Izložba: Maja Rožman

MAJA ROZMAN 1 6. - 2 6. 3. 2 0 1 7.

GALERIJA PM/PM GALLERY LIKOVNI DIO DOKTORSKOG RADA “POMICANJE GRANICA: POZICIJA GRAFIKE U SUVREMENOJ UMJETNOSTI” / THE DOCTORAL THESIS “PUSHING THE BOUNDARIES: THE POSITION AND ROLE OF PRINTMAKING IN CONTEMPORARY ART” MENTORICE: izv. prof. art. Mirjana Vodopija, dr. sc. Ivana Mance

A Canvas is Never Empty

A Canvas is Never Empty Likovni dio doktorskog rada „POMICANJE GRANICA: Pozicija grafike u suvremenoj umjetnosti” Mentorice: izv. prof. art. Mirjana Vodopija, dr. sc. Ivana Mance “A Canvas is Never Empty”1, izjava je Roberta Rauschenberga te ujedno i naziv treće od tri planirane izložbe vezane uz istraživanje medija grafike, kojim se bavim posljednjih godina u sklopu doktorskog rada pod nazivom „POMICANJE GRANICA: Pozicija grafike u suvremenoj umjetnosti”, realiziranog u okviru Poslijediplomskog doktorskog studija na Akademiji likovnih umjetnosti u Zagrebu.

Cjelokupno istraživanje polazi od pretpostavki da je grafika aktivni sudionik i pokretač glavnih zbivanja i kretanja u suvremenoj umjetnosti te da je fundamentalne postavke grafike moguće reinterpretirati na način da se ostvari pomak od pukog slijeđenja tradicije prema nužno kompleksnijoj fenomenologiji grafike u kontekstu multimedijalne umjetničke prakse.

Stav kritike, a često i samih umjetnika, prema grafici jest da je zanemaren medij. Paul Coldwell tvrdi da je uloga otiska i grafike u kontekstu suvremene umjetničke prakse sve važnija, ali često podcijenjena.2 Promatrajući radove na grafičkim manifestacijama poput raznih bijenala ili trijenala u Europi, a i svijetu općenito, smatram da je za to djelomično zaslužna činjenica da nije došlo do ozbiljnog promišljanja statusa grafike u kontekstu suvremene umjetnosti i novih tehnologija u cjelini. Primjećujem da sadržaj i koncept rada često padaju u drugi plan, dok autori (grafičari) često odabiru motive na grafikama samo kao povod za demonstraciju svoje tehničke vještine i razlog za korištenje grafičkih alata.

U tom kontekstu u likovnom dijelu doktorskog rada „POMICANJE GRANICA: Pozicija grafike u suvremenoj umjetnosti” sagledavam medij grafike iz pozicije autorice koja radu pristupa analitično.

U svojim se radovima koristim crtežom, grafikom, zvukom i objektima,

1 Branden Wayne Joseph, Random Order: Robert Rauschenberg and the Neo-avant-garde.

(London: The MIT Press, 2003.), 21.

2 Paul Coldwell, “The Role of Print within Contemporary Art Practice” (priopćenje na konferenciji: Password: Printmaking, International Centre of Graphic Arts (MGLC), Ljubljana, Slovenija, 7. III. 2014.).

A part of dissertation “PUSHING THE BOUNDARIES: The Position and Role of Printmaking in Contemporary Art” Mentors: Associate Art Professor Mirjana Vodopija and Ivana Mance, PhD. “A Canvas is Never Empty”1 is Robert Rauschenberg’s statement and the name of the last of the three planned exhibitions related to the exploration of the printmaking medium, which Maja Rožman has been engaged with in the last couple of years as a part of her doctoral dissertation titled “PUSHING THE BOUNDARIES: The Position and Role of Printmaking in Contemporary Art”. The dissertation was created within the framework of doctoral studies at the Academy of Fine Arts in Zagreb.

The entire study is based on the assumption that printmaking is an active participant and initiator of the main developments and trends in contemporary art and that fundamental principles of printmaking can be reinterpreted to achieve a shift from the mere following of tradition towards necessarily more complex phenomenology of printmaking in the context of multimedia art practice.

