Category: Exhibitions

With the exhibition CreArtivci, held at the Karas Gallery from April 30 to May 2, 2024, the first in a series of educational programs within the European project Creart 3.0. was successfully completed.

The work of the students from the 16th Gymnasium, created under the mentorship of the artist Marko Zeman.

The CreArt Educational Program is part of the European project CreArt 3.0 and aims to improve collaboration between local schools, cultural institutions, non-governmental organizations, and independent professionals and companies in the cultural and creative sectors. The program builds and strengthens intergenerational connections, creates a network for cultural education exchange, and encourages future participation of school children in the cultural life of the city. Over the course of 3 years, the program will involve 76 schools in the partner cities of the project, more than 4,500 students and teachers, and 47 artists.

The work of the students from Matko Laginja Elementary School, created under the mentorship of the artist Natalija Borčić Peuc.

Some of the works by the students of Marija Jurić Zagorka Elementary School, created under the mentorship of the artist Monika Meglić.

 

This year, HDLU (Croatian Association of Fine Artists) has connected its educational program with the 7th Biennial of Painting, which for 14 years has positioned itself as the only national visual arts event dedicated to documenting the scene and shifts in the medium of painting. In its inaugural edition, 6 schools participated (Ivan Merz Elementary School, Matko Laginja Elementary School, Marija Jurić Zagorka Elementary School, XV Gymnasium, XVI Gymnasium, Classical Gymnasium) with more than 120 students and 6 teachers. The program consisted of guided tours through the Biennial of Painting along with an educational booklet with tasks and workshops conducted in schools under the mentorship of artists from the 7th Biennial of Painting, including Natalia Borčić Peuc, Monika Meglić, Valentina Supanz Marinić, Iva Zagoda, Marko Zeman, and Marta Živičnjak.

 

The work of the students from Dr. Ivan Merz Elementary School, created under the mentorship of the artist Marta Živičnjak (left), and the work of the students from the Classical Gymnasium, created under the mentorship of the artist Mihaela Rašica (right).

 

Mia Matijević Akrap conceptualized educational booklet under the supervision of the Teaching Department of the Academy of Fine Arts, University of Zagreb, Prof. Sonja Vuk, Duje Medić designed it, and by early January, the booklets were ready for use, followed by guidet tours for elementary and high school students.

The works of the students from the XV Gymnasium, created under the mentorship of the artist Valentina Supanz Marinić

The final result, and the culmination of this year’s educational program, was the exhibition of student works created during the workshops.

 

PARTICIPANTS:

Schools: Matko Laginja elementary school, dr. Ivan Merz elementary school, Marija Jurić Zagorka elementary school, Classical Gymnasium, XV. Gymnasium, XVI. Gymnasium

Artists: Natalia Borčić Peuc, Monika Meglić, Mihaela Rašica, Valentina Supanz Marinić, Marko Zeman, Marta Živičnjak

Professors: Sanja Černko Delerue, Tamara Galović, Anamarija Jukić-Ivandić, Zoran Kakša, Maja Marović, Lahorka Rožić

Students: Ante Alerić, Gabrijela Antonić, Marta Arnaut, Marija Bakmaz, Katja Barbarosa, Silvija Bašić, Jakov Beloša, Teuta Biškup, Luka Bokolić, Lucija Brajković, Domenica Brkić, Katarina Brkić, Ema Brzica, Matko Brzica, Ana Buneta, Marta Buntak , Dov Cvetković, Alan Čaldarović, Andrija Deković, Klara Dodić, Lara Đureš, Filip Felja, Julija Ferenčak, Ema Gazić, Lori Giljević, Duje Gligora, Nicol Gogić, Svebor Graonić, Lorena Grgat, Nikola Gvozdenović, Laura Hajduk, Dina Halužan, Helena Han, Lana Hižar, Ana Husak, Jakov Ivanda, Pavla Ivšinović, Iva Jakopović, Mihaela Jambrešić, Tina Jelaković, Luči Jogušt, Nicole Jozić, Ana Jukić, Ana Jurić, Franceska Jurmić, Ivan Jakov Jurović, Roza Kajs, Marko Keser Slavković, Lara Kette, Andrej Kević Janković, Lucija Kanižaj, Jakov Kitarović, Franka Kokot, Hana Kos, Maja Kresonja Jembrih, Robertina Krupa, Ivona Kučiš, Domagoj Kuliš, Ivan Leko, Iva Lovrić, Ema Lujo, Luka Marenić, Stella Margetić, Maro Maričević, Lovro Marić, Dominik Marunić, Mihael Marušić, Juraj Matek, Tin Matešin, Melani Matić, Petra Mazarević, Dora Meštrović, Ana Mihoci, Tina Mimica, Marta Mlinar, Noa Nadali, Juraj Najdek, Franka Nikolaci, Lovro Panović, Marko Pažin, Alan Peštalić, Maša Pećarina, Antonia Periček, Katarina Petrović-Poljak, Paula Pilić, David Petar Pleština, Elena Plušćec, Ivor Prelogović, Luka Primorac, Kan Priselac Novačić, Ema Rašić, Mila Ravlić, Hana Sabljić, Zola Sarnavka, Marina Slaviček, Karla Smolić Ročak, Klara Stambolija, Max Šenjug, Ela Šiklić, Enola Špoljar, Mark Štritof, Margita Šurina, Iva Šušak, Nikša Šutej, Mia Tabaković, Maksimilijan Tanšek, Sofija Taraba, Mirko Tišljar, Dora Tomić Babić, Dejan Torbica, Nikša Tunguz, Anja Vačevski, Teo Valčić, Laava Magdalena Vatsel, Mia Vernik, Karla Vrdoljak, Paula Vučković, Iris Vuković, Vito Zadro, Maša Žilavčić, Mark Živković, Nina Živković

