• 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.



  • 19.05.2017. - 10.06.2017.

    Kristian Kožul, Forensic Perpetuality, 19.5. - 10.6. 2017.

    Kristian Kožul has graduated from the Kunstakademie Düsseldorf, Germany. His works have been exhibited in various group exhibitions, the more recent being the International Program (PSY1, New York, USA, 2005), Criss-Cross (Museum of Contemporary Art, Zagreb, Croatia, 2007), Boys Craft, (Haifa Museum, Haifa, Israel, 2008), Summer Camp, (Exile, Berlin, Germany, 2010), Bandits, Pirates & Outlaws, (Lost Coast Culture Machine, Fort Bragg, USA, 2010), B-B-B-BAD, (Anna Kustera Gallery, New York, USA, 2011). His latest works have also been exhibited in solo shows in institutions such as Lauba House, Museum of Contemporary Art (Zagreb, Croatia), Art Salon (Celje, Slovenia), Kibla Gallery (Maribor, Slovenia), Minoriten Galerien (Graz, Austria), TZR Gallery (Duesseldorf, Germany), Anhava Gallery (Helsinki, Finland), Goff+Rosenthal and Pablo’s Birthday (New York, USA). He started collaborating with Damir Žižić in 2013. They exhibited in solo exhibitions in Gallery Karas and in Lauba House in Zagreb, Croatia (2014). They won the third T-HT@MSU.HR award, Museum of Contemporary Art (Zagreb, Croatia, 2014). Kristian Kožul is a member of the Croatian Association of Artists. He lives and works in Zagreb, Croatia.


    In the book “Mengele's Skull: The Advent of a Forensic Aesthetics” translated into Croatian in 2012, Thomas Keenan and Eyal Weizman present a genealogy of forensic aesthetics. Basing their book on the international hunt for the surviving Nazi criminals, they note one event which indicated a number of changes that forensics – the archaeology of modern day history, as it is also called – has introduced into the field of jurisprudence, case law and contemporary culture in general. The event in question relates to verifying the identity of a person buried at a cemetery in a small Brazilian town near São Paulo. Namely, it had to be determined if the excavated remains belong to the notorious Nazi war criminal, Josef Mengele. The identification process was entrusted to an international team of scientists and experts in the field of forensic anthropology, radiology, dentistry, chemistry etc. Experts in handwriting analysis, and those specialized in photography, documents and clothing forensics were also invited to the São Paulo's Legal Medical Institute, with the objective to determine the identity of the excavated remains and, thereby, bring the investigation to a close. “It is up to you, the scientists, to reach the final verdict,” stated the Brazilian police commissioner in 1985. This was the first time, as Keenan and Weizman note, that scientists were the key witnesses in a war crimes trial. In the courtrooms throughout the world, human bones were given a voice by forensic experts. A forensic expert was their mouthpiece, told their stories. He determined their age and gender; he could discover diseases which afflicted them, locate traumatic episodes, reconstruct dietary habits, reveal the cause of death, etc. Personification, such a common occurrence in forensic anthropology, resulting in the belief that people, unlike bones, could not be trusted, transformed bones into a kind of super-subjects.


  • 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. 


  • 11.03.2012. - 01.04.2012.

    Textil{e}tronics - Yarn bombing in Velika Gorica

    In line with our announcement of several knit graffiti, guerilla knitting and yarn bombing events in the public spaces of Velika Gorica, as part of the Textil{e}tronics exhibition, we are proud to say that the first knit-crochet tagging took place in the afternoon of Mach 11. The participants of the first yarn attack on Velika Gorica were: Ana Dadić a.k.a. štrikAna, Vana Gaćina, Ivana Ivković, Maja Kalogera and Marijana Rimanić.

    Guerilla knitting, yarn bombing, and knit graffiti directions of knitting and crocheting were started by American textile artist Magda Sayeg because of her frustration with the huge amount of her unfinished knitting projects. Guerilla knitting is inspired by graffiti culture, hip hop and street art, as well as the desire to soften the vocabulary of the aforementioned urban cultures. In 2005 Magda Sayeg knitted around her first public-space object in front of her boutique, instigating the founding of Knitta Please group. Since then she has been travelling regularly, taking up invitations from various cultural institutions and tagging the architecture in capitals worldwide. As for the movement of guerilla knitting & yarn bombing, it has been spreading to the public spaces of the world through the contributions of countless anonymous guerrilla knitters.

