Category: Events
27 August 2019
Lanscape Spaces / Prostori krajolika
September 4 – 22, 2019
PM Gallery
Exhibition opening: Wednesday, September 4, 2019, at the Prsten Gallery at 20 pm
Artists: Alebić Josip, Babić Damir, Bakić Gordana, Brandis Josip, Čabraja Igor, Čaušić Mario, Deman Tanja, Dračić Sebastijan, Duvnjak Hrvoje, Jurić Ivona, Kardum Ivanišin Katarina, Kozina Zlatko, Lenard Kristina , Matoković Mario, Milić Miron, Milić Zdravko, Ruf Igor, Sanvicenti Davor, Sušac Domagoj, Tadić Marko, Vehabović Zlatan, Vodopija Mirjana, Vrankić Davor, Vrkljan Zlatan
If by landscape painting one refers to the genre of painting dedicated solely to the depiction of landscapes “where landscapes represent the central motif,” then, by following the thought of Lothar Altmann, one could say that its history starts during the Renaissance period. Altmann, however, neglects the fact that during the period of Antiquity, especially in Egyptian art, Minoan and Mycenaean, as well as ancient Greek and Roman depictions, the portrayal of nature was common practice. He sees the problem in the fact that “particular elements of landscape were often placed next to each other, which disenabled the existence of continuity within the depiction.” Therefore, according to this stance, one could assume that the basis for landscape as an independent theme was enabled by the introduction of geometrical perspective in depicted scenes, as landscape in most cases entails movement of the painters eye toward the horizon, as well as their noting of the perceived and experienced reality along the way, where the endpoint (the line of the horizon itself) always turns out to be the point of a new beginning, seen as how the horizon represents an illusion created by the collusion of nature and the human eye to preserve us from the absolute.
Just as a portrait entails a correlation between the inner and outer dimensions of the depicted figure, the depiction of landscape does also not just represent a mere copy of the perceived but an immersion in the sight, and by means of the perceived an immersion into oneself; connecting to the geography of the perceived and enrooting into the ground from which the depiction that follows sprouts, together with the formation of the depicted sight by the strength of one’s own experience of nature. The space of the landscape is more than just a space in which to live and reside. The connection between man and nature in Friedrich Ratzel’s, the founder of anthropogeography, opinion “results in the creation of a vital living space (Lebensraum) in which all sorts of human activities (…) in languages immanent to them, form different signals of geographicality.” (Jukić/Rem) Those “signals of geographicality” are possible to form, as well as interpret, on different levels, so that the landscape stops being merely a literal scenery, and becomes a world in which the bond between the ground and the artist is reflected. It reads as love they feel towards each other, as well as an indication of happiness, hate, suspicion, passion, or longing to run away, either from the landscape or oneself. Finally, the artist feels the landscape to the extent and in a way that the ground feels the artist, providing them with more or fewer incentives to stay or run away.
from the preface
Igor Loinjak
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WORKING HOURS:
Wednesday to Friday: 11.00 AM – 7.00 PM
Saturday and Sunday: 10.00 AM – 18.00 PM
Closed on Mondays, Tuesdays and holidays.
24 July 2019
SAŠA ŽIVKOVIĆ
GREY FIELD
Bačva Gallery, Home of HDLU
August 1 – August 25, 2019
Opening of the exhibition: Thursday, August 1 at 8 pm at the Bačva Gallery (Home of HDLU)
Exhibition Grey Field by Saša Živković will be opened on Thursday, August 1 at 8 pm at the Bačva Gallery (Home of HDLU).
“Saša Živković (1970) creates an enchanted circle through the dialectics of creation, permanent space-time change of the continuum of optical illusion based on grey and white polarities. The circle is an expanded dot and the sphere, which is how Plato saw the human soul, is an expanded circle. This is analogous to the circularity of the cosmos in which nothing stands still, everything moves. Just like the relationship between negative and positive image, where one is reflected in the other, with the final materialization between the matrix built from sand and a contrasting background Saša spreads achromatic grey in dual tones which acts both as the link and the dividing line – the third part of the essence of the black and white illusion (…)
(…)
Saša points to the indescribable and never fully captured meaning of the symbol; to the process of individuation of an individual who, by striving towards balance between emotion, sensory, intuition and thoughtfulness in this meaningless world, tries to become aware of his/her own unconscious and achieve psychological integrity. This is a complex and multi-faceted symbolism of the mandala that surpasses the scope of this interpretation, bringing us to the topic of meaning, psyche and visual arts.[1] Saša’s spatial image is multiperspective. Therein lies its never fully exhausted power. It is a reflection of an inner reality. This is the point of the trefoil illusion. We have to believe in it or the optical magic seen from God’s perspective disappears.
