• 22.11.2019. - 21.12.2019.

    Petra Grozaj, Krystal

    Petra Grozaj (1974, Zagreb) graduated from the School of Applied Arts and Design and the Academy of Fine Arts in Zagreb. She is a winner of the Rector’s Award, University of Zagreb, the Academy of Fine Arts’ award and several scholarships and purchase prizes. She exhibited in numerous solo and group exhibitions in Croatia and abroad. She was the Croatian representative at the Biennial of Young Artists (BJCEM) in Napoli. She completed artist residencies at Cité Internationale des Arts in Paris, GlogauAIR in Berlin, One sided story/Spinnerei and Image De/Construction Hafenkombinat in Leipzig, where, since 2012, she has frequented the Spinnerei painting centre’s studio. In 2017, her works were exhibited in MSU, Zagreb. She is an HDLU and HZSU member. Her works are part of private and gallery collections in Croatia and abroad.More on www.petragrozaj.com

    Petra Grozaj is one of the most notable painters from the middle generation whose work intrigues art critics and the audience alike. Several awarded fellowships abroad played a significant role in formulating her painting and choosing painting as her calling in life. The human figure is her central theme and she is particularly focused on women, mostly friends whom she depicts having cryptic faces, often ambiguous and grotesque in character. Her work is marked by a strong relationship between photography and painting. Painting is no longer in a privileged position but rather it borrows, quotes, translates and transfers scenes from private life, as in the case of family photo albums, or scenes from mass media, as in the case of popular magazines, in the context of an easel painting. We talked to the artist on the occasion of her exhibition.


  • 27.09.2019. - 19.10.2019.

    Earth song's low frequency tones

    Heba Y. Amin, Gildo Bavčević, Staš Kleindienst, Mikko Lipiänen, Kolektiv Ljubavnice, Cauleen Smith, Lana Stojičević, Katarina Zlatec

    Curator: Irena Borić

    (It is not only species that are becoming extinct, but also the words, phrases, and gestures of human solidarity, Guattari Felix, The Three Ecologies, 1989.)

    Different visions of nature arise from concrete political arguments justifying social, political and economic hierarchies. Fast technological development, growing economic and social inequalities contribute to creating the environment marked by violent and inhumane power relations. Within that framework, the exhibition Earth Song’s Low Frequency approaches the complex relationship between “Man” and his surroundings via the works by Heba Y. Amin, Gildo Bavčević, Staš Kleindienst, Mikko Lipiäinen, the art collective Ljubavnice, Cauleen Smith, Lana Stojičević and Katarina Zlatec. It thereby relies on posthuman critical theory which criticizes the humanist ideal of “Man” as the measure of all things and precludes species hierarchy and the assumption of human exceptionalism (post-anthropocentric approach). By means of their critical and contextual approach, the presented works – taking specific case studies or speculations about the post-catastrophic future as their starting points – reveal the vampire logic that capitalism imposes on the environment.


  • 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.


  • 09.09.2009. - 11.10.2009.

    Interzone : Gender

    Artists: Davor Dukić (SR), Ibro Hasanović (B i H), Helena Janečić (HR), Milica Rakić (SR) i Alenka Spacal (SLO)

    Curators: Sanja Horvatinčić, Nina Pisk

    Interzone: Gender continues this year’s series of exhibitions dedicated to the phenomenon of globalization and its effects on the local, on politics and, among others, on intimacy. The exhibition will try and offer a view into one of the more actual topics today: the question of gender and gender relations/roles. Within that context, the exhibition will present works from artists from Croatia, Bosnia and Herzegovina, Slovenia and Serbia.

    Below is the curatorial text:

    Lamine Diack, the president of the International Association of Athletics Federations (IAAF) admitted that the case of Caster Semenya should have been handled more delicately. However, it was the IAAF themselves who asked Caster Semenya to take the tests, whereas a panel of experts, including a gynaecologist, a endocrinologist, a psychologist, an internist and an expert for „gender and inter-gender” issues, are in the following weeks due to make a definite decision whether the athlete is male or female. (...) Besides the gynaecological, endocrinological and genetic tests, Caster Semenya will also have to undergo a psychological examination in order to determine whether she feels like a “real woman”. (1)

    Not only there is enough material to raise a question about the sustainability of a subject as the ultimate candidate for representation, or even liberation, but generally, there is a very loose agreement on what constitutes, or what is supposed to constitute, a category of “women”. (2)

    The IAAF expert for „gender and inter-gender” issues and one of the most influential contemporary post-structuralist theoretician seem to have got themselves into same gender troubles. The scandalous story of a young athlete that went around the world in a blink of an eye precisely illustrates one of the key ontological, epistemological and alike questions, which the philosophers, from Foucault on, use in their effort to explain the reality by using logical systems which our individual and social existence rests upon. What are the instruments, agreements, laws and norms by which we would determine both professional and personal life of Caster Semenye? Who has the knowledge, and the consequent power, to define those norms? In the end the question arises: what is the gender (is it naturally, anatomically, hormonally or chromosomally predetermined) and is it also a social construct?

