THE JUBILEE ZAGREB SALON OF VISUAL ARTS: CHALLENGES AND NEW PERSPECTIVES
Ivana Andabaka Vujičić
KOREOGRAFIJA ZA
10 13
ZAVRŠNU LINIJU KUĆĆA
CHOREOGRAPHY FOR THE FINISH LINE KUĆĆA 30 31 UMJETNICI ARTISTS
130 131 OTVORENJE OPENING 142 143 POPRATNI PROGRAM SIDE PROGRAM 158 162 BIOGRAFIJE UMJETNIKA ARTISTS’ BIOGRAPHIES
166 167 IMPRESSUM IMPRESSUM
JUBILEJ UPORNOSTI
TOMISLAV
BUNTAK, PREDSJEDNIK HDLU-A
Šezdeseto izdanje Zagrebačkog salona izvanredan je jubilej upornosti u promociji i ohrabrivanju kreativnog, umjetničkog djelovanja i stvaralaštva. Hrvatsko društvo likovnih umjetnika u Zagrebu, odnosno njegovi članovi koji danas više nisu s nama, započeli su ovaj proces s ciljem dijeljenja, spajanja putem kreativnog umjetničkog izražavanja, ali i s ciljem razvoja tržišta i stvaranja uvjeta za ekonomsko preživljavanje likovne scene, osvještavanja društva o važnosti umjetnosti te općenito izgradnje temelja za bolju budućnost.
U različitim globalnim, regionalnim i domaćim krizama Zagrebački salon i sve njegove inačice – uključujući i ovu likovnu – proživljavale su i proživljavaju svoje krize održivosti. One se nalaze u procijepu između jasnog razloga zašto su potrebne i nesposobnosti kulturne politike da objasni zašto postoji kontinuitet te kako se njime upravlja: kako ga se obnavlja, kako se postavljaju smjernice za daljnje stvaralaštvo, kako se taj kontinuitet njeguje da se ne zaboravi povijest razvoja i, na kraju, kako se širi
doseg, oslanjajući se na prostorne i financijske resurse koji postoje ovdje i sada.
Zagrebački salon u svom nastanku bio je najveće najobuhvatnije događanje u predstavljanju različitih aspekata likovne i vizualne scene u Hrvatskoj, a spajao je različite tendencije. Za prostore muzejskih i galerijskih institucija bilo je važno sudjelovanje.
U trenutku kada je Meštrovićev paviljon u obnovi – zajedno s brojnim drugim kultnim galerijskim institucijama, zahvaljujući znatnim sredstvima za oporavak kulturnih i obrazovnih ustanova što ih je osigurala Vlada te distribuiralo Ministarstvo kulture – Zagrebački salon nalazi se u specifičnoj situaciji. Međutim, iako je obilježen improvizacijom zbog nedovršenih prostora i oslonjen na dobru volju umjetnika, Muzeja suvremene i moderne umjetnosti te javnih prostora, razvio je jasan okvir kojim definira smjernice i potencijal za napredak u razdoblju nakon obnove. Namjera je ovdje spojiti novouređene prostore više institucija, napraviti nekoliko koncep-
ANNIVERSARY OF RESILIENCE
TOMISLAV BUNTAK, HDLU PRESIDENT
cija u reprezentativnim prostorima, osmisliti prisutnost na javnim prostorima te prirediti izložbu opće scene likovnog stvaralaštva jer, gledajući iz perspektive likovnog umjetnika, jasno je da postoji određeni nesporazum između likovne scene i što bi likovna scena mogla biti.
Srećom, svijet postaje globalno selo i nije više nužno pokazivati da mi možemo činiti slično kao i veći svjetski centri. Danas možemo jasno predstaviti svoje identitetske točke i posebnosti važne za poticanje prezentaciju umjetničkog stvaralaštva. Umjetničko obrazovanje, scena, produkcija, vještina, razumijevanje metiera, ekonomska održivost, poetičnost i intima, šok i provokacija i, naravno, kontinuiran rad i djelovanje.
Nadamo se da ćete barem dio toga prepoznati na ovogodišnjem Zagrebačkom salonu za likovnu umjetnost te da će se na sljedećem susretu okupiti niz institucija i od Zagreba napraviti cjelovit izložbeni prostor.
The sixtieth edition of the Zagreb Salon is an extraordinary anniversary of perseverance in promoting and encouraging creative, artistic activity and creation. The Croatian Association of Fine Artists in Zagreb, and the members who are no longer with us today, initiated this process to share and connect through creative artistic expression, as well as developing the market and creating conditions for the economic survival of the art scene, raising societal awareness of the importance of art, and generally building foundations fo a better future.
In various global, regional, and domestic crises, the Zagreb Salon and all its variants—including this visual one—have experienced and are experiencing crises of sustainability. These crises lie at the intersection of a clear reason why they are needed and the inability of cultural policy to explain why there is continuity and how it is managed: how it is renewed, how guidelines for future creation are set, how this continuity is nurtured to prevent forgetting the developmental history, and finally, how
its reach is expanded by relying on spatial and financial resources available here and now.
At its inception, the Zagreb Salon was the largest and most comprehensive event representing different aspects of the visual and art scene in Croatia, uniting various tendencies. Participation was important for museums and gallery institutions
Currently, as the Meštrović Pavilion is under renovation—along with numerous other iconic gallery institutions, thanks to considerable funds for the recovery of cultural and educational institutions provided by the government and distributed by the Ministry of Culture— the Zagreb Salon finds itself in a specific situation. Nevertheless, despite being marked by improvisation due to unfinished spaces and relying on the goodwill of artists, the Museum of Contemporary and Modern Art, and public spaces, it has developed a clear framework that defines guidelines and potential for progress in the post-renovation period. The intention here is to connect newly
renovated spaces of multiple institutions, develop several concepts in representative spaces, design a presence in public areas, and organize an exhibition of the general scene of artistic creation. From an artist’s perspective, it is clear that there is a certain misunderstanding between what the visual art scene currently is and what it could be.
Fortunately, the world is becoming a global village, and it is no longer necessary to demonstrate that we can do similar things as the major world centers. Today, we can clearly present our identity points and unique features that are important for encouraging and showcasing artistic creation. Artistic education, scene, production, skills, understanding of craft, economic sustainability, poetics and intimacy, shock and provocation, and, of course, continual work and activity.
We hope that at this year's Zagreb Salon of Visual Arts, you will recognize at least part of this, and that at the next meeting, numerous institutions will come together to transform Zagreb into a complete exhibition space.
JUBILARNI ZAGREBAČKI SALON VIZUALNIH UMJETNOSTI: IZAZOVI
I NOVE PERSPEKTIVE
IVANA ANDABAKA VUJIČIĆ, RAVNATELJICA HDLU-A
Šezdeseto izdanje Zagrebačkog salona vizualnih umjetnosti, najstarije zagrebačke manifestacije posvećene suvremenoj umjetnosti, organizira se u vrlo specifičnim uvjetima. Posljednjih godina Zagreb je transformiran u veliko gradilište, pri čemu je značajan dio većih galerija i muzejskih ustanova privremeno zatvoren zbog sanacije posljedica potresa. Početkom 2025. godine svoja je vrata zatvorio i Meštrovićev paviljon, Dom hrvatskih likovnih umjetnika, koji tradicionalno predstavlja centralnu lokaciju održavanja Salona.
Prezentacija umjetnosti bez adekvatnog prostora za njeno izlaganje predstavlja značajan izazov u svakom gradu, a osobito u onome koji je u fazi intenzivne obnove. Kada se navedenim otegotnim okolnostima pridodaju i ostale izložbene aktivnosti koje Hrvatsko društvo likovnih umjetnika (HDLU) organizira tijekom razdoblja obnove (uključujući cijeli izložbeni program Meštrovićeva paviljona u gostovanju kod partnerskih ustanova diljem
Zagreba, 6. bijenale slikarstva u četiri grada, te vođenje dviju zahtjevnih obnova – Meštrovićeva paviljona i Dvorca umjetnika Jakovlje), opravdano je istaknuti značajne resursne poteškoće s kojima se kao organizator suočavamo.
S druge strane, produkcija hrvatskih suvremenih umjetnika je nezaustavljiva, s rastućom potrebom i željom za tehničkom izvrsnošću, vidljivošću i recepcijom. I to je dobro! Pri promišljanju koncepcije Salona u ovim izvanrednim okolnostima, početna je ambicija bila preuzimanje grada Zagreba, primarno putem javnih površina. Međutim, postavljanje tridesetak umjetničkih radova u javni prostor, što podrazumijeva ishođenje svih potrebnih gradskih dozvola i osiguravanje umjetničkog djela od devastacije, pokazalo se organizacijskom utopijom za Zagreb i HDLU u ovoj fazi.
Imajući u vidu okolnosti održavanja 60. zagrebačkog salona te demonstriranu sposobnost
žuje se u kojoj mjeri rizik igra oblikuju naše iskustvo stvarnosti.
U javnom gradskom tkivu najvidljivija je svakako umjetnička intervencija Nore Turato na pročelju Meštrovićeva paviljona. Ova site-specific instalacija naslanja se na istaknutu sekciju zagrebačkog salona „Prijedlog“, koju je 1971. godine pokrenula povjesničarka umjetnosti Željka Čorak. Svrha te sekcije bila je poticanje intenzivnije participacije umjetnika svih disciplina u
oplemenjivanju zajedničke okoline tranzicijom umjetnosti iz definirane galerijske sredine u urbanu stvarnost.
Naša trenutna stvarnost uključuje gradska pročelja zakrivena zaštitnim ceradama s logotipima građevinskih tvrtki. Paradoksalno, tvrtke izdašno plaćene za obnovu besplatno se oglašavaju na velikim površinama u centralnim lokacijama glavnog grada, što bi, prema cjeniku oglašavanja, visoko kotiralo.
Upravo iz naložene potrebe preuzimanja rizika, a u cilju simboličkog doprinosa jubileju, na zaštitnoj građevinskoj ovojnici oko Meštrovićeva paviljona u obnovi nismo željeli postaviti ni reklame ni logotipe građevinskih tvrtki, već umjetnost – hrabru, glasnu i otvorenu za interpretaciju. U zasićenom vizualnom zagrebačkom okolišu, HDLU stoga donosi „prijedlog“ – umjetnost na Domu likovnih umjetnika i tijekom njegove obnove.
promišljanja izvan standardnih galerijskih okvira, pri čemu se ne kompromitira umjetnička izvrsnost, Upravni odbor HDLU-a odlučio je dodijeliti kustoski zadatak mladom kolektivu KUĆĆA. Trio koji čine Jurica Mlinarec, Klara Petrović i Luja Šimunović, a koji je svoj debitantski kustoski nastup imao na 36. salonu mladih – Paraziti, postavlja ovogodišnji Zagrebački salon u decentraliziranom obliku pod temom „Koreografija za završnu liniju“. Salon će predstaviti više od 25 umjetničkih radova, intervencija u javnom prostoru, predavanja i performansa na više od 20 lokacija. Važan segment, u dosad najširem izdanju, jest dolazak međunarodne stručne zajednice u Zagreb, čime se potiče povezivanje lokalnih umjetnika s istaknutim kustosima i novinarima i teoretičarima.
Tematski, ovogodišnji Salon uspostavlja dijalog sa suvremenim režimom nesigurnosti – nesigurnim žudnjama, egzistencijama i budućnostima. Kroz radove brojnih umjetnika, istra-
THE JUBILEE ZAGREB SALON OF VISUAL ARTS: CHALLENGES AND NEW PERSPECTIVES
IVANA ANDABAKA VUJIČIĆ, RAVNATELJICA HDLU-A
The sixtieth edition of the Zagreb Salon of Visual Arts, the oldest Zagreb event dedicated to contemporary art, is being organized under very specific conditions. In recent years, Zagreb has transformed into a large construction site, with a significant portion of major galleries and museum institutions temporarily closed due to earthquake damage. At the beginning of 2025, the Meštrović Pavilion, the Home of Croatian Visual Artists, which traditionally serves as the main venue for the Salon, also closed its doors.
Presenting art without adequate exhibition space poses a significant challenge in any city, especially one undergoing intensive renewal. When added to other exhibition activities organized by the Croatian Association of Fine Artists (HDLU) during the renovation period—including the entire exhibition program at the Meštrović Pavilion hosted by partner institutions across Zagreb, the 6th Painting Biennale in four cities, and managing two demanding renovations — the Meštrović
Pavilion and the Jakovlje Artists’ Castle—it is justified to highlight the substantial resource challenges we face as organizers.
On the other hand, the production of Croatian contemporary artists is unstoppable, with increasing demand and desire for technical excellence, visibility, and reception. And that is a good thing! When conceiving the Salon in these extraordinary circumstances, the initial ambition was to involve the city of Zagreb primarily through public spaces. However, installing about thirty artworks in public space—which involves obtaining all necessary permits and safeguarding artworks from vandalism—proved to be an organizational utopia for Zagreb and HDLU at this stage.
Considering the circumstances of organizing the 60th Zagreb Salon and the demonstrated ability to think beyond standard gallery frameworks, without compromising artistic excellence, the HDLU Executive Board decided to assign the curatorial task to
vention on the façade of the Meštrović Pavilion. This site-specific installation refers to the highlighted section of the Zagreb Salon, “Proposal”, initiated in 1971 by art historian Željka Čorak. Its purpose was to encourage more intensive participation of artists from all disciplines in enriching the shared environment through the transition of art from confined gallery spaces into urban reality.
Our current reality includes city facades covered with protective tarps bearing the logos of con-
struction companies. Paradoxically, companies generously paid for reconstruction advertised for free on large surfaces in central locations of the capital, which, according to advertising rates, would rank highly.
From the necessity of taking risks, and to symbolically contribute to the jubilee, we decided not to put up advertisements or logos of construction companies on the protective building wrap around the Meštrović Pavilion, undergoing renovation, but rather art
— brave, loud, and open to interpretation. In Zagreb's overloaded visual environment, HDLU offers a “proposal” — art on the Home of Croatian Visual Artists even during its renovation.
the young collective KUĆĆA. The trio—Jurica Mlinarec, Klara Petrović, and Luja Šimunović—debuted as curators at the 36th Young Artists’ Salon—“Parasites”. This year’s Zagreb Salon will therefore be presented in a decentralized format under the theme “Choreography for the Final Line”. It will feature over 25 artworks, public interventions, lectures, and performances across more than 20 locations. An important component, in the broadest edition so far, is the arrival of the international professional community in Zagreb, promoting connections between local artists, prominent curators, journalists, and theorists.
Thematically, this year's Salon establishes a dialogue with the contemporary regime of insecurity—uncertain desires, existences, and futures. Through works by numerous artists, it explores the extent to which risk and play shape our experience of reality.
Among the most visible is certainly Nora Turato’s artistic inter-
Ulazak u novo tisućljeće bio je popraćen apokaliptičnim strahom – dvije digitalne nule izazvat će sustavni poremećaj i vratiti nas sto godina unazad, a posljedice će biti katastrofalne. Domino efekt prouzročit će apsolutni kolaps suvremenog društva – nestanak struje, zatvaranje bolnica, propast tehnoloških industrija, države koje degeneriraju u pobune i revolucije. 1 Međutim, Y2K scare ispao je tek panična epizoda.
Poput tehnološkog raskola, u iščekivanju smo ostalih simptoma stvarnosti koja je tehnološkim razvojem dovela svijet u egzistencijalnu krizu, od atomske bombe, preko šestog masovnog istrebljenja, do globalnog zagrijavanja. Nastanjujemo društvo rizika, prostor unutar kojeg ublažavamo, izbjegavamo optimiziramo. Uz šire društveno upravljanje i razvoj spekulativne ekonomije, taj režim oslikava se u iskustvu pojedinca čiji je privatni i profesionalni život izložen neprestanom balansiranju uloga i dobiti – pri čemu su digitalne tehnologije to stanje samo potencirale. Sveopća algoritmizacija svela je svijet na apstraktne nule i jedinice – sve postaje dio mreže, svako iskustvo je dio digitalno posredovanog toka stvarnosti. Pritom, riječ je o tehnologijama koje repliciraju strukture igre: od praksi skupljanja titula, bedževa i bodova u korporativnom kontekstu do kalibriranja emotivnih stanja kroz društvene mreže i mobilne aplikacije. Iskustvo svijeta transformirano je u mehanizam igre koja postaje sama sebi
svrhom, koja traži sve veći ulog emocija, vremena i pažnje. Istodobno, postaje nejasno oponaša li svijet igre ili igre svijet?
Danas, igra je jedna od neizbježnih i elementarnih strategija društvene kontrole i opresije, a naš uspjeh i realizacija u svijetu ovisi o tome koliko smo joj se voljni prepustiti. Ništa ne postoji izvan igre, kao što ne možemo stvarnost razmotriti izvan tokova informacija i slika koje ju čine. Dovedeni smo u nezgodan položaj: kako danas razmišljati o igri i riziku kao kritičkoj strategiji i što to podrazumijeva? Možemo li otvoriti prostor slobodne igre – čina igranja koji nema cilj, koji implicira promatrača bez da točno zna u što se uvukao? Možemo li riskirati bez da znamo što dobivamo zauzvrat? Ili pak, kako možemo kritički razmišljati o tim kategorijama, kako ih možemo dekonstruirati ili reartikulirati? Možemo li se svjesno upustiti u igru s ciljem poraza?
Sa (samo)destruktivnim namjerama koje nisu patološke već oslobađajuće?
60. Zagrebački salon stoga klizi između rizika i igre, ulazeći u dijalog sa suvremenim režimom nesigurnosti – nesigurnim žudnjama, nesigurnim egzistencijama, nesigurnim budućnostima. Koreografija za završnu liniju predstavlja umjetničke odgovore na ova pitanja, koji preuzimaju te nevidljive strategije ili pak otkrivaju nove – prakse koje pokreću poligon za ludičke intervencije koje raslojavaju algoritmičko društvo rizika.
LITERATURA
1Anson, Robert Sam. 12.31.99 THE Y2K NIGHTMARE. Vanity Fair. 1999.
Beck, Ulrich. Risk Society: Towards a New Modernity. University of Munich. 1992.
Longo, Anna. Love in the Age of Algorithms u: Glass Bead Journal. 2019.
Moynihan, Thomas. X-Risk: How Humanity Discovered Its Own Extinction. Urbanomic. 2020.
Ruberg, Bonnie. Playing to Lose. The Queer Art of Failing at Video Games. u: Gaming Representation: Race, Gender, and Sexuality in Video Games, Malkowski, Jennifer i Russworm, Treaandrea M. (ur.), 197–211., Indiana University Press, 2017.
Shaviro, Steven. Connected, or What It Means to Live in the Network Society. University of Minnesota Press. 2003.
Wark, McKenzie. Gamer Theory. Harvard University Press. 2007.
KUĆĆA
The entry into the new millennium was accompanied by fear of apocalyptic proportions – two digital zeros would cause a systemic disruption and set us back a hundred years, while the consequences would be catastrophic. The domino effect would cause the absolute collapse of modern society – power outages, hospital closures, technology industries collapses, countries degenerating into riots and revolution However, the Y2K scare turned out to be just a panic episode.
Like the technological schism, we are awaiting other symptoms of the reality within which technological development has brought the world into an existential crisis, from the atomic bomb, through the sixth mass extinction, to global warming. We inhabit a risk society, a space within which we mitigate, avoid and optimize. Along with broader social management and the development of a speculative economy, this regime is reflected in the experience of an individual whose private and professional life is exposed to a constant balancing of roles and profits – with digital technologies only intensifying this situation. The general algorithmization has reduced the world to abstract zeros and ones – everything becomes part of the network, every experience is part of the digitally mediated flow of reality. In doing so, we are talking about technologies that replicate the structures of the game: from the practices of collecting titles, badges and points in a corporate context to calibrating emotional
states through social networks and mobile applications. The experience of the world has been transformed into the mechanism of a game that becomes an end in itself, which requires an increasing stake of emotions, time and attention. At the same time, it becomes unclear whether the game imitates the world or the world imitates the game?
Today, the game is one of the inevitable and elementary strategies of social control and oppression, and our success and realization in the world depends on how willing we are to surrender to it. Nothing exists outside the game, just as we cannot consider reality outside the flows of information and images that make it up. We are put in an awkward position: how to think about the game and risk as a critical strategy today and what does this imply? Can we open up a space for free play – an act of playing that has no goal, that implicates the observer without knowing exactly what he or she is getting into? Can we take risks without knowing what we get in return? Or, how can we think critically about these categories, how can we deconstruct or rearticulate them? Can we consciously engage in play with the goal of defeat? With (self-)destructive intentions that are not pathological but liberating?
