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Motovun Film Festival (from 28th July, 2012. – 1st August, 2012) is entirely dedicated to films made in small cinematographies and independent productions, films that broke out through their innovation, ideas, and the power of their stories. In everything, except for the ambition and the quality, Motovun wants to be a small festival showing small films, small in the warmest sense od the word.

“Motovun Film Festival is a five-day film marathon in which film screenings are ongoing from 10 a.m. until 4 a.m., with evening outdoor screenings and daily screenings in theatres. Festival program consists of around 70 titles from all over the world, from documentaries to feature films, from shorts to long forms, from guerilla made films to co-productions. The only criteria in their selection is that they fit the open-minded atmosphere of the festival with their innovations.”




“Theatre Trafik” form Rijeka and “The Necessary Stage” from Singapore will premiere their joint project – the performance ‘Crossings’ at 16 August in Theatre Esplanade – The Studio Season in Singapore, with additional perfromances on 17, 18 and 19 August. The Croatian premiere is planned for 19 August at the National Theatre Ivan Zajca in Rijeka. Their work is related to questions of identity of the individual lost on the margins of time and space.

Based on Asian myths, Crossings take us on a journey of the transformation of the self – how one deals with the seduction of being imprisoned and how freedom opens us to meaningless pain. Crossings is a multidisciplinary collaboration between artists from Singapore and Croatia investigating the coexistence, understanding and mixing of different cultures.

The Necessary Stage
Formed in 1987 by our current Artistic Director Alvin Tan, The Necessary Stage (TNS) is a non-profit theatre company with charity status. Our mission is to create challenging, indigenous and innovative theatre that touches the heart and mind. TNS is a recipient of the National Arts Council’s 2 Year Major Grant, and is also the organiser and curator of the annual M1 Singapore Fringe Festival.

TRAFIK (Transitive-Fiction Theatre)
The work of this collective of authors and performers is, by many accounts, very unique within the context of Croatian independent theatre and dates its beginnings back to 1998 and their site-specific performance, The Walker. This work determined their thematic objectives as well as artistically expression on questions of identity of the individual lost on the margins of time and space.



Santarcangelo isn’t a showcase but a place of artistic experience; in opening international dialogues with collectives of fifty years’ standing and with artists at their debut; in imagining projects that are out of format with respect to the theatre, which overflow with simplicity and brazenness into art, writing, drawing and cinema; in getting kids, old folk, citizens and foreigners involved in creations by artists who are able to set up a short-circuit between stage and life, far from any TV form, from any narcissism, to remind us how art is a place for distillation of the real, a space where it is possible to practise a glance of inexperience and courage, to make oneself vulnerable to what one does not know and is not understood, what does not belong to us and to which we perhaps belong.

Sad sam /almost 6/ is a work about childhood and its ending; about the relationship with one’s own interior world and with the others outside; about the power of the imaginary and a language capable of creating things by naming them; about the rip that breaks the perfect circle and opens us up, through the wound, to others and to the real. The show is one chapter of a wider ranging project in which under the title Sad Sam (a play on words, since in Croatian it means “now I am”) Ferlin composes a series of small creations, all centred on his stage presence characterised by great expressive power and surprising delicacy.

Matija Ferlin (b. Pola, 1982) graduated at the School for New Dance Development in Amsterdam and lived in Berlin where he collaborated with, among others, Sasha Waltz. He then returned to Pola and began research involving the rearrangement of various ideas of performance in relation to other languages such as film shorts and exhibitions.(





Final presentation of the developmental Urban Performing Workshop conceived and directed by Boris Bakal in  collaboration with Emma Szabo and artist-participants of workshop: Layla Betti, Lara Finadri, Sosso Hatzimanoli, Elisa Pinna, Sara Ricci, Christian Trafficante on July 12th and July 13th  (2012) @ 18.00 – 23.00  at FESTIVAL PERGINE OPEN PERFORMANCE – Pergine Valsugana (Trento), Italy.

BACAČI SJENKI (SHADOW CASTERS) – non-profit international theatre, artistic and production platform dedicated to interdisciplinary collaboration, creation, exploration as well as reflection of new artistic languages, especially in the domain of performing arts, urban and public art, new media and its hybrids, co-founded by Boris Bakal and Katarina Pejovic.

SC continuously instigate dialogue and active exchange between Croatian and international artists/professionals through: questioning the existing concepts of individual and collective identities; exploring the nature of globalization processes; dealing with social, political and cultural issues such as the politics of public space, the consequences of transition processes, the status and forms of intimacy and systematic production of amnesia and discontinuity.

SC activities range from intermedia performances, cultural memory projects, urban-human networks, artivist projects, informal education, workshops, to lectures, conferences, urban performances, installations and exhibitions.

For their work, SC have received various recognitions and awards, among them Special Jury Award at the 2007 Belgrade BITEF – Ex-Position; Avaz Dragon Award at the 2008 Sarajevo MESS – the entire trilogy Process_City; the main award Cloud at the 2009 PUF in Pula – Ex-Position; Special Jury Award at 2009 BITEF – Vacation From History; the main award Cloud at the 2010 PUF – Vacation From History.

