Kako gledati Prirode? – Umjetnost i kapitalocen

Paola Filippucci: “Landscape”, Cambridge Encyclopedia of Anthropology, 2018.).

Alex Brajković odrednicom Earthlines (2022.– 2023.) imenuje seriju vizualnih radova nastalih korištenjem vlastitih algoritama za interpretaciju svjetskih podataka, čime otvara pitanje na koji način umjetnost vizualizira kompleksnu vezu između ljudi i izgrađenog okoliša i odgovara na krizu odnosa čovjeka i prirode?

Nikolina Butorac prostornom, participativnom instalacijom Mišić stane u udubljenje mog dlana (2022.–2023.) tematizira stanje u kojemu nas tzv. kućni ljubimci (ili kako etički određuju antrozoolozi – životinje-suputnice/ i) oni najčešći, psi i mačke, ponovno povezuju s prirodom, kao i suočavanje sa smrću vlastitih ne-ljudskih prijatelja/ica za koje antropocentrični jezik još uvijek koristi derogativni, specistički glagol „uginuti“.

Kako bi izgledala moja kuća da je živo biće To bi biće bilo životinja. (…)

Denise Levertov

I ja bih rado bila životinja ili biljka ponekad jer kad pomislim na prirodu, osjetim da sam doma, a to nije stan ili neboder u koji sam strpana. Kad pomislim na prirodu, pomislim na brojne prirode skrivene u svakome biću i zato je ova izložba posveta Prirodama, svima onima kojima nemamo mjesta ovdje pojedinačno nasloviti ime.

Ivana Filip

Ljudi su gusto posijani, no rijetko su nikli.

MIra Gatara

Izložbeni program Kako gledati Prirode?

– Umjetnost i kapitalocen dokumentira vizualnu praksu, njezine odgovore na moguće zelene inicijative koje mogu detektirati posljedice antropocena i kapitalocena koji Prirodu tretiraju samo kao resurs. Možda je dovoljno podsjetiti na činjenicu da je prije samo stotinjak godina sva naša hrana bila organska, a danas je kupujemo u specijaliziranim trgovinama neoliberalnoga tržišnoga kapitala. Ili da se prvotan sustav ekonomije temeljio na ekonomiji dara, a ne na tržišnoj grabeži koja dovodi do globalnoga Geocida i apokaliptičnih klimatskih promjena koje prijete šestim izumiranjem, kako to npr. upozorava Elizabeth Kolbert.

Radovi koji su izloženi na ovoj skupnoj zelenoj izložbi govore o odnosima s Drugima (ne-ljudima), onima kojima je glas različit od ljudskog, kao što su sve Prirode – Životinje, Biljke, Grančice, Sunce, Mora, Oceani, Vode, Staze, Šume, Cvjetovi, Kamenje, svi koji su zanemareni i ranjivi u antropocentričnoj slici navodnoga napretka. Misao vodilja bila nam je prikazati sve ono što ljudsko biće čini fascinantnim i nepresušnim izvorom otkrića i kreacija, a nastaje u sustvaranju s Drugima.

Krenimo abecedno, tragom ove izložbe, o antropocenu, i to glasovima umjetnika/ ica o njihovim vlastitim radovima, sadržajno i sažeto, onoliko koliko to forma deplijana, izrađena od srušenih stabala, može podnijeti. Zamjetno je pritom da se rabe različite odrednice za prirodu stvari – priroda, krajolik, (izgrađeni) okoliš, okolina, pejzaž, prostor, mjesto.

Maša Bajc u radu Priroda stvari (2020.) polazi od prostora livade pri čemu ističe da kao što ljudi oblikuju pejzaž fizički i simbolički, on recipročno utječe na oblikovanje njihovog identiteta i međusobnih veza (usp.

ni (Earthlings), kao što navodi Shaun Monson.

Charlotte Dumas, Yorishiro, 2020.

Darko Fritz, I’m not a robot, 2020.

Igor Grubić, Da li životinje…?, 2017.

Hortikulturna intervencija, instalacija I’m not a robot (2020.) Darka Fritza objedinjuje aspekte tehnološke komunikacije, gradnje suhozida i hortikulture. Kao što navodi umjetnik, tekstualni je sadržaj preuzet iz digitalne domene, digitalnog sučelja namijenjenog strojevima „koji žele potvrdu da komuniciraju sa stvarnim ljudima, a ne sa strojevima koji se pretvaraju da su ljudi“.

