picture

  • 29.04.2011. - 29.05.2011.

    Eye Nerve Bombing

    art ditu, filjio, gaz, lonac, lunar, oko okato, pajcek, petar popijač, peha plus, puma 34, sank, sretan bor, svenki and others

    During the last few years, in the public discourse on artistic interventions in the city’s streets, the term street art is becoming more common. The works in Branimirova Street used to be called graffiti, while their new version is commonly labeled by the media as street art. Without entering the domain of formal and aesthetic distinctions of the new generation of artists and artworks, it is clear that the significant terminological shift from something that was up until recently linked with specific subcultures and vandalism, in itself points to an interesting artistic and social phenomenon. Who are the protagonists of this new wave of street art, how do they perceive their role of claiming public space, are they any different from their predecessors, how are their activities perceived by art history on the one hand and the law on the other, these are just some of the questions this exhibition deals with.

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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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  • 26.04.2006. - 21.05.2006.

    Oliver Dorfer, Herbert Egger, Anton S.Kehrer, Beate Rathmayr, "Light_Story_Space_Body"


    The exhibition Light_Story_Space_Body is the continuation of cooperation between the Austrian artistorganization MAERZ centred in Linz and the Galženica Gallery. Started in 2004, this cooperation functions as an exchange of art and gallery experiences between these two different cultural contexts, Austrian and Croatian. So in April 2005 “Outside sources” exhibition was opened in the MAERZ Gallery in Linz. Kristijan Kožul, Tanja Dabo, Marija Prusina and Lala Raščić participated in the exhibition. During 2005 Ana Kadoić participated in the international exhibition in Linz which was organized by the MAERZ artist organization. And this year Tanja Dabo and Ivana Franke will exhibi ttheir individual works at the MAERZ Gallery.

    Each of the notions in the title of the exhibition tries to metaphorically represent a work or a part of work by an individual artist. “Light” symbolises the work of Anton S. Kehrer; “Story” is the symbol for Oliver Dorfer’s paintings; “Space” is a metaphorthat signifies photographic and movie works of Beate Rathmayr and “Body” refers to the sponge sculptures of Herbert Egger.

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  • 12.11.2003. - 29.11.2003.

    Sonja Briski Uzelac, "Window, view"


    The exhibition of Sonja Briski Uzelac is, in a way, a hybrid exhibition: it is an exhibition of paintings and an
    ambient exhibition, a site-specific intervention. If seen as an exhibition of paintings, then we must say that the exhibition shows 30 paintings from the series “Squares” and “Rectangles”, the painting “Viator’s Perspective” and two small paintings that remind us of Malevich’s squares. If we view it as an ambient exhibition adapted to the specific character of the gallery space, then we must conclude that the exhibition shows 30 square and rectangular blue monochrome paintings in space so that their setup suggests perspective foreshortening, known from the tradition of Renaissance art.

    In that sense, “Viator’s Perspective” as a painting is a clear reference to the Renaissance mathematical construction of space on a two-dimensional surface, and the two small paintings, the blue and black square, are references to the opposite of this tradition of Western painting: to the concept of non- objective art of Kazimir Malevich. Sonja Briski Uzelac, the “educated painter”, as Miško Šuvaković calls her, is a professor and theoretician of art, and a painter who graduated from the Faculty of Fine Arts in Belgrade in 1976.

    She received her PhD in 1984 at the University of Belgrade. She lectured at the Faculty of Fine Arts in Belgrade, and is currently lecturing at the Faculty of Teacher Education in Zagreb and at the Academy of Applied Arts in Rijeka. She received an award at the 26th Youth Salon in Zagreb in 2001 for her contribution in theory.

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  • 23.04.2003. - 14.05.2003.

    Paulina Jazvić, Sandra Juranić


    Two young artists from Zagreb presented themselves with painting-objects (Juranić), i.e. spatial installation
    (Jazvić). On the frontal and the visually strongest wall, Paulina Jazvić put up her installation which consists
    of transparent plastic bags filled with water in which personal belongings from the author’s everyday life are
    immersed (child’s toys, hair-bands, thermometer, shoes, etc.) . In the upper space, Sandra Juranić exhibited
    paintings-objects, i.e. collages consisting of different objects, combined with different drawing, i.e. painting,
    techniques. In both cases, using different methods, the authors try to present the emotional and social everyday life.

