Izložba Martine Grlić, Memorija i konflikt, u Galeriji Karas, 4.-15.4.2018.

MARTINA GRLIĆ

MEMORY AND CONFLICT MEMORIJA I KONFLIKT

Memorija i konflikt: kulture pamćenja i individualna mitologija Ciklus slika Martine Grlić pod nazivom Memorija i konflikt obuhvaća dvije skupine radova koji se tematski, ali i po načinu propitivanja medija, naslanjaju jedan na drugog. U prvoj su skupini radova slike nastale temeljem arhivskih snimaka posljednjeg Dana mladosti iz 1987. godine1 (poliptih Lice iz gomile i Vatromet, 2018.).

Drugu skupinu čine radovi nastali temeljem arhivskih fotografija predsjednika SFRJ (Vođa, 2018.), njegove supruge Jovanke Broz (Prva dama, 2018.) i ideoloških memorabilija; vijenaca i ordena, koji markiraju prostor i vrijeme socijalističke utopije (Vijenac, 2018. i Ordenje, 2018.).

Martina Grlić se ovim ciklusom naslanja na svoja ranija promišljanja i umjetničke interpretacije kulture i politika sjećanja, ali i vlastite fetišizacije simbola početaka potrošačkog društva unutar socijalističkog samoupravljanja.2 Jan Assman navodi „koliko je mišljenje apstraktno, toliko je sjećanje konkretno“, te da ideje moraju biti doživljene kroz čula, prije nego što kao predmeti mogu pronaći put u pamćenju. Po Assmanu se za vrijeme tog procesa pojam i slika neraskidivo stapaju.3 Sjećanja umjetnice na doba socijalističke Jugoslavije vezana su uz njeno djetinjstvo i maglovite slike prošlosti zasnovane na viziji bolje budućnosti.

Martina Grlić mi je u razgovoru što smo ga vodili u ožujku 2018. o sjećanjima rekla kako su „jednostavno rečeno dječja, rascjepkana“. Kasnije je kroz odrastanje u zajednici (za vrijeme prijelaza iz jednog političkog sistema u drugi) primijetila da je društvo u kojemu živi duboko podijeljeno. Martina Grlić navodi kako „nostalgija i memorija postaju mistične pojave i sredstvo kojim određene skupine stvaraju neke nove ideologije“. Assman smatra kako figure naših sjećanja nužno trebaju biti materijalizirane u određenom prostoru i aktualizirane u određenom vremenu te su one stoga uvijek prostorno i vremenski konkretne. Premda se to ne odnosi na geografski ili historijski smisao.4 Figure sjećanja po Halbawachsu predstavljaju modele, primjere i neku vrst pouka u kojima je iskazano opće stajalište društvene grupe; one reproduciraju ne samo prošlost određene grupe već definiraju i 1 Dan mladosti je komemorativna svečanost iz doba Socijalističke Federativne Republike Jugoslavije kojom se obilježavao rođendan doživotnog predsjednika Josipa Broza Tita (1892. – 1980.). Ista se nastavila i nakon njegove smrti.

2 Na 3. bijenalu slikarstva 2015. Održanom u Domu hrvatskih likovnih umjetnika, Hrvatskog društva likovnih umjetnika Martina Grlić izložila je sliku Čunga lunga (2015.) iz ciklusa Proizvod koja prikazuje istoimene žvakaće gume, popularne u doba kasnog socijalizma.

3 Usp. Assman Jan “Kultura sjećanja”. U: Brkljačić, Maja i Sandra Prlenda, prir. Kultura pamćenja i historija.

Golden marketing-Tehnička knjiga, Zagreb 2006., str. 53.

4 Isto, str. 54.

njeno biće, značajke i slabosti.5 U svome ciklusu Memorija i konflikt Martina Grlić polazi od vlastitih dječjih sjećanja na jedno vrijeme i prostor igrajući se figurama sjećanja koje su iz njih proizišle i postavljajući ih kao oprečne dominantnim kulturama sjećanja u Republici Hrvatskoj. Na simbole socijalističke Jugoslavije te kulture isključivo gledaju kao na totalitaristički Disneyland ili ostatke poražene komunističke ideologije. S druge strane, kako je to i autorica primijetila, određene skupine mogu stvarati neke nove ideologije, dekontekstualizirajući stare simbole ili ih postavljajući u potpuno novi okvir.6 Metodologija rada Martine Grlić uključuje etnografske strategije u načinu prikupljanja građe. Kod prikupljanja materijala koji koristi za kreiranje ciklusa, umjetnica polazi od dokumentarnih fotografija i arhivskih snimaka koje su nekada bile dio redovnog televizijskog programa. Fotografija joj je osnovni materijal jer se u svom radu, kako je to u razgovoru navela, „često referira na realno vrijeme iz povijesti“.

