Maja Markovic - Četvrti zid

Maja Marković je rođena u Zagrebu 17.09. 1979. godine.

Maja Marković was born in Zagreb, Croatia, on 17th Sep-

Magistrirala je slikarstvo na nastavničkom odsjeku Akademije likovnih umjetnosti 2011. u Zagrebu u klasi profesora Ante Rašića.

Za svoj rad primila je nekoliko priznanja i nominacija:

tember 1979. She graduated from Academy Of Fine Arts Zagreb with MA degree in Painting in 2011. She currently lives and works in Zagreb, Croatia. She was also a recipient of the several scholarships and award nominations for her work:

MAJA MARKOVIĆ

2014. Kulturbunker Artist in residence, Frankfurt am Main (DE), 2013. BMUKK Artist in residence, Schloss Laudon, Vienna (AT), 2011. First Award «Visura Aperta», festival of audio and visual media, Momjan (CRO), 2009. Awarded by Croatian Association of Artists for the best emerging artist, 2008. Finalist of Josip Racic Award, Croatian Contemporary Art Award, 2007. Finalist of Radoslav Putar Award, the first and only annual national award for young visual artists in Croatia, Institute for Contemporary Art - SCCA, Zagreb, 2005. CEEPUS Scholarship, Academy Of Fine Arts Ljubljana (SLO).

Četvrti Zid

2014. Kulturbunker, Frankfurt (DE), 2013. BMUKK, Schloss Laudon, Beč, 2011. First award of “Visura Aperta” festival, Momiano, 2009. nagrada Hrvatskog društva likovnih umjetnika za najbolju mladu umjetnicu; 2008. finalistica nagrade Josip Račić; 2007. finalistica nagrade Radoslav Putar, nagrada za mlade likovne umjetnike u Hrvatskoj, Institut za suvremenu umjetnost - SCCA, Zagreb; 2005. CEEPUS stipendija, Akademija likovnih umjetnosti, Ljubljana.

Recentne skupne i samostalne izložbe su (podebljana slova predstavljaju samostalnu izložbu): 2014. “Četiri stupa” instalacija sa crtežima i objektima, Galerija Greta, Zagreb; 2012. ”Oslanjanje”, instalacija sa crtežima, Galerija Otok, Art radionica Lazareti, Dubrovnik, 2011. “Događaj” crteži uokvireni iza stakla, Anex Galerija, Multimedijalni centar Luka, Pula, “Smetnje” instalacija sa crtežima, drvenim profilima i stop-animacijom, Až galerija, atelijeri Žitnjak, Zagreb, 2010. ”Prekinuto” instalacija sa crtežima, Otvoreni Atelier Roban, kustosica Sandra Križić Roban, Zagreb, 2008. “Karte pronađenog i nepronađenog” crteži i objekti od šperploče, HPB-a i Muzej suvremene umjetnosti, kustosica Ivana Janković, Zagreb; 2007. instalacije “Veliki Plan”, Galerija PM, HDLU, Zagreb, 2013. “Stav u izgradnji”, instalacija, T-HT-a nagrada, Muzej suvremene umjetnosti Zagreb, Kulturkontakt završna izložbi, Concordiaplatz, Beč, 2012., “Tu smo 3” izložba u Muzeju suvremene Umjetnost Istre, kustos Mladen Lučić, Pula; 2011. “Prekinuto” serija crteža, Bauhaus osobnoizložb u Društvu arhitekata Zagreb, “Smetnje”,instalacija od crteža i drvene konstrukcije, izložba suvremenih umjetnika, kustos izložbe Slaven Tolj, Kotor; “Orgulje “, videoinstalacija, Visura Aperta Festival audio i vizualnih medija, Momjan.

Kontakt / Contacts: GSM: 098/ 511 556 e-mail: mamarkovic@gmail.com cargocollective.com/majamarkovic markovicmaja.blogspot.com

Otvorenje izložbe održat će se 03. rujna 2014. u 19 sati | Opening of the exhibition on 3d of September Galerija Karas | 03. rujna - 11. rujna 2014.

Karas Gallery | September 03 - September 11, 2014

Recent group and solo exhibitions include (names in bold indicate solo show): 2014. “Four Pillars” site specific installation, Gallery Greta, Zagreb, 2012.. “Reliance”, drawing installation, Otok Gallery, Art radionica Lazareti, Dubrovnik (CRO), 2011.

