7. BIJENALE SLIKARSTVA I GOSTUJUĆA IZLOŽBA LITVANSKIH UMJETNIKA

IZLOŽBA LITVANSKIH UMJETNIKA / EXHIBITION OF LITHUANIAN ARTISTS FLOATING IDENTITY: BETWEEN A RECOGNISABLE IMAGE AND ABSTRACTION

Sadržaj / Content

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Pojavnost slike / Manifestation of the Image Željko Marciuš

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Umjetnici / Artists

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Izložba litvanskih umjetnika / Exhibition of Lithuanian Artists Floating Identity: Between a Recognisable Image and Abstraction

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Plutajući identitet: Između prepoznatljive slike i apstrakcije / Floating Identity: Between a Recognisable Image and an Abstraction Prof. Dr. Remigijus Venckus

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Popratni izložbeni program / Side program

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ALUzija - Izložba studenata ALU / Exhibition of ALU students

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Matko Vekić: Tržnica Cvijeća / Flower Market

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Inkluzivni program - ART4ALL / Inclusive program - ART4ALL

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Otvorenje 7. bijenala slikarstva / Opening of the 7th Biennial of Painting

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Edukativni program / Educational program

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Susreti s umjetnicima / Meet the artists

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Slikarstvo u javnom prostoru / Painting in public space

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Životopisi / Biographies

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Impresum / Impressum

Pojavnost slike / Manifestation of the image Željko Marciuš

Živimo u obilju slikovnosti. Slika po sebi1, pod određenim uvjetima percepcije, samo je fragmentarni djelić bujnosti i kakofonične vizualne zbiljnosti.

Možda će uskoro od iskustvene ja-forme ostati sve; moguće je da će se ponešto zadržati, a ponešto nestati, a možebitno se izgubimo u totalnoj vizualnosti ili verbo-vizualnosti, u avetima virtualnosti i umjetne inteligencije pametnoga svijeta. Kako bismo razumjeli sliku danas, slažući se, kao što smo već spominjali, da živimo u doba ikonolatrije2, počasti svetoj slici kapitala, koja onda uključuje i proizvoljne dosege te prosudbe mjerljive novcem ili statusom svojevoljne ili verificirane, potvrđene vrijednosti, valja pokušati obujmiti slikovnost i sadržajnost suvremena svije-

We live in an abundance of imagery. An image in itself,1 under specific conditions of perception, is merely a fragmentary shard of the rich and cacophonous visual reality. It may be that soon the experiential self-form will be all that will be left; it is possible that something will remain and something will disappear. There is a possibility that we might find ourselves lost in an all-encompassing visuality or verbo-visuality, amidst the spectres of virtuality and the artificial intelligence of the smart world. In order to understand the image today—acknowledging, as we have noted, that we live in an era of iconolatry,2 a homage to the sacred image of capital which encompasses arbitrary Here we refer to the imago (image, form, shape) in the narrower sense of its manifestation as an image that originates from painting as well - a 50-millennia-old continuous series of fibres and bundles of the world representation that changes its appearance and meaning in the context of a historical era. In this way, the painting transmits general formalities through the dialectic of life on one level - colour, structure, stroke, form, composition - and at the same time different visual and contextual signals whether in the prehistoric, classical or contemporary era. “An immersive stock of art images is emerging today within a new media landscape. The old fine art media are clashing today with new experiences of images that are specially moulded by contemporary media.” Cf. Ingeborg Reichle, Likovna umjetnost, in: Znanost o slici (discipline, teme, metode), Klaus Sachs-Hombach (ed.), Antibarbarus, Zagreb, 2006, p. 243.

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Tu mislimo na imago (slika, lik oblik) u užem pojmu njezine pojavnosti, odnosno kao na sliku koja proistječe i iz slikarstva – 50-tisućljetnog neprekinutog niza trajanja vlakana i svežnjeva predodžbe svijeta koja u kontekstu povijesne epohe mijenja svoju izglednost i značenje. U tome vidu slika dijalektikom života na jednoj razini odašilje opće formalnosti – boju, strukturu, potez, formu, kompoziciju – a ujedno i različite vizualne i kontekstualne signale bilo u prethistorijskom, klasičnom ili suvremenom dobu. „Imerzna zaliha slika umjetnosti pojavljuje se danas u novom krajoliku medija. Stari slikovni mediji umjetnosti sukobljavaju se danas s novim iskustvima o slikama koja su posebno strukturirana posredstvom medija.“ Usp. Ingeborg Reichle, Likovna umjetnost, u: Znanost o slici (discipline, teme, metode), Klaus Sachs-Hombach (ur.), Antibarbarus, Zagreb, 2006., str. 243.

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Doista živimo u doba ikonolatrije koja se u slici formirala nakon poduljega doba tekstolatrije. Prevlast slika ogleda se i u SMSizaciji tekstualnog sloja komunikacije koja je sintetizirano svjedočanstvo o njegovu sužavanju i osiromašenju. Vidi i: Vilém Flusser, Filozofija fotografije, Scarabeus-naklada, Zagreb, 2007.

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Indeed, we live in an age of iconolatry, which was formed in the image after a long period of textolatry. The predominance of images is also reflected in the SMSization of the textual layer of communication, which is a synthesized testimony of its narrowing and impoverishment. See also: Flusser, Vilém, Filozofija fotografije / Philosophy of photography, Scarabeus-naklada, Zagreb, 2007.

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ta, kao i njegove buduće projekcije, a tek potom fokusirati se na slikarstvo.

Kupamo se u beskrajnoj slikovnosti, i eto optičkog zamora i prosudbenog odmora. U povelikom dijelu Homo Deusa u kojemu prema agendama za besmrtnost, sreću i božanskost dvosmislenih značenja i predviđanja projicira budućnost Homo sapiensa, Harari upućuje na ubrzani razvoj biološkog, kiborškog i neorganskog inženjeringa.

Poveznica i utemeljenje mogućih projekcija su algoritmi, pojednostavljeno, redoslijedi i protokoli mnoštva kalkulacija i proračuna od emocija i svijesti – neuronskih interakcija algoritma ljudskoga mozga – sve do neorganskoga pametnog softvera besvjesne umjetne inteligencije koja funkcionira na sinkronim principima; samovozeći automobili, digitalno igranje šaha koje nadmašuje ljudsku igru i kombinatoriku, dronovi, visokotehnološka industrija temeljena na robotici ili surfanje virtualnim i nevirtualnim svijetom bez organskih ograničenja. Budućnost je već tu i ubrzano se, izgleda nikad ubrzanije, širi i razvija bez simbolskih kočnica, htjeli mi to kao pojedinci ljudske vrste ili ne. Hoće li u takvome umjetnom svijetu ljudska greška i nesavršenost i dalje biti moguća i nužna? 3 Andrew Kean, pak, u vrtlogu svega vidi i drukčiju opciju popravljanja budućnosti u podudarnostima i različitostima između brutalnosti početaka industrijske i sofisticirane neobuzdanosti digitalne revolucije koju upravo živimo i procesuiramo je kako znamo s agendama za vladinu i zakonsku regulativu, konkurentne inovacije, društvenu odgovornost građana i obrazovanje pokušavajući doći do plasta rješenja koja mogu popraviti digitalno doba. 4 Inzistirajući na dijalektici između povijesnosti i budućnosti, autor kontrastnim polaritetima: feudalizam – kapitalizam (komunizam i putinizam), 3 Vidi: Yuval Noah Harari, Homo Deus – Kratka povijest sutrašnjice, Fokus komunikacije, Zagreb, 2017., str. 7-79. Usp. i Željko Marciuš, Ikonografija grada u hrvatskoj slici, u: Vizije grada – Ikonografija grada II, Moderna galerija, Zagreb, 2019., str. 103.

Andrew Kean, Kako popraviti budućnost, Ljevak, Zagreb, 2018., str. 50-55.

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achievements of this assessment quantifiable by money or the status of arbitrary or verified, confirmed value—it is crucial to first encompass the imagery and substance of the contemporary world, as well as its future projections, before narrowing our focus on painting. We are submerged in an infinite sea of images, leading to both optical fatigue and evaluation rest. In a significant part of ‘Homo Deus’, in which he projects the future of Homo sapiens according to agendas for immortality, happiness, and divinity of ambiguous meanings and predictions, Harari points to the rapid progression of biological, cyborg, and inorganic engineering. The link and foundations of possible projections are algorithms—in simpler terms, sequences and protocols of myriad calculations and evaluations from emotions and consciousness, the neuronal interactions of the algorithm of the human brain, to the inorganic smart software of unconscious artificial intelligence operating on synchronous principles; autonomous vehicles, digital chess-playing surpassing human strategy and combinations, drones, a high-tech industry grounded in robotics, and navigating both virtual and non-virtual realms without organic limitations. The future is already upon us, accelerating, it seems, at an unprecedented rate, developing without symbolic restraints, regardless of our individual human desires or aversions. In such an artificial realm, will human error and imperfection continue to remain both feasible and indispensable?3 Andrew Kean, on the other hand, amidst the whirlwind of everything, sees a different option for amending the future in the similarities and differences between the brutality of the early industrial age and the sophisticated uninhibitedness of the digital revolution we are currently liv-

3 See: Harari, Yuval Noah, Homo Deus - A Brief History of Tomorrow, Fokus komunikacije, Zagreb, 2017., pp. 7-79. Cf. Marciuš, Željko, Iconography of the City in Croatian Painting, in: Visions of the City - Iconography of the City II, Moderna galerija, Zagreb, 2019., pp. 103.

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predindustrijsko razdoblje – industrijska revolucija 18. stoljeća, industrijsko razdoblje 19. i 20. stoljeća te digitalno-tehnološka i revolucija UI koja obilježava kraj 20. i 21. stoljeće provlači usporednosti između sustava i njegovih transformacija koje su uvijek bile traumatične i neizvjesne te poboljšane postupnim usavršavanjima. Uz te okvirne, analogijama prožete složene strukturirane datosti nemoguće je ovdje podrobnije interpretirati ono što navedeni autor utemeljuje kroz ideal Thomasa Morea, Utopiju objavljenu 1516., koji kroz optiku 16-stoljetnoga transalpskoga humanizma implicira ne-mjesto, nigdjezemlje, savršeno mjesto – otok između vremena i prostora koji je lijep kao san te užasan poput noćne more.

Visoko regulirana ekonomija, stopostotna zaposlenost, izostanak privatnosti, relativna ravnopravnost među spolovima i povjerenje između vladara i podanika. 5 To je paradigma koju Kean vidi kao ideal kroz čiju prizmu, parafrazirajući čak i legendarni Gibsonov cyberspace, apsolvira negativne strane informatizacije, ostvarene u proteklih pedeset godina putem izumljenih transformacijskih tehnologija: osobnoga računala, Interneta, WWW-a, UI-a i virtualne stvarnosti. „Što znači (…) kad smo potpuno transparentni i nemamo više tajni?“.6 To prema Snowdenu simbolizira da više ne postojimo, gubljenjem svake privatnosti usisane novim tehnologijama. Gdje je ljudsko mjesto unutar zlatne groznice interneta, sve-viđenja, sve-slušanja i sve-znanja? Prema nekim predviđanjima do 2029. ostvarit će se spajanje čovjeka i računala. Živimo u doba ubrzanja u kojem mi nismo ni brži, ni pametniji, ni samosvjesniji.

Tehnologija, izgleda, ne može riješiti naše moralne i egzistencijalne proble-

ing and navigating. We grapple with it as best we can, considering agendas for governmental and legislative regulation, competitive innovation, civic social responsibility, and education, all in an endeavour to craft solutions that might fix the digital age.4 Insisting on the dialectic between historical context and the future, the author employs contrasting polarities: feudalism versus capitalism (communism and Putinism), the pre-industrial period versus the 18th-century Industrial Revolution, the industrial era of the 19th and 20th centuries, and the digital-technological and AI revolution that marks the late 20th and 21st centuries. He draws parallels between the system and its transformations, which have invariably been traumatic, uncertain, and subsequently improved upon through iterative refinement. Within these overarching structures, rich in analogy and complexly organized, it is impossible to delve in detail here into what the aforementioned author establishes through the ideal of Thomas More, “Utopia,” published in 1516, which, through the lens of 16th-century transalpine humanism implies a non-place, nowhere, a perfect place—an island suspended between time and space, as beautiful as a dream yet as terrifying as a nightmare. A highly regulated economy, 100% employment, an absence of privacy, relative gender equality, and trust between rulers and subjects.5 It is a paradigm that Kean sees as an ideal, through the prism of which, even paraphrasing Gibson’s legendary cyberspace, he absolves the negative sides of computerization realized over the past fifty years via the invented transformative technologies: personal comKean, A. (2018). How to Fix the Future, Ljevak, Zagreb, 2018, pp. 50-55.

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„I dok nas struja nosi od industrijskog prema umreženom društvu velika pitanja koja je More postavio (…) bliska veza između privatnosti i osobne slobode, kako društvo treba skrbiti za svoje građane, središnja uloga rada u dobrom društvu, važnost povjerenja između vladara i podanika, te dužnosti svih pojedinca da prinose društvu i unapređuju ga – ostaje jednako važna u današnje vrijeme (…).“ Isto, str. 29.

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Isto, str. 23.

5 “And as we drift from an industrial toward a networked society, the big issues that More raises (…) the intimate relationship between privacy and individual freedom, how society should provide for its citizens, the central role of work in a good society, the importance of trust between ruler and ruled, and the duty of all individuals to contribute to and improve society—remain as pertinent today (…)” Ibid., p. 29.

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me. Izlaz iz (samo)organizirajućeg digitalnog košmara, kao i uvijek utemeljenog na profitu i nepravednoj raspodjeli kapitala (18 multimilijardera Silicijske doline posjeduje više od 1,8 milijardi dolara, a svaki deseti čovjek na zemlji živi s 2 dolara dnevno) autor vidi u jezovitom pristajanju na gubljenje privatnosti, ali s gore navedenim agendama. Među ostalim spominje digitalnu e-zemlju Estoniju utemeljenu tobože na povjerenju vlasti i građana. Jednog od visokopozicioniranih Estonaca navedenih u knjizi više od sablasti mrežnoga nadzora brine korupcija podataka. Izgleda da je najvažniji integritet podataka u kojem je sve transparentno u mrežnomu ID-sustavu (identifikacijski dokumenti) – ali bez zloupotrebe koji odražava poštenim i korisnika i državu. To je društveni dogovor navodnog obostranog povjerenja i razvidnosti u kojoj više nema digitalne anonimnosti; sve je izgledno javno te su onemogućeni anonimni komentari, kao i digitalni trolovi koji Internet čine barbarskim mje-

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puter, the Internet, the WWW, AI, and virtual reality. “What does it mean (…) when we are all transparent and have no secrets anymore?”.6 According to Snowden, symbolizes that we no longer exist, by losing all privacy sucked by new technologies. Where does humanity stand within this gold rush of the internet, all-seeing, all-hearing, and all-knowing? Some projections indicate that by 2029, humans and computers will merge. We live in an age of acceleration, yet we are not faster, smarter, or more self-aware. Technology, it seems, cannot solve our moral and existential problems. The author sees a way out of the (self)organizing digital nightmare, always based on profit and unfair distribution of capital (18 Silicon Valley billionaires own more than $1.8 billion, while one in ten people worldwide lives on $2 a day) in a horrible consent to the loss of privacy, but with the aforementioned agendas.

6

Ibid, p. 23.

stom. Konkretni ljudi odgovorni su za širenje lažnih vijesti, mržnje, rasizama i seksizama, zlobnih glasina u digitalno doba. To traži apsolutnu odgovornost vlasti i građana te bi to prema spomenutom autoru bio jedan od budućih primjera digitalnoga života u 21. stoljeću.7 Prema piscu ovih redaka to je, pak, idealistički eksperiment i negativna utopija; tek krinka potpunog, totalnog nadziranja svega i svakoga u vremenu u kojem je, kao što smo spomenuli, budućnost već prošla, a nitko nas nije pitao gdje smo bili i želimo li takve futurističke projekcije i realitete stvarnosti. To je pojavna matrica u koju smo iluzijom iluzije svi uronjeni. U takvome svijetu istinitih i lažnih informacija, filtriranih i nefiltriranih sadržaja i slika koje izviru sa svih strana, i čija smo distopijska umnogostručavanja orisom okrznuli – a određeni ih broj slikara bijenala kao reflekse svijeta problematizira – treba se fokusirati na sliku koja proizlazi iz sli7

isto, kao bilješka 4., uopćeno.

Among others, he mentions Estonia, a digital e-country allegedly built on mutual trust between the government and its citizens. One of the high-ranking Estonians mentioned in the book is more concerned about data corruption than the spectre of online surveillance.

It seems that the most important thing is the integrity of the data, where everything is transparent within the online ID system (identification documents)—but without any misuse, reflecting both an upright user and a just state. It is a social contract of purported mutual trust and transparency wherein digital anonymity has been eradicated; everything is apparently public and anonymous comments are disabled, as well as digital trolls that make the Internet a barbaric place.

Specific individuals are culpable for spreading fake news, hate, racism, and sexism, malicious rumours in the digital age. This requires the absolute responsibility of the authorities and citizens, and according to the

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karstva, kao simbolski odraz i fizička činjenica te u mnogo primjera optikom i estetikom totalne vizualnosti upućuje na kakofoničnu opnu svijeta i onkraj nje. Na svojevrsni eskapizam, ili pak nekolicinom primjera sliku po sebi – čistu bespredmetnu likovnost. Istinito, prema Noëlu: „Naše slike zbilje su tek slike slika, dakle fantomi. Mediji nas zatrpavaju tim sjenama u ime informacije koja je time samo iluzija iluzije, nudeći se kao zbilja.“8 Okruženi prirodnim i umjetnim fantomima valja osvijestiti: „Vidljivo nam se prikazuje kao cjelina koja prekriva fragmentaciju svijeta, koja ga ujedinjuje. Oko pronalazi prikrivenu stvarnost tek kad se veže za jedan od njezinih fragmenata.“ 9 U tome vidu valja se, na što cijelom studijom upućujemo, usredotočiti upravo na sliku kao fragment svijeta tretirajući je i kao ideju ideje i zamišljaj zamišljaja da bismo uočili njezinu prikrivenu stvarnost, a pokatkad i sustav znakova. Domet slikovne funkcije odražava domet reakcije. Ona je raznolika. Priželjkivana znanost o slici upućuje, kao što smo prethodno spominjali, kako se fenomeni slike u užem smislu ne shvaćaju kao opis „već kao vizualno predočavanje (fiktivnog ili realnog) stanja stvari.“ 10 U tome vidu, slike po sebi i užem smislu predmeti su ili prikazi na zidu (murali, freske, grafiti…) koji su materijalno i vizualno primjetni, artificijelno i relativno trajni. Kriterij artificijelnosti slike koji se ispunjava, primjerice, već dodavanjem okvira, razlikuje se od takozvanih prirodnih slika, primjerice, odraza ili fantoma stvarnosti kao što smo prejudicirali.

Postojanost – perzistencija jamči da vidimo predmet koji se može iznova opaziti, poput naoko stabilnog predmetnog svijeta, a ne fenomen jednokratnih i neponovljivih slika poput mijene oblaka ili slike slika – utvara – zbiljnosti koje 8 Bernard Noël, Dnevnik pogleda, Matica hrvatska, Zagreb, 2005., str. 12-13.

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su također neponovljive.11 To nas pak privodi psihologiji gledanja i relativnosti doživljaja slike, njezine pojavnosti viđenja koja je također pod određenim uvjetima promatranja ujedno trajna i relativna. To nam omogućuje slikarstvo – slikanjem i opredmećivanjem imaginarnog, apsolutnog ili zbiljskog – slikarskim djelima: „(...) nasuprot asocijalnim narcističkim tvorevinama sna, ona su mogla računati na simpatije drugih ljudi, budući da su sposobna da prodube i zadovolje kod njih podsvjesne težnje želja.“ 12 U željama, pak, prema Žižeku, nema ništa spontano, već naučeno.13 Ionako su i naše želje vjerojatno već determinirane; uvjetovane poput domino-efekta u mikrosekundi prije naizgled svjesne odluke. Ipak, sretni smo kad su ostvarene. Tu su svijest i nesvjesno, gledanje, viđenje i znanje o slikama i slikarstvu dobro ispremiješano.

Kako smo svjesni samo 2000 bitova informacije od 400 milijardi bitova informacije koliko obrađujemo u sekundi, kad mislimo o opažanju slika, koliko svjesno mislimo to što mislimo?14 Kao što smo već spomenuli, ljudi su odavna stvarali slike, a nekima je od tih rukom stvorenih djela u pogodbenom procesu dodijeljeno posebno svojstvo umjetnosti.15 Dalje to Ingeborg Reichle razlaže: „U tome pogodbenom procesu nije dovoljno da proizvođač artefakata sebe samog označi ‘umjetnikom’ i svoj proizvod ‘umjetnošću’. Prema Martinu Warnkeu za to je određenje nužan niz ovlaštenih individua, grupa, sudionika, institucija, koji često tek nakon dugih razilaženja ponuđenom predikatu pridodaju predikat ‘umjetnost’. Tom kvali-

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7

The same as note 4., in general terms.

8 Noël, B. (2005). Dnevnik pogleda. Matica hrvatska: Zagreb. pp. 12-13.

9

Ibid., p. 13.

reality, and occasionally, its system of signs. The range of the visual function mirrors the range of the reaction. It varies greatly. The desired science of the image suggests, as we have mentioned earlier, that phenomena of the image, in the narrower sense, are not understood as a description, “but as a visual representation (fictitious or real) of a state of affairs.“ 10 In this regard, images in themselves in a narrower sense are objects or representations on the wall (murals, frescoes, graffiti...) that are materially and visually noticeable, artificially and relatively permanent. The criterion of the artificiality of the image, which is met, for instance, by simply adding a frame, differs from the socalled natural images, such as reflections or phantoms of reality, as we have presupposed. Perseverance - persistence ensures that we see an object that can be observed anew, akin to the seemingly stable world of objects, rather than the phenomenon of fleeting and irreproducible images like changing clouds or images of images – apparitions – of realities that are also irreproducible.11 This, in turn, brings us to the psychology of viewing and the relativity of the image experience, its manifestation of seeing which, under certain conditions of observation, is both permanent and relative. This is what painting enables us – by painting and materializing the imaginary, the absolute, or the real – in paintings: “(...) contrary to the asocial narcissistic creations of dreams, they could count on the sympathies of others since they possess the ability to deepen and satisfy their subconscious wishful inclinations.” 12 In desires, however, according

Parafraza. Isto.

Usp. Sigmund Freud, Jedna psihoanaliza umetnosti, u: Gaetan Pikon, Panorama savremenih ideja, Kosmos, Beograd, 1960., str. 285. Prema: Igor Zidić, Rad sna i kompenzativna funkcija umjetnosti, u: Rukopis oka: Likovne teme i ogledi 1967. – 2013., Matica hrvatska, Zagreb, 2014., str. 8-10.

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Vidi: Pervertitov vodič kroz film. Narator i scenarij: Slavoj Žižek, režija i produkcija: Sophie Fiennes, UK, 2006.

13

Isto, str 13.

Klaus Sachs-Hombach, Okvirna koncepcijska razmišljanja o interdisciplinarnoj znanosti u slici, u: Znanost o slici (discipline, teme, metode), Klaus Sachs-Hombach (ur.), Antibarbarus, Zagreb, 2006., str. 10.

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aforementioned author, this would be one of the future examples of digital life in the 21st century.7 However, from the perspective of this writer, it is an idealistic experiment and a negative utopia; merely a façade of complete, total surveillance of everything and everyone in a time when, as previously mentioned, the future has already passed, and no one asked us where we were and whether we desired such futuristic projections and realities. It is a matrix into which we are all submerged, an illusion of an illusion. In such a world of true and false information, filtered and unfiltered content, and images bursting forth from every direction, whose dystopian proliferations we have merely grazed upon—with several artists of the biennial addressing them as reflections of the world—we need to focus on the image arising from painting. This image serves both as a symbolic reflection and a tangible fact. In numerous instances, through its optics and aesthetics of total visuality, it points towards the cacophonous membrane of the world and beyond. Toward a certain form of escapism, or perhaps, in a few instances, the image in itself – pure, objectless visuality. Truly, according to Noël: “Our images of reality are merely images of images, thus phantoms. The media inundate us with these shadows in the name of information which is thus an illusion of an illusion, presenting itself as reality.”8 Surrounded by natural and artificial phantoms, it is crucial to realise: “The visible appears to us as a whole, masking the fragmentation of the world, uniting it. The eye discerns the concealed reality only when it attaches to one of its fragments.”9 In this sense, as we have alluded throughout this study, the focus should precisely be on the image as a fragment of the world, treating it both as an idea of an idea and a conception of a conception, in order to discern its concealed

14 Parafraza uvoda Koji K uopće znamo, VBZ, Zagreb, 2005.

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Parafraza. Isto kao dio bilješke 1.

Sachs-Hombach, K. (2006). Framework conceptual reflections on interdisciplinary science in image. In K. Sachs-Hombach (Ed.), Science of painting (disciplines, themes, methods) (p. 10). Antibarbarus: Zagreb.

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11

Paraphrase. The same.

Freud, S. (1960). Jedna psihoanaliza umetnosti.

In G. Pikon (Ed.), Panorama savremenih ideja (p.

285). Kosmos: Belgrade. (Cited in I. Zidić, Rukopis oka: Likovne teme i ogledi 1967. – 2013. (pp. 8-10).

Matica hrvatska: Zagreb.)

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fikacijom takav artefakt dobiva poseban status, (…) izlaže se i nudi, postiže (…) cijenu, postaje vrijedan sabiranja i predmet za muzeje.“ 16 U tome vidu, konsenzus ili neslaganje oko od žirija odabranih i pozvanih autora i slika određuje izmiješana društvena stratigrafija publike. U produkciji se vidi široki raspon izričaja od, kao što smo već predočili, kritičkih distopijskih osjećanja čovjeka i umreženog svijeta, simbolskih odsjaja, totalne vizualnosti svojevrsnih hiperfigurativnih slika koje u mnogo primjera optikom i estetikom totalne vizualnosti upućuju na kakofoničnu opnu svijeta i značenja onkraj nje. Potom ekspresivne figuracije od sažeta rudimentarnog iskaza do bujne raskoši, erotskog popizma, slikovno-tekstualne slike, metafizičkih onostranosti, mističnih i magijskih odraza, apstrahiranja od takozvanih lirskih do fizičkih činjeničnosti slika kao i onih koje upućuju na svojevrsni eskapizam u pejzaž, ili pak nekolicinom primjera sliku po sebi – čistu bespredmetnu likovnost. Razložimo ih. Bojan Šumonja Šumskim prizorom, mimikrijom titrave jesenske palete na granici jedva razlučivog, iskušava vid promatrača poput testa raspoznavanja boja. Skriveni i otkriveni usred zasićenog mimikrijskog prostora Loborike pojavljuju se skoro pa zaboravljeni crtani junaci prošlog stoljeća kao što su Pajo Patak i oris Štrumfa.

Raskrečeni čimpanza? Njihovo nestajanje u prizoru ukazuje na gubljenje kolektivnog sjećanja jednog perioda koji je obilježavao nečije odrastanje, nečije djetinjstvo. Šumskim ambijentom nastaje dojam napuštanja civilizacije koju nakon ljudi ponovno nastanjuje divljina. Ako su crtani junaci svjedoci vremena prošlog stoljeća, onda je flamingo u drugome uprizorenju simbol sadašnjosti. Flamingo karakterizira odvažnost i povezanost s kreativnošću, individualnošću i ekspresijom. Ružičasti flamingo snažan je izraz ponosa i prkosa nad diskriminacijom i ugnjetavanjem. Svim time dobiveni su posve nadstvarni ek-

to Žižek, there is nothing spontaneous, only learned.13 After all, our desires are likely already determined; conditioned like a domino effect mere microseconds before an apparently conscious decision. Still, we are content when they are fulfilled. Consciousness and the unconscious, observation, seeing, and knowledge about paintings and the art of painting are all intricately interwoven. Considering that we are only aware of 2,000 bits of information out of the 400 billion bits processed every second, when we think about perceiving images, how consciously do we think what we think?14 As we have previously mentioned, people have been creating images since ancient times, and to some of these hand-made works, the special attribute of ‘art’ has been assigned in the bargaining process.15 Ingeborg Reichle elaborates further, “In this bargaining process, it is not enough for the creator of an artefact to label themselves an ‘artist’ and their product as ‘art’. According to Martin Warnke, a number of authorized individuals, groups, participants, institutions are needed to come up with this definition, who often, after long disagreements, add the predicate ‘art’ to the offered predicate. With this qualification, the artefact acquires a special status, (...) is exhibited and offered, achieves (...) a price, becomes worth collecting and an item for museums.” 16 Within this context, the consensus or disagreement concerning the jury-selected and invited artists and works is dictated by the mixed social stratigraphy of the audience. The production showcases a wide range of expressions, from, as we have previously illustrated, critical dystopian sentiments of the See: Žižek, S. (Narration & Screenplay), & Fiennes, S. (Director & Producer). (2006). Pervertitov vodič kroz film (The Pervert’s Guide to Cinema) [Film].

UK.

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14 A paraphrase of the introduction to Koji K uopće znamo (What the Bleep Do We Know), VBZ, Zagreb, 2005.

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Isto, bilješka 1. Ovdje prvenstveno mislimo na slike.

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Paraphrase. Same as part of footnote 1.

Ibid, footnote 1. Here we primarily refer to paintings?.

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spresivni prizori. Domagoj Rogina oslikanim dubokim crnim tonovima ostvaruje gustu tamnu masu koja se pojavljuje u pejzažnom prikazu okružena svjetlinom sjedinjenog neba i zemlje. Kao utvara ili hrbat neke zvijeri, uspavanog bića, autor stvara impresiju iskonskog straha od majke zemlje i njezine volje, odnosno nemoć pred snagom prirode. Crna planina simbolički označava mjesto misterija ili duhovnog značaja, mjesto drevnih legendi, mitova ili rituala, ali također može predstavljati i izazov, prepreku koju čovjek sebi zadaje, što je usporedivo s grubom i surovom prirodom mnogih planina. Grgur Akrap ostvaruje sanjiv imaginarij unutar okvira nesvjesnog. Ljudi i životinje simbolički su kontrast tjelesnog i duhovnog, svjesnog i nesvjesnog konteksta ljudske osobnosti. U naglašenoj plošnosti nailazimo na nježni, pastelni pozadinski su-ton, odnosno hipnotizirajući titraj vode i flore gustog kontroliranog nanosa. Ljudske figure prikazane su u različitim intenzitetima; od stanja fizičke i psihološke agresivne napetosti do maksimalne opuštenosti. Naglašen dualitet, borba osjećaja ili pak hibrid ljudskog i životinjskog vidljiv je i u facijalnoj ekspresiji antropomorfnog lavljeg lica. Nadrealna sinteza ljudskog bivanja prinosi mitološki kontekst pohranjen u kolektivnom nesvjesnom.

Primarni portreti iskrivljenih i zaobljenih formi Marka Zemana stilski podsjećaju na slikarstvo P. Picassa i Đ. Sedera.

Izražene su crtačke karakteristike u pastoznom nanosu, pojednostavljenom definiranju elemenata rudimentarnog prikaza lica, te su kao u dječjoj reinterpretaciji crno-linijski iscrtani. Probijanje niza slojeva boje stvaraju osjećaj iskonske energije i sirove emocije. Slika predstavlja značajan odmak od tradicionalnog portretiranja, izazivajući sintezom – na način autsajderske umjetnosti – konvencionalne predodžbe ljepote i estetike, pokazujući sposobnost uobličavanja složenosti ljudskih emocija i identiteta. Korištenje toplih i pastelnih tonova te dinamičnog poteza kista nastaje osjećaj pokrenutosti i živosti, odnosno prvobitne prisutnosti portretira-

man and the networked world, symbolic reflections, total visuality of a kind of hyper-figurative images that in many examples point to the cacophonous membrane of the world and meanings beyond it through the optics and aesthetics of total visuality. Then expressive figurations, ranging from concise rudimentary statements to lavish opulence, erotic popism, pictorial-textual images, metaphysical otherworldliness, mystical and magical reflections, and abstractions from the so-called lyrical to the physical realities of images.

