Šubićeva 29 
10000 Zagreb 
Croatia 
+ 385 (0)91 512 2028
+ 385 (0)91 8886 362
info@g-mk.hr

working time: 
tue–fri 12–19 
sat 11–13

Gallery Floorplan

EN 

Galerija Miroslav Kraljevic (G-MK) is an independent and non-profit contemporary art platform and gallery, dedicated to artistic and intellectual practices that question various phenomena of contemporary culture and society, especially those looking into the relation between politics and aesthetics.

General sponsor:
INA d.d.

Supported by:
Zaklada Kultura Nova
Ministry of Culture, Republic of Croatia
City of Zagreb - City Office for Education, Culture and Sports

Galerija Miroslav Kraljevic is a non-for-profit organization working in the field of art and culture, whose program is realised exclusively by donations from public funds and sponsors of various profiles.

Your donations are precious and used exclusively for realization of the exhibition program, education program, public lectures and international residency and exchange program. All our programs and publications are intended for and available at no charge to the broadest audience and users of all generations and are exposed and present in the public media

For all information on how to become a sponsor or a donator and the corresponding benefits and promotion you can achieve please contact us with full confidence. 

Galerija Miroslav Kraljevic was initiated and founded in 1986 by a group of independent curators, artists, critics and art enthusiasts as an independent and non-for-profit institution in the framework of the Citizens Association  of the Arts Club of the workers of INA. The Gallery was named after Miroslav Kraljević, Croatian artist from the beginning of the 20th century.

Under the guidance of Branko Franceschi G-MK organized more then 300 exhibitions, performances, happenings, lectures and presentations of local and international artists and became one of the most important exhibition spaces in Croatia and the region.

In 2005 Antonia Majaca was appointed the new artistic director. With the new team, and in close collaboration with Ivana Bago, she reoriented the programming towards long-term involvement with a series of thematic clusters, primarily gathered around issues pertaining to political, cultural, and aesthetic memory, including the history of the gallery itself and its link to the legacy of socialist self-management. Artists whose works were commissioned and presented in the exhibitions included Sanja Ivekovic, Omer Fast, Asier Mendizabal, Ahmet Ogut, Mladen Stilinovic, Igor Grubic, Patricia Esquivias, Nicoline van Harskamp, The Monument Group and numerous others. From 2009, the program of the gallery developed in intersection with the discursive, exhibition and publishing projects of Delve | Institute for Duration, Location and Variables (www.delve.hr)

The gallery’s program is supported by the Zagreb City Office for Culture, Croatian Ministry of Culture and Ina Company, as well as local diplomatic representatives, local and international cultural centers and foundations.

Curatorial Team:
Ana Kovačić, curator / gallery director
Lea Vene, curator
Sanja Sekelj, external curatorial associate
Lovro Japundžić, assistant curator

Past Artistic Directors:
Branko Franceschi, 1989 - 2004
Antonia Majača, 2004 - 2012

Advisory Board:
Ana Dana Beroš
Tihana Bertek
Fokus grupa
Željka Himbele
Jasna Jakšić
Ana Kovačić
Sarah Lookofsky
Antonia Majača
Sabina Sabolović

Šubićeva 29 
10000 Zagreb 
Croatia 
+ 385 (0)91 512 2028
+ 385 (0)91 8886 362
info@g-mk.hr

working time: 
tue–fri 12–19 
sat 11–13

Gallery Floorplan

EN 

Galerija Miroslav Kraljevic (G-MK) is an independent and non-profit contemporary art platform and gallery, dedicated to artistic and intellectual practices that question various phenomena of contemporary culture and society, especially those looking into the relation between politics and aesthetics.

General sponsor:
INA d.d.

Supported by:
Zaklada Kultura Nova
Ministry of Culture, Republic of Croatia
City of Zagreb - City Office for Education, Culture and Sports

Galerija Miroslav Kraljevic is a non-for-profit organization working in the field of art and culture, whose program is realised exclusively by donations from public funds and sponsors of various profiles.

Your donations are precious and used exclusively for realization of the exhibition program, education program, public lectures and international residency and exchange program. All our programs and publications are intended for and available at no charge to the broadest audience and users of all generations and are exposed and present in the public media

For all information on how to become a sponsor or a donator and the corresponding benefits and promotion you can achieve please contact us with full confidence. 

Galerija Miroslav Kraljevic was initiated and founded in 1986 by a group of independent curators, artists, critics and art enthusiasts as an independent and non-for-profit institution in the framework of the Citizens Association  of the Arts Club of the workers of INA. The Gallery was named after Miroslav Kraljević, Croatian artist from the beginning of the 20th century.

Under the guidance of Branko Franceschi G-MK organized more then 300 exhibitions, performances, happenings, lectures and presentations of local and international artists and became one of the most important exhibition spaces in Croatia and the region.

In 2005 Antonia Majaca was appointed the new artistic director. With the new team, and in close collaboration with Ivana Bago, she reoriented the programming towards long-term involvement with a series of thematic clusters, primarily gathered around issues pertaining to political, cultural, and aesthetic memory, including the history of the gallery itself and its link to the legacy of socialist self-management. Artists whose works were commissioned and presented in the exhibitions included Sanja Ivekovic, Omer Fast, Asier Mendizabal, Ahmet Ogut, Mladen Stilinovic, Igor Grubic, Patricia Esquivias, Nicoline van Harskamp, The Monument Group and numerous others. From 2009, the program of the gallery developed in intersection with the discursive, exhibition and publishing projects of Delve | Institute for Duration, Location and Variables (www.delve.hr)

The gallery’s program is supported by the Zagreb City Office for Culture, Croatian Ministry of Culture and Ina Company, as well as local diplomatic representatives, local and international cultural centers and foundations.

Curatorial Team:
Ana Kovačić, curator / gallery director
Lea Vene, curator
Sanja Sekelj, external curatorial associate
Lovro Japundžić, assistant curator

Past Artistic Directors:
Branko Franceschi, 1989 - 2004
Antonia Majača, 2004 - 2012

Advisory Board:
Ana Dana Beroš
Tihana Bertek
Fokus grupa
Željka Himbele
Jasna Jakšić
Ana Kovačić
Sarah Lookofsky
Antonia Majača
Sabina Sabolović

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Shakespeare among us

Mangelos, Tomislav Gotovac, Mladen Stilinović, Sanja Iveković, Dalibor Martinis, Sven Stilinović, Vlado Martek, Igor Grubić, Goran Trbuljak

Nine artists from the Zagreb art scene present their works which reference the ideas of other artists, writers, philosophers, psychoanalysts, physicists, directors, musicians, film and video art theorists…The works have been created in the period from the 1960s to the present and they affirm the artists' erudition and imagination, counting on the engagement of viewers, who are expected to be familiar with the other authors since they provide the context for new messages of individuals works. 

Branka Stipančić

Mangelos, Tomislav Gotovac, Mladen Stilinović, Sanja Iveković, Dalibor Martinis, Sven Stilinović, Vlado Martek, Igor Grubić, Goran Trbuljak

Shakespeare among us

Curator: Branka Stipančić

Nine artists from the Zagreb art scene present their works which reference the ideas of other artists, writers, philosophers, psychoanalysts, physicists, directors, musicians, film and video art theorists…The works have been created in the period from the 1960s to the present and they affirm the artists' erudition and imagination, counting on the engagement of viewers, who are expected to be familiar with the other authors since they provide the context for new messages of individuals works.

Some of the artists negate or ironize the subject of their interest and polemicize with their source. Mangelos's Manifests are grounded in various humanistic and scientific disciplines. With the self-awareness of a skeptic philosopher who questions art, Mangelos spars with a whole range of characters, reducing his thoughts to short and precise, or, as he himself put it, "super-Wittgensteinian" theses, inscribing them on wooden boards, globes and booklets.

Other works in the exhibition are not that prone to criticism. Media artist Dalibor Martinis often uses ludic elements. He hangs a turned-on TV from the ceiling and covers it with a black sheet so that it would "sing like a canary", and dedicates it to John Cage. Sven Stilinović ironizes tautological conceptual works by Joseph Kosuth with the photograph Kosuth's Teeth, while Mladen Stilinović uses quotes by Ludwig Wittgenstein, which he inscribes on chopping blocks, in a game of naming and "political correctness" in My Sweet Lamb.

Gotovac's self-portraits from the 1960s are a homage to Russian war and American detective films, the French poet and screenwriter Jacques Prévert, and others. They represent a kind of photographic essay about the film medium.

The video work Chanoyu by Sanja Iveković and Dalibor Martinis, through a "reading" of Okakura Kakuzō, who writes about the Japanese tea ceremony, reveals zen in scenes in everyday life. The aesthetic and meaningful interaction is produced within the work itself, showing how the artist reads history and how s/he engages with it.

Vlado Martek "translates" a series of poetic situations into the sphere of art. His "poetry has gone into action": his poetic agitations invite people to read Mayakovsky, Rimbaud, Mallarmé and others; in the woods he erected a monument to André Breton made of snow; in his contours of European states in his pictures and graphics he developed complex narratives about the red Balkans – a melting pot of bloody kings and comical and romantic Shakespearean heroes – surrounded by countries named after their contributions to civilization: aesthetics, psychoanalysis, linguistics, anthropology, philosophy and ethics in Shakespeare Among Us.

The artists put the body in an interrelation with the text. Sven Stilinović juxtaposes the photograph of his restrained body with Karl Marx's texts, thereby referring to the freedom-loving tradition of anarchism, while Mladen Stilinović in his Low Angle,offers his interpretation of the instructions provided by the film theorist Jerzy Plazewski in The Language of Film.

Referring to Marcel Duchamp, in his work Wow, Wow and Readymade Goran Trbuljak proclaims all the frames from his films readymades: "Godard said that the cinema is truth 24 times per second, Haneke said that it is lies 24 times per second, and for me it is 24 readymades per second."

Finally, Igor Grubić, a younger generation artist, in his work Red Escadrille (the free flight of poetry) – Free Flight of Poetry brings the story back to the beginning by referring to Martek's poetic agitations from the 1970s with his action involving throwing paper planes containing poems selected for him by the older artist.

The complexity of the works derives from the large range of these artists' interests and their critical and analytic attitudes, quotations, allusions, evocations, reminiscences…

Text: Branka Stipančić

This project is supported by Ministry of Culture of Republic of Croatia and INA - Industrija nafte d.d.
Gallery is supported by Kultura Nova.

Sad Girls Collective: So last year

Martina Granić, Marina Jukić, Nina Bačun, Iva Markovac, Dora Đurkesac and Iva Korenčić in collaboration with curator Irena Tomašić are referring to "girls empowerment" in popular culture within the Sad Girl theory and the fourth wave feminism. The exhibition remains open from 21st - 28th October.

"SO LAST YEAR" is an exhibition - installation project that brings together six authors who gathered under the title SAD GIRLS COLLECTIVE.

Martina Granić, Marina Jukić, Nina Bačun, Iva Markovac, Dora Đurkesac and Iva Korenčić in collaboration with curator Irena Tomašić are referring to "girls empowerment" in popular culture within the Sad Girl theory and the fourth wave feminism. The exhibition remains open from 21st - 28th October.

Through the virtual collective pooling and exchange of viral information, the SAD GIRLS COLLECTIVE questioned the recent phenomena of the mainstream Internet aesthetics of the so called Tumblr girls to Sad Girls / Sad Boys culture and their visual branded products, guided exclusively through intuitive approach based on intimate aspirations and expressions.

The Internet promotes hyper-productive pop culture that through social networks creates new trends and continues to support demand and consumption by making viral phenomena an esthetic statement but also a lifestyle. So, we live in a fairly subtle and ironic world where every concept and even feminism succeeded in capitalizing and becoming consumer goods. Somewhat ironically, but again recognizing their own femininity, the artists have created a joint critical, but definitely positivist, reflection on the viral phenomena of depicting a sad girl on the Internet by exploring their own position of emotions and bodies by observing forms of the forgotten female principle in the imposed paradigms of contemporary society accepting the ambivalence of male-female relations just by nurturing the present emotional diversity.

Seeing the position of women as an object of marketing and cosmetic manipulation, "SO LAST YEAR" empowerment cynically reflects on the transience of viral trends and actually suggests that sad girls are already in the pass, while cultural appropriation has created a new trend of nail girls.

In the concept of a pedicure salon, the Collective builds an expanded space of women's solidarity and exchanges of women's experience away from the ears of men, creating a safe space for exchange, while the nails themselves become weapons, not signs of aesthetic beauty or weakness. On the other hand, yet another ubiquitous trend of statement t-shirts was used as a template for creating antimanifest, always subtly packed into a marketable and aesthetically-priced branded consumer goods.

The project was realized and supported by the City Office for Education, Culture and Sport of the City of Zagreb in collaboration with Miroslav Kraljević Gallery.

Inner connections

Inner Connections is a multimedia project created by artists from the Russian Federation which encompasses the work of visual artists and musicians who are connected both professionally and personally. Artists: Petr Zhukov, Kirill Shirokov, Sasha Elina and Darya Zvezdina.

Inner Connections is a multimedia project created by artists from the Russian Federation which encompasses the work of visual artists and musicians who are connected both professionally and personally. The title Inner Connections refers to the work's character which is the result of their close collaboration and their (spontaneous) relationship to the surroundings and new situations. Such principle of work, which is based on close collaboration of artists and art groups, is a tradition in Russian art, often caused by the political situation. In this case it does not imply consolidation and solidarization with the aim of effectively achieving cultural goals, but continuous construction of new relationships within the group of collaborators and participants, which in turn results in new situations, events and experiences, leading to the creation of shared ideas that are turned into an instrument of general cultural work. From this perspective, the dimension of the space of honest and selfless relationships as a basis for creating artworks can be seen as a political act, taking into account the contemporary art scene and its internal relations and phenomena not just in Russia, but globally. Against the processes of individualization, self-sufficiency and finally alienation of man within the dominant contemporary social and cultural models, this concerns love as the basis of social interaction and the connective tissue of interpersonal action. 

The exhibition is conceived as a presentation and expansion of two previous projects, The Return of a Curonian Pilot and Arctic 1 by Petr Zhukov, realized in collaboration with Kirill Shirokov (composer), Nikita Pavlov (photography director), Luisa Nobrega (performer), Daniil Zinchenko, Anton Kuryshev, Alexey Akimov and WOLFFX (music).
The previous two projects and related exhibitions were conceived as 'structures' open to the layering of meaning depending on the context in which they are performed. They were created as a result of research and interaction with specific places where the artists had resided and presented the work. In addition to the existing places, namely, Nida in Latvia and the Siberian peninsula Taimyr, Zagreb is going to be the third of the total of four imaginary spaces in which this project is finalized. The access to each space includes the interaction between the subjective, sensory experience, mythology created through cultural history, and personal mythologies of people who are 'creating' this space (by living and working in it). The works are presented in the so-called live cinema form, which represents a relatively new genre in media art. It refers to a non-traditional way of projecting films that does not entail linear narration, but an interactive performance that gives the artist the freedom to experiment and improvise within different, previously selected media and materials.

Presentation of the project consists of several parts:
Performances of video films in live cinema form by the author Petr Zhukov: The Return of a Curonian Pilot (performed by Kirill Shirokov), Arctic 1 (performed by Kirill Shirokov, Sasha Elina, Daniil Pilchen and Darya Zvezdina).
The presentation of the documentary series of concerts created by a group of musicians: The same (Kirill Shirokov and Sasha Elina), Deka (Kirill Shirokov, Daniil Pilchen, Darya Zvezdina), Thank you, I love you (Sasha Elina, Daniil Pilchen), The last mason (Kirill Shirokov, Daniil Pilchen), Chthonic loss (Kirill Shirokov, Vladimir Gorlinsky), and Meow (Sasha Elina, Vladimir Gorlinsky).
The screening of a new film by Petr Zhukov Tomorrow will be the same. 

Curator: Karla Lebhaft

The exhibition was possible by the support of Grad Zagreb.
Work of the Miroslav Kraljević Gallery is supported by Zaklada Kultura Nova.

Maayan Amir i Ruti Sela: Image blockade

“Image Blockade” is a new body of work by Maayan Amir and Ruti Sela that focuses on the intersection between the visual, political, and legal. The works, made within the framework of the Exterritory project, explore the ties between sensory perception, insubordination, censorship, and advanced technology and their links to the control of images.

“Image Blockade” is a new body of work by Maayan Amir and Ruti Sela that focuses on the intersection between the visual, political, and legal. The works, made within the framework of the Exterritory project, explore the ties between sensory perception, insubordination, censorship, and advanced technology and their links to the control of images.

Initiated by Amir and Sela in 2009, Exterritory is an ongoing art project dedicated to encouraging the theoretical, practical, and interdisciplinary examination of “extraterritoriality,” i.e. being excluded or exempt from the standard system of law within a designated area. The project uses the notion of extraterritoriality to critique power structures and re-imagine practical, conceptual, and poetical possibilities. The works in “Image Blockade” move beyond the straightforward geographical and judicial notions of extraterritoriality as it pertains to people and spaces to consider how the concept may be extended to regimes of information, representation, and practices that may produce “extraterritorial images.” The works raise many questions such as: How is the sensory perception of those who are obliged to keep information confidential over time affected? What are the limits of transparency when it comes to activism and documentation? What happens when images that may incriminate their creators are withheld from public view through legal means and cannot be used as evidence? Together, the works here offer a riveting look at attempts to regulate images and what that might mean for shaping our worldviews today.

https://exterritory.wordpress.com/

Curator: Chen Tamir

The Battle Over Images

On May 31, 2010, a flotilla of six boats carrying hundreds of people and humanitarian aid aimed at alleviating and protesting the ongoing Israeli siege of Gaza was intercepted by the Israeli navy on the international waters of the Mediterranean Sea. The takeover operation began with an attempt to shut down all satellite connections to and from the flotilla, marking the beginning of a battle over images. On board the largest vessel, the Mavi Marmara, a violent confrontation resulted in the death of ten activists and many wounded, including soldiers. After taking control of the ships, the Israeli military confiscated hundreds of memory cards from cameras, mobile phones, hard discs, and videos, to control the media portrayal of the incident. As a result, the international investigations of the flotilla incident have taken place without much of the vital visual evidence that remains out of
bounds. As part of their research, the artists examined the various judicial investigations on the flotilla incident compiled by both Israeli and foreign bodies. The reports demonstrate that images were not only the major symbolic motivation for the confrontation, but that the fight over images shaped the battle onboard the Mavi Marmara and its aftermath. Selections of the reports are presented here with Hebrew texts taken from the report by the Public Commission to Examine the Maritime Incident of the 31 May 2010 (the Turkel Commission) and protocols from the Israeli Parliament meeting on 21 June 2012. These are presented alongside reports in English by the Turkish National Inquiry Committee and quotes from affidavits by the IHH (the Turkish NGO that was the main organizer of the flotilla) that were part of the indictment files submitted to the Istanbul Criminal Court when charges were pressed against senior IDF commanders (the latter now being tried in absentia in a trial ongoing since 2012). The reports demonstrate the centrality of controlling the creation of images and their circulation. The subsections on the wall correspond to four stages of the incident: the background and outset; the communications blackout; the physical confrontation; and the event’s aftermath.

Scenarios Preparations
2015, HD Video, 38:20 min.

Maayan Amir and Ruti Sela created the Exterritory project as a platform to investigate the potential of the extraterritorial sea space to circumvent the control of national sovereignty. In 2010, Amir and Sela invited a variety of participants to meet on extraterritorial waters to further explore the concept of extraterritoriality. A few days before they set sail, the 2010 Gaza flotilla was intercepted on international waters by the Israeli military. The conjunction in time and space of these two flotillas—both politically motivated, both placing image production at their center, both marked by the crucial role of extraterritoriality—led the artists to look further into the complex politics of extraterritorialities. A year later, in light of what happened and continuing their investigation of the subject, the artists joined the preparations for the next flotilla that was being organized by a Dutch NGO. Scenarios Preparations is comprised of footage filmed during preparations for the action that were held in different locations. Due to the sabotage of some of the boats as well as restrictions imposed by the countries from which the boats were to set sail, the flotilla was cancelled. The video depicts the anticipation of the event’s documentation and explores issues of activism,
censorship, image production, and the performativity of national identity.

This work was made with support from the Rijksakademie van beeldende kunsten, Amsterdam.

Prosecution

The flotilla, known also as the Gaza Freedom Flotilla, was conceived as a high-profile media event and was equipped with live broadcast infrastructure and reporters who were onboard the vessels. As soon as the violence erupted, and despite Israeli military attempts to block transmission, images of the confrontation began to reach viewers worldwide, including footage of one of the soldiers who climbed down a rope from a helicopter onto the deck of the ship. The images circulated widely in Turkey and beyond and consequently the soldier sued the military for damages. On April 11, 2014, Israel's Channel 2 News ran a report on the lawsuit and frames from the news report are presented here that distill moments from the report. The centrality of the battle over images aboard the Mavi Marmara is echoed in how the soldier perceives the damage caused by the incident. Concentrating on these subtleties raises questions about the hierarchy between action and documentation, and the legal and theoretical issues surrounding the ownership of images.

Stills from Channel 2’s “Return to Marmara” by Guy Peleg; Footage by Tomer Ilan; Edited by Yaniv Shabtai

Extras

2012, HD Video, 00:20 min.
Transcranial Magnetic Stimulation (TMS) technology enables the noninvasive manipulation of the brain by electromagnetically stimulating magnetic fields. Recent developments make possible the control of body movement. The work depicts a collective choreography created by the artists using the latest developments in TMS technology for a group of extras cast through a talent agency. The work raises questions about the development of technology that bypasses the privacy and autonomy of movement and the limits of individual agency.

Image Blockade

2015, 2-channel HD Video, 38:30 min.
In September 2014, veterans of Israel's elite army intelligence unit called “8200,” many of whom were still on active reserve duty, signed a letter publicly addressing the state's political and military leaders and declaring their refusal to continue taking exploitative action against Palestinians in order to maintain military control of the Occupied Territories. Though they were refusing to continue their military service in order to instigate a policy change, the signatories were still committed to upholding national security and therefore adhered to censorship laws and did not reveal their identity. As a consequence, all media interviews with
them were performed with their faces obscured. “Image Blockade” documents an experiment the artists initiated in collaboration with neuroscientists at the Weizmann Institute of Science. The subjects of the experiment consisted of two groups: other veterans of the 8200 intelligence unit and a random control group. The participants had their brain activity scanned using MRI technology while watching clips from media interviews with the dissidents. These reports had been approved for broadcast by military censors, but since the dissidents’ faces had been darkened, the footage was easily manipulated by the artists, who inserted additional information into it. The added material was bout state use of intelligence that most likely would not have passed the military censor. The subjects of the experiment were asked to identify which clips had been altered and what would or would not have been censored. Each participant’s brain activity was measured while viewing the interviews to reveal how
such information is read differently by people who have undergone the military’s training in self-censorship. The distinction is visible when comparing the two groups’ brain activities, especially around sensory regions of the brain such as the visual and auditory cortices. Made in collaboration with scientists Hagar Goldberg, Meytal Wilf and the Rafi Malach Research Group, The Department of Neurobiology, the Weizmann Institute of Science. With thanks to Dr. Edna Furman-Haran, Nachum Stern, and Fanny Attar from the Human Brain Imaging Laboratory at the Weizmann Institute of Science and to Dr. Doron Friedman.

This work was made with support from the New Museum, New York, the
Ostrovsky Family Foundation, Artis, and the Israeli National Lottery Arts

The exhibition is financed by the City of Zagreb.
Work of GMK is supported by Zaklada Kultura nova.

Stones are found where they are thrown

With the exhibition “Stones are found where they are thrown”, we present the curator collective Kulturfolger from Zurich. Curators of Kulturfolger, Lisa Lee Benjamin and Petra Tomljanović, in the gallery Miroslav Kraljević will present a California artist with Swiss residence Brigham Baker.

Exhibition opening: June 30th at 8 PM
Quote club (reading group): July 7th
Artist talk with Brigham Baker: July 14th

Kulturfolger says yes!  Playing with references, appropriation, text, images, classification, entities, and myths; blending ideas and collaging time which resists and reworks linear conceptions of history, evolution, and ecology. Kulturfolger is a work in progress and advocates for uncomfortability, uncertainty, ambivalence, abundance, acceptance and embraces the undefined, deviating from the pursuit of truth or the possibility of doubt.  A field between scientific and poetic interpretation is occupied. Philosophy, mathematics, sociology, ethnography, science, semiotics, art and the Internet are employed as reflective tools and instruments of access. Kulturfolger wonders how the entropy of the generic influences conditioning and ideas of culture, and how to transcend, transverse, transform current cultural articulations into contemporary conversations? Kulturfolger asks – What is curation in the age of limitless information, multiplicity of identities, voices and opinions?  How to explore, explode conditioned expectations through discernment and selection, yet still hold space for a multitude of truths, beings and processes? Apprehending the infinite variety of being through a spectrum, parallelism, through heterogeneous detonations. The world – simultaneously natural, artificial, designed, wild, engineered, rough and sweet contends with our personal parameters shift shaping to our many points of attention. This is our natural environment in which we love the ARTificial.

Let’s reject the idea that nature is an idol, something, an object, an entity and is inherently inadequate, without value or meaning, and that it needs culture to be complete. There is no external nature to provide us with an independent field of action. Let us create “natural acts” which do not subjugate nature to culture. Why wouldn’t we comprehend culture as something that nature does?

***

Every month, new theme, new artwork. Who are the participants in the dialogue, who wants to play by the rules? The artist, curator, the public, Lucretius, Serres? They all have a right to speak in a fugue titled NOISE. The theme for July – noise: cacophony, a constant – an assailing parasite and the one we want to capture, embody and utilize …the noise is an omnipresent consistent chaos (Serres).

From Serres’s noise, over calibration instruments of the river flow, to Lucretius. Let us situate Brigham Baker in this peculiar context – let’s index him through Lucretius and Serres, from antiquity to this day, in a vortex of space matter compiled from an infinite number of atoms which randomly move through space, like specks of dust colliding under rays of sunlight, merging and forming complex structures, only to diverge again in an incessant process of creation and destruction.

Lucretius gives us clinamen which relates to the swerving and deflecting of celestial configurations; from the arch of the Sun and the unpredictable swerve of atoms which move and collide in the Universe. Inclinations, declinations, statues. Lucretius gives us physics before physics.

In the eternal motion of nature, where do we find moments of stasis, contemplation?

We realize that time does not only flow linearly…or laterally, but goes through stop points, cracks, confluences, lightning trajectories, accelerations, rifts, cavities, and all that occurs at random… Time flows in an exceedingly turbulent and chaotic manner; it drips, filters, drains, discharges, washes away, leaks. Serres shows us how chaos and percolation are intertwined.

Can we find traces of clinamen in Brigham Baker’s Reworking Alluvium? Or, perhaps the Universe created in a lightning turbulence where matter and forms of natural and cultural origin are jointly deposited, rearranged; their lightning trajectories deafen the gallery space.

How to inhabit the dynamic threshold between nature and art, control and unpredictability, architecture and randomness of events, the tensions between composition and improvisation, achieving results and fostering the freedom of sound? How to listen to noise? How to play with noise?

Kulturfolger, June, 2017

Nina Kurtela / 365 routines (work in progress)

In May 2016, Hana Erdman and Nina Kurtela began the project “365 routines”. Two artists take turns making eight counts of movement on a daily basis in order to arrive at a one year long choreography.

Artist talk will be held after the final performance on Tuesday 20.06 at 20h

Nina Kurtela / 365 routines
(work in progress)

Performances / open rehearsals will be held:

Friday 16.06 at 20h
Saturday 17.06. at 20h
Sunday 18.06. at 20h
Tuesday 20.06. at 20h

Video installation can be viewed from 16. to 24.6 in the working hours of the gallery:
Tuesday - Friday (12-19)
Saturday (11-13)


Concept / Video Performance: Nina Kurtela and Hana Erdman
Performance in GMK: Nina Kurtela and Maja Marjančić
Video editing: Nina Kurtela


In May 2016, Hana Erdman and Nina Kurtela began the project “365 routines”. Two artists take turns making eight counts of movement on a daily basis in order to arrive at a one year long choreography. The sequence is built alternately. They record the movement on video and share it over email, every time beginning where the last movement left off. Accordingly the sequence increases by eight counts every day and in one year reaches 2,920 counts or 48 minutes.

This choreography demonstrates the on-going communication between two different environments, locations, languages, identities, spaces and times. A common space is generated through the execution of this task. Through this daily ritual Kurtela and Erdman engage in an imaginary space of belonging that is no longer physical or territorial, but it's more of an emotional space, an abstract space. With this choreography they create a fictional space, not geographically located. The dancing becomes home for them.

They are interested in notions of continuity, dedication, communication and sharing. By translating the movement material from the video archive (documented in different locations around the world – from Taipei to Los Angeles) they looking at the movement and the body affected with conditions of todays young makers - constant mobility, dislocation, homelessness, exhaustion - traveling and creating work with space and time limitation. At the same time they are exploring the simple notions of a dance phrase and what does it means today in context of contemporary dance and choreography.

In GMK Nina Kurtela will present first phase of a research in a form of open studio/ open rehearsal where audience is invited witness their learning process of the 48 minutes long dance sequence.

Supported by:
Dance center TALA
Ministry of Culture of the Republic of Croatia
City of Zagreb

  • Ivan Marušić Klif: Phase shift

    The exhibition "Phase shift" is a multimedia installation by Ivan Marušić Klif created for a space, software, four cameras, four televisions, light and a visitor.

    The exhibition "Phase shift" is a multimedia installation by Ivan Marušić Klif created for a space, software, four cameras, four televisions, light and a visitor.

    In technical sciences, the phase shift is the difference in the oscillation phase of two equal frequency processes. In this artwork, the shift occurs at two levels: in space and in time. The cameras are located in different places in space, equally spaced in the same direction, and their movements are mutually delayed.

    Unlike most Klif’s installations that evoke technological spectacle, here everything is subtle: there is a table with four televisions and one chair in front of it - a call to visitors to take time and observe. The texture of the video we see on four small TVs is often gentle, occasionally with a lot of grain in the picture. We hear a light white noise that is slightly modulated by changes in the brightness of the picture, while the light changes slowly according to camera movements. The cameras capture objects in space and their shadows, details of architecture, and a few drawings on the wall. As they always record the same object but from different angles, we get the impression of movement, i.e., frozen frames of some moving sequences. Looking at the sequence of cadres and always a little different rhythm of their changes, we are trying to link the images we see in some narrative - a series of images in the story - although the order of change is determined by accident.

    www.klif.tv

    Many thanks to: professor Karmen Farac Turković, X. Gymnasium (Zagreb), Natural History Museum in Zagreb, Dario Weygand, Nataša and Tanja Kanceljak, Nicole Hewitt.

    * The exhibition Fazni pomak is supported by: City of Zagreb and Ministry of Culture of Republic of Croatia. Program and work of Gallery Miroslav Kraljević is supported by ZakladaKultura Nova.*

  • Open studio: Vanda Kreutz

    Miroslav Kraljević Gallery is continuing with the Open studio program in which the gallery becomes workspace for the artists while at the same time being open to the public. This year’s second program hosts artist Vanda Kreutz.

    Miroslav Kraljević Gallery is continuing with the Open studio program in which the gallery becomes workspace for the artists while at the same time being open to the public. This year’s second program hosts artist Vanda Kreutz.

    During the Open studio artist will focus on the research of sounds and frequencies generated as a product image/video which devices such as TVs, DVD players and projectors performe through its own interpretation of sound. In her earlier research Invisible light basic concepts are deviation, accident and invisible movement of light "pixels". While further research of these elements introduces a "spectacular" water as a new research topic. Seeking the particles of light and sound waves in everyday public application, she has decided to focus on the fountains of the City of Zagreb. The way in which the fountain water moves is associated with continuous motion in nature, and at the same time affects the human senses, for example, vision, hearing, smell and touch. The sound that makes the movement of the water is faster than the artificial light which is ubiquitous in modern fountains. Digital recording of the fountainin the gallery creates a digital murmur.

    Open studio will be open for visitors on previously announced dates.

     * The project is supported by: City of Zagreb and Ministry of Culture of Republic of Croatia. Gallery is supported by Kultura Nova.*

    LMU/ALU: Places outside the main thing somewhere in midle of the row and under roofing.

    We are inviting you to the exhibition opening as a result of collaboration between London Metropolitan's Cass Faculty of Art, Architecture and Design and Zagreb Academy of Fine Arts, Department of Animation and New Media. Besides the exhibition we will present the publication celebrating ten years of collaboration.

    We are inviting you to the exhibition opening as a result of collaboration between London Metropolitan's Cass Faculty of Art, Architecture and Design and Zagreb Academy of Fine Arts, Department of Animation and New Media.

    Besides the exhibition we will present the publication celebrating ten years of collaboration.

    Students:

    Jason Mulhausen, Marko Gutić Mižimakov, Dean Hamer, Romano Dautanac, Marta Stražičić, Fran Oršanić, Merlin Massara, Hamer Faramarziha , Adele Lazzeri, Toby Tobias and Anna Oczkowicz

    Project coordinators: Nicole Hewitt, Ben Cain and Vida Guzmić

    Supported by: Ministry of Culture of the Republic of Croatia, City of Zagreb
    Academy of Fine Arts Zagreb, The Cass London Metropolitan University

    Open studio: Šumovi protiv valova

    This year’s first program hosts avant-garde instrumental group from Zagreb: Šumovi protiv valova. Šumovi are: Hrvoje Nikšić, Hrvoje Radnić, Ivan Čadež i Jerko Jurin, who have all been active members of the local music scene for over a decade.

    Miroslav Kraljević Gallery is continuing with the Open studio program in which the gallery becomes workspace for the artists while at the same time being open to the public. This year’s first program hosts avant-garde instrumental group from Zagreb: Šumovi protiv valova. Šumovi are: Hrvoje Nikšić, Hrvoje Radnić, Ivan Čadež i Jerko Jurin, who have all been active members of the local music scene for over a decade.

    In their contemporary audio collages free dissonant audio landscapes, referring to the musique concrete, classic proto-electronic music compositions and 60s psychedelic music, are intertwined with percussional, pulsating and rhythmic structures inherent to kraut rock music and melodic passages typical for the aesthetics of more contemporary musical tendencies.

    An intimate gallery space open to improvisation and experiment will become a perfect scenery for the band whose performances usually develop freely and spontaneously. During their stay the artists will, inspired by the situation and the atmosphere at the gallery, try to discover new musical forms and unify them in brand new compositions.

    Open studio will be open for visitors on previously announced dates while final presentation will be held on March 25th at 8 PM.

     

    * The project is supported by: City of Zagreb and Ministry of Culture of Republic of Croatia. Gallery is supported by Kultura Nova.*

    UFO - Ana Vuzdarić and Marko Gutić Mižimakov

    The exhibition is part of the project "My sweet little lamb (Everything we see could also be otherwise)" which presents works from the Kontakt Collection in Vienna along with other historical, contemporary and new works that provide interpretations and critical rethinking of the collection. The Nameless One is a construct and a fantasy by Ana Vuzdarić created specifically for the project My Sweet Little Lamb (Everything we see could also be otherwise). #000f-chan came about as a result of Marko Gutić Mižimakov’s need to leave Facebook and relinquish the care of his nine-year-old profile to someone else.

    U.F.O., 2017

    unknown flying object
    unknown fantasy object
    unknown female object
    unknown facebook object
    unknown fragmented object
    unknown futuristic object


    THE FIRST STEP: #000f-chan and The Nameless One

    The Nameless One is a construct and a fantasy by Ana Vuzdarić created specifically for the project My Sweet Little Lamb (Everything we see could also be otherwise). The Nameless One is a collection of fragmented information that is accessed through a text-based game, the so-called text adventure. The Nameless One exists in a dystopian near future – more precisely in 2020 – where mankind has destroyed itself. The Nameless One is a manifestation of the author who finds it easier to imagine the end of the world than the end of capitalism.

    #000f-chan came about as a result of Marko Gutić Mižimakov’s need to leave Facebook and relinquish the care of his nine-year-old profile to someone else. Functioning as a bot and a fraud image, #000f-chan (or simply f-chan) had appeared in different stages of computer generated imagery even before Vuzdarić contacted Mižimakov.

    THE SECOND STEP: Contact

    As two not entirely formed characters, f-chan and The Nameless One inhabit the space of the gallery for the duration of the exhibition. By taking over the function of the artist from the virtual space of Facebook, f-chan is transferred into the gallery space and is continually present through a “real-time broadcast”, while the text adventure of The Nameless One can be accessed in the gallery through QR codes.

    THE THIRD STEP: U.F.O.

    On the last day of the exhibition, f-chan’s broadcast into the gallery and The Nameless One’s text adventure will end, thus leaving a brief trace of their contact.
    ***The Namless One can still be found on following links:

    ____________________________


    The exhibition is part of the project "My sweet little lamb (Everything we see could also be otherwise)" which presents works from the Kontakt Collection in Vienna along with other historical, contemporary and new works that provide interpretations and critical rethinking of the collection. Founded in 2004, the collection includes capital works by a number of the most prominent artists from Central, Eastern and Southeastern Europe from the 1960s onwards. The project is dedicated to Mladen Stilinović (1947-2016) and is named after his work from 1993. "My sweet little lamb (Everything we see could also be otherwise)" will take place over several months (November 2016 – May 2017) in six episodes in various gallery spaces, ateliers and private apartments. The project is curated by WHW in collaboration with Kathrin Rhomberg.

  • In Situ – missing objects

    Third year in a row GMK is organizing “Tvornica” project as one of our core programs. In this project young artists chosen through an open call are given the opportunity to have their own exhibition with the institutional support provided by the Gallery.

    Third year in a row GMK is organizing “Tvornica” project as one of our core programs. In this project young artists chosen through an open call are given the opportunity to have their own exhibition with the institutional support provided by the Gallery. Nowadays, when state funding for independent culture is miserable, GMK tries to act as a catalyst and a development platform offering artists advisory and financial support much needed in the production of the new work. Once a year we have an open call for the production of new work open to artists up to 35 years that are willing to apply with works in their initial phase. After exhibitions by Iva Cepanec Masters in September 2014 and Ana Kuzmanić in December 2015, this year we have chosen the proposal titled “In Situ – missing objects” by Dora Đurkesac and Karla Paliska.

    “In Situ – missing objects” is an artistic research primarily focused on processes and ways of perceiving our environment with further aim of creating new methodologies in researching space. Originating from sociological, cognitive and physical points of view, artists are interested in relations between existing concepts of space, but also their potentials and limits in describing new dynamics of their production.

    Aim of the project is finding new articulations of urban and public spaces through active participation of their citizens. Urban and public space is not only perceived as a result of physical and social interactions and their relations, but also as a place of continuous transformation which emerges due to complex interconnection of technology, media, society and public space. In this emerging ecology, the role and the meaning of every factor – public space, urbanity, technological tools, new media – must be reconceptualized, taking into account possible ways of transforming processes of production of the public space.

    Dora Đurkesac and Karla Paliska are interested in new virtual spaces and practices that can help us articulate, or even directly intervene and refine, public space recognizing a public sphere inside a public space. Their mission is questioning of every form of social interactions, experiences in a public space and possibilities of their translation into a virtual space. Researching existing, abstract, applied and maybe at first unrelatable concepts of space whilst producing new and speculative conceptions of space helps us deepen our understanding of it. Furthermore, their goal is to develop virtual experience platform which would enable citizens’ reflection and creation of new spaces/contents while real and virtual remain intertwined.

    This exhibition represents the first phase of the project based on the contributions of the citizens and their rethinking of the environment around Gallery which will include different representations of space aimed on further development of a platform for rethinking and recreating public space.

    The project is supported by: City of Zagreb, Ministry of Culture of Republic of Croatia, INA - Industrija nafte d.d. and EKS Scena Zagreb. Gallery is supported by Kultura Nova.

    eteam: Waypoint, Follow, Orbit, Focus, Pano, Track

    For their most recent exhibition at Miroslav Kraljevic Gallery, eteam (the New York-based duo Franziska Lamprecht and Hajoe Moderegger) engaged in a multimedia project titled Waypoint, Follow, Orbit, Focus, Pano, Track. The whole endeavor started with the artists visiting Croatia last summer, in an effort to research a peculiar camouflage design of Croatian military uniform which, in order to render a person concealed, incorporates the geographical mapping shape of Croatia itself.

    For their most recent exhibition at Miroslav Kraljevic Gallery, eteam (the New York-based duo Franziska Lamprecht and Hajoe Moderegger) engaged in a multimedia project titled Waypoint, Follow, Orbit, Focus, Pano, Track. The whole endeavor started with the artists visiting Croatia last summer, in an effort to research a peculiar camouflage design of Croatian military uniform which, in order to render a person concealed, incorporates the geographical mapping shape of Croatia itself. This intriguing issue, found by the artists through their initial online research, is in fact very much along the lines of eteam’s constant interest in disappearance, (in)visibility, land and its numerous uses in public and private contexts. In this newest project, the topics of disguise, appearance, absence and surveillance were further researched through eteam’s travel through Croatia and finally implemented through the exhibition featuring the video Waypoint, Follow, Orbit, Focus, Pano, Track, several paper mâché sculptures, a photograph and a novel The Case of Distance Disengaged. The visited locations, extensively presented in the book form as well as captured in the video, included a factory that makes military uniforms, then Liberland (a territory of the self- proclaimed nation on a small terrain between Croatian and Serbian border, which appears and disappears depending on the water levels of Danube river) and small Croatian islands - pieces of land that occasionally (dis)appear due to high tides of the sea. All of these stages were intertwined with daily anecdotes and casual meetings with people in urban and suburban surroundings that also influenced eteam’s observation of places and reflections on the topics mentioned.

    The novel, with its narrative that combines stream of consciousness writing with detailed reports while also blurring fact and fiction and present and the past, incorporates the elements of numerous genres such as travelogue, diary, autobiography and critique of existential subjects. It also contains snapshots of often neglected details from our surroundings that suddenly come to life and become poignant symbols. At times humorous, the other times poetical, contradictory, critical or sharply analytical, the artists offer their ruminations on being an outsider (particularly as a tourist, or as a contemporary artist invited to do a project in some new context), as well as on citizenship, borders, the natural vs. the man-made, the interconnection of global and local events, familiarity and alienation, construction of history and memory and the notions of displacement and belonging to a particular place. The little details that eteam encounters often trigger reminiscences of the artists’ personal past and current situation of living as Americanized Germans and navigating most recent social, political and ecological issues from this double perspective.

    The ambiance in the gallery is shaped by several elements: the photograph, the video and the sculptures. It complements the novel in the form of a temporary situation that works on more abstract level as it reconstructs the travel and the artists’ impressions through bits and pieces (such as the enigmatic photo print of an old light switch at the gallery entrance). The sculptures can be seen as playful reinterpretations of the geographical formations of the islands that extend from the ceiling towards the viewer as a mirror image of landscape seen from an aerial perspective. The video Waypoint, Follow, Orbit, Focus, Pano, Track is a collage of footage taken during their journey (some of it taken by a “bird’s eye” of the drone camera), accompanied by suggestive sounds that build up the surreal atmosphere. The video adds an additional layer to the exhibition; by utilizing the specific qualities of the drone camera surveillance imagery, it explores the (in)visibility as well as the relationship between nature and technology.

    eteam’s works are often described as durational performances captured in various mediums ranging from books and photographs to multimedia installations, staged collective actions and the Internet, often with unpredicted and absurd outcomes. Their work has been shown at MoMA PS1, New York; EYEBEAM, New York, Smack mellon, New York; Art in General, New York; MUMOK, Vienna; Momenta Art, Brooklyn; New Museum, New York; Neues Museum, Weimar; Museo Nacional Centro de Arte Reina Sofia, Madrid; Centre pour l’Image Contemporaine, Geneva; and Transmediale, Berlin, among others.

    Curated by: Željka Himbele

    Coordination: GMK + Tina Rajić

    The project is supported through FACE Croatia grant and funding from The City College of New York and The City of Zagreb.

  • Petra Milicki and Anika Schwarzlose: Monuments of the Future

    Project Monuments of the Future by Petra Milički and Anika Schwarzlose is a study of monumental places and objects in the light of increasing digitalization and networked communication. Project is a combination of theoretical research with a praxis based approach and an opportunity to establish collaborations with artists, theorists, ­researchers and scientists in different countries, such as Croatia, Netherlands and Germany.

    Project Monuments of the Future by Petra Milički and Anika Schwarzlose is a study of monumental places and objects in the light of increasing digitalization and networked communication. Project is a combination of theoretical research with a praxis based approach and an opportunity to establish collaborations with artists, theorists, ­researchers and scientists in different countries, such as Croatia, Netherlands and Germany.

    Our environment is changing radically. Debate and expressions of nostalgia or violence have partly migrated into the digital realm, where they form a new memory culture. At the same time material substance of monumental objects is in the process of disappearing – by active destruction, weathering, decay or obsolescence – and is subsequently replaced by different digital representational techniques.

    How exactly the recent expansion of digitalization and archiving techniques has affected our perception of monumental places and objects. How did it change their symbolic value? How will it affect the way we commemorate and process historic events?

    Petra Milički and Anika Schwarzlose will present a work in progress: a web platform which collects sculptures that have been removed from public space for different reasons. This collection will be used as source material to build a virtual sculpture garden. A digital refuge and exhibit for once public objects –with the aim to investigate the relationship of material substance and digital representation. What happens when historic events are memorized with monumental objects? What is the effect of those objects becoming transformed to digital representations, and what gets lost in translation?

    On display will be as well: 'Monuments of a Yugo-sized Global Village' a video by Petra Milicki, and 'The Law of Good Gestalt' a short film by Anika Schwarzlose and Brian D. Mckenna.

    Project is supported by: City of Zagreb and Creative Industries Fund NL

    Petra Milički (www.petramilicki.com) is a media designer-artist based in Zagreb. She aquired her education in visual communication (School of Design, Zagreb) and media design (Piet Zwart Institute, Rotterdam). In her practice she is interested in the interpretation of collectively produced found material, as well as the construction of media spaces that facilitate such production. Currently she is curious about different phenomena of memory culture and politics developing in the new media ecology. She works as a freelance media/graphic
    designer, mostly for cultural initiatives and institutions, and is a part of the D Day Festival's organising team.

    Anika Schwarzlose (www.anikaschwarzlose.com) was born Berlin, Germany. She received a BFA from the Gerrit Rietveld Academy in Amsterdam and a MFA from the Konsthögskolan i Malmö, Sweden. Her work is exhibited internationally in spaces such as FOAM / Amsterdam, Fotomuseum Winterthur, Institute for Art and Thought / Berlin, Bemis Art Center / Omaha, Nebraska, W139 / Amsterdam, Gallery Format / Malmö, De Brakke Grond / Amsterdam, V Art Center / Shanghai and Gallery Almanaque / Mexico City. She has given presentations and has taught workshops in places like the Rockbundmuseum, Shanghai / the ICA, London / the PR project, Moscow and The University of Lethbridge, Canada. She lives and works in Amsterdam.

    EAST CALLS / CURATORIAL RESIDENCY / SPRING 2017

    The first East Calls Curatorial Residency is jointly organized by Easttopics (Hungary) and G-MK (Croatia) in Spring 2017, on the topic of Precarity in Art.

    The topic of Precarity in Art mirrors the actual situation in both countries: Hungary has endured a severe shift in cultural policies since 2011, resulting in the desertification of the contemporary art scene and generating new artistic reflexes, independent and alternative ways to operate. Croatia is presently undergoing the same kind of restructuration, foreshadowing an oppressing cultural political climate and situation for the years to come and already witnessing the unprecedented solidarity of the art scenes in a need to act.

    Topic: Precarity in Art

     Dates: April 1-­30, 2017

    Location: Budapest (Hungary) and Zagreb (Croatia)

    The first East Calls Curatorial Residency is jointly organized by Easttopics (Hungary) and G-MK (Croatia) in Spring 2017, on the topic of Precarity in Art.

    The topic of Precarity in Art mirrors the actual situation in both countries: Hungary has endured a severe shift in cultural policies since 2011, resulting in the desertification of the contemporary art scene and generating new artistic reflexes, independent and alternative ways to operate. Croatia is presently undergoing the same kind of restructuration, foreshadowing an oppressing cultural political climate and situation for the years to come and already witnessing the unprecedented solidarity of the art scenes in a need to act.

    The residency lasts one month and is divided in two time blocks,the first one in Budapest (Hungary) between April 3-­15 and the second one in Zagreb between April 17-­30. The purpose of this residency program is to engage with the thematic of Precarity in Art by connecting international curators with those protagonists of the Hungarian and Croatian cultural scenes who were/are working with minimal financial, spatial or temporal resources, and to map the answers they give to such situation.

    The program in each country is articulated around three main pivots: a general overview of the contemporary art scenes of both countries, a focus on the institutions, self-­‐organized structures and art professionals dealing with or functioning in precarity, and finally a personally tailored part shaped according to each participant’s points of interest.

    Participation fee: 1.000 EUROS

    The fee includes the use of office facilities, entry fees of museums and special events, public transport in Budapest and Zagreb, inland transport for provincial venues, transport between Budapest and Zagreb. The fee also covers the production costs or a final publication realized on the topic of the residency program.

    Travel to Budapest for the start of the program and back at the end of the program, as well as accommodation expenses are NOT included.

    Please send a letter of intent and cv to:easttopics@gmail.com Application deadline: Jan 12, 2017.

    Selection process: Jan 19, 2017.

    For additional information, please contact us at:easttopics@gmail.com

     www.easttopics.com I www.g-mk.hr

    Nina Gojić: A Multilogue for Later

    The exhibition is part of the project "My sweet little lamb (Everything we see could also be otherwise)" which presents works from the Kontakt Collection in Vienna along with other historical, contemporary and new works that provide interpretations and critical rethinking of the collection. The project is dedicated to Mladen Stilinović (1947-2016) and is named after his work from 1993. "My sweet little lamb (Everything we see could also be otherwise)" will take place over several months (November 2016 – May 2017) in six episodes in various gallery spaces, ateliers and private apartments. The project is curated by WHW in collaboration with Kathrin Rhomberg.