“The Happening” drawings framed behind the glass, Anex Gallery, Multimedia Centre Luka, Pula (CRO), “Interferences” installation of drawings, stop animation and wood, AZ Gallery, Art ateliers Zitnjak, Zagreb (CRO), 2010. “Interrupted” site specific installation with drawings, Open Atelier Roban, curated

by Sandra Križić Roban, Zagreb (CRO), 2008. “Maps of Found and Unfound” drawings and boxes of plywood, HPB and Museum of Contemporary Art, HPB Bank, curated by Ivana Janković, Zagreb (CRO), 2007. “Great Plan” site-specific installation, Expanded Media Gallery, Croatian Association of Artists, Zagreb (CRO), 2013. “Standpoint under construction”, drawing installation, T-HT award exhibition of Croatian Contemporary Art, Museum of Contemporary Art Zagreb (CRO), Kulturkontakt Artist in Residence final exhibition, Concordiaplatz, Vienna (AT), 2012.

“In the meantime” installation with two drawings, Here We Are3 exhibition, Museum of Contemporary Art Istria, curated by Mladen Lučić, Pula (CRO). 2011. “Interrupted” series of drawings, Bauhaus in personal exhibition in Association of Architects, Zagreb, (CRO), “Interferences”, drawings and wood, Kenova exhibition of contemporary artists, curated by Slaven Tolj, Kotor (MNE), “Organs”, video installation, Visura Aperta Festival of Audio and Visual Media, Momjan (CRO)

Hrvatsko društvo likovnih umjetnika | Croatian Association of Artists Galerija Karas | Karas Gallery Praška 4, 10000 Zagreb, Croatia | www.hdlu.hr Radno vrijeme: utorak - petak 11 - 19 h, subota i nedjelja 10 - 14 h; zatvoreno ponedjeljkom i blagdanom.

Working hours: Tuesday - Friday 11 am – 7 pm, Saturday and Sunday 10 am - 2 pm; closed on Mondays and holidays

IMPRESUM | Nakladnik / Publisher | Hrvatsko društvo likovnih umjetnika / Croatian Association of Fine Artists, Trg žrtava fašizma 16, 10 000 Zagreb, hdlu@hdlu.hr, www.hdlu.hr | Za nakladnika / For the publisher Josip Zanki | Upravni odbor HDLU / Executive board of HDLU Josip Zanki (predsjednik / president), Tomislav Buntak (zamjenik predsjednika / vicepresident), Fedor Vučemilović (zamjenik predsjednika / vicepresident), Gordana Bakić, Ivan Fijolić, Koraljka Kovač Dugandžić, Anita Kuharić Smrekar | Umjetnički savjet Galerije Karas / Artistic board of Karas Gallery Branka Benčić, Martina Mezak, Sara Čičić, Ivana Vukšić | Ravnateljica / Director Ivana Andabaka | Stručna suradnica / Associate Mia Orsag | Predgovor / Preface Predrag Pavić | Grafičko oblikovanje kataloga / Catalogue Design Zdravko Horvat | Fotografija / Photography Marko Ercegović | Prijevod / Translation Dunja Nekić | Tisak / Printed by Cerovski | Naklada / Copies 300 Izložba je realizirana uz financijsku potporu Ministarstva kulture Republike Hrvatske / The exhibition is financially supported by the Ministry of Culture of the Republic Croatia.

ČETVRTI ZID, detalj, 2014.; foto: Marko Ercegović

Četvrti Zid

The Fourth Wall

Izgraditi četiri zida postao je poprilično zahtjevan zadatak.

Tokom izgradnje potrebno je paziti na mnogo čimbenika, koji u konačnici rezultiraju onim što nazivamo domom. I dok gotovo svi poznajemo taj osjećaj pripadnosti mjestu koje nam pruža iluziju intimne iza koje se odvijaju bazične ljudske aktivnosti, modeli i načini nastanka tog mjesta manje su poznati. Pa, recimo, već na onoj najosnovnijoj razini, a to je jezik, možemo apostrofirati sasvim specifičan govor kojeg ne susrećemo svakodnevno i koji kaže da se vagresi iscrtavaju, bigne vežu, remenati podšprajcavaju, koševi nalijevaju, mercbani rastežu, a raznorazni porezi koji prate sav taj posao, u konačnici, prebijaju, nakon čega onda govorimo o podgledi-

Building of four walls has become quite a challenging task.

