fashion

  • 13.10.2017. - 11.11.2017.

    Showpiece

    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.

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

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  • 02.03.2012. - 01.04.2012.

    Textil{e}tronics

    Anda Klančić, Patrizia Dona, Marija Mojca Pungerčar, Josipa Štefanec

    ‘Let’s now delve deep into the fluff’
    Massimo Banzi, Getting Started with Arduino

    Following the development of a simple thread into complex new media objects, the exhibition will touch upon recent developments in the areas of wearable technology and electronic sculpting through lumino light objects and the presentation of Arduino microcontrollers.

    Dealing with sculptural textile (J. Štefanec) and electronic thread (A. Klančić), designed substance and new meanings of objects (P. Dona), as well as socially responsible textile art (M. M. Pungerčar), the exhibition presents an overview of contemporary new media directions and questions the meaning of the medium as such. The social and emacipatory aspects of textile arts are clear - they invoke thoughts of industrial manufacturing, DIY subculture and self-sustained systems, especially in relation to recent similar developments in the fields of open source and wearable technology (Arduino, Body Pixel Studio).

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  • 25.02.2011. - 03.04.2011.

    Mirabilia

    Yoko Fukushima, Silvio Vujičić, Tatjana Vukelić

    Mirabilia is the name of this year’s first exhibition dedicated to the relationship between design and art. At the beginning of the modern era, this Latin word denoted phenomena that were difficult to attribute to one of the two general categories: to the natural, God-made world or to the world created by human activity.We believe that in this exhibition the works of Silvio Vujičić, Yoko Fukushima and Tatjana Vukelić have the same kind of hybrid status. In their works, the dilemma is only transferred from the ontological categories of animate and inanimate, Godly and human, to the area of design, which, on the other hand, moved from the traditional position of designing clothes to designing humans. However, in the contemporary world of biopolitics, the works of these artists should not be viewed as moral warnings. Their bio-design only marginally touches upon the ethical aspect of human culture. Although the first reaction to these works may best be represented with the question: Where is the limit to exploiting and cultivating nature?, the general impression of the exhibition is closer to fantasy than to ecology. In other words, there is more than serious social questions in this exhibition; some transparent intimacy, awkward irony, bizarre beauty and irresponsible play(K.Š.)...

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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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