Category: Events
16 June 2020
KARLA ČURČINSKI AND LAURA MARTINOVIĆ
THE EFFORT OF INFINITY. I’M AFRAID TO DREAM
Karas Gallery, Kralja Zvonimira 58
June 23– July 5, 2020
Following all recommendations of the National Civil Protection Headquarters, exhibition THE EFFORT OF INFINITY. I’M AFRAID TO DREAM, by Karla Čurčinski and Laura Martinović, will be opened on Tuesday, June 23 at 7 pm at the Karas Gallery (Kralja Zvonimira 58).
ARTISTS´ STATEMENT
Through artworks on the topic of The effort of infinity, I fear to dream we question the current issues of culture in society, the form of cultural institutions and its society, and the limits of failure, success, and artist’s motivation. We present our own experiences and through the synonym of the bad in these situations, we create cultural symbols that are a reflection of the expected and known result.
We place great emphasis on a distorted illusion based on the relationships of the powerful and influential that are an indicator of success. Such a tool is an integral part of the society in which we live. If you work and have a little luck, is success a logical consequence? In the artworks, we show that little bit of luck. A little luck is found in a few drinks of coffee a day, too iodized wines, three hours of listening to gloomy monologues of philosophers, the company of smug or imaginary socialites, the despair of grovelers, God-given critics, and a promiscuous view from above.
The hard and dedicated work of the artist is put aside. He is not treated equally. Moreover, he is completely invisible. Maybe forever, and maybe just until a moment of little luck. How little luck is enough then?
ABOUT THE ARTISTS
Karla Čurčinski was born in 1993 in Zagreb. She graduated in graphics in 2017 in the class of Professor Svjetlan Junaković at the Academy of Fine Arts in Zagreb. She spent winter semester 2015/2016 in Belfast, Northern Ireland at Ulster University, majoring in illustration. She is the winner of two Rector’s awards. So far, she has had two solo exhibitions (Čekanje, Razvid Gallery, Zaprešić 2019 and San Stvarnosti, Živi Atelje DK, 2017, Zagreb) and has participated in numerous group exhibitions in the country and abroad, some of which are: 8th Croatian Biennial of Illustration , Klovićevi dvori (2020), Virtual exhibition “Illustrators Wall”, Bologna Children’s Book Fair, Bologna, Italy (2020), Bratoljub – the first illustrated dictionary of foreign words, Centar za kulturu Trešnjevka, Zagreb / Belgrade, Street Gallery (2019. ), Ilustrofest, Kalemegdan Fortress, Belgrade, Serbia (2019), 54th Zagreb Salon of Visual Arts – “Without Anesthesia”, HDLU, Zagreb (2019), 2nd Samobor Salon, Prica Gallery, Samobor (2019), APPOINTMENT, Dobra Vaga Gallery, Ljubljana, Slovenia (2019), 36 Mountains, HDLU (2018), 7th Croatian Biennial of Illustration, Klovićevi dvori (2018), 8th Zagorje Art Salon, Krapina (2018), 4th Croatian International Self-Portrait Triennial, Prica Gallery, Samobor (2017), That’s a Mole, Turin, Italy (2017), Notte di fiaba, Riva del Garda, Italy (2017), Books to watch – books to read, Šira Gallery (2017), Together in Glass, Mimara Museum (2016), 3rd Croatian International self-portrait triennial, Prica Gallery, Samobor (2014). She is a member of HDLU and HULU. She lives and works in Zagreb as a graphic designer and illustrator.
Laura Martinović was born in Zagreb in 1993. She finished the School of Applied Arts and Design in Zagreb in 2012 and the same year she enrolled at the Academy of Fine Arts in Zagreb, where she completed her undergraduate and graduate studies in the graphic department. She obtained a master’s degree in graphics at the Academy of Fine Arts in September 2017 in the class of Svjetlan Junaković. She participated in a student exchange studying one semester at Ulster University in Belfast, Northern Ireland in the field of illustration and photography in 2015., from December 2017 to August 2018, she lived and studied in Barcelona, Spain where she did an internship at Metafora Art School as an illustrator and animator. She had her latest solo exhibitions at the SC Gallery in Zagreb, in March 2019 with the artwork Put haljine, and at the Pučko otvoreno učilište, Zagreb, CEKAO Gallery with the exhibition Rječnik katalonskih i španjolskih interpretacija. In June 2019, she participated in a group exhibition at the Arte Aurora Gallery in Barcelona, Spain. She is actively involved in experimental and 2D animation, and since October 2019 she has been working and collaborating with the Adriatic Animation studio.