 

***

CreArt is a network of 13 medium-sized European cities with the aim of exchanging experiences and good practices for the promotion of contemporary art, through a permanent transnational mobility program for emerging artists, curators and cultural workers, in order to maximize the economic, social and cultural contribution that creativity can make to local communities (#stringing_together). At the same time, CreArt 3.0 is pushing the boundaries (#pushboundaries) beyond the visual arts, empowering other artistic practices such as performing arts or music, and new collaborations with an NGO based in Lviv have also been initiated to support Ukrainian artists. Participating cities are: Kaunas, Liepaja, Skopje, Aveiro, Valladolid, Lublin, Venice, Clermont-Ferrand, Rouen, České Budějovice, Oulu and Regensburg. The project includes 45 residency programs in 15 European cities, more than 39 public events to celebrate the European Month of Creativity in 13 cities from the network, 13 educational programs to strengthen creativity and knowledge about contemporary art, 18 Street Art festivals, 10 annual festivals in galleries in 9 cities and 6 European conferences and study visits.

Organizer:

Within the project:

Partners:

Supported by:

     

 

Co-funded by the European Union – CREA-CULT-2023-COOP. The views and opinions expressed are solely those of the authors and do not necessarily reflect the official views of the European Union or the European Education and Culture Executive Agency (EACEA). Neither the European Union nor the European Commission can be held responsible for them. [Project number: 101128499]

The views expressed in this announcement are the sole responsibility of HDLU and do not necessarily reflect the opinion of the Government Office for Cooperation with NGOs.

ANDREA KNEZOVIĆ
TRANSMISSION
7.-28.5.
KARAS GALLERY

On Tuesday, 7.5.2024. Andrea Knezović opens her solo exhibition entitled Transmission, at 7 pm in Karas Gallery (Ulica kralja Zvonimira 58).

In her foreword, Katarina Podobnik emphasizes:

With the art installation “Transmission” as a speculative design, Knezović creates a world in which artificial intelligence imposes itself as a pseudo-divine entity, and the place of worship becomes (or remains) both materialised and digital – an AI altar. Alongside the physical presence of characteristic liturgical ornaments, the artistic ambience consists of three central components – three monitors symbolising the united Holy Trinity. Each of the latter shows a video based on generative language models and a text-to-speech system, replicating traditional ritual elements within the framework of the new – “AI religion”.

Preface

Biography:

Andrea Knezović is a multimedia artist born in 1992 in Slavonski Brod. In 2014, she completed her undergraduate studies, and in 2017, her graduate studies in multimedia at the Academy of Arts in Osijek under the mentorship of Vladimir Frelih.
So far, she has had six solo exhibitions and participated in dozens of group exhibitions in Croatia and abroad. She is a member of the Croatian Association of Fine Artists – HDLU Istok. She lives and works in Rijeka.
Andrea’s earlier works explore the relationship between mass media society and fetishism and ritual, where the artist, through the portrayal of her own body, plays with traditional representations of female identity. In her recent works, Andrea explores the impact of technology and media on society and individuals using experimental research practices.

The exhibition will be open during the period from 7. to 28.5.2024.
Working hours of Gallery Karas
Wednesday, Thursday, Friday 4pm – 8pm
Tuesday, Saturday 10am – 1pm
On Sundays and Mondays closed.

___

http://karasarthub.eu
Organizer: HDLU
With the support of: Ministry of Culture and Media of the Republic of Croatia, City of Zagreb

CreArtivci
Exhibition of elementary and high school pupils
April 30-May 2, 2024
Karas Gallery

 

On Tuesday, April 30, at 6pm exhibition of elementary and high school pupils CreArtivci will be opened at the Karas Gallery (Ulica kralja Zvonimira 58). The exhibition is a result of the Educational programme of the European project Creart 3.0.