Maša Bajc, Priroda stvari (2020.)

Alex Brajković, Earthlines, 2022.–2023.

Nikolina Butorac, Mišić stane u udubljenje mog dlana, 2022.–2023.

Tanja Dabo, Mutne vode, 2021.

Igor Grubić u radu Da li životinje…? (2017.) iz niše prava životinja tematizira životinjsku smrt koju je apostrofirao na anti/reklamnim površinama. Fotografije dokumentiraju unutrašnjost bivših klaonica s pitanjima na engleskom: „Sanjaju li životinje o slobodi? Imaju li životinje zakonska prava? Idu li životinje u nebo? Znaju li životinje da su proizvodi? Preživljavaju li životinje istrebljenje?“.

Nenad Jalšovec, Placeholders, 2019.

Serijom ulja na platnu s animalističkim motivima iz šireg ciklusa Placeholders (2019.) Nenad Jalšovec obuhvaća slike, crteže te materijalne i virtualne objekte koji na ironičan način u globalnom društvu i medijima problematiziraju, kao što to umjetnik apostrofira: „raširenu tendenciju pseudoznanstvenog seciranja svega i svačega te posljedičnu modu bistrenja složenih fenomena infografikama trivijaliziranim do razine dječjeg poimanja“.

Lisa Jevbratt u radu Playset – Falling Deer/ Set za igru – Srna koja pada (2021.-2023.) tematizira mističan aspekt ljudskih/ ne-ljudskih odnosa. Usredotočuje se na intrinzičnu magijsku međupovezanost između ljudi i ne-ljudi te pritom izravnava hijerarhije vrsta gdje se dublje znanje može pronaći u srni, grmu ili možda čak litici ili valu.

Gustafsson&Haapoja radom Embrace Your Empathy!/ Prihvati svoje suosjećanje! (2016.) promišljaju revoluciju međuvrsnih odnosa u kojima je empatija glavna vrijednost, a podjela bića na životinje, ljude, biljke, izbrisana je i postojimo – mi, ljudi i više-nego-ljudi, svi zajedno kao su-dionici ovoga svijeta. Ukratko, Zemlja-

Water/land art Zvjezdane Jembrih Plavo za stablo (2020.) s radom Alena Novoselca Oprosti mi, hvala ti, volim te (2020.) pored toga što povezuje prostor izvedbe – lijeva obala Kupe kod Obreža Vivodinskog, nalazi se i u zajedničkoj mreži umjetničko-znanstvenoga projekta Land art, Earth art, Earthworks: z/Zemlja i antropocen koji je 2019. godine zamišljen kao prvo sustavno umjetničko i znanstveno istraživanje land art prakse u Hrvatskoj.

Erez Nevi Pana radom The Banana Project (2020.) upućuje na moguće apokaliptične posljedice klimatskih promjena, smještajući glavnog protagonista svog filma Tropical Milan (2020.), koji poput ikone reprezentira cjelokupno čovječanstvo, u okoliš nalik džungli banana, aludirajući na opasnost monokulturnog uzgoja, ograničenih resursa hrane i globalne masovne migracije.

Projekt Mutne vode (2021.) Tanja Dabo započela je kao umjetničko istraživanje stanja vode u Hrvatskoj danas, kroz koje je umjetnica angažirano istražila koliko je informacija javno dostupno, kakvo je stvarno stanje voda, koji se štetni elementi u vodi nalaze, koliko se kao društvo uopće bavimo pitanjem vode.

Charlotte Dumas u kratkom filmu Yorishiro (2020.) bilježi kako djevojčica, umjetničina petogodišnja kći Ivy, u ljubičastosivom kostimu konja, putuje na udaljeni otok Yonaguni gdje još uvijek slobodno lutaju divlji konji drevne vrste Yonaguni. Mjesecima je hodala u kostimu konja i ponašala se kao konj te u konačnici pronalazi međuvrsnu srodnost.

Rad Olge F. Koroleve Cautiously (dear deer)/ Oprezno (dragi jelene) (2017.) nastaje procesom promatranja jelena u trajanju od mjesec dana na udaljenoj lokaciji na kanadskom otoku Vancouveru. Viseća skulptura, sastavljena od jelenjih kostiju, sada visi iznad mjesta gdje je životinja umrla.

