCKO Znaci vremena, 2013. - , dokumentacija performativnog procesa / performativno predavanje Signs of the Times, 2013 -, documentation of the performative process / lecture performance

„Objekte sam primjetio u gomili sličnih u prostoru ispred zgrade iz koje su ih izbacili. Nekad, vjerojatno nedugo prije nego li sam naišao, netko je odlučio da više nisu važni. Klasificirani su kao nevažni i izmješteni na ulicu u javni prostor. Izdvojio sam 10 objekata i postao njihov novi vlasnik. Isprva nisam znao što s njima, a onda sam ih odlučio nositi sa sobom pri svakom izlasku u javni prostor. Proces u kojem sam se našao, trajao je 7 mjeseci” navodi Bojan.

“I noticed these objects in a pile of similar ones in front of the building from which they were thrown out. At some point, probably not long before I came along, somebody decided that they were not important any more. They were classified as unimportant and got relocated to a street in public space. I singled out 10 of these objects and became their new owner. At first I did not know what to do with them, and then I decided to take them with me every time when I went to a public space. This process lasted for seven months” says Bojan.

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PAVLE PAVLOVIĆ Haw, 2015., ulje na platnu, 40 x 30 cm Sinnerman, 2016., lje na platnu, 180 x 120 cm Haw, 2015, oil on canvas, 40 x 30 cm Sinnerman, 2016, oil on canvas, 180 x 120 cm

Sinnerman i Haw dijelovi su ciklusa Sigurni rizici.

Osnovno pitanje kojim je Pavle zaokupljen je renome slike i slikarstva u današnjem društvu spektakla, masovnih medija, interneta i virtualne zbilje u kojoj smo neprekidno bombardirani najrazličitijim sadržajima.

Autor interpretira amaterske, turističke fotografije nađene na internetu. Dodaje i izvrće detalje te naglašava pojedine elemente što često rezultira grotesknim prizorima s ciljem provokacije promatrača. „Ovo je pokušaj balansiranja između dopadljivosti i beznačajnosti, karakteristične za ogroman vizualni input kojim smo svakodnevno okruženi”, navodi autor. Umjetnika zanima je li moguće izbjeći kompromitiranje vlastitih stavova u svrhu prodaje umjetnosti, odnosno do koje je mjere moguće prevariti oko s ciljem dosljednog samoizražavanja. „Tražim rješenje u pristupu koji grotesku pretvara u (barem na prvu) primamljivost.”

Sinnerman and Haw are parts of the Safe Risks cycle.

Pavle’s main preoccupation is the reputation of image and painting in the present society of the spectacle, mass media, the Internet and virtual reality in which we are constantly bombarded with the most diverse contents.

The artist interprets amateur, tourist photographs found on the Internet. He adds and changes details and emphasizes individual elements, which often results in grotesque scenes that aim to provoke the viewer.

“This is an attempt to balance between likeability and insignificance, characteristic of a huge visual input that surrounds us every day,” states the artist.

The artist would like to know if it is possible to avoid compromising one’s own views in order to sell art, or to which extent it is possible to trick the eye with the aim of consistent self-expression.

“I am looking for a solution in an approach that turns grotesque (at least at first sight) into attractiveness.”

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ANA PETROVIĆ Vielen Dank für Ihren Einkauf, rad u nastajanju, serija, 2014., akril na platnu, 140 x 100, 140 x 90 cm Vielen Dank für Ihren Einkauf, work in progress, series, 2014, acrylic on canvas, 140 x 100, 140 x 90 cm

Serija Vielen Dank für Ihren Einkauf producirana je na platnima kupljenim u raznim zemljama u Europi. Računi za platno i svi autentični podatci s računa (datum kupnje, PDV, mjesto kupnje, cijena i svi ostali podatci) preneseni su na to isto platno. Ovim postupkom, umjetnica svoj trošak prevodi u umjetničko djelo te možebitnu financijsku dobit.

The series of works Vielen Dank für Ihren Einkauf was produced using canvases bought in different European countries. The receipts for the canvases and all authentic receipt elements (date of purchase, VAT, place of purchase, price, etc.) were transferred to the same canvas. With this procedure the artist turns her expense into a work of art and eventual financial gain.

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JANKO PETROVIĆ Materijal ili djelo?, 2016., mesing, drvo, 200 x 100 x 10 cm Material or Work?, 2016, brass, wood, 200 x 100 x 10 cm

Što je sve i u kojoj količini, potrebno da bi neki rad postao umjetničko djelo? Je li kriterij skupa produkcija, izvedba, koncept ili nešto treće? Koliko financijski segment utječe na likovnost djela i možemo li pronaći kompromise u svojim zamislima, a pri tome biti zadovoljni onime što smo na kraju postigli?

Ovo su pitanja koja Janko promišlja unutar svog umjetničkog stvaralaštva. „Ponukan temom Salona mladih, dobio sam potrebu izaći iz klasičnog procesa stvaranja djela. Odlučio sam se zadržati kod problema financiranja produkcije rada, a materijal za rad pretvoriti u konačno umjetničko djelo”, navodi umjetnik. Rad, koji Janko prezentira, za realizaciju je zahtijevao tri mesingane ploče, računalnu pripremu, upotrebu strojeva i opremanje. Zbog nemogućnosti financiranja cjelokupnog rada odjednom, od zamišljenog reljefnog triptiha, Janko zastaje na jednom, ne-izvedenom reljefu te mesinganu ploču prevodi u gotov umjetnički rad. Ploča je visoko polirana, prirodno zlatne boje, što evocira luksuz i naglašava njenu visoku nabavnu cijenu. „Materijal dobiva ulogu umjetničkog djela i prije nego li je to postao, a samim time već živi svoju ulogu čekajući potpunu realizaciju, dok ja prikupljam sredstva za dovršavanje reljefa”, navodi autor.

What and in what quantities is needed for a work to become a work of art? Is the criterion an expensive production, performance, concept or something else? How much does a financial segment influence the artistic quality of a work and can we find compromise in our ideas, and at the same time be satisfied with what we have achieved in the end? These are the questions Janko raises in his creative work.

“Inspired by the topic of the Youth Salon, I felt the need to go beyond the traditional process of art making. I decided to stick with the issue of financing the production of artworks, and turn the material into a finished work of art,” says the artist.

The work presented by Janko required 3 brass plates, computer preparation, and the use of machines and equipment. Due to inability to finance the whole work at once, instead of three planned relief triptychs, Janko created one, unfinished relief and turned the brass plate into a finished work. The plate is highly polished, originally gold in colour, which evokes luxury and emphasizes its high purchase price. “The material was given the role of a work of art even before it became one, and thus it already lives its role while waiting for the full realization, while I am saving money to finish the relief,” says the artist.

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MARIJA PLEČKO I PETRA ORBANIĆ Dah, dva..., 2015./2016., video-instalacija / ambient, promjenjive dimenzije A Breath or Two, 2015/2016, video-installation / ambient, variable dimensions

HPB 2. NAGRADA 33. SALONA MLADIH HPB 2ND AWARD OF THE 33RD YOUTH SALON

Dah, dva... je nikad prijavljen rad, osmišljen za natječaj Trijenala hrvatskog kiparstva 2015. godine, a video, izložen uz popratnu dokumentaciju, u ovom kontekstu egzistira kao samostalno djelo, dok je izvorno trebao poslužiti kao skica za prvotno zamišljenu instalaciju. „Zbog upitne kvalitete samog videa i financijske nemogućnosti da se rad realizira, ni video, ni sam koncept nikad nisu poslani na natječaj. Iza čitavog procesa je ostala opsežna dokumentacija vidu fotografija, bilješka, crteža i videa kao materijalni dokaz uloženog truda i stečenoga iskustva studentica Alu koje djeluju unutar institucije i države koja financijski ne omogućuje i ne daje mnogo”, navode Marija i Petra. „Ideja rada koji smo trebale prijaviti za Trijenale hrvatskog kiparstva bila je prikazati disanje prirode. Ispod pojasa granja i lišća trebali su se nalaziti motori koji bi ga u naizmjeničnim intervalima podizali i spuštali simulirajući disanje. Proces koji je počeo i temeljio se na granju pokretanom elektromotorima, završio je na našim leđima. U doslovnom i figurativnom smislu”, kažu autorice. „Zavukle smo se ispod pojasa granja i svojim smo leđima podizale hrpu stavivši svoje tijelo u ulogu motora koje nismo mogle financirati. Nakon što smo iscrpile sve mogućnosti preostalo nam je još samo nekoliko sati čišćenja i još nekoliko dana da shvatimo da rezultat čitavog našeg truda neće biti rad, nego iskustvo.” „Nedavno smo, razvrstavajući datoteke na laptopu, naišle na spomenute materijale. Gledajući tada u video, u nas, u njemu smo osjetile život u punom smislu te riječi. Vidjele smo trud, pokušaj, želju, neostvarenost, umor, očaj, krizu, egzistenciju... Gledale smo u video ne kao u skicu, nego kao u gotovo i kompletno djelo, iskreno i neizmanimupirano svjedočanstvo današnjice, jer je ono to u svojoj suštini i bilo i je”, navode autorice.

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A Breath or Two... is the work that was created for the call for artists of the Triennial of Croatian Sculpture in 2015, but it was never applied. In this context the video, exhibited together with the accompanying documentation, functions as an independent work, but originally it was supposed to serve as a sketch for the originally planned installation. “Due to the questionable quality of the video and financial inability to create the work, the video and the concept were never sent to the call for artists. The whole process resulted in extensive documentation in the form of photographs, notes, drawings and videos which served as the material evidence of the effort invested and experience acquired by the two students of the Academy of Fine Arts, who work within the institution and state that do not provide or enable much,” say Marija and Petra.

“The idea of the work we were supposed to apply for the Triennial of Croatian Sculpture was to show the breathing of nature. Motors were supposed to be placed under the layer of branches and leaves, which would then alternately raise and lower them, thus simulating the process of breathing. The process was based on the idea of branches set in motion with the help of electric motors, but it ended on our backs. Both literally and figuratively speaking,” say the artists. “We crawled under the layer of branches and used our backs to raise the pile, using our bodies as the motors we were not able to afford. After we used up all the possibilities it took us a couple of hours of cleaning and several more days to realize that our effort will not turn into a work, but into experience.”

“Not long time ago, when we were sorting files on the laptop, we stumbled upon the said materials. By looking at the video, at ourselves, we saw life in it in the full sense of the word. We saw effort, attempt, desire, lack of realization, fatigue, desperation, crisis, survival...We looked at the video not as a sketch, but as an almost finished and complete work, honest and unmanipulated testimony of today, because in its essence that it what it has always been,” state the artists.

