HIPERADAPTACIJA

Hiperadaptacija Hyperadaptation 3-16 / 9 / 2021 galerija PM Dom HDLU Zagreb PM Gallery Home of HDLU Zagreb Kustos / Curator Nikola Bojić (HR) Umjetnici / Artists Aistė Ambrazevičiūtė (LT) Matej Nišević (HR)

nastanak složenijih stanica HIPERADAPTACIJA

od jednostavnih endosimbiozom – biološkim procesom u kojem dominantne stanice “probavljaju” slabije, ali one slabije pritom ne nestaju, nego nastavljaju (su)postojati unutar dominantnih stanica,

Dominantni narativ kapita-

mijenjajući ih u složenije sta-

lizma često se oslanja na

nice i organizme. Biti “progu-

Darwinovu teoriju prirodne

tan” stoga ne podrazumijeva

selekcije prema kojoj preživ-

uništenje, već prijelaz, meta-

ljavaju najjači, a slabiji postu-

morfozu i hiperadaptivnost

pno nestaju zajedno sa svo-

novim okolnostima. Nepred-

jim genetskim materijalom.

vidiva međusobna isprepli-

Međutim, što ako “slabiji” za-

tanja organskih i anorgan-

pravo nikada nisu nestali, već

skih tvari karakteristična za

su inkorporirani u dominantne

doba antropocena usmjerila

entitete odakle djeluju “iznu-

su evolucijske procese prema

tra”, proizvodeći kontinuira-

nastanku hibridnih organiza-

ne, radikalne metamorfoze?

ma prilagodljivih ekstremnim

Takav pogled na evolucijske

biološkim i tehno-klimatskim

procese nije tek imaginarni

uvjetima. U ovim procesima

kontrapunkt teoriji prirodne

ljudska vrsta više neće imati

selekcije, već jedan od te-

dominantnu ulogu.

meljnih bioloških principa koji je omogućio evoluciju života

Supostavljajući umjetničke

na Zemlji. Šezdesetih godi-

prakse Aistė Ambrazevičiūtė

na prošlog stoljeća biologinja

(1988., LT) i Mateja Niševića

Lynn Margulis objavila je te-

(1996., HR), izložba ispituje

orijski članak koji objašnjava

budućnost u kojoj endosim-

bioza st vara okolnosti za

Spojivši stvorene, imaginar-

pokreće zajedno s posjetite-

nastanak hiperadaptivnih

ne i stvarne vrste, izložba

ljima, te ih je nemoguće fik-

organizama kao bioloških,

nas suočava sa sadašnjošću

sirati pogledom. Gramatika

umjetničkih i mentalnih tak-

i budućnošću našeg vlastitog

lišajeva Aistė Ambrazevičiūtė

tika za suživot u doba radi-

okruženja, ali i vlastitog tijela,

izrasta iz poda galerije PM.

kalne ekosistemske krize.

koje se više ne može proma-

Preklapanje fizičkog i digi-

Serija Fusion Mateja Niševi-

trati kroz podjelu između or-

talnog šumskog pokrova na

ća spekulira s imaginarnim

ganskog i anorganskog, ljud-

osam ekrana položenih na

planktonskim organizmima

skog i neljudskog, digitalnog

podu generira novu tekstu-

The grand narrative of capi-

koji su sposobni apsorbirati

i analognog.

ralnu logiku izložbenog pro-

talism often relies on Darwin’s

stora. Vizualno istraživanje

theory of natural selection ac-

čestice mikroplastike iz mora

HYPERADAPTATION

u svoje ljušture i skelete. Izlo-

Izložbeni postav cilja us-

različitih tekstura stoga za-

cording to which the strongest

ženi plutajući organizmi pro-

postaviti alternativni (eko)

htijeva specifičan tjelesni

survive and the weaker ones

izvedeni su pažljivom kemij-

sustav koji počiva na poro-

angažman, krivljenje, sagi-

gradually disappear along

skom obradom biljnih tkiva

znosti između ovih dualiteta.

njanje, približavanje. U pro-

with their genetic material.