    Guerrilla knitters: Una Bauer, Ana Dadić a.k.a. štrikAna, Vana
    Gaćina, Ivana Ivković, Antonija Letinić, Maja Kalogera, Marijana
    Rimanić, Maša Žarnić

    Funds for the 2012 exhibition programme were provided by the City of Velika Gorica, Zagreb county and The  Ministry of Culture of Republic Croatia.


  • 05.05.2010. - 30.05.2010.

    Recycle The Future!

    Aleksandrija Ajduković, Paul Matosic, Tonka Maleković, Tanja Perišić

    When in a recent interview Umberto Eco was asked about the size of his private library, he said that he throws away most of the books he receives as a gift or those he doesn't need any more. However, for the post-war welfare state generation this behaviour of the noted Italian writer would have seemed quite outrageous. Up until recently, to treat items of high culture as nondurable goods meant that you were either totally economically irresponsible or that you obviously had utter contempt for humanist culture in general. Merging of economic and cultural capital – a practice that began in the second half of the 20th century – is still very productive, especially in the field of museum institutions and the associated idea of the original work of art, or the concept of master-piece.

    But it is clear that the flow of contemporary cultural capital is different today. Without analysing the reasons for this change, the present situation can be shortly explained in this way: the humanist culture – until recently being a privileged working field that served as a symbolic capital of a certain society – became yet another economic sector, next to tourism, entertainment industry and sport. In another words, there is more writing, reading and publishing today than ever before; more painting, performing and exhibitions; more music and theatre performances. When this is supplemented by further so called primary sector production growth, it isn’t hard to conclude that that the majority of our everyday activities are aimed at managing abundance of goods.
    Ecological aspect of that management is the subject of the joint work by Paul Matosic and Tonka Maleković. Similar to their previous art practice, they work with discarded materials and items. This time Matošić and Maleković are using obsolete and disposed computer equipment. The artists will treat the distribution seting up of the objects in the gallery space as a site-specific installation. In a direct physical/tactile contact with a large amount of waste, the public is invited to comprehend the ratio of contemporary production of goods.

    Aleksandrija Ajduković, on the other hand, is interested in commodity market. Citizens of the Republic of Serbia – or, more precisely, Chinese immigrants on the one hand, and the domicile population on the other – were asked to advertise a nonexistent Chinese detergent in a specific commercial manner. By juxtaposing national stereotypes and advertising strategies the artist points to the ridiculous aspect of the global market. Tanja Perišić’s photo montages deal with the problem of the future social development based on unlimited production and consumption of topics. Nowadays the awareness of unsustainability of this kind social development is manifested in different ways: from the economical - or political - critique of neoliberal capitalism, through discovery of new, green sources of energy, to alternative ways of living . It seems to us that this very atmosphere of the immanent end of one phase of social development, i.e. one civilization focused on appropriation of human labour and nature, is best presented in the dystopian landscapes of Tanja Perišić. (K.Štefančić)

    Artists’ talk – which we hereby kindly invite you to attend – will be held at the gallery on the day of the exhibition, May 5, starting at 6 pm. The talk will be recorded and shorlty available in audio form at

    Aleksandrija Ajduković was born in Osijek in 1975. She graduated from the Braća Karić Academy of Fine Arts, Department of Photography. She is currently attending a post-graduate interdisciplinary study at the University of Fine Arts in Belgrade. She has received the Photography Award at the 2004 October Salon in Belgrade and the 2005 Young Talents Henkel Award.  <> 

    Tonka Maleković was born in Zagreb. In 2006 she graduated from the Academy of Fine Arts in Zagreb. Since 2003 she has been exhibiting at solo and group shows in Croatia and abroad. She has received several artist scholarships and residencies, as well as the 2007 ESSL Award and the 2009 Zagreb Salon Award. This year she has been elected as finalist of the Radoslav Putar Award. She lives and works in Zagreb. <>

    Paul Matosic has been present on the art scene of the United Kingdom, continental Europe and North America over three decades. He has been active in many artistic fields (performance, film, sculpture, site-specific installations, curating, etc), and was a lecturer at many art academies for a number of years. He received five art awards for his work. <>
    Tanja Perišić graduated from the Academy of Fine Arts in Zagreb in 2006. She is currently attending a post-graduate study at the Piet Zwart Institute in Rotterdam. She has received a number of awards for her work and attended several artist residencies in Austria, Belgium, Germany. She mostly exhibited in Croatia, Hungary, Italy and the Netherlands. Her work has mainly been focused on the correlation between technology, the body and its surrounding space.

    Curators: Sanja Horvatinčić, Nina Pisk, Klaudio Štefančić


  • 18.05.2009. - 22.05.2009.

