Embed Size (px)
Citation preview
Museum of Contemporary Art, Zagreb2008
Croatia First MinuteVerket, AvestaAvesta May 10 - August 31 2008
003
Antun BoæiËeviÊ FENCE (Art Is Not Allowed Here)
Ana Huπman MANNERS
Alen Korkut THE SEA
Kristina Lenard & Michael Johansson COPYCAT
Toni MeπtroviÊ O-TOK (MACAKNARA)
Damir OËko THE END OF THE WORLD
Ivana Pegan BaÊe VOICELESS
Lala RaπËiÊ TRAVEL IN A BOX
Marko TadiÊ SOUVENIRS
Zlatan VehaboviÊ OIL
Silvio VujiËiÊ UNITITLED
007
CROATIA - FIRST MINUTEHow do you relax, how do you entertain yourself? In 1969, the readers of “Vikend”, a popular magazine for the culture of free time, were asked precisely this question.1 According to their answers, people mostly spent their holidays enjoying the sea and the sun on the Adriatic. It was a time of prosperity in terms of industry and finances, while tourism was recognized as an important branch of economy, worth investing in. Tourist agencies had a prominent place in its development and were gradually creating a marketing image of Croatia as a small country for a great holiday by interpreting its resources and inventing various slogans that compared it to paradise on earth. This image has for decades contributed to the successful development of mass tourism on the Adriatic and is still reflected in the general tourist perception. However, the late 80s saw the emergence of new trends in Europe, which tended to include cultural heritage into the tourist offer under the market pressure. Criteria for choosing an ideal holiday were extended to include, beside the attractiveness of the destination, an interest in new places, customs, cultures, and people - in other words, a desire to broaden one’s knowledge, experience, and cultural level, as well as a tendency to move around and explore. The question is to what extent our tourist offer has accommodated these new European trends and demands for an active holiday. Spring is the time
when most people start searching for an ideal place to spend their days off work, mostly by looking through the catalogues of various tour operators.
The image of an ideal holiday destination is still present in most tourist packages, supplemented by excursions and sightseeing, but lately the trend has also included cultural heritage. We can trace how successful we have been in incorporating, interpreting, and presenting these resources year after year in various newspapers and magazines, which also reflect the official standpoint.
In the last chapter of his essay on the triumph of aestheticism, entitled “L’Art à l’état gazeux,” Yves Michaud has stated that tourism is the foremost world industry today, participating in the global economic growth with 10% annually. It is also a privileged or predestined state for perceiving art - for we shouldn’t forget that the tourist experience is “in its very nature ’aesthetical’, if we understand that word in its etymological sense of sensitivity and perceptivity (from Greek aisthesis), in its everyday sense (referring to anything that concerns art in general), or even in its narrow and elevated, artistic sense (experience of art).”2
Tourism confronts us with a dictate of happy living, detached from all duties, a relaxed idleness ruled by that dolce far niente - as a regime of senses, of travelling and relaxing, it is ultimately aesthetical.3
009
Verket, Avesta
011
Such a hedonistic environment offers completely harmless scenery for the consummation of art or artworks - as a quest for entertainment, escape, amusement, and pleasure, tourism is manifested in a universally accessible exoticism. But in that curious hedonistic drive, exoticism has become a search for the Other. In that quest for an identity that is different than one’s own, the tourist gets a sense of coming out of his own self, convinced that he is getting to know himself better. From the 19th-century “national galleries” to the modern museums, dedicated to preserving all forms of heritage and production that “grow like mushrooms at or around former industrial sites,” especially in the West, these have been the places of encountering the Other, while “in this age of tourism and aesthetic mass consumption, everything or almost everything can sustain that encounter, and even fiction can become part of the programme.”4
From our standpoint, the exhibition organized in the revitalized industrial complex of a former steel plant at Avesta is a sort of promotion of Croatia as a tourist destination viewed from another angle. With a detachment from all traditional and easily recognizable ways of presenting localities, viewpoints, and moments, the recent work of young contemporary artists maps certain points of cultural, historical, and artistic heritage. The idea of a desirable holiday destination is interpreted through artworks that refer to those aspects of cultural history or
the locality’s legacy that often remain neglected by the travellers, since they are situated away from the standard routes. Moreover, the issues of belonging, identity, and position are among the general problems of our times. But how do foreign tourists actually perceive our country while they look through various magazines, and do their ideas correspond to ours? We can presume that the older generation will probably turn to their memories of the attractive Adriatic coast “in the land of plenty” and to the conjectures from the press of 1969 that in 2000 everyone would have three months of paid holidays. The younger generation will perhaps select it as this year’s ideal holiday destination owing to the support of low-budget airlines, since they can bring the world within your reach.
However rightfully we may warn of the unstoppable force of capital, which turns to gold everything that it touches like some sort of damned king Midas, or of the unstoppable transformation of culture - and consequently art - into a cultural product and cultural industry that is “industrial more in a sociological sense, in the incorporation of industrial forms of organization even when nothing is manufactured - as the rationalization of office work - rather than in the sense of anything really and actually produced by technical rationality,”5 the rules of the game are observed to the letter. The neo-constructivist utopia of the industrial production of beautiful objects with a function
013
Verket, exhibition space
015
that will satisfy the need of art, universally accessible owing to the process of mass production, has been replaced by a universally accessible quest for authenticity: by fabricating someone else’s identity, one is constructing one’s own, in the form of a seriously conceived project - a brand. In accordance with the rules of production and investment, a large number of events exhibiting and presenting contemporary artistic practices and production will be sustained by tourism or even promote it directly. However, it will not only target the more or less passive audience, but also include a sacred artistic tribe that will travel around the world in a network of large international exhibitions. The entire charming absurdity of that fact was shown in 1999 by the irresistible enfant terrible of the art world, Maurizio Cattelan, who organized a fictitious 6th Caribbean Biennial of Contemporary Art in the bare form of a tourist package for selected individuals. Nevertheless, as cynical as such a game may be, it still remains - a product. Pardon us, a brand.
Jasna JakπiÊ, Vesna MeπtriÊ
1 Igor Duda, U potrazi za blagostanjem (Zagreb, 2005), p. 132.2 Yves Michaud, L’Art à l’état gazeux. Essai sur le triomphe de l’esthétique (Paris, 2003).3 Ibid.4 Ibid.5 Theodor Adorno, The Culture Industry: Selected Essays on Mass Culture (London, 1991), p. 101.
017
Antun BoæiËeviÊ
FENCE (Art Is Not Allowed Here)Each time it is set, the installation of Antun BoæiËeviÊ acts as a site-specific work - a simple, vulgar wire fence is extended between the walls or pillars of an exhibition venue, preventing the visitors from circling around and enjoy the exhibits unobstructed. At the moment when someone touches the fence or tries to pass through it, convinced that he has been caught in the play of the interactive installation, the tensed wire pushes him back. A piercing peep is articulated into a metal sound, formulating a sentence that sounds as if spoken by a robot: “Art is not allowed here”.
The installation was created after the workshop in Gorizia in 2006. Once there was a wall in its immediate vicinity, which divided the small town of Gorica or Gorizia into two parts, old and new, capitalist and socialist. Today, when Slovenia has become a part of the European family within the borders
defined by the Schengen Agreement, it is a frontier region between the EU and a country waiting in its antechamber. Although its context and its place of origin are specific, the restrictions and stumbling over tangible obstructions appear to be symptoms that are easily recognized as universal.
The depersonalized voice that is heard against an unpleasant peeping background each time someone makes a futile attempt to pass through the fence or hits it in rage, was recorded at the time when the artist visited New York on a study tour. On one occasion, when he wanted to photograph the underground, he was prevented by a representative of the repressive system. When the author naively explained that he was an artist and that his photographing was motivated by art, the official uttered a universally applicable sentence: “Art is not allowed here”.
FENCE (Art Is Not Allowed Here), 2006installation, wire, iron pillars, sound
Work ExhibitEd at2007 42nd Zagreb Salon, HDLU, Zagreb, Croatia / Editing Projects, Zerynthia, Università degli Studi Roma 3 - Facoltà di Architettura, Rome, Italy
An
tun BoæiËeviÊ
Born 1970 in Andrijaπevci, Croatia. Lives and works in Zagreb, Croatia.Education: 1993 - 1999 Academy of Fine Arts, Zagreb, Department of Painting
019
Even though as an installation it takes on a site-specific mask in almost any space, using its quality of adaptability, this work is also a spatial intervention that will correspond to most of the demands and expectations of large exhibitions of contemporary art, owing to its general motifs and procedures - its iron fence, its depersonalized voice, and its universally understandable English.
If you associate the border as a metaphor of the Schengen frontier, or maybe the frontier of past times, you will not be mistaken. Or if you identify the prohibition of art as the prohibition of speech. But that is only a starting position, for isn’t there an immense number of individuals and territories that should be surrounded by a fence?
Starting with your own prejudice.
