Slavonski biennale

05/03/2025

28/02/2025

[𝟮𝟵. 𝗦𝗟𝗔𝗩𝗢𝗡𝗦𝗞𝗜 𝗕𝗜𝗘𝗡𝗡𝗔𝗟𝗘 - 𝐌𝐀𝐑𝐈𝐉𝐀𝐍𝐀 𝐒𝐓𝐀𝐍𝐈Ć]

Marijana Stanić
Prolazi, 2022. / Passages, 2022
audio instalacija / audio installationdimenzije promjenjive / dimensions variable

Instalaciju čini kompozicija odbačenih okvira vrata iz različitih stambenih prostora. Jednostavna, ali jaka simbolika zvuka „zalupljenih vrata“ što je u različitim tonalitetima i intenzitetima repetitivno aktiviraju posjetitelji/ce svojim kretanjem, evociraju emocije i doživljaje, asocirajući, osim toga, vidljive i nevidljive barijere kojima smo okruženi ili ih sami gradimo. Zvuk zalupljenih vrata sadrži jaki emotivan naboj – strast, ljutnja, bijes, odustajanje, pozornost, strah, osjećaj kraja i početka… Instalacija otvara prostor za igru ulazaka - izlazaka, koreografija kretanja posjetitelja bilježi nevidljivu arhitekturu koja se tu pojavljuje. Simbolika vrata sadržana u ovom radu upućuje na prolaz, odnosno prijelaz preko “praga” koji može označavati samo fizičko pomicanje iz jednog prostora u drugi, ili transformaciju, prijelaz iz jedne zone u drugu.Tu je prisutna i memorija koju nose sami štokovi, upisani tragovi postojanja, prolaznosti, egzistencije i asocijacija na tuđe živote…

Marijana Stanić rođena je 1971. u Zagrebu. Voditeljica je Galerije 90-60-90 i likovna umjetnica. Diplomirala je na Akademiji likovnih umjetnosti u Zagrebu 2003. godine. Profesionalno područje djelovanja vezano je uz vizualnu kulturu i likovnu umjetnost kroz vlastiti umjetnički rad i društveno angažirane projekte udruge 90-60-90/Platforma za suvremenu umjetnost. Od 2001. aktivno se bavi umjetničkim radom te je izlagala na više samostalnih i skupnih izložbi u zemlji i inozemstvu. U svom umjetničkom radu kreće se unutar širokog raspona multimedijalnih radova od crteža, audio, video i svjetlosnih instalacija, radio drame, objekta i art game-a. U potrebi za preispitivanjem slike svijeta u kojem živimo, problematizira sustav vrijednosti suvremenog društva, konzumerizam i prezentacije stvarnosti, te istražuje modele svakodnevne komunikacije i odabire životnih strategija, a teme često dotiču opća mjesta maštarenja s ironijskim odmakom. Članica je HDLU-a i HZSU-a. Živi i radi u Zagrebu.

//

The installation is a composition of discarded door frames from various residential spaces. The simple yet powerful symbolism of the sound of “slamming doors“, which is repetitively activated by visitors in different tones and intensities through their movement, evokes emotions and experiences, alluding to both visible and invisible barriers that surround us or that we build ourselves. The sound of slamming doors carries a strong emotional charge – passion, anger, rage, giving up, attention, fear, a sense of ending and beginning... The installation opens up a space for the game of entering and exiting, and the choreography of visitors' movements records the invisible architecture that appears there. The symbolism of the door contained in this work refers to passage, or transition across the “threshold“ which can signify only physical movement from one space to another, or transformation, a transition from one zone to another. There is also the memory carried by the doorposts themselves, inscribed traces of existence, transience, existence, and associations with other lives...

Marijana Stanić was born in 1971 in Zagreb. She is the director of the 90-60-90 Gallery and a visual artist. She graduated from the Academy of Fine Arts in Zagreb in 2003. Her professional activities are focused on visual culture and fine arts through her own artistic work and socially engaged projects of the 90-60-90 Association/Platform for Contemporary Art. Since 2001, she has been actively engaged in artistic work and has exhibited in numerous solo and group exhibitions both domestically and internationally. Her artistic practice spans a wide range of multimedia works, from drawings, audio, video, and light installations to radio dramas, objects, and art games. Driven by a desire to interroagate the image of the world we live in, she problematizes the value system of contemporary society, consumerism, and representations of reality, and explores models of everyday communication and choices of life strategies, often touching on commonplaces of daydreaming with an ironic distance. She is a member of the Croatian Association of Fine Artists (HDLU) and the Croatian Freelance Artists Association (HZSU). Lives and works in Zagreb.