The 60th Zagreb Salon therefore glides between risk and play, entering into a dialogue with the contemporary regime of uncertainties – uncertain desires, uncer-
tain existences, uncertain futures. Choreography for the Finish Line presents artistic responses to these questions, which take on these invisible strategies or reveal new ones – practices that set in motion a training ground for ludic interventions that stratify the algorithmic society of risk.
BIBLIOGRAPHY
Anson, Robert Sam. 12.31.99 THE Y2K NIGHTMARE. Vanity Fair. 1999.
Beck, Ulrich. Risk Society: Towards a New Modernity. University of Munich. 1992.
Longo, Anna. Love in the Age of Algorithms in: Glass Bead Journal. 2019.
Moynihan, Thomas. X-Risk: How Humanity Discovered Its Own Extinction. Urbanomic. 2020.
Ruberg, Bonnie. Playing to Lose. The Queer Art of Failing at Video Games. in: Gaming Representation: Race, Gender, and Sexuality in Video Games, Malkowski, Jennifer i Russworm, Treaandrea M. (ur.), 197–211., Indiana University Press, 2017.
Shaviro, Steven. Connected, or What It Means to Live in the Network Society. University of Minnesota Press. 2003.
Wark, McKenzie. Gamer Theory. Harvard University Press. 2007.
ANTONIJA BALIĆ & MARIJANA
ŽUPANIĆ BENIĆ
‘PROVJETRAVANJE’
Instalacija na pročelju zgrade, 2025.
Učiteljski fakultet Sveučilišta u Zagrebu, Savska cesta 77
Provjetravanje je umjetnička
instalacija postavljena na pročelju zgrade Učiteljskog fakulteta u Zagrebu, koja je u jesen 2024. godine potpuno obnovljena nakon
potresa. Ova zgrada, koja je kroz proces napuštanja, selidbe i renovacije prošla kroz brojne energetske promjene, sada ponovo ističe svoj identitet kao institucija koja pruža zaštitu okupljanje svim studentima, profesorima i učenicima koji borave u njoj. Instalacija simbolički provjetrava prostor, čineći ga prohodnijim nježnijim za trajanja Zagrebačkog salona, te poziva posjetitelje na interakciju sa zgradom. Instalacija se sastoji od gigantskih tek-
stilnih zavjesa, koje pozivaju prolaznike da se provuku kroz njih i istraže mogućnosti koje tekstil nudi kao materijal. Mekani, taktilni materijali zavjesa, koji se pod rukom povijaju i propadaju, stvaraju osjećaj nedovršenosti, krhkosti i nedostatnosti. Za razliku od tradicionalnih skulptura od kamena, drveta ili bronce, koje odišu postojanošću i stabilnošću, tekstil ističe osjećaj ranjivosti bespomoćnosti. Materijali instalacije sugeriraju tragove ljudskog
dodira potiču gledatelje na interakciju, dok promoviraju tekstil kao materijal koji njeguje i iscjeljuje. Bliskost čovjeka tkanine postavlja tekstil visoko na hijerarhijskoj ljestvici kiparskih materijala, obogaćujući umjetnički izraz svojim jedinstvenim karakterom i mogućnostima oblikovanja. Provjetravanje stoga nije samo prostorna intervencija, već i ritualni čin koji poziva na zajedničko stvaranje i obnovu kroz dodir i igru, naglašavajući transformacijsku snagu tekstila u suvremenom umjetničkom kontekstu.
Installation on the façade, 2025 Faculty of Teacher Education, University of Zagreb, Savska cesta 77
Aeration is an installation on the façade of the Faculty of Teacher Education in Zagreb, which was fully restored in the autumn of
2024, after being damaged by an earthquake. This building, which had undergone numerous energetic transformations through the processes of abandonment, relocation and renovation, now once again reasserts its identity as an institution that provides shelter and a gathering place for students, professors and pupils alike. The installation aims to symbolically aerate the space, making it more permeable and gentler during the Zagreb Salon, and invites visitors to interact with the building. The installation consists of gigantic textile curtains that invite passers-by to weave their way through them and explore the possibilities that textile offers as a material. The soft, tactile materials of the curtains, which bend and yield under a touch, create a sense of incompleteness, fragility and insufficiency. Unlike traditional sculptures made of stone, wood or bronze, which exude permanence and stability, textiles emphasize a feeling
of vulnerability and helplessness. The materials of the installation hint at traces of human touch and encourage viewers to interact, while promoting textile as a material that nurtures and heals. The closeness of man and fabric places textiles high on the hierarchy of sculptural materials, enriching artistic expression with its unique character and design possibilities. Aeration is therefore not only a spatial intervention, but also a ritual act that calls for co-creation and renewal through touch and play, emphasising the transformative power of textile in a contemporary artistic context.
Glasovi sumnje je četverokanalna kompozicija koja se razvija u stvarnom vremenu. Pokreće je Sniffy, instrument koji je osmislio sam umjetnik, a koji koristi identifikacijske brojeve mrežnih kartica mobilnih uređaja. Nakon što se spoje na Wi-Fi, ovi uređaji generiraju tonove i moduliraju cjelokupnu kompoziciju.
Performans i njegova scenografija ponašaju se poput živog organizma kojeg pokreću glasovi digitalnih uređaja. Koristeći svoj mobilni telefon i podatke s njegovog žiroskopa/akcelerometra, umjetnik svira i tako održava kompoziciju na životu. Manipulirajući i koristeći svoj pametni telefon kao joystick, nastoji očuvati cjelokupan sklad i zvuk kompozicije. To je igra s povezanim uređajima u publici, ali i igra protiv njih. Radi se o interakciji s nepredvidljivim, sa sviješću o digitalnim prisutnostima kojima treba upravljati kako bismo zajednički mogli dijeliti taj skladni trenutak. Ali, je li to
moguće? Koliko je ta igra nepristrana? Glasovi povezanih uređaja raspoređuju se različitom brzinom, pa kako se možemo boriti protiv te razlike u stvarnom vremenu ili se igrati s njom? Paljenjem ili gašenjem Wi-Fi-ja na svojim uređajima, publika može u bilo kojem trenutku promijeniti kompoziciju. Može li iz tog trenutka proizići koordinacija i kolektivna igra?
Jesu li Glasovi sumnje trenutak dijeljenja, povjerenja, neizvjesnosti, strepnje ili nerazumijevanja?
Suradnici na scenografiji: Cosme Fodor i Robert Fenrich
HUGO BARANGER
‘VOICES OF DOUBT’
Sound and light performance, 2025 Tunnel Grič, Mesnička 19
Voices of Doubt is a real-time, quadraphonic composition powered by Sniffy, an instrument designed by the artist that uses identity numbers of mobile devices’ network cards. Once connected to Wi-Fi, these devices generate notes and modulate the composition as a whole.
The performance and its sceno-
graphy act like a living organism, driven by the voices of digital objects. Using his mobile phone and its gyroscopic/accelerometer data, the artist will play to keep the live composition audible. By manipulating and orientating his smartphone like a joystick, the artist tries to keep the overall composition audible and harmonious. It’s a game both with and against the connected objects in the audience. It’s a question of playing with the unpredictable, aware of the digital presences that need to be managed to share a harmonious moment. But is this possible? How impartial is the game?The voices of connected objects are deployed at a different speed scale, so how can we fight against or play with this discrepancy in real time? By activating or deactivating the Wi-Fi on their devices, the audience can change the composition at any time. Can coordination and collective play emerge from this moment? Is Voices of Doubt a moment of sharing, trust, uncertainty, apprehension, or misunderstanding?
Scenography collaborators: Cosme Fodor & Robert Fenrich
DVIJE JEDNAKOVRIJEDNE NAGRADE
60. ZAGREBAČKOG SALONA VIZUALNIH UMJETNOSTI
TWO EQUAL AWARDS –60TH ZAGREB SALON OF VISUAL ARTS
ANDREJ BEŠTAK
& ANJA LEKO
‘AKO OKUSITE MOJE
SUZE ZNAT ĆETE
ZAŠTO PLAČEM’
Instalacija, 2024./25.
Oktogon (NMMU), Ilica 5
Veza bez boje i oblika, veza koja mi je dala život, sada mi ga oduzima.
Ubrizgana je u moj živčani sustav. Dala mi je ljubav, a ja sam od nje stvorio život. Nikada nije bilo moje da ga uzmem, uvijek je bio zajam koji moram vratiti.
Punio sam spremnik suza kap po kap i pio iz njega gutljaj po gutljaj. Moje suze nisu moje, a tvoje suze nisu tvoje.
To je spomenik slomljenom srcu. Krv, znoj i urin kodirani su borbom da postaneš živ. Energetski vulkan.
Rijeka, kapela suza kojoj se molim. Rastvaram se u tebi.
Plivam u vlastitom tijelu.
U najplavijoj, najtamnijoj tekućini pronalazim odgovore, ali ih se nikad ne sjećam.
Postojali smo u svim vremenima, prošlosti, sadašnjosti, budućnosti. Samo smo mijenjali oblike.
Transformirajući se jedno u drugo
i nestajući jedno u drugome.
Bez broda i oblika. Prvi ribar na planetu. Želeći potonuti i želeći letjeti. Nikada ne plutati. Nismo mogli podnijeti površinsku napetost.
Pijem iz tvoje ruke. I ližem tvoje suze. I sada znam zašto si plakao.Tvoje suze su bile moje, a moje su bile tvoje. Suze koje nikada nismo posjedovali.
Rad iz ciklusa Pokazat ću ti gdje skrivam svoje suze (2024./25.)
ANDREJ BEŠTAK & ANJA LEKO
‘IF YOU TASTE MY TEARS, YOU WILL KNOW WHY I CRY’ Installation, 2024/25 Oktogon (NMMU), Ilica 5
The bond without colour and shape, the bond that gave me life is now taking it away. It is injected in my nervous system. She gave me love and I made life out of it. It was never mine to take, it was always a loan I have to give back.
I filled the tears reservoir drop by drop and I drank from it sip by sip.
My tears are not mine and your tears are not yours.
It is the monument of a broken heart. The blood, sweat and urine are encoded with the struggle of becoming alive. Energy volcano. A river, chapel of tears I pray to.
I am dissolving into you.
I am swimming in my own body In the bluest, darkest liquid I find answers but never remember them.
We existed in all the times, past, present, future. We just changed shapes.
Transforming into each other and disappearing into each other Shipless and shapeless. The first Fisherman on the planet.
Wanting to sink and wanting to fly. Never to float. We couldn’t bear the surface tension.
I am drinking from your hand. And I am licking your tears. And I know now why you were crying.
Your tears were mine and mine were yours. The tears we never owned.
The work is from the cycle I will show you where I hide my tears (2024/25)
ANDREJ BEŠTAK & ANJA LEKO
‘DA SMO BAREM
SAMO GLEDALI, A NISMO LIZALI’
Performans
Galerija SKD Prosvjeta, Preradovićeva ul. 21-23
Kapljice vode, rijeke, suze i kiše, ocean bez valova jezero bez dna. U ovom prostoru nalazi se impuls. Ovo je njegovalište za neispričane priče. Romantični prostor, neizrečena ljubav, meki dodir na koži. Živčana senzacija. U ovom prostoru sve postoji. Ova sfera je medij za pohranu informacija. Hard disk svih impulsa života. Ono iza ugla, još nevidljivo ali se osjeća. Mjesto neostvarenih želja i velikih uspjeha. Laboratorij kvantne melankolije. U ovoj sobi sve je informacija i sve se piše. Kapacitet suza, visina valova, snaga rijeka i volumen znoja. Tu sve ostaje i sve prolazi, u vječnom kolu. Čistoća koja grize. Zvuk koji zauvijek odjekuje, zvuk istog okusa mirisa.
Gdje menzure nemaju smisla. Petlje koje pulsiraju u svim smjerovima. Ovo je mjesto gdje se istina i laž nadopunjuju. Obećanje vječnosti koje kap po kap puni staklene zdjele. Uspavanka za polog kojeg moramo otplatiti. Gdje pitanje nije jesam li živ, nego sjećaš li me se.
Ovo je priča o nastanku vode, meta prostor u kojem odzvanja onaj nagovještaj koji će pokre-
nuti svijet. Priča o Ja u ogledalu drugog. Iskon svega dobrog i lošeg. Simulakrum rodilišta, mjesta početka i neponovljive njege. Početna točka. Prvi kontakt s vodom kao mjesto početka spoznaje. Prvi gutljaj i prva suza. Onda kad smo plivali u vlastitom tijelu. Ciklus koji nikada ne napušta ovaj planet. Bez kontrole i bez koreografije.
Zvuk: Jökull Máni Reynisson, Masaya Ozaki, Yulia Vasileva, Christian Høgh Rad iz ciklusa Pokazat ću ti gdje skrivam svoje suze (2024./25.)
ANDREJ BEŠTAK & ANJA LEKO
‘I WISH I’D ONLY LOOK AND DIDN’T HAVE TO LICK’
Performance
Gallery SKD Prosvjeta, Preradovićeva ul. 21-23
Drops of water, rivers, tears and rain, an ocean without waves and a lake without a bottom. In this space there is an impulse. This is a nursing home for untold stories. A romantic space, unspoken love, a soft touch on the skin. A nervous sensation. Everything exists in this space. This sphere is a medium for storing information. A hard drive of all the impulses of life. That which is around the corner, still invisible but felt. A place of unfulfilled desires and great successes. A laboratory of quantum
melancholy. In this room everything is information and everything is written. The capacity of tears, the height of the waves, the power of the river and the volume of sweat. Everything remains here and everything passes away, in an eternal circle. A purity that bites. A sound that echoes forever, the sound of the same taste and smell. Where scales have no meaning. Loops that pulsate in all directions. This is a place where truth and lies complement each other. A promise of eternity that fills glass bowls drop by drop. A lullaby for the deposit we must pay. Where the question is not whether I am alive, but whether you remember me. This is a fictional story about the creation of water, a meta space in which the hint that will move the world resonates. The story of the Self in the mirror of the other. The origin of all good and bad. A simulacrum of a maternity hospital, a place of beginning and unrepeatable care. The starting point. The first contact with water as a place of the beginning of knowledge. The first sip and the first tear. Then when we swam in our own bodies. A cycle that never leaves this planet. Without control and without choreography.
Sound: Jökull Máni Reynisson, Masaya Ozaki, Yulia Vasileva, Christian Høgh
The work is from the cycle I will show you where I hide my tears (2024/25)
SOFT POWER ispituje subverzivni potencijal afektivnog iskustva lateksa kroz metaforu druge kože, s naglaskom na teme fetišizma, intimnosti, ranjivosti i identiteta. U kontaktu s golom kožom kao tjelesnim pragom, lateks kožu razotkriva kao poroznu i osjetljivu opnu koja istodobno štiti i izlaže. Objedinjujući suprotnosti senzualnog užitka i industrijske funkcije, lateks narušava granice između izloženosti i anonimnosti, privatne i javne sfere.
Kaučuk se pozicionira unutar šire povijesne, materijalne i simboličke genealogije, prateći razvoj od organskog materijala, nekoć ključnog za infrastrukturni razvoj industrijske revolucije širenje kolonijalnog kapitalizma, sve do lateks renesanse u kontekstu fetiš subkultura. Lateks se otvara senzualnim prevođenjem druge kože u skulpturalne objekte u kombinaciji s RPG (role-playing
game) uputama, radio dramama i zvučnim objektima. Sirovi kaučuk i rubber subkultura demonstriraju svoj transformativni potencijal kroz pretvorbu materijalnosti u kulturnu i simboličku moć –rad je stoga okvir unutar kojega se promišljanja o izloženosti, otvorenosti, ranjivosti, dodiru, te relacijama moći ogledavaju u skulpturalnim objektima iz privatne sfere.
SOFT POWER examines the subversive potential of latex as an affective experience through the metaphor of second skin, with an emphasis on the themes of fetishism, intimacy, vulnerability, and identity. In contact with bare skin as a physical barrier, latex reveals skin as a porous and sensitive membrane that simultaneously protects and exposes. By merging the opposites of sensual pleasure with industrial function,
latex disrupts the boundaries between exposure and anonymity, private and public spheres.
Rubber is positioned within a broader historical, material, and symbolic genealogy, tracing its development from an organic material, once crucial to the infrastructural development of the Industrial Revolution and the expansion of colonial capitalism, to the latex renaissance within fetish subcultures.
Latex opens through the sensual translation of the second skin into sculptural objects combined with RPG (role-playing game) instructions, radio dramas and sound objects. Raw rubber and rubber subculture demonstrate their transformative potential through the transformation of materiality into cultural and symbolic power – the work thus provides a framework within which reflections on exposure, openness, vulnerability, touch, and power relations are reflected in sculptural objects from the private sphere.
DVIJE JEDNAKOVRIJEDNE NAGRADE
60. ZAGREBAČKOG SALONA VIZUALNIH UMJETNOSTI
TWO EQUAL AWARDS –60TH ZAGREB SALON OF VISUAL ARTS
MAJA ČULE & KATY
PYLE ‘JA SAM TVOJ KUKUMAR’
Instalacija koja uključuje video, objekte i radove na papiru, 2024./2025.
Galerija SKD Prosvjeta, Preradovićeva ul. 21-23
Pristupajući temi kroz eko-seksualne, feminističke, kvir, somatske i humoristične metodologije, Čule i Pyle grade spekulativan narativ o morskim kukumarima. U tom narativu kukumar biva oslobođen patrijarhalnog okvira, tradicionalni ratnički plesovi postaju rituali zaboravljenog kulta, a kukumar sam priča svoju priču. Njegova biološka sposobnost regeneracije nakon odbacivanja unutarnjih organa u stresnim i opasnim situacijama postaje simbol kvir strategija otpornosti. Kroz novi nara-
tiv o morskom kukumaru Čule i Pyle grade repozitorij znanja o životima izvan starog seksualnog režima. Rad tako otvara oči i srca publike, nudeći nove ideje o životu u postantropocenu, suodnosu s okolišem, ali i odnosu jednih s drugima.
MAJA ČULE & KATY PYLE ‘I AM YOUR SEA CUCUMBER’
Installation with video, objects and works on paper, 2024/25 Gallery SKD Prosvjeta, Preradovićeva ul. 21-23
Approaching their topic through eco-sexual, feminist, queer, somatic and humorous methodologies, Čule and Pyle build a speculative narrative about the sea cucumber. In this narrative, the sea cucumber is liberated
from patriarchal bonds, as traditional warrior dances become rituals of a forgotten cult of the sea cucumber. The sea cucumber’s ability to regenerate, after discarding its internal organs in stressful and dangerous situations, becomes a symbol of queer strategies of resistance and transformation. Through interviews with queers and drag artists in Split, Čule and Pyle co-create a new perspective on the sea cucumber and build a repository of knowledge about lives outside the old sexual regime.
I am Your Sea Cucumber opens the eyes and hearts of the audience and offers new ideas about how to live in the postAnthropocene – creating new relationships with each other and with the environment.
JIAO GUO ‘PIKNIK POKRAJ PUTA’
Instalacija, 2024. Galerija SKD Prosvjeta, Preradovićeva ul. 21-23
Rad se sastoji od čudnih, hibridnih i transformiranih objekata nastalih kroz proces pokušaja utjelovljenja stvari koje je teško definirati, izgovoriti ili čije su granice porozne i liminalne. Prati ih zvučna kulisa nastala snimanjem i digitalnom manipulacijom riječi s niskim narativnim potencijalom kako bi se ispitala njihova semantika i stvorila akustična pozadina za objekte, koja dodatno rastapa značenja prisutna u instalaciji i postavlja ton atmosfere za gledatelja, kao i za video temeljen na tekstu. Cilj je stvoriti osjećaj novog kroz čudnost, budući da ne postoji ime kojim bismo ih mogli nazvati. Ono potiče na dublje tjelesno iskustvo gdje su osjetila angažirana
kako bi razumjela kako i zašto ti objekti jesu, umjesto samo što oni jesu, te otvara mogućnost alternativnih spekulacija.
Uz instalaciju, rad je popraćen malom knjigom – leksikonom čudnog – koja djelomično funkcionira kao umjetnička knjiga, a djelomično kao vodič posjetitelju.