The position of critique, and often that of the artists themselves, toward printmaking is that it is a neglected medium. Paul Coldwell claims that “the role of both print and printmaking within contemporary art practice is increasingly important but often understated”.2 Observing artworks at printmaking manifestations, such as at various biennials or triennials in Europe, and in the rest of the world in general, I hold an opinion that the fact to which printmaking owes its current predicament is that in the context of the contemporary arts and new technologies there were never any serious inquiry into or redefining of the printmaking status.

I have noticed how content and concept of the printmaking works (impressions) frequently falls in the background, while authors working in that medium regularly choose motives for their work whose sole purpose

1 Branden Wayne Joseph, Random Order: Robert Rauschenberg and the Neo-avant-garde.

(London: The MIT Press, 2003), 21.

2 Paul Coldwell, “The Role of Print within Contemporary Art Practice” (paper at the conference: Password: Printmaking, International Centre of Graphic Arts (MGLC), Ljubljana, Slovenia, 7th March 2014).

koji postavljeni u različite suodnose postaju dijelom mojih instalacija.

Proces rada percipiram jednako važnim kao i samo umjetničko djelo; slično kao i Bruce Nauman smatram da u umjetničko djelo nije uključen samo tehnički dio izrade rada, već i propitivanje mogućnosti ekspresije u svijetu umjetnosti i kulture općenito.3 Također, zagovaram Kosuthovu ideju o umjetničkoj praksi koja sebe pozicionira direktno u proces gdje korišteni elementi u umjetničkom prijedlogu (bili oni objekti, citati, fragmenti, fotografije, konteksti ili što drugo) funkcioniraju ne samo u estetske svrhe, već kao konstruktivni elementi koji testiraju kulturni kodeks.4 Stoga, osim samoj izradi rada, pažnju posvećujem i procesu stvaranja te propitivanju stvaralačkih procesa i uvjeta u kojima se percipira ono što smatramo umjetničkim djelom.

O prethodnim izložbama Svoj istraživački proces vezan uz grafiku započela sam izložbom „Grafike” u Galeriji Karas (2015.), koju sam ostvarila u sklopu Nagrade HDLU-a na 6. hrvatskom trijenalu grafike. Nije nevažno što spominjem upravo taj događaj, jer je on potaknuo moje istraživanje i dublje promišljanje ovog medija.

Budući da Graeme Cornwell opisuje grafiku kao disciplinu koja usputno, ali ne nehotično ili nepromišljeno, tretira tehnologiju kao važniju od slike kako bi se definirala5, za izložbu u Galeriji Karas odlučila sam istražiti odnos udjela ideje i tehnike u radu. Stoga sam otiske potpuno lišila identiteta, odnosno motiva koji bi i tako bio samo izgovor za moju demonstraciju zanata. Izložila sam „slijepe” otiske matrice (slijepi tisak), izrađene u visokom, dubokom i plošnom tisku, a svu pažnju posvetila procesu obrade matrice i izrade otiska, odabiru kvalitetnog i adekvatnog papira te naravno ispravnoj signaturi. Na izložbi sam izložila i korištene alate, predmete obožavanja svakog „pravog” grafičara, te im dala pozornost kakvu zaslužuju.

Naziv „Grafike” odabrala sam svjesno; taj generički naziv je najčešće korišten upravo za izložbe idejno ispraznih, ali tehnički korektnih grafika o kojima se nema mnogo za reći, osim da je riječ o grafikama, i gdje autor sveden na poziciju ovlaštenog javnog bilježnika izlaže službeni umjetnički dokument (otisak) čiju autentičnost potvrđuje ne više ideja nego konvencija te autorov pečat i potpis.

Godinu dana kasnije, izložbom „2/3, grafike” u iSu - Institutu za suvremenu umjetnost (2016.), nastojala sam preispitati tradicionalne

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Usp. Michael Rush, Video Art (London: Thames & Hudson Ltd., 2003.), 76.

Usp. Rush, Video Art, 72.