    In the dramaturgical intervention "A Multilogue for Later" Nina Gojić examines the possibility of creating new systems in the art scene and models of cooperation and solidarity among cultural workers. Her research is based on the thesis about the continuity of self-management and self-organizing practices in the Yugoslav cultural space resulting from non-alignment, which today function as a tangible alternative to the neoliberal logic which is increasingly shaping the management of culture. The idea of non-alignment is extended to the development of the discourse on still unformed collectives, unfinished or not yet started processes which, on the level of cultural production, become a potential basis for imagining new communities. The work consists of two events and a soundmap that the author created through conversations with her previous collaborators. Starting from the reflection on the idea of cooperatives in culture, the work also questions the collaborative models and the sharing of resources in the art scene. The dramaturgy of the multilogue is realized on three levels: through the spoken text, through the way the text is edited, and through the minimally choreographed gallery space.

    Sound design: Iva Ivan
    Set up design: Tea Truta

    The audio installation is on view until November 26. For the duration of the exhibition there will be two public events. More details about the program will be available soon.

    The exhibition is part of the project "My sweet little lamb (Everything we see could also be otherwise)" which presents works from the Kontakt Collection in Vienna along with other historical, contemporary and new works that provide interpretations and critical rethinking of the collection. Founded in 2004, the collection includes capital works by a number of the most prominent artists from Central, Eastern and Southeastern Europe from the 1960s onwards. The project is dedicated to Mladen Stilinović (1947-2016) and is named after his work from 1993. "My sweet little lamb (Everything we see could also be otherwise)" will take place over several months (November 2016 – May 2017) in six episodes in various gallery spaces, ateliers and private apartments. The project is curated by WHW in collaboration with Kathrin Rhomberg.

    Living in The End Times

    Participants: Amy Balkin et al, Aurélien Gamboni & Sandrine Teixido, Rikke Luther, Maja Moesgaard and Joen Vedel.

    Curator: Katarina Stenbeck

    We live in a time of global warming, environmental degradation and radical transformations in the Earths ecosystems.The effects of capitalism and Western modernity have interrupted the systems of the planet that sustain us and all living beings to the extent that life for future generations will become increasingly difficult. How are we affected by this cancellation of the future?

    The exhibition Living in the End Times explores the eco-crises of our time and its affective dimensions. Taking as a premise that all aspects of our Western lives are interlaced with a destructive system, it asks how can we respond to a world in radical transformation due to ecological degradation, climate change and massive species extinction?

    Despite our insight into the destructive effects of our life in the Western hemisphere and its’ grave consequences for all life on the planet we seem unable to act in accordance with this knowledge. One reason for this has to do with the abstract quality of scientific data, which tends to make it impalpable. Another has to do with the temporal character of the data; it seems that since the damage has already occurred it is too late to act. In addition to this, the perspectives of climate change are overwhelming in their demand for a radical transformation of the way we live. Confronted with climate change we seem to be in an impasse between the impossible and the inevitable. Rather than demand political action and change our everyday praxis we often experience a sense of powerlessness in relation to climate change. In her text The Anamorphic Politics of Climate Change political philosopher Jodi Dean argues that the totality of disasters of the anthropocene overwhelms us to such a degree that pacification results, and suggests that instead we change our perspective. Rather than addressing climate change and ecological devastation in its global entirety we need to adopt a partial perspective and detect the openings in this seeming impasse, which can generate possibilities for collective action and strategic engagement.

    With works by artists that address both the fragility and the urgency of our time, Living in the End Times seeks to connect the affective dimensions of climate change with the politics of everyday life. The exhibition is an invitation to consider which cracks we can open in order to create new meetings in the common struggle for a future.

    Events:

    6/10 7pm Opening

    7:30pm Live-edited film performance by Joen Vedel 

    22/10

    Group reading organized by Aurélien Gamboni discussing how to address issues of climate change and environmental degradation. The event is part of Aurélien Gamboni & Sandrine Teixido’s installation A Tale as A Tool. More info soon.

    Exhibition supported by: City of Zagreb, Ministry of Culture of Republic of Croatia, The Danish Arts Foundation and The Novo Nordisk Foundatio

    MAJA HODOŠČEK: DREAMERS

    The exhibition Dreamers presents the works that further develop the artist's attempts to discover new ways of articulating the ideas and meaning arising from the dominant language. 

    Dreamers 

    In her artistic practice, Maja Hodošček regularly collaborates with high-school students, aiming to use micro interventions to infiltrate the barely permeable tissue of educational institutions. Proceeding from a perception of schools as one of the institutions defining the dominant knowledge, the artist primarily addresses the students since they are the ones expected to embrace this knowledge unconditionally. She is interested in the students as thinking subjects, which is why she moderates only the initial content and the framework captured by the camera, while the students are in charge of the process itself and the specific reactions. Through the students' active participation and use of video, the artist seeks to increase the dynamism of the field of education, which is generally perceived as a rigid system defined by a multitude of rules.

    The exhibition Dreamers presents the works that further develop the artist's attempts to discover new ways of articulating the ideas and meaning arising from the dominant language.

    The video What is Community? (2016) is a continuation of the work Dreaming Society initiated at the exhibition We Need a Title at Škuc Gallery.[1] The work consisted of a series of workshops in which the participants defined their own reflexions on predetermined concepts such as community, democracy, but also dreams.

    The question "What is community?" forms the core of one of the visual experiments whose purpose was to reconsider the meaning of this rarely questioned concept. It was important for the artist to address that question to the members of a generation whose political voice is not taken seriously, while at the same time current political tendencies are shaping their future. For the purposes of the experiment, Hodošček presented several photographic documents which show the pioneer induction ceremony, the meeting of political representatives of the EU, media photos of refugees, and the OHO group in the village of Šempas where they had founded a commune. Despite being ideologically very different, these photographs function as a subtext for considering the idea of community, and the participants are asked to describe how they perceive the content of the exhibited images. Ultimately, their answers take the form of four drawings, and the process of drawing is recorded on camera. Even though all participants responded more or less equally to the content of the photographs, their understanding of community was vastly different. It is precisely this heterogeneity of understanding of a seemingly monolithic concept that interests Hodošček.

    This is why the video What is Community? presents the perception and imagination of community in a heterogeneous manner.

    Pointing to the fragility of this imaginary construct, the artist actualizes the issue of who is actually responsible for rendering its dominant definition.

    The philosopher and educator Michael Apple also discusses the fragile foundations of community: "Everybody should participate in determining what community is. It needs to be constantly rebuilt."[2] The reason for re-examining this construct is that its members are constantly culturally changing, which is why it is rarely that everyone participates; a homogenous community can never include everyone. That is why talking about everyone means negating the dominant culture that superficially presents itself as the culture to which everybody, regardless of their life patterns, must adapt. For today only the culture imposed by the majority holds any real power – the symbolic and the institutional one. It is indicative that only culture can be imposed institutionally, and, as Michael Apple claims, the school is one of those institutions that reproduce and deepen the inequalities resulting from the position of power and ability to access resources, which is why he sees it as a space where it is possible to achieve togetherness.[3]

    The video Rushing to my dance class, can't talk (2016) was inspired by a real event in which the school truly became a litmus test for inclusiveness – a recent attempt to accommodate refugees in the dormitory in Kranj.[4] The dormitory director's suggestion to accommodate a group of Syrian minors was rejected by both parents and school employees, followed by a number of demonstrations.

    From the work's title, Rushing to my dance class, can't talk, we can infer a failure of the usual verbal form of communication. In the video, the artist explores the means of communicating that which we do not understand through collaboration with young breakdancers from Celje, asking them to respond to the song Refugee to rap by the Syrian band Refugees of Rap. The translation of the lyrics is unavailable and the song becomes a rhythm that uses the form of the dominant hip-hop subculture even though it speaks in a different language. The dancers follow the rhythm and respond to it with movement, which is why translation is not a key element of understanding. Despite being influenced by the dominant subculture, neither Slovenian breakers nor Syrian rappers are reduced, that is, simplified in order to be understood. The French thinker Éduard Glissant wonders "how can one reconcile the hard line inherent in any politics and the questioning essential to any relation? Only by understanding that it is impossible to reduce anyone, no matter who, to a truth he would not have generated on hid own. That is, within the opacity of his time and place."[5]

    The opacity Glissant talks about can be used for imagining community based on knowledge and meaning produced communally, by everyone, respecting their heterogeneity as well as the right to produce their own truth. After all, regardless of whether there is understanding among members of specific cultures, the school as an institution participates in changing the world, and its ideological production of knowledge is never without consequences.
    Irena Borić

     [1]  Maja Hodošček's solo exhibition, Škuc Gallery, Ljubljana, 10 December 2015 – 15 January 2016.

    [2]   Košak, Klemen (2016), "Michael W. Apple. Interview with the philosopher and educator." In: Mladina 23. Ljubljana., p. 30.[3]   Ibid.

    [4]   Košir, Izak.(2016), "Šest otrok preveč" ("Six Kids Too Many"). Mladina. Source: http://www.mladina.si/172723/sest-otrok-prevec/, 14 August 2016.

    [5]   Glissant, Éduard (2005), Poetics of Relation. The University of Michigan Press: USA, p. 194.

    http://www.hodoscek.com/

    Exhibition supported by: City of Zagreb, Ministry of Culture of Republic of Croatia, City of Maribor
    Exhibition is opened till the 24th of September.

    Re-Making / Re-Mixing History - Alan Turing

    Radiona.org: Re-Making / Re-Mixing History – Alan Turing

    Machines take me by surprise with great frequency.
    Alan Turing

    Re-Making / Re-Mixing History project deals with innovators and scholars from Galileo to Alan Turing, observing them through hybrid art and hacker/maker culture, and consists of a series of separate exhibitions with the following themes: mechatronics, kinetics, robotics, device_art, interaction design, BIOart.

     Re-Making / Re-Mixing History deals with scientists renown as pioneers of their fields, but which due to the spirit of times in which they lived were persecuted, obstructed in their work, imprisoned, forced to emigrate or even deprived of life. Artist and philosophers throughout history were often viewed as heretics and opponents of the system in which they lived, but they did not stay alone in the fight for progressive ideas. Scientists and innovators also contributed by defending their inventions, claims or beliefs. On countless occasions all professions mentioned were embodied in one person, so a blend of art, culture and science is no stranger to the history of civilization. These forms of creativity constantly permeate throughout the history, thus giving the cultural history of science and art history the equal importance.

    Those scientists, often innovators, who went ahead of social circumstances by sacrificing many aspects of their lives for greater good, inspired Radiona's interdisciplinary collective. This is by no means a series of exhibitions about „martyrs“, as it is not a documentary exposition of work of particular scientists, but a series which will present different aspects of work and life of people which marked the development of civilization through intermedia works in the field of innovative and contemporary practice.

    Alan Turing – “electronic alchemist”

     Alan Turing is an unavoidable name in computer science, mathematics, logic, theoretical biology and cryptography, but he was also a member of the community of hackers and makers at a time when these concepts were not yet present on the horizon of everyday social context. Turing was not just a theorist. His work desk was one of a practitioner – piles of wires, breadboard, soldering irons... Fingers scorched by the hot soldering iron, he was what nowadays we call a hands-on person. Although he was convinced that algorithmic formulas and calculations should be implemented in practise, in many cases he ended up disappointed, since companies that led projects on which he worked did not permit this.

    Turing wanted to bring theoretical and speculative imaginarium of mathematics and logic to a final goal in the practice, like an alchemist, as he was attributed from primary school to the end of life. Only such a lucid mind could play a key role in decoding the Enigma and contribute to the faster end of the Second World War, but the enigma of his own life never existed – open and honest in his naivety he did not hide anything. Ready to make concessions when working with others, he could never agree to compromise with himself. Today we are left with a strange impression of a man who broke codes in the spying system of his time, but in the end he himself was spied on and rejected by the same system he served. This talented long distance runner, due to adverse social conditions which condemned his homosexuality, had to end the run of his life too soon. 

    Turing did not attract the Radiona lab just as the “father of the computer”, by his hypothetical machine or by a probability that he would in present times be a member of some community like hackerspace or makerspace, but also by his serious contribution to biology, namely the field of morphogenesis – the way in which phenomena obtain or change shape. Fascinated from early childhood by Fibonacci numbers which are reflected in the structure of leaves or colour patterns in animals, he developed mathematical models of forming of biological shapes. His studies in this field are considered to be a pioneering work of analyzing the algorithmic code of nature, where the distribution of chemical signal of this code is predicted with great precision, as is the way in which they determine the patterns of development of natural shapes. It is in the roots of this interdisciplinarity of his brilliant mind, which is not just mathematically abstract nor solely determined by the practice, where we see a reflection of today’s phenomena of biohacking, citizen science, DIY practices or civic participation culture.

    Turing machine

    Turing machine, conceived in 1930s, is a theoretical device which can execute any computing algorithm. The storage media is an infinite memory tape divided into cells, with the head which is used to read and write the content (a symbol) of a cell. An algorithm which the machine runs is defined as a sequence of instructions – depending on a current state and a symbol on the tape, an instruction says which symbol is to be written to the tape, to which state should machine make transition and which way should the head move. The machine executes instructions one by one until it terminates. The result is the final output. Turing machine is an abstract forerunner of contemporary computers.

    The Entscheidungsproblem (the “decision problem”) formulated in 1928 by German mathematician David Hilbert, Turing reformulated in 1931 using previous results of logician and mathematician Kurt Gödel on limitations of proof calculus, by developing a formal language based on the arithmetic and a simple hypothetical machine, later named the Turing machine. He proved that there is no solution to the decision problem, primarily by showing that it is not possible to algorithmically decide whether a Turing machine will eventually terminate.

    Next to the contribution of mathematician John von Neumann, Turing’s ideas which resulted in a hypothetical machine are an indispensable part of mathematical logic which lies in the foundation of the way in which today’s computers work. 

    -----------

    8/17/7 
    working hours:
    Monday - Saturday: 16 - 20
    Sunday: 10-13

    concept. text: Deborah Hustić
    machine: Igor Brkić
    design: Damir Prizmić

    editing: Vesna Zednik
    translation: Tin Perkov
    technics: Matija Kralj

    Organizer: Radiona.org
    Partner: G-MK

    Support: Ministry of Culture of Republic Croatia / City of Zagreb
    Media support: Kulturpunkt

     

  • As part of the programme of Festival Design District Zagreb 2016, on Saturday 18th of June, G-MK will host three lectures - by foreign designers Erik Olovsson and Alexandra Matz and Croatian designer Nina Bačun (Oaza). #ddz2016

    Details on these lectures and other interesting programs in the neighborhood can be found on the official website of the festival:http://designdistrict.hr/festival-2016/

    TIMETABLE:

    12 - 13:15 - Erik Olovsson

    13:30 - 14:45 - Alexandra Matz

    15:00 - 16:00 - Nina Bačun / Oaza

    Oliver Ressler & Dario Azzellini: Occupy, resist, produce

    Oliver Ressler & Dario Azzellini: Occupy, Resist, Produce
    3 – 25 June 2016

    The artist Oliver Ressler will present his work on the opening and he will be joined by Dragutin Varga, union representative of Regional industrial trade union and president of the workers steering committee in factory ITAS - Prvomajska d.d. from Ivanec (Croatia), one of the prominent advocates for taking over the factory.

    A 3-channel video installation by Dario Azzellini and Oliver Ressler
    97 min. (combined)
    2014 – 2015

    The economic crisis that began in 2007-8 led to layoffs on a massive scale, leaving thousands of newly unemployed workers with little hope of another job. Their response put workers’ control back on the agenda in Europe. For many years
    beforehand, factories had been occupied and recuperated almost exclusively in Latin America.

    In most cases an occupation is not a deliberate step towards workers' control but a means of workers' struggle against the closure of a production site or company or the relocation of production to another country. The struggles often fall apart without any concrete results. “Occupy, Resist, Produce” focuses on the rare, better organized cases where the purpose of the struggle is to bring production under workers’ control.
    The workers do more than protest, they take the initiative and become protagonists, building horizontal social relations on the production sites and adopting mechanisms of direct democracy and collective decision-making. The recuperated workplaces
    often reinvent themselves, building links with local communities and social movements.

    The 3-channel video installation “Occupy, Resist, Produce” consists of three films on occupied factories in Milan, Rome and Thessaloniki. In these cases the workers did
    find ways to organize labor under their own control. Each film is based on discussion with the workers. The workers' assemblies – always the main decision-making bodies – were recorded. It is fundamental to recognize the differences between the situations, contexts and practices of the three worker-controlled companies, but it is also important to understand workers’ control or recuperation of workplaces as a socio-political action rather than a merely economic procedure.

    Maflow, a multinational car parts producer based in Milan, closed its production facilities in 2009, with proprietor Italian Lifestyle Partners facing bankruptcy fraud charges. The workers began a struggle to reopen the plant under workers’ control. In 2013 they occupied the plant, and since that day 20 workers have participated fulltime in the project, completely reinventing themselves and the factory, which they renamed RiMaflow. Applying the concept of an “open factory”, the workers started recycling computers and electronic household devices, opened a bar and cafeteria, and organized a flea market and cultural activities with the local community. They
    also built alliances with local organic agricultural producers, creating a group for solidarity shopping.

    Officine Zero, formerly RSI (Rail Service Italia), once specialized in maintenance and repair of sleeping cars. When Italian railroads stopped running night trains in December 2011, RSI closed. Some 20 workers from a workforce of almost 60 refused to accept the closure, and in February 2012 they occupied their workplace. In 2013 Officine Zero was officially founded as an eco-social factory. Officine Zero literally means “Zero Workshops”: “zero bosses, zero exploitation, zero pollution”, as their new slogan puts it. In half a dozen workshops for carpentry, padding, metalwork and general repairs, the workers at Officine Zero focus mainly on the repair and recycling of domestic appliances, computers and furniture. The collective project aims to transform the former sleeping car repair shop into an industrial reuse and recycling center.

    Vio.Me. in Thessaloniki used to produce industrial glue, insulant and various other chemically derived construction materials. In 2010 the workers were sent on unpaid leave every 4-6 weeks. After the owner stopped paying wages at all, in July 2011 the workers decided to occupy the plant and take their future into their own hands. In February 2013 Vio.Me. began producing organic cleaning products and organic soap. Vio.Me. formed a cooperative in order to operate legally. However, Vio.Me. does not operate as a traditional cooperative. The workers do not consider the company their property but a common good that should serve the community.
    Vio.Me. has “solidarity supporters” paying a monthly fee in advance and getting Vio.Me. products in exchange. The solidarity assembly also supports the workers' mobilizations.
    For the future it is planned to produce further films on occupied factories and to expand the video installation as the workers' struggles continue.

    Directed, produced and edited by Dario Azzellini and Oliver Ressler
    Camera: Thomas Parb 
    Additional camera: Rudolf Gottsberger, Bernhard Mayr
    Sound design, re-recording mix and color correction: Rudolf Gottsberger

    The project was funded partly through the support of the Austrian Science Fund (FWF) AR 183-G21, Neuer Berliner Kunstverein (n.b.k.), Centro Andaluz de Arte Contemporáneo – CAAC, BKA, Aktion Selbstbesteuerung and the Rosa-Luxemburg Foundation.

    www.azzellini.net 
    www.ressler.at
    Exhibition in Miroslav Kraljević Gallery is supported by City of Zagreb and Ministry of culture of Republic of Croatia.

  • Elli Kuruş - Invisible Hand, The Great Book of...

    Invisible Hand, The Great Book of... unearths and exposes forgotten and forgettable images of labour through a series of digital excavations and transformations. Installative arrangements hint at the presence of algorithmic and mechanical machines distributing visibility through selective reproduction and explicit deletion.

    The exhibition thus points to the deleted 'other' of contemporary and historical practices of constructing the visible. Continuous reaccentuation of the Deleted produces the eerie effect of a mundane transgression, of witnessing the representation of the unrepresented.
    Suffused with speculation and commentary, technical drawings and architectural models invite viewers' eyes to rest within the comforting space of invention, marked by oversight and omission. The 18th century plantation Monticello is resurrected within the digital realm, hinting at the dubious possibility of a historical continuity of a war on the perceptibility of labour. Digital network technology enters into a material communion with vintage service carts and financial signifiers.
    These juxtapositions of historical and digital materials seduce and irritate the beholder, until contemporary practices of seeing and unseeing emerge in their historical specificity.
    Under the newly sceptical gaze, existing visual regiments are destabilized, offering a glimpse at the possibility of alternative systems of distributing and reassembling the visible.


    Artist talk with Elli Kuruş - Sunday, 29th of May at 6 pm.
    The exhibition is open until Sunday.
    Working hours: 26th of May 12-19, 27th and 28th of May 15-20.



    Elli Kuruş is a Leipzig-based collective artist, 44% complete. Her practice spans artistic and curatorial approaches that converge into installations, videos, sculptures, performance lectures, and text productions. Investigating the agency of the things around her, she critically examines the development of media and technology, reading the present as material history.


    Production and exhibition was funded by Kulturstiftung des Freistaates Sachsen.

    Elli Kuruş is invited as InterCity/SwitchCity - a project by KKW-Leipzig, Pogon Zagreb and funded by Goethe Institut Zagreb, Ministry of Culture of the Republic of Croatia and City of Zagreb

    New visual identity on the windows of gallery

    new visual identity of the gallery

    Today, a new name sign and new visual identity of the gallery were set on the windows. It is designed by the designer Andro Giunio. After many years gallery got a new look and greater visibility.

  • Beti Žerovc: "When attitudes become the norm"

    Presentation of book by Slovenian curator and theoritican

    On Friday, May 6th at 19 h, at the Gallery Miroslav Kraljević, a talk will be held with Beti Žerovc, Slovenian art historian, theorist and curator, presenting her latest book: When Attitudes Become the Norm: contemporary curator and institutional art. The book was published thanks to the joint cooperation of Igor Zabel Association for Culture and Theory (Ljubljana) and Archive Books (Berlin), while the promotion is organized by Gallery MK and Curatorial platform, as part of a continuous program ‘Meet the Curator’.

    The book by Beti Žerovc is a collection of essays and interviews on the topic of curatorial practice in the context of contemporary art. In this very extensive and layered publication, the author examines the curatorial practice within a wider socio-political and economic framework, but also in relation to the paradigm shift that took place in the art world over the last century. Žerovc analyzes the position of the curator as a key figure in that develops and participates in the institutionalization of contemporary art, arguing that it is through institutional curators that art comes to its reformulation.

    While the first part of the book establishes the historical and contextual framework for understanding the phenomenon of curating, the sketches and outlines of the powers and activities of a curator of contemporary art, in her later essays, Beti Žerovc analyzes the global spread of curatorial practice and the politicization of the field and possibilities of socio-political intent of contemporary exhibitions and other curatorial projects. The last segment of the book deals with the idea of the curator as an artist, and curated exhibitions of contemporary art as an artistic medium, event and ritual. The book contains a conversation with the prominent theorist Mary Ann Staniszewski, author of the referent book from this field, The Power of Display: A History of Installations Exhibition at the Museum of Modern Art (MIT, 1998).

    Betty Žerovc teaches at the department of art history at the Faculty of Philosophy in Ljubljana. Her research focus consists of visual art and the world of art since the mid-19th century to present-day, with a special emphasis on their role in society. Over the past fifteen years, her interest is focused on the phenomenon of  curators of contemporary art, modern art exhibitions as media and the changing role of art institutions.

     

    EMANUEL MATHIAS - ON CHOOSING THE APPROPRIATE DISTANCE

    Project On choosing the appropriate distance by Emanuel Mathias positions the artist as a participant observer in the fieldwork research in Indonesia. 

    He is invited to accompany a group of primatologists and ethnologists while they research the habits of primates and their interaction with the humans. The primates research and the art project are directly intertwined because they both utilize an act of observation as an important research method.

     

    Multi-channel film installation opens new insights into the potential of observational cinema and observational filmmaking methods which are focused on grasping direct, lived and real time experience. Observational films are also focused on the experiences of the subjects, openly capturing and representing the relationship between the filmmaker and the subjects.

     

    The project by Emanuel Mathias unveils several different observational positions (primatologists, ethnologists, apes, locals, camera operators, artist) that are mutually dependent and in constant interaction. In that sense the film offers multiple points of view parallelly present during the fieldwork research. This method enhances the viewers immersion in the position taking process that's being constantly negotiated during the research. In order to catch the action on the run the gaze of the viewer is shifted and redirected so as to discover variety of perspectives on different events. The viewer is therefore asked to actively engage his gaze and fill the unmediated space of the film. It is exactly the act of showing (so vividly present in the observational cinema) that enables fluidity and ambiguity of actions presented (most of the time without commentary). Avoiding mediation actually allows the spectators to draw their own conclusions and interpretations.

     

    The project also uncovers moments of self-observation which openly question filmmakers act of observing and behaving among the rest of the research team. The role of artist is recognized just as equal as any other role in the film and is frequently present as the one being observed too. Throughout the flm we are continually confronted by various levels of revelations and disclosures that speak directly about the backstage (weather it's the backstage of the filmmaking process or the backstage of the scientific research).

     

    Exhibition is organized in partnership with ETNOFILm festival and Faro11.

    Exhibition is supported by City of Zagreb and ETNOFILm festival.

     

    A collaboration between London Metropolitan's Cass Faculty of Art, Architecture and Design and Zagreb Acedemy of Fine Arts, Department of Animation and New Media.

    A collaboration between London Metropolitan's Cass Faculty of Art, Architecture and Design and Zagreb Acedemy of Fine Arts, Department of Animation and New Media. The work is based on exchange, draws parallels between the two cities, and in part responds to urban environments and industrial cultural heritage.

    We are inviting you to the opening ideas for what will be an ongoing engagement.

    A collaboration between London Metropolitan's Cass Faculty of Art, Architecture and Design and Zagreb Acedemy of Fine Arts, Department of Animation and New Media. The work is based on exchange, draws parallels between the two cities, and in part responds to urban environments and industrial cultural heritage.

    Yours sincerely,
    Charley Aiken, Maura Batarilović, Frederique Evans-Jeanrenaud, Joshua Hill-Walsh, Barbara Miše, Sendi Pucer, Nika Pećarina, Grace Radford, Karlo Pavičić Ravlić, Noemi Ribić, Andrew Stevenson, Nikola Taylor i Richard Taylor

    Project coordinators: Nicole Hewitt, Ben Cain and Vida guzmić
    A collaboration between London Metropolitan's 
    Cass Faculty of Art, Architecture and Design 
    and Zagreb Acedemy of Fine Arts, Department 
    of Animation and New Media. 
    The work is based on exchange, draws parallels 
    between the two cities, and in part responds to urban environments and industrial cultural heritage.

    Supported by: ALU, The Cass London Metropolitan University, GMK, City of Zagreb

    On Revolution Roads - memorial tourism in Yugoslavia

     The exhibition ‘On Revolution Roads: Memorial tourism in Yugoslavia,’ examines the position and function of memorial national liberation struggle (NLS) in the tourist segment of the economic and socio-economic system of the Socialist Federal Republic of Yugoslavia (SFRY).

    The introduction of memorial tourism as a part of the overall SFRY tourist scheme/industry from the late seventies and early eighties of the 20th century to the present day is an under-researched phenomenon of the post-war development of Yugoslavian tourism. The inauguration of NLS memorials as a tourism product and the consequent commercialization of the symbolic and historical-political dimension of NLS cultural heritage impacted the mechanisms of managing existing monuments and the concepts of building new NLS memorials, as well as the methods of their financing. The term memorial tourism is taken with a certain grain of salt, since this statement implicitly emphasizes the commercial functions as the main characteristic of memorial areas and NLS facilities in Yugoslavia, which to some extent ignores the complexity of the historical and political significance and symbolic and socio-economic function of NLS memorials.

    The exhibition will be open in Zagreb until the 28/11/2015 after which it will be possible to view in Sarajevo, Kraljevo, Ljubljana and Belgrade. 

    The exhibition is the joint activity of the members of the international platform INAPPROPRIATE MONUMENTS and their external collaborators. The members of the platform are SF:ius – Social Fringe: interesting untold stories (Zagreb), Group of Architects (Belgrade), Modern Gallery (Ljubljana) and the Historical Museum of Bosnia and Hercegovina (Sarajevo). 

    Financial support: Balkan Arts and Culture Fund - BAC ( COLABs ) , Kultura Nova Foundation, Ministry of Culture of the Republic of Croatia, Ministry of Culture and Information of the Republic of Serbia.

    Avoiding Eye Contact

    The exhibition Avoiding eye contact is part of the ongoing project Shame on You! initiated by the Miroslav Kraljević Gallery, CELEIA – Center for Contemporary Arts from Celje and the Association for Culture and Art CRVENA from Sarajevo. The project provides a platform for artistic and theoretical study of the idea of shame as defined by specific political, economic and social contexts.

    Starting from the understanding of shame as a consequence conditioned by social and cultural actions whose experience is personal and/or collective within the private sphere, the following questions arise: which identities and practices are considered shameful and which structures or positions have the power to mark them as such? Can shame be understood as a symptom caused by a break with the established normative behavior, economic ideologies, political goals and forms of patriarchal dominance? Can the act of shaming function as a mechanism for maintaining the existing power relations and providing a means of social control?

    The exhibition Avoiding eye contact takes on the concept of shame through the works of Nicole Hewitt, Louie+Jesse, Ivana Pipal, Oliver Ressler and Chloé Turpin. The title of the exhibition is taken from a drawing by Ivana Pipal depicting a multitude of eyes, alluding to the constant exposure to the gaze of others as well as to the avoidance to look back. The Hungarian mythologist Károly Kerényi associates shame with observation since it presupposes both passivity and activity, being looked at and looking. The exhibition considers the way shame is condition by the gaze, focusing in particular on the public aspect of shame which is a consequence of dominant social patterns.

    Shame on You! in the Gallery Miroslav Kraljević is curated by Ana Kovačić and Irena Borić.
    The project Shame on You! is supported by the City of Zagreb, the Ministry of Culture of the Republic of Croatia, and the foundation Kultura Nova.

    Bojan Mrđenović: Imported desert

    The photographs show a disposal site of phosphogypsum, an industrial by-product of the production of mineral fertilizers.

    From 1983 until today over six million tons of this material have been dumped at this site.
    These photographs represent a segment of photographic work, which uses the example of various types of landscape (abstract, natural, urban) of the City of Kutina to examine how social relations are conditioned by various kinds of industrial production.
    The goal is to create photographs which document the times and bear witness to relevant social themes, and which, at the same time, attract viewers with their wondrous beauty.
    The exhibition is a result of coproduction between Miroslav Kraljević Gallery from Zagreb and Center Sodobnih Umetnosti Celje from Celje. It is shown as a part of 7th International Photography Festival Organ VIda, held in Zagreb from 3rd till the 18th of September in Zagreb.

    Supported by: Ministary of culture and City of Zagreb.
    Gallery Miroslav Kraljević is supported by Zaklada Kultura Nova.

    www.celeia.info/likovni-salon-celje
    www.organvida.com
    www.g-mk.hr/

    Tyler Coburn: I\\'m that angel

    Tyler Coburn’s publication, I’m that angel, explores the conditions of how we work on and against the computer, narrated from the perspective of a “content farmer”: an online journalist contracted to generate articles based on words peaking in Google Trends.  
    Limited seating. To reserve a spot, e-mail: info@g-mk.hr (until 14th of July)

    Tyler Coburn
    I'm that angel
    In collaboration with Altus IT Data Center
    Limited seating. To reserve a spot, e-mail: info@g-mk.hr (until 14th of July)
    Tyler Coburn’s publication, I’m that angel, explores the conditions of how we work on and against the computer, narrated from the perspective of a “content farmer”: an online journalist contracted to generate articles based on words peaking in Google Trends.  
    Periodically, Coburn holds readings at data centers worldwide, including Google New York, Google Zurich and the infamous “Wikileaks Bunker” of Bahnhof Stockholm.  These events give audiences access to the sites where “the cloud” is kept.  

    Rather than concede to the seeming intractability of cognitive capitalism, these readings seek to potentiate new critical operations through shared access, listening and discussion.  Across its parts, I’m that angel argues for a renewed consideration of the immanent horizons of subjectivity, sociability and creativity.
    Tyler Coburn is an artist and writer based in New York. Coburn's writing has appeared in frieze, e-flux journal, Dis, Mousse, Art-Agenda and Rhizome, among others.  His performances, sound works and installations have been presented at the Whitney Museum of American Art, New York; South London Gallery; Kunstverein Munich; CCA Glasgow; Objectif Exhibitions, Antwerp; LAXART, Los Angeles; and SculptureCenter, New York.
    Altus IT Data Centre provides services such as IT and communications equipment leasing, comprehensive maintenance, data backup on a medium or on a backup server, system monitoring and Internet and/or VPN connection, equipment collocation, basic maintenance, backup, remote access on the monitoring system, leasing a patch position, connections to the Internet or a communications channel.

  • Aslı Çavuºoğlu: In Diverse Estimations

    Aslı Çavuşoğlu is concerned with how history can be read and questions who, or what processes, enables its writing and toward what end. These investigations, which have been articulated through various media, revisit key moments so as to locate the interwined dance between rupture and continuity as consciousness and its related identities are constructed and reconstructed.
    In the exhibition in Miroslav Kraljević Gallery the artist will show four works made in the period 2010 – 2011.

    The video In Diverse Estimations Little Moscow deals with the participatory democracy experiment that was carried out in the town of Fatsa in Turkey during 8.5 months and was forcefully brought to an end with a military intervention in July 1980. Afterwards, the mere mention of the event was forbidden and the memory of participatory democracy was almost forgotten. Her work A Small Mix-up shows how easy it is to manipulate the memory and relationship with the past through their modification. On the other hand, the work The Destruction of the Russian Monument at Ayestefanos speaks about the ingrained narrative lacking proof – it is widely believed that on the occasion of monuments demolition, the first Turkish film was made; however, the recording has never been found. The act of demolition is documented only in the two preserved photographs (before and after the demolition), and Çavuşoğlu construes that process in her work, filling the archival gaps of her own accord. The work 191/205, similarly to In Diverse Estimations Little Moscow, speaks about an attempt at forced amnesia – the General Directorate of Turkish Radio and Television Corporation's decision to ban certain words under the excuse that they do not comply with the nature of the Turkish language, and that they are substandard. Among 205 forbidden words, we find: memory, remembrance, nature, movement, revolution, dream, theory, possibility, history, freedom, whole, life etc.

    More about the artist: http://aslicavusoglu.info/ 

    The exhibition is opened till the 4th of July 2015.

    The exhibition is supported by: Ministry of Culture of the Republic of Croatia, City of Zagreb – City Office for Education, culture and sport.
    Gallery Miroslav Kraljević is supported by Zaklada Kultura nova.

    Dear all,
    please join us to see the starting collaboration between the students of the Cass in London and the Academy of Fine Arts in Zagreb.
    We are inviting you to celebrate the opening ideas for what will be an ongoing engagement.
    Yours sincerely,
    Lea Anić, Laura Barić, Tin Dožić, Vanda Kreutz Oslaković, Toni Mijač, Nera Miočić, Valerija Cerovec, Haydn Ronnie Albrow, Trude Elisabeth Bekk, Santa Sabule, Paulina Glimas, Katarina Sobolciakova, James Johnston and Mar Gonzalez Del Corral

    Project coordinators: Nicole Hewitt, Ana Hušman and Ben Cain
    Supported by: Grad Zagreb, Ministarstvo kulture Republike Hrvatske, Odsjek za animirani film i nove medije - Akademija likovnih umjetnosti u Zagrebu i London Metropolitan University.

  • Emilio Moreno: Stone acrobatics

    When not precious or semi-precious, how valuable is a stone? Can it have any value in itself, or is the value (for example, historical value) bestowed by the context in which the stone finds itself? Because it is not irrelevant whether a stone is used for skipping or is part of the structure of a medieval church. The skipping stone remains insignificant enough so that, as soon as it sinks, we can replace it with another one without feeling any loss, but what about losing a stone that is part of a church? Historians and archaeologists are certainly not indifferent about material remains because one stone, even a damaged one, can help build a narrative of the entire history. 

    tarting from an interest in the value that is produced by the creation of narratives, Emilio Moreno is particularly intrigued by material remains, that is, cultural heritage that gets dislocated from its own temporality through relocation or the process of anastylosis. He is interested in what happens to the value of cultural heritage during such a procedure. Does the new building remain the "old one"? His first film Stone Acrobatics (2014) seeks to consider these issues, and the film narrative is built around the anastylosis of a medieval Spanish church which was declared national heritage. At the request of John D. Rockefeller Jr., who had just built a museum of medieval monasteries from all over the world in Manhattan, the said Spanish church was disassembled piece by piece and transferred to New York, where it was reassembled. As a resident of Triangle Arts NY, Emilio Moreno planned to investigate the political background of such an event, but during the residency his research interests had expanded. That is why in the film the consideration of the phenomena of anastylosis is interwoven with his very personal associations and stories about his father, but also his thoughts about contemporary usage of personal photographs and what they represent. Moreno captures the shots of his own travels and thereby associatively complements the narrative with images. From very personal shots to aesthetic ones, he narrates the story by deconstructing the idea of value and the way objects, actions and language are assigned value statuses. 

    Irena Borić

    Emilio Moreno (1980) is a Spanish artist whose work investigates different notions of value, as well as the realms of experience from which value emerges. History, language, currency and space are some of the realms in which he focused recently. Formed as a philologist, a photographer and as an artist, his practice varies formally depending on every specific project. His work has been recently made public in solo shows at Instituto Cervantes, New York, South African National Gallery, Cape Town, as well as in group shows at De Appel Center for the Arts, Amsterdam, Centro de Arte 2 de Mayo, Móstoles, Madrid, CASCO, Utrecht, Vanabbe Museum-Onomatopee, Eindhoven. He collaborated with If I Cant Dance I Dont Want to be Part of Your Revolution and with Bulegoa z/b in the project '18 Images and 18 Stories'. Moreno's work was published in Scapegoat Journal (Toronto) and The Autonomy Project Newspaper (Eindhoven). His exhibition 'Stone Acrobatics' at Galerija Miroslav Kraljević is the first time his work is exhibited in Croatia.

    http://www.emiliomoreno.info/

    Original music and sound design by Sjoerd Leiten.

    During the exhibition, the gallery will be open from Tuesday to Friday, 2pm – 7pm, and Saturdays, 11am-1pm (film screening starts every hour on the hour).

    Kerrie Poliness: Wave Drawings and Landscape Paintings

     "These works are concerned with ‘difference’, an aspect of connectivity between things in the world that is often disconnected by notions such as ‘natural’ and ‘manufactured’. Everything in this world, both natural and manufactured, is a part of nature and interrelated. Each thing in the world is innately unique and constantly in a state of flux.  The nature of nature is such that a small shift within very tight parameters can produce quite different outcomes. The less that change is allowed to occur (is repressed) the more radically change may happen when it does occur, because it will occur. The physics of such processes of change helps to explain what is going on in the world around us."

    Wave Drawings (orange and green)
    Field Drawing (Brisbane, a film)
    Landscape Paintings (Lake Bolac and Zagreb)
    Wave Drawings (orange and green)

    "The process of making these wave drawings is about understanding the processes of waves, and the relationship of wave dynamics to objects and ideas by ‘drawing’ relationships between waves and patterns. Waves can be used as a metaphor to describe the phases and layers of geomorphology, histories, cultures, stories, politics, art, friends and ideas; how things shift and change, merge, blend and disperse."

    Field Drawing (Brisbane, a film)
    "Since 1991, I have been making instruction-based artworks that enable other people to produce large geometric drawings on wall and floor surfaces. The instruction books are designed to ‘mass produce’ unique objects.  Asymmetry and difference is intentionally generated through the process of production. The people who make the drawings influence the visual outcome of each particular drawing through their participation. Each drawing will be visually quite obviously unique.

    Field Drawing #1 can be made and maintained by gardeners or park caretakers or anyone else who is interested. The lines of the drawing are made with a sports-field line-marking machine. The drawing either washes away with rain or grows out, it can be mown away or left to grow or it can be maintained like a sports-field."

    Landscape Painting (Lake Bolac and Zagreb"
    In the middle of the Victorian Volcanic Plains (South Eastern Australia) there is a vast body of water called Lake Bolac. Lake Bolac was formed around 20,000 years ago, within the tribal memory of the local Aboriginal people, through volcanic eruptions and is a place of special significance.

    Four non-objective monochrome paintings were made on the shores of Lake Bolac, ‘en plein-air’ style. These paintings are ‘landscape paintings’, designed to collaborate with the landscape. I\\'ve followed trails and paths alone and with friends through Zagreb finding places that hold some affinity with these paintings. The paintings have been placed in these landscapes and photographed, made into postcards ready to be sent elsewhere. Small ripples from Lake Bolac."

    - Kerrie Poliness, May 2014, Zagreb 

    KERRIE POLINESS was born in Melbourne in 1962 and lives in Melbourne. Her work has been commissioned for numerous projects including The Geometry of Waves, Highpoint City, Vic. (2013) and The Pipestacks, Pipemakers Park, Maribyrnong, Vic. (1999). Poliness has held numerous solo exhibitions including; The Dowse Art Museum, Wellington, NZ (2013); The Agora, La Trobe University Museum of Art, Vic. (2013); Anna Schwartz Gallery, Melbourne (2007); Dunedin Public Art Gallery, New Zealand (2006); North Melbourne Town Hall (2006); NGA, Canberra (2004); Artspace, Auckland (1998), and the Art Gallery of WA, Perth (1998).

    She has been included in more than 130 group exhibitions since 1987 including Less is More, Museum of Modern Art at Heide, Melbourne (2012); The Basil Sellers Art Prize, The Ian Potter Museum of Art, Melbourne (2012), Ruler pencil time, Block Projects, Melbourne (2012); Art, pattern and complexity, RiAus, Adelaide (2012); Volume One, The MCA Collection, Museum of Contemporary Art, Sydney (2012); Australian contemporary drawing 2, University of Arts, London (2012); Networks, cells and silos, Monash University Museum of Art, Melbourne (2011); Multiple choice, Queensland Art Gallery/GOMA, Brisbane (2010); +/-, Monash University Museum of Art, Melbourne (2009); Shilo, Ian Potter Museum of Art, University of Melbourne (2009); The Helen Lempriere National Sculpture Award, Werribee Park, Vic. (2008); To make a work of timeless art, Museum of Contemporary Art, Sydney (2008); Australian contemporary non-objective art, Gesellschaft für Kunst und Gestaltung, Germany (2007); and Drawn, the Ian Potter Centre: NGV Australia (2006). She is a PhD candidate at the Centre for Ideas, VCA, and is represented by Anna Schwartz Gallery Melbourne.

    Ministry of Culture of the Republic of Croatia
    City of Zagreb

    Liquidation

    Liquidation is an interdisciplinary project concerning questions of visibility in response to the often-invisible processes of privatization. With a curatorial framework conceived by the New York curator, Sarah Lookofsky produced for Stacion - Center for Contemporary Art Prishtina, its Zagreb iteration includes the addition of several practices by Croatian artists chosen by the curatorial team of Miroslav Kraljević Gallery (Ana Kovačić, Lea Vene, and Sanja Sekelj) in Zagreb. In addition the project’s partner in Zagreb, the European Institute for Progressive Cultural Politics in Vienna is a central partner in the conference, which will follow the exhibition’s opening in Zagreb on May 2nd, followed by a two-day conference (May 3rd and 4th).

    Liquidatin at Stacion - Center for Contemporary Art Prishtina gathered a number of artists from around the world whose works deal with privatization in relation to spatial experience (John Hawke, Patricio Larrambebere, Fatmir Mustafa, Martha Rosler, Andreas Siekmann). Drawing from the experiences of silent private takeovers of former public assets, these artists register and mark movements of everyday life in an effort to illuminate and raise awareness about the hidden consequences of the process of privatization. What brings these artists together, despite their responses to disparate local contexts, is a joint effort to confront the consequences of privatization, raise awareness, and educate the public. 

    In addition to the artists who participated in the Priština exhibit, Miroslav Kraljević Gallery is also hosting several artists and/or researchers from Croatia: Bojan Mucko, Iva Marčetić, Bojan Mrđenović, Rafaela Dražić, Dina Rončević i OUR (Organizacija udruženog rada), as well as one artist form Kosovo, Alban Muja. The starting point for this exhibit was derived from the curatorial concept of Sarah Lookofsky, however, we have decided to emphasize some of the local specificities as well, through particular examples from Rijeka, Split, and Zagreb. We believe that such hybrid art projects have the potential to become places of discussion regarding the consequences of privatization; to educate the public, to initiate public discourse, and to articulate criticisms.

    The final works are often derived from extensive research and/or field work. It is often the case that the final product of research is a form of mapping, whether in the case of photo-mapping derelict hotel complexes across the Adriatic coast (Bojan Mrđenović) and the destroyed industry in the City of Rijeka (Iva Marčetić), or in the attempt of understanding the processes and consequences of privatization through student workshops (Dina Rončević). On the other hand, several projects in the exhibit are derived from site-specific field research through which Bojan Mucko explores the role and methodology of the State Administrative Office for State Property Management by showcasing examples of Zagreb's vacant business spaces; Rafaela Dražić conducts field research of Brodosplit; and OUR presents a continuation of their case study analysis of the consequences of the dissolvement of Split's Jugoplastika. 

    The exhibition will be followed by a two-day conference with the conceptual participation of Mario Kikaš, Tomislav Medak, and the Multimedia Institut (MI2), bringing together a number of participating artists, relevant experts and theoreticians, as well as activists. Within the conference framework, there will be two lectures by Boris Buden and Neil Brenner. Inspired by the Stacion project partnership, the conference is envisioned to serve as a platform for discussion regarding privatization processes occurring in the region, sharing of struggles for public spaces, and discussing certain artworks showcased at the exhibit.

    This project is supported by:
    Ministry of culture Republicof Croatia, City of Zagreb, Allianz Kulturstiftung, Erste Stiftung, Embassy of the United States, Ministry for European Integration of the Republic of Kosovo, Ministry of Culture, Youth and Sports of the Republic of Kosovo, Municipality of Prishtina
    General sponsor:
    INA

    Media sponsors:
    www.zarez.hr
    www.kulturpunkt.hr
    www.h-alter.org

    Eve K. Tremblay - EKTBF451/EKTFF451: Notes & Confessions

    Eve K. Tremblay’s multimedia project Becoming Fahrenheit 451 started in 2007. Similar to many of her other works, it was triggered by an accidental event from the artist’s former nomadic life and sharp observations of her close surroundings; in this particular case, the encounter with a video-rental store in Berlin, in the neighborhood Tremblay was living at the time.

    Eve K. Tremblay’s multimedia project Becoming Fahrenheit 451 started in 2007. Similar to many of her other works, it was triggered by an accidental event from the artist’s former nomadic life and sharp observations of her close surroundings; in this particular case, the encounter with a video-rental store in Berlin, in the neighborhood Tremblay was living at the time. The store’s name, Filmgalerie 451, was indeed symbolic; it referred to the name of a famous Sci-Fi novel by Ray Bradbury (in the 1960s loosely adapted into film by François Truffaut) that describes not that distant future in which books and reading are treated as a threat to society’s peacefulness; as a disturbance that supposedly leads to uneasiness, doubt, criticality and consequently misfortune. Therefore, the books needed to be destroyed by specialized squads of firemen; only small groups of dissidents, the so- called “Book People,” had the mission to preserve the books from obsolescence in immaterial form- in their minds, through the specially developed photographic memorization method- in spite of being prosecuted.

    EKTBF451/EKTFF451: Notes and Confessions

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    a solo exhibition by Ève K. Tremblay

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    curated by Zeljka Himbele

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    Exhibition will open on 4th of December 2014 at 8 pm.

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    Eve K. Tremblay’s multimedia project Becoming Fahrenheit 451 started in 2007. Similar to many of her other works, it was triggered by an accidental event from the artist’s former nomadic life and sharp observations of her close surroundings; in this particular case, the encounter with a video-rental store in Berlin, in the neighborhood Tremblay was living at the time. The store’s name, Filmgalerie 451, was indeed symbolic; it referred to the name of a famous Sci-Fi novel by Ray Bradbury (in the 1960s loosely adapted into film by François Truffaut) that describes not that distant future in which books and reading are treated as a threat to society’s peacefulness; as a disturbance that supposedly leads to uneasiness, doubt, criticality and consequently misfortune. Therefore, the books needed to be destroyed by specialized squads of firemen; only small groups of dissidents, the so- called “Book People,” had the mission to preserve the books from obsolescence in immaterial form- in their minds, through the specially developed photographic memorization method- in spite of being prosecuted.

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    The event of running across this store in Berlin generated remembrance of Bradbury’s book that Tremblay indeed read a long time ago. This became a starting point for several years of the artist’s immersion into contemplative, playful as much as persistent quest of memorizing Fahrenheit 451, in a metaphorical attempt of “becoming a book.” It engaged the artist’s interests in literature, theater, philosophy and visual arts as much as scientific texts, neuroscience, history of mnemonic systems and mechanisms of remembering and forgetting. Here, poetical approach and philosophical contemplation come into play with constant material experimentations; the still evolving project comprises of numerous media such as performance, video, drawing, collage, sculpture, installation, text, ceramics as well as Tremblay’s most common medium of photography.

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    For MK Gallery, Tremblay envisioned an all-encompassing presentation of her Becoming Fahrenheit 451, titled EKTBF451/EKTFF45 : Notes and Confessions. The exhibition starts with a letter, written and rewritten many times, to the writer Ray Bradbury himself. The letter is an invite for Bradbury to her exhibition, but also reveals, in almost diaristic form, the artist’s thoughts on the whole process of developing this project (as much as her reflections on art making in general) which she defines as “making and comprehending with grey matter” – both by her and by the public. The notes to Bradbury, as much as to herself, are also scattered throughout the exhibition in the form of post-it notes, creating peculiar and engaging juxtapositions of these short texts and imagery that surrounds them. These constellations feature Tremblay’s black and white and colored photographs and videos that had captured numerous days and months of memorizing the book (quite contrary to the fictional fast memorizing method of the “Book People” in Fahrenheit 451) and observing what was simultaneously happening in the artist’s mind, in private interiors of Tremblay’s ever changing apartment(s), but also in various locations during her travels. The images of numerous locales resonate the very process the artist chose for memorization of different parts of the book- by associating them with different locations and architectures from her past (the “memory palaces”.) One particular group of videos and photographs records the people from Tremblay’s surroundings; acquaintances, friends, and colleagues were asked to read and memorize parts of their own favorite books, in almost dreamlike compositions. The artist’s camera captured those people while being immersed in reading, or performing different, sometimes even odd things with their favorite books. The photographs- interiors or scenic natural historical and industrial landscapes (some of them more directly suggesting particular episodes from Bradbury’s book)- not only depict the individuals in action; in them, the books- a recurring motif in all of the compositions- become characters themselves as being brought to life by some supernatural force. 