There are also those that point to a particular escapism into landscapes or, in a few instances, pure non-objective visuality. Let us analyse them. In his work Šumski prizor (Forest Scene), Bojan Šumonja tests the observer’s sight with the mimicry of a shimmering autumnal palette on the cusp of being indiscernible, much like a colour recognition test. Hidden and revealed amidst the saturated mimetic space of Loborika appear almost forgotten cartoon characters of the past century, such as Daffy Duck and an outline of a Smurf. A gaping chimpanzee? Their disappearance in the scene suggests the loss of collective memory of an era that marked one’s growing up, one’s childhood. The forest environment gives the impression of abandoning civilisation, which, after humans, is once again inhabited by the wilderness. If the cartoon characters are witnesses of the past century, then the flamingo is a symbol of the present. The flamingo epitomises boldness and is associated with creativity, individuality, and expression. The pink flamingo is a powerful statement of pride and defiance against discrimination and oppression. All of this culminates in utterly surreal, expressive scenes. Domagoj Rogina, with his deep black tones, creates a dense dark mass that appears in a landscape surrounded by the light of a united sky and earth.

Evoking the apparition or the back of some beast, a dormant creature, the artist creates an impression of primal fear of Mother Earth and her will — a sense of helplessness in the face of the

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ne osobe. U svijetu oblikovanom jedinicama i nulama, slikovno-digitalne alegorije Pavla Pavlovića podsjećaju na trajnu zrcalno-iluzionističku moć pripovijedanja nadilazeći fizičko i prihvaćajući bezgranične horizonte virtualnog.

Digitalna renesansa umjetnosti odražava naše suvremeno društvo, promjenu, prilagodbu i nepredvidivu prirodu digitalnog svijeta. Kodirani narativi duhovite su montaže čovjekova komunikacijskog sustava i baze vizualnih podataka, od klasična slikarstva do meme-kulture. Stjepan Šandrk referira se na sadašnje vrijeme stvaranja digitalne vizualne kulture prikazujući kako ona postaje dio svakodnevice. Autor nedoslovno prikazuje kako istodobno nastaje sve veći fizički i emotivni jaz među ljudima u vremenu razvijanja ideja i koncepta povezanosti na društvenim mrežama. Pritom se mijenja donedavno razvijen sustav vrijednosti.

Pitanje je što bi moglo zaista ostati uokvireno na zidu? Što ima jednaku emotivnu vrijednost kao obiteljske slike?

Duhoviti memeovi u ovom slučaju ostaju sinonimi dobrih i sretnih trenutaka. Konceptom slike u slici autor stvara optimalne vizualizacije istorodne duhu vremena.

Valentina Supanz Marinić zabluranom estetikom prikazuje kako je svijest o prolaznosti života dio ljudskog postojanja, a utrka s vremenom produkt civilizacijskog sustava, turbo pogon želja i snova ili crna lista neuspjeha. Humanistička filozofija koja se usredotočuje na ljudske vrijednosti i etiku bez nužna oslanjanja na vjerska uvjerenja, često naglašava važnost maksimalnog iskorištavanja ovog života. U realističan prikaz interijera sigurnih zona ugrađeni su prikazi kao isječci s video vrpci, simboličke slike, ostaci vizualne memorije, odnosno sjećanja. Trkačice bez lica ovdje su podsjetnik na ciljeve, protok i brzinu isteka vremena jer život brzo prolazi te ostavlja neugodan osjećaj propuštenog ili besmislenog. Mladost prikazana ženskom figurom u zanosnom pokretu osvrt je na proživljeno, na prošlost koja ipak vraća smisao cijeloj utrci. Zlatan Vrkljan na način čistog slikarstva sli-

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power of nature. Crna planina (The Black Mountain) symbolically signifies a place of mysteries or spiritual significance; a place of ancient legends, myths, or rituals. Yet it may also represent the self-imposed challenges humanity sets for itself, analogous to the rough and harsh nature of many mountain terrains. Grgur Akrap creates dreamy imagery within the boundaries of the unconscious. Humans and animals here become symbolic contrasts of the physical and spiritual, conscious and unconscious context of human character. In the emphasized two-dimensionality, we come across a delicate, pastel background undertone, a hypnotizing shimmer of water and the flora in a dense, controlled stroke. Human figures are portrayed in varying intensities, ranging from states of physical and psychological aggressive tension to utter relaxation. A pronounced duality, a struggle of emotions, or perhaps the hybridity of the human and the animal is also visible in the facial expression of an anthropomorphic lion’s face. A surreal synthesis of human existence brings forth a mythological context stored in the collective unconscious.

Marko Zeman’s primary portraits of distorted and rounded forms stylistically remind of the paintings of P. Picasso and Đ. Seder. Drawing characteristics are expressed in the thick application of paint, a simplified delineation of rudimentary facial features, which, like a child’s reinterpretation, are sketched in black lines. Breaking through multiple layers of paint evokes feelings of primal energy and raw emotion. The artwork represents a significant departure from traditional portraiture, challenging, through synthesis – in the manner of outsider art – conventional notions of beauty and aesthetics, showing the ability to shape the complexity of human emotions and identities. The use of warm and pastel tones, combined with dynamic brush strokes, creates a sense of motion and vivacity, that is, the original presence of the portrayed person. In a world shaped by ones and zeros, Pavel

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kara čistog oka odražava teoriju o četirima humorima drevna medicinskog koncepta prema kojem se ljudsko tijelo sastoji od četiriju osnovnih tvari ili humora za koje se vjeruje da utječu na zdravlje i karakterne osobine čovjeka. Apstraktni prikazi četiriju karaktera definirani su bojom pojedinih tekućina. Tako je crvena boja definirala boju krvi, što karakterno pripada sangviniku, plava boja odredila je sluz koja se povezuje s vodom i prema tome pripada flegmatiku. Crna boja simbolizira crnu žuč koja je karakter melankolika, dok smeđa ili oker boja predstavlja žutu žuč personificirajući kolerika. Prema tim vjerovanjima višak ili nedostatak ovih tekućina uzrokuju bolesti tijela i duha.

Onostrano svakoj simbolici vidimo apsolutno slikarstvo i sliku kao monokromnu fizičku činjenicu koja je supstitucija tjelesnog u slici, kao i dodira ruke.

U raznim konceptima sklopka za isključenje predstavlja protokol ili sigurnosni sustav ugrađen u određen mehanizam ili u biološkom smislu organizme, kako bi se preuzela kontrola, spriječio neovlašten pristup podacima ili pokrenulo razaranje određenog sustava. Novakov prikaz monitorirano je senzorno praćenje ljudskih funkcija koje simbolički mogu predstavljati unutarnje stanje čovjeka, emotivno ili duhovno. Ideja čovjeka gledana kroz stvarnost umjetne inteligencije i virtualnu stvarnost izgrađena je na grafičkom simboličkom sustavu i estetici retro tehnologije. Kill Switch predstavlja smrt čovjeka po sebi, zapisnik gašenja humanizma i humanosti u brutalnom high-tech vremenu u kojem čovjek i čovječnost postaju posve nevažni, bespredmetni.

Isparavaju ili se jednostavno isključuju.

Figuralni prikazi Željka Lapuha pojednostavljenih su oblika i pročišćenog volumena, sanjivog i nadrealnog karaktera. Naglašenim odnosom svjetla i sjene stvorena je kiparska forma; iako bez ekspresije u centru isječena lica, živost je utkana u oslobođen pokret cijelog tijela. Energija vode jednako prati dinamiku i vibrantnost figura iz kojih rezonira jednostavnost i neopterećenost u fizičkom, ali i unutarnjem pogledu. Zalazeći

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Pavlović’s pictorial-digital allegories serve as reminders of the permanent, mirror-illusionistic power of storytelling, transcending the physical and embracing the boundless horizons of the virtual. The digital renaissance of art reflects our contemporary society, the change, adaptation, and the unpredictable nature of the digital realm. Encoded narratives are witty montages of the human communication system and visual database, ranging from classical painting to meme culture. Stjepan Šandrk refers to the current time of creating digital visual culture by showing how it is becoming a part of everyday life. The artist metaphorically depicts the growing physical and emotional gap between individuals in an age of burgeoning ideas and the concept of connection on social platforms, marking a shift from a once-established value system. The question is, what could really remain framed on the wall? What holds the same emotional value as family photographs? In this case, witty memes remain synonymous with good and happy moments. With the concept of a picture within a picture, the artist creates optimal visualisations related to the spirit of the times. With her blurred aesthetics, Valentina Supanz Marinić shows how the awareness of the transience of life, and the race against time is a product of the civilisational system, a turbo drive of desires and dreams or a black list of failures.

Humanistic philosophy, focusing on human values and ethics without necessarily relying on religious beliefs, often emphasises the importance of making the most of this life. Within the realistic depictions of the interior of safe zones, there are visuals that resemble snippets from video tapes, symbolic images, and remnants of visual memory, or rather, recollections.

The faceless female runners serve as reminders of goals, the passage of time, and the speed at which it happens, as life quickly passes by, leaving behind an unpleasant feeling of missing out or meaninglessness. The youth, represented by a female figure in an ecstatic

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u područje nesvjesnog, autor pokušava uhvatiti bît stvarnosti izvan onoga što je neposredno vidljivo, u dodiru s mitologijom i snovima, spajajući ih zajedno u nadnaravni vizualni jezik. Lapuhova karakteristična metafizička skulpturna ostvarenja pokrenuta su u prikazima blago erotiziranih ljudskih hibrida unutar nadstvarnog okruženja koja prodiru iza pojavnog u onostrano.

Kompozicije Maše Barišić, sklopljene od ležećih ženskih i muških tijela, dinamizirana su raznolikošću pokreta i međusobnih dodira, kontakata. Sinergija golih izvijenih tijela u pokretu i nagužvane i nagomilane tkanine te odnos svjetla i sjene transformira prizor u plesnu koreografiju. Subjekti su postavljeni u nekonvencionalnu i pomalo skučenu cjelinu fokusirajući se na ljudski oblik u ranjivim i intimnim pozama, alijeniranih erotskih sublimacija. Predrag Todorović ostvaruje (neo)enformelistička opredmećenja koja zadiru duboko u nerafinirane, sirove emocije, nadahnjujući i potičući duboku introspekciju. Slobodne i slučajne mrlje ostvaruju složeni svemir u kojem autor vizualizira duboko putovanje kroz slojeve ljudskog iskustva, emocije i misli. Dinamična i energična tvarna gesta stvara široke tragove pretežno zemljanih tonova podsjećajući na stare kartografske prikaze svijeta dok tekstura uniformiranog rastera čini studen kontrast realnosti našeg vremena. Osjećamo dodirnost i fizičnost, raspukline i svojevrsnu entropiju slike.

Organičke apstrahirane forme Biserke Baretić, u rasponu od crnog, smeđeg do snažno crvenog i narančastog tona, pigmenta željeznog oksida, boje mesa i raspadanja, ostvarene su u prigušenoj i magličastoj atmosferi tjeskobne i kontinuirane agonije. Integriran crtež poput krvožilnog je sustava i teksture spaljene kože. Konačnim razdvajanjem i raskidanjem u trećoj slici triptiha elementi gube snažnu organičnost i oslobađaju određenu lakoću istovjetnu težini papira. Iluzija beskonačnog prostora i dubine otvorena interijera i eksterijera Dine Topolnjaka stvorena je refleksijama u zrcalnim i staklenim površinama koje utječu na percepciju

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movement, is a reflection on lived experiences and a past that imbues the entire race with renewed meaning. Zlatan Vrkljan, in the manner of the pure painting of a painter with an innocent eye, echoes the ancient medical theory of the four humours, an ancient medical concept according to which the human body is composed of four primary substances or “humours”, believed to influence one’s health and character traits. The abstract representations of the four characters are defined by the colour of individual fluids. Thus, red defines the colour of blood, associated with the sanguine temperament; blue signifies phlegm, linked with water and thus with the phlegmatic disposition.

The black colour symbolises black bile, which characterises the melancholic, while the brown or ochre colour represents yellow bile, personifying the choleric. According to these beliefs, an excess or deficiency of these fluids causes illnesses of the body and spirit.

Beyond all symbolism, we see absolute painting and the paining as a monochrome physical fact, substituting the physical in the painting, as well as the touch of the hand. In various concepts, a kill switch represents a protocol or safety system built into a specific mechanism, or in a biological sense, organisms, to take control, prevent unauthorised access to data, or initiate the destruction of a particular system. Novak’s representation is a sensory monitoring of human functions that can symbolically represent the inner state of a person, either emotional or spiritual. The idea of man, viewed through the reality of artificial intelligence and virtual reality, is built on a graphic symbolic system and the aesthetics of retro technology. Kill Switch represents the death of man per se, a record of the extinction of humanism and humanity in a brutal high-tech era in which man and humanity become completely irrelevant, meaningless. They evaporate or simply switch off. The figurative representations by Željko Lapuh are of simplified shapes and refined volumes, dreamy and surreal in character. The

promatrača. On biva uvučen u optičku interakciju i pritom gubi orijentaciju.

Izgubljena svijest o prostoru i vremenu stvara osjećaj napetosti ili suprotno slobode, a ponavljajući elementi uranjaju sve dublje u emocionalni kovitlac. Pretapanje unutarnjeg i vanjskog prostora postaje psihološka i perceptivna forma stvaranja vlastitog fizikalnog dojma. To emanira unutarnje refleksije potaknute asocijativnim procesom poistovjećivanja. Marina Mesar Oko detaljno slika životinje koje se često predstavljaju kao arhetipski simboli. Oni podrazumijevaju univerzalna ljudska iskustva i emocije, odnosno karakter. Ptice znakovno označavaju čežnju za drugačijim, slobodnijim životom. Također mogu biti simbol misli i ideja koje bježe iz podsvijesti. Imaju dvostruku prirodu jer pripadaju zemlji i nebu. Ova dualnost može predstavljati pokušaj ravnoteže između zemaljskih i duhovnih potraga, utemeljenja i težnji. Lisice se smatraju shape-shifterima ili magičnim bićima, predstavljaju transformaciju i sposobnost mijenjanja oblika ili identiteta dok slomljeni lanci indiciraju razbijene osobne iluzije, vjerovanja ili obrazac koji više nije upotrebljiv. Potvrđen je iznesenim stavom ispisanim u slici. Stilsko obilježje pop-arta i narativ simbola objedinjuju vizualni storytelling unutarnje ekspresije izmiješane digitalnim svijetom glitcha i selfieja. U verbo-vizualnom primjeru vidimo zapravo egzistencijalno-naturalistički pop-art.

Mimikrijski svijet crno-bijelih ploha i linija Melinde Šefčić, koji među ostalim odražavaju simulakrum zebre, kamuflirana je refleksija današnjeg vremena o vlastitom identitetu. Kako pojedinac vidi sebe i kako ga vidi društvo? Čija percepcija više vrijedi? Digitalizirani život pridonio je većoj količini mogućih uzoraka za usporedbu, ali i donio veći utjecaj okoline. Svatko je danas pozvan komentirati i iznositi svoje mišljenje, što postaje kontraproduktivno; odvlači i zasljepljuje. Zgusnuti detalji i titravost površine stvara brz i neprekidan ritam te odmor očima dolazi tek spektrom boja kojim je ujedno i dovršena temeljna misao pitanja identiteta. Vrijeme

pronounced interplay of light and shadow creates a sculptural form; despite the faces devoid of expression in the centre, there’s a vivacity woven into the liberated movement of the whole body. The energy of water equally mirrors the dynamism and vibrancy of figures, from which simplicity and an unburdened nature resonate, both physically and in their inner essence.

Venturing into the realm of the subconscious, the artist seeks to capture the essence of reality beyond the immediately visible, connecting with mythology and dreams, fusing them together into a supernatural visual language. Lapuh’s distinctive metaphysical sculptural creations are set to motion in depictions of slightly eroticised human hybrids within a surreal environment, penetrating beyond the apparent into the beyond. Maša Barišić’s compositions, composed of reclining female and male bodies, are animated by a diversity of movements and mutual touches, contacts. The synergy of naked, arched bodies in motion and the crumpled, piled fabric, together with the interplay of light and shadow, transforms the scene into a dance choreography. The subjects are placed in an unconventional and somewhat confined whole, focusing on the human form in vulnerable and intimate poses, alienated erotic sublimations.

Predrag Todorović creates (neo)enformel objects that penetrate deep into unrefined, raw emotions, inspiring and encouraging deep introspection. Free and accidental stains create a complex universe wherein the artist visualises a profound journey through layers of human experience, emotions, and thoughts. The dynamic and energetic material gesture leaves broad traces of predominantly earthy tones, reminiscent of old cartographic representations of the world, while the texture of a uniform grid forms a cold contrast to the reality of our times. We feel tangibility and physicality, cracks, and a kind of entropy of the image. Biserka Baretić’s organic abstract forms, ranging from black, brown to strong red and

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pandemije mnogima je bio težak period s obzirom na to da smo društvena bića, a nedostatak ljudskog kontakta izazvao je kolektivnu depresiju. Tehnikom akvarela i motivima proizašlima kao iz kakve slikovnice, Monika Meglić slika vizualni mogući opis tog perioda mapirajući svoj interijer, osjećaje i suživot s kućnom mačkom kao jedinim bićem s kojim je u interakciji u zatvorenom prostoru. Mačka je prisutna u svim slikama ovog ciklusa i time joj pripada simbolički značaj. Te se životinje povezuje s ponovnim rođenjem i obnovom te simboliziraju otpornost i sposobnost prevladavanja izazova.

Mačke su također poznate po svojoj sposobnosti preživljavanja u različitim okruženjima. Ambijentalna instalacija Marte Živičnjak plavičastih ovalnih i akvarelnih te raspršenih ploha poput kapi kiše ispunjava prostor šireći mir i gluhoću snijega. Iako je to prikazanje po ritmu lepršavo, titravo i dinamično, po obliku i boji je istodobno umirujuće poput zamrznutog trenutka, sjećanja

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orange hues, pigments of iron oxide, colour of the flesh, and decay, are realised in a muted and hazy atmosphere of anxious and continuous agony. The integrated drawing resembles the circulatory system and the texture of burnt skin. With the final separation and rupture in the third painting of the triptych, the elements lose their potent organicity, releasing a certain lightness analogous to the weight of paper. The illusion of infinite space and depth in the open interior and exterior by Dino Topolnjak is created by reflections in mirror and glass surfaces that affect the observer’s perception. One gets drawn into the optical interaction, subsequently losing orientation. The lost awareness of space and time creates a feeling of tension or, conversely, of freedom, with repetitive elements plunging deeper and deeper into an emotional vortex. The merging of internal and external space evolves into a psychological and perceptual form of creating one’s physical impression. This

raspršenog u sitne komade. Plavi ton ima meditativni predznak, povezan s božanskim i beskonačnim, s besmrtnošću i iscjeljenjem. Također je povezan s istokom, proljećem i elementom drveta u tradicionalnoj kineskoj filozofiji. Imaginarni svjetovi podsvijesti djeluju kao fotomontaže memorijskih fragmenata.

Ljudske figure Mije Matijević Akrap na neobičnim mjestima blijedog tona u interakciji su s okolinom i bizarnim situacijama. Djeluju kao kolaži nastali od presloženih uspomena unutar određenog realnog prostora i vremena. Likovi su bez emocije; izgubljene su savjesti, kao i odgovornosti za situaciju u kojoj se nalaze. Izgledaju prebačeni iz digitalnog svijeta u realan gdje ih se suočava s posljedicama određenog, moguće vlastitog djelovanja.

Motivi različitih kultura nalaze svoje mjesto za osobnu simboliku. Mitovi, priče i sjećanja iz djetinjstva pokretači su doživljajnih impresija na rudimentarnim prizorima Mihaele Rašice vizualno oslobođenim jednostavnim plohama, očišćenim od suvišnih detalja. Boja prinosi emocije i psihološke karakteristike, stvara težinu ili lakoću tupom gustoćom pigmenta ili transparentnom slojevitošću. Generalna tonska prigušenost generira tjeskobne ambijente s probojem izražajne svjetlosti izražavajući transcendentalnost u srži prizora.

U providnim podlogama apstraktno-figurativnih slika Natalije Borčić Peuc skriva se mnoštvo egzaktnih slojeva prepoznatljivih motiva, kao da se usporedno u isto vrijeme odvija nekoliko realnosti. Iz izmiješanih morskih tekstura, drveća i znakova izviru ljudske figure kao fragmenti sjećanja, preplavljeni morskom pjenom, plavetnilom i nostalgijom. Nakupine tekstura posjeduju karakteristiku stoljetnih zidova čija se površina ljušti nanovo otkrivajući stare slojeve.

Izrazitim gestualnim slikarstvom Viktor Daldon istražuje svoje najdublje emocije, misli i podsvijest kroz odvažne i ujedno spontane tragove na platnu. Izraz je to koji odražava složenost ljudskog iskustva u suvremenom dobu s naglaskom na individualnosti ostvarene osjetilnim

emanates inner reflections stimulated by an associative process of identification. Marina Mesar Oko meticulously paints animals that are frequently presented as archetypal symbols. They imply universal human experiences and emotions, and, indeed, character. Birds symbolize the longing for a different, freer life. They can also represent thoughts and ideas escaping from the subconscious. They have a dual nature, belonging to both earth and sky. This duality can represent an attempt to strike a balance between earthly and spiritual pursuits, groundings and aspirations. Foxes are regarded as shapeshifters or magical creatures, embodying transformation and the ability to change shape or identity, while broken chains suggest shattered personal illusions, beliefs, or a pattern that is no longer usable. This is affirmed by the articulated stance inscribed within the painting. The stylistic feature of pop art and the narrative of symbols unite the visual storytelling of inner expression intertwined with the digital world of glitches and selfies. In this verbo-visual example, what we see is, in fact, existential-naturalistic pop art. Melinda Šefčić’s mimetic world of black and white surfaces and lines, which amongst other things reflect the simulacrum of a zebra, is a camouflaged reflection of contemporary times on one’s own identity. How does an individual see themselves and how is one perceived by society? Whose perception holds more weight? Digitized life has contributed to a greater number of possible samples for comparison but has also brought a greater influence from the environment. Today, everyone is invited to comment and express their opinion, which becomes counterproductive; it distracts and dazzles. Dense details and the vibrancy of the surface create a fast and continuous rhythm, with the respite for the eyes only coming through the spectrum of colours which simultaneously concludes the fundamental notion of the issue of identity. The time of the pandemic was a challenging time for many, given that

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intenzitetom i eksperimentiranjem materijalima. Pojavljuju se apstraktni oblici i forme koje kao da lebde na platnu u raspršenosti meke geometrije i organskih tekstura. Pokretna obličja i zamrljane podloge raspoređene su na uravnotežen, ali dinamičan način. Stvaraju osjećaj životnog kretanja unutar pokretljive površine slike. Danko Friščić stvara halucinantne, koloristički intenzivne apstrahirane umrljane kompozicije ostvarene organskim strukturama nalik miješanju i prelijevanju fluidnih supstanci na makro i mikro razini svemirskog prostranstva ili biološke materije gledane pod mikroskopom. Dinamična ekspresija obličja svih veličina rasprostranjena od usitnjenih točkastih do predimenzioniranih nakupina koje prelaze postojeće granice platna sugeriraju kozmičko-biološki asocijativan niz žitkih oblika retro SF-vizije koja kao da je proizašla iz nekakvog pomaknutog slikarskog laboratorija. Gorana Težak stvara hibrid figurativno-apstrahiranih kompozicija. Konzumiranje digitalnog vizualnog sadržaja postaje preopterećenje za ljudski sustav i dolazi do zasićenja. Sav progutani sadržaj na ovim slikama izlazi u deformiranim oblicima pretvarajući se u nadrealnu nakupina prostora, vremena i drugih dimenzija kao pokušaj generiranja slike pomoću umjetne inteligencije. Braneći svoje unutarnje biće, čovjek sublimira nove svjetove, nove utopije kako bi kompenzirao nemogućnost hodanja u korak s tehnološkim razvojem. Josip Tirić stvara zasićeni ekspresivni supstrat.

To je ironični prikaz u duhu internetskih memeova. Vidimo prizor devastacije šuma koji je koloristički jak u svakom segmentu, snažnog iskaza izrazite gestualnosti. Slike su zgusnute bez praznog prostora. Osjećamo nagruvanu napetost ostvarenu dinamičnim i brzim potezom kista, bez potrebe za definiranjem detalja. To je zagušćena, totalna ekspresija autorova bića koja izvire iz svakog djela slike. Tamna i teška atmosfera provlači se kroz sve radove Juraja Johna Miličića. Ostvareni su ugašenim i tamnim tonovima. Jedva se naziru karakteristike motiva. Crni, gusti, blatnjavi

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we are social beings, and the lack of human contact caused a collective depression. Using the watercolour technique and motifs reminiscent of a picture book, Monika Meglić paints a possible visual description of that period, mapping her interior, feelings, and coexistence with a domestic cat as the only being she interacts with in closed space. The cat is present in all paintings of this cycle and thus has symbolic significance. These animals are associated with rebirth and renewal and symbolise resilience and the ability to overcome challenges. Cats are also known for their ability to survive in different environments. Marta Živičnjak’s ambient installation of bluish oval and watercolour and scattered surfaces like raindrops fills the space, exuding the peace and silence of snow. Although its rhythm seems light, quivering, and dynamic, its form and colour simultaneously evoke tranquillity reminiscent of a frozen moment, memories dispersed into fine fragments. The blue hue has a meditative connotation, associated with the divine and the infinite, with immortality and healing. It is also associated with the east, spring, and the element of wood in traditional Chinese philosophy. The imaginary worlds of the subconscious appear as photomontages of memory fragments. Mia Matijević Akrap’s human figures, placed in unusual pale-toned settings, interact with their environment and find themselves in bizarre situations.

They seem like collages created from rearranged memories within a specific real space and time. The characters are emotionless; they have lost their consciences, as well as their responsibilities for the situation in which they find themselves. They seem transferred from the digital realm into reality, where they are confronted with the consequences of a certain, possibly their own, action. Motifs from different cultures find their place for personal symbolism. Myths, stories, and childhood memories are the driving forces behind the experiential impressions of Mihael Rašica’s rudimentary scenes, vi-

i tamno plavi nanosi organskih struktura pretvaraju drveće u pluća, titrave nakupine poput mahovine. Živost dolazi iz pozadinskih slojeva. Poneki prazni prostori puštaju cijelom prizoru da diše, dok su neki toliko zatvoreni te, čini se, neprobojno i beskonačno duboki. Taktilna površina pruža još jednu osjetilnu komponentu zbog koje se sve čini puno bliže, blisko. Četiri akvarela u formi stranice stripa Mirele Blažević osvrću se na pitanje slobode. Autorica propituje slobodu u smislu partnerskog odnosa, međusobne ovisnosti jednog o drugom te ispunjavanje tuđih očekivanja. Jedan aspekt slobode je i pitanje slobode kretanja u fizičkom smislu, ali i u virtualnom. Aspekt seksualne slobode i erotike ovdje je suprotstavljen vjerskoj. Pobjedu nad fizičkom strasti mnoge vjere smatraju vrlinom dok se u drugom smislu strast traži kako bi ispunila smisao vjere. Vidimo stripovski ironični seksi pop-supstrat iz radionice takozvane niske kulture, medijske protežnosti i zatrpanosti prikaza proizašla iz nekakvoga porugljivog autoričina šarenog kaleidoskopa.

Miroslav Tadić stvara realističan prikaz usmjeren na dokumentiranje dobre zabave koja izgleda kao neopterećeno druženje u opijenom stanju i s filozofskom diskusijom o umjetnosti. S obzirom na to da se u centru prizora nalazi Duchampov pisoar, njegov genij leži u sposobnosti transformiranja običnog u nesvakidašnje. Predstavljajući pisoar u umjetničkom kontekstu, doveo je u pitanje samu bît umjetnosti – njezinu svrhu, vrijednost i značaj u našim životima. Ovaj je pisoar prestao biti samo sanitarni uređaj; postao je posuda dubokog filozofskog istraživanja.

Je li to umjetnikova namjera, zanatsko umijeće ili gledateljeva interpretacija?

Utjecaj umjetne inteligencije u vizualnoj kulturi postao je neizbježan. Generiranje ogromne količine podataka i vizualnog materijala u nekoliko sekundi postaje stvarnost. Slike prenose emociju, prenose atmosferu bogobojaznosti pred „stvoriteljem“, U ovom slučaju isti se strah obznanjuje s pojavom UI-a. Helena Schultheis Edgeler stvara

sually liberated by simple surfaces, cleansed of unnecessary details. Colour conveys emotions and psychological characteristics, creates heaviness or lightness through the dull pigment density or transparent layering. The general tonal subduedness generates anxious ambiences with breakthroughs of expressive light, conveying transcendence at the core of the scene.

In the transparent backgrounds of Natalija Borčić Peuc’s abstract-figurative paintings, a multitude of exact layers of recognizable motifs are hidden. It is as if several realities are unfolding concurrently and simultaneously. From the intermixed textures of the sea, trees, and symbols, human figures emerge as fragments of memory, overwhelmed by sea foam, blueness, and nostalgia.

Accumulations of texture possess the characteristic of centuries-old walls whose surface peels off, revealing old layers anew. Through his pronounced gestural painting, Viktor Daldon explores his deepest emotions, thoughts, and subconscious, manifested through bold yet spontaneous traces on the canvas. Such expression is a reflection of the intricate nature of human experience in the modern age, with an emphasis on individualism achieved through sensory intensity and experimentation with materials. Emerging are abstract shapes and forms that seem to float on the canvas, scattered amidst soft geometry and organic textures. Moving figures and stained backgrounds are arranged in a balanced yet dynamic manner. They create a sense of life’s motion within the moving surface of the painting. Danko Friščić creates hallucinatory, colouristically intense abstracted stained compositions realised with organic structures reminiscent of the mixing and overflowing of fluid substances on the macro and micro level of space or biological matter viewed under a microscope. The dynamic expression of shapes of all sizes, spanning from tiny pointillistic to oversized clusters that exceed the confines of the canvas, suggest a cosmic-biological associative array of living forms of

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iluzionistički sugestivna magična bića koja izgledaju kao hibridi klasičnog umjetničkog kanona, mitološkog svijeta i računalnih igara. Svijet horora koji kao da je proizašao iz Silent Hilla i Resident Evila te japanskog stila sugerira alkemijsku simboličnu transformaciju, metaforičko uskrsnuće ili duhovno prosvjetljenje. Alegorijski jezik i simbolika koja otkriva dublje duhovne istine. Metafora je za unutarnju transformaciju i postizanje duhovnog prosvjetljenja ili besmrtnosti duše gledana u kontekstu razvoja umjetne inteligencije. Ovdje je duh doista izašao iz stroja.

Anabel Zanze stvara zgusnutu kolažiranu svitu aviona ponad preslikanih tekstova, među ostalim, crnom, bijelom, sivom, crvenom i bež bojom. U rasteru gustih nakupina boja i crteži izlaze na površinu kao znakovi prekrivajući ili usmjeravajući te izgledno poništavajući tekstove i riječi. Izrezane forme aviona lebde u dvodimenzionalnom svijetu grafičkih ekspresija i crteža, emocionalnih otisaka ili proputovanih svjetova. Osjećanje straha od praznine ovdje je nemoguće izbjeći. Anita Kos Radbor stvara hiperzrcalne slike na kojima je uprizorena tjeskoba. To je prikaz stanja unutarnje borbe besmisla i snova. Ponekad u njima nada izgubi bitku, a ponekad novi dan donese nove želje. Umor i spavanje gasi požare i vraća emocije na tvorničke postavke. Sivi usnuli portret vertikalno postavljen i detaljno slikano-sjenčan poput sjenovite maske u tamnijem predjelu očiju, nosa i usta ostavlja dojam prepuštanja određenom stanju ili dualnosti sukobljenih osjećaja – svojevrsne snene nelagode.

