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picture Eye Nerve Bombing art ditu, filjio, gaz, lonac, lunar, oko okato, pajcek, petar popijač, peha plus, puma 34, sank, sretan bor, svenki and others During the last few years, in the public discourse on artistic interventions in the city’s streets, the term street art is becoming more common. The works in Branimirova Street used to be called graffiti, while their new version is commonly labeled by the media as street art. Without entering the domain of formal and aesthetic distinctions of the new generation of artists and artworks, it is clear that the significant terminological shift from something that was up until recently linked with specific subcultures and vandalism, in itself points to an interesting artistic and social phenomenon. Who are the protagonists of this new wave of street art, how do they perceive their role of claiming public space, are they any different from their predecessors, how are their activities perceived by art history on the one hand and the law on the other, these are just some of the questions this exhibition deals with. Mare Milin, " A side, B side " The title of the upcoming exhibition, “Side A, Side B”, refers to the complex process of the fashion photography production which is a result of the teamwork of experts. Not only a photographer, but also a stylist, an editor, a makeup artist, a set designer, a model and a producer, design the editorial, choose photographs and create the beauty that may attract you to buy what you see. “A Side” is what you actually see when you buy a fashion magazine: photographs, clothes, models etc. “B Side” is invisible to the readers' eyes, for example the photographs that did not end up printed in the magazine despite the photographer's opinion on their quality. The fashion photography is a hybrid genre that has the same origin as a so-called documentary i.e. press photography. Namely, both emerged and developed as a constituent part of, at first printed, then electronic, and finally digital mass media. Unlike the documentary photography, the fashion photography has more freedom in selecting and combining various aesthetic, formal and social approaches to the art of photography. Not only has the fashion photography dealt with different genres (portrait, landscape, experimental or erotic photography) but also with different social codes of art, ranging from the concept of authenticity and individuality to the concept of technical excellence and teamwork underlined with the amateur dedication to technology. The teamwork that produces the fashion photography is not marked by an amateur love for the encounter of man and technology but by the demands of fashion and media markets. Those demands include excellence, inventiveness and knowledge of the history of photography, technology and culture. Despite moving away from a romantic idea of autonomous individual, free from social contracts, who uses camera to express the relations with self and the world around, a fashion photographer as a part of the “beauty industry” is free to be creative. Although determined by mostly economic demands, creativity lies in the possibility to use different strategies, styles and cultural conventions (gender-related as well as artistic). The fashion photographer is a “beauty hireling” and thus a predecessor of contemporary designers who give form to almost everything, ranging from a single page and screen to identity and history. Paradoxically, the more fashion photographer is involved in the industry the more original he/she is; the more he/she goes back in the past, the more seductive photographs are; the more he/she is hermetic the better products sell. (Klaudio Štefančić) Mare Milin is born in Zadar in 1973. After graduating from highschool she moved to Zagreb to study industrial design at the University of Architecture. At that time she started to take photography courses as a part of regular university program. Suddenly, she became infatuated with photography and her development (1). she has cooperated with a number of Croatian magazines, such as: Arkzin, Ultra, XL ( which, unfortunately, don’t exist any more ), Mila, Story, and Croatian issues of Cosmopolitan and Elle. As a result of cooperation with several publishing houses ( Meandar, Sysprint ) there are several book editions with her photos on their covers ( a biblioteque of Milan Kundera’s books, G. Orwell, V. Wolf, V. Nabokov etc.). Since 1999., she has worked as a photographer on many advertising campaignes. She cooperate with agencies such as: Lowe Lintas Digitel, BBDO, Leo Burnett, Grey Zagreb, Mc Cann Erickson, Hager (Poland), Public