[img[Resources..tif | images/Resources.tif.jpg]]\n\nPredstavivši 19 mladih umjetnika sa splitske i zagrebačke umjetničke akademije, izložba je nastojala pokazati odnos između novih medija, umjetničke edukacije i mladih umjetnika u Hrvatskoj. Budući da su tehnološke inovacije postale svakodnevno dostupne i budući da je informatička kultura kompjutora i Interneta korjenito promijenila svakodnevni život, izložba je pokušala prikazati na koji način se te brze promjene odvijaju na području umjetnosti. Kustosi izložbe Željka Himbele i Klaudio Štefančić odlučili su se za mlade umjetnike, koji su poslovično otvoreniji prema novim umjetničkim paradigmama. Na izložbi najveći dio zastupljenih radova pripada mediju video-umjetnosti, pa se može zaključiti kako implementacija kompjutorske tehnologije i kulture interneta tek predstoji hrvatskom umjetničkom školstvu. Izlagali su: Maris Cilić, Goran Čaće, Zrinka Budimlija, Mile Modić, Vanja Činić, Matija Debeljuh, Jelena Nazor, Marija Prusina, Dunja Sablić, Jelena Bračun, Gorna Škofić, Ana Hušman, Maja Rožman, Karmen Dugeč, Lala Raščić, Mario Mišković, Bruno Razum, Ana Šerić, Galeb Vekić i Ivana Runjić.\nIzložbu su podržali: Grad Velika Gorica, Ministarstvo kulture RH, Veleposlanstvo Kraljevine Nizozemske i Filip Trade d.o.o.

[img[deviceart..jpg | images/deviceart.jpg]]\n\nOva prva međunarodna izložba ovoga tipa realizirana je u suradnji s kustoskim timom "Kontejner" iz Zagreba i predstavlja nastavak umjetničkih i kulturnih aktivnosti posvećenih uspostavljanju dijaloga između čovjeka i stroja, umjetnosti i tehnologije, koji je polovicom 20. stoljeća zagrebačku umjetničku sredinu upisao u kalendar relevantnih europskih umjetničkih događanja (Nove tendencije). Nastupilo je 13 umjetnika iz Slovenije, Hrvatske i Italije: Vedran Relja (Zaprešićka zajednica tehničke kulture), Tomislav Brajnović, Vuk Ćosić, Davide Grassi, Lina Kovačević, Dubravko Kuhta a.k.a Tesla, Ivan Marušić Klif, Tomaž Pipp, Borut Savski, Sašo Sedlaček, Berislav Šimičić. Marijan Vejvoda, Silvio Vujičić, Nenad Vukušić Sebastijan, Branko Zupan.\nIzloženi radovi podjednako problematiziraju tradicionalne, analogne i nove, digitalne strojeve na različitim razinama interakcije: od flipera kao stare mehaničke igre u Grassijevom radu povezane s problemom sufinanciranja umjetnosti, do video-igre u radu Saše Sedlačeka, koja je dizajnirana kao digitalni, virtualni okoliš, nadređen svim ostalim oblicima realne i virtualne pojavnosti. Svi radovi prikazani na izložbi su interaktivni, bez obzira proizvodite li zvuk, sliku ili kretanje u stvarnom ili virtualnom vremenu i prostoru. \nKustosice izložbe: Sunčica Ostoić (Zagreb), Olga Majcen (Zagreb) i Sandra Sajovič (Ljubljana).\nIzložbu su podržali: Ministarstvo kulture RH, Ured za kulturu grada Zagreba, Grad Velika Gorica i Ministarstvo kulture Republike Slovenije.

[img[identity sharing interface..tif | images/identity sharing interface.tif.jpg]]\n\nVođena od strane tzv. Predstavnice Internet stranice www.mouchette.org , ova kratka radionica za mlade umjetnike pokušala je pokazati što i kako se zbiva iza stranice posvećene djevojčici pod imenom Mouchette, a koja je na svoj 13. rođendan putem interneta najavila samoubojstvo. Ispitujući promjene koje nam u koncepciju identiteta unosi medij interneta, predstavnica ove stranice izložila je povijest i način rada na ovom jedinstvenom umjetničkom projektu, koji je po ocjeni kritike jedan od značajnijih na području Internet umjetnosti 90-ih.

[img[arteducation,simpozij..tif | images/arteducation,simpozij.tif.jpg]]\n\nOva dvodnevna konferencija imala je za cilj da na jednom mjestu okupi umjetnike i profesore s umjetničkih akademija Srednje i Istočne Europe, da prezentira djelovanje njihovih akademija i fakulteta na području primjene novih medija u umjetnosti, te potakne razmjenu iskustava među profesorima, umjetnicima i studentima. Kao izlagači sudjelovali su: Zoltan Szegedy Maszak ( Odsjek multimedijalne umjetnosti na Akademiji likovnih umjetnosti u Budimpešti; C3 - Centar za kulturu i komunikacije, Budimpešta), Michael Bielicky (Odsjek za nove medije na Akademiji likovnih umjetnosti u Pragu), Gisela Domschke (Odsjek kulturalnih studija na Goldsmiths College u Londonu), Ivan Ladislav Galeta ( Odsjek medijske umjetnosti na Akademiji likovnih umjetnosti u Zagrebu), Dejan Grba ( Interdisciplinarni poslijediplomski studij na Univerzitetu umjetnosti u Beogradu), Dan Oki (Odsjek za dizajn vizualnih komunikacija Umjetničke akademije u Splitu), Hermen Maat (Odsjek za medijsku umjetnost, Umjetnička akademija Minerva u Groningenu), Izabella Gustowska ( Umjetnička akademija u Poznanju, Poljska) i Predstavnica Internet stranice mouchette.org. Moderator konferencije bio je Dan Oki (Slobodan Jokić), umjetnik i profesor Umjetnosti novih medija na Umjetničkoj akademiji u Splitu.\nKonferenciju podržali: Grad Velika Gorica, Ministarstvo kulture RH, Veleposlanstvo Kraljevine Nizozemske i Filip Trade d.o.o.

''Ratko Petrić, "Teatar birokracije II"'', 17.12.1981. - 09.01.1982.\n''Eugen Kokot'',11.11. - 30.11.1981.\n''Mojmir Mihatov'', 22.09. - 14.10.1981.\n''Likovna grupa 10. Lipanj'', 08.06. - 29.06.1981.\n''Nives Kavurić Kurtović, "Vlastita suprostavljanja"'', 12.05. - 04.06.1981.\n''Ante Jakšić'', 14.04. - 05.06.1981.\n''Daniel Butala'', 13.02. - 13.03.1981.\n''Ivan Lovrenčić, "Ciklus Balade Petrice Kerempuha"'', 20.01. - 06.02.1981.\n''Ivica Šiško, "Zapisi nove prirode"'', 26.11.- 31.12.1980.

''Miroslav Šutej, Mladenka iz Markuševca'', 09.12.1982. - 05.01.1983.\n''Zlatko Čular'', 09.11. - 03.12.1982.\n''Marijana Muljević'', 28.09. - 22.10.1982.\n''Godišnja izložbe likovne grupe 10. Lipanj'', 08.06. - 19.06.1982.\n''Zlatko Kauzlarić Atač, Od crteža do scene'', 13.05. - 04.06.1982.\n''Antov, Felker, Mitić, Stamenk'', 15.04. - 08.05.1982.\n''Milenko Bosanac-~Minja, Dnevnik buđenja'', 17.03. - 05.04.1982.\n''Slavko Peršić'', 11.02. - 04.03.1982.\n''Zlatko Keser'', 19.01. - 08.02.1982.

''Milena Lah, "Mjesečevi stupovi"'', 17.11. - 13.12.1983.\n''Rudi Labaš'', 20.10. - 12.11.1983.\n''Antun Boris Švaljek'', 15.09. - 10.10.1983.\n''Likovna grupa 10. Lipnja, "Likovno stvaralaštvo općine Velika Gorica"'', 21.06. - 20.07.1983.\n''"Grafički trenutak SR Slovenije"'', 26.04. - 23.05.1983.\n''Mirna Krešić'', 24.03. - 14.04.1983.\n''Marija Braut, "Fotografije (1967. - 1983.)"'', 01.03. - 21.03.1983.\n''Mira Kraljević Donassy, "Slike icrteži (1940. - 1967.)" '', 27.01.- 19.02.1983.

''Zlatko Slevec'', 20.11. - 12.12.1984.\n''Istvan Szajko'', 16.10. - 08.11.1984.\n''"Likovna grupa 10. Lipanj"'', lipanj 1984.\n''Velizar Krstić'', 12. 04. - 05.05.1984.\n''Nusret Salihamidžić'', 20.03. - 09.04.1984.\n''Jadranka Fatur'', 16.02. - 09.03.1984.\n''"Švedska grafika"'', 24.01. - 11.02.1984.

''Zlatan Vrkljan'', 12.11. - 08.12.1985.\n''Vatroslav Kuliš'', 17.09. - 12.10.1985.\n''"Amatersko likovno stavaralaštvo bratskih općina"'', 07.06 - 29.06.1985.\n''Edo Murtić, "Drugo sunce"'', 14.05. - 05.06.1985.\n''Matko Mijić, "Čekanje"'', 16.04. - 08.05.1985.\n''"Problem kontinuiteta"'', 21.03. - 12.04.1985.\n''Branka Uzur'', 19.02. - 12.03.1985.\n''Ferdinand Kulmer'', 17.01. - 09.02.1985.

''Božidar Kopić, "Bosutski dnevnik III"'', 21.10. - 12.11.1986.\n''"Pitoma riječ divljine"'', 23.09. - 15.10.1986.\n''Društvo karikaturista Hrvatske'', 26.06. - 10.07.1986.\n''"Likovno stvaralaštvo bratskih općina"'', 06.06. - 21.06.1986.\n''Ivan Lesiak'', 15.04. - 10.05.1986.\n''Slobodan Vuličević'', 06.03. - 29-.03.1986.\n''Stanko Posavec, "Dame i ratnici"'', 30.01. - 22.02.1986.

''Dragan Drobnjak'', 10.11. - 05.12.1987.\n''Goranka Vrus Murtić'', 24.09. - 16.10.1987.\n''Izložba karikatura, "Sport i mladi"'', 07.07. - 27.07.1987.\n''"Likovno stvaralaštvo zbratimljenih općina"'', 09.06. - 27.06.1987.\n''Milan Vučić, "Prostorno-slikarski projekt"'', 12.04. - 08.05.1987.\n''Željko Lapuh'', 05.03. - 28.03.1987.\n''Vladimir Blažanović'', 03.02. - 25.02.1987.\n

''Zoran Vuković'', 10.11. - 03.12.1988.\n''Đuro Seder'', 20.09. - 15.10.1988.\n''"Međunarodna izložba karikatura"'', 08.07. - 22.07.1988.\n''"Likovno stvaralaštvo zbratimljenih općina"'', 09.06. - 28.06.1988.\n''"Odijelo-otvoreno djelo"'', 13.05. - 24.05.1988.\n''Bane Milenković i Goran Štimac'', 14.04. - 10.05.1988.\n''Slavko Peršić, "Slika prave prirode"'', 10.03. - 02.04.1988.\n''Mladen Mržljaković, "Otok"'', 04.02. - 29.02.1988.\n

''Društvo karikaturista Hrvatske'', 24.10 - 04.11.1989.\n''Boris Dogan'', 26.09. - 20.10.1989.\n''"Nagradna izložba smotre bingula-akvareli"'', 09.06. - 30.06.1989.\n''Bojan Stranić'', 11.05. - 06.06.1989.\n''Stipe Golac, "Kameni cvjetovi"'', 07.03. - 31.03.1989.\n''Ljerka Kallay'', 02.02. - 25.02.1989.\n

''"Generacijski povratak figuraciji"'', 08.11. - 05.12.1990.\n''Dubravko Adamović, "Zeleni oblak"'', 25.09. - 18.10.1990.\n''"Rani crteži"'', 05.06. - 30.06.1990.\n''Mile Skračić'', 19.04. - 16.05.1990.\n''Alem Biočić'', 15.03. - 07.04.1990.\n''Anton Vrlić'', 06.02. - 02.03.1990.\n

''Srečko Puntarić, "91.primirje"'', 28.11. - 10.12.1991.\n''Boris Bučan'', 22.10. - 15.11.1991.\n''Nenad Vorih'', 13.06. - 08.07.1991.\n''Retro-pop'', 14.05. - 07.06.1991.\n''Ljerka Njerš'', 09.04. - 04.05.1991.\n''Davorin Radić'', 05.03. - 29.03.1991.\n''Zoltan Novak'', 05.02. - 28.02.1991.\n

''Munir Vejzović'', 24.11. - 10.12.1992.\n''Žarko Šimat'', 24.09. - 17.10.1992.\n''Zorislav Drempetić Hrčić'', 16.06. - 08.07.1992.\n''Mirjana Mlinarić'', 28.04. - 22.05.1992.\n''Damir Fabijanić, "Plodovi zla"'', 02.04. - 21.04.1992.\n''"Pokuplje brani Zagreb" '', 07.03. - 14.03.1992.\n''Zlatko Prica'', 11.02. - 05.03.1992.\n

''Bojan Šumonja'', 21.12. 93.- 15.01.1994.\n''"Humanitarna izložba"'', 13.12.- 17.12.1993.\n''Marcela Munger, "Polja"'', 28.09. - 21.10.1993.\n''Josip Diminić'', 06.06.- 03.07.1993.\n''Proširena slika'', 20.04. - 18.05.1993.\n''Mato Mihinica'', 11.02. - 06.03.1993.\n''Hrvatsko društvo karikaturista, "Vlast"'', 15.01. - 30.01.1993.\n

''Jasenka Leontić'', 08.12. - 31.12.1994.\n''Sunčanica Tuk'', 08.11. - 02.12.1994.\n''Inka Mijić'', 27.09. - 21.10.1994.\n''Izložba karikaturista, "Velika Gorica i mali Zagreb"'', 07.07. - 30.07.1994.\n''Nataša Cetinić'', 12.05. - 04.06.1994.\n''Robert Šimrak, "Fragile"'', 05.04. - 26.04.1994.\n''Željko Mucko'', 22.02. - 17.03.1994.\n

''Mirjana Karolina Koren'', 03.11. - 18.11.1995.\n''Hrvatsko društvo karikaturista, "Leti, leti, leti"'', 17.07. - 14.09.1995.\n'' "Lipanjski likovni susreti"'', 27.06. - 15.07.1995.\n''Dragutin Trumbetaš, "Ljudsko smetlište/život kao zmija"'', 23.05. - 17.06.1995.\n''"Putovanje za Kitheru"'', 26.04. - 18.05.1995.\n''Zvjezdana Jembrih, "Staze rombova"'', 16.03. - 06.04.1995.\n''Slavko Peršić (posthumno), "Tragom svjetlosti"'', 16.02. - 09.03.1995.\n

''Katarina Parađ Vojković'', 29.11. - 28.12.1996.\n''Klas Grdić i Bruno Paladin'', 29.10. - 22.11.1996.\n''Duje Jurić'', 27.09. - 19.10.1996.\n''"Lipanjski likovni susreti"'', 28.06. - 20.07.1996.\n''Petar Barišić'', 12.05. - 15.06.1996.\n''"Izbor djela iz fundusa Galerije Galženica, 15 godina Galerije Galženica"'', 02.04. - 30.04.1996.\n''"Igre i strukture"'', 14.02. - 08.03.1996.\n

''Boris Demur, "Spiralna energija za (auto)meditaciju"'', 04.12. - 31.12.1997.\n''Dražen Trogrlić, "Gradovi"'', 28.10. - 28.11.1997.\n''Lovro Artuković, "Povratak prirodi"'', 25.09. - 18.10.1997.\n''Mate Lovrić, "Vode"'', 17.06. - 12.07.1997.\n''Dragica Antolović, "Slike-reljefi"'', 16.05. - 07.05.1997.\n''Dubravka Lošić, "Kalamota"'', 17.04.- 10.05.1997.\n''Nikola Koydl'', 19.03. - 12.04.1997.\n''Josip Jerković'', 14.02. - 08.03.1997.\n

''"Istina u slikarstvu"'', 08.12.98.- 08.01.1999.\n''Nevenka Arbanas'', 29.10. - 21.11.1998.\n''Dalibor Jelavić, "The space theatre"'', 29.09. 23.10.1998.\n''Mara Fabijančić Borović i Boris Borović'', 30.06.- 24.07.1998.\n''Matko Vekić, "Vizure"'', 02.06. - 27. 06.1998.\n''Ljubomir Perčinlić, "Slike iz ciklusa Mala polja"'', 28.04. - 23.05.1998.\n''Vesna Pavlaković, "Pritisci"'', 26.03. - 18.04.1998.\n''Nina Horvat'', 05.02. - 28.02.1998.\n

''Jasenka Bulj, "Kretanje energije"'', 26.10. - 16.11.1999.\n''"Prostor ravnodušnosti"'', 07.12. - 12.05.1999.\n''Ivana Franke, "Površina"'', 10.07. - 18.09. 1999.\n''Ante Žaja, "Zlatno(tele)vizija"'', 27.04. - 22.05.1999.\n''Zlatko Modrić, "Unutrašnji prostor"'', 16. 03. - 10.04.1999.\n''Nika Radić, "Konstrukcije"'', 04.02. - 27.02.1999.\n

''Jelena Perić i Anto Jerković, "Projekt 2000."'', 19.12.2000. -06. 01. 2001.\n''Goran Štimac, "Lindin svijet"'', 10.11. - 02.12. 2000.\n''Igor Rončević, "Nite libe nit sod"'', 05.10. 28.10. 2000.\n''Ana Kadoić'', 26.06. - 16.09. 2000.\n''Tomislav Buntak'', 18.05. - 10. 06. 2000.\n''Mirjana Vodopija, "Crteži žarnom niti"'', 12.04. - 06.05. 2000.\n''"Dekorativno i konstruktivno"'', 16.02. - 10.03. 2000.\n

''Predrag Lešić '', 11.12. - 31. 12. 2001.\n''Robert Mijalić'', 14.11. - 02.12. 2001.\n''Danko Friščić i Denis Krašković'', 19.10. - 31.10. 2001.\n''Dragutin Trumbetaš, "Tuš istine"'', 28.06. - 21. 07. 2001.\n''Srodnosti različitog'', 24.04. - 19.05. 2001.\n''Mauro Stipanov, "Jabuke"'', 08.03. - 31.03. 2001.\n''Daniela Ratkajec Pedišić'', 01.02. - 24.02. 2001.\n

[[Roberta Vilić, 27.11. - 30.12. 2002.]]\n[[Ivan Kožarić, "Širina", 28.10. - 16.11. 2002.]]\n[[Saša Martinović Kunović, 25.09. - 12.10.2002.]]\n[[Tanja Dabo, Ivana Franke, Jasna Šikanja, Mirjana Vodopija, "Qua forma placebit, ili kako vam drago", 17.05. - 01.06. 2002.]]\n[[Boris Cvjetanović, "Grad", 10.04. - 27.04. 2002.]]\n[[Studenti iz klase Miroslava Šuteja, "ALU Jabukovac 10", 06.03. - 24.03. 2002.]]

[[Iva Patarčec, 19.02. - 08.03.2003.]]\n[[Daniel Kovač, 26.03. - 12.04.2003.]]\n[[Paulina Jazvić i Sandra Juranić, 23.04. - 14.05.2003.]]\n[[Željko Stojanović, 28.05. - 14.06.2003.]]\n[[Andrea Robić, "Ah!", 27.06. - 19.07.2003.]]\n[["Radionica: Identity Sharing Interface", 6.10. - 7.10. 2003]]\n[["Simpozij: Nove tehnologije - novi mediji u umjetnosti i umjetničkoj edukaciji", 4.10. - 5.10. 2003.]]\n[["(Re:)sources: Novi mediji i mladi hrvatski umjetnici", 03.10. - 25.10.2003.]]\n[[Sonja Briski Uzelac, "Prozor-prizor", 12.11. - 29.11.2003.]]\n[[Ana Katičić, 17.12.03. - 10.01.04.]]

[[Vitold Košir, 28.01. - 15.02.2004.]]\n[[Davor Krelja, "Lijepe manire", 27.02. - 19.03.2004.]]\n[[Filip Quien, 31.03. - 18.04.2004.]]\n[[Viktor Popović, 30.04. - 16.05.2004.]]\n[[Damil Kalogjera, 27.04. - 13.06.2004.]]\n[[Monika Bagarić, Zlatko Odrčić, Ariela Skazlić, 23.06. - 18.07.2004.]]\n[["Device Art", 19.09.-07.10.2004.]]\n[[Branko Lepen, "Krovovi", 22.10. - 07.11.2004.]]\n[[Ksenija Turčić, "Pušenje", 08.12. - 23.12.2004.]]\n

[[Gordana Bakić, "Prijenos značajnog signala", 02.02. - 20.02.2005.]]\n[[Ines Matijević, "Eva i Adam", 02.03. - 20.03.2005.]]\n[[Ivana Pegan Baće, 13.04. - 30.04.2005.]]\n[[Sandra Sterle, "Integracije/tko je za igru?", 18.05. - 12.06.2005.]]\n[[Jagor Bučan, "Afiniteti", 05.10. - 23.10.2005.]]\n[[Mate Lovrić, "Animirani film, strip, ilustracije,oblikovanje 1975-2005.", 03.11. - 27.11.2005.]]\n[[Zlatan Dumanić, "Radikalna desublimacija", 17.12. - 30.12.2005.]]

[[Sanja Iveković, Radovi na cesti /"Road Works", 15.11. - 10.12. 2006.]]\n[[Obavijest 2]]\n[[Device Art, 26.09. - 08.10. 2006.]]\n[[Obavijest]]\n[[Pozdrav!]]\n[[Danijel Šokec, 06.07. - 30.07. 2006.]]\n[[Nagrada Radoslav Putar, "Finale 2006!", Tina Gverović, Mejra Mujičić, Damir Očko, Lala Raščić, 01.06. - 25.06. 2006.]]\n[[Oliver Dorfer, Herbert Egger, Anton S.Kehrer, Beate Rathmayr, "Light_Story_Space_Body" , 26.4. - 21.5. 2006.]]\n[[Željko Kipke, "U snovima je zapisano sve", 27.3. - 16.4. 2006.]]\n[[Mario Mišković, "Mrtva priroda", 28.2. - 19.3. 2006.]]\n[[Ivan Fijolić, 25.1. - 19.2. 2006.]]\n

[[Ana Hušman, "According to etiquette", 28.11. - 23.12. 2007]]\n[[KiberDzezva, blog]]\n[[Kristina Lenard, "Photosynthesis", 31.10. - 18.11. 2007.]]\n[[Gordana Pogledić Jančetić, "Digital Collage", 27.09. - 21.10. 2007.]]\n[[Light, announcement]]\n[[Radoslav Putar Award - Final 2007, 5 June - 1 July 2007]]\n[[Mare Milin, " A side, B side ", 9 May - 31 May 2007]]\n[[Zlatan Vehabović, " North ", 17 April - 6 May 2007]]\n[[Marko Tadić, "Storyboards", 14. 3. - 8.4. 2007.]]\n[[Igor Kuduz, "Portraits", 1. 2. - 25. 2. 2007.]]

[[Sandro Đukić, "arch_001_089_output / 2008", 3.12. - 24.12. 2008.]]\n[[Dan Oki, "The Last Super 8 mm Film", 29.10. - 23.11.]]\n[[db:ae - aesthetics of data basis, 22.9. - 12.10. 2008.]]\n[[Acknowledgments and Credits]]\n[[Radoslav Putar Award - Final 2008!, 10.6. - 6.7. 2008.]]\n[[New Media - New Networks, 9.5. - 1.6. 2008.]]\n[[Kiberdžezva, 2.4. - 27.4. 2008.]]\n[[Ivan Marušić Klif, "Telephoning", 20.2 - 23.3. 2008.]]

Type the text for 'New Tiddler'

[img[web_o_nama..jpg | images/web_o_nama.jpg]]\n\nThe Galženica Gallery is a non-profitable gallery that functions within the wide range of activities of the Longlife Learning Center Velika Gorica. It was founded in 1980 and has followed, promoted and produced the contemporary art ever since: at first as one of the Zagreb's contemporary art galleries until the town of Velika Gorica became independent of Zagreb.\n\nThe art historian Radovan Vuković ran the gallery in the period 1980-2001. In 2001, he was succeeded by Klaudio Štefančić who graduated in Comparative Literature and Art History from the Faculty of Philosophy, University of Zagreb, in 1995. He had been a curator at the Town Museum Sisak and at the Klovićevi dvori Gallery in Zagreb. He has written many essays on the visual art and literature theory and criticism that have been published in some of the most prominent contemporary visual arts and literature magazines such as “Život umjetnosti”, “Kontura”, “Zarez”, “Umjetnost riječi” as well as broadcasted on the second channel of Croatian Radio. Moreover, he is the author of the sculptor Daniel Kovač's monograph entitled “Assembly of Organism”, published by Fraktura in 2005.\n\nThe gallery programme is conceived of following, encouraging and producing those art manifestations that stem from the analysis of the means and goals of the art production as well as the analysis of society and culture where art is being produced. Due to the drastic changes that the Croatian society has undergone over the past fifteen years, the programme has become more focused on initiating and promoting those art and cultural practices that, in the society characterised by consumerism and redistribution of political, economic and cultural powers, deal with the changes in the current “Croatian”, “transitional”, “global”, “media”, “technical”, “social”, “cultural”…multi-faceted reality.\nThe Gallery Council participates in the process of creating the programme. It consists of the following members: Marina Viculin, the senior curator at the Klovićevi dvori Gallery, Nika Radić, the artist, Guido Quien, the senior curator at the Ivan Meštrović Gallery, Mira Gattin, the senior curator at the Museum of Modern Art in Zagreb and Mladen Mikulin, the sculptor and associate professor at the Academy of Fine Arts in Rijeka.

