new media

  • 03.03.2017. - 08.04.2017.


    Bartłomiej Pilarczyk | Clàudia Giralt / A cAt | Daniel Vasconcelos | Domenico Dom Barra | Gábor Hufnágel | Ivan Klis & Damir Prizmić | Joana Chicau | Kaspar Ravel | Leandro Estrella | LiL PDF | Maja Kalogera | Mark Klink | Michaela Lakova | Slobodan Tomić | stAllio! (Benjamin Berg) | Tomasz Sulej | Uğur Engin Deniz | Vedran Gligo

    The exhibition shows the source of recent new media and free culture oriented art featuring the work of 18 Croatian and international artists. The program, based on a collaborative effort and an inclusive community format - aims to create a knowledge distribution platform, transcending limits of individual disciplines and fusing them into a discourse enabled by open, free talks, presentations and media arts workshops uncovering layers of multimedia, hypermedia, technoperformance and generative art practices.

    During the exhibition’s one month long iteration, and via sections of a complementary discursive program, we will inquire on the diverse origins and tactics of artistic practices based on digital narratives and collaborative methods.

    Curators: Format C


  • 26.01.2017. - 13.02.2017.

    free_art_-_source: OPEN CALL [< 2017/February/13]

    The second iteration of free_art_-_source exhibition is open to new media art authors’ (artists, coders, clever copycats) worldwide submissions for an exhibition initiated by Format C artist organization.

    The theme is our source, constructing the rhizomatic context of computer-based new media art and culture.
    We are looking for the source code of your art, scripts that make up the features of your art or the textual representation of the data your art is built out of.

    That could include: html, scripts, any media printable text format, any programming language snippets,.. No formal limitations other than it being character printable, it should have an aesthetic property (visual and/or ideological) and it should be shown in full.

    It can be completely original; compiled from other sources; utterly unoriginal but aesthetically progressive; completely horrific but make up a curious work; a brilliant haiku-type code that does wonders for your project; something highly fringe or discursive; something free; something stolen; etc. …

    The objective of the expo is to show diverse technological syntaxes, philosophical approaches and artistic inte/*rve*/ntions in the construction of recent new media art.

    Apply here, by attaching the subjects listed below :

    - source code of artwork/project in a .txt, .doc or .rtf file {A3 / B&W / MAX. 5 pages / any font size + font file [if (special)]}

     - a photograph and/or a screencap of the visual presentation (result) of the work the code composes/compiles (min 1080px on the shorter side)

     - short description (technical) + link to the work

    - web or profile and a short (on-topic) biography

    Please use only text formats to submit your work.

    The code/work file will be hardcopied and used for RL exhibition purposes only, and the provided image(s) - photographs and/or a documentative screencap of the media work, along with credits and links will be utilized to publicly promote your work.

    ! The deadline for participating in the open call is Feb 13th 2017, 23:59 CET, and the exhibition is to be held in March 2017.

    ///  free_art_-_* : A series of discursive events on the subject of diverse ideologies and individual practices of authors creating in the domain of free (libre) digital-based art.

    ///  Format C : a non-profit artist organization based in Croatia, active in the field of visual and multimedia art.

    //   free_art_-_source exhibition program is financially supported by the Ministry of Culture of the Republic of Croatia and the City of Velika Gorica.



  • 27.11.2014. - 23.12.2014.

    Mercury Retrograde: Animated Realities

    Brian Alfred, Aline Bouvy, Cliff Evans, eteam (Franziska Lamprecht, Hajoe Moderegger), Scott Gelber, John Gillis, Jan Nalevka, Karina Aguilera Skvirsky

    Curated by Željka Himbele and William Heath

    Three or four times a year, the planet Mercury appears to move backward in its orbit when seen from Earth. This optical illusion is referred to as Mercury retrograde. In popular astrology, Mercury retrograde marks intense periods when things go awry, signaling the need for reflection and revision of our lives. This is a time for veering away from the past and taking cautious steps forward. Mercury’s cycle has been speculated as the cause of major course corrections for society; it gives us a chance to grow as humans, to raise critical awareness, and possibly make a movement towards radical change.

    The exhibition Mercury Retrograde: Animated Realities features an international selection of artists making animated videos that focus on uncertain future. Appropriating popular culture images from television, film, web, newspaper, tabloid, and fashion magazines, the artists manipulate source materials with a variety of aesthetic approaches and montage techniques that offer reflections upon our mass media-saturated cultures. The materiality of animation allows for flattening, collaging, reduction and abstraction of the appropriated material that at once allows the absurdity of contemporary life to stand more singularly and clearly. The works collectively vibrate with an omnipresent feeling of anxiety, a kind of anxious energy that demands we consider the current paths and policies we have allowed to be chosen for us. The animations grapple with complex topics surrounding the culture of spectacle, excesses of consumption, economy and power relations in the era of globalization and interconnectedness, and reveal the artists’ simultaneous fascination with and critique of our culture, society, and politics.


