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UVOD U NOVA ČITANJA SLIKE - JOSIP ZANKI, TOMISLAV BUNTAK INTRODUCTION TO A NEW INTERPRETATION OF THE IMAGE - JOSIP ZANKI, TOMISLAV BUNTAK

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SLIKA-SLIKA(RSTVO)-NE(SLIKARSTVO) - ŽELJKO MARCIUŠ IMAGE-(PAINT)ING-NON(PAINTING) - ŽELJKO MARCIUŠ

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3. BIJENALE SLIKARSTVA - UMJETNICI 3RD Biennial OF PAINTING - ARTISTS

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UVOD ZA KATALOG IZLOŽBE EXPORTING GDAŃSK U ZAGREBU - WOJCIECH BONISŁAWSKI INTRODUCTION TO THE CATALOGUE OF THE EXPORTING GDAŃSK EXHIBITION IN ZAGREB - WOJCIECH BONISŁAWSKI

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EXPORTING GDAŃSK - PROŠIRIVANJE MEDIJA I ZAZIVANJE PLURALNOSTI - KATARZYNA KOSMALA EXPORTING GDAŃSK - EXPANDING THE MEDIUM, EVOKING PLURALITY - KATARZYNA KOSMALA

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EXPORTING GDAŃSK - UMJETNICI EXPORTING GDAŃSK - ARTISTS

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IMPRESSUM

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UVOD U NOVA ČITANJA SLIKE

W.J.T. Mitchell navodi kako je Benjaminov koncept mehaničke reprodukcije (fotografija, kino i pokretna vrpca u industriji), koji je predstavljao „fundamentalnu tehničku determinantu“ i važnu teoriju razdoblja modernizma, zamijenjen „biokibernetskom reprodukcijom (digitalna slika, virtualna realnost, internet i industrijalizacija genetskog inženjeringa) koja dominira u razdoblju postmoderne.“ Masovna reprodukcija „identičnih slika“ zamijenjena je tako „produkcijom beskonačno prilagodljivih digitalno animiranih slika“, a slika više nije statični ili pokretni objekt, već biokibernetski organizam. Činjenica je da sve više živimo u svijetu slika, svijetu koji je - kako je to tvrdio Guy Debord - omeđen Društvom spektakla; u kojem je spektakl stanje „posredovano slikama“. U takvom je društvu sveprisutnost i beskonačnost slika oruđe biopolitičke moći i sredstvo za proizvodnju društvenog radnika i kulturnih industrija. Do kraja XIX. stoljeća slikarstvo je predstavljalo jedinu materijaliziranu sliku. Taj je medij doživio svoje transformacije kroz dva prethodna stoljeća. Na njega su jednako utjecali fotografija, film, televizija i video, kao što danas na njega utječu virtualna realnost i biokibernetska reprodukcija. Drugi su mediji utjecali na oblikovanje slikarskog jezika i mijenjali povijest ovog medija. Današnji slikari na jednak način koriste računalne programe, kao što su oni s početka XX. stoljeća koristili novinsku fotografiju. Suvremeno hrvatsko slikarstvo polazi od de/ konstrukcije mehaničke i biokibernetske reprodukcije. Gotovo da možemo normirati na koje generacije slikara najveći utjecaj ima medij fotografije, na koje film, a na koje virtualna realnost. Upravo zbog tih raspona Hrvatsko je društvo likovnih umjetnika iniciralo Bijenale slikarstva. Namjera nam je generirati nove kvalitete na hrvatskoj slikarskoj sceni razmjenom umjetničkih iskustava i konfrontacijom različitih poetika. Hrvatsko društvo likovnih umjetnika unatrag zadnjih sedam godina sve više u nacionalnoj kulturi predstavlja otvorenu platformu koja nije ograničena jednom umjetničkom ili kustoskom poetikom. Bijenalom slikarstva Društvo otvara jednu od mogućih novih platformi čitanja slike i slikarstva. Kontekst Bijenala polazište je za susret različitih umjetničkih scena. Hrvatski su radovi postavljeni rame uz rame radovima iz europskih slikarskih centara, internacionalnih i nacionalnih. Na prvom se Bijenalu tako predstavila berlinska slikarska scena, na drugom bečka, a na trećem scena poljskog grada Gdanjska. Nadamo se da će treće Bijenale slikarstva propitivati ideju slike i slikarstva te otvarati put novim arhetipovima slike. Vjerujemo da mit o slici postoji neovisno o razdobljima ili društvenom kontekstu. Baš kao i mit o nastanku kozmosa i ovaj mit prolazi različite metamorfoze kroz prostor i vrijeme da bi se svaki put pojavio u novom obliku. Zbog svega

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toga otvaramo nove prostore drevnom mitu. Goethe je nadahnuto rekao: „Oko u sunce ne bi moglo gledati da nisu sastavljeni od iste materije.“ Slika u umu i onaj koji ju misli sastavljeni su od iste materije - one koju sanja sama slika. Zato se nadamo da će Bijenale slikarstva pomoći sanjanju novih, drugačijih slika.

Josip Zanki, Tomislav Buntak, Organizacijski odbor 3.Bijenala slikarstva


INTRODUCTION TO A NEW INTERPRETATION OF THE IMAGE

W.J.T. Mitchell states that Benjamin’s concept of mechanical reproduction (photography, cinema and the assembly line in industry), as the “fundamental technical determinant“ and a theory that dominated the era of modernism, was replaced by “biocybernetic reproduction (digital image, virtual reality, the Internet and the industrialization of genetic engineering), which dominates the age that we have called postmodern“. Mass reproduction of “identical images“ was thus replaced with the “production of infinitely malleable digitally animated images“, whereas the image is not a static or moving object anymore, but a biocybernetic organism. The world we live in is increasingly becoming a world of images; a world, as Guy Debord, bounded by the Society of the Spectacle stated, in which the spectacle is the state “mediated by images“. In such a society, the omnipresence and infinity of images is the tool of biopolitical power and means of producing social workers and cultural industries. By the end of the 19th century, painting presented the only materialized image. This medium underwent its transformations in the previous two centuries. It was influenced by photography, film, television and video, the same way it is influenced by virtual reality and biocybernetic reproduction nowadays. Other media have influenced shaping the language of painting and changed the history of the medium. Contemporary painters use computer programmes the same way the painters of the early 19th century used photojournalism. Contemporary Croatian painting is based on the de/construction of mechanical and biocybernetic reproduction. We could almost standardize the generations of painters according to the ones most influenced by the medium of photography, the ones most influenced by film and the ones most influenced by virtual reality. Due to this range, the Croatian Association of Artists has decided to start The Biennial of Painting. Our intention is to generate new qualities on the Croatian painting scene through the exchange of artistic experiences and confrontation of different poetics. In the last seven years, in the context of the national culture, the Croatian Association of Artists has become an open platform that is not limited by one artistic or curatorial poetics. Through The Biennial of Painting the Association opens up a possible new platform for the interpretation of the image and painting. The context of The Biennial is a starting point for the meeting of different art scenes. Croatian works are displayed alongside the works from the European art centres, both international and national ones. The first Biennial thus presented Berlin’s painting scene, the second presented Vienna’s scene and the third presented the city of Gdańsk. We hope that the 3rd Biennial of Painting will question the idea of image and painting and open the way for the new archetypes of image.

We believe that the myth of the image exists regardless of the period or social context. Just like the myth of the origin of the universe, this myth also undergoes various metamorphoses through space and time, only to reappear in a new form each time. Due to all this, we are opening up new spaces for the ancient myth. “If the eye were not sunlike, it could not see the sun“ Goethe said inspiredly. Image in the mind, and the one thinking it are composed of the same matter. The one image itself dreams of. Therefore, we hope that The Biennial of Painting will help in dreaming new, different images.

Josip Zanki, Tomislav Buntak, 3 rd Biennial of Painting Organizational Committee

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“Slikarstvu preostaje da živi svoju nemogućnost.” “Ne izlagati. Treba samo isprazniti prostor.” “Nestati (...)”. 1

Naravno, gorgonaškoj nemogućnosti mogli bismo suprotstaviti sederovsku mogućnost slike; od nove slike do današnje suvremene, nove nove ili nove stare slike, u već posve izlizanome kontrastu; počesto nerazumijevanju i potiranju moderne i postmoderne. Novim, usavršenim tehnologijama postupno su lančanom reakcijom reaktivirane virtualne smrti ili životi slika. Tzv. kraj povijesti nije prouzročio kraj slikarstva,2 ali je beskonačno mnoštvo slika, koje je predstavljeno svojevrsnom golemom, totalnom kaleidoskopskom megaslikom, uzrokovalo svojevrsnu inflaciju slike i slikarstva − bilo konceptualne ili ne-konceptualne slike, bilo idejnoga ili bezidejnoga slikarstva, što se zbunjujućom vrtoglavicom strmoglavljuje začaranim krugom mira i nemira, ugode ili neugode, straha, uzbuđenja, ljepote i ružnoće, paranoje, radosti, sreće, tuge i melankolije koje slike još uvijek pobuđuju tihim ili glasnim vizualnim jezikom unutar globalnog sustava današnje informacijske zapletenosti; kompleksnosti simbola zaokružene alkemijske zmije koja guta vlastiti rep, iscrpljujući resurse na kojima se temelji trajnom isključivošću: crvenih i crnih, minimalnih i zasićenih, crtanih i slikanih, akromatskih

i kromatskih, apstraktnih i konkretnih, mimetičkih i nemimetičkih, analognih i digitalnih matrica: starih i mladih, moćnih i nemoćnih slikara i slika. Ako je sve slika, onda je i ništa slika. Ionako, promatramo li s onu stranu čovjekove čežnje za vječnošću, kozmičkim razmjerima, sve što nastane strunom vremena jednom nestane. 3 U vrtlogu beskrajne slikovitosti prečesto je prikriveno temeljno načelo svih evolucija i revolucija umjetnosti, posebice slikarstva. Postavka jedinstva različitosti proizlazi iz relativno malo slikovnih prototipa, vrsta, klasa i svjetonazora, kao i ljudskih potreba unutar cijele povijesti civilizacija i povijesnih sustava i današnjih megakorporacijskih sistema različitih trajanja te beskonačno mnogo varijacija i načina osnovnih tema: originala i kopija originala, kao i originala kopija vječnoga kalupa pojmovno-slikovne Spilje ideja.4 Pojam imago - slika, lik kauzalno prosljeđujemo: (ob)likom-znakom-simbolom,5 iza kojeg se prikriva i iz kojeg ujedno proistječe imaginacija, sposobnost ideje i zamišljaja, zamišljanja, fantazija, fantazmi, projekcija i sublimacija stvaratelja, kao i pritajena značenja slika te tehničkoga umijeća i procesa stvaranja slikovnih tvorevina.6 Imago je možda dostatna ili barem upotrebljiva predodžba kojom danas valja pokušati tumačiti sliku i slikovnost − poput spiralne galaksije svih slika, svih slika koje se uopće mogu zamisliti, osjetiti, naslutiti, opažati, gledati i vidjeti, ponekad razumjeti ili analitički tumačiti, razlučiti i sintetizirati.7 Spirala slikovitosti međusobno se slaže i razlaže, raste i izrasta, uspinje i pada, umnaža i potire

1 Josip Vaništa, NA BJELINI, (pogovor, TonkoMaroević), Vlastita naklada: Josip Vaništa, Zagreb, 2015, str. 26 -27.; Zanimljivo, druga citirana sentenca dio je i verbalno-vizualnoga triptiha (1964. – 2015.), izložena na ovogodišnjem Bijenalu slikarstva, koji, znakovito, razlikovno od knjige, misli zaključuje materično-enformelnim vodoravnim usmjerenjem, ujedno asketskom crninom, neoplatonističkom beskrajnom tamom omeđenom formatom koja upija sve, naposljetku i bijelu svjetlost. Ali, kao što znamo, završeci su tek počeci u cirkularnosti bivanja i ne-bivanja. 2 Vidi relevantne kataloge izložbi; studije i na tu temu: Zdenko Rus, Kraj stoljeća – kraj slikarstva, HDLU, Zagreb, 27. I – 28. II 2005; Zvonko Maković, Slikarstvo sada: Résumé, HDLU, Zagreb, 5. 10. – 5. 11. 2006. 3 „Cijeli svijet, pa i svjetove umjetnosti možemo izraziti takvim polaritetima.“ (...) Naravno, dvorski savjetnik Groll poznavao je Goetheovu pjesmu ‘Gingo bilboa’. Bila je to ljubavna pjesma, ali izražavala je i ono, što je Goethe uvijek nanovo opisivao: polaritet svemira. Ovoga svijeta, čitava svijeta, svih oblika postojanja. Polaritet, ne dualizam! Dualizam razdvaja, uništava. Dualitet, to je krajnja raznolikost nečeg, nečeg ipak nedjeljivog, nečeg upravo zbog toga nedjeljivog! Bez oba pola nikad ne bi bilo cjelovitosti. Goethe je uvijek nanovo razmišljao o tim polaritetima: udahnuti - izdahnuti. Zdravlje - bolest. Nesreća - sreća. Plima - oseka. Sistola - dijastola. Dan - noć. Muškarac - žena. Mišićje napeto mišićje opušteno. Zemlja - nebo. Život - smrt. Tama - svjetlo. Negativno - pozitivno. Dobro - zlo. Taj polaritet, na primjer, primijenjen na elektriku, ukazuje jasno na što je Goethe mislio i što je Grolla zanimalo čitava njegova života: kad ne bi bilo onog pozitivnoga i onoga negativnoga, ne bi bilo nikakva napona, ne bi bilo struje. Oboje mora postojati. Taj plus i taj minus kako bi moglo postojati nešto cijelo. Ili drugi primjer želja: ‘Želim biti beskrajno sretan.’ Besmislena, neispunjiva želja. Čovjek može biti samo kratko vrijeme ‘beskrajno sretan’, jer ako bi se moglo biti dulje ili uvijek, tada to ne bi moglo biti nikada. Poznavajući nesreću čovjek postaje svjestan sreće, nastaje napon, nastaje pad, nastaje cjelina. (...) Agresija, razmišljao je Groll. Ugasila se smijehom. To je nešto urođeno, nije naučeno. O tom nas uči nauka o uzajamnim odnosima. Slučaj agresije, tisuću sam puta već doživio u istoj ovoj sobi. Uvijek je to isto. Sve tamo od svoje ledene spilje čovjek se - fizički i psihički - nije promijenio. Sve što se dogodilo od tog vremena kulturna je evolucija, a ne prirodna. Urođena znanja o međusobnim odnosima - još su uvijek ista. Emocije - još su uvijek jednake kao i u ono vrijeme. A razum? Ah... (...)”. Izvrstan psihološki krimić; Johannes Mario Simmel, I Jimmy se približava dugi; Mladost, Zagreb, 1972, str. 46 - 47; 49 - 50. Razmislite, primjerice, o svijetu slike emotivno. I koliko je osobni doživljaj subjektivan ili objektivan i obrnuto, te koliko osjećanje i doživljavanje slike ovisi o kontekstu gledanja i promatranja: od zida spavaće sobe, ateliera umjetnika, žiriranja unutar institucije, venecijanskoga bijenala, muzeja ili galerije do hrama, crkve, džamije ili vijećnice, bara na katu nekoga nebodera, suvremene ili povijesne slike, reprodukcije ili originalne predmetne ili bespredmetne tvorevine. 4 Istoimeni naziv izvanrednoga pametnoga krimića iz pera psihijatara, čija se radnja odvija u doba Platona (4. st. pr. Kr) s tekstom u tekstu, ili knjigom u knjizi. Ujedno i referencama na Agathu Christie i Poirota, kao i Umberta Eca (Ime Ruže) te samoga Platona i njegove Akademije - ujedno metafora svjetlosti i sjena Platonove pećine iz Države. Također, i igra riječi koja upućuje na svijet ideja, u kojem je i oblik konja i oblik slike konja vječan i nepromjenjiv. Sve proistječu iz vječnoga, zajedničkoga kalupa ideja. Dakle, vidi: Jose Carlos Somoza, Spilja Ideja, Vuković & Runjić, Zagreb, 2003; ujedno i: Jostein Gaarder, Sofijin Svijet, Znanje, Zagreb, 1995; posebice str. 73 -118. 5 Za simplificirano razlikovanje i subordiniranje oblika, znaka i simbola dostatna je jednostavna verbalno-vizualna shema iz psihologije gledanja i razumijevanja: oblik: krug; znak: krug koji označava prometni znak: primjerice, kružni tok; simbol: jedno, drugo i treće nikad potpuno iscrpljujuće i potpuno objašnjivo: intuitivno, emotivno, osjetilno i misaono značenje: primjerice, krug koji preobražava u aureolu simbolizirajući emanaciju božanske svjetlosti i svetosti; krug je i proširena točka, a kugla je prošireni krug, kojom je, Platon simbolizirao dušu, Jung jastvo, a zakrivljenost ljudske glave simbol je analogne zakrivljenosti kozmosa i slično. * Iako i znakovi, ponekad, kao u slikovitim, a nevidljivim gradovima, upućuju i na nešto drugo. „ (…) Oko ne vidi stvari, nego slike stvari koje predstavljaju druge stvari: kliješta upućuju na zubarevu kuću, vrč na krčmu, oštoperac na stražarnicu, vaga na piljaricu. Kipovi i štitovi predstavljaju lavove, delfine, kule, zvijezde: znak da nešto – tko zna što – ima znak lava, delfina, kulu ili zvijezdu. (…)“; Italo Calvino, Nevidljivi gradovi, Gradovi i znakovi I, CERES, 1998, str. 15; * Za produbljenje teme svakako vidi : J. Chevalier - A. Gheerbrant, Riječnik simbola, NZMH-MLADOST, Zagreb, 1994; Ronald Barthes, Carstvo znakova, August Cesarec, Zagreb, 1989; Mircea Eliade, Slike i simboli, Fabula Nova, Zagreb, 2006; Carl Gustav Jung, Sjećanja, snovi, razmišljanja, (autobiografija), Fabula Nova, Zagreb, 2004. kao i: Carl Gustav Jung, Čovjek i njegovi simboli, Mladost, Zagreb, 1974. 6 Promišljanja Jean-Luc Nancyja o muzama i umjetnosti, singularnosti pluraliteta i jednosti primjenjiva su i na pojam slike. „ (…) Bilo ovako ili onako, umjetnost, dakle, ne ispunjava ili pak premašuje vlastiti koncept. Mogli bismo reći i da se „umjetnost“ uvijek pojavljuje između dvaju poimanja umijeća,* tehničkoga i uzvišenog, pri čemu i sama napetost uglavnom ostaje bez koncepta. (…) Umjetnost i umjetnosti u uzajamnom su odnosu pripadnosti, iznutra mlitavo, izvana protežno i napeto. (…) O umjetnosti u jednini i bez drugih specifikacija govorimo od odnedavna, od razdoblja romantizma (valja reći da smo na francuskome počeli rabiti „umjetnost“ pod utjecajem njemačke riječi Kunst (…) Prije, u vrijeme Kanta i Diderota, govorilo se o „lijepim umjetnostima“ (beaux-arts), koje su se, uostalom, i dalje često razlikovale od „lijepe književnosti“ (bellles lettres) (…) Još prije toga, umijeća (…), bilo mehanička bilo slobodna (još jedna raznolikost), nisu imala mnogo veze s našom umjetnošću (u najboljem slučaju možemo uočiti razlikovanje skupine umijeća oponašanja, koja seže do Aristotela i Platona, ali se ne podudara s podjelom na mehaničko i slobodno).“ *“Podsjećamo da francuska imenica l’ art ne označava samo „umjetnost“, nego i „umijeće“, „vještinu“, pa i „tehniku“, „način na koji se nešto stvara.“ (nap. prev. ) – Vanda Mikšić; vidi: Jean-Luc Nancy, Muze, biblioteka drugi smjer – Meandarmedia. Zagreb, 2014, str. 15 - 17; i dalje.

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iz vlastita tkiva; umijeća, umješnosti, umjetnosti te njihovih modernističkih suprotnosti ili negacija, kao i još uvijek postmodernističkih afirmacija, sve do umjetne, artefaktne i no-making art ili high-tech i virtualne slike, proširuje i sužava pojam imaga, međusobno ga upotpunjujući ili negirajući u prošlom i sadašnjem treptaju slike: od one prvotne do budućonosnih slika s Marsa.8 Slika je vječan medij: optičko-perceptivni podatak osjetila vida, predodžba, san, vizija, ideja, prizor, uobraženje, projekcija - statična i pokrenuta, fotografska i filmska slika...; često proistječe iz slikarstva, a slikarstvo − određena vrsta slika specifičnih zakonitosti slikarskoga medija dugoga pretpovijesna i povijesna niza trajna − uvijek proizlazi iz slike, o čemu sublimatski svjedoči Mitchellova ikonološka pronicljiva, sažeta i jezgrovita shema, poput obiteljskog stabla slika: “ Slika odraz sličnost kopija

Grafička slike kipovi crteži

Optička ogledala projekcije pojave

Opažajna Mentalna osjetni podaci snovi “vrste” sjećanja ideje fantazme

Verbalna metafore opisi”9

Iako sliku možemo primjenjivati i pretakati njezine određene segmente i vidove u različita ljudska znanja, humanističke i prirodne znanosti, u svjesnome i nesvjesnome biću promatrača, psihologiji gledanja i viđenja, odnosno promatranja i prepoznavanja zrcalnim neuronima, omogućeno nam je čitati vizualni jezik slika: stvarnih i fiktivnih, a na psihološkoj osovini slika - promatrač u umu i procesu opažanja i gledanja - sve je to povezano.10 Kao što slike nešto rade nama, mi nešto radimo i njima, projicirajući ujedno osobnu svjesno-nesvjesnu prtljagu utemeljenu na znanju, sjećanju i iskustvenoj ja-formi te se na valnim dužinama dobro ugođenih rezonancija doživljavaju i ujedno odražavaju prirodne čarolije svih vidljivih slika. Što se tiče korelacije slika - slikarstvo treba predočiti da je slika i fizikalno-predmetna, čak i taktilna činjenica određena

formatom i materijom, čak i u proširenoj medijalnosti, ali to nije imanentno. Neodvojiva od slike upravo je neopipljiva vizualnost i komunikacija te određeno značenje unutar vizualnih komunikacija; njezina iluzijska komponenta konkretnih ili apstraktnih iluzija - prirodnih čarolija koje u svjetovima umjetnosti možemo nastaviti nepotpunim, ovdje, simplificiranim nizom i slijedom oponašanja ili neoponašanja: (...) antička slika i srednjovjekovni odmaci od nje, camera obscura − iluzionistička renesansna slika čija se ideja proteže do XX. stoljeća - različite varijante apstraktnih deziluzionizma kojima je primarna zakonitost plohe; potom diorama, dagerotipija, fotografija, film, plakatne, video i TV-slike, računale slike i virtualna stvarnost pa sve do suvremene slike XXI. stoljeća.11 To nas, nadalje, privodi i dijalektici verbalnih i vizualnih znakova, iako znamo da u svakoj riječi ima slike i u svakoj slici riječi; u svijesti je to nedjeljivo.12 Dok gledamo, mi čitamo i dešifriramo, dok čitamo gledamo, zamišljamo i budno sanjamo. U tom kontekstu današnje višeperspektivne slike bitno vizualne kulture, još uvijek utemeljene na mitu o čistome oku, valja promatrati dvogodišnju produkciju slika na ovogodišnjem bijenalu slikarstva. On je sinteza produkcije, prijavljenih, odabranih i pozvanih autora. Relativno stroga selekcija žirija nije nužno i najperspektivnija, ispravna ili točnija. Ovisi o znanju, prosudbi, ukusu, senzibilitetu i usuglašavanju članova žirija i ponuđenoj produkciji. Svakome je nešto drugo prihvatljivo ili neprihvatljivo. Iz odabranoga ipak je vidljiv kakav-takav simptom duha vremena − simbolički svemir popularne i elitne kulture, u kojem je prikazano i tzv. visoko i nisko u umjetnosti, uglavnom prožeto u suženome, ali i proširenome mediju slika i slikarskih motiva, ne-motiva i tehnika.13 Od iluzionizma i hiperiluzionizma fotografskoga slikarstva, utopijskih, a češće distopijskih projekcija. Potom minimalnoga i verbalno-vizualnoga koncepta, (a)kromatskih gradacija ništavila, toplih i hladnih slika, mladih i starijih slikara, optičkih propitivanja, lošega slikarstva, slikarskih i zoomorfnih imaginarija, poezije i slike, stripovskih referenci horor-popa do retro-figuracije, zabluranih i melankoličnih, kao i slika simboličkih ugođaja; od organičkih i figurativnih fantazmagorija,

Zanimljivo je, antologijski umjetnici hrvatske moderne Anka Krizmanić i Sergije Glumac u dvadesetim i tridesetim godinama XX. st. bili su suradnici „Zavoda za proučavanje i produkciju reklame: Imago“. (R. Gothardi- Škiljan, Plakat u hrvatskoj do 1941, Kabinet grafike JAZU, 1975). U problematizaciji nekih Gecanovih djela u korelacijama s njemačkim ekspresionističkim filmom i teatrom, Zvonko Maković upotrebljava pojam Imago. vidi: Zvonko Maković, Vilko Gecan, posebice poglavlje Cinik, str. 109 – 168. 8 NASA priprema poslati ljudsku posadu na Mars u sljedećih dvadesetak godina, letjelicom Orion s modulima u kojima je moguće živjeti na tako dugoj svemirskoj Odiseji. Roboti su već bili na Crvenome Planetu. Najranije, 2021., ljudi s Marsa odaslat će slike i filmove tadašnjom tehnologijom poput onih antologijskih s Mjeseca iz 1969., ako ih teorijom urota i fakeova nije snimio Stanley Kyubrick na Zemlji, što je uobraženje, ali i svjedočanstvo moći medijskih pokrenutih slika. I ovi podaci upućuju na različite funkcije slika: znanstvene, umjetničke, popularne, manipulativne, industrijsko-zabavne, osobne, a u visoko-tehnološkim pametnim gradovima od cca 8 milijuna stanovnika u kojima se apsolutno sve snima, mislimo o naizgled sigurnosnim, a zapravo kontrolirajućim slikama. 9 W.J.T. Mitchell, Ikonologija (Slika, tekst, ideologija), antiBarbarus, Zagreb, 2009, str. 15. 10 Vidi: Marco Iacobini, Zrcaljenje drugih (...), Algoritam, Zagreb, 2012. 11 Vidi: Don Slater, Fotografija i Moderna vizija: Spektakl “prirodne čarolije” u: Vizualna kultura (uredio: Chris Jencks), Jesnski i Turk / Hrvatsko sociološko društvo, Zagreb, 2002, str. 305 - 330. 12 “Razdvajanje jezičnih i plastičnih elemenata; ekvivalencija sličnosti i tvrdnje. Ta su dva načela gradila napetost u klasičnome slikarstvu. Jer, ovo drugo ponovo je uvelo diskurs (tvrdnja postoji samo kad se govori) u slikarstvo iz kojega je jezični element bio potpuno isključen. Odatle proizlazi činjenica da je klasično slikarstvo govorilo - i to mnogo - iako se konstituiralo izvan jezika; odatle proizlazi činjenica da je ono tiho počivalo na diskurzivnom prostoru; odatle proizlazi činjenica da je u vlastitome podnožju gradilo neku vrst zajedničkoga mjesta na kojemu je moglo obnoviti odnose između likova i znakova.”, Michel Foucault, Ovo nije lula (Slikati ne znači afirmirati), Biblioteka Drugi smjer - Meandarmedia, Zagreb, 2011, str. 83. 13 Vidi i: Slavoj Žižek, Gledanje iskosa, (Uvod u Jacquesa Lacana uz popularnu kulturu). Biblioteka Drugi smjer - Meandarmedia, Zagreb, 2013. 14 Gerhard Richter, preuzeto iz: W.J.T. Mitchell, What Do Pictures Want? The University of Chicago Press, 2005, citat u izvorniku: „Picturing things, a taking a view, is what make us human; art is making sense and giving shape to that senes.“ 7

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i verbalno-vizualnih dosjetki, ali i žestokih letrizama, skrivenih vizualno-tekstualnih poruka, proširenog medija slika do optičko-apstrahiranih silnica...; naposljetku, mistifikacija stvarnosti i njezinih urbanih i pseudoekoloških demistifikacija, kao i slika u slici te slike kao spektakla i početkom spomenutog ne-slikarstva u kojem prevladava koncept. Zbog nemogućnosti teksta nisu spomenuti izloženi autori, ali se navedenim polaritetima prepoznaju. Pogledajte ih na izložbi, pročitajte u katalogu i zaključite usporedno. Zanimljivo, osim nekim primjerima ekološke katastrofe: pseudo-sigurnosti i temeljnoga spiljskoga instinkta, distopijsko-mobiusovske vizualizacije kraja svijeta ili dolaska i odlaska Hrvata, žene sa zarom i misli o džihadu i maskama, nema previše slika koje upućuju na krizu - Koju krizu? - neoliberalnoga kapitalizma, veliku seobu naroda, mogućega kraja poznatoga sustava simboliziranoga potencijalnom smrću Europe. Ali to se ne događa. Sve je to slika, simulakrum, simulacija. Izgleda, previše je vizualnih posljedica, a premalo uzroka; mikrodijelovi kompozicije spektakularne globalne i totalne slike popularno-potrošačke kulture različitih predznaka. Ipak, slika i slikarstvo imaju i daju nam vraški smisao, ako vjerujemo u individualnu evoluciju: „Zamišljanje stvari, gledanje, ono je što nas čini ljudima; umjetnost daje smisao i oblik tim osjetilima.”14 Željko Marciuš