From preface, written by Željko Marciuš
[1] For the basic Jung’s symbolic terms of archetypes: collective unconscious, animus, anima, the Self, synchronicity, individuation, afterimage see: C. G. Jung, Čovjek i njegovi simboli [Man and His Symbols] (…), Mladost, Zagreb, 1987; C. G. Jung, Sjećanja, snovi, razmišljanja (autobiografija) [Memories, Dreams, Reflections (Autobiography)], Fabula Nova, Zagreb, 2004; C. G. Jung and W. Pauli, Tumačenje prirode i psihe [The Interpretation of Nature and the Psyche], Prosvjeta, Zagreb, 1989; C. G. Jung, Psihologija & alkemija [Psychology and Alchemy], Naprijed, Zagreb, 1984.
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WORKING HOURS:
Wednesday – Friday: 11am – 7pm h
Saturday and Sunday 10am – 6pm h
Mondays, Tuesdays and holidays (August 15, 2019) closed.
The exhibition will remain open until August 25, 2019
18 June 2019
ISLAND OF INANNA
Lina Kovačević, Martina Miholić, Nika Šimičić, Irena Tomašić, Martina Granić
guest: Darija Jelinčić
Bačva Gallery
June 28 – July 21, 2019
Opening of the exhibition: Friday, June 28 at 8 pm at the Bačva Gallery
A multimedia exhibition Island of Inanna, byLina Kovačević, Martina Miholić, Nika Šimičić, Irena Tomašić, Martina Granić, and their guest Darija Jelinčić, will be opened on Friday, June 28 at 8 pm at the Bačva Gallery.
The exhibition is the result of a multimedia research process, based on own life and professional experiences of the artists, with the aim of demystifying the notion of feminism, which has been distorted lately, inadequately used, worn out by constant repetition in every possible context and often has pejorative connotations.
In artists´work, island is a mystical place, circular, sun-bathed by the dome of the Meštrović pavilion. It is also the home of the goddess Inanna, the Sumerian goddess of love, fertility and war (3rd century BC). She is a four-person goddess: besides being a virgin, a mature woman and an old woman (warrior, lover, and ruler) she is also the ruler of the underworld. She is at the same time a self-centered young girl and a rebellious teenager, who is able to break all the prohibitions, opposing various fatherly figures.
Artists are playing with materials such as concrete, wax, stone, textiles; different textures; media, but also objects – instruments for “upgrading” or “repairing” a woman’s body. With this approach, the boundary between the socially conditioned and the biological body is lost, and the sexuality and the female attributes do not provoke shame; on the contrary, they become the qualitative element of every woman,
Starting from the idea of a woman as the primordial creator of the universe, Island of Inanna is a utopian topos filled with artifacts taken from everyday life and pop culture, archeological findings of women’s presence that represent the remaining traces of the existence of the divine female principle. However, the issue of violence against women’s tissue, the cosmetic industry, or the men themselves is opening up, making use of the biological tenderness for capitalist purposes, taking feminism as a good marketing manipulation.
The guest at the exhibition, photographer Darija Jelinčić, did her work through collaboration with Taiwanese performer Chenwei Hsu, who explores the feminine features he possesses in order to gain as much experience as possible and thus understand the feminine nature. He gained interest in the subject by growing up with his mother, father, and two sisters, so he wanted to know and understand the female nature in order to better relate to his sisters and mother, women in general.
Island of Inanna – Irena Tomašić
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WORKING HOURS:
Wednesday to Friday: 11.00 AM – 7.00 PM
Saturday and Sunday: 10.00 AM – 18.00 PM
Closed on Mondays, Tuesdays and holidays.
The exhibition will remain open until July 21, 2019
28 May 2019
ZORAN KAKŠA
INTERVIEW WITH MYSELF
Galerija Karas
4. 6. – 16. 6. 2019.
Exhibition Interview with Myself, by Zoran Kakša, will be opened on Tuesday, June 4th at 7 pm at the Karas Gallery (Zvonimirova 58).
“Ethereal dimension of Kakša’s series in which the artists engages in a dialogue with himself, i.e. with his memories and random observations, was born by light peeking through a hole. This tiny pupil made on some commodity boxes, which establishes order from the chaos of light and whose sharpness is – more accurately, sharpness on the retina of the reflected and created image –proportionate to the time of exposure to daylight hours and night lights, this is the essential and first component of the creative series characterized by intellectual and performance sensitivity.”
