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Krajem devetnaestog stoljeća osnivaju se u Srednjoj Europi prva Društva umjetnosti, udruge koje okupljaju likovne umjetnike, povjesničare umjetnosti i bogate mecene; zaljubljenike u umjetnost i kolekcionare. Društva umjetnosti su bila odgovor na ubrzanu industrijalizaciju, rastući građanski sloj, te promjenu standarda stanovanja i koncepta javnog prostora (nakon Haussmanmove transformacije Pariza). Umjetnička su djela trebala odgovarati uvjetima života; za stanove su se pripremali galerijski formati slika, a za grobnice vješte mramorne skulpture. U Socijalističkoj Jugoslaviji kao i u čitavom istočnom bloku Društva umjetnika su pretvorena u strukovne organizacije likovnih umjetnika. Povjesničari umjetnosti su osnovali vlastita udruženja dok su mecene ostale dio buržujske prapovijesti. Najvažniji naručitelji i kupci umjetničkih djela postali su država i komunistička partija. Za to vrijeme na zapadu su iza željezne zavjese osnivane umjetničke grupe i organizacije u kojima su se umjetnici okupljali na osnovu medijske poetike ili mjesta djelovanja. U tranzicijskim se devedesetim godinama Hrvatsko društvo likovnih umjetnika (slijednik Društva umjetnosti osnovanog 1868. godine) transformiralo u cehovsku udrugu koja promiče interese likovnih umjetnika. Međutim od 2000. godine i intenzivnijeg ulaska u virtualno-spektakularno doba naglo se počela mijenjati društvena uloga umjetnika, kontekst nastanka i tržišna vrijednost umjetničkog djela.

Rastući modeli kreativnih industrija i njihovih poligona u suburbijama kreativnih gradova proizveli su novu formu, društvenoga radnika (kako ga nazivaju Hardt i Negri), u kojem su isprepletene razne niti nematerijalne radne snage. Stvaranje bogatstva sve više postaje proizvodnja samoga društvenoga života u kojemu se ekonomsko, političko i kulturno isprepliću i ustoličuju jedno drugo. U tom okruženju Hrvatsko društvo likovnih umjetnika nastoji djelovati kao otvorena platforma u kojoj se isprepliće zastupanje autorskih i socijalnih prava likovnih umjetnika, izložbena i rezidencijalna djelatnost, međunarodna razmjena i rad s drugim europskim udrugama na projektima za dobrobit šire zajednice. Jedino tako hrvatska likovna umjetnost može premostiti dva dogmatska okvira: onaj isključivosti i zatvorenosti „nacionalne’’ kulture i onaj utapanja u estradizirani svijet medijskog spektakla i „robne’’ privrede. Zato se radujemo nastavku višegodišnje suradnje s umjetnicima zapadne njemačke i nastupu mladih hrvatskih umjetnika u izložbenom prostoru Flottmann-Hallen u Herneu. Selekciju umjetnika/ica potpisuju dvoje kustosa/ica srednje generacije Branka Benčić i Klaudio Štefančić i jedna 3

kustosica mlađe generacije Marijana Paula Ferenčić. Vjerujemo da će njihov presjek suvremene hrvatske umjetničke scene izmijeniti zapadni pogled na dio Europe kojeg sada smještaju u isključivo u kontekst izbjegličke rute ili turističkog raja. Nadamo se da ćemo ovim projektom otvoriti malu pukotinu slobode. Ona živi van proizvodnje društvenog života, izvan zidova idealnog rada i moći Imperija.

Josip Zanki

INTRODUCTION

The first Art Associations were established in Central Europe at the end of the nineteen century; these associations brought together artists, art historians and wealthy patrons; art lovers and collectors.

Art Associations were the answer to rapid industrialization, growing middle class and the change in living standards and the concept of public space (after Haussmann’s transformation of Paris). The works of art had to fit lifestyle needs; gallery-sized paintings were made for apartments, and skilfully made marble sculptures for tombs. In Socialist Yugoslavia, and throughout the Eastern Bloc, Associations of Artists turned into professional organizations of artists. Art historians established their own associations, while patrons became a thing of bourgeois prehistory. The state and the Communist Party became the most important commissioners and buyers of the works of art. During this time, the West behind the Iron Curtain saw the emergence of art groups and organizations in which the artists gathered on the basis of poetics of the media or the place of their activity. During the transition of the nineties the Croatian Association of Artists (successor of the Art Association, founded in 1868) transformed into a guild promoting the interest of artists. However, since the year 2000 and more intensive entry into the virtual and spectacular era, the social role of the artist suddenly began to change, as well as the context of creating art and its market value. The growing models of creative industries and their polygons in the suburbs of creative cities produced a new concept, the 4

one of the social worker (Hardt’s and Negri’s term), in which the various threads of immaterial labour-power are being woven together. The creation of wealth increasingly became the product of social life itself, in which the economic, political and cultural intertwined and installed each other. In this environment, the Croatian Association of Artists tried to operate as an open platform, combining the representation of artists copyrights and social rights, exhibition and residential activity, international exchange and collaboration with other European associations on projects for the benefit of the wider community. This was the only way for the Croatian art to overcome two dogmatic frameworks: the one of exclusion and isolation of the “national’’ culture and the other of drowning in a showbiz world of media spectacle and “commodity’’ economy. We are therefore looking forward to the multiannual collaboration with West German artists and the exhibition of young Croatian artists in Flottmann-Hallen exhibition space in Herne.

The artists were selected by the two curators of a middle generation, Branka Benčić and Klaudio Štefančić, and one curator of a younger generation, Marijana Paula Ferenčić. We believe that the cross-section of contemporary Croatian art will change the Western view of the part of Europe that is now strictly seen in the context of a migrant route or tourist paradise. We hope that this project will open up a crack of freedom. This freedom lives beyond the production of social life, beyond the walls of an ideal city and power of the Empire.

Josip Zanki

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(RE)THINKING SPACE & PLACE OBLICI REPREZENTACIJE PROSTORA U POKRETNIM SLIKAMA UMJETNIKA

Koncepti prostora utemeljeni su u različitim vrstama individualnih i kolektivnih iskustava, a modeli reprezentacije nekog mjesta stvaraju se na temelju različitih fragmenata – slojeva iz neposredne okoline, elemenata svakodnevnog života, priča, fikcija, dijelova povijesti koji grade i oblikuju procese mišljenja i percepcije, korespondiraju s društveno-političkim ili povijesnim kontekstom, dok istovremeno predstavljaju odraz unutarnjih stanja, iskustava, povijesti ili priča.