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“Painting is left with nothing but living its impossibility. Not exhibit. Just empty the space. Disappear (...).” 1

Of course, Gorgona-like impossibility could be juxtaposed with Seder-like possibility of image from the New Image to present contemporary, new new or new old image, in a completely worn out contrast, lack of comprehension for, as well as a common suppression of modern and postmodern. Through a chain reaction, new, more advanced technologies have gradually reactivated virtual deaths or lives of images. The so-called End of History did not cause the end of painting2, but an endless multitude of images symbolized by a kind of huge, totally kaleidoscopic mega-image, has caused a kind of inflation of image and painting. Of conceptual or non-conceptual image, painting with or without an idea, spinning headlong with a confusing dizziness in a vicious circle of peace and turmoil, comfort or discomfort, fear, excitement, beauty and ugliness, paranoia, joy, happiness, sadness and melancholy the images still evoke with their quiet or loud visual language within a global system of today’s information intricacy. The complexities of the symbol of a circular alchemical serpent biting it’s own tail, draining the resources it is based on through permanent exclusion: red and black, minimal and saturated, drawn and painted, achromatic and chromatic,

abstract and concrete, mimetic and non-mimetic, analogue and digital matrices: old and young, powerful and powerless painters and images. If everything is an image, then nothing is an image as well. Anyway, anything that comes to be eventually disappears due to the string of time, if we look beyond man’s longing for eternity, in a cosmic scale.3 The vortex of endless picturesqueness too often disguises the basic principle of all evolutions and revolutions of art, especially painting. The premise of unity of diversity stems from relatively few pictorial prototypes, types, sorts, classes and worldviews, as well as the human needs within the entire history of civilization and historical systems and present mega-corporate systems of different duration and infinite number of versions of the basic theme: originals and copies of the originals, as well as the original copies of the eternal mould of conceptual and pictorial Cave of Ideas.4 The concept Imago – image, figure – we forward causally: using form-sign-symbol,5 behind which imagination is concealed and from which it originates, the ability of idea and visualization, imagination, fantasy, phantasms, projection and sublimation of the creator as well as latent meanings of images and technical skill and process of creating images.6 Imago might be sufficient, or at least usable, idea with which one should try to interpret image and pictorial quality: like a spiral galaxy of all images in general, all images that can be imagined, felt, sensed, perceived, looked at and seen, sometimes even understood or analytically interpreted, distinguished and synthesized.7 The spiral of picturesqueness mutually composes and

1 Josip Vaništa, NA BJELINI, (foreword by Tonko Maroević), Published by the author: Josip Vaništa, Zagreb, 2015, pp. 26 -27; Interestingly, the second quoted sequence is also a part of a verbal and visual triptych (1964 – 2015), exhibited at this year’s Biennial of Painting, which, indicatively, unlike the book, provides conclusions through a matrix-Informel horizontal orientation, in a format bounded by an ascetic blackness, Neo-Platonist endless darkness, which absorbs everything, ultimately also the white light itself. But, as we know, in the circularity of being and non-being, endings are merely beginnings. 2 See relevant exhibition catalogues; studies and on the subject: Zdenko Rus, Kraj stoljeća – kraj slikarstva, Croatian Association of Artists, Zagreb, January 27 – February 28, 2005; Zvonko Maković, Slikarstvo sada: Résumé, Croatian Association of Artists, Zagreb, October 5 – November 5, 2006. 3 The whole world, even the worlds of art can be expressed in such polarities. (…) Of course, the court advisor Groll was familiar with Goethe’s poem ‘Gingo biloba’. It was a love poem, but it also expressed what Goethe described time and again: the polarity of the universe. Of this world, the whole world, all forms of existence. Polarity not dualism! Dualism separates, destroys. Duality, it is the ultimate diversity of something, of something indivisible, something existing precisely because of the indivisible self! Without both poles there would be no wholeness. Goethe thought about these polarities time and again: inhale – exhale. Health – disease. Misfortune – luck. Flux – reflux. Systole – diastole. Day – night. Man – woman. Tense muscles – relaxed muscles. Earth – sky. Life – death. Darkness – light. Negative – positive. Good – evil. This polarity, applied to electricity for example, clearly demonstrates what Goethe had in mind and what Groll was interested in his whole life: if there were no positive and negative poles, there would be no voltage, no electricity. Both have to exist. The positive and the negative, in order for something whole to exist. Or another example of a wish: ‘I want to be endlessly happy.’ A pointless wish that cannot be fulfilled. A person can be ‘endlessly happy’ only for a short time, because if one could be happy for longer or all the time, then there would be no never. Through misfortune one becomes aware of happiness, which creates tension, the fall, the whole. (…) Aggression, thought Groll. It was shut down by laughter. It is something innate, not learned. The science of mutual relations teaches us that. The case of aggression, something I have experienced in this very room for a thousand times. It is always the same. Ever since the ice cave, the man – physically and psychologically – has not changed. Everything that has happened since that time is a cultural, and not natural evolution. Innate knowledge of mutual relations – is still the same. Emotions – are still the same as in those days. And the sense? Ah… (…) An excellent psychological thriller; Johannes Mario Simmel, I Jimmy se približava dugi; Mladost, Zagreb, 1972, pp. 46 - 47; 49 - 50. Think about, for example, the world of image in an emotional way. And how much is a personal experience subjective or objective and vice versa, how much feeling or experiencing an image depends on the context of looking and observing: from bedroom walls, an artist’s atelier, jury within an institution, the Venice Biennial, museum or gallery to a temple, church, mosque or town hall, bar at the top of a skyscraper, contemporary or historical painting, reproduction or original figurative or non-figurative creation. 4 The same title of an extraordinarily smart crime novel written by a psychiatrist, set in the time of Plato (4th century BC) with text within the text, or book within the book. It references Agatha Christie and Poirot, and Umberto Eco (The Name of the Rose), as well as Plato himself and his academy – and at the same time it works as a metaphor of light and shadows of Plato’s cave from The Republic. It is also a wordplay that points to the world of ideas, in which the shape of a horse and the shape of a picture of a horse are eternal and unchanging. They all derive from the eternal, common mould of ideas. See: Jose Carlos Somoza, Spilja Ideja, Vuković & Runjić, Zagreb, 2003; and also: Jostein Gaarder, Sofijin Svijet, Znanje, Zagreb, 1995; especially pp. 73 -118 5 For simplified distinction and subordination of forms, signs and symbols suffices a simple verbal-visual scheme from the psychology of seeing and understanding: shape: circle; sign: circle indicating a traffic sign: for example, a roundabout; symbol: first, second and third never completely exhausting and completely explainable: intuitive, emotional, sensory and mental meaning: for example, a circle transforming into a halo symbolizing the emanation of a divine light and holiness; circle is also an expanded dot, and ball is an expanded circle, which Plato used as a symbol of the soul, Jung of the self, and the curvature of the human head is a symbol of analogue curvature of the cosmos and the like.* 6 Jean-Luc Nancy’s thoughts on the muses and art, the singularity of plurality and oneness can also be applied to the concept of image. „ (…) In one way or another, art would thus be in default or in excess of its own concept. One could also say: “art“ never appears except in a tension between two concepts of art,* one technical and the other sublime – and this tension itself remains in general without concept. (…) Art and the arts inter-belong to each others s’entr’appartiennent in a tense, extended mode in exteriority, without any resolution in interiority. (…) We have been saying “art“ in the singular and without any other specification only recently, only since the romantic period. (One must add that in French we said “art“ under the influence of the German Kunst (…) Earlier, at the time of Kant and Diderot, people said that the “beaux-arts“ or “fine arts“, and these were often distinguished further from “belles-lettres“ (…) Still earlier, the arts (…), either mechanical or liberal (yet another diversity), had little to do with our art. (At most, one can locate a distinction of the arts of imitation, according to a tradition that goes back to Aristotle and Plato, but it does not clearly align with the division between the mechanical and the liberal).“ *“We remind that French noun l’ art does not only mean „art“, but also „skill“, „expertise“, and even „technique“, „the way something is created.“ (TN) – Vanda Mikšić; see: Jean-Luc Nancy, The Muses, Stanford University Press, 1996, pp. 4 - 5; etc.

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decomposes itself, grows and extends, rises and falls, multiplies and subtracts from its own tissue; artistry, skill, art and their modernist oppositions or negations, as well as still postmodern affirmations, all the way to artificial, artefact and no-making art or high-tech and virtual image, expands and narrows the concept of imago, mutually complementing or negating it in the past and present blink of an image: from the first one to future images from Mars.8 Image is an eternal medium: optical – perceptual data of the sight, perception, dream, vision, idea, scene, concept, projection – static and moving, photographic and movie image...; often derives from painting, and painting, a specific type of images governed by specific laws of the painting medium, of a long prehistoric and historical duration, always derives from image, as is sublimely witnessed by Mitchell’s iconologically insightful, concise and succinct scheme, like a family tree of images: “ Image likeness resemblance similitude

Graphic pictures statues designs

Optical mirrors projections

Perceptual sense data “species” appearances

Mental dreams memories ideas fantasmata

Verbal metaphors descriptions”9

Although image can be applied and its specific segments and aspects can be transformed in different types of human knowledge, the humanities and social sciences, in a conscious and unconscious being of an observer, the psychology of seeing and looking, that is, observing and recognizing with mirror neurons we are enabled to read the visual language of images: real and fictional, and on the psychological image-observer axis in the mind and process of seeing and looking this is connected.10 As the images do something to us, we do something to them, projecting at the same time our personal conscious-unconscious baggage based on knowledge, memory and experiential I-form and at wavelengths of well tuned resonances the natural magic

of all visible images are simultaneously experienced and reflected. In image – painting correlations one should also present the image as a physical and figurative, even tactile fact defined by the format and material, even in an expanded mediality, but this is not immanent to it. Its intangible visuality and communication are inseparable, as well as a specific meaning within visual communications; its illusionary component – of concrete or abstract illusions – natural magic that in the worlds of art can be followed by an incomplete, here, simplified series and sequence of imitation or non-imitation: (...) an antic painting and medieval deviations from it, camera obscura, illusionistic renaissance painting the purpose of which extends to the 20th century – variants of abstract disillusionments for which the primary law is the surface; then diorama, daguerreotype, photo, film, poster, video and TV-images, computer images and virtual reality..., contemporary images of the 20th century.11 This takes us further to the dialectics of verbal and visual signs, although we know that in each word there is image and in each image there is word; this is inseparable in the mind.12 While we observe: we read and decipher, while we read we observe, imagine and dream awake. In the context of present multi-perspective image of a predominantly visual culture, still based on the myth of the pure eye, one should observe the two-year production of paintings at this year’s Biennial of Painting. Biennial is the synthesis of production, applied, selected and invited authors. A relatively strict selection of the jury is not necessarily the most perspective, more correct or accurate one. It depends on the knowledge, judgement, taste, sensibility and agreement of the jury members and offered production. Everyone finds something else acceptable or unacceptable. The selected works still reflect, more or less, symptom of the spirit of the times. Symbolic universe of the popular and elite culture, which shows the so-called high and low in art, mainly imbued in a narrowed, but also extended medium of paintings and painting motives, non-motives and techniques.13 From illusionism and hyper-illusionism of

Interestingly, the anthological artists of the Croatian Modernism, Anka Krizmanić and Sergije Glumac, were the associates of Imago, the Institute for Study and Production of Advertising Material, in the 20s and 30s of the 20th century“ (R. Gothardi- Škiljan, Plakat u hrvatskoj do 1941, Kabinet grafike JAZU, 1975). When dealing with the issue of some Gecan’s works in correlation with German expressionist film and theatre, Zvonko Maković uses the term Imago. See: Zvonko Maković, Vilko Gecan, especially chapter Cinik, pp. 109 – 168 8 NASA is preparing to send human crew on Mars within the next twenty years, on Orion ship with modules in which one can survive on such long space Odyssey. Robots already visited the Red Planet. In 2021, at the earliest, images and movies will be sent by people from Mars using the technology of the time, like the anthological ones sent from the Moon in 1969, unless, according to conspiracy and fake theories, they were taken by Stanley Kubrick on Earth, which is an idea, but also a testimony of the power of media launched images. This data also points to a variety of functions of image: scientific, artistic, popular, manipulative, industrial and entertaining, personal, and in high-tech smart cities of approx. 8 million inhabitants where absolutely everything is recorded, we think of seemingly safety-related, but actually controlling images. 9 W.J.T. Mitchell, Iconology: Image, Text, Ideology, The University of Chicago Press, 1986, p. 10. 10 See: Marco Iacobini, Zrcaljenje drugih (...), Algoritam, Zagreb, 2012 11 See: Don Slater, Fotografija i Moderna vizija: Spektakl “prirodne čarolije” in: Vizualna kultura (edited by: Chris Jencks), Jesnski i Turk / Hrvatsko sociološko društvo, Zagreb, 2002, pp. 305 - 330. 12 “Separation between linguistic signs and plastic elements; equivalence of resemblance and affirmation. These two’ principles constituted the tension in classical painting, because the second reintroduced discourse (affirmation exists only where there is speech) into an art from which the linguistic element was rigorously excluded. Hence the fact that classical painting spoke-and spoke constantly-while constituting itself entirely outside language; hence the fact that it rested silently in a discursive space; hence the fact that it provided, beneath itself, a kind of common ground where it could restore the bonds of signs and the image.“, Michel Foucault, This is Not a Pipe, University of California Press, 1983, p. 53. 13 See also: Slavoj Žižek, Gledanje iskosa, (Uvod u Jacquesa Lacana uz popularnu kulturu). Biblioteka Drugi smjer - Meandarmedia, Zagreb, 2013 14 Gerhard Richter, from: W.J.T. Mitchell, What Do Pictures Want? The University of Chicago Press, 2005 7

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photographic painting, utopian, and more often dystopian projections. Then minimal and verbal and visual concept, image, comic references and horror-pop to retro-figuration, blurred and melancholic, as well as paintings of symbolic atmosphere; from organic to figurative phantasmagoria and verbal and visual puns, but also fierce lettrisms, hidden visual and textual messages, expanded media of paintings to optical and abstracted forces...; finally, mystification of reality and its urban and pseudo-ecological demystifications, as well as paintings in paintings and painting as a spectacle and the beginning of the abovementioned non-painting dominated by the concept. Due to the impossibility of the text the exhibited authors are not mentioned, but can be recognized within the given polarities. See them at the exhibition, read about them in the catalogue and conclude in parallel. Interestingly, except for some examples of environmental disaster: pseudo-safety and the basic cave instinct, dystopian-Mobius-like visualization of the end of the world, or the arrival and departure of Croats, women wearing niqab and thought of jihad and masks, there are not too many paintings pointing to the crisis – What crisis? – of neoliberal capitalism, the great migration of peoples, the possible end of the known system symbolized by the potential death of Europe. But it is not happening. It is all an image, simulacrum, simulation. It looks like there are too many visual consequences, and too little causes. Micro-parts of the composition of a spectacular global and total image of popular and consumerist culture of different prefixes. Still, image and painting have and make a hell of a sense, if we believe in individual evolution: “Picturing things, a taking a view, is what make us human; art is making sense and giving shape to that senses”.14

Željko Marciuš

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GRGUR AKRAP

Zašto me progoniš?, 2015. ulje i enkaustika na platnu, 150 x 160 cm Why Are You Haunting Me?, 2015, oil and encaustic on canvas, 150 x 160 cm Do svršetka svijeta, 2015. ulje i enkaustika na platnu, 150 x 160 cm Until the End of the World, 2015, oil and encaustic on canvas, 150 x 160 cm Koga tražite?, 2015. ulje i enkaustika na platnu, 150 x 160 cm Who Are You Looking For?, 2015, oil and encaustic on canvas, 150 x 160 cm

HPB nagrada za mladog umjetnika / HPB award for young artist

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RENE BACHRACH KRIŠTOFIĆ

Test 1, 2014., akril na platnu, 80 x 80 cm Test 1, 2014, acrylic on canvas, 80 x 80 cm Prenošenje prosvjeda, 2014., akril na platnu, 70 x 50 cm The Transmission of the Protest, 2014, acrylic on canvas, 70 x 50 cm

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BISERKA BARETIĆ

Hvatač snova, 2013., ulje na platnu, 150 x 200 cm Dream Catcher, 2013, oil on canvas, 150 x 200 cm Užareni svod, 2015., ulje na platnu, 200 x 150 cm Glowing Hot Ceiling, 2015, oil on canvas, 200 x 150 cm

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SEBASTIJAN DRAČIĆ

Brujería, 2015., ulje na platnu, 151.5 x 151.5 cm Brujería, 2015, oil on canvas, 151.5 x 151.5 cm Brujería II, 2015., ulje na platnu, 50 x 50 cm Brujería II, 2015, oil on canvas, 50 x 50 cm

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FEDOR FISCHER

Krhotine 01 iz serije Opstanak, 2015., kombinirana tehnika, 200 x 200 cm Fragments 01 from Survival series, 2015, mixed media, 200 x 200 cm Krhotine 02 iz serije Opstanak, 2015., kombinirana tehnika, 200 x 200 cm Fragments 02 from Survival series, 2015, mixed media, 200 x 200 cm

Pohvala / Acknowledgement

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DANKO FRIŠČIĆ I DAVOR MEZAK

Omage Dolazak Hrvata alias Odlazak Hrvata i prolazak Sirijaca, 2015., kombinirana tehnika, 610 x 420 x 350 cm Homage Arrival of Croats alias Departure of Croats and of Syrians , 2015, mixed media, 610 x 420 x 350 cm

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MARTINA GRLIĆ

Čajanka, 2015., ulje na platnu, 180 x 230 cm Tea Party, 2015, oil on canvas, 180 x 230 cm

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PETRA GROZAJ

Lovac, 2015., ulje na platnu, 200 x 180 cm Hunter, 2015, oil on canvas, 200 x 180 cm Napuštajući močvaru čekanja, 2015., ulje na platnu, 190 x 130 cm Leaving the Swamp of Waiting, 2015, oil on canvas, 190 x 130 cm

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HELENA JANEČIĆ

Kupačice, 2015., akril na platnu, 180 x 220 cm Bathers, 2015, acrylic on canvas, 180 x 220 cm

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DUJE JURIĆ

Nabijem te na kurac, 2015., akrilik na platnu, grafitna i tintana olovka, 150 x 150 cm Nabijem te na kurac, 2015 acrylic on canvas, graphite and ink pencil, 150 x 150 cm Digitus impudicus, 2014., akrilik na platnu, metalni kotaÄ?i, 100 x 227 cm Digitus impudicus, 2014, acrylic on canvas, metal wheels, 100 x 227 cm Son of bitch, 2014. akrilik na platnu, grafitna i tintana olovka, 150 x 150 cm Son of bitch, 2014, acrylic on canvas, graphite and ink pencil, 150 x 150 cm

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IVONA JURIĆ

Svjetlo, 2015., ulje na platnu, 140 x 220 cm Light, 2015, oil on canvas, 140 x 220 cm Samo sebe osvjetljava, 2015., akril na platnu, 150 x 130 cm Illuminates Itself, 2015, acrylic on canvas, 150 x 130 cm

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KORALJKA KOVAČ

Konstalacije 7, 2015., ulje na platnu, 175 x 145 cm Constellations 7, 2015, oil on canvas, 175 x 145 cm Konstalacije 2, 2015., ulje na platnu, 170 x 140 cm Constellations 2, 2015, oil on canvas, 170 x 140 cm

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DENIS KRAŠKOVIĆ

Autoportret sa krilima, 2015., akril na platnu, 140 x 190 cm Self-portrait With Wings, 2015, acrylic on canvas, 140 x 190 cm La dolce vita, 2015., akril na platnu, 190 x 140 cm La dolce vita, 2015, acrylic on canvas, 190 x 140 cm

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RADOVAN KUNIĆ

Mjesto prelaska, 2015., ulje na platnu, 147.5 x 220 cm Transition Place, 2015, oil on canvas, 147.5 x 220 cm

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IVICA MALČIĆ

Osmrtnice umjetnosti, 2014.-2015., akrilik i kolaž na iverici / poliptih od 12 djelova, cca 200 x 200 cm Art Obituaries, 2014-2015, acrylic and collage on plywood / polyptych - 12 parts, ca. 200 x 200 cm

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IVAN MARKOVIĆ

Ivan Marković, 2015., akril na platnu, 165 x 225 cm Ivan Marković, 2015, acrylic on canvas, 165 x 225 cm

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VLADO MARTEK

Da bi se ovdje 탑ivjelo, 2014., akrilik na platnu, 120 x 90 cm In Order to Live Here, 2014, acrylic on canvas, 120 x 90 cm Kad bijah slijep u Veneciji, 2014., akrilik na platnu, 120 x 90 cm When I Was Blind in Venice, 2014, acrylic on canvas, 120 x 90 cm Dobar tata, 2014., akrilik na platnu, 90 x 120 cm Good Dad, 2014, acrylic on canvas, 90 x 120 cm Mo탑da slikarstvo pru탑a neku nadu, 2014., akrilik na platnu, 90 x 120 cm Painting May Offers Some Hope, 2014, acrylic on canvas, 90 x 120 cm

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MARIO MIŠKOVIĆ

FILES_1, 2015., ulje na platnu, 30 x 70 cm FILES_1, 2015, acrylic on canvas, 30 x 70 cm FILES_2, 2015., ulje na platnu, 30 x 70 cm FILES_2, 2015, acrylic on canvas, 30 x 70 cm FILES_3, 2015., ulje na platnu, 30 x 70 cm FILES_3, 2015, acrylic on canvas, 30 x 70 cm

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LAV PARIPOVIĆ

Bijeg, 2015., akrilik i ulje na platnu, 170 x 360 cm Escape, 2015, acrylic and oil on canvas, 170 x 360 cm

Pohvala / Acknowledgement

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PAVLE PAVLOVIĆ

Bez naziva, 2015., ulje na platnu, 100 x 75 cm Untitled, 2015, oil on canvas, 100 x 75 cm Amanda, 2014., ulje na platnu, 225 x 180 cm Amanda, 2014, oil on canvas, 225 x 180 cm

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IVAN PRERAD

Postav 1, 2015., akril i ulje na platnu, promijenjive dimenzije cca 200 x 300 cm Exhibit 1, 2015, acrylic and oil on canvas, changeable dimensions, ca. 200 x 300 cm

HPB nagrada za mladog umjetnika / HPB award for young artist

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ANA RATKOVIĆ

Planina 2, 2015., akril i ulje na platnu, 120 x 180 cm Mountain 2, 2015, acrylic and oil on canvas, 120 x 180 cm

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IGOR RONČEVIĆ

Krađa Mone Lise 1, 2006.-2014., kombinirana tehnika na platnu, 120 x 100 cm The Theft of the Mona Lisa 1, 2006-2014, mixed media on canvas, 120 x 100 cm Krađa Mona Lise 2, 2006.-2014., kombinirana tehnika na platnu, 120 x 100 cm The Theft of the Mona Lisa 2, 2006-2014, mixed media on canvas, 120 x 100 cm

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DAMIR SOBOTA

131014-170814, 2014., lak za drvo na MDF ploÄ?i, 180 x 360 cm (diptih) 131014-170814, 2014, lacquer for wood on MDF board, 180 x 360 cm (diptych)

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STJEPAN Ĺ ANDRK

Spektakl, 2015., ulje na platnu, 200 x 300 cm Spectacle, 2015, oil on canvas, 200 x 300 cm

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ROBERT ŠIMRAK

Krevet, 2015., akrilik na platnu, 120 x 120 cm Bed, 2015, acrylic on canvas, 120 x 120 cm Raspršivač, 2015., akrilik na platnu, 120 x 170 cm Atomizer, 2015, acrylic on canvas, 120 x 170 cm Trezor, 2015., akrilik na platnu, 120 x 120 cm Vault, 2015, acrylic on canvas, 120 x 120 cm Šprica, 2015., akrilik na platnu, 120 x 170 cm Syringe, 2015, acrylic on canvas, 120 x 170 cm

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HPB Grand prix


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STIPAN TADIĆ

Biciklistički dnevnik, 2015., akvarel, promijenjive dimenzije, cca 100 x 150 cm Cycling Diary, 2015, aqurel, changeable dimensions, ca. 100 x 150 cm

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IGOR TARITAŠ

Exterijer, 2014., akril na medijapan ploči, 100 x 110 cm Exterior 2014, acrylic on MDF board, 100 x 110 cm Zelena soba, 2014., akril na medijapan ploči, 100 x 110 cm Green Room, 2014, acrylic on MDF board, 100 x 110 cm

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JOSIP TIRIĆ

Žuta kuća, 2014., ulje na platnu, 190 x 190 cm Yellow House, 2014, oil on canvas, 190 x 190 cm Bez naziva, 2014., oil painting on canvas, 200 x 137 cm Untitled, 2014, oil on canvas, 200 x 137 cm

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PREDRAG TODOROVIĆ

MATRICA, SVIBANJ - PROSINAC, 2013., 2013., crni tuš, aluminijska Dibond ploča, 150 x 305 cm MATRIX, MAY - DECEMBER, 2013., 2013, black ink, aluminum Dibond plate, 150 x 305 cm

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IVAN TUDEK

Comic Without the Pictures, 2015., crtež na papiru, četiri table, svaka 70 x 50 cm Comic Without the Pictures, 2015, drawing on paper, four tables, each 70 x 50 cm

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JOSIP VANIŠTA

Misli za mjesece (Ne izlagati...), 2014., kombinirana tehnika, 28.4 x 40.5 cm Thoughts by Months (Not to Eexhibit...), 2014, mixed media, 28.4 x 40.5 cm Slika riječima, 1964.-2015., kombinirana tehnika, 38 x 30 cm Painting With Words , 1964 -2015, mixed media, 38 x 30 cm Tamna pozadina, 2012.-2015., ulje na platnu, 80 x 100 cm Dark Background, 2012-2015, oil on canvas, 80 x 100 cm

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ZLATAN VEHABOVIĆ

Iz serije Temelji u blatu, 2015., ulje na platnu, 176 x 240 cm From Foundations in Mud Series, 2015, oil on canvas, 176 x 240 cm Iz serije Temelji u blatu, 2015., ulje na platnu, 198 x 198 cm From Foundations in Mud Series, 2015, oil on canvas, 198 x 198 cm

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DAMIR VEJZOVIĆ

Havana no.18, 2014., ulje na platnu, 175 x 200 cm Havana no.18, 2014, oil on canvas, 175 x 200 cm

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MATKO VEKIĆ

Iz ciklusa Džihad I, 2015., ulje i lak na platnu, 220 x 165 cm From Jihad I Series, 2015, oil and lacquer on canvas, 220 x 165 cm Iz ciklusa Džihad II, 2015., ulje i lak na platnu, 81 x 75 cm From Jihad II Series, 2015, oil and painting, 81 x 75 cm

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Džihad Džihad je sveti rat. On je središnja tema svetih spisa. To je rat koji se ne vodi na horizontalnoj ravnini; ja ili mi protiv drugih. Sveti rat se vojuje po vertikali. Individualna je to borba čovjekova da bi se čovještvo oslobodilo i uzdiglo, povratilo. Osebujno je to ratovanje protiv vlastitog neznanja, ljubomore, straha, zloće. Bitka se priprema iza vela, dubokom čežnjom. Moglo bi se reći da je preduvjet toj velikoj čežnji otkriće vlastite golotinje. Probuđena svijest Znam da ništa ne znam - kao da čuje šapat delfijske zapovijedi: ‘’Spoznaj samoga sebe’’. Duša koja vapi i Svijest koja poznaje vlastito neznanje i ništavnost zastaju… i započinje rat. Sveti se rat ne može izgubiti ako ga vodi Duša, Duša skrivena iza maske. Svijest maske odlučuje… Jihad Jihad is a holy war. It is the central theme of the scriptures. It is a war that is not fought on a horizontal plane; I or we against the others. The holy war is fought vertically. It is an individual man’s struggle to liberate and lift up humanity, to restore it. It is a peculiar warfare against one’s own ignorance, jealousy, fear, malice. The battle is being prepared behind the veil, with a deep longing. One could say that the precondition for this great longing is discovery of one’s own nakedness. It is like the awakened awareness – I know that I know nothing – hears the whisper of the Delphic maxim: “Know thyself”. A soul that cries out and the Awareness aware of its own ignorance and insignificance pause… and the war begins. The holy war cannot be lost if it is conducted by the Soul, Soul hidden behind a mask. The awareness of the mask decides…

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ROBERTA VILIĆ

Provest ću sutra, 2015., kombinirana tehnika, 130 x 100 cm I’ll Spend Tomorrow Thinking About the Day After Tomorrow, 2015, mixed media, 130 x 100 cm Sutra, 2015., kombinirana tehnika, 130 x 100 cm Tomorrow, 2015, mixed media, 130 x 100 cm