Organizer:
Supported by:
Working hours:
Wednesday – Friday: 3 pm – 8 pm | Saturday: 10 am to 1 pm
Sundays, Mondays, Tuesdays and holidays: closed.
The exhibition will remain open until June 7, 2020
*Remark*
At the entrance to the Gallery there is a bottle with a disinfectant for visitors, which are obliged to disinfect their hands when entering the Gallery.
The security guard at the entrance to the Gallery will have a protective mask and gloves and control the number of visitors. The Gallery can hold up to 5 people at a time.
Visitors are required to maintain a distance of 2 meters.
Touching the exhibits is not allowed.
Doorknobs and any other surfaces that are frequently touched by visitors will be regularly disinfected.
MILAN BOŽIĆ
THE BIGGEST: ANTONIO GOTOVAC LAUER
Bačva Gallery, Home of HDLU
June 18– June 28, 2020
Exhibition THE BIGGEST: ANTONIO GOTOVAC LAUER, by MILAN BOŽIĆ, will be opened in front of the Home of HDLU, on Thursday, June 18 at 7 pm at the Bačva Gallery (Home of HDLU).
The exhibition opening will be accompanied by artist’s performance.
ARTIST STATEMENT
The Biggest
With this project I want to draw attention to the importance of culture valuation, the culture of remembrance as well as the culture of nurturing and protection, both tangible and intangible cultural heritage and valuation of those who have, with their opus, enriched domestic and world cultural heritage. I want to pay tribute to all those who have used disobedience, as a means of exposing the intellectual laziness and sluggishness of individuals and the masses, seduced by supposedly important and sublime ideas and ideologies, which serve to protect the ridiculous and deceitful current regimes. Gotovac created, as a member of the BLACK WAVE in former Yugoslav cinematography – an intellectual and critical artistic current, which was condemned by the communist authorities because it ridiculed the ugliness of the government and propagandistic, in most cases partisan, films. With their attitude and artistic work, the participants of the BLACK WAVE came to the disfavor of the government, experiencing censorship, persecution, the ban on activities, court and prison punishments. By their example, they showed how an individual, in this case an artist, should behave and how to deal with the image that the society in certain conditions forms about the disloyal individual, trying to silence him, without choosing the means. With this project, I want to draw attention to how everyone should, with their work and life, be themselves. How they must follow moral and ethical principles, regardless of possible threats of material or existential nature. I want to motivate artists and consumers of art to work honestly and seriously in culture and art on the path of building and developing a culture that is in line with world cultural trends and which, at certain times, precedes these same world trends.
With this project, I follow the path of BLACK WAVE members who, contrary to the prevailing ideology and propaganda activities of state artists and cultural workers, devised a critical artistic direction, which portrayed real life and the hidden dark face of life in the “socialist paradise”. As a volunteer, officer, and disabled war veteran, I fought against the same opponent as the members of BLACK WAVE.
With the end of the Croatian War of Independence and the defense of the Republic of Croatia, I replace war weapons with artistic means and thus prove that artists are warriors in one way and those true warriors can be artists.
To me as an individual, as a person, my body and my mind are a unique and inseparable whole and together they equally form a tool by which I realize myself while at the same time realizing space, time, history and social, economic, religious and all other circumstances, situations, and spiritual movements in which I currently exist. What is especially similar to LAUER and me is the realization… that the naked body in the public space of my city is blasphemy, insulting the petty bourgeoisie, so, exposing myself, I publicly take off the false conformist masks of hesitants who, by living their lives, actually lie, hide from their reality, who are afraid to publicly express opinions and views, and try to, in every single way, avoid any change done by their own actions.
My goal is not just to realize a project, or to create a work of art. What is important to me is the course and process of making a work of art, each phase through which a thought or idea passes. That is, the path – the thought – the idea – the process of work – a finished work of art.
