Damir Žižić je rođen 1983. godine u Splitu, diplomirao je animirani film i nove medije na Akademiji likovnih umjetnosti u Zagrebu. Kristian Kožul je rođen 1975. u Münchenu, a diplomirao na Kunstakademie u Düsseldorfu.
Damir Žižić was born in Split in 1983, he graduated in Animated Film and New Media from the Academy of Fine arts in Zagreb. Kristian Kožul was born in Munich in 1975, and he graduated from the Kunstakademie in Düsseldorf.
Samostalne izložbe
Solo exhibitions
2016. Recurring Landscapes, Nacionalna Galerija Makedonije, Skopje, Makedonije - kustosica Ana Frangovska Recurring Landscapes, Galerija Greta, Zagreb, Hrvatska 2015. Vanished Reality, DIS Magazine, Online feature - kustosice Ana Kovačić, Lea Vene, Sanja Sekelj Privremeni krajolici, Muzej Grada Koprivnice, Galerija Koprivnica, Koprivnica, Hrvatska - kustos Marijan Špoljar Wonderful Things will Happen, Muzej moderne i suvremene umjetnosti, Mali Salon, Rijeka, Hrvatska - kustosice Ksenija Orelj i Sabina Salamon 2014. Spektar, Muzej suvremene umjetnosti Zagreb, NO Galerija, Zagreb, Hrvatska - kustosica Leila Topić Bez naziva, Kuća Lauba, Zagreb, Hrvatska - kustosica Morana Matković 0.50, Hrvatsko društvo likovnih umjetnika, Galerija Karas, Zagreb, Hrvatska - kustosica Vanja Žanko
2016 Recurring Landscapes, The National Gallery of Macedonia, Skopje, Macedonia – curated by Ana Frangovska Recurring Landscapes, Greta Gallery, Zagreb, Croatia 2015 Vanished Reality, DIS Magazine, Online feature - curated by Ana Kovačić, Lea Vene, Sanja Sekelj Privremeni krajolici, Museum of the City of Koprivnica, Koprivnica Gallery, Koprivnica, Croatia - curated by Marijan Špoljar Wonderful Things will Happen, Museum of Modern and Contemporary Art, Mali Salon, Rijeka, Croatia - curated by Ksenija Orelj and Sabina Salamon 2014 Spektar, Museum of Contemporary Art Zagreb, NO Gallery, Zagreb, Croatia - curated by Leila Topić Bez naziva/Untitled, Kuća Lauba, Zagreb, Croatia - curated by Morana Matković 0.50, Croatian Association of Artists, Karas Gallery, Zagreb, Croatia curated by Vanja Žanko
Grupne izložbe 2016. 51. Zagrebački Salon, HDLU, Zagreb, Hrvatska - kustosice Marijana Stanić i Suzana Marjanić Društvo spektakla, Hrvatsko društvo likovnih umjetnika, Galerija Bačva, Zagreb, Hrvatska - kustosi Gintautas Mažeikis i Josip Zanki 2015. 3LHD Interakcije, Muzej suvremene umjetnosti, Zagreb, Hrvatska kustosi Maroje Mrduljaš i Antun Sevšek Da nam živi živi rad, Pogon Jedinstvo, Zagreb, Hrvatska - kustosica Leila Topić Apokalypse / Rohkunstbau, Schloss Roskow, Potsdam, Njemačka 2014. Nestalni postav Zbirke Filip Trade, Kuća Lauba, Zagreb, Hrvatska kustosica Morana Matković T-HT@MSU.HR, Muzej suvremene umjetnosti, Zagreb, Hrvatska Bijenale industrijske umjetnosti, Labin Art Express XXI, Labin, Hrvatska Seven about Reality, Galerija Konduktorowina, Czestochowa, Poljska - kustosica Sara Čičić 2013. 53. porečko Annale, Poreč, Hrvatska - kustosica Jerica Ziherl
Group exhibitions 2016 51st Zagreb Salon, Croatian Association of Artists, Zagreb, Croatia curated by Marijana Stanić and Suzana Marjanić Društvo spektakla/The Society of the Spectacle, Croatian Association of Artists, Bačva Gallery, Zagreb, Croatia - curated by Gintautas Mažeikis and Josip Zanki 2015 3LHD Interakcije/3LHD Interactions, Museum of Contemporary Art, Zagreb, Croatia - curated by Maroje Mrduljaš and Antun Sevšek Da nam živi živi rad/Long Live Labour, Pogon Jedinstvo, Zagreb, Croatia - curated by Leila Topić Apokalypse / Rohkunstbau, Schloss Roskow, Potsdam, Germany 2014 Non-Permanent Exhibition of the Filip Trade Collection, Kuća Lauba, Zagreb, Croatia - curated by Morana Matković T-HT@MSU.HR, Museum of Contemporary Art, Zagreb, Croatia Industrial Art Biennale, Labin Art Express XXI, Labin, Croatia Seven about Reality, Konduktorowina Gallery, Czestochowa, Poland curated by Sara Čičić 2013 53rd Poreč Annale, Poreč, Croatia - curated by Jerica Ziherl