SC projects have thus far gathered over 300 artists and professionals from 26 countries world-wide. The projects have been produced and presented at festivals and manifestations in Zagreb, Dubrovnik, Bologna, Graz, Pisa, Ljubljana, Udine, Bjelovar, Belgrade, Marseille, Maribor, Leiden, Križevci, Genoa, Subotica, Split, Szeged, Cluj, Vukovar, Aman, Krakow and New York, in collaboration with local partners.



Press release

Helena Miler _photo_ courtesy of the artistMaster Engineer of Architecture and Urban Planning Helena Miler (1986) is CrHelena_Miler_wisemanoatian young multimedial talent with Vienna address.
With Mensa membership (Percentile 99), 7th on the ranking list of an entry exam of the Faculty of Architecture and Urbanism in Zagreb (Drawing and Graphics 95%, Intelligence and Space Perception 99%) Helena was one of the best students and took part in several recent competitions as an associate in Njiric + Arhitekti office  (1st prize for the Concept of an Urban Tissue in Samobor), student competition for a concept of the representative Booth for the Faculty of Civil Engeenering (3rd prize) etc. She’s got several scholarships from the Board of European students of Technology for a two-week seminar on Urbanism in Europe at Technische Univarsitat in ViennHelena Miller_Design centre_2006_7_mentor_V.NeidhardtHelena Miller_University Fair_2009_10_3st prizeHelena_Miler_Sculpturea, then for two more engeneering competitions in Reykjavik and Chania  etc.

She parcitipated in various student exchanges, trainings Helena_Miler_Paintingand went on individual tours all over Europe, Africa and Asia. Since 2012. Helena lives and works in Vienna, at studio Project A01 Architects .



2012 in review

The prepared a 2012 annual report for this web portal.

Here’s an excerpt:

600 people reached the top of Mt. Everest in 2012. This blog got about 5,800 views in 2012. If every person who reached the top of Mt. Everest viewed this blog/portal, it would have taken 10 years to get that many views.

Click here to see the complete report.

“Contemporary literature abounds with expressions such as ‘we live in a connected world, ‘a connected age, a ‘human web and a ‘web society. At first sight this dependence seems rather peculiar because simultaneously there is much talk about individualization, social fragmentation, freedom and independence. But on second thought, this coincidence is not that strange because both tendencies might be two sides of the same coin – at least, that is what is argued in this book: ‘The world may never have been freer, but it has also never been so interdependent and interconnected’ (Mulgan, 1997: 1).”

A new course book written by a Dr. Jan van Dijk from Neetherlands University in Twente is about the new digital media in social and communication science., as well as on the Age of Networks. It’s an intedisciplinary outline of social aspects as a network theory, structuration theory, medium theory and modernization theory.

You can read the first part of the book  “The Network Society” .



After the world-known Sea Organs, Croatian city Zadar has become wealthier with one more urban installation, next to the famous Sea Organs, which shines the Greeting to the Sun made by the same architect Nikola Bašić. The installation won the 3rd prize at the European Council contest.

The Greeting to the Sun consists of three hundred multi-layered glass plates placed on the same level with the stone-paved waterfront in the shape of a 22-meter diameter circle. Under the glass conduction plates there are photo-voltage solar modules through which symbolic communication with nature is made, with the aim to communicate with light, just like the Sea Organs do with sound.

The Greeting to the Sun installation, as a model of the solar system with its appertaining planets, is connected to the Sea Organs whose sound is transposed into a show of light that starts performing on the Zadar waterfront after sunset. In creating the lighting effects, the installation will be able to receive other outer, spontaneous impulses through modem connection, while the lighting pictures will adapt to different occasions.

Simultaneously with the „most beautiful sunset in the world” the lighting elements installed in a circle turn on, and, following a particularly programmed scenario, they produce a marvelous, exceptionally impressive show of light in the rhythm of the waves and the sounds of the Sea organs.

The photo-voltage solar modules absorb the sun energy and then transform it into electrical energy by releasing it into the distributive voltage power network. It is expected for the entire system to produce around 46.500 kWh yearly, being, actually, a small power plant from which energy will be used not only for the Greeting to the Sun installation, but also for the lighting of the entire waterfront. This energy will be three times cheaper than the actual one, and the project itself is a unique example of connecting the use of renewed energy sources, energy efficiency and city space arrangement.


The BartlettHead, Stephen A. Benton, William R. Houde-Walter and Herbert S. Mingace, 1978

The Bartlett
Head, Stephen A. Benton, William R. Houde-Walter and Herbert S. Mingace, 1978

At the MIT Museum in Boston the exhibition of over 20 internationally created holograms can still be seen until September 28, 2013. The 9th International Symposium on Display Holography being held for the first time in Boston, Co-chaired by Seth Riskin and Michael Bove, and is presented by the MIT Museum and the MIT Media Lab.

As the MIT (Massachusetts Institute of Technology) Museum informs: “The exhibition presents a rare opportunity to view selected works from the world-wide community of practicing display holographers. The MIT Museum holds the world’s largest and most comprehensive collection of holograms and regularly invites artists to showcase new work at the Museum. “This new exhibition is an example of our expanded commitment to support public engagement with practicing artists through exhibitions and programs,” says Seth Riskin, who will give talks and tours throughout the coming year in his role as the MIT Museum’s Manager of Emerging Technologies and Holography/Spatial Imaging Initiatives.

