Category: Events


Vlatko Vincek


November 18 – November 27, 2014

Opening of the exhibition on 18th of November at 7:30 pm



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The new work by choreographer Marjana Krajač is a three-hour performance at the Mestrovic Pavilion / Dom HDLU in Zagreb, which will be premiered on 18th of October 2014 starting at 14 h, with performances on 19th, 20th, 21st and 22nd of October also starting at 14 h.


This simultaneously complex and fragile consideration of the nature of dance, whose building material is just enough present in order to irrevocably dissapear,

is extensive, yet minimalistic dance session between sound and space.

Performed by dance artists Lana Hosni, Irena Mikec, Katarina Rilović, Irena Tomašić and Mia Zalukar, this long dance work invites you to spend time with it, coming gradually into the layers of its texture.

In her last works, Marjana Krajač embarked on a complex mission of revoking the very substance of a dance medium, exposing its own ontology and deconstructed historicity. In such intervention, that deals with the very nature of dance – Spinoza would call it natura naturata, modes and conditions of substance can seek its cause only in themselves. To dance a dance, means then also that the very dance must go through the experience itself. This suggests that something beyond the experiential horizon of dance can only be a projection of its function but not the dance itself. In such framework of interest, Marjana Krajač and five dance artists are asking relevant questions and opening up the space of joint consideration of metaphysical commitments and added meanings. What inhabits a dance event becomes part of its foundation.

Moving away from short-term effects of watching, this work calls for flexibility of time and experiential notion of a performance. VARIATIONS ON SENSITIVE are proposing this work as a community experience and the group experience, in any case, something that we share with others via watching. The Other, which is the mirror of what occurs, becomes important for our understanding of dance as an art of transfer. Transfer through the other and the friction on the other becomes the only area in which dance can construct some type of memory to itself. In this sense, the other is at the same time a witness and a participant.

The work was created in cooperation and residencies at Uferstudios / Tanzfabrik Berlin (Germany), Santarcangelo dei Teatri (Italy) and the Zagreb Dance Centre.

The work was realized with the support of the City of Zagreb, Croatian Ministry of Culture, Zagreb Dance Centre, Croatian Institute for Movement and Dance and the Croatian Association of Artists.



Admission to the premiere on October 18th is by invitation.

For 19, 20, 21 and 22 October tickets can be purchased directly before the performance at the ticket office at the entrance of Mestrovic Pavilion / Dom HDLU. The ticket office opens 1 hour before the performance.



Trg žrtava fašizma 16, 10000 Zagreb, Croatia

tel: 01 / 4611-818 / 4611-819 (weekdays from 10 to 14 hours)







Detail-2-photographer-Bernd-BorchardtTHOMAS RENTMEISTER – CONSIDERING THE MATTER

24.09. – 12.10.2014.

Opening on Wednesday, September 24th 2014 at 7.30 pm

 Gallery Bačva
Trg žrtava fašizma 16
10000 Zagreb

Photograph by Bernd Borchardt


(Materiality and Play in the Work of Thomas Rentmeister)

The essence of Thomas Rentmeister’s work is the imagination, materiality and play. Man, as Johann Huizinga’s famous book long ago observed, is by his culture forming nature homo ludens (‘man the player’), and as a result over time has become a master manipulator of the material world. It is clear that playing offers an accumulation of practices that leads through repetition to an extension of new forms of originality and innovation. Hence the title of this exhibition is intended to be simultaneously playful and intellectual, that is to say the artist Thomas Rentmeister considers his use of materials both as tactile resources and as food for thought. While the materials of his artistic practice are invariably mass-produced and easily accessible or familiar to the viewer, they nonetheless form a unique vocabulary of personal transformation. In and through an imaginative and sensory compilation of expressive material affects that Rentmeister shapes an admixture of minimalist referent and post-minimal disequilibrium. As a result he is able to invest his works with a unique sense of wit and wistfulness: that is he reveals a double-edged sense of formal propriety through his compositional sculpture-making practice while evoking at the same time highly textured informal feelings of vague or regretful longing.