Zanimljivo je da umjetnica arhivske snimke i fotografije naziva „propagandnim materijalom“, međutim činjenica je da su takve slike bile neodvojivi dio svakodnevnice u tom vremenu, kao što je postanje izleta u prirodu na Facebook zid ili Instagram neodvojivi dio današnje svakodnevnice. U svakodnevnici bi osamdesetih Facebook zid bio zastrašujući dio orwellijanskog, kapitalističkog društva u kojima je omladini toliko ispran mozak da ‘osobno’ i javno dijele privatne sadržaje i na taj način omogućuju potpunu kontrolu tajnih službi nad informacijama o vlastitom životu. Umjetnica snimke pronalazi na internetu, najviše putem Youtube kanala koji je za nju neka vrst slobodnog arhiva. U njenom su fokusu masovna okupljanja kroz koja „vidi kako se ideologija manifestirala kroz javni prostor i masovne ceremonije“. Martina Grlić uzima fragmente takvih snimaka (poliptih Lice iz gomile i Vatromet), te ih prikazuje izdvojeno kao samostalnu i očišćenu sliku. Rezultat je fascinantan, pred sobom vidimo idealistička lica iz (sada) nedefinirane prošlosti koja gledaju u nešto što postoji iza površine platna. Pošto nam je iz umjetničine arhive poznato da su slike rađene na temelju posljednje proslave Dana mladosti 5 Usp. Halbawachs, prema Assman, Jan (bilj. 3.), str. 55.

6 Primjer za to je manifestacija Trnjanski kresovi održavana osamdesetih godina prošlog stoljeća u povodu Dana oslobođenja grada Zagreba 8. svibnja 1945. godine, koja je u svojoj tadašnjoj formi bila tipični etno-socrealistički hibrid, koji je autorizirala birokratska kasta iz SSOH. Manifestacija je obnovljena 2015. na inicijativu Mreža antifašistkinja Zagreba. U program Kresova 2017. bile su uključene različite aktivnosti od cirkuskih vještina, feminističke samoobrane i zaštite do urbanog vrtlarstva. Isti se nastavio u Močvari s klupskim, plesnim programom 8. antifa night.

1987. godine, kada je vođa naroda i narodnosti bio fizički mrtav već sedam godina, ali i istovremeno prisutan kao simbolički put koji Jugoslavija treba kročiti, možemo zaključiti da lica gledaju upravo u tom pravcu.

To je pravac nevidljive esencije, simboličke forme koju treba slijediti, koja je naravno dio svetog prostora, dio istog onog svetog kojemu socijalistički materijalizam nikako nije dopuštao postojanje, a čije je narative preuzeo nakon smrti Josipa Broza Tita.7 Mircea Eliade navodi kako za arhajskog čovjeka „neki predmet ili neka aktivnost dobivaju vrijednost i tako postaju stvarni zato što su na neki način uključeni u stvarnost koja ih nadilazi“. Jedan kamen po Eliadeu postaje posvećen zato što se u njemu nalazi mana ili njegov oblik ističe neki simbolizam ili priziva sjećanje na neki mitski čin.8 Sveto i posvećeno je samo ono što sudjeluje u transcendentalnoj stvarnosti.