The CreArt Educational Programme is part of the European project CreArt 3.0 and aims to improve cooperation between local schools, cultural institutions, non-governmental organizations and independent workers and companies in the cultural and creative sector. The program builds and strengthens intergenerational ties, creates a network for the exchange of education in culture, and encourages the future participation of school children in the cultural life of the city. Over the course of 3 years, the program will include 76 schools in the project’s partner cities, more than 4,500 students and teachers, and 47 artists.

HDLU connected this year’s educational program with the 7th Biennial of Painting, which for the 14th year has been positioned as the only national art manifestation dedicated to presenting the scene and developments in the medium of painting. In the first edition, 6 schools will participate (Ivan Merz Elementary School, Matko Laginja Elementary School, Marije Jurić Zagorka Elementary School, XVth Gymnasium, XVIth Gymnasium, Classical Gymnasium) with more than 120 students and 6 professors and teachers. The program consists of guided tour through the Biennial of Painting with an educational booklet with tasks and workshops that are held in schools under the mentorship of artists from the 7th Biennial of Painting, namely: Natalia Borčić Peuc, Monika Meglić, Valentina Supanz Marinić, Iva Zagoda, Marko Zeman and Marta Živčnjak.

Mia Matijević Akrap designed the educational booklet under the supervision of the Teaching Department of the Academy of Fine Arts, University of Zagreb, prof. Sonja Vuk. Duje Medić designed it, and at the beginning of January the booklets were ready for use, after which all guided tours with educational booklets were carried out for elementary and high school pupils.

XVIth Gymnasium guided tour (photo: XVIth Gymnasium)

After guided tours, there were 6 workshops with artists carried out, the result of which are student works that will be exhibited at the exhibition in the Karas gallery.

Workshop led by Mihaela Rašica at the Classical Gymnasium

Workshop led by Marta Živičnjak in the dr. Ivan Merz elementary school

Workshop led by Marko Zeman in the XVI. gymnasium

 

PARTICIPANTS:

Schools: Matko Laginja elementary school, dr. Ivan Merz elementary school, Marija Jurić Zagorka elementary school, Classical Gymnasium, XV. Gymnasium, XVI. Gymnasium

Artists: Natalia Borčić Peuc, Monika Meglić, Mihaela Rašica, Valentina Supanz Marinić, Marko Zeman, Marta Živičnjak

Professors: Sanja Černko Delerue, Tamara Galović, Anamarija Jukić-Ivandić, Zoran Kakša, Maja Marović, Lahorka Rožić

Pupils: Ante Alerić, Gabrijela Antonić, Marta Arnaut, Marija Bakmaz, Katja Barbarosa, Silvija Bašić, Jakov Beloša, Teuta Biškup, Luka Bokolić, Lucija Brajković, Domenica Brkić, Katarina Brkić, Ema Brzica, Matko Brzica, Ana Buneta, Marta Buntak , Dov Cvetković, Alan Čaldarović, Andrija Deković, Klara Dodić, Lara Đureš, Filip Felja, Julija Ferenčak, Ema Gazić, Lori Giljević, Duje Gligora, Nicol Gogić, Svebor Graonić, Lorena Grgat, Nikola Gvozdenović, Laura Hajduk, Dina Halužan, Helena Han, Lana Hižar, Ana Husak, Jakov Ivanda, Pavla Ivšinović, Iva Jakopović, Mihaela Jambrešić, Tina Jelaković, Luči Jogušt, Nicole Jozić, Ana Jukić, Ana Jurić, Franceska Jurmić, Ivan Jakov Jurović, Roza Kajs, Marko Keser Slavković, Lara Kette, Andrej Kević Janković, Lucija Kanižaj, Jakov Kitarović, Franka Kokot, Hana Kos, Maja Kresonja Jembrih, Robertina Krupa, Ivona Kučiš, Domagoj Kuliš, Ivan Leko, Iva Lovrić, Ema Lujo, Luka Marenić, Stella Margetić, Maro Maričević, Lovro Marić, Dominik Marunić, Mihael Marušić, Juraj Matek, Tin Matešin, Melani Matić, Petra Mazarević, Dora Meštrović, Ana Mihoci, Tina Mimica, Marta Mlinar, Noa Nadali, Juraj Najdek, Franka Nikolaci, Lovro Panović, Marko Pažin, Alan Peštalić, Maša Pećarina, Antonia Periček, Katarina Petrović-Poljak, Paula Pilić, David Petar Pleština, Elena Plušćec, Ivor Prelogović, Luka Primorac, Kan Priselac Novačić, Ema Rašić, Mila Ravlić, Hana Sabljić, Zola Sarnavka, Marina Slaviček, Karla Smolić Ročak, Klara Stambolija, Max Šenjug, Ela Šiklić, Enola Špoljar, Mark Štritof, Margita Šurina, Iva Šušak, Nikša Šutej, Mia Tabaković, Maksimilijan Tanšek, Sofija Taraba, Mirko Tišljar, Dora Tomić Babić, Dejan Torbica, Nikša Tunguz, Anja Vačevski, Teo Valčić, Laava Magdalena Vatsel, Mia Vernik, Karla Vrdoljak, Paula Vučković, Iris Vuković, Vito Zadro, Maša Žilavčić, Mark Živković, Nina Živković