Usp. Graeme Cornwell, “The TECHNO-FETISH in Printmaking” (priopćenje na simpoziju: 2nd Australian Print Symposium, National Gallery of Australia, Canberra, Australija, 9.-11. X. 1992.).

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is to serve as an excuse for them to demonstrate their technical prowess or use them as a pretext to play with their tools.

In that context, a visual part of dissertation “PUSHING THE BOUNDARIES: The Position and Role of Printmaking in Contemporary Art” looks at the printmaking medium from personal position, namely that of an author with analitical approach.

In my work I use drawing, printmaking, sound, and objects which placed in different relations become parts of my installations in which the process of creation for me is as important as my work of art. In short, like Bruce Nauman, I am of the opinion that a work of art doesn’t include only the technical part of an artwork’s production but also that of questioning the possibility of expression in the work of art and the culture in general.3 I also stand by Kosuth’s idea that “artistic practice locates itself directly in the signifying process and that the use of elements in art proposition (be they objects, quotations, fragments, photographs, context or whatever) functions not for aesthetic purposes...but rather as simply the constructive elements of a test of the cultural code”.4 So, in addition to an artwork’s production alone, I devote my full attention to the process of creation as well and to that of questioning my creative processes and conditions in which one perceives what is considered to be a work of art.

About the previous exhibitions I began my research process related to printmaking with the exhibition “Prints”, held at Karas Gallery (2015) on the occasion of the Croatian Association of Artists Award, which I received at the 6th Croatian Prints Triennial. It is not irrelevant that I mention that particular event, because it inspired my research and deeper reflection on this media.

Since Graeme Cornwell describes printmaking as “discipline which incidentally but not inadvertently nor ill-advisedly treats technology as more important than imagery in order to define itself”5, for the exhibition in Karas Gallery I have decided to explore the share ratio of ideas and techniques in the work. For that reason, I have stripped my impressions of their identity, that is to say of motifs, that would in the aforementioned light only serve as a pretext for me to demonstrate my technical prowess.

I exhibited “blind” impressions of the matrixes (blind prints), fashioned in relief, intaglio, and planographic printing method, and devoted my whole attention to the finishing of the matrixes, to the act of printing, to the selection of the finest and the most adequate type of paper available

3

See Michael Rush, Video Art (London: Thames & Hudson Ltd., 2003), 76.

Rush, Video Art, 72.

Graeme Cornwell, “The TECHNO-FETISH in Printmaking” (paper at the symposium: 2nd Australian Print Symposium, National Gallery of Australia, Canberra, Australia, 9th-11th December 1992).

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konvencije i testirati granice grafičkog medija te istražiti mogućnosti realizacije idejnog potencijala grafike u kontekstu suvremene umjetnosti.

Rad „Fingerprint” istražuje pravni i umjetnički identitet putem dokumentiranja procesa nastanka grafičkog otiska, od otiskivanja i signiranja otisaka, sve do uništenja matrice (prsta). Iako upravo taj čin čini signiranu seriju grafika valjanom te poštuje zakone grafičkog zanata, on istovremeno zauvijek mijenja moj otisak prsta, zadirući pritom u zakonsku strukturu na višoj razini.

U seriji „grART” zanimale su me mogućnosti signiranja grafike uz pomoć novih tehnologija. Izložila sam linoreze QR kodova koji se sastoje od kvadratnih polja, naizgled nasumično raspoređenih unutar granica bijelog kvadrata. Informacija o crtežu i/ili grafici (naziv, godina, edicija) i njezinoj cijeni – istovremeno napadno očigledna i ukusno sakrivena – postala je sam rad (motiv), a cijela svrha rada postala je upravo informiranje prigodno opremljenih posjetitelja – vlasnika smart phoneova i QR softwarea – o navedenim podatcima.

Glavni motiv rada „Varieties” (Varijacije) bila je sama signatura grafičkog lista. 1/1 nije grafika, već monotipija, dakle nužno je načiniti više od jednog otiska kako bi grafička serija bila pravovaljana. U tehnikama sitotiska i digitalnog printa otisnula sam 4 otiska, a tim činom podatci u otisnutoj signaturi postali su neistiniti: kombinirajući dvije tehnike na jednom grafičkom listu, on prestaje biti sitotisak ili digitalni print, već postaje kombinirana tehnika, a podatak o rednom broju u ediciji 1/4, otisnut na svakom od listova, postaje očita laž. Postojanjem četiri otiska, bilo je nužno da signatura počinje varirati.