JIAO GUO ‘ROADSIDE PICNIC’
Installation, 2024
Gallery SKD Prosvjeta, Preradovićeva ul. 21-23
The work consists of strange, hybrid, and transformed objects, created through a process of attempting to embody things that are difficult to define, articulate, or whose boundaries are porous and liminal. They are accompanied by a soundscape made by recording and digitally
manipulating words with low narrative potential to examine their semantics and create an acoustic background to the objects, which works to further dissolve the meanings of objects present in the installation and set the atmosphere for the viewer, as well as a text-based video. The aim is to create a sense of the new through defamiliarization, since there is no name by which we could call them. This encourages a deeper bodily experience where the senses are engaged to understand how and why these objects are, rather than merely what they are, and opens up the possibility of alternative speculations.
Alongside the installation, the work is accompanied by a small book – a lexicon of the strange – that serves partly as an artist’s book and partly as a visitor’s guide.
Rad estetski proizlazi iz hrvatske baštine, crpeći motive iz tradicionalnog ukrašavanja hiža na području Zagorja i Međugorja. CARSTVO je rezultat umjetničkog istraživanja Seljačke bune kao jedne od ključnih lokalnih društveno-političkih prekretnicai snažnog trenutka izgradnje kolektivnog nacionalnog identiteta, a koja je započela upravo na Susedgradsko-stubičkom vlastelinstvu 1573. godine. Ideal kojem je stremila buna bilo je osnivanje samostalne seljačke države sa sjedištem u Zagrebu te uspostavljanje seljačke vlade. Buna je bila ugušena, a Matija Gubec – proglašeni vođa bune – brutalno je pogubljen na Trgu sv. Marka u Zagrebu čime je dobio status seljačkog mučenika. Generacijsko naslijeđe iskre pobune osjetno je u vremenima velikih razlika u pozicijama moći, ali posebno i u kontekstu neoliberalnog kapitalizma, gdje svaka
individua prividno ima mogućnost ostvarenja visokog statusa. Rizik postaje dijelom te svakodnevice – ubrzanjem i tehnološkom ovisnošću svaka odluka je kalkulacija uloga i dobiti, a svaka odluka pretvara se u igru. Samim time potencijal bune guši se iz minute u minutu. CARSTVO je podsjetnik na kolektivni identitet i naslijeđe od kojeg se ne možemo sakriti. Začudno – u svojoj formi podsjeća na dom, svojim ornamentima priziva prošlost, ali istodobno nešto grozomorno i prijeteće.
The work draws aesthetically on Croatian heritage, taking motifs from the traditional decoration of houses in the areas of Zagorje and Međugorje. EMPIRE is the result of artistic research into the Peasants’ Revolt as one of the key local socio-political turning points and a powerful moment in the formation of collective national identity, which began at the
Susedgrad-Stubica estate in 1573. The ideal to which the revolt aspired was the establishment of an independent peasant state with Zagreb as its centre and the creation of a peasant government. The rebellion was crushed, and Matija Gubec – its proclaimed leader – was brutally executed on St. Mark’s Square in Zagreb, gaining the status of a peasant martyr. The generational legacy of the spark of rebellion is palpable in times of sharp power imbalances, but especially in the context of neoliberal capitalism, where each individual seemingly has the possibility of attaining high status. Risk has become part of this everyday life – with acceleration and technological dependence, every decision is a calculation of stakes and gains, and every decision turns into a game. Therefore, the potential for rebellion is being suffocated by the minute. EMPIRE is a reminder of a collective identity and heritage from which we cannot hide. Surprisingly – in its form, it resembles a home, its ornaments invoking the past, but at the same time something ominous and threatening.
NINA KURTELA
‘JAGODINA SOBA I VJEŽBA NO.12 –
OTVORENI ATELJE’
Skulptura, instalacija i diskurzivni program, 2025.
Akademija likovnih umjetnosti (dvorište), Ilica 85
U sklopu 60. Zagrebačkog salona, Jagodina soba Nine Kurtele program Vježba sele se u javni prostor – dvorište Akademije likovnih umjetnosti – kako bi aktivirali prostor zajedničkog istraživanja, razmjene i zamišljanja.
Jagodina soba – metalna skulptura autorice Nine Kurtele – otvara se kao prostor prisjećanja, otpora i nježnosti. U prirodnoj veličini iscrtava obrise ateljea Jagode Kaloper, danas prostora djelovanja Nine Kurtele. Premještanjem iz privatnog u javni prostor Zagreba, rad otvara pitanja ženskog umjetničkog nasljeđa, memorije i (ne)vidljivosti. On pruža otpor politikama zaborava uvjetovanima rodnim i institucionalnim režimima moći, istovremeno razotkrivajući i demistificirajući umjetničke procese koji često ostaju skriveni.
Program Vježba, koji se inače kontinuirano održava u samom ateljeu, povodom Zagrebačkog salona seli se u prostor Jagodine sobe. Soba bez zidova pritom postaje poligon za zamišljanje novih mogućnosti –mjesto susreta između prisutnog i odsutnog, materijalnog i imaginarnog, osobnog zajedničkog.
Vježba No.12 – Otvoreni atelje
Nina Kurtela u suradnji s Ivanom Bojanić, Anom Kreitmeyer, Silvijom Marchig, Nikom Mihaljevićem, Fette Sans, Mariom F. Scaroni i Zrinkom Užbinec
Jedan dan u imaginarnom ateljeu: aktiviranje efemernog kroz susrete tijela, zvukova, mirisa, okusa, predmeta i predviđanja.
Cjelodnevni događaj u parku pretvara Jagodinu sobu u otvoreni atelje – zajednički poligon eksperimentiranja. Prostor postaje mjesto susreta različitih praksi – umjetničkih, istraživačkih, izvedbenih, intuitivnih i ritualnih – koje se odvijaju u fluidnim slojevima, bez linearnog slijeda i strogo strukturiranog formata.
Publika ulazi u proces koji je živ, promjenjiv i nepredvidiv. Sudjelovanje može biti pasivno – odmaranje, ležanje, slušanje – ili aktivno – čitanje, ples, proricanje, kuhanje, razgovor. Otvoreni atelje pritom postaje igriv prostor rizika i neizvjesnih ishoda, prostor nedovršivosti, proročivosti, razosjetilja, nepredviđaja i dogodljivosti.
Sudionici – aktivacije prostora
Zrinka Užbinec — Plesovi za ničije poglede osim za lisicu u bijegu, slušaonica
Fette Sans — Unfit for Life and Performing It, višesatni diskurzivni razgovor
Ivana Bojanić — Hihi Song partitura za glas
Ana Kreitmeyer — Držimo se, zajednička gesta podrške
Maria F. Scaroni — Technodrift, kolektivna techno šetnja
Niko Mihaljević — Sunce koje se sedam puta presavinulo, proba/istraživanje
Silvia Marchig u suradnji
s Pavlom Heidlerom, Sonjom Pregrad i Elli Kurus — To bi mogla biti zajednica, tarot igra.
NINA KURTEL
‘JAGODA'S ROOM AND VJEŽBA NO.12 –OPEN ATELIER’
Sculpture, installation and discursive programme, 2025 Academy Of Fine Arts (yard), Ilica 85
As part of the 60th Zagreb Salon, Nina Kurtela's Jagodina Room and the Vježba (rehearsals) program move to a public space the courtyard of the Academy of Fine Arts – to activate a space for joint research, exchang and imagination.
Jagoda's Room – a metal sculpture by Nina Kurtela – opens as a space of memory, resistance and tenderness. The sculpture mirrors the size of Jagoda Kaloper's studio, which is today a working space used by Nina Kurtela. By moving it from the private to the public space of Zagreb, the work opens up issues of women's artistic heritage, memory and (in) visibility. The work resists the politics of forgetting conditioned by gender and institutional regimes of power, simultaneously exposing and demystifying artistic processes that often remain hidden.
Vježba No. 12, which normally takes place in the studio itself, is being moved to the Jagoda’s Room on the occasion of the Zagreb Salon. A room without
walls becomes a training ground for imagining new possibilitiesa meeting place between the present and the absent, the material and the imaginary, the personal and the common.
Vježba No.12 – Open Atelier
Nina Kurtela in collaboration with Ivana Bojanić, Ana Kreitmeyer, Silvia Marchig, Niko Mihaljević, Fette Sans, Maria F. Scaroni and Zrinka Užbinec.
A day in an imaginary studio: activating the ephemeral through encounters of bodies, sounds, smells, tastes, objects and predictions.
The day-long event in the park transforms Jagoda's Room into an open studio – a shared testing ground. The space becomes a meeting place for different practices – artistic, research, performance, intuitive and ritual – that unfold in fluid layers, without a linear sequence and a strictly structured format. The audience enters into a process that is alive, changeable and unpredictable. Participation can be passive –resting, lying down, listening – or active – reading, dancing, divination, cooking, talking. The open studio becomes a playful space of risk and uncertain outcomes, a space of incompleteness, prophecy, disorientation, unpredictabi-
lity and contingency.
Participants – space activations
Zrinka Užbinec – Dances for No One's Gaze Except for a Fox on the Run, listening Fette Sans – Unfit for Life and Performing It, discursive conversation
Ivana Bojanić – Hihi Song, score for voice
Ana Kreitmeyer – Let's hold on, gesture of support Maria F. Scaroni – Technodrift, collective techno walk
Niko Mihaljević – The Sun Folded Seven Times, rehearsal/research Silvia Marchig in collaboration with Pavle Heidler, Sonja Pregrad, Elli Kurus – It Could Be Community, tarot table.
LUKA MAHMULJIN UDOVČIĆ ‘SVE PAMTIM I NIŠTA NE ZABORAVLJAM (TRIPTIH JEDNE
MLADOSTI I POLUOČAJNI POKUŠAJI PROTUGUBLJENJA RAZUMA)’
Kako osobne priče, sjećanja i osjećaji opstaju unatoč stalnoj transformaciji vremena i prostora?
Mogu li se odvojiti, kao slagalica, i zamijeniti za nešto drugo?
Mogu li prebaciti pričanje s prabakom na prekjučer, umjesto nasumičnog utorka 2010.?
I možemo li pričati o njenom djetinjstvu, negdje na nekakvom partiju, u nekom stranom gradu?
S dvije čaše vina i laganim proljetnim jaknicama? S pogledom na siluete zgrada i izlaskom sunca?
Poriv da se stvori nešto, pa čak i polutrajno, svakim danom je sve veći. Gubim razum između dijelova sebe, stvari, ljudi i okruženja. Gubim razum u krivim sjećanjima i zaboravljenim trenucima.
Fragmentacija vlastitog identiteta svakim danom samo raste i raste.
A ja se pokušavam prilagoditi, opet i opet (i opet). Pokušavam ih složiti jedno na drugo.
Oblici mi padaju na glavu, a ja ih uporno preslagujem, ispunjavam praznine, rotiram i reorganiziram. Nestaju.
Kroz tri različite lokacije (Berlin, Zagreb, Zaton) snimljene u tri filma, istražujem način na koji se vlastita sjećanja i ‘urbana’ stvar-
LUKA MAHMULJIN UDOVČIĆ ‘I REMEMBER EVERYTHING AND FORGET NOTHING (A TRIPTYCH OF A YOUTH AND SEMI-DESPERATE ATTEMPTS OF ANTILOSING REASON)’
How do personal stories, memories, and emotions persist despite the constant transformation of time and space?
Can they be detached, like puzzle pieces, and replaced with something else?
Can I replace talking with my great-grandmother to the day before yesterday, instead of a random Tuesday in 2010?
And can we talk about her childhood, somewhere at some party,
in a foreign city?
With two glasses of wine and light spring jackets? With a view of the city’s skyline and the sunrise?
The urge to create something, even semi-permanent, grows stronger every day. I lose my mind between fragments of myself, objects, people, and surroundings. I lose myself in false memories and forgotten moments.
The fragmentations of my identity keeps growing and multiplying.
And I try to adapt, again and again (and again). I try to layer them, one on top of the other.
Shapes fall onto my head, and I keep rearranging them, rotating and reorganizing. They disappear.
Everything constantly collides.
And I am everywhere at the same time. Trying to hold the fragments of myself together on one surface, before they slip away again.
nost preklapaju i međusobno isprepliću, kako se promjene neizbježno ponavljaju, čineći prošlost uvijek prisutnom u sadašnjosti, koliko god bezazlena ili bolna.
Cikličnost boli, ali k tome zacjeljuje.
Sve se konstantno sudara.
A ja sam svugdje u isto vrijeme. I pokušavam zadržati zagrljajem fragmente sebe na jednoj površini, prije nego što ponovno iskliznu.
Mogu li se sjetiti svoje prave forme i pretočiti žeđ za organiziranim mozgom i stabilnom okolinom u nešto višedimenzionalno i važnije od vlastite, neizdržive žudi za mirnijim postojanjem?
Sve znam, svega se sjećam i nikad ništa ne zaboravljam.
Through three different locations (Berlin, Zagreb, Zaton) captured in three films, I explore the ways in which personal memory and ‘urban’ reality overlap and intertwine, how change inevitably repeats itself, making the past always present in the now, however harmless or painful. The cyclicity hurts, but heals.
Can I remember my true form and transform the need for an organized mind and stable surroundings into something multidimensional, something greater than my own unbearable longing for a quieter existence?
I know everything, I remember everything, and I forget nothing.
IVICA MALČIĆ
‘ČITAJTE MARTEKA’
Akril i kolaž na natronskom papiru na iverici, 2024. ZgForum, Gajeva 27
Slika je počast Vladi Marteku koji je svoje agitacije čitajte pjesnika lijepio po gradu kao što je i Grupa šestorice radove izlagala po ulicama i trgovima. Na slici piše čitajte Marteka sličnim slovima kakva je i on koristio, što je veličanje djela jednog od preostalih i najeksponiranijih autora Grupe šestorice. Naslikan jei Winnetou, junak iz umjetnikova djetinjstva i vremena Grupe šestorice, te je zalijepljena mala matrica slikara s dva kista i simbolom plodnosti koju je umjetnik koristio na slikama kao simbol beskompromisnosti u umjetnosti. Slika je napravljena na recikliranom natronskom papiru za zamatanje, preuzetom s paketa u kojem su umjetniku vraćene slike s jedne izložbe, s ostavljenim adresama i svime što je pisalo, kao što je Martek slikao na natronskom papiru alternativnim podlogama.
IVICA MALČIĆ
‘WANTED’
Akril i kolaž na natronskom papiru na iverici, 2024. ZgForum, Gajeva 27
WANTED je potjernica iz stripova i kaubojskih filmova. Prikazuje dvije glave mladog ovna i ovce, što je umjetnikov simbol za kolekcionare. S puno ironije i samoironije traže se kolekcionari njegovih slika. Potjernica je izrađena na recikliranom papiru za zamatanje paketa, s adresama i svim natpisima. Također je dodana matrica slikara s dva kista i simbolom plodnosti, što predstavlja neizmjernu vjeru u umjetnost.
IVICA MALČIĆ
‘READ MARTEK’
Acrylic and collage on kraft paper mounted on chipboard, 2024
ZgForum, Gajeva 27
The painting is a tribute to Vlado Martek, who used to paste his agitational messages read the poet around the city, just as the Group of Six exhibited their works in streets and squares. The painting says read Martek in letters similar to the ones he used, which celebrating the work of one of the last surviving and most prominent members of the Group of Six. Winnetou, a hero from the artist’s childhood and the era of the Group of Six, is also featured, together with a small stencil of the painter with two brushes and a fertility symbol that the artist
has repeatedly used in his works as a symbol of being uncompromising in creating art. The painting is executed on recycled kraft wrapping paper, taken from a package in which the artist’s paintings had been returned after an exhibition, complete with addresses and markings, echoing Martek’s use of kraft paper and other unconventional surfaces.
IVICA MALČIĆ ‘WANTED’
Acrylic and collage on kraft paper mounted on chipboard, 2024
ZgForum, Gajeva 27
WANTED takes the form of a wanted poster familiar from comic books and Western films. It depicts two heads, that of a young ram and a sheep, the artist’s symbol for collectors. With heavy irony and self-irony, it seeks collectors for his paintings. The poster is made on recycled paper for wrapping packages, with all addresses and inscriptions still visible. A stencil of the painter with two brushes and the fertility symbol is also added, standing for his unwavering faith in art.
REBECCA MERLIĆ
‘GLITCHBODIES
ZAGREB EDITION’
Multimedijska instalacija, 2025. Galerija SKD Prosvjeta, Preradovićeva ul. 21-23
Nova iteracija multiplatformskog projekta u kontinuitetnom razvoju fokusirana je na queer i fluidne identitetske pozicije u Zagrebu. Ova produkcija interaktivnog iskustva spaja digitalne tehnologije, izvedbu i virtualne prostore kako bi istražila pojam predstavljanja tijela i identiteta kroz videoigru i AR (augmented reality).
Kroz seriju intervjua, 3D skeniranja i digitalne obrade, GLITCHBODIES postaje arhiv alternativnih rodnih izraza i osobnih narativa, stvarajući interaktivno iskustvo u kojem igrači ne samo da promatraju, već i sudjeluju u stvaranju kolektivnog queer tijela. Kroz suradnje i rituale, projekt istražuje feminizam, LGBTQ+ teme, drag transformacije i intimne prikaze protagonista, približavajući ih široj publici. Dok se projekt GLITCHBODIES ranije bavio međunarodnim protagonistima, Zagreb Edition donosi novu produkciju fokusiranu na lokalni kontekst, proširujući arhiv kroz nove intervjue, digitalne avatare i interaktivnu instalaciju.
Avatar tako postaje kolektivno i politički nabijen entitet u širem kontekstu videoigri koje, kao dominantni oblik zabave, imaju
ogroman utjecaj na stereotipe. GLITCHBODIES odgovara na društveno-političke čimbenike kroz stvaranje interaktivnog digitalnog prostora – fluidnog putovanja kroz individualne, rodne i stvarne svjetove. Projekt pruža siguran prostor za neheteronormativne identitete, slavi queer pozicije kao politički stav, te kroz ritualiziranu mehaniku igre stvara sigurnost i slavi svoje protagoniste.
Podržano od strane Austrijskog kulturnog foruma Zagreb.
REBECCA MERLIĆ
‘GLITCHBODIES
ZAGREB EDITION’
Multimedia installation, 2025 Gallery SKD Prosvjeta, Preradovićeva ul. 21-23
The new iteration of the continuously evolving multiplatform project GLITCHBODIES focuses on queer and fluid identity positions in Zagreb. This production of an interactive experience merges digital technologies, performance, and virtual spaces to explore the representation of bodies and identities through video games and augmented reality (AR).
Through a series of interviews, 3D scans, and digital processing, GLITCHBODIES becomes an archive of alternative gender expressions and personal narratives, creating an interactive expe-
rience in which players not only observe but also participate in shaping a collective queer body. The project also integrates 3D figurines into the construction of an analogue-digital space, further exploring the interactions between real and digital dimensions.
Through collaborations and rituals, the project explores feminism, LGBTQ+ themes, drag transformations, and intimate portrayals of the protagonists, bringing them closer to a wider audience. While the earlier phases of GLITCHBODIES focused on international protagonists, the Zagreb Edition introduces a new production centred on the local context, expanding the archive with new interviews, digital avatars, and an interactive installation.
The avatar becomes a collective and politically charged entity. GLITCHBODIES responds to socio-political factors by creating an interactive digital space, a fluid journey through individual, gendered, and real worlds. The project offers a safe space for non-heteronormative identities, celebrates queer positions as a political statement, and, through ritualized game mechanics, creates safety while honouring and celebrating its protagonists.
Supported by Österreichisches Kulturforum Zagreb.
NIKO MIHALJEVIĆ
‘ANTI-AMBIJENT CEREMONIJALNIH
CIGARETA’ / IZVEDBA S IVANOM BOJANIĆ
Kapela Sv. Jurja, Jurjevska 34
Napusti zdjelu i kreni prema ptici (vraćam se odmah) naslov je kataloga bezimene izložbe Nike Mihaljevića, postavljene početkom 2024. u Galeriji SC u Zagrebu. Izložba je bila posvećena malo poznatom radu konceptualnog slikara Ivana Žutog, Nestajanje Galerije SC (Sedam sunaca) – hap-
peningu iz 1972. godine, tijekom kojega je zgrada galerije nakratko iščeznula pred očima publike.
Nastao uz uredničku podršku Tee Kantoci, katalog dokumentira izložbeni postav fotografijama Bojana Mrđenovića. Osim toga, sadrži i reprodukciju slike Nestajanje Galerije SC (Sedam sunaca) Ivana Žutog te jedine objavljene kritike njegova rada; snapshot Geneviève Dupont Žuti u Galeriji SC, krokije happeninga Ivana Žutog iz 1972. godine koje je izradila umjetnica Marija Ančić, modni editorijal za francuske derby cipele Jacques
Solovière, te, umjesto pogovora, eksperimentalni tekst u oulipovskoj maniri – abecednu listu svih riječi preuzetih iz likovne kritike povjesničarke umjetnosti Jozefine Ćurković – koji se pretvara u partituru za eksperimentalni muzički komad.