Jasna JakπiÊ
An
tun BoæiËeviÊ
021
SELECtEd SoLo ExhibitioNS2006 Station Badel, Miroslav KraljeviÊ Gallery, Zagreb, Croatia / Station Badel, Slavko KopaË Gallery, Vinkovci, Croatia 2005 Let’s live the life…, Sv. Toma Gallery, Rovinj, Croatia2004 It’s important to take a part, Kazamat Gallery, HDLU, Osijek, Croatia 2003 Pot, Salon Matice hrvatske, Kriæevci, Croatia
SELECtEd Group ExhibitioNS2008 Contro Ignoti, Spazio Pubblico Arte Contemporanea, Buttrio, Italy / Field Trip, Gallery PM, Zagreb, Croatia2007 42nd Zagreb Salon, HDLU, Zagreb, Croatia / Editing Projects, Zerynthia, Università degli Studi Roma 3 - Facoltà di Architettura, Rome, Italy / 20th Slavonian Biennial, Fine Arts Gallery, Osijek, Croatia2006 1st Vukovar Salon, Vukovar Museum, Vukovar, Croatia2005 39th Zagreb Salon, HDLU, Zagreb, Croatia / Radoslav Putar YVAA, KriæiÊ Roban Gallery, Zagreb, Croatia / YVAA, City Gallery, Prague, Czech Republic2004 27th Salon of Young Artists, HDLU, Zagreb, Croatia2003 8th Triennial of Croatian Sculpture, Gliptoteka, Zagreb, Croatia / Visura Aperta Festival /Momiano 03/, Momjan, Croatia
SCrEENiNGS aNd EvENtS2004 Battlefield (site-specific installation), Grill Peace United Festival, SvetvinËenat, Croatia / Battlefield (site-specific installation), Museum of Contemporary Art, Zagreb, Croatia
aWardS2007 42nd Zagreb Salon (Jury Award)2005 YVAA “Radoslav Putar” (Jury Award)2004 27th Salon of Young Artists (Jury Award)2003 Visura aperta /Momiano 03/ (Jury Award)2000 18th Slavonian Biennial (Distinction of Honour)
rESidENCiES2005 ISCP, New York, USA / PVA Media Lab, Bridport, UK
WorkShopS2006 Editing#4, Gorizia, Italy
An
tun BoæiËeviÊ
023
Ana Huπman
Born 1977 in Zagreb, Croatia. Lives and works in Zagreb, Croatia.Currently at the Academy of Fine Arts, Department of Animation and New Media.Education: 1995 - 2002 Academy of Fine Arts Zagreb, Croatia, Department of Multimedia and Art Education
Ana H
uπman
MANNERS Where do manners live? Where civilisation reigns. Where does civilisation reign? In Europe.Who is uncivilised? Everyone else.What do they need? Civilisation.Who will bring it to them? We will.Who are we?
The word civilisation was originally connected to the activity of a verb rather than the passivity of a noun; civilisation was a process, not a state, it was a process of achieving civility.
As Benveniste has pointed out, the word was uncommon when it first appeared, since its ending -isation, indicating the activity of the process, was rather rare at the time. Its reference to action and processuality would have been forgrounded as an activation of the more static civilité.
Once that process of civilisation was achieved, the word became a static
signifier of an evolutionary category. And once that stasis was achieved, the term could be used in relation to its supposed opposite - the uncivilised.
Once the transitional process was considered complete, what remained was the task of sharing its benefits with other, less fortunate peoples. In 18th-century Western Europe, civilization and its manners came hand in hand with the Enlightenment and its ideology of progress. The counter-image of the centre was found beyond the borders of the civilised world, its closest neighbour being Eastern Europe. Larry Wolff has shown that Eastern Europe was indeed invented to provide the barbaric opposite to the civilised Western Europe; it was also a handy measure on the scale between the two poles, as Balzac has stated in his Comédie humaine: “The inhabitants of the Ukraine, Russia, the plains of the Danube, in short,
MaNNErS, 2008video, 17’
WorkExhibitEd at2007 Galæenica Gallery, Velika Gorica, Croatia
025A
na Huπm
an
the Slav peoples, are a link between Europe and Asia, between civilisation and barbarism.”
In Ritual, History and Power, Maurice Bloch has connected the increasing formalisation of language that occurs in political or religious oratory to the formalisation of movement in ritual: if language requires a predicted response rather than a free flow of signification, then communication is a part of ritual, with an aim of reasserting the status quo and foiling dissent. In ritual speech, the response is always already known and any deviance would register as a challenge. The general aim is to uphold social solidarity and retain power.
So what is it that we are doing when we smilingly agree not to put our elbows on the table or eat from a knife?
Nicole Hewitt
027A
na Huπm
an
SELECtEd SoLo ShoWS2007 Po bontonu, Galæenica Gallery, Velika Gorica, Croatia / Muπtre, 01 Gallery, Zagreb, Croatia2006 Exchange or - What we did not know about amateurism, MK Gallery, Zagreb, Croatia 2005 Icons Share Their Wisdom (with Lala RaπËiÊ), Artenativa, Zagreb, Croatia 2004 C8H11N, Vladimir Nazor Gallery, Zagreb, Croatia / City on the Hill (with Lala RaπËiÊ), KIC Photo Gallery, Zagreb, Croatia 2003 All the Extras (with Lala RaπËiÊ), MoËvara Gallery, Zagreb, Croatia / Cross Tree (with Ana ©eriÊ), Nova Gallery, Zagreb, Croatia
SELECtEd Group ShoWS2008 Lucy, Istanbul, Turkey2007 D-NEFF 2007, Vitoria-Gasteiz, Spain / 0013 Gallery, Helsinki, Finland / The Art Happens Here, Lazareti Art Workshop, Otok Gallery, Dubrovnik, Croatia, part of the artist residency programme at the iCommons Summit / Mapping of the town, MMC Luka, Pula, Croatia / Woman @ Crossroad of Ideologies, HULU, Split, Croatia / Performing the Space II, UHA, Zagreb, Croatia2006 28th Salon of Young Artists, HDLU, Zagreb / Turn On, Turn In, Drop Out, 12th International Festival of Computer Arts, Kulturni Inkubator, Maribor, Slovenia / It’s a Playtime!, Gallery of Contemporary Art, Celje, Slovenia / TECHNE 06, International Digital Performance Platform, Istanbul, Turkey
2005 Freedom to creativity! Festival of Free Culture, Science and Technology, Tiskara “Borba”, Zagreb, Croatia / Das Haus, Der Laden, Berlin, Germany / Temporary Office of Invisible Zagreb, with Platforma 9.81, Nova Gallery, Zagreb, Croatia / Insert - Retrospective Exhibition of Art Film and Video from 1960 to the Present, Museum of Contemporary Art, Zagreb, Croatia / In Place of Place, 5th Urban Festival, Zagreb, Croatia / 22th Biennial of Young Artists, Naples, Italy / Croatian selection for the Mediterranean Biennial of Young Artists, Museum of Modern and Contemporary Art, Rijeka, Croatia / PEER ECONOMIES, Nova Gallery, Zagreb, Croatia 2004 Coded Cultures, MuseumsQuartier, Vienna, Austria / Decentralizacija, Plan Program, with Ivan SlipËeviÊ and Blaæ Habuπ, Velesajam kulture, SC, Zagreb, Croatia / Salon of Young Artists, HDLU, Zagreb, Croatia / U prvom licu, HDLU, Zagreb, Croatia / International Biennial of Young Artists, Vrπac, Serbia / Side-effects, Salon Museum of Contemporary Art, Belgrade, Serbia / Visura aperta / Momiano 04, Festival of Visual and Audio Media, Momjan, Croatia / Share, P74 Gallery, Ljubljana, Slovenia / Staying or Leaving, Art Pavilion, Zagreb, Croatia / The Independents, g39, Cardiff, UKStaying or Leaving, Kunsthaus, Graz, Austria - Internationall Photo Show 2004, collaboration project of Hrvatski fotosavez, Zagreb, Camera Austria, Graz, and steirischer herbst 04.