(prašnici jasmina, čahura

Meštrovićev paviljon pritom

nalaženju adekvatnog šum-

But what if “the weaker ones”

peruanske jagode, listovi fi-

postaje arteficijelna ljuštu-

skog, a ne ljudskog očišta,

have actually never disappea-

kusa, velecvjetne magnolije i

ra koja filtirira sunčevo svje-

izložbeni postav potiče na

red, but are incorporated into

bršljana). Gramatika lišajeva

tlo pod kojim se tehnologija

gledanje čitavim tijelom, pri

dominant entities from where

Aistė Ambrazevičiūtė omo-

stapa s fragmentima šume i

čemu se slobodno stapaju i

they produce continuous, ra-

gućuje zaron u život lišajeva,

mora. Novonastali izložbeni

rastvaraju različite ljudske i

dical metamorphoses. Such a

bizarnih i složenih oblika živo-

krajolik nije stabilan, niti je

ne-ljudske perspektive. Kroz

view of all living evolutionary

ta nastalih simbiotskim par-

određen hegemonijom ljud-

tranzicije perspektiva, pojam

processes is not just a fictio-

tnerstvom dvaju organizma

skog očišta. Serija radova

hiperadaptacije nadilazi po-

nal counterpoint to the theory

– gljiva i algi. Kombinacijom

Mateja Niševića postavlje-

lje semantičkog te se generi-

of natural selection, but one

digitalnih slika visoke razluči-

na je u ritam koji prati logiku

ra kroz iskustveno i tjelesno

of the fundamental biological

vosti, 3D printanih objekata i

arhitekture paviljona, no la-

kao polazišne točke prilagod-

principles that enabled the

lišajeva sakupljenih u litvan-

gani, transparentni skeletni

be na svjetove koji su već tu i

evolution of life on Earth. In the

skim šumama, Aistė eksperi-

objekti ovješeni na plastičnim

one koji tek dolaze.

1960s, the biologist Lynn Mar-

mentira s različitim logikama

strunama ponašaju se poput

nastanka, promjene i rasta.

nakupine planktona koja se

gulis published a theoretical / Nikola Bojić /

article explaining the formation

of more complex cells from the

endosymbiosis creates the cir-

experiments with dramatica-

with visitors. Set in a continuo-

simple ones through endosym-

cumstances for the emergen-

lly different logics of genesis,

us motion, the final form of his

biosis – a biological process in

ce of hyper-adaptive organi-

change and growth. By mas-

work is impossible to capture

which dominant cells “digest”

sms as biological, artistic and

hing designed, imaginary and

and fix in a single gaze. On the

weaker ones, but the weaker

mental tactics for coexistence

real species, the exhibition

other hand, Aistė’s installati-

ones do not disappear but

in the era of radical ecosyste-

faces us with the present and

on grows from the gallery flo-

continue to (co)exist within the

mic crisis. The Fusion Series

future of our own environments

or. The overlap of the physical

dominant cells, changing them

by Matej Nišević speculates

and bodies, which can no lon-

and digital forest presented on

into more complex cells and

with imaginary planktonic or-

ger be observed through the

eight screens laid on the grou-

organisms. Being “digested”

ganisms capable of absorbing

orthodox divide between or-

nd, renders new textural logic

thus does not imply destructi-

microplastic particles from

ganic-inorganic, human-non-

of the exhibition space. Visual

on, but transition, metamorp-

seawater into their shells and

human, digital- analogue.

exploration of the textures the-

hosis and hyper-adaptivity

skeletons. The exhibited floa-

to new circumstances. The

ting skeletons are produced

A porosity between these ort-

cal engagement - crouching,

unpredictable mutual digesti-

through the meticulous chemi-

hodox dualities becomes the

bending, close-ups. During the

on of organic and inorganic

cal treatment of plant tissues

main principle of the exhibition

pursuit of an appropriate fo-

matter characteristic for the

( jasmine anthers, Peruvian

design. With Meštrović’s pa-

rest’s, rather than human point

Anthropocene turns the evo-

strawberry follicle, Ficus lea-

vilion as an artificial shell that

of view, the exhibition engages

lutionary processes towards

ves, large-flowered magnolias

filters sunlight towards me-

the whole body, resulting in a

the genesis of hybrid organi-

and ivy). The Grammar of Lic-

diated fragments of “nature”,

fluctuating mash of human

sms adaptable to the extreme

hens by Aistė Ambrazevičiūtė

the exhibition set becomes

and non-human perspectives.

