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sculpture 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? Kristian Kožul, Forensic Perpetuality, 19.5. Kristian Kožul has graduated from the Kunstakademie Düsseldorf, Germany. His works have been exhibited in various group exhibitions, the more recent being the International Program (PSY1, New York, USA, 2005), Criss-Cross (Museum of Contemporary Art, Zagreb, Croatia, 2007), Boys Craft, (Haifa Museum, Haifa, Israel, 2008), Summer Camp, (Exile, Berlin, Germany, 2010), Bandits, Pirates & Outlaws, (Lost Coast Culture Machine, Fort Bragg, USA, 2010), B-B-B-BAD, (Anna Kustera Gallery, New York, USA, 2011). His latest works have also been exhibited in solo shows in institutions such as Lauba House, Museum of Contemporary Art (Zagreb, Croatia), Art Salon (Celje, Slovenia), Kibla Gallery (Maribor, Slovenia), Minoriten Galerien (Graz, Austria), TZR Gallery (Duesseldorf, Germany), Anhava Gallery (Helsinki, Finland), Goff+Rosenthal and Pablo’s Birthday (New York, USA). He started collaborating with Damir Žižić in 2013. They exhibited in solo exhibitions in Gallery Karas and in Lauba House in Zagreb, Croatia (2014). They won the third T-HT@MSU.HR award, Museum of Contemporary Art (Zagreb, Croatia, 2014). Kristian Kožul is a member of the Croatian Association of Artists. He lives and works in Zagreb, Croatia. In the book “Mengele's Skull: The Advent of a Forensic Aesthetics” translated into Croatian in 2012, Thomas Keenan and Eyal Weizman present a genealogy of forensic aesthetics. Basing their book on the international hunt for the surviving Nazi criminals, they note one event which indicated a number of changes that forensics – the archaeology of modern day history, as it is also called – has introduced into the field of jurisprudence, case law and contemporary culture in general. The event in question relates to verifying the identity of a person buried at a cemetery in a small Brazilian town near São Paulo. Namely, it had to be determined if the excavated remains belong to the notorious Nazi war criminal, Josef Mengele. The identification process was entrusted to an international team of scientists and experts in the field of forensic anthropology, radiology, dentistry, chemistry etc. Experts in handwriting analysis, and those specialized in photography, documents and clothing forensics were also invited to the São Paulo's Legal Medical Institute, with the objective to determine the identity of the excavated remains and, thereby, bring the investigation to a close. “It is up to you, the scientists, to reach the final verdict,” stated the Brazilian police commissioner in 1985. This was the first time, as Keenan and Weizman note, that scientists were the key witnesses in a war crimes trial. In the courtrooms throughout the world, human bones were given a voice by forensic experts. A forensic expert was their mouthpiece, told their stories. He determined their age and gender; he could discover diseases which afflicted them, locate traumatic episodes, reconstruct dietary habits, reveal the cause of death, etc. Personification, such a common occurrence in forensic anthropology, resulting in the belief that people, unlike bones, could not be trusted, transformed bones into a kind of super-subjects. 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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forenzika Kristian Kožul, Forensic Perpetuality Kristian Kožul (München, 1975). Završio je Kunstakademie u Düsseldorfu (Njemačka). Izlagao je na skupnim izložbama u zemlji i inozemstvu (PSY1, New York, USA, 2005.; Criss-Cross, Museum of Contemporary Art, Zagreb, Croatia, 2007.; Boys Craft, Haifa Museum, Israel, 2008; Summer Camp, Exile, Berlin, 2010; Bandits, Pirates & Outlaws, Lost Coast Culture Machine, Fort Bragg, USA, 2010; B-B-B-BAD, Anna Kustera Gallery, New York, USA, 2011. i drugima). Među samostalnim izložbama treba istaknuti izložbe u Laubi (Zagreb), Muzeju za suvremenu umjetnost u Zagrebu, u Art Salonu (Celje, Slovenija), u Kibla Galeriji (Maribor, Slovenija), u Minoriten Galerien (Graz, Austria), u TZR Galeriji (Düsseldorf, Germany), u Anhava Galeriji (Helsinki, Finland), u Goff+Rosenthal Galeriji i u Pablo’s Birthday Galeriji (New York, USA). Od 2013. umjetnički surađuje s Damirom Žižićem. Živi i radi u Zagrebu. U knjizi “Mengeleova lubanja - začeci forenzičke estetike” koja je 2012. prevedena i na hrvatski jezik, Thomas Keenan i Eyal Weizman iznose svojevrsnu genealogiju forenzičke antropologije. Oslonovši se na međunarodnu potragu za preživjelim nacističkim zločincima izdvojili su jedan događaj koji je ukazao na promjene do kojih je forenzika – arheologija novije prošlosti, kako je još nazivaju - dovela na području pravne znanosti, sudske prakse i suvremene kulture općenito. Događaj o kojem je riječ odnosi se na utvrđivanje identiteta osobe pokopane na groblju jednog malog brazilskog grada blizu Sao Paola. Trebalo je, naime, utvrditi pripadaju li iskopane kosti ozloglašenom nacističkom ratnom zločincu Josefu Mengeleu. Identifikacija je bila povjerena međunarodnom timu znanstvenika i stručnjaka s područja forenzičke antropologije, radiologije, stomatologije, kemije itd. U Medicinsko-pravni institut u Sao Paolu bili su također pozvani i analitičari rukopisa, fotografija, dokumenata, odjeće itd., sve s ciljem da se utvrdi identitet iskopanih kostiju i da se istraga zaključi. „Na vama je, kao znanstvenicima, da donesete konačnu odluku“, izjavio je te 1985. brazilski zapovjednik policije. Bilo je to prvi puta, ističu Keenan i Weizman, da su se kao ključni svjedoci u sudskom postupku protiv ratnih zločina pojavili i znanstvenici. U sudnicama širom svijeta, ljudske su kosti odjednom progovorile kroz usta forenzičkog stručnjaka. Forenzičar im je dao glas, pričao njihove priče. Određivao im je dob i spol; mogao je otkriti bolesti od kojih su bolovale, locirati traumatične epizode, pogoditi vrstu ishrane, otkriti način njihovog stradanja itd. Personifikacija, tako česta figura u slučaju forenzičke antropologije, vodila je katkada do krajnjih konzekvenci. Uvjerenje da ljudi, za razliku od kostiju, mogu zaboraviti i lagati, učinilo je od kostiju svojevrsne super-subjekte.