Category: Events
04 May 2021
Exhibition MURTIĆ 100 – an exhibition in honor of the 100th anniversary of the birth of Edo Murtić
The great Croatian and world renowned abstract painter
Home of HDLU, May, 25.- July, 18, 2021.
Meštrović pavilion, the Home of HDLU, will soon open its doors for another exhibition that will once again surprise, delight, and inspire visitors with its opus. The great Croatian abstract painter Edo Murtić will beautify spring and summer in Zagreb with a series of events organized in his honor.
Murtić 100 is a project that marks the 100th anniversary of the birth of Edo Murtić, the undisputed giant in Croatian modern art who left his mark not only in Croatia but also in the world. The exhibition opens on May 25 and by July 18, visitors will be able to view more than 100 amazing works of this modern painting icon. In addition to the work of the great Edo Murtić, the project includes a number of other events – the international symposium Gesture and Freedom, which will be held in Zagreb and Rovinj in June 2021, the exhibition New Abstract Art in Lauba – the House for People and Art from June, 1 till June 10, 2021, and a series of accompanying events (reinterpretations of Murtić through street art at several locations in Zagreb, workshops for children and adults, guided tours, customized guided tours for children with accompanying work materials, tactile image to bring art closer to blind and partially sighted people etc.).
It is a great pleasure and happiness to participate in the celebration of the hundredth anniversary of Edo Murtić’s birth with a large exhibition of his works. Edo Murtić changes the perception of who an artist is in society and pushes the boundaries of the meaning of a work of art in public space. I am especially pleased that through this project, in cooperation with the Tourist Board of the City of Zagreb, new ways of developing a long-term strategy of recognizing Zagreb as a tourist destination will be developed. Artist Edo Murtić is an ideal starting point for such an initiative. I personally love the energy, love, and luxurious talent of Edo Murtić. – on the occasion of the announcement of the exhibition, Tomislav Buntak, President of HDLU and Dean of the Academy of Fine Arts in Zagreb
Edo Murtić, with his painting opus and strong artistic personality, marked and formed the cultural life of Croatia and the region in the second half of the 20th century. He attended the Academy of Fine Arts in Zagreb and the school of Petar Dobrović in Belgrade. He held his first solo exhibition in Zagreb in 1935. Murtić’s early figurative painting, thanks to a continuous evolution inspired by study trips to France, Italy, and the USA, and contacts with the world’s leading post-war artists, gradually transformed into a special variation of abstract painting with expressive gestures, lyrical charge, and strong colorism. With his unique and recognizable painting style, he created one of the most influential opuses of high modernism in Southeast Europe. His exhibitions in 1953 in Zagreb and Belgrade were among the first solo exhibitions in the socialist world to present elements of abstract art. Edo Murtić has realized more than three hundred solo and as many group exhibitions on all continents, including notable performances at the Venice Biennial. His works are present in most representative public and private collections around the world.
In addition to a rich oeuvre, Murtić’s work includes theatrical sets, murals, mosaics, enamels, sculptures, and ceramics. He is the winner of many major domestic and foreign awards and recognitions. He lived and worked in Zagreb and Vrsar.
The Murtić 100 exhibition at the Home of HDLU (Meštrović Pavilion) will be set up under the artistic direction of Branko Franceschi, director of the National Museum of Modern Art. A special feature of the exhibition is the diversity of the artist’s work presented through chronological and thematic units, designed for individual spaces, and the curator added: Edo Murtić, with his variation of gestural abstraction, was a leading figure of regional high modernism in Croatia and Yugoslavia.
The Bačva Gallery will present works that are remembered in the collective memory as paradigmatic works of art of certain sections of high modernism, and the emphasis will be on the dynamic colorism as a fundamental determinant of Murtić’s creative approach. In the PM Gallery, the curator sets Murtić’s activist cycles – dedicated to anti-war themes, which directly indicate Murtić’s importance as a prominent and influential cultural actor, an unwavering advocate of democratic and libertarian principles, while in the Prsten Gallery other artist cycles, performed in other art disciplines, will be presented – gouache, monumental compositions in ceramics, enamel and mosaic, as well as landscapes and city views, which marked all six decades of his work.
The exhibition is accompanied by art workshops for 4 age groups: 5-8 years, 10-15 years, 15+ years, and 55+ years.
Other cultural and artistic activities have been organized within the project that celebrates 100 years since the birth of Edo Murtić, and you can see the announcements of the events on the website murtic100.hr
Tickets for the exhibition will be available at the box office of the Meštrović Pavilion and online through the ENTRIO system.