Crteži na odjeći također izgledaju poput šifriranog pisma ili znakovlja unutarnjeg osobnog jezika, opredmećenog na površini. Plavi krajolici Arijane Herceg dišu i blago šúme tajanstvenošću i noćnim mirom. Kada priroda utone u san, ponekad iziđu strahovi, ali izađu i ideje. Transparentnost poteza daje bioluminiscentni karakter slici, a guste nakupine poteza pretvorile su pejzaž u apstrahiranu sliku. Putujuća usmjerenja proizvode emisiju svjetla i dinamiku u monokromnim prikazima. Događa

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retro sci-fi visions that seems to have emerged from some kind of deranged painting laboratory. Gorana Težak creates a hybrid of figurative-abstract compositions. The consumption of digital visual content has become an overload for the human psyche, leading to a point of saturation. All the ingested content erupts in these paintings in deformed shapes, transforming into a surreal accumulation of space, time, and other dimensions, like an attempt to generate an image using artificial intelligence. Defending one’s inner self, humans sublimate new worlds, new utopias to compensate for the inability to keep pace with technological advancements. Josip Tirić creates a saturated expressive substrate. It is an ironic representation, in the manner of internet memes. We are presented with a scene of forest devastation, vibrantly hued in every segment, with a strong and intense gestural statement. The paintings are dense, without empty space. One can palpably feel the accumulated tension, achieved through dynamic and fast brushstrokes, without the need to define details. It is a condensed, total expression of the artist’s essence, resonating from every corner of the painting. A dark and heavy atmosphere pervades every work of Juraj John Miličić. The works are created in subdued and dark tones. The defining features of the motifs are barely discernible. Black, thick, muddy, and dark blue applications of organic structures turn trees into lungs, quivering accumulations reminiscent of moss. Vibrancy emerges from the background. Certain empty spaces allow the entire scene to breathe, while others appear so closed that they seem impenetrable and infinitely deep. The tactile surface offers yet another sensory component that makes everything seem much closer, more familiar. Mirela Blažević’s four watercolours, presented in the form of a comic strip page, address the question of freedom. The artist questions the notion of freedom within the realm of romantic partnerships, the mutual dependence of individuals on

se iluzija spajanja neba i livadnog prostranstva, a u jednom primjeru i šumovitog sublimata. Zbog tonskog izjednačavanja u sugestivnom sumraku, plavi intervali jednako ispunjavaju oblake i dinamiku travnate površine koja nestaje u horizontu.

Naslikane prirodne oaze Mirne Kutleše meditativnog su karaktera. Podsjećaju na sigurna mjesta gdje unutarnje dijete ima bezvremenski prostor biti ono što jest po sebi, odražavajući se u neopterećenost vlastitog postojanja. Prisutnost vode uglavnom označava element pročišćenja duha ili novi početak, kontemplaciju i autorefleksiju. Dječji likovi unutar pejzaža posve su slobodni, kao i sâma priroda, nesvjesni su bivanja, potpuno zaokupljeni igrom. Jesu. Triptih apstrahiranog žitnog polja Andreja Tomića toplih žutih i narančastih tonova dominira slikama sa svjetlosnim akcentima i prividom sunčanog ljeskanja na obasjanim vertikalama i dijagonalama.

Pastelne boje stvaraju nježnu gustoću oblaka što na horizontu naglašava

each other, and fulfilling other people’s expectations. One aspect of freedom is the issue of freedom of movement, both physically and virtually. The aspect of sexual freedom and eroticism is juxtaposed here against the religious one. Many religions consider the triumph over physical passion as a virtue, yet in another sense, passion is sought to fulfil the very essence of faith. We see a comic book-like ironic sexy pop-substrate from the workshop of the so-called lowbrow culture, overwhelmed with media proliferation and depictions, emerging from what seems like the artist’s sarcastic vibrant kaleidoscope. Miroslav Tadić creates a realistic presentation aimed at documenting a good party that looks like an unburdened get-together in a drunken state with a philosophical discussion about art. With Duchamp’s urinal in the centre of the scene, his genius lies in his ability to transform the ordinary into the extraordinary. By presenting the urinal within an artistic context, he

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određenu promjenu vremena. Zatvorenim cjelinama nastaje plošni odnos elemenata dok linija horizonta naglašava zlatni rez u omjeru neba i zemlje.

Prisustvujemo potpunoj kolorističkoj ekspresiji. Žuti serijal krokija Leonarda Budimlića Majnarića prinosi meritumu slike potragu za idealnom linijom koja bi savršeno izrazila tek sugerirane motive. Autor koristi i niz jednostavnih, prepoznatljivih znakova karakterističnih za dječji crtež, kao i vlastiti sustav brojeva izveden na žutoj podlozi koja izvire u sumarna obličja. Linija nije kontinuirana. Često je prekinuta u slijedu; negdje je titrava, a negdje kompaktna.

Slika obitelji izražajno šarolike pozadine odražava zgusnutu mješavinu slobodno raspršenih crta, točaka i mrlja naslikanih pretežno osnovnim bojama s razvidnim zelenim i plavim podslikom. Šesteročlana obitelj pozira smještena u središtu kadra, prikazana u dobrom raspoloženju prilikom neke svečane prigode, poput one ovjekovječene u fotoalbumu. Žuto-smeđe apstrahirane površine Luke Kuševića – parafraza svojevrsne lirske apstrakcije – poput otisaka prstiju u svojim sitnim nakupinama podsjećaju na gomilu ljudi stisnutih u povorci. Selektiranjem određenih tonova u mimikriji prikaza stvaraju se obrisi koje bismo mogli prepoznati i kao fragmente imaginarnog većeg portreta.

Razigrani oblici potiču stvaranje niza mogućih asocijacija u kojima promatrač može odrediti vlastitu reakciju.

Organički spojevi manjih zgusnutih obličja-otisaka svojim umnožavanjem stvaraju svojevrsni taktilni imago profiltriran autorovom manirom i kroz purpurno-ljubičasti te zeleno-modri spektar. U stilu retro futurizma ostvarenog neonskim osvjetljenjem realizirane su simboličke slike Marija Romode. Unutarnje (auto)refleksije bave se imanentnim potrebama, analizom pogrešaka i pokušaja, kao i analizom osobnog izbora te njegovim poništavanjem.

Markiranje determiniranih odabira provučenih kroz vremenske, neonske portale održava emotivno vraćanje u prošlost ne bi li se popravio ili promijenio vlastiti odabir. Ponad simbolskih

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has called into question the very essence of art - its purpose, value, and significance in our lives. This urinal is no longer just a sanitary device; it has become a vessel for profound philosophical exploration. Is it the artist’s intent, the craftsmanship, or the viewer’s interpretation? The influence of artificial intelligence in visual culture has become inevitable. Generating huge amounts of data and visual content in mere seconds has become a reality. Images convey emotion, convey an atmosphere of godliness before the ‘creator’.

In this case, the same fear is made known with the appearance of AI. Helena Schultheis Edgeler creates illusionistically suggestive magical creatures that look like hybrids of classical art canon, mythological realms, and video games. The world of horror that seems to have emerged from Silent Hill and Resident Evil, combined with Japanese style, suggests an alchemical symbolic transformation—a metaphorical resurrection or spiritual enlightenment. Allegorical language and symbolism that unveils deeper spiritual truths. It serves as a metaphor for inner transformation and the achievement of spiritual enlightenment or the immortality of the soul seen in the context of the development of artificial intelligence. This is where the genie really came out of the machine. Anabel Zanze creates a dense collaged suite of aeroplanes over pasted texts, in, among others, black, white, grey, red and beige colours. Amid the dense clusters of colours, drawings surface like symbols, seemingly overlaying, directing, or nullifying the texts and words. The cut-out forms of aeroplanes float in a two-dimensional world of graphic expressions and drawings, emotional imprints or travelled worlds.

Here, an inescapable sense of fear of emptiness is impossible to avoid. Anita Kos Radbor creates hyper-mirror paintings capturing anxiety. It is a representation of the state of internal struggle between meaninglessness and dreams.

Sometimes hope loses the battle in them, and sometimes a new day brings new wishes. Fatigue and sleep put out

odraza i interpretacija ove slike ujedno isijavaju neonsku svjetlost i apsorbiraju promatrača u ohlađenu viziju svijeta.

Izražajno apstrahiranim ambijentima s figurativnim umetcima poput fotelje, David Mohamad Shreim postiže nabijenu iskričavu energiju kolažiranim plohama, ekspresivnim oslobađanjem unutar polja slike i kontinuiranim psihodeličnim ponavljajućim linijama.

U vibrantnom figurativnom primjeru osvijetljena djeca koja trče ili plešu oko Sunca simboliziraju motiv čiste i iskonske potreba za stvaranjem. Eksplozija apstrahirane pozadine možebitno ocrtava prostor-vrijeme ili smisao života definiran vječnim kretanjem oko žarišne točke kompozicije, žareće energije Sunca – izvora života. Glazirane glinene ploče Šimuna Tolića prikazuju dva velika trenutka katastrofe koja su uveliko promijenila život na zemlji. Vulkanske erupcije zabilježene su kao golemi geološki i povijesni događaji. Njima su izbrisana čitava naselja, ljudi zatrpani i spaljeni lavom; kontinentima je izmijenjen položaj i oblik. Crno se, pak, Sunce dočarano poput ugasle zvijezde može dvojako shvatiti; kao prirodna pojava pomrčine Sunca, njegova eksplozija ili simbolički znak nasilne ikonografije koja je prouzročila veliku tragediju čovječanstva. Apstrahirani triptih Dine Jakšić Pavasović sazdan je od amorfnih elemenata istaknutih žutom i crvenom bojom i mekano osjenčanih detalja.

Kroz cjelinu prolazi crvena opisna linija koja ujedno povezuje i zatvara tri djela na horizontalnoj osi, ali i razdvaja gornju bjelinu sa sitnim umetcima od dinamiziranog donjeg dijela.

U formi stripa narativan je prikaz Mihaela Bađuna ostvaren akromatskim verbalno-vizualnim emotivnim zapisom i sjećanjem na bakine priče iz djetinjstva mitoloških i folklornih simbola i odrednica. To je isječak osobne povijesti temeljen na usmenoj predaji i bakinom doživljaju svijeta transformiran kroz crno-bijelu fuziju u vizualno čitljivu cjelinu.

U kategoriji studentskih radova odabrani su Jiao Guo, Marta Dijak, Marta Katavić, Lana Zubović, Mia Markušić i

fires and brig back emotions to factory settings. A grey, dormant portrait, set vertically and intricately shadowed— resembling a silhouette mask, particularly pronounced in the darker regions around the eyes, nose, and mouth— conveys the impression of surrendering to a certain state or the duality of conflicting emotions, a sort of dreamy discomfort. The drawings on the clothes also look like coded letters or signs of an inner personal language, materialized on the surface. The blue landscapes of Arijana Herceg breathe and whisper softly with mystery and nocturnal tranquillity. When nature falls asleep, sometimes fears come out, but ideas as well. The transparency of the strokes gives the painting a bioluminescent character, while dense clusters of strokes transform the landscape into an abstract image. The travelling directions emit light and dynamism in monochrome representations. There is an illusion of merging the sky and meadow expanses and, in one example, of a forested sublimation as well.

Due to tonal harmonisation in the suggestive twilight, blue intervals fill both the clouds and the dynamic grassy expanse fading into the horizon. The painted natural oases of Mirna Kutleša have a meditative character. They evoke safe places where the inner child has an eternal space to simply be in its purest essence, reflecting in the unburdenedness of its own existence. The presence of water predominantly signifies an element of spiritual purification or a new beginning, contemplation and self-reflection. Child figures within these landscapes are completely free, as is nature itself, oblivious to being, completely absorbed in play. They simply are. The triptych of abstracted wheat fields by Andrej Tomić, with its warm yellow and orange tones, dominates the paintings with light accents that mimic the glistening of sunlight on the illuminated verticals and diagonals. The pastel colours create a gentle density in the clouds, which emphasizes a certain change in weather on the horizon. Closed units create a planar

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Teo Kiš koji tematski i stilski odražavaju apstraktno i ekspresivno portretiranje psiholoških stanja, mapiranje prostora, simbolizam i viđenje svijeta kroz masu raznolikog sadržaja i lažnih vijesti društvenih mreža. Provlače se i životinjski motivi simboličkog predznaka smrti i apokalipse razbijeni grafičkim znakovljem.

Kratkim orisom osvrćemo se i na pozvane autore ovogodišnjeg bijenala jer oni su već – svaki u svojoj generaciji i vlastitom slikarskom izričaju – primjerni i referentni sudionici hrvatskog modernog i suvremenog slikarstva. Zlatko Keser, mâg hrvatskog znakovnog, a istodobno nemimetičkog slikarstva i apstrahirane nadrealne kaligrafije slike u kojoj spaja kolorističko i gestualno načelo provedeno oniričkim fantazijama, ostvario je na bjelini grafičke obojene geometrijske elemente koji podsjećaju na tetris-sastavnice svojevrsne pikselizirane stvarnosti. Amorfni oblici središta slike naliče na neodređene portrete ispunjene znakovnim pismom. Zagonetna ispisivanja koja upućuju na drugo od viđenoga, ekspresija i geometrija uspostavljeni su u jedinstveni vizualni sklop koji zvuči dijalektikom svjesnog i nesvjesnog bivanja. Mirko Vuco ostvario je apstraktne ekspresivne površine koje su opredmećene gustim nanosom i lijevanjem boje te još nekih primjesa.

Gomilanjem slojeva nastaju reljefna i taktilna iscjeđivanja kolorističkih prostranstava s izraženom simbolski iscrtanom crnom strukturom koja usmjeruje vizualne postavke slike prema gore ili čine potkonstrukciju u kojoj nanos boje stvara protutežu usmjerenu prema dolje. To je gusta tvarno-koloristička, a u jednom primjeru i akromatska – prošarana modrim – ekspresija po sebi.

Robert Šimrak ostvario je distopijske vizualizacije kojima visokom izvedbenom razinom propituje futurističke vizije na razmeđima elitne i popularne kulture. Pažljivim korelacijama kritički opservira prezentski i ujedno budućnosni svijet strukturiran po mjeri dominantnog globalnog liberalnog kapitalizma. Autorove vizualizacije referiraju se na realnost, književnost, film i strip,

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relationship of elements while the horizon line accentuates the golden ratio in the balance of sky and earth. We are witnessing a complete colouristic expression. Leonardo Budimlić Majnarić’s yellow series of sketches contributes to the very essence of the painting: a pursuit of the perfect line, one that eloquently conveys merely hinted-at motifs. The artist employs a series of simple, recognisable symbols characteristic of children’s drawings, coupled with his own system of numbers created on a yellow background, which takes form in abstract shapes. The line is not continuous; it frequently breaks in sequence, sometimes it is wobbly, and sometimes it is compact. A portrayal of a family with a vividly varied background reflects a dense medley of freely scattered lines, dots, and blots painted predominantly in primary colours, with prominent undertones of green and blue. This family of six is centrally positioned, depicted in high spirits during a festive occasion like the one immortalized in the photo album.

Luka Kušević’s yellow-brown abstract surfaces – a paraphrase of a kind of lyrical abstraction – like fingerprints, in their tiny clusters remind of a crowd of people squeezed in a procession. By selecting specific tones in mimicking depictions, outlines emerge that we might recognise as fragments of an imaginary larger portrait. These playful shapes incite a range of potential associations, allowing the observer to determine their own response. Organic compounds of smaller condensed forms-imprints create a kind of tactile imago filtered in the artist’s distinctive style and a palette of purple-violet and green-blue spectrum. Mario Romoda’s symbolic paintings are created in the style of retro-futurism, illuminated by neon lighting. Inner (self-)reflections deal with immanent needs, an analysis of errors and attempts, as well as a scrutiny of personal choice and its nullification. The marking of determined choices pulled through temporal, neon portals, maintains an emotional journey into the past to amend or alter

a prikazi monumentalnih megalitskih struktura od betona i željeza, cijevi i kamena stoje u praznom prostoru kao simboli čistilišta i ironije takozvanog velikog napretka civilizacije. Autor je negativnom utopijom potire istim onim sredstvima od kojih je i sama sazdana.

Umanjeni, pažljivo detaljizirani likovi nijemo u zure u postapokaliptične gromadne konzistencije. Jadranka Fatur prvakinja je i najvažnija hrvatska predstavnica hiperrealizma. To je slikarica iznimne vještine i percepcije stvarnosti koju preobražava u hipervizualne sublimate. Na autoričino se slikarsko nasljeđe vežu i mnogo mlađe generacije slikara, a ovom prigodom aktualizirala je fotorealistično dokumentiranje satova crtanja i slikanja na kojima (auto)refleksijom prikazuje žive osobe – modele naspram kosturnih uzoraka za potrebe pojašnjenja položaja i strukture ljudske anatomije. Prisustvo kostura pridaje slikama osjetljivo nadstvarni prizvuk poput nekakve zamrznute lekcije iz anatomije. Je li to hiperslika kao zrcalni odraz nekakve duboke stvarnosti, njezino maskiranje, iskrivljenje i odsutnost, ili vidimo simulakrum – koji je bez odnosa s bilo kakvom stvarnošću i koji više ne pripada stvarnosti već simulaciji 17 – valja u procesu promatranja slike kao otvorenog djela svatko ponaosob prosuditi. Odabrane slike Jadranke Fatur svakako su prirodna čarolija. Fikcija koja je realnija od stvarnosti na koju se odnosi. Apstraktna forma, pak, Borisa Guine oštrih linija i geometrijskih oblika, crnog rastera i refleksija grafičkog monumentalnog i industrijskog sustava razbijena je žutim i crvenim transparentnim plohama. U konglomerat slike probija teksturirana sivo-bijela pozadina.

Ovi ogledi poput mita o nevinom oku, posve su subjektivni i kao takve ih treba pojmiti.

Zamišljamo, imaginacijski prodiremo i osjećanjem, opažanjem, intuicijom i umnosti obuhvaćamo stvarnost oko

17 Parafraza, Jean Baudrillard, Simulakrumi i simulacija, Biblioteka Psefizma, Zagreb, 2001., str. 14.

one’s choices. Beyond their symbolic representations and interpretations, these images simultaneously radiate neon light and absorb the viewer into a cooled vision of the world. Through expressively abstracted environments with figurative insertions, such as an armchair, David Mohamad Shreim achieves a charged, sparkling energy with collaged surfaces, an expressive liberation within the pictorial field, and continuous psychedelic, repetitive lines. In a vibrant figurative example, illuminated children running or dancing around the Sun symbolize the motif of a pure and primal need for creation.

The explosion of the abstracted background possibly outlines space-time or the meaning of life, defined by the eternal movement around the focal point of the composition, the burning energy of the Sun – the source of life.

Glazed clay plates by Šimun Tolić depict two significant moments of catastrophe that have profoundly altered life on Earth. Volcanic eruptions are recorded as colossal geological and historical events. Entire settlements have been wiped out, people were buried and burned by lava; continents have changed their position and shape. The blackened Sun conjured like an extinguished star, can be interpreted in two ways: as the natural phenomenon of a solar eclipse, its explosion, or as a symbolic sign of the violent iconography that caused the great tragedy of humanity. Dina Jakšić Pavasović’s abstract triptych is composed of amorphous elements highlighted in yellow and red, with softly shaded details. A red descriptive line runs through the whole, simultaneously connecting and enclosing the three pieces on a horizontal axis and separating the upper whiteness with small inserts from the dynamized lower part. Mihael Bađun’s narrative is presented in the form of a comic strip, with an achromatic, verbal-visual emotional record, and the memory of his grandmother’s stories from childhood filled with mythological and folkloric symbols and motifs. It is a fragment of personal history, an-

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sebe u kojoj viđenje bitno određuje naše mjesto i postojanje u umjetnosti i svijetu koje sviješću i podsviješću opsežemo.18 Likovna, optička, opažajna, mentalna i verbalno-vizualna slika daje osjećaj smislenosti, a katkad vrašku svrhovitost toj čovjekovoj vidnoj i nutarnjoj percepciji.19 Slika je oduvijek dio čovjekove egzistencije, bilo da je, ovisno o uvjetima gledanja, trajna u svojem opredmećenju ili pojavna u svojoj vizualnosti poput nečeg, posve neopipljivog i neuhvatljivog. Pokušali smo je obuhvatiti u opsegu vremena i prostora.

„Riječ ‘ideja’ uistinu je izvedenica grčkoga glagola koji znači ‘vidjeti’ i ta nas leksička etimologija podsjeća na činjenicu da je način na koji razmišljamo o svojem načinu razmišljanja u zapadnoj civilizaciji određen vizualnom paradigmom. Gledanje, viđenje i znanje postali su opasno isprepleteni. Zbog toga je način na koji shvaćamo pojam ‘ideje’ duboko povezan s problemima ‘pojavnosti’ slike i prizora.“ Chris Jencks, Središnja uloga oka u zapadnoj kulturi, u: Vizualna kultura, Chris Jencks (ur.), Naklada Jesenski i Turk / Hrvatsko sociološko društvo, 2002., str. 11-12.

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„Ono što percipiramo nije idealno jedinstvo u vlasništvu intelekta (…) već ukupnost otvorena prema horizontu neograničenog broja perspektiva različitih pogleda koji se jedni s drugim stapaju prema određenom stilu, a koji određuje percipirani objekt. Percepcija je prema tome paradoksalna.

Percipirani je objekt sam po sebi paradoksalan; postoji samo utoliko koliko ga je netko u stanju percipirati.“ Maurice Merleau-Ponty, The Primacy of Perception, Northwestern University Press, Evanston, 1964., str. 12.

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chored in oral tradition and grandmother’s perception of the world, transformed into a visually coherent whole through a black-and-white fusion.

In the category of student works, selections include Jiao Guo, Marta Dijak, Marta Katavić, Lana Zubović, Mia Markušić, and Teo Kiš, whose themes and styles reflect the abstract and expressive portrayal of psychological states, the mapping of space, symbolism, and the perception of the world through a mass of diverse content and fake news from social media. Animal motifs are also present, carrying symbolic omen of death and the apocalypse, broken up by graphic symbols.

We briefly turn our attention to the invited artists of this year’s Biennale, for they are already - each within their own generation and personal artistic expression - exemplary and referential participants in Croatian modern and contemporary painting. Zlatko Keser, the master of Croatian symbolic, yet non-mimetic painting and of abstracted surreal calligraphy of the painting in which he combines colouristic and gestural principles executed through oneiric fantasies, has created, on the canvas’s whiteness, graphic coloured geometric elements that resemble tetris-like components of a kind of pixelated reality. The amorphous forms in the centre of the painting resemble vague portraits filled with sign script.

Enigmatic inscriptions that point to something else than what is seen, expression and geometry are forged into a unique visual assemblage that resonates with the dialectic of conscious and unconscious state of being. Mirko Vuco has created abstract, expressive surfaces materialized by a dense application and pouring of paint, along with other admixtures. The accumulation of layers results in relief and tactile extrusions of colouristic expanses with a pronounced symbolically drawn black structure that directs the visual arrangements of the painting upwards or forms a substructure where the application of paint creates a counter-

balance directed downwards. This is a dense, material-colouristic, and in one example achromatic – interspersed with blue – expression in itself.

Robert Šimrak has created dystopian visualisations that, with a high level of execution, question futuristic visions at the intersection of elite and popular culture. Through careful correlations, he critically observes the present and at the same time future world, structured to the measure of dominant global liberal capitalism. The artist’s visualisations refer to reality, literature, film, and comics, and his depictions of monumental megalithic structures made of concrete and iron, pipes, and stone stand in empty space as symbols of purgatory and irony of the socalled great progress of civilization. The author nullifies the negative utopia with the very means by which it is constructed. Diminished, carefully detailed figures silently gaze into post-apocalyptic massive consistencies. The artist nullifies the negative utopia with the

very means by which it is constructed. Diminished, carefully detailed figures silently gaze into post-apocalyptic massive consistencies. Jadranka Fatur is the champion and the most prominent Croatian representative of hyperrealism. She is a painter of exceptional skill and perception of reality, which she transforms into hyper-visual sublimates. The painting legacy of Jadranka Fatur resonates with much younger generations of artists, and on this occasion, she has revisited photorealistic documentation of drawing and painting sessions wherein she employs (self) reflection to depict living persons – models versus skeletal samples for the purpose of clarifying the position and structure of the human anatomy. The presence of skeletons lends the paintings a delicately surreal undertone, like some sort of frozen anatomy lesson. Is this a hyper-image as a mirror reflection of some profound reality, its masking, distortion, and absence, or do we see a simulacrum – which has no rela-

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tion to any reality and which no longer belongs to reality but to a simulation17 – this judgment must be discerned by each observer individually in the process of engaging with the painting as an open work. The selected works of Jadranka Fatur are certainly natural magic. A fiction that is more realistic than the reality it references. On the other hand, the abstract form of Boris Guina, characterized by sharp lines and geometric shapes, a black raster, and reflections of a graphic, monumental, and industrial system, is disrupted by yellow and red transparent surfaces. A textured grey-white background breaks through the conglomerate of the painting. These contemplations, like the myth of the innocent eye, are entirely subjective and should be understood as such.

age has always been a part of human existence, whether, depending on the viewing conditions, it is permanent in its objectification or emergent in its visuality like something completely intangible and elusive. We have tried to encompass it in the scope of time and space.

We imagine, penetrate imaginatively and, with feeling, perception, intuition and intelligence, grasp the reality around us, in which seeing essentially determines our place and existence in art and the world that we encompass with consciousness and subconsciousness.18 The visual, optical, perceptual, mental, and verbal-visual image gives a sense of meaning, and at times, a hellish purposefulness to that human’s visual and inner perception.19 The im-

17 Paraphrase, Jean Baudrillard, Simulacrums and Simulation, Biblioteka Psefizma, Zagreb, 2001, p.

14.

“The word ‘idea’ is truly derived from a Greek verb ‘to see’, and this lexical etymology reminds us of the fact that the way we think about our way of thinking in Western civilization is determined by a visual paradigm. Looking, seeing and knowing have become dangerously intertwined. Because of this, the way we understand the concept of ‘idea’ is deeply connected with the problems of the ‘appearance’ of images and scenes.” Jencks, C. (2002).

The Central Role of the eye in Western Culture. In C. Jencks (Ed.), Visual Culture (pp. 11-12). Naklada Jesenski i Turk / Croatian Sociological Association.

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“The perceived thing is not an ideal unity in the possession of the intellect (...) it is rather a totality open to a horizon of an indefinite number of perspectival views which blend with one another according to a given style, which defines the object in question. Perception is thus paradoxical. The perceived thing itself is paradoxical; it exists only in so far as someone can perceive it.” Merleau-Ponty,

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M. (1964). The Primacy of Perception (p. 16). Northwestern University Press.

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UMJETNICI / ARTISTS

GRGUR AKRAP Pušač na konju / Smoker on a Horse, 2023. ulje i vosak na platnu / oil and wax on canvas 210 x 120 cm

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Brod koji gori / Boat on Fire, 2023. ulje i vosak na platnu / oil and wax on canvas 210 x 120 cm

Vrtlar / Gardener, 2023. ulje i vosak na platnu / oil and wax on canvas 210 x 120 cm

Crni Lav / Black Lion, 2023. ulje i vosak na platnu / oil and wax on canvas 210 x 120 cm

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MIHAEL BAĐUN Bakina priča / Grandma’s Tale, 2023. akrilne boje, akrilni sprej i uljane boje na MDF-u / acrylic paint, acrylic spray and oil on MDF 60.5 x 250 x 0.6 cm

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BISERKA BARETIĆ Triptih Olujna truba 1 - Olujna truba / Storm Trumpet Triptych 1 - Storm Trumpet, 2021. ulje na platnu / oil on canvas 200 x 150 x 3 cm

Triptih Olujna truba 2 - Uzaludni sijač / Storm Trumpet Triptych 2 - Futile Sower, 2021. ulje na platnu / oil on canvas 200 x 150 x 3 cm Triptih Olujna truba 3 - Armageddon / Storm Trumpet Triptych 3 - Armageddon, 2021. ulje na platnu / oil on canvas 200 x 150 x 3 cm

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MAŠA BARIŠIĆ Izvedba / Performing, 2023. ulje na platnu / oil on canvas 220 x 200 x 4 cm

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MIRELA BLAŽEVIĆ Better Together, 2023. akvarel na papiru / watercolor on paper 48 x 36 x 0.1 cm The World Is Yours, 2023. akvarel na papiru / watercolor on paper 48 x 36 x 0.1 cm Burning Desire, 2023. akvarel na papiru / watercolor on paper 48 x 36 x 0.1 cm Passion Led Us Here, 2023. akvarel na papiru / watercolor on paper 48 x 36 x 0.1 cm

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NATALIA BORČIĆ PEUC Pritiščina, 2023. ulje i akril na aplatnu / oil and acrylic on canvas 140 x 180 cm

Nagrada za mladu umjetnicu 7. bijenala slikarstva / The 7th Biennial of Painting young artist award

Grandovac, 2023. ulje i akril na aplatnu / oil and acrylic on canvas 140 x 180 cm Srebrna, 2023. ulje i akril na aplatnu / oil and acrylic on canvas 140 x 180 cm

Kontrapunkt nagrada Vladimir Dodig Trokut, Iva Vraneković umjetnici umjetniku / Kontrapunkt Award Vladimir Dodig Trokut, Iva Vraneković artists to artist

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LEONARDO BUDIMLIĆ MAJNARIĆ Obitelj / Family, 2022. akril na platnu / acrylic on canvas 80 x 120 cm

Kontrapunkt nagrada Vladimir Dodig Trokut, Iva Vraneković umjetnici umjetniku / Kontrapunkt Award Vladimir Dodig Trokut, Iva Vraneković Artists to Artist

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VIKTOR DALDON Korekcije / Corrections, 2022. akril i ulje na platnu / acrylic and oil on canvas 140 x 122 x 5 cm

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Korekcije / Corrections, 2022. industrijska boja na platnu / industrial paint on canvas 140 x 122 x 5 cm

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JADRANKA FATUR Mladić / Young Man, 2020. /2021. ulje na platnu / oil on canvas 130 x 100 cm

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Sat crtanja / Drawing Class, 2021. /2022. ulje na platnu / oil on canvas 130 x 100 cm

Portret Milana Galovića / Milan Galović Portrait, 2022. ulje na platnu / oil on canvas 90 x 75 cm zahvalnošću / courtesy of: Mirjana Galović

Drugi sat crtanja / Second Drawing Class, 2022. ulje na platnu / oil on canvas 130 x 97,5 cm

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DANKO FRIŠČIĆ Inflatable Haluciones de un Ab-Normal, 2022. /2023. ulje na platnu / oil on canvas 200 x 600 cm

Nagrada 7. bijenala slikarstva / 7th Biennial of Painting Award

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BORIS GUINA Bez naziva / Untitled, 2023. emajl na keramici / ceramic enamel 300 x 300 cm

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ARIANA HERCEG Plavi beskraj / Endless Blue, 2021. ulje na platnu / oil on canvas 150 x 140 x 7 cm

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San / Dream, 2021. ulje na platnu / oil on canvas 150 x 140 x 7 cm

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DINA JAKŠIĆ PAVASOVIĆ Crvenom linijom / triptih // Along the Red Line / Triptych, 2023. ulje na platnu / oil on canvas 136 x 350 x 5 cm

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ZLATKO KESER Arijadnina nit (simultani kontrast) / Ariadne’s Thread (Simultaneous Contrast), 2023. akril, grafit, pastel, olovka, tuš / acrylic, graphite, pastel, pencil, ink 202 x 150 cm Glazbenici fuge / Musicians Fugue, 2023. akril, grafit, pastel, olovka, tuš / acrylic, graphite, pastel, pencil, ink 200 x 150 cm

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ANITA KOS Kamen na cesti / Fell Asleep, 2022. ulje na platnu / oil on canvas 90 x 90 x 2.5 cm

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31. ožiljak / 31. Scar, 2023. ulje na platnu / oil on canvas 90 x 90 x 2.5 cm

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MIRNA KUTLEŠA Samo igra / Just a Game, 2022. ulje na platnu / oil on canvas 120 x 180 x 3 cm

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Kroz šumu / Trough the Forest, 2022. ulje na platnu / oil on canvas 130 x 150 x 3 cm

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LUKA KUŠEVIĆ Ovremenjeni prostor / Temporalised Space, 2023. ulje na platnu / oil on canvas 200 x 300 cm

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ŽELJKO LAPUH Obala ludosti / Coast of Madness, 2021. /2022. akril i ulje na platnu / acrylic and oil on canvas 195 x 145 cm

Morska pjena / Sea Foam, 2022. /2023. akril i ulje na platnu / acrylic and oil on canvas 195 x 145 cm Zvijezda ljeta / Summer Star, 2021. akril i ulje na platnu / acrylic and oil on canvas 195 x 145 cm

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MIA MATIJEVIĆ AKRAP On the Way Back Home, 2023. akril na platnu / acrylic on canvas 80 x 64 x 4 cm

The Role You Play, 2023. akril na platnu / acrylic on canvas 150 x 200 x 3 cm

Iz ciklusa Studije sjećanja / From the cycle Memory Studies, 2022. /2023. keramika / ceramics promjenjivih dimenzija / variable dimensions

Nagrada galerije Canvas / Canvas Gallery Award

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MONIKA MEGLIĆ Dubrava Blues, 2022. /2023. akvarel na papiru / watercolor on paper 9 x (70 x 50 cm)

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MARINA MESAR (OKO) Intuitivno znanje - mudrost i strategija, dva najbolja prijatelja. / Intuitive Knowledge - Wisdom and Strategy, Two Best Friends., 2019. akril na platnu / acrylic on canvas 2 x (120 x 100 x 2 cm)