Rad „Skiciranje” predstavljao je promišljanja o nekoliko grafičkih tema: Skiciranje o matrici: Otiskivanjem matrice na platno za goblene nastao je otisak na platnu. Platno za goblene –screen– propustilo je „višak” boje na podlogu –papir– te i samo postalo matrica za sitotisak na papiru. Otisnuti motiv na platnu za goblene također je matrica prema kojoj se vrši vez.

Skiciranje o ediciji: Ako se motiv promatra kao dio signature (1/2), on je neispravan, jer postoje dva identična otiska. Pa ipak, korigiranjem matrice prilikom veza, ne bi li ispravila signaturu (1/2 u 2/2) i prikazala istinu, prikazala bih laž; svakim odmakom od zadanog uzorka matrice izmičem se iz domene grafičke serije od dva identična otiska, a ulazim u sferu monotipije. Nemogućnost prikazivanja istine u meni je izazivala frustraciju...

Tako se formirala i treća ideja: mogućnosti da ignoriram matricu i izvezem bijelo platno – simbolički novi početak.

Zaključila sam da ću u procesu izvedbe rada odlučiti hoću li izvesti laž, laž ili laž. ...

to me, and naturally to the proper signature of the impressions. At the exhibition I also showcased the tools I used, the objects of adoration of every “real” printmaker, and give them the attention they deserve.

The title “Prints” I have chosen intentionally; that generic title is often used for exhibitions of prints which are empty display of pretty-picture and correct craftsmanship, works of which there is not much to say, where an author put in the position of the notary public exhibits an official artistic document (impression), whose authenticity is not validated by way of ideas, but of conventions, and the author’s stamp and signature.

A year later, with the exhibition “2/3, prints” at iCa – Institute for Contemporary Art (2016) I tried to re-examine the traditional conventions and test the limits of graphic media, and explore the possibilities of realization of the conceptual potential of printmaking in the context of contemporary art.

The work “Fingerprint” juxtaposes the legal and artistic identity by documenting the process of developing a graphic print–form printing, the signing of the work, up to symbolic self- destruction which presumably makes a series a valid piece of art. The problem of the identity is emphasized by the simple act of cutting the finger, with which the author respects the printmaking laws destroying the matrix, but at the same time influences the legal structure by forever changing her fingerprint.

With “qrART” series, I exhibited linocut QR codes consisting of square dot arrays seemingly arranged at random within the boundaries of a white square. In the series the price information becomes the work itself, at the same time blatantly obvious and tastefully hidden, as the whole purpose of the work becomes informing an aptly equipped viewers–with smartphones and QR deciphering software–about its price. Through the codes, I transformed my work into an overblown, but nonetheless decorative price tag. In the world where owing an artwork often tends to be mainly about advertising its price rather than its dubious social values, I succeeded in making that advertising much more acceptable, stylish, and convenient.

The main motive of the work “Varieties” (Variations) is the signature of the (graphic) print. 1/1 is not a valid graphic series, but rather a monotype. Therefore, it is necessary to make more than one print for the graphic edition to be valid. I decided to produce 4 prints, combining the two techniques: silkscreen, and digital printing. By this act the data in the printed signature becomes untrue: by combining the two techniques in one print, it ceases to be silkscreen or digital print, but rather it becomes mixed media (combined techniques), and information about the edition of the series –1/4– printed on each sheet, becomes an obvious lie.

With the existence of four equal prints, it is necessary that the signature begins to vary.

The work “Sketching” introduces different topics: Sketching about the matrix: The action of printing the matrix on a

O radu u galeriji PM Upravo je taj proces vezenja, te posljedično i odlučivanja, temelj rada izloženog u Galeriji Proširenih medija. Proces izvedbe je dugotrajan; 120 000 šavova je mnogo vremena za promišljanje.