28/02/2025

[𝟮𝟵. 𝗦𝗟𝗔𝗩𝗢𝗡𝗦𝗞𝗜 𝗕𝗜𝗘𝗡𝗡𝗔𝗟𝗘 - 𝗕𝗘Á𝗧𝗔 𝗞𝗢𝗟𝗕𝗔Š𝗢𝗩𝗦𝗞Á]

Beáta Kolbašovská
Agape / Temporary Echoes, 2024 / Agape / Privremene jeke, 2024.
CGI animation with sound, 4'30'' / računalno generirana animacija sa zvukom, 4'30''
Audio: 2 stereo
Music / Glazba: Rozi Mákó (HU)

Video rad se formiran je u sjecištu novih medija, CGI animacije, topografije, živih puteva i fizičkog kretanja u digitalnom prostoru. Umjetnica istražuje lokalni teren, mapira ceste i dokumentira svoje osjetilno pamćenje s tehnologijom u simbiozi s prirodom. Kroz iskustvo hodanja ona otkriva mogućnosti mapiranja točne topografije određenog mjesta. Prateći svoje pokrete i interakcije, želi satkati priču koja odražava prirodne i umjetno stvorene elemente regije. Koristi GPS praćenje kao alat za svoju umjetničku percepciju, a ne kao tehnološki uređaj za prikaz fizičke lokacije. Mapiranjem prostornog sebstva u digitalnom okruženju, ona hvata privremene odjeke nevidljivog. Tragajući za znatiželjom i percepcijom krajolika, ona stvara iluziju da smo u apstraktnoj pokretnoj slici. Uz hipnotičku ambijentalnu drone glazbu, možemo napredovati putem prolaznih trenutaka sadašnjosti.

Video work is based on the intersection of new media, CGI animation, topography, live paths and physical movement in digital space. The artist explores the local terrain, maps roads and documents her sensory memory with technology and nature in symbiosis. Through walking experience she discovers the possibility of mapping the exact topography of the particular place. By tracking her movements and interactions, she wants to weave a story that reflects both the natural and man-made elements of the region. She uses GPS tracking as a tool for her artistic perception, not as a technological device to display physical location. By mapping the spatial self in the digital environment, she captures the temporary echoes of the invisible. By seeking the curiosity and perception of the landscape, she creates the illusion that we are in an abstract moving image. With hypnotic ambient drone music, we can move forward on the path of the ephemeral moments of the nowness.

//

Beáta Kolbašovská rođena je 1984. Novomedijska je umjetnica koja živi u Košicama (Slovačka). Magistrirala je na Tehničkom sveučilištu u Košicama, Studiju za nove medije i Ecole des Beaux Arts u Bordeauxu, Francuska. Njezin rad se prvenstveno fokusira na site specific instalacije, vizualizacije, multimedijske performanse, VJ-ing, video mapiranje i video instalacije. Suosnivačica je vizualnog kolektiva Nano vjs i POMA (Platform of Open Media Art) koji stvara medijsku umjetnost u javnim prostorima. U svom radu efemerne trenutke koristi za komunikaciju između umjetničkog djela i sudionika. Audiovizualne instalacije kalibrira za poseban prostor i atmosferu određenog mjesta. Izlaže i nastupa diljem svijeta.