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Selfie bez filtera - koliko je tvojih pravila zastarjelo? / Selfie With No Filter - How Many of Your Rules are Outdated?, 2022. akril na platnu, srebrni listići / acrylic on canvas, silver leaves 200 x 150 x 5 cm

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JOHN MILIČIĆ Šuma / Forest, 2023. ulje na platnu / oil on canvas 150 x 150 x 5 cm

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Požar na otoku / Island on Fire, 2023. ulje na platnu / oil on canvas 150 x 150 x 5 cm

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ZOLTAN NOVAK Kill Switch, 2023. akril na platnu / acrylic on canvas 220 x 318 cm

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PAVLE PAVLOVIĆ Neobičan slučaj / Curious Case, 2022. ulje na platnu / oil on canvas 210 x 160 x 3.5 cm

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Good lookin’ Brenda and Sweet Sin, 2023. ulje na platnu / oil on canvas 210 x 160 x 5 cm

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MIHAELA RAŠICA Gozba! / Feast!, 2023. ulje na platnu / oil on canvas 150 x 200 x 5 cm

Kineska vaza / Chinese Vase, 2023. ulje na platnu / oil on canvas 110 x 90 x 5 cm

Kontrapunkt nagrada Vladimir Dodig Trokut, Iva Vraneković umjetnici umjetniku / Kontrapunkt Award Vladimir Dodig Trokut, Iva Vraneković Artists to Artist

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DOMAGOJ ROGINA Velika crna planina / Great Black Mountain, 2023. ulje na platnu / oil on canvas 170 x 230 x 5 cm

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Crna planina / Black Mountain, 2023. ulje na platnu / oil on canvas 90 x 80 x 3 cm

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MARIO ROMODA Neon Portal 1, 2023. akril na platnu / acrylic on canvas 80 x 60 cm

Neon Portal 2, 2023. akril na platnu / acrylic on canvas 160 x 100 cm

Neon Portal 3, 2023. akril na platnu / acrylic on canvas 90 x 70 cm

Neon Portal 5, 2023. akril na platnu / acrylic on canvas 70 x 56 cm

Neon Portal 4, 2023. akril na platnu / acrylic on canvas 120 x 80 cm

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HELENA SCHULTHEIS EDGELER DEUS MACHINA / 4.6692, 2022. ulje na platnu / oil on canvas 120 x 96 x 5 cm

DEUS MACHINA / 1.6180, 2023. ulje na platnu / oil on canvas 120 x 96 x 5 cm

DEUS MACHINA / 0.001400, 2023. ulje na platnu / oil on canvas 120 x 96 x 5 cm

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MOHAMAD DAVID SHREIM Izvor / Source, 2022. akril i ulje na platnu / acrylic and oil on canvas 115 x 185 x 4 cm

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Soba / Room, 2023. akril na platnu / acrylic on canvas 161 x 137 x 4 cm

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VALENTINA SUPANZ MARINIĆ Život koji prolazi / Life Passing By, 2023. akril na platnu / acrylic on canvas 100 x 80 x 2 cm

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Mladost i sloboda / Youth and Freedom, 2023. akril na platnu / acrylic on canvas 100 x 80 x 2 cm

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STJEPAN ŠANDRK Memovi / Memes, 2023. ulje na platnu / oil on canvas 5 x (70 x 70 x 3 cm)

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MELINDA ŠEFČIĆ Svi smo mi posebni / We Are All Special, 2023. akril na zidu / acrylic on wall 360 x 330 cm

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ROBERT ŠIMRAK Iz ciklusa Purgatorij / From the cycle Purgatory, 2023. ulje na platnu / oil on canvas 3 x (200 x 140 cm)

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BOJAN ŠUMONJA Čudna ekipa iz Loborike / A Strange Loborika’s Gang, 2023. ulje na lanu / oil on linen 210 x 260 x 3 cm

Čudna ekipa iz Loborike II / A Strange Loborika’s Gang II, 2023. ulje na lanu / oil on linen 205 x 260 x 3 cm

Grand Prix nagrada 7. bijenala slikarstva / Grand Prix Award of the 7th Biennial of Painting

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MISLAV TADIĆ Dernek / Party, 2023. ulje na platnu / oil on canvas 200 x 300 x 4 cm

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PREDRAG TODOROVIĆ ZID 01 / The Wall 01, 2021. kombinirana tehnika na platnu, na blind-rami / mixed media on canvas, on frame 160 x 300 x 3 cm

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ZID 02 / The Wall 02, 2023. kombinirana tehnika na platnu, na blind-rami / mixed media on canvas, on frame 160 x 300 x 3 cm

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ŠIMUN TOLIĆ Vulkan / Vulcan, 2023. keramika, glazura na glinenim pločama / ceramics, glaze on clay tiles 80 x 120 x 0.5 cm

Crno sunce / Black sun, 2023. keramika, glazura na glinenim pločama / ceramics, glaze on clay tiles 80 x 120 x 0.5 cm

Nagrada galerije Canvas / Canvas Gallery Award

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JOSIP TIRIĆ Hrvatska gospodarska komora vama na usluzi / The Croatian Chamber of Economy at Your Service, 2023. akril, akrilni sprej na platnu / acrylic, acrylic spray on canvas 150 x 170 x 3 cm

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Strategija razvoja prerade drva i proizvodnje namještaja / Strategy for the Development of Wood Processing and Furniture Production, 2023. akril, akrilni sprej na platnu / acrylic, acrylic spray on canvas 150 x 170 x 3 cm

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ANDREJ TOMIĆ Užareni horizont / Fiery Horizon, 2023. ulje na platnu / oil on canvas 130 x 180 x 3 cm

Oblaci / Clouds, 2023. ulje na platnu / oil on canvas 130 x 126 x 3 cm Uoči oluje / Before the Storm, 2023. ulje na platnu / oil on canvas 130 x 130 x 3 cm

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DINO TOPOLNJAK Točke gledišta / Viewpoints, 2023. ulje na platnu / oil on canvas 100 x 100 x 2 cm

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Žarišne točke / Focal Points, 2023. ulje na platnu / oil on canvas 100 x 100 x 2 cm

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GORANA TEŽAK LOADING... smisao života / LOADING... the Meaning of Life, 2023. ulje na platnu / oil on canvas 145 x 330 x 4 cm

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ZLATAN VRKLJAN Humori / Humors, 2023. enkaustika na platnu / encaustic on canvas 4 x (190 x 150 x 5 cm)

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MIRO VUCO G6, 2021. ulje na platnu / oil on canvas 194 x 132 cm

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M11, 2022. ulje na platnu / oil on canvas 200 x 135 cm

E1, 2021. ulje na platnu / oil on canvas 200 x 131 cm

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IVA ZAGODA GS_22, 2022. kombinirana tehnika / mixed media 180 x 140 cm

GS_23, 2023. kombinirana tehnika / mixed media 180 x 130 cm

K_23, 2023. kombinirana tehnika / mixed media 170 x 120 cm

HK_23, 2023. kombinirana tehnika / mixed media 180 x 130 cm

NMMU nagrada / The National Museum of Modern Art Award Nagrada 7. bijenala slikarstva / The 7th Biennial of Painting Award

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ANABEL ZANZE Letjeti nad Panonijom / To Fly the Panonia, 2023. kolaž, kombinirana tehnika na muzejskom kartonu / collage, mixed media on museum cardboard 140 x 140 x 1.3 cm

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MARKO ZEMAN Portret 1 / Portrait 1, 2023. kombinirana tehnika na platnu / mixed media on canvas 234 x 191 x 5 cm

Nagrada 7. bijenala slikarstva / The 7th Biennial of Painting Award

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Portret 2 / Portrait 2, 2023. kombinirana tehnika na platnu / mixed media on canvas 234 x 175 x 5 cm Portret 4 / Portrait 4, 2023. kombinirana tehnika na platnu / mixed media on canvas 234 x 168 x 5 cm

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MARTA ŽIVIČNJAK Unutarnje refleksije / Inner Reflections, 2023. akvarel na papiru i koncu / watercolor on paper and thread promijenjive dimenzije / variable dimensions

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IZLOŽBA LITVANSKIH UMJETNIKA / EXHIBITION OF LITHUANIAN ARTISTS FLOATING IDENTITY: BETWEEN A RECOGNISABLE IMAGE AND ABSTRACTION

Plutajući identitet: Između prepoznatljive slike i apstrakcije / Floating Identity: Between A Recognisable Image and an Abstraction prof. dr. Remigijus Venckus

Heterogena i stalno promjenjiva stvarnost često nas potiče na preispitivanje ne samo te iste stvarnosti, već i nas samih. Međutim, nije moguće doći do jednog jedinstvenog odgovora jer svakodnevni jezik ne može u potpunosti razotkriti stvarnost i ljudski identitet.

Stoga umjetnici pokušavaju popuniti praznine značenja koje nastaju u komunikaciji. Razvijajući svoj individualni program, istovremeno oblikuju i razvijaju svoj individualni umjetnički jezik.

Individualni umjetnički program stvarnosti i samospoznaje ostvaruje se promatranjem vidljivih i imaginarnih oblika, fragmentacijom oblika ili oslobađanjem mašte u apstrakciji. Bez obzira koliko umjetnički jezik bio profinjen i koliko je majstorski dekonstruiran u umjetničkom djelu, otkrivanje istine o identitetu ostaje daleko u budućnosti.

Dakle, umjetnik je prepušten zadatku uspostavljanja privremene pozicije u odnosu na impersonalni i odgođeni, uvijek promjenjivi identitet.

Kreativnoj osobi često je teško percipirati sebe kao cjelovitu jedinku povezanu s određenim okruženjem.

On ili ona stalno su na udaru prirodnog okruženja, tehnološke raznolikosti, komunikacijske buke i procesa virtualne komunikacije koji su stekli globalni zamah. Čini se kao da se stvarnost umjetnicima neprestano smije i vodi ih u zablude u njihovom vlastitom labirintu percepcije i samoanalize.

The reality that is heterogeneous and constantly changing often prompts us to question not only itself but also ourselves. Yet a single answer is not possible, because everyday language cannot fully unmask reality and human identity. Therefore, artists try to fill in the gaps of meaning that arise during communication. By developing their individual programme, they are at the same time forming and developing their individual artistic language.

The individual artistic programme of reality and self-knowledge is realised through the observation of visible and imaginary forms, the fragmentation of shapes or the release of imagination in abstraction. No matter how much refined the artistic language may be and how masterfully the world is deconstructed in the work of art, the discovery of the truth about identity remains well into the future. Thus, the artist is left with the task of establishing a provisional position for himself in relation to an impersonal and postponed, ever-changing identity.

It is often difficult for a creative person to perceive themselves as a whole individual connected to a specific environment. He or she is constantly under attack from the natural environment, technological diversity, communication noise, and the processes of virtual communication that have gained global momentum. Reality seems to be

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Litvanski umjetnici predstavljeni na izložbi različito reagiraju na promjene stvarnosti. Oni sebe ili jedni druge u ovoj promjeni ne vide na isti način. Razlog tome leži u povijesti Litve, njezinim promjenjivim i stalno rekonstruirajućim odnosima sa zapadnom i istočnom kulturom. Umjetnost postaje osebujna, ponekad čak i vrlo osobna arena za drame sa samim sobom.

Zato je izložba heterogena. Iako se slike mogu definirati kao figurativne ili potpuno apstraktne, umjetnici uvijek predstavljaju sebe i svoj odnos prema svojoj okolini (povijesnoj, stvarnoj, imaginarnoj ili čak ne potpuno definiranoj).

Sljedeća se tvrdnja može činiti pomalo odvažnom, ali tradiciju litvanske škole slikarstva obilježava rad Eglė Velaniškytė. Ona predstavlja most između klasične tradicije litvanskog slikarstva i suvremene umjetnosti. Otvoreni, tamni i kontrastni potezi kista naglašavaju emocije koje potresaju samo postojanje subjekta (na primjer, bol i tugu). Simboli i paleta boja koju koristi, kao i teme koje obrađuje često njezina djela čine relevantnima za današnju publiku. Radnja naglašava duboki smisao i povezanost likova s prošlošću.

Otvoreni potezi kista koji stvaraju oblike također dominiraju slikama Virgisa Ruseckasa. Ovakvo rješenje pomaže stvaranju dramatičnog zapleta i isticanju napetosti u događaju. Potezi kista usmjeravaju pažnju gledatelja, čime ih sprječavaju da se udalje od slike kao da je ona ogledalo stvarnosti. Kako se oblik i boja isprepliću i tvore besprijekoran, organski sustav, rad je istovremeno i prikaz ljudi i njihovih predmeta u njihovom životnom okruženju, što sve oblike čini taocima rastapajuće apstrakcije.

Napetost stvorena potezima kista može se primijetiti u radu Mede Norbutaitė. Umjetnica dekonstruira litvansku mitološku priču, posebno ističući najtragičniji trenutak smrti. Stoga nam vidljiva fragmentacija lica i tijela ne govori o izgledu prikazanog, već o anatomiji užasa.

Kao i u Norbutaitėinom radu,

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constantly laughing at the artist and leading them astray in their own labyrinth of perception and self-analysis.

The Lithuanian artists featured in the exhibition have different reactions to the changes of reality. They do not see themselves or each other in this change in the same way. The reason for it is the history of Lithuania, its changing and constantly reconstructed relations with Western and Eastern cultures. Art becomes a distinctive, sometimes even very personal arena for dramas with one’s own self. That is why the exhibition is heterogeneous.

Although paintings may be identified as figurative or completely abstract, the artists always represent themselves and their relationship to their environment (historical, real, imaginary or even not fully identified).

Perhaps the following claim is a little to bold, but the tradition of the Lithuanian school of painting is marked by the work of Eglė Velaniškytė. It is like a bridge between the classical tradition of Lithuanian painting and contemporary art. Open, dark and contrasting brushstrokes emphasise the emotions that shatter the subject’s existence (for example, pain and sadness). The symbols used, the colour palette and the themes developed often make the artist’s works relevant for today’s audience. The plot emphasises deep meaning and the connection of the characters to the past.

The open colour brushstrokes constructing the form also dominate Virgis Ruseckas’s paintings. This solution helps to create a dramatic plot and to highlight the tension in the event.

The brushstrokes direct the viewer’s attention preventing him/ her to walk away from the painting as if it were a mirror of reality. As form and colour intertwine to form a seamless, organic system, the work simultaneously reflects people and their objects in their living environment, making all forms hostage to the dissolving abstraction.

Tension created by brushstrokes can be observed in the work of Meda Norbutaitė. The author decon-

slike Aušre Kleizaitė sugeriraju da se mitovi isprepliću s promišljanjem modernog i individualnog pristupa životu.

Na taj način rad može postaviti temeljno pitanje o ljudskoj prirodi, identitetu i kulturnom pamćenju. Ovo se u Kleizaitėinom slikarstvu otkriva kroz prikaz figura koje nisu sasvim ljudske. Možemo jedino zamišljati napetost među likovima, dijalog koji se razvija ili raspada.

Slike Adelė Liepe Kaunaitė bave se idejom da mitovi nisu statični i homogeni. Oni su živi, mijenjaju se i prilagođavaju, nadopunjujući i rekonstruirajući naš identitet. Njezine su slike izražajne, turbulentne i istovremeno vrlo osobne. Vrlo vjerojatno slike predstavljaju osobnu mitologiju, unutarnju propitivanje i otkrivanje.

Slike Arvydasa Kašauskasa dekonstrukcija su krajolika. Fokusirajući se na oblik kao trag, umjetnik opisuje varijabilnost i nepotpunost prostora i objekata u njemu. Kroz dekonstruirani krajolik možemo percipirati vlastito individualno mjesto u svijetu. Jedno je jasno: živimo u okruženju koje se mijenja, gdje promjene i nedosljednost postaju norma.

Vjerojatno zbog prolaznosti, Rimantas Plungė također se bavi promjenom prostora i vremena. Umjetnik samo nagovještava geometrijske oblike stvari koje sačinjavaju svijet, ali oni ne predstavljaju ništa stabilno ili jasno.

To je dijalog sa stvarnošću koja se mijenja i ne sluša nas. Geometrija je simbol koji sugerira stalnu evoluciju svijeta, raznolikost, kretanje prema naprijed i nesklonost vraćanju unatrag.

Naša percepcija svijeta uvijek se čini nepotpunom i neodrživom. Vijugave linije koje dominiraju radovima Rūte Eidukaitytė postaju znak prolaznosti i nesigurnosti postojanja. Na slikama Sauliusa Dastikasa ekspresivni, široki potezi kistom predstavljaju okolinu viđenu u trenutku, ali istovremeno i postojanu nostalgiju za prošlošću.

Nešto drugačije konture bića i stvarnosti vide se na slikama Alonasa Štelmanasa. Izražajna paleta boja dočarava umjetnikovo putovanje u njegov unutarnji svijet. Često nastoji vidjeti

structs a Lithuanian mythological plot, highlighting the most tragic moment of death. Therefore, the visible fragmentation of the face and body tells us not of the appearance of the depicted, but about the anatomy of horror.

As well as Norbutaitė’s work, Aušra Kleizaitė’s paintings suggest that myths are intertwined with reflection of the present-day and an individual approach to life. In this way, the work can raise a fundamental question about the human nature, identity and cultural memory. This is revealed by Kleizaitė’s painting that depicts not quite human figures. We are only allowed to imagine the tension among the characters, the dialogue that is being developed or breaking down.

Adelė Liepa Kaunaitė’s paintings mark the idea that myths are not static and homogenous. They are alive, changing and adapting, complementing and recreating our identity. The artist’s paintings are at once expressive, turbulent and at the same time very personal. It is very likely that the painting represents a personal mythology, an inner search and discovery.

Arvydas Kašauskas’s painting is a deconstruction of landscape.

By focusing on the form as a cue, the author describes the variability and incompleteness of space and its objects.

Through the deconstructed landscape, one can perceive one’s own individual place in the world. One thing is clear: we live in an environment that is changing, where change and inconsistency are becoming the norm.

Probably for the reason of impermanence, Rimantas Plungė is also concerned with the change of space and time. The author only hints of the geometric shapes of things that make up the world, but they do not represent anything stable or clear. It is a dialogue with reality which is changing and does not listen to us. Geometry is a symbol that suggests the constant evolution of the world, diversity, movement forward and reluctance to go back.

Our perception of the world always seems incomplete and unsus-

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stvarnost na način koji nas iznenađuje.

Umjetnik namjerno ignorira granice prostora, vremena, subjekata i objekata. Zanemaruje norme reprezentacije i koordinate objekata.

Fokus Agnė Jonkutė nije na objektima ili njihovim odnosima, već na promjeni prostora. Slika izgleda kao magla koja guta stabilnu stvarnost. Nema znakova koji bi predstavljali identitet subjekta ili njegovo okruženje.

Budući da rad izgleda kao meditativni prostor za samospoznaju, zadatak povezivanja s njegovim identitetom trenutno se preusmjerava na promatrača.

Mindaugas Juodis također koristi metodu magle koja se topi. Njegove slike uglavnom analiziraju ljudsko tijelo.

Pozadina njegovih slika na ovoj izložbi je minimalistička, bez detalja. Izgleda kao homogena masa koja u sebe upija sve oblike iz okoline. Ova masa ostavlja nam samo mogućnost upoznavanja s tragovima onih koji su postojali.

Vladas Mackevičius potiče nas na razmišljanje o osjećajima koji se javljaju i nestaju kao posljedica taktilnih senzacija. Njegov rad djelo je ranjivog ljudskog bića; to je vječna dilema nastojanja da se trenuci sačuvaju čak i u akutnoj svijesti o njihovoj prolaznosti.

Način rada Felicie Dudoit može se nazvati objektnim prealizmom. Ona promatra rituale i objekte ljudi u njihovom okruženju, na prvi pogled sasvim obične. Njezin rad karakterizira fotografska strategija objektivnosti, odnosno prikazivanje onoga što se vidi bez pretjeranog razotkrivanja.

Slična, ali ponešto drugačija fotografska strategija može se vidjeti u radu Viktorasa Paukštelisa. Ovdje je ljudska figura prikazana zajedno s destruktivnim radnjama povezanima s njom. Fotografska strategija može se promatrati kao mehanizam koji upisuje događaje u ljudsku svijest. U slučaju Paukštelisova rada, ono što je upisano je urođeni nagon za pobunom i razaranjem. Ovdje se fotografska snimka otvara poput nasilnog, hladnog dokumentarnog videa koji demonstrira svoju moć.

Slike Julije Skudutytė i Evalda-

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tainable. The meandering lines that dominate Rūta Eidukaitytė’s work become a sign of the transience and uncertainty of existence. In Saulius Dastikas’s paintings expressive, broad brushstrokes represent the environment seen in an instant and at the same time a lingering nostalgia for the past.

Slightly different contours of being and reality can be observed in the paintings of Alonas Štelmanas. The expressive colour palette realises the artist’s journey into his inner world. He often seeks to see reality in a way that surprises us. The author deliberately ignores the boundaries of space, time, subjects and objects. He disregards the norms of representation and the coordinates of the objects.

Agnė Jonkutė’s focus is not on objects or their relations and relationships, but on the change of space.

The painting looks like the fog that is swallowing up the stable reality. There are no signs representing the identity of the subject or its environment. Since the work seems to be a meditative space for self-knowledge, the task of relating to its identity is instantly redirected to the viewer.

Mindaugas Juodis uses the method of melting fog as well. His paintings mostly analyse the human body. The background of the painting in the exhibition is minimal, without details. It looks like a homogeneous mass that sucks all the forms of the environment into itself. This mass leaves us only the possibility of getting acquainted with the traces of those who existed.

Vladas Mackevičius encourages us to think about the feelings that arise and disappear as a result of tactile sensations. His work is a mark of a vulnerable human being; it is the eternal dilemma of striving to preserve moments even in the acute awareness of their transience.

Felicia Dudoit’s manner of work may be termed object realism.

She observes the rituals and objects of people in their surroundings, seem-

sa Jansasa također aktualiziraju fotografsku strategiju. Na ovim se radovima čini kao da je nesreća zamrznuta u vremenu i prostoru što nam otvara mogućnost da je detaljno proučimo. Tijelo i njegov odnos prema objektima izgledaju kao događaj od prethodnog dana, kriminalni događaj. Rad je, kao dokaz jučerašnjeg dana, još uvijek relevantan za današnji dan i ostaje upisan za sutra.

Prikazane scene izgledaju kao uvjerljiva hiperrealistična projekcija iz prošlosti u budućnost. Tijelo i njegov odnos prema objektima (ili okolini) postaju glavni protagonisti nove stvarnosti.

Svakodnevni objekti i njihov odnos određuju formu djela Jolante Kyzikaitė. Slika kombinira poeziju i kritiku svakodnevnih predmeta. Jedinstveni stil umjetničkog djela određen je načinom slikanja koji podsjeća na plakat. Kako se različiti oblici objekata razlikuju jasnim obrisima, kompozicija podsjeća na slagalicu predmeta u jednoj ravnini. Na taj način gledatelju je dopušteno percipirati tu stvarnost kao

ingly ordinary at first sight. Her work is characterised by a photographic strategy of objectivity, i.e. capturing what is seen without over-exposing it.

A similar, but slightly different photographic strategy can be seen in the work of Viktoras Paukštelis. Here, the human figure is depicted along with the destructive action associated with it. The photographic strategy can be seen as a mechanism that inscribes events into human consciousness. In the case of Paukštelis’s work, what is inscribed is the innate urge to rebel and destroy. Here, the photographic snapshot opens up like a violent, cold, power-exercising documentary video.

The paintings by Julija Skudutytė and Evaldas Jansas actualise the photographic strategy as well. Here, it seems that an accident has been suspended and we are allowed to examine it in detail. The body and its relation to objects seems like an event of the previous day, a criminal incident. The work, as evidence of yesterday, is still relevant

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i vlastiti identitet, ovisno o odnosu između objekata i subjekata, o kretanju u prostoru, o uspostavljanju i podjeli novih odnosa.

Zaključno, izložba predstavlja kompleksan identitet osobe, okoline i istovremeno, umjetničkog stvaralaštva.

Litvansko slikarstvo čini se nepostojanim, promjenjivim, raznolikim u pogledu tema i oblika, i ostaje relevantno kako jučer tako i danas, a (vjerojatno) neće izgubiti svoju važnost ni u svjetlu sutrašnjeg dana.

for today and remains inscribed for tomorrow. The recorded scenes seem like a compelling hyper-real projection from the past into the future. The body and its relation to objects (or the environment) become the main protagonists of the new reality.

Everyday objects and their relationship determine the form of Jolanta Kyzikaitė’s work. The painting combines poetry and criticism of everyday objects. The unique style of the artwork is determined by the manner of painting, reminiscent of a poster. As the different shapes of the objects are distinguished by a clear outline, the composition reminds of a jigsaw puzzle of objects on a plane. In this way, the viewer is allowed to perceive that reality as well as their own identity, depends on the relationship between objects and subjects, on the movement in space, on the establishment and division of new relationships.

To conclude, the exhibition represents the complicated identity of the person, the environment and, at the same time, the artistic creation.

Lithuanian painting appears to be non-monolithic, changing, diverse with regard to its themes and forms, and remains relevant both yesterday and today, and (presumably) will not lose its relevance at the dawn of tomorrow.

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SAULIUS DASTIKAS Forest (Preyer), 2020. ulje na platnu / oil on canvas 120 x 160 cm

FELICIA DUDOIT Girl and a Parasol, 2023. ulje na lanu / oil on linen 130 x 170 cm

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RŪTA EIDUKAITYTĖ Forest Stories, 2016. ulje na platnu / oil on canvas 125 x 140 cm

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EVALDAS JANSAS Ai em Fry, 2023. ulje na platnu / oil on canvas 114 x 146 cm

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AGNĖ JONKUTĖ The Land, 2017. ulje na platnu / oil on canvas 180 x 140 cm

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MINDAUGAS JUODIS Back From the Dream, 2019. ulje na platnu / oil on canvas 200 x 150 cm

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ARVYDAS KAŠAUSKAS’S Evening, 2020. ulje na platnu / oil on canvas 100 x 90 cm

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AUŠRA KLEIZAITĖ A gift. Line That Connects Everything That Breathes Here With the Dot On the Other Side, the Very Dot That Starts the Line On This Side I - II, 2019. kombinirana tehnika (ugljen, pastele na papiru) / mixed media (drawing, termite work, charcoal and pastel on paper) 143 x 180 cm

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ADELĖ LIEPA KAUNAITĖ Unicorns, 2022. ulje na platnu / oil on canvas 150 x 150 cm

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JOLANTA KYZIKAITĖ Happiness Compot, 2021. ulje na platnu / oil on canvas 130 x 100 cm

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VLADAS MACKEVIČIUS Kissing the Nature, 2022. akril na platnu / acrylic on canvas 110 x 110 cm

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MEDA NORBUTAITĖ MILK OR BLOOD?, 2022. ulje na platnu / oil on canvas 150 x 90 cm

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VIKTORAS PAUKŠTELIS Untitled, 2022. ulje na platnu / oil on canvas 120 x 159 cm

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RIMANTAS PLUNGĖ Awaitening, 2023. ulje na platnu / oil on canvas 2 x (100 x 100 cm)

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VIRGIS RUSECKAS There is Nothing Here, 2022. ulje na platnu / oil on canvas 120 x 150 cm

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JULIJA SKUDUTYTĖ Lilita, 2022. akvarel na papiru / watercolor on paper 100 x 70 cm

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ALONAS ŠTELMANAS Rye field I - II, 2021. ulje na platnu / oil on canvas 2 (80 x 60 cm)

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EGLĖ VELANIŠKYTĖ A Feast in the Time of Plague, 2021. ulje na platnu / oil on canvas 102 x 120 cm

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POPRATNI IZLOŽBENI PROGRAM/ SIDE PROGRAM 172

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ALUZIJA - izložba studenata ALU/ ALUZIJA - exhibition of ALU students

30. 11. 2023. — 30. 12. 2023.

Palača Vranyczany, Hrvatski inženjerski savez (HIS) Suorganizator: Akademije likovnih umjetnosti Sveučilišta u Zagrebu (ALU)

November 30 — December 30, 2023 Vranyczany Palace, Croatian Engineering Association (HIS) Co-organizer: Academy of Fine Arts of the University of Zagreb (ALU)

Izlažu: Marcela Bencek, Lea Bulaja, Sandra Črnelč, Marta Dijak, Bartol Grgec, Jiao Guo, Marta Katavić, Teo Kiš, Petra Kovačić, Mia Markušić, Marija Matok, Matija Meštrić, Juraj Mihalke, Luisa Pascu, Ana Pintarić, Marina Popović, Filip Stolnik, Ivo Vodopija, Lana Zubović

Artists: Marcela Bencek, Lea Bulaja, Sandra Črnelč, Marta Dijak, Bartol Grgec, Jiao Guo, Marta Katavić, Teo Kiš, Petra Kovačić, Mia Markušić, Marija Matok, Matija Meštrić, Juraj Mihalke, Luisa Pascu, Ana Pintarić, Marina Popović, Filip Stolnik, Ivo Vodopija, Lana Zubović

Korana Littvay U sklopu 7. bijenala slikarstva, u prostorima neorenesansne palače Vranyczany-Dobrinović Hrvatskog inženjerskog saveza (HIS) održala se izložba radova studenata Akademije likovnih umjetnosti Sveučilišta u Zagrebu pod nazivom “ALUzija”.

Svoje radove, izložene u prostorima palače (koja je 1952. g. ustupljena Hrvatskom inženjerskom savezu) predstavili su studenti diplomskih studija Slikarskog i Nastavničkog odsjekasmjer Slikarstvo, a među njima i alumni ALU Zagreb, odabrani od strane svojih profesora i mentora. Sam naziv izložbe, izveden iz lat. riječi allusion, koja označava neizravno aludiranje, upućuje na nagovještaj novog i drukčijeg pristupa slikarstvu, koji od promatrača iziskuje određeno predznanje i istančano razumijevanje likovnog vokabulara.

Radovi ukupno osamnaest studenata - diplomanata i tri alumna, nastali pod mentorstvom profesora - prof. art. Duje Jurića, prof. art. Zoltana Novaka, prof. dr. art. Ksenije Turčić, prof. art. Matka Vekića, prof. art. Gordane Bakić Vlahov,

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As part of the 7th Biennale of Painting, an exhibition of works by students of the Academy of Fine Arts of the University of Zagreb called “ALUzija” was held in the neo-Renaissance palace Vranyczany-Dobrinović of the Croatian Engineering Association (HIS). The exhibition showcased the works of eighteen students and three alumni, who were selected by their professors and mentors. The works were created under the guidance of renowned professors such as Prof. Duje Jurić, Prof. Zoltan Novak, Prof. Ksenija Turčić, PhD, Prof. Matko Vekić, Prof. Gordana Bakić Vlahov, Prof.

Tomislav Buntak, Assoc. Prof. Snježana Ban, Prof. Robert Šimrak, PhD and Assist. Prof. Marko Tadić.

The exhibition was named “ALUzija” after the Latin word for allusion, which means indirect reference.

This name was chosen to reflect the new and innovative approach to painting that the students were exploring, which requires the observer to have a certain prior knowledge and refined understanding of art vocabulary. The

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prof. art. Tomislava Buntaka, izv. prof. art. Snježane Ban, prof. dr. art. Robert Šimrak te doc. art. Marka Tadića predstavljaju ekstrakt odnosno trenutni presjek umjetničkog izražavanja studenata zagrebačke akademije u mediju slikarstva.

Osim predstavljanja najkvalitetnije produkcije radova studenata i alumna, važnost ostvarenja izložbe “ALUzija” u kontekstu 7. bijenala slikarstva višestruko se očituje: u vidu pružanja prilike mladim umjetnicima, onima koji tek stupaju na umjetničku scenu, u kontekstu sudjelovanja u likovnoj manifestaciji profila kao što je Bijenale slikarstva, te kao naglasak još jedne potvrde dugogodišnje suradnje partnerskih institucija ALU Zagreb i Hrvatskog društva likovnih umjetnika.

Također, postavljena izložba predstavlja priliku za ostvarenje vidljivije prisutnosti izložbenih projekata ALU Zagreb na likovnoj sceni Zagreba ali i šire, u izazovnim vremenima izmještanja nastave na nove lokacije uslijed rekonstrukcije njezinih objekata.

Dijelovi otpale žbuke i poneka cigla, koja izviruje na postavu izložbe tako podsjeća na nestalnost i stalnu mijenu bivanja, dok radovi studenata Akademije upućuju na nastavljanje umjetničke tradicije, čime se na jednom mjestu susreću prošlost, sadašnjost i budućnost.

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works exhibited were an extract, a current section of the artistic expression of the students of the Zagreb Academy in the medium of painting. The exhibition was not only a platform for presenting high-quality works by students and alumni, but it also provided opportunities for young artists who are just starting their careers.

