8. BIJENALE SLIKARSTVA

IZLOŽBA AUSTRIJSKIH UMJETNIKA / EXHIBITION OF AUSTRIAN ARTISTS BEYOND BOUNDARIES: GRAZ PAINTING PERSPECTIVES

SADRŽAJ / CONTENT 5

SLIKA – SLIKARSTVO / IMAGE – PAINTING Željko Marciuš

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UMJETNICI / ARTISTS

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IZLOŽBA AUSTRIJSKIH UMJETNIKA / EXHIBITION OF AUSTRIAN ARTISTS BEYOND BOUNDARIES: GRAZ PAINTING PERSPECTIVES

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BEYOND BOUNDARIES: PERSPEKTIVE SUVREMENOG SLIKARSTVA IZ GRAZA/ŠTAJERSKE/AUSTRIJE I ŠIRE – 8. BIJENALE SLIKARSTVA U HRVATSKOJ BEYOND BOUNDARIES: PERSPECTIVES ON CONTEMPORARY PAINTING FROM GRAZ/STYRIA/AUSTRIA AND BEYOND – 8TH BIENNIAL OF PAINTING IN CROATIA Luise Kloos

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POPRATNI PROGRAM / SIDE PROGRAM

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ALUZIJA

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ZA RUŽIČASTU NIJANSU VIŠE OD IČEGA / FOR THE PINK HUE MORE THAN ANYTHING Zoran Šimunović

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POMICANJE PLANINA / MOVING MOUNTAINS Domagoj Rogina

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OBALE RIJEKE STYX / STYX RIVERBANKS Mia Akrap, Šimun Tolić

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CREATIVCI

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CREART SEMINAR: NOVA REALNOST RADA U KULTURI: TEMPO, PRITISAK I OTPORNOST / CREART SEMINAR: THE NEW REALITY OF WORKING IN CULTURE: PACE, PRESSURE AND RESILIENCE

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FOTOGRAFIJE S OTVORENJA / PHOTOGRAPHS FROM THE OPENING

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ŽIVOTOPISI UMJETNIKA / ARTIST BIOGRAPHIES

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IMPRESUM / IMPRESSUM

SLIKA – SLIKARSTVO / IMAGE – PAINTING Željko Marciuš

Hm, slika. Slika je sve što vidimo, bilo unutarnje ili vanjsko. Kada zatvorimo oči, vidimo tamu, ali uključimo li sjećanje, ukazuju se slike našega prošlog života. Sliku gledamo, a katkad je i vidimo, pronalazeći jedinstvo unutarnje i vanjske strukture slike. Od iskustvene ja-forme nadalje gledamo, promatramo i vidimo sliku.1 Slika je sve. Virtualna stvarnost vizualnog doživljaja suvremenoga čovjeka protkana je beskrajnim slojevima informacija i simbolike, koji se prepleću u neprekidnoj igri značenja i zava-

Hm, an image. An image is everything we see, whether internal or external. When we close our eyes, we see darkness; yet if we summon memory, images from our past life begin to appear. We look at an image, and sometimes we truly see it, discovering a unity between its inner and outer structure. From the experiential I-form onwards, we look, observe, and see an image.1 The image is everything. The virtual reality of contemporary visual experience is interwoven with endless layers of information and symbolism, entangled in a continuous

1

1

O odnosima viđenja, gledanja i znanja više

For further discussion of the relationships

u: J. Berger, Ways of Seeing, London: BBC, 1972.; Ch.

between seeing, looking, and knowledge, see J. Berger,

Jencks, „Središnja uloga oka u zapadnoj kulturi“, u: Vizu-

Ways of Seeing (London: BBC, 1972); Ch. Jencks, ‘The

alna kultura (ur. Ch. Jencks),Zagreb: Naklada Jesenski

Central Role of the Eye in Western Culture’, in Visual

i Turk; HSD,2002. i N. Bryson, Vision and Painting: The

Culture, ed. Ch. Jencks (Zagreb: Naklada Jesenski i Turk;

Logic of the Gaze, London: Macmillan, 1983.

HSD, 2002); and N. Bryson, Vision and Painting: The Lo-

Upravo: „Viđenje prethodi riječima. Dijete vidom ras-

gic of the Gaze (London: Macmillan, 1983).

poznaje stvari prije nego što nauči govoriti. Viđenje, me-

Specifically: ‘Seeing comes before words. The child lo-

đutim, prethodi riječima i u jednom drugome smislu.

oks and recognises before it can speak. But there is also

Upravo je viđenje ono što definira naše mjesto u svijetu

another sense in which seeing comes before words. It

koji nas okružuje. Taj svijet objašnjavamo riječima, no

is seeing that establishes our place in the surrounding

riječi nikako ne mogu poništiti njegovo postojanje oko

world. We explain that world with words, but words can

nas. Odnos između onoga što vidimo i onoga što zna-

never negate the fact that we are surrounded by it. The

mo nikada nije do kraja uspostavljen.“, usp. J. Berger,

relation between what we see and what we know is ne-

nav. dj., str. 7.

ver finally settled.’ Cf. J. Berger, op. cit., p. 7.

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ravanja.2 Promatrač današnjice, suočen s preobiljem slika i medijskih interpretacija, nalazi se na granici prezasićenosti, usprkos prividnoj jasnoći koju tehnologija obećava.

Sveprisutnost digitalnih platformi, društvenih mreža i multimedije ne samo da ubrzava protok vizualnih poruka nego i redefinira pojam stvarnosti, zamagljujući granice između autentičnoga i simuliranoga. U tom kontekstu slika prestaje biti tek pasivni odraz stvarnosti; ona postaje aktivni tvorac značenja i stvarnosti same. Vizualno iskustvo danas nije strogo određeno fizičkim materijalom slike, već se proširuje na virtualne i interaktivne sfere koje isprepliću percepciju, emociju i kogniciju. Suvremena hiperslika nije tek simbol hiperrealnog svijeta nego djelomično i njegov generator, prožimajući se s društvenim, kulturnim i psihološkim strukturama koje oblikuju svakodnevicu. Slikarstvo, kao tradicionalni medij, suočeno je s izazovima digitalne ere u kojoj slike nastaju, mijenjaju se i nestaju gotovo trenutačno. Ipak unatoč prividnom kraju klasičnog slikarstva, ono opstaje kao izvor emocionalne i intelektualne refleksije, često se suprotstavljajući profinjenoj distorziji virtualnog svijeta. Kao ritual stvaranja i interpretacije, slikarstvo ostaje jedinstveni prostor u kojem subjektivni izrazi, nesvjesni impulsi i temeljne ljudske emocije pronalaze svoj vizualni kanal. U filozofskom smislu, suvremeni vizualni svijet biva prožet para-

play of meaning and deception.2 Today’s observer, confronted with an excess of images and media interpretations, stands on the threshold of saturation, despite the apparent clarity promised by technology. The omnipresence of digital platforms, social networks, and multimedia not only accelerates the flow of visual messages but also redefines the very notion of reality, blurring the boundaries between the authentic and the simulated.

In this context, the image ceases to be merely a passive reflection of reality; it becomes an active producer of meaning and of reality itself. Visual experience today is no longer strictly determined by the physical materiality of the image, but extends into virtual and interactive spheres in which perception, emotion, and cognition intersect. The contemporary hyperimage is not simply a symbol of the hyperreal world but, in part, its generator, permeating the social, cultural, and psychological structures that shape everyday life.

Painting, as a traditional medium, is confronted with the challenges of the digital era, in which images are created, transformed, and disappear almost instantaneously. Yet despite the apparent end of classical painting, it endures as a source of emotional and intellectual reflection, often 2

The concept of virtual reality may be under-

stood literally as something unreal, but also as a startling illusionistic three-dimensional world entered by 2

Pojam virtualne stvarnosti možemo shvatiti

means of special ‘goggles’, as suggested, for example,

doslovno kao nestvarno, a opet i kao začuđujući iluzio-

by the following advertisement: ‘The device will come

nistički trodimenzionalni svijet u koji se ulazi pomoću

to market with two panels featuring a resolution of 1440

specijalnih „naočala“ kao što sugerira primjerice ogla-

× 1400 pixels, surpassing both the Vive and the Rift, and

sna poruka: „Uređaj će doći na tržište s dva panela rezo-

Lenovo also presented the Entertainment Hub — a

lucije 1440 x 1400 piksela, što je više od Vivea i Rifta, a uz

central point for accessing VR content. The cameras

njega je Lenovo prikazao i Entertainment Hub - central-

and sensors built into the device mean that no addi-

no mjesto za pristup VR sadržajima. Kamere na uređaju

tional camera will be required to track the user’s posi-

i senzori znače da neće trebati dodatnu kameru kako

tion, and the device will support room-scale VR. As for

bi pratili vaš položaj, a uređaj će podržavati VR na razi-

the hardware needed to run the device, it will be on a

ni prostorije. Što se tiče hardvera koji će vam trebati za

par with that required for the Vive or Rift, reports New

rad s ovim uređajem, on će biti na razini onog za Vive

Atlas.’ Ivan Hruškovac, 24 Sata, 7 January 2017 — https://

ili Rift, prenosi New Atlas.“ Ivan Hruškovac, 24 Sata, 07.

www.24sata.hr/tech/lenovo-odusevio-vr-ure-dajem-ko-

01. 2017. - ttps://www.24sata.hr/tech/lenovo-odusevio-

ji-ce-biti-lagan-ali-i-povoljan-506181. Virtuality, however,

vr-ure-đajem-koji-ce-biti-lagan-ali-i-povoljan-506181.

may also be understood symbolically, as the space of all

No virtualnost možemo shvatiti i simbolički, kao pro-

images — both analogue and digital. As mentioned in

stor svih slika – analognih i digitalnih. Jer, kao što smo u

the previous text, according to the psychology of loo-

prethodnom tekstu spomenuli, svjesnom i nesvjesnom

king and seeing, that is, of observation and recognition,

biću promatrača, prema psihologiji gledanja i viđenja,

mirror neurons enable the conscious and unconscious

odnosno promatranja i prepoznavanja, zrcalni neuroni

mind of the observer to read the visual language of

omogućuju čitanje vizualnog jezika slika: stvarnih i fik-

images, both real and fictional; in the mind, this beco-

tivnih, a u umu je to, u procesu opažanja i gledanja, po-

mes interconnected through the processes of percepti-

vezano.

on and seeing

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doksom prisutnosti i odsutnosti, kontrole i slobode. Dok algoritmi nastoje sustavno kategorizirati i interpretirati svaki vizualni podatak, ljudska percepcija i dalje izmiče okvirima predvidljivoga, donoseći neočekivane interpretacije i reakcije. Ta napetost između automatiziranog razumijevanja i individualnog doživljaja čini temeljnu dinamiku suvremene vizualne kulture. Slika sada postaje svojevrsni zajednički prostor promišljanja granica identiteta, stvarnosti i mašte. Imago ne prenosi samo vidljive informacije, nego postaje medij kroz koji se istražuju kolektivna i osobna sjećanja, snovi, radosti, strahovi i nade. Suprotno uvriježenoj predodžbi o slici kao prijenosniku istine, ona često proizvodi dvosmislenost i nesigurnost, potičući promatrača na aktivno sudjelovanje u stvaranju značenja. U tom smislu, suvremena vizualnost djeluje kao ogledalo kompleksnosti današnjice — fragmentirana, višeslojna, čak i paradoksalna. Slike se umnažaju i rekombiniraju, stvarajući dinamične mreže značenja koje odražavaju ekspanziju digitalne komunikacije i globalne povezanosti. Stoga se slika

resisting the refined distortions of the virtual world. As a ritual of creation and interpretation, painting remains a unique space in which subjective expression, unconscious impulses, and fundamental human emotions find their visual channel.

In philosophical terms, the contemporary visual world is permeated by the paradox of presence and absence, control and freedom. While algorithms attempt systematically to categorise and interpret every visual datum, human perception continues to elude the limits of predictability, generating unexpected interpretations and responses. This tension between automated understanding and individual experience constitutes one of the fundamental dynamics of contemporary visual culture.

The image thus becomes a shared space for reflecting upon the boundaries of identity, reality, and imagination. Imago conveys not only visible information but also becomes a medium through which collective and personal memories, dreams, joys, fears, and hopes are explored. Contrary to the widespread conception of the image

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ne može promatrati izolirano, nego jedino unutar šireg konteksta medija, društvenih struktura i individualnih iskustava. Tehnološki razvoj također donosi redefiniciju prostora i vremena u kojem se vizualno događa i zrcali. Virtualne projekcije, proširena stvarnost i digitalne instalacije brišu razliku između stvarnog fizičkog prostora i imaginarnih svjetova, što stvara nove uvjete za umjetničko izražavanje i percepciju. Takvi oblici umjetnosti od promatrača često ne zahtijevaju pasivnu kontemplaciju nego interaktivno sudjelovanje, čime se vizualni sadržaj pretvara u oblik egzistencijalnog iskustva. Pandemija digitalizacije nije bez svojih posljedica — dok svijet postaje sve dostupniji posredstvom ekrana, pojavljuju se i novi izazovi poput vizualne prezasićenosti, fragmentacije pažnje i osjećaja otuđenosti. U tom kontekstu vrijednost slike kao medija prepoznaje se ne samo u estetici nego i u njezinoj sposobnosti da probudi empatiju, pokrene kritičko mišljenje i omogući emocionalnu povezanost među ljudima. Na kraju, slika postaje simbol suvremenog razgovora o istini, fikciji i manipulaciji.

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as a vehicle of truth, it often produces ambiguity and uncertainty, compelling the observer to participate actively in the construction of meaning.

In this sense, contemporary visuality functions as a mirror of present-day complexity — fragmented, multilayered, even paradoxical. Images multiply and recombine, forming dynamic networks of meaning that reflect the expansion of digital communication and global interconnectedness. The image therefore cannot be considered in isolation, but only within the broader context of media, social structures, and individual experience.

Technological development has also redefined the space and time in which the visual occurs and is reflected. Virtual projections, augmented reality, and digital installations erase the distinction between real physical space and imaginary worlds, creating new conditions for artistic expression and perception. Such forms of art often demand not passive contemplation from the observer but interactive participation, transforming visual content into a

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U eri „fake newsa“ i hiperrealnosti više ne postoji jedinstvena, univerzalna interpretacija slike. Svaki promatrač unosi vlastiti kontekst, predrasude i očekivanja koji oblikuju njegovo ili njezino razumijevanje vizualnog svijeta. Kroz taj dijalog slika postaje moćan alat u izgradnji i dekonstrukciji složenih identiteta i kolektivnih narativa. Kao što je nekoć umjetnost bila svetinja i posveta božanskome, danas je postala prostor slobode i eksperimenta, mjesto na kojem se, na granici vidljivoga i nevidljivoga, isprepliću znanost, umjetnost, emocija i mašta.

Suvremeni umjetnik i promatrač zajedno sudjeluju u neprekidnom procesu značenjske rekreacije, zbog čega slika neprestano živi i mijenja se, ne kao fiksni predmet, nego kao dinamičan svijet koji nas poziva na novo razumijevanje. U suvremenom dobu, kada je tehnologija postala neodvojiv dio svakodnevice, koncept slike dobiva dodatne dimenzije — više nije riječ samo o sadržaju nego i o kontekstu, načinu prezentacije i interakciji s promatračem. Slike prelaze iz statične forme u dinamične entitete koji promjenama sadržaja i oblika odražavaju složenost suvremenih fenomena poput identiteta, virtualnosti i globalizacije. Time slika sve više postaje proces, a ne samo rezultat. Digitalni alati i algoritmi omogućuju ne samo stvaranje nego i generiranje slika, čime se brišu granice između umjetnika, tehničara i promatrača. U takvu procesu umjetnost postaje kolektivni fenomen u kojem svaki pojedinac može istovremeno biti kreator i konzument, unoseći vlastite asocijacije, emocije i interpretacije. Upravo participacija redefinira tradicionalne hijerarhije unutar umjetničkog polja i dovodi u pitanje institucije koje su dugo određivale vrijednost slike. Istodobno, složen medijski pejzaž otvara pitanja autentičnosti i originalnosti. U svijetu neprestanih reprodukcija, kopija i simulacija, pitanje što je „prava“ slika ili umjetničko djelo postaje neizbježno. Postmoderna dekonstrukcija koncepta originala otvara prostor pluralizmu značenja, ali i vizualnoj konfuziji i kakofoniji u kojima se brišu granice između umjetničkoga i potrošačkoga, istinitoga i lažnoga. Promatrač danas više nije pasivni subjekt. On aktivno sudjeluje u tumačenju svake slike, oslanjajući se na vlastito iskustvo, kulturološki kontekst i emocionalne 12

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mode of existential experience.

The pandemic of digitalisation is not without consequences. As the world becomes increasingly accessible through screens, new challenges emerge: visual oversaturation, fragmentation of attention, and feelings of alienation. In this context, the value of the image as a medium lies not only in its aesthetic dimension but also in its capacity to awaken empathy, stimulate critical thought, and enable emotional connection between people.

Ultimately, the image becomes a symbol of the contemporary conversation about truth, fiction, and manipulation. In the era of fake news and hyperreality, there is no longer a single, universal interpretation of the image. Every observer brings their own context, prejudices, and expectations, shaping his or her understanding of the visual world. Through this dialogue, the image becomes a powerful instrument in the construction and deconstruction of complex identities and collective narratives.

Just as art was once regarded as sacred and dedicated to the divine, today it has become a space of freedom and experimentation — a place where, at the threshold between the visible and the invisible, science, art, emotion, and imagination intertwine. The contemporary artist and observer participate together in a continuous process of recreating meaning, through which the image continually lives and changes, not as a fixed object but as a dynamic world inviting us toward renewed understanding.

In the contemporary age, when technology has become inseparable from everyday life, the concept of the image acquires additional dimensions — it is no longer merely a matter of content, but also of context, modes of presentation, and interaction with the observer. Images move beyond static form to become dynamic entities whose shifting content and appearance reflect the complexity of contemporary phenomena such as identity, virtuality, and globalisation. In this sense, the image increasingly becomes a process rather than simply a result.

Digital tools and algorithms make possible not only the creation but also the generation of images, thereby erasing the bound-

skale. Takav heterogen pristup dovodi do mnoštva različitih čitanja iste slike, čime se razumijevanje vizualnoga oslobađa i demokratizira. U tom smislu svaka slika postaje neiscrpan prostor dijaloga i stvaranja značenja, što dodatno produbljuje njezinu važnost u suvremenom društvu. U okviru tih promjena tradicionalno slikarstvo suočava se s novim vizualnim praksama poput digitalne umjetnosti, videoinstalacija, virtualne stvarnosti i interaktivnih projekata.

Umjetnici neprestano istražuju načine integriranja elemenata tehnologije i tradicije, tražeći ravnotežu između stvaralačkoga impulsa i mehanizama suvremenoga svijeta. Ovaj sinergijski odnos obogaćuje umjetnički dijalog i omogućuje stvaranje novih estetskih i sadržajnih vrijednosti. S druge strane, društvene mreže kao platforme za izlaganje i razmjenu vizualnih sadržaja predstavljaju i prostor ekonomskih i kulturnih napetosti. Popularnost, viralnost i algoritamska selekcija sadržaja utječu na to kakve se slike proizvode i kako se doživljavaju, često favorizirajući površnu estetsku privlačnost nauštrb dubine i značenja. To

aries between artist, technician, and observer. Within such a process, art becomes a collective phenomenon in which every individual may simultaneously act as creator and consumer, bringing to it personal associations, emotions, and interpretations.

Participation itself redefines traditional hierarchies within the artistic field and calls into question the institutions that have long determined the value of the image.

At the same time, the complex media landscape raises questions of authenticity and originality. In a world of incessant reproductions, copies, and simulations, the question of what constitutes the “real” image or work of art becomes unavoidable.

The postmodern deconstruction of the concept of the original opens a space for a plurality of meanings, but also for visual confusion and cacophony, in which the boundaries between the artistic and the consumerist, the truthful and the false, become increasingly indistinct.

Today the observer is no longer a passive subject. Rather, he or she actively participates in the interpretation of every image,

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umjetnike potiče na balansiranje između težnje za autentičnošću i potrebe za prepoznatljivošću, što dovodi do novih strategija izraza i komunikacije. Osim vanjskih utjecaja, slika kao intimni izraz umjetnikove psihe i emocionalnoga svijeta i dalje zauzima ključno mjesto. Kroz likovni jezik slikar može propitivati slojeve vlastitoga identiteta, traume, snove i težnje, nudeći pritom promatraču mogućnost empatije i razumijevanja. U tom smislu, slikarstvo ostaje medij samospoznaje i emocionalne transformacije, što ga čini neizostavnim dijelom ljudskog iskustva unatoč tehnološkim promjenama. Na filozofskoj razini suvremena vizualna kultura dovodi nas do pitanja o prirodi stvarnosti i percepcije. Kako se granice između stvarnoga i virtualnoga brišu, dolazi do redefinicije pojmova poput istine, zbilje i iluzije. Slike kao posrednici između svijeta i uma odražavaju tu transformaciju i potiču promatrača na kritičko preispitivanje vlastitih perceptivnih paradigmi. Dok tradicionalne institucije umjetnosti nastoje zadržati kontrolu nad definiranjem vrijednosti slike, sve veća dostupnost i pluralnost

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drawing upon personal experience, cultural context, and emotional registers. Such a heterogeneous approach gives rise to multiple readings of the same image, liberating and democratising the understanding of the visual. In this sense, every image becomes an inexhaustible space of dialogue and meaning-making, which further deepens its significance within contemporary society.

Within the framework of these changes, traditional painting encounters new visual practices such as digital art, video installations, virtual reality, and interactive projects. Artists continually explore ways of integrating elements of technology and tradition, seeking a balance between creative impulse and the mechanisms of the contemporary world. This synergistic relationship enriches artistic dialogue and enables the emergence of new aesthetic and conceptual values.

At the same time, social media, as platforms for the display and exchange of visual content, also constitute spaces of economic and cultural tension. Popularity,

vizualnih sadržaja donose demokratizaciju estetskog prostora. Umjetnost danas više nije rezervirana za elitu, nego postaje dostupna široj publici, angažirajući ljude na različitim razinama i potičući razmjenu ideja i kulturnih vrijednosti. Ipak, potrebna je kritička svijest o implikacijama ove vizualne demokratizacije, jer prevelika količina i raznolikost slika mogu dovesti do preopterećenosti i gubitka sposobnosti dublje koncentracije i razumijevanja. U tom smislu važnost edukacije, medijske pismenosti i promišljenog odnosa prema vizualnom sadržaju postaje ključna za očuvanje kvalitete vizualne kulture. U konačnici, slika ostaje temeljni element komunikacije i kulturnog identiteta, sposoban prenijeti složene poruke i emocije na način koji nadilazi verbalne granice. Snaga i moć slike proizlaze iz njezine sposobnosti da okuplja, izaziva, propituje i mijenja pogled na svijet i na samoga sebe. U svijetu brzih informacija i promjenjivih stvarnosti slika nas vraća onome bitnome — osjećaju, iskustvu i egzistenciji, dubini i smislenosti ljudskoga promatranja. Pokušajmo se u duhu te smislenosti osvrnuti na neke radove bijenala.

Gordana Bakić ostvaruje imago monumentalnom prostornom instalacijom sastavljenom od velikog zidnog crteža i niza modularnih objekata na podu. Rad koristi snažan kontrast, gustu mrežu linija i fragmentirane oblike organske, mehaničke i arhitektonske strukture u stalnoj transformaciji. Dinamična kompozicija stvara osjećaj gibanja, napetosti i unutarnje energije, dok podni elementi djeluju poput arheoloških ostataka složenih sustava: raspadanja i ponovnog povezivanja.

Mia Akrap stvara simboličan i nadrealan prizor u kojem se ljudska figura, životinje i biljni motivi isprepliću u slojevitu vizualnu naraciju. Intenzitet, ritualnost i unutarnja napetost izraženi su kompozicijom nage ženske figure, leptira i snažne crvene pozadine. Ilustracije biljaka, korijenja i sjemenki sugeriraju teme transformacije, rasta i cikličnosti života, ženskog identiteta, tijela, majčinstva i povijesti ljudskog nasljeđa na rubu sna i alegorije.

Fragmenti fotografije, crteža i teksta vizualno konstruiraju dominantnu figuru Ivane Fischer, čiji identitet izgleda sastavljeno

virality, and algorithmic content selection influence the kinds of images that are produced and the ways in which they are perceived, often privileging superficial visual appeal over depth and meaning. This compels artists to negotiate between the pursuit of authenticity and the need for recognisability, giving rise to new strategies of expression and communication.

Beyond these external influences, the image as an intimate expression of the artist’s psyche and emotional world continues to occupy a central position. Through visual language, the painter may probe the layers of personal identity, trauma, dreams, and aspirations, while offering the observer the possibility of empathy and understanding.

In this respect, painting remains a medium of self-knowledge and emotional transformation, which makes it an indispensable part of human experience despite technological change.

On a philosophical level, contemporary visual culture confronts us with questions concerning the nature of reality and perception. As the boundaries between the real and the virtual dissolve, concepts such as truth, reality, and illusion are themselves redefined. Images, as mediators between the world and the mind, reflect this transformation and encourage the observer critically to re-examine personal perceptual paradigms.

While traditional art institutions attempt to retain control over the definition of the image’s value, the growing accessibility and plurality of visual content bring about a democratisation of aesthetic space. Art today is no longer reserved for an elite but becomes accessible to a broader public, engaging people on multiple levels and encouraging the exchange of ideas and cultural values.

Nevertheless, critical awareness of the implications of this visual democratisation remains essential, since the excessive quantity and diversity of images may lead to overload and to the loss of the capacity for deeper concentration and understanding.

In this respect, the importance of education, media literacy, and a reflective relationship towards visual content becomes crucial to preserving the quality of visual culture.

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od medijskih, društvenih i osobnih slojeva.

Istrgnute površine različitih dijelova tijela i umetnuti simboli stvaraju svijest o višestrukim utjecajima okoline na izgradnju osobnosti. Elementi poput kablova i tehnoloških motiva upućuju na odnos tijela, kontrole, društvenih očekivanja i medijske slike pojedinca. Rad evocira osjećaj izgubljenosti i umjetno stvorenog identiteta unutar suvremene vizualne kulture.

Goran Težak sugerira slojevit i fluidan prostor sastavljen od lebdećih fragmenata pejzaža, organskih struktura i geometrijskih intervencija koje djeluju kao prizori iz sna ili podsvijesti. Dominantni plavi tonovi stvaraju atmosferu uranjanja i prostorne beskonačnosti. Kompozicija djeluje poput psihološkog krajolika u kojem se stvarni i imaginarni motivi neprestano pretaču i ocrtavaju prostor nesvjesnoga, intuicije i unutarnjeg mentalnog stanja. Vrijeme u toj zbilji nije linearno već se sve događa istovremeno.

Sanjiva kompozicija Davora Krelje uprizoruje vizualni tok svijesti u kojem se simboli, sjećanja i prostori neprestano mijenjaju i preklapaju, otvarajući prostor osobnoj interpretaciji i asocijacijama pobuđenih kolektivnim znanjima i fluidnim prijelazima u magličastim strukturama. Zrcaljenje i izvrtanje lica i likova, neba i unutrašnjosti zemlje snažnim tonovima stvaraju osjećaj gibanja nalik snu pred buđenje, u kojem se tijelo teško probija kroz gusti eter. Retroestetika Tomislava Lončarića očituje se u toplim, pomalo izblijedjelim tonovima koji prizivaju sjećanja na predmete s buvljaka, stare obiteljske uspomene i vizualni imaginarij druge polovice 20. stoljeća. Skate-rola, keramički vrč i skulpturalni fragmenti djeluju poput pronađenih artefakata prošlosti, izdvojenih iz osobne i kolektivne društvene memorije.

Rad Pavla Pavlovića funkcionira poput vizualnog portala između povijesnoga imaginarija i hiperprodukcije suvremenih digitalnih slika. U središtu kompozicije otvara se prizor nalik uzvišenoj božanskoj objavi, dok se oko njega gomilaju gravirani likovi preuzeti iz ikonografije starih ilustracija i religijskih prikaza. Taj sudar različitih epoha i vizualnih informacija kolektivne povijesti, internetske kulture i medija pretvara se u prikaz nove mitologije. To je ironijski 20

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Ultimately, the image remains a fundamental element of communication and cultural identity, capable of conveying complex messages and emotions in ways that transcend verbal boundaries. The strength and power of the image arise from its ability to bring people together, provoke, question, and transform our understanding of the world and of ourselves.

In a world of rapid information and shifting realities, the image returns us to what is essential – feeling, experience, and existence; to the depth and meaningfulness of human observation.

In the spirit of that meaningfulness, let us turn to some of the works presented at the biennial.

Gordana Bakić constructs an imago through a monumental spatial installation composed of a large-scale wall drawing and a series of modular floor objects.

The work employs strong contrasts, dense networks of lines, and fragmented organic, mechanical, and architectural forms caught in continual transformation. Its dynamic composition generates a sense of movement, tension, and internal energy, while the floor elements resemble archaeological remnants of complex systems — systems of disintegration and reconnection.

Mia Akrap creates a symbolic and surreal scene in which human figures, animals, and vegetal motifs intertwine within a layered visual narrative. Intensity, rituality, and inner tension are articulated through the composition of the nude female figure, butterflies, and the powerful red background. Illustrations of plants, roots, and seeds suggest themes of transformation, growth, and the cyclical nature of life, as well as female identity, the body, motherhood, and the history of human heritage poised between dream and allegory.

Fragments of photography, drawing, and text visually construct the dominant figure in Ivana Fischer’s work, whose identity appears assembled from media-driven, social, and personal layers. Torn surfaces of different body parts and inserted symbols create an awareness of the multiple external influences shaping personality.

Elements such as cables and technological motifs allude to the relationship between

komentar suvremenog društva spektakla, konzumerizma i digitalne estetike u kojoj trivijalni sadržaji zadobivaju status svetoga ili kozmički važnoga.

Ana Marija Pekšić fokusirana je na fragmente tijela, geste i detalje odjeće koji djeluju poput intimnih isječaka. Lica su djelomično skrivena, tijela odsječena kadrom, a pažnja se usmjerava na dodir, nabor tkanine, pogled ili položaj ruke. Takvim kadriranjem umjetnica poništava klasičnu portretnu reprezentaciju te identitet svodi na pojedine tragove prisutnosti i emocionalna stanja. Mekana paleta tonova stvara dojam nježnosti i suzdržane senzualnosti, ali istodobno sugerira osjećaj distance i nemogućnosti potpunoga povezivanja s prikazanim osobama.

Poput sirova vizualnog dnevnika tjeskobe, bunta i unutarnjeg kaosa, radovi Tare Stanić predočena su crno-bijela ekspresivna gestualnost, deformirana lica i ponavljajući motivi koji stvaraju atmosferu paranoje i konstantnog nadzora, dok ispisane riječi i fragmentirane poruke funkcioniraju kao impulzivni tragovi misli ili unutarnjih monologa. Kompozicija djeluje namjerno prenatrpano i agresivno; gotovo dječje-groteskni crtež priziva estetiku underground stripa, grafita i art bruta, kao vizualni ekvivalent preopterećenosti informacijama, emocijama i društvenim pritiscima.

Predrag Todorović ostvaruje prostor između prisutnoga i iščezloga – između konkretnoga materijalnog traga i vizualne vremenske sekvence nestajanja čije površine pohranjuju prisutnost sjećanja, prolaznosti i promjene. Poput arheoloških artefakata nose informaciju o ponavljajućim ciklusima i određenim interakcijama koje nam omogućuju duhovno i unutarnje, odnosno tjelesno, materijalno i društveno shvaćanje.