U posljednjim je godinama socijalističke utopije (osamdesete godine u SFRJ) transcendentalna stvarnost postala omamljujući san nasuprot ideologizirajućoj i birokratiziranoj stvarnosti. A koliko je stvarnost mogla biti birokratizirana najbolje nam govori Bulgakovljev precizni opis besplatnog odmora za članove sovjetskog udruženja pisaca kojeg je pisac imenovao MASSOLIT. Pisac nas informira o kreativnom normativu u natpisu na vratima „Stvaralački dopust s punom opskrbom od dva tjedna (pripovijest – novela) do jedne godine (roman, trilogija) za Jaltu, Suuk-Su, Borovje, Cihidziri, Mahindžauri, Lenjingrad (Zimski dvorac)“ ispred kojih se nalazi red od pedeset književnika.9 Upravo su osamdesete predstavljale bijeg od ideologijskog normativa u socijalističku transcendentalnost. Zato se na umjetničin poliptih Lice iz gomile naslanja slika Vatromet koja prikazuje vatromet prilikom proslave Dana mladosti 1987. Ozarena lica možda gledaju u vatromet, ali taj vatromet nije puka prezentacija tehnike, ona je demonstracija socijalističke tehnologije, ali i simulira beskonačno zvjezdano nebo. Ono u kojem socijalizam zauvijek živi, dakle transcendentalni prostor, isti onaj u koji se nakon fizičke smrti preselio veliki vođa. Njegovo je lice kao i lice mu prve dame ostalo pokriveno amorfnom ernstovskom masom, nadrealističkim sublimatom ili magličastom koprenom (Vođa i Prva dama). Martina Grlić nas uvodi u zagonetni – simbolički svijet, 7 Najbolji je primjer treći dio pjesme Đorđa Balaševića Tri put sam video Tita koji govori o tome kako je Tita (nakon smrti) moguće vidjeti u sljedećim objektima i pojavama: visokim pećima, dimu fabrike, širokim njivama, gradovima što slobodni žive i jatima ptica.

8 Eliade, Mircea Mit o vječnom povratku. Naklada Jesenski i Turk, Zagreb 2007., str. 16 9 Bulgakov, Mihail Majstor i Margarita. Sveučulišna naklada Liber, Zagreb 1985., str. 60.

lica Titovih sljedbenika gledaju u nebo u čijem ga procjepu vide, a s druge strane slika Titovog lica (kojeg mi zamišljamo da oni vide) biva prekrivena formom koju bi mogli nazvati slika u slici. Martina Grlić naime prenosi potpuno drugačiju teksturu na postojeću richterovsku podlogu, koja simulira površinu crno-bijelog televizora.

A na kraju nam ostaju memorabilije kojima se odlikuju nasljednici puta vođe, vijenac koji se polaže na njegov grob i ordenje koje se dodjeljuje sljedbenicima njegova puta (Vijenac i Ordenje, 2018.). Samo tako se mogao nastaviti oblik vlasti koju je postavio vođa. Jer kako to ističe Foucault „vlast nije neka institucija, i nije struktura, nije određena snaga koju bi posjedovali određeni: to je ime što se daje nekoj složenoj strateškoj situaciji u nekom danom društvu“.10 Složena strateška situacija ∑ Josip Broz Tito (vlast) još je sedam godina nakon preseljenja u zvjezdani procjep obnašao vlast putem simbola, komemorativnih svečanosti i upisa sjećanja i pamćenja u vrijeme i prostor. Umjetnica u svome ciklusu Memorija i konflikt ne divinizira to vrijeme i prostor, već naprotiv prikazuje cjelovitu ikonografiju jedne od mogućih kultura pamćenja. Martina Grlić djeluje kao umjetnica-etnograf,11 bilježeći i transformirajući fragmente prošlih vremena, koja u virtualnom društvu sve više nestaju. U razgovoru mi je istaknula kako joj se sviđa zadanost fotografije (faktografija) i mogućnost da se ona kroz sliku radikalno mijenja. Činjenica da fotografiju kao i Gerhard Richter oponaša kroz medij (slikarstvo) stariji od fotografije12 samo je još jedan dio mozaika u njenom preispitivanju prošlosti. U njemu je istovremeno moguće gledati u zvjezdano nebo i čekati red za odmor-novelu u Mahindžauriju. dr.sc. Josip Zanki

10 Foucault, Michel Povijest seksualnosti 1. Volja za znanjem. Domino, Zagreb 2013., str. 84.

11 Usp. Foster, Hal “The Artist as Ethnographer”. U: Foster, Hal The Return of the Real. MIT Press, Cambridge MA 1996.

12 Usp. Belting, Hans An Anthropology of Images. Picture, Medium, Body. Princeton University Press, Princeton, Oxford, 2011., str. 31.

Memory and Conflict: Cultures of Memory and Individual Mythology

A series of paintings by Martina Grlić titled Memorija i konflikt [Memory and Conflict] comprises two groups of works that are connected both by their theme and by the manner in which they explore the medium. The first group includes paintings created on the basis of archival footage from the last Day of Youth in 19871 (the polyptych Lice iz gomile [A Face from the Crowd] and Vatromet [Fireworks], 2018).

The second group consists of works based on archival footage showing the President of the Socialist Federal Republic of Yugoslavia (Vođa [Leader], 2018), his wife Jovanka Broz (Prva dama [First Lady], 2018) and ideological memorabilia; wreaths and medals that mark the space and time of socialist utopia (Vijenac [Wreath], 2018 and Ordenje [Medals], 2018).

With this series Martina Grlić refers to her previous reflections and artistic interpretations of culture and the politics of memory, but also her own fetishization of symbols of the beginning of consumer society within socialist self-management.2 Jan Assman specifies that “as much as thought is abstract, remembrance is that much specific“3, and that ideas must be experienced by the senses before they can find their way to memory as objects. According to Assman, during this process, the concept and the image become inextricably intertwined.4 The artist’s memories of the time of socialist Yugoslavia are connected to her childhood and blurred images of the past built on a vision of a better future.

In an interview from March 2018, Martina Grlić told me that memories are “simply put, childhood memories, fractured”. Later on, by growing up in a community (during the transition from one political system to another), she noticed that the society in which she lived was deeply divided. Martina Grlić says that “nostalgia and memory become mystical phenomena and the means by which certain groups form some new ideologies“. Assman thinks that the figures of our memories must be materialised in a specific space and made current in a specific time, which is why they are always spatially and temporally concrete. However, this cannot be applied geographically or historically.5 According to Halbawachs, figures of memory signify models, examples and a type of lessons that present the general viewpoint of a 1 The Day of Youth was a commemorative festivity from the era of the Socialist Federal Republic of Yugoslavia which commemorated the birthday of the lifetime president Josip Broz Tito (1892 – 1980). It also continued after his death.

2 At the 2015 3rd Biennial of Painting held at the Home of the Croatian Association of Artists, Martina Grlić displayed the painting Čunga lunga (2015) from the series Proizvod [Product] that portrayed the eponymous bubble gum, which was popular in late socialism.

3 Not an official translation, TN 4 Cf. Assman Jan “Kultura sjećanja”. In: Brkljačić, Maja and Sandra Prlenda, ed. Kultura pamćenja i historija. Golden marketing-Tehnička knjiga, Zagreb 2006, p. 53 5 Ibid., p. 54.

social group; they reproduce not only the past of a certain group, but also define its being, features and weaknesses.6 In her series Memorija i konflikt [Memory and Conflict], Martina Grlić draws upon her own childhood memories of a certain time and space by playing with figures of memories that originated from the same, and then juxtaposing them with the dominant cultures of memory in the Republic of Croatia. Those cultures view the symbols of socialist Yugoslavia exclusively as a totalitarian Disneyland or as the remnants of a defeated communist ideology. On the other hand, as the artist pointed out, certain groups may create new ideologies by decontextualizing old symbols or by placing them in a completely new context.7 Martina Grlić’s work methodology involves ethnographic strategies in the way she collects her material. When collecting the material to create the series, the artist starts with documentary photographs and archival footage which were once part of a regular television programme. Photography is her basic material because her work “often references real time in the past”, as she emphasised in her interview.

It is interesting how the artist labels the archival footage and photographs as “propaganda material”. Nevertheless, the fact remains that such images were a fixture of everyday life at the time, as much as posting a picnic in nature on Facebook wall or Instagram has become a fixture of our everyday. In the 1980s, Facebook wall would represent a frightening segment of an Orwellian, capitalist society in which the youth was so brainwashed that they would “personally” and publicly share their private content and thereby enable a complete control of secret services over the information about their own lives. The artist finds these footages on the Internet, mostly on YouTube, which she uses as a kind of an open access archive. She focuses on mass gatherings in which she “sees how the ideology was manifested in public space and mass ceremonies”. Martina Grlić uses fragments of such footages (the polyptych Lice iz gomile [A Face from the Crowd] and Vatromet [Fireworks]) and isolates them as an independent and purified painting. The result is fascinating as we see before us idealistic faces from an (now) undefined past, looking at something that exists beyond the surface of the canvas. Since the artist’s archive tells us that the paintings were made based on the final celebration of the Day of Youth in 6 Cf. Halbawachs, as in Assman, Jan (ftn. 3.), p. 55.

7 The example of this is the ceremony The Bonfires of Trnje held in the 1980s to honour the Liberation Day of the City of Zagreb on 8 May 1945. In its then form it was a typical hybrid of ethnology and social realism, authorised by the bureaucratic caste from the Association of Socialist Youth of Croatia. The ceremony was reinstated in 2015 at the initiative of the Network of Antifascist Women of Zagreb. The 2017 Bonfires programme included various activities, ranging from circus acts, feminist self-defence and protection to urban gardening. The ceremony continued at the Močvara Club with the clubbing event 8th Antifa Night.

1987, when the leader of the people and nationalities had already been physically dead for seven years, but at the same time he was present as a symbolic path which Yugoslavia was supposed to follow, we can conclude that the faces are looking in precisely that direction.

It is a path of an invisible essence, of symbolic form that needs to be followed and which is, of course, part of a sacred space, a part of that same sacred element that socialist materialism never allowed to exist, and whose narratives it took over after the death of Josip Broz Tito.8 Mircea Eliade says that for the archaic man “objects or acts acquire a value, and in so doing become real, because they participate, after one fashion or another, in a reality that transcends them.” Eliade explains that a stone becomes sanctified because it contains a flaw or its shape delineates some symbolism or invokes a memory of a mythical act.9 Sacred and consecrated is only that which takes part in the transcendental reality.

During the final years of a socialist utopia (1980s in the Socialist Federal Republic of Yugoslavia), transcendental reality became an intoxicating dream contrasted with the bureaucratic reality that created the ideology. And how bureaucratic the reality could be was best described by Bulgakov’s precise description of a free holiday for the members of the Soviet Association of Writers, which he dubbed MASSOLIT. The writer informs us of the creative standard written on a door sign - “Fully inclusive creative holiday, lasting from two weeks (short story-novella) to one year (novel, trilogy), to Yalta, Suuksu, Borovoye, Tsikhidziri, Makhinjauri, Leningrad (Winter Palace)“, in front of which there was a queue of fifty writers.10 The 1980s were, in fact, the very escape from an ideological standard to a socialist transcendence. That is why the artist’s polyptych Lice iz gomile [A Face from the Crowd] is connected to the painting Vatromet [Fireworks] which shows fireworks during the celebration of the Day of Youth in 1987. The radiant faces may be looking at fireworks, but the fireworks are not a pure presentation of technique but a demonstration of socialist technology and a simulation of the endless starry sky. The one in which socialism lives on forever, therefore, a transcendental space, the same space to which the great leader moved after his death. His face, as well as the face of the first lady, remains shrouded in an amorphous Ernst-like mass, a surrealist sublimation or an 8 The best example is the third part of the song by Đorđe Balašević Tri put sam video Tita (I saw Tito Three Times) that says that one can see Tito (after his death) in the following structures and phenomena: blast furnaces, factory smoke, broad fields, cities that live free and flocks of birds.

9 Eliade, Mircea Mit o vječnom povratku [The Myth of the Eternal Return]. Naklada Jesenski i Turk, Zagreb 2007, p. 16 10 Bulgakov, Mikhail Majstor i Margarita [The Master and Margarita]. Sveučilišna naklada Liber, Zagreb 1985, p. 60

opaque veil (Vođa [Leader] and Prva dama [First Lady]). Martina Grlić introduces us to a world of mysteries and symbolism where the faces of Tito’s followers gaze upon the sky and see him in its crevice, and on the other side there is a painting of Tito’s face (whom we imagine they can see), covered with a form which we could label as a painting within a painting. To wit, Martina Grlić transfers a completely different texture to an existing Richterian base that simulates the surface of a black and white television set.

And in the end we are left with memorabilia decorating the successors of the leader’s path, the wreath laid on his grave and the medals given to the followers of his path (Vijenac [Wreath] and Ordenje [Medals], 2018). That was the only way to continue the form of power instilled by the leader. Because, as emphasised by Foucault, “power is not an institution, and not a structure; neither is it a certain strength we are endowed with; it is the name that one attributes to a complex strategical situation in a particular society”.11 For seven more years after having been relocated to the starry crevice, the complex strategical situation of Josip Broz Tito (the power) exercised its power using symbols, commemorative festivities and inscriptions of memories and remembrance into time and space. In her series Memorija i konflikt [Memory and Conflict], the artist does not deify that time and space, but in fact shows the complete iconography of one of the potential cultures of memory. Martina Grlić acts as an artist-ethnographer,12 recording and transforming fragments of past times that are more and more disappearing in the virtual society. In our interview she emphasised that she liked the finite nature of photography (factography) and the possibility to radically alter it through a painting. The fact that she imitates photography, as does Gerhard Richter, using a medium (painting) that is older than photography13 is just another piece of the mosaic in her examination of the past. Within it, one can simultaneously gaze upon the starry sky and stand in a queue for a holiday- novella at Makhinjauri.

Josip Zanki, PhD

11 Foucault, Michel Povijest seksualnosti 1. Volja za znanjem [The History of Sexuality-Volume One, The Will to Knowledge]. Domino, Zagreb 2013, p. 84 12 Cf. Foster, Hal “The Artist as Ethnographer”. In: Foster, Hal The Return of the Real. MIT Press, Cambridge MA 1996 13 Cf. Belting, Hans An Anthropology of Images. Picture, Medium, Body. Princeton University Press, Princeton, Oxford, 2011, p. 31

MEMORY MEMORIJA

Lice iz gomile 50 x 40 cm ulje na platnu 2018.

Face from the crowd 50 x 40 cm oil on canvas 2018

Lice iz gomile 50 x 40 cm ulje na platnu 2018.

Face from the crowd 50 x 40 cm oil on canvas 2018

Lice iz gomile 50 x 40 cm ulje na platnu 2018.

Face from the crowd 50 x 40 cm oil on canvas 2018

Lice iz gomile 50 x 40 cm ulje na platnu 2018.

Face from the crowd 50 x 40 cm oil on canvas 2018

Lice iz gomile 140 x 170 cm ulje na platnu 2018.

Face from the crowd 140 x 170 cm oil on canvas 2018

Vatromet 140 x 170 cm ulje na platnu 2018.

Fireworks 140 x 170 cm oil on canvas 2018

CONFLICT KONFLIKT

Vođa 150 x 120 cm ulje na platnu 2018.

Leader 150 x 120 cm oil on canvas 2018

Prva dama 60 x 50 cm ulje na platnu 2017.

First lady 60 x 50 cm oil on canvas 2017

Prva dama 60 x 50 cm ulje na platnu 2017.

First lady 60 x 50 cm oil on canvas 2017

Vijenac 150 x 120 cm ulje na platnu 2018.

Wreath 150 x 120 cm oil on canvas 2018

Ordeni 150 x 120 cm ulje na platnu 2018.

Medals 150 x 120 cm oil on canvas 2018

Martina Grlić rođena je 1982. u Zagrebu. Diplomirala je slikarstvo 2009. godine na Akademiji likovnih umjetnosti u Zagrebu (mentori prof. Zlatko Keser i prof. Duje Jurić).

Do sad je izlagala na 11 samostalnih i više od 20 skupnih žiriranih izložbi u Hrvatskoj i inozemstvu. Dobitnica je nagrade Erste Grand prix za najbolju sliku te nagrade za najbolju mladu umjetnicu na 4. bijenalu slikarstva. Radovi joj se nalaze u fundusu Moderne galerije u Zagrebu. Članica je HDLU i HZSU Zagreb. Živi i radi u Zagrebu.

Martina Grlić was born in Zagreb in 1982. She graduated from the painting department of the Academy of Fine Arts in Zagreb in 2009. She has exhibited in 11 solo exhibitions and participated in more than 20 group exhibitions in Croatia and abroad.

She received awards from Erste bank for best painting and award for young artist at painting Biennial in Zagreb. Her works can be found in Modern Gallery collection in Zagreb. She is a member of the Croatian Association of fine Artists and Croatian Freelance Artists’ Association. She lives and works in Zagreb, Croatia.

