54. ANNALEVELIKO RAZLAGANJE

GREAT UNDOING2014.

54. ANNALEVELIKO RAZLAGANJE

GREAT UNDOING

2014.

Great Undoing Veliko razlaganje

Branka Benčić

Ideologija izložbe nije skup orijentisanih sasvim racionalizovanih intencija priređivača (kustosa, autora koncepcije, finansijera, kulturnih radnika, političara). Ideologija je neizvesna atmosfera konceptualizovanih i nekonceptualizovanih mogućnosti, odluka, simbolizacija, rešenja, proklamacija, zanemarivanja (brisanja), slučajnih izbora, selekcija, predloga, vrednosti, prećutnih zna-nja, cenzura, efekata javnog i prećutnog ukusa, opravdanja, želja i društvenih funkcija koje grade nekakvu za društvo i kul-turu prihvatljivu realnost izložbe. Drugim rečima, ideologija jed-ne izložbe nije onaj poredak (tekst) poruka koje autori izložbe projektuju i proklamuju kroz svoje uvodne ili prateće tekstove, već ona razlika nameravanog i nenameravanog, prihvatljivog i neprihvatljivog u odnosu javne scene i prećutne scene: svesnog i nesvesnog, odnosno, doslovnog i fikcionalnog.1

- Miško Šuvaković: Ideologija izložbe

1 Miško Šuvaković: Ideologija izložbe, http://www.ljudmila.org/scca/platforma3/suvakovic.htm

Great Undoing / Veliko razlaganje kao polazište oko kojeg se formira koncepcija za 54. Annale u Poreču međunarodna je izložba suvremene umjetnosti koja se razotkriva kroz mno-gostruke perspektive i pozicije razlažući mjesta i metodologije suvremenih umjetničkih praksi - kao razlaganje slike, razlaganje narativa, razlaganje predmeta, razlaganje struktura, razlaganje tijela, razlažući povijest, institucije, izložbu.

Porečki Annale, osnovan 1961. godine jedna je od najstarijih skupnih izložbi suvremene umjetnosti u Hrvatskoj koja je za-držala kontinuitet izlaganja, a uz beogradski Oktobarski salon, osnovan 1960. godine predstavlja jednu od najstarijih umjetnič-kih smotri na cjelokupnom kulturnom prostoru bivše Jugoslavi-je. Kao godišnja izložba Annale je u svojoj povijesnoj putanji bilo mjesto gdje se mapiralo i reflektiralo stanje recentntne umjet-ničke produkcije, komunikacija i uključivanje suvremenih umjet-ničkih praksi u društveni i kulturni kontekst. Tijekom nekoliko desetljeća realizacija i transformcija, kulturnih i društvenih pro-mjena, ovogodišnji će Annale pokušati progovarati dokidajući uobičajeni “salonski” predstavljački format, usmjeriti interes na institucionalne aspekte, na samu izložbu, mehanizme i odnose koji se odvijaju unutar umjetničkog djela, usmjeravajući pažnju na međunarodni kontekst.

Umjetničke pozicije dodiruju pitanja (re)prezentacije, strukture i konstrukcije djela, samog čina “izlaganja”, ukazuju na napeto-sti između promatrača i promatranoga, istražuju prostorne od-nose i interakciju između objekta i subjekata, konceptualiziciju procedura, postupaka i odnosa unutar umjetničkog djela, siste-ma umjetnosti i galerijskog prostora. Radovi na izložbi ne tvore tako čvrstu naraciju koja ocrtava određen sadržaj, već stvaraju niz međuodnosa i pukotina kao kontekst koji ocrtava “namjeru” izložbe gdje se umjetnička djela susreću isprepletena u njezinoj privremenoj okolini. Radovi predstavljenih umjetnika ukazuju na lomove i potencijalnosti, okupljeni tvore likovni jezik fragme-nata, nestabilnih, nesigurnih oblika, slika, objekata, prostora. Riječima Gorgesa Pereca … nejasno osjećamo pukotine, zjevo-ve, točke trenja; katkad imamo neodređen dojam da prostor na mjestima zapinje, puca ili da se sudara… 2

Izložba okuplja različite umjetničke pozicije, koji angažiraju konceptualne postipke i subjektivnu imaginaciju upisane u

2 Georges Perec: Vrste prostora, Meandar, Zagreb, 2005

prostorne i vremenske diskontinuitete, radovima koji pokuša-vaju uspostaviti odnose, istražujući napetosti i lomove između dominantnih, uobičajenih pretpostavki, vidljivih narativa, a lo-movi i imaginacija u umjetničkim postupcima dovode se u vezu sa oblicima prevođenja ili metodama reprodukcije. To su često radovi koji na različite načine pretvaraju jezik, umjetnička sred-stva, postupke u središte svog interesa.