***

CreArt is a network of 13 medium-sized European cities with the aim of exchanging experiences and good practices for the promotion of contemporary art, through a permanent transnational mobility program for emerging artists, curators and cultural workers, in order to maximize the economic, social and cultural contribution that creativity can make to local communities (#stringing_together). At the same time, CreArt 3.0 is pushing the boundaries (#pushboundaries) beyond the visual arts, empowering other artistic practices such as performing arts or music, and new collaborations with an NGO based in Lviv have also been initiated to support Ukrainian artists. Participating cities are: Kaunas, Liepaja, Skopje, Aveiro, Valladolid, Lublin, Venice, Clermont-Ferrand, Rouen, České Budějovice, Oulu and Regensburg. The project includes 45 residency programs in 15 European cities, more than 39 public events to celebrate the European Month of Creativity in 13 cities from the network, 13 educational programs to strengthen creativity and knowledge about contemporary art, 18 Street Art festivals, 10 annual festivals in galleries in 9 cities and 6 European conferences and study visits.

Organizer:

Within the project:

Partners:

Supported by:

     

 

Co-funded by the European Union – CREA-CULT-2023-COOP. The views and opinions expressed are solely those of the authors and do not necessarily reflect the official views of the European Union or the European Education and Culture Executive Agency (EACEA). Neither the European Union nor the European Commission can be held responsible for them.

[Project number: 101128499]

The views expressed in this announcement are the sole responsibility of HDLU and do not necessarily reflect the opinion of the Government Office for Cooperation with NGOs.

 

Exhibition is opened from April 30 til May 2, 2024 

 

Exhibition working hours:

Opening: April 30, 2024, 6pm
May 1: closed
May 2: 11am-7pm

 

At the end of April, the 37th Youth Salon opens at the Croatian Association of Fine Artists in Zagreb – the largest national event for artists under the age of 35

 The Youth Salon, the biennial and largest national exhibition of visual artists under the age of 35, presents its 37th edition this year, which opens on Thursday, 25 April at 7 p.m. at the Home of the Croatian Association of Fine Artists, also known as the Meštrović Pavilion. In each of its editions, the Youth Salon is held at numerous locations throughout the city. This year’s central exhibition, curated by Lovro Japundžić and thematically determined and titled The Clock Fell Into the Well, will occupy all the exhibition spaces of the Home of the Croatian Association of Fine Artists, showcasing the works of thirty young artists. Permanent exhibitions such as Situations (22 May – 16 June) curated by Lora Rajčić and Ivana Završki, also featuring about thirty young artists, and the exhibition of students of the Academy of Fine Arts Zagreb Venientes (17 May – 29 May) will open in various city spaces such as the Archaeological Museum, AMZ Gallery, Art&CeRZ and Putolovac, among others.

The novelty of this year’s Youth Salon lies in the additional programmatic and spatial expansion of the event through the city through the Takeover projectrealized within the framework of the EU network CreArt, almost like a small festival of contemporary art in which five selected young artists will “occupy” the spaces of prominent companies in the cultural and creative industries with their works and actions. Takeover is curated by the Kućća collective with the members Jurica Mlinarac, Klara Petrović and Luja Šimunović .

The thirty-seventh Youth Salon will stay open until 16 June this year, and the award winners for the most outstanding achievements of this year’s event will be announced on 11 June.

Central exhibition of the 37th Youth Salon:
The Clock Fell Into the Well | Home of the Croatian Association of Fine Artists |

25 April – 16 June

With its biennial nature and focus on the practices of artists under 35 years of age, the Youth Salon has established itself as an extraordinary event in the domestic art scene, a kind of platform for the presentation and development of new artistic movements and names that represent the future of the art scene in Croatia at this moment. The goal of the Youth Salon is to help young fine and visual artists in the development of their artistic practice and careers through its exhibition, performance and international accompanying programs, as well as to introduce new artistic movements of the contemporary visual arts scene to the public. The thematically determined central exhibition of the 37th Youth Salon titled The Clock Fell Into the Well curated by Lovro Japundžić, featuring the works of 30 selected and invited artists, opens on Thursday, 25 April at 7 p.m. at the Home of the Croatian Association of Fine Artists / Meštrović Pavilion.