  • 16.11.2012. - 21.12.2012.

    Eastern Surf: Kernel Panic Control*

    Having met during their studies in Edinburgh, four artists from Croatia, Italy and Scotland initiated the project and work methodology entitled Eastern Surf. The collaboration began with an exhibition proposal, after which one more participant joined Eastern Surf, and the collaboration itself eventually proved to be very fruitful. Eastern Surf emphasize that the number of participants is irrelevant and is, like their work, subject to constant change and expansion. At the moment, the project extends through organized events including performances, photoshoots, mass collated video work, online TV and gallery based installations, and an example of the former can be seen now in the Gallery Galženica in Velika Gorica.


  • 15.09.2010. - 17.10.2010.

    White, Yellow, Blue, and Black, one Coincidence, and one Object

    Artists: Ryan Barone , Charles Broskoski, Reynald Drouhin, Michael Kargl – aka carlos katastrofsky, Jan Robert Leegte,

    Curated by Birgit Rinagl, Franz Thalmair; CONT3XT. NET

    — [...] Then even your Abstract Paintings should convey a content? — Yes. —
    They’re not the negation of content, not simply the facticity of painting, not an
    ironic paraphrase of contemporary expressionism? — No. — Not a perversion of
    gestural abstraction? Not ironic? — Never! What sort of things are you asking?
    (Gerhard Richter, interviewed by Benjamin Buchloh)

    A reduction of structure, material, and space; if colour articulates itself,
    independently of interpretation or context—does that make it autonomous?
    Monochromacity has been considered the most essential form of abstraction,
    having provided a source of inspiration for non-figurative and nonrepresentational
    tendencies in contemporary art, these ideas need to be taken
    still further in the age of digital images. The notion of a pure medium proposed
    by twentieth-century modernism with its ideals of autonomy is increasingly being
    pushed aside by mixed media approaches: In this post-medium condition,
    however, the autonomous realms of the world of technical devices and the
    intrinsic characteristics of the world of media retain their relevance. In fact, the
    specificity and autonomy of media is growing ever more differentiated.
    [1] How
    does the media quality of a digital image determine its appearance? If the
    Internet is used as a tool for communicating artistic expression, how does that
    relate to the history of art? Which ways of reading the Internet have users
    These questions point to the fact that reflecting on this condition
    is not an end in itself, but at best an intrinsic and obvious undertaking.

    The exhibition White, Yellow, Blue, and Black, one Coincidence, and one Object
    presents eight international positions in Internet-based art that embrace
    monochromacity as a formal principle without clinging to the ideological aims
    of earlier artistic avant-gardes. The works on display implicitly address the
    deconstruction of the digital image via text (code) and explicitly ask whether, in
    the face of the present image overload, there are ways of escaping the so-called
    crisis of representation. It is therefore possible to read these abstract works of
    art as art about abstract art. Other than with the presentational medium of
    monochrome painting, their two-dimensionality, [3] which is limited by the
    browser and restricted to the screen, is not accepted as the boundary of the
    work. On the contrary, the exhibition encourages viewers to pursue the art into
    the world outside and to leave the exhibition in order to explore other contexts.
    This reference to the sociocultural context and the viewers’ response defines the
    exhibition’s political dimension. The focus is on the material, which is not solely
    necessary for the existence of these works but forms a complex system of
    implications and references to media and society. Between iconoclasm and
    image overload, autonomy and new forms of representation, the digital image
    needs to find a new position.
    It does so by reflecting upon itself and thus
    pointing to things other than itself.

    The exhibition White, Yellow, Blue, and Black, one Coincidence, and one Object
    addresses the conditions determining both the form and content of monochrome
    art works. The interaction between these closely linked levels is revealed in
    a mutual tension that arises when representing and represented, material and
    meaning come under scrutiny. Form does not become transparent with regard to
    content. On the contrary, when art is viewed it becomes unclear what the
    content is and what the object of representation is.
    [4] In the viewers’
    perception this results in an oscillation between artwork, exhibition display, and
    media references, the political dimensions of which unfold in the etheric realm
    of the space–time continuum. It is this tension arising between art and politics,
    with neither of the two representing or instrumentalizing the other, that it is
    possible for art to become political. For art to develop a political dimension it is
    therefore necessary to approach the sensory world or the arrangement of the
    original material in a way that is different from what traditional political
    categories would appear to suggest.
    [5]—Autonomy could therefore be said to
    arise from the Here and Now when art is viewed.