Prema Tao te Chingu praznina je izvor neograničene količine energije. Iz iste je praznine stvoren čitav svemir; isto tako, iz praznine našeg uma stvaraju se naše najbolje ideje te iz tih ideja manifestiraju najbolje kreacije. I Malevich, je „Crnim kvadratom” težio k ideji nulte točke slike te tvrdio da od nule, iz nule, započinje iskonski bitak6, a Rauschenberg je svoje „Bijele slike” predstavio kao gotov čin, koji gledateljima ne ostavlja drugu mogućnost osim da ih prihvate takvima kakve jesu7.

S tim na umu, u ključnom trenutku, odlučujem ostati dosljedna svom dosadašnjem minimalizmu, izvesti potpuno bijela platna te ih preparirati i svesti na „nulu”. Umjesto kao dokidanje grafike, ili kao premoć platna/ slike nad (o)tiskom, sagledavam ovaj rad kao transmedijsku grafiku, prihvaćanje suodnosa dvaju ili više medija.

Taj je odabir i u skladu sa slijepim otiscima – lišenim sadržaja – , izloženim na prvoj od tri izložbe („Grafike”, Galerija Karas, 2015.) vezane uz moja istraživanja grafike. Ovim činom zatvaram krug; bijelo platno, koje u svojoj srži sadrži grafiku (½) – matricu prema kojoj je nastalo – prepariranjem postaje „novi list”, podloga s bezbroj mogućnosti. Sve sažeto u uvjetno „ništa”.

U ovom slučaju je potpuna istina da platno nikada nije prazno8.

Maja Rožman

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Usp. Matthew Drutt, ur., Kazimir Malevich Suprematism. (New York: A Guggenheim Museum Publication, 2003.), 40.

Usp. Kristine Stiles, “White Painting [seven panel]”, Rauschenberg: Collecting & Connecting (2014.), pristup ostvaren: 15. II. 2017., http://nasher.duke.edu/rauschenberg/white-painting/ 8 “A Canvas is Never Empty” 7

gobelin canvas consequently produced prints on paper. The gobelin canvas –screen– let the paint flow through the mesh openings during the squeegee stroke, and by transferring the image onto the printing surface –paper– it became the matrix for screen printing on paper. Undoubtedly, printed motif on the gobelin canvas is a matrix, too.

Sketching about the edition: If I view the motif as a part of the prints’ signature (1/2), it is incorrect, since there are two identical prints. However, by correcting the matrix during needlework, in order to correct the signature (from 1/2 to 2/2) and state the truth, I achieve to state a lie; each deviation from a given pattern takes the print further away from the valid graphic series of two, and closer to the sphere of monotypes. This inability to present the truth was building up a frustration within me.

Then the third idea was formed: the possibility to simply ignore the matrix and embroider white canvas – a clean slate.

I have concluded that somewhere in the process of (needle)work I will decide whether I will embroider a lie, a lie or a lie. ...

About the work in the PM Gallery / Gallery of Extended Media Precisely this process of embroidery – and the ultimate result of decision-making – is the foundation for the work exhibited at the PM Gallery / Gallery of Extended Media. The process of (needle)work is lengthy; 120,000 stitches is a lot of time for reflection.

According to the Tao Te Ching nothing (the emptiness) is a source of unlimited supply of energy. The whole Universe was created from that same nothing; also, our best ideas are created from the emptiness of our mind, and our best creations manifest from these ideas. Even Malevich was, with his “Black Square” aspiring to the idea of zero point of painting and claimed that it is from zero, in zero, that the true movement of being begins6, while Rauschenberg presented his “White paintings” as a fait accompli that leaves viewers with no option but to accept them as they are.7 With that in mind, at the crucial moment, I decided to stay true to my previous minimalistic expression, and embroider a fully white canvases, reducing them to “zero”. I look at this work as a transmedia printmaking, as an acknowledgment of interrelationship of two media, rather than as the annulment of printmaking, or as supremacy of canvas / image over the print.

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Matthew Drutt, editor, Kazimir Malevich Suprematism. (New York: A Guggenheim Museum Publication, 2003), 40.

