• 14.06.2019. - 13.07.2019.

    Paradigms of Animation

    Draško Ivezić, Chintis Lundgren, Martina Meštrović, Jelena Oroz, Veljko Popović, Tanja Vujasinović

    Special guests: Vasko Lipovac i Marija Ujević Galetović

    Special projection of "Loving Vincent" by Dorota Kobiela and Hugh Welchman

    Curator: Marta Kiš in collaboration with Iva Gašparović and Tanja Masnec Šoškić

    Despite the claims of some theorists that animated films can be logically classified as fine art,[1] that connection is often absent from curating and gallery practice. As early as 2008, Hrvoje Turković asserted that, despite the quality of production, theoretical and critical works on animation were extremely rare. Lead by our own interest, the remarkable complexity of contemporary animation techniques and the obligation that we have as art historians, especially in the context of Croatian history of animation, we need to change this fact. The exhibited works are selected from the films produced in the last two years and point to the driving paragons, inspirations or examples which precede their creation: the connection between the world of animation and that of fine art as they are clearly inspired by works of other artists that define the film's stylistic development (Cyclists), documentary approach and depending on artworks to develop one's own director's story (A cat is always female) and independent stylistic direction that we can follow based on the development of pre-production phases. In addition to domestic films, there is one emblematic example of foreign production from 2017, but we will have to wait for the development and funding of arts and cultural programmes within which we operate in order to view its original content.


  • 26.04.2019. - 18.05.2019.

    Paper, Scissors, Book

    Bruketa & Žinić & Grey, Dejan Dragosavac Ruta, Danijel Dragojević, Irena Frantal, Peter Greenaway, Siniša Labrović, Dubravka Vidović, various artefacts 

    Curators: Petra Galović, Klaudio Štefančić

    The international newspapers has recently paid much attention to the sales of traditional and electronic books. Namely, the statistics have shown that the drop in sales of paper books has not only ceased but even surpassed the sales of e-books manifold in certain – mainly Anglo-Saxon – markets. In a way, this information is both surprising and decisively not so. It is surprising because at one point it did seem that e-books met the key criteria of democratic education. They were cheap, or at least cheaper from paper ones; they were, thanks to the Internet, widely accessible; they were economical because they did not take up much space or collect dust; they possessed the yet untapped potential of networking texts as well as readers’ experiences, etc. Of course, all that potential would not have been possible without the devices, the new generation of e-readers, such as Kindle or iPad. The new e-readers have gotten better in the field of screen technology and wireless connectivity with sales centres (bookstores) and less so in the area of interpersonal communication and empowering the readers in general. Paradoxically, the greatest efforts have been put into making e-reading as similar to paper books, whether by imitating the colour of paper on screen or by designing new fonts, or – most often – both. One of the key devices in that technological evolution (Kindle 2) would thus be advertised based on its particular achievement: by adjusting the paper colour and font on the new screen, we recreated the nineteenth-century readers' experience, they boasted in Amazon.


  • 01.03.2019. - 30.03.2019.

    Josip Zanki, Mantra of Compassion

    Within the local framework, it is hard to find an artist who works so systematically on connecting art and cultural anthropology to have been lead into a hybrid field that lies somewhere between art practice and scientific research, as is the case with Josip Zanki. Truth be told, Zanki is interested in what resists modernization in the concept of “a man as a social and cultural being”: religion, magic, premodern art, etc. Therefore, it is not surprising that the objects of his interest are so diverse: sepulchral practices of Zadar hinterland, the importance of cultivating barley in European rural areas, Buddhist painting, Petar Zoranić's “Planine”, Velebit, shamanism, hiking, prayer, meditation, etc. At the exhibition in Velika Gorica, Zanki – in full accordance with the mystical tradition of combining the incommensurable – focuses on the complex relationship between the East and the West, often marked by mutual misunderstandings, and exemplifies it via pictorial representations. What is the purpose of Buddhist paintings; how are they created; what is their relationship with the deity they depict; how much do these paintings rely on the Western understanding of space and geometry; are there any similarities between Eastern mantras and Christian or Islamic prayers and can they be prompted by an image; what is the role of an art form on the one hand, and individual intervention on the other in the tradition of Buddhist and Western painting; how does one become a master painter in Buddhist art and is it comparable with Western painting? In addition, the exhibition will also present the international results of the artist’s educational work via dozens of drawings and paintings. Regardless of whether Zanki is in the role of a student or teacher, working and living in the Indian or the South American subcontinent, he seems to continuously point out one thing: the human need for transcendence and to express oneself.

    Below we bring the text of Nevena Škrbić Alempijević, professor at the Faculty of social and humanistic sciences in Zagreb (Department for etnology and cultural anthropology):