biological and techno-climatic

provides a dive into a life of li-

an unstable landscape whi-

The specificity of the exhibition

conditions. The human species

chens – bizarre and complex

ch escapes the hegemony of

setting thus transgresses the

may no longer play a domi-

living forms emerging from

the human eye. The composi-

semantic limits of hyperadap-

nant role in these processes.

the symbiotic partnership of

tion of Matej’s artwork series

tation, activating experience

two separate organisms, a

follows the rigid rhythm of the

and body as starting points of

Juxtaposing the artistic pra-

fungus and an alga. Throu-

pavilion’s architecture. Yet, the

adaptation to the worlds that

ctices of Aistė Ambrazevi-

gh a series of high-resolution

sequence of his light, transpa-

are here and those that are yet

čiūtė (1988, LT) and Matej Ni-

digital images and 3D prints,

rent objects hanging on the

to come.

šević (1996, HR), the exhibition

collided with lichens collected

plastic strings acts like a plan-

examines the future in which

in Lithuanian forests, Aistė

kton colony moving together

refore requires specific physi-

/ Nikola Bojić /

NIKOLA BOJIĆ

and mapping. He is currently an assistant at the

MATEJ NIŠEVIĆ

CREART

Futurističke metamorfoze i evoluci-

Academy of Fine Arts in Zagreb and an affiliate

Nikola Bojić je istraživač usredotočen

researcher in the Art, Culture and Technology

na odnos prostora, tehnologije i ekosistemskih

program at MIT, involved in the Climate Visions

ja morskih organizama uslijed zagađenja na-

Creation) je europska mreža gradova te pri-

budućnosti. Diplomirao je povijest umjetnosti i

- artistic research lab which operates at the

noplastikom i zdravi vodeni ekosustavi teme

vatnih i javnih institucija. Projekt je pokrenut

muzeologiju na Filozofskom fakultetu u Zagrebu

intersections of art, technology and climate

su radova Mateja Niševića (Sisak, 1996.). Osim

2012. godine s ciljem reagiranja na potrebe

te završio poslijediplomski studij na Graduate

changes.

bioarta kojem pristupa kroz objekte i instala-

europskih kulturnih institucija, a obuhvaća po-

cije, polje interesa mu je i land art. Student je

većanje gospodarskog, socijalnog i kulturnog

prve godine diplomskog studija Grafika Aka-

utjecaja vizualnih umjetnosti pružanjem bolje

demije likovnih umjetnosti Sveučilišta u Zagre-

podrške umjetnicima, menadžerima u kulturi,

School of Design pri Sveučilištu Harvard. Svoja istraživanja, kustoske i umjetničke projekte

AISTĖ AMBRAZEVIČIŪTĖ

prezentirao je na brojnim međunarodnim kon-

CreArt (Network of Cities for Artistic

ferencijama i izložbama, najrecentnije u ZKM-u,

Aistė Ambrazevičiūtė (rođena 1988.)

bu u klasi red. prof. art. Mirjane Vodopije i ko-

industriji i široj javnosti. Hrvatsko društvo likov-

Karlsruhe; Moderna Museetu, Stockholm; na

eksperimentalna je arhitektica i digitalna

mentorice mag. hist. art. i phil. Sunčice Ostoić.