See Kristine Stiles, “White Painting [seven panel]”, Rauschenberg: Collecting & Connecting (2014), retrieved: 15. II. 2017, http://nasher.duke.edu/rauschenberg/white-painting/

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„Grafike”, Galerija Karas, Zagreb (HR), 2015.

This choice is in accordance with the blind prints – stripped of their content – that I exhibited at first out of three exhibitions related to my research in the field of printmaking (“Prints”, Karas Gallery, 2015). With this act, I am closing the circle; white canvas, which contains print (½) – a matrix after which it was embroidered – at its core, becomes a “clean slate”, a surface containing endless possibilities. All summarized in the conditional “nothing”.

In this case, it is an absolute truth that a canvas is never empty.

Maja Rožman

„Grafike”, Galerija Karas, Zagreb (HR), 2015.

„Grafike”, Galerija Karas, Zagreb (HR), 2015.

"Fingerprint", izložba "2/3, grafike", iSu Institut za suvremenu umjetnost, Zagreb (HR), 2016. © Boris Cvjetanović | fotografije iz dokumentacije iSu Instituta za suvremenu umjetnost

"Varieties", izložba "2/3, grafike", iSu Institut za suvremenu umjetnost, Zagreb (HR), 2016. © Boris Cvjetanović | fotografije iz dokumentacije iSu Instituta za suvremenu umjetnost

"qrART", izloĹžba "2/3, grafike", iSu Institut za suvremenu umjetnost, Zagreb (HR), 2016.

Š Boris Cvjetanović | fotografije iz dokumentacije iSu Instituta za suvremenu umjetnost

"Skiciranje", izložba "2/3, grafike", iSu Institut za suvremenu umjetnost, Zagreb (HR), 2016. © Boris Cvjetanović | fotografije iz dokumentacije iSu Instituta za suvremenu umjetnost

"A Canvas is Never Empty", Galerija PM, Zagreb, 2017.

O autorici: Maja Rožman je rođena 1981. godine u Zagrebu, Hrvatska. Diplomirala je 2006. godine na Akademiji likovnih umjetnosti u Zagrebu. Kao stipendistica CEEPUS-a i KulturKontakta studirala je na Akademijama likovnih umjetnosti u Poljskoj, Austriji i Mađarskoj, a kao resident artist boravila u Francuskoj (Cité Internationale des Arts, Paris), Italiji (CreArt Network, Genoa), Austriji, (KulturKontakt, Vienna; Cultural City Network Graz), Turskoj(IPlatform Garanti Contemporary Art Centre, Istanbul) i Nizozemskoj (KunstenaarsLogies, Amersfoort).

Po završetku studija, dobitnica je Rektorove nagrade te jedna od četvoro finalista Nagrade Radoslav Putar za mlade likovne umjetnike u Hrvatskoj, koju dodjeljuje Institut za suvremenu umjetnost. Godine 2011. dobitnica je nagrada Essl Award CEE te VIG Special Invitation, koje se dodjeljuju mladim umjetnicima centralne i istočne Europe. Godine 2012. je dobitnica Nagrade HDLU-a na 6. hrvatskom trijenalu grafike.

Od 2003. godine se kontinuirano pojavljuje na likovnoj sceni; njezini filmovi i video radovi su prikazivani na festivalima u Hrvatskoj, Austriji i Španjolskoj, a radovi i performansi na brojnim izložbama u Hrvatskoj i inozemstvu. Održala je 14 samostalnih izložbi u Hrvatskoj, Nizozemskoj, Austriji i BiH. Suosnivačica je umjetničkog kolektiva Projekt6 (2006. - 2011.), unutar kojeg djeluje kao umjetnica i kustosica. Od 2007. do 2010. je radila kao voditeljica multimedijalnog programa Međunarodnog festivala studentskog kazališta i multimedije Test!-a (“Test!8 Forever”, “Test!9+10 Communication”, “Test!0 Big Bang”). Od 2009. radi kao suradnica na projektima Hrvatskog društva likovnih umjetnika (Hram, 45. zagrebački salon), a od 2010. do 2012. godine nastavlja suradnju kao voditeljica HDLU-ovih galerija Karas i Bačva. Godine 2010. je u sklopu stipendije Felix Meritis Foundation / Gulliver Connect surađivala na projektima Instituta za suvremenu umjetnost SCCA Ljubljana, Slovenija.

