• 26th October - 2nd November 2010
• 26th October 2010 at 7pm exhibition opening
• 27th October 2010 at 5pm video screening and conversation with the artist

We are inviting you to the exhibition opening “This is not Walking, it’s a Getaway” of Ana Hoffner, Austrian artist of Serbian descent. The exhibition will open on 26th October 2010 at 7pm. On the 27th October 2010 at 5pm we are organizing a screening event and a conversation with the artist.

View the video announcement on Vimeo !

Ana Hoffner in her performative work “Was ist Kunst?” reveals the genealogy of the contemporary art phenomenon, the lecture performance, that she herself extensively utilizes even prior to revealing it’s origin. Paraphrasing the artist, lecture performance emerges as a medium resolving the insufficiency of the personal/biographical as the sole element of artistic/performing expression by adding research to personal confessions. The amalgam that emerges possesses the legitimacy of a scientific work and thus fits better the contemporary, capitalist mode of production. Ana employs this method in all four works exhibited at the “This is not Walking, it’s a Getaway” exhibition in the PM Gallery. Thereby, other than using the strategies of reenactment to quote historical performances, she quotes her own work and thus perpetuates the present moment.

By titling most of her work according to the originals she is paraphrasing: “I’m too sad to tell you, Bosnian Girl!”, “Was ist Kunst - a Product of Circumstances?”, “Movement, Privatized”, “Transitional Europe”, Ana assures us, using theoretical discourse, that we are mere viewers which nothing, apart from prior experience of her work, could prepare us for the intensity that follows.

Differentiating performative practices and performativity, Ana draws from early performances by approaching the public as an emancipated object who by speaking becomes a subject. But she is not a benign Western subject as Bruce Nauman is, who presents the civilized resistance to heronormativity of his times. Ana strategically represents the aggressive subject of the East who bites, smacks, purposely endangering itself and others. Thorough substantial analysis, the political and emotional tension intensifies culminating in Dr. Jackleys transformation to Mr. Hyde. Ana takes up the role of the notorious East who, as she exemplifies, disappears from the political discourse with the collapse of the Berlin Wall, but does not disappeare from the minds of the people, even those who never confess.

Ana’s work is reflexive but not didactical since she omits many of the links which revel her thought flow and therefore implies understanding or withdraws from communication. Utilizing existing artworks as her material, Ana presents herself not only as an artist but also takes up the role of an art critic and social critic. (Iva Kovač / curator)

Exhibition opening

VIDEO BARIK

Opening December 10.2009 , 7 pm

PM / Extended Media Gallery

Barrel Gallery, Ring Gallery

10.12. – 13. 12. 2009

Video Barik, a programme of recent video art, although part of the programme of the PM / Extended Media Gallery, was anticipated for the exhibition venues of the Barrel Gallery and the Ring Gallery. It was devised by members of the Council and the curator of the PM Gallery, the objective being to have three days of screening of video works by artists of the younger generation who are not properly and certainly not institutionally represented. The works are screened in a loop without any particular structure, since presentation in free form enables the artists to show their new works irrespective of the financial obstacles of the programme, and lets the public have an insight into recent art production. This manner of presentation is at the same time an attempt to map the current constellation of relations on the local scene and an evasion of the imperatives to discover the new, for the sake of catalysing events on the scene. At the same time, the traps of a thematic determination of the programme were sidestepped, since the artists and their works were directly nominated by members of the PM Gallery Council.

Also to be presented in the framework of the programme is a new work of Kata Mijatovic, in order to avoid the notorious phrase “exhibition of artists of the younger generation”. Kata Mijatovic is a counter-balance and at the same time a fact of generational synergy, thus creating something new on the art scene.

In line with its tradition, with Video Barik, the PM Gallery confirms itself as a platform for the experimentation and presentation of current artistic events and new productions on the domestic scene, the mission being to keep up with the progressive currents and advocate original art projects, particularly those of artists of the younger generation.