Bez obzira na oblik u kojem se realiziraju, bilo da su to film, vi-deo, fotografija, instalacija, crtež, skulptura, radovi na izložbi vidljivim čine ono nevidljivo, skriveno, ukazuju na “konstrukci-ju”, demontažu, teatralizaciju prostora, podsjećaju nas upravo na artificijelan, konstruirani karakter medija/umjetničkog djela/izložbe kao sredstva transformacije diskurzivne prakse. Peter Burger u Teoriji avangarde podsjeća na Adornovu misao iz Estetičke teorije u kojoj Adorno tvrdi kako heterogeno djelo (što se u ovom slučaju može odnositi i na izložbu) treba “razbiti”, tako što djelo unosi u sebe doslovne, nepredvidive ruševine em-pirije, priznaje lom i transformira ga u estetički učinak.3 Djelu se ne priskrbljuju čvrsta značenja. Negacija sinteze postaje princip oblikovanja, dok naslov izložbe preuzet iz stihova Nicka Cavea This is the time of our great undoing (Straight to you), aludira na sadašnje vrijeme koje proizvodi stanja fizičkog i emotivnog raspada.

***

Postavljajući fotografiju u dijalog sa izložbenim prostorom IGOR EŠKINJA ukazuje na mehanizme reprezentacije, koji se nalaze u pozadini shvaćanja odnosa između slike i prostora, onog fizič-kog, materijalnog, trodimenzionalnog ili galerijskog, institucio-nalnog, radeći pri tom na izoštravanju naše percepcije. Ovakav oblik autorefleksivnosti u radovima Igora Eškinje referencijalno polje pronalazi u prostoru stvaranja ili funkcioniranja umjetnič-kog djela.

Rad GORANA PETERCOLA također se smješta oko iskustva per-cepcije, a u Polovicama se radi o specifičnim odnosima unutar konstrukcije predmeta. Petercol rastvara prepoznatljiv postojeći predmet, de/montira njegove dijelove kako bi ukazao na konsti-tutivne elemente, njihove međuodnose, konceptualne odredni-ce i sam postupak razlaganja.

3 Peter Burger: Teorija avangarde, Antibarbarus, Zagreb, 2007.

BEN CAIN nadovezuje se na ispitivanja korelacija prostora i obje-kata. Strukturiran kao niz konstrukcija njegov rad tvori prostor-nu instalciju gdje u međuodnosima pronalazimo fokus na objek-te i tekst kao oblik konceptualnog izvođenja prostornih odnosa i interakcija.

Radovi TINE GVEROVIĆ predstavljaju priče o gradnji u kojima autorica putem crteža kao skica različitih prizora i konstrukcija, ukazuje na nestabilnost, nepostojanost, krhkost. Spajajući kon-cept i naraciju, prikazi jasnijih linija pretapaju se sa prostorima zamućenih granica ili bespredmetnih ploha podloga u kojima linija ili potez postaju metafore za zauzimanje različitih pozicija, pogleda na stvarnost i suvremeni trenutak.

VLATKA HORVAT radove realizira u nizu različitih medija od kola-ža i fotografije do teksta, instalacija i performancea usmjerava-jući pažnju na (ne)mogućnosti izvebe, nestabilne performative, improvizaciju, ponavljanja ili pokušaje. Lomovi i rezovi prostora, slike, smisla, mjesta su u kojima se formiraju narativi za razumi-jevanje njezine umjetničke prakse - radova koji uključuju per-turbacije, ponavljanja, re/aranžiranja, kako bi se stvarala nova značenja, novi oblici, nove slike.

Nove reprodukcije DAVIDA MALJKOVIĆA ukazuju na postupke vlastite konstrukcije, kao niz naslaga slika, gotovo geoloških slo-jeva struktura djela koje poprima trodimenzionalne karakteri-stike objekta, a formiraju se nizom upravo fotografskih “repro-dukcija”. Angažirajući prakse aproprijacije, rekontekstualizacije, rekonstrukcije, demontaže, bave se pojmovima transpozicije, sastavljanja i procesa proizvodnje značenja.

Slojevima pokretne slike, snimljenim ili pronađenim, te odno-som pisane i izgovorene riječi, odn. glasa naratora i grafičkog prikaza teksta, LAURE PROUVOST u videu It, Hit, Heat opušteno i duhovito stupa u dijalog s gledateljem. Dok autoreferencijal-nim strategijama problematizira i ironizira svoju ulogu, istovre-meno ukazuje na postupke koji i sami postaju sadržaj djela.

Studije pokreta, situacija i stanja tijela u pokretu kroz skate kul-turu i subkulture ulice, korištenje slow motiona, te usporeni meditativni prizori zauzimaju središnje mjesto u video opusu SHAUNA GLADWELLA. Kod njega se pokret kojemu je ishodište u “sportu” često se doima koreografiran, a BMX performance

pored paviljona na morskoj obali donosi nam fizički aktivne po-krete koji kao da se, paradoksalno, rastapaju u vremenu, dok je izoliran i osamljen lik protagonista uronjen u atmosferu krajo-lika. Radovi ZLATKA KOPLJARA naglašavaju egzistencijalna stanja i nemoć pojedinca. Video K16 (2012) strukturiran je oko središ-njeg prizora kopanja rupe, kojem se ne nazire se kraj, postavlja-jući rupu, bezdan, apsurd, uzaludnost, otvoreni kraj i nedovrše-nost kao središnja mjesta intresa oko kojih se formira narativ i značenje ovog naizgled jednostavnog djela.

