• 15.11.2013. - 22.12.2013.

    The city at a second glance

    Artists: Tonka Maleković, Božena Končić Badurina, Igor Kuduz, Martin Mrzljak, Tanja Vujasinović, Ana Zubak

    Curators:  Udruga Slobodne veze (Tonka Maleković, Ivana Meštrov) i Tanja Vujasinović

    What does the city represent to us, how do we see it, perceive it, imagine it, claim and appropriate it – are the questions we wish to simultaneously pose to ourselves, as the authors of this project, and to the citizens of the city of Velika Gorica of which we become (agree to be) temporary residents, by acting within its context. Velika Gorica, a space within which Gallery Galženica acts, represents to us, who do not live there, a space of shifting identities, primarily associated with the Zagreb agglomeration and the adjacent airport. The fact that it is the seventh-largest city in Croatia with its own internal logics which go beyond of just being a space of transit, as it is perceived at first glance, is usually disregarded. Therefore, after being invited to participate in the program of Gallery Gorica 2013, an issue that presented itself at a very early stage was how to deal with the image of the cityscape and use the new media for rendering of this encounter. This seemed to be the only way for urban interventionism and approaching the city’s texture and its citizens through a brief exhibition experiment, done in modest production.

     And it all started with film and the urge to imagine space.


  • 21.10.2009. - 15.11.2009.

    Interzone : Local

    Authors of exhibition: Marija MatkovićMarina Mršić and Mislav Muršić (assistant: Ivana Miketić)

    The city of Velika Gorica is facing an enormous change. On almost every side of the city new and modern highways are being built. The automobile traffic from the city of Sisak, which now directly goes through the city centre towards and from Zagreb, will soon be moved to the more distant outskirts.

    The new, significantly expanded, but also firmer physical framework of the city, almost as some kind of contemporary city “walls”, raises anew and with more acuteness the main question – can a city in the near vicinity of Zagreb whose population has already surpassed cities like Pula, Dubrovnik or Varaždin, be something more than just Zagreb’s suburbia? Are the roots of its urban identity sufficient and adequate and which are the real and key topics of the urban development of the future Velika Gorica?

    The new southern border of the city is strengthened by the nearly completed highway. In contrast to the times when the 19th century railway line Zagreb - Sisak (located at the same place as today's highway) was located too far from the centre of Velika Gorica, so that the famous horse tram had to be put up, today the position of the highway clearly points to the fact that the merging of Gorica and Kurilovec will finally take place, which is of utmost importance for Velika Gorica. However, the meaningfulness or even coincidence of further steps in this merging which has been postponed for too long, determines whether the city will be more dependent on the large and still disregarded advantage of its railway and now its highway.

    In contrast to that, the new bypass on the north seemingly separates Velika Gorica from Pleso and connects and strengthens the city’s new traffic frame with the airport. However, this key and very determined physical move brings together into an almost continuous built-up area a clearly separated city and northern suburban neighbourhoods, which were already connected to the airport. This suddenly expands the urban tissue of Velika Gorica to the north and at the same time completely merges it with the constructed area around the airport.

    By encompassing the airport, Velika Gorica seems to complete this unique and fateful connection of this city with the history of aviation. Namely, not only does the city on one side directly lean on the contemporary international airport, but it also spreads out to the runway of the former military airport on the other side. This became the city’s fixed eastern border, but also an obstacle. Even more, in today’s urban tissue the positions of the first airstrips, from the first civilian airports from between the wars up to the war Wehrmacht airports, remain inscribed in the positioning of some streets. However, this unusual history remained hidden and forgotten.

    A section of the new eastern bypass is being built parallel to the military runway. It is built on a (too) high causeway and it is planned to assimilate the city railway, a future substitute for the horse tram which would also be a direct link and one of the many ties with Zagreb. But for the city of Velika Gorica itself, the bypass also becomes a double and an almost insurmountable obstacle for the city’s spreading to the shore of the Lake Čiće.

    The leap in development that is taking place in front of us does not, however, take place in the city centre. But the centre will soon be freed from the transit traffic which means it will be significantly changed. This sudden change, as experiences of numerous cities that underwent the same process, can be traumatic and leave negative effects especially in the centre’s initial passivization. That process is extremely dangerous and can have far-reaching and lasting consequences in cities like Velika Gorica which are located perhaps too close to the magnetic attraction of the nearby metropolis. Without the strength of their own centres, those cities become more or less passive suburbia.

    Now, it is of utmost importance for Velika Gorica to renew the strength of one’s own urban identity, while new ideas in activating the city centre and opening the training ground for creative movements are of key interest.