The Jeweled Net: Views of Contemporary Holography surveys state-of-the-art display holography, and showcases the artistic and technical merit of individual works of art. Selected by a panel of experts, the holograms on display represent artists from Germany, Italy, the UK, Canada, Australia, Japan, and the US. ” A hologram” according to Riskin, “represents how the human brain, and light information interact to create the experience of three-dimensional space. Holography represents deeper technological access into light’s capacity as an image and information carrier.””



On the 1st of June at the Croatian Adris Gallery in Rovinj the exhibition of photographs “Selling Dreams – Contemporary Croatian Fashion Photography” will be presented for the first time at the Rovinj Photodays festival of photography, gathering the best Croatian fashion photographers and some of their most successful works made during the last ten years.

Culturenet informs: “And who could be better at assembling this photographic dream team and thinking of such an attractive and impressive selection than the eminent photographer Sandra Vitaljić, who has herself been involved in the creation of imaginative fashion editorials and stories for years.

According to her words, it was not difficult to select six people to represent the best of Croatian fashion photography, but it was quite demanding to choose from their archive just a few works to represent the authors and to create a unique whole within which the photographs would correspond well.

Curator: Sandra Vitaljić, Authors: Mladen Šarić, Romano Decker i Dejan Kutić, Bruna Kazinoti, Mare Milin, Ivana Vučić, Marko Grubišić.”




Billie Holiday – vocals, Ben WebsterTenor Sax, Barney Kessel – Guitar, Harry Edison – Trumpet, Jimmy Rowles – Piano, Red MitchellBass, Larry BunkerDrums

Comes love




Comes love

Bill_Viola_DreamersBill Viola’s video work The Lovers (2005), will be shown at  the “50 Years of Video Art,” on 26th Festival Les Instants Vidéo, La Friche de la belle de mai in Marseille, France (November 7 – 30, 2013). The last month’s European exhibition of Bill Viola’s videos in Blain Southern Gallery showed the whole Earth “Dreamers” in moving images. Viola explains how his latest exhibits touch upon a near-death experience as a child, and the importance of water in his work (8 minutes) (
“Dreamers” (2013) consists of seven individual screens, which depict underwater portraits of people who appear to be sleeping. Presented in the gallery on the lower-ground floor, and accompanied by the gentle sounds of water, the viewer is led to feel as if they themselves are submerged with these figures.
“For over forty years, Viola’s practice has continuously transformed our understanding of video as an artform, expanding its technological scope and historical relevance. He draws from a range of influences, including Eastern and Western art and the spiritual traditions of Zen Buddhism, Islamic Sufism and Christian mysticism, to express fundamental truths underpinning human existence. Bill Viola’s profound visual language captures and expresses thoughts, feelings and memories that have a universal appeal, offering viewers a vehicle for the exploration and contemplation of their own circumstances and emotions.” (blain southern gallery)
Viola represented the U.S. at the 46th Venice Biennale in 1995, and his work has been the subject of large solo
survey exhibitions including: The Museum of Contemporary Art, North Miami (2012-2013), The Whitney Museum of
American Art (travelled to 5 venues) (1997-2000); Mori Art Museum, Tokyo (2006); and Palazzo delle Esposizioni,
Rome (2008).  He holds honorary doctorates from Syracuse University (1995), The School of the Art Institute
of Chicago (1997), and Royal College of Art, London (2004) among others, and was inducted into the American
Academy of Arts and Sciences (2000).

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The Croatian gallery in Zagreb “The Klovićevi Dvori Gallery” is hosting the exhibition The Master Pieces From the Picasso Museum in Paris opening on 23 March 2013 and bringing 56 paintings and sculptures created by the most famous master of the 20th century, the founder of cubism, painter, sculptor and graphic artist.

The Gallery informs that “the exhibition presents more than one hundred works of art and various documents depicting the exciting journey of the creator of modernism. Put in a chronological order, starting from Picasso’s early works and ending in the last years of his life, works from the blue and pink period, proto-cubism and explorations of Africa, the emblematic works of the analitical and synthetical cubism, classical period, surrealism and late paintings are all exhibited in Zagreb until 7 July 2013. Picasso was an artist who shifted the artistic boundaries and deconstructed the traditional painting genres. Picasso dominated his times unrivaled. Behind a man who became a myth and the market value of his signature there is a very complex oeuvre created by an artist and, above all, a creator.”



Museum of Contemporary Art in Zagreb, in collaboration with Association Kazimir in Split and the Institute of Network Cultures in Amsterdam, is organizing an international conference of theorists, artists and experts for new media, especially for online video, under the title Video Vortex, which is set to take place on May 17-19 in Zagreb.

This platform deals with a recent phenomenon that has a considerable presence on the Internet (Vimeo, YouTube, Facebook).

Moving pictures (film/video) and internet are in the process of defining their dynamic and creative mutual relations, and therefore the conference will focus on the content of changes in contemporary art and film, but also in wider cultural, social and technological fields.

