(IN)CONSTANCY OF SPACE

KUSTOSI/ CURATED BY VANJA BABIĆ & NEVA LUKIĆ GALERIJA PRSTEN/ GALLERY RING 24/09/2014-12/10/2014

SADRŽAJ/ CONTENT

UVODNA RIJEČ/ FOREWORD

KLAUSTROFOBIJA I MIJENE/ CLAUSTRO-

Tea Hatadi

Willem van der Hofstede

Ferenc Molnar

Goran Škofić

PREDGOVOR/ PREFACE 12 VANJA BABIĆ 20 NEVA LUKIĆ

03 ŽIVOT, MOĆ I SMRT/ LIFE, POWER AND DEATH 30 Zoltan Novak 32 Vedran Perkov 34 Sara Rajaei 36 Ana Sladetić 38 Robert Šimrak

04 NA RAZMEĐU UTOPIJE, FANTAZIJE I DISTOPIJE /ON THE BOUNDARY OF UTOPIA, FANTASY AND DYSTOPIA 42

Anke van den Berg

PHOBIA AND PHASES

06 GRANICE I VIZIJE/ VISIONS AND BOUNDARIES 66

Shigeo Arikawa

Darko Fritz

Arend Groosman

Margareta Lekić

Gabriel Lester

Maja Marković

07 POPIS IZLOŽENIH DJELA/ LIST OF EXHIBITED ARTWORKS

08 KUSTOSI/ THE CURATORS

Tanja Deman

VANJA BABIĆ

Lilian Kreutzberger

NEVA LUKIĆ

Rik Smits

Rob Voerman

IMPRESSUM

DANIJEL ŽEŽELJ

UVODNA RIJEČ/ FOREWORD

(NE)POSTOJANOST PROSTORA tekst: Vanja Babić, Neva Lukić

Izložba (Ne)postojanost prostora dovodi u zajednički kontekst dvadesetak umjetnika mlađe i srednje generacije iz Nizozemske i Hrvatske, koje objedinjuje aktivan odnos prema prostoru i arhitekturi te njihovo kritičko promišljanje. Zadnjih dvadesetak godina ta je tema vrlo aktualna. Umjetnici sve više prikazuju prostor i arhitekturu u svojim djelima, a ta pojava može se iščitati kao reakcija na sve veću urbanizaciju okruženja u kojemu živimo. Mnoge svjetske izložbe na različite su se načine bavile i još se uvijek bave tom temom. U Nizozemskoj i Hrvatskoj npr., Coming soon: Real Imaginary Futures (Uskoro: Stvarne zamišljene budućnosti) koja je trenutno postavljena u Bureau Europa u Maastrichtu, te npr. Mapiranje grada (Mapping the city), originalno postavljena u izložbenim prostorima MMC Luka u Puli (2007.), no potom s gostovanjima u Zagrebu i Pečuhu. Zatim, izložba New conditions for art and architecture in the Netherlands (Novi uvjeti za umjetnost i arhitekturu u Nizozemskoj), postavljena u Centru za suvremenu umjetnost Luigi Pecci u Pratu u Italiji (2013.), na zanimljiv se način bavila mogućnostima oblikovanja novih i originalnih načina proizvodnje u Nizozemskoj kao reakcije na svjetsku krizu. Zbog svega navedenog, zanimljivo je po prvi put staviti u isti kontekst nizozemske i hrvatske umjetnike koji se bave tom temom. Nizozemska i Hrvatska, kao dva različita prostora Europe, čine interesantan komplementaran par. Nizozemska je zemlja kontinuiranog i po mnogočemu najstarijeg kapitalističkog i urbaniziranog sustava na svijetu, dok je Hrvatska – u okviru dvije Jugoslavije - imala razdoblje nerazvijenog kapitalizma sa snažnim elementima ruralnog društva te potom socijalizma, da bi se trenutno -kao samostalna država - nalazila u fazi tzv. postsocijalističkog/tranzicijskog kapitalizma. Nizozemska je zemlja sjeverozapada kontinenta s izlazom na Sjeverno more, a Hrvatska se nalazi na jugoistoku te joj obale oplakuje topli Jadran. Nizozemsku arhitekturu, u povijesnom smislu, karakteriziraju protestantska funkcionalnost i jednostavnost, za razliku od one hrvatske, koja nosi obilježja tipično mediteranske odnosno srednjoeuropske katoličke tradicije. Mogli bismo se zapitati kakva je situacija danas, odnosno u kolikoj mjeri fenomen globalizacije utječe na percepciju i problematiziranje arhitekture te s njome povezanog urbanog prostora na stvaralaštvo nizozemskih i hrvatskih autora. Na izložbi (Ne)postojanost prostora izložena djela razmještena su u četiri kategorije: Život, moć i smrt, Na razmeđu utopije, fantazije i distopije, Klaustrofobija i mijene i Granice i vizije.

Život, moć i smrt bavi se ambijentom i arhitekturom kao odrazom moći – ideološke, financijske i religijske (R. Šimrak, V. Perkov, Z. Novak) te javnim i privatnim prostorom življenja koji gubi svoj identitet te biva preobražen tek u mjesto sjećanja (S.Rajaei, A.Sladetić). Na razmeđu utopije, fantazije i distopije sadrži radove u kojima je praiskonski motiv Kule babilonske i ljudske pohlepe jedna od dominantnih preokupacija (A.van den Berg, L. Kreutzberger, D. Žeželj), kao i one gdje apokaliptičnost distopije prerasta u utopiju, odnosno svaka utopija u sebi nosi klicu distopije (R. Voerman, R. Smits , T. Deman). U cjelini Klaustrofobija i mijene umjetan prostor u kojem se krećemo doživljen je kroz prizmu klaustrofobije i nedostatka prostora (F.Molnar, G. Škofić), a njegova je nepostojanost izražena kroz kontinuirano rušenje starog i građenje nekog novog gradskog ambijenta u kojem suvremeni pojedinac obitava (T.Hatadi, W.van der Hofstede). Dio izložbe naslovljen Granice i vizije nastoji ukazati na problem prostora kao takvog i njegove (ne)definiranosti posredstvom različitih konstruktivističkih postupaka (A.Groosman, M.Marković). Umjetnici, također, na određen način neutraliziraju prostor, čine ga anonimnim, te on postaje neki drugi prostor, svaki prostor (D.Fritz, S. Arikawa, M. Lekić, G.Lester). Izložba (Ne)postojanost prostora nastoji ponuditi neke odgovore na primjerima zastupljenih autora, ali – možda još i više – otvoriti nova pitanja.

(IN)CONSTANCY OF SPACE text: Vanja Babić, Neva Lukić

The exhibition The (In)constancy of Space puts into the same context about twenty younger and middle generation artists from the Netherlands and Croatia connected by their active, critical attitude to space and architecture. In the last twenty years the above has been a topical issue. Artists have increasingly showed space and architecture in their works, which is interpreted as their response to the growing urbanization of the environment in which we live. Numerous exhibitions in the world have dealt with this topic in various manners. In the Netherlands and Croatia, for instance, the exhibitions Coming soon: Real Imaginary Futures which is currently on show in Bureau Europa in Maastricht, and Mapping the City originally set up in the exhibition halls of MMC Luka in Pula (2007), but then with guest performances in Zagreb and Pécs. In 2013 the exhibition New Conditions for Art and Architecture in the Netherlands, in the Centre for Contemporary Art Luigi Pecci in Prato, Italy, in an interesting way dealt with the possibilities of developing new and original production methods in the Netherlands in the aftermath of the world crisis. For these reasons it has been challenging to put, for the first time, into the same context Dutch and Croatian artists who deal with the same subject. The Netherlands and Croatia, two completely different regions in Europe, make an interesting complementary duo. The Netherlands is a country with continuous and, in many ways, the oldest capitalist and urbanised system in the world, while Croatia in two Yugoslav states first had the period of undeveloped capitalism with strong elements of rural society, then socialism, and is currently (as an independent state) in the phase of post-socialist/transitional capitalism. The Netherlands is a northwest European country on the North Sea, Croatia is a southeast country situated on the warm Adriatic Sea. The architecture in the Netherlands is historically characterized by protestant functionality and simplicity, contrary to Croatian architecture which bears typical Mediterranean and central European features in catholic tradition. We might ask ourselves what is the situation like today, and to what extent the phenomenon of globalisation affects the perception and the discussion on architecture and the urban space related to it, on creation of Dutch and Croatian authors. The exhibition The (In)constancy of Space puts the artworks into four categories: Life, Power and Death, On the Boundary between Utopia, Fantasy and Dystopia, Claustrophobia and Phases and Visions and Boundaries.

Life, Power and Death deals with the ambient and the architecture expressing power – either ideological, financial or religious (R. Šimrak, V. Perkov, Z. Novak) and also with public and private living space which has lost its identity and has been transformed into a place of memory (S.Rajaei, A.Sladetić). The group On the Boundary between Utopia, Fantasy and Dystopia brings works with the predominant themes of the Tower of Babel and human greed (A.van den Berg, L. Kreutzberger, D. Žeželj), as well as artworks where the apocalyptic dystopia grows into a utopia, that is, where every utopia carries the seed of dystopia (R. Voerman, R. Smits , T. Deman). In the category Claustrophobia and Phases, the artificial territory we move in is perceived as a shortage of space and claustrophobic (F.Molnar, G. Škofić), and its inconstancy is expressed through the demolition of the old and the construction of a new urban area where the contemporary individual resides (T.Hatadi, W.van der Hofstede). The section named Visions and Boundaries tries to emphasize the problem of the space itself and how it is or not being determined by the application of various constructivist procedures (A.Groosman, M.Marković). Artists somehow neutralize space, make it anonymous, so it becomes another space, any space (D.Fritz, S. Arikawa, M. Lekić, G.Lester). The exhibition The (In)constancy of Space seeks to offer some answers through the presented artworks, but is also, even more, open to new questions.

