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object Post-media structures Iva Ćurić, Paulina Jazvić, Igor Juran, Predrag Todorović Curator: Vanja Babić "During its decades-long prevalence, the modernist epoch systematically and theoretically disputed – with an outspoken self-awareness – most of the entrenched tendencies in art, i.e., canons, in order to assert progress as the ultimate creative paradigm. The principle of mimesis was the first one to be dismantled, then abstraction challenged figurative representation, and finally, the stratification of the media took hold. The traditional media of painting and sculpture, and classical graphic techniques were declared retrograde, even artistically ineffectual, in comparison to the burgeoning new phenomena like conceptual art, video and performance. This was, of course, not unsubstantiated. However, at the end of the 1970s, the modernist focus would dissipate, giving way to the “omnivorous”, programmatically apathetic, and hence, hard to define postmodernism, also in the sense of lacking any kind of an exact and concise definition. The action was watered down and acquired the characteristics of a condition. Did postmodernism emerge just as a kind of a cancerous form of modernist ideas, or can it be seen as a conservative reaction to those ideas? Ante Jakšić Ante Jakšić Branko Lepen, "Roofs" Branko Lepen (1957) became present at the art scene in the late 70s and early 80s, but unlike the transavantgarde tradition, which worked in both artistic and non-artistic fields (Irwin, NSK, NEP), Lepen turned to the complex and unsteady phenomenon of postmodern sculpture. Expounding its modernist syntax, he always establishes temporary units, sculptural texts, affirming their dependence on the dominant social and cultural forms. The three nearly identical, gigantic sculptures displayed in Galženica expands Lepen's field of work to the ambient aspect of sculpture. Branko Lepen graduated from the Faculty of Civil Engineering in Zagreb in 1983. His sculptures can be found in the collections of the Museum of Contemporary Art in Zagreb, Museum of Modern and Contemporary Art in Rijeka, Glyptotheque in Zagreb and Modriaanhuis Collestion in Amersort (the Netherlands). He has been exhibiting since 1981 and has received several prizes for his work, including those at the 18th and 19th Youth Salons (1986, 1987) and at the 6th Triennal of Croatian Sculpture. Three of his sculptures are displayed publicly: at the sports center Mladost, Glyptotheque in Zagreb and Civil Engineering high school in Čakovec. Daniel Kovač Referring to the film “Logan’s Vehicles”, Kovač attributed meaning to his sculptures which transcends the narrow modernistic problems of the medium of sculpture and enters the field of popular culture. From this perspective, his sculptures, i.e. ungainly vehicles for escape – as the author calls the exhibited sculptures in the preface of the catalog – can be viewed as a kind of ironic comment on the social transition which Croatia is experiencing, in which the knowledge of different and more successful societies generated a specific form of real or mental immigrant workers. The exhibited sculptures, despite their raw, temporary treatment, also point to Kovač’s favored field of automobile design, which he calls the sculpture of the highest order. Daniel Kovač was born in 1966 in Subotica. He works as an assistant at the department of sculpture at the Academy of Fine Arts in Zagreb. He has exhibited his works since 1991. He won the award at the 5th triennial of Croatian sculpture in 1994 and the Croatian Association of Artists’ Award in 1997.
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Daniel Kovač Referirajući se na film "Logan's Vehicles", Kovač je svojim skulpturama pridodao značenje, koje nadilazi uske modernističke probleme kiparskog medija i ulazi na područje popularne kulture. Iz te perspektive njegove skulpture, odnosno nezgrapna vozila za bijeg - kako sam naziva izložene skulpture u predgovoru kataloga - možemo gledati i kao neku vrstu ironičnog komentara društvene tranzicije kroz koju Hrvatska prolazi, u kojoj je svijest o drugačijim i uspješnijim društvima generirala specifični oblik stvarnog ili mentalnog gastarbajterstva. Izložene skulpture, bez obzira na svoju sirovu, privremenu obradu, također upućuju na Kovaču omiljeno područje automobilskog dizajna, kojeg naziva vrhunskim kiparstvom. Daniel Kovač rođen je 1966. u Subotici. Na Akademiji likovnih umjetnosti u Zagrebu radi kao asistent na kiparskom odsjeku. Izlaže od 1991. Dobitnik je Nagrade na 5. trijenalu hrvatskog kiparstva 1994. i Nagrade ALU iz Zagreba 1997.