Gustafsson&Haapoja, Embrace Your Empathy!/ Prihvati svoje suosjećanje!, 2016.

Olly & Suzi fotografijom Cheetah Interaction/ Interakcija geparda (Namibija, 1998.) dokumentiraju prirodu u kulturi – trenutak dok gepardi gledaju vlastite portrete. Olly & Suzi spajaju živu akcijsku ekologiju i umjetnost kroz slikarstvo, i to zajedničkim stvaranjem umjetničkoga djela (oboje rade na jednom djelu istovremeno) u prisutnosti životinje/a u njenom/njihovom okruženju, da bi na kraju životinja komunicirala s tim djelom. Odlučile smo se za navedenu dokumentaciju s obzirom na to da se nalazi na naslovnici prve knjige Picturing the Beast (2001.) Stevea Bakera, istaknutoga teoretičara vizualne animalistike.

Kira O’Reilly zajedno s Antye Greie-Ripatti (AGF) u međuvrsnom radu Arachnid – Tick Sensing/ Paučnjak – Osjećaj krpelja (2021.) istražuje susrete među vrstama – ljudske vrste s krpeljima. Međuvrsni i transvrsni rad je inspiriran zvučnim teksturama koje je razvila Antye Greie-Ripatti (AGF) koja je uredila i masterirala podcaste TICK TALKs, njezinim zvučnim radom I vs us, kao i esejem The Microbial Self: Sensation and Sympoiesis (2017.) Kyle Schuller.

Ivana Ožetski objektom Sjena antropocena/ Surogat slika (2022.–2023.) upozorava na činjenicu da se godišnje u svijetu proizvede trilijun komada limenki. Englez Peter Durand je 1810. godine patentirao pokositrene limenke za konzerviranja mesa (ubijenih životinja) za potrebe engleske vojske i mornarice, a 1963. godine proizvedena je i prva aluminijska limenka. Godine 1962. Warholova grafika Campbell Soup s juhom od rajčice postaje simbolom masovne kulture, no jednako tako i otpadocena (engl. wastocene), kako ga definira Marco Armiero. „Uz objekt su ispisani osnovni podaci o proizvodnji materijala za izradu limenki kao podsjetnik da veliki dio svijeta Prirodu još uvijek doživljava samo kao resurs i odlagalište.“

Olga F. Koroleva, Cautiously (dear deer)/ Oprezno (dragi jelene), 2017.

Kontemplativna i atmosferična videoinstalacija Pejzaži (2021.–2023.) Nives Sertić uranja nas u makro- i mikro-okoliše mediteranskih, autorici intimno bliskih motiva, koji svojim dugim kadrovima i sporim ritmom žele potaknuti da od gledaoca ponovno postanemo promatrači – svoje okoline, sebe samih, ali i nevidljive spone koja postoji između ta dva (ne)odvojena entiteta, da usporimo i da se prisjetimo što je to vrijeme – zaboravljena dimenzija 21. stoljeća.

Lisa Jevbratt, Playset – Falling Deer/ Set za igru – Srna koja pada, 2021.-2023.

Ivana Ožetski, Sjena antropocena/ Surogat slika, 2022.–2023.

Ana Ratković Sobota, Jezera, 2021.–2022.

Zvjezdana Jembrih, Plavo za stablo, 2020.

Filmom The Kitty AI: Artificial Intelligence for Governance/ Kitty AI: Umjetna inteligencija za vladanje (2016.) Pinar Yoldas na humorističan i kritičan način zamišlja distopijsku budućnost u kojoj umjetna inteligencija vlada političkim svijetom i Kitty AI postaje prva ne-ljudska guvernerka 2039. godine. Rad ukazuje na jezovito ispreplitanje algoritama ili inteligencije strojeva s pitanjem osjećaja, problem prisilne migracije i klimatskih promjena.

Alen Novoselac, Oprosti mi, hvala ti, volim te, 2020.

Erez Nevi Pana, The Banana Project, 2020.

Kira O’Reilly & Antye Greie-Ripatti (AGF), Arachnid – Tick Sensing/ Paučnjak – Osjećaj krpelja, 2021.

Ana Ratković Sobota radom Jezera (2021.– 2022.) upozorava na Plitvička jezera kao žrtvu masovnog turizma i neplanske apartmanizacije koja je dovela do pojave dva nova “jezera”, septičkih jama, nastalih slijevanjem otpadnih voda iz obližnjih hotela i apartmana.