PREDGOVOR/ PREFACE Vanja Babić

PROSTORI SVIJESTI SVIJEST O PROSTORU tekst: Vanja Babić

Suvremena civilizacija nedvojbeno je u znatnoj mjeri obilježena fenomenom globalizacije. Međutim, iako će spomenuti fenomen ponajprije i posve opravdano podrazumijevati posthladnoratovski, postindustrijski ili općenito postmodernistički kontekst, ljudska svijest o njemu iskazana je, zapravo, već u pradavno doba, negdje na razmeđu pretpovijesti i povijesti. Bilo je to vrijeme tijekom kojega su, posredstvom tada apsolutno dominantnog simboličko-religijskog diskursa, različite priče ili legende još uvijek bile duboko i neodvojivo utkane u zbiljnost svijeta. Jedna od takvih drevnih, vječno poučnih i do današnjih dana sačuvanih priča izravno se, dakle, referirala i na globalizaciju, ili preciznije, na njeno prvobitno iščeznuće. Riječ je o starozavjetnoj epizodi o podizanju Babilonske kule. Biblijski tekst najprije konstatira kako je sva zemlja imala jedan jezik i iste riječi, što se nedvojbeno može protumačiti kao jedan od ključnih simptoma svojevrsne protoglobalizacije. U tekstu potom slijedi podatak kako su ljudi, nastanivši se u Šinearu (Babilonu), započeli zajedničkim snagama podizati kulu čiji bi vrh dosezao nesagledive nebeske visine. Radilo se o doista ekstremno smionoj i ambicioznoj nakani koja je - zacijelo nimalo slučajno - bila građevinskog odnosno arhitektonskog karaktera. Podizanje zgrade gigantskih razmjera neizbježno, naime, za sobom povlači i mnoštvo popratnih gospodarskih, ideoloških, etičkih, estetskih i općenito socio-psiholoških konotacija čiji simbolički potencijali nude široku i nadasve plodnu platformu za kvalitetnije razumijevanje cjelokupnog civilizacijskog ozračja odgovornog za osmišljavanje i realizaciju jednog takvog pothvata. Sudbina legendarne Babilonske kule, dakako, općepoznata je; ona nikada neće biti dovršena. Naslutivši, naime, u ovoj graditeljskoj ambiciji oholost, Bog je odlučio ljudima pobrkati jezik te ih istodobno rasuti po čitavoj zemlji. Bio je to kraj jedne zgrade, a zajedno s njom i protoglobalizacije… O čemu, zapravo, priča o Babilonskoj kuli – ograničimo li se na njen usko građevinski aspekt - govori? Ponajprije, to je problem negiranja odnosno uspostave granice, u konkretnom slučaju one između neba i zemlje. Ljudi se nisu željeli vezati samo za zemlju po kojoj svakodnevno kroče; ona kao da je sputavala njihove ambicije, ispunjavajući ih osjećajem svojevrsne mentalne klaustrofobije. Drugim riječima, težili su spoznaji. Rješenje su vidjeli u realizaciji utopijske ideje o dosezanju neba - samim time i spoznaje – s pomoću goleme kule. Konačni ishod neće, međutim, uroditi spoznajom, već sveopćim distopijskim rasulom. To je ujedno i priča o težnji

za moći, koja bi se, između ostalog, iskazivala i nipošto zanemarivom intervencijom u postojeći krajolik. Spomenute se odrednice, dakle, prelamaju i iskazuju svoje metaforičke vrijednosti u jednoj fiktivnoj i nikada do kraja realiziranoj zgradi. Upravo zbog toga neke od tih odrednica javit će se i u nazivima četiriju cjelina na koje je podijeljena ova izložba, a to su: Život, moć i smrt; Na razmeđu utopije, fantazije i distopije; Klaustrofobija i mijene te Granice i vizije. Iz svega rečenog nužno proizlazi kako Babilonska kula ponajprije predstavlja metaforu, a nipošto neko konkretno i materijalizirano arhitektonsko ostvarenje. Pa ipak, čovjeku je imanentna težnja za predočavanjem tvarnih pojmova; on ih uvijek nastoji vizualizirati. Stari zavjet u tom nas smislu lišava bilo kakvih opisa Babilonske kule. Likovni su je umjetnici, dakako, kroz povijest po potrebi prikazivali, a uslijed složena i teško objašnjiva spleta različitih kulturoloških okolnosti, kao uvriježeni i gotovo opće prihvaćeni model, za njen izgled nametnula se vizija flamanskog majstora iz razdoblja renesanse Pietera Bruegela starijeg. Dočaravši ih kružnim tlocrtima te čvrstim i zbijenim strukturama s katovima što se postupno sužavaju prema vrhu, Bruegel u svojim Babilonskim kulama – sačuvane su, naime, njegove dvije slične verzije – naglasak stavlja na monolitnost i materiju. One su doista građene kako bi čvrsto i stabilno poništile jaz između neba i zemlje. Ali, što ako pokušamo zamisliti Bruegelovu Babilonsku kulu u “negativu”, a k tome još okrenutu naopako, da umjesto u nebo zadire u zemlju. U tom slučaju radilo bi se, dakle, o njenoj apsolutnoj suprotnosti. Prikaz takve fiktivne “negativne” arhitekture, gdje prostor penetrira u materiju umjesto da materija oblikuje prostor, zapravo, postoji. Primjerice, Bruegelov osamdesetak godina stariji talijanski renesansni kolega Sandro Botticelli, radeći na svojim ilustracijama za Danteovu Božansku komediju, likovno je dočarao i svoju viziju cjelokupne karte Pakla. Njegov prikaz što se u obliku lijevka postupno spušta u podzemne dubine svojim oblikom doista podsjeća na izokrenutu Babilonsku kulu. Ono što je ovdje bitno ako ostavimo po strani moguće religijsko-simboličke konotacije, jest način prikaza kao i uloga arhitektonskog prostora. Na primjeru spomenutih renesansnih slika odnosno ilustracija lako je, naime, osvijestiti prostorni dualizam karakterističan upravo za arhitekturu. Promatrana izvana, arhitektura okolni prostor oblikuje na “skulptorski” način, poput Breugelove Babilonske kule, dok će iznutra, naprotiv, situacija biti obratna jer se prostor kao takav “aktivira“ i postaje svojevrsni “pozitiv”, kao kod Botticellijeve karte Pakla. Umjetnost arhitekture prije svega je umjetnost utilitarnog oblikovanja prostora što nastaje iz niza prethodno duboko promišljenih premisa. Problem prostora –

vanjskog (okolnog), unutrašnjeg, ali također i onog mentalnog – sa svim njegovim simboličkim, ideološkim, etičkim ili estetskim popratnim pojavama objedinjujući je segment ove izložbe. A ukoliko se prostor namjenski postavi u aktivan dijalektički odnos s materijom i ljudima, onda nužno nastaje arhitektura. Umjetnici zastupljeni na ovoj izložbi, dakle, svaki na svoj način i nadasve raznovrsno, poslužit će se upravo arhitekturom kao svojevrsnim okidačem za problematiziranje i propitivanje različitih manifestacija prostora kao i njegova utjecaja na ljudsku svijest. Arhitektura se ovdje nipošto ne tretira površno i pasivno, tek kao zanimljiv motiv, već čini aktivan i integralan dio socio-psiholoških aspekata karakterističnih za stvaralaštvo ovih autora. Moć i zavodljivost religije, kapitala ili politike oduvijek se manifestirala i posredstvom arhitektonskih uradaka. Postoji arhitektura što nastaje u dosluhu s vječnošću, dok će neka druga otpočetka računati s privremenošću. Obje, međutim, oblikuju čovjekov fizički prostor, nabolje ili nagore, ali također i “prostore” njegova intelekta. Nimalo nije slučajno da se drsko nadobudna i optimizmom ispunjena liberalno-demokratska paradigma Francisa Fukuyame - začeta na valu euforije izazvane padom zloglasnog zida u Berlinu te jasno i nedvosmisleno elaborirana u njegovoj knjizi Kraj povijesti i posljednji čovjek - kataklizmički urušila zajedno s dva gigantska tornja, ultimativnim simbolima globalnoga kapitala i njegove moći. Bilo je to nadasve tragično ali istodobno i vizualno dojmljivo historijsko otrežnjenje na početku 21. stoljeća. Protoglobalizaciju je u legendi o Babilonskoj kuli uspješno zaustavio osobno Bog, dok su spektakularni nasrtaj na suvremenu globalizaciju - čini se ipak uzalud – izvršili okrutni i fanatizirani teroristi. U oba slučaja, međutim, u središtu zbivanja nalazile su se zgrade. Nekadašnji prostori žive djelatnosti na taj su način u trenutku bili pretvoreni u prostore napuštene ili razrušene gole materije. I doista, mogli bismo se zapitati jesu li glavni čimbenici arhitekture čelik, staklo, beton, opeka, zidovi… jednom riječju materijali, ili je to ipak i prije svega čovjek. Primjeri Babilonske kule i Twinsa pokazuju kako, zapravo, u duhovnom smislu ne postoji nikakva razlika između napuštene/nedovršene zgrade i one koja je srušena. I sveopći društveni polet, međutim, često se iskazuje posredstvom arhitektonskih zamisli. U tom smislu dovoljno je prisjetiti se Tatlinova projekta koji će, dakako, skončati u utopijsko-distopijskim stranputicama, odnosno tek kao maketa s osobinama velike konstruktivističke skulpture. Na taj način napuštenim i srušenim zgradama moguće je pridodati i one nikada započete… Arhitektonski prostori doista su (ne)postojani. Oni su u stanju kreirati vizualno dojmljive simbole moći što izazivaju strahopoštovanje, pružati sigurno utočište i

osjećaj intime, izazivati osjećaj sputanosti ili klaustrofobije te - svojom pojavnošću - odlučujuće utjecati na već uspostavljene vizure. S nestankom ili nastankom pojedine zgrade sve se to, dakako, značajno može promijeniti. Na taj način izmijenjeni prostori – kako fizički tako i mentalni – postaju dio memorije. Umjetnici zastupljeni na izložbi (Ne)postojanost prostora na taj će se problem poetski i medijski različito referirati, ali ono što ih objedinjuje jest nedvojbena svijest o njegovoj svakodnevnoj nazočnosti.