2003 On my Tram Stop, Urban Festival, Ad hoc 1, Zagreb, Croatia / Much Too Much, Art Pavilion, Zagreb, Croatia / RE)SOURCES, New Media and Young Croatian Artists, Galæenica Gallery, Velika Gorica, Croatia
SCrEENiNGS2008 17th Days of Croatian Film, Zagreb, Croatia2007 Curtocircuito, Santiago de Compostela, Spain / Interfilm - Short Film Festival, Berlin, Germany / DOKUFEST International Documentary and Short Film Festival, Prizren, Kosovo / Madcat 10 - Women’s International Film Festival, San Francisco, USA / Expresión en corto - International Film Festival, San Miguel de Allende, Mexico / Jordan Short Film Festival, Jordan /Motovun IFF, Motovun, Croatia / Docupolis, Barcelona, Spain / 52nd Corona Cork Film Festival, Cork, Ireland / 29th Mediterranean Film Festival of Montpellier, France / Sapporo IFF, Sapporo, Japan / Kansk Video Festival, Kansk, Russia / aniMOTION Animation Festival, Sibiu, Romania / Zeitgeist International Film Festival, San Francisco, USA / Vienna Independent Shorts, Vienna, Austria / aluCine, Toronto, Canada / 700IS, Egilsstadir, Iceland / Documenta Madrid 07, Madrid, Spain / DOXA, Vancouver, Canada / IndieLisboa - Lisbon International Independent Film Festival, Lisbon, Portugal2006 Stuttgart Filmwinter, Stuttgart, Germany / Animateka, Ljubljana,
Slovenia / 16th DaKino, Bucharest International Film Festival, Romania / 13th Regensburg Short Film Week, Regensburg, Germany / East Silver Documentary Market, Jihlava, Czech Republic / L’Alternativa, 13th Barcelona Independent Film Festival, Barcelona, Spain / 23rd Kassel Documentary Film & Video Festival, Kassel, Germany / 49th International Leipzig Festival of Documentary and Animated Film - DOK, Leipzig, Germany / 10th International Short Film Festival, Winterthur, Switzerland / Uppsala International Short Film Festival, Uppsala, Sweden / Split Film Festival - International Festival of New Film, Split, Croatia / 25 FPS, Zagreb, Croatia2005 Tricky Women Festival, Homemade Experiments, Vienna, Austria / No Stills #3, Discovering The Balkans, Brussels, Belgium 2004 International Video Art Festival, Priπtina, Kosovo / 13th Review of Croatian Film, Zagreb, Croatia / 17es Instants Video, Marseille 2003, Marseille, France / 12th Review of Croatian Film, Zagreb, Croatia / Visura aperta / Momiano 03, Festival of Visual and Audio Media, Momjan, Croatia / Alternative Film-Video 03 Festival, Belgrade, Serbia
vidEo aNd FiLMoGraphy2008 Lunch, 16mm transferred to Digit-Beta, produced by Pangolin 2006 The Market, 16mm transferred to Digit-Beta, produced by Pangolin 2004 Prigruf, mini DV 4:26, produced by Ana Huπman / Communita, mini
029A
na Huπm
an
DV, produced by Ana Huπman 2003 Home, mini DV, 22:00, video, produced by Ana Huπman / for 2, mini DV, 07:52, video, produced by Ana Huπman / Otokultivator 03, mini DV, 11:15, produced by Ana Huπman and Multimedia Institute / Merπpajz, mini DV, 9:52, produced by Ana Huπman
SELECtEd aWardSLunch, Grand Prix, Oktavijan Prize for Best Experimental Film and Audience Award, 17th Review of Croatian Film, Zagreb, Croatia / The Market, Best Experimental Short, Expresión en corto International FilmFestival, San Miguel de Allende, Mexico /
The Market, Grand Prize, aniMOTION festival, Sibiu, Romania / The Market, Best Experimental Film, Kratkofil, Banja Luka, Bosnia and Herzegovina / The Market, Jury Distinction, Indielisboa, Lisbon, Portugal / The Market, Best Documentary Film, Tabor Film Festival, Veliki Tabor, Croatia2004 Communita, Special Award, Visura aperta / Momiano 04, Momjan, Croatia / Merπpajz, 3rd place, 2nd Gastro Film Fest, Osijek, Croatia2003 Home, Best Film of the Festival, Visura aperta / Momiano 03, Momjan, Croatia / Merπpajz, Alternative Film-Video 03, Belgrade, Serbia
031
Alem Korkut
THE SEAThe video installation “More” (The Sea) forms part of a cycle by Alem Korkut entitled “Voda” (Water), in which he has used different media in order to explore the transformations of natural elements in a spatial and temporal context. His procedure combines the medium of vid-eo with the traditionally static sculpture, which helps him to observe the proc-esses on the relief surface and within, for which reason he has referred to his work as “video-relief”. In the form of a triptych, Korkut has projected the motif of wrinkled sea surface and transformed it into a static relief by exploring the rela-tionship between the temporary and the permanent. That metamorphosis is in its turn a short story about the process of birth and evolution of an artwork. Korkut has chosen the motif of sea surface, or rather water, consciously, in accordance with his sensibilities, since it symbolizes the source and the beginning of all life.
Water is the source of life and death, ancient civilizations have evolved and vanished with it, it has been the basis of economic development and power. It is an inseparable part of life and as such it is also a place of peace and con-templation. Its incessant movements and transformations, from gas to liquid and then to a solid state, define innumerable possibilities of existence. In his story, the artist has articulated precisely these changes by transform-ing the chosen motif through various materials and techniques. Thus, he has transformed the wrinkled surface of the sea into a dense and inert matter, with a surface that appears drawn in wavy strokes, halting and turning it into a relief with an abstract painted surface of an intense blue. In these transformations, he has eliminated the borders between sculpture, moving im-age, and sound installation.
Vesna MeπtriÊ
thE SEa, 2005video installation, dvd, colour, soundloop, mdf board, acrystal
Work ExhibitEd at2006 More, more, more... Alvona Gallery, Labin, Croatia2005 Art Gallery, Split, Croatia
Alem
Korkut
Born 1970 in Travnik, Bosnia and Herzegovina.Lives and works in Zagreb.Education: 1991 - 1992 Academy of Fine Arts, Sarajevo, Bosnia and Herzegovina / 1992 - 1997 Academy of Fine Arts, Zagreb, Croatia, Department of Sculpture
033A
lem Korku
t
rESidENCiES2005 Sculpture Colony, Jakovlje, Croatia2002 30th Mediterranean Sculpture Symposium, Labin, Croatia2001 Art Workshop Momiano 01, Momjan, Croatia2000 Art Workshop Momiano 00, Momjan, Croatia1999 Grenzgänger, International Sculpture Symposium, Arnbruck-Zellertal, Germany1996 Montraker, International Student Workshop, Vrsar, Croatia
SELECtEd SoLo ExhibitioNS2008 Sitnice, AÆ Gallery, Zagreb, Croatia2007 Kneæev dvor Gallery, Rab, Croatia / Voda, Kortil Gallery, Rijeka, Croatia2006 More, more, more... Alvona Gallery, Labin, Croatia / Voda, 12R37, Komiæa, Croatia / Plima, Zilik Gallery, Karlovac, Croatia2005 Kiπa, Balen Gallery, Slavonski Brod, Croatia / Reljefi, Zona Gallery, Zagreb, Croatia / More, Art Gallery, Split, Croatia 2004 ego-trip: GARDEROBA, MMC Kuglana2, Koprivnica, Croatia / ego-trip: RETROSPEKTIVA, Kazamat Gallery, Osijek, Croatia2003 Ego-trip: KRUG, PM Gallery, Zagreb, Croatia
SELECtEd Group ExhibitioNS2007 42th Zagreb Salon, HDLU, Zagreb, Croatia / Povratak izgubljene
generacije, Izidor Krπnjavi Gallery, Zagreb, Croatia / Kip i objekt, Slovenskej sporitelne Gallery, Bratislava, Slovakia / Festival of New Film and Video, Recent Croatian Video 2007, Split, Croatia / Croatian Artists in Mainz, Rathaus Mainz, Germany / Umjetnost i samoodræivost, Rotonda al mare, Senigallia, Italy 2006 40th Anniversary of the Gallery, Hit Parade, SC Gallery, Zagreb, Croatia / Recent Sacral Art Zagreb, KloviÊevi dvori Gallery, Zagreb, Croatia / Insert - Croatian Video Retrospective, Museum of Modern and Contemporary Art, Rijeka, Croatia / 4th Art Salon Zagorje, Municipal Gallery Krapina, Croatia / 9th Triennial of Croatian Sculpture, Gliptoteka HAZU, Zagreb, Croatia / Art Colony, Municipal Museum Rovinj, Croatia / 1st Vukovar Salon, Eltz Castle, Vukovar, Croatia / Transformacije, Kaæerma, Zlarin, Croatia / Visura aperta, Momjan, Croatia2005 Meet us at seven, Kolonie Wedding, Berlin, Germany / 39th Zagreb Salon, HDLU, Zagreb, CroatiaMaterika, International Sculpture Exhibition, Castello di Gorizia, Italy / U prvom licu, Art Gallery, Dubrovnik, Croatia / Insert - Croatian Video Retrospective, Museum of Contemporary Art, Zagreb, Croatia / Pusto 2005, Video Festival, Moscow, Russia / Multimeridijan 04, Kazamat Gallery, Osijek, Croatia / Dvije obale, Galleria Civica d’Arte Contemporanea, Termoli, Italy / Postskulptura, HDLU, Zagreb, Croatia2004 27th Salon of Young Artists,
HDLU, Zagreb, Croatia / Objekt i slika, Filip Trade Collection, Art Gallery, Dubrovnik, Croatia / New Croatian Sculpture, Kazamat Gallery, Osijek, Croatia / Multimeridijan 04, MMC Luka, Pula, Croatia / Sveti VinËenat, town loggia, Grill Peace United / Exhibition of Artworks Awarded at the 27th Salon of Young Artists, ©ikuti, Croatia / Biennial of Young Artists, Bucarest, Romania / Culture Fair, SC, Zagreb, Croatia / Zemlja, Atelieri Æitnjak, Zagreb, Croatia2003 Novi fragmenti 2, Gliptoteka, Zagreb, Croatia / Novi fragmenti 2, Kortil Gallery, Rijeka, CroatiaNovi fragmenti 2, Karas Gallery, Karlovac, Croatia / Novi fragmenti 2, Municipal Gallery Bjelovar, Croatia / Queer Zagreb, PU Gallery, Zagreb, Croatia / 3rd Art Salon Zagorje, Municipal Gallery of Krapina, Croatia / Mala πpijunka, Minima Gallery, Zagreb, Croatia / 8th Triennial of Croatian Sculpture, Gliptoteka HAZU, Zagreb, Croatia / Karantena, Lazareti, Dubrovnik, Croatia
SELECtEd EvENtS2006 Memorial to soldiers who died in the Croatian Liberation War, ©ibenik, Croatia2005 Polarna kapa, Jakovlje, Croatia / Spomenik biciklu, Koprivnica, Croatia2002 Karijatida, Pazin, Croatia2000 Knjiga, Buje, Croatia1999 Eskulapov πtap, Arnbruck, Germany1997 Trag, Ston, Croatia1996 Zdenac, Vrsar, Croatia
SELECtEd aWardS2006 Special Distinction of the Jury at the public competition for a statue of Ante StarËeviÊ in Osijek2005 1st award at the public competition for a memorial to soldiers who died in the Croatian Liberation War, Karlovac2004 Great Award, 27th Salon of Young Artists / Annual Young Artist Award of HDLU2000 1st award at the public competition for a memorial to soldiers who died in the Croatian Liberation War, ©ibenik1997 2nd award at the public competition for a memorial to soldiers who died in the Croatian Liberation War, Kustoπija, Zagreb / Award of the Academy of Fine Arts
035A
lem Korku
t
037
Kristina Lenard &Michael Johansson
Kristina Lenard, born 1975 in Zagreb, Croatia. Lives and works in Zagreb, Croatia.Education: 1994-1998 Academy of Fine Arts, Zagreb, Croatia
Michael Johansson, born 1975 in Trollhättan, Sweden. Education: 2003-2005 Malmö Art Academy, Malmö, Sweden [M.F.A.] / 2000-2003 Art Academy, Trondheim, Norway [B.F.A.] / 2003 Royal College of Art, Stockholm , Sweden / 2002 Kunst-hochschule Berlin-Weißensee, Germany / 1999-2000Art History, University of Stockholm, Sweden
Kristina Lenard &M
ichael JohanssonCOPYCATWe are running a project entitled “Copycat”, in which we are investigating the notions of original and copy. Copycat is a term that refers to people’s tendency to copy other people’s behaviour, illustrated by the expression “monkey see, monkey do.” We are looking for those motifs in our everyday lives that involve repetition or reflection from the very outset, for example a duplicated object or an ambiguous situation, and then we exchange them. These situations, which are sometimes rather complicated, are recreated and copied by the receiver, and eventually we are able to present two almost analogous pictures, whereby the act of visual recreation raises questions about their origin. Which picture was there first? Which picture has been staged? Someone may simply feel that one of the pictures is constructed and artificial. For someone else, it may be the challenge for perception, the pursuit
of similarities and differences, that is interesting. On the one hand, it is a game in which both of us are obliged to seek out situations and environments that we would otherwise not seek, where the essential part consists in letting oneself be guided, in being spontaneous and discovering new things. On the other hand, it is a careful exploration of the quality of such pictures, where complicated situations are reconstructed and resurrected. Thus, the emphasis will be on the execution, but also on the content of the pictures and on exploring the possibilities of their recreation.