Andrej Tomić stvara debele slikarske nanose kojima potezi kista grade gotovo skulpturalan volumen oblika. Intenzivni kontrast žutih i plavih tonova stvara dubinu i vibrantnost, odnosno unutarnju dinamiku prostora. Fokusirajući se na odnos mase, boje i ritma, autor stvara apstraktnu formu koja je učvršćena na podlozi i okružna oblacima, zbog čega djeluje istodobno realistično i nadrealno. Balansira između figuracije i apstrakcije, svakodnevnoga i simboličkoga. Tiha nadrealnost Vladimira Tomića oči-

the body, control, social expectations, and the mediated image of the individual. The work evokes a sense of disorientation and artificially constructed identity within contemporary visual culture.

Goran Težak suggests a layered and fluid space composed of floating landscape fragments, organic structures, and geometric interventions that resemble scenes from dreams or the subconscious. Dominant blue tones create an atmosphere of immersion and spatial infinity. The composition functions as a psychological landscape in which real and imaginary motifs continuously merge, delineating a space of the unconscious, intuition, and interior mental states. Within this reality, time is not linear; everything unfolds simultaneously.

Davor Krelja’s dreamlike composition stages a visual stream of consciousness in which symbols, memories, and spaces continually shift and overlap, opening a field for personal interpretation and associations shaped by collective knowledge and fluid transitions within hazy, nebulous structures. The mirroring and inversion of faces and figures, sky and subterranean interiors, rendered in forceful tones, create a sensation akin to the final moments of a dream before waking, in which the body struggles to move through dense ether.

Tomislav Lončarić’s retro aesthetic manifests itself in warm, slightly faded tones that evoke memories of flea-market objects, old family keepsakes, and the visual imaginary of the second half of the twentieth century.

A skateboard, ceramic jug, and sculptural fragments appear as recovered artefacts of the past, extracted from both personal and collective social memory.

Pavle Pavlović’s work functions as a visual portal between historical imaginary worlds and the hyperproduction of contemporary digital imagery. At the centre of the composition opens a scene resembling a sublime divine revelation, around which engraved figures drawn from the iconography of old illustrations and religious imagery accumulate. This collision of different epochs and visual information — collective history, internet culture, and mass media — transforms into the representation of a new mythology. The work operates as an 22

tuje se u precizno oblikovanom pejzažu u kojem priroda djeluje istodobno stvarno i nemoguće. Umjetno konstruiran prostor obilježen je simetrično podijeljenim oblacima i grupiranim stablima koja djeluju poput scenografije ili mentalnoga krajolika kojim se naslućuje stanje liminalnosti, prijelazni prostor između staroga i novoga identiteta.

Rad Zdravka Milića temelji se na vizualnom jeziku računalne grafike i arkadnih igara koji naglašava umijeće simuliranja prostora i iskustvo kretanja kroz digitalni svijet karakterističnih kontrasta, boja i efekata. Autor razvija specifičnu estetiku reducirane forme jednostavnih modela i sintetičkog pejzaža. Geometrijski oblici i pikselizirane i glitch teksture podupiru širenje beskonačnog i virtualnog prostora, dok elementi poput svjetlećih putanja i lebdećih objekata stvaraju ritam, brzinu i vizualnu prenaglašenost.

Diana Zrnić sugerira prizore u kojima se više trenutaka događa istodobno, a vrijeme unutar slike je rastegnuto. Motivi se preklapaju se i ponavljaju na različitim mjestima

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ironic commentary on the contemporary society of spectacle, consumerism, and digital aesthetics, in which trivial content acquires the status of the sacred or cosmically significant.

Ana Marija Pekšić focuses on bodily fragments, gestures, and details of clothing that function as intimate visual excerpts. Faces are partially concealed, bodies cropped by the frame, while attention is directed towards touch, folds of fabric, a glance, or the position of a hand. Through such framing, the artist dismantles classical portrait representation, reducing identity to traces of presence and emotional states. The soft tonal palette creates an impression of tenderness and restrained sensuality, while simultaneously suggesting distance and the impossibility of complete connection with the depicted figures.

Like a raw visual diary of anxiety, rebellion, and inner chaos, Tara Stanić’s works present black-and-white expressive gestures, distorted faces, and recurring motifs that generate an atmosphere of paranoia and constant surveillance. Written words and

unutar istoga kadra, djelujući poput zaustavljenih filmskih sekvenci ili dugog ekspozicijskog zapisa. Tijelo više nije stabilno i jedinstveno, već je imago raspršen kroz niz vremenskih odsječaka koji istovremeno ostaju prisutni u prostoru slike. Višestruke perspektive deformiraju strukturu prostora, čime se istodobno ostvaruju dubina, naglašena plošnost prikaza i prisutnost prethodnih trenutaka.

Slike s odmora Maje Rožman izvedene su u maniri svojevrsna pulp i pop-realizma koji propituje predrasude o umjetnikovu radu kao odmoru, maljanju i relaksaciji, ne uvažavajući primjerice činjenicu da je u svaku autoričinu sliku, od ideje do realizacije, uloženo 40 sati rada te da je umjetničko stvaranje rad. Format i bjelina papira ne dozvoljavaju više pojedinačnih podrobnih analiza. U vremenu ubrzane digitalizacije i vizualne prezasićenosti slika i slikarstvo ostaju neiscrpni mediji izraza i komunikacije koji nadilaze granice fizičkog i virtualnog.

Oni nisu samo ogledalo stvarnosti nego i aktivni sudionici u oblikovanju identiteta, kolektivnih sjećanja i složenih narativa suvremenoga svijeta. Uz bogatstvo tehnoloških mogućnosti i medijskih promjena, slika zadržava svoju duboku emocionalnu i simboličku snagu, pozivajući promatrača na aktivno sudjelovanje u procesu otkrivanja značenja. Umjetnost slike još je uvijek prostor slobode, kritičkog promišljanja i trajne povezanosti čovjeka sa sobom i svijetom koji ga okružuje.

fragmented messages function as impulsive traces of thought or internal monologue. The composition appears deliberately overcrowded and aggressive; its almost childlike grotesque drawing style evokes the aesthetics of underground comics, graffiti, and art brut, becoming a visual equivalent of informational overload, emotional excess, and social pressure.

Predrag Todorović creates a space between presence and disappearance — between the concrete material trace and the visual sequence of temporal dissolution, whose surfaces retain impressions of memory, transience, and transformation. Like archaeological artefacts, these forms carry information about recurring cycles and specific interactions that enable both spiritual and internal, as well as bodily, material, and social modes of understanding.

Andrej Tomić creates thick painterly accumulations in which brushstrokes construct an almost sculptural volume of form. The intense contrast between yellow and blue tones generates depth, vibrancy, and an internal spatial dynamism. Focusing on the relationship between mass, colour, and rhythm, the artist creates an abstract form anchored to the surface yet surrounded by clouds, making it appear simultaneously realistic and surreal. The work balances between figuration and abstraction, the everyday and the symbolic.

The quiet surrealism of Vladimir Tomić is manifested in a precisely articulated landscape in which nature appears at once real and impossible. The artificially constructed space is marked by symmetrically divided clouds and grouped trees that resemble stage scenery or a mental landscape suggestive of liminality — a transitional zone between old and new identities.

Zdravko Milić’s work is grounded in the visual language of computer graphics and arcade games, emphasising the simulation of space and the experience of movement through a digital world characterised by striking contrasts, colours, and effects. The artist develops a distinctive aesthetic of reduced form, simple models, and synthetic landscapes. Geometric shapes together with pixelated and glitch textures reinforce the expansion of infinite virtual space, while elements such as luminous trajec24

tories and floating objects create rhythm, speed, and visual intensity.

Diana Zrnić suggests scenes in which multiple moments unfold simultaneously and time within the image is stretched. Motifs overlap and recur at different points within the same frame, resembling suspended film sequences or long-exposure recordings. The body no longer appears stable or singular; rather, the imago is dispersed across a succession of temporal fragments that remain simultaneously present within the pictorial space. Multiple perspectives deform the structure of space, thereby producing depth, emphasised flatness, and the lingering presence of previous moments.

Maja Rožman’s holiday paintings are executed in a manner akin to a form of pulp and pop realism that questions prejudices surrounding artistic labour as leisure, pastime, or relaxation, disregarding, for example, the fact that each of the artist’s works — from conception to realisation — involves forty hours of labour, and that artistic creation is work. The format and whiteness of the paper do not permit more detailed individual analyses.

In an age of accelerated digitalisation and visual oversaturation, the image and painting remain inexhaustible media of expression and communication that transcend the boundaries between the physical and the virtual. They are not merely mirrors of reality but active participants in the shaping of identity, collective memory, and the complex narratives of the contemporary world. Amid the abundance of technological possibilities and media transformations, the image retains its profound emotional and symbolic force, inviting the observer to participate actively in the process of discovering meaning. The art of the image remains a space of freedom, critical reflection, and enduring connection between human beings, themselves, and the world that surrounds them.

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UMJETNICI / ARTISTS

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GRGUR AKRAP Tirkizni jahač / Turquoise Horseman, 2025. ulje i vosak na platnu / oil and wax on canvas 75 x 73 cm

Crveni Atelje / Red Studio, 2025. ulje i vosak na platnu / oil and wax on canvas 153 x 153 cm

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MIA AKRAP Odbacivanje kože / Shedding skin, 2025. akril na platnu / acrylic on canvas 160 x 125 x 4 cm

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GORDANA BAKIĆ Polje grananja / Branching Field, 2024. akril na platnu i gipsanim pločama / acrylic on canvas and plaster panels 260 x 800 x 200 cm

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BISERKA BARETIĆ Kamena harfa / Stone Harp, 2024. ulje na platnu / oil on canvas 200 x 150 x 3,5 cm

Svjetionik duše / Lighthouse of the Soul, 2024. ulje na platnu / oil on canvas 200 x 150 x 3,5 cm

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MAŠA BARIŠIĆ Entity, 2024. ulje na platnu / oil on canvas 120 x 100 x 4 cm

Entity, 2024. ulje na platnu / oil on canvas 120 x 100 x 4 cm

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MIHAEL BAĐUN Izgubil sam ključ / I Lost the Key, 2025. akril i ulje na platnu / acrylic and oil on canvas 140 x 140 x 3 cm

Sagradil sam kuću / I Built a House, 2025. akril i ulje na platnu / acrylic and oil on canvas 140 x 140 x 3 cm

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NATALIA BORČIĆ PEUC Tunel Jastog 2 / Lobster Tunnel 2, 2025. ulje i akril na platnu / oil and acrylic on canvas 190 x 150 cm

Tunel Jastog 1 / Lobster Tunnel 1, 2025. ulje i akrilik na platnu / oil and acrylic on canvas 190 x 150 cm

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LEONARDO BUDIMLIĆ MAJNARIĆ Dvoje / A Pair, 2025. akril na platnu / acrylic on canvas 60 x 50 cm

Žena i dijete / Woman and Child, 2025. akril na platnu / acrylic on canvas 40 x 30 cm

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SEBASTIJAN DRAČIĆ Sanctum, 2025. ulje na platnu / oil on canvas 70 x 100 x 3 cm

Crvena / Red, 2025. ulje na platnu / oil on canvas 150 x 200 x 3 cm

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LORA ELEZOVIĆ Kaleidoskop / Kaleidoscope, 2025. ulje na drvu, kombinirana tehnika / oil on wood, mixed media 36 x 36 x 2,1 cm

Kaleidoskop / Kaleidoscope, 2025. ulje na drvu, kombinirana tehnika / oil on wood, mixed media 36 x 36 x 2,1 cm

Kaleidoskop / Kaleidoscope, 2025. ulje na drvu, kombinirana tehnika / oil on wood, mixed media 36 x 36 x 2,1 cm

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FEDOR FISCHER Tamna tvar 2 / Dark Matter 2, 2024. kombinirana tehnika na platnu / mixed media on canvas 150 x 180 x 5 cm

Tamna tvar 1 / Dark Matter 1, 2024. kombinirana tehnika na platnu / mixed media on canvas 150 x 180 x 5 cm

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IVANA FISCHER Tribal Machine, 2024. kombinirana tehnika / mixed media 70 x 50 x 1 cm

Family Planning, 2024. kombinirana tehnika / mixed media 70 x 50 x 1 cm

Ostali Izloženi radovi (bez reprodukcije u katalogu) / Other exhibited artworks (reproductions not included in the catalogue): Two Sheeps, 2024., kombinirana tehnika / mixed media, 70 x 50 x 1 cm | Praying Mantis, 2024., kombinirana tehnika / mixed media, 70 x 50 x 1 cm | Iskonski krik / Primal Scream, 2026., kombinirana tehnika / mixed media, diptih / diptych, 170 x 250 cm

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DANICA FRANIĆ Pomrčina sunca i mjeseca / Eclipse of Sun and Moon, 2024. rukom rađeni vez na lanenom platnu / hand-embroidered linen 52 x 39 cm

Vizija skakavaca / Vision of Grasshopper, 2024. rukom rađeni vez na lanenom platnu / hand-embroidered linen 52 x 39 cm

Kiša vatre i krvi / Rain of Fire and Blood, 2024. rukom rađeni vez na lanenom platnu / hand-embroidered linen 52 x 39 cm 54

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DANKO FRIŠČIĆ “ESL-Efekti Savitljive Lubanje” / “FSE-Flexible Skull Effects“, 2024. ulje na platnu / oil on canvas 120 x 600 cm

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BARTOL GALOVIĆ Razgovor / Conversation, 2024. ulje na platnu / oil on canvas 140 x 100 cm

Kavez / Cage, 2024.-2025. akril na kaširanoj podlozi – kombinirana tehnika / acrylic on mounted support – mixed media 140 x 100 cm

Gandalf, 2024. / 2025. kombinirana tehnika na platnu / mixed media on canvas 140 x 140 cm

Ostali Izloženi radovi (bez reprodukcije u katalogu) / Other exhibited artworks (reproductions not included in the catalogue): Prizivanje / Summoning, 2025., ulje na platnu / oil on canvas, 140 x 105 cm | Alati Manifestacije / Manifestation Tools, 2023., akril na platnu / acrylic on canvas, 140 x 100 cm (poliptih od četiri 50 x 70 cm)

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MARTINA GRLIĆ Palimpsest, 2025. ulje na drvu / oil on wood 5 x (30 x 40 x 5 cm)

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PETRA GROZAJ NAGRADA KONTRAPUNKT VLADIMIR DODIG TROKUT, IVA VRANEKOVIĆ - UMJETNICI UMJETNIKU / KONTRAPUNKT AWARD VLADIMIR DODIG TROKUT, IVA VRANEKOVIĆ – ARTISTS TO ARTIST

Donositelj oluje / Stormbringer, 2025. akril na platnu / acrylic on canvas 170 x 140 X 4 cm, 200 x 160 x 4 cm

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PAULINA JAZVIĆ Autistični pejzaži -br. 4 / Autistic Landscapes -no 4, 2024. ulje i akril na platnu / oil and acrylic on canvas 120 x 120 cm

Autistični pejzaži -br. 3 / Autistic Landscapes -no 3, 2024. ulje i akril na platnu / oil and acrylic on canvas 120 x 120 cm

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SANJA JUREŠKO Izlaz / Exit, 2023. akril na platnu / acrylic on canvas 150 x 100 x 3 cm

Izlaz / Exit, 2023. akril na platnu / acrylic on canvas 150 x 100 x 3 cm

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MARTA KATAVIĆ Mi casa su casa, 2025. ulje na nehrđajućem čeliku / oil on stainless steel 150 x 150 x 2 cm

Wirikuta(k), 2025. ulje na nehrđajućem čeliku / oil on stainless steel 150 x 300 x 2 cm

Casa Roja, 2025. ulje na metalu / oil on metal 20 x 20 x 0.3 cm

Casa Azul, 2025. ulje na metalu / oil on metal 20 x 20 x 0.3 cm

Casa Morada, 2025. ulje na metalu / oil on metal 20 x 20 x 0.3 cm

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ZLATKO KESER Prokleta moja / My Cursed One, 2025. ulje na platnu / oil on canvas 220 x 145 cm

Pusti me / Let me Be, 2025. ulje na platnu / oil on canvas 220 x 150 cm

Ostali Izloženi radovi (bez reprodukcije u katalogu) / Other exhibited artworks (reproductions not included in the catalogue): Osmoza i njezine spodobe / Osmosis and Its Apparitions, 2025., ulje na platnu / oil on canvas

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TEO KIŠ Barbike / Barbie Dolls, 2024. ulje na platnu / oil on canvas 170 x 120 x 3 cm

Boks / Boxing, 2024. ulje na platnu / oil on canvas 190 x 140 x 3 cm

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ANITA KOS Vidimo se kasnije / See you Later, 2025. ulje na platnu / oil on canvas 140 x 140 x 2 cm

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SLAVEN KOSANOVIĆ Unutar sebe / Within my Own Self, 2023. akril na stolnjaku / acrylic on tablecloth 73.5 x 73.5 cm x 2 cm

Podzemna melodija 01 / Subway Melody 01, 2024. sprej i akril na papiru / spray and acrylic on paper 58 x 82 cm

Podzemna melodija 02 / Subway Melody 02, 2024. sprej i akril na papiru / spray and acrylic on paper 58 x 82 cm

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GORDANA KOVAČIĆ MACOLIĆ Struktura: Metaportret 27 / Structure: Metaportrait 27, 2025. kombinirana tehnika na platnu / mixed media on canvas 150 x 300 x 4 cm

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DAVOR KRELJA Negdje na Zemlji / Somewhere on Earth, 2025. ulje na platnu / oil on canvas diptih / diptych, 150 x 200 cm

Otac stric duh / Father Uncle Ghost, 2025. ulje na platnu / oil on canvas diptih / diptych, 150 x 200 cm

Ostali Izloženi radovi (bez reprodukcije u katalogu) / Other exhibited artworks (reproductions not included in the catalogue): Sinovi i kćeri Europe / Sons and Daughters of Europe, 2025., ulje na platnu / oil on canvas, diptih / diptych, 150 x 200 cm

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RADOVAN KUNIĆ Mogućnost pedeset posto / Fifty Percent Chance, 2023. ulje na lanenom platnu / oil on linen canvas 260 x 200 x 4 cm

Umjereno s naoblakom / Moderately with Clouds, 2023. ulje na lanenom platnu / oil on linen canvas 260 x 200 x 4 cm

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MIRNA KUTLEŠA Stjeran u kut / Cornered, 2023. ulje na platnu / oil on canvas 130 x 150 cm

Posljednja zima / The Last Winter, 2024. ulje na platnu / oil on canvas 95 x 80 cm

Ostali Izloženi radovi (bez reprodukcije u katalogu) / Other exhibited artworks (reproductions not included in the catalogue): Argonauti / Argonauts, 2023., ulje na platnu / oil on canvas, 200 x 250 x 5 cm | Jabuka / Apple, 2024., ulje na platnu / oil on canvas, 185 x 205 x 5 cm

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LUCIA LABAS Omniprezentne zvijeri: premreženo metasebstvo / Omnipresent Beasts: Interconnected Metaself, 2025. akrilik i kombinirana tehnika na platnu / acrylic and mixed media on canvas 260 x 206 cm

Svjetlosne zvijeri: fikcije međutijela / Light Beasts: Fictions of Interbodies, 2025. slikarska instalacija: pleksiglas, pijesak, akrilna boja i mediji, video projekcija / painting installation: plexiglass, sand, acrylic paint and media, video projection 150 x 200 x 15 cm 86

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TOMISLAV LONČARIĆ Žega / Swelter, 2025. akrilna boja na fasadi / acrylic paint on facade 15 x 12 m

Nedjeljno / Sundays, 2025. akrilna boja na fasadi / acrylic paint on facade 17,5 x 8,5 m

Ostali Izloženi radovi (bez reprodukcije u katalogu) / Other exhibited artworks (reproductions not included in the catalogue): Švrljanje / Browsing, 2024., akrilna boja na fasadi / acrylic paint on facade, 17,5 x 9 m | Sentiment, 2024., akrilna boja na fasadi / acrylic paint on facade, 10 x 9 m | Figure / Figures, 2024., akrilna boja na fasadi / acrylic paint on facade, 19 x 13 m

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SLAVEN MACOLIĆ Mrčina II / Gloom II, 2025. kombinirana tehnika / mixed media 95 x 78 x 4 cm

Mrčina I / Gloom I, 2025. kombinirana tehnika / mixed media 87 x 70 x 4 cm

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IVICA MALČIĆ Ne treba mi smart phone / I Don’t Need a Smartphone, 2025. kolaž i akrilik na iverici / collage and acrylic on chipboard 93,5 x 46,5 cm

When I Was Young, 2025. kolaž i akrilik na iverici / collage and acrylic on chipboard 78 x 58 cm

Susret Marcela i Josipa / The Meeting of Marcel and Josip, 2025. kolaž i marker na iverici / collage and marker on chipboard 76 x 56 cm 92

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MIA MARAKOVIĆ Tekuće zlato / Liquid Gold, 2025. kombinirana tehnika na platnu, ulje na platnu / mixed media on canvas, oil on canvas Diptih 2 m x 3 m; donja slika figure 50 cm x 160 cm

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IVAN MARKOVIĆ Digitalis 1, 2025. ulje na platnu / oil on canvas 240 x 130 x 4 cm

Digitalis 2, 2025. ulje na platnu / oil on canvas 240 x 130 x 4 cm

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MITAR MATIĆ Blidinje I, 2024. enkaustika na šperploči / encaustic on plywood 140 x 140 x 3 cm

Boljuni, 2024. enkaustika na šperploči / encaustic on plywood 140 x 140 x 3 cm

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MARINA MESAR OKO “Prijatelji unutarnjeg mira” – bajke za odrasle koje nas spašavaju 2 / “Friends of Inner Peace” – Fairy Tales for Adults That Will Save Us 2, 2024. akril na platnu / acrylic on canvas 120 x 100 x 3 cm

“Prijatelji unutarnjeg mira” – bajke za odrasle koje nas spašavaju 1 / “Friends of Inner Peace” – Fairy Tales for Adults That Will Save Us 1, 2024. akril na platnu / acrylic on canvas 120 x 100 x 3 cm

Ostali Izloženi radovi (bez reprodukcije u katalogu) / Other exhibited artworks (reproductions not included in the catalogue): “LEVEL UP!” – Unutarnje igre preživljavanja / „Level UP!“ - Inner Survival Games, 2023., akril I kolaž na platnu / acrylic and collage on canvas, 200 x 120 x 3 cm | “Prijatelji unutarnjeg mira” – bajke za odrasle koje nas spašavaju 3 / “Friends of Inner Peace” – Fairy Tales for Adults That Will Save Us 3, 2024., akril na platnu / acrylic on canvas, 120 x 100 x 3 cm

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JOHN MILIČIĆ Zavoj / Curve, 2025. ulje i vosak na mediapan pločama / oil and wax on MDF panels 200 x 640 x 10 cm

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ZDRAVKO MILIĆ Vozni red Lunadroma II / Lunadrom Timetable II, 2025. akril na platnu / acrylic on canvas 120 x 200 x 3 cm

Vozni red Lunadroma I / Lunadrom Timetable I, 2025. akril na platnu / acrylic on canvas 120 x 200 x 3 cm

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OLIVER MIŠURA Portret Crvenog Lustera / Portrait of the Red Chandelier, 2024. ulje i akril na platnu / oil and acrylic on canvas 190 x 140 x 5 cm

Portret Bijelog Lustera / Portrait of the White Chandelier, 2025. ulje i akril na platnu / oil and acrylic on canvas 200 x 150 x 5 cm

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ANDREA MUSA PURKO Vremenski ciklusi - Transformacije / Time Cycles – Transformation, 2025. akrilik na platnu / acrylic on canvas 200 x 420 x 3 cm

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LAV PARIPOVIĆ Slikarski loop u procesu / Painting Loop in Process, 2021. - 2025. doku stop-motion video 4:40 min

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LUISA PASCU „Fran” , iz serije „Kupaonica” / “Fran” from the “Bathroom” Series, 2024. ulje na keramici / oil on ceramic 201 x 201 cm

NAGRADA ZA MLADU UMJETNICU 8. BIJENALA SLIKARSTVA / AWARD FOR YOUNG ARTIST OF THE 8TH BIENNIAL OF PAINTING

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„Luisa”, iz serije „Kupaonica” / “Luisa” from the “Bathroom” Series, 2024. ulje na keramici / oil on ceramic 201 x 201 cm

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PAVLE PAVLOVIĆ Ratnik / Warrior, 2024. ulje na platnu / oil on canvas 210 x 160 x 3,5 cm

Zlatko i Svijećnjaci / Goldy and the Candlesticks, 2025. ulje na platnu / oil on canvas 210 x 160 x 3,5 cm

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ANAMARIA PEKŠIĆ Leđa / The Back, 2025. ulje na platnu / oil on canvas 100 x 70 x 2 cm

Intimne scene / Intimate Scenes, 2025. ulje na platnu / oil on canvas poliptih / polyptych, 30 x 111 cm x 2 cm

NAGRADA KONTRAPUNKT VLADIMIR DODIG TROKUT, IVA VRANEKOVIĆ - UMJETNICI UMJETNIKU / KONTRAPUNKT AWARD VLADIMIR DODIG TROKUT, IVA VRANEKOVIĆ – ARTISTS TO ARTIST

Šalica / A Cup, 2024. ulje na platnu / oil on canvas 70 x 50 x 2 cm

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LEA POPINJAČ Bilježnice I / Notebooks I, 2025. kombinirana tehnika / mixed media 10 x (29,7 x 21 x 3 cm)

Bilježnice II / Notebooks II, 2025. kombinirana tehnika / mixed media 10 x (29,7 x 21 x 3 cm)

Ostali Izloženi radovi (bez reprodukcije u katalogu) / Other exhibited artworks (reproductions not included in the catalogue): Bilježnice II / Notebooks II, 2025., kombinirana tehnika / mixed media, 8 x (29,7 x 21 x 3 cm)

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PATRICIJA PURGAR Unutra (Mrtva priroda sa ekranom) / Inside (Still Life with a Screen), 2025. akrilik na platnu / acrylic on canvas 100 x 135 x 3 cm

Plavi interijer / Blue Interior, 2025. akrilik na platnu / acrylic on canvas 129, 5 x 139, 5 x 3 cm

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MIHAELA RAŠICA Kino sloboda / Cinema Sloboda, 2026. ulje na platnu / oil on canvas 180 x 200 cm

Ispred Gradske kavane / In front of the City Cafe, 2026. ulje na platnu / oil on canvas 180 x 160 cm

Ostali Izloženi radovi (bez reprodukcije u katalogu) / Other exhibited artworks (reproductions not included in the catalogue): Razglednica / Postcard, 2024., ulje na platnu / oil on canvas, 200 x 150 x 4 cm | Dijete / Child, 2024., ulje na platnu / oil on canvas, 200 x 160 x 4 cm | Sjećanje na crvenu / Remembering Red, 2024., ulje na platnu / oil on canvas, 160 x 180 x 4 cm

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DOMAGOJ ROGINA Unutarnji pejzaž / Inner Landscape, 2025. ulje na platnu / oil on canvas 130 x 90 cm

Narančasti portal / Orange Portal, 2025. ulje na platnu / oil on canvas 130 x 90 cm

Koliba u planini / The Mountain Cabin, 2024. ulje na platnu / oil on canvas 130 x 90 cm

Ostali Izloženi radovi (bez reprodukcije u katalogu) / Other exhibited artworks (reproductions not included in the catalogue): Sedam munja / Seven Thunders, 2025., ulje na platnu / oil on canvas, 130 x 90 cm | Mekani vrhovi / Soft Ends, 2025., ulje na platnu / oil on canvas, 130 x 90 cm | Mali prolaz / Small Passage, 2025., ulje na platnu / oil on canvas, 130 x 90 cm

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MAJA ROŽMAN Suveniri niotkuda / Souvenirs of Nowhere, 2025. kombinirana tehnika / mixed media promjenjive dimenzije

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JELENA SOKIĆ Toliko o tome i tako dalje / So Much for That, and so on, 2025. ulje na platnu / oil on canvas 165 x 230 cm

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TARA STANIĆ Snovi u kompoziciji I / Dreams in Composition I, 2025. akril na kaširanom platnu / acrylic on mounted canvas 380 x 450 cm

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MIRAN ŠABIĆ Polje sjećanja / Field of Dreams, 2024. ulje na platnu, pleksiglas, stabljike kukuruza, teglice / oil on canvas, plexiglass, corn stalks, jars instalacija 200 x 250 x 250 cm; slika 200 x 180 cm

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ZORAN ŠIMUNOVIĆ Leptiri / Butterflys, 2025. ulje na platnu / oil on canvas 150 x 150 cm

Vrtovi / Gardens, 2025. ulje na platnu / oil on canvas 150 x 150 cm

Ostali Izloženi radovi (bez reprodukcije u katalogu) / Other exhibited artworks (reproductions not included in the catalogue): Život / Life, 2025., ulje na platnu / oil on canvas, 180 x 900 cm

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GORANA TEŽAK Doručak kod Irene / Breakfast at Irena’s, 2025. ulje na platnu / oil on canvas 140 x 160 x 4 cm

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JOSIP TIRIĆ Kazalište javne sigurnost / Public Safety Theater, 2024. akril, akrilni sprej / acrylic, acrylic spray 180 x 200 x 3 cm

Program kulturne razmjene / Cultural Exchange Program, 2024. akril, akrilni sprej / acrylic, acrylic spray 180 x 200 x 3 cm

Ostali Izloženi radovi (bez reprodukcije u katalogu) / Other exhibited artworks (reproductions not included in the catalogue): Kazalište javne sigurnost / Public Safety Theater, 2024., akril, akrilni sprej / acrylic, acrylic spray, 180 x 200 x 3 cm

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PREDRAG TODOROVIĆ Lokalitet bez mjesta - T1 / Area Without a Specific Place - T1, 2025. kombinirana tehnika na platnu na drvenom okviru / mixed media on canvas on wooden frame 170 x 315 x 4,5 cm Lokalitet bez mjesta - T2 / Area Without a Specific Place - T2, 2025. kombinirana tehnika na platnu na drvenom okviru / mixed media on canvas on wooden frame 170 x 315 x 4,5 cm

GRAND PRIX NAGRADA 8. BIJENALA SLIKARSTVA / GRAND PRIX AWARD OF THE 8TH BIENNIAL OF PAINTING

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ŠIMUN TOLIĆ Džungla u plamenu / Jungle Burning, 2025. ulje na platnu / oil on canvas 200 x 160 x 4 cm

Pandemonium, 2025. ulje na platnu / oil on canvas 200 x 160 x 4 cm

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ANDREJ TOMIĆ Rez / Cut, 2025. ulje na platnu / oil on canvas 90 x 260 cm

Suhe grane / Dry Branches, 2025. ulje na platnu / oil on canvas 180 x 130 cm

Ispred obzora / In Front of the Horizon, 2025. ulje na platnu / oil on canvas 90 x 260 cm

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VLADIMIR TOMIĆ Puno je lakše flosati zube nakon 2, možda 3, dana posta / It’s so Much Easier to Floss my Teeth After 2, Maybe 3, Days of Fasting, 2024. akril na platnu / acrylic on canvas 100 x 80 x 3 cm

Uglavnom, samo sam sjedio tamo i... koje je ono bilo pitanje? / Anyway, I was Just Sitting There and... What Was the Question Again?, 2025. akril na platnu / acrylic on canvas 100 x 80 x 3 cm

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LASLO VAŠTAG Lojtra / Ladder, 2025. ulje na platnu / oil on canvas 200 x 100 cm

Kontrola / Control, 2025. ulje na platnu / oil on canvas 180 x 140 cm

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ZLATAN VEHABOVIĆ Our Side Has To Win, 2025. ulje na platnu / oil on canvas 200 x 300 cm

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BOJANA VUKOJEVIĆ Barun Buha / Baron the Flea, 2024. akril na kartonu / acrylic on cardboard Promjer: 61 cm x dubina: 6 cm

Školski portret malog Grinje / The School Portrait of a Little Mite, 2024. akril na kartonu / acrylic on cardboard 38 x 32 cm, 5 x 5 cm

Plemenita buha / Noble flea, 2025. akril na kartonu / acrylic on cardboard 5 x 5 cm

Ostali Izloženi radovi (bez reprodukcije u katalogu) / Other exhibited artworks (reproductions not included in the catalogue): Plemenite buhe / Noble fleas, 2025., osam minijatura / eight miniatures, akril na kartonu / acrylic on cardboard, 5 x 5 cm | Mlada uš prvi put kod frizera / A Young Louse at the Hairdresser for the First Time, 2025., akril na kartonu / acrylic on cardboard, 24 x 22 cm | Demodex se s nama gleda u ogledalo / Demodex Looks in the Mirror with us, 2025., akril na kartonu / acrylic on cardboard, 23 x 23 cm, 5 x 5 cm

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DANIJEL ŽEŽELJ Mašina za kosti / Bone Machine, 2023. akrilik na dasci / acrylic on panel 120 x 460 x 2 cm

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IZLOŽBA AUSTRIJSKIH UMJETNIKA / EXHIBITION OF AUSTRIAN ARTISTS BEYOND BOUNDARIES: GRAZ PAINTING PERSPECTIVES

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BEYOND BOUNDARIES: PERSPEKTIVE SUVREMENOG SLIKARSTVA IZ GRAZA/ ŠTAJERSKE/AUSTRIJE I ŠIRE – 8. BIJENALE SLIKARSTVA U HRVATSKOJ BEYOND BOUNDARIES: PERSPECTIVES ON CONTEMPORARY PAINTING FROM GRAZ/ STYRIA/AUSTRIA AND BEYOND – 8TH BIENNIAL OF PAINTING IN CROATIA Luise Kloos

UVOD

INTRODUCTION

Umjetnici iz Graza/Štajerske pozvani su da svoje recentne radove predstave na hrvatskom bijenalu slikarstva. Umjesto unaprijed definiranog kustoskog koncepta kojeg umjetnici trebaju sadržajno slijediti, ovdje su u fokusu njihova najnovija ostvarenja.