SPACE of awareness the awareness of space text: Vanja BabiÄ&#x2021;

Modern civilisation is undoubtedly characterised by the phenomenon of globalisation. However, although the aforementioned phenomenon primarily implies the post-Cold War, post-industrial or generally postmodern context, people were actually aware of it in times long past, sometime in between prehistory and history. It was a time when various stories and legends were still deeply and inextricably interwoven in the real world, through the predominant symbolic-religious discourse. An ancient, eternal moral tale preserved to this day, among other things directly referred to globalisation, or more precisely, to its original disappearance. It is the Old Testament episode about the raising of the Towel of Babel. The Biblical text first notes that all the people on earth spoke a single language, which can definitely be understood as an essential symptom of proto-globalisation. The story continues and speaks about the people settled in Shinar (Babel), who united and started to raise a tower whose top would reach heaven. It was an extremely bold and ambitious intention in the field of construction and architecture, obviously not a coincidence. Namely, the construction of a gigantic structure is inevitably followed by economic, ideological, ethical, aesthetic and general socio-psychological connotations whose symbolic potentials offer a wide and fertile ground for better understanding of the entire civilizational atmosphere responsible for the idea and the realisation of such an enterprise. The fate of the Towel of Babel is, of course, generally known; it was never completed. God perceived the peopleâ&#x20AC;&#x2122;s building ambition as pride, so he confused their language and also scattered the people of the city all over the face of the earth. It was the end of the building, and simultaneously of the proto-globalisation.... What is the story of the Tower of Babel actually about, with regards to construction? Firstly, it deals with the denial or the setting of boundaries, in this particular case, the one between heaven and earth. People did not want to be connected only to earth upon which they walked every day; it somehow tempered their ambitions, it filled them with a sort of mental claustrophobia. In other words, they sought knowledge. Their solution was to realise a utopian idea of reaching heaven â&#x20AC;&#x201C; hence knowledge - by building a gigantic tower. The final outcome would not result in knowledge but in universal dystopian decay. It is also the story of a pursuit of power, which, among other things, would be expressed in, by no means insignificant, intervention in the existing landscape. The mentioned determinants are

interwoven and express their metaphorical values in a fictional and never realised building. For this very reason some of these determinants will appear in the titles of the four groups this exhibition is divided into: LLfe, Power and Death; On the Boundary of Utopia, Fantasy and Dystopia; Claustrophobia and Phases and Visions and Boundaries. From the above mentioned it is evident that the Tower of Babel is primarily a metaphor and not a concrete and material architectural achievement. And yet, man’s inherent desire is to present material concepts; he always seeks for their visualisation. In this respect, the Old Testament deprives us of any description of the Tower of Babel. Naturally, painters have presented it when necessary, and through a complex combination of cultural circumstances, the vision by the Flemish Renaissance master Pieter Brueghel senior has become a generally accepted model. With circular floor plans and compact, firm structures, with the storeys that gradually narrow to the top, Brueghel in his Babel Towers (two versions have been saved) emphasises monolithic structures and materials. They were indeed constructed to firmly and stably undo the void between heaven and earth. But, let us visualise Brueghel’s Babel Tower as a “negative“, turned upside down, and going down into earth instead of up to heaven. This would be its complete contrast. A presentation of such fictional “negative“ architecture actually exists. Sandro Botticelli, eighty years Brueghel’s senior, who illustrated Dante’s Divine Comedy, conjured up his vision of the entire map of Inferno. His illustration, which shows a funnel shape descending into the underground, indeed is a reminder of the upturned Babel Tower. Leaving behind all religious-symbolic meanings, we would like to concentrate on the visual representations and the role of architectural space. The above mentioned Renaissance paintings and illustrations can help us understand the spatial dualism typical for architecture. Namely, viewed from the outside, architecture shapes the surrounding space in a “sculptural“ manner, like Brueghel’s Babel Tower, while from the inside it is quite the opposite, because the space becomes “active“ and turns into a sort of a “positive“, like in Botticelli’s Inferno. The art of architecture is primarily an art of shaping space in a utilitarian manner, the shape which arises from a series of previously deeply thought premises. The issue of space – outer (surroundings), inner, but also mental – with all its symbolic, ideological, ethical or aesthetic consequences is an integrating segment of this exhibition. Architecture is an inevitable result if space is intentionally set in an active, dialectic relation to materials and humans. Therefore, the artists presented in this exhibition, each in their own way and extremely diversely, use architecture as the trigger for considering the implications

of various manifestations of space and its influence on human mind. Architecture is not treated superficially and passively, as an interesting motif, but is an active and integral part of social and psychological aspects typical for the creative work of these artists. The power and appeal of religion, capital or politics have always been expressed in architectural works. There is architecture created in alliance with eternity, and the one which is temporary from its very start. However, they both not only shape human physical space, for better or worse, but also the “spaces” of their intellect. It is no coincidence, therefore, that the outrageously aspiring and optimistic liberal-democratic paradigm by Francis Fukuyama, conceived on the wave of euphoria fallowing the fall of the Berlin Wall, clearly and unambiguously laid out in his book The End of History and the Last Man – cataclysmically collapsed with the two giant towers, the ultimate symbols of global capital and its power. It was an utterly tragic, but simultaneously a visually impressive disillusionment at the beginning of the 21st century. In the legend or the Tower of Babel the proto-globalisation was successfully terminated by God himself, while the spectacular attack on modern globalisation – it seems in vain – was launched by cruel and fanatic terrorists. However, in both cases buildings were in the centre of action. Thus were, in an instant, former places of intensive activities turned into spaces of abandoned or demolished bare materials. And indeed, one might wonder whether the main factors in architecture are steel, glass, concrete, bricks, walls ... in a word, materials, or is it still and primarily man. The examples of the Tower of Babel and Twin Towers show that, actually, in a spiritual sense there is no difference between the abandoned/unfinished and demolished buildings. However, general social enthusiasm is often expressed through architectural ideas. It suffices to recall Tatlin’s project which would, naturally, meet its end in utopian-dystopian impasses, as a model with the features of a grand constructivist sculpture. Thus, never started buildings follow the abandoned and demolished ones... Architectural spaces are really (in)consistent. They can create visually impressive symbols of power which inspire awe, they can offer safe havens and intimacy, cause the feeling of constriction or claustrophobia and – with their presence – have a decisive impact on the already established views. This can be significantly changed by the disappearance or emergence of buildings. So the changed spaces – both physical and mental – become part of one’s memory. The artists whose works are shown in the exhibition (In)constancy of Space refer to this issue differently, either poetically or through the media, but the awareness of its constant presence unites them.

PREDGOVOR/ PREFACE Neva Lukić

UTOPIJE NOVOG VREMENA tekst: Neva Lukić

Prostor praznine, odmak od stvarnosti iz kojega nastaje kreativnost, nevidljivo je ozračje koje prožima radove ove izložbe, a koji naprotiv u velikom broju prikazuju baš izgrađene prostore. Radi se, moglo bi se reći, o onome što je povjesničar umjetnosti Aby Warburg u doba modernizma nazivao Denkraumom, prostorom simboličkog razmišljanja.1 Posredstvom ondašnje moderne tehnologije, telefona i telegrafa, po njegovu mišljenu Denkraum je već tad bio dokinut, dok danas, stotinjak godina kasnije, njegovo obezvrjeđenje kola svim vidovima novih komunikacijskih tehnologija. Izložba (Ne)postojanost prostora okuplja umjetnike od kojih mnogi kroz prikaze što kritiziraju izgrađeni, a ponekad i tehnološki unaprijeđen urbani ambijent, traže Denkraum, čeznući za stvaranjem novoga mjesta svoje vlastite utopije. Naime, prvi put u povijesti čovječanstva, više od polovice svjetske populacije živi u gradovima, a taj broj i dalje raste. Očekuje se da će do 2030., čak šestero od desetero ljudi živjeti u gradu, a do 2050. godine sedmero od desetero!2 Stoga nije neobično da se prostor javlja kao čest motiv radova suvremenih umjetnika. Ta pojava započinje već negdje u šezdesetim godinama prošloga stoljeća, te biva sve učestalijom od 1990. godine nadalje3, što se podudara s tadašnjim trendovima migracija stanovništva u urbane sredine. U šezdesetima, motiv urbanog prostora više je bio povezan s institucionalnim i kulturnim kritikama (galerija i muzeja kao javnih prostora koji određuju kulturnu i ekonomsku vrijednost umjetničkih djela), a radovi su vrlo često bili site-specific i instalacije.4 Tek u posljednjih dvadeset pet godina vizualna umjetnost postaje mjesto na kojem se intenzivno analizira, kritizira i promišlja arhitektonski prostor oko nas, putem različitih umjetničkih medija5, iako, dakako, ta pojava svoje začetke već ima u romantizmu, te naročito u modernizmu. U svojoj knjizi Warped Space (Izvitopereni prostor) Anthony Vidler, povjesničar i kritičar moderne i suvremene arhitekture, piše kako je s modernizmom naša percepcija prostora postala drugačijom od one s kraja 19. stoljeća. Navodeći povjesničara umjetnosti Augusta Scmarsowa, koji je živio u doba Fin de sie’clea”, Vidler piše da je povijest arhitekture povijest osjećaja za prostor, te da se u suvremeno doba željezničkih kolodvora i drugih arhitektonskih zdanja, taj osjećaj treba obnoviti u skladu s novim uvjetima.6 Dakle, povijest stilova, što je bio slučaj do otprilike kraja 19. stoljeća, prerasta u povijest prostora.7 1. Anthony Vidler 2000. godine, str. 48-49 2. www.who.int/gho/urban_health/situation_trends/urban_population_growth_text/en/ 3. Isabell Loring Wallace, Nora Wendl 2013 godine, str. 1 4. Idem, str.3 5. Ibidem 6. Anthony Vidler 2000. godine, str.3 7. August Schmarsow, u: Anthony Vidler 2000.godine, str. 3

