36. salon mladih PARAZITI i SITUACIJA

katalog

catalogue

36. salon mladih

27. 4.

–19. 6.

2022.

meštrovićev paviljon trg žrtava fašizma 16

zagreb 2022.

www.hdlu.hr www.salonmladih.hdlu.hr

@hdlu_hr @salonmladih

36. salon mladih

36th youth salon

sadržaj

contents

paraziti parasites 6

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99

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situacija situation

Paraziti - predgovor KUĆĆA kolektiva Parasites - preface KUĆĆA collective

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postav izložbe exhibition

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umjetnici artists

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otvorenje izložbe exhibition opening

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otvorenje izložbe exhibition opening

biografije umjetnika artists’ biographies

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biografije umjetnika artists’ biographies

popratni program side programme

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impresum impressum

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nagradne izložbe 35. salona mladih award exhibitions of the 35th youth salon

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edukativni program educational programme

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susreti s umjetnicima meetings with the artists

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diskurzivni program discursive programme

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međunarodni program international programme

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pop-up

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glazbeni program music programme

predgovor ‒ Vizura Situacije preface ‒ Vision of the situation

venientes

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predgovor foreword

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postav izložbe exhibition

postav izložbe exhibition

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umjetnici artists

umjetnici artists

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otvorenje izložbe exhibition opening

36. salon mladih

27. 4.

–19. 6.

2022.

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36. salon mladih

paraziti

parasites

Parazit je infektant. Daleko od toga da zapravo transformira prirodu sustava, njegov oblik, elemente, odnose i puteve, parazit tjera sustav da mijenja svoje stanje malim koracima. Uvodi nagib.

Donosi ravnotežu sustava ili raspodjelu energije u fluktuaciju. To ga iritira. Inficira ga... približava nas suptilnim ravnotežama živih sustava.

— Michel Serres, Parazit (1982.)

Granice su elastične. Igramo gumi-gumi, rastežemo do pucanja. Upleteni smo, pod pritiskom lansirani u naš novi dom. Dobrodošli na gozbu parazita: slavlje štetočina, nametljivaca i gnjaveža. Meštrovićev paviljon je naše novo utočište, mjesto najezde svakidašnjih i izvanzemaljskih vrsta, napornih i dobronamjernih nametnika, onih koji nas izjedaju i obnavljaju.

U biološkom smislu, parazit živi od svog domaćina ne dajući ništa zauzvrat: živi na njegov račun.

Ti mali gnjavatori se u prirodi nalaze u svim vrstama i oblicima, katkad unutar, katkad izvan domaćina, nauštrb ili na korist, privremeno ili trajno. Crpe, dok potpuno ne iscrpe. Tu su i oni koje u ljudskom svijetu zovemo paraziti, koje u javnom diskursu dobro poznajemo, koji crpe sustav u vlastitu korist. Tako zovemo i one koje odbacujemo jer ih sustav ne poznaje i ne priznaje. Privatno ih zovemo i emotivnim vampirima, koji troše energiju svojih bližnjih. Parazitizam je posvuda: u prirodnim, društveno-političkim ili privatnim prostorima, u svakodnevnom govoru korišten kao negativna odrednica živog organizma ili pojave. Sitnih koraka, učinkoviti su i snažni, gladni su i pronalaze najmanje pukotine za intervenciju.

U knjizi Parazit (1982.) filozof Michel Serres predstavio je biološki i društveni sustav kao sustav parazitnih odnosa. Za Serresa, tri su značenja riječi „parazit” – biološki, društveni i onaj koji uvodi nemir, kao šum ili buka u komunikaciji.

Tako shvaćen, parazit ima transformativnu, kre-

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ativnu i produktivnu moć da intervenira u sustav.

Malen je, ali smeta, iritira, prekida, pokreće, zaustavlja. Svi na neki način djelujemo parazitno – nekad gosti, nekad uljezi, nekad domaćini.

Nekad slučajno sve poremetimo. A nekad svjesno. I tu stajemo, jer je to ključno: otvara nam se mogućnost djelovanja. Sitni, gotovo nevidljivi pomaci imaju snagu i vitalnost da nešto izmjene ili iznova stvore.

Iako pozivi na promjenu, kritike globalne socio-ekonomske situacije, ustaljenih institucionalnih praksi i ostalih aspekata javnog života često nalaze svoje mjesto unutar umjetničkog djelovanja, ti oblici subverzivnog razmišljanja ostaju unutar uskog kulturno-umjetničkog kruga. Istupi su trivijalizirani i time ne predstavljaju prijetnju za status quo jer su okarakterizirani kao umjetnička performativnost čije je mjesto jasno označeno. Umjetnost je time, prema filozofu Herbertu Marcuseu (1968.), neutralizirana i osuđena na neučinkovitost. Istovremeno, odrastamo cinični, prelako se prepoznajemo u riječima kulturnog teoretičara Marka Fishera (2009.): Znaju da su stvari loše, ali i više od toga, znaju da tu ništa ne mogu učiniti. Ali to „znanje”, ta refleksivnost nije pasivno promatranje već postojećeg stanja stvari. To je samoispunjavajuće proročanstvo.

Dovedeni smo u začarani krug, koji nam se nameće kao jedina moguća stvarnost: svaka moguća kritika ili subverzija u sustavu kapitalizma nam se već nudi kao spreman proizvod. Želimo vidjeti mogućnost loma u tom začaranom krugu. Želimo vidjeti ta mjesta: ona nisu apstraktna, kako nam pokazuje i teoretičarka sustava Donella Meadows (1999.). U prijelomnom tekstu Točke poluge locirala je dvanaest poluga u koje možemo intervenirati kako bismo promijenili sustav. Korak po korak, poredane po učinkovitosti, taj apstraktni sustav dobiva konkretan oblik.

Na samom vrhu nalazi se snaga premošćivanja paradigme: svijest da je svaki sustav uvjetovan skupom kulturno, društveno i politički zadanih vjerovanja i ustaljenih praksi.

Okupljeni umjetnici/ce prizivaju (ne)prirodne okoliše, afektivne prostore te probojne sisteme – političke, ekonomske, društvene. Nalazimo i one koji prepoznaju parazitizam kao remetilačku metodu, igrajući se s novim percepcijama

predgovor kućća kolektiv

preface kućća collective

The parasite is an infectant. Far from actually transforming a system’s nature, its form, elements, relations, and paths, the parasite makes the system change its condition in small steps. It introduces a tilt. It brings the system’s balance or the distribution of energy into fluctuation.

It irritates it. It infects it... brings us close to the subtle balances of living systems.

— Michel Serres, The Parasite (1982)

Boundaries are elastic. We play jumpsies, stretching until breaking point. We’re entangled, under pressure launched into our new home. Welcome to the feast of parasites: the celebration of pests, intruders and nuisances.

Meštrović Pavilion is our new refuge, a place of invasion of everyday and extraterrestrial species, annoying and well-meaning parasites, those who consume us and renew us.

In a biological sense, the parasite lives from its host without giving anything in return: it lives at its expense. These little nuisances are found in nature in all kinds and forms, sometimes inside, sometimes outside the host, to its detriment or benefit, temporarily or permanently. Consuming until exhaustion. There are those we call parasites in the human world, who we know well in public discourse, who drain the system to their own advantage. We call the same those we reject because the system does not accept or recognize them. In our private lives, we call them emotional vampires, who consume the energy of their loved ones. Parasitism is everywhere: in natural, socio–political or private spaces, in everyday speech used as a negative determinant of a living organism or phenomenon.

Tiny-stepped, they are effective and strong, they are hungry, able to find the narrowest cracks for intervention.

In the book The Parasite (1982), philosopher Michel Serres presented the biological and social system as a system of parasitic relationships.

27. 4.

–19. 6.

2022.

For Serres, there are three meanings of the word “parasite” – biological, social and one that introduces restlessness, like noise in communication. Understood in such a way, the parasite has the transformative, creative, and productive power to intervene in the system. It’s small, but it bothers, irritates, interrupts, starts, stops.

We all act parasitic in some way – sometimes guests, sometimes intruders, sometimes hosts.

Sometimes we accidentally disrupt everything.

And sometimes consciously. And that’s where we stop, because that’s the key: we have the opportunity to act. Tiny, almost invisible shifts have the strength and vitality to change or re-create something.

Although calls for change, critiques of the global socio-economic situation, established institutional practices and other aspects of public life often find their place within artistic activity, these forms of subversive thinking remain within a narrow cultural-artistic circle.

Outflows are trivialized and thus do not pose a threat to the status quo because they are characterized as artistic performativity whose place is clearly marked. Art is thus, according to the philosopher Herbert Marcuse (1968), neutralized and doomed to inefficiency. At the same time, we grow up cynical, recognizing ourselves too easily in the words of cultural theorist Mark Fisher (2009): They know things are bad, but more than that, they know there’s nothing they can do about it. But this “knowledge,” this reflexivity, is not a passive observation of the already existing state of affairs. It is a self-fulfilling prophecy.

We are brought into a vicious circle, which imposes itself on us as the only possible reality: any possible critique or subversion in the system of capitalism is already offered to us as a ready-made product. We want to see the possibility of a fracture in that vicious circle. We want to see those places: they are not abstract, as system theorist Donella Meadows (1999) shows us. In the groundbreaking text Leverage Points, she located twelve levers that we can intervene in to change the system. Step by step, sorted by efficiency, this abstract system takes on a concrete form. At the very top is the power of bridging the paradigm: the awareness that

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36. salon mladih

paraziti

parasites

i perspektivama, promišljajući alternativne i višestruke subjektivitete te prizivajući bliske i daleke, fiktivne i teorijske budućnosti, sadašnjosti i prošlosti. U potrazi za svjesnim prodiranjem i nenametljivim subverzijama – ovdje smo svi odjednom domaćini, gosti i uljezi.

instalacija odraz slike? U pogledu iz daljine, one dvije se stapaju, postaju jedno — odraz jedan drugoga, čista granica, dva ogledala jedan nasuprot međusobno se upijaju i transformiraju, kao i prostor oko sebe. Parazit parazitira parazita, i tako u beskonačnost.

TIJELO PARAZITA

Parazitizam kao remetilačka metoda za igru novih percepcija

Parazita kao transformativnu i kreativnu jedinicu oblikovali su sami umjetnici/e i kolektivi na izložbi, a pred nama se našao zadatak artikulirati katkad bliske, katkad nespojive veze među njima: konceptualne obrise koje čine kostur tijela parazita. Ti obrisi u našem su se procesu očitovali vizualno, u krakatom dijagramu ispunjenom metodološkim i tematskim cjelinama pod apstraktnim nazivima, u kojemu je svaki umjetnički koncept dobio svoje uvjetno mjesto.

Vizualni proces dopustio je značenjske praznine, namjerne praznine koje svjedoče o višeglasju izložbe. Dopuštao je i istovremeno čitanje različitih kategorija u nehijerarhijskom odnosu jedan prema drugom, dopuštao je međuprostore, ponavljanja i preklapanja. Stoga je ovaj kustoski tekst priča jednu od mogućih priča, pripada jednom segmentu mogućih čitanja.

Započinjemo na vrhu dijagrama, radnom definicijom: parazitizam kao svojstvo neodvojivo objektu ili subjektu, kao inherentnu kvalitetu svega živog i ne-živog, ali i kao neizbježno svojstvo svakog postojećeg sustava — političkog, društvenog ili biološkog.

Spuštamo se, put nam se razdvaja u dva smjera: PARAZITIZAM KAO REMETILAČKA METODA i PARAZITIZAM KAO NEIZBJEŽNO SVOJSTVO. PARAZITIZAM KAO REMETILAČKA METODA Koji je odnos između domaćina i parazita? Je li moguće odrediti jasne granice između jednog i drugog? Parazitizam kao metodološka osnova upravo raščlanjuje ta pitanja i rastvara niz drugih.

Neja Zorzut u instalaciji Prodrom istražuje ta beskonačna čvorišta, neodlučna izvorišta između objekta i subjekta, između ja i ne-ja. Nalazimo sliku na platnu u odrazu s instalacijom sačinjenom od smole, ugljena, kose, plastike: ili je

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Self-help, transcendentalna meditacija, manifestacija pripadaju svakodnevnom vokabularu novijih generacija kao odgovor, sastavni dio i rezultat neoliberalističkog poziva za produktivnim razvojem i individualnim otkrivanjem.

Laura Barić na direktan i kritički način odgovara na fenomen burn-outa [izgaranja] uzrokovan težnjom za što većom produktivnosti u sustavu kapitalizma. Ambijentalna instalacija TIME-OUT sukobljava prirodne i artificijelne elemente kroz prizmu korporativne estetike. Prisjećamo se poslovnih prostora planiranih za postignuće maksimalne učinkovitosti: uz urede nalazimo ping-pong stolove, barove i estetizirana mjesta za odmor. Sukob funkcija umjetno generiranih mjesta za odmor i rad, gdje odmor postaje tek sredstvom za efikasnost, tu se očituje korištenjem sagorijelog građevinskog drva, snimljenih prikaza goruće prirode i sterilnih ureda, u prostoru uokvirenom ručno oslikanim muralima.

Drugu vrstu oaze stvaraju Andrej Beštak i Anja Leko u ambijentalnoj instalaciji THIS IS HOW WE HIKE RAINBOWS. Ovo čupavo sredstvo za transportaciju vodi nas u prostor koji nije prostor, na poziciju bez pozicije. Tijekom otvorenja na visokim, čupavim stolcima mogli smo se susresti s odjednom slatkim, odjednom jezovitim ne- ili više-nego-ljudskim figurama dadilja koji su u naručju nosili čupavu novorođenčad keramičkih glava. Keramički prstići vire iz instalacije, istražuju taj novi prostor oko sebe, video radovi nas uvlače u svijet gdje zaborav postaje osnovno meditativno sredstvo. Što možemo naučiti zaboravljajući? Naša povijest, naša sjećanja, naša pozicija u društvu gube svoje značenje i vrijednost, odvedeni smo u novi svijet kao novorođenčad koji uči sve — ili ništa — iz početka.

predgovor kućća kolektiv

preface kućća collective each system is conditioned by a set of culturally, socially, and politically given beliefs and established practices.

The gathered artists invoke (un)natural environments, affective spaces and penetrable social systems – political, economic, social. We also find those who recognize parasitism as a disruptive method, playing with new perceptions and perspectives, exploring alternative and multiple subjectivities, and calling for near and distant, fictional and theoretical futures, presents and pasts. In search of conscious ruptures and inconspicuous subversions – here, we’re all hosts, guests and intruders at once.

THE BODY OF THE PARASITE As a transformative and creative unit, the parasite was shaped by the artists and collectives in the exhibition facing us with the task of articulating sometimes close, sometimes incompatible connections between them: conceptual outlines that form the skeleton of the parasite’s body. These outlines manifested in our process visually, in a tentacled diagram filled with methodological and thematic units under abstract names, in which each artistic concept was given its conditional place. The visual process allowed for gaps in meaning, intentional gaps that give way to the polyphony of the exhibition. It also allowed the simultaneous reading and non-hierarchical relationship between different categories, allowing for spaces-in-between, repetitions and overlaps. Therefore, this curatorial text is one of many possible stories, belonging to one segment of possible readings.

We start at the top of the diagram, with a working definition: parasitism as an inseparable characteristic of an object or subject, as an inherent quality of all living and non-living things, but also as an inevitable property of every existing system – political, social or biological.

We descend, our path splits in two directions: PARASITISM AS A DISRUPTIVE METHOD and PARASITISM AS AN INEVITABLE QUALITY. PARASITISM AS A DISRUPTIVE METHOD What is the relationship between the host and the parasite? Is it possible to set clear boundar-

27. 4.

–19. 6.

2022. ies between the two? Parasitism as a methodological basis breaks down these questions and dissolves them, opening many others.

In the installation Prodrome, Neja Zorzut explores these infinite nodes, indecisive sources between object and subject, between self and non-self. We find the painting in reflection with an installation made of resin, charcoal, hair, plastic: or is the installation a reflection of the painting? From a distance, the two merge, become one – a reflection of one another, a pure border, two mirrors opposite each other, absorbed and transformed, as well as the space around them.

The parasite parasitizes the parasite, and so on indefinitely.

Parasitism as a disruptive method for play of new perspectives Self-help, transcendental meditation, manifestation belong to the everyday vocabulary of newer generations as a response, an integral part and result of the neoliberal call for productive development and individual discovery.

Laura Barić directly and critically responds to the phenomenon of burn-out caused by the desire for greater productivity in the system of capitalism. The ambient installation TIME-OUT conflicts natural and artificial elements through the prism of corporate aesthetics. We are reminded of office spaces planned to achieve maximum efficiency: in addition to offices, we find ping-pong tables, bars and aesthetically pleasing places for rest. The conflict between the functions of artificially generated places for rest and work, where rest becomes only a means of efficiency, is manifested by the use of burnt construction wood, recorded displays of burning nature and sterile offices, in a space framed by hand-painted murals.

A second type of oasis is created by Andrej Beštak and Anja Leko in the ambient installation THIS IS HOW WE HIKE RAINBOWS. This fluffy means of transportation takes us to a space that is not space, to a position without a position. During the opening, on high, fluffy chairs, we were able to meet at once cute, at once creepy non- or more-than-human figures of nannies carrying fluffy ceramic-faced newborns in their arms. Ceramic fingers protrude

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36. salon mladih

paraziti

Još jednom, nova pozicija. Marianna Nardini nas poziva da ispitamo ulogu pogleda kao voajerističku metodu za tranformaciju svakodnevice ambijentalnom instalacijom Ekstaza nutrine. Ugošćeni smo pod veliki, bijeli baldahin unutar kojega nalazimo različite predmete — od kirurških do voštanih, zemljanih do ručno pletenih elementa koje nespojivim vezama lišava uvriježenih funkcija i značenja. Ovdje, pogled je taj koji je osnovni parazit: gledanjem parazitiramo ono što ili koga vidimo, uvlačimo i nasljeđujemo ideje, slike i fantazme kojima oblikujemo naše razumijevanje svijeta. U spajanju nespojivog, potencijalno nam se otkrivaju nova značenja, a pritom i transformacija unutarnjeg svijeta.

Transformacija značenja prelazi u izdaju medija, pojam u središtu serije Arheološke iskopine 2.

Umjetnica Sara Salamon u galerijski prostor postavlja različite objekte koji sugeriraju mjesto arheološkog nalazišta ili građevinske zone.

Crveno bijela traka lagano treperi na zidu, stativi su usmjereni prema velikoj drvenoj kutiji na podu, sve omeđeno metalnom ogradom. Nevini, svakodnevni objekti odjednom u nama izazivaju zazor: sa stativa vidimo blic, ogradu u intervalima trzne struja, a kutija se doista — polako, neprimjetno — pomiče. Predmeti nas izdaju, oživljeni u toj tihoj dramaturgiji koja nas suočava sa sitnim promjenama koje u katkad katastrofalnim razmjerima oblikuju našu stvarnost.

Parazitizam kao remetilačka metoda za umnožavanje subjektiviteta Entuzijastično rušeći naslijeđeno labavo razgraničenje ljudskih i ne-ljudskih subjekata, sljedeći umjetnici unose nemir u temeljno shvaćanje čovjeka, kao subjekta s autoritetom i fiksnim statusom, kao nepromjenjivog i zatvorenog sustava. Više ili manje primjetno, ulaze u tjelesne, političke i tehnološke sustave kako bi stvorili nove subjektivitete, one koji su u konstantnom procesu umnožavanja, raspadanja i obnavljanja. To su subjektiviteti koji isključuju, nadilaze ili produljuju ljudska iskustva, tjerajući nas na totalnu transformaciju shvaćanja našeg odnosa prema svijetu i djelovanja u svijetu koji nije izvan

parasites

nas, već u konstantnoj premreženosti i interakciji s nama.

Uključujući put dug 150 kilometara i 7 dana, performans LAMB (History always begins with you) Luke Cvetkovića priča je o Kosovu koju priča — janje. Hodajući u pratnji umjetnika od etnički srpskog sela na sjeveru do etnički albanskog sela na jugu Kosova, janje je protagonist intimne parabole o perspektivama kao oblicima moći, alatima izolacije i tihim granicama – granicama koje nužno definiraju našu stvarnost, granicama koje nas u taj proces uključuju ili isključuju.

Dok Luka Cvetković u svom performansu preispituje mogućnosti eliminiranja perspektive ljudskog subjekta, sljedeća skupina umjetnika i umjetnica istražuje odnos tehnologije i njegovog inherentnog svojstva — tjelesnosti.

Izbjegavajući često evociranu tjeskobu kada se razmišlja o statusu tijela u tehnološkom dobu, umjetnici istražuju ljudsko tijelo kao asamblaž, propusni teritorij u stalnom procesu kiborgizacije i hibridizacije te u neizbježnoj interakciji sa svojom neposrednom okolinom — prirodnom ili artificijelnom.

Inspiriran fenomenološkim uklanjanjem razgraničenja tijela i uma, Robert Fenrich u Krajoliku tijela proučava upravo doživljajnost svijeta kroz tijelo. Njegova koža prolazi kroz procese skeniranja i digitalne obrade, gubi status granice koja zatvara tijelo, a postaje ono što je oduvijek i bila, rastezljiva i porozna opna koja je i sama mjesto susreta ljudskih i ne-ljudskih subjekata.

U liniji tijela kao valute u tehnokapitalističkom svijetu i kao izvor kapitala i žudnje, pronalaze se i radovi SKEN Denija Horvatića i You, An Archive slovenskog dua Aljaža Rudolfa i Eve Smrekar koji nastupa kao korporativni entitet FaceOrFactory. Nastala uslijed pandemije i ekstremnog svođenja društvenog života na ekrane, serija fotografija Denija Horvatića prikazuje tijela kao da ih gledamo na našim uređajima.

Vidimo tek njihov prvi sloj u pokušaju uspostavljanja kontrole nad onim kako se predstavljamo online, dok crnina otvara značenjsku nadopunu intimnih scena.

Dok nam SKEN skriva lica fotografiranih subjekata, projekt You, An Archive koristi ih kao svoj osnovni materijal. Kao dominantni tjelesni

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predgovor kućća kolektiv

preface kućća collective from the installation, exploring this new space around us, video works draw us into a world where forgetting becomes a primary meditative tool. What can we learn by forgetting? Our history, our memories, our position in society lose their meaning and value, we are taken to a new world as a newborn who learns everything – or nothing – from zero.

Once again, a new position. Marianna Nardini invites us to examine the role of the gaze as a voyeuristic method for the transformation of everyday life with the ambient installation The Inner Ecstatic. We are housed under a large, white canopy inside which we find various objects – from surgical to wax, earthly to hand-knitted elements that are, in their incompatible ties, deprived of traditional functions and meanings. Here, the gaze is the primary parasite: by looking we parasitize what or whom we see, we draw in and inherit ideas, images and fantasies that shape our understanding of the world. In merging the incompatible, new meanings are potentially revealed to us, as well as the transformation of the inner world.

The transformation of meaning turns into a betrayal of media, a concept at the heart of the series Archaeological Excavations 2. Artist Sara Salamon places various objects in the gallery space that suggest the location of an archaeological site or construction zone. The red-and-white stripe flickers slightly on the wall, the tripods point toward a large wooden box on the floor, all bordered by a metal railing. Innocent, everyday objects suddenly cause a chill: we see a flash from the tripod, at intervals the fence is zapped by electricity, and the box really – slowly, imperceptibly – moves. Objects betray us, revived in a quiet dramaturgy that confronts us with small changes that shape our reality on a sometimes catastrophic scale.

Parasitism as a disruptive method for multiplying subjectivities Enthusiastically breaking down the inherited loose boundaries between human and non-human subjects, the following artists disturb the fundamental understanding of man, as a subject with authority and fixed status, as an unalterable and closed system. More or less detectable,

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2022. they enter physical, political, and technological systems to create new subjectivities, those that are in a constant process of multiplication, deterioration, and renewal. These are subjectivities that exclude, transcend, or extend human experiences, forcing us to transform our understanding of our relationship to the world and acting in a world that is not beyond us, but interconnected with us.

Having included the 150 kilometers and 7 days long trip, the performance LAMB (History always begins with you) by Luka Cvetković is a story about Kosovo told by — a lamb. Accompanied by the artist on the trip from the ethnic Serb village in the north to the ethnic Albanian village in southern Kosovo, the lamb is the protagonist of an intimate parable about perspectives as forms of power, tools of isolation and silent borders — borders that necessarily define our reality, borders that include or exclude us.

While Luka Cvetković examines the possibilities of eliminating the perspective of the human subject, the following group of artists investigates the relationship between technology and an inherent property of human subjectivity - corporeality. Avoiding the often evoked anxiety around the status of the body in the technological age, these artists explore the human body as an assemblage, a permeable territory in a constant process of cyborgization and hybridization, constantly interacting with their immediate environment - natural or artificial.

Inspired by the phenomenological removal of the body and mind dualism, Robert Fenrich in Bodyscape explores the embodied experience of the world. His skin goes through the processes of scanning and digital processing, loses the status of a boundary that closes the body, and becomes what it has always been, an elastic and porous membrane, a meeting place of human and non-human subjects. In the line of thinking of the body as a currency in the technocapitalist world and as a source of capital and desire, there are also the works SCAN by Deni Horvatić and You, An Archive by the Slovenian duo Aljaž Rudolf and Eva Smrekar who act as a corporate entity FaceOrFactory. Created during the pandemic and in times of extreme reduction of social life to ourscreens, a series

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nositelj identiteta, lice je teritorij podložan regulaciji i postajanju vrijedne valute u industrijama od estetske i plastične kirurgije do biometrijskih arhiva i digitalnog nadzora. Preuzimajući korporativni jezik i model djelovanja, ova umjetnička istraživačka platforma kao materijal koristi posjetitelje, odnosno potencijalne članove korporacije. Koristeći njihov DNK, osobne podatke, kao i skenirane zapise lica, stvara arhiv, bazu podataka kojom se hrani algoritam kako bi generirano nove, artificijelne identitete s ciljem stvaranja hibridnog modela koji briše granice između obitelji i korporacije.

U velikoj crnoj prostoriji susrećemo se sa skeletnim stvorenjima iz priče Vermilion Tee Stražičić, grafičkog romana u formi izložbe. To su likovi koji su istodobno manje-od-čovjeka i više-od-čovjeka, jahači Apokalipse na putu na tulum Sudnjeg dana koji, raspadajućih tijela, polako, ali sigurno gube svoje identitete.

Parazitizam kao remetilačka metoda za prizivanje bliskih udaljenosti Pogled usmjeravamo narativnim eksperimentima koji stoje na granici stvarnosti i fikcije — koji u tim interpolacijama nalaze pukotine za manipulaciju materijalne i digalne stvarnosti.

Elena Štrok svoju umjetničku praksu bazira na izgradnji zamišljenih priča, prostora i svjetova iz vanzemaljske, više-nego-ljudske pozicije. Aliens Surf Too: Astraea dio je serije priča, a Astraeau se tokom otvorenja moglo susresti u nebesko plavom kostimu, koja, ako ste je zaustavili, bi vam prenijela priče o različitim objektima koje je našla na Zemlji. U izložbenom prostoru ostavila je šator unutar kojega smo uvedeni u video rad kao prošireni dokument meditativnog iskustva performansa. Svakodnevni objekt u susretu s vanjskom pozicijom ovdje nam se nudi kao metoda očuđenja, a možda i transformacije stvarnosti.

Teuta Gatolin u radu (s)laganje temelja direktno intervenira u prošlost remiksiranjem kanonskih znanstvenih djela: knjige Galilea Galileia, Nikole Tesle ili Jamesa Huttona rastvaraju se u poetski prostor, kao igralište mitologiji poznatih lukavaca — onih koji poljuljavaju naš osjećaj za autoritet, vrijednosti i ustaljenosti. Koristeći

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strategije likovne i književne avangarde, kao i politički nabijene tehnike cenzuriranja teksta, ulazi u ta kapitalna djela unoseći nemir, otkrivajući potencijalne nove značenjske jedinice, rastvarajući taj stabilni i hladni znanstveni izričaj u intuitivnu, magijsku poetiku.

Digitalna poetizacija stvarnog lokaliteta je u središtu rada Terra incognita. Gaia Radić ovdje se direktno oslanja na prostor Meštrovićeva paviljona, kroz pješčanu i zemljanu instalaciju koja na apstraktan način replicira njegov tlocrt.

Instalacija je omeđena s četiri ekrana, odnosno virtualnog prostora paviljona koji svaki za sebe predstavljaju različite stupnjeve apstrakcije: od jednostavnih kružnih linija do kompleksne intervencije s novim, nepostojećim elementima.

Materijalno informira digitalno, ali i suprotno.

Kao završni korak tu virtualnu dimenziju implementirala je u sustav Google Maps, gdje ako se nađemo u street view Meštrovićevog paviljona, susrest ćemo to posve novo, izmijenjeno stanje.

Slovenski časopis ŠUM poetski uokvirava pitanje potencijala poetskog, teorijsko-fikcijskog modela razmišljanja i pisanja. Novo izdanje Generative Horizons nastalo je kao odgovor na temu izložbe, kao diskurzivna paralela — ili dijagonala — radovima koji za sebe generira alternativna značenja parazitizma u liniji akceleracionističke poetike.

PARAZITIZAM KAO NEIZBJEŽNO SVOJSTVO Parazitizam u ovom slučaju uvjetuje sustav svojom sveprisutnošću i djeluje kao zadanost svakog međuodnosa unutar njega. Primjerice, u Oranžeriji Leonarda Loscialea, nastup parazita iščekivan je i spasonosan kao transformativni alat u izjednačavanju sublimacije i gađenja. Promatrajući progresivno truljenje naranči, njihovog prijelaza iz jarke narančaste u potpuno crnu, njihovog citrusnog mirisa u opori, pljesnjivi smrad, umjetnik postavlja pitanje regeneracije – može li mali parazit sublimirati naš život nadvladavajući našu simboličnu smrt? S time, može li šum u komunikaciji uzdrmati temelje društvenih, političkih i bioloških sustava?

U središtu prostorije, pod staklenim zvonom, nalazi se srebrna kovanica na baršunastom

predgovor kućća kolektiv

preface kućća collective of photographs by Deni Horvatić show bodies as if we were looking at them on our devices.

Reflecting an attempt to establish control over how we represent ourselves online, we only see their first layer, while the black emptiness allows us to meaningfully complete intimate scenes.

While SCAN hides the faces of the photographed subjects, You, An Archive uses them as its main material. As the dominant corporeal bearer of identity, the face is a territory subject to regulation and a valuable currency in industries from plastic surgery to biometric archives and digital surveillance. Appropriating corporate language and operational models, this artistic research platform uses visitors and potential members of the corporation as material. Using their DNA, personal information, as well as scans of their faces, it creates an archive, a database that feeds an algorithm for it to generate new, artificial identities with the goal of creating a hybrid entity at the intersection of familiy and corporation.

In the big black room, we meet skeletal creatures from the story Vermillion by Tea Stražičić, a graphic novel in the form of an exhibition.

These are characters who are at the same time less-than-human and more-than-human, the riders of the Apocalypse on their way to a Doomsday party who, with decaying bodies, are slowly but surely losing their identities.

Parasitism as a disruptive method for calling close distances We turn our attention to narrative experiments that stand on the border of reality and fiction – which in these interpolations find cracks for the manipulation of material and digital reality.

Elena Štrok bases her artistic practice on the construction of imaginary stories, spaces and worlds from an extraterrestrial, more-than-human position. Aliens Surf Too: Astraea is part of a series of stories, and Astraea could be met during the opening in a sky blue costume, who, if you stopped her, would tell you stories about various objects she found on Earth. She left a tent in the exhibition space within which we are introduced to a video work as an extended document of the meditative performance

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2022. experience. In this encounter everyday objects are offered to us as a method of alienating, and perhaps transforming, reality.

Teuta Gatolin in her work l(a)ying foundations directly intervenes in the past by remixing canonical scientific works: books by Galileo Galilei, Nikola Tesla or James Hutton dissolve into poetic space, as a playground for the mythologically famous tricksters – those who shake our sense of authority, values and stability. Using strategies of artistic and literary avant-garde, as well as politically charged techniques of text censorship, she enters these capital works by bringing unrest, discovering potential new layers of meaning, dissolving this stable and cold scientific expression into intuitive, magical poetics.

Digital poeticization of the actual locality is at the heart of the work Terra Incognita. Gaia Radić here relies directly on the space of Meštrović’s pavilion, through a sand and earth installation that abstractly replicates its floor plan. The installation is surrounded by four screens – that is, the virtual space of the pavilion – each of which represents different degrees of abstraction: from simple circular lines to a complex intervention with new, non-existent elements. Material reality informs the digital, but also vice versa. As a final step, she implemented this virtual dimension to Google Maps, where if we find ourselves in the street view of Meštrović’s pavilion, we will encounter this completely new, transformed space.

The Slovenian magazine ŠUM poetically frames the question of the potential of the poetic, theoretical-fictional model of thinking and writing.

The new edition titled Generative Horizons was created in response to the theme of the exhibition, as a discursive parallel – or diagonal – to the works generating for itself alternative meanings of parasitism in the line of accelerationist poetics.

Parasitism as an inevitable quality Parasitism in this case conditions the system with its ubiquity and acts as the default of every interrelationship within it. For example, in

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jastučiću. Valuta za mjerenje njezine suštinske vrijednosti nije unutar monetarnog već mnemoničkog sustava. Naime, kovanica Ivana Gundića, centralni dio njegovog rada Memogram, u sebi sadrži sva fotografski dokumentirana sjećanja njegove obitelji. U laboratorijskom procesu, umjetnik je ekstrahirao srebro iz želatinskih fotografija obiteljskog arhiva i time ih ovjekovječio transformirajući čestice u novi oblik. Ovim činom umjetnik mijenja povijest svoje obitelji za buduće generacije pretvarajući ih u artefakt sjećanja.

Parazitizam kao neizbježno svojstvo (ne)prirodnih okoliša Izbjegavajući možda i očito čitanje sljedećih radova kao primjere nasilne i nepovratne eksploatacije naše neposredne okoline od strane čovjeka kao parazitne jedinke u tradicionalnom smislu, predlažemo njihovo razumijevanje kao uspostavljanje šuma, rekonfiguraciju svijeta i delikatnih ekosistema kojima smo okruženi, kao projekata koji brišu granice između spekulacije i stvarnosti, između čovjeka i (ne)prirodnih okoliša, dajući glasove ne-ljudskim sistemima.

Kolektiv Medium movement stvara novu multimedijalnu ambijentalnu instalaciju ispunjenu opozicijama, močvarno stanište EDEN koje je istovremeno primordijalno i futuristično, oaza koja je ujedno i toksična. Inspirirani recentnim posthumanističkim fokusom na vodu i istaknutom povezanosti ljudskih i ne-ljudskih tijela i nusproizvoda kapitalizma koji putem vode u njih ulaze, istražuju vodeni ekosistem u kojem tehnologija i priroda koegzistiraju u apsolutnoj simbiozi, sustav iz čijeg je središta čovjek izmješten, a vladaju nova, naizgled zastrašujuća, fiktivna bića.

Tema na rubu projekta kolektiva Medium movement, a u središtu istraživanja JA – HRANA Antonija Kutleše je neodrživost kapitalističkih modela proizvodnje u koje unosi buku novim spekulativnim projektom. Iako nije novost kako smo tijekom života, na svakodnevnoj razini, neprestano konzumirani od strane drugih bića, Kutleša se dodatno ubacuje u prehrambeni lanac kako bi se uhvatio u koštac s neodrživim globalnim sustavom proizvodnje hrane koji stvara uvjete za njenu nejednaku i nepravednu

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distribuciju, pritom preopterećujući prirodne resurse. Predlaže alternativni model, cikličan, održiv i niskih troškova, spekulativni sustav hibridnog oblika simbioze koji poziva na uzgoj jamajčanskih poljskih šturaka koji se od svog rođenja hrane umjetnikovim tkivom i krvlju, a u konačnici postaju umjetnikovim obrokom.

Promatranje ugroženosti šumskih staništa te umjetnička artikulacija ekoloških misli prisutne su u radovima Kabinet čuda, Šuma mangrova Lore Elezović i Miris kao surogat Klare Burić.