The exhibition was significant in many ways, particularly in the context of the 7th Biennale of Painting. It emphasized the long-term partnership between ALU Zagreb and the Croatian Society of Fine Artists and showcased the presence of ALU Zagreb exhibition projects on the art scene of Zagreb and beyond. It was also an opportunity for the Academy to create a more visible presence on the art scene during the challenging times of relocating classes to new locations due to the reconstruction of its facilities.

The exhibition setting included parts of the fallen plaster and some bricks, which symbolized the impermanence and constant change of being. The works of the students of the Academy, on the other hand, pointed to the continuation of the artistic tradition, thus bridging the past, present and future in one place.

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MARCELA BENCEK Vremenski glitch / Time Glitch, 2022. akril na platnu / acrylic on canvas, 100 x 80 cm

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LEA BULAJA Raskol / Schism, 2022. akril na platnu / acrylic on canvas, 120 x 180 cm

Radim na radu / I’m Working on My Artwork, 2023. akril na foliji / acrylic on foil, 45 x 80 cm

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MARTA DIJAK Radni prozor / Working Window, 2023. ulje na platnu / oil on canvas, 50 x 60 cm

JIAO GUO Ogledalo / Mirror, 2023. ulje na platnu / oil on canvas, 190 x 130 cm

Autoput / Highway, 2023. ulje na drvenoj dasci / oil on wooden board, 125 x 150 cm

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BARTOL GRGEC Čišćenje kistova I, iz ciklusa Digitalni portreti / Brush Cleaning I, from the cycle Digital Portraits on Canvas, 2023. ulje na platnu / oil on canvas, 70 x 50 cm

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MARTA KATAVIĆ Čišćenje kistova IV, iz ciklusa Digitalni portreti / Brush Cleaning I, from the cycle Digital Portraits on Canvas, 2023. ulje na platnu / oil on canvas, 70 x 50 cm

Tempo, 2023. ulje na dasci / oil on board, 125 x 150 cm

Od ispod / From Beneath, 2023. ulje na dasci / oil on board, 60 x 80 cm

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TEO KIŠ Ciklona / Cyclone, 2022. ulje na platnu / oil on canvas, 100 x 70 cm

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MIA MARKUŠIĆ Ciklona / Cyclone, 2022. ulje na platnu / oil on canvas, 100 x 70 cm

Jučer sam imala opasan plan / Yesterday I Had a Dangerous Plan, 2023. kombinirana tehnika na platnu / mixed media on canvas, 40 x 90 cm

Dijete na plaži / Child on the Beach, 2023. kombinirana tehnika na drvenoj ploči / mixed media on a wooden board, 150 x 125 cm

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PETRA KOVAČIĆ Cvjetanje / Blooming, 2022. akvarel i lavirani tuš na papiru / aquarelle and ink lavee on paper, 43 x 28 cm

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MARIJA MATOK Umni pejsaž 2 / Mental landscape 2, 2022. lavirani tuš na papiru / ink lavee on paper, 100 x 70 cm

5 kuna / HRK 5, 2023. akril na platnu / acrylic on canvas, 108 x 108 cm

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MATIJA MEŠTRIĆ Kopneni pas / The Land Dog, 2023. ulje na platnu / oil on canvas, 140 x 90 cm

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LUISA PASCU Prognoza (iz serije Promjenjivo i oblačno) / Forecast (from the series Changeable and Cloudy), 2023. ulje na platnu / oil on canvas, 70 x 70 cm

Vjetar (iz serije Promjenjivo i oblačno) / Wind (from the series Changeable and Cloudy), 2023. ulje na platnu / oil on canvas, 70 x 70 cm

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JURAJ MIHALKE Kut 1 / Angle 1, 2023. ulje na platnu / oil on canvas, 200 x 100 cm

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ANA PINTARIĆ Kut 2 / Angle 2, 2023. ulje na platnu / oil on canvas, 200 x 100 cm

Monkeywoman, 2023. ugljen na platnu / charcoal on canvas, 193 x 115 cm

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MARINA POPOVIĆ Bez naziva / Untitled, 2022. akril na platnu / acrylic on canvas, 110 x 128 cm

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IVO VODOPIJA Destrukcije / Destructions, 2023. ulje na platnu / oil on canvas, 40 x 30 cm

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FILIP STOLNIK Poslijepodnevno svjetlo / Afternoon Light, 2023. ulje na lesonit ploči / oil on hardboard, 40 x 40 cm

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LANA ZUBOVIĆ Sunce i tijelo / The Sun and the Body, 2023. ulje na lesonit ploči / oil on hardboard, 40 x 40 cm

Nikome ništa (Pojeo vuk magare) / Nothing to Nobody (Wolf ate a Donkey), 2022. kombinirana tehnika na žutici / mixed media on canvas, 100 x 188 cm

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Matko Vekić: Tržnica cvijeća/Flower Market

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10. 11. — 17. 11. 2023.

Galerija Canvas

November 10 — 17, 2023 Canvas Gallery

Samostalna izložba dobitnika Grand prix nagrade 6. bijenala slikarstva Matka Vekića naziva Flower Market / Tržnica cvijeća koja se održala u galeriji Canvas dala je uvid u posljednjih desetak godina bogate umjetničke produkcije te obuhvatila nekoliko ciklusa koji potvrđuju Vekićev značaj na hrvatskoj likovnoj sceni.

The Canvas gallery recently hosted the independent exhibition, Flower Market,

by Matko Vekić, who won the Grand Prix at the 6th Biennale of Painting.

This exhibition provided a glimpse into his extensive artistic output over the last decade and showcased several cycles that highlight Vekić’s significance in the Croatian art world.

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Inkluzivni program / Inclusive program

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ART4ALL, izložba profesionalnih umjetnika i korisnika Centra za rehabilitaciju Zagreb i otvorenje inkluzivne umjetničke galerije Art&CeRZe

ART4ALL, an exhibition of professional artists and users of the Rehabilitation Center Zagreb and the opening of the inclusive art gallery Art&CeRZe

21. 11. — 22. 12. 2023.

Galerija Art&CeRZe Kustosica: Blanka Stančić Puhak Suorganizator: Centar za rehabilitaciju Zagreb

November 21 — December 22, 2023 Galerija Art&CeRZe Curator: Blanka Stančić Puhak Co-organizer: Centar za rehabilitaciju Zagreb

Izlagači: Marija Boban, Natalia Borčić Peuc, Ranko Ćuća, Jelena Gvozdanović, Ivan Jakovljević, Zdravko Krešić, Tara Beata Racz, Blanka Stančić Puhak, Marko Zeman, Marta Živičnjak

Artists: Marija Boban, Natalia Borčić Peuc, Ranko Ćuća, Jelena Gvozdanović, Ivan Jakovljević, Zdravko Krešić, Tara Beata Racz, Blanka Stančić Puhak, Marko Zeman, Marta Živičnjak

Izložba ART4ALL nastala je kroz prethodnu suradnju i radionice profesionalnih umjetnika i korisnika Centra za rehabilitaciju Zagreb. Zajednički cilj suradnje bio je predstaviti i zastupati inkluziju u umjetnosti osoba s intelektualnim teškoćama kroz likovne radionice profesionalnih umjetnika i talentiranih polaznika inkluzivne umjetničke galerije Art&CeRZe (organizirano stanovanje Centra za rehabilitaciju Zagreb), te zajedničkom izložbom slika u sklopu 7. bijenala slikarstva pod nazivom „ART4ALL“.

Inkluzija kroz likovno stvaralaštvo i percepcija likovne umjetnosti prolazi kroz oko promatrača te ona mora biti dostupna svim pojedincima bez obzira na poteškoće s kojima su suočeni. Omogućimo ravnopravnost u društvu kroz umjetničko izražavanje i dostupnost likovnog poticaja rušeći predrasude.

The ART4ALL exhibition was a result of a collaboration between professional artists and users of the Zagreb Rehabilitation Center, who participated in workshops aimed at promoting inclusion in art for people with intellectual disabilities. The participants included talented artists from the inclusive art gallery Art&CeRZe, which is part of the Center for Rehabilitation Zagreb. The joint exhibition of paintings was held as part of the 7th painting biennial called “ART4ALL”.

The goal of the collaboration was to promote inclusion through art creation and perception. The art created by participants with intellectual disabilities was showcased alongside the work of professional artists, emphasizing the importance of accessibility to art for all individuals, regardless of any difficulties they may face. By breaking down prejudices and promoting equality through artistic stimulation, we can create a more inclusive society.

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OTVORENJE 7. BIJENALA SLIKARSTVA / OPENING OF THE 7TH BIENNIAL OF PAINTING

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EDUKATIVNI PROGRAM / EDUCATIONAL PROGRAM 220

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Edukativni program / Educational program

Stručna vodstva za odrasle 31. 10. / 14. 11. / 28. 11. / 12. 12. / 09. 01. / 23. 01. 2023.

Organiziran razgled Bijenala slikarstva uz stručno vodstvo.

Stručna vodstva za djecu i mlade 07. 11. / 21. 11. / 05. 12. / 19. 12. / 02. 01. / 16. 01. 2023.

Organiziran razgled Bijenala slikarstva uz stručno vodstvo prilagođeno uzrastu od 6 do 16 godina uz edukativnu knjižicu s reprodukcijama radova i brojnim kreativnim zadatcima koji će produbiti doživljaj i shvaćanje slikarstva i umjetnosti.

Likovne radionice / Art workshops PREOBRAŽAVAM SLIKU Autorica i voditeljica: Mia Matijević Akrap 29. 11. 2023.

Radionica rekompozicije slika s Bijenala slikarstva i drugih vizualnih sadržaja iz suvremenih masovnih medija tehnikom fotokolaža.

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Guided tours for adults October 31 / November 14 / November 28. / December 12. / January 01 / January 23, 2023.

Guided tour through the Biennale of Painting.

Guided tours for children and young people November 07 / November 21 / December 05. / December 19 / January 02 / January 16, 2023.

Organized tour of the Biennale of Painting with expert guidance tailored to ages 6 to 16. The tour includes an educational booklet with reproductions of works and creative tasks that will aid in deepening the experience and understanding of painting and art.

Likovne radionice / Art workshops I TRANSFORM THE PICTURE The author and the mentor: Mia Matijević Akrap November 29, 2023.

Workshop on the recomposition of im-

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UNUTARNJI AUTOPORTRET The author: Mia Matijević Akrap Koautorica i mentorica: Palmina Roglić 06. 12. 2023.

Radionica Unutarnji autoportret bavila se asocijativnom i simboličkom vrijednošću boja. Polaznici su kroz radionicu promišljali o vlastitim bojama i njihovim značenjima te su ih koristili za slikanje simboličnog psihološkog autoportreta.

KAKO JA TO VIDIM – REINTERPRETACIJE Authorica: Mia Matijević Akrap Koautorica i mentorica: Palmina Roglić 13. 12. 2023.

Kroz radionicu Reinterpretacije polaznici su nakon pogledane izložbe odabrali djelo koje ih se najviše dojmilo te su odabrani sliku ili detalj reinterpretirali u tehnici tempere.

RAZLIVENE BILJKE Authorica: Mia Matijević Akrap Koautorica i mentorica: Palmina Roglić 10. 01. 2024.

At the workshop Spilled Plants, the participants tried painting the suggested floral motifs using the watercolor technique.

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ages from the Biennale of Painting and other visual content from contemporary mass media using the photo collage technique.

INNER SELF-PORTRAIT The author: Mia Matijević Akrap Co-author and mentor: Palmina Roglić December 06, 2023.

The workshop, Inner Self-Portrait, explored the symbolic and associative meaning of colors. Participants painted a psychological self-portrait using their colors and meanings.

HOW I SEE IT - REINTERPRETATIONS The author: Mia Matijević Akrap Co-author and mentor: Palmina Roglić December 13, 2023.

After viewing the exhibition, the participants of the workshop Reinterpretation chose the work that impressed them the most and reinterpreted the selected image or detail using the tempera technique.

SPILLED PLANTS The author: Mia Matijević Akrap Co-author and mentor: Palmina Roglić January 10, 2024.

At the workshop Spilled Plants, the participants tried painting the suggested floral motifs using the watercolor technique.

Edukativna knjižica

Educational booklet

Edukativni programi izuzetno su važan segment kulturnih i umjetničkih manifestacija jer publici svih dobnih skupina približavaju umjetnost, potpomažu interpretaciju umjetničkih djela, obrazuju o medijima i metodama umjetničkog izražavanja te, u konačnici, pružaju sveobuhvatniji i dugoročniji doživljaj izložbe.

S tim ciljem, u okviru 7. bijenala slikarstva osmišljena je edukativna knjižica za djecu i mlade od 6 do 16 godina.

Knjižica sadrži brojne zadatke koji djeci i mladima proširuju znanje i način promišljanja slikarstva: od formalne analize do vlastite interpretacije djela. Specifičnost knjižice je interaktivnost, a zadatke je bilo moguće rješavati samostalno, u galerijskom prostoru na izložbi uz pratnju roditelja, u okviru organiziranog vodstva, kao i u učionici uz rad s profesorima ili pak u udobnosti vlastitog doma. Autorica knjižice je mag. educ. art. Mia Matijević Akrap, a recenzentica sadržaja knjižice je izv. prof. mr. art. Sonja Vuk s Akademije likovnih umjetnosti u Zagrebu.

Educational programs play a crucial role in promoting cultural and artistic events. They help to make art accessible to audiences of all ages, and also educate them about the media and techniques used in artistic expressions.

By enhancing the interpretation of works of art, these programs provide a more comprehensive and long-lasting experience of the exhibition.

An educational booklet aimed at children and teenagers between the ages of 6 and 16 was created for the 7th Biennale of Painting. The goal of the booklet is to expand their knowledge and thinking about painting through various tasks, from formal analysis to interpretation of the work. The booklet is interactive, and the tasks can be completed independently in the gallery space, with parents, or under organized leadership. They can also be done in the classroom with professors or at home. The author of the booklet is M.Sc. educ. art. Mia Matijević Akrap, and the content was reviewed by Assoc. Prof. M.Sc. art. Sonja Vuk from the Academy of Fine Arts in Zagreb.

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Susreti s umjetnicima / Meet the artists

Lithuanian Painting, panel diskusija na temu suvremenog litvanskog slikarstva Dom HDLU: Klub HDLU 26. 10. 2023.

Lithuanian Painting, panel discussion on the topic of contemporary Lithuanian painting Dom HDLU: Klub HDLU October 26, 2023

Razgled ateljea umjetnika Povodom 7. bijenala slikarstva mnogi su istaknuti umjetnici posjetiteljima otvorili vrata svojih ateljea, a isto su učinili studenti i profesori Akademije likovnih umjetnosti. Razgovori s umjetnicima i razgled njihovih radnih prostora posjetitelje su uveli u sam stvaralački proces, van zidova galerije.

Tour through the artist’s studios During the 7th Biennale of Painting, several renowned artists, students and professors of the Academy of Fine Arts opened their studios to visitors. The visitors had an opportunity to converse with the artists and explore their workspaces. This provided an excellent opportunity for visitors to understand the creative process beyond the walls of the gallery.

Zlatan Vehabović i Stjepan Šandrk: 11. 11.

Gordana Bakić i Marko Zeman: 13. 11.

Melinda Šefčić i Valentina Supanz Marinić: 23. 11. Željko Lapuh: 27. 11.

Slikarski odsjek Akademije likovnih umjetnosti Sveučilišta u Zagrebu: 14. 12.

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Zlatan Vehabović and Stjepan Šandrk: November 11 Gordana Bakić and Marko Zeman: November 13 Melinda Šefčić and Valentina Supanz Marinić: November 23 Željko Lapuh: November 27 Painting Department, Academy of Fine Arts, University of Zagreb: December 14

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Slikarstvo u javnom prostoru / Painting in public space

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Umjetnost življenja, murali u suvremenom stambenom prostoru, predstavljanje murala uz stručno vodstvo 4. 11. 2023., 2. 12. 2023.

Art of Living, murals in a contemporary residential area, presentation of murals with expert guidance November 4, 2023., December 2, 2023.

Park Kneževa, Kneza Borne 24, Zagreb Vodstvo: Tomislav Buntak, Neven Mikec, Majda Vidović Umjetnici: Jelena Bando Dodig, Tomislav Buntak, Fedor Fischer, Danko Friščić, Matko Vekić, Zlatan Vrkljan

Park Kneževa, Kneza Borne 24, Zagreb Guided tour: Tomislav Buntak, Neven Mikec, Majda Vidović Artists: Jelena Bando Dodig, Tomislav Buntak, Fedor Fischer, Danko Friščić, Matko Vekić, Zlatan Vrkljan

Projekt Park Kneževa nastao je iz želje investitora da ponudi novi ekološki i zeleni koncept življenja u samom središtu grada kojim se zapušteni prostor revitalizira novom vrhunskom arhitekturom i sadržajima. Rezultat ideje koja bi se mogla nazvati „umjetnost življenja“ potiče afirmaciju hrvatske likovne umjetnosti, približava ju publici tamo gdje ju može najbolje osjetiti, te stvara nove oblike komunikacije i interakcije s umjetničkim djelom. Ujedno, životni prostor umjetnošću se oplemenjuje te doseže nove kvalitete i vrijednosti za korisnika i zajednicu.

The Park Kneževa project arose from the investor’s desire to provide a new ecological and green concept of living in the city center. The project aims to revitalize a neglected area with new high-quality architecture and amenities. The idea behind the project is to promote the “art of living” by bringing Croatian fine art closer to the audience where it can be experienced best. The project also creates new forms of communication and interaction with the art, enriching the living space with art and adding new values and qualities for the users and the community.

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Predstavljanje realiziranih projekata u javnom prostoru

Presentation of realized projects in public space

Galerija Ispod

Ispod Gallery

Boje stvarnosti

The Colors of Reality

Sloboda stvaranja

Fredom of Creation

Estetizacija i rehumanizacija bolničkog prostora: umjetnost u svrhu zdravlja

Aestheticization and Rehumanization of a Hospital Envirement: Art for Health’s Sake

Umjetnost življenja, murali u suvremenom stambenom prostoru

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Art of Living, Murals in a Contemporary Residential Area

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Šarena bolnica

A Colorful Hospital

Predstavljanje murala uz stručno vodstvo, 25. 11. 2023.

Klinički bolnički centar Zagreb, bolnica Rebro

Presentation of murals with expert guidance, November 25, 2023 Klinički bolnički centar Zagreb, bolnica Rebro

Vodstvo: doc.dr.art. Melinda Šefčić, višegodišnja suradnica KBC Zagreb i autorica preko 30 murala izvedenih u bolničkom prostoru, Glavna sestra KBC Zagreb Ana Ljubas te koordinatorica oslikavanja KBC Zagreb mag. sestrinstva Mirna Vrček.

Tour guided by: Assistant professor of art Melinda Šefčić, a long-term associate of KBC Zagreb and the author of over 30 murals created in the hospital area, Head Nurse of KBC Zagreb Ana Ljubas and painting coordinator of KBC Zagreb Mr.Sc. nursing Mirna Vrček.

Umjetnici: Tomislav Buntak, Danko Friščić, Tomislav Hršak, Ida Jakovljević, Ivo Kosanović, Mia Maraković, Stipan Tadić, Damir Sobota, Valentina Supanz Marinić, Melinda Šefčić, Anđela Zanki, ALU: Tea Lovrić, Ante Šabić, Ena Antunović, Mia Markušić, Josip Simon, Vasja Ivković, Karmen Kovačić-Karamtić, Katarina Lukša, Dalija Stanić, Luka Kušević, Samuel Matijević, Carolina Barbarić, Helena Nemeš, Antonela Vlašić, Katarina Antunović, Patricija Šantek Goričanec

Artists: Tomislav Buntak, Danko Friščić, Tomislav Hršak, Ida Jakovljević, Ivo Kosanović, Mia Maraković, Stipan Tadić, Damir Sobota, Valentina Supanz Marinić, Melinda Šefčić, Anđela Zanki, ALU: Tea Lovrić, Ante Šabić, Ena Antunović, Mia Markušić, Josip Simon, Vasja Ivković, Karmen Kovačić-Karamtić, Katarina Lukša, Dalija Stanić, Luka Kušević, Samuel Matijević, Carolina Barbarić, Helena Nemeš, Antonela Vlašić, Katarina Antunović, Patricija Šantek Goričanec

U sklopu 7. bijenala slikarstva održalo se vodstvo kroz Klinički bolnički centar Zagreb, bolnicu Rebro, koje predstavlja prikaz nastalih radova u svrhu umjetničke estetizacije i revitalizacije bolničkog prostora realiziranih od 2017. godine do danas u organizaciji HDLU-a i ALU Zagreb. Cilj murala u bolnicama je preobraziti iskustvo bivanja u bolničkom prostoru za pacijente, zaposlenike i širu populaciju u bolničkoj zajednici, interveniranjem u prostor umjetničkim oslikavanjem i umjetničkim re-dizajniranjem bolničkog prostora kakvog poznajemo.

As part of the 7th Biennale of Painting, a guided tour was conducted through the Clinical Hospital Center Zagreb, Rebro Hospital. The tour featured an exhibition of works created for artistic aestheticization and revitalization of the hospital space, realized from 2017 until today. The exhibition was organized by HDLU and ALU Zagreb. The main objective of the murals is to transform the hospital experience for patients, employees, and the wider hospital community through the intervention of the hospital space with artistic painting and artistic re-designing. This approach aims to create a more pleasant and comfortable environment for everyone in the hospital community.

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Grgur Akrap rođen je 1988. u Zagrebu. Godine 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. 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 – umjetnik umjetniku“ na 4. bijenalu slikarstva i „Grand Prix“ Erste Fragmenata 15. Živi i radi u Zagrebu.

Mihael Bađun rođen je 1996. u Varaždinu. Akademski naziv magistar edukacije likovne kulture stječe 2021. završivši studij Likovne kulture na Akademiji likovnih umjetnosti Sveučilišta u Zagrebu, pod mentorstvom profesorice Ines Krasić. U svojem radu bavi se stripom, slikarstvom i ilustracijom. Izlagao je na dvadesetak grupnih izložbi u Hrvatskoj i inozemstvu te na tri samostalne izložbe. Kreator je nekolicine kraćih, objavljenih stripova, ilustrirao je naslovnice knjiga te je autor dvaju murala u javnom prostoru. Dobitnik je „Grand Prix“ nagrade na 19. Erste fragmentima. Član je HDLU-a. Živi i radi u Varaždinu Biserka Baretić rođena je 1933. u Zagrebu. Od 1951. do 1953. studira slikarstvo na Likovnoj akademiji u Zagrebu. Izlagala je na brojnim izložbama u zemlji i inozemstvu (npr. 1963. Brooklyn, 22nd Biennial International Watercolor Exhibition; 1964. Lugano, Bijenale grafike “Bianco e nero”; 1964. Beograd, Beogradski sajam, 2. jugoslavenski trijenale likovnih umetnosti; 1971. New Delhi, Lalit Kala Akademi: 2nd Triennial - India 1971. Barcelona: Premi Internacional Debuix Joan Miró, i td.). Njezina se djela nalaze u zbirkama najvećih muzeja i galerija (npr. Muzej suvremene umjetnosti u Zagrebu, Moderna galerija u Zagrebu, Muzej suvremene umjetnosti u Beogradu, Muzej suvremene umjetnosti u Skopju, Cincinnati Museum). Za svoj je rad na polju slikarstva, crteža i grafike dobila brojne i prestižne nagrade.

Maša Barišić rođena je 1986. u Splitu. Diplomirala je 2012. pri „Fine Art University of Lincoln“. Za vrijeme studija sudjelovala je na više skupnih izložbi.

Nakon završetka studija izlagala je na četiri samostalne izložbe te na više skupnih izložbi. Izlagala je i broj instalacija u gradu Zagrebu, najrecentniju u Umjetničkom Paviljonu. Živi i radi u Zagrebu.

Mirela Blažević rođena je 13.10.1993. u Vinkov-

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Grgur Akrap was born in Zagreb in 1988. In 2013 he graduated in Painting from the Academy of Fine Arts in Zagreb, Department of Art Education, in the class of Professor Damir Sokić. He has had several solo and numerous group exhibitions.

He has won several awards, including the Best Young Artist Award at the 3rd Biennial of Painting, the Museum of Contemporary Art Award at the 51st Zagreb Salon, the Iva Vraneković – Artists to Artists Award and the 15th Erste Fragments Grand Prix Award. He lives and works in Zagreb.

Mihael Bađun was born in Varaždin in 1996. He completed his studies in Fine Arts at the Academy of Fine Arts of the University of Zagreb in 2021, obtaining the academic title of Master of Fine Arts education. His mentor during his studies was Professor Ines Krasić. Bađun’s artistic work includes comics, painting, and illustration.

He has exhibited his art at approximately twenty group exhibitions both in Croatia and abroad, as well as three solo exhibitions. Additionally, he has created several published short comics and illustrated book covers, as well as two murals in public spaces. Bađun was the recipient of the Grand Prix award at the 19th Erste Fragments and is a member of HDLU. He currently resides in Varaždin where he works on his art.

Biserka Baretić was born in Zagreb in 1933. She studied painting at the Academy of Fine Arts in Zagreb from 1951 to 1953. She has exhibited at numerous exhibitions in the country and abroad (e.g., 1963 Brooklyn, 22nd Biennial International Watercolour Exhibition; 1964 Lugano, Biennial of Graphic Arts “Bianco e nero”; 1964 Belgrade, Belgrade Fair, 2nd Triennial of Yugoslavian Art; 1971 New Delhi, Lalit Kala Akademi: 2nd Triennial - India 1971 Barcelona: Premi Internacional Debuix Joan Miró, etc.). Her works are included in the collections of major museums and galleries (e.g. Museum of Contemporary Art in Zagreb, Modern Gallery in Zagreb, Museum of Contemporary Art in Belgrade, Museum of Contemporary Art in Skopje, Cincinnati Museum). She has won numerous prestigious awards in the field of painting, drawing and graphic arts.

Maša Barišić was born in Split in 1986. She graduated from the Fine Art University of Lincoln in 2012. During her studies, she participated in several group exhibitions. After graduating, she exhibited in four solo exhibitions and several group exhibitions. She also exhibited a number of installations in Zagreb, the most recent one being in

cima. Godine 2012. završila je Gimnaziju Matije Antuna Reljkovića u Vinkovcima. Diplomirala je 2018. na Akademiji za umjetnost i kulturu u Osijeku i stekla akademski naziv magistra edukacije likovne kulture. 2015. /2016. u sklopu Erasmus+ programa, jedan semestar provodi na „Akademia Sztuk Pięknych w Gdańsku“ u klasi profesora Piotra Józefowicza. Sudjeluje u brojnim skupnim izložbama od kojih se ističu: “One su tu”, “10. Zaprešićko biennale akvarela” i “8. Hrvatski triennale akvarela“. Živi u Vinkovcima. Radi kao nastavnica likovne kulture. Članica je Fotokluba Vinkovci i HDLU-a Istok.

Leonardo Budimlić Majnarić rođen je u Zagrebu 1962. Diplomirao je 1990. na slikarskom odjelu ALU u Zagrebu u klasi prof. Vasilija Josipa Jordana. Izlagao je na više samostalnih i skupnih izložbi u zemlji i inozemstvu. Trenutno djeluje kao samostalni likovni umjetnik. Član je HDLU i HZSU. Natalia Borčić Peuc, akademska slikarica, rođena je na otoku Visu 1989. Diplomirala je na Akademiji likovnih umjetnosti u klasi prof. Matka Vekića u Zagrebu 2013. Članica je HDLU-a i HZSU-a. Živi i radi na relaciji Zagreb-Vis. Kreatorica je nagrade za 14. festival radiodrame Grand prix Marulić.

Osmislila je umjetnički projekt „U trećoj brzini“ kroz kojeg vodi likovne i literarne radionice u Domovima za starije i nemoćne. Bavi se ilustracijom te je ilustrirala mnogobrojne legende i priče otoka Visa. Izlagala je na mnogobrojnim samostalnim i skupnim izložbama te sudjelovala na više umjetničkih rezidencija.

Viktor Daldon rođen je 1972. u Dubrovniku. Godine 2001. diplomirao je slikarstvo na Akademiji likovnih umjetnosti u Zagrebu, u klasi Eugena Kokota. Dobitnik je Rektorove nagrade za slikarstvo. Samostalno izlaže od 1999., a od 1998. sudjeluje na brojnim skupnim izložbama u Hrvatskoj i inozemstvu. Daldonova djela nalaze se u zbirci stalnog postava Moderne galerije u Zagrebu, Umjetničke galerije u Dubrovniku, Galerije Branko Ružić u Slavonskom Brodu, u zbirci Matice hrvatske u Zagrebu, Erste banke u Zagrebu te HT-mobilea u Zagrebu.

Jadranka Fatur rođena je u Zagrebu 1949. Godine 1969. završila je Školu primijenjenih umjetnosti. Slikarstvo je studirala od 1969. do 1974. na Akademiji likovnih umjetnosti u Zagrebu u klasi Miljenka Stančića. Prvi je put izlagala svoja djela 1972. Surađivala je od 1973. do 1977. u majstorskoj radionici Krste Hegedušića odnosno poslije Lju-

the Art Pavilion. She lives and works in Zagreb.

Mirela Blažević was born in Vinkovci on 13 October 1993. In 2012, she graduated from the Matija Antun Reljković Gymnasium in Vinkovci. She earned her master’s degree in Art Education from the Academy of Arts and Culture in Osijek in 2018.

As part of the Erasmus+ program in 2015/2016, she spent one semester at the Akademia Sztuk Pięknych w Gdańsku under the guidance of Professor Piotr Józefowicz. Mirela has participated in numerous group exhibitions, including “They Are Here,” “10th Zaprešić Watercolour Biennale,” and “8th Croatian Watercolour Triennial.” She lives in Vinkovci and works as an art teacher. She is a member of Fotoklub Vinkovci and the Croatian Association of Fine Artists (HDLU) Istok.

Leonardo Budimlić Majnarić was born in Zagreb in 1962. He graduated in 1990 from the painting department of the Academy of Fine Arts in Zagreb in the class of Prof. Vasilij Josip Jordan. He has exhibited in several solo and group exhibitions in the country and abroad. He is currently working as a freelance artist. He is a member of HDLU and HZSU. Natalia Borčić Peuc, an academic painter, was born on the island of Vis in 1989. She graduated from the Academy of Fine Arts in the class of Prof.

Matko Vekić in Zagreb in 2013. She is a member of the Croatian Association of Fine Artists (HDLU) and the Croatian Freelance Artists’ Association (HZSU). She lives and works between Zagreb and Vis. Natalia is the creator of the award for the 14th Radio Drama Festival Grand Prix Marulić. She created the art project “U trećoj brzini“ (“In the Third Gear“) through which she runs art and literary workshops in homes for the elderly. She is engaged in illustration and has illustrated numerous legends and stories of the island of Vis. She has exhibited in numerous solo and group exhibitions and participated in several art residencies.

Viktor Daldon was born in Dubrovnik in 1972. In 2001 he graduated in Painting from the Academy of Fine Arts in Zagreb, in the class of Eugen Kokot. He also won the Rector’s Award for Painting. He has had solo exhibitions since 1999, and since 1998 has participated in numerous group exhibitions in Croatia and abroad. Daldon’s works are featured in the permanent exhibition of the Modern Gallery in Zagreb, the Art Gallery in Dubrovnik, Branko Ružić Gallery in Slavonski Brod, and the collection of Matica Hrvatska in Zagreb,

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be Ivančića. Bila je stipendisticom francuske vlade na sveučilištu École nationale supérieure des Beaux-Arts de Paris. Studijski je putovala u Italiji, Francuskoj, SAD-u, Meksiku, Grčkoj, Nizozemskoj, Austriji, Njemačkoj, Mađarskoj i Argentini.

Od 1978. zajedno sa suprugom Ratkom Petrićem, kiparom, radi u atelijeru u dvorcu Jakovlje u Hrvatskom zagorju. Radila je od 2004. do 2014. na Akademiji likovnih umjetnosti u Zagrebu, gdje se i poslije umirovila. Ukupno je izlagala na više od 250 skupnih i 27 samostalnih izložbi u zemlji i inozemstvu. Djela su joj u muzejima i galerijama te u privatnim zbirkama diljem svijeta. Višestruko je nagrađivana slikarica. Uz slikarski, ima i književni opus nadahnut mjestašcem Rudinom na Hvaru, odakle je njena mati. Književni opus čini joj pet prozno-esejističkih knjiga, a objavljuje i pjesme.