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ZLATAN VRKLJAN

Bez naziva, 2015., enkaustika i ulje na platnu, 90 x 122 cm Untitled, 2015, encaustic and oil on cancas, 90 x 122 cm Bez naziva, 2015., enkaustika i ulje na platnu, 90 x 122 cm Untitled, 2015, encaustic and oil on cancas, 90 x 122 cm Bez naziva, 2015., enkaustika i ulje na platnu, 90 x 122 cm Untitled, 2015, encaustic and oil on cancas, 90 x 122 cm Bez naziva, 2015., enkaustika i ulje na platnu, 90 x 122 cm Untitled, 2015, encaustic and oil on cancas, 90 x 122 cm

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BIOGRAFIJE UMJETNIKA: Grgur Akrap rođen je 1988. u Zagrebu. Godine 2013. diplomirao je slikarstvo na Akademiji likovnih umjetnosti u Zagrebu u klasi prof. Damira Sokića. Izlagao je na nekoliko samostalnih i brojnim skupnim izložbama. Finalist je T-HT nagrade. Dobitnik je prve nagrade Zaprešičke minijature i nagrade za najbolji diplomski rad. Živi i radi u Zagrebu. grgur.akrap@gmail.com

likovne nagrade HDLU-a i grada Zagreba za najbolju izložbu u 2014 g. (Brod luđaka s Davorom Mezakom), 1. otkupne nagrade muzeja grada Rovinja Rovinjska kolonija 2015., Praha Graphic 99 nagrade kritike te Rektorove nagrade Sveučilišta u Zagrebu, 1997. Docent je na slikarskom odjelu na Akademiji likovnih umjetnosti u Zagrebu. dankofriscic70@yahoo.com

Rene Bachrach Krištofić rođen je 1984. u Zagrebu. Godine 2009. diplomirao je slikarstvo na Akademiji likovnih umjetnosti u Zagrebu u klasi prof. Igora Rončevića. Izlagao je na brojnim grupnim i samostalnim izložbama. rene.bachrach-kristofic@zg.t-com.hr

Martina Grlić rođena je u Zagrebu 1982. Diplomirala je 2009. na Akademiji likovnih umjetnosti u Zagrebu u klasi prof. Zlatka Kesera. Izlagala je na više samostalnih i skupnih izložbi u Hrvatskoj i inozemstvu. Dobitnica je prve nagrade Erste Banke za mladog umjetnika, Novi fragmenti 8. martinagrlic@yahoo.com

Biserka Baretić rođena je 1933. godine u Zagrebu. Od 1951. do 1953. studira slikarstvo na Likovnoj akademiji u Zagrebu. Izlagala je na brojnim izložbama u zemlji i inozemstvu (npr. 1963. Brooklyn, 22nd Biennial International Watercolor Exhibition; 1964. Lugano, Bijenale grafike “Bianco e nero”; 1964. Beograd, Beogradski sajam, 2. jugoslavenski trijenale likovnih umetnosti; 1971. New Delhi, Lalit Kala Akademi: 2nd Triennial - India 1971. Barcelona: Premi Internacional Debuix Joan Miró, i td.). Njezina se djela nalaze u zbirkama najvećih muzeja i galerija (npr. Muzej suvremene umjetnosti u Zagrebu, Moderna galerija u Zagrebu, Muzej suvremene umjetnosti u Beogradu, Muzej suvremene umjetnosti u Skopju, Cincinnati Museum). Za svoj je rad na polju slikarstva, crteža i grafike dobila brojne i prestižne nagrade. biserka.baretic@gmail.com Sebastijan Dračić rođen je 1980. u Zagrebu. Diplomirao je 2006. godine slikarstvo na Akademiji likovnih umjetnosti u Zagrebu u klasi profesora Zlatka Kesera. Izlagao je na brojnim samostalnim i skupnim izložbama u zemlji i inozemstvu. Dobitnik je nagrade Novi fragmenti 5 i nagrade Velesajma kulture. s.dracic@gmail.com Fedor Fischer rođen je 1975. u Zemunu. Diplomirao je na Akademiji likovnih umjetnosti u Zagrebu u klasi profesora Zlatka Kesera. Izlagao je na brojnim skupnim i samostalnim izložbama u zemlji i inozemstvu, od kojih je značajna izložba Vienna fair u Beču. Živi i radi u Zagrebu. fedor.fischer@gmail.com Danko Friščić rođen je 1970. godine u Zagrebu. Na Akademiji likovnih umjetnosti u Zagrebu diplomirao je 1998. u klasi profesora Đure Sedera. Izlagao je na desecima skupnih izložbi u zemlji i inozemstvu (Alvona, Zagreb, Rijeka, Pula, Sisak, Dubrovnik, Sućuraj, Slavonski Brod, Osijek, Split, Paris, Rim, Berlin, Firenza, Beč, Prag, Ljubljana, Istanbul, Olsztyn, Iowa City itd.). Dobitnik je

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Petra Grozaj rođena je 1974. godine u Zagrebu. Godine 2002. diplomirala je slikarstvo na Akademiji likovnih umjetnosti u Zagrebu. Izlaže u zemlji i inozemstvu te je predstavljala Hrvatsku na Bijenalu mladih umjetnika u Napulju. Dobitnica je nagrade Zagrebačke banke za najuspješnijeg diplomanta i Rektorove nagrade Zagrebačkog Sveučilišta za izložbu slika ‘Mir i dobro’. Živi i radi u Zagrebu. Boravila je na studijskim i rezidencijalnim programima Cite International des Arts u Parizu, GlogauAIR u Berlinu i ‘One sided story’ u Leipzigu. petragrozaj@yahoo.com Helena Janečić rođena je 1979. u Osijeku. Godine 2003. diplomirala je na Sveučilištu Furman u SAD-u, a 2007. magistrirala na Akademiji likovnih umjetnosti u Zagrebu. Izlagala je na nekoliko samostalnih i nizu grupnih izložbi u Hrvatskoj i inozemstvu. Dobitnica je nagrade Ex Aequo 20. i 23. slavonskog biennala, a 2009. rad joj je uvršten u likovnu zbirku Erste banke. Neki od stripova uvršteni su u antologiju „Ženski strip na Balkanu“ (Fibra). hjanecic@yahoo.com Duje Jurić rođen je 1956. u Rupama. Diplomirao je 1981. na Akademiji likovnih umjetnosti u Zagrebu. Redovni je profesor na Akademiji likovnih umjetnosti u Zagrebu. Izlagao je na sedamdeset samostalnih i preko stotinu pedeset skupnih izložbi u Hrvatskoj i inozemstvu te je više puta nagrađivan za svoj rad, od čega izdvajamo nagrade 22. Salona mladih 1990., 15. Biennala mladih u Rijeci 1989., 17. Salona mladih u Zagrebu 1986. i nagrada Vladimir Nazor za godišnja postignuća na području slikarstva. dujejuric@yahoo.com Ivona Jurić rođena je 1987. u Zagrebu. Diplomirala je 2010. slikarstvo na Akademiji likovnih umjetnosti u Zagrebu u klasi profesora Duje Jurića. Trenutno radi na radnom mjestu učiteljice likovne kulture u Osnovnoj školi Iver. Sudjelovala je na brojnim skupnim i desetak samostalnih izložbi.


Dobitnica je nagrade Akademije likovnih umjetnosti za diplomski rad 2010. godine i Nagrade za mladog umjetnika HDLU 2013. godine. Također, sudjelovala je na nekoliko umjetničkih rezidencija. ivonajuric.bubi@gmail.com Koraljka Kovač rođena je 1971. u Zagrebu. Godine 1991. upisala je Akademiju likovnih umjetnosti u Zagrebu, pedagoški odjel, slikarski smjer. Diplomirala je u klasi profesora Zlatka Kesera. Izlagala je na brojnim skupnim i samostalnim izložbama. Dobitnica je Rektorove nagrade Sveučilišta u Zagrebu. Trenutno radi na Tekstilno tehnološkom fakultetu, Zavodu za dizajn tekstila i odjeće na kolegiju Kreiranje tekstila kao docentica. koraljkakovac@gmail.com Denis Krašković rođen je 1972. u Zagrebu. Godine 1994. diplomirao je kiparstvo na Akademiji likovnih umjetnosti u Zagrebu, u klasi prof. Stanka Jančića. Od 2007. g. predaje kiparstvo na Likovnom odsjeku Umjetničke akademije Osijek, trenutno u zvanju izvanrednog profesora. Godine 2010. magistrirao je na Akademiji za likovno umjetnost u Ljubljani, kod mentora red. prof. Jože Barišija. Dobitnik je nekoliko nagrada, između ostalih i Grand Prixa 26. Salona mladih u Zagrebu, posebnog priznanja žirija XI. triennala hrvatskog kiparstva, te Grand Prix 7. Zagorskog salona. Autor je petnaest javnih skulptura, između ostalih “Kit” na jezeru Jarun “Morž” i “Janje” kod Arene u Zagrebu te “Neandertalca” u Krapini. Izlagao je na brojnim samostalnim i skupnim izložbama u zemlji i inozemstvu. dkraskovic@yahoo.com Radovan Kunić rođen je 1987. u Rijeci. Godine 2012. diplomirao je kiparstvo na Akademiji primijenjenih umjetnosti sveučilišta te diplomirao u klasi prof. Violića. Izlagao je na nekoliko grupnih i samostalnih izložbi. Više puta nagrađivan, od čega valja izdvojiti nagradu TZ grada Rovinja na umjetničkoj manifestaciji Grisia 2012. te nagradu na natječaju za mlade hrvatske umjetnike Erste fragmenti 9. rkunic@gmail.com Ivica Malčić rođen je 1964. u Zagrebu. Diplomirao je 1996. na Akademiji likovnih umjetnosti u Zagrebu u klasi profesora Miroslav Šuteja. Do sada je izlagao na dvadeset samostalnih i više skupnih izložbi. malcicivica@gmail.com Ivan Marković rođen je 1988. u Zagrebu. 2014. diplomirao je slikarstvo u klasi profesora Zoltana Novaka. Izlagao je na nekoliko samostalnih i skupnih izložbi. Živi i djeluje u Zagrebu. ivanmarkovic88@yahoo.com

Vlado Martek rođen je 1951. u Zagrebu. Diplomirao je književnost i filozofiju na Filozofskom fakultetu u Zagrebu 1976. godine. Samostalno i skupno izlaže na mnogim izložbama u Hrvatskoj i inozemstvu. U Beču izlaže na velikoj izložbi: Zeichnen im Fluss, u Museumu des XX Jahrhunderts, 1990. godine. Piše tekstove o poeziji, tekstove i kritike o likovnim praksama te je objavio petnaest knjiga - od zbirki poezije, zbirke tekstova i insceniranih fotografija do knjiga eseja o suvremenoj umjetnosti, te dva koautorska izdanja grafičkih mapa. Dobitnik je mnogih nagrada te mu se tri djela iz faze konceptualističke prakse nalaze u zbirci Muzeja Pompidou u Parizu. vlado.martek@gmail.com Davor Mezak rođen je 1968. u Zagrebu. Na Akademiji likovnih umjetnosti u Zagrebu diplomirao je 1995. godine u klasi profesora Ante Kuduza. Od 1992. redovno izlaže na izložbama u Hrvatskoj i inozemstvu. Sudjelovao je na više od dvadeset samostalnih i sto skupnih izložbi. Dobitnik je mnogih nagrada poput nagrade 30. Zagrebačkog salona, 1995., XIX Biennial d`Aleksandrie, pour les pays de la Mediteranne 1997., prve nagrade na likovnoj koloniji u Rovinju 2008. te likovne nagrade HDLU-a i grada Zagreba za najbolju izložbu u 2014. godini. (Brod luđaka s Dankom Friščićem). Djela mu se nalaze u javnim zbirkama: MSU, Zagreb, “VideoGallery”, Viper – Basel, Švicarska, privatna zbirka Petra Smiljanića. davor.mezak@gmail.com Mario Mišković rođen 1977. u Windsoru, Ontario, Kanada. Godine 2002. je diplomirao slikarstvo i multimediju na Likovnoj Akademiji u Zagrebu. Sudjelovao je na grupnim i samostalnim izložbama. Živi i radi u Zagrebu. mhh.daa@gmail.com Lav Paripović rođen je 1989. u Zagrebu. Diplomirao je 2015. na Akademiji likovnih umjetnosti u Zagrebu u klasi profesora Zoltana Novaka. Izlagao je na nekoliko skupnih izložbi. Dobitnik je nagrade Cum Laude. Živi i djeluje u Zagrebu. lav.paripovic@gmail.com Pavle Pavlović rođen je 1983. u Beogradu. Godine 2010. diplomirao je slikarstvo pod mentorstvom profesora Zoltana Novaka na Akademiji likovnih umjetnosti u Zagrebu. Sudjelovao je na samostalnim, kao i na skupnim izložbama. Dobitnik je ESSL ART AWARD CEE. Boravio je na One Sided, rezidenciji u Nemačkoj i GLO’ART rezidenciji u Belgiji. pvlpavlovic@yahoo.com Ivan Prerad rođen je 1988. u Zagrebu. Godine 2014. diplomirao je slikarstvo u klasi prof. Zoltana Novaka. Sudjelovao je na tri samostalne i više skupnih izložbi.

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Dobitnik je Erste Grand Prix nagrade. iprerad@gmail.com Ana Ratković rođena je 1988. u Zagrebu. Godine 2013. diplomirala je na Akademiji likovnih umjetnosti, smjer likovna kultura u klasi profesora Matka Vekića. Do sada je izlagala na tri samostalne i više skupnih izložbi. Radi kao profesorica likovne umjetnosti u jednoj zagrebačkoj srednjoj školi. Dobitnica je dekanove nagrade za posebna dostignuća 2008./2009. godine. aratkovic77@gmail.com Igor Rončević rođen je 1951. u Zadru. Godine 1976. diplomirao je u klasi profesora Šime Perića. Od 1979 do 1981 godine suradnik je Majstorske radionice prof. Ljube Ivančića i prof. Nikole Reisera. Od 1996. zaposlen na Likovnoj akademiji u Zagrebu gdje radi kao redoviti profesor slikarstva. Samostalno izlaže od 1976 g. te je izlagao na sedamdesetak samostalnih i mnogobrojnim skupnim izložbama. Dobitnik je niza nagrada za slikarstvo, među kojima Nagrade 13. salona mladih u Zagrebu (1981.), Godišnje nagrade Hrvatskog društva likovnih umjetnika (2001.) i Republičke nagrade za slikarstvo „Vladimir Nazor“ (2004.). Godine 2005. odlikovan je ordenom Marka Marulića za osobit doprinos u kulturi. roncevic.i@gmail.com Damir Sobota rođen je 1988. u Zagrebu. Godine 2013. diplomirao slikarstvo na Akademiji likovnih umjetnosti u klasi profesora Roberta Šimraka. Izlagao je na pet samostalnih i brojnim skupnim izložbama. Boravio je na GLOart umjetničkoj rezidenciji u Belgiji. Radi kao asistent na Grafičkom fakultetu u Zagrebu. sobota88@hotmail.com Stjepan Šandrk diplomirao je 2006. na Akademiji likovnih umjetnosti u Zagrebu u klasi profesora Igora Rončevića te doktorirao slikarstvo na istoj Akademiji 2015. Dosad je izlagao na desetak samostalnih, preko 50 skupnih koncepcijskih izložbi u zemlji i inozemstvu. Dobitnik je više nagrada, među ostalim nagrade publike TH-T izložbe, nagrade Ex Aequo 22. Slavonskog bijenala, te nagrada za najboljeg diplomanta Vijeća profesora ALU i Hrvatske gospodarske komore 2006. godine. ssandrk@gmail.com Robert Šimrak rođen je 1967. godine u Zagrebu. Diplomirao je na grafičkom odjelu u klasi profesora Ante Kuduza 1992. godine te je 2014. godine izabran u zvanje redovnog profesora na istom odjelu. Samostalno izlaže od 1989. godine na četrdesetak samostalnih izložbi te više od dvjestotinjak skupnih izložbi u Hrvatskoj i inozemstvu. Dobitnik je mnogih nagrada. simrak.robert@hi.htnet.hr

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Stipan Tadić rođen je 1986. u Zagrebu. Diplomirao je 2011. godine na Akademiji likovnih umjetnosti u Zagrebu u klasi profesora Zlatka Kauzlarića-Atača. Sudjelovao je na brojnim samostalnim i skupnim izložbama. Dobitnik je nagrade 30. Salona mladih te nagradu na svjetskoj izložbi portreta. stipan32@gmail.com Igor Taritaš je rođen 1987. u Pakracu. Godine 2013. diplomirao je na Akademiji likovnih umjetnosti, nastavnički smjer u klasi profesora Ante Rašića. Sudjelovao je na sedam samostalnih i brojnim grupnim izložbama. Radovi su mu otkupljeni na natječajima Erste fragmenti 7 i 10, na INA – Energija 2012. te se nalaze u Lloyd collection u Australiji. Dobitnik je nagrada publike na Erste fragmentima 2010. tashoo87@gmail.com Josip Tirić rođen je 1982. u Travniku. Od 2001. – 2007. godine studira na Akademiji likovnih umjetnosti u Zagrebu. Dobitnik je nagrade ALU Zagreb za najuspješnijeg diplomanta u akademskoj godini 2006./2007. i nagrade HDLU-a za najboljeg mladog umjetnika 2011. godine. Izlagao je na više samostalnih izložbi u zemlji i inozemstvu. Njegovi radovi zastupljeni su u mnogim kolekcijama. Živi i radi u Zagrebu. josip.tiric@yahoo.com Predrag Todorović rođen je 1966. godine u Drvaru. Diplomirao je na Pedagoškom fakultetu u Rijeci 1990. godine, smjer slikarstvo pod mentorstvom prof. Ksenije Mogin. Predavao je Školi za primijenjenu umjetnost i na Akademiji za primijenjenu umjetnost u Rijeci. Od 2003. 2004. predsjednik je HDLU-a Rijeka. Izlagao je na brojnim samostalnim i skupnim izložbama u Hrvatskoj i inozemstvu. Dobitnik je nekoliko nagrada i priznanja, od kojih izdvajamo nagradu The Pollock-Krasner Foundation - Grant (1996. 1997.) srijeda@gmail.com Ivan Tudek rođen je 1983. godine u Zagrebu. Godine 2010. diplomirao je na Nastavničkom odsjeku Akademije likovnih umjetnosti u Zagrebu u klasi profesora Damira Sokića. Sudjelovao na brojnim samostalnim i grupnim izložbama. Dobitnik je nagrade za najboljeg diplomanta. jugtudek@yahoo.com Josip Vaništa rođen je u Karlovcu 1924. godine. Diplomirao je na Akademiji likovnih umjetnosti u Zagrebu u klasi profesora Marina Tartaglie 1950. godine. Prvu izložbu imao je 1952. s Miljenkom Stančićem u Muzeju za umjetnost i obrt, a samostalno je izlagao u Zagrebu, Karlovcu, Opatiji, Rijeci, Osijeku i Parizu. Dobitnik je mnogih nagradi te je redoviti član Hrvatske akademije znanosti i umjetnosti. jvanista.hazu@gmail.com


Zlatan Vehabović rođen je 1982. u Banja Luci. Godine 2006. diplomirao je slikarstvo na Akademiji likovnih umjetnosti gdje mu je dodjeljena nagrada za najbolji diplomski rad. Naredne godine upisuje doktorski studij na istoj instituciji. Dobitnik je nekoliko nagrada među kojima se ističu Velika nagrada 49. Zagrebačkog salona, nagrada Međunarodne organizacije umjetničkih kritičara - The International Association of Art Critics (AICA), prva nagrada na natječaju Fragmenti Erste Banke i Druga nagrada Essl Award for Central/Southeast Europe u Austriji. Recentno je postao dobitnik prestižnog rezidencijalnog programa The Arctic Circle. Njegove radove otkupile su nekoliko domaćih i stranih zbirki: Essl Museum, Zbirka Filip Trade, Zbirka Hotela Adriatic, Hypo Group i Erste Bank. zlatan.vehabovic@gmail.com Damir Vejzović rođen je 1976. u Zagrebu. Godine 2015. diplomirao je slikarstvo na Akademiji likovnih umjetnosti u Zagrebu u klasi profesora Zoltana Novaka. Izlagao je na šesnaest samostalnih i grupnih izložbi. Živi i radi u Zagrebu i Stockholmu. dartstronaut@gmail.com Matko Vekić rođen je 1970. godine u Zagrebu. Od 2007. godine je docent, a 2011. godine izvanredni profesor na Akademiji likovnih umjetnosti u Zagrebu. Izlagao je na više od 35 samostalnih, mnogim skupnim izložbama u zemlji i inozemstvu, uključujući 10. i 12. internacionalom bijenalu u Kairu, 53. međunarodnoj umjetničkoj izložbi La Biennial di Venezia. Studijski je boravio u Japanu, Turskoj i dvaput u Indiji. Primio je nagradu Hrvatskog društva likovnih umjetnika za najboljeg mladog umjetnika i godišnju nagradu „Filip-Trade“ za suvremenu umjetnost. Živi u Zagrebu. matko.vekic@gmail.com Roberta Vilić rođena je 1971. Godine 1998. diplomirala je u klasi profesora Zlatka Kesera. Izlagala je od 1992. na 25 samostalnih izložbi i brojnim skupnim izložbama u Hrvatskoj, Sloveniji, Italiji i Njemačkoj. Dobitnica je triju nagrada za slikarstvo i priznanja za grafiku: Nagrada talijanskog kulturnog centra I Ugga Maffia, 28. Zagrebački salon, 2. Nagrada, City festival, Kusnt in der Stadt, Mainz, priznanje žirija, 5. hrvatski trijenale grafike, 1. otkupna nagrada gradske galerije grada Rovinja - Grisia 2009, Rovinj. roberta.vilic@gmail.com

ARTIST’S BIOGRAPHIES: Grgur Akrap was born in Zagreb in 1988. Graduated in painting from the Academy of Fine Arts in Zagreb in 2013, in the class of prof Damir Sokić. Grgur Akrap has had several solo and numerous group exhibitions, and was the finalist of T-HT Award. Won the first prize at the exhibition of miniature in Zaprešić and the award for the best thesis work. Lives and works in Zagreb. grgur.akrap@gmail.com Rene Bachrach Krištofić was born in Zagreb in 1984. Graduated in painting from the Academy of Fine Arts in Zagreb in 2009. in the class of prof Igor Rončević. He has had numerous group and solo exhibitions. rene.bachrach-kristofic@zg.t-com.hr Biserka Baretić was born in Zagreb in 1933. She studied painting at the Academy of Fine Arts in Zagreb from 1951 to 1953. She has exhibited at numerous exhibitions in the country and abroad (e.g., 1963 Brooklyn, 22nd Biennial International Watercolour Exhibition; 1964 Lugano, Biennial of Graphic Arts “Bianco e nero”; 1964 Belgrade, Belgrade Fair, 2nd Triennial of Yugoslavian Art; 1971 New Delhi, Lalit Kala Akademi: 2nd Triennial - India 1971 Barcelona: Premi Internacional Debuix Joan Miró, etc.). Her works are included in the collections of major museums and galleries (e.g. Museum of Contemporary Art in Zagreb, Modern Gallery in Zagreb, Museum of Contemporary Art in Belgrade, Museum of Contemporary Art in Skopje, Cincinnati Museum). She has won numerous prestigious awards in the field of painting, drawing and graphic arts. biserka.baretic@gmail.com Sebastijan Dračić was born in Zagreb in 1980. Graduated in painting from the Academy of Fine Arts in Zagreb in 2006., in the class of prof Zlatko Keser. He has had numerous group and solo exhibitions in the country and abroad. He was the recipient of “New Fragments 5” and the Fair of Culture Award. s.dracic@gmail.com Fedor Fischer was born in Zemun in 1975. Graduated from the Academy of Fine Arts in Zagreb in the class of prof Zlatko Keser. He has had several solo and numerous group exhibitions in the country and abroad, including Vienna fair in Vienna. Lives and works in Zagreb. Fedor.fischer@gmail.com Danko Friščić was born in Zagreb in 1970. He graduated from the Academy of Fine Arts in Zagreb, in the class of prof. Đuro Seder, in 1998. He has exhibited in dozens of group exhibitions in the country and abroad (Alvona, Zagreb, Rijeka, Pula, Sisak, Dubrovnik, Sućuraj, Slavonski Brod,

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Osijek, Split, Paris, Rome, Berlin, Firenze, Vienna, Prague, Ljubljana, Istanbul, Olsztyn, Iowa City, etc.). He won the award of the Croatian Association of Artists and the City of Zagreb for the best exhibition in 2014 (Brod luđaka with Davor Mezak), 1.st acquisition prize of Rovinj City Museum, Rovinjska kolonija 2015, Praha Graphic 99, Critic’s Choice Award and University of Zagreb Rector’s Award, 1997. He is an assistant professor at the Academy of Fine Arts in Zagreb, Department of Painting. dankofriscic70@yahoo.com Martina Grlić was born in Zagreb in 1982. She graduated from the Academy of Fine Arts in Zagreb in the class of prof Zlatko Keser in 2009. She has had numerous group and solo exhibitions in Croatia and abroad. She won the Erste Bank Grand Prix for Young Artists at New Fragments 8. martinagrlic@yahoo.com Petra Grozaj was born in Zagreb in 1974. She graduated in painting from the Academy of Fine Arts in Zagreb in 2002. She has exhibited in the country and abroad, and represented Croatia at the Biennial of Young Artists in Naples. She won the Zagreb Bank Award for the best graduate and University of Zagreb Rector’s Award for her exhibition of paintings ‘Mir idobro’ (Peace and Good). She participated in study and residency programmes Cite International des Arts in Paris, GlogauAIR in Berlin and ‘One sided story’ in Leipzig. Lives and works in Zagreb. petragrozaj@yahoo.com Helena Janečić was born in Osijek in 1979. She graduated from the University of Furman, USA in 2003, and received an M.A. from the Academy of Fine Arts in Zagreb in 2007. She has had several solo and a number of group exhibitions in Croatia and abroad. She won the Ex Aequo Award at the 20nd and 23rdSlavonia Biennial, and in 2009 her works became a part of Erste Bank art collection. Some of her comics have been fetured in the anthology „Balcan Women in Comics“ (Fibra). hjanecic@yahoo.com Duje Jurić was born in Rupe in 1956. He graduated from the Academy of Fine Arts in Zagreb in 1981. He is a professor at the Academy of Fine Arts in Zagreb. Duje Jurić has exhibited in seventy solo and over one hundred and fifty group exhibitions in Croatia and abroad, and has won multiple awards for his work, including: 22nd Salon of the Youth Award in 1990, 15th Biennial of the Young Award in Rijeka in 1989, 17th Salon of the Youth Award in Zagreb in 1986 and Vladimir Nazor Award for annual achievements in painting. dujejuric@yahoo.com Ivona Jurić was born in Zagreb in 1987. She graduated in painting from the Academy of Fine Arts in Zagreb in