Arhivirajući izumrle i ugrožene vrste iz područja šuma mangrova i preuzimajući narativnu strategiju koju sa sobom donosi kabinet čuda (u ovom slučaju kovčeg čuda), Elezović predstavlja nestabilnosti u odnosima ljudi i prirode fokusirajući se na jedan od svjetski najinteresantnijih, a ujedno i najugroženijih bioma. S druge strane, Klara Burić istražuje lokalno specifičnu epidemiju — šumske zajednice hrasta kitnjaka i pitomog kestena koje obitavaju u Banovini postaju sve ugroženijima. Njihove mladice simbolički inkubira, te kao i Elezović, prenosi u stanje dokumentacije, arhivskog materijala, upozorenja o zanemarenoj međupovezanosti i međuovisnosti čovjeka i prirode.

Parazitizam kao neizbježno svojstvo afektivnih prostora Svaki prostor pod teretom je sjećanja i raznolikih interpretacija; pod stalnom prijetnjom značenjskog i fizičkog osvajanja. Afektivan prostor individualno je viđenje svog okruženja i življenja, gdje prostor postaje personifikacija umjetničkog djelovanja. Afektivnim prostorom postaje osoba čiji se sveukupan raspon doživljaja transformira u mjesto stanovanja osobnih duhova.

Primjerice, Borna Ivanuša odrastanjem postaje domaćinom jednog parazita – amalgama intruzivnih adolescentnih misli i referenci svoje prošlosti koji se odcjepljuje od umjetnikovog odraslog identiteta i utjelovljuje se kao fantomski ud u radu My name is Boner. Nanovo sjedinjavanje više nije moguće te ga Ivanuša prigrljuje kao trezor sjećanja koji, iako bez fizičkog tijela, postaje njegovim najbližim prijateljem. Sličan odnos gaji i Ivana Stećuk prema svojim takozvanim izbljuvcima koji su pak itekako vidljivi, a dio su rada pod nazivom Dijalog. Oni su materijalizirana

predgovor kućća kolektiv

preface kućća collective Leonardo Losciale’s Orangery, the onset of a parasite is expected and liberating, acting as a transformative tool in equalizing sublimation and disgust. Observing the progressive decay of oranges, their transition from bright orange to completely black, their citrusy scent into a musty, moldy stench, the artist asks the question of regeneration - can a small parasite sublimate our lives by overcoming our symbolic death? And with that, can a hum in communication shake the foundations of social, political, and biological systems?

In the center of the room, under a glass bell, lies a silver coin on a velvet cushion. The currency for measuring its intrinsic value is not within the monetary, but the mnemonic system. Namely, the coin, made by Ivan Gundić, the central part of his work Memogram, contains all photographically documented memories of his family.

In a laboratory process, the artist extracted silver from gelatin photographs belonging to the family archive and thus immortalized them by transforming the particles into a new form.

In this way, the artist changed the history of his family for future generations, turning them into a mnemonic artifact.

Parasitism as an inevitable quality of (un)natural environments Avoiding perhaps the obvious reading of the following works as examples of violent and irreversible exploitation of our immediate environment by man as a parasitic entity in the traditional sense, we suggest understanding them as establishing noise, reconfiguring the world and delicate ecosystems around us, as projects that remove the boundaries between speculation and reality, between man and (un) natural environments, giving voices to non-human systems.

The Medium movement collective created a new multimedia ambient installation filled with oppositions, a swampy habitat called EDEN which is both primordial and futuristic, an oasis that is also toxic. Inspired by the recent posthumanist interest in the bodies of water and the prominent connection between human and non-human bodies and the by-products of capitalism that enter them through water, they

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The unsustainability of capitalism’s production models which is present in Medium movement’s project, becomes the focus of Antonio Kutleša’s I – FOOD which brings noise by presenting a new speculative project. Although it is known that we are constantly and on a daily basis being consumed by other beings, Kutleša is further entering the food chain in order to explore the unsustainable global food production system that creates conditions for its unequal and unjust distribution while overburdening natural resources. He proposes an alternative model, cyclical, sustainable and low-cost, a speculative system of hybrid symbiosis that calls for the breeding of Jamaican field crickets that consume the artist’s tissue and blood from their birth, eventually becoming the artist’s meal.

Observation of endangered forest ecosystems and artistic articulations of ecological thoughts are both present in the works The Cabinet of Curiosities, Mangrove Forest by Lora Elezović and Scent as a Surrogate by Klara Burić. By archiving extinct and endangered species of mangrove forests and taking over the narrative strategy brought by the Cabinet of Curiosities (in this case a suitcase of curiosities), Elezović presents instabilities in human-nature relations by focusing on one of the world’s most interesting and endangered biomes. On the other hand, Klara Burić is exploring a locally specific epidemic - forest communities of sessile oak and chestnut, which live in Banovina, are becoming more and more endangered. She symbolically incubates the saplings, and like Elezović, turns them into documentation, archival material, while warning about the neglected interconnectivity and interdependence of man and nature.

Parasitism as an inevitable quality of affective spaces Every space is burdened with memories and diverse interpretations; under the constant threat of semantic and physical conquest. Affective space is an individual view of one’s environment and living, where space becomes the person-

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emocionalna i mentalna stanja umjetnice. Ti nosivi objekti oživljavaju tek kad zaposjednu tijelo izvođača koji mora poštivati pravila kretanja koja izbljuvak nameće – od restrikcije udova do nekoliko tijela naguranih unutar jednog objekta. Izvođači se moraju u potpunosti sjediniti i predati, kako tkanini koja ih obujmljuje, tako i drugim izvođačima te mijenjati pravila igre s ciljem uspostavljanja uspješne taktike pokreta. Materijalizacija unutrašnjosti događa se i u radu Self-Help Burial Mije Matijević Akrap.

Umjetnica nametljivim i toksičnim mislima daje posthumni oblik slikajući fragmente odbačenih sjećanja na keramičke urne. Pretvarajući se u vlastitog energetskog vampira, ona crpi iz sebe i kremira svoju prošlost kao znak mogućih novih početaka.

Mobilna kuhinja na dva kotača Jelene Lovrec mjesto je kolaborativnog umjetničkog rada pod nazivom Eggo. Snagu malog jajeta ona pronalazi u reinterpretaciji jugoslavenskog slogana: “svako jutro jedno jaje, organizmu snagu daje”.

Posredstvom umjetnika, recept s jajetom kao glavnim sastojkom postaje umjetničkim djelom, a konzumacija kulturnog sadržaja baza je za zdravlje organizma.

Značenje doma za Luku Pešuna isprepleteno je prisustvom bake i djeda u prostoru. U ulozi odgajatelja, oni označavaju prostor Pešunovog odrastanja u koji se on, kao odrasla osoba, vraća u ulozi njegovatelja. Svaki fotografiran predmet u seriji Domestic prožet je sjećanjima, a svaki portret letimični je pogled u intimnu priču o gubitku samostalnosti i nužnosti prepuštanja brizi ostalih.

Parazitizam kao neizbježno svojstvo probojnih društvenih sistema Radovi koji slijede istražuju mogućnosti zaobilaženja postavljenih pravila igre unutar institucionaliziranih aspekata društveno-političke sfere, ali i podcrtavaju cikličnost parazitskih međuodnosa koji nas oblikuju. Povezane teškim crnim kablovima, nježne bijele skulpture organičkih oblika služe kao kućišta za servere putem kojih Format C (Dina Karadžić i Vedran Gligo) ulazi u pukotine institucije. Crpeći njihove resurse, daju priliku svima koji imaju pristup internetu za izlaganje hipermedijskog i multimedijskog

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sadržaja unutar izložbe u digitalnom prostoru Pivillion softvera izbjegavajući filtraciju, cenzuru i kustosku selekciju.

Kao svoje Privatne krpelje, Bartol Galović slika personifikacije onoga u čemu prepoznaje parazitizam — političara, narcisa i onoga koji mrzi razloge. U tim karakteristikama, na prvi pogled, ne iskače uzajamnost već jednosmjerno remećenje u korist parazita kao rezultat infestiranog društveno-političkog sistema, ali Galović kao obrat seriju naziva autoportretima dajući do znanja da je svaki parazit u takvom društvu ujedno i parazitiran. Sukobljenu poziciju priziva i Marina Popović crtežom Sat akta. Riječ je o refleksiji na vlastito, kulturno-političko mjesto koje otvara činom crtanja nagog, ženskog tijela u tijeku studija, a koje povijesno nudi niz kompleksnih, rodno uvjetovanih konotacija. Šimun Bućan izjednačuje parazitizam i oportunizam u radu HNK/Terapija. On dokumentira zagrebački fenomen masovnog okupljanja ljudi ispred Hrvatskog narodnog kazališta uslijed nametnutih restrikcija sastajanja za vrijeme pandemije COVID-19. Uglavnom mlađe generacije, „odbačenici, šmokljani, šminkeri, pankeri, skinjare pa i pokoje starlete, glumačke eskadrile ili čopori glazbenika”, kako ih naziva autor, od strane medija okarakterizirani su kao štetočine koje remete javni red i mir. No, Bućanov pristup je jednako remetilački i nametljiv — on fotografira individue u opijenom stanju, razbijenih glava, uspavanih, prljavih i divljih, iskorištavajući iz prikrajka masovni entuzijazam za vlastiti umjetnički rad.

Stremljenje prema nedostižnom centralna je ideja Kule Sunčane Brkulj, animiranom filmu u kojem duholika stvorenja ne prestaju graditi sve više i više građevine čija je jedina svrha sama izgradnja. Akceleraciju kapitalističke gladi za proizvodnjom kritizira i Nika Vrbica sa svojom Cestodom – trakavica sačinjena od izobličenih dijelova traperica sadrži potencijal neprestanog metastaziranja sve dok resursa u potpunosti ne ponestane. Eksponencijalni pad vrijednosti dobara unutar kapitalizma prate i Petar Vranjković i Buga Kranželić koji, kao i većina studenata u Zagrebu, žive u stanu po kojem rad dobiva svoje ime, Pansion Pansini, a koji im se iz dana u dan raspada pred očima dok

predgovor kućća kolektiv

preface kućća collective

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ification of artistic activity. An affective space becomes a person whose overall range of experiences is transformed into a den of personal spirits.

Domestic series is imbued with memories, and each portrait is a glimpse into an intimate story of losing independence and the necessity of surrendering oneself into the care of others.

For example, growing up, Borna Ivanuša becomes the host of a parasite - an amalgam of intrusive adolescent thoughts and references from his past that detaches from the artist’s adult identity and is embodied as a phantom limb in his work – My name is Boner. Reunification is no longer possible and Ivanuša embraces him as a memory vault which, although without a physical body, becomes his closest friend.

Ivana Stećuk has a similar relationship with her so-called throw-ups, which are definitely palpable, and are part of her work called Dialogue. They are the materialized emotional and mental states of the artist. These wearable objects come to life only when they’re occupied by the body of the performer who must abide by the rules of movement imposed by the throwups – from limiting the movement of limbs to several bodies crammed within a single object.

Performers must fully unite and surrender, both to the fabric that embraces them and to other performers, changing the rules of the game in order to establish successful movement tactics.

Materialization of the interior also occurs in the work Self-Help Burial by Mia Matijević Akrap.

The artist gives intrusive and toxic thoughts a posthumous form by painting fragments of discarded memories on ceramic urns. Transforming herself into her own energetic vampire that drains from herself and cremates her past as a sign of possible new beginnings.

Parasitism as an inevitable quality of penetrable social systems

Jelena Lovrec’s two-wheeled mobile kitchen is the site of a collaborative artwork called Eggo.

In the reinterpretation of the Yugoslav slogan: “one egg each morning gives strength to the organism” she recognizes the power of a simple egg. Made by an artist, the recipe with an egg as the main ingredient becomes a work of art, and the consumption of cultural content the basis for the health of the organism.

The significance of the home for Luka Pešun is intertwined with the presence of his grandparents in the space. In the role of upbringers, they mark the space of Pešun’s childhood home to which he, as an adult, returns in the role of caregiver. Every photographed object in the

The following works explore the possibilities of circumventing the established rules of the game within the institutionalized aspects of the socio-political sphere, but also underline the cyclical nature of the parasitic relationships that shape us. Connected by heavy black cables, delicate, white, organically shaped sculptures serve as housings for servers through which Format C (Dina Karadžić and Vedran Gligo) enters the cracks of the institution. Using up its resources, they give anyone with internet access the opportunity to display hypermedia and multimedia content within the exhibition in the digital space of Pivillion software, avoiding filtering, censorship and curatorial selection.

As his Private Ticks, Bartol Galović paints personifications of what he recognizes as parasitism – a politician, a narcissist and one who hates reasons. In these characteristics, at first glance, reciprocity does not stand out, but a one-way disturbance in favor of parasites as a result of the infested socio-political system. But Galović calls the series self-portraits, noting that every parasite in such a society is itself parasitic. Marina Popović also invokes the conflicting position with her Nude drawing class. It is a reflection on one’s own cultural and political place, which opens with the act of drawing a naked, female body during studies, and which historically offers a series of complex, gender-based contingencies.

On the other hand, Šimun Bućan equates parasitism with opportunism in his work Croatian National Theater / Therapy. He documents the Zagreb phenomenon of mass gatherings in front of the Croatian National Theater due to imposed restrictions on meetings during the COVID-19 pandemic. Mostly younger generations, “outcasts, nerds, make-up artists, punks, skinheads and even some starlets, acting squadrons or packs of musicians”, as the author calls them, are characterized by the media as pests that disrupt public order. But Bućan’s

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cijena najma raste. S dozom humora osvrću se na preživljavanje pod autoritetom stanodavca koji pak živi pod nelogičnim pravilima tržišta. U gradu punom ispražnjenih zgrada zbog razornog potresa, posjedovanje neozlijeđenog stana postavlja stanodavca u poziciju moći.

LITERATURA Brothers, Post i Fitzpatrick, Chris, “A Productive Irritant : Parasitical Inhabitations in Contemporary Art”, u: Fillip 15, jesen 2011.

Fisher, Mark, Capitalist Realism: Is There No Alternative?, Zero Books, 2009.

Marcuse, Herbert, “On the Affirmative Character of Culture”, u: Negations; essays in critical theory, MayFlyBooks/Ephemera, 2009.

Meadows, Donella, “Leverage Points: Places to Intervene in a System”, u: The Sustainability Institute, Hartland VT, 1999.

Serres, Michel, The Parasite, prev. Lawrence R. Schehr, Baltimore: Johns Hopkins University Press, 1982.

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predgovor kućća kolektiv

preface kućća collective approach is equally disruptive and intrusive - he photographs individuals in a drunken state, injured, dormant, dirty and wild, taking advantage of the mass enthusiasm for his own artwork.

Striving for the unattainable is the central idea of Sunčana Brkulj’s Tower, an animated film in which spirit-like creatures continuously build structures on top of each other for the sole purpose of reaching heights. The acceleration of the capitalist hunger for production is also criticized by Nika Vrbica with her Cestoda - a tapeworm made out of distorted jean parts holds the potential for constant metastasis until all resources are completely depleted. The exponential decline in the value of goods within capitalism is observed by Petar Vranjković and Buga Kranželić who, like most students in Zagreb, live in a rented apartment, after which their work is named, Pansion Pansini, that is falling apart before their eyes as rental prices rise. With a sense of humor, they look back on survival under the authority of a landlord who in turn lives by illogical market rules. In a city full of vacated buildings due to a devastating earthquake, owning an uninjured apartment puts the landlord in a position of power.

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LITERATURE Brothers, Post, and Fitzpatrick, Chris, “A Productive Irritant: Parasitical Inhabitations in Contemporary Art,” in: Fillip 15, Fall 2011.

Fisher, Mark, Capitalist Realism: Is There No Alternative?, Zero Books, 2009.

Marcuse, Herbert, “On the Affirmative Character of Culture”, in: Negations; essays in critical theory, MayFlyBooks / Ephemera, 2009.

Meadows, Donella, “Leverage Points: Places to Intervene in a System”, in: The Sustainability Institute, Hartland VT, 1999.

Serres, Michel, The Parasite, translated by Lawrence R. Schehr, Baltimore: Johns Hopkins University Press, 1982.

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curators’ diagram

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Laura Barić Glorifikacija poslovnih postignuća učinila je rad sredstvom čija funkcija nadilazi nužno preživljavanje paralelno postavši izvorom samoidentifikacije i društvenog vrednovanja. Zamišljajući pojedinca kao stroj koji se optimizira u nastojanju da bude bolji, brži i jači, oblikujući vlastite performanse prema mjerljivim rezultatima podložnim monetizaciji, umjetnica transformira prostor u razvedeni poligon plastificirane prirodnosti. Oštri, monokromatski vizuali i skulpturalni elementi nadovezuju se na monotonost birokratske i korporativne estetike koja odražava neprekidnu kompetitivnost, užurbanost i napetost nametnutu pojedincu kao dijelu mašinerije.

Svakodnevicu preuzimaju artificijelne radnje koje simuliraju iskonske elemente življenja: rad, zajednicu i prirodu, s ciljem nadilaženja vlastitih granica. Primjer je video rad u kojem prirodu doživljavamo kroz pogled stroja. Pejzaž izmiče u repetitivnom ritmu tijela koje se jureći prema novom cilju priprema za ono što tek dolazi, nastojeći hakirati potencijalne slabosti svoje ljudskosti. Umjetnica istražuje fenomen burn-outa koristeći građevinsko drvo lišeno estetike originalnog habitusa. Paljenjem površinske strukture ono gubi vitalnosti i ostaje na razini pukog objekta. Izgaranje kao konačno popuštanje pod pritiskom vizualno opisuje i pomoću akrilnog spreja. Promatrajući kvalitetu otiska boje koja se pod pritiskom oslobađa nekontrolirano i velikom brzinom, istražuje pojmove pritiska i otpuštanja povezane sa pozicijom prekarnog radnika u žrvnju kapitalizma.

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The glorification of career achievements has made work a means whose function transcends necessary survival and becoming a source of self-identification and social valuation. By imagining the individual as a machine that optimizes itself in an effort to be better, faster and stronger, shaping its own performance according to measurable and monetizable results, the artist transforms the space into an indented polygon of plasticized naturalness. Sharp, monochromatic visuals and sculptural elements build on the monotony of bureaucratic and corporate aesthetics that reflects constant competitiveness, urgency and tension imposed on the individual as a part of the machinery.

The everyday is taken over by artificial actions that simulate the primordial elements of life: work, community and nature, with the aim of overcoming one’s boundaries. One such example is the video work in which the viewer experiences nature through the gaze of a machine.

The landscape eludes in the repetitive rhythm of the body, which is rushing towards a new goal, preparing for what is yet to come, trying to hack the potential weaknesses of its own humanity.

The artist explores the phenomenon of burn-out using building timber devoid of the aesthetics of the original habitus. Burning its surface causes it to lose its vitality and remain at the level of a mere object. She also visually describes the combustion as caving in under pressure using an acrylic spray. By observing the quality of the colour imprint released under pressure, uncontrollably and at high speed, she explores the concepts of pressure and release associated with the position of the precarious worker in the grind of capitalism.

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TIME-OUT 2021. prostorna instalacija TIME-OUT 2021 spatial installation

MMSU nagrada / award

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Andrej Beštak & Anja Leko Ja sam stroj za zaboravljanje.

Bez tijela, uma i duše.

Gledam svijet po prvi put, iznova i iznova.

Bez jezika i stopala. Kada svi sanjaju isti san, ja stvaram svijet, mijenjam poziciju, svoju, tvoju, njihovu. Ja jesam pozicija. Jedan, dva, jedan, nula. Ja sam stroj za pamćenje. Mekano tkivo koje nikada ništa ne zaboravlja, upijam sve.

Polje isprepletenih memorija. Ja ne pamtim, ne zaboravljam. Plivamo u bazenu elektromagnetskih valova. Bez lica. Bez tijela. Bez duše. Bez memorije. Ja sve pamtim. Skladište sam svega.

Super senzor koji vidi sve, čuje sve, zna sve.

Odmak.

Zamisli apsolutni odmak.

Zamisli vidjeti svijet prvi put. Nepoznat osjećaj. Zamisli neznanu riječ, oblik, glas, zamisli nepoznato, nepoznato, nepoznato. Ja sanjam ugodnu vožnju neviđenim krajolikom u svom soul roveru sa šarenim sjedalima iz čijeg volana vire prsti koji me nježno maze i masiraju. Prolaze kroz kosu. Dodiruju pukotine. Tisuće malenih masirajućih mjehurića lagano titraju i utrljavaju mekana ulja u moju kožu. Moj um ne može održati koncentraciju, osjećaji penetriraju u moje tijelo, uranjam u energetski bazen. Granica moje kože više ne postoji. Ja sam sve.

Lagani letimo. Prazni letimo. Zbor zelenih anđela na vrhu mekane kočije zaziva zmije i štakore da se pridruže osvajanju planina. Mi ne radimo ništa. Mi samo uživamo u svježinama energetskog tuša.

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I am a forgetting machine.

Without body, mind and soul.

I see the world for the first time, over and over again. Without tongue and feet. As everyone dreams the same dream, I create the world, change the position, my own, yours, theirs. I am the position. One, two, one, zero. I am a memory machine. Soft tissue that never forgets anything, I absorb everything. A field of intertwined memories. I do not remember, I do not forget.

We swim in a pool of electromagnetic waves.

Without a face. Without a body. Without a soul.

Without memory. I remember everything. I am the warehouse of everything. A super sensor that sees everything, hears everything, knows everything.

Detachment.

Imagine an absolute detachment.

Imagine seeing the world for the first time.

An unknown feeling. Imagine an unknown word, form, voice, imagine the unknown, the unknown, the unknown. I dream of a pleasant ride through an unseen landscape in my soul rover with colourful seats. Fingers protruding from the steering wheel gently caress and massage me. Pass through my hair. Touch the cracks.

Thousands of tiny massage bubbles gently vibrate and rub soft oils into my skin. My mind cannot focus, feelings penetrate my body, I dive into the energy pool. The border of my skin no longer exists. I am everything.

We fly lightweight. We fly empty. A choir of green angels on top of a soft carriage invokes snakes and rats to join in the conquest of the mountains. We don’t do anything. We just enjoy the freshness of the energy shower.

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This Is How We Hike Rainbows 2022. multimedijska instalacija, performans suradnici: KUĆĆA This Is How We Hike Rainbows 2022 multimedia installation, performance collaborators: KUĆĆA /3 adih 6th y ml

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This Is How We Hike Rainbows 2022. multimedijska instalacija, performans suradnici: KUĆĆA This Is How We Hike Rainbows 2022 multimedia installation, performance collaborators: KUĆĆA /3 adih 6th y ml

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Sunčana Brkulj Dok prolaze godine i godine, jedna mala civilizacija napreduje u visinu.

Ovim se radom umjetnica bavi ljudskom tendencijom za vječitim uspinjanjem bez konačnog zadovoljstva. Kroz film su prikazana velika arhitektonska djela iz ljudske povijesti, uglavnom sakralne namjene, kao simbol ljudske težnje za visinom. Nastojanje umjetnice je kroz ovaj rad pronaći parazitsku sinergiju između glazbe i crteža kako bi postali jedinstveno i novo djelo u međusobnom nadopunjavanju.

As the years go by, a tiny civilization makes its way upwards.

In this work, the artist deals with the human tendency for an eternal ascent without achieving the ultimate satisfaction. The film presents history’s greatest architectural works, of mostly sacral purposes, as a symbol of the human aspiration for height. Through this work, the artist strives to find a parasitic synergy between music and drawing to create a unique and new work in mutual complementarity.

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2022.

Kula 2020.

2D digitalna animacija, kolaž, stop motion Pjesmu „You’re What I Want” potpisuje bend The Recks, a mentor u izradi rada bio je Daniel Šuljić.

Tower 2020 2D digital animation, collage, stop motion “You’re What I Want” is a song written by the band The Recks, and the mentor in the production of the work was Daniel Šuljić.

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Šimun Bućan Fotografska dokumentacija okupljenih masa diljem Zagreba čini se kao kronika novonastale urbane scene odbačenika, šmokljana, šminkera, pankera, skinjara pa i pokoje starlete, glumačke eskadrile ili čopora glazbenika. Masa koju bismo puni prijekora kroz prizmu medija i mreža prozvali parazitima – propalicama, kulturnim kokošinjcem. No, stvarnost je malo drugačija. Svi bježe od nečega. Možda od traume ograničenog radnoga vremena krčmi i klubova, ili pak od kućanstva, ureda, kamatara, knjige i studija pa i potomaka. Ili su se samo u lovu na šaku punu hedonizma, našli na istom mjestu?

Nesvjesni izdaje da je umjetnik njihov parazit, takozvani kroničar nedorastao svome aparatu, poput najsebičnijeg krvopije daje si za pravo otimati tuđu toplinu, srdačnost i društvo. Trčkarao je okolo pokušavajući savladati medij iz dana u dan, iz tjedna u tjedan. Učenje je preraslo u opsesiju. Ništa drugo više nije bilo bitno osim izaći u ponoć kada bi se sve krčme zatvorile i kada bi krenulo okupljanje oko tih spomenika.

Kao naručeni, stigoše iz pustoši u par tisuća u samo par koraka i minuta. Tada bi se pojavio i umjetnik, poput vrane ili lovca, slinav čekao da se plijen nađe i bez promišljanja, u čistom porivu krenuo u lov. Dok su drugima razuzdani tulum i alkohol bili terapija i lijek umjetnik je potpuno trijezan, gotovo patološki, uživao u samome lovu, čak i ako bi fotografija bila loša, bitno da je ulovio trenutak. I na taj trenutak uspio je pobjeći od sebe. Klik za klikom, fotka za fotkom, igralište postaje lovište.

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The photographic documentation of the masses gathered around the city of Zagreb looks like a chronicle of the newly created urban scene of outcasts, nerds, fancy-pants, punks, skinheads and even a few starlets, a troupe of actors or a pack of musicians. The mass that the news and social media would reproachfully call parasites – lowlifes, cultural shambles. But the reality is a bit different. Everyone is running away from something. From the trauma of restricted opening hours of pubs and clubs, or from the household, office, loan sharks, books and studies and even offsprings. Or did they just find themselves in the same place on the hunt for a cornucopia of hedonism?

Unaware of the betrayal in which the artist becomes their parasite, the so-called chronicler, unfit for his apparatus, like the most selfish bloodsucker, he gives himself the right to steal someone else’s warmth, cordiality and company.

He ran around trying to master the medium day in and day out, week in and week out. Learning has grown into an obsession. Nothing else mattered except going out at midnight when all the pubs would close, and people would start gathering around these monuments. As made to order, they appeared from nowhere in few thousand in just a few steps and minutes.

Then the artist would appear, like a crow or a hunter, salivating, waiting for the prey to come out and without thinking, instinctively, he would go hunting. While for others debauchery and alcohol were therapy and medicine, the artist was completely sober, and almost pathologically, enjoyed the hunt itself, even if the photo was bad, it was important to capture the moment.

And at that moment, he managed to escape from himself. Click after click, photo after photo, the playground becomes a hunting ground.

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2022.

HNK / Terapija 2020. – 2021. fotografija Croatian National Theatre / Therapy 2020 – 2021 photography

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Klara Burić U jeku pandemije COVID-19 u našoj se neposrednoj blizini odvija i jedna od brojnih „nevidljivih” epidemija. Šumska zajednica hrasta kitnjaka i pitomog kestena, koja obitava na kiselim tlima Banovine, postaje sve ugroženija uvođenjem invazivnih vrsta, a s njima i bolesti Cryphonectriae parasitice koja postepeno, ali sigurno izjeda drvenastu vrstu europskog pitomog kestena. Inkubiranjem 3D-printanih mladica pitomog kestena u staklene cilindre, Klara Burić u zatvorenom prostoru stvara simulaciju šumske zajednice, upotpunjujući dojam pseudoprirode s pet vrsta laboratorijski sintetiziranih mirisa zelenila, dok videom dokumentira rušenje, piljenje te konačno obradu trupca hrasta kitnjaka – istovremeno kao znamen vrijednosti i upotrebljivosti, ali i kontemplacije o najštetnijem parazitu, homo sapiensu. Miris kao surogat poziva na razgovor i promišljanje pitanja: Kako se iz parazitizma vratiti ka mutualizmu?

(Tina Petković) At the height of the COVID-19 pandemic, one of the many “invisible” epidemics is taking place in our immediate vicinity. The forest community of sessile oak and European chestnut living in the acidic soils of Banovina is becoming increasingly endangered by the introduction of invasive species, and, with them, the disease Cryphonectria parasitica, which gradually but surely eats away the tree species of European chestnut. By incubating 3D-printed chestnut shoots in glass cylinders, Klara Burić creates a simulation of a forest community indoors, completing the impression of pseudo-nature with five types of laboratory-synthesized scents of greenery. The video work documents the logging, sawing and finally processing of a sessile oak log – at the same time as a sign of value and usability, but also a contemplation on the most harmful parasite, homo sapiens. Scent as a Surrogate calls for conversation and reflection on the question: How to go back from parasitism to mutualism?

(Tina Petković)

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2022.

Miris kao surogat 2021. instalacija Scent as a Surrogate 2021 installation

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Luka Cvetković (RS) LAMB (History always begins with you) je performans koji se održao na Kosovu, od 27. ožujka do 3. travnja 2021. godine. Tijekom 7 dana na putu dugom 150 kilometara, Luka Cvetković je nosio i brinuo se o janjetu od Jarinja (etnički srpskog sela na sjeveru) do Kačanika (etnički albanskog sela na jugu Kosova) gdje je nastavilo živjeti s albansko-kosovskim farmerom. Performans je dokumentiran iz perspektive janjeta kako bi se postavilo pitanje nove subjektivnosti nasuprot već postojećih narativa, koncepata i projekcija. Na taj se način u raspravu želi uvesti novo, nepolitizirano i nekorumpirano gledište kako bismo stekli novo razumijevanje stvarnosti, odnosno znanja o tome kako se stvarnost izvodi na nas. Ova perspektiva može poslužiti kao polazna točka za razmišljanje o događajima izvan nužnosti i predvidljivosti, izvan potrebe ljudske subjektivizacije; događajima koji izmještaju ljudski subjekt iz središta i nude načine za formiranje kontingentno drugačijih odnosa prema biću drugog.

LAMB (History always begins with you) je performans koji se održao na Kosovu, od 27. ožujka do 3. travnja 2021. godine. Tijekom 7 dana na putu dugom 150 kilometara, Luka Cvetković je nosio i brinuo se o janjetu od Jarinja (etnički srpskog sela na sjeveru) do Kačanika (etnički albanskog sela na jugu Kosova) gdje je nastavilo živjeti s albansko-kosovskim farmerom. Performans je dokumentiran iz perspektive janjeta kako bi se postavilo pitanje nove subjektivnosti nasuprot već postojećih narativa, koncepata i projekcija. Na taj se način u raspravu želi uvesti novo, nepolitizirano i nekorumpirano gledište kako bismo stekli novo razumijevanje stvarnosti, odnosno znanja o tome kako se stvarnost izvodi na nas. Ova perspektiva može poslužiti kao polazna točka za razmišljanje o događajima izvan nužnosti i predvidljivosti, izvan potrebe ljudske subjektivizacije; događajima koji izmještaju ljudski subjekt iz središta i nude načine za formiranje kontingentno drugačijih odnosa prema biću drugog.

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LAMB (History always begins with you) 2021. performans LAMB (History always begins with you) 2021 performance

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Lora Elezović Instalacija predstavlja ručno izrađeni putni kovčeg koji je nastao kao ideja upozorenja ljudskoj vrsti i kao svojevrsna osuda ljudskog zadiranja u prirodu, a fokusira se na prikazivanje posljedica unutar područja biološkog ciklusa šuma mangrova. Termin mangrove odnosi se na biljnu populaciju, a mangal je sinonim za ukupnu šumsku populaciju koju osim biljaka sačinjavaju i mikrobi, gljive, biljke i životinje (Macnae, 1968).

Mangal čini specifičan ekosustav, a zbog svoje posebnosti svi mangali diljem svijeta predstavljaju jedan od svjetski najinteresantnijih bioma, ali ujedno i najugroženijih. Naime, prošlog je stoljeća došlo do velikih gubitaka i znatne degradacije staništa mangrova zbog zagađenja, urbanizacije, prenamjene staništa i pretjerane eksploatacije šumskih resursa. Nestajanje šuma mangrova i njegova ekosustava predstavlja veliku prijetnju za budućnost cijelog planeta, a njegova važnost pada u zaborav.

Kabinet čuda temelji se na kolekciji prikaza izumrlih i ugroženih vrsta iz područja šuma mangrova. Umjetnica je indirektno prikazala čovjeka kao parazita koji trajno crpi prirodu u vlastitu korist, a istovremeno uništava i sebe samog.

Kabinet čuda umjetnici je pružio mogućnost razdvajanja, sortiranja i spremanja prikupljene i svojeručno izvedene kolekcije crteža, slika, knjižica, skulptura, malih plastika i ready made objekata.

Svojim sadržajem, eksponatima životinja, biljaka i ostalih rukotvorina Kabinet čuda propitkuje apsurd ljudske radoznalosti, antropocentrizma, uplitanja u prirodna evolucijska načela, pozivajući promatrače na gledanje s razumijevanjem, prihvaćanje istine ljudskog zadiranja u prirodu, s nadom da će se ipak razviti empatija odgovornih i svjesnih sudionika i da će ljudsko djelovanje prestati biti eksploatatorsko.

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The installation presents a handmade suitcase created as a warning to humanity and a kind of condemnation of human encroachment on nature, focusing on showing its consequences on the biological cycle of mangrove forests.

The term mangrove refers to the plant population, and mangal is synonymous with the total forest community, which, in addition to plants, also consists of microbes, fungi, plants and animals (Macnae, 1968). Mangal is a specific ecosystem, and due to its uniqueness, all mangals are among the world’s most interesting biomes, as well as the most endangered. Namely, in the last century, there were large losses and significant degradation of mangrove habitats due to pollution, urbanization, habitat conversion and excessive exploitation of forest resources. The disappearance of mangrove forests and their ecosystems poses a major threat to the future of the entire planet, and its importance is falling into oblivion.

The Cabinet of Curiosities is based on the collection of images of extinct and endangered species from the mangrove forest area. The artist indirectly portrays man as a parasite who permanently drains nature for his own benefit, at the same time destroying himself. The Cabinet of Curiosities allowed the artist to separate, sort and store the collected and hand-made collection of drawings, paintings, booklets, sculptures, small plastics and ready-made objects. With its content, exhibits of animals, plants and other handicrafts, The Cabinet of Curiosities questions the absurdity of human curiosity, anthropocentrism, interference with natural evolutionary principles, inviting the observers to look with comprehension, accept the truth of human encroachment on nature, hoping to develop the empathy of conscious participants and that human action will cease to be exploitative.

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–19. 6.

2022.

Kabinet čuda, Šuma mangrova 2021. kombinirana tehnika The Cabinet of Curiosities, Mangrove Forest 2021 mixed media Nagrada / Award VLADIMIR DODIG TROKUT, IVA VRANEKOVIĆ:

Umjetnici umjetniku / Artists to the Artist

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FaceOrFactory (SI) FaceOrFactory je umjetnička istraživačka platforma fokusirana na strukture i funkcije (ljudskog) lica u suvremenom društvu – kako industrija estetske i plastične kirurgije, povijest (auto)portreta, digitalni nadzor i biometrijski arhivi, biohakiranje i siva ekonomija genetskog materijala, queer teorija i queer prakse oblikuju lice kao teritorij odnosa moći i političkog diskursa? FaceOrFactory bavi se prikupljanjem DNK uzoraka, skeniranjem lica i osobnih podataka donatora koji na taj način postaju sastavnim umjetničkim materijalom i temeljem za izgradnju projekta, kao i članovima korporacije FaceOrFactory koja je legalno osnovana kako bi se lice kao biološka masa podataka neposredno povezalo s njegovom financijskom vrijednošću u korporativnom hiperkapitalizmu.

Prikupljene biološke, digitalne i pravne informacije se uslojavaju i suprotstavljaju jedne drugima. Na taj se način stvaraju novi umjetni identiteti koji sadržavaju i prilagođene DNK strukture, što otvara diskurs o identitetu i njegovoj ekonomskoj regulaciji, tehnološkim mitologijama, genetskom himerizmu i subverzivnim taktikama kroz korištenje jezika i praksi prevladavajućih društveno-političkih i ekonomskih struktura. Lice se tijekom ovog procesa postupno razvija u složeni teritorij genetskih, pravnih, kozmetičkih, političkih i vojnih odnosa moći. You, An Archive je instalacija dokumentarne prirode koja gledatelju otkriva slojevitost projekta putem odabranog arhivskog materijala i video isječaka iz Unstable Protocols, video igrice i kuriranog vodstva kroz digitalni FaceOrFactory ekosustav.