Tada se, dakako, mijenja i osjećaj za perspektivu. Dotadašnji određeni zakoni perspektive bivaju preoblikovani, a iz tih transformacija rađa se identitet avangardne umjetnosti.8 Koliko god mnoga umjetnička djela već iz toga vremena zrače osjećajem klaustrofobije izazvane novim prostorom velegrada, ipak, mnogi radovi avangardnih umjetnika odišu i jednom novom energijom koja izrasta iz oduševljenja brzinom i snagom novih tehnologija (radovi futurista, npr.). Danas, pak, na početku 21. stoljeća, u vrijeme kad je naš osjećaj za prostor proširen ne samo u prostor vlastite imaginacije, već i u digitalni prostor, i kad se informacije šalju brzinom svjetlosti, a tijela su nam i dalje troma kao da su zastala u Newtonovim zakonima mehanike, naše oduševljenje novim tehnologijama i futurističkom scenografijom koja nas okružuje doima se potrošenim u usporedbi s onim s početka 20. stoljeća. Čini se da nas urbani prostor kojim smo okruženi te umjetan način života koji živimo stješnjava zgradama i različitim informacijama, te je prostor Denkrauma toliko istisnut iz našeg stila življenja da se zamalo više ne može niti govoriti o njegovu postojanju. Ta (ne)postojanost prostora, odnosno i samoga Denkrauma provlači se kroz sve podjele ove izložbe. Ovdje arhitektura nije tek pasivna kulisa ili atraktivan motiv, već je ona vrlo često uništena ili nedovršena materija koja nagovješćuje neku buduću transformaciju prostora. Možda je paradigmatski primjer za to rad Shigea Arikawe, koji virtualnim postupkom ujedinjuje cigle iz različitih dijelova svijeta u jedinstvenu cjelinu…; jer one su doista svugdje oko nas, cigle koje se kontinuirano ruše i na nekom drugom mjestu ponovno obnavljaju, kao da više ništa nije postojano i sigurno. Ta nestalnost, dakako, posljedica je globalizacije koja mijenja našu percepciju i dovodi nas do drugačijeg odnosa prema okolini u kojoj živimo. Kao što piše suvremeni mađarski pisac Péter Nádas u romanu Paralelne pripovijesti: “Jer ljudi kao da više ne žive u prostoru, nego u vremenu. Kao da se ne vežu ni za što tako duboko i intimno, ni za mjesta ni za prostore, a kamoli za predmete”.9 Fragmenti opipljiva prostora i virtualnih informacija izmjenjuju se oko nas velikom brzinom, otvarajući mjesto za neku novu mitologiju 21. stoljeća, koja svoje začetke možda ima baš u umjetničkim djelima koja propituju granice i mogućnosti prostora kao takvog. Mogli bismo pokušati zamisliti Kulu babilonsku 21. stoljeća...Jednostavnu površinu, tek osjećaj čvrstoga, plodnog tla pod nogama i nekoliko ljudi koji sjede na njemu komunicirajući uživo...Je li to kula koja umjesto da doseže Boga, treba tek dosegnuti čovjeka...? Neka sve krene ispočetka, neka nastane bjelina papira, mjesto novih utopija.

8. Anthony Vidler 2000. godine, str.1 9. Nádas 2012. godine

***

U prostoru se nalaze Arhitekt i Umjetnik. Arhitekt uzima papir i olovku u ruke te počinje projektirati kuću, simbol boljega svijeta. Umjetnik čeka, promatra odrješite pokrete Arhitektove šake, osluškuje škrabanje tehničke olovke po papiru... I tako iz dana u dan, velik papir pod Arhitektovim rukama puni se linijama. Uskoro dolaze graditelji i počinju graditi. Prozori sa skice dobivaju praznine. Vrata postaju drvena i s teškim bravama...Uto umjetnik napokon uzme papir i počne crtati novonastalu građevinu. Vraća prozore papiru. Zaboravlja na brave... Jednom kad je slika gotova, uzima je u ruke i ulazi u zgradu. Zabija čavao i vješa umjetničko djelo na prazninu zida. Na kraju bi se možda morala istaknuti međuzavisna veza između arhitekta i umjetnika te između umjetničkih djela i izložbenog prostora jer se u slučaju ove izložbe ponekad čini da oni djeluju na “suprotnim stranama”, odnosno da mnogi od predstavljenih umjetnika isključivo kritiziraju urbani prostor. No, posao umjetnika i arhitekta blizak je, oba zanimanja bave se prostorom, te na isti način započinju svoj rad – na papiru, u prostoru misli – prostoru Denkrauma. Njihov cilj je jednak – oba streme k poboljšanju svijeta. Nadalje, mnogi radovi na izložbi ono stvarno i opipljivo, zgrade, prikazuju na fantastičan način da bi na kraju neopipljivost i beskrajnost slike bila vraćena zidovima izložbenoga prostora Meštrovićeva paviljona... Umjetničke vizije, ponajviše imaginarnih prostora što su većinom kvadratnog tlocrta kao i oni stvarni koje odražavaju (jer kvadratnost prostora oko nas nemilosrdno zasjeca se i u našu maštu) završavaju unutar zaobljenih zidova Galerije Prsten koja je u ovome slučaju, uz fantazmagorične prikaze Kule Babilonske, jedina kružnoga tlocrta... A krug, kao što je poznato, predstavlja cjelovitost i beskonačnost, gdje početak, kraj i kut ne postoje... Čini se, dakle, kao da je ova izložba vječna refleksija iz imaginarnog (nacrt) u stvarno (zgrada) u imaginarno (slika) u stvarno (izložba), i tako unedogled u prostoru kruga. Postiže se efekt ogledala, a ogledalo je, na kraju krajeva, utopija, budući da je ono bezmjesno mjesto (placeless place)...10

10. Michel Foucault 1984.godine, str.46-49

Popis izvora: •

• •

Foucault Michel, “Des Espace Autres”, published in: Architecture /Mouvement/ Continuité, no.5, October, 1984, pp. 46-49 Loring Walacce Isabell, Nora Wendl, Contemporary Art About Architecture, Ashgate Publishing Company, 2013 Nádas Péter, Parallel Stories , Fraktura, 2012 Vidler Anthony, Warped Space, MIT press, 2000

•

www.who.int/gho/urban_health/situation_trends/urban_population_growth_text/en/

•

UTOPIAS OF THE NEW ERA text: Neva Lukić

The space of emptiness, the detachment from reality that breeds creativity, is an invisible atmosphere that pervades the artworks in this exhibition, which, on the contrary, in a large number show constructed spaces. It is what the Modernist art historian Aby Warburg called Denkraum, (symbolic thinking space)1 which, unfortunately, according to him, even then was nullified by the fast pace of modern technology – at that time telephone and telegraph, while today its supersession flows through all the varieties of new communication technologies. The exhibition The (In)constancy of Space has gathered artists, many of whom, through their art which criticizes the constructed and sometimes technologically advanced urban landscape, seeking Denkraum, long to create a new place of their own utopia. The fact is that, for the first time in human history, more than half of the world population lives in cities, and the number is still growing. It is expected that in 2030 six out of ten people will be city dwellers, and seven out of ten in 2050!2 It is not surprising, therefore, that a constructed space is the common theme in the works of contemporary artists. The phenomenon started in the 1960s and has become more frequent since the 1990s3, which coincides with the migrations to urban areas at the time. In the 1960s the issue of the constructed space was more linked with the institutional and cultural criticism (by galleries and museums, public spaces that determine the cultural and economic value of artworks), and the works were often “site-specific” and installations.4 Only in the last twenty five years Contemporary Art has been the place of constant analysis, criticism and reflection on architectural landscape surrounding us, by using various art media5, although, obviously, this phenomenon origins in Romanticism, and particularly in Modernism. In his book Warped Space, Anthony Vidler, a historian and critic of Modern and Contemporary architecture, writes that our perception of space has changed since the end of the 19th century. Referring to August Schmarsow, who lived in the era of “Fin de Sie’cle”, Vidler notes that the history of architecture is the history of the feeling for space and that today, in time of railway stations and other architectural structures, this feeling has to be renewed in accordance with the new conditions.6 Thus, the “history of styles”, dominant until the end of the 19th century, turned into the “history of space”.7

1. Anthony Vidler 2000, p.48-49 2. www.who.int/gho/urban_health/situation_trends/urban_population_growth_text/en/ 3. Isabell Loring Wallace, Nora Wendl, 2013,p.1 4. Idem, p.3 5. Ibidem 6. Anthony Vidler 2000,p.3 7. August Schmarsow, in: Anthony Vidler 2000, p.3

At that time, naturally, the sense of perspective changed. Former fixed laws of perspective were transformed, which bred the identity of Avant-garde art.8 As much as numerous works of art of that time bring the feeling of claustrophobia caused by the new area of a megacity, still, numerous Avant-garde artworks exude a new energy that had bred from the enthusiasm about the speed and strength of new technologies (e. g. the Futurists’ works of art). Today, however, at the beginning of the 21st century, in a times when our feeling for space has been expanded not only to the space of our own imagination, but also into the digital one, when information travels at the speed of light, and our bodies are still as inert as if stuck in Newton’s laws of mechanics, our delight in new technologies and futuristic scenery that surrounds us seems to have been spent, compared with that at the beginning of the 20th century. We seem to have been so constricted by the buildings and various information in the surrounding urban space and the artificial life we live that the space of Denkraum has been removed from our life style and has stopped existing. This (in)constancy of space, and of the Denkraum itself, runs through all the sections in the exhibition. Architecture is not just a passive stage set or an attractive motif, but it is very often a ruined or unfinished substance predicting the future transformation of space. A paradigmatic example for the above is possibly the work of Shigeo Arikawa, who virtually unites the bricks from all over the world into a single entity...; because bricks are indeed all around us, bricks that are being constantly torn down and rebuilt elsewhere, as though nothing were constant and safe. This inconstancy, naturally, is a consequence of globalisation which changes the perspective and brings a different attitude to the environment in which we live. As Hungarian writer Péter Nádas writes in his novel Parallel Stories: “Because people appear not to live in space any more but in time. As if they were not bonded to anything deeply or intimately, neither to places nor to time, not to mention objects”.9 Fragments of tangible space and virtual information exchange around us at high speed, opening the place for a new mythology of the 21st century which might have been generated by the works of art which question the boundaries and the possibilities of space as it is. We could try to imagine The Tower of Babel in the 21st century...A simple surface, just a feeling of firm, fertile land under our feet and a few people sitting on it and communicating live....Is it a tower which, instead of reaching God, should only reach man..? May it all start afresh, may white paper appear, the place for new utopias.