Spomenutu partituru pod naslovom Anti-ambijent ceremonijalnih cigareta (stranice 36–41 kataloga) izvode umjetnica i vokalistica Ivana Bojanić (glas) te Niko Mihaljević (organetto). U eksperimentalnoj izvedbi, koja traje oko četrdeset minuta, Bojanić ispjevava sve riječi s liste, od a do žutoga, koristeći
različite vokalne stilove –od uzvika do suptilnog ornamentiranja. Prati je organetto, portativne orgulje čiji je vrhunac popularnosti bio u 15. stoljeću. Instrument, ugođen u modificiranu Ptolemejevu intenzivnu dijatonsku ljestvicu, proizvodi zvuk koji se kreće od ritmičkih disonantnih klastera do kvaziliturgijskih dronova i apstraktnog cvileža. U ovoj muzičkoj interakciji vokabular dekonstruirane likovne kritike prelazi u apstraktnu domenu osjećajnog – ironijski odmak se rasplinjava, a značenje transcendira.
NIKO MIHALJEVIĆ
‘ANTI-AMBIENCE OF CEREMONIAL CIGARETTES’ / PERFORMANCE WITH IVANA BOJANIĆ
Kapela Sv. Jurja, Jurjevska 34
Leave the Bowl and Head for the Bird (Be Right Back) is the title of the catalogue of the untitled exhibition by Niko Mihaljević, presented in early 2024 at the SC
Gallery in Zagreb. The exhibition was dedicated to the little-known work of conceptual painter Ivan Žuti, The Disappearance of the SC Gallery (Seven Suns) – a 1972 happening, during which the gallery building briefly vanished before the audience’s eyes.
Created with the editorial support of Tea Kantoci, the catalogue documents the exhibition through the photographs by Bojan Mrđenović. In addition, it also includes a reproduction of Žuti’s painting The Disappearance of the SC Gallery (Seven Suns), the only published critique of his work, Geneviève Dupont’s snapshot Žuti at SC Gallery, sketches of Žuti’s happening made in 1972 by the artist Marija Ančić, a fashion editorial for Jacques Solovière French derby shoes, and, instead of an afterword, an experimental oulipian-style text: an alphabetical list of every word taken from art historian Jozefina Ćurković’s critique, which becomes a score for an experimental music piece.
The aforementioned score titled Anti-Ambience of Ceremonial Cigarettes (pages 36–41 of the catalogue), is performed by the artist and vocalist Ivana Bojanić (voice) and Niko Mihaljević (organetto). In the experimental forty-minute performance, Bojanić sings all the words from the list, from a to žuto (yellow), using different vocal styles – from exclamation to subtle ornamentation. She is accompanied by the organetto, a portable organ that reached the peak of its popularity in the 15th century. Tuned to a modified Ptolemaic intense diatonic scale, the instrument produces sounds ranging from rhythmic dissonant clusters to quasi-liturgical drones and abstract squeals. In this musical interplay, the vocabulary of a deconstructed art critique shifts into the abstract realm of the emotional – the ironic detachment dissolves, and meaning transcends.
PAVLE MIJUCA
‘KREATIVNI HUB
KVATRIĆ’
Performans i reklamna kampanja, 2025.
Blok Badel, Ul. Marijana
Derenčina 10
U ovom projektu umjetnik preuzima ulogu fiktivnog kreativnog poduzetnika specijaliziranog za razvoj kreativnih hubova, zauzimajući važnu ulogu u procesima gentrifikacije, prenamjenjujući zapuštene prostore na atraktivnim lokacijama. Jedna od tih lokacija je i Blok Badel u Šubićevoj ulici, koji će fiktivni poduzetnik, po zanimanju likovni umjetnik, predstaviti posjetiteljima kroz ambiciozni projekt obnove. Buduća šik lokacija za kreativce s radionicama i atelijerima bit će prvi projekt takvih gabarita u gradu Zagrebu. Kako bi osigurao simpatije investitora zadovoljio kriterije mainstream praksi, neiskreno apostrofira i afirmira prisutnost ulične umjetnosti, dizajnerskih butika i co-working prostora u sklopu samog kompleksa. Svrha podvrgavanja takvim trendovima jest svojevr-
sna samopromidžba umjetnika kao revolucionarnog i inovativnog poduzetnika. Na umu su mu imidž, reputacija i financijsko blagostanje, a cilj mu je infiltracija u društvo utjecajnih influensera i poduzetnika. Stoga se, uz pomoć rendera, tlocrta i obećavajućih brojki, trudi ostvariti beskrajno entuzijastičan nastup. No, nesiguran u svoju viziju, razvija sindrom uljeza i dovodi priču do apsurda s brojnim kontradikcijama, klimavošću ideja i nepromišljenim iskazima.
PAVLE MIJUCA
‘CREATIVE HUB
KVATRIĆ’
Performance and advertising campaign, 2025 Blok Badel, Ul. Marijana Derenčina 10
In this project, the artist takes on the role of a fictional creative entrepreneur specialising in the development of creative hubs, positioning himself as a key player in processes of gentrification by converting neglected spaces into attractive locations. One such site is the Badel Block
in Šubićeva Street, which the fictional entrepreneur, a visual artist by profession, presents to visitors through an ambitious renovation project. The future chic destination for creatives, with workshops and studios, will be the first project of such scale in the city of Zagreb. In order to win the sympathy of investors and meet mainstream criteria, he disingenuously emphasises and affirms the presence of street art, designer boutiques and co-working spaces within the complex. Submitting to such trends serves as a form of self-promotion, positioning the artist as a revolutionary and innovative entrepreneur. His concerns are image, reputation and financial well-being, and his goal is to infiltrate the circle of influential entrepreneurs and influencers. Armed with renders, floor plans and promising figures, he strives to deliver an endlessly enthusiastic performance. However, unsure of his vision, he develops impostor syndrome and brings the story to the point of absurdity with numerous contradictions, shaky ideas and ill-considered statements.
PETRA MRŠA
‘ I CAN SAVE HER & HEALTH 90’ Video, HD, 20’’, 2024. Oktogon (NMMU), Ilica 5
Video instalacija po prvi put objedinjuje dva rada, dokumentarni film Health 90 i eksperimentalni film I Can Save Her, koji progovaraju o komercijalnim blockbusterskim AAA videoigrama – zbog čega su popularne, što njihova popularnost govori o suvremenom društvu te kako se one utiskuju u identitet i percepciju stvarnosti.
Health 90 okuplja šest gejmera i gejmerica koji se upoznaju unutar sandbox videoigre Garry’s Mod. U tom virtualnom prostoru imaju potpunu slobodu oblikovanja vlastitog svijeta. Tijekom igre raspravljaju o videoigrama kao mediju, i to iz različitih aspekata – govore o njihovim proizvođačima, zaradi, čarima, zamkama i popularnosti. Razgovor se potom nastavlja u fizičkom prostoru, u laboratoriju za materijale. Zakoračivši od ekrana ispred kamere, protagonisti i protagonistkinje govore o vlastitom iskustvu uranjanja u videoigre te o njihovom utjecaju na intimu i doživljaje u stvarnom svijetu.
I Can Save Her kroz filmski medij raščlanjuje spektakularni avantu-
ristički narativ popularne videoigre The Last of Us. Usporavanjem akcije, uklanjanjem saturiranih boja dramatičnog soundtracka, film propituje utjecaj virtualnih doživljaja na tijelo, strasti i motivaciju. Glas naratora preuzima ulogu vođe misije, zadajući zadatke protagonistu. Tijelo protagonista – koža, vene i vrat – stapaju se s trodimenzionalnim planinskim brazdama. Film istražuje kako videoigre posreduju emocije i utječu na tijelo igrača, otvarajući prostor za refleksiju o (re)afirmiranju muževnosti i emocionalne angažiranosti u virtualnim iskustvima.
PETRA MRŠA
‘I CAN SAVE HER & HEALTH 90’ Video, HD, 20’’, 2024 Oktogon (NMMU), Ilica 5
This video installation brings together two works for the first time: the documentary film Health 90 and the experimental film I Can Save Her, both of which address commercial blockbuster AAA video games – exploring why they are popular, what their popularity reveals about contemporary society, and how they embed themselves in identity and perception of reality.
Health 90 brings together six gamers who meet within the sand-
box video game Garry’s Mod. In this virtual space, they have complete freedom to shape their own world. During gameplay, they discuss video games as a medium from various perspectives–talking about their developers, profits, attractions, pitfalls, and popularity. The conversation then continues in physical space, in a materials laboratory. Stepping away from the screen and in front of the camera, the protagonists speak about their own experiences of immersing themselves in video games and their influence on intimacy and experiences in the real world.
I Can Save Her uses the cinematic medium to dissect the spectacular adventure narrative of the popular video game The Last of Us. By slowing down the action, removing saturated colours and dramatic soundtrack, the film questions the impact of virtual experiences on the body, passion, and motivation.The narrator’s voice takes on the role of mission leader, assigning tasks to the protagonist. The protagonist’s body – skin, veins, and neck – merge with three-dimensional mountain ridges. The film explores how video games mediate emotions and affect the player’s body, opening space for reflection on the (re)affirmation of masculinity and emotional engagement in virtual experiences.
Prije iznad nas je filmska rekonstrukcija različitih ratova sukoba koji su iznova interpretirani u virtualnom prostoru. Polazeći od povijesnih zvučnih zapisa pronađenih u dostupnim javnim i vojnim arhivima, filmske sekvence rekonstruirane su unutar računalno generiranih okruženja, tako da se stvarni događaji i digitalna arhitektura stapaju u slikovne kompozicije. Zvuk letjelica probija se kroz vjetar i mijenja se neprestano pod pritiskom strepnje bez jasnog izvora – čuje se klepetanje helikoptera, izvrnute interpretacije folklorne glazbe, glasovi vojnika i probijanje zvučnog zida, s leptirima kao uznemirujućim moderatorima slike. Sve što nam
je zapelo za uho nije u skladu sa stvarima koje vidimo. Poredak stvarnosti i memorija neprestano se mijenjaju, u perspektivama s mnogostrukim točkama izvorišta. Spektralni i krhki u svojoj banalnosti, invazija leptira u rojevima ipak je uporna. Lebdeći nad trenucima između čuđenja i straha, činjenice se gube u apstraktnom polju, glasno odjekujući u kolektiv.
MARIO MU
‘BEFORE AND ABOVE US’
Video, HD, 04’ 32’’, 2024 Oktogon (NMMU), Ilica 5
Before and Above
Us is a cinematic reconstruction of different wars and conflicts, reinterpreted within virtual space. Drawing on historical sound recordings found in public and military archives, the film sequences are
recreated within computer-generated environments, blending real events with digital architecture into pictorial compositions. The sound of aircraft cuts through the wind, constantly shifting under an untraceable pressure of anxiety; the clatter of helicopters, distorted interpretations of folk music, soldiers’ voices, and the breaking of the sound barrier all emerge, with butterflies acting as unsettling moderators of the imagery. What we hear rarely matches what we see. The order of reality and memory continuously shifts across perspectives with multiple points of origin. Spectral and fragile in their apparent banality, the invasion of butterflies in swarms is relentless. Hovering between moments of wonder and dread, facts dissolve into an abstract field, resonating loudly within collective recollection.
GRAND PRIX 60. ZAGREBAČKOG
SALONA VIZUALNIH UMJETNOSTI
NAGRADA HS AICA
NAGRADA KONTRAPUNKT VLADIMIR
DODIG TROKUT, IVA VRANEKOVIĆ –
UMJETNICI UMJETNIKU
GRAND PRIX - THE 60TH ZAGREB
SALON OF VISUAL ARTS
THE AWARD HS AICA
THE KONTRAPUNKT VLADIMIR DODIG TROKUT, IVA VRANEKOVIĆ – ARTISTS
TO AN ARTIST AWARD
VLADIMIR NOVAK
‘DAN ZA DAN’ Zvučno-svjetlosna instalacija, 2023./2024.
Tvornica električnih žarulja (TEŽ)
Dan za dan istražuje međuodnose prirodnih i urbanih ritmova, njihovu transformaciju i društvenoekološki odjek. Polazište rada je ideja vremenskog produljenja dnevnog svjetla na cjelodnevni, 24-satni ciklus, u kojem zvuk postaje posrednik svjetlosti, a svjetlost produžetak zvuka. Novak stvara novi perceptivni horizont koji dovodi u pitanje granice dana i noći.
Mikrofoni postavljeni na tri lokacije (Meštrovićev paviljon, Muzej suvremene umjetnosti, Društvo arhitekata Zagreb) bilježe grad kao organizam: od jutarnjih zastoja do naglih ubrzanja, od ritmičnog pulsiranja tram-
vaja do fragmentiranih šumova automobila i prolaznika. Zvuk pritom postaje ontološki medij svjetlosti: kroz dan snimljeni auditivni podaci se po zalasku Sunca algoritmom mikroračunala transformiraju u fotonske impulse – svjetlosne modulacije koje reflektiraju strukturu dnevne dinamike. Svjetlost se tako pojavljuje kao preslika dnevne gradske buke – njezina sublimirana verzija koja noću tvori novu, kontemplativnu mapu grada oživljavajući zaboravljeni arhitektonski dragulj, svojevrsni gradski svjetionik – ugasli stakleni neboder za testiranje žarulja Tvornice električnih žarulja TEŽ.
Svjetlosne modulacije ne reproduciraju izravno zvučne zapise, već ih transponiraju u apstraktne intenzitete – svojevrsne svjetlosne partititure koje se kroz noć produžuju ili skraćuju, ovi-
sno o dobu godine i promjenjivom odnosu trajanja dana i noći. Time se stvara liminalni prostor u kojem se brišu granice između prirodnog ritma i tehnološki inducirane vremenske dimenzije.
Paradoks instalacije ogleda se u njezinoj diskretnoj pojavnosti: sofisticirana tehnička infrastruktura ostaje nevidljiva, dok promatrač nailazi tek na suptilne fluktuacije svjetla koje se mogu doimati slučajnima ili pogrešnima. Upravo u toj ambivalentnosti između kvara i umjetničkog čina otvara se prostor refleksije: što uopće čini umjetnost prepoznatljivom u svakodnevici i gdje se povlači granica između estetskog iskustva i banalnog događaja?
Produkcija u suradnji s Miodragom Gladovićem.
VLADIMIR NOVAK
‘DAN ZA DAN’
Sound-light installation, 2023/2024
Light Bulb Factory (Tež), Folnegovićeva 10
Day for a Day explores the interrelations of natural and urban rhythms, their transformations, and socio-ecological resonance. The starting point of the work is the idea of extending daylight into a full, 24-hour cycle, where sound becomes a mediator of light and light an extension of sound. Novak creates a new perceptual horizon that questions the boundaries between day and night.
Microphones placed on three locations (Meštrović Pavillion, Museum of Contemporary Art, DAZ) and record the city as an organism: from morning congestions to sudden accelerations, from the rhythmic pulsation of trams to the fragmented noises of cars and passers-by. Sound thus becomes an ontological medium of light: the auditory data recorded thro-
ughout the day is transformed by a microcomputer algorithm into photonic impulses – light modulations that mirror the structure of daily dynamics after sunset. Light thus appears as a reflection of the daytime city noise – its sublimated version that at night creates a new, contemplative map of the city, reviving a forgotten architectural gem, a kind of city lighthouse – TEŽ Electric Light Bulb Factory, the defunct glass skyscraper for testing light bulbs.
The light modulations do not directly reproduce the sound recordings, but rather transpose them into abstract intensities –a kind of light score that lenghtens or shortens throughout the night, depending on the season and the changing ratio of day to night. This creates a liminal space in which the boundaries between natural rhythm and technologically induced temporal dimension are erased.
The paradox of the installation is reflected in its discreet appea-
rance: the sophisticated technical infrastructure remains invisible, while the observer encounters only subtle fluctuations of light that may seem random or erroneous. It is precisely in this ambivalence between malfunction and artistic act that a space for reflection opens: what makes art recognisable in everyday life and where do we draw the line between aesthetic experience and a banal event?
Production in collaboration with Miodrag Gladović.
NAGRADA KONTRAPUNKT VLADIMIR DODIG TROKUT, IVA VRANEKOVIĆ –UMJETNICI UMJETNIKU
THE KONTRAPUNKT VLADIMIR DODIG TROKUT, IVA VRANEKOVIĆ – ARTISTS TO AN ARTIST AWARD
Instalacija istražuje robotizaciju kućnih ljubimaca i transformaciju životinjskih uloga u suvremenom društvu. Serija hibridnih 3D skulptura spaja estetiku igračaka, robotskog dizajna i distopijskih vizija pasa. Rad propituje pojmove ljupkosti, korisnosti i kontrole: od pasa čuvara, preko medijskih i video zvijezda, do kućanskih aparata poput usisavača.
Središnje pitanje koje se otvara jest zašto su sintetički organizmi rijetko oblikovani s femininim estetskim elementima. Polazeći od istraživanja suvremenih robotskih tvrtki poput tvrtke Boston Dynamics, projekt kroz prizmu spekulativne fikcije i kulturnog imaginarija gradi alternativne narative
o budućnosti suživota ljudi tehnologije. Skulpture su realizirane kombinacijom digitalnog modeliranja, 3D printa i ručnog oslikavanja. Funkcioniraju kao relikvije budućih kućnih ljubimaca – istodobno privlačne i uznemirujuće. Projekt postavlja pitanje: što gubimo, a što stječemo kada ljubav i društvo živih bića zamijenimo njihovim mehaničkim imitacijama?
Rad je na izložbi predstavljen uz potporu tvrtke cargo-partner.
Do Humans Dream of Electric Dogs? explores the robotisation of pets and the transformation of animal roles in contemporary society. This series of hybrid 3D sculptures merges toy aesthetics, robotic design, and dystopian visions of dogs. The work
questions notions of cuteness, utility, and control: from guard dogs to media stars and household appliances like vacuum cleaners.
At its core lies the question of why synthetic organisms are so rarely imagined with feminine aesthetic elements. Drawing on research into robotics companies such as Boston Dynamics, the project reframes their work through speculative fiction and cultural imaginaries, offering alternative narratives about the future coexistence of humans and technology. Created through digital modelling, 3D printing, and hand-painting, the sculptures function as relics of future pets – simultaneously attractive and unsettling. The project asks what is lost and what is gained when the love and companionship of animals are replaced by their mechanical imitations.
The work is exhibited with the support of cargo-partner.
Creation of Worlds is a publication presenting the results of collaborative artistic research conducted within the Planet School educational programme, developed in collaboration between the fashion brand Planet and Garaža Kamba, as well as the End of the World workshop created in partnership with students from the School of Applied Arts and Design (ŠPUD) in Zagreb. The project explores the concept of the end of the world as the beginning of a new one, questioning the end not as an ending, but as a space for change, transformation, beginning and creation.
The publication brings together documentation from the workshops and works by ŠPUD students, Academy of Fine Arts
students, and Design Studies students within the Planet School workshop, created between March and July 2025.
The works were developed through workshops that encouraged reflection on social crises, personal experiences, and the potential of artistic expression in moments of uncertainty. Using media such as typography, text, photography, fashion, and screen printing, participants explored ideas of the end of the world and creation of worlds in parallel, as personal and collective turning points and moments of change.
The following students participated in the Planet Creation of Worlds project:
Ema Car, Hana Tomić, Nika Kluković, Noa Jozić, Eva Bakula, Glorija Makar, Barbara Cvitan, Dan Hitrec, Ćelepirović Zvonko, Rebselj Vihor Peleski, Luna Mišćević, Ema Cubela, Gabrijela Horvat, Dora Knežević, Mia Ribić, Paula Turčić,
Planet is a fashion brand with a showroom and screen printing workshop, located in the courtyard of Ilica 37 in Zagreb. Beyond functioning as a brand, Planet operates as an independent artistic space and production platform.
Stvaranje svjetova je publikacija koja donosi rezultate kolaborativnog umjetničkog istraživanja provedenog u sklopu edukativnog programa Planet School nastalog u suradnji modnog brenda Planet i Garaže Kamba, te radionice Smak svijeta nastale u suradnji s učenicima Škole primijenjene umjetnosti dizajna (ŠPUD) u Zagrebu.