The working hours of the exhibition are every day from 11 am to 9 pm.
15 October 2020
DOMAGOJ BURILOVIĆ
TERRAFORMING
Karas Gallery, Kralja Zvonimira 58
October 22 – November 3, 2020
Following all recommendations of the National Civil Protection Headquarters, exhibition TERRAFORMING, by Domagoj Burilović, will be opened on Thursday, October 22 at 7 pm at the Karas Gallery (Kralja Zvonimira 58).
Terraforming is the hypothetical process of modifying a celestial body to make it as similar to the Earth as possible. In the 14 photographs of Slavonia, taken by Domagoj Burilović and exhibited in his solo exhibition at the Karas Gallery, mystical landscapes and alien, deserted lands emerge before us. They show something else as well, certainly something visible, but also something invisible: something like a trace. (Wittgenstein). Life has dematerialized before our eyes, but it has left invisible traces that make us or at least should make us question the real existential problems, the problem of the survival of an entire region. Golden Slavonia, the belly of Croatia, a historically rich region to which the people from other parts of Croatia used to move, leaving the sea view behind in search of fertile soil. The region that meets all the preconditions to become the richest, and not one of the two poorest regions in Croatia. Domagoj hints at these traces in the seemingly invisible, interrogates, exclaims….
This series is in line with Domagoj’s interest in social and political issues, serious topics and transience and history – both of an individual (Post Factum exhibition) and of an entire region, in this case, his native Slavonia.
From preface, written by Nika Šimičić
ABOUT THE ARTIST
Domagoj Burilović
Born in 1987 in Vinkovci. He graduated in painting in 2012 at the Academy of Arts in Split.
He is engaged in conceptual art photography. Through artistic work he deals with social and political topics.
Selected group exhibitions: 2019 HT Award – Museum of Contemporary Art, Zagreb, 2019 Triennial of Extended Media, Belgrade, 2017. Photodays finalists – Museum of Arts and Crafts, Zagreb, 2016 3rd Biennial of Croatian Young Photography, Zadar, 2013. Split Salon, Split, 2012. Triennial of Croatian Sculpture, 2012. Galić Gallery, Split,…
Solo exhibitions: 2020. Galić Salon, 2019. PIK Gallery, Rab, 2019. Photon Gallery, Ljubljana, 2018. Museum of Arts and Crafts, Zagreb, 2018. Italian Community of Rovinj, Rovinj, 2013. Rovinj Homeland Museum, Rovinj, 2012. Art Gallery, Split, 2007. Multicultural Center, Županja.
Awards: 2017: Grand Prix Rovinj Photodays, 2017. 1st place for the artistic concept Rovinj Photodays, 2017. 2nd place at the Vinkovci Photography Salon, 2012, Award for the young artist, Rovinj Homeland Museum, Rovinj.
Work “Post Factum” included in the collection of the Museum of Arts and Crafts.
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 November 3, 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.
23 September 2020
ANĐELA ZANKI
THERE IS NOTHING INSIDE
Karas Gallery, Kralja Zvonimira 58
September 29– October 11, 2020
Following all recommendations of the National Civil Protection Headquarters, exhibition THERE IS NOTHING INSIDE, by ANĐELA ZANKI, will be opened on Tuesday, September 29 at 7 pm at the Karas Gallery (Kralja Zvonimira 58).
(…) “The artist focused on questioning the spatial relations and interactions between objects and subjects, invites the viewer to look at himself, inner self, and re-examine its substance, its history, and notions by observing these “empty objects”. How many hidden emotions of happiness, but also fear and worries, did he hide in himself and carry that burden every day? The artworks thus become a copy of ourselves, in an uncertain situation of constant anxiety, they are an illusion of our reality. The illusion of depth collides with the emptiness of these objects, as well as the symbolism of their forms. The circles that “float” and that we first encounter when entering the gallery are a symbol of the spirit, they represent wholeness and homogeneity, perfection without beginning and end. They are also a symbol of the sky (which is also blue), the celestial, and the transcendental. The shape of the circle connects it to the wheel, a symbol of a time that is infinite and eternal. For Jung, the circle is a symbol of the wholeness of the psyche, therefore, a symbol of the self. In the second room, we come across a “broken” square – a symbol of land, foundations, home, security, the four corners of the world, and the four basic elements. Its fragmentation points to the insecurity we face, to the gaps outside and within us that we struggle with, but also to the opportunity to build a “new world” on a better and more mature foundation.