Beáta Kolbašovská is a new media artist from Slovakia, based in Košice, born in 1984. She holds an MA at the Technical University in Košice, Slovakia in the New Media Studio and at the Ecole des Beaux Arts in Bordeaux, France. Her focus is site specific installation, live visuals, multimedia performance, vjing, video mapping, video installation. She is the co-founder of the visual collective Nano vjs and POMA (Platform of Open Media Art) which creates and exhibits international media art in public spaces. In her work, ephemeral moments are used for communication between the artwork and the participants. Audiovisual installations are calibrated for a special space and the atmosphere of a particular place. She exhibits and performs worldwide.

https://cargocollective.com/betakaroten

28/02/2025

[𝟮𝟵. 𝗦𝗟𝗔𝗩𝗢𝗡𝗦𝗞𝗜 𝗕𝗜𝗘𝗡𝗡𝗔𝗟𝗘 - 𝐓𝐎𝐍𝐈 𝐌𝐄Š𝐓𝐑𝐎𝐕𝐈Ć]

Toni Meštrović
Iza horizonta, 2024. / Behind the Horizon, 2024
video loop, 2'09'' (jednokanalni, stereo zvuk) / video loop, 2'09'' (single-channel, stereo sound)

Video slika prikazuje pogled prema horizontu sa promenade Limassola. Naizgled lijepi prizor ne prikazuje što se nalazi iza njega. Zvučna slika prikazuje pro-palestinske demonstracije u Limassolu na Cipru 375 kilometara udaljenom od Gaze koja se nalazi iza horizonta. Skriveno od pogleda kao da se ništa ne dešava, zapadni svijet šuti.

Toni Meštrović, rođen 1973. u Splitu, diplomirao je 1999. na Grafičkom odsjeku Akademije likovnih umjetnosti u Zagrebu gdje se bavio grafikom, skulpturom i instalacijom. Zbog interesa za elektroničke audiovizualne medije 1997. studira Video/Digital Imaging na International Sommerakademie für Bildende Kunst u Salzburgu. 2004. završio je dvogodišnji postdiplomski studij za Medienkunst na Kunsthochschule für Medien Köln gdje istražuje u videu, zvuku i video/zvučnim instalacijama osobnu percepciju mora i otoka uz koji je odrastao. Povratkom u Hrvatsku nastavlja svoje umjetničko istraživanje u kojem se tematski bavi kulturnim nasljeđem, identitetom te tranzicijskim promjenama na prostoru Dalmacije. Od 1992. aktivno sudjeluje na skupnim i samostalnim izložbama te video festivalima u Hrvatskoj i inozemstvu. Živi u Rijeci i Kaštelima a predaje na Umjetničkoj akademiji Sveučilišta u Splitu, Odsjek za film i video.

//

Toni Meštrović, born 1973 in Split, Croatia, graduated with a Graphic Arts degree from the Academy of Fine Arts in Zagreb in 1999, where he produced graphic arts, sculpture and installation. Due to his interest in electronic audiovisual media, he studied Video/Digital Imaging at the International Summer Academy for Contemporary Art in Salzburg in 1997, and completed a two-year postgraduate diploma in Media Art at the Academy of Media Arts, Cologne in 2004. Video, sound and audiovisual installations produced during Meštrović’s postgraduate studies explore his personal perception of the sea, and the island where he grew up. Upon his return to Croatia, his work deals with themes of cultural heritage, identity and the changes that have occurred in Dalmatia due to the period of transition. Since 1992, he has taken part in group and solo shows, as well as video festivals. He lives in Rijeka and Kaštela, and teaches at the Arts Academy University of Split, Department of Film and Video.

The video image shows a view towards the horizon from the Limassol promenade. The seemingly beautiful scene does not reveal what lies behind it. The sound depicts pro-Palestinian demonstrations in Limassol, Cyprus, 375 kilometers away from Gaza, which is situated behind the horizon. Hidden from sight, as if nothing is happening, the Western world remains silent.

www.macaknara.hr

28/02/2025

[𝟮𝟵. 𝗦𝗟𝗔𝗩𝗢𝗡𝗦𝗞𝗜 𝗕𝗜𝗘𝗡𝗡𝗔𝗟𝗘 - 𝗞𝗔𝗧𝗔 𝗠𝗜𝗝𝗔𝗧𝗢𝗩𝗜Ć]

Kata Mijatović
Iščezla riječ, 2024. / Disappearing Word, 2024
performativna intervencija/instalacija / performative intervention/installation