Fotografija Jasenovac MARKA LULIĆA koja se realizira na tragu istoimenog performativnog videa, posvećenog Kamenom cvije-tu, temelji se na plesnom pokretu i koreografiji, a jezik pokreta omogućava dijalog sa spomenikom. Mimetičnost koreografije i spomenika, predstavlja vrstu oponašanja koje sudjeluje u stva-ranju novog oblika i strukturiranju novog jezika.

Kao “arhitektura jezika anatomski zasnovana na kosturu zvu-kova” radovi DAMIRA OČKA predstavljaju kontinuirani dijalog jezika filma i poezije. Konceptualni aparati poezije i filma ispre-pleteni kao dvostruka spirala zauzimaju središnje mjesto oko kojih Damir Očko gradi svoje radove, koji nam se otkrivaju kao mjesta kompleksnih orkestracija. Novim filmom TK (2014) Očko nastavlja istraživanje figura tijela. U vremenu globalne nesigur-nosti, neizvjesnosti, nepravde, nemira, tjeskobe i straha “tijelo koje drhti“ metonimijska je figura u kojoj se prelamaju različiti imperativi, reflektiraju nametnuti osobni i društveni odnosi, a drhtanje postaje mehanizam otpora.

Everness ALEJANDRA CESARCA strukturira se kao slojevit i kom-pleksan narativ u kojem se isprepliću referencijalne strategije usmjerene na umjetničke postupke, književni žanrovi, glazba i literarni pod tekst. Tišina, glazba, tekst različiti prizori, crno bi-jela fotografija, sudjeluju u stvaranju specifične atmosfere, in-tenziteta i senzibiliteta djela, u kojem se značenje podjednako artikulira u poznatom i nepoznatom, izrecivom i neizrecivom, u međuodnosima, procjepima i lomovima.

Tako se, prema navedenim pretpostavkama “o razlaganju” ra-zumijevanjem izložbe kao neizvjesne atmosfere konceptualizi-ranih i nekonceptualiziranih mogućnosti, odluka, simbolizacija… selekcija, prijedloga, vrijednosti, prešutnih znanja, cenzura,

efekata javnog i prešutnog ukusa, opravdanja, želja i društve-nih funkcija … putem razlike namjeravanog i nenamjeravanog, prihvatljivog, svjesnog i nesvjesnog, odnosno, doslovnog i fikci-onalnog…4 razvila ideja za porečki Annale 2014 godine.

4 op.cit (Šuvaković)

Great Undoing Veliko razlaganje

Branka Benčić

The ideology of an exhibition is not a collection of directed and fully rationalized intentions of the organizers (curators, concept authors, sponsors, cultural workers, politicians). Ideology is an uncertain atmosphere of conceptualized and non-conceptual-ized possibilities, decisions, symbolizations, solutions, proclama-tions, neglect (deletion), random choices, selections, proposals, values, tacit knowledge, censorship, the effects of public and implied taste, justifications, wishes and social functions, which builds the socially and culturally acceptable reality of the exhi-bition. In other words, the ideology of an exhibition is not the order (text) of messages designed and proclaimed by the exhi-bition authors in their introductory or accompanying texts, but the difference between the intended and the unintended, the acceptable and the unacceptable, in the relation between the public scene and the implied scene: the conscious and the un-conscious, or the literal and the fictional.1

- Miško Šuvaković: Ideology of Exhibition

1 Miško Šuvaković: Ideology of the exhibition http://www.ljudmila.org/scca/platforma3/suvakovic.htm

Great Undoing as the starting point for the concept of the 54th Annale in Poreč, is an international exhibition of contemporary art which reveals itself through multiple perspectives and po-sitions, undoing the contexts and methodologies of contem-porary artistic practices: undoing images, undoing narratives, undoing objects, undoing structures, undoing bodies, undoing history, institutions, and the exhibition itself.

The Poreč Annale, founded in 1961, is one of the oldest collec-tive exhibitions of contemporary art in Croatia. Along with the Belgrade October Salon, established in 1960, Annale is one of the oldest art festivals in the entire cultural space of former Yu-goslavia. Throughout its history, this annual exhibition has been mapping and reflecting the state of recent art production and the communication and inclusion of contemporary artistic prac-tices in social and cultural contexts. After several decades of productions and transformations, of cultural and social chang-es, this year’s Annale will try to communicate by deconstruct-ing the usual “salon” forat of presentation. It will focus on the institutional aspects, the exhibition itself, the mechanisms and relations developing within the work of art and it will direct the attention to the international context.

Artistic positions include issues of (re)presentation, structure and construction of a work of art, or act of “exhibiting”. They point to the tensions between the observer and the observed, explore the spatial relationships and interactions between the object and the subjects, the conceptualization of procedures, processes and relations within works of art, systems of art and gallery space. The exhibited works do not constitute a strong narrative outlining a specific content. They create a series of interrelationships and fissures, which is the context that out-lines the “intention” of the exhibition, where the works of art meet and intertwine in a temporary environment. The works of these artists indicate fractures and potentials; when put to-gether, they form a visual language of fragments, of unstable and uncertain forms, images, objects, spaces. In the words of Georges Perec, “we indistinctly feel the gaps, crevices, friction points; sometimes we have the vague impression of the space faltering, ripping or colliding in places…”2

The exhibition brings together different artistic positions, that

2 Georges Perec: Species of Space

engage with conceptual procedures and subjective imagina-tion embedded in spatial and temporal discontinuities. These works try to set up certain relationships by exploring the ten-sions and cracks in the usual dominant assumptions and visible narratives. They take the fissures and imagination of artistic procedures and associate them with the forms of translation or methods of reproduction, use different strategies to focus on language and/or artistic procedures.