Ova djela predstavljaju međugeneracijski presjek stvaralaštva – godine rođenja umjetnika obuhvaćaju raspon od šezdeset godina – te svjedoče o mnoštvu mogućnosti kojima se umjetnici danas mogu izraziti kroz medij slikarstva. Ujedno prikazuju i razvoj slikarstva od 20. prema 21. stoljeću pa nadalje. Zapravo, naslov ovog teksta predstavlja zajedničku temu za sve sudionike: „Beyond Boundaries:“.

Danas u slikarstvu svjedočimo nesmetanom suživotu apstrakcije i realizma, prepoznajemo utjecaj digitalnih slika te uočavamo iskrivljeni prikaz „funkcionalnog ljudskog bića” sagledan iz feminističke perspektive u različitim društvenim kontekstima i psihološkim stanjima. Radovi upućuju na nove aspekte ili povijesne reference u izboru izražajnih postupaka. Time se otvara još jedno zajedničko obilježje: poziv na gledanje očima koje osjećaju. (Kandinsky, 2010).

Različitim metodama svi ovi umjetnici istražuju prostore u kojima se

The Croatian Biennial of Painting has invited artists from Graz/Styria to present their current work. Rather than a preconceived curatorial concept that the artists follow in terms of content, it is the current work of the individual artists that is important.

The current works represent a cross-generational body of work: the artists’ years of birth span a period of 60 years. These works demonstrate the plurality of possibilities for artists to express themselves through painting today. They also show the development of painting from the 20th century into the 21st century and beyond. In fact, the title of this text is the common theme for all participants: “Beyond Borders.”

Today, we see the seamless coexistence of abstraction and realism in painting, recognize the influence of digital images, and notice the distorted image of the “functioning human being” with a feminist perspective in various social contexts and psychological states. The works refer to new aspects or historical references in the choice of means of expression. Here we experience another shared characteristic, namely the invitation to see with our eyes in a feeling way. (Kandinsky, 2010) Using different methods, all artists explore spaces into which they extend

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njihove slike protežu izvan granica ili koje u potpunosti preoblikuju. Propituju našu percepciju, uvijek uz pridruženu dimenziju duhovnosti i transcendencije.

Stupanj apstrakcije u kojem se pojavljuju likovni elementi postao je najvažnije mjerilo napretka u umjetnosti 20. stoljeća. Osjećaj uzvišenoga očitovao se u oblicima i formalnim odnosima, daleko od bilo kakve narativnosti. Neočekivani vizualni fenomeni izazivali su čuđenje i iznenađenje, često popraćeni osjećajem gubitka.

Razumijevanje intelektualnih i estetskih koncepata suvremenika donosilo je osjećaj zadovoljstva. (Paul Z. Rotterdam, 2025).

No pojedini sudionici ne fokusiraju se isključivo na estetske procese u slikarstvu, već tematiziraju i društvena očekivanja te pružaju otpor pojednostavljivanju i objektivizaciji koja nas okružuje. Kroz izrazito individualna likovna rješenja svi oni istražuju i proširuju granice te propituju slikarske mogućnosti izvan ustaljenih postulata estetskoga diskursa.

Radikalni stavovi Paula Z. Rotterdama i Alfreda Barsuglije uspostavljaju zanimljivu poveznicu između potpune apstrakcije i visokog realizma te širenja likovnoga u stvarni prostor. Oni istražuju likovni prostor neočekivanim metodama i omogućuju promatraču da osjeti neposrednost njihovih radova. Dok se Alfredo Barsuglia referira na svakodnevicu, Paul Z. Rotterdam definira stvarni prostor svojim trodimenzionalnim objektima i bavi se estetskom realnošću. Kroz svoju feminističku percepciju, Rebecca LittleJohn koristi grafička rješenja, nijanse boja, oblike i trodimenzionalne objekte kako bi izrazila predanost cjelini na slici koja ne prestaje zadivljavati. Luise Kloos čini estetske odluke vidljivima. Pritom se bavi učincima posljedica i ukazuje na potrebu za potpunom koncentracijom tijekom procesa slikanja. Violetta Ehnsperg također propituje granice. S jedne strane, boja joj pomaže postići neposrednost u vizualnom doživljaju, dok s druge strane u nju „pakira“ emocije koje nadahnjuju njezinu kreativnost. U svojim slikama Anja Korherr eksperimentira s povijesnoumjetničkim referencama te obogaćuje svoja iskustva i percepcije refleksijama, distorzijama svjetla i fluorescentnim podslikama. Radovi Nadine Nebel prikazuju unutarnje svjetove ljud-

their images beyond boundaries or which they alter entirely. They question our own perception, with spirituality and transcendence always present as an accompanying element.

The degree of abstraction in which pictorial elements appear became the most important barometer for progress in art in the 20th century. The feeling of the sublime manifested itself in forms and formal relationships, far removed from anything narrative. Unexpected visual phenomena caused astonishment and surprise, combined with a feeling of loss.

It was a satisfying thing to understand the intellectual and aesthetic concepts of one’s contemporaries. (Paul Z. Rotterdam, 2025).

However, some participants focus not only on the aesthetic process in painting but also address society’s expectations and offer resistance to the simplification and objectification that surrounds us. Through highly individual pictorial solutions, they all explore and expand boundaries and seek painterly possibilities beyond the established postulates of the aesthetic discourse.

The radical positions of Paul Z. Rotterdam and Alfredo Barsuglia form an interesting link between complete abstraction and high realism and the extension of pictorial space into real space.

They explore the pictorial space using unexpected methods and allow viewers to feel the immediacy of their works. While Alfredo Barsuglia refers to everyday life, Paul Z. Rotterdam defines real space with his three-dimensional objects and is concerned with aesthetic reality. Through her feminist perception, Rebecca LittleJohn uses graphic solutions, color nuances, shapes, and three-dimensional objects to convey a devotion to totality in the image that never ceases to amaze. Luise Kloos makes aesthetic decisions visible. In doing so, she addresses the effects of consequences and points to the need for total concentration during the process of painting. Violetta Ehnsperg also challenges boundaries. On the one hand, color helps her to achieve immediacy in the visual experience, while on the other hand, in it she “packages” the emotions which inspire her creativity. In her paintings, Anja Korherr 164

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skog postojanja, jasno sagledane i atmosferski zgusnute. Mirjam Schrei suptilno se bavi razinom međuljudskih odnosa čija kvaliteta određuje naš suživot i blagostanje.

Alexander Grimm i Erwin Lackner analognim uljenim slikarstvom propituju digitalnu sliku i svjetonazor koji ona prenosi, koji čovjeka svodi na brzinu i funkcionalnost, čime prizivaju propast društva.

RADOVI UMJETNIKA Rad Paula Zwietniga-Rotterdama, člana skupine Supports/Surfaces, predstavlja svojevrsnu kulminaciju estetskih načela koja su obilježila završnu fazu modernizma, kada je postalo jasno jasno da se tradicionalne granice između slikarstva, kiparstva i arhitekture otvaraju te da je razvoj apstrakcije tek nusproizvod sveobuhvatnog traganja za formom. Uvođenjem trodimenzionalnih elemenata na površinu platna slikovni prostor počinje vibrirati između iluzije dubine i vlastite materijalne stvarnosti.

Slika odjednom postaje objekt u neposrednoj fizičkoj realnosti.

Umjetnički rad Alfreda Barsuglije obilježen je multidisciplinarnim pristupom i spajanjem različitih oblika izražavanja, medija i tehnika. Svojim djelima neprestano prkosi očekivanjima i suprostavlja se situacijama kako bi otvorio diskurs o prividno trivijalnom i naizgled svakodnevnom.

Kao u djelu „Peanut“, koje prikazuje realistično naslikan kikiriki, krug naslikan žutim sprejem na platnu i zidu predstavlja slom očekivanja i istodobno propituje društvene, ekonomske i ekološke vrijednosti.

Slike Violette Ehnsperg izraz su oslobođenja. Boje služe kao kanal za izražavanje njezinih emocija, želja, strahova, sumnji i radosti. Umjetnica svjesno koristi smjele, agresivne boje – jarke tonove koji su glasni i zahtijevaju pozornost. Pozivaju promatrača da slike doživi bez predrasuda i intelektualnih prepreka te da osjeti vlastitu reakciju na njih. Njezino slikarstvo stoga nije samo vizualni doživljaj već i emocionalno putovanje. Kao mjesto gdje se emocije izražavaju u punoj snazi, ono odražava unutarnji svijet umjetnice – kaotičan, divlji, pun ljepote i jasnoće.

Radovi Rebecce LittleJohn pozivaju promatrača u njezin atelje kako bi uronio 166

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experiments with art-historical references and enhances her experiences and perceptions with reflections, light distortions, and fluorescent underpaintings. Nadine Nebel’s works depict the inner worlds of human existence, clearly observed and atmospherically condensed. Mirjam Schrei subtly addresses the level of human relationships, whose quality defines our coexistence and well-being.

Alexander Grimm and Erwin Lackner use analog oil painting to examine digital imagery and the worldview it conveys, which reduces us humans to speed and functionality, thus evoking the decline of society.

ARTISTS’ WORKS The work of Paul Zwietnig-Rotterdam, a member of the Supports/Surfaces group, is like a culmination of the aesthetic principles that governed the final phase of modernism, when it became clear that the traditional boundaries between the individual media of painting, sculpture, and architecture would open up and that the development of abstraction was only a by-product of the overarching search for form. He introduces three-dimensional elements to the surface of the canvas, allowing the pictorial space to float between the illusion of depth and literal self-representation. Suddenly, the painting is an object in the immediacy of physical reality.

Alfredo Barsuglia’s artistic work is characterized by a multidisciplinary approach and a fusion of different forms of expression, media, and techniques. With his works, he constantly attempts to break with expectations and counteract situations in order to generate a discourse about the supposedly trivial and seemingly mundane. As in “Peanut”, a realistic painting of peanuts, a circle suddenly sprayed in yellow on the canvas and wall represents a break with expectations and at the same time questions social, economic, and ecological values.

Violetta Ehnsperg’s paintings are an expression of liberation. The colors serve as a channel for her emotions, desires, fears, doubts, and joy. The artist deliberately uses bold, aggressive colors—bright tones that are loud and demand attention. They invite

„u moju percepciju moje percepcije percepcije”. Između prikazanog motiva i boje koja ga oblikuje, tema se obično prikazuje linijama kalibriranima u svojoj apstrakciji. Između subjektivnog prostora prikazanog sadržaja i objektivnog prostora kada sadržaj nije prikazan, linija može nestati u iluziji dubine ili naglasiti plastičnost. Često kaotične i iracionalne konture preuzete su iz prirode, dok linije neprestano osciliraju između crteža i slikanja. Trodimenzionalni pronađeni objekti smješteni su čisti i netaknuti na platnu ili ga uokviruju.

Za Luise Kloos apstrakcija je izraz unutarnjih procesa koji se još ne mogu izraziti riječima. Baš kao pri pisanju teksta, kada još nije jasno što bi trebalo čitati između redaka, isto vrijedi i za sliku. Međutim, slika ima moć transcendirati jezik i taj unutarnji proces iznijeti na vidjelo. Kada je tekst dovršen, više ne pokazuje borbu za unutarnji izraz. Slika može učiniti taj proces vidljivim i istodobno vizualizirati rezultat odluke.

Slikarstvo Anje Korherr nalazi se na sjecištu percepcije, sjećanja i logike digitalne slike. Iz stvarnih, fotografski dokumentiranih performansa, ona razvija višeslojne likovne prostore u kojima se vrijeme, radnja i perspektiva fragmentiraju i ponovno slažu. Njezine figure pojavljuju se kao dijelovi otvorenog eksperimenta – između pozornice, bara i laboratorija. Formalna sredstva poput refleksija, svjetlosnih distorzija i fluorescentnih pozadina stvaraju snovite prizore koji osciliraju između stvarnosti i fikcije.

Ona se referira na povijesnoumjetničke pravce poput kubizma i futurizma kako bi ponovno otvorila pitanja prostora, likovne istine i medijske konstrukcije.

Slike Mirjam Schrei bave se nadom, prolaznošću i međuljudskim odnosima. Postavljaju pitanje kako odnosi utječu na naše zdravlje. Svjetlom kao metaforom uvlači promatrača u tu sferu ljudske povezanosti. Jer postoji jasna razlika: nije važan broj kontakata, već kvaliteta naših odnosa.

Za umjetnicu, život znači odnos. Suptilnim kolorističkim ugođajima naglašava složenost i ranjivost odnosa.

Radovi Nadine Nebel osciliraju između sjećanja i sadašnjosti. Spajaju osobne fragmente svakodnevice s dojmovima iz stranih gradova i otkrivaju kako mjesta, putanje i refleksije postaju dio naše unu-

viewers to engage with the paintings without prejudice or intellectual barriers and to feel their own reaction to them. Her painting is thus not only a visual experience, but an emotional journey. As a place where emotions are expressed in all their power, it reflects the artist’s inner world – chaotic, wild, full of beauty and clarity.

Rebecca LittleJohn’s works invite viewers into her studio to immerse themselves “in my perception of my perception of perception.” Between what is depicted and the color that depicts it, their theme is usually rendered with lines that are calibrated in their abstractness. Between the subjective space of the depicted content and the objective space when the content is not depicted, a line can disappear into the illusion of depth or enhance the plasticity. The often chaotic and irrational contours are taken from nature, while the lines constantly alternate between drawing and painting. Three-dimensional found objects sit pure and unspent on the canvas or frame it.

For Luise Kloos abstraction serves as an expression of inner processes that cannot yet be put into words. Just as with writing a text, where it is not yet clear what should be read between the lines, the same is true for a painting. However, the painting has the power to transcend language and bring this inner process to light.

When a text is finished, it no longer shows the struggle for inner expression. A painting can make this process visible and at the same time visualize the result of the decision.

Anja Korherr’s painting lies at the intersection of perception, memory, and digital image logic. From real, photographically documented performances, she develops multi-layered pictorial spaces in which time, action, and perspective are fragmented and reassembled. Her figures appear as parts of an open experiment—between stage, bar, and laboratory. Formal means such as reflections, light distortions, and fluorescent backgrounds create dreamlike scenarios that oscillate between reality and fiction. She references art historical movements such as Cubism and Futurism in order to reexamine questions of space, pictorial truth, and media 168

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tarnje arhive. Fokus nije samo na napetosti između stranosti i bliskosti, već i na unutarnjem iskustvu očekivanja i sjećanja, jasno opaženom, atmosferski zgusnutom i često obojenom suptilnom ironijom.

Rad Alexandera Grimma povezuje dva svijeta: digitalni svijet stvaranja i analogni svijet djelovanja. Cilj mu je transformirati inteligentne, kritične, drske i ironične ideje u umjetnička djela putem slikarstva.

Njegove teme, poput sve izraženijeg kolapsa društva i prirode, čine temelj njegovih slika. Analogno uljano slikarstvo održava njegovu povezanost s alatom, s neposrednim djelovanjem vlastitih ruku i tijela te pokazuje duboku povezanost čovjeka sa samim sobom kao i s vlastitim stvaralaštvom.

U svojim slikama Erwin Lackner kritizira suvremene društvene tendencije. U dobu kojim dominiraju učinkovitost, upotrebljivost i funkcionalnost, raste osjećaj praznine i manjka dubine. Njegove bezglave, anonimne biste upućuju na tijelo kao resurs, kao mehanički organizam, na čovjeka kao zamjenjiv kotačić u velikoj gospodarskoj mašineriji. Odsutnost glave označava odsutnost dimenzije koja nas određuje kao pojedince. S glavom je nestao i um: mišljenje, osjećanje, maštanje, sanjanje. Umjetnik postavlja pitanje: „Što ostaje od čovjeka kada identitet, individualnost i intelektualna dubina prestanu biti važne?”

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construction.

Mirjam Schrei’s paintings explore hope, transience, and interpersonal relationships. They ask how relationships shape our health. Using light as a metaphor, she draws viewers into this sphere of human connection. For there is a clear distinction: it is not the number of contacts that matters, but the quality of our relationships. For the artist, life means relationships. In subtle color moods, she emphasizes the complexity and vulnerability of relationships.

Nadine Nebel’s works oscillate between memory and the present. They combine personal fragments of everyday life with impressions from foreign cities and reveal how places, paths, and reflections become part of our inner archive. The focus is not only about the tension between strangeness and familiarity, but also about the inner experience of expectations and memories, clearly observed, atmospherically dense, and often tinged with subtle irony.

Alexander Grimm’s work connects two worlds: the digital world of creation and the analog world of action. His aim is to transform clever, critical, cheeky, and ironic ideas into works of art through painting. His themes, such as the increasing collapse of society and nature, form the basis for his paintings. Analog oil painting maintains his connection to the tool, to the immediate action with his hands and his body and shows the deep connection between humans and themselves as well as their creative work.

In his paintings, Erwin Lackner criticizes current social developments. In an age dominated by efficiency, usability, and functionality, there is a growing sense of emptiness and a lack of depth. His headless, anonymous bust portraits refer to the body as a resource, as a mechanical organism, to humans as interchangeable cogs in the great economic machine. The absence of the head shows the absence of the dimension that defines us as individuals. With the head gone, so is the mind: thinking, feeling, imagining, dreaming.

The artist asks: “What remains of a person when identity, individuality, and intellectual depth no longer matter?”

ALFREDO BARSUGLIA Peanut, 2025. akril na platnu / acrylic on canvas 100 x 80 cm

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VIOLETTA EHNSPERG Pink Panther, 2025. ulje, akril i uljani pastel na platnu / oil, acrylic, and oil pastel on canvas 90 x 100 cm

Meaningfull Triviality, 2025. ulje, akril i uljani pastel na platnu / oil, acrylic, and oil pastel on canvas 90 x 100 cm

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ALEXANDER GRIMM “Space F – Spit out Process”, 2025. ulje na drvu / oil on wood 120 x 90 x 5 cm

Space F – Nice Get Away, 2025. ulje na drvu / oil on wood 120 x 90 x 5 cm

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LUISE KLOOS SO-2, 2025. akrilik na platnu / acrylic on canvas 30 x 24 cm

SO-1, 2025. akrilik na platnu / acrylic on canvas 95 x 95 cm

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SO-3, 2025. akrilik na platnu / acrylic on canvas 40 x 30 cm

ANJA KORHERR Zeppelin, 2025. ulje na platnu / oil on canvas 100 x 100 cm

The Silk Factory, 2025. ulje na platnu / oil on canvas 120 x 90 cm

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ERWIN LACKNER Charlie, 2025. ulje na platnu / oil on canvas 70 x 60 cm

Donald, 2025. ulje na platnu / oil on canvas 70 x 60 cm

Gertrud, 2025. ulje na platnu / oil on canvas 70 x 60 cm

Sophia, 2025. ulje na platnu / oil on canvas 70 x 60 cm

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REBECCA LITTLEJOHN It’s Twin, 2025. kombinirana tehnika / mixed media 41 x 41 cm

Sitting Lady, 2025. kombinirana tehnika / mixed media 46,5 x 71 cm

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NADINE NEBEL Speedway, 2025. ulje na platnu / oil on canvas 80 x 100 cm

N in Calmo, 2023.-2025. ulje na platnu / oil on canvas 100 x 100 cm

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PAUL ZWIETNIG-ROTTERDAM Blenheim, 2025. akril na platnu i drvu / acrylic on canvas and wood 60 x 51 cm

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MIRJAM SCHREI Between Us 2, 2025. kemijska olovka i ulje na platnu / ballpoint pen and oil on canvas 70 x 100 cm

Between Us 1, 2025. kemijska olovka i ulje na platnu / ballpoint pen and oil on canvas 70 x 100 cm

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POPRATNI PROGRAM / SIDE PROGRAM

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ALUZIJA

MOGUĆNOSTI TALENTA / THE POSSIBILITIES OF TALENT

Izložba studenata Akademije likovnih umjetnosti u Zagrebu i umjetnika Inkluzivne umjetničke galerije Art&CeRZe (Centar za rehabilitaciju Zagreb)

Exhibition of students of the Academy of Fine Arts in Zagreb and artists from the Inclusive Art Gallery Art&CeRZe (Zagreb Rehabilitation Center)

06.05.2026. – 28.05.2026.

Inkluzivna Galerija Art&CeRZe

06.05.2026. – 28.05.2026.

Inclusive Art Gallery Art&CeRZe

Umjetnici/ce ALU: Lara Kutić, Magdalena Katarina Petrčić, Karlo Kopić, Jakov Rosandić, Barbara Jurić, Franka Vrljić, Filip Paljar, Karlo Sabolić

ALU artists: Lara Kutić, Magdalena Katarina Petrčić, Karlo Kopić, Jakov Rosandić, Barbara Jurić, Franka Vrljić, Filip Paljar, Karlo Sabolić

Umjetnici/ce Inkluzivne umjetničke galerije Art&CeRZe (Centar za rehabilitaciju Zagreb) pod mentorstvom i vodstvom mr.art. Blanke Stančić Puhak: Zdravko Krešić, Marija Boban, Ivan Jakovljević, Doris Glad, Danijela Pavičić, Monika Mihelec, Petar Zečević, Jela Udovičić

Artists of the Inclusive Art Gallery Art&CeRZe (Zagreb Rehabilitation Center), under the mentorship and guidance of M.A. Blanka Stančić Puhak: Zdravko Krešić, Marija Boban, Ivan Jakovljević, Doris Glad, Danijela Pavičić, Monika Mihelec, Petar Zečević, Jela Udovičić

Tomislav Buntak

Izložba ALUZIJA, koja okuplja studente Akademije likovnih umjetnosti Sveučilišta u Zagrebu i umjetnike Centra za rehabilitaciju Zagreb, predstavlja načine na koje se likovni talent, u okviru institucije i kroz određene metode rada tijekom vremena, razvija i počinje zračiti onime što se može nazvati aurom umjetničkog djela. Taj pojam, koji Susan Sontag koristi u svojim promišljanjima o fotografiji kako bi objasnila posebnost i jedinstvenost pojedinačnog rada unatoč mogućnosti umnažanja istoga motiva, može se primijeniti i na slike i slikocrteže nastale u energiji mladosti i početnih kreativnih koraka umjetnika Centra za rehabilitaciju Zagreb, koji zrače nepatvorenim svjetlom talenta i autentičnoga stvaralačkog izraza. Odabrane studentice i studenti, kroz već višegodišnji rad u klasama Slikarskog odsjeka, prošli su, a i dalje prolaze, put promjene i neizvjesne umjetničke percepcije.

Unatoč različitim ikonografijama prisutnima u djelima predstavljenima na ovoj izložbi, moguće je jasno prepoznati: - talent kao temeljni preduvjet razvoja likovnog jezika te potencijal za usvajanje vještina, učenje i osobni kreativni razvoj u području likovnosti i slikarstva; - zaokružene i uvjerljive likovne pristupe ostvarene u predstavljenim slikama i slikocrtežima; - izrazitu razvojnu perspektivu, osobito kod studentica i studenata Slikarskog odsjeka; - niz osvježavajućih slikarskih ostvarenja iz kojih zrače potencijal mladosti i mogućnost oblikovanja vlastitih umjetničkih cjelina u budućnosti.

Izložba govori o mogućnostima likovnog talenta i njegovu postupnom ostvarivanju kroz kontinuiran i višegodišnji rad, kako u okviru visokoga umjetničkog obrazovanja tako i kroz posebne programe Centra za rehabilitaciju Zagreb.

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The exhibition ALUZIJA (ALLUSION), which brings together students of the Academy of Fine Arts, University of Zagreb, and artists from the Zagreb Rehabilitation Centre, presents the ways in which artistic talent develops over time within an institutional framework and through specific methods of work, gradually beginning to radiate what might be called the aura of the work of art. This concept, which Susan Sontag uses in her reflections on photography to explain the distinctiveness and uniqueness of an individual work despite the reproducibility of the same motif, can also be applied to the paintings and slikocrteži (drawing-paintings) created in the energy of youth and the first creative steps of the artists of the Zagreb Rehabilitation Centre.

These works radiate the genuine light of talent and an authentic creative voice. The selected students, through several years of work in the Painting Department studios, have undergone, and continue to undergo, a process of transformation and an evolving, uncertain artistic perception.

Despite the diverse iconographies present in the works exhibited here, it is possible to recognise clearly: - talent as a fundamental prerequisite for the development of a visual language, as well as the potential to acquire skills, learn, and develop creatively in the fields of visual art and painting; - coherent and convincing artistic approaches achieved in the exhibited paintings and slikocrteži; - a pronounced developmental trajectory, particularly among the students of the Painting Department; - a series of refreshing painterly achievements that radiate the potential of youth and the possibility of shaping distinctive artistic bodies of work in the future.

The exhibition speaks to the possibilities of artistic talent and its gradual ful-

Predstavljena djela svjedoče o iznimnom kreativnom potencijalu te o mogućnosti umjetničke komunikacije sa svijetom i neposrednom okolinom, na obostranu korist, spoznaju, radost i ispunjenje.

ALUZIJA: SLIKA KAO PROSTOR SUSRETA / ALUZIJA: PAINTING AS A SPACE OF ENCOUNTER

filment through sustained work over many years, both within higher arts education and through the specialised programmes of the Zagreb Rehabilitation Centre. The works presented testify to exceptional creative potential and to the possibility of artistic communication with the world and one’s immediate surroundings, for mutual benefit, insight, joy, and fulfilment.

Ida Blažičko

Izložba ALUzija, predstavljena u sklopu 8. bijenala slikarstva u inkluzivnoj Galeriji Art & CeRZe, nastala je suradnjom studenata diplomskih studija Odsjeka za slikarstvo i slikarskog usmjerenja Nastavničkog odsjeka Akademije likovnih umjetnosti Sveučilišta u Zagrebu i umjetnika Centra za rehabilitaciju Zagreb. Izložba je ostvarena u suradničkom okviru Galerije Art & CeRZe, uz voditeljski i mentorski doprinos Blanke Stančić Puhak, čiji je rad važan za kontinuitet galerije i razvoj inkluzivnog umjetničkog programa. Već samim kontekstom svoga nastanka, ALUzija ne govori samo o slici kao umjetničkom objektu, nego i o slici kao prostoru susreta, razmjene, prepoznavanja i zajedničkog stvaranja značenja.

Naziv izložbe izveden je iz latinske riječi allusio, koja označava aluziju, neizravno upućivanje, nagovještaj ili misaoni odjek. U tom značenjskom polju ne radi se o izravnoj poruci, jednoznačnoj tvrdnji ili gotovom zaključku, nego o suptilnom pozivu na gledanje, čitanje i tumačenje. Aluzija uvijek pretpostavlja odnos između onoga što je vidljivo i onoga što se tek nazire, između slike i promatrača, između namjere autora i osobnog iskustva onoga koji rad susreće. Upravo zato naslov ALUzija postaje prikladan okvir za izložbu koja okuplja različite umjetničke senzibilitete, istraživačke postupke i likovne jezike.

Radovi predstavljeni na izložbi ne nameću se kao zatvorene cjeline, nego se otvaraju kroz slojeve boje, geste, forme, ritma i prostora. U njima slika nije shvaćena isključivo kao površina, već kao polje odnosa. Ona može biti trag unutarnjeg stanja, zapis opažanja, prostor imaginacije, fragment naracije ili mjesto tihe koncentracije. Neki radovi polaze od osobnog i intuitivnog, drugi od promišljanja medija, strukture i kompozicije, no svi zajedno tvore raznoliku cjelinu u kojoj se suvremeno slikarstvo pojavljuje kao otvoren, živ i višeglasan prostor.

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The exhibition ALUzija, presented as part of the 8th Biennial of Painting at the inclusive Art & CeRZe Gallery, was created through the collaboration of graduate students from the Department of Painting and the painting programme of the Teacher Education Department at the Academy of Fine Arts, University of Zagreb, and artists from the Zagreb Rehabilitation Centre. The exhibition was realised within the collaborative framework of the Art & CeRZe Gallery, with the curatorial and mentoring contribution of Blanka Stančić Puhak, whose work is essential to the continuity of the gallery and the development of its inclusive artistic programme. Through the very context of its creation, ALUzija speaks not only about painting as an artistic object, but also about painting as a space of encounter, exchange, recognition, and the shared creation of meaning.

The exhibition title derives from the Latin word allusio, meaning allusion, indirect reference, suggestion, or an echo of thought. Within this field of meaning, the focus is not on a direct message, an unequivocal statement, or a final conclusion, but rather on a subtle invitation to observe, read, and interpret. An allusion always presupposes a relationship between what is visible and what only begins to emerge, between the image and the viewer, between the artist’s intention and the personal experience of the one encountering the work. For this reason, the title ALUzija becomes an appropriate framework for an exhibition that brings together diverse artistic sensibilities, exploratory approaches, and visual languages.

The works presented in the exhibition do not impose themselves as closed wholes, but instead unfold through layers of colour, gesture, form, rhythm, and space.

In them, painting is not understood exclusively as a surface, but as a field of relationships. It may become a trace of an inner

Posebna vrijednost ove izložbe nalazi se upravo u suradničkom modelu njezina nastanka. Susret studenata Akademije likovnih umjetnosti i umjetnika Centra za rehabilitaciju Zagreb ne treba promatrati kao izdvojenu gestu uključivanja, nego kao važan umjetnički i društveni čin.

Takve suradnje šire prostor vidljivosti, osnažuju međusobno povjerenje i podsjećaju da umjetnost nije privilegirani jezik zatvorenog sustava, nego zajedničko područje osjetljivosti, izražavanja i komunikacije.

One su važne za razvoj humanog i plemenitog društva jer stvaraju uvjete u kojima se različita iskustva ne izjednačavaju, ne pojednostavljuju i ne hijerarhiziraju, nego se susreću u svojoj punini.

Galerija Art & CeRZe, kao prva inkluzivna umjetnička galerija u ovom dijelu Europe, u tom smislu predstavlja iznimno važan prostor kulturne i društvene prakse.

