Luise Kloos

SILENT LIGHT

Gallery Bačva

16.01. – 08.02.2015.

Opening of the exhibition on Friday, 16th January 2015.

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Tomislav Čeranić

L’HORIZON CHIMERIQUE

November 18 – December 7, 2014

RING GALLERY

Whereas in the majority of artists drawing has a preparatory or accompanying status, in Tomislav Čeranić’s work it holds the status of a finished artistic result, autonomous sculptural organism, map that registers and brings to light the flow of labyrinthine path of the author’s extremely subjective imagination. For decades now Čeranić has been proving to the anxious modern world, in attractive and artistically compelling ways, that drawing can justifiably compete with other modern methods of artistic expression. Establishing drawing as independent and completely finished work, an autonomous discipline and independent creation, this artist of delicate and refined spirit does not decide to refer to the perceived reality, but instead he opts for escapism as the principle of detachment from the material interpretation of reality, for the creation of fictional worlds, purely fictional construction of images and shapes. In Čeranić’s work the utopianism of fictional reality, created with unique and virtuoso-drawings, segmented in interesting and always and completely, and in all aspects articulated cycles, comes before the message that the other media – when referring to reality – send to the observer in a clumsy way. Unlike the – old and new – figuration we usually encounter in the work of the local environment, his figuration is completely deprived of eschatological messages, and the only thing he wants to achieve is to provide himself with the opportunity for free self-disclosure in the conjunction of erudition and poetry, in a unique version of visual “schizotext“. Therefore, there are no artists in Croatia who are similar to him in style or language. Such artist remains an independent individual who speaks in the first person. He is more interested in using the language of autonomous sculptural logic and citation – it is like he is stateless, he remains enclosed in his own small intimate fictional world, but familiar, open and attractive to the visual sensibility of the present observer, who is thus easily motivated to dive into the meditative and subliminal space behind and below the image.(From the foreword Drawing as «schizotext» of  Ivica Župan )

CURATOR: Vinko Srhoj

Tomislav Čeranić was born in 1961 in Šibenik. He graduated in Art History at the Faculty of Philosophy in Belgrade.
www.tomislav-ceranic.net

RING Gallery

Croatian Association of Fine Artists

Trg žrtava fašizma 16, 10000 Zagreb, Croatia

Working hours:

Wednesday to Friday 11am – 7pm

Saturday and Sunday 10am – 6pm.

Monday, Tuesday and holidays – closed

Vlatko Vincek

ANTI

November 18 – November 27, 2014

Opening of the exhibition on 18th of November at 7:30 pm

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MARJANA KRAJAČ

VARIATIONS ON SENSITIVE

The new work by choreographer Marjana Krajač is a three-hour performance at the Mestrovic Pavilion / Dom HDLU in Zagreb, which will be premiered on 18^th of October 2014 starting at 14 h, with performances on 19th, 20th, 21st and 22^nd of October also starting at 14 h.

This simultaneously complex and fragile consideration of the nature of dance, whose building material is just enough present in order to irrevocably dissapear,

is extensive, yet minimalistic dance session between sound and space.

Performed by dance artists Lana Hosni, Irena Mikec, Katarina Rilović, Irena Tomašić and Mia Zalukar, this long dance work invites you to spend time with it, coming gradually into the layers of its texture.

In her last works, Marjana Krajač embarked on a complex mission of revoking the very substance of a dance medium, exposing its own ontology and deconstructed historicity. In such intervention, that deals with the very nature of dance – Spinoza would call it natura naturata, modes and conditions of substance can seek its cause only in themselves. To dance a dance, means then also that the very dance must go through the experience itself. This suggests that something beyond the experiential horizon of dance can only be a projection of its function but not the dance itself. In such framework of interest, Marjana Krajač and five dance artists are asking relevant questions and opening up the space of joint consideration of metaphysical commitments and added meanings. What inhabits a dance event becomes part of its foundation.

Moving away from short-term effects of watching, this work calls for flexibility of time and experiential notion of a performance. VARIATIONS ON SENSITIVE are proposing this work as a community experience and the group experience, in any case, something that we share with others via watching. The Other, which is the mirror of what occurs, becomes important for our understanding of dance as an art of transfer. Transfer through the other and the friction on the other becomes the only area in which dance can construct some type of memory to itself. In this sense, the other is at the same time a witness and a participant.

The work was created in cooperation and residencies at Uferstudios / Tanzfabrik Berlin (Germany), Santarcangelo dei Teatri (Italy) and the Zagreb Dance Centre.

The work was realized with the support of the City of Zagreb, Croatian Ministry of Culture, Zagreb Dance Centre, Croatian Institute for Movement and Dance and the Croatian Association of Artists.

