Kako bi izgledala moja kuća da je živo biće
To bi biće bilo životinja. (…)
Denise Levertov
ja bih rado bila životinja ili biljka ponekad jer kad pomislim na prirodu, osjetim da sam doma, a to nije stan ili neboder u koji sam strpana. Kad pomislim na prirodu, pomislim na brojne prirode skrivene u svakome biću zato je ova izložba posveta Prirodama, svima onima kojima nemamo mjesta ovdje pojedinačno nasloviti ime.
Ivana Filip
Ljudi su gusto posijani, no rijetko su nikli.
MIra Gatara
Izložbeni program Kako gledati Prirode?
– Umjetnost i kapitalocen dokumentira vizualnu praksu, njezine odgovore na moguće zelene inicijative koje mogu detektirati posljedice antropocena i kapitalocena koji
Prirodu tretiraju samo kao resurs. Možda je dovoljno podsjetiti na činjenicu da je prije samo stotinjak godina sva naša hrana bila organska, a danas je kupujemo u specijaliziranim trgovinama neoliberalnoga tržišnoga kapitala. Ili da se prvotan sustav ekonomije temeljio na ekonomiji dara, a ne na tržišnoj grabeži koja dovodi do globalnoga Geocida apokaliptičnih klimatskih promjena koje prijete šestim izumiranjem, kako to npr. upozorava Elizabeth Kolbert.
Radovi koji su izloženi na ovoj skupnoj zelenoj izložbi govore o odnosima s Drugima (ne-ljudima), onima kojima je glas različit od ljudskog, kao što su sve Prirode – Životinje, Biljke, Grančice, Sunce, Mora, Oceani, Vode, Staze, Šume, Cvjetovi, Kamenje, svi koji su zanemareni i ranjivi u antropocentričnoj slici navodnoga napretka. Misao vodilja bila nam je prikazati sve ono što ljudsko biće čini fascinantnim nepresušnim izvorom otkrića kreacija, a nastaje u sustvaranju s Drugima.
Krenimo abecedno, tragom ove izložbe, o antropocenu, to glasovima umjetnika/ ica o njihovim vlastitim radovima, sadržajno sažeto, onoliko koliko to forma deplijana, izrađena od srušenih stabala, može podnijeti. Zamjetno je pritom da se rabe različite odrednice za prirodu stvari – priroda, krajolik, (izgrađeni) okoliš, okolina, pejzaž, prostor, mjesto.
Maša Bajc u radu Priroda stvari (2020.) polazi od prostora livade pri čemu ističe da kao što ljudi oblikuju pejzaž fizički simbolički, on recipročno utječe na oblikovanje njihovog identiteta međusobnih veza (usp.
Paola Filippucci: “Landscape”, Cambridge Encyclopedia of Anthropology 2018.).
Alex Brajković odrednicom Earthlines (2022.–2023.) imenuje seriju vizualnih radova nastalih korištenjem vlastitih algoritama za interpretaciju svjetskih podataka, čime otvara pitanje na koji način umjetnost vizualizira kompleksnu vezu između ljudi i izgrađenog okoliša odgovara na krizu odnosa čovjeka i prirode?
Nikolina Butorac prostornom, participativnom instalacijom Mišić stane u udubljenje mog dlana (2022.–2023.) tematizira stanje u kojemu nas tzv. kućni ljubimci (ili kako etički određuju antrozoolozi – životinje-suputnice/ i) oni najčešći, psi i mačke, ponovno povezuju s prirodom, kao suočavanje sa smrću vlastitih ne-ljudskih prijatelja/ica za koje antropocentrični jezik još uvijek koristi derogativni, specistički glagol „uginuti“.
Projekt Mutne vode (2021.) Tanja Dabo započela je kao umjetničko istraživanje stanja vode u Hrvatskoj danas, kroz koje je umjetnica angažirano istražila koliko je informacija javno dostupno, kakvo je stvarno stanje voda, koji se štetni elementi u vodi nalaze, koliko se kao društvo uopće bavimo pitanjem vode.
