Svjetovi unutar svjetova - Međunarodna grupna izložba, Galerija Prsten

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Postav izložbe / Exhibition view / Diseño de exposición CCA Andratx

SVJETOVI 6 — 23 UNUTAR SVJETOVA

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MUNDOS DENTRO DE OTROS (ESP)

WORLDS WITHIN WORLDS (EN)

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BIOGRAFIJE 64 — 29 (EN) BIOGRAPHIES 70 — 75 (ESP) BIOGRAFÍAS 76 — 81 (HR)

vidite, sunce je visoko odskočilo i žega SVJETOVI „Kako je velika, i ništa se ne čuje osim cvrčaka gore u stoga bi bez sumnje ludo bilo ikamo UNUTAR maslinama; sada odavde ići. Lijepo je ovdje i svježe biti, a imamo, kao što vidite, i stoliće i šah, pa svatko SVJETOVA može uživati u onomu što mu je najmilije. Ali ako

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u tomu želite poslušati moj savjet, nećemo ovaj vrući dio dana provesti u igrama, u kojima se duh jednima smućuje, a ni drugima previše ne uživa, kao ni onima koji gledaju, nego u pripovijedanju, jer dok jedno govori, sva družba može slušati i uživati.“ 1 Iako je odlazak grupe od sedam žena i tri muškarca na ladanjsko imanje Fiesole u Boccacciovu Dekameronu uvjetovan pojavom kuge u Firenzi 1348. godine, ideja o napuštanju svakodnevnog konteksta i izdvajanja od uobičajenog okruženja stvara plodnu podlogu za samorefleksiju i odlazak u vlastite svjetove neomeđene zidovima svakodnevice ispunjene nizom automatiziranih i nesvjesnih radnji.

Srednjovjekovna grupa muškaraca i žena tijekom 14 dana provedenih u idiličnoj vili odlučuju ispričati jednu priču što rezultira impozantnim brojem od 100 priča u kojima iznose svoje viđenje tadašnjeg društva, emocionalnog stanja pojedinaca, sumnje i dvojbe protagonista ispričanih zapleta i raspleta koje su utjecale na razvoj njihovog života.

Izdvajanje iz svakodnevnog konteksta i odlazak u idiličnim pejzažem okružen kompleks CCA Andratx tijekom jednomjesečnog

Sophie Erlund, Stephen Kent, Igor Eškinja, Mark Požlep i Josep Maynou ovdje stvaraju vlastitu dekameronsku naraciju koja je svakim danom rezidencijalnog programa sve dublje zadirala u razvitak fabule koja se odvijala na više razina. Fabula ovdje ne teče linearno, već se njena naracija sastoji upravo od fragmenata akumuliranih tijekom dugotrajnih večernjih razgovora isprekidanih zveckanjem čaša i pribora za jelo.

Umjetnica Sophie Erlund posvećuje se tim trenutcima okupivši ih u svom zvučnom radu (soundpiece) pod nazivom „Jedan mjesec i dva plamenika” (2023.)“. U radu imamo priliku čuti odlomke iz razgovora, ponekad razgovjetno, a ponekad tek prepoznajemo glasove u daljini,

smijeh sudionika razgovora, istovremeno duboke rečenice i citate filozofa uz usputne šale, mrmljanje i pjevušenje, zvuk rada na materijalima: bušenje, struganje, piljenje te ambijentalni zvuk. U zaglušujućoj kakofoniji isprepliću se i trenutci spokoja, jutarnje tišine popraćene usputnim pjevom prolazećih ptica na putovanju prema jugu ili poludivljih koza koje dominiraju pejzažom planinskog lanca Serra de Tramuntana, noćnih šuštanja lišća i smiraja kasnih sati ispunjenih dugim mjesečinama.

Akumulaciju fragmenata izdvojenih trenutaka u zvučnom radu iščitavamo kao apstraktnu pjesmu, odu jednom periodu.

Iako skulpturalno smješten u prostor grupne izložbe, snažan utjecaj zvučnog rada očituje se u skulpturalnom oblikovanju mentalnog prostora posjetitelja izložbe. Zvučni se rad prožima kroz cijelu izložbu suptilno sugerirajući kontekst stvaranja radova i ovjekovječujući njihovu polaznu točku. Poput šuma izvora koji stvara okolnu floru i faunu, zvučni rad Sophie Erlund duhovni je izvor stvaranja ostalih predočenih radova koji istovremeno utjelovljuje tendenciju ka zajedničkom radu umjetnika, ali i njihov samostalni individualni angažman u svom radu. Na zvučni rad Erlund nadovezuje se rad, koji ovaj put predstavlja angažman cijele grupe umjetnike, no i posjetitelja studija tijekom jednomjesečnog rezidencijalnog programa. Stol za stolni tenis, gdje prazne boce pića ispijenog tijekom stvaranja rada preuzimaju ulogu mreže, promatramo kao 9

Giovanni Bocaccio: Dekameron (Zagreb: Globus media, 2004.)

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rezidencijalnog programa omogućilo je petero umjetnika stvaranje mikrokozmosa koji je akumulirao iskustva vanjskog svijeta i prožeo ih u njihov umjetnički rad. Napuštanje ustaljene svakodnevice nije se odnosilo na prvenstvo fizičku izmještenost umjetnika kojima su dodijeljeni njihovi novi studiji, već i na element stvaranja novog oblika zajedničkog života u kojemu se isprepliću diskusije, zajedničke večere, nabavke namirnica, pripreme obroka, nabavke materijala za umjetnički rad, promišljanje o vlastitom umjetničkom radu, promatranje drugih radova i poniranje u mentalne svjetove umjetničkih djela studijskih susjeda.

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Postav izložbe / Exhibition view / Diseño de exposición

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CCA Andratx

prijevod raznih zvukova koji proizlaze iz zvučnog rada radije nego njegov vizualni nadomjestak.

Iako se Erlundin zvučni rad konkretno ne sastoji od fizičkih elemenata koje spadaju u domenu „vizualnog“, njegova snažna energija promatrača odvodi u predjele vizualnog posežući za naše vizije ptice u letu ili prenesenog smijeha osobe u našem osobnom musée imaginaire, termin francuskog filozofa Andréa Malrauxa koji označava zabilježena vizualna iskustva u čovjekovu mozgu.

Na drvenom stolu i drvenim reketima za stolni tenis ugravirane su tehnikom paljenja brener upaljačem misli, usputne rečenice, poštapalice, krivo izgovorene riječi, telefonski brojevi, pravi i izmišljeni nazivi. Prisutni su crteži boca, palme, ribe i hamburgera koji su se pripremali u jednoj od mnogobrojnih zajedničkih večera, glazbenih instrumenata, portreta prisutnih osoba tijekom programa, dizalice smještene ispred studija koja je poslužila kao scenografija za snimanje zajedničkog portreta umjetnika, ali i prikaz daske za rezanje koje će se pojaviti kao motiv u radu umjetnika Josepa Maynoua čiju će drvenu površinu obrađivati istom tehnikom korištenja brener upaljača. Instalacija stola koji poziva posjetitelja na participaciju zamagljujući granicu izložbenog objekta i označene dopuštene udaljenosti posjetitelja navodi i izravno poziva na daljnju igru i dijalog u kojima rečenice bivaju isprepletene sa zvukom loptice stolnog tenisa i odbijanja u mrežu praznih boca nakon

promašenih povrata lopte.

Instalacija stola utjelovljuje spiritus movens članova izložbe svjedočeći o nastanku grupne izložbe, kondenzirajući vrijeme provedeno koristeći stol pri čemu posjetitelj prepoznaje ostatke tragova hrane na stolu, roštiljske masti, maslinova ulja, začina, tragove interakcije sudionika druženja koji su neposredno upisani u zajednički rad.

Ono je jedna vrsta lacanovskog ogledala u kojemu se autori identificiraju sa svojim novostvorenim zajedničkim identitetom koji je rastao tijekom rezidencijalnog programa.

U novostvorenom mikrokozmosu autori stvaraju nekoliko razina zasebnih svjetova koji egzistiraju sami za sebe, ali se istovremeno i prožimaju. Francuski filozof i povjesničar ideja Michel Foucault koristi termin heterotopija kojim označava koncept stvaranja svijeta unutar svjetova. U zapadnoj povijesti društva srednjovjekovni hijerarhijski sustav građen na oprečnostima sveta mjesta / profana mjesta, zaštićena mjesta / otvorena i izložena mjesta, urbana / ruralna, izvanzemaljska, nebeska / ovozemaljska ukinut je galilejanskim preokretom koji je prema Foucaultu ne samo dokazao da se Zemlja okreće oko Sunca već i ponudio uspostavu beskrajnog i beskrajno otvorenog prostora. Upravo je ova nova misao revolucionirala novi vijek postavljajući bilo koji fizički predmet, pojavu ili misao kao točku u kretanju, u prostoru koji nije homogen i ispražnjen, već zasićen

prostor u kojemu se smještaju pojedinci i stvari, prostor koji nas zavodi da u njega uđemo 2. U takvom se prostoru heterotopije s popratnom heterokronijom, koja prekida vezu s tradicionalnim vremenom, definiraju kao svojevrsni protusmještaji unutar kulture koja biva osporena i preokrenuta. Njihova funkcija definirana je kao stvaranje prostora iluzije razotkrivajući mehanizme i iluzornost realnog svijeta. Foucault naše doba naziva doba prostora „epohe simultanosti: živimo u epohi jukstapozicije (su-postavljanja), epohe bliskog i dalekog, susjednog i raspršenog. U razdoblju u kojemu se, prema mom mišljenju, svijet stavlja na kušnju, ne toliko kao jedan veliki život predodređen razvijati se tijekom vremena, nego kao mreža koja povezuje točke i stvara vlastiti nered“3.

Okupljena grupa umjetnika s odmakom od svakodnevice propituje svoju umjetničku praksu tijekom rezidencijalnog programa gdje dublje zadiru u nova i već postavljena pitanja u svom radu. Cilj diskusija u ovoj grupi nije traženje i predstavljanje odgovora, već u ovoj izdvojenoj heterotopiji umjetničkog druženja pronaći nove puteve promišljanja svoje umjetničke prakse i pitanja koje ona postavlja: od pitanja stvaranja slike i hiperprodukcije vizualnog u današnjoj epohi u slikama različitih tehnika autora Stephena Kenta, bilježenje trenutaka u procesu stvaranja vizualnih dnevnika Josepa Maynoua pri čemu se umjetnik koristi svakodnevnim predmetima, propitivanja

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naše vlastite percepcije prostora koji nas okružuje i u kojima obitavamo u radu Igora Eškinje, odnos objekta i čovjeka i propitivanje njegova antropocentričnog pogleda u skulpturi, crtežima i zvučnom radu Sophie Erlund te pitanja stvaranja životnih situacija u kojima ćemo sami sebe dovesti u novu dimenziju percepcije stvarnosti u videoradu i crtežima Marka Požlepa.

Prilikom stvaranja svjetova unutar svjetova u današnjoj epohi vizualne zasićenosti dolazi i do simulacije stvorenih svjetova gdje se postavlja pitanja mogućih granica i uopće problema postavljanja granica iluzornog i realnog. Rad Stephena Kenta upravo preispituje sam pojam slike i njezina značenja u današnjem svijetu. U svom poznatom Tractatus logicophilosophicus austrijski filozof Wittgenstein navodi kako „Granice mog jezika znače granice mog svijeta“ 4 što dovodi do posezanja u vizualni inventar za traženje dodatnih odgovora.

Kent stoga smatra da slika nastaje kada nas jezik iznevjeri, kada ne znamo više kako nešto objasniti (…) i tada počinjemo shvaćati, dobivati širu perspektivu. Prikazani radovi Kenta na grupnoj izložbi mogu se podijeliti u dvije grupe prema tehnici koju koristi u stvaranju, odnosni gradnji slike. U slikama-mozaicima Kent upotrebljava tehniku mozaika koji aplicira na već vizualno zasićeno podlogu od aluminijeva dibonda. Umjetnik istražuje područje hiperprodukcije slika u kojemu se one uvijek 13

Michel Foucault: O drugim prostorima (Of Other Spaces), u: Architecture, Mouvement, Continuité, 1967.

Ludwig Wittgenstein: Tractatus logico-philosophicus, 1922.

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neprestano stvaraju zapanjujućom brzinom i raspoloživošću današnje tehnologije kamera i fotoaparata koje su integrirane u sve dostupne tehnološke naprave koje koristimo. Kent se upušta u istraživanje pronalazeći različite kadrove iz fotografija iz osobnih albuma, fotografija s Interneta, fotografije tekstila iz koje izvlači najzanimljivije kadrove. Autor s ciljem traži „namjerne slike“ pritom istražujući općenitu ljudsku potrebu za stvaranjem slike, odnosno poticaja za uspostavu likovnog odraza viđenog već od prvih vizualnih zapisa: otisaka ruku u Maltravieso špilji u Španjolskoj ili pak crteža životinja, ljudskih figura i apstraktnih simbola u Lascaux špilji u Francuskoj. U zapisu naše egzistencije odražava se naš identitet, naša svijest, ali i naše nesvjesno koje zadire u arhajski izraz. Ono što Terence McCann navodi kao kreativni output u plesu, pjevanju, vizualnom stvaranju kod šamanskih običaja plemena te prilikom upotrebe opijata u svom „Arhaičnom oživljavanju“, Freud označava kao arhajski ili regresivni izraz koji prethodi misaonom govoru i smatra se dijelom filogenetske ili biološke baštine, odnosno naslijeđenog znanja bez učenja koje je dio kolektivnog nesvjesnog.5 Hrvatski povjesničar umjetnosti Zidić zaključuje kako „filogenetska baština ostaje ispod razine svijesti koja je individualna, ostaje u sloju kolektivno nesvjesnog: stoga je „zamrznuta“ i nepovrijeđena, dio naše prošlosti koji, naravno, nije oduvijek prošlost; koji je svojedobna, 14

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Stephen Kent

Stephen Kent

Šetnja unutar uma (Proizvodi za kuću u Floridi) / A Walk Within One’s Mind (Florida Home Goods)/ Un paseo por la mente (Artículos para el hogar de Florida)

Šetnja unutar uma (Kiosk u Berlinu) / A Walk Within One’s Mind (Berlin kiosk) / Un paseo por la mente (quiosco de Berlín)

2022.

Pločice, prirodni kamen, staklo, UV izravni tisak na dibondu, drvena ploča / Tiles, natural stones, glass, UV direct print on dibond, wood panel / Azulejos, piedras naturales, vidrio, impresión directa UV sobre dibond, panel de madera 92 x 77 x 4 cm 2022.

Igor Zidić: Rukopis oka: Likovne teme i ogledi 1967 – 2013 (Zagreb: Matica hrvatska, 2014.)

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Pločice, prirodni kamen, staklo, UV izravni tisak na dibondu, drvena ploča / Tiles, natural stones, glass, UV direct print on dibond, wood panel / Azulejos, piedras naturales, vidrio, impresión directa UV sobre dibond, panel de madera 92 x 77 x 4 cm (HR)

ondašnja sadašnjost.“ Freud prepoznaje represiju arhajskog, primitivnih želja i potreba, već pri samom ulasku u društvenu zajednicu, gdje se arhajsko najčešće manifestira u zoni snova. Stoga posezanje za vizualnim repertoarom predstavlja platformu koja omogućuje umjetniku upravo zadiranje u sfere arhajskog i propitivanja naših pobuda poput ljudske potrebe za stalnih generiranjem i konzumiranjem slika. Izdvojene fragmente slika koje printa na UV papiru Kent postavlja na dibond gdje se ponovno događa dekonstrukcija dijela odabrane fotografije koja se sprema za prihvaćanje novog identiteta. Kent manipulira vizualnim materijalom samostalno određujući odnos striktnih i zamagljenih granica na slici. Bitno je naglasiti odnos autora i tuđih fotografija koje on tijekom ovog procesa prisvaja. Dodajući daljnje slojeve ulja, akrilika i gipsa na platno Kent dalje gradi sliku od fragmenata u kojima prevladava dominantan koloristički naboj. Princip gradnje slike vidljiviji je u slikama-mozaicima gdje umjetnik umjesto keramičkih tesera s jasno označenim oblikom koristi tzv. trencadís razbijene dijelove keramičkih pločica i kamena koje implementira u svoj rad. Nižući mozaik na prisvojenu fotografiju Kent stvara novu vlastitu naraciju u kojoj se sučeljavaju vizualni svjetovi fotografije i slikanja, konzumerizma masovne proizvodnje i tendencioznog ručnog rada, multiplikacije i simplifikacije, sjajilo fotografije i prašnjavost cementa kao vezivnog tkiva

zajednički rad stola za stolni tenis i zvučni rad umjetnice Sophie Erlund. Crteži i riječi ugravirani na daskama predstavljaju nefiltrirano područje emocija i misli, početne korake na praznoj ploči koji se tu i zaustavljaju.

