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Aleksandar Bezinović / Katarina Vojković Solo exhibitions by Aleksandar Bezinović and Katarina Vojković is the last one of the exhibitions with which, this year, we present young artists related to Velika Gorica and its surroundings. About the works presented at the exhibition art historians Rozana Vojvoda and Petra Petrušić writes: Creation and dissolution, construction and deconstruction, appearing and disappearing; all of these pairs of antonyms can be applied to Aleksandar Bezinović’s work created within the last two years. Through procedures which include lighting on fire, scraping, a profuse use of adhesive materials, even the intentionally induced corrosion of metal plates, the author additionally emphasizes the already unsteady relationship between the foundation, the figurative motif, words and colour. Reconstruction, as the central theme of this exhibition, becomes an applicable and, at the same time, relative creative principle – everything can somehow be reconstructed when technology and a creative principle are in line: a palm tree or even the human body Željka Cupek / Marija Lovrić Solo exhibition by Željka Cupek and Marija Lovrić is one of the exhibitions with which, this year, we present young artists related to Velika Gorica and its surroundings. About the works presented at the exhibition, the artists says: Introspection, 2016 These days, living a modern and, you could say, superficial way of life, creates a need to connect with oneself. This is an extremely important human need which we often neglect. Even when we are talking about awareness or self-confidence, we very rarely truly feel that. Self-awareness is a higher state of consciousness, a connection with one's self. It is the ability to feel the messages from our inner reserves of emotional memory. In order to advance our self-awareness we need to explore ourselves, respect our bodies, take care of ourselves and enter out inner selves. Each person is unique, both physically and psychologically. Each person has their own energy frequency and when we connect we feel the new energy which permeates into us and prompts various emotions. We feel vibrations, depths, we see colors, hear different sounds. Sometimes we become intensely self-aware, aware of our own physiological processes. The Day My Internet Art Paid Off Željko Badurina, Maja Čule, Hrvoje Hiršl, Dina Karadžić, Tea Stražičić, Igor Štromajer Curated by Irena Borić, Martina Kontošić, Renata Šparada The Day My Internet Art Paid Off! is an exhibition featuring works by Željko Badurina, Maja Čule, Hrvoje Hiršl, Dina Karadžić, Tea Stražičić and Igor Štromajer, all of which touch upon different economic aspects dictated by new relations online. Tabs, procrastination, self-promotion, collaboration, spam, comment sections, shares, likes – these are all fragments, be it material or digital, of circulating data. On the web, the circulation performed by numerous users gives value and power to the circulated information. Therefore, internet economies do not only allude to typical digital financial transfer protocols, but are also based, to a large extent, on generating symbolic capital, i.e., values. Bearing in mind the context of the web as a corporate and supervised medium, the exhibition brings to the forefront the artist's reactionary role in relation to the economic models developed on the 2.0 web. Ljubomir Stahov, "From Nature" Ljubomir Stahov's world stands out from the contemporary Croatian art corpus as an articulated visual arts oeuvre which exists by and for itself, away from any trends, tendencies and without belonging to any particular group or movement. However, if we were to insist on finding spiritual and stylistic similitudes, we would find them in Ordan Petlevski's primordial, fossil and organic forms, a unique personal world of “organic micro-figuration” (Zdenko Rus), as well as in Biserka Baretić’s oeuvre which also embraces the concept of susceptible matter, a spirit trapped within material confounds of the body, accompanied by frequent references to mythical symbols and archetypes like Icarus, Orpheus, Pegasus, the Gorgons and Janus. Each standing in other's light Raymond Carver, Milan Božić, Tomislav Gotovac, Sven Klobučar, Primo Levi, Ana Opalić, Terence Malick, Iris Mihatov Miočić, Ana Mušćet, Ana Opalić, Berislav Šimičić, Roberta Vilić, Sandra Vitaljić and Center Meleta for integrative body-oriented therapy (Zagreb) There is an interesting paradox within the discourse on the phenomenon of violence pointed out by Richard Bessel in his book “Violence: A Modern Obsession”: the best analyses of violence conducted, the most successful measures implemented to prevent its spread and ameliorate its consequences, occur in societies that are the least violent. Bessel primarily refers to the countries of Western Europe, the United States, Canada, Australia, etc., that is, the democratic countries with developed legal, social, educational and health systems. In these societies, the sensitivity to violence has become almost an obsession, while being kind and compassionate is more desirable than ever. How did this happen, Bessel wonders? There is no simple answer, but the origins of this obsession unarguably lie in the first half of the 20th century and the Two World Wars that took place in a time span of less than 40 years. Wars have been waged before, but the extent and the scope of destruction brought by the First and Second World War exceeded even the most pessimistic projections. The society of the developed West has undoubtedly suffered a collective trauma inflicted by these Wars. Duje Šuvar / Vid Vučak This year’s exhibition programme dedicated to young artists from Velika Gorica opens with an exhibition featuring two academic artists: Vid Vučak and Duje Šuvar. Vid Vučak graduated from the Department of Sculpture at the Academy of Arts of the University of Split in 2009. Until recently, he mostly specialized in memorial and portrait sculpture, while a new cycle of his work is going to be exhibited in Galženica Gallery. Duje Šuvar graduated from the Department of Painting at the Academy of Fine Arts in Zagreb in 2008 and from the Department of Restoration and Conservation at the same Academy in 2011. His approach to painting can be described as (Photo)realist, exploring the themes ranging from urban everyday life to Christianity.