    In this context, The White Website (2002) and The Black Website (2002) by carry modernist trends into a digital environment: the artist
    duo has set up websites with white and black monochrome surfaces. An
    accompanying essay by Hans Ulrich Obrist puts into words what the art shows
    on the screen: To be able to maintain its significance up against the sciences
    and their picture-producing procedures, art must look for a position beyond the
    crisis of representation and beyond the image wars straight into the blind spaces
    of the black black and the white.

    Referring to Kazimir Malevich’s Black Square (1913) and his white square
    (Suprematist Composition: White on White, 1918) Michael Kargl applies
    reductionist forms to the phenomenon of obsession with science and technology:
    his webzen (2009) not only points to Nam June Paik, one of the originators of
    media art, but also paraphrases spiritually motivated strategies, which are
    mediated in the programming code on which the work is based. Charles
    , in turn, uses auto-generation to transform his personal reflections on
    opportunities for collaborating on the Internet into a collective, participatory
    process: Let’s Turn This Fucking Website (2007–2008) is the title of
    his website and also a clear instruction on what is to be done to turn a black
    monochrome surface into a yellow one. The responsibility in this time-based
    process lies entirely within the network.

    For Blue Monochrome .com (2008), Jan Robert Leegte articulates his critique of
    representation by drawing on the abundant freely available images on the World
    Wide Web. A simple zoom on the Pacific Ocean through Google Earth not only
    yields a view of a readymade—the blue, relief-like surface of the water—but also
    permits an insight into the economics of contemporary information hierarchies.
    The colour blue, that is, the colour clearly identified in art history and colour
    technology as International Klein Blue, is also the point of departure for Ryan
    Barone’s International Klein Blue (Google Monochromes)
    (2008). By presenting
    an endless sequence of eleven variants of one and the same—allegedly
    standardized—colour, which he discovered in a simple Google search, the artist
    disproves the assumption that categories like originality and authenticity count
    as parameters for digital art.

    The random appearance of hexadecimal colour codes provides the basis for
    Reynald Drouhin’s playful localization of virtual spaces, too. Deliberately ignoring
    users’ rights to free choice, he has programmed his IP Monochrome (2006) to
    generate colour surfaces on the basis of data about the location of the computer
    that is accessing his site. The resulting surfaces may be read as representations
    of the real context.

    Michael Kargl’s computer object all you can see (2008) also
    gives material form in real space to what is actually virtual. In a linear process
    lasting eight days, the artist displays all of the nearly 17 million colours that any
    computer screen is theoretically able to represent, proceeding from black to
    white, colour by colour, surface by surface, code by code, until perception
    arrives at zero.

    Birgit Rinagl & Franz Thalmair

    [1] Cf. Weibel, Peter: Postmediale Kondition (Exhibition in the context of the art fair Arco, Centro Cultural Conde Duque, Madrid), 2006, online available under:

    [2] Röbl, Marie: Abstrakte Erb- und Patenschaft. Streiflichter auf Hintergründe,
    Kategorien und Raster, in: Pfaffenbichler, Norbert and Droschl, Sandro (Hg.): Abstraction Now (exhibition catalogue, Künstlerhaus, Vienna) 2004, p. 36, online available under:

    [3] Greenberg, Clement: Modernistische Malerei, in: Harrison, Charles and Wood, Paul (eds.): Kunsttheorie im 20. Jahrhundert. Künstlerschriften, Kunstkritik, Kunstphilosophie, Manifeste, Statements, Interviews, Hatje Cantz: Ostfildern - Ruit, vol. II, 2003, p. 931-937

    [4] Rebentisch, Juliane: Zur Aktualität ästhetischer Autonomie. Juliane Rebentisch im
    Gespräch mit Loretta Fahrenholz und Hans - Christian Lotz, in: Huber, Tobias and
    Steinweg, Marcus (eds.): Inästhetik. Theses on Contemporary Art, Diaphanes,
    Zurich/Berlin, 2008, p. 116

    [5] Höller, Christian: Ästhetischer Dissens – Überlegungen zum Politisch - Werden der Kunst, in: Saxenhuber, Hedwig: Kunst + Politik. Aus der Sammlung der Stadt Wien, Springer, Vienna/New York, 2008, p. 190


    Supported by City of Velika Gorica and Ministry of Culture of Republica Croatia. Sponsored by Combis []


  • 22.09.2008. - 12.10.2008.

    db:ae - database aesthetics

    The international exhibition db:ae – aesthetics of data basis deals with works of the artists who use new ways of systematic analysis and presentation of digital media with the help of computer data basis.

