Category: Events
21 December 2013
14.1. – 26.1.2014.
Opening of the exhibition will be on January 14th 2014 at 8 pm.
Home of Croatian Visual Artists
Trg žrtava fašizma 16, 10000 Zagreb
Working Hours:
Wednesday – Friday 11 am – 7 pm
Saturday and Sunday 10 am – 6 pm
Closed on Monday, Tuesday and holiday.
ARTISTS
Ana Elizabet
Sandra Fockenberger
Paul Horn
Hund&Horn
Ursula Hübner
Alfred Lenz
Moritz M. Polansky
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DAILY STRUGGLE exhibits works that deal with problems that people face in everyday life.
It is less concerned with the “struggle to survive” or the big questions, such as the deeper meaning of all things or long term career strategies, and more with the sum of small events or difficulties we try to overcome daily, such as: “How will I get out of bed? Why is the clutch sticking? How will I take out the trash without ripping the bag?”
These actions can take place on an individual level; we see both people and things in actual situations, which are far from perfect. It seems that both objects and persons involved in this follow an unwritten command or dynamic, with no outwardly visible obligation or necessity.
At the exhibition, these actions can be materialised in such way that the products of companies and retailers that are severely hit by the economic downturn can find their users.
It transpires that attempted improvised semi-solutions and failures can be more human and rewarding than the routine.
DAILY STRUGGLE zeigt Arbeiten, die sich mit Problemen beschäftigen, mit denen Menschen im Alltag konfrontiert sind.
Dabei geht es weniger um den „Kampf ums Überleben“ oder um die großen Fragen, die man sich im Laufe des Lebens stellt, wie die Frage nach dem tieferen Sinn hinter allen Dingen oder nach der langfristigen Karrierestrategie. Es geht mehr um die Summe aller kleinen Ereignisse und Schwierigkeiten, die man von Tag zu Tag zu lösen hat; z.B.: wie schaffe ich es aus dem Bett? Warum klemmt die Kupplung? Wie bringe ich den Müll runter ohne dass der Sack zerreisst?
Diese Verrichtungen können auf individueller Ebene stattfinden, und man sieht Dinge und Menschen in Situationen, die man alles andere als perfekt nennen könnte. Oder die Objekte und Personen, die darin verwickelt sind, scheinen einem ungeschriebenen Gebot oder einer Dynamik zu folgen, ohne von außen sichtbare Verpflichtung oder Notwendigkeit dazu.
Diese Verrichtungen können sich in der Ausstellung aber auch dahingehend materialisieren, dass Produkte von Firmen oder Gewerben Verwendung finden, die von den wirtschaftlichen Umbrüchen stark gebeutelt wurden.
Es zeigt sich, dass Versuche, improvisierte Zwischenlösungen und Misserfolge manchmal menschlicher und bereichernder sind als perfekte Routine.
30 November 2013
PETRA GROZAJ
Moments in Time
Opening of the exhibition on December 3rd 2013 at 7 pm
3.12. – 15.12.2013.
Barrel Gallery
Trg žrtava fašizma 16
10000 Zagreb
Working hours:
Wednesday – Friday 11 am – 7 pm
Saturday and Sunday 10 am – 6 pm
Closed on Monday, Tuesday and holiday.
Moments in Time
From its beginnings at the Academy of Fine Arts, Petra Grozaj’s painting has undoubtedly borne a strong self-referential and introspective mark which has always gone back much deeper than the classical intimate repertoire of themes and motifs. Self-analysis, presented through a systematically elaborated idea of the so-called painting journal/diary in pictures, occurred through the motif of the face of the author, in which her emotional, psychological and existential situation could very delicately be traced. The specific – often cold – coloring of the paintings spoke in support of the process of inner purification of clusters of the outside world and experience, suggesting at times an isolated, solitary atmosphere. However, her own face, at which the artist was staring so closely, we recognized as a signal of the establishment of identity, which nobody can deny, just as we are surprised by everything that is sometimes hidden in us under perfectly controlled facial features.
The thematic shift that occurred with the new cycle of paintings will not greatly surprise the careful experts of the oeuvre of this talented artist. If in the current paintings Petra Grozaj partly metaphorically rejected other people’s energy, restlessness and daily frequency of contamination, she is now focused on a very specific kind of impact to which we are exposed through childhood, in the process of growing up and later throughout life. Recently masks have appeared in the works of several contemporary Croatian artists, for example Matko Vekić and Pavle Pavlović, carrying a certain amount of social criticism of contemporary alienated and predatory society. They indicate the loss and deletion of a human identity, of a tired people who are looking for some other fictitious identities outside the triangle of job-fridge-TV, or are simply assigned to different subcultural phenomena. Petra Grozaj’s paintings, in this context, do not speak of social decadence and the civilizational decline of human beings, but are still facing individual emotional and psychological processes.