The works in the exhibition explore the possibilities that arise due to the mismatch with the normative flow of time, manifested through the exploration of new directions of previously neglected relationships with time. Through a broad thematic lens in their works, which include an exceptionally large number of various installations, as well as sculptures, photographs, mosaics, and video works, the artists look for moments of interruption and gaps that free us from imposed temporal frameworks, limitations and demands of the immediate present. Among the thematic preoccupations, there is a visible focus on the increasing impossibility of separating online and offline life, and consequently the overlapping of memories and the creation of narratives that are personal, but at the same time public and everyone’s, which leads us to reactualize and interpret our own past with the help of other people’s experiences from the Internet, through recording daily routines, dissociations, digital and mental escapism, passing time, even pausing and negating work, entropy, speculative futures, dispersed emotions, and the inevitable concern for endangered natural resources.

37 th Youth Salon – Artist

About the curator of the exhibition The Clock Fell Into the Well:

Lovro Japundžić (1990, Zagreb) completed studies in art history and sociology at the Faculty of Humanities and Social Sciences in Zagreb and the CuratorLab program at the Konstfack University of Arts, Crafts and Design in Sweden. He is a curator and producer with extensive experience in curating and producing exhibitions, festivals and other cultural programs. Since 2018, he has been a member of the curatorial collective that runs the Organ Vida International Festival, and since 2019 he has been working as a curator at the Močvara Gallery. Between 2021 and 2023 he worked as one of the managers of Miroslav Kraljević Gallery (GMK). From 2013 to 2019 he worked as a program selector and promoter for the Association for the Promotion of Independent Music Culture – Živa muzika.

Accompanying performance, music, film and theoretical program of the 37th Youth Salon

In addition to the main exhibition program, the 37th Youth Salon organizes a diverse accompanying program consisting of performance, film, music, and educational programs. At the opening of the Youth Salon, there will be a performance by the Massa Confusa group of artists – Marianna Nardini, Bruna Jakupović and Lana Lehpamer, while the beginning of May, specifically 7 and 8 May, will feature the performance of a new production by the Spanish collective Institute for Postnatural Studies in collaboration with artists Marko Gutić Mižimakov and Nika Pećarina. The performance triplet will conclude with the project by 3rd-year undergraduate students of Contemporary Dance choreographed by Sonja Pregrad This Is Not a Small Dance on 11 May, all at the Home of the Croatian Association of Fine Artists. The theme of the central exhibition of the Youth Salon, The Clock Fell Into the Well, will be further expanded with the international symposium Temporalities in Exhibition Practices, which will be attended by invited international curators on 18 May, also at the Home of the Croatian Association of Fine Artists. The film program of the 37th Youth Salon is organized in collaboration with the 25 FPS Association as part of the Visions program, which will be shown on 14 May at the Kinoteka Cinema. For the entire duration of the Youth Salon, various music programs will be organized, including listening sessions by the audio-visual collective Heartskomerz and the presentation of SNOP, a series of concert and discursive evenings of innovative audio-visual performances.

37th Youth Salon Program

Exhibitions of the 37th Youth Salon:

► The Clock Fell Into the Well | Home of the Croatian Association of Fine Artists / Meštrović Pavilion
Duration: 25 April – 16 June 2024 | Opening: 25 April, 7 p.m.
Curator: Lovro Japundžić

► Situation | Archaeological Museum in Zagreb, AMZ Gallery, Art&CeRZe Gallery
Duration: 22 May – 16 June 2024 | Opening: 22 May, 7 p.m.
Curators: Lora Rajčić, Ivana Završki

► Venientes | Šira Gallery
Duration: 17 May – 29 May 2024 | Opening: 17 May, 7 p.m.

► Takeover | 3LHD, 404 Agency, Infinum, Leapwise, VMD
Duration: May 2024
Curators: Kućća: Jurica Mlinarec, Klara Petrović, Luja Šimunović

For more information about the 37th Youth Salon, all exhibitions and programs visit www.salonmladih.hdlu.hr.

Support for the 37th Youth Salon is provided by:

Patron: President of the Republic of Croatia, Zoran Milanović

With the Support of: Ministry of Culture and Media of the Republic of Croatia, City of Zagreb, Zagreb Tourist Board, co-financed by the EU, Creart 3.0, Office for Cooperation with NGOs of the Government of the Republic of Croatia, Austrian Cultural Forum, Embassy of the Republic of Slovenia, Acción Cultural Española (AC/E)
Partners: Archaeological Museum in Zagreb, Academy of Fine Arts, University of Zagreb, Zagreb Rehabilitation Centre / ​​Art&CeRZ, Serbian National Council, Youth Bienniale
Takeover Program Partners: 3LHD, 404 Agency, Infinum, Leapwise, VMD
Sponsors and Donors: Erste Bank, Adris Group, Večernji list, Go2Digital, HRT, Vujičić Collection, Anonymous Philanthropist.