Danko Friščić rođen je 1970. u Zagrebu. Diplomirao je slikarstvo na Akademiji likovnih umjetnosti u Zagrebu, u klasi prof. Đure Sedera 1997. godine.

Od 2006. godine zaposlen je na Akademiji likovnih umjetnosti u Zagrebu, trenutno kao izv. prof. art. pri slikarskoj katedri a također obnaša i funkciju prodekana za međunarodnu i međusveučilišnu suradnju na Akademiji likovnih umjetnosti u Zagrebu. Član je HDLU-a u Zagrebu. Dobitnik je više nagrada, između kojih i nagrada HDLU-a za najbolju izložbu 2014. god. u Zagrebu („Brod Luđaka“ s Davorom Mezakom), Nagrada Rovinjske likovne kolonije 2017., itd. Izlagao je na 50-tak samostalnih i preko 150 skupnih izložbi u Hrvatskoj (Zagreb, Labin, Rovinj, Pula, Rijeka, Varaždin, Bjelovar, Osijek, Slavonski Brod, Knin, Split, Sinj, Šibenik, Dubrovnik…) i u inozemstvu (Rim, Pariz, Firenca, Torino, Beč, Prag, Berlin, Budimpešta, Ljubljana, Amsterdam, Gdansk, Istanbul, Ankara, Port Au-Prince…). Radovi mu se nalaze u mnogim privatnim i javnim kolekcijama.

Boris Guina rođen je 1959. u Zagrebu. Diplomirao je slikarstvo na Sveučilištu East London 1986. Nakon boravka u Beču (1992.-93.) vraća se u Zagreb, gdje se uključuje u domaću likovnu scenu izlažući i aktivno surađujući s galerijama Zona i Canvas.

Godine 2003. dobio je međunarodnu nagradu „Premio Lissone“. Radovi mu se nalaze u kolekciji Muzeja suvremene umjetnosti u Zagrebu, Modernoj galeriji u Zagrebu, Galeriji Serafin u Beču, Galeriji Canvas (Zagreb), Galeriji Zona (Zagreb), zbirci Zagrebačke banke, te u mnogim privatnim i javnim zbirkama u Hrvatskoj i inozemstvu. Živi i radi u Zagrebu i Baselu.

Ariana Herceg rođena je 1997. u Zagrebu. Poha-

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Erste Bank in Zagreb and HT-Mobile in Zagreb.

Jadranka Fatur was born in Zagreb in 1949. In 1969, she graduated from the School of Applied Arts. She studied painting from 1969 to 1974 at the Academy of Fine Arts in Zagreb in the class of Miljenko Stančić. She exhibited her works for the first time in 1972. She collaborated from 1973 to 1977 in the master workshop of Krsto Hegedušić and later Ljuba Ivančić. She was a scholarship recipient of the French government at the École nationale supérieure des Beaux-Arts de Paris. She made study trips to Italy, France, the USA, Mexico, Greece, the Netherlands, Austria, Germany, Hungary and Argentina. Since 1978, together with her husband Ratko Petrić, a sculptor, she has been working in the studio in Jakovlje Castle in the Croatian Zagorje. She worked from 2004 to 2014 at the Academy of Fine Arts in Zagreb, where she later retired. She has exhibited at more than 250 groups and 27 solo exhibitions in the country and abroad. Her works are in museums, galleries, and private collections around the world. She is a multi-awarded painter. In addition to painting, she also has a literary work inspired by the village of Rudin on Hvar, where her mother is from. Her literary oeuvre consists of five books of prose and essays, and she also publishes poems.

Danko Friščić was born in 1970 in Zagreb. He graduated in painting at the Academy of Fine Arts in Zagreb, in the class of Prof. Đure Seder in 1997. Since 2006, he has been employed at the Academy of Fine Arts in Zagreb. Currently, he is an associate professor of art at the Department of Painting and also holds the position of ViceDean for International and Inter-University Cooperation at the Academy of Fine Arts in Zagreb. He is a member of HDLU in Zagreb. He is the winner of several awards, including the HDLU award for the best exhibition in 2014 in Zagreb (“Ship of Madmen” with Davor Mezak), the Rovinj Art Colony Award 2017, etc. He has exhibited at about 50 individual and over 150 group exhibitions in Croatia (Zagreb, Labin, Rovinj, Pula, Rijeka, Varaždin, Bjelovar, Osijek, Slavonski Brod, Knin, Split, Sinj, Šibenik, Dubrovnik, etc.) and abroad (Rome, Paris, Florence, Turin, Vienna, Prague, Berlin, Budapest, Ljubljana, Amsterdam, Gdansk, Istanbul, Ankara, Port Au-Prince, etc.). His works are in many private and public collections.

Boris Guina was born in 1959 in Zagreb. He graduated in painting from the University of East London in 1986. After his stay in Vienna (1992-1993), he

đala je školu Primijenjene umjetnosti i dizajna u Zagrebu, te 2015. stekla naziv Slikarska dizajnerica. 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 zbog pandemije morala je pauzirati studij, te je upisala diplomski na ALU. U Lipnju, 2021. diplomirala je Slikarstvo na ALU , te stekla zvanje Magistra slikarstva. Do sada je sudjelovala na nekoliko grupnih izložbi („36. Salon Mladih“, Zagreb, HDLU Istre, Pula, „Xiangshan Art Commune“, Hangzhou). Prvu samostalnu izložbu “Posljednje oaze” (plava izložba) održana je u Oris Kući arhitekture u Zagrebu 2022. Drugu samostalnu izložbu imala je u Muzeju Like Gospić 2023. Sudjeluje na 7. Bijenalu slikarstva u Zagrebu. Od 9.mj. 2023. nastavlja magisterij uljanog slikarstva na „China Academy of Art“ u Hangzhou.

Dina Jakšić Pavasović školovanje je započela u Školi likovnih umjetnosti u Splitu, a nastavila na „Accademia di Belle Arti“ u Rimu gdje je diplomirala Slikarstvo. Završila je najveći stupanj obrazovanja u umjetnosti doktoratom na Akademiji likovnih umjetnosti u Zagrebu, čime je stekla naziv doktorice umjetnosti. Njezina doktorska disertacija pod nazivom „O mirazu kroz umjetničko oblikovan prostor“ je u području umjetnosti, polje likovne umjetnosti, grana slikarstvo pod mentorstvom red.prof. Igora Rončevića i dr.sc. Anči Leburić. Članica je Hrvatskog društva likovnih umjetnika (HDLU) u Zagrebu i Hrvatske udruge likovnih umjetnika (HULU) u Splitu. Radila je kao vanjski suradnik na Akademiji likovnih umjetnosti u Zagrebu i na Umjetničkoj akademiji u Splitu.

Zlatko Keser rođen je 1942. u Zagrebu. Na Akademiji likovnih umjetnosti u Zagrebu diplomirao je 1967., u klasi prof. Otona Postružnika. U istoj ustanovi od 1967. do 1969. polazi i postdiplomski studij te stječe diplomu magistra štafelajnog slikarstva.

Od 1971. do 1975. suradnik je Majstorske radionice prof. Krste Hegedušića. Redoviti je profesor na Akademiji likovnih umjetnosti u Zagrebu od 2001. Godine 2000. postaje članom suradnikom HAZU-a, a 2001. redoviti član HAZU-a. Realizirao je više od 60 samostalnih izložbi te je sudjelovao na oko 250 skupnih izložbi u zemlji i u inozemstvu (Kairo, Peking, Amsterdam, Bruxelles, Den Haag, Košice, Cagnes-Sur-Mer, Tampere, Seul, Kőln, Cleveland, Rim, Villach, Milano, Barcelona, Pittsburgh, Budimpešta, Pariz, Sao Paulo, Luxemburg, Cremona i dr). Dobitnik je više od dvadeset nagrada za slikarstvo i crtež.

returned to Zagreb, where he became involved in the local art scene, exhibiting and actively collaborating with the Zona and Canvas galleries. In 2003, he received the international award Premio Lissone. His works are in the collection of the Museum of Contemporary Art in Zagreb, the Modern Gallery in Zagreb, the Serafin Gallery in Vienna, the Canvas Gallery (Zagreb), the Zona Gallery (Zagreb), the collection of the Zagrebačka Banka, and in many private and public collections in Croatia and abroad. He lives and works in Zagreb and Basel.

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

In June 2021, she graduated in Painting from the Academy of Fine Arts and obtained the title of Master of Painting. She has participated in several group exhibitions (36th Youth Salon, Zagreb, Croatian Association of Fine Artists of Istria, Pula, Xiangshan Art Commune, Hangzhou). Her first solo exhibition “The Last Oases” (blue exhibition) was held at Oris House of Architecture in Zagreb in 2022. Her second solo exhibition was held at the Museum of Lika in Gospić in 2023. She also participated in the 7th Biennale of Painting in Zagreb. Since September 2023, she has continued her master’s degree in Oil Painting at the China Academy of Art in Hangzhou.

Dina Jakšić Pavasović began her education at the School of Fine Arts in Split and continued at the Accademia di Belle Arti in Rome, where she graduated in Painting. She completed the highest level of education in art with a PhD from the Academy of Fine Arts in Zagreb, earning the title of Doctor of Arts. She wrote the PhD dissertation titled “O mirazu kroz umjetničko oblikovan prostor“ (Dowry Through Artistically Designed Space) in the field of art, field of fine arts, art form of painting, under the mentorship of Prof. Igor Rončević and Anči Leburić, PhD. She is a member of the Croatian Association of Fine Artists (HDLU) in Zagreb and the Croatian Association of Visual Artists (HULU) in Split. She has worked as an external associate at the Academy of Fine Arts in Zagreb and the Arts Academy in Split.

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Anita Kos rođena je 1994., a diplomirala je 2019. na studiju Likovne pedagogije na Akademiji primijenjenih umjetnosti u Rijeci, smjer slikarstvo.

Provela je godinu dana na Akademiji likovnih umjetnosti Jan Matejko u Krakowu. Dobila je nagradu Akademije za postignuti uspjeh na diplomskom studiju. Izlagala je na samostalnim i skupnim izložbama. Balansira između slikarstva i ilustracije.

Mirna Kutleša rođena je 1980. u Rijeci. Diplomirala je slikarstvo na Akademiji likovnih umjetnosti u Zagrebu. Od tada kontinuirano stvara te izlaže na brojnim samostalnim i skupnim izložbama u Hrvatskoj i inozemstvu. Za svoj rad je više puta nagrađivana. Radovi joj se nalaze u zbirci Muzeja moderne i suvremene umjetnosti u Rijeci, zbirci Erste Fragmenti, te mnogim privatnim zbirkama.

Osim umjetničkim, bavi se i pedagoškim radom, te je osmislila i provela niz radionica za djecu i odrasle u suradnji s lokalnim udrugama i institucijama. Od 2019. radi na katedri za slikarstvo Akademije primijenjenih umjetnosti u Rijeci.

Luka Kušević rođen je 1993. u Zagrebu. Godine 2017. diplomirao je slikarstvo na Akademiji likovnih umjetnosti u Zagrebu, u klasi prof. Zoltana Novaka. Izlagao je na nekoliko samostalnih i više skupnih izložbi od kojih izdvajamo samostalnu izložbu u galeriji Forum 2018. Živi i radi u Zagrebu. Željko Lapuh najznačajniji je slikar postmoderne varijante metafizičkog slikarstva. Rođen je 1951. u Splitu. Diplomirao je Akademiju likovnih umjetnosti u Zagrebu u klasi prof. Šime Perića. Od 1976. do 1980. bio je suradnik Majstorske radionice prof.

Lj. Ivančića i prof . N. Reisera. Samostalno izlaže od 1976. Sudjelovao je na mnogobrojnim samostalnim i skupnim izložbama u zemlji i inozemstvu (Austrija, Francuska, Italija, Japan, Mađarska, Nizozemska, Njemačka, Španjolska, Turska, Egipat, Švedska, Slovenija, Bosna i Hercegovina, Island, Makedonija, Belgija, USA). Dobitnik je niza nagrada i priznanja od kojih izdvajamo „Prvu nagradu za slikarstvo“ na Svjetskom biennalu hrvatske umjetnosti u Torontu 1993., te „Grand Prix“ na 29. zagrebačkom salonu 1993. Od kasnih 80ih u svoja djela unosi ironični humor i dimenziju straha i strave. Željko Lapuh sebi svojstvenim postmodernim citatima (Giorgio de Chirico, Gorgio Morandi) i vlastitim inačicama metafizičkog slikarstva nijeme, prazninom urezane lelujate skulpturalne figure i masa (Konstruktivni Ras I, 1990.) produbljuje upite muklih i pustih, posve onostranih bivanja. Iza predmetnog krije se tajna

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Zlatko Keser was born in Zagreb in 1942. He graduated from the Academy of Fine Arts in Zagreb in 1967, in the class of Prof. Oton Postružnik. He pursued postgraduate studies at the same institution from 1967 to 1969, earning a master’s degree in easel painting. From 1971 to 1975, he was an associate at the Master’s Workshop of Prof.

Krsto Hegedušić. He has been a full professor at the Academy of Fine Arts in Zagreb since 2001.

In 2000, he became an associate member of the Croatian Academy of Sciences and Arts (HAZU), and in 2001, he became a full member. He has had over 60 solo exhibitions and participated in about 250 group exhibitions in the country and abroad (Cairo, Beijing, Amsterdam, Brussels, The Hague, Košice, Cagnes-Sur-Mer, Tampere, Seoul, Kőln, Cleveland, Rome, Villach, Milan, Barcelona, Pittsburgh, Budapest, Paris, Sao Paulo, Luxemburg, Cremona and others). He has won more than twenty awards for painting and drawing.

Anita Kos was born in 1994 and graduated in 2019 with a degree in Art Pedagogy from the Academy of Applied Arts in Rijeka, majoring in painting.

She spent a year at the Jan Matejko Academy of Fine Arts in Krakow. She received the Academy Award for her outstanding achievement during her graduate studies. She has exhibited in solo and group exhibitions. She balances between painting and illustration.

Mirna Kutleša was born in Rijeka in 1980. She graduated in painting from the Academy of Fine Arts in Zagreb. Since then, she has continuously created and exhibited at numerous solo and group exhibitions in Croatia and abroad. Mirna has received multiple awards for her work, and her works are part of the collections of the Museum of Modern and Contemporary Art in Rijeka, the Erste Fragments collection, as well as various private collections. In addition to her artistic pursuits, she is also involved in educational activities, having designed and conducted a series of workshops for both children and adults in collaboration with local associations and institutions. Since 2019, she has worked at the Department of Painting at the Academy of Applied Arts in Rijeka.

Luka Kušević was born in Zagreb in 1993. In 2017, he graduated in painting from the Academy of Fine Arts in Zagreb, in the class of Prof. Zoltan Novak. He has had several solo and numerous group exhibitions, including a solo exhibition in the Forum Gallery in 2018. He lives and works in Zagreb.

duša stvari. Prikrivena i zatočena unutar masiva i ljušture ne dopire prema empirijskoj stvarnosti.

Gama slike je u svjetlu.

Mia Matijević Akrap rođena je 1995. u Požegi.

Godine 2020. diplomirala je na Akademiji likovnih umjetnosti Sveučilišta u Zagrebu. Izlagala je na šest samostalnih i brojnim skupnim izložbama. Sudjelovala je na tri rezidencijalna programa (Francuska, Njemačka, Litva) i Erasmus+ stručnoj praksi (Njemačka). Dobitnica je četiri Rektorove nagrade, dvije pohvale Akademije likovnih umjetnosti, nagrade „Kolekcionar umjetniku“ na 36.

Salonu mladih, nagrade publike na projektu Erste fragmenti i dvije Sveučilišne stipendije za darovite studente. Živi i radi u Zagrebu.

Monika Meglić rođena je 1987. u Zagrebu. Završila je Školu primijenjene umjetnosti i dizajna u Zagrebu 2005., a iste je upisala Akademiju likovnih umjetnosti na kojoj diplomira 2010. u klasi prof.

Duje Jurića. Stekla je zvanje muzejskog pedagoga 2015. Sudjelovala je u realizaciji mnogobrojnih projekata na području mozaika, vitraja, Street Arta i ilustracija. Članica je Hrvatskog društva likovnih umjetnika. Od 2018. radi u Školi primijenjene umjetnosti i dizajna u Zagrebu.

Radovi umjetnice Marina Mesar OKO (slike, murali i instalacije), izlagani su u galerijama i muzejima kao što su Muzej suvremene umjetnosti u Zagrebu, „Victoria & Albert“ muzej u Londonu, „e-flux“ u New Yorku, art sajmovi u Brazilu, te se očekuje njezina samostalna izložba u Tokyu.

Njezin mural dio je službene zbirke slika Muzeja suvremene umjetnosti u Zagrebu, kao i njezin interaktivni video / zidni rad „Ne drži bijelog zeca”za Muzeja suvremene umjetnosti u Zagrebu.

Rad “Equilibrium” je dio stalnog postava Glavne zgrade Centralne banke Europe u Frankfurtu.

Surađuje na mnogim urbanim i komercijalnim projektima kao što su partnerstva s Googleom, Adidasom, Samsungom, Ikeom te mnogim drugima. Gost je predavač na mnogim institucijama, kako srednjoškolskim, akademskim tako i poslovnim. Rođena je u Hrvatskoj, gdje je završila Akademiju likovnih umjetnosti, smjer Novih medija. Živi između Londona i Zagreba.

John Miličić rođen je u Splitu. Diplomirao je slikarstvo na zagrebačkoj Akademiji likovnih umjetnosti 2018. Živi i radi u Hvaru. Izlagao je na više samostalnih i skupnih izložbi.

Zoltan Novak rođen je 1963. u Zagrebu. Diplomi-

Željko Lapuh is the most prominent painter of the postmodern variant of metaphysical painting. He was born in Split in 1951. He graduated from the Academy of Fine Arts in Zagreb in the class of Prof. Šime Perić. From 1976 to 1980, he was an associate at the Master’s Workshop of Prof. Lj. Ivančić and Prof. N. Reiser. He has been exhibiting independently since 1976 and has participated in numerous solo and group exhibitions in the country and abroad (Austria, France, Italy, Japan, Hungary, the Netherlands, Germany, Spain, Turkey, Egypt, Sweden, Slovenia, Bosnia and Herzegovina, Iceland, Macedonia, Belgium, USA).

Lapuh has received numerous awards and recognitions, including the Grand Prix for painting at the World Biennale of Croatian Art in Toronto in 1993 and the Grand Prix at the 29th Zagreb Salon in 1993. Since the late 80s, he has been introducing ironic humour and a dimension of fear and horror into his works. Željko Lapuh uses his own postmodern references (Giorgio de Chirico, Gorgio Morandi) and his own versions of metaphysical painting of silent, void-etched wobbly sculptural figures and masses (Konstruktivni Ras I,1990) to deepen the inquiries of silent and desolate, completely otherworldly existences. The secret soul of the thing is hidden behind the object.

Concealed and imprisoned within the mass and shell, it does not reach towards empirical reality.

The gamma of the image is in the light.

Mia Matijević Akrap was born in Požega in 1995.

In 2020, she graduated from the Academy of Fine Arts of the University of Zagreb. She has exhibited in six solo and numerous group exhibitions. She has participated in three residency programs (France, Germany, Lithuania) and an Erasmus+ professional internship (Germany). She is the recipient of four Rector’s Awards, two commendations from the Academy of Fine Arts, the “Collector to the Artist” award at the 36th Youth Salon, an audience award at the Erste Fragments project and two University scholarships for gifted students. She lives and works in Zagreb.

Monika Meglić was born in Zagreb in 1987. She graduated from the School of Applied Art and Design in Zagreb in 2005. In 2010 she graduated in Painting from the Academy of Fine Arts in the class of Professor Duje Jurić, and in 2015 she passed a qualifying exam to become a museum pedagogue at the Museum Documentation Centre. She has had several solo and group exhibitions in the country and abroad, and has participated in the realisation of numerous projects

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rao je na Akademiji likovnih umjetnosti u Zagrebu 1989. Od tada do danas priredio je niz izložbi i sudjelovao na mnogim likovnim manifestacijama u zemlji i inozemstvu. Od 2004. profesor je slikarstva na Akademiji likovnih umjetnosti u Zagrebu.

Djela mu se nalaze u mnogim privatnim i javnim zbirkama: Moderna galerija u Zagrebu, Muzej za umjetnost i obrt, Muzej grada Vukovara, Gradski muzej Virovitica i Zbirka Faggian u Puli. Živi i radi u Zagrebu.

Pavle Pavlović rođen je 1983. u Beogradu. Godine 2010. diplomirao je slikarstvo pod mentorstvom profesora Zoltana Novaka na Akademiji likovnih umjetnosti u Zagrebu. Dobitnik je „Essl Art Award CEE Collector’s Invitation prize“. Boravio je na One Sided rezidenciji u Njemačkoj, Salzamt rezidenciji u Austriji i GLO’ART rezidenciji u Belgiji. Dobitnik je Nagrade „Iva Vraneković“ 33. salona mladih i finalist „Essl Award CEE 2011.“, a izdvajamo i samostalna izlaganja u Galerijama Trotoar, Bačva i Karas te skupna na 48. zagrebačkom salonu, 31. i 33. salonu mladih, Artigo Rio, Rio de Janeiro, 9. internacionalnom bijenalu umjetnosti u Pekingu te Mutatis Mutandis, Halle 14, Leipzig.

Mihaela Rašica rođena je 1997. u Dubrovniku.

Diplomirala je 2023. na Nastavničkom odsjeku Akademije likovnih umjetnosti u Zagrebu, smjer slikarstvo. Za vrijeme studija sudjelovala je s autorskim filmskim uradcima „Glenje“ (2018.) i „Lađarev san“ (2019.) na filmskim festivalima u Hrvatskoj te je izlagala na nekoliko skupnih i četiri samostalne izložbe: Slikarski dnevnik, Knjižnica Dubec, Zagreb (2021.), Slike ljeta, slike Grada, Galerija Crta, Zagreb (2023.), diplomska izložba Gozba!, Galerija Kranjčar, Zagreb (2023.) i Šum ljetnog dana, Galerija Panacea, Zagreb (2023.). Objavila je dvije zbirke poezije: Strune i stihije (2020., Naklada Bošković, Split) i Grimiz, kristal i sol (2023., Naklada Bošković, Split). U jesen 2023. je upisala još jedan diplomski studij; Slikarstvo u klasi prof.

Matka Vekića na Akademiji likovnih umjetnosti u Zagrebu. Aktivno se bavi slikarstvom, poezijom i filmom.

Domagoj Rogina rođen je 1989. u Varaždinu. Diplomirao je slikarstvo u klasi prof. Damira Sokića na Nastavničkom odsjeku na Akademiji likovnih umjetnosti Sveučilišta u Zagrebu 2017. Dobitnik je godišnje nagrade HDLU za najboljeg mladog umjetnika 2022. Dosad je izlagao na tridesetak skupnih izložbi od kojih izdvaja 4., 5., 6., i 7. Bijenale slikarstva, 13. i 15. Erste Fragmenti te 32. i 35. salon Mladih. Samostalno je izlagao osam puta.

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dealing with mosaics, stained glass, street art, and illustration. She is a member of the Croatian Society of Fine Artists, and since 2018, she has been working at the School of Applied Art and Design in Zagreb.

The works of the artist Marina Mesar OKO (paintings, murals and installations) have been exhibited in galleries and museums such as the Museum of Contemporary Art in Zagreb, the Victoria & Albert Museum in London, e-flux in New York, art fairs in Brazil, and her solo exhibition will be held in Tokyo. Her mural is part of the official collection of paintings of the Museum of Contemporary Art in Zagreb, as well as her interactive video/ mural “Ne drži bijelog zeca” for the Museum of Contemporary Art in Zagreb. The work “Equilibrium” is part of the permanent exhibition of the Main Building of the European Central Bank in Frankfurt. She collaborates on numerous urban and commercial projects, partnering with Google, Adidas, Samsung, Ikea and many others.

She is a guest lecturer at various institutions, including high schools, academic institutions and businesses. Born in Croatia, where she graduated from the Academy of Fine Arts, majoring in New Media, she currently lives between London and Zagreb.

John Miličić was born in Split. He graduated in Painting at the Zagreb Academy of Fine Arts in 2018. He lives and works in Hvar. He has exhibited in several solo and group exhibitions.

Zoltan Novak was born in 1963 in Zagreb. He graduated from the Academy of Fine Arts in Zagreb in 1989. He has organized several exhibitions and participated in many art events in the country and abroad. Since 2004, he has been a professor of Painting at the Academy of Fine Arts in Zagreb. His works can be found in many private and public collections: the Modern Gallery in Zagreb; the Museum of Arts and Crafts; the Museum of the City of Vukovar; the Virovitica City Museum, and the Faggian Collection in Pula. He lives and works in Zagreb.

Pavle Pavlović was born in Belgrade in 1983. He graduated in Painting from the Academy of Fine Arts in Zagreb, under the mentorship of Professor Zoltan Novak, in 2010. He won the Essl Art Award CEE Collector’s Invitation prize, and participated in the One Sided Story residency programme in Germany, the Salzamt residency programme in Austria and the Glo’Art residency programme

U Zagrebu u galerijama: 3.14, Vladimir Filakovac, Greta, SC, Karas i Galeriji Šira. Dva puta samostalno izlaže u Varaždinu, u Galeriji Zlati Ajngel i Galeriji Gradskog muzeja, te u Novom Vinodolskom u Galeriji Turnac. Boravio je na rezidenciji u Belgiji 2015. i likovnoj koloniji Počitelj (BiH) 2019. Od 2018. radi kao profesor likovne kulture u Centru za odgoj i obrazovanje Slava Raškaj u Zagrebu.

Mario Romoda rođen je 1987. u Vukovaru. Godine 2012. diplomirao je slikarstvo na Akademiji likovnih umjetnosti u Zagrebu, u klasi Zoltana Novaka.

Ističemo njegova samostalna izlaganja u galerijama PM, Pikto i u Galeriji Greta. Dobitnik je posebnog priznanja te 1. nagrade za studentski rad ALU-a Zagreb i 1. nagrade studentskog crteža u Beogradu 2006. Izabran 3 puta za Creart rezidencije u Litvi i Makedoniji.

Helena Schultheis Edgeler rođena je 1972. u Zagrebu. Završila je Školu za primijenjenu umjetnost i dizajn. Diplomirala je na Akademiji likovnih umjetnosti u Zagrebu. Stručno se je usavršavala na „Amsterdams Institut Voor Schilderkunst“ u Holandiji. Zaposlena je na Tekstilno-tehnološkom fakultetu Sveučilišta u Zagrebu u zvanju izvanrednog profesora na grupi kolegija Crtanje i slikanje. Djeluje aktivno na području slikarstva, umjetničkog filma i videa, fotografije i umjetničke instalacije. Sudjelovala je na brojnim izlaganjima u zemlji i inozemstvu. Članica je Hrvatskog društva likovnih umjetnika.

Mohamad David Shreim rođen je 1986. u Dubrovniku. Diplomirao je slikarstvo 2012. na Akademiji likovnih umjetnosti u Zagrebu. Od 2010. član je HDLU. Živi i radi u Zagrebu. Sudjelovao je na brojnim samostalnim i skupnim izložbama u zemlji i inozemstvu od čega ističemo izlaganja na 1. i 2. bijenalu slikarstva te 9. i 10. Erste fragmentima.

Valentina Supanz Marinić rođena je 1986. u Zagrebu. Godine 2012. diplomirala je slikarstvo na Akademiji likovnih umjetnosti u Zagrebu, u klasi Zlatka Kauzlarića – Atača. Izlagala je na više samostalnih i brojnim skupnim izložbama, od kojih izdvajamo: 2. i 5. bijenale slikarstva HDLU, ‘’Novi Hrvatski realizam’’ Gliptoteka, ‘’Fountain art faire’’ na ‘’Armory arts week’’ Manhattan, New York 2014. Fondacija ‘’Erste fragmenti’’ dodjeljuje joj otkupnu nagradu za sliku ‘’Moja džungla’’ 2013.

U sklopu projekta ‘’Boje stvarnosti’’ i intervencija estetizacije unutarnjih i vanjskih prostora Zatvora, koji je provodila dr.art Melinda Šefčič izvela je mural naziva ‘’Dubine’’ u zatvoru u Bjelovaru

in Belgium. He won the Iva Vraneković Award at the 33rd Youth Salon and a Finalist of the the Essl Award CEE 2011., the Essl Award CEE 2011 and the Collector’s Invitation Prize 2012-2013.Also noteworthy are his solo exhibitions in the Bačva, SC and Karas galleries, as well as group exhibitions at the 48th Zagreb Salon, 31st and 33rd Youth Salon, Artigo Rio, Rio de Janeiro, Glo’Art Gallery, Lanaken, 9th International Art Biennale in Beijing, Mutatis Mutandis and Halle 14 in Leipzig.

Mihaela Rašica was born in 1997 in Dubrovnik.

She graduated in 2023 from the Teaching Department of the Academy of Fine Arts in Zagreb, majoring in painting. During her studies, she participated in the author’s film works Glenje (2018) and Boatman’s Dream (2019) at film festivals in Croatia and exhibited at several collective and four solo exhibitions: Painter’s Diary, Library Dubec, Zagreb (2021); Pictures of Summer, pictures of the City, Crta Gallery, Zagreb (2023); graduation exhibition Feast!, Kranjčar Gallery, Zagreb (2023) and Summer Day Sound, Panacea Gallery, Zagreb (2023). She published two collections of poetry: Strings and Elements (2020, publisher Naklada Bošković, Split) and Crimson, Crystal and Salt (2023, publisher Naklada Bošković, Split). In the fall of 2023, she enrolled in another graduate course; Painting in the class of Prof. Matko Vekić at the Academy of Fine Arts in Zagreb. She is actively engaged in painting, poetry, and film.

Domagoj Rogina was born in Varaždin in 1989. In 2017 he graduated in Painting from the Academy of Fine Arts in Zagreb in the class of Prof. Damir Sokić. He won the 2022 HDLU award for best young artist. He has exhibited in about ten/thirty group exhibitions, including the 32nd Youth Salon, 13th and 15th Exhibition Erste Fragments and 4th and 5th Biennial of Painting. He has had solo exhibitions at the 3.14 Gallery, Karas Gallery and SC Gallery. He has also exhibited independently in Varaždin (the Zlati Ajngel Gallery and the City Museum Gallery) and in Novi Vinodolski (the Turnac Gallery). He stayed at the residency in Belgium in 2015 and the art colony Počitelj (BiH) in 2019. Since 2018, he has been working as a professor of art at the Slava Raškaj Education Center in Zagreb.

Mario Romoda was born in Vukovar in 1987. In 2012 he graduated in Painting from the Academy of Fine Arts in Zagreb in the class of Prof. Zoltan Novak. He has held noteworthy solo exhibitions at the PM, Pikto and Greta galleries. He received

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i mural ‘’Let’’ u kaznionici u Lepoglavi. U sklopu projekta ‘’Šareni svijet’’ koji je provodila dr. art.

Melinda Šefčič, izvela je mural pod nazivom ‘’Radost’’ u KBC Zagreb, bolnica Rebro. Ilustratorica je nekoliko dječjih slikovnica. Članica je HDLU i HZSU. Stjepan Šandrk rođen je 1984. u Osijeku. Diplomirao je 2006. na Akademiji likovnih umjetnosti u Zagrebu, u klasi profesora Igora Rončevića, te je u istoj ustanovi i doktorirao slikarstvo 2015. Dosad je izlagao na dvadesetak samostalnih i preko 50 skupnih izložbi, među kojima ističemo sudjelovanje na 42. zagrebačkom salonu i samostalnu izložbu u Galeriji Bačva. Dobitnik je više nagrada: „Nagrade publike“ T-HT izložbe, „Nagrade Ex Aequo“ 22. slavonskog bijenala te Nagrade za najboljeg diplomanta Vijeća profesora ALU-a i Hrvatske Gospodarske Komore 2006.

Doc. dr. art. Melinda Šefčić rođena je 1986. Godine 2006. upisala je Akademiju likovnih umjetnosti u Zagrebu smjer slikarstvo, a 2012. diplomirala je na diplomskom studiju slikarstva u klasi red. prof.

Zoltana Novaka. U svibnju 2018. doktorirala je na studiju slikarstva na Akademiji likovnih umjetnosti u Zagrebu pod mentorstvom red. prof. art.