Radovi odabranih umjetnika i umjetnica okupljenih oko medija videa kao sredstva izražavanja i jezika pokretnih slika, iz različitih se pozicija bave oblicima reprezentacije, pitanjima individualnog ili kulturnog identiteta, temama prostora i arhitekture, koje istražuju putem usmjeravanja interesa na različite teme, umjetničke strategije i postupke - polazeći od spomenika, strategija bliskih performanceu, samoreprezentaciji, pitanja jezika i kulturnog konteksta, nasljeđa, zatim pitanja proizvodnje i deindustrijalizacije, interesom za izgrađeni ili prirodni okoliš, ukazujući kako je slika prostora uvijek oblik konstrukcije i pitanje reprezentacije, bilo da se radi o napuštenim prostorima, ostacima moderniteta, o pejzažu ili artificijalnom i fantastičnom prostoru animacije.

Na taj način, prizori u pokretu i protok slika koje pred nas postavljaju umjetnici adresiraju različita pitanja i mreže različitih odnosa – od sjećanja, pitanja budućnosti industrijske proizvodnje, identiteta gradova, kolektivne memorije i društvene i političke stvarnosti, prostore koji definiraju naš društveni i kulturni krajolik, usmjeravajući našu pažnju kako bi uputili na širi kontekstualan okvir u kojem se reflektiraju različiti socijalni i gospodarski odnosi, aktualna stanja i trenutne pozicije ne samo u Hrvatskoj, već u regiji i globalnom kontekstu.

Filmski i video radovi Ane Hušman često polaze od demontaže različitih kodova kulture i normi društvenog ponašanja. Filmskim jezikom, uz istraživanja i reinterpretacije tretirajući ih istovremeno precizno, analitički, uz humor i ironiju obrađuje prepoznatljive fragmente iz naše svakidašnjice. Njezini radovi ukazuju i razlažu modele konstrukcije kulturnog identiteta, usmjeravajući pažnju na devalvirane vrijednosti ili fetiše društva. Film Razglednice nastaje na temelju rada s profesionalnim glumcima i amaterima, a kao osnova za scenarij služi priručnik za učenje hrvatskog kao stranog jezika, te niz razglednica koje su poslane iz Amerike u Hrvatsku. U nastavnom planu za hrvatski jezik i u metodici podučavanja hrvatskog kao stranog jezika ističu se obrazovne metode: igra uloga, igrokaz, izražajno čitanje, insceniranje bajki, pisanje 7

i čitanje razglednica, kojima se umjetnica služi kao polazišnim točkama za razradu improviziranih i performativnih situacija.

Video SEKTOR Grana Škofića sniman je u autentičnom radnom okolišu brodogradilišta i formira se na suradnji umjetnika i radnika, a temelji se na uvjetno shvaćenom „performansu” radnika – varilaca, dok obavljaju svakodnevnu radnu aktivnost zavarivanja metala. Nizovi repetitivnih radnji odvijaju se unutar jednostavne geometrije kadra, dok audio zapis i manipulirani zvuk potenciraju repetitivnost radnje i lomove slike. Aktivnost zavarivanja, uz industrijski zvuk i pripadajuće svjetlosne„efekte” iskrenja, pri tom stvaraju specifičnu audiovizualnu kompoziciju baziranu na industrijskoj noise glazbi. U Sektoru Škofić progovara o radu, industriji i de-industrijalizaciji, pozicionirajući pitanje brodogradilišta kao pitanje kolektivne društvene i političke stvarnosti.

U video radu i pripadajućim fotografijama Grad od čelika Matija Debeljuh je također okupiran temama industrijske proizvodnje i deindustrijalizacije kojima pristupa na drugačiji način, usmjeravajući interes prema bilježenju krajolika. Radi se o preplitanju prizora pejzaža i izgrađenog urbanog okoliša, otvarajući niz pitanja o suodnosu prirode i povijesti. Grad od čelika strukturira specifičan narativ koji obuhvaća fragmente poetskih i dokumentarnih prizora industrijskih postrojenja željezare koji se temelje na promatranju, a razvijaju se kao slijed različitih planova industrijskih proizvodnih pogona koji se izmjenjuju sa prizorima grada, scenama prirodnog i izgrađenog okoliša. Njima je umjetnik je pokušao zabilježiti prostor i vrijeme koji se pretapaju u efemernost dima, rastaču i nestaju u izmaglici.

Transformance Nine Kurtela dokumentacija je petomjesečnog performansa (durational performance) a strukturiran je kao time lapse kojeg čine stotine fotografija. Umjetnica pozicionira sebe / svoje tijelo u središte prizora koji prikazuje prazan industrijski hangar u trenutku obnove i prenamjene. Dugoročnim boravkom u prostoru uspostavlja dnevnu rutinu. Dok izvodi performance, svjedok je transformacije prostora u Berlinu. Radovi su u tijeku. Transformance nam donosi oblik reprezentacije prostora u kontinuiranoj transformaciji, pripovjeda o izgradnji arhitekture, fizičkog prostora, promjenama društvenog i ekonomskog polja, reprezentacijom prostornih i ekonomskih fenomena.

Film There Aren’t Words for What We Do or How We Feel so We Have to Make Them Up Fokus grupe kroz kontemplaciju naratora, uz snimke nacionalnih parkova i parkova prirode, preklapa filmski protok slika s potragom za esencijalnim nacionalnim. Snimke prirode postaju poticaj za promišljanje odnosa reprezentacije i stvarnosti odnosno odnosa slike i mita o esencijalnom nacionalnom - suštinski povezanom s nekim teritorijem. Kroz različite lokalitete, od ravnica do planinskih vrhunaca, odnos naracije i slike je slobodno asocijativan. Kamera svjesno izbjegava kanoničke, prepoznatljive motive prirode, kako bi se istovremeno mogli smjestiti i svugdje i nigdje. Iz istog razloga naracija je originalno na engleskom jeziku a narator nije izvorni govornik.

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Video animacija Until the breath of air Marka Tadića priča je o nevidljivoj povijesti ispričana iz pozicije ruševina. Ovaj je film kratka melankolična revizija naše nedavne povijesti te vizualna naracija nastanka i nestanka jedne epohe kroz pejzažne i arhitektonske elemente. Animacija ne nameće definicije ili tvrdnje, nego na vrlo otvoren i sugestivan način gledatelja smješta u poziciju dnevnog sanjarenja u obliku vizualnog putovanja kroz izgradnju, rušenje, konstrukciju i rekonstrukciju.

Branka Benčić

(RE)THINKING SPACE & PLACE REPRESENTATION OF SPACE IN ARTIST MOVING IMAGE

The concepts of space are based on different types of individual and collective experiences, and the models of representation of space are created on the basis of different fragments – layers from the immediate environment, elements of everyday life, stories, fiction, parts of history that build and shape the processes of thinking and perception, correspond to the socio-political or historical context, which at the same time reflect conditions, experiences, histories or stories.

The works of the selected artists are focused on the medium of video as a means of expression and the language of moving images.