Projekt istražuje pojam smaka
svijeta kao početka novog, propitujući kraj ne kao završetak, već
kao prostor za promjenu, transformaciju, početak i stvaranje.
Publikacija okuplja dokumentaciju radionica i radove učenika ŠPUD-a, studenata Akademije likovnih umjetnosti i Studija dizajna u sklopu radionice Planet School, nastale u razdoblju od ožujka do srpnja 2025. godine. Radovi su razvijeni kroz radionice koje su poticale promišljanje o društvenim krizama, osobnim iskustvima i potencijalu umjetničkog izraza u trenucima nesigurnosti.
Koristeći medije poput tipografije, teksta, fotografije, mode, sitotiska, sudionici su paralelno istraživali ideje smaka svijeta i stvaranja svjetova kao osobne i kolektivne točke preokreta i promjene.
U projektu Planet Stvaranje svjetova sudjelovali su učenici i studenti:
Ema Car, Hana Tomić, Nika Kluković, Noa Jozić, Eva Bakula, Glorija Makar, Barbara Cvitan, Dan Hitrec, Ćelepirović Zvonko, Rebselj Vihor Peleski, Luna Mišćević, Ema Cubela, Gabrijela Horvat, Dora Knežević, Mia Ribić, Paula Turčić, Lara Rušec, Georgia Lucas, Rea Livaković, Marko Drmać, Sunčica Lovrić, Victoria Bacul.
Planet je modni brend sa showroomom i radionicom za sitotisak, smješten u dvorištu Ilice 37 u Zagrebu. Osim kao brand, Planet funkcionira kao nezavisni umjetnički prostor i produkcijska platforma.
Lara Rušec, Georgia Lucas, Rea Livaković, Marko Drmać, Sunčica Lovrić, Victoria Bacul.
KARLO ŠTEFANEK
‘IN TRANSIT, SERIJAL SELF-TITLED (2022.–)’ Intervencija u javnom prometu, 2025.
U radu In transit, Štefanek preuzima informativne obavijesti zagrebačkih tramvaja i pretvara to u prostor jezične dislokacije.
Umjesto standardiziranih poruka koje reguliraju kretanje putnika, na ekrane ulaze fragmenti teksta koji ne proizlaze iz neposredne stvarnosti vožnje, nego nastanjuju druge stvarnosti: biografske zapise, povijesne knjige, fikcijske romane, pop-kulturu, internetske memove i citate iz glazbenih tekstova. Štefanekov postupak nije jednostavno preuzimanje, nego i prilagodba, montaža i reartikulacija — stvaranje hibridnog jezičnog registra u kojemu se prepliću dokument i (auto)fikcija, humor i patos, trivijalno uzvišeno. Time nastaje vrsta apsurdne obavijesti koja od putnika zahtijeva preusmjeravanje pažnje i izmak iz očekivanog okvira javnog jezika. Tramvaj kao prostor svakodnevice u kojem su tijela stalno u tranzitu tako postaje pozornica za ovu jezičnu intervenciju. Takav susret otvara prostor za mikroporemećaj u percepciji — sitnu neravnotežu koja podsjeća da je svaka obavijest proizvod diskursa, a da su naše svakodnevne stvarnosti stalno protkane tuđim glasovima. U vremenu u kojem su javni prostori zasićeni reklamama, obavijestima i informacijama, Štefanekova intervencija vraća jezik u njegovu nefunkcionalnu, nepredvidivu i poetičnu dimenziju. Ona ne nudi upute, nego propituje samu logiku –ulazak nepoznatog u polje poznatog, fikcije u prostor rutine,
apsurda u koreografiju kretanja.
Hold your breath. This ride is already contaminated.
Medij prijenosa umjetničkog rada ključan je za njegovu realizaciju brišući ionako labave granice između umjetničke produkcije i svakodnevnog života. Rad je obustavljen prvog dana prikazivanja zbog snažnih reakcija na društvenim mrežama. Obustavljanje rada neodvojivo je od stvarnosti svakodnevnice - reducirana, izravnana komunikacija u javnom prostoru, informacije koje tek upućuju ili prodaju, kao i ksenofobija koja je popratila reakcije, a koja snažno prisutna u našim prostorima, javnim i privatnim, fizičkim i online.
KARLO ŠTEFANEK
‘IN TRANSIT, SELFTITLED SERIES (2022-)’ Intervention in public transport, 2025
In In Transit, Štefanek appropriates the announcements from Zagreb trams and turns them into a space of linguistic dislocation. Instead of standardised messages regulating passenger movement, the screens display textual fragments that do not stem from the immediate reality of the ride, but inhabit other realities: autobiographical notes, history books, fictional novels, pop culture, internet memes and song lyrics. Štefanek’s approach is not simply one of appropriation, but of adaptation, montage and rearticulation — the creation of a hybrid linguistic register in which document and (auto)fiction, humour and pathos, the trivial and the sublime, intertwine. This creates
a kind of absurd announcement that requires passengers to redirect their attention and deviate from the expected framework of public language. The tram, as a space of everyday life in which bodies are constantly in transit, thus becomes the stage for this linguistic intervention. Such an encounter opens up space for a micro-disruption in perception — subtle imbalance that reminds us that every announcement is a product of discourse, and that our everyday realities are constantly interwoven with the voices of others. At a time when public space is saturated with advertisements, announcements and information, Štefanek's intervention restores language to its non-functional, unpredictable and poetic dimension. It does not provide instructions, but questions the logic itself – the entry of the unknown into the field of the known, fiction into the space of routine, absurdity into the choreography of movement.
Hold your breath. This ride is already contaminated.
The medium of transmission of the artwork is crucial for its realization, blurring the already loose boundaries between artistic production and everyday life. The work was suspended on the first day due to strong reactions on social media. The suspension of the work is inseparable from the reality of everyday life - reduced, flattened communication in public space, information that only directs or sells, as well as the xenophobia that accompanied the reactions, which is strongly present in our spaces, public and private, physical and online.
KARLO ŠTEFANEK
‘AAAAEEEEIIII
OOOOUUUU, SERIJAL SELFTITLED (2022.–)’
Performans, 2025. HRT 3
Polazeći od pet samoglasnika, elementarnih glasovnih jedinica koje oblikuju ritam govora, te od geste bojanja preko kamere, performans uspostavlja dvostruku dinamiku nastajanja i nestajanja. Glas ogoljuje riječ na njenu vokalnu srž, dok boja briše sliku, ali istodobno stvara novu. Uvođenjem postupka bojanja preko objektiva kamere Štefanek priziva tradiciju slikarstva, no slika koja se ovdje stvara nikada ne postoji sama po sebi, već samo u svom posredovanju prema publici. U izvedbi postoji i jasna dimenzija voajerizma: umjetnik izlaže svoj glas tijelo pogledu kamere, ali taj pogled nikada ne može biti uzvraćen. Publika promatra kroz posredničko oko objektiva, svjesna da sudjeluje u jednosmjernom odnosu. Štefanek ovaj pogled u svojoj praksi koristi kao sredstvo moći, ali i instrument nasilja, a ovdje je on posredovan tehnologijom koja dodatno pojačava ovu neuravnoteženu dinamiku. U kontekstu suvremenih društvenih mreža i live streaminga, ovaj se čin može čitati kao komentar na suvremenu kulturu u kojoj subjekt uvijek ostaje promatran, a rijetko viđen. U vremenu u kojemu smo zasićeni slikama i informacijama, često onima udaljenima tisućama kilometara, ovaj rad nas vraća na samo dvije osnovne osjetilne jedinice percepcije te tako uspostavlja kontrapunkt hiper-realnosti i neprekidnog toka podataka. Auditivan komponent rada — glas — premda elementaran, nije neutralan. Varijacije intenziteta, trajanja i ritma otkrivaju emocionalni naboj, dok samoglasnici, lišeni suglasničkog okvira, postaju polifoni registar osjećaja. U svojoj naizgled jednostavnoj strukturi oni prizivaju tijelo, disanje, emotivnu prisutnost. Glas se ovdje ponaša kao svojevrsno slikarsko sredstvo – zvučna boja kojom se portret nadograđuje. Rezul-
tat je rad koji se može čitati i kao meditacija o početku – o onome što prethodi riječi i slici – i kao komentar na kraj, na njihovo brisanje i nestajanje. AaaaEeeeIiiiOoooUuuu time funkcionira kao istodobno minimalistički i eruptivan čin, koji nudi povratak elementarnom i stvara prostor za predah.
KARLO ŠTEFANEK ‘AAAEEEEIIII OOOOUUUU, SELF-TITLED SERIES (2022.–)’
Performance, 2025 HRT 3
Starting from the five vowels, elementary vocal units that shape the rhythm of speech, and from the gesture of painting over the camera, the performance establishes a dual dynamic of emergence and disappearance. The voice reduces the word to its vocal core, while paint erases the image, but at the same time creates a new one. By introducing the gesture of painting over the camera lens, Štefanek evokes the tradition of painting, but the image that is created here never exists by itself, but only through its mediation to the audience. The performance also carries a clear voyeuristic dimension: the artist exposes his voice and body to the camera's gaze, but this gaze can never be reciprocated. The audience observes through the mediating eye of the lens, aware that they are participating in a one-sided relationship. In his practice, Štefanek uses this gaze as a means of power, but also as an instrument of violence, and here it is mediated by technology that further intensifies this unbalanced dynamic.
In the context of contemporary social media and live streaming, this act can be read as a commentary on contemporary culture in which the subject always remains observed but rarely seen.
In a time in which we are saturated with images and information, often from thousands of kilometres away, this work brings us back to only two elementary perceptual units and thus establis-
hes a counterpoint to hyperreality and the endless flow of data. The auditory component of the work — the voice — although elementary, is not neutral. Variations in intensity, duration and rhythm reveal an emotional charge, while vowels, stripped of consonantal frameworks, become a polyphonic register of feelings. In their seemingly simple structure, they invoke the body, breathing, emotional presence. Here, the voice acts as a kind of painting tool –a sound colour with which the portrait is upgraded. The result is a work that can be read both as a meditation on the beginning – on what precedes words and images – and as a commentary on the end, on their erasure and disappearance. AaaaEeeeIiiiOoooUuuu thus functions as both minimalist and eruptive act, which offers a return to the elementary and creates space for respite.
GRUPA 10 AUTORA
‘MOBILNI ATELJE’
Prostorna instalacija, 2025
Tržnica Dolac 9
Rad istražuje i povezuje dvije teme: nedostatak radnih prostora za slobodne umjetnike te fenomen zapuštenih gradskih prostora.
Umjetnički rad Ane Kovačić Dom u de/konstrukciji poslužio je kao polazište radnoj grupi od deset autora za promišljanje koncepta
Mobilnog atelijera za umjetnike nomade. Umjetnički atelje tretiran je poput proširenja umjetnikova/ umjetničina unutarnjeg svijeta, kontemplativnog prostora razmišljanja ključnog za nastanak umjetničkog djela.
Mobilni atelje smješten je u aktualni prostorno-vremenski kontekst grada Zagreba — konkretno, u napušten prostor gradskog lokala koji se promatra kao ekstenzija javnog prostora. Pneumatska instalacija subverzivno nastanjuje taj prostor, omeđujući ga tek translucentnom folijom milimetarske debljine. Novonastala kupola postaje kontemplativni prostor umjetničkog rada, ali mjesto susreta te razmjene mišljenja o važnosti radnog prostora u produkciji umjetničkog djela. U Mobilnom ateljeu održavan je nedjeljni diskurzivni
program za vrijeme trajanja 60. Zagrebačkog salona, a svaki od njih proizlazi iz jednog od tri umjetnička rada Ane Kovačić: Marenda, Gdje je dom i Draga. Tri nedjelje otvorile su atelje za kolektivnu akciju upoznavanja kroz pripremu jela od namirnica dostupnih na samoj tržnici, otvorenu raspravu o političkim, društvenim i ekonomskim pitanjima koja oblikuju svakodnevicu umjetnika, s posebnim naglaskom na dostupnost i (ne) posjedovanje radnih prostora kao i za slobodne forme prezentacije na temu utjecaja prostora u produkciji umjetničkog djela.
GRUPA 10 AUTORA
‘MOBILE ATELIER’
Spatial installation, 2025
Tržnica Dolac 9
The work explores and connects two themes: the lack of studio space for freelance artists and the phenomenon of derelict urban spaces. Ana Kovačić's artwork Home in De/Construction served as a starting point for a working group of ten artists in developing the concept of a Mobile Atelier for nomadic artists. The artist's studio is treated as an extension of the artist's inner world, a contemplative space of reflection crucial to the creation of a work of art.
The Mobile Atelier is situated within the present spatial and temporal context of the city of Zagreb — specifically, in an abandoned municipal establishment that is viewed as an extension of public space. The pneumatic installation subversively inhabits that space, delimiting it only with a millimetre-thick translucent film. The newly created dome becomes a contemplative space for artistic work, but also a place for encounters and the exchange of views about the importance of studio space in the production of art.
The Mobile Atelier hosted a weekly discursive program during the 60th Zagreb Salon, each of which stems from one of three artworks by Ana Kovačić: Marenda, Gdje je dom and Draga. Three Sundays introduced events of collective action of getting to know each other through the preparation of dishes from ingredients available at the market itself, an open discussion on political, social and economic issues that shape the everyday lives of artists, with a special emphasis on the availability and (non)ownership of workspaces, as well as freeform presentations on the influence of space in the production of artworks.
LEA VIDAKOVIĆ
‘PODRHTAVANJA’
Video instalacija (video projekcija i 3 minijaturne diorame), 2023. Oktogon (NMMU), Ilica 5
Podrhtavanja pozivaju na senzorno i mentalno propitivanje doma — ne kao nepromjenjive konstante, već kao krhke i nesigurne konstrukcije. Kamera šeta kroz minijaturni dom čija idilična atmosfera skriva razlomljene zidove, srušene fasade i nelogične fragmente pri čemu vizualna distorzija naglašava prolaznost i iluzornost doma kao trajnog skloništa.
Tri diorame minijaturnog interijera postaju taktilne i interaktivne komponente – posjetitelji su pozvani da diraju, premještaju i intuitivno istražuju strukture koje su namjerno osjetljive, nestabilne i prepoznatljive. Strukture koje
smatramo sigurnima su propadljive, izložene nepredvidivim utjecajima: političkim, vremenskim ili čak tektonskim.
Fragilnost minijaturnih scena izlaže se krhkosti kolektivnih i osobnih utočišta, dok interakcija s modelima otvara prostor za novu vrstu igre, razumijevanja i refleksije o prirodi sigurnosti.
LEA VIDAKOVIĆ
‘TREMORS’
Video installation (video projection and 3 miniaturedioramas), 2023 Oktogon (NMMU), Ilica 5
Tremors invites sensory and mental questioning of home — not as an immutable constant, but as a fragile and uncertain construction. The camera wanders through a miniature home whose idyllic atmosphere con-
ceals fractured walls, collapsed façades, and illogical fragments, while visual distortion emphasises the transience and illusion of home as a permanent shelter.
Three dioramas of miniature interiors become tactile and interactive components – visitors are invited to touch, move, and intuitively explore structures that are intentionally delicate, unstable, and recognisable. Structures we perceive as safe are perishable, exposed to unpredictable influences: political, climatic, or even tectonic.
The fragility of miniature scenes exposes the fragility of collective and personal refuges, while interaction with the models opens up space for a new kind of play, understanding, and reflection on the nature of safety.
Metaodgovor je digitalna izreka/ orakul izgrađen od nekoliko tisuća kratkih videozapisa, od kojih svaki sadrži jednu rečenicu. Kada posjetitelj postavi pitanje, arhiv oživljava, ispreplićući fragmente jezika i slike u nove konstelacije. Svaki je odgovor probabilistički, nikada se ne ponavlja uvijek postaje nešto drugo. Dok opći AI sustavi nude apstraktne ili univerzalne odgovore, Metaodgovor crpi iz vlastitog pažljivo snimljenog korpusa — osobnog, smještenog i specifičnog — a pritom zadržava fleksibilnost i fluidnost velikih jezičnih modela. Ono što se pojavljuje nije fiksan odgovor, nego prolazna vizija — koreografija sjećanja, slučajnosti i upita. Prošlost i sadašnjost spajaju se dok se snimljeni fragmenti susreću s neposrednošću posjetiteljeva pitanja, proizvodeći živi performans koji odolijeva ponavljanju. Značenje ostaje privremeno, otvoreno i podložno
interpretaciji. Metaodgovor se smješta između tehnologije i mita, između strojne rekombinacije i ljudske čežnje za proročanstvom.
Poput drevnih orakula, govori u fragmentima, ne nudeći rješenja nego mogućnosti, drugačije obzore. Na taj način djelo transformira arhiv u iskustvo, statičan zapis u promjenjivo polje vizija.
Popis suradnika: Julian Besems, Sanja Cvetnić, Mladen Donadini, John East Thomas, Miro Roman, Ivan Slipčević.
MetaAnswer is a digital saying/ oracle built from several thousand short videos, each containing a single sentence. When a visitor poses a question, the archive comes alive, weaving fragments of language and image into new constellations. Each response is probabilistic, never repeating, always becoming something else. While general AI systems
deliver abstract or universal replies, MetaAnswer draws from its own carefully recorded corpus — personal, situated, and specific — while retaining the flexibility and fluidity of large language models. What emerges is not a fixed answer but a fleeting vision — a choreography of memory, chance, and inquiry. Past and present converge as the recorded fragments meet the immediacy of the visitor’s question, producing a living performance that resists repetition. Meaning remains provisional, open, and interpretive. MetaAnswer situates itself between technology and myth, between machinic recombination and human longing for prophecy. Like ancient oracles, it speaks in fragments, offering not solutions but possibilities, different horizons. In this way, the work transforms an archive into an experience, a static record into a shifting field of visions.
List of collaborators: Julian Besems, Sanja Cvetnić, Mladen Donadini, John East Thomas, Miro Roman, Ivan Slipčević.
NORA TURATO
Aaaaaaaaaaaaaaa!!!
Site-specific instalacija, 10/2025 - 1/2026
Meštrovićev paviljon, Trg žrtava fašizma 16
Site-specific intervencija Nore Turato na pročelju Meštrovićevog paviljona, ujedno i najveće djelo umjetnice realizirano u javnom prostoru u Europi, predstavlja snažan i dosljedan odgovor na središnju temu 60. zagrebačkog salona vizualnih umjetnosti te monumentalnu završnicu umjetničine serije pool7, koja je započela prije godinu dana istoimenim muralom u Kunsthalle Wien u Beču te izložbom I Hear You, I Hear You u Stedelijk muzeju u Amsterdamu. Serija je fokusirana na tjelesne oblike izražavanja: glas, geste i neverbalnu komunikaciju koja nadilazi jezik.
Na obodu Meštrovićevog paviljona, koji je zatvoren zbog obnove od 2025. – 2026., Turato ispisuje sirovi vokalni izraz Aaaaaaaaaaaaaaa!!!, a instalaciju prati audio snimka koja će se moći čuti jednom dnevno, točno u podne. Naslovni izraz univerzalan je i iskonski, te priziva početke jezika, ali i refleksnu ljudsku reakciju. Instalacija se prostorno nadovezuje na kružnu arhitekturu paviljona, otvarajući niz različitih vizualnih i auditivnih doživljaja. Zvuk se aktivira periodički, nalik ritualu, čineći glas prisutnim u prostoru. Ovom gestom Turato simbolički pozicionira budući obnovljeni umjetničko-izložbeni prostor HDLU-a kao mjesto igre, rizika i otvorenosti, pritom aktivno uključujući i posjetitelje i slučajne prolaznike.
NORA TURATO
Aaaaaaaaaaaaaaa!!!
Site-specific intervention, 10/2025 - 1/2026
Meštrović pavillion, Trg žrtava fašizma 16
A site-specific intervention by Nora Turato on the façade of the Meštrović Pavilion, also the artist’s largest work realised in Europe, represents a strong and consistent response to the central theme of the 60th Zagreb Salon of Visual Arts and a monumental finale of the artist’s pool7 series which has begun a year ago with a mural of the same name at Kunsthalle Wien in Vienna and the exhibition I Hear You, I Hear You at the Stedelijk Museum in Amsterdam. The series focuses on physical forms of expression: voice, gestures, and non-verbal communication that transcends language.