Charlotte Dumas u kratkom filmu Yorishiro (2020.) bilježi kako djevojčica, umjetničina petogodišnja kći Ivy, u ljubičastosivom kostimu konja, putuje na udaljeni otok Yonaguni gdje još uvijek slobodno lutaju divlji konji drevne vrste Yonaguni. Mjesecima je hodala u kostimu konja ponašala se kao konj te u konačnici pronalazi međuvrsnu srodnost.
Hortikulturna intervencija, instalacija I’m not a robot (2020.) Darka Fritza objedinjuje aspekte tehnološke komunikacije, gradnje suhozida hortikulture. Kao što navodi umjetnik, tekstualni je sadržaj preuzet iz digitalne domene, digitalnog sučelja namijenjenog strojevima „koji žele potvrdu da komuniciraju sa stvarnim ljudima, a ne sa strojevima koji se pretvaraju da su ljudi“.
Igor Grubić u radu Da li životinje…? (2017.) iz niše prava životinja tematizira životinjsku smrt koju je apostrofirao na anti/reklamnim površinama. Fotografije dokumentiraju unutrašnjost bivših klaonica s pitanjima na engleskom: „Sanjaju li životinje o slobodi? Imaju li životinje zakonska prava? Idu li životinje u nebo? Znaju li životinje da su proizvodi? Preživljavaju li životinje istrebljenje?“.
Serijom ulja na platnu s animalističkim motivima iz šireg ciklusa Placeholders (2019.) Nenad Jalšovec obuhvaća slike, crteže te materijalne virtualne objekte koji na ironičan način u globalnom društvu i medijima problematiziraju, kao što to umjetnik apostrofira: „raširenu tendenciju pseudoznanstvenog seciranja svega svačega te posljedičnu modu bistrenja složenih fenomena infografikama trivijaliziranim do razine dječjeg poimanja“.
Lisa Jevbratt u radu Playset – Falling Deer/ Set za igru – Srna koja pada (2021.-2023.) tematizira mističan aspekt ljudskih/ ne-ljudskih odnosa. Usredotočuje se na intrinzičnu magijsku međupovezanost između ljudi i ne-ljudi te pritom izravnava hijerarhije vrsta gdje se dublje znanje može pronaći u srni, grmu ili možda čak litici ili valu.
Gustafsson&Haapoja radom Embrace Your Empathy!/ Prihvati svoje suosjećanje! (2016.) promišljaju revoluciju međuvrsnih odnosa u kojima je empatija glavna vrijednost, a podjela bića na životinje, ljude, biljke, izbrisana je postojimo – mi, ljudi više-nego-ljudi, svi zajedno kao su-dionici ovoga svijeta. Ukratko, Zemlja-
ni (Earthlings), kao što navodi Shaun Monson.
Rad Olge F. Koroleve Cautiously (dear deer)/ Oprezno (dragi jelene) (2017.) nastaje procesom promatranja jelena u trajanju od mjesec dana na udaljenoj lokaciji na kanadskom otoku Vancouveru. Viseća skulptura, sastavljena od jelenjih kostiju, sada visi iznad mjesta gdje je životinja umrla.
Water/land art Zvjezdane Jembrih Plavo za stablo (2020.) s radom Alena Novoselca Oprosti mi, hvala ti, volim te (2020.) pored toga što povezuje prostor izvedbe – lijeva obala Kupe kod Obreža Vivodinskog, nalazi se u zajedničkoj mreži umjetničko-znanstvenoga projekta Land art, Earth art, Earthworks: z/Zemlja i antropocen koji je 2019. godine zamišljen kao prvo sustavno umjetničko znanstveno istraživanje land art prakse u Hrvatskoj.
Erez Nevi Pana radom The Banana Project (2020.) upućuje na moguće apokaliptične posljedice klimatskih promjena, smještajući glavnog protagonista svog filma Tropical Milan (2020.), koji poput ikone reprezentira cjelokupno čovječanstvo, u okoliš nalik džungli banana, aludirajući na opasnost monokulturnog uzgoja, ograničenih resursa hrane globalne masovne migracije.