They take different positions on the forms of representation, issues of individual or cultural identity, space and architecture, and explore them by focusing their interest on different topics, artistic strategies and procedures – taking as a starting point monuments, strategies related to performance, body, self-representation, the question of language and cultural context, heritage, the issues of work, production and deindustrialisation, interest in the built or natural environment, by pointing to the fact that the image of a space is always a form of construction and matter of representation, whether it is about abandoned spaces, remnants of modernity, the landscape or artificial and fantastic space of animation.

In this way, by the moving images and image stream the artists address different issues and different relational networks – from memory, the issues about the future of industrial production, the identity 9

of cities, collective memory and social and political realities, spaces that define our social and cultural landscape, directing our attention to point to a wider contextual framework that reflects different social and economic relations, the current situations and conditions, not only in Croatia, but in the region and the global context.

Ana Hušman’s film and video works usually start from the dismantlement of various cultural codes and norms of social behaviour.

Using film language, along with research and reinterpretation, treating them analytically and with precision, using humour and irony, she interprets recognizable fragments from our everyday life. Her works point to and deconstructs the models of construction of cultural identity, focusing the attention on society’s devalued values or fetishes.

The film Postcards was made by working with professional actors and amateurs, and the basis for the script was the manual for learning Croatian as a foreign language and a number of postcards sent from the United States to Croatia. The curriculum for the Croatian language and the methodology of teaching Croatian as a foreign language focuses on the following educational methods: role play, play, expressive reading, staging fairy tales, writing and reading postcards, which the artist uses as starting points for elaborating improvised and performative situations.

SEKTOR, video by Gran Škofić, was filmed in the authentic working environment of a shipyard and created in collaboration between the artist and workers. It is based on the conditional perception of workers’ – welders’ “performance”, while they are performing their everyday welding activity. Sequences of repetitive actions take place within the simple geometry of the frame, while the audio recording and manipulated sound emphasize the repetitive nature of the action and disruption of the image. Welding, paired with the industrial sound and accompanying light “effects” produced by sparks, create a specific audiovisual composition based on industrial noise music. In Sektor, Škofić talks about work, industry and deindustrialization, raising the issue of shipyards as the issue of collective social and political reality.

In the video work and accompanying photographs Steel City, Matija Debeljuh also deals with the topics of industrial production and deindustrialization, which he approaches in a different way, by focusing his interest on recording the landscape. The work intertwines the images of the landscape with the built urban environemnt, raising a number of questions about the interrelation of nature and history. Steel City gives structure to a specific narrative that includes fragments of poetic and documentary scenes of industrial plants in ironworks based on observation, developed as a sequence of different plans of industrial manufacturing plants that alternate with the scenes of the city, scenes of natural and built environment. The artists tried to capture the time and space that blend into the ephemerality of smoke, dissolve and dissapear in the mist.

Transformance by Nina Kurtela is a documentation of a five10

month durational performance, and it is structured as a time lape-lapse of hundreds of photographs. The artists puts herself / her body into the center of the scene showing an empty industrial hangar at the time of its reconstruction and transformation. By spending hours in this space she turns it into a daily routine. While performing, she also witnesses the transformation of a space in Berlin. Works are in progress. Transformance is a form of representation of a space in a continuous transformation, it talks about the construction of architecture, physical space, changes in social and economic field, through the representation of spatial and economic phenomena.

Trough the contemplation of the narrator and the imagery of national and nature parks the film There Aren’t Words for What We Do or How We Feel so We Have to Make Them Up by Fokus Grupa overlaps the flow of images with the quest for the national essence. The images of nature become a stimulus for rethinking the relationship of representation and reality, or the image and myth on the essential national – essentially linked to a territory. Through different locations, from open plains to mountain peaks, the relationship of narration and image is freely associative. The camera consciously avoids canonical, recognizable motives of nature, so the image could be placed everywhere and nowhere. For the same reason the original narration is in English, and the narrator is not a native speaker.

Video animation Until the Breath of Air by Marko Tadić is a story of an invisible history told from the perspective of ruins. This film is a short melancholic revision of our recent history and a visual narration of appearance and disappearance of an era through landscape and architectural elements. Animation does not impose definitions or conclusions, but in a very open and suggestive way puts the viewer into a daydream in the form of visual journey through the building, demolition, construction and reconstruciton.

Branka Benčić

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MATIJA DEBELJUH Grad od Ä?elika/City of steel 2014. video i dvije fotografije A3 format/ video and 2 photographs A3 format

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FOKUS GRUPA (Iva kovač i Elvis Krstulović) There Aren’t Words for What We Do or How We Feel so We Have to Make Them 2012. video

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ANA HUŠMAN Razglednice/Postcards 2013. film pretvoren u video/ movie transferred to video Posudba zahvalnošću Bonobostudio/ Courtesy of Bonobostudio

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NINA KURTELA Transformance 2010. video

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GORAN ŠKOFIĆ Sektor/Sector 2015. video

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MARKO TADIĆ Until the breath of Air 2014. video/animation

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(RE)THINKING SPACE & PLACE SLIKARSKI PROSTORNI OKVIRI

Jedinstvenim umjetničkim pogledima na poetike promišljanja prostora odabrani i predstavljeni autori mlađe generacije osvajaju daleka prostranstva čineći ih sasvim vlastitim. Kritičkom intencijom ili pak pukom mišlju te svojim slikarskim rafirmanom i vještinom kroče i pozivaju na putovanje bez karte, smjera i putokaza. Slikarsko platno tako postaje produžetkom osebujnih unutarnjih dubina svakog od njih. Prostornim iluzijama, perspektivama i kompozicijama konstruiraju zamišljeno te smještaju ono vlastito i sasvim svojstveno u prostorne koncepte svojih viđenja. Promišljenim, razrađenim elementima i motivima omogućavaju postojanje zamišljenog u kojem se kreću sigurno, ali posve tiho. Na platnima se naslućuje odsutnost čovjeka koja naglašava privid samoće i otuđenosti. Izdvojenost živog iz prostora poigrava se s različitim tumačenjima u kojima domišljamo i vidimo, u kojima osjećamo. S druge strane, slikarsko se oko stapa s okolinom, priprema i proučava teren, prilagođava vremenskim uvjetima i razdobljima dajući specfičan pogled sa svrhom izdvajanja i rezanja fragmenta iz neke cjeline.

Patricija Purgar tako „snajperskim” pogledom izdvaja određeni pejzažni prizor čineći od njega svoju ciljanu metu. Time, aludira na štafelajno klasično slikanje pejzaža unutar kojeg se traži te odabire dijelić prirode u okviru veće cjeline. Mia Orsag pak svojim stvaralačkim procesom i izvedbom istražuje te propituje teme nestalnosti postojanja.