Svjetlana Junakovića i red. prof. dr. sc. Vere Turković. Izlagala je na brojnim samostalnim te na velikom broju skupnih izložbi kako u Hrvatskoj tako i diljem svijeta od Italije, Portugala, Grčke, Srbije, Makedonije, Indije, Poljske, Njemačke, Francuske i SAD-a. Sudjelovala je na brojnim umjetničkim festivalima i rezidencijalnim programima u sklopu čega je izvela brojne umjetničke intervencije u javnom prostoru. Autorica je preko 20 umjetničkih projekata s naglaskom na estetizaciju bolničkog i zatvorskog prostora, te oko 40 murala, sudjelovala je na znanstvenim skupovima diljem Hrvatske i autorica je brojnih istraživačkih radova na temu estetizacije zatvorskog i bolničkog prostora u Hrvatskoj. Članica je HDLU od 2011. i HZSU-a od 2014.

Robert Šimrak rođen je 1967. u Zagrebu. Hrvatski je slikar i grafičar, redoviti profesor na Akademiji likovnih umjetnosti u Zagrebu. Diplomirao je na Akademiji likovnih umjetnosti u Zagrebu 1992. na Grafičkom odsjeku u klasi profesora Ante Kuduza. Doktorirao je 2018. temeljem umjetničkih dostignuća. Bio je predsjednik Hrvatskog društva likovnih umjetnika u razdoblju od 2001. do 2003.

Područje njegova slikarskog izražavanja su crtež, digitalna grafika i slikarstvo a opus mu je izravno blizak figuraciji i estetici pop arta. Vizualni dojam i

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a special acknowledgement and the first prize for student work at the Academy of Fine Arts in Zagreb, as well as the first prize for student drawing in Belgrade. He was elected 3 times for Creart residencies in Lithuania and Macedonia.

Helena Schultheis Edgeler was born in 1972 in Zagreb. She completed her education at the School of Applied Art and Design and later earned a degree from the Academy of Fine Arts in Zagreb. She also received professional training from the Amsterdams Institut Voor Schilderkunst in the Netherlands. Currently, she is an associate professor at the Faculty of Textile Technology of the University of Zagreb and teaches Drawing and Painting. Helena is an active artist in various fields such as painting, art film, video, photography, and art installation. She has participated in numerous exhibitions both in the country and abroad. Additionally, Helena is a member of the Croatian Society of Fine Artists.

Mohamad David Shreim was born in 1986 in Dubrovnik. He graduated painting in 2012 from the Academy of Fine Arts in Zagreb. He has been a member of HDLU since 2010. He lives and works in Zagreb. He has participated in numerous solo and group exhibitions in the country and abroad, of which we highlight participating in the 1st and 2nd Biennial of Painting and 9th and 10th Erste Fragments.

Valentina Supanz Marinić was born in Zagreb in 1986. She graduated in Painting from the Academy of Fine Arts in Zagreb in the class of Professor Zlatko Kauzlarić-Atač in 2012. She has exhibited in several solo and numerous group exhibitions, including the 2nd and 5th Biennales of Painting HDLU, “New Croatian Realism”, Glyptoteka, Fountain Art Faire at the Armory Arts Week Manhattan, New York in 2014. In 2013 she won the Art Purchase Award by the Erste Fragments Foundation for her painting My Jungle. As part of the project “Colors of Reality” carried out by Dr. Art. Melinda Šefčič, which had the objective of aesthetically enhancing the interior and exterior spaces of prisons through interventions, the artist created a mural called “Depth” in the Bjelovar prison, and another one named “Flight” in the Lepoglava penitentiary. She also created a mural called “Joy” at KBC Zagreb, Rebro Hospital, as part of the “Colorful World” project, also carried out by Dr. Art. Melinda Šefčič. She has illustrated several children’s picture books. She is a member of the Croatian Association of Artists and Croa-

tretman motiva bliski su estetici naglašenog preciznog crteža koju su promovirali strip i industrija oglašavanja. Njegovo slikarstvo na kraju 1980-ih očitovalo je povratak prikazivačkog slikarstva razrađena metijera, precizna izvođenja i profinjene eklektičke estetičnosti. Gotovo sva njegova ostvarenja posjeduju nešto monumentalno, moćno, nadindividualno, ali istodobno su ispunjena ironičnim, humornim nabojem. U dosadašnjem opusu spretno se, ali decentno i nenametljivo, referira o položaju slikarstva u današnjoj civilizaciji i s kritičkim odmakom parafrazira iskustvo i opću sliku suvremene umjetnosti (Župan, 2012).

Bojan Šumonja rođen je u Puli 1960. Završio je srednju umjetničku školu u Puli te diplomirao na „Accademia di Belle Arti di Venezia“, odjel skulpture, u klasi prof. Tramontina 1984. Godine. Jedan je od osnivača Hrvatskog Društva likovnih Umjetnika Istre. Od 1987. član je Hrvatske zajednice samostalnih umjetnika (HZSU). Bio je član vijeća za vizualnu umjetnost grada Pule, Istarske županije i vijeća za vizualnu umjetnost pri Ministarstvu kulture RH. Jedan je od autora Istarske kulturne strategije. Član je HDLU Istre (Hrvatsko društvo likovnih umjetnika Istre) i Umjetničke organizacije ROBOT, Pula, te umjetnički direktor galerije Poola u Puli. Izlagao na preko 200 skupnih i 100-tinjak samostalnih izložbi u zemlji i inozemstvu. Predstavljao je Hrvatsku na mnogobrojnim međunarodnim projektima i izložbama.

Dobitnik je brojnih nagrada i priznanja za svoj umjetnički rad. Godine 2007. u izdanju HDLU-a Istre izlazi monografija o umjetnikovom radu čiji tekst potpisuje Igor Zidić. Radovi mu se nalaze u stalnom postavu Moderne galerije Zagreb, u fundusu Muzeja moderne i suvremene umjetnosti Rijeka, Zavičajnog Muzeja grada Rovinja, Obalnih Galerija u Piranu, te u mnogobrojnim područnim gradskim i privatnim zbirkama. Živi i radi u Puli.

Mislav Tadić rođen je 1997. u Osijeku. Godine 2017. završava srednju školu u Đakovu te upisuje Akademiju za umjetnost i kulturu u Osijeku. U srpnju 2023. diplomira na studiju vizualnih umjetnosti te se zapošljava kao restaurator za arhitektonsku plastiku (bauštela). Tijekom studija, do sada je sudjelovao na desetak skupnih izložbi, te na raznim radionicama i kolonijama u sklopu i van akademije a neke od njih su; 13. Memorijal Ive Kerdića - Trijenale hrvatskog medaljarstva i male plastike, MLU Osijek, 2019; Art Zagreb, prodajna izložba, Tehnički muzej Nikola Tesla, Zagreb, 2020; Projekt pod nazivom “GRAD KAO MUZEJ”, na Campusu, AUKOS, 2021;. 2023.- Dobitnik prve nagrade “Naši

tian Freelance Artists’ Association.

Stjepan Šandrk was born in Osijek in 1984. He graduated in 2006 from Professor Igor Rončević’s class at the Academy of Fine Arts in Zagreb, where he also earned his PhD in Painting in 2015.

So far, he has exhibited in about 20 solo and over 50 group exhibitions, including the 42nd Zagreb Salon and the Bačva Gallery. He has won several awards, including the T-HT Audience Award, the Ex Aequo Award at the 22nd Slavonian Biennale, the title of Best Graduate awarded by the Academy of Fine Arts’ Council of Professors, and the award of the Croatian Chamber of Economy in 2015.

Associate Professor Melinda Šefčić, PhD, was born in 1986. In 2006, she enrolled in the Academy of Fine Arts in Zagreb, majoring in painting, and in 2012 she graduated from the graduate in painting in the class of Prof. Zoltan Novak. In May 2018, she completed her PhD in painting at the Academy of Fine Arts in Zagreb under the mentorship of Prof. Svjetlan Junaković and Prof. Vera Turković, PhD. She has exhibited in numerous solo and group exhibitions in Croatia and abroad, including Italy, Portugal, Greece, Serbia, Macedonia, India, Poland, Germany, France and the USA. She has participated in numerous art festivals and residency programs, where she executed numerous artistic interventions in public spaces.

She has authored more than 20 art projects with a focus on the aestheticization of hospital and prison spaces, as well as about 40 murals. She has also participated in scientific conferences throughout Croatia and authored numerous research papers on the topic of the aestheticization of prison and hospital spaces in Croatia. She has been a member of the Croatian Association of Fine Artists (HDLU) since 2011 and the Croatian Freelance Artists’ Association (HZSU) since 2014.

Robert Šimrak (Zagreb, 1967) is a Croatian painter and graphic artist. He is also a full-time professor at the Academy of Fine Arts in Zagreb. He graduated from the Academy of Fine Arts in Zagreb in 1992 in the Graphics Department in the class of Professor Ante Kuduz. He received his doctorate in 2018 based on artistic achievements.

He was the president of the Croatian Society of Fine Artists (HDLU) from 2001 to 2003. He specializes in drawing, digital graphics, and painting, and his work closely follows the figuration and aesthetics of pop art. His motifs are treated with an emphasis on precise drawing, similar to

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suvremenici”, Galerija Matice hrvatske. Aktivno se bavi slikarstvom.

Gorana Težak rođena je 1985. u Puli. Godine 2000. upisuje srednju školu Primijenjenih umjetnosti i dizajna u Puli. Diplomirala je 2010. na Akademiji likovnih umjetnosti u Zagrebu, u klasi prof. Duje Jurića. Sudjelovala je u nekoliko likovnih rezidencija i humanitarnih aukcija: Art residence, Medana (Slovenija), Art residence, Varese (Italija), Artist in residence, Warberg ob der Aist (Austrija), Dekonstrukcija slike, Leipzig (Njemačka)... Izlagala je na 22 samostalne i 45 grupnih izložbi u zemlji i inozemstvu. Njezine slike nalaze se u brojnim umjetničkim kolekcijama diljem svijeta. Živi i radi u Zagrebu i Puli. Od 2012. članica je HDLU-a Istre (Pula). Od 2017. članica je HZSU-a. Od 2019. članica HDLU-a (Zagreb).

Josip Tirić rođen je 1982. u Travniku. Od 2001. do 2007. studira na Akademiji likovnih umjetnosti u Zagrebu. Dobitnik je nagrade ALU-a Zagreb za najuspješnijeg diplomanta u akademskoj 2006. / 2007. i Godišnje nagrade HDLU-a za najboljeg mladog umjetnika 2011. Izlagao je na više samostalnih izložbi u zemlji i u inozemstvu. Njegovi su radovi zastupljeni u mnogim kolekcijama.

Predrag Todorović rođen je 1966. u Drvaru. Diplomirao je na Pedagoškom fakultetu u Rijeci 1990., smjer Slikarstvo, pod mentorstvom prof. Ksenije Mogin. Predavao je u Školi za primijenjenu umjetnost i na Akademiji za primijenjenu umjetnost u Rijeci. Od 2003. do 2004. predsjednik je HDLU-a Rijeke. Izlagao je na brojnim samostalnim i skupnim izložbama u Hrvatskoj i inozemstvu. Boravio je na dva rezidencijalna programa: U Kairu 1997. i u Parizu 2016. Njegovi se radovi nalaze u brojnim privatnim zbirkama u zemlji i inozemstvu, u fundusu MMSU-a u Rijeci te u grafičkim zbirkama MSU-a Zagreb i NSK Zagreb. Dobitnik je nekoliko nagrada i priznanja, od kojih izdvajamo nagradu „The Pollock-Krasner Foundation – Grant“ (1996. - 1997.) i „Adolph and Esther Gottlieb Foundation“, New York, 2022, „Individual Support Grant“, za dugogodišnji rad u kontinuitetu dužem od 20 godina. Šimun Tolić rođen je 1982. u Zagrebu. Diplomirao je 2017. na Akademiji likovnih umjetnosti, nastavnički odsjek, smjer Slikarstvo u klasi prof. Matka Vekića. Magistar je edukacije likovne kulture.

Izlagao je na više skupnih i nekoliko samostalnih izložbi. Član je HZSU-a od 2023. Živi i radi u Zaprešiću.

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the style promoted by comics and the advertising industry. In the late 1980s, his paintings represented a return to representational painting with elaborate craftsmanship, precise execution, and refined eclectic aesthetics. His creations are often monumental, powerful, and super-individual, but also carry an ironic and humorous charge. In his previous work, he subtly and respectfully touches upon the position of painting in today’s civilization and critically paraphrases the experience and general picture of contemporary art. (Ivica Župan, 2012) Bojan Šumonja was born in Pula on October 29, 1960. He finished high school in Pula and graduated in 1984 from the Sculpture Department of Accademia di Belle Arti di Venezia in the class of Prof. Tramontino. He is one of the founders of the Croatian Society of Fine Artists of Istria, and has been a member of the Croatian Freelance Artists Association (HZSU) since 1987. He was a member of the Council for Visual Arts of the City of Pula, Istria County, and the Council for Visual Arts at the Ministry of Culture of the Republic of Croatia. He is one of the authors of the Istrian Cultural Strategy. He is a member of the HDLU of Istria (Croatian Society of Fine Artists of Istria) and the arts organisation ROBOT, Pula, and the artistic director of the Poola Gallery in Pula. He has exhibited in over 200 group and about 100 solo exhibitions in the country and abroad. He has represented Croatia at numerous international projects and exhibitions and won multiple awards and recognitions for his artistic work. In 2007 a monograph on the artist’s work was published by HDLU Istra, the text of which was written by Igor Zidić. His works are in the permanent exhibition of the Modern Gallery Zagreb, in the holdings of the Museum of Modern and Contemporary Art in Rijeka, the Regional Museum of Rovinj, the Coastal Galleries in Piran, and in numerous regional, civic and private collections. He lives and works in Pula.

Mislav Tadić was born in Osijek in 1997. In 2017, he graduated from high school in Đakovo and enrolled in the Academy of Arts and Culture in Osijek. In July 2023, he graduated from the visual arts program and started working as a restorer of architectural sculpture (construction site).

Throughout his studies, he has participated in about ten group exhibitions and various workshops and art colonies both within and outside the academy. Some of those include the 13th Memorial of Ivo Kerdić - Triennial of Croatian Medal Art and Small-Scale Sculpture, Museum of Fine

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

Dino Topolnjak rođen je 1985. u Čakovcu. Diplomirao je na Akademiji primijenjenih umjetnosti u Rijeci pod mentorstvom Vladimira Gudca i studirao filmsku režiju na film.factoryu u Sarajevo pod mentorstvom Béle Tarra. Djeluje kao slikar i u filmskom mediju kao redatelj, scenski slikar i scenograf. Izlagao na samostalnim i skupnim izložbama u Rijeci, Zagrebu, Puli, Dubrovniku, Labinu, Berlinu, Düsseldorfu, New Yorku.

Zlatan Vrkljan rođen je 1955. u Zagrebu. Diplomirao je slikarstvo na Akademiji likovnih umjetnosti u Zagrebu 1979. Do 1981. godine bio je suradnik majstorske radionice profesora Ljube Ivančića i Nikole Reisera. Radi kao izvanredni profesor na Zagrebačkoj likovnoj akademiji, a i jedan je od suosnivača Galerije Arterija u Zagrebu. Dobitnik je brojnih nagrada: Nagrade 9. salona mladih 1979., Nagrade Josip Račić 1988., Nagrade međunarodnog žirija 7. međunarodnog bijenala u Kairu 1998., Premije u San Cascianu de Bagni 1999. Dobio je i odličje Red Danice hrvatske s likom Marka Marulića za osobite zasluge u hrvatskoj kulturi 1996. Živi i radi u Zagrebu.

Miro Vuco je rođen je 1941. u Vojniću kraj Sinja.

Studirao je u Zagrebu na Akademiji likovnih umjetnosti. Na istoj je Akademiji završio poslijediplomski studij 1969. Surađivao je u Majstorskoj radionici Antuna Augustinčića. Bio je jedan od umjetnika koji su 1970. osnovali likovnu grupu Biafra. Autor je spomenika Tinu Ujeviću u Zagrebu, Anti Starčeviću u Osijeku, Bademe Sokolović u Zagrebu, Pieta u Sinju i dr. Izlagao je na samostalnim i skupnim izložbama. Dobitnik je nagrade 3. salona mladih u Zagrebu, 9. zagrebačkog salona i nagrade „SKOJ-a“ (1975.).

Iva Zagoda rođena je 1992. u Zagrebu, gdje je i završila Akademiju likovnih umjetnosti, Nastavnički odsjek/slikarstvo, u klasi prof. Damira Sokića 2019. Izlagala je na pet samostalnih i desetak skupnih izložbi u Hrvatskoj i inozemstvu. Dobitnica je „Grand Prix“ nagrade na 16. Erste fragmentima,

Arts in Osijek, 2019; Art Zagreb, sales exhibition, Nikola Tesla Technical Museum, Zagreb, 2020; and the project “CITY AS A MUSEUM” at Campus, AUKOS, 2021. In 2023, he was awarded the first prize “Our Contemporaries” at Matica hrvatska Gallery. Mislav is actively engaged in painting.

Gorana Težak was born in 1985 in Pula. In 2000, she enrolled in the high school of Applied Arts and Design in Pula. In 2010, she graduated from the Academy of Fine Arts in Zagreb, in the class of Prof. Duje Jurić. She has participated in several art residencies and humanitarian auctions, including Art residency, Medana (Slovenia), Art residency, Varese (Italy), Artist in residence, Wartberg ob der Aist (Austria), and Deconstruction of Painting, Leipzig (Germany). She has exhibited in 22 solo and 45 group exhibitions at home and abroad. Her paintings are found in numerous art collections around the world. She lives and works in Zagreb and Pula. She has been a member of the Croatian Association of Artists of Istria (Pula) since 2012, the Croatian Association of Artists since 2017, and the Croatian Association of Artists of Zagreb since 2019.

Josip Tirić was born in Travnik, Bosnia and Herzegovina, in 1982. Between 2001 and 2007 he studied at the Academy of Fine Arts in Zagreb.

He won the award from the Academy of Fine Arts in Zagreb for the Best Graduate Student in the 2006/2007 academic year and the Annual Award by the Croatian Association of Artists for the Best Young Artist in 2011. He has had several solo exhibitions in the country and abroad. His works are featured in numerous collections.

Predrag Todorović was born in Drvar, Bosnia and Herzegovina, in 1966. In 1990 he graduated from the Faculty of Teacher Education in Rijeka, Department of Painting, under the mentorship of Professor Ksenija Mogin. He taught at the School of Applied Arts and the Academy of Applied Arts in Rijeka. He has been the president of the Croatian Association of Artists - Rijeka since 2003/2004. He has exhibited at numerous solo and group exhibitions in Croatia and abroad. He participated in two residency programs: In Cairo in 1997 and Paris in 2016. His works are featured in numerous private collections in the country and abroad, in the Museum of Modern and Contemporary Art Collection in Rijeka and graphic collections of the Museum of Contemporary Art in Zagreb and the National and University Library in Zagreb. He has received several awards and ac-

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Druge otkupne nagrade Muzeja grada Rovinja te stipendije za studentsku razmjenu Erasmus + u Pragu. Živi i radi u Zagrebu.

Anabel Zanze rođena je 1971. u Dubrovniku. Diplomirala je 1996. na Grafičkom odsjeku Akademije likovnih umjetnosti u Zagrebu. Predavala je likovnu kulturu u Osnovnoj školi Marina Držića u Dubrovniku u razdoblju 1998. / 2004. Od 2004. živi i radi u Zagrebu. Članica je HDLU-a i HZSU-a.

Priredila je više samostalnih izložbi te izlagala na većem broju skupnih. Njezina djela nalaze se u zbirkama Moderne galerije i Muzeja suvremene umjetnosti u Zagrebu, Galerije umjetnina u Splitu, Muzeja likovnih umjetnosti u Osijeku, Umjetničke galerije Dubrovnik te u drugim muzejskim, privatnim i korporacijskim zbirkama u Hrvatskoj i u svijetu. Bilješke o vlastitom djelu i slikarskim postupcima sabrala je u knjizi „Pogled iznutra (Čitati s razumijevanjem) / View from Inside (Close Reading)“, 2017.

Marko Zeman rođen je 1975. u Zagrebu. Nakon završene gimnazije studirao je slikarstvo na Akademiji likovnih umjetnosti, u klasi Zlatka Kesera, a diplomirao je pod mentorstvom Zoltana Novaka 2010. Izlagao je na brojnim skupnim i samostalnim izložbama. Radio je kao stručni suradnik na Katedri za likovnu kulturu i grafički dizajn Grafičkog fakulteta u Zagrebu. Umjetnički je suradnik na slikarskom odsjeku Akademije likovnih umjetnosti u Zagrebu. Član je HDLU-a i Hrvatske zajednice samostalnih umjetnika.

Marta Živičnjak rođena je 1987. u Zagrebu. Završila je Školu za primijenjenu umjetnost i dizajn u Zagrebu 2006. Nakon završene srednje škole upisuje Akademiju likovnih umjetnosti u Zagrebu (Nastavnički odsjek). Po završetku preddiplomskog studija opredjeljuje se za smjer slikarstvo na diplomskom studiju. Od 2010. članica je HDLU- a.

Diplomirala je 2012. u klasi profesora Ante Rašića.

Godine 2021. postaje članica ULUPUH- ove Sekcije za Tekstilno stvaralaštvo. Aktivno izlaže od 2010. Sudjelovala je na kolonijama i rezidencijama u Hrvatskoj i inozemstvu („Cité des Arts“, Pariz, 2016.). Do sada je imala desetak samostalnih izložbi te tridesetak skupnih, pozvanih i žiriranih, u zemlji i inozemstvu. Od 2023. članica je HZSU- a. Živi i radi u Zagrebu.

LITVA Arvydas Kasauskas rođen je 1959. u Vilniusu, Litva.

Studirao je od 1977. do 1982. na „Vilnius Academy

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knowledgements, including The Pollock-Krasner Foundation - Grant (1996 - 1997) and the Adolph and Esther Gottlieb Foundation, New York, 2022, Individual Support Grant, for long-term work with continuity of more than 20 years. Šimun Tolić was born in Zagreb in 1982. He graduated in 2017 from the Academy of Fine Arts, Department of Art Education, majoring in Painting in the class of Prof. Matko Vekić. He holds a master’s degree in art education. He has exhibited in several group and solo exhibitions. He has been a member of the Croatian Freelance Artists’ Association (HZSU) since 2023. He lives and works in Zaprešić.

Andrej Tomić was born in Osijek in 1992. In 2016, he graduated from the Academy of Fine Arts in Zagreb and holds a degree in Painting. He has held several solo exhibitions and participated in a number of juried group exhibitions. He was awarded the Iva Vraneković – Vladimir Dodig Trokut, Artist to Artist Award at the 5th Biennial of Painting in 2019 and the Young Artist Award at the HDLU Annual Awards in 2021. He currently teaches at the School for Applied Arts and Design in Osijek.

Dino Topolnjak was born in Čakovec in 1985. He graduated from the Academy of Applied Arts in Rijeka under the mentorship of Vladimir Gudac and studied film direction at film.factory in Sarajevo under the mentorship of Béla Tarr. He works as a painter and in the film medium as a director, scene painter and set designer. He has exhibited in solo and group exhibitions in Rijeka, Zagreb, Pula, Dubrovnik, Labin, Berlin, Düsseldorf, and New York.

Zlatan Vrkljan was born in Zagreb in 1955. He graduated in painting at the Academy of Fine Arts in Zagreb in 1979. Until 1981, he was an associate of the master workshop of professors Ljuba Ivančić and Nikola Reiser. He works as an associate professor at the Zagreb Academy of Fine Arts and is one of the co-founders of the Arterija Gallery in Zagreb. He is the winner of numerous awards: the 9th Youth Salon Award in 1979, the Josip Račić Award in 1988, the International Jury Award of the 7th International Biennale in Cairo in 1998, and the San Casciano de Bagna Award in 1999. He also received the Order of the Croatian Danica with the image of Marko Marulić for special services to Croatian culture in 1996. He lives and works in Zagreb.

of Arts“, gdje je specijalizirao monumentalno slikarstvo. Od 1984. ostvario je više od 50 samostalnih izložbi u Litvi i inozemstvu. Sudjelovao je na skupnim izložbama, plenerima i simpozijima u Litvi, Latviji, Ukrajini, Poljskoj, Italiji, Francuskoj, Rusiji, Njemačkoj i dr.

Felicija Dudoit rođena je 1999. u Vilniusu, Litva.

Slikarica je najmlađe generacije i članica „Lithuanian Artists Union“. Diplomirala je slikarstvo 2021. na „Vilnius Academy of Arts“ te je 2023. stekla zvanje magistra slikarstva. Umjetnicu predstavlja „Contour Art Gallery“. Od 2018. aktivno sudjeluje na skupnim izložbama i likovnim sajmovima, imala je četiri samostalne izložbe. Godine 2023. Felicijini radovi su predstavljeni na grupnoj izložbi ,,Vilnius Vibe‘‘ u Angermuseum (Erfurt, Njemačka), a dobitnica je nagrade odbora ,,PDA amore e color‘‘ na ,,The Others Art Fai‘‘ (Torino, Italija). Felicijina djela dio su fundusa „MO Museum of Modern Art“ (Litva), u čijoj zbirci je Felicija najmlađa umjetnica.

Adelė Liepa Kaunaitė rođena je 1990. u Vilniusu, Litva. Već tijekom studija na „Vilnius Academy of Arts“ kreirala je koncept putujućih izložbi bez granica i 2010. osnovala je vlastitu Galeriju Mjeseca (Mėnulio galerija). Nedugo nakon završetka poslijediplomskog studija 2015., pridružila se „Lithuanian Artist‘s Association“, a zastupa ju galerija Ramybė. Organizirala je više od 20 samostalnih i sudjelovala na više od 30 grupnih izložbi i umjetničkih sajmova diljem Europe. Posljednjih godina Adelė osvojila je nagradu ‚,Art Without Borders‘‘ u Vilniusu, Litvi, i nominirana je za najutjecajniju umjetnicu u okrugu Šakiai gdje trenutno živi.

Evaldas Jansas rođen je 1969. u Kaunasu, Litva. Živi u Vilniusu. U periodu od 1988. do 1995. studirao je na Slikarskom odsjeku pri „Vilnius Academy of Arts“. Evaldas Jansas jedan je od vrhunskih suvremenih litvanskih umjetnika, karijeru je započeo u nezavisnoj Litvi zajedno s ostalim pionirima litvanske suvremene umjetnosti devedesetih godina i razvio je svoj jedinstveni međužanrovski i interdisciplinarni slikarski stil. U posljednje vrijeme stvara divergentne i ekspresivne (po sadržaju i načinu izražavanja) slikarske radove. Većina radova Evaldasa Jansasa otvara ozbiljne aspekte života suvremenog čovjeka, propituje konzervativne norme i potiče rasprave. Od samih devedesetih, njegovi radovi predstavljaju bitan katalizator kritičke samosvijesti i samosvjesnosti na litvanskom umjetničkom prostoru. Umjetnik je neprekidno izlagao svoje radove na izložbama i

Miro Vuco was born in Vojnić near Sinj in 1941. He studied at the Academy of Fine Arts in Zagreb, completing his postgraduate studies at the same institution in 1969. He was an associate at the Master’s Workshop of Antun Augustinčić. He was one of the artists who founded the art group Biafra in 1970. He created the monuments to Tin Ujević in Zagreb, Ante Starčević in Osijek, Badema Sokolović in Zagreb, Pieta in Sinj, etc. He has exhibited at solo and group exhibitions. He has received the award of the 3rd Youth Salon in Zagreb, the 9th Zagreb Salon and the SKOJ award (1975).

Iva Zagoda was born in 1992 in Zagreb, where she graduated from the Academy of Fine Arts, Teaching Department/Painting, in the class of Prof. Damir Sokić in 2019. She exhibited at five solo and ten group exhibitions in Croatia and abroad. Winner of the Grand Prix award at the 16th Erste Fragments, the Second Redemption Award of the Museum of the City of Rovinj, and a scholarship for the Erasmus + student exchange in Prague. She lives and works in Zagreb.

Anabel Zanze was born in Dubrovnik in 1971. In 1996 she graduated from the Academy of Fine Arts in Zagreb, Department of Graphic Arts. She taught art eucation at Marin Držić Elementary School in Dubrovnik between 1998 and 2004.

Lives and works in Zagreb since 2004. She is a member of the Croatian Association of Artists and Croatian Freelance Artists’ Association.

She has exhibited in several solo and numerous group exhibitions. Her works can be found in the collections of the Modern Gallery and Museum of Contemporary Art in Zagreb, Art Gallery in Split, Museum of Fine Arts in Osijek, Art Gallery in Dubrovnik and other museum, private and corporate collections in Croatia and abroad. She compiled notes on her own work and painting practices in the book Pogled iznutra (Čitati s razumijevanjem) / View from Inside (Close Reading), 2017.

Marko Zeman was born in 1975 in Zagreb. After graduating from high school, he studied Painting at the Academy of Fine Arts in the class of Prof.

Zlatko Keser, and graduated in 2010 under the mentorship of Prof. Zoltan Novak. He has exhibited in numerous group exhibitions. He worked as an Associate Expert at the Department of Fine Arts and Graphic Design at the Faculty of Graphic Arts in Zagreb. In addition to painting, he designs posters and works as an art educator. He is an ar-

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filmskim projekcijama u Litvi i inozemstvu.

Podrijetlom iz Kaunasa, Litva, Aušra Kleizaitė rođena 1972., suvremena je vizualna umjetnica koja djeluje u mediju tekstila, crteža i skulpture.

Od 2002. živi i radi između barokne prijestolnice i najvećeg grada Litve – Vilniusa i tajanstvenih zaraslih džungli Indije. Godišnje putovanje između Litve i Indije pruža Aušri nove perspektive o ljudskom iskustvu, kulturi, odnosima i svakodnevnom životu. Njezina umjetnička praksa beskrajan je proces istraživanja medija crteža te njegove mogućnosti izražavanja niza ideja i emocija: rat i mir, smrt i život, mržnja i ljubav, neuspjeh i uvjerenje. A.Kleizaitė organizirala je samostalne izložbe te aktivno sudjelovala na mnogim skupnim izložbama u Litvi i inozemstvu, uključujući Latviju, Estoniju, Njemačku, Irsku, UK, Grčku, Ukrajinu, Gruziju, Francusku i Indiju. Godine 2004., među ostalim mladim umjetnicima iz raznih zemalja, Aušra je nagrađena stipendijom „UNESCO-Aschberg Fellowship“, a iste godine je dobila nagradu za “The Best Art Work of The Year 2003”.

Vladimiras Mackevicius rođen je 1981. u Vilniusu, Litva. Godine 2004. diplomirao je na ‚‚Vilnius College of Design‘‘. Od 2022. studira kiparstvo pri „Vilnius Academy of Arts“. Izlagao je na 25 samostalnih i više od 20 skupnih izložbi diljem svijeta.

Godine 2022. postaje član ‚, Lithuanian Artists’ Association‘‘, a iste godine Ministarstvo kulture Litve dodjeljuje mu status profesionalnog umjetnika. Mackeviciusova djela nalaze se u zbirkama sedam muzeja, uključujući „M. K. Čiurlionis National Art Museum“, „National Museum of Arts in Malta“, „State Art Museum of Adjara“, „Royal Academy of Arts and Sciences of Barcelona“.

Kao umjetnik Mackevicius se izražava u mediju slikarstva, grafike i ready-madeu. Glavno područje interesa Mackevicusovih radova je ljudska psihologija, a kroz svoj umjetnički rad istražuje kako zaroniti u najdublje kutke ljudskog uma s ciljem poticanja drugih da postanu bolje verzije sebe te izgrade bolji unutarnji svijet za sutra.

Rūta Eidukaitytė rođena je 1977. u Simnasu, Litva.

U periodu od 1996. do 2002. studirala je slikarstvo pri ,,Šiauliai University Faculty of Arts’’. Od 2011. vodi vlastitu galeriju Ra u Vilniusu, a od 2013. članica je ‚,Lithuanian Artists’ Association’’. Od 1999. održala je 40 samostalnih izložbi, a sudjelovala je na skupnim izložbama u Litvi, Latviji, Njemačkoj, Francuskoj, Gruziji, Bugarskoj, Rumunjskoj, Sjevernoj Makedoniji, Izraelu. Godine 2014. nagrađena je nagradom ,,A. Gudaitis Art Prize‘‘ za litvansko

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tistic associate at the painting department of the Academy of Fine Arts in Zagreb. He is a member of the Croatian Association of Artists and the Croatian Freelance Artists Association.

kolorističko slikarstvo. Od 2012. je organizatorica i kustosica međunarodnih umjetničkih simpozija, skupnih i samostalnih izložbi i umjetničkih događaja. Rūta živi i stvara u Vilniusu.

Marta Živičnjak was born in Zagreb in 1987. She graduated from the School of Applied Art and Design in the same city in 2006. After finishing high school, she enrolled in the Teaching Department of the Academy of Fine Arts in Zagreb in 2006.