Davor Sanvincenti dokumentarnim filmom Mjesta koja ćemo disati (2022.) citira svoje, kako ih naziva, literarne sugovornike J. A. Ba-

kera, H. D. Thoreaua, Predraga Matvejevića, Kena Loacha, Chrisa Markera, Žarka Škugora, R. M. Rilkea, Salvatora Murana, Konfucija, Chica Mendesa, Miru Gataru; snima vizualni esej koji zagovara imaginaciju kroz putopis konstruiranih i anonimnih pejzaža, i svojevrsna je bilješka o budućnosti. Film završava zapisom majke-morske kornjače koja brižno zakopava jajašca u morski pijesak – čuje se samo šum mora. Kraj eseja o budućnosti.

Vjeran Vukašinović radom Biodiverzija modul 2 (2023.) upozorava da je antropocen stigao do graničnog prostora u kojemu se svijet koji smo poznavali ubrzano poništava i nestaje. Terminom plantationocene Donna J. Haraway i Anna Tsing opisuju snažnu štetu nanesenu planetu Zemlji uzrokovanu industrijskim monokulturnim plantažnim praksama. Strojevi plantažocena sve uništavaju i pretvaraju u beživotnu pustinju. “Down to Earth” Brune Latoura samo je jedan poziv za ponovnim učenjem kako su-živjeti na Zemlji i za hitnom izmjenom politika. Sjemenke novih početaka izranjaju duboko iz podzemlja, skrivene sile stvaranja se bude i puštaju korijenje diljem svijeta. Obnova i otpor kreću iz podzemlja.

Izložba je otvorena performansom Murmurs of the Silent Green domaće autorice Otchuda Say, a koji uživo izvodi Kaia Liifsong. U njihovoj prvoj suradnji, Otchuda Say i Kaia Liifsong kombiniraju poeziju, glazbu, umjetnost zvuka i video, istražujući utjecaj antropocena i preklapanje prava životinja i prava ljudi. Njihov performans, koji tematizira biocentričnu etiku i veganstvo, osvjetljava pitanja odgovornosti te naglašava inherentnu vrijednost svih živih vrsta. Ova izvedba nudi refleksiju o povezivanju umjetnosti, aktivizma i zaštite okoliša / prirode.

Prema Bruni Latouru društva i prirode satkani su od niza mreža odnosa koji se neprestano mijenjaju i kreiraju našu stvarnost. U mreži života svi smo jednako bitni, ni više ni manje važni, i svima pripada jednak udio u stvaranju. Znamo da nismo otok, ali znamo li kako ćemo očuvati Geju da bismo ušli u eru razvoja čovječanstva suživota s Prirodama koju australski znanstvenik Glenn Albrecht naziva Simbiocen? Zbog toga smo i tu mrežu života, izložbeno predstavljenu ovim radovima, razvrstale prema četirima elementima – Zemlja, Zrak, Voda i Vatra, označene na izložbenim legendama simbolima iz tradicije Hopi naroda.

Davor Sanvincenti, Mjesta koja ćemo disati, 2022.

Nives Sertić, Pejzaži, 2021.–2023.

Pinar Yoldas, The Kitty AI: Artificial Intelligence for Governance/ Kitty AI: Umjetna inteligencija za vladanje, 2016.

Vjeran Vukašinović, Biodiverzija modul 2, 2023.

Ivana Filip i Suzana Marjanić

Olly & Suzi, Cheetah Interaction/ Interakcija geparda, 1998.

Otchuda Say, Murmurs of the Silent Green, 2023.

With the spatial, participatory installation A Tiny Mouse Fits in the Hollow of My Hand (2022–

mass culture, but also of the wasteocene), as defined by Marco Armiero. “Basic data on the

The exhibition was opened with the performance Murmurs of the Silent Green by the

2023), Nikolina Butorac thematizes the state in which our so-called pets (or as ethically

production of materials for making cans are written next to the object as a reminder that a

local author Otchuda Say, performed live by Kaia Liifsong. In their first collaboration,

defined by anthrozoologists – companion animals), the most common ones being dogs and

large part of the world still perceives Nature only as a resource and a dumping ground.”