Protočnost vremena i mijena, nastajanja i nestajanja povezuje s motivima rastakanja u kojima vrijeme u prostoru čini vidljivim. Neuhvatljivim horizontom Sebastijan Dračić prikazuje odsutnost koja progovara svojim beskonačnim protezanjem prostorom. Problematizira vječitost koja se ogleda u prirodi postojanja i otuđenosti na rubovima egzistencije.

Ivan Prerad evocira svoja sjećanja iz djetinjstva te ih geografski mapira u predjele dalekog Novog Zelanda. Motivima se referira na konkretne topose oblikujući živu sliku svoje stvaralačke memorije, dok Grgur Akrap stvara sasvim imaginarne karte svijeta. Svojim mjerenjem i mapiranjem konstruira pregledne površine nepoznatih lokaliteta. Ivona Jurić titravošću slikarskog poteza zaziva poznate prizore viđenog u podsvijesti. Njima sugerira poetiku beskonačnosti odlazaka i dolazaka utkanih u naša sjećanja izmijenjenih prostornih okvira.

Cjelina načinjena od fragmenata naslikanih vizura, baš poput mozaika, spaja i razdvaja različite subjektivne narative koji su nastali racionalnim likovnim jezikom, ali i likovnom intuicijom.

Svijet dvodimenzionalnog tako egzistira u iluziji trodimenzionalnog čineći jedinstvo pogleda u svim svojim emotivnim nepreglednostima 18

i izvedbenim suptilnostima. Vanjsko postaje unutarnjim, unutarnje vanjskim, strano bliskim, izdvojeno povezanim stvarajući koherentnost slikarskih prostornih okvira unutar različitosti.

Marijana Paula Ferenčić

(RE)THINKING SPACE & PLACE PAINTERLY SPATIAL FRAMES

With their unique artistic views on the poetics of space, the selected and exhibited artists of a younger generation conquer distant open spaces and appropriate them as their very own. They navigate their way through with a critical intention, or with a mere thought and their artistic refinement and skill, and call on a journey without a map, direction or signpost. Canvas thus becomes an extension of distinctive inner depths within each of them. Using spatial illusions, perspectives and compositions, they construct what they imagine and infuse the spatial concepts of their visions with their own peculiarities. Using thought-out, elaborated elements and motifs, they enable the existence of these visions through which they move with confidence, but very quietly. The canvases indicate human absence, which emphasizes the illusion of solitude and alienation. This absence of life in space plays with various interpretations in which we imagine and see, in which we feel. On the other hand, painterly eye merges with the environment, it prepares and examines the terrain, adapts to the weather conditions and times, providing a specific view, with the aim to single out and cut the fragments from a unit.

With a “sniper” eye, Patricija Purgar thus singles out a specific scene from the landscape, turning it into her intended target. By doing so, she alludes to the classic landscape easel painting within which she tries to find her own way, and thus selects a fragment of nature within a larger whole. In her creative process and performance Mia Orsag, on the other hand, explores and questions the topic of the impermanence of existence. She makes the connection between the flow of time and changes, emergence and disappearance, and the motives of dissolution, which she uses to make time visible in space. With an elusive horizon, 19

Sebastijan Dračić shows the absence that speaks with its infinite stretch through space. He problematizes eternity, reflected in the nature of life and alienation on the edges of existence. Ivan Prerad evokes his childhood memories and maps them geographically in the regions of distant New Zealand. He uses his motifs to refer to specific topoi, forming a live image of his creative memory, while Grgur Akrap creates completely imaginary maps of the world. By measuring and mapping, he constructs clear spaces of unknown locations. With a vibrant painterly gesture, Ivona Jurić evokes familiar scenes from the subconscious. She uses them to suggest the poetics of infinite departures and arrivals woven into our memories of altered spatial frames.

The whole composed of fragments of painted views, just like a mosaic, connects and separates different subjective narratives created using a rational visual language, but also with artistic intuition.

The world of two-dimensional exists thus in the illusion of the threedimensional, forming the unity of view in all its emotional vastness and performative subtleties. External becomes internal, internal becomes external, foreign becomes familiar, separate becomes connected by creating the coherence of painterly spatial frames within diversity.

Marijana Paula Ferenčić

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GRGUR AKRAP Measuring the world 2014-2016. ulje i enkaustika na platnu, serija od 65 slika/ oil and encaustic on canvas, series of 65 paintings 230 x 220 cm

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SEBASTIJAN DRAČIĆ The Island 2012.

Ulje na platnu/ oil on canvas 140 x 200 cm

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IVONA JURIĆ A flag stuck in to nowhere 2015.

Ulje na platnu/ oil on canvas 130 x 150 cm

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MIA ORSAG No one/Nowhere 2012-2014. kombinirana tehnika, serija od 7 crte탑a/ mixed media, series of 7 drawings 26 x 32 cm

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IVAN PRERAD Exhibit 1 2015. akrilik i ulje na platnu, serija od 21 slike/ acrylic and oil on canvas, series of 21 paintings promjenjive dimenzije/changeable dimensions, cca. 200 x 350 cm

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PATRICIJA PURGAR Surcease of Target’s Activity 2015.

Akrilik na drvu/ acrylic on wood 4 x 30 x 30 cm, 30 x 135 cm

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Light-gathering Ability 2015.

Akrilik na drvu/ acrylic on wood 2 x 60 cm x 60 cm, 60 cm x 135 cm

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(RE)THINKING SPACE & PLACE TRG, ULICA, SPOMENIK

Pokušavajući ukazati na značaj Augusta Rodina u povijesti europske umjetnosti, Rosalind Krauss je u svojoj kapitalnoj knjizi Passages in Modern Sculpture, gotovo usputno, skrenula pozornost na nekoliko strukturnih obilježja koja i danas, čini mi se, određuju javnu skulpturu.

U tekstu Narrative Time: the question of the Gates of Hell, Krauss, između ostalog, piše o ulozi prikazanih spomenika u filmu Oktobar Sergeia Eisensteina. Film počinje kadrom koji prikazuje spomenik ruskom caru Nikoli II, a tijekom filma, Eisenstein koristi slike i drugih vrsta skulpture: figuru Napoleona, Krista, primitivne idole, te Rodinove skulpture Poljubac i Vječni idol. Scena revolucionarne svjetine koja u jednom trenutku nahrupi na gradski trg kako bi srušila spomenik Nikoli II, kao i scena u kojoj Eisenstein tehnikom montaže povezuje vojnikinje, koje od napada boljševika brane Zimski dvorac, sa slikama Rodinovih skulptura, poslužile su, između ostalog, Kraussovoj da ustvrdi da za Eisensteina skulptura nije značajna zbog svoje mimetičke kvalitete, nego zbog sposobnosti da utjelovi ideje i stavove. Od sveukupne umjetnosti, tvrdi Krauss, za Eisensteina je upravo skulptura supstancijalno određena ideologijom: spomenik Nikoli II tako utjelovljuje carstvo, a Rodinove skulpture Poljubac i Vječni idol predstavljaju sentimentalnu fantaziju o ljubavi koja je u filmu pripisana ženama reakcionarkama.