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Politicization of Friendship

Zoran Popović: Pretty Good Edinburgh and Surrounding Area, 1973 (film 8 mm, color, silent, 11’20)
Courtesy: Zoran Popović

Roberto Barandalla & Darío Schvarzstein, Jože Barši, The Beehive Design Collective, Ivan Cardoso, Juan Downey, La Escuela de Valparaíso, GALCHI (Galeria Chilena), Group Material, Group of Six Artists, Minna Henriksson, Roberto Jacoby, KURS (Miloš Miletić & Mirjana Radovanović), Madness in the Eighties: Anti-Psychiatry Movement in Slovenia, Manga Rosa, Roberto Mardones, Tina Modotti: Farewell to Photography, Andrei Monastirsky (Collective Actions), Museo de la Solidaridad / Museum of Solidarity, Santiago, Chile, The OHO Group, THE PLAY, Zoran Popović, The Real Estate Show, Benet Rossell, Škart, Josip Vaništa (Gorgona), Yugoslav Surrealists: Politics of the Impossible

1 July – 28 September 2014
Museum of Contemporary Art Metelkova, Maistrova 3

Curator: Bojana Piškur
Co-curators: Isabel García Pérez de Arce, André Mesquita
Special projects curated by: Miklavž Komelj, Branka Stipančić

You are cordially invited to the exhibition opening onTuesday, 1 July 2014 at 8 p.m. at the Museum of Contemporary Art Metelkova, Maistrova 3.

In the history of philosophy as well as theory of art there exists a variety of works based on the idea of friendship. The core of present interest in friendship goes beyond friendship as mere closeness, affinity, affection or some consensus of opinion. It implies a broader political dimension and consequently a certain tension and malaise.

The exhibition itself evolved from the premises of so-called participatory art of Eastern Europe and Latin America, which are here brought to a significantly different level. The exhibition Politicization of Friendshiptherefore attempts to encompass certain aspects of “participation”, for instance collective artistic production, solidarity, interaction and collaboration between artists in different parts of the world where the art system was not only underdeveloped, but also completely indifferent towards alternative artistic practices. Some of the typical characteristics of Eastern European and Latin American spaces and their understanding of collectivity and collaboration include informal alternative art spaces, apart-art, art collectives, collective creativity, self-organizing, “self-historicization,” etc.

However, our point of departure is not the history of theater or performance art, where theoreticians typically tend to locate the beginnings of participatory art, but primarily ruptures in various areas of knowledge, or “the new politics of knowledge”, that have occurred since the 1960s. Such ruptures produced different discourses – not only the discourse on madness, sexuality, history and a variety of scientific discourses, but also the discourse on art. They all derive from an attempt to dispense with the conventional habits of mind and received ideas in each established area, or in other words, from the need to uncover the relations between knowledge and power.

The exhibition presents works by artists, art collectives and movements that stem from the following questions: What can friendship achieve? What shifts can occur, in both artistic-formal and political terms, if friendship begins to create new ways of interpersonal relating and new structures of being? What is at issue is not just the political potential of an artwork or its emancipation from the representational regime, but politicization as desire, which “deploy[s] its forces within the political domain and grow[s] more intense in the process of overturning the established order.” In short, desire as the driving force of exploration, which surfaces at some fundamental encounter at the junction of politics, art, philosophy, etc.

Friendship can’t simply be equated with collective spirit and collective work; it is a form of emancipation, not in the sense of political correctness, consensus or search for some universal truth, but as a constant discovering of what we are and what we become in the processes of friendship. These questions are both essentially political, calling for a decision that does not come easily, hence demanding a significantly different engagement in the here and now.

The day after the opening, on July 2, at 6 p.m., you are invited to attend a talk with participating artists, moderated by Bojana Piškur and Tjaša Pogačar Podgornik (in English). Accompanying the exhibition there is a program of lectures and talks, workshops, and screening of buddy film at the Slovenska Kinoteka.

The exhibition is accompanied by a catalogue designed by Škart.

