Tag Archive: conceptual art

As the Croatian curator Branko Franceschi stresses on the art of Željko Kipke at the “Art Pavillon in Zagreb” catalogue “The new series at the levels of content, form and aesthetics summarise the documentary and diaristic elements, Kipke’s recognisable artistic style and his idiosyncratic understanding of reality, and they should also be understood as a manifestation of his subversive activity and existence, which he calls the feline strategy.”(Zagreb, 12th September – 14th Octobre, 2012)

Željko Kipke’s exhibition Police Yard covers two groups of works. The first group includes a set-up of recent series: in the main hall, Predators, filmophile and a bottle of wine (2010); Surveillance Camera (2011-2012) in the eastern wing and Boulevard of Nine Lives (2010-2012) in the western wing of the Pavilion. The second group of works, in the south wing, named Short Guide through the 70s and 80s is a reminder of the processual works and the film documentation that the artist considers an adumbration of his currently dominant interest in film. At the level of meaning, the exhibition refers equally to the manipulative aspects and power of moving pictures and contemporary media and to the fascination that they arouse in political strongmen, all too ready to instrumentalise them for the purposes of their own ideological programmes.

“Researching the networking of (the coinciding) events Kipke practices already for years, while mapping the paralel Reality which develops out of the visible field of real world, thus expressing those results as seemingly out of nowhere in a material world after many years, like underground rivers suddenly breaking out as the entirely new entities, accomplishing productive or dramatic impact on geographically distant places.” (Excerpt from the introduction of a curator Franceschi; translation by MV)



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.






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.


The exhibition will be opened in Slovenian Gallery “Skuc” (Ljubljana, 21st December, 2011 – 12the January, 2012) as the reflection and expansion on the previous part the curator Branko Franceschi has  successfully introduced last month in New York.

High Times: Reflections of Pscyhedelia in Socialist Yugoslavia 1966 – 1976 makes manifest the ever intriguing and fruitful rapport between vanguard artists and popular culture, occurring within the unique context of a society that managed to create its own political, economic, and social system based on its vacillation between East and West during the height of the Cold War.

In the broader cultural sense, the entire collection of High Times: Reflections of Pscyhedelia in Socialist Yugoslavia 1966 – 1976 aims to change the accustomed understanding of Yugoslavia’s neo-avant-garde and new media practices as being inexpressive or too serious in their social engagement and agenda, as well as colorless and materially reduced in their formal aesthetics. (Excerpt from an essay by curator Branko Franceschi.)

Presented works (some from Marinko Sudac collection), performances and music of the authors: Marina Abramović, Marjan Ciglič, Grupa 220, Indeksi, Korni grupa, Mišo Kovač, Zdenka Kovačićek & Nirvana, Naško Križnar, Josipa Lisac, Ivan Martinac, Slavko Matković, Miroslav Mikuljan, Vladimir Petek, Marko Pogačnik, Ante Verzotti, Slobodan Šijan, Ljubomir Šimunić, Time, Petar Trinajstić, Uragani




Croatian artist Sanja Ivekovic as a feminist, activist, and video pioneer will be introduced in MOMA in New York from December 18, 2011–March 26, 2012. The museum covers 40 years of  her work, from the early 1970s when artists broke free from mainstream institutional settings, laying the ground for a form of praxis antipodal to official art, till a contemporary recent works. Part of the generation known as the Nova Umjetnička Praksa (New Art Practice), Iveković produced works of cross-cultural resonance that range from conceptual photomontages to video and performance.

As the culturenet.hr informs “this exhibition brings together a historic group of single-channel videos and media installations, including Sweet Violence (1974), Personal Cuts (1982), Practice Makes a Master (1982/2009), General Alert (Soap Opera) (1995), and Rohrbach Living Memorial (2005). Among the 100 photomontages featured in the exhibition is Iveković’s celebrated series Double Life (1975–76), for which the artist juxtaposed pictures of herself culled from her private albums with commercial ads clipped from the pages of women’s magazines.”

“(…) After 1990—following the fall of the Berlin Wall, the disintegration of Yugoslavia, and the birth of a new nation—she focused on the transformation of reality from socialist to post-socialist political systems. Iveković offers a fascinating view into the official politics of power, gender roles, and the paradoxes inherent in society’s collective memory.”