Otchuda Say and Kaia Liifsong combine poetry, music, sound art and video, exploring the impact of the Anthropocene and the overlap between animal and human rights. Their

cats, reconnect us with nature as well as facing the death of our non-human friends.

With the work Lakes (2021-2022), Ana Ratković Sobota warns about the Plitvice Lakes as a

performance, which thematizes biocentric ethics and veganism, illuminates the issues of

Tanja Dabo began the Muddy Waters project (2021) as artistic research into the state of

victim of mass tourism and unplanned construction of multi-apartment buildings, which led

responsibility and emphasizes the inherent value of all living species. This performance

water in Croatia today, through which the artist actively researched how much information is

to the appearance of two new “lakes”, septic tanks, created by the discharge of wastewater

offers a reflection on the connection between art, activism and environmental / nature

publicly available, what the actual state of water is, what harmful elements are contained in

from nearby hotels and apartments.

protection.

In his documentary film Places That We Will Breathe (2022), Davor Sanvincenti cites his,

According to Bruno Latour, society and nature are woven from a series of networks of

In the short film Yorishiro (2020), Charlotte Dumas records how a little girl, the artist’s five-

as he calls them, literary interlocutors: J.A. Baker, H. D. Thoreau, Predrag Matvejević, Ken

relationships that constantly change and create our reality. In the web of life, we are all

year-old daughter Ivy, in a purplish-grey horse suit travels to the remote island of Yonaguni,

Loach, Chris Marker, Žarko Škugor, R. M. Rilke, Salvatore Murano, Confucius, Chico Mendes,

equally important, no more and no less, and everyone has an equal share in creation. We

where wild horses of the ancient Yonaguni species still roam freely. For months she wandered

Mira Gatara, and records a visual essay that advocates imagination through a travelogue of

know that we are not an island, but do we know how to preserve Gaia in order to enter

around in a horse suit and behaved like a horse and ultimately, she found an interspecies

constructed and anonymous landscapes. The work also acts as a kind of note about the

the era of human development of coexistence with Nature, which the Australian scientist

kinship.

future. The film ends with a recording of a mother sea turtle carefully burying her eggs in

Glenn Albrecht calls the Symbiocene? We have, therefore, classified this network of life;

the sea sand – one can only hear the sound of the sea. The end of the essay on the future.

exhibited in these works, according to four elements – Earth (Zemlja), Air (Zrak), Water

water, and how much we as a society deal with the issue of water.

(Voda) and Fire (Vatra), which are marked on the exhibition labels using symbols from the

A horticultural intervention, the installation I’m Not a Robot (2020) by Darko Fritz, combines

What My House Would Be Like If It Were a Person This person would be an animal. (…)

Denise Levertov

the aspects of technological communication, dry stone construction and horticulture. As the

The contemplative and atmospheric video installation Landscapes (2021–2023) by Nives

artist states, the textual content has been taken from the digital domain, a digital interface

Sertić immerses us in the macro- and micro-environments of the Mediterranean motifs,

intended for machines “that want confirmation that they are interacting with real people and

intimately close to the artist. Their long shots and slow rhythm want to encourage the viewers

not with machines pretending to be people.”

to become observers again - of their surroundings, of themselves, but also of the invisible

In the work Do Animals Have...? (2017) from the niche of animal rights, Igor Grubić thematises

bond that exists between the two (non)separate entities, to slow down and remember what that time is - the forgotten dimension of the 21st century.

I feel that I am at home, and this is not an apartment or a skyscraper I am crammed in.

When I think of nature, I think of numerous natures hidden in every being, and that is why this exhibition is a homage to Natures, to all those whom we do not have space to name individually here.

Ivana Filip

People have been sown thicky but have rarely sprouted.

Mira Gatara

Ivana Filip & Suzana Marjanić

animal death, which he emphasises on anti/advertising surfaces. The photographs document the interior of former slaughterhouses with questions in English: “Do animals dream of

With the film The Kitty AI: Artificial Intelligence for Governance (2016) Pinar Yoldas

freedom? Do animals have legal rights? Do animals go to heaven? Do animals know they are

humorously and critically engages with a dystopian future in which artificial intelligence

products? Do animals survive extermination?”.

rules the political world and the AI Kitty becomes the first non-human female governor in 2039. The work points to the uncanny intersections of algorithmic or machine intelligence

A series of oil on canvas paintings with animalistic motifs from the wider series titled I would also like to be an animal or a plant sometimes because when I think of nature,

tradition of the Hopi people.

with the issue of emotions, the problem of forced migration and climate change.