Kristina Lenard/ Michael Johansson
CopyCat, 200530 colour photographs variable dimensions
Work ExhibitEd at2005 PM Gallery, HDLU, Zagreb, Croatia
039
GraNtS aNd rESidENCiES2007 Henkel Artist, Vienna, Austria2002 Valand Art Academy, Göteborg, Sweden2001 Artist in residence, Mino, Japan2000 Art Academy Krakow, Poland
SELECtEd SoLo ShoWS2008 Linienstrasse 113, Berlin, Germany2007 Photosynthesis, Galæenica Gallery, Velika Gorica, Croatia 2006 Karas Gallery, Zagreb, Croatia 2005 Copycat, PM Gallery, HDLU, Zagreb, Croatia2004 KMRIICSH, Vladimir Nazor Gallery, Zagreb, Croatia / Alcatraz Gallery, Ljubljana, Slovenia
SELECtEd Group ShoWS2008 For a happier tomorrow, Gallery Tom Christoffersen, Copenhagen, Denmark / RE/KONSTRUKCIJE, Gallery Waldinger, Osijek, Croatia2007 Art Point Gallery, Kultur Kontakt, Vienna, Austria2006 9th Triennial of Croatian Sculpture, Zagreb, Croatia / U-35, 25 Artists International Exchange, Kyoto Art University, Kyoto, Japan / P.A.N.K-2006, Marabouparken, Stockholm, Sweden2005 ...one more time, Cirkulations Centralen, Malmö, Sweden2004 Youth Centre, Split, Croatia 2003 Box Gallery, Göteborg, Sweden
SELECtEd aWardS2006 Audience Award at the 9th Triennial of Croatian Sculpture
Kristina Lenard
041
rESidENCiES aNd GraNtS2008 IASPIS International Culture Exchange / Västra Götalandsregionen, Sweden / AIR - Rogaland Kunstsenter, Stavanger, Norway2007 Arts Council Norway, exhibition grant / Västra Götalandsregionen, Sweden - project grant / Aase och Richard Björklunds Fond, Malmö Art Museum, Sweden / Künstlerhaus Schöppingen, Germany, residency / Billedkunstnernes Vederlagsfond / nkd - Nordic Artists’ Centre Dale2006 Bror Marklund Stipendiet / Norwegian Artists Foundation, project grant / NIFCA - Sleipnir travel grant / Malmö Stads Kulturstipendium / P.A.N.K Residency, Marabouparken, Stockholm, Sweden/Art Grants Committee, Sweden, 1-year grant2005 IASPIS International culture exchange / SIM - Visual Artists Associations, Iceland / Eva & Hugo Bergmans Stipendiefond2004 Swedish Institute, travel grant
SELECtEd SoLo ShoWS2008 Nordin Gallery, Stockholm, Sweden / Strings Attached, Nordnorsk Kunstnersenter, Svolvaer, Norway2007 Bror Marklundstipendiaten 2006, Örnsköldsviks Konsthall, Sweden / Monolit, Bastard (with Tarje Gullaksen), Oslo, Norway / Nollställt, Konsthallen Trollhättan, Sweden / Some Assembly Required, Mors Mössa Gallery, Göteborg, Sweden /
Engine Bought Separately, S:t Gertrud Gallery, Malmö, Sweden2006 FILM - Short Cuts, Neon, Brösarp, Sweden / Galleri 1:18, Gerlesborg, Bohuslän, Sweden2005 ”…one more time”, CirkulationsCentralen, Malmö, Sweden / ”Oops, I did it again…”, Master’s Exhibition, PEEP Gallery, Malmö, Sweden / Wind of Change, PICTURA, Lund, Sweden / COPYCAT (with Kristina Lenard), PM Gallery, Zagreb, Croatia2004 KMRIICSH (with Kristina Lenard), Vladimir Nazor Gallery, Zagreb, Croatia
SELECtEd Group ShoWS2008 For a Happier Tomorrow (with Kristina Lenard), Tom Christoffersen Gallery, Copenhagen, Denmark / Linienstrasse 113 (with Kristina Lenard), Berlin, Germany2007 Pumphusets Konsthall, Landskrona, Sweden / Hit & Run, Hinterconti, Hamburg, Germany / Capital, Lund, Sweden / Art Copenhagen, Arnstedt & Kullgren, Denmark / Høstutstillingen, Kunstnernes Hus, Oslo - Trondheim Kunstmuseum (N) * / Hamnmagasinet, Trollhättan, Sweden / Nothing, R.T Hansen, Berlin, Germany / En vecka I Solen, Botnik Studios, Gerlesborg, Sweden / Samling, Arnstedt & Kullgren, Östra Karup, Sweden / Exil/Berlin, Arnstedt & Kullgren, Östra Karup, Sweden2006 7 Videokonstverk, Allmänna Galleriet 925, Stockholm, Sweden /
Høstutstillingen, Kunstnernes Hus, Oslo, Norway / Besökarna, Konstfrämjandet Skåne, Västra Hamnen, Malmö, Sweden / Bottna kulturfestival, Gerlesborg, Sweden / Lilith By Night, Teater Lilith, Malmö, Sweden / Scandinavian Spastic, Sjokoladefabrikken, Oslo, Norway / Arnstedt & Kullgren, Östra Karup, Sweden / P.A.N.K 2006, Marabouparken, Stockholm, Sweden / Winter Festival, SIM-house, Reykjavik, Iceland2005 Polyfonia, Jetty Barracks Gallery, Helsinki, Finland / That’s Rich!, video group exhibition, Internasjonalen, Oslo, Norway2004 tape291, Gallery291, London, UK / Omtolkningar, Architecture Museum, Stockholm, Sweden / Stockholm Art Fair, Stockholm International Fairs, Sweden2003 Høstutstillingen, Kunstnernes Hus, Oslo, Norway / Union, Bachelor exhibition, Galleri KIT, Trondheim, Norway / Trøndelagsutstillingen, Trøndelag Senter for Samtidskunst, Trondheim, Norway
SELECtEd SCrEENiNGS2008 Little Rituals, Westpac, Sydney, Australia2006 PULSAR, Caracas Contemporary Art Museum, Caracas, Venezuela2005 Rencontres Internationales Paris/Berlin, Paris, France / LOOP-05, Barcelona, Spain / No Volvo, No Bergman, No Blix: New Swedish Video, Monkeytown, New York, USA / Subörb, Stockholm, Sweden / Up
North, Centre Civic Barceloneta, Barcelona, Spain2004 Video 2004, Landmark, Bergen, Norway / Det här är inte film, Clarion Hotel, Stockholm, Sweden / Simrishamns Art Film Festival, Valfisken Gallery, Simrishamn, Sweden / Gallerinattsnatten, CirkulationsCentralen, Malmö, Sweden / Konstslam, Galleri60, Umeå, Sweden / Who´s the storyteller?, Landmark - Bergen Art Museum, Bergen, Norway2003 Electric Currents, State Hermitage Museum, St Petersburg, Russia / Who´s the storyteller?, Kiasma, Helsinki, Finland / Re-Act Festival, Heidelberg, Germany / Le Kurde, Cinema Sture, Stockholm, Sweden / Who´s the storyteller?, Kiasma, Helsinki, Finland / Skånes Videofilmfestival, Helsingborg, Sweden / Inport, Videoperformance Festival, Tallinn, Estonia / Blowing up Festival, London, UK / Film Fylkingen, Fylkingen, Stockholm, Sweden
Michael Johansson
043
Toni MeπtroviÊ
Born 1973 in Split, Croatia. Lives in Kaπtela and teaches at the Art Academy of University of Split.Education: 2001 - 2004 postgraduate study at the Academy of Media Arts (KHM), Media Art, Cologne, Germany / 1991 - 1999 graduate study at the Academy of Fine Arts, Department of Graphic Arts, Zagreb, Croatia
o-tok (MaCakNara), 2005video loop, 6’13”collaborating artist: Hannes Hölzl, Sound Design
Work ExhibitEd at2006 Siemens Go Global, KloviÊevi dvori Gallery, Zagreb, Croatia2005 34th Split Salon, City Aquarium BaËvice, Split, Croatia
Toni MeπtroviÊ
O-TOK (MACAKNARA)The Croatian word for island (otok) can be easily split into two parts: O-tok. Tok means flow, so the formula can be inter-preted as denoting a circular flow.