Njezin kontinuitet, prepoznatljivost i inkluzivni karakter vezani su i uz predani rad Blanke Stančić Puhak, voditeljice galerije i mentorice, čiji je angažman važan za razvoj prostora u kojem se umjetničko stvaralaštvo osoba s intelektualnim teškoćama predstavlja s punim profesionalnim, umjetničkim i ljudskim uvažavanjem. Uloga galerije nadilazi samu izložbenu funkciju. Ona djeluje kao platforma vidljivosti, kontinuiteta i profesionalnog predstavljanja, ali i kao mjesto u kojem se propituju uobičajene granice umjetničkog sustava. U prostoru galerije inkluzija nije dodatak umjetničkom programu, nego njegov temeljni etički i estetski horizont.

Upravo zato ALUzija ne govori samo o radovima koji su izloženi, nego i o odnosima koji su omogućili njihovo zajedničko predstavljanje. Ona upućuje na mogućnost da slikarstvo bude medij blizine, pažnje i međusobnog uvažavanja. U vremenu ubrzanih slika, površnih pogleda i čestog gubitka osjetljivosti za nijanse, ova izložba poziva na sporije gledanje. Poziva nas da zastanemo pred slikom, ali i pred različitim iskustvima, senzibilitetima i načinima izražavanja koji se kroz nju susreću.

U tom susretu slika postaje prostor pažnje, otvorenosti i razumijevanja, mjesto na kojem različitost postaje izvor umjetničke vrijednosti i zajedničkog značenja.

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state, a record of perception, a space of imagination, a fragment of narrative, or a place of quiet concentration. Some works emerge from personal and intuitive impulses, while others stem from reflections on medium, structure, and composition; yet together they form a diverse whole in which contemporary painting appears as an open, living, and polyphonic space.

The particular value of this exhibition lies precisely in the collaborative model of its creation. The encounter between students of the Academy of Fine Arts and artists from the Zagreb Rehabilitation Centre should not be viewed as an isolated gesture of inclusion, but rather as an important artistic and social act. Such collaborations expand the space of visibility, strengthen mutual trust, and remind us that art is not the privileged language of a closed system, but a shared field of sensitivity, expression, and communication. They are essential to the development of a humane and generous society because they create conditions in which different experiences are neither equalised, simplified, nor hierarchised, but instead encountered in their full complexity.

The Art & CeRZe Gallery, as the first inclusive art gallery in this part of Europe, therefore represents an exceptionally important space of cultural and social practice. Its continuity, recognisability, and inclusive character are closely connected to the dedicated work of Blanka Stančić Puhak, the gallery’s director and mentor, whose engagement is vital to the development of a space in which the artistic creativity of persons with intellectual disabilities is presented with full professional, artistic, and human respect. The role of the gallery surpasses the exhibition function itself. It acts as a platform of visibility, continuity, and professional presentation, but also as a place in which the conventional boundaries of the art system are questioned. Within the gallery space, inclusion is not an addition to the artistic programme, but its fundamental ethical and aesthetic horizon.

For this reason, ALUzija does not speak only about the works on display, but also about the relationships that made their joint presentation possible. It points to the possibility of painting becoming a

studenti ALU-a: Lara Kutić, Magdalena Katarina Petrčić, Karlo Kopić, Jakov Rosandić, Barbara Jurić, Franka Vrljić, Filip Paljar i Karlo Sabolić, kao i umjetnice i umjetnici Centra za rehabilitaciju Zagreb: Zdravko Krešić, Marija Boban, Ivan Jakovljević, Doris Glad, Danijela Pavičić, Monika Mihelec, Petar Zečević i Jela Udovičić.

Njihovi radovi zajedno oblikuju izložbu koja ne traži jedno čitanje, nego mnoštvo mogućih pristupa. U tome se nalazi njezina snaga. ALUzija je izložba o slici, ali i o susretu. O vidljivom, ali i o onome što se tek naslućuje. O umjetnosti kao prostoru u kojem se razlike ne brišu, nego postaju izvor značenja.

medium of closeness, attentiveness, and mutual respect. In a time of accelerated images, superficial gazes, and the frequent loss of sensitivity to nuance, this exhibition invites us to look more slowly. It invites us to pause before the painting, but also before the different experiences, sensibilities, and modes of expression that encounter one another through it. In this encounter, painting becomes a space of attention, openness, and understanding — a place where difference becomes a source of artistic value and shared meaning.

The exhibition features students of the Academy of Fine Arts: Lara Kutić, Magdalena Katarina Petrčić, Karlo Kopić, Jakov Rosandić, Barbara Jurić, Franka Vrljić, Filip Paljar, and Karlo Sabolić, as well as artists from the Zagreb Rehabilitation Centre: Zdravko Krešić, Marija Boban, Ivan Jakovljević, Doris Glad, Danijela Pavičić, Monika Mihelec, Petar Zečević, and Jela Udovičić.

Together, their works shape an exhibition that does not seek a single reading, but rather a multiplicity of possible approaches. This is where its strength lies. ALUzija is an exhibition about painting, but also about encounter. About what is visible, but also about what is only beginning to be sensed. About art as a space in which differences are not erased, but become a source of meaning.

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Voditeljica i mentorica IUG Art&CeRZE Blanka Stančić Puhak, mr. art.s

Head of Programme and Mentor of IUG Art&CeRZE Blanka Stančić Puhak, M.A. in Fine Arts

Suradnja na slikarskim bijenalima između talentiranih umjetnika s intelektualnim teškoćama i studenata Akademija likovnih umjetnosti u Zagrebu predstavlja vrijedan primjer inkluzije, kreativne razmjene i zajedničkog umjetničkog stvaranja. Ovakav oblik suradnje omogućuje sudionicima da kroz umjetnost izraze svoje ideje i individualnost te da se talentirani pojedinci ostvare i predstave stručnoj i široj javnosti na najbolji mogući način. Studenti Akademije likovnih umjetnosti kroz ovu suradnju stječu nova iskustva, razvijaju senzibilitet i uče o važnosti umjetnosti kao sredstva društvenog i profesionalnog povezivanja u svijetu suvremene umjetnosti. Bijenale tako postaje prostor jednakih mogućnosti, u kojem talent i kreativnost dolaze u prvi plan.

Collaboration at painting biennials between talented artists with intellectual disabilities and students of the Academy of Fine Arts in Zagreb represents a valuable example of inclusion, creative exchange, and collaborative artistic creation. This form of collaboration enables participants to express their ideas and individuality through art, while also allowing talented individuals to develop their potential and present themselves to both professional audiences and the wider public in the best possible way. Through this collaboration, students of the Academy of Fine Arts gain new experiences, develop sensitivity, and learn about the importance of art as a means of social and professional connection within the world of contemporary art. The biennial thus becomes a space of equal opportunities, where talent and creativity come to the forefront.

BARBARA JURIĆ

KARLO KOPIĆ Buket / Bouquet, 2026. ulje na platnu / oil on canvas 150 x 120 cm

Mimikrije / Mimicry, 2026. akvarel na papiru / aquarel on paper 29,7 x 42 cm, 80 x 65 cm, 70 x 50 cm

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Radije ronim / I Prefer Diving, 2026. ulje na platnu / oil on canvas 150 x 150 cm

LARA KUTIĆ

FILIP PALJAR

Prozori i vrata - dvije zavjese / Windows and Doors - Two Curtains, 2026. akril i ulje na platnu / acrylic and oil on canvas 120 x 170 cm

Akt 3 / Nude 3, 2026. ugljen na papiru / charcoal on paper 260 x 180 cm

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MAGDALENA KATARINA PETRČIĆ Šahist / Chess Player, 2026. ulje na platnu / oil on canvas 120 x 100 cm

JAKOV ROSANDIĆ Netko tko dobro sluša / Someone Who Listens Well, 2026. akril na platnu / acrylic on canvas 150 x 120 cm

Inicijat / Initiate, 2026. ulje na platnu / oil on canvas 130 x 100 cm

Autoportret s kapom / Self-portrait With a Hat, 2026. akril na platnu / acrylic on canvas 60 x 80 cm

Ostali Izloženi radovi (bez reprodukcije u katalogu) / Other exhibited artworks (reproductions not included in the catalogue): Peter priprema paletu / Peter Prepares the Palette, 2026., akril na platnu / acrylic on canvas, 40 x 60 cm | Strašan buket / Awesome Bouquet, 2026., akril na platnu / acrylic on canvas, 40 x 60 cm | Strašna nedjelja / Awesome Sunday, 2026., akril na platnu / acrylic on canvas, 40 x 60 cm

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KARLO SABOLIĆ Licem u lice / Face to Face, 2026. akril na platnu / acrylic on canvas 50 x 60 cm

FRANKA VRLJIĆ Dobar vic / Good Joke, 2026. akril na platnu / acrylic on canvas 50 x 60 cm

Ostavština / Legacy, 2025. ulje na platnu / oil on canvas 150 x 150 cm

Ostali Izloženi radovi (bez reprodukcije u katalogu) / Other exhibited artworks (reproductions not included in the catalogue): Pomalo naopačke / A Little Upside Down, 2026., akril na platnu / acrylic on canvas, 25 x 30 cm

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Kvadrat otuđenosti / Square of Alienation, 2025. ulje na platnu / oil on canvas 150x150 cm

MARIJA BOBAN

DORIS GLAD

Mačka / Cat, 2026. kombinirana tehnika / mixed technique 50 x 70 cm

Muški i ženska / Male and Female, 2026. kombinirana tehnika / mixed technique 50 x 70 cm

IVAN JAKOVLJEVIĆ

ZDRAVKO KREŠIĆ

Glava / Head, 2026. pastele / pastels 50 x 70 cm

Zanimljiv čovjek / Interesting Man, 2026. flomasteri / felt-tip pens 50 x 70 cm

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MONIKA MIHELEC

DANIJELA PAVIČIĆ Siva slika / Gray Image, 2026. akril / acrylic diptih / diptych, 2 x (5 x 70 cm)

Šarene glave / Colorful Heads, 2026. flomasteri / felt-tip pens 2 x 25 x 35 cm

JELA UDOVIČIĆ

PETAR ZEČEVIĆ Šareni ljudi / Colorful People, 2026. kombinirana tehnika / mixed technique 50 x 70 cm

Ptice / Birds, 2026. flomasteri / felt-tip pens 50 x 70 cm

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ZA RUŽIČASTU NIJANSU VIŠE OD IČEGA / FOR THE PINK HUE MORE THAN ANYTHING

POMICANJE PLANINA / MOVING MOUNTAINS

ZORAN ŠIMUNOVIĆ 23.04.2026.

Galerija Spirit of Art / Spirit of Art Gallery Pod zidom 12, Zagreb

DOMAGOJ ROGINA 16.06.2026. - 11.07.2026.

Program Meštrovićevog paviljona u gostovanju / Meštrović Pavilion Visiting Programme Galerija Kranjčar / Kranjčar Gallery Kaptol 26, Zagreb

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OBALE RIJEKE STYX / STYX RIVERBANKS

MIA AKRAP, ŠIMUN TOLIĆ 13.06.2026.

Galerija Canvas / Gallery Canvas Ul. Nikole Tomašića 8, Zagreb

Mia Akrap, The Moth’s Vigil, 2026. sitotisak / silkscreen 58 x 40 cm

Šimun Tolić, Šumski požar / Wildfire, 2026. sitotisak / silkscreen 58 x 40 cm

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CREATIVCI 26. – 27. svibnja 2026.

Galerija Karas

Karas Gallery 26–27 May 2026

RADIONICA SLIKANJA BEZ KISTA – TEKSTURA, TRAG, EKSPERIMENT 24.5.2026.: 12 – 13:30 sati

PAINTING WITHOUT A BRUSH WORKSHOP – TEXTURE, MARK-MAKING, AND EXPERIMENTATION 24 May 2026: 12-1.30 pm

RADIONICA KOLAŽA – SLIKE OD PAPIRA, FRAGMENTA I PRIČE 31.5.2026.: 12 – 13:30 sati

Treći ciklus edukativnog programa CreArtivci, u organizaciji Hrvatsko društvo likovnih umjetnika, a u sklopu europskog projekta CreArt 3.0, nastavlja povezivati suvremene umjetničke prakse, obrazovanje i aktivno sudjelovanje mladih kroz niz radionica, stručnih vodstava i zajedničkog kreativnog rada.

Program okuplja učenike šest zagrebačkih osnovnih i srednjih škola — OŠ Jabukovac, OŠ Miroslava Krleže, OŠ I. Gundulića te V., VII. i X. gimnazije — koji su tijekom ciklusa sudjelovali u edukativnim aktivnostima razvijenima uz stručna vodstva i posebno osmišljenu edukativnu knjižicu.

Kroz radionice koje vode umjetnici sudionici Bijenala, učenici su imali priliku upoznati suvremene umjetničke procese, eksperimentirati s različitim medijima te razvijati vlastite autorske pristupe.

U ovogodišnjem programu sudjeluju umjetnici Ivana Fischer, Slaven Kosanović, Mia Maraković, Luisa Pascu, Tara Stanić i Šimun Tolić.

Izložba u Galeriji Karas predstavlja radove nastale tijekom radionica te dokumentira proces suradnje umjetnika i učenika, naglašavajući važnost umjetničkog obrazovanja, participacije i dijaloga između suvremene umjetnosti i mladih publika.

COLLAGE WORKSHOP – IMAGES FROM PAPER, FRAGMENTS, AND STORIES 31 May 2026: 12-1.30 pm

The third cycle of the CreArtivci educational programme, organised by the Croatian Association of Fine Artists as part of the European project CreArt 3.0, continues to connect contemporary artistic practices, education, and the active participation of young people through a series of workshops, guided tours, and collaborative creative work.

The programme brings together pupils from six Zagreb primary and secondary schools — Jabukovac Primary School, Miroslav Krleža Primary School, Ivan Gundulić Primary School, and the Fifth, Seventh, and Tenth Gymnasiums — who took part in educational activities developed through expert guidance and a specially designed educational booklet. Through workshops led by artists participating in the Biennial, the pupils had the opportunity to become familiar with contemporary artistic processes, experiment with different media, and develop their own authorial approaches This year’s programme features the artists Ivana Fischer, Slaven Kosanović, Mia Maraković, Luisa Pascu, Tara Stanić, and Šimun Tolić.

The exhibition at Gallery Karas presents works created during the workshops and documents the collaborative process between the artists and pupils, emphasising the importance of arts education, participation, and dialogue between contemporary art and younger audiences 220

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CREART SEMINAR: NOVA REALNOST RADA U KULTURI: TEMPO, PRITISAK I OTPORNOST / CREART SEMINAR: THE NEW REALITY OF WORKING IN CULTURE: PACE, PRESSURE AND RESILIENCE Galerija Klovićevi dvori, Jezuitski trg 4, Zagreb 21. svibnja

Suvremeni rad u kulturi odvijao se u ubrzanom ritmu, pod sve izraženijim pritiscima i u uvjetima koji su često zahtijevali visoku razinu prilagodbe i samostalnog snalaženja. Ovaj seminar otvorio je prostor za promišljanje upravo tih okolnosti – od svakodnevnog profesionalnog opterećenja do dugoročnih posljedica poput iscrpljenosti i burnouta.

Kroz interdisciplinarni pristup, seminar je povezao umjetničku, psihološku i praktičnu perspektivu rada u kulturi. Sudionici su imali priliku čuti različita stručna i osobna iskustva te dobiti konkretne uvide i alate za razvoj otpornosti, očuvanje mentalnog zdravlja i održiviji profesionalni rad.

PREDAVAČI I TEME Ivan Barun Kreativnost pod pritiskom: burnout i otpornost u kreativnim profesijama Predavanje je istražilo specifične izvore stresa u kreativnim zanimanjima – od nesigurnosti i vanjske procjene do unutarnjih pritisaka i postavljanja granica. Kroz spoj umjetničkog i psihološkog pristupa, dan je okvir za razumijevanje burnouta te načina očuvanja stvaralačke energije bez iscrpljivanja.

Krunoslav Nujić Stres i anksioznost u suvremenom svijetu: osobna iskustva

Kroz kombinaciju stručnog uvida i osobnog iskustva, predavanje je prikazalo kako burnout izgleda u stvarnom životu te koje se lekcije mogu iz njega izvući. Naglasak je bio na prepoznavanju rizika i razumijevanju načina na koje se dugotrajni stres može prevenirati.

Ivana Štulić Mentalna otpornost u praksi: tehnike za nošenje s izazovima

Klovićevi Dvori Gallery, Jezuitski trg 4, Zagreb 21 May

Otpornost se promatrala kao sposobnost prilagodbe, oporavka i očuvanja vlastite energije u zahtjevnim uvjetima. Sudionici su dobili praktične alate za prepoznavanje vlastitih reakcija na stres te strategije za dugoročno jačanje mentalnog zdravlja i profesionalne stabilnosti.

Contemporary work in the cultural sector has developed at an accelerated pace, under increasing pressure and in conditions that often require a high degree of adaptability and independent problem-solving.

This seminar opened up space for reflecting on precisely these circumstances – from everyday professional pressures to long-term consequences such as exhaustion and burnout.

Through an interdisciplinary approach, the seminar connected artistic, psychological, and practical perspectives on working in culture. Participants had the opportunity to hear a range of professional and personal experiences, and to gain concrete insights and tools for building resilience, preserving mental health, and building a more sustainable professional life.

SPEAKERS AND TOPICS Ivan Barun Creativity Under Pressure: Burnout and Resilience in Creative Professions The lecture explored the specific sources of stress in creative professions – from precarity and external evaluation to internal pressures and setting boundaries. Combining artistic and psychological perspectives, it offered a framework for understanding burnout and for preserving creative energy without exhaustion.

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Krunoslav Nujić Stress and Anxiety in the Contemporary World: Personal Experiences Combining professional insight and personal experience, the lecture showed what burnout looks like in real life and what lessons may be drawn from it. Particular emphasis was placed on recognising risks and understanding how chronic stress can be prevented.

Ivana Štulić Mental Resilience in Practice: Techniques for Coping with Challenges Resilience was approached here as the capacity to adapt, recover, and preserve one’s energy in demanding circumstances. Participants were introduced to practical tools for recognising their own responses to stress, along with strategies for strengthening mental health and long-term professional stability.

FOTOGRAFIJE S OTVORENJA / PHOTOGRAPHS FROM THE OPENING

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ŽIVOTOPISI / BIOGRAPHIES

Akrap, Grgur. (1988., Zagreb) diplomirao je 2013. godine na nastavničkom odsjeku Akademije likovnih umjetnosti u Zagrebu, u klasi prof. Damira Sokića. Član je HDLU-a od 2012., a HZSU-a od 2018. Izlagao je na brojnim samostalnim i skupnim izložbama u Hrvatskoj i inozemstvu. Dobitnik je nekoliko nagrada od kojih se posebno ističu „Nagrada za mladog umjetnika“ na 3. bijenalu slikarstva, „Nagrada Muzeja suvremene umjetnosti u Zagrebu“ na 51. zagrebačkom salonu, nagrada “Vladimir Dodig Trokut, Iva Vraneković – umjetnik umjetniku“ na 4. bijenalu slikarstva i „Grand Prix“ Erste Fragmenata 15.

Akrap, Mia. (1995., Požega) diplomirala je 2020. godine na Akademiji likovnih umjetnosti u Zagrebu, gdje 2023. upisuje i poslijediplomski studij. Izlagala je na desetak samostalnih (Galerija Zen Contemporary, Zagreb, 2025., Galerija Kazamat, Osijek, 2023.; Galerija umjetnina Branislav Dešković, Bol na Braču, 2023.; Zlati Ajngel, Varaždin, 2023.; Galerija Crta, Zagreb, 2022.; Galerija svjetlosti i Galerija Tunel, GKP, Požega, 2022.; Galerija Karas, Zagreb, 2022.; Galerija Šira, Zagreb, 2020.; Bunker, Samobor, 2020.; Lauba, Zagreb, 2019.) i brojnim skupnim izložbama (37. Salon mladih, 2024., 7. bijenale slikarstva, 2023., 36. Salon mladih, 2022.; 6. bijenale slikarstva, 2021.; Matrice: botanika, 2021; 16. Erste fragmenti, 2020.; „Venientes“ u sklopu 35. salona mladih, 2020; 8. triennale akvarela, 2019...), sudjelovala je na tri rezidencijalna programa (Francuska, Njemačka, Litva) i Erasmus+ stručnoj praksi (Njemačka). Primila je četiri Rektorove nagrade, dvije pohvale Akademije likovnih umjetnosti, nagradu galerije Canvas na 7. bijenalu slikarstva, nagradu „Kolekcionar umjetniku“ na 36. salonu mladih, nagradu publike na projektu Erste fragmenti, a dobitnica je i dviju Sveučilišnih stipendija za darovite studente. Živi i radi u Zagrebu.

Bakić, Gordana. (1972., Zagreb) diplomirala je na Akademiji likovnih umjetnosti u Zagrebu 2001. godine, u klasi prof. Zlatka Kesera. Godine 2011. magistrirala je na Akademiji za likovnu umjetnost u Ljubljani, smjer Slikarstvo, u klasi prof. Bojana Gorenca. Izlagala je na više samostalnih i skupnih izložbi u Hrvatskoj i inozemstvu. Dobitnica je Rektorove nagrade (1994.), nagrade Zagrebačke banke (2001.), nagrade HDLU-a za najbolju mladu umjetnicu (2003.), nagrade Grand Prix za slikarstvo Hrvatske poštanske banke (2007.), nagrade HDLU-a za izložbu „Obnavljanje“ (2018.), Nagrade „Nives Kavurić Kurtović“ Akademije likovnih umjetnosti u Zagrebu za sveukupni (umjetnički, stručni i pedagoški) dvogodišnji rad (2024.). Redovna je članica Hrvatske akademije znanosti i umjetnosti. Živi i radi u Zagrebu.

Barišić, Maša. (1986., Split) diplomirala je likovnu umjetnost na Sveučilištu u Lincolnu 2012. godine. Za vrijeme studija sudjelovala je na više skupnih izložbi.

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Akrap, Grgur. (b. 1988, Zagreb) graduated from the Teacher Education Department of the Academy of Fine Arts in Zagreb, in the class of Professor Damir Sokić in 2013. He has been a member of the Croatian Association of Fine Artists (HDLU) since 2012 and of the Croatian Freelance Artists’ Association (HZSU) since 2018. He has exhibited in numerous solo and group exhibitions in Croatia and abroad. He is the recipient of several awards, notably the Young Artist Award at the 3rd Biennial of Painting, the Museum of Contemporary Art Award at the 51st Zagreb Salon, the Vladimir Dodig Trokut, Iva Vraneković – Artists to Artist Award at the 4th Biennial of Painting, and the Grand Prix at the 15th Erste Fragments.

Akrap, Mia. (b. 1995, Požega) graduated from the Academy of Fine Arts in Zagreb in 2020 and enrolled in postgraduate studies there in 2023. She has exhibited in around a dozen solo exhibitions (Zen Contemporary Gallery, Zagreb, 2025; Kazamat Gallery, Osijek, 2023; Branislav Dešković Art Gallery, Bol, Brač, 2023; Zlati Ajngel Gallery, Varaždin, 2023; Crta Gallery, Zagreb, 2022; Gallery of Light and Tunel Gallery, City Theatre Požega, 2022; Karas Gallery, Zagreb, 2022; Šira Gallery, Zagreb, 2020; Bunker, Samobor, 2020; Lauba, Zagreb, 2019) and numerous group exhibitions (37th Youth Salon, 2024; 7th Biennial of Painting, 2023; 36th Youth Salon, 2022; 6th Biennial of Painting, 2021; Matrices: Botany, 2021; 16th Erste Fragments, 2020; “Venientes” as part of the 35th Youth Salon, 2020; 8th Watercolour Triennial, 2019, etc.). She has participated in three residency programs (France, Germany, Lithuania) and an Erasmus+ professional traineeship in Germany. She is the recipient of four Rector’s Awards, two commendations from the Academy of Fine Arts, the Canvas Gallery Award at the 7th Biennial of Painting, the “Collector to the Artist” Award at the 36th Youth Salon, the Audience Award at the Erste Fragments project, and two University Scholarships for Gifted Students. She lives and works in Zagreb.

Bakić, Gordana. (b. 1972, Zagreb) graduated from the Academy of Fine Arts in Zagreb in 2001, in the class of Prof. Zlatko Keser. In 2011, she earned her master’s degree from the Academy of Fine Arts in Ljubljana, Department of Painting, in the class of Prof. Bojan Gorenac. She has exhibited in numerous solo and group exhibitions in Croatia and abroad. In 1994, she received the Rector’s Award; in 2001, the Zagrebačka banka Award; in 2003, the Croatian Association of Fine Artists (HDLU) Award for Best Young Artist; in 2007, the Croatian Postal Bank Grand Prix for Painting; and in 2018, the HDLU Award for the exhibition “Regeneration” at the SC Gallery. In 2024, she received the “Nives Kavurić Kurtović” Award from the Academy of Fine Arts in Zagreb for her overall artistic, professional, and

Nakon završetka studija izlagala je na četiri samostalne izložbe te na više skupnih izložbi. Izložila je i nekoliko instalacija u Zagrebu, od čega je najrecentnija ona u Umjetničkom paviljonu. Živi i radi u Zagrebu.

pedagogical achievements over a two-year period, and in the same year was elected a full member of the Croatian Academy of Sciences and Arts. She lives and works in Zagreb.

Bađun, Mihael. (1996., Varaždin) stekao je akademski naziv magistar edukacije likovne kulture 2021., završivši studij Likovne kulture na Akademiji likovnih umjetnosti Sveučilišta u Zagrebu, pod mentorstvom profesorice Ines Krasić. U svojem radu bavi se stripom, slikarstvom i ilustracijom. Izlagao je na dvadesetak grupnih izložbi u Hrvatskoj i inozemstvu te na tri samostalne izložbe. Kreator je nekolicine kraćih, objavljenih stripova, ilustrirao je naslovnice knjiga te je autor dvaju murala u javnom prostoru. Dobitnik je „Grand Prix“ nagrade na 19. Erste fragmentima. Član je HDLU-a. Živi i radi u Varaždinu.

Barišić, Maša. (b. 1986, Split) graduated from the University of Lincoln with a degree in Fine Art in 2012.

During her studies, she participated in several group exhibitions. Following graduation, she held four solo exhibitions and participated in numerous group exhibitions. She has also exhibited several installations in Zagreb, most recently at the Art Pavilion. She lives and works in Zagreb.

Baretić, Biserka. (1933., Zagreb) studirala je slikarstvo na Likovnoj akademiji u Zagrebu (1951 – 1953). Izlagala je na brojnim izložbama u zemlji i inozemstvu, uključujući 22. međunarodni bijenale akvarela, Brooklyn (1963.), Bijenale grafike “Bianco e nero”, Lugano (1964.); 2. jugoslavenski trijenale likovnih umetnosti, Beogradski sajam, Beograd (1964.), 2. trijenale umjetnosti u Indiji, Lalit Kala Akademi, New Delhi (1971.), Premi Internacional Debuix Joan Miró, Barcelona, itd. Njezina se djela nalaze u zbirkama najvećih muzeja i galerija (npr. Muzej suvremene umjetnosti u Zagrebu, Moderna galerija u Zagrebu, Muzej suvremene umjetnosti u Beogradu, Muzej suvremene umjetnosti u Skopju, Cincinnati Museum). Za svoj je rad na polju slikarstva, crteža i grafike dobila brojne i prestižne nagrade.

Borčić Peuc, Natalia. (1989., Vis) diplomirala je na Akademiji likovnih umjetnosti u Zagrebu, u klasi prof.

Matka Vekića (2013.). Članica je HDLU-a i HZSU-a. Živi i radi na relaciji Zagreb – Vis. Kreatorica je nagrade za 14. festival radiodrame Grand prix Marulić. Osmislila je umjetnički projekt „U trećoj brzini“ kroz kojeg vodi likovne i literarne radionice u domovima za starije i nemoćne. Bavi se ilustracijom te je ilustrirala mnogobrojne legende i priče otoka Visa. Izlagala je na brojnim samostalnim i skupnim izložbama te sudjelovala na više umjetničkih rezidencija. Osvojila je nagradu „Vladimir Dodig Trokut, Iva Vraneković – Umjetnici umjetniku“ na 7. bijenalu slikarstva.

Budimlić Majnarić, Leonardo. (1962., Zagreb) diplomirao je 1990. godine na slikarskom odsjeku Akademije likovnih umjetnosti u Zagrebu, u klasi prof. Vasilija Josipa Jordana. Izlagao je na više samostalnih i skupnih izložbi u zemlji i inozemstvu. Trenutno djeluje kao samostalni likovni umjetnik. Član je HDLU-a i HZSU-a.

Dobitnik je prošlogodišnje nagrade „Vladimir Dodig Trokut, Iva Vraneković – umjetnici umjetniku“ na 7. bi-

Bađun, Mihael. (b. 1996, Varaždin) completed his studies in Art Education at the Academy of Fine Arts, University of Zagreb, under the mentorship of Professor Ines Krasić in 2021, earning the academic title of Master of Arts in Art Education. His work encompasses comics, painting, and illustration. He has participated in around twenty group exhibitions in Croatia and abroad, as well as three solo exhibitions. He is the author of several published short comics, has illustrated book covers, and created two murals in public space.

He received the Grand Prix award at the 19th Erste Fragments. He is a member of Croatian Association of Fine Artists (HDLU) and lives and works in Varaždin.

Baretić, Biserka. (b. 1933, Zagreb) studied painting at the Academy of Fine Arts in Zagreb from 1951 to 1953.

She has exhibited extensively in Croatia and abroad, including at the 22nd Biennial International Watercolour Exhibition in Brooklyn (1963); the “Bianco e nero” Graphic Arts Biennial in Lugano (1964); the 2nd Yugoslav Fine Arts Triennial at the Belgrade Fair (1964); the 2nd Triennial India at Lalit Kala Akademi in New Delhi (1971); and the Premi Internacional de Dibuix Joan Miró in Barcelona, among others. Her works are held in the collections of major museums and galleries, including the Museum of Contemporary Art and the Modern Gallery in Zagreb, the Museum of Contemporary Art in Belgrade, the Museum of Contemporary Art in Skopje, and the Cincinnati Museum. She has received numerous prestigious awards for her work in painting, drawing, and printmaking.

Borčić Peuc, Natalia. (b. 1989, Vis) is an academic painter. She graduated from the Academy of Fine Arts in Zagreb in 2013, in the class of Professor Matko Vekić.

She is a member of the Croatian Association of Fine Artists (HDLU) and the Croatian Freelance Artists’ Association (HZSU). She lives and works between Zagreb and Vis. She designed the award for the 14th Grand Prix Marulić Radio Drama Festival and conceived the artistic project “U trećoj brzini” (In Third Gear), through which she conducts visual arts and creative writing 234

jenalu slikarstva.

Dračić, Sebastijan. (1980., Zagreb) diplomirao je na slikarskom odsjeku Akademije likovnih umjetnosti Sveučilišta u Zagrebu, u klasi Zlatka Kesera. Izlagao je na desetak samostalnih i pedesetak skupnih izložbi u Hrvatskoj i inozemstvu (Austrija, Njemačka, Poljska, Italija, Srbija, Kina). Dobitnik je stipendije The Pollock-Krasner Foundation 2012. i 2019. Sudjelovao je na rezidencijalnim programima Kulturkontakt Austria u Beču (2009.) i One-sided Story u Leipzigu (2012.). Docent je na nastavničkom odsjeku Akademije likovnih umjetnosti u Zagrebu.

