portrait

  • 01.02.2007. - 25.02.2007.

    Igor Kuduz, "Portraits"



    Igor Kuduz belongs to the generation of the artists who gained status in the early 1990's by working with the new media and referring to the neo avant-garde art tradition(1). In 1992, at the 23rd Young Artists Salon in Zagreb, the art group Egoeast presented their manifesto based on the tradition that theoretician Ješa Denegri named “the second line”, thus introducing the other, non-expressive aspect of postmodernism into the Croatian contemporary art.

    One of the peculiarities of the second wave of the post-modern art, besides almost archival attitude towards the avant-garde and neo avant-garde art traditions was intensive work with media content and means. On the level of content, postmodern tendency was mass media culture literacy, seen as a wide range of manifestations from politics to entertainment. On the level of media means, the artists mostly used photography, video, digital press technology and ambient installations(2).

    In the context of such events, Kuduz focused first on the photography and video and later on the graphic design (he has been the manager of a successful design studio Pinhead Office)(3). Considering the relationship between an object and a medium, he is mostly preoccupied with representational aspects of his photography and video works. By choosing motifs and content that belong to the entertainment industry (scale models, toys, tapestries) and treating them as a part of the real world Kuduz questions relatively firm rules of artistic representation. Disrupting what might seem the self-explanatory relations between reality and its visual representations and between art and mass culture products, the artist tries to re-establish, rather than simply parody, the possibilities of art as a means of communication.

    In the latest photography series “Portraits”, Kuduz is once again on the track of revitalization. This time, he confronted the traditional medium of the Polaroid photography and even more traditional genre of portrait with the aesthetics of so called amateur photography whose infinite emanations (from family to erotic) are all-present on the Internet. The number of photography genres, approaches, assemblies and aesthetics that we can observe effortlessly in the most intimate part of our flats, surpasses all artistic validity consisting of the traditional modernist photography standards on one hand and dominant cultural and economic institutions' demands on the other. In my opinion, “Portraits” are his attempt to revive the medium that used to be new, with the help of its successor - the Internet. (Klaudio Štefančić)

    Igor Kuduz (1967) graduated from Zagreb Academy of Fine Arts in 1995. He exhibited at numerous solo and group shows in Croatia (Zagreb, Poreč, Rijeka, Split, Dubrovnik, Slavonski Brod etc.) and broader (Berlin, Tirana, Manchester, Aachen, Dessau, Bonn, Trst, Clermont Ferrand, Graz, London i drugi).

    Links:
    (1) http://www.mi2.hr/whw/what.htm
    (2) http://www.filmski.net/vijesti/kratki-film/4156
    (3) http://www.zgraf.hr/katalog.htm

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  • 02.03.2005. - 20.03.2005.

    Ines Matijević, "Eve and Adam"


    Ines Matijević (1982) is finishing her studies at the Zagreb Academy of Fine Arts. Up to now her interests were focused on the problem of representation of women and femininity in modern culture.Because art is an almost preferred means of that representation, the author has in her past works oftenreferred to the tradition of depicting women in art. In the Galženica Gallery she exhibited 36 life-size portraits of naked men and women. One of the most interesting layers of meaning, which formedduring the preparation and duration of this exhibition, was the social and cultural meaning. In orderto make 36 naked portraits, the author had to ask and convince her own friends to pose, even thoughshe used ads in media to look for models.

    According to her experience, convincing and negotiatinga person to reveal their naked body to the gallery audience was a long and tiresome process and onewhich is sadly a good cross-section of today’s youth culture in Croatia. When the exhibition opened,some of the leading TV houses made a report about it and that level of cultural meaning rose tocover even forgotten aspects of it (conservatism, the influence of the Catholic Church on youth, thefunctioning of the art establishment, logics of mass media in Croatia etc.)



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