Danko Friščić je diplomirao na Akademiji likovnih umjetnosti u Zagrebu i trenutno radi kao docent umjetnosti pri Slikarskoj katedri na istoj. Izlagao na 40-tak samostalnih i stotinjak skupnih izložbi u zemlji i inozemstvu. Izlagao je Rimu, Firenci, Torinu, Parizu, Berlinu, Braunschweigu, Amsterdamu, Pragu, Krakowu, Ljubljani, Beču, Budimpešti, Ankari, Istambulu,Iowa Cityu i drugdje. Dobitnik je nekoliko nagrada kao što je Rektorova nagrada, Praga Graphic, Nagrada HDLU-a, Nagrada Likovne Kolonije Rovinj. Radovi mu se nalaze u mnogim privatnim zbirkama i muzejima. Frane Rogić je slikar i fotograf, bavi se vizualnim medijima, eksperimentalnim filmom i videom. Rođen u Karlovcu 1973., diplomirao na ALU u Zagrebu 1997. u klasi prof. Vasilija Jordana. Pripada mladoj generaciji umjetnika koji se bave različitim medijima. Izlaže od 1995. godine. Izlagao je na brojnim skupnim i samostalnim izložbama, među kojima ističemo sudjelovanje na izložbi u Amsterdamu 2002. godine na PHOTO Bijenalu “The World will never be the same again”. Angažiran je oko socijalnih tema i općih humanističkih tema današnjice - ugroženosti pojedinca, raspad memorije, duševni nemir, što se može naći na njegovim vizualno distorziranim fotografijama (ciklus nastao na Golom otoku i sl.). Davor Mezak rođen je 19.07.1968. u Zagrebu. Završio je Školu primijenjene umjetnosti u Zagrebu, a na zagrebačkoj Akademiji likovnih umjetnosti diplomirao je 1995.u klasi prof. Ante Kuduza. Od 1992. redovno izlaže na izložbama u Hrvatskoj i inozemstvu. Član je HDLU-a i nekoliko neprofitabilnih udruga.
Danko Friščić graduated from the Academy of Fine Arts in Zagreb and is currently working as an assistant professor at the painting department of the same institution. His work has been featured in around 40 one-man exhibitions and approximately 100 group exhibitions. His exhibitions have been set up in Rome, Florence, Torino, Paris, Berlin, Braunschweig, Amsterdam, Prag, Krakow, Ljubljana, Vienna, Budapest, Ankara, Istanbul, Iowa City and elsewhere. He is the recipient of several awards such as the Rector’s Award, Praga Graphic, the HDLU Annual Award, the Rovinj Fine Arts Colony Award. His work is featured in many museums and private collections.
DANKO FRIŠČIĆ, DAVOR MEZAK, FRANE ROGIĆ
TROLIK 2
Frane Rogić is a painter and photographer whose interests also include visual media, experimental film, and video. He was born in Karlovac in 1973 and graduated from the Academy of Fine Arts in Zagreb in 1997 in professor Vasilij Jordan’s class. He belongs to a generation of young artists who work with various kinds of media. He has been displaying work since 1995, at numerous oneman and group exhibitions. An achievement particularly worth mentioning here is his participation in the 2002 PHOTO Biennial “The World Will Never Be the Same Again” in Amsterdam. His work exhibits social awareness and engages with contemporary humanist topics – the endangered individual, the collapse of memory, and spiritual restlessness, which is clearly recognisable in his visually distorted photography (the Goli otok cycle and so on). Davor Mezak was born 19 July 1968 in Zagreb. He graduated from the School of Applied Arts in Zagreb and the Academy of Fine Arts in Zagreb under professor Ante Kuduz. He has been exhibiting work in Croatia and abroad from 1992 onwards. He is a member of HDLU and several non-profit organizations.
Hrvatsko društvo likovnih umjetnika | Croatian Association of Fine Artists Galerija Bačva | Bačva Gallery Trg žrtava fašizma 16, 10000 Zagreb, Croatia | www.hdlu.hr Radno vrijeme: Srijeda – nedjelja 10 - 13 i 16 - 20. Ponedjeljkom, utorkom i blagdanom zatvoreno. Working hours: Wednesday to Sunday 10am – 1pm and 4pm -8pm. Monday. Tuesday and holidays - closed 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 (dopredsjednik/vicepresident), Fedor Vučemilović (dopredsjednik/vicepresident), Ida Blažičko, Ivan Fijolić, Monika Meglić, Melinda Šefčić | Umjetnički savjet/ Artistic board: Tomislav Buntak, Suzana Marjanić, Koraljka Kovač Dugandžić, Branka Benčić, Ivan Fijolić, Josip Zanki, Ivica Župan | Ravnateljica/Director: Ivana Andabaka | Stručna suradnica/Associate: Mia Orsag | Predgovor/Preface: Mia Orsag | Grafičko oblikovanje kataloga/Catalogue Design: Duje Medić | Prijevod/ Translation: Ervin Felić | Tisak/Printed by Cerovski | Naklada/Print run: 150 Izložba je realizirana uz financijsku potporu Ministarstva kulture Republike Hrvatske i Gradskog ureda za kulturu, obrazovanje i sport Grada Zagreba / The exhibition is financially supported by the Ministry of Culture of the Republic Croatia and City Office for Culture, Education and Sports Zagreb.