Iščezla riječ nadovezuje se na seriju radova izvedenih u različitim medijima u kojima su osnovni sadržajni materijali tekstualni zapisi snova iz Arhiva snova*. U intervenciji se koristi tekst sna unesen 18. ožujaka 2014. u Arhiv /Marina/: Sanjala sam riječ koja sve objašnjava. Znala sam da je jako važna i da je trebam zapamtiti. Počela sam riječ neprestance ponavljati dok sam prolazila kroz faze buđenja. Međutim, malo-pomalo, ona je počinjala gubiti značenje, zatim je postajala teško izgovorljiva, da bi pri samom buđenju ostao potpuno neizgovorljiv, neartikulirani hropac. Početni izvedbeni dio ispisivanja teksta sna vodom na zid, uprizoruje proces iščezavanja manifestnog sadržaja sna koji se događa sanjaču tijekom buđenja (budući da tekst ispisan vodom hlapi), dok slijedeća radnja, postavljanje ogledalne trake s pojedinačnim riječima u podnožje zida, vraća tekst sna u ogledalu okrenut publici.
*Arhiv Snova (http://arhivsnova.hr)

Kata Mijatović rođena je 1956. u Branjini. Umjetničku aktivnost započinje djelovanjem u umjetničkoj grupi Močvara 1988. u Baranji. Od 1991. studira slikarstvo na Accademia di belle arti Firenze, a 1993. nastavlja studij na ALU Zagreb gdje je diplomirala 1997. godine. Od 2005. do 2010. članica je Umjetničkog odbora Baranjske umjetničke kolonije (BUK). Od 2005. do 2018. voditeljica je Galerije AŽ Atelieri Žitnjak Zagreb. Od 2007. članica je Umjetničke grupe PLEH. Sudjelovala je na 55. Venecijanskom bijenalu kao predstavnica Hrvatske s projektom Između neba i zemlje. Izlagala je na brojnim samostalnim i skupnim izložbama u zemlji i inozemstvu. Živi i radi u Zagrebu kao samostalna umjetnica. Osnovne preokupacije njenog rada su preispitivanje relacija psihičkih prostora svjesnog i nesvjesnog, njihovo suprotstavljanje i mogućnosti njihove međusobne komunikacije. Poseban segment tih istraživanja čine radovi sa snovima kao osnovnim konstruktivnim i motivirajućim sadržajem. Baveći se fenomenom sna, ovi radovi problematiziraju percepciju stvarnosti u odnosima svjesno-nesvjesno.

//

Disappearing Word is linked to a series of works made in various media, where the basic content materials are textual records of dreams from the Dream Archive*. The intervention draws on a dream recorded in the Archive /Marina/ on March 18, 2014. I dreamed of a word that explained everything. I knew it was very important and that I had to remember it. I began to repeat the word constantly as I went through the stages of waking up. However, little by little, it began to lose meaning, then it became difficult to pronounce, until upon waking, it was completely unpronounceable, an unintelligible sound. The initial performance part of writing the dream text with water on the wall depicts the process of the disappearance of the manifest content of the dream that occurs to the dreamer during waking (since the text written with water evaporates), while the following action, placing a mirror tape with individual words at the bottom of the wall, returns the dream text in a mirror facing the audience.

Kata Mijatović was born in Branjina in 1956. She began her artistic career as a member of the Močvara art group in Baranja in 1988. From 1991, she studied painting at the Accademia di belle arti in Florence, and in 1993 continued her studies at the Academy of Fine Arts in Zagreb, graduating in 1997. From 2005 to 2010, she was a member of the Art Committee of the Baranja Art Colony (BUK). From 2005 to 2018, she was the director of the Gallery AŽ Ateliers Žitnjak in Zagreb. Since 2007, she has been a member of the PLEH Art Group. She participated in the 55th Venice Biennale as a representative of Croatia with the project Between the Heaven and the Earth. She has exhibited in numerous solo and group exhibitions both domestically and internationally. Based in Zagreb as an independent artist, her work primarily explores the relationship between the conscious and unconscious mind, juxtaposing these psychological spaces and investigating the possibilities of their interaction. A significant portion of her research focuses on works inspired by dreams, which problematize the perception of reality in the context of the conscious and unconscious.

kata-mijatovic.com

28/02/2025

27/02/2025

[𝟮𝟵. 𝗦𝗟𝗔𝗩𝗢𝗡𝗦𝗞𝗜 𝗕𝗜𝗘𝗡𝗡𝗔𝗟𝗘: 𝗥𝗔𝗗𝗢𝗩𝗔𝗡 𝗞𝗨𝗡𝗜Ć]
Radovan Kunić
Habitat, 2023.
ulje na lanenom platnu / oil on linen canvas
220 x 320 cm