Milan Božić, 2019
ABOUT THE ARTIST
Milan Božić was born in 1958 in Zagreb. From 1973 to 1978 he was a member of the Folklore Group – KUD Adria. He finished the School of Mechanical Engineering and Electrical Engineering in 1978 and enrolled Faculty of electrical engineering and mechanical engineering. In 1982 he got a job at the Sintal factory (sinter metals-hard metals). From 1986 to 1991 he was a member of the Aero Club Zagreb (sport pilot/air sailing). 1991-1995 he was a volunteer in the Croatian War of Independence. In 1993 he passed the first officer’s course, and in 1994 the second officer’s course. From 1994-1996 he attended the HVU Petar Zrinski officer school. In 1995 he worked as a teacher and commander of teaching groups (company – battalion) at the HVU, (FPZ study). From 1999-2010 he was an active HV officer in the Ministry of Defense of the Republic of Croatia. He is a disabled war veteran (first wounded in the Karlovac battlefield on November 21, 1991). Since 1999 he has been performing together with Vlasta Delimar and independently. He does videos, film, photography, and performance.
Organizer:
Supported by:
WORKING HOURS:
Wednesday – Friday: 11am – 7pm
Saturday and Sunday 10am – 6pm
Mondays, Tuesdays and holidays: closed.
The exhibition will remain open until June 28, 2020
*Remark*
At the entrance to the Gallery there is a bottle with a disinfectant for visitors, which are obliged to disinfect their hands when entering the Gallery.
The security guard at the entrance to the Gallery will have a protective mask and gloves and control the number of visitors.
Visitors are required to maintain a distance of 2 meters.
Touching the exhibits is not allowed.
Doorknobs and any other surfaces that are frequently touched by visitors will be regularly disinfected.
05 June 2020
THE ANNUAL OPEN CALL FOR EXHIBITING IN 2021
HDLU – Croatian Association of Fine Artists announces
the ANNUAL OPEN CALL FOR EXHIBITING in 2020
within the program of Bačva Gallery, Prsten Gallery, PM Gallery and Karas Gallery
The rights to participate in the call have all the artists and experts in the field of fine arts.
THE APPLICATION CAN INCLUDE:
exhibition proposals
educational projects
international programs, inter-institutional and regional collaborations
APPLICATIONS SHALL BE SUBMITTED BY COMPLETING THE APPLICATION FORM AND SUBMISSION OF REQUIRED DOCUMENTS. All the fields in the application form which are marked with * are mandatory. Application, which is not fully completed or does not contain the required documents, will not be considered.
REQUIRED ATTACHMENTS TO THE APPLICATION:
- required examples of the artworks / exhibition / project
- images/sketches of the work in JPG format up to 700kb per image
- digital Video in DVD PAL or mp4 format (if applicable)
- sound works in mp3 format (if applicable) etc.
provide materials as much as possible for better insight into the project
- CV (please download CV-FORM here, fill it out and upload it to the on-line application form)
- project applicant’s CV
- artist(s)’ CV (if different from the applicant)
- spatial plan
- on the gallery blue print (if applicable)
- for international projects and collaborations
- list of countries and institutions engaged with the project
- confirmation letter from the international institutions
SUBMISSION OF APPLICATION:
How to apply
Applications should be submitted through on-line application form only.
Application deadline
June 30, 2020, 23:59
Applications received after the deadline will not be considered.
Contact for all issues related to the galleries and / or application form (Mon-Fri, 10am – 3.30pm):
- PM and Prsten Gallery: Martina Miholić, martina.hdlu@gmail.com, +385 997326127
- Bačva and Karas Gallery: Nika Šimičić, nika.hdlu@gmail.com, 0989828989
- For international and/or educational projects: Miran Jurić, miran.juric@hdlu.hr
APPLICATIONS THAT DO NOT CONTAIN THE REQUIRED FIELDS FILLED OR DO NOT HAVE THE REQUIRED DOCUMENTS WILL NOT BE CONSIDERED.
COMMUNICATION:
During the selection process, process of applying for funds and final realization of the program, HDLU will communicate only with the project applicant according to the contacts listed in the application form.