The initiator of the Network is a prominent new media theorist Geert Lovink from the Institute of Network Cultures in Amsterdam; previous conferences were held in Brussels, Amsterdam, Ankara, Split, and other cities. The Zagreb Conference is an important turning point, because for the first time the conference is supported by a big museum institution such as MSU. After the Zagreb Conference, the following ones will take place in Berlin, New York, and Paris. About thirty speakers will participate in the proceedings of the conference, divided in six panels: Contemporary Art and online video, Theoretical discourses on the contemporary shift in the digital moving image, Social network and online video in the region, The perspective of online cinema, Artists talk about their own work and research in online video, and Technological aspects and new developments of online video.

Participants of the Conference:
Seumas Coutts, Annelies Termeer, Sabina Salamon, Laurence Rickelts, Bojana Romić, Riczhard Kluszchinsky, Andreas Treske, Dagan Coen, Janos Sugar, Peter Perg, Damir Nikšić, Sandra Sterle, Gabriel Menotti, Jan Simons, Nina Koll, Miklos Peternak, Dalibor Martinis, Natalie Bookchin, Annie Abrahams, Maartin Brinkerink, Miha Colner, Richard Vickers.

The exhibition:
Concurrently with the Conference an exhibition will be held, with works that were created through the participative processes in internet networks, i.e. as authorial videos prepared for online distribution: Liu Wei, Perry Bard, Flag metamorphosis, Janos Sugar, Sandra Sterle, Natalie Bookschin, Dalibor Martinis, Damir Nikšić, Annie Abrahams. Curator: Tihomir Milovac. Curators for online video selection: Vera Tollman, Sarah Kesenne, Christiane Paul, Perry Bard, Brian Willems, Hebert Patrick & Alexandra Juhasz.





ikonica_media_art_MVThe famous American MIT Media Lab introduces disputable new topic about social networking sites and stresses that “there is always the danger of a “group think” mentality–when people follow a group consensus rather than critically evaluate information; make decisions without guidance from the social network; or follow “gurus” who provide them with bad information.” We think that the “wisdom of the crowd” is leftist and rightist illusion and doubtful concerning the masses, because only the true Artists/Individuals can conceptually, practically and critically evaluate information. Which means the Art of Living is clever using of both hands and the whole mind and thus a privilege just of Media Art. (More at: )

It is very weak possibility that the “Part of the answer may come from recent work of Media Lab researcher Dr. Yaniv Altshuler, an expert in collective intelligence methods, who is working with Toshiba Professor Alex ‘Sandy’ Pentland in the Media Lab’s Human Dynamics research group. Altshuler has developed a tool for social financial trading that helps guide users to make better decisions by improving the information flow within the networks. This is accomplished by diverting the traders’ attention away from certain links, and drawing their attention to others, changing the dynamics of the network.”


The new work by choreographer Marjana Krajac is the three-hour performance in The Croatian Association of Visual Artists (HDLU) in Zagreb, which will be premiered on 18 October 2014 (Saturday) starting at 14 am with performances of 19, 20, 21 and 22 October also starting at 14 hours.

This simultaneously coVariationsmplex and fragile consideration of the nature of dance, whose building material is just enough present to be irrevocably gone in the next moment, is extensive, yet minimalist dance session between movement, sound and space.

It’s performed by dance artists Lana Hosni, Irena Mikec, Katarina Rilovic, Irena Tomasic and Mia Zalukar. This long dance-work invites us to spend time with it, coming gradually into the layers of its texture. (…)
Transfer through the others and friction on the other, becomes the only area in which dance can construct some type of memory to itself. In this sense, the other is the witness and the participant as well.

”We should stop the stupid idea of having a body and instead consider our bodies as activity, as verbs, as movement and becoming. As long as we “have” and “possess” a body we are alwaysVariations gonna feel violated by language, discourse and the rest of representation”, writes a choreographer Mårten Spångberg, summarizing the utopian relationship of contemporary dance with the body, in yet another manifestation of the eternal struggle of dance with descartian dualism. The tradition of thinking about the body as something which belongs to us, which we own, or rent, something which we temporarily inhabit, is deeply imbedded in all religious dogmas, because the idea of life after life is based on it. However, the idea of ”body as property” isn’t just a religious mental reflex. The paradox of embodiment is most pronounced with disability, often perceived as an experience which separates the body from the self. (…)

But what is important to emphasize is that the choreographic body of Marjana Krajač isn’t a private body, neither does she fight solely for HER OWN body, resistant to social networks and arguing for an absolute control of its idiosyncrasies. The body of Marjana Krajač isn’t focused on the realization of her own (choreographic and dancing) singularity, but on the problematization of something we all care about together.”



From 27th April — 16th June, 2012  Aanant & Zoo present the first solo exhibition of Croatian artist Vlado Martek (1951) in Germany. The base of Martek’s artistic praxis consists of writing, poetry and language. Since the 1970s Martek has used the different mediums of sketch, collage, happening and books to negate and deconstruct the traditional forms of speech and thus finally returning it to its essence and finding new and different manners of dealing with language. Martek is not a quiet observer. In his works he reacts analytical, critical, ironic and humorous on social structures and constructs, as is evident in the here displayed manifesto Snaga podloge.