Johannes Kepler said that we need to know geometry in order to understand philosophy because: “Geometry existed before Creation. It is eternal with the mind of God (..) Geometry has offered God a model for Creating (…) Geometry, it is God Himself.”
From preface, written by Nika Šimičić
ABOUT THE ARTIST
Anđela Zanki (1992, Zadar) graduated Painting from the Department of Art Education, Academy of Fine Arts in Zagreb in 2018. She is the winner of the Rector’s Award in 2017 for the project Color to Health at the Rebro Clinical Hospital Center. She has exhibited in several solo exhibitions, of which it is worth mentioning: 2019, Stanja Plave II, Zilik Gallery, Karlovac; 2018, Vibracije, Greta Gallery, Zagreb; 2017, Apsurdom protiv otuđenja (Nikolina Kuzmić, Martin Šatović, Anđela Zanki), Academia Moderna, Zagreb, 201, Mali formati (Marta Tuta, Anđela Zanki), Studio of the Poola Gallery, Pula. She has participated in about forty group exhibitions in Croatia and abroad (2018, Zagrebška akademija – Best Forehand, Equrna Gallery, Ljubljana, Slovenia). She uses minimal expression in her work. She collaborates on international projects (2019, Associate on the project The Leipzig connection, 2017-2018 assistant of the Residential Program in Leipzig, Germany, within the project De/construction of painting, in cooperation with the Croatian Association of Fine Artists and Hafenkombinati; 2015, assisted at the Trešnjevka Cultural Center in the organization of the exhibition Zagreb Ex tempore / international exhibition of ceramics) and art colonies. As part of the project Humanization of Public Spaces through Art Interventions, she is the author of a public work located at the Rebro Clinical Hospital. She is a member of the Croatian Association of Fine Arts artists in Zagreb since 2017. She lives and works in Zagreb.
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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 October 11, 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.
PETRA FERIANCOVÁ
SHE WAS UNAWARE OF HER BORDERS. / EGO IN HABITAT.
Curator: Branka Benčić
Bačva Gallery, Home of HDLU
September 24– October 11, 2020
Following all recommendations of the National Civil Protection Headquarters, exhibition SHE WAS UNAWARE OF HER BORDERS. / EGO IN HABITAT., by Petra Feroancová, will be opened in front of the Home of HDLU, on Thursday, September 24 at 7 pm in front of Home of HDLU.
“She Was Unawareof Her Borders (Ego In Habitat), the first solo exhibition of the notedSlovak artist Petra Feriancová in Zagreb is revealed as the artist’s contactwith the space of the Bačva gallery. By placing the works in dialogue with theexhibition space, Petra Feriancová points to the tensions between the space,the observer, and the observed. Her gesture is aimed at questioning spatialrelationships and interactions between objects and subjects, staging theperformative character of the exhibition and moving through space. (…)
(…) Petra Feriancová gathers objects and paintings that she exhibits as a kind of archeology of memory. She deals with, Petra points out, “surviving” objects and the aspiration of objects to expose a part of their own history. Through formal and sensual installations, he deals with objects, in relation to human life, their history, existence, duration, survival, fragility, emphasizing the atmosphere and evoking similar feelings in the viewer. In this way, the artist uses specific visual language to create spaces, memories, catastrophe atmospheres, archeological remains, abandoned humanism, and an encyclopedia formed in the space of experimentation between scientific, historical, and private view, potentiality and imagination, connecting intimate and universal.”
from preface, written by Branka Benčić
ABOUT THE ARTIST
Petra Feriancová is a Slovak artist, writer and curator. She was born in Bratislava, Czechoslovakia in 1977. In 2013, she represented Slovakia and the Czech Republic at the 55th Biennial of Venice. In 2011 she was a resident at ISCP, New York, US, and in 2010, she was awarded the Oskar Cepan Prize for young visual artists organised by the FCS Foundation for a Civil Society.