Elezović, Lora. (1995., Toronto) završila je Školu primijenjene umjetnosti i dizajna u Zagrebu (2014.) te upisala studij Likovne kulture na Akademiji likovnih umjetnosti u Zagrebu, gdje je 2020. diplomirala na grafičkom odsjeku i stekla zvanje magistre edukacije likovne kulture. Izlagala je na pet samostalnih i šezdesetak skupnih izložbi u Hrvatskoj i inozemstvu. Od 2021. djeluje kao ambasadorica za umjetničke brendove Cretacolor, Fabriano, Magnani 1404, Uni-ball i Posca, te od 2022. i za Wacom. Dobitnica je Posebne pohvale žirija MiniMO Međunarodnog bijenala minijatura (2019.), nagrade „Vladimir Dodig Trokut, Iva Vraneković – umjetnici umjetniku“ na 36. Salonu mladih (2022.), Posebnog priznanja Odbora za nagrade 9. hrvatskog trijenala grafike (2024.) te nagrade HDLU-a za najboljeg mladog umjetnika (2024.).

Fischer, Fedor. (1975., Zemun) diplomirao je slikarstvo na Akademiji likovnih umjetnosti u Zagrebu, u klasi profesora Zlatka Kesera. Izlagao je na brojnim skupnim i samostalnim izložbama u zemlji i u inozemstvu.

Izdvojit ćemo sudjelovanje na Vienna Fairu u Beču te samostalnu izložbu „Collaps“ u Galeriji Bačva. Dobitnik je specijalne pohvale 3. bijenala slikarstva, a njegova se djela nalaze u zbirkama Okolje Consulting Art Collection, Erste & Steiermärkische Bank i Adcom Austria.

Fischer, Ivana. (1982., Osijek) umjetnica je koja radi na području animacije, filma i vizualnih umjetnosti. Diplomirala je animirani film i nove medije na Akademiji likovnih umjetnosti u Zagrebu 2008. godine. Dobitnica je nagrade ESSL ART AWARD CEE (2. nagrada) i nagrade Akademije likovnih umjetnosti za izvanredna akademska postignuća i diplomski rad. Godine 2012. njezin film „Soba“ emitiran je na ARTE TV-u, odabran za program „Novi redatelji/Novi filmovi“ MoMA-e te nagrađen Velikom nagradom na Festivalu animiranog filma Hrvatske. Njezin rad predstavljen je na brojnim samostalnim i skupnim izložbama te na festivalima animiranog filma u Hrvatskoj i inozemstvu. Članica je HZSU-a i HDLU-a. Ivana istražuje identitet kao fluidan i promjenjiv proces oblikovan vremenom, mjestom i 235

workshops in care homes for the elderly. She also works as an illustrator and has illustrated numerous legends and stories from the island of Vis. She has exhibited in numerous solo and group exhibitions and participated in several artist residencies. She is the recipient of Vladimir Dodig Trokut, Iva Vraneković – Artists to Artist Award at the 7th Biennial of Painting.

Budimlić Majnarić, Leonardo. (b. 1962, Zagreb) graduated in 1990 from the Painting Department of the Academy of Fine Arts in Zagreb, in the class of Professor Vasilije Josip Jordan. He has exhibited in numerous solo and group exhibitions in Croatia and abroad. He currently works as an independent visual artist. He is a member of Croatian Association of Fine Artists (HDLU) and HZSU. He is the recipient of last year’s award Vladimir Dodig Trokut, Iva Vraneković – Artists to Artist at the 7th Biennial of Painting.

Dračić, Sebastijan. (b. 1980, Zagreb) graduated from the Painting Department of the Academy of Fine Arts, University of Zagreb, in the class of Professor Zlatko Keser. He has exhibited in around a dozen solo exhibitions and approximately fifty group exhibitions in Croatia and abroad (Austria, Germany, Poland, Italy, Serbia, and China). He received grants from The Pollock-Krasner Foundation in 2012 and 2019. He participated in the KulturKontakt Austria residency programme in Vienna in 2009 and the One-sided Story residency programme in Leipzig in 2012. He is an Assistant Professor at the Teacher Education Department of the Academy of Fine Arts in Zagreb.

Elezović, Lora. (b. 1995, Toronto) graduated from the School of Applied Arts and Design in Zagreb in 2014 and subsequently enrolled in the Art Education programme at the Academy of Fine Arts in Zagreb, where she graduated from the Printmaking Department in 2020, earning the title of Master of Arts in Art Education. She has exhibited in five solo exhibitions and around sixty group exhibitions in Croatia and abroad.

Since 2021, she has served as an ambassador for the art brands Cretacolor, Fabriano, Magnani 1404, Uni-ball, and Posca, and since 2022 also for Wacom. She is the recipient of the Special Jury Mention at the MiniMO International Miniature Biennial (2019), the Vladimir Dodig Trokut, Iva Vraneković – Artists to Artist Award at the 36th Youth Salon (2022), a Special Recognition from the Awards Committee of the 9th Croatian Triennial of Printmaking (2024), and the HDLU Award for Best Young Artist (2024).

Fischer, Fedor. (b. 1975, Zemun) graduated in Painting from the Academy of Fine Arts in Zagreb, in the class of Professor Zlatko Keser. He has exhibited in numerous solo and group exhibitions in Croatia and abroad,

ljudskim odnosima. Radeći kroz instalaciju, video, fotografiju, kolaž i film, njezina praksa ispituje kako povijest, migracije i kulturni konteksti utječu na osobna i kolektivna iskustva identiteta.

Franić, Danica. (1967., Makarska) diplomirala je tekstilni dizajn na Tekstilno-tehnološkom fakultetu u Zagrebu 1988. te slikarstvo na Akademiji likovnih umjetnosti u Zagrebu, u klasi prof. Zlatana Vrkljana, 1992. godine.

Od 1994. godine radila je u Školi za modu i dizajn, a od 2007. profesorica je likovne umjetnosti i antičke kostimografije u Klasičnoj gimnaziji u Zagrebu. Izlagala je na dvadesetak skupnih i samostalnih izložbi.

Friščić, Danko. (1970., Zagreb) diplomirao je slikarstvo na Akademiji likovnih umjetnosti u Zagrebu, u klasi prof. Đure Sedera, 1997. godine. Od 2006. godine zaposlen je na Akademiji likovnih umjetnosti u Zagrebu, trenutno kao izv. prof. art. pri slikarskoj katedri a također obnaša i funkciju prodekana za međunarodnu i međusveučilišnu suradnju. Član je HDLU-a u Zagrebu. Dobitnik je više nagrada, između ostalog i nagrade HDLU-a za najbolju izložbu 2014. god. u Zagrebu („Brod Luđaka“ s Davorom Mezakom), nagrade Rovinjske likovne kolonije 2017., itd. Izlagao je na pedesetak samostalnih i više od 150 skupnih izložbi u Hrvatskoj (Zagreb, Labin, Rovinj, Pula, Rijeka, Varaždin, Bjelovar, Osijek, Slavonski Brod, Knin, Split, Sinj, Šibenik, Dubrovnik…) te u inozemstvu (Rim, Pariz, Firenca, Torino, Beč, Prag, Berlin, Budimpešta, Ljubljana, Amsterdam, Gdansk, Istanbul, Ankara, Port Au-Prince…). Radovi mu se nalaze u mnogim privatnim i javnim kolekcijama.

Dobitnik je nagrade 7. bijenala slikarstva dodjeljene za rad „Inflatable Haluciones de un Ab-Normal“ nastao 2022. /2023. godine.

Galović, Bartol. (2000., Zagreb) završio je Školu primijenjene umjetnosti i dizajna, smjer grafika, 2019. godine. Diplomirao je na Akademiji likovnih umjetnosti u Zagrebu, Grafički odsjek, u rujnu 2025. godine. Tijekom šestogodišnjeg studiranja realizirao je šest samostalnih izložbi, među kojima se ističe najrecentnija izložba diplomskog rada „Ezoterični bekflip“. Sudjelovao je na više skupnih izložbi, uključujući 36. Salon mladih, 9. trijenale hrvatskog akvarela, Erste Fragmenti 19, „14th International Exhibition of Traditional Fine Arts“ (Shanghai Art Collection Museum), „Od Y do Z – gradilište nove generacije“ (NMMU Oktogon) te 8. bijenale slikarstva.

Grlić, Martina. (1982., Zagreb) magistrirala je slikarstvo na Akademiji likovnih umjetnosti u Zagrebu 2009. godine. Izlagala je u brojnim institucijama i galerijama, među kojima su Muzej suvremene umjetnosti u Zagrebu, Nacionalni muzej u Gdanjsku, Ningbo Museum of Art u Kini i Künstlerhaus Wien u Beču. Među samo-

notably at the Vienna Fair in Vienna and in the solo exhibition “Collaps” at the Bačva Gallery. He received a special commendation at the 3rd Biennial of Painting, and his works are held in the collections of the Okolje Consulting Art Collection, Erste & Steiermärkische Bank, and Adcom Austria.

Fischer, Ivana. (b. 1982, Osijek) is an artist working in animation, film, and visual arts. She graduated in Animated Film and New Media from the Academy of Fine Arts in Zagreb in 2008. She is the recipient of the ESSL ART AWARD CEE (Second Prize) and the Academy of Fine Arts Award for outstanding academic achievement and diploma work. In 2012, her film Room was broadcast on ARTE TV, selected for MoMA’s New Directors/New Films programme, and awarded the Grand Prix at the Croatian Animation Film Festival. Her work has been presented in numerous solo and group exhibitions, as well as at animation film festivals in Croatia and abroad. She is a member of Croatian Freelance Artists’ Association (HZSU) and Croatian Association of Fine Artists (HDLU). Ivana explores identity as a fluid and evolving process shaped by time, place, and human relationships. Working across installation, video, photography, collage, and film, her practice examines how history, migration, and cultural contexts influence both personal and collective experiences of selfhood.

Franić, Danica. (b. 1967, Makarska) graduated in Textile Design from the Faculty of Textile Technology in Zagreb in 1988, and in Painting from the Academy of Fine Arts in Zagreb in 1992, in the class of Professor Zlatan Vrkljan. From 1994, she worked at the School of Fashion and Design, and since 2007 she has taught fine arts and ancient costume history at the Classical Gymnasium in Zagreb. She has exhibited in around twenty solo and group exhibitions.

Friščić, Danko. (b. 1970, Zagreb) graduated in Painting from the Academy of Fine Arts in Zagreb in 1997, in the class of Professor Đuro Seder. Since 2006, he has been employed at the Academy of Fine Arts in Zagreb, where he currently holds the position of Associate Professor at the Painting Department and also serves as Vice-Dean for International and Inter-University Cooperation. He is a member of the Croatian Association of Fine Artists (HDLU). He is the recipient of several awards, including the HDLU Award for Best Exhibition in Zagreb in 2014 for “Ship of Madmen” (with Davor Mezak), the Rovinj Art Colony Award (2017), among others. He has held around fifty solo exhibitions and participated in more than 150 group exhibitions in Croatia (Zagreb, Labin, Rovinj, Pula, Rijeka, Varaždin, Bjelovar, Osijek, Slavonski Brod, Knin, Split, Sinj, Šibenik, Dubrovnik, etc.) and abroad (Rome, Paris, Florence, Turin, Vienna, Prague, Berlin, Budapest, Ljubljana, Amster236

stalnim izložbama ističu se „Memory Projects“ (Fragment Gallery, New York, 2024.), „Mindscapes“ (Galerija Bačva, HDLU, Zagreb, 2022.; Kibla, Maribor, 2023.), Hypermnesia (Lauba, Zagreb, 2021.; Fragment Gallery, Moskva, 2021.), „Distinct Realities“ (Potemka Galerie, Leipzig, 2019.), „Memory and Conflict“ (Karas, 2018.) i Collective Dreams (Galerija Kranjčar, Zagreb, 2017.). Dobitnica je HPB-ove nagrade za mlade umjetnike (2017.) i Erste nagrade za slikarstvo (2012.). Radovi joj se nalaze u zbirkama Nacionalnog muzeja moderne umjetnosti u Zagrebu, Erste banke i Zuzāns Collection u Rigi. Živi i radi u Zagrebu.

Grozaj, Petra. (1974., Zagreb) završila je Školu za primijenjenu umjetnost i dizajn i diplomirala na Akademiji Likovnih umjetnosti u Zagrebu. Na umjetničkoj sceni aktivno djeluje od prve samostalne izložbe 1999. Izlagala je na brojnim samostalnim i skupnim izložbama te sudjelovala na rezidencijama i projektima u Hrvatskoj i inozemstvu. Članica je HZSU-a i HDLU-a. Njezini radovi nalaze se u privatnim i galerijskim zbirkama u zemlji i inozemstvu.

Jazvić, Paulina. (1973., Zagreb) aktivna je na području mode i vizualnih umjetnosti od kraja 1990-ih. Nakon stjecanja diplome na odsjeku Dizajna odjeće i tekstila na Tekstilno tehnološkom fakultetu u Zagrebu (1995.), diplomirala je grafiku u klasi prof. Šuteja na Akademiji likovnih umjetnosti u Zagrebu (2001.). Zaposlena je kao redovna profesorica na Tekstilno-tehnološkom fakultetu Sveučilišta u Zagrebu, u Zavodu za dizajn i projektiranje tekstila i odjeće, na kolegijima Kreiranje odjeće i Modna ilustracija na preddiplomskom i diplomskom studiju. Članica je HDLU-a i dobitnica devet nagrada, a svoje je radove izlagala na stotinjak izložbi.

Jureško, Sanja. (1990., Rijeka) diplomirala je slikarstvo na Akademiji likovnih umjetnosti u Zagrebu, u klasi profesora Zlatka Kauzlarića Atača, u lipnju 2015. godine. Izlaže samostalno (Galerija Fritzi, Mali Lošinj, 2025.; Galerija Botaničar, Zagreb, 2024.; Galerija Vladimir Filakovac, Zagreb, 2023.; Galerija Dalmacijaland, Jelsa, otok Hvar, 2020.; Galerija Decumanus, Krk, 2019.; Muzej grada Umaga, 2019.; Gelerija PIK, Rab, 2018.; Galerija Dioklecijan, Split, 2017.; Galerija Kortil, Rijeka, 2017.; Dioklecijanovi podrumi, Split, 2016.; Galerija Supetarskog lita, Supetar, 2016. i Galerija Greta, Zagreb, 2016.) te na mnogim grupnim žiriranim izložbama (20) u Zagrebu, Varaždinu, Splitu, Rijeci, Čakovcu i Zaprešiću. Sudjelovala je na više umjetničkih rezidencijalnih programa, uključujući i dvomjesečni boravak u Cité Internationale des Arts u Parizu (2018.). Članica je Hrvatskog društva likovnih umjetnika i Hrvatske zajednice samostalnih umjetnika. Živi i radi u Supetru.

Katavić, Marta. (2000., Križevci) objavila je 2015. godi237

dam, Gdańsk, Istanbul, Ankara, Port-au-Prince, etc.).

His works are held in numerous private and public collections. He received the award at the 7th Biennial of Painting for the work “Inflatable Haluciones de un Ab-Normal”, created in 2022/2023.

Galović, Bartol. (b. 2000) graduated from the School of Applied Arts and Design, specialising in Printmaking, in 2019. He graduated from the Department of Printmaking at the Academy of Fine Arts in Zagreb in September 2025. During his six years of study, he realised six solo exhibitions, among which the most recent, his graduation exhibition “Esoteric Backflip”, stands out.

He has participated in numerous group exhibitions, including the 36th Youth Salon, the 9th Croatian Watercolour Triennial, Erste Fragmenti 19, the 14th International Exhibition of Traditional Fine Arts (Shanghai Art Collection Museum), “From Y to Z – Construction Site of the New Generation” (NMMU Oktogon), and the 8th Biennial of Painting.

Grlić, Martina. (b. 1982, Zagreb) completed her MA in Painting at the Academy of Fine Arts in Zagreb in 2009. She has exhibited at numerous institutions and galleries, including the Museum of Contemporary Art in Zagreb, the National Museum in Gdańsk, the Ningbo Museum of Art in China, and Künstlerhaus Wien in Vienna. Her notable solo exhibitions include “Memory Projects” (Fragment Gallery, New York, 2024), “Mindscapes” (Bačva Gallery, Croatian Association of Fine Artists (HDLU), Zagreb, 2022; Kibla, Maribor, 2023), “Hypermnesia” (Lauba, Zagreb, 2021; Fragment Gallery, Moscow, 2021), “Distinct Realities” (Potemka Galerie, Leipzig, 2019), “Memory and Conflict” (Karas Gallery, 2018), and “Collective Dreams” (Kranjčar Gallery, Zagreb, 2017). She is the recipient of the Croatian Postal Bank Award for Young Artists (2017) and the Erste Painting Award (2012). Her works are held in the collections of the National Museum of Modern Art in Zagreb, Erste Bank, and the Zuzāns Collection in Riga. She lives and works in Zagreb.

Grozaj, Petra. (b. Zagreb) graduated from the School of Applied Arts and Design and the Academy of Fine Arts in Zagreb. She has been active on the art scene since her first solo exhibition in 1999. She has exhibited in numerous solo and group exhibitions and participated in residencies and projects in Croatia and abroad. She is a member of the Croatian Freelance Artists’ Association (HZSU) and the Croatian Association of Fine Artists (HDLU). Her works are held in private and gallery collections in Croatia and internationally.

Jazvić, Paulina. (b. 1973, Zagreb) has been active in the fields of fashion and visual arts since the late 1990s. After graduating from the Department of Clothing and

ne dječju slikovnicu pod nazivom „Nebeska tvornica“.

Magistarski studij slikarstva završila je 2024. godine.

Sudjelovala je na skupnim izložbama diljem Hrvatske i inozemstva, uključujući izložbe u Srbiji, Bosni i Hercegovini, Meksiku i Tajvanu. Održala je zapažene samostalne izložbe u Gradskom muzeju Križevci, Galeriji T&AC u Bratislavi, Laubi i Muzeju suvremene umjetnosti u Zagrebu te galeriji Nunu Fine Art u Taipeiu. Za akademske godine 2019. /2020. i 2021. /2022. primila je pohvale za uspješan rad na akademiji. Nakon toga, 2023. godine, nagrađena je Rektorovom nagradom, nagradom publike na natjecanju “Erste fragmenti 19”, te je iste godine diplomirala s odličnim počastima (magna cum laude) na preddiplomskom studiju. Također je nakon završetka studija dobila Nagradu Akademskog vijeća ALU za najuspješnije diplomante u akademskoj godini 2023. /2024. Osim toga, 2024. godine primila je nagradu „Vladimir Dodig Trokut, Iva Vraneković – umjetnici umjetniku“, na 37. Salonu mladih umjetnika.

Godine 2024. završila je četverogodišnji program na Školi za osobni i organizacijski razvoj (ŠOOR) i Jungian Coaching School International te upisala „Ekspresivnu art terapiju“.

Keser, Zlatko. (1942., Zagreb) diplomirao je na Akademiji likovnih umjetnosti u Zagrebu 1967., u klasi prof.

Otona Postružnika. U istoj ustanovi od 1967. do 1969. polazi i postdiplomski studij te stječe diplomu magistra štafelajnog slikarstva. Od 1971. do 1975. suradnik je Majstorske radionice prof. Krste Hegedušića. Redoviti je profesor na Akademiji likovnih umjetnosti u Zagrebu od 2001. Godine 2000. postaje član suradnik HAZU-a, a 2001. redoviti član HAZU-a. Realizirao je više od 60 samostalnih izložbi te je sudjelovao na oko 250 skupnih izložbi u zemlji i u inozemstvu (Kairo, Peking, Amsterdam, Bruxelles, Den Haag, Košice, Cagnes-SurMer, Tampere, Seul, Kőln, Cleveland, Rim, Villach, Milano, Barcelona, Pittsburgh, Budimpešta, Pariz, Sao Paulo, Luxemburg, Cremona i dr). Dobitnik je više od dvadeset nagrada za slikarstvo i crtež.

Kiš, Teo. (1998., Zagreb) završio je Školu primijenjene umjetnosti i dizajna te je 2023. godine diplomirao na Akademiji likovnih umjetnosti u Zagrebu (Odjel za grafiku) s pohvalom summa cum laude za završetak preddiplomskog studija grafike te pohvalom cum laude za završetak diplomskog studija. Imao je deset samostalnih (Lauba, 2020.; Lauba, 2021.; Lauba, 2023.; Galerija Kraluš, Sv. Ivan Zelina, 2022.; ATELIERS 33/2, Beč 2023.; Galerija Šira, 2024.; Zavičajni muzej Slatina, 2025.; Galerija Vladimir Bužančić, 2025.; Studio-galerija, Klet 2025. i Galerija Siva, 2025.) i nekoliko skupnih izložbi: 8. bijenale slikarstva (Gradski muzej Varaždin, 2025)., 7. bijenale slikarstva, Palača Vranyczany (HIS) 2023.; Galerija Flu, Beograd 2022.; Galerija K2, Križevci, 2022.; Art & Grad – Umjetnost se oglasila (Lauba, 2021.); Art Za-

Textile Design at the Faculty of Textile Technology in Zagreb in 1995, she completed a degree in Printmaking at the Academy of Fine Arts in Zagreb in 2001, in the class of Professor Miroslav Šutej. She is employed as a Full Professor at the Faculty of Textile Technology, University of Zagreb, within the Department of Textile and Clothing Design, where she teaches courses in Fashion Design and Fashion Illustration at undergraduate and graduate level. She is a member of the Croatian Association of Fine Artists (HDLU), has received nine awards, and has exhibited in around one hundred exhibitions.

greb, Tehnički muzej Nikola Tesla, 2021., Boutique Art Fair NESVRSTANI – Lauba (2021. i 2022.), Galerija Prica u Samoboru (2018. x 2 i 2022.), HDLU (Plati i nosi, 2019.) i ostale.

Jureško, Sanja. (b. 1990, Rijeka) graduated in Painting from the Academy of Fine Arts in Zagreb in June 2015, in the class of Professor Zlatko Kauzlarić Atač. She has held solo exhibitions at Fritzi Gallery, Mali Lošinj (2025); Botaničar Gallery, Zagreb (2024); Vladimir Filakovac Gallery, Zagreb (2023); Dalmacijaland Gallery, Jelsa, island of Hvar (2020); Decumanus Gallery, Krk (2019); Umag Town Museum (2019); PIK Gallery, Rab (2018); Diocletian Gallery, Split (2017); Kortil Gallery, Rijeka (2017); Diocletian’s Cellars, Split (2016); Supetarsko lito Gallery, Supetar (2016); and Greta Gallery, Zagreb (2016). She has also participated in numerous juried group exhibitions in Zagreb, Varaždin, Split, Rijeka, Čakovec, and Zaprešić. She has participated in several artist residency programmes, including a two-month residency at the Cité Internationale des Arts in Paris (2018). She is a member of the Croatian Association of Fine Artists (HDLU) and the Croatian Freelance Artists’ Association (HZSU). She lives and works in Supetar.

Kosanović Lunar, Slaven. (1975., Zagreb) umjetnik je koji je iznikao iz rane hrvatske graffiti scene. Trideset godina kasnije, on je jedinstveni živi svjedok i sudionik evolucije grafita iz subkulture u umjetničku formu. Radoznalost i uporan rad doveli su ga do stvaranja umjetnosti na svim kontinentima, i uvele u globalne publikacije, uključujući knjige „Graffiti World – Street Art from 5 Continents“, „100 European Graffiti Artists“, „World Piecebook“, „Street art & Graffiti Europe“, „Street Art Graffiti Guide Paris“, „Graffiti Planet“, „Style is a Message“, „Painted Walls Havana“, „Munchen Walls“, „Street Art Amsterdam“, „Street Art Zagreb“, „400ml“, „The Book of Tags“, „Arte Callejero“ i „Cinco – 5 Years of Calle Libre“. Prvih 30 godina njegovog rada djelomično je obuvaćeno knjigom „Lunar – From Zagreb with Love“, u izdanju HDLU-a, 2019. godine.

Katavić, Marta. (b. 2000, Križevci) published the children’s picture book “Nebeska tvornica” (“The Heavenly Factory”) in 2015. She completed her MA in Painting in 2024. She has participated in group exhibitions throughout Croatia and abroad, including exhibitions in Serbia, Bosnia and Herzegovina, Mexico, and Taiwan. She has held notable solo exhibitions at the Križevci Town Museum, T&AC Gallery in Bratislava, Lauba, the Museum of Contemporary Art in Zagreb, and Nunu Fine Art Gallery in Taipei. For the academic years 2019/2020 and 2021/2022, she received commendations for academic excellence. In 2023, she received the Rector’s Award, the Audience Award at Erste Fragmenti 19, and graduated magna cum laude from her undergraduate studies. Following the completion of her studies, she also received the Academy Council Award of the Academy of Fine Arts for the most successful graduates of the 2023/2024 academic year.

In 2024, she received the Vladimir Dodig Trokut, Iva Vraneković – Artists to Artist Award at the 37th Youth Salon. That same year, she completed a four-year programme at the School for Personal and Organisational Development (ŠOOR) and Jungian Coaching School 238

Kos, Anita. (1994., Zabok) diplomirala je 2019. na studiju Likovne pedagogije na Akademiji primijenjenih umjetnosti u Rijeci. Provela je godinu dana na Akademiji likovnih umjetnosti Jan Matejko u Krakowu. Dobila je nagradu Akademije za postignuti uspjeh na diplomskom studiju. Članica je HDLU i HZSU. Izlagala je na pet samostalnih i brojnim skupnim izložbama.

Kovačić Macolić, Gordana. (1966., Varaždin) nakon završetka Škole primijenjene umjetnosti u Zagrebu, 1985. godine, upisala je studij na bečkoj Akademie der bildenden Künste (u klasi Wolfganga Hollege). Potom je upisala interdisciplinarni studij Akademije likovnih umjetnosti i povijesti umjetnosti na Filozofskom fakultetu u Zagrebu. Diplomirala je 1989. godine, a poslijediplomsko obrazovanje nastavila je u Kasselu na Hochschule für bildende Kunst (u klasi Dorothee von Windheim). Studijski je boravila u Londonu, Parizu, Bruxellesu, Amsterdamu, Rimu i Veneciji. Sudjelovala je na pedesetak samostalnih izložbi, a posebno se ističu Muzej za umjetnost i obrt, Galerija Klovićevi dvori i Studio Nacionalnog muzeja moderne umjetnosti Josip Račić u Zagrebu te Umetnosna galerija Maribor i Palais Palffy u Beču, kao i na mnogim žiriranim likovnim manifestacijama u zemlji i inozemstvu, pri čemu valja izdvojiti sudjelovanje na 24. aleksandrijskom bijenalu lijepih umjetnosti u Egiptu 2007. godine. Dobitnica je brojnih nagrada.

Kunić, Radovan. (1987., Rijeka) diplomirao je kiparstvo na Akademiji primijenjenih umjetnosti u Rijeci 2012. godine. Pored slikarstva, kao kontinuirane umjetničke preokupacije, koristi i medije poput animacije, videa i instalacije, čije odnose istražuje u kontekstu galerij239

International, and enrolled in Expressive Arts Therapy studies.

Keser, Zlatko. (b. 1942, Zagreb) graduated from the Academy of Fine Arts in Zagreb in 1967, in the class of Professor Oton Postružnik. At the same institution, he completed postgraduate studies between 1967 and 1969, earning a master’s degree in easel painting.

From 1971 to 1975, he was an associate at the Master Workshop of Professor Krsto Hegedušić. He has been a Full Professor at the Academy of Fine Arts in Zagreb since 2001. In 2000, he became an associate member of the Croatian Academy of Sciences and Arts (HAZU), and in 2001 a full member. He has held more than sixty solo exhibitions and participated in around 250 group exhibitions in Croatia and abroad (Cairo, Beijing, Amsterdam, Brussels, The Hague, Košice, Cagnes-surMer, Tampere, Seoul, Cologne, Cleveland, Rome, Villach, Milan, Barcelona, Pittsburgh, Budapest, Paris, São Paulo, Luxembourg, Cremona, among others). He has received more than twenty awards for painting and drawing.

Kiš, Teo. (b. 1998, Zagreb) graduated from the School of Applied Arts and Design and completed his studies at the Academy of Fine Arts in Zagreb (Department of Printmaking) in 2023, receiving the distinction summa cum laude for his undergraduate degree in Printmaking and cum laude for his graduate degree. He has held ten solo exhibitions (Lauba, 2020, 2021, 2023; Kraluš Gallery, Sveti Ivan Zelina, 2022; ATELIERS 33/2, Vienna, 2023; Šira Gallery, 2024; Slatina Local Heritage Museum, 2025; Vladimir Bužančić Gallery, 2025; Studio-Gallery Klet, 2025; and Siva Gallery, 2025) and participated in several group exhibitions, including the 8th Biennial of Painting (Varaždin City Museum, 2025); the 7th Biennial of Painting, Vranyczany Palace (HIS), 2023; Flu Gallery, Belgrade, 2022; K2 Gallery, Križevci, 2022; “Art&Grad – Umjetnost se oglasila” (Lauba, 2021); Art Zagreb at the Nikola Tesla Technical Museum (2021); Boutique Art Fair NESVRSTANI at Lauba (2021 and 2022); Prica Gallery, Samobor (2018, twice, and 2022); and the Croatian Association of Fine Artists (HDLU) exhibition “Cash and Carry” (2019), among others.

Kos, Anita. (b. 1994, Zabok) graduated in Art Education from the Academy of Applied Arts in Rijeka in 2019.

She spent a year studying at the Jan Matejko Academy of Fine Arts in Kraków. She received the Academy Award for excellence in her graduate studies. She is a member of the Croatian Association of Fine Artists (HDLU) and the Croatian Freelance Artists’ Association (HZSU). She has exhibited in five solo exhibitions and numerous group exhibitions.

Kosanović Lunar, Slaven. (b. 1975, Zagreb) emerged

skog ili vanjskog javnog prostora. Sudjeluje na međunarodnim simpozijima i rezidencijama (Belgija, SAD, Njemačka) te izlaže na brojnim skupnim i samostalnim izložbama. Dobitnik je više nagrada i priznanja, a njegovi se radovi nalaze u javnim i privatnim zbirkama u zemlji i inozemstvu. Bavi se i pedagoškim radom – od 2015. radi na Akademiji primijenjenih umjetnosti Sveučilišta u Rijeci, trenutno u zvanju višeg asistenta. Član je Hrvatskog društva likovnih umjetnika. Živi u Matuljima.

Kutleša, Mirna. (1980., Rijeka) diplomirala je slikarstvo na Akademiji likovnih umjetnosti u Zagrebu. Od tada kontinuirano stvara te izlaže na brojnim samostalnim i skupnim izložbama u Hrvatskoj i inozemstvu. Za svoj rad je više puta nagrađivana. Radovi joj se nalaze u zbirci Muzeja moderne i suvremene umjetnosti u Rijeci, zbirci Erste Fragmenti, te mnogim privatnim zbirkama. Osim umjetničkim, bavi se i pedagoškim radom, te je osmislila i provela niz radionica za djecu i odrasle u suradnji s lokalnim udrugama i institucijama. Od 2019. radi na katedri za slikarstvo Akademije primijenjenih umjetnosti u Rijeci.

Labas, Lucia. (1975., Zagreb) diplomirala je slikarstvo 1999. na Akademiji likovnih umjetnosti Sveučilišta u Zagrebu, gdje je 2012. završila poslijediplomski doktorski studij umjetnosti. Od 2004. zaposlena je na Akademiji likovnih umjetnosti u Zagrebu, danas kao izvanredna profesorica. Aktivno izlaže u zemlji i inozemstvu te djeluje interdisciplinarno kroz slikarstvo, instalaciju, ambijent i video, sudjelujući na međunarodnim rezidencijama i umjetničko-istraživačkim projektima. Njezin umjetnički rad istražuje kreativnu svijest i proširena perceptivna polja kroz interdisciplinarne vizualne strategije koje umjetnost oblikuju kao kontemplativni prostor suptilne komunikacije između unutarnjih iskustava, društvene stvarnosti i prirodnog okruženja, afirmirajući autentičnost i odgovoran odnos prema ekosustavu života.

Lončarić LONAC, Tomislav. (1987., Zagreb), diplomirao je u klasi prof. Ines Krasić 2013. Od 2013. član je platforme P_3 a od 2016. član je HDLU-a. Izlagao je na šest samostalnih izložbi te velikom broju skupnih izložbi, od lokalnog i nacionalnog karaktera, te u inozemstvu.