    There are also some drawings in the exhibition, including Judo drawings that humorously adduce ongoing struggle with memory slippages (or maybe struggle with the years long project that cannot that easily be erased from the artist’s mind, in order to renew itself and develop new stores and focuses) as well as the compositions of empty memory cards (metaphors for forgetting), made through the physical act of destroying and erasing- traces of colorful and vivid memory cards which served in the process of remembering Fahrenheit 451, with images of backyards (again, particular loci) Eve was walking by on a daily basis while living in Bushwick quarter of Brooklyn, NY. In the exhibition, the original memory cards are also presented, as well as the copy of Fahrenheit 451- the artist’s companion since 2007 (purchased by the artist in Mauer Park Floh Markt in Berlin as the already used book) with numerous lines, notes and marks made in different colors by the artist (to facilitate the memorization). These layers upon layers of time and gestures are magnified and underscored in photographic close ups of the book’s used pages, onto which the artists furthermore added remarks and scripts in the gallery space. Throughout the gallery, one can also find staged assemblies Tremblay’s “clay plays”- ceramic pieces of organic shapes with photographs and figures imprinted on them. Ceramics has indeed been fascinating material for this artist in most recent months, because of the specific properties of a clay, which is, in Tremblay’s words, “material with good memory capacities”, but also because of the relation to the artist’s personal memories of her earliest engagement with art making in the studio of her father, an acclaimed ceramicist and sculptor. As an overview of the years- long project, the exhibition at MK Gallery also present documentation of previous exhibition iterations- in some of the images, there are performances of the artist in various exhibition spaces, memorizing or uttering the book lines in deep concentration, surrounded by curious visitors. 

    The multilayered EKTBF451/EKTFF45 : Notes and Confessions envelops an homage to the particular writer and generations of thinkers and readers influenced by his book. All of the displayed material traces referring to stirring, fabrication, preservation and failure of memories, as much as the memories’ potentials of reinvention and looking towards the future, interplay with the concern with the faculty of the medium of book, as much as reading and contemplation in today’s fast paced, inadvertent culture. 

    Eve K. Tremblay, born 1972 in Québec, studied French literature at the University of Montreal and Theater Studies at The Neighborhood Playhouse School of the Theater, New York. She graduated Photography at Concordia University in Montreal. In the past few years she exhibited at Le Musée National des Beaux-Arts du Québec, Le Musée d’Art Contemporain de Montreal, Kunstverein Wolfsburg, Musée d’art Contemporain du Val-de-Marne, Prague Biennale 5, Bergen Kunsthall, Lautom Contemporary in Oslo, Jack Shainman Gallery in New Yorku, Exit Art in New York, The Richard J. Massey Foundation for the Arts and Sciences in New York and Kunstraum Kreuzberg in Berlin.Her work was presented in many Canadian printed magazines, in German Kunstforum, New York Times and in international art magazine Art Forum.

    Exhibition is open till 24th of December.

    Exhibition is supported by: City of Zagreb and Ministry of Culture of Republic of Croatia, Occurrence, Centre d\\'art et d\\'essais contemporains à Montréal, Kelton Labs (NY/NJ), Eileen S Kaminsky Family Foundation,Canadian Embassy in Zagreb.

    The artist thanks to all the participants in the project over the years:  Anne-Laure Dubé, Mme Rosine de Saint- Michel Dunezat, Oscar & Amy Mendez. Amelia Saul, Jonathan Lutes, Setareh Shahbazi, Bertrand Lacombe, Geneviève Rousseau, Mai Hofstad Gunnes, Giovanni Frazetto, Gabriela Vainsencher/ Mickael King (Sound). 

    Support: Lucile de St-Michel Dunezat,Paul de St-Michel Dunezat & Véronique de St-Michel Dunezat, Pascal Grandmaison, Le conseil des arts et des lettres du Québec.

    Workshop U know what I mean, or do u

    A workshop exploring identity and understanding as phenomena that are rooted in language, performance and percpetion. During this workshop we will examine how understanding in language is based on agreement. As common language users we agree on meaning, making understanding not exactly verifibale, but rather sensibile, or something that we think we feel. Meaning becomes shared and common, no longer based on truth or propriety.

    The workshop will begin by looking at the work of philosophers such as Louis Althusser and Michel Foucault, departing from their groundbreaking thinking to follow more current work on idenficitcation from Judith Butler and Sara Ahmed. Ahmed’s idea about direction as queer phenomenology will provide a basis for examining shame, how the body’s sense perception changes according to context and expectation.

    Olivia Dunbar (b. 1988, Vancouver) graduated with an MFA from the Piet Zwart Institute and is currently based in Amsterdam where she is a resident at the Rijksakademie van beeldende kunsten. Her interest in language and identity provides the basis for works that move through different media, appearing as texts, sculptures, videos, performances and installations in order to produce dispositions and affective realities. Recent presentations include picture that yr on a cliff (but it’s in a dream) at Buenos Tiempos International, and RijksOpen 2014 at the Rijksakademie.

    Shame on you! is supported by: Kultura Nova, Ministry of culture and City of Zagreb

    Radiona.org: residential lab in G-MK

    Association for Development of ‘do-it-yourself’ Culture – Radiona.org / Zagreb Makerspace is being appointed as a residential lab as of 28 October, 2014  in Zagreb based gallery G-MK bringing intermedia arts to this internationally renowned gallery for contemporary art.

    Residential lab by G-MK and Radiona titled ‘Alternating current’ will take place in lab’s usual working hours, Tuesdays, 20h and Saturdays, 18h onwards within the following groups: Robotics and hacking, advanced audio section, Processing (interaction design), BIOsection, 3D printing, wearable technology and eTextiles, Balkan rocketry and flying objects, microcontrollers and hands-on electronics, DIY print and design, FPGA, advanced programming, DIY prosthetic, and a variety of educational programs specifically designed for beginners, kids, youth and seniors.

    The curatorial teams of G-MK and Radiona will also work on special programs which are connecting fields of contemporary art, intermedia and innovative technological practices.

    Radiona.org is currently conducting a research phase of the project Amplitude of Image and Sound supported by Kultura nova Foundation, and will soon go in public with their first DIY kit – open source synthesizer / theremin powered by the ATmega microcontroller which is jointly designed by artists, designers and technologists, and as a part of the research the lab will organize a workshop for the wider audience. In addition, Radiona.org is also in the middle of the lab’s yearly educational program with domestic and international master class workshops, and is taking preparations for the exhibition Sound Hybrids – Creative Sonology.

    After 4 years of work in the Student Center in Zagreb the lab continues its activities in collaboration with new partners, thus giving a new dimension to intersectoral collaboration between public and non-governmental institutions. In fact, a part of the program will also be made in cooperation with the Technical Museum and the Zagreb Centre for Independent Culture and Youth – Pogon, while the practical assistance is also provided by Domino, and Radiona.org would like to thank to all these institutions and individuals who have supported the organization, and to Culture of Change – the host of the lab from June 2011 to October 2014.

    Iva Cepanec Masters; Stagnation

    [stag-ney-shun n] the state or condition of stagnation, or having stopped, as by ceasing to run or flow:
    a foulness or staleness, as one emanating from a standing pool of water.
    a failure to develop, progress, or advance

    When a river develops one or more alternative channels, one channel is considered primary and is used as a navigational route, while other channels are called backwaters and are often shallow and in stagnation. In this case, the term backwater can be applied to the physical and social areas that have been isolated—systematically neglected in their cultural and economical development—in the process of shifting from the periphery to the margin. Although these places are stagnant, they posses a far greater richness and diversity of life than the main stream.

    Through displacement of these natural forms inside the gallery space, Stagnation allegorically interprets states of neglect and diversity, as well as the disconnect between individual formations. The disconnect of the margins and their gravitation towards the center, as well as the relation of the center towards the margins, disables them to achieve any true change, regardless of the individual potential they posses.

    Although the work reflects upon the dynamics of margin-center, and can be interchangeably applied to all levels of the hierarchy, the main focus of the work lies in the symbolic transposition of dominant versus independent culture.

    The work Sagnation, by Iva Cepanec Masters, has been realized through Call for production of new work and participation in the Miroslav Kraljevic Gallery, 2013. The goal of the project is to enable artistic research and provide support for young and emerging artists. 

    Iva Cepanec Masters is a sculptress and multimedia artist, born in 1984 in Bjelovar, Croatia. In 2009, she received her BFA in Sculpture and Extended Media, College of Visual and Performing Arts, University of South Florida, under the mentorship of Gregory Green and Rozalinda Borcila. In addition to receiving high honors (Magna Cum Laude and Dean Recognition), she was nominated for admission to the Yale School of Art. Upon returning to Zagreb, she designed and implemented the Interdisciplinary project Antibiotik, in collaboration with Nives Sertic´, and an artist-in-residence program Transfusion in collaboration with Alexander Masters. From 2009-2012 she was the head coordinator of Gallery Jogurt, an artist-run space, located in the abandoned medical factory Medika in Zagreb, used by numerous art collectives and individuals. She has exhibited domestically; Drava Art Biennale, Koprivnica, 2013; Gallery Jogurt, Zagreb, 2009-2012; Gallery SC, Zagreb, 2011; 7th Culture Fair Zagreb, 2011; Vizura Aperta, International Festival of Audio-visual Arts, Momiano, 2010; 50th Porec? Annale, Porec?, 2010, as well as internationally; Popps Packing, a three-month residency, Detroit, 2012; Cigar Factory, 2012, Tampa; Roosevelt gallery, State of the Arts Vol.2, Tampa, 2009; Nancy and Oliver Gallery, Tampa, 2009. Since 2009, she has also curated over 30 exhibits in Gallery Jogurt and has worked in collaboration with numerous cultural NGO’s and individuals. She works within the medium of installation, performance and socially engaged art. She lives and works in Zagreb.

    Joshua Goode;The lost city

    What is the history that we accept as exact science, and what do we perceive as fiction? How do we determine historical importance of people, places, and events? How is history written and interpreted? The society has given individuals the role of interpreters whose insights shape our views of the past, ultimately creating many alternative paths and contradictory views regarding our collective history.

    In the exhibition, The Lost City, American artist Joshua Goode will showcase the remnants of an underground city, a part of an imaginary ancient civilization. These ruins were found during an archeological research of multiple locations near the Miroslav Kraljević Gallery from March 11th to 14th. Posing as an archaeologist, Goode has publicly carried out an archaeological dig and discovered amazing lost treasures.

    During the excavation, the passersby have witnessed the discovery of objects of the lost city and contemplated the boundaries between reality and fiction.

    Joshua Goode will exhibit these found objects within the gallery space, temporarily transforming G-MK into a small archeological museum where reality and fiction become one.

    Joshua Goode was born in 1981 in Fort Worth, Texas. He received his BFA from SMU in Dallas, Texas and his MFA from Boston University in Boston, Massachusetts.  He has had solo exhibitions in international venues such as the Zendai Museum of Modern Art, Shanghai, China; Darb 1718 in Cairo, Egypt; LaSala Gallery in Zaragoza, Spain, and Shanghai University in Shanghai, China; in addition to group exhibitions at the Museum of the National Library in Madrid. Spain; National Library of Argentina, Buenos Aires, Argentina; Zentral Bibliothek, Zurich, Switzerland; University of Ulster, Belfast, Ireland; Westminster Library, Westminster, United Kingdom; MX Espai, Barcelona, Spain; and at Loyola University, Rome, Italy. Joshua has been a Visiting Artist or Guest Critic at Shanghai University, University of Massachusetts-Boston, Dartmouth College, Marist College, Rhode Island School of Design and Savannah College of Art and Design and was a researcher on an archaeological dig for the University of Tubingen at Vogelherd Cave in Germany.  He was awarded the Dozier Travel Grant from the Dallas Museum of Art and is currently the Chair of the Fine Arts Department at Tarrant County College in Fort Worth, Texas.

    Duncan Campbell; Bernadette

    Miroslav Kraljević Gallery presents three films by Duncan Campbell, one of the most renowned contemporary Irish artists, who is probably best known for his works in the medium of film. The exhibition will be followed by an artist talk, in which Campbell will share his interests and talk about his works and creative methods.  

    Exhibition will open on 10th of January 2014 at 8 pm.

    Through his films and installations, Duncan Campbell investigates how meaning and history are constructed and mediated. The artist’s work examines historical events and their interpretation, and tests the boundaries between the factual and fictive. The captivating power of Campbell’s films is derived from their specific collage structures and fragmentary narratives, unusual sound editing, montage of black and white and color footage, dazzling animated excerpts and quotes from the history of experimental film. The films re-contextualize the authentic archival film material by combining it with the newly shot scenes—re-enacted episodes filmed in 16mm by Campbell himself—and challenge the viewer to navigate through their open-ended fables.

    In Zagreb, the artist will present his acclaimed film Bernadette (2008, 37’). While giving a portrayal of Bernadette Devlin, the controversial Irish republican member of parliament and civil rights activist from the late 1960s, the film also captures wider political, social and cultural struggles, civil unrest and political leaders during Northern Ireland’s The Troubles era. However, rather than giving a simplified overview of the struggle between Republicans/the IRA and the British government and loyalists, or the common heroic presentation of Bernadette Devlin’s fiery character, Campbell focuses on how her charismatic persona was constructed through television news footage. Bernadette questions the notion of truth and objectivity usually claimed by the documentary form, by subverting its usual norms and structure.  The artist appropriates and re-edits the television archival material while adding the self-shot fragments. The original audio is accompanied by narration of contemplative kind - a script that combines parts from Devlin’s autobiography and the artist’s own writings, in which the first and third person interchange. 
    Željka Himbele

    Duncan Campbell was born in Dublin, Ireland, in 1972. He earned his BA at the University of Ulster, Belfast, and his MFA at Glasgow School of Art in Glasgow, Scotland. His work was presented internationally in solo exhibitions at Carnegie Museum of Art, Pittsburgh, 2012; Hotel, London, 2011; Artists Space, New York, 2010; Tramway, Glasgow, 2010; Kunstverein Munich, 2009; and BALTIC Centre for Contemporary Art, Gateshead, 2008. Campbell’s work had been included in a number of group exhibitions, among them: Manifesta 9, Genk, Belgium, 2012; British Art Show 7, Nottingham Contemporary, Nottingham and Hayward Gallery, London 2011; Asking Not Telling, Institute of Contemporary Art, Philadelphia, 2009/2010; Fight The Power, Museo Nacional Centro de Arte Reina Sofia, Madrid, 2009; You Have Not Been Honest, Museo D’Arte Donnaregina, Naples, 2007; Art Now, Tate Britain, London, 2006. The artist currently lives and works in Glasgow.

    Exhibition is supported by: the City of Zagreb and Ministry of Culture of Republic of Croatia

    Exhibition is open until 1st of February 2014.

    Duration of the film; 37 minutes

  • Between Worlds II

    artists: Nika Autor, Rena Rädle & Vladan Jeremić
    [BLOK]\\'s survey conducted among artists and curators between worlds
    curators: [BLOK] – Ivana Hanaček, Ana Kutleša, Vesna Vuković

    Nov 18 – Dec 7, 2013
    Monday, Nov 18, 2013
    19:00 exhibition opening
    19:30 discussion as part of the program Micropolitics 

    “A girl asks a monkey at the ZOO: Why do you live here? Isn’t it nicer where you come from?” This text opens Dušan Makavejev’s “Montenegro,” a film in which he shows the encounter of a wealthy American housewife, brought to Sweden by her businessman husband, with Yugoslav immigrants, who come to Sweden to look for work. The separation of the worlds, which leads the protagonist Montenegro (who gets a job at the ZOO) to his tragic end, is primarily class-based, but is also the product of a specific production of otherness, and his suicide is the final consequence of the clash between the imagined idea of the constructed “other” (the wild Balcan, attractive and intimidating at the same time) and his actual appearance – the man whose position is clearly determined by concrete economic and political processes, whose origins reveal nothing exotic, and whose workers’ nomadism contains nothing romantic.

    The exhibition Between Worlds II approaches the issue of migration in the contemporary economic and political moment from the position of the criticism of the production and use of images. In the video Postcards and the photo series Impressions: Landscapes/Paradise of Slovenia, the artist Nika Autor uses archival footage from Radio-Television Slovenia (RTV) in order to show “that the image by itself, determined by the mode of production (montage), implies the criminalization and victimization of asylum seekers, fugitives and migrants. (…) The mode of production establishes the optics of RTV’s gaze which reduces segregates, discriminates, excludes and constructs ‘the other’.”1  In the installation The Housing, the artists Rena Rädle and Vladan Jeremić present two specific cases of Roma deprivation, the Belgrade one and the Roman one, in order to put the so-called “Roma issue” in its right place, into class relations in the production of space. Through three videos they expose the image of Roma-nomads as a construct which conceals the fascistoid politics of cleansing the city of Roma, but they also relate such politics to the general tendency of “the market-oriented state to deny the lower class the right to the city,”2  offering different approaches to addressing the problem of migrant workers’ housing.

    Between Worlds II aims to draw attention to the issue of alleged mobility in the art field. Makavejev himself is in the position of the immigrant when he films “Montenegro” in Sweden, and the survey “How to suture a finger with a credit card and other stories” we include in the exhibition focuses on contemporary migrations of artists and cultural workers. Beyond the romanticized image of travelling artists and the supposed democratization of the art field, it represents a counter-image of the creative class as a reserve army of artists who, under the guise of the promise of the so-called global art, daily reproduce immigrant conditions.

    [BLOK] is a collective based in Zagreb that works in the interspace between art, urbanism and activism. Their projects are conceived and realized as platforms for the joint work of curators, artists, researchers, activists and all those interested in the issue of public space and the production of the common, as well as space for the production and reflection on artistic practices sensitive towards social circumstances and the conditions of production in which they arise.

    1 taken from the artist\\'s website: www.autor.si
    2 from the text accompanying the exhibition Self Made Urbanism Rome: http://www.smur.eu/productions/raedle-jeremic/

    Design of printed materials: Rafaela Dražić
    Translations: Tihana Bertek and Ksenija Zubković
    Technical support: Srđan Kovačević
    Exhibition is supported by: the City of Zagreb and Ministry of Culture of Republic of Croatia

  • SHAME OPEN CALL RESULTS: 1ST OF DECEMBER 2013

    Due to a large number of applications results for the open call SHAME / ARTIST IN RESIDENCE PROGRAM 2014/2015  will be announced on the 1st of December 2013. 

    Due to a large number of applications results for the open call SHAME / ARTIST IN RESIDENCE PROGRAM 2014/2015  will be announced on the 1st of December 2013.

    Núria Güell and Levi Orta; YOU AND WHOSE ARMY

    This project hopes to put into play different geopolitical situations with different relationships to the power apparatus through the work of Levy Orta (La Habana, 1984) and Nuria Güell (Barcelona, 1981), whose practice goes a step beyond allowing the visualization of the structures and strategies of exploitation and subjugation of the individual in the current state of things. Sometimes nonalignment is not enough, infiltration strategies are necessary to create room to maneuver. Whether it is in a communist or a capitalist context, the documentation of the actions of this artists opens an horizon of visibility of the abuses of power allowed by the established “legality” and the dominant morals but they are always the second stage of an active and subversive infiltration into the system.  Exhibition is open from October 17th  – November 9th, 2013 

    I am not sure where exactly I heard or read that neoliberalism had been the last effective revolution in history. It might have been in a conference of Franco Bifo Berardi in documenta 13 since it makes sense with the text he published for the occasion. In this text he develops an argument that the complexity of social life and flow of information has rendered acts of total transformation- a revolution-  impossible since there is no longer a single identifiable power to subvert. At the same time this saturation overflows our capacity for processing information pushing us to a state of automated decision making and shared behavior that longs for machines of complexity-reduction. Politicians and economist´ s goal becomes then the monopolization of the role of interpreters of this density in order to lead us to believe that we live in a state of symbiosis with the financial apparatus and that our lives must be aligned with its expectations of infinite growth. The premise is that life and capitalism are so intertwined that the end of capitalism would be in fact the end of the world. For Bifo it is foremost a question of form, money is the form, the format of common perception that acts as an automated machine embedded in the body and in the mind of society. Form as the regulator and selector of the process of becoming.1   In order to question the financial dictatorship or whatever form is being imposed, the first step is to acknowledge that society is autonomous of the form and that a new form is not only possible but necessary. 

    In these political games of perception the resistance must start as well at a perception level which makes art a privileged strategic front. Artists can also play the role of interpreters and work in a performative mode, as an act of language that has the power to produce a different relation between the participants of the communication and therefore a different  landscape for  social action, not to produce a  mechanical effect but to induce  unexpected  waves  that allow the potentialities of a system to emerge.

    This project hopes to put into play different geopolitical situations with different relationships to the power apparatus through the work of Levy Orta (La Habana, 1984) and Nuria Güell (Barcelona, 1981), whose practice goes a step beyond allowing the visualization of the structures and strategies of exploitation and subjugation of the individual in the current state of things. Sometimes nonalignment is not enough, infiltration strategies are necessary to create room to maneuver. Whether it is in a communist or a capitalist context, the documentation of the actions of this artists provide an inside viewpoint of the abuses of power allowed by the established “legality” and the dominant morals but they are always the second stage of an active and subversive infiltration into the system. The spectrum of acts of resistance in different geopolitical contexts meet in the horizon of dissidence. Understanding dissidence, as the yearning that fuels the question: how not to be governed that way? not in the name of those principles nor through the means of those procedures. Not in that way, not for that or for them.2 

    The two levels are equally important, Güell creates what she calls displaced legal  applications in which  for example she inverts the profiting logic of the banks into themselves and creates  a manual to expropiate money from them, with specific strategies on how to commit fraud to the bank without being caught.  So the work exists as an installation but  also as a  manual that is actually published and distributed in libraries inserting itself  into reality . The logic of debt lies at the center of the subjugation and empoverishment of social life.  But again is debt a methaphysical inescapable necessity or is it just an act of language as a promise? Güell ´s displaced legal applications reminds us not only that promises can be broken but that sometimes if produced under a cohersive situation of mathematical slavery, they should be. 

    The level of personal investment and commitment  is essential in Orta  and Güell ´s  practice , some of this actions create a situation in which they are playing in the limit of legality at their own risk. Orta contacts an ex -cultural spy of the cuban regime who tips him of an active officer who presents himself as a curator  and creates a specific subversive work in order to follow the bureaucratic path of censorship in Cuba. As a counterpart he finds a flaw in the closed censorship system in a children´ s tv show where you can send drawings and they are shown as part of the program, he uses this gap in the system to infiltrate key censured topics illustrated as children´s drawings which are actually shown on national TV.

    The political genealogy of the term intervention is directly related to the evolution of State power tactics, a State that namely intervenes instead of ruling. This exhibition reflects on artistic practices based on intervention as a method but as one that has evolved mirroring the practices of administration of state power, from direct confrontation to more subtle and undercover operations. Fieldworks or undercover actions that involve certain personal risk for the artists but that follow the rules of the game in order not to be read or discovered as transgressions, not until a second reading occurs in the formalization of the art piece as a document within the jurisdiction of the exhibition space.  Far from weakening their work, it is precisely in the action of covering their backs through the same legal and control strategies of the system they pretend to transgress that the artworks prove to be more revealing.
    Alejandra Labastida

     1 Bifo-Franco Berardi i Alessandro Sarti, RUN Morphogenesis, documenta und Museum friedericianum, Kassel, 2012. 

    2 Butler, Judith. ¿ Que es la crítica Un ensayo sobre la virtud de Foucault?, http://eipcp.net/transversal/0806/butler

    Exhibition is supported by: the City of Zagreb and Ministry of Culture of Republic of Croatia
    General sponsor: INA - Industrija nafte, d.d.
    Works on the exhibition: courtesy of ADN Galeria

  • Collaboration LMU ALU - The Last One We Had Recently

    Exhibition "The Last One We Had Recently" is a result of the collaboration of the Academy of Fine Arts Zagreb and London Metropolitan University.

    Exhibition opening: 9th of May 2013

    Exploring a space, we have created photographs focusing on light, reflections and the space as a theatrical scene. Found objects at the space – mirrors, have been moved and installed in the gallery to represents the history of the space, our encounter with the space and its new reflection of time inside the gallery. A video is projected onto the mirrors proposing a stage of the space for the viewer. through translation we create miscommunication – through miscommunication we create mistakes – through mistakes we create Free overlapping natural video maps Kraljevič nerves tree became mind extention body skin interaction object water water sound water way dialogue water water water conection Zagreb The witness of the space is the exposed, the void is witnessed with the exposed. The observer can just look. It started when I came to London. Will took me for a walk from Whitechapel to Camberwel,  as we walked we passed by the heygate estate, a series of visual notes incoured. When I came to Zagreb Bojan took me to a number of sites assosiated with recent gentrification in the east of the city, and when we came to the gallery, we just decided to do site/time specific visual mapping of the space. communication without communication The entities that possibly reference a translation of the notion of communication. When we speak we limit our worlds.

    Francesco Benenato   Hrvoslava Brkušić   Lucija Bužančić   Min Cawthorne   Raquel Chinchetru   Vitar Drinković   Luana Lojić   Bojan Mucko   Will Peck   Michael Robertson   Simone Steenberg Darius Verbickas   Damir ®ižić

    Exhibition is supported by: City of Zagreb, Ministry of Culture of the Republic of Croatia, Academy of Fine Arts Zagreb, London Metropolitan University, Erasmus

    Patricia Esquivias: Folklore

    Patricia Esquivias’s exhibition “Folklore” at the Gallery Miroslav Kraljevic features for the first time all four works from the series in a single gallery space. Her works thematize the history of Spain, its culture and image. Folklore video installations deal with the events of historical significance and parallel stories which are stored in the collective, “folk” memory. Using a modest aesthetics and unrehearsed speech to narrate the stories, Patricia Esquivias weaves together unrelated facts, presenting the making of history as a democratic, continuous, permeable and participatory activity. We watch the lecture through the subjective frame of the artist-narrator.

    Exhibition opening: 5th of March, 7 pm. Exhibition is open until 6th of April.

     In the video entitled Folklore #1, the author continually comes back to two different topics. Starting from the thirty-six-year dictatorship in Spain, she enters the personal orbit of Franco’s protégé Jesús Gil, who abuses his position of minor power, amasses a small fortune and buys a soccer team, and then dies after having bet he can eat twenty fried eggs at once. The second narrative follows the rise and fall of the events related to rave music in Valencia, which began several years after Franco’s death in 1975. Folklore #1 is an attempt to explain the baroqueness of Spanish people in the context of 20th century history to the foreigners.

    Folklore #2 points to the similarities between Philip II of Spain (1527-1598) and Julio Iglesias and the global empires then and now. Once again mixing the historical facts about the reign of Philip II and tabloid gossip about Iglesias and his private life, the author takes us on an educational journey from Spain as a colonial empire, through Franco’s dark and isolated Spain, to today’s sunny, mass tourism Spain.

    Folklore #3 returns to an initial theory that the author was not able to confirm and is therefore structured like a poem, a kind of digression that perseveres. The artist connects two places; Galicia in Spain and New Galicia in Mexico, searching for their connections and differences, she places them in historical context and intertwines them with her own impressions and experiences.

    Folklore #4 will be presented with two videos. First one was originally made for a show at the Reina Sofía Museum, and another one was recorded three years later as a documentation of a lecture. The second film brings forward the problems of the first version and attempts to solve them. In this way it is similar to Folklore #3 as it is a process of reassessing her own work. In it, the author discusses the consequences of modernization in Spain in correlation with the local political and social changes. She builds this work based on a personal story, more precisely, her father’s innocent commentary that is than taken on to a national level and put in the context of Spanish history in 20th century.

    Folklore as folk knowledge encompasses traditional culture made by the people/folk ‘from below’ and in that sense folklore stands in direct correlation with institutionally legitimated official knowledge. The works of Patricia Esquivias speak the language of folklore just like oral tradition which is realized through narration as the central form represented in all of her works. She addresses us, her voice, speech and gestures situate us in the here and now as if mimicking the moment of the oral transfer of knowledge. These narratives are an alternative view on the facts and events from Spanish history. The author rearranges historical facts by conducting her own investigation which reveals an absurd link between certain facts, thus providing a new insight into historical events, places and lives of public figures. Folklore as knowledge is a construct that is simultaneously created and exposed through her narratives.

    Patricia Esquivias was born in 1979 in Caracas, Venezuela, and grew up in Madrid, Spain. She studied in London and San Francisco. Since 2005 her video works have been shown in Madrid (Galería Maisterravalbuena), Germany (Frankfurter Kunstverein, 5th Berlin Biennale), New York (White Columns, Murray Guy), Italy (Arcos Museum, Artissima), Amsterdam (Stedelijk Museum Bureau) and England (East International, Royal College of Art). She has won the Present Future Award and East International Award in 2007, Midway Contemporary Art in Minneapolis and Museo Nacional Reina Sofia in Madrid.

    Exhibition supported by: the City of Zagreb, Ministry of Culture of the Republic of Croatia and Embassy of the Kingdom of Spain in Zagreb.

  • Nicoline van Harskamp: Yours in solidarity

    Galerija Miroslav Kraljević, in collaboration with the Institute for Duration, Location, and Variables (DeLVe), invites you to the opening of the exhibition Yours in solidarity by Nicoline van Harskamp. The opening will take place on Thursday, December 20, at 8 pm.

     20 December 2012 – 26 January 2013

    Nicoline van Harskamp: Yours in solidarity
    in collaboration with
    DeLVe | Institute for Duration, Location, and Variables

    Yours in Solidarity addresses the history and future of anarchism and revolves around the letter archive of the Dutch anarchist Karl Max Kreuger (1946-1999), now housed in the International Institute for Social History in Amsterdam. Kreuger maintained extensive correspondence with about  400 fellow anarchists world wide. Through the study of the letters he exchanged with 60 of them –- an investigation of their respective private and political observations and handwriting analyses –- and with the help of actors of the relevant age and nationality, van Harskamp constructs their life stories starting from the last date of writing. In a fully staged meeting of correspondents, she suggests what would happen if they were to meet today. The resulting work brings together van Harskamp’s notes and quotations from over 1000 letters - video documentation of the individual working sessions with actors - and a video of the meeting. 

    The work of Nicoline van Harskamp (Netherlands, 1975) addresses the function and power of the spoken word, and its ability to influence perception and shape thought, both of which are instrumental to politics. Her most recent and ongoing project Yours in Solidarity, addressing the contemporary history of anarchism through a correspondence archive, was presented in different stages of completion at D+T Project in Brussels, Hillary Crisp Gallery in London, the MUAC in Mexico City, the Frankfurter Kunstverein and Manifesta 9 in Genk, Shanghai Biennale, the Steirischer Herbst in Graz and Extra City in Antwerp. 

    Recent presentations of other works include the Newtopia Biennial in Mechelen, Performa 11 in New York and the Kadist Foundation in Paris, the SMBA in Amsterdam and the Van Abbemuseum in Eindhoven.

    Nicoline van Harskamp has staged her live pieces at Witte de With in Rotterdam, the New Museum in New York, the Stedelijk Museum in Amsterdam, the Serralves Foundation in Porto and the Kaaitheater in Brussels. She was a resident artist at, among others, Platform Garanti in Istanbul, the Rijksakademie in Amsterdam and IASPIS in Sweden. In 2009 she won the Dutch Prix de Rome. Nicoline van Harskamp lives and works in Amsterdam, where she is a head tutor at the Sandberg Fine Arts Institute.
    www.vanharskamp.net

  • Grupa Spomenik: Yugoslavia Studies

    Galerija Miroslav Kraljević, in collaboration with the Institute for Duration, Location, and Variables (DeLVe), invites you to the opening of Grupa Spomenik: Yugoslavia Studies, the exhibition-book by Grupa Spomenik/Monument Group. The opening will take place on Monday, November 19, at 8 pm, accompanied by the conversation with three group members: Milica Tomic, Jelena Petrovic, and Branimir Stojanovic.

    19 November – 15 December 2012
    Grupa Spomenik: Yugoslavia Studies
     Grupa Spomenik/Monument Group
    (Damir Arsenijević, Ana Bezić, Jasmina Husanović, Pavle Levi, Jelena Petrović, Branimir Stojanović, Milica Tomić)
     in collaboration with:
     DeLVe | Institute for Duration, Location, and Variables

    The exhibition is the first substantial presentation in Zagreb of the work of Grupa Spomenik, imagined not as a retrospective, but rather as an open – and through the form of exhibition, spatialized and collectivized – process of editing and working on the production of the Group's book, initiated earlier in June last year, through a collaboration with Andrew Herscher. The exhibition also marks the continuation of collaboration between DeLVe Institute and Grupa Spomenik, initiated in the framework of the project WEIYTH: Where Everything is Yet to Happen: Exposures, Spaport, Banja Luka, 2010.
     
    Exposures was a temporary critical and artistic regional platform which (re)activated the questions pertaining to the devastating social, economic, and political repercussions of the violent break-up of Yugoslavia, underlining one of the initial premises of Grupa Spomenik: that we can not talk about the present in terms of a post-war state. On the contrary, what we have is a war continuing by other means, whose reality we live on the ideological, political, cultural, economical, and material level.
     
    Grupa Spomenik is an artistic and theoretical group formed around the problem of the impossibility of constructing and naming monuments of the war(s) of the 1990s in Yugoslavia. During the last ten years, Grupa Spomenik has initiated reading and discussion groups, staged lecture-performances, and engaged in a process of self-education through encounters and discussions with victims, perpetrators, and witnesses of the extreme terror, genocide, and ethnical cleansing in the wars of the 1990s in Yugoslavia. It has initiated a process which situates all actors in the midst of a rift which disables and dismisses the attitude of moral superiority or the evasion of responsibility. The main position of Grupa Spomenik is that memorization is an act of assuming a political position in the present, because no act of memory is devoid of political subjectivization.
     
    The exhibition will take the form of a working archive for a book in the making, reflecting on the three phases in the work of Grupa Spomenik: Prologue: Social Trigger, Matheme, and What is the name of war today?. These three phases will be connected, read, and edited in the process of the book creation, based on the following paradigms: collectivization, production, public interface, interpellation, and alienation. Grupa Spomenik is thus formed through the intersecting points which are at the same time the points of contestation, differences, and conflicts revolving around Yugoslavia as a social and political signifier. The overlapping and connecting points, however, allow us to think the concept of Yugoslavia Studies, as a place of political subjectivization in the process of producing and activating the knowledges about war.
     
    The exhibition connects art, theory, and politics within a realtional signifier of the book, activating the social and political field of subjugated knowledges, problematizing the arbitrary interpretations of war, the ideology of reconciliation, and, finally, bringing the ‘local’ war and the current local and global economic crisis in a relation that is otherwise ignored or denied.
     
    The basic question to be posed in the framework of two public discussions with the Center for Labour Studies, Zagreb and with the protagonists of the contemporary art scene in Zagreb is the following: Why is the topic of war absent in a significant part of intellectual and artistic public sphere in Zagreb? The aim of the exhibition Grupa Spomenik: Yugoslavia Studies is therefore twofold: to show the archive of the ten-year long work of the Group as a unique artistic, intellectual, and activist practice and to open two discussions on the topic war: in the field of visual arts, and the field of new political initiatives. In this sense, the exhibition seeks to animate the reflection of these topics from the perspective of past or existing projects and initiatives in the local context, and, not less importantly, for activating new ones.

    Programme is supported by: Ministry of Culture of the Republic of Croatia, City of Zagreb.

  • A Proposal for the Monument to the New (Inter)Nationalism

    Fokus grupa: nature, nation and the economy of love

    The smallest, most basic unit of the installation by Fokus grupa (art and life partners Iva Kovač and Elvis Krstulović) at the Gallery Miroslav Kraljević, which provides the common title to the entire exhibition, is the sculpture “A Proposal for the Monument to the New (Inter)Nationalism” – a faithful replica of an oak twig: a powerful tree that is at once a symbol of the numerous and diverse Indo-European identities, but also a historically marked economic resource and, historically, in some cases, a stronghold of national or regional economies.

    Fokus grupa: nature, nation and the economy of love

    The smallest, most basic unit of the installation by Fokus grupa (art and life partners Iva Kovač and Elvis Krstulović) at the Gallery Miroslav Kraljević, which provides the common title to the entire exhibition, is the sculpture “A Proposal for the Monument to the New (Inter)Nationalism” – a faithful replica of an oak twig: a powerful tree that is at once a symbol of the numerous and diverse Indo-European identities, but also a historically marked economic resource and, historically, in some cases, a stronghold of national or regional economies.

    Like its animal kingdom counterpart, the eagle, the oak is featured in numerous national emblems, and their strong mythological foothold among, for example, the Slavic nations, lies in the fact that both symbols allude to the supreme deity called Perun, an archetypal figure of patriarchal power. Similar attributes are ascribed to the Greek Zeus, “the father of gods and men,” as well as to his Roman counterpart, Jupiter, and these ancient pagan deities are replaced in the Christian version by the Old Testament saint Elias or the celestial warrior Saint Michael. In times of national revivals and awakenings as well as the creation of nation-states or at least mythologies on European soil, the pagan heritage and its atavisms are used as a foundation to the youthful nationalism, more often than not with a visual backdrop of the newfound beauty of the untouched, virgin and sometimes wild and cruel nature. But the frail twig appears in the exhibition as an emblem of resources, that is, the utilitarian application of symbols, functioning as a reminder of the former economic importance.

    Seen symbolically, the frail twig, made out of polyester, is a tree substitute dedicated to the divine father, whose sanctuaries were often located on mountain tops or at least hills. A more contemporary version of such an altar is the Altar of the Homeland by Kuzma Kovačić, erected in 1994 during the questionable restoration and reconstruction of the medieval fortress which had roused the popular and literary imagination at the time of late Romanticism. Combining the location of the pagan sanctuary dedicated to an altitude deity with the aggressive royalist tradition of the Altar of the Homeland,[1] a monument was designed that stands apart from the formal lines of late minimalism thanks to a few descriptive details which locate it in a specific historical context. In the gallery appropriation of the purified altar form, Iva Kovač and Elvis Krstulović use a far more perishable and modest material than precious stone, utilizing recycled discarded chipboard furniture for creating the sculpture “Behavioral Furniture.” Kovačić’s altar’s neutral cubes recreated by Fokus grupa direct the motion through the Gallery Miroslav Kraljević, in a way almost becoming gallery furniture, a sculpture that not only can be touched but sat on, reduced to its basic form and some fundamental utilitarian uses, like sitting on it while watching the film projection.

    According to the authors, the starting point of the film There Aren’t Words for What We Do or How We Feel so We Have to Make Them Up and of the entire project presented at the Gallery is their foray into nature which had begun precisely at Medvedgrad. Their trips to Medvednica were not escapist protests like the work Hallelujah the hills by the group Weekend art (Tomislav Gotovac, Ivana Keser Battista, Aleksandar Battista Ilić), but a pilgrimage to the place that has in recent media reveilles become one of the new iconic images that affirm the identity of the inhabitants of “Our Beautiful.” The authors’ forays have resulted from them, followed by a professional camera through national parks with the intention of being openly exposed to the celebrated landscape. Giving up the safety of the ironic tradition and distance, Fokus grupa embarks on a quest for the “genuine national identity” in a landscape devoid of immediate markers of civilization and historical sediment, even in the form of ruins so dear to Romanticism.

    The film There Aren’t Words for What We Do or How We Feel so We Have to Make Them Up opens with an allusion to an anecdote that affirms the myth of “the most beautiful county in the world” – Alfred Hitchcock’s famous admiration for the sunset on the shores of Zadar, but the filmic quest for Arcadia and the authentic emotions it awakens becomes a meditation on the failed attempt to construct the image and vision that would directly, nonverbally, mediate concepts such as origin, unity, purity, timelessness. Language, another stronghold of national identity, is performed in the film by a male speaker, in international English seasoned with a Slavic accent.

    Embarking on a trip outside the secure city street raster as well as beyond their usual media of artistic work, Iva Kovač and Elvis Krstulović commence their search for the “real places” that lie outside the media-mediated instruments of national self-identification and pay visits to all the more or less present mythical topoi, like the Velebit’s Holy Hill. Their characters are not recorded on camera, they are inscribed in the editing process, integrated only by the seemingly neutral suggestive baritone who confesses the search in the first person. The work’s procedural aspect, indicated only by the confessional form of the text, can be glimpsed through the dramaturgy of attempting and giving up which the spoken testimony is based on.

    International English, but in written form, appears in the recently published art book “Perfect Lovers” (2002 – 2012). The very choice of language distances itself from the form of the private, and the confessional character of the real stories is blurred by the shifts and overlaps of the protagonists’ identities. The text, short love croquis, are followed by the authors’ private photographs, thus physically exposing their intimacy, hidden behind words in the language performance and displaced narration. The confession thereby takes refuge in the secure domain of sexual fantasy, and the documentary in fiction. The couple’s photographic exposure takes place with separate protagonists, in moments of relaxation and outside any roles, revealing them only in their physical presence. The internationalism introduced by the oak twig, a symbol of identity and the ancient basis of economy but also of the space created by man, is conveyed through a public display of confessions and intimate stories. Love is derived from the acceptance of the world through the division of difference, and that is the beginning of the universalist potential of each of these personal, intimate stories, as Alain Badiou would say in his book In Praise of Love.[2] But while discussing the comparison of love and politics, Badiou also touches on the subject of internationalism, this time through the somewhat anachronistic notion of “fraternity.” “There are two political, or philosophical-political, notions one can compare at a purely formal level to the dialectics present within love. Firstly, the word “communism” encompasses this idea that the collectivity is capable of integrating all extrapolitical differences... But what on earth is “fraternity”? No doubt it is related to the issue of differences, of their friendly co-presence within the political process, the essential boundary being the confrontation with the enemy. And that is a notion that can be covered by internationalism, because if the collective can really take equality on board, that means it can also integrate the most extensive divergences and greatly limit the power of identity.”[3]

    “National landscapes use their nature, in whichimageand reality are intertwined, in order to naturalize the nation’s legitimacy. Like the altar, the image of the national landscape summarizes their complexity into visual clarity,” writes Paul Wilson in his text “Banality and critique: Contemporary photography and Finnish national landscape.”[4] Contemporary Finnish photography and the famous Helsinki School, which Wilson discusses in his essay, are often cited as an example of the coupling of art and nationalism which seeks to internalize the representation of nature into something called the national space and, consequently, through the process of self-legitimization, the national imaginary. As an opposition to such instrumentalization Wilson cites the aesthetics of banality, used by some artists to rebel against that kind of identification. In the case of the work of Iva Kovač and Elvis Krstulović, that is, Fokus grupa, it is precisely love speech, but also the risk of love, through the prism of emphatic emotion which they are unreservedly given over to, that is the origin of the liberation of language, of landscape, and finally the very medium of the safe cradle of national culture.
    Jasna Jakšić

    [1]Altar of the Homeland (Altare della Patria) was erected in Rome as a national monument to Victor Emmanuel III in 1885. The monument sparked some controversy, primarily due to its aggressive dominance in the historical center of Rome and the destruction of a medieval neighborhood on the Capitoline Hill.

    [2] Alain Badiou, Nicholas Truong. Pohvala ljubavi (In Praise of Love), Zagreb, Drugi smjer, 2011, str. 41.

    [3] Ibid., 60.

    [4]Minna Henriksson and Sezgin Boynik (eds.). Contemporary art and nationalism: critical reader. Priština: Institute for contemporary art “EXIT”, 2007, 154-175.

    Workshops in the framework of the project re.act.feminism 2 - a performing archive at Galerija Miroslav Kraljević

    All interested in the history, theory and practice of performance are invited to join the research-production workshops led by Suzana Marjanić in the framework of the project re.act.feminism #2_a performing archive that will be presented in Galerija Miroslav Kraljević from May 5-26 2012. The first workshop, “Zoo-scene and eat art — the performing, exhibitionary and acting animal” will take place on Friday, May 4, 5-8 pm, and the second, “Performative music: from bruitism to local examples of lesionism — a collage”, on Friday, May 11, 5-7 pm. The introductory lectures and discussions are based on analysis of selected examples from the re.act.feminism archive (http://www.reactfeminism.org/), as well as the analysis and contextualization of examples from the local context, with the aim of contributing to the historicizing and theorizing of performance in Croatia and the region.

    All interested in the history, theory and practice of performance are invited to join the research-production workshops led by Suzana Marjanić in the framework of the project re.act.feminism #2:
     “Zoo-scene and eat art — the performing, exhibitionary and acting animal”
  
    Friday, 04 May 2012: 5.00-8.00 pm
    “Performative music: from bruitism to local examples of lesionism — a collage”
  
    Friday, 11 May 2012: 5.00-8.00 pm
    re.act.feminism #2_a performing archive is a continually expanding, temporary and living performance archive travelling through six European countries from 2011 to 2013, presented on its own or within various exhibition formats and accompanying performances, lectures and workshops. It includes feeminist, gender-critical and queer performative works by artists and artistic collectives since the 1960s until today, presented through photographic, textual and video documentation.

    In the framework of the presentation of the archive from May 5-26 in Galerija Miroslav Kraljevic, Zagreb, two workshops led by Suzana Marjanic are organized. The first workshop, “Zoo-scene and eat art — the performing, exhibitionary and acting animal” will take place on Friday, May 4, 5-8 pm, and the second, “Performative music: from bruitism to local examples of lesionism — a collage”, on Friday, May 11, 5-7 pm. The introductory lectures and discussions are based on analysis of selected examples from the re.act.feminism archive (http://www.reactfeminism.org/), as well as the analysis and contextualization of examples from the local context, with the aim of contributing to the historicizing and theorizing of performance in Croatia and the region. Depending on the interests and desires of participants, the workshops will also involve collaborative work on compiling a “performative textbook”, as a toolbox for further research into the discussed topics, and collaborative work on creating a sound and/or music performance.

    The workshops are open to everyone, on the condition that they confirm their interest and participation by email (info@g-mk.hr), to which any further questions should also be addressed. Detailed information on the workshops are attached below.

    The curators of the project re.act.feminism are Bettina Knaup and Beatrice E. Stammer. The main organizer is the Berlin based organization cross links e.V., dedicated to research and promotion of experimental, gender-critical artistic and cultural practices. Galerija Miroslav Kraljević, one of the seven project partners, is the organizer of the project’s presentation and program in Zagreb.

    Milan Stepanovich_Firday, April 27, 2012

    Join us for a one evening presentation of the yearly student project connecting the London Metropolitan University and the Academy of Visual Arts, Zagreb. This year the participants are Maria Andreou, Jenny Campbell, Alenka Cindrić, Roko Crnić, Katerina Duda, Siobhan Heathcote, Leona Kadijević, Jake Laffoley, Stella Leboš, Lucija Mrzljak, Iona Roisin, Patricija Stepanovič, Vika Verb. Mentors and project coordinators are Ben Cain i Nicole Hewitt.

    MAGNUS BARTAS and LARS HENRIK STAHL: Bogey (The Hospital)_Exhibition opening and discussion with the artists: SATURDAY, March 3, 2012 at 7pm

    G-MK presents the new project by the Swedish artists and architects Magnus Bartas and Lars Henrik Stahl. The project is the result of a several months of research focusing on the usage of public space in the city of Zagreb and is based on questioning the relations between the public and private sector and their role in reshaping the urban landscape in the Croatian transitional economy.

    In the video installation "Bogey", Bärtås and Ståhl develop parallel narratives revolving around the two neighboring areas in Blato, one of the Zagreb suburbs: the never completed building of the University hospital from the 1980s and the newly developed Golf & Country Club Zagreb. The presence of the huge building of the hospital next to the exclusive golf club points towards the dramatic changes and shifts in recent Yugoslavian and Croatian history.

    The artists depart from the location of the hospital by repetitive reading of the text addressing the story of its history and its present. The last remaining guard keeps patrolling the hospital unable to prevent the continuous robbery of the building that gradually becomes stripped of all of its functioning parts and valuable metal. The gigantic skeleton of the hospital has kept resisting the influence of the weather but the nature is now invading its rooms and roofs.

    And while the public hospital has been deteriorating, the private golf club has been expanding. By the 2010 court settlement, the owners of the golf club were ordered to pay 4,5 million Kunas as a compensation for the illegal digging along the Sava River, close to their premises. By that point they have excavated 300 000 cubic meters of sand and gravel, which probably caused the contamination of the groundwaters of Sava.

    The reading at the hospital along with the many sounds from the building and its surrounding, form a common sound track for the two films and their two realities. The routine walk of the guard through the hospital building exposes the marks of thieves, squatters and graffiti artists, and enfolds in parallel with the movements of the golf cars of the neighboring gated community.

    Magnus Bärtås is an artist, writer and professor of fine art at Konstfack in Stockholm. In his works he has been focusing on biographies, storytelling and architecture. His works is currently on view at Apex art in New York and he is developing new works for the Gwangju Biennale in South Korea, Tensta Konsthall (Stockholm) and the Art museum of Uppsala (Sweden).

    Lars-Henrik Ståhl is an architect, artist and professor in Theoretical and Applied Aesthetics, Lund University. He has been the leader of arts-based research project such as Los Angeles Islands- American architectural influences in a Swedish region, and recently, Placebo-replacement strategies in hospital architecture (Zagreb project being part of it). Ståhl is also the director of ResArc, Swedish research school in Architecture.

    Supported by: Ministry of Culture, Republic of Croatia, City of Zagreb – Office for Culture

    The artists\\' research has been made possible through the collaboration with theMuseum of Contamporary Art Zagreb.

    Galerija Miroslav Kraljević
    Subićeva 29, Zagreb
    www.g-mk.hr
     + 385 1 45 92 696
    Opened:
    Tue – Fri 12 – 19, Sat 11- 13

    Removed from the Crowd: Unexpected Encounters II_Comparative Conceptualisms: Research Methodologies and Interpretations_seminar and book launch

    Join us for the second seminar in the framework of the on-going research and publishing project \\'Removed From the Crowd\\' developed by the Institute for Duration, Location and Variables (DeLVe). Participants in the seminarare Klara Kemp-Welch (editor), Luiza Nader and Sarah Wilson. After the seminar we invite you for the book launch of Removed From the Crowd: Unexpected Encounters I, edited by Ivana Bago and Antonia Majača in coll. with Vesna Vuković.

    Removed From the Crowd is an on-going research and publishing project developed by Ivana Bago and Antonia Majača at the Institute for Duration, Location and Variables (DeLVe) that had its differently shaped presentations in Belgrade, Ljubljana and Prague.