8. Anthony Vidler 2000, p. 1 9. Nádas, 2012

*** In the space there is an Architect and an Artist. The Architect takes a paper and a pencil in his hand and starts designing a house, the symbol of a better world. The Artist is waiting, watching the determined motions of the Architect’s hand, listening to the scratching of the mechanical pencil on the paper.... And so day by day, under the Architect’s hands the large piece of paper is filled with lines. Eventually the builders arrive and start building. Windows from the draft become gaps. Doors turn into wood with heavy locks...Then the Artist finally takes a paper and starts drawing the newly developed building. He returns the windows to the paper. Forgets the locks...Once he has finished the painting he enters the building. He hammers a nail and hangs the work of art on a blank wall. Finally, we should emphasise the interdependent relationship between architects and artists and between the works of art and the exhibition hall because in this exhibition sometimes it may seem that they work on “opposite sides”, as a lot of artworks in the exhibition mostly criticize urban space. However, the work of artist and architect is similar, both professions deal with space and start working in the same manner – on paper, in the thinking space – in the space of Denkraum. They have the same goal – they aspire to improve the world. Furthermore, a lot of artworks in the exhibition, the real and tangible, the buildings, show in a surreal way so that the intangibility and the infinity of a image would be returned to the walls of the Meštrović Pavillion... Artistic visions, mainly of imaginary spaces that are mostly square in shape as well as the real ones which they reflect (because the square shape of the space surrounding us cuts into our imagination relentlessly) are returned to the curved walls of the Ring Gallery which is in this case, together with phantasmagoric representations of the Towel of Babel, the only one with the circular layout…And the circle, as is well known, represents wholeness and endlessness where the beginning, the end and the angle do not exist... It seems, therefore, that this exhibition is an eternal reflection from the imaginary (plan) into real (building) into imaginary (painting) into real (exhibition), and so on forever in a circle. A mirror effect is achieved, and the mirror is, ultimately, a utopia, since it is a placeless place....10

10. Michel Foucault, 1984, pp.46-49

References: • • • • •

ŽIVOT, MOĆ I SMRT/LIFE, POWER AND DEATH

ZOLTAN NOVAK Zoltan Novak (Zagreb, Hrvatska, 1963.) studirao je i diplomirao slikarstvo na Nastavničkom odsjeku Akademije likovnih umjetnosti u Zagrebu. Zaposlen je kao izvanredni profesor na Slikarskom odsjeku Akademije likovnih umjetnosti u Zagrebu. Izlagao je na više samostalnih i skupnih izložbi u Hrvatskoj i inozemstvu. U njegovom slikarstvu uglavnom prevladavaju egzistencijalističke vizije i tjeskobe s kojima je suvremeni urbani pojedinac prinuđen svakodnevno se suočavati.

Zoltan Novak (Zagreb, Croatia,1963) graduated in painting from The Academy of Arts in Zagreb. He is an associate professor at the Department of Painting, the Academy of Arts in Zagreb. He has exhibited in a number of solo and group exhibitions in Croatia and abroad. The prevailing topics of his paintings are the existential visions and anguish which a modern urban individual faces.

Kontakt/ Contact: zoltan.novak@zg.t-com.hr Web stranica/ Website: www.zoltannovak.from.hr Naziv rada uz reprodukciju/ The title of the item in the photograph: TORANJ SDCO 2 / TOWER SDCO 2, 2014

VEDRAN PERKOV Vedran Perkov (Split, Hrvatska, 1972.) diplomirao je slikarstvo na Akademiji likovnih umjetnosti Brere u Milanu. Od 2004. do 2010. godine radio je kao asistent i docent slikarstva na Umjetničkoj akademiji u Splitu. Izlagao je na brojnim samostalnim i skupnim izložbama u Hrvatskoj i inozemstvu. Studijski je boravio u Italiji, Švedskoj, Alžiru, Latviji i SAD-u. U svojem radu različitim umjetničkim postupcima problematizira, propituje, a nerijetko i ironizira neke pojave odnosno aspekte karakteristične za suvremeno društvo. Vedran Perkov (Split, Croatia, 1972) graduated in painting from Academy of Arts of Brera in Milan. From 2004 to 2010 he was an assistant lecturer and assistant professor at the Academy of Arts in Split. He has exhibited in a number of solo and group exhibitions in Croatia and abroad. He has been on study visits in Italy, Sweden, Algeria, Latvia and the USA. In his work he examines and very often ironizes some phenomena and aspects that characterize modern society. Kontakt/ Contact: vedran.perkov@gmail.com Web stranica/ Website: vedranperkov.blogspot.com Naziv rada uz reprodukciju/ The title of the item in the photograph: BROADWAY BOOGIE-WOOGIE, 2013

SARA RAJAEI Sara Rajaei (Abadan, Iran, 1976.) video je umjetnica i filmska redateljica iz Nizozemske. Nakon što je diplomirala na Kraljevskoj likovnoj akademiji u Haagu (KABK), bila je na dvogodišnjem studijskom boravku na umjetničkoj rezidenciji Rijksakademie van Beeldende Kunsten u Amsterdamu. Godine 2009. osvojila je jednu od Prix de Rome holandskih nagrada za mlade umjetnike. U svojem radu bavi se pojmom vremena, ulogom sjećanja i raznim vidovima pripovijedanja. Sara Rajaei (Abadan, Iran, 1976) is a video artist and film maker based in The Netherlands. After her graduation from Royal Academy of Arts in The Hague (KABK), Sara attended a two years residency at the Rijksakademie van Beeldende Kunsten in Amsterdam. In 2009 she won the Dutch Prix de Rome basic prize. In her work she focuses on the notion of time, the function of memory and various ways of storytelling. Kontakt/ Contact: sarajaei@yahoo.com Web stranica/ Website: www.sarajaei.com Naziv rada uz reprodukciju/ The title of the item in the photograph: 231. DAN 1978. / 1978 THE 231st DAY, 2012

ANA SLADETIĆ Ana Sladetić (Vukovar, Hrvatska, 1985.) diplomirala je grafiku na Akademiji likovnih umjetnosti u Zagrebu. Studijski i rezidencijalno boravila je u Njemačkoj, Francuskoj, Finskoj i Belgiji. Polaznik je poslijediplomskog doktorskog studija slikarstva na Akademiji likovnih umjetnosti u Zagrebu. Izlagala je na više samostalnih i skupnih izložbi u Hrvatskoj i inozemstvu. U svojim crtežima i multimedijalnim instalacijama pretežno propituje i istražuje fenomene pamćenja i zaborava, subjektivne percepcije te individualne duhovnosti.

Ana Sladetić (Vukovar, Croatia, 1985) graduated in graphic arts from The Academy of Arts in Zagreb. She has been on study visits and an artist in residence in Germany, France, Finland and Belgium. She is doing a postgraduate course in painting at the Academy of Arts in Zagreb. She has exhibited in a number of solo and group exhibitions in Croatia and abroad. In her drawings and multimedia installations she predominantly examines and investigates the phenomena of memory, forgetting, subjective perception and individual spirituality.

Kontakt/ Contact: anasladetic@gmail.com Website/ Website: www.anasladetic.com Naziv rada uz reprodukciju/ The title of the item in the photograph: GDJE JE_DOM? / WHERE IS_HOME?, 2012

ROBERT ŠIMRAK

Robert Šimrak (Zagreb, Hrvatska, 1967.) diplomirao je grafiku na Akademiji likovnih umjetnosti u Zagrebu. Zaposlen je kao izvanredni profesor na Grafičkom odsjeku Akademije likovnih umjetnosti u Zagrebu. Studijski je boravio u Indiji, Francuskoj i Maroku. Izlagao je na više samostalnih i skupnih izložbi u Hrvatskoj i inozemstvu. U svojim digitalnim grafikama propituje utjecaj što ga neznatne intervencije mogu imati na drugačije sagledavanje uobičajenih svakodnevnih predmeta ili sadržaja.

Robert Šimrak (Zagreb, Croatia, 1967) graduated in graphic arts from The Academy of Arts in Zagreb. He is an associate professor at the Graphic Arts Department, the Academy of Arts, Zagreb. He has been on study visits in India, France and Morocco. He has exhibited in a number of solo and group exhibitions in Croatia and abroad. In his digital prints he questions the influence that minimal interventions can have on the different view of some usual, everyday objects or contents. Kontakt/ Contact: simrak.robert@hi.htnet.hr Naziv rada uz reprodukciju/ The title of the item in the photograph: SLAVOLUK LEGO/ TRIUMPHAL ARCH LEGO, 2003

NA RAZMEĐU UTOPIJE, FANTAZIJE I DISTOPIJE/ ON THE BOUNDARY OF UTOPIA, FANTASY AND DYSTOPIA

ANKE VAN DEN BERG

Anke van den Berg (Sint Anthonis, Nizozemska, 1978.) poslije studija za grafički dizajn u Eindhovenu diplomirala je likovnu umjetnost na Kraljevskoj likovnoj akademiji u Haagu (KABK). Izlagala je na samostalnim i skupnim izložbama u Nizozemskoj i inozemstvu. Njezin rad ujedinjuje elemente fotografije, digitalne manipulacije i animacije. Bavi se temama napuštenih ljudskih građevina i gradskih krajolika.

Anke van den Berg (Sint Anthonis, The Netherlands, 1978) finished school for graphic design in Eindhoven and she graduated with a BA degree in Visual Arts from the KABK in The Hague. Anke has exhibited at solo and group exhibitions in The Netherlands and abroad. Her work blends elements as photography, digital manipulation and animation. Her subjects mostly deal with deserted man-made structures and urban landscapes. Kontakt/ Contact: contact@ankevandenberg.nl Web stranica/ Website: www.ankevandenberg.nl Naziv rada uz reprodukciju/ The title of the item in the photograph: BABILON NA STIJENAMA/ BABEL ON THE ROCKS, 2012

TANJA DEMAN Tanja

Deman

(Split,

Hrvatska,

1982.) diplomirala je na Akademiji likovnih umjetnosti u Zagrebu. Stručno se usavršavala i boravila u SAD-u, Njemačkoj, Austriji, Nizozemskoj i Južnoafričkoj republici. Izlagala je na brojnim samostalnim i skupnim izložbama u Hrvatskoj i inozemstvu. U svojem radu istražuje fenomene kolektivne psihologije i prostora, pritom se usredotočujući na novije izgrađenu arhitektonsku

baštinu

njen

odnos naspram prirode.

