TAKEOVER
European Month of Creativity
Curator: Tea Matanović
Artists: Tin Dožić, Tea Stražičić, Petar Vranjković, Eva Vučković, Lana Zubović
The Croatian Association of Fine Artists, once again on the occasion of the European Month of Creativity, as part of the EU project CreART 3.0, is organizing a small festival of contemporary art in business spaces – TAKEOVER.
Young artists (Tin Dožić, Tea Stražičić, Petar Vranjković, Eva Vučković, Lana Zubović), selected by curator Tea Matanović, will “take over” spaces within renowned companies operating in or connected to the cultural and creative industries: Bornfight, Señor, SKUP-A, Večernji list, and Yammat FM.
During the selection of artworks, the curator considered the typologies of spaces within the project, as well as the ways content is produced in them, to establish a meaningful interaction between the presented artistic projects and the employees who will encounter them daily.
Artists will exhibit their works within companies and present them to employees. Each intervention will also be open to the wider public through open days and artist talks.
ARTISTIC INTERVENTIONS:
Tin Dožić, Dream for the Ether, 2026
Dream for the Ether is a sound composition that combines an electronic drone performed on a modular synthesizer with field recordings. The work was produced as part of the Takeover 2026 program and will be broadcast on the Zagreb radio station Yammat FM. The composition is structured in two acts: the first is broadcast in the evening and conceived as a space for lulling the listener to sleep, while the second is broadcast in the morning as a subtle sonic transition into waking. Through slowly evolving textures and layered ambiences, the work creates imaginary landscapes and a meditative space between wakefulness and sleep. In this work, I explore how a static, temporally extended composition can be positioned within radio programming, and how the experience of listening to radio changes when it becomes a medium for drifting into sleep. Here, radio appears as an intimate medium and a space for a temporary community of people in sleep.
Public presentation: May 14, 2026, 12:00
Location: On air at Yammat FM, 102.5 FM (program Scalpel)
Tea Stražičić, Soft Takeover, 2026
Soft Takeover is a spatial intervention in which a corporate office space is gradually occupied by soft, plush objects and characters that act as passive yet persistent agents of change. Instead of aggressive transformation, the work introduces a logic of infiltration through softness, repetition, and presence. Plush objects function as a kind of “emotional parasites” or corporate mascots, distributed throughout the space in a way that imitates everyday use but subtly destabilizes it. The intervention questions the relationships between labor, comfort, control, and aesthetics within the contemporary office environment.
Within this system appears the motif of the DUCK entity — a fragmented, distributed character whose history exists across media, time, and space. This character is neither stable nor centralized: it appears as a drawing in a notebook, a photograph of a toy, a digital artifact, or a network phenomenon. Duck exists as an open system: simultaneously a game, bootleg, original, meme, concept, and object. Its presence cannot be predetermined, but is recognized through repetition and chance encounters in “the strangest places.”
The project also includes speculative extensions:
In this way, Soft Takeover expands beyond the physical installation into a distributed narrative that moves between object, network, and collective imagination.
Public guided presentation: May 12, 2026, 17:00
Location: Bornfight, Filipa Vukasovića 1, Zagreb
Petar Vranjković, source–archive: B/FA–A(SA), 2026
The work source–archive: B/FA–A(SA) is a continuation of the long-term research project Source–Archive, which deals with archiving objects that resemble birds and fish in form. The archival documentation used in the work is applied onto metal plates, thereby gaining an ephemeral quality and an unreal context of the archive from which it originates. A key aspect of the work is understanding why and how we archive, and how categorization can signify ambiguity in the context of transhistorical and associative characteristics typically used in archives. The work questions the space from which it originates as an artifact rather than as an artwork.
Public guided presentation: May 26, 2026, 14:30
Location: Señor, Ul. Eugena Kumičića 10, 1. kat., Zagreb
Eva Vučković, Time in Their Hands, 2026
This series explores the meaning of textile craftsmanship — hand-making techniques as valuable yet fragile practices in contrast to today’s accelerated production and digitalized way of life. Within this sensitivity, the artist questions its value not only as a skill but as a cultural and social value and knowledge worth preserving and passing on. Through testimonies of participants who have nurtured their love and need for handcraft over many years, handwork is not viewed merely as a production process but as a carrier of broader value. Its social dimension manifests in active slowing down, deep concentration, creation, and calming of the inner world. Shared experience during the process fosters a sense of belonging. Craft thus emerges as a space for meeting, sharing time, and conversation — learning and exchange through which closeness gradually develops and knowledge is transmitted. In this sense, handcraft can also be understood as a form of quiet resistance to the dominant, accelerated, and digitalized way of life and fragmented attention, as well as a practice that must be preserved from oblivion.