Selected solo exhibitions include:
Fabvlae, Villa D’Este,Tivoli, IT (2020); Lebenswelt, Significant Other, Vienna, AT (2019); Personale, Gilda Lavia, Rome, IT; Klaviatura, Viltin Gallery, Budapest, HU; I Am Losing My Beauty Together With My Interest in Beautiful Things, Baril, Cluj, RO; Becoming Animal, Tenderpixel, London, UK (all 2018); Systems, Individuals and Measuring Tools, Bòlit Centre d’Art Contemporani, Girona, SP; Survivals, Relicts, Souvenirs, Apoteka, Dignano, Croatia, HR; An Exhibition on Doubt, MAN_Museo d’Arte Provincia di Nuoro, IT; (all 2016); Vulnerable, Yet Everlasting, Viltin Gallery, OFF Biennale Budapest, HU (2015); Things that Happen, and Things that are Done. On Beginnings and Matter, Fondazione Morra Greco, Naples, IT (2014); Still the Same Place, An Order of Things (with Zbynek Baladrán), Czech and Slovak Pavilion, Venice Biennale, IT (2013); A Study of the Secondary Plan, Dumb, The House Of Arts, Brno, CZ (2012); Postsriptum to Childe Harold’s Pilgrimge, Slovak National Gallery, Bratislava, SK (2011) and Theory of a City or the Possibilities of an A4, ISCP, New York, US (2011).
Organizer:
Supported by:
* Supported using public funding by Slovak Arts Council.
WORKING HOURS:
Wednesday – Friday: 11am – 7pm
Saturday and Sunday 10am – 6pm
Mondays, Tuesdays and holidays (May 30): closed.
The exhibition will remain open until October 11, 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.
i.j.PINO
H.Ister.i.ja TouR mitt h*man preselitev 2000 – 2020
Karas Gallery, Kralja Zvonimira 58
September 15– September 27, 2020
Following all recommendations of the National Civil Protection Headquarters, exhibition H.Ister.i.ja TouR mitt h*man preselitev 2000 – 2020, by i.j. PINO, will be opened on Tuesday, September 15 at 7 pm at the Karas Gallery (Kralja Zvonimira 58).
(…) “Uljanik is a brother.
Once you get a job and experience all aspects of working in a collective – everyday, persistent and productive (within the limits of your abilities) you do not need much to realize that your best intentions and efforts do not differ in the slightest from those of your colleagues in any other collective.
In positive things we are all equal, and in negative things we turn into completely different monsters – depending on our imagination, the quality of stomach acid, and the level of moral numbness.
Uljanik is a brother who was killed by monsters.
Unfortunately, he is not the only one, and there are plenty of mortally wounded – unaware of their terminal condition, they walk through Pula like an army of zombies in an invisible apocalypse.
They are not dangerous, but if you look a little closer, they will break your heart.”
From the preface, written by Boris Vincek
ABOUT THE ARTIST
performer, visual artist, musician. He has been known to the alternative cultural scene since the beginning of the seventies when he entered the conceptual and performance circle. At that time he created ‘mental spirit music’ with friends, and under the influence of Beuys, he opened processes for creating so-called ‘social sculpture’, with which he begins to belong a small group of conceptual artists who engaged in questioning socialist value systems, primarily the meaning of work and the position of workers.
i.j.PINO’s position outside the center and his experience as a worker at the Uljanik shipyard secured him the ‘right’ to further radicalization in the field of art. During the eighties, he realized his artistic interests by combining the media of music, performance, and fine arts (alter rock group GustapH y njegovi dobry duhovi, and since the nineties, the public knows him as one of the most provocative Croatian performers, but also as an alternative new media experimenter (telephone concert Netz/Mreža, for Radio ORF).
Proud record holder for attendance at one event/performance (approx. 40,000 visitors, ´Theater like a Life / Life like a Theater or Life is hot pepper…´ Pula / Cro a Ti
All other stupidities can be read in the daily, weekly, and periodical newspapers of this area….
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Exhibition closing event
PERFORMANCE
…GRAN kacata finale, un Gran fumakajo., smo ga pofumali…
26.9. 12PM
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 September 27, 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.
28 August 2020
ORGAN VIDA IN KARAS GALLERY
Katarina Juričić – Orange&Blue
3.-13.9.2020.
Karas Gallery | Ul. kralja Zvonimira 58, Zagreb
11.th ORGAN VIDA International festival of photography – Neodlučne slike | 02/09 – 04/10/2020
Katarina Juričić: Orange&Blue
OPENING: 03/09, 18h
“Staring at the Sun and the Sea. The scenery is magical and I feel relieved. The light and the colors nurture my eyes, and the images remain in my mind. Infinite combinations of Orange and Blue, compressed in a memory where reality merges with fantasy.”
In ‘Orange&Blue’, a photographic series which takes the final form as a site-specific installation, I recall a very familiar yet sublime experience of Sunrise and Sunset. Scenes such as the first sun ray of the day or the sunset behind the horizon, are both emotionally and visually profound. As such, they provoke an intuitive reaction to be documented. This results in an overflow of similar photographs in which all the magic of the sublime experience is reduced to an immaterial reproduction of “already seen”.