Olly & Suzi fotografijom Cheetah Interaction/ Interakcija geparda (Namibija, 1998.) dokumentiraju prirodu u kulturi – trenutak dok gepardi gledaju vlastite portrete. Olly & Suzi spajaju živu akcijsku ekologiju umjetnost kroz slikarstvo, i to zajedničkim stvaranjem umjetničkoga djela (oboje rade na jednom djelu istovremeno) u prisutnosti životinje/a u njenom/njihovom okruženju, da bi na kraju životinja komunicirala s tim djelom. Odlučile smo se za navedenu dokumentaciju s obzirom na to da se nalazi na naslovnici prve knjige Picturing the Beast (2001.) Stevea Bakera, istaknutoga teoretičara vizualne animalistike.
Kira O’Reilly zajedno s Antye Greie-Ripatti (AGF) u međuvrsnom radu Arachnid – Tick Sensing/ Paučnjak – Osjećaj krpelja (2021.) istražuje susrete među vrstama – ljudske vrste s krpeljima. Međuvrsni transvrsni rad je inspiriran zvučnim teksturama koje je razvila Antye Greie-Ripatti (AGF) koja je uredila masterirala podcaste TICK TALKs, njezinim zvučnim radom vs us kao i esejem The Microbial Self: Sensation and Sympoiesis (2017.) Kyle Schuller.
Ivana Ožetski objektom Sjena antropocena/ Surogat slika (2022.–2023.) upozorava na činjenicu da se godišnje u svijetu proizvede trilijun komada limenki. Englez Peter Durand je 1810. godine patentirao pokositrene limenke za konzerviranja mesa (ubijenih životinja) za potrebe engleske vojske i mornarice, a 1963. godine proizvedena je prva aluminijska limenka. Godine 1962. Warholova grafika Campbell Soup s juhom od rajčice postaje simbolom masovne kulture, no jednako tako i otpadocena (engl. wastocene), kako ga definira Marco Armiero. „Uz objekt su ispisani osnovni podaci o proizvodnji materijala za izradu limenki kao podsjetnik da veliki dio svijeta Prirodu još uvijek doživljava samo kao resurs odlagalište.“
Ana Ratković Sobota radom Jezera (2021.–2022.) upozorava na Plitvička jezera kao žrtvu masovnog turizma neplanske apartmanizacije koja je dovela do pojave dva nova “jezera”, septičkih jama, nastalih slijevanjem otpadnih voda iz obližnjih hotela apartmana.
Davor Sanvincenti dokumentarnim filmom
Mjesta koja ćemo disati (2022.) citira svoje, kako ih naziva, literarne sugovornike J. A. Ba-
kera, H. D. Thoreaua, Predraga Matvejevića, Kena Loacha, Chrisa Markera, Žarka Škugora, R. M. Rilkea, Salvatora Murana, Konfucija, Chica Mendesa, Miru Gataru; snima vizualni esej koji zagovara imaginaciju kroz putopis konstruiranih anonimnih pejzaža, svojevrsna je bilješka o budućnosti. Film završava zapisom majke-morske kornjače koja brižno zakopava jajašca u morski pijesak – čuje se samo šum mora. Kraj eseja o budućnosti.
Kontemplativna atmosferična videoinstalacija Pejzaži (2021.–2023.) Nives Sertić uranja nas u makro- mikro-okoliše mediteranskih, autorici intimno bliskih motiva, koji svojim dugim kadrovima sporim ritmom žele potaknuti da od gledaoca ponovno postanemo promatrači – svoje okoline, sebe samih, ali nevidljive spone koja postoji između ta dva (ne)odvojena entiteta, da usporimo da se prisjetimo što je to vrijeme – zaboravljena dimenzija 21. stoljeća.