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FaceOrFactory is an art research platform which explores the structure and function of (human) faciality in contemporary society – how are cosmetic and plastic surgery industry, the history of (self)portraiture, digital surveillance and biometrical archives, biohacking and underground economy of genetic material, queer theory and queer-related practices shaping the face as a territory of power relations and political discourse? FaceOrFactory is formed around harvesting DNA samples, facial scans and personal data from donors that are thus becoming an integral art/building material of the project as well as members of the corporation FaceOrFactory, legally founded in order to create a proximity between a face as a biological mass of data and its financial value in corporative hyper-capitalism.

The gathered biological, digital and juridical information is layered and juxtaposed in order to formulate new artificial identities with their custom DNA background, opening a vast discourse on identity and its economic regulation, technological mythologies, genetic chimerism and possibilities of subversive tactics, using the language and practices of prevalent socio-political and economic structures. During the process, a face is gradually developed as a complex territory of genetic, juridical, cosmetic, political and military power relations. You, An Archive is an installation of a documentary nature that reveals the many layers of the project to the viewer through the selected archival material and video excerpts from Unstable Protocols, a video game and a curated tour of FaceOrFactory’s digital ecosystem.

umjetnici

artists

27. 4.

–19. 6.

2022.

You, An Archive 2021. instalacija You, An Archive 2021 installation

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Robert Fenrich Čovjek mijenja svijet oko sebe i kao takav nema fiksnu prirodu. Korištenjem alata i kreativnog nagona, ljudska ideja sebe u konstantnom je procesu širenja. Prema fenomenološkoj misli Mauricea Merleau-Pontyja, čovjek generira doživljaj svijeta upravo kroz tijelo koje naziva „vozilom bîtka u svijetu”. Doživljaj i kretanje kroz svijet posredovano je tehnologijom kao čovjekovim produžetkom pa je tako upotreba alata omogućila i pohranu misli i memorije izvan vlastitog tijela. Ideje tako imaju potencijal nadživjeti čovjeka iz kojeg proizlaze.

Krajolik tijela (eng. bodyscape) je rad u procesu u kojem se autor bavi suvremenim tijelom svedenim na simbol i metaforu operacija na društvenom tijelu. Skeniranjem kože vlastitog tijela autor prenosi svjetlosni zapis, kao dokument fizičkog tijela, u digitalni prostor koji potom obrađuje, ispisuje i postavlja u odnose s objektima kao što su tehnološki otpad. Sken kože koristi kao motiv opne koja dijeli tijelo od ostatka svijeta, kao simbol krajnje granice ljudskog tijela. Autor problematizira odnos diskurzivnog i vizualnog pozicioniranja pojavnosti ljudskog organizma kao prividne cjeline. Tijelo kao artefakt, simbol i motiv izlaganja, mjesto proživljenog iskustva i utjelovljene aktivnosti. Čovjek kao kolektivno biće koje se koristi apstrakcijama, kojima pridaje značaj i smatra ih „dijelom sebe”. Individualac kao dio kolektivnog organizma u određenom fluksu prema svijetu i tehnološkim produžecima.

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Man changes the world around him and as such has no fixed nature. With the use of tools and creative instinct, the human idea of self is in a constant process of expansion. According to the phenomenological thought of Maurice Merleau-Ponty, humans generate the experience of the world through the body, which he calls “the vehicle of being in the world.” The experience and movement through the world are mediated by technology as an extension of man, so the use of tools has enabled the storage of thoughts and memory outside one’s body. Ideas thus have the potential to outlive the person they originate from.

Bodyscape is a work in progress in which the artist deals with the modern body as reduced to the symbol and as metaphor of its social operations. By scanning his own skin, the artist transfers a light record, as a document of the physical body, into digital space, which he then processes, prints and places in relationships with objects such as technological waste. The skin scan is used as a motif of the membrane that separates the body from the rest of the world, as a symbol of the ultimate border. The artist problematizes the relationship between discursive and visual positioning of the appearance of the human organism as an apparent whole. The body as an artefact, a symbol and motif of the exhibition, a place of lived experience and embodied activities. Human as a collective being who uses abstractions, to which s/ he attaches significance and sees them as “a part of herself/himself.” An individual as a part of a collective organism in a certain flux in relation to the world and technological extensions.

umjetnici

artists

27. 4.

–19. 6.

2022.

Krajolik tijela 2021. digitalna grafika, instalacija Bodyscape 2021 digital graphic, installation

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Format C (Dina Karadžić & Vedran Gligo)

Pivilion/EXEno1 suradnička je, mrežna i modularna kiparska instalacija serverskih skulptura simbiotski integriranih sa softverskim umjetničkim projektom Pivilion.

Serverske skulpture umrežene u instalaciji poslužuju hipermedijske galerije kojima se može pristupiti putem lokalne „pivilion” WiFi mreže, ali i javnog interneta. Sudjelovanje u stvaranju multimedijskog sadržaja za web galeriju dostupno je svima zainteresiranima putem mrežnog sučelja dostupnog u WLAN mreži instalacije i online posredstvom stranice pivilion.net.

Pivilion je kontinuirani umjetnički haktivistički i suradnički projekt radikalne decentralizacije suvremene internetske umjetnosti. Materijalnu osnovu čine mikroračunala koja instalacijom autorskog Pivilion softvera preuzimaju ulogu servera za necenzurirano i distribuirano posluživanje umjetničkog hipermedijskog i multimedijskog sadržaja. Teme oko kojih se razvoj projekta osniva su – preispitivanje raznih produkcijskih i distribucijskih etičkih modaliteta digitalnih umjetnina, licenciranja i vlasništva digitalnih arhiva, privatnosti i anonimnosti na internetu, verzioniranja i novih kanona digitalne umjetnosti stvorene za distribuciju. https://pivilion.net/ Koncept, tekst, hipermedija i multimedija: Dina Karadžić / j3d1n4 Oblikovanje mreže i programiranje: Vedran Gligo / v3d Multimedija: Nepoznati autori_ce (prema otvorenom pozivu slobodnog pristupa) Suradnici za 3D ispis (2020.): M. Stražičić / Pirate Sheep i N.-L. Davidović Produkcijska podrška: Ministarstvo kulture i medija RH, 2020.; Format C, 2022.

Pivilion/EXEno1 is a collaborative, network and modular sculptural installation of server sculptures symbiotically integrated with the Pivilion software artistic project.

The server sculptures networked in the installation host hypermedia galleries, which can be accessed via the local “pivilion” WiFi network, as well as the public Internet. Participation in the creation of multimedia content for the web gallery is available to all interested parties through the network interface available in the WLAN network of the installation and online through pivilion.net.

Pivilion is a continuous art hacktivist and collaborative project of radical decentralization of contemporary Internet art. The material basis consists of microcomputers that, by installing the original Pivilion software, take on the role of servers for providing uncensored and distributed service of artistic hypermedia and multimedia content. The project development is based on the following topics – a rethinking of various production and distribution ethical modalities of digital artworks, licensing and ownership of digital archives, privacy and anonymity on the Internet, versioning and new canons of digital art created for distribution. https://pivilion.net/ Concept, text, hypermedia and multimedia: Dina Karadžić / j3d1n4 Network design and programming: Vedran Gligo / v3d Multimedia: Unknown Artists (based on an open call for free access) Collaborators for 3D printing (2020): M. Stražičić / Pirate Sheep and N.-L. Davidović Production support: Ministry of Culture and Media of the Republic of Croatia, 2020; Format C, 2022.

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umjetnici

artists

27. 4.

–19. 6.

2022.

Pivilion/EXEno1 2020. - 2022. participativna mrežna skulptura Pivilion/EXEno1 2020 - 2022 participatory network sculpture

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Bartol Galović Nastala tijekom samoizolacije, serija autoportreta personificira društvene elemente u kojima umjetnik prepoznaje parazitizam. Žarkih boja, prenaglašenih tjelesnih karakteristika, autoportretima oslikanih na podlozi od pur pjene autor evocira motivacijski nagon parazita: glad – punašne, hrskave, mekane slike mogu nam se činiti jestive. Personificirajući sebičnost, šuplje stavove te netrepeljivost prema tuđim idejama, umjetnik prikazuje ono što smatra parazitizmom, a to je prodaja magle na račun konzumenta.

Promatrajući parazitizam kao negativnu karakteristiku, onu koja isključuje uzajamnost i obećava gubitak, umjetnik zauzima kritičan stav. No iako prikazane karakteristike prepoznaje u velikom broju drugih ljudi, nazivanjem radova autoportretima predlaže kako i on iskazuje slične navike.

Created during self-isolation, the series of self-portraits personifies the social elements in which the artist recognizes parasitism. By using bright colours and exaggerated physical characteristics in the self-portraits painted on a polyurethane foam base, the artist evokes the motivational instinct of parasites: hunger – plump, crunchy, soft paintings may seem edible.

By personifying selfishness, empty-headed attitudes and intolerance of other people’s ideas, the artist depicts what he sees as parasitism, which is selling a bill for goods. Observing parasitism as a negative characteristic, one that excludes reciprocity and promises loss, the artist takes a critical stance. However, although he recognizes these characteristics in many other people, he also admits to having similar habits by identifying the works as self-portraits.

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umjetnici

artists

27. 4.

–19. 6.

2022.

Privatni krpelji 2021.

JA SAM NARCIS JA MRZIM RAZLOGE JA SAM POLITIČAR podloga od pur pjene, lavirani akril, akrilna boja u spreju Private Ticks 2021 I AM NARCISSUS I HATE REASONS I AM A POLITICIAN polyurethane foam base, lavinated acrylic, acrylic spray paint

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Teuta Gatolin (s)laganje temelja je remiks nekih od bitnijih tekstova znanstvene literature Zapadne tradicije, hommage subverzivnim trenutcima mitoloških lukavaca, vježba preraspoređivanja autoriteta te nastvak istraživanja bajanja ekologije [storytelling ecology]. Rad se sastoji od šest umjetničkih knjiga čija se poezija temelji na geološkoj studiji Teorija Zemlje Jamesa Huttona iz 1788., Galileovom Dijalogu iz 1632. te zapisanom predavanju Nikole Tesle u Londonu 1892. godine. Originali tih tekstova, ili njihovi prvi prijevodi na engleski jezik, izmijenjeni su pastišem tehnika uglavnom europske književne i likovne avangarde 20. stoljeća – referirajući se najviše na nađenu i konkretnu poeziju te grafemske i morfemske sličnosti ili oprečnosti među riječima, sintagmama i rečenicama. Izmijenjeni su tekstovi potom prevedeni na hrvatski nastojeći zadržati značenjske i zvučne uzorke, ali ih nadopunjujući značenjskim i drugim ritmičnostima s izvorištem u hrvatskom jeziku. Ilustracije su nastale metodom skenografije ilustracija prisutnih u originalnim predlošcima, te njihova povremenog spajanja s arhivskim vizualima različitih narativa prirode koje je umjetnica skupila u dosadašnjem istraživanju.

Umjetnicu zanima ono što Lewis Hyde naziva „imaginacijom lukavaca”, a što podrazumijeva adaptaciju, oponašanje, pretvaranje nečeg ustaljenog u nešto promjenjivo, mimikriju, eksplodiranje ustaljenog sustava prije nego li implodira, opetovane preraspodjele resursa i legitimiteta, sprijateljavanje, nemar prema autoritetu, sramoćenje, neposluh, kreiranje, padanje u klopku i uspješno migoljenje van, glad, trčanje, spavanje, hranjenje, pijenje i druge svakodnevne i nesvakodnevne aktivnosti. Podrazumjeva i (aktivno) nadanje, dobro isplanirano i s figom u džepu.

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l(a)ying foundations is a remix of some of the most important texts in the tradition of Western literature, a homage to the subversive moments of mythological tricksters, an exercise in redistributing authority, and a continuation of the research into storytelling ecology. The work consists of six artists’ books whose poetry is based on the geological study of Theory of the Earth by James Hutton from 1788, Galileo’s Dialogue from 1632 and a recorded lecture given by Nikola Tesla in London in 1892. The originals of these texts, or their first translations into English, have been modified by pastiches of mostly European literary and artistic avant-garde techniques of the 20th century – referring mostly to found and concrete poetry and grapheme and morpheme similarities or contradictions between words, phrases and sentences.

The modified texts were then translated into Croatian with the effort to preserve the semantic and sound patterns, but supplementing them with semantic and other rhythmicities specific to the Croatian language. The illustrations were created using the method of scanography of illustrations in the original templates, and their occasional merging with archival visuals of different narratives of nature that the artist has collected in her research.

The artist is interested in what Lewis Hyde calls the “imagination of tricksters,” which implies adapting, imitating, turning something established into something changeable, mimicry, exploding of an established system before it implodes, repeated redistribution of resources and legitimacy, friendship, negligence, disregard for authority, embarrassment, disobedience, creating, falling into a trap, and successfully wriggling out, hunger, running, sleeping, feeding, drinking, and other, everyday and non-everyday activities. It also implies (active) hope, well planned and with tongue in cheek.

umjetnici

artists

27. 4.

–19. 6.

2022. (s)laganje temelja 2021.

6 knjiga, A4 format l(a)ying foundations 2021 6 books, A4 format

MSU nagrada / award

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Ivan Gundić Kao polazište rada Memogram umjetnik koristi obiteljski arhiv crno-bijelih želatinskih fotografija snimljenih prije njegova rođenja. Koristeći interdisciplinarni i multimedijalni pristup, prikazuje topljenje slojeva srebra iz obiteljskih fotografija koje potom kemijskim postupkom u laboratoriju pretvara u metalnu kovanicu.

Svojom masom od približno jednog grama ona je istovremeno bezvrijedna i neprocjenjiva jer vrijednost kovanice kao novog referenta na obiteljsku povijest nije monetarna, već memorijska. U okviru svoje obiteljske povijesti promatra poziciju medija fotografije kao mnemoničkog sredstva koje posreduje u očuvanju sjećanja, ali istovremeno bilježi smrtnost i prolaznost.

Fotografije kao predmeti koji evociraju sjećanje možda mogu trajati dugo, ali zasigurno ne zauvijek, a svesti ih na elementarnu supstancu srebra koja i dalje djeluje kao memorijski objekt znači istovremeno ih uništiti i učiniti vječnima.

The starting point of the work Memogram is the artist’s family archive of black and white gelatin silver photographs made before he was born. Using an interdisciplinary and multimedia approach, he shows the process of melting layers of silver from family photographs, which he then, by way of a chemical process, turns into a metal coin in a laboratory. The coin weighs around one gram, and is at the same time worthless and invaluable, for the value of the coin as a new representation of family history is not measured in money, but in memory. Within the framework of his family history, he observes the medium of photography as a mnemonic tool that serves as an agent in preserving memory, but which at the same time encapsulates mortality and transience. Photographs as objects that evoke memories may last a long time, but certainly not forever. Reducing them to the element of silver that still acts as a mnemonic object both destroys them and makes them eternal.

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umjetnici

artists

27. 4.

–19. 6.

2022.

Memogram 2021. multimedijska instalacija Memogram 2021 multimedia installation

MLU nagrada / award

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parasites

Deni Horvatić Dom u vrijeme samoizolacije postaje glavna arena događanja. Privid normalnosti omogućava ekran koji svakim danom otključava sve više funkcija. Postavili smo novi okvir življenja unutar kojeg izolirani iza stakla ispunjavamo svoje potrebe, žudnje i opsesije. Ekran postaje jedino mjesto značajnijeg kontakta, on nam nudi reintegraciju u društvo od kojeg smo odsječeni. Mogućnosti komunikacije putem ekrana posljedično otvaraju nove mogućnosti voajerizma i nadzora. Tijelo u interakciji s tehnologijom postaje njena ekstenzija, kod i baza.

U brojnim zemljama počelo je podupiranje sofisticiranih tehnologija koje provode masovni kućni nadzor pod izlikom borbe protiv virusa.

Među njima se nalazi eksperimentalni program Vlade Republike Hrvatske – SKEN. Mikroskener širokokutne leće počeo se ugrađivati u naše mobilne telefone. Pod izlikom sigurnosti i prevencije zaraze, SKEN je stvorio novi ekosustav praćenja u kojem konstantno snima obrasce ponašanja van i unutar doma. Godinama smo mi htjeli biti oni koji su nevidljivi, boriti se protiv infrastrukture koja našu reprezentaciju vječno zamrzava i veže uz određene koordinate, vrijeme i afekte. Mjeseci provedeni u samoizolaciji uvjerili su nas u odustajanje od nevidljivosti vlastite slike i davanje kontrole SKEN-u koji omogućuje ponovno osvajanje polja vidljivosti. (iz teksta Lovre Japundžića)

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In a time of self-isolation, the home becomes the main arena of events. The illusion of normalcy is enabled by the screen that unlocks more and more functions with each day. We have set a new framework of living within which, isolated behind glass, we fulfil our needs, desires and obsessions. The screen has become the only place where any significant contact takes place, it enables us to reintegrate into the society from which we have been cut off. The possibilities of screen-mediated communication consequently generate new opportunities for voyeurism and surveillance. In interaction with technology, the body becomes its extension, code and base.

In numerous countries, efforts have been made to develop sophisticated technologies that conduct mass home surveillance under the pretence of fighting the virus. Among them is the experimental program developed by the Government of the Republic of Croatia – SCAN. A wide-angle lensed micro scanner has been built into our phones. Under the guise of safety and infection prevention, SCAN has created a new monitoring ecosystem that continually records the patterns of behaviour both outside and inside the home. For years, we had wanted to be those who are invisible, to fight against the infrastructure that is always freezing our representation and tying us to specific coordinates, time and affects. Months spent in self-isolation have swayed us towards giving up the invisibility of our own image and surrendering control to SCAN that enables the reclamation of the fields of visibility.

(From Lovro Japundžić’s text)

umjetnici

artists

27. 4.

–19. 6.

2022.

SCAN 2020. digitalni c-print na dibondu SCAN 2020 digital c-print on dibond

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parasites

Borna Ivanuša Umjetnik je domaćin jednog gorkog parazita koji ga prati od ranog djetinjstva. Netko bi ga nazvao „prošlost”, no on bi ga predstavio kao prijatelja. Svjesno ga uzdiže i ponosno pokazuje svima. Nije od jučer, a nije ni on. Zajedno su srasli i vječito se rugaju. Nekada jedan drugome, nekada svima drugima.

Rana sjećanja svakodnevno izviru i posjećuju umjetnika u kojemu se ona preobražuju i preuzimaju ulogu parazita. Prigrljuje ih iz vlastite svijesti i stvara hibride kroz mutna parazitska sjećanja. Pritom dolazi do spoznaje da je i on sâm parazit. Otkriva dualnost čistog i razriješenog sjećanja nasuprot prljavih i nerazriješenih nametnika koji ga prate, čineći sve intenzivnijim i ružnijim.

Parazit proviruje iz domaćina zubima iznad spolnoga organa i ogoljuje ga. Kroz nogu izvire pauk. Parazit izgleda kao malo čudovište, iako je on puno više. Ovo je već odrasli hibrid čovjeka koji je srasao sa svojim ljubimcem: čisto prihvaćanje dualnosti koje svi nosimo. Parazit može bit i prijatelj, ali i neprijatelj. Na nama je hoćemo li ga ukrotiti i pokazati ili sakriti i patiti.

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The artist is the host to a bitter parasite that has accompanied him since early childhood.

Some would call it “the past,” but he would introduce it as a friend. He sings praises to it and proudly shows it to everyone. It was not born yesterday, and neither was he. They have fused and constantly mock something or someone.

Sometimes each other, sometimes others.

Early memories flood back on a daily basis, they transform and take on the role of the parasite. He embraces them from his own consciousness and creates hybrids through murky parasitic memories. At the same time, he comes to the realization that he is also a parasite. He discovers the duality of pure and resolved memory versus the dirty and unresolved parasites that accompany him, making everything uglier and more intense.

The parasite peeks out of the host with its teeth above the genitals and exposes them. A spider peeks out of his leg. The parasite looks like a little monster, although it is much more than that. This is an already adult hybrid of a man fused with his pet: a mere acceptance of the duality we all carry within ourselves. A parasite can be both a friend and an enemy. It is up to us whether we are going to tame it and show it or hide it and suffer.

umjetnici

artists

27. 4.

–19. 6.

2022.

My Name is Boner 2021. kombinirana tehnika My Name is Boner 2021 mixed media

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Antonio Kutleša Prema posljednjim istraživanjima UN-ove Organizacije za hranu i poljoprivredu (FAO) čovječanstvu prijeti nestašica hrane. Istraživanja predviđaju znatan porast ljudske populacije do 2050. godine kada bi broj stanovnika našeg planeta trebalo doseći 9 milijardi. S obzirom na trenutne trendove konzumacije hrane, to je broj ljudi koje naš planet ne može uspješno prehraniti – a predstavlja i veliko opterećenje za okoliš.

Takav porast zahtjeva povećanje proizvodnje hrane za stoku na kojoj se prvenstveno temelji prehrana većine populacije, a porast proizvodnje zahtjeva više obradive zemlje, vode i hrane za njihov uzgoj – resursa koji za te razmjere nisu više dostupni. Djelomičnim rješenjem problema smatra se distribucija takozvane „nove hrane“, odnosno prehrambenih proizvoda dobivenih preradom insekata. Hrane čija proizvodnja zahtjeva znatno manju potrošnju istih ograničenih resursa.

Rad JA – HRANA istražuje uporabu alternativnog izvora resursa potrebnih za njihovu proizvodnju. JA – HRANA nastao je kontroliranim uzgojem jamajčanskih poljskih šturaka (Gryllus assimilis) koji od trenutka rođenja konzumiraju hranu dobivenu iz tijela umjetnika. Sigurnim procesom umjetnik uklanja dio vlastitog tkiva, koji postaje hrana za šturka – biće koje će u konačnici postati umjetnikov obrok. Međusobnom konzumacijom umjetnik se aktivno uključuje u proizvodnju vlastite hrane, ostvarujući hibridni oblik simbioze u kojoj obje strane imaju jednaku korist – hranu za vlastiti opstanak.

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According to the latest study by the Food and Agriculture Organization of the United Nations (FAO), the population is faced with food shortages. The study predicts a significant increase in the world population which is expected to reach nine billion by 2050. Given the current trends in food consumption, our planet cannot successfully feed such a number of people – which also poses a major burden on the environment. Such an increase demands higher production of feed for animals which are consumed by the majority of the population. This increase in the production of animal feed requires more arable land, water, and food for cultivation – resources that are no longer as available as they were. The distribution of the so-called “novel food,” i.e., food produced from insects, is seen as a partial solution to the problem. The food the production of which requires significantly less consumption of the same limited resources.

I – FOOD explores the use of an alternative source of resources needed for their production. I – FOOD was created by the controlled breeding of Jamaican field crickets (Gryllus assimilis) that, from the moment they are born, consume food obtained from the artist’s body.

Through a safe process, the artist removes a part of his tissue, which becomes food for the cricket – a creature that will eventually become the artist’s meal. By consuming each other, the artist becomes actively involved in the production of his own food, achieving a hybrid form of symbiosis in which both parties have equal benefits – food for their survival.

27. 4.

–19. 6.

2022.

JA - HRANA 2021. instalacija I - FOOD 2021 installation

Nagrada Galerije

Kranjčar

alo

nm

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Gallery Award

pohvala / acknowledgment

.s

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th yo u th 36

artists

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umjetnici

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Leondardo Losciale Poznaješ li zemlju, gdjeno limun cvate?

U tamnom lišću naranče se zlate, S plavog neba laki vjetrić piri, Šumori lovor, mirta uz njeg miri, Da li je znaš?

O, poći s tobom tamo, Ljubavi moja, želja mi je samo. (preveo: Dobriša Cesarić) Wilhelm Meister, J.W. Goethe (1796.)

U ovoj posveti Goetheu ispovijeda se sublimacija: postajanje mitom opire se smrti, budući da je integrirano u sebe.

Brojne naranče poput relikvija mučenika ugrađene su u plastiku. Čine se poput prozirnih, uhvaćenih leptira. Odnos vremena, predmeta, prostora i zraka stvara neumoljivu i transgresivnu metamorfozu zahvaljujući procesu razgradnje, koji, koliko god neugodan, ostaje jedan od prirodnih fenomena na kojima se temelji naše postojanje. Sublimacija prelazi u gađenje, kao što razgradnja prelazi u fosilizaciju. U tom apsurdu plivamo između gađenja i čuđenja, između gušenja i slobode misli.

Penicillium italicum je gljiva koja prodire u plod kroz rane i obično se pojavljuje nakon berbe. Može li mali parazit sublimirati naš život regenerirajući ga, nadvladavajući našu simboličnu smrt?

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Know’st thou the land where lemon-trees do bloom, And oranges like gold in leafy gloom; A gentle wind from deep blue heaven blows, The myrtle thick, and high the laurel grows?

Know’st thou it, then? ’Tis there! ’tis there, O my belov’d one, I with thee would go!

Wilhelm Meister, J.W. Goethe (1796)

This dedication to Goethe professes sublimation: becoming a myth resists death since it is integrated in itself.

Numerous oranges are embedded in the sculpture, like the relics of martyrs. They look like transparent, captured butterflies. The relationship between time, objects, space and air creates a relentless and transgressive metamorphosis due to the process of decomposition, which, however unpleasant, remains one of the natural phenomena on which our existence is based. Sublimation turns into disgust, just as decomposition turns into fossilization. In this absurdity, we swim between disgust and wonder, between suffocation and freedom of thought.

Penicillium italicum is a fungus that penetrates the fruit through wounds and usually appears after harvest. Can a small parasite sublimate our life by regenerating it, overcoming our symbolic death?

umjetnici

artists

27. 4.

–19. 6.

2022.

Oranžerija 2021. skulptura Orangery 2021 sculpture

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Jelena Lovrec Rad Eggo početna je dionica projekta Musaka – sveska od tri kuharice (Eggo, Hot potato, Meat me) koji su prikaz kulturnog, političkog i društvenog složenca naše zajednice. Koristeći tradicionalni format kuharice, umjetnica predstavlja tri marginalizirane skupine (umjetnici, migranti, umirovljenici), a same kuharice podijeljene su na tri obroka u danu – doručak, ručak i večeru.

Naziv pojedine kuharice otkriva njen koncept i glavnu namirnicu, a zajedno čine musaku, tradicionalno balkansko jelo.

Eggo je kuharica od 365 umjetničkih recepata od jednog jajeta. Jaje, poznato kao univerzalni simbol života te jedna od nutritivno najvrjednijih namirnica, svoj vrhunac slave doživjelo je u Jugoslaviji popularnim reklamnim sloganom „svako jutro jedno jaje, organizmu snagu daje”, čime je njegova svakodnevna konzumacija opće prihvaćena kao bitna stavka za stasanje u zdrave i snažne osobe. Stvarajući ovu kuharicu, umjetnica prevodi taj slogan na kulturno zdravlje, naglašavajući da je svakodnevna konzumacija umjetnosti (po mogućnosti odmah ujutro) jednako bitna za zdravije i snažnije društvo. Shodno tome, umjetnici će osmisliti 365 recepata od jednog jajeta, po jedan recept za svaki dan.

Umjetnici doručke pripremaju u vlastitoj kuhinji, a čitav proces pripreme jela dokumentira video kamerom. Za vrijeme trajanja Salona mladih, doručci i njihova priprema sele se u galerijski prostor HDLU-a, gdje će na mobilnoj kuhinji umjetnici biti pozvani prezentirati svoja jela od jednog jajeta.

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The work Eggo is the initial part of the Musaka project – a three-volume cookbook (Eggo, Hot Potato, Meat Me) that gives an overview of the cultural, political and social casserole of our community. Using the traditional cookbook format, the artist presents three marginalized groups (artists, migrants, retirees), and the cookbooks themselves are divided into three meals a day – breakfast, lunch and dinner. The title of each cookbook reveals its concept and main ingredient and combined they make a moussaka, a traditional Balkan dish.

Eggo is a cookbook containing 365 art recipes based on one egg. The egg, known as a universal symbol of life and one of the most nutritionally rich foods, reached the peak of its fame in Yugoslavia with the famous advertising slogan which loosely translates as “an egg a day keeps the doctor away.” Thus, its daily consumption was generally accepted as important for one to grow into a healthy and strong person.

In this cookbook, the artist translates this slogan into cultural health, emphasizing that daily consumption of art (preferably in the morning) is equally important for a healthy and strong society. Accordingly, the artists will come up with 365 recipes based on one egg, one recipe for each day. The artists prepare breakfast in their own kitchen, and the entire process of food preparation is documented with a video camera.

During the Youth Salon, breakfasts and their preparation will move to the gallery space of the Croatian Association of Artists (HDLU), where artists will be invited to present their one-egg dishes in a mobile kitchen.

umjetnici

artists

27. 4.

–19. 6.

2022.

Eggo 2021. – u tijeku knjiga, video rad, instalacija Eggo 2021 – in progress book, video, installation

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Mia Matijević Akrap Kao rezultat distanciranja od svijeta uslijed sveopće izoliranosti, komunikacija postaje sve površnija. Potaknuta time umjetnica se povlači u vlastite misli stvarajući osobni sistem. Ipak, „nema sistema bez parazita, ta konstanta je zakon” (Serres, 2007). Ovog je puta u subverzivnom odnosu sa samom sobom, postaje vlastiti energetski vampir, domaćin i gost, sustav koji samog sebe crpi.

U potrebi za pročišćenjem takvog sustava stvara osobnu formu popularnog self-helpa: ciklus keramičkih urni koje služe za pohranu odbačenih reminiscencija, prikupljenih sjećanja i prošlih događaja koji su joj nekoć bili od velikog značaja, a danas su samo fragmentirane slike ili zagušujući osjećaj koji se ne može definirati.

Sjećanje preobražava u objekt, simbol i sliku kroz trenutke u kojima se sudaraju sjećanja i snovi prošlosti.

Ono što je u urni konačno je, spaljeno i nepovratno. Ipak, vlastite nametljive i toksične misli ne odstranjuje u potpunosti već ih prihvaća i kroz ironiju transformira u njihov „posmrtni” oblik. Naposljetku, primjećuje kako je rušilački sustav unutar nje analogan onome u društvu čiji je dio, a ujedno i njegov neodstranjiv element.

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As a result of distancing oneself from the world due to widespread isolation, communication becomes increasingly superficial. Encouraged by this, the artist retreats into her own thoughts, creating a personal system. However, “there is no system without parasites. This constant is a law” (Serres, 2007). This time, she is in a subversive relationship with herself; she becomes her own psychic vampire, host and guest, a system that drains itself.

Due to the need to cleanse such a system, she creates a personal form of a popular selfhelp technique: a series of ceramic urns used for storing discarded reminiscences, collected memories and past events that used to be of great importance to her. Today, these are only fragmented images or suffocating feelings she cannot define. She transforms memory into an object, symbol and image through moments in which memories and dreams of the past collide.

What is placed in the urn is final, burnt and irreversible. However, she does not completely remove her own intrusive and toxic thoughts, but accepts them and ironically transforms them into their “posthumous” form. Finally, she notes that the destructive system within her is analogous to that of the society to which she belongs and of which she is an inseparable element.

umjetnici

artists

27. 4.

–19. 6.

2022.

Self-Help Burial 2021. keramičke urne Self-Help Burial 2021 ceramic urns

Nagrada Kolekcionar umjetniku / The Collector to an Artist Award

2022.

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Medium Movement (Robert Fenrich, Dominik Gadže, Monika Milas) Močvara je egzotični okoliš i toksična oaza postljudske prirode. U njoj stvarna i fiktivna bića koegzistiraju, a čovjek je izmješten iz središta te razvlašten od naslijeđenog autoriteta kojeg je posjedovao u antropocentričnom svijetu. Eden istražuje perspektivu fokusiranu na evoluciju materije i života na zemlji, kroz ekologiju i posthumanistički pogled na budućnost. Rad otvara diskurs o međupovezanom i međuovisnom odnosu čovjeka i prirode kao sastavnih dijelova iste temeljne stvarnosti proizvođača i proizvedenog. Ideja je preispitati odnose između prividnih dihotomija artificijelnog i prirodnog, stoga umjetnički kolektiv uzima materiju kao dinamičnu tvar koja ne čeka pasivno (pre)oblikovanje od strane vanjske sile, već je i sama uvijek nastajući vitalni proces materijalizacije.

Upravo su vodene površine od velikog interesa za recentnu posthumanističku misao. Voda nije sve, ali vode ima svugdje. Ona je ujedno (s) tvar, ali i proces: voda je uvijek u relaciji. Nježno postoji, ali nagriza i apsorbira. Život nastaje iz vode. Suprotstavljajući se ideji čovjeka kao zatvorenog, statičnog i autonomnog bića, ljudska tijela promatraju se kao vodene površine u konstantnoj interakciji s drugim vodenim površinama sačinjenih od ne-ljudskih posrednika. Propitujući međuovisnost čovjeka i vode, domete transformacije vodenih ekosustava i antropogenih utjecaja na okoliš, umjetnički projekt istražuje fenomen močvare kao spekulativnog mjesta na razmeđi distopije i utopije. Močvara pritom otvara prostor istraživanja prirodnih fenomena i novog koncepta posthumanističke ekologije koji znanstveno-fiktivnim strategijama propituje budućnost i kompleksnost trostruko umreženog odnosa u sustavu čovjekpriroda-tehnologija.

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A swamp is an exotic environment and a toxic oasis of posthuman nature. In it real and fictional beings coexist, and man has been displaced from the centre and stripped of the inherited authority he had in the anthropocentric world. Eden explores a perspective focused on the evolution of matter and life on Earth through ecology and a posthumanist view of the future. The work opens a discourse on the interconnected and interdependent relationship between man and nature, as integral parts of the same fundamental reality of the producer and the produced. The idea behind the work is to reconsider the relationship between the apparent dichotomies of the artificial and the natural. The art collective, thus, sees matter as a dynamic substance that does not wait for passive (re)shaping by an external force but is itself an ever-emerging vital process of materialization.

Bodies of water are of great interest to recent posthumanist thought. Water is not everything, but water is everywhere. It is both matter and a process: water is always in relation. It gently exists but also erodes and absorbs. Life comes from water. Contrary to the idea of man as a closed, static and autonomous being, human bodies are viewed as bodies of water in constant interaction with other bodies of water made up of non-human intermediaries. Questioning the interdependence of man and water, the scope of the transformation of aquatic ecosystems and anthropogenic impacts on the environment, this work explores the phenomenon of the swamp as a speculative place at the crossroads of dystopia and utopia. A swamp provides the space for exploring natural phenomena and a new concept of posthumanist ecology, which uses scientific and fictional strategies to question the future and complexity of the triple helix in the context of the man-nature-technology system.

27. 4.

–19. 6.

2022.

alo n

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artists

pohvala / acknowledgment

Eden 2022. multimedijska instalacija suradnici: KUĆĆA

36 th

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sa lon

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umjetnici

Eden 2022 multimedia installation collaborators: KUĆĆA

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Marianna Nardini U pejzažu sjena, napjevi sirena vječno šapuću, vodeći nas svojim neodoljivim glasom. Što želimo utjeloviti?

Struktura rađanja fantazija otkriva kompleksan odnos njihove esencijalne uloge koje pojedinac otkriva i razotkriva kroz svoje djelovanje u zajedničkom svijetu. Mi smo djeca vlastitih božanstava. Ambijentalna instalacija želi potaknuti na promišljanje procesa fetišizacije i traganje za predmetom žudnje koji su sastavni dio našeg habitusa i habitata. Ja i ne-ja, objekt i subjekt, pogledom se kanibalski prožimaju. Alati koje pronalazimo u ambijentu utjelovljuju opsesivnu žudnju za konzumacijom i realizacijom naših nutrina: onih idealnih, idejnih, ideoloških, preferencijalnih i podsvjesnih. Suočen sa stvarnošću, ljudski duh je vječno pervertiran: njome se hrani u povratnoj dinamici organskih i artificijelnih konstrukcija. Reagiramo opsesijama gledanja, biranja, seciranja, analiziranja i bihevioralnog ostvarivanja. Od političkih ideologija i masovno proizvedene hrane, do intimnih umjetničkih djelovanja, iskrenih razgovora i skromnosti, sve su to monumenti ljudstva koje ljudski duh proživljava i kojima oblikuje sebe samoga. Prisutnost kinka [fetiša] ne razotkriva nastranost, već suštinsku potrebu za saznanjem i istraživanjem do krajnjih detalja. Tu pronalazimo komadić istine koji motivira i ostvaruje našu suštinsko ljudsku metafiziku.