\nMarketing experts claim there is no better promotion than self-promotion; doctors say prevention is better than cure while Christians believe that self-help comes before anyone else’s help, including God’s help.\n\nTherefore, we would like to share some good news with you hoping it may help us in the future.\n\nIt is our great honour to proudly inform you that the exhibition //New Media – New Networks// has been pronounced the best exhibition of the month June on the Croatian Design Association web site (http://dizajn.hr; curator Klaudio Štefančić; designers Nina Bačun and Roberta Bratović).\n\nFurthermore, the same exhibition was reviewed by the prestigious web site Rhizome.org, dedicated to the media art and culture (http://rhizome.org/editorial/fp/blog.php/757).\n\nWe are looking forward to seeing you again in September. \n\nEnjoy your holidays!

[img[husman..jpg | images/husman.jpg]]\n\n\nThe exhibition called ''According to etiquette'' is a video installation consisted \nof three loop projections, animation and a scenography taken from the "According to etiquette" movie.\n\n//To think about manners, is generally to remember all the embarrassing situations when one didn’t know what to do with a strange shaped utensil, when a certain proliferation of crockery and utensils, left one bemused, when the variety of shapes of glass vessels was baffling .. \n\nStill what I remember most, is the etiquette passed down to me in the seventies, when as I child I would listen to my mother and her circle of, for those times, free thinking friends, bemoan the lack of style in the visiting American girl’s choice of denim jacket and long evening dress “I offered to lend her a shawl”, I heard them say, but she declined, “No”, she said “ I have my jean jacket”. In the style of true Europeans, the American was put down for her lack of hippy chic, and her genuine belief that casual was acceptable. For some reason the image of this American girl in her evening dress and jean jacket standing in my mind next to my mother who in my imagination is wearing a velvet evening dress with a psychedelic patterned full length sleeveless coat.\n\nWhere do manners live? Where civilisation reigns. \nWhere does civilisation reign? In Europe.\nWho is uncivilised? Everyone else.\nWhat do they need? Civilisation.\nWho will bring it to them? We will.\nWho are we?\n\nWe find in Norbert Elias’ "Civilising Process" a genealogy of manners as they developed from the middle ages onwards. According to Elias, the slow changes occurring in the notions of shame and delicacy change in relation to the changes happening in the social structure of the time, so as the number of small castles and lords and courts slowly diminish, as the push towards integration of small feudal units towards larger pacified social organisations developed, so too does the gradual unification of manners occur. In Elias we see a surprising and delightful coming together of the gradual formation of a state as a ‘monopoly of force’ and the internalisation of accepted modes of behaviour within a social organisation that is increasingly centralised (...).// (Nicole Hewitt, preface)\n\n\n''Ana Hušman'' is born in Zagreb. Graduated in 2002 at the Multimedia Department and educational course of the Academy of Fine Arts in Zagreb. She has exhibited at a number of solo and collective exhibitions and taken part in film and video festivals at home and abroad. She has won a number of prizes (Visura aperta/Momiano, Momjan, 2003 and 2004; 2 Gastro film fest, Belgrade 2003; Osijek 2004; 15.Dani hrvatskog filma, Zagreb 2006; 28th Youth Salon 2006, Zagreb) She is assistent on the Academy of Fine Arts, Animated film department, Zagreb.\n\nLinks:\n(1) http://www.urbanfestival.hr/05/hr/projekti/husman.html\n(2) http://www.artenativa.hr/anahusmanlalarascic.htm\n

[img[katicic..jpg | images/katicic.jpg]]\n\nAna Katičić Barbić jedna je od mladih slikarica, koja je u svijet umjetnosti ušla kao slikarica školovana na zagrebačkoj Akademiji likovnih umjetnosti u klasi profesora Igora Rončevića. Ovo joj je druga samostalna izložba. U svom radu pokazuje sličnost s mlađim kolegama i kolegicama, koji su krajem 90-ih i početkom novog stoljeća započeli s promjenom umjetničke i slikarske paradigme. U osnovi, riječ je o promjeni, do tada u hrvatskoj umjetnosti, dominantne paradigme neo-ekspresionističkog, odnosno geometrijskog slikarstva, i primjeni određenih slikarskih metoda, koje uključuju okretanje prema svijetu svakodnevnice, u onom smislu u kojem o njemu možemo govoriti kao o svakodnevnoj, gotovo ritualnoj kulturnoj praksi (periodična ljetovanja, noćni izlasci, kultura fotografiranja i sl.). Shodno tome, sadržaji slika Ane Katičić Barbić preuzeti su iz osobnog fotografskog albuma, iz kulture dokolice (kafići, disko-klubovi) ili iz masovnih medija.

[img[A_Robic..tif | images/A_Robic.tif.jpg]]\n\nMlada velikogorička slikarica Andrea Robić predstavila se slikama čije se slikarsko polje sa samostalnih štafelajnih slika širi na zidove galerije. Oslikavajući galerijske zidove slijedila je slikovnu strukturu izložene štafelajne slike i tako realizirala osobeni "site specific" rad. Ili kako u predgovoru kataloga ističe Vladimir Gudac: " U ovom slučaju, riječ je o umjetnici koja svojim kolorističkim poljima mekanih snova rasprostire znak "ukočene geste", koji opet želi, pa to i čini, izaći iz polja platna, ukazujući na širinu imaginativnih polja snova, takorekuć sugerirajući činjenicu neizrecivog pomoću jake, čvrste kolorističke jezgre i bolnog loma široke crte (ili više njih) koja bi htjela van, u protor izvan slike i slikarstva, prije svega prema nama, publici-promatračima." Andrea Robić diplomirala je na Akademiji likovnih umjetnosti 1998. godine i ovo joj je četvrta samostalna izložba.

[[Interzone]]\n[[Art, Technology, Media]]\n[[Visual image – a genre or the politics of representation]]

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[img[najava..jpg | images/najava.jpg]]\n\n\nThe 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. \n\nOne of the activities in this area is starting a collaborative blog (http://kiberdzezva.blogspot.com). The participants are art history, animation and new media students from Zagreb, Croatia. The blog will be a part of the exhibition due to be opened in April but also an attempt, through the process of exhibition organization, to inform the public with the latest issues, tendencies and phenomena in this field. The aim is to use re-blogging for making the public discuss about the latest phenomena on the Internet i.e. World Wide Web. In other words, the goal is to create the discourse area so that the fast technological and cultural changes can be interpreted more efficiently.\n\nThe season will be opened in February with ''the exhibition of Ivan Marušić Klif''. The artist will be working with the public databases, the telephone book of Republic Croatia, and Skype web servis. His artworks feature two aspects of new media art: the use of contemporary electronic and digital technology in the art world context and a research of relationship between a human being and his/her technological environment. In the space of an art exhibition the both aspect are usually indistinguishable: visitor/ observer enters the enclosed, technologically created environment, changes its parameters and leaving more less visible traces of his/ her presence, walks out. This time, visitors will be allowed to choose between the positions of a voyeur or a participant. \n\nApril is reserved for ''the group exhibition related to the Kiberdzezva project''. Students of Zagreb Animation and New Media Department, in cooperation with Vjekica Buljan, Morana Matković and Petra Šešljaga, will curate the exhibition with the purpose to elicit those artists and artworks that focus on the network and the organization of databases. Two blogs will accompany the exhibition: the above-mentioned Kibedzezva blog and the blog of young artist Dina Rončević entitled //Tebe uopće ne treba zanimat kaj je to Bobina/ What do you care what “bobina” is//. <http://cetverokatni.blogspot.com>\n\nJune is the month of a ''small retrospective exhibition dedicated to the new media art in Croatia'', first of that kind. The exhibition is a result of research conducted by gallery's director Klaudio Štefančić for the publication about the Croatian post-World War 2 art. In the research, art and culture of new media have been interpreted with the help of the two new-media objects: computer as a multimedia machine and the Internet i.e. network communication. Since the implementation of the Internet happened in the early 1990's, the earliest works taken in consideration were created parallely with the beginning of the patriotic war, the independence of Republic of Croatia and the birth of democratic society. Such an interpretational framework enabled the understanding of new media in the wider context: far from limiting itself to museums and galleries, it includes all the cultural as well as political activities that have aim to popularize and implement the new technologies into society. \n\nJune is the month of ''the exhibition of Radoslav Putar Award's finalists''. All information can be found on the Award web site <http://www.nagradaputar.scca.hr/hr/home.html>\n\nThe exhibition planned for September has a ''working title //Database Aesthetics//''. The group international exhibition will be organized in cooperation with a freelance curator Željko Blaće and with a support of sponsors, Austria Culture Forum and The Netherlands Embassy from Zagreb, Croatia. The four artists will be presented. Mishael Aschauer is an Austrian artist, a hacker and an open source developer who won two awards at the prestigious Linz media festival Ars Electronica; in his recent works, he has explored digital databases and the possibilities of their widest accessibility on the Internet. Derek Holzer and Sara Kolster from the Netherlands are new media artists, web designers and musicians. They are the founders of //Umatic// art group and they also produce their works based on the Internet. Their perhaps best-known work is Soundtransit <http://soundtransit.nl/>, which is a database of different sounds, created with the help of the Internet users. German artist Sebastian Lutgert is a theoretician and a media artist and promoter of copy left.\n\nIn October, we plan to open ''Dan Oki's exhibition //The last 8mm film//''. It is a multimedia ambient artwork, which deals with relations between the old forms of film shooting, film reproduction and new digital forms of making, editing and distributing the film content. \nA standard 8mm film tape, so-called //super eight//, is what the artist considers the old way of making and reproducing film content. For the exhibition, he will choose exactly 100 //super eight// rolls that he has shot over the past 20 years. The themes are mainly personal, almost diary-like in their nature: travelling and emigration to Paris, London, Italy, the Netherlands, the Adriatic islands, lunches, coffees, festivals, exhibition openings, leisure, friends, family, skiing, trains, cars, planes, boats, clouds, mountains and infinite number of other images. Dan Oki will digitalize the materials: first, he will digitalize and save on computer as a database 250 minutes of 8mm film materials and then he will subject database to algorithm that will result in making new films. The database of the new films will also be subject to algorithm and result in more films, etc.\n\nThe last exhibition of the season is due to be opened in November. It will present ''the work of Sandro Đukić'' who is also occupied with the possibilities of documenting the everyday life. He will try to link two ways of documenting. He earns for a living by leading a small firm that produces, edits and sends photographs to the interested companies, mainly marketing agencies, which use all kinds of images in their work (photographs, illustrations, videos…). At the same time, Đukić keeps taking photographs as an artist and a private person. That results in a certain number of images that create peculiar databases, different from those he uses to make a living. Space where these two databases, public and private, business and personal, overlap is a subject of the exhibition. \n\nSee you in the gallery!\n\n \n

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[img[B_Cvjetanovic..tif | images/B_Cvjetanovic.tif.jpg]]\n\nNakon dužeg perioda neizlaganja Boris Cvjetanović se u Galeriji Galženica predstavio novim ciklusom fotografija, koji u odnosu na njegov prethodni rad unosi dvije novosti: kolor fotografiju i digitalnu fotografiju. Tema izložbe, međutim, svojevrsni je nastavak Cvjetanovićevog fotografskog rada, kakvog poznajemo od početka 80-ih do danas. I na ovoj izložbi je, naime, riječ o određenom socijalnom aspektu suvremenog života, o zapuštenim gradskim prostorima snimljenim u samom užem ili širem centru grada, o bizarnim prizorima velegrada, o javnoj scenografiji, kraj koje svakodnevno prolazimo, ignorirajući njeno značenje. Dok je u prijašnjim ciklusima Cvjetanović snimao socijalni okoliš u interakciji s ljudima, u ovom ciklusu ljudsku figuru potpuno je isključio iz kadra, usredotočivši se isključivo na prizore grada. Cvjetanovićev Grad s jedne strane je dokument jednog vremena, dokaz o raspadu određenog komunalnog modela u upravljanju jednom urbanom zajednicom, a s druge, fotografski dokument, koji ukazuje na mnogostrukost, proturječnost ili heterogenost fenomena kakav je grad.\nBoris Cvjetanović (1953) jedan je od najpoznatijih hrvatskih umjetničkih fotografa. Na ALU u Zagrebu diplomirao je 1976. Od 1981. objavljuje fotografije u Studentskom listu, u kojem tijekom 1987. i 1988. godine i urednik fotografije. Izlagao je u zemlji i inozemstvu. Bio je predstavnik Hrvatske na 50. venecijanskom bijenalu suvremene umjetnosti.

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[img[lepen..jpg | images/lepen.jpg]]\n\nBranko Lepen (1957) se na umjetničkoj sceni započeo formirati krajem 70-ih i početkom 80-ih godina, no za razliku od transavangarde umjetničke prakse, koja je područje svoga djelovanja pronalazila i na ne-umjetničkom području (Irwin, NSK, NEP), Lepen se u svom kiparskom radu okrenuo kompleksnom i labilnom fenomenu postmoderne skulpture. Razlažući njezinu modernističku sintaksu, uvijek iznova uspostavljao je privremene cjeline, skulpturalne tekstove, potvrđujući njihovu ovisnost o dominantnim društvenim i kulturnim oblicima. U Galeriji Galženica postav triju gotovo identičnih, gigantskih skulptura, proširuje polje Lepenovog rada na ambijentalni aspekt kiparstva.\nBranko Lepen diplomirao je 1883. na Fakultetu građevinskih znanosti u Zagrebu. Skulpture mu se nalaze u zbirkama Muzeja suvremen umjetnosti u Zagrebu, u Muzeju moderne i suvremen umjetnosti u Rijeci, u Modernoj galeriji u Zagrebu, Gliptoteci HAZU i Zbirci Modriaanhuis u Amersfortu (Nizozemska). Izlaže od 1981. godine, a za svoj rad dobitnik je nekoliko nagrada od kojih treba izdvojiti Nagradu na 18. i 19. salonu mladih (1986., 1987.) i Nagradu 6. trijenala hrvatskog kiparstva 2000. godine. Autor je tri skulpture u javnom prostoru: u SRC Mladost u Zagrebu, u Gliptoteci HAZU i u dvorištu Graditeljske škole u Čakovcu.

The Galženica Gallery is in the possession of the sixty-eight Croatian modern and contemporary art works. The collection is registered at the ~Museum-Documentation Centre under the code mark 525: VGR (more on http://www.mdc.hr). The artworks were collected mostly during the two first decades of the gallery’s existence either 1) through the institution of state purchase of art works, by the means of the former departments of culture, and then through their distribution to the cultural centres or, 2) through the institution of gifts if artists gave their works to the cultural centres and galleries.\nHowever, we still do not have the appropriate space for the public exhibition of the collection so we decided to exhibit it on our web site:\n\n[[Josip Biffel, Krajolik s oblakom, 1979.|Josip Biffel, Krajolik s oblakom, 1979., platno / ulje, 65 x 80 cm, inv. br. gg-1]]\n[[Josip Biffel, Obala, 1979.|Josip Biffel, Obala, 1979., platno/ulje, 50 x 60 cm, inv. br. gg-2]]\n[[Vladimir Blažanović, Događaj na putu, 1986.|Vladimir Blažanović, Događaj na putu, 1986., platno/ulje, 104 x 30 cm, inv. br. gg-3]]\n[[Boris Bučan, Zagrebački simfoničari i zbor Radio-televizije Zagreb, 1989.|Boris Bučan, Zagrebački simfoničari i zbor Radio-televizije Zagreb, 1989., sitotisak na papiru, 200 x 210 cm, inv. br. gg-4]]\n[[Boris Bučan, Zagrebački simfoničari i zbor Hrvatske radio-televizije - Glazbeni doživljaji, 1990.|Boris Bučan, Zagrebački simfoničari i zbor Hrvatske radio-televizije - Glazbeni doživljaji, 1990., sitotisak na papiru, 210 x 200 cm, inv. br. gg-5]]\n[[Boris Bučan, Zagrebački simfoničari i zbor Hrvatske radio-televizije - Glazbeni doživljaji, 1991.|Boris Bučan, Zagrebački simfoničari i zbor Hrvatske radio-televizije - Glazbeni doživljaji, 1991., sitotisak na papiru, 210 x 200 cm, inv. br. gg-6]]\n[[Boris Bučan, Zagrebački simfoničari i zbor Hrvatske radio-televizije - Glazbeni doživljaji, 1991.|Boris Bučan, Zagrebački simfoničari i zbor Hrvatske radio-televizije - Glazbeni doživljaji, 1991., sitotisak na papiru, 210 x 200 cm, inv. br. gg-7]]\n[[Boris Bučan, 30 years of Amnesty International, 1991.|Boris Bučan, 30 years of Amnesty International, 1991., sitotisak na papiru, 210 x 200 cm, inv. br. gg-8]]\n[[Boris Bučan, Slovensko narodno gledališče Ljubljana, W.A. Mozart: A - deus, 1991.|Boris Bučan, Slovensko narodno gledališče Ljubljana, W.A. Mozart: A - deus, 1991., sitotisak na papiru, 210 x 200 cm, inv. br. gg-9]]\n[[Zlatko Čular, Gibanje u materiji, 1979.|Zlatko Čular, Gibanje u materiji, 1979., patinirani gips, 80 x 45 x 40 cm, inv. br. gg-10]]\n[[Jadranka Fatur, Sanderson's Lunch, 1983.|Jadranka Fatur, Sanderson's Lunch, 1983., platno/ulje, 78 x 100 cm, inv. br. gg-11]]\n[[Vinko Fišter, Imedijalno prisustvo krajolika IX, 1976.|Vinko Fišter, Imedijalno prisustvo krajolika IX, 1976., platno/ulje, 100 x 100 cm, inv. br. gg-12]]\n[[Vinko Fišter, Imedijalno prisustvo krajolika XV, 1976.|Vinko Fišter, Imedijalno prisustvo krajolika XV, 1976., platno/ulje, 100 x 100 cm, inv. br. gg-13]]\n[[Nives Kavurić Kurtović, Praznik bajka, 1968.|Nives Kavurić Kurtović, Praznik bajka, 1968. - 1972., kombinirana tehnika/drvo, 134 x 124 cm, inv. br. gg-14]]\n[[Nikola Koydl, Krajolik br. 4, 1975.|Nikola Koydl, Krajolik br. 4, 1975., platno/ulje, 83 x 132 cm, inv. br. gg-15]]\n[[Nikola Koydl, Nestajanje krajolika III, 1976-77.|Nikola Koydl, Nestajanje krajolika III, 1976-77., platno/ulje, 99 x 162 cm, inv. br. gg-16]]\n[[Eugen Kokot, Istarski krajolik, 1977.|Eugen Kokot, Istarski krajolik, 1977., platno/ulje, 135 x 155 cm, inv. br. gg-17]]\n[[Mira Kraljević Donassy, Ulcinj, 1953.|Mira Kraljević Donassy, Ulcinj, 1953., platno/ulje, 58 x 72 cm, inv. br. gg-18]]\n[[Ferdinand Kulmer, Ganimed i mala sirena, 1984.|Ferdinand Kulmer, Ganimed i mala sirena, 1984., platno/akrilik, 80 x 100 cm, inv. br. gg-19]]\n[[Vatroslav Kuliš, Vododjelnica vala, 1995.|Vatroslav Kuliš, Vododjelnica vala, 1995., platno/ulje, 140 x 146 cm, inv. br. gg-20]]\n[[Milena Lah, Kameni galeb, 1968.|Milena Lah, Kameni galeb, 1968., mramor, 55 x 25 cm, inv. br. gg-21]]\n[[Rudi Labaš, Tjelopis, 1983.|Rudi Labaš, Tjelopis, 1983., papir/tuš, akvarel, 40 x 60 cm, inv. br. gg-22]]\n[[Ivan Lesiak, Veslač, 1967.|Ivan Lesiak, Veslač, 1967. - 1978., iskucani lim, 60 x 120 cm, inv. br. gg-23]]\n[[Ivan Lesiak, Strijelac, 1962.|Ivan Lesiak, Strijelac, 1962. - 1967., papir/tuš, gvaš, 60 x 160 cm, inv. br. gg-24]]\n[[Valerije Michielli, Oblak nad kanalom, 1977.|Valerije Michielli, Oblak nad kanalom, 1977., platno/ulje, 93 x 48 cm, inv. br. gg-25]]\n[[Valerije Michielli, Jutro na sidrištu, 1978.|Valerije Michielli, Jutro na sidrištu, 1978., platno/ulje, 90 x 39 cm, inv. br. gg-26]]\n[[Mladen Mikulin, Figura I, 1986.|Mladen Mikulin, Figura I, 1986./87., lim, 90 cm, inv. br. gg-27]]\n[[Mladen Mikulin, Figura II, 1986.|Mladen Mikulin, Figura II, 1986./87., lim, 83 cm, inv. br. gg-28]]\n[[Bane Milenković, Glava, 1988.|Bane Milenković, Glava, 1988., rostfraj, 53 cm, inv. br. gg-29]]\n[[Marijana Muljević, Stepenice III, 1977.|Marijana Muljević, Stepenice III, 1977., platno/ulje, 100 x 122 cm, inv. br. gg-30]]\n[[Ljerka Njerš, Cvijeće, 1990.|Ljerka Njerš, Cvijeće, 1990., kamen/emajl, 35 x 35 cm, inv. br. gg-31]]\n[[Ljerka Njerš, Akt, 1990.|Ljerka Njerš, Akt, 1990., kamen/emajl, 35 x 35 cm, inv. br. gg-32]]\n[[Josip Pavlović, Kestenjar, 1978.|Josip Pavlović, Kestenjar, 1978., platno/ulje, 70 x 57 cm, inv. br. gg-33]]\n[[Josip Pavlović, Kandelabar, 1979.|Josip Pavlović, Kandelabar, 1979., platno/ulje, 55 x 59 cm, inv. br. gg-34]]\n[[Stanko Posavec, Tišina, 1987.|Stanko Posavec, Tišina, 1987., lesonit ploča/ulje, 180 x 135 cm, inv. br. gg-35]]\n[[Stanko Posavec, Dama, 1985.|Stanko Posavec, Dama, 1985., platno/ulje, 100 x 70 cm, inv. br. gg-36]]\n[[Stanko Posavec, Jeka, 1989.|Stanko Posavec, Jeka, 1989., lesonit ploča/enkaustika, 70 x 100 cm, inv. br. gg-37]]\n[[Slavko Peršić, Krajolik, 1983.|Slavko Peršić, Krajolik, 1983., platno/ulje, 50 x 61 cm, inv. br. gg-38]]\n[[Slavko Peršić, Progonitelj, 1987.|Slavko Peršić, Progonitelj, 1987., platno/ulje, 90 x 130 cm, inv. br. gg-39]]\n[[Slavko Peršić, Livade, 1976.|Slavko Peršić, Livade, 1976., platno/ulje, 65 x 83 cm, inv. br. gg-40]]\n[[Slavko Peršić, Krajolik sa strašilom, 1983.|Slavko Peršić, Krajolik sa strašilom, 1983., platno/ulje, 63 x 67 cm, inv. br. gg-41]]\n[[Slavko Peršić, U Kristovom okrilju, 1992.|Slavko Peršić, U Kristovom okrilju, 1992., papir/gvaš, 82 x 62 cm, inv. br. gg-42]]\n[[Slavko Peršić, Krist Kralj i kraljica, 1992.|Slavko Peršić, Krist Kralj i kraljica, 1992., papir/gvaš, 82 x 62 cm, inv. br. gg-43]]\n[[Zlatko Slevec, Nedjelja, 1965.|Zlatko Slevec, Nedjelja, 1965., litografija, 70 x 50 cm, inv. br. gg-44]]\n[[Bojan Stranić, Crveni, 1985.|Bojan Stranić, Crveni, 1985., platno/ulje, 130 x 130 cm, inv. br. gg-45]]\n[[Ljubomir Stahov, Kompozicija I, 1979.|Ljubomir Stahov, Kompozicija I, 1979., bakropis, 100 x 70 cm, inv. br. gg-46]]\n[[Ljubomir Stahov, Kompozicija II, 1979.|Ljubomir Stahov, Kompozicija II, 1979., bakropis, 100 x 70 cm, inv. br. gg-47]]\n[[Ivica Šiško, Klijanje, 1981.|Ivica Šiško, Klijanje, 1981., platno/akrilik, 130 x 90 cm, inv. br. gg-48]]\n[[Ivica Šiško, U prostoru, 1979.|Ivica Šiško, U prostoru, 1979., platno/akrilik, cjelina: v=0 cm, inv. br. gg-49]]\n[[Ivo Šebalj, Slikar i model, 1976.|Ivo Šebalj, Slikar i model, 1976. - 1979., platno/ulje, 115 x 131 cm, inv. br. gg-50]]\n[[Miroslav Šutej, Kompozicija I, 1979.|Miroslav Šutej, Kompozicija I, 1979., mobilna grafika, 88 x 88 cm, inv. br. gg-51]]\n[[Miroslav Šutej, Kompozicija II, 1977.|Miroslav Šutej, Kompozicija II, 1977., mobilna grafika, 88 x 88 cm, inv. br. gg-52]]\n[[Goranka Vrus Murtić, Pejzaž (diptih), 1987.|Goranka Vrus Murtić, Pejzaž (diptih), 1987., papir/gvaš, 140 x 100 cm, inv. br. gg-53]]\n[[Zoran Vuković, Pokrenuti životi, 1988.|Zoran Vuković, Pokrenuti životi, 1988., kombinirana tehnika, 70 x 100 cm, inv. br. gg-54]]\n[[Slobodan Vuliče\nvić, Kompozicija, 1984.|Slobodan Vuličević, Kompozicija, 1984., papir/gvaš, 70 x 100 cm, inv. br. gg-55]]\n[[Branka Uzur, Forma, 1982.|Branka Uzur, Forma, 1982., pečena zemlja, 50 cm, inv. br. gg-56]]\n[[Stjepan Golac, Bez naziva, 1979.|Stjepan Golac, Bez naziva, 1979., platno/ulje, 48 x 58 cm, inv. br. gg-57]]\n[[Ivica Mareković, Motiv s Kupe, 1989.|Ivica Mareković, Motiv s Kupe, 1989., platno/ulje, 34 x 24 cm, inv. br. gg-58]]\n[[Mirjana Mlinarić, Bijeli čajnik, 1991.|Mirjana Mlinarić, Bijeli čajnik, 1991., platno/ulje, 64 x 99 cm, inv. br. gg-59]]\n[[Jasna Fertiljo, Tužna serenada, 1984.|Jasna Fertiljo, Tužna serenada, 1984., karton/tempera, 95 x 65 cm, inv. br. gg-60]]\n[[Đuro Seder, Bez naziva, 1988.|Đuro Seder, Bez naziva, 1988., papir/gvaš, 75 x 110 cm, inv. br. gg-61]]\n[[Mladen Mržljaković, Kornati, 1987.|Mladen Mržljaković, Kornati, 1987., fotografija, 28 x 19 cm, inv. br. gg-62]]\n[[Predrag Lešić, Ples, 2001.|Predrag Lešić, Ples, 2001., platno/ulje, 70 x 70 cm, inv. br. gg-63]]\n[[Ivana Franke, Kockice, 2002.|Ivana Franke, Kockice, 2002., ljepljeni paus papir i neonska lampa, inv. br. gg-64]]\n[[Milena Lah, Istarska djevojka, 1983.|Milena Lah, Istarska djevojka, 1983., papir/tuš, 100 x 50 cm, inv. br. gg-65]]\n[[Velizar Krstić, Autoportret, 1982.|Velizar Krstić, Autoportret, 1982., bakropis, 100 x 70 cm, inv. br. gg-66]]\n[[Ljerka Kallay, Žena s magarcem, 1988.|Ljerka Kallay, Žena s magarcem, 1988., platno/ulje, 166 x 130 cm, inv. br. gg-67]]\n[[Anton Vrlić, Pokrenuti životi, 1989.|Anton Vrlić, Pokrenuti životi, 1989., platno/ulje, 150 x 120 cm, inv. br. gg-68]]

Galerija Galženica\nTrg Stjepana Radića 5\n10 410 Velika Gorica\nH r v a t s k a\ne-mail: [[galerija.galzenica@globalnet.hr|mailto:galerija.galzenica@globalnet.hr]]\ntel: +385 1 6221 122\nfax: + 385 1 6226 740

[img[kalogjera..jpg | images/kalogjera.jpg]]\n\nDamil Kalogjera (1962) svoja je prva fotografska profesionalna iskustva stjecao surađujući s nekoliko za medij fotografije ključnih novinskih izdanja (Polet, Studentski list, Start). U Galeriji Galženica izložio je fotografije nastale za vrijeme jednomjesečnog boravka na Kubi. Za razliku od medijske reprezentacije Kube kao siromašne, no sretne i rasplesane zemlje, reprezentacije diktirane logikom turističkog tržišta, Kalogjerine fotografije Kube bitno su drugačije: one imaju nešto što ne poznamo od prije, neku napuklinu, neki naboj iznenađenja i neku potencijalnu kritiku. Ukratko sve ono čemu se Roland Barthes pokušao približiti terminom "punctum".\nDamil Kalogjera izlaže od 1980. godine, radi kao foto-reporter, a u suatorstvu objavio je slijedeće knjige: "Dubovica, "Vis-otok tajni", "10 godina B.P. Cluba", "50 godina muzičkog bijenala u Zagrebu" i "40 godina Međunarodne glazbene tribine".