    Based on the initial reading of selected phenomena and concepts that informed the artistic, curatorial and intellectual practices in Yugoslavia during the 1960s and the 1970s, the project opens itself to an open process of reshifting and reshaping its scope and methodology, introducing new elements and fragments with each new iteration.

    The project’s main preoccupations, revolving around the ideas of temporary communities, delayed audience, exodus, and Dionysian socialism, are offered as entry points for new chapters and ‘unexpected encounters’; testing their resonance in different geographies, through new collaborations and research contributions.

    The series of seminars Removed from the Crowd: Unexpected Encounters gathers research contributions relating to artistic and intellectual practices of the 1960s and 1970s by bringing together a variety of recent research methodologies referring to different socio-political contexts, particularly exploring ‘peripheral’ geographies. The aim is not to merely \\'fill in\\' the existing art historical narratives with what has been left out, rather the seminar series attempts to work towards an intervention into the very order of discourses that shape the dominant histories of contemporary art.

    Unexpected Encounters I seminar held in 2010 presented several on-going researches featuring practices that were themselves in search of new methodologies, exploring the interstices between the collective and individual, private and public, action and escapism, art and non-art, artist and curator, nature and urban space, the visible and the invisible.

    The upcoming seminar Unexpected Encounters II edited by Klara Kemp-Welch brings together a selection of comparative methodologies for approaching international Conceptualism: mobilising affect theory to understand Hungarian and Polish artists’ responses to the Warsaw Pact Troops’ invasion of Czechoslovakia in 1968; bringing to bear parallel materials to challenge Moscow Conceptualism’s exclusivity and myths of origins; ‘reassembling the social’ in East European art in the decades preceding 1989.

    This open seminar is imagined as a meeting point of researchers, research notes and material, inviting the seminar contributors and the audience to participate in open reflection on and questioning of methodologies.

    Davor Sanvincenti_Invisible landscapes / Part I:Earth_OCT 30, 7 PM: Discussion between the artist and the curator Ana Kutlesa, OCT 31, 12-20: sound installation

    Invisible landscapes / Part I:Earth is an 8 hours sound installation/composition, a part of a larger project La cour du domaine. The piece investigates the fields of phonography and the phenomenon of ecological perception. The composition consists of sequences of field recordings done on several natural sites over three continents. The linearity of the composition (involving no loops) invites one to be present in the meditation of time, to create a space for inner vision.(Davor Sanvincenti)

    Asier Mendizabal: Prizemljeno, September 19 - October 18, 2011

    Asier Mendizabal\\'s works presented at the exhibition ‘Prizemljeno’ at Galerija Miroslav Kraljevic, focus on the historical relations between form and ideology; primarily through analyzing the meanings of abstract utopian universalism and its historical reception. Through different media (sculpture, text, photography and collage), Mendizabal is looking into popular and artistic practices and the configurations surrounding the relations between politics and art in public sculptures, mainly in the politically complex territory of the Basque country.

    Asier Mendizabal’s works presented at the exhibition ‘Prizemljeno’ at Galerija Miroslav Kraljevic focus on the historical relations between form and ideology, primarily through analyzing the meanings of abstract utopian universalism and its historical reception. Through different media (sculpture, text, photography and collage), Mendizabal is looking into popular and artistic practices and the configurations surrounding the relations between politics and art in public sculptures, particularly in the politically complex territory of the Basque country.

    The exhibition at G-MK points to the mechanisms between abstract modernism and ideology and the ways in which the narratives around it are reshaped through the historical and political transformations; becoming, through rehabilitation, a constitutive element in the new political narratives or being erased from the public discourse. Numerous elements of Mendizabal’s practice correspond strongly with the history of Croatian/Yugoslav affirmation of the progressive high modernism, its universalism and the issues surrounding its ideological neutrality, as with the amnesia and suppression in instituting new paradigms in the nation state building in the 1990s. The dynamics between the works in the exhibition and the local context in which they are on this occasion presented, point to rethinking the subversive potential of abstract modernism and the complexities of the relations between art and politics outside the Western, master paradigm. The specific context of the Basque modernism inherently evokes the question to which extent its abstract universality contained also a hidden, mythical identitarian idiom.

    Otxarkoaga (M-L) deals with the destiny of the busts of Marx and Lenin that the citizens of the working class neighborhood in Bilbao adapted from indoor to public sculptures unintentionally evoking the forms of the Basque modernist tradition, especially the work of Jorge Oteiza. Targu Jiu relates to the case of Brancusi\\'s Eternal Column, a public sculpture in a Romanian village of artist\\'s birth, and looks into the reasons for which this ethereal, abstract monument became the subject of several violent attacks and attempts of destruction. The piece Hernani revisits the case from the Basque country, when following the governmental decision to ban naming the Hernani park by the name of a deceased ETA fighter, the judges and the police incidentally also removed an earlier public monument from the park. The case of the mistaken identification of the abstract sculpture as a monolith erected in honor of the ETA member becomes symptomatic of the ways the particular idiom of the abstraction informs certain collective imaginary. 

    Asier Mendizabal (Ordizia 1973) is an artist based in Bilbao. His practice, fundamentally attached to sculpture as program, is resolved in diverse media and procedures, often including written word. The materiality of the signs and languages that create the representations and forms of the collective serves him to try a reading of phenomena like identity and ideological relations that eludes conventional interpretations. Multiple crossings between the specific codes of modernity with its actualization as popular culture in politics, cinema or music conform the most recurrent references in his work.

    He has exhibited individually, among others, in Artis den-Bosch, DAE in San Sebastian, MACBA Barcelona, Culturgest in Lisbon and Museo Nacional Centro de arte Reina Sofía in Madrid. He has taken part in group shows such as Chacun a son Gôut, at  Guggenheim Bilbao Museoa; Després de la notícia, at CCCB Barcelona; Manifesta 5, the Taipei biennial;  Insiders, at CAPC Bordeaux; Flüchtige Zeiten, at Westfälischer Kunstverein, On Handlung, Bucharest Biennial and ILLUMInations, 54th Venice Biennale. He is currently working on an extensive survey exhibition in London\\'s Raven Row.

    Supported by: Ministry of Culture, Republic of Croatia, City of Zagreb – Office for Culture, Embassy of the Kingdom of Spain in Zagreb

    MARK TRIBE: \\'THE DYSTOPIA FILES\\', June 9th – July 9th 2011. June 9th at 8 pm - exhibition opening; June 11th from 2pm – \\'Art of Curating\\', workshop; June 11th at 7pm - public lecture

    The Dystopia Files at GMK is the newest iteration of Mark Tribe's ongoing project, which recontextualizes the history of demonstrations in the US. The work tackles on a set of questions about power relations, spectatorship, image manipulation, participation, interaction and political engagement. The relationship between these issues and recent curatorial practices will be discussed during the workshop held by Mark Tribe. In a talk following the workshop, Mark will present his practices, including his previous acknowledged projects such as Rhizome and Port Huron.The exhibition is curated by ®eljka Himbele Kožul.

    The Dystopia Files at GMK is the newest iteration of Mark Tribe's ongoing project, which recontextualizes the history of demonstrations in the US. The artist had gathered an archive of protest footage, which serves as a base for creating site specific video installations in gallery and museum spaces. The work tackles on a set of questions about power relations, spectatorship, image manipulation, participation, interaction and political engagement.The relationship between these issues and recent curatorial practices will be discussed during the workshop held by Mark Tribe. In a talk following the workshop, Mark will present his multimedia artistic practices, including his previous acknowledged projects such as Rhizome and Port Huron.

    The exhibition is curated by Željka Himbele Kožul.

    All interested in participating in the workshop are kindly asked to contact us at info@g-mk.hr. We are looking forward to your participation!

    Mark Tribe (American, b. 1966) graduated in 1990 from Brown University, Providence, RI, and received a MFA in Visual Arts from the University of California, San Diego, CA in 1994. His acclaimed art projects often incorporate various media and technologies. They revolve around institutional critique, activism, audience participation and collaboration, and raise questions about performance, mediation and public sphere. Tribe’s art work has been exhibited at Wexner Center for the Arts, Columbus, OH; LACE (Los Angeles Contemporary Exhibitions); Ronald Feldman Gallery, New York, NY; the DeCordova Biennial at DeCordova Museum and Sculpture Park, Lincoln, MA; Aspen Art Museum, Aspen, CO; Park Avenue Armory, New York, NY; Haifa Museum of Art, Haifa, Israel; and the National Center for Contemporary Art, Moscow, Russia. He has organized curatorial projects for the New Museum of Contemporary Art, MASS MoCA, and inSite_05. Tribe is the author of two books, The Port Huron Project: Reenactments of New Left Protest Speeches (Charta, 2010) and New Media Art (Taschen, 2006), and numerous articles. He has lectured at CalArts, Goldsmiths College, the Boston Museum of Fine Arts, MIT, and UCLA. He is Assistant Professor of Modern Culture and Media Studies at Brown University, where he teaches courses on digital art, curating, open-source culture, radical media, and surveillance. In 1996, Tribe founded Rhizome, an organization that supports the creation, presentation, preservation, and critique of emerging artistic practices that engage technology.

    Special thanks to: Helena Anrather, Glassbead Collective, Larry Hildes, Ariel Hudes, Zinka Ivanković, Sarah Kay, Ivan Marušić Klif, Ron Kuby, William Linn, Ines Loje, Brandon Neubauer, Nikita, Shruti Parekh, Sarah G. Sharp, Time\\'s Up Video Collective, Sunčana Tuksar.

    The exhibition is supported by: Ministry of Culture, Republic of Croatia; City of Zagreb - City Office for Education, Culture and Sports, Embassy of the US, Zagreb

    Lise Harlev: What I Am Told About the Past_exhibition opening_Thursday, April 28, 2010 at 8 pm

    History, understood as a category of human existence, is older than the written word, claims Hannah Arendt in her book “Between Past and Future”. Its origin - not in a historical but a poetic sense - lies in the moment when at the Phoenician court Odysseus listens the story of his own adventures and misadventures, the story of is own life which at that point becomes a “thing” in itself, separated from him, and presented to others as “an object”. In other words, it represents a moment in which history is for the first time symbolically objectified, turned into facts which are later confirmed and reaffirmed, repeatedly with each new act of narration...

    History, understood as a category of human existence, is older than the written word, claims Hannah Arendt in her book “Between Past and Future”. Its origin - not in a historical but a poetic sense - lies in the moment when at the Phoenician court Odysseus listens the story of his own adventures and misadventures, the story of is own life which at that point becomes a “thing” in itself, separated from him, and presented to others as “an object”.1 In other words, it represents a moment in which history is for the first time symbolically objectified, turned into facts which are later confirmed and reaffirmed, repeatedly with each new act of narration, i.e. presentation. Our experience of a certain space, site, or a topos, is inseparable from our knowledge of its past. Spatial presence of a site is a product of a multitude of macro and micro histories, which can be more or less visible. However, despite the dichotomy between categories of space (the material, visible element) and time, i.e. history (or immaterial and physical elusiveness of time), both are intertwined; neither is the space static, nor the time linear. “Here” is inseparable from “now”; its past and future are elusive. Or, in words of Doreen Massey, “(...) “here” is no more (and no less) than our encounter, and what is made of it. It is, irretrievably, here and now. It won’t be the same “here” when it is no longer now.”2

    Lise Harlev’s work “What I Am Told About the Past” is a result of the art residency in Zagreb in February this year. Understanding Zagreb as a locus with its own specific history, the artist observed the ways in which the contemporary traces of this history, as well as her own expectations, have shaped the experience of getting to know the city. On wooden panels, in a very direct way, Harlev articulates a number of statements and questions concerning our perception of the history, its authenticity, nostalgia, and, finally, our universal need for history. At the same time, the background graphic elements create a number of associations – from timelessness of simple geometric shapes, through allusions to the 1950s graphic design, to a reminiscence of sign systems used on info boards at “historically significant” sites. Both elements, the textual and the graphic, thus create a completely new, ambiguous context – a very subjective experience of history, time and space is presented in visually very simple, familiar and recognizable way.   

    Jelena Pasic, curator of the exhibition

    1 Arendt, H. Between Past and Future, London: Penguin Books, 2006: 39
    2 Massey, D. For Space, London: SAGE Publications, 2007: 139

    Lise Harlev (1973), a Danish artist based in Berlin, studied at Stadelschule, Frankfurt am Main, and The Royal Danish Academy of Fine Arts, Copenhagen. Harlev’s work has been included in exhibitions such as Manifesta 4 (Frankfurt am Main, 2002), Something no one else has, Liljevalchs Konsthall (Stockholm, 2003), Momenum (Moss, 2004), I don’t always agree, Galleria Maze (Turin, 2005), This Land is My Land, Kunsthalle Nurnberg (Nuremberg, 2006), I (Ich) / Performative Ontology, Secession (Vienna, 2006), You Won’t Feel a Thing, Wyspa Institute of Art (Gdansk, 2007), Terms of Use, Centro Cultural Montehermoso (Vitoria, 2008), Translation Paradoxes and Misunderstandings, Shedhalle (Zurich, 2008), Liquid Frontiers, Tri Postal (Lille, 2009), Monument to Transformation, Centre for Visual Introspection (Bucharest, 2009) and Watchmen, Liars and Dreamers, Frac Ile-de-France/ Le Plateau (Paris, 2010).

    The exhibition is supported by: Ministry of Culture - Republic of Croatia, City of Zagreb - Office for Education, Culture and Sport, Danish Arts Council Committee for International Visual Arts.

    28.04. - 14.05.2011.

     

    Bok Bok (6th annual LMU/ALU project) Saturday, April 23, 2011

    Join us for a one evening presentation of the yearly student project connecting the London Metropolitan University and the Academy of Visual Arts, Zagreb. This year the participants are Vanja Babić, Matija Djanješić, Nadean Downey, Mike Graham, Ana Kovačić, Iva Habus, Ivana Pipal, Elizabeth Mills, Mouez Hamdi, Sara Rodrigues, Fred Vernon, Ana Vuzdarić. Mentors and project coordinators are Ben Cain i Nicole Hewitt.

    The exhibition Bok Bok has been developed within the frame of an annual project of linking students of BA Animation and New Media Department at the Zagreb Academy of Art, with the Fine Art BA students based at London Metropolitan University. 

    The project begins with a series of meetings, readings and workshops which aim to set out some of the objectives of the project. Although the underlying themes change from year to year, they often tend to circle issues related to foreignness, the exotic, tourism, displacement/dislocation, and estrangement. During their time in each of these cities the students from each university take part in group seminars and presentations, as well as attending exhibitions, museums, talks, bars, pubs etc. The work is often developed in and for the city and gallery where the work is presented.
    \r\nThe nature of the project embraces the improvisational character of the works, developing in a climate of fluidity and spontaneity. The experience often involves the students’ preconceptions and positions being constantly challenged. Therefore works are not always completed, but rather might form the beginnings of work to be made at a later stage. This joint project and the exhibition is a continuation of a collaboration started in 2005 with the aim of developing a long-term exchange between the two art schools.

    The exhibition at G-MK has been coordinated by Ana Kovačić.

    Supported by: London Metropolitan University, Akademy of Visual Arts, Zagreb, Student Assembly, Zagreb

    The program of G-MK is supported by City of Zagreb, Ministry of Culture RH.

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    14/11/2017. - 09/12/2017.

    EXHIBITION, EVENTS

    Shakespeare among us

    21/10/2017. - 28/10/2017.

    EXHIBITION, EVENTS

    Sad Girls Collective: So last year

    16/09/2017. - 07/10/2017.

    EXHIBITION, EVENTS

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    19/07/2017. - 05/08/2017.

    EXHIBITION, EVENTS

    Maayan Amir i Ruti Sela: Image blockade

    30/06/2017. - 15/07/2017.

    Stones are found where they are thrown

    16/06/2017. - 24/06/2017.

    Nina Kurtela / 365 routines (work in progress)

    12/05/2017. - 31/05/2017.

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    18/04/2017. - 06/05/2017.

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    13/04/2017.

    EXHIBITION, PUBLICATION

    LMU/ALU: Places outside the main thing somewhere in midle of the row and under roofing.

    14/03/2017. - 25/03/2017.

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    Open studio: Šumovi protiv valova

    17/02/2017. - 11/03/2017.

    EXHIBITION

    UFO - Ana Vuzdarić and Marko Gutić Mižimakov

    31/01/2017. - 11/02/2017.

    EXHIBITION

    In Situ – missing objects

    06/12/2016. - 23/12/2016.

    EXHIBITION

    eteam: Waypoint, Follow, Orbit, Focus, Pano, Track

    02/12/2016. - 03/12/2016.

    EXHIBITION, EVENTS

    Petra Milicki and Anika Schwarzlose: Monuments of the Future

    05/11/2016. - 26/11/2016.

    EXHIBITION, EVENTS

    Nina Gojić: A Multilogue for Later

    06/10/2016. - 29/10/2016.

    EXHIBITION, EVENTS

    Living in The End Times

    02/09/2016. - 24/09/2016.

    EXHIBITION, EVENTS

    MAJA HODOŠČEK: DREAMERS

    03/06/2016. - 25/06/2016.

    EXHIBITION, EVENTS

    Oliver Ressler & Dario Azzellini: Occupy, resist, produce

    26/05/2016. - 29/05/2016.

    EXHIBITION, EVENTS, RESIDENCY PROJECT

    Elli Kuruş - Invisible Hand, The Great Book of...

    03/05/2016. - 24/05/2016.

    EXHIBITION, EVENTS

    EMANUEL MATHIAS - ON CHOOSING THE APPROPRIATE DISTANCE

    06/04/2016. - 06/04/2016.

    EXHIBITION, EVENTS

    A collaboration between London Metropolitan's Cass Faculty of Art, Architecture and Design and Zagreb Acedemy of Fine Arts, Department of Animation and New Media.

    18/12/2015. - 23/01/2016.

    EXHIBITION, EVENTS

    You're small, I'm big!

    10/11/2015. - 28/11/2015.

    EXHIBITION, EVENTS

    On Revolution Roads - memorial tourism in Yugoslavia

    02/10/2015. - 30/10/2015.

    EXHIBITION, EVENTS

    Avoiding Eye Contact

    04/09/2015. - 25/09/2015.

    EXHIBITION, EVENTS

    Bojan Mrđenović: Imported desert

    10/06/2015. - 04/07/2015.

    EXHIBITION, EVENTS

    Aslı Çavuºoğlu: In Diverse Estimations

    23/04/2015. - 24/04/2015.

    EXHIBITION, EVENTS

    05/12/2014. - 23/12/2014.

    EXHIBITION, EVENTS

    Eve K. Tremblay - EKTBF451/EKTFF451: Notes & Confessions

    21/10/2014. - 21/10/2014.

    EVENTS

    18/09/2014. - 11/10/2014.

    EXHIBITION, EVENTS

    Emilio Moreno: Stone acrobatics

    05/09/2014. - 13/09/2014.

    EXHIBITION, EVENTS

    Iva Cepanec Masters; Stagnation

    03/06/2014. - 28/06/2014.

    EXHIBITION, EVENTS

    Kerrie Poliness: Wave Drawings and Landscape Paintings

    03/05/2014. - 31/05/2014.

    EXHIBITION, EVENTS

    Liquidation

    24/04/2014.

    EXHIBITION, EVENTS

    Zagreb and London art students exchange

    11/03/2014. - 14/03/2014.

    EXHIBITION, EVENTS

    Joshua Goode;The lost city

    10/01/2014. - 01/02/2014.

    EXHIBITION, EVENTS

    Duncan Campbell; Bernadette

    18/11/2013. - 07/12/2013.

    EXHIBITION, EVENTS

    Between Worlds II

    17/10/2013. - 09/11/2013.

    EXHIBITION, EVENTS

    Núria Güell and Levi Orta; YOU AND WHOSE ARMY

    01/06/2013.

    EVENTS

    Erick Beltrán \\"Creation of units\\"

    09/05/2013.

    EXHIBITION, EVENTS

    Collaboration LMU ALU - The Last One We Had Recently

    05/03/2013. - 06/04/2013.

    EXHIBITION, EVENTS

    Patricia Esquivias: Folklore

    20/12/2012. - 26/01/2013.

    EXHIBITION, EVENTS

    Nicoline van Harskamp: Yours in solidarity

    19/11/2012. - 15/12/2012.

    EXHIBITION, EVENTS

    Grupa Spomenik: Yugoslavia Studies

    12/10/2012. - 03/11/2012.

    EXHIBITION, EVENTS

    A Proposal for the Monument to the New (Inter)Nationalism

    05/05/2012. - 26/02/2017.

    EXHIBITION, EVENTS

    Opening of the re.act.feminism 2_ performing archive: Saturday, 5 May, 7 pm

    05/05/2012. - 26/05/2012.

    WORKSHOP

    Workshops in the framework of the project re.act.feminism #2; a performing archive at Galerija Miroslav Kraljević

    27/04/2012.

    EXHIBITION, EVENTS

    Milan Stepanovich_Firday, April 27, 2012

    03/03/2012.

    EXHIBITION, EVENTS

    MAGNUS BARTAS and LARS HENRIK STAHL: Bogey (The Hospital)_Exhibition opening and discussion with the artists: SATURDAY, March 3, 2012 at 7pm

    30/10/2011. - 31/10/2011.

    EXHIBITION, EVENTS

    Davor Sanvincenti_Invisible landscapes / Part I:Earth_OCT 30, 7 PM: Discussion between the artist and the curator Ana Kutlesa, OCT 31, 12-20: sound installation

    16/09/2011. - 18/10/2011.

    EXHIBITION, EVENTS

    Asier Mendizabal: Prizemljeno, September 19 - October 18, 2011

    14/06/2011. - 26/06/2011.

    EXHIBITION, EVENTS

    REMOVED FROM THE CROWD* Dionysian Socialism, (Non) Action, Delayed Audiencen/ Tranzitdisplay, Prague, June 14th - June 26th, 2011

    11/06/2011.

    EXHIBITION, EVENTS

    MARK TRIBE: \\'THE DYSTOPIA FILES\\', June 9th – July 9th 2011. June 9th at 8 pm - exhibition opening; June 11th from 2pm – \\'Art of Curating\\', workshop; June 11th at 7pm - public lecture

    28/04/2011. - 14/05/2011.

    EXHIBITION, EVENTS

    Lise Harlev: What I Am Told About the Past_exhibition opening_Thursday, April 28, 2010 at 8 pm

    23/04/2011.

    EXHIBITION, EVENTS

    Bok Bok (6th annual LMU/ALU project) Saturday, April 23, 2011

    13/01/2011.

    PUBLICATION, EVENTS

    Rafaela Dražić: Ad Hoc Project - book launch in the framework of the Secret Exhibitions

    25/11/2010. - 22/12/2010.

    EXHIBITION

    Vlado Martek: Poetry in Action_25.11- 22.12.2010.

    18/10/2010. - 07/11/2010.

    EXHIBITION

    Goran Skofic_ White_18.10.-06.11. 2010.

    29/09/2010. - 09/10/2010.

    EXHIBITION, EVENTS

    The Culture Lobby: An Archive of Cultural Memory_Wednesday, 29 September 2010, 8 pm

    11/06/2010. - 16/06/2010.

    EXHIBITION

    Dina Roncevic: Suck Squeeze Bang Blow_ Part of: Academy Files II_ Friday, June 11, 2010 at 8 pm

    25/05/2010. - 05/06/2010.

    EXHIBITION

    Izgubljena Fox_ Workshop and Exhibition

    30/04/2010. - 15/05/2010.

    EXHIBITION

    BUK 2009

    25/02/2010. - 27/03/2010.

    EXHIBITION

    MONEY ETC. - Isa Rosenberger and Kristina Leko

    20/01/2010. - 20/02/2010.

    EXHIBITION

    Monument to Transformation

    11/01/2010.

    PUBLICATION, EVENTS

    Micropolitics_Differentiated neighbourhoods of New Belgrade_Monday, January 11, 2010 at 19.00

    23/12/2009.

    EVENTS

    REMOVED FROM THE CROWD: THE FATE OF OUTER PLANETS opens at SKUC Gallery, Ljubljana on December 23, 2009

    19/12/2009. - 16/01/2010.

    EXHIBITION

    And Then Nothing Turned Itself Inside Out / 2nd chapter on stories and the 'immemorable' /

    19/12/2009. - 16/01/2010.

    EXHIBITION

    And Then Nothing Turned Itself Inside Out / 2nd chapter on stories and the 'immemorable'

    04/12/2009.

    EVENTS

    Micropolitics_Angel Nevarez and Valerie Tevere_Friday, December 4, 2009 at 7 pm @ HDLU

    05/11/2009. - 05/12/2009.

    EXHIBITION

    MARIJAN CRTALIĆ: Invisible Sisak - The Ironworks Phenomenon

    08/09/2009. - 15/10/2009.

    EXHIBITION

    Marko Tadić- I Speak True Things_ 8 September - 15 October, 2009

    05/09/2009.

    EVENTS

    Micropolitics lecture series_CARLOS MOTTA_Suturday, September 5, 2009 at 7 pm

    14/07/2009. - 14/07/2009.

    EVENTS

    Micropolitics_ lecture series_ MATEI BEJENARU_Tuesday, JuLY 14, 2009 at 7 pm

    09/06/2009.

    EVENTS

    Micropolitics_ lecture series_ JUDI WERTHEIN_Tuesday, June 9, 2009 at 7 pm

    20/05/2009. - 03/07/2009.

    EXHIBITION

    The Renaming Machine

    12/05/2009.

    EVENTS

    MICROPOLITICS_ lecture series_ Apolonija Šušteršič_Tuesday, May 12,2009 at 7 pm

    30/04/2009.

    EXHIBITION, RESIDENCY PROJECT

    MIND THE TAIL / PAZI REP

    20/03/2009. - 21/04/2009.

    EXHIBITION

    Igor Grubić: 366 liberation rituals

    20/03/2009. - 21/04/2009.

    PUBLICATION

    Igor Grubić: 366 liberation rituals

    17/12/2008. - 31/01/2009.

    EXHIBITION

    Pilvi Takala:Outshiners

    12/12/2008. - 14/12/2008.

    EVENTS

    G-MK hosting_ CDU: PARALLEL-SLALOM I : CINEMATIC MODES OF CHOREOGRAPHY

    08/12/2008.

    EVENTS

    Micropolitics_ lecture series_ Iris Hoppe_lecture_Monday, December 8,2008 at 7 pm

    24/11/2008. - 06/12/2008.

    EXHIBITION, WORKSHOP, EVENTS

    Andreja Kulunčić: On The State Of Nation

    24/11/2008. - 06/12/2008.

    PUBLICATION

    Andreja Kulunčić: On the State of the Nation

    14/11/2008.

    EVENTS

    Micropolitics_ lecture series_ Mika Hanula_The Politics Of Small Gestures_November 14,2008 at 7 pm

    12/11/2008.

    EVENTS

    MICROPOLITICS: Nina Montmann: How Art Institutions Can Create A New Sense Of Belonging _ Lecure_ Wednesday, November 12, 2008 at 7 pm

    31/10/2008.

    EVENTS

    Ann Demeester_ Lecture in the framework of Curating Degree Zero Archive_ Friday_October 31,2008 at 7 pm

    29/10/2008. - 15/11/2008.

    EXHIBITION

    Curating Degree Zero Archive

    29/10/2008.

    EVENTS

    Dorothee Richter: Indroducing Curating Degree Zero Archive_ lecture_October 25, 2008 at 7 pm

    26/09/2008. - 24/10/2008.

    EXHIBITION

    Omer Fast: ' De Grote Boodschap / The Great Message'

    10/09/2008. - 20/09/2008.

    EXHIBITION

    Case Study: the Academy | Helena Janečić, Gordan Karabogdan, Ines Matijević, Magdalena Pederin, Danijel Srdarev

    26/06/2008. - 20/07/2008.

    EXHIBITION

    Be a Happy Worker: Work-to-Rule!

    28/05/2008. - 06/06/2008.

    EXHIBITION, WORKSHOP

    BRITACIA: Student workshop and exhibition /LMU,London & ALU,Zagreb/

    13/05/2008. - 28/05/2008.

    EXHIBITION

    BUK ( Baranja Art Colony)

    11/04/2008. - 09/05/2008.

    EXHIBITION

    Vedran Perkov: Everything In Its Right Place

    01/03/2008. - 01/04/2008.

    RESIDENCY PROJECT

    Jesper Alvaer

    14/02/2008. - 22/03/2008.

    EXHIBITION

    ALMUT RINK: Contact Zone

    12/02/2008. - 07/03/2008.

    EXHIBITION

    BUK ( Baranja Art Colony) 2008: exhibition at g-mk

    19/12/2007. - 25/01/2008.

    EXHIBITION

    SANJA IVEKOVIC: Poppy Fields/ from the research archive and documentation of the projects

    12/12/2007. - 16/12/2007.

    WORKSHOP

    ON THE STATUS OF ALIENS AND MONSTERS

    05/12/2007. - 09/12/2007.

    EVENTS

    MUTUALITIES | Željko Badurina: Coffee & Cake

    03/12/2007. - 09/12/2007.

    EXHIBITION

    MUTUALITIES | Ivica Malčić: 10 new paintings

    01/12/2007. - 01/02/2008.

    RESIDENCY PROJECT

    Pilvi Takala

    20/11/2007. - 09/12/2007.

    EXHIBITION, EVENTS

    MUTUALITIES | Siniša Labrović: Punishment

    16/11/2007. - 09/12/2007.

    EXHIBITION

    MUTUALITIES | Shown & Found

    01/11/2007. - 01/12/2007.

    RESIDENCY PROJECT

    Damir Očko at HIAP, Helsinki

    12/10/2007. - 03/11/2007.

    EXHIBITION

    Damir Ocko: The End of the World

    12/09/2007. - 05/10/2007.

    EXHIBITION

    K2 Sur*viver | Tanja Lažetić,Susan Schmidt, Tina Smrekar, SonDA

    14/06/2007. - 09/07/2007.

    EXHIBITION

    Revolution is not a Garden Party

    18/05/2007. - 09/06/2007.

    EXHIBITION

    Go I Know Not Whither and Fetcch I Know Not What

    27/04/2007. - 15/05/2007.

    EXHIBITION

    Supertourist

    12/04/2007. - 25/04/2007.

    EXHIBITION

    Tina Gverović: The Visit

    01/04/2007. - 30/04/2007.

    RESIDENCY PROJECT

    Lala Rascic- AIR at Forum Stadtpark

    19/03/2007. - 17/04/2007.

    RESIDENCY PROJECT

    Almut Rink (Austria)

    14/03/2007. - 14/05/2007.

    RESIDENCY PROJECT

    Florian Roithmayr & Samuel Dowd (UK)

    13/03/2007. - 04/04/2007.

    EXHIBITION

    Ahmet Ogut: Softly But Firmly

    05/02/2007. - 02/03/2007.

    EXHIBITION

    Renata Poljak: All One Knows

    19/01/2007. - 20/01/2007.

    EVENTS

    Marijana Krajač: Paris / Ariadne 1st layout

    08/01/2007. - 13/01/2007.

    EXHIBITION

    BUK- Baranja Art Colony

    22/12/2006.

    PUBLICATION

    Željko Badurina: Post Art

    21/12/2006. - 21/12/2006.

    EVENTS

    Glocal Realities as Periferal In-Betweeness

    18/12/2006. - 18/12/2006.

    EVENTS

    afterMETAphores

    07/12/2006.

    EXHIBITION

    I've Invited A Couple Of Friends To Have A Look

    24/11/2006. - 26/11/2006.

    EVENTS

    4th MSE ( Middle-South-East) Meeting

    16/11/2006. - 13/12/2006.

    EXHIBITION

    Minna L. Henriksson: Zagreb Notes

    15/11/2006. - 15/12/2006.

    RESIDENCY PROJECT

    Mario Rizzi (Italy)

    27/10/2006. - 09/11/2006.

    EXHIBITION

    Cinema Suitcase: Dis-economy of life

    26/10/2006.

    EVENTS

    Kontejner presents: Device Art: Silvijo Vujičić

    21/10/2006. - 21/10/2006.

    EVENTS

    EkS-scena presents: post theater [new york / berlin / tokyo]

    25/09/2006. - 22/12/2006.

    ONLINE PROJECT

    afterMETAphores

    07/07/2006. - 07/07/2006.

    EVENTS

    resonance / discussion

    15/06/2006. - 08/07/2006.

    EXHIBITION

    Resonance

    06/06/2006. - 06/06/2006.

    EVENTS

    monochrom

    02/06/2006. - 14/06/2006.

    EXHIBITION

    Mario Causic: Morning in My Street

    31/05/2006. - 31/05/2006.

    EVENTS

    krist gruithuisen: archiving disappearence

    23/05/2006. - 26/05/2006.

    EXHIBITION

    Serial Cases_1 Acquaintance

    12/05/2006. - 13/05/2006.

    EVENTS

    maja marjancic | nikolina pristas | nenad romic: gifoskop

    05/05/2006. - 05/05/2006.

    EVENTS

    Work in Progress, public discussion

    04/05/2006. - 10/05/2006.

    EXHIBITION

    Lara Badurina: Work in Progress

    12/04/2006. - 19/04/2006.

    EXHIBITION

    Antun Božičević: Station Badel

    31/03/2006. - 02/06/2006.

    RESIDENCY PROJECT

    Minna L. Henriksson (Finland)

    15/03/2006. - 31/03/2006.

    EXHIBITION

    Ana Hušman: Exchange or - What We Did Not Know About Amateurism

    15/03/2006. - 04/10/2006.

    ONLINE PROJECT

    Marijan Molnar: Translations

    07/03/2006.

    ONLINE PROJECT

    Edita Schubert: Walks

    01/03/2006. - 01/03/2006.

    EVENTS

    Selection in Contemporary Art, public discussion

    08/02/2006. - 14/02/2006.

    EXHIBITION

    CROssoverUK Project

    03/02/2006. - 11/03/2006.

    WORKSHOP

    Neighborhood

    18/01/2006.

    ONLINE PROJECT

    Duje Jurić: Get inside the picture

    08/12/2005. - 01/05/2006.

    EXHIBITION

    Jasminka Končić: Parallel Reality

    17/11/2005. - 25/11/2005.

    EXHIBITION

    Maja Rožman: Beverage of Artists

    08/11/2005. - 22/12/2005.

    ONLINE PROJECT

    Magnus Bärtas and Zdenko Buzek: Homeless ideas

    05/11/2005. - 11/11/2005.

    ONLINE PROJECT

    Lala Raščić: Flying Carpet

    01/11/2005.

    ONLINE PROJECT

    Kata Mijatovic: Dream Net

    05/10/2005. - 25/10/2005.

    EXHIBITION

    Barbara Blasin : The Endangered Particle

    04/10/2005.

    ONLINE PROJECT

    Andreja Kulunčić: Closed Reality - Embryo

    01/09/2005. - 23/09/2005.

    EXHIBITION

    Olja Stipanović & Eveline Feldmann: Skin

    17/06/2005. - 08/07/2005.

    EXHIBITION

    Ana Bilankov: Shadowing the Black Square - Moscow Fragments

    25/05/2005. - 14/06/2005.

    EXHIBITION

    Plamen Dejanoff: Planets Of Comparison

    16/05/2005. - 16/05/2005.

    EVENTS

    Inivisible Labour

    30/04/2005. - 30/04/2005.

    WORKSHOP

    From London With Love

    07/04/2005. - 28/04/2005.

    EXHIBITION

    Igor Eškinja: Them

    15/03/2005. - 30/03/2005.

    EXHIBITION

    Ivan Škvrce: Objects Of Secret

    14/03/2005.

    ONLINE PROJECT

    Marijan Molnar: Identifications

    10/02/2005. - 10/03/2005.

    EXHIBITION

    Marko Fortunatović-Ercegović: People of Dubrovnik

    10/01/2005. - 04/02/2005.

    EXHIBITION

    Selected video pogramme from the Collection of New Media, Centre Georges Pompidou

    14/12/2004. - 07/01/2005.

    EXHIBITION

    Dijana Šimek: Future

    03/12/2004. - 10/12/2004.

    EXHIBITION

    Kontejner presents:Flu_ID: Intermedia art praxis

    11/11/2004. - 01/12/2004.

    EXHIBITION

    Alejandro Cesarco: Unrest

    06/10/2004. - 27/10/2004.

    EXHIBITION

    Mario Čaušić I Tihomir Matijević I Domagoj Sušac : Distance Point

    04/10/2004. - 04/10/2004.

    EVENTS

    Mara Verna: Same Same

    02/09/2004. - 29/09/2004.

    EXHIBITION

    Nebojša Šerić Shoba: Any Given Place

    15/06/2004. - 02/07/2004.

    EXHIBITION

    Darija Dolanski Majdak: deep Ž

    06/05/2004. - 27/05/2004.

    EXHIBITION

    Gordana Bralić : White

    14/04/2004. - 29/04/2004.

    EXHIBITION

    Nika Radić: Without Title

    10/03/2004. - 26/03/2004.

    EXHIBITION

    Tomislav Brajnović: Greenhouse

    11/02/2004. - 27/02/2004.

    EXHIBITION

    Ivan Posavec: Polaroids 1996 - 2003

    06/12/2003. - 06/12/2003.

    EXHIBITION

    Tomislav Buntak: Final Victory of Heavenly Army

    06/12/2003. - 23/12/2003.

    EXHIBITION

    Carl Michael von Hausswolf: Red Empty - Zagreb

    13/11/2003. - 27/11/2003.

    EXHIBITION

    Kristijan Kožul: Cornucopia

    23/09/2003. - 16/10/2003.

    EXHIBITION

    Maria Thereza Alves: Thing - process

    03/09/2003. - 19/09/2003.

    EXHIBITION

    Carol Lubin-Reiss: Lawn Ornament Series

    17/06/2003. - 10/07/2003.

    EXHIBITION

    Spartak Dulić: Instalation TX-19 (evolution-transformation)

    08/05/2003. - 27/05/2003.

    EXHIBITION

    Zdravko Pal: Paintings 2002 - 2003

    11/04/2003. - 18/04/2003.

    EXHIBITION

    Tanja Dabo: Meeting point - You and Me

    11/03/2003. - 27/03/2003.

    EXHIBITION

    Ulric Roldanus: En Route / On the road

    13/02/2003. - 28/02/2003.

    EXHIBITION

    Danko Friščić: Necrophylia 3

    09/01/2003. - 28/01/2003.

    EXHIBITION

    Rino Efendić: Yes, movie

    12/12/2002. - 23/12/2002.

    EXHIBITION

    Fritzie Brown: Recitativo

    05/11/2002. - 26/11/2002.

    EXHIBITION

    Jasenko Rasol: Covered

    09/10/2002. - 24/10/2002.

    EXHIBITION

    Tomislav Čeranić: Star City

    01/07/2002. - 15/07/2002.

    EXHIBITION

    Sonja Vuk: Do you love me?, installation, 2000-2002

    27/05/2002. - 14/06/2002.

    EXHIBITION

    Antun Maracic: Sideroad Monuments, two series of works/ Cro Car Crash Chronicle, after War/hol (gallery PM) and Sideroad Monuments (gallery MK)

    11/04/2002. - 26/04/2002.

    EXHIBITION

    David Maljkovic: Paintings for everyday use

    03/03/2002. - 15/03/2002.

    EXHIBITION

    Manfred Willmann: Das Land , Oman, Japanese Food, three photographic cycles

    10/02/2002. - 24/02/2002.

    EXHIBITION

    David Smithson: Burning Boots & Jerome Symons: Defining Moments

    01/02/2002. - 15/02/2002.

    EXHIBITION

    Minute of silence, curated by Janka Vukmir. Alen Floricic, Zlatko Kopljar, Ksenija Turcic and Vlado Zrnic

    10/01/2002. - 24/01/2002.

    EXHIBITION

    Davor Mezak featuring Jasna Zastavnikovic: Discohome

    06/12/2001. - 21/12/2001.

    EXHIBITION

    Zlatan Dumanic: The Log-book

    06/11/2001. - 27/11/2001.

    EXHIBITION

    Ghazel: Me 1997 - 2000

    09/10/2001. - 10/10/2001.

    EXHIBITION

    Agnieszka Wolodzko: Transasia

    11/09/2001. - 11/09/2001.

    ONLINE PROJECT

    Kata Mijatović: Dream Archive

    06/09/2001. - 26/09/2001.

    EXHIBITION

    Elizabeth Cohen: Splice & Michael Talley: On the Road

    25/05/2001. - 15/06/2001.

    EXHIBITION

    Jiøí Černický : Metapop

    01/05/2001. - 15/05/2001.

    EXHIBITION

    Darije Petkovic: Photographies

    01/02/2001. - 15/04/2001.

    EXHIBITION

    PROJACT BLIND DATE :Kevin Kelly & Tanja Dabo, Rijeka, january 2001; Anna-Marie Copestake & Smiljana Šafarić, Zagreb, february 2001; Karen Cunningham & Stefan Haus, Split, mart 2001: Blind date

    13/01/2001. - 31/01/2001.

    EXHIBITION

    Marcelo Brajnovic: War for Harmageddo

    06/12/2000. - 21/11/2000.

    EXHIBITION

    Marijan Cratalic : The Church

    01/12/2000. - 04/12/2000.

    EXHIBITION

    Goli otok- New Croatian Tourism

    09/11/2000. - 24/11/2000.

    EXHIBITION

    Alen Ozbolt: EDGE

    11/10/2000. - 24/10/2000.

    EXHIBITION

    James N. Juett: Paintings 1998 - 1999 forever

    07/08/2000. - 10/08/2000.

    EXHIBITION

    Dario Solman: Cabin Fever. The Research, memories of Columbus, Ohio

    12/04/2000. - 21/04/2000.

    EXHIBITION

    Andreja Kulunčić: Closed Reality - Embryo

    07/03/2000. - 24/03/2000.

    EXHIBITION

    Tamar Dobrovsky: The Web

    01/03/2000. - 15/03/2000.

    EXHIBITION

    Made in Sarajevo

    10/02/2000. - 24/02/2000.

    EXHIBITION

    Tanja Golic and excessive video installations by Alen Floricic: New video from Rijeka, experimental films and videos

    11/01/2000. - 28/01/2000.

    EXHIBITION

    Gojislav Kalapac-Goja: Circular Motion

    02/12/1999. - 10/12/1999.

    EXHIBITION

    Kata Mijatovic: Back from the Unconscious

    08/11/1999. - 25/11/1999.

    EXHIBITION

    Bojan Stokelj: NO-LOGO

    04/10/1999. - 21/10/1999.

    EXHIBITION

    Sonja Briski Uzelac: Fenestra Aperta

    07/09/1999. - 23/09/1999.

    EXHIBITION

    Anna Best: Visiting Curator

    16/06/1999. - 16/07/1999.

    EXHIBITION

    Yuri Leiderman & János Sugár : General reminder

    03/05/1999. - 17/05/1999.

    EXHIBITION

    Zoran Pavelić: Last Exhibition

    16/04/1999. - 30/04/1999.

    EXHIBITION

    Kristina Leko in Collaboration with Ivan Marušić Klif: When Exchange Tends to its maximum then it Aproximates Zero

    16/03/1999. - 01/04/1999.

    EXHIBITION

    Zdena Kolečková: Safe in their Alabaster Chambers

    02/03/1999. - 09/03/1999.

    EXHIBITION

    Edita Schubert: My Apartment

    16/02/1999. - 06/03/1999.

    EXHIBITION

    W.W. Angers: Headquarter und Import-Export-Freizeit

    09/02/1999. - 12/02/1999.

    EXHIBITION

    Maja Šeparović: Jewellery

    10/01/1999. - 31/01/1999.

    EXHIBITION

    Non-Painters-Painting / curated by Ketil Nergaard

    12/11/1998. - 27/11/1998.

    EXHIBITION

    Vlado Zrnić: Lullaby

    04/11/1998. - 23/11/1998.

    EXHIBITION

    Svebor Vidmar : Face off

    08/10/1998. - 29/10/1998.

    EXHIBITION

    Ivan Seremet: Love Melancholy!

    15/09/1998. - 30/09/1998.

    EXHIBITION

    Ksenija Turčić : Sunt Lacrimae Rerum?

    17/06/1998. - 19/06/1998.

    EVENTS

    Alanna Heiss / Lecture

    08/06/1998. - 30/06/1998.

    EXHIBITION

    Dan Oki: Divine Beings

    12/05/1998. - 28/05/1998.

    EXHIBITION

    Zeljko Marovic: Dream, The Fellow-traveller

    05/03/1998. - 26/03/1998.

    EXHIBITION

    Sandra Sterle: Round around

    05/02/1998. - 26/02/1998.

    EXHIBITION

    Jelena Peric: Hidden Drawings Or About Electro-magnetism

    13/01/1998. - 28/01/1998.

    EXHIBITION

    Damir Babic: (IN) PLACE OF PICTURES

    04/11/1997. - 21/11/1997.

    EXHIBITION

    Cesare Fullone: Human Landscapes

    22/10/1997. - 31/10/1997.

    EXHIBITION

    Vjenceslav Richter: Tangent over horizontal

    13/10/1997. - 30/10/1997.

    EXHIBITION

    Nihad Nino Pusija: EXTRAS

    24/09/1997. - 09/10/1997.

    EXHIBITION

    Wolf Bowig: CUBA 95

    27/06/1997. - 20/07/1997.

    EXHIBITION

    Ines Krasic: Welcome to the house of fun

    04/06/1997. - 20/06/1997.

    EXHIBITION

    Michael Schuster: K.C.C.P. in USA

    04/04/1997. - 18/04/1997.

    EXHIBITION

    Eugen Vodopivec Borkovsky: Architecture ofIllusion

    02/04/1997. - 24/04/1997.

    EXHIBITION

    Damir Biocina: Sculptures

    10/03/1997. - 28/03/1997.

    EXHIBITION

    Vlasta Delimar: woman is woman is woman

    21/02/1997. - 07/03/1997.

    EXHIBITION

    Manuela Vladic Mastruko: Picture-objects

    07/01/1997. - 23/01/1997.

    EXHIBITION

    Cesco Dessanti: Paintings

    06/12/1996. - 20/12/1996.

    EXHIBITION

    Ljubomir Percinlic: Sculptures

    04/11/1996. - 29/11/1996.

    EXHIBITION

    Iskra Dimitrova: Thalamos

    09/07/1996. - 26/07/1996.

    EXHIBITION

    Alem Korkut, Hrvoje Dukez and Ivana Franke

    23/06/1996. - 05/07/1996.

    EXHIBITION

    Anto Jerkovic: Nouns and LittleBalls

    04/06/1996. - 18/06/1996.

    EXHIBITION

    Petra Novakova Ondreickova: Paintings

    08/05/1996. - 24/05/1996.

    EXHIBITION

    Igor Roncevic: Autochrome

    29/04/1996. - 03/05/1996.

    EXHIBITION

    Marijan Molnar: Walking along ontological edge

    16/02/1996. - 05/03/1996.

    EXHIBITION

    Mirjana Vodopija: Drawings

    26/01/1996. - 13/02/1996.

    EXHIBITION

    Sergej Bulic: Graphics

    05/01/1996. - 23/01/1996.

    EXHIBITION

    Darko Pavlic: Our Everyday Labyrinth

    25/11/1995. - 01/12/1995.

    EXHIBITION

    Zlatko Kopljar: I Believe

    08/11/1995. - 21/11/1995.

    EXHIBITION

    Boris Demur: Listening

    26/09/1995. - 13/10/1995.

    EXHIBITION

    Ivan Kozaric: New graphics

    29/03/1995. - 15/04/1995.

    EXHIBITION

    Melita Sorola Stanicic: Paintings

    28/02/1995. - 16/03/1995.

    EXHIBITION

    Vesna Pavlakovic: Watercolors

    30/01/1995. - 19/02/1995.

    EXHIBITION

    Karina Sladovic: Graphics and Drawings

    EAST CALLS / CURATORIAL RESIDENCY / SPRING 2017

    The first East Calls Curatorial Residency is jointly organized by Easttopics (Hungary) and G-MK (Croatia) in Spring 2017, on the topic of Precarity in Art.

    The topic of Precarity in Art mirrors the actual situation in both countries: Hungary has endured a severe shift in cultural policies since 2011, resulting in the desertification of the contemporary art scene and generating new artistic reflexes, independent and alternative ways to operate. Croatia is presently undergoing the same kind of restructuration, foreshadowing an oppressing cultural political climate and situation for the years to come and already witnessing the unprecedented solidarity of the art scenes in a need to act.

    Re-Making / Re-Mixing History - Alan Turing

    Radiona.org: Re-Making / Re-Mixing History – Alan Turing

    Machines take me by surprise with great frequency.
    Alan Turing

    New visual identity on the windows of gallery

    new visual identity of the gallery

    New web page coming soon

     Follow us on Facebook.

    Beti Žerovc: "When attitudes become the norm"

    Presentation of book by Slovenian curator and theoritican

    Gallery Miroslav Kraljević at ZAGREB GALLERY WEEKEND

    Friday 6pm – presentation of international platform INAPPROPRIATE MONUMENTS and the discussion about the exhibition On Revolution Roads - memorial tourism in Yugoslavia
    Saturday 6pm – guided tour through the exhibition On Revolution Roads - memorial tourism in Yugoslavia

    Tyler Coburn: I\\'m that angel

    Tyler Coburn’s publication, I’m that angel, explores the conditions of how we work on and against the computer, narrated from the perspective of a “content farmer”: an online journalist contracted to generate articles based on words peaking in Google Trends.  
    Limited seating. To reserve a spot, e-mail: info@g-mk.hr (until 14th of July)

    Workshop U know what I mean, or do u

    A workshop exploring identity and understanding as phenomena that are rooted in language, performance and percpetion. During this workshop we will examine how understanding in language is based on agreement. As common language users we agree on meaning, making understanding not exactly verifibale, but rather sensibile, or something that we think we feel. Meaning becomes shared and common, no longer based on truth or propriety.

    Radiona.org: residential lab in G-MK

    Association for Development of ‘do-it-yourself’ Culture – Radiona.org / Zagreb Makerspace is being appointed as a residential lab as of 28 October, 2014  in Zagreb based gallery G-MK bringing intermedia arts to this internationally renowned gallery for contemporary art.

    SHAME OPEN CALL RESULTS: 1ST OF DECEMBER 2013

    Due to a large number of applications results for the open call SHAME / ARTIST IN RESIDENCE PROGRAM 2014/2015  will be announced on the 1st of December 2013. 