Oblikujemo li mi naše fantazije ili one oblikuju nas? Koja je njihova dinamika funkcioniranja?

Kojeg su one oblika? Kako izgleda njihovo vrelo, njihova suština?

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In a landscape of shadows, the mermaids whisper their chants, guiding us with their irresistible voices.

What do we want to embody?

The way fantasies are constructed reveals the complex relationship of their essential role that an individual discovers and reveals through their actions in the common world. We are the children of our deities. The ambient installation seeks to encourage the reflection on the process of fetishization and the search for the object of desire, which are an integral part of our habitus and habitat. The I and non-I, the object and the subject, permeate each other in a cannibalistic way. The tools we find at the site embody the obsessive desire to consume and realize what is within us: the ideal, conceptual, ideological, preferential and subconscious.

Faced with reality, the human spirit is eternally perverted: it feeds off reality in the reverse dynamics of organic and artificial constructions.

We respond with the obsessions of gazing, selecting, dissecting, analysing, and behavioural achievements. From political ideologies and mass-produced food to intimate artworks, honest conversations and modesty, these are all monuments of humanity that the human spirit experiences and uses to shape itself. The presence of a kink does not reveal perversity, but the essential need for knowledge and research to the last detail. Here we find a piece of truth that motivates and achieves our essentially human metaphysics.

Do we shape our fantasies or do they shape us? What are their dynamics of functioning?

What shape are they? What does their source look like, their essence?

umjetnici

artists

27. 4.

–19. 6.

2022.

Ekstaza nutrine 2022. ambijentalna instalacija Suradnici: KUĆĆA, Bruna Jakupović, Ivana Galić, Lana Lehpamer, Silvia Roberta Zaplatić Hvala Jelena Šimundić Bendić The Inner Ecstatic 2022 ambient installation Collaborators: KUĆĆA, Bruna Jakupović, Ivana Galić, Lana Lehpamer, Silvia Roberta Zaplatić Thanks to Jelena Šimundić Bendić

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Luka Pešun Dom nalazimo u prostorima, ljudima, prirodi ili sebi samima, no značenje pojma dom sasvim je osobno i promjenjivo. Prisutnost bake i djeda u prostoru doma bila je konstanta odrastanja umjetnika pa se tako njegovo značenje doma isprepliće s njihovim prisustvom u istom.

Izbor fotografija dio je šireg ciklusa serije Domestic koji pokriva odnos i brigu umjetnika prema baki i djedu koju je preuzeo u njihovoj poodmakloj dobi. Osobe koje su skrbile o njemu postale su osobe kojima je mogao uzvratiti barem dio te brige. Surovost starosti suočava pojedinca i njegovu okolinu s manjkom samostalnosti, gubitkom tjelesnih spobonosti te poniznosti izazvane nužnom međuovisnosti.

Fotografijom umjetnik istražuje značenje doma koji je djelomično obilježen traumom izazvanom pokušajem prisilnog outanja u ranoj adolescenciji. Te negativne emocije upisuje u tminu fotografija dok tragovi svjetlosti otvaraju prostor novim interpretacijama. Bez namjere, proces postaje oblik fototerapije.

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We find home in spaces, people, nature or in ourselves, but the meaning of the term home is completely personal and variable. Grandparents’ presence in the space of the home was a constant in the artist’s childhood, so the meaning of home for him is intertwined with their presence in it.

The selection of photographs is part of a larger series titled Domestic that covers the artist’s relationship with his grandparents and his care for them, which he took on in their advanced age. The people who cared for him became the people to whom he could reciprocate at least some of the care received. The cruelty of old age confronts an individual and their environment with a lack of independence, loss of physical abilities and humility caused by the necessary interdependence.

Through photography, the artist explores the meaning of a home that is partly marked by the trauma caused by an attempt of forced outing in early adolescence. He inscribes these negative emotions into the darkness of the photographs as traces of light open up space for new interpretations. Unintentionally, the process becomes a form of phototherapy.

umjetnici

artists

27. 4.

–19. 6.

2022.

Domestic 2021. fotografija, print hahnemuhle rag 500 grama Domestic 2021 photography, hahnemuhle rag print 500 grams

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Marina Popović Sat akta referira se na crtanje tijela i proučavanje anatomije kao osnovu umjetničkog obrazovanja te akt kao jedan od najosnovnijih motiva u likovnim umjetnostima. U svom radu, umjetnica propituje stvaralačke postupke, položaj u odnosu na uvriježene prakse reprezentacije u likovnim umjetnostima te istraživanje pitanja reprezentacije žena u umjetnosti, medijima i popularnoj kulturi, kao i ulozi kulturnih praksi u konstrukciji spolne razlike. Na brojnim kanonskim djelima povijesti umjetnosti ženska tijela funkcioniraju kao znak za mušku seksualnost, odnosno kao zasloni za artikulaciju spolne razlike i kreativnog genija (muškog) umjetnika, a takve prakse često ostanu nepropitane te se nastavljaju i danas.

Izloženo voajerskom pogledu, tijelo žene podliježe seksualnoj komodifikaciji. Politika pogleda zasnovana je na opreci aktivnog subjekta koji gleda i pasivnog objekta pogleda. U tom kontekstu dolazimo do problema položaja žene kao gledateljice u odnosu na kulturne reprezentacije kao i do problema položaja žene stvarateljice kulturalnih oblika. O toj tenziji piše Griselda Pollock (2003.) govoreći o iskustvu ženskog gledanja kao podijeljenog između identifikacije s objektiviziranim ženama i preuzimanja muškog pogleda koji unutar patrijahalne kulture pruža vizualni užitak, kao i o mogućnosti stvaranja različitih pozicija unutar seksualne politike gledanja.

Kao ženu, umjetnicu prati osjećaj da se nalazi u šizofrenom položaju koji je tjera da se zapita – je li činjenicom da se obrazuje unutar te tradicije sudionik dominantnog režima vizualne reprezentacije?

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The work Nude drawing class refers to drawing a human body and studying anatomy as the basis of art education and the nude as one of the most basic motifs in the fine arts. The artist questions creative processes, her position in relation to the established practices of representation in the fine arts, and research on the representation of women in art, media and popular culture, as well as the role of cultural practices in constructing sexual differences.

In many canonical works of art history, female bodies function as a sign of male sexuality or as a background for articulating gender differences and the creative genius of the (male) artist; the practices that often remain untested and continue to this day.

Exposed to a voyeuristic gaze, a woman’s body is subject to sexual commodification. The politics of the gaze is based on the opposition of the active, gazing subject and the passive object of the gaze. In this context, we encounter the issue of women’s position as a viewer in relation to cultural representations, as well as the problem of women’s position as a creator of cultural forms. Writing about this tension, Griselda Pollock (2003) talks about the experience of female gazing as torn between identifying with objectified women and taking on a male gaze that provides visual pleasure within the patriarchal culture, as well as about the possibility of creating different positions within the sexual politics of the gaze.

As a woman, the artist cannot shake the feeling of being in a schizophrenic position that makes her wonder – does the fact that she is educated within this tradition make her a participant in the dominant regime of visual representation?

umjetnici

artists

27. 4.

–19. 6.

2022.

Sat akta 2021. kombinirana tehnika crteža i kolaža Nude drawing class 2021 mixed media, collage and drawing

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Gaia Radić Termin terra incognita prvi put se upotrijebio u Ptolomejevoj kartografiji u periodu drevnog Egipta kako bi se u svjetskim mapama označila sva nepoznata i neistražena područja. Često bi se umjesto terra incognita koristila i sugestivna fraza hic svnt dragones (u prijevodu: „ovdje su zmajevi”). Suvremeni čovjek svjesno odlučuje pohraniti svoj identitet u nematerijalan, digitalan prostor, nad kojim nema vlasništvo i kontrolu.

Ipak, čovjekova narav je suprotna tehno-feudalnom virtualnom svijetu u kojeg se uranja, ona je organska i svekoliko ovozemaljska. Kroz suprotstavljanje organskoga i smrtnoga s digitalnim i vječnim, događa se kolizija svjetova pri kojoj, materijalna stvarnost i virtualnost, polarne suprotnosti, za čovjeka mijenjaju svoje uloge.

Ironično i paradoksalno, njegova izvorna forma postaje mu nešto nepoznato – ona postaje nova terra incognita.

Analiziranje materijalne stvarnosti kroz prizmu virtualne dimenzije rezultira novim shvaćanjem prostora te sugerira slojevitost njegove interpretacije. Proučavanjem protoka energije kroz prostor, te apstrahiranjem arhitektonskih formi na jednostavne linijske elemente, autorica traga za esencijom prostornosti. Uzevši realan prostor Meštrovićeva paviljona kao ishodište, kreira nove interpretacije podijeljene na četiri stupnja dematerijalizacije. Ovakvom obradom realne građevine i njezinog bliskog okruženja, autorica stvara nove digitalne pejsaže, direktno izvedene iz postojeće arhitekture. Umjetnica dodatno intervenira činom umetanja simulacija u sustav programa Google Earth čime potiče promatrače na promišljanje o prostoru kojime kroči, njegovim virtualnim karakteristikama, te na potencijalnu višu razinu shvaćanja arhitekture koja nadilazi vlastitu materijalnost.

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The term terra incognita was first used in Ptolemy’s world map in the time of ancient Egypt to mark all the unknown and unexplored territories. Often, instead of terra incognita, the suggestive phrase hic svnt dragones was used (in translation: “here be dragons”). Modern people make a conscious decision to store their identity in an intangible, digital space, over which they have no ownership and control.

However, human nature is the opposite of the techno-feudal virtual world into which it is immersed, it is organic and completely this-worldly.

Juxtaposing the organic and the mortal with the digital and the eternal creates a collision of worlds in which, material reality and virtuality, polar opposites, change their roles for human beings. Ironically and paradoxically, their original form becomes something unknown to them – a new terra incognita.

Analysing material reality through the prism of the virtual dimension results in a new understanding of space and suggests multilayeredness of its interpretation. By studying the flow of energy through space and abstracting architectural forms into simple linear elements, the artist searches for the essence of spatiality. Taking the space of Meštrović’s pavilion as a starting point, she comes up with new interpretations divided into four stages of dematerialization.

Dealing with an actual building and its immediate surroundings in this way, the artist creates new digital landscapes directly derived from the existing architecture. The artist additionally intervenes by adding simulations into the Google Earth system, which encourages the observer to think about the space they walk through, its virtual characteristics and potentially provides themr with a higher level of understanding of architecture that transcends its own materiality.

artists

27. 4.

–19. 6.

2022.

Terra Incognita 2022. multimedijska instalacija Terra Incognita 2022 multimedia installation

n salo th

/3 ladih 6th you nm

Erste 2. nagrada 2nd award

36. s alo

umjetnici

2022.

CYAN

MAGENTA

YELLOW

KEY

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Sara Salamon Arheološke iskopine su serija radova koja dosad okuplja dvije iteracije, jednu za javni, a drugu za galerijski prostor, opisane kao site-specific nadrealizam, odnosno spori apsurdni događaj izvedbe bez izvođača. Arheološke iskopine 2 su instalacija, spori mobilni ambijent u kojem postav postaje prostor tihe izvedbe objekata koji su tikovi u prostoru. Bave se poviješću i javnim prostorom kao medijima koji izdaju. Rad je utemeljen na dramaturškoj tenziji svjedočenja objektu kao performeru – prizoru arheoloških iskopina koje se, sporo i jedva perceptivno, kreću „same od sebe” u javnom prostoru.

Dramaturški ključna točka rada je trenutak kada drugi put prolazimo pokraj iskopina i primjetimo da nešto u tom prizoru nije u redu. Teško je, međutim, priznati si da su se iskopine pomaknule.

Afektivni se registar mijenja. Domaću udobnost paranoje i zova pripadnosti povijesti zamijenjuje „uncanny” [zazorno], plitka jeza disonance.

Je li problem u meni ili u stvarnosti?

Prostor instalacije transformiran je u krnju iskopinu s prostorno-vremenskom nesigurnosti. Izložbeni objekti kreću se sami od sebe, u nasumičnom vremenu. Nasumično vrijeme i montaža vremena u prostoru stvaraju Tenziju.

Tenzija tijela promatrača u prostoru koji se kreće, kao i tenzija između fizičkih elemenata tretirani usprkos svojoj (materijalnoj) funkciji ili kvaliteti.

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Archaeological Excavations is a series of works that has so far brought together two iterations, one for a public and the other for a gallery space, described as site-specific surrealism, or a slow absurd event of a performerless performance. Archaeological Excavations 2 is an installation, a slow mobile environment in which the exhibition becomes a space of quiet performance of objects that are tics in space. It deals with history and public space as the media that betray us. The work is based on the dramaturgical tension of witnessing the object as the performer – a scene with archaeological excavations that move slowly and barely perceptively “on their own,” in public space. In terms of dramaturgy, the key point of the work is the moment when we pass by the excavations for the second time and notice that something is off. It is, however, difficult to admit to oneself that the excavations have moved. The affective register is changing. The domestic comfort of paranoia and the call of belonging to history is replaced by the “uncanny,” shallow horror of dissonance.

Am I the problem or is it the reality?

The gallery space was transformed into a truncated excavation with space-time uncertainty. The exhibits move on their own, at a random pace. Random time and the montage of time in space create Tension. The tension of the observer’s body in the moving space, as well as the tension between the physical elements treated despite their (material) function or quality.

umjetnici

artists

27. 4.

–19. 6.

2022.

Arheološke iskopine 2 2021. instalacija Zahvaljujem suradnicima Hrvoju Spudiću, za programiranje, mehaniku i oblikovanje objekata, te Marko-Luka Zubčiću, za dramaturška pitanja.

Zahvaljujem Najam ograda d.o.o. i Goranu Bošnjaku na sponzorskoj podršci izlaganja rada.

Archaeological Excavations 2 2021 installation I would like to thank my collaborators Hrvoje Spudić for object programming, mechanics and design, and Marko-Luka Zubčić for dramaturgical questions.

I would like to thank Najam ograda d.o.o. and Goran Bošnjak for sponsorship of the exhibit.

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Ivana Stećuk Dijalog je rad o načinu na koji osjećaji i misli umjetnice stvaraju identitete pomoću kojih komunicira sa sobom i okolinom. Umjetnica iznosi vlastita emocionalna i mentalna stanja iz unutarnjeg u vanjski svijet materijalizirajući ih u nosive objekte koje naziva – izbljuvcima. Izbljuvci su njena opipljiva mišljenja i čuvstva, simboli za stanja u kojima se nalazi ili se nalazila i koja komuniciraju primitivnim jezikom. Izbljuvak se kristalizira u identitet tek kada je u njemu tijelo.

Poput nametnika kojem je potreban organizam kako bi ostao na životu, nosivom objektu je potreban izvođač. Nosivi objekt je materijalni prikaz frekvencija koje se nalaze oko nas kada proživljavamo neko stanje. On je balon osjećaja i misli koji raste u objekt te nas naposljetku obuzima ne samo iznutra nego i izvana.

Performans donosi spoj situacija, ideja, identiteta i njihovih oblika ponašanja u zadanom trenutku. Svaki izbljuvak ima svoj način kretanja po prostoru i ideju kako bi se trebali ponašati prema ostalim izbljuvcima i publici, ali je i na izvođaču na koji će način prenijeti misao. Oblik izbljuvka djeluje na pokret izvođača na sličan način kao što inverzno osjećaji i misli djeluju na tijelo, njegove reakcije i pokrete. Identiteti ostvaruju dijalog međusobno i s publikom preko kretanja, igre, svakodnevnih radnji i fizičkog kontakta koji je ponekad bezazlen, ali u trenucima i agresivan. Posjetitelji su svjedoci namjere kretanja, sputavanja, konfrontacije, borbe, udruživanja, prevlasti, podčinjenosti, prepuštanja i predaje.

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Dialogue is a work about the way the artist’s feelings and thoughts create identities through which she communicates with herself and the environment. The artist brings out her own emotional and mental states from the inner to the outer world, materializing them into wearable items, which she calls – throw-ups. Throw-ups are her tangible opinions and feelings, symbols of the states she is or was in, and which communicate in the primitive language. A throw-up crystallizes into an identity only when there is a body in it. Like a parasite that needs an organism to stay alive, a wearable item needs a performer. A wearable item is a material representation of the frequencies around us when we experience a certain state. It is a bubble of feelings and thoughts that grows into an object and finally overwhelms both from the inside and out.

The performance is a combination of situations, ideas, identities and their forms of behaviour at a given moment. Each throw-up has its own way of moving around the space and the idea of how it should behave towards other throw-ups and the audience, but it is also up to the performer how s/he will convey the thought. The shape of a throw-up affects the movements of the performer in a similar way as feelings and thoughts affect the body, its reactions and movements. Identities establish a dialogue with each other and with the audience through movement, play, everyday activities and physical contact, which is sometimes harmless, but at times also aggressive. Visitors witness the intention of movement, restraint, confrontation, struggle, association, dominance, subordination, surrendering and succumbing.

likovni postav

exhibition

27. 4.

–19. 6.

2022.

Dijalog 2022. instalacija i dokumentacija performansa Dialogue 2022 installation and performance documentation

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Tea Stražičić Izložene slike i skulpture dio su veće zbirke koja poprima formu predimenzioniranog grafičkog romana koji upućuje na distopijsku fikciju.

Protagonisti priča, jahači Apokalipse na putu na tulum Sudnjeg dana, krenuli su na putovanje kako bi isporučili Behemotha u „Klub protiv potopa” [Anti-Diluvian Club]. Likovi su upečatljiva skeletna stvorenja koja se ponašaju poput vampira, dok im se izgled mijenja dok putuju kroz nadrealni krajolik aplikacija, nadogradnji i arhitekture. Tijekom svog putovanja postupno gube osjećaj sebe kao i potrebu za samoodređenjem i individualnošću. Oni individualnost shvaćaju kao zamku koju su ljudi sami sebi stvorili, onu koja sprječava stvarnu komunikaciju. (Madalina Stanescu) Part of a bigger collection of works, the exhibited paintings and sculptures take on the form of an oversized graphic novel, referencing dystopian fiction. The stories’ protagonists, Riders of the Apocalypse, are on their way to a doomsday party, set out on a journey to deliver Behemoth to an Anti-Diluvian Club. The characters are striking skeletal creatures who behave like vampires, while their appearances change as they travel through a surreal landscape of apps, add-ons, and architecture. Over the course of their journey, they gradually lose their sense of self as well as their need for self-determination and individuality. They come to understand individuality as a trap that humans have created for themselves, one that prevents real communication. (Madalina Stanescu)

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parasites

umjetnici

artists

27. 4.

–19. 6.

2022.

Vermilion 2021.

Voyček – akrilni airbrush na papiru Lukaš – akrilni airbrush na papiru Orsat – 40 cm, mammoth smola, akril Melkior – 80 cm, mammoth smola, akril Vermilion 2021 Voyček – acrylic airbrush on paper Lukaš – acrylic airbrush on paper Orsat – 40 cm, mammoth resin, acrylic Melkior – 80 cm, mammoth resin, acrylic produkcija/ production: Trauma Bar und Kino Rad je na izložbi predstavljen uz potporu tvrtke cargo-partner / The work is exhibited with the support by cargopartner

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Elena Štrok Prostran, neizmjerno velik i uzbudljiv, ovaj Svemir skriva mnoga zamisliva i nezamisliva bića. Možda se pitate, hoću li ikada susresti vanzemaljsko biće? Ili već jesam, a da nisam znao/la ili primijetio/la? Čak i ako se ne pitate, to ne isključuje činjenicu da ste se možda i jednom sprijateljili s vanzemaljcem, slučajno.

Aliens Surf Too je zbirka priča podijeljena s nama od strane različitih izvanzemaljskih bića.

Svatko od njih ima svoj način predstavljanja.

Ovom prilikom imamo čast biti upoznati s Astraeom, jednim od najstarijih živućih bića u našem Svemiru. Zakoračite u njen svijet i poslušajte njenu priču, a ako budete imali sreće, možda ćete ju čak pronaći u izložbenom prostoru i sami popričati s njom!

Throughout the vast and exciting Universe, one could find many imaginable and unimaginable beings. Maybe you wonder: will I ever encounter an unearthly being? Or maybe I have already, without knowing or noticing? Even if you do not wonder, that doesn’t exclude the fact that at some point, you might have accidentally made friends with an alien.

Aliens Surf Too is a collection of stories shared by different alien beings. Each of them has their own way of presenting themselves.

On this occasion, we have the honour of being greeted by Astraea, one of the oldest beings in our Universe. Step into her world and listen to her story, and if you’re lucky enough, you might even find her in the exhibition space and speak with her in person!

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parasites

umjetnici

artists

27. 4.

–19. 6.

2022.

Aliens Surf Too: Astraea 2022. instalacija i performans Aliens Surf Too: Astraea 2022 installation and performance

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ŠUM Journal (SI) Govoreći o ŠUM-u, općenito kao organizaciji i o njegovom posebnom bijenalnom izdanju, ne postavlja se pitanje pristaje li mu koncept parazita, već koje njegovo naličje može usmjeravati buduće putanje, a da ne zapadne u otrcane obrasce prošlosti. Naravno, Šum kao strukturna buka koja unosi nemir u institucionalne kanale; naravno, Šum kao vječni gost koji se gosti za institucionalnim stolom. To je samo po sebi razumljivo. Ali možda i Šum kao sučelje za razmjenu između naizgled nespojivih prostora (razuma): znanosti i mita, teorije i priče. Cross-chain protokol koji ide od bloka do bloka – od izdanja do izdanja dijagonalizirajući sebe i svijet (svoje mjesto u njemu) svakim iterativnim korakom na tom putu, pišući „logiku koja se do sada smatrala iracionalnom, novu epistemologiju i novu teoriju ravnoteža” (Serres). ŠUM je oduvijek bio vjeran svom mjestu u lancu parazitizma, svom pukom postojanju dovoljnom da izazove parazitsku reakciju stare garde, jer je nešto mekano ipak uspjelo pobjeći kroz pukotine. Ljudi pitaju: „Kako se usuđujete pozivati na ubrzanje kapitala(izma) suočeni s klimatskom krizom? Kako možete govoriti o hladnoći kada se Zemlja zagrijava?” Na što odgovaramo činjenicom da svijetu trebaju prave provokacije u trenucima kada se suočava s nedostatkom mašte, kada se prave apstrakcije rasipaju. Govoreći o sučeljima – potrebni su nam demoni koji bi odgovorili na nedostatak anđela, a ovo je lokalni maksimum nestabilne ravnoteže na kojem smo spremni umrijeti. Tako je ŠUM-ova vibra uvijek bila sljedeća: „Prava teorija potkove čovječanstva je da su najopasnije tehnologije ujedno i najkorisnije; svako prokletstvo je dar, i obrnuto” (Troha, 2021). I, na kraju krajeva, to je budućnost za kojom tragamo. (usp. Picareques i Cybernetics)

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Glossing on ŠUM, both generally as an organization and specifically its biennale issue, the question is not whether the concept of parasite fits; but rather, which face of it can inform future trajectories without falling into trite patterns of the past. Sure, Šum as structural noise, disturbing institutional channels; sure, Šum as eternal guest, feasting at the institutional table. That much is self-evident. But perhaps also Šum as the exchange interface between seemingly incompatible spaces (of reasons): science and myth, theory and tale. A cross-chain protocol proceeding block to block – issue to issue by diagonalising itself and (its place in) the world at each iterative step along the way, writing “a logic considered irrational up to now, a new epistemology and a new theory of equilibrium” (Serres). ŠUM has always been faithful to its place in the chain of parasitism, its sheer existence enough to provoke a parasitic reaction from the old guard, as something soft nevertheless escaped through the cracks. People ask: “How dare you call for accelerating capital(ism) in the face of a climate emergency? How can you speak of coldness when the Earth is becoming hot?” To which we respond with the fact that the world needs proper provocations when lack of imagination is the problem, when true abstractions are being wasted. Speaking of interfaces – we need demons to respond to the lack of angels, and this is the local maximum of unstable equilibrium we’re ready to die on. Thus, ŠUM’s vibe was always the following: “The real horseshoe theory of humanity is that the most dangerous technologies are also the most useful; every curse is a gift, and vice versa.” (Troha, 2021) And, after all, it’s the future we’re after. (cf.

Picareques and Cybernetics)

umjetnici

artists

27. 4.

–19. 6.

2022.

Generative Horizons 2022.

Generative Horizons 2022

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Petar Vranjković & Buga Kranželić Parazitno ponašanje ne odnosi se samo na prirodu. Ono je i više nego prisutno na razinama društveno-ekonomskih stigmi. Kroz ovaj rad Kranželić i Vranjković propituju svoje stanje selidbe u drugi grad i života u iznajmljenom studentskom stanu. U zadnjih nekoliko godina cijene najma stanova u stalnom su porastu, a kvaliteta tih stanova umjesto da s njima raste, nažalost opada. Kroz rad analizira se parazitno ponašanje jedinke prema skupini nad kojom ima određeni autoritet.

Kao osnovu rada koristi se dijalog, u ovom slučaju intervju između dvoje suradnika; Kranželić koja živi u stanu Pansini već nekoliko godina i Vranjkovića koji se tek uselio.

Parasitic behaviour does not only happen in nature. It is also very much present at the levels of socio-economic and social stigmas. In this work, Kranželić and Vranjković question their relocation to another city and living in a rented student apartment. In the past few years, apartment rental prices have been constantly on the rise, but the quality of these apartments has not followed suit. Quite the contrary, it is unfortunately declining. The work analyses the parasitic behaviour of an individual towards a group over which they have a certain authority.

The basis of the work is dialogue, in this case, an interview between two collaborators; Kranželić, who has been living in Pansion Pansini for several years, and Vranjković, who has just moved in.

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umjetnici

artists

27. 4.

–19. 6.

2022.

Pansion Pansini 2022. video instalacija Realizirano u kolaboraciji s Teom Matanović i CineCro Pansion Pansini 2022 video installation Realized in collaboration with Tea Matanović & CineCro

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Nika Vrbica Unatoč desetljećima naglašavanja štete koju nanosi svakom segmentu okoliša te posljedica na unesrećene skupine društva koje sebično iskorištava, modna industrija neometano brani svoje mjesto na tronu drugog najvećeg zagađivača svijeta. Poput cestode – trakavice – nemilosrdno crpi resurse na tuđu štetu. Ona se svojim skoleksom grčevito drži svojeg glavnog domaćina, neprekidno tražeći uvijek više kako bi se proizvodnja novih proglotida koji omogućuju dosezanje što većeg tržišta neometano mogla odvijati. Čak i kad je tržište prezasićeno, pronaći će nove načine zaobilaženja novih zakona i etičkih dilema, stvarajući iluziju održivosti i ekološke osviještenosti.

Kolekcija Proljeće/Ljeto 22.: Cestoda simboličan je osvrt na situaciju suvremene modne scene na kojoj je već neko vrijeme glavni trend djelovati reciklirano i ponovno nošeno, onako kako to promoviraju kritičari „brze mode”. Rad prikazuje mutaciju traperica kao jednog od najpoznatijih odjevnih predmeta u čudovišnu trakavicu – cestodu koja guta sve pred sobom.

Budućnost mode i umjetnosti možda leži u iskorištavanju otpada prije nego on iskoristi nas.

Jedan takav rad osvještava i potencijalni nastavak parazitske aktivnosti, ovog puta umjetnice prema otpadu i industriji koja ga stvara. Kakav bismo materijal imali za stvaranje i osvrt bez njihova postojanja? Nije li svaki rad, čak i kad je stvoren od otpada, i dalje novi rad ponuđen tržištu koje za njim stvara potražnju?

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Despite decades of emphasizing the damage that it inflicts on every segment of the environment and its impact on the unfortunate groups of society that it selfishly exploits, the fashion industry smoothly retains its place on the throne of the world’s second-largest polluter. Like a cestode – a tapeworm – it ruthlessly drains resources to the detriment of others. It attaches to its main host with its scolex, constantly looking for more and more so that the production of new proglottids could continue smoothly, which enables it to reach as large a market as possible. Even when the market is oversaturated, it finds new ways around new laws and ethical dilemmas, creating the illusion of sustainability and environmental awareness.

The ’22 Spring / Summer Collection: Cestoda is a symbolic take on the situation of the contemporary fashion scene, where recycling and upcycling have been the main trends for a while, as is promoted by the critics of “fast fashion.”

The work shows the mutation of jeans, as one of the most famous clothing items, into a monster tapeworm – a cestode that swallows everything in its way.

The future of fashion and art may lie in the exploitation of waste before it exploits us. One such work raises awareness about the potential continuation of parasitic activity, this time by the artist towards waste and the industry that creates it. What kind of material would we have to create and evaluate without their existence?

Isn’t every work, even when it is created from waste, still a new work offered on the market that creates a demand for it?

umjetnici

artists

27. 4.

–19. 6.

2022.

Kolekcija Proljeće/Ljeto 22.: Cestoda 2021. strojni i ručni patchwork šivanjem rabljenog trapera 22 Spring/Summer Collection: Cestoda 2021 machine and manual patchwork created by sewing used denim

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Neja Zorzut (SI) Prostor je dezinfekcijski hodnik u koji je mekoćom, kroz jedva postojeće, ali oštre rubove, prodrla sepsa. Zidovi i podne obloge najpogodnije su za opsesivno čišćenje, a na sličan način precizno organizirana mnogostrukost izvan poluprostora ulazi i taktilno prianja. Zamislite stanište, npr. klaonicu, nešto između poluotvorenog i poluzatvorenog prostora, prostora u koji mogu uletjeti muhe koje su termokromne ako ih gledate pod određenim svjetlom i određeni kutom. Tu se mekoća neprestano stapa s tvrdoćom, s krutim tkivom mesa, kukci se pretvaraju u meso. Granica je tek uzorak, naizmjenično se stvara dojam kukaca koji se pretvaraju u meso i obrnuto.

Niti se šire cijelim prostorom, objekti se kontinuirano nadograđuju u vlastita tijela, a ovaj prostor zasigurno nije samo okruženje sa sličnim organskim bakterijama/katalizatorima gradnje odnosno razgradnje, povezane su s nasiljem nad mesom, s grčevima, s udubljenjima, s pokretom, s kontrolom/gubitkom iste. Tijela nastavljaju rasti, a u naborima rasta rađa se nasilje, odnosno specifično nasilje, koje se može osjetiti samo kroz dodir koji zahtijeva blizinu. Iako su nastala tijela oduvijek bila u hodniku, sada se počela nasilno prodirati u poluprostor, postala su vlastita vanjština. Oblici mijenjaju svoj oblik i funkcioniraju u sustvaranju s okolinom. Vlakna se rađaju u zraku; stvaraju međuprostor agregirajući svoje kretanje od gipkog prema čvrstom.

Međuprostor između objekata je objekt. Suživot u prostorima između, u složenoj interakciji u kojoj je protok organske tvari prijelazni proces.

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The space is a disinfection corridor into which sepsis has penetrated through softness, through barely existing, yet sharp edges. The walls and floor coverings are most convenient for obsessive cleaning, and in a similar manner, the precisely organised multiplicity outside the half-space enters and tactilely adheres.

Imagine a habitat, e.g., a slaughterhouse, that moves somewhere in between the half-open and half-closed space, a space that flies can fly into, the ones that are of thermochromic colour if you look at them in a specific light and under a certain angle. Over there, softness is continually merged into hardness, into rigid flesh tissue, where insects are transforming into flesh. The boundary is merely a sample, there is an alternating impression of insects turning into flesh and flesh into insects.

Filaments are spreading all over the space, objects are continuously upgrading themselves into their own bodies, and this space is certainly not only an environment with similar organic bacteria/accelerators of building aka decomposing, they are tied to flesh violence, to spasms, to indentation, to movement, to non/ control. Bodies continue to grow and it is in the furrow of growth that violence forms, that is, specific violence, visible only by touch that demands proximity. Although the resulting bodies have always been in the corridor, but have now begun to violently penetrate into the half-space, they’ve become their own exterior. The forms are changing their shape and functioning in co-creation with the environment. Fibres are being born in the air; they are creating an intermediate space by aggregating their movement from supple to solid. The intermediate space between objects is the object. Co-existence in betwixt, in a complex interaction where the flow of organic matter is a transitional process.

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Prodrom 2021. uljane boje, akrilne boje, lateks; poliesterska smola, stakloplastika, kosa, ugljen, željezo Prodrome 2021 oil paints, acrylic paints, latex; polyester resin, fiberglass, hair, carbon, iron

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biografije umjetnika

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artists’ biographies

Laura Barić dijima skulpture, performansa, instalacije, videa Laura Barić rođena je 1993.godine. Diplomirala i zvuka. Izlagala je na nekoliko samostalnih i gruje 2016. na Akademiji likovnih umjetnosti u Zapnih izložbi. Za svoj umjetnički rad nagrađena grebu, na Odsjeku za animirani film i nove medije. je Drugom nagradom Zavičajnog muzeja grada 2019. završila je jednogodišnji poslijediplomski Rovinja na izložbi „Grisia“ 2018. te s Nagradom program WHW akademije. Do sada je realizi„Maistra“ 2018. na istoj izložbi. Suosniva udrugu rala nekoliko samostalnih i sudjelovala u nizu Kružok i pop-up galeriju Garaža Kamba 2017. grupnih izložbi u Hrvatskoj i inozemstvu. 2019. gdje radi kao voditeljica programa naredne dvije godine je provela stipendirani rezidencijalni godine. boravak na Academie Schloss Solitude te je iste godine osvojila i prvu nagradu za svoj rad „Two Andrej Beštak was born in Zagreb in 1993. He ways of slicing an onion“ kao pobjednica Grisia graduated in Graphic Arts at the Academy of Youth festivala u Rovinju. Živi i radi u Zagrebu.

Fine Arts in Zagreb in 2018 in the class of Mirjana Vodopija. During his studies, he participated Laura Barić was born in 1993. She graduated in a student exchange in Prague at the Acadfrom the Academy of Fine Arts in Zagreb, Deemy of Fine Arts in Prague. He is a member of partment of Animation and New Media in 2016. the curatorial team at the international student In 2019, she completed a one-year postgraduexhibition Transformation of Image held in the ate program at the WHW Academy. So far, she Zagreb Museum of Contemporary Art in 2016. has had several solo and participated in several He has been actively participating in the art group exhibitions in Croatia and abroad. In 2019, scene since 2015 and has exhibited in numershe was awarded a scholarship residency at the ous group and solo exhibitions.

Academie Schloss Solitude, and in the same year, she won the first prize for her work “Two Anja Leko (1991) graduated in painting from the Ways of Slicing an Onion” as the winner of the Art Education Department of the Academy of Grisia Youth Festival in Rovinj. She lives and Fine Arts in Zagreb. In addition to painting, she works in Zagreb. also works in the media of sculpture, performance, installation, video and sound. She has Andrej Beštak & Anja Leko exhibited in several solo and group exhibitions.

Andrej Beštak rođen je 1993. godine u ZagreShe won the Second Prize of the Rovinj Heritage bu. Diplomirao je grafiku na Akademiji likovnih Museum at the “Grisia” exhibition in 2018 and umjetnosti u Zagrebu 2018. godine u klasi the “Maistra” Award in 2018 at the same exhiMirjane Vodopije. Za vrijeme studija sudjeluje na bition. She co-founded the Kružok association studentskoj razmjeni u Pragu na Akademiji likovand the Gabaža Kamba pop-up gallery in 2017, nih umjetnosti u Pragu. Član je kustoskog tima where she worked as a programme manager for na međunarodnoj studentskoj izložbi Transforthe next two years. mation of Image održanoj u zagrebačkom MSU 2016. godine. Aktivno sudjeluje na likovnoj sceni Sunčana Brkulj od 2015. godine gdje izlaže na brojim skupnim i Sunčana Brkulj rođena je 1997. u Zadru. 2016. samostalnim izložbama. upisala je Akademiju likovnih umjetnosti Sveučilišta u Zagrebu. 2019. u sklopu studija stvara Anja Leko (1991.) diplomirala je slikarstvo na film “I’M NOT FEELING VERY WELL” koji se, Nastavničkom odsjeku Akademije likovnih između ostalih, plasirao na najprestižniji Europumjetnosti u Zagrebu. Osim slikarstva radi u me- ski festival animiranog filma u Annecy-ju. 2020.

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2022. stvara film „Kula“ koji je ponovio uspjeh svog prethodnika, a osim Annecy-ja uvršten je i u konkurenciju filmova na zagrebačkom Animafestu i festivalu u Ottawi. Oba filma izlagana su u sklopu Salona Mladih u HDLU. 2022. Sunčana dovršava diplomski studij na ALU filmom „Stinky u Mračnoj šumi“ koji je tek započeo svoj festivalski život. Osim animirane filmove, Sunčana je na nekolicini solo izložbi pod nazivom „Inferno“ izlagala i radove u tehnici kolaža.