By taking the iconic imagery of sunrises and sunsets which our memory is loaded with as a reference, I strive to recreate the full range of sunlight colors which we experience throughout the day. Orange and blue light serves as a tool to come as close as possible to the feeling one has when being in the sun and soaking its warmth and color. Throughout the process of re-imagining the iconic imagery, figuration reaches abstraction and all that’s left in the image are light, form and color – ultimately the constitutive elements of any photograph. (Katarina Juričić)
Katarina Juričić (1994, Zagreb) graduated from Journalism at Faculty of Political Science in Zagreb and Photography at Royal Academy of Art (KABK) in The Hague. In her artistic practice, Juričić seeks new forms to embody photography and explore its physicality. She visualizes the imaginary, and therefore unphotographable, aspects of reality such as memories, emotions, visions and hallucinations. She exhibited at Photo Basel in Basel; Unseen Photo Festival, Galerie Ron Mandos and Melkweg Expo in Amsterdam; Galerie Bart in Nijmegen; Nest and Grey Space in The Middle in The Hague; and Rietveld paviljoen in Amesrfoort, among others. Her work is also part of AkzoNobel Art Foundation Collection in Amsterdam.
Working hours:
Wed – Fri: 3 – 8 pm
Sat: 10 am – 13 pm
Wed – Fri: 3 – 8 pm
Sat: 10 am – 13 pm
Exhibition is supported by: Ministry of Culture of the Republic of Croatia, City of Zagreb – City Office for Culture and Stroom Den Haag.
Festival media partners: HINA, British Journal of Photography, Kulturpunkt.hr, Vizkultura, Elle, Super1, Grazia, Vox Feminae, Rplus, H-Alter
24 August 2020
SYMPOSIUM
THE FUTURE OF OUR COLLECTIVE PAST
CLUB HDLU, AUGUST 29, 4 PM
* As part of the exhibition by Behzad Khosravi Noori – Professor Balthazar and a Monument to the Invisible Citizen, which you can see in the Bačva Gallery until September 6, 2020.
Speakers: Boris Buden, Nikica Gilić, Sanja Horvatinčić and Tvrtko Jakovina
The symposium forms part of the exhibition Professor Balthazar and a Monument to The Invisible Citizen by artist Behzad Khosravi Noori. Invited speakers took part in the research process and provided an important insight into local history. Most of their voices are present in the film A Monument to an Invisible Citizen but will also expand their individual research in the symposium.
What are the imaginable alternative futures for our collective past? What might the future reception of our perceptions of the collective past become? What methods of investigation or even interrogation can be used to destabilize the given narrative of the past?
The symposium The Future of our Collective Past addresses aligned forms of historiography within contemporary history in relation to the Non-aligned Movement, memory politics, and histories of the global South. It studies the means of cultural production within the dichotomy of the cold-war situation and beyond and through different historical perspectives, investigates the materiality of contemporary history and the multiplicity of interactions, connections, entanglements and micro-histories embedded in our near past.
Through the re-enactment of material history the symposium casts light on the necessity of artistic practice in relation to how art and artistic research praxis can excavate the image of contemporary history in the present and suggest a possible future for it. The image of our collective past demands reinvention in order to confirm the possibility of thinking about social transformation, emancipation and solidarity.
Schedule:
16:00-16:15 / Introduction (Behzad Khosravi Noori, Ana Kovačić and Lea Vene)
16:15-17:00 / Boris Buden: All what a culture can … is not enough (via Zoom)
17:00-17:45 / Tvrtko Jakovina: NAM (Non-aligned Movement): Yugoslav Heyday in the World’s Largest Political Association
17:45-18:00 / Break
18:00-18:45 / Sanja Horvatinčić: Monumental strategies of the invisible
18:45-19:30 / Nikica Gilić: Zagreb School and its authors in context
19:30-20:30 / Final remarks/comments/Q&A
Organizer:
Supported by:
Sponsors:
Project is produced by Marabouparken in collabration with Malmö konstmuseum and Konstfack.
Exhibition opening hours:
Wednesday: 11-19h; Thursday: 11 am-5pm; Friday: 12-19h; Saturday: 10 am-4pm; Sunday: 11-16h
The gallery is closed on Mondays, Tuesdays and public holidays.
The exhibition remains open until September 6, 2020
MEŠTROVIĆ PAVILION CLOSED DUE TO RENOVATION
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