Na daskama za rezanje susrećemo se s akumulacijom misli i skica koje su tu zauzdane, na razini predsoblja. Ta neposrednost i sirovost misli u rad upisuje jednu iskrenu naraciju bilježeći ovaj vizualni dnevnik u istom trenutku oduševljenja idejom jedne misli koja se potom ispisuje na drvene stranice dnevnika. Azul će u ovom dnevniku tako označavati studio u kojem je umjetnik boravio tijekom rezidencijalnog programa, DolceVita je model talijanskog kultnog Fiata 500 automobila koji je vozio po otoku, Walter Burger je reminiscencija na tehničara, Ron Amazona je poznato piće koje su umjetnici otkrili na Mallorci pijući kavu, ideje o skulpturama na kružnom toku kojima obiluje otok Mallorca primjeri su skulptura pivskih čaša ili stolnog tenisa. No na daskama su upisane i iscrtane i od strane drugih umjetnika, kustosa i posjetitelja usputne misli ili šale koje su često izgovorene tijekom rezidencijalnog programa poput Gluten intolerant Zombie, Just in Case, Free Wood, prikazi različitih čaša za alkoholne napitke, Parking recordings, Not bad guys, crtež lonca za kuhanje, Mañana mañana. Nastavak ovog vizualnog dnevnika pratimo i u Čokoladnim dnevnicima pri čemu Maynou omote čokolade koristi kao platno na kojima ponavlja sličan obrazac zapisivanja neposrednih doživljaja. U njegovim djelima čitamo jednu određenu ležernost, zaigranost, nenametljivost i nepretencioznost pri čemu autor ni na koji način nije površan. Dapače, njegova sažetost i britkost izraza u ovoj formi fragmentiranog diskursa posjetitelja navodi na sudjelovanje i nadopunjavanje rada svojim vlastitim asocijacijama na ponuđene termine.

U Čokoladnim dnevnicima ispisuje stranice i na naslovnoj stranici omota te na njegovoj praznoj poleđini pri čemu je prisutna međuigra

Josep Maynou Čokoladni dnevnici / Chocolate Diaries / Diarios de chocolate papir, flomaster / paper, felt pen / papel, rotulador Različite dimenzije / Various dimensions / Varias dimensiones 2022.

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mozaika, pretjerane ornamentalizacije vanjskog svijeta koji neprestano ometa naše vidno polje stvarajući nove potrebe i samog mozaika kao utjelovljenja zatvorenih prostora koji pozivaju na kontemplaciju o čovjekovu životu.

Francuski sociolog Baudrillard u ovoj će epohi hiperprodukcije slike u postmodernom društvu prepoznati sindrom simulacije gdje se stvarnost zamjenjuje njenom reprezentacijom putem medija televizije, kompjuterskog kibernetskog prostora (cyberspace) i virtualne stvarnosti. Ljudi zapravo počinju živjeti u „hiperrealnosti“ simulacija u kojoj prevladavaju slike, spektakli, igre znakovi koji zamjenjuju koncepte stvaranja i klasnog konflikta. Okruženi smo parolama koje su izgubile značenje i poprimile marketinške konotacije poput krive interpretacije škole Bauhausa. Nastojeći staviti koncept umjesto proizvoda u središte pažnje, Bauhaus je zapravo dao temelje marketinškom divu, zamjenjujući njihov prvotni cilj produbljivanja diskusije o samim idejama stvaranja.

U svom radu gdje koristi svakodnevne objekte umjetnik Josep Maynou također se dotiče teme simulacija gdje motive iz okolnog konzumerističkog svijeta reinterpretira koristeći ih kao platformu za slanje svoje poruke.

Smještanjem objekta u izložbeni prostor, objekti gube svoju prvotnu funkciju i bivaju pretočeni u njihov novi identitet. Sveukupno su predstavljene 34 daske za rezanje gdje su poruke, usputne rečenice i crteži ugravirani tehnikom brener upaljača. Maynouve daske za rezanje utjelovljuju mediteransku težnju za druženjem uz hranu te zajedničku pripremu hrane kao bitnu stavku u ovom procesu. Duh ovog zajedništva ugraviran je u svaku pojedinu dasku za rezanje koje umjetnik koristi poput stranica svog vizualnog dnevnika tijekom putovanja. Tekstualni ili vizualni zapisi ponovno su izdvojeni fragmenti iz diskusija ili ležernih razgovora među umjetnicima i posjetiteljima studija čime se ovaj rad nadovezuje na

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Postav izložbe / Exhibition view / Diseño de exposición

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CCA Andratx

Problematika ove podjele unutar turističkog aspekta života suptilno je upisana i u rad umjetnika Igora Eškinje. Umjetnik koji tijekom jednomjesečnog rezidencijalnog programa provodi vrijeme u Španjolskoj prepoznaje sličnu infrastrukturnu problematiku mediteranskih zemalja dolazeći iz takvog okruženja svoje matične države Hrvatske. Investicijski je zamah divlje obale mediteranskih zemalja pretvorio u veliko gradilište luksuznih vila i zgrada koje pokušavaju prodati ideju mediteranskog duha življenja. Ovaj potencirani duh življenja nastoji se maksimizirati u ljetnim mjesecima te se time polariziraju dva perioda u ritmu lokalnog stanovništva: od maksimalne istrošenosti prostora i kapaciteta do potpune opustošenosti sadržaja i nedostatka ljudi u zimskim mjesecima. Simulacija života koju obrazlaže Baudrillard u postmodernom društvu ovdje ponovno dolazi do izražaja. Vile s pogledom na more, elegantno simplificirani i izrazito koncepcijski zaokruženi Airbnb apartmani koji nastoje unijeti mediteranski šarm u svoju estetiku simuliraju život mediteranskog čovjeka stvarajući jedan stereotip na tragu ideje orijentalizma Edwarda Saida. No u ovoj egzotizaciji stvarnosti krije

se nevidljiva priča, poput zidova čija vezivna tkiva i izolacijske materijale ne možemo vidjeti jednom kad su oni obloženi vanjskom fasadom.

Fasada je u službi Baudrillardove reprezentacije koja zamjenjuje stvarnost simulirajući jednu drukčiju, poželjniju zbilju – konceptom uokružene priče idilične estetike i sadržaja.

Ovdje ponovno nailazimo na sličan scenarij koji iščitavamo u značenju parea Josepa Maynoa, gdje su građevinski radnici pretežito ljudi na privremenom boravku iz trećih zemalja koji grade za lokalne investitore ili turiste iz razvijenijih zemalja.

Eškinja promatra ovaj fenomen rasta kuća iz trenutne ekonomske situacije, ali i iz povijesne perspektive. Tradicionalni tip mediteranske težačke kuće s 4 zida, malim ulaznim vratima, vrtom za obradu i torom za životinje sada je prerastao u megalomanske dimenzije gdje se njezin identitet u potpunosti gubi i postaje nešto drugo. Postupno prvotni sadržaj iščezava, a novi sadržaj simulira prvotni poput životinja koje su sada isključivo u dekorativnoj službi stvaranja simulacije mediteranskog života, vrta koji više ne služi za rast različitih kultura i prehrane obitelji, već se očituje kao uređen dekorativni produžetak kuće uz motiv bazena i pažljivo odabranu hortikulturnu zajednicu biljaka.

U „organiziranju“ prostora stvarnosti jasno je vidljiva čovjeka tendencija ka kontrolom izvanjskog koji reflektira naše unutarnje čežnje. Interijeri i eksterijeri kuća dominiraju očitovanjem čovjekove dominacije od uređenja unutarnjeg prostora dodavanjem kućnih biljaka do ukroćivanja prirode, vanjskog svijeta biljaka čiji je rast i širenje u prostor strogo kontrolirano. No, čim se ova kontrola zaustavi, snažna vegetacija počinje stvarati vlastitu heterotopiju, dominirajući nad ljudima i prostorom nezaustavljivo rastući poput klasičnih spomenika Rimskog Carstva koji su u de Sicovim filmovima često potpuno obrasli u vrijeme sveopćeg siromaštva svjetskih ratova

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rukom ispisanog crteža i strojem isprintane i umnožene naslovnice omota. Ispisivanje na svakodnevnim predmetima nastavlja se i u radu „Pareo“ gdje umjetnik na dodatak za plažu ispisuje riječi Get pissed to get unpissed. Od običnog modnog dodatka koji je poslužio za prekrivanje ponajprije ženskog tijela, pareo je s vremenom poprimio konotacije jedne dublje problematike današnjeg društva. Ovaj modni dodatak često povezujemo uz prikaze ljudi iz trećih zemalja koji ga šećući plažom nastoje prodati turistima iz pretežito razvijenih zemalja te je postao bremenit dodatnim značenjem.

Upravo stoga autor ispisuje riječi koje bi trebale utjeloviti ovaj osjećaj i poslati jednu određenu poruku promatraču djela.

otkrivanja prisutna je i u radovima umjetnice Sophie Erlund, skulpturama i crtežima, koje se nadovezuju na već spomenutu zvučnu izvedbu. Umjetničini reljefi odražavaju proces dugotrajne obrade drva i minuciozne izvedbe.

Poput oblikovanja totema, Erlund u skulpturu upisuje potpunu posvećenost predmetu koji u sebi prima duhovnost utjelovljujući animistički duh i kultnu narav. Glatka površina prelakirana tamnim tonovima svoju fluidnost nastavlja u utisnutim fragmentiranim predmetima. Erlund oblikuje smolu u formi polukugle u koju utiskuje predmete iz okoline stvarajući apstraktnu formu. Apstrakcija intenzivnog kolorita nastavlja se u utisnutim dijelovima stakla koje autorica oslikava. Drvo sa svojom puninom i vitalnošću postavljeno je u kontrast s prozirnošću utisnutih dijelova koji oslobađaju težinu drvene skulpture.

Poput smole koja se izlučuje u stabljici ili kori drveta, u čestim slučajevima kad se biljka ozlijedi, drvo ovim putem oslobađa svoju težinu i krutost prikazujući smolu, svoju manifestaciju ranjivosti, kao sastavni dio skulpture. U utisnutim polukuglama svjedočimo stvaranju jedne nove naracije, amorfne mase u nastajanju čiji je daljnji razvoj naglo prekinut. Poput fosila koji svjedoči o nekom drugom vremenu, u lijevanoj je smoli upisana temporalnost jednog svijeta čiji oblik umjetnica pažljivo odabire.

Drugi se svijet stvara u prividnoj pozadini

20. stoljeća.

U svojoj umjetničkoj praksi Eškinja proučava odnose prostora i percepcije upravo odnosa između nas samih i prostora kojim smo okruženi. U instalacijama „“Slučajne perspektive” (2022.)“ u točku interesa stavlja trenutke gradnje gdje je surovost materijala najvidljivija. Eškinja sliku gradi od gipsane ploče odnosno knaufa predstavljajući je kao fragment zida na koji dalje nanosi glet masu.

Kao potpuni kontrast nedefiniranoj i sirovoj glet masi ispisuje se precizna, matematički egzaktna i minuciozno izvedena mreža linija.

Stvarajući oblik koristeći i optičke varke, linije se nalaze na razmeđu interijera i eksterijera omogućavajući promatraču iščitavanja djela na više razina. Zagasite neutralne boje pozadine, odnosno gipsane ploče, u oker smećkastoj i maslinasto zelenoj boji, doprinose dojmu nedovršenosti okoline u koju se uvodi sistematičan crtež linija satkanih od sjajne samoljepljive trake. U crtežu razaznajemo motiv zavjese kao transcedentalnog motiva koji utjelovljuje simboliku useljene kuće, „četverokuta postavljenog prema stranama svijeta koji implicira prostorno fiksiranje“6.

Zavjesa predstavlja granicu, ali ponovno i kontroliranu granicu između vanjskog i unutarnjeg svijeta jer ponovno dolazi do izraza čovjekova kontrola prostora i vlastite intime gdje može tek jednim pokretom otkriti ili sakriti svoj prostor stvarajući nove odnose među svjetovima. Ova međuigra skrivanja i

skulpture u kojima su fluidni potezi kista

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Sophie Erlund Društvene veze serija / The Social Bond Series / La serie De bonos sociales 9 crteža / drawings / 9 dibujos Tuš i gvaš na papiru / ink and gouache on paper / tinta y gouache sobre papel 29.7 x 42 cm (pojedinačno / each / cada)

J. Chevalier, A. Gheerbrant: Rječnik simbola (Zagreb: Mladost, 1994.)

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2022.

dodatno potaknuti gravitacijskom silom koja

materijalni oblik, crtež je platforma u kojoj

oblikuje pad tekuće boje. Poput tradicionalnih

misao brzo pronalazi svoje konture. U formi

kineskih shan-shui (planina-voda) slika koji

crteža ovaj je proces znatno kraći te autorici

prikazuju prirodni krajolik tehnikom tuša i

omogućava proučavanje ideje koja se rađa,

kista, Erlund se okreće proučavanju općenite

njen razvoj i smjer u kojem je može odvesti.

pojavnosti formi, različitih oblika koji nastaju

Skulptura od autora zahtijeva preciznost,

u prirodi izbjegavajući antropocentrični

strogost, određenost i unaprijed definiran

pogled na njih. Ovaj tip kineskih slika imali

potez ruke limitirajući proces varijacije teme

su i svoje taoističko simboličko značenje

pri izvedbi. Sveukupno 18 crteža podloga je za

naglašavajući moć i veličinu planina i vode,

umjetničin eksperiment traganja oblika koji

odnosno prirodnih pojava i ističući čovjekovu

se pojavljuju na površini poput zaustavljenog

podređenost u prostranstvu svemira. Erlundina

mikroskopskog pogleda. Forme se međusobno

obojana stakla upisuju ovu snagu fluidnih

prožimaju u ograničenom kolorističkom spektru

oblika krajolika koja pred čovjeka postavljaju

u kojem dominira crna, ljubičasta, crvena i žuta

šira pitanja našeg postojanja. U riječi drvo čiji

boja. Neprisustvo jasno određenih granica

grčki izraz hylé možemo prevesti i kao drvo,

tvori nepredvidljiv svijet ispreplitanja formi pri

ali i kao pramateriju, ostvaruju se ponovno

čemu je prisutan oblik kruga koji se repetitivno

pitanja postanka našeg svijeta i materijala

prikazuje u kompozicijskim varijacijama na

od kojih je građen naš današnji svijet. Kao

temu. Isprepletenost formi upućuje i na

opreka prirodnim materijalima od kojih je

čovjekovu neminovnu uklopljenost u ovaj svijet

rađena skulptura, pojavljuju se asocijacije

oblika gdje pod mikroskopskim pogledom naša

današnjeg postmodernog svijeta koji poput

prividna dominacija u svijetu biva poništena

krivih čitanja kodova na ekranu narušava

prikazom staničnih organizama.

vizualnu preglednost. Žice i čipovi promatrača ponovno odvode u današnji kontekst u Snaga i inteligencija prirode područje je

drvu utiskuje u sve njegove pore pronalazeći

ispitivanja i u radu umjetnika Marka Požlepa.

rupe u kojima može živjeti jedan duži period.

Kinematografski esej pod nazivom „Hogshead

Plastičnost tehnološki oblikovanih materijala

733“ prati priču o putovanju na koji su se

uvodi nemir i određenu disharmoniju u rad

uputili umjetnici Maxime Berthou i Mark

prekidajući kontemplativnu nit drugih prikaza.

Požlep u periodu od 23. kolovoza do 21. rujna

Ekspresivnost i živahnost nelinearnih poteza na

2015. godine. Od početne točke Trébeurden

oslikanom staklu stavljeno je u oprečni odnos

u Bretanji do konačnog odredišta Islay otoka

Maxime Berthou and Mark Požlep

naspram industrijskog proizvoda, potraga

u Škotskoj dvojica umjetnika prošla su kroz

za oblicima proturječi jasno definiranom

različita iskustva koja će ispitivati njihove

Hogshead 733 viski / whisky

importiranom objektu parazitske naravi.

granice izdržljivosti, ali i postavljati pitanje

Ova se potraga za oblicima nastavlja u

smisla odlaska na ovo putovanje. Natpis koji

crtežima postavljenim pored skulpture koji,

će pronaći na izložbi koji su slučajno posjetili

prema riječima umjetnice, predstavljaju njeno

na jednom od odmorišta tijekom njihova

polje šire slobode. Za razliku od kiparstva koje

mukotrpnog putovanja odagnat će neke slutnje

zahtijeva mukotrpni rad i duži period vremena

i pružiti im dodatnu motivaciju za nastavak

u kojem prvotna ideja počinje zadobivati svoj

opasnog i nepredvidljivog morskog puta7.