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PULSKA GRUPA After the Bubble, 2014., video, 13’59” After the Bubble, 2014, video, 13’59”

Inženjerska zadruga za projektiranje, urbanizam i oblikovanje Praksa, osnovana od strane članova Pulske grupe, je društveno-ekonomsko udruženje ravnopravnih fizičkih i pravnih osoba. Solidarnost i uzajamna pomoć, integracija kulturnog i političkog angažmana u proizvodnu sferu, edukacija i razmjena znanja među članovima neke su od karakteristika ove zadruge. Praksa je osnovana 2011. godine kao prva inženjerska zadruga na području Hrvatske, a trenutno u njoj djeluju arhitekti, fotografi, dizajneri i novinari s nekoliko godina radnog iskustva.

After the Bubble je video esej o financiranju umjetnosti te društvenim pokretima, nastao u sklopu rezidencijlnog programa u muzeju Reina Sofia u Madridu.

Praksa, an engineering cooperative for design, urbanism and architecture, founded by the members of the Pula Group, is a socio-economic association of equal natural and legal persons. Solidarity and mutual help, integration of cultural and political engagement in the sphere of production, education and exchange of knowledge among the members are some of the cooperative’s guiding principles. Praksa was founded in 2011 as the first engineering cooperative in Croatia, and it currently includes members with several years of experience in the domain of architecture, photography, design and journalism.

After the Bubble is a video essay on financing art and social movements, made as a part of the residency program in Reina Sofia Museum in Madrid.

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MIHAEL PUNTARIĆ 100 malampija, 2016., instalacija, drvo, 100 x 100 cm 100 malampija, 2016, installation, wood, 100 x 100 cm

Upotrebom dijelova drvenih paleta kao bazičnog, jeftinog i lako dostupnog materijala koji u ovom slučaju služi za stvaranje slike, umjetnik Mihael Puntarić dovodi u pitanje koliko je uopće potrebno uložiti u materijal za produkciju. Današnje socio-ekonomske prilike često ne dopuštaju umjetnicima izvedbu rada na prvobitno zamišljen način te ih tjeraju/potiču na drugačiji pristup. Mihael je svoj rad isproducirao od baza s drvenih paleta, 100 drvenih kocaka, čime se daje novo značenje onomu što je bilo samo nevažan industrijski materijal.

By using the parts of wooden pallets as the basic, cheap and easily available material for creating paintings, the artist Mihael Puntarić calls into question how much one has to invest in the material for production. Today’s socio-economic conditions often do not allow an artist to created a work in the originally planned way and force/encourage them to come up with a different approach. Mihael produced his work using the bases of wooden pallets, 100 wooden cubes, which gave a new meaning to what used to be just an irrelevant industrial material.

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ANA SLADETIĆ Untitled : 2008. – 2016. instalacija: papir, knjige, pleksiglas, 30 x 100 cm, 40 x 100 cm Untitled : 2008 – 2016, installation: paper, books, Plexiglas, 30 x 100 cm, 40 x 100 cm

Untitled: 2008. – 2016. koncipiran je od svih knjiga, časopisa, monografija, kataloga i deplijana koje je Ana dizajnirala za druge umjetnike, galerije, muzeje, tvrtke i agencije, ne bi li isplatila produkciju svojih radova. „Nerijetko se obavljanje nekog drugog posla, u svrhu financiranja vlastitih umjetničkih djela, smatra manje vrijednim, a ponekad i sramotnim. Ovo je, u jednom pogledu moj „stup srama”, a predstavlja sve projekte na kojima sam morala raditi kako bih osigurala sredstva za produkciju sveg onog čime se doista želim baviti i u čemu uživam. Kao aktivna umjetnica, shvatila sam da ne mogu računati na financijsku potporu države ili institucija te da, ako se želim baviti umjetnošću, moram sama financirati vlastite projekte. Upravo zbog tog, odlučila sam se baviti dizajnom”, navodi umjetnica.

Untitled: 2008 – 2016 is made of all the books, magazines, monographs, catalogues and brochures that Ana designed for other artists, galleries, museum, companies and agencies, in order to pay for the production of her own works.

“Doing some other work, in order to finance one’s own artworks, is often seen as less valuable or even shameful. This is, in a way, my “pillar of shame”, and it represents all the projects I had to do to earn the money for the production of what I truly want to do and what I enjoy. As an active artist, I realized that I cannot count on the financial support from the state or institutions and that, if I want to do art, I have to finance my projects on my own. This was the reason I decided to do design,” says the artist.

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MIRAN ŠABIĆ Troškovnik, 2016., multimedijalna instalacija, promjenjive dimenzije Budget, 2016, multimedia installation, variable dimensions

Miran Šabić, imajući na umu iznimno skupe materijale potrebne za izradu tradicionalnih grafika, istražuje postoji li mogućnost produkcije grafičke serije za 0 kuna.

Na glomaznom otpadu skupio je drvene i metalne predmete koji su mu poslužili kao matrice za rezbarenje ili graviranje. Od ostataka papira iz ateljea, novina i raznog papirnatog otpada ručno je izradio papire za grafiku. Natopio je papire vodom te pomoću miksera napravio papirnu pulpu i procijedio ju kroz stari prozor s mrežicom za komarce te ju pretvorio u novi papir. Samostalno je izradio grafičku boju od čađe i lanenog ulja. Čađu je napravio paljenjem starih dasaka te ju pomiješao s iskorištenim uljem koje je dobio u pečenjari.

Having in mind the extremely expensive materials needed for the production of traditional graphics, Miran Šabić explores whether it would be possible to produce a series of graphics for 0 Kuna.

He collected wooden and metal objects found among bulky waste, which served as matrices for carving or engraving. He used paper remains from the studio, newspapers and various other paper waste to make a hand made paper for graphics. He soaked the paper in water and using a mixer made paper pulp and squeezed it through an old window with a mosquito net, which he then used to make a new paper. He sole-handedly made graphic paint using soot and linseed oil. He made soot by burning old planks and then mixed it with the used oil he got from a grill house.

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MELINDA ŠEFČIĆ Troškovnik i vrijednost umjetničkog djela, 2016., instalacija / umjetničko istraživanje List of Expenses and Value of an Artwork, 2016, installation / artistic research

Kako, kome i za koliko novaca prodati svoje radove? Umjetnikov je posao isti kao i svaki drugi posao, njegova je vokacija stvaralaštvo, on se školuje kako bi dobio znanje, širinu, iskustvo, pa i diplomu kojom može opravdati sebe i svoju vrijednost i raditi ono za što se školovao. Nažalost, to često baš i ne uspijeva.

Ono što nerijetko sputava prodaju umjetničkog djela je plativna moć građana, točnije nedostatnost financija za osnove životne potrebe, što umjetnost prevodi u luksuz. Dodatno, hiperprodukcija jeftinih reproduciranih „umjetnina” koje „siluju” današnje tržište ne doprinose prodaji umjetničkih radova.

Znamo li što sve ulazi u cijenu umjetničkog djela? Koja je subjektivna vrijednost umjetničkog djela? Koja je objektivna vrijednost umjetničkog djela mladog, još neafirmiranog umjetnika? Jesmo li svjesni činjenice da kupnjom rada ulažemo u umjetnika, u njegov daljnji razvoj, ali da i djelo koje smo kupili vremenom može dobiti na vrijednosti?!

Melinda je odlučila provoditi istraživanje na temelju radova predstavljenih na 33. salonu mladih kroz tri jednostavna pitanja upućena umjetnicima, te dva publici.

Upitnik za umjetnike: 1. Koliko ste financijski uložili u stvaranje svog djela?

2. Koja je Vaša procjena vrijednosti tog djela?

3. Za koliko biste mogli taj rad prodati (Vaša procjena)?

Upitnik za publiku: 1. Biste li kupili ovo umjetničko djelo?

2. Koliko procjenjujete vrijednost navedenih umjetničkih djela, izloženih na 33. salonu mladih? **Prikupljeni podatci obrađeni su postupcima statističke metode izračunavanja prosječnih i relativnih vrijednosti. Rezultati se isključivo odnose na 33. salon mladih.

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How, to whom and for how much to sell one’s old works? Artists’ job is the same as any other job, their vocation is creativity, they educate themselves to acquire knowledge, breadth, experience and even the diploma which they can use to justify themselves and their value and do what they were educated for. Unfortunately, this often does not quite work.

The factor that often inhibits the sale of an artwork is the purchasing power of citizens, more precisely the lack of finances for the basic needs, which turns art into luxury. In addition, the hyper-production of cheap “fine art“ reproductions that “rape“ the today’s market do not contribute to the sale of artworks.

Do we know what is included in the price of a piece of art? What is the subjective value of a piece of art? What is the objective value of a piece of art by a young artist yet to define his or her place within the art scene? Are we aware of the fact that by purchasing a piece of art, we are investing in the artist and his further growth, and that the piece that we have purchased may increase its value over time?!

Melinda has decided to conduct a research based on the artwork exhibited at the 33rd Youth Salon by raising three questions directed at the artists and two at their audience.

Artists’ questionnaire: 1 How much money are you willing to invest in the creation of a piece of your art?

2 What is your estimated value of that piece?

3 For how much money would you manage to sell that piece (your own estimate)?

Audience questionnaire: 1 Would you buy this piece of art?

2 In your opinion, what is the estimated value of the listed artwork exhibited at the 33rd Youth Salon? ** The data gathered from this survey are processed by applying statistical methods for calculating average and relative values. The results apply exclusively to the 33rd Youth Salon.

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IVAN TUDEK Winds of Change, 2016., akrilik na papiru i tvrdoj podlozi, diptih, 100 x 70 cm Winds of Change, 2016, acrylic on paper and hard surface, diptych, 100 x 70 cm

Rad Winds of Change poput mantre zaziva promjenu postojeće situacije i problema. Umjetnik smatra da bi ovaj rad bio dobar vizual za akcije, pokrete ili platforme koje polemiziraju honoriranja umjetnika i kustosa te da bi svojim motivom zastavice koja vijori na vjetru možda mogao oslikati buduće promjene. „Winds of Change se odnosi na egzistenciju svih grana umjetničke djelatnosti”, navodi autor.

The work Winds of Change, like a mantra, calls for a change of the existing situation and for solving the existing problems. The artist believes that this work would be a good visual for actions, movements or platforms that deal with the issue of remuneration of artists and curators and that with the motif of a flag waving in the wind he might paint some future changes. “Winds of Change refers to the survival of all branches of artistic activity,” says the artist.