The exhibition of the Croatian artist Boris Bucan called ‘Streetcan be seen until October 30 in the Croatian Glyptotheque in Zagreb . The selection and exhibition are signed by the respected academician Vera Horvat Pintaric.

ulica“Not only the street, but also imagination! (…) A little bit of reality and a lot of imagination. (…) Why not, Bućan imagines that simultaneously can see two skies, I guess it’s on the left side the morning sky marked with the blue, on the right side the evening sky when the great white prevailes blue evening light at the end of the horizon.

One eye sees, the other changes what is seen. We know who owns these two eyes and who can change the world in the image. Only a selected few...”

Boris Bucan (Zagreb, 1947) graduated from the Academy of Fine Arts in Zagreb in 1972. His artistic practice includes drawing, graphics and graphic design. He pays special attention to the issue of the anonymous media message which he personalizes through humorous interventions in the template (Bucan Art, 1971). At the start of his career, he created posters for the Student Center in Zagreb (Galerija i Teatar ITD – Gallery and the ETC. Theatre) and Dramsko kazalište Gavella (Drama Theatre Gavella) (1967-1972). Between 1980 and 1982 he created a famous large-sized poster series recognized for their picturesque quality for HNK (Croatian National Theatre) in Split, and for the concert program of Radio-televizija Zagreb (Radio-Television Zagreb). After the series was exhibited at the 1984 Venice Biennial, Bucan earned international fame.

Also, as a part of the “Artist on Vacation” project he presented his series of works Bucan Art” in seaside villa Polensi, as a prelude to a much larger body of work “Bucan works” that will be presented in autumn, next year at the exhibition of pop art The Pop Goes the Worldat the Tate Modern in London, and then in the Pinacoteca do Estado de Sao Paulo in Brazil.






The  Croatian Gallery Zitnjak invites You to a special exhibition about Art & Food connection on Saturday, 15th October, from 3 pm. till evening. The artists, as well as guests will prepare some food, while testing the recipes!

Some of the very famous Croatian artists will show their skills on preparing and tasting food:


Although it’s the season of “sour cucumbers” and many artists are still trying to make conceptually fun of serious topics, we stay on a position of reflecting scientifically/artistic synthesis and adore deep affectionate synesthesia.



Courtesy of Gallery

A Trieste Contemporanea and Studio Tommaseo production are presenting  from April 16th 2011 to June 18th 2011 Vlado Martek’s exhibition: language in freedom, in the framework of the Words Room project conceived for the Continental Breakfast international network.

The exhibition is under the patronage of the General Consulat of the Republic of Croatia in Trieste, with the collaboration of  the Institute for Contemporary Art Zagreb and is sponsored by the Regione Autonoma Friuli Venezia Giulia, with the participation of Casa dell’Arte Trieste and Media Digital Business Srl. The curators are Dubravka Cherubini and Janka Vukmir, and contributors Dubravka Đuric and Darko Šimicic.

Media Via comment on Artisti Armatevi (Umjetnici naoruzajte se) : more grace is needed against the war-like impulse, as the famous Botticelli painting shows. “However, when Mars as an archetypal power is realised within us and the true warrior emerges, then his activity becomes focussed in service of Venus, of the Goddess, and he will fight to do her bidding, to restore her glory and reputation, manifesting his more noble qualities of courage, valour and honour. One only has to contemplate this fabulous renaissance painting of Botticelli to realise who is really in charge!”

Croatian artist Vlado Martek has a BA degree in philosophy and literature, whereby he entered the field of visual art by writing poetry. In the mid-1970s, his poetry acquired special forms: he extracted poetry from the book and incorporated it into “poetic objects” made of mirrors, clay and books; he wrote poster poetry which he exhibited in exhibition-actions held by the neo conceptualists Group of Six Artists (1975–1979) in the streets and squares of Zagreb and other places. Martek called himself a “pre-poet”, investing great effort into the “purification” of poetry to such an extent that it was reduced to no more than an emphasis on the reality of the constitutive elements of the poem’s materiality.


trieste contemporanea


Venus & Mars: A Balance of Power