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Mario Matoković, U potrazi za dobrom vladavinom Kustos: Klaudio Štefančić Među hrvatskim suvremenim umjetnicima Mario Matoković se, uz nekolicinu drugih, ponajviše ističe spremnošću da jezikom umjetnosti komentira i kritizira dnevno-političke događaje. Za razliku od modernističkog umjetničkog nasljeđa, koje više voli sublimaciju i distancu od aktualnosti i angažmana, Matoković na društvo oko sebe reagira gotovo impulzivno. Kako je rođen i živi u Osijeku, najveći dio njegovog rada posvećen je zbivanjima u rodnom gradu i Slavoniji, iako svaki problem - deindustrijalizacija i dezurbanizacija Osijeka, slabljenje agrarne proizvodnje, iseljavanje stanovništva itd. - može predstavljati i hrvatsko društvo u cijelosti. Bez obzira na prirodu društvenog problema, Matoković mu prilazi zaokupljen idejama solidarnosti i zajednice, ukazujući ili na njihov nestanak ili na njihovo krivo shvaćanje. Matokovićev rad, također, podsjeća na napeti odnos između umjetnosti, kulture i države, koji nije svojstven samo Hrvatskoj, nego i drugim zemljama Istočne Europe. Je li umjetnost izgubila svoje društveno poslanje? Koja je njezina uloga u globalizacijskim procesima? Na temelju kojih kriterija danas procjenjujemo vrijednost umjetničkih djela i institucija u društvu čija je kulturna proizvodnja gotovo potpuno određena državnim potporama, itd.? Izložba je prvo veće predstavljanje ovog umjetnika u zagrebačkoj regiji. Đuro Seder, Rt dobre nade (slike i crteži) Kustosica: Marijana Paula Ferenčić Đuro Seder je rođen u Zagrebu 1927. Diplomirao je slikarstvo na Akademiji likovnih umjetnosti u Zagrebu u klasi prof. Antuna Mejzdića 1951. Specijalizaciju za slikarstvo završio je kod prof. Marina Tartaglie 1953. Nakon studija radio je u časopisu Jugoslavenski radio kao ilustrator i tehnički urednik, u izdavačkom poduzeću Panorama te u Agenciji za marketing – Vjesnik od 1968. do 1981. kao grafički dizajner. Od 1981. do 1983. bio je docent na Akademiji likovnih umjetnosti u Zagrebu, od 1983. do 1987. obnašao je službu dekana, od 1987. do 1998. bio je redoviti profesor. Od umirovljenja 1998. u statusu je profesora emeritusa. Redoviti je član Razreda za likovne umjetnosti HAZU od 2000., a od 2011. obnaša i funkciju voditelja Gliptoteke HAZU. Bio je članom umjetničke grupe Gorgona od 1959. do 1966. Tijekom šezdesetih i sedamdesetih objavljivao je poeziju u časopisima Razlog, Kolo, Forum i Republika, a 1978. tiskana mu je zbirka pjesama Otac iz lonca u nakladi Biblioteke iz Zagreba. Samostalno izlaže od 1958. Djela mu se nalaze u mnogim nacionalnim i inozemnim galerijama i muzejima te u privatnim zbirkama u Hrvatskoj i inozemstvu. Marija Ančić, Morbidne slike Marija Ančić je bivša finalistica Nagrade Radoslav Putar i umjetnica čiji rad u domačoj sredini ima specifičan status, jer se odvija na sjecištu tradicionalnih umjetničkih disciplina (crtež, animacija) i kulture društvenih mreža (GIF, blog itd.). Ančić je rođena 1982. u Sarajevu. Diplomirala je na Umjetničkoj akademiji u Splitu, na smjeru konzervacije-restauracije 2005. i na kiparstvu 2010. Uz tri samostalne izložbe u Zagrebu i Splitu, sudjelovala je na više skupnih izložbi u Hrvatskoj i inozemstvu. Živi i radi u Zagrebu kao samostalna umjetnica. Kada se pristupa temi sebstva onako kako to čini Marija Ančić, kroz vizuru zazornosti kojoj je nemoguće umaknuti, koja prikazani subjekt neprestano guta postajući njegov konstitutivni dio, medij GIF-a se nadaje kao savršeno rješenje. Figuralna animacija, koja podrazumijeva stilizaciju stvarnog svijeta, pretpostavlja pogled kroz određenu subjektivnu, “pomaknutu” prizmu. Također, minimalni oblik naracije koji povezuje početak i kraj priče u jedinstvenu cjelinu, čime se gubi kauzalnost, uvjetuje upravo ono sadržajno zazorno: nemogućnost raspoznavanja jave od sna, stanja sigurnosti od stanja opasnosti, vlastitog sebstva od drugog. Poetika Ančićeve lako je smjestiva u gotski žanr koji, uostalom, sadrži izraženu transhistorijsku kvalitetu (najprije referiranjem na srednjovjekovlje, a zatim na viktorijansko doba), pa stoga njegovo glatko uklapanje u digitalnost nikako nije neobično. Dapače, suvremena gotika ne samo da povlači teme i motive baštinjene prvenstveno iz viktorijanske i edvardijanske književnosti (kada se formira kao žanr), nego se u toj motivici demokratski širi na sve druge oblike umjetnosti (vizualnu, kazališnu, filmsku, glazbu, strip...) u kojima, u postmodernističkoj maniri, rapidno stvara nove oblike, napose u žanru horora.