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Viski, numeriran i potpisan, 621 / 733 / Whisky, numbered and signed, 621 / 733 / Whisky, numerada y firmada 621 / 733 2016.

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kojima se tehnologija poput parazita na

Sveukupno 20 crteža rađenih u tehnici

upućuju na prikaz motiva baklje i vatrometa

istovremeno egzistiraju s vanjskim svijetom

ugljena, uljnog pastela i vodenih boja prate

za spašavanje tijekom nesreća na morskom

okosnica je cjelokupne grupne izložbe u

kinematografski esej poput pronađenog

putovanju koje ipak nisu bili iskorišteni od

kojima autori propituju dane okolnosti u

fotoaparata s nerazvijenim filmom koji je čekao

strane umjetnika.

kojima generiraju svoje vlastite perspektive.

da izađe na vidjelo. Rad koji je nastao 5 godina nakon obavljenog puta svojom ekspresivnošću i

Tri su razrađene priče koje se mogu izdvojiti

je primjenjiva na sve radove u izložbi pri čemu

snagom svjedoči o još uvijek snažnom sjećanju

u crtežima: tema broda, odnos umjetnika

svaki pojedini umjetnik nastoji dekonstruirati

proživljenog iskustva i tragovima koje su

Maximea i Marka te dijalog s morem.

svoj svijet, raščlanjujući ga na osnovna

ostavili na umjetniku. Brod naziva „Soutien de

Kompozicija je uzburkana i sintetizira

pitanja i gradeći kolaž od mogućih odgovora.

famille“ izrađen od bijelog hrasta 1942. godine

sveprisutni osjećaj nesigurnosti, neizvjesnosti

Od Kentovih postavljanja pitanja fenomena

bio je istovremeno utočište i dom umjetnicima,

i strah za koje autor navodi da ih još uvijek

hiperprodukcije slika u današnjem vremenu u

ali i njihova najveća noćna mora. Mane broda

osjeća i da taj snažan osjećaj čak ni s

kojemu one tijekom tog procesa neprestano

koje isprva nisu bile vidljive nakon nepedantne

razmakom od pet godina još uvijek nije

gube i dobivaju novo značenje, Erlundinih i

restauracije, rezultirale su brojnim prilikama

prošao. Iscrpljenost i popratna bolest od mora,

Maynovih opažanja svijeta i fragmentiranja tog

skorog potonuća broda tijekom prelaska

zapljuskivanje valova, neprestano ljuljuškanje

svijeta u Maynovim daskama za rezanje ili pak

kanala La Manche gdje su samo igrom slučaja

i nedostatak neravne površine utjecat će na

Erlundinom zvučnom radu i u potrazi za novim

izbjegli velike tankere nakon pada radara i

stvaranje nemirnosti prikaza koji naizmjence

neovisnim formama, Eškinjinog propitivanja

svjetla u duboko more. Trenutci u kojemu brod

izmjenjuju krupni plan i pogled izdaleka. Priča

koncepta gradnje novog svijeta iluzija koje se

biva zapljuskivan valovima, dok umjetnici u

je to o putovanju, nasljedstvu i prijateljstvu,

nastoje prodati, Požlepovih kreiranja situacija u

ulogama mornara i kapetana potpuno mokri

odisejskog puta u kojemu se nadopunjuju

kojima propituje samog sebe – umjetnici pred

pokušavaju usmjeriti brod u zacrtanom smjeru,

zaseban mikrokozmos broda u kojemu

sebe stavljaju zadatak mentalnog putovanja u

memorijska je ostavština umjetnika kojima

autori žive i vanjski svijet sa svojim prirodnim

neizvjesnost prostranstva mogućih odgovora

bljeskovi sjećanja u kojima vide svoje bližnje

zakonima. Morska će lutanja rezultirati

koji nisu nužno konačno odredište umjetnika,

nalikuju na trenutke bliskog susreta sa smrti.

rastavljanjem broda i izradom bačvi za viski od

već tek početna točka za gradnju novih

Nesnošljiva kakofonija zvukova koji su umjetnici

brodskog materijala bijelog hrasta pri čemu

svjetova.

tijekom puta čuli ili im se učinilo da čuju u

će upijena morska sol u materijalu utjecati na

crtežu je prevedena u brzi potez i nemirnu

sam okus viskija. Samo se putovanje promatra

kompoziciju s tek ponekim „požarom“ crvene

kao umjetničko djelo, kao zaseban život. Autor

uzburkane boje uljnog pastela i vodene boje.

navodi kako on već ima svoju perspektivu, svoj

Isječci su to sjećanja u kojima prevlada tama,

tzv. otvor u svijet te nastoji u svom umjetničkom

noćni prizori u kojima je strah od nevidljivosti

radu kreirati situacije u kojoj bi sam htio nešto

neizmjernog prostranstva mora i moći prirode

promijeniti.

bio najosjetljiviji. Pojedini koloristički bljeskovi

Stvaranje paralelnih mikrokozmosa koji

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Demontiranje broda u Požlepovu radu metafora

Natpis na izložbi: „I like it very much the idea that it’s a risk, that I don’t know what I’m doing, and the point of doing it is to find out what may occur.“

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U prijevodu: hranitelj obitelji (breadwinner)

*Okupljena grupa umjetnika bili su sudionici rezidencijalnog projekta pod nazivom “Artist meet Chef” 2017. i 2019. godine u sklopu programa tvrtke Maistre i platforme Nomad, u Rovinju u Hrvatskoj.

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Postav izložbe / Exhibition view / Diseño de exposición CCA Andratx

ye see, the sun is high and the heat great, nor WORLDS “As is aught heard save the crickets yonder among the olives; wherefore it were doubtless folly to go at this present. Here is the sojourn WITHIN anywhither fair and cool, and here, as you see, are chess and tables,[28] and each can divert himself is most to his mind. But, an my counsel be WORLDS asfollowed in this, we shall pass away this sultry part of the day, not in gaming,—wherein the mind of one of the players must of necessity be troubled, without any great pleasure of the other or of those who look on,—but in telling stories, which, one telling, may afford diversion to all the company who hearken (...).” 1

Although the departure of a group of seven women and three men for the country estate of Fiesole in Boccaccio’s Decameron is occasioned by the appearance of the plague in Florence in 1348, the idea of leaving the everyday context and getting away from the regular setting creates a fertile field for self-reflection, for setting out into worlds of one’s own unconfined by the walls of everyday life filled with so much merely automatic and unaware action. The medieval group of men and women during the 14 days spent in an idyllic villa determine to tell a story, which results in the impressive number of 100 tales, in which they put forward their views of the society of the time, the emotional state of the individual, the doubts and quandaries of the protagonists of the complications and denouements told that affected the development of their lives.

Getting out of the everyday context and setting out for the idyllic landscape-immersed CCA Andratx complex for a one-month residency enabled five artists to create a microcosm that accumulated experience of the world outside and permeated their artistic work. Leaving the

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regular quotidian did not refer primarily to the physical displacement of the artists who were assigned new studios of their own, but also to the element of the creation of a new form of communal living in which were interwoven discussions, communal suppers, shopping for food, meal preparation, getting hold of materials for artworks, thinking about one’s own artwork, looking at the productions of others and delving into the mental worlds of the artworks of their studio-neighbours.

Sophie Erlund, Stephen Kent, Igor Eškinja, Mark Požlep and Josep Maynou here create their own Decameronish narration, which impinges, every day of the residency, ever more tightly, on the development of a fabula that unfolds at several levels. Fabula here does not flow linearly, its narrative consisting rather of fragments accumulated during extended evening conversations interrupted by the clinking of glasses and cutlery. Artist Sophie Erlund devotes herself to these moments, bringing them together in her soundpiece she calls “One month and two burners” (2023).

In this work we have the occasion to hear fragments of conversations, which are sometimes intelligible, sometimes identifiable only by voices in the distance, the laughter of people conversing, profound statements and quotes from philosophers with jokes, muttering and humming, the sound of work on materials: drilling, scraping, sawing and ambiental sound. Interwoven into the deafening cacophony are moments of calm, morning stillness accompanied with the incidental song of migrating birds on their way south or the half-wild goats that dominate the landscape of the Serra de Tramuntana mountain chain, the nocturnal rustling of leaves and the calm of late hours filled with long moonshine. We respond to

the accumulation of fragments of the separate moments in the piece as to an abstract poem, an ode to a period. Although sculpturally located in the space of a group exhibition, the powerful impact of the acoustic work is manifested in the sculptural formation of the mental space of visitors to the show. The soundpiece pervades the exhibition, subtly suggesting the context in which the works were created and perpetuating their point of departure. Like the rushing of a spring that gives rise to the surrounding flora and fauna, the soundpiece of Sophie Erlund is a spiritual source for the creation of other featured works, at the same time embodying the tendency of the artists to engage in communal work, in addition to their independent and individual engagement in their own works.

Picking up from the soundpiece of Erlund is a work that this time represents the engagement of the whole group of artists, and visitors to the studio during the month-long residency.

We look at a ping-pong table on which empty bottles of drink supped during the creation of the work take on the role of net, as a translation of the various sounds that derive from the acoustic work rather than as its visual substitute.

Although Erlund’s soundpiece concretely does not consist of physical elements that belong to the domain of the visual, its powerful energy leads the observer off into realms of the visual, looking for our visions of birds in flight or the transferred laughter of some person in our own imaginary museum, term of André Malraux, which stands for the visual experiences recorded in the individual brain.

On the wooden table and wooden rackets for table tennis are engraved in blowtorch technique thoughts, incidental sentences, catchphrases, mispronounced words, telephone numbers, real and invented names and titles. Also present are 29

Giovanni Bocaccio: Decameron (Zagreb: Globus media, 2004.)

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drawings of bottles, a palm, fish and hamburger prepared in one of the many communal suppers, musical instruments, portraits of the persons present during the programme, the lifts located in front of the studios that served as set decoration for the shooting of a group portrait of the artists, as well as a depiction of a chopping board that appeared as motif in the work of artist Josep Maynou, who worked the surfaces with the same blowtorch technique.

The installation of table that invites visitors to participate blurring the border of exhibition object and the designated permissible distance of visitors refers to and directly invites further play and dialogue in which sentences are mixed up with the sound of the ping-pong ball and it bouncing into the net of empty bottles after missed returns.

The installation of the table embodies the spiritus movens of the members of the exhibition, witnessing to the origins of the group exhibition, condensing the time spent using the table, in which the visitor recognises remains of food on the top, grease from the barbecue, oil, spices, traces of interaction of the participants of this socialising that are directly inscribed in the joint work.

This is one kind of Lacanian mirror in which the authors are identified with their newly created joint identity that developed during the residency. In the newly created microcosm, the authors create several levels of separate worlds, which exist for themselves but at the same time also intersect. French philosopher and historian of ideas Michel Foucault uses the term heterotopia which he uses to designate the concept of the creation of worlds within worlds.

In the western history of society the medieval hierarchical system built on the oppositions of sacred and profane places, protected and open or exposed places, urban and rural, extra-

planetary, heavenly, earthly was done away with by the Galilean revolution that according to Foucault not only proved that the Earth circles the Sun but also offered the establishment of endless and endlessly open space. It was this new thinking that revolutionised the modern age, placing any physical object, phenomenon or thought as point in movement, in a space that is not homogeneous and void, but a saturated space in which individuals and things are located, a space that seduces us to enter into it2. In such a space heterotopias with their accompanying heterochrony, which abolishes the connection with traditional time, are defined as some kind of counter-locations, within a culture that is disputed and inverted.

Their function is defined as the creation of a space of illusion, revealing the mechanisms and illusoriness of the real world. Foucault calls our age a space of “an epoch of simultaneity: we are in the epoch of juxtaposition, the epoch of the near and far, of the side-by-side, of the dispersed. We are at a moment. I believe, when our experience of the world is less that of a long life developing through time than that of a network that connects points and intersects with its own skein”. 3 At a distance from their everyday life, the group of artists gathered together test out their own artistic practice during the residency where they will go deeper into new and already posed questions in their work. The objective of discussions in this group is not to look for and then propose answers, but in this separate heterotopia of artistic socialising to find new paths through which to ponder their own artistic practices and the issues they raise; from the question of the creation of the image and the hyperproduction of the visual in today’s age in images of different techniques by Stephen

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Dom Hrvatskih likovnih umjetnika - Meštrovićev paviljon / Home of the Croatian Association of Fine Artists Zagreb, Meštrović Pavilion / Asociación Croata de Artistas Plásticos - Pabellón de Meštrović

Michel Foucault: (Of Other Spaces), in: Architecture, Mouvement, Continuité, 1967.

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Idem.

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Postav izložbe / Exhibition view / Diseño de exposición

Kent, recording moments in the process of the creation of visual diaries of Josep Maynou, in which the artist employs everyday objects, testing out our own perception of the space that surround us and in which we are living in the work of Igor Eškinja, the relation of object and man and the interrogation of his anthropocentric view in the sculpture, drawing and sound work of Sophie Erlund and issues of the production of new life situations in which we will lead ourselves into a new dimension of perception of reality in the videowork and drawings of Mark Požlep.

While creating worlds within worlds in today’s age of visual super-saturation one arrives at the simulation of created worlds where the questions are posed of possible boundaries and in general of the problem of the placing of the border of the illusionary and the real.

The work of Stephen Kent actually reexamines the very concept of the image and its meaning in today’s world. In his Tractatus logicophilosophicus, Wittgenstein says “the borders of my language mean the borders of my world” 4 which leads to raiding the visual inventory in the search of added answers. Kent is of the opinion that the image comes into being when language lets us down, when we do not know any longer how to explain something... and then we begin to understand, to obtain a wider perspective. The works of Kent at the group show can be divided into two sections according to the technique he uses in creating or building the picture. In the mosaic paintings, Kent uses the technique of mosaic that he appliqués to the already visually saturated support of aluminium dibond. This artist explores the area of hyperproduction of images in which they are always created with amazing speed and with the accessibility of today’s technology of movie and still camera, integrated into all the technological devices that

we use. Kent embarks on his research finding various compositions from photographs of personal albums, from the Internet, photographs of textiles from which he extracts the most interesting frames. The artist deliberately seeks “intentional images” exploring the general human need as he does so the general human need for the creation of the image, or the incentive to establish a visual reflection of the seen from the very first visual records – imprints of hands in Maltravieso Cave in Spain or drawings of animals, human figures and abstract symbols in Lascaux in France. Reflected in the record of our existence is our identity, our world, and our unconscious that penetrates archaic expression. That which Terence McKenna refers to as creative output in dance, singing, visual creation in the shamanic customs of tribes and during the use of opiates in his “archaic revival”.

Freud labels an archaic or regressive idiom that precedes intellectual speech and is considered part of the phylogenetic or biological heritage a part of the inherited knowledge without learning that is part of the collective unconscious. 5 Croatian art historian Igor Zidić concludes that the “phylogenetic heritage remains beneath the level of awareness that is individual, remains in the stratum of the collective unconscious; hence it is frozen and intact, part of our past that of course is not always the past; which in its own time was the then present.” Freud identifies the repression of the archaic, of primitive desires and needs, at the very entry into the social community, where the archaic most often is manifested in the dream zone. Hence the reaching for a visual repertoire is a platform that enables the artist to get into the spheres of archaic and test out our impulses, like the human need for the constant generation and consumption of images. Kent places separate fragments of images printed on UV paper on

Iz kojeg vrta (Kiseli cvat) / Out of Which Garden (Acid Bloom) / De qué jardín (Floración ácida) Ulje, akrilik, UV tisak, gesso na platnu / oil, acrylic, UV print, gesso on canvas / óleo, acrílico, impresión UV, yeso sobre lienzo 180 x 150 cm 2022.

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Ludwig Wittgenstein: Tractatus logico-philosophicus, 1922.

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Igor Zidić: Rukopis oka: Likovne teme i ogledi 1967 – 2013 (Zagreb: Matica hrvatska, 2014.)

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Stephen Kent

Daske za rezanje / chopping boards / chuletas Različite dimenzije / various dimensions / varias dimensiones

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2022.

