• 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.


  • 13.10.2017. - 11.11.2017.


    Valerija Cerovec, Karla Jurić, Marko Mišković, Lucija Mandekić i Gala Marija Vrbanić in colaboration with Staša Mlinar and Legame Studio

    Curators: Ivana Čuljak, Lea Vene

    In the fashion system, the showpiece inhabits a specific place as a garment and commodity with ambivalent characteristics. It does not necessarily exist as an embodied garment, but sometimes also as an image, idea, conceptual piece or manipulative marketing tool. In her book Fashion at the Edge, fashion theoretician Caroline Evans defines the showpiece as a concept characteristic of fashion at the edge. In this scenography that object entails several functions. As a showcase of contemporary fashion the showpiece enables the fashion designer to create beyond the boundaries of the wearable and outside commercial fashion standards. Positioned on the edge of the fashion system, the showpiece does not enable us to categorize it clearly. As a comment, critique or concept it stretches beyond fashion and legitimizes itself in the museum or gallery context. Also, as a manipulative marketing strategy it ensures enough media visibility (such as press and magazine coverage) for the fashion designer, whereby it once again enters commodity circulation as an image. What happens when we dislocate the concept of the showpiece outside of the fashion system and place it directly in the gallery context? What does the showpiece mean for young practitioners working on the edge of the dominant fashion system? If every age has its own scenography (C.Evans), how does it affect the interpretation of the showpiece today?

    The starting point for the exhibition is the concept of the showpiece which is interpreted by a younger generation of fashion practitioners: Valerija Cerovec, Karla Jurić, Marko Mišković, Lucija Mandekić and Gala Vrbanić in collaboration with Staš Mlinar and Legame studio. They question the materially and inherent visually of the showpiece and also rethink it in the context of (personal) performative practices, virtual reality, as a sound or redefine its meaning through the medium of photography, in which the photography itself becomes the showpiece.


    Founds for the exhibition were provided by The City of Velika Gorica.


  • 22.04.2015. - 31.05.2015.

    Every tree stands in silent thought

    Jan Chudy, F.F. Coppola, Boris Cvjetanović, Darija Čičmir, Gradski muzej Virovitica, Ivan Ivanković, Ines Kotarac, D.H. Lawrence, Barbara Loden, Sara Malić, Hana Miletić, Ema Muža, Muzej Turopolja, Muzej grada Koprivnice, Vesna Parun, Barbara Radelja, Andrea Resner, Luka Rolak, Davor Sanvincenti, Martin Scorsese, Tamara Sertić, Sv. Ambrozije, Mladen Šutej, Zlatan Vehabović, Davor Vrankić, Magdalena Vuković 

    There is a series of exhibitions hiding under the umbrella title of “Inner museum”, and the first one is dedicated to the phenomenon of solitude. Almost all social and natural sciences agree that humans are primarily social beings. Social interactions determine our character, our actions and our moral values to a large degree. Starting from the very first contact with our parents or guardians, through the adaptation to new environments (school), to the purposeful participation in the community, intersubjective relations are essential for normal human development. Language acquisition, developing behavioural social patterns, compassion, intelligence, etc. are just some of the properties which we perceive as positive and automatically associate with sociability. On the other hand, the majority of deviations in human development – from childhood to socially responsible adulthood – are associated with the absence or some kind of a deficiency in the socialization process. Popular culture, proverbially prone to simplification, thus portrays people who prefer solitude as weirdos living on the social margins of class, space, ethics or aesthetics. 


  • 03.12.2008. - 24.12.2008.

    Sandro Đukić, "arch_001_089_output / 2008"

    Taxonomy of technological transformation

    The exhibition of Sandro Đukić is demanding. It’s demanding for the author, but even more demanding for the audience. Not as much by its form – although certain level of technological and visual literacy is requred – as by its content, more precisely by the issues it inquires and their heaviness. One of these issues is the nature of photography as a form of art in this, more and more, digitalized world. Althoug digitalization of photography began (in its rudimentary form) more than half a century ago, recent development of technology, with particular relation to lowering costs of personal computers, storage media and digital cameras, results in two important things.