Neki od njegovih studijskih radova dio su privatnih i javnih kolekcija, a jedna od značajnijih je kolekcija umjetničkih radova otkupljenih i izloženih u Europskoj središnjoj banci (ECB) u Frankfurtu gdje je 2019. godine izlagao na grupnoj izložbi hrvatskih suvremenih umjetnika. Osnivač Street Art Belgium i organizator brojnih svjetskih street art festivala uvrstio je Lonca među 50 najutjecajnijih street art autora u svojoj knjizi „Street Art Today: The 50 Most Influential Street Artists Today“. Njegovi murali krase ulice gradova diljem svi-

from the early Croatian graffiti scene. Thirty years later, he remains a unique living witness to and participant in the evolution of graffiti from subculture to recognised art form. His curiosity and persistent work have led him to create art across all continents and to be featured in international publications, including the books “Graffiti World – Street Art from 5 Continents”, “100 European Graffiti Artists”, “World Piecebook”, “Street Art & Graffiti Europe”, “Street Art Graffiti Guide Paris”, “Graffiti Planet”, “Style is a Message”, “Painted Walls Havana”, “Munchen Walls”, “Street Art Amsterdam”, “Street Art Zagreb”, “400ml”, “The Book of Tags”, “Arte Callejero”, and “Cinco – 5 Years of Calle Libre”. The first thirty years of his artistic practice are partially documented in the book “Lunar – From Zagreb with Love”, published by the Croatian Association of Fine Artists (HDLU) in 2019.

Kovačić Macolić, Gordana. (b. 1966, Varaždin) graduated from the School of Applied Arts in Zagreb in 1985, after which she enrolled at the Akademie der bildenden Künste in Vienna, in the class of Wolfgang Hollegha. She subsequently pursued interdisciplinary studies in Fine Arts and Art History at the Academy of Fine Arts and the Faculty of Humanities and Social Sciences in Zagreb. She graduated in 1989 and continued her postgraduate education at the Hochschule für bildende Künste in Kassel, in the class of Dorothee von Windheim. She undertook study visits in London, Paris, Brussels, Amsterdam, Rome, and Venice. She has participated in around fifty solo exhibitions, notably at the Museum of Arts and Crafts, Klovićevi Dvori Gallery, and the Josip Račić Studio of the National Museum of Modern Art in Zagreb, as well as at the Maribor Art Gallery and Palais Palffy in Vienna. She has also participated in numerous juried art exhibitions in Croatia and abroad, including the 24th Alexandria Biennale for Mediterranean Countries in Egypt in 2007. She is the recipient of numerous awards.

Kunić, Radovan. (b. 1987, Rijeka) graduated in Sculpture from the Academy of Applied Arts in Rijeka in 2012. Alongside painting as a continuous artistic preoccupation, he also works in animation, video, and installation, exploring the relationships between these media within gallery and public outdoor contexts. He participates in international symposia and residency programmes (Belgium, the United States, Germany) and has exhibited in numerous solo and group exhibitions. He is the recipient of several awards and recognitions, and his works are held in public and private collections in Croatia and abroad. He is also engaged in teaching and has worked at the Academy of Applied Arts, University of Rijeka, since 2015, where he currently holds the position of Senior Assistant. He is a member of the Croatian Association of Fine Artists (HDLU). He 240

jeta (Hrvatska, UK, Italija, Francuska, Bosna i Hercegovina, Švicarska, Švedska, Belgija, Portugal, Dubai, Kina, Sjeverna Makedonija, SAD).

Macolić, Slaven. (1964., Zagreb) diplomirao je na interdisciplinarnom studiju Akademije likovnih umjetnosti i Odsjeka za povijest umjetnosti Filozofskog fakulteta u Zagrebu, nakon čega je nastavio poslijediplomski studij u Kasselu. Studijski je boravio u Parizu, Beču, Pragu, Veneciji, Firenci, Amsterdamu i Bruxellesu. Izlagao je na brojnim skupnim i samostalnim izložbama u zemlji i inozemstvu. Od samostalnih izložbi izdvajaju se Muzej za umjetnost i obrt, Galerija Klovićevi dvori i Studio Nacionalnog muzeja moderne umjetnosti Josip Račić u Zagrebu te Umetnosna galerija Maribor i Palais Palffy u Beču. Dobitnik je nekoliko uglednih nagrada i priznanja za likovni rad, među kojima je i nagrada na 14. zagrebačkoj izložbi crteža i 28. zagrebačkog likovnog salona.

Malčić, Ivica. (1964., Zagreb) diplomirao je na Akademiji likovnih umjetnosti u Zagrebu 1996. godine. Do sada je izlagao na tridesetak samostalnih i stotinjak skupnih izložbi. Od 1998. do 2002. godine izlaže u Zagrebu svake godine 100 slika, a 2007., 2009. i 2017. godine izlaže 365 dnevničkih crteža, koji su dva puta u cijelosti objavljeni u časopisu „Fantom slobode“, izdavač Durieux. Tri puta je bio finalist THT nagrade u MSU. Za svoj rad nekoliko puta nagrađivan, a posljednja nagrada – „Nagrada Vladimira Nazora“ – dodijeljena mu je za najbolju izložbu u 2023 je. godini održanu u MSU. Njegov rad dio je stalnog postava Nacionalnog muzeja moderne umjetnosti u Zagrebu. Član je HZSU. Živi i radi u Zagrebu.

Maraković, Mia. (1990., Zagreb) završava srednju školu Primijenjene umjetnosti i dizajna (2009.) i stječe titulu Magistra Likovne kulture (2018.). Trenutačno je na Poslijediplomskom studiju na Akademiji likovnih umjetnosti u Zagrebu. Dosad je imala devetnaest samostalnih izložbi te je izlagala na više od osamdeset skupnih izložbi u Hrvatskoj i inozemstvu. Godine 2016. dobila je Rektorovu nagrade za projekt „Život ispod Sunca“, 2017. godine posebnu nagradu u sklopu izložbe „Student International Art Biennal“ (Makedonija), 2018. godine treću nagradu Zavičajnog muzeja grada Rovinja, a 2018. je nagrađena pohvalnicom akademskog vijeća kao najuspješniji student. Od 2015. do danas vodi razne radionice za djecu, odrasle, studente i marginalizirane osobe od kojih ističe: Rovinj (Centar Mare), Srebrenica (Udruga Cesvi i Omladinski centar Srebrenica), Potočari (Internat za djecu iz Srebrenice i Udruga hendikepirane djece i omladine Leptir), graditeljska srednja škola Čakovec, Kaznionica u Požega i Lepoglavi, Odgojni zavod u Turopolju i Požegi. Članica je Hrvatskog društva likovnih umjetnika i Hrvatske zajednice samostalnih 241

lives in Matulji.

Kutleša, Mirna. (b. 1980, Rijeka) graduated in Painting from the Academy of Fine Arts in Zagreb. Since then, she has continuously produced and exhibited work in numerous solo and group exhibitions in Croatia and abroad. She has received multiple awards for her artistic practice. Her works are held in the collections of the Museum of Modern and Contemporary Art in Rijeka, the Erste Fragments Collection, and numerous private collections. Alongside her artistic practice, she is also engaged in educational work and has conceived and conducted a range of workshops for children and adults in collaboration with local associations and institutions. Since 2019, she has worked at the Department of Painting at the Academy of Applied Arts in Rijeka.

Labas, Lucia. (b. 1975, Zagreb) graduated in Painting from the Academy of Fine Arts, University of Zagreb, in 1999, where she completed her postgraduate doctoral studies in Art in 2012. Since 2004, she has been employed at the Academy of Fine Arts in Zagreb and currently holds the position of Associate Professor. She actively exhibits in Croatia and internationally, working interdisciplinarily through painting, installation, spatial environments, and video, while participating in international residencies and artistic research projects. Her artistic practice explores creative consciousness and expanded fields of perception through interdisciplinary visual strategies that shape art as a contemplative space of subtle communication between inner experience, social reality, and the natural environment, affirming authenticity and a responsible relationship towards the ecosystem of life.

Lončarić LONAC, Tomislav. (b. 1987, Zagreb) graduated in 2013 in the class of Professor Ines Krasić. Since 2013, he has been a member of the P_3 platform, and since 2016 a member of the Croatian Association of Fine Artists (HDLU). He has held six solo exhibitions and participated in numerous group exhibitions in Croatia and abroad. Some of his studio works form part of private and public collections, including the collection of artworks acquired and exhibited by the European Central Bank (ECB) in Frankfurt, where he participated in a group exhibition of Croatian contemporary artists in 2019. The founder of Street Art Belgium and organiser of numerous international street art festivals included Lonac among the fifty most influential street artists in the book “Street Art Today: The 50 Most Influential Street Artists Today”. His murals can be found in cities around the world, including Croatia, the United Kingdom, Italy, France, Bosnia and Herzegovina, Switzerland, Sweden, Belgium, Portugal, Dubai, China, North Macedonia, and the United States.

umjetnika u Zagrebu.

Marković, Ivan. (1988., Zagreb) završio je Školu primijenjene umjetnosti i dizajna 2007 godine. Diplomirao je slikarstvo 2014. godine na Akademiji likovnih umjetnosti u Zagrebu, u klasi prof. Zoltana Novaka. Održao je na nekoliko samostalnih te sudjelovao na više skupnih izložbi. Živi i radi u Zagrebu.

Matić, Mitar. (1981., Rijeka) nakon završene Srednje škole za primijenjenu umjetnost i dizajn u Rijeci upisao je Umjetničku akademiju Sveučilišta u Splitu (smjer slikarstvo), gdje je diplomirao 2005. godine, u klasi profesora Gorkog Žuvele. Član je Hrvatskog društva likovnih umjetnika Rijeke i Zagreba, a proteklih godina izlagao je na brojnim samostalnim izložbama. Radi kao asistent na Akademiji primijenjenih umjetnosti u Rijeci.

Dobitnik je nagrade „Ex Aequo“ na 26. slavonskom bijenalu slikarstva i „Grand Prix“ nagrade 2014. godine na 32. salonu mladih u Zagrebu.

Mesar, Marina poznata pod imenom OKO, multidisciplinarna je umjetnica koja se izražava kroz različite medije poput slikarstva, crteža, ilustracija, murala i javnih intervencija. U radovima često prikazuje nadrealne prizore i antropomorfne figure, spajajući ljudske, životinjske i fantastične elemente kako bi istražila teme identiteta, sjećanja i mitologije. OKO je izlagala u institucijama i galerijama kao što su Muzej suvremene umjetnosti u Zagrebu, Muzej moderne i suvremene umjetnosti u Bolzanu, „e-flux“ galerija u New Yorku, muzej Victoria & Albert u Londonu, galerija Mograg u Tokiju i Europski parlament u Bruxellesu. Njezini murali i prostorne instalacije mogu se naći u Zagrebu, Torinu, Toulouseu, Londonu, Berlinu i nizu drugih gradova.

Među istaknutim djelima su mural „Open My Eyes That I May See“ na pročelju Muzeja suvremene umjetnosti u Zagrebu i interaktivni video/zidni rad „Don’t Follow the White Rabbit“, dio zbirke istog muzeja. Mural „Equilibrium“ uvršten joj je u stalnu zbirku umjetnina Europske središnje banke u Frankfurtu. OKO je diplomirala na Akademiji likovnih umjetnosti u Zagrebu 2013. godine, a trenutačno živi i radi u Zagrebu i Londonu.

Radila je na mnogim urbanim i komercijalnim projektima te surađivala s Googleom, Adidasom, Samsungom, IKEA-om te mnogim drugima. Gostujuća je predavačica na mnogim institucijama – srednjoškolskim, akademskim i poslovnim.

Miličić, Juraj John. (1992., Split) diplomirao je slikarstvo 2018. godine na Akademiji likovnih umjetnosti u Zagrebu, u klasi prof. Zlatana Vrkljana. Sudjelovao je na nizu značajnih skupnih izložbi i projekata, uključujući 6. i 7. bijenale slikarstva (HDLU, 2021. i 2023.), Hvar URB art (2022.), „Plati i nosi“ (HDLU, 2022.), 37. Salon mladih (HDLU, 2024.) te međunarodni projekt Rebot_1.0 u

Macolić, Slaven. (b. 1964, Zagreb) graduated from the interdisciplinary programme jointly organised by the Academy of Fine Arts and the Department of Art History at the Faculty of Humanities and Social Sciences in Zagreb, after which he continued postgraduate studies in Kassel. He undertook study visits in Paris, Vienna, Prague, Venice, Florence, Amsterdam, and Brussels. He has exhibited in numerous solo and group exhibitions in Croatia and abroad. Notable solo exhibitions include those at the Museum of Arts and Crafts, Klovićevi Dvori Gallery, and the Josip Račić Studio of the National Museum of Modern Art in Zagreb, as well as the Maribor Art Gallery and Palais Palffy in Vienna.

He has received several prestigious awards and recognitions for his artistic work, including awards at the 14th Zagreb Drawing Exhibition and the 28th Zagreb Art Salon.

Malčić, Ivica. (b. 1964, Zagreb) graduated from the Academy of Fine Arts in Zagreb in 1996. To date, he has held around thirty solo exhibitions and participated in approximately one hundred group exhibitions.

From 1998 to 2002, he exhibited one hundred paintings annually in Zagreb, while in 2007, 2009, and 2017 he presented 365 diary drawings, which were twice published in their entirety in the magazine “Fantom slobode”, published by Durieux. He was shortlisted for the T-HT Award at the Museum of Contemporary Art (MSU) on three occasions. He has received several awards for his work, most recently the Vladimir Nazor Award for the best exhibition of 2023, held at the Museum of Contemporary Art. His work forms part of the permanent collection of the National Museum of Modern Art in Zagreb. He is a member of the Croatian Freelance Artists’ Association (HZSU). He lives and works in Zagreb.

Maraković, Mia. (1990., Zagreb) graduated from the School of Applied Arts and Design in 2009 and obtained a Master’s degree in Art Education in 2018. She is currently enrolled in postgraduate studies at the Academy of Fine Arts in Zagreb. To date, she has held nineteen solo exhibitions and participated in more than eighty group exhibitions in Croatia and abroad.

In 2016, she received the Rector’s Award for the project “Life Beneath the Sun”; in 2017, a special award at the Student International Art Biennial in Macedonia; and in 2018, the third prize awarded by the Rovinj Heritage Museum. In the same year, she also received a commendation from the Academic Council as the most successful student of the academic year. Since 2015, she has led numerous workshops for children, adults, students, and marginalised groups, notably in Rovinj (Centar Mare), Srebrenica (CESVI Association and the Srebrenica Youth Centre), Potočari (Boarding School for Children from Srebrenica and the Leptir Associa242

FOMO Art Spaceu u Zürichu (2025.). Samostalno je izlagao na izložbama „Otok“ (Galerija Zlati Ajngel, 2018.), „Daske“ (Galerija Događanja, Centar KNAP, 2019.), Potemkinovi gosti (Gradska galerija Hvar, 2021., sa Svanom Radulovićem Maticom), „Zagreb–Split–Hvar“ (Galerija SC, 2024.), „Pola-pola“ (Galerija Arsenal, 2024., s Dinom Bičanićem), „Neizvjesnost“ (Galerija Manuš, Split, 2025.) te „Isprika“ (Galerija Kamba, Zagreb, 2025., sa Svanom Radulovićem Maticom). Dobitnik je 3. nagrade Salona mladih i Godišnje nagrade HDLU-a za mladog umjetnika za 2024. godinu.

Milić, Zdravko. (1953., Labin) završio je srednju Školu primijenjenih umjetnosti, odjel grafike, u Splitu 1973.

Diplomirao je slikarstvo na Accademia di Belle Arti u Veneciji 1977., u klasi prof. Carmela Zottija. Stručno je usavršavao mozaik na École Nationale Supérieure des Beaux-Arts u Parizu, u klasi prof. Ricarda Licate (1988.). Autor je nekoliko grafičkih mapa. Boravio je na rezidencijalnim programima u Parizu (Cite` des Arts), Australiji i Portugalu. Od 1978. do 2006. djeluje kao samostalni umjetnik. Od 2006. zaposlen je kao docent na Akademiji primijenjenih umjetnosti Sveučilišta u Rijeci, a kasnije u zvanju redovitog profesora predaje na kolegijima Slikarstvo i Mozaik. Intenzivno izlaže od početka 1970-ih. Održao je stotinu samostalnih te sudjelovao na više od šesto skupnih izložbi u zemlji i inozemstvu. Sudionik je velikog broja međunarodnih slikarskih i kiparskih simpozija, a za svoj je rad dobio 58 nagrada i priznanja. Djela mu se nalaze u značajnim hrvatskim i svjetskim privatnim i muzejskim zbirkama. Član je HDLU-a Rijeka i HDLU-a Zagreb. Živi i radi u Labinu i Rijeci.

Mišura, Oliver. (1960., Šibenik) završio je Pravni fakultet u Splitu te diplomirao slikarstvo na Umjetničkoj akademiji u Splitu, u klasi prof. Gorkog Žuvele. Izlagao je na dvije samostalne i više skupnih izložbi. Član je Hrvatskog društva likovnih umjetnika.

Musa, Andrea. (Frankfurt) diplomirala je slikarstvo na baselskoj akademiji Assenza, Švicarska, a potom pravo na Pravnom fakultetu u Splitu. Dobitnica je više nagrada i priznanja te je predstavljala Republiku Hrvatsku na međunarodnim izložbama i bijenalima. Od 1998. godine izlagala je na brojnim samostalnim i skupnim izložbama u muzejima i galerijama u zemlji i inozemstvu, te radila na različitim međunarodnim projektima.

Bila je Artist-in-Residence na Centre International des Récollets i Cite Internationale des Arts u Parizu. Član je Hrvatske udruge likovnih umjetnika i Hrvatske zajednice samostalnih umjetnika. Radovi joj se nalaze u privatnim i javnim kolekcijama diljem svijeta.

Paripović, Lav. (1989., Zagreb) završio je Školu primijenjenih umjetnosti i dizajna 2009. godine. Nakon toga 243

tion for Children and Youth with Disabilities), the Civil Engineering Secondary School in Čakovec, the penitentiaries in Požega and Lepoglava, and correctional institutions in Turopolje and Požega. She is a member of the Croatian Association of Fine Artists (HDLU) and the Croatian Freelance Artists’ Association (HZSU).

Marković, Ivan. (b. 1988, Zagreb) graduated from the School of Applied Arts and Design in 2007 and completed his degree in Painting at the Academy of Fine Arts in Zagreb in 2014, in the class of Professor Zoltan Novak. He has participated in several solo and numerous group exhibitions. He lives and works in Zagreb.

Matić, Mitar. (b. 1981, Rijeka) graduated from the School of Applied Arts and Design in Rijeka before enrolling in the Arts Academy at the University of Split, where he completed a degree in Painting in 2005, in the class of Professor Gorki Žuvela. He is a member of the Croatian Association of Fine Artists of Rijeka and Zagreb and has held numerous solo exhibitions over the years. He works as an Assistant at the Academy of Applied Arts in Rijeka and is the recipient of the Ex Aequo Award at the 26th Slavonian Biennale and the Grand Prix at the 32nd Youth Salon in Zagreb in 2014.

Mesar, Marina known as OKO, is a multidisciplinary artist working across painting, drawing, illustration, murals, and public interventions. Her works often depict surreal scenes and anthropomorphic figures, combining human, animal, and fantastical elements to explore themes of identity, memory, and mythology. OKO has exhibited at institutions and galleries including the Museum of Contemporary Art in Zagreb, the Museum of Modern and Contemporary Art in Bolzano, the e-flux gallery in New York, the Victoria and Albert Museum in London, Mograg Gallery in Tokyo, and the European Parliament in Brussels. Her murals and spatial installations can be found in Zagreb, Turin, Toulouse, London, Berlin, and numerous other cities.

Among her notable works are the mural “Open My Eyes That I May See” on the façade of the Museum of Contemporary Art in Zagreb and the interactive video/ wall installation “Don’t Follow the White Rabbit”, part of the same museum’s collection. Her mural “Equilibrium” is included in the permanent art collection of the European Central Bank in Frankfurt. OKO graduated from the Academy of Fine Arts in Zagreb in 2013 and currently lives and works between Zagreb and London.

She collaborates on numerous urban and commercial projects, including partnerships with Google, Adidas, Samsung, and IKEA, among others. She is also a guest lecturer at a range of secondary-school, academic, and professional institutions.

Miličić, Juraj John. (b. 1992, Split) graduated in Paint-

upisuje Akademiju likovnih umjetnosti u Zagrebu gdje je 2015. diplomirao slikarstvo s pohvalom cum laude, u klasi Z. Novaka. Višestruko je nagrađivan i istican; između ostalog, dobitnik je Nagrade HDLU-a za mladog umjetnika 2016. godine, nagrade „Vladimir Dodig Trokut, Iva Vraneković“ na 37. Salonu mladih (2024.) te pohvale stručnog žirija na 35. Salonu mladih (2020.).

Sudjelovao je na relevantnim domaćim i međunarodnim izložbama poput Salona mladih (HDLU), Bijenala slikarstva (HDLU), OSTRALE bijenala u Dresdenu te HT nagrade za suvremenu umjetnost u Muzeju suvremene umjetnosti u Zagrebu. Ostvario je i niz zapaženih samostalnih izložbi, među kojima se izdvajaju projekti u Galeriji SC u Zagrebu te recentni ciklusi izložbi u Zagrebu i Splitu. Sudjelovao je u međunarodnim rezidencijalnim programima (CREart Leipzig, GLOart Belgija, Studio Asylum Ljubljana), a od 2020. djeluje kao asistent na slikarskom odsjeku Akademije likovnih umjetnosti u Zagrebu.

Pascu, Luisa. (2000., Beč) završila je Školu primijenjene umjetnosti i dizajna u Zagrebu te 2024. diplomirala slikarstvo na Akademiji likovnih umjetnosti u Zagrebu.

Izlagala je na devet samostalnih izložbi: u Galeriji Lauba u sklopu projekta “Šalji dalje“ („Trenutno (ne)zadovoljstvo“, 2020.), u Galeriji Sivoj („(Ra)stvaranje“, 2021.), u Galeriji Događanja („Terapija usporedbom“, 2022.), u galeriji Kolekcionart (Red Carpet Intimacy, 2023.), u Galeriji Ateliers 33/2 u Beču (Oblačno i promjenjivo, 2023.), u Galeriji Široj (Kupaonica, 2024.), u Uraniji (Namještaj, 2025.), u Galeriji Klet (Četiri priče udvoje, 2025.), te u privremenom izložbenom prostoru na Zapadnom kolodvoru (Čekaonica, 2025.). Dosad je izlagala na skupnim izložbama u Laubi (Nesvrstani, 2022.), u Gradskoj knjižnici Ante Kovačića Zaprešić (Unutrašnji prostori, 2021.), u knjižnici Savski Gaj (Spavanje, 2022.), u Galeriji Knifer u Osijeku (2022.), u HDLU (Cash’n’Carry, 2022.), u Galeriji FLU u Beogradu (2021.), te u Galeriji Kambi (Materija intime, 2024.). Bavi se muralima i ilustracijom; ilustrirala je slikovnicu („Mitja i potres“, 2021., tekst: Ivanka Blažević-Kiš) te dvije naslovnice albuma („Disturbance in a Quiet Summer Night“, 2018., Nellcote; „Face in the Water“, Arian Peharda).

Pavlović, Pavle. (1983., Beograd) diplomirao je slikarstvo pod mentorstvom profesora Zoltana Novaka na Akademiji likovnih umjetnosti u Zagrebu (2010.). Dobitnik je „Essl Art Award CEE Collector’s Invitation prize“. Boravio je na One Sided rezidenciji u Njemačkoj, Salzamt rezidenciji u Austriji i GLO’ART rezidenciji u Belgiji. Dobitnik je Nagrade „Iva Vraneković“ 33. salona mladih i finalist „Essl Award CEE 2011“, a izdvajamo i samostalna izlaganja u Galerijama Trotoar, Bačva i Karas te skupna na 48. zagrebačkom salonu, 31. i 33. Salonu mladih, Artigo Rio, Rio de Janeiro, 9. internacionalnom bijenalu umjetnosti u Pekingu te Mutatis Mutandis,

ing from the Academy of Fine Arts in Zagreb in 2018, in the class of Professor Zlatan Vrkljan. He has participated in a number of notable group exhibitions and projects, including the 6th and 7th Biennials of Painting (Croatian Association of Fine Artists (HDLU), 2021 and 2023), Hvar URB Art (2022), “Cash & Carry” (HDLU, 2022), the 37th Youth Salon (HDLU, 2024), and the international project Rebot_1.0 at FOMO Art Space in Zurich (2025). His solo exhibitions include “Island” at Zlati Ajngel Gallery (2018); “Boards” at Događanja Gallery, KNAP Centre (2019); “Potemkin’s Guests” at Hvar City Gallery (2021, with Svan Radulović Matica); “Zagreb– Split–Hvar” at SC Gallery (2024); “Half and Half” at Arsenal Gallery (2024, with Dino Bičanić); “Uncertainty” at Manuš Gallery, Split (2025); and “Apology” at Kamba Gallery, Zagreb (2025, with Svan Radulović Matica). He is the recipient of the Third Prize at the Youth Salon and the Annual HDLU Award for Young Artist for 2024.

Milić, Zdravko. (b. 1953, Labin) graduated from the School of Applied Arts, Department of Printmaking, in Split in 1973. In 1977, he completed a degree in Painting at the Accademia di Belle Arti in Venice, in the class of Professor Carmelo Zotti. In 1988, he undertook advanced training in mosaic at the École Nationale Supérieure des Beaux-Arts in Paris, in the class of Professor Riccardo Licata.He is the author of several print portfolios and has participated in residency programmes in Paris (Cité Internationale des Arts), Australia, and Portugal. From 1978 to 2006, he worked as a freelance artist. Since 2006, he has been employed at the Academy of Applied Arts, University of Rijeka, initially as an Assistant Professor and later as a Full Professor teaching Painting and Mosaic. He has exhibited extensively since the early 1970s, holding around one hundred solo exhibitions and participating in more than six hundred group exhibitions in Croatia and abroad. He has taken part in numerous international painting and sculpture symposia and has received fifty-eight awards and recognitions for his work. His works are held in major Croatian and international private and museum collections. He is a member of the Croatian Association of Fine Artists Rijeka and the Croatian Association of Fine Artists Zagreb. He lives and works in Labin and Rijeka.

Mišura, Oliver. (b. 1960, Šibenik) graduated from the Faculty of Law in Split and completed a degree in Painting at the Arts Academy in Split, in the class of Professor Gorki Žuvela. He has held two solo exhibitions and participated in numerous group exhibitions.

He is a member of the Croatian Association of Fine Artists (HDLU).

Musa, Andrea. (b. Frankfurt) graduated in Painting from the Assenza Academy in Basel, Switzerland, and 244

Halle 14, Leipzig.

Pekšić, Anamaria. (1997., Zagreb) stekla je srednjoškolsko obrazovanje na grafičkom odjelu Škole primijenjene umjetnosti i dizajna (2016.), nakon čega upisuje nastavnički odsjek Akademije likovnih umjetnosti u Zagrebu, koji završava 2022. godine s titulom mag. educ. art. Nakon završetka studija predavala je likovne predmete u zagrebačkim srednjim školama. U vremenu kada je intimnost postala javna, njezino se slikarstvo vraća trenutku koji izmiče pogledu. Tradiciju intimističkog slikarstva premješta u suvremeni senzibilitet – figure su bliske, ali ne posve dostupne, a mrtva priroda nosi trag nečije prisutnosti. Izlagala je na brojnim grupnim izložbama u Zagrebu, Dubrovniku, Šibeniku i Ravenni. Godine 2019. osvojila je međunarodnu nagradu AIMC Prize for Students, za suvremeni mozaik u Ravenni. Dosad je otvorila dvije samostalne izložbe crteža – u galeriji Crta (2022.) i galeriji Panacea (2026.).

Popinjač, Lea. (1981., Zagreb) je magistra edukacije likovne kulture. Godine 2003. diplomirala je na zagrebačkom Tekstilno-tehnološkom fakultetu. Nakon toga tri je godine radila u struci, kao viši modni dizajner, da bi 2006. upisala Akademiju likovnih umjetnosti u Zagrebu (nastavnički odsjek). Diplomirala je na ALU 2012. godine, u klasi prof. Zlatana Vrkljana, a zatim osam godina radila kao profesorica likovne umjetnosti u zagrebačkoj Gornjogradskoj gimnaziji. U međuvremenu, 2014. godine, započela je suradnju s Tekstilno-tehnološkim fakultetom, gdje je kao vanjska suradnica u Zavodu za dizajn tekstila i odjeće održavala nastavu pri skupini kolegija iz područja kreiranja tekstila. Od godine 2020. stalno je zaposlena na Tekstilno-tehnološkom fakultetu, trenutno u umjetničko-nastavnom zvanju izvanredne profesorice. Pored rada na fakultetu, kontinuirano slika i izlaže na samostalnim i skupnim izložbama, sudjeluje na umjetničkim rezidencijama i likovnim simpozijima u zemlji i inozemstvu te osmišljava i vodi umjetničke radionice. Članica je HDLU-a, Tekstilne sekcije ULUPUH-a te međunarodne mreže FCVC. Dobitnica je likovne nagrade 5. bijenala slikarstva „Iva Vraneković, Vladimir Dodig Trokut – umjetnici umjetniku”.

Purgar, Patricija. (1990., Zagreb) diplomirala je slikarstvo na Akademiji likovnih umjetnosti u Zagrebu 2013. godine. Izlagala je na skupnim izložbama u Hrvatskoj i inozemstvu. Samostalno je izlagala u Samoboru, Poreču, Zaprešiću i Grožnjanu, te na pet izložbi u Zagrebu. Članica je Hrvatskog društva likovnih umjetnika. Živi i radi u Zagrebu.

Rašica, Mihaela. (1997., Dubrovnik) diplomirala je na Akademiji likovnih umjetnosti u Zagrebu – 2023. godine na odsjeku Likovne kulture u klasi profesora Ante 245

subsequently in Law from the Faculty of Law in Split.

She is the recipient of several awards and recognitions and has represented Croatia at international exhibitions and biennials. Since 1998, she has exhibited in numerous solo and group exhibitions in museums and galleries in Croatia and abroad and participated in a variety of international projects. She was Artist-in-Residence at the Centre International des Récollets and the Cité Internationale des Arts in Paris. She is a member of the Croatian Association of Fine Artists (HDLU) and the Croatian Freelance Artists’ Association (HZSU). Her works are held in private and public collections worldwide.

Paripović, Lav. (b. 1989, Zagreb) graduated from the School of Applied Arts and Design in 2009, after which he enrolled at the Academy of Fine Arts in Zagreb, where he graduated in Painting in 2015 with cum laude honours in the class of Professor Zoltan Novak. He received the Croatian Association of Fine Artists (HDLU) Award for Best Young Artist in 2016, and has received numerous awards and commendations for his work, including the “Vladimir Dodig Trokut, Iva Vraneković” award at the 37th Youth Salon (2024) and a commendation from the expert jury at the 35th Youth Salon (2020).

He has participated in major national and international exhibitions, including the Youth Salon (HDLU), the Biennial of Painting (HDLU), the OSTRALE Biennale in Dresden, and the HT Award for Contemporary Art at the Museum of Contemporary Art in Zagreb. He has also held a number of notable solo exhibitions, particularly projects at SC Gallery in Zagreb and recent exhibition cycles in Zagreb and Split. He has participated in international residency programmes (CREArt Leipzig, GLO’ART Belgium, Studio Asylum Ljubljana), and since 2020 has worked as an assistant at the Painting Department of the Academy of Fine Arts in Zagreb.