    SHAME - OPEN CALL FOR ARTIST IN RESIDENCE PROGRAMME 2014/2015

    The project aims to investigate the topic by initiating a discursive platform that will bring together different disciplines and modes of thought reflecting upon the notion of shame.

    Workshops in the framework of the project re.act.feminism 2 - a performing archive at Galerija Miroslav Kraljević

    All interested in the history, theory and practice of performance are invited to join the research-production workshops led by Suzana Marjanić in the framework of the project re.act.feminism #2_a performing archive that will be presented in Galerija Miroslav Kraljević from May 5-26 2012. The first workshop, “Zoo-scene and eat art — the performing, exhibitionary and acting animal” will take place on Friday, May 4, 5-8 pm, and the second, “Performative music: from bruitism to local examples of lesionism — a collage”, on Friday, May 11, 5-7 pm. The introductory lectures and discussions are based on analysis of selected examples from the re.act.feminism archive (http://www.reactfeminism.org/), as well as the analysis and contextualization of examples from the local context, with the aim of contributing to the historicizing and theorizing of performance in Croatia and the region.

    REMOVED FROM THE CROWD: Unexpected Encounters I_ READER

    Edited by Ivana Bago and Antonia Majača in collaboration with Vesna Vuković

    With contributions by Ivana Bago & Antonia Majača, Lucian Gomoll & Lissette Olivares, Aleksandra Jach, Miguel A. López, Nataša Petrešin-Bachelez, Edit Sasvári, Alina Serban, Mara Traumane, Vesna Vuković

     

    Removed from the Crowd: Unexpected Encounters II_Comparative Conceptualisms: Research Methodologies and Interpretations_seminar and book launch

    Join us for the second seminar in the framework of the on-going research and publishing project \\'Removed From the Crowd\\' developed by the Institute for Duration, Location and Variables (DeLVe). Participants in the seminarare Klara Kemp-Welch (editor), Luiza Nader and Sarah Wilson. After the seminar we invite you for the book launch of Removed From the Crowd: Unexpected Encounters I, edited by Ivana Bago and Antonia Majača in coll. with Vesna Vuković.

    MIcropolitics_lecture series_Nora Sternfeld: Contradictions. Education & the Questionmark within

    Micropolitics lecture series is a part of THE ART OF URBAN INTERVENTION, a project by < rotor > association for contemporary art/ Graz, University of J. E. Purkyne/ Usti nad Labem, [BLOK] – Local Base for Culture Refreshment/ Zagreb, The Blue House Foundation/ Amsterdam, Institute of Contemporary Art/ Sofia and NABA – New Academy of Fine Arts/ Milano.

     

    Where Everything Is Yet To Happen_2nd Chapter: Exposures

    The second chapter of the long-term, collaborative project Where Everything Is Yet to Happen takes place in Banja Luka, Mostar and Sarajevo taking the form of an exhibition,as well as a series of seminars, workshops, and new productions. The project, curated by Ivana Bago and Antonia Majača, was initiated by a collaboration with a team of invited co-curators (Anselm Franke, Ana Janevski, Vit Havranek & Zbynek Baladran, Erden Kosova, Nina Montmann and Jelena Vesić) which resulted in the exhibition Can you speak of this? – Yes, I Can, in Banja Luka in 2009. Incited by the WEIYTH's underlying concept of a prospective rethinking of the notion of community, the artistic and curatorial propositions delineated in the first chapter opened up a set of topics, designating the course of the further development of the project: the issues of collaboration, complicity, articulation of trauma, exile and return, politics of language, politics of memory, culturalization of politics and politization of art

    Eric Van Hove _ artist talk/storytelling object _ Tuesday, June 1 at 8 pm _ HFS project space, Vinogradska 14

    Van Hove's talk is part of a larger series of what the artist labeled “storytelling objects” rather than lectures. Each of these uses a number of earlier works and interventions -some unfinished or never even shown- as the base for a display of ideas and ruminations believed to be more meaningfully conveyed through stories. The ‘traveling artist’ is here in some way similar to the Kamishibai of Japan who, between the two World Wars, was telling from the back of his bike different stories based on a number of picture cards. In his talk Eric Van Hove will introduce several recent works and site specific installations in Senegal, Costa-Rica, Japan, Iran, Madagascar and Egypt.

    G-MK at Vienna Fair 2010

    G-MK is taking part at Vienna Fair 2010. Its participation as anindependant and non- profit gallery is generously supported by the Erste Foundation, Vienna. For this occasion G-MK will present works by Ben Cain, Tina Gverovic, Marko Tadic and Lala Rascic. The fair is open May 6- 9, 2010.  Please join us at stand A1704, Halle A, Messeplatz, Vienna. 

    Micropolitics: Ana Džokić and Marc Neelen (STEALTH.unlimited)_March 10, 2010 at 7 pm

    For the Venice Architecture Biennale in 2008 STEALTH.unlimited co-curated the Dutch Pavilion with the project 'ARCHIPHOENIX - Faculties of Architecture'. Their response to the overall topic 'Out There: Architecture Beyond Building' was triggered by the recent burn-down of the Faculty of Architecture in Delft. Instead of thinking in terms of an exhibition, the Dutch Pavilion was turned into a stage for research and exploration and a debate platform focusing on faculties for architecture – in the sense of its multiple capacities, powers, capabilities. For a week, the project took the opportunity to engage a vast network of architects and other professionals in a direct exchange either as speakers, interviewers, or moderators. The spatial set-up for the pavilion changed on a daily basis to accommodate the line of activities and an on-site instantly edited video and book production unit. While the pavilion has been acting as a temporary 'school', the produced content aimed to become an imaginary curriculum for architecture beyond division on education and practice...

    Kristina Leko: How the People Live, II _ Sunday, 14.02.2010, 12 pm _ Park Maksimir, Third Lake

    On Sunday 14th of February at noon Kristina Leko is going to read experts from the book "How the People Live", written by Rudolf Bićanić in 1936. The artist made almost same performance, with the same title, in 2008 in Park Tikveš at Baranja.

    MARIJAN CRTALIĆ: Invisible Sisak - The Ironworks Phenomenon _ Exhibition opening: Thursday, 05.11.2009. 7.00 pm

    The exhibition The Ironworks Phenomenon is part of the longterm research project titled Invisible Sisak and developed by artist Marijan Crtalić. The exhibition presents one segment of the research, dealing with the long-lasting, but inadequately 'visible' existence of the Sisak Art colony. By collecting the abundant archive material, as well as documenting and presenting the present state of Sisak Ironworks and artifacts produced in its Art colony, the artist not only seeks to record the 'then' and 'now', but also wishes to question the broader dispositif -
    the status of workers today as well as the new dynamics of transitional capitalism, their side effects and consequences.

    WHERE EVERYTHING IS YET TO HAPPEN

    The title of the multi-faceted project Where Everything is Yet to Happen (WEIYTH) – starting off in Bosnia-Herzegovina in the framework of SpaPort Biennial 2009/10 – contains references to duration, location and variables of an expected event. 

    11th International Istanbul Biennial Opening Events

    Conference; Monument to Transformation in Prague, July 10-12, 2009

    The conference is part of the wider ''Monument to Transformation'' project curated by Vit Havranek and Zbynek Baladran. It is being held within the framework of the most extensive exhibition organized to date at the Prague City Gallery, on the occasion of the publication of the Czech version of the Transformation Atlas.

    Support the student protests!

    Where to go? Notes on Transformation after 1989 @ Rotor, Graz

    'Because it's like that now, it won't stay that way' at Arsenal Gallery, Bialystok, Poland

    The exhibition curated by Margarethe Makovec and Anton Lederer from rotor association for contemporary art, Graz presents the works by Michael Blum, G.R.A.M., Anna Jermolaewa, Franz Kapfer, Leopold Kessler, Martin Krenn, Lisl Ponger, Oliver Ressler, Isa Rosenberger, Maruša Sagadin/ Michael Hieslmair and Jun Yang.

    Omer Fast: 'The Great Message'

    Galerija Miroslav Kraljević presents 'The Great Message', a solo exhibition by Omer Fast,on view from 26 September until 24 October 2008. The opening takes place at GMK on Friday, 26 September at 7 pm and will be precedeed by the Artist talk at HDLU, at 5pm. The solo show at GMK presents Fast’s 27-minute video work,“The Great Message”, in which the narration follows a series of everyday, but bizarre situations occurring among the tenants of an apartment building in Belgium. In his lecture, Fast will present the selection of his works including Looking Pretty for God (After GW), The Casting, CNN Concatenated and Spielberg's List.

    SALON REVOLUCIJE

    Time for Reading and Reflecting

    G-MK team is currently taking time to read and reflect on past activites. Please contact us if you care to share our reading list. Our gallery program restarts on September 10 with the project 'Academy Files- A Case Study in Progress'.

    < g-mk production hub > Almut Rink: Contact Zone, 14.2.-22.3.2008.

    After the period spent on Brijuni Islands in the framework of G-MK research- residency program in March 2007, Austrian artist Almut Rink presents new project Contact Zone, a video-installation showing her own subjective and selective approach to Brijuni island.

    SANJA IVEKOVIC: Poppy Fields- from the research archive

    The exhibition 'Poppy Fields – from the research archive' at the G-MK, presents two projects as complementary segments of the artist’s long term research: 'Poppy Field'- a public intervention at Documenta 12 in Kassel and 'White Poppy Fields Guarded By Women in Black'- a Proposal for the Memorial to the Iraq War, presented at ICA, London earlier in 2007. The exhibition brings to focus the background of these two complex projects as well as a wide selection of materials (texts, newspaper articles, images, scientific studies, geo-political analysis etc.) gathered by the artist during the research procesess.

    Land of Human Rights

    is a project dealing with the status quo of the human rights in Europe seen from the perspective of visual art. Starting by the end of 2007, over a period of three years analyses and visions of human rights issues in Europe will be developed and disseminated in the general public with the means of art.

    g-mk Artist Exchange Program with HIAP, Helsinki presenting Damir Ocko

    Alti Aylik - New Space Opens in Istanbul

    Alti Aylik will open its doors in a new space with a project titled A and B is almost equal showing the work of the two artists Alina Viola Grumiller and Benguml; Karaduman from November 16th to December 15th, 2007.

    European Media Artists in Residence Exchange

    Damir Očko: The End of the World

    Damir Očko's new project deals with one of the most fascinating myths in the history of our civilization- the myth of Earth being flat.The artist developed the project during his residency at TICA in Tirana, Albania.

    Stalking with Stories: The Pioneers of the Immemorable

    Lala Rascic's new blog

    Lala Rascic is based between Edinburgh and Perth during Summer 2007, creating new process-based work as part of the Edinburgh Art Festival.

    SOCIALEAST SEMINAR ON ART AND MEMORY

    The SocialEast research forum considers the art and visual culture of Eastern Europe through collaborative projects, exhibitions and seminars.

    Tadej Pogačar & P.A.R.A.S.I.T.E. Museum of Contemporary Arts

    The publication 'The Best is Yet to Come' presents the first complete overview of the work of P.A.R.A.S.I.T.E. Museum of Contemporary Arts, among one of the most internationally effective neo-conceptual phenomena of Slovene contemporary arts. P.A.R.A.S.I.T.E. Museum was established in 1993 by Tadej Pogacar who marked it as a "virtual, critical structure which exists without its own space and employees, but rather merely settles into territories, locations and networks and feeds of the juices of insitutions."

    Ahmet Ögüt: Softly But Firmly

    'Softly But Firmly' presents works by one of the most intriguing young Turkish artists Ahmet Ögüt.The show presents Ögüt's new works in the media of video, drawing and animation. A publication featuring an interview with the artist by Vasif Kortun and texts by Pelin Tan and curators Jasna Jaksic and Antonia Majaca accompanies the exhibition.

    Lapdogs of the Bourgeoisie - Class Hegemony in Contemporary Art

    To what extent does class play a role in the production and dissemination of contemporary art?

    Platform Garanti Contemporary Art Center, Istanbul

    Ground Lost

    The exhibition Ground Lost offers a complex account of the psycho-social responses to rethinking the acute crises of collective memory and imagination.

    Marjana Krajač: Paris/Ariadne - 1st Layout

    During the research project 'The Adventure' at Impulstanz Festival 2006 in Vienna Marijana Krajač started to work together with Marten Spangberg and Tor Lindstrand on the concept of staging, performing, choreographing, insceining the Richard Strauss’ opera Ariadne auf Naxos as a sort of immaterial choreographic performance.The two performances at g-mk stem from an ongoing research by the artist. The second performances will take place on  Saturday 20.01. at 7 pm.

    <g-mk production hub> Minna L.Henriksson: Zagreb Notes

    The exhibition by Minna Henriksson opens on Nov, 16, 2006. During a two-month long residency at g-mk, the Finnish artist made two site-specific new works...

    Shakespeare among us

    Mangelos, Tomislav Gotovac, Mladen Stilinović, Sanja Iveković, Dalibor Martinis, Sven Stilinović, Vlado Martek, Igor Grubić, Goran Trbuljak

    Nine artists from the Zagreb art scene present their works which reference the ideas of other artists, writers, philosophers, psychoanalysts, physicists, directors, musicians, film and video art theorists…The works have been created in the period from the 1960s to the present and they affirm the artists' erudition and imagination, counting on the engagement of viewers, who are expected to be familiar with the other authors since they provide the context for new messages of individuals works. 

    Branka Stipančić

    Mangelos, Tomislav Gotovac, Mladen Stilinović, Sanja Iveković, Dalibor Martinis, Sven Stilinović, Vlado Martek, Igor Grubić, Goran Trbuljak

    Shakespeare among us

    Curator: Branka Stipančić

    Nine artists from the Zagreb art scene present their works which reference the ideas of other artists, writers, philosophers, psychoanalysts, physicists, directors, musicians, film and video art theorists…The works have been created in the period from the 1960s to the present and they affirm the artists' erudition and imagination, counting on the engagement of viewers, who are expected to be familiar with the other authors since they provide the context for new messages of individuals works.

    Some of the artists negate or ironize the subject of their interest and polemicize with their source. Mangelos's Manifests are grounded in various humanistic and scientific disciplines. With the self-awareness of a skeptic philosopher who questions art, Mangelos spars with a whole range of characters, reducing his thoughts to short and precise, or, as he himself put it, "super-Wittgensteinian" theses, inscribing them on wooden boards, globes and booklets.

    Other works in the exhibition are not that prone to criticism. Media artist Dalibor Martinis often uses ludic elements. He hangs a turned-on TV from the ceiling and covers it with a black sheet so that it would "sing like a canary", and dedicates it to John Cage. Sven Stilinović ironizes tautological conceptual works by Joseph Kosuth with the photograph Kosuth's Teeth, while Mladen Stilinović uses quotes by Ludwig Wittgenstein, which he inscribes on chopping blocks, in a game of naming and "political correctness" in My Sweet Lamb.

    Gotovac's self-portraits from the 1960s are a homage to Russian war and American detective films, the French poet and screenwriter Jacques Prévert, and others. They represent a kind of photographic essay about the film medium.

    The video work Chanoyu by Sanja Iveković and Dalibor Martinis, through a "reading" of Okakura Kakuzō, who writes about the Japanese tea ceremony, reveals zen in scenes in everyday life. The aesthetic and meaningful interaction is produced within the work itself, showing how the artist reads history and how s/he engages with it.

    Vlado Martek "translates" a series of poetic situations into the sphere of art. His "poetry has gone into action": his poetic agitations invite people to read Mayakovsky, Rimbaud, Mallarmé and others; in the woods he erected a monument to André Breton made of snow; in his contours of European states in his pictures and graphics he developed complex narratives about the red Balkans – a melting pot of bloody kings and comical and romantic Shakespearean heroes – surrounded by countries named after their contributions to civilization: aesthetics, psychoanalysis, linguistics, anthropology, philosophy and ethics in Shakespeare Among Us.

    The artists put the body in an interrelation with the text. Sven Stilinović juxtaposes the photograph of his restrained body with Karl Marx's texts, thereby referring to the freedom-loving tradition of anarchism, while Mladen Stilinović in his Low Angle,offers his interpretation of the instructions provided by the film theorist Jerzy Plazewski in The Language of Film.

    Referring to Marcel Duchamp, in his work Wow, Wow and Readymade Goran Trbuljak proclaims all the frames from his films readymades: "Godard said that the cinema is truth 24 times per second, Haneke said that it is lies 24 times per second, and for me it is 24 readymades per second."

    Finally, Igor Grubić, a younger generation artist, in his work Red Escadrille (the free flight of poetry) – Free Flight of Poetry brings the story back to the beginning by referring to Martek's poetic agitations from the 1970s with his action involving throwing paper planes containing poems selected for him by the older artist.

    The complexity of the works derives from the large range of these artists' interests and their critical and analytic attitudes, quotations, allusions, evocations, reminiscences…

    Text: Branka Stipančić

    This project is supported by Ministry of Culture of Republic of Croatia and INA - Industrija nafte d.d.
    Gallery is supported by Kultura Nova.

    Sad Girls Collective: So last year

    Martina Granić, Marina Jukić, Nina Bačun, Iva Markovac, Dora Đurkesac and Iva Korenčić in collaboration with curator Irena Tomašić are referring to "girls empowerment" in popular culture within the Sad Girl theory and the fourth wave feminism. The exhibition remains open from 21st - 28th October.

    "SO LAST YEAR" is an exhibition - installation project that brings together six authors who gathered under the title SAD GIRLS COLLECTIVE.

    Martina Granić, Marina Jukić, Nina Bačun, Iva Markovac, Dora Đurkesac and Iva Korenčić in collaboration with curator Irena Tomašić are referring to "girls empowerment" in popular culture within the Sad Girl theory and the fourth wave feminism. The exhibition remains open from 21st - 28th October.

    Through the virtual collective pooling and exchange of viral information, the SAD GIRLS COLLECTIVE questioned the recent phenomena of the mainstream Internet aesthetics of the so called Tumblr girls to Sad Girls / Sad Boys culture and their visual branded products, guided exclusively through intuitive approach based on intimate aspirations and expressions.

    The Internet promotes hyper-productive pop culture that through social networks creates new trends and continues to support demand and consumption by making viral phenomena an esthetic statement but also a lifestyle. So, we live in a fairly subtle and ironic world where every concept and even feminism succeeded in capitalizing and becoming consumer goods. Somewhat ironically, but again recognizing their own femininity, the artists have created a joint critical, but definitely positivist, reflection on the viral phenomena of depicting a sad girl on the Internet by exploring their own position of emotions and bodies by observing forms of the forgotten female principle in the imposed paradigms of contemporary society accepting the ambivalence of male-female relations just by nurturing the present emotional diversity.

    Seeing the position of women as an object of marketing and cosmetic manipulation, "SO LAST YEAR" empowerment cynically reflects on the transience of viral trends and actually suggests that sad girls are already in the pass, while cultural appropriation has created a new trend of nail girls.

    In the concept of a pedicure salon, the Collective builds an expanded space of women's solidarity and exchanges of women's experience away from the ears of men, creating a safe space for exchange, while the nails themselves become weapons, not signs of aesthetic beauty or weakness. On the other hand, yet another ubiquitous trend of statement t-shirts was used as a template for creating antimanifest, always subtly packed into a marketable and aesthetically-priced branded consumer goods.

    The project was realized and supported by the City Office for Education, Culture and Sport of the City of Zagreb in collaboration with Miroslav Kraljević Gallery.

    Inner connections

    Inner Connections is a multimedia project created by artists from the Russian Federation which encompasses the work of visual artists and musicians who are connected both professionally and personally. Artists: Petr Zhukov, Kirill Shirokov, Sasha Elina and Darya Zvezdina.

    Inner Connections is a multimedia project created by artists from the Russian Federation which encompasses the work of visual artists and musicians who are connected both professionally and personally. The title Inner Connections refers to the work's character which is the result of their close collaboration and their (spontaneous) relationship to the surroundings and new situations. Such principle of work, which is based on close collaboration of artists and art groups, is a tradition in Russian art, often caused by the political situation. In this case it does not imply consolidation and solidarization with the aim of effectively achieving cultural goals, but continuous construction of new relationships within the group of collaborators and participants, which in turn results in new situations, events and experiences, leading to the creation of shared ideas that are turned into an instrument of general cultural work. From this perspective, the dimension of the space of honest and selfless relationships as a basis for creating artworks can be seen as a political act, taking into account the contemporary art scene and its internal relations and phenomena not just in Russia, but globally. Against the processes of individualization, self-sufficiency and finally alienation of man within the dominant contemporary social and cultural models, this concerns love as the basis of social interaction and the connective tissue of interpersonal action. 

    The exhibition is conceived as a presentation and expansion of two previous projects, The Return of a Curonian Pilot and Arctic 1 by Petr Zhukov, realized in collaboration with Kirill Shirokov (composer), Nikita Pavlov (photography director), Luisa Nobrega (performer), Daniil Zinchenko, Anton Kuryshev, Alexey Akimov and WOLFFX (music).
    The previous two projects and related exhibitions were conceived as 'structures' open to the layering of meaning depending on the context in which they are performed. They were created as a result of research and interaction with specific places where the artists had resided and presented the work. In addition to the existing places, namely, Nida in Latvia and the Siberian peninsula Taimyr, Zagreb is going to be the third of the total of four imaginary spaces in which this project is finalized. The access to each space includes the interaction between the subjective, sensory experience, mythology created through cultural history, and personal mythologies of people who are 'creating' this space (by living and working in it). The works are presented in the so-called live cinema form, which represents a relatively new genre in media art. It refers to a non-traditional way of projecting films that does not entail linear narration, but an interactive performance that gives the artist the freedom to experiment and improvise within different, previously selected media and materials.

    Presentation of the project consists of several parts:
    Performances of video films in live cinema form by the author Petr Zhukov: The Return of a Curonian Pilot (performed by Kirill Shirokov), Arctic 1 (performed by Kirill Shirokov, Sasha Elina, Daniil Pilchen and Darya Zvezdina).
    The presentation of the documentary series of concerts created by a group of musicians: The same (Kirill Shirokov and Sasha Elina), Deka (Kirill Shirokov, Daniil Pilchen, Darya Zvezdina), Thank you, I love you (Sasha Elina, Daniil Pilchen), The last mason (Kirill Shirokov, Daniil Pilchen), Chthonic loss (Kirill Shirokov, Vladimir Gorlinsky), and Meow (Sasha Elina, Vladimir Gorlinsky).
    The screening of a new film by Petr Zhukov Tomorrow will be the same. 

    Curator: Karla Lebhaft

    The exhibition was possible by the support of Grad Zagreb.
    Work of the Miroslav Kraljević Gallery is supported by Zaklada Kultura Nova.

    Maayan Amir i Ruti Sela: Image blockade

    “Image Blockade” is a new body of work by Maayan Amir and Ruti Sela that focuses on the intersection between the visual, political, and legal. The works, made within the framework of the Exterritory project, explore the ties between sensory perception, insubordination, censorship, and advanced technology and their links to the control of images.

    “Image Blockade” is a new body of work by Maayan Amir and Ruti Sela that focuses on the intersection between the visual, political, and legal. The works, made within the framework of the Exterritory project, explore the ties between sensory perception, insubordination, censorship, and advanced technology and their links to the control of images.

    Initiated by Amir and Sela in 2009, Exterritory is an ongoing art project dedicated to encouraging the theoretical, practical, and interdisciplinary examination of “extraterritoriality,” i.e. being excluded or exempt from the standard system of law within a designated area. The project uses the notion of extraterritoriality to critique power structures and re-imagine practical, conceptual, and poetical possibilities. The works in “Image Blockade” move beyond the straightforward geographical and judicial notions of extraterritoriality as it pertains to people and spaces to consider how the concept may be extended to regimes of information, representation, and practices that may produce “extraterritorial images.” The works raise many questions such as: How is the sensory perception of those who are obliged to keep information confidential over time affected? What are the limits of transparency when it comes to activism and documentation? What happens when images that may incriminate their creators are withheld from public view through legal means and cannot be used as evidence? Together, the works here offer a riveting look at attempts to regulate images and what that might mean for shaping our worldviews today.

    https://exterritory.wordpress.com/

    Curator: Chen Tamir

    The Battle Over Images

    On May 31, 2010, a flotilla of six boats carrying hundreds of people and humanitarian aid aimed at alleviating and protesting the ongoing Israeli siege of Gaza was intercepted by the Israeli navy on the international waters of the Mediterranean Sea. The takeover operation began with an attempt to shut down all satellite connections to and from the flotilla, marking the beginning of a battle over images. On board the largest vessel, the Mavi Marmara, a violent confrontation resulted in the death of ten activists and many wounded, including soldiers. After taking control of the ships, the Israeli military confiscated hundreds of memory cards from cameras, mobile phones, hard discs, and videos, to control the media portrayal of the incident. As a result, the international investigations of the flotilla incident have taken place without much of the vital visual evidence that remains out of
    bounds. As part of their research, the artists examined the various judicial investigations on the flotilla incident compiled by both Israeli and foreign bodies. The reports demonstrate that images were not only the major symbolic motivation for the confrontation, but that the fight over images shaped the battle onboard the Mavi Marmara and its aftermath. Selections of the reports are presented here with Hebrew texts taken from the report by the Public Commission to Examine the Maritime Incident of the 31 May 2010 (the Turkel Commission) and protocols from the Israeli Parliament meeting on 21 June 2012. These are presented alongside reports in English by the Turkish National Inquiry Committee and quotes from affidavits by the IHH (the Turkish NGO that was the main organizer of the flotilla) that were part of the indictment files submitted to the Istanbul Criminal Court when charges were pressed against senior IDF commanders (the latter now being tried in absentia in a trial ongoing since 2012). The reports demonstrate the centrality of controlling the creation of images and their circulation. The subsections on the wall correspond to four stages of the incident: the background and outset; the communications blackout; the physical confrontation; and the event’s aftermath.

    Scenarios Preparations
    2015, HD Video, 38:20 min.

    Maayan Amir and Ruti Sela created the Exterritory project as a platform to investigate the potential of the extraterritorial sea space to circumvent the control of national sovereignty. In 2010, Amir and Sela invited a variety of participants to meet on extraterritorial waters to further explore the concept of extraterritoriality. A few days before they set sail, the 2010 Gaza flotilla was intercepted on international waters by the Israeli military. The conjunction in time and space of these two flotillas—both politically motivated, both placing image production at their center, both marked by the crucial role of extraterritoriality—led the artists to look further into the complex politics of extraterritorialities. A year later, in light of what happened and continuing their investigation of the subject, the artists joined the preparations for the next flotilla that was being organized by a Dutch NGO. Scenarios Preparations is comprised of footage filmed during preparations for the action that were held in different locations. Due to the sabotage of some of the boats as well as restrictions imposed by the countries from which the boats were to set sail, the flotilla was cancelled. The video depicts the anticipation of the event’s documentation and explores issues of activism,
    censorship, image production, and the performativity of national identity.

    This work was made with support from the Rijksakademie van beeldende kunsten, Amsterdam.

    Prosecution

    The flotilla, known also as the Gaza Freedom Flotilla, was conceived as a high-profile media event and was equipped with live broadcast infrastructure and reporters who were onboard the vessels. As soon as the violence erupted, and despite Israeli military attempts to block transmission, images of the confrontation began to reach viewers worldwide, including footage of one of the soldiers who climbed down a rope from a helicopter onto the deck of the ship. The images circulated widely in Turkey and beyond and consequently the soldier sued the military for damages. On April 11, 2014, Israel's Channel 2 News ran a report on the lawsuit and frames from the news report are presented here that distill moments from the report. The centrality of the battle over images aboard the Mavi Marmara is echoed in how the soldier perceives the damage caused by the incident. Concentrating on these subtleties raises questions about the hierarchy between action and documentation, and the legal and theoretical issues surrounding the ownership of images.

    Stills from Channel 2’s “Return to Marmara” by Guy Peleg; Footage by Tomer Ilan; Edited by Yaniv Shabtai

    Extras

    2012, HD Video, 00:20 min.
    Transcranial Magnetic Stimulation (TMS) technology enables the noninvasive manipulation of the brain by electromagnetically stimulating magnetic fields. Recent developments make possible the control of body movement. The work depicts a collective choreography created by the artists using the latest developments in TMS technology for a group of extras cast through a talent agency. The work raises questions about the development of technology that bypasses the privacy and autonomy of movement and the limits of individual agency.

    Image Blockade

    2015, 2-channel HD Video, 38:30 min.
    In September 2014, veterans of Israel's elite army intelligence unit called “8200,” many of whom were still on active reserve duty, signed a letter publicly addressing the state's political and military leaders and declaring their refusal to continue taking exploitative action against Palestinians in order to maintain military control of the Occupied Territories. Though they were refusing to continue their military service in order to instigate a policy change, the signatories were still committed to upholding national security and therefore adhered to censorship laws and did not reveal their identity. As a consequence, all media interviews with
    them were performed with their faces obscured. “Image Blockade” documents an experiment the artists initiated in collaboration with neuroscientists at the Weizmann Institute of Science. The subjects of the experiment consisted of two groups: other veterans of the 8200 intelligence unit and a random control group. The participants had their brain activity scanned using MRI technology while watching clips from media interviews with the dissidents. These reports had been approved for broadcast by military censors, but since the dissidents’ faces had been darkened, the footage was easily manipulated by the artists, who inserted additional information into it. The added material was bout state use of intelligence that most likely would not have passed the military censor. The subjects of the experiment were asked to identify which clips had been altered and what would or would not have been censored. Each participant’s brain activity was measured while viewing the interviews to reveal how
    such information is read differently by people who have undergone the military’s training in self-censorship. The distinction is visible when comparing the two groups’ brain activities, especially around sensory regions of the brain such as the visual and auditory cortices. Made in collaboration with scientists Hagar Goldberg, Meytal Wilf and the Rafi Malach Research Group, The Department of Neurobiology, the Weizmann Institute of Science. With thanks to Dr. Edna Furman-Haran, Nachum Stern, and Fanny Attar from the Human Brain Imaging Laboratory at the Weizmann Institute of Science and to Dr. Doron Friedman.

    This work was made with support from the New Museum, New York, the
    Ostrovsky Family Foundation, Artis, and the Israeli National Lottery Arts

    The exhibition is financed by the City of Zagreb.
    Work of GMK is supported by Zaklada Kultura nova.

    Stones are found where they are thrown

    With the exhibition “Stones are found where they are thrown”, we present the curator collective Kulturfolger from Zurich. Curators of Kulturfolger, Lisa Lee Benjamin and Petra Tomljanović, in the gallery Miroslav Kraljević will present a California artist with Swiss residence Brigham Baker.

    Exhibition opening: June 30th at 8 PM
    Quote club (reading group): July 7th
    Artist talk with Brigham Baker: July 14th

    Kulturfolger says yes!  Playing with references, appropriation, text, images, classification, entities, and myths; blending ideas and collaging time which resists and reworks linear conceptions of history, evolution, and ecology. Kulturfolger is a work in progress and advocates for uncomfortability, uncertainty, ambivalence, abundance, acceptance and embraces the undefined, deviating from the pursuit of truth or the possibility of doubt.  A field between scientific and poetic interpretation is occupied. Philosophy, mathematics, sociology, ethnography, science, semiotics, art and the Internet are employed as reflective tools and instruments of access. Kulturfolger wonders how the entropy of the generic influences conditioning and ideas of culture, and how to transcend, transverse, transform current cultural articulations into contemporary conversations? Kulturfolger asks – What is curation in the age of limitless information, multiplicity of identities, voices and opinions?  How to explore, explode conditioned expectations through discernment and selection, yet still hold space for a multitude of truths, beings and processes? Apprehending the infinite variety of being through a spectrum, parallelism, through heterogeneous detonations. The world – simultaneously natural, artificial, designed, wild, engineered, rough and sweet contends with our personal parameters shift shaping to our many points of attention. This is our natural environment in which we love the ARTificial.

    Let’s reject the idea that nature is an idol, something, an object, an entity and is inherently inadequate, without value or meaning, and that it needs culture to be complete. There is no external nature to provide us with an independent field of action. Let us create “natural acts” which do not subjugate nature to culture. Why wouldn’t we comprehend culture as something that nature does?

    ***

    Every month, new theme, new artwork. Who are the participants in the dialogue, who wants to play by the rules? The artist, curator, the public, Lucretius, Serres? They all have a right to speak in a fugue titled NOISE. The theme for July – noise: cacophony, a constant – an assailing parasite and the one we want to capture, embody and utilize …the noise is an omnipresent consistent chaos (Serres).

    From Serres’s noise, over calibration instruments of the river flow, to Lucretius. Let us situate Brigham Baker in this peculiar context – let’s index him through Lucretius and Serres, from antiquity to this day, in a vortex of space matter compiled from an infinite number of atoms which randomly move through space, like specks of dust colliding under rays of sunlight, merging and forming complex structures, only to diverge again in an incessant process of creation and destruction.

    Lucretius gives us clinamen which relates to the swerving and deflecting of celestial configurations; from the arch of the Sun and the unpredictable swerve of atoms which move and collide in the Universe. Inclinations, declinations, statues. Lucretius gives us physics before physics.

    In the eternal motion of nature, where do we find moments of stasis, contemplation?

    We realize that time does not only flow linearly…or laterally, but goes through stop points, cracks, confluences, lightning trajectories, accelerations, rifts, cavities, and all that occurs at random… Time flows in an exceedingly turbulent and chaotic manner; it drips, filters, drains, discharges, washes away, leaks. Serres shows us how chaos and percolation are intertwined.

    Can we find traces of clinamen in Brigham Baker’s Reworking Alluvium? Or, perhaps the Universe created in a lightning turbulence where matter and forms of natural and cultural origin are jointly deposited, rearranged; their lightning trajectories deafen the gallery space.

    How to inhabit the dynamic threshold between nature and art, control and unpredictability, architecture and randomness of events, the tensions between composition and improvisation, achieving results and fostering the freedom of sound? How to listen to noise? How to play with noise?

    Kulturfolger, June, 2017

    Nina Kurtela / 365 routines (work in progress)

    In May 2016, Hana Erdman and Nina Kurtela began the project “365 routines”. Two artists take turns making eight counts of movement on a daily basis in order to arrive at a one year long choreography.

    Artist talk will be held after the final performance on Tuesday 20.06 at 20h

    Nina Kurtela / 365 routines
    (work in progress)

    Performances / open rehearsals will be held:

    Friday 16.06 at 20h
    Saturday 17.06. at 20h
    Sunday 18.06. at 20h
    Tuesday 20.06. at 20h

    Video installation can be viewed from 16. to 24.6 in the working hours of the gallery:
    Tuesday - Friday (12-19)
    Saturday (11-13)


    Concept / Video Performance: Nina Kurtela and Hana Erdman
    Performance in GMK: Nina Kurtela and Maja Marjančić
    Video editing: Nina Kurtela


    In May 2016, Hana Erdman and Nina Kurtela began the project “365 routines”. Two artists take turns making eight counts of movement on a daily basis in order to arrive at a one year long choreography. The sequence is built alternately. They record the movement on video and share it over email, every time beginning where the last movement left off. Accordingly the sequence increases by eight counts every day and in one year reaches 2,920 counts or 48 minutes.

    This choreography demonstrates the on-going communication between two different environments, locations, languages, identities, spaces and times. A common space is generated through the execution of this task. Through this daily ritual Kurtela and Erdman engage in an imaginary space of belonging that is no longer physical or territorial, but it's more of an emotional space, an abstract space. With this choreography they create a fictional space, not geographically located. The dancing becomes home for them.

    They are interested in notions of continuity, dedication, communication and sharing. By translating the movement material from the video archive (documented in different locations around the world – from Taipei to Los Angeles) they looking at the movement and the body affected with conditions of todays young makers - constant mobility, dislocation, homelessness, exhaustion - traveling and creating work with space and time limitation. At the same time they are exploring the simple notions of a dance phrase and what does it means today in context of contemporary dance and choreography.

    In GMK Nina Kurtela will present first phase of a research in a form of open studio/ open rehearsal where audience is invited witness their learning process of the 48 minutes long dance sequence.

    Supported by:
    Dance center TALA
    Ministry of Culture of the Republic of Croatia
    City of Zagreb

  • Ivan Marušić Klif: Phase shift

    The exhibition "Phase shift" is a multimedia installation by Ivan Marušić Klif created for a space, software, four cameras, four televisions, light and a visitor.

    The exhibition "Phase shift" is a multimedia installation by Ivan Marušić Klif created for a space, software, four cameras, four televisions, light and a visitor.

    In technical sciences, the phase shift is the difference in the oscillation phase of two equal frequency processes. In this artwork, the shift occurs at two levels: in space and in time. The cameras are located in different places in space, equally spaced in the same direction, and their movements are mutually delayed.

    Unlike most Klif’s installations that evoke technological spectacle, here everything is subtle: there is a table with four televisions and one chair in front of it - a call to visitors to take time and observe. The texture of the video we see on four small TVs is often gentle, occasionally with a lot of grain in the picture. We hear a light white noise that is slightly modulated by changes in the brightness of the picture, while the light changes slowly according to camera movements. The cameras capture objects in space and their shadows, details of architecture, and a few drawings on the wall. As they always record the same object but from different angles, we get the impression of movement, i.e., frozen frames of some moving sequences. Looking at the sequence of cadres and always a little different rhythm of their changes, we are trying to link the images we see in some narrative - a series of images in the story - although the order of change is determined by accident.

    www.klif.tv

    Many thanks to: professor Karmen Farac Turković, X. Gymnasium (Zagreb), Natural History Museum in Zagreb, Dario Weygand, Nataša and Tanja Kanceljak, Nicole Hewitt.

    * The exhibition Fazni pomak is supported by: City of Zagreb and Ministry of Culture of Republic of Croatia. Program and work of Gallery Miroslav Kraljević is supported by ZakladaKultura Nova.*

  • Open studio: Vanda Kreutz

    Miroslav Kraljević Gallery is continuing with the Open studio program in which the gallery becomes workspace for the artists while at the same time being open to the public. This year’s second program hosts artist Vanda Kreutz.

    Miroslav Kraljević Gallery is continuing with the Open studio program in which the gallery becomes workspace for the artists while at the same time being open to the public. This year’s second program hosts artist Vanda Kreutz.

    During the Open studio artist will focus on the research of sounds and frequencies generated as a product image/video which devices such as TVs, DVD players and projectors performe through its own interpretation of sound. In her earlier research Invisible light basic concepts are deviation, accident and invisible movement of light "pixels". While further research of these elements introduces a "spectacular" water as a new research topic. Seeking the particles of light and sound waves in everyday public application, she has decided to focus on the fountains of the City of Zagreb. The way in which the fountain water moves is associated with continuous motion in nature, and at the same time affects the human senses, for example, vision, hearing, smell and touch. The sound that makes the movement of the water is faster than the artificial light which is ubiquitous in modern fountains. Digital recording of the fountainin the gallery creates a digital murmur.

    Open studio will be open for visitors on previously announced dates.

     * The project is supported by: City of Zagreb and Ministry of Culture of Republic of Croatia. Gallery is supported by Kultura Nova.*

    LMU/ALU: Places outside the main thing somewhere in midle of the row and under roofing.

    We are inviting you to the exhibition opening as a result of collaboration between London Metropolitan's Cass Faculty of Art, Architecture and Design and Zagreb Academy of Fine Arts, Department of Animation and New Media. Besides the exhibition we will present the publication celebrating ten years of collaboration.

    We are inviting you to the exhibition opening as a result of collaboration between London Metropolitan's Cass Faculty of Art, Architecture and Design and Zagreb Academy of Fine Arts, Department of Animation and New Media.

    Besides the exhibition we will present the publication celebrating ten years of collaboration.

    Students:

    Jason Mulhausen, Marko Gutić Mižimakov, Dean Hamer, Romano Dautanac, Marta Stražičić, Fran Oršanić, Merlin Massara, Hamer Faramarziha , Adele Lazzeri, Toby Tobias and Anna Oczkowicz

    Project coordinators: Nicole Hewitt, Ben Cain and Vida Guzmić

    Supported by: Ministry of Culture of the Republic of Croatia, City of Zagreb
    Academy of Fine Arts Zagreb, The Cass London Metropolitan University

    Open studio: Šumovi protiv valova

    This year’s first program hosts avant-garde instrumental group from Zagreb: Šumovi protiv valova. Šumovi are: Hrvoje Nikšić, Hrvoje Radnić, Ivan Čadež i Jerko Jurin, who have all been active members of the local music scene for over a decade.

    Miroslav Kraljević Gallery is continuing with the Open studio program in which the gallery becomes workspace for the artists while at the same time being open to the public. This year’s first program hosts avant-garde instrumental group from Zagreb: Šumovi protiv valova. Šumovi are: Hrvoje Nikšić, Hrvoje Radnić, Ivan Čadež i Jerko Jurin, who have all been active members of the local music scene for over a decade.

    In their contemporary audio collages free dissonant audio landscapes, referring to the musique concrete, classic proto-electronic music compositions and 60s psychedelic music, are intertwined with percussional, pulsating and rhythmic structures inherent to kraut rock music and melodic passages typical for the aesthetics of more contemporary musical tendencies.

    An intimate gallery space open to improvisation and experiment will become a perfect scenery for the band whose performances usually develop freely and spontaneously. During their stay the artists will, inspired by the situation and the atmosphere at the gallery, try to discover new musical forms and unify them in brand new compositions.

    Open studio will be open for visitors on previously announced dates while final presentation will be held on March 25th at 8 PM.

     

    * The project is supported by: City of Zagreb and Ministry of Culture of Republic of Croatia. Gallery is supported by Kultura Nova.*

    UFO - Ana Vuzdarić and Marko Gutić Mižimakov

    The exhibition is part of the project "My sweet little lamb (Everything we see could also be otherwise)" which presents works from the Kontakt Collection in Vienna along with other historical, contemporary and new works that provide interpretations and critical rethinking of the collection. The Nameless One is a construct and a fantasy by Ana Vuzdarić created specifically for the project My Sweet Little Lamb (Everything we see could also be otherwise). #000f-chan came about as a result of Marko Gutić Mižimakov’s need to leave Facebook and relinquish the care of his nine-year-old profile to someone else.

    U.F.O., 2017

    unknown flying object
    unknown fantasy object
    unknown female object
    unknown facebook object
    unknown fragmented object
    unknown futuristic object


    THE FIRST STEP: #000f-chan and The Nameless One

    The Nameless One is a construct and a fantasy by Ana Vuzdarić created specifically for the project My Sweet Little Lamb (Everything we see could also be otherwise). The Nameless One is a collection of fragmented information that is accessed through a text-based game, the so-called text adventure. The Nameless One exists in a dystopian near future – more precisely in 2020 – where mankind has destroyed itself. The Nameless One is a manifestation of the author who finds it easier to imagine the end of the world than the end of capitalism.

    #000f-chan came about as a result of Marko Gutić Mižimakov’s need to leave Facebook and relinquish the care of his nine-year-old profile to someone else. Functioning as a bot and a fraud image, #000f-chan (or simply f-chan) had appeared in different stages of computer generated imagery even before Vuzdarić contacted Mižimakov.

    THE SECOND STEP: Contact

    As two not entirely formed characters, f-chan and The Nameless One inhabit the space of the gallery for the duration of the exhibition. By taking over the function of the artist from the virtual space of Facebook, f-chan is transferred into the gallery space and is continually present through a “real-time broadcast”, while the text adventure of The Nameless One can be accessed in the gallery through QR codes.

    THE THIRD STEP: U.F.O.

    On the last day of the exhibition, f-chan’s broadcast into the gallery and The Nameless One’s text adventure will end, thus leaving a brief trace of their contact.
    ***The Namless One can still be found on following links:

    ____________________________


    The exhibition is part of the project "My sweet little lamb (Everything we see could also be otherwise)" which presents works from the Kontakt Collection in Vienna along with other historical, contemporary and new works that provide interpretations and critical rethinking of the collection. Founded in 2004, the collection includes capital works by a number of the most prominent artists from Central, Eastern and Southeastern Europe from the 1960s onwards. The project is dedicated to Mladen Stilinović (1947-2016) and is named after his work from 1993. "My sweet little lamb (Everything we see could also be otherwise)" will take place over several months (November 2016 – May 2017) in six episodes in various gallery spaces, ateliers and private apartments. The project is curated by WHW in collaboration with Kathrin Rhomberg.

  • In Situ – missing objects

    Third year in a row GMK is organizing “Tvornica” project as one of our core programs. In this project young artists chosen through an open call are given the opportunity to have their own exhibition with the institutional support provided by the Gallery.

    Third year in a row GMK is organizing “Tvornica” project as one of our core programs. In this project young artists chosen through an open call are given the opportunity to have their own exhibition with the institutional support provided by the Gallery. Nowadays, when state funding for independent culture is miserable, GMK tries to act as a catalyst and a development platform offering artists advisory and financial support much needed in the production of the new work. Once a year we have an open call for the production of new work open to artists up to 35 years that are willing to apply with works in their initial phase. After exhibitions by Iva Cepanec Masters in September 2014 and Ana Kuzmanić in December 2015, this year we have chosen the proposal titled “In Situ – missing objects” by Dora Đurkesac and Karla Paliska.

    “In Situ – missing objects” is an artistic research primarily focused on processes and ways of perceiving our environment with further aim of creating new methodologies in researching space. Originating from sociological, cognitive and physical points of view, artists are interested in relations between existing concepts of space, but also their potentials and limits in describing new dynamics of their production.

    Aim of the project is finding new articulations of urban and public spaces through active participation of their citizens. Urban and public space is not only perceived as a result of physical and social interactions and their relations, but also as a place of continuous transformation which emerges due to complex interconnection of technology, media, society and public space. In this emerging ecology, the role and the meaning of every factor – public space, urbanity, technological tools, new media – must be reconceptualized, taking into account possible ways of transforming processes of production of the public space.

    Dora Đurkesac and Karla Paliska are interested in new virtual spaces and practices that can help us articulate, or even directly intervene and refine, public space recognizing a public sphere inside a public space. Their mission is questioning of every form of social interactions, experiences in a public space and possibilities of their translation into a virtual space. Researching existing, abstract, applied and maybe at first unrelatable concepts of space whilst producing new and speculative conceptions of space helps us deepen our understanding of it. Furthermore, their goal is to develop virtual experience platform which would enable citizens’ reflection and creation of new spaces/contents while real and virtual remain intertwined.

    This exhibition represents the first phase of the project based on the contributions of the citizens and their rethinking of the environment around Gallery which will include different representations of space aimed on further development of a platform for rethinking and recreating public space.

    The project is supported by: City of Zagreb, Ministry of Culture of Republic of Croatia, INA - Industrija nafte d.d. and EKS Scena Zagreb. Gallery is supported by Kultura Nova.

    eteam: Waypoint, Follow, Orbit, Focus, Pano, Track

    For their most recent exhibition at Miroslav Kraljevic Gallery, eteam (the New York-based duo Franziska Lamprecht and Hajoe Moderegger) engaged in a multimedia project titled Waypoint, Follow, Orbit, Focus, Pano, Track. The whole endeavor started with the artists visiting Croatia last summer, in an effort to research a peculiar camouflage design of Croatian military uniform which, in order to render a person concealed, incorporates the geographical mapping shape of Croatia itself.

    For their most recent exhibition at Miroslav Kraljevic Gallery, eteam (the New York-based duo Franziska Lamprecht and Hajoe Moderegger) engaged in a multimedia project titled Waypoint, Follow, Orbit, Focus, Pano, Track. The whole endeavor started with the artists visiting Croatia last summer, in an effort to research a peculiar camouflage design of Croatian military uniform which, in order to render a person concealed, incorporates the geographical mapping shape of Croatia itself. This intriguing issue, found by the artists through their initial online research, is in fact very much along the lines of eteam’s constant interest in disappearance, (in)visibility, land and its numerous uses in public and private contexts. In this newest project, the topics of disguise, appearance, absence and surveillance were further researched through eteam’s travel through Croatia and finally implemented through the exhibition featuring the video Waypoint, Follow, Orbit, Focus, Pano, Track, several paper mâché sculptures, a photograph and a novel The Case of Distance Disengaged. The visited locations, extensively presented in the book form as well as captured in the video, included a factory that makes military uniforms, then Liberland (a territory of the self- proclaimed nation on a small terrain between Croatian and Serbian border, which appears and disappears depending on the water levels of Danube river) and small Croatian islands - pieces of land that occasionally (dis)appear due to high tides of the sea. All of these stages were intertwined with daily anecdotes and casual meetings with people in urban and suburban surroundings that also influenced eteam’s observation of places and reflections on the topics mentioned.

    The novel, with its narrative that combines stream of consciousness writing with detailed reports while also blurring fact and fiction and present and the past, incorporates the elements of numerous genres such as travelogue, diary, autobiography and critique of existential subjects. It also contains snapshots of often neglected details from our surroundings that suddenly come to life and become poignant symbols. At times humorous, the other times poetical, contradictory, critical or sharply analytical, the artists offer their ruminations on being an outsider (particularly as a tourist, or as a contemporary artist invited to do a project in some new context), as well as on citizenship, borders, the natural vs. the man-made, the interconnection of global and local events, familiarity and alienation, construction of history and memory and the notions of displacement and belonging to a particular place. The little details that eteam encounters often trigger reminiscences of the artists’ personal past and current situation of living as Americanized Germans and navigating most recent social, political and ecological issues from this double perspective.

    The ambiance in the gallery is shaped by several elements: the photograph, the video and the sculptures. It complements the novel in the form of a temporary situation that works on more abstract level as it reconstructs the travel and the artists’ impressions through bits and pieces (such as the enigmatic photo print of an old light switch at the gallery entrance). The sculptures can be seen as playful reinterpretations of the geographical formations of the islands that extend from the ceiling towards the viewer as a mirror image of landscape seen from an aerial perspective. The video Waypoint, Follow, Orbit, Focus, Pano, Track is a collage of footage taken during their journey (some of it taken by a “bird’s eye” of the drone camera), accompanied by suggestive sounds that build up the surreal atmosphere. The video adds an additional layer to the exhibition; by utilizing the specific qualities of the drone camera surveillance imagery, it explores the (in)visibility as well as the relationship between nature and technology.

    eteam’s works are often described as durational performances captured in various mediums ranging from books and photographs to multimedia installations, staged collective actions and the Internet, often with unpredicted and absurd outcomes. Their work has been shown at MoMA PS1, New York; EYEBEAM, New York, Smack mellon, New York; Art in General, New York; MUMOK, Vienna; Momenta Art, Brooklyn; New Museum, New York; Neues Museum, Weimar; Museo Nacional Centro de Arte Reina Sofia, Madrid; Centre pour l’Image Contemporaine, Geneva; and Transmediale, Berlin, among others.