Martek, who in the early 1970s studied philosophy and literature in Zagreb, began his artistic career as a poet. Soon he found himself disenchanted with writing as a method of expression. Between 1975 and 1978, Martek presented his poems and other writings to the public on the street as a member of political art collective Group of Six Artists (with Boris Demur, Željko Jerman, Mladen Stilinović, Sven Stilinović , Fedor Vučemilović). The artist manipulates the nature of his material. For example when glass, paper, mirror and a blank surface reveal a “Sonett” (1978/2009) while conserving the poems its inherent rhythm and sound despite the material change. He works as a librarian since 1979.



A Croatian curator of Institute for the Research of the Avant-garde  Zagreb, Branko Franceschi and HDLU in collaboration with David Zwirner, London, present an exhibition of new work by Belgian artist Luc Tuymans. The exhibition, titled Allo!, brings together six new paintings and a series of wall paintings especially conceived for the rotunda of the Mestrovic Pavilion. Painting from pre-existing imagery-photographs, film-stills, newspaper cuttings-Tuymans’s works address the elusive gap between memory and reality, personal space and public space. (10 May – 21 June, 2012)

Tuymans’s new series of paintings is inspired by the final scenes of the 1942 black-and-white film The Moon and Sixpence, which was adapted from the 1919 novel by W. Somerset Maugham. Loosely based upon the life of Paul Gauguin, the movie ends weeks after the death of Strickland, when his doctor travels from London to the village in Tahiti where the main character lived. When the doctor enters the painter’s cabin, the movie changes from black-and-white to Technicolor. Tuymans made a series of screenshots of this color metamorphosis. The photographer’s reflection-that of Tuymans himself-can be seen in the screenshots and therefore also in the paintings.

Born in Mortsel, near Antwerp, Belgium in 1958, Tuymans studied fine art in Brussels and Antwerp between 1976-1982, before completing a degree in Art History at the Vrije Universiteit in 1986. In 1992, he participated in the prestigious Documenta IX in Kassel, Germany, and he has since exhibited widely in Europe and Northern America.



Over eight nights (April 10, 2012–April 17, 2012), MoMA presents the sonic and visual experiments of Kraftwerk – the avant-garde electronic music pioneers, with a live presentation of their complete repertoire in the Museum’s Marron Atrium. Each evening consists of a live performance and 3-D visualization of one of Kraftwerk’s studio albums—Autobahn (1974), Radio-Activity (1975), Trans-Europe Express (1977), The Man-Machine (1978), Computer World (1981), Techno Pop (1986), The Mix (1991), and Tour de France (2003)—in the order of their release.

Each evening will consist of a live performance, in the Museum’s Donald B. and Catherine C. Marron Atrium, of works from one of the group’s eight albums, created over four decades, followed by a selection of original compositions from their catalogue adapted specifically for this exhibition’s format, to showcase both Kraftwerk’s historical contributions and contemporary influences on sound and image culture. Kraftwerk-Retrospective 1 2 3 4 5 6 7 8 is organized by Klaus Biesenbach, Chief Curator at Large at MoMA and Director of MoMA PS1, with the assistance of Eliza Ryan, Curatorial Assistant, MoMA PS1.



At the Slovenian museum MGLC  the Croatian contemporary/conceptual artist  Ivan Kozaric exhibits his prints till April 1st. The artist Ivan Kozaric creates at the International Centre of Graphic Arts eighteen prints in the colour screen-printing technique: portfolio entitled Sretan sam da sam sretan! / I am happy to be happy!, 2007, print Brez naslova / Untitled, 2002, and prints  A Bouquet of Genes, 2002-04. His works are characterized by a sense of mischief, spontaneity and by his nonchalant approach to life.

Ivan Kozaric in his 86th year of life creates at MGLC a series of prints entitled Sretan sam da sam sretan! (I am happy to be happy!) that offer crayon-like depicted flowers, a rainbow of primary colours, tops of heads, Brancusian figures and spheres. What is noticeable at first glance is the joy, excitement and playfulness of these prints, which should be looked at without the shackles of a trained and discerning eye rooted in an art education, and rather be embodied by a physical and emotional experience. The simplicity of the I am happy to be happy! print portfolio is the simplicity of the great, of those, that dare make prints of delicate flowers and colourful rainbows, when that is what they really feel in this world.

Ivan Kožarić (born 10 June 1921 in Petrinja) is a Croatian artist who works primarily with sculpture but also works in a wide variety of media, including: permanent and temporary sculptures, assemblages, proclamations, photographs, paintings and installations. He is the author of many public sculptures, including Landed Sun in Zagreb (1971), A. G. Matoš in Zagreb (1978), and Tree in Bochum (1979–1980). He has received numerous awards, including the Vladimir Nazor Award for Life Achievement (1997). He lives and works in Zagreb, Croatia.





In German Medienmuseum ZKM | Museum of Contemporary Art in Karlsruhe you can visit on March 8th, 2012 an exhibition “Moments. A History of Performance in 10 Acts” as an international live exhibition on the history of art performance in dance and fine art. As an exhibition ‘in progress’, the project shows and develops new formats of museal presentation of live acts. The exhibition begins in an empty exhibition space. During the eight week duration of the exhibition project a scenic act of around ten central stages of dance and performance history unfolded − as witnessed by a group of students invited to accompany and observe for the entire period − before a public. One of the key focal points is the performances and works by women who have consciously been thematizing, transgressing and critiquing the genre boundaries between dance, performance, and visual media since the 1960s. Here, they likewise reflect on the implicit male constructions of the gaze and the gestural logic of their colleagues.