Niska vegetacija livada ili polje, dio je okoliša koji često previđamo, jer se nalazi pod našim stopalima, ispod fokusa našeg pogleda. Naizgled jednolična površina zapravo sadrži bogatstvo bioraznolikosti, približimo li joj se dovoljno. Prostor slike sugerira prostranstvo, područje izvan konteksta vremena i geografskih koordinata, potpuno neutralno. Pa opet, ne možemo rad ne promatrati kroz prizmu aktualnog vremena i prostora. Prikazani prostor upućuje na razmišljanje o staništu, ekosustavu, biomu s jedne strane i teritoriju, tlu, poljoprivredi s druge, kontrast između prirodnih datosti i ljudskih konstrukata je prisutan iako nevidljiv. Ne mogu zanemariti ni činjenicu da sam samom odlukom prijave na Slavonski Bijenale i u radu počeo primjećivati očite podudarnosti sa Slavonijom- nešto čega prije nisam bio svjestan. Život koji ispunjava sliku je nevidljiv, ili neprimjetan. Gledamo u polje, u prostor gusto nastanjen živim bićima - travkama-, koji se propagira i širi uz minimalno povoljne uvjete, dakle vrlo efikasno. Unatoč tome, svakodnevni ga čovjek (uključujući i mene samoga) ne može ni izdaleka doživjeti kao život usporediv s onim vlastitim, u očitom se manifestira nevidljivost.

Radovan Kunić rođen je 1987. u Rijeci. Godine 2012. diplomirao je kiparstvo na Akademiji primijenjenih umjetnosti u Rijeci. Uz slikarstvo kao matični likovni jezik, koristi i medije poput animacije, videa i instalacije, čije odnose istražuje u galerijskom ili javnom prostoru. Sudjeluje na međunarodnim simpozijima i rezidencijama (Belgija, SAD, Njemačka) te izlaže na brojnim skupnim i samostalnim izložbama. Dobitnik je više nagrada i priznanja, a njegovi se radovi nalaze u javnim i privatnim zbirkama u zemlji i inozemstvu. Autor je javnog rada, mozaika Mehanizam, na Molu Longu u Rijeci. Bavi se i pedagoškim radom – od 2015. kao asistent na Akademiji primijenjenih umjetnosti Sveučilišta u Rijeci. Član je Hrvatskog društva likovnih umjetnika. Živi u Matuljima.

//

Low vegetation – a meadow or field, is a part of the environment we often overlook, as it lies beneath our feet, outside the focus of our gaze. This seemingly uniform surface actually contains a wealth of biodiversity when we get close enough. The space of the painting suggests vastness, an area outside the context of time and geographic coordinates, completely neutral. Yet, we cannot view the work without the lens of the present time and space. The depicted space invites us to consider habitat, ecosystem, biome on one hand, and territory, land, agriculture on the other, the contrast between natural givens and human constructs is present though invisible. I cannot ignore the fact that by simply applying for the Slavonian Biennial, and in the work itself, I began to notice obvious similarities with Slavonia – something I was not aware of before. The life that fills the painting is invisible, or imperceptible. We look at the field, at a space densely populated with living beings – grasses – that propagate and spread with minimal favorable conditions, thus very efficiently. Despite this, the average person (including myself) cannot even remotely experience it as a life comparable to their own; in the obvious, the invisible manifests itself.

Radovan Kunić was born in 1987 in Rijeka. In 2012, he graduated in sculpture at the Academy of Applied Arts in Rijeka. Beyond his foundation in painting, his artistic practice encompasses animation, video, and installation. Through these diverse media, he investigates the relationships between them within the context of both gallery and public spaces. He has participated in international symposia and residencies in Belgium, the United States, and Germany and has exhibited extensively, both solo and in group shows. He is the recipient of several awards and recognitions, and his works are featured in public and private collections worldwide. He is the creator of the Mechanizam mosaic on Molo Longo in Rijeka. In addition to his artistic practice, he has been teaching at the Academy of Applied Arts of the University of Rijeka since 2015. He is a member of the Croatian Association of Artists and resides in Matulji.

