O autorici:
About the Author:
Iva Habus rođena je 7.8.1987. godine. Godine 2007. upisala je Akademiju likovnih umjetnosti u Zagrebu, odsjek za animirani film i nove medije, a 2011. godine preseljuje studij na grafički odsjek. Od 2012. godine studira u klasi red. prof. Roberta Šimraka. U jesen 2013. odlazi na jednosemestralnu studentsku razmjenu Erasmus na University of Arts Poznan u Poljskoj, gdje studira na grafičkom odsjeku. Godine 2014. upisuje diplomski sveučilišni studij grafike na Akademiji likovnih umjetnosti Zagreb u klasi red. prof. Roberta Šimraka. Kontinuirano izlaže u zemlji i inozemstvu. Od 2016. godine, Iva je članica HDLUa. Živi i radi u Zagrebu.
Iva Habus was born on August 7, 1987. In 2007, she enrolled in the Animated Film and New Media department at the Academy of Fine Arts in Zagreb, but she switched her study to the Graphic Arts department in 2011. In 2012, she started studying in the class of Prof. Robert Šimrak. In the fall of 2013, Habus spent a semester on the Erasmus student exchange program at the University of Arts Poznan in Poland, where she studied at their Graphic Department. In 2014, she enrolled in the master study program of Graphic Arts at the Academy of Fine Arts in Zagreb in the class of Prof. Robert Šimrak. She actively exhibits her work at home as well as abroad. Since 2016, Iva is a member of the Croatian Association of Fine Artists. She lives and works in Zagreb.
IVA HABUS
MACHINA
Hrvatsko društvo likovnih umjetnika | Croatian Association of Fine Artists Galerija Prsten | Prsten Gallery Trg žrtava fašizma 16, 10000 Zagreb, Croatia | www.hdlu.hr Radno vrijeme: srijeda – petak 11 do 19h, subota – nedjelja 10 do 18h ponedjeljkom, utorkom i blagdanom zatvoreno. Working hours: Wednesday to Friday 11am – 7pm, Saturday to Sunday 10 – 6pm, 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 Galerije Prsten/Artistic board of Prsten Gallery: 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: Iva Habus | Grafičko oblikovanje kataloga/Catalogue Design: Duje Medić | Prijevod/Translation: Zana Šaškin | Lektura/Proofreading: Zana Šaškin | Tisak/Printed by Cerovski | Naklada/Copies: 150 Izložba je realizirana uz financijsku potporu Gradskog ureda za kulturu, obrazovanje i sport Grada Zagreba kao program Galerije Karas u Galeriji Prsten The exhibition is financially supported by the City Office for Culture, Education and Sports Zagreb as Karas Gallery program in Prsten Gallery.
Galerija Prsten | 16. - 26. ožujka, 2017. | Prsten Gallery | March 16 - 26, 2017
MACHINA Oduvijek su me privlačili mehanika, strojevi i alati. Od vrtićkog doba pokazivala sam interes za čekiće i čavle, vijke, bušilice; iako nikada nisam imala talent i interes za studij strojarstva, k alatima i strojevima privuklo me ono estetsko, vizualno. Kao dijete mislila sam da su svi ti strojevi živi. Kako to da su živi, a nemaju dušu? Rade, a ne rade? Upališ stroj pa ga ugasiš pa opet upališ i tako sve dok im ne prođe rok trajanja. Dok se ne ugase. Imaju li i oni svoj životni vijek, kao i čovjek? Pitala sam se imamo li nešto zajedničko? Poveznica čovjeka i mašine mi je, s vremenom, postala jasnija: osim što ju je čovjek napravio, pojedini njezini dijelovi, u svojoj kompleksnosti i funkcionalnosti, podsjećaju na dijelove ljudskog tijela. Na kraju, zaključila sam da je čovjek izumom elektromotora polako, ali sigurno, postao ovisan o strojevima i mašinama. Svijet kakav danas poznajemo nezamisliv je bez mašina. Tehnologija je napredovala do mjere da je stroj u mnogočemu zamijenio ljudstvo. Taj suodnos čovjeka i stroja te uloga koju su u razvoju čovječanstva imale mašine teme su mojih radova. Kroz 6 platana velikog formata osvrćem se na ljepotu i estetiku mašina te se bavim pitanjima vezanim uz ovu svoju fascinaciju. Odlučujem se za monokromatski pristup slici jer smatram da redukcijom boje i korištenjem chiaroscura postižem dodatnu dramatiku te potenciram vizualnu i realnu snagu i moć koju strojevi posjeduju. Motivi mojih radova su mnogostruko uvećani dijelovi avionskih motora, slikani prema predlošcima za koje sam koristila vlastite autorske fotografije aviona snimljene u Tehničkom muzeju u Zagrebu. Detalje mašina svjesno uvećavam kako bih istaknula njihovu snagu i moć, kao i svoje divljenje. Avionski motori su mi posebno fascinantni jer su upravo oni čovjeka vinuli u nebo. U svom radu – slično ideji futurista prema kojoj industrijski gradovi, automobili i avioni predstavljaju trijumf tehnologije nad prirodom – glorificiram taj ljudski izum i ističem njegovu estetiku. Svaki dio motora – mašina – ima svoju funkciju, razlog zbog kojeg je baš na određenom mjestu, što posljedično utječe na to da i motor izgleda baš tako kako izgleda; estetika je ovdje posljedica funkcionalnosti.
I have always been attracted to mechanics, machinery and tools. From kindergarten age I have shown interest in hammers and nails, screws, drills; although I have never had the talent and interest in studying mechanical engineering, tools and machinery attracted me aesthetically, visually. As a child I though all these machines were alive. How could they be alive and have no soul? Work and not work? You turn on the machine, then turn it off, then turn it on again and so on until their expiration date. Until they completely shut down. Do they also have life expectancy, like human beings? I wondered if we had something in common? As time passed, I was able to understand the link between the man and the machine a bit better: except being man-made, some of the machine’s parts, in their complexity and functionality, remind of the parts of the human body. Finally, I have concluded that with the invention of the electric motor man has, slowly but steadily, became dependent on machines and machinery. The world we know today is unimaginable without machines. Technology has progressed to such an extent that machines have replaced people in many ways. This interrelation between the man and the machine, and the role machines played in the development of humankind, these are the topics of my works. On six large-scale canvases I refer to the beauty and aesthetics of machines, and I also deal with questions related to this fascination of mine. I opt for a monochromatic approach to painting, because I believe that with the reduction of colour and using chiaroscuro I can achieve additional dramatic effect and emphasize visual and real power and strength of the machines. The motifs of my works are enlarged parts of aircraft engines, painted based on models for which I used my own, original photographs of aircrafts, taken in the Technical Museum in Zagreb. I intentionally enlarge parts of the engines in order to emphasize their strength and power, as well as my admiration. I find airplane engines particularly fascinating because they were the ones that soared man into the sky. In my work – similar to Futurists’ idea according to which industrial cities, cars and aircrafts represent the triumph of technology over nature – I glorify this human invention and emphasize its aesthetics.
Ovom izložbom istražujem upravo okosnicu tog odnosa između estetike i funkcije, ali i pitanje radi li se o estetskim preferencijama pojedinca (u ovom slučaju mene same) ili šire javnosti.
Each part of the engine – machine – has its function, the reason for being in a specific place, which in turn causes the engine to look exactly the way it does; aesthetics is here a consequence of functionality.
Iva Habus Iz diplomskog rada
With this exhibition I explore the backbone of this relationship between aesthetics and function, but also the question of whether these are the aesthetic preferences of an individual (in this case myself) or the general public. Iva Habus Excerpt from Thesis