Filmom The Kitty AI: Artificial Intelligence for Governance/ Kitty AI: Umjetna inteligencija za vladanje (2016.) Pinar Yoldas na humorističan kritičan način zamišlja distopijsku budućnost u kojoj umjetna inteligencija vlada političkim svijetom Kitty AI postaje prva ne-ljudska guvernerka 2039. godine. Rad ukazuje na jezovito ispreplitanje algoritama ili inteligencije strojeva s pitanjem osjećaja, problem prisilne migracije klimatskih promjena.
Vjeran Vukašinović radom Biodiverzija modul 2 (2023.) upozorava da je antropocen stigao do graničnog prostora u kojemu se svijet koji smo poznavali ubrzano poništava nestaje. Terminom plantationocene Donna J. Haraway Anna Tsing opisuju snažnu štetu nanesenu planetu Zemlji uzrokovanu industrijskim monokulturnim plantažnim praksama. Strojevi plantažocena sve uništavaju i pretvaraju u beživotnu pustinju. “Down to Earth” Brune Latoura samo je jedan poziv za ponovnim učenjem kako su-živjeti na Zemlji i za hitnom izmjenom politika. Sjemenke novih početaka izranjaju duboko iz podzemlja, skrivene sile stvaranja se bude i puštaju korijenje diljem svijeta. Obnova otpor kreću iz podzemlja.
Izložba je otvorena performansom Murmurs of the Silent Green domaće autorice Otchuda Say, a koji uživo izvodi Kaia Liifsong. U njihovoj prvoj suradnji, Otchuda Say i Kaia Liifsong kombiniraju poeziju, glazbu, umjetnost zvuka video, istražujući utjecaj antropocena i preklapanje prava životinja prava ljudi. Njihov performans, koji tematizira biocentričnu etiku veganstvo, osvjetljava pitanja odgovornosti te naglašava inherentnu vrijednost svih živih vrsta. Ova izvedba nudi refleksiju o povezivanju umjetnosti, aktivizma zaštite okoliša / prirode.
Prema Bruni Latouru društva prirode satkani su od niza mreža odnosa koji se neprestano mijenjaju kreiraju našu stvarnost. U mreži života svi smo jednako bitni, ni više ni manje važni, svima pripada jednak udio u stvaranju. Znamo da nismo otok, ali znamo li kako ćemo očuvati Geju da bismo ušli u eru razvoja čovječanstva suživota s Prirodama koju australski znanstvenik Glenn Albrecht naziva Simbiocen? Zbog toga smo i tu mrežu života, izložbeno predstavljenu ovim radovima, razvrstale prema četirima elementima – Zemlja, Zrak, Voda Vatra, označene na izložbenim legendama simbolima iz tradicije Hopi naroda.
Maša Bajc, Priroda stvari (2020.)
Alex Brajković, Earthlines, 2022.–2023.
Tanja Dabo, Mutne vode 2021.
Nikolina Butorac, Mišić stane u udubljenje mog dlana, 2022.–2023.
Charlotte Dumas, Yorishiro 2020.
Darko Fritz, I’m not a robot 2020.
Igor Grubić, Da li životinje…?, 2017.
Nenad Jalšovec, Placeholders 2019.
Gustafsson&Haapoja, Embrace Your Empathy!/ Prihvati svoje suosjećanje! 2016.
Olga F. Koroleva, Cautiously (dear deer)/ Oprezno (dragi jelene) 2017.
Zvjezdana Jembrih, Plavo za stablo 2020.
Alen Novoselac, Oprosti mi, hvala ti, volim te 2020.
What My House Would Be Like If It Were a Person
This person would be an animal. (…)
Denise Levertovwould also like to be an animal or a plant sometimes because when think of nature, feel that am at home, and this is not an apartment or a skyscraper am crammed in. When I think of nature, think of numerous natures hidden in every being, and that is why this exhibition is a homage to Natures, to all those whom we do not have space to name individually here.
Ivana Filip
People have been sown thicky but have rarely sprouted.
Mira GataraWith the spatial, participatory installation A Tiny Mouse Fits in the Hollow of My Hand (2022–2023), Nikolina Butorac thematizes the state in which our so-called pets (or as ethically defined by anthrozoologists – companion animals), the most common ones being dogs and cats, reconnect us with nature as well as facing the death of our non-human friends.
