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.