Image… She is art director of animated film "Glupača" which is in state of production at the moment (2). Since January 2006, she has been a part of a big multimedia project about ingenious scientist and inventor of AC, Nikola Tesla ( Bulaja Publishers, Zagreb ). It is a work in progress at this point. During March and April 2006. she was an artist in residence in 18th St Arts Center, Santa Monica ( USA ) (3). Her artistic work has always been based on photographies of people, situations with them, selfpotraits. Sometimes, her professional tasks ( mostly magazine jobs ), turned out to be unexpectedly artistic. Therefore, unusable in the publishing business, but very helpful in her development as an artist. Links: (1) http://www.klik.hr/naslovnica/deluxe/200404280002006.html (2) http://www.filmski.net/specials/26 (3) http://www.ulupuh.hr/hr/straniceclanova.asp?idsekcije=2&idclana=183 Visual image – a genre or the politics of representation We decided to make some considerable changes in the year 2007. First, we will try to base future programmes on actual problems, interesting issues or phenomena, whether they are part of a narrow or wider art culture. Therefore, instead of a collection of individual exhibitions, we will organize exhibitions based on a characteristic that is mutual to all the artists presented. This year, that mutual characteristic will be the problem of the image and its representation... Oliver Dorfer, Herbert Egger, Anton S. Kehrer, Beate Rathmayr, "Light_Story_Space_Body" The exhibition Light_Story_Space_Body is the continuation of cooperation between the Austrian artistorganization MAERZ centred in Linz and the Galženica Gallery. Started in 2004, this cooperation functions as an exchange of art and gallery experiences between these two different cultural contexts, Austrian and Croatian. So in April 2005 “Outside sources” exhibition was opened in the MAERZ Gallery in Linz. Kristijan Kožul, Tanja Dabo, Marija Prusina and Lala Raščić participated in the exhibition. During 2005 Ana Kadoić participated in the international exhibition in Linz which was organized by the MAERZ artist organization. And this year Tanja Dabo and Ivana Franke will exhibi ttheir individual works at the MAERZ Gallery. Each of the notions in the title of the exhibition tries to metaphorically represent a work or a part of work by an individual artist. “Light” symbolises the work of Anton S. Kehrer; “Story” is the symbol for Oliver Dorfer’s paintings; “Space” is a metaphorthat signifies photographic and movie works of Beate Rathmayr and “Body” refers to the sponge sculptures of Herbert Egger. Zlatan Dumanić, "Radical desublimation" Zlatan Dumanić (1951) is an artist from Split and this year’s Croatian representative at the 51stVenetian Biennale. Although he is mostly known for his neo-avantgarde works, performances, actions,installations, movies and poetry, Dumanić has for the last few years worked in easel painting so itcan be said that the exhibition in Velika Gorica is a premiere in painting. In his paintings Dumanićis occupied with his existence which through erotic and general love themes and motives, insteadof more wholesome, serious representations, takes on everyday, normal, in fact journalary or comic shapes. Zlatan Dumanić is a former ship captain for ships of 3000 GT and more with highest maritimequalifications. He has been exhibiting since 1969. He participated in a large number of groupexhibitions, held numerous multimedia actions, performances and programs and published a largenumber of books, collections of poems and librettos. Andrea Robić, "Ah!" Andrea Robić, a young painter from Velika Gorica, presented herself with paintings whose field of painting spreads from individual canvasses to the walls of the gallery. By painting the gallery walls, she followed the painterly structure of the exhibited canvass and by doing so, realized a personal site specific work. Or as Vladimir Gudac points out in the introduction of the catalog: “In this case, the artist spreads out the sign of the “rigid gesture” using her color fields of soft dreams. This sign wants to, and does, escape the field of the canvass and point to the wideness of the imaginative fields of dreams and, so to say, suggest the fact of the unspeakable via a strong, hard color core and painful disruption of the wide line (or multiple lines) which would like to escape to the space beyond the painting and beyond painting, and especially to escape towards us, the audience-spectacors.” Andrea Robić graduated from the Academy of Fine Arts in 1998 and this is her fourth solo exhibition. Filip Quien Filip Quien (1979) is in his final