[img[oki..jpg | images/oki.jpg]]\n\n\nThis is the second time that Super 8 mm film has faced artistically more propulsive media since Eastman Kodak released it in 1965. First time was when Super 8 motion picture film format was less favoured than VHS (Video Home System) technology. This happened again 20 years later, due to the increasing accessibility of high quality digital video and the advent of new distributional channels such as the Internet. Therefore, Super 8 mm film never conquered the world of film and video arts. It was predominantly used for its initial purpose of home movie format. It enabled amateurs with little technical knowledge to record and reproduce 3-minute films about highlights of their everyday lives.\n\nAlthough Super 8 was widely used in everyday life, it was a particular, almost obscure genre in film and video arts. Some of the reasons were a specific antiquary character of the picture, shooting of 18 pictures per second, frequent lack of sound etc. The artwork of Dan Oki can serve the purpose of illustrating such position of Super 8. “The Last Super 8 mm Film” is a collection of his private films shot in the period between 1986 and 2005. These films, including Dan Oki’s earliest video experiences as a young film amateur from Zadar, his wife’s performances never seen in public and everyday family life, have so far been perceived as inferior in the context of his official artistic career. Instead of well shaped narrative form, refined production and technological excellence, all these being prevailing features of his artwork, his Super 8 films, “diaries” put in chronological order, seem “unfinished and common place”. They represent the ill-defined area where private life overlaps with professional and even social lives.\n\nRemedialization has been a constant characteristic of media art. According to theoreticians such as Mcluhan and Manovich, insights into the process in which “technology of the past becomes the art of the future” (Mc Luhan) never lose its sharpness. When it comes to the exhibition “The Last Super 8 mm Film”, it presents a particular remedialization and it refers to the phenomenon of archives and archiving. By going through the process of transformation of Super 8 films into digital signal, Dan Oki’s films are not only adapted to reproduction on digital equipment (computer, TV screens etc.) but they are also organized as a system. According to Dew Harrison’s essay “Digital Archiving as an Art Practice” <http://www.chart.ac.uk/chart2005/papers/harrison.html>, practice of archiving has not been rare in the 20th century art. He pays special attention to self-archiving illustrated by the works of such artists as Art & Language group. Although this group cannot be classified as media art (but conceptual art) and its members unambiguously disassociated themselves from it throughout 1970’s, the destiny of their work “Indexes” (1972-1974) clearly showed the range of remedialization that digital technology introduced in the art culture. “Indexes” is a system with interchanging structure: in 1972, when first shown at Documenta 5 in Kassel, it consisted of 350 text sections (text fragments) derived from the texts and conversations about art written by members of the group that were organized in such a way that each section was related to every other section, thus resulting in 122,500 references. (The group members claimed that was the only way to reach the area where meanings were established and art criticism transformed into exact, not fantasy practice). The work was presented in the form of archive cabinets with indexed text fragments and wall display with charts that put those fragments into different relations. About 30 years later, translation of this work into DVD medium, of text into hypertext, provided opportunity for the Art & Language group members to treat their artwork as a document and to re-interpret it. According to Dew Harrison, digital variant of this work was inevitable. \n\nA similar idea of self-archiving is the subject of “The Last Super 8 mm Film”. However, the logic of data indexation is in accordance with a current shift of interest from personal computer to World Wide Web and Super 8 is adapted to so-called folksonomy, the practice and method of creating tags to annotate and categorize content. In other words, when Web 2.0 was released, a traditional method of classification became the focus of interest. The metadata of our private analogue archives often contain both chronological and subject indexing that reveal what the saved data actually is. These tags, such as “summer”, “wedding”, “first birthday”, “graduation”, “miscellaneous” etc. describe the content of the saved material. This logic was applied to Dan Oki’s film: by digitalizing the collection of Super 8 films, he organized a traditional film archive as a contemporary data basis thus using the old principle of systematization, so-called folksonomy. In this way, the exhibition visitor/ the Internet user can easily search and watch the films regardless of his/ her knowledge of the latest communication trends.\n\nWhat is the message of this re archiving? Does Oki’s digitalization of already existing archive discover something new or just cast a slightly different light on what has already been known about his artwork, art culture and media art in general? When compared to other examples of self-archiving in contemporary art and history of art criticism suggested by Dew Harrison, the first difference is the content of the systematized material. All the examples given by Harrison have been the attempts to systematize particular super-individual areas of life labeled as “culture”, “the spirit of the times”, “imaginary”, “dictionary” etc. (the title of Warburg’s project “Mnemosyne Atlas ”(1927-1929) illustrates this quite well). On the other hand, Oki’s systematization is focused on his own private and professional life that through the process of revalorization of personal history offers new contents and methods for future art practice (unlike typically (post) modern goal to correct the dominant discourses of art criticism, as was the case with Art & Language’s artwork “Indexes”). In the context of media art, where Oki’s artwork is at home, such revalorization becomes remedialization. Remedialization of “The Last Super 8 mm Film” refers to two things. First, at the level of artistic poetics his Super 8 mm films refer to often neglected thematic aspect of his works. He uses subjectivity, romantic preoccupation with himself as an artist to “soften” media art, determined by technological, economic and political factors. Many of his works support this thesis (Housekeeper (1997); “Forget, Remember and Know” (1998) etc.) Finally, his need for continuous recording of everyday life affirms the filmmaker (artist) as a centre of representational view (universe) (another possible reference to Oki’s films is Jonas Mekas’ film “Lost, lost, lost” (1976)). “The Last Super 8 mm Film” also refers to contemporary culture and the situation in which extremely personal information (birth of a child, summer holidays, daily routine including resting, eating or reading, love and marital relationships etc.) become socially relevant. Once digitalized and systematized, put into software “data-mining” operations, their informational relevance gradually increases. Although it is possible to differentiate more private from less private videos, such as those showing the members of Zagreb subculture who emigrated to Amsterdam in the early 1990’s, the fact they were made in the intimate circle of friends and not in conditions of the professional documentary production, emphasizes the privacy of Oki’s Super 8 films even more. \n\nPrior to digital cultural shift, art practice could have differed documents, p\nrivate archives from public archives of general importance. Nowadays, especially after Web 2.0 was released this is no longer possible. Constantly establishing and annulling the border between private and public, digitalization archives all areas of human life. In the case of Oki’s “The Last Super 8 mm Film”, digitalization casts a new light on his work on one hand and creates data basis that will become less private and more public, less his and more ours on the other. (Klaudio Štefančić)\n\n\n''Dan Oki'' (Slobodan Jokic, 1965, Zadar) is a media artist and film author. In his work he uses the media of film and video, installation, computer arts and the Internet. His works are based on the process of researching personal, visual, and narrative contents, which demand various media forms and the ways of their presentation. During a few latest years, he has focused his interest on hybrid feature-length film and cinematographic database in the context of the new media. He realised his first exhibitions and experimental films in Zagreb between 1987 and 1989. From 1991 to 1993, he studied film and video at De Vrije Academie in Den Haag as one of Professor Frans Zwartjes’ students. In 1996 he completed his graduate (M.A.) studies in media arts at Hogeschool voor de Kunsten in Arnhem. From 1997 to 1999, he studied at the postgraduate studies in film directing and screenwriting at Maurits Binger Film Institute in Amsterdam. He belongs to the generation of artists who in 1990s worked on cinematographic databases, interactive video, CD ROM's, web art and computer animation. He teaches as Associate Professor in the field of film and video art at the University of Split Arts Academy and the University of Zagreb Academy of Drama. He has taught as a visiting professor at many academies in Europe. He was awarded the following prizes: Grand Prix Videoex 2000 for the film “Divine Beings”, Zurich; Special Award by the New Media Jury at the international Split Film Festival for the CD ROM "U okolišu himera", Split, Croatia 1999; Werkbeurs by the Netherlands Foundation for Fine Arts and Design, Amsterdam 1998.; Jury Award at the International Biennal ARTEC'97 for computer animation "The Householder", Nagoya, 1997.; The Third Award for the Experimental Film at the Croatian Film Show for the film "V moje oči letio igle", Zagreb, 1989.\n

[img[D_Kovac..tif | images/D_Kovac.tif.jpg]]\n\nReferirajući se na film "Logan's Vehicles", Kovač je svojim skulpturama pridodao značenje, koje nadilazi uske modernističke probleme kiparskog medija i ulazi na područje popularne kulture. Iz te perspektive njegove skulpture, odnosno nezgrapna vozila za bijeg - kako sam naziva izložene skulpture u predgovoru kataloga - možemo gledati i kao neku vrstu ironičnog komentara društvene tranzicije kroz koju Hrvatska prolazi, u kojoj je svijest o drugačijim i uspješnijim društvima generirala specifični oblik stvarnog ili mentalnog gastarbajterstva. Izložene skulpture, bez obzira na svoju sirovu, privremenu obradu, također upućuju na Kovaču omiljeno područje automobilskog dizajna, kojeg naziva vrhunskim kiparstvom. Daniel Kovač rođen je 1966. u Subotici. Na Akademiji likovnih umjetnosti u Zagrebu radi kao asistent na kiparskom odsjeku. Izlaže od 1991. Dobitnik je Nagrade na 5. trijenalu hrvatskog kiparstva 1994. i Nagrade ALU iz Zagreba 1997.

[img[sokec2..jpg | images/sokec2.jpg]]\n\nDanijel Šokec izložio je četrdesetak crteža rađenih tušem na papiru, u kojima je služeći se manirom „drhtavog“, „nervoznog“ ekspresionističkog crteža, reprezentirao različite teme: od klasično erotskih (ženski akt, ljubavni par), preko alegorijskih, značenjski neodređenih scena na rubu raspoznatljivosti, do prizora, kojima naslov crteža pridaje komična ili svakodnevna, gotovo banalna značenja. U tom smislu, ovi se crteži mogu promatrati i kao ciklus, koji s jedne strane, podsjeća na tradicionalnu crtačku „vježbu ruke“, a s druge, na svojevrsni dnevnik, na niz artefakata, koji stoje negdje između štafelajne slike/crteža i bloka za skiciranje. Naglašeni kontrasti crnog i bijelog, također, prizivaju estetiku stripa, što ovim crtežima pridaje dodatna, narativna značenja.\nDanijel Šokec (1967.) je završio Srednju školu za primijenjenu umjetnost i dizajn u Zagrebu, te diplomirao na ALU u Zagrebu 1991.Izlaže od 1984., a do sada je izlagao na 20 samostalnih i više skupnih izložaba u zemlji inozemstvu.\nIzložba je dio programa usmjerenog na razvoj lokalne umjetničke kulture.\n \n

[img[krelja..jpg | images/krelja.jpg]]\n\nDavor Krelja (1960) započeo je svoje umjetničko formiranje u vrijeme neo-ekspresionističkog slikarstva, u okviru pojave nazvane "Nova slika", koja je tijekom 80-ih predstavljala hrvatski odgovor na izazove europske transavangarde, odnosno američke postmoderne. U Galeriji Galženica se nakon kratkog rada na području ambijentalnih instalacija, ponovno vratio slikarstvu izloživši dvadesetak naglašeno panoramski komponiranih slika. Dva su se fenomena na izložbi nametnula kao najzanimljivija. S jedne strane, uključivanje književnog diskursa u izložbu posredstvom proširenih naziva slika, koji umjesto tzv. legendi, sada postaju kratki i žanrovski određeni književni oblici. S druge strane, pak, to je osobit nadrealistički, fantastički naboj, kojeg posjeduju slike, neraspoznatljivih i pomalo tajanstvenih značenja.\nDavor Krelja je diplomirao slikarstvo na ALU u Zagrebu 1985. Izlaže od 1984. u Hrvatskoj i u inozemstvu.

[[Interzone : Economy, November 25th - December 25th 2009]]\n[[Interzone : Local. Transformation, direction, spot, October 21st - November 15th 2009]]\n[[Interzone : Gender, September 9th - October 11th 2009]]\n[[Radoslav Putar Award - Final 2009, 3 June - 28 June 2009]]\n[[Interzone : Networked, Pandora Pop, "Still Life", installation / performance, 18. 5. - 22.5. 2009.]]\n[[Interzone : Nation, 1 April - 10 May 2009]]\n[[Interzone : City, 4 February - 15 March 2009]]

[img[deviceart2..JPG | images/deviceart2.JPG]]\n\n//''Kal Spelletich, Flight Simulator, 2004.''//\n\nTermin "Device_art" označava umjetničku produkciju utemeljenu na kreativnoj upotrebi novih ili starih tehnologija, a uključuje mehanizme bazirane na analognoj ili digitalnoj tehnologiji, koncepte utemeljene na kreativnoj ili dovitljivoj upotrebi medija, robote, arhaične sprave, kinetičko – optičke radove, projekte s obilježjem interaktivnosti..."Device_art" naziv je za područje kulturalnog i umjetničkog djelovanja, koje zamagljuje granice između umjetnosti, tehnologije i dizajna, te zbog toga nudi drugačiji način u razumijevanju umjetnosti i njezinog odnosa prema tehnologiji i "vice versa".\n\n2004. zajedno s kustoskim dvojcem iz Zagreba - KONTEJNER | biro suvremene umjetničke prakse - organizirali smo prvu međunarodnu izložbu "Device_art" sa svrhom da i na području Hrvatske potaknemo, mapiramo i kontekstualiziramo umjetničku praksu koja nastaje u sprezi sa suvremenom tehnologijom. Izložba je izazvala velik interes publike, te se pokazala iznimno uspješnom.\n\nOve je godine "Device_art" prostorno i konceptualno proširen, što znači da su se u projekt uključili Multimedijalni institut iz Zagreba i Blasthaus Gallery iz San Francisca, odnosno da je izložba prerasla u višednevno događanje koje započinje izložbom i performansima u Galeriji Galženica, a nastavlja se i završava u Tvornici Jedinstvo u Zagrebu izložbom i predavanjima posvećenima odnosu umjetnosti i tehnologije. Također, u studenome ove godine izložba "Device_art" bit će prezentirana u galeriji Boca i galeriji RX u San Franciscu.\n\nSudionici: \nMiha Ciglar (SI), Marijan Crtalić (HR), Luka Dekleva (SI), Dale Dougherty (US), Ryan C. Doyle (US), Saša Đurić (SCG), Ivan Fijolić (HR), Ivana Franke (HR), Luka Frelih (SI), Ines Krasić & Ivan Nikolić Lesh (HR), William Linn (US), Ludic Society, Ivan Marušić Klif (HR), Edita Matan (HR), Martina Mezak (HR), Nika Oblak & Primož Novak (SI), Magdalena Pederin (HR), Douglas Repetto (US), Christian Ristow (US), Milica Ružičić (SCG), Sašo Sedlaček (SI), Kal Spelletich (US), Teo Spiller & Tadej Komavec (SI), Silvio Vujičić (HR), Veljko Zejak (SCG)\n\nIzložbu "Device_art" podržavaju: Ministarstvo kulture Republike Hrvatske, Ured za obrazovanje, kulturu i šport grada Zagreba, Grad Velika Gorica, Zagrebačka županija, Filip Trade d.o.o.\n\n[http://www.blasthaus.com/]\n[http://www.sfboca.com/]\n[http://www.rxgallery.com/]\n[http://www.kontejner.org/]\n[http://www.mi2.hr/]

[img[slika | images/17.jpg]]

!What is the Galženica Gallery?\n\nThe Galženica Gallery is a part of the Longlife Learning Center Velika Gorica, founded in 1980. It is a non-profitable and one of the best-known contemporary visual art galleries in Croatia.\n\n!Where is the Galženica Gallery and when can I visit it?\n\nThe gallery is at the following address: Dom kulture Galženica, 5 Stjepana Radića Square, Velika Gorica. It is open to the public 10.00-19.00 on workdays and 10.00-13.00 on weekends. The gallery is closed for visitors on Mondays, as well as most other museums and galleries in Croatia. You are welcome to come, call or write every day 9.00-15.00 and get any information or service you need in the fields of art and art culture.\n\n!Who defines the programme of the Galženica Gallery, and how?\n\nThe work of the gallery is mostly focused on the following and promoting various contemporary art practices. The programme is defined by the curator Klaudio Štefančić, with help of the Gallery Council whose members are: Marina Viculin, the senior curator at the Klovićevi dvori Gallery, Nika Radić, the artist, Guido Quien, the senior curator at the Ivan Meštrović Gallery, Mira Gattin, the senior curator at the Museum of Modern art in Zagreb and Mladen Mikulin, the sculptor and associate professor at the Academy of Fine Arts in Rijeka.\n\nThis year we dropped the procedure of public competition, which used to be the basis of the annual programme, because over the past two years tenders put out by the Galženica Gallery and the Longlife Learning Center Velika Gorica did not prove to be a good solution since it was not possible to create the programme that would be competitive in the field of exhibiting and promoting the contemporary art based only on the received applications. The public competition proved to be inadequate to specific position of the Gallery (such as a long-term membership with other so-called acknowledged museums and galleries, neither central nor marginal position, closeness to the capital, spatial conditions and so on) so we decided to extend the public competitions throughout the year. In other words, you can apply for an exhibition every day, in person, over the phone or by mail. We would like to point out that the programme for next year must be completed by the end of July of a current year because the policy of state and local authorities is to invite for tenders in co-financing cultural programmes before or soon after the summer holidays.\n\n!How can I exhibit my works in the Galženica Gallery?\n\nIt is possible to exhibit your works here in the way that you are a part of a regular programme consisting of eight to ten exhibitions or artistic events a year, produced by the Galženica Gallery (Longlife Learning Center Velika Gorica). \n\n!What other services does the Galženica Gallery offer?\n\nWithin the area of the town of Velika Gorica, this is the only place where you can get relevant information on the art history of both Croatian and European modern and contemporary art. If you are interested in art, you would like to attend some of the liberal studies or art colleges, or you need any information on contemporary culture, feel free to contact us. Our gallery is in possession of the impressive archive where you can have a look around, read or study books and catalogues of individual artists, art periods, styles and groups. In addition, during every exhibition we offer professional guidance if you inform us about your coming in advance.\n\n!Is gallery's policy to exhibit only paintings and sculptures?\n\nNo, it is not. Our programme is very sensitive to the changes on the contemporary art scene so the gallery follows and promotes interests and the work of the contemporary Croatian artists. This is why you can see works of a wide range of media: paintings, drawings, sculptures, photographs, video art, ambient and computer installations.\n\n!Can information about the exhibitions, artists and events be found anywhere else?\n\nIn addition to the free catalogues with basic information about the exhibitions that are available at the gallery, you can get informed in daily newspapers (Vjesnik), on radio stations (Radio Velika Gorica, Radio Sljeme, Radio 101, second channel of the Coatian Radio) television programmes (Croatian national television, OTV) and web sites (kulturpunkt.hr, iPortal.hr, Jutarnji.hr) that we contact on regular basis.\n\n!Who supports the work of the Galženica Gallery? \n\nProjects of the Open University and the Galženica Gallery are for the most part financially supported by the town authorities but there are also some other governmental and non-governmental organisations such as the Ministry of Culture, Zagreb County and Filip Trade d.o.o. that have co-operated with us so far. The Dutch Embassy, Slovenian Ministry of Culture and Austrian Cultural Forum, all from Zagreb, also supported some of the international exhibitions and events.

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[img[slika | images/19.jpg]]

[img[quien..jpg | images/quien.jpg]]\n\nFilip Quien (1979) apsolvent je splitske Umjetničke akademije na Odsjeku za slikarstvo. Student je u klasi profesora Gorkog Žuvele U Galeriji Galženica izložio je slike na kojima je u tradiciji enformela zaokupljen slikarskim materijalom i materičnošću slike kao objekta. Ili kako u predgovoru kataloga ističe Vanja Babić: " U svojem dosadašnjem stvaralaštvu mladi se umjetnik podjedanko služio metodama akcionog slikarstva, enformela ili asemblaža, dakle uvijek poetski odrednicama prijemčivim za isticanje materičnosti slikarskih uradaka. U Filipovim slikama moguće je uz nakupine boja pronaći i katran, dijelove limenki, aluminijsku prašinu, slamčice za ispijanje sokova i još mnoštvo kojekakvih gradbenih elemenata, sve u svrhu postizanja apsolutne perceptivne nesputanosti te izbjegavanja prihvaćanja likovnosti po principu zatvorene opažajnosti."

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\nIn the early 1990’s, two major changes were taking place in Croatia: political and territorial independence from ex Yugoslavia and the first wave of economic globalisation. As you may know, globalisation is the economic model that, after the break up of European socialist countries, with the help of the new technologies (the Internet, mobile networks etc.), created new ways of making profit. Two opposite social processes were the consequence of that: degradation of national economies and proliferation of particular cultural identities. \n\nDuring 1990’s, the countries of Middle and southeaste Europe were in search of their position on the new map of Europe and thus found themselves in a paradox situation of parallel decentralization of economy and nationalization of culture. The more cultural practice seemed traditional and particular, the more it represented self-identification model for newly formed countries. Although impossible for the global application, the model of so-called traditional culture became the pattern applicable to national culture through various local and group identities. The expansion of local media, equality of dialects, World Music and lifestyle culture are only few of the phenomena that could not exist without tension between global and national.\n\nThe 2009 programme of the Gallery Galženica casts light on questions such as what the difference between Europe of nations and Europe of regions is. Are these countries, once “behind the iron curtain”, and their great national stories anachronism or last, though unrepresentative evidence that modernism is an open-end process (Habermas)?\n\nFurthermore, is the issue of individual, local or national identity rather an interest of marketing and profit making than the process of personal and social development? Does globalisation actually encourage fundamentalism, chauvinism and xenophobia? If yes, what are possible reasons for multiculturalism? Where has the idea of cosmopolitism disappeared? Is the only choice we have the one between bad and worse? \n\nWe invite you to send your proposal for participation to ''galerija.galzenica@globalnet.hr'' by ''15 June 2008.'' \n\n''Klaudio Štefančić'', a curator and a director of the Gallery Galženica, and ''Ivana Hanaček'', a curator assistant, will carefully review all the proposals. All submitters will be informed about their application by ''1 July 2008''.