    Michael Aschauer (Austria), group UMATIC (the Netherlands), Robert Luxemburg and Jan Gerber (Germany) use archives (primarily of sound and video) and their metadata (descriptions and frames of references) in order to extend the perception boundaries from linear and chronological to systematic and hypermedia. However, the results of questionnaires applied to their data basis are not presentations of financial transactions’ statistics, business trends or material resources. They are sounds of imaginary journeys, images of non-existing landscapes or abstract graphics emerged from overlapping of the film materials.

    Michael Aschauer exhibits works about systematic filming of the banks of the river Nile ( and computer-generated landscapes that resulted from daily and weekly changes’ observation (

    Jan Gerber and Sebastijan Lutgert present their artwork on film basis created for the needs of Berlin pirate cinema program and on http://www. Pad. ma web application used for manipulation of the Indian activist documentaries’ video archive.

    Group UMATIC i.e. Derek Holzer presents the web project of DIY virtual sound space journey through the web metaphor of an aeroplane flight ( as well as gallery-based installation of slides, images and sound recordings.

    The additional introduction to the artists and the concept together with the open discussion will be held at net-club Mama (17 Preradovićeva St., Zagreb) at 7 p.m. on 23rd September 2008. Furthermore, the projections of Pirate will be held at the same place on 24th September 2008. (Željko Blaće, curator)

    Exhibition/ project is supported by:
    The City of Velika Gorica
    Ministry of Culture of Republic Croatia
    Austrian Cultural Forum, Zagreb
    Multimedia institute, Zagreb



  • 09.05.2008. - 01.06.2008.

    New Media - New Networks

    The exhibition entitled New media - New Networks is the first retrospective dedicated to the new media art and culture in Croatia. The exhibition is a result of last year’s research on new media art in Croatia proposed by Ljiljana Kolešnik (Institute of Art History from Zagreb) and conducted by Klaudio Štefančić.

    The new media art in Croatia is presented as a practice of social and artistic networking in the wider context of applying new communication technologies to old institutions of civil society, public and mass media, art and higher education. Instead of the best of presentation of the artists who have experimented with new media, we decided to represent the new media art in relation to concepts of chronology and social network.

    Distinguishing the three chronological lines – political, informatical and artistic – that began in 1990 and ended in 2005 as a background, we hope to point out particularity of new media art in Croatia in relation to international events and contemporary art. Overlapping of these three chronologies forms temporary social structures: cultural and artistic networks in which new media art has been created, produced, presented and interpreted.

    Three networks are presented with the help of four hubs.

     - BBS (Bulletin Board System) of citizen’s initiative Anti-war campaign and Zamir Transnational Net are parts of the first network. Their activities are presented in the form of archive of the mailing list.

     - Arkzin magazine and Multimedia Institute(1) from Zagreb are also parts of the first network but they are shown seperatedly: in the form of the magazine issues that can be photocopied and in the form of Marcell Mars' net artwork NRD Kit (2)

     - Media Scape(3), the art festival that used to take place in Zagreb in the period between 1993 and 1999, presents the second network in the form of Darko Fritz’s telefax action 410 Gone, which is a part of the The Internet Error Messages series.(4)

     - Department of Visual Communication Design at the Fine Arts Academy, University of Split(5), together with the International Festival of New Film(6) mark the third new media network in the form of Dan Oki and Sandra Sterle's work ““. (7)

    The low budget and the gallery space had a direct influence on the exhibition layout. Due to both reasons, the presentation of artworks has been reduced to minimum. However, the limitation on the number of exhibits enabled intertextual links, of which the reference to Arkzin’s timeline is the most prominent.

    New Media – New Networks is not a traditional retrospective exhibition. It is more appropriate to compare it to the function of hub, centre that enables connecting and participation in the network. Therefore, once you get connected the data can be added, corrected, copied, shared, deleted...

    Curator: Klaudio Štefančić



  • 02.04.2008. - 27.04.2008.


    It is difficult to say what came first, the blog or the exhibition, partly because they have the same title: kibedžezva. However, was first uploaded in July 2007 and become an official exhibition project four months later. It involves students of art history, animation and new media from Zagreb and represents the next exhibition's intro as well as an attempt to inform the Croatian public about the latest problems, tendencies and phenomena in the area of new media. Our goal is, by reblogging, to mark discursive positions for easier and more efficient interpretation of constant technological and cultural changes. For these reasons, the blog will have been updated by the end of this year.