Participating artists:

Antonia Begušić (Dubrovnik, 1984)

„Ovo / This”

Duration: 2 min 6 sec

Tonči Gaćina (Split, 1983. )
“Korijeni / Roots”

Duration: 3′ 44”, 2008

Luka Hrgović ( Zagreb, 1986)
“Construction Workers Lunching on a Crossbeam”
2008, HD, 1 min

Ivana Jurić (Osijek, 1982)

” JA / I”

3min 35sec, 2008.

Tihana Mandušić (Split, 1982)

“Being a Woman…”,

12 min and 45 sec, 2009

Martin Mrzljak (Zagreb, 1987 )
“social networking”

shot on subsequently digitalised 16mm film

2 min. 00 sec, 2008

Nives Sertić (Dubrovnik, 1984.)
“IAN AND I”
55’ 28’’, 2007

Kata Mijatović (Branjina, 1956. )

Vrištanje / Shrieking, 2009

seven-channel video installation

Home of HDLU

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Project presentation: Croatian-Russian Matryoshka

May 28th, 2009 at 6:30 pm

Project promotion photos:

HDLU, Trg žrtava fašizma bb, Zagreb

in cooperation with  British Council in Croatia

Lecture by Mark Gisbourne

May 27th, 2009 at 7 pm

/ lecture is on english with slide-projection / 

ROHKUNSTBAU XVI – 2009 –ATLANTIS

(HIDDEN HISTORIES – NEW IDENTITIES)

Humpty Dumpty sat on a wall,

Humpty Dumpty had a great fall.

All the King’s horses, And all the King’s men

Couldn’t put Humpty together again!

Following the series of exhibitions Drei Farben, Blau, Weiss und Rot (Rohkunstbau XIII, XIV, XV, 2006-08), the project of Rohkunstbau XVI and XVII will be devoted to the general thematic of Atlantis. Rohkunstbau XVI is devoted to ‘demos-egalitarian’, and Rohkunstbau XVII to ‘aristos-elitarian’. By reference to the mythical civilisation and/or island first mentioned in Plato’s Socratean dialogue the Timaeus and Critias we hope to emphasise, twenty years after the Berlin Wall came down, issues of hidden histories and in consequence the new identities that are being formed in the wake of a reunified Europe. To what extent is either Germany or Central Europe reunified into a true European identity? Has the rupture of Europe been resolved? If so what are its hidden histories that are thought to be re-emerging? Can the ‘top down’ imposition of a purported solution (particularly in Germany) be said to have succeeded? If the former East German people chose through a newly elected Parliament to re-unify, to what extent has the wished for re-union come into being as they might have desired it? In what sense (if any) has a Central European identity been recast? The artists participating in this exhibition are asked to reflect upon the Atlantis issue from a personal perspective and elaborate a viewpoint. The emphasis is placed on a ‘personal meaning’ and new identity they might conceive as stemming from it.

The existence or non-existence of Atlantis (Plato’s fictional metaphor) has fascinated generations of writers and artist. The imagined place, its character and identity has been embedded in the artistic and literary mind for centuries. What is and why is there a fascination with the Atlantis myth? Intriguingly it derives from the Classical Age, then completely disappears returning in the humanistic Renaissance, most notable in Francis Bacon’s essay The New Atlantis (1627) where he speaks of a utopian society called Bensalem. Isaac Newton, the founder of modern physics, also expressed a fascination with notions of a lost kingdom, in The Chronology of the Ancient Kingdoms Amended (1728). See also Ignatius L. Donnelly Atlantis: The Antediluvian World (1882). Late nineteenth century mysticism was particularly interested in lost continents (Mu or Atlantis) and the Atlantis story, see Helena Blavatsky (1831-91), Founder of the Theosophical Society, and her The Secret Doctrine: The Synthesis of Science, Religion, and Philosophy (1888), and Rudolf Steiner, Founder of Anthroposophy, wrote also about Atlantis (the fourth ‘root race’ that led to the ‘aryan’ race), and has continued to fascinate in writer countless literary forms throughout the twentieth century. The point being that the idea of Atlantis served as a basis for all sorts of imagined identities and mental spaces. The lost and re-found, the dissolution and re-forming, all serve as potential ideas that might be re-elaborated. The emphasis on ‘demos’ whence the idea of the term democracy derives is relevant, and it was also the case that the original narrative on Atlantis (by Plato) is specifically set in a comparative situation to ancient Athens (the two parties of which were ‘demos’ ‘egalitarian’ – dimokratie ‘popular government’ government by the many – and ‘aristos’ ‘elitarian’ representing government by the selected few – aristokratia, meaning ‘the rule of the best’)

