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painting Ljiljana Mihaljević, It's All A Game? Ljiljana Mihaljević is an academically-trained painter and multimedia artist. She graduated from the Accademia di Belle Arti, University of Florence, Italy. She is a member of the Croatian Association of Visual Artists and Croatian Freelance Artists' Association. She participated in study and residency programs in New York, Paris, Berlin, Leipzig. She has exhibited at numerous solo and group exhibitions in venues in Croatia and abroad, such as: the Art Pavilion, Museum of Contemporary Art, Mimara Museum, Bačva Gallery, Prsten Gallery, SC Gallery, Klovićevi Dvori Gallery in Zagreb; Dubrovnik Art Gallery; Gallery Diocletian's Cellars in Split; Kortil Gallery in Rijeka; Museum of Fine Arts and Waldinger Gallery in Osijek; Garis & Hahn Gallery in New York; MC Gallery in New York; Halle 14 Center for Contemporary Art in Leipzig; ADA Project Space in Rotterdam; Laznia Center for Contemporary Art in Gdańsk; Šiška Multimedia Center in Ljubljana; National Gallery of Macedonia in Skopje; Museo Virgiliano in Mantova; National Gallery of Modern Art in Rome; The Accademia delle Arte del Disegno in Florence; The Europa Factory in Florence ... and the 45th Zagreb Salon; XX Slavonian Biennale; VIII, XI, XIII Triennial of Croatian Sculpture, XII International Performance Days, HT @ MSU Awards ... and many more. Her texts on contemporary art were published in Večernji list, Zarez, Kontura and websites Index.hr and Slavonija.info. Since 2009, she has been volunteering with special needs kids at creative workshops with elements of art therapy. She lives and works in Zagreb and in-between places. Curator: Radovan Vuković Petra Grozaj, Krystal Petra Grozaj (1974, Zagreb) graduated from the School of Applied Arts and Design and the Academy of Fine Arts in Zagreb. She is a winner of the Rector’s Award, University of Zagreb, the Academy of Fine Arts’ award and several scholarships and purchase prizes. She exhibited in numerous solo and group exhibitions in Croatia and abroad. She was the Croatian representative at the Biennial of Young Artists (BJCEM) in Napoli. She completed artist residencies at Cité Internationale des Arts in Paris, GlogauAIR in Berlin, One sided story/Spinnerei and Image De/Construction Hafenkombinat in Leipzig, where, since 2012, she has frequented the Spinnerei painting centre’s studio. In 2017, her works were exhibited in MSU, Zagreb. She is an HDLU and HZSU member. Her works are part of private and gallery collections in Croatia and abroad. More on www.petragrozaj.com Petra Grozaj is one of the most notable painters from the middle generation whose work intrigues art critics and the audience alike. Several awarded fellowships abroad played a significant role in formulating her painting and choosing painting as her calling in life. The human figure is her central theme and she is particularly focused on women, mostly friends whom she depicts having cryptic faces, often ambiguous and grotesque in character. Her work is marked by a strong relationship between photography and painting. Painting is no longer in a privileged position but rather it borrows, quotes, translates and transfers scenes from private life, as in the case of family photo albums, or scenes from mass media, as in the case of popular magazines, in the context of an easel painting. We talked to the artist on the occasion of her exhibition. Josip Zanki, Mantra of Compassion Within the local framework, it is hard to find an artist who works so systematically on connecting art and cultural anthropology to have been lead into a hybrid field that lies somewhere between art practice and scientific research, as is the case with Josip Zanki. Truth be told, Zanki is interested in what resists modernization in the concept of “a man as a social and cultural being”: religion, magic, premodern art, etc. Therefore, it is not surprising that the objects of his interest are so diverse: sepulchral practices of Zadar hinterland, the importance of cultivating barley in European rural areas, Buddhist painting, Petar Zoranić's “Planine”, Velebit, shamanism, hiking, prayer, meditation, etc. At the exhibition in Velika Gorica, Zanki – in full accordance with the mystical tradition of combining the incommensurable – focuses on the complex relationship between the East and the West, often marked by mutual misunderstandings, and exemplifies it via pictorial representations. What is the purpose of Buddhist paintings; how are they created; what is their relationship with the deity they depict; how much do these paintings rely on the Western understanding of space and geometry; are there any similarities between Eastern mantras and Christian or Islamic prayers and can they be prompted by an image; what is the role of an art form on the one hand, and individual intervention on the other in the tradition of Buddhist and Western painting; how does one become a master painter in Buddhist art and is it comparable with Western painting? In addition, the exhibition will also present the international results of the artist’s educational work via dozens of drawings and paintings. Regardless of whether Zanki is in the role of a student or teacher, working and living in the Indian or the South American subcontinent, he seems to continuously point out one thing: the human need for transcendence and to express oneself. Below we bring the text of Nevena Škrbić Alempijević, professor at the Faculty of social and humanistic sciences in Zagreb (Department for etnology and cultural anthropology): 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? Đuro Seder, Cape of Good Hope (paintings and drawings) Curator: Marijana Paula Ferenčić Đuro Seder was born in Zagreb in 1927. He graduated in Painting from the. Academy of Fine Arts in Zagreb in the class of Professor Antun Mejzdi in 1951. He completed a painting specialisation course led by Professor Marino Tartaglia in 1953. After graduation he worked at the magazine Jugoslavenski radio as an illustrator and a copy editor, as well as at the publishing house Panorama and at the Marketing Agency – Vjesnik between 1968 and 1981, as a graphic designer. From 1981 to 1983 he worked as a lecturer at the Academy of Fine Arts in Zagreb, from 1983 to 1987 he filled the position