Sunčana Brkulj was born in Zadar in 1997. In 2016, she enrolled at the Academy of Fine Arts, the University of Zagreb. In 2019, as part of her studies, she created the film “I’M NOT FEELING VERY WELL”, which, among others, was featured at the most prestigious Annecy International Animated Film Festival. In 2020, she created the film “Tower”, which repeated the success of its predecessor, and in addition to Annecy, it was included in the film competition of the Zagreb Animafest and the Ottawa Festival. Both films were exhibited as part of the Youth Salon at the Croatian Association of Artists. In 2022, Sunčana completed her graduate studies at the Academy of Fine Arts with the film “Stinky in the Dark Forest”, which has just begun its festival life. In addition to animated films, Sunčana has also exhibited works in the collage technique in several solo exhibitions titled “Inferno”. Šimun Bućan Šimun Bućan rođen je 1993. godine. Student je preddiplomskog studija likovne kulture na Akademiji likovnih umjetnosti u Zagrebu u klasama prof. Igora Čabraje, prof. Ivana Fijolića i prof. Snježane Ban bez određenog medijskog opredjeljenja. Uz studij se bavi fotografijom pod mentorstvom Zvonimira Ferine. Dobitnik je Rektorove nagrade. 2021. godine imao je prvu samostalnu izložbu „Bilo Jednom U Krevetu“ na Šolti u Galeriji Bratske Kuće u Grohotama. Sudjelovao je na više javnih umjetničkih projekata i grupnih izložbi u Zagrebu. Šimun Bućan was born in 1993. He is an undergraduate fine arts student at the Academy of Fine Arts in Zagreb in the classes of Prof. Igor Čabraja, Prof. Ivan Fijolić and Prof. Snježana Ban, where he has not chosen a specific medium.

In addition to his studies, he is engaged in photography under the mentorship of Zvonimir Ferina. He has won the Rector’s Award. In 2021,

he had his first solo exhibition “Once Upon in a Bed” on Šolta in Bratska Kuća Gallery in Grohote.

He has participated in several public art projects and group exhibitions in Zagreb.

Klara Burić Klara Burić u svojim se radovima bavi etičkim, ekološkim i ekonomskim odnosom spram šumskih zajednica koje su ugrožene nesavjesnim gospodarenjem. Modeliranjem i lijevanjem sintetskih i organskih materijala (glina, drvo, smola) te sakupljanjem tekstura drveća i proizvodnjom mirisa, njezine instalacije su simulakrumi iščezavajuće prirode. Završila je diplomski sveučilišni studij likovne kulture, smjer kiparstvo u klasi izv. prof. art. Vlaste Žanić na Akademiji likovnih umjetnosti u Zagrebu 2021. godine. Dobitnica je pohvale iz latinske klasifikacije „Summa cum laude“ 2019. godine.

In her works, Klara Burić deals with the ethical, environmental and economic attitudes towards forest communities that are endangered due to negligent management. By modelling and casting synthetic and organic materials (clay, wood, resin) and collecting wood textures and producing fragrances, her installations are simulacra of a vanishing nature. She graduated in Fine Arts, Department of Sculpture in the class of Assoc.

Prof. Vlasta Žanić at the Academy of Fine Arts in Zagreb in 2021. She received a summa cum laude honours in 2019.

Luka Cvetković Luka Cvetković (1995) je vizualni i performans umjetnik, zainteresiran za pitanje pozicije publike tijekom umjetničkog procesa (njezina potencijalnog sudjelovanja), dinamike moći unutar kulturne, političke i društvene stvarnosti i mogućnosti kreiranja novog diskursa – novog prostora djelovanja u okviru kojeg je akumulacija revolucionarnog potencijala moguća. Godine 2018, s grupom umjetnika, kustosa i dizajnera osnovao je „Institut za aplauz”. Dobitnik je više nagrada i stipendija, između ostalih i Nagrade za specijalnu kreativnu inovaciju i stipendije Fondacije Hans Wilsdorf. Izlagao na više samostalnih i grupnih izložbi u domovini i inozemstvu.

Luka Cvetković (1995) is a visual and performance artist, interested in the position of the audience during an artistic process (its potential participation), the dynamics of power within

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cultural, political and social reality and the possibility of creating a new discourse - a new space of action which enables the accumulation of revolutionary potential. In 2018, with a group of artists, curators and designers, he founded the “Institute for Applause”. He has won several awards and scholarships, including the Special Creative Innovation Award and the Hans Wilsdorf Foundation Scholarship. He has exhibited in several solo and group exhibitions in the country and abroad.

Lora Elezović Lora Elezović rođena je 1995. u Torontu u Kanadi. 2020. diplomirala je likovnu kulturu, grafički odsjek na Akademiji likovne umjetnosti u Zagrebu i stekla zvanje magistra edukacije likovne kulture. Izlagala je na četiri samostalne izložbe i na 50-ak skupnih izložbi u Hrvatskoj i inozemstvu. Aktivno se bavi vođenjem likovnih radionica od 2017. godine. Članica je HDLU-a od 2020. godine. 2021. postaje „brand ambasador“ za Cretacolor, Fabriano, Magnani 1404, Uni ball i Poscu.

Lora Elezovic was born in Toronto, Canada, in 1995. In 2020, she graduated in Fine Arts, Department of Graphic Arts, at the Academy of Fine Arts in Zagreb and earned a Master’s degree in Art Education. She has exhibited in four solo exhibitions and about 50 group exhibitions in Croatia and abroad. She has been actively managing art workshops since 2017. She has been a member of the Croatian Association of Artists since 2020. In 2021 she became a “brand ambassador” for Cretacolor, Fabriano, Magnani 1404, Uni ball and Poscu.

FaceOrFactory FaceOrFactory je osnovan kao dugotrajno umjetničko istraživanje u području genetike, prava, vizualne umjetnosti i filozofije. Organiziran je u obliku korporativnog i umjetničkog sustava sa specifičnim pravilima, retorikom i vizualnim jezikom. Svake godine novo poglavlje kreativnog procesa istražuje različite teorijske aspekte facijalnosti i modele decentralizirane subjektivnosti i polako gradi cijeli autonomni ekosustav FaceOrFactory. Ova poglavlja projekta obično su predstavljena u obliku izložbi, tekstova i radionica, ali su otvorena u smislu istraživanja različitih oblika, mjesta i načina uspostavljanja njihove raspršene platforme.

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FaceOrFactory is established as a long-lasting artistic research in the field of genetics, law, visual art and philosophy. It is organized in the form of a corporative and artistic system with specific rules, rhetorics and visual language. Each year, a new chapter of the creative process explores different theoretical aspects of faciality and models of decentralized subjectivity and is slowly building the whole of autonomous ecosystem FaceOrFactory. These chapters of the project are usually presented in the form of exhibitions, texts and workshops, but are open in terms of exploring different forms, places and ways of establishing their dispersed platform.

Robert Fenrich Robert Fenrich rođen je 1995. u Zagrebu. Diplomirao je grafiku 2020. na Akademiji likovnih umjetnosti u Zagrebu. Izlagao je na dvije samostalne izložbe i jednoj grupnoj. Krajem 2018. osnovao je neformalni umjetnički kolektiv Medium Movement u kojem djeluje i ostvaruje razne suradnje i produkcije izvedbi i izložba. Živi i radi u Zagrebu.

Robert Fenrich was born in Zagreb in 1995. He graduated in Graphic Arts from the Academy of Fine Arts in Zagreb in 2020. He has exhibited in two solo and one group exhibition. In late 2018 he founded the informal art collective Medium Movement in which he operates and establishes various collaborations and productions of performances and exhibitions. He lives and works in Zagreb.

Format C Format C je neprofitna umjetnička organizacija aktivna u području multimedijalnog umjetničkog stvaralaštva, s fokusom u području novomedijskog umjetničkog eksperimenta i neprofitnog suradničkog kulturnog stvaralaštva.

Neke od tema aktivnosti koje organizacija inicira ili u kojima je angažirana su • databending, multimedijska i hipermedijska umjetnost • digitalna ekologija, otvoreni sustavi i umjetničke suradnje velikog razmjera • osmišljavanje/produkcija/medijacija kulturnih programa • besplatna edukacija i promicanje slobodnog znanja.

Umjetnici/e koji/e sudjeluju u postavu Pivilion/EXEno1: _Vina Curcija, 2A53DBB3, 3, 5A20BC03, 91B6B7A1, 238A70A8, 304AF44C, 69418A6E, ALANA JORSZ, BE2E0800, Paul

biografije umjetnika

artists’ biographies

Beaudoin, Bob Georgeson, bojana_vojvodic_b00, C3B1FDDD, CAA85EF8, CC17BDB5, crash_stop, Dina Karadžić, E3867565, EMO, error, F1E41575, F3052744, image, IMG, j3d1n4, pin9, QkG9QPv, Screenshot, Tumblr_l, Vedran Gligo, i drugi. formatc.hr Format C is a non-profit artist organization active in the area of multimedia art, with a focus in new media art experiments and non-profit collaborative cultural creation.

Some of the activities Format C initiates or is involved in include • databending, multimedia and hypermedia art • digital ecology, open systems and large-scale artist collaborations • conceptualizing/production/mediation of cultural events • free (as in both libre and gratis) education and open knowledge promotion.

Pivilion/EXEno1 participating artists: _Vina Curcija, 2A53DBB3, 3, 5A20BC03, 91B6B7A1, 238A70A8, 304AF44C, 69418A6E, ALANA JORSZ, BE2E0800, Beaudoin Paul, Bob Georgeson, bojana_vojvodic_b00, C3B1FDDD, CAA85EF8, CC17BDB5, crash_stop, Dina Karadžić, E3867565, EMO, error, F1E41575, F3052744, image, IMG, j3d1n4, pin9, QkG9QPv, Screenshot, Tumblr_l, Vedran Gligo, and others. formatc.hr Bartol Galović Bartol Galović rođen je u Zagrebu. Završio je Školu primijenjene umjetnosti i dizajna u Zagrebu, smjer grafički dizajner. 2019. upisuje Akademiju likovnih umjetnosti, smjer grafika. Izlagao je na dvije samostalne i tri grupne izložbe od kojih je jedna bila u inozemstvu.

Bartol Galović was born in Zagreb. He graduated from the School of Applied Arts and Design in Zagreb, majoring in graphic design. In 2019, he enrolled at the Academy of Fine Arts, majoring in graphic arts. He has exhibited in two solo and three group exhibitions, one of which was abroad.

Teuta Gatolin Teuta Gatolin rođena je 1993. godine. Studirala je na Odsjeku novih medija pri Akademiji likovnih umjetnosti, te na Odsjeku novinarstva pri Fakultetu političkih znanosti, oboje u Zagrebu. Bila je polaznica treće generacije WHW Akademije.

Izlagala je na četiri samostalne izložbe te više

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2022. grupnih. Sudjelovala je na festivalima Improspekcije, Tjednu suvremenog plesa, Platformi HR, Perforacijama, Noći muzeja te drugima. Bila je stipendistica Erste Fragmenti nagrade za mlade umjetnike za 2019/2020.

Teuta Gatolin was born in 1993. She studied at the Department of New Media at the Academy of Fine Arts, and the Department of Journalism at the Faculty of Political Science, both in Zagreb. She was a third-generation WHW Academy student. She has exhibited in four solo and several group exhibitions. She has participated in the following festivals: Improspekcije, Contemporary Dance Week, HR Platform, Perforations, Museum Night and others. She was a scholarship holder of the Erste Fragments Award for Young Artists for 2019/2020.

Ivan Gundić Ivan Gundić rođen je u Koprivnici 1993. godine.

Završio je preddiplomski studij na Fakultetu političkih znanosti i diplomski studij fotografije na Akademiji dramske umjetnosti u Zagrebu.

Dobitnik je dviju Rektorovih nagrada. Bavi se temama memorije, jezika, društva, ideologije i identiteta. Izlagao je na pet samostalnih izložbi i dvije grupne.

Ivan Gundić was born in Koprivnica in 1993. He completed his undergraduate studies at the Faculty of Political Science and his graduate studies in photography at the Academy of Dramatic Art in Zagreb. He is the winner of two Rector’s Awards. He deals with the topics of memory, language, society, ideology and identity. He has exhibited in five solo and two group exhibitions.

Deni Horvatić Deni Horvatić rođen je 1991. u Čakovcu. Od 2015. do 2017. radio je kao asistent produkcije u Studiu Silvio Vujičić te od 2015. do 2018. za modni brend E.A. 1/1 S.V. na poziciji izvršnog pomoćnika, istraživanja i komunikacija te vizualnog dizajna. Od 2019. radi kao fotograf u modnom brendu XD Xenia Design. Dobitnik je nagrade Marina Viculin.

Deni Horvatić was born in Čakovec in 1991.

From 2015 to 2017, he worked as a production assistant at Silvio Vujičić Studio and from 2015 to 2018 for the E.A. 1/1 S.V. fashion brand as an

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executive assistant and in the fields of research and communication, and visual design. Since 2019, he has been working as a photographer for the XD Xenia Design fashion brand. He is the winner of the Marina Viculin Award.

Borna Ivanuša Borna Ivanuša rođen je 1996. godine. Student je na diplomskom sveučilišnom studiju grafike, Akademije likovnih umjetnosti u Zagrebu u klasi prof. Roberta Šimraka. Izlagao je na nekoliko samostalnih i grupnih izložbi. Bavi se također raznim interdisciplinarnim projektima. Živi i radi u Zagrebu.

Borna Ivanuša was born in 1996. He is a graduate student of graphic arts at the Academy of Fine Arts in Zagreb in the class of Prof. Robert Šimrak. He has exhibited in several solo and group exhibitions. He is also involved in various interdisciplinary projects. He lives and works in Zagreb.

Antonio Kutleša Antonio Kutleša rođen je 1993. u Zagrebu. 2015. upisuje diplomski sveučilišni studij likovne kulture, s glavnim umjetničkim predmetom grafika i primijenjena grafika, u klasi profesorice Ines Krasić. 2018. godine diplomira s izvrsnim uspjehom i nagradom akademskog vijeća Akademije likovnih umjetnosti najuspješnijim diplomantima; stječući zvanje magistra edukacije likovne kulture. Od 2019. godine radi u Školi primijenjene umjetnosti i dizajna u Zagrebu kao nastavnik crtanja i slikanja, grafičkih tehnika te crtanja akta na Odjelu grafike.

Antonio Kutleša was born in Zagreb in 1993.

In 2015, he enrolled in the graduate study of Fine Arts, with a major in Graphics and Applied Graphics, in the class of Prof. Ines Krasić. In 2018, he graduated with honours and the award of the Academic Council of the Academy of Fine Arts awarded to the most successful graduates, gaining a Master’s degree in Art Education.

Since 2019, he has been working at the School of Applied Arts and Design in Zagreb as a teacher of Drawing and Painting, Graphic Techniques and Figure Drawing in the Graphics Department.

Leonardo Losciale Leonardo Losciale, rođen je u Italiji. Završio je Muzičku Akademiju u Zagrebu 2015. godine.

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Pohađa četvrtu godinu preddiplomskog studija kiparstva u klasi prof. Petra Barišića. Član je Zagrebačke filharmonije. Živi i radi u Zagrebu.

Leonardo Losciale was born in Italy. He graduated from the Music Academy in Zagreb in 2015.

He is attending the fourth year of undergraduate study of Sculpture in the class of Prof. Petar Barišić. He is a member of the Zagreb Philharmonic Orchestra. He lives and works in Zagreb.

Jelena Lovrec Jelena Lovrec rođena je 1989. godine. Diplomirala je na Akademiji likovnih umjetnosti u Zagrebu 2014. te je do sada ostvarila 13 samostalnih izložbi i sudjelovala na brojnim skupnim izložbama. Finalistica je Nagrade Radoslav Putar (2021.) i dobitnica Nagrade Essl Art award (2013.), Nagrade Vienna Insurance Group (2013.), Posebne pohvale, 33. Salon mladih (2016.), Nagrade Galerije Kranjčar, 34. Salon mladih (2018.), Nagrada mladom umjetniku, HDLU (2019.).

Jelena Lovrec was born in 1989. She graduated from the Academy of Fine Arts in Zagreb in 2014, and has so far had 13 solo exhibitions and participated in numerous group exhibitions.

She was a finalist of the Radoslav Putar Award (2021), and the winner of the Essl Art Award (2013), the Vienna Insurance Group Award (2013), Special Commendation, 33rd youth Salon (2016), Kranjčar Gallery Award, 34th Youth Salon (2018), Young Artist Award, Croatian Association of Artists (2019).

Mia Matijević - Akrap Mia Matijević Akrap rođena je 1995. u Požegi.

Diplomirala je na Akademiji likovnih umjetnosti u Zagrebu 2020. Izlagala je na tri samostalne i brojnim skupnim izložbama. Sudjelovala je na dva rezidencijalna programa (Njemačka i Litva) i Erasmus+ stručnoj praksi (Njemačka). Dobitnica je četiri Rektorove nagrade, dvije pohvale Akademije likovnih umjetnosti, nagrade publike na projektu Erste fragmentima i dvije Sveučilišne stipendije za darovite studente. Živi i radi u Zagrebu.

Mia Matijević Akrap was born in Požega in 1995.

She graduated from the Academy of Fine Arts in Zagreb in 2020. She has exhibited in three solo and numerous group exhibitions. She has

biografije umjetnika

artists’ biographies

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participated in two residency programs (Germany and Lithuania) and an Erasmus + internship (Germany). She has won four Rector’s Awards, two commendations from the Academy of Fine Arts, an audience award for the Erste Fragments project and two University Scholarships for Gifted Students. She lives and works in Zagreb.

Marianna Nardini (Trieste, 1994) graduated from the Academy of Fine Arts in Zagreb in the class of Prof Ante Rašić. Her work focuses on multimedia, new media practices, interdisciplinary research, ontological questioning, writing and experimental sound. She has exhibited in several solo and group exhibitions.

MediumMovement MediumMovement umjetnički je kolektiv oformljen krajem 2018. godine. Kolektiv se bavi eksperimentiranjem unutar raznih medija umjetničkog stvaranja, čime istražuju granice ambijenta, zvuka i slike. U svojem radu često koristi reciklirane materijale, kojima daje novi kontekst i svrhu. Ideja za formiranje kolektiva i novih hibridnih formi kulturnog i društvenog/zabavnog sadržaja stvorila se iz ljubavi prema elektronskoj glazbi i potrebi za kreiranjem dijaloga između medija i prostora. Izvedbe nastaju kao produkt istraživanja članova kolektiva u kojoj svatko doprinosi cjelini. Zajednički gradimo, stvaramo odnose između vizualnog i auditivnog iskustva, te na taj način atmosferom imamo interakciju s publikom u prostoru.

Luka Pešun Luka Pešun rođen je 1990. godine. 2015., nakon studija modnog dizajna na TTF-u upisuje smjer fotografije na Akademiji dramske umjetnosti kojeg završava 2019. Dobitnik je Rektorove nagrade. Sudjelovao je na nekoliko grupnih i par samostalnih izložbi.

MediumMovement is an art collective formed in late 2018. The collective is engaged in experimentation within various media of artistic creation, thus exploring the boundaries of ambience, sound and image. In its work, it often uses recycled materials and gives them new context and purpose. The idea for forming the collective and new hybrid forms of cultural and social/entertainment content came out of love for electronic music and the need to create a dialogue between the medium and the space. Performances are created as a product of research by the members of the collective in which everyone contributes to the whole.

Together we build, create relationships between visual and auditory experiences and thus create an atmosphere of interaction with the audience in the space.

Marianna Nardini Marianna Nardini (Trst, 1994.) diplomirala je na Akademiji Likovnih Umjetnosti u Zagrebu u klasi Ante Rašića. Njen je rad usmjeren u multimediju, novomedijske prakse, interdisciplinarnom istraživanju, ontološkom propitkivanju, pisanju i eksperimentalnom zvuku. Izlagala je na više samostalnih i grupnih izložbi.

Luka Pešun was born in 1990. In 2015, after studying Fashion Design at the Faculty of Textile Technology, he enrolled in the Department of Photography at the Academy of Dramatic Art, graduating in 2019. He is the winner of the Rector’s Award. He has participated in several group and a couple of solo exhibitions.

Marina Popović Marina Popović rođena je 1998. u Splitu. 2016. završila je Školu likovnih umjetnosti u Splitu, smjer dizajner odjeće. Od 2018. studira na Akademiji likovnih umjetnosti u Zagrebu, trenutno na četvrtoj godini preddiplomskog sveučilišnog studija slikarstva. Do sada je sudjelovala na nekoliko grupnih izložbi.

Marina Popović was born in Split in 1998. In 2016, she graduated from the School of Fine Arts in Split, majoring in Clothing Design. Since 2018, she has been studying at the Academy of Fine Arts in Zagreb, and is currently in her fourth year of undergraduate study in Painting.

So far, she has participated in several group exhibitions.

Gaia Radić Gaia Radić (Pula, 2001.) mlada je novomedijska umjetnica koja primarno djeluje u području računalne grafike i 3D modeliranja. Trenutno paralelno studira kiparstvo na Akademiji primijenjenih umjetnosti u Rijeci, te arhitekturu na Arhitektonskom fakultetu u Ljubljani. Do sada je imala priliku sudjelovati na više od dvadeset skupnih izložbi u Hrvatskoj i Sloveniji. Prvu samostalnu izložbu pod nazivom ‘Svjetovi’ održala je u siječnju 2021. godine u riječkoj Galeriji SKC. Najmlađa je članica HDLU-a Istre. U svojoj

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umjetničkoj praksi istražuje i propituje korelaciju mentalnog, virtualnog i fizičkog prostora, a svoje koncepte najčešće materijalizira u obliku 3D vizualizacija i prostornih instalacija.

Gaia Radić (Pula, 2001) is a young new media artist who primarily works in the field of computer graphics and 3D modelling. She is currently studying sculpture at the Academy of Applied Arts in Rijeka and architecture at the Faculty of Architecture in Ljubljana. So far, she has had the opportunity to participate in more than twenty group exhibitions in Croatia and Slovenia. She held her first solo exhibition titled ‘Svjetovi’ (Worlds) in January 2021 at the SKC Gallery in Rijeka. She is the youngest member of the Croatian Association of Artists of Istria. In her art practice, she researches and questions the correlation between mental, virtual and physical space, and most often materializes her concepts in the form of 3D visualizations and spatial installations.

Sara Salamon Sara Salamon rođena je 1991. u Rijeci. Diplomirala je na smjeru medijskih umjetnosti i praksi na Akademiji primijenjenih umjetnosti u Rijeci.

Djeluje u poljima različitih umjetničkih praksi, kao vizualna umjetnica, snimateljica, i montažerka. Sudjelovala je na više grupnih i samostalnih izložbi u Rijeci, Sisku, Zagrebu, Ljubljani, Grazu i Berlinu. Članica je kolektiva B.A.K.A. produkcija, M28 i Platforma za eksperiment. Nagrađivana je za svoj umjetnički rad.

Sara Salamon was born in Rijeka in 1991. She graduated in Media Arts and Practices at the Academy of Applied Arts in Rijeka. She is engaged in various artistic practices, as a visual artist, cinematographer, and editor. She has participated in several group and solo exhibitions in Rijeka, Sisak, Zagreb, Ljubljana, Graz and Berlin.

She is a member of the following collectives: B.A.K.A. produkcija, M28 and Platforma za eksperiment. She has been awarded for her artistic work.

Ivana Stećuk Ivana Stećuk rođena je 1997. u Zagrebu. Završila je diplomski sveučilišni studij grafike na Akademiji likovnih umjetnosti u Zagrebu pod mentorstvom prof. Mirjane Vodopije. Sudjelovala je na par samostalnih i mnoštvo grupnih

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izložbi i radionica. Dobitnica je dviju Rektorovih nagrada.

Ivana Stećuk was born in Zagreb in 1997. She graduated in Graphic Arts from the Academy of Fine Arts in Zagreb under the mentorship of Prof. Mirjana Vodopija. She has participated in several solo and many group exhibitions and workshops. She is the winner of two Rector’s Awards.

Tea Stražičić Tea Strazičić je hrvatska multimedijalna umjetnica koja djeluje u Berlinu, a ima magisterij iz animacije i novih medija. Poznati su po nastupima s @baojiaxiang i @pirate_sheep (SwS) kao AV čin u Sonic Actsu, Creamcakeu, Creepy Teepeeu i Supynesu. Dizajnirali su viralne papuče Skull koje je na tržište plasirao brend ITCC iz Šangaja.

Godine 2020. radili su za projekt svemirske opere QT UR EA autorstvo koje potpisuje Trauma Bar Und Kino, imali su samostalne izložbe Lone Long Boy u Polansky and UwU u Ung-5 u Kölnu.

Njezina posljednja samostalna izložba bila je obuhvatna jednomjesečna izložba u Trauma Bar und Kino pod nazivom Vermillion. Teina umjetnička praksa ukorijenjena je u dizajnu likova, nadahnutom zapadnom i istočnom animacijom i heavy metal estetikom. Svaka izložba usredotočena je na isti svemir, oko kojeg kruže različiti narativi ovisno o liku kojeg odluče “prizvati”.

Tea Stražičić is a Berlin-based, Croatian multimedia artist, with an MA in Animation and New Media. They are known for performing with @ baojiaxiang and @pirate_sheep ( SwS) as AV act at Sonic Acts, Creamcake, Creepy Teepee and Supynes. They designed the viral Skull slippers released by Shanghai-based brand ITCC. In 2020 they worked for the QT UR EA space opera project of Trauma Bar Und Kino and had solo shows Lone Long Boy at Polansky and UwU at Ung-5, Cologne. Her final solo show was an immersive month-long exhibition at Trauma Bar und Kino under the title Vermillion. Tea’s art practice is rooted in character design, inspired by both western and eastern animation and heavy metal aesthetics. Each exhibition centres around the same universe, orbiting different narratives based on the character they choose to “summon”.

biografije umjetnika

artists’ biographies

Elena Štrok Elena je praktičarka međumedijske umjetnosti i zaljubljenica u pripovijedanje iz Hrvatske. Školovanje je stekla prvenstveno na Akademiji likovnih umjetnosti u Zagrebu gdje je magistrirala grafičku umjetnost (nagrađena sa summa cum laude), a istovremeno je tijekom proteklih godina sudjelovala i u različitim radionicama, rezidencijama i studentskim razmjenama. Do sada je sudjelovala u međunarodnim i lokalnim projektima iz područja vizualnih umjetnosti, glazbe i performansa, izlažući i nastupajući u Hrvatskoj, Srbiji, Sloveniji, Sjevernoj Makedoniji, Latviji, Češkoj, Grčkoj i Portugalu. Trenutno živi u Amsterdamu i radi u Hrvatskoj i Nizozemskoj.

Elena is a cross-media art practitioner and storyteller enthusiast from Croatia. She got her education primarily from the Academy of Fine Arts in Zagreb where she obtained an MA degree in Graphic Arts (with summa cum laude) while also taking part in differently natured workshops, residencies and student exchanges over the past years. So far, she has participated in international and local projects in the fields of visual arts, music and performance, exhibiting and performing in Croatia, Serbia, Slovenia, North Macedonia, Latvia, Czech Republic, Greece and Portugal. She currently lives in Amsterdam and works both in Croatia and Netherlands.

Revija ŠUM / ŠUM Journal Šum je revija i platforma koja se bavi suvremenom umjetnošću i teorijom. Osnovali su ga 2013. umjetnici i teoretičari, a podržava ga mreža institucija za suvremenu umjetnost u Sloveniji koje djeluju kao njezini koproducenti.

Revija se distribuira besplatno. Šum je mreža i zajednica umjetnika i pisaca koji doprinose njegovu stvaranju i koji organiziraju intervencije u institucionalne programe u obliku rasprava, predavanja, seminara i raznih drugih događanja koja služe kao sredstvo samoobrazovanja i alati za stvaranje veza s različitim institucionalnim kontekstima. Šum is a journal and a platform focusing on contemporary art and theory. It was established in 2013 by artists and theorists and is supported by a network of institutions for contemporary art in Slovenia that act as its coproducers. The journal is distributed free of charge. Šum is a network and community of contributing artists

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2022. and writers that organizes interventions into institutional programs in the form of debates, lectures, seminars and various other events that serve as means of self-education and tools for forging connections with various institutional contexts as well.

Petar Vranjković & Buga Kranželić Petar Vranjković rođen je 1997. godine. Transmedijalni je umjetnik koji u umjetničkom radu koristi predmete iz (obiteljskih) arhiva, fotografiju, grafiku i dizajn. Studira na Akademiji likovnih umjetnosti u Zagrebu, Odsjek za animirani film i nove medije; smjer novi mediji. Izlagao je na nekoliko samostalnih izložbi i sudjelovao je u više grupnih izložbi u Hrvatskoj i inozemstvu.

Buga Kranželić rođena je 1998. godine. Studentica je povijesti umjetnosti i filozofije na Filozofskom fakultetu u Zagrebu. Sudjelovala je na više projekata od kojih izdvaja projekt Virtualne Galerije Akademije (VGA), rad na 13. broju Kontraposta (časopis studenata povijesti umjetnosti) te pisanje za portal Kulturflux. Trenutno je urednica 14. broja Kontraposta i demonstratorica na tri obvezna kolegija na Odsjeku za povijest umjetnosti Filozofskog fakulteta. Članica je Udruge Kružok u sklopu koje djeluje u izložbenom prostoru Garaža Kamba.

Petar Vranjković was born in 1997. He is a transmedia artist who uses objects from (family) archives, photography, graphics and design in his work. He is studying at the Academy of Fine Arts in Zagreb, Department of Animation and New Media; orientation New Media. He has exhibited in several solo exhibitions and participated in several group exhibitions in Croatia and abroad.

Buga Kranželić was born in 1998. She is a student of Art History and Philosophy at the Faculty of Humanities and Social Sciences in Zagreb. She has participated in multiple projects, including the Virtualna Galerija Akademije (VGA) project (Virtual Gallery of the Academy), work on the 13th issue of Kontrapost (journal of art history students) and writing for the Kulturflux portal. She is currently the editor of the 14th issue of Kontrapost and a student assistant in three compulsory courses at the Department of Art History, Faculty of Humanities and Social Sciences. She is a member of the Kružok As-

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sociation, within which she works in the Garaža Kamba exhibition space.

Nika Vrbica Nika Vrbica, mag. ing. des. text., rođena je u Dubrovniku. 2015. upisuje Tekstilno-tehnološki fakultet u Zagrebu. Paralelno s upisom diplomske (5.) godine studija modnog dizajna na spomenutom fakultetu 2019. upisuje studij slikarstva na ALU te je trenutno na 3. godini preddiplomskog studija. Izlagala je na brojnim grupnim i individualnim izložbama u modnom i umjetničkom području te je njezino aktivno akademsko zalaganje nagrađivano na fakultetskoj i sveučilišnoj razini.

Nika Vrbica, Master Engineer of Textile and Fashion Design (mag. ing. des. text.), was born in Dubrovnik. In 2015, he enrolled at the Faculty of Textile Technology in Zagreb. In 2019, in parallel with the graduate (5th) year of the study of Fashion Design, she also enrolled in the study of Painting at the Academy of Fine Arts and is currently in the 3rd year of undergraduate study.

She has exhibited in numerous group and solo exhibitions in the field of fashion and art, and her active academic commitment has been rewarded at the faculty and university level.

Neja Zorzut Neja Zorzut (1992.) diplomirala je slikarstvo na Akademiji likovnih umjetnosti i dizajna u Ljubljani (Slovenija) 2015. godine, a magistrirala slikarstvo 2020. godine. U svojoj umjetničkoj praksi, u odnosu na smjernice “ekološke filozofije” i “ekologije bez prirode”, hiperobjektnih entiteta i hiperokultacije, usredotočuje se na fenomen u kojem tijelo funkcionira kao nešto djelomično strano subjektu, ne u smislu istraživanja kako je ljudsko iskustvo prilagođeno fizičkim ili biološkim svojstvima tijela, već kako se ljudsko iskustvo na neki način prenosi kroz objekt tijela – ukratko, kroz objekt u koji je subjekt uronjen.

Umjetnica je sudjelovala na nekoliko skupnih i samostalnih izložbi u Sloveniji te je nagrađivana za svoj rad.

Neja Zorzut (1992) graduated in Painting from the Academy of Fine Arts and Design in Ljubljana (Slovenia) in 2015 and completed a master’s degree in Painting in 2020. In her art practice, in relation to the guidelines of “ecological philosophy” and “ecology without nature”, hyperobject

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entities and hyperoccultation, she focuses on a phenomenon in which the body itself functions as something partially foreign to the subject, not in the sense of exploring how human experience is adapted to the physical or biological properties of the body, but rather how human experience is in a sense transmitted through the object of the body – in short, through the object into which the subject is immersed. The artist participated in several group and solo exhibitions in Slovenia and received awards for her art.

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situation

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situation

NEVENKA ŠARČEVIĆ

Što pokazuje ovogodišnja Situacija? Donosi li ona nešto novo, ili odražava stalnost sličnih mijena? Upitno je može li se jednom izložbom predstaviti posve objektivno aktualna umjetnička scena. Ipak, Situacija Salona mladih trebala bi pokazati takvo nastojanje kao i pogled na kreativne aspiracije unutar svojevrsnog presjeka kojim se obuhvaća više izražajnih pristupa. Na tome je bilo težište koncepta i to stavljanjem naglaska ne samo na autore koji se već na različite načine potvrđuju, nego i poticaj afirmaciji novih. Radovi 35 autora/ica čine postav Situacije na više lokacija; u galerijama Canvas, Stančić i Forum te palači Vranyczany Dobrinović – prostoru HIS-a.

U Galeriji Canvas, minuciozno izvedeni crteži Damira Kamenara i Duje Medić u korelaciji su s gotovo nonšalantnom skicoznosti slike Brune Bulaje kao i suptilnosti nanošenja boja Franciske Topolovec. Crteži Duje Medića, pokazuju autorovo vješto poigravanje motivima i značenjima, izmještanjem iz konteksta (primjerice iz Biblije, na crtežima Habakuk ili pak Lito na kojemu je prikaz Zlatnog teleta iz Knjige izlaska) za koje se doima da je suptilna kritika društvenog morala. Crtež Golet Damira Kamenara pripada istoimenom ciklusu u kojem autor iscrtava tušem i perom na papiru forme netaknute prirode. Nazivima i obradom malih formata Utroba i Grunt, Franciska Topolovec povezuje pojmove kojima aludira mjesta idealne sigurnosti i onoga što je neophodno za život čovjeka. To na svoj način čini Bruno Bulaja (Put na mjesečini). U središtu je skulptura Lucije Jelić, koja se ovim radom kružne forme dotiče teme prolaznosti, a što postiže odabirom materijala, formom, odnosima među pojedinim dijelovima, ali i nazivom Sudbina. Općenito, uočavamo zanimanje autora za motive i forme koje podsjećaju na drevno i iskonsko, ali i za uspostavljanje odnosa prema izvornom u prirodi.

U različitim su tehnikama i medijima (keramika, poliester, fotografija, ulje na platnu, kao i kombinirana tehnika) izvedeni radovi predstavljeni u Galeriji Stančić. Prepoznaje se motiviranost autora za manifestiranje čovjekove naravi u izazovnim okolnostima, potaknutih izloženosti virtualnim sadržajima ili pak klimatskim promjenama, sveprisutnim kolektivnim strahovima,

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suočavanju sa spoznajama o uništavanju prirodnog svijeta, kao i apokaliptičnim trenucima i slutnjama o mogućnostima nestajanja svijeta kakvog poznajemo (Sanda Anderlon, Dorian Pacak, Ivana Padavić, Patricija Purgar, Matej Vuković). Pored toga, fotografije Glorije Lizde zagledane u prostore osobnog, obiteljskog nasljeđa, donose motive intimističkog svijeta. Suptilnu kritiku javnog diskursa, primjerice aluziju na ispraznu retoriku političara možemo naslutiti u radu Ispod pojasa Denise Martinis.

