visual culture

  • 23.10.2015. - 21.11.2015.

    Home, Centre, House, Platform

    There is nothing unusual about the fact that the attempts to historicize institutions in charge of producing and distributing culture are accompanied by a certain ambiguity or even by a terminological and categorical confusion. The very notion of culture is in itself ambiguous, even inherently contradictory, so we cannot expect from the experts who deal in cultural practices to provide us with a clear and firm definition. For example, we have the culture of art, but we also have the culture of swearing – not to mention the custom of spitting on the street, even though spitting could also be considered as a part of the process of rural culture infiltrating urban culture – which is in conflict with the culture of good manners, so if you are not a linguist, writer or an anthropologist, you are more likely to notice the lack of culture in these practices. Be that as it may, there is one thing that everybody agrees on: culture consists of everything that people do on a daily basis. Therefore, the emphasis is on people and not on objects (books, paintings, movies, plays, etc.), on the experience and the process and not on the question of ownership or social status.

    We approached the conceptualization of this exhibition from the position of a participant in cultural processes, that is, by taking the bottom-up approach of the users of cultural programmes thus rejecting to adopt the position of an institutional power. And why wouldn’t we take the perspective of our own experiences? Instead of focusing on historic foundation charters, political decisions, official documents, plans and programmes, it just might be the right time to recall how we made culture happen: by visiting libraries, watching movies, learning how to dance, knit, paint or by simply chatting and having fun – with a glass of wine in our hands – at an opening of an exhibition or a play.

    Seen from this perspective, there are four different ways of participating in the production and consumption of institutional culture. Each of these ways is actually a particular cultural model. And these models are: home, centre, house and platform.

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  • 09.05.2007. - 31.05.2007.

    Mare Milin, " A side, B side "


    The title of the upcoming exhibition, “Side A, Side B”, refers to the complex process of the fashion photography production which is a result of the teamwork of experts. Not only a photographer, but also a stylist, an editor, a makeup artist, a set designer, a model and a producer, design the editorial, choose photographs and create the beauty that may attract you to buy what you see. “A Side” is what you actually see when you buy a fashion magazine: photographs, clothes, models etc. “B Side” is invisible to the readers' eyes, for example the photographs that did not end up printed in the magazine despite the photographer's opinion on their quality.

    The fashion photography is a hybrid genre that has the same origin as a so-called documentary i.e. press photography. Namely, both emerged and developed as a constituent part of, at first printed, then electronic, and finally digital mass media.

    Unlike the documentary photography, the fashion photography has more freedom in selecting and combining various aesthetic, formal and social approaches to the art of photography. Not only has the fashion photography dealt with different genres (portrait, landscape, experimental or erotic photography) but also with different social codes of art, ranging from the concept of authenticity and individuality to the concept of technical excellence and teamwork underlined with the amateur dedication to technology.

    The teamwork that produces the fashion photography is not marked by an amateur love for the encounter of man and technology but by the demands of fashion and media markets. Those demands include excellence, inventiveness and knowledge of the history of photography, technology and culture. Despite moving away from a romantic idea of autonomous individual, free from social contracts, who uses camera to express the relations with self and the world around, a fashion photographer as a part of the “beauty industry” is free to be creative. Although determined by mostly economic demands, creativity lies in the possibility to use different strategies, styles and cultural conventions (gender-related as well as artistic). The fashion photographer is a “beauty hireling” and thus a predecessor of contemporary designers who give form to almost everything, ranging from a single page and screen to identity and history.

    Paradoxically, the more fashion photographer is involved in the industry the more original he/she is; the more he/she goes back in the past, the more seductive photographs are; the more he/she is hermetic the better products sell. (Klaudio Štefančić)

    Mare Milin is born in Zadar in 1973. After graduating from highschool she moved to Zagreb to study industrial design at the University of Architecture. At that time she started to take photography courses as a part of regular university program. Suddenly, she became infatuated with photography and her development (1).

    Since 1994. she has cooperated with a number of Croatian magazines, such as: Arkzin, Ultra, XL ( which, unfortunately, don’t exist any more ), Mila, Story, and Croatian issues of Cosmopolitan and Elle. As a result of cooperation with several publishing houses ( Meandar, Sysprint ) there are several book editions with her photos on their covers ( a biblioteque of Milan Kundera’s books, G. Orwell, V. Wolf, V. Nabokov etc.).

    Since 1999., she has worked as a photographer on many advertising campaignes. She cooperate with agencies such as: Lowe Lintas Digitel, BBDO, Leo Burnett, Grey Zagreb, Mc Cann Erickson, Hager (Poland), Public Image…She is art director of animated film "Glupača" which is in state of production at the moment (2).

    Since January 2006, she has been a part of a big multimedia project about ingenious scientist and inventor of AC, Nikola Tesla ( Bulaja Publishers, Zagreb ). It is a work in progress at this point. During March and April 2006. she was an artist in residence in 18th St Arts Center, Santa Monica ( USA ) (3).

    Her artistic work has always been based on photographies of people, situations with them, selfpotraits. Sometimes, her professional tasks ( mostly magazine jobs ), turned out to be unexpectedly artistic. Therefore, unusable in the publishing business, but very helpful in her development as an artist.

    Links:

    (1) http://www.klik.hr/naslovnica/deluxe/200404280002006.html
    (2) http://www.filmski.net/specials/26
    (3) http://www.ulupuh.hr/hr/straniceclanova.asp?idsekcije=2&idclana=183

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  • 15.01.2007. - 15.01.2007.

    Visual image – a genre or the politics of representation

    We decided to make some considerable changes in the year 2007. First, we will try to base future programmes on actual problems, interesting issues or phenomena, whether they are part of a narrow or wider art culture. Therefore, instead of a collection of individual exhibitions, we will organize exhibitions based on a characteristic that is mutual to all the artists presented. This year, that mutual characteristic will be the problem of the image and its representation...

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  • 03.11.2005. - 27.11.2005.

    Mate Lovrić, "Animations, Comic books, Illustrations, Design 1975-2005."


    This exhibition is a retrospective of Mate Lovrić’s 30 years of work in animation, comic books,newspaper and book illustration and shaping. His art was mostly intended for children, from earlyyears to primary school and children in puberty.

    At the exhibition, for the first time the public will see his whole movie opus, from first children’s movies produced by "Zagreb film", to educational movies produced by "Filmoteka 16" and up to the pilotepisodes of the animated movie “The Little Flying Bears” on which Lovrić worked in the early stages.We will also present Lovrić’s illustration work which was intended for both children and adults, from children’s picture books to short stories in Večernji list, as well as the special production of a comicbook which the children can read in the children’s magazine Radost.

    Mate Lovrić (1952) graduated from the High School of Applied Arts in Sarajevo. Since 1972 he has been working for Zagreb film and since 1975 he has been publishing comic books and illustrations for children in children’s magazines. He is a member of the Croatian Association of Artists since 1995,and since 2002 he is the art editor of the children’s magazine Radost.

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