Tanja Dabo began the Muddy Waters project (2021) as artistic research into the state of water in Croatia today, through which the artist actively researched how much information is publicly available, what the actual state of water is, what harmful elements are contained in water, and how much we as a society deal with the issue of water.
In the short film Yorishiro (2020), Charlotte Dumas records how a little girl, the artist’s fiveyear-old daughter Ivy, in a purplish-grey horse suit travels to the remote island of Yonaguni, where wild horses of the ancient Yonaguni species still roam freely. For months she wandered around in a horse suit and behaved like a horse and ultimately, she found an interspecies kinship.
A horticultural intervention, the installation I’m Not a Robot (2020) by Darko Fritz, combines the aspects of technological communication, dry stone construction and horticulture. As the artist states, the textual content has been taken from the digital domain, a digital interface intended for machines “that want confirmation that they are interacting with real people and not with machines pretending to be people.”
In the work Do Animals Have...? (2017) from the niche of animal rights, Igor Grubić thematises animal death, which he emphasises on anti/advertising surfaces. The photographs document the interior of former slaughterhouses with questions in English: “Do animals dream of freedom? Do animals have legal rights? Do animals go to heaven? Do animals know they are products? Do animals survive extermination?”.
A series of oil on canvas paintings with animalistic motifs from the wider series titled Placeholders (2019) by Nenad Jalšovec includes paintings, drawings and material and virtual objects. As the artist emphasises, these ironically problematize “the widespread tendency of pseudoscientific dissection of anything and everything and the ensuing fashion of clarifying complex phenomena with infographics trivialized to the level of children’s understanding” in the global society and the media.
In the work Playset – Falling Deer (2021-2023), Lisa Jevbratt thematizes the mystical aspect of human/non-human relationships. She focuses on an intrinsic magical interconnectedness between humans and non-humans, equalizing thus species hierarchies where deeper knowledge can be found in a deer, a bush, or maybe even a cliff or a wave.
Gustafsson’s&Haapoja’s work Embrace Your Empathy! (2016) contemplates a revolution of interspecies relations in which empathy is the main value, and the division of beings into animals, humans, and plants, has been erased and we exist - we, humans and more-thanhumans, all as co-creators of this world. In short, Earthlings, as stated by Shaun Monson.
Olga F. Koroleva’s work Cautiously (dear deer) (2017) is created by observing a deer for a month in a remote location on Vancouver Island, Canada. A hanging sculpture composed of deer bones now hangs over the spot where the animal died.
mass culture, but also of the wasteocene), as defined by Marco Armiero. “Basic data on the production of materials for making cans are written next to the object as a reminder that a large part of the world still perceives Nature only as a resource and a dumping ground.”
With the work Lakes (2021-2022), Ana Ratković Sobota warns about the Plitvice Lakes as a victim of mass tourism and unplanned construction of multi-apartment buildings, which led to the appearance of two new “lakes”, septic tanks, created by the discharge of wastewater from nearby hotels and apartments.
In his documentary film Places That We Will Breathe (2022), Davor Sanvincenti cites his, as he calls them, literary interlocutors: J.A. Baker, H. D. Thoreau, Predrag Matvejević, Ken Loach, Chris Marker, Žarko Škugor, R. M. Rilke, Salvatore Murano, Confucius, Chico Mendes, Mira Gatara, and records a visual essay that advocates imagination through a travelogue of constructed and anonymous landscapes. The work also acts as a kind of note about the future. The film ends with a recording of a mother sea turtle carefully burying her eggs in the sea sand – one can only hear the sound of the sea. The end of the essay on the future.
The contemplative and atmospheric video installation Landscapes (2021–2023) by Nives Sertić immerses us in the macro- and micro-environments of the Mediterranean motifs, intimately close to the artist. Their long shots and slow rhythm want to encourage the viewers to become observers again - of their surroundings, of themselves, but also of the invisible bond that exists between the two (non)separate entities, to slow down and remember what that time is - the forgotten dimension of the 21st century.