    As soon as feminist theoreticians have come to the thesis that the category of gender is not just a matter of biological determination but an independent, socially conditioned construct, thereby securing a clear distinction between the categories of gender and sex, a new generation of theoreticians started to question the causal connection between these two concepts. In the beginning of 1990s Judith Butler made a turning-point by claiming that the category of gender 'per se' is a cultural/discursive instrument which serves to define the meaning of what we consider to be the natural sex, consciously placing it in the field of pre-discursive, a priori thinking in order to secure the binary/heterosexual framework for understanding sex. On the other hand, the concept of gender is generated by the so-called regulative discourses formed within certain cultural and historically specific circumstances – that is, by the ways in which we are “allowed” to act in order to preserve our identity realized through the continuity and coherence of the subject. Therefore, according to Judith Butler, gender is realized in practice as a performative – or that which is contained in the language, acts, gestures, performances, etc.

    Seen within this theoretical framework, the issues more and more frequently addressed by various artistic practices are not only the changeability and fluidity of identity, but also the a priori understanding of binarity achieved by opposing categories like men and women or male and female artistic practice. Therefore, the idea behind the selection of the works for this exhibition was to show in which way do works from an area affected by similar cultural and historical circumstances, and therefore defined by similar regulatory discourses, speak of gender issues from different positions and using different artistic practices.

    Alenka Spacal's [1] performative act of hanging kitchen cloths raises collective consciousness of traditional gender roles present primarily in the local/regional context where the practice of drying laundry by hanging it on a stretched rope makes one of the prototypes of female work. As an answer to these regulatory practices the artist exhibits a series of self-portraits – an artistic genre which provides the highest level for the revision of one’s own identity. It allows for simultaneously taking positions of the author and the model, the signifier and the signified, the subject and the object, all of which negates the traditional position of aa woman as the other. The artistic subject thus achieved by Alenka Spacal’s androgynous self-portraits is based on the concept of shifting and transient identities and it defies the binary definition of gender (4).

    The starting point for Helena Janecic's [2] work is based on similar positions. Her self-portrait Sitting Gender Bender also brakes through the binary preconception of gender by using, as a reference point, Nasta Rojc, a pioneer of artistic representation of gender identity in the Croatian early modernism. By using the same strategies of self-representation (cross-dressing as a means of bringing sexuality issue into the public sphere), as well as formal artistic practice in the tradition of the Munich circle of modernist painters, Helena achieves and strengthens her own gender position (6).

    In the work of Milica Rakic [3] the emphasis put on creating a subjective gender self-representation is moved to a broader socio-political context. By using visual and audio archive to evoke collective memory of the ideologically coloured past, the artist questions the genesis of constituting social and gender identities and their interrelations. By bringing together a fictive informal conversation between a man and a woman and images of the political past, she puts an emphasis on a deep and unconscious connection between the usual everyday understanding/playing gender roles and the influence of socio-political and ideological systems of power.
    The dialogue from the Milica Rakic's video contains a certain conflict present between gender positions within the framework of linguistic discourse. In his work Attempt of being... Ibro Hasanovic [4] distances himself from his own gender position in order to lay bare his (presupposed) incapability of understanding (equally presupposed and socially constructed) binary opposite female position. The artist is placed in nature, the symbol of a traditional male understanding of the female principle (as opposed to the male civilization), and reads, without comprehension, a novel by Sidonie – Gabrielle Colette, a prototype of the so-called feminine writing (a concept widely disputed by feminist theoreticians from Simone de Beauvoir to Monique Wittig). In this way the artist takes on an ironic distance and questions the concept of binary gender positions as mutually exclusive and irreconcilable categories.