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MARIO UDŽENIJA Good, 2014./2015., video instalacija, promjenjive dimenzije Good, 2014/2015, video installation, variable dimensions

Mariov rad trenutno se sastoji od različitih slikovnih datoteka veličine 5,35 GB (5.755.429.250 bytes), koje su postavljane na internet tijekom godinu dana, na raznim platformama, a pritom su mijenjale svoj oblik i spajale se s drugim slikama. „Predstavljam projekt u kojem se beskonačno vrte slikovne datoteke pohranjene na cloudu. Baza podataka se spontano spaja s nasumičnim slikama koje slobodno kruže internetom. Za ovaj projekt korištene su isključivo slike tuđih umjetničkih projekata koji su realizirani u fizičkom svijetu. Rad se realizira u stvarnom vremenu kroz kopiranje slike (meme*) u beskonačnim varijacijama koje su na kraju predstavljene u jedinstvenom virtualnom prostoru, umjesto kroz materijalnost fizičkog svijeta”, navodi Mario. *1. element kulture ili sustava ponašanja koji prelazi od jednog do drugog pojedinca zbog imitacije ili drugih ne-genetskih sredstava. 2. slika, video, dio teksta, itd, obično duhovite prirode, kopiranih i brzo raširenih internetom, često s malim varijacijama.

Mario’s work currently consists of various image files of 5,35 GB (5.755.429.250 bytes) that were uploaded on the Internet in the course of one year. These images were uploaded to various platforms, and in that process they changed their form and merged with other images. “I present a project with an endless pool of image files stored in cloud. The database spontaneously connects with random images that freely roam the Internet. For this project I used only images of art projects created by others in the physical world. The work is created in real time by copying the image (meme*) in endless variations that are in the end presented in a unique virtual space, instead through the materiality of the physical world,” says Mario. *1. an element of a culture or system of behaviour passed from one individual to another by imitation or other non-genetic means. 2. an image, video, piece of text, etc., typically humorous in nature, that is copied and spread rapidly by Internet users, often with slight variations.

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JOSIPA VRANJKOVIĆ Vunenjaci, 2016., skulpturalna instalacija, promjenjive dimenzije Woolves, 2016, sculptural installation, variable dimensions

Vuna – nekad blago, danas otpad Josipa smatra da umjetnik, formom koju stvara, neminovno započinje dijalog te da bit umjetničkog stvaranja počiva u uspostavljanju odnosa između subjekata. „Vunenjaci problematiziraju promišljanja i ciljeve mog osobnog umjetničkog djelovanja. Svako umjetničko djelo je poziv na suživot u svijetu kaosa i destrukcije. Ono propituje moć svakodnevne egzistencije kao i umjetničke egzistencije. Ideja prostorne instalacije Vunenjaci je kritika čovjeka kao socijalnog bića, jedinke koja ima potrebu za pripadanjem svojevrsnom krdu ili zajednici. Vuna koja je, ne tako davno, smatrana blagom, danas stvara ekološki problem, postaje otpad. Skulpture formirane od vune nemaju vrijednost u smislu materijala. Mogu li od otpada opet načiniti blago kojim se vuna nekad smatrala? Mogla bih kad bi kulturna osviještenost postojala”, kaže Josipa.

Wool – once treasure, now waste Josipa believes that an artist inevitably opens a dialogue through a form s/he creates, and that the essence of artistic creation lies in establishing the relationship between subjects. “Woolves deal with deliberations and goals of my own artistic activity. Each work of art is a call for coexistence in the world of chaos and destruction. It questions the power of everyday survival, as well as the artistic survival. The idea of spatial installation Woolves is the criticism of man as a social being, an individual who feels the need to belong to a kind of herd or community. Wool that, not so long ago, was seen as something valuable, is today an environmental problem, it becomes waste. Sculptures made of wool have no value in terms of material worth. Can I use waste to create the treasure wool once was? I could if there was any cultural awareness,” says Josipa.

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ANA VUZDARIĆ Vodikova tranzicija, 2015., kolor print na papiru, 77 kom., 14 x 14 cm Hydrogen Transit, 2015, combined­colour print on paper, 77 pc, 14 x 14 cm

Anin rad vremenski je specifičan, a nastao je u periodu od studenog 2013. do lipnja 2015. Započeo je dokumentiranjem umjetničina procesa traženja posla u korporativnom okruženju, a završio obranom diplomskog rada. Cijeli je rad skica koja otvara pitanja o sezonskom radu, izmještenosti, geografskoj izoliranosti, odnosu privatnog i poslovnog, tvoreći metaforu na tri kemijska elementa koja povezuje s ljudskim karakternim osobinama. „Vodik – simbolizira povučen tip osobe koji se može prilagoditi većini situacija, ali se ni u jednoj ne pronalazi do kraja. Vodik je kemijski element koji nema točno određeno mjesto u periodnom sustavu elemenata.

Natrij je izrazito aktivni kemijski element, a njegove karakteristike lakog stvaranja lako raskidivih veza te pozitivan naboj poslužili su kao metafora idealnog zaposlenika koji je vrlo tražen.

Sam naziv rada ­Vodikova tranzicija ­je zapravo metaforički Vodikov pokušaj pretvorbe u Natrij, kako bi se uklopio u ekonomske uvjete u kojima se našao, što nas dovodi do Klora - metafore za korporaciju.

Klor je visoko reaktivni element koji ima jako visoki afinitet prema elektronu, jakim silama privlači sve slobodne elektrone. U vanjskoj ljusci mu nedostaje jedan elektron kako bi postigao stabilnost. Ako Natrij predstavlja savršenog zaposlenika, Klor je savršeni poslodavac, jer koliko Natrij želi podijeliti svoj elektron toliko ga Klor želi prihvatiti. Samo treba zamisliti najrašireniji spoj Natrija i Klora – kuhinjsku sol. Međutim, činjenica je da je dovoljno malo vode da se ta spona raskine i da se i Natrij i Klor nađu kao slobodni radikali ponovo na tržištu rada”, navodi autorica.

Ana’s work is time-specific, and it was created in the period between November 2013 and June 2015. It began by documenting the artist’s job-hunting process in a corporate environment, and it ended with defending her thesis. The whole work is a sketch that raises questions about seasonal work, displacement, geographical isolation, the relationship between private and business environment, by creating a metaphor based on three chemical elements she associates with human personality traits.

“Hydrogen – symbolizes a shy person who can adapt to most situations, but does not fully find themselves in either. Hydrogen is a chemical element that does not have a defined place in the period table of elements.

Sodium is an extremely active chemical element, and the fact that it easily forms fragile bonds and has a positive charge served as a metaphor of an ideal, highly wanted employee.

The title of the work – Hydrogen Transit – is actually Hydrogen’s metaphorical attempt to turn into Sodium, in order to fit into the economic conditions surrounding it, which leads us to Chlorine – a metaphor for a corporation.

Chlorine is a highly reactive element that has a very high electron affinity, it strongly attracts all free electrons. It lacks one electron in its outer shell to achieve stability. If Sodium represents a perfect employee, Chlorine is a perfect employer, because as much as Sodium wants to share its electron, Chlorine wants to accept it. One just needs to imagine the most common compound of Sodium and Chloride – table salt. However, just a small amount of water is enough to break this bond and to return Sodium and Chlorine back to the labour market as free radicals,” says the artist.

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VENDI VERNIĆ Dekonstrukcija / Rekonstrukcija, 2016., kombinirana tehnika: olovka, tuš, akvarel, kolaž, tempera na papiru, 2 bilježnice, 15 x 21 cm Deconstruction / Reconstruction, 2016, mixed media: pencil, ink, aquarelle, collage, tempera on paper, 2 nootebooks, 15 x 21 cm

Rad Dekonstrukcija / Rekonstrukcija sastoji se od crtanke i pisanke A, čije je uloge i namjene umjetnica zamijenila, pišući u crtanku i crtajući u pisanku.

Crtanka se bavi dekonstrukcijom, a pisanka rekonstrukcijom Vendinog odnosa prema vlastitom radu kao i autoričinom pozicijom u ovom socio-ekonomsko-kulturnom-itd. trenutku. „Tema Salona prvotno me potaknula na razmišljanje o ekonomskom aspektu bavljenja umjetnošću i paralelnoj borbi za pronalaženje/stvaranje vlastite pozicije unutar (ili izvan, kako kome draže) tokova umjetničke scene - imala sam potrebu da kroz rad na neki način „podnesem račun” svim tim problematikama s kojima se i sama svakodnevno susrećem i borim, no ipak sam se odlučila usredotočiti na podnošenje računa vlastitom radu, jer da sam izabrala neko drugo zanimanje, moguće je da me to sve ne bi mučilo. Sumnja u vlastiti rad nešto je prirodno, no dok je prije bila usmjerena na na razvitak i granice vlastitih (ne)mogućnosti i (ne)talenta, u zadnje vrijeme proizlazi iz propitivanja smisla umjetničkog rada u zemlji i krizi u kojoj se za većinu sve osim egzistencijalno nužnog pretvorilo u luksuz i elitizam. Osim materijalnog troška i uloženog novca koji umjetnički/likovni rad zahtijeva, tu je i onaj nematerijalni, a kako egzaktno odrediti vrijednost nečega neodredivog standardnim mjerilima? Ne dajem odgovore, jer će dolazak do njih (ako uopće postoje) biti trajniji proces, već sastavljam „troškovnik” bez cijena”, navodi Vendi.

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The work Deconstruction / Reconstruction consists of a drawing copybook and a copybook, whose functions have been switched by writing into the drawing copybook and drawing into the copybook.

The drawing copybook focuses on deconstruction, while the copybook tackles Vendi’s relation towards her own work, as well as her position as an author within the current socio-economic-cultural-etc. moment. “The Youth Salon’s topic inspired me to reflect on the economic aspect of working in art and the parallel battles for finding/establishing one’s place within (or outside of, depending on preferences) the art scene – I felt the need to use my work to “get even” with those problems that I face and fight on a daily basis. And yet, I have chosen to focus on getting even with my own work, because had I decided on a different occupation, I most likely wouldn’t be having these problems. It is natural to have doubts about your own work, but while those doubts used to focus on growth and the limitations of one’s (in)capabilities and (non)talent, lately, they have been the product of questioning art work in our country, during the crisis that has turned everything into either existentially crucial, or luxurious and elitist. Alongside the material cost and the money invested into a work of art stands the immaterial cost, but how do we measure something that cannot be measured using standardized methods?

I do not offer any answers, because (given their existence) arriving to the answers will be a lasting process. Therefore, I am creating a budget list without any prices,” says Vendi.

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ANA ZUBAK Bez sadržaja / Umjetnica u štrajku, 2014., video, 6’41” No Content / Artist on Strike, 2014, video, 6’41”

Kroz rad Bez sadržaja Ana razmatra mogućnost zakidanja gledatelja za sadržaj umjetničkog rada. Kada radnik kreće u štrajk, proizvodnja se zaustavlja, zakinuti smo za određeni proizvod. U ovom slučaju umjetnica preuzima metodu radnika u štrajku - zviždanje, no u sasvim drugom, kulturnom kontekstu.