With the film The Kitty AI: Artificial Intelligence for Governance (2016) Pinar Yoldas humorously and critically engages with a dystopian future in which artificial intelligence rules the political world and the AI Kitty becomes the first non-human female governor in 2039. The work points to the uncanny intersections of algorithmic or machine intelligence with the issue of emotions, the problem of forced migration and climate change.
Vjeran Vukašinović, with his work Biodiversion module 2 (2023), warns that the Anthropocene has reached its limits in the sense that the world we knew is rapidly being wiped out and disappearing. Donna J. Haraway and Anna Tsing use the term plantationocene to describe the severe damage done to planet Earth caused by industrial monoculture plantation practices. The machines of the plantationocene destroy and turn everything into a lifeless desert. “Down to Earth” by Bruno Latour is just one call for re-learning how to live on Earth and for an urgent policy change. The seeds of new beginnings are sprouting from deep underground, the hidden forces of creation are awakening and taking root around the world. Renewal and resistance start from underground.
The exhibition was opened with the performance Murmurs of the Silent Green by the local author Otchuda Say, performed live by Kaia Liifsong In their first collaboration, Otchuda Say and Kaia Liifsong combine poetry, music, sound art and video, exploring the impact of the Anthropocene and the overlap between animal and human rights. Their performance, which thematizes biocentric ethics and veganism, illuminates the issues of responsibility and emphasizes the inherent value of all living species. This performance offers a reflection on the connection between art, activism and environmental / nature protection.
According to Bruno Latour, society and nature are woven from a series of networks of relationships that constantly change and create our reality. In the web of life, we are all equally important, no more and no less, and everyone has an equal share in creation. We know that we are not an island, but do we know how to preserve Gaia in order to enter the era of human development of coexistence with Nature, which the Australian scientist Glenn Albrecht calls the Symbiocene? We have, therefore, classified this network of life; exhibited in these works, according to four elements – Earth (Zemlja), Air (Zrak), Water (Voda) and Fire (Vatra), which are marked on the exhibition labels using symbols from the tradition of the Hopi people.
Ivana Filip & Suzana Marjanić
The exhibition programme How to See Natures? - Art and the Capitalocene documents visual practice, its responses to possible green initiatives that can detect the consequences of the Anthropocene and Capitalocene, which treat Nature only as a resource. Perhaps it suffices to remind us of the fact that merely a hundred years ago all our food was organic, and today we buy it in specialized stores of neoliberal market capital. Or that the original economic system was based on the gift economy, and not on market predation that leads to global Geocide and apocalyptic climate changes that threaten the sixth extinction, as warned by Elizabeth Kolbert, for example.
The works exhibited in this collective green exhibition talk about relationships with Others (non-humans), those whose voice is different from the human one, such as all the Natures - Animals, Plants, Twigs, Sun, Seas, Oceans, Waters, Paths, Forests, Flowers, Stones, all those that are neglected and vulnerable in the anthropocentric image of supposed progress. The idea behind the exhibition is to show all that makes a human being a fascinating and inexhaustible source of discoveries and creations, which is created in co-creation with Others.
Let us start alphabetically, following the path of this exhibition, with the Anthropocene, and with the voices of the artists about their own works, in a meaningful and concise manner, as much as the form of the brochure made of fallen trees can handle. It is noticeable that different determinants are used for the nature of things - nature, landscape, (built) environment, environment, landscape, space, place.
Maša Bajc, in her work The Nature of Things (2020), as a starting point takes the space of the meadow, where she points out that just as people shape the landscape physically and symbolically, it reciprocally affects the shaping of their identity and mutual connections (cf. Paola Filippucci: “Landscape”, Cambridge Encyclopaedia of Anthropology 2018).
Using the designation Earthlines (2022-2023), Alex Brajković names a series of visual works created using his own algorithms for the interpretation of world data, thus raising the question of how art visualizes the complex connection between people and the built environment and responds to the crisis of the relationship between man and nature?