of Dean, while from 1987 to 1998 he worked as a tenured professor. After his retirement in 1998 he was awarded the status of professor emeritus. He has been a regular member of the Department of Fine Arts of the Croatian Academy of Sciences and Arts since 2000, while since 2011 he has been the head of the Croatian Academy Glyptotheque. He was a member of the art group Gorgona from 1959 to 1966. ln the 1960s and 1970s he published poetry in the magazines Razlog, Kolo, Forum and Republika, whereas in 1978 his collection of poetry Otac iz lonca (Father from the Pot) was published by Biblioteka, in Zagreb. He has been holding solo exhibitions since 1958. His works are exhibited at many national and internationalgalleries and museums, and part of private collections in Croatia and abroad. Temporary Encounters Jasmina Cibic, Igor Eskinja, Petra Feriancova, Tina Gverović & Siniša Ilić, Vlatka Horvat, Marko Lulic, Damir Očko , Mladen Stropnik, Marko Tadic , Dino Zrnec & Nick Oberthaler Curator: Branka Benčić In the period between 2014 and 2017, Apoteka - Space for Contemporary Art from Vodanjan conceived a programme around the research of “temporary encounters”. During that period, over ten exhibitions of various formats and dynamics were held. The exhibitions explored the exhibition format and the conditions and possibilities of exhibition practices. Due to the inaccessibility of a larger space for organizing more complex exhibition formats, “Temporary Encounters” were held as an “exhibition throughout time”. Thus, it comes across as a loosely connected unit and form of an intervention, an exhibition which is not understood as a “fixed and complete constellation”, but rather as something that gradually changes over several months, chapter by chapter, during which every stage can be seen individually or as part of a continuity. “Temporary Encounters” deal with the exhibition model and format as means of exhibiting, grammar and the typology of the “solo” and “group” exhibition. Later on, it acquired an additional concept called “This is (not) a museum”. Through it, Apoteka, standing in opposition to the existing institutions, tries to articulate the local context in which it operates, its own position, and its organisational strategy in Istria. The exhibition Temporary Encounters is focused on examining spatial relations and interactions between objects and subjects, conceptualizing procedures, treatments and relations within artworks, the art system and gallery space. It does so by enveloping the artistic positions which deal with the issue of (re)presentation and ‘exhibiting’ practices. The works reveal the tension between space, the observer and the observed. We encounter them as a series of interrelations and fissures which are entangled in a temporary environment. The unseen and hidden are made visible, construction and deconstruction are revealed; we are reminded of the temporary and constructed character of the exhibition. In different ways, Temporary Encounters conceptualize the relations between an art space, an artwork, the art system and the institutional context. 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. 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. Every tree stands in silent thought Jan Chudy, F.F. Coppola, Boris Cvjetanović, Darija Čičmir, Gradski muzej Virovitica, Ivan Ivanković, Ines Kotarac, D.H. Lawrence, Barbara Loden, Sara Malić, Hana Miletić, Ema Muža, Muzej Turopolja, Muzej grada Koprivnice, Vesna Parun, Barbara Radelja, Andrea Resner, Luka Rolak, Davor Sanvincenti, Martin Scorsese, Tamara Sertić, Sv. Ambrozije, Mladen Šutej, Zlatan Vehabović, Davor Vrankić, Magdalena Vuković There is a series of exhibitions hiding under the umbrella title of “Inner museum”, and the first one is dedicated to the phenomenon of solitude. Almost all social and natural sciences agree that humans are primarily social beings. Social interactions determine our character, our actions and our moral values to a large degree. Starting from the very first contact with our parents or guardians, through the adaptation to new environments (school), to the purposeful participation in the community, intersubjective relations are essential for normal human development. Language acquisition, developing behavioural social patterns, compassion, intelligence, etc. are just some of the properties which we perceive as positive and automatically associate with sociability. On the other hand, the majority of deviations in human development – from childhood to socially responsible adulthood – are associated with the absence or some kind of a deficiency in the socialization process. Popular culture, proverbially prone to simplification, thus portrays people who prefer solitude as weirdos living on the social margins of class, space, ethics or aesthetics.
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duša Svako drvo stoji i misli Jan Chudy, F.F. Coppola, Boris Cvjetanović, Darija Čičmir, Gradski muzej Virovitica, Ivan Ivanković, Ines Kotarac, D.H. Lawrence, Barbara Loden, Sara Malić, Hana Miletić, Ema Muža, Muzej Turopolja, Muzej grada Koprivnice, Vesna Parun, Barbara Radelja, Andrea Resner, Luka Rolak, Davor Sanvincenti, Martin Scorsese, Tamara Sertić, Sv. Ambrozije, Mladen Šutej, Zlatan Vehabović, Davor Vrankić, Magdalena Vuković Pod krovnim nazivom “UM – unutarnji muzej” krije se niz izložaba od kojih je prva posvećena fenomenu samoće. Čovjek je, slažu se gotovo sve društvene i prirodne znanosti, prije svega društveno biće. Socijalna interakcija u velikom dijelu određuje njegov karakter, njegovo djelovanje, njegove moralne vrijednosti. Od prvih kontakata s roditeljima ili skrbnicima, preko prvih prilagođavanja okolini (škola), do svrhovite participacije u zajednici, intersubjektivni odnosi ključni su za normalan razvoj čovjeka.Učenje jezika, otkrivanje društvenih obrazaca ponašanja, suosjećanje, inteligencija itd. samo su neka od svojstava koje doživljavamo pozitivnima i automatski povezujemo s društvenošću. Nasuprot tome, većinu devijacija u razvoju čovjeka od djeteta do odgovornog društvenog subjekta povezujemo s izostankom ili manjkom socijalizacije. Popularna kultura, poslovično sklona pojednostavljenju, tako ljude koji preferiraju samoću prikazuje kao čudake s klasnih, zemljopisnih, etičkih ili estetičkih rubova društva.