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2010,in the class of prof Duje Jurić. Currently works as an art education teacher in Iver Elementary School. She has had many group and a dozen of solo exhibitions. She won the award of the Academy of Fine Arts for her thesis work, in 2010, and Young Artist Award of the Croatian Association of Artists in 2013. She has also participated in several residency programmes. ivonajuric.bubi@gmail.com Koraljka Kovač was born in Zagreb on July 17, 1971. In 1991 she enrolled in the Academy of Fine Arts in Zagreb, Department of Art Education, Painting. She graduatedin the class of prof Zlatko Keser. She has exhibited at numerous group and solo exhibitions. She was awarded with the University of Zagreb Rector’s Award. Currently works as an assistant professor at the Faculty of Textile Technology, Department of Textile and Clothing Design, Course in Textile Design. koraljkakovac@gmail.com Denis Krašković was born in Zagreb in 1972. He graduated in sculpture from the Academy of Fine Arts in Zagreb in 1994, in the class of prof Stanko Jančić. He has been teaching sculpture at the Department of Fine Arts, Academy of Arts, Osijek since 2007, currently works as an associate professor. In 2010 he received his M.A. from the Academy of Fine Arts in Ljubljana, under the mentorship of prof Jože Bariši. He has won several awards, including Grand Prix at the 26th Salon of the Youth in Zagreb, special mention of the jury of the 11th Triennial of Croatian Sculpture and Grand Prix at the 7th Zagorje Salon. He is the author of fifteen public sculptures, including ”Kit“ at Lake Jarun, “Morž“ and “Janje“ at Arena in Zagreb, and “Neandertalac“ in Krapina. He has had numerous solo and group exhibitions in the country and abroad. dkraskovic@yahoo.com Radovan Kunić was born in Rijeka in 1987. He graduated in sculpture from the Academy of Applied Arts, University of Rijeka in 2012, in the class of prof Violić, and has been involved with painting ever since. He has exhibited at several solo and numerous group exhibitions, and has also won several awards, including the award by the City of Rovinj at Grisia Art Exhibition in 2012 and Erste Fragments 9 for the young Croatian artists. Lives in Matulji and works in Rijeka, and has also been an assistant at APURA since 2014. rkunic@gmail.com Ivica Malčić was born in Zagreb in 1964. He graduated from the Academy of Fine Arts in Zagreb in 1996, in the class of prof Šutej. He has exhibited in twenty solo and numerous group exhibitions. He is a T-HT Award finalist. malcicivica@gmail.com Ivan Marković was born in Zagreb in 1988. He graduated in


painting in 2014, in the class of prof Zoltan Novak. He has exhibited in several solo and group exhibitions. Lives and works in Zagreb. ivanmarkovic88@yahoo.com Vlado Martek was born in Zagreb in 1951. He graduated in literature and philosophy from the Faculty of Humanities and Social Sciences in Zagreb in 1976. He has exhibited in numerous solo and group exhibitions in Croatia and abroad. He exhibited in Vienna at a big exhibition: Zeichnen im Fluss, at Museum des XX Jahrhunderts, in 1990. He writes about poetry and art practices, as well as art reviews, and he has published fifteen books – from the collections of poetry, texts and staged photographs to books of essays on contemporary art, and two folios of graphics as a co-author. He has won numerous awards, and three of the works from his conceptual practice phase are included in the collection of Pompidou Centre in Paris. vlado.martek@gmail.com Davor Mezak was born in Zagreb in 1968. He graduated from the Academy of Fine Arts in Zagreb, in the class of prof. Ante Kuduz, in 1995. He has been exhibiting in Croatia and abroad since 1992. He has participated in more than 20 solo and 100 group exhibitions. He has won several awards, including the 30th Zagreb Salon Award, 1995, XIX Biennial d`Aleksandrie, pour les pays de la Mediteranne 1997, first award at the art colony in Rovinj in 2008 and the award of the Croatian Association of Artists and the City of Zagreb for the best exhibition in 2014 (Brod luđaka with Danko Friščić). His works are included in public collections: Museum of Contemporary Art, Zagreb,“VideoGallery”, Viper – Basel, Switzerland, Petar Smiljanić’s private collection. davor.mezak@gmail.com Mario Mišković was born in Windsor, Ontario, Canadain 1977. He graduated in painting and multimedia from the Academy of Fine Arts in Zagreb in 2002. He participated in group and solo exhibitions. Lives and works in Zagreb. mhh.daa@gmail.com Lav Paripović was born in Zagreb in 1989. He graduated from the Academy of Fine Arts in Zagreb in 2015,in the class of prof Zoltan Novak. He has exhibited in several group exhibitions. Recipient of Cum Laude Award. Lives and works in Zagreb. lav.paripovic@gmail.com Pavle Pavlović was born in Belgrade in 1983. He graduated in painting from the Academy of Fine Arts in Zagreb in 2010, under the mentorship of prof Zoltan Novak. He has participated in both solo and group exhibitions. Recipient of ESSL ART AWARD CEE. Participated in One Sided residency programme in Germany and GLO’ART residency

programme in Belgium. pvlpavlovic@yahoo.com Ivan Prerad was born in Zagreb in 1988. He graduated in painting in 2014, in the class of prof Zoltan Novak. He has participated in three solo and numerous group exhibitions. Recipient of Erste Grand Prix Award. iprerad@gmail.com Ana Ratković was born in Zagreb in 1988. She graduated from the Academy of Fine Arts, Department of Art Education, in 2013, in the class of prof Matko Vekić. So far she has exhibited in three solo and several group exhibitions. Works as an art professor in a high school in Zagreb.Recipient of Dean’s Award for special achievements in 2008/2009. aratkovic77@gmail.com Igor Rončević was born in Zadar in 1951. In 1976 he graduated in the class of prof. Šime Perić. From 1979 to 1981 he was an associate at the Workshop of prof. Ljubo Ivančić and prof. Nikola Reiser. He has been employed at the Academy of Fine Arts in Zagreb since 1996, where he works as a full professor of painting. He has been exhibiting since 1976, and he has had about seventy solo and numerous group exhibitions. He has received numerous awards for painting, including the 13th Salon of the Youth Award in Zagreb (1981), the Annual Award of the Croatian Association of Artists (2001) and the Vladimir Nazor Award (given by the Croatian Ministry of Culture, 2004). In 2005 he was awarded with the Order of Marko Marulić for special merits in culture. roncevic.i@gmail.com Damir Sobota was born in Zagreb in 1988. He graduated in painting from the Academy of Fine Arts,in the class of prof Šimrak, in 2013. He has exhibited in five solo and numerous group exhibitions. Participated in GLOart residency programme in Belgium. Works as an assistant at the Faculty of Graphic Arts in Zagreb. sobota88@hotmail.com Stjepan Šandrk graduated from the Academy of Fine Arts in Zagreb in 2006,in the class of prof Igor Rončević, and received his PhD from the same Academy in 2015. He has exhibited in a dozen solo and over 50 group exhibitions in the country and abroad. He won several awards, including the T-HT Audience Award, Ex Aequoat the 22ndSlavonian Biennial Award, as well as the award for the best graduate awarded by the Academy of Fine Arts’ Council of Professors and the award of the Croatian Chamber of Economy in 2015. and the award of the Croatian Chamber of Economy in 2015. ssandrk@gmail.com Robert Šimrak was born in Zagreb in 1967. He graduated from the Department of Graphic Arts in the class of prof.

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Ante Kuduz in 1992, and in 2014 he was appointed as a full professor at the same department. He has been exhibiting since 1989, and has had about forty solo and more than 200 group exhibitions in Croatia and abroad. He has won many awards. simrak.robert@hi.htnet.hr Stipan Tadić was born in Zagreb in 1986. He graduated from the Academy of Fine Arts in Zagreb in 2011,in the class of prof Kauzlarić-Atač. He has participated in numerous solo and group exhibitions. He has received the 30th Salon of the Youth Award and the award at the world portrait exhibition. stipan32@gmail.com Igor Taritaš was born in Pakrac in 1987. He graduated from the Academy of Fine Arts, Department of Art Education, in 2013, in the class of prof Ante Rašić. He has participated in seven solo and numerous group exhibitions. His works have been purchased at Erste Fragments 7 and 10, INA – Energy 2012 and became part of Lloyd Collection in Australia. Recipient of the Erste Fragments Audience Award of 2010. tashoo87@gmail.com Josip Tirić was born in Travnik, Bosnia and Herzegovina in 1982. Studied at the Academy of Fine Arts in Zagreb from 2001 until 2007. He received the award of the Academy of Fine Arts in Zagreb for the best graduate in 2006/2007 academic year and the award of the Croatian Association of Artists for the best young artist in 2011. He has exhibited in several solo exhibitions in the country and abroad. His works can be found in many collections. Lives and works in Zagreb. josip.tiric@yahoo.com Predrag Todorović was born in Drvar in 1966. He graduated from the Faculty of Teacher Education in Rijeka, Department of Painting, in 1990, under the mentorship of prof Ksenija Mogin. He taught at the School of Applied Arts and at the Academy of Applied Arts in Rijeka. He has been the president of the Croatian Association of Artists – Rijeka since 2003 - 2004. He has exhibited at numerous solo and group exhibitions in Croatia and abroad. Recipient of several awards and honours, including the Pollock-Krasner Foundation - Grant (1996 - 1997). srijeda@gmail.com Ivan Tudek was born in Zagreb in 1983. He graduated from the Academy of Fine Arts in Zagreb, Department of Art Education, in 2010, in the class of prof Damir Sokić. He participated in numerous solo and group exhibitions. Recipient of the award for the best graduate. jugtudek@yahoo.com Josip Vaništa was born in Karlovac in 1924. He graduated

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from the Academy of Fine Arts in Zagreb, in the class of prof. Marino Tartaglia, in 1950. He had his first exhibition with Miljenko Stančić in the Museum of Arts and Crafts in 1952. He has had solo exhibitions in Zagreb, Karlovac, Opatija, Rijeka, Osijek and Paris. He has won numerous awards and is a regular member of the Croatian Academy of Sciences and Arts. jvanista.hazu@gmail.com Zlatan Vehabović was born in Banja Luka in 1982. Graduated in painting from the Academy of Fine Arts in 2006, where he received the award for the best thesis work. The following year he enrolled in a postgraduate study programme at the same Academy. Recipient of several awards, including 49th Zagreb Salon Grand Prize, award by the International Association of Art Critics (AICA), first prize at New Fragments by Erste Bank and second Essl Award for Central/Southeast Europe in Austria. He has recently become a participant in a prestigious residential programme The Arctic Circle. His works were purchased by several Croatian and foreign collections: Essl Museum, Filip Trade Collection, Hotel Adriatic Collection, Hypo Group and Erste Bank. zlatan.vehabovic@gmail.com Damir Vejzović was born in Zagreb in 1976. He graduated in painting from the Academy of Fine Arts in Zagreb in 2015,in the class of prof Zoltan Novak. He has exhibited in 16 solo and numerous group exhibitions. Lives and works in Zagreb and Stockholm. dartstronaut@gmail.com Matko Vekić was born in Zagreb in 1970. He became an assistant professor at the Academy of Fine Arts in Zagreb in 2007, and an associate professor in 2011. He has exhibited in more than 35 solo exhibitions, numerous group exhibitions in the country and abroad, including the 10th and 12th International Cairo Biennial, 53rd International Art Exhibition La Biennial di Venezia. He participated in study visits to Japan, Turkey and twice to India. He received the award of HDLU for best young artist and “Filip-Trade“ annual award for contemporary art. Lives in Zagreb. matko.vekic@gmail.com Roberta Vilić was born in 1971. She graduated in 1998, in the class of prof Zlatko Keser. Since 1992 she has exhibited in 25 solo and numerous group exhibitions in Croatia, Slovenia, Italy and Germany. Recipient of three awards for painting and acknowledgements for graphics: the award of the Italian Culture Centre I Ugga Maffia, 28th Zagreb Salon, 2nd prize, City festival, Kusnt in der Stadt, Mainz, Jury Award, 5th Croatian Graphic Triennial, 1st Purchase Award of the Rovinj City Gallery- Grisia 2009, Rovinj. roberta.vilic@gmail.com


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Uvod za katalog izložbe Exporting Gdanjsk u Zagrebu

Nacionalni muzej u Gdanjsku vrlo je posebno mjesto, ne samo u Gdanjsku ili Poljskoj, nego i u Europi. Imamo impresivnu kolekciju slika starih majstora (među kojima je i vrhunac kolekcije: Posljednji sud Hansa Memlinga), grafika, crteža i rukotvorina. Ali kolekcije Nacionalnog muzeja ne uključuju samo velika djela klasične umjetnosti, nego i sve veći broj suvremenih umjetničkih djela. Veseli me što će šest djela naših suvremenih umjetnika iz Gdanjska biti predstavljeno na izložbi Exporting Gdańsk, organiziranoj u sklopu 3. Bijenala slikarstva u Zagrebu. Ova izložba izvrsna je prilika za predstavljanje dinamične i nove umjetničke scene Gdanjska s djelima koja istovremeno nude značajni komentar svakodnevne stvarnosti te reflektiraju nove umjetničke trendove diljem Europe i ostatka svijeta. Izložba je također izvrsna prilika za razmjenu umjetničke prakse koja se trenutno odvija između Poljske i Hrvatske.

Wojciech Bonisławski Ravnatelj Nacionalnog muzeja u Gdanjsku

Introduction to the catalogue of the Exporting Gdańsk exhibition in Zagreb, Croatia The National Museum in Gdańsk has been marked as an important place on the city’s cultural map, as well as in Poland, and furthermore, across Europe. We have an impressive collection of old masters, with the highlight of Hans Memling’s Last Judgement, as well as the collection of graphics and handicraft. The National Museum’s collection is enriched by a growing number of contemporary artworks. I am delighted that six works from our contemporary arts collection by Gdańsk-based artists or artists connected with Gdańsk art scene feature in the Exporting Gdańsk exhibition, organised as a part of the 3rd Biennial of Painting 2015 in Zagreb. This exhibition is a wonderful opportunity to present a dynamic and novel Gdańsk art scene with artworks that at the same time offer an insightful commentary on the everyday reality, reflective of new artistic trends across Europe and the rest of the world. The exhibition is also a great opportunity to exchange artistic practice currently taking place between Poland and Croatia. Wojciech Bonisławski Director of the National Museum in Gdańsk

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KONSTRUKCIJA PLURALNOSTI I PROŠIRENOG POLJA

Od sredine 19. stoljeća slikarstvo se neprestano vrti u krugu smrti i ponovnog rođenja, usprkos umjetničkim inovacijama, politici svijeta umjetnosti i tehnološkim naprecima. Suvremeno razumijevanje slikarstva nadišlo je tradicionalne okvire ove umjetničke forme te već neko vrijeme djeluje u onome što se može opisati kao „prošireno polje“. Na izložbi svoje radove izlaže osamnaest umjetnika iz Gdanjska, kao i umjetnici povezani s kulturnom scenom Gdanjska, uključujući i pokojnu Teresu Pągowsku. Svi oni rade u mediju slikarstva i kroz prizmu mješovitih medija te osporavaju utvrđeni kanon slikarstva i doprinose ponovnom ispisivanju proširenog polja, dok istovremeno daju svoj komentar na suvremenu postsocijalističku stvarnost. Naslov izložbe Exporting Gdańsk ukazuje na izvanrednu povijest ovoga grada kao međunarodne trgovačke luke i središta učenja, s njegovim prolaznim, bogatim kulturama i složenim geopolitičkim područjima sačinjenima od mnogih europskih utjecaja, kao i od prošlih i postojećih trendova u umjetničkim Dijasporama. Širenje polja nije novost. Već je 1979. Rosalind Krauss u svom utjecajnom eseju „Kiparstvo u proširenom polju“ dovela u pitanje modernističku definiciju kiparstva, otvarajući granice formalizma prema bezobličnosti1. Doista, već u poslijeratnom razdoblju, kiparstvo je, kao i slikarstvo, rastegnuto do izvanrednih dimenzija, što je dokazalo elastičnost ovih kategorija te, istovremeno, prilagodljivost medija. I upravo je ovo razvlačenje i rastezanje pojma kiparstva, “vršeno na neskriven način u ime avangardnih estetika“ (Krauss 1979:30) radilo na afirmaciji ideologije novoga2 . Upravo ona ideologija koja je, premda se o njoj naširoko raspravljalo i koja se uglavnom povezivala sa sjevernoameričkim kontekstom, postupno širila geografije kako bi obuhvatila zapadnu umjetnost u širem smislu, nije priznala doprinose proširenom polju utjecaja koji su dolazili s područja iza ondašnje željezne zavjese. Oko dvadeset i pet godina kasnije Gustavo Fares, oslanjajući se na tumačenja kiparstva koje je ponudila Rosalind Krauss, kao i na pluralizam i krizu umjetnosti kao objekta Arthura Dantoa, ističe kako prošireno polje omogućava lociranje različitih umjetničkih manifestacija koje se događaju u današnje vrijeme. Preobrazbe medija i preobrazbe unutar medija sežu daleko u prošlost. Danto je istaknuo kako je već Tridentski koncil, održan između 1545. i 1563. godine, dozvolio slikarima i kiparima da prekorače konvencije kanona kako bi „izazvali emocionalne iluzije kod publike koja je bila suočena s patnjom svojih spasitelja

Tridentski koncil, održan između 1545. i 1563. godine, dozvolio slikarima i kiparima da prekorače konvencije kanona kako bi „izazvali emocionalne iluzije kod publike koja je bila suočena s patnjom svojih spasitelja i svetaca“, što je upravo ona praksa koja je proširila granice umjetničkog prostora i apoteozu kombiniranja slikarstva, kiparstva i arhitekture u visokom baroku (Danto 1974:145). Fares tvrdi da način razmišljanja o slikarstvu kao proširenom polju otvara prostor za ponovno ulaganje u medij valutom koju je izgubio i koja mu je neko vrijeme nedostajala, uključujući i bavljenje videom, konceptualnom umjetnošću i korištenje Digital Imaging tehnologije: Prošireno polje također daje mogućnost preobrazbi i kretanja u jednoj ili više dimenzija istovremeno, promjenu od jednog oblika izražavanja ili danog objekta u drugi, a čak očekuje i nadogradnju novim vizualnim dimenzijama. U tom smislu, da navedem jedan jednostavan primjer, pojava računalno generirane umjetnosti samo je korak dalje 3 u polju od slikarstva, fotografije i/ ili reproducibilnosti (Fares 2004:487). Međutim, postoji daljnji geografski izazov pluralizmu devize „sve prolazi“ u širenju polja medija, uz istovremeno promicanje tolerancije, prihvaćanje svega kao valjanoga i predodređenoga, kao i odobravanje raznih stilova i oblika. Hegemonijske kulturne tendencije ovog neosjetnog pluralizma, uključujući i neokolonijalni stav u svijetu umjetnosti i esencijalizam, priznate su od strane kritičara kulture. Fares je citirao logiku kasnog kapitalizma Frederica Jamesona i prizmu Hala Fostera – kulturnu logiku koja se temelji na sredstvima kulturne proizvodnje koja se izvozi sa Zapada u druge kontekste. Ova izložba izravno osporava dihotomiju svojstvenu nekim pristupima „pluralizma“ s njegovom egzotikom, kao i geografskim i kulturnim učincima spektakularizacije, kao što Guy Debord aludira u Društvu spektakla, očekujući: „da zapadni - prvi svijet - stvara umjetnost i teoriju, dok ostatak svijeta postaje provincija koja, u najboljem slučaju, stvara umjetnost i teoriju ograničenu na njezine vlastite sfere nacionalnog te, u najgorem slučaju, daje kulturne (sirove) materijale koji će se kasnije obrađivati u prvom svijetu gdje im se dodaje akademska/kulturna vrijednost“ (Fares 2004:113). Ako se vratimo na geopolitiku, važno je prepoznati da „Zapad“ više ne označava određenu geografiju, nego postaje imaginarni pojam koji funkcionira kao razdjelni koncept koji se ima potrebu stalno redefinirati u diskursima „pluralizma“ u kojima igra dominantnu ulogu. Pravo je vrijeme za promišljanje o politici pluralizma na današnjim europskim prostorima kako bismo promislili o mnogostrukim razmjenama koje su podijelile europski teritorij na centar i

1 Rosalind Krauss koristila je inačicu Greimasovog modela semiotičkog četverokuta koji se koristio za razmatranje semiotičkih odnosa i ograničenja između dva binarna pojma, inačicu koja se u matematici zove Kleinova grupa, a koja joj omogućava tumačenje kiparstva kao proširenog polja (Corso 2014). 2 Inačica Greimasovog modela četverokuta u Kraussinim se pokušajima koristi kao sistematizacija prostora. 3 Igra riječi na engleskom, shift se odnosi na tipku na tipkovnici koja nema inačicu na hrvatskom jeziku, a željelo se reći da je računalno-generirana umjetnost samo “jednu tipku“ odnosno korak dalje od slikarstva, fotografije i/ili reproducibilnosti. (Op. prev.)

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razmjenama koje su podijelile europski teritorij na centar i periferije (Kosmala 2014:2). Ova izložba prepoznaje izvanredan doprinos europskih gradova kulturnom i umjetničkom stvaralaštvu, izvozeći Gdanjsk u Zagreb i obrnuto, priznavajući oba ova prostora kao vitalne kulturne proizvođače, društvene komentatore i kritičare postsocijalističkih stvarnosti zaokupljenih cvatućim neoliberalnim tendencijama koje se manifestiraju u svakodnevnom životu; povezivanjem isprepletenih povijesti regija, kao i njihove rascjepkanosti. Izložba se bavi paradigmama umjetničke prakse i vizualnim kulturama koje takve povijesti zagovaraju. Fares, Krauss i mnogi drugi odigrali su ulogu u radikalnom redefiniranju našeg razumijevanja suvremenog slikarstva. A sada se skulpturalni objekti, kolaži, instalacije, kao i lens-based radovi ili čak digitalna umjetnost, mogu smatrati „slikarstvom“. Važno je također napomenuti kako umjetnost općenito, kao i samo slikarstvo, ne uživa toliko veliki kulturni odjek kao prije više od četiri stotine godina, kada je ono bujalo u doba visoke renesanse i kasnije u okviru baroknih pokreta. Posljedično, prepletenih povijesti regija, kao i njihove rascjepkanosti. Izložba se bavi paradigmama umjetničke prakse i vizualnim kulturama koje takve povijesti zagovaraju. Fares, Krauss i mnogi drugi odigrali su ulogu u radikalnom redefiniranju našeg razumijevanja suvremenog slikarstva. A sada se skulpturalni objekti, kolaži, instalacije, kao i lens-based4 radovi ili čak digitalna umjetnost, mogu smatrati „slikarstvom“. Važno je također napomenuti kako umjetnost općenito, kao i samo slikarstvo, ne uživa toliko veliki kulturni odjek kao prije više od četiri stotine godina, kada je ono bujalo u doba visoke renesanse i kasnije u okviru baroknih pokreta. Posljedično, danas su različite heterogene manifestacije takozvanog „proširenog polja“ daleko od iznenađujućeg ili novog; suprotno tome, oblici koje Krauss i Fares opisuju kao dio „proširenog polja“ postali su za umjetničku praksu apsolutni status quo. Prošireno polje koje je već obilježilo domenu postmodernizma obuhvaća dvije ključne kategorije: prvu, koja se odnosi na pitanje medija, i drugu koja se odnosi na samu praksu pojedinih umjetnika koji uspješno zauzimaju različite pozicije unutar ovog polja. Naravno, premještanje umjetničke energije i načini rada koji prate ovu logiku doveli su u pitanje konceptualizaciju prostora, kao i percepciju materijala – nekoliko je takvih primjera prikazano i na ovoj izložbi. Međutim, u Srednjoj Europi i posebice u postsocijalističkom kontekstu, pisanje o umjetnosti, uz nekoliko izuzetaka, i dalje slijedi modernističku paradigmu, sumnjičavu prema pristupu kojega ne uvažava. Taj pristup širi polje u ime ‘čistoće’ ili zahtijeva odvajanje medija u cjelini. Sada je već trideset i šest godina otkako se Krauss uhvatila u koštac s takvim izazovima historizacije kao organizirajuće Širi pojam koji obuhvaća fotografske i video radove (Op. prev.) Visoka škola likovnih umjetnosti u Gdanjsku (Op. prev.)

4 5

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prakse i povijesti umjetnosti općenito. Stavljajući na stranu izazove povijesnoumjetničkog diskursa, izložba naglašava najnoviji rast i nove trendove u slikarstvu i njegovu proširenom polju, prikazujući živo, inovativno umjetničko okruženje Gdanjska i njegove okolice te istovremeno priznaje njegovu burnu povijest i istražuje ključne transformacije u današnjoj praksi koja se kontekstualizira sve do 1960-ih i 1970-ih te odaje priznanje pionirskom radu Terese Pągowske (1926.-2007.). Kao slikarica, pedagoginja i nastavnica, koja je četrnaest godina poučavala studente u nekadašnjoj PWSSP5, današnjoj Umjetničkoj akademiji u Gdanjsku, osporavala je formalističke tendencije u mediju slikarstva, razvijala novu estetiku usmjerenu na figuraciju, koja se većinom temeljila na deformiranom ljudskom liku, a konture ženskog tijela često je prikazivala selektivnim i snažnim, kontrastnim bojama. Tijelo je prikazivala kao nešto intimno u suprotnosti sa skicoznim interijerima, kao u radu predstavljenom na izložbi Corridor, 1971. ili je ono ponekad bilo u potpunosti svedeno na znak. Rekla je: „Moje slike odražavaju moju borbu s onime što nadilazi naše normalno područje opažanja. Ja sanjam i gledam. Kada slikam, ne prisjećam se (srećom) principa umjetnosti. U neprestanoj sam potrazi. (...) Najviše me zaokuplja ljudski lik – ne samo zbog bogatstva njegovih oblika. Vjerujem da najčarobniji sadržaj počiva unutar ljudi“ (Pągowska, retrospektivno na izložbi Teresa Pągowska – Painting, Narodni muzej u Poznanju 2003.). Nekoliko umjetnika i umjetnica predstavljenih na ovoj izložbi nastavilo je s pionirskim obrazovnim pristupima koje je započela Pągowska te sada oni imaju ključni utjecaj u poučavanju novih generacija studenata umjetnosti koji istražuju granice slikarstva te olakšavaju širenje polja. Žene umjetnice su kroz povijest bile zakinute u kontekstu umjetničkih institucija, što uključuje i problem vidljivosti priznatih doprinosa umjetničkom obrazovanju i samoj umjetničkoj praksi – i s pravom se može primijetiti da se takva logika većinom ne osporava ni danas, što također aludira na važnost intersekcijske analize diskriminacije i na intersekcijski zaokret u kritičkim studijama i istraživanjima nadahnutima feminizmom (npr. Kosmala 2015; Carbin i Edenheim 2013; Mann i Kelley 1997). Jedna od premisa ove izložbe jeste priznati ženski doprinos polju. Zapravo, jedanaest od osamnaest umjetnika koji su predstavljeni na izložbi su žene. Svi se ovi umjetnici i umjetnice manje ili više izravno bave politikom roda ili usvajaju rodno osviješteni metodološki senzibilitet u pristupu temi.


IZLOŽBA Polazište za izložbu proizlazi iz mog tekućeg istraživačkog interesa za političku artikulaciju umjetničke prakse, kao i intervencije u teoriji unutar prostora proširenog polja, uključujući doprinos samog slikarstva, ali i fotografije, videa i novih medija te bavljenje novijim povijestima postsocijalističke Europe (Kosmala 2014). Radovi su podijeljeni u četiri tematske cjeline koje nude širok raspon tumačenja onoga što slikarstvo može biti te istovremeno daju pregled aktualnih trendova i pristupa slikarstvu kao mediju. Također posjetiteljima daju osvrt na suvremeni život u postsocijalističkim prostorima današnjice – umjetnici stvaraju niz uvida u izazove o kvaliteti života povezane s održavanjem kontinuiteta dinamike moći uhvaćene između nostalgije za prošlošću, novih sistemskih uvjeta, društvene nejednakosti te rodne asimetrije - koji se manifestiraju kod kuće i na radnom mjestu. Tematske cjeline također su stavljene u kontekst novijih povijesti Gdanjska i težnji njegovih stanovnika: 1. Politički sjaj; 2. Disanje svakodnevice; 3. U ogledalu; 4. Trajna prolaznost. Umjetnici predstavljeni na izložbi su ili nadišli tradicionalne preokupacije slikarske discipline korištenjem instalacija, objekata, fotografije, videa i novih medija ili rade sa samim slikarstvom kojeg koriste kao sredstvo za ovo nadilaženje, testirajući granice medija i stvarajući dijalog kroz konverzaciju s povijesti umjetnosti. U OGLEDALU Umjetnici, čiji su radovi predstavljeni u okviru cjeline U ogledalu, uključujući Daniela Cybulskia, Kamilu Model, kao i Annu Reinert, Katarzynu Swinarsku te do neke mjere i Beatu Ewu Białecku, redefiniraju što slika jeste i može biti, dok u velikoj mjeri ostaju predani tradicionalnim materijalima i istražuju temu portreta. Cybulski i Model bave se istraživanjem alternativnih načina stvaranja „slike“ koji nadilaze nanošenje boje na platno, unoseći raznolikost u komponente njezina stvaranja ili prezentacije. Samoreferentni pristup, kontrola materijala i naglasak na slikovnoj strukturi pokušaji su ispitivanja stanja slikarstva i suštine medija u seriji radova Body of a painting Daniela Cybulskog. Visoko sjajna, tjelesna površina rada postaje ogledalo u kojem se vidi odraz promatrača. Prelazeći granice objektivnosti i subjektivnosti, promatrač ulazi unutar okvira slike. Površina slike također postaje ekran za umjetnika, koji prikazuje rezultate njegova/ njezina istraživanja, a koji se odnose na suvišnost sadržaja, kao i na mogućnosti i izazove digitalnog doba. Cybulskijevi pokušaji slikovnog definiranja njegov su izravni odgovor na život u stvarnosti infiltracije interneta u svakodnevni život koji je preplavljen informacijama i zasićen vizualnim zna-

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kovima. Kamila Modeli i Anna Orbaczewska – a potonja je predstavljena u okviru cjeline Disanje svakodnevice – korištenjem tradicionalnih tehnika bave se multiplikacijom. Kamila Model pokušava kroz slikarstvo realizirati vlastite „kreacije“ pri čemu se slika svodi na znak, a kompozicija se ostvaruje asamblažom apstraktnih, jednostavnih oblika. Kombinirajući akril s uljem u mekoj, „tjelesnoj“ paleti, njezina serija radova Fever istražuje tjelesnost kroz san, dok istražuje mogućnosti proširenog polja kroz izvedbu „slikarstva iz glave“. Simbolička figuracija rada Tree Mother svojom toniranom tjelesnošću, seksualiziranim tijelom i osjećajem otuđenosti kroz apstrakciju, a ipak, s univerzalnim konotacijama vezanima za majčinstvo, može se tumačiti i kao projekcija kolektivnog nesvjesnog. Slikanje portreta, žanr u slikarstvu koji je kroz povijest nastojao „prikazati suštinu subjekta“ te odati počast bogatima i moćnima Anna Reinert, Katarzyna Swinarska i Beata Ewa Białecka pretvorile su u laboratorij. Swinarska je konstruirala neobičnu preobrazbu Displacement – Patti Smith as Anna Reinert. Iako se očito radi o ženi, teško je razlučiti radi li se o jednoj ili o drugoj. Ovo je primjer rada u seriji portreta koji istražuju umjetnički identitet žena, gdje žena istovremeno postaje i subjekt i mecena: “Dok sam snimala intervju s umjetnicom Annom Reinert, odjednom me fascinirala prozračnost njezine kože...plave vene ispod površine... plavo lice prekriveno malim pjegama.“6 Njezina je koža podsjetila Swinarsku na pjevačicu Patti Smith te ju je uvela u rad. I rad Anne Reinert prikazan je na izložbi. Ona istražuje autoportrete; svojom eksperimentalnom animacijom u akrilnom slikarstvu, oživljavajući autoportret, Reinert probija granice medija. Animirani slikarski klasici popularizirani su softverom za „animirane foto efekte!“ i You Tubeom. Nisu Tizian ili Velasquez „oživjeli“ poznate osobe s dvorova, nego sama Anna Reinert. Białecka u svojim portretima reciklira kršćansku ikonografiju i popularnu vizualnu kulturu. Mitski Narcis pretvoren je u mladu ženu, koja kleči ispred ogledala, zašivena srebrnim koncem. Ljepota blijedi. Lubanja odražava neizbježan kraj. Nema sumnje kako su današnji umjetnici nanovo izumili žanr portreta, dok su se istovremeno bavili izazovima onoga što znači biti individua. Kroz istraživanje složenosti osobnog identiteta rad postaje konceptualniji i manje figurativan. POLITIČKI SJAJ Politički sjaj predstavlja nastojanja umjetnika da rekonstruiraju naslijeđe Solidarnosti i kritičku artikulaciju s obzirom na mjesta borbe, a koja se povezuju s prostornim krajolikom, što uključuje i prostore kultnog brodogradilišta u Gdanjsku i njegovu budućnost.