    Curated by: Željka Himbele

    Coordination: GMK + Tina Rajić

    The project is supported through FACE Croatia grant and funding from The City College of New York and The City of Zagreb.

  • Petra Milicki and Anika Schwarzlose: Monuments of the Future

    Project Monuments of the Future by Petra Milički and Anika Schwarzlose is a study of monumental places and objects in the light of increasing digitalization and networked communication. Project is a combination of theoretical research with a praxis based approach and an opportunity to establish collaborations with artists, theorists, ­researchers and scientists in different countries, such as Croatia, Netherlands and Germany.

    Project Monuments of the Future by Petra Milički and Anika Schwarzlose is a study of monumental places and objects in the light of increasing digitalization and networked communication. Project is a combination of theoretical research with a praxis based approach and an opportunity to establish collaborations with artists, theorists, ­researchers and scientists in different countries, such as Croatia, Netherlands and Germany.

    Our environment is changing radically. Debate and expressions of nostalgia or violence have partly migrated into the digital realm, where they form a new memory culture. At the same time material substance of monumental objects is in the process of disappearing – by active destruction, weathering, decay or obsolescence – and is subsequently replaced by different digital representational techniques.

    How exactly the recent expansion of digitalization and archiving techniques has affected our perception of monumental places and objects. How did it change their symbolic value? How will it affect the way we commemorate and process historic events?

    Petra Milički and Anika Schwarzlose will present a work in progress: a web platform which collects sculptures that have been removed from public space for different reasons. This collection will be used as source material to build a virtual sculpture garden. A digital refuge and exhibit for once public objects –with the aim to investigate the relationship of material substance and digital representation. What happens when historic events are memorized with monumental objects? What is the effect of those objects becoming transformed to digital representations, and what gets lost in translation?

    On display will be as well: 'Monuments of a Yugo-sized Global Village' a video by Petra Milicki, and 'The Law of Good Gestalt' a short film by Anika Schwarzlose and Brian D. Mckenna.

    Project is supported by: City of Zagreb and Creative Industries Fund NL

    Petra Milički (www.petramilicki.com) is a media designer-artist based in Zagreb. She aquired her education in visual communication (School of Design, Zagreb) and media design (Piet Zwart Institute, Rotterdam). In her practice she is interested in the interpretation of collectively produced found material, as well as the construction of media spaces that facilitate such production. Currently she is curious about different phenomena of memory culture and politics developing in the new media ecology. She works as a freelance media/graphic
    designer, mostly for cultural initiatives and institutions, and is a part of the D Day Festival's organising team.

    Anika Schwarzlose (www.anikaschwarzlose.com) was born Berlin, Germany. She received a BFA from the Gerrit Rietveld Academy in Amsterdam and a MFA from the Konsthögskolan i Malmö, Sweden. Her work is exhibited internationally in spaces such as FOAM / Amsterdam, Fotomuseum Winterthur, Institute for Art and Thought / Berlin, Bemis Art Center / Omaha, Nebraska, W139 / Amsterdam, Gallery Format / Malmö, De Brakke Grond / Amsterdam, V Art Center / Shanghai and Gallery Almanaque / Mexico City. She has given presentations and has taught workshops in places like the Rockbundmuseum, Shanghai / the ICA, London / the PR project, Moscow and The University of Lethbridge, Canada. She lives and works in Amsterdam.

    EAST CALLS / CURATORIAL RESIDENCY / SPRING 2017

    The first East Calls Curatorial Residency is jointly organized by Easttopics (Hungary) and G-MK (Croatia) in Spring 2017, on the topic of Precarity in Art.

    The topic of Precarity in Art mirrors the actual situation in both countries: Hungary has endured a severe shift in cultural policies since 2011, resulting in the desertification of the contemporary art scene and generating new artistic reflexes, independent and alternative ways to operate. Croatia is presently undergoing the same kind of restructuration, foreshadowing an oppressing cultural political climate and situation for the years to come and already witnessing the unprecedented solidarity of the art scenes in a need to act.

    Topic: Precarity in Art

     Dates: April 1-­30, 2017

    Location: Budapest (Hungary) and Zagreb (Croatia)

    The first East Calls Curatorial Residency is jointly organized by Easttopics (Hungary) and G-MK (Croatia) in Spring 2017, on the topic of Precarity in Art.

    The topic of Precarity in Art mirrors the actual situation in both countries: Hungary has endured a severe shift in cultural policies since 2011, resulting in the desertification of the contemporary art scene and generating new artistic reflexes, independent and alternative ways to operate. Croatia is presently undergoing the same kind of restructuration, foreshadowing an oppressing cultural political climate and situation for the years to come and already witnessing the unprecedented solidarity of the art scenes in a need to act.

    The residency lasts one month and is divided in two time blocks,the first one in Budapest (Hungary) between April 3-­15 and the second one in Zagreb between April 17-­30. The purpose of this residency program is to engage with the thematic of Precarity in Art by connecting international curators with those protagonists of the Hungarian and Croatian cultural scenes who were/are working with minimal financial, spatial or temporal resources, and to map the answers they give to such situation.

    The program in each country is articulated around three main pivots: a general overview of the contemporary art scenes of both countries, a focus on the institutions, self-­‐organized structures and art professionals dealing with or functioning in precarity, and finally a personally tailored part shaped according to each participant’s points of interest.

    Participation fee: 1.000 EUROS

    The fee includes the use of office facilities, entry fees of museums and special events, public transport in Budapest and Zagreb, inland transport for provincial venues, transport between Budapest and Zagreb. The fee also covers the production costs or a final publication realized on the topic of the residency program.

    Travel to Budapest for the start of the program and back at the end of the program, as well as accommodation expenses are NOT included.

    Please send a letter of intent and cv to:easttopics@gmail.com Application deadline: Jan 12, 2017.

    Selection process: Jan 19, 2017.

    For additional information, please contact us at:easttopics@gmail.com

     www.easttopics.com I www.g-mk.hr

    Nina Gojić: A Multilogue for Later

    The exhibition is part of the project "My sweet little lamb (Everything we see could also be otherwise)" which presents works from the Kontakt Collection in Vienna along with other historical, contemporary and new works that provide interpretations and critical rethinking of the collection. The project is dedicated to Mladen Stilinović (1947-2016) and is named after his work from 1993. "My sweet little lamb (Everything we see could also be otherwise)" will take place over several months (November 2016 – May 2017) in six episodes in various gallery spaces, ateliers and private apartments. The project is curated by WHW in collaboration with Kathrin Rhomberg.

    In the dramaturgical intervention "A Multilogue for Later" Nina Gojić examines the possibility of creating new systems in the art scene and models of cooperation and solidarity among cultural workers. Her research is based on the thesis about the continuity of self-management and self-organizing practices in the Yugoslav cultural space resulting from non-alignment, which today function as a tangible alternative to the neoliberal logic which is increasingly shaping the management of culture. The idea of non-alignment is extended to the development of the discourse on still unformed collectives, unfinished or not yet started processes which, on the level of cultural production, become a potential basis for imagining new communities. The work consists of two events and a soundmap that the author created through conversations with her previous collaborators. Starting from the reflection on the idea of cooperatives in culture, the work also questions the collaborative models and the sharing of resources in the art scene. The dramaturgy of the multilogue is realized on three levels: through the spoken text, through the way the text is edited, and through the minimally choreographed gallery space.

    Sound design: Iva Ivan
    Set up design: Tea Truta

    The audio installation is on view until November 26. For the duration of the exhibition there will be two public events. More details about the program will be available soon.

    The exhibition is part of the project "My sweet little lamb (Everything we see could also be otherwise)" which presents works from the Kontakt Collection in Vienna along with other historical, contemporary and new works that provide interpretations and critical rethinking of the collection. Founded in 2004, the collection includes capital works by a number of the most prominent artists from Central, Eastern and Southeastern Europe from the 1960s onwards. The project is dedicated to Mladen Stilinović (1947-2016) and is named after his work from 1993. "My sweet little lamb (Everything we see could also be otherwise)" will take place over several months (November 2016 – May 2017) in six episodes in various gallery spaces, ateliers and private apartments. The project is curated by WHW in collaboration with Kathrin Rhomberg.

    Living in The End Times

    Participants: Amy Balkin et al, Aurélien Gamboni & Sandrine Teixido, Rikke Luther, Maja Moesgaard and Joen Vedel.

    Curator: Katarina Stenbeck

    We live in a time of global warming, environmental degradation and radical transformations in the Earths ecosystems.The effects of capitalism and Western modernity have interrupted the systems of the planet that sustain us and all living beings to the extent that life for future generations will become increasingly difficult. How are we affected by this cancellation of the future?

    The exhibition Living in the End Times explores the eco-crises of our time and its affective dimensions. Taking as a premise that all aspects of our Western lives are interlaced with a destructive system, it asks how can we respond to a world in radical transformation due to ecological degradation, climate change and massive species extinction?

    Despite our insight into the destructive effects of our life in the Western hemisphere and its’ grave consequences for all life on the planet we seem unable to act in accordance with this knowledge. One reason for this has to do with the abstract quality of scientific data, which tends to make it impalpable. Another has to do with the temporal character of the data; it seems that since the damage has already occurred it is too late to act. In addition to this, the perspectives of climate change are overwhelming in their demand for a radical transformation of the way we live. Confronted with climate change we seem to be in an impasse between the impossible and the inevitable. Rather than demand political action and change our everyday praxis we often experience a sense of powerlessness in relation to climate change. In her text The Anamorphic Politics of Climate Change political philosopher Jodi Dean argues that the totality of disasters of the anthropocene overwhelms us to such a degree that pacification results, and suggests that instead we change our perspective. Rather than addressing climate change and ecological devastation in its global entirety we need to adopt a partial perspective and detect the openings in this seeming impasse, which can generate possibilities for collective action and strategic engagement.

    With works by artists that address both the fragility and the urgency of our time, Living in the End Times seeks to connect the affective dimensions of climate change with the politics of everyday life. The exhibition is an invitation to consider which cracks we can open in order to create new meetings in the common struggle for a future.

    Events:

    6/10 7pm Opening

    7:30pm Live-edited film performance by Joen Vedel 

    22/10

    Group reading organized by Aurélien Gamboni discussing how to address issues of climate change and environmental degradation. The event is part of Aurélien Gamboni & Sandrine Teixido’s installation A Tale as A Tool. More info soon.

    Exhibition supported by: City of Zagreb, Ministry of Culture of Republic of Croatia, The Danish Arts Foundation and The Novo Nordisk Foundatio

    MAJA HODOŠČEK: DREAMERS

    The exhibition Dreamers presents the works that further develop the artist's attempts to discover new ways of articulating the ideas and meaning arising from the dominant language. 

    Dreamers 

    In her artistic practice, Maja Hodošček regularly collaborates with high-school students, aiming to use micro interventions to infiltrate the barely permeable tissue of educational institutions. Proceeding from a perception of schools as one of the institutions defining the dominant knowledge, the artist primarily addresses the students since they are the ones expected to embrace this knowledge unconditionally. She is interested in the students as thinking subjects, which is why she moderates only the initial content and the framework captured by the camera, while the students are in charge of the process itself and the specific reactions. Through the students' active participation and use of video, the artist seeks to increase the dynamism of the field of education, which is generally perceived as a rigid system defined by a multitude of rules.

    The exhibition Dreamers presents the works that further develop the artist's attempts to discover new ways of articulating the ideas and meaning arising from the dominant language.

    The video What is Community? (2016) is a continuation of the work Dreaming Society initiated at the exhibition We Need a Title at Škuc Gallery.[1] The work consisted of a series of workshops in which the participants defined their own reflexions on predetermined concepts such as community, democracy, but also dreams.

    The question "What is community?" forms the core of one of the visual experiments whose purpose was to reconsider the meaning of this rarely questioned concept. It was important for the artist to address that question to the members of a generation whose political voice is not taken seriously, while at the same time current political tendencies are shaping their future. For the purposes of the experiment, Hodošček presented several photographic documents which show the pioneer induction ceremony, the meeting of political representatives of the EU, media photos of refugees, and the OHO group in the village of Šempas where they had founded a commune. Despite being ideologically very different, these photographs function as a subtext for considering the idea of community, and the participants are asked to describe how they perceive the content of the exhibited images. Ultimately, their answers take the form of four drawings, and the process of drawing is recorded on camera. Even though all participants responded more or less equally to the content of the photographs, their understanding of community was vastly different. It is precisely this heterogeneity of understanding of a seemingly monolithic concept that interests Hodošček.

    This is why the video What is Community? presents the perception and imagination of community in a heterogeneous manner.

    Pointing to the fragility of this imaginary construct, the artist actualizes the issue of who is actually responsible for rendering its dominant definition.

    The philosopher and educator Michael Apple also discusses the fragile foundations of community: "Everybody should participate in determining what community is. It needs to be constantly rebuilt."[2] The reason for re-examining this construct is that its members are constantly culturally changing, which is why it is rarely that everyone participates; a homogenous community can never include everyone. That is why talking about everyone means negating the dominant culture that superficially presents itself as the culture to which everybody, regardless of their life patterns, must adapt. For today only the culture imposed by the majority holds any real power – the symbolic and the institutional one. It is indicative that only culture can be imposed institutionally, and, as Michael Apple claims, the school is one of those institutions that reproduce and deepen the inequalities resulting from the position of power and ability to access resources, which is why he sees it as a space where it is possible to achieve togetherness.[3]

    The video Rushing to my dance class, can't talk (2016) was inspired by a real event in which the school truly became a litmus test for inclusiveness – a recent attempt to accommodate refugees in the dormitory in Kranj.[4] The dormitory director's suggestion to accommodate a group of Syrian minors was rejected by both parents and school employees, followed by a number of demonstrations.

    From the work's title, Rushing to my dance class, can't talk, we can infer a failure of the usual verbal form of communication. In the video, the artist explores the means of communicating that which we do not understand through collaboration with young breakdancers from Celje, asking them to respond to the song Refugee to rap by the Syrian band Refugees of Rap. The translation of the lyrics is unavailable and the song becomes a rhythm that uses the form of the dominant hip-hop subculture even though it speaks in a different language. The dancers follow the rhythm and respond to it with movement, which is why translation is not a key element of understanding. Despite being influenced by the dominant subculture, neither Slovenian breakers nor Syrian rappers are reduced, that is, simplified in order to be understood. The French thinker Éduard Glissant wonders "how can one reconcile the hard line inherent in any politics and the questioning essential to any relation? Only by understanding that it is impossible to reduce anyone, no matter who, to a truth he would not have generated on hid own. That is, within the opacity of his time and place."[5]

    The opacity Glissant talks about can be used for imagining community based on knowledge and meaning produced communally, by everyone, respecting their heterogeneity as well as the right to produce their own truth. After all, regardless of whether there is understanding among members of specific cultures, the school as an institution participates in changing the world, and its ideological production of knowledge is never without consequences.
    Irena Borić

     [1]  Maja Hodošček's solo exhibition, Škuc Gallery, Ljubljana, 10 December 2015 – 15 January 2016.

    [2]   Košak, Klemen (2016), "Michael W. Apple. Interview with the philosopher and educator." In: Mladina 23. Ljubljana., p. 30.[3]   Ibid.

    [4]   Košir, Izak.(2016), "Šest otrok preveč" ("Six Kids Too Many"). Mladina. Source: http://www.mladina.si/172723/sest-otrok-prevec/, 14 August 2016.

    [5]   Glissant, Éduard (2005), Poetics of Relation. The University of Michigan Press: USA, p. 194.

    http://www.hodoscek.com/

    Exhibition supported by: City of Zagreb, Ministry of Culture of Republic of Croatia, City of Maribor
    Exhibition is opened till the 24th of September.

    Re-Making / Re-Mixing History - Alan Turing

    Radiona.org: Re-Making / Re-Mixing History – Alan Turing

    Machines take me by surprise with great frequency.
    Alan Turing

    Re-Making / Re-Mixing History project deals with innovators and scholars from Galileo to Alan Turing, observing them through hybrid art and hacker/maker culture, and consists of a series of separate exhibitions with the following themes: mechatronics, kinetics, robotics, device_art, interaction design, BIOart.

     Re-Making / Re-Mixing History deals with scientists renown as pioneers of their fields, but which due to the spirit of times in which they lived were persecuted, obstructed in their work, imprisoned, forced to emigrate or even deprived of life. Artist and philosophers throughout history were often viewed as heretics and opponents of the system in which they lived, but they did not stay alone in the fight for progressive ideas. Scientists and innovators also contributed by defending their inventions, claims or beliefs. On countless occasions all professions mentioned were embodied in one person, so a blend of art, culture and science is no stranger to the history of civilization. These forms of creativity constantly permeate throughout the history, thus giving the cultural history of science and art history the equal importance.

    Those scientists, often innovators, who went ahead of social circumstances by sacrificing many aspects of their lives for greater good, inspired Radiona's interdisciplinary collective. This is by no means a series of exhibitions about „martyrs“, as it is not a documentary exposition of work of particular scientists, but a series which will present different aspects of work and life of people which marked the development of civilization through intermedia works in the field of innovative and contemporary practice.

    Alan Turing – “electronic alchemist”

     Alan Turing is an unavoidable name in computer science, mathematics, logic, theoretical biology and cryptography, but he was also a member of the community of hackers and makers at a time when these concepts were not yet present on the horizon of everyday social context. Turing was not just a theorist. His work desk was one of a practitioner – piles of wires, breadboard, soldering irons... Fingers scorched by the hot soldering iron, he was what nowadays we call a hands-on person. Although he was convinced that algorithmic formulas and calculations should be implemented in practise, in many cases he ended up disappointed, since companies that led projects on which he worked did not permit this.

    Turing wanted to bring theoretical and speculative imaginarium of mathematics and logic to a final goal in the practice, like an alchemist, as he was attributed from primary school to the end of life. Only such a lucid mind could play a key role in decoding the Enigma and contribute to the faster end of the Second World War, but the enigma of his own life never existed – open and honest in his naivety he did not hide anything. Ready to make concessions when working with others, he could never agree to compromise with himself. Today we are left with a strange impression of a man who broke codes in the spying system of his time, but in the end he himself was spied on and rejected by the same system he served. This talented long distance runner, due to adverse social conditions which condemned his homosexuality, had to end the run of his life too soon. 

    Turing did not attract the Radiona lab just as the “father of the computer”, by his hypothetical machine or by a probability that he would in present times be a member of some community like hackerspace or makerspace, but also by his serious contribution to biology, namely the field of morphogenesis – the way in which phenomena obtain or change shape. Fascinated from early childhood by Fibonacci numbers which are reflected in the structure of leaves or colour patterns in animals, he developed mathematical models of forming of biological shapes. His studies in this field are considered to be a pioneering work of analyzing the algorithmic code of nature, where the distribution of chemical signal of this code is predicted with great precision, as is the way in which they determine the patterns of development of natural shapes. It is in the roots of this interdisciplinarity of his brilliant mind, which is not just mathematically abstract nor solely determined by the practice, where we see a reflection of today’s phenomena of biohacking, citizen science, DIY practices or civic participation culture.

    Turing machine

    Turing machine, conceived in 1930s, is a theoretical device which can execute any computing algorithm. The storage media is an infinite memory tape divided into cells, with the head which is used to read and write the content (a symbol) of a cell. An algorithm which the machine runs is defined as a sequence of instructions – depending on a current state and a symbol on the tape, an instruction says which symbol is to be written to the tape, to which state should machine make transition and which way should the head move. The machine executes instructions one by one until it terminates. The result is the final output. Turing machine is an abstract forerunner of contemporary computers.

    The Entscheidungsproblem (the “decision problem”) formulated in 1928 by German mathematician David Hilbert, Turing reformulated in 1931 using previous results of logician and mathematician Kurt Gödel on limitations of proof calculus, by developing a formal language based on the arithmetic and a simple hypothetical machine, later named the Turing machine. He proved that there is no solution to the decision problem, primarily by showing that it is not possible to algorithmically decide whether a Turing machine will eventually terminate.

    Next to the contribution of mathematician John von Neumann, Turing’s ideas which resulted in a hypothetical machine are an indispensable part of mathematical logic which lies in the foundation of the way in which today’s computers work. 

    -----------

    8/17/7 
    working hours:
    Monday - Saturday: 16 - 20
    Sunday: 10-13

    concept. text: Deborah Hustić
    machine: Igor Brkić
    design: Damir Prizmić

    editing: Vesna Zednik
    translation: Tin Perkov
    technics: Matija Kralj

    Organizer: Radiona.org
    Partner: G-MK

    Support: Ministry of Culture of Republic Croatia / City of Zagreb
    Media support: Kulturpunkt

     

  • As part of the programme of Festival Design District Zagreb 2016, on Saturday 18th of June, G-MK will host three lectures - by foreign designers Erik Olovsson and Alexandra Matz and Croatian designer Nina Bačun (Oaza). #ddz2016

    Details on these lectures and other interesting programs in the neighborhood can be found on the official website of the festival:http://designdistrict.hr/festival-2016/

    TIMETABLE:

    12 - 13:15 - Erik Olovsson

    13:30 - 14:45 - Alexandra Matz

    15:00 - 16:00 - Nina Bačun / Oaza

    Oliver Ressler & Dario Azzellini: Occupy, resist, produce

    Oliver Ressler & Dario Azzellini: Occupy, Resist, Produce
    3 – 25 June 2016

    The artist Oliver Ressler will present his work on the opening and he will be joined by Dragutin Varga, union representative of Regional industrial trade union and president of the workers steering committee in factory ITAS - Prvomajska d.d. from Ivanec (Croatia), one of the prominent advocates for taking over the factory.

    A 3-channel video installation by Dario Azzellini and Oliver Ressler
    97 min. (combined)
    2014 – 2015

    The economic crisis that began in 2007-8 led to layoffs on a massive scale, leaving thousands of newly unemployed workers with little hope of another job. Their response put workers’ control back on the agenda in Europe. For many years
    beforehand, factories had been occupied and recuperated almost exclusively in Latin America.

    In most cases an occupation is not a deliberate step towards workers' control but a means of workers' struggle against the closure of a production site or company or the relocation of production to another country. The struggles often fall apart without any concrete results. “Occupy, Resist, Produce” focuses on the rare, better organized cases where the purpose of the struggle is to bring production under workers’ control.
    The workers do more than protest, they take the initiative and become protagonists, building horizontal social relations on the production sites and adopting mechanisms of direct democracy and collective decision-making. The recuperated workplaces
    often reinvent themselves, building links with local communities and social movements.

    The 3-channel video installation “Occupy, Resist, Produce” consists of three films on occupied factories in Milan, Rome and Thessaloniki. In these cases the workers did
    find ways to organize labor under their own control. Each film is based on discussion with the workers. The workers' assemblies – always the main decision-making bodies – were recorded. It is fundamental to recognize the differences between the situations, contexts and practices of the three worker-controlled companies, but it is also important to understand workers’ control or recuperation of workplaces as a socio-political action rather than a merely economic procedure.

    Maflow, a multinational car parts producer based in Milan, closed its production facilities in 2009, with proprietor Italian Lifestyle Partners facing bankruptcy fraud charges. The workers began a struggle to reopen the plant under workers’ control. In 2013 they occupied the plant, and since that day 20 workers have participated fulltime in the project, completely reinventing themselves and the factory, which they renamed RiMaflow. Applying the concept of an “open factory”, the workers started recycling computers and electronic household devices, opened a bar and cafeteria, and organized a flea market and cultural activities with the local community. They
    also built alliances with local organic agricultural producers, creating a group for solidarity shopping.

    Officine Zero, formerly RSI (Rail Service Italia), once specialized in maintenance and repair of sleeping cars. When Italian railroads stopped running night trains in December 2011, RSI closed. Some 20 workers from a workforce of almost 60 refused to accept the closure, and in February 2012 they occupied their workplace. In 2013 Officine Zero was officially founded as an eco-social factory. Officine Zero literally means “Zero Workshops”: “zero bosses, zero exploitation, zero pollution”, as their new slogan puts it. In half a dozen workshops for carpentry, padding, metalwork and general repairs, the workers at Officine Zero focus mainly on the repair and recycling of domestic appliances, computers and furniture. The collective project aims to transform the former sleeping car repair shop into an industrial reuse and recycling center.

    Vio.Me. in Thessaloniki used to produce industrial glue, insulant and various other chemically derived construction materials. In 2010 the workers were sent on unpaid leave every 4-6 weeks. After the owner stopped paying wages at all, in July 2011 the workers decided to occupy the plant and take their future into their own hands. In February 2013 Vio.Me. began producing organic cleaning products and organic soap. Vio.Me. formed a cooperative in order to operate legally. However, Vio.Me. does not operate as a traditional cooperative. The workers do not consider the company their property but a common good that should serve the community.
    Vio.Me. has “solidarity supporters” paying a monthly fee in advance and getting Vio.Me. products in exchange. The solidarity assembly also supports the workers' mobilizations.
    For the future it is planned to produce further films on occupied factories and to expand the video installation as the workers' struggles continue.

    Directed, produced and edited by Dario Azzellini and Oliver Ressler
    Camera: Thomas Parb 
    Additional camera: Rudolf Gottsberger, Bernhard Mayr
    Sound design, re-recording mix and color correction: Rudolf Gottsberger

    The project was funded partly through the support of the Austrian Science Fund (FWF) AR 183-G21, Neuer Berliner Kunstverein (n.b.k.), Centro Andaluz de Arte Contemporáneo – CAAC, BKA, Aktion Selbstbesteuerung and the Rosa-Luxemburg Foundation.

    www.azzellini.net 
    www.ressler.at
    Exhibition in Miroslav Kraljević Gallery is supported by City of Zagreb and Ministry of culture of Republic of Croatia.

  • Elli Kuruş - Invisible Hand, The Great Book of...

    Invisible Hand, The Great Book of... unearths and exposes forgotten and forgettable images of labour through a series of digital excavations and transformations. Installative arrangements hint at the presence of algorithmic and mechanical machines distributing visibility through selective reproduction and explicit deletion.

    The exhibition thus points to the deleted 'other' of contemporary and historical practices of constructing the visible. Continuous reaccentuation of the Deleted produces the eerie effect of a mundane transgression, of witnessing the representation of the unrepresented.
    Suffused with speculation and commentary, technical drawings and architectural models invite viewers' eyes to rest within the comforting space of invention, marked by oversight and omission. The 18th century plantation Monticello is resurrected within the digital realm, hinting at the dubious possibility of a historical continuity of a war on the perceptibility of labour. Digital network technology enters into a material communion with vintage service carts and financial signifiers.
    These juxtapositions of historical and digital materials seduce and irritate the beholder, until contemporary practices of seeing and unseeing emerge in their historical specificity.
    Under the newly sceptical gaze, existing visual regiments are destabilized, offering a glimpse at the possibility of alternative systems of distributing and reassembling the visible.


    Artist talk with Elli Kuruş - Sunday, 29th of May at 6 pm.
    The exhibition is open until Sunday.
    Working hours: 26th of May 12-19, 27th and 28th of May 15-20.



    Elli Kuruş is a Leipzig-based collective artist, 44% complete. Her practice spans artistic and curatorial approaches that converge into installations, videos, sculptures, performance lectures, and text productions. Investigating the agency of the things around her, she critically examines the development of media and technology, reading the present as material history.


    Production and exhibition was funded by Kulturstiftung des Freistaates Sachsen.

    Elli Kuruş is invited as InterCity/SwitchCity - a project by KKW-Leipzig, Pogon Zagreb and funded by Goethe Institut Zagreb, Ministry of Culture of the Republic of Croatia and City of Zagreb

    New visual identity on the windows of gallery

    new visual identity of the gallery

    Today, a new name sign and new visual identity of the gallery were set on the windows. It is designed by the designer Andro Giunio. After many years gallery got a new look and greater visibility.

  • Beti Žerovc: "When attitudes become the norm"

    Presentation of book by Slovenian curator and theoritican

    On Friday, May 6th at 19 h, at the Gallery Miroslav Kraljević, a talk will be held with Beti Žerovc, Slovenian art historian, theorist and curator, presenting her latest book: When Attitudes Become the Norm: contemporary curator and institutional art. The book was published thanks to the joint cooperation of Igor Zabel Association for Culture and Theory (Ljubljana) and Archive Books (Berlin), while the promotion is organized by Gallery MK and Curatorial platform, as part of a continuous program ‘Meet the Curator’.

    The book by Beti Žerovc is a collection of essays and interviews on the topic of curatorial practice in the context of contemporary art. In this very extensive and layered publication, the author examines the curatorial practice within a wider socio-political and economic framework, but also in relation to the paradigm shift that took place in the art world over the last century. Žerovc analyzes the position of the curator as a key figure in that develops and participates in the institutionalization of contemporary art, arguing that it is through institutional curators that art comes to its reformulation.

    While the first part of the book establishes the historical and contextual framework for understanding the phenomenon of curating, the sketches and outlines of the powers and activities of a curator of contemporary art, in her later essays, Beti Žerovc analyzes the global spread of curatorial practice and the politicization of the field and possibilities of socio-political intent of contemporary exhibitions and other curatorial projects. The last segment of the book deals with the idea of the curator as an artist, and curated exhibitions of contemporary art as an artistic medium, event and ritual. The book contains a conversation with the prominent theorist Mary Ann Staniszewski, author of the referent book from this field, The Power of Display: A History of Installations Exhibition at the Museum of Modern Art (MIT, 1998).

    Betty Žerovc teaches at the department of art history at the Faculty of Philosophy in Ljubljana. Her research focus consists of visual art and the world of art since the mid-19th century to present-day, with a special emphasis on their role in society. Over the past fifteen years, her interest is focused on the phenomenon of  curators of contemporary art, modern art exhibitions as media and the changing role of art institutions.

     

    EMANUEL MATHIAS - ON CHOOSING THE APPROPRIATE DISTANCE

    Project On choosing the appropriate distance by Emanuel Mathias positions the artist as a participant observer in the fieldwork research in Indonesia. 

    He is invited to accompany a group of primatologists and ethnologists while they research the habits of primates and their interaction with the humans. The primates research and the art project are directly intertwined because they both utilize an act of observation as an important research method.

     

    Multi-channel film installation opens new insights into the potential of observational cinema and observational filmmaking methods which are focused on grasping direct, lived and real time experience. Observational films are also focused on the experiences of the subjects, openly capturing and representing the relationship between the filmmaker and the subjects.

     

    The project by Emanuel Mathias unveils several different observational positions (primatologists, ethnologists, apes, locals, camera operators, artist) that are mutually dependent and in constant interaction. In that sense the film offers multiple points of view parallelly present during the fieldwork research. This method enhances the viewers immersion in the position taking process that's being constantly negotiated during the research. In order to catch the action on the run the gaze of the viewer is shifted and redirected so as to discover variety of perspectives on different events. The viewer is therefore asked to actively engage his gaze and fill the unmediated space of the film. It is exactly the act of showing (so vividly present in the observational cinema) that enables fluidity and ambiguity of actions presented (most of the time without commentary). Avoiding mediation actually allows the spectators to draw their own conclusions and interpretations.

     

    The project also uncovers moments of self-observation which openly question filmmakers act of observing and behaving among the rest of the research team. The role of artist is recognized just as equal as any other role in the film and is frequently present as the one being observed too. Throughout the flm we are continually confronted by various levels of revelations and disclosures that speak directly about the backstage (weather it's the backstage of the filmmaking process or the backstage of the scientific research).

     

    Exhibition is organized in partnership with ETNOFILm festival and Faro11.

    Exhibition is supported by City of Zagreb and ETNOFILm festival.

     

    A collaboration between London Metropolitan's Cass Faculty of Art, Architecture and Design and Zagreb Acedemy of Fine Arts, Department of Animation and New Media.

    A collaboration between London Metropolitan's Cass Faculty of Art, Architecture and Design and Zagreb Acedemy of Fine Arts, Department of Animation and New Media. The work is based on exchange, draws parallels between the two cities, and in part responds to urban environments and industrial cultural heritage.

    We are inviting you to the opening ideas for what will be an ongoing engagement.

    A collaboration between London Metropolitan's Cass Faculty of Art, Architecture and Design and Zagreb Acedemy of Fine Arts, Department of Animation and New Media. The work is based on exchange, draws parallels between the two cities, and in part responds to urban environments and industrial cultural heritage.

    Yours sincerely,
    Charley Aiken, Maura Batarilović, Frederique Evans-Jeanrenaud, Joshua Hill-Walsh, Barbara Miše, Sendi Pucer, Nika Pećarina, Grace Radford, Karlo Pavičić Ravlić, Noemi Ribić, Andrew Stevenson, Nikola Taylor i Richard Taylor

    Project coordinators: Nicole Hewitt, Ben Cain and Vida guzmić
    A collaboration between London Metropolitan's 
    Cass Faculty of Art, Architecture and Design 
    and Zagreb Acedemy of Fine Arts, Department 
    of Animation and New Media. 
    The work is based on exchange, draws parallels 
    between the two cities, and in part responds to urban environments and industrial cultural heritage.

    Supported by: ALU, The Cass London Metropolitan University, GMK, City of Zagreb

    On Revolution Roads - memorial tourism in Yugoslavia

     The exhibition ‘On Revolution Roads: Memorial tourism in Yugoslavia,’ examines the position and function of memorial national liberation struggle (NLS) in the tourist segment of the economic and socio-economic system of the Socialist Federal Republic of Yugoslavia (SFRY).

    The introduction of memorial tourism as a part of the overall SFRY tourist scheme/industry from the late seventies and early eighties of the 20th century to the present day is an under-researched phenomenon of the post-war development of Yugoslavian tourism. The inauguration of NLS memorials as a tourism product and the consequent commercialization of the symbolic and historical-political dimension of NLS cultural heritage impacted the mechanisms of managing existing monuments and the concepts of building new NLS memorials, as well as the methods of their financing. The term memorial tourism is taken with a certain grain of salt, since this statement implicitly emphasizes the commercial functions as the main characteristic of memorial areas and NLS facilities in Yugoslavia, which to some extent ignores the complexity of the historical and political significance and symbolic and socio-economic function of NLS memorials.

    The exhibition will be open in Zagreb until the 28/11/2015 after which it will be possible to view in Sarajevo, Kraljevo, Ljubljana and Belgrade. 

    The exhibition is the joint activity of the members of the international platform INAPPROPRIATE MONUMENTS and their external collaborators. The members of the platform are SF:ius – Social Fringe: interesting untold stories (Zagreb), Group of Architects (Belgrade), Modern Gallery (Ljubljana) and the Historical Museum of Bosnia and Hercegovina (Sarajevo). 

    Financial support: Balkan Arts and Culture Fund - BAC ( COLABs ) , Kultura Nova Foundation, Ministry of Culture of the Republic of Croatia, Ministry of Culture and Information of the Republic of Serbia.

    Avoiding Eye Contact

    The exhibition Avoiding eye contact is part of the ongoing project Shame on You! initiated by the Miroslav Kraljević Gallery, CELEIA – Center for Contemporary Arts from Celje and the Association for Culture and Art CRVENA from Sarajevo. The project provides a platform for artistic and theoretical study of the idea of shame as defined by specific political, economic and social contexts.

    Starting from the understanding of shame as a consequence conditioned by social and cultural actions whose experience is personal and/or collective within the private sphere, the following questions arise: which identities and practices are considered shameful and which structures or positions have the power to mark them as such? Can shame be understood as a symptom caused by a break with the established normative behavior, economic ideologies, political goals and forms of patriarchal dominance? Can the act of shaming function as a mechanism for maintaining the existing power relations and providing a means of social control?

    The exhibition Avoiding eye contact takes on the concept of shame through the works of Nicole Hewitt, Louie+Jesse, Ivana Pipal, Oliver Ressler and Chloé Turpin. The title of the exhibition is taken from a drawing by Ivana Pipal depicting a multitude of eyes, alluding to the constant exposure to the gaze of others as well as to the avoidance to look back. The Hungarian mythologist Károly Kerényi associates shame with observation since it presupposes both passivity and activity, being looked at and looking. The exhibition considers the way shame is condition by the gaze, focusing in particular on the public aspect of shame which is a consequence of dominant social patterns.

    Shame on You! in the Gallery Miroslav Kraljević is curated by Ana Kovačić and Irena Borić.
    The project Shame on You! is supported by the City of Zagreb, the Ministry of Culture of the Republic of Croatia, and the foundation Kultura Nova.

    Bojan Mrđenović: Imported desert

    The photographs show a disposal site of phosphogypsum, an industrial by-product of the production of mineral fertilizers.

    From 1983 until today over six million tons of this material have been dumped at this site.
    These photographs represent a segment of photographic work, which uses the example of various types of landscape (abstract, natural, urban) of the City of Kutina to examine how social relations are conditioned by various kinds of industrial production.
    The goal is to create photographs which document the times and bear witness to relevant social themes, and which, at the same time, attract viewers with their wondrous beauty.
    The exhibition is a result of coproduction between Miroslav Kraljević Gallery from Zagreb and Center Sodobnih Umetnosti Celje from Celje. It is shown as a part of 7th International Photography Festival Organ VIda, held in Zagreb from 3rd till the 18th of September in Zagreb.

    Supported by: Ministary of culture and City of Zagreb.
    Gallery Miroslav Kraljević is supported by Zaklada Kultura Nova.

    www.celeia.info/likovni-salon-celje
    www.organvida.com
    www.g-mk.hr/

    Tyler Coburn: I\\'m that angel

    Tyler Coburn’s publication, I’m that angel, explores the conditions of how we work on and against the computer, narrated from the perspective of a “content farmer”: an online journalist contracted to generate articles based on words peaking in Google Trends.  
    Limited seating. To reserve a spot, e-mail: info@g-mk.hr (until 14th of July)

    Tyler Coburn
    I'm that angel
    In collaboration with Altus IT Data Center
    Limited seating. To reserve a spot, e-mail: info@g-mk.hr (until 14th of July)
    Tyler Coburn’s publication, I’m that angel, explores the conditions of how we work on and against the computer, narrated from the perspective of a “content farmer”: an online journalist contracted to generate articles based on words peaking in Google Trends.  
    Periodically, Coburn holds readings at data centers worldwide, including Google New York, Google Zurich and the infamous “Wikileaks Bunker” of Bahnhof Stockholm.  These events give audiences access to the sites where “the cloud” is kept.  

    Rather than concede to the seeming intractability of cognitive capitalism, these readings seek to potentiate new critical operations through shared access, listening and discussion.  Across its parts, I’m that angel argues for a renewed consideration of the immanent horizons of subjectivity, sociability and creativity.
    Tyler Coburn is an artist and writer based in New York. Coburn's writing has appeared in frieze, e-flux journal, Dis, Mousse, Art-Agenda and Rhizome, among others.  His performances, sound works and installations have been presented at the Whitney Museum of American Art, New York; South London Gallery; Kunstverein Munich; CCA Glasgow; Objectif Exhibitions, Antwerp; LAXART, Los Angeles; and SculptureCenter, New York.
    Altus IT Data Centre provides services such as IT and communications equipment leasing, comprehensive maintenance, data backup on a medium or on a backup server, system monitoring and Internet and/or VPN connection, equipment collocation, basic maintenance, backup, remote access on the monitoring system, leasing a patch position, connections to the Internet or a communications channel.

  • Asl&#305; Çavuºo&#287;lu: In Diverse Estimations

    Aslı Çavuşoğlu is concerned with how history can be read and questions who, or what processes, enables its writing and toward what end. These investigations, which have been articulated through various media, revisit key moments so as to locate the interwined dance between rupture and continuity as consciousness and its related identities are constructed and reconstructed.
    In the exhibition in Miroslav Kraljević Gallery the artist will show four works made in the period 2010 – 2011.

    The video In Diverse Estimations Little Moscow deals with the participatory democracy experiment that was carried out in the town of Fatsa in Turkey during 8.5 months and was forcefully brought to an end with a military intervention in July 1980. Afterwards, the mere mention of the event was forbidden and the memory of participatory democracy was almost forgotten. Her work A Small Mix-up shows how easy it is to manipulate the memory and relationship with the past through their modification. On the other hand, the work The Destruction of the Russian Monument at Ayestefanos speaks about the ingrained narrative lacking proof – it is widely believed that on the occasion of monuments demolition, the first Turkish film was made; however, the recording has never been found. The act of demolition is documented only in the two preserved photographs (before and after the demolition), and Çavuşoğlu construes that process in her work, filling the archival gaps of her own accord. The work 191/205, similarly to In Diverse Estimations Little Moscow, speaks about an attempt at forced amnesia – the General Directorate of Turkish Radio and Television Corporation's decision to ban certain words under the excuse that they do not comply with the nature of the Turkish language, and that they are substandard. Among 205 forbidden words, we find: memory, remembrance, nature, movement, revolution, dream, theory, possibility, history, freedom, whole, life etc.

    More about the artist: http://aslicavusoglu.info/ 

    The exhibition is opened till the 4th of July 2015.

    The exhibition is supported by: Ministry of Culture of the Republic of Croatia, City of Zagreb – City Office for Education, culture and sport.
    Gallery Miroslav Kraljević is supported by Zaklada Kultura nova.

    Dear all,
    please join us to see the starting collaboration between the students of the Cass in London and the Academy of Fine Arts in Zagreb.
    We are inviting you to celebrate the opening ideas for what will be an ongoing engagement.
    Yours sincerely,
    Lea Anić, Laura Barić, Tin Dožić, Vanda Kreutz Oslaković, Toni Mijač, Nera Miočić, Valerija Cerovec, Haydn Ronnie Albrow, Trude Elisabeth Bekk, Santa Sabule, Paulina Glimas, Katarina Sobolciakova, James Johnston and Mar Gonzalez Del Corral

    Project coordinators: Nicole Hewitt, Ana Hušman and Ben Cain
    Supported by: Grad Zagreb, Ministarstvo kulture Republike Hrvatske, Odsjek za animirani film i nove medije - Akademija likovnih umjetnosti u Zagrebu i London Metropolitan University.

  • Emilio Moreno: Stone acrobatics

    When not precious or semi-precious, how valuable is a stone? Can it have any value in itself, or is the value (for example, historical value) bestowed by the context in which the stone finds itself? Because it is not irrelevant whether a stone is used for skipping or is part of the structure of a medieval church. The skipping stone remains insignificant enough so that, as soon as it sinks, we can replace it with another one without feeling any loss, but what about losing a stone that is part of a church? Historians and archaeologists are certainly not indifferent about material remains because one stone, even a damaged one, can help build a narrative of the entire history. 

    tarting from an interest in the value that is produced by the creation of narratives, Emilio Moreno is particularly intrigued by material remains, that is, cultural heritage that gets dislocated from its own temporality through relocation or the process of anastylosis. He is interested in what happens to the value of cultural heritage during such a procedure. Does the new building remain the "old one"? His first film Stone Acrobatics (2014) seeks to consider these issues, and the film narrative is built around the anastylosis of a medieval Spanish church which was declared national heritage. At the request of John D. Rockefeller Jr., who had just built a museum of medieval monasteries from all over the world in Manhattan, the said Spanish church was disassembled piece by piece and transferred to New York, where it was reassembled. As a resident of Triangle Arts NY, Emilio Moreno planned to investigate the political background of such an event, but during the residency his research interests had expanded. That is why in the film the consideration of the phenomena of anastylosis is interwoven with his very personal associations and stories about his father, but also his thoughts about contemporary usage of personal photographs and what they represent. Moreno captures the shots of his own travels and thereby associatively complements the narrative with images. From very personal shots to aesthetic ones, he narrates the story by deconstructing the idea of value and the way objects, actions and language are assigned value statuses. 

    Irena Borić

    Emilio Moreno (1980) is a Spanish artist whose work investigates different notions of value, as well as the realms of experience from which value emerges. History, language, currency and space are some of the realms in which he focused recently. Formed as a philologist, a photographer and as an artist, his practice varies formally depending on every specific project. His work has been recently made public in solo shows at Instituto Cervantes, New York, South African National Gallery, Cape Town, as well as in group shows at De Appel Center for the Arts, Amsterdam, Centro de Arte 2 de Mayo, Móstoles, Madrid, CASCO, Utrecht, Vanabbe Museum-Onomatopee, Eindhoven. He collaborated with If I Cant Dance I Dont Want to be Part of Your Revolution and with Bulegoa z/b in the project '18 Images and 18 Stories'. Moreno's work was published in Scapegoat Journal (Toronto) and The Autonomy Project Newspaper (Eindhoven). His exhibition 'Stone Acrobatics' at Galerija Miroslav Kraljević is the first time his work is exhibited in Croatia.

    http://www.emiliomoreno.info/

    Original music and sound design by Sjoerd Leiten.

    During the exhibition, the gallery will be open from Tuesday to Friday, 2pm – 7pm, and Saturdays, 11am-1pm (film screening starts every hour on the hour).

    Kerrie Poliness: Wave Drawings and Landscape Paintings

     "These works are concerned with ‘difference’, an aspect of connectivity between things in the world that is often disconnected by notions such as ‘natural’ and ‘manufactured’. Everything in this world, both natural and manufactured, is a part of nature and interrelated. Each thing in the world is innately unique and constantly in a state of flux.  The nature of nature is such that a small shift within very tight parameters can produce quite different outcomes. The less that change is allowed to occur (is repressed) the more radically change may happen when it does occur, because it will occur. The physics of such processes of change helps to explain what is going on in the world around us."

    Wave Drawings (orange and green)
    Field Drawing (Brisbane, a film)
    Landscape Paintings (Lake Bolac and Zagreb)
    Wave Drawings (orange and green)

    "The process of making these wave drawings is about understanding the processes of waves, and the relationship of wave dynamics to objects and ideas by ‘drawing’ relationships between waves and patterns. Waves can be used as a metaphor to describe the phases and layers of geomorphology, histories, cultures, stories, politics, art, friends and ideas; how things shift and change, merge, blend and disperse."

    Field Drawing (Brisbane, a film)
    "Since 1991, I have been making instruction-based artworks that enable other people to produce large geometric drawings on wall and floor surfaces. The instruction books are designed to ‘mass produce’ unique objects.  Asymmetry and difference is intentionally generated through the process of production. The people who make the drawings influence the visual outcome of each particular drawing through their participation. Each drawing will be visually quite obviously unique.

    Field Drawing #1 can be made and maintained by gardeners or park caretakers or anyone else who is interested. The lines of the drawing are made with a sports-field line-marking machine. The drawing either washes away with rain or grows out, it can be mown away or left to grow or it can be maintained like a sports-field."

    Landscape Painting (Lake Bolac and Zagreb"
    In the middle of the Victorian Volcanic Plains (South Eastern Australia) there is a vast body of water called Lake Bolac. Lake Bolac was formed around 20,000 years ago, within the tribal memory of the local Aboriginal people, through volcanic eruptions and is a place of special significance.

    Four non-objective monochrome paintings were made on the shores of Lake Bolac, ‘en plein-air’ style. These paintings are ‘landscape paintings’, designed to collaborate with the landscape. I\\'ve followed trails and paths alone and with friends through Zagreb finding places that hold some affinity with these paintings. The paintings have been placed in these landscapes and photographed, made into postcards ready to be sent elsewhere. Small ripples from Lake Bolac."

    - Kerrie Poliness, May 2014, Zagreb 

    KERRIE POLINESS was born in Melbourne in 1962 and lives in Melbourne. Her work has been commissioned for numerous projects including The Geometry of Waves, Highpoint City, Vic. (2013) and The Pipestacks, Pipemakers Park, Maribyrnong, Vic. (1999). Poliness has held numerous solo exhibitions including; The Dowse Art Museum, Wellington, NZ (2013); The Agora, La Trobe University Museum of Art, Vic. (2013); Anna Schwartz Gallery, Melbourne (2007); Dunedin Public Art Gallery, New Zealand (2006); North Melbourne Town Hall (2006); NGA, Canberra (2004); Artspace, Auckland (1998), and the Art Gallery of WA, Perth (1998).

    She has been included in more than 130 group exhibitions since 1987 including Less is More, Museum of Modern Art at Heide, Melbourne (2012); The Basil Sellers Art Prize, The Ian Potter Museum of Art, Melbourne (2012), Ruler pencil time, Block Projects, Melbourne (2012); Art, pattern and complexity, RiAus, Adelaide (2012); Volume One, The MCA Collection, Museum of Contemporary Art, Sydney (2012); Australian contemporary drawing 2, University of Arts, London (2012); Networks, cells and silos, Monash University Museum of Art, Melbourne (2011); Multiple choice, Queensland Art Gallery/GOMA, Brisbane (2010); +/-, Monash University Museum of Art, Melbourne (2009); Shilo, Ian Potter Museum of Art, University of Melbourne (2009); The Helen Lempriere National Sculpture Award, Werribee Park, Vic. (2008); To make a work of timeless art, Museum of Contemporary Art, Sydney (2008); Australian contemporary non-objective art, Gesellschaft für Kunst und Gestaltung, Germany (2007); and Drawn, the Ian Potter Centre: NGV Australia (2006). She is a PhD candidate at the Centre for Ideas, VCA, and is represented by Anna Schwartz Gallery Melbourne.

    Ministry of Culture of the Republic of Croatia
    City of Zagreb

    Liquidation

    Liquidation is an interdisciplinary project concerning questions of visibility in response to the often-invisible processes of privatization. With a curatorial framework conceived by the New York curator, Sarah Lookofsky produced for Stacion - Center for Contemporary Art Prishtina, its Zagreb iteration includes the addition of several practices by Croatian artists chosen by the curatorial team of Miroslav Kraljević Gallery (Ana Kovačić, Lea Vene, and Sanja Sekelj) in Zagreb. In addition the project’s partner in Zagreb, the European Institute for Progressive Cultural Politics in Vienna is a central partner in the conference, which will follow the exhibition’s opening in Zagreb on May 2nd, followed by a two-day conference (May 3rd and 4th).

    Liquidatin at Stacion - Center for Contemporary Art Prishtina gathered a number of artists from around the world whose works deal with privatization in relation to spatial experience (John Hawke, Patricio Larrambebere, Fatmir Mustafa, Martha Rosler, Andreas Siekmann). Drawing from the experiences of silent private takeovers of former public assets, these artists register and mark movements of everyday life in an effort to illuminate and raise awareness about the hidden consequences of the process of privatization. What brings these artists together, despite their responses to disparate local contexts, is a joint effort to confront the consequences of privatization, raise awareness, and educate the public. 