COPYRIGHTS:
HDLU reserves the right to use the selected applications for promotional material of the yearly program in all types of media, catalogues, invites, web and Facebook pages of HDLU.
SUBMISSION CONFIRMATION:
Please contact us in case if you don’t receive submission confirmation e-mail from galerije.hdlu@gmail.com within two working days from the submission.
ATTACHMENTS:
APPLICATION FORM FOR EXHIBITING IN 2021
FLOOR PLANS OF THE GALLERY SPACES: Bačva Gallery, PM Gallery, Prsten Gallery, Karas Gallery
19 May 2020
MARKO ZEMAN
ORDINARITIES
Karas Gallery, Home of HDLU
May 26– June 7, 2020
Following all recommendations of the National Civil Protection Headquarters, exhibition Ordinarities, by Marko Zeman, will be opened on Tuesday, May 26 at 6 pm at the Karas Gallery (Kralja Zvonimira 58).
ARTIST STATEMENT
At Karas Gallery, I have exhibited works with motifs and topics that have been occupying me for quite some time. They have in common that they depict ordinary, everyday objects and situations. Mugs, pots, cutlery, watering cans, hands, feet, children’s play on a sunny summer day in the sandbox of the park, going for ice cream, walking through the woods… I tried to paint the motifs straightforward and as directly as possible, but visually interesting, concentrating on the clarity and beauty of the large forms present in objects for everyday use.
Also, the situations of encounters between everyday objects and man, i.e. the presentation of human states in certain situations, are artistically interesting to me. So in some paintings, I tried to evoke the nervousness and despair that overwhelms us when we are in the midst of the chaos of an unmade kitchen, standing in front of a pile of scattered and unwashed dishes. In contrast, a cup of warm afternoon coffee or a stroll through the flora of the forest is an attempt to evoke comfort and peace.
I come to the motifs by doing a large number of drawings. When I make a drawing that I think might work in the medium of the painting, I take a large format and get started. Thus, with a few medium-format paintings, the second part of the exhibition consists of a large number of small drawings, which served as a preparation for painting, or which were created spontaneously during the work on the paintings. do not consider most of these drawings to be finished and defined works of art, but I think that they are a necessary part of the artistic whole that I have exhibited. On them, one can see the process of looking for shapes and proportions. Some ideas arose from accidentally overlapping drawings that lay in the clutter of the floor or drawing table. I transferred this method to collage, which is a common and important element of my paintings. As I work, I bring into the painting everything I know in a painterly sense. And that never proves to be enough. Then I paint further, to the point where the painting becomes stronger and smarter than I am until it surprises me. If that surprise is unpleasant, I start over. If pleasant, the painting is done.
ABOUT THE ARTIST
Marko Zeman was born in 1975. In Zagreb. He studied painting at the Academy of Fine Arts in Zagreb in the class of Zlatko Keser. He graduated in 2010 under the mentorship of Zoltan Novak. He has exhibited in four solo and numerous group exhibitions. In 2015/2016 as an external associate, he teaches a drawing and painting course at the Faculty of Graphic Arts in Zagreb. He is a member of the HDLU and HZSU. He lives and works in Zagreb.
SOLO EXHIBITIONS
2020 Karas Gallery, HDLU, Zagreb
2013 SC Gallery, Zagreb
2011 Marisall Gallery, Zagreb
2009 Matica hrvatska Gallery, Zagreb (with M. Majić and P. Pavlović)
2009 Vladimir Filakovac Gallery, Zagreb (with M. Majić and P. Pavlović)
Organizer:
Supported by:
Working hours:
Wednesday – Friday: 3 pm – 8 pm | Saturday: 10 am to 1 pm
Sundays, Mondays, Tuesdays and holidays (May 30): closed.
The exhibition will remain open until June 7, 2020
*Remark*
At the entrance to the Gallery there is a bottle with a disinfectant for visitors, which are obliged to disinfect their hands when entering the Gallery.
The security guard at the entrance to the Gallery will have a protective mask and gloves and control the number of visitors. The Gallery can hold up to 5 people at a time.
Visitors are required to maintain a distance of 2 meters.
Touching the exhibits is not allowed.