The works at the exhibition develop through different media – film, video, photography, installation, drawing, sculpture – and turn the invisible and hidden into the visible, indicating the „construction“, the dismantling, the theatricalness of space, reminding us of the artificial, constructed character of the me-dium/work of art/exhibition as a means of transforming the dis-cursive practice.

In his Theory of the Avant-Garde, Peter Burger recalls Adorno’s thoughts from Aesthetic Theory, where Adorno claims that a heterogeneous work (in this case, an exhibition) should be “bro-ken”, admitting into itself literal, illusionless ruins of empirical reality, thereby acknowledging the fissure and transforming it for purposes of aesthetic effect.3 The work is not equipped with solid meanings. The negation of synthesis becomes a principle of form. The exhibition title, taken from a verse of Nick Cave, This is the time of our great undoing (Straight to you), alludes to the present time, which produces physical and emotional dis-manteling.

***

Creating a dialog between the photograph and the exhibition space, IGOR EŠKINJA points to the representation mechanisms hidden behind the understanding of the relationship between the picture and the space – the physical, material, three-dimen-sional space or the institutional space of a gallery – and tries to sharpen our perception. This kind of self-reflection in the works of Igor Eškinja finds its field of reference in the space of creation or existence of the work of art.

The opus of GORAN PETERCOL also deals with the experience of perception; here, his Halves touch on the specific relationships

3 Peter Burger: Theory of the Avant-Garde

within the construction of objects. Petercol dissolves the rec-ognizable existing object, (un)mounting its parts to reveal the constitutive elements, their mutual relationships, conceptual guidelines and the process of dismanteling itself.BEN CAIN explores the correlations between spaces and ob-jects. Structured as a series of constructions, his work is a spa-tial installation where the interrelationships let us focus on the objects and the text as a form of conceptual deduction of spa-tial relationships and interactions.

The works of TINA GVEROVIĆ present stories about construc-tion. The author uses drawings as sketches of different scenes and constructions to indicate instability, fleetingness, fragility. Merging the concept with the narrative, clearly outlined images are blended with spaces of blurred boundaries or basic surfac-es, where lines or traces become metaphors for different posi-tions and views of reality and the present moment.

VLATKA HORVAT creates her works in a variety of media – from collage and photography to text, installation and performance – focusing our attention on the (in)ability of performance, un-stable performatives, improvisation, repetition or attempt. The cracks and cuts in space, image and sense give birth to the nar-ratives that provide the understanding of her artistic practice. Her works include perturbations, repetitions and (re)arrange-ments in order to create new meanings, new forms, new im-ages.

New Reproductions by DAVID MALJKOVIĆ reveal how the work is constructed: as series of layers of images, almost geological seg-ments of the structures of the work, which assumes the three-dimensional characteristics of the object. They are formed by a series of genuinely photographic “reproductions”. By employing the practices of appropriation, recontextualization, reconstruc-tion and dismantling, they deal with the notions of transposi-tion, assembly, and the processes that produce meaning.

Using the layers of a recorded or found moving image and the relation between the written and spoken word (the narrator’s voice and the graphic presentation of text), LAURE PROUVOST starts a relaxed and funny dialog with the viewer in her video It, Hit, Heat. While her self-referential strategies ironically ques-tion her role, she shows the processes which in turn become the content of the work.

The studies of movements, situations and states of moving bodies in the skate culture and street subcultures, the use of slow motion, and the slowed-down meditative scenes, occupy the central place in the video opus of SHAUN GLADWELL. In his work, movements from “sport” often look like choreography. A BMX performance next to a seaside pavilion shows us body movements that seem to paradoxically dissolve in time, while the isolated and lonely figure of the protagonist is immersed in the atmosphere of the landscape.

The works of ZLATKO KOPLJAR emphasize the existential con-dition and inability of the individual. His video K16 (2012) is structured around the central scene of digging a seemingly bot-tomless hole. The hole, the abyss, the absurd, the futility, the open-endedness and the incompleteness, are set as the central points of interest, the pivot of the narrative and the meaning of this deceptively simple work.

The photograph Jasenovac by MARKO LULIĆ, like his perfor-mance video of the same name, is dedicated to the Stone Flow-er and based on dance moves and choreography. The language of movement enables a dialog with the monument. The mimet-ic nature of the choreography and the monument is a kind of imitation that participates in the creation of a new form and the structuring of a new language.

As an “architecture of language, anatomically based on a skel-eton of sounds”, the works of DAMIR OČKO represent a con-tinuous dialog between the languages of film and poetry. The conceptual apparatuses of poetry and film, intertwined like a double helix, are the central point around which Damir Očko builds his works, which are revealed as places of complex or-chestrations. Očko’s new film TK (2014) continues the explora-tion of the figures of the body. In a time of global insecurity, uncertainty, injustice, restlessness, anxiety and fear, “the trem-bling body” is a metonymical figure refracting various impera-tives and reflecting the imposed personal and social relation-ships, where trembling becomes a mechanism of resistance.

