• 29.04.2011. - 29.05.2011.

    Eye Nerve Bombing

    art ditu, filjio, gaz, lonac, lunar, oko okato, pajcek, petar popijač, peha plus, puma 34, sank, sretan bor, svenki and others

    During the last few years, in the public discourse on artistic interventions in the city’s streets, the term street art is becoming more common. The works in Branimirova Street used to be called graffiti, while their new version is commonly labeled by the media as street art. Without entering the domain of formal and aesthetic distinctions of the new generation of artists and artworks, it is clear that the significant terminological shift from something that was up until recently linked with specific subcultures and vandalism, in itself points to an interesting artistic and social phenomenon. Who are the protagonists of this new wave of street art, how do they perceive their role of claiming public space, are they any different from their predecessors, how are their activities perceived by art history on the one hand and the law on the other, these are just some of the questions this exhibition deals with.


  • 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.


    (1) http://www.klik.hr/naslovnica/deluxe/200404280002006.html
    (2) http://www.filmski.net/specials/26
    (3) http://www.ulupuh.hr/hr/straniceclanova.asp?idsekcije=2&idclana=183


  • 15.01.2007. - 15.01.2007.

    Visual image – a genre or the politics of representation

    We decided to make some considerable changes in the year 2007. First, we will try to base future programmes on actual problems, interesting issues or phenomena, whether they are part of a narrow or wider art culture. Therefore, instead of a collection of individual exhibitions, we will organize exhibitions based on a characteristic that is mutual to all the artists presented. This year, that mutual characteristic will be the problem of the image and its representation...


  • 26.04.2006. - 21.05.2006.

    Oliver Dorfer, Herbert Egger, Anton S.Kehrer, Beate Rathmayr, "Light_Story_Space_Body"

    The exhibition Light_Story_Space_Body is the continuation of cooperation between the Austrian artistorganization MAERZ centred in Linz and the Galženica Gallery. Started in 2004, this cooperation functions as an exchange of art and gallery experiences between these two different cultural contexts, Austrian and Croatian. So in April 2005 “Outside sources” exhibition was opened in the MAERZ Gallery in Linz. Kristijan Kožul, Tanja Dabo, Marija Prusina and Lala Raščić participated in the exhibition. During 2005 Ana Kadoić participated in the international exhibition in Linz which was organized by the MAERZ artist organization. And this year Tanja Dabo and Ivana Franke will exhibi ttheir individual works at the MAERZ Gallery.

    Each of the notions in the title of the exhibition tries to metaphorically represent a work or a part of work by an individual artist. “Light” symbolises the work of Anton S. Kehrer; “Story” is the symbol for Oliver Dorfer’s paintings; “Space” is a metaphorthat signifies photographic and movie works of Beate Rathmayr and “Body” refers to the sponge sculptures of Herbert Egger.


  • 31.03.2004. - 18.04.2004.

    Filip Quien

    Filip Quien (1979) is in his final year of studying painting under Gorki Žuvela at the Art Academy in Split. In
    Galženica he exhibited his works in which he displays interest in painting material and materialness of a painting as an object in the tradition of Informel.

    Or as Vanja Babić stated in the catalog: "The young artist used the methods of action painting, Informel and assemblage equally in his work. In Filip's paintings one can find tar, pieces of cans, aluminum powder, plastic straws and many other elements, all with the goal of achieving the absolute freedom of perception and avoiding the acceptance of artistic expression by the principle of hermetic perception.”


  • 27.02.2004. - 19.03.2004.

    Davor Krelja, "Fine Manners"

    Davor Krelja (1960) formed his style under the influence of neo-expressionism, as a part of the New Image
    trend, which during the 80s represented Croatian artists' response to European transavangarde and America's postmodern art. After working briefly with ambient installations at Galženica, he returns to painting with some twenty panoramically composed paintings. Two phenomena have imposed themselves as the most interesting.

    On one hand, the inclusion of literary discourse into the exhibition by using the extended titles for images which now, rather than information about the painting, serve as short, genre-specific literary forms. On the other hand, it is the surrealist, fantastic charge which gives the paintings their somewhat mysterious meaning.