Katarzyna Swinarska, retrospektivno o svojoj seriji radova.

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Ono što je zajedničko slikarstvu i fotografskim radovima Piotra Uklańskog jeste činjenica da nisu trodimenzionalni i ne uključuju pokret, međutim, rad se jasno povezuje s videom – kao pokretnom slikom. Usput rečeno, video bilježi kadrove, Uklanski zamrzava svoje kompozicije – kao prizore iz videa. Slično tome, serije slikarskih panoramskih prizora postindustrijskih prostora Grzegorza Klamana zapravo su fotografski digitalni kolaži iz serije radova The Shipyard. Oba se umjetnika bave politikom naslijeđa s obzirom na brodogradilište u Gdanjsku, njegov identitet i povijest. Klamanovi digitalni kolaži brišu povijesne i nostalgične kontekstualizacije brodogradilišta s njegovim diskursom Solidarnosti i prosvjeda radnika. Umjesto toga, kroz svoju digitalnu manipulaciju predlaže alternativnu “idiličnu“ stvarnost za njegovo obnavljanje. Konstruira se nova topografija postindustrijskog prostora, hibridni prostor sačinjen od slikarskih krajolika; zapuštene i prazne zgrade s dotrajalom infrastrukturom reljefno se ističu na scenama nalik raju, ukrašenima palmama, bijelim pijeskom i plavom vodom. Klamanov pokušaj da destabilizira semiotičke znakove povezane s brodogradilištem u Gdanjsku stvara prazan prostor, poziva promatrača na nova tumačenja. Njegovi kolaži – tabula rasa za demokratski javni prostor, slobodan od moći elita i političara uključenih u razvoj – zapravo su domišljati pokušaji stvaranja novog diskursa budućnosti brodogradilišta u Gdanjsku, stvarajući inicijative odozdo prema gore i proces obnove umjetničkog centra. Klaman je sa svojim kontekstualno uvjetovanim umjetničkim aktivnostima u javnom prostoru jedan od ključnih aktivista u Gdanjsku koji konstruira inovativne neovisne strukture za proizvodnju i prezentaciju suvremene umjetnosti, poput kultnog Umjetničkog instituta Wyspa, koji se nalazi u prostorima nekadašnjeg brodogradilišta. Dok Klaman promatraču prikazuje futurističku apokaliptičnu viziju nekadašnjeg brodogradilišta u Gdanjsku, Uklański se, pak, preko svojih fotografskih slika obraća baštini kroz uprizorenje diskursa Solidarnosti i moći ljudi. Mobilizirao je oko tri tisuće poljskih vojnika da formiraju kultni crveno-bijeli logo Solidarnosti za njegovu ‘živuću’ fotografiju brodogradilišta u Gdanjsku - Solidarity. Izoliran, rad prikazan na izložbi, mogao bi se tumačiti kao afirmativno prisjećanje nematerijalne baštine brodogradilišta u Gdanjsku i postignuća njegovih radnika tijekom štrajkova 1970-ih i 1980-ih, uključujući i osnivanje prvog nezavisnog radničkog pokreta u istočnom bloku i početak revolucije Solidarnost koja je rezultirala padom Berlinskog zida. Međutim, još jedna od njegovih „živih“ slika brodogradilišta u Gdanjsku predstavlja raspuštanje loga i raspršivanje pojedinaca – politički komentar na izazove kolektivne mobilizacije i masovnog pokreta u kontekstu neoliberalnog kapitalizma koji njeguje kulturu “imam stoga jesam“ i neosjetni individualizam. Dizajn rada podsjeća na transparent koji se koristi za političke skupove, možda je to i poziv na preispitivanje sustava u postsocijalističkoj stvarnosti nove Europe.

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Naslijeđe brodogradilišta neko je vrijeme istraživala i Iwona Zając. Godine 2004. dovršila je mural na jednom od zidova brodogradilišta sastavljen od fragmentiranih sjećanja, koji u retrospektivi prikazuje priču običnog čovjeka te kroz tekst i slike opisuje njegove strahove i snove, koji se odnose na svakodnevni život, i težnje – neopipljiva sjećanja, zaboravljene glasove radnika te zapis razgovora između umjetnice i radnika brodogradilišta. Mural, koji je umjetnica obnavljala svake godine, na kraju je uništen rušenjem zida u siječnju 2013. godine. Video radovi su pokušaji da se nanovo stupi u kontakt s projektom. U Farewellu Zając se oprašta s muralom prelijevajući ga crnom bojom, netom prije uništenja. Kao posljedica tog čina, zid je pretvoren u crni spomenik površine 250 četvornih metara. Ewa Toniak (2015.) komentirala je radikalnu prirodu rada i njegovu simboličku vrijednost: „Umjetničko djelo koje je mogla vrednovati i sačuvati u nekoj javnoj (ili privatnoj) galeriji, prestalo je postojati sa zidom, jer ga je prefarbala, što je uzrokovalo nestanak radničkih izjava, koje su s tolikim trudom prenesene na plavu podlogu. Protagonisti “napuštaju radno mjesto“ zauvijek. The Shipyard Nike is Leaving, ženski akt koji prikazuje samu umjetnicu s krilima isprintanima na zidu i načinjenima od kultnih dizalica, napušta mjesto - ona silazi sa zida, s pozadine razaranja procesa obnove. Umjetnici u dijelu izložbe pod nazivom Politički sjaj proširili su žanr izvan njegovih granica, kako bi u svojim političkim istraživanjima sadašnjeg stanja preuzeo oblik fotografskih „projekcija“ (Piotr Uklański), digitalnih kolaža (Grzegorz Klaman), murala izrađenog od sjećanja i projiciranog kroz video objektiv (Iwona Zając) ili objekata izrađenih od rezanog papira (Katarzyna Józefowicz). TRAJNA PROLAZNOST Prolaznost i svijest o vremenu dio su svačije agende. Cjelina pod nazivom Trajna prolaznost okuplja umjetnike koji u svojoj praksi povezuju privremenu situaciju s dugoročnim promišljanjem, posebno u odnosu na rodno određivanje razlike. Izvođenje u ritmu prolaznosti, u vječnom trenutku premještanja, sve se mijenja. Zaustavljena u međuprostoru, rađaju se nova značenja. Iskustvo radova Hanne Nowicke velikim je dijelom određeno izravnim sudjelovanjem promatrača i prostorom Galerije Bačva. Naziv rada, Scapegoat, arhetip mučenika koji danas označava osobu koja preuzima krivnju za tuđa nedjela, pretvoren je u utjelovljenje Drugosti, onoga koji se ne uklapa. Gimnastički konj prekriven isječcima gume u boji kože – prikupljenim ostacima materijala i prototipa koje je umjetnica koristila u svojim prethodnim radovima koje je izlagala tijekom posljednjih deset godina, što uključuje i neke od njezinih najvažnijih umjetničkih opusa – poziva na promišljanje o umjetničkom procesu i njegovu trajanju. Čini nam se kao da smo u umjetničinom studiju. Serija malih fotografija, labavo pričvršćenih za zid ljepljivim jastučićima,


Colonial furniture – interijeri radionica gdje se pomodno ukrasno pokućstvo izrađuje u stilu „plemenske umjetnosti“ na otoku Java – prikazuju anonimne žene radnice, komade namještaja prekrivene paučinom te prašinu na praznim policama i prostorima za pohranu. „Predstavljene me situacije simbolički podsjećaju na kolonizatora i kolonizirane...što je znakovito u odnosu između kolonijalnog subjekta i objekta“7, Nowicka pita - tko je koloniziran, a tko je kolonizator? Je li to žrtveni jarac, mučenik, ili onaj koji se osjeća iskorišteno i prema kojemu se nepravedno postupa? Tu je i Dust Column, stup visok 167 cm ispunjen prahom koji se godinama nakupljao u umjetničinom domu. Prah i ostaci koji su ‘došli’ iz njezinog osobnog stambenog prostora hermetički su zatvoreni u prozirni pleksiglas. “Krajnje pedantno usisavanje svake pukotine postalo je za mene kreativni proces. Bilo je to više od svakodnevnog zamornog kućanskog posla kojeg uglavnom obavljaju žene. Doista, bila je to najčišća faza u procesu stvaranja rada Dust Column, također i za um. Prah sam sakupljala u vrećice s označenim mjesecima te ih praznila u spremnik od pleksiglasa koji je otprilike moje visine“ (Nowicka 2005:3). Prah se stalno rekonstruira. Rad simbolizira proces, mi proizvodimo prah i neizbježno se u prah i pretvaramo. Nowickino promišljanje antropologije umjetničkog stvaranja ovdje uključuje i politički stav o ravnopravnosti spolova i radu: monotonim zadacima koje žene obavljaju u radionicama namještaja, kao i njezinoj vlastitoj poziciji žene umjetnice danas. Instalacija Andrzeja Karmasza, koja se pojavljuje na suprotnom kraju slikarstva shvaćenog u tradicionalnom smislu, ipak, istražuje neka od ključnih pitanja slikarstva kao medija – korištenje boje, kompoziciju te ponajviše stilizaciju srodnu portretiranju, obavijenu u postkolonijalnu kritiku povijesti umjetnosti. Doista, kao i u Nowickinom slučaju, njegova umjetnička istraživanja antropološke su prirode, dok istodobno komentiraju kulturno zamućivanje rodnih razlika. Kao što tvrdi Agata Rogoś, on se preobražava u Drugo, „Drugo“ koje je uvijek žensko, komentirajući svoje vlastito porijeklo i kulturnu konstrukciju koja kao da je označena polarizacijom rodnog dualizma (2014: 116). Yang Kuei Fei ime je kineske ljepotice koja je tragično preminula 756. godine. Bila je konkubina i omiljena supruga cara Xuanzonga iz dinastije Tang, a njezina se legenda često pojavljuje u kineskoj operi kao prateći komad s prodornim vokalom. Sve Karmaszove transformacije u kulturnog Drugog kroz njegove autoportrete temelje se na sličnoj semantičkoj strukturi. Zygmunt Bauman je u radu Liquid Modernity prikazao kako je naša vlastita kultura, u kojoj smo na neki način trajno „zapeli“, povrh svega mobilna i tjera nas da lutamo. Karmasz prihvaća kulturni prostor koji omogućuje konstrukciju samoga sebe i osporava njegov definirajući značaj. Ne postoji prikaz društva, čak ni simbolički, koji prisustvo Drugoga nalazi neophodnim,

kao što i sam naglašava: „Društva kreiraju vlastite strance u skladu sa svojim vlastitim obilježjima i stilom“ (Karmasz, retrospektivno u Institutu Wyspa 2013). Performativna transformacija u portret Drugoga odvija se na osi opozicije između Istoka i Zapada ili Zapada i Orijenta: „Postepeno je sve više i više slojeva sputavalo moje tijelo. Sva oprema, pribadače i kruna – prije no što su mi je položili na glavu, glava mi je bila omotana dugim trakama. Još je više traka bilo omotano oko mojih prsa i vrata. Na kraju mi je bilo teško održavati ravnotežu – i, zapravo se riječ ravnoteža nekoliko puta koristila dok su mi stavljali trake i krunu. Nakon toga mi je In Shuzui rekao da sam sada kineska princeza Yang Kuei Fei i ostavio me pred ogledalom“ (Fragmenti razgovora s umjetnikom, izložba Moving, Kulturni centar The Baltic Sea, Gdanjsk, 2006.). I doista, Karmasz u prvi plan dovodi tendencije orijentalizma i egzotizacije u slikarstvu i fotografiji da bi stvorio svijet iluzija, fantazije i fascinacije Drugim kroz povijest umjetnosti. Nakon što je Edward Said (1978.) definirao orijent kao izum, konstruiranje vrijednosnog okvira, gdje su očite činjenice svedene na minimum ili izbrisane neposredno zasićenim iščekivanjima i fantazijama, Karmasz dovodi u pitanje reprezentativnost i prikazivanje podčinjenosti. Rad je nastao u suradnji s Pekinškom operom. U to su vrijeme, u travnju 2005. godine, Kinezi prosvjedovali ispred japanskog veleposlanstva u Pekingu zbog dozvole tiskanja kontroverznog priručnika koji trivijalizira ratne zločine Japanaca nad Kinezima, što je od samog početka Karmaszovu preobrazbu u mladu Yang Kuei Fei učinilo ponešto problematičnom za japansku publiku (Rogoś 2014: 123). Unatoč tome, čini se da je umjetnik uhvaćen u zamku estetskih konvencija. Smještanje u povijesne okvire i slikarsko prikazivanje žena na istoku u njegovim portretima na vrlo krut, ali ipak spektakularan način je, čini se, u suprotnosti s ponešto šaljivim dokumentarnim videom o transgresivnom narativu koji prati proces stvaranja. Moglo bi se reći da Nowicka i Karmasz u potpunosti nadilaze medij slikarstva u radu sa sličnošću prostora kao i s iskustvom gledanja, dok se istovremeno bave ravnopravnošću spolova u kontekstu postkolonijalnih okvira, kao i u odnosu na suvremenu Europu. Rad Pągowske dalje kontekstualizira pitanje roda u odnosu na umjetnički proces. DISANJE SVAKODNEVICE Dišemo cijelo vrijeme, svaki dan. Zapravo, oko 30 000 puta dnevno. Može li nam uranjanje u okolnu stvarnost pomoći da shvatimo gdje živimo? Dominik Lejman istražuje prekoračenje teritorija. Njegovo crno-bijelo platno postaje ekran koji prikazuje figure koje izgledaju poput duhova; one prilaze bliže te se udaljavaju, rastapaju se u eteru tame.

Iz izjave Hanne Nowicke o radu, 2015

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Smještene u četiri velika mjehurića, pojavljuju se i nestaju u različitim perspektivama i na različitim udaljenostima. Preblizu kameri, uznemirujuće geste i čudan govor tijela projeciraju čudan neugodan osjećaj. Gledaju li one nas ili mi njih? „Željeznička postaja... prilaze vam jedna po jedna, samo kako bi upitali, preklapajući vaše međuljudske mjehuriće s njihovim pokretima, mirisima i gestama. Već preblizu, vi odgovarate, nemate novaca prije nego što one samo upitaju“ (72).8 Ovdje je potrebno dekodirati nekoliko slojeva referenci kroz odnos između onoga što je naslikano, što je projicirano te između stvarnosti u kojoj se sve to događa. Anda Rottenberg (2014) istaknula je da: „Lejman koristi nadzor, jer se u naše vrijeme svijet percipira manje izravno; promatramo druge, a nas same promatraju nevidljive kamere“ (11). Nalazeći inspiraciju u svakodnevnom benignom okruženju, Orbaczewska svoj rad predstavlja u mnoštvu, preko instalacija ciklusa, gdje svaka slika postaje kontekst za sljedeću - još jedno „fotografsko“ gledište za bivanje izvan vremena. U svojoj zaokupljenosti ponavljanjem motiva, uvijek u ulju, ona pokušava proširiti formu “dokidajući“ pravovremenost kroz redukciju do pojave - između prošlosti i sadašnjosti - hvatajući trenutak u procesu stvaranja. Radovi prikazani na izložbi, „negativi“ krajolika, djela su iz serije nastale u kolaborativnom projektu Meeting point s japanskim umjetnikom Nobukom Hayashiom. Njihovo zajedničko istraživanje i umjetnička razmjena započeli su 2012. godine, moglo bi se reći, u etosu umjetničke grupe Art & Language, na temelju zajedničke povučenosti. Razmjene i konverzacije između Orbaczewske i Hayashia u obliku pisama, telefonskih poziva i objava na društvenim medijima bile su usmjerene na različite načine doživljavanja prirode i krajolika u urbanim prostorima njihovih budućih kultura. Proces je osmišljen na način koji omogućava razvoj sukoba i razlika u percepciji, s obzirom na njihovu pozadinu i sociokulturne tvorevine9. Ania i Adam Witkowscy i Agata Nowosielska poduzimaju oblik istraživanja povijesti slikarstva, točnije, razmišljaju o baroku, što on može biti danas te doista promišljaju o mogućnostima za njegovu budućnost baveći se proširenim poljem. Instalacija Anie i Adama Witkowscy ukazuje na barokno slikarstvo u pokušaju reinterpretacije jedinstvene tradicije portreta na lijesu koja se njegovala među plemstvom u poljsko-litavskoj političkoj zajednici između 17. i 18. stoljeća – što izravno odgovara na kontinuum u pojmovima reproducibilnosti naprema jedinstvenosti kod Rosalind Krauss. Portreti na lijesovima, slikani uglavnom na zlatnoj pozadini, na bakrenoj ili olovnoj (rijetko na drvenoj) ploči bili su realistični prikazi pokojnika, a postavljali su se na lijesove tijekom pogrebnih obreda. Često su ih slikali lokalni

umjetnici, na osnovu pogrebne maske ili lika načinjenog dok je osoba još bila živa i prikazana na realističan način (Chrościcki 1974). To je bila kulturna praksa „koja neobično podsjeća na tradiciju Fajumskih portreta“ u Egiptu, datiranih u rimsko doba, od kasnog 1. stoljeća pr.n.e. do 3. stoljeća n.e.. Fajumski portreti slikani na drvetu, proizašli iz grčkorimske tradicije, pokrivali su lica pokojnika koji su se mumificirali za ukop. Tradicija portreta na lijesu bila je dio životnog stila i ideologije društvenog sloja sarmatizma10 gdje su pogrebi plemića pretvoreni iz privatnih, tmurnih iskustava u demonstraciju luksuza i višednevno slavlje. Bartłomiej Lyczak, koji je podrobno istraživao ovu tradiciju, objasnio je da su se tijekom ovih pogrebnih ceremonija crkve dekorirale s castri doloris, a sam se pogreb s insceniranom arhitektonikom pretvorio u simboličan čin s unajmljenim glumcima i ožalošćenima. Portret, smješten na uskom kraju lijesa, koji je pogledom obuhvaćao okupljene koji su tugovali za pokojnikom, bio je glavni dio ove ceremonijalne dekoracije (2011: 233). Tipično za pogrebne portrete, instalacija Anie i Adama Witkowscy sadrži trinaest pravokutnih oblika s gornjim rubom u obliku luka. Ovi nepravilni šesterokuti, izrezani od bezličnog bijelog pleksiglasa, kao ready-made objekti, čekaju da budu oslikani portretima onih koji će tek preminuti. Njihova sjajna, glatka površina, djeluje kao memento mori, pretvoren u sablasna zrcala, daje posjetiteljima priliku da razmišljaju o vlastitoj smrti, iščekujući neizbježno. „Sjeti se da moraš umrijeti“ sveprisutna je misao, snažno naglašena uz pomoć dvokanalne projekcije isječka pogreba iz epa Zvjezdani ratovi Georgea Lucasa, slavlje održano, kao što Witkowscy aludira, „u stilu pompe funebris karakteristične za sarmatizam“11, pojma koji opisuje raskošno priređivanje ovih staropoljskih pogreba s njihovim obiljem i veličanstvenošću u rimsko-katoličkoj, kao i u protestantskoj tradiciji (Chrościcki, 1974). Sat otkucava, umjetnica nas ironično podsjeća. Bavljenje svakodnevicom do posljednjeg daha, jedna je od tema koja se stalno iznova vraća u rad Anne Witkowscy, spajajući ikonografiju popularne kulture s osebujnim i lokalnim tradicijama, pozivajući se na povijest umjetnosti. Agata Nowosielska, u svom radu Into the Baroque, također je istraživala povijest slikarstva - struktura njezina rada performativno je podijeljena u tri zasebna dijela s cvjetno-ružičastom pozadinom koja odaje poteze kista, ogoljenim prostorom u postindustrijskom stilu u sredini te lepršavom draperijom na dnu, koja kao da je odvojena od kompozicije u stilu mrtve prirode. Osebujna arhitektonika apstraktnog interijera pojavljuje se kroz slikarsku igru Agate Nowosielske, labirint Jorgea Loiusea Borgesa koji je izgubio svoju originalnu geometriju, spajajući prošlost, budućnost

Dominik Lejman o Far too Close, 2010. U Dominik Lejman: Painting with Timecode, katalog izložbe, Hatje Cantz Verlag, 2014. str. 72-73 Iz razgovora s Annom Orbaczewskom, 2015. godine. Sarmatizam odgovara općem trendu, prema kojem su ondašnje europske nacije, formirane u kasnom srednjem vijeku, tražile svoje drevne pretke. Pa ipak, nigdje vjerovanje u drevno porijeklo nije igralo toliko važnu ulogu u oblikovanju ideologije socijalnog statusa kao među plemstvom u poljsko-latvijskom političkom savezu (Lyczak 2011:233-234). 11 Iz razgovora s Annom Witkowscy, 2015. 8 9

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i sadašnjost. Malena Ruža kao nepravilna predimenzionirana ukrasna ljuska obogaćuje auru obilja rada. Ipak, cvjetni ukras truli. Kao i u slučaju instalacije Anne Witkowscy, rad Nowosielske utjelovljuje raskoš i obilje stila, dok istovremeno primjećuje konzumerističke tendencije i zaokupljenost prolaznošću, kako u baroku tako i u današnje vrijeme koje je, kao što sama kaže, „puno botoksa i seksa“. U njezinim pokušajima proširenja polja, ona se referira na povijest umjetnosti i propituje pojam jedinstvenosti i kompozicije stvaranjem višestrukih Vanitas o prolaznosti života. Narativnu dimenzija slikarstva neizbježno je preuzeo video, na neki je način poruka velikim dijelom ispražnjena iz slikarskog djela. Winienie je video snimka performansa koji se odnosi na „istraživanje procesa slikanja i istraživanje ljudske fiziološke i emocionalne sposobnosti povezane s rođenjem i umiranjem“. Performans je održan 28. prosinca 2012. godine. Vidimo blijedo tijelo čovjeka, koji leži gol, nepomičan, na podu. Tijelo mu je zatim pokriveno i zamotano u bijelu tkaninu. Vidimo dječaka kako po tkanini prolijeva grimizno crveno vino, u potpunosti prekrivajući njezinu bijelu površinu, i otiskuje oblik tijela čovjeka, simbolički aludirajući na kršćansku ikonografiju. Čovjek je nepomičan, najvjerojatnije je bolestan. Saznajemo da su to otac – i sam umjetnik – i njegov sin. Igra Krzysztofa Gliszczyńskog riječima u nazivu – etimologijom riječi „winienie“ – implicira proces lijevanja vina (wino), bojanje bijele površine, možda platna (aludira na slikarski postupak), kao i svaljivanje krivnje na nekoga (wina). Teme crvenila i bjeline istražene su u Gliszczyńskijevim slikama, dok je digitalna manipulacija, korištena kako bi se intenzivirale boje, suprotstavljena fragmentima fenomenoloških razmišljanja Mauricea Merleau-Pontyja (1968.) o vidljivome, kao što je Michał Haake primijetio: „Što osnažuje filozofsko istraživanje umjetnika“ (2014: 28). Radovi daju komentar na govor tijela i ulogu gesti u stvaranju. Općenito, možemo naslutiti nepriznatu krivnju pomirenja drugih uloga, uključujući i kreativan rad, s roditeljskom odgovornošću – dovoditi nekoga u život i podrhtavati zaustavljen u nesvjesnoj smrti, u stanju bivanja i nebivanja. Gliszczyński se uglavnom bavi slikarstvom, testira fluidnost medija, pa ipak, rad na izložbi nije slika sam po sebi, nego narativni rad za kameru, primjer koji prikazuje koliko dobro video može infiltrirati prostor slikarstva. Ovdje je, čini se, performans u dokumentarnom obliku preuzeo važnost gledanja i prisutnosti. Disanje svakodnevice spaja dvoje umjetnika koji se razlikuju u pokušajima historizacije medija i povijesti umjetnosti općenito (Nowosielska, Witkowscy) dok istovremeno ‘promatraju’ suvremeni život, svakodnevne situacije – bilo da se radi o bavljenju prirodom ili beskućnicima-

prolaznicima. Tijekom prošlog stoljeća, slikarstvo se odreklo dijela svog teritorija kojeg je krčilo tisućljećima, uključujući naraciju (Gliszczyński), kontekst prikazivanja (Lejman, Orbaczewska) i iskustvo prostora (Witkowscy). Ogromni rad od rezanog papira Katarzyne Józefowicz, položen u središte, okuplja sve četiri tematske cjeline posložene oko sfernog prostora do njegove sredine. 1. Politički sjaj; 2. Disanje svakodnevice; 3. U ogledalu; 4. Trajna prolaznost. Preciznošću urara Józefowicz je stvorio konstelaciju novina od medijskih i spektakularnih naslova, članaka u glossy časopisima, lako pamtljivih reklama i crnobijelih klepsidri, koje najavljuju još jednog pokojnika. Cijeli svijet sadržan u ovoj krhkoj konstrukciji poziva gledatelja na posljednje promišljanje o nizu izazova povezanih sa suvremenim životom na postsocijalističkim prostorima, njegovoj političkoj klimi neoliberalne stvarnosti, građanskim težnjama nove Europe, konzumerističkim trendovima, kao i vječnom ponavljanju dinamike moći, gdje nastavljaju vladati rodni polariteti i nejednakosti. MNOŽINA PO PRIRODI? Izloženi se radovi svojom sposobnošću reprodukcije i mogućih transformacija bave multidimenzionalnim prostorima i kritičkim diskursom. Umjetnici propituju priznate povijesne uvjete medija i tekstova nastalih na takvoj osnovi, omogućujući radovima da sami budu „utjelovljena“ značenja ili tableaux vivants – prikazi koji rekonstruiraju viđene prikaze te ih ponovno unaprijed oblikuju. Prošireno polje slikarstva omogućuje lociranje različitih i raznolikih umjetničkih manifestacija koje se događaju u današnje vrijeme, kao na primjer slikanje s timecodeom, na pozadini socio-ekonomske stvarnosti, a u ovom slučaju postsocijalističkog europskog grada koji se bori s neoliberalnim izazovima i verzijama spornih povijesti u predviđanju svoje budućnosti. Dakle, računalno generirana slika samo je hibridni pomak reproducibilnosti od slikarstva ili fotografije. Multimedija je to – tradicionalno slikarstvo, fotografija, pokretne slike i digitalna umjetnost – koja čini repertoar metoda koje se koriste za stvaranje slika, konstruiranje teksta i vizualizaciju njihova značenja. Mogli bismo reći da je raspadanje sredstava slikarstva i samoga slikarstva tijekom prošlog stoljeća uvelo određenu „slobodu“ u razumijevanje slikarstva i demokratičniji način konceptualizacije vizualnog učinka rada u medijima u kontekstu proširenog polja. Umjetnici predstavljeni na izložbi bave se istraživanjem alternativnih načina izrade slike (Białecka), diverzifikacijom komponenti njezina stvaranja i prezentacije (Cybulski). Drugi su dekonstruirali ili ponovno izumili što slika jeste (Pągowska) i što može biti (Orbaczewska). Neki su ostali predani tradicional-

Dominik Lejman o Far too Close, 2010. U Dominik Lejman: Painting with Timecode, katalog izložbe, Hatje Cantz Verlag, 2014. str. 72-73 Iz razgovora s Annom Orbaczewskom, 2015. godine. Sarmatizam odgovara općem trendu, prema kojem su ondašnje europske nacije, formirane u kasnom srednjem vijeku, tražile svoje drevne pretke. Pa ipak, nigdje vjerovanje u drevno porijeklo nije igralo toliko važnu ulogu u oblikovanju ideologije socijalnog statusa kao među plemstvom u poljsko-latvijskom političkom savezu (Lyczak 2011:233-234). 11 Iz razgovora s Annom Witkowscy, 2015. 8 9

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nim materijalima (Model, Swinarska). Drugi su proširili žanr tako da on uključuje i video radove (Zając, Gliszczyński), slikanje s projekcijom (Lejman), animaciju (Reinert), digitalni kolaž (Klaman), fotografiju (Uklański), predmete od papira (Józefowicz), pogrebne ploče (Witkowscy), instalacije usmjerene na zvuk (Karmasz) i skulpturalne objekte – izrađene od gimnastičkog konja ili sakupljenog praha hermetički zatvorenog u spremnik (Nowicka). Također postoje primjeri radova koji preuzimaju oblik istraživanja povijesti baroka (Nowosielska, Witkowscy) i koji se doista osvrću na njegovu suvremenu prisutnost. Umjetnici predstavljeni na izložbi na svoj su način objasnili politiku umjetničkog diskursa na temu pojma pluralnosti, povezanu s epistemologijom proširenog polja. Čini se da njihovi različiti načini predstavljanja postsocijalističkih prostora na pozadini cirkulacije globalnog kapitala, s njihovim radostima i bolima, osjećajem individualne dobiti i gubitka, dovoljno podsjećaju na kolektivnu poruku, a opet, bez rizika stvaranja praznih značenja ili svođenja na pružatelja spektakularnog iskustva za promatrača. Tako se to čini jedinim načinom na koji možemo početi shvaćati svoju poziciju i kao pojedinaca i kao dijela kolektivnog subjektiviteta u suvremenoj stvarnosti, nakon poziva na mobilizaciju Frederica Jamesona otprije trideset i pet godina, kako bismo „povratili sposobnost djelovanja i borbe koja je u ovom trenutku neutralizirana našom prostornom, kao i društvenom zbunjenošću“ (1981: 54). Katarzyna Kosmala

BIBLIOGRAFIJA Zygmunt, Bauman, Liquid Moderrnity, Cambridge: Polity Press. 2000. Maria Carbin i Sara Edenheim, ‘Intersectional Turn in Feminist Theory: A Dream of a Common Language’ European Journal of Women’s Studies, August, 20(3), 2013.: 233-248. Juliusz Chrościcki, Pompa Funebris. Z Dziejow Kultury Staropolskiej, PWN: Varšava, 1974. John Corso, ‘What Does Greimas’s Semiotic Square Really Do?’, Mosaic, Winnipeg, 47(1), ožujak 2014. Arthur C Danto, ‘The Transfiguration of the Commonplace’, Journal of Aesthetics and Art Criticism, 33(2), zima, 1974.: 139148. Guy Debord, The Society of the Spectacle. Rebel Press. London, 1967./2004. Gustavo Fares, ‘Paining in the Expanded Field’, Janus Head: Journal of Interdisciplinary Studies in Literature, Continental Philosophy, Phenomenological Psychology, and the Arts, 7(2), Trivium Publications, Amherst, NY. Zima 2004.: 477-487.4 Hall Foster, ‘The Problem with Pluralism’. U John Lane i John Caldwell, 1985. Carnegie International. Pittsburgh: Museum of Art, Carnegie Institute, 1985.: 50-57. Michał Haake, ‘Ciało w malarstwie’, Arteon, prosinac, 2014.: 28-29. Fredric Jameson, The Political Unconscious. Narrative as a Socially Symbolic Act. Ithaca: Cornell University Press, 1981. Fredric Jameson, Postmodernism, or, the Cultural Logic of Late Capitalism, London, Verso, 1991. Katarzyna Kosmala, ‘Artistic Tactics of the Everyday: Ideology Reframings in Gržinić and Šmid’s Practice’. U., Thorsen, E., Savigny, H., Jackson, D. and Alexander, J. (ur.) Media, Margins and Popular Culture. London: Palgrave Macmillan, 2015. Katarzyna Kosmala (ur.) Sexing the Border: Gender, Art and New Media in Central and Eastern Europe, Cambridge Scholars Publishing, 2014. Katarzyna Kosmala, ‘Introduction’. U Katarzyna Kosmala (ur.) Sexing the Border: Gender, Art and New Media in Central and Eastern Europe, Cambridge Scholars Publishing, 2014.