U Galeriji Forum izbor radova pokazuje inkluzivni svijet stvarnog, imaginarnog i podsvjesnog, ali i bespredmetnog u kojem ima zapitanosti za suštinsko, spontanog i igre. Dolazi do izražaja korištenje likovnih tehnika; akvarela koji koristi Laura Sajko dok „portretira“ svoje bližnje prikazujući njihove cipele. Ozračja prirode teme su ugljena na papiru Na plaži (Alba Miočev), akril i ulja na medijapanu Mali pejzažni triptih (Andrej Tomić), ulja i akrila na platnu Noćno plavetnilo te pastela Šumski bljesak (Ariana Herceg) crteža tušom i perom na papiru Bez naziva (Damir Kamenar). S njima u suodnosu su i Dva slučajna pejzaža Iris Jambrek, ali i njezina figuralna kompozicija U ponoć. Djetinje nepatvorenu zaigranost dočaravaju figure Antuna Sekulića Igraonica. Pored toga, vrijedi istaknuti rad Antonija Rendulića Promicanje inkluzije kroz vizualne umjetnosti s ciljem pokretanja društvenih promjena nastao u grafičkoj tehnici mekog voska i potaknut temom inkluzije u društvo osoba s invaliditetom i teškoćama poput smanjene pokretljivosti, s kojima se svakodnevno susreće. Aluzija na mijene civilizacije u kojoj živimo, slika je Brod koji gori Grgura Akrapa. Predočava doživljaj istovremene tjeskobe i igre, zabave i ozbiljnosti koji je odraz Akrapove imaginativne smjelosti. Upravo kako piše Predrag Finci, „u imaginaciji se biće suočava s ništavilom i nadom, u njoj uskrsava iščezlo i nastaje do tada nepostojeće“.

predgovor ‒ Vizura Situacije

preface ‒ Vision of the Situation What does this year’s Situation show? Does it bring something new, or does it reflect the permanence of similar changes? It is questionable whether one exhibition can objectively present the current art scene in its entirety.

Nevertheless, The Situation of the Youth Salon should demonstrate such an effort, as well as an overview of creative aspirations within a kind of cross-section that includes multiple expressive approaches. This was the focus of the concept; to emphasize not only the artists who are already affirming themselves in various ways but also to encourage the affirmation of new ones.

The works of 35 artists are exhibited within The Situation in several locations: in Canvas, Stančić and Forum galleries and Vranyczany Dobrinović Palace – the premises of the Croatian Engineering Association.

In Canvas Gallery, meticulously executed drawings by Damir Kamenar and Duje Medić are ‘juxtaposed’ to the almost nonchalant sketchiness of Bruno Bulaja’s painting as well as to Franciska Topolovec’s subtlety of applying colours. Duje Medić’s drawings show the artist’s skilful play with motives and meanings, displacement from context (for example, from the Bible, in the drawings Habakuk or Lito depicting the Golden Calf from the Book of Exodus), which seems to be a subtle critique of social morality.

Damir Kamenar’s drawing Golet belongs to the eponymous series in which the author draws the forms of untouched nature in ink and pen on paper. By naming and processing the small formats Utroba and Grunt, Franciska Topolovec connects terms by which she alludes to the places of ideal safety and what human beings need to live. Bruno Bulaja (Put na mjesečini) does this in his own way. Lucija Jelić’s circular sculpture, placed in the centre, touches upon the theme of transience, achieved with the selection of the material, form, and relationships between individual parts, but also with the name Sudbina (Fate). In general, we notice the artists’ interest in motifs and forms that remind of the ancient and primordial, but also in establishing a relationship with the original in nature.

The works within The Situation exhibited in Stančić Gallery are created in various techniques and media (ceramics, polyester, photography, oil on canvas, as well as mixed media).

One recognizes the artists’ motivation to manifest human nature in challenging circumstanc-

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2022. es, caused by the exposure to virtual content or climate change, omnipresent collective fears, confronting knowledge about the destruction of the natural world, as well as apocalyptic moments and hunches about the possible disappearance of the world as we know it (Sanda Anderlon, Dorian Pacak, Ivana Padavić, Patricija Purgar, Matej Vuković). Gloria Lizda’s photographs, staring at the spaces of personal, family heritage, bring motifs of the intimate world. A subtle critique of public discourse, such as an allusion to the empty rhetoric of politicians, can be sensed in Denise Martinis’s work Ispod pojasa.

The selection of works in Forum Gallery shows the inclusive world of the real, imaginary and subconscious, but also the immaterial, questioning the essential, spontaneous and playful.

The use of art techniques comes to the fore; watercolour used by Laura Sajko in ‘portraying’ her loved ones by showing their shoes, the atmospheres of nature in charcoal on paper in Alba Miočev’s work Na plaži, acrylic and oil on MDF in Andrej Tomić’s Mali pejzažni triptih, oil and acrylic on canvas in Noćno plavetnilo, pastel in Šumski bljesak, Damir Kamenar’s drawings Bez naziva (Untitled). Juxtaposed to them are Iris Jambrek’s Dva slučajna pejzaža and her figural composition U ponoć. Antun Sekulić’s figures in Igraonica evoke a childlike genuine playfulness. It is also worth noting Antonio Rendulić’s Promicanje inkluzije kroz vizualne umjetnosti s ciljem pokretanja društvenih promjena created in the graphic technique of soft wax and inspired by the theme of including people with disabilities in society, such as the ones with reduced mobility, which is something the artist encounters every day. Grgur Akrap’s painting Brod koji gori is an allusion to the changes in the civilization we live in. It depicts an experience of simultaneous anxiety and play, fun and seriousness, as the reflection of Akrap’s imaginative boldness. Precisely, “in the imagination, a being faces nothingness and hope, in it the vanished resurrects and the hitherto non-existent arises.”

(Predrag Finci)

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Imajući u vidu da se radove autora na Situaciji ne može povezati jednim interpretativnim ključem, nastojala sam postavom omogućiti da se međusobno ipak donekle dopunjuju.

Pored toga, stvoriti uvid u tematske okupacije i stvaralačke aspiracije, a napose dosege mladih umjetnika uzimajući u obzir različitost pristupa korištenja medija, tehnika i materijala. Uz vizuru različitih likovnih napose vidljivih u galerijama Forum, Stančić i Canvas, došli su do izražaja i konceptualni narativi u raznim medijima. Za to je bila prikladna neorenesansna palača Vranyczany-Dobrinović (vlasništvo Hrvatskog inženjerskog saveza), izgrađena na uglu Berislavićeve i Gajeve ulice 1889. godine prema projektu Otta von Hofera. Reprezentativni dio interijera palače ovom se prilikom prvi put otvorio kao izložbeni prostor u kojem su na Situaciji izložene prostorne instalacije, fotografije, slika i grafike. S tim u vezi, znakovito je istaknuti da su se radovi nekih autora dobro povezali s prostorom zbog njihova predmeta zanimanja, dok su drugi autori potaknuti pozivom na izlaganje ostvarili novi rad; Matija Filo izradio je prostornu instalaciju od drva, riječ je o obliku stabla koje širi granje čime je potenciran element prirodnosti u sofisticiranom ambijentu; Alex Brajković kreirao je složenu melodičnu multimedijalnu instalaciju potaknut zvukovima u prirodi koji u kontekstu palače stvaraju kontemplativnu atmosferu; U kontrastu s time Tišina Lucije Jelić prostorna je instalacija posuta pepelom i to uz postojeći inventar, odnosno klavir za koji je načinila stolac koji imitira dekorativne oblike štukatura palače.

Premda u drugim kontekstima i na drukčije načine, u središte zanimanja odnos prema povijesnom arhitektonskom nasljeđu stavljaju Lana Stojićević u splitskom, Domagoj Burilović u slavonskom, a tim arhitektica: Irena Bakić, Iva Jelinčić i Mirna Udovčić u kontekstu Ždrijca kod Nina. Riječ je o pluralnosti interpretacija koja se ovdje prožima s prostorom palače koja je sama po sebi vrsta eksponata kao svojevrsno zrcalo poslije-potresnog Zagreba. Napukline u zidovima, otpadanje žbuke i konzervatorske sonde dio su živopisnosti povijesnog ambijenta. Drugi izloženi radovi stavljeni su u odnos premda se na izravan način ne vežu i upravo zato dolaze do izražaja.

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Kolografije Vide Meić pokazuju nam likovne vrijednosti strukture proučavanja mrlja, artepoveristička vrata Mihaela Klanjčića zaustavljaju pogled i upućuju na traženje značenja. Dok Petru Pavetić Kranjčec intrigiraju odnosi prema doživljaju stvarnosti s neočekivanim pojavama, Matej Vuković stavlja težište na doživljaj neprekidnog preispitivanja stavova zbog zasićenosti informacijama. Antun Mlakić uzima predmete obiteljskog nasljeđa i „oživljava“ tehniku mokrog filcanja. Josip Rončević dosjetljivo smješta tipična vrata iz ambijenta katoličke obitelji na plohu slike dajući joj naziv Mir kući ovoj, možda dogodine. Mapa fotografija Ive Muškić predstavlja zapuštenost prostora, inspirirana filmom Stalker Andreja Tarkovskog, i motivom traženja idealnog mjesta. Grafike Maje Gjajić, također na svoj način i kroz više lokacija interperetiraju prostore i sjećanje. S druge strane, u središtu zanimanja Ivane Tkalčić su teme vezane uz svemir, pa je i uključena u program koji istražuje uvjete kolonizacije Mjeseca i Marsa.

Budući da nema predviđenog niti isključivo jednog tematskog okvira, stvorena je vizura postojećih nadopunjavajućih likovnih i konceptualnih narativa. Pokazuje se da su aktualne individualne poetike, da su mladi ispunjeni poletom; da je Situacija odraz širine okupacija mladih umjetnika – u pogledu medija, tema i pristupa, i konačno, da je i dalje na sceni nekolicina autora i autorica s izraženom željom za ostvarivanjem u likovnosti. U pogledu na početku spomenutog novog „Čini se kako je oslobođenje od obveze da se u povijesnom smislu bude novim, velika pobjeda života nad dojučerašnjim prevladavajućim povijesnim pričama koje su težile podrediti, ideologizirati ili formalizirati stvarnost.“1

1 / Boris Groys, Učiniti stvari vidljivima – Strategije suvremene umjetnosti, Biblioteka Refleksije, Zagreb, 2006., 104.

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Bearing in mind that the artists exhibiting within The Situation do not have a single interpretive key, through this exhibition, I have tried to make them complement each other to some extent.

In addition, to create an insight into thematic occupations and creative aspirations, and especially the achievements of young artists, taking into account the diversity of approaches regarding the use of media, techniques and materials. Along with the different visual narratives, especially visible in Forum, Stančić and Canvas galleries, conceptual narratives in various media also came to the fore. The Neo-Renaissance Vranyczany-Dobrinović Palace (owned by the Croatian Engineering Association), designed

by Otto von Hofer and built on the corner of Berislavićeva and Gajeva Streets in 1889, was suitable for this purpose. For the first time, and on this occasion, the representative part of the interior of the palace served as an exhibition space for spatial installations, photographs, paintings and graphics within The Situation.

In this regard, it is noteworthy that the works of some artists are well connected with their subjects of interest, while other artists, encouraged by the invitation to exhibit, have created new works; Matija Filo made a wooden spatial installation; a tree with branches spreading out, which emphasizes the element of naturalness in a sophisticated environment; Alex Brajković created a complex melodic multimedia installation inspired by sounds in nature that create a contemplative atmosphere in the context of the palace; in contrast, Lucija Jelić’s work Tišina is a spatial installation sprinkled with ashes, along with the existing inventory, i.e. a piano for which she made a chair that imitates the decorative forms of the palace stucco.

Although in other contexts and in different ways, the relationship to the historical architectural heritage is in the focus of Lana Stojićević’s work in Split, Domagoj Burilović’s in Slavonia, and the team of architects: Irena Bakić, Iva Jelinčić and Mirna Udovčić in the context of Ždrijac near Nin. This is a plurality of interpretations that permeate the space of the palace, which is itself a kind of exhibit as a kind of mirror of the post-earthquake Zagreb. Although they do not touch upon the mentioned topics, other exhibited works are placed in a relationship with the historical environment in which they are exhibited.

Vida Meić’s collagraphies show us the artistic

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Since there is no envisaged or exclusively thematic framework, a vision of the existing different artistic and conceptual narratives has been created. This Situation shows a wide field of interest of young artists, both in terms of expression in different media and in terms of thematic focuses. In view of the beginning of the aforementioned new “It seems that liberation from the obligation to be historically new seems to be a great victory of life over formerly predominant historical narratives which tended to subjugate, ideologize, and formalize reality.”1

1 / Boris Groys, Učiniti stvari vidljivima – Strategije suvremene umjetnosti, Biblioteka Refleksije, Zagreb, 2006, 104.

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Sanda Anderlon Divlji cvijet / Wildflower nastao je kao dokumentacija podsvjesnog – percepcije i projekcije kroz neposredan medij digitalnog kolaža bilježenjem motiva metodom slobodnih asocijacija.

Metafore i simboli tvore svojevrstan omen i vizualnu meditaciju nad snagom Sjene - mračne, izopačene strane ljudskog duha.

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Wildflower was created as the documentation of the subconscious –perception and projection – using the direct medium of a digital collage created by recording motifs applying the free association method. Metaphors and symbols form a kind of omen and visual meditation on the power of the Shadow - the dark, twisted side of the human spirit.

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Divlji cvijet 2020. digitalni kolaž Wildflower 2020 digital collage

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Grgur Akrap

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Brod koji gori 2022. enkaustika na platnu Burning ship 2022 encaustic on canvas

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Bruno Bulaja

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Put na mjesečini 2021. akril na platnu Moonlight Road 2021 acrylic on canvas

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Alex Brajković Inspiriran prirodom autor kreira software koji u stvarnom vremenu oponaša prirodne procese čiji je rezultat beskrajna ambijentalna kompozicija. Zvukovi prirode iz osobnog autorovog zvukovnog kataloga tvore bogatu teksturu akustičnih tonova. Njihovim kombiniranjem s pažljivo odabranim sintetiziranim zvukovima ambijentalnog karaktera, stvara se senzorno iskustvo proširenog soundscapea. Generativni algoritam donosi glazbene odluke uživo prema programiranim parametrima u Cycling ‘74 Max/ MSP softwareu, a interakcijom računalnog miša generiraju se nove naredbe.

Inspired by nature, the artist creates software that mimics natural processes in real-time, which results in an endless ambient composition. The sounds of nature from the artist’s personal sound catalogue create a rich texture of acoustic tones. By combining them with carefully selected synthesized sounds of ambient character, he creates a sensory experience of an extended soundscape. The generative algorithm makes music decisions live, according to the programmed parameters in the Cycling ‘74 Max/MSP software, and new commands are generated through the interaction of the computer mouse.

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Generative Contemplation 2022. multimedijalna instalacija

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Generative Contemplation 2022 multimedial installation

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Domagoj Burilović Tijekom 19. stoljeća, za vrijeme Austro-Ugarske, Njemački doseljenici vrše kulturni utjecaj na selo u Slavoniji. Zabilježen je tada i snažan gospodarski razvoj. Gradnja opekom zamijenila je tradicionalnu gradnju te nastaje nova tipologija kuća, dekorirana historicističkim i secesijskim ornamentima kojima seljaci nevješto kopiraju gradsku arhitekturu. Takve kuće su jedina povijesna baština mnogih sela.

Aktualnim iseljavanjem selo izumire pa propada i arhitektura. Ironijskim povijesnim obratom, kako ga interpretira autor, sada seosko stanovištvo Slavonije mahom odlazi u Njemačku u potrazi za boljim životom.

Dorf je njemačka riječ za selo.

During the 19th century, at the time of Austria-Hungary, German settlers exerted a cultural influence on a village in Slavonia. This was also a time of strong economic development. Brick construction replaced traditional construction, and a new typology of houses emerged, decorated with historicist and Art Nouveau ornaments by which peasants clumsily copied urban architecture. Such houses are the only historical heritage of many villages. Due to the current emigration, the village is becoming extinct, and architecture is falling into disrepair.

In an ironic historical turn of events, as interpreted by the artist, the rural population of Slavonia is now mostly going to Germany in search of a better life.

Dorf is a German word for village.

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Matija Filo Izvedbom instalacije za prostor ove palače, kao i smještajem na istaknutoj poziciji pored stubišta, autor unosi element prirodnosti u interijer. Konstruirana je tako da bude linijski razvedena u prostoru, a kompozicija i izvedba određene su svojstvima materijala koji naglašavaju organsku formu čiji oblik evocira rast stabla i širenje korijenja.

By executing the installation for the space of this palace, as well as by placing it in a prominent position next to the staircase, the artist brings an element of nature into the interior. It is designed to be linearly indented in space, whereas the composition and performance are determined by the properties of the material that emphasize the organic form whose shape evokes tree growth and root expansion.

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Gradacija 2022. prostorna instalacija Gradation 2022 spatial installation

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Maja Gjajić Arhiva sjećanja obuhvaća dvije knjige čije je crtačke in situ izvedbe autorica vezala za posjećena mjesta. Grafički otisci i fotografije izvedene u fotografskim tehnikama cijanotipije i Van Dyke Brown, kronološki prate odredišta posjećena u periodu od dvije godine te zajedno čine vizualne dnevničke zabilješke, odnosno interpretacije različitih karakteristika mjesta, atmosfere ili osoba s putovanja. Upoznavanje novih prostora i osoba nerijetko utječe na promjenu stavova i razmišljanja, ali i na likovno izražavanje formiranjem novih konceptualnih i estetskih načela.

The Archive of Memories includes two books whose in situ drawings the artist associates with the places she visited. The graphic prints and photographs, created using the cyanotype photographic printing process and Van Dyke Brown, chronologically follow destinations visited over two years and make visual diary entries, i.e., interpretations of various characteristics of places, atmospheres, and people encountered during the travels. Getting to know new spaces and people often makes one change their attitudes and way of thinking but also impacts the artistic expression by forming new conceptual and aesthetic principles.

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Arhiva sjećanja 2021. instalacija The Archive of Memories 2021 installation

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Ariana Herceg

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Noćno plavetnilo 2021. ulje i akril na platnu Night Blue 2021 oil and acrylic on canvas

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Iris Jambrek

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Dva slučajna pejzaža 2022. ulje na dasci Two Random Landsacapes 2022 oil on board

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U ponoć 2022. ulje na platnu At midnight 2022 oil on canvas

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Lucija Jelić Nataloženo vrijeme, rasuto sjećanje, punina šutnje i u njoj zarobljen akord zavjetovan prošlosti.

Tek u tišini odjekuje ono bezvremeno.

Accumulated time, scattered memory, the fullness of silence and in it captured chord vowed to the past.

Only in silence does the timeless resound.

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Tišina 2022. instalacija u prostoru, klavir, stolac, pepeo Silence 2022 installation in space piano, chair, ashes

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Nekad se vjerovalo da je odraz u zrcalu zapravo odraz naše duše. Od izbjegavanja pogleda na svoj odraz na vodi, do okretanja zrcala prema zidu, stara vjerovanja o zrcalu uglavnom su vezana uz smrt i želju čovjeka da sačuva svoju dušu. Prolazeći kroz vječni ciklus tjelesnosti i ovozemaljskog, prolaznosti i smrtnosti, plodnosti i novoga života, čovjek je nepoznato zamjenjivao poznatim, onom neopipljivom davao svoj lik, a nedokučivo prevodio u mit. Stoga autorica svojim radom postavlja pitanje tko presijeca nit života i određuje sudbinu?

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Sudbina 2021. skulptura Fate 2021 sculpture

Nagrada / Award VLADIMIR DODIG TROKUT, IVA VRANEKOVIĆ:

Umjetnici umjetniku / Artists to the Artist

It was once believed that the reflection in the mirror was actually a reflection of one’s soul. From avoiding looking at one’s reflection in the water to turning the mirror towards the wall, the old mirror myths and superstitions are mostly related to death and one’s desire to save their soul. Going through the eternal cycle of corporeality and this-worldly, transience and mortality, fertility and new life, man has replaced the unknown with the known, gave his character to the intangible, and translated the incomprehensible into a myth. Therefore, the artist’s work raises the question of who cuts the thread of life and determines destiny?

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Damir Kamenar

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Golet 3 2021. tuš i pero na papiru Barren Land 3 2021 ink and pen on paper

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Mihael Klanjčić Susrećem odsutne poglede.

I meet absent glances.

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Piazza Maggiore 2021. instalacija Piazza Maggiore 2021 installation

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Glorija Lizde

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Nestajanje 2020. fotografija Disappearance 2020 photograph

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Djedove vaze 2021. fotografija Grandpa’s Vases 2021 photograph

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Denise Martinis Rad Ispod pojasa potaknut je željom za eksperimentiranjem u mediju keramičke gline, a intencija autorice bila je napraviti referencu na pokrete boksača na usporenim snimkama stvarnih boksačkih mečeva u kojima se pri brzini udaraca mijenja struktura njihovih tijela.

The work Below the Belt was inspired by the desire to experiment with the medium of ceramic clay, and the artist wanted to refer to the movements of boxers in slow-motion shots of real boxing matches in which the structure of their bodies changes at the speed of punches.

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Ispod pojasa 2020.- 2021. keramika Below the belt 2021 - 2022 ceramics

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Duje Medić

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Lito 2021. olovka na papiru Summer 2021 pencil on paper

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Habakuk 2021. olovka na papiru 2021 pencil on paper Fjaka 2021. olovka na papiru 2021 pencil on paper

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Vida Meić Seciranje otkriva nove strukture. Nužno je za razumijevanje i prihvaćanje cjelokupnog prikaza i stanja. Otkrivene mrlje treba pažljivo promotriti, uočiti, analizirati te klasificirati oblike i metode njihovog nastanka.

Dissection reveals new structures. It is needed for one to understand and accept the entire story and situation. Detected spots should be carefully observed, spotted and analysed, and the forms and methods of their formation should be classified.

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Seciranje 2021. kolografija Seciranje 2021 collagraphy

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Alba Miočev

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Na plaži 2022. ugljen na papiru On the Beach 2022 charcoal on paper

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Antun Mlakić Ručno rađeni tekstil prekriva fotelju gdje svojim apstrahiranim formama evocira organski svijet prirode. Konstruktivni elementi fotelje predmeti su sentimentalne vrijednosti za autora – stare dječje saonice i bakina fotelja. Filcane organičke forme čine osnovu tekstilne instalacije, a dobivene su starim postupkom izrade tekstilnih tvorevina - mokrim filcanjem ručno bojane vune.

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Handmade textile covers the armchair and evokes the organic world of nature with its abstract forms. The constructive elements of the armchair are objects of sentimental value for the artist - old children’s sledges and a grandmother’s armchair. Felted organic forms are the basis of the textile installation, which were obtained by the old process of making textile creations - wet felting of hand-dyed wool.

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Fotelja „Nature“ 2021. tekstilna instalacija Fotelja „Nature“ 2021 textile installation

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Iva Muškić Koncept rada Zona 45°17’28” S, 18°48’04” I temelji se na ideji potrage za mjestom ostvarenih nadanja. Inspiriran je filmom Stalker Andreja Tarkovskog u kojem likovi tragaju za ispunjenjem najdubljih želja. Fotografije bilježe oronule i zaboravljene lokacije te napuštene objekte sumornog i besperspektivnog grada - Zone. Isto tako, fotografije prikazuju krajolik ravnice koja omeđuje grad i guši ga. Slijedom toga, postavlja se pitanje promjene i potencijalne budućnosti grada. Mapa fotografija otvara mogućnost proširenja, odnosno bilježenja promjena.

The concept of the work 45°17’28” S, 18°48’04” I Zone is based on the idea of searching for a place of fulfilled hopes. It was inspired

by Andrei Tarkovsky’s film Stalker, in which the characters search for the fulfilment of their deepest desires. The photos show dilapidated and forgotten locations and abandoned buildings of the gloomy and hopeless city - Zone.

They also feature the landscape of the plain that borders the city and suffocates it. Consequently, the question of change and the potential future of the city arises. The photo folder opens the possibility of expanding, i.e., recording changes.

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Zona 45°17’28” S, 18°48’04” I 2022. mapa fotografija Zone 45°17’28” S, 18°48’04” I 2022 photo folder

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Dorian Pacak Rad pripada ciklusu Dinoekstinkcija kojim se autor nadovezuje na raniji ciklus pod nazivom Dinostalgija – keramičkim skulpturama kojima se referirao na plastične igračke dinosaura. Za razliku od prethodnog ciklusa koji je bio posveta djetinjstvu i veselju, ovaj ciklus posveta je kraju i posljednjim trenucima.

The work belongs to the Dinoextinction series, which builds on the artist’s earlier series of works titled Dinostalgia – ceramic sculptures that refer to plastic dinosaur toys. Unlike the previous series, which was a dedication to childhood and joy, this series is a dedication to one’s end and final moments.

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Dugi 2022. keramika Long one 2022 ceramics

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Kratki 2022. keramika Short one 2022 ceramics

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Ivana Padavić Rad polazi od teme uništavanja prirodnog svijeta. U tržišnom svijetu, gotovo sve što se proizvodi nema za cilj trajnost, a njegova brza potrošnja uzrokuje zagađenje okoliša. Unatoč globalnoj ekološkoj krizi ne zaustavlja se neumjerena potrošnja konzumerističkog društva i širenje trgovačkih lanaca. Pretjerana urbanizacija i razvoj industrijskih zona uništavaju prirodna staništa. Autorica predviđa skori kraj planete kakvu poznajemo i njeno uništenje, a kao rješenje vidi život u harmoniji s prirodom.

The work focuses on the destruction of nature.

In the market world, almost anything that is produced is not meant to last, and rapid consumption causes environmental pollution. Despite the global environmental crisis, the excessive consumption by the consumer society and the expansion of retail chains are not stopping.

Excessive urbanization and the development of industrial zones are destroying natural habitats.

The artist predicts the imminent end of the planet as we know it and its destruction and sees the solution in living in harmony with nature.

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Apocalypse tomorrow?

2020. - 2022. kombinirana tehnika Apokalipsa sutra?

2020 - 2022 combined tehnique

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Patricija Purgar

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Bez naziva (iz serije radova „Prosvijetljeni“) 2021. akril na platnu Untitled (from the “Enlightened“ series) 2021 acrylic on canvas

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Vizija (autoportret) 2020. akril na platnu Vision (autoportrait) 2020 acrylic on canvas

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Petra Pavetić Kranjčec Rad se temelji na propitivanju doživljaja stvari kao posljedice njihovih odnosa. Odnose stvari izvan njima pripadajućeg sistema engleska antropologinja Mary Douglas naziva anomalijama.

Ako se odnosi poremete, ako stvari nisu u odnosu u kakvom trebaju biti ili u kakvom očekujemo da budu, kod nas stvara osjećaj nelagode i zazora. Kosu, dok je dio nas smatramo lijepom i privlačnom, no ako se nađe na sapunu ili u hrani, najčešće izaziva osjećaj gađenja. Rad Amorfija – fragmenti II sastoji se od dvadeset mekih reljefa, smještenih u crno obojene drvene kutije.

The work focuses on questioning the experience of things as a consequence of their relationships. The British anthropologist Mary Douglas refers to the relations of things out of their belonging system as anomalies. If relationships are disrupted, if things are not related as they should be or as we expect them to be, this creates a feeling of uneasiness and fear. Hair, as a part of us, is seen beautiful and attractive, but if found on soap or in food, it most often causes the feeling of disgust. The work Amorphia Fragments II consists of twenty soft reliefs placed in black painted wooden boxes.

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Amorfija – fragmenti II 2021. kombinirana tehnika Amorfija – fragmenti II 2021 mixed media

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Antonio Rendulić Naziv rada inspiriran je problematikom inkluzije u društvo osoba s invaliditetom i teškoćama s kojima se svakodnevno susreću. Rad je realiziran grafičkom tehnikom mekog voska (vernis mou). Autor premazuje pocinčanu ploču vazelinom te preko nje prelazi kotačima vlastitih invalidskih kolica čiji tragovi stvaraju različite linijske uzorke. Kompozicija grafičkih listova predstavlja svakodnevna ograničenja koje autor doživljava kao osoba smanjene pokretljivosti, a najčešći problem odnosi se na nesmetano kretanje i pristup sadržajima, posebno osobama u invalidskim kolicima.

The title of the work is inspired by the issue of the inclusion of people with disabilities in society and the difficulties they face every day.

The work was realized using the soft wax (vernis mou) graphic technique. The artist coats the galvanized plate with Vaseline and goes over it with the wheels of his own wheelchair, the traces of which create different line patterns.

The composition of graphic sheets represents everyday limitations that the artist experiences as a person with reduced mobility, and the most common problem is related to unobstructed movement and accessibility, especially for people in wheelchairs.

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Promicanje inkluzije kroz vizualne umjetnosti s ciljem pokretanja društvenih promjena 2020. grafika Antonio Rendulić, Promoting Inclusion Through the Visual Arts With the Aim of Initiating Social Change 2020 graphics

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Josip Rončević

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Mir kući ovoj, možda dogodine 2022. ulje na platnu Peace to This House, Maybe Next Year 2022 oil on canvas

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Laura Sajko

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Cipele 2020. akril na papiru Shoes 2020 acrylic on paper

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Antun Sekulić

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Igraonica 2020. stiropor Playroom 2020 styrofoam

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Lana Stojićević Neoornament evocira slojevitost lokacije nekadašnje tvornice cementa na zapadnoj obali splitske luke koja je s radom započela šezdesetih godina 19. stoljeća, dok je posljednji pogon srodne proizvodnje s radom prestao 1978. Pod nazivom Gilardi i Bettiza proizvodila je i betonske dekorativne proizvode koji su još uvijek sačuvani na brojnim lokacijama u Splitu i Dalmaciji, nerijetko u lošem stanju. Na mjestu tvornice je 1963. izgrađen modernistički hotel Marjan, koji je u međuvremenu privatiziran, devastiran, zatvoren te ostao nedovršen. Slijedi rušenje starog i izgradnja novog hotela. Suvremeni odnos prema industrijskoj i arhitektonskoj baštini vizualiziran je pomoću rohbau i fuš estetike sadašnjeg stanja hotela Marjan i kopija betonskih dekoracija proizvedenih u toj gotovo zaboravljenoj tvornici. Nedovoljna briga za arhitektonsko nasljeđe nije isključivo vezana uz Split, nego je širi fenomen.

Neoornament evokes the stratification of the location of the former cement factory on the west coast of the Port of Split that began operating in the 1860s. The last manufacturing plant was decommissioned in 1978. Under the name Gilardi and Bettiza, it manufactured concrete decorative products that have been preserved in numerous locations in Split and Dalmatia, often in poor condition. In 1963, on the site of the factory, a modernist Hotel Marjan was built according to Lovro Perković’s project, and in the meantime, the hotel has become privatized, devastated, closed and remained unfinished.

The demolition of the old and the construction of a new hotel followed. The contemporary attitude towards industrial and architectural heritage is visualized with the help of the construction shell and botched aesthetics of the current state of Hotel Marjan and copies of concrete decorations manufactured in this almost forgotten factory. The lack of care for the architectural heritage is not exclusively related to Split but is a broader phenomenon.

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Neoornament 2021. - 2022. skulpturalna prostorna intervencija, fotografija, intervencija na fasadi Neoornament 2021 - 2022 sculptural spatial intervention, photograph, façade intervention

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36. s alo

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Ivana Tkalčić Godine 2019. autorica je naišla na dokument o osnivanju svemirske agencije u svom rodnom gradu Sisku - Centar za svemirsku i inovativnu tehnologiju. Prema dokumentu, riječ je o prvoj takvoj instituciji u Hrvatskoj.

Trenutno rad Centra za svemirsku i inovativnu tehnologiju nije realiziran, no poziva se na tradiciju i znanje Siska kao nekadašnjeg industrijskog grada. Stoga je autorica stupila u kontakt s Europskom svemirskom agencijom i dr. Bernard Foing gdje je dobila mogućnost sudjelovanja u programu ILEWG EuroMoonMars. Program istražuje uvjete kolonizacije Mjeseca i Marsa te provodi eksperimente u visokotehnološkim simulacijskim staništima.

Performansi su realizirani u blizini bivše tvornice Željezara i Rafinerije nafte Sisak, kao priprema za daljnji razvoj projekta.

In 2019, the author came across a document on the establishment of a space agency in her hometown of Sisak - the Centre for Space and Innovative Technology. According to the document, this is the first such institution in Croatia.

The Centre for Space and Innovative Technology has not become operational, but it refers to the tradition and reputation of Sisak as a former industrial city. Therefore, the artist got in touch with the European Space Agency and Bernard Foing, PhD, and was given the opportunity to participate in the ILEWG EuroMoonMars programme. The programme researches the conditions for the colonization of the Moon and Mars and conducts experiments in high-tech simulation habitats.

The performances were realized near the former Željezara (Ironworks) and Rafinerija nafte Sisak (Sisak Oil Refinery), in preparation for further project development.

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Astronaut(s) without a spaceship 2022. fotografska dokumentacija performansa, video Astronaut(s) without a spaceship 2022 photographic documentation of the performance, video

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Andrej Tomić

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Mali pejzažni triptih (Jesenja, Poslije kiše i Predvečerje) 2021. akril i ulje na medijapanu Small Landscape Triptych (Autumn, After Rain and Evening) 2021 acrylic and oil on MDF

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Franciska Topolovec

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Utroba 2021. akril na medijapanu Intestine 2021 acrylic on MDF

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Grunt 2021. akril na medijapanu Plot of Land 2021 acrylic on MDF

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situation

Mirna Udovčić Irena Bakić Iva Jelinčić

Mjesto radnje je uglavnom bespravno izgrađeno naselje Ždrijac u okolici grada Nina i kao takav autoricama je postao vrlo blizak i privlačan. Gustoća gradnje ovdje posjeduje pozitivan predznak i potiče dobrosusjedske odnose te zbližava stanovnike. Kuće su personalizirane i u najboljem svjetlu ulici predstavljaju vlasnika.

Stoga, autorice anticipiraju novu tipologiju tradicionalne gradnje. Predložak pravila izgradnje novih kuća Junaci ulice nastali su prema stvarnim kućama u Ždrijcu, no uvećanih vanjskih prostora. Junaci ulice u likovima djeda i bake personificiraju vanjski prostor kuće: balkone, terase, lođe, sjenice i vrtove.

The place of action is mostly the illegally built settlement of Ždrijac in the vicinity of the town of Nin and as such, it has become very dear and attractive to the artists. The density of construction here has a positive vibe; it encourages good neighbourly relations and brings residents together. The houses are personalized and represent their owners in the best light.

Therefore, the artists anticipate a new typology of traditional construction. The model of the rules for the construction of new houses, Heroes of the Street, is based on the actual houses in Ždrijac but with larger outdoor spaces.

The heroes of the street represented as a grandma and grandpa personify the outdoor space of the house: balconies, terraces, loggias, gazebos, and gardens.

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Junaci ulice 2020. crtež, digitalni tisak na satenu Heroes of the Street 2020 drawing, digital print on saten

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Matej Vuković Rad je motiviran kolektivnim strahom od budućnosti te potencijalnim opasnostima koje naglašavaju osjećaj nesigurnosti. Instalacija materijalizira prijetnje u obliku dva neodređena objekta.

The work is motivated by a collective fear of the future and potential dangers that emphasize a sense of insecurity. The installation materializes the threats in the form of two undefined objects.

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Prijeteće forme 2022. instalacija, poliester Threatening forms 2022 installation, polyester

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Treba ostati sabran 2022. instalacija, usisavač, poliester One Should Remain Collected 2022 installation, vacuum cleaner, polyester

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exhibition opening

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biografije umjetnika

artists’ biographies

Grgur Akrap Rođen je 1988. u Zagrebu. 2013. diplomirao je na Nastavničkom odsjeku Akademije likovnih umjetnosti u Zagrebu u klasi prof. Damira Sokića. Član je HDLU-a od 2012., a HZSU-a od 2018. godine. Izlagao je na brojnim samostalnim i skupnim izložbama u Hrvatskoj i inozemstvu.

Dobitnik je nekoliko nagrada od kojih se posebno ističu Nagrada za mladog umjetnika na 3.

Bijenalu slikarstva, Nagrada Muzeja suvremene umjetnosti u Zagrebu na 51. Zagrebačkom salonu, Nagrada Iva Vraneković – umjetnici umjetniku na 4. Bijenalu slikarstva i Grand Prix Erste Fragmenata 15. Radi kao asistent na Akademiji likovnih umjetnosti u Zagrebu.

She was born in Zagreb in 1989. After graduating from the Faculty of Design with a Bachelor’s degree in Visual Communication, she started engaging in art and since 2016 has had a long-standing relationship with the Berlin-based Lumas chain of galleries through which she exhibits works around the world, including Art Basel in Switzerland. She has collaborated with a number of clients such as the BBC, Financial Times, Lenovo and Canal+. In addition to digital collages, she is also engaged in painting, drawing and mixed media. She lives and works in Zagreb.