Co-financed by the European Union – CREA-CULT-2023-COOP. The views and opinions expressed are solely those of the author and do not necessarily reflect the official views of the European Union or the European Education and Culture Executive Agency (EACEA). Neither the European Union nor the European Commission can be held responsible for them. [Project number: 101128499]

The views expressed in this publication are the sole responsibility of the Croatian Association of Fine Artists (HDLU) and do not necessarily reflect the views of the Office for Cooperation with NGOs of the Government of the Republic of Croatia.

 

TEXT AS AN OBJECT
GROUP EXHIBITION OF SLOVENIAN AND CROATIAN ARTISTS
PM gallery, Home of HDU (Meštrović pavilion)
22.3.-7.4.2024.

Opening of the exhibition TEXT AS AN OBJECT – group exhibition of Slovenian and Croatian artists will be on Friday, March 22, 2024 at 7pm, at PM Gallery (Home of HDLU / Meštrović pavilion).

From Josip Zanki’s introduction text we emphasize:

“ The collaborative exhibition project between the Fine Artists Society (Društvo likovnih umetnikov) from Ljubljana and the Croatian Association of Fine Artists (Hrvatsko društvo likovnih umjetnika), titled Text as an Object, takes as a starting point selected works from both artistic practices that illustrate, deconstruct, expand, and transform text into an image and an object. The selected works use various contemporary artistic media and practices, ranging from drawings and artist’s books to research methods. Text, as well as language, be it Slovenian or Croatian, represents, conceptualizes, and creates new meanings. (…)
The exhibition Text as an Object represents an international reciprocal collaboration that includes an exhibition of Slovenian and Croatian artists at the Extended Media Gallery in the Meštrović Pavilion (Home of the Croatian Association of Fine Artists) and a reciprocal exhibition at the Gallery of the Fine Artists Society in Ljubljana (in March and April 2024). The curator of the Slovenian part of the exhibition, Nadja Gnamuš, has selected works by the artists Nina Čelhar, Tanja Lažetić, and Aleksandra Saška Gruden, as well as works by the artists Boris Beja and Ištvan Išt Huzjan. The coordinator of the Croatian part of the exhibition, Josip Zanki, has selected works by the artists Zorana Unković, Mija Maraković, Mihaela Rašica, and Antonela Šurbek, as well as the artist Željko Beljan. Slovenian and Croatian artists raise questions about text and language through their works, playing with the content of the text, transforming text into an image or object, employing lettering and the art of writing as an image of text, or simply referring to a specific literary work in their pieces. Thus, a dialogue is opened directly within the text, or language, which is often the cause of conflict, whether in translation or interpretation. ”

Artists
Boris Beja, Željko Beljan, Nina Čelhar, Aleksandra Saška Gruden, Ištvan Išt Huzjan, Tanja Lažetić, Mia Maraković, Mihaela Rašica, Antonela Šurbek, Zorana Unković

Curators
Nadja Gnamuš, Josip Zanki

Galleries’ coordinators
Mihaela Zajec, Mojca Zlokarnik

PREFACE
___
The exhibition will be open from March 22 to April 7, 2024

Organizer: HDLU, DLUL
With the support of: Ministry of Culture and Media of the Republic of Croatia, City of Zagreb, Mestna občina Ljubljana

 PATCHING TIME
Ana Vivoda and Monika Cvitanović
07.03. – 07.04.2024
Prsten Gallery

 

Exhibition opening: Thursday, 7th at 7 pm at Prsten Gallery

 

PATCHING TIME

Two artists who hold and archive memory within themselves interpret it in their art through a conscious apparatus of memory in two technically different yet conceptually very similar ways. Ana Vivoda and Monika Cvitanović communicate directly using their bodies, ready-mades, originals, or reproductions of themselves, acting within the framework of emancipatory activism, either by gaining freedom of thought and action or by feeling a sense of losing control. Both artists, diametrically different in their artistic paths so far, in a completely accidental meeting that fatefully brought them together, concluded that they are not so different considering that they enrich their lives in the same way through experimental explorations in the media in which they express themselves. What creates a strong connection between them is their relationship to the past that both have decided to preserve in their works, thereby conceptually penetrating into all that is hidden and subconsciously preserved. Their relationship with textile, the canvas that offers immediacy in communication with the audience, is the same – on it, they explicitly or implicitly inscribe themselves and expose themselves to the assessment of the unknown. The diagram of their art offered to us refers to the relationship of image – letter – body, which is particularly elaborated in the works of Ana Vivoda. Both artists use fabric as the matrix of their work, intervening with thread, colour, and print. Their subversive approach to social reality, their position, or position of women who have faced an unfavourable fate is noticeable in the work of Monika Cvitanović. The feminist character of her works functions as a critical practice towards “traditionally gender-based hierarchies of art history and artistic materials.”