The exhibition is supported by the Ministry of Culture of the Republic of Slovenia.

HDLU – Croatian Association of Artists

The annual contest for exhibiting in 2015

open call for exhibiting in PM Gallery, Karas Gallery, Barrel Gallery and Ring Gallery

– exhibition proposals
– educational projects
– international programs, inter-institutional and regional collaborations

– cover letter
– title of the program
– brief description of the program/project
– gallery selection
– information about the applicant or group exhibiting (CV, catalogues)
– goals, phases of project realization
Please fill out the Application_2015
– for international, inter-institutional and regional collaborations: list of participating countries and written proof of collaboration
– if the application is for an exhibition the applicant must fill the application and provide all the material requested for visualizing the exhibit and sketches of the installation within the space:
– photos or sketches of the installation (resolution 2400 x 1600 pixels, JPEG or TIFF format)
– video in standard DVD PAL format
– sound installation in standard audio format

Floor plans of the gallery spaces can be downloaded from the HDLU website (find the links lower).

The results can be found on the HDLU web page (


Applications have to be submitted only by e-mail to the following e-mail addresses: – for exhibiting in PM and Ring Gallery – for exhibiting in Barrel and Karas Gallery
Conformations for submitted applications will be sent every day, from Monday till Friday. In case you do not receive a confirmation in the next 48 hours since the time of sending it to us be free to contact us:
Tea Hatadi – for the exhibiting in PM and Ring Gallery –; 00385 99 732 6127
Mia Orsag – for exhibiting in Barrel and Karas gallery –; 098 982 8989

HDLU reserves  the right to use the selected applications as promotional material of the yearly program in all types of media, catalogues, invites  and web and Facebook pages of HDLU.

In 2015 Karas Gallery will be run by HDLU for 6 months, and by ULUPUH for the next 6 months.

ABOUT THE GALLERIES (click on the link for gallery’s floor plan):

 PM Gallery was established as an artist run space in the framework of the “Croatian Association of Artists” in 1981. The galleries program is oriented towards critical artistic practices and the legacy of the paradigmatic shifts that occurred in the 1960’s and 1970’s. We are strongly inviting younger generation of authors to submit their proposals.

Karas Gallery  is dislocated from other three galleries and is situated in the close proximity of the cities main square. The gallery space is divided into three levels and is intended mostly for young authors.

Barell Gallery is a circular space very often used for site specific installations according to the overwhelming space of the gallery.

Ring Gallery is large gallery space primarily intended for bigger thematic exhibitions and retrospectives.

Seven about the reality 
09.05. – 22.05.2014
Gallery Konduktorownia
Czestochowa, Poland


Exhibition of seven Croatian mid- and young generation artists presents seven different and specific artistic approaches that tell seven stories about present and reality, stories that get close to each other at certain points. Through their visions, interpretations of the media and their own constructed way of perception, they present certain issues to the observer. By using different media approaches they analyze almost all the key aspects of our present, situations we think about on a daily basis, at conscious and subconscious levels – examining ourselves and our own personality, questioning and exploring the details of environment which surrounds us on a day-to-day basis, by setting these details on a new aesthetic level, and above all analyzing social statuses and events, norms and conventions, which are products of new times.

By the balanced power and sensibility Mia Orsag brings insightful work which attempts to examine and analyze some of the key metaphysical questions – life, relationship, identity.

Her sculpture 2/4 presents the mathematical formulation, the redistribution of ”safe and sound”, and of what is subject to change due to the impact of a number of everyday factors.

Two quarters are the positive energy, stability and eternal brace, while the remaining two quarters are incomplete, undefined and ready for the changes that the future brings and maybe at some point circumstances allow the separate halves become whole.

Patinated drawings of spaces and figures, which are here and at the same point they start to disappear, from the series No One No Where, are the result of her preoccupation with the present and the key issues; identity, existence and change, that she wants to share with the observer.

The very process of scribbling, drawing, erasing and scratching is very easily associated with time-consuming and painstaking process of knowing the world and ourselves, moreover the result of the search often remains vague and undefined. Mia’s drawings are trying to investigate exactly these extreme fields of knowledge and existence.