He was born in Zagreb in 1988. In 2013, he graduated from the Academy of Fine Arts in Zagreb, Department of Art Education, in the class of Prof. Damir Sokić. He has been a member of the Croatian Association of Artists since 2012 and the Croatian Freelance Artists’ Association since 2018. He has exhibited in numerous solo and group exhibitions in Croatia and abroad. He has won several awards, including the Young Artist Award at the 3rd Biennial of Painting, the Award of the Museum of Contemporary Art in Zagreb at the 51st Zagreb Salon, Iva Vraneković Award - Artists to the Artist at the 4th Biennial of Painting and the Grand Prix of Erste Fragments 15. He works as an assistant at the Academy of Fine Arts in Zagreb.

Sanda Anderlon Rođena je 1989. u Zagrebu. Nakon BA diplome na Odjelu vizualne komunikacije na Studiju dizajna okreće se umjetnosti te od 2016. ostvaruje dugogodišnji odnos s lancem galerija Lumas sa sjedištem u Berlinu preko kojeg izlaže radove po svijetu, između ostaloga i na Art Baselu u Švicarskoj. Surađivala je s brojnim klijentima kao što su BBC, Financial Times, Lenovo i Canal+. Osim digitalnih kolaža, bavi se slikarstvom, crtanjem i miješanom tehnikom. Živi i radi u Zagrebu.

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Irena Bakić Rođena je 1989. u Zagrebu, studira arhitekturu u Zagrebu i Helsinkiju. Diplomirala u Zagrebu 2015. projektom Revitalizacija opskrbnog centra Zapruđa, koji je nagrađen na 56. zagrebačkom salonu arhitekture. Od 2013. kontinuirano sudjeluje na arhitektonskim natječajima i izlaže na skupnim izložbama, samostalno i s raznim suradnicima. Sa Sonjom Halapir od 2016. djeluje pod nazivom antika. Bavi se arhitekturom, ilustracijom i slastičarstvom.

Born in Zagreb in 1989, she studied architecture in Zagreb and Helsinki. She graduated in Zagreb in 2015 with the project Revitalizacija opskrbnog centra Zapruđa (Revitalization of the Zapruđe Supply Centre), which was awarded at the 56th Zagreb Salon of Architecture. Since 2013, he has continuously participated in architectural competitions and exhibited in group exhibitions, solo and with various collaborators.

She has been collaborating with Sonja Halapir since 2016 under the name antiquity. She is engaged in architecture, illustration and confectionery.

Alex Brajković Rođen je 1992. u Rijeci. Diplomirao je na Konzervatoriju u Vicenzi, magistrirao na Konzervatoriju

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u Amsterdamu, smjer Live Electronics. Surađivao je sa STEIM-om na razvijanju softwarea za kontrolu multikanalnog zvuka. Stvara u području multimedijalnih instalacija, digitalne umjetnosti, performansa, programiranja i kompleksnih interaktivnih vizuala. U svom dosadašnjem radu bilježi realizaciju niza site-specific radova u području umjetničkih instalacija i multimedije („Drumming 0.3“ MSU, „Disperzije 0.1“ 35. salon mladih, „Stillness“ Galerija umjetnina Split, „Cincta“ Gibanja), kao i performansa na renomiranim festivalima (BBC Jools Holland Show, Nice i London Jazz Festival, ADE Amsterdam).

He was born in 1992 in Rijeka. He holds a degree from the Vicenza Conservatory and a Master’s degree from the Amsterdam Conservatory in Live Electronics. He collaborated with STEIM on the development of multichannel sound control software. He creates in the field of multimedia installations, digital art, performance, programming and complex interactive visuals. Thus far he has created several site-specific works in the field of art installations and multimedia (“Drumming 0.3” MSU, “Dispersion 0.1” 35th Youth Salon, “Stillness” Art Gallery Split, “Cincta” Movement), as well as performances at renowned festivals (BBC Jools Holland Show, Nice and London Jazz Festival, ADE Amsterdam).

Bruno Bulaja Rođen je 1997. u Požegi. Godine 2021. završava preddiplomski studij slikarstva na Akademiji likovnih umjetnosti u Zagrebu, u klasi prof. Igora Rončevića. Trenutno je na diplomskoj godini na Akademiji likovnih umjetnosti u Zagrebu, u klasi prof. Duje Jurića. Izlagao je na nekoliko skupnih izložbi te jednoj samostalnoj. Živi i radi u Zagrebu.

He was born in Požega in 1997. In 2021, he completed his undergraduate studies in painting at the Academy of Fine Arts in Zagreb, in the

class of Prof. Igor Rončević. He is currently a Senior at the Academy of Fine Arts in Zagreb, in the class of Prof. Duje Jurić. He has exhibited in several group and one solo exhibition. He lives and works in Zagreb.

Domagoj Burilović Rođen je 1987. godine u Vinkovcima. Godine 2012. diplomirao je slikarstvo na Umjetničkoj akademiji u Splitu. Izlagao je na brojnim skupnim izložbama među kojima su Somerset House, SWPA (London), 12. HT nagrada@MSU, 5. Trijenale proširenih medija (Beograd), Muzej za umjetnost i obrt – 10. Rovinj Photodays, 38.

Splitski salon, 11. Trijenale hrvatskog kiparstva, te na samostalnim izložbama u Galeriji Kazamat, Karas, Salon Galić, Photon (Ljubljana), MUO Zagreb, Galerija Umjetnina Split, Galerija PIK R i dr.

Za svoj je rad primio nekoliko nagrada u zemlji i inozemstvu, a radovi su uvršteni i u zbirke MUO Zagreb i MMSU Rijeka.

He was born in Vinkovci in 1987. In 2012, he graduated in Painting at the Arts Academy in Split. He has exhibited at numerous group exhibitions, including Somerset House, SWPA (London), 12th HT Award @ MSU, 5th Extended Media Triennial (Belgrade), Museum of Arts and Crafts – 10th Rovinj Photodays, 38th Split Salon, 11th Triennial of Croatian Sculpture, and in solo exhibitions at Kazamat Gallery, Karas, Galić Salon, Photon (Ljubljana), Museum of Arts and Crafts Zagreb, Split Art Gallery, PIK R Gallery, etc.

For his work, he has received several awards in the country and abroad and his works are included in the collections of the Museum of Arts and Crafts Zagreb and the Museum of Modern and Contemporary Art Rijeka.

Matija Filo Rođen je 1994. u Čakovcu. Godine 2019. diplomirao je Kiparstvo na Akademiji likovnih umjetnosti u Zagrebu. Sudjelovao je na Erasmus+ razmjeni u Rigi i stručnoj praksi u Rotterdamu u

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Atelier Van Lieshout te radionici Svijetle pruge u Bjelovaru. 2017. i 2018. godine izlagao je na Zrinski ART festivalu. 2021. godine postavlja stalni postav skulptura za Riznicu Međimurja, živi i radi u Zagrebu.

He was born in Čakovec in 1994. In 2019, he graduated in Sculpture at the Academy of Fine Arts in Zagreb. He participated in the Erasmus+ exchange in Riga and the internship in Rotterdam at Atelier Van Lieshout, and the Svijetle pruge workshop in Bjelovar. In 2017 and 2018, he exhibited at the Zrinski ART Festival. In 2021, he set up a permanent exhibition of sculptures for the Riznica Međimurja. He lives and works in Zagreb.

Maja Gjajić Rođena je 1996. u Požegi. Godine 2020. diplomirala je modul grafike na Akademiji za umjetnost i kulturu u Osijeku. Sudjelovala je na brojnim izložbama i projektima, među kojima se mogu izdvojiti; grupna izložba grafike u Galeriji Vasko Lipovac Split; izložba nagrađenih studenata UAOS STARTER 3 u Galeriji Kazamat i Muzeju grada Đakova; međunarodna izložba umjetničke grafike IWAGO 7; grupna studentska izložba Plati i nosi u Galeriji Bačva te nagrada za najbolji rad na izložbi; grupna izložba Nesvrstani u Laubi; trijenale grafike u Gradskom muzeju Skopja te samostalne izložbe u sklopu projekta A4 u Galeriji Kortil, Knifer, Šira i Galeriji umjetnina. Živi i radi kao grafička dizajnerica u Osijeku.

She was born in Požega in 1996. In 2020, she graduated from the Graphics module at the Academy of Arts and Culture in Osijek. She has participated in numerous exhibitions and projects, including the group exhibition of graphics in Vasko Lipovac Gallery Split; the exhibition of awarded students UAOS STARTER 3 in the Kazamat Gallery and the Museum of the City of Đakovo; IWAGO 7 International Exhibition of Graphic Arts; group student exhibition Plati i nosi (Cash&Carry) in the Bačva Gallery and the award for the best work in the exhibition; Nesvrstani group exhibition at Lauba; Triennial of Graphic Arts at the City Museum of Skopje and solo exhibitions as part of the A4 project at the Kortil Gallery, Knifer, Šira and the Art Gallery. She lives and works as a graphic designer in Osijek.

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Ariana Herceg Rođena je u Zagrebu 1997. godine. Pohađala je školu Primijenjene umjetnosti i dizajna u Zagrebu, te stekla naziv slikarska dizajnerica 2015. godine. Iste godine upisala je Akademiju likovnih umjetnosti u Zagrebu, Odsjek slikarstvo. Godine 2019. upisala je magisterij uljanog slikarstva na China Academy of Art u Hangzhou, ali je zbog pandemije morala pauzirati studij te je upisala diplomski na ALU. U lipnju 2021. godine diplomirala je slikarstvo na ALU pod vodstvom mentora Zoltana Novaka te stekla zvanje magistra slikarstva. Do sada je sudjelovala na nekoliko grupnih izložbi. Prvu samostalnu izložbu Posljednje oaze (plava izložba) održala je u Oris Kući arhitekture.

She was born in Zagreb in 1997. She attended the School of Applied Arts and Design in Zagreb and earned the title of Painting Designer in 2015. The same year she enrolled at the Academy of Fine Arts in Zagreb, Department of Painting. In 2019, she enrolled in the Master of Oil Painting degree at the China Academy of Art in Hangzhou, but due to the pandemic she had to pause her studies and she enrolled in a graduate degree at the Academy of Fine Arts.

In June 2021, she graduated in Painting at the Academy of Fine Arts under the guidance of her mentor Zoltan Novak and obtained a Master’s degree in Painting. So far, she has participated in several group exhibitions. She held her first solo exhibition Posljednje oaze (blue exhibition) at the Oris House of Architecture.

Iris Jambrek Rođena je 1995. godine u Varaždinu. Upisuje Akademiju likovnih umjetnosti u Zagrebu 2015. godine gdje završava preddiplomski studij slikarstva pohvalom Akademijskog vijeća Cum Laude. Diplomski studij slikarstva završava 2021. godine u klasi profesora Zoltana Novaka, nagradom Akademijskog Vijeća ALU najuspješnijim diplomantima. Do sada je izlagala na nekoliko grupnih izložbi među kojima su Ususret Bijenalu slikarstva Galerija Šira; Oni odlaze izložba završnih radova Slikarskog Odsjeka ALU, Gliptoteka HAZU, Situacija – 35. Salon mladih Galerija Forum, 6. Bijenale slikarstva HDLU na kojem dobiva Cloverfield nagradu te na samostalnoj izložbi Aluzija na zaboravljeno ljeto Galerija Matice hrvatske.

biografije umjetnika

artists’ biographies

She was born in Varaždin in 1995. She enrolled at the Academy of Fine Arts in Zagreb in 2015, where she completed her undergraduate studies in painting with magna cum laude honours from the Academic Council. She completed her graduate studies in painting in 2021 in the class of Prof. Zoltan Novak, with the award of the Academic Council of the Academy of Fine Arts awarded to the most successful graduates. So far, she has exhibited in several group exhibitions, including Towards the Biennial of Painting, Šira Gallery; Oni odlaze – the exhibition of graduation works of the Painting Department of the Academy of Fine Arts, Glyptothek of the Croatian Academy of Sciences and Arts, Situacija - 35th Youth Salon Forum Gallery, 6th Biennial of Painting, Croatian Association of Artists, where she received the Cloverfield Award, and at the solo exhibition Aluzija na zaboravljeno ljeto, Matica hrvatska Gallery.

Lucija Jelić Rođena je 1996. godine u Zadru. Po završetku Škole primijenjenih umjetnosti i dizajna u Zadru, upisuje studij kiparstva na Akademiji likovnih umjetnosti u Zagrebu, gdje je i diplomirala 2022. godine. U sklopu Erasmus programa jednu godinu studija provela je na Facultad de Bellas Artes sveučilišta Complutense u Madridu, a dobitnica je dvije Rektorove nagrade za timski znanstveni i umjetnički rad te pohvalnice akademskog vijeća za najbolju studenticu u klasi.

She was born in Zadar in 1996. After graduating from the School of Applied Arts and Design in Zadar, she enrolled in the study of sculpture at the Academy of Fine Arts in Zagreb, where she graduated in 2022. As part of the Erasmus programme, she spent one year at the Facultad de Bellas Artes of the Complutense University in Madrid, and she won two Rector’s Awards for team research and artistic work and a commendation from the Academic Council for the best student in the class.

Iva Jelinčić Rođena u Zagrebu gdje završava OŠ Josip Račić i Klasičnu gimnaziju; studij arhitekture započela u Zagrebu i nastavila u Ljubljani nakon kratkog boravka u Berlinu. Diplomirala u Zagrebu gdje sada živi i radi nakon dvogodišnjeg angažmana u Prištini. Uz arhitekturu, bavi se dizajnom, fotografijom, ilustracijom i pisanjem.

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Najvećim uspjesima u struci smatra višemjesečni boravak na gradilištima UNOPS-a Merdare i Mutivoda IBM Kosovo Projecta 2018. i osvojeno prvo mjesto s Mirnom Udovčić i Irenom Bakić na Europan 15 natječaju 2019. godine. Najsvježije umjetničko ostvarenje je suradnja i kreativni rad na muralu Endless mornings koji je realizirao Lonac u Danskoj 2021. godine.

Born in Zagreb, where she graduated from the Josip Račić Elementary School and the Classical Gymnasium; she began her architecture studies in Zagreb and continued in Ljubljana after a short stay in Berlin. She graduated in Zagreb, where she now lives and works after a two-year job in Priština. In addition to architecture, she is also engaged in design, photography, illustration and writing. As her greatest professional success she sees a months-long stay at the UNOPS construction sites of Merdare and Mutivoda IBM Kosovo Project 2018 and the first place she won with Mirna Udovčić and Irena Bakić at the Europan 15 competition in 2019.

Her most recent artistic achievement is the collaboration and creative work on the mural Endless Mornings, which was created by Lonac in Denmark in 2021.

Damir Kamenar Rođen u Osijeku 1989. Diplomirao je 2019. razrednu nastavu na Sveučilištu u Zadru, na odjelu za izobrazbu učitelja i odgojitelja uz pojačan modul likovne kulture. 2021. diplomirao je na grafičkom odsjeku na ALU u Zagrebu.

2014. sudjelovao je na međunarodnom projektu Back to Heritage, kao suautor crteža s umjetnikom Josipom Zankijem. 2016. godine u sklopu Erasmus programa ilustrirao je slikovnicu za djecu. Godine 2017. kao jedan od autora crteža sudjelovao je na internacionalnom umjetničkom projektu The Way of Water čije je predstavljanje održano u Klubu HDLU u Zagrebu. 2020. na grupnoj izložbi studenata Plati i nosi dobio je nagradu za jednog od tri najbolja izlagača. Imao je nekoliko samostalnih izložbi, a trenutno živi i radi u Zagrebu.

Born in Osijek in 1989. In 2019, he graduated from the University of Zadar, Department of Teacher Education with a focus on art education.

In 2021, he graduated from the Department of Graphic Arts at the Academy of Fine Arts in Zagreb. In 2014, he participated in the interna-

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tional project Back to Heritage, as a co-author of drawings with the artist Josip Zanki. In 2016, as part of the Erasmus programme, he illustrated a picture book for children. In 2017, as one of the authors of the drawings, he participated in the international art project The Way of Water, the presentation of which was held at the Club of the Croatian Association of Artists in Zagreb.

In 2020, at the group exhibition of students Plati i nosi (Cash and Carry), he received the award as one of the three best exhibitors. He has had several solo exhibitions and currently lives and works in Zagreb.

Mihael Klanjčić Rođen je 1994. godine u Zagrebu, diplomirao je na Nastavničkom odsjeku Akademije likovnih umjetnosti Sveučilišta u Zagrebu (smjer: slikarstvo), u klasi prof. Damira Sokića 2019. godine. Izlagao je na brojnim skupnim izložbama među kojima su: 35. Salon mladih – Millenial, (Dom HDLU), 16. Erste Fragmenti (Lauba), U ljetnom kodu (Galerija Kranjčar), Umjetnost je sumnja (LEXART Skladište), 14. Erste Fragmenti (Galerija Kranjčar) te na samostalnim izložbama u galeriji SC, galeriji Academia Moderna, galeriji Zilik. Živi i radi u Zagrebu.

He was born in Zagreb in 1994. He graduated from the Teaching Department of the Academy of Fine Arts, University of Zagreb (major: painting), in the class of Prof. Damir Sokić in 2019. He has exhibited in numerous group exhibitions, including the 35th Youth Salon - Millennial, (Home of the Croatian Association of Artists), 16th Erste Fragments (Lauba), U ljetnom kodu (Kranjčar Gallery), Umjetnost je sumnja (LEXART Warehouse), 14th Erste Fragments (Kranjčar Gallery) and in solo exhibitions at the SC Gallery, Academia Moderna Gallery, Zilik Gallery. He lives and works in Zagreb.

Glorija Lizde Rođena je 1991. godine u Splitu. Završila je preddiplomski studij filma i videa pri Umjetničkoj akademiji u Splitu te diplomski studij fotografije pri Akademiji dramske umjetnosti u Zagrebu.

Ostvarila je nekoliko samostalnih izložbi te sudjelovala na brojnim skupnim izložbama u Hrvatskoj i inozemstvu. Dobitnica je Dekaničine nagrade za rad na seriji fotografija F20.5.

Nominirana je za World Press Photo Joop Swart Masterclass 2020. te je jedna od izabranih

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fotografkinja u međunarodnom programu za nadolazeće umjetnike Parallel – European Photo Based Platform 2018. i 2021. godine. Dobitnica je stipendije i rezidencije Dr. Éva Kahán Foundation za 2022. godinu.

She was born in Split in 1991. She completed her undergraduate studies in film and video at the Arts Academy in Split and her graduate studies in photography at the Academy of Dramatic Arts in Zagreb. She has had several solo exhibitions and participated in numerous group exhibitions in Croatia and abroad. She is the winner of the Dean’s Award for the work on the F20.5 series of photographs. She was nominated for the World Press Photo Joop Swart Masterclass 2020 and is one of the selected photographers in the international program for the upcoming artists Parallel - European Photo Based Platform 2018 and 2021. She is the winner of the scholarship and residency of The Dr. Éva Kahán Foundation for 2022.

Denise Martinis Rođena je 1996. godine u Rijeci. Nakon završetka srednjoškolskog obrazovanja u Školi primijenjenih umjetnosti i dizajna u Puli 2016. godine upisuje Akademiju primijenjenih umjetnosti Sveučilišta u Rijeci, smjer Primijenjena umjetnost - kiparstvo. Tijekom godina sudjelovala je na nekoliko skupnih izložbi, radionica, CEEPUS programu jednomjesečnog pohađanja Akademije likovnih umjetnosti Sveučilišta u Ostravi (Češka Republika), Međunarodnoj studentskoj kiparskoj školi Montraker u Vrsaru 2021. godine gdje joj je rad postavljen kao javna skulptura u prostoru grada Vrsara te je sudjelovala na 41.

DaeGu Međunarodnoj izložbi u Južnoj Koreji gdje je dobila pohvalnicu za izloženi rad.

She was born in Rijeka in 1996. After graduating from the School of Applied Arts and Design in Pula, in 2016 she enrolled at the Academy of Applied Arts, University of Rijeka, majoring in Applied Arts - Sculpture. Over the years, she has participated in several group exhibitions, workshops, CEEPUS one-month program of the Academy of Fine Arts, University of Ostrava (Czech Republic), Montraker International Student Sculpture School in Vrsar in 2021, where her work was placed a public sculpture in Vrsar, and in 41st DaeGu International Exhibition in South Korea where she received a commenda-

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artists’ biographies

tion for the exhibited work.

Duje Medić Rođen 1986. godine u Brelima, diplomirao je grafiku na Akademiji likovnih umjetnosti u Zagrebu 2010. godine. Sudjelovao je na dvadeset i jednoj samostalnoj i više grupnih izložbi od kojih treba izdvojiti Hommage olovci (Studio Moderne Galerije „Josip Račić“, Zagreb) s Josipom Vaništom i Davorom Vrankićem. Godine 2015. sudjeluje u organizaciji međunarodne radionice Science Meets Art – Genomics for Peace u Brelima s prof. Ivanom Đikićem (Sveučilište Goethe, Frankfurt) i dr. Martinom Mijušković (Genomics England). Godine 2016. radio je kao vanjski suradnik na Grafičkom fakultetu u Zagrebu. Iste godine boravi na umjetničkoj rezidenciji Cite International des Arts u Parizu. Član je HZSU-a.

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She was born in Čakovec in 1991. She graduated in Graphic Arts in the class of Prof. Ines Krasić at the Department of Teacher Education at the Academy of Fine Arts, the University of Zagreb in 2017 with the Summa Cum Laude distinction. She has won numerous awards, including the National and University Library’s Print Collection Award, Award of the Museum of Contemporary Art and 2nd HPB Youth Salon Award, Erste Grand Prix and Rector’s Award. She has been having solo exhibitions since 2016 at the Matica hrvatska Gallery, Kranjčar Gallery and the Gallery of the Museum of Contemporary Art. She has exhibited in about thirty group exhibitions, including the 7th and 8th Croatian Graphic Triennial, 4th Biennial of Painting, 12th Erste Fragments and 34th and 35th Youth Salon.

She works as an assistant at the Academy of Fine Arts in Zagreb.

Born in Brela in 1986, he graduated in Graphic Arts from the Academy of Fine Arts in Zagreb in 2010. He has participated in twenty-one solo and several group exhibitions, including Hommage to a Pencil (Studio of “Josip Račić” Modern Gallery, Zagreb) with Josip Vaništa and Davor Vrankić. In 2015, he participated in the organization of the international workshop Science Meets Art - Genomics for Peace in Brela with Prof. Ivan Đikić (Goethe University, Frankfurt) and Dr Martin Mijušković (Genomics England). In 2016, he worked as an external associate at the Faculty of Graphic Arts in Zagreb. In the same year, he stayed at the artist residency Cite International des Arts in Paris. He is a member of the Croatian Freelance Artists’ Association.

Alba Miočev Rođena je 1994. godine u Zadru. Nakon završene Škole primijenjene umjetnosti i dizajna u Zadru, upisuje slikarstvo na Akademiji likovnih umjetnosti Sveučilišta u Zagrebu. Dio studija u sklopu Erasmus+ provodi na Sveučilištu Ulster u Belfastu, a nakon završenog preddiplomskog studija u sklopu Erasmus prakse radi na rezidenciji GlogauAir u Berlinu. Izlagala je na grupnim izložbama, neke od njih su Situacija (Galerija Forum), Intima (Galerija Kranjčar), Nesvrstani (Lauba), Recycle or Try (Galerija VN) i na samostalnoj izložbi u Galeriji Matice hrvatske. Bavi se i zidnim slikarstvom te sudjeluje na festivalima murala, neki od njih su GNG, Re:Think Sisak, KvartArt, Zen Opuzen.

Vida Meić Rođena je 1991. godine u Čakovcu. Diplomirala je grafiku u klasi prof. Ines Krasić na Nastavničkom odsjeku na Akademiji likovnih umjetnosti Sveučilišta u Zagrebu 2017. godine s pohvalom Summa Cum Laude. Dobitnica je brojnih nagrada od kojih valja izdvojiti nagradu Grafičke zbirke NSK, MSU nagradu i 2. HPB nagradu Salona mladih, Erste Grand Prix i Rektorovu nagradu.

Samostalno izlaže od 2016. u Galeriji Matice hrvatske, Galeriji Kranjčar i Galeriji MSU. Izlagala je na tridesetak skupnih izložbi od kojih valja istaknuti 7. i 8. hrvatski trijenale grafike, 4. Bijenale slikarstva, 12. Erste fragmente te 34. i 35.

Salon mladih. Radi kao asistentica na Akademiji likovnih umjetnosti u Zagrebu.

She was born in 1994 in Zadar. After graduating from the School of Applied Arts and Design in Zadar, she enrolled in painting at the Academy of Fine Arts, University of Zagreb. She spent a part of her studies at the Ulster University in Belfast within the Erasmus+ programme, and after completing her undergraduate studies, she worked at the GlogauAir residency in Berlin as part of the Erasmus internship. She has exhibited in group exhibitions, some of which are Situacija (Forum Gallery), Intima (Kranjčar Gallery), Nesvrstani (Lauba), Recycle or Try (VN Gallery) and in a solo exhibition at the Matica hrvatska Gallery. She is also engaged in wall painting and participates in mural festivals, some of which are GNG, Re: Think Sisak, KvartArt, Zen Opuzen.

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Antun Mlakić Rođen je 1998. godine u Vitezu, u Bosni i Hercegovini. Završava Opću gimnaziju u BiH, te 2018. godine upisuje Tekstilno-tehnološki fakultet u Zagrebu. 2021. godine završava preddiplomski studij i upisuje diplomski studij na istom fakultetu, smjer Dizajn tekstila. Izlagao je na nekoliko skupnih izložbi, kao što su Zagreb Design Week 2020. i 2021. godine, Kina i simboli 2021. godine te na samostalnoj izložbi u Gradskoj galeriji Vitez u Vitezu 2020.godine. Trenutno je 1. godina diplomskog studija. Živi i radi u Zagrebu.

He was born in Vitez, Bosnia and Herzegovina, in 1998. He graduated from the Gymnasium in Bosnia and Herzegovina, and in 2018 he enrolled at the Faculty of Textile Technology in Zagreb. In 2021, he completed his undergraduate studies and enrolled in graduate studies at the same faculty, majoring in Textile Design. He has exhibited in several group exhibitions, such as Zagreb Design Week in 2020 and 2021, China and Symbols in 2021, and in the solo exhibition Vitez u Vitezu at the City Gallery in 2020. He is currently in his 1st year of graduate study. He lives and works in Zagreb.

Iva Muškić Rođena je 1993. u Vinkovcima. Godine 2018. diplomirala je na Akademiji za umjetnost i kulturu u Osijeku, studij likovne kulture, modul grafika.

Sudjelovala je na rezidencijalnom programu MMML Studia te Međunarodnoj grafičkoj radionici IWAGO #6. Izlagala je na brojnim skupnim izložbama među kojima su Međunarodna izložba grafika i knjiga umjetnika u Rijeci, Međunarodna izložba minijature u Novim Dvorima, „Na kat”, Na rubu fotografije te na samostalnoj izložbi u galeriji Crta, Centra za kulturu i informacije Maksimir.

Aktivno radi kao stručni suradnik na projektu ONE SU TU. Živi i radi u Vinkovcima.

She was born in Vinkovci in 1993. In 2018, she graduated from the Academy of Arts and Culture in Osijek, majoring in Art Education, the module of Graphic Arts. She participated in the residency program of the MMML Studio and the International Workshop of Graphic Arts IWAGO #6. She has exhibited in numerous group exhibitions, including the International Exhibition of Graphics and Artist Books in Rijeka, the International Exhibition of Miniatures in Novi Dvori, “Na kat”, Na rubu fotografije and a solo exhibition at

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Crta Gallery, Center for Culture and Information Maksimir. She is actively working as an expert associate on the ONE SU TU project. She lives and works in Vinkovci.

Dorian Pacak Rođen 1996. godine u Zagrebu. Maturirao 2015. u zagrebačkoj V. Gimnaziji, a 2017. upisuje Likovnu kulturu na ALU u Zagrebu, gdje je trenutno 2. godina diplomskog studija, smjer kiparstvo u klasi Ivana Fijolića. Izlagao je na tri samostalne izložbe (Galerija Crta, Lauba (Šalji dalje), Galerija Polica) i na nekoliko skupnih izložbi (Galerija Šira, Galerija Karas, Galerija Pallas Projects/Studios, Galerija Canvas, Galerija Bačva, i dr.) i projektima (Umjetnost u zajednici: redefiniranje nasljeđa grupe ‘Zemlja’, nekoliko akcija oslikavanja dječjih igrališta u suradnji s Centrom za kulturu i informacije Maksimir i Suhozidi: trag u krajoliku ili zaboravljena kulturna baština.). Živi i radi u Zagrebu.

Born in Zagreb in 1996. He graduated in 2015 from Zagreb’s 5th Gymnasium, and in 2017 he enrolled in Art Education at the Academy of Fine Arts in Zagreb, where he is currently in his 2nd year of graduate studies, majoring in sculpture in the class of Ivan Fijolić. He has exhibited in three solo exhibitions (Crta Gallery, Lauba (Šalji dalje/Pay It Forward), Polica Gallery) and several group exhibitions (Šira Gallery, Karas Gallery, Pallas Projects/Studios Gallery, Canvas Gallery, Bačva Gallery, etc.) and projects (Art in the Community: Redefining Heritage of the Association of Artists ‘Zemlja’, several actions of painting children’s playgrounds in collaboration with the Center for Culture and Information Maksimir and Drywalls: a Trace in the Landscape or Forgotten Cultural Heritage.). He lives and works in Zagreb.

Ivana Padavić Rođena je 1996. godine u Rijeci. Godine, 2020. završava sveučilišni diplomski studij Tekstilnog i modnog dizajna, smjera Dizajn tekstila na Tekstilno - tehnološkom fakultetu u Zagrebu.

Izlagala je na brojnim skupnim izložbama među kojima je nagrada za prvo mjesto u digitalnoj izradi aplikacije za tisak majice u sklopu izložbe Ljubav i otpor Ivane Popović kao poticaj novim generacijama, 2019. Zagreb, MSU i treće mjesto za najbolji rad u sklopu izložbe Priča konca, 2019. Zagreb, Galerija Živi Atelje. Godine. 2020. vodila je tekstilne radionice u sklopu izložbe

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artists’ biographies

Ostavi svoj trag, Zagreb, Galerija VN. Godine 2021. imala je prvu samostalnu izložbu Istina je u očima u TTF galeriji.

She was born in Rijeka in 1996. In 2020, she completed her university graduate studies in Textile and Fashion Design, majoring in Textile Design at the Faculty of Textile Technology in Zagreb. She has exhibited in numerous group exhibitions, including the first award for the digital design of t-shirt printing as part of Ivana popović’s exhibition Ljubav i otpor as an incentive to new generations, 2019, Zagreb, the Museum of Contemporary Art and the third place for the best work within the exhibition Priča konca, 2019, Zagreb, Živi Atelje Gallery. In 2020, she managed textile workshops as part of the exhibition Ostavi svoj trag, Zagreb, VN Gallery. In 2021, she had her first solo exhibition Istina je u očima at the Gallery of the Faculty of Textile Technology.

Petra Pavetić Kranjčec Rođena je 2000. u Zagrebu. Studentica je 3. godine studija Animirani film i novi mediji na Akademiji likovnih umjetnosti u Zagrebu. Održala je jednu samostalnu i sudjelovala na četiri skupne izložbe. Njezini radovi u kategorijama eksperimentalni, igrani i animirani film prikazani su na 15 filmskih festivala. Dobitnica je nagrada: 2019. Nagrada Ivan Martinac na Splitskom filmskom festivalu, Međunarodnom festivalu novog filma za eksperimentalni film Corpus (produkcija Blank), 2017. 45th International Children’s Exhibition of Fine Arts Lidice, Češka - nagrada za fotografiju, 2017. Natječaj Državne uprave za zaštitu i spašavanje - 1. nagrada za fotografiju.

She was born in Zagreb in 2000. She is a 3rdyear student of Animation and New Media at the Academy of Fine Arts in Zagreb. She has had one solo and participated in four group exhibitions. Her works in the categories of experimental, feature and animated films have been screened at 15 film festivals. She has won the following awards: 2019, Ivan Martinac Award at the Split Film Festival, Corpus International New Film Festival for Experimental Film (produced

by Blank), 2017, 45th International Children’s Exhibition of Fine Arts Lidice, Czech Republic Photography Award, 2017 Competition of the National Protection and Rescue Directorate 1st prize for photography.

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Patricija Purgar Rođena je 1990. u Zagrebu. Diplomirala je slikarstvo na Akademiji likovnih umjetnosti u Zagrebu 2013. Izlagala je na brojnim skupnim izložbama u Hrvatskoj i inozemstvu među kojima su: Erste fragmenti, Bijenale slikarstva, Salon mladih, 4. Međunarodni festival likovnih umjetnosti u Kranju, “Nikola Tesla – Mind from the Future“, 21.

Međunarodna izložba minijatura u Zaprešiću na kojoj je 2018. osvojila prvu nagradu žirija, Međunarodni trijenale autoportreta u Samoboru i druge. Samostalno je izlagala u Poreču, Samoboru, Zaprešiću i Grožnjanu te na pet samostalnih izložbi u Zagrebu. Članica je Hrvatske zajednice samostalnih umjetnika. Živi i radi u Zagrebu.

She was born in Zagreb in 1990. She graduated in Painting at the Academy of Fine Arts in Zagreb in 2013. She has exhibited in numerous group exhibitions in Croatia and abroad, including Erste Fragments, Biennial of Painting, Youth Salon, 4th International Festival of Fine Arts in Kranj, “Nikola Tesla - Mind from the Future”, 21st International Miniatures Exhibition in Zaprešić, where she won the first prize of the jury in 2018, International Triennial of Self-Portraits in Samobor and others. She has had solo exhibitions in Poreč, Samobor, Zaprešić and Grožnjan, and five solo exhibitions in Zagreb. She is a member of the Croatian Freelance Artists’ Association.

She lives and works in Zagreb.

Antonio Rendulić Rođen je 1996. u Osijeku. Godine 2020. diplomirao je Grafiku na Akademiji za umjetnost i kulturu u Osijeku. Sudjelovao je na brojnim skupnim izložbama, te je imao samostalne izložbe. Dobitnik je brojnih nagrada, stipendija za izvrsnost sveučilišta J. J. Strossmayera u Osijeku, te je dobitnik pohvale Magna Cum Laude za uspjeh tijekom studiranja na diplomskom sveučilišnom studiju Likovna kultura (mag.educ.art) kao student koji je obilježio generaciju. Aktivan je u brojnim projektima koji su usko vezani za osobe s invaliditetom, inkluzija i integracija postaju mu sve češća praksa, a tu praksu osobno proživljava kao osoba s invaliditetom.

He was born in Osijek in 1996. In 2020, he graduated in Graphics at the Academy of Arts and Culture in Osijek. He has participated in numerous group exhibitions and has had solo exhibitions. He has won numerous awards,

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including a scholarship for excellence from the University of J. J. Strossmayer in Osijek and is the winner of the Magna Cum Laude commendation for success during his studies at the graduate study of Art Education (mag.educ.art) as a student who marked the generation. He is active in numerous projects that are closely related to people with disabilities, inclusion and integration are increasingly becoming his common practice, and he lives this practice as a person with disabilities.

Josip Rončević Rođen 1991. godine u Zadru gdje je završio gimnaziju. U Zagrebu je 2015. diplomirao na Grafičkom fakultetu, a iste godine upisao slikarski odsjek na Akademiji likovnih umjetnosti u Zagrebu. Tijekom studija je dobio nekoliko priznanja za svoj rad, sudjelovao je u uredništvu časopisa Skica, a 2020. je diplomirao s pohvalom iz latinske klasifikacije Summa Cum Laude. Izlagao na sedam samostalnih i dvadesetak skupnih izložbi od kojih se mogu istaknuti Igra sporta i umjetnosti (HDLU), Erste fragmenti 16 (Lauba), Eterični narativi (Galerija Kranjčar) i 35. salon mladih (HDLU) pri kojem je sunagrađen „Nagradom Iva Vraneković – Vladimir Dodig Trokut, umjetnici umjetniku“. Član je HDLU-a.