Everness by ALEJANDRO CESAREC is structured as a layered and complex narrative, where referential strategies focused on artistic processes are interwoven with literary genres, music

and literary subtext. Silence, music, text, various scenes, black and white photography – it all contributes to create a specific atmosphere, the intensity and sensibility of the work, where meaning is equally articulated in the known and the unknown, in the visible and the invisible, in the interrelationships, cracks and fissures.

“The undoing” as a starting point and the exhibition seen as an uncertain atmosphere of conceptualized and non-conceptu-alized possibilities, decisions, symbolizations… selections, pro-posals, values, tacit knowledge, censorship, the effects of public and implied taste, justifications, wishes and social functions…, through the difference between the intended and the unin-tended, the conscious and the unconscious, or the literal and the fictional…4, resulted in the idea for the 2014 Poreč Annale.

4 Ibid. (Šuvaković)

Ben CainWe Just Arranged Ourselves2014Details: Stone, wood, chalk. Dimesnions variable.

Alejandro CesarcoEverness2008.16 mm film transferred to DVD,black-and-white, sound; 12 minsCourtesy of Murray Guy, NY

Igor Eškinja“31% red on white”2010.lambda print on plexiglass,80x150 cm

courtesy: (s ljubaznošću):Federico Luger galleryPaolo Maria Deanesi Gallery

Shaun GladwellBMX Channel2013. HD video (production still)

Tina GverovićParastates2013.gvaš na papiru27x35 cm

Vlatka HorvatTorn Red Strips2013.© Vlatka Horvat

Zlatko KopljarK162012 Stll frameHD video 10’42’’

Marko LulićJasenovac2010C-Print32 x 60 cm (60 x 80 cm framed) Courtesy Gabriele Senn Gallery, Vienna and the artist

David MaljkovićNew Reproductions2013collagecourtesy Artist, Metro Pictures, New York and Sprueth Magers Berlin London

Damir OčkoTK20144k film transfered to HDcourtesy the artist, Yvon Lambert, Paris and Tiziana di Caro Gallery, Salerno

Goran PetercolPOLOVICE2014.drvo (stalak, daska za crtanje)39 x 100 x 54 cm

fotografija: Zoran Alajbeg

Laure ProuvostIT, HEAT, HITUK, 2010film, 6 min, boja, zvukCourtesy of Laure Prouvost and LUX, London

Biografije / Biographies

Alejandro Cesarco (r. 1975., Montevideo, Urugvaj) izlagao je u brojnim muzejima i galerijama: MUMOK Beč, TATE Modern, London; ar/ge kunst, Bolzano; Tanya Leighton, Berlin, Murray Guy, NYC, Art in General, NYC, El Museo del Barrio (NYC), Socrates Sculpture Park, (Long Island City, NY), galeriji Kraljević (Zagreb), Museo Nacional de Artes Visuales (Montevideo).Predstavljao je Urugvaj na Bijenalu u Veneciji 2011. godine, dobitnik je prestižne Baloise Art Prize 2011. Od 1998. živi u Brooklynu u New Yorku.

Alejandro Cesarco (r. 1975., Montevideo, Uruguay) exhibited at MUMOK Vienna, TATE Modern, London; ar/ge kunst, Bolzano; Tanya Leighton, Berlin,Murray Guy, NYC, Art in General, NYC, El Museo del Barrio (NYC), Socrates Sculpture Park, (Long Island City, NY), Museo Nacional de Artes Visuales (Montevideo). Exhibition ‘Common Ground’, as National Pavilion of Uruguay, Venice Biennale (2011).He is the winner of the 2011 Baloise Art Prize. Lives in Brooklyn New York since 1998.

Ben Cain (r. 1975., Leeds) živi i radi u Londonu.Njegov rad uključuje instalacije, gramofonske ploče, performanse i tiskani materijal, koji se bavi spojem izvedbenog i dokumentarnog, sa interesom da se omogući i pojasni uloga publike u procesu formiranja rada. Rad se formira kroz razmjenu i korelaciju izmedu izrečenog i učinjenog, proizvod-nje i opisa; gdje su određeni ishodi nestabilni i prividni.Recentni radovi se bave vidom i govorom i samim procesom razvoja rada koji oscilira između vidljivog i nevidljivog, fizičkog i zamišljenog. Izlagao je izmedu ostalog na: Manifesti 9, Genk, Belgija; Brukenthal Muzej, Sibiu, Rumunjska; Wiels, Brisel; ICA, London; i Busan Biennale, Koreja.

Ben Cain (b. 1975 Leeds) lives and works in London and Zagreb. He is pri-marily involved in the production of installations, vinyl records, perfor-mances and printed matter, which deal with the convergence of theatre and documentary information, with a particular interest in facilitating and highlighting the viewers’ role in the emergence of a subject. The work tends to be formed through interplay of saying and doing, of production and description; where specific outcomes remain unstable and illusive. Re-cent work has increasingly focused on sight and speech in the process of developing work that oscillates between the visible and non-visible, the physical and the imagined. He has recently exhibited in various locations, including Manifesta9, Genk, Belgium; Brukenthal Museum, Sibiu, Romania; Wiels, Brussels; the ICA, London; and Busan Biennale, Korea.

