painting

  • 03.10.2018. - 03.11.2018.

    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?

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  • 13.04.2018. - 19.05.2018.

    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.

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  • 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.

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  • 18.11.2016. - 17.12.2016.

    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

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  • 14.10.2016. - 05.11.2016.

    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.

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  • 19.02.2016. - 19.03.2016.

    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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  • 22.04.2015. - 31.05.2015.

    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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  • 27.02.2015. - 29.03.2015.

    Jelena Bando / Ivan Prerad, The Other

    Throughout the history, the relationship between different civilisations has been marked by incomprehension and conflicts rather than by curiosity and cooperation. Relying on the concept of the Other, within the Western civilisation there is an entire field of science dealing with that relationship. To put it very simply, the Other is anyone or anything that cannot be explained through the familiar, established value system. The encounter with the Other is always preceded by a long, strenuous journey, whether a real or imaginary one. When it comes to Marco Polo's, Christopher Columbus's, James Cook's or the Seljan brothers' encounter with the Other, we know almost everything. When it comes to Jelena Bando's and Ivan Prerad's encounter with the Other, we will discover something at this exhibition.

    In the history of Modern art, the Other played a short, but prominent role. Around the turn of the twentieth century, the so-called primitive art of the African, Oceanian and Far Eastern peoples changed the manner in which we observe the world through the works of European artists. Whether it is the influence of Japanese prints on the works of Toulouse-Lautrec, the Gauguin's portrayal of life in the Polynesian islands or the influence of African masks on Picasso's art – e.g. on the key painting of European avant-garde "The Young Ladies of Avignon" – each time, we witness the fruitful contact of European art with the art of the so-called New World.

    In the age of technological globalisation and instant communication, what is the destiny of the Other? What is happening with the cultures of other and far-away peoples today? Is it possible that the Other has lost its exotic identity nowadays? Having conquered, measured, mapped and digitalised the "New World", how do we Europeans see it today?

    The paintings by Jelena Bando and Ivan Prerad presented in this exhibition imply that there is still some latent and creative tension between different cultures. But even more than that, maybe the paintings of these young artists suggest to us that the Other, either real or made up, is something without which the art would not make too much sense.

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  • 29.04.2014. - 01.06.2014.

    Tomislav Buntak, Mirror of adventure

    One feature of art is that it creates its own worlds. Even when art overtly refers to reality, when a work of art allows us to recognise motives and phenomena from real life, when art seems to be dealing with our own experience, we must not forget that it all boils down to the figment of imagination guided by its own rules. Tomislav Buntak's painting is an example of such art. Magic realism, fantasy, science fiction, adventure, escapism – are just some of the notions that can help us in an attempt of situating this exhibition in our own art map.

    Even in a very brief résumé of Buntak's present work, two things should be accentuated. Primarily, not many representatives of Croatian modern art have in such a distinct manner reinterpreted the tradition of sacral art. Employing the popular culture imaginarium in depicting Christian topics and motives, Buntak proved that dogma is not of much use in artistic representation. On the other hand, in an exclusive history, not only of Croatian modern art, maybe no one has so consistently and clearly almost as in a blueprint set the motive of escapism as the main topic of his work. Eliminating the stigma of inferiority, Buntak allegedly, without hesitation attached the allegedly inferior area of culture dominated by comics and genre fiction and film to the tradition of the so-called high culture, no matter if it was related to art history (painting), modern art or religion.

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  • 17.06.2002. - 13.07.2002.

    Slavko Peršić, "Retrospective 1971:1992"


    The retrospective exhibition of Slavko Peršić, painter from Velika Gorica, was organized to mark theanniversary of his death. The exhibition shows his works from 1971 to 1992. Slavko Peršić was a self-taught painter who built his painterly principles within the framework of so-called New Painting.He showed his works in more than 40 solo and group exhibitions in Croatia and abroad. He was amember of the Croatian Association of Artists from 1992.

    The exhibition was curated by Guido Quien and Radovan Vuković, who also wrote the introductions in the exhibition catalog. The city of VelikaGorica and the Long-life Learning Center published a monograph dedicated to Slavko Peršić, whose author is Guido Quien.

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