    The exhibition entitled Kiberdžezva is mostly result of collaboration among Vjekica Buljan, Morana Matković, Petra Šešljaga and the third-year and fourth-year students at the Zagreb Fine Art Academy's Department for animation and new media. They selected artworks that referred to current problems of communicational culture of the Internet. As suggested by the artists, the most intriguing aspect of "social software" is web servers for socializing and networking cultural and art producers and distribution of their products. Although they are not the subject, Facebook, My Space or You Tube are still useful frames for understanding one part of the contemporary art production. This time, Antona Begušić, Petra Hudić, Luka Hrgović, Mirna Martini, Dina Rončević and Matea Šabić will have the honour to show their works. In order to make things more virtual, Dina Rončević's blog What do you care what "bobina" is serves as an introduction into the exhibition.



  • 01.02.2008. - 01.02.2008.

    Art, Technology, Media

    The Galženica Gallery dedicates the 2008 exhibition programme to the latest tendency that finds its artistic and social legitimization in exploring different forms of relationship between technology and art, known under many names such as new media or digital art. However, the focus of our interest is only on the production and presentation of those works that in the context of current transformation of the Internet from communication into a mass medium highlight new ways of networking (Web 2.0, P2P etc.) on one side and the immanent characteristic of the Internet to depend on the different databases on the other. This is especially true of World Wide Web...


  • 20.02.2008. - 23.03.2008.

    Ivan Marušić Klif, "Telephoning"

    The artwork of Ivan Marušić Klif feature two aspects of media art: one is the use of contemporary electronic and digital technology in the art world context and the other is a research of relationship between human being and his/her technological environment. In the space of an art exhibition, the both aspects are usually indistinguishable: visitor enters the enclosed, technologically created environment, changes its parameters and, leaving more less visible traces of his/ her presence, walks out.

    If we had to choose a corresponding genre, closest to his work, it would be an artistic intervention known as ambient installation. Whether Marušić works with sound, light or video image, he usually construes an enclosed ambience, rather different from the visitors' well-known everyday environment.
    Over time, his ambiences have become technologically more complex. In 1993, his early light ambiences consisted of mobile objects whose moves changed the type and intensity of the light. In 1995, computer set in motion and controlled the installations while since 2001, Marušić has started working with complex interactive sound and video installations. The series of exhibitions entitled “Inside/Outside” that took place in Zagreb, Croatia, Maribor, Slovenia and Labin, Croatia from 2004-2007 were the best examples of the author's approach to technologically determined, interactive ambiences.

    It was a video installation that functioned according to the principle of a closed circle of production, processing and projection of an image. Differently positioned cameras produced the image that went through the system of monitors and cameras for several times and then was projected on the walls and monitors in the gallery. The cameras were directly linked to the monitors and video projectors, while the computer controlled their moves, zoom and focus. There was no digital image processing. The installation was in motion, changing the ambience of the space independently of visitors. Marušić's ambiences are extremely visually attractive so we may feel that the aspect of interactivity disrupts technological biotope rather than supporting it.

    One of the most distinguished qualities of Marušić's work is that, although a trace of interactivity aspect can be found, the installation is actually independent of visitors' participation. At the Galženica Gallery exhibition, the potential of his ambient installation to function on its own, without interaction with visitors, is stressed even more. With the help of computer algorithm, Marušić randomly dials phone numbers taken out from the public database of the phone book of Republic Croatia. The dialled users take part in unwanted communication through Skype web server. On the other hand, the visitors can choose between the positions of a voyeur/ listener or a participant/ collocutor.

    Seen from today's perspective, there is something fair about his installations. They have never bothered us with interactivity, in fact the illusion that a visitor participates on equal terms in creation of (new) media artwork. Marušić seduces us with potentials of technology and the beauty of technollogically generated images rather than warning us of cultural and political backround of every technology, including the one used in the art context. (Klaudio Štefančić)

    Ivan Marušić Klif is born in 1969 in Zagreb. Graduated from The School of Audio Engineering in Amsterdam in 1994. His field of interest includes fine arts (light installations and kinetic objects), music and sound for theatre, film and television, set design (theatre, film and television) and performance art. In last few years he started working with computers - mostly in the field of multimedia programming, interactive video and problems of interfacing computers with the real world. Exhibited and performed in Holland, Germany, Denmark, Italy, Poland, Macedonia and Croatia. Teaches multimedia and installations at the Multimedia department of the Academy of Fine Arts in Zagreb.