Drugo svojstvo javne skulpture, elaborira dalje Krauss, leži u obliježavanju mjesta. U diskursu europske umjetnosti, to obilježavanje je zapravo komemoracija, (pod)sjećanje na izuzetnost, ne samo određenog povijesnog vremena, nego i određenog prostora. Ova je teza omogućila Kraussovoj da prijelomne događaje u povijesti moderne skulpture interpretira u kontekstu europske umjetnosti, od antičke i renesansne skulpture do suvremenih umjetničkih eksperimenata i da tako u obzir uzme i one pojave, koje naizgled nemaju veze niti s tijelom, niti mjestom, niti ideologijom.

Skoro 40 godina od izlaska ove knjige, spmenička se skulptura ponovno probija u prvi plan javnog života. Dok u zapadnoj Europi ugledne dnevne novine pišu o nužnosti borbe protiv loše javne umjetnosti, analizirajući sve brojnije spomenike posvećene ikonama popularne kulture (rock i pop glazbenicima, glumcima itd.), u većini zemalja istočne Europe, javna je skulptura uglavnom u funkciji ideološke borbe. Čak je i u poslovično pluralističkom umjetničkom prostoru Sjedinjenih država, obilježavanje sjećanja na žrtve terorističkog napada na tornjeve Svjetskog trgovačkog centra 2001., pokrenulo ozbiljno javno 28

zanimanje za društvenu funkciju spomenika.

Umjetnička se vrijednost javne skulpture danas ne može razumjeti bez analize društvenih odnosa. Javnu skulpturu više nije dovoljno interpretirati u okviru modernističkog koncepta formalne inovacije. Za izbor radova koje donosimo na ovoj izložbi nisu toliko važni volumeni, mase ili obrisi oblika, odnos površine i anatomije prikazanih figura itd., koliko njihovo potencijalno mjesto u širem društvenom kontekstu. Počnimo, primjerice, od konstatacije da se javni prostor mjesto bez kojeg spomenik nije moguć - promijenio i da se u tranzicijskim društvima pogođenim ekonomskom krizom i dalje mijenja. Javni prostor u Hrvatskoj prolazi kroz svojevrsnu formalnu i neformalnu privatizaciju, što znači da je nekadašnje društveno vlasništvo - u socijalizmu, prirodni resurs pod strogom kontrolom države (partije) - poprimilo značajke tržišta. U takvoj situaciji, glavno se načelo upravljanja vodi financijskom, odnosno simboličkom vrijednošću lokacije. Tako se, primjerice, javna skulptura u Zagrebu u posljednje vrijeme pojavljuje u određenom prostoru, bez pravog urbanističkog ili umjetničkog razloga. Na reprezentativnom južnom ulazu u grad, Zagreb će, uskoro, na prostornom potezu koji nije duži od 500 metara, dobiti svoj treći spomenik, a slično se grupiranje odvija i u samom centru, oko Trga Petra Preradovića. Ovome se s izvjesnim pravom može uputiti prigovor da je državna, odnosno lokalna uprava još uvijek jedini naručitelj javnih umjetničkih radova i da stoga ne može biti riječi o tržišnom upravljanju prostorom, ali ovdje u obzir treba uzeti specifičnu, tranzicijsku poziciju u kojoj se hrvatsko, pa vjerojatno i svako drugo istočno-europsko društvo nalazi. Naime, u kontekstu političkog pluralizma i uslijed raspada komunalnih i stručnih standarda koji reguliraju odnos javnog prostora i umjetničkih intervencija, hiperprodukciju je javne skulpture u Hrvatskoj moguće tumačiti i kao jednu vrstu idejnog, pa i stranačkog natjecanja.

Spomenici više ne promiču samo najviše nacionalne vrijednosti, nego se otvoreno koriste u dnevno-političkim sukobima, promovirajući određene političke stranke ili pojedince.

Kada govorimo o javnoj skulpturi u Hrvatskoj, drugi moment na koji valja obratiti pažnju odnosi se na opću liberalizaciju društva. Za razliku od socijalističkog društvenog uređenja, u kojem je proizvodnja ideoloških sadržaja u mediju javne skulpture bila ekskluzivno pravo vladajućih, u postsocijalističkoj se Hrvatskoj umjetnost u javnom prostoru suočava s drugim polagačima prava na sve vredniji resurs pažnju građanina - među kojima su reklame, ulična umjetnost i grafiti najznačajniji. U situaciji u kojoj se ekonomska i politička borba sve više estetiziraju, ova tri fenomena u javnom prostoru grada funkcioniraju vrlo slično: potencijalnim primateljima emitiraju različite vizualno kodirane poruke. Nekadašnji javni prostor, koji je u socijalizmu služio demonstraciji moći - spomenici, parade itd. - i u kojem je svaki alternativni oblik korištenja prostora bio gurnut na marginu, postao je u postsocijalizmu svojevrsna „ničija zemlja” na kojoj vrijedi samo pravilo jačeg i bržeg. Reklame, video-zidovi, grafiti, spomenici, marketinške i 29

političke kampanje itd., sve se to razmeće i natječe za pažnju građanina kao potrošača i kao glasača.

Iako je mimetička skulptura u vidu biste ili statue i dalje dominantni oblik komemoracije mjesta, osobito u ovom dijelu Europe, čini se da je i umjetničkom konzervativcu danas jasno da skulptura ne mora imati tijelo od bronce da bi bila spomenik. U tom kontekstu, treba gledati i na često opravdane prigovore, koji se u zadnje vrijeme upućuju javnoj skulpturi kao zastarjeloj pojavi. Ako je u slučaju javne skulpture uvijek na kraju riječ o vizualnim znakovima koji traže svog idealnog primatelja, o kodiranju i dekodiranju značenja, nije li onda „borbu za značenje” lakše voditi s manje sredstava, brže i fleksibilnije uz pomoć reklama, jumbo-plakata i grafita, nego u okviru sporih i skupih državnih projekata oko kojih najčešće ne postoji konsenzus i koji se pojavljuju kao moment razdora, a ne mjesto sjećanja? Možda je brončani spomenik doista anakrona pojava, bez obzira da li prikazuje nekog znamenitog patrijarhalnog muškarca, kao što je posljednjih godina slučaj u Hrvatskoj, ili nekog mačo buntovnika iz imaginarija popularne kulture, kao što je to često slučaj u razvijenim društvima zapadnog svijeta, ali ideje koje ti spomenici utjelovljuju očito ne zastarjevaju. Bilo kako bilo, javna skulptura, u kojem god obliku izvedena, danas više nije povlašten medij vizualnog izražavanja.