    In addition to the artists who participated in the Priština exhibit, Miroslav Kraljević Gallery is also hosting several artists and/or researchers from Croatia: Bojan Mucko, Iva Marčetić, Bojan Mrđenović, Rafaela Dražić, Dina Rončević i OUR (Organizacija udruženog rada), as well as one artist form Kosovo, Alban Muja. The starting point for this exhibit was derived from the curatorial concept of Sarah Lookofsky, however, we have decided to emphasize some of the local specificities as well, through particular examples from Rijeka, Split, and Zagreb. We believe that such hybrid art projects have the potential to become places of discussion regarding the consequences of privatization; to educate the public, to initiate public discourse, and to articulate criticisms.

    The final works are often derived from extensive research and/or field work. It is often the case that the final product of research is a form of mapping, whether in the case of photo-mapping derelict hotel complexes across the Adriatic coast (Bojan Mrđenović) and the destroyed industry in the City of Rijeka (Iva Marčetić), or in the attempt of understanding the processes and consequences of privatization through student workshops (Dina Rončević). On the other hand, several projects in the exhibit are derived from site-specific field research through which Bojan Mucko explores the role and methodology of the State Administrative Office for State Property Management by showcasing examples of Zagreb's vacant business spaces; Rafaela Dražić conducts field research of Brodosplit; and OUR presents a continuation of their case study analysis of the consequences of the dissolvement of Split's Jugoplastika. 

    The exhibition will be followed by a two-day conference with the conceptual participation of Mario Kikaš, Tomislav Medak, and the Multimedia Institut (MI2), bringing together a number of participating artists, relevant experts and theoreticians, as well as activists. Within the conference framework, there will be two lectures by Boris Buden and Neil Brenner. Inspired by the Stacion project partnership, the conference is envisioned to serve as a platform for discussion regarding privatization processes occurring in the region, sharing of struggles for public spaces, and discussing certain artworks showcased at the exhibit.

    This project is supported by:
    Ministry of culture Republicof Croatia, City of Zagreb, Allianz Kulturstiftung, Erste Stiftung, Embassy of the United States, Ministry for European Integration of the Republic of Kosovo, Ministry of Culture, Youth and Sports of the Republic of Kosovo, Municipality of Prishtina
    General sponsor:
    INA

    Media sponsors:
    www.zarez.hr
    www.kulturpunkt.hr
    www.h-alter.org

    Eve K. Tremblay - EKTBF451/EKTFF451: Notes & Confessions

    Eve K. Tremblay’s multimedia project Becoming Fahrenheit 451 started in 2007. Similar to many of her other works, it was triggered by an accidental event from the artist’s former nomadic life and sharp observations of her close surroundings; in this particular case, the encounter with a video-rental store in Berlin, in the neighborhood Tremblay was living at the time.

    Eve K. Tremblay’s multimedia project Becoming Fahrenheit 451 started in 2007. Similar to many of her other works, it was triggered by an accidental event from the artist’s former nomadic life and sharp observations of her close surroundings; in this particular case, the encounter with a video-rental store in Berlin, in the neighborhood Tremblay was living at the time. The store’s name, Filmgalerie 451, was indeed symbolic; it referred to the name of a famous Sci-Fi novel by Ray Bradbury (in the 1960s loosely adapted into film by François Truffaut) that describes not that distant future in which books and reading are treated as a threat to society’s peacefulness; as a disturbance that supposedly leads to uneasiness, doubt, criticality and consequently misfortune. Therefore, the books needed to be destroyed by specialized squads of firemen; only small groups of dissidents, the so- called “Book People,” had the mission to preserve the books from obsolescence in immaterial form- in their minds, through the specially developed photographic memorization method- in spite of being prosecuted.

    EKTBF451/EKTFF451: Notes and Confessions

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    a solo exhibition by Ève K. Tremblay

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    curated by Zeljka Himbele

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    Exhibition will open on 4th of December 2014 at 8 pm.

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    Eve K. Tremblay’s multimedia project Becoming Fahrenheit 451 started in 2007. Similar to many of her other works, it was triggered by an accidental event from the artist’s former nomadic life and sharp observations of her close surroundings; in this particular case, the encounter with a video-rental store in Berlin, in the neighborhood Tremblay was living at the time. The store’s name, Filmgalerie 451, was indeed symbolic; it referred to the name of a famous Sci-Fi novel by Ray Bradbury (in the 1960s loosely adapted into film by François Truffaut) that describes not that distant future in which books and reading are treated as a threat to society’s peacefulness; as a disturbance that supposedly leads to uneasiness, doubt, criticality and consequently misfortune. Therefore, the books needed to be destroyed by specialized squads of firemen; only small groups of dissidents, the so- called “Book People,” had the mission to preserve the books from obsolescence in immaterial form- in their minds, through the specially developed photographic memorization method- in spite of being prosecuted.

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    The event of running across this store in Berlin generated remembrance of Bradbury’s book that Tremblay indeed read a long time ago. This became a starting point for several years of the artist’s immersion into contemplative, playful as much as persistent quest of memorizing Fahrenheit 451, in a metaphorical attempt of “becoming a book.” It engaged the artist’s interests in literature, theater, philosophy and visual arts as much as scientific texts, neuroscience, history of mnemonic systems and mechanisms of remembering and forgetting. Here, poetical approach and philosophical contemplation come into play with constant material experimentations; the still evolving project comprises of numerous media such as performance, video, drawing, collage, sculpture, installation, text, ceramics as well as Tremblay’s most common medium of photography.

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    For MK Gallery, Tremblay envisioned an all-encompassing presentation of her Becoming Fahrenheit 451, titled EKTBF451/EKTFF45 : Notes and Confessions. The exhibition starts with a letter, written and rewritten many times, to the writer Ray Bradbury himself. The letter is an invite for Bradbury to her exhibition, but also reveals, in almost diaristic form, the artist’s thoughts on the whole process of developing this project (as much as her reflections on art making in general) which she defines as “making and comprehending with grey matter” – both by her and by the public. The notes to Bradbury, as much as to herself, are also scattered throughout the exhibition in the form of post-it notes, creating peculiar and engaging juxtapositions of these short texts and imagery that surrounds them. These constellations feature Tremblay’s black and white and colored photographs and videos that had captured numerous days and months of memorizing the book (quite contrary to the fictional fast memorizing method of the “Book People” in Fahrenheit 451) and observing what was simultaneously happening in the artist’s mind, in private interiors of Tremblay’s ever changing apartment(s), but also in various locations during her travels. The images of numerous locales resonate the very process the artist chose for memorization of different parts of the book- by associating them with different locations and architectures from her past (the “memory palaces”.) One particular group of videos and photographs records the people from Tremblay’s surroundings; acquaintances, friends, and colleagues were asked to read and memorize parts of their own favorite books, in almost dreamlike compositions. The artist’s camera captured those people while being immersed in reading, or performing different, sometimes even odd things with their favorite books. The photographs- interiors or scenic natural historical and industrial landscapes (some of them more directly suggesting particular episodes from Bradbury’s book)- not only depict the individuals in action; in them, the books- a recurring motif in all of the compositions- become characters themselves as being brought to life by some supernatural force. 

    There are also some drawings in the exhibition, including Judo drawings that humorously adduce ongoing struggle with memory slippages (or maybe struggle with the years long project that cannot that easily be erased from the artist’s mind, in order to renew itself and develop new stores and focuses) as well as the compositions of empty memory cards (metaphors for forgetting), made through the physical act of destroying and erasing- traces of colorful and vivid memory cards which served in the process of remembering Fahrenheit 451, with images of backyards (again, particular loci) Eve was walking by on a daily basis while living in Bushwick quarter of Brooklyn, NY. In the exhibition, the original memory cards are also presented, as well as the copy of Fahrenheit 451- the artist’s companion since 2007 (purchased by the artist in Mauer Park Floh Markt in Berlin as the already used book) with numerous lines, notes and marks made in different colors by the artist (to facilitate the memorization). These layers upon layers of time and gestures are magnified and underscored in photographic close ups of the book’s used pages, onto which the artists furthermore added remarks and scripts in the gallery space. Throughout the gallery, one can also find staged assemblies Tremblay’s “clay plays”- ceramic pieces of organic shapes with photographs and figures imprinted on them. Ceramics has indeed been fascinating material for this artist in most recent months, because of the specific properties of a clay, which is, in Tremblay’s words, “material with good memory capacities”, but also because of the relation to the artist’s personal memories of her earliest engagement with art making in the studio of her father, an acclaimed ceramicist and sculptor. As an overview of the years- long project, the exhibition at MK Gallery also present documentation of previous exhibition iterations- in some of the images, there are performances of the artist in various exhibition spaces, memorizing or uttering the book lines in deep concentration, surrounded by curious visitors. 

    The multilayered EKTBF451/EKTFF45 : Notes and Confessions envelops an homage to the particular writer and generations of thinkers and readers influenced by his book. All of the displayed material traces referring to stirring, fabrication, preservation and failure of memories, as much as the memories’ potentials of reinvention and looking towards the future, interplay with the concern with the faculty of the medium of book, as much as reading and contemplation in today’s fast paced, inadvertent culture. 

    Eve K. Tremblay, born 1972 in Québec, studied French literature at the University of Montreal and Theater Studies at The Neighborhood Playhouse School of the Theater, New York. She graduated Photography at Concordia University in Montreal. In the past few years she exhibited at Le Musée National des Beaux-Arts du Québec, Le Musée d’Art Contemporain de Montreal, Kunstverein Wolfsburg, Musée d’art Contemporain du Val-de-Marne, Prague Biennale 5, Bergen Kunsthall, Lautom Contemporary in Oslo, Jack Shainman Gallery in New Yorku, Exit Art in New York, The Richard J. Massey Foundation for the Arts and Sciences in New York and Kunstraum Kreuzberg in Berlin.Her work was presented in many Canadian printed magazines, in German Kunstforum, New York Times and in international art magazine Art Forum.

    Exhibition is open till 24th of December.

    Exhibition is supported by: City of Zagreb and Ministry of Culture of Republic of Croatia, Occurrence, Centre d\\'art et d\\'essais contemporains à Montréal, Kelton Labs (NY/NJ), Eileen S Kaminsky Family Foundation,Canadian Embassy in Zagreb.

    The artist thanks to all the participants in the project over the years:  Anne-Laure Dubé, Mme Rosine de Saint- Michel Dunezat, Oscar & Amy Mendez. Amelia Saul, Jonathan Lutes, Setareh Shahbazi, Bertrand Lacombe, Geneviève Rousseau, Mai Hofstad Gunnes, Giovanni Frazetto, Gabriela Vainsencher/ Mickael King (Sound). 

    Support: Lucile de St-Michel Dunezat,Paul de St-Michel Dunezat & Véronique de St-Michel Dunezat, Pascal Grandmaison, Le conseil des arts et des lettres du Québec.

    Workshop U know what I mean, or do u

    A workshop exploring identity and understanding as phenomena that are rooted in language, performance and percpetion. During this workshop we will examine how understanding in language is based on agreement. As common language users we agree on meaning, making understanding not exactly verifibale, but rather sensibile, or something that we think we feel. Meaning becomes shared and common, no longer based on truth or propriety.

    The workshop will begin by looking at the work of philosophers such as Louis Althusser and Michel Foucault, departing from their groundbreaking thinking to follow more current work on idenficitcation from Judith Butler and Sara Ahmed. Ahmed’s idea about direction as queer phenomenology will provide a basis for examining shame, how the body’s sense perception changes according to context and expectation.

    Olivia Dunbar (b. 1988, Vancouver) graduated with an MFA from the Piet Zwart Institute and is currently based in Amsterdam where she is a resident at the Rijksakademie van beeldende kunsten. Her interest in language and identity provides the basis for works that move through different media, appearing as texts, sculptures, videos, performances and installations in order to produce dispositions and affective realities. Recent presentations include picture that yr on a cliff (but it’s in a dream) at Buenos Tiempos International, and RijksOpen 2014 at the Rijksakademie.

    Shame on you! is supported by: Kultura Nova, Ministry of culture and City of Zagreb

    Radiona.org: residential lab in G-MK

    Association for Development of ‘do-it-yourself’ Culture – Radiona.org / Zagreb Makerspace is being appointed as a residential lab as of 28 October, 2014  in Zagreb based gallery G-MK bringing intermedia arts to this internationally renowned gallery for contemporary art.

    Residential lab by G-MK and Radiona titled ‘Alternating current’ will take place in lab’s usual working hours, Tuesdays, 20h and Saturdays, 18h onwards within the following groups: Robotics and hacking, advanced audio section, Processing (interaction design), BIOsection, 3D printing, wearable technology and eTextiles, Balkan rocketry and flying objects, microcontrollers and hands-on electronics, DIY print and design, FPGA, advanced programming, DIY prosthetic, and a variety of educational programs specifically designed for beginners, kids, youth and seniors.

    The curatorial teams of G-MK and Radiona will also work on special programs which are connecting fields of contemporary art, intermedia and innovative technological practices.

    Radiona.org is currently conducting a research phase of the project Amplitude of Image and Sound supported by Kultura nova Foundation, and will soon go in public with their first DIY kit – open source synthesizer / theremin powered by the ATmega microcontroller which is jointly designed by artists, designers and technologists, and as a part of the research the lab will organize a workshop for the wider audience. In addition, Radiona.org is also in the middle of the lab’s yearly educational program with domestic and international master class workshops, and is taking preparations for the exhibition Sound Hybrids – Creative Sonology.

    After 4 years of work in the Student Center in Zagreb the lab continues its activities in collaboration with new partners, thus giving a new dimension to intersectoral collaboration between public and non-governmental institutions. In fact, a part of the program will also be made in cooperation with the Technical Museum and the Zagreb Centre for Independent Culture and Youth – Pogon, while the practical assistance is also provided by Domino, and Radiona.org would like to thank to all these institutions and individuals who have supported the organization, and to Culture of Change – the host of the lab from June 2011 to October 2014.

    Iva Cepanec Masters; Stagnation

    [stag-ney-shun n] the state or condition of stagnation, or having stopped, as by ceasing to run or flow:
    a foulness or staleness, as one emanating from a standing pool of water.
    a failure to develop, progress, or advance

    When a river develops one or more alternative channels, one channel is considered primary and is used as a navigational route, while other channels are called backwaters and are often shallow and in stagnation. In this case, the term backwater can be applied to the physical and social areas that have been isolated—systematically neglected in their cultural and economical development—in the process of shifting from the periphery to the margin. Although these places are stagnant, they posses a far greater richness and diversity of life than the main stream.

    Through displacement of these natural forms inside the gallery space, Stagnation allegorically interprets states of neglect and diversity, as well as the disconnect between individual formations. The disconnect of the margins and their gravitation towards the center, as well as the relation of the center towards the margins, disables them to achieve any true change, regardless of the individual potential they posses.

    Although the work reflects upon the dynamics of margin-center, and can be interchangeably applied to all levels of the hierarchy, the main focus of the work lies in the symbolic transposition of dominant versus independent culture.

    The work Sagnation, by Iva Cepanec Masters, has been realized through Call for production of new work and participation in the Miroslav Kraljevic Gallery, 2013. The goal of the project is to enable artistic research and provide support for young and emerging artists. 

    Iva Cepanec Masters is a sculptress and multimedia artist, born in 1984 in Bjelovar, Croatia. In 2009, she received her BFA in Sculpture and Extended Media, College of Visual and Performing Arts, University of South Florida, under the mentorship of Gregory Green and Rozalinda Borcila. In addition to receiving high honors (Magna Cum Laude and Dean Recognition), she was nominated for admission to the Yale School of Art. Upon returning to Zagreb, she designed and implemented the Interdisciplinary project Antibiotik, in collaboration with Nives Sertic´, and an artist-in-residence program Transfusion in collaboration with Alexander Masters. From 2009-2012 she was the head coordinator of Gallery Jogurt, an artist-run space, located in the abandoned medical factory Medika in Zagreb, used by numerous art collectives and individuals. She has exhibited domestically; Drava Art Biennale, Koprivnica, 2013; Gallery Jogurt, Zagreb, 2009-2012; Gallery SC, Zagreb, 2011; 7th Culture Fair Zagreb, 2011; Vizura Aperta, International Festival of Audio-visual Arts, Momiano, 2010; 50th Porec? Annale, Porec?, 2010, as well as internationally; Popps Packing, a three-month residency, Detroit, 2012; Cigar Factory, 2012, Tampa; Roosevelt gallery, State of the Arts Vol.2, Tampa, 2009; Nancy and Oliver Gallery, Tampa, 2009. Since 2009, she has also curated over 30 exhibits in Gallery Jogurt and has worked in collaboration with numerous cultural NGO’s and individuals. She works within the medium of installation, performance and socially engaged art. She lives and works in Zagreb.

    Joshua Goode;The lost city

    What is the history that we accept as exact science, and what do we perceive as fiction? How do we determine historical importance of people, places, and events? How is history written and interpreted? The society has given individuals the role of interpreters whose insights shape our views of the past, ultimately creating many alternative paths and contradictory views regarding our collective history.

    In the exhibition, The Lost City, American artist Joshua Goode will showcase the remnants of an underground city, a part of an imaginary ancient civilization. These ruins were found during an archeological research of multiple locations near the Miroslav Kraljević Gallery from March 11th to 14th. Posing as an archaeologist, Goode has publicly carried out an archaeological dig and discovered amazing lost treasures.

    During the excavation, the passersby have witnessed the discovery of objects of the lost city and contemplated the boundaries between reality and fiction.

    Joshua Goode will exhibit these found objects within the gallery space, temporarily transforming G-MK into a small archeological museum where reality and fiction become one.

    Joshua Goode was born in 1981 in Fort Worth, Texas. He received his BFA from SMU in Dallas, Texas and his MFA from Boston University in Boston, Massachusetts.  He has had solo exhibitions in international venues such as the Zendai Museum of Modern Art, Shanghai, China; Darb 1718 in Cairo, Egypt; LaSala Gallery in Zaragoza, Spain, and Shanghai University in Shanghai, China; in addition to group exhibitions at the Museum of the National Library in Madrid. Spain; National Library of Argentina, Buenos Aires, Argentina; Zentral Bibliothek, Zurich, Switzerland; University of Ulster, Belfast, Ireland; Westminster Library, Westminster, United Kingdom; MX Espai, Barcelona, Spain; and at Loyola University, Rome, Italy. Joshua has been a Visiting Artist or Guest Critic at Shanghai University, University of Massachusetts-Boston, Dartmouth College, Marist College, Rhode Island School of Design and Savannah College of Art and Design and was a researcher on an archaeological dig for the University of Tubingen at Vogelherd Cave in Germany.  He was awarded the Dozier Travel Grant from the Dallas Museum of Art and is currently the Chair of the Fine Arts Department at Tarrant County College in Fort Worth, Texas.

    Duncan Campbell; Bernadette

    Miroslav Kraljević Gallery presents three films by Duncan Campbell, one of the most renowned contemporary Irish artists, who is probably best known for his works in the medium of film. The exhibition will be followed by an artist talk, in which Campbell will share his interests and talk about his works and creative methods.  

    Exhibition will open on 10th of January 2014 at 8 pm.

    Through his films and installations, Duncan Campbell investigates how meaning and history are constructed and mediated. The artist’s work examines historical events and their interpretation, and tests the boundaries between the factual and fictive. The captivating power of Campbell’s films is derived from their specific collage structures and fragmentary narratives, unusual sound editing, montage of black and white and color footage, dazzling animated excerpts and quotes from the history of experimental film. The films re-contextualize the authentic archival film material by combining it with the newly shot scenes—re-enacted episodes filmed in 16mm by Campbell himself—and challenge the viewer to navigate through their open-ended fables.

    In Zagreb, the artist will present his acclaimed film Bernadette (2008, 37’). While giving a portrayal of Bernadette Devlin, the controversial Irish republican member of parliament and civil rights activist from the late 1960s, the film also captures wider political, social and cultural struggles, civil unrest and political leaders during Northern Ireland’s The Troubles era. However, rather than giving a simplified overview of the struggle between Republicans/the IRA and the British government and loyalists, or the common heroic presentation of Bernadette Devlin’s fiery character, Campbell focuses on how her charismatic persona was constructed through television news footage. Bernadette questions the notion of truth and objectivity usually claimed by the documentary form, by subverting its usual norms and structure.  The artist appropriates and re-edits the television archival material while adding the self-shot fragments. The original audio is accompanied by narration of contemplative kind - a script that combines parts from Devlin’s autobiography and the artist’s own writings, in which the first and third person interchange. 
    Željka Himbele

    Duncan Campbell was born in Dublin, Ireland, in 1972. He earned his BA at the University of Ulster, Belfast, and his MFA at Glasgow School of Art in Glasgow, Scotland. His work was presented internationally in solo exhibitions at Carnegie Museum of Art, Pittsburgh, 2012; Hotel, London, 2011; Artists Space, New York, 2010; Tramway, Glasgow, 2010; Kunstverein Munich, 2009; and BALTIC Centre for Contemporary Art, Gateshead, 2008. Campbell’s work had been included in a number of group exhibitions, among them: Manifesta 9, Genk, Belgium, 2012; British Art Show 7, Nottingham Contemporary, Nottingham and Hayward Gallery, London 2011; Asking Not Telling, Institute of Contemporary Art, Philadelphia, 2009/2010; Fight The Power, Museo Nacional Centro de Arte Reina Sofia, Madrid, 2009; You Have Not Been Honest, Museo D’Arte Donnaregina, Naples, 2007; Art Now, Tate Britain, London, 2006. The artist currently lives and works in Glasgow.

    Exhibition is supported by: the City of Zagreb and Ministry of Culture of Republic of Croatia

    Exhibition is open until 1st of February 2014.

    Duration of the film; 37 minutes

  • Between Worlds II

    artists: Nika Autor, Rena Rädle & Vladan Jeremić
    [BLOK]\\'s survey conducted among artists and curators between worlds
    curators: [BLOK] – Ivana Hanaček, Ana Kutleša, Vesna Vuković

    Nov 18 – Dec 7, 2013
    Monday, Nov 18, 2013
    19:00 exhibition opening
    19:30 discussion as part of the program Micropolitics 

    “A girl asks a monkey at the ZOO: Why do you live here? Isn’t it nicer where you come from?” This text opens Dušan Makavejev’s “Montenegro,” a film in which he shows the encounter of a wealthy American housewife, brought to Sweden by her businessman husband, with Yugoslav immigrants, who come to Sweden to look for work. The separation of the worlds, which leads the protagonist Montenegro (who gets a job at the ZOO) to his tragic end, is primarily class-based, but is also the product of a specific production of otherness, and his suicide is the final consequence of the clash between the imagined idea of the constructed “other” (the wild Balcan, attractive and intimidating at the same time) and his actual appearance – the man whose position is clearly determined by concrete economic and political processes, whose origins reveal nothing exotic, and whose workers’ nomadism contains nothing romantic.

    The exhibition Between Worlds II approaches the issue of migration in the contemporary economic and political moment from the position of the criticism of the production and use of images. In the video Postcards and the photo series Impressions: Landscapes/Paradise of Slovenia, the artist Nika Autor uses archival footage from Radio-Television Slovenia (RTV) in order to show “that the image by itself, determined by the mode of production (montage), implies the criminalization and victimization of asylum seekers, fugitives and migrants. (…) The mode of production establishes the optics of RTV’s gaze which reduces segregates, discriminates, excludes and constructs ‘the other’.”1  In the installation The Housing, the artists Rena Rädle and Vladan Jeremić present two specific cases of Roma deprivation, the Belgrade one and the Roman one, in order to put the so-called “Roma issue” in its right place, into class relations in the production of space. Through three videos they expose the image of Roma-nomads as a construct which conceals the fascistoid politics of cleansing the city of Roma, but they also relate such politics to the general tendency of “the market-oriented state to deny the lower class the right to the city,”2  offering different approaches to addressing the problem of migrant workers’ housing.

    Between Worlds II aims to draw attention to the issue of alleged mobility in the art field. Makavejev himself is in the position of the immigrant when he films “Montenegro” in Sweden, and the survey “How to suture a finger with a credit card and other stories” we include in the exhibition focuses on contemporary migrations of artists and cultural workers. Beyond the romanticized image of travelling artists and the supposed democratization of the art field, it represents a counter-image of the creative class as a reserve army of artists who, under the guise of the promise of the so-called global art, daily reproduce immigrant conditions.

    [BLOK] is a collective based in Zagreb that works in the interspace between art, urbanism and activism. Their projects are conceived and realized as platforms for the joint work of curators, artists, researchers, activists and all those interested in the issue of public space and the production of the common, as well as space for the production and reflection on artistic practices sensitive towards social circumstances and the conditions of production in which they arise.

    1 taken from the artist\\'s website: www.autor.si
    2 from the text accompanying the exhibition Self Made Urbanism Rome: http://www.smur.eu/productions/raedle-jeremic/

    Design of printed materials: Rafaela Dražić
    Translations: Tihana Bertek and Ksenija Zubković
    Technical support: Srđan Kovačević
    Exhibition is supported by: the City of Zagreb and Ministry of Culture of Republic of Croatia

  • SHAME OPEN CALL RESULTS: 1ST OF DECEMBER 2013

    Due to a large number of applications results for the open call SHAME / ARTIST IN RESIDENCE PROGRAM 2014/2015  will be announced on the 1st of December 2013. 

    Due to a large number of applications results for the open call SHAME / ARTIST IN RESIDENCE PROGRAM 2014/2015  will be announced on the 1st of December 2013.

    Núria Güell and Levi Orta; YOU AND WHOSE ARMY

    This project hopes to put into play different geopolitical situations with different relationships to the power apparatus through the work of Levy Orta (La Habana, 1984) and Nuria Güell (Barcelona, 1981), whose practice goes a step beyond allowing the visualization of the structures and strategies of exploitation and subjugation of the individual in the current state of things. Sometimes nonalignment is not enough, infiltration strategies are necessary to create room to maneuver. Whether it is in a communist or a capitalist context, the documentation of the actions of this artists opens an horizon of visibility of the abuses of power allowed by the established “legality” and the dominant morals but they are always the second stage of an active and subversive infiltration into the system.  Exhibition is open from October 17th  – November 9th, 2013 

    I am not sure where exactly I heard or read that neoliberalism had been the last effective revolution in history. It might have been in a conference of Franco Bifo Berardi in documenta 13 since it makes sense with the text he published for the occasion. In this text he develops an argument that the complexity of social life and flow of information has rendered acts of total transformation- a revolution-  impossible since there is no longer a single identifiable power to subvert. At the same time this saturation overflows our capacity for processing information pushing us to a state of automated decision making and shared behavior that longs for machines of complexity-reduction. Politicians and economist´ s goal becomes then the monopolization of the role of interpreters of this density in order to lead us to believe that we live in a state of symbiosis with the financial apparatus and that our lives must be aligned with its expectations of infinite growth. The premise is that life and capitalism are so intertwined that the end of capitalism would be in fact the end of the world. For Bifo it is foremost a question of form, money is the form, the format of common perception that acts as an automated machine embedded in the body and in the mind of society. Form as the regulator and selector of the process of becoming.1   In order to question the financial dictatorship or whatever form is being imposed, the first step is to acknowledge that society is autonomous of the form and that a new form is not only possible but necessary. 

    In these political games of perception the resistance must start as well at a perception level which makes art a privileged strategic front. Artists can also play the role of interpreters and work in a performative mode, as an act of language that has the power to produce a different relation between the participants of the communication and therefore a different  landscape for  social action, not to produce a  mechanical effect but to induce  unexpected  waves  that allow the potentialities of a system to emerge.

    This project hopes to put into play different geopolitical situations with different relationships to the power apparatus through the work of Levy Orta (La Habana, 1984) and Nuria Güell (Barcelona, 1981), whose practice goes a step beyond allowing the visualization of the structures and strategies of exploitation and subjugation of the individual in the current state of things. Sometimes nonalignment is not enough, infiltration strategies are necessary to create room to maneuver. Whether it is in a communist or a capitalist context, the documentation of the actions of this artists provide an inside viewpoint of the abuses of power allowed by the established “legality” and the dominant morals but they are always the second stage of an active and subversive infiltration into the system. The spectrum of acts of resistance in different geopolitical contexts meet in the horizon of dissidence. Understanding dissidence, as the yearning that fuels the question: how not to be governed that way? not in the name of those principles nor through the means of those procedures. Not in that way, not for that or for them.2 

    The two levels are equally important, Güell creates what she calls displaced legal  applications in which  for example she inverts the profiting logic of the banks into themselves and creates  a manual to expropiate money from them, with specific strategies on how to commit fraud to the bank without being caught.  So the work exists as an installation but  also as a  manual that is actually published and distributed in libraries inserting itself  into reality . The logic of debt lies at the center of the subjugation and empoverishment of social life.  But again is debt a methaphysical inescapable necessity or is it just an act of language as a promise? Güell ´s displaced legal applications reminds us not only that promises can be broken but that sometimes if produced under a cohersive situation of mathematical slavery, they should be. 

    The level of personal investment and commitment  is essential in Orta  and Güell ´s  practice , some of this actions create a situation in which they are playing in the limit of legality at their own risk. Orta contacts an ex -cultural spy of the cuban regime who tips him of an active officer who presents himself as a curator  and creates a specific subversive work in order to follow the bureaucratic path of censorship in Cuba. As a counterpart he finds a flaw in the closed censorship system in a children´ s tv show where you can send drawings and they are shown as part of the program, he uses this gap in the system to infiltrate key censured topics illustrated as children´s drawings which are actually shown on national TV.

    The political genealogy of the term intervention is directly related to the evolution of State power tactics, a State that namely intervenes instead of ruling. This exhibition reflects on artistic practices based on intervention as a method but as one that has evolved mirroring the practices of administration of state power, from direct confrontation to more subtle and undercover operations. Fieldworks or undercover actions that involve certain personal risk for the artists but that follow the rules of the game in order not to be read or discovered as transgressions, not until a second reading occurs in the formalization of the art piece as a document within the jurisdiction of the exhibition space.  Far from weakening their work, it is precisely in the action of covering their backs through the same legal and control strategies of the system they pretend to transgress that the artworks prove to be more revealing.
    Alejandra Labastida

     1 Bifo-Franco Berardi i Alessandro Sarti, RUN Morphogenesis, documenta und Museum friedericianum, Kassel, 2012. 

    2 Butler, Judith. ¿ Que es la crítica Un ensayo sobre la virtud de Foucault?, http://eipcp.net/transversal/0806/butler

    Exhibition is supported by: the City of Zagreb and Ministry of Culture of Republic of Croatia
    General sponsor: INA - Industrija nafte, d.d.
    Works on the exhibition: courtesy of ADN Galeria

  • Collaboration LMU ALU - The Last One We Had Recently

    Exhibition "The Last One We Had Recently" is a result of the collaboration of the Academy of Fine Arts Zagreb and London Metropolitan University.

    Exhibition opening: 9th of May 2013

    Exploring a space, we have created photographs focusing on light, reflections and the space as a theatrical scene. Found objects at the space – mirrors, have been moved and installed in the gallery to represents the history of the space, our encounter with the space and its new reflection of time inside the gallery. A video is projected onto the mirrors proposing a stage of the space for the viewer. through translation we create miscommunication – through miscommunication we create mistakes – through mistakes we create Free overlapping natural video maps Kraljevič nerves tree became mind extention body skin interaction object water water sound water way dialogue water water water conection Zagreb The witness of the space is the exposed, the void is witnessed with the exposed. The observer can just look. It started when I came to London. Will took me for a walk from Whitechapel to Camberwel,  as we walked we passed by the heygate estate, a series of visual notes incoured. When I came to Zagreb Bojan took me to a number of sites assosiated with recent gentrification in the east of the city, and when we came to the gallery, we just decided to do site/time specific visual mapping of the space. communication without communication The entities that possibly reference a translation of the notion of communication. When we speak we limit our worlds.

    Francesco Benenato   Hrvoslava Brkušić   Lucija Bužančić   Min Cawthorne   Raquel Chinchetru   Vitar Drinković   Luana Lojić   Bojan Mucko   Will Peck   Michael Robertson   Simone Steenberg Darius Verbickas   Damir ®ižić

    Exhibition is supported by: City of Zagreb, Ministry of Culture of the Republic of Croatia, Academy of Fine Arts Zagreb, London Metropolitan University, Erasmus

    Patricia Esquivias: Folklore

    Patricia Esquivias’s exhibition “Folklore” at the Gallery Miroslav Kraljevic features for the first time all four works from the series in a single gallery space. Her works thematize the history of Spain, its culture and image. Folklore video installations deal with the events of historical significance and parallel stories which are stored in the collective, “folk” memory. Using a modest aesthetics and unrehearsed speech to narrate the stories, Patricia Esquivias weaves together unrelated facts, presenting the making of history as a democratic, continuous, permeable and participatory activity. We watch the lecture through the subjective frame of the artist-narrator.

    Exhibition opening: 5th of March, 7 pm. Exhibition is open until 6th of April.

     In the video entitled Folklore #1, the author continually comes back to two different topics. Starting from the thirty-six-year dictatorship in Spain, she enters the personal orbit of Franco’s protégé Jesús Gil, who abuses his position of minor power, amasses a small fortune and buys a soccer team, and then dies after having bet he can eat twenty fried eggs at once. The second narrative follows the rise and fall of the events related to rave music in Valencia, which began several years after Franco’s death in 1975. Folklore #1 is an attempt to explain the baroqueness of Spanish people in the context of 20th century history to the foreigners.

    Folklore #2 points to the similarities between Philip II of Spain (1527-1598) and Julio Iglesias and the global empires then and now. Once again mixing the historical facts about the reign of Philip II and tabloid gossip about Iglesias and his private life, the author takes us on an educational journey from Spain as a colonial empire, through Franco’s dark and isolated Spain, to today’s sunny, mass tourism Spain.

    Folklore #3 returns to an initial theory that the author was not able to confirm and is therefore structured like a poem, a kind of digression that perseveres. The artist connects two places; Galicia in Spain and New Galicia in Mexico, searching for their connections and differences, she places them in historical context and intertwines them with her own impressions and experiences.

    Folklore #4 will be presented with two videos. First one was originally made for a show at the Reina Sofía Museum, and another one was recorded three years later as a documentation of a lecture. The second film brings forward the problems of the first version and attempts to solve them. In this way it is similar to Folklore #3 as it is a process of reassessing her own work. In it, the author discusses the consequences of modernization in Spain in correlation with the local political and social changes. She builds this work based on a personal story, more precisely, her father’s innocent commentary that is than taken on to a national level and put in the context of Spanish history in 20th century.

    Folklore as folk knowledge encompasses traditional culture made by the people/folk ‘from below’ and in that sense folklore stands in direct correlation with institutionally legitimated official knowledge. The works of Patricia Esquivias speak the language of folklore just like oral tradition which is realized through narration as the central form represented in all of her works. She addresses us, her voice, speech and gestures situate us in the here and now as if mimicking the moment of the oral transfer of knowledge. These narratives are an alternative view on the facts and events from Spanish history. The author rearranges historical facts by conducting her own investigation which reveals an absurd link between certain facts, thus providing a new insight into historical events, places and lives of public figures. Folklore as knowledge is a construct that is simultaneously created and exposed through her narratives.

    Patricia Esquivias was born in 1979 in Caracas, Venezuela, and grew up in Madrid, Spain. She studied in London and San Francisco. Since 2005 her video works have been shown in Madrid (Galería Maisterravalbuena), Germany (Frankfurter Kunstverein, 5th Berlin Biennale), New York (White Columns, Murray Guy), Italy (Arcos Museum, Artissima), Amsterdam (Stedelijk Museum Bureau) and England (East International, Royal College of Art). She has won the Present Future Award and East International Award in 2007, Midway Contemporary Art in Minneapolis and Museo Nacional Reina Sofia in Madrid.

    Exhibition supported by: the City of Zagreb, Ministry of Culture of the Republic of Croatia and Embassy of the Kingdom of Spain in Zagreb.

  • Nicoline van Harskamp: Yours in solidarity

    Galerija Miroslav Kraljević, in collaboration with the Institute for Duration, Location, and Variables (DeLVe), invites you to the opening of the exhibition Yours in solidarity by Nicoline van Harskamp. The opening will take place on Thursday, December 20, at 8 pm.

     20 December 2012 – 26 January 2013

    Nicoline van Harskamp: Yours in solidarity
    in collaboration with
    DeLVe | Institute for Duration, Location, and Variables

    Yours in Solidarity addresses the history and future of anarchism and revolves around the letter archive of the Dutch anarchist Karl Max Kreuger (1946-1999), now housed in the International Institute for Social History in Amsterdam. Kreuger maintained extensive correspondence with about  400 fellow anarchists world wide. Through the study of the letters he exchanged with 60 of them –- an investigation of their respective private and political observations and handwriting analyses –- and with the help of actors of the relevant age and nationality, van Harskamp constructs their life stories starting from the last date of writing. In a fully staged meeting of correspondents, she suggests what would happen if they were to meet today. The resulting work brings together van Harskamp’s notes and quotations from over 1000 letters - video documentation of the individual working sessions with actors - and a video of the meeting. 

    The work of Nicoline van Harskamp (Netherlands, 1975) addresses the function and power of the spoken word, and its ability to influence perception and shape thought, both of which are instrumental to politics. Her most recent and ongoing project Yours in Solidarity, addressing the contemporary history of anarchism through a correspondence archive, was presented in different stages of completion at D+T Project in Brussels, Hillary Crisp Gallery in London, the MUAC in Mexico City, the Frankfurter Kunstverein and Manifesta 9 in Genk, Shanghai Biennale, the Steirischer Herbst in Graz and Extra City in Antwerp. 

    Recent presentations of other works include the Newtopia Biennial in Mechelen, Performa 11 in New York and the Kadist Foundation in Paris, the SMBA in Amsterdam and the Van Abbemuseum in Eindhoven.

    Nicoline van Harskamp has staged her live pieces at Witte de With in Rotterdam, the New Museum in New York, the Stedelijk Museum in Amsterdam, the Serralves Foundation in Porto and the Kaaitheater in Brussels. She was a resident artist at, among others, Platform Garanti in Istanbul, the Rijksakademie in Amsterdam and IASPIS in Sweden. In 2009 she won the Dutch Prix de Rome. Nicoline van Harskamp lives and works in Amsterdam, where she is a head tutor at the Sandberg Fine Arts Institute.
    www.vanharskamp.net

  • Grupa Spomenik: Yugoslavia Studies

    Galerija Miroslav Kraljević, in collaboration with the Institute for Duration, Location, and Variables (DeLVe), invites you to the opening of Grupa Spomenik: Yugoslavia Studies, the exhibition-book by Grupa Spomenik/Monument Group. The opening will take place on Monday, November 19, at 8 pm, accompanied by the conversation with three group members: Milica Tomic, Jelena Petrovic, and Branimir Stojanovic.

    19 November – 15 December 2012
    Grupa Spomenik: Yugoslavia Studies
     Grupa Spomenik/Monument Group
    (Damir Arsenijević, Ana Bezić, Jasmina Husanović, Pavle Levi, Jelena Petrović, Branimir Stojanović, Milica Tomić)
     in collaboration with:
     DeLVe | Institute for Duration, Location, and Variables

    The exhibition is the first substantial presentation in Zagreb of the work of Grupa Spomenik, imagined not as a retrospective, but rather as an open – and through the form of exhibition, spatialized and collectivized – process of editing and working on the production of the Group's book, initiated earlier in June last year, through a collaboration with Andrew Herscher. The exhibition also marks the continuation of collaboration between DeLVe Institute and Grupa Spomenik, initiated in the framework of the project WEIYTH: Where Everything is Yet to Happen: Exposures, Spaport, Banja Luka, 2010.
     
    Exposures was a temporary critical and artistic regional platform which (re)activated the questions pertaining to the devastating social, economic, and political repercussions of the violent break-up of Yugoslavia, underlining one of the initial premises of Grupa Spomenik: that we can not talk about the present in terms of a post-war state. On the contrary, what we have is a war continuing by other means, whose reality we live on the ideological, political, cultural, economical, and material level.
     
    Grupa Spomenik is an artistic and theoretical group formed around the problem of the impossibility of constructing and naming monuments of the war(s) of the 1990s in Yugoslavia. During the last ten years, Grupa Spomenik has initiated reading and discussion groups, staged lecture-performances, and engaged in a process of self-education through encounters and discussions with victims, perpetrators, and witnesses of the extreme terror, genocide, and ethnical cleansing in the wars of the 1990s in Yugoslavia. It has initiated a process which situates all actors in the midst of a rift which disables and dismisses the attitude of moral superiority or the evasion of responsibility. The main position of Grupa Spomenik is that memorization is an act of assuming a political position in the present, because no act of memory is devoid of political subjectivization.
     
    The exhibition will take the form of a working archive for a book in the making, reflecting on the three phases in the work of Grupa Spomenik: Prologue: Social Trigger, Matheme, and What is the name of war today?. These three phases will be connected, read, and edited in the process of the book creation, based on the following paradigms: collectivization, production, public interface, interpellation, and alienation. Grupa Spomenik is thus formed through the intersecting points which are at the same time the points of contestation, differences, and conflicts revolving around Yugoslavia as a social and political signifier. The overlapping and connecting points, however, allow us to think the concept of Yugoslavia Studies, as a place of political subjectivization in the process of producing and activating the knowledges about war.
     
    The exhibition connects art, theory, and politics within a realtional signifier of the book, activating the social and political field of subjugated knowledges, problematizing the arbitrary interpretations of war, the ideology of reconciliation, and, finally, bringing the ‘local’ war and the current local and global economic crisis in a relation that is otherwise ignored or denied.
     
    The basic question to be posed in the framework of two public discussions with the Center for Labour Studies, Zagreb and with the protagonists of the contemporary art scene in Zagreb is the following: Why is the topic of war absent in a significant part of intellectual and artistic public sphere in Zagreb? The aim of the exhibition Grupa Spomenik: Yugoslavia Studies is therefore twofold: to show the archive of the ten-year long work of the Group as a unique artistic, intellectual, and activist practice and to open two discussions on the topic war: in the field of visual arts, and the field of new political initiatives. In this sense, the exhibition seeks to animate the reflection of these topics from the perspective of past or existing projects and initiatives in the local context, and, not less importantly, for activating new ones.

    Programme is supported by: Ministry of Culture of the Republic of Croatia, City of Zagreb.

  • A Proposal for the Monument to the New (Inter)Nationalism

    Fokus grupa: nature, nation and the economy of love

    The smallest, most basic unit of the installation by Fokus grupa (art and life partners Iva Kovač and Elvis Krstulović) at the Gallery Miroslav Kraljević, which provides the common title to the entire exhibition, is the sculpture “A Proposal for the Monument to the New (Inter)Nationalism” – a faithful replica of an oak twig: a powerful tree that is at once a symbol of the numerous and diverse Indo-European identities, but also a historically marked economic resource and, historically, in some cases, a stronghold of national or regional economies.

    Fokus grupa: nature, nation and the economy of love

    The smallest, most basic unit of the installation by Fokus grupa (art and life partners Iva Kovač and Elvis Krstulović) at the Gallery Miroslav Kraljević, which provides the common title to the entire exhibition, is the sculpture “A Proposal for the Monument to the New (Inter)Nationalism” – a faithful replica of an oak twig: a powerful tree that is at once a symbol of the numerous and diverse Indo-European identities, but also a historically marked economic resource and, historically, in some cases, a stronghold of national or regional economies.

    Like its animal kingdom counterpart, the eagle, the oak is featured in numerous national emblems, and their strong mythological foothold among, for example, the Slavic nations, lies in the fact that both symbols allude to the supreme deity called Perun, an archetypal figure of patriarchal power. Similar attributes are ascribed to the Greek Zeus, “the father of gods and men,” as well as to his Roman counterpart, Jupiter, and these ancient pagan deities are replaced in the Christian version by the Old Testament saint Elias or the celestial warrior Saint Michael. In times of national revivals and awakenings as well as the creation of nation-states or at least mythologies on European soil, the pagan heritage and its atavisms are used as a foundation to the youthful nationalism, more often than not with a visual backdrop of the newfound beauty of the untouched, virgin and sometimes wild and cruel nature. But the frail twig appears in the exhibition as an emblem of resources, that is, the utilitarian application of symbols, functioning as a reminder of the former economic importance.

    Seen symbolically, the frail twig, made out of polyester, is a tree substitute dedicated to the divine father, whose sanctuaries were often located on mountain tops or at least hills. A more contemporary version of such an altar is the Altar of the Homeland by Kuzma Kovačić, erected in 1994 during the questionable restoration and reconstruction of the medieval fortress which had roused the popular and literary imagination at the time of late Romanticism. Combining the location of the pagan sanctuary dedicated to an altitude deity with the aggressive royalist tradition of the Altar of the Homeland,[1] a monument was designed that stands apart from the formal lines of late minimalism thanks to a few descriptive details which locate it in a specific historical context. In the gallery appropriation of the purified altar form, Iva Kovač and Elvis Krstulović use a far more perishable and modest material than precious stone, utilizing recycled discarded chipboard furniture for creating the sculpture “Behavioral Furniture.” Kovačić’s altar’s neutral cubes recreated by Fokus grupa direct the motion through the Gallery Miroslav Kraljević, in a way almost becoming gallery furniture, a sculpture that not only can be touched but sat on, reduced to its basic form and some fundamental utilitarian uses, like sitting on it while watching the film projection.

    According to the authors, the starting point of the film There Aren’t Words for What We Do or How We Feel so We Have to Make Them Up and of the entire project presented at the Gallery is their foray into nature which had begun precisely at Medvedgrad. Their trips to Medvednica were not escapist protests like the work Hallelujah the hills by the group Weekend art (Tomislav Gotovac, Ivana Keser Battista, Aleksandar Battista Ilić), but a pilgrimage to the place that has in recent media reveilles become one of the new iconic images that affirm the identity of the inhabitants of “Our Beautiful.” The authors’ forays have resulted from them, followed by a professional camera through national parks with the intention of being openly exposed to the celebrated landscape. Giving up the safety of the ironic tradition and distance, Fokus grupa embarks on a quest for the “genuine national identity” in a landscape devoid of immediate markers of civilization and historical sediment, even in the form of ruins so dear to Romanticism.

    The film There Aren’t Words for What We Do or How We Feel so We Have to Make Them Up opens with an allusion to an anecdote that affirms the myth of “the most beautiful county in the world” – Alfred Hitchcock’s famous admiration for the sunset on the shores of Zadar, but the filmic quest for Arcadia and the authentic emotions it awakens becomes a meditation on the failed attempt to construct the image and vision that would directly, nonverbally, mediate concepts such as origin, unity, purity, timelessness. Language, another stronghold of national identity, is performed in the film by a male speaker, in international English seasoned with a Slavic accent.

    Embarking on a trip outside the secure city street raster as well as beyond their usual media of artistic work, Iva Kovač and Elvis Krstulović commence their search for the “real places” that lie outside the media-mediated instruments of national self-identification and pay visits to all the more or less present mythical topoi, like the Velebit’s Holy Hill. Their characters are not recorded on camera, they are inscribed in the editing process, integrated only by the seemingly neutral suggestive baritone who confesses the search in the first person. The work’s procedural aspect, indicated only by the confessional form of the text, can be glimpsed through the dramaturgy of attempting and giving up which the spoken testimony is based on.

    International English, but in written form, appears in the recently published art book “Perfect Lovers” (2002 – 2012). The very choice of language distances itself from the form of the private, and the confessional character of the real stories is blurred by the shifts and overlaps of the protagonists’ identities. The text, short love croquis, are followed by the authors’ private photographs, thus physically exposing their intimacy, hidden behind words in the language performance and displaced narration. The confession thereby takes refuge in the secure domain of sexual fantasy, and the documentary in fiction. The couple’s photographic exposure takes place with separate protagonists, in moments of relaxation and outside any roles, revealing them only in their physical presence. The internationalism introduced by the oak twig, a symbol of identity and the ancient basis of economy but also of the space created by man, is conveyed through a public display of confessions and intimate stories. Love is derived from the acceptance of the world through the division of difference, and that is the beginning of the universalist potential of each of these personal, intimate stories, as Alain Badiou would say in his book In Praise of Love.[2] But while discussing the comparison of love and politics, Badiou also touches on the subject of internationalism, this time through the somewhat anachronistic notion of “fraternity.” “There are two political, or philosophical-political, notions one can compare at a purely formal level to the dialectics present within love. Firstly, the word “communism” encompasses this idea that the collectivity is capable of integrating all extrapolitical differences... But what on earth is “fraternity”? No doubt it is related to the issue of differences, of their friendly co-presence within the political process, the essential boundary being the confrontation with the enemy. And that is a notion that can be covered by internationalism, because if the collective can really take equality on board, that means it can also integrate the most extensive divergences and greatly limit the power of identity.”[3]

    “National landscapes use their nature, in whichimageand reality are intertwined, in order to naturalize the nation’s legitimacy. Like the altar, the image of the national landscape summarizes their complexity into visual clarity,” writes Paul Wilson in his text “Banality and critique: Contemporary photography and Finnish national landscape.”[4] Contemporary Finnish photography and the famous Helsinki School, which Wilson discusses in his essay, are often cited as an example of the coupling of art and nationalism which seeks to internalize the representation of nature into something called the national space and, consequently, through the process of self-legitimization, the national imaginary. As an opposition to such instrumentalization Wilson cites the aesthetics of banality, used by some artists to rebel against that kind of identification. In the case of the work of Iva Kovač and Elvis Krstulović, that is, Fokus grupa, it is precisely love speech, but also the risk of love, through the prism of emphatic emotion which they are unreservedly given over to, that is the origin of the liberation of language, of landscape, and finally the very medium of the safe cradle of national culture.
    Jasna Jakšić

    [1]Altar of the Homeland (Altare della Patria) was erected in Rome as a national monument to Victor Emmanuel III in 1885. The monument sparked some controversy, primarily due to its aggressive dominance in the historical center of Rome and the destruction of a medieval neighborhood on the Capitoline Hill.

    [2] Alain Badiou, Nicholas Truong. Pohvala ljubavi (In Praise of Love), Zagreb, Drugi smjer, 2011, str. 41.

    [3] Ibid., 60.

    [4]Minna Henriksson and Sezgin Boynik (eds.). Contemporary art and nationalism: critical reader. Priština: Institute for contemporary art “EXIT”, 2007, 154-175.