    Photography does not go through chemical processing anymore, which change its values. Not necessary in positive or negative way, but in its essence. Increasing megapixels are not necceserily technologically improving the quality of photography, but adversely excluding numerous possibilities the classic, anolog photography has to offer: from the moment of taking a photograph to developing and processing it. Of course, speed is obtained, as well as authenticity to some degree, but the question which remains unanswered (and often unquestioned) is what is lost. Question raised in mid-nineties by Critical Art Ensamble i Geert Lovink refering to information technology and digital communication is emerging in its new variant. The speed of information transfer, as well as its quantity and accessibility, is rapidly increasing, but time needed for processing remains the same – limited by human cognitive ability. Does the limitation go toward superficiality and prefering quantity over quality? In photographic discourse this question may be: Does increasing quantity of digital photographies leads to less time to observe, analize and process it visually and/or intelectually?

    Sandro Đukić is going even further. In a way he is reversing the question that Benjamin asked in the 1930s (how has photography changed art?) to make it: how has technologicaly mediated art (applied as in graphic design, but also the art market) changed photography? More and more common artistic practices transformed what was essentially an art born in print into a salon art of single pictures on walls, often incorporated in some multimedia instalation in which digitaly taken photograph is digitaly presented or screened – never getting a chance to be present in its intrinsic medium.

    What is in that proces changed in visual economy? The very notion of visual economy is developed from the work of Deborah Poole, and places emphasis on the organization of the production and exchange of images, rather than relying simply on an analysis of their visual content: The word economy suggests that the field of vision is organised in some systematic way. It is also clear that this organisation has as much to do with social relationships, inequality, and power as with shared meanings and community ... For Poole, a visual economy has three levels: the organization of production, encompassing both the individuals and the technologies that produce images; the circulation of ... images and image-objects; and the cultural and discursive systems through which graphic images are appraised, interpreted, and assigned historical, scientific, and aesthetic worth

    By removing the images from their original contexts of production and circulation, and placing them into a gallery, the visual economy that produced these images is negated or obscured in favour of a more neutral sense of the photograph as raw material or a window onto history. Whit such an action single photographs, but also their whole (in the form of photography data-base) becomes repositioned in relation to the time/place of thir origin, and at the same time in relation to the time/place of their initialy intented purpose. That is leading us to (maybe) the crucial problem of digitaly mediated photography: the question of clasification, of taxonomy. That is the question more and more essential in many branches of information and library sciences (especially in the theories of so-called semantic web), but also unavoidable one for consuments of visual images, ranging from pornophiles probing the Net in search for a distinct fetish, marketing experts deciding on media campaign’s visual images, or common people trying to handle ever biger family albums. How to find what one is looking for in the seemingly endless piles of photos (not to mention that very often they are incredibly alike each other)?

    Analogy with another problem of classification of visual material is almost inevitable. Every human fingerprints is unique (although the final scientific verdict is still awaited), but the clasification of them is a problem yet unresolved. In case of photohgraphy confirmation is much easier. Acoording to the laws of physics two objects can not occupy the same space in the same time, therefore, no matter how short exposition is, even bursted shooting allways will result with a set of very similar (to the point of concealment), but not the same photographs. System of clasification, however, can not benefit from such evidence, as analogy with the history of dactiloscopy unmistakably shows.

    An important first issue is that any one image has varied content, which may be available either consecutively or concurrently to the same or to different viewers. These multiple ways of seeing have been discussed over the years, but it’s still a very open field. It is worth noting here the contrast with textual data. While textual data can have a multiplicity of content and meaning, in terms of the discrete elements of a query, the visual and linguistic content are homologous. The fundamental building blocks of text databases are ASCII character strings representing words that have a direct semantic interpretation.