Hoće li itko primijetiti kada umjetnik/ca obustavi svoj rad? Može li umjetnik/ica izostankom sadržaja zakinuti nekoga za nešto, ili uvijek i isključivo samog sebe?

Through this work with No Content Ana considers the possibility of depriving the viewers of the content of an artwork. When a worker goes on strike, manufacture stops, we are deprived of a certain product. In this case the artist appropriates the method used by a worker on strike – whistling, but in a completely different, cultural context. Will anyone notice if an artist suspends his/her work? Can an artist deprive anybody of something with the lack of content, or always and only him/herself?

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MARKO ZUBAK Soma200, 2016., instalacija: 64 fotografija, mapa za radove, tekst, promjenjive dimenzije Soma200, 2016, installation: 64 photographs, folder for works, text, variable dimensions

Marko Zubak problematizira pitanje svojih godina i pitanje prolaznosti vremena. Više nego svjestan svoje kalendarske dobi, u 37 godini života, prijavljuje se za izlaganje na 33. salonu mladih, a uvjet natječaja koji nalaže da se prijaviti mogu samo umjetnici mlađi od 35 godina, Marko pretvara u argument zbog kojeg ga treba uvrstiti na izložbu i proglašava ga dijelom svog umjetničkog koncepta. „Inspiriran stavom utjecajnog povjesničara kulture, Jackoba Burckhardta, koji tvrdi da povijest valja promatrati „u mnogo smjerova i s različitih točaka gledišta”, uzimam sebe iz određenog momenta svog života i s odmakom od deset godina, prijavljujem se na Salon mladih kao „friško diplomirani” 27-godišnjak, tražeći da me se i gleda iz te točke gledišta.

U zadnjih deset godina, kontinuitet u mom radu je neprekinut, ali postoji praznina, jer do sada nisam imao priliku napraviti samostalnu izložbu slika u domovini. Čak i kad bivam prepoznat od struke, izvršne institucije odbijaju me podržati.

I tako vrijeme postaje valuta koja mi ponestaje i „prve korake” radim izvan svog vremena”, navodi Marko.

Mario Zubak problematizes the issue of his age and the passage of time. Well aware of his calendar age, at the age of 37 he applies to exhibit at the 33rd Youth Salon. The condition of the call, which states that only artists under 35 can apply, serves Marko as an argument to be part of the exhibition and he incorporates it into his artistic concept. “Inspired by the attitude of the influential art historian, Jacob Burckhardt, who claims that history should be seen “in many directions and from different perspectives,” I take myself from a certain point in my life and with a ten-year stance I apply for the Youth Salon as a “freshly graduated” 27 year old, asking to been from this perspective as well.

In the last ten years the continuity in my work has been uninterrupted, but there is an emptiness, because so far I had not have a chance to have a solo exhibition in Croatia. Even though I am recognized by the profession, the executive institutions refuse to support me.

And so time becomes a currency I am running out of and I am doing “my first steps” beyond my time,” says Marko.

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U okviru 33. salona mladih u Galeriji Proširenih medija (PM) održana je Izložba nagrađenih autora 32. salona mladih: Fran Makek i Mak Melcher.

The exhibition of the awarded artists of the 32nd Youth Salon: Fran Makek and Mak Melcher, was held as part of the 33rd Youth Salon at the Extended Media (PM) Gallery.

FRAN MAKEK Bez naziva, 2016., print, 1 kom. x 200 x 160 cm, 10 kom. x 20 x 15 cm Untitled, 2016, print, 1 pc x 200 x 160 cm, 10 pc x 20 x 15 cm

Na izložbi nagrađenih autora Fran Makek je u tehnici jumbo plakata apliciranog na zid Galerije PM izložio sjedeću kutnu garnituru. Kako navodi autor, to je motiv kojeg bez nekog jasnog razloga više puta ponavlja kroz svoje likovno stvaralaštvo, bilo u ranim studijama interijera nastalima za vrijeme studiranja na Akademiji likovnih umjetnosti, bilo u crtežu Ležaj figuri potjeranoj iz bračnog kreveta, bilo u seriji božićnih čestitki iz 2013.

Korištenjem zaobljenje zidne plohe kao svojevrsnog kontrapunkta, autor je htio naglasiti ljepotu, monumentalnu jednostavnost i čudesnu funkcionalnost kuta. „Svi ljudi po prirodi teže znanju; dokaz za to je radost izazvana doživljenim saznanjima: naime, i pored njihove korisne strane, ona nam se sviđaju sama po sebi, i to vizualna saznanja više od svih drugih. Mi vid cijenimo iznad svega, ne samo zato što uz pomoć njega možemo raditi, nego čak i pod pretpostavkom da ne želimo ništa raditi.”

Aristotel

At the exhibition of the awarded authors, Fran Makek exhibits a corner sofa using billboard technique on the PM Gallery wall. The artist says that this motif has featured repeatedly in his work, with no apparent reason. It appeared in his early sketches of interior, created while studying at the Academy of Fine Arts, as well as in the drawing Ležaj figuri potjeranoj iz bračnog kreveta [Bed of Figures Banned From Marital Bed], and in a series of Christmas cards from 2013.

By using a curved wall surface as a kind of counterpoint, the artist wants to emphasize the beauty, monumental simplicity and amazing functionality of the corner.

“All men by nature desire to know. An indication of this is the delight we take in our senses; for even apart from their usefulness they are loved for themselves; and above all others the sense of sight. For not only with a view to action, but even when we are not going to do anything, we prefer seeing (one might say) to everything else.”

Aristotel

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MAK MELCHER Bez naziva, 2016., instalacija, glina, 250 x 1000 x 30 cm Untitled, 2016, installation, clay, 250 x 1000 x 30 cm

Mak Melcher izlaže monumentalnu skulpturu. Donoseći glinu direktno iz glinokopa u prostor Galerije, autor mijenja lokaciju i kontekst ovom plemenitom materijalu. Na unaprijed konstruiranu i postavljenu drvenu konstrukciju nabacuje i modelira in situ. Stvaranje traje četiri dana, a u ta četiri dana autor je Galeriju pretvorio u svoj atelje.

Vrijeme trajanja izložbe autor ujedno smatra i periodom života svog rada, odnosno njegovim životnim ciklusom – on se tamo rađa, živi i umire, jer će po završetku izložbe biti uništen i vraćen u prvobitni kontekst.

Cijela izložba za autora je svojevrsni proces i eksperiment za kojeg nije siguran kako će se razvijati, a kamoli završiti, no poštujući prirodni fundament materijala, nakon modeliranja gline u potpunosti prepušta radu dinamiku promjena i vlastitu transformaciju. „Sušenjem dolazi do promjena boje, oblika, kompozicije; nastaju novi odnosi unutar djela. Djelo doslovno živi! No taj život ne traje dugo, barem ne za naše ljudsko poimanje vremena. Traje dok se glina ne osuši, raspuca, možda i otpadne, razbije se o pod.”

Mak Melcher exhibits a monumental sculpture. By bringing clay directly from a clay pit to the Gallery, the artist changes the location and context of this noble material. He throws the clay on a pre-constructed and installed wooden construction and shapes it in situ; during these four days the artist transforms the Gallery into his studio.

Mak Melcher sees the duration of the exhibition as the lifespan of his work, that is, its lifecycle – the work is born, it lives and dies during the exhibition; after the exhibition ends it will be destroyed and returned to its original context.

For the artist, the exhibition is a kind of process and experiment and he is not sure how it is going to develop, let alone end, but respecting the natural fundamentals of the material, after shaping the clay he completely leaves the dynamics of changes and transformations to the work.

“The process of drying changes the colour, shape, composition of the work; new relationships are formed. The work literally lives! However, this life does not last long, at least not in terms of our human perception of time. It lasts until the clay dries, cracks, maybe falls off, breaks on the floor.”

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Jelena Azinović rođena je 1986. godine u Zagrebu. Godine 2011. diplomirala je na Akademiji likovnih umjetnosti u Zagrebu te stekla akademski naziv magistar/magistra kiparstva. Dobitnica je Nacionalove „Top stipendije za Top studenta”. Kontinuirano izlaže u zemlji i inozemstvu te je članica Hrvatskog društva likovnih umjetnika.

Vanja Babić rođen je 1984. godine u Zagrebu. Diplomirao je 2013. godine na odsjeku Novih medija na Akademiji likovnih umjetnosti u Zagrebu. Izlagački je aktivan i zapažen već i prije završetka studija, a iste godine kada je diplomirao osvojio je nagradu Essl Art Award, stipendiju Becks za umjetničko stvaranje te posebnu nagradu na izložbi Energija. Izlagao je na 31. salonu mladih i 48. zagrebačkom salonu te sudjelovao na brojnim grupnim izložbama i akcijama u Zagrebu, Koprivnici, Beču i Londonu.

Stipe Babić rođen je 1983. godine u Zagrebu. Diplomirao je 2014. godine likovnu kulturu na Akademiji likovnih umjetnosti u Zagrebu. Kontinuirano izlaže u zemlji i inozemstvu, a od važnijih izložbi izdvajamo 11. i 12. trijenale hrvatskog kiparstva, Venientes i Posljednji materijali: Hommage Galeti.

Dragoslav Dragičević rođen je u Supetru na Braču 1988. godine. Preddiplomski studij kiparstva završio u klasi prof. Matka Mijića na Umjetničkoj akademiji u Splitu.

Diplomski studij kiparstva završio u klasi red. prof. Kažimira Hraste na Umjetničkoj akademiji u Splitu. Radi kao vanjski stručni suradnik na FGAG-u (Fakultet građevinarstva, arhitekture i geodezije u Splitu) i Umjetničkoj akademiji u Splitu. Imao četiri samostalne izložbe i sudjelovao na dvadesetak skupnih izložbi u Hrvatskoj i Njemačkoj. Dobio je nekoliko nagrada za svoj rad uključujući Rektorovu nagradu za posebna postignuća.

Mihael Giba rođen je 1985. godine u Čakovcu. Diplomirao je 2008. godine na odsjeku za slikarstvo Umjetničke akademije u Splitu. Kontinuirano izlaže u zemlji i inozemstvu, a ističemo izložbe u MKC-u Split, Galeriji umjetnina u Splitu, Galeriji Vladimir Nazor u Zagrebu, izložbi finalista T-HT nagrade, Biennale Kvadrilaterale 3, te sudjelovanje na Steirisher Herbst-u. Bio je finalist nagrade Radoslav Putar za 2013. godinu.