During construction it is necessary to pay attention to many factors, which ultimately results in what we call home. While almost everyone know the feeling of belonging to a place that gives us the illusion of intimacy, in which basic human activities take place, models and modes of occurrence of such place are less known. Well, let’s say, already on that most basic level, which is the language, we can apostrophize the very specific language that we do not encounter on a daily basis and which says that vagres are drawn, bigne are bound, remenati are underpinned, baskets are poured, mercbani are stretched and various taxes that accompany all the work are,

ma, brisoleima, pergolama, strehama itd. Najbolja ilustracija ove specifične i pojmovno bogate građe bila bi popisivanje svih, do u detalje, razrađenih dijelova jednog klasičnog reda koji sa svojim ehinima, abacima, dentima, kanelirama i lezboskim kimama te onim drugim, ne spomenutim, dijelovima prelazi okvir ovog teksta, a ukazuje na sistem koji smo razvojem civilizacije dogurali do današnjeg stupnja razvoja. I ne radi se ovdje o tome da je povijest graditeljstva i arhitekture u umjetničinom djelu apostrofirana u nekom profesionalno-naučnom ili enciklopedijskom smislu, već se prije radi o osjećaju za bitno koji, da se slikovito izrazim, često izgleda kao beskonačno zaokruživanje nepostojećeg centra, tj. onom što manje-više svi doživljavamo kao dano samo od sebe, a to je sklonište, štit ili jednostavno dom. Međutim taj dom treba shvatiti u najširem smislu riječi, gotovo planetarno ili još bolje galaksijski, jer gdjegod bi se ljudi našli izražavali bi tendenciju da nekako upregnu prirodu u svoju korist, i kako god banalno i besmisleno zvučalo, ali stati ispod raskošnog hrasta i „pretumbati“ par žireva čekajući da prestane kiša već je arhitektura. Neartikulirana u današnjim relacijama, ali konceptualno sasvim lijepo zaokružena, i u potpunosti jednaka barem u početnoj premisi recimo beskrajno sofisticiranom satelitu. Sljedeća misao, na koju treba obratiti pažnju kod Majine izložbe jest diskrepancija koja se dešava između idejno-teoretskog naspram praktičnog, tj. graditeljskog ili izvedbenog djela samo arhitekture, a ta diskrepancija bi se mogla pripisati ne samo arhitekturi nego svemu što nas okružuje, pa ako baš želite možemo je dobaciti i u duboka prostranstva svemira, iako nam njegovi planovi i „arhitektura“ vjerojatno nikada neće u potpunosti biti jasni. Dakle krećući se od potpune apstrakcije - prve linije, broja, plohe, prostorne jedinice ili, u krajnjoj liniji, gena koji tvori kromosom – prema tijelu (opipljivom ili neopipljivom, vidljivom ili nevidljivom volumenu i masi) čija je najopćenitija karakteristika izgrađenost pa bismo za sve na ovom svijetu mogli reći da je na ovaj ili onaj način izgrađeno, i koliko god nam za neke stvari planovi bili nejasni, na onim jasno postavljenim možemo uvidjeti da je razlika između plana-ideje i same praktične provedbe uvijek različita. Ta diskrepancija, lijepo se očituje u samoj arhitekturi gdje ona biva predstavljena kao iluzija tehničkog crteža koji u stvarnosti pak može biti izražen samo kao tendencija ka sličnosti, jer koliko god precizni i jedan i drugi proces bili, ne smijemo zaboraviti da se radi o postupku prevođenja, a on u stvari nije moguć, pa bi paradoksalno mogli ustvrditi kako je sva arhitektura izvedena mimo idejnih planova, i obrnuto, što na neki način lijepo sumira ona poetično izražena sumnja kvantnih fizičara koja kaže da „bog“ kocke ipak baca. Koliko god kaotično to zvučalo, opet se nalazimo u planiranju, ali izvedenom iz apsurda. Sličan problem nalazimo i u kartografiji, tj. jednak ali zornije izražen i jače potenciran, jer se prostorno nesagledive jedinice prostora sabijaju kako bi nam pružili svrsishodnu dimenziju u pokušaju udvostručenja koja su uvijek problematična, tj. arbitrarna, i ovise o dogovorima nas samih sa drugima. Ako bismo zamislili zanimljiv misaoni eksperiment u kojem bismo pokušali navigati prostorom za koji imamo kartu identične veličine, vrlo lako bismo došli do oprečnih zaključaka. Neki bi rekli kako su se koristili najpreciznijom kartom ikad, dok bi drugi pak opravdano skrenuli pažnju na to kako je karta u potpunosti beskorisna. Sve bi dakle ovisilo o subjektivnoj poziciji i kontekstu. Jer kako nas