Od veljače 2012. radi kao asistentica na Grafičkom odsjeku Akademije likovnih umjetnosti Sveučilišta u Zagrebu.

KONTAKT | www.majarozman.com

About the author: Maja Rožman was born in Zagreb, Croatia, in 1981. She graduated Printmaking at the Academy of Fine Arts in Zagreb in 2006. During her studies she won both a CEEPUS and a Kultur Kontakt grant and attended academies of fine arts in Poland, Austria, and Hungary, and was a resident artist in France (Cité Internationale des Arts, Paris), Italy (CreArt Network, Genoa), Austria, (KulturKontakt, Vienna; Cultural City Network Graz), Turkey (IPlatform Garanti Contemporary Art Centre, Istanbul), and the Netherlands (KunstenaarsLogies, Amersfoort).

At the competition of her studies, she received the Rector’s Award and was one of the four finalists for Radoslav Putar Award presented to young visual artists in Croatia by the Croatian Institute for Contemporary Arts.

In 2011 she received both Essl Award CEE, and VIG Special Invitation, presented to young contemporary artists of Central and Eastern Europe.

In 2012, she received CAA Award at the 6th Croatian Prints Triennial.

Since 2003 she continuously appears on the art scene; her films and videos were presented at festivals in Croatia, Austria, and Spain, and her artworks and performances at numerous exhibitions in Croatia and abroad. In addition to the group exhibitions, she held 14 solo exhibitions in Croatia, the Netherlands, Austria, and B&H. In 2006, she was one of the founders of art collective Projekt6, within which she works as an artist and curator. Since 2007 she has worked as the artistic director of the multimedia program of the International festival of student theater and multimedia Test! (T!8, T!9 + 10, T!0). In 2009 she began to work as an Associate on the projects of HDLU – Croatian Association of Artists (Temple, 45th Zagreb Salon), and from 2010 to 2012, continued collaboration with HDLU as a director and curator of both Karas Gallery and Barrel Gallery.

In 2010 she was endowed by the Felix Meritis Foundation in the Programme “Gulliver Connect”, and was a guest researcher at the SCCA the Institute for Contemporary Arts, Ljubljana (SI).

Since February 2012, she workes as an assistant at the Printmaking Department of the Academy of Fine Arts in Zagreb.

CONTACT | www.majarozman.com

Hrvatsko društvo likovnih umjetnika Croatian Association of Fine Artists

IMPRESUM | Nakladnik/Publisher: Hrvatsko društvo likovnih umjetnika/Croatian Association of Fine Artists, Trg žrtava fašizma 16, 10 000 Zagreb, hdlu@hdlu.hr, www.hdlu.hr | Za nakladnika/For the publisher: Josip Zanki | Upravni odbor HDLU/Executive board of HDLU: Josip Zanki (predsjednik/president), Tomislav Buntak (zamjenik predsjednika/vicepresident), Fedor Vučemilović (zamjenik predsjednika/vicepresident), Ida Blažičko, Ivan Fijolić, Monika Meglić, Melinda Šefčić | Umjetnički savjet Galerije PM/Artistic board of PM Gallery: Tomislav Buntak, Suzana Marjanić, Koraljka Kovač Dugandžić, Branka Benčić, Ivan Fijolić, Josip Zanki, Ivica Župan | Ravnateljica/Director: Ivana Andabaka | Stručna suradnica/Associate: Martina Miholić | Predgovor/Preface: Maja Rožman | Grafičko oblikovanje kataloga/Catalogue Design: Duje Medić | Prijevod / Translation: Zana Šaškin | Tisak/Printed by Cerovski | Naklada/Copies: 100

Izložba je realizirana uz financijsku potporu Ministarstva kulture Republike Hrvatske, Gradskog ureda za obrazovanje, kulturu i sport Grada Zagreba / The exhibition was financially supported by the Ministry of Culture of the Republic of Croatia, the City Office for Culture, Education and Sport, Zagreb.