IGOR EŠKINJA (r. 1975., Rijeka) diplomirao/graduated Accademia di Belle Arti u Veneciji 2002. Izložbe / exhibitions: MAC-VAL, Vitry sur Seine, Fran-cuska; Casino Luxembourg – Forum d’art contemporain, Luxembourg; MSU Muzej suvremene umjetnosti, Zagreb; MMSU Muzej moderne i su-vremene umjetnosti Rijeka; Galerija ŠKUC, Ljubljana; Galerija Umjetnina, Split; Kunstforum, Vienna; ADN Galeria, Barcelona; Federico Luger, Milano; Paolo Maria Deanesi Gallery, Trento; CAB (Centro de Arte Caja de Burgos),

Burgos; Power Plant gallery, Toronto. Sudjelovao je na više rezidencijalnih boravaka, te je višestruko nagrađivan za svoj rad / Received several awards and residencies. Radovi u javnim kolekcijama/ Works in public collections: Musee D’Art Contemporain, Val de Marne, Paris; FRAC – Pays de la Loire, Carquefou/Nantes; MAXXI – Museo nazioniale delle arti del XXI secolo, Roma; MSU Muzej suvremene umjetnosti, Zagreb.

Tina Gverović (r. 1975., Zagreb) živi na relaciji Dubrovnik- London.Radovi Tine Gverović realiziraju se u više različitih medija koji uključuju crtež, gvaš, tekst, objekte, instalaciju i sl. Bave se prostorom kao gestom, mjestom artikuliranja sadržaja i istovremeno formalnim modelom reprezentacije, načinom konstrukcije umjetničkog djela i izložbene cjeline kao diskurzivnog prostora i formalnih elemenata prostorne kompozicije kao instalacije. Diplomirala slikarstvo na Akademiji Likovnih Umjetnosti (Zagreb, 1997). Završila poslijediplomski studij na Jan van Eyck Akademiji (Maastricht, Nizozemska, 2000). Doktorirala na Middlesex Sveučilištu (Lon-don, UK, 2014). Recentne izložbe uključuju: TATE Modern (2013/2014), galerija SE8, London; MSU (Beograd), BAC Baltic Art Centre, Visby (Švedska), Arsenal Gallery, Bialystok (Poljska), Fordham galerija, London, (sa Sinišom Ilićem), Busan Biennale, Južna Korea, galerija Nova (Zagreb), THT-MSU (Za-greb). Dobitnica je nekolicine nagrada od kojih su: Gabrielle Parker (2008), Radoslav Putar (2006), Siemens (2006), Arts Link (2006), HDLU za mladog umjetnika (2005), Art Council England (2002), UNESCO (1998).

Tina Gverović (b. 1975 Zagreb, Croatia). Based between Dubrovnikand London, Gverović works with installation, drawing, painting, sound and video. Her work – often in the form of immersive, disorientating installa-tions – engages with space, territory and identity and how these concepts are bound to invention and imagination. She is currently completing a doc-torate at Middlesex University in London and holds a BA in Fine Art from the Academy of Fine Arts, Zagreb and an MA from Jan van Eyck Academy, Maastricht. Recent exhibitions include: Tate Modern, London; Museum of Modern and Contemporary Art, Rijeka; SE8 Gallery, London; Busan Bien-nale, South Korea; Museum of Contemporary Art, Zagreb; Lenbachhaus Kubus, Munich; MUU Gallery, Helsinki; and Forum Stadtpark, Graz. She is the recipient of the Croatian

Shaun Gladwell jedan je od najperspektivnijih australskih umjetnika mlađe generacije. Radove realizira najviše u mediju videom. Diplomirao je na Syd-ney College for the Arts, magistrirao na South Wales Fine Arts College i Goldsmiths u Londonu. Na 53. venecijanskom bijenalu 2009. predstavljao je Australiju. Izlagao je u Muzeju suvremene umjetnosti (MOCA) Sidney, Istanbulu, festivalima poput Experimenta (Bangkok) i Videobrasil (Sao Paolo). Prošle godine ACMI (Australian Center for the Moving Image - Aus-tralski centar za pokretne slike) u Melbourneu priredio mu je veliku mono-grafsku izložbu. Trenutno živi i radi u Londonu.

Shaun Gladwell is one of the most promising Australian artists of younger generation. His main medium is video. He graduated from Sydney Univer-sity’s Sydney College of the Arts, and graduated with a Masters degree from the University of New South Wales’ College of Fine Arts, and from

Goldsmiths in London. At the 53rd Venice Biennale in 2009, he represent-ed Australia. His works were shown at the Museum of Contemporary Art (MOCA) in Sydney, in Istanbul, at festivals such as Experimenta (Bangkok) and Videobrasil (Sao Paolo). Last year, the ACMI (Australian Center for the Moving Image) in Melbourne organized his big monographic exhibition. He is currently based in London.