[img[slika | images/54.jpg]]

[img[bakic..jpg | images/bakic.jpg]]\n\nGordana Bakić (1972) je u Galeriji Galženica izložila crtež/ambijentalnu instalaciju, svojevrsni "work in progress". Riječ je o nizu velikih crteža, koji su povodom izložbe spojeni u jednu gigantsku cjelinu, prilagođenu prostoru galerije. Instalaciju sačinjavaju crteži rađeni rukom, fotokopirani grafički materijali čije je porijeklo u različitim i nerijetko zaboravljenim udžbenicima ili priručnicima, prostorni, trodimenzionalni objekti, nepravilni papirnati izresci itd. Kao i na tradicionalnim, štafelajnim slikama, koje Gordana Bakić radi posljednih godina, i ovdje je riječ o reprezentaciji zaboravljenih načina reprezentacije: uzimajući ikoničke predloške iz udžbenika i ilustriranih knjiga, koji pripadaju kulturi prije masovne dostupnosti digitalnih medija, prije tzv. "slikovnog obrata", ona "oneobičava" slikovnu reprezentaciju, čineći nas tako svjesnima svojevrsne "arheologije medija", odnosno različitih i brzo izmjenjujućih modela vizualne reprezentacije. \nGordana Bakić diplomirala je na ALU u Zagrebu 1996. Izlaže od 1993.. Dobitnica je nekoliko nagrada od kojih treba izdvojiti Nagradu Zagrebačke banke 2001. i Nagradu Hrvatskog društva likovnih umjetnika za najbolju mladu umjetnicu u 2003. godini.

[img[pogledic..jpg | images/pogledic.jpg]]\n\n\nGordana Pogledić Jančetić, 1977, graduated from the Zagreb Fine Arts Academy in Applied graphics and design in 2001. Her artworks include photography, painting, animated film and graphic design works. She won the third prize for the photography at the first Slovenian Science Fiction, Fantasy and Horror Festival.\n\nAt the Galženica Gallery we are about to see her female nude photographies. The artist used various software tools to modify the visual structure of the represented object. Consequently, the result is different from what we are used to see in the traditional nude photography. The traditional nude, even when used as a radical artistic experiment, reveals the traces of the object's materialism. However, Gordana Pogledić Jančetić's digital nudes are images of different data, rather than recognizable transfiguration of the human body. They have full autonomy and their relation to the art tradition is still undefined. \n

[img[presjek | images/PRESJEKgalzenica.jpg][images/PRESJEK.jpg]]\n\n[img[donji prostor | images/DONJIPROSTORgalzenica.jpg][images/DONJIPROSTOR.jpg]]\n\n[img[gornji prostor | images/GORNJIPROSTORgalzenica.jpg][images/GORNJIPROSTOR.jpg]]

[img[kuduz..jpg | images/kuduz.jpg]]\n\n//''Igor Kuduz, Portraits, polaroid photo, 2006.''//\n\n\n\nIgor Kuduz belongs to the generation of the artists who gained status in the early 1990's by working with the //new// media and referring to the neo avant-garde art tradition(1). In 1992, at the 23rd Young Artists Salon in Zagreb, the art group Egoeast presented their manifesto based on the tradition that theoretician Ješa Denegri named “the second line”, thus introducing the other, non-expressive aspect of postmodernism into the Croatian contemporary art.\n\nOne of the peculiarities of the second wave of the post-modern art, besides almost archival attitude towards the avant-garde and neo avant-garde art traditions was intensive work with media content and means. On the level of content, postmodern tendency was mass media culture literacy, seen as a wide range of manifestations from politics to entertainment. On the level of media means, the artists mostly used photography, video, digital press technology and ambient installations(2).\n\nIn the context of such events, Kuduz focused first on the photography and video and later on the graphic design (he has been the manager of a successful design studio Pinhead Office)(3). Considering the relationship between an object and a medium, he is mostly preoccupied with representational aspects of his photography and video works. By choosing motifs and content that belong to the entertainment industry (scale models, toys, tapestries) and treating them as a part of the real world Kuduz questions relatively firm rules of artistic representation. Disrupting what might seem the self-explanatory relations between reality and its visual representations and between art and mass culture products, the artist tries to re-establish, rather than simply parody, the possibilities of art as a means of communication. \n\nIn the latest photography series “Portraits”, Kuduz is once again on the track of revitalization. This time, he confronted the traditional medium of the Polaroid photography and even more traditional genre of portrait with the aesthetics of so called amateur photography whose infinite emanations (from family to erotic) are all-present on the Internet. The number of photography genres, approaches, assemblies and aesthetics that we can observe effortlessly in the most intimate part of our flats, surpasses all artistic validity consisting of the traditional modernist photography standards on one hand and dominant cultural and economic institutions' demands on the other. In my opinion, “Portraits” are his attempt to revive the medium that used to be new, with the help of its successor - the Internet. (Klaudio Štefančić) \n\n''Igor Kuduz (1967)'' graduated from Zagreb Academy of Fine Arts in 1995. He exhibited at numerous solo and group shows in Croatia (Zagreb, Poreč, Rijeka, Split, Dubrovnik, Slavonski Brod etc.) and broader (Berlin, Tirana, Manchester, Aachen, Dessau, Bonn, Trst, Clermont Ferrand, Graz, London i drugi).\n\nLinks:\n(1) http://www.mi2.hr/whw/what.htm\n(2) http://www.filmski.net/vijesti/kratki-film/4156\n(3) http://www.zgraf.hr/katalog.htm\n\n

[img[matijevic28..jpg | images/matijevic28.jpg]]\n\nInes Matijević (1982) apsolventica je na zagrebačkoj ALU. Njezin dosadašnji interes bio je usredotočen na problem reprezentacije žene i ženstvenosti u suvremenoj kulturi. Kako je umjetnost, gotovo povlašteno mjesto te reprezentacije, autorica se u svom dosadašnjem radu nerijetko referirala upravo na tradiciju prikazivanja žene u umjetnosti. U Galeriji Galženica izložila je 36 portreta nagih žena i muškaraca u prirodnoj veličini. Jedno od najzanimljivijih slojeva značenja, koje se tijekom pripreme i odvijanja izložbe formiralo oko ovog rada bilo je ono društveno, kulturalno. Naime, da bi snimila 36 nagih portreta autorica je morala zamoliti ili nagovoriti vlastite prijatelje da joj poziraju, iako je u jednom trenutku, u određenim informativnim medijima oglasila, kako traži modele za snimanje. Proces nagovaranja i pregovaranja oko izlaganja golog tijela galerijskoj javnosti, bio je dug i naporan i sudeći po iskustvima autorice, predstavlja - na žalost - pravi mali, nedokumentirani presjek suvremene kulture mladih u Hrvatskoj. Kada su nakon otvorenja izložbe, neki od vodećih televizijskih medija prikazali reportažu o izložbi u udarnim terminima svojih programa, ta se razina kulturalnog značenja proširila na do tada zanemarene aspekte (konzervatizam, utjecaj katoličke crkve na odgoj mladih, funkcioniranje umjetničkog establishmenta, logika masovnih medija u Hrvatskoj i sl.).\n[http://www.zarez.hr/152/vizualna3.htm] \n\n\n

[img[ikea..jpg | images/ikea.jpg]]\n\nIn the early 1990’s, two major changes were taking place in Croatia: political and territorial independence from ex Yugoslavia and the first wave of economic globalisation. As you may know, globalisation is the economic model that, after the break up of European socialist countries, with the help of the new technologies (the Internet, mobile networks etc.), created new ways of making profit. Two opposite social processes were the consequence of that: degradation of national economies and proliferation of particular cultural identities. \n\nDuring 1990’s, the countries of Middle and southeaste Europe were in search of their position on the new map of Europe and thus found themselves in a paradox situation of parallel decentralization of economy and nationalization of culture. The more cultural practice seemed traditional and particular, the more it represented self-identification model for newly formed countries. Although impossible for the global application, the model of so-called traditional culture became the pattern applicable to national culture through various local and group identities. The expansion of local media, equality of dialects, World Music and lifestyle culture are only few of the phenomena that could not exist without tension between global and national. \n\nThe 2009 programe for Gallery Galženica, named ''Interzone'', was in most part built upon the propositions made by the artists on the topic of globalization. The artists responded to the call for art proposals sent out in the first half of 2008. Through different types of events (exhibitions, theatre plays, lecture) we will try and show how contemporary artists perceive the process of globalization, which with equal intensity has an impact on the social, art and everyday life, in both so-called transitional countries and the countries, or, better, cultures in which global strategies are built and shaped. We therefore hope to open some of the questions within the ''2009 programe'', such as the problem of relationship between the degradation of national economies and the growth of traditional cultures; the problem of the role of the city in neoliberal societies; the problem of constructing gender, local or national identity in relation to e.g. the increasing popularity of conservative political parties, etc.\n\nGallery Galženica's 2009 programe was designed by ''Ivana Hanaček'' and ''Klaudio Štefančić''. The programe will be realized by curators ''Sanja Horvatinčić'', ''Nina Pisk'' and Klaudio Štefančić. The calender of events is as follows:\n\n//''Interzone / City''//, exhibition, lecture\nFebruary 4 - March 15, 2009.\n\n''Sophio Medoidze'' (GE, GB)\n''Željka Blakšić & Lena Kramarić'' (HR)\n''Dino Zrnec'' (HR)\n''Guerilla Gardening'' (GB)\n''Boris Cvjetanović'' (HR)\n''The Pula group'' (HR)\n\n//''Interzone / Nation''//, exhibition\n April 1 – May 10, 2009.\n\n''Saša Karalić'' (NL, B i H)\n''Id Sarup'' (HR)\n''Hakan Akcura'' (TR, S)\n''Jasminka Končić'' (HR)\n''Ana Lozica'' (HR)\n\n//''Interzone / Global''//, performance / dance / installation\nMay 14 – May 23, 2009.\n\n''Pandora Pop (Petra Zanki /Anna Hertling/ Katharina Trabert)'', (HR, DE, I), //Sorry! (Stereo Unplugged)// \n\n//''Radoslav Putar Award – Finale 2009''//, the national art award for young visual artists (up to 35 years of age)\nJune 3 – July 5, 2009.\n\n//''Interzone / Gender''//, exhibition \nSeptember 9 – October 11, 2009. (artists will be know by June 2009; curators: Sanja Horvatinčić, Nina Pisk)\n\n//''Interzone / Local''// , exhibition\nOctober 21 – November 15, 2009.\n(artists will be known by June 2009; curator: Mislav Muršić)\n\n//''Interzone / Economy''//, exhibition\nNovember 25 – December 25, 2009.\n\n''lemeh42 (Michele Santini, Lorenza Paoloni)'' (I)\n''Carlos Katastrofsky'' (A)\n''Rosana Ratkovcic & Fedor Kritovac'' (HR)\n''Dmitry Strakovsky'' (RUS, USA)\n\n

[img[city..jpg | images/city.jpg]]\n\n\n\n//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]\n\nInterzone: 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\nthe 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.\n\nCurators: Ivana Hanaček, Klaudio Štefančić\nCurators assistants: Sanja Horvatinčić, Nina Pisk\n\nLinks:\n\n[1] http://globalization.kof.ethz.ch/map/#\n[2] http://www.photography-now.com/artists/K19565.html\n[3] http://www.medoidze.com/\n[4] http://mfaphoto.schoolofvisualarts.edu/?page_id=27\n[5] http://www.cunterview.net/index.php/Likovna-umjetnost/Lena-Kramaric.html\n[6] http://www.rolandberger.hr/office/initiatives/art_and_artists/Dino_Zrnec_en.html\n[7] http://www.guerrillagardening.org/ \n[8] http://pulska.grupa.googlepages.com/\n\n

[img[interzone_ekonomija..jpg | images/interzone_ekonomija.jpg]]\n\n\n\nThis is the last exhibition in this year's cycle dedicated to the influence of globalization on society. Each artist or artist group in this exhibition commented on the recent changes which have primarily occurred as a consequence of the global and liberal capitalist market and the ways in which it operates.\nIn their short animated film the Italian video-artist duo, known as ''Lemeh42'' [1], make an ironic view of the business philosophy of Ikea and their global omnipresence, as well as of their practicality and economical approach to interior design.\n''Dmitry Strakovsky'' [2], on the other hand, in his performance at the opening of the exhibition makes a parody of the most powerful Asian corporations by combining the stereotype of Asian spirituality with the stereotype of Asian economic efficiency. \nA Croatian duo ''Rosana Ratkovcic'' and ''Fedor Kritovac'' [3] will show the results of their study of Zagreb's and Croatian crafts tradition, which has, due to economic changes, undergone some considerable changes in the last twenty years.\n''Carlos Katastrofsky'' (aka Michael Kargl) [4], a member of Vienna group Cont3xt, is, on the other hand, focuses on the critique of corporation economy present on the Internet. By means of intervening into the source code of a certain Web site, he puts an emphasis on commercialization and monopolization of the Internet. \n\nHere is the accompanying text of Nina Pisk:\n\n//This year’s exhibition programme in Galerija Galženica under the joint title Interzone was dedicated the influence of the economic globalization on society and its particular constituents. So far, the exhibitions have dealt with those aspects of globalizations that are usually overlooked when defining what makes up globalization. Most of the definitions emphasize the economical aspect of globalization as its main element, and in turn, in most cases it brings to mind big corporations. This exhibition shows works of artists and art groups that have touched upon this, perhaps most obvious, form of globalization. All the works subtly criticize, that is, ironize the globalizing process. As all the Interzone exhibitions, this exhibition offers works which refer to a whole range of phenomena, ranging from local to global.\n\nIn their work, two Croatian artists, Rosana Ratkovčić and Fedor Kritovac [3], have presented the results of their research of the situation in the crafts. Specifically, they looked into the problem of advertising crafts as opposed to big commercial advertisements, i.e. the complex layers of meaning this entails. Ratkovčić and Kritovac emphasize the importants of crafts and their advertising signboards, which can be said to be documents of Zagreb’s urban identity and which are, due to the process of economical globalization slowly disappearing from the city. There are many factors responsible for this, including the strict aesthetic specifications as, among others, defined by the municipal services. The authors hold that a kind of desemantization of the city is taking place, with the aim of creating a new aesthetic ideal stripped of real content and meaning, which is heralded by new wallscapes and billboards, the temporary advertising products in which a lot of funds and creative energy was invested, as opposed to the simple and unsightly crafts signs which, once put up, were to last for years. With digital interventions on the photographs on which the crafts (subversive) and commercial (mainstream) ads are placed within the same context, a new space opens up for critical questioning of society and the direction in which it is developing.\n\nLemeh 42 [1], an Italian pair of video artists, take a somewhat different route in their short animated film. They critically look upon the global presence of Ikea by using its well-known iconography. The simple animation accompanies, i.e. visualizes the nursery rhyme which, once in this context, becomes somewhat ironic. On the other hand, the simplicity and intelligibility of the animation itself allude to the philosophy of Ikea as a globally-present brand which aims at the economics, practicality, simplicity, as well as accessibility and functionality of its furniture. At this point, the irony of the video becomes even greater – Ikea bases its business on massive, cheap industrial production, while at the same time propagates care and protection of the environment.\n\nWith his performance Top 10 Asian Brands, Dmitry Strakovsky [2] deals with the specific situation in Asia. The artist’s work is embalmed with binary oppositions via which he parodies the biggest Asian corporations; he brings together the East and the spirituality so often associated with it, with the West and its obsession with material values. With his posture and way of articulating, i.e. chanting, the artist creates a religious atmosphere which reminds one of Buddhist rituals of devotion which include chanting specific verses or mantras. Here, however, the mantras are the names of big corporations. With his performance Strakovsky criticizes not only big corporations, but also the majority of Asian nations which have, despite their historic reputation for always being obsessed with their work, with the appearance of capitalism and big corporations become almost religious towards their work, which has, one might say, become their new religion.\n\nSince its beginnings 40 years ago, when it was started as Arpanet, the Internet has undergone fundamental changes and is one of the many changes which were not spared by the influence of economic globalization. Carlos Katastrofsky [4] of the Vienna-based initiative Cont3xt.net critically approached that phenomenon in his work. His work deals with the problem of web-pages of big corporations. By intervening in the original code of a specific web-page, he points to the commercialization and monopolization of the Internet.// (Nina Pisk)\n\n\nLinks:\n\n(1) http://lemeh42.indivia.net/\n(2) http://www.shiftingplanes.org/\n(3) http://www.hdlu.hr/2009/06/04/rosana-ratkovcic-fedor-kritovac-obrtni-spektakl/\n(4) http://katastrofsky.cont3xt.net/home/      

[img[web_fotka_interzone_rod..jpg | images/web_fotka_interzone_rod.jpg]]\n\n\n\n\nArtists: ''Davor Dukić'' (SR), ''Ibro Hasanović'' (B i H), ''Helena Janečić'' (HR), ''Milica Rakić'' (SR) i ''Alenka Spacal'' (SLO)\nCurators: ''Sanja Horvatinčić'', ''Nina Pisk''\n\n//Interzone: Gender// continues this year’s series of exhibitions dedicated to the phenomenon of globalization and its effects on the local, on politics and, among others, on intimacy. The exhibition will try and offer a view into one of the more actual topics today: the question of gender and gender relations/roles. Within that context, the exhibition will present works from artists from Croatia, Bosnia and Herzegovina, Slovenia and Serbia.\n\nBelow is the curatorial text:\n\n//Lamine Diack, the president of the International Association of Athletics Federations (IAAF) admitted that the case of Caster Semenya should have been handled more delicately. However, it was the IAAF themselves who asked Caster Semenya to take the tests, whereas a panel of experts, including a gynaecologist, a endocrinologist, a psychologist, an internist and an expert for „gender and inter-gender” issues, are in the following weeks due to make a definite decision whether the athlete is male or female. (...) Besides the gynaecological, endocrinological and genetic tests, Caster Semenya will also have to undergo a psychological examination in order to determine whether she feels like a “real woman”//. (1) \n\nNot only there is enough material to raise a question about the sustainability of a subject as the ultimate candidate for representation, or even liberation, but generally, there is a very loose agreement on what constitutes, or what is supposed to constitute, a category of “women”. (2) \n\nThe IAAF expert for „gender and inter-gender” issues and one of the most influential contemporary post-structuralist theoretician seem to have got themselves into same gender troubles. The scandalous story of a young athlete that went around the world in a blink of an eye precisely illustrates one of the key ontological, epistemological and alike questions, which the philosophers, from Foucault on, use in their effort to explain the reality by using logical systems which our individual and social existence rests upon. What are the instruments, agreements, laws and norms by which we would determine both professional and personal life of Caster Semenye? Who has the knowledge, and the consequent power, to define those norms? In the end the question arises: what is the gender (is it naturally, anatomically, hormonally or chromosomally predetermined) and is it also a social construct?\n\nAs soon as feminist theoreticians have come to the thesis that the category of gender is not just a matter of biological determination but an independent, socially conditioned construct, thereby securing a clear distinction between the categories of gender and sex, a new generation of theoreticians started to question the causal connection between these two concepts. In the beginning of 1990s Judith Butler made a turning-point by claiming that the category of gender 'per se' is a cultural/discursive instrument which serves to define the meaning of what we consider to be the natural sex, consciously placing it in the field of pre-discursive, a priori thinking in order to secure the binary/heterosexual framework for understanding sex. On the other hand, the concept of gender is generated by the so-called regulative discourses formed within certain cultural and historically specific circumstances – that is, by the ways in which we are “allowed” to act in order to preserve our identity realized through the continuity and coherence of the subject. Therefore, according to Judith Butler, gender is realized in practice as a performative – or that which is contained in the language, acts, gestures, performances, etc. \n\nSeen within this theoretical framework, the issues more and more frequently addressed by various artistic practices are not only the changeability and fluidity of identity, but also the a priori understanding of binarity achieved by opposing categories like men and women or male and female artistic practice. Therefore, the idea behind the selection of the works for this exhibition was to show in which way do works from an area affected by similar cultural and historical circumstances, and therefore defined by similar regulatory discourses, speak of gender issues from different positions and using different artistic practices. \n\nAlenka Spacal's [1] performative act of hanging kitchen cloths raises collective consciousness of traditional gender roles present primarily in the local/regional context where the practice of drying laundry by hanging it on a stretched rope makes one of the prototypes of female work. As an answer to these regulatory practices the artist exhibits a series of self-portraits – an artistic genre which provides the highest level for the revision of one’s own identity. It allows for simultaneously taking positions of the author and the model, the signifier and the signified, the subject and the object, all of which negates the traditional position of aa woman as the other. The artistic subject thus achieved by Alenka Spacal’s androgynous self-portraits is based on the concept of shifting and transient identities and it defies the binary definition of gender (4). \n\nThe starting point for Helena Janecic's [2] work is based on similar positions. Her self-portrait Sitting Gender Bender also brakes through the binary preconception of gender by using, as a reference point, Nasta Rojc, a pioneer of artistic representation of gender identity in the Croatian early modernism. By using the same strategies of self-representation (cross-dressing as a means of bringing sexuality issue into the public sphere), as well as formal artistic practice in the tradition of the Munich circle of modernist painters, Helena achieves and strengthens her own gender position (6). \n \nIn the work of Milica Rakic [3] the emphasis put on creating a subjective gender self-representation is moved to a broader socio-political context. By using visual and audio archive to evoke collective memory of the ideologically coloured past, the artist questions the genesis of constituting social and gender identities and their interrelations. By bringing together a fictive informal conversation between a man and a woman and images of the political past, she puts an emphasis on a deep and unconscious connection between the usual everyday understanding/playing gender roles and the influence of socio-political and ideological systems of power. \nThe dialogue from the Milica Rakic's video contains a certain conflict present between gender positions within the framework of linguistic discourse. In his work Attempt of being... Ibro Hasanovic [4] distances himself from his own gender position in order to lay bare his (presupposed) incapability of understanding (equally presupposed and socially constructed) binary opposite female position. The artist is placed in nature, the symbol of a traditional male understanding of the female principle (as opposed to the male civilization), and reads, without comprehension, a novel by Sidonie – Gabrielle Colette, a prototype of the so-called feminine writing (a concept widely disputed by feminist theoreticians from Simone de Beauvoir to Monique Wittig). In this way the artist takes on an ironic distance and questions the concept of binary gender positions as mutually exclusive and irreconcilable categories. \n\nDavor Dukic’s [5] Man of Action deals with the construction of the meaning of gender identity through a concept of a toy which, according to Roland Barthes’ theory, embodies a microcosm of the adults’ reality. In this way a toy becomes a means and material proof of the process of layering cultural and ideological codes which, among other things, often take part in creating gender identities. By shaping bodies and impersonating binary sexual and gender preconceptions, the social project of toy industry becomes part of the regulatory practices, which, in this work of art, reveals different ways of understanding hidden social power(7). (Sanja Horvatincic)\n \n\n1. http://www.jutarnji.hr/clanak/art-2009,8,29,,174378.jl\n2. Butler, Judith, Nevolje s rodom / Feminizam i subvezija identiteta, Zagreb: Ženska infoteka, 2000.\n3. http://www.iep.utm.edu/foucfem/\n4. Spacal Alenka, Pokušaj uspostavljanja autonomnog subjekta kroz autoportretni likovni izraz umjetnica. Filozofija i rod, zbornik, ur. Gordana Bosanac, Hrvoje Jurić, Jasenka Kodrnja. Zagreb: Frvatsko filozofsko društvo, 2005.\n5. Chadwick Whitney, Women, Art, And Society, London: Thames & Hudson, 1992. \n6. Kolešnik Ljiljana, Autoportreti Naste Rojc: stvaranje predodžbe naglašenog rodnog identiteta u hrvatskoj umjetnosti ranog modernizma, Radovi instituta za povijet umjetnosti 24/2000.\n7. www.galerijazvono.org/text/dukic/Tekst%20J.%20Dukic.doc\n\n\nLinks:\n\n[1] http://plone.ladyfestwien.org/program/alenka-spacal-201changing-about201d\n[2] http://www.cunterview.net/index.php/Novi-mediji/Helena-Janecic.html\n[3] http://www.o3one.rs/eng/?p=535\n[4] http://www.ibrohasanovic.com/\n[5] http://www.galerijazvono.org/en_dukic.htm

[img[interzone_lokalno..jpg | images/interzone_lokalno.jpg]]\n\nAuthors of exhibition: ''Marija Matković'', ''Marina Mršić'' and ''Mislav Muršić'' (assistant: ''Ivana Miketić'')\n\n//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.\n\nThe 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?\n\nThe 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.\n\nIn 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.\n\nBy 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.\n\nA 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.\n\nThe 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.\n\nNow, 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.\n\nIn 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)\n\nLinks:\n\n[1] http://velikagorica.heliohost.org/\n[2] http://www.gorica.hr/\n\n\n\n