Iva Habus rođena je 1987. godine u Zagrebu. Diplomantica je sveučilišnog studija grafike na Akademiji likovnih umjetnosti u Zagrebu. Za vrijeme studija boravila je na jednosemestralnoj studentskoj razmjeni Erasmus na University of Arts Poznan u Poljskoj, a izlagala je na Venientes. Članica je Hrvatskog društva likovnih umjetnika.

Luka Hrgović rođen je 1986. godine u Zagrebu. Godine 2011. magistrirao na Akademiji likovnih umjetnosti, smjer animirani film i novi mediji. Dobitnik je Rektorove nagrade za igrani film „Etida”. Od 2013. godine surađuje s Dinom Juliusom u privatnoj tvrtki Julius film na produkciji reklama i filmova. Izlagao je na 32. salonu mladih, a dobitnik je bronce na svjetskom festivalu amaterskog animiranog filma UNICA, 2. nagrade na 7. TOTI video festivalu i 1. nagrade na 42. reviji hrvatskog filmskog stvaralaštva djece i mladeži.

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Jelena Azinović was born in Zagreb in 1986. In 2011 she graduated from the Academy of Fine Arts in Zagreb and earned the title of Master of Fine Arts in Sculpture. She won “Top Scholarship for Top Students” awarded by the Croatian weekly magazine Nacional. She is a member of the Croatian Association of Artists in Zagreb, who regularly exhibits in Croatia and abroad.

Vanja Babić was born in Zagreb in 1984. He graduated in 2013 from the Department of New Media, Academy of Fine Arts in Zagreb. He was actively exhibiting during his studies, and the year he graduated he won the Essl Art Award, Becks scholarship for artistic creativity and special award at the Energy exhibition. He exhibited at the 31st Youth Salon and 48th Zagreb Salon, and has participated in numerous group exhibition and actions in Zagreb, Koprivnica, Vienna and London.

Stipe Babić was born in Zagreb in 1983. In 2016 he graduated from the Department of Art Education of the Academy of Fine Arts in Zagreb. He regularly exhibits in the country and abroad, and his major exhibitions include 11th and 12th Triennial of Croatian Sculpture, Venientes and The Last Materials: Homage to Galeta.

Dragoslav Dragičević was born in 1988 in Supetar on Brač.​ He attended the Arts Academy in Split, completing the B.A. study course in Sculpture in the class of Prof Matko Mijić and the M.A. study course in Sculpture in the class of Prof Kažimir Hraste.

He works as a professional associate at the Faculty of Civil Engineering, Architecture and Geodesy and the Arts Academy in Split. He has held four solo exhibitions, as well as taken part on twenty odd group exhibitions in Croatia and Germany. His works have been awarded on several occasions, including the Rector’s Award for special achievements.

Mihael Giba was born in Čakovec in 1985. He graduated in 2008 from the Academy of Arts in Split, Department of Painting. He regularly exhibits in the country and abroad.

His major exhibitions include: MKC Split, Art Gallery, Split, Vladimir Nazor Gallery in Zagreb, T-HT Award Finalists’ Exhibition, Biennale Kvadrilaterale 3, and the participation at Steirisher Herbst. He was a Radoslav Putar Award finalist (2013).

Iva Habus was born in Zagreb in 1987. She is a final-year graduate student in the Graphic Arts Programme at the Academy of Fine Arts in Zagreb. During her studies she participated in one-semester Erasmus student exchange at the University of Arts Poznan in Poland, and exhibited at Venientes. She is a member of the Croatian Association of Artists in Zagreb.

Luka Hrgović was born in Zagreb in 1986. In 2011 he earned a Master’s Degree from the Academy of Fine Arts, Department of Animation and New Media. He won the Rector’s Award for the film “Etida”. Since 2013 he has been collaborating with Dino Julius in a private company Julius Film on the production of commercials and films. He exhibited at the 32nd Youth Salon, and won the bronze at UNICA World Amateur Film Festival, the Second Prize at the 7th TOTI Video Festival and First Prize at the 42nd Croatian Children’s Film Festival.

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Dino Julius rođen je 1986. godine u Vukovaru. Do danas je režirao i producirao preko sto igranih reklama i nekoliko kratkih filmova.

Iva Katalinić rođena je 1992. godine u Rijeci. Trenutno polazi prvu godinu diplomskog studija Sveučilišta u Rijeci, smjer kiparstvo. Sudjelovala je na brojnim skupnim izložbama, međunarodnim seminarima, radionicama i rezidencijama od kojih su važnije: XVII Bijenale studentskog crteža Srbije, Dva identiteta, jedan objekt i Tjedan dizajna u Zagrebu.

Antonio Kiselić Ledinsky rođen je 1988. godine u Rijeci. Diplomirao je 2014. godine na Akademiji primijenjenih umjetnosti u Rijeci. Multimedijalni je autor koji djeluje u području vizualnih i izvedbenih umjetnosti. Fokus njegovog stvaralaštva suodnos je pojedinca i kolektiva, vjerujući kako su umjetnost i kultura jedni od alata društvene promjene.

Jelena Lovrec rođena je 1989. godine u Zagrebu. Godine 2014. diplomirala je na grafičkom odsjeku Akademije likovnih umjetnosti u Zagrebu. Kontinuirano izlaže, a od važnijih izložba izdvajamo: T-HT Nagrada za suvremenu hrvatsku umjetnost, Erste fragmenti X i ESSL ART AWARD – VIG special invitation: Junge kunst aus CEE u Beču.

Dobitnica je Glavne nagrade Essl Art Award CEE i nagrade Vienna Insurance Group – Junge Kunst aus CEE. Luka Kedžo rođen je 1986. godine u Dubrovniku. Godine 2014. završio je postdiplomski studij fotografije na Akademiji dramske umjetnosti u Zagrebu. Kontinuirano sudjeluje na umjetničkim radionicama te izlaže u zemlji i inozemstvu. Izlagao je na izložbi finalista T-HT nagrade te je bio finalist Nagrade Radoslav Putar 2016. za najboljeg mladog hrvatskog likovnog umjetnika do 35 godina.

Fran Makek rođen je 1987. godine u Zaboku. Godine 2013. diplomirao je slikarstvo na Akademiji likovnih umjetnosti u Zagrebu u klasi profesora Igora Rončevića. Do sada je izlagao na desetak skupnih i nekoliko samostalnih izložbi od kojih ističemo 32. salon mladih, izložbu Oni dolaze... u Galeriji SC i Erste fragmente (2013.).

Tonka Maleković rođena je 1982. godine u Zagrebu. Diplomirala je 2006. godine na Akademiji likovnih umjetnosti u Zagrebu. Su-osnivačica je udruge Loose za suvremene umjetničke prakse i član PUNKT platform. Godine 2012. inicirala je osnivanje galerije LiberSPACE. Jedna je od kustosa putujućeg obrazovnog i izložbenog projekta Grad na drugi pogled. Izlagala je na izložbi finalista T-HT nagrade, bila je finalistica Nagrade Radoslav Putar za 2010. godinu, a dobitnica 1. nagrade Essl Award te jedne od tri jednakovrijedne nagrade 43. zagrebačkog salona primijenjenih umjetnosti i dizajna.

Ozren Manojlović rođen je 1986. godine u Velikoj Mlaki. Završio je Školu primijenjenih umjetnosti i dizajna u Zagrebu. Četiri godine radio na Akademiji likovnih umjetnosti u Zagrebu kao voditelj grafičke radionice, stručnjak za sitotisak. Sitotiskom i digitalnim tiskom bavi se jedanaest godina u vlastitoj tvrtki. Od 2014. godine direktor je male zanatske pivovare u Zagrebu.

Mia Maraković rođena je 1990. godine u Zagrebu. Godine 2014. upisala je diplomski sveučilišni studij na Akademiji likovnih umjetnosti u Zagrebu.

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Dino Julius was born in Vukovar in 1986. To date, he has directed and produced over one hundred commercials and several short films.

Iva Katalinić was born in Rijeka in 1992. She is currently a first-year student in the graduate programme in sculpture, University of Rijeka. She has participated in numerous group exhibitions, international seminars, workshops and residencies, of which the most important ones include: XVII Biennale of Student Drawing of Serbia, Two Identities, One Object and Zagreb Design Week.

Antonio Kiselić Ledinsky was born in 1988 in Rijeka. He graduated from the Academy of Applied Arts in Rijeka in 2014. He is a multimedia author working in the field of visual and performative arts. His creative work is focused on the relation between the individual and the collective, based on the premise that art and culture serve as tools for social change.

Jelena Lovrec was born in Zagreb in 1989. In 2014 she graduated from the Academy of Fine Arts in Zagreb, Department of Graphic Arts. She regularly exhibits, and her major exhibitions include: T-HT Award for contemporary Croatian art, Erste Fragments X and ESSL ART AWARD – VIG special invitation: Junge kunst aus CEE in Vienna. She also won the Grand Prix of the Essl Art Award CEE and Vienna Insurance Group Award – Jinge kunst aus CEE. Luka Kedžo was born in Dubrovnik in 1986. In 2014 he earned a PhD in Photography from the Academy of Fine Arts in Zagreb. He regularly participates in art workshops and exhibits in the country and abroad. He exhibited at the T-HT Award Finalists’ Exhibition and was a Radoslav Putar Award finalist in 2016 for the best young Croatian artist under 35.

Fran Makek was born in Zabok in 1987. In 2013 he graduated in painting from the Academy of Fine Arts in Zagreb, in the class of professor Igor Rončević. So far he has exhibited in about ten group exhibitions and several solo ones, including the 32nd Youth Salon, exhibition They are Coming…at the SC Gallery and Erste Fragments (2013).

Tonka Maleković was born in Zagreb in 1982. She graduated in 2006 from the Academy of Fine Arts in Zagreb. She is a cofounder of the Loose Association for contemporary art practices and a member of PUNKT Platform. In 2012 she initiated the establishment of LiberSPACE Gallery. She is one of the curators of a traveling exhibition and educational project City at a Second Glance. She exhibited at the T-HT Award Finalists’ Exhibition, and was a Radoslav Putar Award finalist (2010). She won the first Essl Award and one of three equal awards at the 43rd Zagreb Salon of Applied Arts and Design.

Ozren Manojlović was born in 1986 in Velika Mlaka. He completed the School of Applied Arts and Design in Zagreb. He was the head of the graphic workshop (screen printing expertise) of the Academy of Fine Arts in Zagreb for four years. He has been working with screen printing and digital print in his own printing office for eleven years. Since 2014, he has been the manager of a small craft brewery in Zagreb.

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Izlagala je na dvadesetak skupnih izložbi u zemlji i inozemstvu, a dobitnica je Rektorove nagrade i otkupne nagrade Erste fragmenata 12.