In her recent experimenting with different media and techniques, almost on the verge of performative art, in series such as cloth handkerchiefs, installations with digital printing on canvas, and others, Ana Vivoda creates a cognitive map of lived events. Recognizable for her love of book art, Ana also makes works of art in the format of books titled The Book of Scars, I Forgot, Conversations over Coffee, In the interspace, which she designs, binds, and artistically shapes herself. This approach allows her to create a narrative that guides the observer through her most intimate experiences and feelings.

The Blue Book, or the work titled “I Forgot,” consists of pages made of dyed gauze and covers made of dyed diapers with visible traces of use, where words are embroidered with grey thread. As we unveil the thoughts captured by the thread, by turning the pages or fabric, we discover that experiences and emotions described with thread are extracted as moments from memory, such as “first laugh,” “Celina’s first laugh.”Top of Form

The courage to step out of the medium in which an artist feels most secure, especially if they are affirmed and recognized in the visual arts, is truly rare. It is not just about experimenting with other media; what is learned is transferred, or perhaps it is better to say printed/pasted onto entirely different materials. The series of works based on memory is not merely nostalgic; it is conceptually remarkably conceived to preserve and convey a message about personal and intergenerational relationships that both artists nurture towards their ancestors.
In this direction, a series was created and presented at the Biennale Internazionale Donna 23 held in Trieste, where cloth handkerchiefs were used as the foundation for stories stemming from memories of the father who used them. The artist then expanded this collection by receiving handkerchiefs as gifts from family and friends. The handkerchief becomes an object carrying a message, with the artist embroidered in dialect,[1] intertwining different memories. She expresses this with words: “The work conveys the need of my grandparents to shape their lives into stories to be passed down at the end of their lives, revealing similarities between past struggles and today’s crises… I embroidered fragments of conversations onto worn-out handkerchiefs, inscribing words into artifacts that remained after them.”

The Book of Scars was created in 2023 as a hand-sewn and bound collection of personal intimate records that begins with words written in pencil on white paper, “I am trying not to look,” complemented by red thread embroidered in various directions. By turning the pages, we realize that the thread plays a dual role, actually stitching a photographed forearm extended across two pages. The placement of the stitches with red thread reveals traces of self-harm, traces of scars all over the body, and questions the psychological impact on the observer, provoking a reaction of shock similar to what Sanja Iveković achieved in her early works representing violence against women. “I am turning my head” introduces a photograph of the upper part of a woman’s/artist’s head, where these irregular thread stitches cover the eyebrows. Then we realise that in the continuation of this verbalized visual confession, the word “pain” concludes the trauma that resulted in this visual expression.

The installation of the same name on canvas in the form of intimate records of the female body photographically reproduced and then overlaid with verses, portrays the body as a map of lived experiences. The form of the body is shaped through life and changes, and those metamorphoses, visible only to us, uniquely describe our experiences that define every wrinkle, every change. We are a collection of memories and experiences; our skin is woven from the tiny threads of life. The installations are executed in digital print on crepe georgette material in two variants – as a body without scars with accompanying text that envelops and shields it from view, and as a body with scars marked spontaneously with red thread, but without text – a shield that protects it.”

In a somewhat radical use of what is closest to the body, the delicate women’s undershirt, a fabric hidden from view that touches a woman’s skin, Monika Cvitanović deprives ready-made objects of their original purpose and gives them a new meaning. Multiplying and connecting individual everyday clothing items into a single artwork gives that very object the power of conveying a message far greater than it would have carried on its own, separate and discarded. As one of the major themes in art that has inspired numerous modern and contemporary artists, Monika, focusing on the theme of memory, aims to simulate the observer and stimulate discussion. She de-aestheticizes the aesthetics of textile products by uniting them with thread into a work that continuously brings back aesthetics, thus constructing the idea of memory that depends on recollection. She operates through the deconstruction of the object and then connects its parts into a whole. She disseminates traces of the past on a series of objects that serve the symbolic transformation of memory into a sign – in her case, into a cross.

In an attempt to recapitulate her work so far, one cannot avoid the phrase ‘creative responsibility’ – Monika Cvitanović takes upon herself the weight of the communicator towards the recipient in an effort to convey a message shaped through generations of women – mothers, grandmothers. Her agenda is not imperative; she intricately dissects and sublimates it towards the observer with the aim of emphasizing the neglected past of women and their contributions to culture. In this, she has a subjective, personal motivation stemming from family relationships,[2] with a desire to explore personal and intergenerational relationships related to rituals related to textiles. Her approach is activist-intensive, especially in works like Remediation and Rags, in which she works with recycled materials, based on the use of manual labour employing techniques such as cutting, embroidery, and colouring.

