Martina Miholić katalog

MARTINA MIHOLIĆ: DREAM WAVES: HYPER DRIFT Martina Miholić hrvatska je vizualna umjetnica čija umjetnička praksa redefinira odnose između organskih sustava, mitologije i tehnologije kroz imerzivne skulpturalne i digitalne instalacije. Javnosti se ponovno predstavlja projektom Dream Waves: Hyper Drift u Tunelu Grič, u sklopu programa gostovanja Meštrovićevog paviljona.

Ispreplićući elemente spekulativnog futurizma i Braidottijeve posthumanističke teorije, umjetnica dekonstruira antropocentrične narative kroz svojevrsnu mitopoetsku arheologiju budućnosti, stvarajući začudan i atmosferičan hibridni pejzaž – jedinstvenu vizualnu i zvučnu topografiju.

Umjesto pukog oponašanja prirode, rad predstavlja svojevrsnu meta-stvarnost, temeljenu na prevođenju obrazaca prirodnog rasta – fraktalnih struktura, samoorganizacije i

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dinamike fluida – u vizualni i simbolički jezik putem generativnih algoritama, 3D modeliranja i organskih oblika.

Tunel Grič, prostor višeslojne povijesti, od skloništa u ratnim vremenima i mjesta urbane subkulture 1990-ih, ovdje se rehumanizira kroz suvremenu umjetnost, postajući metafora za slojevitost gradske memorije i umjetničin laboratorij animističke futurologije.

Poput šintoističkog poimanja kamija – duhova prisutnih u stijenama i vodama – instalacija oduhovljuje mineralne formacije tunela: kalcifikacije i stalaktite pretvaraju se u „živu arhivsku mrežu“ koja čuva emocije, sjećanja i povijest u složenim strukturama. Kapanje i curenje vode niz zidove pretaču se u „curenje“ epoksidnih smola po artefaktima koje pronalazimo u prostoru, stvarajući vizualni dijalog između geoloških i tehnoloških procesa, koji polako ispisuju vrijeme. Ovdje se prirodni ritmovi erozije i taloženja susreću s generativnim algoritmima, sugerirajući da su umjetna inteligencija i priroda dva aspekta istog univerzalnog koda morfogeneze.

U nišama tunela nailazimo na niz biomorfnih formi / artefakata, nastalih kombinacijom organskih materijala, poput drveta, kamena i kosti, te sintetičkih oblika i postupaka. Posjetitelj se suočava s postapokaliptičnom atmosferom reflektirajućih površina, odbljescima projekcija, neobičnim videima i sugestivnim predmetima (nokti, kosa), bivajući u nemilosti varljivih osjetilnih percepcija. Ulazak u instalaciju nalik je skoku u zečju rupu, gdje svaki korak otkriva novi sloj značenja, novu verziju stvarnosti, a logika vremena i prostora se izobličuje. Imerzivna zvučna podloga, razvijena u suradnji sa sound umjetnikom Senpviijem, postaje zvučni produžetak morfogenetskih procesa istraženih u instalaciji, reflektirajući simbolički ritam transformacije, rasta i entropije.

Fizički prostor tako postaje svojevrsni jungovski psihološki pejzaž introspekcije u kojemu Miholić uspješno balansira i potencira osjećaj zaklona, ali i zastrašujuće distopijske probabilne budućnosti u kojemu konvergiraju biološki i tehnološki kodovi, a sve što je postojalo, postoji ili će ikada postojati, se transformira kroz cikluse stvaranja i propadanja.

Pritom se Miholić oslanja na arhetip Inanne, sumerske božice stvaranja i uništenja, kao simboličkog vodiča kroz transformaciju, kodiranje i regeneraciju. Taj mitski sloj dodaje filozofsku dubinu projektu, sugerirajući da su inteligencija prirode i logika digitalnih algoritama doista ukorijenjeni u istim univerzalnim principima.

Na koncu, Dream Waves: Hyper Drift ne treba promatrati samo kao instalaciju, već kao živi organizam koji evoluira kroz interakciju s posjetiteljima i okolinom, postajući aktivni transformacijski alat za redefiniranje našeg odnosa s vremenom, materijom i tehnologijom. Rad funkcionira poput kvantnog ogledala koje reflektira niz paralelnih stvarnosti, u kojima su, poput spregnutih čestica, svi elementi simbiotički povezani, utjelovljujući šintoistički koncept musubi – energetske mreže koja povezuje sve stvari. U tom okviru, promatrač postaje ko-kreator iskustva, a zidovi tunela pretvaraju se u membrane drugih temporalnosti. Tunel Grič tako postaje portal za dijalog s nevidljivim arheološkim slojevima, digitalnim duhovima, ali i budućim verzijama samoga grada.

Nika Šimičić

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MARTINA MIHOLIĆ: DREAM WAVES: HYPER DRIFT Martina Miholić is a Croatian visual artist whose artistic practice redefines the relationships between organic systems, mythology, and technology through immersive sculptural and digital installations. She now returns with her latest project, Dream Waves: Hyper Drift in the Grič Tunnel, as part of the guest programme of the Meštrović Pavilion.

Interweaving elements of speculative futurism and Braidotti’s posthumanist theory, the artist deconstructs anthropocentric narratives through a kind of mythopoetic archaeology of the future, creating an uncanny and atmospheric hybrid landscape – a unique visual and sonic topography.