    Both authors graduated from the Academy of Fine Arts in Zagreb in the class of professor MIroslav Šutej.

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  • 25.09.2002. - 12.10.2002.

    Saša Martinović Kunović


    By composing her paintings as diptychs and triptychs, Saša literally accomplished the traditional method of painting by motive as the traditional painterly metaphor. Namely, by using different techniques (graphite and ballpoint pens, acrylic) she painted following the already determined decorative structure of ornaments and relief texture of the canvass. The most notable characteristic of her works is painting on a strictly determined template, whose origin is always historical and from the realm of high art, and whose function is contemporary, practical and widely popular. Whether she paints Hals’ “The Women Regents of the Haarlem Almshouse” in Matisse-like style, copies still life from photographically illustrated cookbooks, or freely replicates contours of female nudes from the history of painting, Saša Martinović Kunović finds the field – in which the differences between valuable and banal, unique and mass-produced, aesthetic and kitsch, artistic and decorative, are blurred – especially interesting.

    Saša Martinović Kunović graduated at the School for textile and footwear and at the Academy of Fine Arts in Zagreb.

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  • 27.11.2002. - 30.12.2002.

    Roberta Vilić


    The painting of Roberta Vilić at the beginning of the 90s appeared at the end of the first wave of reception of European artistic tendencies, which was especially in the painting of the 80s marked by the return to the gestural, neo-expressionistic painting. In that context, to position oneself in relation to the tradition of informel, as the author has done, entailed several things: to reaffirm painting as a representative area of artistic work, to determine it as a non-mimetic activity and (auto)poetically interpret it as an expression of inner necessity. These originally modernistic settings are softened by introducing signs from other, non-painterly sign systems (numerical, alphabetic symbols, lexical and syntactic elements of the Croatian language) and on that level we can read certain changes in relation to the historic abstract expressionism. In that sense, the painting of Roberta Vilić as a painterly as well as a cultural sign system, can denote a specific history of modern and postmodern art in Croatia, since she quotes, reinterprets, makes intimate, softens the representative, heroic tradition of abstract expressionism, i.e. informel. (K. Štefančić)

    Roberta Vilić graduated at the Academy of Fine Arts in Zagreb in 1998. She exhibited in solo and group exhibitions from 1992 in Croatia and abroad. She received the Award of the Italian cultural centre at the 28th Zagreb Salon and the 2nd award at the festival Art in Mainz.

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  • 17.12.2005. - 30.12.2005.

    Zlatan Dumanić, "Radical desublimation"



    Zlatan Dumanić (1951) is an artist from Split and this year’s Croatian representative at the 51stVenetian Biennale. Although he is mostly known for his neo-avantgarde works, performances, actions,installations, movies and poetry, Dumanić has for the last few years worked in easel painting so itcan be said that the exhibition in Velika Gorica is a premiere in painting. In his paintings Dumanićis occupied with his existence which through erotic and general love themes and motives, insteadof more wholesome, serious representations, takes on everyday, normal, in fact journalary or comic shapes.

    Zlatan Dumanić is a former ship captain for ships of 3000 GT and more with highest maritimequalifications. He has been exhibiting since 1969. He participated in a large number of groupexhibitions, held numerous multimedia actions, performances and programs and published a largenumber of books, collections of poems and librettos.

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  • 27.06.2003. - 19.07.2003.

    Andrea Robić, "Ah!"


    Andrea Robić, a young painter from Velika Gorica, presented herself with paintings whose field of painting
    spreads from individual canvasses to the walls of the gallery. By painting the gallery walls, she followed the
    painterly structure of the exhibited canvass and by doing so, realized a personal site specific work. Or as Vladimir Gudac points out in the introduction of the catalog: “In this case, the artist spreads out the sign of the “rigid gesture” using her color fields of soft dreams. This sign wants to, and does, escape the field of the canvass and point to the wideness of the imaginative fields of dreams and, so to say, suggest the fact of the unspeakable via a strong, hard color core and painful disruption of the wide line (or multiple lines) which would like to escape to the space beyond the painting and beyond painting, and especially to escape towards us, the audience-spectacors.”

    Andrea Robić graduated from the Academy of Fine Arts in 1998 and this is her fourth solo exhibition.

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