    Davor Krelja studied painting at the Zagreb Academy of Fine Arts in 1985. He has been exhibiting his art in
    Croatia and abroad since 1984.


  • 17.12.2003. - 10.01.2004.

    Ana Katičić

    Ana Katičić Barbić studied painting at the Zagreb Academy of Fine Arts under Igor Rončević. This is her second solo exhibition. Her work displays similarities with that of her younger colleagues who started changing the artistic and painting paradigm in the late nineties and at the beginning of the century. It is a change of the neo-expressionist paradigm and geometrical painting, until then dominant in Croatian art and the application of certain painting methods which include turning to the everyday world, in the sense in which we can almost talk about it as an everyday, practically ritual cultural practice (summer holidays, night out, culture of photography, etc). The contents of Ana Katičić Barbić's paintings have accordingly been taken from personal photo albums, scenes such as cafés or disco clubs or mass media.


  • 12.11.2003. - 29.11.2003.

    Sonja Briski Uzelac, "Window, view"

    The exhibition of Sonja Briski Uzelac is, in a way, a hybrid exhibition: it is an exhibition of paintings and an
    ambient exhibition, a site-specific intervention. If seen as an exhibition of paintings, then we must say that the exhibition shows 30 paintings from the series “Squares” and “Rectangles”, the painting “Viator’s Perspective” and two small paintings that remind us of Malevich’s squares. If we view it as an ambient exhibition adapted to the specific character of the gallery space, then we must conclude that the exhibition shows 30 square and rectangular blue monochrome paintings in space so that their setup suggests perspective foreshortening, known from the tradition of Renaissance art.

    In that sense, “Viator’s Perspective” as a painting is a clear reference to the Renaissance mathematical construction of space on a two-dimensional surface, and the two small paintings, the blue and black square, are references to the opposite of this tradition of Western painting: to the concept of non- objective art of Kazimir Malevich. Sonja Briski Uzelac, the “educated painter”, as Miško Šuvaković calls her, is a professor and theoretician of art, and a painter who graduated from the Faculty of Fine Arts in Belgrade in 1976.

    She received her PhD in 1984 at the University of Belgrade. She lectured at the Faculty of Fine Arts in Belgrade, and is currently lecturing at the Faculty of Teacher Education in Zagreb and at the Academy of Applied Arts in Rijeka. She received an award at the 26th Youth Salon in Zagreb in 2001 for her contribution in theory.


  • 23.04.2003. - 14.05.2003.

    Paulina Jazvić, Sandra Juranić

    Two young artists from Zagreb presented themselves with painting-objects (Juranić), i.e. spatial installation
    (Jazvić). On the frontal and the visually strongest wall, Paulina Jazvić put up her installation which consists
    of transparent plastic bags filled with water in which personal belongings from the author’s everyday life are
    immersed (child’s toys, hair-bands, thermometer, shoes, etc.) . In the upper space, Sandra Juranić exhibited
    paintings-objects, i.e. collages consisting of different objects, combined with different drawing, i.e. painting,
    techniques. In both cases, using different methods, the authors try to present the emotional and social everyday life.

    Both authors graduated from the Academy of Fine Arts in Zagreb in the class of professor MIroslav Šutej.


  • 25.09.2002. - 12.10.2002.

    Saša Martinović Kunović

    By composing her paintings as diptychs and triptychs, Saša literally accomplished the traditional method of painting by motive as the traditional painterly metaphor. Namely, by using different techniques (graphite and ballpoint pens, acrylic) she painted following the already determined decorative structure of ornaments and relief texture of the canvass. The most notable characteristic of her works is painting on a strictly determined template, whose origin is always historical and from the realm of high art, and whose function is contemporary, practical and widely popular. Whether she paints Hals’ “The Women Regents of the Haarlem Almshouse” in Matisse-like style, copies still life from photographically illustrated cookbooks, or freely replicates contours of female nudes from the history of painting, Saša Martinović Kunović finds the field – in which the differences between valuable and banal, unique and mass-produced, aesthetic and kitsch, artistic and decorative, are blurred – especially interesting.

    Saša Martinović Kunović graduated at the School for textile and footwear and at the Academy of Fine Arts in Zagreb.