Upon completion of her undergraduate studies, she decided to major in painting in her graduate studies. She has been a member of HDLU since 2010 and graduated in 2012 under the tutelage of Professor Ante Rašić. In 2021, she became a member of ULUPUH’s Section for Textile Creativity. Marta has been actively exhibiting her artwork since 2010. She has also participated in various art colonies and residencies in Croatia and abroad, including Cité des Arts in Paris in 2016. So far, she has had around a dozen solo exhibitions and about thirty group exhibitions, both invited and juried, in the country and abroad. Marta became a member of HZSU in 2023. She currently resides and works in Zagreb.

Meda Norbutaitė rođena je 1969. u Šiauliaiju, Litva. Godine 1998. diplomirala je slikarstvo pri ,,Šiauliai University Faculty of Arts,, u klasi profesora Vicentasa Gečasa, gdje je i magistrirala slikarstvo.

Od 1999. postaje članicom brojnih organizacija:,,Lithuanian Artists’ Association’’ (LAA); 2016. – 2020. „LAA Painters’ Board“; 2017. „LATGA“, Litva; 2020. članica Vijeća „LAA“; 2021. „See/Me“ (SAD); 2022. zaklada „Paris Taylor Foundation, Artists´ Association” (Francuska). Od 1997. održava samostalne izložbe i sudjeluje na skupnim izložbama, umjetničkim sajmovima, rezidencijama, drugim umjetničkim projektima (Litva, Francuska, SAD, Engleska, Njemačka, Austrija, Latvija, Estonija itd.). Dobitnica je sljedećih nagrada: „Swiss Baltic Net Graduate Award“ (Zaklada Gerbert Rüf, Švicarska, 2003.); glavne nagrade natjecanja „Exposure“ (Umjetničke Galerija See/Me, New York City, SAD, 2021.); finalistica natjecanja „True North“, (New York City, SAD, 2023.); itd. Njezina djela dio su zbirki „MO Museum of Modern Art“ (Litva); „SEMC Stasys Eidrigevičius Art Center“ (Litva) te privatnih zbirki u Litvi, Njemačkoj, Engleskoj, Austriji, Italiji, Francuskoj, Švicarskoj, Sloveniji, Japanu, SAD-u itd.

LITHUANIA Arvydas Kasauskas was born 1959 in Vilnius, Lithuania. He studied from 1977 to 1982 at the Vilnius Art Academy (specialized in Monumental painting). Since 1984, he has participated in more than 50 solo exhibitions in Lithuania and abroad.

He has also participated in group exhibitions, plein airs, and symposiums in Lithuania, Latvia, Ukraine, Poland, Italy, France, Russia, Germany, etc.

Felicija Dudoit was born in 1999 in Vilnius, Lithuania. She is a painter from the youngest generation and a member of the Lithuanian Artists Union. She graduated in 2021 with a BA in Painting from the Vilnius Academy of Arts. She also gained her MA in Painting in 2023. The Contour Art Gallery represents her. Since 2018, she has been actively participating in group exhibitions and art fairs. She has had four solo exhibitions. In 2023, her pieces were part of the group exhibition “Vilnius Vibes” in the Angermuseum (Erfurt, Germany), and the artist received the committee “PDA amore e colore” award in “The Others Art Fair” (Turin, Italy). The MO Museum (Vilnius, Lithuania) acquired Felicija Dudoit’s works, making her the youngest artist in the museum’s collection.

Alonas Štelmanas rođen je 1978. u Kaunasu, Litva. Godine 2004. diplomirao je slikarstvo na „Vilnius Academy of Arts“. Član je „Lithuanian Artists’ Association“ (LAA). Od 2005. održao je više od 30 samostalnih izložbi u Litvi i inozemstvu. Njegova umjetnička djela zastupljena su u zbirkama „ MO Museum of Modern Art“ (Litva) te privatnim zbirkama u Litvi i inozemstvu. Alonas živi i radi u Kaunasu.

Victor Paukštelis rođen je 1983. u Vilniusu, Litva.

Godine 2020. stekao je diplomu magistra likovnih umjetnosti pri „Vilnius Academy of Arts“. U razdoblju od 2009. do 2012. boravio je u „Cité Internationale des Arts de Paris“, a aktivno izlaže od 2011.

Samostalno je izlagao i sudjelovao na skupnim izložbama u Litvi, Francuskoj, Kanadi, Njemačkoj i dr. Paukštelis je svoj projekt animiranog slikarstva “Restless Paintings” predstavio u Austriji, Njemačkoj, SAD-u i Švedskoj. Njegove slike postale su dijelom zbirki „Modern Art Centre“ (MO Museum) u Vilniusu, „Lewben Art Foundation“ u Vilniusu te nezavisnih litvanskih i stranih kolekcionara umjetnina.

Adelė Liepa Kaunaitė was born in 1990 in Vilnius, Lithuania. During her studies at the Vilnius Academy of Arts, she created the concept of borderless, traveling exhibitions and established her own Gallery of the Moon (Mėnulio Galerija) in 2010. Soon after finishing her postgraduate studies in 2015, she joined the Lithuanian Artists‘ Association and became one of the few house artists of the gallery Ramybė. She organized more than 20 individual exhibitions and participated in 30-plus group exhibitions and art fairs around Europe. In recent years, Adelė won the Art Without Borders competition in Vilnius, Lithuania, and was nominated as the most influential artist in the Šakiai district where she resides now.

Evaldas Jansas born 1969 in Kaunas. Lives in Vilnius. Education: 1988-1995 Vilnius Academy of Arts, Department of Painting. Evaldas Jansas – one of the top contemporary Lithuanian artists, who started his career in an independent Lithuania together with other pioneers of Lithuanian contemporary art of the nineties and who developed his unique inter-genre and interdisciplinary style of creation. Evaldas Jansas has lately created a divergent and expressive (in terms of contents and expression manner) paintings. The majority of Evaldas Jansas’s works open severe aspects of life of contemporary human, question conservative norms, and provoke discussion. From the very nineties, the works of Evaldas Jansas have acted on the Lithuanian art venue as an essential catalyst of critical self-awareness and selfconsciousness. The artist has constantly exhibited his works at exhibitions and film reviews in Lithuania and abroad.

Evaldas Jansas was born in 1969 in Kaunas. He lives in Vilnius. Education: 1988-1995 Vilnius Academy of Arts, Department of Painting. Evaldas Jansas is one of the top contemporary Lithuanian artists who started his career in independent Lithuania with other pioneers of Lithuanian contemporary art of the nineties. He developed his unique inter-genre and interdisciplinary style of creation. Evaldas Jansas has lately created divergent and expressive (in terms of contents and expression manner) paintings. Most of Evaldas Jansas’ works open severe aspects of the life of contemporary humans, question conservative norms, and provoke discussion. From the very nineties, the works of Evaldas Jansas have acted on the Lithuanian art venue as an essential catalyst for critical self-awareness and self-consciousness. The artist has constantly exhibited his works

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Julija Skudutytė rođena je 1995. u Vilniusu, Litva.

Diplomirala je monumentalno slikarstvo 2017., a magistrirala 2020. pri ,,Vilnius Academy of Arts‘‘ u Vilniusu. Održala je nekoliko samostalnih i sudjelovala na brojnim skupnim izložbama u zemljama poput Litve, Francuske, Italije, Hrvatske, Austrije i Ujedinjenog Kraljevstva. Dobitnica je nekoliko nagrada, uključujući priznanje za utjecajnu seriju slika 2020. te za svoj magistarski rad. Dobila je i nagradu za uspješan ilustracijski debi s knjigom „Duobė“, autorice E. Daciūtė, predstavljenom na „Vilnius Book Fair“ 2021. Godine 2023. nagrađena je Nagradom za najboljeg mladog umjetnika na međunarodnom umjetničkom izložbenom sajmu ,,ArtVilnius.‘‘ Saulius Dastikas rođen je 1971. u Litvi. Magistrirao je umjetnost i edukaciju pri „Lithuanian University of Educational Sciences“ 1999., a 1997. diplomirao je slikarstvo pri „Art Faculty of Šiauliai University“.

Sudjeluje na izložbama, umjetničkim sajmovima i umjetničkim rezidencijama u zemljama Europe i SAD-a. Od 2013. član je ,,Lithuanian Artists’ Association‘‘. Kako umjetnik navodi: “Kreativnost je način da upoznam sebe kao dio svijeta i svijet kao dio mene.”

Agnė Jonkutė rođena je 1974. u Alytusu, Litva. Diplomirala je 2003. u klasi profesora Pranasa Griušysa na ‚,Academy of Fine Arts in Kaunas‘‘. Do sada je izlagala na oko 13 samostalnih i preko 100 skupnih izložbi. Dobitnica je nekoliko nagrada, uključujući zlatnu medalju na „5th Frankophonie Games Niamey“, Niger, te Nagradu za najbolju litavsku mladu umjetnicu na ,,Art fair Vilnius’ 09‘‘ te Rektorovu nagradu ,,Vilnius Academy of Fine Arts‘‘. Živi i radi u Vilniusu.

Mindaugas Juodis rođen je 1970. u Kaunasu, Litva. Do sada je izlagao na oko 20 samostalnih i preko 30 skupnih izložbi. Njegovi umjetnički radovi zastupljeni su u zbirkama litvanskih i stranih kolekcionara umjetnina. M. Juodis živi i radi u Kaunasu. Umjetnik o svom radu navodi: „Svaka moja slika odiseja je mog uma, srca i duše. Ja govorim kroz svoje slike. Sve moje emocije, porivi i najdublje misli utkane su u svako moje djelo, a ne u izgovorene ili napisane riječi. Moj se rad pojavljuje se kao snoviđenje u kojem se susreću fikcija i stvarnost, a vrijeme, prošlo i sadašnje, stapa.

Prof. Dr. Rimantas Plungė rođen je 1971. u Šiauliaiju, Litva. Studirao je likovnu i primijenjenu umjetnost. Studij je završio 1996., a 2010. Obranio je doktorat iz društvenih znanosti. Od 1991. sudje-

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at exhibitions and film reviews in Lithuania and abroad.

Aušra Kleizaitė was born in 1972 in Kaunas, Lithuania. She is a contemporary visual artist who works with textiles, drawing, and sculpture. Since 2002, she has been living and working between the Baroque capital and largest city in Lithuania, Vilnius, and the mysterious overgrown jungles of India.

The yearly travel between Lithuania and India provides Aušra with new perspectives on human experience, culture, relationships, and everyday life. Her artistic practice is an endless exploration process of the drawing’s ability to express and reflect a full range of ideas and emotions: war and peace, death and life, hate and love, failure and belief. A. Kleizaitė has organized solo shows and actively participated in many group exhibitions in Lithuania and abroad, including Latvia, Estonia, Germany, Ireland, UK, Greece, Ukraine, Georgia, France, and India. In 2004, among other young artists from various countries, Aušra was awarded the UNESCO-Aschberg Fellowship, and in the same year, she was awarded “The Best Art Work of The Year 2003”.

Vladimiras Mackevicius was born in 1981 in Vilnius, Lithuania. In 2004, he graduated from the Vilnius College of Design. Since 2022, he has been studying Sculpture at Vilnius Academy of Arts.

Mackevicius is a professional artist with over 15 years of experience in the field. He has exhibited in approximately 25 solo and more than 20 group exhibitions worldwide. He became a member of the Lithuanian Artists’ Association in 2022, and in the same year, the Ministry of Culture of Lithuania granted him the status of a professional artist.

Mackevicius’s works are part of the collections of seven museums, including the National M.K. Ciurlionis Museum in Lithuania, the National Museum of Arts in Malta, State Art Museum of Adjara, Royal Academy of Arts and Sciences of BarcelonaAs an artist, Mackevicius works in three disciplines: readymade, painting, and graphics. The main theme in Mackevicius’s creations revolves around human psychology. The artist explores how to delve into the deepest corners of the human mind through his work, aiming to assist individuals in becoming better versions of themselves and constructing a better inner world for tomorrow.

Rūta Eidukaitytė was born in 1977 in Simnas, Lithuania. She studied painting at the Vilnius Academy of Arts (Master’s degree) from 1996 to

luje na izložbama i umjetničkim projektima. Dr. R. Plungė stvara u različitim medijima - slikarstvu, fotografiji, izradi kolaža, video umjetnosti, filmovima i interdisciplinarnim umjetničkim djelima.

Dr. R. Plungė priredio je više od 20 samostalnih izložbi u Litvi, SAD-u, Velikoj Britaniji, Poljskoj, Danskoj, Hrvatskoj i dr., sudjelovao na više od stotinu skupnih izložbi u Litvi, Hrvatskoj, Italiji, Meksiku, SAD-u, Škotskoj, Nizozemskoj i dr. Od 1996.

Rimantas predaje na raznim sveučilištima. Od 2010. profesor je na „Vytautas Magnus University“ (Kaunas, Litva) i „Vilnius Tech University“ (Vilnius, Litva). Kao gostujući profesor predaje u Hrvatskoj, Austriji, Velikoj Britaniji, Poljskoj, Estoniji, Portugalu, Španjolskoj, SAD-u, Danskoj, Norveškoj i dr. Živi i radi u Kaunasu i Vilniusu (Litva).

Jolanta Kyzikaitė rođena je 1980. u regiji Kaunas, Litva. Godine 2002. diplomirala je pri ,,Vilnius Academy of Arts,, dok je na istom 2004. magistrirala, a 2018. doktorirala. Od 2011. članica je ,,Lithuanian Artists’ Association‘‘. Godine 2018., 2016. i 2013. dobiva Godišnju državnu stipendiju koju dodjeljuje Ministarstvo kulture Litve, 2010. nagrađena je prvom nagradom “Young painter prize 2010”, Litva. Njezina umjetnička djela dio su fundusa „MO Museum of Modern Art“ (Litva), „Lewben Art Foundation“ (Litva), „Contemporary Art Center“ (Litva), „Walter Bishop Museum“ (Njemačka) te privatnim zbirkama u Litvi, Njemačkoj, Austriji.

Trenutačno radi i živi u Vilniusu, Litva.

Virgis Ruseckas rođen je 1963. u Jonavi, Litva. Godine 1983. diplomirao je pri ,,Kaunas Art School‘‘.

Od 1990. svoja je djela predstavio na više od 40 samostalnih izložbi u Litvi i inozemstvu. Sudjelovao je na skupnim izložbama, plenerima i simpozijima u Litvi, Latviji, Poljskoj, Italiji, Njemačkoj itd.

Njegova djela dio su privatnih zbirki u Litvi i inozemstvu. Virgis živi i radi u Kaunasu.

18. Eglė Velaniškytė rođena je 1958. u Kaunasu, Litva. Godine 1982. diplomirala je slikarstvo na „Vilnius Academy of Arts“. Od 1992. članica je ,, Lithuanian Artists’ Association ‘‘ (LAA). Od 1980. održala je više od 100 samostalnih i skupnih izložbi diljem svijeta. Njezina umjetnička djela dio su fundusa „MO Museum of Modern Art“ (Litva), „Lithuanian National Museum of Art“ te privatnih zbirki u Litvi i inozemstvu. Eglė živi i radi u Kaunasu.

2002. She has owned the art gallery Ra in Vilnius since 2011 and has been a member of the Lithuanian Artists’ Association since 2013. Starting in 1999, she has held around 40 personal exhibitions. She has participated in group exhibitions in Lithuania, Latvia, Germany, France, Georgia, Bulgaria, Romania, North Macedonia, and Israel. She is the winner of the A. Gudaitis Art Prize 2014 for Lithuanian coloristic painting. She has been the organizer and curator of international art symposiums, group and personal exhibitions, and art events since 2012. Rūta lives and creates in Vilnius.

Meda Norbutaitė was born in 1969 in Šiauliai, Lithuania. In 1998, she graduated in Painting from the Šiauliai University Faculty of Arts in the class of Professor Vicentas Gečas, where she also earned her Master‘s Degree in Painting. She has been a member of since 1999; of the LAA Painters’ Board (from 2016 to 2020); of LATGA (Lithuania) since 2017; of the Council of LAA since 2020; of See/Me (USA) since 2021; of the Paris Taylor Foundation, Artists´ Association (France) since 2022. Since 1997, she has held solo exhibitions and participated in group exhibitions, art fairs, residencies, and other art projects (Lithuania, France, USA, England, Germany, Austria, Latvia, Estonia, etc.). Receiver of the Swiss Baltic Net Graduate Award (Gerbert Rüf Foundation, Switzerland, 2003); Grand Prize Winner of the competition Exposure (See/Me art gallery, New York City, USA, 2021); finalist of competition True North (New York City, USA, 2023); etc. Her artworks are part of the collections of MO Museum of Modern Art (Lithuania); SEMC Stasys Eidrigevičius Art Center (Lithuania); private collections in Lithuania, Germany, England, Austria, Italy, France, Switzerland, Slovenia, Japan, USA; etc.

Alonas Štelmanas was born in 1978 in Kaunas.

In 2004, he graduated in Painting from the Vilnius Art Academy, Department of Painting. He is a member of the Lithuanian Artists’ Association (LAA). Since 2005, he has participated in more than 30 solo exhibitions in Lithuania and abroad.

His artworks are part of the MO Museum of Modern Art (Lithuania) collection and private collections in Lithuania and abroad. Alonas lives and works in Kaunas.

Victor Paukštelis was born in 1983 in Vilnius. He graduated in 2020 from Vilnius Academy of Arts (VAA), where he earned his Bachelor & Master of Fine Arts. From 2009 to 2012, he had a residency

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at Cité Internationale des Arts de Paris. The artist has been actively involved in exhibitions since 2011. He has held solo shows and participated in group exhibitions in Lithuania, France, Canada, Germany, etc. Paukštelis presented his animated painting project “Restless Paintings” in Austria, Germany, USA, and Sweden. His paintings have become part of the collections of the Modern Art Centre (MO Museum) in Vilnius, the Lewben Art Foundation in Vilnius, and independent Lithuanian and foreign art collectors.

Julija Skudutytė was born in 1995 in Vilnius. She earned her bachelor’s degree in monumental painting in 2017 and completed her master’s in site-specific art in 2020 at Vilnius Academy of Arts. She has held several solo shows and participated in numerous group exhibitions in Lithuania, France, Italy, Croatia, Austria, the United Kingdom, etc. Julija has received several awards, including recognition for an influential painting series in 2020 for her master’s work at Vilnius Academy of Arts. She also got a prize for a successful illustration debut with the book ‘Duobė,’ written by E. Daciūtė, showcased at the ‘Vilnius Book Fair’ in 2021. In 2023, she was honored with the Best Young Artist Award at the international art fair ‘ArtVilnius.’

Saulius Dastikas was born in 1971 in Lithuania.

Saulius Dastikas completed his MFA candidacy in Arts and Educology at the Lithuanian University of Educational Sciences (1997- 1999) and graduated with a bachelor’s degree in painting at the Art Faculty of Šiauliai University, Lithuania (1991 – 1995). The artist has participated in exhibitions, art fairs, and artist residencies in various countries in Europe and the USA. He is a member of the Lithuanian Artists’ Association (since 2013). According to Saulius: “Creativity is a way to know myself as part of the world and the world as part of me.”

Agnė Jonkutė was born in 1974 in Alytus. She graduated in 2003 from Professor Pranas Griušys class at the Academy of Fine Arts in Kaunas. So far, she has exhibited in about 13 solo and over 100 group exhibitions. She has won several awards, including the Gold medal 5th Francophonie Games Niamey, Niger, The best Lithuanian young artist in the ,‘‘Art fair Vilnius’ 09‘‘, Vilnius Academy of Fine Arts Rector award. She lives and works in Vilnius.

Mindaugas Juodis was born in 1970 in Kaunas, Lithuania. So far, he has exhibited in about 20 solo

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and over 30 group exhibitions. His artworks are part of the collections of Lithuanian and foreign art collectors. M. Juodis lives and works in Kaunas. „Each of my paintings is an odyssey into my brain, including my heart and soul. I speak through my paintings, inwoving all my emotions, desires, and deepest thoughts in their every piece rather than in spoken or in written words. My work appears as dreamlike images in which fiction and reality meet, and time, both past and present, fuse.‘‘ Prof. Dr. Rimantas Plungė was born in 1971 in Šiauliai, Lithuania. He studied fine and applied arts.

He finished his studies in 1996. In 2010, he defended his doctorate in social sciences. Since 1991, he has participated in exhibitions and art projects.

Dr. R. Plungė creates in various media: painting, photography, collages, video art, films, and interdisciplinary works of art. Dr. R. Plungė has organized more than 20 solo exhibitions in Lithuania, the USA, Great Britain, Poland, Denmark, Croatia, etc., and participated in more than a hundred group exhibitions in Lithuania, Croatia, Italy, Mexico, the USA, Scotland, Holland, etc. Since 1996, R. Plunge has been teaching at various universities.

Since 2010, he has been a professor at Vytautas Magnus University (Kaunas, Lithuania) and Vilnius Tech University (Vilnius, Lithuania). As a visiting professor, he teaches in Croatia, Austria, Great Britain, Poland, Estonia, Portugal, Spain, the USA, Denmark, Norway, etc. He lives and works in Kaunas and Vilnius (Lithuania).

40 solo exhibitions in Lithuania and abroad. He has participated in group exhibitions, plein airs, and symposiums in Lithuania, Latvia, Poland, Italy, Germany, etc. His artworks are part of Lithuania and foreign private collections. Virgis lives and works in Kaunas.

Eglė Velaniškytė was born in 1958 in Kaunas, Lithuania. In 1982, she graduated in Painting from the Vilnius Art Academy. Since 1992, she has been a member of the Lithuanian Artists’ Association (LAA). Since 1980, she has had more than 100 solo and group exhibitions worldwide. Her artworks are part of the MO Museum of Modern Art (Lithuania) collection, the Lithuanian National Museum of Art collection, and private collections in Lithuania and abroad. Eglė lives and works in Kaunas.

Jolanta Kyzikaitė was born in 1980 in Kaunas region, Lithuania. Regarding her education at the Vilnius Academy of Arts, she did her Undergraduate studies from 1998 to 2002, her Master’s studies from 2002 to 2004, and her Art Ph.D. studies from 2012 to 2018. Since 2011, she has been a member of the Lithuanian Artists’ Association.

In 2018, 2016, and 2013, she received the Annual State Scholarship appointed by the Lithuanian Culture Ministry. She also was awarded the first prize at the “Young Painter Prize 2010” in Lithuania. Her artworks are part of the collections of the MO Museum of Modern Art (Lithuania), the Lewben Art Foundation (Lithuania), the Contemporary Art Centre (Lithuania), the Walter Bishop Museum (Germany), and private collections in Lithuania, Germany, and Austria. She works and lives in Vilnius, Lithuania.

Virgis Ruseckas was born in 1963 in Jonava, Lithuania. In 1983, he graduated from Kaunas Art School. Since 1990, he has organized more than

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IMPRESUM / IMPRESSUM 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, predsjednik HDLU / president of HDLU Ravnateljica / Director: Ivana Andabaka Upravni odbor HDLU / Executive board of CCA: Tomislav Buntak (predsjednik / president), Josip Zanki (dopredsjednik / vice president), Ida Blažičko (dopredsjednica / vice president), Fedor Fischer, Tomislav Hršak, Romana Nikolić, Vida Meić UMJETNIČKI SKUP / IZLOŽBA // ART CONVENTION / EXHIBITION Dom HDLU / Home of HDLU Nositelj HR dijela Bijenala / Head of The Croatian part The Biennial of Painting: Tomislav Buntak

Ocjenjivački odbor 7. bijenala slikarstva / Selection board of the 7th Biennial of Painting: Tomislav Buntak, Fedor Fischer, Koraljka Kovač, Željko Marciuš, Martina Miholić, Josip Zanki Pozvani umjetnici / Invited artists: Jadranka Fatur, Boris Guina, Zlatko Keser, Robert Šimrak, Miro Vuco Odabrani umjetnici / Selected artists: Grgur Akrap, Mihael Bađun, Biserka Baretić, Maša Barišić, Mirela Blažević, Natalia Borčić Peuc, Leonardo Budimlić Majnarić, Viktor Daldon, Danko Friščić, Ariana Herceg, Dina Jakšić Pavasović, Anita Kos, Mirna Kutleša, Luka Kušević, Željko Lapuh, Mia Matijević Akrap, Monika Meglić, Marina Mesar (OKO), John Miličić, Zoltan Novak, Pavle Pavlović, Mihaela Rašica, Domagoj Rogina, Mario Romoda, Helena Schultheis Edgeler, Mohamad David Shreim, Valentina Supanz Marinić, Stjepan Šandrk, Melinda Šefčić, Bojan Šumonja, Mislav Tadić, Predrag Todorović, Šimun Tolić, Josip Tirić, Andrej Tomić, Dino Topolnjak, Gorana Težak, Zlatan Vrkljan, Iva Zagoda, Anabel Zanze, Marko Zeman, Marta Živičnjak

Dobitnici nagrade Stručnog vijeća galerije Canvas / Expert Council of Canvas Galley awarded: Mia Matijević Akrap, Šimun Tolić IZVAN SLUŽBENE KONKURENCIJE / OUTSIDE OF THE OFFICIAL COMPETITION Kontrapunkt nagrada Vladimir Dodig Trokut, Iva Vraneković - umjetnici umjetniku dodjeljuje na poticaj i zahvaljujući donaciji anonimnog filantropa, temeljem odluke Stručnog vijeća i anonimnog filantropa. Dobitnici tri jednakovrijedne nagrade u neto iznosu 2,222.22 EUR su: Natalia Borčić Peuc, Leonardo Budimlić Majnarić, Mihaela Rašica Kontrapunkt Award Vladimir Dodig Trokut, Iva Vraneković - Artists to Artist at an encouragement and thanks to the donation of an anonymous philanthropist, based on the decision of the committee and an anonymous philanthropist. Natalia Borčić Peuc, Leonardo Budimlić Majnarić, Mihaela Rašica won three equal prizes in the amount of 2,222.22 EUR. Izložba litvanskih umjetnika / Exhibition Of Lithuanian Artists “Floating Identity: Between A Recognisable Image And Abstraction”

Zahvala / Special thanks: Miran Jurić Partner: Artkomas

Nositelj međunarodnog dijela Bijenala / Head of the international part of Biennial of Painting: Josip Zanki Producenti / Producers: Ivana Andabaka, Tomislav Buntak Izvršna producentica / Executive producer: Martina Miholić Asistencija u produkciji / Assistance in production: Nika Šimičić, Ivana Garmaz Likovni postav / Exhibition set up: Tomislav Buntak, Martina Miholić Odnosi s javnošću / Public relations: Martina Miholić Voditelj tehničke službe / Head of technical service: Mihael Pavlović

Stručna suradnice / associates: Elizabeta Igrec, Klara Macolić Kuparić Likovni postav / Exhibition set up: Tomislav Buntak, Elizabeta Igrec, Klara Macolić Kuparić Tehnički postav / Tehnical set up: Marko Stančin, Josip Cepanec, Ksenija Novak Gostovanje 7. bijenala slikarstva u Poreču / The 7th Biennial Of Painting In Poreč Pučko otvoreno učilište Poreč – Istarska sabornica / Open Public University of Poreč – Istrian Assembly, 22. 3. — 13. 4. 2024.

Suorganizator / Co-organizer: Pučko otvoreno učilište Poreč – Istarska sabornica Narodni trg 1, Poreč; www.poup.hr Stručni suradnik / associate: Sebastijan Vojvoda Likovni postav / exhibition set up: Tomislav Buntak, Sebastijan Vojvoda Gostovanje 7. bijenala slikarstva u Vukovaru / The 7th Biennial Of Painting In Vukovar

Nagrade / Awards Kustos / Curator: Remigijus Venckus SLUŽBENA KONKURENCIJA / OFFICIAL COMPETITION Odbor za dodjelu nagrada 7. bijenala slikarstva / Prize Committee of the 7th Biennial of Painting Gordana Bakić, Miroslav Gašparović, Koraljka Kovač, Snježana Pintarić (MSU), Matko Vekić Grand Prix nagrada 7. bijenala slikarstva (bruto 4,500.00 EUR) / Grand Prix award of the 7th Biennial of Painting (gross 4,500.00 EUR): Bojan Šumonja Nagrada za mladu umjetnicu 7. bijenala slikarstva (bruto 3,000.00 EUR) / The 7th Biennial of Painting young artist award (gross 3,000.00 EUR): Natalia Borčić Peuc

Edukativni program / Educational program: Mia Matijević Akrap, Palmina Roglić

Nagrade 7. bijenala slikarstva (brito 1,500 EUR) / 7th Bienniak of Painting Awards (gross 1,500 EUR): Danko Friščić, Iva Zagoda, Marko Zeman

Stručne suradnice / associates: Marta Katavić, Korana Littvay, Mia Matijević Akrap

STRUKOVNE NAGRADE / PROFESSIONAL AWARDS

Volonterke / Volunteers: Andrea Babić-Varošanec, Julijana Lešić, Stephanie Carolina Noguera Brajković, Palmina Roglić

Nagrada Nacionalnog muzeja moderne umjetnosti / The National Museum of Modern Art award: Iva Zagoda

Likovni postav / Exhibition set up: Remigijus Venckus Osnivač umjetničkog centra Artkomas / Founder of the art center ‘’Artkomas’’: Olegas Darčanovas Selekcija “Floating Identity: Between a Recognisable Image and Abstraction’’ selection: Felicia Dudoit, Rūta Eidukaitytė, Evaldas Jansas, Agnė Jonkutė, Mindaugas Juodis, Arvydas Kašauskas’s, Aušra Kleizaitė, Adelė Liepa Kaunaitė, Jolanta Kyzikaitė, Vladas Mackevičius, Meda Norbutaitė, Viktoras Paukštelis, Rimantas Plungė, W, Julija Skudutytė, Alonas Štelmanas, Eglė Velaniškytė Gostovanje 7. bijenala slikarstva u Varaždinu / The 7th Biennial Of Painting In Varaždin Gradski muzej Varaždin, Galerija umjetnina / Varaždin City Museum, Art Gallery Trg Miljenka Stančića 3, Varaždin Galerija Kovačić Macolić Ulica Ljudevita Gaja 13, Varaždin 21. 02. — 10. 03. 2024.

Gradski muzej Vukovar / Dvorac Eltz // Vukovar Municipal Museum / Palace Eltz 15. 05. — 16. 06. 2024.

Suorganizator / Co-organizer: Gradski muzej Vukovar / Vukovar Municipal Museum Županijska 2, Vukovar; www.muzej-vukovar.hr Ravnateljica / Director: Ana Filipović Likovni postav / Exhibition set up: Tomislav Buntak, Rosanka Savić-Mitrović Voditelji tehničke službe / Head of technical service: Ante Džalto, Saša Rajković

Popratni izložbeni program 7. bijenala slikarstva / Side program of the 7th Biennial Of Painting Izložba studenata ALU: ALUzija / ALUzija - exhibition of ALU students: Palača Vranyczany (HIS), Berislavićeva 6, Zagreb 30. 11. — 20. 12. 2023.

Surganizator / Suorganizer: ALU Zagreb

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Suorganizator / Co-organizer: Gradski muzej Varaždin / Varaždin City Museum Šetalište J. J. Strossmayera 3, Varaždin http://www.gmv.hr/

Matko Vekić: Flower Market / Tržnica cvijeća Galerija Canvas, Ulica Nikole Tomašića 8, Zagreb 10. 11. — 17. 11. 2023.

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KATALOG / CATALOGUE Urednici kataloga / Catalogue editors: Tomislav Buntak, Martina Miholić Predgovor - Pojavnost slike / Preface - Manifestation of the image: Željko Marciuš Predgovor - Plutajući identitet: između prepoznatljive slike i apstrakcije / Preface - Floating Identity: Between a Recognisable Image and an Abstraction: Remigijus Venckus Prijevod na engleski i hrvatski jezik te lektura / English and Croatian translation and proof-reading: Zana Šaškin, Stephanie Noguera Brajkovich, Ivana Garmaz, Andrea Babić-Varošanec, Palmina Roglić

Fotografije likovnog postava i reprodukcija / Photographs of the exhibition set up and reproductions: Juraj Vuglač Fotografije otvorenja izložbe / Photographs of the exhibition opening: Juraj Vuglač Grafičko oblikovanje kataloga / Catalogue design: Duje Medić Tisak / Printed by: Kerschoffset d.o.o.

Naklada / Edition: 400 ISBN: 978-953-8098-68-0 CIP zapis je dostupan u računalnome katalogu Nacionalne i sveučilišne knjižnice u Zagrebu pod brojem 001210864 Zagreb, 2023. / 2024.

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