In his work, where he uses everyday objects, artist Josep Maynou also touches on the theme of simulations, where he reinterprets motifs from the surrounding consumer world making use of them as platform for the transmission of his message. By being placed in

an exhibition venue, objects lose their original function and are transformed into their new identities. All told 34 chopping boards are on show, with messages, incidental sentences and drawings blow-torched in. Maynou’s chopping boards embody the Mediterranean aspiration for socialising with food and the joint preparation of food as an essential item in the process. The spirit of this togetherness is engraved into each individual cutting board that the artist uses like pages of his visual diary during his travels. Textual or visual records are again separate fragments from discussions or casual conversations among artists and visitors to the studio which links this piece to the collaborative work of the table tennis table and the soundpiece of Sophie Erlund. Drawings and words incised in the boards are an unfiltered area of emotions and thoughts, first steps on the empty tabula that also halt here. On the chopping boards we meet an accumulation of thoughts and sketches that are reined back here, at the level of entrance hall. This immediacy and rawness of thinking inscribes a sincere narration in the work, recording this visual diary at the very same moment of the delight with the idea of a thought that is then written out on the wooden pages of the diary. In this diary Azul refers to the studio the artist stayed in during his residency, DolceVita is a model of the iconic Italian Fiat 500, car that he drove around the island, Walter Burger recalls a technician, Ron Amazona is a well-known drink that the artists discovered on Mallorca while drinking coffee, ideas of sculptures on the roundabouts that abound in Mallorca are examples of sculptures of beer glasses or table tennis. But also written and drawn on the boards by other artists, curators or visitors are incidental thoughts or jokes often spoken during the residency programme like Gluten Intolerant Zombie, Just in Case, Free wood, depictions of various glasses for alcoholic beverages, parking recordings, Not bad guys, a drawing of a saucepan, Mañana mañana. We can follow the continuation of this visual diary in Chocolate News, in which Maynou uses chocolate wrappers as canvas on which he repeats a similar pattern of jotting down immediate experiences. In his works we can read a certain casual playfulness, an unassuming lack of pretentiousness, though the artist is in no way superficial. On the contrary, his concision and acuteness of expression in this form of fragmented discourse nudges the visitor to take part and fill in the work with his or

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Josep Maynou

dibond panels, where the deconstruction of part of the selected photograph takes place again, ready for taking on a new identity. Kent manipulates his visual material, independently determining the relation of firm and blurred boundaries in the image. It is important to point out the relation of author and other people’s photographs that during this process he appropriates. Adding further layers of oil, acrylic and plaster onto the canvas, Kent goes on building a picture of fragments, on which a dominant colour charge prevails. The principle of building the image is more visible in the images-mosaics where the artist instead of ceramic tesserae with a clearly marked form uses what is called trencadis, bits of broken ceramic tiles and stone which he inserts into his work. Sequencing his mosaic on an appropriated photograph, Kent creates a new narration of his own in which the visual worlds of photography and painting are confronted, the consumerism of mass production and tendentious manual work, multiplication and simplification, the gloss of photography and the powderiness of cement that binds the mosaic, the excessive ornamentalisation of the external world that incessantly obtrudes into our visual field creating new needs and the actual mosaic as embodiment of the closed spaces that invite contemplation of human life.

The French sociologist Baudrillard recognised in this epoch of hyperprodution of the image in postmodern society the syndrome of simulation, in which reality was replaced by its own representation, via television, cyberspace and virtual reality. People are in fact starting to live in the hyperreality of simulations in which images, spectacles, games or signs prevail, replacing the concepts of creation and the class conflict. We are surrounded by slogans that have lost their meaning and taken on marketing connotations like mistaken interpretations of the Bauhaus school. Endeavouring to put the concept in the centre of attention and not the product, Bauhaus in fact provided the foundations for a marketing giant, replacing their primary objective of deepening the discussions of the very ideas of creating.

her own associations about the terms on offer.

In Chocolate News he writes out pages on the front of the wrapper and on the empty back, in which there is an interplay of a hand written drawing and the machine printed and multiplied heading of the wrapper. Printing on everyday objects goes on in the work Pareo, where the artist writes on this beach accessory the words Get pissed to get unpissed. From being an ordinary fashion item used to cover, primarily, the female body the pareo has with time taken on connotations of one of the deeper problems of today’s society. We often associate it with depictions of people from third countries who walking along the beach endeavouring to sell it to tourists from mainly developed countries and it has become fraught with additional meaning.

For this reason the artist writes out the words meant to embody this feeling and send a certain message to the person who takes it in.

The problem of this division in the tourist aspect of life is also subtly inscribed in the work of Igor Eškinja. The artist who in his month-long residency spent time in Spain perceives a similar infrastructure problem of Mediterranean countries, coming from the same kind of setting of his home country Croatia. The boom in investment has turned the wild coasts of Mediterranean countries into huge building sites for luxury holiday homes and buildings that attempt to sell the idea of the Mediterranean spirit of life. There is an attempt to maximise this heightened spirit in the summer months, and thus two periods in the rhythm of the local population are polarised: from maximum wear and tear on the space and the capacity to total lack of content and absence of people in the winter months. The simulation of life that Baudrillard explains in postmodern society comes to the fore again here. Villas with sea

views, elegantly simplified and markedly conceptually finished Airbnb apartments that endeavour to put Mediterranean charm into their aesthetic simulate the life of Mediterranean Man, creating a stereotype along the depiction of Orientalism by Edward Said. However, in this exotic treatment of reality there is an invisible story, like walls the bonding material and insulation of which we are unable to see once they finished with façade cladding. The façade is there for Baudrillard’s representation that takes the place of reality, simulating a different and more desirable reality –with the concept of a self-consistent story of idyllic aesthetics and contents. We have come here again upon a script similar to that which we can read off in the meaning of the Maynou pareo, where the building workers, mainly people with temporary work permits from their counties, are building for local clients or for tourists from the developed countries.

Eškinja looks at this phenomenon of the growth of houses from the current economic situation, and from the historical perspective as well. The traditional type of Mediterranean small farmer house with four sides, a small entry door, a garden for cultivation and a fold for the animals has grown to megalomaniac dimensions in which the identity is lost, where it becomes something other. Gradually the original content fades away and the new content simulates the original like animals now only there for decorative purposes, creating simulations of Mediterranean life, a garden that is no longer there for the production of crops and for feeding the family, but comes across as an attentively laid out decorative extension of a house plus motif of pool and carefully selected horticultural community of plants.

Clearly visible in the organisation of the space of reality is the tendency of people to control

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Igor Eškinja Slučajne perspektive / Accidental perspectives / Perspectivas accidentales

2022.

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Gips na knaufu / plaster on drywall / paneles de yeso 90 x 120 cm

the external, which reflects our inner longings.

Interiors and exteriors of houses dominate by manifesting human domination from the interior decoration by the addition of pot plants to the taming of nature, of the outer world of plants, the growth and spread of which in the space is strictly controlled. But as soon as this control relaxes, the powerful vegetation starts to create its own heterotopia, dominating people and space, growing unstoppably like classical monuments of the Roman Empire that in the films of de Sico were often totally overgrown in the time of the universal immiseration of the world wars of the 20th century.

In his artistic practice, Eškinja studies the relations of space and perception, actually the relation between us and the space by which we are surrounded. In the “Accidental Perspectives” (2022.) installations installations he puts the focus of interest on the moments of the construction process in which the rawness of the materials is the most visible. He builds a picture of plasterboard, presenting it as fragment of wall on which he continues to apply plaster. As total contrast to the amorphous raw plaster a precise and mathematically exact, meticulously produced network of lines is written out. Creating form using optical illusions, the lines are on the border of interior and exterior enabling the observer to read off the work at several levels. The dark neutral colours of the background, the drywall, in brownish ochre and olive green, contribute to the impression of incompletion of the surroundings into which a systematic drawing of lines composed of glossy self-adhesive tape is introduced. In the drawing we discern the motif of curtain, transcendental motif embodying the symbol of an occupied house, “a quadrangle placed according to the corners of the world, which implies spatial fixing”. 6 Curtains represent a border, but again a

controlled border between inner and outer world, for once again the human control of space and personal privacy comes to the fore: with a single movement it is possible to reveal or conceal one’s space, creating new relations between the worlds.

This interplay of hiding and revealing is present too in the works of Sophie Erlund, sculptures and drawings, which carry on from the already mentioned acoustic performance. The artist’s reliefs reflect the process of long-lasting working of wood, of meticulous execution. As during the carving of a totem, in sculpture Erlund inscribes total devotion to the object that absorbs spirituality, embodying the spirit of animism and the nature of the cult. The smooth surface varnished in dark tones continues its fluidity in the impressed fragmented objects.

She shapes resin in the form of a hemisphere into which she impresses objects from the surrounding, creating an abstract form. The intensely coloured abstraction is picked up in the impressed parts of glass that the artist decorates. Wood, with its fullness and vitality, is contrasted with the transparency of the impressed parts that relieve the heaviness of the wooden sculpture. Like the resin that exudes from the stem or bark of a tree, in frequent cases when the plant is wounded, the tree in this way relieves its weight and rigidity presenting the resin, its manifestation of vulnerability, as component part of the sculpture.

A different world is created in the apparent background of the sculpture in which fluid brushstrokes additionally impelled by the gravitational force that shapes the fall of the liquid pigment. As in the traditional Chinese shan-shui, or mountain-water, pictures that show the natural landscape in brush and ink, Erlund turns to the study of the general appearance

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J. Chevalier, A. Gheerbrant: Rječnik simbola (Zagreb: Mladost, 1994.)

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Umjetnička galerija Dubrovnik / Museum of Modern Art Dubrovnik / Museo de Arte Moderno

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Postav izložbe / Exhibition view / Diseño de exposición

of form, different forms that come into being in nature, avoiding the anthropocentric view of them. This type of Chinese picture had its Taoist symbolic meaning emphasising the power and magnitude of mountains and water, of natural phenomena, emphasising human subordination in the vastness of the universe.

Erlund’s painted glass pieces inscribe this power of the fluid forms of landscape that place in front of mankind the wider issues concerning its existence. In the word wood, the Greek expression hylé being translatable as wood, but also as primordial matter, there are once again questions of the origins of our world and the materials from which our current world is built.

In contrast to the natural materials of which the sculpture is made there are associations of the current post-modern world that like misreading of codes on the monitor impairs the visual clarity. Wires and chips take the observer off again into the current context in which technology like a parasite on a tree intrudes into all its pores, finding holes in which it can live some longish period. The plasticity of technologically formulated materials brings agitation and a certain disharmony into the work breaking off the contemplative thread of other representations. The expressive vitality of non-linear strokes on the painted glass is put in a conflictual relationship with the industrial product, the search for forms contradicts the clearly defined imported object of a parasitical nature.

This search for forms is continued in drawings place alongside the sculpture that, in the words of the artist, represent her field of expanded freedom. Unlike sculpture that requires laborious work and a rather long time period in which the initial idea starts to take on its material form, the drawing is a platform in which thought rapidly finds its contours. In the form of drawing

this process is much shorter and enables the artist to ponder the idea that is being born, its development and the direction it can be taken in. Sculpture requires from the artist precision, austerity, determinacy and a movement of the hand defined in advance, limiting the process of variation of theme during execution. All told there are 18 drawings making up the base for the artist’s experiment in searching for forms that appear on the surface like a halted microscopic view. Forms interfuse in a limited range of colours dominated by black, violet, red and yellow. The absence of clearly defined borders creates an unpredictable world of interweaving of forms, in which there is the circle shape that is presented repetitively in compositional variations on the theme The interlinking of forms suggests the inevitable involvement of human beings in this world of forms where in the microscopic view our specious domination in the world is done away with in the depiction of cellular organisms.

The strength and intelligence of nature is the area examined in the work of Mark Požlep. His cinematic essay called Hogshead 733 follows the story of the voyage the artists Maxime Berthou and Mark Požlep undertook between August 23 and September 21, 2015. From the starting point of Trébeurden in Brittany to the final destination of the Isle of Islay in Scotland, the two artists underwent various experiences that would test out the limits of their endurance and also raise the issue of the very pointfulness of setting out on this journey. The caption that they would find at an exhibition they visited fortuitously on one of the stops during their arduous travels was to dispel certain forebodings and provide them with additional motivation to carry on this dangerous and unpredictable sea trip. 7 All told 20 drawings done in charcoal, crayon

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Mark Požlep Prelazak kanala La Manche / English Channel Crossing / Cruzando el canal de la Mancha

2022.

Exhibition caption: “I like it very much, the idea that it’s a risk, that I don’t know what I’m doing, and the point of doing it is to find out what may occur“.

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25 crteža / drawings / dibujos ugljen, akvarel, uljni pastel / charcoal, water colour, oil pastel / carboncillo, acuarela, pastel al óleo 50 x 65 cm

and watercolours follow the cinematographic essay like a camera that has been found with undeveloped film waiting to come to light. The work, which was created five years after the journey was done, with its expressive strength tells of the still powerful memory of the experience undergone and the traces they left on the artist. The boat Soutien de famille8 made of white oak in 1942 was at once refuge and home to the artists and their greatest nightmare.

The shortcomings of the boat, at first not visible after the slapdash restoration, resulted on many occasions in the near sinking of the vessel while it was crossing the Channel, where by sheer chance they avoided big tankers after their radar and lights had fallen into the deep. Moments in which the ship was buffeted by the waves while the artists in the roles of seaman and captain, soaked to the skin, endeavoured to keep the ship to its course, are the legacy in the memory of the artists to whom flashes of memory in which they see their loved ones are like moments of a close encounter with death. The unbearable cacophony of sounds that they heard during the voyage or that they seemed to hear is translated in the drawings into rapid strokes and agitated compositions with just the occasional flare of choppy red crayon and watercolour. These are sections of memory in which dark reigns, night scenes in which the fear of the inchoately vast stretches of the sea and the power of nature was the most sensitive. Some of the flashes of colour indicate the depiction of flares and torches for rescue during distress at sea which were actually not used by the artists.

We can distinguish three stories worked out in the drawings: the boat theme, the relation of Maxime and Mark and the dialogue with the sea. The composition is choppy and synthesises the omnipresent sense of danger, uncertainty and fear that the author says he still feels, this

powerful feeling not having passed after the elapse of five years. Exhaustion and sea-sickness, the buffeting of the waves, the unceasing rocking and absence of an even surface would contribute to the creation of the agitation of the depictions, produced by alternating close-ups and distant views. It is a story about a journey, an inheritance and friendship, an Odyssean trip in which the separate microcosm of the boat in which the authors live and the outer world with all its natural laws complement each other. The maritime wanderings were to end in the boat being broken up and a barrel of whisky being made of the planks of white oak, the absorbed sea salt in the wood affecting the taste of the liquor. The actual journey is looked upon as a work of art, a separate life. The author says that he already has his own perspective, his own opening into the world, and endeavours in his art work to create situations in which he himself would like to change something. The creation of parallel microcosms that exist concurrently with the outer world is the core of the whole group exhibition in which the authors test out the given circumstances, generating their own perspectives. The breaking up of the boat in Požlep’s work is a figure of speech applicable to all the works in the show, with each of the artists endeavouring to deconstruct their own world, analysing it into basic questions and building a collage of possible answers. From Kent’s posing of the question of the phenomenon of the hyperproduction of images in the world today in which they constantly lose and acquire new meaning, Erlund’s and Maynou’s observation of the world and the fragmentation of the world in Maynou’s chopping boards or in Erlund’s soundpiece in search of new and independent forms, Eškinja’s interrogation of the concept of the building of a new world of illusions for the purpose of sale, Požlep’s creation of situations in

which to question the very self – the artists put before themselves the task of mental journey into the uncertainty of the expanses of possible answers that are not necessarily the final landfall of the artists, but just a starting point for the building of new worlds.

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Breadwinner

The group of artists gathered together were participants in the residency project named “Artist meets Chef” in 2017 and 2019 within the programme of the Maistra company and the Nomad platform, Rovinj, Croatia.