Zvjezdana Jembrih’s water/land art Blue for a Tree (2020) with the work of Alen Novoselc Forgive Me, Thank You, I Love You (2020), in addition to connecting the space of performance - the left bank of the Kupa near Obrež Vivodinski, is also part of a joint network of art and scientific project Land Art, Earth Art, Earthworks: e/Earth and the Anthropocene, which was conceived in 2019 as the first systematic art and scientific research of land art practice in Croatia.
With the work Banana Project (2020), Erez Nevi Pana points to the possible apocalyptic consequences of climate change, placing the main protagonist of his film Tropical Milan (2020), which like an icon represents all of humanity, in an environment similar to a banana jungle, alluding to the danger of monocultural cultivation, limited food resources and global mass migration.
With the photograph Cheetah Interaction (Namibia, 1998), Olly & Suzi document nature in culture, a moment when cheetahs look at their own portraits. Olly & Suzi combine live-action ecology and art through painting by jointly creating a work of art (both work on the same artwork simultaneously) in the presence of an animal/and in its/their environment so that at the, end the animal interacts with the work. We decided on the mentioned documentation considering that it is featured on the cover of the first book by Steve Baker, a prominent theoretician of visual animalism.
In the cross-species work Arachnid – Tick Sensing (2021), Kira O’Reilly together with Antye Greie-Ripatti (AGF) explores human/tick transspecies encounters. The cross-species and trans-species work is inspired by the sound textures developed by Antye Greie-Ripatti (AGF) who edited and mastered the TICK TALKs podcasts, her sound work vs Us, as well as the essay The Microbial Self: Sensation and Sympoiesis (2017) by Kyle Schuller.
With the object Shadow of the Anthropocene/Surrogate Painting (2022-2023), Ivana Ožetski warns of the fact that one trillion cans are produced in the world annually. In 1810, Englishman Peter Durand patented tin-coated iron cans for canning meat (of slaughtered animals) for the needs of the English army and navy, and in 1963, the first aluminium can was produced. In 1962, Warhol’s print Campbell Soup featuring tomato soup became a symbol of
„Kako gledati Prirode? – Umjetnost kapitalocen“
13. 4. – 5. 5. 2023.
Galerija Prsten / Prsten Gallery
Kustosice: Ivana Filip Suzana Marjanić
Umjetnici/artists: Maša Bajc, Alex Brajković, Nikolina Butorac, Tanja Dabo, Charlotte Dumas, Darko Fritz, Igor Grubić, Nenad Jalšovec, Lisa Jevbratt, Gustafsson & Haapoja, Olga F. Koroleva, Zvjezdana Jembrih, Alen Novoselec, Erez Nevi Pana, Olly & Suzi, Kira O’Reilly, Ivana Ožetski, Ana Ratković Sobota, Davor Sanvincenti, Nives Sertić, Pinar Yoldas, Vjeran Vukašinović, Otchuda Say.
Hrvatsko društvo likovnih umjetnika Croatian Association of Fine Artists
Galerija Prsten Prsten Gallery Trg žrtava fašizma 16, 10000 Zagreb, www.hdlu.hr
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: Tomislav Buntak Upravni odbor HDLU/Executive board of HDLU: Tomislav Buntak (predsjednik/president), Josip Zanki (dopredsjednik/vicepresident), Ida Blažičko (dopredsjednica/vicepresident), Fedor Fischer, Vida Meić, Romana Nikolić, Alen Novoselec Umjetnički savjet Galerije Prsten/Artistic board of Prsten Gallery: Mia Akrap, Branka Benčić, Tomislav Buntak, Ivan Fijolić, Vida Meić, Leila Topić, Josip Zanki Ravnateljica/Director: Ivana
Andabaka (HDLU) Voditeljica galerije/Gallery coordinator: Martina Miholić | Predgovor/Preface: Ivana Filip Suzana Marjanić | Prijevod/Translation: Zana Šaškin Grafički dizajn/Graphic design: Duje Medić Tisak/Printed by Kerschoffset d.o.o. Naklada/Copies: 200