The video is composed of 161 photographs that represent 161 different views of the little island of Macaknara. These pho-tographs are animated to complete the circular shape of the island and create an endless loop, with the Morph technique used to generate images between the photographs in order to produce a flowing effect. The acoustic aspect of the video is represented by the sound of the wind and the sea in 5.1 Surround composition. The circular movement of sound in space follows the movement of the image. I was fascinated by the shape of the island, which is the product of the shaping forces of the wind and the sea. Its shape and the endless circular motion around it empha-size the isolation of life on an island.
Toni MeπtroviÊ
045
SELECtEd SoLo ExhibitioNS2007 O(Circle), Kortil Gallery, Rijeka, Croatia2006 Perpetuum mobile, Karas Gallery, Zagreb, Croatia2005 Psychotic, Nova Gallery, Zagreb, Croatia2004 Abyssos, Studio of the Museum of Contemporary Art, Zagreb, Croatia / Abyssos, (DVD-06), Galerie-Projektraum, Cologne, Germany /Abyssos, Moltkerei Werkstatt, Cologne, Germany
SELECtEd Group ExhibitioNS2007 Im polis, Transitio_MX02, Mexico City, Mexico / OtoËna karta, Zlarin, Croatia / BUK (Baranjska umjetniËka kolonija), Miroslav KraljeviÊ Gallery, Zagreb, Croatia2006 L’Usage de Monde, MMSU - Mali salon, Rijeka, Croatia / Siemens Go Global, KloviÊevi dvori Gallery, Zagreb, Croatia / Mala zemlja, MSU/Makronova, Zagreb, Croatia / Young Art Europe 2006, MOYA - Museum of Young Art, Vienna, Austria / Contemporary Art in Split - New Generation, HDLU, Zagreb, Croatia / Contemporary Art in Split - New Generation, Art Gallery, Split, Croatia2005 Gemine: Muse, Young Artists in European Museums, Ivan MeπtroviÊ Gallery, Split, Croatia / 34th Split Salon: Landscape in Contemporary Visual Art and Culture - Between Fetishes and Ideology, City Aquarium BaËvice, Split, Croatia / Insert, Croatian Video Retrospective, Zagreb Fair, Zagreb, Croatia /
»etiri autora i slika, Punta arta, Zlarin, Croatia / 39th Zagreb Salon, HDLU, Zagreb, Croatia / Sub-art, Gliptoteka HAZU, Zagreb, Croatia2004 ArtiST Now An Underground Garden, Diocletian Palace Substractions, Split, Croatia / Hicetnunc, dell’Antico Ospedale dei Battuti, San Vito al Tagliamento (Pordenone), Italy / GoToAndStop, 17th European Media Art Festival, Student Forum, DGB-Building, Osnabrück, Germany / Forgotten Places, Youth Centre, Split, Croatia2003 Altitude 03, Open day at the Academy of Media Arts Cologne (KHM), Trinitätskirche, Cologne, Germany / Streams of Encounter, Taipei Fine Arts Museum, Taipei, Taiwan
vidEo aNd FiLM FEStivaLS2007 12th International Festival of New Film, Split, Croatia2004 3rd International Video Art Festi-val, Priπtina, Kosovo2003 AsoloArtFilmFestival, Asolo, Italy / 8th International Festival of New Film, Split, Croatia / 21st Munich Film Festival, VideoArt & Experimental Film, Munich, Germany / 16th European Media Art Festival, Student Forum, Osnabrück, Germany / Shorts! 4th Inter-national Short Film Festival, Amsterdam, Netherlands
othEr SCrEENiNGS2007 21000: First After, CK13, Novi Sad, Serbia / Video selection by Alen FloriËiÊ, Mali salon, Rijeka, Croatia2006 Back to the Future - 40 Years of
the SC Gallery, MM Centre, Zagreb, Croatia2005 Visura aperta / Momiano 05, Momjan, Croatia / 2nd Video Festival of Natures, Bezigrajska galerija 2, Ljubljana, Slovenia2004 Spots und Experimente, Kulturbunker Mülheim, Cologne, Germany2003 Pula Off - Videopuzzle, MM Centre Luka, Pula, Croatia / XII Punto de Encuentro, Festival Internacional de musica electroacustica, Fabrica de
Harinas, Albacete, Spain / Lange Nacht der Kölner Museen, Academy of Media Arts Cologne, as a guest in Ludwig Museum, Cologne, Germany
SELECtEd aWardS2007 Croatian Association of Visual Artists (HDLU) Zagreb, Young Artist Prize2006 Siemens Go Global Prize1998 University of Zagreb, Rector’s Award
Toni MeπtroviÊ
047
Damir OËko
Dam
ir OËko
THE END OF THE WORLDDamir OËko’s project deals with one of the most fascinating myths in the history of our civilization - the myth of Earth being flat. It was once believed that the entire Universe was Earth-centred and fixed in monotonous and predictable motion. Many different versions of this myth established various symbolic constructs of Earth and Heaven, in which Earth was always a flat body, a board, a stadium, or a polyvalent geometric structure (as the Egyptians believed). Although most of these stories were different in their form and literary background (some were obviously related to the Bible, while others had alchemistic or mathematic background), they all included the same dark spot on the map, placed on its very edge. And they all had the same name for it: the End of the World.
The creatures behind coloured masks are wanderers who accidentally find
themselves at the end of the world. The place seems like a deserted city, filled with colours suspended in darkness. Since the end of the world is the final point, the wanderers can no longer move, so they start playing a game in which they imagine the potential inhabitants of the ‘end of the world’. Their projection is actually what they see around themselves and that is why the players are also wearing masks of suspense. Their eyes and ears are covered, so the course of the game is ruled by accident. They are playing football with somewhat modified rules. There are six wanderers and twelve ‘end of the world’ players. Since they are motionless, the wanderers become obstacles in the field, while for the players the ball always seems to be somewhere else. Such a game can have no result and no final point. It is something that is played ‘forever’.