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Postav izložbe / Exhibition view / Diseño de exposición Umjetnička galerija Dubrovnik / Museum of Modern Art Dubrovnik / Museo de Arte Moderno

MUNDOS DENTRO DE OTROS MUNDOS

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“Como veis, el sol está alto y el calor es grande, y nada se oye sino las cigarras arriba en los olivos, por lo que ir ahora a cualquier lugar sería sin duda necedad. Aquí es bueno y fresco estar y hay, como veis, tableros y piezas de ajedrez, y cada uno puede, según lo que a su ánimo le dé más placer, encontrar deleite. Pero si en esto se siguiera mi parecer, no jugando, en lo que el ánimo de una de las partes ha de turbarse sin demasiado placer de la otra o de quien está mirando, sino novelando (con lo que, hablando uno, toda la compañía que le escucha toma deleite) pasaríamos esta caliente parte del día.”1 A pesar de que la salida del grupo de siete mujeres y tres hombres a la finca de Fiesole en el Decamerón de Boccaccio haya sido condicionada por la presencia de la peste en Florencia en el año 1348, la idea del abandono de la realidad cotidiana y de la separación del entorno habitual crea un fundamento fértil para la autorreflexión y para irse a sus propios mundos, que se manifiestan sin las restricciones de las paredes de la vida cotidiana, llena de una serie de acciones automatizadas e inconscientes. El grupo medieval de hombres y mujeres, durante 14 días pasados en una villa idílica deciden contar una historia, que resulta convertirse en un número impresionante de 100 cuentos en los cuales presentan sus visiones de la sociedad de la época, de los estados emocionales de

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los individuos, los sospechos y las dudas de los protagonistas de los nudos y desenlaces contados que influyeron en el desarrollo de sus vidas.

La separación de la realidad cotidiana y la salida a la residencia CCA Andratx, rodeada de un paisaje idílico, durante un programa residencial de un mes, concedió a cinco artistas la creación de un microcosmo que acumuló las experiencias del mundo exterior y las entrelazó en su producción artística. El abandono de la vida cotidiana bien establecida no se refería principalmente al desplazamiento físico de los artistas a los que fueron asignados nuevos estudios, sino también al aspecto de la creación de una nueva forma de convivencia en la que se funden debates, cenas en grupo, el ir de compras, la preparación de la comida, la compra de materiales para el trabajo artístico, la reflexión sobre la propia creación artística, la observación de otras obras y la inmersión en mundos mentales de las obras artísticas de los vecinos de estudio.

Sophie Erlund, Stephen Kent, Igor Eškinja, Mark Požlep y Josep Maynou crean aquí su propia narración decamerónica, inmergéndose cada día más profundamente en el desarrollo de la fábula en varios niveles. La fábula no se desarrolla de manera linear, sino que su narración consiste en fragmentos acumulados durante las largas conversaciones nocturnas, acompañadas por el tintineo de los vasos y de

la cubertería. La artista Sophie Erlund se dedica a tales momentos, uniéndolos en su pieza sonora (soundpiece) denominada „Un mes y dos quemadores” (2023.)“.

En dicha obra podemos oír fragmentos de conversaciones - a veces claramente, otras veces solamente reconocemos voces a lo lejos - la risa de los interlocutores y, al mismo tiempo, frases profundas y citas de filósofos con bromas, murmullos y tarareo, el sonido del procesamiento de materiales en la producción artística: perforación, raspado, aserrado, junto a los sonidos de ambiente. En la cacofonía ensordecedora se entrecruzan momentos de tranquilidad y silencio matutino, acompañados por el canto casual de aves que pasan en su viaje hacia el sur, o el ruido de cabras semisalvajes que dominan el paisaje de la cordillera de Serra de Tramuntana, el susurro nocturno de las hojas y la quietud de las horas de la noche con la larga luz de la luna.

Interpretamos este acúmulo de fragmentos de momentos destacados en la pieza sonora como una canción abstracta, una oda a un período.

A pesar de su posición escultural en el espacio de la muestra conjunta, el fuerte impacto de la pieza sonora se manifiesta en la formación escultural del espacio mental del visitante de la muestra. La pieza sonora se extiende a lo largo de toda la exposición, sugiriendo de manera sutil el contexto de la creación de las obras y capturando su punto de partida. Como 47

Giovanni Bocaccio: Decamerón (LibrosEnRed, editorial digital, descargado en fecha 9 de agosto 2023); versión croata – Giovanni Boccaccio: Dekameron (Zagreb: Globus media, 2004.)

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los tragos tomados durante la creación de las obras asumen la función de red, como una traducción de varios sonidos procedentes de la pieza sonora en vez de su sustitución visual.

Si bien la pieza sonora de Erlund no consiste concretamente en elementos físicos que pertenecen a la esfera de lo “visual”, su intensa energía conduce al observador a las zonas de lo visual, buscando visiones de aves en vuelo o de la risa transmitida de una persona en nuestro musée imaginaire personal, un término del filósofo francés André Malraux, que se refiere a las experiencias visuales registradas en el cerebro humano.

En la mesa y en las raquetas para pingpong, ambas de madera, están grabadas con la técnica de quema con encendedor los pensamientos, las frases casuales, las muletillas, las palabras mal pronunciadas, los números telefónicos, los nombres reales e inmaginarios. Hay dibujos de botellas, palmas, pescado y hamburguesas preparadas en una de las muchas cenas en grupo, de instrumentos musicales, hay retratos de los presentes durante el programa, de la grúa situada en frente del estudio que servía como escenografía para hacer el retrato de grupo de los artistas, así como de la tabla de cortar que aparece como motivo en la obra del artista Josep Maynou, que trató la superficie de la tabla con la misma técnica - la que utiliza el

Postav izložbe / Exhibition view / Diseño de exposición Dom Hrvatskih likovnih umjetnika - Meštrovićev paviljon / Home of the Croatian Association of Fine Artists Zagreb, Meštrović Pavilion / Asociación Croata de Artistas Plásticos - Pabellón de Meštrović

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el ruido de una fuente que genera la flora y la fauna circundante, la pieza sonora de Sophie Erlund es una fuente espiritual para la creación de las demás obras que, al mismo tiempo, encarna tanto la propensión hacia un trabajo común de los artistas como su dedicación individual en la producción artística. A la pieza sonora de Erlund se enlaza otra obra, que en este caso representa una obra resultante de la dedicación conjunta de los de artistas y de los visitantes al estudio durante el programa residencial. Consideramos la mesa de ping-pong, donde las botellas vacías de

encendedor. La instalación de la mesa que invita al visitante a participar, difuminando los confines entre la pieza expuesta y la distancia permitida señalada, conduce e invita directamente al visitante a continuar a jugar y dialogar en una conversación en la que las frases se entrelazan con el sonido de la pelota de ping-pong que toca la red de las botellas vacías después de una devolución perdida.

La instalación de la mesa encarna el spiritus movens de los miembros de la muestra, testificando sobre la concepción de la muestra conjunta, condensando el tiempo pasado utilizando la mesa; el visitante reconoce, así, los restos de la comida en la mesa, de la grasa de la barbacoa, del aceite de oliva, de las especias, los rastros de la interacción entre los participantes de la relación social que han sido directamente registrados en la obra conjunta.

Es una especie de espejo de Lacan en el que los autores se identifican con su identidad conjunta recién creada, que se desarrolló durante el programa residencial. En este microcosmo de nueva creación los autores crean varios niveles de mundos separados que existen por ellos mismos, pero al mismo tiempo se impregnan mutuamente. El filósofo e histórico de las ideas francés, Michel Foucault, utiliza el término heterotopia, con el cual indica el concepto de la creación de mundos dentro de otros mundos. En la historia de la sociedad occidental, el sistema jerárquico medieval, construido basándose

en las oposiciones lugares santos / lugares profanos, lugares protegidos / lugares abiertos y expuestos, urbanos / rurales, extraterrestres, celestiales / terrestres, ha sido abolido por la revolución de Galileo que, según Foucault, no solo demostró que la Tierra gira alrededor del Sol, sino que ofreció la instauración de un espacio inmenso e infinitamente abierto.

Precisamente esta nueva idea revolucionó la nueva época posicionando un cualquiera objeto físico, un fenómeno o una idea como un punto en movimiento, en un espacio que no es homogéneo y vaciado, sino que es un espacio saturado en el que se encuentran individuos y objetos, un espacio que nos atrae hacia fuera de nosotros mismos2. En dicho espacio, las heterotopias con la heterocronía, que interrumpe la relación con el tiempo tradicional, se definen como una especie de desplazamientos adentro de una cultura disputada e invertida. Su función está definida como la creación de un espacio de ilusión, descubriendo mecanismos y lo ilusorio del mundo real. Foucault define a nuestra época como la época del espacio, “la época de lo simultáneo, estamos en la época de la yuxtaposición, en la época de lo próximo y lo lejano, de lo uno al lado de lo otro, de lo disperso. Estamos en un momento en que el mundo se experimenta, creo, menos como una gran vida que se desarrolla a través del tiempo que como una red que une puntos y se entreteje”3.

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El grupo de artistas, distanciados de la realidad cotidiana, cuestiona su práctica artística durante el programa residencial, donde se inmergen más profundamente en preguntas nuevas y ya hechas sobre su obra.

El objetivo de la discusión en este grupo no es buscar y presentar las respuestas, sino encontrar, en esta heterotopia distanciada de socialización artística, nuevos caminos de reflexión sobre la obra artística y las preguntas que ésta pone: sobre la creación de la imágen y la hiperproducción de lo visual en la época actual en pinturas en varias técnicas del autor Stephen Kent; la registración de los momentos en el procedimiento de la creación de los diarios visuales de Josep Maynou, en los que el artista utiliza objetos cotidianos; la reflexión sobre nuestra propia percepción del espacio que nos rodea y en el que vivimos en la obra de Igor Eškinja; la relación entre el objeto y el ser humano y la reflexión sobre su visión antropocéntrica en la escultura, en las pinturas y en la pieza sonora de Sophie Erlund, junto a las preguntas sobre la creación de situaciones de vida en las que llevaremos a nosotros mismos en una nueva dimensión de percepción de la realidad en la pieza en vídeo y en las pinturas de Mark Požlep.

En la ocasión de la creación de los mundos dentro de otros mundos en la época actual de saturación visual ocurre la simulación de los mundos creados, en la que se pone la pregunta sobre los confines posibles y el problema de establecer los límites de lo ilusorio y de lo real.

La obra de Stephen Kent revisa el concepto de la imagen y de su significado en el mundo de hoy. En su famoso Tractatus logico-philosophicus, el filósofo austriaco Wittgenstein afirma que “Los límites del lenguaje indican los límites de mi mundo”4 que nos lleva a recurrir al inventario visual para buscar respuestas adicionales. Kent, por lo tanto, considera que la pintura nace cuando el lenguaje nos traiciona, cuando no sabemos como explicar algo (…) y entonces empezamos a comprender, a conseguir una perspectiva más amplia. Las obras de Kent expuestas en la muestra conjunta pueden dividirse en dos grupos según la técnica utilizada en la creación, es decir, en la construcción de la pintura. En las pinturas-mosaicos Kent utiliza la técnica del mosaico que aplica a una base ya saturada visualmente de aluminio dibond. El artista explora la esfera de la íperproducción de pinturas en la cual éstas se crean constantemente con una velocidad impresionante y gracias a la disponibilidad de la tecnología actual de videocámaras y cámaras fotográficas integradas en todos los dispositivos de la tecnología que utilizamos.

Kent se lanza al estudio, encontrando distintos planos de las fotografías de álbumes personales, de fotografías de Internet, fotografías de tejidos de las que saca los planos más interesantes. El autor busca, con determinación, las “imágenes intencionales”, examinando en general la necesidad humana 51

Michel Foucault: Of Other Spaces, Architecture, Mouvement, Continuité, 1967; versión española consultada en fecha 10 de agosto en el enlace: http://www.fadu.edu.uy/estetica-diseno-i/ files/2017/07/foucalt_de-los-espacios-otros.pdf Ludwig Wittgenstein: Tractatus logico-philosophicus, 1922.

4 3

Idem.

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2

detalj rada / work detail / detalle de la obra de arte

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artista precisamente entrar a la esfera de lo arcaico y examinar nuestros motivos como la necesidad humana de generar y consumar constantemente las imágenes. Kent instala los fragmentos seleccionados de las imágenes imprimidos en papel UV sobre dibond, donde ocurre la deconstrucción de una parte de la fotografía seleccionada que se prepara para aceptar una nueva identidad. Kent manipula con el material visual determinando independientemente la relación entre los límites estrictos y difuminados en la imagen.

Es importante dar énfasis a la relación entre el autor y las fotografías de los demás que él, en el ámbito de este proceso, apropia.

Añadiendo más estratos de óleo, acrílico y yeso en la tela, Kent sigue construyendo la pintura de fragmentos en que domina un impulso de colores. El principio de la construcción de la pintura es más visible en las pinturasmosaicos en que el artista, en vez de las teselas cerámicas de una forma claramente marcada, usa el así llamado trencadís, fragmentos irregulares de azulejos y piedras que implementa en su trabajo. Aplicando el mosaico en la fotografía apropiada, Kent crea una narración nueva propia en la que se enfrentan los mundos visuales de la fotografía y de la pintura, del consumismo de la producción de masa y del trabajo manual tendencioso, de la multiplicación y de la simplificación, el brillo de la fotografía y el polvo del cemento como ligante del mosaico, la demasiada ornamentalización del mundo

Igor Zidić: Rukopis oka: Likovne teme i ogledi

1967 – 2013 / La escritura del ojo: temas de arte y ejemplos 1967-2013 (Zagreb: Matica hrvatska, 2014.)

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Stephen Kent

de crear imágenes, es decir, el estímulo para establecer un reflejo artístico de lo visto, ya desde las primeras inscripciones visuales: las huellas de manos en la cueva de Maltravieso en España o los dibujos de animales, figuras humanas y símbolos abstractos en la cueva de Lascaux en Francia. Registrando nuestra existencia conocemos a nuestra identidad, nuestra conciencia, pero incluso nuestro inconsciente que entra en la expresión arcaica.

A lo que Terence McCann se refiere citando el output creativo en la danza, en el canto, en la creación visual de las costumbres chamán de las tribus y con el consumo de opioides en su “Reanimación arcaica”, Freud marca como una expresión arcaica o regresiva que antecede el discurso mental y se considera parte del patrimonio filogenético o biológico, es decir del conocimiento heredado sin aprendizaje que forma parte del inconsciente colectivo.5 El histórico de arte, Zidić, concluye que “el patrimonio filogenético queda bajo al nivel de conciencia individual, en el estrato del inconsciente colectivo: entonces es congelado e indemne y forma parte de nuestra historia que, obviamente, no ha sido siempre historia; que es el presente de entonces.” Freud reconoce la represión de lo arcaico, de los deseos y las necesidades primitivas, ya al entrar a la comunidad social, donde lo arcaico suele manifestarse en la zona de los sueños.

En consecuencia, recurrir al repertorio visual representa una plataforma que permite al

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El sociólogo francés Baudrillard en la época de hiperproducción de imágenes en la sociedad postmoderna actual, reconocerá el síndrome de la simulación, en el que la realidad está substituida por su representación a través del medio de la televisión, del espacio cibernético del computador (cyberspace) y de la realidad virtual. Las personas empiezan a vivir en una “hiperrealidad” de simulaciones en la cual predominan las imágenes, los espectáculos, los juegos, los signos que substituyen los conceptos de creación y conflicto de clases. Estamos rodeados por eslóganes que perdieron su significado y asumieron connotaciones de marketing, como una interpretación errónea de la escuela de Bauhaus. Tratando de poner en el centro de la atención el concepto en vez del producto, el Bauhaus sentó las bases al gigante del marketing, substituyendo el objetivo inicial de la profundización de la discusión sobre las ideas de la creación.

En su obra, en la que usa los objetos cotidianos, incluso el artista Josep Maynou toca el tema de la simulación, reinterpretando los motivos del mundo consumista y utilizándolos como plataforma para enviar su mensaje. Con su posicionamiento en el espacio de exposición, los objetos pierden su función original y asumen una nueva identidad. Están representadas, en total 34 tablas de cortar, en las que varios mensajes, frases casuales y dibujos están grabados con la técnica del encendedor. Las tablas de cortar de Maynou encarnan el deseo mediterráneo de estar en compañía y preparar la comida juntos como un aspecto muy importante en este proceso. El espíritu de esta unión está grabado en cada tabla de cortar que el artista

usa como páginas de su diario personal visual durante el viaje. Las grabaciones textuales o visuales son nuevamente fragmentos de discusiones o conversaciones informales entre los artistas y los visitantes al estudio y con eso dicha obra se relaciona con la obra conjunta de la mesa de ping-pong y con la pieza sonora de la artista Sophie Erlund. Los dibujos y las palabras grabadas en las tablas representan el área no filtrada de emociones y pensamientos, los pasos iniciales en una tabla vacía que se paran aquí. En las tablas de cortar encontramos un acúmulo de pensamientos y bocetos controlados, a nivel de antecámara. La inmediatez y crudeza de los pensamientos inscribe en la obra una narración sincera, registrando el diario visual en el mismo momento de euforia por la idea generada gracias a un pensamiento que se imprime luego en las páginas del diario de madera. De esta manera, azul representará el estudio en que residía el artista durante el programa residencial, DolceVita es el modelo del auto icónica italiana Fiat 500 que conducía en la isla, Walter Burger recuerda el técnico, Ron Amazona es la famosa bebida que los artistas conocieron en Mallorca tomando café, las ideas de las esculturas en la rotonda – las rotondas son muy presentes en Mallorca – son ejemplos de esculturas de vasos de cerveza o de tenis de mesa. Sin embargo, en las tablas quedan inscritos y dibujados pensamientos casuales o bromas de otros artistas, de conservadores y de visitantes, a menudo pronunciadas durante el programa residencial, como Gluten intolerant Zombie, Just in Case, Free Wood, representaciones de vasos distintos para bebidas alcohólicas, Parking recordings, Not bad guys, el dibujo de la olla para cocinar, Mañana mañana. Seguimos observando este diario visual también en los Diarios de chocolate, en los que Maynou utiliza las envolturas de chocolate como tela, repitiendo el patrón parecido de registrar

Josep Maynou Parei ciklus / Pareos series / serie Pareos 2022.