year of studying painting under Gorki Žuvela at the Art Academy in Split. In Galženica he exhibited his works in which he displays interest in painting material and materialness of a painting as an object in the tradition of Informel. Or as Vanja Babić stated in the catalog: "The young artist used the methods of action painting, Informel and assemblage equally in his work. In Filip's paintings one can find tar, pieces of cans, aluminum powder, plastic straws and many other elements, all with the goal of achieving the absolute freedom of perception and avoiding the acceptance of artistic expression by the principle of hermetic perception.” Davor Krelja, "Fine Manners" Davor Krelja (1960) formed his style under the influence of neo-expressionism, as a part of the New Image trend, which during the 80s represented Croatian artists' response to European transavangarde and America's postmodern art. After working briefly with ambient installations at Galženica, he returns to painting with some twenty panoramically composed paintings. Two phenomena have imposed themselves as the most interesting. On one hand, the inclusion of literary discourse into the exhibition by using the extended titles for images which now, rather than information about the painting, serve as short, genre-specific literary forms. On the other hand, it is the surrealist, fantastic charge which gives the paintings their somewhat mysterious meaning. Davor Krelja studied painting at the Zagreb Academy of Fine Arts in 1985. He has been exhibiting his art in Croatia and abroad since 1984. Ana Katičić Ana Katičić Barbić studied painting at the Zagreb Academy of Fine Arts under Igor Rončević. This is her second solo exhibition. Her work displays similarities with that of her younger colleagues who started changing the artistic and painting paradigm in the late nineties and at the beginning of the century. It is a change of the neo-expressionist paradigm and geometrical painting, until then dominant in Croatian art and the application of certain painting methods which include turning to the everyday world, in the sense in which we can almost talk about it as an everyday, practically ritual cultural practice (summer holidays, night out, culture of photography, etc). The contents of Ana Katičić Barbić's paintings have accordingly been taken from personal photo albums, scenes such as cafés or disco clubs or mass media. Sonja Briski Uzelac, "Window, view" The exhibition of Sonja Briski Uzelac is, in a way, a hybrid exhibition: it is an exhibition of paintings and an ambient exhibition, a site-specific intervention. If seen as an exhibition of paintings, then we must say that the exhibition shows 30 paintings from the series “Squares” and “Rectangles”, the painting “Viator’s Perspective” and two small paintings that remind us of Malevich’s squares. If we view it as an ambient exhibition adapted to the specific character of the gallery space, then we must conclude that the exhibition shows 30 square and rectangular blue monochrome paintings in space so that their setup suggests perspective foreshortening, known from the tradition of Renaissance art. In that sense, “Viator’s Perspective” as a painting is a clear reference to the Renaissance mathematical construction of space on a two-dimensional surface, and the two small paintings, the blue and black square, are references to the opposite of this tradition of Western painting: to the concept of non- objective art of Kazimir Malevich. Sonja Briski Uzelac, the “educated painter”, as Miško Šuvaković calls her, is a professor and theoretician of art, and a painter who graduated from the Faculty of Fine Arts in Belgrade in 1976. She received her PhD in 1984 at the University of Belgrade. She lectured at the Faculty of Fine Arts in Belgrade, and is currently lecturing at the Faculty of Teacher Education in Zagreb and at the Academy of Applied Arts in Rijeka. She received an award at the 26th Youth Salon in Zagreb in 2001 for her contribution in theory.