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Rosalind Krauss, ‘Sculpture in the Expanded Field’, October, Vol 8. Proljeće, 1979.: 30-44. Ponovno tiskano u The Anti-Aesthetic: Essays on Postmodern Culture, Seattle: Bay Press, 1983. Bartłomiej Lyczak, ‘The Coffin Portrait and Celebration of Death in Polish – Lithuanian Commonwealth in the Modern Period’, IKON Journal of Iconographic Studies, Vol 4, 2011.: 233242. Susan Mann i Lori Kelley, ‘Standing at the Crossroads of Modernist Thought: Collins, Smith, and the New Feminist Epistemologies’. Gender and Society, 11(4). 1997.: 391–408. Maurice Merleau-Ponty, The Visible and the Invisible, Northwestern University Press, Evanston, 1968. Hanna Nowicka, ‘Stratified Self-Portrait. Fragmentary Portrait’. U katalogu Hanna Nowicka, Gdanjsk, 2005. Agata Rogoś, ‘Identity Discourse in Andrzej Karmasz’s Performative Acts: He May Not Seem What He Might Be’. U Katarzyna Kosmala (ur.) Sexing the Border: Gender, Art and New Media in Central and Eastern Europe, Cambridge Scholars Publishing, 2014.

BIOGRAFSKA BILJEŠKA Dr. Katarzyna Kosmala piše o umjetnosti, kurira izložbe te predaje na kolegiju Culture, Media and Visual Arts (Kultura, mediji i vizualne umjetnosti) na Sveučilištu West of Scotland u Ujedinjenom Kraljevstvu. Prije toga bila je gostujuća istraživačica na European Institute of Gender Studies GEXcel, na Sveučilištima Linköping i Örebro u Švedskoj te gostujuća profesorica na Fundacao Getulio Vargas u Rio de Janeiru u Brazilu. Redovito piše o suvremenoj umjetnosti te objavljuje u međunarodnim časopisima i katalozima. Novije publikacije uključuju: The Arts, Social & Organisational Change: Precarious Spaces (ur.) (2016., Intellect Press), Sexing the Border: Gender, Art and New Media in Central and Eastern Europe (ur.) (CSP, 2014.), Imagining Masculinities: Spatial and Temporal Representation and Visual Culture (2013., Routledge), Art Inquiry on Crossing Borders: Imaging Europe, Representing Periphery (ur.) (2013.,ŁTN). Tijekom protekle godine radila je na projektu Curating Europes’ Futures (www.curatingeuropesfutures.net). Živi i radi u Edinburghu u Škotskoj.

Anda Rottenberg, ‘The State of Real Things Past’. U Dominik Lejman: Painting with Timecode, katalog izložbe, Hatje Cantz Verlag, 2014. Edward Said, Orientalism, Pantheon: New York, 1978. Ewa Toniak, ‘Rebellious. About a Few Works by Iwona Zając’.U The Hard Work Miracle, Iwona Zając, katalog, Gdanjsk, 2016.

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CONSTRUCTION OF PLURALITY AND EXPANDED FIELD Since the middle of the 19th century, painting has gone through a repeated cycle of death and rebirth in the face of artistic innovations, politics of the art world and technological advancement. Contemporary understanding of painting has transcended the art form’s traditional boundaries, and for some time, has been operating in what can be described as an ‘expanded field’. Eighteen artists - Gdańsk based artists as well as artists linked with the cultural scene in Gdańsk, including the now deceased Teresa Pągowska, are showcased in the exhibition. They have been working within the medium of painting and through lens of mixed media, challenging the established canon of painting as well as contributing to the rewriting of the expanded field, whilst commenting on contemporary post-Socialist reality. The title of the exhibition Exporting Gdańsk, points out the city’s remarkable history of being an international trading port and center of learning with it’s transient rich cultures and complex geopolitical realms, made of multiple European influences as well as past and present trends in artistic Diasporas. Expanding the field is not new. Already in 1979, Rosalind Krauss in her influential essay on ‘Sculpture in the Expanded Field’ challenged the Modernist-centred definition of sculpture, pushing the limits of formalism towards the formlessness1. Indeed, already in the post-war period, sculpture as well as painting had been stretched in extraordinary dimensions, proving the elasticity of these categories, and in the same time, malleability of the mediums. And it was the pulling and the stretching of a term sculpture ‘overtly performed in the name of vanguard aesthetics’ (Krauss, 1979: 30) that worked to affirm the ideology of the new2. The very ideology that although widely debated and predominantly cross-referred to the North American context, gradually spreading geographies to encompass the Western art more generally, have not acknowledged contributions to the expanded field from then behind the Iron Curtain. Some twenty five years later, Gustavo Fares, drawing on Rosalind Krauss’s readings of sculpture as well as Arthur Danto’s pluralism and the crisis of art-as an object, pointed out that the expanded field makes it possible to locate different artistic manifestations that take place nowadays. Transformations of the medium and in the medium go long time back in history. Danto pointed out that already the Council of Trent, held between 1545 and 1563, allowed painters and sculptors to transgress the conventions of the canon allowing to ‘cause emotional illusions in audience who were confronting the suffering of their saviour and their saints’, the very

practice that expanded the boundaries of artistic space and the apotheosis of combining painting, sculpture and architecture in the High Baroque (Danto, 1974: 145). Fares has argued that a way of thinking about painting as the expanded field makes space for the reinvestment of the medium with currency that it has lost and lacked for some time, including the engagement with video, conceptual art and use of digital-imaging technologies: ‘The expanded field also affords the possibility of transformations and movements in one or more dimensions at the same time, shifting from one form of expression or given object to another, and even expects the possible addition of new visual dimensions. In this regard, to quote but one simple example, the advent of computer-generated art is just a shift away in the field from painting, photography, and/or reproducibility’ (Fares, 2004: 487). Yet, there is a further geographical challenge to the pluralism of ‘everything goes’ in expanding the medium field, while promoting tolerance, accepting everything as valid and predetermined as well as endorsing a variety of styles and forms. Hegemonic cultural tendencies of this creeping pluralism, including a neo-colonial attitude in the art world and essentialisms have been acknowledged by cultural critics. Fares cited Fredric Jameson’s logic of late Capitalism and Hal Foster’s lens - cultural logic based on the means of cultural production being exported from the West to other contexts. This exhibition directly challenges the dichotomy inherent in certain approaches to ‘pluralism’ with its exoticism as well as geographical and cultural spectacularisation effects as Guy Debord alluded in The Society of the Spectacle, expecting: ‘the Western first-world to produce art and theory, while the rest of the world becomes a province that, at best, produces art and theory limited to their own spheres of the national and, at worst, offers cultural (raw) materials to be later processed in the first-world where academic/cultural value is added’ (in Fares, 2004: 113). Going back to geo-politics, it is important to recognise the fact that ‘the West’ no longer demarcates a particular geography but it is an imaginary term that functions as a dividing concept in need of perpetual redefinition in the discourses of ‘pluralism’ where it is seen to play a dominant role. It is timely to reflect on the politics of pluralism in today’s European realms to reflect on the multiple exchanges that have so far divided the territory of Europe into centres and peripheries (Kosmala, 2014: 2). This exhibition recognizes European cities remarkable contribution to cultural and artistic creation,

1 Rosalind Krauss used a variant of the Greimas’ semiotic square model used to consider semiotic relationship and constrains between binary terms, a variant called the Klein group when used in mathematics, to enable her reading of sculpture as the expanded field (Corso, 2014). 2 The variant of the Greimas’ square model was used in Krauss’ attempts at the systematisation of space.

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exporting Gdańsk to Zagreb, and back, acknowledging both spaces as vibrant cultural producers, social commentators and critics of post-Socialist realities engrossed with blossoming neo-liberal tendencies, manifested through daily living, linking the region’s interwoven histories as well as their fragmentation. The exhibition engages the paradigms of art practice and visual cultures such histories uphold. Fares, Krauss and many others have played a part in radically redefining our understanding of contemporary painting. And now, sculptural objects, collages, installations as well as lens-based works, or indeed, digital art can be all considered as ‘painting’. It is also important to note that art overall and painting in particular do not enjoy as widespread cultural reverberations as they did over four hundred years ago, thriving in High Renaissance and later under Baroque movements. As a consequence, today the various heterogeneous manifestations of the so called ‘expanded field’ are far from surprising or seen as new; instead, the forms that Krauss and Fares described as part of the ‘expanded field’ have become the absolute status quo for artistic practice. The expanded field that already characterised the domain of postmodernism has encompassed two key categories – first, referring to the question of medium and second, concerning the very practice of individual artists who successively have occupied different places within this field. Relocation of artistic energy and ways of working that followed this logic naturally have challenged conceptualisation of space, as well as the perception of the material – with several examples showcased in this exhibition. However, in Mitta Europa and post-Socialist context in particular, art writing with few exceptions, continues to be at large subscribed to the Modernist paradigm, suspicious or dismissive of an approach that expands field in name of ‘purity’ or demanding the separateness of the mediums overall. And it is now thirty six years on since Krauss grappled with such challenges to historicization as an organizing praxis and history of art more generally. Putting aside the challenges of art history discourse, this exhibition highlights the most recent growth and new trends in painting and its expanded field, presenting the vibrant, innovative artistic environment of Gdańsk and its surroundings, simultaneously recognising its turbulent history and examining key transformations in the practice taking place today, contextualised back to the 1960s and the 1970s, while acknowledging the pioneering work of Teresa Pągowska (1926-2007). As painter, pedagogue and educator, working for fourteen years educating students at the former PWSSP, currently Gdańsk Academy of Arts, she challenged Formalist tendencies in the medium of painting, developing a new figuration-centred aesthetic, largely based on a deformed human figure, often

portraying contours of a female body, in selective and intensely contrasting colours. She represented a body as the intimate against sketchily rendered interiors as in the work that feature in the exhibition Corridor, 1971, or sometimes entirely reduced to a sign. She said: ‘My paintings reflect my struggle with what lies beyond our normal field of observation. I dream and I look. When I paint, I do not remember (luckily) the principles of art. I am constantly searching. (...) I am most deeply taken by the human figure - not only because of the wealth of its forms. I believe that the greatest magical content resides in humans’ (Pągowska retrospectively in the exhibition Teresa Pągowska–Painting, the National Museum in Poznań, 2003). Several artists that feature in this exhibition continued with pioneering educational approaches that Pągowska initiated and are now key influences in teaching new generations of art students, researching the boundaries of painting while facilitating expansion of the field. Throughout history, women artists have been unprivileged in the context of art institutions, including the problem of visibility of acknowledged contribution in art education and indeed art practice – and it seem rightly to note that such logic continues largely unchallenged today also alluding to the importance of intersectional analysis of discrimination and an intersectional turn in critical studies and feminist-inspired research (e.g. Kosmala, 2015;Carbin and Edenheim, 2013; Mann and Kelley, 1997). One of the premises of this exhibition is to acknowledge women’s contribution to the field. In fact, eleven out of eighteen artists are female. All artists engage more or less directly with politics of gender and or adopt gendered-informed methodological sensitivities in approaching the subject. EXHIBITION A point of departure for the exhibition stems from my ongoing research interest in a political articulation of artistic practice as well as intervention in theory within spaces of the expanded field, including contribution from painting per se, as well as photography, video and new media, and attending to recent histories of post-Socialist Europe (Kosmala, 2014). The works are displayed into four thematic sections, offering a wide array of interpretations of what painting might be, while surveying current trends and approaches to painting as medium. Simultaneously, a viewer is presented with a reflection on contemporary living in post-Sociality realms today – artists offer a range of insights into challenges to a quality of life associated with a perpetuation of power dynamics caught in-between nostalgia for the past, new systemic condition, social imbalances, and gender asymmetry manifested at home and at work. The thematic sections are also contextualised in recent histories

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of Gdańsk and aspirations of its people: 1. Political gloss; 2. Breathing the everyday; 3. In the mirror; and 4. Permanent temporality. The artists featuring in the exhibition have either transgressed the discipline of painting’s traditional preoccupations by using the installation, object, photography, video and new media,or work with painting per se, as the vehicle for this transgression, testing the medium’s boundaries and creating a dialogue, through conversations with the history of art. IN THE MIRROR Artists, whose works are on view in the section In the mirror, including Daniel Cybulski, Kamila Model as well as Anna Reinert, Katarzyna Swinarska and to some degree Beata Ewa Białecka have reinvented what a painting is and what it can be, while maintaining in large their commitment to traditional materials, and exploring a theme of portraiture. Cybulski and Model engage with explorations of alternative ways of making a ‘painting’ that go beyond the application of paint to a canvas, diversifying the components of its production or presentation. Self-referential approach, control of material and emphasis on pictorial structure are testing attempts at the condition of painting and the essence of the medium in Cybulski’s Body of a painting series. Highly glossy, bodily surface of the work becomes a mirror for the viewer’s self-reflection. Crossing the boundaries of objectivity and subjectivity, a viewer becomes framed in the picture. The surface of painting is also transformed in a screen for the artist, projecting results of his research, concerning redundancy of the contents, as well as opportunities and challenges afforded by the digital age. Cybulski’s attempts at pictorial definition appear as his direct response to living in the reality of Internet infiltration, overflown with information and saturated with visual sign. Kamila Model and Anna Orbaczewska - the latter features in section Breathing everyday - engage with multiplication while using traditional techniques. Model through painting attempts to realise her own ‘creations’ whereby an image is reduced to a sign, and a composition is realised through an assemblage of abstract, simple forms. Combining acrylic with oil in a soft ‘bodily’ palette, her Fever series explore corporeality though a dream, while scanning opportunities of the expanded field through performance of ‘painting from the head’. Tree Mother’s symbolic figuration, with her toned physicality, sexualised body, and a sense of distance through abstraction, yet, with universal connotations attached to motherhood could be also read as a projection of the collective unconscious. Portrait painting, a genre of painting that histori-

KatarzynaSwinarska retrospectively about her series.

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cally aimed to ‘show the essence of the subject’ and commemorate the rich and powerful, has been transformed by Anna Reinert, Katarzyna Swinarska and Beata Ewa Białecka into a laboratory. Swinarska constructed a peculiar transformation Displacement – Patti Smith as Anna Reinert, although evidently a woman, it is hard to distinguish one or the other. This is an example of work in the series of portraits exploring women’s artistic identity, where a woman becomes the subject and at the same time the patron: ‘While I was filming an interview with the artist Anna Reinert, I suddenly got fascinated by the translucency of her skin,… blue veins beneath its surface… blue face covered with freckles’3. Her skin reminded Swinarska of the singer Patti Smith and she introduced her into the work. Anna Reinert also has her work in the exhibition. She explores self-portraiture, with her experimental acrylic painting animation, bringing a selfie portrait to life Reinert probes the limits of the medium. Animated painting classics have become popularized by ‘animated photo effects’ software and YouTube. It is not Titian or Velázquez that ‘brought to life’ the famous of the courts but Anna Reinert herself. Białecka recycles Christian iconography and popular visual culture in her portraiture. Mythical Narcissus is transformed into a young woman, kneeling in front of a mirror, stitched with a silver thread. Beauty is fading. A scull reflects an unavoidable end. No doubt, artists today reinvented the genre of portraiture, while exploring challenges of what it means to be an individual. Through exploration of the complexities of personal identity, works became more conceptual and less representational. POLITICAL GLOSS Political gloss occupies artists’ attempts at reconstructing the legacy of Solidarity and critical articulation with regard to contested spaces associated with the cityscape, including the premises of an iconic Gdańsk shipyard and its future. The photographic works of Piotr Uklański share with painting the characteristics of being non three dimensional and having no movement, however, the work is clearly related to video – as a moving image. By the way the video captures the frames, Uklanski freezes his compositions – as video stills. Similarly, Grzegorz Klaman’s series of painterly panoramic vistas of the post-industrial space are photographic digital collages from The Shipyard series. Both artists engage with the politics of heritage in relation to the Gdańsk shipyard, its identity and history. Klaman’s digital collages erase the historical and nostalgic contextualisation of the shipyard with its Solidarity discourse and shipyard’s workers protests. Instead, he proposes an alternative ‘idyllic’


reality for its regeneration through his digital manipulation. New topography of post-industrial space is constructed, a hybrid space made of painterly landscapes; derelict and vacant buildings with their dilapidated infrastructure are embossed in paradise-like scenes, decorated with palms, white sand and blue water. Klaman’s attempt to destabilise semiotic signs associated with the Gdańsk shipyards produces an empty space, inviting the viewer for new interpretations. His collages - tabula rasa for democratic public space, free from power of elites and politicians involved in the development – are in fact witty endeavours to construct a new discourse of the Gdańsk shipyard’s future whilst creating bottom up initiatives and artist-centre regeneration process. Klaman with his context-related, art-based activities in public space is one of key activists in Gdańsk, constructing innovative independent structures for production and presentation of contemporary art, such as iconic Wyspa Art Institute, located on the former shipyard premises and occupying its buildings. While Klaman presents the viewer with a futuristic apocalyptic vision of the former Gdańsk shipyard territory, Uklański on the other hand, through his photographic painting, addresses heritage through enactments of Solidarity discourse and power of people. He mobilised around 3 thousand Polish solders to form an iconic red and white Solidarity logo for his ‘living’ photograph of the Gdańsk shipyard, Solidarity. The work that features in the exhibition in isolation could be read as an affirmative recollection of the intangible heritage of the Gdańsk shipyard and its workers’ achievements during the 1970s and 1980s strikes, including the set-up of the first independent labour movement in the Eastern bloc and commencement of the Solidarity Revolution that eventually resulted in the fall of the Berlin wall. However, another of his ‘living’ photographs of the Gdańsk shipyard represents the dissolution of the logo and dispersion of individuals – a political comment on challenges for collective mobilisation and mass movement in the context of neo-liberal Capitalism with ‘I have therefore I am’ culture and creeping individualism. The design of the work resembles a banner for political rallies, an invitation perhaps to reconsider the system under the post-Socialist reality of new Europe. The shipyard’s heritage has also been explored by Iwona Zając for some time. In 2004, she completed a mural made up of fragmented memories on one of the shipyard’s walls retrospectively telling a story of a common man, depicting through text and pictures his fears and dreams, concerning daily living and aspirations - intangible recollections, forgotten voices of working people, and a record of artist conversations with the shipyard’s workers. The mural, annually repainted by the artist, a tribute to the people of the shipyard, was eventually destroyed when the wall was demolished in January 2013. The videos are attempts to revisit the project. In Farewell covering the mural over with

black paint and just before its destruction, Zając says her goodbye. As a consequence, the wall was transformed into a 250 sq. m black monument. Ewa Toniak (2015) commented on radical nature of the work and its symbolic value: ‘the work of art that she might have treasured and stored at some public (or private) gallery, ceased to exist with the wall, as she painted it over, causing the workers’ words, transferred with such effort onto the blue surface, to disappear. The protagonists “leave the workplace” forever.’ The Shipyard Nike is Leaving, the artist’s nude act with attached wings made of the iconic cranes, printed on the wall, walks away from the space, she comes off the wall against the backdrop of destruction of the regeneration process. Artists in the Political gloss section have expanded the genre beyond what may appear as its limits, to take the form of photographic ‘projections’ (Piotr Uklański), digital collages (Grzegorz Klaman), a mural made of memories and projected through a video lens (Iwona Zając), or objects made of paper cuts (Katarzyna Józefowicz) in their political explorations of the present condition. PERMANENT TEMPORALITY Situation of impermanence and awareness of time is on everyone’s agenda. The Permanent temporality section brings together artists who in their practice link a temporary situation to long-term thinking, in particular in relation to gendering a difference. Performing to the rhythm of temporality, in a perpetual moment of displacement, everything changes. Suspended in-between, new meanings are born. The experience of Hanna Nowicka’s works is very much determined by the viewer’s engagement and the space of Barell Gallery. The title of the work, Scapegoat, the archetype of the martyr that has developed to indicate a person taking the blame for others’ wrongdoings, is transformed into an embodiment of Otherness, of one not fitting in. A gymnastic horse covered with skin-colour rubber cuts collected material left overs and prototypes from the artist’s previously realised works she showcased over the years, including some of her most important artistic oeuvres - invites a reflection upon artistic process and its duration. It seems we are in the artist studio. The series of small photographs, are attached loosely to the wall with the blue-tack, Colonial furniture - workshops’ interiors where fancy home decorative fixtures are made a la ‘tribal art’ on Java Island – featuring anonymous women workers, furniture objects covered in spider webs, and dust in empty storage spaces. ‘Represented situations symbolically remind me of a colonizer and a colonized….what is significant is a relation between a subject and a colonial object’4, Nowicka asks, who is being colonized and who is a colonizer? It is a scapegoat, a martyr, or one who is feeling used by others, and treated unfairly? There is also Dust Column, a 167 cm columnfilled with dust

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There is also Dust Column, a 167 cm column filled with dust collected over the years from the artist’s home. Dirt and left overs that ‘came’ from her personal dwelling space were hermetically sealed in transparent Plexiglas. ‘My utterly meticulous vacuum-cleaning of each crevice became a creative process for me. It was more than a mundane tiring chore which women usually do. Indeed, this was the most “hygienic” stage in the creation of Dust Column, also for the mind. I collected dust into bags with the number of a given month on them and spilled their contents into a Plexiglas container of about my height’ (Nowicka, 2005: 3). Dust is permanently reconstructing itself. The work symbolises a process, we make dust and inevitably turn into dust. Nowicka’s reflection on the anthropology of artistic creation includes here a political stance on gender equivalence and labour: monotonous tasks performed by women in furniture workshops as well as her own position as a woman artist today. The installation of Andrzej Karmasz, which appears at the opposite end of painting understood in a classical sense, yet, at the same time explores some of the key issues of painting as medium – use of colour, composition and most of all stylisation akin to portraiture in painting, enveloped in post-colonial critique of art history. Indeed, as in Nowicka’s case, his artistic explorations are anthropological in nature while comment on the cultural blurring of gender difference. As Agata Rogoś argued, he transforms into the other, an ‘other’ that is always female, commenting on his own origin and cultural construction that seems demarcated by a polarization of gender dualism (2014: 116). Yang Kuei Fei is the name of a famous Chinese beauty who died tragically in 756. She was the concubine and the favorite wife of emperor Xuanzong from the Tang dynasty, and her legend frequently appears in Chinese opera, as heard in the accompanying sound piece with a piercing vocal score. Karmasz’s transformations into the cultural other through his self-portraits are all based on a similar semantic structure. Zygmunt Bauman in Liquid Modernity delineated that our own culture, in which we are in a sense ‘stuck’ perpetually, is above all mobile, and forces us to wander. Karmasz embraces the cultural space which facilitates the construction of the self and challenges its defining significance. There is no representation of a society, even symbolic, which finds the presence of the other indispensable, as he asserts: ‘societies create their own strangers in accordance with their own specificity and style’ (Karmasz retrospectively in Wyspa Institute, 2013). A performative transformation into a portrait of the other takes place on the axis of opposition between East and West or Occident and Orient: ‘There appeared gradually more and more layers binding my body. All the accessories, pins and a crown – before they put it on me, my head was

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From Hanna Nowicka’s statement about the work, 2015.

