• 24.11.2017. - 16.12.2017.


    Nina Bajrić Blažeković, Ana Belošević, Petra Brnardić, Danko Friščić, Davor Mezak, Marijan Molnar, Jelena Remetin, Damir Sokić, Marijana Stanić, Ana Šerić & Ivana Vadla, Ivan Tudek, Vlatko Vincek
    Curator: Ana Belošević

    Is it even possible to define love? How can we define an emotional action so susceptible to subjective evaluation? Be it physical, romantic, spiritual, manic, pragmatic, platonic, ideal....there is this constant need to understand and explain it (to explain it in order to understand it). It is an art & craft because it demands discipline, concentration, patience, faith (Erich Fromm), but above all, as art itself, it demands freedom and courage to be our true selves, the courage to expose our private lives to an individual/viewer/observer and lay bare our insecurity to a critical mass.

    Art and humanity has always had, and always will have, one true eternal muse – love. ...(“He who approaches the temple of the Muses without inspiration, in the belief that craftsmanship alone suffices, will remain a bungler and his presumptuous poetry will be obscured by the songs of the maniacs,“ Plato). From Rodin's to Magritte's kiss, from Chagall's Bella to Koons' Cicciolina, Tracey Emin's tent and Jenny Holzer's sign (Love Is What You Want, Protect me from what I want ) to Marina Abramović's walk along the Great Wall of China, to Bizet's Carmen or Joy Division (Love will tear us apart), it (love / relationship) remains a mystery, unpredictable and risky as birth itself, as some damned energy which drives and destroys, always omnipresent and elusive, at the same time here and there, eerily frightening and outrageously appealing, never simple. Eros and Thanatos, locked in eternal battle.


  • 13.10.2017. - 11.11.2017.


    Valerija Cerovec, Karla Jurić, Marko Mišković, Lucija Mandekić i Gala Marija Vrbanić in colaboration with Staša Mlinar and Legame Studio

    Curators: Ivana Čuljak, Lea Vene

    In the fashion system, the showpiece inhabits a specific place as a garment and commodity with ambivalent characteristics. It does not necessarily exist as an embodied garment, but sometimes also as an image, idea, conceptual piece or manipulative marketing tool. In her book Fashion at the Edge, fashion theoretician Caroline Evans defines the showpiece as a concept characteristic of fashion at the edge. In this scenography that object entails several functions. As a showcase of contemporary fashion the showpiece enables the fashion designer to create beyond the boundaries of the wearable and outside commercial fashion standards. Positioned on the edge of the fashion system, the showpiece does not enable us to categorize it clearly. As a comment, critique or concept it stretches beyond fashion and legitimizes itself in the museum or gallery context. Also, as a manipulative marketing strategy it ensures enough media visibility (such as press and magazine coverage) for the fashion designer, whereby it once again enters commodity circulation as an image. What happens when we dislocate the concept of the showpiece outside of the fashion system and place it directly in the gallery context? What does the showpiece mean for young practitioners working on the edge of the dominant fashion system? If every age has its own scenography (C.Evans), how does it affect the interpretation of the showpiece today?

    The starting point for the exhibition is the concept of the showpiece which is interpreted by a younger generation of fashion practitioners: Valerija Cerovec, Karla Jurić, Marko Mišković, Lucija Mandekić and Gala Vrbanić in collaboration with Staš Mlinar and Legame studio. They question the materially and inherent visually of the showpiece and also rethink it in the context of (personal) performative practices, virtual reality, as a sound or redefine its meaning through the medium of photography, in which the photography itself becomes the showpiece.


    Founds for the exhibition were provided by The City of Velika Gorica.


  • 15.09.2017. - 07.10.2017.

    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.


  • 19.05.2017. - 10.06.2017.

    Kristian Kožul, Forensic Perpetuality, 19.5. - 10.6. 2017.

    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.


  • 03.03.2017. - 08.04.2017.


    Bartłomiej Pilarczyk | Clàudia Giralt / A cAt | Daniel Vasconcelos | Domenico Dom Barra | Gábor Hufnágel | Ivan Klis & Damir Prizmić | Joana Chicau | Kaspar Ravel | Leandro Estrella | LiL PDF | Maja Kalogera | Mark Klink | Michaela Lakova | Slobodan Tomić | stAllio! (Benjamin Berg) | Tomasz Sulej | Uğur Engin Deniz | Vedran Gligo

    The exhibition shows the source of recent new media and free culture oriented art featuring the work of 18 Croatian and international artists. The program, based on a collaborative effort and an inclusive community format - aims to create a knowledge distribution platform, transcending limits of individual disciplines and fusing them into a discourse enabled by open, free talks, presentations and media arts workshops uncovering layers of multimedia, hypermedia, technoperformance and generative art practices.

    During the exhibition’s one month long iteration, and via sections of a complementary discursive program, we will inquire on the diverse origins and tactics of artistic practices based on digital narratives and collaborative methods.

    Curators: Format C


  • 26.01.2017. - 13.02.2017.

    free_art_-_source: OPEN CALL [< 2017/February/13]

    The second iteration of free_art_-_source exhibition is open to new media art authors’ (artists, coders, clever copycats) worldwide submissions for an exhibition initiated by Format C artist organization.

    The theme is our source, constructing the rhizomatic context of computer-based new media art and culture.
    We are looking for the source code of your art, scripts that make up the features of your art or the textual representation of the data your art is built out of.

    That could include: html, scripts, any media printable text format, any programming language snippets,.. No formal limitations other than it being character printable, it should have an aesthetic property (visual and/or ideological) and it should be shown in full.

    It can be completely original; compiled from other sources; utterly unoriginal but aesthetically progressive; completely horrific but make up a curious work; a brilliant haiku-type code that does wonders for your project; something highly fringe or discursive; something free; something stolen; etc. …

    The objective of the expo is to show diverse technological syntaxes, philosophical approaches and artistic inte/*rve*/ntions in the construction of recent new media art.

    Apply here, by attaching the subjects listed below : hello@formatc.hr

    - source code of artwork/project in a .txt, .doc or .rtf file {A3 / B&W / MAX. 5 pages / any font size + font file [if (special)]}

     - a photograph and/or a screencap of the visual presentation (result) of the work the code composes/compiles (min 1080px on the shorter side)

     - short description (technical) + link to the work

    - web or profile and a short (on-topic) biography

    Please use only text formats to submit your work.

    The code/work file will be hardcopied and used for RL exhibition purposes only, and the provided image(s) - photographs and/or a documentative screencap of the media work, along with credits and links will be utilized to publicly promote your work.

    ! The deadline for participating in the open call is Feb 13th 2017, 23:59 CET, and the exhibition is to be held in March 2017.

    ///  free_art_-_* : A series of discursive events on the subject of diverse ideologies and individual practices of authors creating in the domain of free (libre) digital-based art.

    ///  Format C : a non-profit artist organization based in Croatia, active in the field of visual and multimedia art. http://formatc.hr/

    //   free_art_-_source exhibition program is financially supported by the Ministry of Culture of the Republic of Croatia and the City of Velika Gorica.