Public guided presentation: May 22, 2026, 10:00
Location: Večernji list, Oreškovićeva 3D, Zagreb
Lana Zubović, Thresholds, 2026
Through a site-specific body of work created within the Takeover 2026 project for the architectural studio SKUP-A, I explore the idea of the collective (un)conscious embodied in space. The work develops from my previous research into ancestral inheritance, drawing on C. G. Jung and his key theory of the collective unconscious and archetypes. The idea of thresholds/boundaries in a given space arises from the impulse to reset patterns of thinking. Through minimal and unobtrusive interventions, the work creates a subtle shift in how the space is perceived through everyday rituals of movement and work. A series of three drawings, created through intuitive gesture and translated into window vinyls, emphasizes the visual and physical division between two different workspaces. Within my artistic practice focused on printmaking, the cultivation of repetition and multiple originality is manifested in an installation of oiled Japanese paper, symmetrically placed and shaped as a double image mirroring itself. The cutting of a cross shape and its restorative stitching points to an act of annulment, once again emphasizing repetition. The Greek cross symbol is a recurring motif in my work; with each new use and repetition, its meaning is deconstructed and re-established.
Public guided presentation: May 7, 2026, 15:00
Location: SKUP-A, Heinzelova 66, Zagreb
*Note:
Due to limited capacity, registration is required for public presentations: popratniprogram.hdlu@gmail.com
ARTISTS
Tin Dožić completed his studies in Psychology at the Centre for Croatian Studies, University of Zagreb (2016), and New Media at the Academy of Fine Arts in Zagreb (2016). His practice often begins with the medium of sound, and he works with field recording, radio, experimental music, and multimedia installations. His work is grounded in media research and education, and he has extensive experience leading workshops in sound art and DIY culture. His areas of interest include the materiality of media, (dark) ecology, DIY culture, the Anthropocene and geology, the intersection of science and art, sleep, and dreams. He has exhibited and performed on various platforms in Croatia and abroad, both independently and in collaborative projects. His work Songs for the Anthropocene received the Golden Watermelon Award at the Media Mediterranea Festival in 2018. He was a finalist for the Radoslav Putar Award in 2019 and is an alumnus of the WHW Academy (2019/2020). As part of an authorial team (Sven Sorić – visual identity, Hrvoje Spudić – visual identity, Sara Salamon – video animation, Tin Dožić – sound design), he received the 55th Zagreb Salon of Applied Arts and Design Award (2020) for young authors under 35 for the visual identity of the 30th Music Biennale Zagreb. Dožić and Udovčić received the award for young authors under 35 at the 58th Zagreb Salon (2024) for the work Forest Cabin. He leads the ongoing knowledge-exchange program Sound Art Lab at the Multimedia Institute MaMa and is a member of the Croatian Freelance Artists’ Association.
Tea Stražičić is a Croatian nomadic multimedia artist, writer, and character designer known online as Fluff Lord. A pioneer in combining character-driven narratives with real-time game engines, she is one-third of a sister trio exploring new narrative formats through software-based world-building. Holding a Master’s degree in animation, her practice spans 3D modeling, sculpture, painting, and merchandise production, often in collaboration with cultural platforms. Stražičić exhibits internationally, with solo exhibitions at Polansky Gallery (Prague), Hyperlink Gallery (Athens), Laid Bug (Tokyo), and No.1 Mainroad (Tbilisi). She has led an art studio at Trauma Bar und Kino in Berlin, collaborated with Pharmakon Gallery in Bucharest, and received an award at the 60th Zagreb Salon (HDLU, KUCCA) in 2025. She collaborated with Lawrence Lek on his exhibition awarded the Frieze London Artist Award, contributed to Katja Novitskova’s exhibition at Hamburger Bahnhof, and produced video game commercials for Otto Linger, Eytys, and Neo Shibuya TV public crossing in Tokyo. Tea has published an SF novel with Metalabel and is currently working with the Berlin-based company Trifle.Life as a lead character designer.