Works of Mirjana Vodopija, from the series Breath and Herbs are the result of research of ordinary, everyday elements of the environment, especially unsightly vegetation, which due to the play of light takes on a new dimension, bringing into question the limit of existence. A great source of inspiration for her work and research, Mirjana Vodopija finds in nature and through her experiments in various medias, such as graphics, drawing, photograph or object, she is able to successfully articulate her ideas and gives the opportunity to the observers, by broadening their horizons and possibilities of perception. Quite common elements appear in new forms and take on new characteristics. With the help of photography, the artist presents to us already naturally and clearly defined objects, which by the help of the limited light moments she transformed into her final idea – the border area where something exists and disappears. Her works as a result of patient research, conscious and unconscious moments where ideas develop, educate the view and raise issues about the infinite possibilities of perceiving the world around us.

Questioning of the border worlds, and her own personality and reality are brought in the works of Marina Fernežir, which she created in the last two years, as part of the cycle ”Alchemy of dreams”.

Marina Fernežir has a specific artistic style, built on the foundations of her conservation and restoration activities.

Through the works in this cycle we follow development of her inner worlds, which are the images blended with elements of reality, but still remained on the border between dreams and reality. It is a combination of concrete and familiar elements in the picture, figures and landscapes, with stylized elements of architecture and unexpected motifs, that allows Marina Fernežir’s paintings to transcend the banality of everyday life scenes. What was at the beginning an exploration of the basic elements of artistic creativity, resulted in a transformation of the motifs into visual language similar to the visions of dream worlds.

Elvis Berton presents works from three different cycles, moving from intimate Istrian porches over the stylized interpretations of the nature and the actual artistic perception of objects in it, to the criticism of today’s ”shifted” society. The work from the series ”Porches”, brings a touch of Istrian atmosphere, setting styled porch in the landscape of great tension, constantly waiting for the relief. Landscapes and plants in Berton’s paintings are styled almost to the limit, tending to represent his personal visions and perceptions of the living nature.

At first seemingly only lovable lemon motif, defined by the artist’s bold and specific visual expression, can be considered as a motive from everyday life, but Berton’s Lemons assume in this case another function – disclosing putridity, acidity and decadence of modern consumerist society.

Artistic tandem Žižić / Kožul directly and clearly present their work, which is based on the relationship between modern art and marketing of high class fashion and luxury industry. They are opening the question of recycling elements and phenomena of the contemporary art in marketing propaganda and what happens when contemporary art appropriates the aesthetic norms and rules of major marketing giants. They question the quality of the products that are on a daily basis served to consumers and the manipulation of advertising campaigns, which has found an ideal breeding ground in today’s time of impersonality of submission, apathy and dullness of modern society. ”Good taste” of the elite representatives of such society has long ago become questionable, and thus the taste of the vast majority of the world – a whole series of ”ordinary” people who often by all means go beyond their possibilities, in order to follow the ”dogma” of aggressive and manipulative marketing.

The works of the young sculptor Vojin Hraste are the excellent continuation of questions that opened Žižić / Kožul, but Hraste turns it to the perception of himself. Twisted perception of his own personality manifests itself in a self-portrait increased by 50 % compared to the natural size, filled with plastic hair, which transforms him beyond recognition, while subtly alluding to the popular ventures of installing silicone implants, which can change (distort) a man from head to toe.

Hraste clearly, directly and literally questions the giant of the film industry, Hollywood, which from day to day imposes a multitude of aesthetic norms and rules, whose correctness and logic is truly questioned just by few people. Entire film and media industry, bring to the individuals countless possibilities of ”correction” of their own personality, behavior, attitude and style, where it becomes clear that very benign is physical, and more worrying is its mental transformation.

Artworks of Tea Hatadi, complete this joint exhibition of seven Croatian artists, who in different ways and by various methods talk about the present and immediate preoccupations.