Mario Matoković rođen je 1985. godine u Osijeku. Diplomirao je 2010. godine na Umjetničkoj akademiji u Osijeku, Odsjeku likovnih umjetnosti. Dobitnik je Rektorove nagrade Sveučilišta Josipa Jurja Strossmayera u Osijeku. Od 2013. vrši funkciju predsjednika HDLU Osijek. Jedan je od osnivača Umjetničke organizacije POPUP. Aktivno sudjeluje na domaćoj likovnoj sceni, izlagao na sedam samostalnih izložbi i velikom broju skupnih izložbi. Bio je finalist Nagrade Radoslav Putar za 2016. godinu.

Melita Matović Fligler rođena je 1985. godine u Zagrebu. Diplomirala je 2011. godine na nastavničkom odsjeku Akademije likovnih umjetnosti u Zagrebu, nastavnički odsjek. Godine 2014. upisala je MA Gender, Media and Culture na Goldsmithsu te živi i radi na relaciji Zagreb-London. Kontinuirano izlaže na skupnim i samostalnim izložbama od kojih izdvajamo White Night u Skopje, Cre Art Kaunas AiR u Vilniusu i Free Art Friday 3 u Londonu.

Duje Medić rođen je 1986 godine. godine u Makarskoj. Diplomirao je 2010. godine na grafičkom odsjeku Akademije likovnih umjetnosti u Zagrebu. Izlagao je na više samostalnih i grupnih izložbi u zemlji i inozemstvu od kojih izdvajamo Hommage olovci, Studio Moderne Galerije „Josip Račić” u Zagrebu, 32. salon mladih te Novi hrvatski realizam.

Mak Melcher rođen je 1983. godine u Mostaru. Godine 2008. diplomirao je kiparstvo na Akademiji likovnih umjetnosti u Zagrebu, u klasi profesora Mira Vuce. Izlagao na nekoliko samostalnih i skupnih izložbi od kojih ističemo 12. trijenale hrvatskog kiparstva, 28. i 32. salon mladih i 2. međunarodni bijenale slikara i kipara: Mediteran. Trenutačno radi kao profesor u Školi primijenjene umjetnosti i dizajna u Zagrebu.

Bojan Mrđenović rođen je 1987. godine u Virovitici. Diplomirao je 2011. godine na preddiplomskom studiju povijesti umjetnosti i informacijskih znanosti u Zagrebu.

2012. godine diplomirao je na preddiplomskom studiju filmskog i TV snimanja na Akademiji dramske umjetnosti u Zagrebu. Član je Hrvatskog društva likovnih umjetnika i Hrvatskog društva filmskih djelatnika. Izlagao je na izložbi finalista T-HT nagrade, dobitnik je Rektorove nagrade Sveučilišta u Zagrebu te prvonagrađeni umjetnik Rovinj Photodaysa.

Bojan Mucko je novomedijski umjetnik, kulturni antropolog i filozof, rođen 1983. Diplomirao je 2013. godine na odsjeku Novih medija na Akademiji likovnih umjetnosti u Zagrebu. Član je Udruge za interdisciplinarna i interkulturalna istraživanja (UIII) i selektor filmskog programa festivala etnografskog filma ETNOFILm. Surađivao je s UrbanFestivalom, Bacačima sjenki i arhitektonskim časopisom Čovjek i prostor.

Petra Orbanić rođena je 1991. godine u Puli. Godine 2010. upisuje studij Likovne kulture na Akademiji likovnih umjetnosti u Zagrebu. Ljetni semestar 2013./2014. godine provela je, u sklopu Erasmus programa, na Akademiji likovnih umjetnosti u Helsinkiju. Kao članica autorskog tima na projektu Adventski kalendar dobila je posebnu Rektorovu nagradu.

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Mia Maraković was born in Zagreb in 1990. In 2014 she enrolled in graduate study at the Academy of Fine Arts in Zagreb. She has exhibited in about twenty group exhibitions in the country and abroad. She won the Rector’s Award and Erste Fragments 12 Purchase Award.

Mario Matoković was born in Osijek in 1985. In 2010 he graduated from the Academy of Arts in Osijek, Department of Fine Arts. He won the Rector’s Award of the University of Josip Juraj Strossmayer in Osijek. Since 2013 he has acted as the president of the Croatian Association of Artists Osijek. He is one of the founders of POUP Art Organization. He is an active participant of the Croatian art scene, who has exhibited in seven solo and a number of group exhibitions. He was a Radoslav Putar Award finalist (2016).

Melita Matović Fligler was born in Zagreb in 1985. In 2011 she graduated from the Academy of Fine Arts in Zagreb, Department of Art Education. In 2014 she enrolled in MA Gender, Media and Culture at Goldsmiths, and now lives and works between Zagreb and London. She regularly exhibits in solo and group exhibitions, some of which include: White Night in Skopje, Cre Art Kaunas AiR in Vilnius and Free Art Friday 3 in London.

Duje Medić was born in Makarska in 1986. In 2010 he graduated from the Academy of Fine Arts in Zagreb, Department of Graphic Arts. He has exhibited in several solo and group exhibitions in the country and abroad, of which the major ones include Homage to Pen, “Josip Račić” Studio of the Modern Gallery in Zagreb, 32nd Youth Salon, New Croatian Realism.

Mak Melcher was born in Mostar in 1983. In 2008 he graduated in sculpture from the Academy of Fine Arts in Zagreb, in the class of professor Miro Vuco. He has exhibited in several solo and group exhibitions, including the 12th Triennial of Croatian Sculpture, 28th and 32nd Youth Salon and the 2nd International Biennial of Painters and Sculptors: Mediterranean. He currently works as a professor at the School of Applied Arts and Design in Zagreb.

Bojan Mrđenović was born in Virovitica in 1987. In 2011 he earned a B.A. in Art History and Information Sciences in Zagreb. In 2012 he earned a B.A. in Film and TV Directing from the Academy of Dramatic Art in Zagreb. He is a member of the Croatian Association of Artists and the Croatian Association of Film Workers. He exhibited at the T-HT Award Finalists’ Exhibition, won the Rector’s Award of the University of Zagreb and the First Award at Rovinj Photodays.

Bojan Mucko is a new media artist, cultural anthropologist and philosopher, born in 1983. He graduated from the New Media department at the Academy of Fine Arts in Zagreb in 2013. He is a member of the Association for Interdisciplinary and Intercultural Research (UIII) and the selector of the film program for the ETNOFILm festival of ethnographic film. He has collaborated with UrbanFestival, Shadow Casters and the architectural magazine Čovjek i prostor.

Petra Orbanić was born in Pula in 1991. In 2010 she enrolled in Art Education Programme at the Academy of Fine Arts in Zagreb. As a part of an Erasmus programme, she spent the summer semester 2013/2014 at the Academy of Fine Arts in Helsinki.

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Pavle Pavlović rođen je 1983. godine u Beogradu u Srbiji. Diplomirao je 2010. godine na Akademiji likovnih umjetnosti u Zagrebu. Izlagao je na više samostalnih i skupnih izložbi u zemlji i inozemstvu, a izdvajamo 1., 2. i 3. Bijenale slikarstva, 48. zagrebački salon, 30. i 31. salon mladih te izložbu Novi hrvatski realizam. Dobitnik je nagrade Essl Art award, a sudjelovao je i na umjetničkim rezidencijama, poput One sided story u Njemačkoj i Glo’Art u Belgiji.

Ana Petrović rođena je 1985. godine u Bjelovaru. Diplomirala je 2011. godine na Umjetničkoj akademiji u Osijeku. Od iste godine je asistentica na kolegijima „Video i film” i „Fotografija”. Radove izlaže na samostalnim i grupnim izložbama u Hrvatskoj i inozemstvu od kojih izdvajamo NaJežiti, POPUP18, Esseker centar, Osijek; Projektaum Donau, V8, Njemačka.

Janko Petrović rođen je 1983. godine u Zagrebu. Diplomirao je 2008. godine na kiparskom odsjeku Akademije likovnih umjetnosti u Zagrebu, u klasi prof. Mire Vuce. Izlagao je na više skupnih i samostalnih izložbi od kojih izdvajamo Trijenale Hrvatskog kiparstva i 32. salon madih. Dobitnik je Treće nagrade natječaja za spomenik poginulim braniteljima Domovinskog rata i civilnim žrtvama u Glini.

Marija Plečko rođena je 1992. godine u Zaboku. Godine 2010. upisuje studij Likovne kulture na Akademiji likovnih umjetnosti u Zagrebu. Tijekom studija na Akademiji likovnih umjetnosti zajedno s Petrom Orbanić organizira i sudjeluje na brojnim edukativnim i likovnim radionicama te projektima.

Pulska Grupa - Inženjerska zadruga za projektiranje, urbanizam i oblikovanje Praksa je društveno-ekonomsko udruženje ravnopravnih fizičkih i pravnih osoba koje neposredno su-odlučuju o svim aktivnostima i zajedničkom poslovanju. Solidarnost i uzajamna pomoć, integracija kulturnog i političkog angažmana u proizvodnu sferu, edukacija i razmjena znanja među članovima neke su od karakteristika ove zadruge.

Praksu su osnovali članovi Pulske Grupe u svibnju 2011. godine kao prvu inženjersku zadrugu na području Hrvatske, a trenutno u njoj djeluju arhitekti, fotografi, dizajneri i novinari s nekoliko godina radnog iskustva.

Mihael Puntarić rođen je 1983. godine u Zagrebu. Diplomirao je 2010. godine na Nastavničkom odsjeku Akademije likovnih umjetnosti u Zagrebu. Izlagao je na više skupnih i samostalnih izložbi u Hrvatskoj od kojih izdvajamo Od početka, Povratak u budućnost i Varijacije MoZga. Miran Šabić rođen je 1986. godine u Brežicama, Slovenija. Diplomirao je 2010. na Akademiji likovnih umjetnosti u Zagrebu. Trenutno studira na doktorskom studiju slikarstva na ALU. Sudjelovao je na rezidencijalnim programima u SAD-u, Belgiji i Njemačkoj. Kontinuirano izlaže u Hrvatskoj i inozemstvu, a ističemo: The 22nd Seoul International Festival Chosunilbo museum, Seoul, Korea; Neo Print Prize 2014, Neo: Gallery, Bolton, Engleska, UK; 1st Expression of World Art (NEWA) 2011, Henan Museum, Zengzhou, Kina; T- ht nagrada, MSU, Zagreb. Dobitnik je više nagrada i priznanja od kojih se ističu međunarodne nagrade IMAF award, OSTEN Biennial of Drawin, Makedonija 2012.; Velika nagrada za grafiku na INTERBIFEP-u, Međunarodna galerija portreta, Tuzla, BiH, 2011.; Nagrada HDLU-a na 6. Hrvatskom trijenalu grafike 2012.