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all wrapped with long straps. More straps were wrapped around my chest and neck. In the end, I found it hard to keep balance - and, as a matter of fact, the word balance was used a couple of times while putting the straps and crown on. Afterwards, In Shuzui told me that now I am the Chinese princess Yang Kuei Fei and left me in front of the mirror’ (Fragments of interview with the artist, the exhibition Moving, the Baltic Sea Cultural Centre, Gdańsk, 2006). Indeed, Karmasz brings to the fore orientalism and exoticization tendencies in painting and photography for constructing a world of illusion, fantasy and fascination with the other through art history. After Edward Said’s (1978) definition of the Orient as an invention, constructing a valuating frame, where apparent facts are striped to minimum or erased with immediately saturated anticipations and fantasies, Karmasz calls into question representability and representation of subalterity. The work was made in collaboration with the Beijing Opera. At that time, in April 2005 the Chinese protested in front of the Japanese Embassy in Beijing, because of the authorization to print a controversial handbook trivializing the war crimes of the Japanese towards the Chinese, which made Karmasz’s transformation into Yang Kuei Fei somewhat problematic for the Japanese public from the outset (Rogoś, 2014: 123). Nevertheless, the artist seems to be caught in the entrapment of aesthetic conventions. The historical framing and painterly representation of women in the East in his portraits with a very rigid, yet, spectacular manner, seems to be in opposition to the somewhat humorous video documentation of transgression narrative that accompany the process of making. Nowicka and Karmasz - it could be argued - entirely transgressed the painting medium working with the affinity of space as well as the viewing experience while addressing gender equality in the context of post-colonial framings as well as in reference to contemporary Europe. Pągowska’s work contextualises the gender question further and in reference to artistic process. BREATHING THE EVERYDAY We breathe all the time, everyday. In fact, it is about 30,000 times a day. Can the immersion into the surrounding reality help us to grasp what we live in? Dominik Lejman explores transgressions of territories. His black and white canvas becomes a screen projecting ghost-likes figures; they come closer and subsequently go away, dissolving into ether of darkness. Framed into four large bubbles, they appear and disappear in different perspectives and distance. Too close to the camera, unsettling gestures and awkward body language project a strange uncomfortable sensation. Are they watching us or we are watching them? ‘Railway station… they approach you one by one, ‘only to ask’, overlap-


ping your interpersonal bubble with their movements, smell, and gestures. Already far too close, you answer, you have no money before they ‘only ask’’ (72).5 There are several layers of reference that needs to be decoded here through the relationship between what is painted, what is projected as well as the reality in which it all takes place. Anda Rottenberg (2014) pointed out: ‘Lejman uses surveillance, because the world is perceived less directly in our day; we observe others and we are observed ourselves by invisible cameras’ (11). Taking inspiration from every day benign surroundings, Orbaczewska presents her works in multitude, through installations of cycles, where each painting becomes the context for the next, another ‘photographic’ view point for being out of time. In her preoccupation with a motif repetition, always in oil, she attempts to expand the form, ‘ending’ timeliness through reduction to occurrence, between the past and the present, catching a moment in the process of making. The works featuring in the exhibition, landscape ‘negatives’, are from the series realised in the collaborative project Meeting point realised with Japanese artist Nobuko Hayashi. Their joint research and artistic exhange commence in 2012, one could argue, in the ethos of the art group Art & Language, with its social base in a shared remotness. Exchanges and conversations between Orbaczewska and Hayashi, in forms of letters, phonecalls and social media feeds, focused on different ways of perceiving nature and landsapce in urban realms of their prospective cultures. The process was designed to allow forany clashes and difference in perception, concering their backgound and socio-cultural formations to unfold6. Ania and Adam Witkowscy and Agata Nowosielska undertake form of investigations into the history of painting, and more specifically, reflecting on the Baroque, what it can be today, and indeed thinking about possibilities for its future while attending to the expanded field. Witkowscy’s installation revisits Baroque painting, in their attempt to reinterpret the unique coffin portrait tradition developed in the Polish – Lithuanian Commonwealth between the 17th and the 18th century, among noble classes – responding directly to the continuum in Rosalind Krauss’ notions of reproducibility vs uniqueness. Coffin portraits, painted usually against golden background on copperor lead plate (rarely on a wooden tablet) represented the deceased as a living person, placed on coffins during funeral ceremonies. Often painted by local artists, based on a death mask or an effigy, while a person was still alive, represented in a realist manner (Chrościcki, 1974), was a cultural practice, Witkowscy remind us ‘strangely reminiscent to Faiyum portrait tradition’, in Egypt, dated to the Roman period, from the late 1st century BC to the 3rd century AD. The Faiyum wooden board

portraits, derived from Greco-Roman tradition, covered the faces of bodies that were mummified for burial. The coffin portrait tradition constituted a part of lifestyle and ideology of the social stratus of sarmatism7 whereby the funerals of noblemen turned a private, somber experience into a show of luxury and celebration that lasted for days. Bartłomiej Lyczak, researching in depth the tradition, explained how during these burial ceremonies, the churches were decorated with castridoloris and the funeral itself with staged architectonics turned into symbolic acts with hired actors and mourners. The portrait, placed on the narrow end of the coffin, while overlooking the crowd that gathered to mourn the deceased, was a principal part of this ceremonial decorum (2011: 233). Typical to a funeral portrait design, Witkowscy’s installation features thirteen rectangular forms with the upper edge formed by an arch. These irregular hexagons, cut out of anonymous white Plexiglas, as ready-made, awaiting to be painted with portraits of yet-tobe deceased. Their shiny, polished surface, act as memento mori, transformed into macabre mirrors, allowing the exhibition’s visitors to reflect upon their own death, anticipating the inevitable. ‘Remember that you have to die’, is strongly underlined by a two channel projection of the funeral excerpt from George Lucas’ Star Wars epic, a celebration realized, as Witkowscy allude,‘in sarmatist-style of Pompa Funebris’8, a term describing sumptuous conduct of these old-Polish funerals, with their lavishness and splendor, both in RomanCatholic and Protestant traditions (Chrościcki, 1974). A clock is ticking, the artists ironically remind us. Dealing with the everyday, till the last breath, is one of the themes that keep returning in Witkowscy’s work, merging iconography of popular culture with peculiar and local traditions while revisiting art history. An investigation into the history of painting is also taken up by Agata Nowosielska in her Into the Baroque; the structure is performatively divided into three distinctive sections with the flowery pink background reveling a gesture of brushstrokes, the post-industrial like barred space in the middle, and the flowing drapery at the bottom, as if detached from a still life composition design. Peculiar architectonics of an abstract interior emerges through Nowosielska’s painterly game, a Jorge Louis Borges’ labyrinth that lost its original geometry, merging the past the future and the present. A small Rose as an irregular ornamental shell blown out of proportions enriches an opulence aura of the work. Yet, a floral ornament is in decay. As in the case of Witkowscy’s installation, Nowosielska’s work enacts the lavishness and sumptuousness of the style, while observing consumption tendencies and preoccupation with temporal-

Dominik Lejman about Far too Close, 2010. In Dominik Lejman: Painting with Timecode, Exhibition catalogue, HatjeCantzVerlag, 2014. Pp. 72-73. From conversations with Anna Orbaczewska, 2015. Sarmatism corresponds with a general trend of seeking an ancient genealogy by than European nations formed in the late middle ages. Yet, nowhere else did the belief in ancient decent play as important role in shaping the ideology of social status as among the nobles in the Polish-Lithuanian Commonwealth (Lyczak, 2011: 233-234) 8 From conversations with Anna Witkowska, 2015 5

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ity in Baroque and now, as she argues, ‘full of botox and sex’. In her attempts of expanding the field, she revisits the history of art and questions a notion of uniqueness and composition, producing multiple Vanitas on transience of life. The narrative dimension of painting has been inevitably taken over by video, in a way the message has been largely emptied from the painted piece. Winienie is a video record of performance concerning ‘researching the painting process and exploring human physiological and emotional faculties associated with being born and with dying’. The performance took a place on 28th December 2012. We see the pale body of a man, lying naked, immobile on the floor. His body is then covered and wrapped up in a white cloth. We see a young boy pouring purple red wine all over the cloth, covering its white surface in entirety, imprinting the man’s bodily shape, symbolically alluding to Christian iconography. A man is immobile, most likely he is diseased. We learn it is a father – the artist himself - and his son. Krzysztof Gliszczyński’s word-play with the title – etymology of ‘winienie’ – implies both a process of pouring wine (wino), colouring the white surface, of the canvas perhaps (alluding to painting process) as well as accusing somebody of being guilty (wina). Themes of redness and whiteness have been explored in Gliszczyński’s paintings whereby digital manipulation aimed to intensify colour was juxtaposed with the fragments of Maurice Merleau-Ponty’s (1968) phenomenological reflections concerning the visible, as Michał Haake observed, ‘augmenting the artist’s philosophical investigation’ (2014: 28). The works comment on the body language and the role of gesture in creation. More generally, we can sense un unacknowledged guilt of reconciling other roles, including creative work, with parental responsibility - bringing somebody to life and oscillating suspended in the unconscious death, in a state of being and not being. Gliszczyński predominantly works with painting, testing the fluidity of the medium, yet, the work in the exhibition is not a painting per se but a narrative work for camera, an example illustrating how well video can infiltrate the space of painting. Here, the performance art in a documented form seem to have taken over the importance of seeing and being there. Breathing the everyday bring together artists who, converse with attempts at historisation of the medium and art history more generally (Nowosielska, Witkowscy) while‘observing’ contemporary living, everyday situation whether it is an engagement with a surrounding nature or homeless passer-by. Over last century, painting has given away some of its territory that it has carved out for itself for a millennia, including narration (Gliszczyński), context of display (Lejman, Orbaczewska) and experience of space (Witkowscy). Katarzyna Józefowicz’s enormous paper-cut divan centrally placed, draws together all four thematic sec-

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From Hanna Nowicka’s statement about the work, 2015.

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tions arranged around spherical space to its middle. 1. Political gloss; 2. Breathing the everyday; 3. In the mirror; and 4. Permanent temporality. With the precision of a clockmaker’s engineering, Józefowicz created a newspaper constellation of the media headlines, spectacular titles, glossy magazines’ articles, catchy ads and black-and-white clepsydras, announcing yet another deceased. A whole world contained in this fragile construction invites the viewer’s ultimate reflection on a range of challenges associated with contemporary living in post-Socialist realms, its political climate of neo-liberal reality, civic aspirations of new Europe, consumption trends as well as perpetuation of power dynamics, where traditional gender binaries and inequalities continue to reign. PLURAL IN NATURE? The works on display with their capacities for reproduction and possible transformation, have engaged multidimensional spaces and critical discourse. The artists have questioned the acknowledged historical conditions of the medium and texts produced on such basis, allowing for the artworks to be ‘embodied’ meanings themselves or tableaux vivants – images re-enacting to seen images and repreforming them. The expanded field of painting enables to locate different and diverse artistic manifestations that are taking place today, such as for instance painting with timecode, against the backdrop of a socio-economic reality, and in this case a post-Socialist European city that grapples with neo-liberal challenges and versions of contestable histories in envisioning its future. Hence, the computer generated image is just a hybrid shift of reproducibility from painting or photography. It is multi-medium – traditional painting, photography, a moving image and digital art that all form the repertoire of methods used to create images, construct texts and visualise their meanings. We could argue dilapidation of means of painting and painting itself over last century introduced a particular ‘freedom’ for understanding painting and a more democratic way of conceptualising the visual impact of work across the mediums in the context of an expanded field. Artists in the show engaged in explorations of alternative ways of making a painting (Białecka), by diversifying the components of its production, and presentation (Cybulski). Others have either deconstructed or reinvented what a painting has been (Pągowska) and what it can be (Orbaczewska). Some have maintained a commitment to traditional materials (Model,Swinarska). Others have expanded the genre to take the form of video works (Zając, Gliszczyński), painting with projection (Lejman), animation (Reinert), a digital collage (Klaman), photograph (Uklański), paper-made objects (Józefowicz), funerary tablets (Witkowscy), sound-centred


installation (Karmasz) and sculptural object – made of a gymnastic horse or collected dust hermetically sealed in the column (Nowicka). Also, there are examples of the works that take the form of investigations into the history of Baroque (Nowosielska, Witkowscy), and indeed reflecting, on its contemporary presence. Artists in the exhibition in their own way havecontended the politics of art discourse around the notion of plurality, associated with the epistemology of the expanded field. Their diverse modes of representing their local postSocialist realms against the backdrop of global capital circulation, with its pleasures and pains, a sense of individual gain and loss, appear evocative enough as a collective message, yet, without risking creating empty meaning or being reduced to a provider of spectacular experience for the viewer. It seems the only way we can begin to grasp our positions as both individuals and as part of collective subjectivity in a contemporary reality, after Fredric Jameson’s evocative mobilisation call of thirty five years ago now, in order ‘to regain a capacity to act and struggle which is at present neutralised by our spatial as well as our social confusion’ (1981: 54). Katarzyna Kosmala

BIBLIOGRAPHY Zygmunt, Bauman, Liquid Moderrnity, Cambridge: Polity Press. 2000. Maria Carbin and Sara Edenheim, ‘Intersectional Turn in Feminist Theory: A Dream of a CommonLanguage’ European Journal of Women’s Studies, August, 20(3), 2013: 233-248. Juliusz Chrościcki, Pompa Funebris. Z Dziejow Kultury Staropolskiej, PWN: Warsaw, 1974. John Corso, ‘What Does Greimas’s Semiotic Square Really Do?’, Mosaic, Winnipeg, 47(1), March 2014. Arthur C Danto, ‘The Transfiguration of the Commonplace’, Journal of Aesthetics and Art Criticism, 33(2), Winter, 1974: 139148. Guy Debord, The Society of the Spectacle. Rebel Press.London, 1967/2004. Gustavo Fares, ‘Paining in the Expanded Field’, Janus Head: Journal of Interdisciplinary Studies in Literature, Continental Philosophy, Phenomenological Psychology, and the Arts, 7(2), Trivium Publications, Amherst, NY.Winter 2004: 477-487. Hall Foster, ‘The Problem with Pluralism’. In John Lane and John Caldwell, 1985 Carnegie International. Pittsburgh: Museum of Art, Carnegie Institute, 1985: 50-57. Michał Haake, ‘Ciało w malarstwie’, Arteon, December, 2014: 28-29. Fredric Jameson, The Political Unconscious. Narrative as a Socially Symbolic Act. Ithaca: Cornell University Press, 1981. Fredric Jameson, Postmodernism, or, the Cultural Logic of Late Capitalism, London, Verso, 1991. Katarzyna Kosmala, ‘Artistic Tactics of the Everyday: Ideology Reframings in Gržinić and Šmid’s Practice’. In Thorsen, E., Savigny, H., Jackson, D. and Alexander, J. (Eds) Media, Margins and Popular Culture. London: Palgrave Macmillan, 2015. Katarzyna Kosmala (Ed) Sexing the Border: Gender, Art and New Media in Central and Eastern Europe, Cambridge Scholars Publishing, 2014. Katarzyna Kosmala, ‘Introduction’. In Katarzyna Kosmala (Ed) Sexing the Border: Gender, Art and New Media in Central and Eastern Europe, Cambridge Scholars Publishing, 2014.

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Rosalind Krauss, ‘Sculpture in the Expanded Field’, October, Vol 8. Spring, 1979: 30-44. Reprinted in The Anti-Aesthetic: Essays on Postmodern Culture, Seattle: Bay Press, 1983. Bartłomiej Lyczak, ‘The Coffin Portrait and Celebration of Death in Polish – Lithuanian Commonwealth in the Modern Period’, IKON Journal of Iconographic Studies, Vol 4, 2011: 233242. Susan Mann and Lori Kelley, ‘Standing at the Crossroads of Modernist Thought: Collins, Smith, and the New Feminist Epistemologies’. Gender and Society, 11(4).1997: 391–408. Maurice Merleau-Ponty, The Visible and the Invisible, Northwestern University Press,Evanston, 1968 Hanna Nowicka, ‘Stratified Self-Portrait. Fragmentary Portrait’. In Hanna Nowicka catalogue, Gdańsk, 2005. Agata Rogoś, ‘Identity Discourse in Andrzej Karmasz’s Performative Acts: He May Not Seem What He Might Be’. In Katarzyna Kosmala (Ed) Sexing the Border: Gender, Art and New Media in Central and Eastern Europe, Cambridge Scholars Publishing, 2014. Anda Rottenberg, ‘The State of Real Things Past’. In Dominik Lejman: Painting with Timecode, Exhibition catalogue, HatjeCantzVerlag, 2014. Edward Said, Orientalism, Pantheon: New York, 1978. Ewa Toniak, ‘Rebellious. About a Few Works by Iwona Zając’. In The Hard Work Miracle, Iwona Zając catalogue, Gdańsk, 2016.

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BIOGRAPHICAL NOTE Katarzyna Kosmala, PhD is an art writer, curator and Professor of Culture, Media and Visual Arts at the University of the West of Scotland, UK. Before, she was Visiting Research Fellow at the European Institute of Gender Studies GEXcel at Linköping University and Örebro University, Sweden, and Visiting Professor at Fundacao Getulio Vargas in Rio de Janeiro, Brazil. She writes regularly about contemporary art in international journals and catalogues. Recent publications include: The Arts, Social & Organisational Change: Precarious Spaces(Eds.) (2016, Intellect Press), Sexing the Border: Gender, Art and New Media in Central and Eastern Europe (Ed) (CSP, 2014), Imagining Masculinities: Spatial and Temporal Representation and Visual Culture (2013, Routledge), Art Inquiry on Crossing Borders: Imaging Europe, Representing Periphery (Eds.) (2013,ŁTN). Over the last year was involved in the project Curating Europes’ Futures (www.curatingeuropesfutures.net). Lives and works in Edinburgh, Scotland.


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BEATA EWA BIAナ・CKA

Narcissus, 2015., ulje na platnu, 120 cm x 150 cm. Iz ciklusa Lacrimosa, 2014-2015. Narcissus, 2015, oil on canvas, 120 cm x 150 cm. From the cicle Lacrimosa, 2014-2015 Detalj Detail

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DANIEL CYBULSKI

Bez naziva, 2015., ftalna boja na platnu, 160 cm x 130 cm. Iz serije The Body of Painting, 2014-2015. Untitled, 2015, phtalic paint on canvas, 160 cm x 130 cm. From The Body of Painting series 2014-2015 Detalj Detail

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KRZYSZTOF GLISZCZYŃSKI

Winienie, 2012., video, 6 min. Akcijski performans od 28.12.2012. Winienie, 2012, video, 6 min. Action performance from 28.12.2012

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KATARZYNA JÓZEFOWICZ

Untitled, 2008./2010., Instalacija: ljepilo, novinski papir 70 cm x 900 cm. Iz kolekcije Nacionalnog muzeja Gdanjsk Untitled, 2008/2010, Installation: glue, newspaper 70 cm x 900 cm. From the collection of the National Museum Gdańsk

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ANDRZEJ KARMASZ

Andrzej Karmasz Yang Kuei Fei autoportret, 2015., Instalacija: fotografija, 122 cm x 150 cm, 2005. i zvuk, 2015. Andrzej Karmasz Yang Kuei Fei Self-Portrait, 2015, Installation: photograph, 122 cm x 150 cm, 2005 and sound, 2015

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GRZEGORZ KLAMAN

Bez naziva, 2010., Digitalni kolaž: Lightbox, folija, 60 cm x 175 cm. Iz kolekcije Nacionalnog muzeja Gdanjsk Untitled, 2010, Digital collage: Lightbox, foil, 60 cm x 175 cm. From the collection of the National Museum Gdańsk Bez naziva, 2010., Digitalni kolaž: Lightbox, folija, 50 cm x 170 cm. Iz serije The Shipyard Untitled, 2010, Digital collage: Lightbox, foil, 50 cm x 170 cm. From The Shipyard series

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DOMINIK LEJMAN

Far too Close, 2010., Instalacija: Akrilik na platnu, 175 cm x 160 cm, video. Iz kolekcije Nacionalnog muzeja Gdanjsk Far too Close, 2010, Installation: Acrylic on canvas, 175 cm x 160 cm, video. From the collection of the National Museum Gdańsk

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KAMILA MODEL

Tree Mother, 2015., ulje i akrilik na platnu, 170 cm x 120 cm. Iz serije Fever Tree Mother, 2015, oil and acrylic on canvas, 170 cm x 120 cm. From the series Fever Detalj Detail

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HANNA NOWICKA

Dust Column 1988.-1993., Prašina, stup od plexiglassa, 167 cm x 30 cm x 30 cm. Iz kolekcije Nacionalnog muzeja Gdanjsk Dust Column, 1988-1993, Dust, plexiglass column, 167 cm x 30 cm x 30 cm. From the collection of the National Museum Gdańsk Colonial Furniture, 2015., 6 fotografija, 20 cm x 25 cm Colonial Furniture, 2015., 6 photographs, 20 cm x 25 cm Scapegoat, 2015., Instalacija: guma, gimnastički konj, 200 cm x 150 cm, 6 fotografija Scapegoat, 2015, Installation: Ruber, a gimnastic horse, 200 cm x 150 cm, 6 photographs

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AGATA NOWOSIELSKA

Rose, 2015., ulje na platnu, 61 cm x 46 cm Rose, 2015, oil on canvas, 61 cm x 46 cm Into the Baroque, 2015., ulje na platnu, 200 cm x 100 cm Into the Baroque, 2015, oil on canvas, 200 cm x 100 cm

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ANNA ORBACZEWSKA

Landscape 1, 2015., ulje na platnu, 100 cm x 120 cm Landscape 1, 2015, oil on canvas, 100 cm x 120 cm Landscape 2, 2015., ulje na platnu, 120 cm x 150 cm Landscape 2, 2015, oil on canvas, 120 cm x 150 cm

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TERESA PĄGOWSKA

Corridor, 1971., ulje na platnu, 150 cm x 130 cm. Iz kolekcije Nacionalnog muzeja Gdanjsk Corridor, 1971, oil on canvas, 150 cm x 130 cm. From the collection of the National Museum Gdańsk Detalj Detail

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ANNA REINERT

Auto-portrait, 2014., animacija, 2 min 12 sec Auto-portrait, 2014, animation, 2 min 12 sec Auto-portrait, 2014., akrilik na platnu, 33 cm x 24 cm Auto-portrait, 2014, acrilic on canvas, 33 cm x 24 cm

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KATARZYNA SWINARSKA

Displacement - Patti Smith as Anna Reinert, 2014., ulje na platnu 180 cm x 140 cm Displacement - Patti Smith as Anna Reinert, 2014, oil on canvas 180 cm x 140 cm Detalj Detail

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PIOTR UKLAŃSKI

Solidarity, 2007., fotografija (C-print), 150 cm x 230 cm. Iz kolekcije Nacionalnog muzeja Gdanjsk Solidarity, 2007, photograph (C-print), 150 cm x 230 cm. From the collection of the National Museum Gdańsk

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ANIA WITKOWSKA AND ADAM WITKOWSKI

Coffin portraits, 2015., Instalacija: pogrebni portreti, plexiglass, objekti, 2010.-2015. Coffin portraits, 2015, Installation: Funeral portraits, plexi-glass, objects, 2010-2015 Bez naziva, 2015., dva videa Untitled, 2015, two videos

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IWONA ZAJÄ„C

The Shypyard Nike is Leaving, 2012.-2013., video, 5 min 12 sec The Shypyard Nike is Leaving,2012-2013,video, 5 min 12 sec Farwell, 2014., video, 5 min 12 sec Farwell, 2014, video, 5 min 12 sec

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BIOGRAFIJE UMJETNIKA: Beata Ewa Białecka – umjetnica koja se bavi slikarstvom. Diplomirala je na Akademiji likovnih umjetnosti u Krakovu 1992. godine. Dobitnica je nekoliko stipendija: rezidencije u Sykeu u Njemačkoj, koju je dodijelila Akademija likovnih umjetnosti u Krakovu (1991.), zatim stipendije Ministarstva kulture i narodne baštine Poljske (1999.), gradonačelnika Gdanjska (2005.) i maršala Pomeranskog vojvodstva (2006., 2008. i 2011.). Dobitnica je zlatne nagrade Primus Inter Pares (1992.). Nominirana je za nagradu Paszport Polityki u kategoriji likovnih umjetnosti (2007.) i Sovereign European Art Prize Izabela Kay u Londonu (2008.). Izlagala je diljem Poljske te u inozemstvu. Živi i radi u Gdanjsku. www.bialecka.pl/en

Fabric u Łódźu, 2001., nagrade za kulturu grada Gdanjska, 2002. te Polityka’s Passport, 2001. Živi u Gdanjsku.

Daniel Cybulski – umjetnik je koji se bavi slikarstvom i pohađa poslijediplomski studij na Akademiji likovnih umjetnosti u Gdanjsku. Magistrirao je slikarstvo na Akademiji likovnih umjetnosti u Gdanjsku u Poljskoj 2013. godine. Sudjelovao je na brojnim izložbama diljem Poljske. Dobitnik je nagrada: Hestias artistic journey 2012. godine, nagrade Ministarstva kulture i narodne baštine 2013. godine te Grand Prixa Promotions 2014. godine u Legnici u Poljskoj. Živi u Sopotu u Poljskoj.

Grzegorz Klaman – vizualni je umjetnik i profesor na Akademiji likovnih umjetnosti u Gdanjsku. Jedan je od pionira kontekstualnih i aktivističkih umjetničkih aktivnosti u javnom prostoru Poljske te osnivač i ravnatelj Umjetničkog instituta Wyspa u Gdanjsku – samostalne organizacijske strukture za proizvodnju i prezentaciju suvremene umjetnosti. Dobio je Fulbright stipendiju na Sveučilištu Florida Atlantic 2007. godine samostalnom izložbom u Umjetničkom centru Schmidt. Izlagao je diljem svijeta, što između ostaloga uključuje i prostore: Modem u Debrecenu, Haifa Art Museum, Digital Art Lab Holon, Chicago Cultural Center, Lodz Biennial, Umjetnički institut Wyspa u Gdanjsku i Nobel Museum Stockholm. Živi i radi u Gdanjsku.

Krzysztof Gliszczyński – umjetnik je koji se bavi različitim medijima, od slikarstva, crteža i skulpture do filma. Profesor je na Odsjeku slikarstva Akademije likovnih umjetnosti u Gdanjsku. Diplomirao je na PWSSP-u u Gdanjsku 1987. godine, na Odsjeku slikarstva, u klasi profesora Kazimierza Ostrowskog. Bio je osnivač je i suvoditelj Galerije Koło u Gdanjsku između 1995.-2002. Dobitnik je stipendije za DAAD rezidenciju u Worpswedeu 1992. godine, nagrade Fondacije Pollock-Krasner u New Yorku 2000. godine te nekoliko nagrada za slikarstvo. Iza sebe ima niz međunarodnih izložbi i rezidencija, uključujući one u Kini, Francuskoj, Izraelu i Njemačkoj. Živi i radi u Gdanjsku. www.krzysztofgliszczynski.com/en Katarzyna Józefowicz - umjetnica je koji se bavi skulpturom, instalacijama i crtežom te predaje na Odsjeku za kiparstvo i intermedijalnost Akademije likovnih umjetnosti u Gdanjsku. Diplomirala je na Akademiji likovnih umjetnosti u Gdanjsku 1986. u klasi profesora Edwarda Sitka. Imala je nekoliko samostalnih izložbi, uključujući izložbe u: CSW Zameku u Varšavi, 2015.; Centru za suvremenu umjetnost Łaźnia u Gdanjsku, 2007.; Galeriji Platán u Budimpešti, 2006., Galeriji Zaklade Foksal u Varšavi, 2005., Galeriji Arsenal u Białystoku, 2003. Sudjelovala je na nekoliko grupnih izložbi: na 2. Berlinskom bijenalu u Berlinu, Bijenalu u Sydneyu; Centru za skulpturu u New Yorku, Muzeju Migros u Zurichu, Bijenalu u Łódźu. Dobitnica je mnogih nagrada i stipendija, poput: zlatne medalje na Triennale of

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Andrzej Karmasz – umjetnik je koji se bavi slikarstvom, fotografijom i videom te predaje na Odsjeku za slikarstvo Akademije likovnih umjetnosti u Gdanjsku. Diplomirao je na Akademiji likovnih umjetnosti u Gdanjsku (u klasi profesora Hugona Laseckog) 2003. godine gdje je i doktorirao 2013. godine. Dobitnik je stipendije japanske vlade – Monbukagakusho za studij na Sveučilištu za umjetnosti i dizajn Joshibi u Japanu 2004. – 2006. Putovao je diljem Azije i Novog Zelanda što je značajno utjecalo na njegovu umjetničku praksu, kao i na njegovu seriju autoportreta.