The location for this year’s exhibition is Schloss Marquardt, near Potsdam (www.schloss-marquardt.com). It is a period Schloss (Castle) with an interesting Brandenburg history that includes the historical figures of Hans Rudolph von Bischoffwerder, General and Minister for Friedrich Wilhelm II, and his son Wilhelm Hans Rudolph Ferdinand Bischoffswerder (1803 - 1858), the latter particularly playing a role in the revival and practices of the Rosecrucian Order (Rosenkreuzer Ordens).

“The term Rosicrucian (symbol: the Rose Cross describes a secret mystics, allegedly formed in late mediaeval Germany holding a doctrine “built on esoteric truths of the ancient past”, which, “concealed from the average man, provide insight into nature, the physical universe and the spiritual realm.”

The great Brandenburg realist writer Theodor Fontane (1819-1898) also makes frequent mention of Schloss Marquardt through his writings that were immensely popular in the late nineteenth century. A more detailed history of Schloss, its twentieth century history as a Kempinski hotel in the 20s and 30s and its material alterations and adaptions can be obtained from Sabine Ziegenrucker at the Rohkubstbau office in Lehrter Strasse.

Kommunikationsbüro Berlin:
Lehrter Straße 38
10557 Berlin
Tel: +49 30 48 62 08 00
Fax: +49 30 48 49 05 75
e-mail: wolfram.goetzinger@rohkunstbau.de sabine.ziegenrucker@rohkunstbau.de
See website www.rohkunstbau.de

Extracts from Plato’s Timaeus and Critias that firsts refer to Atlantis

For these histories tell of a mighty power which unprovoked made an expedition against the whole of Europe and Asia, and to which your city put an end. This power came forth out of the Atlantic Ocean, for in those days the Atlantic was navigable; and there was an island situated in front of the straits which are by you called the Pillars of Heracles; the island was larger than Libya and Asia put together, and was the way to other islands, and from these you might pass to the whole of the opposite continent which surrounded the true ocean; for this sea which is within the Straits of Heracles is only a harbour, having a narrow entrance, but that other is a real sea, and the surrounding land may be most truly called a boundless continent.

Now in this island of Atlantis there was a great and wonderful empire which had rule over the whole island and several others, and over parts of the continent, and, furthermore, the men of Atlantis had subjected the parts of Libya within the columns of Heracles as far as Egypt, and of Europe as far as Tyrrhenia. This vast power, gathered into one, endeavoured to subdue at a blow our country and yours and the whole of the region within the straits; and then, Solon, your country shone forth, in the excellence of her virtue and strength, among all mankind. She was pre-eminent in courage and military skill, and was the leader of the Hellenes. And when the rest fell off from her, being compelled to stand alone, after having undergone the very extremity of danger, she defeated and triumphed over the invaders, and preserved from slavery those who were not yet subjugated, and generously liberated all the rest of us who dwell within the pillars.

But afterwards there occurred violent earthquakes and floods; and in a single day and night of misfortune all your warlike men in a body sank into the earth, and the island of Atlantis in like manner disappeared in the depths of the sea. For which reason the sea in those parts is impassable and impenetrable, because there is a shoal of mud in the way; and this was caused by the subsidence of the island.

***

Previous Rohkunstbau exhibitions:

2008 Rohkunstbau XV: Drei Farben Rot/Three Colours Red – Brüderlichkeit – Fraternity; Marc Bauer (CH.), Guy Ben-Ner (ISR), Richard Hamilton (GB), Britta Jonas (GER), Alexandra Khlestkina (RUS), Jonathan Monk (GB), José Noguero (ES), Bettina Pousttchi (GER), Cornelia Renz (GER), Brigitte Waldach (GER).