www.radovankunic.com
instagram: radovan_kunic

26/02/2025

‼️ Prijave za radionicu izrade voštanih pastela su zatvorene, vidimo se danas u 18 sati u Kulturni centar Osijek 🙂

Za radionicu izrade diorame je ostalo još samo nekoliko mjesta, a prijaviti se možete putem linka https://shorturl.at/kRMB6

25/02/2025

[𝟮𝟵. 𝗦𝗟𝗔𝗩𝗢𝗡𝗦𝗞𝗜 𝗕𝗜𝗘𝗡𝗡𝗔𝗟𝗘: 𝗔𝗡𝗔𝗦 𝗞𝗔𝗛𝗔𝗟]

Anas Kahal
Flags, 2023 / Zastave, 2023.
video, 25'00'' (single-channel video, found-footage, color, sound) / video, 25'00'' (jednokanalni video, pronađene snimke, boja, zvuk)

U video radu Zastave, Anas Kahal kombinirao je pronađene snimke rata u Siriji s jednoličnom površinom jarkih boja. Video materijali koje je pronašao na YouTubeu, a koji prikazuju surovu ratnu zbilju, bili su sveprisutni na televizijskim kanalima i web stranicama tijekom rata. Mnogi Sirijci bili su preopterećeni sadržajima i poplavom slika. Kahal je rođen i odrastao u Damasku i tamo studirao umjetnost. Imao je sreću da sam nije doživio rat. Pratio je razaranja i promjene u Siriji iz Njemačke i bio zabrinut zbog manipulacije medijima. Tijekom ratnih godina u Siriji su u jednom trenutku postojale i sudjelovale u ratu mnoge radikalne borbene skupine. Svaka grupa je slijedila svoje političke ciljeve, imala je svoje ime i isticala svoju zastavu. Ta pripadnost grupama izbrisala je pojedinca. Odjednom više nije bilo važno kako se borac zove, niti kako izgleda. Bitno je kojoj grupi pripada i za što se bori. Video rad Zastave je iznad mjesta i vremena. Prikazuje jezik rata, razaranja, smrti i nasilja općenito. U tom smislu, nije važno je li jedna od snimki doista snimljena, na primjer, u Iraku umjesto u Siriji ili 2012. umjesto 2015. iako Kahal prikuplja sve snimke s YouTubea pod pretragom ''actual Syrian War'' (aktualni sirijski rat) ili ''Free Syrian Army'' (slobodna sirijska vojska). U ovom radu bio je inspiriran kompozicijom zastava, kombinacijom pronađenih stvarnih snimki i jarke površine koja prikriva brutalnost i istovremeno je ističe. Video je pokušaj približavanja apsurdnosti rata uz pomoć apstrakcije.

//

Anas Kahal rođen je 1985. u Damasku (Sirija). U Damasku od 2004 do 2009 završava preddiplomski studij na Akademiji Likovnih Umjetnosti. Između 2011 i 2017 završava diplomski studij na Akademiji Likovnih Umjetnosti u Karlsruheu. Boravio na umjetničkim rezidencijama u Cité Internationale des Arts Paris, Kuestlerhaus-Lukas Ahrenshoop i Hangar Barcelona. Živi i radi u Freiburgu u Njemačkoj.


In the video Flags Anas Kahal combined Found Footage of the Syrian war with brightly colored surface. The video materials he found on YouTube which show the brutal reality of war were omnipresent on all television channels and websites during the war. Many Syrians were overwhelmed by the content and the flood of images. Kahal was born and grew up in Damascus and studied art there. He was lucky not to have to experience the war himself. He followed the destruction and changes in Syria from Germany and had been concerned with media manipulation. During the war years in Syria, many radical fighting groups existed for a sudden and took part in the war. Each group pursued its own political goals, had its own name and demonstrated its own flag. This belonging to the groups erased the individual. Suddenly it was no longer important what the fighter was called, or what he looked like. What counted was to which group he belonged to and what they were fighting for. The video Flags is above place and time. It shows the language of war, destruction, death and violence in general. In that sense, it doesn’t matter if one of the footage was in fact shot, for example, in Iraq instead of Syria or in 2012 instead of 2015 though Kahal collects all the Footage from YouTube under the searches of the “actual Syrian War“ or “Free Syrian Army”. In this work he was inspired by the composition of flags, by combination of Found Footage and the colorful surface that covers the brutality and shows it at the same time. The video is an attempt to approach the absurdity of war with the help of abstraction.