Dominik Lejman – umjetnik i izvanredni profesor na Fakultetu slikarstva i crtanja Umjetničke akademije u Poznanju. Diplomirao je na Akademiji likovnih umjetnosti u Gdanjsku i na Royal College of Art u Londonu. Lejman povezuje slikarstvo i video projekcije, izrađuje video murale, stvara foto tapete velikih formata te inicira projekte u javnom prostoru. Dobitnik je mnogih nagrada, uključujući i nagradu Polityka’s Passport, nagradu Zaklade Kosciuszko, the Trust for Mutual Understanding, Location 1 u New Yorku i poljskog Ministarstva kulture. Izlagao je diljem svijeta, u prostorima poput: Rockaway! MOMA PS1 Long Island, NY, Metropolitan Museum of Photography u Tokiju, i Poljskog paviljona na 9. međunarodnom bijenalu arhitekture u Veneciji. Živi i radi u Berlinu i Poznanju. www.dominiklejman.com Kamila Model – umjetnica je koja se bavi slikarstvom i crtežom, diplomirala je na Fakultetu slikarstva na Akademiji likovnih umjetnosti u Gdanjsku 2012. godine. Sudjelovala je na nekoliko grupnih izložbi diljem Poljske, između ostalog u: Galeriji Wozownia u Toruńu (2014.), Soho Factoryu u Varšavi (2013.), Gradskoj galeriji u Legnici (2012.), Galeriji Gunter Grass u Gdanjsku (2012.), Platerówka


u Szczecinu (2011.). Samostalne izložbe imala je u Gdanjsku u Umjetničkoj koloniji (2014.) i Galeriji Żak (2015). Dobitnica je nagrade Magazina EXIT za Pregled mlade umjetnosti, Galerije Socato u Wrocławu 2012. godine. Živi i radi u Gdanjsku. www.kamilamodel.pl Hanna Nowicka – umjetnica je i izvanredna profesorica na Umjetničkoj akademiji Szczecin. Između 1988. i 2013. godine predavala je slikarstvo na Akademiji likovnih umjetnosti u Gdanjsku. Diplomirala je na PWSSP-u u Gdanjsku 1987. godine. Njezini su radovi nalaze u zbirkama Narodnog muzeja u Gdanjsku, Udruge suvremene umjetnosti Zachęta u Szczecinu, Zaklade Signum, kao i u nekoliko privatnih zbirki u Danskoj, Francuskoj, Njemačkoj i SAD-u. Višestruka je dobitnica stipendije Ministarstva kulture i narodne baštine Poljske. Sudjelovala je na rezidencijama u Centru umjetnosti Mecklenburg, Schloss Pluschow 1999. godine i u Centru Civitella Ranieri u Italiji 2002. godine. Njezine odabrane samostalne izložbe uključuju: Narodni muzej u Gdanjsku, 2012.; Umjetnički institut Wyspa u Gdanjsku 2011.; Galerija ON u Poznanju, 2007.; Galerija Arsenał u Białystoku, 2006. Odabrane grupne izložbe uključuju: Narodni muzej u Szczecinu; Suvremeni muzej u Wrocławu; ConcentArt u Berlinu, Motorenhalle u Dresdenu; Cornerhouse u Manchesteru; Apollonia u Strasbourgu; Sculpture Center u New Yorku. Trenutno živi u Szczecinu u Poljskoj. Agata Nowosielska – umjetnica je i kustosica. Diplomirala je na Akademiji likovnih umjetnosti u Gdanjsku, Hochschule für Künste u Bremenu u Njemačkoj te je završila poslijediplomski studij muzejskih i kustoskih praksi na Sveučilištu Jagiellonian u Krakowu. Od 2004. godine surađuje s Umjetničkom kolonijom i brodogradilištem u Gdanjsku. Piše o suvremenoj umjetnosti. Trenutno surađuje na kustoskim programima s Klubom Żak u Gdanjsku, Centrom za suvremenu umjetnost Łaźnia i Gradskom galerijom Gdanjsk. Živi i radi u Gdanjsku. www.nowosielska.com Anna Orbaczewska – umjetnica je koja se bavi slikarstvom. Diplomirala je na Akademiji likovnih umjetnosti u Gdanjsku 2000. godine te na Royal Academy of Fine Arts u Hagu u Nizozemskoj 1999. godine. Dobitnica je nekoliko nagrada i stipendija, uključujući međunarodni projekt žena umjetnica na rezidenciji u Muzeju Goa Chitra u Benaulimu u Indiji, 2014. te u Bremenu, Kunststipendium, 2011. Izlagala je na međunarodnim samostalnim i grupnim izložbama, u prostorima kao što su: Gradska galerija u Gdanjsku, 2015.; Galerija Milano u Varšavi, 2014.; Muzej Goa Chitra u Goi u Indiji, 2014.; Galerija Herold u Bremenu, 2013., Centar za suvremenu umjetnost Łaźnia u Gdanjsku, 2013.; Galerie Zero u Berlinu, 2006.; Society for Arts Gallery u Chicagu,

2004. Živi i radi u Gdanjsku. www.orbaczewska.com Teresa Pągowska – umjetnica je i pedagoginja. Diplomirala je na Akademiji likovnih umjetnosti u Poznanju. Četrnaest je godina predavala na PWSSP-u u Gdanjsku, preispitujući formalističke tendencije u slikarstvu. Njezini su radovi izlagani na međunarodnim izložbama, uključujući one u: Galerie Lambert u Parizu (1959.), Galeriji BWA u Sopotu (1960.), Salon de Mai u Parizu (1963.-66.), Galerie Charpentier (1963.) gdje je proglašena počasnom članicom skupina “Nouvelle Ecole de Paris” i “Réalités Nouvelles”, Galerie Numaga u Auvernieru (1964.), Neuer Berliner Kunstverein u Berlinu (1974.), Museo de Arte Moderno u Mexico Cityu (1975.), Galerie Calart u Ženevi (1984.), Persons and Lindell Gallery u Helsinkiju (1990.), Zachęta u Varšavi (1997.), Narodnom muzej u Poznanju (2003.). Preminula je 7. veljače 2007. u Varšavi. Anna Reinert – umjetnica je koja se bavi slikarstvom i videom, muralima, grafičkim dizajnom te predaje crtanje i slikanje na Akademiji likovnih umjetnosti u Gdanjsku. Diplomirala je slikarstvo 2004. godine te je 2011. doktorirala na Akademiji likovnih umjetnosti u Gdanjsku. Studirala je i filozofiju na Sveučilištu Nikolas Copernicus u Toruńu. Dobitnica je nagrade Samsung Art Master, nagrade gradonačelnika grada Gdanjska i grada Sopota te stipendije Ministarstva kulture i narodne baštine. Izlagala je na međunarodnim izložbama, kao i diljem Poljske. Galerije koje predstavljaju njezine radove su: ASPN Leipzig i Le Guern Warsaw. Živi i radi u Sopotu u Poljskoj. www.annareinert.com Katarzyna Swinarska – vizualna je umjetnica koja se bavi slikarstvom, videom i instalacijama te grafičkim dizajnom. Doktorirala je 2014. godine na Akademiji likovnih umjetnosti u Gdanjsku gdje je prethodno i magistrirala. Dobitnica je nekoliko nagrada i umjetničkih stipendija, uključujući i onu grada Gdanjska, grada Sopota, Pomeranskog vojvodstva i švicarske Zaklade za umjetnost Art Bellwald. Izlagala je na samostalnim i grupnim izložbama, uključujući: 28. Festival Les Instants Vidéo Numériques et Poétiques u Marseilleu, 2015.; Gradsku galeriju Günter Grass u Gdanjsku, 2014.; Galeriju Arttrakt, Muzej suvremene umjetnosti u Wroclawu, 2013.; Galeriju Insolite u Ženevi, 2012.; Centar za suvremenu umjetnost Łaźnia u Gdanjsku, 2010.; Galeriju Opera u Budimpešti, 2008. Živi i radi u Sopotu u Poljskoj. www.kswinarska.art.pl Piotr Uklański – vizualni je umjetnik koji se bavi fotografijom, instalacijama, slikarstvom, kiparstvom i filmom. Dodiplomski je studij završio na Akademiji likovnih umjetnosti u Varšavi, a magistrirao je na Cooper Union for the Advancement of Science and Art u New

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Yorku 1995. godine. Njegove samostalne izložbe uključuju: the Metropolitan Museum of Arts, New York, 2015.; the Museum of Modern Art, New York, 2000., Migros Museum für Gegenwartskunst, Zurich, 2001., Kunsthalle Basel, 2004., Museé d’Art Moderne et Contemporain, Strasbourg, 2007. te Whitney Museum of American Art, New York, 2007. Radovi su mu izlagani i na velikim grupnim izložbama, poput Manifeste 2, 1998., venecijanskog Bijenala, 2003., Bijenala u São Paulu, 2004., Bijenala u Lyonu, 2005., Muzeja Solomon R Guggenheim, New York, 2007. i berlinskog Bijenala, 2008. Uklański živi i radi u New Yorku i Varšavi. Ania Witkowska – vizualna je umjetnica, grafička dizajnerica, kustosica i predavačica na Umjetničkoj akademiji Szczecin. Diplomirala je na Akademiji likovnih umjetnosti u Gdanjsku. Stipendistica je Ministarstva kulture i narodne baštine Poljske. Zajedno s Adamom Witkowskim dobitnica je nagrade Deutsche Bank Zaklade za izvanredne mlade poljske umjetnike 2011. godine te nagrade Splendor Gedanensis 2015. Izlagala je na mnogim međunarodnim izložbama, uključujući i one u: Bangkok Art and Culture Centre u Bangkoku (2015.), Muzeju Altona u Hamburgu (2015.), Lajevardi Collection u Teheranu (2015.), Bunkier Sztuki u Krakowu (2015.), Poljskom institutu u Berlinu (samostalna izložba), (2014.), Alternativa Festival, ISW u Gdanjsku (2012.), CCA u Kaliningradu (2011., 2012.). Živi i radi u Gdanjsku i Szczecinu u Poljskoj. www.aniawitkowska.com Adam Witkowski - umjetnik je koji se bavi vizualnom umjetnošću i zvukom te predaje na Odsjeku za intermedijalnu umjetnost Umjetničke akademije u Szczecinu i Akademije likovnih umjetnosti u Gdanjsku. Magistrirao je 2004. godine, a doktorirao 2011. na Akademiji likovnih umjetnosti u Gdanjsku u Poljskoj. Odabrane samostalne izložbe uključuju (s Aniom Witkowskom): Poljski institut u Berlinu (2014.), Galeriju Leto, Varšava (2013.), Galeriju Platan, Budimpešta (2012.), Ve.Sch, Beč ( 2011.), Galerija Lukas Feichtner / Vienna Art Fair (2010.). Odabrane grupne izložbe: Museum of Modern Art, Wroclaw (2014.), Centre of Contemporary Art Znaki Czasu, Torun (2013.), Centre for Contemporary Art Ujazdowski Castle, Varšava (2011.), HMKV Dortmund ( 2010.). Zajedno s Aniom Witkowskom nagrađen je 2015. godine nagradom Splendor Gedanensis. Živi i radi u Gdanjsku i Szczecinu u Poljskoj. www.adamwitkowski.com Iwona Zając – vizualna je umjetnica. Diplomirala je na Odsjeku slikarstva Akademije likovnih umjetnosti u Gdanjsku 1999. godine. Od 2000. godine bavi se zidnim slikarstvom (muralima), što uključuje i njezin mural The Shipyard (2004.-2013.) koji prikazuje priče radnika brodogradilišta u Gdanjsku. Izlagala je u Poljskoj te u inozemstvu, uključujući i: Kunsthalle, Rostock, 2014.; Centar

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za suvremenu umjetnost u Gdanjsku, 2012.; Bleckinge County Museum u Kalskroni, 2012.; Centar za suvremenu umjetnost Łaźnia u Gdanjsku, 2012.; Gradsku galeriju u Gdanjsku (samostalno), 2011.; The Town Hall Galleries, Ipswich u Ujedinjenom Kraljevstvu, 2008. Dobitnica je nekoliko nagrada. Sudjelovala je na rezidencijama: METAL, Southend, UK, 2012.; SPACES, Cleveland, USA. Koautorica je knjige: The Ideal Woman. From a Guide to a Dialogue (s Monikom Popow). Živi i radi u Gdanjsku. iwona-zajac.com


ARTIST’S BIOGRAPHIES: Beata Ewa Białecka – an artist working in painting. Graduated from the Academy of Fine Arts in Krakow, in 1992. Recipient of several scholarships: residency in Syke, Germany by the Academy of Fine Arts in Krakow (1991), the Ministry of Culture and National Heritage of Poland (1999), the Mayor of Gdansk (2005) and the Marshall of Pomerania Voivodeship (2006, 2008, 2011). Awarded the golden Primus Inter Pares Prize (1992). Nominated for the “Paszport Polityki” award in the Visual Arts category (2007) and the Sovereign European Art Prize Izabela Kay, London (2008). Exhibited widely across Poland and internationally. Lives and works in Gdańsk. www.bialecka.pl/en Daniel Cybulski - an artist working in painting currently pursuing his PhD at the Academy of Fine Arts in Gdańsk. Graduated withMFA in Painting from the Academy of Fine Arts in Gdańsk, Poland in 2013. Participated in numerous exhibitions across Poland.Recipient of Prize at Hestias artistic journey 2012, Award of the Ministry of Culture and National Heritage 2013, and Grand Prix of the Promotions 2014 in Legnica, Poland. Lives in Sopot, Poland. Krzysztof Gliszczyński - an artist working across mediums inpainting, drawing, sculpture and film. Professor in Painting at the Academy of Fine Arts in Gdańsk.Graduated from PWSSP inGdańsk in 1987, in painting in the studio run by Prof. Kazimierz Ostrowski. Founded and co-run Koło Gallery in Gdańskbetween 1995-2002. Recipient of stipend for DAAD residency in Worpswede, 1992, Pollock-Krasner Foundation award, New York in 2000, as well as several awards for painting. He exhibited internationally and realisedseveral residencies,including in China, France, Israel and Germany.Lives and works in Gdańsk. www.krzysztofgliszczynski.com/en Katarzyna Józefowicz - an artist working in sculpture, installation, and drawing and Professor in Sculpture at the Department of Sculpture and Intermedia, the Academy of Fine Arts in Gdańsk . Graduated from the Academy of Fine Arts in Gdańsk in 1986 in the studio of Professor Edward Sitko.She had several individual exhibitions including: CSW Zamek, Warsaw, 2015; CSW Łaźnia Gdańsk, 2007; Platán Gallery, Budapest, 2006, Foksal Gallery Foundation, Warsaw, 2005, Arsenal Gallery, Białystok, 2003. Participated inseveral group exhibitions including: II Berlin Biennial, Berlin, Biennial of Sydney; SculptureCentre in New York, Migros Museum, Zurich, Biennial in Łódź. Received many prizes and scholarships, such as: Gold Medal in Triennale of Fabric in Łódź, 2001, The City of Gdańsk Culture Prize, 2002 and Polityka’s Passport, 2001. She lives in Gdańsk.

Andrzej Karmasz - an artist working across painting, photography, and video and Lecturer in painting atthe Academy of Fine Arts in Gdańsk. Graduated from the Academy of Fine Arts in Gdańsk (atelier of prof. HugonLasecki) in 2003, and subsequently obtained there his PhD in 2013. Awarded Japanese Government Scholarship - Monbukagakusho, to study at Joshibi University of Art and Design, Japan inyears 2004-2006. He travelled across Asia and New Zealand that significantly influenced his artistic practice, including the cycle of his self-portraits. Lives and works in Gdańsk. Grzegorz Klaman– a visual artist and a Professor of the Academy of Fine Arts in Gdańsk. One of the pioneers of context-related and activist-cantered art activities in public space in Poland as well as Founder and Director of the Wyspa Art Institute in Gdańsk - an independent organizational structure for production and presentation of contemporary art.A recipient of Fulbright Scholarship in Florida Atlantic University in 2007 with a solo exhibition at Schmidt Art Center. Exhibited widely internationally, including Modem in Debrecen, Haifa Art Museum, Digital Art Lab Holon, Chicago Cultural Center, Lodz Biennial, Wyspa Institute of Art in Gdańsk and Nobel Museum Stockholm. Lives and works in Gdańsk. Dominik Lejman - an artist and Associate Professor at the Faculty of Painting and Drawing, the Academy of Arts in Poznań. Graduated from the Academy of Fine Arts in Gdańsk and the Royal College of Art in London. Lejman connects painting with video projection, produces video murals, creates large-format photo wallpapers, and initiates projects in public space. A recipient of many awards, including, Polityka’s Passport Award, the Kosciuszko Foundation, the Trust for Mutual Understanding, Location 1 in New York, and the Polish Ministry of Culture. His works have been exhibited internationally, including Rockaway! MOMA PS1Long Island, NY, Metropolitan Museum of Photography in Tokyo, and the Polish Pavilion at the 9th International Architecture Biennial in Venice. He lives and works in Berlin and Poznań. www.dominiklejman.com Kamila Model – an artist working in painting and drawing, graduated from the Faculty of Painting, the Academy of Fine Arts in Gdańsk in 2012. Participated in several group exhibitions across Poland, including: Wozownia Gallery, Toruń (2014), Soho Factory, Warsaw (2013), City Gallery, Legnica (2012), Gunter Grass Gallery, Gdańsk (2012), Platerówka, Szczecin (2011). She had individual shows in Gdańsk in Colony of Artists (2014) and Żak Gallery (2015). Obtained Magazine EXIT award during Review of young

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art, Socato Gallery, Wrocław in 2012.Lives and works in Gdańsk. www.kamilamodel.pl Hanna Nowicka – an artist and Professor in Painting at the Szczecin Academy of Art. Between 1988 – 2013 lectured inpainting at the Academy of Fine Arts in Gdańsk. Graduated from PWSSP in Gdańsk in 1987.Her works are in the collections of the National Museum in Gdańsk, Zachęta Association of Contemporary Arts,Szczecin, Signum Foundation as well as in private collections in Denmark, France, Germany and the USA. Multiple recipient of the Polish Ministry of Culture and National Heritage stipend.Residencies inMecklenburg Centre of Arts SchlossPluschow, 1999 and CivitellaRanieriCenter, Italy, 2002. Selected soloexhibitions: National Museum of Gdansk, 2012; Wyspa Art Institute, Gdansk 2011; Gallery ON, Poznań, 2007; Gallery Arsenał, Białystok, 2006.Selected group exhibitions: National Museum in Szczecin; Contemporary Museum, Wrocław; ConcentArt, Berlin, Motorenhalle, Dresden; Cornerhouse, Manchester; Apollonia, Strasbourg; SculptureCenter, New York, Gotland Art Museum ,Visby. Currently lives in Szczecin and Sopot, Poland. Agata Nowosielska – an artist and curator.Graduated from the Academy of Fine Arts in Gdańsk, the HochschulefürKünste Bremen, Germany, and PostGraduate Museum-Curatorial Studies at the Jagiellonian University in Cracow. She has been working with the ArtistsColony and Gdańsk Shipyard since 2004. She writes about contemporary art. Currently involved in curatorial collaborations with Żak Club in Gdańsk,Łaźnia Centre for Contemporary Art and the Gdańsk City Gallery. Lives and works in Gdańsk. www.nowosielska.com Anna Orbaczewska – an artist working in painting. Graduated from the Academy of Fine Arts in Gdańsk in 2000 and Royal Academy of Fine Arts in Hague, Holland, in 1999.Recipient of several awards and stipends, including international women artist in residence project at Museum of Goa Chitra, Benaulim , India, 2014 and Bremen, Kunststipendium, 2011. Exhibited internationally in solo and group exhibitions, including: the Gdańsk City Gallery, 2015; Gallery Milano, Warsaw, 2014; Museum of Goa Chitra, Goa, India, 2014; Gallery Herold, Bremen, 2013, Łaźnia Centre of the Contemporary Arts, Gdańsk, 2013; Galerie Zero, Berlin, 2006; Society for Arts Gallery, Chicago, 2004. Lives and works in Gdańsk. www.orbaczewska.com Teresa Pągowska - an artist and educator. She graduated from Academy of Fine Art in Poznan. For 14 years she

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lectured at the PWSSP in Gdańsk while challenging the formalist tendencies in painting. Her works were exhibited internationally, including: Galerie Lambert, Paris (1959), Gallery BWA, Sopot (1960), Salon de Mai, Paris (196366), GalerieCharpentier (1963) where she wasawarded a honorary member of “Nouvelle Ecole de Paris” and “RéalitésNouvelles” group, GalerieNumaga, Auvernier (1964), Neuer Berliner Kunstverein, Berlin (1974), Museo de Arte Moderno, Mexico City (1975),GalerieCalart, Genéve (1984), Persons and Lindell Gallery, Helsinki (1990), Zachęta, Warsaw (1997), National Museum Poznan (2003). She died 7 February 2007 in Warsaw. Anna Reinert – an artist working in painting and video, muralist, graphic designer and Lecturer in drawing and painting at the Academy of Fine Arts in Gdańsk. Graduated in painting in 2004 and obtained PhD in 2011 at the Academy of Fine Arts in Gdańsk. Also studied philosophy at the Nikolas Copernicus University in Toruń.Holder of the Samsung Art Master, the Mayors of the Cities of Gdańsk and Sopot awards as well as a scholarship by the Minister of Culture and National Heritage. She exhibited internationally and across Poland. Representing galleries: ASPN Leipzig and Le Guern Warsaw. Lives and works in Sopot, Poland. www.annareinert.com Katarzyna Swinarska - a visual artist working in painting, video and installation. In 2014, she obtained PhD from the Academy of Fine Arts in Gdańsk, where she previously completed her MFA. Recipient of several awards and art bursaries, including the City of Gdańsk, the City of Sopot, the Pomeranian Voivodenship and the Swiss Art Foundation ArtBellwald. She exhibited in solo and group exhibitions, including: 28th Festival Les Instants VidéoNumériques et Poétiques, Marseille, 2015; Günter Grass City Gallery, Gdańsk, 2014; Gallery Arttrakt, Museum for Contemporary Art, Wroclaw, 2013; Insolite Gallery, Geneva, 2012; Łaźnia Centre of the Contemporary Arts, Gdańsk, 2010; Opera Gallery, Budapest, 2008. She lives and works in Sopot, Poland. www.kswinarska.art.pl Piotr Uklański – a visual artist working in photography, installation, painting, sculpture and film. Received BFA from the Academy of Fine Arts in Warsaw and an MFA from the Cooper Union for the Advancement of Science and Art in New York in 1995. His solo exhibitions include: the Metropolitan Museum of Arts, New York, 2015; the Museum of Modern Art, New York, 2000, Migros Museum fürGegenwartskunst, Zurich, 2001, Kunsthalle Basel, 2004, Museéd’ArtModerne et Contemporain, Strasbourg, 2007, and Whitney Museum of American Art, New York, 2007. His work has also been included in major group exhibitions, such as Manifesta 2, 1998, Venice Bienniale, 2003, São


Paulo Bienal, 2004, Lyon Biennial, 2005, the Solomon R Guggenheim Museum, New York, 2007, and Berlin Biennial, 2008. He lives and works in New York and Warsaw. Ania Witkowska – a visual artist, graphic designer, curator and Lecturer at Szczecin Academy of Art. Graduated from the Academy of Fine Arts in Gdańsk. She is a Fellow of Polish Ministry of Culture and National Heritage. Together with Adam Witkowski, a recipient of Deutsche Bank Foundation Award for outstanding young Polish artists in 2011, and SplendorGedanensis Award in 2015. Exhibited widely internationally including: Bangkok Art and Culture Centre, Bangkok (2015), Altona Museum, Hamburg (2015), Lajevardi Collection, Teheran (2015), BunkierSztuki, Cracow (2015), Polish Institute, Berlin (solo exhibition), (2014), Alternativa Festival, ISW, Gdańsk(2012), CCA, Kaliningrad (2011, 2012). Lives and works in Gdańsk and Szczecin, Poland. www.aniawitkowska.com Adam Witkowski - an artist working in visual arts and sound, and Lecturer in Intermedia at Szczecin Academy of Art and Academy of Fine Arts in Gdańsk. Obtained MFA in 2004 and PhD in 2011 from Academy of Fine Arts in Gdańsk, Poland. Selected solo exhibitions (with AniaWitkowska) include: Polish Institute in Berlin (2014), GaleriaLeto, Warsaw (2013),Platan Gallery, Budapest (2012), Ve.Sch, Vienna ( 2011), Lukas Feichtner Gallery / Vienna Art Fair (2010). Selected group exhibitions: Museum of Modern Art, Wroclaw (2014), Centre of Contemporary Art ZnakiCzasu, Torun (2013), Centre for Contemporary Art Ujazdowski Castle, Warsaw (2011), HMKV Dortmund( 2010). In 2015 awarded together with AniaWitkowska for SplendorGedanensis Award. Lives and works in Gdańsk and Szczecin, Poland. www.adamwitkowski.com Iwona Zając – a visual artist. Graduated from the Painting Department of the Gdańsk Academy of Fine Arts in 1999. Since 2000, working in the field of mural painting, including The Shipyardmural (2004-2013) showcasing stories of the Gdańskshipyard’s workers. She exhibitedin Poland and internationally, including: Kunsthalle, Rostock, 2014; Centre for Contemporary Art, Gdańsk, 2012; Bleckinge County Museum, Kalskrona, 2012; Łaźnia Centre for Contemporary Art, Gdańsk, 2012; Gdańsk City Gallery (solo), 2011; The Town Hall Galleries, Ipswich, UK, 2008. Recipient of several awards. Her residencies include: METAL, Southend, UK, 2012; SPACES, Cleveland, USA. Recently co-authored the book:The Ideal Woman.From a Guide to a Dialogue (with Monika Popow).Lives and works in Gdańsk. iwona-zajac.com

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IMPRESSUM Nakladnik /Publisher

Pohvala / Acknowledgement

Hrvatsko društvo likovnih umjetnika / Croatian Association of Fine Artists

Fedor Fischer i Lav Paripović

Trg žrtava fašizma 16, 10000 Zagreb, hdlu@hdlu.hr, www.hdlu.hr

Odbor za dodjelu nagrada 3. Bijenala slikarstva / Award jury of the 3rd Biennial of Painting

Za nakladnika / For the publisher

Tomislav Buntak, Patricia Kiš, Željko Marciuš, Tomislav Vuić, Josip Zanki

Josip Zanki, predsjednik HDLU Ravnateljica / Director Ivana Andabaka GOSTUJUĆA IZLOŽBA EXPORTING GDAŃSK IZ POLJSKE / GUEST Upravni odbor HDLU / Executive board of the CCA

EXHIBITION EXPORTING GDAŃSK FROM POLAND

Josip Zanki (predsjednik / president), Tomislav Buntak (dopredsjednik / vice president), Fedor Vučemilović (dopredsjednik / vice president), Ida

Exporting Gdańsk umjetnici / Exporting Gdańsk artists

Blažičko, Ivan Fijolić, Monika Meglić, Melinda Šefčić

Beata Ewa Białecka, Daniel Cybulski, Krzysztof Gliszczyński, Katarzyna Józefowicz, Andrzej Karmasz, Grzegorz Klaman, Dominik Lejman, Kamila

Organizacijski odbor 3. Bijenala slikarstva / Organizing Committee of the

Model, Hanna Nowicka, Agata Nowosielska, Anna Orbaczewska, Teresa

3rd Biennial of Painting

Pągowska, Anna Reinert, Katarzyna Swinarska, Piotr Uklański, Ania

Ivana Andabaka, Tomislav Buntak, Josip Zanki

Witkowska, Adam Witkowski, Iwona Zając

IZLOŽBA / EXHIBITION

Kustosica / Curator Katarzyna Kosmala

Ocjenjivački odbor 3. Bijenala slikarstva / Selection board of the 3rd Biennial of Painting

Likovni postav / Exhibition set up:

Tomislav Buntak, Željko Marciuš, Melinda Šefčić, Klaudio Štefančić, Josip

Katarzyna Kosmala

Zanki Asistentica kustosice i stručna suradnica na projektu / Pozvani umjetnici / Invited artists

Curator assistant and professional associate

Biserka Baretić, Danko Friščić i Davor Mezak, Vlado Martek, Igor

Marijana Paula Ferenčić

Rončević, Robert Šimrak, Josip Vaništa, Zlatan Vrkljan Su-organizator / Co-organizer Odabrani umjetnici / Selected artists

Nacionalni muzej u Gdanjsku (Muzeum narodowego w Gdansku)

Grgur Akrap, Rene Bachrach Krištofić, Sebastijan Dračić, Fedor Fischer,

National Museum from Gdansk (Muzeum narodowego w Gdansku)

Martina Grlić, Petra Grozaj, Helena Janečić, Duje Jurić, Ivona Jurić, Koraljka Kovač, Denis Krašković, Radovan Kunić, Ivica Malčić, Ivan Marković, Mario Mišković, Lav Paripović, Pavle Pavlović, Ivan Prerad, Ana Ratković, Damir Sobota, Stjepan Šandrk, Stipan Tadić, Igor Taritaš, Josip Tirić, Predrag Todorović, Ivan Tudek, Zlatan Vehabović, Damir Vejzović, Matko Vekić, Roberta Vilić. Likovni postav / Exhibition set up Tomislav Buntak, Martina Miholić NAGRADE / AWARDS

Otvorenju izložbe 3. Bijenala slikarstva i izložbe Exporting Gdańsk nazočio je veleposlanik Republike Poljske u Republici Hrvatskoj Nj.E.

HPB Grand prix 3. Bijenala slikarstva /

Maciej Szymański, ministar kulture Republike Hrvatske prof. Berislav

HPB Grand prix of the 3rd Biennial of Painting

Šipuš te poljski kustos Wojciech Bonisławski, ravnatelj Nacionalnog

Robert Šimrak

muzeja u Gdanjsku / The opening of the 3rd Biennial of Painting and Exporting Gdańsk was attended by the Polish Ambassador for Croatia HE

HPB nagrada za mladog umjetnika 3. Bijenala slikarstva /

Maciej Szymański, Croatian Minister of Culture Prof. Berislav Šipuš and

HPB award for young artist of the 3rd Biennial of Painting

Polish curator Wojciech Bonisławski, Director of the National Museum in

Grgur Akrap i Ivan Prerad (dvije jednakovrijedne nagrade)

Gdańsk.

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KATALOG / CATALOG Urednice / Editors

Fotografije likovnog postava i reprodukcija /

Martina Miholić i Marijana Paula Ferenčić

Photographs of the exhibition set up and reproductions Igor Juran (osim fotografija na stranicama / except photographs on

Uvod / Introduction

pages: 20, 21, 22, 24, 25, 30, 31, 54, 55, 70, 71, 78, 79, 126, 127, 128, 129, 133)

Tomislav Buntak i Josip Zanki Uvod u nova čitanja slike / Introduction to a New Interpretation of the

Fotografije s otvorenja / Photographs from the opening

Image

Juraj Vuglač, Tjaša Kalkan

Predgovor 3. Bijenala slikarstva / Preface of the 3rd Biennial of Painting

Grafičko oblikovanje i prijelom kataloga / Graphic design and layout

Željko Marciuš

Duje Medić

Slika - (Slika)rstvo - Ne(slikarstvo) / Painting - (Paint)ing - Non(painting) Tisak / Printed by Wojciech Bonisławski

Cerovski Print Boutique

Uvod za katalog izložbe Exporting Gdańsk u Zagrebu Introduction to the catalog of the Exporting Gdańsk exhibition in Zagreb,

Naklada / Edition

Croatia

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Predgovor Exporting Gdańsk / Preface of the Exporting Gdańsk

CIP zapis je dostupan u računalnome katalogu Nacionalne i sveučilišne

Katarzyna Kosmala

knjižnice u Zagrebu pod brojem 000918874.

Exporting Gdańsk - proširivanje medija i zazivanje pluralnosti

CIP available in the catalog of the National University Library in Zagreb

Exporting Gdańsk, Expanding the Medium, Evoking Plurality

number 000918874.

Engleski prijevod i lektura / English translation and proofreading

ISBN: 978-953-8098-01-7

Zana Šaškin Zagreb, 2015. Hrvatski lektura / Croatian proofreading Mirna Vidić

Organizator / Organizer

Su-organizator / Co-organizer

Generalni pokrovitelj / General sponsor

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Uz potporu / With contribution

Partner / Partner

Sponzor / Sponsor

3. Bijenale slikarstva i gostujuća izložba Exporting Gdansk  

Skupna izložba u Galeriji Prsten, Galeriji PM i Galeriji Bačva, 29.10. – 6.12.2015.

3. Bijenale slikarstva i gostujuća izložba Exporting Gdansk  

Skupna izložba u Galeriji Prsten, Galeriji PM i Galeriji Bačva, 29.10. – 6.12.2015.