Remediation consists of ten folded shirts connected with thread, where she intervened with natural colours or trims from other fabrics, and then embroidered them with irregular symbols – cross stitches. The cross stitches on the fabric document the time spent in the production of the work, uniting the collective past of female workers with alternative models of fabric use. What may seem like ordinary rag at first glance is, in fact, a rejection of the perfection and excellence stemming from a patriarchal context that had its expectations of women, and free irregular embroidery unburdened by the demands of the past. Her works represent a kind of visual biography of people whose memories are woven into textile objects that Monika has carefully collected over the years. One particularly noteworthy piece is Wedding Dress (thread on two scarfs and pieces of silk, gauze, and tulle) from the series Rags where she “contemplates the personal and intergenerational relationship with wedding rituals through the sensibility of fabrics and respect for textile work inherited from her mother…” This work carries reminiscences of Monika’s personal experience of purchasing a wedding dress for her own wedding, while also drawing attention to the recyclability and repeated use of fabrics used in wedding dresses. Works from the Rags series include several partially torn scarves that either belonged to Monika’s grandmothers or were given to her by friends. Recalling her late grandmother’s patching practice – visible mending using threads made from old stockings – the artist rejects economic mechanisms and raises awareness of the experience of time, as well as hours woven into textile products.

Already with previous experience of successful realizations of workshops with embroidery on textiles (handkerchiefs) or interventions in a kind of interactive performance of cutting fabric in which the audience is involved, this time as well both artists intend to conclude their exhibition project in an engaged manner. In a conceptually conceived exhibition composed of two parts, each artist will not only present their works divided into different cycles of artistic creation but will also hold workshops to engage exhibition visitors and promote creative energy.

According to Ana Vivoda, this exhibition is the most intimate testimony of her life, the events she has experienced and that have left an impression on her. This graphic artist from Rijeka has been on the graphic scene for more than two decades and has long been recognized not only in Croatia but also by the international cultural community. Her dynamic work and tireless will to express herself creatively have rightfully earned her guest appearances and awards in more than a dozen countries worldwide. Together with Monika Cvitanović, she is breaking new ground in accumulating female energy through artistic expression focused on women’s issues. By paying attention to her relationship with ancestors, she threads memories and creates installations transformed into tangible objects that materialize emotions. Although primarily recognized in Australian artistic circles as a representative of the younger upcoming generation, Monika has established herself as a highly inventive and active artist with a unique approach to generating myths about women from an androcentric history. Traumas of the body and spirit are not always necessarily traumas visible as scars; the violence that occurs can be provoked by societal or ideological violence. In the case of Monika and Ana, memory, controlled by their precise artistic work, is organized through their exact artistic work. Under the common denominator of Patching Time, a unique communication is established in dismantling the meaning of material objects that are reborn as works of art. Subversive patching refers not only to literal stitching with threads but also to metaphorical mending of life’s threads.

[1] In earlier exhibitions, a transcription was required to make the content readable and understandable for the reader, providing a completely new range of possibilities for their interpretation and perception.

[2] The artist is the child of a professional seamstress (formerly employed at the now-defunct Kamensko factory, whose textile workers continued to independently collaborate even after the factory’s closure under the slogan “Mi ćemo raditi i stvarati” – “We will work and create,” demonstrating their determination not to be halted in their activities).

Antonia Došen

 

 

 

MONIKA MILOŠEVSKI
SOMEWHERE, AFTER – NUMBER 21
5.3.-26.3.2024.
KARAS GALLERY

On Tuesday, 5.3.2024. Monika Miloševski opens her solo exhibition entitled Somewhere, After – Number 21, at 7 pm in Karas Gallery (Ulica kralja Zvonimira 58).

In her foreword, Monika Miloševski emphasizes:

Inspired by the moment of selling my childhood home, I portray a personal and intimate process of saying goodbye to a space I no longer have access to. In the form of diary entries, I record and describe this space from memory and map it through a collage of family photographs taken within it. Additionally, through the video, I show my confusion in time as I undergo the process of bidding farewell to that space, sending a final farewell to my childhood home through the medium of video.

PREFACE

Biography:

Monika Miloševski (2000) is currently pursuing a master’s degree in the Department of Animated Film and New Media at the Academy of Fine Arts, University of Zagreb. She took part in the project “Dubrava Gori, izmještanje Akademije likovnih umjetnosti“, and has collaborated with the Photo Club Zagreb and Žuta Kuća in Istria. Her work draws inspiration from her own personal archive of moments, travels, emotions, and experiences, interwoven into the mediums of photography, video, and text. Through precise documentation and storytelling, she aspires to breathe life into fleeting moments of intimacy, seeking to transcend their time constraints and allowing them to linger a bit longer among us.

The exhibition will be open during the period from 5. to 26.3.2024.
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The Karas Art Hub platform was designed for the purpose of developing different approaches to the presentation, experience and processing of works of art displayed to the public in Zagreb’s Karas Gallery, which are presented to the public with digital content on the gallery’s web platform, including 360° shots of installations and video miniatures.

http://karasarthub.eu

Organizer: HDLU

With the support of: Ministry of Culture and Media of the Republic of Croatia, City of Zagreb

 

 

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