Anas Kahal was born in 1985 in Damascus (Syria). He completed a bachelor's degree at the Faculty of Fine Arts in Damascus between 2004 and 2009. He came to Germany where he studied from 2011 to 2017 at the Academy of Fine Arts in Karlsruhe. He's been to Art residencies in the Cité Internationale des Arts Paris, Kuestlerhaus-Lukas Ahrenshoop and Hangar Barcelona. He lives and works in Freiburg im Breisgau in Germany.

www.anaskahal.com

25/02/2025

[𝗠𝗝𝗘𝗦𝗘𝗖 𝗙𝗜𝗡𝗜𝗦𝗦𝗔𝗚𝗘𝗔 𝗜𝗭𝗟𝗢Ž𝗕𝗘 𝟮𝟵. 𝗦𝗟𝗔𝗩𝗢𝗡𝗦𝗞𝗜 𝗕𝗜𝗘𝗡𝗡𝗔𝗟𝗘: 𝗦𝗧𝗥𝗨Č𝗡𝗢 𝗩𝗢𝗗𝗦𝗧𝗩𝗢]

🗓 Petak, 28. veljače | 18:00 h
📍 Kulturni centar Osijek, Gradske Galerije Osijek, Kapucinska 36

Posljednji dan izložbe je petak, 28. veljače kada će muzejska savjetnica i kustosica izložbe, Valentina Radoš, održati stručno vodstvo za građanstvo koje će započeti u Kulturnom centru, nastaviti se u Galeriji Waldinger, a završiti u Kapucinskoj 36 (trajanje vodstva cca 120 minuta).

24/02/2025

[𝟮𝟵. 𝗦𝗟𝗔𝗩𝗢𝗡𝗦𝗞𝗜 𝗕𝗜𝗘𝗡𝗡𝗔𝗟𝗘 - 𝗧𝗜𝗡𝗔 𝗚𝗩𝗘𝗥𝗢𝗩𝗜Ć 𝗜 𝗕𝗘𝗡 𝗖𝗔𝗜𝗡]

Tina Gverović i Ben Cain
Slow Jacket, 2024.
multimedijalna instalacija; video, 5'00'' / multimedia installation; video, 5'00''
cca 400 x 500 cm (dimenzije promjenjive) / approx. 400 x 500 cm (dimensions variable)

Rad je postavljen kao kombinacija dva velika slobodnostojeća flat screen monitora i šest visećih komada tkanine obješenih na metalne sajle, postavljenih tako da tvore scenu. Kada se gleda sprijeda, fragmenti pokretne slike i različito obojena tkanina mogu se vidjeti kao jedna ravna slika. Međutim, budući da su ekrani i tkanina postavljeni na različitim dubinama, moguće je proći između različitih slojeva ekrana/tkanine tako da rad postaje mini okruženje.
Video je proces – izmjenjuju se kadrovi usporene izrade radne kute. Na rukavima možemo nositi razne stvari: srca, zakrpe, značke, etikete, logotipe, sigurnosne igle, a te stvari otkrivaju na različite načine. Slično tome, šavovi mogu biti vidljivi ili skriveni, a izrada odjevnog predmeta može biti više ili manje opipljiva. U slučaju ove radne kute, nije toliko riječ o nošenju emocionalnog ili psihičkog unutarnjeg stanja izvana, već o pokušaju da se odjevnim predmetom progovori o radu (vještom i nevještom!), trudu i vremenu uloženom u njegovu izradu. Ova kuta je prerađena verzija stare tradicionalne radne kute – materijal je izdržljiv, korisnost iznad svega, zaštitna i korisna. Međutim, umjesto znački, ova jakna ima nekoliko slika prišivenih na vanjsku stranu. Slike su otisci na tkanini i prikazuju različite faze izrade odjevnog predmeta, s ciljem skretanja pažnje na rad uložen u radni kaput. To je spor proces, a mi smo ga dodatno usporili – tkanina se kupuje, reže, pere, boji, opet pere, pegla… Ovaj radni kaput je zapis o transformaciji materijala u predmet – na neki način možda su to svi odjevni predmeti, ali ovaj želi vizualizirati trud, mrežu aktivnosti i ljudi te općenito vrstu rada iza kulisa koji - kada se zaboravi - olakšava razmišljanje o odjeći kao nepolitičkoj ili nekompliciranoj u štetnim gospodarstvima.