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exterior que obstruye constantemente nuestro campo visivo produciendo nuevas necesidades y del mosaico como encarnación de los espacios cerrados que invitan a la contemplación sobre la vida humana.

Postav izložbe / Exhibition view / Diseño de exposición

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Dom Hrvatskih likovnih umjetnika - Meštrovićev paviljon / Home of the Croatian Association of Fine Artists Zagreb, Meštrović Pavilion / Asociación Croata de Artistas

los países mediterráneos en sitios enormes de construcción de villas de lujo y edificios que tratan de vender la idea del espíritu mediterráneo de la vida. Dicho espíritu potenciado del vivir trata de ser maximizado en los meses de verano, polarizando así dos períodos del ritmo de los habitantes locales: el del máximo desgaste del espacio y de las capacidades a la completa desolación y el de la falta de gente en los meses invernales. La simulación de la vida, que explica Baudrillard en la sociedad postmoderna, aquí vuelve a ser visible. Villas con vista hacia el mar, los apartamentos Airbnb simplificados con elegancia y conceptualmente completados que tratan de traer el encanto mediterráneo en su estética, simulan la vida del hombre mediterráneo creando un estereotipo parecido a la idea del orientalismo de Edward Said. Sin embargo, en esta exotización de la realidad se esconde un cuento invisible, como paredes cuyos ligantes y materiales isolantes no podemos ver una vez que estén cubiertos por la fachada exterior. La fachada es en función de la representación de Baudrillard que substituye la realidad simulando una distinta, más preferible – con el concepto de una historia de una estética y contenidos idílicos.

Aquí encontramos otra vez un escenario parecido que reconocemos en el significado del pareo de Josep Maynou, donde los obreros de la construcción son principalmente originarios de países terceros con residencia temporal, que trabajan para inversores locales o turistas de países más desarrollados.

Eškinja estudia el fenómeno de la construcción de casas no solo desde el punto de vista de la situación económica actual, sino también de una perspectiva histórica. El tipo tradicional de la casa mediterránea de una familia de trabajadores con 4 paredes, una pequeña puerta de entrada, un jardín para la cultivación y un corral para animales ahora creció hasta alcanzar dimensiones megalómanas,

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las experiencias inmediatas. En sus obras leemos una determinada languidez, alegría, discreción y falta de pretensiones, pero en el mismo tiempo el autor no es superficial.

De hecho, su brevedad y nitidez expresiva en esta forma de discurso fragmentado invita al visitante a participar y a complementar la obra con sus propias asociaciones a los términos ofrecidos. En los Diarios de chocolate escribe páginas incluso en la portada de la envoltura del chocolate y en su reverso blanco, en lo que está presente una interacción entre el dibujo hecho a mano y la portada de la envoltura impresa y reproducida por máquina. La impresión en objetos cotidianos continúa incluso en la obra “Pareo” en la que el artista imprime las palabras Get pissed to get unpissed en el accesorio de playa. De un accesorio habitual de moda, que servía originariamente para cubrir el cuerpo, principalmente de la mujer, el pareo con el tiempo asumió connotaciones de una problemática más profunda de la sociedad actual. Relacionamos este accesorio de moda a menudo con las representaciones de personas de países terceros que, caminando por la playa, tratan de venderlo a los turistas originarios, principalmente, de países desarrollados. De esta manera se hizo cargado de significado adicional. Precisamente por eso el autor escribe palabras que tendrían que encarnar este sentimiento y transmitir un determinado mensaje al observador de la obra.

La problemática de esta división dentro del aspecto turístico de la vida aparece de manera sutil también en las obras del artista Igor Eškinja. El artista, que en el ámbito del programa residencial durado un mes pasa el tiempo en España, reconoce una problemática infraestructural parecida de los países mediterráneos, dado que es originario de un ambiente parecido en Croacia, su estado de proveniencia. El impulso de la inversión convirtió las costas salvajes de

de las mismas relaciones entre nosotros y el espacio que nos rodea. En las instalaciones “Perspectivas accidentales” (2022.)” pone en el centro de interés los momentos de construcción, donde es más evidente la crudeza de los materiales. Eškinja construye la pintura a partir de una tabla de yeso o knauf, que presenta como un fragmento de pared sobre la cual aplica la masilla. Como un contraste total a la masilla indefinida y cruda, resulta una red de líneas escrita con alta precisión, mátematicamente exacta y minuciosamente hecha. Creando la forma con el uso incluso de ilusiones ópticas, las líneas se encuentran en el límite entre el interior y el exterior, permitiendo al observador de interpretar la obra en varios niveles. Los colores neutrales oscuros del fondo, es decir, de la tabla de yeso de color ocre parduzco y verde oliva, contribuyen a la impresión de lo incompleto del entorno en el cual se introduce un dibujo sistemático de líneas tejidas por la cinta autoadhesiva brillante. Reconocemos en el dibujo el motivo de la cortina como motivo transcendental que encarna el simbolismo de la casa habitada, “un cuadrado orientado hacia los puntos cardinales que implica la fijación espacial”6.

La cortina representa el confín, pero nuevamente el confín controlado entre el mundo exterior e interior porque se manifiesta nuevamente el control humano del espacio y de la intimidad, en la que, con un sólo gesto,

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puede descubrir u ocultar su espacio creando nuevas relaciones entre los mundos.

Dicha interacción entre ocultar y revelar está presente incluso en las obras de la artista Sophie Erlund, en las esculturas y en las pinturas, relacionadas con la pieza sonora mencionada anteriormente. Los relieves de la artista reflejan el proceso del largo procesamiento de la madera y el diseño minucioso. Como en la formación de tótems, Erlund introduce a la escultura una completa dedicación al objeto que asume la espiritualidad, encarnando el espíritu animista y el carácter de culto. La superficie lisa, rebarnizada con tonalidades oscuras continúa su fluidez en los objetos fragmentados imprimidos. Erlund moldea la resina en forma de semiesfera, en la que imprime objetos del ambiente, creando una forma abstracta. La abstracción del colorido intenso continúa en las partes impresas de vidrio, pintadas por la artista. La madera, con su plenitud y vitalidad, está puesta en contraste con la transparencia de las partes imprimidas que libran la escultura de madera de su peso.

Exactamente como la resina que se excreta en el tallo o en la corteza del árbol en los casos de herida de la planta, el árbol de esta manera libra su peso y rigidez, mostrando la resina, la manifestación de su vulnerabilidad como parte integrante de la escultura. En las semiesferas imprimidas presenciamos a la creación de

una nueva narración, de una masa amorfa en proceso de formación cuyo desarrollo ha sido bruscamente interrumpido. Como los fósiles que testifican sobre épocas pasadas, en la resina de moldeo está inscrita la temporalidad de un mundo cuya forma está seleccionada con cuidado por la artista.

Un otro mundo se crea en el fundo aparente de la escultura, donde las pinceladas fluidas son incentivadas por la fuerza gravitacional que moldea la caída del color fluido. Como en el estilo de pintura tradicional china shanshui (montaña-agua), donde se representa el paisaje natural con la técnica de pincel y tinta, Erlund se dedica a la examinación de aparición general de formas, de distintas formas que nacen en la naturaleza, evitando la visión antropocéntrica a éstas. Este tipo de pinturas chinas tiene incluso un significado simbólico taoísta, poniendo énfasis sobre el poder y la grandeza de las montañas y del agua, es decir, de fenómenos naturales, y acentuando la subordinación de los seres humanos a la inmensidad del universo. Los vidrios pintados de Erlund introducen esta fuerza de formas fluidas del paisaje que ponen al hombre preguntas más amplias sobre nuestra existencia. Podemos traducir el término griego hylé tanto con madera, como con materia prima; por lo tanto, en la palabra madera se realizan nuevamente las preguntas sobre la concepción de nuestro mundo y de los materiales con el cual está construido 59

J. Chevalier, A. Gheerbrant: Diccionario de los símbolos (Barcelona: Editorial Herder, 1986) 6

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perdiendo su identidad y convirtiéndose en algo distinto. El contenido original desaparece y el nuevo simula aquello original como los animales que ahora tienen una función exclusivamente decorativa para simular la vida mediterránea, el jardín que no sirve para la cultivación de varias plantas y la alimentación de la familia, sino que se presenta como una extensión decorativa de la casa junto con la piscina y una comunidad hortícola de plantas cuidadosamente seleccionadas.

En la “organización” del espacio de la realidad es fácil notar la tendencia del hombre de controlar lo exterior, que refleja nuestros anhelos internos. Los interiores y los exteriores de las casas dominan las manifestaciones de la dominación humana del diseño de los espacios interiores, añadiendo plantas de interior a la domesticación de la naturaleza, del mundo exterior de las plantas, cuyo crecimiento y difusión en el espacio está controlado de manera muy estricta. Sin embargo, apenas este control se detiene, la potente vegetación empieza a crear su propia heterotopia, dominando las personas y el espacio, creciendo sin pararse como los monumentos clásicos del Impero Romano, que en las películas de De Sica a menudo están completamente cubiertos en la época de la pobreza general durante las guerras mundiales del siglo XX. En su actividad artística, Eškinja estudia las relaciones entre el espacio y la percepción

nuestro mundo actual. Como oposición a los materiales naturales con los cuales está hecha la escultura, aparecen las asociaciones del mundo postmoderno actual que, como las lecturas falsas de códigos en las pantallas, distorsiona la visibilidad. Los cables y los chips llevan al observador nuevamente en el contexto actual en que la tecnología como un parásito de la madera se imprime en todos sus poros, encontrando huecos en los cuales puede vivir por un período largo. La plasticidad de los materiales moldeados técnicamente introduce inquietud y desarmonía en la obra, interrumpiendo el hilo contemplativo de las otras presentaciones. La expresividad y la vivacidad de las pinceladas no lineares sobre el vidrio pintado están puestas en contraste con el producto industrial; la búsqueda de formas contradice al objeto claramente definido e importado de carácter parasitario.

Esta búsqueda de formas continúa en los dibujos puestos al lado de la escultura que, según la artista, representan su libertad más amplia. A diferencia de la escultura, que requiere un trabajo duro y un período de tiempo más largo para que la idea inicial empiece a obtener su forma material, el dibujo es una plataforma en que la idea encuentra rápidamente sus contornos. En la forma de dibujo, el proceso es más corto y permite a la autora estudiar la idea que está naciendo, su desarrollo y la dirección hacia la cual la puede llevar. La escultura exige precisión,

austeridad, determinación y movimientos de la mano anteriormente definidos, limitando el procedimiento de variación del tema durante la ejecución. Los dibujos, en total 18, representan la base para el experimento de la artista de la búsqueda de formas que aparecen en la superficie como una visión microscópica detenida. Las formas se entretejen entre sí en un espectro de colores en el que dominan los colores negro, violeta, rojo y amarillo. La falta de límites claramente definidos forma un mundo impredecible del entrelazamiento de formas, en el que es presente la forma circular que se presenta de manera repetitiva en las variaciones en el tema de la composición. El entrelazamiento de las formas indica también la inevitable integración del hombre en este mundo de formas, donde bajo una vista microscópica nuestra aparente dominación en el mundo se anula con la visualización de los organismos celulares.

La fuerza y la inteligencia de la naturaleza hacen parte del ámbito de estudio del artista Mark Požlep. El ensayo cinematográfico denominado “Hogshead 733” sigue la historia de un viaje en que se embarcaron los artistas Maxime Berthou y Mark Požlep en el período del 23 de agosto al 21 de septiembre de 2015.

Desde el punto inicial Trébeurden en Bretaña hasta el destino final, la isla Islay en Escocia, los dos artistas vivieron distintas experiencias que pondrán a la prueba sus límites de resistencia y les harán preguntarse sobre la

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Sophie Erlund

Drvo, staklo, oslikano staklo, lazura za drvo, vosak, prirodni pronađeni predmeti, električni dijelovi, boja, epoksi smola / wood, glass paint, wood stain, wax, natural found objects, electrical components, pigment, epoxy / madera, pintura para vidrio, tinte para madera, cera, objetos encontrados de forma natural, componentes eléctricos, pigmentos, epoxi 80 x 70 x 15 cm

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Društvena veza / The Social Bond / De bonos sociales

razón del viaje. El texto que encuentran en una muestra que visitaron casualmente en un punto de descanso del viaje tan extenuante disipará los presentimientos y les dará una nueva motivación para continuar el viaje por mar, peligroso e impredecible 7.

Un total de 20 dibujos hechos con la técnica del carbón, pastel al óleo y acuarela siguen el ensaye cinematográfico como una cámara fotográfica recuperada con película no revelada que esperaba que alguien la encontrara. La obra que nació 5 años después del viaje, testifica con su fuerza y expresividad sobre un recuerdo aún fuerte de la experiencia vivida y de las marcas que dejó en el artista. La nave denominada “Soutien de famille”8, hecha de roble blanco en el año 1942, era para los artistas un refugio y hogar, pero representaba, al mismo tiempo, también su peor pesadilla.

Los defectos de la nave que inicialmente no eran visibles, debidos a una restauración imprecisa, en muchas ocasiones hicieron casi hundir a la nave durante la travesía de La Mancha, donde los artistas solamente por casualidad esquivaron los grandes petroleros después de la caída del radar y de las luces en el mar profundo. Los momentos en los cuales las olas golpean la nave, mientras que los artistas - en los papeles de marinero y capitán - completamente mojados, tratan de orientar la nave a la dirección deseada, es el patrimonio de memoria de los artistas, cuyos recuerdos de destello en las cuales ven a sus queridos 62

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Mark Požlep / Maxime Berthou

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Traducción: sostén de la familia (breadwinner)

Hogshead 733 2015-2020 Kinematograski esej / Cinematographic essay / Ensayo cinematográfico - Soutien de Famille, 75’15”, 2020

(ESP)

Texto en la muestra: „I like it very much the idea that it’s a risk, that I don’t know what I’m doing, and the point of doing it is to find out what may occur.“ 7

se parecen a experiencias cercanas a la muerte. La insoportable cacofonía de sonidos que los artistas escucharon durante el viaje o que les pareció oir, en el dibujo se traduce en movimientos rápidos y en la composición inquieta con algunos “incendios” de color rojo agitado de pastel al óleo y de acuarela. Se trata de recortes de la memoria en los que prevalece la obscuridad, las escenas nocturnas en la que el miedo ante la invisibilidad de la enorme inmensidad del mar y de la fuerza de la naturaleza es más perceptible. Los destellos de color se refieren a la representación de bengalas y fuegos de artificio para el rescate durante el viaje por mar que, sin embargo, no fueron usados por los artistas.

Tres son las historias elaboradas que se pueden individuar en los dibujos: el tema de la nave, la relación entre los artistas Maxime y Mark, y el diálogo con el mar. La composición es agitada y sintetiza la sensación omnipresente de inseguridad, incertidumbre y miedo, que el autor afirma sentir todavía y que, según el autor, es tan fuerte que ni a distancia de cinco años no pasó. El agotamiento y el mareo, las olas que golpean contra la nave, el constante balancearse de la nave y la falta de una superficie plana influirá sobre la creación de la agitación de la representación en que se intercambian el primer plano y la vista de lo lejos. Es la historia de un viaje, una herencia y una amistad, de una odisea en que se completan el microcosmo de la nave en

la cual viven los autores y el mundo exterior con sus leyes naturales. El vagar por el mar se terminará con el desmontaje de la nave y la fabricación de barricas de whisky a partir de las componentes de la nave de roble blanco.

De esta manera, la sal absorbida influirá en el sabor del whisky. El viaje en sí se considera una obra artística, una vida separada. El autor afirma que tiene una propia perspectiva, una así dicha abertura hacia el mundo y que trata de crear en su obra artística las situaciones en las cuales quería cambiar algo.

