• 16.11.2018. - 15.12.2018.

    Her New East

    Asiana Jurca Avci (SLO), Karla Jurić (HR), Selma Selman (BiH), Tatjana Radičević Planinčić (SRB)

    Curator: Marina Paulenka (HR)

    The exhibition titled Her New East features four artists from ex-Yugoslav countries – Croatia, Serbia, Bosnia and Herzegovina, and Slovenia. These younger generation artists mostly use the medium of photography in their artistic expressions, but also new media, video, performance and installation. The artists represented in the exhibition seek alternative ways of telling stories rooted in our culture and, armed with a phone or a camera, they elucidate the path of defining the visual identity of the new East. By reexamining their gaze from the perspective of the conservative, male-dominated society, they explore gender roles and sexuality, myths and archetypes, the body and the urban environment. In this region, feminism is on the rise among the younger generations: feminism, not just in the sense of words and concepts, but also visually. Young women – in photography, fashion, film and media – are redefining sexuality and the female gaze and telling visual stories about contemporary womanhood in Eastern and Southeastern Europe. In these countries, plagued with old-fashioned gender stereotypes, the word feminism itself has been historically rebuffed in society, so it found its way in through other media like the Internet and television. The generations who grew up on the Internet couldn't remain immune to the changes in gender roles and not become part of the new wave of feminism, visual, young and web-savvy. Their works want to transform the outside world but also serve as records of their own inner emancipation.

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  • 03.10.2018. - 03.11.2018.

    Post-media structures

    Iva Ćurić, Paulina Jazvić, Igor Juran, Predrag Todorović

    Curator: Vanja Babić


    "During its decades-long prevalence, the modernist epoch systematically and theoretically disputed – with an outspoken self-awareness – most of the entrenched tendencies in art, i.e., canons, in order to assert progress as the ultimate creative paradigm. The principle of mimesis was the first one to be dismantled, then abstraction challenged figurative representation, and finally, the stratification of the media took hold. The traditional media of painting and sculpture, and classical graphic techniques were declared retrograde, even artistically ineffectual, in comparison to the burgeoning new phenomena like conceptual art, video and performance. This was, of course, not unsubstantiated. However, at the end of the 1970s, the modernist focus would dissipate, giving way to the “omnivorous”, programmatically apathetic, and hence, hard to define postmodernism, also in the sense of lacking any kind of an exact and concise definition. The action was watered down and acquired the characteristics of a condition. Did postmodernism emerge just as a kind of a cancerous form of modernist ideas, or can it be seen as a conservative reaction to those ideas?

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  • 15.06.2018. - 14.07.2018.

    Mario Matoković, In Pursuit of Good Governance

    Curator: Klaudio Štefančić

    In addition to several other artists, Mario Matoković stands out amongst contemporary Croatian artists primarily due to his keenness to comment and criticize everyday politics through the language of art. Contrary to modernist heritage, which prefers sublimation and distance to topicality and engagement, Matković's reaction to his social surrounding is almost impulsive. Since he was born and lives in Osijek, the greatest portion of his work is dedicated to the events that transpire in his hometown and Slavonija, although all the problems that plague this region – the deindustrialization and counter-urbanization of Osijek, a fall in agricultural production, depopulation etc. – can also be identified in the Croatian society as a whole. Regardless of the nature of a social issue, Matoković addresses it through the conceptual framework of solidarity and community, thus indicating its disappearance or misinterpretation. Matoković's work also brings into focus a strained relationship between art, culture and state, which is not only idiosyncratic to Croatia, but to other Eastern European countries as well. Did art lose its social objective? What is its role in the globalization processes? Based on which criteria do we assess the value of artworks and institutions in a society whose cultural production is almost entirely dependent of state aid, etc.? The exhibition titled “In Pursuit of Good Governance” features six of Matoković’s works (created from 2011 to 2018) and, as such, is the first larger display of this artist’s work in the region of Zagreb.

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  • 13.04.2018. - 19.05.2018.

    Đuro Seder, Cape of Good Hope (paintings and drawings)

    Curator: Marijana Paula Ferenčić

    Đuro Seder was born in Zagreb in 1927. He graduated in Painting from the. Academy of Fine Arts in Zagreb in the class of Professor Antun Mejzdi in 1951. He completed a painting specialisation course led by Professor Marino Tartaglia in 1953. After graduation he worked at the magazine Jugoslavenski radio as an illustrator and a copy editor, as well as at the publishing house Panorama and at the Marketing Agency – Vjesnik between 1968 and 1981, as a graphic designer. From 1981 to 1983 he worked as a lecturer at the Academy of Fine Arts in Zagreb, from 1983 to 1987 he filled the position of Dean, while from 1987 to 1998 he worked as a tenured professor. After his retirement in 1998 he was awarded the status of professor emeritus. He has been a regular member of the Department of Fine Arts of the Croatian Academy of Sciences and Arts since 2000, while since 2011 he has been the head of the Croatian Academy Glyptotheque. He was a member of the art group Gorgona from 1959 to 1966. ln the 1960s and 1970s he published poetry in the magazines Razlog, Kolo, Forum and Republika, whereas in 1978 his collection of poetry Otac iz lonca (Father from the Pot) was published by Biblioteka, in Zagreb. He has been holding solo exhibitions since 1958. His works are exhibited at many national and internationalgalleries and museums, and part of private collections in Croatia and abroad.

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  • 02.03.2018. - 07.04.2018.

    Marija Ančić. Morbid Frames

    Marija Ančić is a former finalist of the Radoslav Putar Award and an artist whose work takes place at the intersection of traditional art disciplines (drawing, animation) and culture of social networks (GIF, blog, etc.). Ančić graduated from the Academy of Fine Arts in Split at the departments of restoration in 2005 and sculpture in 2010. She lives and works in Zagreb as an independent artist.

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    When the subject of selfhood is broached from the inevitably uncanny perspective, incessantly engulfing the subject and thus becoming its constitutive part, as Marija Ančić does it, the medium of GIF presents itself as an ideal solution. Figurative animation which implies the stylization of the real world, presupposes a subjectively “skewed” gaze. In addition, the minimal form of narration tying together the story’s beginning and end into an integral whole, thereby renouncing causality, is contingent upon the uncanny content: the inability to distinguish dream from reality, the state of security from the state of danger, and self from the other.

    Ančić’s poetics can be easily classified under the gothic genre which, among other things, possesses a trans-historic quality (it first referred to the Middle Ages, and then to the Victorian era), so it should not come as a surprise that it also found its place in the Digital era. Moreover, not only does the contemporary gothic draw on the themes and motifs that originated primarily from Victorian and Edwardian literature (during the genre’s inception), but it also democratically spreads onto all the other art forms (visual and fine arts, theatre, film, music, comics…) in which it promptly creates new forms (as is the case in postmodernism), namely in the horror genre. 

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