nih umjetnika, uz dvanaest partnera iz Genove

Milanskom trijenalu, te Venecijanskom i Taipei

umjetnica iz Kaunasa u Litvi. Tijekom magiste-

Obrazovanje u području biologije stekao je na

i Leccea (Italija), Clermont-Ferranda i Roue-

bijenalu. Kao predavač na School of Architectu-

rija na bečkoj Akademiji likovnih umjetnosti,

Prirodoslovno-matematičkom fakultetu istog

na (Francuska), Katowica i Lublina (Poljska),

re + Planning na Sveučilištu MIT, razvio je kolegij

Aistė je svoj forte pronašla u eksperimentalnoj

sveučilišta ak. god. 2018./19. (Biološki odsjek,

Skopja (Makedonija), Liverpoola (Ujedinjeno

na temu odnosa umjetnosti i tehnopolitika mo-

umjetnosti, koja se u praksi često isključuje. U

kolegij: Protista koji uključuje molekularnu bi-

Kraljevstvo), Kaunasa (Litva) i Aveira (Portugal)

dela i modeliranja. Objavio niz stručnih i znan-

svom se radu bavi dekorativnom umjetnošću

ologiju i genetiku), njegovom Botaničkom vrtu i

koju koordinira Gradski ured za kulturu grada

stvenih članaka, knjigu umjetnika Excavations:

arhitektonike gdje slavi i koristi forme, oblike i

Institutu za more i priobalje u Dubrovniku (istra-

Valladolida (Španjolska), uspješno provodi svo-

The Sinking Gardens, te je bio gostujući urednik

teksture koje pronalazi u složenoj i zamršenoj

živanje i znanstvena edukacija o planktonima i

je djelovanje u području kulture i širenja nove

96. broja časopisa Život umjetnosti koji se bavio

prirodi stvari. Cilj je njezine prakse potaknuti

ekosustavu Jadranskog mora, 2019. – danas).

kulturne prakse kroz niz različitih aktivnosti:

problematikom teritorija i mapiranja. Trenutno

umjetnost zapažanja i vizualizacije nezami-

Godine 2019. – 2020. voditelj je tečajeva bota-

rezidencija, izložbi, radionica, konferencija,

je asistent na Akademiji likovnih umjetnosti u

slive realnosti. Kreatorica je Plantasia Laba

ničke ilustracije, Botanički vrt PMF-a u Zagrebu.

seminara te obilježavanja Europskog dana

Zagrebu i pridruženi istraživač na programu Art,

gdje dizajnira digitalne biljke koristeći intuitivnu

kreativnosti.

Culture and Technology na MIT-u, gdje je uklju-

maštu tehnologije. Trenutno je doktorandica

evolution of marine organisms due to na-

čen u Climate Visions - laboratorij koji djeluje

na Umjetničkoj akademiji u Vilniusu i radi na

noplastic pollution, as well as healthy aquatic

cities and private and public institutions. The

na razmeđu umjetnosti, tehnologije i klimatskih

gramatici šumske tektonike koju tvore lišajevi.

ecosystems, are the topics of Matej Nišević’s

project was launched in 2012 with the aim to

promjena.

Aistė Ambrazevičiūtė (b. 1988) is an

works (Sisak, 1996). In addition to BioArt, which

respond to certain needs shared by European

Nikola Bojić is a researcher focused

experimental architect and digital artist ba-

he approaches using objects and installations,

cultural institutions: to maximize the econo-

on the relationship between space, technology

sed in Kaunas, Lithuania. During her Master’s

he is also interested in land art. He is a first-year

mic, social and cultural contribution that the

and the ecosystemic futures. He graduated

studies at Academy of Fine Arts Vienna, Aistė

graduate student of Graphic Arts at the Aca-

visual arts can make to better support artists,

in Art History and Museology at the Faculty of

found her forte in the experimental part of the

demy of Fine Arts, University of Zagreb, in the

cultural managers, the industry and the gene-

Humanities and Social Sciences, University of

discipline, which is often being excluded in pra-

class of prof. Mirjana Vodopija and co-men-

ral public.