Petar Vranjković is a transmedia artist and researcher whose work engages with objects from various archives, as well as photography, video, printmaking, and design. He is particularly interested in shaping memory and storytelling through artistic narratives. One of the central themes of his work is the intimate history of the individual, always interpreted through the heritage, tradition, and culture of a given community in time and space. Vranjković’s recent solo exhibitions have been held at the Gallery of Fine Arts, Split (2025); Karas Gallery, Zagreb (2025); Garage Kamba, Zagreb (2024); and the Vjenceslav Richter and Nada Kareš Richter Collection, Zagreb (2023).
Eva Vučković is an artist and designer focused on textiles as a medium. Her work explores the relationship between design, contemporary textile practices, and ecology, addressing challenges through artworks, collections, and research. She revives analog approaches while developing new narratives grounded in sustainability. She began her education studying printmaking at the Academy of Fine Arts in Zagreb and, during her studies, participated in an Erasmus exchange in Granada at the Facultad de Bellas Artes. In 2019, she was awarded the Swiss Government Excellence Scholarship, after which she enrolled in and completed a Master’s degree in Design with a focus on textiles and sustainability at the Lucerne University of Applied Sciences and Arts. Her works have been presented in numerous solo and group exhibitions in Croatia and internationally, including Red Thread Project at Gewerbemuseum Winterthur (Switzerland), Red Thread Project as part of the Un-Dress project at Halle 622 in Zurich (Switzerland), Unreal Method at Palacio de los Condes de Gabia in Granada (Spain), and Zagreb Design Week. She is a member of the Croatian Association of Fine Artists (HDLU), Zagreb.
Lana Zubović, mag. art., is a multidisciplinary artist working across drawing, printmaking, painting, installation, performance, and video. She graduated from the National College of Art and Design in Dublin in 2025, after completing her undergraduate studies in printmaking under Professor Svjetlan Junaković at the Academy of Fine Arts in Zagreb. She is the recipient of the Richmond Road Studios Recent Graduate Award (2026). In 2025, she participated in the CreArt 3.0 residency program De/Construction of Painting in Leipzig. She was previously shortlisted for the RDS Visual Art Award in 2023 and 2025. In 2022, she received the Rector’s Award for collaboration on the scenography project Animal Farm, an opera-fable by Igor Kuljerić. Lana is a member of the Black Church Print Studio in Dublin. Her works are held in private and public collections, including the OPW State Art Collection.
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The Takeover program enables art to “coexist” with the fast-paced everyday life of workspaces. In doing so, artworks become active participants in a non-art environment, blurring the sharp boundaries between the corporate and artistic sectors while retaining their enduring power to reshape our reality.
For more information, follow HDLU on social media and visit the Takeover program website:
http://www.takeover.hdlu.hr
CreArt is a network of 13 medium-sized European cities with the aim of exchanging experiences and good practices to encourage contemporary art, through a continuous transnational mobility programme for emerging artists, curators and cultural professionals, in order to maximize the economic, social and cultural contribution that creativity can bring to local communities (#stringing_together). At the same time, CreArt 3.0 pushes boundaries (#pushboundaries) beyond the visual arts, empowering other artistic practices such as performing arts or music, and a new collaboration has also been initiated with a non-governmental organization based in Lviv in order to support Ukrainian artists. The participating cities are: Kaunas, Liepaja, Skopje, Aveiro, Valladolid, Lublin, Venice, Clermont-Ferrand, Rouen, České Budějovice, Oulu and Regensburg. The project includes 45 residency programmes in 15 European cities, more than 39 public events to celebrate the European Month of Creativity in 13 cities from the network, 13 educational programmes to strengthen creativity and knowledge of contemporary art, 18 Street Art festivals, 10 annual festivals in galleries in 9 cities, and 6 European conferences and study visits.
Within the project:
Partners:
Co-funded by:
Co-funded by the European Union – CREA-CULT-2023-COOP. The views and opinions expressed are solely those of the authors and do not necessarily reflect the official views of the European Union or the European Education and Culture Executive Agency (EACEA). Neither the European Union nor the European Commission can be held responsible for them. [Project number: 101128499]
Project is co-financed by the Government Office for Cooperation with NGOs.
The views expressed in this announcement are the sole responsibility of HDLU and do not necessarily reflect the opinion of the Government Office for Cooperation with NGOs.