Tina Gverović je diplomirala slikarstvo na ALU u Zagrebu, završila poslijediplomski studij na Jan van Eyck Akademiji u Maastrichtu i doktorirala na sveučilištu Middlesex u Londonu. Njezin rad - često u formi dezorijentirajućih instalacija – istražuje ekonomiju i povijest materijala. Izlagala je na Folkestone Trijenalu, u muzeju Tate Modern, na Bijenalu u Busanu, a 2017. godine je uz Marka Tadića bila predstavnica Hrvatske na 57. Venecijanskom bijenalu.
Ben Cain je diplomirao na smjeru interaktivnih umjetnosti na Metropolitan University u Manchesteru, te zavrsio poslijediplomski studij na Jan van Eyck Akademie, u Maastrichtu. Sudjelovao je na brojnim izložbama te izlagao u međunarodnim institucijama i manifestacijama poput Manifesta 9.; Weils, Bruxelles; Turner Contemporary, Margate; Supplement Gallery, ICA, London.
Gverović i Cain su suradivali na nizu umjetničkih projekata, nedavno na zajedničkoj samostalnoj izložbi u Muzeju grada Zagreba, te su izveli rad u javnom prostoru na kampusu Sveučilišta u Readingu u Velikoj Britaniji.

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The installation combines two large, freestanding flat-screen monitors and six suspended pieces of fabric hung from metal cables, arranged to form a scene. From a frontal viewpoint, fragments of moving images and colorful fabrics siem to merge into one flat picture. However, the layered arrangement of screens and fabric invites viewers to move around, transforming the work into a mini-environment.
The video is a process—a sequence of slowed-down shots showcasing the craftsmanship involved in making a work coat. The sleeves can be adorned with a variety of symbols, from hearts and patches to badges, logos or safety pins, each carrying its own meaning and revealing something different. Similarly, seams can be visible or hidden, and the creation of a garment can be more or less tangible. In the case of this work work, it's not so much about wearing one's emotional or psychological state on the outside, but rather an attempt to use clothing to speak about work (both skilled and unskilled!), effort, and the time invested in its creation. This coat is a reworked version of an old, traditional work coat—the material is durable, utility is paramount, it's protective and useful. However, instead of badges, this jacket has several images sewn onto the outer surface. The images are printed on fabric and depict various stages of garment production, aiming to draw attention to the labor involved in making a work coat. It's a slow process, and we've slowed it down even further—fabric is bought, cut, washed, dyed, washed again, ironed... This work coat is a record of the transformation of material into an object—in a way, perhaps all garments are, but this one seeks to visualize the effort, the interconnected processes and people, and the general type of behind-the-scenes work that, when forgotten, makes it easier to think of clothing as apolitical or uncomplicated in harmful economies.

Tina Gverović graduated from the Academy of Fine Arts in Zagreb, completed her postgraduate studies at the Jan van Eyck Academy in Maastricht, and received PhD from Middlesex University in London. Her work, often in the form of disorienting installations, explores the economy and history of materials. She has exhibited at the Folkestone Triennial, Tate Modern, the Busan Biennale, and in 2017, alongside Marko Tadić, represented Croatia at the 57th Venice Biennale.
Ben Cain graduated in Interactive Arts from Manchester Metropolitan University and completed his postgraduate studies at the Jan van Eyck Academy in Maastricht. He has participated in numerous exhibitions and has shown work at international institutions and manifestations such as Manifesta 9; Weils, Brussels; Turner Contemporary, Margate; Supplement Gallery, and ICA, London.
Gverović and Cain have collaborated on various artistic projects, most recently in a joint solo exhibition at the Zagreb City Museum, and have recently installed work in public space at the University of Reading campus in the UK.

www.tinagverovic.com
https://ben-cain.blogspot.com/