Zagreb and completed his postgraduate de-

ctice. Her work focuses on the decorative arts

tor Sunčica Ostoić, MA. He studied biology at

The holder of the CreArt project in Croatia is

gree at the Graduate School of Design, Harvard

of architectonics, where she celebrates and

the Faculty of Science, University of Zagreb in

the Croatian Association of Fine Artists (HDLU),

University. His research, curatorial and artistic

employs the forms, shapes and textures found

the 2018-2019 academic year (Department of

and apart from the HDLU, the project gathers

projects have been presented at numerous in-

in the intricate and complex nature of things.

Biology, course: Protista Including Molecular

a network of partners from Genoa and Lecce

ternational conferences and exhibitions, most

The goal of her practice is to stimulate the arts

Biology and Genetics), its Botanical Garden

(IT), Clermont-Ferrand and Rouen (FR), Katowi-

recently at ZKM, Karlsruhe; Moderna Museet,

of noticing and visualising the unimagined re-

and the Institute for Marine and Coastal Re-

ce and Lublin (PL), Skopje (MK), Liverpool (UK),

Stockholm; Milan Triennial, Venice and Taipei

ality. She is the creator of Plantasia Lab, where

search in Dubrovnik (research and scientific

Kaunas (LT) and Aveiro (PT), coordinated by the

Biennial. As a lecturer at the School of Archi-

she designs digital plants using the intuitive

education on plankton and the ecosystem of

department of Culture of the City of Valladolid

tecture + Planning at MIT, he co-developed the

imagination of technology. She is currently a

the Adriatic Sea, 2019-present). In 2019-2020

(ES). The CreArt 2.0. is a five-year project that

course on art and techno-politics of models/

PhD candidate at the Vilnius Academy of Arts

he held courses on botanical illustration at the

will be implemented in the period 2017- 2021.

modeling. Nikola has published a number of

working on the grammar of forest tectonics by

Botanical Garden of the Faculty of Science in

scientific papers, artist’s book Excavations:

lichens.

Zagreb.

The Sinking Gardens and served as the guest editor of the 96th issue of the Život umjetnosti magazine, dealing with the issue of territory

Futuristic metamorphoses and the

CreArt 2.0. is a European Network of

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

ISBN 978-953-8098-52-9 CIP zapis je dostupan u računalnome katalogu Nacionalne i sveučilišne knjižnice u Zagrebu pod brojem 001117837.

The CIP record is available in the computer catalog of the National and University Library in Zagreb under number 001117837.

Za nakladnika / For the publisher Tomislav Buntak, president Organizator / Organiser Ravnateljica / Director Ivana Andabaka Urednik/Editor Nikola Bojić Prevoditelj/Translator Zana Šaškin Upravni odbor HDLU / Croatian Association of Artists Board Tomislav Buntak (predsjednik / President), Josip Zanki (potpredsjednik / Vice president), Ida Blažičko (potpredsjednica / Vice president), Fedor Fischer, Monika Meglić, Alen Novoselec, Melinda Šefčić

Partner / Partner

U okviru projekta / Within the project supported by

Voditeljica galerije / Gallery coordinator Martina Miholić CreArt koordinator / CreArt coordinator Ivana Andabaka, Vida Meić

Uz financijsku potporu / Financially

Kustos / Curator Nikola Bojić (HR) Umjetnici / Artists Aistė Ambrazevičiūtė (LT) Matej Nišević (HR) Predgovor / Preface Nikola Bojić Grafički dizajn / Graphic design Damir Gamulin Tehnička podrška / Technical support Davor Matić (konstrukcija), Mihael Pavlović, Dorian Pacak (postav) Tisak / Printed by Kerschoffset d.o.o.

Naklada / Edition 150

IZJAVA O OGRANIČENJU ODGOVORNOSTI Ova publikacija je ostvarena uz financijsku potporu Europske komisije. Ova publikacija odražava isključivo stajalište autora publikacije i Komisija se ne može smatrati odgovornom prilikom uporabe informacija koje se u njoj nalaze.

This publication was supported financially by the European commission. The content of this publication does not reflect the official opinion of the European Union. Responsibility for the information and views expressed in the publication lies entirely with the authors.