in the end, offset. Afterwards we talk about soffits, blinds, pergolas, eaves etc. The best illustration of this specific and conceptually rich material would be the enumeration of all, in detail, developed parts of one of the classical orders that with its echinuses, abacuses, dentals, flutings and Lesbos cymes and the other, unmentioned parts, which exceeds the scope of this text, and indicates to the system that pushed the development of civilization to the present stage. And it is here that the history of building and architecture in the artist’s work is emphasized in a professional and scientific or encyclopedic sense, but before all it is about the feel for what matters which, to speak figuratively, often seems as endless rounding of the non-existent center, i.e. what pretty much everyone consider as given on its own, and it is a shelter, a shield, or simply home. However, the home must be understood in the broadest sense of the word, almost universally, or even better galactically, because wherever people would find themselves somewhere they would tend to somehow harness the nature for their benefit, and no matter how banal and meaningless it sounds, but to stand under a rich oak and to “rearrange” a couple of acorns while waiting for the rain to stop, it is still architecture. Scrambled in today’s relations, but conceptually quite nicely rounded, and completely equal to at least the initial premise of infinitely sophisticated satellite. Next thought, to which one must pay attention in Maja’s exhibition is the discrepancy that occurs between the ideological and theoretical versus practical, i.e. architectural or execution of work of only architecture, and this discrepancy could be attributed not only to architecture, but also to everything that surrounds us, so if we want to add to it the deep expanse of the universe, although we will probably never fully understand its plans and “architecture”. So moving from abstraction – the first line, number, surface, spatial unit and, ultimately, the gene that forms a chromosome – towards the body (tangible or intangible, visible or invisible volume and weight) whose most general characteristic is construction: so we could say that all in this world is constructed in one way or another, and as much plans for some things remain unclear to us on what is clearly set, we find that the difference between plan-idea and the practical implementation of it always differs. This discrepancy, beautifully reflected in the architecture where it is being presented as an illusion of technical drawings that in reality it may be expressed only as a tendency toward similarity, because no matter how precise one or the other process may be, we must not forget that this is a process of translation and it is not really possible, so it would be paradoxical to assert that all architecture is derived by bypassing conceptual plans and, conversely, that somehow nicely sums the poetically expressed doubt of quantum physics that says “god” still throws the dice. No matter how chaotic it may seem, once again we are in the planning, but derived from the absurd. A similar problem can be found in cartography, i.e. equal but vividly expressed and more intensified because the spatial units of immeasurable space are compressed to give us a meaningful dimension in an attempt of doubling which is always problematic, i.e. arbitrary and dependent on the arrangements among ourselves. If we could imagine an interesting mind experiment in which we would try to navigate space for which we have a map of the same size, it would be very easy to come to opposite conclu-

uči fikcioni pisac Pierre Menard autor Don Quijotea, nemoguće je čak replicirati tj. u potpunosti faksimilski prepisati tekst, dakle prevesti nešto nakon ovakve postavke zvuči potpuno nemoguće, i moramo se pomiriti sa težnjom tj. htjenjem da se upustimo u taj proces koji zahtjeva i određenu drskost, jer u startu znamo da smo u borbi koja završava porazom, a ipak težimo, želimo, u krajnjoj liniji, moramo, iako katkad ne znamo zašto. Prijevod je uvijek ono „kao da“ koje nas dovodi u područje iluzije, a ona je također satkana od gradbenih elemenata tj. zidova, pogotovo onog četvrtog koji kada se sruši, iluzija na moment nestane, i „stvarnost“ nas brzinski ošamari, makar, kako se naglo sruši, tako se naglo i uspostavlja, a mi smo uvijek pomalo zbunjeni time jer se kao u Zenonovim paradoksima jedinice razmaka između naše svijesti i iluzije mogu beskonačno smanjivati, pa je nikada ne možemo uhvatiti kako bismo joj u potpunosti uzeli mjeru. Svakoga dana susrećemo se s tom pojavom njenog rušenja i ponovnog uspostavljanja, gotovo ne primjećujući sam proces koji najčešće popratimo svrsishodnim društvenim ponašanjem, te se smijemo ili plačemo i sve ono između ta dva kontrasta.

Primjer koji bismo mogli navesti dnevnik je koji kreće po zlu.