2007 Rohkunstbau XIV: Drei Farben Weiss/Three Colours White – Gleichheit – Equality; Candice Breitz (SA), Maria Chevska (GB), Thomas Demand (GER), Ayse Erkmen (TUR), Jaroslaw Flicinski (POL), Ola Kolehmainen (FIN), Thomas Rentmeister (GER), Gerhard Richter (GER), Julian RoseFeldt (GER), Gil Marco Shani (ISR).

2006 Rohkunstbau XIII: Drei Farben Blau/Three Colours Blue – Freiheit – Freedom; Vasco Araujo (POR), Sylvie Barrie (FR), The Blue Noses (RUS), Monica Bonvicini (IT), A.K.Dolven (Nor), Mona Hatoum (PAL-GB), Langlands & Bell (GB), Melanie Manchot (GER), Gregor Schneider (GER), Costa Vece (CH), Michael Wesely (GER).

2005 Rohkunstbau XII: Kinderszenen/Child’s Play; Louise Bourgeois (US), Sergey Bratkov (RUS), Jake and Dinos Chapman (GB), Yann Delacour (FR), Marcel Dzama (CAN), Fang Lijun (CH), Laura Ford (GB), ///////fur/// (Ger), Michael Kutschbach (AUS), Via Lewandowsky (GER), Bjørn Melhus (NOR), Michael Sailstorfer (GER), Cornelius Völker (GER).

2004 Rohkunstbau XI: European Portrait II: A House in the Country; Miroslaw Balka (POL), CHEN Shaofeng (CH), Thomas Florschuetz (GER), Shilpa Gupta (IND), Susan Hiller (US.GB), Markus Hiemer (AUT), Kristina Incuraite (LITH), Lina Kim (BR), Joao (POR), Yehudit Sasportas (ISR), Cornelia Schleime (GER), Yinka Sonibare (GB).

***

Mark Gisborne is an art historian, curator, and critic. His articles have appeared in Contemporary, Art in America, Art Monthly, and the Art Review. He lives in Berlin.

Brief selection of books:

- Mark Gisbourne: Double Act: Two Artists, One Expression; and: Double Act: Künstlerpaare, 2007

- Jim Rakete, Mark Gisbourne: Berlin Art Now, 2006

- Mark Gisbourne: Dead or Alive, 2000

***

Lecture photos:

***

In cooperation with: British Council in Croatia

HOUSE OF HDLU, Meštrovićev pavilion

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May 20, 2009 at 7 pm

PROMOTION OF ART MAGAZINE KONTURA

Promotors of the new edition are editors Zdravko Mihočinec and Nikola Albaneže.

Regular price: 40 kn. Promotional price: 20 kn

More about KONTURA: HERE

HOUSE OF HDLU, Meštrovićev pavilion

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Program: Loose Associations

Presentation / Vlad Nancă (Romania, guest artist)

May 13, 2009 at 7 pm.

Loose associations, contemporary art practices on the international scene today is the project dealing with critical research on current, international art practices and potentials of their wider reception. It has been running in Zagreb since 2007.

This year’s program has a part of Eastern Europe in focus. By adopting documentary view of the passenger, who is visiting this area, trying to record at least some of the stories from these trips, we intend to sketch a map of possible movements to the east, after our compass, previously, almost as a rule, has been pointing to the west.

Processes of transformation in the space colloquially marked as a postsocialist Europe are far from uniform. The formerly communist and socialist countries each experienced this epoch in different ways and thus also produced very divergent cultural and art scenes.

In several editions, presentations and gallery projects, we will try to bring closer contemporary artistic production from Russia, Ukraine, Moldova and Romania.

***

The lines of movement: Bucharest

Guest artist:  Vlad Nanca

Vlad Nancă (Bucharest, 1979.) is one of the key actors of the Romanian art scene. His work is related to the search for the new modes of collectiveness versus strictly individualized artistic production, with the purpose of collective reflection upon current social circumstances, the production of art, its meaning and distribution channels. 