Galerija Bačva | 3. - 28. kolovoza, 2016. Bačva Gallery | August 3 - 28, 2016
TROLIK 2 Najnoviji zajednički rad koji Friščić, Mezak i Rogić realiziraju u Galeriji Bačva, usko je vezan uz njihove prethodne umjetničke suradnje. Ovaj puta ih zanima otvorena, konstrukcija-skela ili kostur unutar tubusnog prostora bačve, koji pretvaraju u eksperimentalni prostor novih neočekivanih procesa. Umjetnički kolektiv, iz prividno nekompatibilnih i nepovezanih elemenata individualnih i ujedno još neizvedenih radova, stvara najnoviji kolaborativni projekt. Ne znajući konkretno što će se iz ovog eksperimenta formirati, jer idejno forma još uvijek leži na pretpostavci, što je okosnica samog rada, kolektiv ovaj projekt naziva Novim Frankensteinom. Konkretno, prostor Galerije Bačva, autori dijele na 3 isječka - ”Šnite”, poput kružnih grafikona, na čijoj se sredini postavlja skela, fizička aluminijska konstrukcija. Skela evocira Babilonski toranj “shizofrenije” razumijevanja i nerazumijevanja, i ujedno služi kao kostur pripajanja i neminovnog ispreplitanja, međusobnih introspekcija, projekcija i intervencija na prostor i zidove tubusa. … S obzirom na to da je projekt po sebi zamišljen kao site specific eksperiment i istraživački proces, nije bilo moguće predvidjeti krajnji oblik onog što se prezentira. Ovaj projekt istražuje razvoj, proces i oblikovanje unaprijed “neopisivog” i nepromišljenog, on promatraču sugerira svojevrstan laboratorij, približava ideju umjetničkog ateliera. Radi se o svojevrsnom L’art pour L’artu koji dopušta rast i oblikovanje iz pukog užitka stvaranja. Istražuje neistražive i nearbitrarne aspekte umjetničkih procesa i stvaralačkih metoda. Posebnost projekta je u tome što se ovdje istražuje kolaboracija trojce umjetnika koji zajedno grade svoj nedefinirani L’art pour L’art, jednako toliko svaki za sebe koliko ga temelje na međusobnoj interakciji.
THREEFACE 2 Multimedijalnu instalaciju kolektiv gradi iz ispremiješanih elemenata videa, fotografije, klasične slike, objekata, zvuka, ready-made objekata. Ovdje nema klasičnog poimanja, problematiziranja ili razrade teme. Projekt se bavi fenomenom produkcijskog procesa i kao takav on “otvara umjetnika“. Prema riječima autora, projekt je zapravo nepotističkog karaktera, nije angažiran ili programiran, nego se, upravo suprotno, poigrava šizoidnim preklapanjima održivih identiteta. “Bitni su međusobni odnosi i balansi centripetalnih i centrifuglanih sila koje održavaju našu prijateljsku, međuljudsku i kreativnu komunikaciju, a u ovom slučaju, kroz Galeriju Bačva, i prostornu povezanost! Arhitektonika dinamike komunikacijske održivosti ovdje doživljava svoju finu napetost” navode umjetnici . Polazišne točke koje su ipak okosnica za proces stvaranja su pitanje višestrukosti kod Friščića, pitanje inputa kod Mezaka i pitanje “Zagađene unutarnjosti” kod Rogića. Projekt je zamišljen kao prostor kreativne komunikacije, a predviđena su snimanja novih materijala, performansi, akcije i fotoseanse.
The latest work by Friščić, Mezak and Rogić realised in the Bačva Gallery is closely tied to their previous art collaborations. This time their interests are geared towards an open construction-frame or skeleton within the tubular space of the Bačva which is transformed into an experimental space of unexpected processes. The art collective takes seemingly incompatible and unrelated elements from individual, as of yet unrevealed works, and creates their newest collaborative project. Without knowing the specific form this experiment will ultimately take, as the form ideally continues to lie on assumption, the collective has named the project The New Frankenstein. To be more specific, the authors divide the space of the Bačva Gallery into three parts – “slices” reminiscent of circular diagrams with the frame, a physical aluminium construction, positioned at the centre. The frame conjures an image of a “schizophrenic” Tower of Babel of understanding and misunderstanding, simultaneously serving as a skeleton for the connection and inevitable interweaving of mutual introspections, projections and interventions in the space and walls of the tube. ... As the project is imagined as a site specific experiment and exploration process, the final form of what it presents was impossible to predict. The project explores the development, process and formation of the “indescribable” and the unimagined, it suggests a sort of laboratory to the observer and demystifies the idea of the art studio. This is a form of L’art pour L’art which breads growth and formation simply from the pleasure of creation. It explores unreachable and non-arbitrary aspects of art processes and creative methods.
What is special about the project is the very object of exploration – the collaboration of three artists who attempt to build their undefined L’art pour L’art, individually as much as in mutual interaction. The multimedia installation is constructed from intermixed video, photography, image, object, sound and ready-made object elements. The theme here is not open to perception, discussion and analysis in the classical sense. The project is concerned with the phenomenon of the production process and, as such, “opens up the artist”. According to the authors, the work actually displays characteristics of nepotism. It is not meant to be engaging or programmed, but quite conversely, plays with schizoid overlaps of sustainable identities. “What matters are the interpersonal relations and the balances of centripetal and centrifugal forces that sustain our friendly, interpersonal and creative communication, and in this case, through the Bačva Gallery, our spatial connections! The architecture of the dynamics of communication sustainability is hereby exposed to fine tension” the artists explain. The starting points that do represent the pillars of the creative process are the issue of multiplicity with Friščić, the issue of input with Mezak and the issue of “polluted interiors” with Rogić. The project is designed as a space of creative communication, and there are plans to record new material, performances, actions and photo-sessions.