I već vidim da mrštite obrve u negodovanju sa akumulacijom primisli o tome kako je dnevnik, kao dio informativnog programa, potpuno izravna medijska situacija, ako ništa drugo barem na formalnoj razini, međutim onaj trenutak kada neodoljivo simpatični voditelj neke od regionalnih televizija čita sa blesimetra vijest koja kaže „kao što znate poštovani gledaoci, u selima naše opštine postoje ogranci narodne biblioteke Jova Popović iz Kikinde, najbrojniji članovi seoskih biblioteka su učenici osnovnih škola iz tih sel… pa se zagrcne i dovrši, … iz pičke materne.1 To je upravo rušenje tog četvrtog zida te nam na humorističan način i bez žučnih rečenica o propasti novinarstva, i kako je ova ili ona kuća u službi te i te politike, govori da smo gledajući jednu informativnu emisiju obavijeni iluzijom jednako kao i kad gledamo film. Primjera je bezbroj, nenamjernih (kao gore spomenuti) ili onih namjernih, kada nas recimo Ivan Ladislav Galeta pozove da dodirnemo prstom ekran, dok on, sa druge strane svojim prstom dodiruje kameru. Ono što je bitnije od samih primjera jest da iluzije upravljaju sviješću, tj. kada bi bili potpuno radikalni i u potpunosti osvijestili iluzionistički karakter postojanja čovjeka, vjerojatno bismo ustvrdili kako su iluzije fino satkane beskonačne tkanine naslagane jedna na drugu, a mi samo jedna mala očica, izgubljena u tko zna kojem, nepregledno velikom lejeru tog skupa tkanina, pa bismo se mogli zapitati da li uopće postojimo, ili smo, kao u Matrixu, dio nekog binarnog sklopa koji nas svojim beskrajno kompleksnim softverom prebacuje iz jedne u drugu zečiju rupu.

Predarg Pavić

sions. Some would say that they used the most precise map ever, while others would justifiably drew attention to how the map is completely useless. It would therefore depend on the subjective position and context. For as fictional author Pierre Menard, author of Don Quixote, teaches us, it is impossible even to replicate i.e. to fully create a facsimile of a text, therefore to translate something after this tenant sounds totally impossible, and we must come to terms with that aspiration or attempt to engage in this process which demands a certain audacity, because from the start we know we are in a battle that ends with a defeat, but we still aspire to, ultimately, because we must, even though sometimes we do not know why. Translation is always that “as if” which brings us into the realm of illusion, and it is also composed of building blocks elements i.e. walls, particularly the fourth one, which when it falls, the illusion is gone for the moment, and the “reality” slaps us suddenly, though, as it suddenly collapses, so suddenly it lifts us up, and we are still a little confused about that, because as in Zeno’s paradoxes the unit of space between our consciousness and illusion can be infinitely smaller, so we can never catch it in order to take its full measure. Every day we encounter this phenomenon, its demolition and re-opening, almost without noticing process that is usually accompanied with meaningful social behavior, and we laugh or cry, and everything in-between those two contrasts. An example that could be cited is the news that turn for the worse. I already see that frown your eyebrows are making in disapproval with the accumulation of thoughts about how the news are, as part of informative program, a fully direct media situation, if nothing else, at least on a formal level, however, the moment when an irresistibly cute anchor of some of the regional television stations reads from the TelePrompTer and says: “as you may know dear viewers, in the villages of our municipality there are branches of the Public Library Jova Popovic from Kikinda, the most numerous members of rural libraries are primary school students from these vill ... he choked and finished ... from fucking hell.”1 This is precisely the tearing down of the fourth wall and it says in a humorous way and without bile sentences about the collapse of journalism, and how this or that house is in the service of such and such a policy, that by watching a news program we are wrapped in illusion just like when we watch a film. There are countless examples, unintentional (as the one mentioned above) or those intentional, as when Ivan Ladislav Galeta invites us to touch the screen with our finger, while he, on the other side touches the camera with his finger. What is more important than the examples themselves is that the illusions govern consciousness, i.e. if we were completely radical and fully aware of illusionistic character of human existence, we would probably argue that the illusions are made of finely woven endless fabric stacked on each other, and we are just one small stitch, lost who knows where, in a large endless expanse of layer of the fabric itself, so we might ask ourselves whether we really exist, or are we, as in The Matrix, a part of a binary code that switches us with its endlessly complex software from one rabbit hole to another.

Predarg Pavić

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Pogledati: https://www.youtube.com/watch?v=qvd6NrThFec

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https://www.youtube.com/watch?v=qvd6NrThFec