Rather than merely imitating nature, the work presents a kind of meta-reality, based on translating the patterns of natural growth – fractal structures, 8

self-organisation, and fluid dynamics – into a visual and symbolic language through generative algorithms, 3D modelling, and organic forms.

The Grič Tunnel, a space with a layered history, from wartime shelter to a hub of 1990s urban subculture, is rehumanized here through contemporary art, becoming a metaphor for the layers of urban memory and a laboratory for the artist’s animist futurology.

Echoing the Shinto concept of kami – spirits that inhabit rocks and waters – the installation spiritualises the mineral formations of the tunnel: calcifications and stalactites are transformed into a “living archival network” that stores emotions, memories, and history within complex structures.

The dripping and trickling of water down the walls translate into the “leakage” of epoxy resin over artefacts found on site, creating a visual dialogue between geological and technological processes

that slowly inscribe the passage of time. Here, the natural rhythms of erosion and sedimentation converge with generative algorithms, suggesting that artificial intelligence and nature are two aspects of the same universal code of morphogenesis.

In the niches of the tunnel, we encounter a series of biomorphic forms/artefacts, created through a fusion of organic materials, such as wood, stone and bone, and synthetic forms and processes. The visitor is confronted with the post-apocalyptic atmosphere of reflective surfaces, flickering projections, unusual videos and evocative objects (nails, hair), subject to the distortions of deceptive sensory perception. Entering the installation is like falling down a rabbit hole, each step reveals a new layer of meaning, a new version of reality, and the logic of time and space becomes distorted.

The immersive soundscape, developed in collaboration with sound artist Senpvii, becomes a sonic extension of the morphogenetic processes explored in the installation, reflecting a symbolic rhythm of transformation, growth, and entropy.

The physical space thus becomes a kind of Jungian psychological landscape of introspection, in which Miholić masterfully balances and amplifies a sense of shelter alongside an unsettling probable dystopian future in which biological and technological codes converge, and everything that has existed, exists or ever

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will exist, is transformed through cycles of creation and decay. In doing so, Miholić draws on the archetype of Inanna, the Sumerian goddess of creation and destruction, as a symbolic guide through transformation, coding, and regeneration. This mythical layer adds philosophical depth to the project, suggesting that the intelligence of nature and the logic of digital algorithms are, indeed, rooted in the same universal principles.

Ultimately, Dream Waves: Hyper Drift should not be seen merely as an installation, but as a living organism that evolves through its interaction with visitors and surroundings, becoming an active tool of transformation that redefines our relationship with time, matter and technology. The work functions like a quantum mirror that reflects a multitude of parallel realities, in which all elements, like entangled particles, are symbiotically linked, embodying the Shinto concept of musubi – the energetic network that connects all things. Within this framework, the viewer becomes a co-creator of the experience, and the tunnel walls are transformed into membranes of other temporalities.

The Grič Tunnel thus becomes a portal for dialogue with invisible archaeological layers, digital spirits, but also future versions of the city itself.

Nika Šimičić

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MARTINA MIHOLIĆ diplomirala je na ALU Zagrebu i na CSM College of Art and Design u Londonu. Bila je umjetnička ravnateljica festivala Test! (2006.–2010.) i voditeljica projekta Export–Import (2010.–2012.) u suradnji s Veleposlanstvom RH u Londonu. S Miom Orsag kustosica je 33. salon mladih (2016.). Od 2015. djeluje u HDLU-u kao koordinatorica i izvršna producentica izložbenih programa. Izlagala je na brojnim samostalnim i skupnim izložbama u zemlji i inozemstvu te sudjelovala na rezidencijama u Francuskoj i Nizozemskoj. Njezini su radovi prikazani i na filmskim i video festivalima u Bilbau, Madridu i Osnabrücku. Dobitnica je nagrade 14. trijenala hrvatskog kiparstva 2022.

SENPVII je glazbenik iz Zagreba čiji rad spaja ambijentalne, eterične i eksperimentalne tonove. Nastupao je u prostorima poput AKC Attacka i Aquariusa te surađuje s umjetnicima na auditivnoj i istraživačkoj razini (npr. Porečki anali). Uz solo rad i umjetničke kolaboracije, djeluje kao vokal u RH Space Orchestra, glazbenom kolektivu koji improvizacijom spaja jazz, eksperimentalnu i elektroničku glazbu.

MARTINA MIHOLIĆ graduated from the Academy of Fine Arts in Zagreb and CSM College of Art and Design in London. She was artistic director of the Test! Festival (2006–2010) and led the Export–Import project (2010–2012) in collaboration with the Croatian Embassy in London. In 2016, she co-curated the 33rd Youth Salon with Mia Orsag. Since 2015, she has been working with the Croatian Association of Fine Artists (HDLU) as a coordinator and executive producer of programs. She has exhibited widely in Croatia and abroad, participated in residencies in France and the Netherlands, and presented work at film and video festivals in Bilbao, Madrid, and Osnabrück. In 2022, she received the award of the 14th Croatian Sculpture Triennial.

SENPVII is a musician from Zagreb whose work blends ambient, ethereal, and experimental sounds. He has performed at venues such as AKC Attack and Aquarius Club and collaborates with visual artists on audio and research-based projects (e.g., Poreč Annals). In addition to his solo work and artistic collaborations, he is the vocalist for RH Space Orchestra, a musical collective known for its improvisational fusion of jazz, experimental, and electronic music.

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