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She won a Special Rector’s Award as a member of the team of artists working on the project Advent Calendar.

Pavle Pavlović was born in Belgrade, Serbia in 1983. He graduated from the Academy of Fine Arts in Zagreb in 2010. He has exhibited in several solo and group exhibitions in the country and abroad, including the 1st, 2nd and 3rd Biennial of Painting, 48th Zagreb Salon, 30th and 31st Youth Salon and the exhibition New Croatian Realism. He won the Essl Art Award and has participated in art residencies such as One Sided Story in Germany and Glo’Art in Belgium.

Ana Petrović was born in Bjelovar in 1985. In 2011 she graduated from the Academy of Arts in Osijek. The same year she became an assistant at the Video and Film course, and Photography course at the Academy of Fine Arts in Osijek.

She exhibits in solo and group exhibitions in Croatia and abroad, including NaJežiti, POPUP18, Esseker Centre, Osijek; Projektaum Donau, V8, Germany.

Janko Petrović was born in Zagreb in 1983. In 2008 he graduated from the Academy of Fine Arts in Zagreb, Department of Sculpture, in the class of prof Miro Vuco. He has exhibited in several group and solo exhibitions, among which the Triennial of Croatian Sculpture and 32nd Youth Salon. He won the third prize at the competition for the memorial to the fallen soldiers of the Homeland War and civilian casualties in Glina.

Marija Plečko was born in Zabok in 1992. In 2010 she enrolled in Art Education Programme at the Academy of Fine Arts in Zagreb. During her studies at the Academy of Fine Arts, together with Petra Orbanić, she has organized and participated in numerous educational and art workshops and projects.

Pulska Grupa - Engineering cooperative for planning, urbanism and design Praksa is a social-economic association of equal physical and legal persons who are directly in charge of all activities and joint operations. Some of the cooperative’s characteristics are solidarity and mutual assistance, integration of cultural and political engagement into the sphere of production, education and exchange of knowledge among members. Praksa was founded by the members of Pulska Grupa in May 2011, as the first engineering cooperative in Croatia, and at the moment it gathers architects, photographers, designers and journalists with several years of working experience.

Mihael Puntarić was born in Zagreb in 1983. In 2010 he graduated from the Department of Art Education, Academy of Fine Arts in Zagreb. He has exhibited in several group and solo exhibition, among which Od početka [Since the Beginning], Povratak u budućnost [Back to the Future] and Varijacije MoZga. Miran Šabić was born in Brežice, Slovenia in 1986. He graduated from the Academy of Fine Arts in Zagreb in 2010. He is currently a PhD student of painting at the Academy of Fine Arts. He has participated in residencies in the USA, Belgium and Germany. He regularly exhibits in Croatia and abroad, and his major exhibitions include the 22nd Seoul International Festival Chosunilbo Museum, Seoul, Korea; Neo Print Prize 2014, Neo: Gallery, Bolton, England, UK; 1st Expression of World Art (NEWA) 2011, Henan Museum, Zengzhou, China; T- HT Award, Museum of Contemporary Art, Zagreb. He has received several awards and

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Melinda Šefčić rođena je 1986. godine u Subotici u Srbiji. Diplomirala je 2012. godine na Akademiji likovnih umjetnosti u Zagrebu, smjer slikarstva. Trenutno studira na doktorskom studiju slikarstva na ALU u Zagrebu. Organizatorica je i moderatorica umjetničkog projekta C.R.T.A. Izlagala je na brojnim samostalnim i skupnim izložbama u Hrvatskoj i inozemstvu od kojih izdvajamo Build a Broken Utopia - Spali što ne možeš ukrasti, Galerija Nova; Inter imago 3, MC Gallery, New York. Članica je Upravnog odbora Hrvatskog društva likovnih umjetnika.

Ana Sladetić rođena je 1985. godine u Vukovaru. Diplomirala je 2009. na Akademiji likovnih umjetnosti u Zagrebu. Trenutno studira na doktorskom studiju slikarstva na Akademiji likovnih umjetnosti. Sudjelovala je na umjetničkim rezidencijama u Njemačkoj, Belgiji, Francuskoj i u SAD-u gdje je ujedno bila i gostujući predavač. Izlagala na više samostalnih i 105 skupnih izložbi u zemlji i inozemstvu. Primila je Posebno priznanje odbora za nagrade 6. Hrvatski trijenale grafike HDLU-a; Prvu nagradau Celebrate Originality, Adidas u suradnji s Muzejom za uličnu umjetnost; GRAND PRIX 30. salon mladih HDLU-a te Nagradu Akademije likovnih umjetnosti u Zagrebu.

Ivan Tudek rođen je 1983. godine u Zagrebu. Diplomirao je 2010. godine na nastavničkom odsjeku Akademije likovnih umjetnosti u Zagrebu. Izlaže na brojnim samostalnim i skupnim izložbama u Hrvatskoj od kojih izdvajamo: Die Markierung, Galerija Academia moderna; Ja sam ograda, VN Galerija; 3. Bienale slikarstva, Dom HDLU; XI. trijenale hrvatskog kiparstva, Gliptoteka HAZU. Mario Udženija rođen je 1987. godine u Metkoviću. Diplomirao je na Akademiji likovnih umjetnosti u Zagrebu i Berlinu. Izlagao je na mnogim samostalnim i grupnim izložbama u Hrvatskoj i inozemstvu od kojih izdvajamo: Labin art republika, Labin; Mixer festival, Beograd; Skup.na, Galerija VN, Zagreb; Dobitnik je nagrade Essl art award i Zaklade FOHS te specijalne nagrade Sveučilišta u Zagrebu.

Josipa Vranjković je rođena 1990. godine u Vinkovcima. 2016. je magistrirala kiparstvo na Akdademji likovnih umjetnosti u Zagrebu. Kontinuirano izlaže u zemlji i inozemstvu, a od važnijih izložbi izdvajamo Mala bronca te međunarodni i interdisciplinarni skup Od državne umjetnosti do kreativnih industrija/ transformacija rodnih,političkih i religijskih narativa.

Ana Vuzdarić je rođena 1983. godine u Zagrebu. Diplomirala je 2009. na Tekstilno tehnološkom fakultetu u Zagrebu, modni dizajn, a 2015. na odsjeku za nove medije pri Akademiji likovnih umjetnosti u Zagrebu. Kontinuirano izlaže u zemlji i inozemstvu, a izdvajamo Mediterranea 16 Errors Allowed Young Artists Biennial, izložbu finalista THT nagrade i Animation goes MSU. Dobitnica je video performans nagrade Centra za ženske studije Anagram, Erasmus Mundus stipendije na Academy of Arts, Architecture and Design u Pragu i Salzburg Summer Academy stipendije Rough Guide to the Media Arts.

Vendi Vernić rođena je 1991. godine u Zagrebu. Nakon završene Škole primijenjene umjetnosti i dizajna, 2010. upisuje studij grafike na Akademiji likovnih umjetnosti.

Jedan semestar provela je studirajući na Accademia di Belle Arti di Venezia u sklopu Erasmus SMS programa. Diplomski studij završila je 2015. diplomiravši s pohvalom Magna cum Laude. Sudjelovala je na više žiriranih grupnih izložbi i likovnih radionica u Hrvatskoj i inozemstvu.

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acknowledgements, including the international awards: IMAF award, OSTEN Biennial of Drawin, Macedonia 2012; Grand Prix for Graphic Arts at INTERBIFEP, International Gallery of Portraits, Tuzla, Bosnia and Herzegovina, 2011; Award of the Croatian Association of Artists at the 6th Croatian Graphic Triennial in 2012.

Melinda Šefčić was born in Subotica, Serbia in 1986. In 2012 she graduated from the Academy of Fine Arts in Zagreb, Department of Painting. She is currently a PhD student of painting at the Academy of Fine Arts in Zagreb. She is the organizer and moderator of the art project C.R.T.A. She has exhibited in numerous solo and group exhibitions in Croatia and abroad, including Build a Broken Utopia – Burn What You Cannot Steal, Nova Gallery; Inter imago 3, MC Gallery, New York. She is a member of the Board of the Croatian Association of Artists.

Ana Sladetić was born in Vukovar in 1985. In 2009 she graduated from the Academy of Fine Arts in Zagreb. She is currently a PhD student of painting at the Academy of Fine Arts. She has participated in residencies in Germany, Belgium, France and the USA, also as a guest lecturer. She has exhibited in several solo and 105 group exhibitions in the country and abroad. She has received a Special Recognition of the Jury at the 6th Croatian Graphic Triennial, the Croatian Association of Artists; First Prize of Celebrate Originality, Adidas in cooperation with the Museum of Street Art, GRAND PRIX of the 30th Youth Salon, the Croatian Association of Artists, and the Award of the Academy of Fine Arts in Zagreb.

Ivan Tudek was born in Zagreb in 1983. In 2010 he graduated from the Academy of Fine Arts in Zagreb, Department of Art Education. He has exhibited in numerous solo and group exhibitions in Croatia, including: Die Markierung, Academia Moderna Gallery; Ja sam ograda, VN Gallery; 3rd Biennial of Painting, Home of the Croatian Association of Artists; XI Triennial of Croatian Sculpture, Glyptotheque of the Croatian Academy of Sciences and Arts.

Mario Udženija was born in Metković in 1987. He graduated from the Academy of Fine Arts in Zagreb and Berlin. He has exhibited in many solo and group exhibitions in Croatia and abroad, including Labin Art Republic, Labin; Mixer Festival, Belgrade; Skup. na, VN Gallery, Zagreb; He won the Essl Art Award and FOHS Croatian Student Benefactors Foundation Award, as well as the special awards of the University of Zagreb.

Josipa Vranjković was born in 1990 in Vinkovci. She graduted from the Sculpture department at the Academy of Fine Arts in Zagreb. Her works have continually been exhibtied at home, as well as abroad, taking part in exhibtions such as Mala Bronca and the international and interdisciplinary conference From State Art to Creative Industries / Transformation of Gender, Political and Religious Narratives.