[img[nacija..jpg | images/nacija.jpg]]\n\n//There are around 6.7 million foreign residents living in Germany, a fourth of which are Turks, the Federal Office of Statistics in Germany reported. By the end of 2008, there were 0.3 percent less foreigners in Germany than in the previous year. The Turks make up for 1.5 percent of Germany’s total population of around 82 million. Many of these Turks gained German citizenship. Every fifth foreign citizen living in Germany was born in that country. Among these, every third is Turkish, 31 percent is Italian, and 28 percent Greek. According to German law, it is customary for foreigners’ children born in Germany to take up their parents’ citizenship.// (Hina) [1]\n\nThe concept of the nation is a complex one; to try and define the notion means taking into account a wide rage of criteria such as language, culture, dissent, history, religion, etc. Such so called objective criteria can be found in many of contemporary definitions of the notion of nation, such as the following: A nation is a relatively self-sufficient and stabile national life community, stemming out of the historical development of the associating of people into communities for the purpose of survival and development, which is characterized by a uniform state territory, common economical life, specific culture and language, adequate religion, a developed collective and individual awareness of national feeling. Another element is included in this complex definition, which can be labelled as a voluntary definition of a nation, the most famous of which is that of the French philosopher Ernest Renan. In his 1882 lecture What is a nation? he concluded that the nation is a daily plebiscite, which is based on the individual’s subjective criteria.\n\nIn the 21st century the problem of nation and its self-definition is not less complex; in fact, it could be argued that the question is more complicated than ever, especially when observed in the context of globalization. Globalization has not treated kindly the nation as idea, concept and social reality. The nation was associated with the backlash against irresistible historical forces, doomed to obsolescence by global postmodern culture, deprived of its institutional shell by the decline of the state, and with a questionable reputation among social scientists to boot, the nation appears to be rapidly fading into little more than a historical phenomenon. [2]\n\nIn the last couple of decades, central and south-east Europe found itself caught up between two extremities: between East and West, between capitalism and communism, between globalization as a factor of unifying and the tendency to create one’s own identity. In the early nineties, countries of this area found themselves in the paradoxical position in which they were to denationalize their economies and nationalize their culture at the same time. Today, the question arises – what does globalization mean for this area, what changes will it bring, how does it affect the projection of national identity? It is certain that in the contemporary world, the problem of nation and national identity cannot be examined separately from the process of globalization. This exhibition therefore looks at the phenomenon of nation and national identity within the globalization process, as well as the problems, paradoxes and ironies arising from that correlation.\n\nThe work of a young artist from Dubrovnik working in Zagreb under the artistic name of ''Id Sarup'' [3] deals with the problem of creating an image of Croatian society and the questioning of that image through a series of ambivalences which the author creates by transforming data and by editing parts of the show //The Faces of the Nation//. The first ambivalence rises from the reformulated statistical data on the basis of original ones which give the overall image of Croatia. The author creates his own interpretation which at times seems absurd or even more realistic than the real-life situation. The result is a tragicomic image of the Croatian society which introduces the observer with a pessimistic world which is possible in its entirety, created with exaggerating and falsification. The question arises about the author’s view of social engagement; does he warn of all the negative facts of society and how rotten it is, and wishes to stimulate change, or does he animatedly observe from a safe distance how things are becoming worse. The second part of the work consists of the questions asked by the author and presenter of the talk-show //The Faces of the Nation//; the questions are about global capital, the nation, borders, Croatia, man, etc. These questions, however, remain without answers. An ambivalence similar to the first one arises; support to the people who fanatically dwell upon the faith of Croatian society, or the fact that man is helpless when faced with capital both amuses and saddens the observer? Both ambivalences give enough space for multiple interpretations which are to serve to assist the observer to take up their own view on the matter.\n\nWhile this work opens numerous possibilities for interpretations, the protagonist of ''Saša Karalić''’s video work, //Schwabo//, gives his view of art and religion, the East and West. Although his answers may seem simple enough, they carry in their essence paradoxes and contradictories of religious, geopolitical, and national identity. It could be argued that the experience of identity testified by the protagonist of Karalić’s work can be an emblem for every national identity today.\n\nA global vision of the nation problem will be presented in the video works of ''Hakan Akçura'' [5] a citizen of Turkey, a country still waiting for EU membership, who moved and started a new life in Sweden, an EU country, where he has encountered numerous problems as an emigrant. His works were created as a reaction to the indifference and even ignoring of the problem of emigrants, that is, a situation in which a large number of people is treated and considered as a – number. With his performances, Akçura does not fight the system, but tries to facilitate its work and at the same time to make it just, humane and remove its label of discrimination. With this pacifist approach, he primarily tires to acknowledge his existence and fulfil his right to free movement and equality.\nNation, that is nationalism and sport are often intertwined concepts, since sport represents a symbolic competition between nations; sports competition often reflects national conflict. \n\n''Jasminka Končić''’s work [6] //Product of Croatia// questions national identity in the time of globalization, taking examples from the world of sports, while touching upon the phenomenon of multiculturalism/multinationalism that occurs in the world of sports. What happens when a foreign citizen decides to accept Croatian citizenship and to compete for Croatia? We mostly approve of such transactions, but incredulously watch when Croatian sportsmen leave to compete for other countries. The author observes with irony that phenomenon of national pathos and multinationalism which simultaneously appear in sports, as well as the flexible boundaries between them.\nA series of photographies by //Ana Lozica// [7] also deals with the question of nationalism in sports, but from a somewhat different point of view. The author is fascinated with the privileged, almost exclusive media and social attention sports enjoys, especially when Croatian athletes are successful; judging by newspaper headlines, all other problems in the state seem irrelevant in comparison to sport success. With this work, she questions the role and creation of national identity within sports – how is sport actually important in that role? It is enough to remind ourselves that most people start naming successful Croatian athletes to foreigners when talking about Croatia, or when they are at least trying to locate it on the imaginary geopolitical map... (Nina Pisk)\n\n\nLinks:\n[1] http://www.totalportal.hr/article.php?article_id=267236\n[2] http://tiny.cc/F1w1v\n[3] http://www.kulturpunkt.hr/i/najave/1986/\n[4] http://www.sasakaralic.nl/\n[5] http://hakanakcura.googlepages.com/\n[6] http://tiny.cc/dq4Zb\n[7] http://www.analozica.com/\n\n\nCurators: Ivana Hanaček, Klaudio Štefančić\nAssistant curators: Sanja Horvatinčić, Nina Pisk\n

<<player id=7 image images/banner.gif auto auto>>\n\n//As four nomadic performance makers working in international collaboration projects, the Internet is our only steady point of reference, our common home and regular working place. Drawing from our own experiences we intend to reflect upon it’s relevance in changing society and position ourselves within it as artists.// [1] \n\nOn 18th of May four performers enter the gallery space with their suitcases, their mobile phones and their computers. On 18th of May four performers have four things they need to work: a good wireless connection, food, shelter and a sleeping bag. In these four days three offline and one online performer will live in gallery Galzenica in the attempt to recover the show they did in Germany and that has been deleted somehow from their memories and their memory sticks. They’ll invite their Skype friends all around the world to help them. During their stay they will communicate to each other only trough Skype, e-mails and chats. During their stay they will try to entertain you while desperately searching for their lost data and identities. [2] \n\n''Still Life'' is a performance-installation, which reflects upon our everyday work practice as globally connected artists. Critically dealing with the current discourse about migration and identity in the age of the web 2.0 society the performance project focuses on two elements: self production and presentation and the apparent loss of cultural identity in exchange for a global constructed one. \n\n''Still Life'' is the result of 730 hours online conference calls, 120 hours of one-to-one skype meetings, 323.560 lines of internet chat, 234 concept development e-mails, two social platform accounts, one blogger account, one online video account, 156 text messages and 576 hours spent in a re(hears)al space.\n\n''Still Life'' is a part of Pandora Pop ''Sorry! ( stereo unplugged)'' project. \n\n''Still Life'' will be presented at Gallery Galzenica on 20 and 21 May 2009 at 8 p.m.. \n\nConcept, performance & Instalation: Pandora Pop (Hertling, Trabert, Wirthmüller, Zanki) \nMusic: Aaron Austin - Glen, Damir Šimunović, Petra Zanki Dramaturgy: Roland Rödermund Media Design & Documentation: Mirco Winde Web Video & Installation: Stjepan Grbić a.k.a Rodion, Anna Hertling, Britta Wirthmüller Production: Plateaux Festival Mousonturm Frankfurt, Banana Gerila Productions Zagreb. \nPublicity Photography: Damir Žižić, Rodion \n\nWith kind support by: Goethe Institut Kroatien, //Transwarp// foundation - EKS - scena, Zagreb; European Cultural Foundation - Step Beyond, City Council Zagreb, Studentenwerk Braunschweig, Gallery Galzenica, Banana Gerila. \n\nThanks to: Ružica Kovačević, Florian Malzacher, Juliane Stegner, Klaudio Štefančić,Jasna Žmak, ekscena crew, Palace Hotel Zagreb, Damir Žižić, Rodion and all our friends. \n\n\nLinks:\n\n[1] http://www.pandora-pop.de\n[2] http://www.myspace.com/stereounplugged\n

[img[I_Patarcec..tif | images/I_Patarcec.tif.jpg]]\n\nIzložba Ive Patarčec ambijentalna je instalacija koju čine dva rada: "Glacifikacija" i "Multipli". Prvi od njih instalacija je koju čine dva velika lamistal stakla okomito postavljena u prostor na koje su projicirana dva dijapozitiva koji prikazuju proces zaleđivanja određene vodene površine. "Multipli" su, s druge strane, napukli pravokutnici od lamistal stakla, koji su na svojim bočnim rubovima osvijetljeni LED diodama. Proces izrade multipla sastoji se u njihovom razbijanju, pri čemu lamistal staklo zadržava minimalnu homogenost, pa ga je moguće i dalje upotrebljavati u njegovom izvornom obliku. LED diode, koje je duž površine stakla moguće pokretati, obasjavaju raznolike napukline u staklu i tako potvrđuju slučajne i uvijek različite putanje loma svjetla u izloženom staklenom pravokutniku. Ta nepredvidiva dekorativna struktura sadržaj je i "Glacifikacije", pa je izložba svojevrsno ukazivanje na fizikalni, odnosno vizualni svijet, koji nema puno dodira s racionalnom kontrolom ljudskog, odnosno umjetničkog rada.\nIva Patarčec (1962) je diplomirala slikarstvo 1991. Accademia Albertina di Belle Arti u Torinu. Od 1984. do 1987. suradnica je umjetničke skupine "Dobronamjerni klub Obnova", Izlagala je u inozemstvu i u Hrvatskoj na više desetina skupnih i ssamostalnih izložaba. Nagrađena je 1990. ma Bijenalu crteža u Torre Pelice i 1995. na 30. zagrebačkom salonu u Zagrebu.

[img[fijolic.jpg | images/fijolic.jpg]]\n\nIvan Fijolić (1976) jedan je od najprominentnijih mladih hrvatskih suvremenih umjetnika. Pripada onoj generaciji umjetnika, koja se na samom početku novog stoljeća okrenula potrošačkoj svakodnevnici i u dotada zaštićeno polje visoke umjetničke kulture intenzivno počela unositi elemente popularne kulture, "trash" estetike, kiča i sl. Teško je izdvojiti Fijolićev dominantni interes, no trenutno se njegov umjetnički rad kreće na graničnom području između slike i objekta/skulpture, odnosno na području na kojem se isprepliću različiti kulturalni znakovi, uglavnom s područja popularnog filma i stripa. Jedan je od najzastupljenijih autora u rastućoj kolekciji suvremene umjetnosti Filip Trade-a i vjerojatno, najšire poznat po nedavnoj izvedbi skulpture Bruce Lee-ja u Mostaru.\nDiplomirao je na ALU u Zagrebu. Izlaže od 1999. u zemlji i inozemstvu. Dobitnik je Nagrade ALU u Zagrebu za diplomski rad i autor je nekoliko javnih radova u Vrsaru (Park skulptura), Zlinu (Češka) i Mostaru.

[img[I_Kozaric. | images/I_Kozaric.tif.jpg]]\n\nNakon uspješnih nastupa na Documenti XI u Kasselu i samostalne izložbe u Muzeju moderne umjetnosti grada Pariza, Kožarić se predstavio u domaćoj sredini s izložbom koja na neki način reinterpretira njegove posljednje projekte i izložbe: izložbu u Galeriji Zvonimir u Zagrebu gdje je izložio/preselio vlastiti atelje, izložbu u Parizu gdje je radio s pronađenim materijalima i događaje vezane za transport većine njegovog ateljea u Kassel. U Galeriji Galženica Kožarić je priredio ambijentalnu instalaciju, prenijevši ponovno jedan dio svog ateljea u galeriju. Zaokupljen posljednih godina svoga rada transportima svojih radova u druge i udaljene galerijske prostore, Kožarić je u Galeriji Galženica, na neki način aktualizirao nedavni događaj. Naime, nakon što su transportni radnici Documente u Zagrebu cijeli Kožarićev atelier pripremili za transport u Kassel, Kožarić je bez trunke neozbiljnosti predložio selektorima izložbe da se sadržaj njegovog ateliera, odnosno da se šezdesetak godina rada tako i izloži - u kutijama.

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[img[klif..jpg | images/klif.jpg]]\n\n\nThe 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. \n\nIf 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. \nOver 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. \n\nIt 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. \n\nOne 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. \n\nSeen 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\n\n''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.\n\nLinks:\n(1) http://boo.mi2.hr/~klif/\n(2) http://www.mediascape.info/seiten/2006/marusic.htm\n

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[img[pegan-bace..jpg | images/pegan-bace.jpg]]\n\nU Galeriji Galženica Ivana Pegan Baće izložila je različito obrađene fotografije, koje prikazuju razne interijere (javne ustanove, kuća, javni prijevoz). Uobičajeni, dvodimenzionalni medij fotografije, autorica je modificirala kutijastim oblicima, te nerijetko pridavanjem samostalnog izvora osvjetljenja svakoj od fotografija. Tako su ti fotografski "light - boxovi" u prostor unijeli skulpturalnu, ambijentalnu vrijednost, a u svijet mogućeg značenja, svojevrsnu flamansku notu u tretmanu svjetla, koju je autorica kao kontinentalka unijela u mediteransku kulturu.\nIvana Pegan Baće (1971) diplomirala je na ALU u Zagrebu 1996. godine. Izlaže od 1995. u zemlji i inozemstvu. Dobitnica je nekoliko međunarodnih stipendija (New York, Pariz, Vilnius), a kao kiparica autorica je više javnih skulptura u Zarentinu (Njemačka), Kemijarvi (Finska), Plasy (Češka), Asiagiu (Italija), Komarnu (Slovačka), Nantu (Italija) i Arnbrucku (Njemačka).

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[img[bucan..jpg | images/bucan.jpg]]\n\nJagor Bučan (1968) izlaže desetak slika velikog formata na kojima u maniri postslikarske apstrakcije istražuje odnose između slikarske pozadine i slikarske strukture, između površine i dekorativnog uzorka, između geste i impersonalnog nanosa boje. U suptilnim permutacijama organičkih motiva crtanih flomasterom i višebojnih površina mehanički nanošenih na pravokutnu površinu štafelajne slike, Bučanovo slikarstvo možemo gledati i kao dio svojevrsnog, postmodernističkog esteticizma.\nJagor Bučan završio je Akademiju likovnih umjetnosti u Zagrebu 1992., gdje trenutno radi kao asistent na Odsjeku za restauraciju umjetnina. Izlaže od 1995. u zemlji i inozemstvu.

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[img[dzezva..jpg | images/dzezva.jpg]]\nhttp://blog.mpmbm.com/\n\n\nBehind a somewhat enigmatic title ''Kiber Dzezva'' (Cyber Coffee - Pot), there is an exhibition planned for the next year but also an attempt to inform the Croatian public about the latest problems, tendencies and phenomena in the area of so-called new media. Kiber Dzezva is a collaborative blog of the art history, animation and new media students. //Cyber// refers rather to the current transformation of the World Wide Web into another mass medium than to the former concept of cyberspace. //Dzezva// stands for a traditional Balkan coffee pot – a metaphor for companionship, conversation or mere chatting about the current issues.\n\nThe Kiber Dzezva blog will enable visitors to see the process of organising a group student exhibition. They are the third-year and fourth-year students at the Zagreb Fine Art Academy's Animation and New Media Department, working in collaboration with Vjekica Buljan, Morana Matković, Petra Šešljaga and Klaudio Štefančić. The exhibition is due to be opened in April 2008 at the Galženica Gallery. The exhibition is a part of the 2008 gallery programme dedicated to the art tendencies working with new technologies and new media.\n\nWe intend to use the blog form for re-blogging i.e. informing the croatian art world about phenomena, events and tendencies on the Internet today. The Web 2.0 is a widely known innovation in the virtual world, made possible because of the standardization of the internet broadband, cheaper hardware and the presence of the software such as RSS (Really Simple Syndication) and Ajax (Asynchronous Java Script and XML). Transfer of the user and art operativeness from PC to the World Wide Web seems quite important so we will dedicate the Kiber Dzezva blog to the Web 2.0 servicing and applications ( Facebook, Flickr, My Space etc.)\n\nDuring the process of working on the exhibition and blog, another intention has come up - to present some of the local phenomena such as the application of the latest software innovation on the informatics enterprise (Blog.hr, Trosjed.net.hr, Pticica.com) and adjustment to the Anglo - Saxon culture of so-called social software. Equally interesting is the mobile phone use. From parking place or fare payment, to the music video of the local band TBF, the mobile has become probably the most important part of the Croatian post socialist everyday life.\n\nSo many things have been listed as the goals of this project. There is nothing left to do but work and hope that at least some of the phenomena will be successfully articulated and opened to discussion, and their research continued someday. \n\nKiber Dzezva blog is mainly written in Croatian. Despite of that we hope that you will be able to get some general impressions about our activity.\n\nLink:\n\n(1) http://kiberdzezva.blogspot.com/\n \n

[img[web_dzezva..jpg | images/web_dzezva.jpg]]\n\n\nIt is difficult to say what came first, the blog or the exhibition, partly because they have the same title: kibedžezva. However, http://kiberdzezva.blogspot.hr 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.\n \nThe 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// http://cetverotaktni.blogspot.com serves as an introduction into the exhibition.\n\nLinks:\n(1)http://kiberdzezva.blogspot.hr\n(2)http://cetverotaktni.blogspot.com\n(3)http://www.youtube.com/results?search_query=luka+hrgovic&search_type=

[img[lenard_metro..jpg | images/lenard_metro.jpg]]\n\n\n\n''Kristina Lenard'' graduated from The Academy of Fine Arts in Zagreb. She was artist in residency at The Fine Art Academy in Krakow (Poland) and at The Valand Fine Art Academy in Goeteborg (Sweden). She received two scholarship: Kulturkontakt (Austria) and Mino (Japan). She received The Audience Award at The 9th Triennale of Croatian Sculpture 2006. She exhibited at numerous solo and group shows in Croatia, Slovenia, Japan, Austria, Germany and Sweden.\n\n//(...)The author takes painting and history of art traditions by the horns, including conventions and issues of motif elaboration and available technical possibilities of digital photography, as well as related software. In a way, photographs of portraits and flower still lifes, represent a decorum; these are photographs within a cathegory of an image magnetism of which lays in its surface, and arises from specific treatment of formal elements which, according to Barthes “constitute the meaning which curdles like milk”. In the course of the 20th century, genre art, revived by technology development, gained a creative impetus; owing to new modes of production, presentation and distribution of images in the frameworks of photographs and video, it has become a prominent art form of an entirely new expression and semantic context. (…)\n\nFollowing research of relashionship between truth and falsehood, Kristina Lenard’s idea expressed in photographs in «Photosynthesis» emerges from the space between reality and fiction, illusion and actuality, Photoshop manipulated images. Like Virilio’s paradoxical logic of images appearing only where image prevails over object and time over space, and where the concept of reality is converted, a space emerges which is established by nature of camera - technological „apparatus“ and exploration of its boundaries and possibilities, as well as space granted by digital images and media technologies. Within dialectical relationship between reality and image, image has long prevailed and imposed its logic. Image does not engage with its reflection role or representative form, but with contaminating reality and reshaping it, with conforming to reality to distort it and subtly reshaping reality for its own benefit.// (Branka Benčić)\n\nLinks:\n(1) http://www.metelkova.org/rdece/2004/lenard.htm

[img[turcic..jpg | images/turcic.jpg]]\n\n"Pušenje" je ambijentalni rad u kojem je, s jedne strane, video snimka koja prikazuje samu autoricu kako bezglasno puši u prostoru vlastite sobe, sve dok je dim cigarete poptuno ne prikrije, a s druge, tekst otisnut na zidovima galerije, koji u formi anegdote ili kratke priče govori o nizu nesporazuma izazvanih pušenjem, odnosno o problematičnosti pušenja u suvremenom društvu, s naglaskom na razlici između američkog i hrvatskog društva. \nKsenija Turčić (1963) diplomirala je 1987.na ALU u Zagrebu, nakon čega je pohađala studij crtanja kod Josepha Kosutha u organizaciji Fundacije Antonio ratti u Comu (Italija). Nastupala je na brojnim samostalnim i skupnim izložbama u zemlji inozemstvu i boravila na studijskim boravcima u Washingtonu, Cimelicama (Češka) i New Yorku. Dobitnica je međunarodnih i domaćih nagrada za umjetnički rad od kojih treba izdvojiti Nagradu 20. salona mladih 1988. i Godišnju Vjesnikovu nagradu za likovne umjetnosti "Joisp Račić" 2001. godine.

After the summer break we are delaying the beginning of the exhibition program because we are setting up a new light infrastructure in the gallery. After 27 years with old halogen light we are setting up a new and professional ERCO light infrastructure. \nRegarding a quality of a new light infrastructure we are hoping it's going to last another twenty years. At least :)\n\nThe exhibition program which will be held till the end of the year consists of:\n\nGordana Pogledić Jančetić, // Digital Collage //, 27.09. - 21.10.2007.\nKristina Lenard, // Photosynthesis //, 31.10. - 18.11.2007.\nAna Hušman, // According to etiquette //, 28.11. - 23.12.2007.\n\nGreetings and see you in gallery!\n

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[[About us]]\n[[Where are we]]\n[[Ground-plan&Section]]\n[[FAQ]]\n\n\n''<<defaultHome>>''\n''<<Announcements>>''\n\n[[Archive|Arhiva 1981-2005]]\n[[Collection]]\n\n[[Contact]]\n\n@@[[Open Call]]@@\n\n[[HRVATSKI | index.html]]\n\n<html>\n<!--Creative Commons License--><a rel="license" href="http://creativecommons.org/licenses/by-nc-nd/2.5/hr/"><img alt="Creative Commons License" border="0" src="http://creativecommons.org/images/public/somerights20.png"/></a>\n<!--/Creative Commons License--><!-- <rdf:RDF xmlns="http://web.resource.org/cc/" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#">\n <Work rdf:about="">\n <license rdf:resource="http://creativecommons.org/licenses/by-nc-nd/2.5/hr/" />\n </Work>\n <License rdf:about="http://creativecommons.org/licenses/by-nc-nd/2.5/hr/"><permits rdf:resource="http://web.resource.org/cc/Reproduction"/><permits rdf:resource="http://web.resource.org/cc/Distribution"/><requires rdf:resource="http://web.resource.org/cc/Notice"/><requires rdf:resource="http://web.resource.org/cc/Attribution"/><prohibits rdf:resource="http://web.resource.org/cc/CommercialUse"/></License></rdf:RDF> -->\n</html>\n\n----\n\n[[galženica@flickr|http://flickr.com/photos/galzenica]]\n\n[[galženica@delicious|http://del.icio.us/galzenica]]\n\n----\n\n[[KiberDzezva|http://www.kiberdzezva.blogspot.com]]\n\n

[img[milin..jpg | images/milin.jpg]]\n\n\n\n\n//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.\n\nThe 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. \n\nUnlike 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. \n\nThe 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.\n\nParadoxically, 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)\n\n''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).\n\nSince 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.). \n\nSince 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).\n\nSince 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).\n\nHer 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. \n\nLinks:\n\n(1) http://www.klik.hr/naslovnica/deluxe/200404280002006.html\n(2) http://www.filmski.net/specials/26\n(3) http://www.ulupuh.hr/hr/straniceclanova.asp?idsekcije=2&idclana=183\n\n

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[img[mišković.jpg | images/miskovic.jpg]]\n\nMario Mišković (1977), također, je jedan je od predstavnika mlade generacije suvremenih umjetnika, koja je (post)modernističku hrvatsku suvremenu umjetnost, obilježenu zaokupljenošću umjetničkom formom kao prvim i posljednjim pitanjem svake umjetničke prakse, zamijenila usmjerenjem prema svijetu osobne i društvene svakodnevnice, te osobito svijetu popularne kulture. Izložba u Galeriji Galženica naglašenog je ambijentalnog postava u kojem niz fotografija, različito prezentiranih u prostoru, formira narativnu strukturu, prostornu priču, koja se na rubovima sasvim privatnih znakova i značenja referira i na suvremeno postsocijalističko hrvatsko društvo.\nMario Mišković je diplomirao 2002. na zagrebačkoj Akademiji likovnih umjetnosti, gdje je pored slikarskog, pohađao i multimedijalni odjel. Izlaže od 1998. u zemlji i inozemstvu.