Iva Körbler
Petra Grozaj graduated from the Academy of Fine Arts and from the School for Applied Arts and Design in Zagreb. She is the winner of the Rector’s Award of the University of Zagreb and Academy of Fine Arts Award. She exhibited on 15 solo and 50 group exhibitions in country and abroad. She represented Croatia at the Biennale of Young Artists BJCEM in Naples. She participated at residential programs in Venice, Naples, Paris, Berlin and Leipzig. Her works are placed in private and gallery collections. She is a member of HDLU and HZSU. She lives and works in Zagreb.
www.petragrozaj.net
22 October 2013
VIENNA CALLING
2nd BIENNALE OF PAINTING
30.10. – 24.11.2013.
22 October 2013
2nd BIENNALE OF PAINTING
30.10. – 24.11.2013.
27 September 2013
CAITLIN MASLEY
NEO HABITAT
4.10. – 23.10.2013.
Opening of the exhibition will be on October 4th 2013at 7 pm.
Barrel Gallery
Trg žrtava fašizma 16
10000 Zagreb
Opening hours:
Wednesday – Friday 11 am – 7 pm
Saturday and Sunday 10 am – 6 pm
Closed on Mondays, Tuesdays and holidays.
Curator: Branka Benčić
After realization of the wall drawings from the series Marina City ( Marina City #6, galerija 01, Zagreb, 2006) Caitlin Masley returns to Zagreb again, but this time realizing a big site specific installation, architectural/sculptural object, from the series Neo Habitat, designed especially for the Barrel Gallery.
Neo Habitat presents a series of hanging objects – mobiles – architectonic constructions of large formats, hand made of cut and assemblage / collage black poliuretan foam panels, which will fill in the space of the Barrel Gallery with its volume and complex compositions, creating complex spacial hanging / floating structure. On a trail of the ideas of mobile architecture of Yona Friedman, based on a temporary, flexible constructions, aimed to the needs of the population, dynamics of the urban processes, related materials, performance and to the needs of the residential construction in a postwar area.
Caitlin Masley’s Neo Habitat presents visual researches of the organic growth, reconstructing different fragments of the architecture. Its volume overtakes the space of the gallery engaging the senses of the visitor. Detail is multiplied, fragments repeated as kaleidoscopic picture, while in front of our eyes the familiar elements of architecture transform into an abstract construction which spreads in space as an explosion. (From the foreword, Branka Benčić).
Caitlin Masley, has an MFA from the University of Arizona and is currently pursuing a MS in Design and Urban Ecology at Parsons, New York City.. She has won several grants and fellowships, including an Emerging Artist Fellowship from the Socrates Sculpture Park, a Pollock-Krasner Fellowship, Puffin Foundation Grant and Foundation for Contemporary Art (emergency grant) and the LMCC Swing Space Grant and Residency among others. Masley has been artist-in-residence in Austria, Germany, Quebec, Norway and Switzerland. Her work has been included in group exhibitions at MOMA/PS1, Center for Built Environment, Storefront for Art and Architecture. She has created site-specific solo exhibitions at McColl Center for Contemporary Art, Islip Museum, Urban Institute of Contemporary Art and Kingston Museum of Contemporary Art. Upcoming, Masley will install a new site-specific work at MOCA Jacksonville, Florida. Her work is included in the Pfizer Corporate Collection, Benaki Museum, Holt Renfrew, Progressive Corporate Collection and many Private Collections. Caitlin Masley is represented by Lu Magnus Gallery in New York. Currently, she lives and works in Brooklyn.
24 September 2013
HANA MILETIĆ
SINT-ANNABOS – FOREST SAINTE-ANNE
2.10. – 13.10.2013.
Opening of the exhibition on October 2nd 2013 at 7 pm.
PM GALLERY
Trg žrtava fašizma 16
10000 Zagreb
Working hours
Wednesday – Friday 11 am – 7 pm
Saturday and Sunday 10 am – 6 pm
Closed on Mondays, Tuesdays and holidays.
In this series, Hana Miletić explores and documents the “Sint-Annabos” (“Forest-Sainte-Anne”), a small forest close to the city of Antwerp in Belgium that is threatened by the construction of a highway bridge. Miletić has photographed the trees of the forest in an isolated, individuated way, capturing their shapes in the midst of the night, as if she wanted to make a kind of clandestine portrait of each one of them.
The photographs are printed using the Fresson-technique, a carbon printing technique that was used in the early days of photography. The process involves natural carbon extracted from burned organic material that is deposited on the paper in order to render the picture. Miletić’ photographs of the Forest-Sainte-Anne thus suggest, in a way, a potential for re-incarnation of the trees threatened by abolition. Moreover, the dramatic effect of the Fresson printing technique grants a deep and dark image quality, creating an almost mystical atmosphere inhabiting the photographs.
The selection of photographs presented here does not only document the trees of the Forest-Sainte-Anne in a typological fashion, it also attempts to reinstall a sense of mystery and uncanniness in the experience of the European forest at large: the photographs remind the fact that once, long before modernity disenchanted the forest as a place of leisure and recreation, it was considered an impenetrable place inhabited by wolfs, witches and burglars.
Along with this project of re-enchantment, Miletić also exhibits remnants of the protests by the environmental NGO Ademloos (Breathless) who protests against the destruction of the forest. Their banners and slogans become thus not only politically concerned cries for environmental awareness, but are transformed in objects that call for the preservation and cultivation of zones of secrecy and danger in Europe’s engineered, suburban landscape.
Gawan Fagard
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