Ana Vuzdarić was born in 1983 in Zagreb. In 2009, she graduated from the Faculty of Textile Technology in Zagreb, majoring in fashion design, and in 2015 she graduated from the New Media department at the Academy of Fine Arts in Zagreb. Her works have continually been exhibited home, as well as abroad, taking part in exhibitions such as Mediterranea 16 Errors Allowed Young Artists Biennial, THT Award finalists and Animation goes MSU. She has won the video performance award from the Centre for Women’s Studies in Zagreb, the Erasmus Mundus scholarship at the Academy of Arts, Architecture and Design in Prague

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Ana Zubak rođena je 1982. godine u Zagrebu. 2012. godine magistrirala je na Akademiji likovnih umjetnosti u Zagrebu, nastavnički odsjek. Studirala je i na Moholy-Nagy fakultetu umjetnosti i dizajna u Budimpešti te Umjetničkoj školi Valand u Gothenburgu, gdje se bavila strategijama kulturne produkcije. Na bečkom sveučilištu Universität Wien stekla je cerifikat eksperimentalnog programa Urbanih studija usmjerenih na problematizaciju javnog prostora. Članica je HDLU-a i HZSU-a. Izlagala je na brojnim izložbama u zemlji i inozemstvu. Godine 2015. bila je jedna od predstavnika Hrvatske na Bijenalu Mladih u Milanu.

Marko Zubak rođen je 1979. u Zagrebu. Studij slikarstva na Accademia delle belle arti di Bologna u Italiji upisuje 1999. godine. Nakon završene treće godine studija odlazi u Barcelonu, gdje je diplomirao umjetnost na Facultad de Bellas Artes de Barcelona 2006. godine. Zamjećen je po svom radu na polju Paper Toys-a i nalazi se među top 20 umjetnika, a njegov rad je uvršten u razne knjige i časopise u Europi, SAD-u i Indoneziji. Živi i radi u Zagrebu i Rovinju.

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and the Salzburg Summer Academy scholarship Rough Guide to the Media Arts.

Vendi Vernić was born in Zagreb in 1991. In 2010, after finishing the School of Applied Arts and Design, she enrolled in the Graphic Art Programme at the Academy of Fine Arts. She spent a semester at Accademia di Belle Arti di Venezia within Erasmus SMS Programme. She graduated in 2015 with Magna cum Laude honours. She has participated in several juried group exhibitions and art workshops in Croatia and abroad.

Ana Zubak was born in Zagreb in 1982. In 2012 she graduated from the Academy of Fine Arts in Zagreb, Department of Art Education. She also studied at the Moholy-Nagy University of Art and Design in Budapest, and Art School Valand in Gothenburg, where she studied the strategies of cultural production. At the Universitat Wien in Vienna she earned the certificate of an experimental programme of Urban Studies focused on the problematization of public space. She is a member of the Croatian Association of Artists and Croatian Freelance Artists Association. She has exhibited in numerous exhibitions in the country and abroad. In 2015 she was one of the Croatian representatives at the Milan Young Artists Biennale.

Marko Zubak rođen je 1979. u Zagrebu. Studij slikarstva na Accademia delle belle arti di Bologna u Italiji upisuje 1999. godine. Nakon završene treće godine studija odlazi u Barcelonu, gdje je diplomirao umjetnost na Facultad de Bellas Artes de Barcelona 2006. godine. Zamjećen je po svom radu na polju Paper Toys-a i nalazi se među top 20 umjetnika, a njegov rad je uvršten u razne knjige i časopise u Europi, SAD-u i Indoneziji. Živi i radi u Zagrebu i Rovinju.

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POPRATNI PROGRAM 33. SALONA MLADIH: 16.11.2016.

Vanja Babić i Nera Miočić: UMJETNOST PREŽIVLJAVANJA Bojan Mucko: ZNACI VREMENA – DOKUMENTACIJA PERFORMATIVNOG PROCESA / PERFORMATIVNO PREDAVANJE 23.11.2016.

Vanja Žanko i Maja Rožman: MARKETING I MENADŽMENT KULTURNO – UMJETNIČKIH PROJEKATA 30.11.2016.

Pulfer - FLAŠIRANJE 7.12.2016.

Nika Radić i Tonka Maleković: MOBILNOST MLADIH HRVATSKIH UMJETNIKA U MEĐUNARODNOM KONTEKSTU

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SIDE PROGRAM TO THE 33rd YOUTH SALON: Nov 16, 2016 Vanja Babić and Nera Miočić: THE ART OF SURVIVAL Bojan Mucko: THE SIGNS OF TIME – DOCUMENTATION OF THE PERFORMATIVE PROCES/PERFORMATIVE LECTURE Nov 23, 2016 Vanja Žanko and Maja Rožman: MARKETING AND MANAGEMENT OF CULTURE- AND ART PROJECTS Nov 30, 2016 Pulfer - BEER BOTTLING Dec 7, 2016 Nika Radić and Tonka Maleković: THE MOBILITY OF YOUNG CROATIAN ARTISTS WITHIN THE INTERNATIONAL CONTEXT

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Nakladnik / Publisher Hrvatsko društvo likovnih umjetnika / Croatian Association of Fine Artists Trg žrtava fašizma 16, 10000 Zagreb hdlu@hdlu.hr, www.hdlu.hr

IZLOŽBA NAGRAĐENIH AUTORA 32. SALONA MLADIH: FRAN MAKEK I MAK MELCHER/ EXHIBITION OF AWARDED AUTHORS OF THE 32ND YOUTH SALON: FRAN MAKEK AND MAK MELCHER Napomena: Grand Prix 32. salona mladih dobio je Mitar Matić, za što je nagrađen dvomjesečnom rezidencijom u Parizu, dok su Fran Makek i Mak Melcher dobitnici dvije jednakovrijedne 2. nagrade, izložbe u galeriji PM za vrijeme 33. salona mladih. / Note: The 32nd Youth Salon Grand Prix and a two-month residence in Paris went to Mitar Matić, while Fran Makek and Mak Melcher won equal second place awards exhibitions in the PM Gallery during the 33rd Youth Salon.

Za nakladnika / For the publisher Josip Zanki, predsjednik HDLU Ravnateljica / Director Ivana Andabaka Upravni odbor HDLU i Organizacijski odbor 33. salona mladih / Executive board of the CAFA and Organization board of the 33rd Youth Salon Josip Zanki (predsjednik / president), Tomislav Buntak (dopredsjednik / vice president), Fedor Vučemilović (dopredsjednik / vice president), Ida Blažičko, Ivan Fijolić, Monika Meglić, Melinda Šefčić

IZLOŽBA 33. SALON MLADIH – TROŠKOVNIK / EXHIBITION 33RD YOUTH SALON – BUDGET Autorice koncepcije i kustosice / Curators and authors of the concept Martina Miholić, Mia Orsag Ocjenjivački odbor / Selection board Branka Benčić, Kristian Kožul, Božica Dea Matasić, Ivana Meštrov, Martina Miholić, Mia Orsag, Goran Škofić Odabrani umjetnici / Selected artists Jelena Azinović, Stipe Babić, Dragoslav Dragičević, Iva Habus, Luka Hrgović i Dino Julius, Iva Katalinić, Antonio Kiselić Ledinsky, Jelena Lovrec, Luka Kedžo, Tonka Maleković, Ozren Manojlović, Mia Maraković, Mario Matoković, Melita Matović Fligler, Duje Medić, Pavle Pavlović, Ana Petrović, Marija Plečko i Petra Orbanić, Pulska grupa, Mihael Puntarić, Miran Šabić, Melinda Šefčić, Ana Sladetić, Ivan Tudek, Mario Udženija, Josipa Vranjković, Ana Vuzdarić, Vendi Vernić, Ana Zubak, Marko Zubak Pozvani umjetnici / Invited artists Vanja Babić, Mihael Giba, Bojan Mrđenović, Bojan Mucko, Janko Petrović Likovni postav / Exhibition set up Martina Miholić, Mia Orsag Stručna suradnica na projektu / Professional associate Mia Orsag

Likovni postav / Exhibition set up Martina Miholić

Nagrada Iva Vraneković – umjetnik umjetniku dodjeljuje se izvan službene konkurencije 33. salona mladih, na poticaj i zahvaljujući donaciji anonimnog donatora, temeljem odluke odbora u sastavu Nikola Albaneže, Vladimir Dodig Trokut, Mio Vesović te donator. Dvije jednakovrijedne nagrade Iva Vraneković – umjetnik umjetniku dobili su Pavle Pavlović za radove Sinnerman i Haw te Mak Melcher za rad Bez naziva. Pohvalu je dobila Melita Matović Fligler za rad Nova obitelj.

Iva Vraneković Award - from artist to an artist is awarded outside of the official competition of the 33rd Youth Salon, encouraged and provided by an anonymous donor, based on the decision by the committee consisting of Nikola Albaneže, Vladimir Dodig Trokut, Mio Vesović and the donor. Two equal Iva Vraneković Awards - from artist to an artist are given to Pavle Pavlović for the artworks Sinnerman and How and to Mak Melcher for the artwork Untitled. The acknowledgment is given to Melita Matović Fliglerfor the artwork New Family.

KATALOG / CATALOG Urednice / Editors Martina Miholić, Mia Orsag Predgovor / Preface Martina Miholić, Mia Orsag Redaktura predgovora / Preface editing Josip Zanki Prijevod na engleski / English translation Zana Šaškin

NAGRADE / AWARDS

Lektura hrvatskog teksta / Croatian text proofreading Mirna Vidić

Odbor za dodjelu HPB nagrada 33. salona mladih / The 33rd Youth Salon HPB Award Committee Ksenija Baronica, Ida Blažičko, Duje Jurić, Tomislav Vuić, Lana Stojičević, Dino Zrnec

Fotografije likovnog postava i reprodukcija / Photographs of the exhibition set up and reproductions Jasenko Rasol, Juraj Vuglač

HPB Grand Prix 33. salona mladih / HPB Grand Prix of the 33rd Youth Salon Luka Kedžo - KYKLOP G.M.B.H.

Grafičko oblikovanje i prijelom kataloga / Graphic design and layout Duje Medić

HPB 2. nagrada 33. salona mladih / HPB 2nd Award of the 33rd Youth Salon Petra Orbanić i Marija Plečko - Dah, dva... / A Breath ot Two...

Tisak / Printed by Printera

HPB 3. nagrada 33. salona mladih / HPB 3rd Award of the 33rd Youth Salon Mihael Giba - Sunčano uz mogućnost razbojništva / Sunny With A Possibility Of Robbery

Naklada / Edition 300

Posebne pohvale / Special acknowledgments Vanja Babić - Rad u kutiji / Work in a box Jelena Lovrec - Still Life/Still Alive

CIP: 000949590 ISBN: 978-953-8098-12-3 CIP zapis je dostupan u računalnome katalogu Nacionalne i sveučilišne knjižnice u Zagrebu pod brojem 000949590.

CIP record is avaliable in the computer catalogue of the National and University Library in Zagreb under no. 000949590.

ORGANIZATOR / ORGANIZER

GENERALNI POKROVITELJ / GENERAL SPONSOR

UZ POTPORU / SUPPORTED BY

MEDIJSKI POKROVITELJ / MEDIA SPONSOR: