Retroperspektiva 2016 by HDLU

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R E T R O P E R S P E C T I V E 3

RETROPERSPEKTIVA / RETROPERSPECTIVE

Ova bi djela mogla biti... / These Works Could Be... Galerija Prsten i PM / Gallery Ring & PM Hrvatsko društvo likovnih umjetnika Croatian Asociation of Fine Artists Trg žrtava fašizma 16, 10000 Zagreb

Grgur Akrap, Željko Badurina, Gordana Bakić, Snježana Ban, Gordana Bralić, Tomislav Buntak, Božena Končić Badurina, Iva Matija Bitanga, Jelena Bračun Filipović, Igor Čabraja, Iva Ćurić, Viktor Daldon, Ivan Fijolić, Ivana Gorički, Željka Gradski, Marko Grill, Tea Hatadi, Ana Hušman, Zdravka Ivandija Kirigin, Đorđe Jandrić, Igor Juran, Marija Knezić, Jasminka Končić, Ana Krolo, Ines Krasić, Daniel Kovač, Nina Kurtela, Lonac, Marija Lovrić, Hrvoje Majer, Ivica Malčić, Janko Matić, Miroslav Mirt, Maja Marković, Božica Dea Matasić, Margareta Milačić, Zoltan Novak, Petra Orbanić i Marija Plečko, Dan Philipp, Predrag Pavić, Terezija Pisković Barusić, Vesna Pokas, Iris Poljan, Lala Raščić, Bruno Razum, Davor Rogar, Berislav Šimičić, Natalija Škalić, Tanja Škrgatić, Josipa Štefanec, Anita Šurkić, Karla Šuler, Ivan Tudek, Zorana Unković, Iva Vraneković, Miriam Younis, Ana Zubak Kustosi / Curators Snježana Ban, Tea Hatadi, Ante Rašić

1. – 21. veljače, 2016. / February 1-21, 2016

RE TROPERSPEK TIVA / RE TROPERSPEC TIVE Ova bi djela mogla biti... / These Works Could Be...

Snježana Ban, Tea Hatadi, Ante Rašić

U nepreglednom mnoštvu suvremene umjetničke produkcije ništa se predugo ne ističe, a pojedinačni rad kao da živi tek u trenutku, već naredni pripada zaboravu. U toj brzini neke se pojave uspijevaju afirmirati do razine fenomena, a neke druge, premda vrijedne, iz neobjašnjivih razloga ostaju nezamijećene i tek usputne pojave, na koncu zaboravljene. Riječ je, dakako, o nekim opće usvojenim konstatacijama i mehanizmima svojstvenih sistemu (suvremene) umjetnosti, koji nas mogu podsjetiti da je katkad nužno oduprijeti se sklonosti i navici prebrze potrošnje i zaborava, da bismo iznova obratili pažnju na one umjetničke vrijednosti što zaslužuju pamćenje, a koje su nam u tom općem relativizmu, raspršenosti i ravnodušnosti odviše brzo promakle.

In the vast multitude of contemporary art production nothing stands out for too long; it is like a work lives only for a moment, only to fall into oblivion a moment later. When things are so fast paced, some things manage to become a phenomenon, and some others, although valuable, inexplicably go unnoticed and remain incidental, forgotten in the end. These are, of course, some commonly adopted conclusions and mechanisms characteristic of the (contemporary) art system, which can remind us that it is sometimes necessary to resist the tendency and habit of fast consumption and oblivion, invite us to give a second look at those artistic values that deserve to be remembered, but slip by too quickly in this time of general relativism, dispersion and indifference.

U današnjem kontekstu vrijedno je sagledati individualna i grupna umjetnička ostvarenja generacije umjetnika nastala unatrag tri desetljeća i više, te zajedno podastrijeti radove, kako one koji su postali paradigmatski na mladoj likovnoj sceni, tako i one koji se prošli neopaženo, a „mogli bi biti od povijesne važnosti.“ 1

In the present context it is important to look at individual and group artistic achievements of the generation of artists of the last tree decade and more, and exhibit together both the works that have become paradigmatic on the young art scene and the ones that passed unnoticed, but which “could be of historical importance.“ 1

Zanima nas, naime, što se događa s radovima nakon vremenske distance. Mogu li „negiranjem koncepcije linearnog razvoja u vremenu, povijesno potisnuti sadržaji u budućnosti biti revidirani, prevrednovani, promišljeni i funkcionalni.“ 2 Drugim riječima, hoće li izlaganje „zaboravljenih“ radova danas značiti više, nego li u vremenu kada su nastali? Koliko je uopće moguće očekivati svojevrsnu katarzu, da se tako izrazimo, odnosno revalorizaciju, reafirmaciju već uspostavljenih vrijednosti?

We are, in fact, interested in what happens with the works after a length of time. Can “the historically suppressed contents be revised, revalued, though-out and become functional in the future, through the negation of the concept of linear development in time.“ 2 In other words, will the exhibition of “forgotten“ works have a more important significance today than in the time when they were created? To what extent is it possible to expect a kind of catharsis, so to speak, or a revaluation, reaffirmation of the established values?

Naposljetku, što je presudno za afirmaciju neke umjetničke pojave? Počiva li ona tek na trenutno važećim usmjerenjima ili pak identitetu autora, odnosno pomalo gorkom uvidu da je „činjenica da je nekom dana mogućnost da napravi izložbu važnija od onoga što će na toj izložbi biti pokazano.“ 3 To su neka od razmišljanja i temeljnih pitanja, koja bi se kroz izložbu nastojala rasvijetliti i pokazati ne bi li ponudili makar djelomične odgovore, a moguće otvorili i nova pitanja.

After all, what is of crucial importance for the recognition of an art phenomenon? Is it based on the current trends or an author’s identity, or on a somewhat bitter realization that “the fact that someone was given the opportunity to make an exhibition is more important than what will actually be shown at that exhibition.“ 3 These are some of the considerations and fundamental issues that the exhibition wants to clarify and demonstrate, in order to provide at least partial answers, and possibly raise some new questions.

Mišljenja smo da bi zajedno pokazani, odabrani radovi mogli predstavljati stanovito iznenađenje. Izložba uključuje radove nekoliko generacija umjetnika, kojima je, među inim, zajedničko ishodište obrazovni sustav iz kojeg su proizašli, a riječ je o Nastavničkom odsjeku (ALU Zagreb). Posrijedi su radovi nastali tijekom studija, dakle u formativnom razdoblju, onom najosjetljivijem periodu traženja vlastitog umjetničkog identiteta. Pritom obuhvaćeni period nije definiran precizno 1 Parafraziramo poznati naziv fotografskih radova Brace Dimitrijevića 2 Branko Franceschi iz teksta predgovoru izložbe Željka Kipkea, pojašnjava retrofuturizam u njegovu radu. 3 Iz poznatog rada Gorana Trbuljaka. 6

We believe that exhibited together, the selected works may come somewhat as a surprise. The exhibition includes works by several generations of artists who, among other things, share the same educational roots, i.e. they graduated from the Department of Art Education (Academy of Fine Arts in Zagreb). The works in question were created during their 1 Paraphrasing the famous title of Braco Dimitrijević’s photographic works. 2 Branko Franceschi, from the foreword to Željko Kipke’s exhibition, explaining retrofuturism in his work. 3 From Goran Trbuljak’s famous work.

ograničenim vremenskim okvirom, već je određen sačuvanim radovima, njihovom dostupnošću, postojećom dokumentacijom, rekonstrukcijom, voljom autora. Uz to, posebnu važnost, odnosno osobitost predložene koncepcije čini i pogled iznutra samih protagonista – umjetnika u ulozi kustosa, koji prije svega imaju iskustvo proživljenog.

studies, in their formative period, the most sensitive period of searching for their own artistic identities. The period covered is not defined by a strictly limited time frame, but by preserved works, their availability, existing documentation, reconstruction, author’s willingness. Also, the specific importance, or characteristic of the proposed concept, is the inner perspective of the protagonists themselves – artists in the role of the curator, who have this experience.

Works in process

Snježana Ban, Ante Rašić

Works in process

Works in Process

Izložba „Retroperspektiva – Ova bi djela mogla biti od povijesne važnosti“ u izložbenom prostoru HDLU-a predstavlja radove umjetnika mlađe i srednje generacije, sučeljavajući time nekoliko vremenskih i generacijskih perspektiva u rasponu od tridesetak godina, uključujući i recentne radove. 1 Ova izložba sučeljava radove autora koji su vremenom zadobili važno mjesto u novijoj hrvatskoj povijesti umjetnosti, s radovima autora koji su ostali u pozadini te s onim radovima čija valorizacija tek slijedi. Dakle, izložba nije strogo usmjerena samo na afirmirana djela i autore, već i na ona djela koja su prošla nezapaženo; obuhvaća autore koji i dalje aktivno djeluju na umjetničkoj sceni te one koji su se povukli s umjetničke scene ili iz umjetničke prakse uopće. 2

The exhibition ”Retroperspective – These Works Could Be Of Historical Importance“ in the exhibition space of the Croatian Association of Artists features the works of artists of younger and middle generation, contrasting thus several historical and generational points of view of the last thirty years, including also the most recent works. 1 The exhibition brings face to face the works of artists who have gained an important place in modern Croatian art history, and the works of artists who remained in the background, as well as the works that are yet to be recognized. Thus, the exhibition is not strictly focused on renowned works and artists, but also on the works that went unnoticed – it includes artists who are still active in the art scene, along with the ones who retired from the art scene or art practice in general. 2

Iako je suptilna nit koja ujedinjava umjetnike i njihove radove na izložbi zajednička lokacija – Nastavnički odsjek na ALU kao mjesto nastanka svih izloženih radova, ideja vodilja autora izložbe i

Although a subtle thread that unifies the artists and their works in this exhibition is the one place they all have in common – the 1 The earliest works in the exhibition are: Wait by Đorđe Jandrić from 1981, then Sceno-graphies of the View by Vesna Pokas from 1986. On the other hand, the most recent works are 133+ by Miriam Younis and a collaborative work Nothing, But Still Is by Petra Orbanić and Marija Plečko, both created in 2015. It is also interesting that some of the works were first exhibited in the Home of the Croatian Association of Artists (Iva Vraneković, Maja Marković, Nina Kurtela, Anita Šurkić), while, due to their nature (site-specific and ambient works), a number of works was re-created (Dan Philipp, Ana Zubak) or replicated (Hrvoje Majer, Đorđe Jandrić). 2 There are several specific cases: still active, established artists (e.g. Predrag Pavić, Ivan Fijolić, Božica Dea Matasić, Josipa Štefanec, Maja Marković, Ines Krasić, Tomislav Buntak, Željko Badurina, etc.); artists who had an outstanding start, and then retired from the art world (such as Miroslav Mirt, Goran Karabogdan, Berislav Šimičić, etc.); authors who have achieved outstanding results in education (Jasminka Končić, Jelena Bračun, Ida Loher, Gordana Košćec Bousfield, Martina Kosec Reba (OPA Association), Iva Matija Bitanga, Iva Ćurić, Margareta Milačić, etc.); authors who, after graduation, focused on art theory (Marko Golub, Ivana Mance); or who continue to achieve significant results in various related professions, like Dražen Grubišić (Museum of Broken Relationships), Ksenija Pintar, Vjeran Potočić (art restoration), Saša Martinović Kunović (manager of Modulor Gallery, Trešnjevka Gallery, etc.). It is also worth pointing out that many authors have exhibited their formative works in solo and group exhibitions in the most relevant exhibition spaces that contributed to their establishment (Glyptotheque of the Croatian Academy of Sciences and Arts, Zagreb, Home of the Croatian Association of Art, Zagreb, Gallery of Fine Arts, Split, SC Gallery, Zagreb, Vladimir Nazor Gallery; Kranjčar Gallery, Zagreb; Museum of Contemporary Art of Istria, Pula, Essl Museum, Vienna, Academia Moderna, etc.) and won important acknowledgements and awards (Janko Matić, Matisse and Picasso Award: Two Visions of the Object, Young Artists Award winner, Paris, Moet Hennessy Louis Vuitton (LVMH); Predrag Pavić, winner of the X Triennial of Croatian Sculpture Grand Prix (2009), Miroslav Mirt – laureate of the international EsslAward (2005), Snježana Ban, 28th Youth Salon Grand Prix, Zagreb (1996); Tanja Škrgatić – winner of the Erste Grand Prix (2014), Đorđe Jandrić – winner of the First Prize for Sculpture at the 20th Youth Salon, Zagreb (1988); Tomislav Buntak, winner of the 24th Youth Salon Award (1996) or Maja Marković, Nina Kurtela, Predrag Pavić, Marko Vojnić, finalists of the Radoslav Putar Award, Institute for Contemporary Art, Zagreb, etc.). Many works are part of museum and private collections (Museum of Contemporary Art of Istria, Pula, Filip Trade Collection – Lauba, etc.)

1 Najstariji su radovi na izložbi: rad Čekanje Đorđa Jandrića iz 1981. godine, zatim slijedi Sceno-grafija pogleda umjetnice Vesne Pokas iz 1986. godine. S druge strane, najnovijeg su datuma radovi 133 + Miriam Younis te zajednički rad Ništa ali ipak je Petre Orbanić i Marije Plečko, oba rada nastala su 2015. godine. Zanimljivo je također istaknuti da su pojedini radovi na izložbi izvorno izloženi upravo u prostoru Doma HDLU-a (Iva Vraneković, Maja Marković, Nina Kurtela, Anita Šurkić), dok je nekolicina radova za ovu izložbu zbog svog karaktera (site-specifični i ambijentalni radovi) izvedena ponovno (Dan Philipp, Ana Zubak) ili je napravljena replika (Hrvoje Majer, Đorđe Jandrić). 2 Nekoliko je specifičnih slučajeva: i dalje aktivni, na umjetničkoj sceni afirmirani umjetnici (npr. Predrag Pavić, Ivan Fijolić, Božica Dea Matasić, Josipa Štefanec, Maja Marković, Ines Krasić, Tomislav Buntak, Željko Badurina itd.); autori koji su izvanredno počeli, a onda se povukli iz umjetničkog svijeta (kao što su Miroslav Mirt, Goran Karabogdan, Berislav Šimičić, itd.); autori koji ostvaruju zapažene rezultate u edukaciji (Jasminka Končić, Jelena Bračun Filipović, Ida Loher, Gordana Košćec Bousfield, Martina Kosec Reba (Udruga OPA), Iva Matija Bitanga, Iva Ćurić, Margareta Milačić, itd.); autori koji su po završetku studija svoj rad preusmjerili na teoriju umjetnosti (Marko Golub, Ivana Mance); ili pak zapažene rezultate ostvaruju u različitim pristupima srodnim strukama poput Dražena Grubišića (Muzej prekinutih veza), Ksenija Pintar, Vjeran Potočić (restauracija umjetnina), Saša Martinović Kunović (voditeljica Galerije Modulor, Trešnjevka i dr.) Također, vrijedi istaknuti da su mnogi autori svoje formativne radove izlagali na samostalnim i skupnim izložbama u najrelevantnijim izložbenim prostorima koji su pridonijeli njihovoj afirmaciji (Gliptoteka HAZU, Zagreb; Dom HDLU, Zagreb; Galerija umjetnina, Split; Galerija SC, Zagreb; Galerija Vladimir Nazor; Galerija Kranjčar, Zagreb; Muzej suvremene umjetnosti Istre, Pula; Essl Museum, Beč; Academia Moderna, Zagreb itd.) i ostvarili važna priznanja i nagrade (Janko Matić, Natječaj Matisse i Picasso: Dva viđenja objekta, dobitnik Young Artists Award, Paris, Moet Hennessy Louis Vuitton (LVMH); Predrag Pavić, dobitnik Velike nagrade X. trijenala hrvatskog kiparstva (2009); Miroslav Mirt, laureat međunarodne nagrade Essl Art Award (2005); Snježana Ban, Velika nagrada 28. salona mladih, Zagreb (1996); Tanja Škrgatić, dobitnica Erste Grand Prix nagrade (2014); Đorđe Jandrić, dobitnik prve nagrade za skulpturu na 20. salonu mladih, Zagreb (1988); Tomislav Buntak dobitnik Nagrade 24. salona mladih (1996) ili Maja Marković, Nina Kurtela, Predrag Pavić, Marko Vojnić, finalist nagrade Radoslav Putar, Institut za suvremenu umjetnost, Zagreb i dr.). Više djela nalazi se u fundusu muzeja i privatnom vlasništvu (Muzej suvremene umjetnosti Istre, Pula, Zbirka Filip Trade – Lauba, Zagreb itd.) 8

Department of Art Education of the Academy of Fine Arts in Zagreb; as a place where all the exhibited works were created, the guiding idea behind the exhibition, and its primary goal, was to make a good exhibition with the works from different periods, by taking as a starting point a key formative moment in their practice, to consider (review) their reach and place them in a social and cultural context of today. We are looking to explore the issue of formative period in general – the period which is one of the important moments in an artistic activity or career, its importance and importance of the works created in that period, as well as to answer the question whether those work are, and to what extent, crucial for one’s further creative work and development. For some artists, this period marked the beginning of a breakthrough, for some an outstanding start and indication, followed by a disappearance from the art scene or, on the other hand, a switch to some other activity (work in education, design, art theory, etc.) This exploration of the formative period raises the question of the extent to which the higher education system, in this case the Academy of Fine Arts, as a common educational origin of these artists, keeps pace with the times and changes in the context of local and international art scene – how successful, as an institution, is the Academy of Fine Art in terms of education and how much does it follow social change and everything related and connected to it. In this respect, this exhibition and this exploration are possible starting points and drivers of a comprehensive and more complex research, which will be left for some other occasion.

njihov primarni cilj bio je napraviti dobru izložbu s radovima iz različitih vremenskih perioda, polazeći od ključnog formativnog momenta u umjetničkom djelovanju, sagledati (ocijeniti) njihov domet te ih pozicionirati unutar društvenog i umjetničkog konteksta danas. Zanima nas istražiti problem formativnog razdoblja uopće – razdoblja koje predstavlja jedan od važnih momenata u umjetničkom djelovanju, odnosno karijeri, njegov značaj i značaj djela koja su nastala u njemu te odgovoriti na pitanje jesu li ta djela i u kojoj mjeri presudna za daljnji umjetnički rad i razvoj. Za neke je umjetnike taj period značio početak afirmacije, za neke izvanredan start i nagovještaj, a zatim nestanak s umjetničke scene ili, pak, prelazak na druge oblike djelovanja (rad u edukaciji, dizajnu, teoriji umjetnosti i dr.). U istraživanju formativnog razdoblja otvara se pitanje koliko visokoškolski obrazovni sustav, u ovom slučaju ALU, kao zajedničko obrazovno ishodište ovih umjetnika, ide u korak s vremenom i promjenama u kontekstu domaće i svjetske umjetničke scene – koliko je ALU kao institucija uspješna u edukaciji te koliko prati društvene promjene i sve što se podrazumijeva i dovodi u vezu s tim. S tog aspekta ova izložba i ovo istraživanje moguća su polazišta i pokretači za sveobuhvatno i znatno kompleksnije istraživanje koje ostavljamo za neku drugu priliku. Za što bolje razumijevanje koncepta same izložbe važno je reći i nešto o Nastavničkom odsjeku i o razlozima zbog kojih se našao u središtu ovog ispitivanja. S jedne strane, riječ je o njegovoj bliskosti autorima ove izložbe 3, a s druge, o specifičnosti njegova studijskog programa, širine spektra i različitih opcija koje nudi program: umjetnički, interdisciplinarni i pedagoški – student Nastavničkog odsjeka može biti umjetnik i pedagog. Dakle, Nastavnički odsjek na ALU službeno djeluje od 1959. godine, a od 1977./78. djeluje kao zajednički interfakultetski studij ALU i Filozofskog fakulteta. Od 1987. nastava se odvija na Jabukovcu 10. 4 Na Nastavničkom je odsjeku također osnovan, tj. započeo svoj rad i današnji Odsjek za animirani film i nove medije ALU kao medijsko usmjerenje 1997./98., što govori o razvijanju i proširenju umjetničkog istraživanja ukorak s potrebama vremena.

To better understand the concept of the exhibition, it is important to say something about the Department of Art Education and the reasons it became the centre of this exploration. On the one hand because of its close connection to the authors of this exhibition 3, and on the other, because of the characteristics of its study program, wide spectrum and different options it offers: art, interdisciplinary and art education study programs – a student at the Department of Art Education can be both an artist and a teacher. The Department of Art Education was officially founded in 1959, and since 1977/78 it has been an interfaculty study program offered jointly with the Faculty of Humanities and Social Sciences. Since 1987 classes are held at Jabukovac 10. 4 The Department of Art Education was also the place where the present Department of Animated Film and New Media of the Academy of Fine Arts was founded and started operating in 1997/98, which witnesses that the development and expansion of artistic exploration kept pace with the times.

Nove perspektive Jedno od najvažnijih pitanja ove izložbe svakako je i ono može li retro pogled, odnosno, RETROPERSPEKTIVA otvoriti nove perspektive ponovno izloženih radova (s obzirom da znamo da umjetničko djelo nije samo predmet, već uvijek i interpretacija unutar određenog konteksta)? Taj smo smisao željeli naglasiti i samim naslovom izložbe, koji može biti iščitan barem dvojako. S jedne strane, naslovu je moguće predbaciti pretencioznost, neskromnost, ambicioznost. Idealno se uklapa u današnje vrijeme kada se razbacujemo i natječemo napuhanim i bombastičnim naslovima, kada je moć uvjeravanja, dobra promidžba i obrazloženje važnije od umjetnosti same. Doduše, imamo uporište i opravdanje u povijesnom kontekstu, u nekim radovima umjetnika koji su se bavili temom umjetnika, odnosa (uzajamnosti) i vrednovanja umjetničkog djela i okruženjem u kojem je djelo na-

New Perspectives One of the important questions this exhibition raises is whether a retro point of view, i.e. RETROPERSPECTIVE opens up some new perspectives of the re-exhibited works (since we know that a work of art is not just an object, but also an interpretation within 3 Snježana Ban, assistant at the Department of Art Education; Tea Hatadi, visual and multimedia artist graduated from the ALU Zagreb, Department of Art Education; Ante Rašić, full professor at the Department of Art Education, ALU Zagreb 4 This is “the academy in small“ which includes painting, sculpture, graphic arts, methodology and other theoretical subjects.

3 Snježana Ban, asistentica na Nastavničkom odsjeku ALU; Tea Hatadi, vizualna i multimedijalna umjetnica, završila Nastavnički odsjek ALU, Ante Rašić, redovni profesor na Nastavničkom odsjeku ALU 4 To je „akademija u malom“ koja obuhvaća slikarstvo, kiparstvo, grafiku, metodike i druge teorijske predmete. 9

a particular context)? We also wanted to emphasize this with the exhibition title, which can be interpreted in at least two ways. On the one hand, the title can be charged with pretentiousness, immodesty, ambition. It is an ideal fit for the present time, when we flaunt and compete in using overblown and bombastic headlines, when the power of persuasion, good publicity and description are more important than the art itself. Indeed, we found a point of reference and justification in a historical context, in some works of the artists who dealt with the topic of artists, the relationship (reciprocity) and evaluation of an artwork and the environment in which it was created. On the other hand, the title reflects our aspiration to encourage and open up a possible point of view of the exhibited works and their artists, of course, aware that the effects of the future cannot be predicted, but also that one exhibition cannot completely answer numerous questions, quite the opposite, it multiplies them. We tried, as artists in the position of creators, i.e. practice, to answer some questions, at least in part. Still, it remains to be seen whether an exhibition can act as a catalyst in looking for and finding answers with the tendency of reconsideration and revalorization and by asking (the right) questions...

stalo. S druge strane, naslov odražava našu težnju za poticanjem i otvaranjem moguće perspektive izloženih radova i njihovih autora, dakako, sa sviješću da je učinke budućnosti nemoguće predvidjeti, ali i da jedna izložba ne može sasvim odgovoriti na brojna pitanja, čak štoviše, ona pitanja umnožava. Pokušali smo kao umjetnici s pozicije stvaralaca, odnosno prakse, makar djelomično odgovoriti na neka pitanja. Ipak, ostaje vidjeti može li izložba kroz tendenciju ponovnog gledanja i valoriziranja te postavljanjem (pravih) pitanja u konačnici biti katalizator u traženju i nalaženju odgovora... Neka od pitanja na koja pokušavamo naći odgovor su: – Može li retro pogled otvoriti nove perspektive? – Koliko na umjetničko djelo utječe proces društvenih promjena? – Može li i u kojoj mjeri gledanje s vremenskim odmakom promijeniti percepciju umjetničkog djela? – Je li s današnje pozicije s vremenskim odmakom promatranje objektivnije?

Some of the questions we are trying to answer are:

– Jesu li radovi odoljeli vremenu?

– Can a retro point of view open up new perspectives?

– Kolika je uloga obrazovnih institucija?

– How much is an artwork influenced by the process of social change?

– Kolika je uloga pojedinaca, umjetnika, profesora, mentora?

– Can the perception of an artwork change after a period of time, and to what extent?

– Koliko na afirmaciju radova utječe samo djelo, a koliko okolnosti?

– Is the perception more objective from the present point of view, after a certain period of time?

– Koliko utječu povjesničari umjetnosti?

– Have the works resisted the passage of time?

– Koliko je važna prisutnost i sudjelovanje na velikim likovnim manifestacijama?

– What is the role of educational institutions?

– Koliko su važne nagrade i priznanja?

– What is the role of an individual, artist, professor, mentor?

– Koliki utjecaj imaju muzejsko-galerijske institucije i strukovne organizacije?

– How much is the recognition of a work of art influenced by the work itself, and how much by the circumstances? – How much influence do art historians have?

– Koliko privatni kolekcionari? – Koliko tržište umjetnina?

– How important is the presence and participation at major art events?

– Koliko tiskovni mediji, televizija, društvene mreže?

– How important are awards and recognitions?

– Zašto najčešće umjetnici prestanu raditi i čime se bave danas?

– How much influence do museums and galleries and professional organizations have? – How much private collectors?

– Zašto je fokus na Nastavničkom odsjeku?

– How much the art market?

Od osamdesetih do danas dogodile su se brojne promjene u tehnologiji, umjetnosti i društvu. Razdoblje postmoderne u umjetnosti omogućilo je pluralističku sliku umjetnosti i totalne slobode dovedene do apsurda. Izmijenjen je odnos centra i periferije, što za posljedicu ima „izlazak iz sjene“ čitavih zapostavljenih umjetničkih nacija, a pitanje o smrti slikarstva i umjetnosti rezultiralo

– How much the print media, television, social networks? – What is the major reason artists stop working and what do they do today? – Why is the Department of Art Education in focus? 10

Many changes in technology, art and society have taken place from the eighties onwards. The Postmodern era in art enabled a pluralistic view of art and a total freedom brought to the absurd. The relationship between the centre and periphery changed, and resulted in “coming out of the shadows“ of entire neglected art nations, whereas the question about the death of painting and art resulted in the explosion of painting and equating art with life. This resulted in the loss of the centre, privacy and domination of new technologies in communication. Many things, created for a better world, turned into their opposites. We witnessed the fall of the Berlin Wall, but now we are also witnessing the building of wire fences across the EU. Transition, globalization, incredible progress and numerous crises, prosperity and poverty, terrorism, wars, exodus and migrations, new virtual reality, question of the functioning of art, its possibilities and methods in the present time – this all impacted the artists, especially in a sensitive and decisive formative period in which they increasingly looked for knowledge and became aware of themselves and their role in the world of art and their position in the society. The exhibition includes fifty-eight authors and more than ninety works. Their interests are wide and varied, like the art, society and life itself. These interests are expressed by dealing with various levels of visual and artistic creation: pure aesthetics, conceptual aspects of art or current social and sociological parameters in all branches – from traditional to contemporary ones: in painting, graphic arts, sculpture, expanded field of image and new media (photography, video, performative arts, animated and experimental film) through installations, site-specific and interactive works, ambient art, objects.

je eksplozijom slikarstva i izjednačavanjem umjetnosti sa životom. Došlo je do gubitka središta, privatnosti i dominacije novih tehnologija u komunikaciji. Mnoge stvari kreirane za bolji svijet pretvorile su se u svoju suprotnost. Doživjeli smo rušenje Berlinskog zida, ali upravo svjedočimo i postavljanju žičanih granica na prostoru EU. Tranzicija, globalizacija, nevjerojatan napredak i brojne krize, blagostanje i siromaštvo, terorizam, ratovi, egzodus i migracije, nova virtualna stvarnost, pitanje funkcioniranja umjetnosti, njenih mogućnosti i metoda danas – sve se to odražavalo na umjetnike, a posebno u osjetljivom i odlučujućem formativnom razdoblju u kojem su umjetnici naglašeno u potrazi za spoznajom i osvještavanjem sebe i svoje uloge u svijetu umjetnosti i pozicioniranjem u društvu. Sama izložba obuhvaća pedeset i osam autora, te više od devedeset radova. Njihov interes je širok i različit, kao i sama umjetnost, društvo i život. Iskazan je kroz bavljenje različitim razinama problema likovnog i vizualnog stvaralaštva: čistom estetikom, konceptualnim aspektima umjetnosti ili aktualnim društvenim i sociološkim parametrima u svim granama – od tradicionalnih do suvremenih: u slikarstvu, grafici, kiparstvu, proširenom polju slike i novim medijima (fotografija, video, performativne umjetnosti, animirani i eksperimentalni film) kroz instalacije, site-specifične i interaktivne radove, ambijente, objekte. Umjetnik, društvo, umjetnost Na problemskoj razini odabrani radovi, kojima se bave umjetnici, mogu se podijeliti na tri problemske cjeline, iako je spektar tema kojima se autori bave vrlo širok i ponekad obuhvaća sve tri skupine.

The Artist, the Society, the Arts

Umjetnik U prvoj cjelini fokus je na samom umjetniku – stvaraocu. Uočljivo je da se jedan broj umjetnika kroz svoj rad suočava sa samim sobom – istražuje samoga sebe, svoj identitet i vlastiti položaj u društvu. Umjetnici kroz vlastiti rad postaju objekt i subjekt. Obračunavajući se sa sobom, ujedno se obračunavaju i s društvenim okruženjem – ispoljavaju nezadovoljstvo i preispituju položaj umjetnika i smisao bavljenja umjetnošću. To čine ispisujući poruke, koristeći često vlastiti lik (autoportret) ili pak slikajući vlastite dnevničke zapise (Ana Zubak, Hrvoje Majer, Terezija Pišković Barusić, Ivan Fijolić, Predrag Pavić, Ivica Malčić, Ivan Tudek), što se može iščitati nerijetko već i iz samog naziva djela: Ništa, Fucking art, Ovo je moj rad, Dvanaest autoportreta, Dvoboj, Autoportret, Ring, Zeleni slikar, Pretvorio sam se u stativ. U potrazi za vlastitim identitetom, u pojedinim radovima, služeći se različitim medijima i metodama; dugogodišnjim vođenjem dnevničkih zapisa, proučavanjem vlastitog lifetimea, preuzimanjem tuđeg identiteta, samopromatranjem i bezbrojnim varijacijama lica, autorice Željka Gradski, Jelena Bračun Filipović, Ivana Gorički, Božena Končić Badurina proširuju spoznaju o sebi.

On a problematic level, the selected works can be divided into three problem-oriented sections, although the range of topics the artists deal with is very wide and sometimes includes all three. The Artist In the first section the focus is on the artist – creator. It is evident that a number of artists confront themselves through their works – they explore themselves, their identity and their own position in the society. Through their own work the artists become both an object and a subject. By settling accounts with themselves, they also settle account with the social environment – they express their dissatisfaction and question the position of artists and the purpose of creating art. They do it by writing messages, using their own character (self-portrait), writing messages or painting their own diary entries (Ana Zubak, Hrvoje Majer, Terezija Pišković Barusić, Ivan Fijolić, Predrag Pavić, Ivica Malčić, Ivan Tudek) which can often be read from the work title itself: Nothing, Fucking art, This Is My Work, Twelve Self-Portraits, Skirmish, Self-portrait, Ring, Green painter, I Have Turned Into a Tripod. In search of their own identity through their works, by using different media and methods; by keeping a diary for many years, by studying their own lifetime, by taking over someone else’s identity, through self-observation, and through countless variations of faces, the female authors Željka Gradski, Jelena Bračun

Društvo Društveni kontekst logično je najšire područje interesa i umjetničkog istraživanja umjetnika/ca na izložbi. Oni bilježe apsurde suvremenog društva iznoseći svoje viđenje brojnih problema s kojima se susreće pojedinac i zajednica. Tema svakodnevice i vlastitog okruženja u formi dnevničkih zapisa u fokusu je autorica 11

Filipović, Ivana Gorički, Božena Končić Badurina expand their self-knowledge.

i autora: Miriam Younis, Iris Poljan, Marije Knezić, Ivana Tudeka, Snježane Ban, Ivice Malčića i Zoltana Novaka. Teme prirode, urbanog i njihove mijene te protok vremena polja su istraživanja Ane Hušman, Lale Raščić, Petre Orbanić, Marije Plečko i Ane Krolo. U Velikom planu, ambijentalnoj site-specifičnoj instalaciji Maja Marković propituje odnose između čovjeka i njegovog prostora koji proizlaze iz karata gradova kao moguće povijesti čovjeka, dok Marija Lovrić istražuje funkcionalne urbane konstrukcije za prijenos energije i komunikaciju.

The Society The social context is logically the major area of interest and artistic exploration of the artists at the exhibition. They record the absurdities of contemporary society by expressing their view of numerous problems the individual and communities face. The topics of everyday life and their own environment presented in the form of diary entries are in the focus of the following artists: Miriam Younis, Iris Poljan, Marija Knezić, Ivan Tudek, Snježana Ban, Ivica Malčić and Zoltan Novak.

Davor Rogar istražuje dijalektički odnos prostora i realnog vremena; Igor Juran istražuje percepciju vizualne informacije u odnosu tradicionalne slike i one digitalne u virtualnom prostoru, dok je Iva Matija Bitanga u potrazi za nedostupnom privatnošću.

The topics of nature, urban area and their changes, as well as the passage of time, are in the focus of interest of Ana Hušman, Lala Raščić, Petra Orbanić, Marija Plečko and Ana Krolo. In Big Plan, an ambient site-specific installation, Maja Marković questions the relationships between the individual and the surrounding space, arising from city maps as a possible human history, while Marija Lovrić explores functional urban power transmission and communication constructions.

Neki radovi tematiziraju apsurde suvremenog društva: problemima tranzicije, egzodusa i radničke klase, potragom za boljim svijetom bavi se Anita Šurkić (Put u obećani raj/Die Baustelle); društveno-političkim i socijalnim pitanjima bave se Marko Grill, Zorana Unković; bijegom u idilični svijet Tomislav Buntak. Problemom konzumerizma i brendiranja bave se Janko Matić (Adidas Converse), Nina Kurtela (Autoshow) i Margareta Milačić (Žrtva sapunice).

Davor Rogar explores the dialectical relationship between the space and real time, while igor Juran explores the perception of visual information in the relationship between traditional and digital painting in virtual space, while Iva Matija Bitanga is in the quest for inaccessible privacy.

Rad Ines Krasić zadire u društveni kontekst i područje ideologije kroz rad „Ptičice“ iz serije Flags/Zastave (aludirajući na američku zastavu), a umjetnici Berislav Šimičić, Lonac i Željko Badurina prikazuju kroz popularnu kulturu, s dozom osviještenog kiča i dopadljivosti, razne društvene fenomene.

Some works deal with the absurdities of contemporary society: Anita Šurkić (Road to the Promised Paradise/DieBaustelle) deals with the problems of transition, exodus and working class, the quest for a better world; the socio-political and social issues are the focus of Marko Grill’s and Zorana Unković’s works; Tomislav Buntak with an escape to an idyllic world.

Avionsko groblje apokaliptične su slike o ratu u radovima Gordane Bakić, dok Tea Hatadi, ukazujući na besmisao ratovanja, izvrće uobičajenu percepciju razarajuće ratne mašinerije (tenk) koristeći mekane i prijemčive materijale u dopadljivim bojama te nudi interakciju s publikom.

The problem of consumerism and branding is in the focus of Janko Matić’s (Adidas Converse), Nina Kurtela’s (Autoshow) and Margareta Milačić’s (Soap opera Victim) work. Ines Krasić delves into the social context and the area of ideology through her work “Birdies“ from the Flags collection (referring to the American flag), and Berislav Šimičić, Lonac and Željko Badurina portray various social phenomena through popular culture and with a touch of conscious kitsch and appeal.

Teme koje na određeni način dotiču feminizam, pitanje žene, rodnog i majčinstva radovi su Zorane Unković, Bruna Razuma i Karle Šuler. Umjetnost Mnogi umjetnici na različite načine istražuju umjetnost samu, bilo da je riječ o istraživanju mogućnosti medija, procesu rada ili čistoj likovnosti. Konceptom destrukcije, dekonstrukcije i kreacije bave se u mediju slikarstva Miroslav Mirt (Recycle Bin, Okvir unutar okvira), u grafici Iva Ćurić (Dekonstrukcija teksta) i digitalnoj slici Igor Juran. Različite vidove vlastitog shvaćanja apstrakcije, gestualnosti i estetskog doživljaja iskazuju: Zoltan Novak, Viktor Daldon, Hrvoje Majer, Iva Vraneković, Tanja Škrgatić, Grgur Akrap i Igor Čabraja; kroz elementarnu jednostavnost apstraktnog geometrizma – Gordana Bralić te skulpturalnim ili ambijentalno izvedenim apstraktnim formama i oblicima – Đorđe Jandrić, Daniel Kovač, Josipa Štefanec, Zdravka Ivandija Kirigin, Božica Dea Matasić, Vesna Pokas i Natalija Škalić. U radovima umjetnica Ive Vraneković, Dan Philipp, Jasminke Končić posrijedi su umjetnički postupci koji se odnose na prošireno polje umjetnosti i prošireno polje slike, a realizirani su kroz ambijentalne, site-specifične i interaktivne vi-

Aviation Graveyard brings apocalyptic images of war in the works of Gordana Bakić, while Tea Hatadi, pointing to the absurdity of war, distorts the common perception of a devastating war machine (tank) using soft and susceptible materials in eye-catching colours and offers interaction with the audience. Topics that in some way touch upon feminism, the question of women, gender and motherhood can be seen in the works of Bruno Razum, Zorana Unković and Karla Šuler. The Arts Many artists use various methods to explore the art itself, be it the possibilities of the medium, work process or pure visual expression. Miroslav Mirt (RecycleBin, Frame Within Frame) deals with the concept of destruction, deconstruction and creation in the medium of painting, Iva Ćurić (Deconstruction of a Text) in the medium 12

zualno-akustične instalacije. Specifičnim pristupom u istraživanju same umjetnosti, uzimajući kao motiv za rad svjetski poznate umjetnike Gilberta i Georgea te Banksyja, služi se Snježana Ban, dok rad Ivane Franke (nastao u okviru djelovanja grupe Daklelososi 5) nudi nove performativne mogućnosti.

of graphic arts and Igor Juran in digital image. The artists that express the various ways in which they understand abstraction, gesture and aesthetic experience are: Zoltan Novak, Viktor Daldon, Hrvoje Majer, Iva Vraneković, Tanja Škrgatić, Grgur Akrap and Igor Čabraja; through elemental simplicity of abstract geometrism – Gordana Bralić, and sculptural or ambient abstract forms and shapes – Đorđe Jandrić, Daniel Kovač, Josipa Štefanec, Zdravka Ivandija Kirigin, Božica Dea Matasić, Vesna Pokas and Natalija Škalić. The works of female artists Iva Vraneković, Dan Philipp, Jasminka Končić employ artistic practices that refer to the expanded field of art and expanded field of image, realized through ambient, site-specific and interactive visual and acoustic installations. Snježana Ban employs a specific approach in exploring the art itself, taking the work of world-famous artists Gilbert and George, as well as Banksy, as the motive of her work, while Ivana Franke’s work (created within Daklelososi 5) offers new performative possibilities.

….. U sveprisutnosti umjetnosti zbog koje umjetnost postaje nevidljiva, izgubljena, neprepoznata ili zasićena pojedinim sadržajima (pri čemu za druge oblike sadržaja ostaje malo prostora) ponekad je dobro sagledati stvari „s druge strane, s odmakom, s posebnog, drugačijeg motrišta“ u vremenu i prostoru da bi se stvari bolje vidjele i razumjele. Iz istog se razloga vrijedi upitati imaju li umjetnički radovi, u datim uvjetima unutar sustava, dovoljno vremena biti potrošeni 6, odnosno percipirani. Koliko traje „sada“ nekog umjetničkog rada? Kako danas, s ove udaljenosti, gledamo na ondašnje „sada“ umjetničkih radova? Napokon, što ondašnje „sada“ umjetničkih radova može značiti upravo sada – publici, autorima, stručnoj publici te radovima i izložbama koje su trenutno u središtu interesa? Afirmacija umjetničkih radova koja se dogodila kroz izvjesni vremenski period zasigurno nije uvijek potpuna, idealna, pravedna ni konačna. Uvijek postoje sive zone i preskakanja koja se događaju iz mnogih razloga. Stoga je ona, nakon određenog protoka vremena, podložna redefiniranju i novoj valorizaciji. Jedino ostaje vidjeti u kojoj mjeri, što, dakako, jednim dijelom ovisi i o ukorijenjenim i već stečenim predrasudama. Zanimaju nas upravo te zone, ti izgubljeni prostori memorije, i uspijemo li ovom izložbom otkriti i jedno takvo mjesto, vrijedno je truda. Naposljetku, znamo da sva umjetnička djela prije ili kasnije padaju u zaborav, odnosno da je „cijela povijest umjetnosti ogromno skladište (...) iz kojeg obično izvlačimo zaboravljena djela iz mraka, iz skladišta na svjetlo dana(...) te da je to skladište uvijek jednako puno, jer ga puni zaborav.“ 7 Dakako, to objašnjava mnoge revivale u umjetnosti uopće, pa tako i u kontekstu izložbe možemo pratiti obnovljeni interes za pojedine sadržaje, umjetničke pristupe ili određene umjetničke forme, odnosno moguće paralele među umjetnicima različitih generacija. Vođeni tim razmišljanjima, osjećamo da se „sada“ radova odabranih za izložbu ima razloga produžiti i ponovno sagledati usprkos uobičajenoj izlagačkoj perspektivi, koja je, kao što znamo, vremenski i suštinski orijentirana linearno prema naprijed. U svakom slučaju veliko pospremanje uvijek je dobro došlo za proučavanje, preispitivanje, istraživanje. Korisno je periodično provjeravati „rok trajanja“ i što se dogodilo od „datuma proizvodnje“

….. With the ubiquity of art, due to which art becomes invisible, lost, unrecognized or saturated with specific content (which does not leave much space for other types of content), it is sometimes good to see things “from the other side, from a distance, from a special, different point of view“ in time and space, in order to see and understand things better. It is also worth asking the question whether artworks, in the given conditions within the system, have enough time to be consumed 6 , or perceived. How long does “the now“ of an artwork last? How do we now, from this distance, see the then “now“ of artworks? Finally, what can the then “now“ of an artwork mean to us – to the audience, artists, professional audience and works and exhibitions currently at the centre of interest? The recognition of artworks that happened in a certain period of time is not always complete, ideal, righteous or final. There are always grey areas and skips that happen for various reasons. It therefore, after a period of time, becomes subject to redefinition and new valorisation. It only remains to be seen to what extent, and this, of course, also depends on deep-rooted and established prejudices. We are interested in these areas precisely, these misplaced spaces of memory, and if this exhibition manages to find at least one such area, it will be worth the effort. Finally, we know that all artworks fall into oblivion sooner or later, or that “The whole of the history of art is a vast storehouse (...) Usually we drag out of the dark, out of the storehouse, to the light of day, what has been forgotten (…) And however much we

5 Članice grupe Daklelososi (1996): Iva Matija Bitanga, Ksenija Domančić, Ivana Franke, Ljubinka Grujin, Ana Kadoić, Gordana Koščeć, Koraljka Kovač, Mia Krkač, Danijela Stanković, Ida Mati 6 Izlažući 2010. godine rad iz sedamdesetih godina, umjetnik Goran Petercol pita se zašto ponovno izložiti rad koji je nastao tri desetljeća ranije, a nije riječ o izlaganju unutar vlastite retrospektive, te zaključuje: „Osjećam kako zajedno izlažemo radove koji nisu imali vremena biti potrošeni“, i nastavlja: „Ponekad se – sada – može produžiti“. Taj citat precizno pogađa problematiku kojom se bavimo ovom izložbom, iz čega su proizašla navedena pitanja. cit. u: Boris Demur, Goran Petercol, Damir Sokić (kat. istoimene izložbe), Academia Moderna, Zagreb, 20.5.-10.6. 2010. 7 Damir Sokić, Mali manifest, izvorno objavljeno (III. program hrvatskog radija 1999.), ovdje cit. u: Damir Sokić Rauch macht frei, (kat. istoimene izložbe), Gliptoteka HAZU, Zagreb, 29.4 – 22.5. 2009., str. 15

5 Daklelososi members (1996): Iva Matija Bitanga, Ksenija Domančić, Ivana Franke, Ljubinka Grujin, Ana Kadoić, Gordana Koščeć, Koraljka Kovač, Mia Krkač, Danijela Stanković, Ida Mati 6 When in 2010 he exhibited a work from the seventies, the artist Goran Petercol wondered why re-exhibit a work that had been created three decades earlier, if it is not exhibited within one’s own retrospective, and concluded: “I feel that we are exhibiting together the works that did not have time to be consumed“, and continues: “Sometimes – now – can be prolonged“. This quote hits the spot of what this exhibition is about, which raised the given questions. Quote in Boris Demur, Goran Petercol, Damir Sokić (catalogue exhibition), Academia Moderna, Zagreb, May 20 – June 10, 2010 13

do danas, a uz malo sreće, možda se može i ući u trag i korijenima danas vrlo popularnih i prisutnih recikliranja i aproprijacija... Danas kada dobro tumačenje rada često postaje važnije od njega samoga, želimo ponovno skrenuti pažnju na rad – rasterećen vremenskim odmakom od trendovskih (trenutnih) usporedbi. Hoće li i kome ova izložba biti poticajna, može li ikoga vratiti umjetničkom djelovanju i/ili revidirati makar neke od radova i umjetničkih postupaka – na ta i slična pitanja odgovorit će izložba sama.

raid and pull this storehouse about, it will always remain just as replete. Oblivion fills it.“ 7 This, of course, explains many revivals in art in general, and thus in the context of the exhibition we can see a renewed interest for particular subjects, artistic approaches or certain art forms, i.e. possible parallels between artists of different generations. Guided by these thoughts, we feel that “the now“ of the works selected for this exhibition has a reason to be prolonged and reconsidered, despite the common exhibition practice, which is, as we are aware of, oriented straight forward in terms of time and substance. In any case, big cleaning is always welcome for studying, reconsidering, exploration. It is useful to periodically check the “shelf life“ and what has happened since the “production date“, and with a bit of luck, one could maybe trace the origins of present-day popular artistic recycling and appropriation… Today, when a good interpretation of a work of art is often more important than the work itself, we want to draw the attention back to the work – free of trendy (current) comparisons, thanks to the passage of time. Will this exhibition be stimulating for anyone, can it persuade anyone to go back to making art and/ or revise at least some of the works and artistic practices – this exhibition will answer these and similar questions.

7 Damir Sokić, Little Manifesto, first published (3rd programme of the Croatian Radio 1999), the quote from: Damir Sokić Rauch macht frei, exhibition catalogue, Glyptotheque of the Croatian Academy of Sciences and Arts, Zagreb, April 29 – May 22, 2009, p. 15 14

Umjetnik / The Ar tist Ana Zubak H r voje Majer Terezija Pišković Barusić Ivan Fijolić Predrag Pavić Ivica Malčić Ivan Tudek Željk a Gradsk i Jelena Bračun Filipović Ivana Goričk i Božena Končić Badurina

Ana Zubak

Ana Zubak rođena je 1982. u Zagrebu. Godine 2012. magistrirala je na zagrebačkoj Likovnoj akademiji u zvanje magistra edukacije likovne kulture. Također je studirala na Moholy-Nagy fakultetu umjetnosti i dizajna u Budimpešti te Umjetničkoj školi Valand u Göteborgu, gdje se bavila strategijama kulturne produkcije. Na bečkom sveučilištu Universität Wien sudjeluje u programu Urbanih studija, usmjerenih na problematizaciju javnog prostora. Članica je Hrvatskog društva likovnih umjetnika i Hrvatske zajednice samostalnih umjetnika. Izlagala je na izložbama u zemlji i inozemstvu.

Ana Zubak was born in Zagreb, Croatia in 1982. In 2012 she got a master’s degree from the Academy of Fine Arts in Zagreb, Croatia and became an MA in Art Education. She also studied at Moholy-Nagy Faculty of Art and Design in Budapest, and Art School Valand in Gothenburg, where she dealt with the strategies of cultural production. At Universität Wien in Vienna she participated in Urban Studies programme, which focused on the issue of public space. She is a member of the Croatian Association of Artists and Croatian Freelance Artists Association. She has exhibi ted in the country and abroad.

„Ništa“, 2009., intervencija na zidu, cca 80 × 15 cm “Nothing“, 2009, intervention on the wall, approx. 80 × 15 cm

Hrvoje Majer

Hrvoje Majer rođen je 1975. Godine 2003. diplomirao je na Akademiji likovnih umjetnosti u Zagrebu, na Nastavničkom odsjeku. Od 2004. do 2005. studira na MA Fine Arts, University of Arts, Central Saint Martins College of Art & Design u Londonu. Izlagao je na više skupnih i samostalnih izložbi. Hrvoja Majera predstavlja Artist First Management u Londonu i Galerija Adrien-Kavachnina u Parizu.

Hrvoje Majer was born in 1975. In 2003 he graduated from the Academy of Fine Arts in Zagreb, Department of Art Education. From 2004 to 2005 he studied MA in Fine Arts at the University of Arts, Central Saint Martins College of Art & Design in London. He has exhibited in numerous solo and group exhibitions. Hrvoje Majer is represented by Artist First Management in London and AdrienKavachnina Gallery in Paris.

„Fucking Art“, 2003./16., ulje na platnu, 100 × 120 cm “Fucking Art“, 2003/16, oil on canvas, 100 × 120 cm

Terezija Pišković Barusić

Terezija Pišković Barusić rođena je 1989. u Zagrebu. Godine 2015. diplomirala je na Akademiji likovnih umjetnosti u Zagrebu na Nastavničkom odsjeku u klasi red. prof. art. Ante Rašića. Medij kojim se koristi uključuje slikarstvo, instalacije, objekte, performanse i ostalo. Izlagala je na osam skupnih izložbi u zemlji i inozemstvu. Volontira i vodi razne likovne radionice za djecu bez odgovarajuće roditeljske skrbi.

Terezija Pišković Barusić was born in Zagreb, Croatia in 1989. In 2015 she graduated from the Academy of Fine Arts in Zagreb, Croatia, Department of Art Education, in the class of the professor Ante Rašić. She creates in the media of painting, installations, objects, performances, etc. She has exhibited in eight group exhibitions in the country and abroad. She volunteers and manages art workshops for children without appropriate parental care.

„Ovo je moj rad“, 2014., akril na najlonu, 350 × 200 cm “This Is My Work“, 2014, acrylic on nylon, 350 × 200 cm

Ivan Fijolić

Ivan Fijolić rođen je 1976. u Zagrebu. Godine 2014. diplomirao je u klasi prof. Mire Vuce na Nastavničkom odsjeku Akademije likovnih umjetnosti. Poslijediplomski doktorski umjetnički studij kiparstva upisuje 2014. Kao vanjski suradnik u zvanju višeg asistenta neko vrijeme radi na Primijenjenoj akademiji u Rijeci (2007.-2008.), a od 2008. godine na Akademiji likovnih umjetnosti u Zagrebu zaposlen je u suradničkom zvanju asistent te izvodi vježbe na kolegiju Kiparstvo. Aktivno se bavi kiparstvom od 1999. te je autor preko 28 samostalnih izložbi, 54 zajedničke izložbe u zemlji i inozemstvu (Grčka 2003., Italija 2005., Japan i USA 2006., Engleska 2007., Italija 2008., Slovenija 2010., Slovenija 2012., Litva 2013., Austrija 2014.). Javnosti se predstavio i s pet javnih skulptura (Vrsar 1999, Češka 2003. Bosna i Hercegovina 2006., Krapina 2010., Sljeme 2011., Aleja skulptura 2014.), a sudjelovao je i na dvije međunarodne kiparske radionice (Vrsar 1999., Češka 2003.).

Ivan Fijolić was born in Zagreb in 1976. In 2014 he graduated from the Academy of Fine Arts, Department of Art Education, in the class of the professor Miro Vuco. In 2008 he enrolled in a PhD in sculpture. He shortly worked at the Academy of Applied Arts in Rijeka, Croatia as a senior assistant (2007-2008), and in 2008 became an assistant at the Academy of Fine Arts in Zagreb, Croatia, where he teaches at the Department of Sculpture. He has been involved in sculpture since 1999, and has exhibited in over 28 solo and 54 group exhibitions in the country and abroad (Greece 2003, Italy 2005, Japan and the USA 2006, England 2007, Italy 2008, Slovenia 2010, Slovenia 2012, Lithuania 2013, Austria 2014). He is also the author of five public sculptures (Vrsar 1999, Czech Republic 2003, Bosnia and Herzegovina 2006, Krapina 2010, Sljeme 2011, Aleja skulptura 2014), and he also participated in two international sculpture workshops (Vrsar 1999, Czech Republic 2003).

„12 autoportreta“, 2002., porculan i biljke, 12 dijelova, svaki 22,5 × 12,5 × 12 cm vlasništvo: Zbirka suvremene umjetnosti Filip Trade, Zagreb – LAUBA “12 Self-portraits“, 2002, porcelain and plants, 12 parts, 22,5 × 12,5 × 12 cm each Filip Trade Contemporary Art Collection, Zagreb – LAUBA „Okršaj“, 2002./03., dvije skulpture, bojani poliester, svaka 180 × 11 × 100 cm vlasništvo: Zbirka suvremene umjetnosti Filip Trade, Zagreb – LAUBA “Skirmish“, 2002/03, two sculptures, coloured polyester, 180 × 11 × 100 cm each Filip Trade Contemporary Art Collection, Zagreb – LAUBA

Predrag Pavić

Predrag Pavić rođen je 1982. u Zagrebu. Godine 2011. diplomirao je na ALU u Zagrebu. Izlagao je na više skupnih i samostalnih izložbi u Zagrebu, Splitu, Puli, Osijeku, Göteborgu, Cataniji, Sofiji, Düsseldorfu te je nagrađivan za svoj rad: Velika nagrada 10. trijenala kiparstva, nagrada za najboljeg diplomanta ALU u 2011., Velika nagrada Emanuel Vidović na 38. splitskom salonu, nagrada hrvatske sekcije AICA na 12. trijenalu kiparstva, finalist je nagrade Radoslav Putar. Član je HZSU-a i HDLU-a.

Predrag Pavić was born in Zagreb, Croatia in 1982. In 2011 he graduated from the Academy of Fine Arts in Zagreb. He has exhibited in numerous group and solo exhibitions in Zagreb, Split, Pula, Osijek, Goteborg, Catania, Sofia, Dusseldorf. He has won several awards for his work: Grand Prize at the 10th Triennial of Painting, Academy of Fine Arts – Best Graduate Award in 2011, Emanuel Vidović Grand Prix at the 38th Split Salon, award of the Croatian Section at AICA at the 12th Triennial of Sculpture, and he was a Radoslav Putar finalist. He is a member of the Croatian Freelance Artists Association and Croatian Association of Artists.

„Ring“, 2008., dokumentacija, najlon, drvo, poliesterski konop, željezo, 400 × 400 × 180 cm “Ring“, 2008, documentation, nylon, wood, polyester rope, iron, 400 × 400 × 180 cm „Autoportret“, 2010., poliester, metalna dizalica, 265 × 70 × 40 cm “Self-portrait“, 2010, polyester, metal crane, 265 × 70× 40 cm

Ivica Malčić

Ivica Malčić rođen je 1964. u Zagrebu. Godine 1996. diplomirao je na ALU u klasi profesora Miroslava Šuteja. Od 1998. do 2002. intenzivno izlaže u Zagrebu svake godine 100 slika. Do sada je imao 20 samostalnih i mnogo više skupnih izložbi. Živi i radi u Zagrebu.

Ivica Malčić was born in Zagreb, Croatia in 1964. In 1996 he graduated from the Academy of Fine Arts, in the class of the professor Miroslav Šutej. From 1998 to 2002 he intensively exhibited in Zagreb; every year he would exhibit 100 paintings. So far he has had 20 solo and many more group exhibitions. Lives and works in Zagreb.

Iz ciklusa „Zeleni slikar“, 1991./92., ulje na dasci, ukupno cca 2 × 4 m From the series “Green Painter“, 1991/92, oil on panel, approx. 2 × 4 m in total

Ivan Tudek

Ivan Tudek rođen je 1983. u Zagrebu. Godine 2010. diplomirao je na Akademiji likovnih umjetnosti u Zagrebu na Nastavničkom odsjeku u klasi izv. prof. Damira Sokića. Medij kojim se koristi uključuje slikarstvo, strip, instalacije, objekte, video-radove, performanse i sve ostale multimedijalne prakse. Izlagao je na desetak samostalnih i dvadesetak skupnih izložbi u zemlji i inozemstvu. Vodio je likovne radionice za djecu na mnogim manifestacijama. Autor je javne skulpture na vrsarskoj rivi naziva „Torba“. Dobitnik je nagrade za najboljega mladoga umjetnika na likovnoj koloniji Rovinj 2013. u organizaciji Zavičajnog muzeja u Rovinju te nagrade za najboljeg diplomanta na Nastavničkom odsjeku Akademije likovnih umjetnosti u Zagrebu 2010. Neka od njegovih djela nalaze se u fundusu Muzeja suvremene umjetnosti Istre.

Ivan Tudek was born in Zagreb, Croatia in 1983. In 2010 he graduated from the Academy of Fine Arts in Zagreb, Department of Art Education, in the class of the professor Damir Sokić. He works in the media of painting, comics, installations, objects, video works, performances and mixed media. He has exhibited in a dozen solo and about twenty group exhibitions in the country and abroad. He is the manager of art workshops for children at a number of manifestations. He is the author of the sculpture Bag on Vrsar promenade. He won the award for the best young artists in art colony Rovinj 2013, organized by the Rovinj Heritage Museum and the award for the best graduate of the Department of Art Education at the Academy of Fine Arts in Zagreb, Croatia in 2010. Some of his works were purchased by the Museum of Contemporary Art of Istria.

„Pretvorio sam se u stativ“, 2008., video, 3’03’’ “I Have Turned Into a Tripod“, 2008, video, 3’03’’

Željka Gradski

Željka Gradski rođena je 1975. u Zagrebu. Godine 2001. diplomirala je na Akademiji likovnih umjetnosti u klasi prof. Mire Vuce. Od 1997. redovito izlaže na skupnim (50) i samostalnim (22) izložbama. Bavi se fotografijom, slikarstvom i ilustracijom te galerijskim radom. Živi i radi kao profesionalna samostalna umjetnica u Zagrebu i Grožnjanu gdje je 2014. zajedno s fotografom A. Kosanovićem pokrenula prodajnu art galeriju pod nazivom Štalla. Članica je HDLU-a i HZSU-a te dobitnica nekoliko nagrada i priznanja za svoj rad.

Željka Gradski was born in Zagreb, Croatia in 1975. She graduated from the Academy of Fine Arts, in the class of the professor Miro Vuco in 2001. She has been exhibiting in group (50) and solo (22) exhibitions since 1997. She is involved in photography, painting and illustration, as well as in gallery work. Lives and works as a professional freelance artist in Zagreb, Croatia and Grožnjan, Croatia, where, together with the photographer A. Kosanović, she founded a sales gallery Štalla in 2014. She is a member of the Croatian Association of Artists and Croatian Freelance Artists Association, and a recipient of several awards and acknowledgments.

„U potrazi za vlastitim likom“ (knjiga odraza) 1996./2009., 2009., Foto knjiga (foto album sa 76 fotografija ujednačenih dimenzija 19 × 19 cm), 30,5 × 37 × 6 cm “In Search of One’s Own Character“ (Book of Reflections) 1996/2009, 2009, Photo-book (photo album with 76 photographs of the same dimensions 19 × 19 cm), 30,5 × 37 × 6 cm

Jelena Bračun Filipović

Jelena Bračun Filipović rođena je 1980. Godine 1999. završila je Školu primijenjene umjetnosti i dizajna, grafički odjel. Diplomirala je 2005. na Akademiji likovnih umjetnosti u Zagrebu na Nastavničkom odsjeku u klasi prof. Miroslava Šuteja. Od 2005. do 2015. radi kao stručna urednica za likovnu kulturu i umjetnost u Školskoj knjizi, uredila je više od 100 naslova. Trenutno radi u Hrvatskom klasteru konkurentnosti kreativnih i kulturnih industrija. Suosnivačica je Udruge za promicanje vizualne kulture OPA. Od 2009. aktivno radi na poboljšavanju vizualne edukacije u Hrvatskoj; vodi projekte, organizira događaje, radionice, okrugle stolove i dr. Bavi se grafikom, slikanjem, eksperimentalnom animacijom i videom. Godine 2010. magistrirala je video na Akademiji likovnih umjetnosti u Ljubljani.

Jelena Bračun Filipović was born in 1980. She finished the School of Applied Arts and Design, Department of Graphic Arts, in 1999. She graduated from the Academy of Fine Arts in Zagreb, Department of Art Education, in the class of the professor Miroslav Šutej, in 2005. From 2005 to 2015 Jelena worked as a professional editor for visual arts and culture in Školska knjiga, and edited more than 100 titles. She currently works in the Croatian Cluster of Competitiveness of Creative and Cultural Industries. She is a co-founder of OPA Association for Promotion of Visual Culture; since 2009 she has been actively involved in improving education in the visual arts in Croatia; she manages projects, organizes events, workshops, round tables, etc. She is involved in graphics, painting, experimental animation and video. In 2010 she graduated from the Academy of Fine Arts in Ljubljana and became an M.A. in Video Art.

„Lifeline“, 2003., eksperimentalni animirani film, 1’31’’ “Lifeline“, 2003, experimental animated film, 1’31’’

Ivana Gorički

Ivana Gorički rođena je u Zagrebu. Doktorirala je 2014. na Akademiji likovnih umjetnosti Sveučilišta u Zagrebu te stekla akademski naziv doktorice umjetnosti. Godine 2011. boravila je u rezidenciji Cite Internationale des Arts u Parizu. Diplomirala je 2008. na ALU u Zagrebu završivši sveučilišni dodiplomski studij likovne pedagogije i stekla visoku stručnu spremu i stručni naziv profesora likovne kulture. Dobitnica je Rektorove nagrade. Tijekom studija u okviru studentskih razmjena studirala je na Universitatea de Arta si Design din Cluj-Napoca u Rumunjskoj i Akademmi Sztuk Pieknych w Katowicach u Poljskoj. Radila je kao profesor likovne kulture na zamjeni u nekoliko osnovnih škola te Školi za umjetnost, dizajn, grafiku i odjeću Zabok i Grafičkoj školi u Zagrebu. Djelovala je kao asistent u brojnim umjetničkim organizacijama. Izlagala je u zemlji i inozemstvu. Članica je HDLU-a.

Ivana Gorički was born in Zagreb. She received her PhD from the Academy of Fine Arts, University of Zagreb in 2014, and became a PhD of Fine Arts. In 2011 she was selected as a representative of a residency programme Cite Internationale des Arts in Paris. She graduated from the Academy of Fine Arts in Zagreb in 2008 by completing the undergraduate university study of Art Education, and gained a university degree and a professional title: Professor of Visual Arts. She won the Rector’s Award. During studies, as a part of student exchange programmes, she studied at Universitatea de Arta si Design din Cluj- Napoca in Romania and Akademmi Sztuk Pieknych w Katowicach in Poland. She worked as a substitute in several primary schools teaching art and at the School of Art, Design, Graphic Arts and Clothes in Zabok and School of Graphic Arts in Zagreb. She was an assistant for a number of art and private persons. She exhibited in the country and abroad. She is a member of the Croatian Association of Artists.

„Sedam dana i noći“, 14 – 20. svibnja 2006. projekt, 2. svibnja 2008., novine, 21 × 29 cm “Seven Days and Nights“, May 14 – 20, 2006 project, May 2, 2008, newspaper, 21 × 29 cm

Božena Končić Badurina

Božena Končić Badurina rođena je 1967. Godine 1995. diplomirala je njemački i ruski jezik na FF-u u Zagrebu te 1996. grafiku na ALU u Zagrebu. Članica je HDLU-a i HZSU-a. Dobitnica je nagrade ZABA-e za diplomski rad 1996., Nagrade publike 24. salona mladih te nagrade HDLU-a za najbolju izložbu 2007. Godine 2010. boravila je dva mjeseca na rezidencijalnom boravku u Art in General (NY), a 2015. na rezidencijalnom boravku Kulturama u Düsseldorfu. Izlagala je na brojnim izložbama u Hrvatskoj i u inozemstvu.

Božena Končić Badurina was born in 1967. She graduated from the Faculty of Humanities and Social Sciences in Zagreb, Croatia in 1995 with a degree in German and Russian Language, and from the Academy of Fine Arts in Zagreb, Croatia in 1996 with a degree in graphic arts. She is a member of the Croatian Association of Artists and Croatian Freelance Artists Association. In 1996 she won a ZABA Award for her thesis work, Audience Award at the 24th Youth Salon and the Croatian Association of Artists Award for the best exhibition in 2007. In 2010 she spent two months in a residency program Art in General in NY, and in 2015 in a residency program Kulturamta in Düsseldorf. She has exhibited in numerous exhibitions in the country and abroad.

„Tisuću lica ili tišina“, dokumentacija, 1995./96., olovka na papiru, promjenjive dimenzije “A Thousand Faces or Silence“, documentation,1995/96, pencil on paper, dimensions variable

Društvo / The Society M iriam Younis I ris Poljan Snježana Ban Zoltan Novak Ana Hušman Lala R aščić Petra Orbanić & Marija Plečko Ana Krolo Maja Marković Marija Lovrić Davor Rogar Igor Juran Iva Matija Bitanga Anita Šurk ić Marko Grill Zorana Unković Tomislav Buntak Janko Matić N ina Kur tela Margareta M ilačić I nes Krasić Berislav Šimičić Lonac Željko Badurina Gordana Bak ić Tea Hatadi Zorana Unković Bruno R azum K arla Šuler

Miriam Younis

Miriam Younis rođena je 1991. Godine 2010. završava Školu za umjetnost, dizajn, grafiku i odjeću u Zaboku, smjer Industrijski dizajn. Iste godine upisuje preddiplomski studij Nastavničkog odsjeka na Akademiji likovnih umjetnosti u Zagrebu, gdje 2013. upisuje diplomski studij, smjer slikarstvo u klasi prof. Ante Rašića. Prvi puta samostalno izlaže u sklopu Erasmus studentske razmjene u Vilniusu (Litva) na Academy of Arts 2014.

Miriam Younis was born in 1991. In 2010 she completed the School of Art, Design, Graphic Arts and Clothes in Zabok, Department of Industrial Design. The same year she enrolled in the undergraduate study at the Academy of Fine Arts in Zagreb, Department of Art Education, where in 2013 she enrolled in the graduate study in painting in the class of the professor Ante Rašić. Her first exhibition was a part of Erasmus student exchange in Vilnius (Lithuania) at the Academy of Arts in 2014.

„133+“, 2012./15., tempera i akril na ljepenci, cjelina promjenjiva, pojedinačno 20 × 20 cm “133+“, 2012/15, tempera and acrylic on pasteboard, variable as a whole, 20 × 20 cm individually

Iris Poljan

Iris Poljan rođena je 1989. u Zagrebu. Godine 2008. završila je Školu primijenjene umjetnosti i dizajna u Zagrebu (smjer grafika). Iste godine upisuje Akademiju likovnih umjetnosti u Zagrebu, Studij likovne kulture te se opredjeljuje za smjer slikarstvo u klasi profesora Ante Rašića. Diplomirala je 2015. Član je ULS-a (Zaprešić) i HDLU-a. Izlagala je na nekoliko samostalnih i skupnih izložbi.

Iris Poljan was born in Zagreb, Croatia in 1989. She finished the School of Applied Arts and Design in Zagreb, Croatia (Department of Graphic Arts) in 2008. The same year she enrolled in the Academy of Fine Arts in Zagreb, Department od Art Education, where she studied painting in the class of the professor Ante Rašić. She graduated in 2015. Iris is a member of the Art Association of Zaprešić and Croatian Association of Artists. She has exhibited in several solo and group exhibitions.

„Točno ispod nosa“ iz serije „Vidim te“, 2014., akril i kreda u boji na platnu, 182 × 200 cm “Right Under The Nose“ from the series “I See You“, 2014, acrylic and crayon on canvas, 182 × 200 cm „Gledamo se“ iz serije „Vidim te“, 2014., akril i kreda u boji na platnu, 185 × 145 cm “We Are Looking at Each Other“ from the series “I See You“, 2014, acrylic and crayon on canvas, 185 × 145 cm

Marija Knezić

Marija Knezić rođena je 1988. u Zaboku. U Oroslavju završava opću gimnaziju, a 2008. upisuje Nastavnički odsjek na Akademiji likovnih umjetnosti u Zagrebu. Godine 2014. s najvećom pohvalom završava diplomski studij na Nastavničkom odsjeku gdje je studirala grafiku kao glavni umjetnički predmet u klasi Ines Krasić. Do sada je sudjelovala na nekoliko umjetničkih radionica i projekata te izlagala na više samostalnih i skupnih izložbi u Hrvatskoj i u inozemstvu. Bavi se grafikom i grafičkim dizajnom. Marija Knezić was born in Zabok, Croatia in 1988. She finished gymnasium in Oroslavje, Croatia and in 2008 she enrolled in the Academy of Fine Arts in Zagreb, Croatia, Department of Art Education. In 2014 she graduated cum laude from the Department of Art Education where she majored in graphic arts in the class of the professor Ines Krasić. So far she has participated in several art workshops and projects and exhibited in numerous solo and group exhibitions in Croatia and abroad. She is involved in graphics and graphic design. „Play & Go“, 2012./13., kombinirane tehnike (digitalni tisak na naljepnicu, magnetna folija, metalna konstrukcija), 140 × 180 cm “Play & Go“, 2012/2013, mixed media (digital print on sticker, magnetic foil, metal construction), 140 × 180 cm „Shuffle“, 2014., kombinirane tehnike (digitalni tisak na papiru, kapaline, drvena i metalna konstrukcija), promjenjive dimenzije “Shuffle“, 2014, mixed media (digital print on paper, kapaline, wood and metal construction), dimensions variable

Ivan Tudek

„Kvačice“, 2008., instalacija od žice, promjenjive dimenzije “Pegs“, 2008, wire installation, dimensions variable „Avion i torbe“, 2008., ulje na platnu, 200 × 300 cm “Airplane and Bags“, 2008, oil on canvas, 200 × 300 cm

Snježana Ban

Snježana Ban rođena je 1980. u Zagrebu. Diplomirala je 2007. na Nastavničkom odsjeku Akademije likovnih umjetnosti u Zagrebu u klasi profesora Ante Rašića. Godine 2008. diplomirala je na Tekstilno-tehnološkom fakultetu u Zagrebu, smjer modni dizajn. Radi kao asistentica na Nastavničkom odsjeku ALU. Polaznica je poslijediplomskog studija na spomenutoj akademiji. Izlagala je na više samostalnih i skupnih izložbi. Godine 2006. dobitnica je Velike nagrade 28. salona mladih. Živi i radi u Zagrebu.

Snježana Ban was born in Zagreb, in 1980. In 2007 she graduated from the Academy of Fine Arts in Zagreb, Department of Art Education, in the class of the professor Ante Rašić. In 2008 she graduated from the Faculty of Textile Technology in Zagreb, Department of Fashion Design. She currently works as an assistant at the Department of Art Education, Academy of Fine Arts in Zagreb, Croatia. She is a postgraduate student at the same Academy. Snježana has exhibited in several solo and group exhibitions. She has won the Grand Prix of the 28th Youth Salon (2006). Lives and works in Zagreb.

Kolaži iz serije „Hladan tuš“, „Kućanice“, „Homage slikarstvu“, 2006./07., papir i flomaster na papiru, pojedinačno cca 21 × 30 cm Collages from the series “Cold Shower“, “Housewives “, “Homage to Painting“, 2006/07, paper and felt tip pen on paper, individually variable approx. 21 × 30 cm

Zoltan Novak

Zoltan Novak rođen je 1963. u Zagrebu. Akademiju likovnih umjetnosti upisuje 1983., a diplomirao je 1997. na Nastavničkom odsjeku u klasi prof. Zlatka Kauzlarića. Član je HDLU-a i Matice hrvatske. Od 2005. profesor je slikarstva na ALU u Zagrebu. Izlagao je na više samostalnih i skupnih izložbi u zemlji i inozemstvu. Dobitnik je nekoliko nagrada među kojima se ističe državna nagrada Vladimir Nazor za najbolju izložbu 2010. Živi i radi u Zagrebu.

Zoltan Novak was born in Zagreb, Croatia in 1963. He enrolled in the Academy of Fine Arts in 1983, and graduated in 1997 from the Department of Art Education, in the class of the professor Zlatko Kauzlarić. He is a member of the Croatian Association of Artists and Matica hrvatska. In 2005 he started teaching painting at the Academy of Fine Arts in Zagreb. He has exhibited in numerous solo and group exhibitions in the country and abroad. He has won several awards, among which also the Vladimir Nazor Award for the best exhibition in 2010. Lives and works in Zagreb.

„Šetnja“, 1986./87., ulje na papiru, 130 × 150 cm vlasništvo: Ana i Branko Ivanišević “Walk“, 1986/87, oil on paper, 130 × 150 cm Collection of Ana i Branko Ivanišević „Dnevnik lososa“, 1991./92., tuš, flomaster, 50 × 35 cm “Diary of a Salmon“, 1991/92, ink, felt tip pen, 50 × 35 cm

Ana Hušman

Ana Hušman rođena je 1977. u Zagrebu. 2002. diplomirala je na Nastavničkom odsjeku, usmjerenje multimediji, na Akademiji likovnih umjetnosti u Zagrebu. Sudjelovala je na brojnim domaćim i inozemnim izložbama i festivalima. Radi na Akademiji likovnih umjetnosti u Zagrebu na Odsjeku za animirani film i nove medije. Za svoje novije radove osvojila je više međunarodnih nagrada. Njezini su radovi prikazivani na festivalima i izložbama koje uključuju: 9. Gwangju Biennale, 53. Oktobarski Salon, Beograd, Medienturm Gallery, Graz; On the Eastern Front, Ludwig Museum of Contemporary Arts, Budimpešta; “lucy” bodig & ART ON STAGE, URA, Istanbul, Stuttgarter Filmwinter; International Film Festival Rotterdam, 25 fps, Zagreb; DOK, Leipzig, Njemačka.

Ana Husman was born in Zagreb, Croatia in 1977. She graduated from the Academy of Fine Arts in Zagreb, Croatia, Department of Multimedia and Art Education in 2002. She exhibited at a number of Croatian and International festivals and shows. She currently works at the Academy of Fine Arts, Department of Animated Film and New Media. She has won many international awards for her recent work. Her works have been shown at festivals and exhibitions including; 9th Gwangju Biennale; 53rd October Salon, Belgrade; Medienturm Gallery, Graz; On the Eastern Front, Ludwig Museum of Contemporary Arts, Budapest; “lucy” bodig & ART ON STAGE, URA, Istanbul, Stuttgarter Filmwinter; International Film Festival Rotterdam, 25 fps, Zagreb; DOK, Leipzig, Deutschland.

„Bunar“, 1999., HI8/miniDV, 52’00’ “Well“, 1999, HI8/miniDV, 52’00’ „Daily Progress“, 2001., HI8/miniDV, 6’50’’. “Daily Progress“, 2001, HI8/miniDV, 6’50’’

Lala Raščić

Lala Raščić je multimedijalna umjetnica, rođena 1977. u Sarajevu. Recentne samostalne izložbe uključuju Evil Earth, Kulturni centar Tobačna 001, Ljubljana (2015); How to do Things With Words, ŠKUC, Ljubljana (2014); Whatever the Object, GfZK, Leipzig (2013). Između ostalog, Raščić je boravila na rezidencijalnim programima: Rijksakademie, Amsterdam; Platform Garanti, Istanbul i Kulturni Centar Tobačna 001, Ljubljana. Dobitnica je nagrade Future of Europe, Leipzig (2013) i prve otkupne nagrade T-HT-a i MSU-a, Zagreb (2007). Završila je Akademiju likovnih umjetnosti u Zagrebu. Članica je HDLU-a i HZSU-a.

Lala Raščić is a multimedia artist, born in Sarajevo, Bosnia and Herzegovina, in 1977. Her recent solo exhibitions include: Evil Earth, Kulturni centar Tobačna 001, Ljubljana (2015); How to do Things With Words, ŠKUC, Ljubljana (2014); Whatever the Object, GfZK, Leipzig (2013). Račić also participated in the following residency programmes: Rijksakademie, Amsterdam; Platform Garanti, Istanbul and Kulturni Centar Tobačna 001, Ljubljana. Raščić won the Future of Europe Award, Leipzig (2013) and first T-HT and the Museum of Contemporary Art Purchase Award, Zagreb (2007). Raščić graduated from the Academy of Fine Arts in Zagreb. She is a member of the Croatian Association of Artists and Croatian Freelance Artists Association.

„17 Stories“, 2000., video, SD, DVCam, kolor, stereo, 3’17“ “17 Stories“, 2000, video, SD, DVCam, colour, stereo, 3’17“

Petra Orbanić & Marija Plečko

Marija Plečko rođena je 1992. u Zaboku, a Petra Orbanić 1991. u Puli. Sveučilišni studij Likovne kulture na Akademiji likovnih umjetnosti u Zagrebu upisuju 2010. Dobitnice su posebne Rektorove nagrade i pohvale dekanata za uspješan rad. Sudjelovale su na više samostalnih i skupnih izložbi u zemlji i inozemstvu. Od rujna 2014. započinju i umjetničku suradnju koja je proizašla iz zajedničkog hodanja i planinarenja koji ujedno postaju neodvojivi dio njihovog stvaralačkog procesa.

Marija Plečko was born in Zabok, Croatia in 1992, and Petra Orbanić in Pula, Croatia in 1991. They enrolled in the Academy of Fine Arts in Zagreb, Croatia in 2010. They won a Special Rector’s Award and Dean’s Praise for their successful work. They participated in numerous solo and group exhibitions in the country and abroad. Their art collaboration started in September 2014, as a result of their walks and hikes, which became an integral part of their creative process.

„Ništa ali ipak je“, 2015., kombinirana tehnika, ambijent, promjenjive dimenzije “Nothing but Still Is“, 2015, mixed medium, site-specific, dimensions variable

Ana Krolo

Ana Krolo rođena 1983. u Splitu. Diplomirala slikarstvo na Nastavničkom odsjeku Akademije likovnih umjetnosti i arheologiju na Filozofskom fakultetu u Zagrebu. Djeluje unutar različitih medija kao što su slikarstvo, video i primijenjena grafika. Izlagala je na nekoliko izložbi u zemlji i inozemstvu.

Ana Krolo was born in Split, Croatia in 1983. She graduated in painting from the Academy of Fine Arts, Department of Art Education and in archaeology from the Faculty of Humanities and Social Sciences in Zagreb, Croatia. She works in various media, including painting, video and applied graphics. She has exhibited in several exhibitions in the country and abroad.

„Mijene“, 2011./12., ambijentalna instalacija, kombinirana tehnika: akrilik, ugljen, fotokopije na platnu, kartonu, medijapanu, papiru, dimenzije promjenjive “Changes“, 2011/12, site-specific installation, mixed media: acrylic, charcoal, photocopies on canvas, cardboard, MDF, paper, dimensions variable

Maja Marković

Maja Marković rođena je 1979. u Zagrebu. Magistrirala je slikarstvo na Nastavničkom odsjeku Akademije likovnih umjetnosti 2011. u Zagrebu u klasi profesora Ante Rašića. Za svoj rad primila je nekoliko priznanja i nominacija: 2015. Akademija Schloss Solitude, Stuttgart (DE); 2014. Kulturbunker, Frankfurt (DE), 2013. BMUKK, Schloss Laudon, Beč, 2011. First award of „Visura Aperta“ festival, Momiano, 2009. nagrada Hrvatskog društva likovnih umjetnika za najbolju mladu umjetnicu; 2008. finalistica nagrade Josip Račić; 2007. finalistica nagrade Radoslav Putar, nagrada za mlade likovne umjetnike u Hrvatskoj, Institut za suvremenu umjetnost – SCCA, Zagreb; 2005.CEEPUS stipendija, Akademija likovnih umjetnosti, Ljubljana.

Maja Marković was born in Zagreb, Croatia in 1979. She got her master’s degree in painting from the Academy of Fine Arts in Zagreb, Croatia, Department of Art Education in 2011, in the class of the professor Ante Rašić. She has won several awards and acknowledgments for her work, including: Schloss Solitude Academy, Stuttgart (DE) in 2015; Kulturbunker, Frankfurt (DE) in 2014; BMUKK, Schloss Laudon, Vienna in 2013; “Visura Aperta” Festival First Award, Momiano in 2011, The Croatian Association of Artists Award for the best young artist in 2009; Josip Račin Award finalist in 2008; Radoslav Putar Award finalist in 2007; award for young Croatian artists, Institute for Contemporary Art – SCCA, Zagreb; 2005 CEEPUS scholarship, Academy of Fine Arts, Ljubljana.

„Veliki plan“, dokumentacija, Galerija PM, HDLU, 2007., digitalni print na plastici, promjer 18 m “Big Plan“, documentation, PM Gallery, Croatian Association of Artists, 2007, digital print on plastic, diameter 18 m

Marija Lovrić

Marija Lovrić rođena je 1986. u Zagrebu. Magistrirala je 2012. na Nastavničkom odsjeku Akademije likovnih umjetnosti u Zagrebu u klasi Ines Krasić. Dobitnica je pohvale Akademije likovnih umjetnosti u Zagrebu za uspješan rad tijekom akademske godine 2009./2010. Članom HDLU-a postaje od 2013. Od 2009. izlagala je na nekoliko samostalnih te više grupnih izložbi i likovnih radionica u Hrvatskoj i inozemstvu.

Marija Lovrić was born in Zagreb, Croatia in 1986. In 2012 she received an M.A. from the Academy of Fine Arts in Zagreb, Department of Art Education, in the class of the professor Ines Krasić. She has won an acknowledgement from the Academy of Fine Arts in Zagreb for her work in the academic year 2009/2010. She became a member of the Croatian Association of Artists in 2013. Since 2009 she has exhibited in several solo and numerous group exhibitions and art workshops in Croatia and abroad.

„Arhitektura energije“, 2012., pet maketa dalekovoda, drveni štapići, silikonsko ljepilo, gips, 50 × 40 cm maketa pojedinačno “Architecture of Energy“, 2012, five models of power-transmission line, wooden sticks, silicone adhesive, plaster, 50 × 40 cm each model „ML/1909/3“, 2012., 8 light-boxa, print na citylight foliju, 50 × 50 x12 cm “ML/1909/3“, 2012, 8 light-boxes, print on citylight foil, 50 × 50 x12 cm

Davor Rogar

Davor Rogar je rođen 1972. u Zagrebu. Završio je srednju tehničku školu Fausta Vrančića u Zagrebu. Diplomirao je 2013. na Nastavničkom odsjeku Akademije likovnih umjetnosti u Zagrebu pod mentorstvom profesora Ante Rašića i komentorstvom profesora Ivana Ladislava Galete. Bavi se istraživanjem videa, eksperimentalnog i proširenog filma te eksperimentalnog zvuka, kao i utjecajem tehnologije i njezinih zakonitosti na zasebnu individuu u vremenu i prostoru. Živi i radi u Zagrebu.

Davor Rogar was born in Zagreb, Croatia in 1972. He finished the Machinery and Technical School Faust Vrančić in Zagreb. He graduated from the Academy of Fine Arts in Zagreb, Department of Art Education, in the class of the professor Ante Rašić, and under the mentorship of the professor Ladislav Galeta, in 2013. He is involved in researching video, experimental and expanded film, and experimental sound, as well as the way technology and its laws influence an individual in time and space. Lives and works in Zagreb.

Dispositions. 2013. Inversion of time and refraktion of the space: Site Specifics, višekanalna audio i video projekcija. Koncepcija varijabilnih dimenzija, raspored od dijelova međusobno implementiranih u realnom vremenu i prostoru. Dispositions. 2013 Inversion of time and refraction of space: site-specific, multi-channel audio and video projection. The concept of variable dimensions, arrangement of parts mutually implemented in real space and time.

Igor Juran

Igor Juran rođen je 1981. u Zagrebu. Nakon završene opće gimnazije diplomirao je na Akademiji likovnih umjetnosti u klasi Miroslava Šuteja i Ante Rašića. Bavi se slikarstvom, fotografijom, prostornim instalacijama i eksperimentalnim videom. Od 2006. djeluje u umjetničkoj grupi Projekt6 čiji je suosnivač. Izlagao je na više izložbi u Hrvatskoj, Austriji, BiH, Crnoj Gori, Engleskoj, Italiji, Nizozemskoj, Njemačkoj, Sloveniji i Srbiji. Godine 2010. boravi na dvomjesečnoj rezidenciji Kunstenaarlogies u Amersfoortu, NL. Iste godine osniva umjetničku organizaciju AAMF koja se bavi filmskom i video produkcijom. Član je HDLU-a i HZSU-a.

Videographer and visual artist Igor Juran was born in Zagreb, Croatia in 1981. He graduated from the Academy of Fine Arts, University of Zagreb, under the mentorship of Miroslav Šutej and Ante Rašić. He is involved in painting, photography, spatial installations and experimental video. As a co-founder, he has been an active member of Projekt6 Art Group. He has exhibited his work in Austria, Bosnia, Croatia, England, Holland, Germany, Italy, Montenegro, Serbia and Slovenia. In 2010 he spent two months in a residency program Kunstenaarlogies in Amersfoort, NL. The same year he founded AAMF Art Organisation dealing with film and video production. He is a member of the Croatian Association of Artists and Croatian Freelance Artists Association.

„Crvena, žuta i plava“, 2009., akrilik na platnu, print na papiru, 3 × 100 × 100 cm, 3 × 50 × 50 cm “Red, Yellow and Blue“, 2009, acrylic on canvas, print on paper, 3 × 100 × 100 cm, 3 × 50 × 50 cm

Iva Matija Bitanga

Iva-Matija Bitanga rođena je 1974. u Zagrebu. Godine 1994. diplomirala je slikarstvo na Nastavničkom odsjeku Akademije likovnih umjetnosti u Zagrebu. Godine 2004. na Hochschule fuer Gestaltung u Karlsruheu završava poslijediplomski Studij scenografije i dizajna izložbi. Od 2011. stalna je suradnica za Lutkarstvo i scensku kulturu Učiteljskog fakulteta u Zagrebu, Odsjek u Čakovcu. Od 2013. stalno je zaposlena kao docentica na Sveučilištu Sjever. Izlagala je na brojnim iz ložbama u Hrvatskoj i inozemstvu. Bavi se oblikovanjem scenografija, lutaka i kostima za kazalište. Dobitnica je nekoliko nagrada i priznanja na području likovne umjetnosti, scenografije i kostimografije. Posljednji projekti nastali su u suradnji s Leom Vukelićem.

Iva-Matija Bitanga was born in Zagreb, Croatia in 1974. In 1994 she graduated from the Academy of Fine Arts in Zagreb, Department of Painting. In 2004 she graduated in exhibition and set design from Hochschule fuer Gestaltung in Karlsruhe. Since 2011 she has been an Associate Professor for Puppetry and Stage Culture at the Faculty of Teacher Education in Zagreb, Department in Čakovec. Since 2013 she has been a docent at University North. She has exhibited in numerous exhibitions in Croatia and abroad, and she is involved in theatre set, puppet and costume design. She has won several awards and acknowledgments for visual arts, set and costume design. Her recent projects were created in collaboration with Leo Vukelić.

„Projekt – privatna livada“, 1997., montažna metalna konstrukcija i živa trava, 250 × 300 × 300 cm, dva metalna stolca 250 cm i dva stalka 250 cm “Project – Private Meadow“, 1997, prefabricated metal construction and real grass, 250 × 300 × 300 cm, two metal chairs 250 cm and two stands 250 cm

Anita Šurkić

Anita Šurkić rođena je 1975. u Sarajevu (BiH). Godine 2007. diplomirala je na Akademiji likovnih umjetnosti u Zagrebu, Nastavnički odsjek, u klasi prof. Ante Rašića. Godine 2011. završava Magistarski studij “Kunst im Kontekst” na UdK Berlin. Od 2008. živi i radi u Berlinu kao samostalna umjetnica te medijatorica Umjetnosti. Osim toga, aktivno radi s djecom iz socijalno slabijih obitelji u jednom centru za mlade i djecu u Neuköllnu, Berlin.

Anita Šurkić was born in Sarajevo, Bosnia and Herzegovina, in 1975. In 2007 she graduated from the Academy of Fine Arts in Zagreb, Croatia, Department of Art Education, in the class of the professor Ante Rašić. In 2011 she finished an M.A. programme “Kunst im Kontekst” at UdK Berlin. Lives and works in Berlin as a freelance artist and an art mediator since 2008. She is also actively involved in the work with children from less privileged families in a centre for youth and children in Neukölln, Berlin.

„Die Baustelle“, 2002., ulje, akril, špahtel masa na platnu, 150 × 100 cm “Die Baustelle“, 2002, oil, acrylic, filler on canvas, 150 × 100 cm „Die Baustelle“, 2002., ulje, akril, špahtel masa na platnu, 100 × 90 cm “Die Baustelle“, 2002 , oil, acrylic, filler on canvas, 100 × 90 cm „Die Baustelle“, dokumentacija, Zagreb, Gradilište „Armelija“, Vukovarska 284, 2007., ambijentalna instalacija “Die Baustelle“, documention, Zagreb, construction site, Vukovarska 284, 2007, sitespecific installation „Put u obećani raj“, 2005., dokumentacija, print na šleperu “Road to the Promised Paradise“, 2005, documention, print on a truck

Marko Grill

Marko Grill rođen je 1980. u Zagrebu. Godine 2008. diplomirao je na Akademiji likovnih umjetnosti u Zagrebu u klasi prof. Ante Rašića. Godine 2007. izlagao je ciklus slika „Posvećeno Castru” u Galeriji Prsten u Zagrebu te 2008. na dvije samostalne izložbe u Zagrebu „Hommage to Cuba“ u Galeriji Vladimir Bužančić te „Che, Fidel Raul“ u Galeriji PM. Marko Grill was born in Zagreb, Croatia in 1980. In 2008 he graduated from the Academy of Fine Arts in Zagreb, in the class of the professor Ante Rašić. In 2007 he participated in the exhibition with paintings “Dedicated to Castro” at the Ring Gallery in Zagreb, Croatia, and in two solo exhibitions in Zagreb, Homage to Cuba in Vladimir Bužančić Gallery and Che, Fidel Raul in PM Gallery in 2008.

„Bolnica“, 2008., akril na platnu, 50 × 50 cm “Hospital“, 2008, acrylic on canvas, 50 × 50 cm „Novinarka“, 2008., akril na platnu, 50 × 50 cm “Female Journalist“, 2008, acrylic on canvas, 50 × 50 cm „Dijete“, 2008., akril na platnu, 50 × 50 cm “Child“, 2008, acrylic on canvas, 50 × 50 cm „WC“, 2008., akril na platnu, 50 × 50 cm “WC“, 2008, acrylic on canvas, 50 × 50 cm „Zatvor“, 2008., akril na platnu, 50 × 50 cm “Prison“, 2008, acrylic on canvas, 50 × 50 cm „Novinar“, 2008., akril na platnu, 50 × 50 cm “Journalist“, 2008, acrylic on canvas, 50 × 50 cm

Zorana Unković

Zorana Unković rođena je 1988. u Splitu. Godine 2014. završava diplomski sveučilišni studij Likovna kultura, nastavnički smjer, na Akademiji likovnih umjetnosti u Zagrebu u klasi prof. Matka Vekića i stječe zvanje magistre edukacije likovne kulture. Od 2014. članica je HDLU-a u Zagrebu, a od 2015. članica je udruge Academia Moderna u Zagrebu. Do sada je izlagala na četiri samostalne i brojnim grupnim izložbama, sudjelovala na raznim likovnim kolonijama te je u nekoliko prilika djelovala kao predavač. Trenutno pohađa edukacijski program Centra za ženske studije u Zagrebu te djeluje kao samostalna umjetnica.

Zorana Unković was born in Split, Croatia in 1988. In 2014 she graduated in art education from the Academy of Fine Arts in Zagreb, Department of Art Education, in the class of the professor Matko Vekić and became an M.A. in Art Education. She has been a member of the Croatian Association of Artists since 2014, and since 2015 she has been a member of Academia Moderna Association in Zagreb. So far she has exhibited in four solo and numerous group exhibitions, participated in various art colonies, and taught on several occasions. She currently attends an educational programme at the Centre for Women’s Studies in Zagreb, Croatia and works as a freelance artists.

„Napušten“ iz serije „Zaboravljeni životi“, 2013., akril i emajl lak na platnu, 120 × 170 cm “Abandoned“ from the series “Forgotten Lives“, 2013, acrylic and enamel paint on canvas, 120 × 170 cm

Tomislav Buntak

Tomislav Buntak rođen je 1971. u Zagrebu. Godine 1997. diplomirao je slikarstvo na Akademiji likovnih umjetnosti u Zagrebu u klasi profesora Miroslava Šuteja. Od 2010. docent je na Slikarskoj katedri Akademije likovnih umjetnosti u Zagrebu. Izlagao je na mnogobrojnim samostalnim i skupnim izložbama; u MOMA-i P.S.1 (New York, 2005.), u Tokyo Wonder Site-u, TWS (Tokio, 2008.), Umjetničkom paviljonu (Zagreb, 2008.), u Spinnereiu (Leipzig, 2012.)... Dobitnik je niza nagrada među kojima je i nagrada Međunarodnog udruženja likovnih kritičara na 39. zagrebačkom salonu (2005.), nagradu Kabineta grafike HAZU na 4. trijenalu crteža (2008.) i nagradu Vladimir Nazor za najbolju izložbu u 2008. (2009.). Godine 2012. je u izdanju Frakture iz Zagreba o njegovom radu objavljena monografska knjiga.

Tomislav Buntak was born in Zagreb, Croatia, in 1971. In 1997 he graduated in painting from the Academy of Fine Arts in Zagreb, Croatia, in the class of the professor Miroslav Šutej. He has been a docent at the Department of Painting, Academy of Fine Arts in Zagreb, since 2010. Tomislav has exhibited in numerous solo and group exhibitions, including the ones in MOMA and P.S.1, New York, 2005, in Tokyo Wonder Site (TWS), Tokyo, 2008, Art Pavilion, Zagreb, 2008, and in Spinnerei, Leipzig, 2012. He has won a number of awards, including the International Association of Art Critics Award at the 39 th Zagreb Salon (2005), The Department of Prints and Drawings of the Croatian Academy of Sciences and Arts Award at the 4th Croatian Drawings Triennial (2008) and Vladimir Nazor Award for the best exhibition in 2008 (2009). A monograph of his work was published by Fraktura, Zagreb in 2012.

„Morski prizori“, 1995., papir, akrilik, ugljen, 70 × 100 cm “Marine Scenes“, 1995, paper, acrylic, charcoal, 70 × 100 cm „Morski prizori“, 1995., papir, akrilik, ugljen, 70 × 100 cm “Marine Scenes, 1995, paper, acrylic, charcoal, 70 × 100 cm „Morski prizori“, 1996., papir, akrilik, ugljen, 70 × 100 cm “Marine Scenes“, 1995, paper, acrylic, charcoal, 70 × 100 cm „Arcadia“, 1995., papir, akrilik, ugljen, 200 × 250 cm “Arcadia“, 1995, paper, acrylic, charcoal, 200 × 250 cm

Janko Matić

Janko Matić rođen je 1980. u Zagrebu, živi u Londonu. Diplomirao na ALU (Jabukovac) u Zagrebu 2005. Završio je magisterij na Chelsea College of Art and Design u Londonu 2005./06. Dobitnik je nagrade Young Artist’s Award od Louis Vuitton-a (LVMH) u Parizu 2003. gdje boravi na dvije rezidencije. Godine 2007. osvaja nagradu The Red Mansion Art Prize i zastupa Chelsea College na rezidenciji u 798 Art District-u u Pekingu. Umjetničku aktivnost temelji unutar i izvan umjetničkog konteksta (npr. Susak Expo biennale).

Janko Matić was born in Zagreb, Croatia in 1980. Lives in London. He graduated from the Academy of Fine Arts (Jabukovac) in Zagreb, Croatia in 2005. He received an M.A. from Chelsea College of Art and Design in London in 2005-6. He has won the Louis Vuitton Young Artist’s Award (LVMH) in Paris in 2003 where he participated in two residency programmes. In 2007 he won The Red Mansion Art Prize and represented Chelsea College at 798 Art District residency in Beijing. His artistic activity is based within and outside the art context (e.g. the Susak Expo Biennale).

„Adidas Converse“, 2003., kombinirana tehnika, 30 × 18 × 15 cm vlasništvo: Martin Firrell, („Public Artist“), London “Adidas Converse“, 2003, mixed media, 30 × 18 × 15 cm Collection of Martin Firell (“Public Artist“), London

Nina Kurtela

Nina Kurtela rođena je u Zagrebu. Bavi se istraživanjem u različitim medijima i stvara radove na razmeđi različitih disciplina, poput vizualnih i izvedbenih umjetnosti. U svom radu ne isključuje nijedan medij, a njezih konceptualni i multidisciplinarni pristup omogućuju korištenje svih oblika stvaralaštva. Njezin je rad stoga često multidisciplinaran i ambijentalan, uključuje određene zajednice, propituje novčane vrijednosti ili istražuje pojmove razmjene kroz koje su uspostavljeni različiti društveni odnosi. U posljednjih nekoliko godina aktivno izlaže svoj rad diljem Europe. Dobitnica je mnogih stipendija i nagrada.

Nina Kurtela was born in Zagreb, Croatia. She works in the cross-media field of research and creates her art between various disciplines, such as the visual and performing arts. Her practice does not exclude any medium and her conceptual and multidisciplinary approach provides a chance to all means of production. Her work is therefore often multidisciplinary and site-specific, engaging specific communities, questioning monetary values, or exploring the notions of exchange through which different social relations are established. For the past few years, she has been actively exhibiting her work across Europe and has won numerous scholarships and awards.

„Autoshow“ – dokumentacija, 2006. (Kuper Kavijar GTX (600 × 600 × 176 cm) metal, staklo, spužva, print na tekstilu, gume, aluminij, ogledalo) “Autoshow“- documentation, 2006 (Kuper Kavijar GTX (600 × 600 × 176 cm) metal, glass, sponge, print on textile, rubber, aluminium, mirror)

Margareta Milačić

Margareta Milačić rođena je 1979. u Zagrebu. Godine 2010. diplomirala je na Akademiji likovnih umjetnosti u Zagrebu, Nastavnički odsjek, u klasi prof. P. Bogdanića. Sudjelovala na samostalnim i skupnim izložbama i kolonijama. Živi i radi u Zagrebu kao prof. likovne kulture.

Margareta Milačić was born in Zagreb, Croatia in 1979. In 2010 she graduated from the Academy of Fine Arts in Zagreb, Croatia, Department of Art Education, in the class of the professor P. Bogdanić. She has participated in solo and group exhibitions and colonies. Lives and works in Zagreb, Croatia as a professor of visual arts.

„Kita cvijeća“, 2006., gips, žica, boja, 40 × 20 × 20 cm “A Bunch of Flowers“, 2006, plaster, wire, colour, 40 × 20 × 20 cm „Žrtva sapunice“, 2006., Acrystal uz readymade, odprilike 200 × 150 cm “Soap Opera Victim“, 2006, Acrystal with readymade, approximately 200 × 150 cm

Ines Krasić

Ines Krasić rođena je 1969. u Mostaru. Godine 1993. diplomirala je na Akademiji likovnih umjetnosti Sveučilišta u Zagrebu u klasi prof. Dubravke Babić (smjer grafika) i stekla zvanje profesorice likovne kulture. Izlaže od sredine 90-ih. Područje djelovanja iz medija grafike proširuje na grafičke objekte, instalacije i device-art. Zaposlena je na ALU Sveučilišta u Zagrebu u umjetničko-nastavnom zvanju izvanredne profesorice. Živi u Zagrebu.

Ines Krasić was born in Mostar, Bosnia and Herzegovina, in 1969. In 1993 she graduated from the Academy of Fine Arts, University of Zagreb, Croatia, in the class of the professor Dubravka Babić (Department of Graphic Arts) and became a professor of fine arts. She has been exhibiting since the mid-‘90s. Ines Krasić has expanded her work from the field of graphic arts to graphic objects, installations and device-art. She works at the Academy of Fine Arts in Zagreb, Croatia, as an associate professor. Lives and works in Zagreb, Croatia.

Ptičice, 1993., kombinirana tehnika, 200 × 123 × 15 cm Birds, 1993, mixed media, 200 × 123 × 15 cm

Berislav Šimičić

Berislav Šimičić rođen je 1976. u Našicama. Godine 2006. diplomirao je u klasi prof. Rašića (slikarstvo) na Akademiji likovnih umjetnosti u Zagrebu. Izlagao je na tri samostalne i nekoliko skupnih izložbi (Suburbana panika, Gradska knjižnica, Zaprešić, 2000., međunarodni 26. salon mladih, Zagrebački Velesajam, 2001., 16. trijenale hrvatskog slikarstva, Zadar, 2002., Device art, Galerija Galženica, Velika Gorica, 2004., The Essl Art Award, ALU Zagreb, 2005.). Bavi se ilustracijom, uličnom umjetnošću i scenografijom. Živi i radi u Zagrebu.

Berislav Šimičić was born in Našice, Croatia in 1976. He graduated from the Academy of Fine Arts in Zagreb, in the class of the professor Rašić (in painting) in 2006. He has exhibited in three solo and several group exhibitions (Suburban Panic, City Library, Zaprešić, 2000, International 26th Youth Salon, Zagreb Fair, 2001, 16th Triennial of Croatian Painting, Zadar, 2002, Device art, Galženica Gallery, Velika Gorica, 2004, The Essl Art Award, Acdemy of Fine Arts, Zagreb, 2005). He is involved in illustration, street art and set design. Lives and works in Zagreb.

Bez naziva, 2005., dokumentacija, akril na platnu, 120 × 110 cm Untitled, 2005, documentation, acrylic on canvas, 120 × 110 cm

Lonac

„Lonac“ (1987., Zagreb) je osnovnu školu završio u Zagrebu. Nakon završene Zagrebačke umjetničke gimnazije 2006., upisao je Akademiju likovnih umjetnosti u Zagrebu, nastavnički smjer. Diplomirao je u klasi prof. Ines Krasić 2013. Izlagao je na dvije samostalne i na nekoliko skupnih izložbi diljem Hrvatske te sudjelovao na nekoliko festivala urbane umjetnosti. Od 2013. član je platforme P_3.

“Lonac” (1987, Zagreb, Croatia). He finished primary school in Zagreb, Croatia. After completing Art Gymnasium in Zagreb in 2006 he enrolled in the Academy of Fine Arts in Zagreb, Department of Art Education. He graduated in the class of the professor Ines Krasić in 2013. Lonac has exhibited in two solo and several group exhibitions across Croatia, and participated in several urban art festivals. He has been a member of P_3 Platform since 2013.

„Big Catch“ („Veliki ulov“), 2013., sprej na dasci i skateboard daske, cca 250 cm “Big Catch“, 2013, spray paint on board and skateboards, approx. 250 cm

Željko Badurina

Željko Badurina rođen je 1966. u Zagrebu gdje živi i radi. Godine 1996. diplomirao je na Grafičkom odjelu na ALU u Zagrebu u klasi prof. Miroslava Šuteja. Član je HDLU-a i HZSU-a. Izlagao je na brojnim samostalnim i skupnim izložbama. Dobitnik je nagrade Gradskog ureda za kulturu na 3. hrvatskom trijenalu grafike (2003.) i nagrade HDLU-a za najbolju izložbu u 2012. godini (2013). Od 2005. do 2012. radi na projektu mailarta „Post-art“. Od 2012. do danas svakodnevno objavljuje svoje radove na FB-u.

Željko was born in Zagreb, Croatia in 1966, where he lives and works. In 1996 he graduated from the Department of Graphic Arts, Academy of Fine Arts, in the class of the professor Miroslav Šutej. He is a member of the Croatian Association of Artists and Croatian Freelance Artists Association. Željko has exhibited in numerous solo and group exhibitions. In 2003 he received the Croatian Association of Artists Award for the best exhibition in 2012. In the period between 2005 and 2012 he worked on the mail-art project Post-art. He has been posting daily updates of his work on Facebook since 2012.

„Slika br. 1“, 1992., uljne pastele na papiru, 100 × 70,5 cm “Painting No. 1“, 1992, oil and encaustic on canvas, 100 × 70,5 cm „Slika br. 2“, 1992., uljne pastele na papiru, 100 × 70,5 cm “Painting No. 2, 1992., oil pastels on paper, 100 × 70,5 cm „Slika br. 3“, 1992., uljne pastele na papiru, 100 × 70,5 cm “Painting No. 3“, 1992., oil pastels on paper, 100 × 70,5 cm

Gordana Bakić

Gordana Bakić rođena je 1972. u Zagrebu. Godine 1990. završila je Školu primijenjene umjetnosti i dizajna u Zagrebu. Iste godine upisala je Akademiju likovnih umjetnosti u Zagrebu, studij Likovne kulture na Nastavničkom odsjeku. Godine 2001. diplomirala je u klasi prof. Zlatka Kesera. Članica je HDLU-a od 1996. Od 2004. do 2012. radila je u Hrvatskom narodnom kazalištu u Zagrebu na oslikavanju scenografija (kazališna slikarica). Godine 2011. magistrirala je na Akademiji za likovnu umjetnost u Ljubljani, smjer slikarstvo, u klasi prof. Bojana Gorenca. Od 2012. godine predaje na Akademiji likovnih umjetnosti u Zagrebu u umjetničko-nastavnom zvanju docentice. Izlagala je na izložbama u Hrvatskoj i inozemstvu te je nagrađivana za svoj rad. Živi i radi u Zagrebu.

Gordana Bakić was born in Zagreb, Croatia in 1972. In 1990 she graduated from the School of Applied Arts and Design in Zagreb. The same year she enrolled in the Academy of Fine Arts, Department of Art Education. In 2001 she graduated in the class of the professor Zlatko Keser. She has been a member of the Croatian Association of Artists since 1996. From 2004 to 2012 Gordana worked at the Croatian National Theatre in Zagreb, Croatia as a scenic painter. In 2011 she graduated from the Academy of Fine Arts in Ljubljana, Department of Painting, in the class of the professor Bojan Gorenc, with a master’s degree. She has been a docent at the Academy of Fine Arts in Zagreb, Croatia since 2012. She has exhibited in Croatia and abroad and won awards for her work. Lives and works in Zagreb.

„Avionsko groblje“, 1995., kombinirana tehnika, 100 × 100 cm “Aviation Graveyard“, 1995, mixed media, 100 × 100 cm „Avionsko groblje“, 1995., kombinirana tehnika, 100 × 100 cm “Aviation Graveyard“, 1995, mixed media, 100 × 100 cm

Tea Hatadi

Tea Hatadi rođena je 1980. Godine 2008. diplomirala je na Akademiji likovnih umjetnosti u Zagrebu u klasi prof. Miroslava Šuteja i prof. Dalibora Jelavića te na spomenutoj akademiji nastavlja poslijediplomski doktorski studij slikarstva pod mentorstvom Ante Rašića. Kao CEEPUS-ova stipendistica od 2003. do 2005. studira dva semestra na VŠUP-u u Pragu u slikarskom studiju i ateljeu K.O.V. Godine 2010. boravi na rezidenciji KulturKontakt Austria u Beču i Kunstenaarlogies u Amersfoortu, NL. Članica je HDLU-a i HZSU-a. Svoj rad predstavila je na desetak samostalnih i preko pedeset skupnih izložbi u Hrvatskoj i u inozemstvu. Živi u Zagrebu gdje djeluje kao multimedijalna umjetnica.

Tea Hatadi was born in 1980. In 2008 she graduated from the Academy of Fine Arts in Zagreb, Croatia, in the class of the professor Miroslav Šutej and professor Dalibor Jelavić. She continued her postgraduate studies in painting under the mentorship of the professor Ante Rašić. As a CEEPUS scholarship holder from 2003 to 2005, for two semesters she stayed at the Academy of Arts, Architecture and Design in Prague in the painting studio and atelier K.O.V. In 2010 she was in a residency program KulturKontakt Austria in Vienna and Kunstenaarlogies in Amersfoort, NL. She is a member of the Croatian Association of Artists and Croatian Freelance Artists Association. She has exhibited in a dozen solo and over fifty group exhibitions in the country and abroad. Lives in Zagreb, Croatia and works as a multimedia artist.

„Pink“, 2006., kombinirana tehnika, 63 × 117 cm “Pink“, 2006, mixed media, 63 × 117 cm „Lost violet“, 2006., kombinirana, 62 × 94 cm “Lost Violet“, 2006, mixed media, 62 × 94 cm „Captured Matilda“, 2006., kombinirana tehnika, 86 × 117 cm “Captured Matilda“, 2006, mixed media, 86 × 117 cm „Color your memories“, 2006., kombinirana, 160 × 85 cm “Colour Your Memories“, 2006, mixed media, 160 × 85 cm

Zorana Unković

„Vagina dentata“, 2013., enkaustika i uljana boja na platnu, 40 × 40 cm “Vagina dentata”, 2013, encaustic and oil on canvas, 40 × 40 cm „Kurva“, 2013., enkaustika i uljana boja na platnu, 40 × 40 cm vlasništvo: Željko Lapuh “Whore“, 2013, encaustic and oil on canvas, 40 × 40 cm Collection of Željko Lapuh „Madona“, 2013., enkaustika i uljana boja na platnu, 40 × 40 cm vlasništvo: Željko Lapuh “Madona“, 2013, encaustic and oil on canvas, 40 × 40 cm Collection of Željko Lapuh

Bruno Razum

Bruno Razum rođen je 1975. u Zagrebu. Godine 1989. upisuje Graditeljsku školu u Zagrebu, a 1998. upisuje Akademiju likovnih umjetnosti, smjer nastavnik likovne kulture, te se nakon druge godine studija opredjeljuje za smjer Multimedija. Godine 2004. diplomirao je u klasi prof. Ivana Ladislava Galete. Tijekom studija počinje se komercijalno baviti animacijom, a iste godine zajedno s Tomislavom Rukavinom i Ozrenom Soldom otvara tvrtku za filmsku produkciju, 24sedam d.o.o., u sklopu koje radi mnoge reklamne spotove, muzičke spotove, špice za filmske festivale, grafičku opremu za TV emisije te razne projekte koji su zahtijevali grafičku opremu ili animiranu sekvencu. U ULUPUH je primljen 2011. Godine 2014. završava kratki animirani film „Tajni laboratorij Nikole Tesle“.

Bruno Razum was born in Zagreb, Croatia in 1975. In 1989 he enrolled in the Building and Construction Technical High School in Zagreb, and in 1998 in the Academy of Fine Arts, Department of Art Education, and after two years he continued his studies at the Department of Multimedia. In 2004 he graduated in the class of the professor Ivan Ladislav Galeta. During his studies he became involved in commercial animation, and the same year, together with Tomislav Rukavina and Ozren Soldo, he founded the film production company 24sedam d.o.o. The company produced commercials, music videos, trailers for film festivals, provided graphic equipment for TV shows and created many TV shows graphics or animated sequences. He became a member of the Croatian Association of Artists of Applied Arts in 2011. In 2014 he finished a short animated film – Nikola Tesla’s Secret Laboratory.

„Žena“, 2002., video animacija, 1’05’’ “Woman“, 2002, video animation, 1’05’’

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Karla Šuler

Karla Šuler rođena je 1980. u Zagrebu. Godine 2010. diplomirala je na Akademiji Likovnih Umjetnosti u Zagrebu, Nastavnički odsjek. Godine 2004. dobitnica je CEEPUSove stipendije u Brnu, CZ, na „Faculty of fine arts“ pod mentorstvom prof. Jana Prekova, Odsjek „Body design“. Godine 2005. dobitnica je CEEPUS-ove stipendije na Tekstilnom fakultetu u Ljubljani pod mentorstvom prof. Marije Jenko. Godine 2007. dobitnica je Rektorove nagrade za rad „Offside“. Od 2005. do 2008. voditeljica je Likovne radionice crtanja i slikanja na Učilištu Studentskog centra. Trenutno živi i radi u Dublinu, ROI.

Karla Šuler was born in Zagreb, Croatia in 1980. In 2010 she graduated from the Academy of Fine Arts in Zagreb, Department of Art Education. In 2004 she won a CEEPUS scholarship in Brno, CZ at the Faculty of Fine Arts under the mentorship of the professor Jana Prekova, Department of Body Design. In 2005 she won a CEEPUS scholarship at the Faculty of Textile in Ljubljana under the mentorship of the professor Marija Jenko. In 2007 she won a Rector’s Award for her work Offside. From 2005 to 2008 she managed painting and drawing art workshops at the Student Centre Academy. Currently lives and works in Dublin, ROI.

„Off – side“, 2007., 2-kanalna projekcija na 2 platna veličine 300 × 120 cm, kamera: Daniel Ruljančić, assist: Irena Škorić, zvuk: Tibor Vučković-Hribar, montaža: Hrvoslava Brkušić, modeli: Biba i Maja Kovač) “Off – side“, 2007, 2-channel projection on 2 canvases 300 × 120 cm in size, camera: Daniel Ruljančić, assistant: Irena Škorić, sound: Tibor Vučković-Hribar, editing: Hrvoslava Brkušić, models: Biba and Maja Kovač)

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Umjetnost / The Ar ts M iroslav M ir t Iva Ćurić Zoltan Novak Viktor Daldon H r voje Majer Iva Vraneković Tanja Šk rgatić Grgur Ak rap Igor Čabraja Gordana Bralić Đorđe Jandrić Daniel Kovač Josipa Štefanec Zdravk a Ivandija Kirigin Božica Dea Matasić Vesna Pok as Natalija Šk alić Iva Vraneković Dan Philipp Jasmink a Končić Snježana Ban Ivana Franke

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Miroslav Mirt

Miroslav Mirt rođen je 1980. u Zagrebu. Godine 2007. diplomirao je na Akademiji likovnih umjetnosti u Zagrebu, Nastavnički odsjek, u klasi prof. Ante Rašića. Godine 2005. izlaže na skupnoj izložbi dobitnika nagrade Essl u Muzeju suvremene umjetnosti Essl (Beč), a 2008. na samostalnoj izložbi „Umjetnost, kič reprodukcija“ u Galeriji VN (Zagreb).

Miroslav Mirt was born in Zagreb, Croatia in 1980. In 2007 he graduated from the Academy of Fine Arts in Zagreb, Croatia, Department of Art Education, in the class of the professor Ante Rašić. In 2005 he exhibited in a group exhibition of Essl award winners at Essl Museum of Contemporary Art in Vienna, and in 2008 in a solo exhibition Art, Kitsch Reproduction at VN Gallery in Zagreb.

Nepoznato, 2007., tuš i tempera na platnu, 30 × 30 cm vlasništvo: Damir Fabijanić Unknown, 2007, ink and tempera on canvas, 30 × 30 cm Collection of Damir Fabijanić „Okvir unutar okvira“, 2006., kombinirana tehnika, 54 × 48 cm vlasništvo: Damir Fabijanić ‘’Frame Within Frame’’, 2006, mixed media, 54 × 48 cm Collection of Damir Fabijanić „Recycle Bin“, 2005., dokumentacija, kombinirana tehnika, reprodukcije slika, promjenjive dimenzije, fotografija: Damir Fabijanić “Recycle Bin“, 2005, documentation, mixed media, painting reproductions, dimensions variable, photography: Damir Fabijanić

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Iva Ćurić

Iva Ćurić rođena je 1984. u Zagrebu. Godine 2010. diplomirala je na Akademiji likovnih umjetnosti u Zagrebu na Nastavničkom odsjeku, smjer grafika, u klasi prof. Ines Krasić. Godine 2006. i 2007. studijski boravi na Akademiji za likovno umetnost in oblikovanje, Ljubljana, smjer grafika, duboki tisak u klasi prof. Lojze Logar. Izlagala je na niz grupnih i samostalnih izložbi. Dva je puta dobila priznanja HAZU-a na grafičkim trijenalima.

Iva Ćurić was born in Zagreb, Croatia, in 1984. In 2010 she graduated in graphic arts from the Academy of Fine Arts in Zagreb, Department of Art Education, in the class of the professor Ines Krasić. In 2006 and 2007 she was on a study visit at the Academy of Fine Arts and Design in Ljubljana, Department of Graphic Arts, Intaglio Printing, in the class of the professor Lojze Logar. She has exhibited in a number of solo and group exhibitions. She has won the acknowledgements of the Croatian Academy of Sciences and Arts at the Croatian Graphic Triennial twice.

„S-table“, 2010., video dokumentacija zvučne instalacije, 2’15’’, originalno stol (850 cm × 850 cm) “S-table“, 2010, video documentation of sound installation, 2’15’’, in the original – table (850 cm × 850 cm) „Dekonstrukcija teksta“, 2010., sitotisak i kombinirana tehnika, 70 × 35 cm “Deconstruction of a Text“, 2010, silk screen and mixed media, 70 × 35 cm

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Zoltan Novak

„Metameta“, 1990./92., drvo, platno, ulje, metal, 170 × 130 cm “Metameta“, 1990/92, wood, canvas, oil, metal, 170 × 130 cm

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Viktor Daldon

Viktor Daldon rođen je 1972. u Dubrovniku, gdje završava srednju elektrotehničku školu. Godine 1995. upisuje Pedagoški fakultet u Rijeci (Odsjek likovne umjetnosti), a 1996. nastavlja studij na Akademiji likovnih umjetnosti u Zagrebu. Dobitnik je Rektorove nagrade za slikarstvo 2001. Diplomirao je 2001. u klasi Eugena Kokota. Izlagao je na brojnim samostalnim i skupnim izložbama u Hrvatskoj i u inozemstvu. Član je HDLU-a i HZSU-a. Živi i radi u Dubrovniku.

Viktor Daldon was born in Dubrovnik, Croatia in 1972, where he finished High School of Electrical Engineering. In 1995 he enrolled in the Faculty of Teacher Education in Rijeka, Croatia (Department of Art Education), and in 1996 he continued his studies at the Academy of Fine Arts in Zagreb. He won the Rector’s Award for Painting in 2001. Viktor graduated in the class of the professor Eugen Kokot in 2001. He has exhibited in numerous solo and group exhibitions in the country and abroad. He is a member of the Croatian Association of Artists and Croatian Freelance Artists Association. Lives and works in Dubrovnik, Croatia.

„Slomljeni kotač“, 2001., kombinirana tehnika na drvu, 180 × 45 cm vlasništvo: Maja Matičević “Broken Wheel“, 2001, mixed media on wood, 180 × 45 cm Collection of Maja Matičević

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Hrvoje Majer

Bez naslova, 2003./04., ulje na platnu, 160 × 190 cm vlasništvo: Marina Tomas Untitled, 2003/04, oil on canvas, 160 × 190 cm Collection of Marina Tomas

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Iva Vraneković

Iva Vraneković rođena je 1983. u Zagrebu. Diplomirala je 2007. na Nastavničkom odsjeku Akademije likovnih umjetnosti u Zagrebu, u slikarskoj klasi prof. Ante Rašića. Pohađala je poslijediplomski doktorski studij slikarstva na istoj akademiji. Od 2008. do 2011. radi kao umjetnički suradnik na Nastavničkom odsjeku Akademije likovnih umjetnosti u Zagrebu. Godine 2007. radi kao voditeljica Galerije Prica u Samoboru. Od 2004. do 2011. aktivno izlaže u Hrvatskoj i u inozemstvu. Preminula je 2011.

Iva Vraneković was born in Zagreb, Croatia, in 1983. In 2007 she graduated in painting from the Academy of Fine Arts in Zagreb, Croatia, Department of Art Education, in the class of the professor Ante Rašić. She enrolled in a PhD programme in painting at the same Academy. From 2008 to 2011 she worked as an art associate at the Department of Art Education, Academy of Fine Arts in Zagreb. In 2007 she was the manager of Prica Gallery in Samobor, Croatia. From 2004 to 2011 she actively exhibited in Croatia and abroad. She passed away in 2011.

Bez naziva, 2004., ulje na medijapanu, 100 × 65.5 cm Untitled, 2004, oil on MDF, 100 × 65,5 cm „Veze I.”, 2005., ulje na medijapanu, 103 × 131,5 cm “Veze I.”, 2005, oil on MDF, 103 × 131,5 cm Bez naziva, 2005., ulje na platnu, 100 × 150 cm Untitled, 2005, oil on canvas, 100 × 150 cm „Veze II.”, 2005., ulje na medijapanu, 103 × 131,5 cm “Veze II.”, 2005, oil on MDF, 103 × 131,5 cm „Situacija”, 2005., ulje na platnu, 100 × 100 cm “Situation”, 2005, oil on canvas, 100 × 100 cm

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Tanja Škrgatić

Tanja Škrgatić rođena je 1989. u Zagrebu. Nakon završene II. opće gimnazije upisuje Akademiju likovnih umjetnosti u Zagrebu, smjer likovna kultura, gdje je 2014. diplomirala u klasi prof. Damira Sokića. Realizirala je tri samostalne i više grupnih izložbi. Dobitnica je Rektorove nagrade i nagrade Erste banke, a kao suradnik Academie Moderne napisala je više predgovora za kataloge. Članica je HDLU-a od 2014.

Tanja Škrgatić was born in Zagreb, Croatia, in 1989. After completing the 2nd Gymnasium, she enrolled in the Academy of Fine Arts in Zagreb, Department of Art Education. In 2014 she graduated in the class of the professor Damir Sokić. She has had three solo and numerous group exhibitions. She has won the Rector’s Award and Erste Bank Award, and as an associate of Academia Moderna she has written several forewords for exhibition catalogues. She became a member of the Croatian Association of Artists in 2014.

„Bez naziva“, 2015., ulje i alkidne boje na kartonu, 200 × 330 cm privatno vlasništvo “Untitled“, 2015, oil and alkyd paints on cardboard, 200 × 330 cm Private collection „Bez naziva“, 2013., ulje na platnu, 100 × 150 cm privatno vlasništvo “Untitled”, 2013, oil on canvas, 100 × 150 cm Private collection

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Grgur Akrap

Grgur Akrap rođen je 1988. u Zagrebu. Godine 2013. diplomirao je slikarstvo na Akademiji likovnih umjetnosti u Zagrebu u klasi prof. Damira Sokića. Izlagao je na nekoliko samostalnih i brojnim skupnim izložbama. Finalist je T-HT nagrade. Dobitnik je jedne od dvije jednakovrijedne HBP nagrade za mladog umjetnika 3. bijenala slikarstva, prve nagrade zaprešićke Minijature i nagrade za najbolji diplomski rad. Živi i radi u Zagrebu.

Grgur Akrap was born in Zagreb, Croatia in 1988. In 2013 he graduated from the Academy of Fine Arts in Zagreb, Croatia, in the class of the professor Damir Sokić. He has exhibited in several solo and numerous group exhibitions. He is a T-HT Award finalist. He has won one of the two HPB Awards of equal value for young artists at the 3rd Biennale of Painting, Zaprešić Miniature First Prize and the award for the best thesis work. Lives and works in Zagreb.

„Mjerenje svijeta”, 2013., ulje i enkaustika na platnu, 190 × 190 cm “Measuring the World”, 2013, oil and encaustic on canvas, 190 × 190 cm

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Igor Čabraja

Igor Čabraja rođen je 1976. u Slavonskom Brodu. Studij likovne kulture upisao je 2001. na Filozofskom fakultetu u Rijeci. Godine 2006. diplomirao je u klasi red. prof. Dubravke Babić na Nastavničkom odsjeku Akademije likovnih umjetnosti u Zagrebu. Zaposlen je kao asistent na Akademiji likovnih umjetnosti u Zagrebu. Izlaže samostalno i na skupnim izložbama u Hrvatskoj i u inozemstvu. Član je HDLU-a Zagreb.

Igor Čabraja was born in Slavonski Brod, Croatia in 1976. In 2001 he enrolled in the Study of Visual Arts at the Faculty of Humanities and Social Sciences in Rijeka, Croatia. In 2006 he graduated from the Academy of Fine Arts in Zagreb, Department of Art Education, in the class of the professor Dubravka Babić. He works as an assistant at the Academy of Fine Arts in Zagreb. Igor has exhibited in solo and group exhibitions in the country and abroad. He is a member of the Croatian Association of Artists in Zagreb.

„Bez naziva“, 2005., bakropis, 50 × 50 cm / 64 × 64 cm “Untitled“, 2005, copper etching, 50 × 50 cm / 64 × 64 cm „Muhe“, 2008., bakropis, akvatinta, suha igla, promjenjive dimenzije “Flies“, 2008, copper etching, aquatint, drypoint, dimensions variable

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Gordana Bralić

Gordana Bralić rođena je 1980. u Zagrebu. Diplomirala je 2004. u klasi profesora Ante Rašića. Godine 2003. dobitnica je Rektorove nagrade. Godine 2007. položila je stručni ispit za muzejsko zvanje kustosa. Od 2004. članica je HDLU-a. Od ožujka 2006. do prosinca 2008. član je Hrvatske zajednice samostalnih umjetnika, te ponovo od siječnja 2010. do danas. Izlagala je na brojnim izložbama u Hrvatskoj i inozemstvu. Živi i radi u Zagrebu.

Gordana Bralić was born in Zagreb, Croatia in 1980. She graduated in the class of the professor Ante Rašić in 2004. In 2003 she won the Rector’s Awards. In 2007, after passing a professional exam, she became a curator. She has been a member of the Croatian Association of Artists since 2004. From March 2006 to December 2008 she was a member of the Croatian Freelance Artists Association and then again from January 2010 to date. She has exhibited in numerous exhibitions in the country and abroad. Lives and works in Zagreb.

Bez naziva, 2003., sprej na medijapanu, 50 × 50 cm Untitled, 2003, spray paint on MDF, 50 × 50 cm Bez naziva, 2003., sprej na medijapanu, 50 × 50 cm Untitled, 2003, spray paint on MDF, 50 × 50 cm Bez naziva, 2002., kombinirana tehnika, 200 × 200 cm Untitled, 2002, mixed media, 200 × 200 cm

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Đorđe Jandrić

Đorđe Jandrić rođen je 1956. u Zadru. Godine 1975. upisao je studij arhitekture na Sveučilištu u Zagrebu koji prekida 1978. kada na Akademiji likovnih umjetnosti u Zagrebu upisuje Nastavnički odjel te povijesti umjetnosti na Filozofskom fakultetu u Zagrebu. Diplomirao je 1985. i stekao zvanje profesora likovnog odgoja i likovnih umjetnosti. Od 1985. do 1991. radi kao nastavnik u osnovnoj i srednjim školama. Predaje na Katedri za kiparstvo Akademije primijenjenih umjetnosti u Rijeci u zvanju izvanrednog profesora. Od 1986. član je HDLU-a, a od 1993. do 1997. HZSU-a. Od 1981. redovito izlaže na samostalnim (25) i skupnim izložbama u zemlji i inozemstvu, a za svoje je radove nagrađivan visokim nagradama. Autor je više kazališnih i filmskih scenografija i jednog kratkometražnog eksperimentalnog filma.

Đorđe Jandrić was born in Zadar, Croatia in 1956. He enrolled in architectural studies at the University of Zagreb, Croatia in 1975, but in 1978 he quit and enrolled in the Academy of Fine Arts in Zagreb, Department of Art Education and the Faculty of Humanities and Social Sciences in Zagreb, Department of Art History. He graduated in 1985 and became a professor of visual and fine arts. From 1985 to 1991 he worked as a teacher in primary and professor in high schools. He teaches at the Department of Sculpture of the Academy of Applied Arts in Rijeka, as an associate professor. He has been a member of the Croatian Association of Artists since 1986, and from 1993 to 1997 he was a member of the Croatian Freelance Artists Association. Since 1981 he has been exhibiting in solo (25) and group exhibitions in the country and abroad, and he has won numerous awards for his work. He is the author of many theatre and film set designs and one short experimental film.

„Čekanje“, 1981./2016., gipsani reljef, 65 × 46 cm “Wait“, 1981/2016, plaster relief, 65 × 46 cm

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Daniel Kovač

Daniel Kovač rođen je 1966. Diplomirao je na ALU 1996. Član je HDLU-a od 1996. Voditelj je Galerije VN od 1997 do 2003. Dobitnik je nekoliko nagrada: Rektorova nagrada 1993., nagrada V. trijenala hrv. kiparstva 1994., nagrada ALU 1996., Grand prix IX. trijenala hrvatskog kiparstva 2006. Izlagao na više skupnih i samostalnih izložbi u zemlji i inozemstvu. Njegovi radovi nalaze se u zbirkama Gliptoteke HAZU, MSU Zagreb, Galerije umjetnina Split, MMSU Rijeka, Zbirci Filip Trade i dr. Radi kao izv. prof. kiparstva na ALU Zagreb.

Daniel Kovač was born in 1966. He graduated from the Academy of Fine Arts in 1996. He became a member of the Croatian Association of Artists in 1996. From 1997 to 2003 he was the manager of VN Gallery. He has won several awards: Rector’s Award in 1993, Award at the V Triennial of Croatian Sculpture in 1994, the Academy of Fine Arts Award in 1996, Grand Prix of the IX Triennial of Croatian Sculpture in 2006. He has exhibited in numerous solo and group exhibitions in the country and abroad. His works are part of the following collections: Glyptotheque of the Croatian Academy of Sciences and Arts, Museum of Contemporary Art in Zagreb, Gallery of Fine Arts in Split, Museum of Modern and Contemporary Art in Rijeka, Filip Trade Collection, etc. He also works as an associate professor of sculpture at the Academy of Fine Arts in Zagreb.

„Smrt“, 1996., drvo, metal, umjetna koža, 250 × 120 × 60 cm “Death“, 1996, wood, metal, artificial leather, 250 × 120 × 60 cm

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Josipa Štefanec

Josipa Štefanec rođena je 1978. u Düsseldorfu, Njemačka. Radi kao asistent na Zavodu za tekstilni i modni dizajn na TTF-u, Zagreb. Godine 2008. diplomirala je na Nastavničkom odsjeku, smjer kiparstvo na Akademiji likovnih umjetnosti u Zagrebu u klasi prof. Peruška Bogdanića. Godine 2006. diplomirala je modni dizajn na Tekstilno-tehnološkom fakultetu u Zagrebu pod mentorstvom prof. A. T. Vladislavića. Godine 2007. bila je u žiriju za odabir hrvatskih predstavnika za modnu disciplinu 13. bijenala mladih umjetnika Europe i Mediterana. Godine 2006. sudionica je Kamenoklesarske radionice Montraker u Vrsaru. Godine 2005. boravila je na studentskoj razmjeni na Akademiji likovnih umjetnosti u kiparskoj klasi prof. K. Gebauer u Pragu, Češka.

Josipa Štefanec was born in Düsseldorf, Germany in 1978. She works as an assistant at the Department of Textile and Fashion Design, Faculty of Textile Technology in Zagreb. In 2008 she graduated in sculpture from the Academy of Fine Arts in Zagreb, Department of Art Education, in the class of the professor Peruško Bogdanić. In 2006 she graduated in fashion design from the Faculty of Textile Technology, Zagreb, under the mentorship of the professor A. T. Vladislavić. In 2007 she was in the jury for the selection of Croatian representatives for the 13th Biennale of Young Artists from Europe and the Mediterranean, in fashion discipline. In 2006 she attended Montraker School of Sculpture in Vrsar. In 2005 she participated in a student exchange programme at the Academy of Fine Arts in the sculpture class of the professor K. Gebauer in Prague, Czech Republic.

„Mračni hibrid“, 2004., kombinirana tehnika, 200 × 200 × 250 cm “Dark Hybrid“, 2004, mixed media, 200 × 200 × 250 cm

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Zdravka Ivandija Kirigin

Zdravka Ivandija Kirigin rođena je 1981. u Zagrebu. Diplomirala je na Akademiji likovnih umjetnosti u Zagrebu u klasi prof. Peruška Bogdanića. Profesionalno radi kao kostimograf i scenograf. Radi na različitim plesnim, dječjim i dramskim predstavama. Njezin rad predstavljen je u različitim kazalištima, galerijama te na festivalima u Hrvatskoj i u inozemstvu. Prisutna je i na likovnoj sceni. Izlaže na samostalnim i skupnim izložbama. Član je umjetničke organizacije DE FACTO, HDLU-a i HZSU-a.

Zdravka Ivandija Kirigin was born in Zagreb, Croatia in 1981. She graduated from the Academy of Fine Arts in Zagreb, in the class of the professor Peruško Bogdanić. She works as a costume and set designer on various dance, children’s and drama productions. Her work has been presented in various theatres, galleries and festivals in Croatia and abroad. She has exhibited in solo and group exhibitions. Zdravka is a member of DE FACTO Art Association, the Croatian Association of Artists and Croatian Freelance Artists Association.

„Pokret“, dokumentacija, 2004., akristal, najlon, tekstil, dimenzije promjenjive “Movement“, documenttion of the work, 2004, acrystal, nylon, textile, dimensions variable „red(i)made – rozeta 1“, 2006., kombinirana, konac i flax, rozeta 15 cm – konac, 100 × 30 cm “Read(y)made – Rosette 1“, 2006, mixed media, thread and flax, rosette 15 cm – thread, 100 × 30 cm

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Božica Dea Matasić

Božica Dea Matasić diplomirala je na ALU u Zagrebu na Nastavničkom odsjeku, smjer kiparstvo. Izlaže od 1992. na 17 samostalnih i više od 50 žiriranih skupnih izložbi u Hrvatskoj i u inozemstvu. Od 1998. do 2003. radila je kao voditeljica Galerije SC. Dobitnica je jedne od nagrada XI. trijenala hrvatskog kiparstva, Nagrade publike na natječaju T-HT u MSU (Zagreb 2011.) te Priznanja žirija IX. trijenala hrv. kiparstva. Izvanredna je profesorica na Umjetničkoj akademiji u Osijeku. Živi i radi u Zagrebu.

Božica Dea Matasić graduated from the Academy of Fine Arts, Department of Art Education, with a degree in sculpture. Since 1992 she has exhibited in 17 solo and over 50 juried group exhibitions in the country and abroad. Between 1998 and 2003 she worked as the SC Gallery manager. She has won one of the prizes at the XI Triennial of Croatian Sculpture, Audience Award at T-HT competition at the Museum of Contemporary Art in Zagreb, Croatia in 2011 and Special Mention of the Jury at IX Triennial of Croatian Sculpture. She works an associate professor at the Academy of Fine Arts in Osijek. Lives and works in Zagreb.

S izložbe Extinct, dokumentacija, Galerija SC (osam reljefa (200 × 130 i 130 × 200 cm), tri viseće i jedna stojeća skulptura), 1994., kombinirana tehnika (drveni okviri, lesonit, stiropor) i kaširanim papirom, poster 100 × 70 cm From the exhibition Extinct, documentation, SC Gallery (eight relieves (200 × 130 and 130 × 200 cm), three hanging and one standing sculpture), 1994, mixed media (wooden frames, hardboard, Styrofoam) and papier-mâché, poster 100 × 70 cm

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Vesna Pokas

Vesna Pokas rođena je u Sisku 1959. Interfakultetski studij Akademije likovnih umjetnosti i Filozofskog fakulteta završava 1984. u Zagrebu. Izlaže od 1984. Dobitnica je nagrada Grad – Otok, Dubrovnik 1996., Grand prix Zagrebačkog salona 2007., priznanja A.I.C.A. – e XI. Trijenale hrvatskoga kiparstva 2012. te stipendija Wiesbaden 1999., Mainz 2002. i Dusseldorf 2010.

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Vesna Pokas was born in Sisak in 1959. In 1984 she finished a study that combined the Academy of Fine Arts and Faculty of Humanities and Social Sciences, Zagreb. She has been exhibiting since 1984. Vesna has won several awards, including: Grad – Otok, Dubrovnik 1996, Zagreb Salon Grand Prix 2007, acknowledgements: A.I.C.A. – e XI Triennial of Croatian Painting 2012 and scholarships: Wiesbaden 1999, Mainz 2002 and Dusseldorf 2010.

„Sceno-grafija pogleda“, dokumentacija, 1986., Galerija PM, Zagreb, instalacija – gips, drvo, zrcalo “Sceno-graphies of the View“, documentation, 1986, PM Gallery, Zagreb, 1986, installation – plaster, wood, mirror

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Natalija Škalić

Natalija Škalić diplomirala Akademiju likov nih umjetnosti u Zagrebu 2011., Nastavnički odsjek, u klasi prof. Peruška Bogdanića, Odsjek kiparstvo. Godine 2004. dobiva Na gradu Hrvatske gospodarske komore. Su djelovala je na brojnim samostalnim i skupnim izložbama, multimedijalnim projektima, radionicama (HDLU-PM, Galerija Karas, Galerija Križić-Roban, Galerija MMC Luka, Galerija Kortil, Gradska galerija Labin, Muzej suvremene umjetnosti Istre, Galerija Flora, Kuća Bukovac ...). Autorica je javnih skulptura te je sudjelovala na mnogim izložbama i festivalima u zemlji i inozemstvu. Sudjelovala je na scenografijama za kratke filmove „Uskršnje jaje“ i „Dijete“. Član je HDLU-a. Živi i radi u Zagrebu.

Natalija Škalić 2011 graduated in sculpture from the Academy of Fine Arts in Zagreb, Department of Art Education, in the class of the professor Peruško Bogdanić. In 2004 she won the Croatian Chamber of Economy Award. She has participated in numerous solo and group exhibitions, multimedia projects, workshops (Croatian Association of Artists – PM, Karas Gallery, Križić-Roban Gallery, MMC Luka Gallery, Kortil Gallery, Labin City Gallery, Museum of Contemporary Art of Istria, Flora Gallery, Bukovac House...), created public sculptures and participated in numerous exhibitions and festivals in the country and abroad. She worked on set designs for short films Easter Egg and Child. She is a member of the Croatian Association of Artists. Lives and works in Zagreb.

„Peep box“, 2004., 7 kutija, zrcalo, 40 × 40 × 40 cm “Peep Box“, 2004, 7 boxed, mirror, 40 × 40 × 40 cm Bez naziva, 2005., kombinirana tehnika, 70 × 70 cm Untitled, 2005, mixed media, 70 × 70 cm

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Iva Vraneković

„Navika gniježđenja ili deložacija vrane“, video dokumentacija rada, 2005., kombinirana tehnika (ambijent), promjenjive dimenzije “The Habit of Nesting or Eviction of a Crow“, video documentation of the work, 2005, mixed media (site-specific), dimensions variable „Plan izaganja, objects and their fields“, dokumentacija, Galerija PM, HDLU, 2006., ambijentalna instalacija, kombinirana tehnika, promjenjive dimenzije “Exhibition Plan, Objects and Their Fields“, documentation, PM Gallery, HDLU, 2006, Plan izaganja, objects and their fields, site-specific installation, mixed media, dimensions variable „Deložacija vrane“, dokumentacija, 2005., Galerija SC, ambijentalna instalacija, kombinirana tehnika, promjenjive dimenzije “Eviction of a Crow“, documentation of the work, 2005, SC Gallery, mixed media (sitespecific), dimensions variable “Prolaznici”, 2010., ulje na grafičkom papiru, 100 x 70cm “Passers”, 2010., oil on graphic paper, 100 x 70 cm

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Dan Philipp

Dan Philipp rođena je u Zagrebu. Diplomirala je na Pravnom fakultetu i Akademiji likovnih umjetnosti u Zagrebu u klasi Miroslava Šuteja. Do 2010. izlagala je samostalno i skupno na brojnim izložbama i festivalima. Dobitnica je više nagrada i priznanja. Do 2015. bavila se performansom i organizirala akcije, ekskluzivne happeninge i evente. Godine 2016. seli se u Ordos (Mongolija), poznatiji kao najveći „grad duhova“ gdje se bavi oslikavanjem zgrada i nezavisnom filmskom produkcijom.

Dan Philipp was born in Zagreb, Croatia. She graduated from the Faculty of Law and the Academy of Fine Arts in Zagreb, Croatia, in the class of the professor Miroslav Šutej. Until 2010 she participated in solo and group exhibitions and festivals. She has won numerous awards and acknowledgments. Until 2015 she was involved in performance art and she organized actions, exclusive happenings and events. In 2016 she moved to Ordos in Mongolia, known as the largest “ghost city“, where she is involved in murals and independent film production.

„Završni rad na trećoj godini“, dokumentacija, 2004./16., umnažanje, 8 – 10 m “Third Year Thesis“, documentation, 2004/16, reproduction, 8 – 10 m

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Jasminka Končić

Jasminka Končić rođena je 1973. u Zagrebu. Docentica je na Tekstilno-tehnološkom fa kultetu Sveučilišta u Zagrebu na kolegijima iz područja modnog dizajna. Godine 1997. diplomirala je grafiku u klasi profesora Miroslava Šuteja na Akademiji likovnih umjetnosti u Zagrebu. Završila je poslijediplomski studij kiparstva ALUO (Akademija za likovno umetnost in oblikovanje, Univerza v Ljubljani) 2012. Iste godine upisuje doktorat iz područja modnog dizajna na NTF (Naravoslovnotehniška fakulteta, Univerza v Ljubljani). Izlaže samostalno i skupno od 1996. Specifično polje njezinog profesionalnog interesa je istraživanje interdisciplinarnog prostora susreta suvremene umjetnosti i mode.

Jasminka Končić was born in Zagreb, Croatia in 1973. She is a docent at the Faculty of Textile Technology, University of Zagreb, where she teaches fashion design. In 1997 she graduated from the Academy of Fine Arts in Zagreb, in the class of the professor Miroslav Šutej, with a degree in graphic arts. She completed her graduate studies in sculpture from the Academy of Fine Arts and Design (Akademija za likovno umetnost in oblikovanje, Univerza v Ljubljani) in 2012. The same year she started a PhD in fashion design at the Faculty of Natural Sciences and Engineering (Naravoslovnotehniška fakulte ta, Univerza v Ljubljani). She has been exhibiting in solo and group exhibitions since 1996. Her field of professional interest is the research of an interdisciplinary meeting space of contemporary art and fashion.

„Mobili“, 1995., dokumentacija, kombinirana tehnika (tekstil, drvo, žica), dimenzije promjenjive (ambijent) “Mobiles“, documentation, 1995, mixed media (textile, wood, wire), dimensions variable (site-specific)

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Snježana Ban

„Hommage slikarstvu“, 2007., akril na platnu, 210 × 160 cm “Homage to Painting“, 2007, acrylic on canvas, 210 × 160 cm „Rastaju se Gilbert & George”, 2007. akril na mdf (najveći dio 350 × 330 × 8 cm) ambijent promjenjive dimenzije “Gilbert & George Are Getting a Divorce” acrylic on mdf, dimension variable (350 × 330 × 8 cm)

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Ivana Franke

Ivana Franke je vizualna umjetnica koja živi i radi u Berlinu. U svojim radovima, često svjetlosnim instalacijama, objektima i grafikama, bavi se odnosom percepcije i pojavnosti. Diplomirala je na Grafičkom odsjeku ALU u Zagrebu te sudjelovala u poslijediplomskim programima u Centru za suvremenu umjetnost u Kitakyshu (CCAK) i Institutu za prostorne eksperimente (IFREX, UdK) u Berlinu. Predstavljala je Hrvatsku na 52. bijenalu u Veneciji te na 9. bijenalu arhitekture. Višestruko je nagrađivana.

Ivana Franke is a visual artist who lives and works in Berlin. She often uses light installations, objects and graphics in her work to deal with the relationship between perception and the environment. She graduated from the Academy of Fine Arts in Zagreb, Croatia, Department of Graphic Arts, and participated in postgraduate programmes in the Centre for Contemporary Arts in Kitakyshu (CCAK) and Institute for Spatial Experiments (IFREX, UdK) in Berlin. She represented Croatia at the 52nd Venice Biennale, and at the 9th Architecture Biennale. She has won numerous awards.

Bez naziva (Homage Oskaru Schlemmeru), iz ciklusa nosivih instalacija za performanse s grupom Daklelososi, 1995., žica, tkanina, veličina 38 Untitled (Homage to Oskar Schlemmer), from the series of wearable installations for performances of Daklelososi collective, 1995, wire, fabric, size 38

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Umjetnici o radu / Artist Statements

HRVOJE MAJER stranica 21 Krajem devedesetih godina je slikarstvo u određenim krugovima smatrano za mrtvi medij. Mnogi teoretičari i umjetnici su tvrdili da se kroz slikarstvo nema više što za reći. Novi mediji su bili na vrhu eksponiranosti. Riječ ART ulazi u sleng hrvatskih umjetnika i razgovaralo se samo koliko je nečiji ART “cool”, “provokativan”, “inovativan” i “UP TO DATE” zapadnoj suvremenoj umjetnosti. Slika Fucking ART je nastala kao odraz osobne frustracije i unutarnje dileme. Da li kao mladi slikar u formativnim godinama pratiti vlastiti unutarnji glas i osjećaje ili pokušati uklopiti u nametnuta ili isprojicirana očekivanja trendova unutar suvremene umjetnosti, a u svrhu dobijanja pažnje relevantnih “sudaca” i čimbenika. Dok slika danas može imati i dodatna izvanjska tumačenja, za mene je bila odraz bunta spram pounutrenog vanjskog stava kakva “PRAVA” umjetnost treba biti te odbacivanje kompeticije kao generatora vlastitog istraživanja i kreiranja.

HRVOJE MAJER page 21 In the late nineties, painting was seen in certain circles as a dead medium. Many theorists and artists claimed that painting had nothing more to say. New media were at the top of their fame. The word ART entered the slang of the Croatian artists and there was only talk about how much one’s ART was “cool“, “provocative“, “innovative“ and “UP TO DATE“ with Western contemporary art. The painting titled Fucking ART was created as a reflection of personal frustration and inner dilemmas. Should a young painter in his formative years follow his inner voice and feelings or tend to fit into imposed or projected expectations of trends within contemporary art, in order to gain the attention of relevant “judges“ and factors. While nowadays the painting can be open to some other external interpretations, for me it was a reflection of the revolt against the internalized external view of what a “REAL“ art should be, and an act of discarding competition as the generator of my own research and creation.

IVANA GORIČKI stranica 36/37 Projekt Sedam dana i noći nastao je kao posljedica reakcije na okruženje i promatranje ideje likovnog stvaralaštva uopće. Nastajanju rada prethodi cjelogodišnji proces istraživanja odabranih studenata. Razlog posezanja za navedenom strategijom je pokušaj postizanja razumijevanja elementarnih procesa u nastajanju likovnih djela, stanja misli i njihove materijalizacije. Kao početnu točku projekta postavljam pitanje: Koliki je udio ideje, a koliki realizacije u nastanku djela? Osim što sam željela sagledati i pokušati shvatiti vlastitu poziciju preko stvaralaštva izabranih pojedinaca, cilj mi je zainteresirati i aktivirati mišljenje okoline. Zadiranjem u svijet društvenih odnosa, uz prvotnu misao izlaska iz „uronjenosti” u vlastito stvaralaštvo, ulaskom u tuđi um – provociram –istovremeno inzistirajući na stvaranju socijalnih odnosa. Nastojim odabrati što različitije načine razmišljanja unutar medija slikarstva, ne ulazeći u osobnu procjenu kvalitete djela odabranih studenata. Važan aspekt je i odabir lokacije – prostor koji nam je svima zajednički. Način izvedbe i prezentacije projekta nužno povlači i mogućnost negativne reakcije studenata. Dodatni problem otvara profitabilni karakter izložbe Cash&Carry na kojoj je rad prvotno prezentiran, a i publika je djelomično selektirana karakterom same izložbe. Trenutni produkt – novine – inspiriran je dnevnim bilježenjem rada u formi slika i dnevnika u trajanju sedam dana i noći, što postaje razlogom vizualnog identiteta projekta. Tekst koji prati slikarske radove nužnost je koja me vraća iz pozicije „krivotvoritelja” u novostvorenu poziciju ličnosti koja postaje katalizator odnosa.

IVANA GORIČKI page 36/37 The Seven days and nights project is a consequence of the reaction to the environment and consideration of the idea of visual arts in general. The creation of this piece of work is preceded by a year-long process of exploration by chosen students. The reason for this strategy is an attempt to acquire understanding of elementary processes in the creation of visual arts, the state of thoughts and their materialisation. As a starting point of this project, I ask: What is the share of the idea and what the share of realization in the creation of a piece of art? Besides having wanted to consider and try to understand my own position through the work of the chosen individuals, my goal is to make interested and to activate the opinion of the environment. By going deep into the world of social relations (together with the initial thought of coming out of the ‘immersion’ into My Own opus), by entering another person’s mind – I provoke – insisting at the same time on creation of social relations. I try to choose as various ways of thinking as possible within the painting medium, not considering my own judgment of the quality of the work of the chosen students. The important aspect is the choice of the location, which is the space which we all share. The mode of work and presentation of the project necessarily carries along the possibility of the negative reaction by students. An additional problem is a profitable character of the Cash & carry exhibition, where the work is being presented and the audience is partially defined by the character of the exhibition. The current product – a newspaper – is inspired by a daily recording of the work in the form of paintings and a journal lasting seven days and nights, which is the reason for the visual identity of the project. The text accompanying paintings is a necessity which brings me back from the position of a ‘forger’ to a newly-created position of a personality who becomes a catalyst of relationships.

ANITA ŠURKIĆ stranica 73 Print ilegalnih emigranata snimljenih gama-zrakama u prirodnoj je veličini apliciran na hladnjaču koju je ustupio gosp. Džajić iz Vukovara. Print se nalazio na desnom krilu hladnjače, a na njenoj lijevoj strani igrom je slučaja pisalo: “SÜDFLEISCH” ( Južno meso) Hladnjača je trebala zadržati print i nastaviti prevoziti voće i povrće tijekom trajanja Zagrebačkog salona. Zbog zakonskih propisa, projekt nije bilo moguće realizirati do kraja. Hladnjača je tijekom trajanja Zagrebačkog salona bila parkirana ispred Doma HDLU-a. Rad je 2005. problematizirao ilegalne transporte ljudima, njihova nesigurna putovanja u nepoznato, neravnomjernu raspodjelu tržišta bogatstva i moći koja dovode do ekonomskih kriza i ratova.... U 2016. nalazimo se pred problemom masovnog pritjecanja izbjeglica iz Sirije, Afganistana, sa sjevera Afrike – promatramo različitost pristupa 150

ANITA ŠURKIĆ page 73 The life-size print of illegal immigrants recorded with gamma rays was applied on a cold storage provided by Mr. Dzajic from Vukovar. The print was on the right side of the cold storage, while, by coincidence, there was the inscription “SÜDFLEISCH“ (Southern meat) on the left. The cold storage was supposed to keep the print and continue to transport fruit and vegetables for the duration of Zagreb Salon. Due to legal regulations, the project could not be fully realized. The cold storage was parked in front of the Home of the Croatian Association of Artists throughout the duration of the Zagreb Salon. In 2005 the work addressed the issue of people smuggling, their precarious journey into the unknown, uneven distribution of wealth and power that lead to

tom problemu unutar Europske Unije te smo svjedoci vidljive nemoći da se nađe rješenje za rat u Siriji. NINA KURTELA stranica 82/83 Kroz rad Autoshow (2006, PM Galerija) bavim se pitanjem monetarnih politika i ekonomija u tranzicijskim zemljama kao što je svojevremeno bila Hrvatska. Potaknuta političkom i ekonomskom situacijom u regionu primjećujem da pojedinci, pogotovo moćnici vrlo često podliježu samoprezentaciji kroz statusne simbole, što je vrlo čest poslijeratni sindrom zemalja u tranziciji gdje vlada privatizacija. Odlučila sam se implementirati upravo jedan takav statusni simbol – automobil – unutar kulturnog konteksta te se tako kao mlada umjetnica sa svojom prvom ozbiljnom samostalnom izložbom prezentiram kroz jedan takav objekt. U ovom slučaju automobil gubi svoju funkciju te ustvari uopće nije mobilan – on više ne služi kao vozilo koje čovjeka dovodi od točke A do točke B već samo zadržava auto-prezentacijski element i služi kao estetski objekt požude. Auto je tako izvana presvučen tapeciranim platnom na kojem je isprintan uzorak izveden od jedne od mojih slika i tako ostavlja dojam udobne mekane fotelje. Na staklima se uzorak sa tapeciranog dijela nastavlja tehnikom pjeskarenja, na mjestima svjetla sada se nalaze ogledala, a unutrašnjost je potpuno ogoljena sve do karoserije. Na prednjem dijelu haube pričvršćena je čaša u kojoj se nalazi kavijar. Simulirajući pravi autoshow uz voditelje, hostese, catering te nagradne igre, kreiram svojevrsni spektakl. Prezentirajući ovaj novi proizvod na tržištu problematiziram ekskluzivnost umjetnosti te ulogu umjetnika unutar umjetničkog tržišta. Pojam auto (self) bio je je ishodišna i završna točka ovog rada kojim preispitujem reprezentacijski aspekt ovog umjetničkog objekta.

economic crises and wars… In 2016 we are faced with the problem of mass influx of refugees from Syria, Afghanistan, North Africa, we are witnessing different approaches to this issue within the European Union and the obvious helplessness to find a solution to the war in Syria. NINA KURTELA page 82/83 Autoshow is a social event, a performance and an installation. It includes a produced object (a car named kuper kavijar gtx) and a directed performance along (reenactment of a car show). It questions the idea of presenting an object, thing or individual, one self (auto) in the society that surrounds us. The way we try to present something or someone (our self) to an audience. What kind of things is successful in today’s consumeroriented society where everything is available and where the system of values has been turned upside- down? How to use good marketing tricks to present and in the same time, to “sell” an “equally” well-packed product? I am dealing with the questions of self-presentation and position of the artist or art in a specific environment, social constellation, specially addressing Balkan countries or countries in transition. This work also addresses topics like status anxiety, social (un) awareness and economics in countries in transition, art market, market, wild capitalism, consumer society, society of spectacle, desire objects. The car (auto-mobil) is presented as an object that lost its basic function – mobility- and became an organ of self-presentation – auto. AUTOSHOW deals with the idea of object presentation, a new brand on the market and its relation to the presentation of the self in society. Desire to possess, to show off or way to present oneself through objects that people possess and use to create social status. In countries like ours, where people drive fancy cars bought on loans, without having money for basic existential needs …

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Iz postava izloĹžbe Retroperspektiva, Galerija Prsten i Galerija PM, HDLU, Zagreb, 2016. godine / Exhibition view

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Iz klasa na Nastavničkom odsjeku ALU / Art Classes at the Academy Of Fine Arts, Jabukovac 10, 2003-2012. godine / 2003 – 2012 Rado Crvik, Silvio Vujičić, Višnja Mihatov, Marko Vojnić, Iva Vraneković, Igor Taritaš, Miroslav Mirt, klasa 28, Anita Šurkić, Ivan Fijolić

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Okrugli stol / Round table

Gosti Okruglog stola / Round Table Participant dr. sc. Ivana Mance, Marko Golub, Udruga OPA: Jelena Bračun Filipović, Martina Kosec, Gordana Košćec Bousfield, Ida Loher Sudionici Okruglog stola bivši su studenti Nastavničkog odsjeka pri Akademiji likovnih umjetnosti u Zagrebu i dugogodišnji akteri hrvatske kulture i umjetnosti, koji su po završetku studija ostvarili zapažene rezultate u edukaciji, teoriji umjetnosti i srodnim strukama a svojim djelovanjem obogaćuju kulturni, obrazovni i umjetnički prostor.

The participants of the round table are former students of the Academy of Fine Arts in Zagreb, Department of Art Education, and long-term actors of the Croatian cultural and art scene. After graduation they have achieved significant results in education, theory of art and related disciplines, and with their activity they enrich the cultural, educational and artistic space.

Ivana Mance rođena je 1974. g. u Zagrebu. 1994. g. upisala Nastavnički smjer Akademije likovnih umjetnosti u Zagrebu, a 1995. godine dvopredmetni studij povijesti umjetnosti i komparativne književnosti na Filozofskom fakultetu Sveučilišta u Zagrebu. Na ALU diplomirala 2000. godine, a na Filozofskom faklutetu 2001. godine. Na Institutu za povijest umjetnosti zaposlena od 2003. g. Do 2012. g. radi kao asistentica odnosno viša asistentica na projektima „Vizualne komunikacije, povijest i teorija umjetnosti“ te „Panonska renesansa i gotička tradicija u sjeverenoj Hrvatskoj i Primorju“ (voditelj dr. sc. Milan Pelc). Disertaciju znanosti s temom „Ivan Kukuljević Sakcinski: povijest umjetnosti i politika u Hrvatskoj druge polovice 19. stoljeća“ pod mentorskim vodstvom dr. sc. Milana Pelca obranila u siječnju 2010. godine na Filozofskom fakultetu Sveučilišta u Zagrebu.

Ivana Mance was born in Zagreb, Croatia, in 1974. In 1994 she enrolled in the Academy of Fine Arts in Zagreb, Department of Art Education, and in 1995 in a double major program of Art History and Comparative Literature at the Faculty of Humanities and Social Sciences, University of Zagreb. She graduated from the Academy of Fine Arts in the year 2000, and from the Faculty of Humanities and Social Sciences in 2001. Works at the Institute of Art History since 2003. Until 2012 she worked as an assistant, i.e. senior assistant on the projects “Visual Communication, History and Theory of Art“ and “Pannonian Renaissance and Gothic Tradition in Northern and Littoral Croatia“ (project manager Dr.Sc. Milan Pelc). In January 2010 she successfully defended the doctoral dissertation on “Ivan Kukuljević Sakcinski: Art History and Politics in Croatia in the Second Half of the 19th Century“ under the mentorship of dr.sc. Milan Pelc, at the Faculty of Humanities and Social Sciences, University of Zagreb.

Marko Golub je likovni kritičar i voditelj galerije Hrvatskog dizajnerskog društva. Diplomirao je na Nastavničkom odsjeku ALU 2004, a Likovne kritike objavljuje od 2000. godine u različitim stručnim časopisima, publikacijama, novinama i radijskim emisijama. Urednik je nekoliko publikacija o dizajnu i suvremenoj umjetnosti, te voditelj i scenarist emisije Trikultura Hrvatske radiotelevizije. Bio je član redakcije stručnog časopisa Čovjek i prostor i uredništva Orisa. Od 2016. predsjednik je Hrvatske sekcije AICA.

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Marko Golub is an art critic and manager of the Gallery of the Croatian Designers Association. He graduated from the Academy of Fine Arts, Department of Education in 2004, and had started publishing art reviews in various professional journals, publications, newspapers and radio shows in the year 2000. He is the editor of several publications on design and contemporary art, and TV host and scriptwriter for Trikultura, a Croatian radio and Television show. He was a member of the editorial board of Man and Space professional journal and the editorial staff of Oris. He is the president of the Croatian section of AICA since 2016.

Udruga za promicanje vizualne kulture OPA (Odgoj PAžnje) osnovana je na inicijativu učitelja likovne kulture, iz potrebe svih profesionalaca koji se bave edukacijom za vizualne umjetnosti i vizualnu komunikaciju te onih na čije se profesionalno djelovanje odražavaju kompetencije s tog područja. Od 2009. Udruga je ostvarila niz projekata koji su uključivali suradnju sa strukovnim i obrazovnim institucijama (HDD, HDLU, DAZ, HKA, ALU Zagreb, UF Zagreb i drugi) te istaknutim pojedincima s područja dizajna, arhitekture, likovne umjetnosti i likovne edukacije.

OPA is active through the organization of educational workshops, competitions, exhibitions, public events, symposiums and forums and other forms of promoting the importance of education for visual content. Since 2009, OPA has made a series of projects in cooperation with vocational and educational institutions (Croatian Designers Association (HDD), Croatian Association od Visual Artsist (HDLU), Association of Architects Zagreb (DAZ), Croatian Chamber of Architects (HKA), Academy of Fine Arts (ALU Zagreb), Faculty for teaching training (UF Zagreb) and others) and prominent individuals in the field of design, architecture, fine arts and art education.

Osnivačice

Founders

Jelena Bračun Filipović Profesorica likovne kulture, radi kao stručna urednica za likovnu kulturu u Školskoj knjizi. Dosada je uredila više od 60 udžbenika, priručnika i drugih školskih materijala te više monografije. Bavi se eksperimentalnom animacijom, videom i dokumentarnim filmom. Autorica nekoliko publikacija za Muzej suvremene umjetnosti i Školsku knjigu. Vodi likovne radionice i stručna predavanja za MSU i Agenciju za odgoj i obrazovanje.

Jelena Bračun Filipović Teacher of art education, working as a professional editor for the art books. Edited more than 60 books, textbooks and other school materials and several monographs. She works in experimental animation, video and documentary. Author of several publications for the Museum of Contemporary Art and school books. She does art workshops and lectures for museums and the Agency for Education. She also authored a iPhone app CroMuseums and works on other e-projects.

Martina Kosec Profesorica likovne kulture, trenutno radi kao učiteljica likovne kulture u OŠ Tin Ujević u Zagrebu. Osim pedagoškim radom bavi se i pisanjem. Suautorica je udžbenika za likovnu kulturu, recezentica priručnika te autorica nekoliko stručnih članaka. Održala je niz predavanja i likovno-umjetničkih radionica, te sudjelovala na brojnim izložbama i kolonijama. Članica je nekoliko umjetničko-pedagoških udruga. Gordana Košćec Bousfield Profesorica likovne kulture, autorica i urednica udžbenika likovne kulture, stručnih priručnika te ostalih edukacijskih i metodičkih materijala s područja likovne kulture i umjetnosti. Predavač i voditelj stručnih radionica na međunarodnim i domaćim stručnim skupovima s područja likovne pedagogije, art terapije i rehabilitacije. Članica HDLU. Ida Loher Profesorica likovne kulture, autorica i urednica udžbenika likovne kulture, stručnih priručnika te ostalih edukacijskih i metodičkih materijala s područja likovne kulture i umjetnosti. Predavač i voditelj stručnih radionica na međunarodnim i domaćim stručnim skupovima s područja likovne pedagogije. Članica organizacijskog odbora 25 Salona mladih i jedna od osnivača i umjetnički voditelj likovno kazališne udruge Tigar Teatar. Članica HDLU.

Martina Kosec Teacher of art education, currently working as a teacher of art education in elementary school Tin Ujević in Zagreb. In addition to educational work she writes. Co-author of the textbook for the arts, she reviewed manuals and authored several professional articles. She has held a series of lectures and visual art workshops, and participated in numerous exhibitions and colonies. Member of several artistic and pedagogical association. Has her own company for art therapy. Gordana Košćec Bousfield Teacher of art education, author and editor of art education textbooks, professional manuals and other educational and methodological materials in the field of art education and art. Lecturer on international and domestic conferences in the field of art pedagogy, art therapy and rehabilitation. Member of the Croatian Association of Artists Ida Loher Teacher of art education, author and editor of art education textbooks, professional manuals and other educational and methodological materials in the field of art education and art. Lecturer on international and domestic conferences in the field of Art Education. Member of the organizing committee of 25th Youth Salon and one of the founders and artistic director of visual theater associations Tiger Theatre. Member of the Croatian Association of Artists. 157

Likovna radionica za djecu / Children’s Art Workshop Otkrivajući čarobnu zemlju Nišpakiju / Discovering the Magical Land of Nišpakija Autorice i voditeljice radionice / Workshop Authors and Managers Petra Orbanić i Marija Plečko Uzrast: 6 -12 godina / Ages 6-12 Galerija Prsten i PM / Gallery Ring and PM, Hrvatsko društvo likovnih umjetnika / Croatian Asociation of Fine Artist 18. veljače 2016. / February 18, 2016 18. 02. od 13 do 15h u Galerijama Prsten i Pm pod vodstvom Petre Orbanić i Marije Plečko, studentica diplomskog studija Nastavničkog od sjeka Akademije likovnih umjetnosti u Zagrebu, održala se likovna radionica „Otkrivajući čarobnu zemlju Nišpakiju“. Petra i Marija pozvale su sve zainteresirane da se s njima upuste u pustolovinu i pomognu im nadopuniti kartu čarobne zemlje Nišpakije. Naime, dogodila se čudna stvar. Nišpakija je ostala bez boja i oblika. Sve boje i oblici bili su pozvani na Patuljkov rođendan, a on, nestašan kakav jest, sve ih je obrisao gumicom koju je dobio na poklon. Nišpakija je ostala prazna... Zabrinuti stanovnici tako su zatražili pomoć malih umjetnika da vrate boje i oblike njenim kraljevstvima. On February 18, from 1 to 5 p.m. in Ring Gallery and PM Gallery, Petra Orbanić and Marija Plečko, graduate students at the Department of Art Education, Academy of Fine Arts in Zagreb, will hold an art workshop “Discovering the Magical Land of Nišpakija“. Petra and Marija invite all the interested parties to join them in the adventure and help them complete the map of the magical land of Nišpakija. A strange thing happened. Nišpakija lost all its colours and forms. All the colours and forms were invited to Dwarf’s birthday, and he, being playful and all, erased them all with the eraser he got as a present. Nišpakija remained empty... Concerned residents thus asked little artists to help them bring back the colours and forms to its kingdoms.

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Nakladnik / Publisher Hrvatsko društvo likovnih umjetnika / Croatian Association of Fine Artists, Trg žrtava fašizma 16, 10 000 Zagreb, hdlu@hdlu.hr, http://www.hdlu.hr | Za nakladnika / For the publisher Josip Zanki, predsjednik / president | Upravni odbor HDLU / Executive board of HDLU Josip Zanki (predsjednik / president), Tomislav Buntak (dopredsjednik / vicepresident), Fedor Vučemilović (dopredsjednik / vicepresident), Ida Blažičko, Ivan Fijolić, Monika Meglić, Melinda Šefčić | Ravnateljica / Director Ivana Andabaka | Umjetnički savjet Galerija / Artistic board of Galleries Tomislav Buntak, Suzana Marjanić, Koraljka Kovač Dugandžić, Leonida Kovač, Ivan Fijolić, Josip Zanki, Ivica Župan Stručna suradnica / Associate Martina Miholić Vizualni identitet izložbe i dizajn promotivnih materijala / Visual Identity and Design of Promotional Materials Tea Hatadi Koncepcija i Likovni postav / Exhibition Concept and Design Snježana Ban, Tea Hatadi, Ante Rašić Tehnički postav / Exhibition Layout Mihael Pavlović, Grgur Akrap Printanje vizuala i postera za izložbu / Printing of Exhibition Visuals and Posters Kvikprint, Cerovski Print Boutique Izrada pripreme za vizuale izložbe / Pre-press of Exhibition Visuals Tea Hatadi Izrada pripreme za postere za izložbu / Pre-press of Exhibition Posters Studio Rašić Urednici / Editors Snježana Ban, Tea Hatadi, Ante Rašić Tekstovi / Texts Retroperspektiva / Retroperspective Snježana Ban, Tea Hatadi, Ante Rašić Works in process / Works in process Snježana Ban, Ante Rašić Lektura / Proofreading Mirna Vidić Prijevod / Translation Zana Šaškin Grafičko oblikovanje i prijelom kataloga / Design Tea Hatadi Izrada pripreme za tisak / Pre-press Tea Hatadi, Ankica Penava Pejčinović - Studio Rašić Tisak / Printed by Printera Grupa d.o.o. Naklada / Copies 200 Tiskano u Zagrebu, ožujak, 2016. / Printed in Croatia, March, 2016

Fotografije likovnog postava i reprodukcija / Exhibition Photos and Photos of Reproductions Damir Fabijanić: 15, 21, 25, 27, 28/29, 42, 49, 59, 60/61, 63, 69, 71, 77, 78/79, 93, 95, 97, 106/107,113, 115,116/117,118/119, 120/121, 122/123, 124/125, 129, 131, 146, 147 gore desno / top right, 152 lijevo i desno sredina / middle left and right,lijevo i desno dolje / bottom left and right, 153 gore lijevo i desno / top left and right, lijevo i desno, dolje lijevo i desno / bottom left and right; Ante Rašić: 7, 23, 24, 26, 32, 36/37, 43, 46/47, 48, 58, 64/65, 66/67, 72, 81, 82, 89, 90, 98/99, 127, 128, 138, 140/141, 143, 152 gore lijevo / top left,154/155, 158 Juraj Vuglač: 19, 70 dolje/bottom, 152 desno gore / top right, 153 lijevo i desno sredina/middle left and right; Dražen Kalenić: 52, 111; Goran Vranić: 53; Boris Cvjetanović: 83, 136/137; Damjan Tadić: 70 gore / top; Silkfatblues: 91; Arhiva ALU / ALU archives: 144, 149, 154/155; Autori/ce: Predrag Pavić: 26; Ivan Tudek: 31; Željka Gradski: 33; Jelena Bračun Filipović: 35; Božena Končić Badurina: 38/39; Iris Poljan: 44/45; Snježana Ban: 50/51, 147 gore lijevo i dolje / top left and bottom; Ana Hušman: 54/55; Lala Raščić: 56/57; Maja Marković: 62, 63 dolje / bottom; Igor Juran: 68; Anita Šurkić: 73; Marko Grill: 74/75; Margareta Milačić: 84/85; Ines Krasić: 86, 87; Igor Juran: 96; Bruno Razum: 100/101; Karla Šuler: 103; Iva Ćurić; 108/109; Josipa Štefanec: 130; Zdravka Ivandija Kirigin: 132/133; Božica Dea Matasić: 135; Marko Ercegović: 139; Dan Philipp: 142; Jasminka Končić: 145 Posudba / Loan Zbirka suvremene umjetnosti Filip Trade, Zagreb – LAUBA / Filip Trade Contemporary Art Collection, Zagreb – LAUBA, Fundus Akademije likovnih umjetnosti u Zagrebu / Fundus of the Academy of Fine Arts in Zagreb, Privatne kolekcije / Private collections, Studio Rašić Zahvala / Acknowledgement Autorima koji su ustupili svoja djela i dokumentaciju za izložbu / All the authors who loaned their works and documentation for the exhibition purpose; Domagoj Hmura, Nikica Jurković, Ivan Šafranić, Domagoj Rogina, Mihael Klanjčić, Tomislav Hršak, Marko Merćep, Bartol Oremović, Igor Juran, Studio Rašić Izložba i katalog su omogućeni uz novčanu potporu Gradskog ureda za obrazovanje, kulturu i sport Grada Zagreba i Ministarstva kulture Republike Hrvatske / The exhibition and catalogue has been kindly supported by funding from the City Office for Education, Culture and Sports Zagreb and Ministry of Culture of the Republic of Croatia

CIP zapis dostupan u računalnom katalogu Nacionalne i sveučilišne knjižnice u Zagrebu pod brojem 000924832 / A CIP catalogue record for this book is available from the National and University Library in Zagreb under 000924832 ISBN 978-953-8098-02-4