Born in Zadar in 1991, where he graduated from the gymnasium. In 2015, he graduated from the Faculty of Graphic Arts in Zagreb and the same year he enrolled in the painting department at the Academy of Fine Arts in Zagreb. During his studies, his work received several recognitions, he was part of the editorial board of the Skica journal, and in 2020 he graduated with Summa Cum Laude honours. He has exhibited in seven solo and about twenty group exhibitions, including Igra sporta i umjetnosti (Croatian Association of Artists), Erste fragments 16 (Croatian Association of Artists), Eterični narativi (Kranjčar Gallery) and the 35th Youth Salon (Croatian Association of Artists), where he was co-awarded the “Iva Vraneković Award – Vladimir Dodig Trokut, Artists to Artists.” He is a member of the Croatian Association of Artists.

Laura Sajko Rođena je 1997. u Varaždinu. Godine 2021. diplomirala je slikarstvo na Akademiji likovnih umjetnosti u Zagrebu. Diplomirala je s nagradom Akademskog vijeća najboljim diplomantima. Na

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posljednjoj godini studija bila je glavna urednica Skice, časopisa studenata Akademije likovnih umjetnosti. U sklopu programa Erasmus+ studirala je na Likovnoj akademiji Władysław Strzemiński u Łódźu (Poljska). Izlagala je na skupnim izložbama. Aktivna je volonterka u zagrebačkom klubu KSET kao dio planinarske sekcije i dizajnerskog tima.

She was born in Varaždin in 1997. In 2021 she graduated in Painting at the Academy of Fine Arts in Zagreb. She graduated with the Academic Council Award for Best Graduate. In her final year of study, she was the editor-in-chief of Skica, a journal of the Academy of Fine Arts students. As part of the Erasmus+ programme, she studied at the Władysław Strzemiński Academy of Fine Arts in Łódź (Poland). She has exhibited in group exhibitions. She actively volunteers in KSET club in Zagreb as part of the mountaineering section and design team.

Antun Sekulić Rođen u Zagrebu 2000. Završio Srednju školu primijenjene umjetnosti i dizajna 2019. u Zagrebu, smjer Metal. 2016. godine sudjeluje na Dubrovačkim ljetnim igrama, kao asistent scenografa u predstavi Othello. 2017. godine sudjeluje kao asistent scenografa na Dubrovačkim ljetnim igrama u predstavi Viktorija od neprijatelja. 2019. upisuje ALU, kiparski odsjek.

U listopadu 2020. otvara prvu samostalnu izložbu u Japanskoj ambasadi u sklopu Impact Huba pod nazivom Igraonica 5271. 2021. sudjeluje u ljetnoj školi ALU i izlaže na grupnoj izložbi Lica heroja i naličje bogova: od staroslavenske mitologije do superheroja i distopijskih antiheroja u vodnjanskoj Apoteci. 2021. sudjeluje kao asistent scenografa u ZKM-u u predstavi Ja sam ona koja nisam.

Born in Zagreb in 2000. He graduated from the High School of Applied Arts and Design in Zagreb in 2019, majoring in Metal. In 2016, he participated in the Dubrovnik Summer Festival, as an assistant set designer in the play Othello. In 2017, he participated in the Dubrovnik Summer Festival as an assistant set designer in the play Victoria from the Enemy. In 2019, he enrolled at the Academy of Fine Arts, Department of Sculpture. In October 2020, he had his first solo exhibition at the Embassy of Japan as part of the Impact Hub called Igraonica/

biografije umjetnika

artists’ biographies

Playhouse 5271. In 2021, he participated in the summer school of the Academy of Fine Arts and exhibited in the group exhibition Lica heroja i naličje bogova: od staroslavenske mitologije do superheroja i distopijskih antiheroja in the Vodnjan Apoteka. In 2021, he participated as an assistant set designer at Zagreb Youth Theatre in the play Ja sam ona koja nisam.

Lana Stojićević Rođena je 1989. u Šibeniku. Diplomirala je 2012. na Slikarskom odsjeku Umjetničke akademije u Splitu. Izlagala je na brojnim izložbama u Hrvatskoj i inozemstvu poput Ostrale bijenala u Dresdenu, New East Photo Prize u Londonu i OFF-bijenala u Budimpešti. Dobitnica je više strukovnih nagrada, među kojima su Nagrada Radoslav Putar (Institut za suvremenu umjetnost, Zagreb, 2021.), treća Nagrada Ivan Kožarić (MSU, Zagreb, 2021.), nagrada Metro Imaging na izložbi New East Photo Prize (Fondacija Calvert 22, London, 2016.), godišnja nagrada za mlade umjetnike (HDLU, Zagreb, 2015.). Radi kao docentica na Odsjeku za likovnu kulturu i likovnu umjetnost Umjetničke akademije u Splitu.

She was born in Šibenik in 1989. In 2012, she graduated from the Department of Painting at the Arts Academy in Split. She has exhibited in numerous exhibitions in Croatia and abroad, such as the Ostrala Biennale in Dresden, the New East Photo Prize in London and the OFF Biennale in Budapest. She has won several professional awards, including the Radoslav Putar Award (Institute of Contemporary Art, Zagreb, 2021), the third Ivan Kožarić Award (Museum of Contemporary Award, Zagreb, 2021), the Metro Imaging Award at the New East Photo Prize exhibition (Calvert 22 Foundation, London, 2016), the Annual Award for Young Artists (Croatian Association of Artists, Zagreb, 2015). She works as an assistant professor at the Department of Art Education and Fine Arts of the Arts Academy in Split.

Ivana Tkalčić Rođena je 1987. u Sisku, diplomirala je na Akademiji likovnih umjetnosti (MA) u Zagrebu i magistrirala ekonomiju na Ekonomskom fakultetu u Zagrebu. Ak. godine 2014./2015. boravi na Akademiji likovnih umjetnosti u Münchenu.

Sudjelovala je na brojnim projektima i umjetničkim rezidencijama u Austriji, Belgiji, Grčkoj,

10. 5.

–31. 5.

2022.

Norveškoj, Nizozemskoj, Italiji i Poljskoj. Polaznica WHW Akademije, generacija 2019./2020. Ima realizirane brojne samostalne i grupne izložbe.

Dobitnica više nagrada: 20. nagrade Radoslav Putar-Young Visual Artists Awards, Grand Prix nagrada na 35. Salonu mladih, Erste fragmenti 12, Rektorove nagrade za najbolje studente, Sveučilišta u Zagrebu, RCAA - Young European art Award.

She was born in Sisak in 1987. She graduated from the Academy of Fine Arts (MA) in Zagreb and holds a Master’s degree in Economics from the Faculty of Economics & Business in Zagreb.

In the 2014/2015 academic year, she studied at the Academy of Fine Arts in Munich. She has participated in numerous projects and art residencies in Austria, Belgium, Greece, Norway, the Netherlands, Italy and Poland. Participant of the WHW Academy, generation 2019/2020. She has exhibited in numerous solo and group exhibitions and won several awards: 20th Radoslav Putar-Young Visual Artists Awards, Grand Prix of the 35th Youth Salon, Erste Fragments 12, Rector’s Award for the Best Students, University of Zagreb, RCAA - Young European Art Award.

Andrej Tomić Rođen je 1992. godine u Osijeku. Studij Slikarstva na Akademiji likovnih umjetnosti u Zagrebu završio je 2016. godine. Izlagao na više samostalnih i žiriranih skupnih izložbi. Dobitnik je Nagrade Iva Vraneković - Vladimir Dodig Trokut, umjetnici umjetniku na 5. Bijenalu slikarstva 2019. godine, te Godišnje nagrade HDLU-a za mladog umjetnika za 2021. godinu. Trenutno je zaposlen kao nastavnik stručnih predmeta na Školi primijenjene umjetnosti i dizajna Osijek.

He was born in Osijek in 1992. He completed his painting studies at the Academy of Fine Arts in Zagreb in 2016. He has exhibited in several solo and juried group exhibitions. He is the winner of the Iva Vraneković Award - Vladimir Dodig Trokut, Artist to Artist at the 5th Biennial of Painting in 2019, and the Annual Award of the Croatian Association of Artists for Young Artist for 2021.

He is currently employed as a teacher of professional subjects at the School of Applied Arts and Design Osijek.

Franciska Topolovec Rođena je u Zagrebu 1997. godine. Diplomirala

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je u klasi profesora Duje Jurića u veljači 2022.

Do sada je izlagala na jednoj samostalnoj i više grupnih izložbi: Oranice (Kulturni centar Mesnička), završna izložba studenata ALU, Noć muzeja (ALU, Zagreb), Umjetnošću i ljepotom protiv predrasuda (dvorac Veliki Tabor), Art sharing/space sharing (Macerata, Italija), Plati i nosi (galerija Bačva, HDLU), RE: regionalno izumrli (Oris-kuća arhitekture, Zagreb).

She was born in Zagreb in 1997. She graduated in the class of Prof. Duje Jurić in February 2022.

So far, she has exhibited in one solo and several group exhibitions: Oranice (Mesnička Cultural Centre), graduation exhibition of the students of Academy of Fine Arts, Museum Night (Academy of Fine Arts, Zagreb), Umjetnošću i ljepotom protiv predrasuda (Veliki Tabor Castle), Art Sharing/Space Sharing (Macerata, Italy), Plati i nosi/Cash and Carry (Bačva Gallery, Croatian Association of Artists ), RE: regionalno izumrli (Oris-House of Architecture, Zagreb).

Mirna Udovčić Rođena je 1990. u Zagrebu. Diplomirala je na Arhitektonskom fakultetu u Zagrebu pod mentorstvom prof. Tončija Žarnića. Studentski projekt i diplomski rad nagrađeni su na 53. i 56. zagrebačkom salonu arhitekture. Radi u arhitektonskim uredima i sudjeluje na arhitektonskim natječajima od kojih se ističe Europan 15, 2019. godine (suradnja s Irenom Bakić i Ivom Jelinčić).

Usporedno s arhitekturom, djeluje u području novih medija. Izlagala je na skupnim te na samostalnim izložbama u galeriji CEKAO i Wi-Fi galeriji siva) (zona. Teži arhitektonskom eksperimentu i osobnom vizualnom izrazu. Živi i radi u Zagrebu.

She was born in Zagreb in 1990. She graduated from the Faculty of Architecture in Zagreb under the mentorship of Prof. Tonči Žarnić. The student project and thesis work were awarded at the 53rd and 56th Zagreb Salon of Architecture.

She works in architectural offices and participates in architectural competitions, including the Europan 15 in 2019 (collaboration with Irena Bakić and Iva Jelinčić). Along with architecture, she works in the field of new media. She has exhibited in group and solo exhibitions at the CEKAO Gallery and the siva) (zona Wi-Fi Gallery.

She is interested in architectural experimentation and personal visual expression. She lives and works in Zagreb.

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Matej Vuković Rođen je 1995. u Zagrebu. Diplomirao je Kiparstvo na Akademiji likovnih umjetnosti u Zagrebu 2021. godine. Izlagao je na desetak skupnih izložbi, među kojima je 13. trijenale kiparstva, i projekt Okolo, te na samostalnim izložbama u galeriji Matice hrvatske i Garaža Kamba. U Bjelovaru ima postavljene tri javne skulpture u sklopu projekta Svijetle pruge. Izlaže u sklopu galerije Zen Contemporary Art. Dobitnik je nagrade Plati i nosi za najbolji rad na izložbi 2018. godine, i Nagrade Ivan Kožarić MSU-a 2021. godine. Živi i Radi u Zagrebu.

He was born in Zagreb in 1995. He graduated in Sculpture at the Academy of Fine Arts in Zagreb in 2021. He has exhibited in a dozen group exhibitions, including the 13th Triennial of Sculpture, and the Okolo project, as well as in solo exhibitions at the Matica hrvatska Gallery and Garaža Kamba. Three of his works are placed as public sculptures in Bjelovar as part of the Svijetle pruge project. He exhibits within the Zen Contemporary Art Gallery. He is the winner of the Plati i nosi (Cash&Carry) Award for the best work at the exhibition in 2018, and the Ivan Kožarić Award of the Museum of Contemporary Art in 2021. He lives and works in Zagreb.

venientes

4. 5.

–15. 5.

2022.

those who are coming

eniente

oni koji dolaze

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predgovor

foreword

4. 5.

–15. 5.

2022.

Galerija Šira / Šira Gallery 4. 5. – 15. 5. 2022.

Studenti ALU Zagreb / ALU Zagreb Students Nakon obljetničkog 10. izdanja “Venientesa” održanog 2020. u sklopu 35. salona mladih, ovogodišnje izdanje u Galeriji Šira predstavlja radove 11 najuspješnijih diplomanata svih 6 odsjeka ALU Zagreb u akademskoj 2020./2021. godini, nagrađenih od strane Akademijskog vijeća.

Riječ je o izložbi koju je osmislio pokojni profesor i dekan, red. prof. art. Slavomir Drinković i na kojoj su redovito izlagali studenti diplomskih studija svih šest odsjeka akademije. U proteklih jedanaest godina izložba je gostovala u više izlagačkih prostora (Koncertna dvorana Vatroslava Lisinskog, Galerija Marisall, Galerija Šira, HDLU u sklopu Salona mladih). Svake je godine na izložbi sudjelovalo oko trideset autora, što do danas zbirno broji preko tri stotine izlagača.

After the 10th anniversary edition of Venientes held in 2020 as part of the 35th Youth Salon, this year’s edition at the Šira Gallery presents the works of the eleven most successful graduates of all six departments of the Academy of Fine Arts in Zagreb in the 2020/2021 academic year, awarded by the Academic Council.

It is an exhibition designed by the late professor and dean, Prof. in Art Slavomir Drinković and in which the graduate students of all six departments of the Academy regularly exhibit. Over the past eleven years, the exhibition has taken place in several exhibiting venues (Vatroslav Lisinski Concert Hall, Marisall Gallery, Šira Gallery, Croatian Association of Artists within the Youth Salon). Every year, about thirty authors participate in the exhibition, which, to date, amounts to over three hundred exhibitors.

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likovni postav

exhibition

4. 5.

–15. 5.

2022.

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venientes

umjetnici

artists

4. 5.

–15. 5.

2022.

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Željko Beljan

venientes

Gost 2021. čvoričanje mentor: red.prof.art.

Nicole Hewitt Guest 2021 noduling mentor: red.prof.art.

Nicole Hewitt

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umjetnici

artists

Damir Kamenar

4. 5.

–15. 5.

2022.

Golet 2021. crtež tušem na akrilnoj podlozi mentor: red.prof.art.

Svjetlan Junaković Golet 2021 crtež tušem na akrilnoj podlozi mentor: red.prof.art.

Svjetlan Junaković

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Mihael Kolarić

Kupalište 2020. akrilik na platnu mentor: red.prof.art.

Zoltan Novak Bathing 2020 acrylic on canvas mentor: red.prof.art.

Zoltan Novak

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umjetnici

Karlo Klen

artists

4. 5.

–15. 5.

2022.

Lice čovjeka 2021. silikon, poliester, tkanina mentor: red.prof.art.

Damir Mataušić The face of Man 2021 silicone, polyester, fabric mentor: red.prof.art.

Damir Mataušić

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venientes

Stela Mikulin

Monosis (A life alone) 2022. foto kolaž mentor: izv.prof.art.

Gordana Bakić-Vlahov Monosis (A life alone) 2022 photo collage mentor: izv.prof.art.

Gordana Bakić-Vlahov

232

umjetnici

artists

Lara Oršanić

4. 5.

–15. 5.

2022.

K poprištu svjetlokaznje 2021. akrilik na platnu mentor: red.prof.art.

Igor Rončević To the scene of the light-talk 2021 acrylic on canvas mentor: red.prof.art.

Igor Rončević

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Sonja Pavin

venientes

Konzervatorskorestauratorski radovi na skulpturi iz opusa kiparice Vere Dajht-Kralj 2020. bojano drvo mentor: doc.art.

Ana Božičević Conservation and restoration works on sculpture from the oeuvre sculptor Vera Dajht-Kralj 2020 painted wood mentor: doc.art.

Ana Božičević

234

umjetnici

Filip Pilj

artists

4. 5.

–15. 5.

2022.

Blizina 2021. tuš mentor: red.prof.art.

Robert Šimrak Closeness 2021 ink mentor: red.prof.art.

Robert Šimrak

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Matija Plavčić

Zarobiti svjetlo 2017.- 2021. drvo i epoksirana smola mentor: red.prof.art.

Petar Barišić Capture the light 2017-2021 wood and epoxy resin mentor: red.prof.art.

Petar Barišić

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umjetnici

Laura Sajko

artists

4. 5.

–15. 5.

2022.

Cipele 2020. akvarel mentor: red.prof.art.

Ksenija Turčić Shoes 2020 watercolor mentor: red.prof.art.

Ksenija Turčić

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otvorenje izložbe

exhibition opening

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–15. 5.

2022.

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venientes

otvorenje izložbe

exhibition opening

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–15. 5.

2022.

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popratni program

side programme

27. 4.

–19. 6.

2022.

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nagradne izložbe 35. salona mladih

side programme

award exhibitions of the 35th youth salon

19. 1. – 7. 2. 2022.

10. 6. – 31. 7. 2022.

Ana Sladetić – Izolirana Prisutnost / Isolated Presence

Vanja Babić - Plutanje / Floating

(Galerija Kranjčar / Kranjčar Gallery)

244

(Muzej moderne i suvremene umjetnosti Rijeka / Museum of Modern and Contemporary Art Rijeka)

listopad / October Ivana Pipal - Nevidljivi prostori / Invisible Spaces (Muzej moderne i suvremene umjetnosti Zagreb / Museum of Contemporary Art Zagreb)

20. 9. - 2.10. 2022.

Sara Salamon, Hrvoje Spudić – translacije / translations (Galerija Karas / Karas Gallery)

27. 4.

–19. 6.

2022.

22. 9. - 30. 10. 2022.

prosinac / December

3. - 16. 11. 2022.

Petra Mrša - Digital milk

Denis Butorac

Josip Rončević – Dani radija / Radio Days

(Muzej likovnih umjetnosti Osijek / Museum of Fine Arts Osijek)

(Galerija umjetnina Split / Art Gallery Split)

(Galerija Karas / Karas Gallery)

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popratni program

edukativni program četvrtkom u 17:30 i subotom u 18:00 / Thursdays at 17:30 and Saturdays at 18:00 Stručna vodstva za posjetitelje programa Paraziti / Guided Tours for Visitors to the Parasites Programme (Dom HDLU / Home of the Croatian Association of Artists)

side programme

educational programme

30. 4., 21. 5., 4. 6., 11. 6.

11:00 – 12:00 NA TUĐI RAČUN SAM SIT – IME MI JE PARAZIT / I GNAW AND BITE – I AM A PARASITE radionica za djecu od 6 do 12 godina u suradnji s Hrvatskim prirodoslovnim muzejom / workshop for children aged 6 to 12 in cooperation with the Croatian Natural History Museum voditelji / workshop leaders: Petra Šparica, Renata Brezinščak, Petar Crnčan

246

7. 5. 2022.

11:00 – 14:00 MEKANI PLANET / SOFT PLANET radionica za djecu od 10 do 14 godina / workshop for children aged 10 to 14 voditelji / workshop leaders: Andrej Beštak, Anja Leko

27. 4.

–19. 6.

2022.

24. 5. 2022.

16:00 – 21:00

28. 5. 2022.

11:00 – 12:00

HOD KROZ SITUACIJU / WALK THROUGH THE SITUATION

KAMBA na parkiralištu / KAMBA in the parking lot

stručno vodstvo uz prisustvo umjetnika i kustosice Nevenke Šarčević / guided tour in the presence of the artists and the curator Nevenka Šarčević (Galerija Canvas, Galerija Stančić, Galerija Forum, Palača Vranyczany, prostor HIS-a / Canvas Gallery, Stančić Gallery, Forum Gallery, Vranyczany Palace, premises of the Croatian Engineering Association)

razgovor / discussion (Dom HDLU / Home of the Croatian Association of Artists)

svibanj PLANET HEALING radionica izrade fanzina za studente / fanzine making workshop for students voditeljica / leader: Iva Supić polaznici / participants: Petra Divković, Helga Alaker, Jakov Pašalić, Tara Stanić, Nikola Marinčić, Marijeta Markovina, Antonela Šurbek, Karlo Kamenar, Dorotea Vuković Rastovec, Tea Šinjori

11. 6. 2022.

16:00 –18:00h SVAKODNEVNI VOAJERIZAM / DAILY VOYEURISM radionica za odrasle / workshop for adults voditeljica / worshop leader: Marianna Nardini

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popratni program

side programme

susreti s umjetnicima

meetings with the artists

razgovori s umjetnicima

artist talks

28. 4. 2022 18:00

19. 5. 2022.

18:00

26. 5. 2022.

18:15

9. 6. 2022.

18:00

Artist talk: FaceOrFactory (SI)

Artist talk: Sara Salamon

Artist talk: Ivan Gundić

(Dom HDLU / Home of the Croatian Association of Artists)

(Dom HDLU / Home of the Croatian Association of Artists)

Artist talk: Marianna Nardini

5. 5. 2022.

18:00

21. 5. 2022.

11:00

2. 6. 2022.

18:00

Artist talk: Medium Movement

Artist talk: Domagoj Burilović & Arhitektice (Mirna Udovčić, Irena Bakić, Iva Jelinčić)

Artist talk: Teuta Gatolin

(Dom HDLU / Home of the Croatian Association of Artists)

(Dom HDLU / Home of the Croatian Association of Artists)

moderatorice / moderators: Nevenka Šarčević i Barbara Vujanović (Palača Vranyczany, prostor HIS-a / Vranyczany Palace, HIS space) 248

(Dom HDLU / Home of the Croatian Association of Artists)

(Dom HDLU / Home of the Croatian Association of Artists)

27. 4.

–19. 6.

2022.

posjeti ateljeima

studio visits

14. 5. 2022.

11:00

17. 5. 2022.

18:00

Studio visits: Lucija Jelić i Ariana Herceg

Studio visits: Laura Sajko, Iris Jambrek, Franciska Topolovec i Alba Miočev

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popratni program

međunarodni program

side programme

international programme

13. 5. 2022.

17:00 - 19:30

14. 5. 2022.

11:00 - 13:20

31. 5. 2022.

18:00 - 19:30

1. 6. 2022.

16:00 - 17:30

Domaćini, gosti i uljezi / Hosts, Guests and Intruders

Speed dating

panel i diskusija / panel and discussion

sudionici / participants: BLOK Magazine, Rupert, Shedhalle

Tko to buči iza vrata?

Parazitske inhabitacije u suvremenoj umjetnosti / Who Is Making Noise Behind the Door? Parasitic Inhabitations in Contemporary Art

ANALIZIRAJ, PARALIZIRAJ, KATALIZIRAJ! / ANALYZE, PARALYZE, CATALYZE!

predavanje / lecture

(Dom HDLU / Home of the Croatian Association of Artists)

sudionici / participants: ŠUM Journal, BLOK Magazine, Rupert, Shedhalle, KUĆĆA kustoski kolektiv / Curatorial Collective (Dom HDLU / Home of the Croatian Association of Artists)

pregled portfolija / portfolio review

(Dom HDLU / Home of the Croatian Association of Artists)

izvođač / performer: Post Brothers (US) (Klub HDLU / Club of the Croatian Association of Artists)

250

radionica za studente i odrasle / workshop for students and adults izvođač / performer: Post Brothers (US)

27. 4.

–19. 6.

2022.

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36. salon mladih

popratni program

side programme

diskurzivni discursive program programme 3. 5. 2022.

15:00 – 20:00

18. 5. 2022.

18:00

1. 6. 2022.

18:00

ART LAW

Art terapija kao oblik inkluzije panel i diskusija / Art Therapy as a Form of Inclusion

Salon mladih u Konturi – Kontura na Salonu / Youth Salon in Kontura Kontura at the Salon

simpozij o autorskim pravima umjetnika u suradnji s Pravnim fakultetom / Symposium on Artists’ Copyright in cooperation with the Faculty of Law moderatorica / moderator: Ana Čosić sudionici / participants: Mladen Vukmir, Frano Dulibić, Nikola Mijatović i Stjepan Šandrk (Dom HDLU / Home of the Croatian Association of Artists)

moderatorica / moderator: Nevenka Šarčević govornici / speakers: Ivan Barun, Ivana Ježić, Tara Beata Racz, Antonio Rendulić, Blanka Stančić (Dom HDLU / Home of the Croatian Association of Artists)

predstavljanje Art magazina Kontura / presentation of the Kontura Art Magazine panel i diskusija / panel and discussion govornici / speakers: Nevenka Šarčević, Feđa Gavrilović, Vanja Babić, Miona Muštra, Zdravko Mihoćinec (Dom HDLU / Home of the Croatian Association of Artists)

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27. 4.

–19. 6.

2022.

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popratni program

pop-up program 24. 5. – 29. 5. 2022.

PLANET pop – up (Klub HDLU / Club of the Croatian Association of Artists)

254

side programme

pop-up programme

27. 4.

–19. 6.

2022.

glazbeni program

music programme

11. 5. 2022.

20:00

25. 5. 2022.

20:00

3. 6. 2022.

20:00

BEA1991 (NL)

Rok Zalokar (SLO)

N/OBE

koncert / concert

koncert / concert

koncert / concert

(Dom HDLU / Home of the Croatian Association of Artists)

(Dom HDLU / Home of the Croatian Association of Artists)

(Dom HDLU / Home of the Croatian Association of Artists)

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impresum

impressum

nakladnik / publisher Hrvatsko društvo likovnih umjetnika / Croatian Association of Fine Artists

3D ilustracija / 3D illustration Marta Stražičić

odabrani umjetnici / selected artist Laura Barić, Sunčana Brkulj, Šimun Bućan, Klara Burić, Lora Elezović, Robert Fenrich, Format C (Dina Karadžić & Vedran Gligo), Bartol Galović, Teuta Gatolin, Ivan Gundić, Deni Horvatić, Borna Ivanuša, Antonio Kutleša, Leonardo Losciale, Jelena Lovrec, Mia Matijević–Akrap, Luka Pešun, Marina Popović, Sara Salamon, Ivana Stećuk, Petar Vranjković & Buga Kranželić, Nika Vrbica

Trg žrtava fašizma 16, 10 000 Zagreb hdlu@hdlu.hr, www.hdlu.hr za nakladnika / for the publisher Tomislav Buntak, predsjednik HDLU / President of HDLU ravnateljica / director Ivana Andabaka upravni odbor HDLU / executive board of CCA Tomislav Buntak (predsjednik / President), Ida Blažičko (potpredsjednica / Vice president), Josip Zanki (potpredsjednik / Vice president), Fedor Fischer, Monika Meglić, Alen Novoselec, Melinda Šefčić producenti 36. salona mladih / producers of the 36th youth salon Ivana Andabaka i Tomislav Buntak izvršna producentica 36. salona mladih / executive producer of the 36th youth salon Martina Miholić asistentice produkcije / production assistants Ivana Garmaz, Lorena Šimić edukativni program / educational program Nika Botić, Petra Šabić, Lorena Šimić savjetnica za edukativni program / educational programme consultant Jelena Bračun glazbeni program / music programme Dino Grgurić (Atelier Futura) odnosi s javnošću / public relations Martina Miholić

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vizualni identitet 36. salona mladih / 36th youth salon visual identity Studio Hrvatin voditelj tehničke službe / head of tehnical service Mihael Pavlović stručne suradnice / associates Jelena Šimundić Bendić, Mojca Kufner voditeljice programa Art Law / Art Law programme leaders Ema Matijašević i Lucija Martić IZLOŽBE / EXHIBITIONS 36. SALON MLADIH - PARAZITI Dom HDLU / Meštrovićev paviljon / Home of HDLU/ Mestrović Pavilion 27.4. – 19.6.2022. članovi žirija za odabir umjetnika (program Paraziti) / members of the jury for the selection of artists (Parasites program) Kustoski kolektiv KUĆĆA (Jurica Mlinarec, Klara Petrović, Luja Šimunović), Leonida Kovač, Kristian Kožul, Damir Sobota, Josip Zanki kustosi 36. salona mladih - Paraziti / curators of the 36th Youth Salon Parasites Kustoski kolektiv KUĆĆA (Jurica Mlinarec, Klara Petrović, Luja Šimunović) likovni postav / exhibition set up Kustoski kolektiv KUĆĆA, Studio Hrvatin & Marita Bonačić pozvani umjetnici / invited artists Andrej Beštak & Anja Leko, Luka Cvetković (RS), FaceOrFactory (SI), Medium movement (Robert Fenrich, Monika Milas, Dominik Gadže), Marianna Nardini, Gaia Radić, Tea Stražičić, Elena Štrok, ŠUM (SI), Neja Zorzut (SI)

IZLOŽBA SITUACIJA / THE SITUATION EXHIBITION Galerija Forum, Galerija Canvas, Galerija Stančić, Vranyczanyjeva palača / Forum Gallery, Canvas Gallery, Stančić Gallery, Vranyczany Palace 10.5. - 31.5. 2022. kustosica / curator Nevenka Šarčević likovni postav / exhibition set up Nevenka Šarčević Martina Miholić umjetnici / artists Palača Vranyczany (Hrvatski injženjerski savez) / Vranyczany Palace: Alex Brajković, Domagoj Burilović, Matija Filo, Maja Gjajić, Lucija Jelić, Mihael Klanjčić, Vida Meić, Antun Mlakić, Iva Muškić, Mirna Udovčić, Irena Bakić, Iva Jelinčić, Petra Pavetić Kranjčec, Josip Rončević, Lana Stojićević, Ivana Tkalčić, Matej Vuković Galerija Stančić / Stančić Gallery: Sanda Anderlon, Glorija Lizde, Denise Martinis, Dorian Pacak, Ivana Padavić, Patricija Purgar, Matej Vuković Galerija Forum / Forum Gallery: Grgur Akrap, Ariana Herceg, Iris Jambrek, Damir Kamenar, Alba Miočev, Antonio Rendulić, Laura Sajko, Antun Sekulić, Andrej Tomić Galerija Canvas / Canvas Gallery: Bruno Bulaja, Lucija Jelić, Damir Kamenar, Duje Medić, Franciska Topolovec

VENIENTES „ONI KOJI DOLAZE’’ / VENIENTES “THOSE WHO ARE COMING“ Galerija Šira / Šira Gallery 4.5. – 15.5. 2022. kustosica / curator Korana Littvay likovni postav / exhibition set up Korana Littvay umjetnici / artists Željko Beljan, Damir Kamenar, Karlo Klen, Mihael Kolarić, Stela Mikulin, Lara Oršanić, Sonja Pavin, Filip Pilj, Matija Plavčić, Laura Sajko posebna zahvala / special thanks Miran Jurić IZ SITUACIJE 36.

SALONA MLADIH / FROM THE SITUATION OF THE 36TH YOUTH SALON Franjevački muzej i galerija Gorica-Livno / Franciscan Museum and Gallery Gorica-Livno 26. 6. – 26.7. 2022. kustosica / curator Nevenka Šarčević stručna suradnica / expert collaborator Željka Markov likovni postav/ exhibition set up Nevenka Šarčević, Željka Markov tehnička realizacija/ technical realisation Pero Zolak suorganizator / co-organizer Franjevački muzej i galerija Gorica-Livno / Franciscan Museum and Gallery Gorica-Livno Gorička cesta b.b., pp 22 / Gorička cesta b.b., PO 22 80101 Livno, Bosna i Hercegovina / 80101 Livno, Bosnia and Herzegovina www.fmgg-livno.com

NAGRADE / AWARDS SLUŽBENA KONKURENCIJA odbor za dodjelu nagrada 36. salona mladih / award jury of the 36th youth salon Ivan Fijolić, Kustoski kolektiv KUĆĆA (Jurica Mlinarec, Klara Petrović, Luja Šimunović), Nevenka Šarčević, Lea Vene, Josip Zanki Erste Grand Prix 36. salona mladih Grand Prix of the 36th Youth Salon (net 15.000,00 kn): Andrej Beštak i Anja Leko Erste 2. nagrada 36. salona mladih / Erste 2nd award of the 36th Youth Salon (neto 10.000,00 kn): Gaia Radić Erste 3. nagrada 36. salona mladih Erste 3rd award of the 36th Youth Salon (net 5.000,00 kn): Lana Stojićević pohvale / acknowledgements Alex Brajković, Domagoj Burilović, Antonio Kutleša, Medium Movement (Robert Fenrich, Monika Milas, Dominik Gadže) STRUKOVNE NAGRADE MSU nagrada / MSU Award Dobitnica MSU nagrade Stručnog vijeća Muzeja za suvremenu umjetnost Zagreb / Expert Council of The Museum of Contemporary Art Zagreb awarded: Teuta Gatolin MMSU nagrada / MMSU Award Dobitnica MMSU nagrade - Rezidencije KAMOV, koju dodjeljuju članice Stručnog vijeća Muzeja moderne i suvremene umjetnosti Rijeka je / Recipient of the KAMOV Residency Award by the Members of the Expert Council of The Museum of Modern and Contemporary Art Rijeka is: Laura Barić MLU nagrada / MLU Award Dobitnik MLU nagrade Stručnog vijeća Muzeja likovnih

umjetnosti Osijek / Expert Council of The Museum of Fine Arts Osijek awarded: Ivan Gundić Nagrada Galerije Kranjčar / Kranjčar Gallery Award Dobitnik Nagrade Galerije Kranjčar Umjetničkog kolegija Galerije Kranjčar u sastavu: Vanja Babić, Đorđe Jandrić i Mladen Lucić / Kranjčar Gallery Artist Board awarded: Antonio Kutleša FILANTROPSKE NAGRADE Nagrada Vladimir Dodig Trokut, Iva Vraneković: Umjetnici umjetniku dodjeljuje se već šestu godinu zaredom na poticaj i zahvaljujući donaciji anonimnog filantropa, temeljem odluke odbora u sastavu Tomislav Buntak, Ivan Posavec te anonimni filantrop.

Dobitnice dvije jednakovrijedne nagrade, svaka u iznosu 11.111,11 kn neto, su: Lora Elezović, Lucija Jelić / Award Vladimir Dodig Trokut, Iva Vraneković: Artists to the Artist is awarded outside of the official competition of the 36th Youth Salon, encouraged and provided by an anonymous philanthropist, based on the decision by the committee consisting of Tomislav Buntak, Ivan Posavec and the anonymous philanthropist. The recipient ot two equal awards in amount of net 11.111,11 kn are Lora Elezović and Lucija Jelić.

Nagrada Kolekcionar umjetniku uspostavljena ove godine na inicijativu privatnog donatora i kolekcionara suvremene umjetnosti, ima za cilj poticati mlade umjetnike u daljnjem profesionalnim razvoju.

Dobitnica nagrade u iznosu 8.000,00 kn neto prema odabiru stručnog žirija u sastavu David Maljković, Tevž Logar i Nika Šimičić je: Mia Matijević Akrap / The Collector to an Artist Award, established this year on the initiative of the private donor and contemporary art collector, aims to encourage young artists further professional development.

The recipient of the award in the amount of HRK 8,000.00 net according to the choice of

expert jury composed of David Maljković, Tevž Logar and Nika Šimičić is Mia Matijević Akrap.

organizator

KATALOG / CATALOGUE urednica kataloga / catalogue editor Martina Miholić predgovor 36. salona mladih Paraziti / preface of the 36th youth salon - Parasites Kustoski kolektiv KUĆĆA (Jurica Mlinarec, Klara Petrović, Luja Šimunović)

pokrovitelji

sponzori

predgovor izložbe Situacija - Vizura Situacije / preface of the Situation exhibition - Vision of the situaction Nevenka Šarčević prijevod na engleski jezik i lektura / English translation and proof-reading Zana Šaškin fotografije likovnog postava i otvorenja izložbi / photographs of the exhibition set up and the exhibition openings Juraj Vuglač

medijski pokrovitelji

uz potporu

fotografije popratnih programa / photographs of side programme Juraj Vuglač i Šimun Bućan grafičko oblikovanje kataloga / catalogue design and layout Studio Hrvatin

partneri

tisak / printed by Kerschoffset d.o.o. sponzor papira / paper sponsor Igepa Plana d.o.o.

Tisakano na papiru / printed on: Magno Satin 115g, Raw 300g by Sappi naklada / edition 300 ISBN: 978-953-8098-58-1 CIP zapis je dostupan u računalnome katalogu Nacionalne i sveučilišne knjižnice u Zagrebu pod brojem 001140303.

Zagreb, 2022.

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36. salon mladih

36th youth salon

www.salonmladih.hdlu.hr

3d ilustracija / 3D illustration Marta Stražićić

dizajn / design Studio Hrvatin

36. salon mladih

36th youth salon