Placeholders (2019) by Nenad Jalšovec includes paintings, drawings and material and virtual objects. As the artist emphasises, these ironically problematize “the widespread tendency of

Vjeran Vukašinović, with his work Biodiversion module 2 (2023), warns that the Anthropocene

pseudoscientific dissection of anything and everything and the ensuing fashion of clarifying

has reached its limits in the sense that the world we knew is rapidly being wiped out and

complex phenomena with infographics trivialized to the level of children’s understanding” in

disappearing. Donna J. Haraway and Anna Tsing use the term plantationocene to describe

the global society and the media.

the severe damage done to planet Earth caused by industrial monoculture plantation practices. The machines of the plantationocene destroy and turn everything into a lifeless

In the work Playset – Falling Deer (2021-2023), Lisa Jevbratt thematizes the mystical aspect

desert. “Down to Earth” by Bruno Latour is just one call for re-learning how to live on Earth

of human/non-human relationships. She focuses on an intrinsic magical interconnectedness

and for an urgent policy change. The seeds of new beginnings are sprouting from deep

between humans and non-humans, equalizing thus species hierarchies where deeper

underground, the hidden forces of creation are awakening and taking root around the world.

knowledge can be found in a deer, a bush, or maybe even a cliff or a wave.

Renewal and resistance start from underground.

Gustafsson’s&Haapoja’s work Embrace Your Empathy! (2016) contemplates a revolution of interspecies relations in which empathy is the main value, and the division of beings into animals, humans, and plants, has been erased and we exist - we, humans and more-thanhumans, all as co-creators of this world. In short, Earthlings, as stated by Shaun Monson.

Olga F. Koroleva’s work Cautiously (dear deer) (2017) is created by observing a deer for a month in a remote location on Vancouver Island, Canada. A hanging sculpture composed of deer bones now hangs over the spot where the animal died. „Kako gledati Prirode? – Umjetnost i kapitalocen“ 13. 4. – 5. 5. 2023.

The exhibition programme How to See Natures? - Art and the Capitalocene documents

Zvjezdana Jembrih’s water/land art Blue for a Tree (2020) with the work of Alen Novoselc

visual practice, its responses to possible green initiatives that can detect the consequences

Galerija Prsten / Prsten Gallery

Forgive Me, Thank You, I Love You (2020), in addition to connecting the space of performance

Kustosice: Ivana Filip i Suzana Marjanić

of the Anthropocene and Capitalocene, which treat Nature only as a resource. Perhaps

- the left bank of the Kupa near Obrež Vivodinski, is also part of a joint network of art and

it suffices to remind us of the fact that merely a hundred years ago all our food was

scientific project Land Art, Earth Art, Earthworks: e/Earth and the Anthropocene, which was

organic, and today we buy it in specialized stores of neoliberal market capital. Or that the

conceived in 2019 as the first systematic art and scientific research of land art practice in

original economic system was based on the gift economy, and not on market predation

Croatia.

that leads to global Geocide and apocalyptic climate changes that threaten the sixth extinction, as warned by Elizabeth Kolbert, for example.

With the work Banana Project (2020), Erez Nevi Pana points to the possible apocalyptic consequences of climate change, placing the main protagonist of his film Tropical Milan

The works exhibited in this collective green exhibition talk about relationships with

(2020), which like an icon, represents all of humanity, in an environment similar to a banana

Others (non-humans), those whose voice is different from the human one, such as all

jungle, alluding to the danger of monocultural cultivation, limited food resources and global

the Natures - Animals, Plants, Twigs, Sun, Seas, Oceans, Waters, Paths, Forests, Flowers,

mass migration.