Among others, the artists represented in the exhibition will be Marina Abramović, Graciela Carnevale, Simone Forti, Anna Halprin, Reinhild Hoffmann, Channa Horwitz, Lynn Hershman Leeson, Sanja Iveković, Adrian Piper and Yvonne Rainer. The exhibition is composed of four phases, in each of which other actors occupy the exhibition space:

1. Act − Stage and Display (March 8−March 17, 2012)

2. Re-Act − Interpretative Acquisition in the Art Laboratory (March 18−March 30, 2012)

3. Post-Production − Film Editing (March 31−April 14, 2012)

4. Remembering the Act − Performative Mediation of the Exhibition Process by Artistic Witnesses (April 15−April 29, 2012)





Mihael Giba is a Croatian intermedia artist, who is presenting the first solo exhibition of his work in Slovenia between 9 – 28 March 2012 at P74 Gallery in Ljubljana.

“The exhibition TRUST ME I TRUST YOU presents an installation of this same name, which is composed of a series of five artist books with the same formal character and elegance as the artist’s conceptual poetry(…) The artist’s chosen mode of mapping derives from his desire to create a dialogue between the state and its citizens that is as direct as possible. Through the visualization of data, he moves from the concrete to the abstract only to return again to the concrete. Such movement Lev Manovich has described as the real challenge of data art, which, he says, “is not about how to map some abstract and impersonal data into something meaningful and beautiful” but rather “how to represent the personal subjective experience of a person living in a data society.”[Lev Manovich, “Data Visualisation as New Abstraction and Anti-Sublime” (2002)]

Mihael Giba (b. 1985, Varaždin) received his degree in painting from the Academy of Art at the University of Split, where he is currently employed as a senior assistant in electronic painting and digital photography. He is a member of the international art network Zebra, which founded the exhibition space Greta in Zagreb. He regularly exhibits his work in Croatia in both solo and group shows. In 2010, in collaboration with Dalibor Martinis, he presented his touring project Global Picture in Slovenia.


Branko Franceschi as a curator goes permanently with introducing Croatian Avantgarde art from Marinko Sudac collection of South East Europe avant-garde art production, this time at Kuad Gallery in Istanbul from 24 February to 28 April.

Franceschi states that “so-called state modernism focused on the formal aspects of creativity and creation of art objects and was intensively supported by public institutions, while art practices that aimed to enhance social change towards participatory democracy, or at least to improve the cultural context, were pushed to the margins of public interest and institutional representation. In this manner the creativity of the true heirs of completely neglected pre-WWII radical art practices came to be referred to as the “art of the second line”. (…) Finally, the general understanding prevailed that the avant-garde legacy of modern era, alive and vibrant as it is, most pragmatically and directly connects us with the West we have been aiming to unite with all along. Second-line art became first-line art and a series of major exhibitions has made this heritage visible to local and international communities, creating a possibility of the substantial modification in the mapping of global culture towards a more accurate and impartial model.”

The curatorial concept has been to divide the exhibition into four comprehensive sections. In Print focuses on the legacy and continuation of avant-garde magazine publishing, while Legacy of Constructivism points out how the aesthetic of constructivism permeated and has been transformed throughout the XX century. Subject = Object presents an impressive history of performative art practices in the region dating back to the 1920s and Utopia and Radicalism epitomizes activism that bravely stood against the power and rule of the political elite.”

The exhibition presents 59 works (photography, prints, collages and videos) of Aleksandar Srnec, Attila Csernik, Balint Szombathy, Bogdanka Poznanovic, Boris Demur, Era Milivojevic, EXAT 51, Family from Sempas, Gorgona, Ivan Kozaric, Ivana Tomljenovic Meller, Josip Seissel (Jo Klek), Marijan Molnar, Marko Pogacnik, Mladen Stilinovic, Nasko Kriznar, OHO, Red Peristyle, Tomislav Gotovac, Traveleri, Vladimir Bonacic, Vlado Martek, Zeljko Jerman and Zeljko Kipke.



the press release

Romulic Multimedia Studio (Mario Romulic and Drazen Stojcic) presents the fascinating movie with hundreds of thousands photographs, created by timelapse technique. “The movie you’re about to see is a preview of what we would like to do, in regards of representing Croatia as a destination in a different way.

No one commissioned us to do this, we put our own work, time, gear, money and ideas into it. Because of this we chose the locations, the editing and music as we saw fit.  Of course, what we ended up putting in this video is merely a fragment of what Croatia has to offer. As photographers who have traveled across our country from one end to another, we are well aware that there is so much more to be filmed. And we are more than happy to do it – after all, we’re two guys who really love their job. It’s simply that the pace at which we can finish this project will depend mostly on if we can get financial support, or we’ll have to figure out some other way to pull this off.

Explaining timelapse technique to an average person, or a potential client can be very hard. Even most of our colleagues have no real sense of how demanding timelapses can be. So we decided to skip on the whining and tried to show what timelapse is really about and how visually attractive it can be.