[img[tadic..jpg | images/tadic.jpg]]\n\nThe exhibition of a young artist Marko Tadić is next in the series of exhibitions dedicated to the global image culture and the local artistic phenomenon of image representation. It is an introduction into the four-month period during which our gallery is going to present three artists, Tadić, Vahabović and Milin, whose first steps in the world of art have been abundantly awarded and acknowledged.\n\nWhen it comes to Tadić's work, the most prominent element is the act of borrowing signs from the contemporary culture fields such as comic, film, advertising, art history...Collecting them meticulously, he recycles the abundant amount of rejected and consumed visual signs, thus giving them new meanings in the context of the art work and art exhibition.\n\nThe following extracts from the texts written by the art critics Ana Dević and Ivana Mance provide more information about his work:\n\n“Marko Tadić's works are hybrid forms that challenge the status of art and everyday objects, their use, decorative and symbolical functions. They result from the overlapping of the painting, graffiti, collage, photography, objects and ambient installations, and are determined by the element of privacy, collecting passion, interest in everyday, tendency towards decorative, kitsch and transformation.\n\nHe often paints and combines the rejected or cheap objects such as plastic plates, wooden kitchen boards, pads, found objects...His paintings/ objects develop a specific iconography that brings together the attractive colouristic graphics and fragments of words and sentences, numbers, graffiti, idioms, pop quotes ending up in the absurd slogans and surprising image-verbal combinations. His colourful collages made of disparate fragments reflect the urban context of everyday life, elements of film and comic aesthetics, iconography of contemporary design, fashion, music, lifestyles...”(from “Circus, Carnival, Spectacle, Execution Site…” by Ana Dević).\n\n“The poetic rule, if there is any, that brings all these elements together, Ana Dević described as //graffitism//. The concept of graffiti is primarily about anti-aesthetic intervention in the urban space that through the brutal overtaking of public areas tends to symbolically destroy their neutral identity and introduce a dimension of social differentiation. For this reason, graffitism defines his work as a voluntary intervention without the tendency towards aesthetic or narrative unity. Moreover, he turns the components against their formal, functional and semantic integrity. Without aggression or ethically dubious force, his gesture is light, and the transformation from one reality into other is invisible: the plate he could put in the sink where it “belongs” he easily puts on the wall, lightly transferring images, words and things from one context/ space/ object to another, from public life into private and back.” (Ivana Mance)\n\n\n''Marko Tadić'', born in 1979, won the winning award at the 2001 Young Artists Salon in Sisak as well as the 2006 Young Artists Salon’s award in Zagreb.\nIn 2006, he graduated from the Fine Arts Academy in Florence. He has had two solo exhibitions in Zagreb and dozens of the exhibitions in Croatia and abroad (Florence, Sisak, Ljubljana, Beograd). He is preparing for the group exhibition in Manchester, organized by the Museum of the Modern Art from Zagreb.\n

[img[tadic..jpg | images/tadic.jpg]]\n\n\nWhen it comes to Tadić's work, the most prominent element is the act of borrowing signs from the contemporary culture fields such as comic, film, advertising, art history...Collecting them meticulously, he recycles the abundant amount of rejected and consumed visual signs, thus giving them new meanings in the context of the art work and art exhibition.\n\nThe following extracts from the texts written by the art critics Ana Dević and Ivana Mance provide more information about his work:\n\n“Marko Tadić's works are hybrid forms that challenge the status of art and everyday objects, their use, decorative and symbolical functions. They result from the overlapping of the painting, graffiti, collage, photography, objects and ambient installations, and are determined by the element of privacy, collecting passion, interest in everyday, tendency towards decorative, kitsch and transformation.\n\nHe often paints and combines the rejected or cheap objects such as plastic plates, wooden kitchen boards, pads, found objects...His paintings/ objects develop a specific iconography that brings together the attractive colouristic graphics and fragments of words and sentences, numbers, graffiti, idioms, pop quotes ending up in the absurd slogans and surprising image-verbal combinations. His colourful collages made of disparate fragments reflect the urban context of everyday life, elements of film and comic aesthetics, iconography of contemporary design, fashion, music, lifestyles...”( from “Circus, Carnival, Spectacle, Execution Site…” by Ana Dević ).\n\n“The poetic rule, if there is any, that brings all these elements together, Ana Dević described as //graffitism//. The concept of graffiti is primarily about anti-aesthetic intervention in the urban space that through the brutal overtaking of public areas tends to symbolically destroy their neutral identity and introduce a dimension of social differentiation. For this reason, graffitism defines his work as a voluntary intervention without the tendency towards aesthetic or narrative unity. Moreover, he turns the components against their formal, functional and semantic integrity. Without aggression or ethically dubious force, his gesture is light, and the transformation from one reality into other is invisible: the plate he could put in the sink where it “belongs” he easily puts on the wall, lightly transferring images, words and things from one context/ space/ object to another, from public life into private and back.” ( Ivana Mance )\n\n\n''Marko Tadić'', born in 1979, won the winning award at the 2001 Young Artists Salon in Sisak as well as the 2006 Young Artists Salon’s award in Zagreb.\nIn 2006, he graduated from the Fine Arts Academy in Florence. He has had two solo exhibitions in Zagreb and dozens of the exhibitions in Croatia and abroad (Florence, Sisak, Ljubljana, Beograd). He is preparing for the group exhibition in Manchester, organized by the Museum of the Modern Art from Zagreb.\n\n\n

[img[lovric..jpg | images/lovric.jpg]]\n\nOva izložba je svojevrsna retrospektiva 30-godišnjeg rada Mate Lovrića na području animiranog filma, stripa, novinske i knjiške ilustracije i oblikovanja. Najvećim dijelom njegov umjetnički rad bio je namijenjen djeci, od predškolske do školske i pubertetske dobi.\nNa izložbi će se po prvi puta moći vidjeti cjelokupan filmski opus Mate Lovrića, od prvih filmova za djecu, nastalih u produkciji Zagreb filma, preko edukativnih filmova nastalih u produkciji Filmoteke 16, do pilot epizoda poznatog animiranog filma Leteći medvjedići, na čijoj je kreaciji u početku radio i Lovrić. Također, izložba će prezentirati ilustratorski rad Mate Lovrića, podjednako namijenjen i djeci i odraslima, od dječjih slikovnica do Večernjakove kratke priče, kao i osobitu produkciju stripa, kojeg djeca već nekoliko godina mogu pratiti na stranicama dječjeg časopisa Radost.\nMate Lovrić (1952) je završio Srednju školu za primijenjenu umjetnost u Sarajevu. Od 1972. radi u Zagreb filmu, a od 1975. u dječjim časopisima objavljuje stripove i ilustracije za djecu. Član je ~HDLU-a od 1995., a od 2002. likovni je urednik dječjeg časopisa "Radost".

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[img[odrcic,bagaric..jpg | images/odrcic,bagaric.jpg]]\n\nMonika Bagarić (1972) velikogorička je umjetnica, koja se slikanjem bavi od 1995. Izložila je desetak slika rađenih u maniri geometrijske apstrakcije. Zlatko Odrčić (1951) velikogorički je umjetnik koji djeluje na području slikarstva, izrade nakita i male plastike. U Galeriji Galženica izložio je predmete umjetničkog nakita. Ariela Skazlić (1957) zagrebačka je umjetnica, koja je diplomirala na ALU u Zagrebu 1998. Izložila je desetak slika, svojevrsnih fantastičnih portreta. Izložba je dio programa Galerije Galženica usmjerenog na promicanje lokalne umjetničke kulture.

[img[putar,011a..jpg | images/putar,011a.jpg]]\n\nPetu godinu za redom dodjeljuje se Nagrada Radoslav Putar, jedna od rijetkih hrvatskih godišnjih nagrada za mlade likovne umjetnike do 35 godina starosti. Nagradu je 2002. godine ustanovio Institut za suvremenu umjetnost iz Zagreba sa svojim partnerima iz Europe i ~SAD-a. \nSvake godine Stručni odbor Nagrade, sastavljen od hrvatskih i inozemnih umjetničkih kritičara, kustosa i teoretičara, između prijavljenih umjetnika, bira četiri finalista, koji se nedugo nakon izbora predstavljaju zajedničkom izložbom, na kojoj se proglašava dobitnik/ca Nagrade. Ove godine finalisti Nagrade Radoslav Putar su Tina Gverović, Mejra Mujičić, Damir Očko i Lala Raščić, dok su Stručni odbor činili Konstantin Akinsha (Arnews Magazine, New York), Antun Božičević (umjetnik, prošlogodišnji dobitnik Nagrade Radoslav Putar), Antonia Majača (kustosica, Galerija Miroslav Kraljević, Zagreb), Jerica Ziherl (kustosica, Galerija Rigo, Novigrad/Cittanova) i Janka Vukmir (Institut za suvremenu umjetnost, Zagreb).\n\nDobitnica Nagrade Radoslav Putar za 2006. je Tina Gverović.\n\nTina Gverović (1975.) diplomirala je na ALU u Zagrebu 1997. Pohađala je poslijediplomski studij na Jan van Eyck Akademie u Maastrichtu. Izlaže od 1996., a za svoj rad dobila je nekoliko domaćih i međunarodnih nagrada, od kojih treba istaknuti Nagradu 34. zagrebačkog salona za dizajn (2000., za projekt "Između dva kraja") i Nagradu "English Art Council" za razvoj i istraživanje umjetničke djelatnosti (2002).\nMejra Mujičić (1973.) diplomirala je slikarstvo na ALU u Zagrebu, te pohađala i završila radionicu animacije Zagreb filma i Royal College of Art u Londonu. Izlagala je na 8 samostalnih i nizu skupnih izložaba, te je za svoj rad nagrađena na 2. hrvatskom bijenalu grafike u Zagrebu.\nDamir Očko (1977.) je diplomirao na ALU u Zagrebu 2003. Do sada je izlagao na 7 samostalnih i više skupnih izložaba. Tijekom posljednje dvije godine bavi se istraživanjem tišine i intuitivne virtuoznosti, te procesima koji utječu na umjetnička djela, kao što su slučaj, improvizacija i sl.\nLala Raščić (1977.) diplomirala je na ALU u Zagrebu 2001., te završila poslijediplomski studij na Rijksakademie van Beeldende Kunsten u Amsterdamu 2004. Nastupila je na više desetina skupnih izložaba i video festivala, sudjelovala u rezidencijalnim programima, izlagala na 9 samostalnih izložaba i bila nekoliko puta nagrađivana za svoje internet i video radove.

[img[NMNM..jpg | images/NMNM.jpg]]\n\nThe 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 research results are available for download at the end of this post). \n\nThe 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. \n\nDistinguishing 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. \n\nThree networks are presented with the help of four hubs.\n**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. \n**//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) \n**//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)\n**//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 “Interstory.org“. (7) \n \nThe 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. \n\n//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... \n\n+ informatical timeline: Marcell Mars, Ognjen Strpić\n+ political and artistic timelines: Klaudio Štefančić\n\n@@[[new_media_new_networks.pdf | new_media_new_networks.pdf]]@@\n\nLinks:\n(1) http://www.mi2.hr/\n(2) http://nrd.picigin.net/t_nrdkit/index.html\n(3) http://www.mediascape.info/\n(4) http://darkofritz.net/\n(5) http://www.umas.hr/\n(6) http://www.splitfilmfestival.hr/menu4.htm\n(7) http://www.karma-multimedia.nl/interstory.org/\n \n

[img[slika | images/15.jpg]]

[img[slika | images/16.jpg]]

[img[slika | images/14.jpg]]

Velika Gorica je u protekle pola godine prošla kroz izvanrendne izbore u kojima su do tada vladajuće stranke smijenjene novom višestranačkom koalicijom, koja je nedavno konstituirala gradsku vladu. Nama su ovi događaji zanimljivi, budući da je nova gradska vlada utvrdila manjak u gradskoj blagajni i odlučila uštedjeti tamo gdje je to moguće. Kako je program Galerije Galženica gotovo u cjelosti financiran iz gradskog proračuna, restrikcije su pogodile i nas. Kako bi se pokrio manjak u gradskoj blagajni, uskraćeno nam je 30.000,00 kuna, zbog čega smo morali odustati od organizacije izložbe Roberta Šimraka i bitno smanjiti sredstva namijenjena međunarodnoj izložbi Device Art. Istina, preostaje nam mogućnost da u jesenskom rebalansu proračuna nadoknadimo dio novca, ali to je za sada još uvijek prilično neizvjesno.\n\nUnatoč svemu - vidimo se!

Zbog kratkog vremena održavanja izložbe Device_Art 2.006 Galerija Galženica bit ce otvorena i u ponedjeljak 2. listopada od 10 do 19 sati.

[img[light-story-space-body..jpg | images/light-story-space-body.jpg]]\n\nIzložba ~Light_Story_Space_Body nastavak je suradnje između austrijskog umjetničkog udruženja MAERZ sa sjedištem u Linzu i Galerije Galženica. Započeta 2004., suradnja se odvijala kao razmjena umjetničkih i galerijskih iskustava između dvije različite kulturne sredine, austrijske i hrvatske.U travnju mjesecu 2005. tako je u Galeriji MAERZ u Linzu otvorena izložba "Outside sources" na kojoj su nastupili Kristijan Kožul, Tanja Dabo, Marija Prusina i Lala Raščić.Tijekom 2005. u Linzu je na međunarodnoj izložbi, koju je organiziralo umjetničko udruženje MAERZ, nastupila i Ana Kadoić, a ove godine će se samostalnim izložbama u Galeriji MAERZ predstaviti Tanja Dabo i Ivana Franke. Svaki od pojmova u naslovu izložbe metaforički pokušava reprezentirati rad ili dio rada pojedinog umjetnika. "Light" je oznaka za rad Antona S. Kehrera; "Story" je oznaka za slikarsvo Olivera Dorfera; "Space" metafora koja označava fotografski i filmski rad Beate Rathmayr, a "Body" upućuje na skulpture od spužve Herberta Eggera.\n[http://www.maerz.at/m3cms/]\n[http://www.herbert-egger.at/]\n

In his book Century, Alain Badiou describes the 20th century as the century determined by politics and art. On the one hand, revolutionary politics, resolved to end all the contradictions of modernity, and, on the other hand, uncompromising art, resolved to equally participate with other social practices in creating the future. What marks the 20th century, claims Badiou, is the moment in which the artistic and political project meet and intersect; at one point it seems that art has more political value and impact than politics, and that politics had more beauty than art.\n\nTherefore, the whole 20th century in art is a criticism of representation. In that criticism, the visual arts have advanced the most. The avant-garde was new, it expressed the present and announced the future; all the rest was old, classical, conservative and represented the past. That constant confrontation of “old” and “new”, Badiou claims, resulted with an unsolved tension, some form of non-dialectic disjunction, without synthesis. It resulted with a promise of solving the tension, but not so much an attempt to implement it.\n\nFollowing Badiou’s thesis that the 21st century deserves some form of conjunction, some form of resolving the constant tension, some //and-and//¸ not //or-or//, we invite you to participate with your works and projects in Galerija Galženica’s 2010 programme. We hope that the questions below will help.\n\nDoes today’s artistic representation carry the same problems as in the 20th century? Is painting still a simulation? Or is it a simulation of a simulation, or both? Do we still have to choose between painting and action, or are we allowed to equally use both as artistic tools? Do the so called new media bring about some form of change into this, for Badiou, typically modern paradigm of artistic invention? How does iconoclasm for the 21st century look like – if it exists? If the art of the 20th century has exhausted itself in implementing its own emancipation, what options does it have in today’s global society? Does it have the option, as in anti-globalist demonstrations or the blockade of the Faculty of Philosophy and Social Sciences in Zagreb, of representing some form of background fortification before the clash with the police, a reprieve between two actions? Or does it have the option to simply guarantee for the visual attractiveness of the event and its representation in the media?\n\nPlease, send proposals (artistic and curatorial works and projects) to the address galzenica@gmail.com. by July 1st. The results of the Open Call will be known by July 15 2009. \n

[img[Jazvic_Juranic..tif | images/Jazvic_Juranic.tif.jpg]]\n\nDvije mlade zagrebačke umjetnice predstavile su se slikama-objektima (Juranić), odnosno prostornom instalacijom (Jazvić). Paulina Jazvić, na frontalni i vizualno najsnažniji zid galerije, postavila je instalaciju koja se sastoji od prozirnih najlonskih vreća napunjenih vodom u koju su potopljene osobne stvari iz autoričinog svakodnevnog života (djetetove igračke, vrpce za kosu, termometar, cipele i sl.). Sandra Juranić je na gornjoj etaži galerije izložila slike-objekte, odnosno kolaže sastavljene od različitih predmeta, kombiniranih s različitim tehnikama crtanja, odnosno slikanja. U oba slučaja, riječ je o pokušaju da se različitim metodama reprezentira emotivna i društvena svakodnevica. Obje su autorice diplomirale na Akademiji likovne umjetnosti u Zagrebu u klasi profesora Miroslava Šuteja.

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function onClickDefaultHome(e) {\nstory.closeAllTiddlers();\nconfig.options.txtDefaultTiddlers = "";\nsaveOptionCookie('txtDefaultTiddlers');\nvar start = store.getTiddlerText("DefaultTiddlers");\nif(start)\nstory.displayTiddlers(null,start.readBracketedList());\n}\n\nconfig.macros["defaultHome"] = {label: "2009.", prompt: "2009.", title: "2009."};\nconfig.macros.defaultHome.handler = function(place) {\ncreateTiddlyButton(place,this.label,this.prompt,onClickDefaultHome);\n\n}

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\n...i dobro došli na web stranicu Galerije Galženica. Stranica je zamišljena kao svojevrsni galerijski blog - kao nelinearna web bilježnica - na kojem se posjetitelji mogu informirati o izložbama, umjetnicima i svim ostalim bivšim i budućim događanjima vezanim za naš rad.\n\nNajveći dio stranice namijenjen je pružanju osnovnih informacija o gotovo svakodnevnom radu galerije: o njezinoj lokaciji, o njezinom izgledu, o aktualnim izložbama i budućim događanjima. Korisne informacije o galeriji, također, možete saznati u direktoriju nazvanom FAQ (Frequently Asked Questions). Zahvaljujući sve demokratičnijoj kulturi Interneta, omogućili smo vam da više fotografskog materijala s naših izložaba pogledate na najpoznatijem mjestu za "on-line" foto-menadžment - na Flickru [http://www.flickr.com/], odnosno da web stranice nama srodnih institucija, suradnika, sponzora i prijatelja posjetite putem "bookmark" servisa Del.icio.us [http://del.icio.us/]. Linkovi na njih nalaze se na lijevoj strani ekrana dolje.\n\nDrugi dio stranice odnosi se na dokumentaciju rada galerije, koju možete naći u direktoriju Arhiva, također na lijevoj strani ekrana. Na dokumentarnoj razini stranice nalazi se i direktorij Zbirka u kojem izlažemo sadržaj umjetničke zbirke Pučkog otvorenog učilišta Velika Gorica, koja je najvećim dijelom nastala u periodu od 1980. do 2000. godine.\n\nNa pravnoj razini, sadržaj ove stranice reguliran je Creative Commons licencom, koju u svom punom obliku možete vidjeti ukoliko kliknete na sivu ikonicu (CC, Some Rights Reserved). Ona ukratko znači da sve sadržaje ove web stranice smijete koristiti ukoliko im navedete izvor ili autora, ukoliko ih koristite u nekomercijalne svrhe i ukoliko ih ne mijenjate, odnosno ne prerađujete.\n\nZa sada stranicu možete čitati samo na hrvatskom jeziku. Nadamo se da ćemo slijedeće godine pokrenuti i englesku verziju. \n\nUkoliko koristite Firefox web pretraživač, moguće je da ćete s njegovim starijim verzijama imati manje probleme u izgledu stranice, pa vam savjetujemo da "apgrejdate" zadnju verziju, tj. Firefox 1.5.0.4. Internet Explorer 6 i Opera 9 nisu bili pokazali nikakve probleme u čitanju stranice.\n\nUkoliko želite obavijesti o izložbama primati putem elektronske pošte, slobodno nas obavijestite o tome putem naše e-mail adrese, koja se nalazi u direktoriju, odnosno "tiddleru" Kontakti.\n\nI "last but not least": stranica je pisana u Java script softverskoj implementaciji poznate Wiki paradigme jednostavnog objavljivanja sadržaja na internetu, o čemu više možete pročitati ovdje [http://www.tiddlywiki.com/].\n\np.s.\nPosebno hvala Marcellu na "dizajnu" stranice. Hvala i razmjenjivačima [http://www.razmjenavjestina.org/]: Aki, Dobrici, Aci, Budu, Leshu i drugima na prijedlozima, kritikama i pohvalama.\n\nKlaudio Štefančić\nvoditelj Galerije Galženica

[img[slika | images/68.jpg]]

[img[putar07..jpg | images/putar07.jpg]]\n\n\nRadoslav Putar Award for young visual artists was established six years ago by the ''Institute for Contemporary Art'' from Zagreb with partners ''The Foundation for a Civil Society, Trust for Mutual Understanding'' and ''SCCA Slovakia''.\n\nThe award is aimed for young visual artists under 35 years of age whose works are realised in media of painting, sculpture, drawing, installation, photography, video, new media and performance art. Criteria for the award are innovativeness and quality of art works realised in the course of past two years.\n\nThe Award was named after Radoslav Putar, eminent art historian, critic and curator, who by his effort significantly directed Croatian culture towards the contemporary visual arts language. His work was also significant in its social aspect, because he promoted the ideas of democracy and advocated dialogue, tolerance, freedom of expression and the openness to other cultures. We can hardly imagine today to what extent his work was indeed heroic, and we can positively assert that his contribution to theory and practice provided one of the keystones of contemporary Croatian art and culture.\n\nSince 2006 Radoslav Putar Award is organised in partnership with Gallery Galženica of Velika Gorica and Gallery Miroslav Kraljević of Zagreb.\n\nSo far, Radoslav Putar award has 5 laureates ''Tanja Dabo'' (2002.), ''Nika Radić'' (2003.), ''Igor Eškinja'' (2004.), ''Antun Božičević'' (2005.) and ''Tina Gverović'' (2006.)\n\nIn 2007 selected Finalists are ''Maja Marković'', ''Ines Matijević'', ''Vedran Perkov'' i ''Renata Poljak''.\n\nThe winner is ''Vedran Perkov''.\n\nJury members of Radoslav Putar Award 2007 were:\n\nTina Gverović, Radoslav Putar Award Winner 2006\nJasna Jakšić, Museum of Contemporary Art, Zagreb\nDarka Radosavljević, Remont, Belgrade, Serbia\nJanka Vukmir, Institute for Contemporary Art, Zagreb\nJerica Ziherl, Rigo Gallery, Novigrad/Cittanova\n\nThe Winner will be awarded with 6 weeks residency in new York and a solo exhibition in Miroslav Kraljević Gallery in the spring of the next year.\n\nRadoslav Putar Award is co-founder and member of ''YVAA (Young Visual Artists Awards)'' and ''Center for Exchange in Visual Arts''.\n\nLinks:\nhttp://www.nagradaputar.scca.hr

[img[putar07..jpg | images/putar07.jpg]]\n\n\nRadoslav Putar Award for young visual artists was established six years ago by the ''Institute for Contemporary Art'' from Zagreb with partners ''The Foundation for a Civil Society, Trust for Mutual Understanding'' and ''SCCA Slovakia''.\n\nThe award is aimed for young visual artists under 35 years of age whose works are realised in media of painting, sculpture, drawing, installation, photography, video, new media and performance art. Criteria for the award are innovativeness and quality of art works realised in the course of past two years.\n\nThe Award was named after Radoslav Putar, eminent art historian, critic and curator, who by his effort significantly directed Croatian culture towards the contemporary visual arts language. His work was also significant in its social aspect, because he promoted the ideas of democracy and advocated dialogue, tolerance, freedom of expression and the openness to other cultures. We can hardly imagine today to what extent his work was indeed heroic, and we can positively assert that his contribution to theory and practice provided one of the keystones of contemporary Croatian art and culture.\n\nSince 2006 Radoslav Putar Award is organised in partnership with Gallery Galženica of Velika Gorica and Gallery Miroslav Kraljević of Zagreb.\n\nSo far, Radoslav Putar award has 5 laureates Tanja Dabo (2002), Nika Radić (2003), Igor Eškinja (2004), Antun Božičević (2005), Tina Gverović (2006) and Vedran Perkov (2007).\n\nIn 2008 selected Finalists are ''Kristina Lenard'', ''Tanja Perišić'', ''Marko Tadić'' i ''Tanja Vujasinović''.\n\nJury members of Radoslav Putar Award 2008 were:\n\n''Tevž Logar'', Galerija ŠKUC, Ljubljana\n''Evelina Turković'', art critic and editor in Croatian Broadcasting, Zagreb\n''Vedran Perkov'', Radoslav Putar Award Winner in 2007.\n''Marina Viculin'', curator, Galerija Klovićevi dvori, Zagreb\n''Jadranka Vinterhalter'', curator, Museum of Contemporary Art, Zagreb\n\nThe winner is ''Marko Tadić'' ( we remind you that two of finalists - Kristina Lenard and Marko Tadić - were already exhibited in Galerija Galženica in 2007)\n\nThe Winner will be awarded with 6 weeks residency in new York and a solo exhibition in Miroslav Kraljević Gallery in the spring of the next year.\n\nRadoslav Putar Award is co-founder and member of ''YVAA (Young Visual Artists Awards)'' and ''Center for Exchange in Visual Arts''.\n\nLinks:\nhttp://www.nagradaputar.scca.hr

[img[putar07..jpg | images/putar07.jpg]]\n\n\nRadoslav Putar Award for young visual artists was established six years ago by the ''Institute for Contemporary Art'' from Zagreb with partners ''The Foundation for a Civil Society, Trust for Mutual Understanding'' and ''SCCA Slovakia''.\n\nThe award is aimed for young visual artists under 35 years of age whose works are realised in media of painting, sculpture, drawing, installation, photography, video, new media and performance art. Criteria for the award are innovativeness and quality of art works realised in the course of past two years.\n\nThe Award was named after Radoslav Putar, eminent art historian, critic and curator, who by his effort significantly directed Croatian culture towards the contemporary visual arts language. His work was also significant in its social aspect, because he promoted the ideas of democracy and advocated dialogue, tolerance, freedom of expression and the openness to other cultures. We can hardly imagine today to what extent his work was indeed heroic, and we can positively assert that his contribution to theory and practice provided one of the keystones of contemporary Croatian art and culture.\n\nSince 2006 Radoslav Putar Award is organised in partnership with Gallery Galženica of Velika Gorica and Gallery Miroslav Kraljević of Zagreb.\n\nSo far, Radoslav Putar award has 7 laureates Tanja Dabo (2002), Nika Radić (2003), Igor Eškinja (2004), Antun Božičević (2005), Tina Gverović (2006), Vedran Perkov (2007) and Marko Tadić (2008).\n\nIn 2009 selected Finalists are ''Ivan Fijolić'', ''Silvija Potočki Smiljanić'', ''Goran Škofić'' i ''Zlatan Vehabović''.\n\nJury members of Radoslav Putar Award 2009 are:\n\nMarko Tadić, Radoslav Putar Award Winner 2008.\nSabina Salamon, City Gallery, Labin\nMarina Viculin, Gallery Klovićevi dvori, Zagreb\nJadranka Vinterhalter, Museum of Contemporary Art, Zagreb\nFrancisca Zolyom, Institut of Contemporary Art, Dunaujvaroš, Mađarska\n\nThe winner is ''Goran Škofić''.\n\nThe Winner will be awarded with 6 weeks residency in new York and a solo exhibition in Miroslav Kraljević Gallery in the spring of the next year.\n\nRadoslav Putar Award is co-founder and member of ''YVAA (Young Visual Artists Awards)'' and ''Center for Exchange in Visual Arts''.\n\nLinks:\nhttp://www.nagradaputar.scca.hr

[img[R_Vilic.tif | images/R_Vilic.tif.jpg]]\n\nSlikarstvo se Roberte Vilić početkom 90-tih pojavilo na kraju prvog vala recepcije europskih umjetničkih kretanja, koja je osobito u slikarstvu 80-tih obilježena povratkom gestualnoj, neo-ekspresionističkoj, tzv. "novoj" slici. U tom kontekstu, pozicionirati se u odnosu na tradiciju enformela, kao što je to učinila autorica, značilo je nekoliko stvari: reafirmirati slikarstvo kao reprezentativno područje umjetničkog rada, odrediti ga kao nemimetičku djelatnost i (auto)poetički ga interpretirati kao izraz unutarnje nužnosti. Ove izvorno modernističke postavke omekšane su uvođenjem znakova iz drugih, ne-slikarskih znakovnih sistema (numerički, alfabetski znaci, leksički i sintaktički elementi hrvatskog jezika) i na toj razini možemo očitati određene promjene u odnosu na historijski apstraktni ekspresionizam. U tom smislu, slikarstvo Roberte Vilić kao slikovni i kao kulturalni znakovni sustav, može označavati i specifičnu povijest moderne i postmoderne umjetnosti u Hrvatskoj, budući da citira, reinterpretira, intimizira, omekšava reprezentativnu, herojsku tradiciju apstraktnog ekspresionizma, odnosno enformela.\nRoberta Vilić diplomirala je na Akademiji likovnih umjetnosti u Zagrebu 1998.. Izlagala je na samostalnim i skupnim izložbama od 1992. u zemlji i u inozemstvu. Nagrađena je Nagradom talijanskog kulturnog centra na 28. zagrebačkom salonu i 2. nagradom na festivalu Umjetnost u gradu u Mainzu.