Tanja Deman (Split, Croatia, 1982) graduated from the Academy of Arts in Zagreb. She has done professional training in the USA, Germany, Austria, the Netherlands and South Africa. She has exhibited in numerous solo and group exhibitions in Croatia and abroad. In her work she investigates the phenomena of collective psychology and space with a focus on recent architectural heritage and its relation to nature. Kontakt/ Contact: tanja.deman@gmail.com Web stranica/ Website: www.tanja-deman.com Naziv rada uz reprodukciju/ The title of the item in the photograph: KAZALIŠTE/ Theatre, 2013

LILIAN KREUTZBERGER

Kontakt/ Contact: liliankreutzberger@yahoo.com Web stranica/ Website: www.liliankreutzberger.nl Naziv rada uz reprodukciju/ The title of the item in the photograph: KULA BABILONSKA / TOWER OF BABEL, 2011

Lilian Kreutzberger (Middelburg, Nizozemska, 1984.) likovna je umjetnica koja trenutno živi i radi u New Yorku. Odobren joj je studijski boravak u okviru rezidencijalnih programa NY i ISCP, i u Parku skulptura Socrates, u Queensu, New York. Lilian Kreutzberger dobila je stipendiju od nizozemskog Mondriaan fonda i Fullbrightovu stipendiju, a dobitnica je nagrade Buning Brongers za slikarstvo. Svoje slikarsko i skulptorsko iskustvo želi spojiti preispitujući uzaludnosti, dileme i izazove suvremenih utopija te ulogu gradskih prostora u njima.

Lilian Kreutzberger (Middelburg, The Netherlands, 1984) is a visual artist who currently lives and works in New York. She has been accepted to NY and the ISCP residency program NY, and Socrates Sculpture Park, Queens, NY. Kreutzberger received grants from the Dutch Mondriaan fonds and also Fulbright Foundations and won the Buning Brongers prize for painting. As a painter and sculptor her aim is to synthesize her research with regards to the futility, dilemmas and challenges of modern utopias and the role that urban spaces play within them.

RIK SMITS Rik Smits (Haag, Nizozemska, 1982.) diplomirao je na Kraljevskoj likovnoj akademiji u Haagu. Izlagao je na međunarodnim, samostalnim i skupnim izložbama. Neprekidno radi na svojim vrlo detaljnim crtežima izmaštanih slika gradova. Godine 2013. izradio je trodimenzionalne modele svojih izmišljenih gradova kao poveznicu sa svojim dvodimenzionalnim radovima. Rik Smits (The Hague, The Netherlands, 1982) graduated from the Royal Academy of Arts in The Hague. He continues to work on his highly detailed drawings of imaginary cityscapes and has managed to expose his work in solo and group exhibitions internationally. In 2013 he also created 3 dimensional models of his fictional cities to create a dialogue with his 2 dimensional work. Kontakt/ Contact: info@riksmits.net Web stranica/ Website: www.riksmits.net Naziv rada uz reprodukciju/ The title of the item in the photograph: MONUMENT ROCK ISLAND, 2012

ROB VOERMAN

Rob Voerman (Deventer, Nizozemska, 1966.) trenutno živi u Arnhemu i radi u selu Groessen, u Nizozemskoj. Otkad je 1996. godine diplomirao na Umjetničkoj školi u Kampenu, Nizozemska, Voerman je izlagao širom svijeta. Njegova se djela nalaze u mnogim važnim zbirkama. Radovi mu se uglavnom bave arhitekturom, osobito onom u kojoj čovjek nastoji pobjeći od društva da bi započeo utopijski i potpuno autonoman svijet. Stvara u različitim medijima: skulpturi, grafici, slikarstvu te instalaciji.

Rob Voerman (Deventer, The Netherlands, 1966) currently lives in Arnhem and works in the village Groessen, both The Netherlands. Since his graduation in 1996 at the Art School in Kampen, The Netherlands, he has exhibited worldwide. His work is included in many major collections. Voerman’s artworks mostly show architecture, and even more, architecture in which the man tries to flee away from the society and start a utopian and completely autonomous world. He works in many different media: sculpture, installation-art, printmaking and painting. Kontakt/ Contact: rob.voerman@gmail.com Web stranica/ Website: www.robvoerman.nl Naziv rada uz reprodukciju/The title of the item in the photograph: EPICENTAR / EPICENTRE, 2007

DANIJEL ŽEŽELJ Danijel Žeželj (Zagreb, Hrvatska, 1967.) autor je stripova, animiranih filmova, grafičar i ilustrator. Stripove i ilustracije objavljivao je s izdavačima DC Comics/Vertigo, Marvel Comics, Dark Horse, The New York Times Book Review, The Harper’s Magazine, Grifo Edizioni, Hazard, Dargaud itd. Autor je više od dvadeset grafičkih novela i tri animirana filma. U multimedijalnom projektu Brooklyn Babylon radnja se odvija u okružju gigantskog tornja kao dojmljive metafore bezosjećajnih i neutaživih poduzetničkih ambicija.

Danijel Žeželj (Zagreb, Croatia, 1967) is a graphic novelist, animator, graphic designer and illustrator. His comics and illustrations have been published by DC Comics/Vertigo, Marvel Comics, Dark Horse, The New York Times Book Review, The Harper’s Magazine, Grifo Edizioni, Hazard, Dargaud etc. He is the author of more than twenty graphic novels and three animated movies. In the multimedia project Brooklyn Babylon the story develops within a gigantic tower, an impressive metaphor of unfeeling and unfulfilling entrepreneurial ambitions.

Kontakt/ Contact: zipa@wolfenet.com Web stranica/ Website: www.dzezelj.com Naziv rada uz reprodukciju / The title of the item in the photograph: BABILON / BABYLON, 2012

KLAUSTROFOBIJA I MIJENE/ CLAUSTROPHOBIA AND PHASES

TEA HATADI Tea Hatadi (Koprivnica, Hrvatska, 1980.) diplomirala je na Akademiji likovnih umjetnosti u Zagrebu gdje nastavlja doktorski studij iz slikarstva. Kao CEEPUS-ova stipendistica studirala je dva semestra na VŠUP u Pragu u slikarskom studiju i ateljeu K.O.V. Boravila je na umjetničkim rezidencijama u Beču i Amersfoortu. Izlagala je na više samostalnih i skupnih izložbi u Hrvatskoj i inozemstvu. Služeći se različitim multimedijalnim postupcima propituje poveznice između prošlosti i sadašnjosti. Tea Hatadi (Koprivnica, Croatia, 1980) graduated from The Academy of Arts in Zagreb where she is currently doing a doctoral course in painting. Within CEEPUS grant she did two semeters at the Academy of Arts, Architecture and Design in Prague and at the K.O.V. studio. She has been an artist in residence in Vienna and Amersfoort. She has exhibited in a number of solo and group exhibitions in Croatia and abroad. Using a variety of multimedia methods she questions the links between the past and the present. Kontakt/ Contact: tea.hatadi@gmail.com Web stranica/ Website: www.teahatadi.wix.com Naziv rada uz reprodukciju/ The title of the item in the photograph: ...Kao što je na zemlji/ ...As it is on Earth,2013

WILLEM VAN DER HOFSTEDE

Willem van der Hofstede (Rotterdam, Nizozemska, 1957.) diplomirao je biologiju, a zatim se počeo baviti slikanjem. Nakon nekoliko godina djelovanja kao samouk, upisao se na Kraljevsku likovnu akademiju u Haagu (KABK), gdje je i diplomirao. Radi kao profesionalni umjetnik i svoja djela izlaže u Holandiji, Belgiji i Njemačkoj. Posljednjih se deset godina u svojem radu bavi izgrađenim okolišem kao temom. Slikajući, nastoji uhvatiti promjene grada koji ga okružuje.

Willem van der Hofstede (Rotterdam, The Netherlands, 1957) got a bachelor degree in biology, then switched to painting. After working for several years as an autodidact, he graduated from the Royal Academy of Fine Arts in The Hague (KABK). He is a full time artist and shows his work in Holland, Belgium and Germany. For the last ten years Willem’s work deals with the constructed environment as a subject. In the medium of painting he is trying to capture the changing of the city around. Kontakt/ Contact: vanderhofstede@hotmail.com Web stranica/ Website: www.willemvanderhofstede.net Naziv rada uz reprodukciju/ The title of the item in the photograph: GRAĐEVINSKA JAMA POKRAJ GLAVNOG KOLODVORA U HAGU/ CONSTRUCTION PIT BY THE HAGUE CENTRAL STATION , 2008

FERENC MOLNAR Ferenc Molnar (Szolnok, Mađarska, 1968.) diplomirao je fotografiju na Kraljevskoj likovnoj akademiji u Haagu (KABK). Radi kao voditelj radionica i nastavnik na spomenutoj akademiji, gdje vodi radionicu o konceptualnoj video umjetnosti i video performansima uživo. U svojem radu istražuje granice fotografije i pokušava redefinirati njezino mjesto i značenje u digitalnom dobu, kao nositelja informacija i pokretačke sile nekih kulturnih i društvenih promjena koje danas preoblikuju naše viđenje svijeta i nas samih.

Ferenc Molnar (Szolnok, Hungary, 1968) graduated from the Royal Academy of Arts in The Hague (KABK) as a photographer. He is also a coach and a teacher at the same academy, where he runs the workshop on conceptual video art and live video performance art. In his work he explores the boundaries of photography and makes an attempt to redefine the meaning and the position of the medium in the digital age, as a carrier of information and as a driving force behind some of the cultural and social changes, which are currently reshaping our perception of the world and ourselves.

Kontakt/ Contact: info@baseground.nl Web stranica/ Website: www.baseground.nl Naziv rada uz reprodukciju/ The title of the item in the photograph: 2007/3.3bilion/3%/80%, 2011

GORAN ŠKOFIĆ

Goran Škofić (Pula, Hrvatska, 1979.) diplomirao je na Umjetničkoj akademiji u Splitu. Izlagao je na brojnim samostalnim i skupnim izložbama u Hrvatskoj i inozemstvu. Boravio je na umjetničkim rezidencijama u Europi, Sjevernoj i Južnoj Americi. U svojim radovima istražuje i problematizira poziciju pojedinca unutar raznih socijalnih sfera suvremenog života. Goran Škofić (Pula, Croatia, 1979) graduated from The Academy of Arts in Split. He has exhibited in various solo and group exhibitions in Croatia and abroad. He has been an artist in residence in Europe, Northern and Southern America. In his works he deals with the issue of the position of an individual within various social spheres of contemporary life. Kontakt/ Contact: goranskofic@gmail.com Web stranica/ Website: www.goranskofic.com Naziv rada uz reprodukciju/ The title of the item in the photograph: OGRANIČENJE / CONSTRAINT, 2013

GRANICE I VIZIJE/ VISIONS AND BOUNDARIES

SHIGEO ARIKAWA

Shigeo Arikawa (Tokyo, Japan, 1982.) umjetnik je i filmski redatelj. Diplomirao je na Umjetničkoj akademiji u Tokyu. Godine 2014. seli u Amsterdam, gdje je trenutno na dvogodišnjem rezidencijalnom programu Rijksakademie van Beeldende Kunsten. Kroz fotografske i video kadrove Arikawa stvara elemente koji prolaze kroz zamršenu mrežu naše percepcije: elemente koji se fino ili maglovito preobražavaju, iako se jasno pojavljuju.