Vlatka Horvat (r. 1974., Čakovec) realizirala je samostalne izložbe u Disjec-ta Contemporary Art Center (Portland), Rachel Uffner Gallery (New York), Zak|Branicka Gallery (Berlin), Bergen Kunsthall, the Kitchen (New York), izlagala je na 53. Oktobarskom Salonu (Beograd), artissima 18 (Torino), “Greater New York” – MoMA PS1 (New York), Galeriji Skuc (Ljubljana) i 11th Istanbulskom bijenalu. Doktorirala je Visual Cultures and Performance (Roehampton University, 2009). Rođena je 1974. u Čakovcu, 20 godina bo-ravila u SAD-u, trenutno živi u Londonu. Vlatkine radove zastupaju galerije Zak| Branicka (Berlin), Rachel Uffner (New York) i annex14 (Zurich).

Vlatka Horvat (b. 1974 Čakovec) has had solo exhibitions at Disjecta Con-temporary Art Center (Portland), BU Art Gallery (Boston), annex14 (Zurich), Rachel Uffner Gallery (New York), Zak|Branicka (Berlin), Bergen Kunsthall and the Kitchen (New York), among other. She has realized commissioned projects for Volt Bergen, Marta Herford Museum, The 53rd October Sa-lon (Belgrade), MoMA PS1 (New York), Galerija Skuc (Ljubljana) and the 11th Istanbul biennale. Horvat holds an MA in Performance Studies from Northwestern University in Chicago and a practice-based PhD from the de-partment of Visual Culture and Performance at Roehampton University in London, where she currently lives. Horvat’s work is represented by Zak| Branicka Gallery (Berlin), Rachel Uffner Gallery (New York) and annex14 (Zurich).

Zlatko Kopljar (r. 1962.) je vizualni umjetnik. Izlagao je na 26. Bijenalu u Sao Paulo, Muzeju suvremene umjetnosti u Zagrebu, Muzeju moderne i suvremene umjetnosti u Rijeci, The Kitchen - New York, itd. Radovi mu se nalaze u zbirkama Muzeja suvremene umjetnosti u Zagrebu, Muzeja mod-erne i suvremene umjetnosti u Rijeci, Modernoj galeriji u Zagrebu, Filip Trade, te privatnim zbirkama. Završio je slikarstvo 1991. u klasi profesora Carmela Zottia na Akademiji Likovnih Umjetnosti u Veneciji, Italija. Živi i radi u Zagrebu.

Zlatko Kopljar (b. 1962) is a visual artist. He has exhibited at Sao Paulo Biennale, Museum of Contemporary Art in Zagreb, Museum of Modern and Contemporary Art Rijeka, The Kitchen - New York, etc. His works are in collections of the Museum of Contemporary Art in Zagreb, Museum of Modern and Contemporary Art Rijeka, Museum of Modern Art Zagreb, Filip Trade collection, etc. He graduated painting in 1991 with Professor Carmelo Zotti from Academy of Fine Arts in Venice, Italy and currently lives and works in Zagreb, Croatia.

Marko Lulić, vizualni umjetnik (r. 1972., Beč), studirao je na Visokoj školi za primijenjenu umjetnost, te Akademiji likovnih umjetnosti u Beču, gdje je trenutno zaposlen. Izlagao je na brojnim skupnim i samostalnim izložbama

u vodećim međunarodnim umjetničkim institucijama, muzejima i galeri-jama Witte de With, Rotterdam, Storefront for Art and Architecture, New York, ACF New York, OCA, Oslo; Kunstforum, Beč, Oktobarski salon, Muzej savremene umetnosti, Beograd, Kunsthaus Bregenz, Kunstverein Graz. Do-bitnik je brojnih nagrada i umjetničkih rezidencija. Živi i radi u Beču.Marko Lulić, visual artist (b. 1972 Vienna) studied at High School for Ap-plied Arts and Academy of Visual Arts in Vienna, where he is currently em-ployed. He has been showing his works in numerous collective and solo exhibitions in leading international and Croatian art institutions, museums and galleries: Witte de With, Rotterdam; Storefront for Art and Architec-ture, New York; ACF New York; OCA, Oslo; Kunstforum, Vienna; October Salon, Museum of Contemporary Art, Belgrade, Kunsthaus Bregenz; Kun-stverein Graz. He received numerous awards and art residences. He lives and works in Vienna.

David Maljković (r. 1973., Rijeka) poznat je po radovima koji se kreću od filmskih instalacija, skulptura, crteža, kolaža i fotomontaža istražuje bogato modernističko nasljeđe bivše Jugoslavije. Sources in the Air je recentna retrospektivna izložba u zajedničkoj organizaciji Van Abbe Muzeja iz Ein-dhovena, Baltic centra iz Velike Britanije te GAMeC-a iz Bergama. Samo-stalno je izlagao u bečkoj Secesiji; Sculpture Center, New York; “Temporary Projections” Georg Kargl galerija, Beč; Muzeju Nacional Centro de Arte Reina Sofía, Madrid; Kunstverein Hamburgu (2007.); MoMA PS1 (2007.); Whitechapel Art Gallery, London (2007.); CAPC, Musee D’art Contem-porain, Bordeaux (2007.), a među grupnim izložbama su one održane u Centru Georges Pompidou u Parizu (2011.); Power Plant u Torontu (2011.); MUSEION u Bolzanu, Italija (2010.); WIELS; “Mondernologies: Contempo-rary Artists Researching Modernity and Modernism,” MACBA Barcelona; i Berlinskom Bijenalu (2008.). Radovi mu se nalaze u zbirkama Centre Pom-pidou, Pariz; David Roberts Foundation, London; FRAC des Pays de la Loire; Stedelijk Museum, Amsterdam; Museum of Modern Art, New York; The Tate Collection, London.