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[img[sterle..jpg | images/sterle.jpg]]\n\nSandre Sterle (1965) problematizira modele komunikacije i medijske tehnologije, te istražuje umjetničke i strateške mogućnosti manipulacije slikom. Koristeći vlastiti identitet u obliku fiktivnih autoportreta na suvremenoj društvenoj pozadini realizira radove u kojima ističe različitost između osobnog iskustva i medijski konstruiranih prikaza. U video instalaciji "Integracije/ Tko će se igrati?", koju će postaviti u Galeriji Galženica, provlače se ideje integriranja različitosti između pokreta i zastoja, filma i videa, muškog i ženskog, artificijelnog i prirodnog, domaćeg i stranog, dječjeg i odraslog. \nSandra Sterle završila je ALU u Zagrebu 1989., a na akademiji u Dusseldorfu pohađala je studij u klasi Nan Hoover. Izlaže od 1995. u zemlj i inozemstvu. Dobitnica je Nagrade za najboljeg mladog video umjetnika na međunarodnom festivalu Video Medeja u Novom sadu 1997. i Nagrade nizozemske fondacije "Werkburs". U svojstvu docentice predaje umjetnost novih medija na Umjetničkoj akademiji u Splitu. \n[http://www.sterle.org]

[img[sandro..jpg | images/sandro.jpg]]\n\n\n\nTaxonomy of technological transformation\n\nThe exhibition of Sandro Đukić is demanding. It’s demanding for the author, but even more demanding for the audience. Not as much by its form – although certain level of technological and visual literacy is requred – as by its content, more precisely by the issues it inquires and their heaviness. One of these issues is the nature of photography as a form of art in this, more and more, digitalized world. Althoug digitalization of photography began (in its rudimentary form) more than half a century ago, recent development of technology, with particular relation to lowering costs of personal computers, storage media and digital cameras, results in two important things. \n\nPhotography does not go through chemical processing anymore, which change its values. Not necessary in positive or negative way, but in its essence. Increasing megapixels are not necceserily technologically improving the quality of photography, but adversely excluding numerous possibilities the classic, anolog photography has to offer: from the moment of taking a photograph to developing and processing it. Of course, speed is obtained, as well as authenticity to some degree, but the question which remains unanswered (and often unquestioned) is what is lost. Question raised in mid-nineties by ''Critical Art Ensamble'' i ''Geert Lovink'' refering to information technology and digital communication is emerging in its new variant. The speed of information transfer, as well as its quantity and accessibility, is rapidly increasing, but time needed for processing remains the same – limited by human cognitive ability. Does the limitation go toward superficiality and prefering quantity over quality? In photographic discourse this question may be: Does increasing quantity of digital photographies leads to less time to observe, analize and process it visually and/or intelectually?\n\nSandro Đukić is going even further. In a way he is reversing the question that ''Benjamin'' asked in the 1930s (how has photography changed art?) to make it: how has technologicaly mediated art (applied as in graphic design, but also the art market) changed photography? More and more common artistic practices transformed what was essentially an art born in print into a salon art of single pictures on walls, often incorporated in some multimedia instalation in which digitaly taken photograph is digitaly presented or screened – never getting a chance to be present in its intrinsic medium.\n\nWhat is in that proces changed in ''visual economy''? The very notion of //visual economy// is developed from the work of Deborah Poole, and places emphasis on the organization of the production and exchange of images, rather than relying simply on an analysis of their visual content: //The word economy suggests that the field of vision is organised in some systematic way. It is also clear that this organisation has as much to do with social relationships, inequality, and power as with shared meanings and community// ... For Poole, a visual economy has three levels: the //organization of production, encompassing both the individuals and the technologies that produce images//; the //circulation of ... images and image-objects//; and the //cultural and discursive systems through which graphic images are appraised, interpreted, and assigned historical, scientific, and aesthetic worth// \n\nBy removing the images from their original contexts of production and circulation, and placing them into a gallery, the visual economy that produced these images is negated or obscured in favour of a more neutral sense of the photograph as raw material or a window onto history. Whit such an action single photographs, but also their whole (in the form of photography data-base) becomes repositioned in relation to the time/place of thir origin, and at the same time in relation to the time/place of their initialy intented purpose. That is leading us to (maybe) the crucial problem of digitaly mediated photography: ''the question of clasification, of taxonomy''. That is the question more and more essential in many branches of information and library sciences (especially in the theories of so-called semantic web), but also unavoidable one for consuments of visual images, ranging from pornophiles probing the Net in search for a distinct fetish, marketing experts deciding on media campaign’s visual images, or //common people// trying to handle ever biger family albums. How to find what one is looking for in the seemingly endless piles of photos (not to mention that very often they are incredibly alike each other)?\n\nAnalogy with another problem of classification of visual material is almost inevitable. Every human fingerprints is unique (although the final scientific verdict is still awaited), but the clasification of them is a problem yet unresolved. In case of photohgraphy confirmation is much easier. Acoording to the laws of physics two objects can not occupy the same space in the same time, therefore, no matter how short exposition is, even //bursted// shooting allways will result with a set of very similar (to the point of concealment), but not the same photographs. System of clasification, however, can not benefit from such evidence, as analogy with the history of dactiloscopy unmistakably shows.\n\nAn important first issue is that any one image has varied content, which may be available either consecutively or concurrently to the same or to different viewers. These multiple ''ways of seeing'' have been discussed over the years, but it’s still a very open field. It is worth noting here the contrast with textual data. While textual data can have a multiplicity of content and meaning, in terms of the discrete elements of a query, the visual and linguistic content are homologous. The fundamental building blocks of text databases are ASCII character strings representing words that have a direct semantic interpretation.\n\nIn contrast, the ''pixel values'' making up digital images have no inherent significance. Considerable processing of the image is necessary even to infer the presence of a simple shape like a circle, let alone a complex object such as a tree. Direct comparison of image bitmaps can tell us only one thing about a given pair of images – whether they are identical or not. Nothing can be deduced about their similarity in terms of the objects they contain, or scenes they represent.\nArt history and its pertaining theories are rich in narratological, iconographic, multidiscursive and other attampts of clasification of visual material, ranging from already classics like ''Panofsky'' to contemporary, technologicaly highly sofisticated theories of ''Ornager'' and ''Rasmussen'' (among others), however there is still no universaly applicable method of catalogizing photographies, other then on a very basic, bumpy level. Neither contemporary catalogization of image types nor more traditional iconography just aren’t a match to the problem.\n\nMaybe the premier value of Sandro Đukić’s exhibition lay in the fact that, thorough playing with his own archive, thorough permutations and variations of its parts, excessing from one media to another, from one technique and technology to another clearly pointing to the problem itself. (Igor Marković)\n\n\n''Sandro Đukić'' was born 1964. in Zagreb. He graduated at the Academy of Fine Arts in Zagreb in 1989. In period from 1989 to1993 he attended Art Academy in Dusseldorf (class of prof. Nam June Paik and prof. Nan Hoover). At the same academy he attended postgraduate studies (class of prof. Nan Hoover) in period from 1993. to 1994. Exhibited in Slovenia, Germany, USA, Italy, Serbia, Austria and Croatia and lectured at the numerous conferences dedicated to media art (Rijeka, Zagreb, Plasy). In 1991. he received Croatian Artist Association Award. \n\nLinks:\n(1) http://www2.mmsu.hr/en/exhibiti\nons/dukic/index.html\n(2) http://www.d-a-z.hr/ostalo/predavanja/sandro-dukic-prostor-realnosti.htm\n

Type the text for 'Sanja Iveković, "Radovi na cesti", 8.11. - 8.12. 2006.'

[img[ivekovic1..JPG | images/ivekovic1.JPG]] [img[ivekovic2..JPG | images/ivekovic2.JPG]]\n\n//''Sanja Iveković, Liver Pool, 2004.''//\n\n\nIzložba "Radovi na cesti" svojevrsna je retrospektiva, kritički pregled umjetničkog rada Sanje Iveković(2), koji se protekla tri desetljeća odvijao u javnom prostoru grada, politike, kulture, umjetnosti ili povijesti . Bilo da je riječ o projektu "Lady Rosa of Luxembourg" izvedenog u Luxembourgu 2001. godine (3), o projektu na bijenalu u Liverpoolu 2004. u kojem je javni prostor grada iskorišten za svakodnevno suočavanje njegovih građana s osjetljivim političkim pitanjima, ili o projektu "Ženska kuća", koji je 2002. kulminirao objavljivanjem knjige i intervencijom na Trgu bana Jelačića u Zagrebu, rad Sanje Iveković uvijek je okrenut analizi i kritici dominantnih političkih i kulturnih praksi. Iz perspektive, koju bismo za potrebe ove najave, mogli bez zadrške nazvati feminističkom, Sanja Iveković, od samih početaka svog umjetničkog rada, ukazuje na stereotipne, paradoksalne i hegemonijske reprezentacije spola, umjetnosti, nacije, povijesti…(1)\n\n"Radovi na cesti" nastali su, prije svega, u tijesnom suodnosu s kontekstom u kojem se pojavljuju, odnosno izlažu: u slučaju "Ženske kuće" riječ je o problemu nasilja nad ženama i izostanku potpore djelovanju istoimene nevladine organizacije posvećene zaštiti ugroženih žena; u slučaju spomenika "Lady Rosa of Luxembourg" riječ je o analizi prikazivanja žene, specifičnog upravo za europsku, zapadnu kulturu. U tom je projektu Sanja Iveković replicirala spomeničku figuru žene Gelle Fra, zaštitnicu luksemburške državnosti, ali tako da je novu figuru prikazala kao trudnu, odnosno kao referencu na jednu od najpoznatijih socijaldemokratskih prvakinja i borkinja za radnička, odnosno ženska prava (Rosa Luxemburg). U slučaju grada Rorbacha u Austriji, na primjer, i konferencije "Creating the change" posvećene ženama Romkinjama, Sanja Iveković, je pak, realizirala živi spomenik (Rorbachs lebendes denkmal) posvećen Romima žrtvama holokausta: služeći se jednom od arhivskih fotografija, koje prikazuju Rome iz Rorbacha pogubljene u nacističkim logorima, okupila je sudionike konferencije na istom mjestu i u istom rasporedu, simulirajući tako jedan tragični dio povijesti ovog malog austrijskog grada.\n\nKustosi izložbe su Urša Jurman i Klaudio Štefančić. Izložbu prati katalog/knjiga na engleskom jeziku s tekstom Bojane Pejić, kustosice i teoretičarke umjetnosti. \n\nIzložba je realizirana u suradnji s Centrom i Galerijom P74 iz Ljubljane (4) i međunarodnim festivalom Mesto žensk/ City of Women (5). Izložba je realizirana sredstvima Grada Velike Gorice, te zahvaljujući podršci tvrtke Atman [http://www.atman.hr/] i Instituta za suvremenu umjetnost iz Zagreba [http://www.scca.hr/].\n\nLinkovi:\n\n1.[http://www.womenngo.org.yu/sajt/sajt/saopstenja/razgovori/sanja_ivekovic.htm]\n2.[http://kunstaspekte.de/index.php?action=webpages&k=662]\n3.[http://lb.wikipedia.org/wiki/Lady_Rosa_of_Luxembourg] \n4.[http://www.zavod-parasite.si/first.htm]\n5.[http://www.cityofwomen.org/2006/slg]

[img[martinovic,kunovic..tif | images/martinovic,kunovic.tif.jpg]]\n\nKomponirajući svoje slike kao diptihe i triptihe, Saša je tradicionalnu metodu slikanja po motivu, kao tradicionalnu slikarsku metaforu i doslovno realizirala. Naime, služeći se različitim tehnikama (grafitna i kemijska olovka, akrilik) slikala je slijedeći unaprijed određenu dekorativnu strukturu ornamenta i reljefnu teksturu platna. Slikanje po strogo određenom predlošku, čije je porijeklo uvijek povijesno i visoko-umjetničko, a funkcija suvremena, praktična i široko popularna, sigurno je najprepoznatljivije obilježje njezinog slikarskog rada. Bilo da se radi o Halsovim "Nadstojnicama staračkog doma" slikanih u matisovskoj maniri, preslikavanim mrtvim prirodama iz fotografski ilustriranih kuharica, ili slobodno repliciranih kontura ženskih aktova iz povijesti slikarstva, Saši Martinović Kunović područje je - na kojem se slijedom povijesnih promjena potiru razlike između vrijednog i banalnog, jedinstvenog i masovnog, estetskog i kičastog, umjetničkog i dekorativnog - posebno zanimljivo.\nSaša Martinović Kunović diplomirala je na Višoj školi za tekstil i obuću i na Akademiji likovnih umjetnosti u Zagrebu.

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http://www.galerijagalzenica.com.hr/

[img[Persic..tif | images/Persic.tif.jpg]]\n\nPovodom obljetnice smrti velikogoričkog slikara Slavka Peršića, organizirana je retrospektivna izložba na kojoj su prikazane njegove slike nastale u periodu od 1971. do 1992. godine. Slavko Peršić samouk je slikar, koji je slikarske principe gradio u okvirima tzv. Nove slike. Izlagao je na 20-tak samostalnih i isto toliko skupnih izložaba u zemlji i inozemstvu. Bio je član HDLU-a od 1992. Izložbu su kurirali Guido Quien i Radovan Vuković, također predstavljeni i predgovorima u katalogu izložbe. U izdanju Grada Velike Gorice i Pučkog otvorenog učilišta objavljena je i monografija posvećena Slavku Peršiću, čiji je autor Guido Quien."

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[img[norman_rockwell..jpg | images/norman_rockwell.jpg]]\n\n//''Norman Rockwell, Triple Self - Portrait, 1960.''//\n\n\n\nU 2007. godinu ulazimo s nemalim promjenama u radu. Prije svega, novu programsku i kalendarsku godinu pokušat ćemo bazirati na nekom aktualnom problemu, nekoj zanimljivoj temi ili pojavi, bilo da je ona dio uže ili šire umjetničke kulture. Tako ćemo umjesto zbroja pojedinačnih izložaba u 2007. godini organizirati izložbe na temelju određenog svojstva karakterističnog – više ili manje - za sve predstavljene umjetnike. U ovoj godini, to će biti problem slike i slikovnog prikazivanja.\n\nUmjetnička djelatnost definitivno je krajem 20. stoljeća izgubila svoju dominaciju na području slikovnog prikazivanja. Stoga ćemo nizom izložaba pokušati potaknuti na razmišljanje o izmijenjenom položaju umjetničke slike u odnosu na druge oblike slikovnog prikazivanja. U kulturi slike, dakle - kako mnogi nazivaju suvremeni povijesni trenutak – kakvo mjesto pripada tradicionalnoj umjetničkoj slici, a kakvo njezinoj suvremenoj medijskoj inačici? Jesmo li u stanju razlikovati sliku slikarstva i sliku video igre obješene na zid neke renomirane institucije? Postoji li uopće razlika između televizijske, kompjuterske, fotografske i štafelajne slike, s kojima se susrećemo svaki dan: u kafiću, na kolodvoru, u galeriji, na trgu…? Može li slika pričati i nije li vrijeme da nakon modernističkog ikonoklazma, opišemo sve mogućnosti i osobitosti slikovnog prikazivanja?\n\nPromjene u radu odnose se, također, i na izložbenu dokumentaciju. Umjesto kataloga koji smo radili za svaku pojedinu izložbu, od 2007. godine krenut ćemo s izdavanjem dvojezičnog godišnjeg kataloga. U njemu ćemo, krajem godine, predstaviti sve izložbe. Kao i do sada, umjetnici i njihov rad bit će predstavljeni kraćim tekstom, ilustracijama izloženih radova i kratkom biografijom umjetnika. Godišnji katalog sadržavat će i dva opširnija teksta vezana za aktualnu temu izložbene sezone. Oni će - nadamo se - dodatno kontekstualizirati program i značenjski ga otvoriti prema drugačijim oblicima umjetničke i kritičarske prakse.\n\nRadovi umjetnica i umjetnika koje ćemo tijekom 2007. predstaviti u Galeriji Galženica primjer su gotovo školskog vizualnog prikazivanja u povijesti zapadne umjetnosti (s izuzetkom net.arta): od tradicionalne štafelajne slike, preko fotografije do televizijske (elektronske), odnosno digitalne video slike.\n\nKronološki gledano, moći ćete vidjeti slijedeće: u veljači ''Igor Kuduz'' izložit će polaroid fotografije, koje na osobit način revitaliziraju medij fotografije u susretu s različitim (vizualnim) kulturama Interneta. U ožujku ''Marko Tadić'', dobitnik ovogodišnje nagrade na Salonu mladih u Zagrebu, izložit će svoje slike, svojevrsne poligone ili platforme - kako ih zovemo - za beskonačno recikliranje vizualnih znakova suvremene kulture i kompostiranje ikonografskog smeća. \n\nTravanj je namijenjen još jednom mladom slikaru, nedavnom dobitniku nagrade Erste banke, ''Zlatanu Vehaboviću'', koji u svom slikarstvu na osobit način koristi motive koji dolaze iz različitih područja vizualne kulture (ranorenesansno slikarstvo, video igre, popularna ikonografija ). U svibnju ''Mare Milin'' će izložiti modne fotografije koje iz nekog razloga – najčešće komercijalnog – nisu bile objavljene u nekima od najpoznatijih //editoriala// hrvatskih modnih magazina.\n\nLipanj je i ove godine rezerviran za ''izložbu finalista Nagrade Radoslav Putar''. Izložba nije dio uže ovogodišnje koncepcije, ali je zato svakako jedna od boljih manifestacija suvremene umjetnosti u Hrvatskoj, te ju zato i ovaj puta s ponosom i radošću najavljujemo.\nNa prijelazu s rujna na listopad svoje hibridne radove nastale negdje na području između slikarstva, fotografije i računalnih grafičkih programa pokazat će ''Gordana Pogledić Jančetić'', mlada velikogorička umjetnica. U studenom, pak, svoje fotografije izložit će ovogodišnja dobitnica Nagrade publike na Trijenalu hrvatskog kiparstva ''Kristina Lenard'' čiji dosadašnji rad karakterizira visoka estetizacija snimljenih interijera i eksterijera. Zahvaljujući tome, njezine fotografije ponovno aktualiziraju gotovo zaboravljene dihotomije između stvarnog i konstruiranog, prirodnog i umjetnog, odbojnog i privlačnog. \n\nPosljednja izložba u prosincu 2007. bit će posvećena video umjetnosti. Izlagat će ''Ana Hušman'', video umjetnica i redateljica, koja gotovo svakim svojim novim filmom osvoji po nekoliko nagrada na domaćim ili inozemnim festivalima. U Galeriji Galženica, pokazat će najnoviji kratkometražni filma na kojem upravo započinje rad. \n\nUjedno koristimo priliku da vam se zahvalimo na podršci koju nam pružate: prije svega na vašim dolascima, na zanimanju koje pokazujete, na profesionalnoj ili prijateljskoj vezanosti za naš rad…\n\nZa sada - toliko.\n\nVidimo se!\n

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[img[S_B_Uzelac..tif | images/S_B_Uzelac.tif.jpg]]\n\nIzložba Sonje Briski Uzelac, na neki način, hibridna je izložba: ona je ujedno i izložba slika i ambijentalna izložba, "site specific" intervencija. Ako je gledamo kao izložbu slika, onda moramo reći da je izloženo 30 slika iz serije "Kvadrati" i "Pravokutnici", slika "Viatorovska perspektiva" i dvije male slike koje podsjećaju na Maljevičeve kvadrate. Ako je gledamo kao ambijentalnu izložbu, prilagođenu specifičnom karakteru galerijskog prostora, onda moramo konstatirati da je riječ o postavu 30 pravokutnih i kvadratnih monokromno plavih slika u prostoru, tako da njihov postav sugerira perspektivna skraćenja, na način poznat iz tradicije renesansne umjetnosti. U tom smislu, "Viatorovska perspektiva" kao slika jasna je referenca na renesansnu matematičku konstrukciju prostora na dvodimenzionalnoj površini, a dvije male slike, plavi i crni kvadrat, referenca na drugi pol tradicije zapadnog slikarstva: na koncept bespredmetene umjetnosti Kazimira Maljeviča. Sonja Briski Uzelac, "učena slikarica", kako je naziva Miško Šuvaković, profesorica je i teoretičarka umjetnosti, te slikarica koja je 1976. završila Fakultet likovnih umjetnosti u Beogradu. Doktorirala je 1984. na beogradskom sveučilištu. Predavala je na Fakultetu likovnih umetnosti u Beogradu, a trenutno predaje na Učiteljskoj akademiji u Zagrebu i na Akademiji primijenjene umjetnosti u Rijeci. Na 26. salonu mladih u Zagrebu 2001. nagrađena je za teorijska ostvarenja.