Jasna JakπiÊ, Damir OËko
thE ENd oF thE WorLd, 2007video, 17’
Work ExhibitEd at2007 Miroslav KraljeviÊ Gallery, Zagreb, Croatia
Born 1977 in Zagreb, Croatia. Lives and works in Zagreb, CroatiaEducation: 1997-2003 Academy of Fine Arts, Zagreb, Croatia
RESIDENCIES: 2008-2009 Akademie Schloss Solitude, Stuttgart, Germany2007 HIAP, Helsinki, Finland / KulturKontakt, Vienna, Austria / Tirana Institute of Contemporary Art, Tirana, Albania
049
SELECtEd SoLo ExibitioNS2007 The End of the World, Miroslav KraljeviÊ Gallery, Zagreb, Croatia / Why does Gravity Make Things Fall?, Tirana Institute of Contemporary Art, Tirana, Albania (with N. Domidiano and S. Kanani) 2006 The Missing Mountain, Baru-tana, Osijek, Croatia / Garden, VN Gallery, Zagreb, Croatia / Composi-tions, Museum of Contemporary Art, LotrπËak Tower, Zagreb, Croatia2005 Driving World Does Not End at the Same Point, Moria Gallery, Hvar, Croatia / Avoid, Museum of Contem-porary Art, Zagreb, Croatia (with I. Franke and S. VujiËiÊ) / Resil(i)ence, PM Gallery, Zagreb, Croatia2004 Ich leb allein in meinem Himmel (PILOT 04), Museum of Contemporary Art - Project room, Zagreb, Croatia2003 Cadenza Visuale, SC Gallery, Zagreb, Croatia
SELECtEd Group ExibitioNS2008 13th Biennale of Young Artists BJCEM, Puglia, Italy / ISOLOMANIA, Municipal Centre for Contemporary Art, Nicosia, Cyprus 2007 Somewhere Far, Far Away..., Lothringer13 / Laden, Munich, Ger-many / Under Construction, Museum of Contemporary Art, Zagreb, Croatia / T-HTaward@MSU, Museum of Contemporary Art, Zagreb, Croatia / The Post Cinema Experience, d/Art/07 - Australian Center for Photography, Sydney, Australia / New Revelations, Spectrum Project Space,
Perth, Australia / Croitoru, Demetja und Ocko, Art Point Gallery, Vienna, Austria / Heroes in Transition, Angel Row Gallery, Nottingham, UK / Open Studios, Tirana Institute of Contempo-rary Art, Tirana, Albania / Open Studio, Tirana Institute of Contemporary Art, Tirana, Albania2006 Fetish, VN Gallery, Zagreb, Croatia / 28th Zagreb Salon of Young Artists, HDLU, Zagreb, Croatia / Finale 2006, Putar Award, Galæenica Gallery, Velika Gorica, Croatia2005 Back to the Future, SC Gallery, Zagreb, Croatia / Backwards, Pixel-point05, Mestna Gallery, Nova Gorica, Slovenia / Postskulpture, HDLU, Zagreb, Croatia / 39th Zagreb Salon of Fine Arts, HDLU, Zagreb, Croatia2004 2nd Drava Art Annale, Koprivnica, Croatia2003 Queer Zagreb Festival, PU Gallery, Zagreb, Croatia / 1st Drava Art Annale, Koprivnica, Croatia
FEStivaLS aNd SCrEENiNGS2008 Rencontres Internationales-Paris-Berlin-Madrid, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain / Nouveau cinema et art contemporain, Ecole nationale supe-rieure des beaux arts, Paris, France2007 Rencontres Internationales - Paris-Berlin-Madrid, Galerie Nationale du Jeu de Paume, Paris, France / Vide-ojamit4, HIAP Project Room, Helsinki, Finland / d/Art/07, Chauvel Cinema, Sydney, Australia / 52nd International Venice Biennale, video program cu-rated by Edi Muka, Venice, Italy
Dam
ir OËko
051
Ivana Pegan BaÊe
Ivana Pegan BaÊe
VOICELESSThe series of photographs “Voiceless” was taken in the hall of Dubrovnik Hospital during 2004/2005. The frame is static and the action rolls by in time. The wide lens and the position from below from where the photographs were taken overemphasize the size of the space and, by increasing the contrast between light and shadow, the human figures are reduced to silhouettes, to gestures.
…
When looking at space, we tend to experience it as something more material than people as such. Space becomes the starting point, that which really matters, while people pass by, disappear, and change. However, if we focus on their gestures and movements, things suddenly change. We face an entire complexity of a situation in which the unique moment of a gesture
or simply moving from one point to another becomes superior to the static character of the frame, of that never changing space. Just like in light-box circumstances, where photographs are set in space somewhere on the border between that unique moment and some condensed, cyclical time, the people and space of the hall are actually two sides of one and the same situation, which cannot be defined clearly. By the author’s intervention, the hospital hall has been transformed into a metaphor of transience and pulsation of life within a framework that one can only conditionally call permanent …
Rozana Vojvoda
Born 1971 in Doboj, Bosnia and Herzegovina. Lives and works in Dubrovnik, Croatia.Education: 1996 Graduated from the Academy of Fine Arts in Zagreb, Department of Sculpture
voiCELESS, 20056 colour photographs 90 x 120 cm
Work ExhibitEd at2007 Zagreb Salon, Zagreb Fair, Croatia2005 Untitled, Galæenica Gallery, Velika Gorica, Croatia / Voiceless, Bukovac House, Cavtat, Croatia / Contemporary Art of Dubrovnik, MMSU, Rijeka; Art Gallery, Dubrovnik, Croatia
053
rESidENCiES aNd SyMpoSia oN SCuLpturE (rEaLizEd projECtS)2002 Art Omi International Artists’ Residency, Omi / New York, USA / Burst, Zarentin, Germany / Cité Internationale des Arts, Paris, France2001 Artslink / Vermont Studio Center, Johnson Vermont, USA / Fullness, Kemijårvi, Finland / Visura Aperta, Momjan, Croatia2000 Thanksgiving, Plasy, Czech Republic / Streem, Asiago, Italy / E/motions, Brookline NH, USA1999 Streem, Nanto / Terra Sancta, Arnbruck, Germany1998 Mercy of Water, Europos Parkas, Vilnius, Lithuania1997 Mercy of Water, Komarno, Slovakia
SELECtEd SoLo ExhibitioNS2005 Untitled, Galæenica Gallery, Velika Gorica, Croatia / Voiceless, Bukovac House, Cavtat, Croatia2004 Untitled, Sebastian Gallery, Dubrovnik, Croatia 2003 Svakom nanovo pronaenom kretnjom otkrivam se samoj sebi, Otok Gallery, Dubrovnik, Croatia
SELECtEd Group ExhibitioNS2008 Contemporary Art of Dubrovnik, Prsten Gallery, Zagreb, Croatia / In the Landscape, Art Gallery, Dubrovnik, Croatia2007 Essays in Contemporary Society, Lazareti, Dubrovnik; Zagreb Salon, Zagreb, Croatia2006 Triennial of Croatian Sculpture, Gliptoteka HAZU, Zagreb, Croatia2005 Contemporary Art of Dubrovnik, MMSU, Rijeka; Art Gallery, Dubrovnik, Croatia2004 Absolutely Baroque, OrπiÊ Palace, Varaædin, Croatia2003 Corners, Museum of Contemporary Art, Fort Collins, USA / Luleå Summer Biennial, Konstanshus Gallery, Luleå, Sweden
Ivana Pegan BaÊe
055
Lala RaπËiÊ
Born 1977 in Sarajevo, Bosnia and Herzegovina.Education: 2003-04 Rijksakademie van Beeldende Kunsten, Amsterdam, Netherlands / 2001 BA/MA studies at the Academy of Fine Arts in Zagreb, Departments of Painting and Art Education
Lala RaπËiÊ
TRAVEL IN A BOXMy work is inspired by the time I spent in the south of USA in summer 2007, when I accidentally came upon a children’s book entitled “Henry’s Freedom Box” (E. Levine, illustrated by LK Nelson, Scholastic Press 2007). The story I heard at the public reading of the book in the state of Louisiana was about Henry ‘Box’ Brown - a runaway slave and a major figure in American history - who had sent himself from Virginia to his freedom in Philadelphia - in a trunk! The story of travelling in a trunk or a box reminded me of the newspaper headings I read a few years ago - on how a young man called Charles McKinley, who was black as well, sent himself home on a cargo plane, packed in a container.
The motif of travelling in a trunk as a blind passenger inspired me with its associations, both to the fantasy of travelling and to the idea of escape (for reasons of despair / immigration).
Both associations have merged into a utopian idea of departure for a “better world”. In this case, the trunk can be identified with a magician’s box - a means of transport used to reach that utopia.
Among other things, my work deals with the issue of racial discrimination, even though it is barely present in our local context. As a problem, it is still very acute, and so is our hope that once we will reach that better world, within or without the trunk.