Almost a full year of work went into this. Months and months of work and hundreds of thousands photographs for a few minutes of video. Sounds silly, but that’s basically how it is. For example, we spent last 3 months literally sitting at our workstations editing and rendering frame after frame, shot after shot, location after location. Crazy people 🙂

So, if by the end of this year we end up with another 4 minutes of worthwhile material, we’ll be more than happy to share!

Until then, lay back, relax and enjoy!”



Timelaps at

Museum of Contemporary Art (MSU) Zagreb presents the exhibition “Silences where things abandon themselves” untill April 3rd, 2012.The exhibition offers a unique perspective over Italian contemporary art and performative scene and displays the works of eleven Italian artists who seem to have deliberately turned away from all decontextualising and “strong” reconceptualising of the “thing” within the artistic dimension.

These artists, on the contrary, seem to have chosen a quite different strategy: they work with given “things” without entirely or partly keeping them away from their respective temporal order. The title of the exhibition is inspired by Lemon Trees (1925), by the Italian Nobel Winner prize poet Eugenio Montale. In Montale’s verse, one may uncover an ideal response to Ludwig Wittgenstein’s conclusive admonition contained in the Tractatus Logico-Philosophicus, “Whereof one cannot speak, thereof one must be silent”: the act of “being silent” is not here to be interpreted as “avoiding to speak”, but rather as an active choice of “being silent about something”. Thus the verse, in a way, determined the choice of the artists for the exhibition.
These artists, with their work, create a peculiar dimension of “silence” in which “things abandon themselves” and betray “their final secret” (Montale), a silence that protects the things from common thinking and, in a way, from art itself.

Artists are: Giorgio Andreotta Calò, Elisabetta Benassi, Rossella Biscotti, Pierpaolo Campanini, Rä di Martino, Christian Frosi/Diego Perrone, Marzia Migliora, Lorenzo Scotto di Luzio, Elisa Sighicelli, Sissi.



Museum of Contemporary Art

The agile curator and president of the Institute for the Research of the Avant-Garde from Zagreb Branko Franceschi  opens the exhibition “Circles of Interference”  on 27th January in Budapest Kassak Muzeum together with Silvija Malnar, Counsellor, Embassy of the Republic of Croatia in Budapest and Csilla E. Csorba, General Director of the Petb’fi Literary Museum. The exhibition will be opened until 15 April, 2012.

The exhibition Circles of Interference, a collaborative effort between Marinko Sudac Collection, Kassák Museum and Institute for the Research of the Avant-garde, is based on the exchange and cooperative work between the editors of the avant-garde periodicals MA and Zenit, two that were among the most influential in the region at the beginning of the 1920’s. The exhibition covers the issues of networking and expansion of the avant-garde movement and the esthetic of Constructivism that, in between the two wars, had a strong and productive impact on the cultural life of the region.

Artists represented (in alphabetical order): Dragan Aleksić, Csuka Zoltán, Ivan Gol, Kassák Lajos, Ivana Tomljenović Meller, Ljubomir Micić, Marijan Mikac, Farkas Molnár, Branko Ve Poljanski, Bortnyik Sándor, Boško Tokin, Traveleri (Josip Seissel /Jo Klek, Miho Schön, Čedomil Plavšić)…

Magazines and editions: MA, Zenit, Út, Munka, Dada-Jok, Dada Tank, 100%, Dokumentum, Svetokret, Kinofon.



From the catalogue and by the courtesy of curator.

The internationally famous Croatian video artist Dalibor Martinis introduces to Croatian audience his performance “Simultaneous Speech” in Museum of Contemporary Art ( Zagreb, Gorgona theatre) on January 13, at 19 o’clock. With Dalibor Martinis there are 12 translators: Wang Qiaolan, Lea Kovacs,  Iva Stojevic, Wissam Sleman, Jana Busic,  Kozuko Kono Hut, Ana Petrovic, Marijeta Karlovic, Irena Sertic, Ignacio Esponera, Danijela Vukorepa, Zeljka Salopek, and Marija Popovic.

Dalibor Martinis enters the stage and starts his speech…12 translators simultaneously translate him to 12 languages. But what if they don’t translate his words but those of Fidel Castro in Hungarian, of Mao Zedong in French, of Osama bin Laden in Spanish, of Martin Luther King in Russian, of Gandhi in German, of Lenin in Turkish, of Joseph Beuys in Hindi, of Guy Debord in Greek, of Kasimir Malevich in Japanese, of Marcel Duchamp in Chinese, of Andy Warhol in Arabic, and of Marinetti in Swahili? Actually, it is the artist who translates the “translators” since his speech is composed of all the above speeches, a mixture of key texts of twentieth century, a speech of all speeches. A speech opera. And a lesson in matter of language and ideology. About our all understandings and all our misunderstandings. Does Dalibor Martinis with this stage performance give an ironical comment to the Babylonian language confusion in times of the EU enlargement? Is he comparing us to our mythical ancestors, who failed so magnificently with the building of the Babel tower? Is it possible to generate out of these texts of greatest artists and political leaders some general synthesis of the forever finished twentieth century, or the data recovery may be achieved only through unrelated fragments.

After the performance the book “Simultaneous Speech” will be presented by Nada Beros MSU, Boris Greiner and Dalibor Martinis.