Stones, all those that are neglected and vulnerable in the anthropocentric image of

Umjetnici/artists: Maša Bajc, Alex Brajković, Nikolina Butorac, Tanja Dabo, Charlotte Dumas, Darko Fritz, Igor Grubić, Nenad Jalšovec, Lisa Jevbratt, Gustafsson & Haapoja, Olga F. Koroleva, Zvjezdana Jembrih, Alen Novoselec, Erez Nevi Pana, Olly & Suzi, Kira O’Reilly, Ivana Ožetski, Ana Ratković Sobota, Davor Sanvincenti, Nives Sertić, Pinar Yoldas, Vjeran Vukašinović, Otchuda Say. Hrvatsko društvo likovnih umjetnika | Croatian Association of Fine Artists Galerija Prsten | Prsten Gallery Trg žrtava fašizma 16, 10000 Zagreb, www.hdlu.hr

IMPRESUM | Nakladnik/Publisher: Hrvatsko društvo likovnih umjetnika/Croatian Association of Fine Artists, Trg žrtava fašizma 16, 10 000 Zagreb, hdlu@hdlu.hr, www.hdlu.hr, | Za nakladnika/ For the publisher: Tomislav Buntak | Upravni odbor HDLU/Executive board of HDLU: Tomislav

supposed progress. The idea behind the exhibition is to show all that makes a human

With the photograph Cheetah Interaction (Namibia, 1998), Olly & Suzi document nature in

being a fascinating and inexhaustible source of discoveries and creations, which is

culture, a moment when cheetahs look at their own portraits. Olly & Suzi combine live-action

created in co-creation with Others.

ecology and art through painting by jointly creating a work of art (both work on the same artwork simultaneously) in the presence of an animal/and in its/their environment so that at

Let us start alphabetically, following the path of this exhibition, with the Anthropocene,

the, end the animal interacts with the work. We decided on the mentioned documentation

and with the voices of the artists about their own works, in a meaningful and concise

considering that it is featured on the cover of the first book by Steve Baker, a prominent

manner, as much as the form of the brochure made of fallen trees can handle. It is

theoretician of visual animalism.

Buntak (predsjednik/president), Josip Zanki (dopredsjednik/vicepresident), Ida Blažičko (dopredsjednica/vicepresident), Fedor Fischer, Vida Meić, Romana Nikolić, Alen Novoselec | Umjetnički savjet Galerije Prsten/Artistic board of Prsten Gallery: Mia Akrap, Branka Benčić, Tomislav Buntak, Ivan Fijolić, Vida Meić, Leila Topić, Josip Zanki | Ravnateljica/Director: Ivana Andabaka (HDLU) | Voditeljica galerije/Gallery coordinator: Martina Miholić | Predgovor/Preface: Ivana Filip i Suzana Marjanić | Prijevod/Translation: Zana Šaškin | Grafički dizajn/Graphic design: Duje Medić | Tisak/Printed by Kerschoffset d.o.o. | Naklada/Copies: 200

noticeable that different determinants are used for the nature of things - nature, landscape, (built) environment, environment, landscape, space, place.

In the cross-species work Arachnid – Tick Sensing (2021), Kira O’Reilly together with Antye Greie-Ripatti (AGF) explores human/tick transspecies encounters. The cross-species and

Maša Bajc, in her work The Nature of Things (2020), as a starting point takes the space of

trans-species work is inspired by the sound textures developed by Antye Greie-Ripatti (AGF)

the meadow, where she points out that just as people shape the landscape physically and

who edited and mastered the TICK TALKs podcasts, her sound work I vs Us, as well as the

symbolically, it reciprocally affects the shaping of their identity and mutual connections

essay The Microbial Self: Sensation and Sympoiesis (2017) by Kyle Schuller.

Kustosice izložbe: Ivana Filip, Suzana Marjanić

(cf. Paola Filippucci: “Landscape”, Cambridge Encyclopaedia of Anthropology, 2018).

With the object Shadow of the Anthropocene/Surrogate Painting (2022-2023), Ivana Using the designation Earthlines (2022-2023), Alex Brajković names a series of visual

Ožetski warns of the fact that one trillion cans are produced in the world annually. In 1810,

works created using his own algorithms for the interpretation of world data, thus raising

Englishman Peter Durand patented tin-coated iron cans for canning meat (of slaughtered

the question of how art visualizes the complex connection between people and the built

animals) for the needs of the English army and navy, and in 1963, the first aluminium can was

environment and responds to the crisis of the relationship between man and nature?

produced. In 1962, Warhol’s print Campbell Soup featuring tomato soup became a symbol of

Organizatori / Organizers:

Uz potporu / Supported by: HDLU – MEŠTROVIĆEV PAVILJON Dom hrvatskih likovnih umjetnika Trg žrtava fašizma 16, Zagreb

13. 4. - 5. 5.

2023.