From the preface, written by Nikola Albaneže
ABOUT THE ARTISTS
Born on May 12th 1974 in Zagreb. In 1993 he graduated from the Department of Graphic Arts, School of Applied Arts and Design in Zagreb, with Prof. M. Poljan. Graduated from the Academy of Fine Arts, Department of Art Education (Graphics), in the class of Prof. I. Šiško in 2002. He worked as a Art teacher in Samobor and associate restorer at the Croatian Conservation Institute on the altars of the Monastery of St. Leonard in Kotari (Žumberak), on the polyptych from the Church of St. Francis in Pula and in the Croatian State Archives in Zagreb. Zoran also workes in the “Staklić Artistic Glasswork Atelier“ where he learned glass work and stained glass making and also as Art teacher in Matko Laginja Elementary School in Zagreb. He has had 12 solo and 112 group exhibitions in the country and abroad. He is a member of the Croatian Association of Artists (HDLU). Lives and works in Zagreb.
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Working hours:
Wednesday – Friday: 3 pm – 8 pm | Saturday and Sunday: 10 am to 1 pm
Mondays, Tuesdays and holidays: closed.
The exhibition will remain open until June 16, 2019
14 May 2019
THE THIRD SPACE
(All That We Have in Common)
Prsten Gallery
May 22 – June 30, 2019
Curator: Jovanka Popova
The exhibition THE THIRD SPACE (All That We Have in Common) opens on Wednesday, May 22, 2019 at 7pm at the PMrsten Gallery of the Home of the Croatian Association of Artists.
The exhibition “Third Space (Everything We Do)” is the second European exhibition within the second edition of the European CreArt project that will bring together 15 artists from 10 European cities and present them in Zagreb, Croatia (May-June 2019), Clermont -Ferrand, France (September 2019) and Lecce, Italy (December 2019).
Artists:
Sara Alves (Aveiro), Zach Mitlas (Clermont-Ferrand), Niccolò Masini (Genoa); Rasma Noreikytė and Monika Zaltauskaite (Kaunas), Victoria Hyam (Liverpool), Renata Poljak and Vlasta Delimar (HDLU-Zagreb); Waldemar Tatarczuk (Lublin), Sophie Dubosc and Marie – Margaux Bonamy (Rouen), Maria Tinaut (Valladolid), Gjorgje Jovanovik and Oliver Musovik (Skopje), Samuel Mello (Lecce).
Macedonian curator Jovanka Popova selected works of 15 artists whose art practice refere to “self” in relation to the community and the collective, as a synonym for the space of solidarity, a collective experience, and the importance of participation within the community. Selected projects will critically re-examine the concept of community and communion starting with the idea that coexistence is a basic mean of existence and try to awake concepts as identity, nationalism, power politics in the context of “self” and “otherness” and multicultural concepts.
The concept of the curator’s exhibition is based on Jean-Luan Nancy’s proposal that “being” means “being-with” that Pop is interpreted to function just as collective power: power is not external to collective members or immanent to each of them, power derives from collectivity as such.
The aim of the exhibition is to examine the question if and how dispersed insecure subactivities actually can be linked?
The selected artworks raise the question in which way we understand the mechanisms and certain implications towards solidarity; allow us to think about how our personal vision can be socially shared; the possibilities and limitations that we are encountering; the question of what our own expectations are in relation to power and freedom; what levels of personal temptations or troubles are at the threshold of tolerance and endurance; a multitude of questions and dilemmas with regards to personal responsibility, an action and its consequences.
WORKING HOURS:
Wednesday to Friday: 11.00 AM – 7.00 PM
Saturday and Sunday: 10.00 AM – 18.00 PM
Monday – Tuesday and June 20, 22 – closed
RENATA POLJAK
YET ANOTHER DEPARTURE
Bačva Gallery, Home of HDLU
May 22 – June 9, 2019
Shunga – Eroticism and Dreams of Edo Period
PM Gallery
May 22 – June 9, 2019
Curators: Zvonimir Dobrović i Bruno Isaković
The exhibition Shunga – Eroticism and Dreams of Edo Period opens on Wednesday, May 22, 2018 at 7pm at the PM Gallery of the Home of the Croatian Association of Artists.
Shunga paintings (1600 to 1900) were extremely popular in Japan, they were known as “spring paintings” and were made by great masters of woodcut such as Hokusiai, Utamara and Kunisada. At the beginning of the 21st century, Shunga was re-discovered and presented to the public by a large exhibition at the British Museum in London. Stuart Frost, one of the curators from the British Museum, will also participate in the Zagreb exhibition. Ironically, although Shunga paintings were removed from popular and scientific memory in Japan and became taboo, at the same time were discovered and enthusiastically collected by artists from the West. These explicit and beautifully detailed erotic images inspired Toulouse-Lautrec, Rodin and Picasso. The influence is also visible in today’s pop culture of Japan from tattoo artists to anime and manga.
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