On the rim of the Meštrović Pavilion, which is closed for a complete renovation from 2025–2026, Turato inscribes a raw vocal expression Aaaaaaaaaaaaaaa!!!. The installation is accompanied by an audio recording that can be heard once a day, precisely at noon. Aaaaaaaaaaaaaaa!!! is a universal, primal expression that evokes the origins of language, as well as a reflexive human reaction. The installation spatially draws upon the pavilion’s circular architecture, creating a range of diverse visual and auditory experiences. The sound is activated periodically, akin to a ritual, making the voice present in the space. With this gesture, Turato symbolically positions the future renovated art and exhibition space of the Croatian Association of Fine Artists (HDLU) as a place for play, risk, and openness, further engaging both visitors and casual passers-by.
Kustosi / Curators: Kustoski kolektiv KUĆĆA u sastavu Jurica Mlinarec, Klara Petrović, Luja Šimunović
Prilagodba dizajna / Design adaptation: Duje Medić
Video: Vanja Babić
Fotografije / Photography: Ivan Buvinić, Gabrielius Laurinaitis
Asistentica umjetnice / Artist's assistant: Marta Perović, Turato studio
Odnosi s javnošću / Public relations: Inesa Antić
Asistentice produkcije / Production assistants: Nika Šimičić, Martina Miholić
Posebna zahvala Kia Tasbihgou, Sam de Groot, Kunsthalle Wien. Special thanks Kia Tasbihgou, Sam de Groot, Kunsthalle Wien
Potpora: Turistička zajednica grada Zagreba, Grad Zagreb, Ministarstvo kulture i medija, Belina, Večernji list.
Supported by Tourist Board Zagreb, Zagreb City, Ministry of culture and media, Belina, Večernji list.
Samostalna izložba Nore Turato predstavlja se kao izdvojena dionica povodom jubilarnog izdanja Zagrebačkog salona te nije dio službene konkurencije za nagrade salona.
The solo exhibition by Nora Turato is presented as a separate section on the occasion of the jubilee edition of the Zagreb Salon and is not part of the official competition for the salon's awards.
ARTIST SPEED DATING
Pregled portfolija
U sklopu 60. Izdanja Zagrebačkog salona, organiziran je Artist speed dating, događaj pregleda portfelja za domaće umjetnike i umjetnice. U prostoru Galerije SKD Prosvjeta, umjetnici/ce su predstavili vlastite umjetničke prakse međunarodnim sudionicima – nezavisna kustosica Caterina Avataneo (London, UK; Torino, Italija), spisateljica kustosica Live Drønen (Oslo, Nor-
veška), istražiteljica i kustosica Hana Janečková (Prag, Češka Republika), nezavisna kustosica Tīna Pētersone (Riga, Latvija), te kustosica i osnivačica SOMA Art Berlin, Nabi Nara (Berlin, Njemačka).
Portfolio review
As part of the 60th edition of the Zagreb Salon, Artists Speed Dating, a portfolio review event for domestic artists, was held.
In the space of the SKD Prosvjeta Gallery, artists were able to present their own artistic practices to international participants – independent curator Caterina Avataneo (London, UK; Turin, Italy), writer and curator Live Drønen (Oslo, Norway), researcher and curator Hana Janečková (Prague, Czech Republic), independent curator Tīna Pētersone (Riga, Latvia), and curator and founder of SOMA Art Berlin, Nabi Nara (Berlin, Germany).
MCKENZIE WARK: HACKER / GAMER / RAVER
Predavanje
Nekada davno, mislili smo da možemo hakirati sustav, usmjeriti stroj u smjerovima pogodnijim za život. Pa, izgubili smo i evo nas ovdje. Zatvoreni u planetarnom prostoru igara, koji od ljudi stvara igrače, suprotstavljajući svakoga svima u igri s nultom sumom. Na marginama ovog svijeta, možda još uvijek postoje nepoznati užici, za rejvere u mraku, koji prizivaju druge bogove. Tamo gdje smo nekada možda težili biti avangarda, sada kada je ratni stroj gotovo u potpunosti zauzeo scenu, možda je bolje biti dezerteri. Usmjeriti umjetnost i život prema neotkrivenim izlazima.
Biografija
McKenzie Wark je spisateljica i znanstvenica rođena u Australiji, a živi u New Yorku. Među njezi-
nim knjigama su Hakerski manifest (koju je na hrvatskom jeziku objavila MAMA) i Gamer Theory. Nedavne knjige uključuju Raving i Capital is Dead. Predaje na Novoj školi za društvena istraživanja (The New School for Social Research).
Lecture
Once upon a time, we thought we could hack the system, fork the machine in directions more amenable to life. Well, we lost, and here we are. Enclosed in a planetary-scale gamespace, which makes gamers out of humans, pitting each against all in a zero-sum game. In the margins of this world, perhaps there are still unknown pleasures, for ravers in the dark, calling on other gods. Where once we might have aspired to be an avantgarde, now that the war machine has almost totally occupied the
scene, perhaps it’s better to be deserters. To orient art and life toward undetectable exits.
Biography
McKenzie Wark is an Australianborn, New York-based writer and scholar. Her books include A Hacker Manifesto (which was published in Croatian by MAMA), and Gamer Theory. Recent books include Raving and Capital is Dead. She teaches at The New School for Social Research.
MAJA ČULE & KATY PYLE: KAKO BITI KUKUMAR
Radionica pokreta
Umjetnice/i Maja Čule i Katy Pyle održali su radionicu improviziranog pokreta koja se nastavlja na umjetnički rad Ja sam tvoj Kukumar, a koji istražuje izvanredne sposobnosti morskog krastavca te iskustva transrodnih queer ljudi čije su promjene sredstva preživljavnja. Sudionici_e će biti vođeni kroz improvizirane vježbe pokreta i utjelovljenja inspirirana kukumarima. Autentično kretanje, somatske vježbe i razgovori koje vode umjetnici_e približavaju korisnike_ce ka prepoznavanju
vlastitih somatskih iskustava sigurnosti, užitka, straha, ljutnje i eksplozivne radosti. Ova radionica pokreta popraćena je audiovizualnim materijalima i predmetima iz instalacije Ja sam tvoj Kukumar.
A movement workshop Artists Maja Čule and Katy Pyle invite the public into an improvised movement workshop surrounding the themes of their work I am Your Sea Cucumber, which explores the extraordinary abilities of the sea cucumber, and
trans and queer people,who transform in order to survive. Participants are led through improvised movement exercises to inhabit states of embodiment inspired by the sea cucumber. Authentic movement, somatic exercises, and conversations led by the artists will all be utilized in order to bring participants closer to recognizing their own somatic experiences of safety, pleasure, fear, anger and explosive joy. This movement workshop is accompanied with audio visual materials and objects from the installation I am Your Sea Cucumber.
SILVIO VUJIČIĆ & JOHN THOMAS
Razgovor
Istovremeno funkcionirajući kao digitalna izreka orakul, novi umjetnički rad Metaodgovor Silvija Vujičića premijerno se predstavlja na 60. izdanju Zagrebačkog salona. Izgrađen od nekoliko
tisuća kratkih videozapisa i spreman fragmentirati i remiksirati, Metaodgovor iščekuje posjetitelje i njihovu žudnju za proročanstvom. Razgovor će okupiti Silvija
Vujičića, umjetnika i autora projekta Metaodgovor, te Johna East Thomasa, umjetnika, seksualnog radnika i aktivista u području zdravlja i industrije za odrasle, kao i izvođača i protagonista ove interaktivne video instalacije. Oni
će otvoriti teme fiktivnih ulazaka u povijest i mitologiju, približiti metodologije izgradnje živog arhiva i ispitati suvremenu čežnju za novim, tehnološki generiranim perspektivama.
Moderator: Jurica Mlinare (KUĆĆA)
Artist talk
Functioning both as a digital proverb and an oracle, Silvio Vujičić’s new project MetaAnswer is premiering at the 60th edition of the Zagreb Salon. Built from several thousand short videos and ready to be fragmented and remixed, MetaAnswer awaits
visitors and their desire for prophecy. The conversation will bring together artist and author of the MetaAnswer project Silvio Vujičić and John Thomas, a sexual worker and activist in the fields of health and adult industry, as well as a performer and protagonist of the interactive video installation. Together, they will open up topics of fictional entries into histories and mythologies, introduce the methodologies of building a living archive, and examine the contemporary longing for new, technologically generated perspectives.
Moderated by: Jurica Mlinarec (KUĆĆA)
MIA RIBIĆ: TURBOIGRANKA
Prezentacija rezidencijalnog projekta Dnevna soba
Želiš igrati, ali ne znaš pokrete?
Oslobodi ih kroz Turboigranku.*
KUĆĆA časti i na jednu večer postaje dijelom-klub, dijelompozornica dijelom-laboratorij.
Od napetosti i introspekcije do kaosa i euforije, svaka pjesma otvara poziv na novi ritam, poput onog stiha iz tvoje najdraže cajke koji te natjera da se pokreneš.
Turboigranka je okidač za nova tjelesna iskustva koja otvaraju privremeno postojanje afektivnih metamorfoza turbofolka.
Što se točno događa, otkrit ćeš kad uđeš.
Projekt se razvija kao interaktivna izvedbena instalacija koja temeljem afektivnih zona turbofolka — ljutnja/nelagoda, ranjivost/čežnja, strast/moć i radost/ kolektivitet — stvara prostor za istraživanje kolektivnog iskustva i fizičkih odgovora. Kroz audio-vizualni eksperiment istražuju se granice igre, koreografije i kolektivne izvedbe, koje nastaju sudjelovanjem i zajedničkim ritmom, te način na koji užitak i kolektivno iskustvo mogu otvoriti prostor za preispitivanja društvenih normi. Umjesto prezentacije, projekt na samom mjestu događaja kreira ono o čemu govori, stvarajući od publike aktivni entitet koji utjelovljuje, reinterpretira i transformira različite aspekte voljenog i osporavanog turbofolka. Između užitka, srama i pripadnosti nastaje prostor igre i tenzije, prostor su-postojanja. A kad misliš da je gotovo, čeka te iznenađenje koje turbofolk još nije imao.
*Turboigranka, označava specifičnu balkansku zabavu glasne muzike, zajedničkog pjevanja, euforije, specifičnog izgleda i oblačenja kaotične energije tipične za noćne provode uz turbofolk, a osim same zabave uključuje i društveni i emocionalni ritual koji izlazi iz iste.
Suradnici na projektu: Cosme Fodor, Ira Rumora, Šimun Stankov i Espi Tomičić.
Biografija
Mia Ribić (Zagreb, 2000.) je multidisciplinarna umjetnica, dizajnerica i istraživačica koja djeluje na sjecištu vizualnih komunikacija, dizajna interakcija i društvene prakse. Njezin rad istražuje teme empatije, identiteta i marginaliziranih narativa, često koristeći jezik kao alat za navigaciju kroz odnose moći i poticanje dijaloga. Nedavni projekti, poput Dear Empathy… i kava, kophee, kaphī, kofē, kape…, odražavaju njezinu predanost istraživanju društvenih narativa putem participativnih metoda i performativnih uloga. Njen je rad izlagan na međunarodnoj razini, uključujući na Ars Electronici 2024., Science Gallery London te na bijenalnoj Izložbi hrvatskog dizajna. Također je nagrađena priznanjima poput Rektorove nagrade (Sveučilište u Zagrebu) te nominacije u kategoriji Koncept/Inicijativu/ Kritički dizajn HDD-ove Izložbe hrvatskog dizajna 2324 (Hrvatsko dizajnersko društvo). Diplomirala je s najvećom pohvalom na University of the Arts London i nastavlja istraživati granice —
can open up space for questioning social norms. Instead of a presentation, the project creates what it is about on the spot, transforming the audience into an active entity that embodies, reinterprets and transforms different aspects of the beloved and contested turbofolk. What emerges between pleasure, shame and belonging is a space of play and tension, a space of coexistence. And when you think it's over, a surprise, one that turbofolk never had before, awaits you.
emotional ritual that emerges from this scene.
In collaboration with Cosme Fodor, Ira Rumora, Šimun Stankov and Espi Tomičić
Biography
kako fizičke, tako i društvene — kako bi potaknula razumijevanje kroz umjetničke intervencije. Njezina praksa počiva na razgovoru, suradnji i angažmanu u zajednici, pri čemu se često postavlja u ulogu pregovaračice između različitih perspektiva.
Presentation of the Living Room residency
Want to dance, but don't know the moves? Release them through Turboigranka.* It’s KUĆĆA’s treat and it becomes part-club, part-stage, and part-laboratory for one evening. From tension and introspection to chaos and euphoria, each song opens an invitation to a new rhythm, like that verse from your favorite song that makes you move. Turboigranka is a trigger for new bodily experiences that open up the temporary existence of the affective metamorphoses of turbofolk. What exactly is happening, you will discover when you enter.
The project is developed as an interactive performance installation that, based on the affective zones of turbofolk — anger/discomfort, vulnerability/longing, passion/power, and joy/collectivity — creates a space for exploring collective experience and physical responses. Through an audio-visual experiment, we explore the boundaries of dance, choreography, and collective performance, which arise through participation and shared rhythm, and the way in which pleasure and collective experience
*Turboigranka, refers to a specific type of Balkan party characterized by loud music, group singing, euphoria, distinctive appearance and clothing, and the chaotic energy typical of nights out involving turbofolk; beyond just the party itself, it also encompasses a social and
Mia Ribić (Zagreb, 2000.) is a multidisciplinary artist, designer and researcher working at the intersection of visual communication, interaction design, and social practice. Her work explores themes of empathy, identity, and marginalized narratives, often using language as a tool to navigate power dynamics and foster dialogue. Mia’s recent projects, such as Dear Empathy… and kava, kophee, kaphī, kofē, kape…, reflect her commitment to exploring social narratives
through participatory methods and performative roles. Her work has been exhibited internationally, including at Ars Electronica 2024, Science Gallery London, and the Biennial Exhibition of Croatian Design. She has also been recognized with awards such as the Rector’s Award (University of Zagreb) and a Nomination for Concept/Initiative/Critical Design 2324 (Croatian Designers Association). Graduating with distinction from the University of the Arts London she continues to explore borders — both physical and social — to foster understanding through artistic intervention. Her practice thrives on conversation, collaboration, and community engagement, often positioning herself as a negotiator between differing perspectives.
PAULA TONČIĆ: HEATERS II
Performans
Zvučna kulisa temelji se na ispovijestima triju protagonistica koje se susreću u rehabilitacijskom centru radi oporavka od ozljede glave, iščašenja zgloba i slomljenog zuba. Njihova interakcija odvija se kroz zajedničko provođenje vremena na kupalištu, gdje razmjenjuju priče o snovima, zaljubljenosti i iščekivanju budućnosti. Izvedba je oblikovana kao kombinacija zvučnog pejzaža i čitanja, uz dodatak vizualnih komponenti u vidu projekcije minijaturnih odlijeva.
Paula Tončić vizualna je umjetnica koja u svom radu istražuje procese arhiviranja, dokumentiranja i klasificiranja predmeta
koje prevodi u medije zvuka, slike, videa objekta. Kroz njih gradi narativne linije koje progovaraju o iskustvu odrastanja, koristeći elemente fikcije. Nastavlja diplomski studij na Sandberg Institutu u Amsterdamu, a diplomirala je na Odsjeku za animaciju i nove medije Akademije likovnih umjetnosti u Zagrebu.
Performance
The soundscape is based on the stories of three protagonists who meet in a rehabilitation center to recover from a head injury, a dislocated joint, or a broken tooth. Their interaction takes place through spending time together at a bathing area, where they exchange stories about dreams,
falling in love, and awaiting future. The performance is designed as a combination of soundscape and reading, with the addition of visual components in the form of projections and miniature casts.
Paula Tončić is a visual artist whose practice explores archiving, documenting, and classifying objects, translating them into sound, image, video, and installation. Her work builds narratives around the experience of growing up, often infused with elements of fiction. She studies at the Sandberg Institute in Amsterdam, after graduating Animation and New Media at the Academy of Fine Arts in Zagreb.
BIOGRAFIJE UMJETNIKA
nog života te kako se tjelesno iskustvo prepliće s tehnologijom i drugim entitetima osim ljudi. Njezin rad često prati procesno orijentiran pristup, stvarajući asamblaže korištenjem materijala prikupljenih kako iz prirode, tako i iz svakodnevnog okruženja –često reciklirajući stvari koje su izgubile svoju prvobitnu funkciju. Nerijetko se fokusira na taktilni, višesenzorni pristup procesu eksperimentiranju.
KOŽUL, KRISTIAN
BALIĆ, ANTONIJA
Antonija Balić rođena je 1969. u Indiji. Diplomirala je Kiparstvo na Akademiji likovnih umjetnosti (ALU) u Zagrebu, gdje je 2017. godine i doktorirala. Od 2009. godine zaposlena je na Učiteljskom fakultetu. Izlagala je na dvadeset samostalnih te na brojnim skupnim izložbama, te je dobitnica nekoliko nagrada i priznanja za svoj umjetnički rad.
BARANGER, HUGO
Rođen 1992. u Niortu (Francuska), Hugo Baranger odrastao je u srcu Zelene Venecije, u području Marais-Poitevin. Boje, zimska magla i pejzaži tog mjesta čine osnovu Hugove ikonografije.
U dobi od pet godina dijagnosticiran mu je teški astigmatizam hipermetropija, što je kasno otkriveno, pa su njegov vid u najvećoj mjeri oblikovali zamućenost, teškoće percepcije fokusiranja. Hugo je diplomirao na Likovnoj akademiji u Angoulêmeu 2016. godine, gdje je suosnovao kolektiv Nani$ôka Groupe. Izlagao je i izvodio performanse u Kanadi, Kini, Francuskoj, Hrvatskoj, Bosni i Hercegovini, Portugalu i Japanu.
BEŠTAK, ANDREJ
I LEKO, ANJA
Andrej Beštak i Anja Leko umjetnički su duo iz Zagreba koji rade zajedno od 2020. u području eksperimentalnih vizualnih umjetničkih praksi, kombinirajući instalacije, performans, CGI i video radove. Smatraju se pri-
povjedačima u prostoru koristeći vizualni jezik i zvukove umjesto riječi kako bi stvorili emocionalni dijalog između umjetničkog djela i publike. Pronalazeći inspiraciju u svojim privatnim životima, pop kulturi, mitologijama i folkloru, Andrej i Anja stvaraju priče koje istražuju instinktivne, intuitivne i duhovne dimenzije. Dobitnici su Erste Grand Prix nagrade na 36. Salonu mladih.
BUTUMOVIĆ, VALETNINA
Valentina Butumović (1994., Pula), diplomirala je na Odsjeku za nove medije Akademije likovnih umjetnosti u Zagrebu. Tijekom i nakon studija imala je priliku sudjelovati u raznim međunarodnim umjetničkim programima, rezidencijama i razmjenama. Izlagala je na samostalnim i grupnim izložbama, a trenutačno djeluje i surađuje na relaciji Berlin –Zagreb.
ČULE, MAJA & PYLE, KATY
Mi smo Maja Čule i Katy Pyle. Mi smo trans/nebinarni umjetnici/e. Naše istraživanje je vođeno željom. Prihvaćamo ono što je ovdje i sada neizbježan gubitak toga. Grlimo jedan/a drugog dok starimo i raspadamo se pred vlastitim očima, rukama i ustima. Dopuštamo radost, smijeh, camp kao funkciju oslobađanja energije; energiju koja se istresa iz naših prsnih koševa u potrazi za slobodom od paradoksa života u tijelu koje također već umire. Dugometražni film Maje Čule
Elektroničke vještice započinje s prikazivanjem 2025. godine. Čule je izlagao/la u galerijama Arcadia Missa, London; Company, New York; Galerija Močvara, Zagreb. Katy Pyle je performer, koreograf i predavač. Pyle je osnovao/la plesnu kompaniju Ballez 2011. godine, i koreografirao/la nekoliko narativnih baletnih predstava u suradnji s kazalištima The Joyce, Danspace Project and La Mama.