Samostalne izložbe/ 2017 “Kolektivni snovi”, galerija Kranjčar 2016 “Tovarna”, galerija Simulaker, Slovenija Solo exhibitions 2015 “Proizvod”, galerija Poola, Pula 2014 “Proizvod”, Muzej grada Lošinja, Mali Lošinj 2014 “Bolje od stvarnosti”, galerija Zuccato, Poreč 2014 ”Proizvod”, galerija Josip Račić, Zagreb 2013 “Tvornica”, galerija Karas, Zagreb 2012 “World to come”, galerija Događanja, Zagreb 2011 “Atomic Landscapes”, Cekao, Zagreb 2010 “Atomic Landscapes”, galerija SC, Zagreb Skupne izložbe/ Group exhibitions

2017 4. bijenale slikarstva, HDLU, Zagreb 2017 THT nagrada, Muzej suvremene umjetnosti,

Zagreb 2016 51. zagrebački salon “Izazovi humanizmu”,

HDLU, Zagreb 2016 Exporting Zagreb, Constructing the Present of

Memory, Nacionalni muzej, Gdansk, Poland 2015 3. bijenale slikarstva, HDLU, Zagreb 2015 2. CEE Countries, Contemporary Art Exhibition,

Muzej Ningbo, Kina 2014 Mundus vadit retro KIBLA, Maribor, Slovenija 2014 32. salon mladih, HDLU, Zagreb 2013 Novi hrvatski realizam, HAZU, Zagreb 2013 2. bijenale slikarstva, HDLU, Zagreb 2013 53. porečki annale “Umjetnost mora biti lijepa”, Poreč 2013 48. zagrebački salon, HDLU, Zagreb 2013 T-HT nagrada, MSU, Zagreb 2012 PARS PRO TOTO Loft Sevigne, Pariz 2012 31. salon mladih, HDLU, Zagreb 2012 Erste Fragmenti 8, MSU, Zagreb 2011 Druga stvarnost: Nadolazeći hrvatski slikari, Kun

stlerhaus, Beč, Austrija 2011 1. bijenale slikarstva, HDLU, Zagreb 2010 22. slavonski bijenale, GLUO, Osijek 2010 45. zagrebački salon, HDLU, Zagreb 2010 30. salon mladih, HDLU, Zagreb

Nagrade/ Awards

2017 HPB nagrada za mladu umjetnicu, 4. bijenale

slikarstva 2012 Novi fragment 8, Grand prix za najbolju sliku

Rezidencije/ Residency

2014 Glo’art, Belgija

Zbirke/ Collections

Moderna galerija, Zagreb

Kontakt/ Contact

www.martinagrlic.com martinagrlic@yahoo.com

MARTINA GRLIĆ MEMORIJA I KONFLIKT MARTINA GRLIĆ MEMORY AND CONFLICT IZLOŽBA / EXHIBITION 4.-15.4.2018.

Galerija Karas Ulica kralja Zvonimira 58, Zagreb www.hdlu.hr Voditeljica galerije / Gallery coordinator: Nika Šimičić KATALOG / CATALOGUE Nakladnik / Publisher: Hrvatsko društvo likovnih umjetnika / Croatian Association of Fine Artists, Trg žrtava fašizma 16, 10 000 Zagreb, hdlu@ hdlu.hr, www.hdlu.hr Za nakladnika / For the publisher: Josip Zanki, predsjednik / president Upravni odbor HDLU / Croatian Association of Artists Board: Josip Zanki (predsjednik / president), Tomislav Buntak (dopredsjednik / vice president), Fedor Vučemilović (dopredsjednik / vice president), Ida Blažičko, Stipan Tadić, Monika Meglić, Melinda Šefčić Ravnateljica / Director: Ivana Andabaka Umjetnički savjet Galerije Karas / Karas Gallery Advisory Board: Jelena Bando, Branka Benčić, Tomislav Buntak, Ivan Fijolić, Kristian Kožul, Marijana Stanić, Josip Zanki Urednica kataloga / Catalogue Editor: Nika Šimičić Predgovor / Preface: Josip Zanki Grafičko oblikovanje kataloga / Catalogue Design: Petra Bilić Križan Prijevod / Translation: Zana Šaškin Tisak/Printed by: Sveučilišna tiskara Naklada/Copies: 250 Zagreb, travanj 2018. / Zagreb, April 2018 ISBN: 978-953-8098-20-8 CIP zapis je dostupan u računalnome katalogu Nacionalne i sveučilišne knjižnice u Zagrebu pod brojem 000991845.

Organizator / Organizer:

Uz potporu: / Supported by:

www.martinagrlic.com martinagrlic@yahoo.com mobile: +385917277291