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slika Oliver Dorfer, Herbert Egger, Anton S.Kehrer, Beate Rathmayr, "Light_Story_Space_Body" Izložba Light_Story_Space_Body nastavak je suradnje između austrijskog umjetničkog udruženja MAERZ sa sjedištem u Linzu i Galerije Galženica. Započeta 2004., suradnja se odvijala kao razmjena umjetničkih i galerijskih iskustava između dvije različite kulturne sredine, austrijske i hrvatske.U travnju mjesecu 2005. tako je u Galeriji MAERZ u Linzu otvorena izložba "Outside sources" na kojoj su nastupili Kristijan Kožul, Tanja Dabo, Marija Prusina i Lala Raščić.Tijekom 2005. u Linzu je na međunarodnoj izložbi, koju je organiziralo umjetničko udruženje MAERZ, nastupila i Ana Kadoić, a ove godine će se samostalnim izložbama u Galeriji MAERZ predstaviti Tanja Dabo i Ivana Franke. Svaki od pojmova u naslovu izložbe metaforički pokušava reprezentirati rad ili dio rada pojedinog umjetnika. "Light" je oznaka za rad Antona S. Kehrera; "Story" je oznaka za slikarsvo Olivera Dorfera; "Space" metafora koja označava fotografski i filmski rad Beate Rathmayr, a "Body" upućuje na skulpture od spužve Herberta Eggera. [http://www.maerz.at/m3cms/] [http://www.herbert-egger.at/] Zlatan Dumanić, "Radikalna desublimacija" Zlatan Dumanić (1951) splitski je umjetnik, i ovogodišnji predstavnik Hrvatske na 51. venecijanskom bijenalu. Premda ponajviše poznat po svojim neoavangardnim umjetničkim radovima, performansima, akcijama, instalacijama, filmovima i poeziji, Dumanić posljednjih nekoliko godina kontinuirano radi u mediju štafelajnog slikarstva, pa je izložba u Velikoj Gorici svojevrsna slikarska premijera. U svojim slikama Dumanić je ponajprije zaokupljen vlastitom egzistencijom, koja kroz erotske i općenito ljubavne teme i motive, umjesto sveobuhvatnih, cjelovitih, ozbiljnih reprezentacija poprima svakodnevne, obične, upravo dnevničke ili komične oblike. Zlatan Dumanić bivši je zapovjednik broda od 3000 BT i naviše, s najvećim pomorskim kvalifikacijama. Izlaže i djeluje od 1969. godine. Sudjelovao je na velikom broju skupnih izložaba, održao niz multimedijalnih akcija, performansa i programa, te izdao veliki broj autorskih izdanja knjiga, pjesničkih zbirki i libreta. Jagor Bučan, "Afiniteti" Jagor Bučan (1968) izlaže desetak slika velikog formata na kojima u maniri postslikarske apstrakcije istražuje odnose između slikarske pozadine i slikarske strukture, između površine i dekorativnog uzorka, između geste i impersonalnog nanosa boje. U suptilnim permutacijama organičkih motiva crtanih flomasterom i višebojnih površina mehanički nanošenih na pravokutnu površinu štafelajne slike, Bučanovo slikarstvo možemo gledati i kao dio svojevrsnog, postmodernističkog esteticizma. Jagor Bučan završio je Akademiju likovnih umjetnosti u Zagrebu 1992., gdje trenutno radi kao asistent na Odsjeku za restauraciju umjetnina. Izlaže od 1995. u zemlji i inozemstvu. Andrea Robić, "Ah!" Mlada velikogorička slikarica Andrea Robić predstavila se slikama čije se slikarsko polje sa samostalnih štafelajnih slika širi na zidove galerije. Oslikavajući galerijske zidove slijedila je slikovnu strukturu izložene štafelajne slike i tako realizirala osobeni "site specific" rad. Ili kako u predgovoru kataloga ističe Vladimir Gudac: " U ovom slučaju, riječ je o umjetnici koja svojim kolorističkim poljima mekanih snova rasprostire znak "ukočene geste", koji opet želi, pa to i čini, izaći iz polja platna, ukazujući na širinu imaginativnih polja snova, takorekuć sugerirajući činjenicu neizrecivog pomoću jake, čvrste kolorističke jezgre i bolnog loma široke crte (ili više njih) koja bi htjela van, u protor izvan slike i slikarstva, prije svega prema nama, publici-promatračima." Andrea Robić diplomirala je na Akademiji likovnih umjetnosti 1998. godine i ovo joj je četvrta samostalna izložba. Filip Quien Filip Quien (1979) apsolvent je splitske Umjetničke akademije na Odsjeku za slikarstvo. Student je u klasi profesora Gorkog Žuvele U Galeriji Galženica izložio je slike na kojima je u tradiciji enformela zaokupljen slikarskim materijalom i materičnošću slike kao objekta. Ili kako u predgovoru kataloga ističe Vanja Babić: " U svojem dosadašnjem stvaralaštvu mladi se umjetnik podjedanko služio metodama akcionog slikarstva, enformela ili asemblaža, dakle uvijek poetski odrednicama prijemčivim za isticanje materičnosti slikarskih uradaka. U Filipovim slikama moguće je uz nakupine boja pronaći i katran, dijelove limenki, aluminijsku prašinu, slamčice za ispijanje sokova i još mnoštvo kojekakvih gradbenih elemenata, sve u svrhu postizanja apsolutne perceptivne nesputanosti te izbjegavanja prihvaćanja likovnosti po principu zatvorene opažajnosti." Davor Krelja, "Lijepe manire" Davor Krelja (1960) započeo je svoje umjetničko formiranje u vrijeme neo-ekspresionističkog slikarstva, u okviru pojave nazvane "Nova slika", koja je tijekom 80-ih predstavljala hrvatski odgovor na izazove europske transavangarde, odnosno američke postmoderne. U Galeriji Galženica se nakon kratkog rada na području ambijentalnih instalacija, ponovno vratio slikarstvu izloživši dvadesetak naglašeno panoramski komponiranih slika. Dva su se fenomena na izložbi nametnula kao najzanimljivija. S jedne strane, uključivanje književnog diskursa u izložbu posredstvom proširenih naziva slika, koji umjesto