GRUPA 10 AUTORA
Radna grupa 10 autora –umjetnica Ana Kovačić te arhitekti Matej Barić, Rebecca Bobetko, Krešimir Borošak, Damjan Brundić, Rina Cota, Jelena Ćaćić, Fran Polan, Zorana Protić i Vid Šešelj razvijaju projekt atelje za umjetnike koji nemaju vlastiti prostor za rad. Ana Kovačić je etablirana kiparica i multimedijalna umjetnica bez vlastitog ateljea. Nominirana je za nagradu Radoslav Putar 2017. godine, sudjelovala na rezidencijama u Nizozemskoj, Litvi i Njemačkoj, osnivačica je rezidencije Cima na Hvaru i koordinatorica centra Fabrika 35, te radi kao vanjska suradnica na ALU-u Zagreb. Devet arhitekata bavi se različitim područjima arhitekture interesa
GUO, JIAO
Jiao Guo je intermedijska umjetnica koja živi u Zagrebu. Trenutno je zainteresirana za materijalnost, načine na koje se konstruiraju narativi o prirodi, preklapanje geologije, ekologije i suvreme-
MAHMULJIN UDOVČIĆ, LUKA
Kristian Kožul rođen je 1975. godine. Nastavnički odjel Akademije likovnih umjetnosti u Zagrebu upisuje 1993. godine, a 1998. godine prebacuje se u klasu Jannisa Kounellisa na Kunstakademie Düsseldorf, gdje će diplomirati 2002. godine u klasi Irmin Kamp. Od iste godine aktivno izlaže na domaćoj i internacionalnoj sceni. U razdoblju između 2005. i 2012. godine boravi i radi na relaciji New York, Düsseldorf i Zagreb. Dobitnik je više nagrada, a njegovi radovi nalaze se u više muzejskih privatnih zbirki.
KURTELA, NINA
Nina Kurtela je multimedijalna umjetnica čiji se rad zasniva na koreografskim i site-specific praksama ispreplićući izvedbeno plesnu i likovnu umjetnost. Stvara kroz različite medije i forme – film, video, instalacije, performanse plesne projekte. Njezina konceptualna i često nematerijalna praksa temelji se na metodologijama izdržljivosti, ustrajnosti, prisutnosti i rituala te istražuje prirodu sjećanja, zaborava, intimnosti, identiteta, pripadnosti, prostora, vremena i njihovih fikcija. Posebnu pažnju posvećuje razvoju eksperimentalnih arhiva i alternativnih povijesti, kroz koje propituje reprezentaciju i kolektivno sjećanje te razotkriva eksploatatorske politike zaborava uvjetovane rodnim, klasnim i institucionalnim režimima moći, s ciljem afirmacije marginaliziranih i zapostavljenih pozicija u umjetnosti i društvu.
Luka Mahmuljin Udovičić rođen je u Hrvatskoj, a 2023. godine završio je studij dizajna na Design Academy Eindhoven. Živi u Berlinu Zagrebu. Njegov rad obuhvaća tekst, eksperimentalni video, performans, zvuk, multimedijalne instalacije i nadu. Istražuje teme kao što su reakcije na život, cikličnost, destrukcija, identitet i intimnost, te ranjivost i igra, uvijek na raskrižju hiperosobnog, autofikcionalnog i društvenog. Pouzdani izvori tvrde da je Luka izravno poslan iz majčine utrobe (carskim rezom) da provocira provokatore i prevodi poruke iz Svemira. Poruke koje nitko nije tražio, ali eto, dobit će.
MALČIĆ, IVICA
Ivica Malčić rođen je 1964. godine u Zagrebu. Diplomirao je na Akademiji likovnih umjetnosti u Zagrebu 1996. godine, u klasi profesora Miroslava Šuteja. Do sada je izlagao na tridesetak samostalnih izložbi. Od 1998 do 2002. izlaže u Zagrebu svake godine sto slika, a 2007., 2009. i 2017. godine izlaže 365 dnevničkih crteža, koji su dva puta u cijelosti objavljeni u časopisu Fantom slobode izdavačke kuće Durieux. Neke od važnijih samostalnih izložbi su: Too Much Too Soon (Galerija Prsten, HDLU, 2012.), Ivica Malčić – Vlado Martek (Galerija Kranjčar, 2015.), Koncept slike – slika koncepta (sa Zoranom Pavelićem, Nacionalni muzej moderne umjetnosti, 2022.). Malčić je realizirao koncept izlaganja svakih deset godina u istoj galeriji u Galeriji VN te galeriji Proširenih medija u Zagrebu. Među grupnim izložbama ističu se Nova hrvatska umjetnost (Moderna galerija, 1993.), Hrvatsko slikarstvo u devedesetim godinama (HDLU, 2005.), te tri izdanja Zagrebačkog salona i pet izdanja Bijenala slikarstva. Triput je bio finalist T-HT-ove nagrade u MSU-u Zagreb. Za svoj rad nekoliko puta je nagrađivan, a najrecentnija je Nagrada Vladimira Nazora dodijeljena za najbolju izložbu u 2023.
godini održanoj u MSU-u. Njegov rad dio je stalnog postava Nacionalnog muzeja moderne umjetnosti u Zagrebu. Malčić je član HZSU-u. Živi i radi u Zagrebu.
MERLIĆ, REBECCA
Rebecca Merlić (HR/AT/DE) digitalna je umjetnica i arhitektica, eksperimentalna redateljica i viša znanstvenica na Akademiji likovnih umjetnosti u Beču. Stvara virtualne, interaktivno doživljajne prostore i situacije – ne samo kao portale iz stvarnog u digitalni svijet, već kao prolaze prema uključivom predstavljanju koje se može otkriti jedino u fluidnosti virtualnih svjetova. Rebeccina umjetnička praksa nije samo digitalna, već je duboko ukorijenjena i u njezinom životnom iskustvu, što uključuje i migraciju. Istražuje identitet, političku borbu i kolektiv, ostajući pritom posvećena učenju dekolonizacijskih i feminističkih praksi.
Dobitnica je nagrade Marianne von Willemer za digitalne medije (2020.), DKB VR Art Prize (2023.), kao i nagrada Content Vienna i Theodor-Körner za umjetnost znanost (2023.). Njezini su radovi nedavno predstavljeni na festivalu SLAMDANCE (Utah, SAD), New Cinema Days (Manchester, UK), u Belvedere+Belvedere 21 (Beč, AT), na ADAF-u (Atena, GR), Ars Electronici (Linz, AT), u Austrijskom kulturnom forumu (Tokio, JP), V2 (Rotterdam, NL), Etnografskom muzeju (Zagreb, HR) te u Muzeju suvremene umjetnosti u Zagrebu.
MIHALJEVIĆ, NIKO
Niko Mihaljević je umjetnik, dizajner i predavač. Autor je radova koji uključuju net-art kompoziciju s trajanjem od 130 godina, muzejski projekt posvećen kristalnoj lubanji, izvedbu za improvizacijsko zviždukanje i cirkumambulaciju malenog jadranskog otoka. Izlagao je u galerijama, muzejima i slučajnim prostorima. Magistrirao je na Werkplaats Typografie u Arnhemu. Dobitnik je nagrade Radoslav Putar. Predaje na odjelu Medijskog dizajna na Sveučilištu Sjever.
MIJUCA, PAVLE
Pavle Mijuca (1999.) je umjetnik čija praksa propitkuje strukture moći iza prostornog planiranja i arhitekture. Koristi se internetskim istraživanjem kako bi kreirao lokalno-specifične likove, poput turističkih vodiča, arhitekata i agenata za nekretnine. Zamjenom uloga, u satiričnom performansu zauzima poziciju ključnog aktera fiktivnog projekta kako bi otvorio mogućnost kritičkog sagledavanja kompleksnijih odnosa unutar relevantnih industrija. Ovi likovi, često temeljeni na tehnici method acting Leeja Strasberga i samoreferencijalnoj igri, razvijaju se kroz različite formate poput predavanja, vođenih tura i insceniranih medijskih prezentacija. Koristeći se vizualnim i jezičnim registrima nekretnina, birokracije i gradnje, stvara vizuale reklamnih kampanja, tekstile i 3D modele koji imitacijom izvrću dominantne prostorne narative.
MRŠA, PETRA
Medijski rad Petre Mrše proizlazi iz uspostavljanja režiranih situacija – uputa koje predvode osobni ili, sa suradnicima, kolektivni eksperiment. Njezin rad teži stvaranju novih stvarnosti u kojima dijalog i prihvaćanje nepoznatog oblikuju međuljudsku dinamiku. Mrša je magistrirala fotografiju, sociologiju i psihologiju. Njezini su radovi predstavljeni na Ars Electronica (Austrija), OSTRALE Biennaleu (Njemačka), Museum Kunst+Wissen (Švicarska), FOTODOK (Nizozemska), Galerie L’inlassable (Francuska) i mnogim drugim institucijama i festivalima. Završila je WHW Akademiju te je bila nominirana za nagradu Radoslav Putar. Sudjelovala je u brojnim rezidencijalnim programima, a njezina se djela nalaze u nekoliko zbirki. Radi na Katedri za intermediju Akademije primijenjenih umjetnosti u Rijeci.
MU, MARIO
Mario Mu (r. 1987, Metković, RH) vizualni je umjetnik čija praksa obuhvaća digitalne alate politike prostora. Sudjelovao je na
brojnim domaćim i internacionalnim izložbama uključujući Muzej suvremene umjetnosti i GMK u Zagrebu, Lombardi-Kargl, WHW kolektiv, 60. venecijanski bijenale, Seager Gallery, Northern Sustainable Futures, Galeriju Manuš, The Institute for Endotic Research, Singapore Art Museum, CICA Museum, Théâtre auditorium de Poitiers, V2 Institute for Unstable Media, MGLC Ljubljana, MAAT Lisbon, The Wrong Biennale, Play Co London, Pakhuis de Zwijger, Silent Green, Research Center for Proxy Politics, Galerie gr_und, The Killscreen, Milan Machinima Festival, FACT Magazine, Gestalten Publishing, The School of Machines.
NOVAK, VLADIMIR
Vladimir Novak (1987.) svoj rad temelji na propitivanju medija skulpture s fokusom na relaciju prostor-medij-iskustvo promatrača. Na razmeđu skulpture, tehnologije i znanosti, vidljivog i nevidljivog, ispitivanjem i igrom s pojmovima kao što su tijelomasa, objekt-instalacija, predmet-skulptura, statičnost-pokret, svjetlo-sjena, iteracijama svojih radova nastoji razbiti očite granice među njima.
Diplomirao je kiparstvo na ALU-u u Zagrebu 2017. gdje je zaposlen kao asistent. Za svoj dosadašnji rad primio je nekoliko nagrada; Rektorovu nagradu (2015.), HPB Grand Prix (34. Salonu mladih – Panoptikon, 2018.), Nagradu Goranske kiparske radionice Lokve (XIII. Trijenale hrvatskog kiparstva, 2018.), te Nagradu Radoslav Putar (Institut za suvremenu umjetnost, 2025.).
STRAŽIČIĆ, TEA
Tea Stražičić multimedijalna je umjetnica i dizajnerica likova poznata pod imenom Fluff Lord. Završila je diplomski studij na Akademiji likovnih umjetnosti u Zagrebu te međunarodni program Animation Sans Frontières i rezidenciju Open Workshop (Danska). Živjela je i radila u Los Angelesu, vodila studio u Berlinu, a trenutno je bazirana u rodnom Dubrovniku.
Njeni radovi istražuju spekulativni dizajn, tehnologiju i mitologiju, a izlagala je u Europi, SAD-u i Aziji.
SUPIĆ JANKOVIĆ, IVA
Iva Supić Janković je umjetnica i dizajnerica s dugogodišnjim iskustvom u umjetničkom istraživanju i vođenju kreativnih projekata. Diplomirala je na Gerrit Rietveld Akademiji u Amsterdamu (2007.), a magistrirala na Kraljevskoj akademiji u Haagu (2012.). U Amsterdamu je osnovala i vodila umjetničku inicijativu Zolder Museum (2010. – 2013.). Od 2021. godine živi i radi u Zagrebu, gdje je pokrenula Planet – prostor u Ilici 37 koji funkcionira kao modni brend, showroom i platforma za umjetničke suradnje, s vlastitim studijem za sitotisak edukativnim programima. Sudjelovala je u brojnim međunarodnim projektima, izložbama i edukativnim suradnjama.
ŠTEFANEK, KARLO
Karlo Štefanek multidisciplinarni je umjetnik čija praksa istražuje kako se identitet konstruira, dekonstruira i rekonstruira kroz medije autoportreta i performansa. Sa osamnaest godina, Štefanek se seli u Amsterdam gdje počinje postavljati temelje za svoju umjetničku metodologiju. Serija pod nazivom Self-titled, koja objedinjuje vizualne i izvedbene elemente, postala je temelj njegove prakse, izazivajući promišljanja o konceptima osobnog identiteta percepcije. Štefanek je izlagao na međunarodnoj razini, uključujući Venecijanski bijenale, gdje je za grupnu izložbu By the Means at Hand u hrvatskom paviljonu predstavio triptih iz istog serijala. Njegovi radovi također su prikazani na festivalima poput Becoming (Amsterdam), Perforacijama (Zagreb) i SerformanceP (São Paulo), kao i u institucijama poput muzeja Stedelijk (Amsterdam) i Muzeja suvremene umjetnosti (Zagreb). Ove godine Štefanekove samostalne izložbe planirane su u ARL-u (Dubrovnik), HDLU-u (Osijek), KIC-u (Zagreb), i Vagon Galeriji (Banja Luka), a ostala izlaganja i izvedbe plani-
rane su za Bijenale mladih (Beograd), Okolo Around (Zagreb), Perforacijama (Buenos Aires), te na 60. Zagrebačkom salonu (Zagreb). Umjetnik živi i radi na relaciji Zagreb, Amsterdam i New York.
TURATO, NORA
Nora Turato (rođena 1991. u Zagrebu, odrasla u Rijeci, živi i radi u Amsterdamu) istražuje nestabilnost jezika i njegovu performativnu prirodu. Iz niza članaka, razgovora, titlova i reklamnih slogana s kojima se susrećemo svakodnevno gradi vizualno-jezične kompozicije kroz video radove, instalacije, knjige, murale i spoken word performanse. U njezinu radu politički diskurs pop kultura koegzistiraju ravnopravno, odražavajući sinkronizacije u društvenim odnosima i potrošačkom mentalitetu. Vizualni jezik umjetnice obilježen je hrabrom tipografijom i vlastitim izražajnim rukopisom koji se proteže preko površina poput bilješki s proba ili iz umjetničke bilježnice. Ovaj osobni trag priziva nestajuću intimnost u eri digitalne komunikacije. U njenim rukama jezik postaje zrcalo kulture: fragmentiran, neukorijenjen, intenzivan. Nora Turato izlagala je samostalno u vodećim svjetskim kulturnim institucijama, uključujući ICA u Londonu, Stedelijk Museum u Amsterdamu, Kunsthalle Wien u Beču, Muzej moderne umjetnosti (MoMA) u New Yorku, Secession u Beču, Centre Pompidou u Parizu, Mudam u Luksemburgu, Međunarodni grafički centar u Ljubljani, Muzej suvremene umjetnosti Serralves u Portu i Kunstmuseum Liechtenstein. Također sudjelovala je na Performa Biennaleu, Post-Capital i INFORMATION (Today).
VIDAKOVIĆ, LEA
Lea Vidaković je multimedijalna umjetnica koja radi na području animiranih instalacija i proširenih medija, primjenjujući tehniku lutka animacije. Njena istraživanja zasnivaju se na temi fragmentiranih i drugih alternativnih tipova narativa za animirane instalacije i proširene medije. Diplomirala
je na ALU-u u Zagrebu, a zatim je završila i preddiplomski studij animacije u Norveškoj, diplomski studij audio-vizualne umjetnosti na KASK-u u Belgiji, te doktorirala na ADM-NTU-u u Singapuru. Izlagala je na brojnim skupnim i samostalnim izložbama, a filmovi su joj prikazani na preko 400 festivala animiranog filma širom svijeta. Dobitnica je mnogih umjetničkih i filmskih nagrada. Članica je HDLU-a, SULUV-a, SAS-a, te CICANT-a. Predaje animaciju i fotografiju na Sveučilištu Lusófona u Lisabonu.
VIDAKOVIĆ, LEA
Lea Vidaković je multimedijalna umjetnica koja radi na području animiranih instalacija proširenih medija, primjenjujući tehniku lutka animacije. Njena istraživanja zasnivaju se na temi fragmentiranih i drugih alternativnih tipova narativa za animirane instalacije i proširene medije. Diplomirala je na ALU-u u Zagrebu, a zatim je završila i preddiplomski studij animacije u Norveškoj, diplomski studij audio-vizualne umjetnosti na KASK-u u Belgiji, te doktorirala na ADM-NTU-u u Singapuru. Izlagala je na brojnim skupnim i samostalnim izložbama, a filmovi su joj prikazani na preko 400 festivala animiranog filma širom svijeta. Dobitnica je mnogih umjetničkih i filmskih nagrada. Članica je HDLU-a, SULUV-a, SAS-a, te CICANT-a. Predaje animaciju i fotografiju na Sveučilištu Lusófona u Lisabonu.
VUJIČIĆ, SILVIO
Silvio Vujičić (1978., Zagreb) vizualni je umjetnik čiji rad povezuje umjetnost, znanost i ritual. Bavi se temama identiteta, odjevnih fetiša, pigmenata, otrovnih i psihoaktivnih supstanci, smrti prolaznosti. Koristi rijetke i efemerne materijale – od biljnih ekstrakata i čistog kofeina do parfema od tjelesnih izlučevina –izrađene vlastitim laboratorijskim postupcima. Diplomirao je na Tekstilno-tehnološkom fakultetu i Akademiji likovnih umjetnosti u Zagrebu. Izlagao je u Hrvatskoj i međunarodno (Austrija, Francu-
ska, Njemačka, Kina, Japan, SAD), a radovi mu se nalaze u javnim zbirkama Albertine (Beč), FRAC-a i MSU-a. Dobitnik je više nagrada, među njima Nagrade 8. hrvatskog trijenala grafike (2019.).
ŽUPANIĆ-BENIĆ, MARIJANA
Marijana Županić Benić (r. 1977.) izvanredna je profesorica na Katedri umjetničkog područja na Učiteljskom fakultetu. Doktorirala je pedagogiju na Filozofskom fakultetu u Zagrebu. Izlagala je na dvanaest samostalnih i na brojnim međunarodnim i skupnim izložbama, a kao autor i performer sudjelovala je u predstavama grupe Fasade (ZKM).
ARTISTS’ BIOGRAPHIES
BALIĆ, ANTONIJA
Antonija Balić was born in India in 1969. She graduated in Sculpture from the Academy of Fine Arts in Zagreb, where she also earned her PhD in 2017. Since 2009, she has been employed at the Faculty of Teacher Education. She has exhibited in twenty solo and numerous group exhibitions, and is the recipient of several awards and recognitions for her artistic work.
BARANGER, HUGO
Born in 1992 in Niort (France), Hugo Baranger grew up in the heart of the Green Venice, in the Marais Poitevin. Its colours, winter mist and landscapes form the basis of his iconography. Hugo was diagnosed late with poor vision associated with severe astigmatism and hyperopia, at the age of 5. His eyes have been shaped mainly by blurriness, imperceptibility and difficulty focusing. Hugo graduated from the Angoulême School of Fine Arts in 2016, where he co-founded the Nanisoka Groupe collective. Hugo has exhibited and performed in Canada, China, France, Croatia, Bosnia and Herzegovina, Portugal, and Japan.
BEŠTAK, ANDREJ & LEKO, ANJA
Andrej Beštak and Anja Leko are an artistic duo from Zagreb who have been working together since 2020 in the field of experimental visual art practices, combi-
ning installations, performance, CGI, and video works. They see themselves as storytellers in space, using visual language and sound instead of words to create an emotional dialogue between the artwork and the audience. Drawing inspiration from their personal lives, pop culture, mythologies, and folklore, Andrej and Anja create narratives that explore instinctive, intuitive, and spiritual dimensions. They are recipients of the Erste Grand Prix Award at the 36th Youth Salon.
BUTUMOVIĆ, VALETNINA
Valentina Butumović (1994. Pula), graduated from the New Media Department at the Academy of Fine Arts in Zagreb. During and after her studies, she had the opportunity to participate in various international art programs, residencies, and exchanges. She has exhibited in solo and group exhibitions, and currently works and collaborates between Berlin and Zagreb.
Surrendering to the affect and fetishistic power of materials, the artist explores themes of identity, intimacy, and embodied experience, drawing on somatic practices and intermedia translation to explore the body as an archive through material as sediment. The body is positioned both as subject and medium, through which boundaries between private and public, self and other, human and non-human are negotiated.
ČULE, MAJA & PYLE, KATY
We are Maja Čule and Katy Pyle. We are trans/non-binary artists. Our research is desire-driven. We embrace what is here and now and its inevitable loss. We embrace each other as we age and decay in front of each other’s eyes, hands and mouths. We allow for joy, for laughter, for camp as a function to release energy; it shakes its way out of our ribcages in search of freedom from the paradox of being alive in a body that is also already dying.
Maja Čule’s feature film Electronic Witches will premiere in 2025, they have exhibited at Arcadia Missa, London, Company, New York, Močvara, Zagreb.