La creación de microcosmos paralelos que coexisten con el mundo exterior es la esencia de la muestra conjunta del grupo de artistas, en la cual los autores examinan las circunstancias dadas en que generan sus propias perspectivas. El desmontaje de la nave en la obra de Požlep es una metáfora que se puede aplicar a todas las piezas expuestas.

En éstas, cada artista trata de deconstruir su mundo, desglosándolo en las preguntas fundamentales y construyendo un collage de las posibles respuestas. A partir de las preguntas de Kent sobre el fenómeno de hiperproducción de imágenes en la época actual, en la que éstas durante este proceso pierden su significado y obtienen uno nuevo, hasta llegar a las visiones del mundo de Erlund y Maynou con la fragmentación del mundo en las tablas de cortar de Maynou o con la pieza sonora de Erlund y su búsqueda de nuevas formas independientes, al análisis de Eškinja

sobre la construcción de este mundo de ilusiones que tratamos de vender, a la creación de situaciones de Požlep en que se cuestiona él mismo – los artistas se imponen la tarea del viaje mental hacia la incertidumbre de la inmensidad de las posibles respuestas que no necesariamente son el destino final del artista, sino solamente el punto inicial para construir nuevos mundos.

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* Los artistas reunidos participaron al proyecto residencial denominado “Artist meet Chef” en 2017 y 2019 como parte del programa de la compañia Maistra y la plataforma Nomad, en Rovinj, Croacia.

BIOGRAFIJE

Erlund danska je umjetnica koja živi i radi SOPHIE Sophie u Berlinu. U svojem radu istražuje razne i propituje ono što je nadčovječno, i to ERLUND teme kreiranjem skulptura, instalacija i složenih kojima je središnja tema tranzicija i (1978.) zvukova razumijevanje svijeta putem iracionalnog uma

(HR)

te, posebice, naše aktualne povezanosti s umjetnom inteligencijom i njezinim utjecajem na našu psihologiju.

Radovi Sophie Erlund izlagani su u galerijama i institucijama diljem Europe i SAD-a poput PSM u Berlinu, Kunsthalle Trier, Elephant Kunsthall, TIER - Institut za endotska istraživanja (Berlin), F.D.13, St. Paul (SAD), David B. Smith Gallery, Denver (SAD), Pet Art - Centre d’art de Fribourg / Kunsthalle Freiburg, Kinderhook & Caracas, Berlin i Muzej moderne umjetnosti ARKEN, Ishøj od stjecanja svoje diplome s pohvalom likovne umjetnosti na Central St. Martins College of Art and Design (London) 2003. godine.

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Eškinja živi i radi u Rijeci. Eškinja konstruira IGOR Igor svoje arhitekture percepcije kao ansamble i elegancije. Umjetnik “izvodi” EŠKINJA skromnosti objekte i situacije, obuhvaćajući ih u njihovoj i tihoj tranziciji iz dvodimenzionalne u (1975.) intimnoj trodimenzionalnu formalnu pojavu. Koristeći

(HR)

jednostavne, jeftine materijale, poput samoljepljive trake ili električnih kabela te ih razlažući s ekstremnom preciznošću i matematičkom točnošću unutar striktnih prostornih parametara, Eškinja definira drugu kvalitetu koja seže dalje od fizičkih aspekata i

(HR)

svojim slikama, keramici i mozaicima STEPHEN UStephen Kent demonstrira svoju angažiranost psihodeličnoj kulturi i komparativnoj KENT umitologiji.

Njegovi radovi s prizorima i dizajnom svakodnevice izvorno su bili namijenjeni (1985.) izkonzumaciji u kućanstvima i naglašavaju njegove neobične i dezorijentirajuće sposobnosti s preciznim i predanim procesima izrade. Kent istražuje kulturne kodove koje je moguće pronaći u svakodnevnim objektima i scenarijima. Uz srednje refleksivni pristup, koristi procesno orijentirani jezik za humoristično istraživanje

ulazi u registre imaginarnog i van-perceptivnog.

stvari koje sačinjavaju naš svijet.

Eškinjini radovi uključeni su u međunarodne

Stephen Kent (1985., SAD) živi i radi u Berlinu.

izložbe: Manifesta 7, Rovereto, (2008.); Complicity, Rena Bransten galerija, San Francisco (2009.); 28. Grafični Biennale, Ljubljana, (2009); Dirt, Wellcome foundation, London, (2011.), Rearview Mirror, Power plant, Toronto, (2011.); Ash and Gold – a world tour, Marta Herford, (2012.); 2nd Ural Industrial Biennale, Ekaterinburg, (2012.); 8 ways to overcome space and time, Muzej savremene umetnosti, Beograd, (2013.), T-HT nagrada, MSU, Zagreb (2016.), Every Time A

Kent je diplomirao na fakultetu Cranbrook Academy of Art u Detroitu, a raniju je diplomu stekao na državnom fakultetu u Pennsylvaniji.

Nedavno je izlagao u Elephant Kunshalleu u Norveškoj, u galerijama Good Weather galeriji u Chicagu u SAD-u, Haverkampf Leistenschneider galeriji u Berlinu, Szydlowski galeriji u Varšavi, Renata Fabbri galeriji u Milanu te u muzeju Die Brücke Museum u Berlinu. O njegovim su mozaicima pisali listovi kao što su Der Tagespiegel i Chicago Tribune.

Ear di Soun – Dokumenta 14 program, Savvy contemporary, Berlin (2017.), kao i samostalne izložbe: Project for unsuccessful gathering, Casino Luxembourg-Forum d’art contemporain, Luxembourg (2009.), The Day After, Federico 68

Luger gallery, Milano, (2011.) Inhabitants of Generic Places, Kunstforum, Beč, Muzej suvremene umjetnosti, Zagreb (2011.); Interieur Captivant, MAC/VAL muzej, Vitry, (2012.); Quixote, MUWA, Graz, (2014.), PRODUCTIVE WORK_what is it supposed to be?, Q21, Museums quartier, Beč, (2018.), EXPOSURES, Kunsthalle Bratislava (2021.).

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pristup Josepa Maynoua JOSEP Multidisciplinarni performativan je i temelji se na objektima. Javlja u obliku suvremenog pričanja priča, odnosno MAYNOU sefikcijskog pogleda na svakodnevicu u obliku ideja koje se proširuju na njegove (1980.) humorističnih objekte. Skulpture koje izrađuje istodobno su

(HR)

ilustracije tih ideja, kao i rekviziti i pozornice

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MARK umjetnosti i dizajna te stekao i diplomu specijalističkog studija transmedija na fakultetu POŽLEP Lukas Campus u Bruxellesu te HISK-u u Gentu. Njegov rad počiva u polju vizualnih i (1981.) performativnih umjetnosti, prostornih instalacija

(HR)

Diplomirao je na ljubljanskoj Akademiji

i videoumjetnosti. Njegova umjetnička praksa

na kojima se narativi odvijaju. Maynou koristi

uključuje putovanja koja funkcioniraju i kao

uobičajene materijale iz domaćinstva i praktične

dugotrajna umjetnost performansi/izdržljivosti

alate koji se često bacaju ili skrivaju za kreiranje

i kao umjetnost sama po sebi. To je intenzivno

antropomorfnog pribora. Njegovi su projekti

proceduralno istraživanje s ciljem otkrivanja

akcijski scenariji koji istovremeno dopuštaju i

napetosti između politike, poetike i individualne

funkcionalnost i apsurd.

akcije.

Maynou živi i radi između Pariza i Berlina.

Izlagao je na brojnim grupnim i samostalnim

Studirao je likovnu umjetnost na Sveučilištu u

izložbama, uključujući EKO 8,

Barceloni, na Faculta de Belas Artes Porto u

Međunarodno Trijenale umjetnosti i okoliša /

Portu te na Sveučilištu Middlesex u Londonu.

A Letter to the Future, UGM, Maribor,

Njegove samostalne izložbe uključuju: Return of

L’Effet Domino, Manifesta 13 - Les Parallèles du

the Junker. JM2000 (s Jordijem Mitjom, kustos

Sud, Nice; Contour Biennial 9 - Colton as

Sira Pizà, Bombon Projects, Barcelona), To bow

Cotton, Mechelen; Southwind, Centre Pompidou,

at the beginning not at the end (Collection Born,

Pariz; Cold Wind From The Balkans, Pera

Munchen), Leisure (Bombon Projects, Barcelona

Muzej Istanbul; Resilience, Sedmo trijenale

2017.), Thing1, Thing2 (Broken Dimanche,

slovenske suvremene umjetnosti, MSUM

Berlin 2017.), Things: To do (Beverly’s, NYC

Ljubljana; The Event , 29. bijenale grafičke

2017.) i The Ninja from Marrackech (Galerie

umjetnosti, Muzej moderne umjetnosti, Ljubljana;

Suvi Lehtinen, Berlin 2015.). Sudjelovao je u

Cultural Hero, Bijenale kvadrilaterale 2 / BQ_2,

sljedećim grupnim izložbama: Alpina huus (Le

Muzej suvremene umjetnosti, Rijeka; U3, Peto

Commun, Ženeva 2017.), How to do things

trijenale slovenske suvremene umjetnosti,

(Lehman&Silva, Porto 2017.), My body doesn’t

Moderna Galerija, Ljubljana; Essl Award Winners ,

like summer (Haverkampf galerija, Berlin 2018.),

Essl muzej, Beč / Klosterneuburg.

Black Garden (Galería Louis 21, Palma de Mallorca 2018.), Hunter of Worlds (SALTS Basel 2018.); i sajmovima Arco Lisboa, Code Art Fair Kopenhagen, Sunday Art Fair London (2018.).

Među recentnim performansima izdvajaju se: Pane Per Poveri (Laatrac, 14. Documenta, Atena, 2017.), Making Public Program (Fundació Tapies, Barcelona 2017.) i Material Art fair (Mexico City 2016.).

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BIOGRAPHIES

Erlund is a Danish born artist living SOPHIE Sophie and working in Berlin. In her practice, Erlund long explored a variety of themes and ERLUND has questions about the more-than-human, sculptures, installations and complex (1978) creating soundscapes, which deal with the central theme

(EN)

of transition and understanding the world through the irrational mind, and in particular our ongoing entanglement with artificial intelligence and its impact on our psychology.

Sophie Erlund’s work has been exhibited in galleries and institutions across Europe and the US like PSM, Berlin (DE), Kunsthalle Trier (DE), Elephant Kunsthall (NO), TIER - The Institute for Endotic Research, Berlin (DE), F.D.13, St. Paul (USA), David B. Smith Gallery, Denver (USA), Fri Art - Centre d’art de Fribourg / Kunsthalle Freiburg (DE), Kinderhook & Caracas, Berlin (DE) and ARKEN Museum of Modern Art, Ishøj (DK) since receiving her BA Fine Art degree with honors from Central St. Martins College of Art and Design, London (UK) in 2003.

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Eškinja lives and works in Rijeka, Croatia.

IGOR Igor Eškinja constructs his architectonics of as ensembles of modesty and EŠKINJA perception elegance. The artist “performs” the objects situations, catching them in their intimate (1975) and and silent transition from two-dimensional to

(EN)

three-dimensional formal appearance. Using simple, inexpensive materials, such as adhesive tape or electric cables and unraveling them with extreme precision and mathematical exactitude within strict spatial parameters, Eškinja defines another quality that goes beyond physical aspects and enters the registers of the imaginative and the imperceptible.

Eškinja’s participated in various group exhibitions: Manifesta 7, Rovereto (2008); Complicity, Rena Bransten gallery, San Francisco (2009); 28th Biennale of Graphic Arts, Ljubljana (2009); Dirt, Wellcome foundation, London, (2011), Rearview Mirror, Power plant, Toronto, (2011); Ash and Gold – a world tour, Marta Herford, (2012); 2nd Ural Industrial Biennale, Ekaterinburg, (2012); 8 ways to overcome space and time, Museum of Contemporary Art, Belgrade, (2013), T-HT Award, Museum of Contemporary Art, Zagreb (2016), Every Time A Ear di Soun – Documenta

(EN)

ceramics, paintings and mosaics, Stephen STEPHEN InKenthisdemonstrates his engagement with culture and comparative mythology.

KENT psychedelic He works with found everyday imagery and originally intended for domestic (1985) design consumption and amplifies its strange and disorientating possibilities with his meticulous and invested craft processes. Kent explores cultural codes that can be found embedded in everyday objects and scenarios. With a medium reflexive approach, he uses a process-oriented language to humorously investigate the stuff our world is made of.

Stephen Kent (1985, USA) lives and works in Berlin. Kent received a Master of Fine Arts at the Cranbrook Academy of Art in Detroit, and his Bachelor of Fine Arts from the Pennsylvania State University. He has recently exhibited with Elephant Kunsthall in Norway, Good Weather Gallery in the U.S., LVL 3 in Chicago, Haverkampf Leistenschneider Galerie in Berlin, Szydlowski Galeria in Warsaw, Renata Fabbri Gallery in Milan, and Die Brücke Museum, Berlin. His mosaic works have been written about in publications such as Der Tagespiegel and the Chicago Tribune.

14 program, Savvy contemporary, Berlin (2017), as well as solo exhibitions in: Project for unsuccessful gathering, Casino LuxembourgForum d’art contemporain, Luxembourg (2009), 74

Inhabitants of generic places, Kunstforum, Vienna, Museum of Contemporary Art, Zagreb (2011), The Day After, Federico Luger gallery, Milano, (2011); Interieur Captivant, MAC/ VAL Museum, Vitry, (2012); Quixote, MUWA, Graz, (2014), PRODUCTIVE WORK_what is it supposed to be?, Q21, Museums quartier, Vienna, (2018), EXPOSURES, Kunsthalle Bratislava (2021).

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Maynou’s multidisciplinary approach is JOSEP Josep both performative and object based. It comes as a form of contemporary storytelling, MAYNOU together a fictional take on everyday life in the form of ideas that expand onto his objects.

(1980) humorous The sculptures he makes are at once illustrations

(EN)

Požlep finished his BA and MA at the MARK Mark Academy of Fine Arts and Design in Ljubljana completed an Advanced Master’s Degree in POŽLEP and Transmedia at the Sint-Lukas Campus in Brussels HISK in Ghent. He works in the field of visual (1981) and and performative arts, spatial installations and

(EN)

of these ideas, as much as they are props

video art. His artistic practice involves journey-

and stages where the narrative takes place.

travels, which function both as long-durational

Maynou uses common domestic materials

performance/endurance art and as an art piece

and practical tools that are often discarded or

in itself. It is an intense procedural exploration,

hidden to create anthropomorphous utensils. His

aiming to reveal the tension between politics,

projects are scenarios for action that allow both

poetics and individual action.

functionality and absurdity at the same time.

His work has been presented in numerous group Maynou lives and works between Paris and

and solo exhibition, including EKO 8, International

Berlin. He studied Fine Arts at the University

Triennial of Art and Environment / A Letter to the

of Barcelona, Faculta de Belas Artes Porto

Future, UGM, Maribor, L’Effet Domino, Manifesta

in Porto and Middlesex University in London.

13 - Les Parallèles du Sud, Nice; Contour Biennial

His recent solo shows and two-person shows

9-Colton as Cotton, Mechelen; Southwind, Centre

include Return of the Junker. JM2000 (with Jordi

Pompidou, Paris; Cold Wind From The Balkans,

Mitjà, curated by Sira Pizà, Bombon Projects,

Pera Museum Istanbul; Resilience, 7th Triennial of

Barcelona), To bow at the beginning not at

Slovenian Contemporary Art, MSUM Ljubljana; The

the end (Collection Born, Munich), Leisure

Event , 29th Biennial of Graphic Arts, Museum of

(Bombon Projects, Barcelona 2017), Thing1,

Modern Art, Ljubljana; Cultural Hero , II Biennial of

Thing2 (Broken Dimanche, Berlin 2017), Things:

Quadrilateral/BQ_2, Museum of Contemporary

To do (Beverly’s, NYC 2017) or The Ninja from

Art, Rijeka; U3 , Fifth Triennial of Slovenian

Marrackech (Galerie Suvi Lehtinen, Berlin 2015).

Contemporary Art, Moderna Galerija, Ljubljana;

His work has been shown at group exhibitions

Essl Award Winners, Essl Museum, Vienna /

such as Alpina huus (Le Commun, Geneve

Klosterneuburg.