    In contrast, the pixel values making up digital images have no inherent significance. Considerable processing of the image is necessary even to infer the presence of a simple shape like a circle, let alone a complex object such as a tree. Direct comparison of image bitmaps can tell us only one thing about a given pair of images – whether they are identical or not. Nothing can be deduced about their similarity in terms of the objects they contain, or scenes they represent.
    Art history and its pertaining theories are rich in narratological, iconographic, multidiscursive and other attampts of clasification of visual material, ranging from already classics like Panofsky to contemporary, technologicaly highly sofisticated theories of Ornager and Rasmussen (among others), however there is still no universaly applicable method of catalogizing photographies, other then on a very basic, bumpy level. Neither contemporary catalogization of image types nor more traditional iconography just aren’t a match to the problem.

    Maybe the premier value of Sandro Đukić’s exhibition lay in the fact that, thorough playing with his own archive, thorough permutations and variations of its parts, excessing from one media to another, from one technique and technology to another clearly pointing to the problem itself. (Igor Marković)

    Sandro Đukić was born 1964. in Zagreb. He graduated at the Academy of Fine Arts in Zagreb in 1989. In period from 1989 to1993 he attended Art Academy in Dusseldorf (class of prof. Nam June Paik and prof. Nan Hoover). At the same academy he attended postgraduate studies (class of prof. Nan Hoover) in period from 1993. to 1994. Exhibited in Slovenia, Germany, USA, Italy, Serbia, Austria and Croatia and lectured at the numerous conferences dedicated to media art (Rijeka, Zagreb, Plasy). In 1991. he received Croatian Artist Association Award.



  • 01.02.2008. - 01.02.2008.

    Art, Technology, Media

    The Galženica Gallery dedicates the 2008 exhibition programme to the latest tendency that finds its artistic and social legitimization in exploring different forms of relationship between technology and art, known under many names such as new media or digital art. However, the focus of our interest is only on the production and presentation of those works that in the context of current transformation of the Internet from communication into a mass medium highlight new ways of networking (Web 2.0, P2P etc.) on one side and the immanent characteristic of the Internet to depend on the different databases on the other. This is especially true of World Wide Web...


  • 27.09.2007. - 21.10.2007.

    Gordana Pogledić Jančetić, "Digital Collage"

    Gordana Pogledić Jančetić, 1977, graduated from the Zagreb Fine Arts Academy in Applied graphics and design in 2001. Her artworks include photography, painting, animated film and graphic design works. She won the third prize for the photography at the first Slovenian Science Fiction, Fantasy and Horror Festival.

    At the Galženica Gallery we are about to see her female nude photographies. The artist used various software tools to modify the visual structure of the represented object. Consequently, the result is different from what we are used to see in the traditional nude photography. The traditional nude, even when used as a radical artistic experiment, reveals the traces of the object's materialism. However, Gordana Pogledić Jančetić's digital nudes are images of different data, rather than recognizable transfiguration of the human body. They have full autonomy and their relation to the art tradition is still undefined.


  • 31.10.2007. - 18.11.2007.

    Kristina Lenard, "Photosynthesis"

    Kristina Lenard graduated from The Academy of Fine Arts in Zagreb. She was artist in residency at The Fine Art Academy in Krakow (Poland) and at The Valand Fine Art Academy in Goeteborg (Sweden). She received two scholarship: Kulturkontakt (Austria) and Mino (Japan). She received The Audience Award at The 9th Triennale of Croatian Sculpture 2006. She exhibited at numerous solo and group shows in Croatia, Slovenia, Japan, Austria, Germany and Sweden.