Pascu, Luisa. (b. 2000, Vienna) graduated from the School of Applied Arts and Design in Zagreb and completed her degree in Painting at the Academy of Fine Arts in Zagreb in 2024. She has held nine solo exhibitions: at Lauba as part of the “Šalji dalje” project (“Current (Dis)Satisfaction”, 2020); Siva Gallery (“(Ra)stvaranje”, 2021); Događanja Gallery (“Therapy by Comparison”, 2022); Kolekcionart Gallery (“Red Carpet Intimacy”, 2023); Ateliers 33/2 Gallery in Vienna (“Cloudy and Changeable”, 2023); Šira Gallery (“Bathroom”, 2024); Urania (“Furniture”, 2025); Klet Gallery (“Four Stories for Two”, 2025); and the temporary exhibition space at Zagreb West Station (“Waiting Room”, 2025). She has also participated in group exhibitions at Lauba (“Nesvrstani”, 2022); the Ante Kovačić City Library in Zaprešić (“Interior Spaces”, 2021); Savski Gaj Library (“Sleeping”, 2022); Knifer Gallery in Osijek (2022); the Croatian Association of Fine Artists (HDLU) exhibition “Cash & Carry”

Rašića te 2024. godine na odsjeku Slikarstva u klasi profesora Matka Vekića. Izlagala je na više grupnih izložbi u Hrvatskoj, Sloveniji i BiH te je održala sedam samostalnih izložbi u Hrvatskoj, od kojih izdvaja: „Nebo iznad Dubrovnika“, Galerija Dulčić Masle Pulitika, Dubrovnik (2025.) / Galerija Kolekcionart (2026.), kao i jednu u Portugalu, gdje je 2025. odradila stručnu praksu kao članica kolektiva Mais uno + 1!. Dobitnica je Kontrapunkt nagrade na 7. hrvatskom bijenalu slikarstva i nagrade HDLU-a za najbolju mladu umjetnicu u 2025. godini. Objavila je dvije autorske zbirke poezije („Grimiz, kristal i sol“, 2023., „Strune i stihije“, 2020.). U svojoj umjetničkoj praksi radi s tradicionalnim slikarskim tehnikama, a njezini se motivi uvijek tematski bave svjetlošću i bojom kao vizualnom, ali i metafizičkom, duhovnom pojavom.

Rogina, Domagoj. (1989., Varaždin) diplomirao je slikarstvo u klasi prof. Damira Sokića na nastavničkom odsjeku Akademije likovnih umjetnosti Sveučilišta u Zagrebu 2017. godine. Dobitnik je godišnje nagrade HDLU-a za najboljeg mladog umjetnika (2022.). Dosad je izlagao na tridesetak skupnih izložbi, od kojih izdvaja 4., 5., 6., i 7. bijenale slikarstva, 13. i 15. Erste Fragmenti te 32. i 35. Salon Mladih. Samostalno je izlagao deset puta, u galerijama: Vladimir Filakovac, Greta, SC, Karas, Zlati Ajngel, Šira, GMV Varaždin, Galeriji Forum i Galeriji Zen Contemporary Art. Boravio je na rezidenciji u Belgiji 2015. i likovnoj koloniji Počitelj (BiH) 2019. godine. Od 2018. godine radi kao profesor likovne kulture u Centru za odgoj i obrazovanje Slave Raškaj u Zagrebu.

(2022); FLU Gallery in Belgrade (2021); and Kamba Gallery (“Intimate Matter”, 2024). She also works in mural art and illustration. She illustrated the picture book “Mitja i potres” (2021; text by Ivanka Blažević-Kiš) and designed two album covers: “Disturbance in a Quiet Summer Night” (Nellcote, 2018) and “Face in the Water” (Arian Peharda).

Pavlović, Pavle. (b. 1983, Belgrade) graduated in Painting from the Academy of Fine Arts in Zagreb in 2010, under the mentorship of Professor Zoltan Novak. He is the recipient of the Essl Art Award CEE Collector’s Invitation Prize. He participated in the One-sided Story residency programme in Germany, the Salzamt residency programme in Austria, and the GLO’ART residency programme in Belgium. He also received the “Iva Vraneković” Award at the 33rd Youth Salon and was a finalist for the Essl Award CEE 2011. Notable solo exhibitions include those at Trotoar, Bačva, and Karas galleries, while selected group exhibitions include the 48th Zagreb Salon, the 31st and 33rd Youth Salons, Artigo Rio in Rio de Janeiro, the 9th International Art Biennale in Beijing, and “Mutatis Mutandis” at Halle 14 in Leipzig.

Rožman, Maja. (1981., Zagreb) diplomirala je 2006. godine na Akademiji likovnih umjetnosti Sveučilišta u Zagrebu, u klasi prof. Ante Kuduza. Od 2003. do danas ostvarila je 30 samostalnih izložbi te sudjelovala na više od 100 skupnih žiriranih izložbi natječajnog i pozivnog karaktera u zemlji i inozemstvu. Djela su joj uvrštena u domaće i međunarodne muzejsko-galerijske i kolekcionarske zbirke, a za svoj je rad primila više nacionalnih i internacionalnih priznanja i nagrada. Živi u Zagrebu, gdje radi kao izvanredna profesorica na Grafičkom odsjeku Akademije likovnih umjetnosti.

Pekšić, Anamaria. (b. 1997, Zagreb) completed her secondary education at the Graphic Arts Department of the School of Applied Arts and Design in 2016, after which she enrolled in the Teacher Education Department of the Academy of Fine Arts in Zagreb, graduating in 2022 with a degree in Art Education (mag. educ. art.). Following her studies, she taught art subjects at secondary schools in Zagreb. At a time when intimacy has become public, her painting returns to moments that evade the gaze. She transposes the tradition of intimist painting into a contemporary sensibility — her figures appear close yet never entirely accessible, while her still lifes bear traces of human presence. She has exhibited in numerous group exhibitions in Zagreb, Dubrovnik, Šibenik, and Ravenna. In 2019, she received the international AIMC Prize for Students for contemporary mosaic in Ravenna. To date, she has held two solo drawing exhibitions — at Crta Gallery (2022) and Panacea Gallery (2026).

Sokić, Jelena. (1980., Split) počela je aktivno crtati i slikati 2000. godine te je ubrzo shvatila da će to postati njezino zanimanje. Godine 2005. upisala je slikarstvo na Akademiji za likovnu umjetnost i dizajn u Ljubljani, gdje je i diplomirala 2013. Za vrijeme studija sudjelovala je u programu mobilnosti Erasmus i provela godinu na Akademiji likovnih umjetnosti Brera u Milanu, Italija. Za čitavog trajanja studija, a posebno nakon diplome, bila je aktivna na različitim umjetničkim događanjima. Sudjelovala je u nizu skupnih izložbi te organizirala i samostalne. Kao medij izražavanja koristi slikarstvo, crtež, grafiku, video, ilustraciju. Trenutno živi

Popinjač, Lea. (b. 1981, Zagreb) holds a degree in Art Education. In 2003, she graduated from the Faculty of Textile Technology in Zagreb. She then worked in the profession for three years as a senior fashion designer before enrolling in the Teacher Education Department of the Academy of Fine Arts in Zagreb in 2006.

She graduated from the Academy in 2012 in the class of Professor Zlatan Vrkljan, after which she worked for eight years as an art teacher at the Gornjogradska Gymnasium in Zagreb. In the meantime, in 2014, she began collaborating with the Faculty of Textile Technology as an external associate at the Department of 246

i radi u Zagrebu.

Stanić, Tara. (1998., Zagreb) diplomirala je na Akademiji likovnih umjetnosti u Zagrebu, odsjek Likovne kulture, smjer grafika, u klasi profesora Igora Čabraje. Kroz animaciju, grafiku, ilustraciju, strip i slikarstvo istražuje groteskno, fantastično, otuđenost i samoću. Koristeći naraciju spaja neobično, jezovito i duhovito. Samostalno je izlagala na izložbi „Ja znam tko si ti“ u Galeriji Šira (2025.), „Džepne pastelice“ u Galeriji Crta (2024.), „Znaš li da postoje dimenzije s različitim ishodima“ u Galeriji Galženica (2023.), „Životinje“ u Galeriji Polica, ALU (2023.) i izložbi „Samo snovi“ u Laubi (Projekt „Šalji dalje“ (2022.). Njezin studentski animirani film uvršten je u program Svjetskog festivala animacije Animafest u Zagrebu (2024.) i Animateke u Ljubljani (2024.). Sudjelovala je na grupnim izložbama u Zagrebu (Galerija CEKAO/ 2025., Galerija SC/ 2024., ALU/ 2018. – 2023., HDLU/ 2022.), Velikoj Gorici (Galerija Galženica/2025.,2022.) i Antwerpenu ( Galerija TICK TACK/ 2020., KASK/ 2019.) gdje je boravila u sklopu Erasmus+ programa (2019.). Šabić, Miran. (1986., Brežice) diplomirao je 2010. na Akademiji likovnih umjetnosti u Zagrebu, gdje je 2017. i doktorirao na slikarskom odsjeku. Sudjelovao je na rezidencijalnim programima u SAD-u, Belgiji i u Njemačkoj. Kontinuirano izlaže u Hrvatskoj i u inozemstvu, a ističemo: 22. međunarodni festival u Seoulu, Chosunilbo Museum, Seoul; Neo Print Prize, Neo Gallery, Bolton, 1st Expression of World Art (NEWA), Henan Museum, Zengzhou, Kina; T-HT nagrada. Dobitnik je više nagrada i priznanja, od kojih se ističu međunarodne nagrade IMAF Award, MSU nagrada 33. Salona mladih, OSTEN Biennial of Drawing, Makedonija 2012., Velika nagrada za grafiku na INTERBIFEP-u te nagrada HDLU-a na 6. hrvatskom trijenalu grafike.

Tirić, Josip. (1982., Travnik) studirao je na Akademiji likovnih umjetnosti u Zagrebu od 2001. do 2007. godine. Dobitnik je nagrade ALU-a Zagreb za najuspješnijeg diplomanta u akademskoj 2006. /2007. i godišnje nagrade HDLU-a za najboljeg mladog umjetnika 2011.

Izlagao je na više samostalnih izložbi u zemlji i u inozemstvu. Njegovi su radovi zastupljeni u mnogim kolekcijama.

Todorović, Predrag. (1966., Drvar) diplomirao je na Pedagoškom fakultetu u Rijeci 1990., smjer slikarstvo, pod mentorstvom prof. Ksenije Mogin. Predavao je u Školi za primijenjenu umjetnost i na Akademiji za primijenjenu umjetnost u Rijeci. Od 2003. do 2004. predsjednik je HDLU-a Rijeke. Također, od 2021. do 2025., predavao je i na ALU u Zagrebu, na slikarskoj katedri nastavničkog smjera. Dosad je izlagao na više od 50 samostalnih izložbi te na brojnim skupnim, žiriranim i selektiranim izložbama u Hrvatskoj i inozemstvu. Boravio 247

Textile and Clothing Design, where she taught courses in textile design and creation. Since 2020, she has been permanently employed at the Faculty of Textile Technology, where she currently holds the position of Associate Professor in an artistic-teaching capacity.

Alongside her academic work, she continuously paints and exhibits in solo and group exhibitions, participates in art residencies and visual arts symposia in Croatia and abroad, and develops and leads art workshops.

She is a member of the Croatian Association of Fine Artists (HDLU), the Textile Section of ULUPUH, and the international FCVC network. She is the recipient of the visual arts award at the 5th Biennial of Painting, Iva Vraneković, Vladimir Dodig Trokut – Artists to Artist.

Purgar, Patricija. (b. 1990, Zagreb) graduated in Painting from the Academy of Fine Arts in Zagreb in 2013.

She has exhibited in group exhibitions in Croatia and abroad, and has held solo exhibitions in Samobor, Poreč, Zaprešić, Grožnjan, and at five venues in Zagreb. She is a member of the Croatian Association of Fine Artists (HDLU). She lives and works in Zagreb.

Rašica, Mihaela. (b. 1997, Dubrovnik) graduated in 2023 from the Department of Art Education in the class of Professor Ante Rašić and in 2024 from the Department of Painting in the class of Professor Matko Vekić at the Academy of Fine Arts in Zagreb. She has exhibited in several group exhibitions in Croatia, Slovenia, and Bosnia and Herzegovina, and has held seven solo exhibitions in Croatia, notably “Nebo iznad Dubrovnika / Sky over Dubrovnik” at the Dulčić Masle Pulitika Gallery in Dubrovnik (2025) and at Kolekcionart Gallery (2026), as well as one exhibition in Portugal, where she completed a professional internship in 2025 as a member of the collective Mais uno + 1!. She received the Kontrapunkt Award at the 7th Croatian Biennial of Painting and the Croatian Association of Fine Artists (HDLU) Award for Best Young Artist in 2025. She has published two collections of poetry: “Grimiz, kristal i sol” (2023) and “Strune i stihije” (2020). In her artistic practice, she works with traditional painting techniques, while her motifs consistently explore light and colour as both visual and metaphysical, spiritual phenomena.

Rogina, Domagoj. (b. 1989, Varaždin) graduated in Painting from the Teacher Education Department of the Academy of Fine Arts, University of Zagreb, in 2017, in the class of Professor Damir Sokić. He received the Croatian Association of Fine Artists (HDLU) Annual Award for Best Young Artist in 2022. To date, he has participated in around thirty group exhibitions, including the 4th, 5th, 6th, and 7th Biennials of Painting, the 13th and 15th Erste Fragmenti, and the 32nd and 35th Youth Salons. He has held ten solo exhibitions at Vladimir Filakovac Gallery, Greta Gallery, SC Gallery, Karas

je na dva rezidencijalna programa: u Kairu 1997. i u Parizu 2016. Njegovi se radovi nalaze u brojnim privatnim zbirkama u zemlji i inozemstvu, u fundusu MMSU-a u Rijeci te u grafičkim zbirkama MSU-a Zagreb i NSK-a Zagreb. Dobitnik je nekoliko nagrada i priznanja, od kojih izdvajamo nagradu „The Pollock-Krasner Foundation – Grant“ (1996. – 1997.) i „Adolph and Esther Gottlieb Foundation“, New York, 2022., „Individual Support Grant“, za dugogodišnji rad u kontinuitetu dužem od 20 godina.

Tolić, Šimun. (1982., Zagreb) diplomirao je slikarstvo na Akademiji likovnih umjetnosti, nastavnički odsjek, u klasi prof. Matka Vekića (2017.). Magistar je edukacije likovne kulture. Izlagao je na više skupnih i nekoliko samostalnih izložbi. Član je HZSU-a od 2023. Živi i radi u Zaprešiću.

Tomić, Andrej. (1992., Osijek) završio je studij slikarstva na Akademiji likovnih umjetnosti Sveučilišta u Zagrebu 2016. godine. Izlagao je na više samostalnih i skupnih žiriranih izložbi. Dobitnik je nagrade “Vladimir Dodig Trokut, Iva Vraneković – umjetnici umjetniku” na 5. bijenalu slikarstva 2019., te godišnje nagrade HDLU-a za mladog umjetnika za 2021. godinu. Zaposlen je kao nastavnik stručnih predmeta na Školi primijenjene umjetnosti i dizajna Osijek.

Tomić Mosk, Vladimir. (1983., Rijeka) završio je Školu primijenjenih umjetnosti i diplomirao na Akademiji primijenjenih umjetnosti u Rijeci. Graffitima i street artom aktivno se bavi od 1998. godine pod pseudonimom Mosk. Sudjelovao je na brojnim graffiti i street art festivalima u Europi, grupnim izložbama i rezidencijama, a održao je i više samostalnih izložbi. Radovi su mu objavljivani u mnogim svjetskim i domaćim publikacijama i časopisima posvećenim urbanoj i graffiti umjetnosti. Jedan je od pokretača i organizatora „Rijeke murala“, festivala ulične umjetnosti i murala u Rijeci. U svom radu je proteklih godina posvećen slikanju, muralima i ilustraciji.

Vaštag, Laslo. (1982., Varaždin) diplomirao je slikarstvo i animirani film na Akademiji primjenjene umjetnosti u Beču, klasa Christian Ludwig Attersee (2006.). Osim slikarskog rada sudjeluje u izradi i printu glazbenih plakata i ilustracija u tehnici sitotiska, grafičkim radovima za knjige, snimanju glazbenih podloga za film i slično. Izlaže rijeđe, jedna samostalna izložba održana je 2007. godine u Galeriji starih i novih majstora u Varaždinu. Živi i radi u blizini Varaždina.

Vehabović, Zlatan. (1982., Banja Luka) suvremeni je hrvatski slikar. Diplomirao je slikarstvo na Akademiji likovnih umjetnosti u Zagrebu, gdje danas djeluje kao predavač. U svom radu često istražuje teme kolektiv-

Gallery, Zlati Ajngel Gallery, Šira Gallery, GMV Varaždin, Forum Gallery, and Zen Contemporary Art Gallery. He participated in a residency programme in Belgium in 2015 and the Počitelj art colony (Bosnia and Herzegovina) in 2019. Since 2018, he has worked as an art teacher at the Slave Raškaj Centre for Education and Training in Zagreb.

ne memorije, povijesti, popularne kulture i medijskih slika, kombinirajući figuraciju s narativnim i simboličkim elementima. Njegove slike karakterizira slojevita kompozicija i izražena atmosfera, često inspirirana fotografijom i filmom. Izlagao je na brojnim samostalnim i skupnim izložbama u Hrvatskoj i inozemstvu te je dobitnik više nagrada za suvremenu umjetnost.

Rožman, Maja. (b. 1981., Zagreb) graduated in 2006 from the Academy of Fine Arts, University of Zagreb, in the class of Professor Ante Kuduz. Since 2003, she has held 30 solo exhibitions and participated in more than 100 juried group exhibitions, both invitational and open-call, in Croatia and abroad. Her works are included in Croatian and international museum, gallery, and private collections, and she has received numerous national and international awards and recognitions for her work. She lives in Zagreb, where she works as an Associate Professor at the Department of Printmaking of the Academy of Fine Arts.

Vukojević, Bojana. (1979., Zadar) stekla je zvanje profesora likovne kulture 2007. godine na Akademiji primijenjenih umjetnosti u Rijeci, s užom specijalizacijom u slikarstvu, a od 2009. godine radi kao nastavnik stručnih predmeta u Školi primijenjene umjetnosti i dizajna Zadar. Tijekom svog umjetničkog razvoja bila je u doticaju s različitim umjetničkim praksama, a svoj umjetnički rad prikazala je dosad kroz više skupnih izložbi te nekoliko samostalnih. Aktivno stvara u području ilustracije, slikarstva i umjetničke instalacije, a svojim vizualnim i literarnim djelovanjem redovito doprinosi realizaciji online pop-kulturnog magazina „Perkatonic“. Zapažene rezultate i priznanja ostvaruje kroz umjetnički projekt „Jaseničanke“ kojeg pokreće 2023. godine i na kojem u sklopu rada u kreativnom timu Baba Roga sudjeluje u stvaranju, promociji i izlaganju originalnih baštinskih lutaka i pripadajućih priča i zapisa, promičući materijalnu i nematerijalnu baštinu podvelebitskog kraja. Član je Hrvatskog društva likovnih umjetnika od 2008. godine.

Sokić, Jelena. (b. 1980, Split) began actively drawing and painting in the early 2000s, recognising art as her future profession. In 2005, she enrolled in the Academy of Fine Arts and Design in Ljubljana, Slovenia, majoring in Painting, graduating in 2013. During her studies, she participated in the Erasmus mobility programme and spent a year at the Brera Academy of Fine Arts in Milan. Throughout her studies, and especially after graduation, she actively participated in various artistic events, taking part in group exhibitions and organising solo exhibitions. Her artistic practice encompasses painting, drawing, printmaking, video, and illustration.

She currently lives and works in Zagreb, Croatia.

Stanić, Tara. (b. 1998, Zagreb) graduated from the Academy of Fine Arts in Zagreb, Department of Art Education, majoring in Graphic Arts in the class of Professor Igor Čabraja. Through animation, graphics, illustration, comics and painting she explores the grotesque and the fantastic, as well as alienation and loneliness.

Using narration, she combines the uncanny, the eerie and the humorous. She has held solo exhibitions including “I Know Who You Are” at Šira Gallery (2025), Pocket Pastels at Crta Gallery (2024), “Did You Know There Are Dimensions with Different Outcomes” at Galženica Gallery (2023), Animals at Polica Gallery, Academy of Fine Arts (2023), and “Only Dreams” at Lauba as part of the “Pass It On” project (2022). Her student animated film was included in the programmes of the World Festival of Animated Film – Animafest in Zagreb (2024) and Animateka in Ljubljana (2024).

She has also participated in group exhibitions in Zagreb (CEKAO Gallery, 2025; SC Gallery, 2024; Academy of Fine Arts, 2018–2023; Croatian Association of Fine Artists (HDLU), 2022), Velika Gorica (Galženica Gallery, 248

Zrnić, Diana. (1995., Zagreb) mlada je umjetnica iz Pule koja živi u Zagrebu i studentica je doktorskog studija likovne umjetnosti na Akademiji likovnih umjetnosti.

Završila je preddiplomski sveučilišni studij Slikarstvo na Akademiji likovnih umjetnosti u Zagrebu 2018. godine, nakon čega je 2021. diplomirala na Goldsmithsu, University of London, MFA Fine Art. Zrnić je pohađala pet rezidencijalnih programa; u Oulu, Londonu, Berlinu, Lapui i Barceloni, koja su rezultirala skupnim i samostalnim izložbama u inozemstvu. Godine 2018. osvojila je Rektorovu nagradu za izvrsnost Sveučilišta u Zagrebu, a iste je godine nagrađena i na Grisiji. Zrnić je imala osam samostalnih i trideset skupnih izložbi u Hrvatskoj i inozemstvu. Žeželj, Danijel. (1966., Zagreb) autor je stripova, slikar, animator i ilustrator. Stripove i ilustracije objavljivao je u Europi, Sjevernoj, Srednjoj i Južnoj Americi, Aziji i Africi. Objavljivao je u časopisima Heavy Metal, The New York Times, Harper’s Magazine, San Francisco Guardian i surađivao s izdavačima Marvel Comics, DC Comics/Vertigo, Dark Horse, Image, Dargaud, Glénat, Grifo Edizioni, Eris Edizioni itd. Autor je dvadeset i sedam strip-albuma i devet animiranih filmova. Od 1997. ostvario je niz multimedijskih performansa koji povezuju slikanje uživo, animaciju i glazbu uživo u jedinstvenu narativnu formu. Performansi su izvođeni u 249

2022, 2025), and Antwerp (TICK TACK Gallery, 2020; KASK, 2019), where she participated in the Erasmus+ programme in 2019. Šabić, Miran. (b. 1986, Brežice) graduated from the Academy of Fine Arts in Zagreb in 2010, where he also completed his doctorate at the Department of Painting in 2017. He has participated in residency programmes in the United States, Belgium, and Germany. He exhibits continuously in Croatia and abroad, including at the 22nd Seoul International Festival at the Chosun Ilbo Museum in Seoul, Neo Print Prize at Neo Gallery in Bolton, 1st New Expression of World Art (NEWA) at the Henan Museum in Zhengzhou, China, and the T-HT Award. He has received numerous awards and recognitions, notably the international IMAF Award, the Museum of Contemporary Art Award at the 33rd Youth Salon, the OSTEN Biennial of Drawing (Macedonia, 2012), the Grand Prix for Printmaking at INTERBIFEP, and the Croatian Association of Fine Artists (HDLU) Award at the 6th Croatian Triennial of Printmaking.

Tirić, Josip. (b. 1982, Travnik) studied at the Academy of Fine Arts in Zagreb from 2001 to 2007. He received the Academy of Fine Arts Award for Best Graduate of the 2006/2007 academic year and the Croatian Association of Fine Artists (HDLU) Annual Award for Best Young Artist in 2011. He has held several solo exhibitions in Croatia and abroad. His works are featured in numerous collections.

Todorović, Predrag. (b. 1966, Drvar) graduated in Painting from the Faculty of Education in Rijeka in 1990 under the mentorship of Professor Ksenija Mogin.

He taught at the School of Applied Arts and at the Academy of Applied Arts in Rijeka. From 2003 to 2004, he served as president of the Croatian Association of Fine Artists (HDLU) Rijeka. From 2021 to 2025, he also taught at the Academy of Fine Arts in Zagreb at the Painting Department within the Teacher Education programme. To date, he has held more than fifty solo exhibitions and participated in numerous group, juried, and curated exhibitions in Croatia and abroad. He has participated in two residency programmes: in Cairo (1997) and Paris (2016). His works are held in numerous private collections in Croatia and abroad, in the holdings of the Museum of Modern and Contemporary Art in Rijeka (MMSU), and in the print collections of the Museum of Contemporary Art in Zagreb (MSU) and the National and University Library in Zagreb (NSK). He has received several awards and recognitions, notably The Pollock-Krasner Foundation Grant (1996–1997) and the Adolph and Esther Gottlieb Foundation Individual Support Grant (New York, 2022), awarded for more than twenty years of continuous artistic practice.

Europi i SAD-u. Jedan je od osnivača umjetničke radionice Petikat.

Tolić, Šimun. (b. 1982, Zagreb) graduated in 2017 from the Academy of Fine Arts, Teacher Education Department, majoring in Painting in the class of Professor Matko Vekić. He holds a master’s degree in Art Education. He has exhibited in several group and solo exhibitions. He has been a member of the Croatian Freelance Artists’ Association (HZSU) since 2023. He lives and works in Zaprešić.

Tomić, Andrej. (b. 1992, Osijek) graduated in Painting from the Academy of Fine Arts, University of Zagreb, in 2016. He has held several solo exhibitions and participated in numerous juried group exhibitions. He received the Vladimir Dodig Trokut, Iva Vraneković – Artists to Artist Award at the 5th Biennial of Painting in 2019, as well as the Croatian Association of Fine Artists (HDLU) Annual Award for Best Young Artist in 2021. He is employed as a teacher of professional art subjects at the School of Applied Arts and Design in Osijek.

Tomić Mosk, Vladimir. (b. 1983, Rijeka) graduated from the School of Applied Arts in Rijeka and from the Academy of Applied Arts. He has been actively involved in graffiti and street art since 1998 under the pseudonym Mosk. He has participated in numerous graffiti and street art festivals across Europe, as well as group exhibitions, residencies, and several solo exhibitions. His works have been published in numerous Croatian and international publications and magazines dedicated to urban and graffiti art. He is one of the initiators and organisers of “Rijeka murala” (“river of murals”), a street art and mural festival in Rijeka. In recent years, his artistic practice has focused on painting, murals, and illustration.

Vaštag, Laslo. (b. 1982, Varaždin) graduated in Painting and Animated Film from the Academy of Applied Arts in Vienna in 2006, in the class of Christian Ludwig Attersee. In addition to painting, he works on the design and screen-printing of music posters and illustrations, graphic work for books, recording music for films, and related projects. He exhibits relatively rarely; his notable solo exhibition was held in 2007 at the Gallery of Old and New Masters in Varaždin. He lives and works near Varaždin.

Vehabović, Zlatan. (b. 1982, Banja Luka) is a contemporary Croatian painter. He graduated in Painting from the Academy of Fine Arts in Zagreb, where he currently holds a teaching position. His work frequently explores themes of collective memory, history, popular culture, and media imagery, combining figuration with narrative and symbolic elements. His paintings are characterised by layered compositions and a pronounced atmosphere, often inspired by photography and film. He has exhibited in numerous solo and group exhibitions 250

in Croatia and abroad and has received several awards for contemporary art.

Vukojević, Bojana. (b. 1979, Zadar) obtained her degree in Art Education in 2007 from the Academy of Applied Arts in Rijeka, specialising in Painting. Since 2009, she has worked as a teacher of professional art subjects at the School of Applied Arts and Design in Zadar. Throughout her artistic development, she has engaged with various artistic practices, presenting her work through numerous group exhibitions and several solo exhibitions. She is actively involved in illustration, painting, and installation art, and regularly contributes visually and editorially to the online pop-culture magazine “Perkatonic”. She has achieved notable recognition through the artistic project “Jaseničanke”, launched in 2023, in which she collaborates as part of the creative collective Baba Roga on the creation, promotion, and exhibition of original heritage dolls and accompanying stories and records, promoting the tangible and intangible heritage of the sub-Velebit region. She has been a member of the Croatian Association of Fine Artists (HDLU) since 2008.

Zrnić, Diana. (b. 1995, Zagreb) is a young artist from Pula currently living in Zagreb and pursuing doctoral studies in Fine Arts at the Academy of Fine Arts. She completed her undergraduate studies in Painting at the Academy of Fine Arts in Zagreb in 2018 and earned an MFA in Fine Art from Goldsmiths, University of London, in 2021. She has participated in five residency programmes — in Oulu, London, Berlin, Lapua, and Barcelona — which resulted in group and solo exhibitions abroad. In 2018, she received the University of Zagreb Rector’s Award for Excellence and was also awarded at Grisia that same year. To date, she has held eight solo exhibitions and participated in thirty group exhibitions in Croatia and abroad. Žeželj, Danijel. (b. 1966, Zagreb) is a comics author, painter, animator, and illustrator. His comics and illustrations have been published across Europe, North, Central and South America, Asia, and Africa. He has contributed to publications including “Heavy Metal”, “The New York Times”, “Harper’s Magazine”, and “San Francisco Guardian”, and has collaborated with publishers such as Marvel Comics, DC Comics/Vertigo, Dark Horse, Image, Dargaud, Glénat, Grifo Edizioni, and Eris Edizioni. He is the author of twenty-seven graphic novels and nine animated films. Since 1997, he has created a series of multimedia performances combining live painting, animation, and live music into a unique narrative form, performed throughout Europe and the United States. He is one of the founders of the Petikat art workshop.

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Alfredo Barsuglia, rođen 1980. u Grazu, studirao je slikarstvo i grafiku na Sveučilištu primijenjenih umjetnosti i Akademiji likovnih umjetnosti u Beču od 1999. do 2003. godine. Dobitnik je brojnih nagrada, među kojima su Nagrada Monsignor Otto Mauer 2019. i Nagrada za poticanje umjetnosti Grada Beča 2015., kao i nekoliko stipendija, uključujući 2024. u Bridderhausu u Eschu u Luksemburgu. Njegovi su radovi izlagani u brojnim institucijama diljem Europe i šire, uključujući Centre national de l’audiovisuel u Dudelangeu, Museum Liaunig u Neuhausu, Lentos Kunstmuseum Linz, Pinakothek der Moderne u Münchenu, Kunsthaus Graz, Muzej arhitekture u Tallinnu, Bank Austria Kunstforum Wien te MAK Center for Art and Architecture u Los Angelesu. Od 2007. redovito djeluje i na području scenografije, među ostalim u Tanzquartier Wien i brut Wien. U projektima u javnom prostoru, poput Social Pool u pustinji Mojave, Mariainsel u Fürstenfeldu i Abriss u Grazu, istražuje društvene vrijednosti te granice i prijelaze između javnog i privatnog.

Violetta Ehnsperg (rođena 1991. u Grazu) vizualna je umjetnica sa sjedištem u Beču. Studirala je apstraktno slikarstvo na Akademiji likovnih umjetnosti u Beču u klasi Erwina Bohatscha, diplomiravši s odličnim uspjehom 2020. godine. Njezina praksa obuhvaća snažno kolorističko apstraktno slikarstvo, instalaciju, tekstil, skulpturu, kao i modu i scenografiju. Njezino tajlandsko podrijetlo, zajedno s temama ženskosti, identiteta i neovisnosti, često je prisutno u njezinu umjetničkom svijetu. Godine 2024. Violetta Ehnsperg postala je prva umjetnica koja je primila putnu stipendiju Zaklade Maria Lassnig u suradnji sa Secession Wien. Njezini su radovi predstavljeni na brojnim samostalnim i skupnim izložbama u Austriji i inozemstvu, uključujući Španjolsku, Srbiju, Njemačku i Švicarsku Alexander Grimm rođen je u ožujku 1975. u Grazu. Obrazovanje na području grafičkog dizajna započeo je 1989. na Ortweinschule u Grazu te je paralelno tijekom pet godina pohađao i poduku iz slikarstva. Nakon dvadeset godina rada kao grafički dizajner, oko 2015. ponovno otkriva svoje stečene vještine slikanja te počinje slikati paralelno uz svoj profesionalni rad u grafičkom dizajnu. Između 2017. i 2019. pohađao je slikarske radionice pod vodstvom Marka van Yettera i Svenje Deininger na International Summer Academy Salzburg, gdje je dodatno razvijao svoje slikarske vještine. U jesen 2023. grupa Gruppe 77 pozvala ga je da predstavi svoju prvu samostalnu izložbu u PLÜ23 u Grazu. Od tada sudjeluje i na daljnjim skupnim izložbama Gruppe 77. Ostvario je i tržišni uspjeh: njegov rad Monument Charger uvršten je u zbirku Neue Galerie Graz pokrajine Štajerske.