Doorknobs and any other surfaces that are frequently touched by visitors will be regularly disinfected.
14 May 2020
SANDRA STERLE
FRAGMENTED FILM
Bačva Gallery, Home of HDLU
May 28– June 14, 2020
Following all recommendations of the National Civil Protection Headquarters, exhibition Fragmented film, by Sandra Sterle, will be opened in front of the Home of HDLU, on Thursday, May 28 at 7 pm at the Bačva Gallery (Home of HDLU).
“Sandra Sterle comes with a project both subtle and invasive. She is in a process of reconstruction being aware of the fragile state of personal memory when chronologies fail, information overlap, emotions come through. She is working with the personal archive as well as questioning it underlining the beauty of post-documentation where facts and fiction combine. She is using memory and imagination at the same time making a statement that real stories of real lives are a product of our brains and our brains are dead if not seen from a dynamic perspective more related to Quantum physics than to still linearity. It is even more challenging to tell stories of others through our minds that filter information through various layers. The grandfather-granddaughter relationship is built on a contrast between emotional archiving and the cold, brutal public surveillance of the digital era. Observation can be a tool for oppression, control, pleasure, censorship but it can also be overturned in a counter-surveillance. The artist is deconstructing the very concept of surveillance, the hierarchical vision. Data storage is a fact by the capacity of monitoring and recording, but it is also fiction as it fails to perform ethically and to encompass and define humanity and its complex traits… Data storage is a tool that can be useful, but it doesn´t replace the memory of the animal brain. Sandra Sterle’s approach can be seen as poetic but it is the consequence of awareness in front of the intersection between personal memory and artificial memory. She chose working with both, mixing them and accepting imagination as the survival kit at all times.”
From preface, written by Olivia Nițiș
ABOUT THE ARTIST
Sandra Sterle works across film, installation, interventions, photography, and performance. She is a professor at the Arts Academy in Split, Croatia. Graduated from the Department of Sculpture at the Academy of Fine Arts in Zagreb and continued her studies at Department of Film and Video at Kunstakademie in Dusseldorf, 1995-96 (Prof. Nan Hoover). Her works were exhibited and performed in a variety of contexts in places like Kunsthalle Fridericanum, Kassel; Museum Ludwig, Aachen; Museum voor Moderne Kunst, Arnhem; Gate Foundation, Amsterdam; W139 Gallery, Amsterdam; Museo National Centro de Arte Reina Sofia, Madrid; Instytut Sztuki Wyspa, Gdansk; Location 1 Gallery New York; Artist Space, New York. Her works are part of several public archives and collections of MMSU, Rijeka, Art Gallery, Split and private collections.
ABOUT THE CURATOR
Olivia Nițiș is a curator and a researcher art historian within the Institute of Art History G. Oprescu of the Romanian Academy. She holds a Ph.D. in visual arts and is the author of Istorii marginale ale artei feminist (Marginal Histories of Feminist Art), Vellant, Bucharest, 2014. She is vice-president of the Experimental Project Association in Bucharest, organizer of the International Experimental Engraving Biennial, a member of the International Art Critics Association since 2009 and regional coordinator for The Feminist Art Project (Rutgers University, New Jersey) since 2008.
Projects she worked on include: Statement: I Advocate Feminism, ArtPoint, Kulturkontakt, Vienna, The Poetics of Politics, Propaganda Gallery, Warsaw, 2012, Good Girls. Memory, Desire, Power (together with Bojana Pejić), National Museum of Contemporary Art, 2013, Circumstances Favorable to Natural Selection, Victoria Art Center within IEEB6, 2014-2015, MonuMental Histories, Gabroveni Arcub 2016, The Principle of Migration, New York Foundation for the Arts 2019.
Organizer:
Supported by:
*The exhibition was realized with the support of the Croatian Ministry of Culture, given to artist Sandra Sterle, as part of the promotion of the creation of visual artists for interdisciplinary artistic research: Revive Grandpa (Part One: Fragmented Film)
WORKING HOURS:
Wednesday – Friday: 11am – 7pm
Saturday and Sunday 10am – 6pm
Mondays, Tuesdays and holidays (May 30): closed.