By specific aesthetic approach, Tea Hatadi seductively attracts us to focus our attention on her work, disclosing clearly and directly her private information, with a defined and specific attitude talks about her position of a contemporary artist, criticizing moments of the struggle for survival while taking her place on the artistic scene.

Contradiction is one of the foundations of Tea’s works, skillfully balancing between the composition of seductive and gentle, and strong, sharp, direct and to a certain extent negative elements.

Tea’s work Censorship of Happiness, clearly articulated artistic achievement, that is visually striking and attractive, brings a look at a relative term of happiness. Her colleagues, artists talk about happiness, which is closely related to their artistic creativity, sometimes it is a spark of happiness that came in an unexpected moment, and sometimes their luck is a result of negative situations. Tea’s censorship comes down to the visual aspect, using silhouettes in the background in sepia tone, draws the viewer to listen to them closely and examine their own perceptions of happiness.

This goes back to the starting point of personal analysis and analysis of abstract philosophical concepts, thus seven stories become the whole.

Sara Čičić

alam_trtovac_shift_012Alma Trtovac – SHIFT

Opening of the exhibition on 15th of April 2014 at 7 pm

April 15 – April 24, 2014

Karas Gallery
Praška 4
10000 Zagreb, Croatia

“Shift”, a spatial installation art by Alma Trtovac, represents a type of virtual reality walled within an eight-sided chamber by forty-seven acrylic paintings on canvas. As painting translates into architecture, the very act of painting also becomes an act of building, construction and reconstruction.

The author constructs a hybrid urban landscape based on the mental images of two cities – Zagreb and Dresden. As they share the traumatic ordeals of war and destruction, a fluid urban organism emerges from their experiences. The spatial concept of the installation is based on the cycle of life, everlasting change, but also on the permanent repetition of history. The symbolism of the octagonal space is found in the interpretation of a classic Chinese text, I Ching: The Book of Changes, its philosophy being close to the author’s sensibility. The four main walls represent the four sides of the world, but also the four seasons. This newly created city contains within itself the entire world. The subjects of change, the everlasting dynamics of energy and the uninterrupted process are obvious when one approaches the installation – movement and  recognizing the vibrating chamber are transformed into a “work in progress”, an experience which repeats itself – each time in a different way. The urban whole remains elusive. The schizophrenic and fragmented character of the contemporary city, the artificially joined pieces of urban tissue appear in flashes and compel us to circle endlessly, repetitively wandering through the neon urban landscape.

The colors of the urban environments react to the UV lights and flash almost aggressively as they are exposed to the lights’ stroboscopic movements. The flickering lights suggest chaos and decay, out of which something new is born. The observer is bombarded with lights, evoking the real traumatic experiences of the two cities. Through her artistic work, the author tries to intimately involve the observer – the experience of the cities becomes our experience, the discomfort one feels stems from participating within the simulated atmosphere.

The lights “train” the observer, who is forced to adapt to the new situation and the newly created urban landscape. Art and space take on an almost Benjaminian role as they become a training ground for new subjects and new psyches. The space forces the observers to adapt to it, but also to seek meaning within it, to critically approach the situation, rather than blindly accepting it.

One can no longer escape to Utopia – art has to maintain alertness and encourage a critical approach. It cannot be seen as “light” in character – rather than comforting us with art for art’s sake, the bright flashes hit us directly and force us to act, to accept the new situation and give in to change.

Resembling Fritz Lang’s scenographic collage, a sort of timeless metropolis is created as the paintings’ frames dissolve within the neon chaos. In this cycle of destruction, a tear appears and out of it emerge the possibilities for change and creation. The universal experiences of pain and war force us to rethink history, to move beyond the trauma through revealing it, much like the ashen hair of Shulamite in the works of Anselm Kiefer. The phoenix city rises from the ash, born anew, strengthened by the experience of individual and collective memory colliding and the healing which results.


Ana Bedenko


Born in Zagreb in 1988. In 2012, received her Master of Fine Arts Degree at the Academy of Fine Arts in Zagreb, under the mentorship of Professor Zoltan Novak.

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