2017), How to do things (Lehman&Silva, Porto 2017), My body doesnt like summer (Haverkampf 76

Gallery, Berlin 2018), Black Garden (Galería Louis 21, Palma de Mallorca 2018), Hunter of Worlds (SALTS Basel 2018); and art fairs such as Arco Lisboa, Code Art Fair Copenhague, and Sunday Art Fair London (2018). His most recent performances include Pane Per Poveri (Laatrac, 14th Documenta, Athens 2017), Making Public Program (Fundació Tapies, Barcelona 2017) and Material Art fair (Mexico City 2016).

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BIOGRAFÍAS

Erlund es una artista danesa que vive SOPHIE Sophie y trabaja en Berlín. Su trabajo explora diversos y cuestiona lo sobrehumano, mediante la ERLUND temas creación de esculturas, instalaciones y sonidos cuyo tema central es la transición y (1978.) complejos, comprensión del mundo a través de la mente

(ESP)

irracional y, en particular, de nuestro vínculo actual con la inteligencia artificial y su influencia en nuestra psicología.

Sophie Erlund ha expuesto sus obras de arte en galerías e instituciones de toda Europa y Estados Unidos, como PSM, Berlín, Kunsthalle Trier, Elephant Kunsthall (NO), TIER - Instituto de Investigación Endotica (Berlín), F.D.13, St. Paul (EE.UU.), David B. Smith Gallery, Denver (EE.UU.), Fri Art - Centre d’art de Fribourg / Kunsthalle Friburgo, Kinderhook & Caracas, Berlín y Museo de Arte Moderno ARKEN, Ishøj desde recibiendo su licenciatura en Bellas Artes con honores de Central St. Martins College of Art and Design,

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(ESP)

(ESP)

Londres (Reino Unido) en 2003.

Eškinja vive y trabaja en Rijeka. Eškinja IGOR Igor construye sus arquitecturas de percepción conjuntos de modestia y elegancia.

EŠKINJA como El artista «ejecuta» objetos y situaciones, en su transición íntima y silenciosa (1975.) integrándolos de una apariencia formal bidimensional a una

(ESP)

(ESP)

pinturas, cerámica y mosaicos, Stephen STEPHEN EnKentsusdemuestra su compromiso con la psicodélica y la mitología comparada.

KENT cultura Sus obras con escenas y diseños cotidianos fueron destinadas al consumo (1985.) originalmente doméstico y resaltan sus habilidades inusuales

tridimensional. Utilizando materiales simples y

y desorientadoras con procesos de fabricación

baratos, como una cinta adhesiva o unos cables

precisos y dedicados. Kent explora los códigos

eléctricos, y descomponiéndolos con extrema

culturales que se pueden encontrar en objetos

precisión y exactitud matemática dentro de

y escenarios cotidianos. Con un enfoque

estrictos parámetros espaciales, Eškinja define

moderadamente reflexivo, él utiliza un lenguaje

una otra cualidad, que va más allá de los

de procesos para explorar con humor las cosas

aspectos físicos y entra en los registros de lo

que componen nuestro mundo.

imaginario y lo extra-perceptual.

Stephen Kent (1985, Estados Unidos) vive Las obras de Eškinja están incluidas en las

y trabaja en Berlín. Kent se graduó de la

exposiciones internacionales: Manifesta 7,

Cranbrook Academy of Art en Detroit, con un

Rovereto, (2008.); Complicity, Galería Rena

título anterior de Pennsylvania State College.

Bransten, San Francisco (2009.); 28 Biennale

Recientemente ha expuesto en Elephant

of Graphic Arts, Ljubljana (2009); Dirt,

Kunsthall en Noruega, en las galerías Good

Wellcome foundation, London, (2011), Rearview

Weather Gallery de Chicago, Estados Unidos,

Mirror, Power plant, Toronto, (2011); Ash and

Haverkampf Leistenschneider Gallery de Berlín,

th

Gold – a world tour, Marta Herford, (2012); 2

Szydlowski Gallery de Varsovia, Renata Fabbri

Ural Industrial Biennale, Ekaterinburg, (2012);

Gallery de Milán y en el museo Die Brücke

8 ways to overcome space and time, Museum

Museum de Berlín. Periódicos como Der

of Contemporary Art, Belgrade, (2013), T-HT

Tagespiegel y Chicago Tribune escribieron sobre

Award, Museum of Contemporary Art, Zagreb

sus mosaicos.

nd

(2016), Every Time A Ear di Soun – Documenta 14 program, Savvy contemporary, Berlin (2017), as well as solo exhibitions in: Project for unsuccessful gathering, Casino Luxembourg80

Forum d’art contemporain, Luxembourg (2009),

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Inhabitants of generic places, Kunstforum, Vienna, Museum of Contemporary Art, Zagreb (2011), The Day After, Federico Luger gallery, Milano, (2011); Interieur Captivant, MAC/ VAL Museum, Vitry, (2012); Quixote, MUWA, Graz, (2014), PRODUCTIVE WORK_what is it supposed to be?, Q21, Museums quartier, Vienna, (2021).

(ESP)

(ESP)

(2018), EXPOSURES, Kunsthalle Bratislava

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graduó en la Academia de Arte y Diseño MARK Sede Liubliana y obtuvo un grado especialista en transmedia en el Campus Lukas de POŽLEP estudios Bruselas y el instituto HISK en Gante. Su obra ambienta en el campo de las artes visuales (1981.) sey performativas, lad instalaciones espaciales y

(ESP)

narración. Maynou utiliza materiales domésticos comunes y herramientas prácticas que a menudo se desechan u ocultan para crear utensilios antropomorfos. Sus proyectos son escenarios para la acción que permiten la funcionalidad y el absurdo al mismo tiempo.

el videoarte. Su práctica artística incluye viajes

Exposiciones individuales anteriores incluyen Chuletas (Bombon Projects, Barcelona, 2023), Point of Light Papitu (Centro Párraga, Murcia, 2022), SELF BAZAR (UNA Galleria, Piacenza, 2021), To bow at the beginning not at the end (Collection Born, Múnich, 2019), 13 (Idealfrühstück, París, 2019), LE LUCKY (HVW8, Berlín, 2019), Populaire (Lehmann + Silva, Oporto, 2019), Leisure (Bombon Projects, Barcelona, 2017), Thing1 Thing2 (Broken Dimanche, Berlín, 2017), Things: To do (Beverly’s, NYC, 2017) o The Ninja from Marrakech (Galerie Suvi Lehtinen, Berlín, 2015). Entre sus exposiciones colectivas recientes se incluyen Histery of Art (UNA Galleria, Piacenza, 2023) Worlds within worlds (Museum of modern art Dubrovnik, 2023) For some bags under the eyes (Sans titre, París, 2021), Dança de Retorno (Lehmann + Silva, Oporto, 2021), Indoor Images (Pas une Orange, Barcelona, 2021), Thundercage (Edition 19, París, 2020), THIS MUST BE THE PLACE (L+S Projects, Oporto, 2020), Textus ex Machina (aqb PROJECT SPACE, Budapest, 2019), The Return of the Junker. JM2000 (Bombon Projects, Barcelona, 2019), Hunter of World (Salts, Basilea, 2018), Supersimetrica (Matadero, Madrid, 2018), How to do things... (Lehmann + Silva, Oporto, 2017), Black garden (Galería L21, Palma de Mallorca, 2013), Alpina huus (Le Commun, Geneve, 2017), A Lovers Discord (Moca, Londres, 2016), Warped Miami (GSL Projekt, Miami Basel, Miami, 2015) o The inclination of the jungle (Junefirst Gallery, Berlín, 2015). Entre sus actuaciones recientes se incluyen PIST 1 (Una fiesta) (Fundación Pernod Ricard, París, 2022), ONE NIGHT DANCE (SPACED OUT x PSM Gallery, Brandemburgo, 2020), ENSEMBLE, survivre maintenant (Palais de Tokyo, París, 2019), TIME (The Institute for Endotic Research, Berlín, 2019), Pane Per Poveri (Laatrac, Atenas, 2017), Making Public Program (Fundació Tapies, Barcelona, 2017) y Material Art fair en Ciudad de México (2016).

entre política, poética y acción individual.

que funcionan como arte de «performance»/ resistencia duradera y también como arte en sí mismo. Es una intensa investigación procedimental cuyo objetivo es revelar la tensión

Ha expuesto en numerosas exposiciones colectivas e individuales, incluyendo EKO 8, Trienal Internacional de Arte y Medio Ambiente / A Letter to the Future, UGM, Maribor, L’Effet Domino, Manifesta 13 - Les Parallèles du Sud, Nice; Contour Biennial 9-Colton as Cotton, Mechelen; Southwind, Centre Pompidou, Paris; Cold Wind From The Balkans, Pera Museum Istanbul; Resilience, 7th Triennial of Slovenian Contemporary Art, MSUM Ljubljana; The Event, 29th Biennial of Graphic Arts, Museum of Modern Art, Ljubljana; Cultural Hero , II Biennial of Quadrilateral/BQ_2, Museum of Contemporary Art, Rijeka; U3 , Fifth Triennial of Slovenian Contemporary Art, Moderna Galerija, Ljubljana; Essl Award Winners , Essl Museum, Vienna / Klosterneuburg.

83

(ESP)

multidisciplinar de Josep Maynou es JOSEP Ela laenfoque vez performativo y objetual. Se presenta como una forma de narración contemporánea, visión ficticia de la vida cotidiana en forma MAYNOU una de ideas humorísticas que se expanden en sus objetos. Las esculturas que realiza son a vez ilustraciones de estas ideas, así como (1980.) laaccesorios y escenarios en los que se desarrolla la

(ESP)

IMPRESSUM

KUSTOSICA / CURATOR / CURADORA

IMPRESSUM

FOTOGRAFIJE / PHOTOGRAPHERS /

IZLOŽBA / EXHIBITION / EXHIBICIÓN

Jelena Tamindžija Donnart

KATALOG / CATALOGUE / CATÁLOGO

FOTOGRAFÍA David Bonet

Svjetovi unutar svjetova / Worlds within

VODITELJI PROJEKTA / PROJECT MANAGERS /

IZDAVAČ / PUBLISHER / EDITORA

str. / pg 2-3, 8-9, 15, 16, 24-25, 31-21

Worlds / Mundos dentro de otros

GERENTES DE PROYECTO

Umjetnička galerija Dubrovnik / Museum of

Juraj Vuglač

mundos

Sophie Erlund

Modern Art Dubrovnik / Museo de Arte Moderno

str. / pg 12, 18-19, 21, 28, 35, 46-47, 50, 52-53,

Sophie Erlund, Igor Eškinja, Stephen Kent, Josep

Jelena Tamindžija Donnart

de Dubrovnik

54, 59, 60-61

Maynou, Mark Požlep

Jackie Herbst (CCA Andratx)

www.momad.hr / info@momad.hr /

Miho Skvrce

Martina Miholić

+385 (0)20 426 590

str. / pg 36-37, 38-39, 42-43

(Hrvatsko društvo likovnih umjetnika / ORGANIZATORI / ORGANIZERS /

Croatian Association of Fine Artists /

ZA NAKLADNIKA / FOR THE PUBLISHER /

GRAFIČKO OBLIKOVANJE / GRAPHIC

ORGANIZERS

Asociación Croata de Artistas Plásticos)

PARA EL EDITOR

DESIGN / DISEÑO GRÁFICO

Tonko Smokvina

Bonsenjo kreativna agencija / Bonsenjo Creative

Umjetnička galerija Dubrovnik / Museum of Modern Art Dubrovnik / Museo de Arte Moderno

Agency / Bonsenjo Agencia Creativa

de Dubrovnik

PRODUCENTICE / PRODUCERS /

UREDNICA KATALOGA / CATALOGUE

Hrvatsko društvo likovnih umjetnika / Croatian

PRODUCTORAS

EDITOR / EDITOR DE CATÁLOGO

TISAK / PRINTING / IMPRENTA

Association of Fine Artists / Associacion

Jelena Tamindžija Donnart

Jelena Tamindžija Donnart

PRINTERA GRUPA d.o.o.

Asociación Croata de Artistas Plásticos

Jackie Herbst (CCA Andratx)

CCA Andratx, Mallorca

Ivana Andabaka (Hrvatsko društvo likovnih

AUTORICA TEKSTA / TEXT AUTHOR /

NAKLADA / COPIES / DICIÓN

umjetnika / Croatian Association of Fine Artists /

AUTOR DEL TEXTO

200

Asociación Croata de Artistas Plásticos)

Jelena Tamindžija Donnart

Platforma NOMAD / NOMAD Platform / Plataforma NOMAD

TISKANO U HRVATSKOJ / PRINTED IN LEKTURA I KOREKTURA HRVATSKOG

CROATIA / IMPRESO EN CROACIA

POSTAV IZLOŽBE / EXHIBITION LAYOUT /

TEKSTA / COPY EDITING AND

2023.

SPACES / ESPACIOS DE EXPOSICIÓN

DISEÑO DE LA EXPOSICIÓN

PROOFREADING OF THE CROATIAN TEXT /

CCA Andratx, Mallorca

Sophie Erlund, Igor Eškinja, Stephen Kent, Josep

CORRECCIÓN Y CORRECCIÓN DE TEXTOS

25. 2. – 1.4.2023.

Maynou, Mark Požlep, Jelena Tamindžija Donnart

EN CROATA

CIP zapis dostupan je u računalnom Skupnom

Ivana Obradović

katalogu hrvatskih knjižnica pod brojem pod

IZLOŽBENI PROSTORI / EXHIBITION

Umjetnička galerija Dubrovnik / Museum of Modern Art Dubrovnik / Museo de Arte Moderno de Dubrovnik 84

27.4. – 8.6.2023.

brojem 581703088. / A CIP record available TEHNIČKA REALIZACIJA /

ENGLESKI PRIJEVOD / ENGLISH

in the Collective Catalogue of Croatian

TECHNICAL SET-UP / MONTAJE TÉCNICO

TRANSLATION / TRADUCCIÓN EN INGLÉS

Libraries, number 581703088. / Un registro

Toni Radetić, Željko Sušić, Kristijan Bebić, Mihael

Graham McMaster

CIP disponible en el Catálogo Colectivo de

Pavlović

Bibliotecas Croatas, número 581703088.

Dom Hrvatskih likovnih umjetnika - Meštrovićev

ŠPANJOLSKI PRIJEVOD / SPANISH

paviljon / Home of the Croatian Association

TRANSLATION / TRADUCCIÓN ESPAÑOLA

ISBN broj / number / número

of Fine Artists Zagreb, Meštrović Pavilion /

ODNOSI S JAVNOŠĆU / PUBLIC RELATIONS /

Ekonomik agencija

978-953-8316-27-2

Asociación Croata de Artistas Plásticos -

RELACIONES PÚBLICAS

Pabellón de Meštrović

Magdalena Prkut, Martina Miholić, Jackie Herbst

14. 9. – 8.10. 2023.

HRVATSKI PRIJEVOD / CROATIAN TRANSLATION / TRADUCCIÒN DE CROATA

©Umjetnička galerija Dubrovnik / Museum of

(Biografija, Popis radova / Biography, List of

Modern Art Dubrovnik / Museo de Arte Moderno

works / Biografía, Lista de obras)

de Dubrovnik)

Anđela Žurić

85

REALIZACIJU OVE IZLOŽBE OMOGUĆIO JE Grad Dubrovnik, Grad Zagreb, Ministarstvo kulture i medija Republike Hrvatske, CCA Andratx, Platforma NOMAD, Umjetnička galerija Dubrovnik, Hrvatsko društvo likovnih umjetnika, Danska umjetnička zaklada (Statens Kunstfond), Goethe Institut, Hilton Imperial Dubrovnik.

REALIZATION OF THIS EXHIBITION HAS BEEN MADE POSSIBLE THANKS TO THE GENEROUS SUPPORT OF the City of Dubrovnik, City of Zagreb, the Ministry of Culture and Media of the Republic of Croatia, CCA Andratx, NOMAD Platform, Museum of Modern Art Dubrovnik, Croatian Association of Fine Artists, Danish Arts Foundation (Statens Kunstfond), Goethe Institut, Hilton Imperial Dubrovnik.

LA REALIZACIÓN DE ESTA EXPOSICIÓN HA SIDO POSIBLE GRACIAS AL GENEROSO APOYO DE la Ciudad de Dubrovnik, Ciudad de Zagreb, el Ministerio de Cultura y Medios de la República de Croacia, CCA Andratx, Plataforma NOMAD, Museo de Arte Moderno de Dubrovnik, Asociación Croata de Artistas Plásticos, Fundación Danesa de las Artes (Statens Kunstfond), Goethe Institut, Hilton Imperial Dubrovnik.

86

87

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88

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