Shigeo Arikawa (Tokyo, Japan, 1982) is an artist and film maker. He graduated from the Tokyo University of Arts. In 2014 he moved to Amsterdam, where he currently works as an artist in residence at the Rijksakademie van Beeldende Kunsten. Through the frame of photography and video, Arikawa creates elements that pass through our meshes of perception: elements that are subtly metamorphosing, or vague, though appearing distinctly.

Kontact/ Contact: info@back2now.com Web stranica/ Website: www.back2now.com Naziv rada uz reprodukciju/ The title of the item in the photograph: NEGDJE STAJATI OVDJE, TO JE BILO GDJE / SOMEWHERE STANDING HERE IS ANYWHERE, 2014

DARKO FRITZ Darko Fritz (Split, Hrvatska, 1966.) vizualni je umjetnik, samostalni kustos i istraživač. Njegov rad premošćuje jaz između suvremene umjetnosti, medijske umjetnosti i kulture društvenih mreža, baveći se temama kao što su greške u kompjuterskom sustavu (glitch), pogreške i nadzor. U posljednje vrijeme postavlja hortikulturne jedinice na javnim mjestima. Njegov kustoski rad – istraživanje Novih tendencija te rane računalne umjetnosti – međunarodno je prepoznat i priznat.

Darko Fritz (Split, Croatia, 1966) is an artist, independent curator and researcher. His work bridges over the gulf between contemporary art, media art and network culture, taking up topics such as the glitch, error and surveillance. Recently he has been developing horticultural units in public spaces. His curatorial work and research on New Tendencies and early computer art has earned international acclaim. Kontakt/ Contact: darko@darkofritz.net Web stranica/ Website: darkofritz.net Naziv rada uz reprodukciju/ The title of the item in the photograph: space=space: zadarski gradski trg / space=space: Zadar city square, 2007

AREND GROOSMAN Arend Groosman (Vught, Nizozemska, 1983.) diplomirao je na Odsjeku za spomeničku umjetnost Likovne akademije u Enschedeu, Nizozemska. Radi kao samostalni umjetnik u svojem utopijskom svijetu promjenjivih i pokretnih sustava. Rezultate svojih eksperimenata fino ugađa u potrazi za savršenim promjenjivim sustavom, a svoja otkrića pretvara u predmete koji mogu biti korisni u svakodnevnom životu. Sudjelovao je na nekoliko izložbi diljem Europe.

Arend Groosman (Vught, The Netherlands, 1983) graduated from the Monumental Art Department at the Academy of Visual Arts (AKI) in Enschede, The Netherlands. Since then, he has been working as an autonomous artist on his utopian world of transformable and mobile systems. While running his experiments and fine tuning his results into his search for the perfect transformable system, he develops his findings into objects that can sometimes be useful in everyday life. Arend has participated in several exhibitions around Europe. Kontakt/ Contact: arendgroosman@gmail.com Web stranica/ Website: www.arendgroosman.com Naziv rada uz reprodukciju/ The title of the item in the photograph: BLACKBOX, modularni sustav gradnje /BLACKBOX, modular building system, 2012

MARGARETA LEKIĆ Margareta Lekić (Osijek, Hrvatska, 1982.) diplomirala je kiparstvo na Akademiji likovnih umjetnosti u Zagrebu. Studijski i rezidencijalno boravila je u SAD, Austriji i Francuskoj. Izlagala je na više samostalnih i skupnih izložbi u Hrvatskoj i inozemstvu. U svojim se radovima problemski referira na širok spektar općeprihvaćenih i uvriježenih predodžbi koje relativizira i filozofski propituje te na taj način kreira misaone okvire za njihovo novo sagledavanje.

Margareta Lekić (Osijek, Croatia, 1982) graduated in sculpture from The Academy of Arts in Zagreb. She has been on study visits and an artist in residence in the USA, Austria and France. She has exhibited at solo and group exhibitions in Croatia and abroad. In her work she deals with a wide range of widely accepted ideas and established concepts which she relativizes, i.e. questions from the philosophical perspective and thus creates a reflective framework for their new understanding. Kontakt/ Contact: margareta.lekic@gmail.com Web stranica/ Website: margaretalekic.tumblr.com Naziv rada uz reprodukciju/ The title of the item in the photograph: PAVILJON BOSTON/ PAVILION-BOSTON, 2009

GABRIEL LESTER Gabriel

Lester

(Amsterdam,

Nizozemska, 1972.) živi i radi u Amsterdamu. Izlagao je na mnogim uglednim međunarodnim izložbama širom svijeta, a njegovi se radovi nalaze u nekoliko važnih javnih i privatnih zbirki, primjerice u Muzeju Stedelijk u Amsterdamu i Muzeju Boijmans Van Beuningen u Rotterdamu. Lesterovi filmovi i instalacije nastaju iz želje za pripovijedanjem i stvaranjem okolina prikladnih za nastale priče ili okolina koje nude vlastito narativno tumačenje.

Gabriel

Lester

(Amsterdam,

The

Netherlands, 1972) lives and works in Amsterdam. He has exhibited at numerous prestigious international exhibitions worldwide, and his work is part of several important public and private collections e.g. the Stedelijk Museum, Amsterdam and the Museum Boijmans Van Beuningen, Rotterdam. Lester’s films and installations originate from the desire to tell stories and construct the environments that support these stories or propose their own narrative interpretation. Kontakt/ Contact: mail@fonswelters.nl Web stranica/ Website: gabriellester.com Naziv rada uz reprodukciju/ The title of the item in the photograph: SKROVIT ŽIVOT GRADOVA / THE SECRET LIFE OF CITIES, 2013

MAJA MARKOVIĆ Maja Marković (Zagreb, Hrvatska, 1979.) diplomirala je slikarstvo na Akademiji likovnih umjetnosti u Zagrebu. Tri je mjeseca boravila na Akademiji likovnih umjetnosti u Ljubljani. Izlagala je na brojnim samostalnim i skupnim izložbama. Boravila je na rezidencijama u Austriji i Njemačkoj. U svojim radovima, najčešće posredstvom dvodimenzionalnog i trodimenzionalnog konstruiranja imaginarnih arhitektonskih konstrukcija, propituje mogućnosti odnosno nemogućnosti kreiranja subjektivno uvjetovanih prostora.

Maja Marković (Zagreb, Croatia, 1979) has graduated in painting from The Academy of Arts in Zagreb. She has spent three months at the Academy of Arts in Ljubljana, Slovenia. She has exhibited in numerous solo and group exhibitions. She has been an artist in residence in Austria and Germany. Her work, usually two dimensional and three dimensional imaginary architectural structures, investigates the possibilities, namely, impossibilities of creating subjectively conditioned spaces.

Kontakt/ Contact: mamarkovic@gmail.com Web stranica/ Website: www.markovicmaja.blogspot.com Naziv rada uz reprodukciju/ The title of the item in the photograph: SMETNJE / INTERFERENCES, 2011

POPIS IZLOŽENIH RADOVA/ LIST OF EXHIBITED ARTWORKS

ANKE VAN DEN BERG Babilon na stijenama/ Babel on the rocks, 2012 kombinirana tehnika/ mixed media | 76 x 98.63 cm | ustupila galerija Seelevel, Amsterdam/ courtesy of Seelevel Gallery, Amsterdam

ANKE VAN DEN BERG Zeleni Babilon/ Green Babel, 2010 | kombinirana tehnika/ mixed media | 76 x 98.63 cm | ustupila galerija Seelevel, Amsterdam/ courtesy of Seelevel Gallery, Amsterdam

SHIGEO ARIKAWA Negdje stajati ovdje to je bilo gdje/ Somewhere standing here is anywhere | 2014 | inkjet tisak na prozirnoj foliji, projektor, cigle/ inkjet printing on transparent sheet, projector, bricks I 150 × 570 cm

DARKO FRITZ space=space: zadarski gradski trg/ space=space: Zadar city square, 2007 dio projekta: space=space/ part of the project: space=space

TANJA DEMAN iz serije Kolektivni narativi/ from series Collective narratives: Stadion/ Stadium, 2013 | arhivski inkjet print/archival inkjet print | 90 x 135 cm

TANJA DEMAN iz serije Kolektivni narativi/ from series Collective narratives: Drakensberg/Drakensberg, 2013 | arhivski inkjet print/ archival inkjet print | 90 x 135 cm

TANJA DEMAN iz serije Kolektivni narativi/ from series Collective narratives: Kazalište/Theatre | 2013 | arhivski inkjet print/ archival inkjet print 105 x 120 cm

willem van der hofstede Grad u promjeni oko Turfmarkta/ The changing city around the Turfmarkt’ 2007 | ulje na platnu/ oil on canvas | 100 x 150 cm | zbirka Povijesnog muzeja u Den Haag/ The Historical Museum of The Hague collection

Tea Hatadi ...Tako i na zemlji/ … As It Is On Earth, 2012 video | trajanje/ duration: 3’28’’

AREND GROOSMAN Blackbox, Modularni sustav gradnje/ Blackbox, Modular Building System, 2012 crni MDF obložen pčelinjim voskom i limunskim uljem/ black MDF coated with beeswax and citrus oil | komadi između 30 i 120 mm / elements between 30 and 120 mm

Lilian Kreutzberger Panoptikum Babilonska kula/ Panopticum Tower of Babel, 2011 | marker na papiru/ marker on paper I 127 x 178 cm

Lilian Kreutzberger Babilonska kula/ Tower of Babel 2011 | marker na papiru/ marker on paper I 203 x 304 cm

willem van der hofstede GRAĐEVINSKA JAMA POKRAJ Glavnog kolodvora u Den Haagu/ CONSTRUCTION PIT BY The Hague Central Station, 2008 | ulje na platnu/oil on canvas | 100 x 120 cm | ustupila galerija Smelik & Stokking, Den Haag/ courtesy of Smelik & Stokking gallery, The Hague

Margareta Lekić Paviljon – Osijek/PavillionOsijek, 2013 | video | trajanje/ duration: 12’6’’