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[img[ALU Jabukovac | images/alujabukovac.jpg]]\n\nALU, Jabukovac 10 naziv je skupne izložbe studenata zagrebačke Akademije likovne umjetnosti iz klase Miroslava Šuteja. Šutej je jedan od rijetkih profesora, koji je čin javnog nastupa u nekoj od galerija suvremene umjetnosti pretvorio u dio pedagoškog programa. Tako je i ova generacija dobila priliku javno predstaviti rezultate svoga, u tom trenutku, još nesvršenog školovanja. Izlagali su Jelena Bračun, Petra Brnardić, Maja Cipek, Maja Curman, Josipa Čačić, Danijela Gerard Phillip, Izabela Hren, Gordan Krabogdan, Natali Kasap, Ksenija Kordić, Goran Kujundžić, Miron Milić, Ivan Domagoj Vuco i Silvio Vujičić.\n

/***\n!Colors Used\n*@@bgcolor(#8cf): #8cf - Background blue@@\n*@@bgcolor(#18f): #18f - Top blue@@\n*@@bgcolor(#04b): #04b - Mid blue@@\n*@@bgcolor(#014):color(#fff): #014 - Bottom blue@@\n*@@bgcolor(#ffc): #ffc - Bright yellow@@\n*@@bgcolor(#fe8): #fe8 - Highlight yellow@@\n*@@bgcolor(#db4): #db4 - Background yellow@@\n*@@bgcolor(#841): #841 - Border yellow@@\n*@@bgcolor(#703):color(#fff): #703 - Title red@@\n*@@bgcolor(#866): #866 - Subtitle grey@@\n!Generic Rules /%==============================================%/\n***/\n/*{{{*/\nbody {\n background: #fff;\n color: #000;\n}\n\na{\n color: #8a825c;\n text-decoration: underline;\n}\n\na:hover{\n background: #8a825c;\n color: #ABC2A1;\n}\n\na img{\n border: 0;\n}\n\nh1,h2,h3,h4,h5 {\n color: #8a825c;\n background: #ABC2A1;\n}\n\n.button {\n color: #8a825c;\n border: 0px;\n text-decoration: none;\n}\n\n.button:hover {\n color: #ABC2A1;\n background: #8a825c;\n}\n\n.button:active {\n color: #8a825c;\n background: #ABC2A1;\n border: 0px;\n}\n\n/*}}}*/\n/***\n!Header /%==================================================%/\n***/\n/*{{{*/\n.header {\n background: #ABC2A1;\n}\n\n.headerShadow {\n color: #000;\n}\n\n.headerShadow a {\n font-weight: normal;\n color: #000;\n}\n\n.headerForeground {\n color: #fff;\n}\n\n.headerForeground a {\n font-weight: normal;\n color: #8cf;\n}\n\n/*}}}*/\n/***\n!General tabs /%=================================================%/\n***/\n/*{{{*/\n\n.tabSelected{\n color: #8a825c;\n background: #ABC2A1;\n border-left: 1px solid #8a825c;\n border-top: 1px solid #8a825c;\n border-right: 1px solid #8a825c;\n}\n\n.tabUnselected {\n color: #ABC2A1;\n background: #8a825c;\n}\n\n.tabContents {\n color: #8a825c;\n background: #ABC2A1;\n border: 1px solid #8a825c;\n}\n\n.tabContents .button {\n border: 0;}\n\n/*}}}*/\n/***\n!Sidebar options /%=================================================%/\n~TiddlyLinks and buttons are treated identically in the sidebar and slider panel\n***/\n/*{{{*/\n#sidebar {\n}\n\n#sidebarOptions input {\n border: 1px solid #8a825c;\n}\n\n#sidebarOptions .sliderPanel {\n background: #ABC2A1;\n}\n\n#sidebarOptions .sliderPanel a {\n border: none;\n color: #8a825c;\n}\n\n#sidebarOptions .sliderPanel a:hover {\n color: #ABC2A1;\n background: #8a825c;\n}\n\n#sidebarOptions .sliderPanel a:active {\n color: #8a825c\n background: #ABC2A1;\n}\n/*}}}*/\n/***\n!Message Area /%=================================================%/\n***/\n/*{{{*/\n#messageArea {\n border: 2px;\n background: #ABC2A1;\n color: #8a825c;\n}\n\n#messageArea .button {\n border: 1px;\n padding: 0.2em 0.2em 0.2em 0.2em;\n color: #ABC2A1;\n background: #8a825c;\n}\n\n/*}}}*/\n/***\n!Popup /%=================================================%/\n***/\n/*{{{*/\n.popup {\n background: #18f;\n border: 1px solid #04b;\n}\n\n.popup hr {\n color: #014;\n background: #014;\n border-bottom: 1px;\n}\n\n.popup li.disabled {\n color: #04b;\n}\n\n.popup li a, .popup li a:visited {\n color: #eee;\n border: none;\n}\n\n.popup li a:hover {\n background: #014;\n color: #fff;\n border: none;\n}\n/*}}}*/\n/***\n!Tiddler Display /%=================================================%/\n***/\n/*{{{*/\n\n.tiddler {\n border-bottom:10px solid #ABC2A1;\n padding-bottom: 1em;\n}\n\n.tiddler .defaultCommand {\n font-weight: bold;\n}\n\n.shadow .title {\n color: #866;\n}\n\n.title {\n color: #8a825c;\n}\n\n.subtitle {\n color: #866;\n}\n\n.toolbar {\n color: #04b;\n}\n\n.tagging, .tagged {\n border: 1px solid #eee;\n background-color: #eee;\n}\n\n.selected .tagging, .selected .tagged {\n background-color: #ddd;\n border: 1px solid #bbb;\n}\n\n.tagging .listTitle, .tagged .listTitle {\n color: #014;\n}\n\n.tagging .button, .tagged .button {\n border: none;\n}\n\n.footer {\n color: #ddd;\n}\n\n.selected .footer {\n color: #888;\n}\n\n.sparkline {\n background: #8cf;\n border: 0;\n}\n\n.sparktick {\n background: #014;\n}\n\n.errorButton {\n color: #ff0;\n background: #f00;\n}\n\n.cascade {\n background: #eef;\n color: #aac;\n border: 1px solid #aac;\n}\n\n.imageLink, #displayArea .imageLink {\n background: transparent;\n}\n\n/*}}}*/\n/***\n''The viewer is where the tiddler content is displayed'' /%------------------------------------------------%/\n***/\n/*{{{*/\n\n.viewer .listTitle {list-style-type: none; margin-left: -2em;}\n\n.viewer .button {\n border: 1px solid #db4;\n}\n\n.viewer blockquote {\n border-left: 3px solid #666;\n}\n\n.viewer table {\n border: 2px solid #333;\n}\n\n.viewer th, thead td {\n background: #db4;\n border: 1px solid #666;\n color: #fff;\n}\n\n.viewer td, .viewer tr {\n border: 1px solid #666;\n}\n\n.viewer pre {\n border: 1px solid #fe8;\n background: #ffc;\n}\n\n.viewer code {\n color: #703;\n}\n\n.viewer hr {\n border: 0;\n border-top: dashed 1px #666;\n color: #666;\n}\n\n.highlight, .marked {\n background: #fe8;\n}\n/*}}}*/\n/***\n''The editor replaces the viewer in the tiddler'' /%------------------------------------------------%/\n***/\n/*{{{*/\n.editor input {\n border: 1px solid #8a825c;;\n}\n\n.editor textarea {\n border: 1px solid #8a825c;;\n width: 100%;\n}\n\n.editorFooter {\n color: #8a825c;\n}\n\n/*}}}*/

/***\n!Sections in this Tiddler:\n*Generic rules\n**Links styles\n**Link Exceptions\n*Header\n*Main menu\n*Sidebar\n**Sidebar options\n**Sidebar tabs\n*Message area\n*Popup\n*Tabs\n*Tiddler display\n**Viewer\n**Editor\n*Misc. rules\n!Generic Rules /%==============================================%/\n***/\n/*{{{*/\nbody {\n font-size: .75em;\n font-family: arial,helvetica;\n position: relative;\n margin: 0;\n padding: 0;\n}\n\nh1,h2,h3,h4,h5 {\n font-weight: bold;\n text-decoration: none;\n padding-left: 0.4em;\n}\n\nh1 {font-size: 1.35em;}\nh2 {font-size: 1.25em;}\nh3 {font-size: 1.1em;}\nh4 {font-size: 1em;}\nh5 {font-size: .9em;}\n\nhr {\n height: 1px;\n}\n\na{\n text-decoration: none;\n}\n\nol { list-style-type: decimal }\nol ol { list-style-type: lower-alpha }\nol ol ol { list-style-type: lower-roman }\nol ol ol ol { list-style-type: decimal }\nol ol ol ol ol { list-style-type: lower-alpha }\nol ol ol ol ol ol { list-style-type: lower-roman }\nol ol ol ol ol ol ol { list-style-type: decimal }\n/*}}}*/\n/***\n''General Link Styles'' /%-----------------------------------------------------------------------------%/\n***/\n/*{{{*/\n.externalLink {\n text-decoration: underline;\n}\n\n.tiddlyLinkExisting {\n font-weight: bold;\n}\n\n.tiddlyLinkNonExisting {\n font-style: italic;\n}\n\n/* the 'a' is required for IE, otherwise it renders the whole tiddler a bold */\na.tiddlyLinkNonExisting.shadow {\n font-weight: bold;\n}\n/*}}}*/\n/***\n''Exceptions to common link styles'' /%------------------------------------------------------------------%/\n***/\n/*{{{*/\n\n#mainMenu .tiddlyLinkExisting, \n#mainMenu .tiddlyLinkNonExisting,\n#mainMenu .externalLink,\n#sidebarTabs .tiddlyLinkExisting,\n#sidebarTabs .tiddlyLinkNonExisting{\n font-weight: bold;\n font-style: normal;\n text-decoration: none;\n}\n\n/*}}}*/\n/***\n!Header /%==================================================%/\n***/\n/*{{{*/\n\n.header {\n position: relative;\n}\n\n.header a:hover {\n background: transparent;\n}\n\n.headerShadow {\n visibility:hidden;\n position: relative;\n padding: 4em 0em 1em 1em;\n}\n\n.headerForeground {\n position: absolute;\n padding: 4em 0em 1em 1em;\n left: 0px;\n top: 0px;\n}\n\n.siteTitle {\n font-size: 3em;\n}\n\n.siteSubtitle {\n font-size: 1.2em;\n}\n\n/*}}}*/\n/***\n!Main menu /%==================================================%/\n***/\n/*{{{*/\n#mainMenu {\n position: absolute;\n left: 0;\n width: 10em;\n text-align: right;\n line-height: 1.6em;\n padding: 1.5em 0.5em 0.5em 0.5em;\n font-size: 1.1em;\n}\n\n/*}}}*/\n/***\n!Sidebar rules /%==================================================%/\n***/\n/*{{{*/\n#sidebar {\n position: absolute;\n right: 3px;\n width: 16em;\n font-size: .9em;\n}\n/*}}}*/\n/***\n''Sidebar options'' /%----------------------------------------------------------------------------------%/\n***/\n/*{{{*/\n#sidebarOptions {\n padding-top: 0.3em;\n}\n\n#sidebarOptions a {\n margin: 0em 0.2em;\n padding: 0.2em 0.3em;\n display: block;\n}\n\n#sidebarOptions input {\n margin: 0.4em 0.5em;\n}\n\n#sidebarOptions .sliderPanel {\n margin-left: 1em;\n padding: 0.5em;\n font-size: .85em;\n}\n\n#sidebarOptions .sliderPanel a {\n font-weight: bold;\n display: inline;\n padding: 0;\n}\n\n#sidebarOptions .sliderPanel input {\n margin: 0 0 .3em 0;\n}\n/*}}}*/\n/***\n''Sidebar tabs'' /%-------------------------------------------------------------------------------------%/\n***/\n/*{{{*/\n\n#sidebarTabs .tabContents {\n width: 15em;\n overflow: hidden;\n}\n\n/*}}}*/\n/***\n!Message area /%==================================================%/\n***/\n/*{{{*/\n#messageArea {\nposition:absolute; 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[img[Dabo_Vodopija_Franke2..tif | images/Dabo_Vodopija_Franke2.tif.jpg]]\n\nOva skupna izložba zamišljena je kao mali presjek suvremene, neakademske grafičke umjetnosti u Hrvatskoj. Kroz radove Tanje Dabo i Jasne Šikanja predstavljen je jedan od centara na području grafičke umjetnosti, riječki odsjek za grafičku umjetnost, a kroz radove Ivane Franke i Mirjane Vodopija drugi, tj. odjel za grafičku umjetnost na zagrebačkoj Akademiji likovnih umjetnosti. Svi izloženi radovi posebnu pozornost poklanjaju kompjutorskoj tehnologiji i njezinom drugačijem vidu multipliciranja zadatih matrica. U prostoru, kao artefakti, radovi ovih umjetnica zadobivaju različite oblike i žanrovska određenja: od fotografske dokumentacije u radovima Tanje Dabo i Jasne Šikanja, do ambijentalne instalacije u radovima Ivane Franke i Mirjane Vodopija. Kustosica izložbe je Margarita Sveštarov Šimat, viši kustos u Kabinetu grafike HAZU u Zagrebu.\nMirjana Vodopija diplomirala je na ALU u Zagrebu 1987. Dobitnica je brojnih domaćih i međunarodnih nagrada od kojih treba istaknuti Godišnju nagradu Hrvatskog društva likovnih umjetnika mladom umjetniku (2000.), Nagrada kabineta grafike HAZU na 2. trijenalu hrvatskog crteža (1999.) i Prvu nagradu na 3. međunarodnom trijenalu grafike u Pragu.\nIvana Franke je diplomirala na ALU u Zagrebu 1997. Izlagala je u zemlji i inozemstvu i također je više puta nagrađivana u Hrvatskoj i u inozemstvu (Nagrada Kabineta grafike HAZU na 1. trijenalu grafike, Priznanje žirija na festivalu Break 21 u Ljubljani itd.).\nTaja Dabo diplomirala je na Pedagoškom fakultetu u Rijeci 1997. Izlaže od 1993., a trenutno pohađa poslijediplomski studij na ALU u Ljubljani.\nJasna Šikanja radi kao docent na Filozofskom fakultetu u Rijeci. Izlagala je na više desetaka izložaba u zemlji inozemstvu. Među brojnim nagradama treba istaknuti Posebno priznanje žirija na 1. hrvatskom trijenalu grafike i Nagradu žirija na Mediteranskom bijenalu u Aleksandriji (Egipat).

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[img[popovic..jpg | images/popovic.jpg]]\n\nViktor Popović (1972) diplomirao je slikarstvo na ALU u Zagrebu 1996.godine, a predaje na Umjetničkoj akademiji u Splitu. Slike izložene u Galeriji Galženica, nastale se nakon autorovog povratka iz New Yorka. Riječ je o fotografijama New Yorka, koje su otisnute na jetkane olovne ploče tako da izvorna fotografija gubi većinu od svoji ikoničkih potencijala (boja, jasnoća, intenzitet). Preko otisnutog motiva rukom i crvenom bojom nacrtana je necjelovita kocka. Sraz različitih oblika slikovne reprezentacije (fotografija i crtanje rukom) zapravo citira modernističke umjetničke aporije i ostavlja ih neriješenim.\nViktor Popović izlaže od 1996. godine i dobitnik je Velike nagrade na 8. trijenalu hrvatskog kiparstva 2003. godine

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[img[norman_rockwell..jpg | images/norman_rockwell.jpg]]\n\nWe 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.\n\nThere is no doubt now that from the late 20th century artistic activities have lost their dominance in the field of image representation. This is why we plan to lay out exhibitions with intention to provoke ideas and thoughts about this new position of the visual arts in relation to other forms of visual representations. What place does the traditional image and what place does the present-day image take in the image culture, as many people call the contemporary historical moment? Are we able to see the difference between the painting and the video game image hung on the wall of a highly regarded institution? Is there any difference among television, computer, photograph and easel images we see every day in a coffee bar, at a station, in a gallery, in the street/ square...? Can image talk and is it not time, once we left the modernist iconoclasm behind, to describe all the possibilities and particularities of the image representation?\n\nSome of the changes refer to the exhibition documentation. Instead of the catalogues we used to print for each exhibition, from now on we will publish annual bilingual catalogue where we will present all the exhibitions of the previous year together. We will not change the practice of presenting artists and their works with a short text, illustrations of the exhibited works and a short biography. The annual catalogue will consist of two elaborate essays on the theme selected for the season. We hope the essays will additionally contextualize the programme and open its meanings towards different forms of artistic and critical practices.\n\nThe art works we plan to present during 2007 at the Galženica Gallery are almost the textbook examples of the visual representation in the history of the Western art (with the exception of net. art). They include traditional easel painting, photography, television (electronic) and digital video image.\n\nIn February, you will be able to see ''Igor Kuduz'''s Polaroid photographs that in a particular way revitalize the medium of photography face to face with the various Internet visual cultures. In March, ''Marko Tadić'', this year's winner of the Salon of the Young Artists Zagreb Award, will exhibit his paintings that are kind of specific polygons or platforms for infinite recycling of the visual signs of the contemporary culture and for composting iconographical rubbish.\n\nApril is for ''Zlatan Vehabović'', another young painter who recently won the Erste Bank Award. He uses, in his own special way, motifs from different areas of visual culture (such as early Renaissance painting, video games, popular iconography). In Jun, ''Mare Milin'' will present her fashion photographs that for some reason were not published in some of the most famous editorials of the Croatian fashion magazines.\n\nNext July is once again the month of the ''Radoslav Putar Award finalists' exhibition'', which means this exhibition will not be a part of the official seasonal concept. Still, it is one of the best contemporary art manifestations in Croatia so we proudly and happily announce it in advance.\nIn September and October, a young artist from Velika Gorica, ''Gordana Pogledić Jančetić'', will exhibit her works that are hybrids of painting, photography and graphic computer programmes. In November, we will open the exhibition of photographs by ''Kristina Lenard'', a current winner of the Visitors' Award at the Croatian Sculpture Triennial. So far, her works have been highly aesthetic interior and exterior shots. Due to that, her photographs re-actualize almost forgotten dichotomies between the real and the construed, the natural and the artificial, the repulsive and the attractive. \n\nThe last exhibition of the 2007 season will be dedicated to the work of a video artist and director ''Ana Haušman'', whose films win awards at almost every Croatian and international festival. At the Galženica Gallery, she will show her latest short film that she is working on now.\n\nLast but not least, we would like to express our gratitude for support you give us by visiting the gallery, for showing interest in our work, for professional and friendly attachment to it…\n\nWe are looking forward to seeing you soon.

[img[kosir..jpg | images/kosir.jpg]]\n\nVitold Košir (1966) diplomirao je kiparstvo na zagrebačkoj ALU i violu na Muzičkoj akademiji u Zagrebu. U Galeriji Galženica izložio je grafike koje su otiskivane s mehanički obrađenih željeznih ploča naknadno prepuštenih utjecaju atmosferskih prilika, koje time mijenjaju strukturu površine ploče. Rezultat tih promjena otiskivanjem postaje vidljiv i na grafičkim listovima. Otiskivanjem samo jednog primjerka u pravilnim vremenski intervalima od mjesec dana zabilježen je protok vremena.\nVitold Košir izlaže od 1990. u zemlji inozemstvu. Za svoj rad dobio je dvije nagrade: Otkupnu nagradu na 1. trijenalu hrvatske grafike i Otkupnu nagradu na međunarodnoj izložbi "Eurofire In The Land of Liege" u Bruxellesu.

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You can find us at the following address: Dom kulture (Cultural centre), 5 Stjepana Radića Square, Velika Gorica.\n\n[img[karta | images/karta_500.gif]]

[img[dumanic..jpg | images/dumanic.jpg]]\n\nZlatan Dumanić (1951) splitski je umjetnik, i ovogodišnji predstavnik Hrvatske na 51. venecijanskom bijenalu. Premda ponajviše poznat po svojim neoavangardnim umjetničkim radovima, performansima, akcijama, instalacijama, filmovima i poeziji, Dumanić posljednjih nekoliko godina kontinuirano radi u mediju štafelajnog slikarstva, pa je izložba u Velikoj Gorici svojevrsna slikarska premijera. U svojim slikama Dumanić je ponajprije zaokupljen vlastitom egzistencijom, koja kroz erotske i općenito ljubavne teme i motive, umjesto sveobuhvatnih, cjelovitih, ozbiljnih reprezentacija poprima svakodnevne, obične, upravo dnevničke ili komične oblike.\nZlatan Dumanić bivši je zapovjednik broda od 3000 BT i naviše, s najvećim pomorskim kvalifikacijama. Izlaže i djeluje od 1969. godine. Sudjelovao je na velikom broju skupnih izložaba, održao niz multimedijalnih akcija, performansa i programa, te izdao veliki broj autorskih izdanja knjiga, pjesničkih zbirki i libreta.

[img[vehabovic_web..jpg | images/vehabovic_web.jpg]]\n\n\n// I intended these images to be saturated with variety of our memories. Should they succeed being visually effective it is precisely because they do not show any one specific place, or landscape. Looking at them evokes a film-like movement of images, which is a movement from memory, and might best be associated to Jorge Luis Borges's idea that all art strives towards the state of music. They are simultaneously representational, narrative, and abstract, recalling familiar elements from art history and from reality//. (Zlatan Vehabović)\n\nIn the book “Poetics” Borges says that the epic sensibility has disappeared. Although he refers primarily to literature, I think we are not mistaken if we recognize that statement as a general assessment of contemporariness that, in Lyotard's words, has left great stories in the past. Still, Borges leaves door opened by claiming that even if any of the epic sensibility from the past has remained it cannot be found in literature or art anymore but in film. \n\nZlatan Vehabović's references to the art of film, Borges and music are not random. Until the dawn of the Internet, as a multimedia text that combines image, sound and movement, film satisfied our need for “reading” both art and the world around us in a multi-sensory way. The film, being the art of time, took the aspect of narration and turned it into one of its basic principles.\n\nHis painting is not a film, it is not happening in time, does not contain sound and instead of story it presents a vague atmosphere only outlining potential story. However, he aspires to something like music. Where does this trace of music in the painting come from and what is its relation to film?\n\nIt seems to be a Proust-like situation, mentioned by the author himself when talking about “evocation of images”. To start evocation he, besides large-scale formats that re-topicalize the body in the process of perception, selects and presents childhood motifs that contain a certain amount of universal meaning. By this, I mean personal, social, political, economic and other aspects of childhood, the phenomenon that always meets with different reactions. It is of no importance whether we discuss the groups of abandoned children in the African and South American suburbs or the meaning of adventure literature for children and their upbringing based on the stories about Huckleberry Finn and Tom Sawyer or we have doubts about their upbringing in the context of entertainment industry of television and the Internet. It is always about activating different, often forgotten attitudes and evoking memories. \n\nAs laid down by contemporary ethnographical research it needs to be said that childhood is a cultural product made by the adults for children. This unveils not only ways of “taming” the youngest members of society but also the imagery that the adults possess by creating the images of childhood. The imagery of such a slightly perverse situation, in which adults decide what it is like to be a child, changes together with the overall culture. Therefore, it is hard to believe today that the image of a boy running away from his parents to catch a fish is a model of a well-behaved child (as far as fishing is concerned).\n\nWhen it comes to escape things are different. Namely, the image of childhood as a careless world of idleness separated from the world of adults was created in the late 19th century when the western civil society of high capitalism was on the rise. According to that image, men worked separately from home and family, women took care of household and children played, shortly interrupted by school obligations. This culture of childhood existed only in the upper classes. Nowadays, adults' perception of childhood as a period devoid of worry is not only normal but also necessary for our own sake. That image, despite the changes that global society is undergoing, is still determined by the aspect of escape. Illusion about escaping the grey everyday life, in which we cannot find the meaning, about going to unknown and distant places (modern tourism is a surrogate for this), is probably one of the longest living cultural phenomena of modern age. In the field of art, the martyrs of adventurism, escape or departure lived already in late 19th century and the most famous were Rimbaud, Conrad and Gauguin.\n\nThere is more in that than narrative canons of the adventure literature. What more, there is something of epic sensibility found in film mentioned by Borges or something of the music effect suggested by Vehabović. It may even be a transgression of the everyday that can be committed against different bases: political, psychosocial, imaginary etc. Vehabović's representation of the transgression is not political except on the margins where we face social representation of childhood. It is poetical and, in the best manner of pop music, escapist. The childhood myth crossed with the alternative space of communication such as My Space. Music, a mystic signifier referring to itself, arouses feelings, evokes memories and the virtual space of the eternal adolescence where adults are unwelcome.\n\nHis paintings evoke experiences swarming above spaces of childhood characterized by play, curiosity, idleness and illusion that, no matter what happened after and what is today, we lived without the mediation of culture and language. (Klaudio Štefančić)\n\n\n''Zlatan Vehabović'' is born in Banjaluka (Bosnia and Herzegovina) in 1982. He graduated at The Academy of Fine Arts in Zagreb. Among various awards he received Erste Bank Award For Young Artists in 2006 and Essl Award in 2007. He lives and works in Zagreb. \n\n\nLinks:\n\nhttp://voting.essl-award.org/auswertung/participant.php?pid=44\nhttp://www.leutmagnetik.net/\nhttp://www.sczg.hr/default.php?id=prog&date=2006-5\n\n\n\n

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[img[db_web..jpg | images/db_web.jpg]]\n\nThe 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.\n\n''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. \n\nMichael Aschauer exhibits works about systematic filming of the banks of the river Nile (http://nilestudies.net) and computer-generated landscapes that resulted from daily and weekly changes’ observation (http://m.ash.to/@/@/Projects/24-7).\n\nJan Gerber and Sebastijan Lutgert present their artwork on http://www.0xdb.org 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.\n \nGroup UMATIC i.e. Derek Holzer presents the web project of DIY virtual sound space journey through the web metaphor of an aeroplane flight (http://www.soundtransit.nl) as well as gallery-based installation of slides, images and sound recordings.\n\nThe 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 Cinema.org. will be held at the same place on 24th September 2008. (Željko Blaće, curator)\n\nExhibition/ project is supported by: \nThe City of Velika Gorica\nMinistry of Culture of Republic Croatia\nAustrian Cultural Forum, Zagreb\nMultimedia institute, Zagreb\n\nLinks:\n(1) http://www.wizards-of-os.org/archiv/sprecher/l_m/sebastian_luetgert.html\n(2) http://www.zamirzine.net/spip.php?article3642\n(3) http://www.umatic.nl/info_derek.html\n

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[img[kipke 004..jpg | images/kipke 004.jpg]]\n\nŽeljko Kipke jedan je od najpoznatijih hrvatskih slikara srednje generacije i umjetnik koji je krajem 70-ih najprije počeo raditi u mediju eksperimentalnog filma i videa, da bi se početkom 80-ih u vrijeme transavangarde potpuno posvetio slikarstvu. Pored slikarstva Kipke se već dugi niz godina bavi i književnim radom, među kojim su umjetnička kritika i esejistika najpoznatiji. Krajem prošle godine zagrebačka izdavačka kuća Duriex objavila mu je knjigu, odnosno dnevnik "Od veljače do veljače", u kojem je pojava osoba iz hrvatskog umjetničkog i kulturnog života izazvala nemali skandal.\nU Galeriji Galženica, Kipke je, na neki način, realizirao dvostruki projekt: umjetnički i književni. U prostoru galerije postavio je video-instalaciju posvećenu snovima, a povodom izložbe i umjesto kataloga izdao je knjigu svojih snova, koje je zapisivao točno godinu dana, od veljače do veljače. Par mjeseci nakon objave dnevnika, Kipke je tako povodom izložbe u Velikoj Gorici objavio pandan svojem dnevniku - svojevrstan noćnik.\nŽeljko Kipke (1953.) diplomirao je slikarstvo na ALU u Zagrebu 1976. Slike mu se nalaze u slijedećim zbirkama suvremene umjetnosti: Zbirka Peter Stuyvesant u Amsterdamu, Zbirka FRAC u Toulouseu, Muzej moderne umjetnosti u Beču i Muzej suvremene umjetnosti u Zagrebu. Predstavljao je Republiku Hrvatsku na Venecijanskom bijenalu 1993., a dvije godine i na Kairskom bijenalu. \nPiše kritiku i eseje s područja umjetnosti i eksperimentalnog filma. Od 1997. član je Međunarodnog udruženja likovnih kritičara (AICA). Objavio je šest knjiga: "Iluminatori novog ciklusa" (Zagreb, 1989), "Vodič kroz subteranneus" (Zagreb, 1992), "Čuvajte se imitacija" (Zagreb, 1993), "Od izobilja do Mjeseca" (Zagreb, 1998), "Svaka sličnost sa stvarnim ljudima i događajima je namjerna" (Zagreb, 2004), "Od veljače do veljače" (Zagreb, 2005).\n

[img[stojanovic..tif | images/stojanovic.tif.jpg]]\n\nIzložba je svojevrsna retrospektiva fotografskog rada Željka Stojanovića. On je kao foto-reporter tijekom 70-ih i 80-ih godina surađivao u različitim časopisima (Fokus, Studentski list, Start, Danas i drugi), oblikujući u hrvatskom novinskom i fotografskom prostoru osobit i tada relativno novi žanr foto-reportaže. U tom smislu, Stojanović je jedan od pionira na području foto- reporterstva u Hrvatskoj i fotograf, čiji je rad nemalo utjecao na Poletovu školu fotografije. Trenutno je urednik fotografije u Feral Tribuneu.