The 2012 International Computer Music Conference will be held in Ljubljana, Slovenia, 9-15 September (dead line for submitting papers and music is 15th February). It is organized by IRZU – the Institute for Sonic Arts Research and supported by the Faculty of Computer and Information Science as well as the Faculty of Arts, University of Ljubljana. IRZU is a young non government organization, based on an interdisciplinary concept and is conducting artistic productions in the field of electro-acoustic music / inter-media performances and installations, as well as audio technology research and educational activities. The ICMC 2012 will be held in cllaboration with our annual sonic arts festival EarZoom which is becoming a referential international platform for discussing the latest developments within audio technology research well as critical and conceptual approaches in sonic arts practices.

The conference welcomes the submission of a wide range of papers and music, covering all aspects of technical, creative and aesthetic issues around the use of computers in music. The theme of the 2012 conference is “Non-Cochlear Sound”, which can be understood as an analogy to the Duchampian notion of non-retinal art. The aim is to investigate the potential of sound as a medium and further, the potentials of music in conjunction with new technologies to create new possibilities of artistic expression, which could create a closer relation to language and consequentially, enable generation of meaning and production of knowledge.



The story of taiko drums has roots in the ancient history of Japan. At the first sounding of these drums, people would stop working and follow the drummers, celebrating the joy of life. World-famous Japanese Yamato drummers played in Zagreb in 2010 and will be back on 26 February, 2012 to play in Concert hall Drazen Petrovic.

Since its creation in 1993, the group has done over one thousand live performances to over one million people in more than 20 countries in Asia, Europe, and the Americas. The group has grown from four to seventeen now and apart from the usual concerts works on many activities involving schools and teaching. They use more than 50 drums on the scene and their characteristics are synchronicity, concentracion, coordination and huge energy.



The Croatian doctor of philosophy Sead Alic published his dissertation „Marshal McLuhan’s Philosophy of Media“ at the Center for Philosophy of Media and Medial research in Zagreb. As the author states he tries to find the arguments for the foundations of a new scientific discipline – Philosophy of Media, i.e. for the proofs that it was Canadian Philosopher Marshal McLuhan himself who was the most important theorist opening a new area and developing the method of interdisciplinary approach to the investigation of the media field.  (Alic S., „Marshal McLuhan’s Philosophy of Media“, 2010, page 422)

“The crucial part of the problem is the omnipresence of mass media which are changing human experience, and question not only contemporary philosophical idea (in its relation towards seduction and manipulation of new technologies/media), but also throw light onto the history of development of medial mediation and awareness about the meaning and influence of that mediation“, and later on he stresses that „the work of McLuhan is very often simplified and reduced to syntagms like Medium is Message, Global Village, Culture is our Business and similar.“  (Alic S., „Marshal McLuhan’s Philosophy of Media“, 2010, page 422).
PhD Alic understands together with McLuhan that constant introduction of new media during history has changed the human experience, so it’s necessary to change the approach to Life in general as well. Investigating the problem through the Tradition of Philosophy (Socrates, Descartes, Kant, Hegel, Nietzsche and Marx), Alic uses McLuhan to analyse the concept of Extensions (press technology – books and newspapers, advertising, photography, comics, film, radio, TV, fashion, slang and changes in discourse, and writing) as the central idea of his dissertation. Alic was inspired by McLuhan’s knowledge of Art history and his special attention is focused to the problem of perspective in presentation of Reality. Alic agrees with McLuhan that in tribal times the medium of sound was dominant, while with the invention of the press visual aspects predominated altogether with electronic media, which has resulted  in cultural ruining of human memory .
Doctor Alic had also discussed related ideas of Debord, Bilwet Archive, Debray and Baudrillard, and analysed the critical confrontation of McLuhan’s ideas and Philosophy of Praxis, that he considers an inspiration for opening the Philosophy of Media and inaugurating Marshal McLuhan as the founder of the Philosophy of Media in Postmodernism.
Although doctor Alic, while inspired by Marshal McLuhan’s accordance with the avant-garde, emphasizes a lot of good and bad sides of mass media impact on human health and culture in general, (what sounds realistic as Alic’s inner dialogue is preserved or won), still there is a question concerning his deep fear of media manipulations as he can’t escape them. How to prevent ourselves from media manipulations? Not everything is in sounds and words which he prefers as a doctor of Croatian Literature as well, by devaluating visual communications he just „guesses“ in the end of the dissertation that there are many meanings  in the (archetypical) pictures that carry the potential of consciousness. Our thesis is that affective deepening in unconscious or artistic roots of Media Art, truly guard or economize us humanly to transform transpersonally from the digital stucking into the anthropological safety of humanized technology.

Changing consistency from very concentrated to casual mood, Alic is popular enough to be interesting, but unnecessarily eccentric and not persuasive as he could be. It is strange that in his very valuable book there are so many typographical mistakes,  indicating that the book was published in a hurry.

As a co-founder and a member of Program comittee PhD. Sead Alic, together with PhD. Divna Vuksanovic (Serbia) organized International Interdisciplinary Symposium PHILOSOPHY OF MEDIA – Issues of founding, establishing and/or revelation in September, 2011, on the island Cres, thus celebrating the centenary of the birth of Marshall McLuhan.

PhD Vesna Srnic, media-via editor