The exhibition will remain open until June 14, 2020
*Remark*
At the entrance to the Gallery there is a bottle with a disinfectant for visitors, which are obliged to disinfect their hands when entering the Gallery.
The security guard at the entrance to the Gallery will have a protective mask and gloves and control the number of visitors.
Visitors are required to maintain a distance of 2 meters.
Touching the exhibits is not allowed.
Doorknobs and any other surfaces that are frequently touched by visitors will be regularly disinfected.
05 May 2020
VALENTINA SUPANZ MARINIĆ
TOXICITY
Karas Gallery
May 12 – May 24, 2020
Following all recommendations of the National Civil Protection Headquarters, an exhibition by Valentina Supanz Marinić entitled Toxicity, will be opened at the Karas Gallery (Zvonimirova 58) on May 12, 2020. The opening will be virtual and will be viewable on the HDLU Facebook page. The exhibition will be open for public from May 13th.
“The phantasmagorical scenes of landscape, almost de Chirico-like, metaphysical, devoid of life and existence, unfold before us in Valentina Supanz Marinić’s works. This is a fictitious and inhospitable world, suffocated by neon smoke and heavy, toxic air. A post-apocalyptic scenario, reminiscent of the scenes from Cormac McCarthy’s novel The Road. A world without the sun, dark and cruel, destroyed by some unnamed cataclysm that we are painfully aware of. The repertoire of motifs is very similar in all her works. Nature becomes unnatural, and people, in overalls and face masks, are merely symbolic figures of doom. The post-apocalyptic world slaps us in the face with neon colours that the artist uses to further emphasize this toxicity. The sky turns yellow, water purple and green, and vegetation dies off or becomes strange. The electrified horizons of silence fade at dusk (of humanity?), whereas people appear only from behind, in clothes that clearly show that they found themselves in a world in which they would not be able to survive without the protective equipment.. (…)
(…) The observer becomes fully aware of the disturbing truth about the alarming state of the environment, which is something we hear about in the media. However, given the current situation with the Coronavirus epidemic, the observer is also concerned whether we are facing the collapse of civilizational norms due to some huge crisis and whether an average homo vulgaris will manage to cope with it or are we facing extinction. This makes Valentina’s work very topical and engaged, and it clearly states that art cannot, and should not, be detached from reality, immune to serious issues, and enclosed within the studio walls.”
From preface, written by Nika Šimičić
ABOUT THE ARTIST
Valentina Supanz Marinić was born in 1986 in Zagreb. In 2012, she graduated Painting from the Academy of Fine Arts in Zagreb, under mentorship of Zlatko Kauzlarić – Atač. She has exhibited in several solo and numerous group exhibitions, of which we highlight: the 2nd and 5th Biennial of Painting (HDLU, Zagreb); New Croatian Realism (Glyptotheque of the Croatian Academy of Sciences and Arts, Zagreb); and Fountain Art Faire at Armory Arts Week (Manhattan, New York, 2014). The Erste Fragments Foundation awarded her the ransom prize for the painting My Jungle in 2013. She is an illustrator of several children’s picture books. She is a member of the HDLU and HZSU.
Organizer:
Supported by:
Working hours:
Wednesday – Friday: 3 pm – 8 pm | Saturday: 10 am to 1 pm
Sundays, Mondays, Tuesdays and holidays: closed.
The exhibition will be open from May 13 until May 24, 2020
*Remark*
At the entrance to the Gallery there is a bottle with a disinfectant for visitors, which are obliged to disinfect their hands when entering the Gallery.
The security guard at the entrance to the Gallery will have a protective mask and gloves and control the number of visitors. The Gallery can hold up to 5 people at a time.
Visitors are required to maintain a distance of 2 meters.
Touching the exhibits is not allowed.
Doorknobs and any other surfaces that are frequently touched by visitors will be regularly disinfected.
Dear vistors,
The Croatian Association of Fine Artists (HDLU) is temporarily closed due to COVID-19 pandemic.
All of the communication and working with clients is further possible by email and phone. You can find contacts of our employees on HDLU Website. For all the necessary information you can contact: tajnistvo@hdlu.hr or phone: + 385 14611 818.
We look forward to welcoming our visitors back to the all of our galleries as soon as it is possible again.
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