    Interzone : Networked

    As four nomadic performance makers working in international collaboration projects, the Internet is our only steady point of reference, our common home and regular working place. Drawing from our own experiences we intend to reflect upon it’s relevance in changing society and position ourselves within it as artists. [1]

    On 18th of May four performers enter the gallery space with their suitcases, their mobile phones and their computers. On 18th of May four performers have four things they need to work: a good wireless connection, food, shelter and a sleeping bag. In these four days three offline and one online performer will live in gallery Galzenica in the attempt to recover the show they did in Germany and that has been deleted somehow from their memories and their memory sticks. They’ll invite their Skype friends all around the world to help them. During their stay they will communicate to each other only trough Skype, e-mails and chats. During their stay they will try to entertain you while desperately searching for their lost data and identities. [2]

    Still Life is a performance-installation, which reflects upon our everyday work practice as globally connected artists. Critically dealing with the current discourse about migration and identity in the age of the web 2.0 society the performance project focuses on two elements: self production and presentation and the apparent loss of cultural identity in exchange for a global constructed one.

    Still Life is the result of 730 hours online conference calls, 120 hours of one-to-one skype meetings, 323.560 lines of internet chat, 234 concept development e-mails, two social platform accounts, one blogger account, one online video account, 156 text messages and 576 hours spent in a re(hears)al space.

    Still Life is a part of Pandora Pop Sorry! ( stereo unplugged) project.

    Still Life will be presented at Gallery Galzenica on 20 and 21 May 2009 at 8 p.m..

    Concept, performance & Instalation: Pandora Pop (Hertling, Trabert, Wirthmüller, Zanki)
    Music: Aaron Austin - Glen, Damir Šimunović, Petra Zanki Dramaturgy: Roland Rödermund Media Design & Documentation: Mirco Winde Web Video & Installation: Stjepan Grbić a.k.a Rodion, Anna Hertling, Britta Wirthmüller Production: Plateaux Festival Mousonturm Frankfurt, Banana Gerila Productions Zagreb.
    Publicity Photography: Damir Žižić, Rodion

    With kind support by: Goethe Institut Kroatien, Transwarp foundation - EKS - scena, Zagreb; European Cultural Foundation - Step Beyond, City Council Zagreb, Studentenwerk Braunschweig, Gallery Galzenica, Banana Gerila.

    Thanks to: Ružica Kovačević, Florian Malzacher, Juliane Stegner, Klaudio Štefančić,Jasna Žmak, ekscena crew, Palace Hotel Zagreb, Damir Žižić, Rodion and all our friends.




  • 20.02.2008. - 23.03.2008.

    Ivan Marušić Klif, "Telephoning"

    The artwork of Ivan Marušić Klif feature two aspects of media art: one is the use of contemporary electronic and digital technology in the art world context and the other is a research of relationship between human being and his/her technological environment. In the space of an art exhibition, the both aspects are usually indistinguishable: visitor enters the enclosed, technologically created environment, changes its parameters and, leaving more less visible traces of his/ her presence, walks out.

    If we had to choose a corresponding genre, closest to his work, it would be an artistic intervention known as ambient installation. Whether Marušić works with sound, light or video image, he usually construes an enclosed ambience, rather different from the visitors' well-known everyday environment.
    Over time, his ambiences have become technologically more complex. In 1993, his early light ambiences consisted of mobile objects whose moves changed the type and intensity of the light. In 1995, computer set in motion and controlled the installations while since 2001, Marušić has started working with complex interactive sound and video installations. The series of exhibitions entitled “Inside/Outside” that took place in Zagreb, Croatia, Maribor, Slovenia and Labin, Croatia from 2004-2007 were the best examples of the author's approach to technologically determined, interactive ambiences.

    It was a video installation that functioned according to the principle of a closed circle of production, processing and projection of an image. Differently positioned cameras produced the image that went through the system of monitors and cameras for several times and then was projected on the walls and monitors in the gallery. The cameras were directly linked to the monitors and video projectors, while the computer controlled their moves, zoom and focus. There was no digital image processing. The installation was in motion, changing the ambience of the space independently of visitors. Marušić's ambiences are extremely visually attractive so we may feel that the aspect of interactivity disrupts technological biotope rather than supporting it.

    One of the most distinguished qualities of Marušić's work is that, although a trace of interactivity aspect can be found, the installation is actually independent of visitors' participation. At the Galženica Gallery exhibition, the potential of his ambient installation to function on its own, without interaction with visitors, is stressed even more. With the help of computer algorithm, Marušić randomly dials phone numbers taken out from the public database of the phone book of Republic Croatia. The dialled users take part in unwanted communication through Skype web server. On the other hand, the visitors can choose between the positions of a voyeur/ listener or a participant/ collocutor.