Margareta Lekić Paviljon – Boston/ Pavillion – Boston, 2009 | serija fotografije/ series of photographs I 3 x (40 x 50 cm)

Gabriel Lester Skrovit život gradova/The Secret Life of Cities 2013 | HD-video, okružujući zvuk, dvo-kanalna projekcija/ HD-video, surround sound, dual channel projection | trajanje/ duration: 14’ | ustupila galerija Fons Welters, Amsterdam/courtesy of Fons Welters gallery, Amsterdam

Maja Marković Smetnje/ Interferences, 2011 prostorna instalacija/ spatial installation | crteži u tušu i olovci na papiru | 40 x 30 cm | stop animacija( trajanje: 3’14”), drvena konstrukcija promjenjivih dimenzija/ink drawing and pencil on paper 40x30 cm, stop animation (duration: 3’14”), wooden construction of variable dimensions

FERENC MOLNAR Iz serije 2007/3.3bilion/ 3%/80% / From the series 2007/3.3bilion/3%/80% | Los Angeles, Shanghai, London, New York, Berlin, 2011 | fotografija, inkjet print na dibondu/ photography, inkjet print on dibond | 4 x (200 x 110 cm), 1 x (110 x 200 cm)

Zoltan Novak Toranj SDCO 2/ Tower SDCO 2, 2014 | ulje na platnu/ oil on canvas | 265 x 170 cm

Zoltan Novak Toranj SDCO 1/ Tower SDCO 1, 2014 | ulje na platnu/ oil on canvas | 265 x 170 cm

Sara Rajaei 1978, 231. dan/ 1978 the 231st day, 2012 | video | trajanje/ duration: 6’:39” | izvedeno uz potporu Mondriaan Fonds & Stroom, Den Haag/ made available by the support of Mondriaan Fonds & Stroom Den Haag

Vedran Perkov Broadway Boogie-Woogie, 2013 | prostorna instalacija/ spatial installation kaširani novinski papir, konopac, OSB ploča/ paper mache, string, OSB panel | 260 x 260 x 100 cm (dio 1/part 1) I 260 x 100 x 70 cm (dio 2/part 2)

Zoltan Novak Toranj SDCO 3/ Tower SDCO 3, 2014 | ulje na platnu/ oil on canvas | 265 x 170 cm

Ana Sladetić Gdje je ___ dom?/ Where is_home?, 2012 | triptih/ triptych | kombinirana tehnika u dubokom tisku: lightbox, digitalni tisak crteža na foliji/ mixed media in intaglio printing: lightbox, digital print of the drawing on foil I 3 x (54 x 74 x 10 cm)

Rik Smits Futurum Plaza, 2013 | olovka na papiru/ pencil on paper | 100 x 150 cm | ustupila galerija Ron Mandos, Amsterdam/ courtesy of Ron Mandos gallery, Amsterdam

Rik Smits Monument Rock Island, 2012 I olovka na papiru/ pencil on paper | 240 x 350 cm | ustupila galerija Ron Mandos, Amsterdam/ courtesy of Ron Mandos gallery, Amsterdam

Robert Šimrak Slavoluk lego/ Arch Lego, 2003 | digitalna grafika, inkjet print/ digital graphics, inkjet print | 112 x 150 cm

Robert Šimrak Lego, 2002 | digitalna grafika, inkjet print/ digital graphics, inkjet print I 150 x 200 cm

Robert Šimrak Slavoluk lego/ Arch Lego, 2003 | digitalna grafika, inkjet print/ digital graphics, inkjet print | 112 x 150 cm

Rob Voerman Epicentar/ Epicenter, 2007 | linoleum-print, sitotisak i vodene boje na papiru/ linoleum-print, silkscreen and watercolor on paper | 201 x 180 cm | ustupila galerija Upstream, Amsterdam/ courtesy of Upstream Gallery, Amsterdam

Rob Voerman Pritisak/ Pressure, 2012 I sitotisak, olovka i ugljen na papiru/ silkscreen, pencil and soot on paper | 118 x 198cm | ustupila galerija Upstream, Amsterdam/ courtesy of Upstream Gallery, Amsterdam

Goran Škofić Ograničenje/ Constraint, 2013 | fotoprojekcija na postamentima/ photo projection on pedestals| promjenjive dimenzije/ variable dimensions

Danijel Žeželj Babilon/ Babel, 2012| 40 od 92 table iz grafičke novele/ 40 graphic novel frames out of 92

Danijel Žeželj Brooklyn Babylon, 2011 | video | trajanje/ duration: 35’32’’| autor glazbe/ author of the music: Darcy James Argue

KUSTOSI / THE CURATORS

VANJA BABIĆ Vanja Babić (Zagreb, Hrvatska, 1965.) diplomirao je povijest umjetnosti i povijest na Filozofskom fakultetu u Zagrebu. Od 1991. godine aktivan je kao kustos i likovni kritičar. Povremeno surađuje s Hrvatskom radiotelevizijom baveći se temama iz suvremene umjetnosti. Od 2009. godine član je međunarodnog žirija nagrade Essl, s René Blockom kao predsjednikom, koja se dodijeljuje svake dvije godine umjetnicima iz srednje i istočne Europe. Član je internacionalnog udruženja likovnih kritičara – AICA. Vanja Babić (Zagreb, Croatia, 1965) graduated in Art History and History from the Faculty of Humanities and Social Sciences of the University of Zagreb. Since 1991 he has worked as a curator and art critic. He occasionally collaborates with The Croatian Radiotelevision on the topic of contemporary art. Since 2009 he has been a member of the International jury, chaired by René Block, which gives the prestigious biennial Essl award to young artists from the Middle and Eastern Europe. He is a member of the International Association of Art Critics – AICA. Kontakt/ Contact: vanja.babic1@gmail.com

Neva Lukić Neva Lukić (Zagreb, Hrvatska, 1982.) diplomirala je povijest umjetnosti i arheologiju na Filozofskom fakultetu u Zagrebu i magistrirala teoriju suvremene umjetnosti na sveučilištu u Leidenu, Nizozemska. Aktivna je kao kustosica i likovna kritičarka. Osim navedenog, piše poeziju i kratku prozu te je objavila dvije knjige (Ljudi bez parka i Haljina Obscura). To čini njezin pristup vizualnoj umjetnosti poprilično književnim i vrlo često je namjera povezati se s vizualnim umjetnicima na literarnom nivou stvarajući interdisciplinarne projekte bliske video-umjetnosti, literarnom performansu ili vizualnoj poeziji. Član je internacionalnog udruženja likovnih kritičara – AICA. Neva Lukić (Zagreb, Croatia, 1982) graduated in Art history and Archeology from the Faculty of Humanities and Social Sciences of Zagreb and attained her master’s degree in the Theory of Modern and Contemporary Art from Leiden University. She writes exhibition reviews for cultural and art magazines and has curated several exhibitions. In addition to the above, she also writes poetry and short prose and has published two books (Haljina Obscura and Ljudi bez parka). That makes her approach to visual arts quite literary and she wishes to relate to visual artists also as a writer, creating interdisciplinary projects close to video-art, literary performance or visual poetry. She is a member of the International Association of Art Critics (AICA). Kontakt/ Contact: neva.lukic@gmail.com

IMPRESSUM Nakladnik / Publisher Hrvatsko društvo likovnih umjetnika / Croatian Association of Fine Artists, Trg žrtava fašizma 16, 10 000 Zagreb, hdlu@hdlu.hr, www.hdlu.hr | Za nakladnika / For the publisher Josip Zanki, predsjednik /president | Upravni odbor HDLU / Executive board of HDLU Josip Zanki (predsjednik / president), Tomislav Buntak ( zamjenik predsjednika / vice president), Fedor Vučemilović (zamjenik predsjednika / vice president), Gordana Bakić, Ivan Fijolić, Koraljka Kovač Dugandžić, Anita Kuharić Smrekar | Ravnateljica / Director Ivana Andabaka | Umjetnički savjet Galerije Prsten / Artistic board of Ring Gallery Koraljka Kovač Dugandžić, Gordana Bakić, Josip Zanki / Tomislav Buntak, Gaella Alexandra Gottwald, Leonida Kovač, Ivica Župan, Igor Španjol Koncepcija i tekstovi/ Concept and the texts Vanja Babić, Neva Lukić | Likovni postav / Exhibition design | Vanja Babić, Neva Lukić | Suradnica na projektu/ Project associate Tea Hatadi | Urednici/ Editors Vanja Babić, Neva Lukić | Vizualni identitet izložbe/ Visual identity of the exhibition Anke van den Berg | Multimedijalni likovni postav/ Multimedia art setting Tea Hatadi | Prijevod / Translation Vida Lukić | Lektura/ Proofreading Miljenko Majer | Lektura prijevoda/ Proofreading of translation Marina Živković | Tisak / Printera Grupa d.o.o. | Naklada / Copies 300 Većinu fotografija umjetničkih djela snimili su sami umjetnici. Sljedeći popis navodi fotografe ostalih umjetničkih djela / Most photographs of the artworks have been taken by the artists themselves. The following list acknowledges other photographers who have taken photographs of the artworks: Marko Ercegović, Gert Jan van Rooij, TomislavTurković, Martin Šatović, Goran Vranić Hrvatsko društvo likovnih umjetnika (HDLU) izražava svoju zahvalnost sljedećim galerijama i ustanovama, koje su ljubazno ustupile radove/ The Croatian Association of Artists (HDLU) expresses their gratitude to the following galleries and institutions, who have kindly lent artworks: Fons Welters gallery, Amsterdam | The Historical Museum of The Hague | Ron Mandos Gallery, Amsterdam | Seelevel Gallery, Amsterdam | Smelik & Stokking gallery, Den Haag | Upstream Gallery, Amsterdam Izložba je omogućena uz novčanu potporu Gradskog ureda za obrazovanje, kulturu i šport Grada Zagreba, Ministarstva kulture Republike Hrvatske, Veleposlanstva Kraljevine Nizozemske, zaklade Stroom Den Haag, i Meta Holding B.V./ The exhibition 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, The Embassy of the Kingdom of the Netherlands, Stroom Den Haag foundation, and Meta Holding B.V. CIP zapis dostupan u računalnome katalogu Nacionalne i sveučilišne knjižnice u Zagrebu pod brojem 886197 ISBN: 978-953-6508-83-9 / A CIP catalogue record for this book is available from the National and University Library in Zagreb under 886197 ISBN: 978953-6508-83-9