tzv. legendi, sada postaju kratki i žanrovski određeni književni oblici. S druge strane, pak, to je osobit nadrealistički naboj koji posjeduju slike. Davor Krelja je diplomirao slikarstvo na ALU u Zagrebu 1985. Izlaže od 1984. u Hrvatskoj i u inozemstvu. Ana Katičić Ana Katičić Barbić jedna je od mladih slikarica, koja je u svijet umjetnosti ušla kao slikarica školovana na zagrebačkoj Akademiji likovnih umjetnosti u klasi profesora Igora Rončevića. Ovo joj je druga samostalna izložba. U svom radu pokazuje sličnost s mlađim kolegama i kolegicama, koji su krajem 90-ih i početkom novog stoljeća započeli s promjenom umjetničke i slikarske paradigme. U osnovi, riječ je o promjeni, do tada u hrvatskoj umjetnosti, dominantne paradigme neo-ekspresionističkog, odnosno geometrijskog slikarstva, i primjeni određenih slikarskih metoda, koje uključuju okretanje prema svijetu svakodnevnice, u onom smislu u kojem o njemu možemo govoriti kao o svakodnevnoj, gotovo ritualnoj kulturnoj praksi (periodična ljetovanja, noćni izlasci, kultura fotografiranja i sl.). Shodno tome, sadržaji slika Ane Katičić Barbić preuzeti su iz osobnog fotografskog albuma, iz kulture dokolice (kafići, disko-klubovi) ili iz masovnih medija. Sonja Briski Uzelac, "Prozor-prizor" Izložba Sonje Briski Uzelac, na neki način, hibridna je izložba: ona je ujedno i izložba slika i ambijentalna izložba, "site specific" intervencija. Ako je gledamo kao izložbu slika, onda moramo reći da je izloženo 30 slika iz serije "Kvadrati" i "Pravokutnici", slika "Viatorovska perspektiva" i dvije male slike koje podsjećaju na Maljevičeve kvadrate. Ako je gledamo kao ambijentalnu izložbu, prilagođenu specifičnom karakteru galerijskog prostora, onda moramo konstatirati da je riječ o postavu 30 pravokutnih i kvadratnih monokromno plavih slika u prostoru, tako da njihov postav sugerira perspektivna skraćenja, na način poznat iz tradicije renesansne umjetnosti.U tom smislu, "Viatorovska perspektiva" kao slika jasna je referenca na renesansnu matematičku konstrukciju prostora na dvodimenzionalnoj površini, a dvije male slike, plavi i crni kvadrat, referenca na drugi pol tradicije zapadnog slikarstva: na koncept bespredmetene umjetnosti Kazimira Maljeviča. Sonja Briski Uzelac, "učena slikarica", kako je naziva Miško Šuvaković, profesorica je i teoretičarka umjetnosti, te slikarica koja je 1976. završila Fakultet likovnih umjetnosti u Beogradu. Doktorirala je 1984. na beogradskom sveučilištu. Predavala je na Fakultetu likovnih umetnosti u Beogradu, a trenutno predaje na Učiteljskoj akademiji u Zagrebu i na Akademiji primijenjene umjetnosti u Rijeci. Na 26. salonu mladih u Zagrebu 2001. nagrađena je za teorijska ostvarenja. Paulina Jazvić, Sandra Juranić Dvije mlade zagrebačke umjetnice predstavile su se slikama-objektima (Juranić), odnosno prostornom instalacijom (Jazvić). Paulina Jazvić, na frontalni i vizualno najsnažniji zid galerije, postavila je instalaciju koja se sastoji od prozirnih najlonskih vreća napunjenih vodom u koju su potopljene osobne stvari iz autoričinog svakodnevnog života (djetetove igračke, vrpce za kosu, termometar, cipele i sl.). Sandra Juranić je na gornjoj etaži galerije izložila slike-objekte, odnosno kolaže sastavljene od različitih predmeta, kombiniranih s različitim tehnikama crtanja, odnosno slikanja. U oba slučaja, riječ je o pokušaju da se različitim metodama reprezentira emotivna i društvena svakodnevica. Obje su autorice diplomirale na Akademiji likovne umjetnosti u Zagrebu u klasi profesora Miroslava Šuteja. Saša Martinović Kunović Komponirajući svoje slike kao diptihe i triptihe, Saša je tradicionalnu metodu slikanja po motivu, kao tradicionalnu slikarsku metaforu i doslovno realizirala. Naime, služeći se različitim tehnikama (grafitna i kemijska olovka, akrilik) slikala je slijedeći unaprijed određenu dekorativnu strukturu ornamenta i reljefnu teksturu platna. Slikanje po strogo određenom predlošku, čije je porijeklo uvijek povijesno i visoko-umjetničko, a funkcija suvremena, praktična i široko popularna, sigurno je najprepoznatljivije obilježje njezinog slikarskog rada. Bilo da se radi o Halsovim "Nadstojnicama staračkog doma" slikanih u matisovskoj maniri, preslikavanim mrtvim prirodama iz fotografski ilustriranih kuharica, ili slobodno repliciranih kontura ženskih aktova iz povijesti slikarstva, Saši Martinović Kunović područje je - na kojem se slijedom povijesnih promjena potiru razlike između vrijednog i banalnog, jedinstvenog i masovnog, estetskog i kičastog, umjetničkog i dekorativnog - posebno zanimljivo. Saša Martinović Kunović diplomirala je na Višoj školi za tekstil i obuću i na Akademiji likovnih umjetnosti u Zagrebu.