U Hrvatskoj su, međutim, spomenici još uvijek važni. Najčešće je to skulptura koja se shvaća onako kako ju je Eisenstein prikazivao u svojim filmovima, kao utjelovljenje ideja i stavova. Sporazumno ili nasilno, uklanjaju se stari i postavljaju novi spomenici čija kvaliteta često ne mari niti za vrijednost utjelovljena (forma), niti za značaj mjesta (prostor). Radovi umjetnika koje predstavljamo, nadamo se, govore nešto o tome specifičnom povijesnom trenutku.

Video-instalacija Privedeni Barbare Blasin na osobit način naglašava javnu skulpturu kao komemoraciju mjesta. Video prikazuje skupinu aktivista koji recitiraju jedan od tekstova iz hrvatskog književnog Panteona - odu slobodi barokonog pjesnika Ivana Gundulića - na mjestu - u Zagrebu - gdje su par godina prije uhićeni prilikom obrane javnog prostora od interesa privatnog kapitala. Aktivisti stoje ispod spomenploče koja je, par godina nakon njihovog uhićenja, postavljena u čast proboja pomorske blokade Dubrovnika 1991., čime je gradu u ratnom okruženju dostavljena humanitarna pomoć. Privedeni ukazuju na to da je manipulacija javnim prostorom sastavni dio političke manipulacije.

Lokalna je uprava, naime, obilježila mjesto na kojem se događaj probijanje blokade Dubrovnika - nije dogodio, dok je ono što se dogodilo - probijanje blokade aktivista koji su branili ideju javnog dobra - ostalo neobilježeno.

Rad Ivana Fijolića Bruce Lee Show Off jedini je realizirani rad u ovom izboru. Izvorno ga je u Mostaru (Bosna i Hercegovina) 2006. postavila grupa mladih ljudi s namjerom da skrene pozornost s ratnih događanja i da grad podijeljen između Muslimana i Hrvata, barem simbolički, ujedini na pozadini popularne kulture. Oblikovno, 30

pa i sadržajno, mostarski Bruce Lee slijedi zapadnjački trend podizanja spomenika ikoničkim figurama popularne kulture, no činjenica da je podignut u društvu koje svoju povijest još uvijek kuje, na žalost u krvi, a ne u društvu s takozvanog kraja povijesti, daje ovoj javnoj skulpturi osobito značenje.

Rad Kristijana Kožula Untitled na prvi je pogled persiflaža.

Iskoristiti formu barokonog poprsja da bi se prikazala kontroverzna figura policajca zaduženog za smirivanje društvenih nereda nosi određenu dozu humora, koji, kao i u drugim radovima ovog umjetnika, može biti učinkovita protuteža tjeskobi vremena u kojem živimo.

Ambivalencija, međutim, kojoj svjedočimo - kada je policija prijetnja građanskoj slobodi, a kada zapravo štiti te slobode? - inherentna je funkciji policijskog aparata, čiju je dvostruku nasilnu prirodu, Walter Benjamin u Prilogu kritici nasilja opisao kao istodobno zakonodavnu i zakonoodržavajuću.

Niz fotografija Restaging monument Luize Margan u suodnosu je s njezinim prijašnjim radovima. Najprije, s akcijom pod nazivom Oči u oči sa slobodom u kojoj je umjetnica građanima Rijeke omogućila da se uz pomoć vatrogasnog krana podignu do razine očiju ženske partizanske figure koja je prikazana na Spomeniku slobodi, spomeniku podignutom 1955. u čast oslobođenja Rijeke od talijanske okupacije, a zatim i s istoimenim radom koji je uključivao i instalaciju. U oba slučaja, Margan naglašava feminističke aspekte povijesnih i spomeničkih fenomena. Sloboda je u hrvatskom jeziku ženskog roda; slobodu da budu punopravne članice društva, žene su, pak, u Hrvatskoj dobile proglašenjem socijalističkog društvenog uređenja, pa je intervencija Luize Margan, iako lišena uobičajenog jezika javne skulpture, intertekstualno višestruko povezana s hrvatskim spomeničkim nasljeđem. Istu vrstu intertekstualnosti nalazimo i u izloženim kolažima na kojima Margan svoje tijelo jukstaponira s arhivskim fotografijama izrade riječkog spomenika. Kao i javna skulptura, sugerira nam Margan, i tijelo žene je izloženo manipulaciji, a između tih izloženosti postoji veza.

Rad Tihomira Matijevića Bista u kazni na vrlo sažet način komentira praksu podizanja spomenika u Hrvatskoj. Matijević živi i radi u Osijeku, gradu koji je u proteklih dva desetljeća igrao svojevrsnu ulogu spomeničkog poligona. Matijevićeva bista ukazuje na devetnaestoljetni ukus naručitelja spomenika (državna i lokalna uprava), kao i na favoriziranje spomenika s jakim nacionalnim predznakom. Staviti, stoga, jedan generički lik zabrinutog, patrijarhalnog muškarca u kut galerije, predstavlja možda najbolji kritički komentar stanja javne skulpture u Hrvatskoj, izražen plastičkim sredstvima.

Prijedlog “korekcije” spomenika bečkom gradonačelniku Karlu Luegeru, Igor Ruf je ponudio nakon međunarodnog poziva, koji su umjetnicima uputile bečke građanske udruge zabrinute za antisemitske ideje koje spomenik širi. Rufov prijedlog, lapidaran, nenasilan i gotovo nježan, kao da potvrđuje zaključke UNESCO-ove komisije koja je 1994. bila zasjela u Berlinu, kako bi odgovorila na vandalski odnos prema 31

spomenicima preostalima iz socijalističkog društvenog uređenja, a koji je nakon pada Berlinskog zida bio zahvatio srednju i istočnu Europu.

Komisija je, naime, zaključila da neželjenu baštinu treba prepustiti vremenu, to jest starenju i propadanju.

Klaudio Štefančić

(RE)THINKING SPACE & PLACE PUBLIC SQUARE, STREET, MONUMENT

By trying to highlight the importance of Auguste Rodin in the history of European art in her capital book Passages in Modern Sculpture Rosalind Krauss, almost incidentally, drew attention to several structural features that still, I believe, define public sculpture.

In the text Narrative Time: the Question of the Gates of Hell, Krauss also writes about the role of monuments shown in Sergei Eisenstein’s film October. The film begins with the scene showing the monument to the Russian Emperor Nicholas II, and throughout the film Eisenstein also uses the images of other types of sculpture: the figure of Napoleon, Christ, primitive idols and Rodin’s sculptures The Kiss and The Eternal Idol. Krauss uses the scene of a revolutionary crowd that in one moment rushes into the town square to take down the monument to Nicholas II, as well as the one in which Eisenstein uses film editing to connect female soldiers defending the Winter Palace from the Bolshevik attack with the images of Rodin’s sculptures, to conclude that Eisenstein does not find sculpture important because of its mimetic quality, but because of its ability to embody ideas and attitudes. Krauss argues that of the totality of art, Eisenstein sees sculpture as substantially defined by ideology: the monument to Nicholas II thus embodies the empire, and Rodin’s sculptures The Kiss and The Eternal Idol represent a sentimental fantasy of love, which the film attributes to female reactionists.