    In the end, I would like to add one personal observation. Along with the new activation and reanimation of the city centre, the real change in the urban future of Velika Gorica will take place only when the city spreads out to the scenically most valuable part of its space, the shore of the Lake Čiće, when it will perhaps obtain its own unusual Turopolje “Riviera”. (Zlatko Uzelac, art historian and urban planner)


    [1] http://velikagorica.heliohost.org/
    [2] http://www.gorica.hr/


  • 04.02.2009. - 15.03.2009.

    Interzone : City

    Belgium is the world’s most globalized country for the fourth year running according to the KOF Index of Globalization, and Croatia is 25th. The result was announced January 27, 2009 by the KOF Swiss Economic Institute, which traditionally measures the annual index of globalization in more than 120 countries. (...) The index measures the economic, social and political dimensions of globalization. The economic dimension measures trade and investment flows. The social dimension measures the spread of ideas, information and people from other countries. The political dimension captures the involvement in international politics. Croatia has high scores in social globalization, and low scores for political globalization. (HINA, 29.1. 2009.) [1]

    Interzone: City is the first in the series of exhibitions in 2009 dedicated to the phenomenon of globalization. It deals with the city and urbanity, whose multi­layered aspects rapidly change due to new economic and political relations. Boris Cvjetanović [2] is one of the most persistent and studious chroniclers of the urbanity of Zagreb and other cities. He will exhibit photographs made in the so-called period of transition, a term often used, but not so often questioned. On the other hand, Sophio Medoidze [3], an artist from Georgia temporarily living in London, will exhibit photographs of a different, Georgian transition. Considering the fact that Croatia shared the same social framework with Georgia, her photographs do not seem alien. The joint work of Željka Blakšić [4] and Lena Kramarić [5] deals with the different lives of cities, as well as our experiences of living in them; their mirroring of Dubrovnik in New York and New York in Dubrovnik unfolds like a documentary movie, direct and open. The only painter in the exhibition, Dino Zrnec [6], will show his view of the city; his paintings are not traditional vedutas, but depictions of signs which differently, but undoubtedly, indicate the city. Richard Reynolds, on the other hand, is the founder of the Guerrilla Gardening movement (http://www.guerrillagardening.org), which is spreading through Europe with great popularity. Guerrilla Gardening [7] is a movement that promotes planting flowers and other plants in neglected urban areas. The documentation of the movement's activity will be presented on the exhibition, while Richard Reynolds will give a talk
    the next day at the net-club Mama in Zagreb about this urban phenomenon. The Pula group [8] will deal with somewhat different urban problems. The group consists of architects who have in the past few years been active in protecting the public space of the city of Pula, more and more endangered by private capital and its ruthless methods of gaining wealth, among which the current law on golf terrains is the latest example.

    Curators: Ivana Hanaček, Klaudio Štefančić
    Curators assistants: Sanja Horvatinčić, Nina Pisk


    [1] http://globalization.kof.ethz.ch/map/#
    [2] http://www.photography-now.com/artists/K19565.html
    [3] http://www.medoidze.com/
    [4] http://mfaphoto.schoolofvisualarts.edu/?page_id=27
    [5] http://www.cunterview.net/index.php/Likovna-umjetnost/Lena-Kramaric.html
    [6] http://www.rolandberger.hr/office/initiatives/art_and_artists/Dino_Zrnec_en.html
    [7] http://www.guerrillagardening.org/
    [8] http://pulska.grupa.googlepages.com/


  • 10.04.2002. - 27.04.2002.

    Boris Cvjetanović, "City"

    After a longer period of during which he did not show his works, Boris Cvjetanović presents his new series of photographs, which brings two novelties in comparison to his earlier works: colour photography and digital photography. However, the theme of the exhibition is a kind of continuation of Cvjetanović’s photographic work as known from the beginning of the 80s up to today. Namely, the exhibition deals with the social aspect of contemporary life, with derelict city areas captured in the city’s centre and its vicinity, with bizarre scenes of the metropolis and with the public setting that we pass by every day, ignoring its meaning.  While Cvjetanović captured the social environment interacting with people in his previous series, here he completely excluded the human figure from the scene, focusing exclusively on the city itself. Cvjetanović’s City is on the one hand a document of a time, evidence of the breakdown of a certain communal model in managing an urban community, and on the other, a photographic document which points to the multiplicity, contradictoriness or hetorogenity of the phenomena such as the city.

    ­Boris Cvjetanović (1953) is one of Croatia’s most famous art photographers. He graduated from Zagreb’s Academy of Fine Arts in 1976. From 1981 he published photographs in the Student newspapers, where he was the editor of photography in 1987 and 1988. He exhibited in Croatia and abroad. He represented Croatia at the 50th Venice Biennale of contemporary art.