Alfredo Barsuglia, born in Graz in 1980, studied painting and graphic arts at the University of Applied Arts and the Academy of Fine Arts in Vienna from 1999 to 2003. He has received numerous awards, including the Monsignor Otto Mauer Prize in 2019 and the City of Vienna’s Art Promotion Prize in 2015, as well as several fellowships, most recently in 2024 at the Bridderhaus in Esch, Luxembourg. His works have been shown at various venues in Europe and abroad, including the Centre national de l’audiovisuel in Dudelange, the Museum Liaunig in Neuhaus, Lentos Kunstmuseum Linz, Pinakothek der Moderne in Munich, Kunsthaus Graz, the Museum of Architecture in Tallinn, Bank Austria Kunstforum Vienna, and MAK Center for Art and Architecture in Los Angeles. Since 2007, he has regularly worked in stage design and scenography at Tanzquartier Wien and brut Wien, among others.

In projects in public space, such as Social Pool in the Mojave Desert, Mariainsel in Fürstenfeld, and Abriss in Graz, he explores social values as well as the boundaries and transitions between the public and the private.

Violetta Ehnsperg (born 1991, Graz) is a visual artist based in Vienna. She studied abstract painting at the Academy of Fine Arts Vienna under Erwin Bohatsch, graduating with distinction in 2020. Her practice spans bold, colour-driven abstract painting, installation, textiles, sculpture, as well as fashion and stage design. Her Thai roots, alongside themes of femininity, origin, and independence, often resonate throughout her artistic cosmos. In 2024, Violetta Ehnsperg became the first artist to receive the travel grant awarded by the Maria Lassnig Foundation in cooperation with Secession Vienna. Her works have been featured in numerous solo and group exhibitions in Austria and abroad, including in Spain, Serbia, Germany, and Switzerland.

Alexander Grimm was born in Graz in March 1975. He began his education in graphic design at Ortweinschule in Graz in 1989, alongside which he took painting lessons for five years. After working as a graphic designer in both employed and freelance roles for 20 years, he rediscovered his learnt painting skills around 2015 and started painting alongside his professional work as a graphic designer. Between 2017 and 2019, he attended painting classes led by Mark van Yetter and Svenja Deininger at the International Summer Academy Salzburg, further developing his skills as a painter in the process. In autumn 2023, he was invited by Gruppe 77 to show his first solo exhibition at PLÜ23 in Graz. Since then, he has participated in further group exhibitions of Gruppe 77. He has also achieved commercial success, with his work Monument Charger being included in the collection of the Neue Galerie in Graz by Land Steiermark.

djeluje na području slikarstva, crteža, fotografije, grafičkog dizajna, instalacija, interaktivnog performansa, interdisciplinarnih projekata, oblikovanja izložbi, pedagogije, podučavanja, radionica i kustoskih aktivnosti. Nakon studija pedagogije na Sveučilištu u Grazu te rada i studija na Tehničkom sveučilištu u Grazu i Akademiji likovnih umjetnosti u Beču, 1995. osniva next – udrugu za suvremenu umjetnost i međunarodne umjetničke projekte i izložbe. Izlagala je u Austriji, Njemačkoj, SAD-u, Meksiku, Indiji, Finskoj, Hrvatskoj, Sloveniji, Italiji, Španjolskoj, Danskoj, Velikoj Britaniji, Irskoj, Rumunjskoj, Poljskoj i Kini. Godine 2015. pozvana je u Zagreb, gdje je za Međunarodni dan sjećanja na holokaust realizirala veliku instalaciju u Meštrovićevu paviljonu. Za svoj umjetnički rad primila je brojne nacionalne i međunarodne nagrade i priznanja, među kojima Grand Josef Krainer Prize 2009. i Veliko odličje časti pokrajine Štajerske 2022. godine. Članica je Europskog kulturnog parlamenta, čije je godišnje zasjedanje 2024. dovela u Graz. Od 2015. razvija i vodi Erasmus+ projekt Artists for Art Education pri udruzi next – Verein für zeitgenössische Kunst, u okviru kojega studenti umjetnosti iz Hrvatske provode dva tjedna na praksi u atelijerima štajerskih umjetnika.

Anja Korherr (rođena 1998.) završila je petogodišnje školovanje za kiparicu te dvogodišnji majstorski razred slikarstva na Ortweinschule u Grazu. Trenutno studira eksperimentalnu umjetnost na Umjetničkom sveučilištu u Linzu. Jedan semestar provela je na Bauhaus University Weimar. U središtu njezina interesa nalaze se kubističko i nadrealističko slikarstvo. Bavi se i stripom; njezin prvi strip Der Fluss (Rijeka), knjižica od 48 stranica, objavljen je 2022. godine. Dobitnica je Nagrade za poticanje umjetnosti Grada Graza. Njezine radove otkupili su Neue Galerie Graz i Austrijska gospodarska komora. Sudjelovala je na brojnim međunarodnim skupnim izložbama te ostvarila četiri samostalne izložbe.

Erwin Lackner, rođen 1951. u Koglhofu, živi i radi u Södingu u Štajerskoj. Nakon školovanja na Školi primijenjenih umjetnosti u Grazu od 1969. do 1973., igrao je ključnu ulogu u osnivanju umjetničke skupine Gruppe 77, na čiji razvoj kontinuirano utječe i danas. Od 1975. do 1977. bio je i član Graz Secessiona. Od sredine 1970ih ostvario je brojne samostalne izložbe i sudjelovao na izložbama u Austriji i inozemstvu, kao i u više grupnih projekata koje je organizirala Gruppe 77. U svojim se radovima Erwin Lackner pojavljuje istodobno kao kritičar vlastitog vremena i satirični promatrač. Od umjetnika zahtijeva odgovornost – a time i od samoga sebe.

Iz takva je stava tijekom desetljeća nastao izrazito heterogen opus koji se ne ustručava suočiti ni s naizgled bezizlaznim situacijama.

Luise Kloos rođena je u Judenburgu u Štajerskoj, a 252

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Luise Kloos was born in Judenburg, Styria, and works across painting, drawing, photography, graphic design, installation, interactive performances, interdisciplinary projects, exhibition design, teaching, lectures, workshops, and curatorial activities. After completing her studies in education at the University of Graz and teaching and studying at Graz University of Technology and the Academy of Fine Arts Vienna, Luise Kloos founded next in 1995—an association for contemporary art and internation art projects and exhibitions.

Luise Kloos has had exhibitions in Austria, Germany, the USA, Mexico, India, Finland, Croatia, Slovenia, Italy, Spain, Denmark, Great Britain, Ireland, Romania, Poland, and China. In 2015, she was invited to Zagreb, where she created a large-scale installation for International Holocaust Remembrance Day at the Mestrović Pavilion. She has received numerous national and international prizes and awards for her artistic work, including the Grand Josef Krainer Prize in 2009 and the Grand Decoration of Honor of the Province of Styria in 2022. She is a member of the European Cultural Parliament, and in 2024, brought its annual session to Graz.

Since 2015, Luise Kloos has been developing and directing the Erasmus+ project Artists for Art Education with next – Verein für zeitgenössische Kunst, through which aspiring Croatian art students spend two weeks practicing in the studios of Styrian artists.

Anja Korherr (born in 1998) completed a five-year apprenticeship in sculpture and a two-year master class in painting at the Ortweinschule in Graz. She is currently studying experimental art at the University of Arts in Linz. A semester abroad took her to Bauhaus University Weimar. Her focus is on Cubist and Surrealist painting. She also works in comics; her first comic, entitled Der Fluss (The River), a 48-page booklet, was published in 2022. Korherr received the Art Promotion Award from the City of Graz. Her works have been acquired by the Neue Galerie Graz and the Austrian Economic Chambers. She has participated in numerous international group exhibitions and has shown her work in four solo exhibitions.

Erwin Lackner, born in 1951 in Koglhof, lives and works in Söding, Styria. After training at the School of Applied Arts in Graz from 1969 to 1973, he played an instrumental role in founding of the artists’ group Gruppe 77, whose development he has continued to shape ever since. From 1975 to 1977, he was also a member of the Graz Secession. Lackner has had numerous solo exhibitions and participated in exhibitions in Austria and abroad since the mid-1970s. He has also taken part in several group projects organized by Gruppe 77. In his works, Erwin Lackner presents himself as both a critic of his time and as a satirical observer. He demands responsibility from the artist – and therefore also from

Rebecca LittleJohn rođena je u SAD-u, u Sjevernoj Karolini, a potom je živjela u Mississippiju, na Aljasci, uNovom Meksiku, Utahu, Teksasu, Coloradu, Massachusettsu, New Yorku, Japanu i Okinawi. Austrija je važnim mjestom u njezinu životu postala nešto kasnije, osobito pokrajina Štajerska. Doživljaj uzvišenog zalaska sunca njezino je prvo sjećanje, a od tada osjeća da joj je umjetnost bila suđena. „Mi ljudi volimo lijepo, žudimo za estetskim, a umjetnost predstavlja tu potragu.“ Uljanim se slikarstvom počela baviti s devet godina u Japanu, pod utjecajem proučavanja ikebane. Kasnije se upoznala s apstraktnim slikarstvom. Njezine ranije ambicije da postane speleologinja ili plesačica odražavaju se i u njezinu shvaćanju slikarskog procesa: „Na platnu gotovo nastane rupa prije nego što se pojavi željena slika — a slikarski elementi izvučeni iz tamnih dubina plešu u mašti.“ Na Hunter Collegeu u New Yorku studirala je teorijska pitanja moderne umjetnosti i povijest umjetnosti. Prvu samostalnu izložbu održala je u New Yorku, na West Broadwayu. Od tada je izlagala na brojnim izložbama, uključujući i u Austriji, primjerice u Bezirksmuseum Margareten i Gradskom muzeju u Leobenu. Njezini se radovi nalaze u privatnim zbirkama diljem Austrije, uključujući Niederösterreichisches Landesmuseum u Kremsu. Predavala je i na Internationale Kultur Sommerseminare u Austriji te sudjelovala na seminarima u Kunstmühle u Grazu i benediktinskoj opatiji u Seckauu.

Nadine Nebel (rođena 1987. u Grazu) vizualna je umjetnica koja djeluje na području slikarstva, ilustracije, književnosti i digitalnih medija. Nakon obrazovanja iz grafičkog dizajna i ilustracije završila je Majstorski razred slikarstva na Ortweinschule Graz 2021. godine. Njezinu umjetničku praksu obilježava snažan interes za vizualni jezik, ponavljanje, pamćenje i samorefleksiju. Godine 2021. primila je Ortwein stipendiju pokrajine Štajerske i nagradu priznanja na Koschatzky Art Award, a potom i Nagradu za poticanje umjetnosti Grada Graza 2023. godine. Njezini su radovi izlagani u Štajerskoj, osobito u Grazu, kao i u Beču, Hamburgu i Berlinu. Nadine Nebel povezuje slikarstvo, ilustraciju i tekst u prepoznatljiv umjetnički pristup koji je istodobno intiman i društveno čitljiv. Njezini radovi govore o unutarnjim svjetovima ljudskog postojanja, precizno opaženima, atmosferičnima i često prožetima suptilnom ironijom.

Austrijsko-američki umjetnik, filozof i pisac Paul Zwietnig-Rotterdam djeluje u području slikarstva i crteža.

Rođen je 1939. u Wiener Neustadtu u Austriji, gdje je proveo djetinjstvo za vrijeme snažnog bombardiranja u Drugom svjetskom ratu. Kasnije se s roditeljima preselio u Leoben u Štajerskoj, gdje je pohađao osnovnu i srednju školu. Nakon studija filozofije na Sveučilištu u Beču, gdje je doktorirao 1966., početkom 1960-ih počinje međunarodno izlagati, primjerice u Firenci, Beču,

himself. This attitude has resulted in a highly heterogeneous body of work over the past decades, which does not shy away from addressing seemingly hopeless situations.

Rebecca LittleJohn was born in the USA, in North Carolina, and then continued her existence in Mississippi, Alaska, New Mexico, Utah, Texas, Colorado, Massachusetts, New York, Japan and Okinawa. Austria has become an important place later in her life, especially the province of Styria. The experience of a sublime sunset is her first memory, and since then she has felt destined for art. “We creatures love the beautiful, crave the aesthetic, and art represents the pursuit.” She began oil painting at the age of nine in Japan, influenced by her study of Ikebana flower arrangement. Later, she was introduced to abstract painting. Earlier ambitions to become a cave explorer or a dancer are reflected in her view on the painting process: “A hole nearly develops in the canvas before the desired image emerges—and painterly elements drawn from dark recesses dance in the imagination.” She studied theoretical issues of modern art and art history at Hunter College in New York City. Her first solo exhibition took place in New York City, on West Broadway. Since then, she has had numerous exhibitions, including in Austria, such as at the Bezirksmuseum Margareten and Stadtmuseum in Leoben. Her works are held in private collections throughout Austria, including the Niederösterreichische Landesmuseum in Krems. She has also taught at the Internationale Kultur Sommerseminare in Austria and participated in seminars at Kunstmühle in Graz and Benedictine Abbey in Seckau.

Nadine Nebel (born 1987 in Graz) is a visual artist working in the fields of painting, illustration, literature, and digital media. After training in graphic design and illustration, she completed the Masterclass for Painting at Ortweinschule Graz in 2021. Her artistic practice is marked by a strong interest in visual language, repetition, memory, and self-reflection. In 2021, she received the Ortwein Scholarship from the Province of Styria and a Recognition Award at the Koschatzky Art Award, followed by the Art Promotion Prize of the City of Graz in 2023. Her works have been exhibited in Styria, particularly in Graz, as well as in Vienna, Hamburg, and Berlin. Nadine Nebel combines painting, illustration, and text in a distinctive artistic approach that is both intimate and socially readable. Her works speak of the inner worlds of human existence, clearly observed, atmospherically dense, and often tinged with subtle irony.

Parizu, Tokiju, Milanu i Veneciji. Godine 1967., u dobi od 28 godina, postao je predavač vizualnih studija u Visual Arts Centeru Sveučilišta Harvard u Cambridgeu, Massachusetts, gdje je dva desetljeća predavao teoriju umjetnosti i crtanje. Njegove slike su apstraktni objekti, uglavnom monokromni ili reduciranih boja. Trodimenzionalnost pritom ima važnu ulogu. Katkad oblici izranjaju iz slikovne plohe u stvarni prostor. Godine 1977. sudjelovao je na važnoj izložbi Supports/Surfaces – Nouvelle peinture en France u Göteborgu zajedno s vodećim predstavnicima francuske avangarde. Njegov je rad bio predstavljen u okviru Whitney Biennial of American Art 1975. godine. Od 1980-ih nadalje u njegovu se radu sve više pojavljuju reference na prirodu, uz zadržavanje apstraktnog vizualnog jezika. Izlagao je i u Beču, Grazu, Brooklynu, New Yorku, Birminghamu, Parizu, Nici, Montréalu, Tokiju, Osaki i Sydneyu. Velike retrospektive predstavljene su u Leopold Museumu u Beču, Niederösterreichisches Landesmuseumu u St. Pöltenu i St. Peter an der Sperr u Wiener Neustadtu.

Rotterdamovi radovi nalaze se u važnim muzejskim zbirkama poput Museum of Modern Art, Metropolitan Museum of Art, Solomon R. Guggenheim Museum i Leopold Museuma. Među važnijim publikacijama o njegovu radu ističu se monografije Kennetha Wahla (1977.), Cartera Ratcliffa (1982.) i Carla Aignera (2004. /2007.). Rotterdam je 2014. objavio zbirku eseja Wild Vegetation – From Art to Nature, a potom 2024. i Nachtbogen and Other Events Mirjam Schrei (rođena 1998. u Austriji) vizualna je umjetnica koja se primarno bavi uljanim slikarstvom i crtežom kemijskom olovkom. Koristeći svjetlo kao metaforu, istražuje teme nade, prolaznosti i međuljudskih odnosa. Nakon diplome iz grafičkog dizajna i fotografije na Sveučilištu za umjetnost i dizajn u Linzu te višegodišnjeg studija likovne umjetnosti na Universidad Nacional de Colombia u Bogoti, Schrei danas radi u svom atelijeru u Grazu. Njezini se radovi nalaze u privatnim zbirkama u Kolumbiji, Srbiji i Austriji, a izlagani su u Grazu, Linzu, Hamburgu, Beogradu i Bogoti. Mirjam Schrei članica je Schaumbad – Freies Atelierhaus Graz i Oberösterreichischer Kunstverein Linz.

The Austrian-American artist, philosopher, and writer Paul Zwietnig-Rotterdam works in painting and drawing. He was born in 1939 in Wiener Neustadt, Austria, 254

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where he spent his childhood during the heavy bombardments of the Second World War. He later moved with his parents to Leoben, Styria, where he attended primary and secondary school. After studying philosophy at the University of Vienna, where he received his PhD in 1966, he began exhibiting internationally in the early 1960s, including presentations in Florence, Vienna, Paris, Tokyo, Milan, and Venice. In 1967, at the age of 28, he was appointed Lecturer in Visual Studies at Harvard University’s Visual Arts Center in Cambridge, Massachusetts, where he taught art theory and drawing for two decades. His paintings are abstract objects, mostly monochrome or reduced in color. Three-dimensionality is an important feature. Sometimes, forms protrude from the pictorial plane into actual space. In 1977, he participated in the landmark exhibition Supports/Surfaces – Nouvelle peinture en France in Göteborg alongside leading figures of the French avant-garde. His work was included in the Whitney Biennial of American Art in 1975. From the 1980s onward, his work increasingly incorporated references to nature while maintaining an abstract visual language. He has had further exhibitions in Vienna, Graz, Brooklyn, New York, Birmingham, Paris, Nice, Montréal, Tokyo, Osaka, and Sydney. Major retrospectives have been presented at the Leopold Museum, Vienna, the Niederösterreichisches Landesmuseum in St. Pölten, and St. Peter an der Sperr in Wiener Neustadt. Works by Rotterdam are held in major museum collections such as the Museum of Modern Art, the Metropolitan Museum of Art, the Solomon R. Guggenheim Museum, and the Leopold Museum. Important publications on his work include monographs by Kenneth Wahl (1977), Carter Ratcliff (1982), and Carl Aigner (2004/2007). In 2014, Rotterdam published the essay anthology Wild Vegetation – From Art to Nature, followed in 2024 by Nachtbogen and Other Events.

Mirjam Schrei (born 1998 in Austria) is a visual artist focusing on oil painting and ballpoint-pen drawing.

Using light as a metaphor, she explores themes of hope, transience, and interpersonal relationships. After graduating in graphic design and photography at the University of Art and Design Linz and years of study in fine arts at the Universidad Nacional de Colombia in Bogotá, Schrei now works in her studio in Graz. Her works are held in private collections in Colombia, Serbia, and Austria and have been exhibited in Graz, Linz, Hamburg, Belgrade, and Bogotá. Mirjam Schrei is a member of Schaumbad – Freies Atelierhaus Graz and Oberösterreichischer Kunstverein Linz.

IMPRESUM / IMPRESSUM 8. BIJENALE SLIKARSTVA - IZLAGAČKI SKUP / THE 8TH BIENNIAL OF PAINTING - ART CONVENTION 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 Upravni odbor HDLU / Executive Board of CCA Tomislav Buntak (predsjednik / president), Josip Zanki (dopredsjednik / vice president), Ida Blažičko (dopredsjednica / vice president), Fedor Fischer, Tomislav Hršak, Romana Nikolić, Vida Meić

Edukativni program / Educational Programme Ivana Garmaz, Karla Somek i Nika Šimičić

muzej@gmv.hr www.gmv.hr

Ocjenjivački odbor 8. bijenala slikarstva / Selection Board of The 8th Biennial of Painting Elizabeta Igrec, Koraljka Kovač, Željko Marcijuš, Martina Miholić, Bojan Šumonja, Leila Topić, Josip Zanki

Ravnatelj / Director Miran Bojanić Morandini

IZLOŽBE / EXHIBITIONS

Likovni postav / Exhibition set up Tomislav Buntak, Elizabeta Igrec, Martina Miholić

8. BIJENALE SLIKARSTVA U ZAGREBU / THE 8TH BIENNIAL OF PAINTING IN ZAGREB

Edukacijski program / Educational program Jelena Petković

Galerija Klovićevi dvori 28.4.2026. – 21.6.2026.

Odnosi s javnošću / PR Martina Levačić, Anita Peričić

Suorganizator / Co-organizer: Galerija Klovićevi dvori / Klovićevi dvori Gallery Jezuitski trg 4, 10000 Zagreb www.gkd.hr

Tehnička realizacija i postav izložbe / Technical realization and exhibition set up Bruno Marincel, Petar Nevžala, Marko Stančin GALERIJA KOVAČIĆ MACOLIĆ Gajeva 13 42000 VARAŽDIN info@galerijavarazdin.com www.galerijavarazdin.com

Zagreb, 2025. – 2027.

Nositelj HR dijela Bijenala / Head of The Croatian part of The Biennial of Painting Tomislav Buntak Nositelj međunarodnog dijela Bijenala / Head of the international part of The Biennial of Painting Josip Zanki Kustos međunarodnog dijela Bijenala / Curator of the international part of The Biennial of Painting Luise Kloos Producenti / Producers Ivana Andabaka Vujičić, Tomislav Buntak Izvršna producentica / Executive Producer Martina Miholić

Stručna suradnica i koordinatorica / Expert associate and coordinator Elizabeta Igrec

Ravnatelj / Director Antonio Picukarić Voditeljica programa GKD / GKD Programme Coordinator Petra Vugrinec

Stručna suradnica i koordinatorica / Expert associate and coordinator Klara Macolić Kuparić

Kustosica izložbe za GKD / GKD Exhibition Curator Danijela Markotić

Likovni postav izložbe / Exhibition set up Luise Kloos, Klara Macolić Kuparić

Tehnička organizacija / Technical Coordination Dragutin Matas

Tehnička realizacija / Technical realization Galerija Kovačić Macolić

Tehnička realizacija / Technical Implementation Tomislav Antolić, Nino Bellen, Josip Butorac, Boris Krepelnik, Davor Markotić

8. BIJENALE SLIKARSTVA U VUKOVARU / THE 8TH BIENNIAL OF PAINTING IN VUKOVAR

Asistencija u produkciji / Production Assistants Karla Somek, Nika Šimičić

8. BIJENALE SLIKARSTVA U VARAŽDINU / THE 8TH BIENNIAL OF PAINTING IN VARAŽDIN

Muzej grada Vukovara 8.7.2026. – 24.8.2026.

Likovni postav / Exhibition set up Tomislav Buntak, Martina Miholić Odnosi s javnošću / Public Relations Sven Jozić, Martina Miholić

Gradski muzej Varaždin (Palača Sermage i Palača Herzer), Galerija Kovačić Macolić / Varaždin City Museum (Sermage Palace and Herzer Palace), Kovačić Macolić Gallery 3. 12. 2025. – 16. 2. 2026.

Suorganizator / Co-organizer: Gradski muzej Vukovar / Vukovar City Museum Županijska 2, Vukovar www.muzej-vukovar.hr/

Voditelj tehničke službe HDLU / HDLU Head of Technical Service: Sven Jozić

Suorganizator / Co-organizer: Šetalište Josipa Jurja Strossmayera 3 42000 Varaždin

Ravnateljica / Director Ivana Nadovski, viša kustosica pedagoginja / Senior Curator Educator

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Likovni postav / Exhibition set up Tomislav Buntak, Martina Miholić, Rosanka Savić Mitrović, viša kustosica / Senior Curator Tehnička podrška / Technical Coordination Ante Džalto, viši muzejski tehničar / Senior Museum Technician

8. BIJENALE SLIKARSTVA U POREČU / THE 8TH BIENNIAL OF PAINTING IN POREČ Pučko otvoreno učilište Poreč – Galerija Zuccato / Open Public University of Poreč – Zuccato Gallery 29.10.2026. – 28.11.2026.

Suorganizator / Co-organizer Galerija Zuccato, Pučko otvoreno učilište Poreč / Open Public University of Poreč – Zuccato Gallery Decumanus 34, Poreč https://www.poup.hr Ravnateljica / Director Vesna Tripar Stručni suradnici / Associates Sebastijan Vojvoda, voditelj likovne djelatnosti / Visual Arts Coordinator; Mia Hunjadi, referent likovne djelatnosti / Visual Arts Officer Likovni postav / Exhibition set up Tomislav Buntak, Martina Miholić

8. BIJENALE SLIKARSTVA U ZADRU / THE 8TH BIENNIAL OF PAINTING IN ZADAR Galerija umjetnina Narodnog muzeja Zadar 05. 11. 2026. - 01. 2. 2027.

Suorganizator / Co-organizer Narodni muzej Zadar / Zadar National Museum Poljana pape Aleksandra lll 2, Zadar https://www.nmz.hr/ Ravnatelj / Director Marin Ćurković Stručna suradnica / Associates Nevena Štokić Tehnička služba / Technical support Ivan Klapan i Mihovil Zrilić

Pozvani umjetnici / Invited artists Biserka Baretić, Bartol Galović, Zlatko Keser, Zoran Šimunović, Zlatan Vehabović Odabrani umjetnici / Selected artists Grgur Akrap, Mia Akrap, Gordana Bakić, Maša Barišić, Mihael Bađun, Natalia Borčić Peuc, Leonardo Budimlić Majnarić, Sebastijan Dračić, Lora Elezović, Fedor Fischer, Ivana Fischer, Danica Franić, Danko Frišćić, Martina Grlić, Petra Grozaj, Paulina Jazvić, Sanja Jureško, Marta Katavić, Davor Krelja, Teo Kiš, Anita Kos, Slaven Kosanović, Gordana Kovačić Macolić, Radovan Kunić, Mirna Kutleša, Lucia Labas, Tomislav Lončarić, Slaven Macolić, Ivica Malčić, Mia Maraković, Ivan Marković, Mitar Matić, Marina Mesar OKO, John Miličić, Zdravko Milić, Oliver Mišura, Andrea Musa, Lav Paripović, Luisa Pascu, Pavle Pavlović, Anamaria Pekšić, Lea Popinjač, Patricija Purgar, Mihaela Rašica, Domagoj Rogina, Maja Rožman, Jelena Sokić, Tara Stanić, Miran Šabić, Gorana Težak, Josip Tirić, Predrag Todorović, Šimun Tolić, Andrej Tomić, Vladimir Tomić, Laslo Vaštag, Bojana Vukojević, Danijel Žeželj Zahvala / Special thanks Miran Jurić

NAGRADE / AWARDS SLUŽBENA KONKURENCIJA Odbor za dodjelu nagrada 8. bijenala slikarstva / Prize Committee of the 8th Biennial of Painting Tomislav Buntak, Miroslav Gašparović, Elizabeta Igrec, Željko Marciuš, Martina Miholić Grand Prix nagrada 8. bijenala slikarstva (bruto 4,500.00 EUR) / Grand Prix Award of the 8th Biennial of Painting (gross 4,500.00 EUR) Predrag Todorović Nagrada za mladu umjetnicu 8. bijenala slikarstva (bruto 3,000.00 EUR) / Award for Young Artist of the 8th Biennial of Painting (gross 3,000.00 EUR) Luisa Pascu

POPRATNI IZLOŽBENI PROGRAM 8. BIJENALA SLIKARSTVA / SIDE EXHIBITION PROGRAMME OF THE 8TH BIENNIAL OF PAINTING Izložba studenata Akademije likovnih umjetnosti u Zagrebu i umjetnika Centra za rehabilitaciju Zagreb: “ALUzija” / Exhibition of students of the Academy of Fine Arts in Zagreb and artists of the Zagreb Rehabilitation Centre: “ALUzija” Inkluzivna Galerija Art&CeRZe 06.05.2026. – 28.05.2026.

Surganizatori / Co-organizers Akademija likovnih umjetnosti u Zagrebu / Academy of Fine Arts, Zagreb Ilica 85, zagreb Centar za rehabilitaciju Zagreb Ulica kneza Mislava 11, Zagreb

FILANTROPSKA NAGRADA / FILANTROPIC AWARD Nagrada Kontrapunkt Vladimir Dodig Trokut, Iva Vraneković - umjetnici umjetniku (neto 2,222.22 EUR svaka) / Kontrapunkt Award Vladimir Dodig Trokut, Iva Vraneković – Artists to Artist (net 2,222.22 EUR each) Anamarija Pekšič, Petra Grozaj Odbor / Committee Anonimni filantrop, Ivan Posavec

Stručna suradnica / Associate Blanka Stančić Puhak Zoran Šimunović: Za ružičastu nijansu više od ičega / For the pink hue more than anything 23.04.2026.

Galerija Spirit of Art / Spirit of Art Gallery Pod zidom 12, Zagreb CreArtivci – CreArt izložba 26. – 27.5.2026.

Galerija Karas / Gallery Karas Ul. Kralja Zvonimira 58

GOSTUJUĆA IZLOŽBA AUSTRIJSKIH UMJETNIKA / GUEST EXHIBITION OF AUSTRIAN ARTISTS

Mia Akrap i Šimun Tolić: Obale rijeke Styx / Styx Riverbanks 13.06.2026.

Galerija Canvas / Gallery Canvas Ul. Nikole Tomašića 8, Zagreb Domagoj Rogina: Pomicanje planina / Moving Mountains Program Meštrovićevog paviljona u gostovanju / Meštrović Pavilion Visiting Programme 16.06.2026. – 11.07.2026.

Galerija Kranjčar / Kranjčar Gallery Kaptol 26, Zagreb

Kustos / Curator Luise Kloos Likovni postav / Exhibition set up Luise Kloos Selekcija / Selection “Beyond Boundaries: Perspectives on Contemporary Painting from Graz” Alfredo Barsuglia, Violetta Ehnsperg, Alexander Grimm, Luise Kloos, Anja Korherr, Erwin Lackner, Rebecca LittleJohn, Nadine Nebel, Mirjam Schrei, Paul Zwietnig-Rotterdam 258

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KATALOG / CATALOGUE Urednici kataloga / Catalogue Editors Tomislav Buntak, Martina Miholić Predgovor - Pojavnost slike / Preface - Manifestation of the Image Željko Marciuš Predgovor - Beyond Boundaries: perspektive suvremenog slikarstva iz Graza Štajerske Austrije / Preface - Beyond Boundaries: Perspectives on Contemporary Painting from Graz Luise Kloos Prijevod na engleski i hrvatski jezik te lektura/ English Translation and Proof-reading Zana Šaškin Fotografije likovnog postava i reprodukcija / Photographs of the exhibition set up and reproductions: Juraj Vuglač Fotografije otvorenja izložbe / Photographs of the exhibition opening Juraj Vuglač Grafičko oblikovanje kataloga / Catalogue design Duje Medić Tisak / Printed by Kerschoffset d.o.o.

Naklada / Edition 350 ISBN 978-953-8098-75-8 CIP zapis je dostupan u nacionalnom skupnom katalogu knjižničnog sustava Bukinet (katalog. bukinet.hr) pod brojem 991006039045109366.

Zagreb, 2025. / 2026.

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