    Seen from today's perspective, there is something fair about his installations. They have never bothered us with interactivity, in fact the illusion that a visitor participates on equal terms in creation of (new) media artwork. Marušić seduces us with potentials of technology and the beauty of technollogically generated images rather than warning us of cultural and political backround of every technology, including the one used in the art context. (Klaudio Štefančić)

    Ivan Marušić Klif is born in 1969 in Zagreb. Graduated from The School of Audio Engineering in Amsterdam in 1994. His field of interest includes fine arts (light installations and kinetic objects), music and sound for theatre, film and television, set design (theatre, film and television) and performance art. In last few years he started working with computers - mostly in the field of multimedia programming, interactive video and problems of interfacing computers with the real world. Exhibited and performed in Holland, Germany, Denmark, Italy, Poland, Macedonia and Croatia. Teaches multimedia and installations at the Multimedia department of the Academy of Fine Arts in Zagreb.



  • 28.11.2007. - 23.12.2007.

    Ana Hušman, "According to etiquette"

    The exhibition called According to etiquette is a video installation consisted
    of three loop projections, animation and a scenography taken from the "According to etiquette" movie.

    To think about manners, is generally to remember all the embarrassing situations when one didn’t know what to do with a strange shaped utensil, when a certain proliferation of crockery and utensils, left one bemused, when the variety of shapes of glass vessels was baffling ..

    Still what I remember most, is the etiquette passed down to me in the seventies, when as I child I would listen to my mother and her circle of, for those times, free thinking friends, bemoan the lack of style in the visiting American girl’s choice of denim jacket and long evening dress “I offered to lend her a shawl”, I heard them say, but she declined, “No”, she said “ I have my jean jacket”. In the style of true Europeans, the American was put down for her lack of hippy chic, and her genuine belief that casual was acceptable. For some reason the image of this American girl in her evening dress and jean jacket standing in my mind next to my mother who in my imagination is wearing a velvet evening dress with a psychedelic patterned full length sleeveless coat.

    Where do manners live? Where civilisation reigns.
    Where does civilisation reign? In Europe.
    Who is uncivilised? Everyone else.
    What do they need? Civilisation.
    Who will bring it to them? We will.
    Who are we?

    We find in Norbert Elias’ "Civilising Process" a genealogy of manners as they developed from the middle ages onwards. According to Elias, the slow changes occurring in the notions of shame and delicacy change in relation to the changes happening in the social structure of the time, so as the number of small castles and lords and courts slowly diminish, as the push towards integration of small feudal units towards larger pacified social organisations developed, so too does the gradual unification of manners occur. In Elias we see a surprising and delightful coming together of the gradual formation of a state as a ‘monopoly of force’ and the internalisation of accepted modes of behaviour within a social organisation that is increasingly centralised (...). (Nicole Hewitt, preface)

    Ana Hušman is born in Zagreb. Graduated in 2002 at the Multimedia Department and educational course of the Academy of Fine Arts in Zagreb. She has exhibited at a number of solo and collective exhibitions and taken part in film and video festivals at home and abroad. She has won a number of prizes (Visura aperta/Momiano, Momjan, 2003 and 2004; 2 Gastro film fest, Belgrade 2003; Osijek 2004; 15.Dani hrvatskog filma, Zagreb 2006; 28th Youth Salon 2006, Zagreb) She is assistent on the Academy of Fine Arts, Animated film department, Zagreb.



  • 25.01.2006. - 19.02.2006.

    Ivan Fijolić

    Ivan Fijolić (1976) is one of the most prominent Croatian modern artists. He belongs to the generation of artists who have at the turn of the century turned towards everyday consumerism and intensively started importing elements of popular culture (“trash” aesthetics, kitsch, etc.) into the shielded fieldof high art culture. It is hard to pinpoint Fijolić’s dominant interest, but currently his works are in between paintings and objects/sculptures, or better yet in an area in which different cultural signs are intertwined, mostly from the field of popular movies and comic books. He is on of the most represented authors in the growing collection of modern art of Filip Trade and he is probably bestknown for his statue of Bruce Lee in Mostar.

    He graduated from Zagreb Academy of Fine Arts. He has been exhibiting in Croatia and abroad since1999. Ivan won the Zagreb Academy of Fine Arts Award for his graduation work and he is the authorof several public works in Vrsar (Park skulptura), Zlin (Czech Republic) and Mostar (Bosnia andHerzegovina).


  • 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.