Katy Pyle is a performer, choreographer, and teacher. They founded Ballez dance company in 2011, and have created 4 story ballets commissioned by The Joyce, Danspace Project and La Mama.
GROUP OF 10 ARTISTS
GUO, JIAO
Jiao Guo is an intermedia artist based in Zagreb. Her current research focuses on materiality, the ways in which narratives about nature are constructed, the intersections of geology, ecology and contemporary life, and how bodily experience interweaves with technology and non-human entities. Her work often follows a process-oriented approach, creating assemblages using materials collected from nature and everyday surroundings – frequently recycling objects that have lost their original function. She often focuses on a tactile, multisensory approach to process and experimentation.
KOŽUL, KRISTIAN
Kristian Kožul was born in 1975. He enrolled in the Art Education Department of the Academy of Fine Arts in Zagreb in 1993, transferring in 1998 to the class of Jannis Kounellis at the Kunstakademie Düsseldorf, where he graduated in 2002 in the class of Irmin Kamp. Since then, he has been actively exhibiting on the domestic and international scene. In the period between 2005 and 2012, he lived and worked between New York, Düsseldorf and Zagreb. He has won several awards, and his works are represented in several museum and private collections.
KURTELA, NINA
Nina Kurtela is a multimedia artist whose work is grounded in choreographic and site-specific practices, intertwining performance dance and visual arts. She creates across different media and forms – film, video, installation,
A working group of 10 artists –artist Ana Kovačić and architects Matej Barić, Rebecca Bobetko, Krešimir Borošak, Damjan Brundić, Rina Cota, Jelena Ćaćić, Fran Polan, Zorana Protić and Vid Šešelj – are developing a project of an atelier for artists who do not have their own workspace. Ana Kovačić is an established sculptor and multimedia artist without her own studio. Nominated for the Radoslav Putar Award in 2017, she has participated in residencies in the Netherlands, Lithuania and Germany, she is the founder of the Cima residency in Hvar, coordinator of the Fabrika 35 centre, and works as an external associate at the Academy of Fine Arts in Zagreb. The nine architects work across different fields of architecture and interests.
performance and dance projects. Her conceptual and often immaterial practice is based on methodologies of endurance, persistence, presence and ritual, exploring the nature of memory, forgetting, intimacy, identity, belonging, space, time and their fictions. She pays particular attention to the development of experimental archives and alternative histories, through which she examines representation and collective memory while exposing exploitative politics of forgetting conditioned by gender, class and institutional regimes of power, with the aim of affirming marginalised and neglected positions in art and society.
MAHMULJIN UDOVČIĆ, LUKA
Luka Mahmuljin Udovičić was born in Croatia and completed his design studies at the Design Academy Eindhoven in 2023. He lives between Berlin and Zagreb. His work encompasses text, experimental video, performance, sound, multimedia installations and hope. He explores themes such as reactions to life, cyclicality, destruction, identity and intimacy, and vulnerability and play, always at the intersection of the hyper-personal, autofictional and social. Reliable sources claim that Luka was sent directly from his mother’s womb (by caesarean section) to provoke provocateurs and translate messages from the Universe. Messages that no one asked for, but here they are.
MALČIĆ, IVICA
Ivica Malčić was born in 1964 in Zagreb. He graduated from the Academy of Fine Arts in Zagreb in 1996, in the class of Professor Miroslav Šutej. To date, he has exhibited in about thirty solo exhibitions. Between 1998 and 2002, he exhibited one hundred paintings annually in Zagreb, and in 2007, 2009 and 2017 he exhibited 365 diary drawings, twice published in their entirety in the journal Fantom slobode by the Durieux publishing house. Notable solo exhibitions include Too Much Too Soon (Prsten Gallery, HDLU,
2012), Ivica Malčić – Vlado Martek (Kranjčar Gallery, 2015), Koncept slike – slika koncepta (with Zoran Pavelić, National Museum of Modern Art, 2022). He has also realised a concept of exhibiting every ten years in the same venues, namely Gallery VN and the Gallery of Extended Media in Zagreb. Group exhibitions include Nova hrvatska umjetnost (Modern Gallery, 1993), Hrvatsko slikarstvo u devedesetim godinama (HDLU, 2005), as well as three editions of the Zagreb Salon and five editions of the Biennial of Painting. He has been a three-time finalist of the T-HT Award at the Museum of Contemporary Art, Zagreb. He has received several awards for his work, most recently the Vladimir Nazor Award for the best exhibition in 2023 at the Museum of Contemporary Art. His work is included in the permanent exhibition of the National Museum of Modern Art in Zagreb. He is a member of the Croatian Freelance Artists’ Association. He lives and works in Zagreb.
MERLIĆ, REBECCA
Rebecca Merlić (HR/AT/DE) is a digital artist and architect, experimental filmmaker, and senior scientist at the Academy of Fine Arts Vienna. She creates virtual, interactively experienceable spaces and situations – not merely as portals from the real to the digital world, but as gateways to inclusive representation that can only be discovered in the fluid negotiability of virtual worlds. Rebecca’s artistic practice is not just digital but also deeply rooted in her lived experience, including migration. She explores identity, political struggle, and the collective, while remaining dedicated to learning decolonising and feminist practices. She is the recipient of the Marianne von Willemer Prize for Digital Media (2020), DKB VR Art Prize (2023), as well as Content Vienna and the Theodor-Körner Prize for Art and Science (2023).
Her work has recently been shown at SLAMDANCE (Utah, US), New Cinema Days (Manchester, UK), Belvedere + Belvedere 21
MIHALJEVIĆ, NIKO
Niko Mihaljević is an artist, designer and lecturer. His works include a net-art composition with a duration of 130 years, a museum project dedicated to a crystal skull, a performance for improvisational whistling, and the circumambulation of a small Adriatic Island. He has exhibited in galleries, museums and random spaces. He holds an MA from the Werkplaats Typografie in Arnhem. He has won the Radoslav Putar Award. He teaches at the Department of Media Design at the University Sjever.
MIJUCA, PAVLE
Pavle Mijuca (1999) is an artist whose practice examines the power structures embedded in urban planning and architecture. Grounded in mediated research and role-based performance, Mijuca constructs site-specific personas, ranging from tour guides and architects to real estate agents, which operate as critical vessels for storytelling and embodiment of competing stakeholder narratives. These satirical personas, often grounded in method acting and self-referential play, unfold across formats including lecture performances, guided tours, and staged media presentations. Drawing on the visual and linguistic registers of real estate, bureaucracy, and construction, he fabricates promotional hoardings, textiles, and 3D-models that mimic and subvert dominant spatial narratives.
MRŠA, PETRA
Petra Mrša’s media work stems from establishing directed situations—instructions that lead personal or, with collaborators, collective experiments. Her work strives to create new realities in
which dialogue and acceptance of the unknown shape interpersonal dynamics. Mrša holds a master’s degree in photography, sociology, and psychology. Her works have been presented at Ars Electronica (Austria), OSTRALE Biennial (Germany), Museum Kunst+Wissen (Switzerland), FOTODOK (Netherlands), Galerie L’inlassable (France), and many other institutions and festivals. She completed the WHW Academy and was nominated for the Radoslav Putar Award. She has participated in numerous residency programmes, and her works are held in several collections. She works at the Department of Intermedia at the Academy of Applied Arts in Rijeka.
rations of his works he seeks to break down the obvious boundaries between them.
ŠTEFANEK, KARLO
He graduated in sculpture from the Academy of Fine Arts in Zagreb in 2017, where he is employed as an assistant. For his work to date, he has received several awards; the Rector’s Award (2015), HPB Grand Prix (34th Youth Salon – Panoptikon, 2018), the Lokve Gorski kotar Sculpture Workshop Award (XIII Triennial of Croatian Sculpture, 2018), and the Radoslav Putar Award (Institute for Contemporary Art, 2025).
STRAŽIČIĆ, TEA
MU, MARIO
Mario Mu (b. 1987, Metković, Croatia) is a visual artist whose practice encompasses digital tools and politics of space. He has participated in numerous national and international exhibitions, including the Museum of Contemporary Art and the GMK in Zagreb, Lombardi-Kargl, WHW Collective, the 60th Venice Biennale, Seager Gallery, Northern Sustainable Futures, Manuš Gallery, The Institute for Endotic Research, Singapore Art Museum, CICA Museum, Théâtre Auditorium de Poitiers, V2 Institute for Unstable Media, MGLC Ljubljana, MAAT Lisbon, The Wrong Biennale, Play Co London, Pakhuis de Zwijger, Silent Green, Research Center for Proxy Politics, Galerie gr_und, The Killscreen, Milan Machinima Festival, FACT Magazine, Gestalten Publishing, The School of Machines.
NOVAK, VLADIMIR
Vladimir Novak (1987) bases his work on questioning the medium of sculpture with a focus on the relationship between space-medium-observer experience. At the intersection of sculpture, technology, and science, the visible and the invisible, by examining and playing with concepts such as body-mass, object-installation, object-sculpture, stillness-movement, light-shadow, through ite-
Tea Stražičić is a multimedia artist and character designer known as Fluff Lord. She earned a Master’s degree at the Academy of Fine Arts in Zagreb, completed the Animation Sans Frontières programme, and held a residency at The Open Workshop (Denmark). She lived and worked in Los Angeles, ran a studio in Berlin, and is now based in her hometown Dubrovnik. Her work explores speculative design, technology, and mythology, and has been exhibited across Europe, the US, and Asia.
SUPIĆ JANKOVIĆ, IVA
Iva Supić Janković is an artist and designer with extensive experience in artistic research and leading creative projects. She graduated from the Gerrit Rietveld Academie in Amsterdam (2007) and completed her master’s degree at the Royal Academy in The Hague (2012). In Amsterdam, she founded and led the artistic initiative Zolder Museum (2010–2013). Since 2021, she has lived and worked in Zagreb, where she launched Planet – a space at Ilica 37 that functions as a fashion brand, showroom, and platform for artistic collaborations, with its own screen printing studio and educational programmes. She has participated in numerous international projects, exhibitions, and educational collaborations.
Karlo Štefanek is a multidisciplinary artist whose practice explores how identity is constructed, deconstructed, and reconstructed through the media of self-portraiture and performance. At the age of eighteen, Štefanek moved to Amsterdam, where he began laying the groundwork for his artistic methodology. The series Self-Titled (2022-), which integrates both visual and performative elements, has become a cornerstone of his practice, challenging evolving notions of selfhood and perception. Štefanek has been showcased at manifestations, including La Biennale in Venice, where he presented a triptych from the same series as part of the group exhibition By the Means at Hand in the Croatian Pavilion. His work has also been exhibited at festivals such as Becoming (Amsterdam), Perforations (Zagreb), and SerformanceP (São Paulo), as well as in institutions like the Stedelijk Museum (Amsterdam) and the Museum of Contemporary Art (Zagreb). Štefanek’s solo exhibitions are scheduled for this year at the HDLU (Osijek), ARL (Dubrovnik), KIC (Zagreb), and Vagon Gallery (Banja Luka). This year he will also participate in the Youth Biennial (Belgrade), Okolo Around (Zagreb), Perforations (Buenos Aires), and the 60th Zagreb Salon (Zagreb). He lives and works between Zagreb, Amsterdam and New York.
TURATO, NORA
Nora Turato (born 1991 in Zagreb; raised in Rijeka, Croatia, lives and works in Amsterdam) explores the instability of language and its performative nature. From a range of articles, conversations, subtitles, and advertising slogans encountered daily, she constructs visual-linguistic compositions through video works, installations, books, murals, and spoken-word performances. In her work, political discourse and pop culture coexist equally, reflecting synchronisations in social relations and consumer mentality. Turato’s visual
language is marked by bold typography and her expressive handwriting, which extends across surfaces like rehearsal notes or an artist’s sketchbook. This personal trace evokes a disappearing intimacy in the era of digital communication. In her hands, language becomes a mirror of culture: fragmented, rootless, intense. Nora Turato has had solo exhibitions in leading cultural institutions worldwide, including the ICA in London, Stedelijk Museum in Amsterdam, Kunsthalle Wien in Vienna, Museum of Modern Art (MoMA) in New York, Secession in Vienna, Centre Pompidou in Paris, Mudam in Luxemburg, International Centre of Graphic Arts in Ljubljana, Serralves Museum of Contemporary Art in Porto, and Kunstmuseum Liechtenstein. She has also participated in the Performa Biennale, Post-Capital, and INFORMATION (Today).
VIDAKOVIĆ, LEA
Lea Vidaković is a multimedia artist working in animated installations and expanded media, using puppet animation techniques. Her research focuses on the theme of fragmented and other alternative types of narratives for animated installations and expanded media. She graduated from the Academy of Fine Arts in Zagreb, completed a BA in animation in Norway, an MA in audio-visual arts at KASK in Belgium, and earned her PhD at ADM-NTU in Singapore. She has exhibited in numerous group and solo exhibitions, and her films have been shown at over 400 animated film festivals worldwide. She has received many artistic and film awards. She is a member of the Croatian Association of Fine Artists (HDLU), Union of Associations of Fine Artists of Vojvodina (SULUV), SAS, and CICANT. She teaches animation and photography at the Lusófona University in Lisbon.
VUJIČIĆ, SILVIO
Silvio Vujičić (1978, Zagreb) is a visual artist whose work connects art, science, and ritual. His pra-
ctice addresses identity, clothing fetishes, pigments, toxic and psychoactive substances, death, and transience. He often uses rare and ephemeral materials – from plant extracts and pure caffeine to perfumes derived from body secretions – produced through his own laboratory methods. He graduated from the Faculty of Textile Technology and the Academy of Fine Arts in Zagreb. Vujičić has exhibited in Croatia and internationally (Austria, France, Germany, China, Japan, USA). His works are held in public collections including the Albertina (Vienna), FRAC and MSU Zagreb. He received the 8th Croatian Print Triennial Award (2019).
164 165 (Vienna, AT), ADAF (Athens, GR), Ars Electronica (Linz, AT), the Austrian Cultural Forum (Tokyo, JP), V2 (Rotterdam, NL), the Ethnographic Museum (Zagreb, HR), and the Museum of Contemporary Art, Zagreb.
ŽUPANIĆ-BENIĆ, MARIJANA
Marijana Županić Benić (b.1977) is an Associate Professor at the Department of Art at the Faculty of Teacher Education. She earned her PhD in Pedagogy from the Faculty of Humanities and Social Sciences in Zagreb. She has exhibited in twelve solo and numerous international and group exhibitions, and as an author and performer participated in performances by the Fasade group (Zagreb Youth Theatre).
IMPRESSUM IMPRINT
Nakladnik / Publisher: Hrvatsko društvo likovnih umjetnika / Croatian Association of Fine Artists
Trg žrtava fašizma 16, 10 000 Zagreb hdlu@hdlu.hr www.hdlu.hr
Za nakladnika / For the publisher: Tomislav Buntak, predsjednik HDLU / President of HDLU
Ravnateljica / Director:
Ivana Andabaka Vujičić
Organizacijski odbor
60. zagrebačkog salona / Organization board
60th ZAGREB SALON:
Tomislav Buntak, Ida Blažičko, Josip Zanki, Fedor Fischer, Tomislav Hršak, Vida Meić, Romana Nikolić, Ivana Andabaka Vujičić, Martina Miholić
Producentica / Producer:
Ivana Andabaka Vujičić
Izvršna producentica / Executive producer: Martina Miholić
Kustosi / Curators: Kustoski kolektiv KUĆĆA
u sastavu Jurica Mlinarec, Klara Petrović, Luja Šimunović
Asistentica produkcije / Production Assistant: Karla Somek, Ivana Garmaz
Vizualni identitet / Visual identity: 404 agencija (Dario Dević, Željka Vuger, Maja Štefanić, Ivor Delić, Bruno Mataušić, Blanka Gojak)
Prilagodba promotivnih materijala / Adaptation of promotional materials: Iva Marenić
Tehnička služba / Technical support: Juraj Jazbec, Sven Jozić, Matko Mikić, Igor Petrovski, Andrija Santro, Domagoj Žunić
Fotografija / Photography: Juraj Vuglač
Video:
Vanja Babić, Goran Škofić
Odnosi s javnošću / Public Relations: Martina Miholić
IZLOŽBA / EXHIBITION 60. ZAGREBAČKI SALON VIZUALNIH UMJETNOSTI –Koreografija za završnu liniju / 60th ZAGREB SALON OF VISUAL ARTS – Choreography for the Finish Line
GRUPNA IZLOŽBA / GROUP EXHIBITION Oktogon (NMMU) /
Oktogon (National Museum of Modern Art) GRUPNA IZLOŽBA / GROUP EXHIBITION
Galerija SKD Prosvjeta / SKD Prosvjeta Gallery
OSTALE LOKACIJE / OTHER LOCATIONS
Tunel Grič, Dolac 9, Tvornica električnih žarulja (TEŽ),Zg forum, Učiteljski fakultet Sveučilišta u Zagrebu, Akademija likovnih umjetnosti Sveučilišta u Zagrebu, Kapela sv. Jurja, Blok Badel, Šubićeva ulica, vozila Zet-a, Planet Zagreb, Meštrovićev paviljon, Oris, KUĆĆA
Članovi žirija za odabir umjetnika/ Members of the jury for the selection of artists: Kustoski kolektiv KUĆĆA, Ida Blažičko, Tevž Logar, Vesna Meštrić, Josip Zanki
Pozvani umjetnici / Invited artists: Andrej Beštak i Anja Leko, Maja Čule & Katy Pyle, Kristian Kožul, Luka Mahmuljin Udovčić, Mario Mu, Nora Turato, Silvio Vujičić
Odabrani umjetnici / Selected Artists: Antonija Balić i Marijana Županić Benić, Hugo Baranger, Valentina Butumović, Jiao Guo, Nina Kurtela, Ivica Malčić, Niko Mihaljević, Petra Mrša, Rebecca Merlić, Vladimir Novak, Tea Stražičić, Karlo
Štefanek, Iva Supić Janković, Lea Vidaković
Dizajn postava izložbe / Design of the exhibition set up: Iva Peručić, kustoski kolektiv KUĆĆA
NAGRADE 60. ZAGREBAČKOG SALONA VIZUALNIH
UMJETNOSTI / OFFICIAL AWARDS OF THE 60th ZAGREB SALON OF VISUAL ARTS
SLUŽBENA KONKURENCIJA / OFFICIAL AWARDS
Odbor za dodjelu nagrada / Award jury: Vanja Babić, Tea Hatadi, Ana Sladetić, Goran Škofić, Leila Topić
Grand Prix (neto 3,000.00 EUR)/ Grand Prix (net 3,000.00 EUR): Vladimir Novak
Dvije jednakovrijedne nagrade (svaka u iznosu od neto 1,000.00 EUR)/ Two equal awards (each net 1,000.00 EUR): Andrej Beštak Anja Leko Maja Čule i Katy Pyle
STRUKOVNA NAGRADA/ PROFESSIONAL AWARD
Nagrada HS AICA –Hrvatska sekcija Međunarodnog udruženja likovnih kritičara
Odbor: Darko Fritz, Nevenka Šarčević i Janka Vukmir
(500,00 EUR bruto)
Vladimir Novak
The Award HS AICA –Croatian Section of the International Association of Art Committee: Darko Fritz, Nevenka Šarčević, and Janka Vukmir (500,00 EUR brutto)
Vladimir Novak
FILANTROPSKE NAGRADE/ PHILANTHROPIC AWARD: Nagrada Kontrapunkt Vladimir Dodig Trokut, Iva Vraneković –umjetnici umjetniku
Odbor: Ivan Posavec i Anonimni filantrop
(2,222.00 EUR neto svaka)
Vladimir Novak
Tea Stražičić Martina Miholić, executive producer
The Kontrapunkt Vladimir Dodig Trokut, Iva Vraneković – Artists to an Artist Award Committee: Ivan Posavec and an Anonymous Philanthropist (2,222.00 EUR net each)
Vladimir Novak
Tea Stražičić
Martina Miholić, izvršna producentici Salona
Posebna zahvala / Special acknowledgment: Miran Jurić
KATALOG / CATALOGUE
Urednica kataloga / Catalogue editor: Martina Miholić
Predgovor / Preface: Kustoski kolektiv KUĆĆA
Prijevod na engleski jezik i lektura/ English translation and proof-reading: Zana Šaškin
Fotografije likovnog postava i otvorenja izložbi / Photographs of the exhibition set up and the exhibition openings: Juraj Vuglač, Gabrielius Laurinaitis