Lala RaπËiÊ
travEL iN a box, 200711-channel video installation, 10 synchronized DVDs, video projection
Work ExhibitEd at2007 Bon Voyage, Threshold Artspace, Perth, UK
057
RESIDENCIES2008 KulturKontakt, Artist in Residence Programme, Vienna, Austria2007 Edinburgh Residency hosted by ARC Projects Edinburgh/Sofia / Forum Stadtpark, AIR Exchange Programme, Graz, Austria2006 ISCP, New York, USA, supported by the Foundation for a Civil Society and Trust for Mutual Understanding2005 Cité des Arts Internationals, Paris, France / Platform Garanti CAC, Istanbul, Turkey2003 - 2004 Rijksakademie van Beeldende Kunsten, Amsterdam, Netherlands
SELECtEd SoLo ExhibitioNS2007 Everything is Connected, National Art Gallery, Sarajevo, Bosnia and Herzegovina / Everything is Connected II, BOP Gallery, Zagreb, Croatia / Everything is Connected III, Museum of Contemporary Art, Banja Luka, Bosnia and Herzegovina / Correspondences, on-line project, ARC Projects, Edinburgh Art Festival, Edinburgh, UK2006 Sorry Wrong Number, Art Workshop Lazareti, Dubrovnik, Croatia /Sorry Wrong Number, Gray Area, KorËula, Croatia2005 Icons Share Their Wisdom (with Ana Huπman), Artenativa, Zagreb, Croatia / Flying Carpet, Miroslav KraljeviÊ Gallery, Zagreb, Croatia / The Invisibles, Dick de Bruijn Gallery, Amsterdam, Netherlands / Drawings (with Koen Dealaere), Dick de Bruijn Gallery, Amsterdam, Netherlands
2004 New work, Nova Gallery, Zagreb, Croatia / City on a Hill (with Ana Huπman), KIC Photo Gallery, Zagreb, Croatia 2003 All the Extras (with Ana Huπman), Zagreb, Croatia
SELECtEd Group ShoWS2008 NO BORDERS (Just N.E.W.S.*), AICA, La Centrale Electrique, Brussels, Belgium / Palace, Cinema Palace, St. Gallen, Switzerland / Barricades, Sarajevo Winter Festival, Sarajevo, Bosnia and Herzegovina2007 Women on the Crossroads of Ideologies, City Hall, Split, Croatia / Heroes in Transition, Angel Row Gallery, Nottingham, UK / Artists, BOP Gallery, Zagreb, Croatia / Cinemaniac 2007, Pula Film Festival, MMC Luka, Pula, Croatia / Bon Voyage, Threshold Artspace, Perth, UK / T-HTaward@MSU, Museum of Contemporary Art, Zagreb, Croatia2006 Radoslav Putar Award, Finalists 2006, Galæenica Gallery, Zagreb, Croatia / Zvono Award, Finalists 2006, Narodni Dom, Banja Luka, Bosnia and Herzegovina / Absent Without Leave, Biennial of Young Artists, Bucharest, Romania / Welcome Home Laika, Alti Aylik, Istanbul, Turkey2005 No Stills #3, Discovering The Balkans, Brussels, Belgium / Insert, Croatian Video Retrospective, Museum of Contemporary Art, Zagreb, Croatia / First Person Singular, Art Gallery, Dubrovnik, Croatia / Normalization: That from a Long Way Off Look Like Flies, Platform Garanti CAC, Istanbul, Turkey / Outside Sources,
Künstlervereinigung Maerz, Linz, Austria2004 Flash, Visual Arts Salon, Celje, Slovenia / “Unimovie”, Museo Laboratorio ex manifattura tabacci, Città Sant’Angelo, Pescara, Italy / New Video, New Europe, Renaissance Society, Chicago, USA 2003 Balkan Konsulat, <rotor>association for contemporary art, Graz, Austria / In Between, Art Camp, Ars Aevi, Museum of Contemporary Art, Sarajevo, Bosnia and Herzegovina / Last East European Art Show, Museum of Modern Art, Belgrade, Serbia
SELECtEd aWardS2007 1st Award, Museum of Contemporary Art, Zagreb, and T-HT, Museum acquisition 2006 Young Visual Artist Award “Zvono”, Bosnia and Herzegovina2003 Best Young Artist, Video Medeja Film Festival, Novi Sad, Serbia2002 1st Award in Experimental Film Selection, 7th International Short Film Festival of the Iranian Young Cinema Society, Teheran, Iran2000 mi2 Web Award, 3rd place in the net.art category for the Pick-a-Pict project, http://www.autonomous-c-factory.hr/PICK-A-PICT
Lala RaπËiÊ
059
Marko TadiÊ
[email protected], http://markotadic.blogspot.com/
Born 1979 in Sisak, Croatia. Lives and works in Zagreb, Croatia.Education: 2001 - 2005 Accademia delle belle arti, Florence, Italy
Marko TadiÊ
SOUVENIRS...Kitschy souvenirs showing panoramas of cities and other tourist sites are the starting point of the author’s series on “Souvenirs”. Over the years, Marko TadiÊ has collected old fashioned souvenirs in the form of decorative wooden boards with different tourist sites painted or printed on them, and then intervened in them. His collection has mainly included depictions of tourist sites on the Adriatic, such as Biograd, Dubrovnik, or Split, but also features some alpine landscapes, from anonymous nature parks with illustrations of animals to some famous destinations, such as Bled or Zakopane. These objects are hybrids between post-cards and decorative plates, owing much of their fascination to their unusual visual expression, design, and style, as well as to the period from which they emerged. The author has been drawn to these objects not only by their appearance, but also by their character as documents of the past
times. They have brought vague memo-ries of the socialist period and of his own childhood - before the time when different types of mass migration have imperceptibly and slowly become one of the dominant world industries.
“Souvenirs” are about the identity of place, or rather about the transforma-tion and fluctuation of its identity and its local particularities, offering non-places as a sort of by-products in this dynamic process.
“Souvenirs” evoke a whole range of different impressions: the nostalgic el-egance of the past times, the emotion-ality of kitsch, the uneasiness of cheap pleasures or of innocent poor taste, the rustic idyll of lost places and voyages…
In its original, etymological sense, “sou-venir” means “memory”, a memento that is linked to a certain place in the form of an object. Its value is mainly sentimental and consists in the act and the possibility of remembering.
SouvENirS, 2007installation, 48 wooden souvenirs
Work ExhibitEd at2008 Linienstrasse 113, Berlin2007 Souvenirs, VN Gallery, Zagreb, Croatia
061M
arko TadiÊ
By evoking images from the past and bringing them into the present, or general-ly by evoking something that has been lost and dispersed, the souvenir indicates the intention of situating within the present not only the idea of a located place, seen as something particular and special, but also that of constructing an image of the past. The ways in which Marko has intervened in authentic souvenirs are an endless game of inscribing new things into the existing narrative and repre-sentative matrices, wearing them out by these repeated transformations from an image of the place into a non-place. It is in remembering certain non-places that their uneasiness is exhausted by the indistinct presence of the past, lost in the new and the present, since that questionable pres-ence of the past is based on the anony-mous, general, global, and omnipresent, floating at the same time somewhere between nowhere and everywhere...
Ana DeviÊ
063
SELECtEd SoLo ExhibitioNS2008 Linienstrasse 113, Berlin, Germany2007 Souvenirs, VN Gallery, Zagreb, Croatia / Storyboards, Galæenica Gallery, Velika Gorica, Croatia2005 Above the Clouds (with Vedran Perkov), Josip RaËiÊ Gallery, Zagreb, Croatia2003 Household, Nova Gallery, Zagreb, Croatia
SELECtEd Group ExhibitioNS2007 T-HT@MSU, Zagreb Fair, Zagreb, Croatia / Heroes in Transition, Angel Row Gallery, Nottingham, UK / Zagreb Salon, Zagreb Fair, Croatia2006 Peer to Peer art, Nova Gallery, Zagreb, Croatia / Salon of Young Artists, HDLU, Zagreb, Croatia2005 Arsenal, Zadar, Croatia / Four Authors and a Painting, Zlarin, Croatia2004 Side effects (Nuspojave), Nova Gallery, Zagreb, Croatia; Gallery of the Museum of Contemporary Art, Belgrade, Serbia2003 In the Gorges of Balkans, Fridericianum, Kassel, Germany / Ruotati, Florence, Italy
SELECtEd aWardS2006 Award of the Salon of Young Artists, Zagreb, Croatia2001 1st Award of the Salon of Young Artists, Sisak, Croatia2000 1st Award of the Salon of Young Artists, Sisak, Croatia
Marko TadiÊ
065
Zlatan VehaboviÊ
[email protected]://weakersoldier.blogspot.com/
Born 1982 in Banja Luka, Bosnia and Herzegovina.Lives and works in Zagreb, Croatia.Education: 2006 Graduated from the Academy of Fine Arts, Zagreb, Croatia, Department of Painting
Zlatan VehaboviÊ
OILThe name of my work in Croatian is “Nafta”, which I prefer for its resonance, but since that name has been internation-ally associated with a trading organization, I had no choice but to refer to a recently resurrected title of Upton Sinclair’s: “Oil!” Despite the risk of being characterized as “zeitgeist” or trendy, I have decided to adopt that name after all. Nevertheless, what I have attempted to do with it was to simulate or to stage a situation of personal catastrophe. I imagined a character experi-encing an emotional breakdown. It seems that my work is more often than not driven by a desire or a need to pin down various emotions, to visualize them, lacking an adequate verbal construction. Interesting enough, my personal taste has been very closely connected to melancholy, be it in visual matters, music, or anything else. I have experienced it as a very potent drive, beautiful at the same time, and I think that certain injustice has been done by
attaching it to Dürer’s image as its most famous icon. In order to depict that feeling of loss, I somehow felt that, if I could only draw the image of melan-choly, I would obtain that visualization of sadness - you can call it a Plot Player’s personal disaster, right! Melancholy feeds on beauty, hence the setting is not that of some dark & gloomy corner. That could lead to banality. The most interesting solution of all offered itself in the form of ecological allegory. According to many, my work has been many things at once so far, but it has hardly ever been activist. My intention has never been to point my finger at the wrongs of the World, when there is a Universe of wrongs within me that I find so fascinating. So the key premise was eventually found in the travesty of one’s glorification of personal disasters into a range of global ecological/envi-ronmental issues.