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Tickets

Admission to the premiere on October 18th is by invitation.

For 19, 20, 21 and 22 October tickets can be purchased directly before the performance at the ticket office at the entrance of Mestrovic Pavilion / Dom HDLU. The ticket office opens 1 hour before the performance.

HDLU

Trg žrtava fašizma 16, 10000 Zagreb, Croatia

tel: 01 / 4611-818 / 4611-819 (weekdays from 10 to 14 hours)

E-mail: hdlu@hdlu.hr

Web: www.hdlu.hr

SODABERG KOREOGRAFSKI LABORATORIJ

http://sodaberg.hr

Politicization of Friendship

Zoran Popović: Pretty Good Edinburgh and Surrounding Area, 1973 (film 8 mm, color, silent, 11’20)
Courtesy: Zoran Popović

Roberto Barandalla & Darío Schvarzstein, Jože Barši, The Beehive Design Collective, Ivan Cardoso, Juan Downey, La Escuela de Valparaíso, GALCHI (Galeria Chilena), Group Material, Group of Six Artists, Minna Henriksson, Roberto Jacoby, KURS (Miloš Miletić & Mirjana Radovanović), Madness in the Eighties: Anti-Psychiatry Movement in Slovenia, Manga Rosa, Roberto Mardones, Tina Modotti: Farewell to Photography, Andrei Monastirsky (Collective Actions), Museo de la Solidaridad / Museum of Solidarity, Santiago, Chile, The OHO Group, THE PLAY, Zoran Popović, The Real Estate Show, Benet Rossell, Škart, Josip Vaništa (Gorgona), Yugoslav Surrealists: Politics of the Impossible

1 July – 28 September 2014
Museum of Contemporary Art Metelkova, Maistrova 3

Curator: Bojana Piškur
Co-curators: Isabel García Pérez de Arce, André Mesquita
Special projects curated by: Miklavž Komelj, Branka Stipančić

You are cordially invited to the exhibition opening onTuesday, 1 July 2014 at 8 p.m. at the Museum of Contemporary Art Metelkova, Maistrova 3.

In the history of philosophy as well as theory of art there exists a variety of works based on the idea of friendship. The core of present interest in friendship goes beyond friendship as mere closeness, affinity, affection or some consensus of opinion. It implies a broader political dimension and consequently a certain tension and malaise.

The exhibition itself evolved from the premises of so-called participatory art of Eastern Europe and Latin America, which are here brought to a significantly different level. The exhibition Politicization of Friendshiptherefore attempts to encompass certain aspects of “participation”, for instance collective artistic production, solidarity, interaction and collaboration between artists in different parts of the world where the art system was not only underdeveloped, but also completely indifferent towards alternative artistic practices. Some of the typical characteristics of Eastern European and Latin American spaces and their understanding of collectivity and collaboration include informal alternative art spaces, apart-art, art collectives, collective creativity, self-organizing, “self-historicization,” etc.

However, our point of departure is not the history of theater or performance art, where theoreticians typically tend to locate the beginnings of participatory art, but primarily ruptures in various areas of knowledge, or “the new politics of knowledge”, that have occurred since the 1960s. Such ruptures produced different discourses – not only the discourse on madness, sexuality, history and a variety of scientific discourses, but also the discourse on art. They all derive from an attempt to dispense with the conventional habits of mind and received ideas in each established area, or in other words, from the need to uncover the relations between knowledge and power.

The exhibition presents works by artists, art collectives and movements that stem from the following questions: What can friendship achieve? What shifts can occur, in both artistic-formal and political terms, if friendship begins to create new ways of interpersonal relating and new structures of being? What is at issue is not just the political potential of an artwork or its emancipation from the representational regime, but politicization as desire, which “deploy[s] its forces within the political domain and grow[s] more intense in the process of overturning the established order.” In short, desire as the driving force of exploration, which surfaces at some fundamental encounter at the junction of politics, art, philosophy, etc.

Friendship can’t simply be equated with collective spirit and collective work; it is a form of emancipation, not in the sense of political correctness, consensus or search for some universal truth, but as a constant discovering of what we are and what we become in the processes of friendship. These questions are both essentially political, calling for a decision that does not come easily, hence demanding a significantly different engagement in the here and now.

The day after the opening, on July 2, at 6 p.m., you are invited to attend a talk with participating artists, moderated by Bojana Piškur and Tjaša Pogačar Podgornik (in English). Accompanying the exhibition there is a program of lectures and talks, workshops, and screening of buddy film at the Slovenska Kinoteka.

The exhibition is accompanied by a catalogue designed by Škart.

The exhibition is supported by the Ministry of Culture of the Republic of Slovenia.