As an artist, Nancă reacts to drastic changes in the recent history of Romania, and their effects on everyday life, and the keyword is- documentation. Nanca’s photography takes over the role of recording the speed of change, in the same time creating new meanings. 
His other works such as “Original Adidas” (a couple of pork leg with typical Adidas stripes) or “Dacia-30 years of social history” have been strong and above all humorous, “allegory of the mental and economic state of an entire country.” 

Vlad Nancă will speak about his work, “Romanian Stencil Archive” and Bucharest today.

More about artist: HERE 

The Loose Association project is realized by Ivana Meštrov and Nataša Bodrožić in collaboration with Gallery PM/Croatian Visual Artists Association.

Presentation photos:

NARCISSISTER

May 6, 2009

After a big success with the first show in Zagreb, Narcissister will make presentation of art work and, on demand of numerous audience, she will perform once more. 

Performance in MM center is organized in cooperation with KULURA PROMJENE. 

More about art performance: HERE.

More about artist: HERE.

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Presentation by Edward Schexnayder

April 22, 2009 at 6 pm

Presentation:

Edward will be giving a presentation on his paintings followed by a personal overview of the arts in New York. He will begin with a brief overview of his work in graduate school to the present. He will also give a sketch of a project that he is working on during his residency. Following these remarks, Edward will discuss the current state of the arts in New York and his placement in it. Comments and questions are strongly encouraged.

Artist’s Statement:

Loose threads…
Painting as a paradox for the dialectic. It is both a negative, that is to say, nothing really, and a positive, or a becoming something.
…a kind of aimless drifting…
Engaging with, preserving, and invigorating my inheritance of folk art (associated primarily with my mother’s quilting and sewing) and painting (associated primarily with my father, an abstract painter). I want to use history to shape my work and historical materiality as its structure. Then, I want to paint into that historical material.
…almost perversely wrong or nonsensical in the way they’re laid out…
The Grand fiction of painting, with its historical implications and corruptions, as well as specific painterly problems are frequently revisited, analyzed, and partially remade as painted pictures under contemporary shifting conditions.
To keep on doing “reason in the grass and tears in the sky,” as Cezanne said of Poussin’s painting.
…in the manner of a disoriented gambler who stakes a vast amount on a random card…
Painting to produce pleasure and strangeness.
Through a quiet and slow testing of painting’s discursive potentials, I want to approach the irrational through the rational as a means to resist our current historical moment’s post-everything nihilism.
…for fun…
The imagination has no sense of the inappropriate.
…this is too serious a matter to not treat it as such.

(Note: this statement is a weaving together of parts from Jutta Koether’s “Artist Statement”, Gerhard Richter’s “Writings”, Philip Taffe’s “Statement”, and my own words.)

Edward Schexnayder was born in Gallup, New Mexico USA and briefly lived on the Navajo Indian Reservation. He was raised in New Orleans, Louisiana and currently lives in Brooklyn, New York. He attended the University of New Orleans where he received 2 bachelor’s degrees, one in studio painting and the other in philosophy. He trained under Professor James Richard in painting who was also the instructor to Peter Halley, the famous New York painter and present Director of Graduate Studies in Painting and Printmaking at Yale University. His philosophical studies were in the area of aesthetics under Doctor Frank Schalow, a noted scholar of Heidegger. Edward received his Master of Fine Arts at Pratt Institute in Brooklyn where he studied under the painter Michael Brennan and the performance artist Ernesto Pujol. He recently participated in the Whitney Museum of American Art Independent Study Program under the guidance of director Ron Clark.

Edward has exhibited widely in New York and in Brooklyn, such as Whitebox, PS122 Gallery, Cooper Union, and the Brooklyn Arts Council Gallery. He recently exhibited in “Four Continents” at the National Museum of Art Gallery in Gabrone, Botswana. He was invited to participate in the Third Guangzhou Triennial in Guangzhou, China. He was awarded a development grant from the Fractured Atlas group. Edward is currently a resident in Zagreb, Croatia through Art in General’s (New York) EERE program with the HDLU in Zagreb.