    Workshops in the framework of the project re.act.feminism 2 - a performing archive at Galerija Miroslav Kraljević

    All interested in the history, theory and practice of performance are invited to join the research-production workshops led by Suzana Marjanić in the framework of the project re.act.feminism #2_a performing archive that will be presented in Galerija Miroslav Kraljević from May 5-26 2012. The first workshop, “Zoo-scene and eat art — the performing, exhibitionary and acting animal” will take place on Friday, May 4, 5-8 pm, and the second, “Performative music: from bruitism to local examples of lesionism — a collage”, on Friday, May 11, 5-7 pm. The introductory lectures and discussions are based on analysis of selected examples from the re.act.feminism archive (http://www.reactfeminism.org/), as well as the analysis and contextualization of examples from the local context, with the aim of contributing to the historicizing and theorizing of performance in Croatia and the region.

    All interested in the history, theory and practice of performance are invited to join the research-production workshops led by Suzana Marjanić in the framework of the project re.act.feminism #2:
     “Zoo-scene and eat art — the performing, exhibitionary and acting animal”
  
    Friday, 04 May 2012: 5.00-8.00 pm
    “Performative music: from bruitism to local examples of lesionism — a collage”
  
    Friday, 11 May 2012: 5.00-8.00 pm
    re.act.feminism #2_a performing archive is a continually expanding, temporary and living performance archive travelling through six European countries from 2011 to 2013, presented on its own or within various exhibition formats and accompanying performances, lectures and workshops. It includes feeminist, gender-critical and queer performative works by artists and artistic collectives since the 1960s until today, presented through photographic, textual and video documentation.

    In the framework of the presentation of the archive from May 5-26 in Galerija Miroslav Kraljevic, Zagreb, two workshops led by Suzana Marjanic are organized. The first workshop, “Zoo-scene and eat art — the performing, exhibitionary and acting animal” will take place on Friday, May 4, 5-8 pm, and the second, “Performative music: from bruitism to local examples of lesionism — a collage”, on Friday, May 11, 5-7 pm. The introductory lectures and discussions are based on analysis of selected examples from the re.act.feminism archive (http://www.reactfeminism.org/), as well as the analysis and contextualization of examples from the local context, with the aim of contributing to the historicizing and theorizing of performance in Croatia and the region. Depending on the interests and desires of participants, the workshops will also involve collaborative work on compiling a “performative textbook”, as a toolbox for further research into the discussed topics, and collaborative work on creating a sound and/or music performance.

    The workshops are open to everyone, on the condition that they confirm their interest and participation by email (info@g-mk.hr), to which any further questions should also be addressed. Detailed information on the workshops are attached below.

    The curators of the project re.act.feminism are Bettina Knaup and Beatrice E. Stammer. The main organizer is the Berlin based organization cross links e.V., dedicated to research and promotion of experimental, gender-critical artistic and cultural practices. Galerija Miroslav Kraljević, one of the seven project partners, is the organizer of the project’s presentation and program in Zagreb.

    Milan Stepanovich_Firday, April 27, 2012

    Join us for a one evening presentation of the yearly student project connecting the London Metropolitan University and the Academy of Visual Arts, Zagreb. This year the participants are Maria Andreou, Jenny Campbell, Alenka Cindrić, Roko Crnić, Katerina Duda, Siobhan Heathcote, Leona Kadijević, Jake Laffoley, Stella Leboš, Lucija Mrzljak, Iona Roisin, Patricija Stepanovič, Vika Verb. Mentors and project coordinators are Ben Cain i Nicole Hewitt.

    MAGNUS BARTAS and LARS HENRIK STAHL: Bogey (The Hospital)_Exhibition opening and discussion with the artists: SATURDAY, March 3, 2012 at 7pm

    G-MK presents the new project by the Swedish artists and architects Magnus Bartas and Lars Henrik Stahl. The project is the result of a several months of research focusing on the usage of public space in the city of Zagreb and is based on questioning the relations between the public and private sector and their role in reshaping the urban landscape in the Croatian transitional economy.

    In the video installation "Bogey", Bärtås and Ståhl develop parallel narratives revolving around the two neighboring areas in Blato, one of the Zagreb suburbs: the never completed building of the University hospital from the 1980s and the newly developed Golf & Country Club Zagreb. The presence of the huge building of the hospital next to the exclusive golf club points towards the dramatic changes and shifts in recent Yugoslavian and Croatian history.

    The artists depart from the location of the hospital by repetitive reading of the text addressing the story of its history and its present. The last remaining guard keeps patrolling the hospital unable to prevent the continuous robbery of the building that gradually becomes stripped of all of its functioning parts and valuable metal. The gigantic skeleton of the hospital has kept resisting the influence of the weather but the nature is now invading its rooms and roofs.

    And while the public hospital has been deteriorating, the private golf club has been expanding. By the 2010 court settlement, the owners of the golf club were ordered to pay 4,5 million Kunas as a compensation for the illegal digging along the Sava River, close to their premises. By that point they have excavated 300 000 cubic meters of sand and gravel, which probably caused the contamination of the groundwaters of Sava.

    The reading at the hospital along with the many sounds from the building and its surrounding, form a common sound track for the two films and their two realities. The routine walk of the guard through the hospital building exposes the marks of thieves, squatters and graffiti artists, and enfolds in parallel with the movements of the golf cars of the neighboring gated community.

    Magnus Bärtås is an artist, writer and professor of fine art at Konstfack in Stockholm. In his works he has been focusing on biographies, storytelling and architecture. His works is currently on view at Apex art in New York and he is developing new works for the Gwangju Biennale in South Korea, Tensta Konsthall (Stockholm) and the Art museum of Uppsala (Sweden).

    Lars-Henrik Ståhl is an architect, artist and professor in Theoretical and Applied Aesthetics, Lund University. He has been the leader of arts-based research project such as Los Angeles Islands- American architectural influences in a Swedish region, and recently, Placebo-replacement strategies in hospital architecture (Zagreb project being part of it). Ståhl is also the director of ResArc, Swedish research school in Architecture.

    Supported by: Ministry of Culture, Republic of Croatia, City of Zagreb – Office for Culture

    The artists\\' research has been made possible through the collaboration with theMuseum of Contamporary Art Zagreb.

    Galerija Miroslav Kraljević
    Subićeva 29, Zagreb
    www.g-mk.hr
     + 385 1 45 92 696
    Opened:
    Tue – Fri 12 – 19, Sat 11- 13

    Removed from the Crowd: Unexpected Encounters II_Comparative Conceptualisms: Research Methodologies and Interpretations_seminar and book launch

    Join us for the second seminar in the framework of the on-going research and publishing project \\'Removed From the Crowd\\' developed by the Institute for Duration, Location and Variables (DeLVe). Participants in the seminarare Klara Kemp-Welch (editor), Luiza Nader and Sarah Wilson. After the seminar we invite you for the book launch of Removed From the Crowd: Unexpected Encounters I, edited by Ivana Bago and Antonia Majača in coll. with Vesna Vuković.

    Removed From the Crowd is an on-going research and publishing project developed by Ivana Bago and Antonia Majača at the Institute for Duration, Location and Variables (DeLVe) that had its differently shaped presentations in Belgrade, Ljubljana and Prague.

    Based on the initial reading of selected phenomena and concepts that informed the artistic, curatorial and intellectual practices in Yugoslavia during the 1960s and the 1970s, the project opens itself to an open process of reshifting and reshaping its scope and methodology, introducing new elements and fragments with each new iteration.

    The project’s main preoccupations, revolving around the ideas of temporary communities, delayed audience, exodus, and Dionysian socialism, are offered as entry points for new chapters and ‘unexpected encounters’; testing their resonance in different geographies, through new collaborations and research contributions.

    The series of seminars Removed from the Crowd: Unexpected Encounters gathers research contributions relating to artistic and intellectual practices of the 1960s and 1970s by bringing together a variety of recent research methodologies referring to different socio-political contexts, particularly exploring ‘peripheral’ geographies. The aim is not to merely \\'fill in\\' the existing art historical narratives with what has been left out, rather the seminar series attempts to work towards an intervention into the very order of discourses that shape the dominant histories of contemporary art.

    Unexpected Encounters I seminar held in 2010 presented several on-going researches featuring practices that were themselves in search of new methodologies, exploring the interstices between the collective and individual, private and public, action and escapism, art and non-art, artist and curator, nature and urban space, the visible and the invisible.

    The upcoming seminar Unexpected Encounters II edited by Klara Kemp-Welch brings together a selection of comparative methodologies for approaching international Conceptualism: mobilising affect theory to understand Hungarian and Polish artists’ responses to the Warsaw Pact Troops’ invasion of Czechoslovakia in 1968; bringing to bear parallel materials to challenge Moscow Conceptualism’s exclusivity and myths of origins; ‘reassembling the social’ in East European art in the decades preceding 1989.

    This open seminar is imagined as a meeting point of researchers, research notes and material, inviting the seminar contributors and the audience to participate in open reflection on and questioning of methodologies.

    Davor Sanvincenti_Invisible landscapes / Part I:Earth_OCT 30, 7 PM: Discussion between the artist and the curator Ana Kutlesa, OCT 31, 12-20: sound installation

    Invisible landscapes / Part I:Earth is an 8 hours sound installation/composition, a part of a larger project La cour du domaine. The piece investigates the fields of phonography and the phenomenon of ecological perception. The composition consists of sequences of field recordings done on several natural sites over three continents. The linearity of the composition (involving no loops) invites one to be present in the meditation of time, to create a space for inner vision.(Davor Sanvincenti)

    Asier Mendizabal: Prizemljeno, September 19 - October 18, 2011

    Asier Mendizabal\\'s works presented at the exhibition ‘Prizemljeno’ at Galerija Miroslav Kraljevic, focus on the historical relations between form and ideology; primarily through analyzing the meanings of abstract utopian universalism and its historical reception. Through different media (sculpture, text, photography and collage), Mendizabal is looking into popular and artistic practices and the configurations surrounding the relations between politics and art in public sculptures, mainly in the politically complex territory of the Basque country.

    Asier Mendizabal’s works presented at the exhibition ‘Prizemljeno’ at Galerija Miroslav Kraljevic focus on the historical relations between form and ideology, primarily through analyzing the meanings of abstract utopian universalism and its historical reception. Through different media (sculpture, text, photography and collage), Mendizabal is looking into popular and artistic practices and the configurations surrounding the relations between politics and art in public sculptures, particularly in the politically complex territory of the Basque country.

    The exhibition at G-MK points to the mechanisms between abstract modernism and ideology and the ways in which the narratives around it are reshaped through the historical and political transformations; becoming, through rehabilitation, a constitutive element in the new political narratives or being erased from the public discourse. Numerous elements of Mendizabal’s practice correspond strongly with the history of Croatian/Yugoslav affirmation of the progressive high modernism, its universalism and the issues surrounding its ideological neutrality, as with the amnesia and suppression in instituting new paradigms in the nation state building in the 1990s. The dynamics between the works in the exhibition and the local context in which they are on this occasion presented, point to rethinking the subversive potential of abstract modernism and the complexities of the relations between art and politics outside the Western, master paradigm. The specific context of the Basque modernism inherently evokes the question to which extent its abstract universality contained also a hidden, mythical identitarian idiom.

    Otxarkoaga (M-L) deals with the destiny of the busts of Marx and Lenin that the citizens of the working class neighborhood in Bilbao adapted from indoor to public sculptures unintentionally evoking the forms of the Basque modernist tradition, especially the work of Jorge Oteiza. Targu Jiu relates to the case of Brancusi\\'s Eternal Column, a public sculpture in a Romanian village of artist\\'s birth, and looks into the reasons for which this ethereal, abstract monument became the subject of several violent attacks and attempts of destruction. The piece Hernani revisits the case from the Basque country, when following the governmental decision to ban naming the Hernani park by the name of a deceased ETA fighter, the judges and the police incidentally also removed an earlier public monument from the park. The case of the mistaken identification of the abstract sculpture as a monolith erected in honor of the ETA member becomes symptomatic of the ways the particular idiom of the abstraction informs certain collective imaginary. 

    Asier Mendizabal (Ordizia 1973) is an artist based in Bilbao. His practice, fundamentally attached to sculpture as program, is resolved in diverse media and procedures, often including written word. The materiality of the signs and languages that create the representations and forms of the collective serves him to try a reading of phenomena like identity and ideological relations that eludes conventional interpretations. Multiple crossings between the specific codes of modernity with its actualization as popular culture in politics, cinema or music conform the most recurrent references in his work.

    He has exhibited individually, among others, in Artis den-Bosch, DAE in San Sebastian, MACBA Barcelona, Culturgest in Lisbon and Museo Nacional Centro de arte Reina Sofía in Madrid. He has taken part in group shows such as Chacun a son Gôut, at  Guggenheim Bilbao Museoa; Després de la notícia, at CCCB Barcelona; Manifesta 5, the Taipei biennial;  Insiders, at CAPC Bordeaux; Flüchtige Zeiten, at Westfälischer Kunstverein, On Handlung, Bucharest Biennial and ILLUMInations, 54th Venice Biennale. He is currently working on an extensive survey exhibition in London\\'s Raven Row.

    Supported by: Ministry of Culture, Republic of Croatia, City of Zagreb – Office for Culture, Embassy of the Kingdom of Spain in Zagreb

    MARK TRIBE: \\'THE DYSTOPIA FILES\\', June 9th &#8211; July 9th 2011. June 9th at 8 pm - exhibition opening; June 11th from 2pm &#8211; \\'Art of Curating\\', workshop; June 11th at 7pm - public lecture

    The Dystopia Files at GMK is the newest iteration of Mark Tribe's ongoing project, which recontextualizes the history of demonstrations in the US. The work tackles on a set of questions about power relations, spectatorship, image manipulation, participation, interaction and political engagement. The relationship between these issues and recent curatorial practices will be discussed during the workshop held by Mark Tribe. In a talk following the workshop, Mark will present his practices, including his previous acknowledged projects such as Rhizome and Port Huron.The exhibition is curated by ®eljka Himbele Kožul.

    The Dystopia Files at GMK is the newest iteration of Mark Tribe's ongoing project, which recontextualizes the history of demonstrations in the US. The artist had gathered an archive of protest footage, which serves as a base for creating site specific video installations in gallery and museum spaces. The work tackles on a set of questions about power relations, spectatorship, image manipulation, participation, interaction and political engagement.The relationship between these issues and recent curatorial practices will be discussed during the workshop held by Mark Tribe. In a talk following the workshop, Mark will present his multimedia artistic practices, including his previous acknowledged projects such as Rhizome and Port Huron.

    The exhibition is curated by Željka Himbele Kožul.

    All interested in participating in the workshop are kindly asked to contact us at info@g-mk.hr. We are looking forward to your participation!

    Mark Tribe (American, b. 1966) graduated in 1990 from Brown University, Providence, RI, and received a MFA in Visual Arts from the University of California, San Diego, CA in 1994. His acclaimed art projects often incorporate various media and technologies. They revolve around institutional critique, activism, audience participation and collaboration, and raise questions about performance, mediation and public sphere. Tribe’s art work has been exhibited at Wexner Center for the Arts, Columbus, OH; LACE (Los Angeles Contemporary Exhibitions); Ronald Feldman Gallery, New York, NY; the DeCordova Biennial at DeCordova Museum and Sculpture Park, Lincoln, MA; Aspen Art Museum, Aspen, CO; Park Avenue Armory, New York, NY; Haifa Museum of Art, Haifa, Israel; and the National Center for Contemporary Art, Moscow, Russia. He has organized curatorial projects for the New Museum of Contemporary Art, MASS MoCA, and inSite_05. Tribe is the author of two books, The Port Huron Project: Reenactments of New Left Protest Speeches (Charta, 2010) and New Media Art (Taschen, 2006), and numerous articles. He has lectured at CalArts, Goldsmiths College, the Boston Museum of Fine Arts, MIT, and UCLA. He is Assistant Professor of Modern Culture and Media Studies at Brown University, where he teaches courses on digital art, curating, open-source culture, radical media, and surveillance. In 1996, Tribe founded Rhizome, an organization that supports the creation, presentation, preservation, and critique of emerging artistic practices that engage technology.

    Special thanks to: Helena Anrather, Glassbead Collective, Larry Hildes, Ariel Hudes, Zinka Ivanković, Sarah Kay, Ivan Marušić Klif, Ron Kuby, William Linn, Ines Loje, Brandon Neubauer, Nikita, Shruti Parekh, Sarah G. Sharp, Time\\'s Up Video Collective, Sunčana Tuksar.

    The exhibition is supported by: Ministry of Culture, Republic of Croatia; City of Zagreb - City Office for Education, Culture and Sports, Embassy of the US, Zagreb

    Lise Harlev: What I Am Told About the Past_exhibition opening_Thursday, April 28, 2010 at 8 pm

    History, understood as a category of human existence, is older than the written word, claims Hannah Arendt in her book “Between Past and Future”. Its origin - not in a historical but a poetic sense - lies in the moment when at the Phoenician court Odysseus listens the story of his own adventures and misadventures, the story of is own life which at that point becomes a “thing” in itself, separated from him, and presented to others as “an object”. In other words, it represents a moment in which history is for the first time symbolically objectified, turned into facts which are later confirmed and reaffirmed, repeatedly with each new act of narration...

    History, understood as a category of human existence, is older than the written word, claims Hannah Arendt in her book “Between Past and Future”. Its origin - not in a historical but a poetic sense - lies in the moment when at the Phoenician court Odysseus listens the story of his own adventures and misadventures, the story of is own life which at that point becomes a “thing” in itself, separated from him, and presented to others as “an object”.1 In other words, it represents a moment in which history is for the first time symbolically objectified, turned into facts which are later confirmed and reaffirmed, repeatedly with each new act of narration, i.e. presentation. Our experience of a certain space, site, or a topos, is inseparable from our knowledge of its past. Spatial presence of a site is a product of a multitude of macro and micro histories, which can be more or less visible. However, despite the dichotomy between categories of space (the material, visible element) and time, i.e. history (or immaterial and physical elusiveness of time), both are intertwined; neither is the space static, nor the time linear. “Here” is inseparable from “now”; its past and future are elusive. Or, in words of Doreen Massey, “(...) “here” is no more (and no less) than our encounter, and what is made of it. It is, irretrievably, here and now. It won’t be the same “here” when it is no longer now.”2

    Lise Harlev’s work “What I Am Told About the Past” is a result of the art residency in Zagreb in February this year. Understanding Zagreb as a locus with its own specific history, the artist observed the ways in which the contemporary traces of this history, as well as her own expectations, have shaped the experience of getting to know the city. On wooden panels, in a very direct way, Harlev articulates a number of statements and questions concerning our perception of the history, its authenticity, nostalgia, and, finally, our universal need for history. At the same time, the background graphic elements create a number of associations – from timelessness of simple geometric shapes, through allusions to the 1950s graphic design, to a reminiscence of sign systems used on info boards at “historically significant” sites. Both elements, the textual and the graphic, thus create a completely new, ambiguous context – a very subjective experience of history, time and space is presented in visually very simple, familiar and recognizable way.   

    Jelena Pasic, curator of the exhibition

    1 Arendt, H. Between Past and Future, London: Penguin Books, 2006: 39
    2 Massey, D. For Space, London: SAGE Publications, 2007: 139

    Lise Harlev (1973), a Danish artist based in Berlin, studied at Stadelschule, Frankfurt am Main, and The Royal Danish Academy of Fine Arts, Copenhagen. Harlev’s work has been included in exhibitions such as Manifesta 4 (Frankfurt am Main, 2002), Something no one else has, Liljevalchs Konsthall (Stockholm, 2003), Momenum (Moss, 2004), I don’t always agree, Galleria Maze (Turin, 2005), This Land is My Land, Kunsthalle Nurnberg (Nuremberg, 2006), I (Ich) / Performative Ontology, Secession (Vienna, 2006), You Won’t Feel a Thing, Wyspa Institute of Art (Gdansk, 2007), Terms of Use, Centro Cultural Montehermoso (Vitoria, 2008), Translation Paradoxes and Misunderstandings, Shedhalle (Zurich, 2008), Liquid Frontiers, Tri Postal (Lille, 2009), Monument to Transformation, Centre for Visual Introspection (Bucharest, 2009) and Watchmen, Liars and Dreamers, Frac Ile-de-France/ Le Plateau (Paris, 2010).

    The exhibition is supported by: Ministry of Culture - Republic of Croatia, City of Zagreb - Office for Education, Culture and Sport, Danish Arts Council Committee for International Visual Arts.

    28.04. - 14.05.2011.

     

    Bok Bok (6th annual LMU/ALU project) Saturday, April 23, 2011

    Join us for a one evening presentation of the yearly student project connecting the London Metropolitan University and the Academy of Visual Arts, Zagreb. This year the participants are Vanja Babić, Matija Djanješić, Nadean Downey, Mike Graham, Ana Kovačić, Iva Habus, Ivana Pipal, Elizabeth Mills, Mouez Hamdi, Sara Rodrigues, Fred Vernon, Ana Vuzdarić. Mentors and project coordinators are Ben Cain i Nicole Hewitt.

    The exhibition Bok Bok has been developed within the frame of an annual project of linking students of BA Animation and New Media Department at the Zagreb Academy of Art, with the Fine Art BA students based at London Metropolitan University. 

    The project begins with a series of meetings, readings and workshops which aim to set out some of the objectives of the project. Although the underlying themes change from year to year, they often tend to circle issues related to foreignness, the exotic, tourism, displacement/dislocation, and estrangement. During their time in each of these cities the students from each university take part in group seminars and presentations, as well as attending exhibitions, museums, talks, bars, pubs etc. The work is often developed in and for the city and gallery where the work is presented.
    \r\nThe nature of the project embraces the improvisational character of the works, developing in a climate of fluidity and spontaneity. The experience often involves the students’ preconceptions and positions being constantly challenged. Therefore works are not always completed, but rather might form the beginnings of work to be made at a later stage. This joint project and the exhibition is a continuation of a collaboration started in 2005 with the aim of developing a long-term exchange between the two art schools.

    The exhibition at G-MK has been coordinated by Ana Kovačić.

    Supported by: London Metropolitan University, Akademy of Visual Arts, Zagreb, Student Assembly, Zagreb

    The program of G-MK is supported by City of Zagreb, Ministry of Culture RH.

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    Exhibition

    Online Project

    Workshop

    Publication

    Events

    Residency Project

    Filter year

    14/11/2017. - 09/12/2017.

    EXHIBITION, EVENTS

    Shakespeare among us

    21/10/2017. - 28/10/2017.

    EXHIBITION, EVENTS

    Sad Girls Collective: So last year

    16/09/2017. - 07/10/2017.

    EXHIBITION, EVENTS

    Inner connections

    19/07/2017. - 05/08/2017.

    EXHIBITION, EVENTS

    Maayan Amir i Ruti Sela: Image blockade

    30/06/2017. - 15/07/2017.

    Stones are found where they are thrown

    16/06/2017. - 24/06/2017.

    Nina Kurtela / 365 routines (work in progress)

    12/05/2017. - 31/05/2017.

    EXHIBITION

    Ivan Marušić Klif: Phase shift

    18/04/2017. - 06/05/2017.

    EXHIBITION

    Open studio: Vanda Kreutz

    13/04/2017.

    EXHIBITION, PUBLICATION

    LMU/ALU: Places outside the main thing somewhere in midle of the row and under roofing.

    14/03/2017. - 25/03/2017.

    EVENTS

    Open studio: Šumovi protiv valova

    17/02/2017. - 11/03/2017.

    EXHIBITION

    UFO - Ana Vuzdarić and Marko Gutić Mižimakov

    31/01/2017. - 11/02/2017.

    EXHIBITION

    In Situ – missing objects

    06/12/2016. - 23/12/2016.

    EXHIBITION

    eteam: Waypoint, Follow, Orbit, Focus, Pano, Track

    02/12/2016. - 03/12/2016.

    EXHIBITION, EVENTS

    Petra Milicki and Anika Schwarzlose: Monuments of the Future

    05/11/2016. - 26/11/2016.

    EXHIBITION, EVENTS

    Nina Gojić: A Multilogue for Later

    06/10/2016. - 29/10/2016.

    EXHIBITION, EVENTS

    Living in The End Times

    02/09/2016. - 24/09/2016.

    EXHIBITION, EVENTS

    MAJA HODOŠČEK: DREAMERS

    03/06/2016. - 25/06/2016.

    EXHIBITION, EVENTS

    Oliver Ressler & Dario Azzellini: Occupy, resist, produce

    26/05/2016. - 29/05/2016.

    EXHIBITION, EVENTS, RESIDENCY PROJECT

    Elli Kuruş - Invisible Hand, The Great Book of...

    03/05/2016. - 24/05/2016.

    EXHIBITION, EVENTS

    EMANUEL MATHIAS - ON CHOOSING THE APPROPRIATE DISTANCE

    06/04/2016. - 06/04/2016.

    EXHIBITION, EVENTS

    A collaboration between London Metropolitan's Cass Faculty of Art, Architecture and Design and Zagreb Acedemy of Fine Arts, Department of Animation and New Media.

    18/12/2015. - 23/01/2016.

    EXHIBITION, EVENTS

    You're small, I'm big!

    10/11/2015. - 28/11/2015.

    EXHIBITION, EVENTS

    On Revolution Roads - memorial tourism in Yugoslavia

    02/10/2015. - 30/10/2015.

    EXHIBITION, EVENTS

    Avoiding Eye Contact

    04/09/2015. - 25/09/2015.

    EXHIBITION, EVENTS

    Bojan Mrđenović: Imported desert

    10/06/2015. - 04/07/2015.

    EXHIBITION, EVENTS

    Asl&#305; Çavuºo&#287;lu: In Diverse Estimations

    23/04/2015. - 24/04/2015.

    EXHIBITION, EVENTS

    05/12/2014. - 23/12/2014.

    EXHIBITION, EVENTS

    Eve K. Tremblay - EKTBF451/EKTFF451: Notes & Confessions

    21/10/2014. - 21/10/2014.

    EVENTS

    18/09/2014. - 11/10/2014.

    EXHIBITION, EVENTS

    Emilio Moreno: Stone acrobatics

    05/09/2014. - 13/09/2014.

    EXHIBITION, EVENTS

    Iva Cepanec Masters; Stagnation

    03/06/2014. - 28/06/2014.

    EXHIBITION, EVENTS

    Kerrie Poliness: Wave Drawings and Landscape Paintings

    03/05/2014. - 31/05/2014.

    EXHIBITION, EVENTS

    Liquidation

    24/04/2014.

    EXHIBITION, EVENTS

    Zagreb and London art students exchange

    11/03/2014. - 14/03/2014.

    EXHIBITION, EVENTS

    Joshua Goode;The lost city

    10/01/2014. - 01/02/2014.

    EXHIBITION, EVENTS

    Duncan Campbell; Bernadette

    18/11/2013. - 07/12/2013.

    EXHIBITION, EVENTS

    Between Worlds II

    17/10/2013. - 09/11/2013.

    EXHIBITION, EVENTS

    Núria Güell and Levi Orta; YOU AND WHOSE ARMY

    01/06/2013.

    EVENTS

    Erick Beltrán \\"Creation of units\\"

    09/05/2013.

    EXHIBITION, EVENTS

    Collaboration LMU ALU - The Last One We Had Recently

    05/03/2013. - 06/04/2013.

    EXHIBITION, EVENTS

    Patricia Esquivias: Folklore

    20/12/2012. - 26/01/2013.

    EXHIBITION, EVENTS

    Nicoline van Harskamp: Yours in solidarity

    19/11/2012. - 15/12/2012.

    EXHIBITION, EVENTS

    Grupa Spomenik: Yugoslavia Studies

    12/10/2012. - 03/11/2012.

    EXHIBITION, EVENTS

    A Proposal for the Monument to the New (Inter)Nationalism

    05/05/2012. - 26/02/2017.

    EXHIBITION, EVENTS

    Opening of the re.act.feminism 2_ performing archive: Saturday, 5 May, 7 pm

    05/05/2012. - 26/05/2012.

    WORKSHOP

    Workshops in the framework of the project re.act.feminism #2; a performing archive at Galerija Miroslav Kraljević

    27/04/2012.

    EXHIBITION, EVENTS

    Milan Stepanovich_Firday, April 27, 2012

    03/03/2012.

    EXHIBITION, EVENTS

    MAGNUS BARTAS and LARS HENRIK STAHL: Bogey (The Hospital)_Exhibition opening and discussion with the artists: SATURDAY, March 3, 2012 at 7pm

    30/10/2011. - 31/10/2011.

    EXHIBITION, EVENTS

    Davor Sanvincenti_Invisible landscapes / Part I:Earth_OCT 30, 7 PM: Discussion between the artist and the curator Ana Kutlesa, OCT 31, 12-20: sound installation

    16/09/2011. - 18/10/2011.

    EXHIBITION, EVENTS

    Asier Mendizabal: Prizemljeno, September 19 - October 18, 2011

    14/06/2011. - 26/06/2011.

    EXHIBITION, EVENTS

    REMOVED FROM THE CROWD* Dionysian Socialism, (Non) Action, Delayed Audiencen/ Tranzitdisplay, Prague, June 14th - June 26th, 2011

    11/06/2011.

    EXHIBITION, EVENTS

    MARK TRIBE: \\'THE DYSTOPIA FILES\\', June 9th &#8211; July 9th 2011. June 9th at 8 pm - exhibition opening; June 11th from 2pm &#8211; \\'Art of Curating\\', workshop; June 11th at 7pm - public lecture

    28/04/2011. - 14/05/2011.

    EXHIBITION, EVENTS

    Lise Harlev: What I Am Told About the Past_exhibition opening_Thursday, April 28, 2010 at 8 pm

    23/04/2011.

    EXHIBITION, EVENTS

    Bok Bok (6th annual LMU/ALU project) Saturday, April 23, 2011

    13/01/2011.

    PUBLICATION, EVENTS

    Rafaela Dražić: Ad Hoc Project - book launch in the framework of the Secret Exhibitions

    25/11/2010. - 22/12/2010.

    EXHIBITION

    Vlado Martek: Poetry in Action_25.11- 22.12.2010.

    18/10/2010. - 07/11/2010.

    EXHIBITION

    Goran Skofic_ White_18.10.-06.11. 2010.

    29/09/2010. - 09/10/2010.

    EXHIBITION, EVENTS

    The Culture Lobby: An Archive of Cultural Memory_Wednesday, 29 September 2010, 8 pm

    11/06/2010. - 16/06/2010.

    EXHIBITION

    Dina Roncevic: Suck Squeeze Bang Blow_ Part of: Academy Files II_ Friday, June 11, 2010 at 8 pm

    25/05/2010. - 05/06/2010.

    EXHIBITION

    Izgubljena Fox_ Workshop and Exhibition

    30/04/2010. - 15/05/2010.

    EXHIBITION

    BUK 2009

    25/02/2010. - 27/03/2010.

    EXHIBITION

    MONEY ETC. - Isa Rosenberger and Kristina Leko

    20/01/2010. - 20/02/2010.

    EXHIBITION

    Monument to Transformation

    11/01/2010.

    PUBLICATION, EVENTS

    Micropolitics_Differentiated neighbourhoods of New Belgrade_Monday, January 11, 2010 at 19.00

    23/12/2009.

    EVENTS

    REMOVED FROM THE CROWD: THE FATE OF OUTER PLANETS opens at SKUC Gallery, Ljubljana on December 23, 2009

    19/12/2009. - 16/01/2010.

    EXHIBITION

    And Then Nothing Turned Itself Inside Out / 2nd chapter on stories and the 'immemorable' /

    19/12/2009. - 16/01/2010.

    EXHIBITION

    And Then Nothing Turned Itself Inside Out / 2nd chapter on stories and the 'immemorable'

    04/12/2009.

    EVENTS

    Micropolitics_Angel Nevarez and Valerie Tevere_Friday, December 4, 2009 at 7 pm @ HDLU

    05/11/2009. - 05/12/2009.

    EXHIBITION

    MARIJAN CRTALIĆ: Invisible Sisak - The Ironworks Phenomenon

    08/09/2009. - 15/10/2009.

    EXHIBITION

    Marko Tadić- I Speak True Things_ 8 September - 15 October, 2009

    05/09/2009.

    EVENTS

    Micropolitics lecture series_CARLOS MOTTA_Suturday, September 5, 2009 at 7 pm

    14/07/2009. - 14/07/2009.

    EVENTS

    Micropolitics_ lecture series_ MATEI BEJENARU_Tuesday, JuLY 14, 2009 at 7 pm

    09/06/2009.

    EVENTS

    Micropolitics_ lecture series_ JUDI WERTHEIN_Tuesday, June 9, 2009 at 7 pm

    20/05/2009. - 03/07/2009.

    EXHIBITION

    The Renaming Machine

    12/05/2009.

    EVENTS

    MICROPOLITICS_ lecture series_ Apolonija Šušteršič_Tuesday, May 12,2009 at 7 pm

    30/04/2009.

    EXHIBITION, RESIDENCY PROJECT

    MIND THE TAIL / PAZI REP

    20/03/2009. - 21/04/2009.

    EXHIBITION

    Igor Grubić: 366 liberation rituals

    20/03/2009. - 21/04/2009.

    PUBLICATION

    Igor Grubić: 366 liberation rituals

    17/12/2008. - 31/01/2009.

    EXHIBITION

    Pilvi Takala:Outshiners

    12/12/2008. - 14/12/2008.

    EVENTS

    G-MK hosting_ CDU: PARALLEL-SLALOM I : CINEMATIC MODES OF CHOREOGRAPHY

    08/12/2008.

    EVENTS

    Micropolitics_ lecture series_ Iris Hoppe_lecture_Monday, December 8,2008 at 7 pm

    24/11/2008. - 06/12/2008.

    EXHIBITION, WORKSHOP, EVENTS

    Andreja Kulunčić: On The State Of Nation

    24/11/2008. - 06/12/2008.

    PUBLICATION

    Andreja Kulunčić: On the State of the Nation

    14/11/2008.

    EVENTS

    Micropolitics_ lecture series_ Mika Hanula_The Politics Of Small Gestures_November 14,2008 at 7 pm

    12/11/2008.

    EVENTS

    MICROPOLITICS: Nina Montmann: How Art Institutions Can Create A New Sense Of Belonging _ Lecure_ Wednesday, November 12, 2008 at 7 pm

    31/10/2008.

    EVENTS

    Ann Demeester_ Lecture in the framework of Curating Degree Zero Archive_ Friday_October 31,2008 at 7 pm

    29/10/2008. - 15/11/2008.

    EXHIBITION

    Curating Degree Zero Archive

    29/10/2008.

    EVENTS

    Dorothee Richter: Indroducing Curating Degree Zero Archive_ lecture_October 25, 2008 at 7 pm

    26/09/2008. - 24/10/2008.

    EXHIBITION

    Omer Fast: ' De Grote Boodschap / The Great Message'

    10/09/2008. - 20/09/2008.

    EXHIBITION

    Case Study: the Academy | Helena Janečić, Gordan Karabogdan, Ines Matijević, Magdalena Pederin, Danijel Srdarev

    26/06/2008. - 20/07/2008.

    EXHIBITION

    Be a Happy Worker: Work-to-Rule!

    28/05/2008. - 06/06/2008.

    EXHIBITION, WORKSHOP

    BRITACIA: Student workshop and exhibition /LMU,London & ALU,Zagreb/

    13/05/2008. - 28/05/2008.

    EXHIBITION

    BUK ( Baranja Art Colony)

    11/04/2008. - 09/05/2008.

    EXHIBITION

    Vedran Perkov: Everything In Its Right Place

    01/03/2008. - 01/04/2008.

    RESIDENCY PROJECT

    Jesper Alvaer

    14/02/2008. - 22/03/2008.

    EXHIBITION

    ALMUT RINK: Contact Zone

    12/02/2008. - 07/03/2008.

    EXHIBITION

    BUK ( Baranja Art Colony) 2008: exhibition at g-mk

    19/12/2007. - 25/01/2008.

    EXHIBITION

    SANJA IVEKOVIC: Poppy Fields/ from the research archive and documentation of the projects

    12/12/2007. - 16/12/2007.

    WORKSHOP

    ON THE STATUS OF ALIENS AND MONSTERS

    05/12/2007. - 09/12/2007.

    EVENTS

    MUTUALITIES | Željko Badurina: Coffee & Cake

    03/12/2007. - 09/12/2007.

    EXHIBITION

    MUTUALITIES | Ivica Malčić: 10 new paintings

    01/12/2007. - 01/02/2008.

    RESIDENCY PROJECT

    Pilvi Takala

    20/11/2007. - 09/12/2007.

    EXHIBITION, EVENTS

    MUTUALITIES | Siniša Labrović: Punishment

    16/11/2007. - 09/12/2007.

    EXHIBITION

    MUTUALITIES | Shown & Found

    01/11/2007. - 01/12/2007.

    RESIDENCY PROJECT

    Damir Očko at HIAP, Helsinki

    12/10/2007. - 03/11/2007.

    EXHIBITION

    Damir Ocko: The End of the World

    12/09/2007. - 05/10/2007.

    EXHIBITION

    K2 Sur*viver | Tanja Lažetić,Susan Schmidt, Tina Smrekar, SonDA

    14/06/2007. - 09/07/2007.

    EXHIBITION

    Revolution is not a Garden Party

    18/05/2007. - 09/06/2007.

    EXHIBITION

    Go I Know Not Whither and Fetcch I Know Not What

    27/04/2007. - 15/05/2007.

    EXHIBITION

    Supertourist

    12/04/2007. - 25/04/2007.

    EXHIBITION

    Tina Gverović: The Visit

    01/04/2007. - 30/04/2007.

    RESIDENCY PROJECT

    Lala Rascic- AIR at Forum Stadtpark

    19/03/2007. - 17/04/2007.

    RESIDENCY PROJECT

    Almut Rink (Austria)

    14/03/2007. - 14/05/2007.

    RESIDENCY PROJECT

    Florian Roithmayr & Samuel Dowd (UK)

    13/03/2007. - 04/04/2007.

    EXHIBITION

    Ahmet Ogut: Softly But Firmly

    05/02/2007. - 02/03/2007.

    EXHIBITION

    Renata Poljak: All One Knows

    19/01/2007. - 20/01/2007.

    EVENTS

    Marijana Krajač: Paris / Ariadne 1st layout

    08/01/2007. - 13/01/2007.

    EXHIBITION

    BUK- Baranja Art Colony

    22/12/2006.

    PUBLICATION

    Željko Badurina: Post Art

    21/12/2006. - 21/12/2006.

    EVENTS

    Glocal Realities as Periferal In-Betweeness

    18/12/2006. - 18/12/2006.

    EVENTS

    afterMETAphores

    07/12/2006.

    EXHIBITION

    I've Invited A Couple Of Friends To Have A Look

    24/11/2006. - 26/11/2006.

    EVENTS

    4th MSE ( Middle-South-East) Meeting

    16/11/2006. - 13/12/2006.

    EXHIBITION

    Minna L. Henriksson: Zagreb Notes

    15/11/2006. - 15/12/2006.

    RESIDENCY PROJECT

    Mario Rizzi (Italy)

    27/10/2006. - 09/11/2006.

    EXHIBITION

    Cinema Suitcase: Dis-economy of life

    26/10/2006.

    EVENTS

    Kontejner presents: Device Art: Silvijo Vujičić

    21/10/2006. - 21/10/2006.

    EVENTS

    EkS-scena presents: post theater [new york / berlin / tokyo]

    25/09/2006. - 22/12/2006.

    ONLINE PROJECT

    afterMETAphores

    07/07/2006. - 07/07/2006.

    EVENTS

    resonance / discussion

    15/06/2006. - 08/07/2006.

    EXHIBITION

    Resonance

    06/06/2006. - 06/06/2006.

    EVENTS

    monochrom

    02/06/2006. - 14/06/2006.

    EXHIBITION

    Mario Causic: Morning in My Street

    31/05/2006. - 31/05/2006.

    EVENTS

    krist gruithuisen: archiving disappearence

    23/05/2006. - 26/05/2006.

    EXHIBITION

    Serial Cases_1 Acquaintance

    12/05/2006. - 13/05/2006.

    EVENTS

    maja marjancic | nikolina pristas | nenad romic: gifoskop

    05/05/2006. - 05/05/2006.

    EVENTS

    Work in Progress, public discussion

    04/05/2006. - 10/05/2006.

    EXHIBITION

    Lara Badurina: Work in Progress

    12/04/2006. - 19/04/2006.

    EXHIBITION

    Antun Božičević: Station Badel

    31/03/2006. - 02/06/2006.

    RESIDENCY PROJECT

    Minna L. Henriksson (Finland)

    15/03/2006. - 31/03/2006.

    EXHIBITION

    Ana Hušman: Exchange or - What We Did Not Know About Amateurism

    15/03/2006. - 04/10/2006.

    ONLINE PROJECT

    Marijan Molnar: Translations

    07/03/2006.

    ONLINE PROJECT

    Edita Schubert: Walks

    01/03/2006. - 01/03/2006.

    EVENTS

    Selection in Contemporary Art, public discussion

    08/02/2006. - 14/02/2006.

    EXHIBITION

    CROssoverUK Project

    03/02/2006. - 11/03/2006.

    WORKSHOP

    Neighborhood

    18/01/2006.

    ONLINE PROJECT

    Duje Jurić: Get inside the picture

    08/12/2005. - 01/05/2006.

    EXHIBITION

    Jasminka Končić: Parallel Reality

    17/11/2005. - 25/11/2005.

    EXHIBITION

    Maja Rožman: Beverage of Artists

    08/11/2005. - 22/12/2005.

    ONLINE PROJECT

    Magnus Bärtas and Zdenko Buzek: Homeless ideas

    05/11/2005. - 11/11/2005.

    ONLINE PROJECT

    Lala Raščić: Flying Carpet

    01/11/2005.

    ONLINE PROJECT

    Kata Mijatovic: Dream Net

    05/10/2005. - 25/10/2005.

    EXHIBITION

    Barbara Blasin : The Endangered Particle

    04/10/2005.

    ONLINE PROJECT

    Andreja Kulunčić: Closed Reality - Embryo

    01/09/2005. - 23/09/2005.

    EXHIBITION

    Olja Stipanović & Eveline Feldmann: Skin

    17/06/2005. - 08/07/2005.

    EXHIBITION

    Ana Bilankov: Shadowing the Black Square - Moscow Fragments

    25/05/2005. - 14/06/2005.

    EXHIBITION

    Plamen Dejanoff: Planets Of Comparison

    16/05/2005. - 16/05/2005.

    EVENTS

    Inivisible Labour

    30/04/2005. - 30/04/2005.

    WORKSHOP

    From London With Love

    07/04/2005. - 28/04/2005.

    EXHIBITION

    Igor Eškinja: Them

    15/03/2005. - 30/03/2005.

    EXHIBITION

    Ivan Škvrce: Objects Of Secret

    14/03/2005.

    ONLINE PROJECT

    Marijan Molnar: Identifications

    10/02/2005. - 10/03/2005.

    EXHIBITION

    Marko Fortunatović-Ercegović: People of Dubrovnik

    10/01/2005. - 04/02/2005.

    EXHIBITION

    Selected video pogramme from the Collection of New Media, Centre Georges Pompidou

    14/12/2004. - 07/01/2005.

    EXHIBITION

    Dijana Šimek: Future

    03/12/2004. - 10/12/2004.

    EXHIBITION

    Kontejner presents:Flu_ID: Intermedia art praxis

    11/11/2004. - 01/12/2004.

    EXHIBITION

    Alejandro Cesarco: Unrest

    06/10/2004. - 27/10/2004.

    EXHIBITION

    Mario Čaušić I Tihomir Matijević I Domagoj Sušac : Distance Point

    04/10/2004. - 04/10/2004.

    EVENTS

    Mara Verna: Same Same

    02/09/2004. - 29/09/2004.

    EXHIBITION

    Nebojša Šerić Shoba: Any Given Place

    15/06/2004. - 02/07/2004.

    EXHIBITION

    Darija Dolanski Majdak: deep Ž

    06/05/2004. - 27/05/2004.

    EXHIBITION

    Gordana Bralić : White

    14/04/2004. - 29/04/2004.

    EXHIBITION

    Nika Radić: Without Title

    10/03/2004. - 26/03/2004.

    EXHIBITION

    Tomislav Brajnović: Greenhouse

    11/02/2004. - 27/02/2004.

    EXHIBITION

    Ivan Posavec: Polaroids 1996 - 2003

    06/12/2003. - 06/12/2003.

    EXHIBITION

    Tomislav Buntak: Final Victory of Heavenly Army

    06/12/2003. - 23/12/2003.

    EXHIBITION

    Carl Michael von Hausswolf: Red Empty - Zagreb

    13/11/2003. - 27/11/2003.

    EXHIBITION

    Kristijan Kožul: Cornucopia

    23/09/2003. - 16/10/2003.

    EXHIBITION

    Maria Thereza Alves: Thing - process

    03/09/2003. - 19/09/2003.

    EXHIBITION

    Carol Lubin-Reiss: Lawn Ornament Series

    17/06/2003. - 10/07/2003.

    EXHIBITION

    Spartak Dulić: Instalation TX-19 (evolution-transformation)

    08/05/2003. - 27/05/2003.

    EXHIBITION

    Zdravko Pal: Paintings 2002 - 2003

    11/04/2003. - 18/04/2003.

    EXHIBITION

    Tanja Dabo: Meeting point - You and Me

    11/03/2003. - 27/03/2003.

    EXHIBITION

    Ulric Roldanus: En Route / On the road

    13/02/2003. - 28/02/2003.

    EXHIBITION

    Danko Friščić: Necrophylia 3

    09/01/2003. - 28/01/2003.

    EXHIBITION

    Rino Efendić: Yes, movie

    12/12/2002. - 23/12/2002.

    EXHIBITION

    Fritzie Brown: Recitativo

    05/11/2002. - 26/11/2002.

    EXHIBITION

    Jasenko Rasol: Covered

    09/10/2002. - 24/10/2002.

    EXHIBITION

    Tomislav Čeranić: Star City

    01/07/2002. - 15/07/2002.

    EXHIBITION

    Sonja Vuk: Do you love me?, installation, 2000-2002

    27/05/2002. - 14/06/2002.

    EXHIBITION

    Antun Maracic: Sideroad Monuments, two series of works/ Cro Car Crash Chronicle, after War/hol (gallery PM) and Sideroad Monuments (gallery MK)

    11/04/2002. - 26/04/2002.

    EXHIBITION

    David Maljkovic: Paintings for everyday use

    03/03/2002. - 15/03/2002.

    EXHIBITION

    Manfred Willmann: Das Land , Oman, Japanese Food, three photographic cycles

    10/02/2002. - 24/02/2002.

    EXHIBITION

    David Smithson: Burning Boots & Jerome Symons: Defining Moments

    01/02/2002. - 15/02/2002.

    EXHIBITION

    Minute of silence, curated by Janka Vukmir. Alen Floricic, Zlatko Kopljar, Ksenija Turcic and Vlado Zrnic

    10/01/2002. - 24/01/2002.

    EXHIBITION

    Davor Mezak featuring Jasna Zastavnikovic: Discohome

    06/12/2001. - 21/12/2001.

    EXHIBITION

    Zlatan Dumanic: The Log-book

    06/11/2001. - 27/11/2001.

    EXHIBITION

    Ghazel: Me 1997 - 2000

    09/10/2001. - 10/10/2001.

    EXHIBITION

    Agnieszka Wolodzko: Transasia

    11/09/2001. - 11/09/2001.

    ONLINE PROJECT

    Kata Mijatović: Dream Archive

    06/09/2001. - 26/09/2001.

    EXHIBITION

    Elizabeth Cohen: Splice & Michael Talley: On the Road

    25/05/2001. - 15/06/2001.

    EXHIBITION

    Jiøí Černický : Metapop

    01/05/2001. - 15/05/2001.

    EXHIBITION

    Darije Petkovic: Photographies

    01/02/2001. - 15/04/2001.

    EXHIBITION

    PROJACT BLIND DATE :Kevin Kelly & Tanja Dabo, Rijeka, january 2001; Anna-Marie Copestake & Smiljana Šafarić, Zagreb, february 2001; Karen Cunningham & Stefan Haus, Split, mart 2001: Blind date

    13/01/2001. - 31/01/2001.

    EXHIBITION

    Marcelo Brajnovic: War for Harmageddo

    06/12/2000. - 21/11/2000.

    EXHIBITION

    Marijan Cratalic : The Church

    01/12/2000. - 04/12/2000.

    EXHIBITION

    Goli otok- New Croatian Tourism

    09/11/2000. - 24/11/2000.

    EXHIBITION

    Alen Ozbolt: EDGE

    11/10/2000. - 24/10/2000.

    EXHIBITION

    James N. Juett: Paintings 1998 - 1999 forever

    07/08/2000. - 10/08/2000.

    EXHIBITION

    Dario Solman: Cabin Fever. The Research, memories of Columbus, Ohio

    12/04/2000. - 21/04/2000.

    EXHIBITION

    Andreja Kulunčić: Closed Reality - Embryo

    07/03/2000. - 24/03/2000.

    EXHIBITION

    Tamar Dobrovsky: The Web

    01/03/2000. - 15/03/2000.

    EXHIBITION

    Made in Sarajevo

    10/02/2000. - 24/02/2000.

    EXHIBITION

    Tanja Golic and excessive video installations by Alen Floricic: New video from Rijeka, experimental films and videos

    11/01/2000. - 28/01/2000.

    EXHIBITION

    Gojislav Kalapac-Goja: Circular Motion

    02/12/1999. - 10/12/1999.

    EXHIBITION

    Kata Mijatovic: Back from the Unconscious

    08/11/1999. - 25/11/1999.

    EXHIBITION

    Bojan Stokelj: NO-LOGO

    04/10/1999. - 21/10/1999.

    EXHIBITION

    Sonja Briski Uzelac: Fenestra Aperta

    07/09/1999. - 23/09/1999.

    EXHIBITION

    Anna Best: Visiting Curator

    16/06/1999. - 16/07/1999.

    EXHIBITION

    Yuri Leiderman & János Sugár : General reminder

    03/05/1999. - 17/05/1999.

    EXHIBITION

    Zoran Pavelić: Last Exhibition

    16/04/1999. - 30/04/1999.

    EXHIBITION

    Kristina Leko in Collaboration with Ivan Marušić Klif: When Exchange Tends to its maximum then it Aproximates Zero

    16/03/1999. - 01/04/1999.

    EXHIBITION

    Zdena Kolečková: Safe in their Alabaster Chambers

    02/03/1999. - 09/03/1999.

    EXHIBITION

    Edita Schubert: My Apartment