Hrvatsko društvo likovnih umjetnika | Croatian Association of Fine Artists Galerija Bačva | Galerija Bačva Trg žrtava fašizma 16, 10000 Zagreb, Croatia | www.hdlu.hr Radno vrijeme: srijeda – petak: 11 – 19 h, subota i nedjelja 10 – 18 h, ponedjeljkom, utorkom i blagdanom - zatvoreno Working hours: Wednesday to Friday: 11am – 7pm, Saturday and Sunday: 10am - 6pm, Monday, Tuesday and holidays - closed IMPRESUM | Nakladnik/Publisher: Hrvatsko društvo likovnih umjetnika/Croatian Association of Fine Artists, Trg žrtava fašizma 16, 10 000 Zagreb, hdlu@hdlu.hr, www.hdlu.hr | Za nakladnika/For the publisher: Josip Zanki | 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 | Umjetnički savjet/Artistic board: Tomislav Buntak, Suzana Marjanić, Koraljka Kovač Dugandžić, Branka Benčić, Ivan Fijolić, Josip Zanki, Ivica Župan | Ravnateljica/Director: Ivana Andabaka | Stručna suradnica/Associate: Mia Orsag | Predgovor/Preface: Ksenija Orelj | Grafičko oblikovanje kataloga/Catalogue Design: Duje Medić | Kustoska koncepcija: Vanja Žanko | Prijevod/ Translation: Zana Šaškin | Tisak/Printed by Cerovski | Naklada/Print run: 150 Izložba je realizirana uz financijsku potporu Ministarstva kulture Republike Hrvatske i Gradskog ureda za kulturu, obrazovanje i sport Grada Zagreba / The exhibition is financially supported by the Ministry of Culture of the Republic Croatia and City Office for Culture, Education and Sports Zagreb.
Žižić/Kožul
P R E P O Z N A T L J I V I K R A J O L I C I/R E C U R R I N G L A N D S C A P E S Galerija Bačva | 9. - 25. rujna, 2016. Bačva Gallery | September 9 - 25, 2016
Standard Tandem Žižić/Kožul zajedno radi od 2013. Kontinuirano mapira spektar faktora post-tranzicijske stvarnosti u kojima se otkriva raskorak između ekonomsko-društvene stvarnosti i njezine prezentacije kroz različite mehanizme marketinške industrije. Pedeset godina nakon formiranja termina kapitalističkog realizma, tada poistovjećenog s kritikom srednje građanske klase i zatupljenosti idealizacijom konzumerizma, danas je on za nas bolno aktualan jer je apsurdno kontekstualiziran - u društvenoj hijerarhiji srednja klasa je iščezla, a mogućnost odabira postala je virtualna kategorija koja nudi bezbroj gotovo identičnih rezultata s određenim promjenama. Instalacija Standard nadovezuje se na raniji rad – Sretan par, nastao repliciranjem reklamne kampanje. Prikazuje dvoje mladih modela, u različitim trenucima treniranja sugestivnih poza i izraza lica kao jedne od marketinških taktika zadobivanja naklonosti.
Standard Kako ističu umjetnici, Kvazidemokratska priroda tržišne propagande nalaže da sadržaj bude prihvatljiv/poželjan većini ciljane populacije. Perpetuirana izloženost određenom sadržaju koji medijski definira rodne pozicije, rasni identitet te estetske normative rezultira pozitivnom afirmacijom, utvrđivanjem otprije prihvatljivih modela ponašanja i društvenih odnosa. Rad se sastoji od superponiranih potrošnih elemenata primijenjenih u korporativnoj propagandi (jumbo plakat standardiziranih dimenzija, video na LCD monitoru u totemskoj strukturi izvedenoj iz nanizanih gips ploča). Ksenija Orelj
Žižić/Kožul have been working together since 2013, forming an artistic tandem. They continuously map the range of factors of post-transitional reality which reveal the discrepancy between the social and economic reality and its representation by different mechanisms of the marketing industry. Fifty years after coining the term capitalist realism, at the time linked with the criticism of the bourgeoisie and its idealization of consumerism, this term is now painfully topical because it has been absurdly contextualized – in the social hierarchy the middle class has disappeared and the possibility of choice has become a virtual category, which offers a myriad of almost identical outcomes with certain modifications. The installation Standard builds on an earlier work – The Happy Couple, created by replicating an advertising campaign. It shows two young models, in different moments of practising suggestive posturing and facial expressions,
as one of the marketing tactics to gain sympathy. As the artists say themselves, the quasi-democratic nature of the marketing propaganda requires that the content is acceptable/desirable for the majority of the target population. Perpetuated exposure to a specific content that defines gender positions, racial identity and aesthetic norms in the media results in positive affirmation, defining previously acceptable forms of behaviour and social relations. The work is composed of superimposed consumable elements used in corporate propaganda (standard-size billboard, video on an LCD screen in a totemic structure made of stacked drywall).
Ksenija Orelj