Krauss elaborates further that public sculpture is also used to mark a place. In the discourse of European art, this actually serves as a commemoration, as a reminder of excellence, not only of a specific time in history, but also of a specific place. This thesis enabled Krauss to interpret crucial events in the history of modern sculpture within the context of European art, from ancient and Renaissance 32

sculpture to contemporary art experiments, and thus take into account the phenomena that seemingly have nothing to do with the body, place or ideology.

Almost 40 year since the release of this book, memorial sculpture once again pushes its way into the forefront of public life. While in the Western Europe reputable newspapers write about the necessity of fighting against bad public art by analysing the ever-increasing number of monuments dedicated to pop culture icons (rock and pop musicians, actors, etc.), in most Eastern European countries public sculpture is mainly used as a means of ideological struggle. Even in the proverbially pluralistic art world of the United States, commemorating the victims of the terrorist attack on the Twin Towers of the World Trade Center in 2001 gave rise to a serious public interest in the social function of monuments.

Nowadays, the artistic value of public sculpture cannot be perceived without the analysis of social relations. It does not suffice anymore to interpret public sculpture within the framework of modernist concept of formal innovation. The selection of works in this exhibition is not based on importance of their volumes, masses or contours, planes and anatomies of the portrayed figures, etc., but on their potential place in a wider social context. Let us begin, for example, with the statement that the public space – place without which a monument would not exist – has changed and that in transitional societies affected by economic crisis it is still changing. The public space in Croatia is subject to a kind of formal and informal privatization, which means that the former social property – in socialism, a natural resource under strict government control (party) – has acquired the features of the market. In such a situation, the main management principle is guided by the financial, or symbolic value of the location. So, for example, public sculpture in Zagreb is lately being erected within a specific place, with no real urban or artistic reason. At a representative southern entrance to the city, in a space not more than 500 meters long, Zagreb will soon get its third monument; similar thing is happening in the centre of the city, around Petar Preradović Square. With a certain right, this can be objected by saying that state or local authorities are still the only commissioners of public art and therefore one cannot talk about market management of space, but also has to take into account the specific, transitional position of Croatian, and probably every other Eastern European society. Namely, in the context of political pluralism and due to the dissolution of municipal and professional standards governing the relationship between the public space and artistic interventions, the hyper-production of public sculpture in Croatia can only be interpreted as a kind of ideological, even party competition. Monuments do not only promote the highest national values, but are also openly used in daily political conflicts, promoting thus certain political parties or individuals.

When talking about public sculpture in Croatia, another thing we have to pay attention to refers to the general liberalization of 33

the society. Unlike the socialist social order, in which the production of ideological contents in the medium of public sculpture was the exclusive right of the communist party, in the post-socialist Croatia, art in public space is faced with other claimants to the increasingly valuable source – the attention of citizens – with advertisement, street art and graffiti being the most important ones. In the situation where the economic and political struggles are becoming more and more aestheticized, these three phenomena in the public space of the city function in a very similar way: they emit different visually encrypted messages to the potential receivers. Former public space, which served for the demonstration of power in socialism – monuments, parades, etc. – and in which each alternative form of the use of space was sidelined, became a kind of “no man’s land” in post-socialism, where only the rule of the stronger and faster applies. Advertisements, video-walls, graffiti, monuments, marketing and political campaigns, etc., all this boasts and competes for the attention of citizens as consumers and as voters.

Although a mimetic sculpture in the form of bust or statue is still the dominant form of commemoration of a place, especially in this part of Europe, it seems that even an artistic conservative now understands that sculpture does not have to have a bronze body to function as a monument. Often-justified complaints, recently addressed towards public sculpture as an outdated phenomenon, should be seen within this context. If public sculpture is always about visual signs looking for their ideal receiver, about encrypting and decrypting meaning, is it not then easier to “fight for the meaning” with fewer resources, faster and more flexible, with the help of advertisements, billboards and graffiti, than within slow and expensive government projects where there is usually no consensus and which emerge as a moment of disruption, rather than a place of memory? Maybe a bronze monument truly is an anachronistic phenomenon, regardless of whether it shows an important patriarchal man, like it has been the case in Croatia in recent years, or some macho rebel from the imagery of popular culture, like is often the case in the developed societies of the Western world, but the ideas these monuments embody obviously do not become outdated.

However, public sculpture, in any form, is no longer a privileged medium of visual expression.

In Croatia, however, monuments are still important. In most cases this is sculpture, perceived in the way Eisenstein showed in his movies, as the embodiment of ideas and attitudes. By agreement or by force, old monuments are removed, and new ones are erected, the quality of which often does not care for the importance of embodiment (form) or the importance of the place (space). The works of artists we present, hopefully, say something about this specific moment in history.

Barbara Blasin’s video installation Brought to Justice in a specific way promotes public sculpture as a commemoration of a place.

The video shows a group of activist reciting one of the texts from the Croatian literary Pantheon – the ode to freedom by a Baroque poet Ivan 34

Gundulić – in the place – in Zagreb – where they were arrested several years before, when they were defending the public space from the interest of private capital. Activists are standing in front of a memorial plaque that, several years after their arrest, was placed in honour of the breakthrough of the naval blockade of Dubrovnik in 1991, thanks to which humanitarian aid was delivered to the city war zone. The work Brought to Justice points to the fact that manipulation of public space is an integral part of political manipulation. The local administration, in fact, marked the place in which the event - the breakthrough of the blockade of Dubrovnik – never happened, while the event that happened there – breakthrough of the blockade of activists who defended the idea of the public good – remained unmarked.

The work of Ivan Fijolić Bruce Lee Show Off is the only realized work in this selection. It was originally put up in 2006 by a group of young people in Mostar (Bosnia and Herzegovina), with the intention to draw attention from war events and reunite the city divided between Muslims and Croats, at least symbolically, using popular culture as a common background. In terms of its design and content, Mostar’s Bruce Lee follows the western trend of erecting monuments to the iconic figures of pop culture, but the fact that it was erected in the society that is still writing its history, unfortunately in blood, and not in the society from the so-called end of history, gives this public sculpture a special meaning.