    Davor Dukic’s [5] Man of Action deals with the construction of the meaning of gender identity through a concept of a toy which, according to Roland Barthes’ theory, embodies a microcosm of the adults’ reality. In this way a toy becomes a means and material proof of the process of layering cultural and ideological codes which, among other things, often take part in creating gender identities. By shaping bodies and impersonating binary sexual and gender preconceptions, the social project of toy industry becomes part of the regulatory practices, which, in this work of art, reveals different ways of understanding hidden social power(7). (Sanja Horvatinčić)

    1. http://www.jutarnji.hr/clanak/art-2009,8,29,,174378.jl
    2. Butler, Judith, Nevolje s rodom / Feminizam i subvezija identiteta, Zagreb: Ženska infoteka, 2000.
    3. http://www.iep.utm.edu/foucfem/
    4. Spacal Alenka, Pokušaj uspostavljanja autonomnog subjekta kroz autoportretni likovni izraz umjetnica. Filozofija i rod, zbornik, ur. Gordana Bosanac, Hrvoje Jurić, Jasenka Kodrnja. Zagreb: Frvatsko filozofsko društvo, 2005.
    5. Chadwick Whitney, Women, Art, And Society, London: Thames & Hudson, 1992.
    6. Kolešnik Ljiljana, Autoportreti Naste Rojc: stvaranje predodžbe naglašenog rodnog identiteta u hrvatskoj umjetnosti ranog modernizma, Radovi instituta za povijet umjetnosti 24/2000.
    7. www.galerijazvono.org/text/dukic/Tekst%20J.%20Dukic.doc


    [1] http://plone.ladyfestwien.org/program/alenka-spacal-201changing-about201d
    [2] http://www.cunterview.net/index.php/Novi-mediji/Helena-Janecic.html
    [3] http://www.o3one.rs/eng/?p=535
    [4] http://www.ibrohasanovic.com/
    [5] http://www.galerijazvono.org/en_dukic.htm


  • 15.11.2006. - 10.12.2006.

    Sanja Iveković, "Roadworks"

    The exhibition “Road Works” is a retrospective, critical overview of Sanja Iveković’s (2) opus which during the last three decades took place in the public space of a city, politics, culture, art or history.Whether we are talking about her project “Lady Rosa of Luxembourg” performed in Luxembourg in 2001 (3), or a project at the biennale in Liverpool in 2004 in which the public space of the city was used to face its citizens with touchy political issues, or the “Women’s house” project which in 2002 culminated with the publishing of a book and an intervention at the Ban Jelačić Square in Zagreb, the work of Sanja Iveković always analyzes and criticizes dominant political and cultural practices. From a perspective, which we can freely call feminist, Sanja Iveković has from the start pointed out at stereotypical, paradox and hegemonic representations of gender, art, nation, history… (1)

    “Road Works” originated in a close relationship with the context in which they appear i.e. in which they are exhibited: “Women’s house” deals with the issue of violence towards women and the lack of
    support they receive from the non-governmental organization of the same name which is dedicated to the protection of women; “Lady Rosa of Luxembourg” analyzes the representation of women whichis specific for European and Western culture. In this project Sanja Iveković replicated the statue of Gelle Fra, Luxembourg’s national symbol, but she made the new figure visibly pregnant. This was a reference to one of the most famous social-democratic, workers’ and women rights fighters – RosaLuxembourg.

    In the Austrian town of Rohrbach, during a conference “Creating the change” dedicated to Roma women, Sanja Iveković realized a living memorial (Rohrbachs lebendes denkmal) which was dedicated to the Roma Holocaust victims. She used an archive photo of Rohrbach Roma beingexecuted in Nazi camps to gather the conference participants in the same place and order as in the picture, thus simulating a tragic part of history of the small Austrian town. (Klaudio Štefančić)

    Curators: Urša Jurman and Klaudio Štefančić

    The exhibition is accompanied by a catalogue/book in English with the text of Bojana Pejić, curator and art historian.

    The exhibition was realized in cooperation with the P74 Centre and Gallery from Ljubljana (4) and the international festival City of Women/Mesto žensk (5). The exhibition was funded by the city of VelikaGorica, the Atman Company and the Institute for Contemporary Art in Zagreb.




  • 02.03.2005. - 20.03.2005.

    Ines Matijević, "Eve and Adam"

    Ines Matijević (1982) is finishing her studies at the Zagreb Academy of Fine Arts. Up to now her interests were focused on the problem of representation of women and femininity in modern culture.Because art is an almost preferred means of that representation, the author has in her past works oftenreferred to the tradition of depicting women in art. In the Galženica Gallery she exhibited 36 life-size portraits of naked men and women. One of the most interesting layers of meaning, which formedduring the preparation and duration of this exhibition, was the social and cultural meaning. In orderto make 36 naked portraits, the author had to ask and convince her own friends to pose, even thoughshe used ads in media to look for models.

    According to her experience, convincing and negotiatinga person to reveal their naked body to the gallery audience was a long and tiresome process and onewhich is sadly a good cross-section of today’s youth culture in Croatia. When the exhibition opened,some of the leading TV houses made a report about it and that level of cultural meaning rose tocover even forgotten aspects of it (conservatism, the influence of the Catholic Church on youth, thefunctioning of the art establishment, logics of mass media in Croatia etc.)