Zlatan VehaboviÊ
oiL, 2008oil on canavas 160 x 210 cm
Filip Trade Collection, Zagreb
067
SELECtEd SoLo ExhibitioNS2007 Sjever, Galæenica Gallery, Velika Gorica, Croatia / Sjever, S Gallery, Koprivnica, Croatia2006 6 Kilometre, SC Gallery, Zagreb, Croatia2004 Izidor Krπnjavi Gallery, Zagreb, Croatia
SELECtEd Group ExhibitioNS2008 13th Biennale of young artists BJCEM, Puglia, Italy2007 Essl Award for Central and South-Eastern Europe, Gliptoteka, Zagreb, Croatia / Kunst in der Stadt, Mainz, Germany / BJCEM Biennial of Young Artists from Europe and the Mediterranean, Alexandria, Egypt / Young Art Europe 2007, Museum of Young Art, Vienna, Austria / Essl Award for Central and South-Eastern Europe 2007, Essl Museum, Klosterneuburg, Austria / `5+` Gliptoteka, Exhibition of Awarded Students on the Occasion of the 100th Anniversary of ALU, Zagreb, Croatia2006 Salon of Young Artists, HDLU, Zagreb, Croatia / Siemens Go Global, KloviÊevi dvori Gallery, Zagreb, Croatia / Novi Fragmenti 3, Artworks Awarded by ERSTE Bank, Bjelovar, Croatia / Novi Fragmenti 3, Artworks Awarded by ERSTE Bank, Zagreb, Croatia / Novi Fragmenti 3, Artworks Awarded by ERSTE Bank, Varaædin, Croatia 2005 SC Gallery, Zagreb, Croatia / Kristofor StankoviÊ Gallery, Zagreb, Croatia
2004 SC Gallery, Zagreb, Croatia / Kristofor StankoviÊ Gallery, Zagreb, Croatia / Prezentacija Otokultivatora, MoËvara Gallery, Zagreb, Croatia / Exhibition of Awarded Undergraduates, 2004, Gallery of the Academy of Fine Arts, Zagreb, Croatia2003 University Exhibition, SC Gallery, Zagreb, Croatia / Pasionska Baπtina, Kristofor StankoviÊ Gallery, Zagreb, Croatia / Prezentacija Otokultivatora, MoËvara Gallery, Zagreb, Croatia
SELECtEd aWardS2007 Essl Award for Central and South-Eastern Europe, 2nd place2006 Erste Bank Award For Young Artists, 1st place / Award of the Academy of Fine Arts for Graduation Exhibits2005 Distinction of the Academy of Fine Arts Council / Award of the Croatian Chamber of Trades and Crafts
Zlatan VehaboviÊ
069
Silvio VujiËiÊ
Born 1978 in Zagreb, Croatia. Lives and works in Zagreb, Croatia.Education: 1997 - 1999 Faculty of Textile Technology, Department of Fashion Design, University of Zagreb, Croatia / 1999 - 2005 Academy of Fine Arts, Zagreb, Croatia
Silvio VujiËiÊ
UNITITLEDIn his former work, performed both in textile and in other media, Silvio VujiËiÊ was already involved with the subject of temporariness, transformation, and dete-rioration of matter. While exploring the emergence and behaviour of salt crystals, VujiËiÊ has now treated them as living organisms: he has cultivated them and observed their growth, their interaction with other substances, and the way they change in time. He has grown colonies of salt crystals on simple iron grids - modules from which he then built objects/installa-tions of different dimensions. If we reflect on the materials he has used, namely salt and iron, we can observe that they are primary, heavy, and cold. Salt crystallizes and settles on an oxidized, rusted iron sur-face. It is from this heavily corroded metal film, plunged into a highly saturated salty solution, that colonies of white, sparkling crystals will emerge. But salt crystal will also draw the dirty rust into its ideal purity
and smoothness of reflecting surfaces. This combination will then give way to a destructive dynamic and the result will be constant change.
…
The window/mirror/grid freezes and locks the Being into the space of its reduplicated essence. Fragmenta-tion of the gaze through the window grid is also the medium of Mallarmé’s crystallization of reality in art. In the unsolved debate on the centrifugal and centripetal character of the grid, VujiËiÊ’s installation finds itself in the same schizophrenic position - its cen-tripetal character is in the orientation of the closed ambience into itself. But at the same moment when emptiness awakens, centrifugality is extended at least to the reflecting, crystal-covered grid. The almost mathematical certainty falls apart in the instability of reflec-tion. Grid is the basic element of this work - mostly because it is built from
uNititELd, 2007steel and aluminum construction, sodium chloride crystals, light210 x 90 x 90 cm
Filip Trade Collection, Zagreb
Work ExhibitEd at2007 B.O.P. Gallery, Zagreb, Croatia (Franke, VujiËiÊ) / Linienstrasse 113, Berlin, Germany (Franke, VujiËiÊ)
071Silvio V
ujiËiÊ
crystal. And the carrier, the medium, the metal grid construction in its neutral and clear form, displays the evolved colonies of crystals. Closed and self-reflecting, as if content with its own connections and constructions, the installation reflects eve-rything that comes closer to it and defends itself with its white reflection.
Installation set in space is only a tempo-rary stage of this work or, more precisely, of this research. In the non-laboratory set-ting of a studio, VujiËiÊ has cultivated the crystals guided by an almost alchemical principle, namely that weakness “creates his strength, as the non-realisation of his goals shows the measure of his dream”. By directing a process that will always slip away from him, he will stop at the lure of anomaly. And that anomaly, that devia-tion, will remain an integral part of his research process.
Jasna JakπiÊ
073Silvio V
ujiËiÊ
075
SELECtEd SoLo ShoWS2007 B.O.P. Gallery, Zagreb, Croatia (Franke, VujiËiÊ) / Linienstrasse 113, Berlin, Germany (Franke, VujiËiÊ)2006 Exposed to Virus and Fashion, TKZ Factory, Zagreb, Croatia2005 Nothing Ever Happens, Karas Gallery, Zagreb, Croatia / Under the Daisies, Josip RaËiÊ Gallery, Zagreb, Croatia / Zebra, Piazza Santa Maria Novella, Florence, Italy2004 E.A. 1/1 S.V. Menswear shop #1, VN Gallery, Zagreb, Croatia / Darkroom (Pilot 04), Museum of Contemporary Art Project Room, Zagreb, Croatia
SELECtEd Group ShoWS2006 Device Art, Perfume, RX Gallery, San Francisco, USA / Device Art, Perfume, Miroslav KraljeviÊ Gallery, Zagreb, Croatia / 9th Triennial of Croatian Sculpture, Gliptoteka HAZU, Zagreb, Croatia / 1st Vukovar Salon, Eltz Castle, Vukovar, Croatia / Politics of the Body, Youth Cultural Center, Belgrade, Serbia / 4th Triennial of Graphic Arts, Gliptoteka HAZU, Zagreb, Croatia / 40th Zagreb Salon of Fine Arts, Zagreb, Croatia / 1:1, HDLU, Zagreb, Croatia2005 Postsculpture, HDLU, Zagreb, Croatia / Avoid, Museum of Contemporary Art, Zagreb, Croatia / Essl Art Award, Academy of Fine Arts, Zagreb, Croatia
2004 Device Art, Galæenica Gallery, Velika Gorica, Croatia / Sexy, PuËko otvoreno uËiliπte, PoreË, Croatia / New Croatian Sculpture, HDLU, Osijek / Tra/ns/vesties, Queer Zagreb Festival, Zagreb, Croatia / 27th Salon of Young Artists, HDLU, Zagreb, Croatia2003 8th Triennial of Croatian Sculpture, Gliptoteka HAZU, Zagreb, Croatia / 3rd Triennial of Graphic Arts, HDLU, Zagreb, Croatia / Imagerie - Art Fashion, Trieste, Italy
SELECtEd CoStuME dESiGNS2007 Changes, Bad.co, Zagreb, Croatia / Glembajevi, Croatian National Theatre Rijeka, Croatia2006 Memories are Made of This, Bad.co, Zagreb, Croatia2005 Fleshdance, BAD.co, Zagreb, Croatia / …She said, Wax Factory, Ljubljana, Slovenia2004 Deleted Messages, BAD.co, Zagreb, Croatia2003 Nabucco, Croatian National Theatre Rijeka, Croatia / Cleansed, Wax Factory, Ljubljana, Slovenia
Silvio VujiËiÊ
077
CataLoGuEPublisher: Museum of Contemporary Art, ZagrebHabdeliÊeva 2, 10 000 Zagreb, CroatiaTel/fax ++385(0)14851930; ++385(0)14851931e-mail: [email protected] the publisher: Snjeæana PintariÊEditors: Jasna JakπiÊ, Vesna MeπtriÊTexts: Ana DeviÊ, Nicole Hewitt, Jasna JakπiÊ, Vesna MeπtriÊ, Rozana VojvodaTranslation: Marina MiladinovProof reading: Marina Miladinov, ContinuumPhotographs: Antun BoæiËeviÊ, Alem Korkut, Damir ÆiæiÊ, Kristina Lenard, Silvio VujiËiÊ, Vesna MeπtriÊGraphic design: Laboratorium, ZagrebGraphic prepress: Laboratorium, ZagrebPritned by: Kerschoffset, ZagrebPrint run: 500
ISBN: 978-953-6043-99-6
CIP zapis dostupan u raËunalnom katalogu Nacionalne i sveuËiliπne knjiænice u Zagrebu pod brojem 666336.
© Museum of Contemporary Art, Zagreb
ExhibitioNOrganization: Museum of Contemporary Art, ZagrebHabdeliÊeva 2, 10 000 Zagreb, CroatiaTel/fax ++385(0)14851930; ++385(0)14851931
VerketKanalvägen 1, Koppardalen, 774 41 Avesta, SwedenTel ++46(0)226645162Curators: Jasna JakπiÊ, Vesna MeπtriÊCoordination: Kenneth Linder, Fia Paulsson, Caroline Andersson Audiovisual technician: Hans NilssonTechnical set-up: Antun BoæiËeviÊ, Jan-Erik “Jeppen” Pettersson, Verket team
vENuE:VerketKanalvägen 1, Koppardalen, 774 41 Avesta, Sweden
May 5th 2008 - August 31st 2008
Acknowledgements: Embassy of the Republic of Croatia in Stockholm; Kreπimir Kedmenec, counsellor at the Embassy of the Republic of Croatia in Stockholm and the Filip Trade Collection
The exibition and the catalogue have been realised with the financial support of the Ministry of Culture of Republic of Croatia, City of Zagreb Municipal Office for Education, Culture and Sport and Verket, Avesta kommun.