    (...)The author takes painting and history of art traditions by the horns, including conventions and issues of motif elaboration and available technical possibilities of digital photography, as well as related software. In a way, photographs of portraits and flower still lifes, represent a decorum; these are photographs within a cathegory of an image magnetism of which lays in its surface, and arises from specific treatment of formal elements which, according to Barthes “constitute the meaning which curdles like milk”. In the course of the 20th century, genre art, revived by technology development, gained a creative impetus; owing to new modes of production, presentation and distribution of images in the frameworks of photographs and video, it has become a prominent art form of an entirely new expression and semantic context. (…)

    Following research of relashionship between truth and falsehood, Kristina Lenard’s idea expressed in photographs in «Photosynthesis» emerges from the space between reality and fiction, illusion and actuality, Photoshop manipulated images. Like Virilio’s paradoxical logic of images appearing only where image prevails over object and time over space, and where the concept of reality is converted, a space emerges which is established by nature of camera - technological „apparatus“ and exploration of its boundaries and possibilities, as well as space granted by digital images and media technologies. Within dialectical relationship between reality and image, image has long prevailed and imposed its logic. Image does not engage with its reflection role or representative form, but with contaminating reality and reshaping it, with conforming to reality to distort it and subtly reshaping reality for its own benefit. (Branka Benčić)



  • 09.05.2007. - 31.05.2007.

    Mare Milin, " A side, B side "

    The title of the upcoming exhibition, “Side A, Side B”, refers to the complex process of the fashion photography production which is a result of the teamwork of experts. Not only a photographer, but also a stylist, an editor, a makeup artist, a set designer, a model and a producer, design the editorial, choose photographs and create the beauty that may attract you to buy what you see. “A Side” is what you actually see when you buy a fashion magazine: photographs, clothes, models etc. “B Side” is invisible to the readers' eyes, for example the photographs that did not end up printed in the magazine despite the photographer's opinion on their quality.

    The fashion photography is a hybrid genre that has the same origin as a so-called documentary i.e. press photography. Namely, both emerged and developed as a constituent part of, at first printed, then electronic, and finally digital mass media.

    Unlike the documentary photography, the fashion photography has more freedom in selecting and combining various aesthetic, formal and social approaches to the art of photography. Not only has the fashion photography dealt with different genres (portrait, landscape, experimental or erotic photography) but also with different social codes of art, ranging from the concept of authenticity and individuality to the concept of technical excellence and teamwork underlined with the amateur dedication to technology.

    The teamwork that produces the fashion photography is not marked by an amateur love for the encounter of man and technology but by the demands of fashion and media markets. Those demands include excellence, inventiveness and knowledge of the history of photography, technology and culture. Despite moving away from a romantic idea of autonomous individual, free from social contracts, who uses camera to express the relations with self and the world around, a fashion photographer as a part of the “beauty industry” is free to be creative. Although determined by mostly economic demands, creativity lies in the possibility to use different strategies, styles and cultural conventions (gender-related as well as artistic). The fashion photographer is a “beauty hireling” and thus a predecessor of contemporary designers who give form to almost everything, ranging from a single page and screen to identity and history.

    Paradoxically, the more fashion photographer is involved in the industry the more original he/she is; the more he/she goes back in the past, the more seductive photographs are; the more he/she is hermetic the better products sell. (Klaudio Štefančić)

    Mare Milin is born in Zadar in 1973. After graduating from highschool she moved to Zagreb to study industrial design at the University of Architecture. At that time she started to take photography courses as a part of regular university program. Suddenly, she became infatuated with photography and her development (1).

    Since 1994. she has cooperated with a number of Croatian magazines, such as: Arkzin, Ultra, XL ( which, unfortunately, don’t exist any more ), Mila, Story, and Croatian issues of Cosmopolitan and Elle. As a result of cooperation with several publishing houses ( Meandar, Sysprint ) there are several book editions with her photos on their covers ( a biblioteque of Milan Kundera’s books, G. Orwell, V. Wolf, V. Nabokov etc.).

    Since 1999., she has worked as a photographer on many advertising campaignes. She cooperate with agencies such as: Lowe Lintas Digitel, BBDO, Leo Burnett, Grey Zagreb, Mc Cann Erickson, Hager (Poland), Public Image…She is art director of animated film "Glupača" which is in state of production at the moment (2).