Kristijan Kožul’s work Untitled may seem like persiflage at first. To use the form of a Baroque bust to portray a controversial figure of a policeman in charge of calming social disorder has a certain amount of humour in it, which, like in other works of this artist, can function as an effective counterpoint to the anguish of the times we live in. Ambivalence, however, which we witness – when does the police pose a threat to civil liberties, and when does it actually protect these liberties? – is inherent to the function of police apparatus, the double violent nature of which was described by Walter Benjamin in The Critique of Violence as both legislature and law-preserving.

A series of photographs Restaging monument by Luiza Margan stands in relation to her previous works. First, to the action titled Eye to Eye With Freedom in which the artist enabled the citizens of Rijeka to be lifted with a crane to the eye level of a female partisan figure of the Monument to Freedom, erected in 1955 in honour of the liberation of Rijeka from the Italian occupation, and then to the work of the same name that also included the installation. In both cases, Margan emphasizes feminist aspects of historical and memorial phenomena. In the Croatian language freedom is feminine; women in Croatia got the freedom to be full members of society with the proclamation of the socialist social order, so Luiza Margan’s intervention, although devoid of the usual language of public sculpture, is intertextually linked to the Croatian memorial heritage in multiple ways. The same form of intertextuality can be found in the exhibited collages in which Margan juxtaposes her body 35

with archive photographs of creating the monument from Rijeka. As well as the public sculpture, Margan suggests, female body is also exposed to manipulation, and there is a connection between these exposures.

Tihomir Matijević’s work Grounded Bust comments on the practice of erecting monuments in Croatia in a very concise way.

Matijević lives and works in Osijek, the city that in the last two decades played the role of a kind of a training ground for monuments. Matijević’s bust points to the 19th-century commissioners’ tastes (state and local administration), as well as to favouring the monuments with a strong national prefix. To put, therefore, a generic figure of a worried, patriarchal man into the gallery corner, presents maybe one of the best comments on the condition of public sculpture in Croatia, expressed through sculptural means.

Igor Ruf proposed the “correction“ of a monument to Karl Luger, the Mayor of Vienna, after an international call to artists by the Viennese civic organizations, which were concerned about the antiSemitic ideas the monument spread. It was as if Ruf’s proposal, clear, non-violent and almost gentle, confirmed the conclusions of the UNESCO Committee which met in Berlin in 1994 to find the answer to vandalistic attitude towards monuments created during the socialist social order, and which also spread across Central and Eastern Europe after the fall of the Berlin Wall. The Committee reached the conclusion that the unwanted legacy should be left to time, that is, to aging and decay.

Klaudio Štefančić

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BARBARA BLASIN Privedeni/Brought to Justice 2011.

Video instalacija (11’15’’), DVD, knjiga 46 x 31 cm/ video installation (11’5’’), DVD, a book 46 x 31 cm

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IVAN FIJOLIĆ Bruce Lee Show-Off 2007.

Poliester/ polyester 170 x 110 x 115 cm Posudba zahvalnošću: Zbirka suvremene umjetnosti Filip Trade, Zagreb – LAUBA/ Courtesy of Filip Trade Collection, Zagreb – LAUBA

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KRISTIAN KOŽUL Untitled 2011.

Poliester/ polyester 50 x 60 x 120 cm Posudba zahvalnošću: Zbirka suvremene umjetnosti Filip Trade, Zagreb – LAUBA/ Courtesy of Filip Trade Collection, Zagreb – LAUBA

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LUIZA MARGAN Restaging monument 2014.

Serija od 9 fotomonta탑a, naklada od 3/ series of 9 photo-montages, edition of 3 29,7 x 42 cm

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TIHOMIR MATIJEVIĆ Bista u kazni/Grounded bust 2008.

Bojani gips/ stained plaster 70 x 80 x 45 cm

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IGOR RUF Proposal for monument against anti-semitismand racism in Austria Transforming the Karl Lueger statue 2010.

Serija od 3 fotografije/ series of 3 photographs A3 format

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Proposal for monument against anti-semitismand racism in Austria Transforming the Karl Lueger statue 2010.

PlastiÄ?ne figure, 6 komada/ plastic figures, 6 pieces 10 x 9 x 9 cm

IMPRESSUM

Nakladnik/Publisher Hrvatsko društvo likovnih umjetnika/ Croatian Association of Fine Artists Trg žrtava fašizma 16, 10000 Zagreb, hdlu@hdlu.hr, www.hdlu.hr Za nakladnika/For the publisher: dr.sc. Josip Zanki, predsjednik/president Ravnateljica/Director: Ivana Andabaka Upravni odbor HDLU/Executive board of the CCA Josip Zanki (predsjednik/president), Tomislav Buntak (dopredsjednik/ vice president), Fedor Vučemilović (dopredsjednik/vice president), Ida Blažičko, Ivan Fijolić, Monika Meglić, Melinda Šefčić Kustosi/Curators: Branka Benčić, Marijana Paula Ferenčić, Klaudio Štefančić Umjetnici/Artists: Grgur Akrap, Barbara Blasin, Matija Debeljuh, Sebastijan Dračić, Ivan Fijolić, Fokus Grupa (Iva Kovač, Elvis Krstulović), Ana Hušman, Ivona Jurić, Kristian Kožul, Nina Kurtela, Tihomir Matijević, Luiza Margan, Mia Orsag, Ivan Prerad, Patricija Purgar, Igor Ruf, Goran Škofić, Marko Tadić.

Stručni suradnik na projektu/Professional associate: Mihael Puntarić Su-organizator/Co-organizer: Westdeutscher Künstlerbund Flottmann-Hallen Otvorenju izložbe nazočili su generalni konzul u SR Njemačkoj, Düsseldorf g. Zvonko Plećaš, kustosi izložbe Klaudio Štefančić i Branka Benčić, hrvatski umjetnici Kristian Kožul i Luiza Margan, predsjednik HDLU-a dr.sc. Josip Zanki te ravnateljica galerije Flottmann-Hallen gospođa Jutta Laurinat i Ekkehard Neumann / The opening of the (re) thinking Space&Place was attended by the Consul General for Germany, Düsseldorf Mr. Zvonko Plećaš, Croatian curators Klaudio Štefančić and Branka Benčić, Croatian artists Kristian Kožul and Luiza Margan, president of HDLU PhD Josip Zanki, director of Flottmann-Hallen Gallery Mrs. Jutta Laurinat and Ekkehard Neumann.

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Predgovor/Foreword: Branka Benčić, Marijana Paula Ferenčić, Klaudio Štefančić Uvodni tekst / Introduction text: dr.sc. Josip Zanki Urednik/Editor: Mihael Puntarić Engleski prijevod/English translation: Zana Šaškin Grafičko oblikovanje promotivnih materijala i kataloga/ Graphic design of promotional materials and catalogue Duje Medić Tisak/Printed by Stega Naklada/Edition 100 ISBN: 978-953-8098-03-1 CIP:

Organizator/Organizer

Su-organizator/Co-organizer:

Uz potporu/With contribution:

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