    Since January 2006, she has been a part of a big multimedia project about ingenious scientist and inventor of AC, Nikola Tesla ( Bulaja Publishers, Zagreb ). It is a work in progress at this point. During March and April 2006. she was an artist in residence in 18th St Arts Center, Santa Monica ( USA ) (3).

    Her artistic work has always been based on photographies of people, situations with them, selfpotraits. Sometimes, her professional tasks ( mostly magazine jobs ), turned out to be unexpectedly artistic. Therefore, unusable in the publishing business, but very helpful in her development as an artist.




  • 01.02.2007. - 25.02.2007.

    Igor Kuduz, "Portraits"

    Igor Kuduz belongs to the generation of the artists who gained status in the early 1990's by working with the new media and referring to the neo avant-garde art tradition(1). In 1992, at the 23rd Young Artists Salon in Zagreb, the art group Egoeast presented their manifesto based on the tradition that theoretician Ješa Denegri named “the second line”, thus introducing the other, non-expressive aspect of postmodernism into the Croatian contemporary art.

    One of the peculiarities of the second wave of the post-modern art, besides almost archival attitude towards the avant-garde and neo avant-garde art traditions was intensive work with media content and means. On the level of content, postmodern tendency was mass media culture literacy, seen as a wide range of manifestations from politics to entertainment. On the level of media means, the artists mostly used photography, video, digital press technology and ambient installations(2).

    In the context of such events, Kuduz focused first on the photography and video and later on the graphic design (he has been the manager of a successful design studio Pinhead Office)(3). Considering the relationship between an object and a medium, he is mostly preoccupied with representational aspects of his photography and video works. By choosing motifs and content that belong to the entertainment industry (scale models, toys, tapestries) and treating them as a part of the real world Kuduz questions relatively firm rules of artistic representation. Disrupting what might seem the self-explanatory relations between reality and its visual representations and between art and mass culture products, the artist tries to re-establish, rather than simply parody, the possibilities of art as a means of communication.

    In the latest photography series “Portraits”, Kuduz is once again on the track of revitalization. This time, he confronted the traditional medium of the Polaroid photography and even more traditional genre of portrait with the aesthetics of so called amateur photography whose infinite emanations (from family to erotic) are all-present on the Internet. The number of photography genres, approaches, assemblies and aesthetics that we can observe effortlessly in the most intimate part of our flats, surpasses all artistic validity consisting of the traditional modernist photography standards on one hand and dominant cultural and economic institutions' demands on the other. In my opinion, “Portraits” are his attempt to revive the medium that used to be new, with the help of its successor - the Internet. (Klaudio Štefančić)

    Igor Kuduz (1967) graduated from Zagreb Academy of Fine Arts in 1995. He exhibited at numerous solo and group shows in Croatia (Zagreb, Poreč, Rijeka, Split, Dubrovnik, Slavonski Brod etc.) and broader (Berlin, Tirana, Manchester, Aachen, Dessau, Bonn, Trst, Clermont Ferrand, Graz, London i drugi).



  • 28.02.2006. - 19.03.2006.

    Mario Mišković, "Still Life"

    Mario Mišković (1977) is also a member of the young generation of modern artists who has turnedfrom the (post)modernistic Croatian modern art – which was preoccupied with art form as the first andlast question of every artistic practice – by concentrating on the world of personal and social everydaylife, especially in the world of popular culture. His exhibit in the Galženica Gallery is pronouncedlyambient in which a series of photographs, differently presented in space, form a narrative structure, aspatial story which on the edges of completely private signs and meanings refers even to the modernpost-socialist Croatian society.

    Mario Mišković graduated from Zagreb Academy of Fine Arts where alongside the Department of Painting he attended the Department of Multimedia. Since 1998 he has been exhibiting in Croatia andabroad.