David Maljkovic (b. 1973 Rijeka, Croatia) is known for his film installations, sculptures, drawings, collages and photomontages drawing on former Yu-goslavia’s rich modernist legacy. Sources in the Air is a recent retrospective exhibition organized in Van Abbe Museum Eindhoven, at the Baltic, UK, and at the GAMeC in Bergamo. Solo shows include: Secession Vienna; Sculp-tureCenter New York, “Temporary Projections” at the Georg Kargl Vienna, Museo Nacional Centro de Arte Reina Sofía, Madrid (2009-2010); Kunstver-ein Hamburg (2007); MoMA PS1 (2007); Whitechapel Art Gallery, London (2007), CAPC, Musee D’art Contemporain, Bordeaux (2007) and group ex-hibitions including: Centre Georges Pompidou, Paris (2011); Power Plant, Toronto (2011); MUSEION Bolzano, Italy (2010); WIELS; “Mondernologies: Contemporary Artists Researching Modernity and Modernism,” MACBA Barcelona; and Berlin Biennale (2008). His works are included in collec-tions of Centre Pompidou, Paris, David Roberts Foundation, London, FRAC des Pays de la Loire, Stedelijk Museum, Amsterdam, Museum of Modern Art, New York, The Tate Collection, London

Damir Očko (r. 1977., Zagreb), vizualni umjetnik, bavi se filmom, kolažem, (vizualnom) poezijom, radovima koji se formiraju kao kompleksne instalaci-je. Realizirao je samostalne izložbe Studies in Shivering, KM Halle fur Kust und Medien, Graz (2014), The Kingdom of Glottis, Palais de Tokyo (2012), The Body Score, Yvon Lambert, Paris (2013), On Ulterior Scale, Kunsthalle Dusseldorf (2011) i MMC Luka, Pula (2012), te izlagao u galeriji Tiziana di Caro (Salerno), Kunstverein Leipzig, Kunsthalle München. Sudjelovao je na skupnim izložbama u MSU Zagreb, Villa Romana, Firenca; Kunsthalle Wien; HIAP Helsinki, te festivalima Videoformes Clermont Ferrand, 25FPS, Zagreb; Videobrasil i rezidencijama (Temple Bar Gallery&Studios, Dublin; Academie Schloss Solitude; KulturKontakt, Beč.)

Damir Očko (b. 1977)realized the following solo exhibitions: Studies in Shivering, KM Halle fur Kust und Medien, Graz (2014),The Kingdom of Glot-tis, Palais de Tokyo (2012), The Body Score, Yvon Lambert, Paris (2013), On Ulterior Scale, Kunsthalle Dusseldorf (2011) and MMC Luka, Pula (2012); Tiziana di Caro Gallery (Salerno), Kunstverein Leipzig, Kunsthalle München. He participated in collective exhibitions in the MSU Zagreb; Villa Romana, Florence; Kunsthalle Wien; HIAP Helsinki, and in festivals: Videoformes Clermont Ferrand, 25FPS, Zagreb; Videobrasil; and in residences (Temple Bar Gallery & Studios, Dublin; Academie Schllos Solitude, KulturKontakt, Vienna.)

Laure Prouvost (r. 1978) Francuska je umjetnica koja živi i radi u Londonu. Dobitnica je prestižne Turnerove nagrade za 2013 godinu, te Max Mara Art Prize for Women, nagrade koja se u suradnji sa galerijom Whitechapel bi-jenalno dodjeljuje istaknutim nadolazećim umjetnicama, a nagrađena je in a 57 Festvalu u Oberhausenu.Studirala je na Central St Martins (BFA) i Goldsmiths, University of London (MA).Rad Laure Prouvost kombinira instalaciju, kolaž i film. Izlagala je u vodećim internacioalnim mizejima i galerijama: Tate Modern, Institute of Contem-porary Arts, London, New Museum, New York, Morra Greco Fondazione, Napoli, Extra City Kunsthal, Antwerp a njezini se radovi nalaze u brojnim privatnim i javnim zbirkama poput. Nominirana je za 2014 Film London Jar-man Award.

Laure Prouvost (1978) is a French artist living and working in London. She won the 2013 Turner Prize and the Max Mara Art Prize for Women, a prize that is awarded biennially to promising female artists in collaboration with the Whitechapel Gallery, and the prize at the 57th Oberhausen Film Festi-val. She studied at Central St Martins (BFA) and Goldsmiths, University of London (MA).Prouvost’s work combines installation, collage and film. She has exhibited at the leading international museums and galleries: Tate Modern and In-stitute of Contemporary Arts in London, New Museum in New York, Morra Greco Fondazione in Naples, and Extra City Kunsthal in Antwerp. Her work has appeared in numerous private and public collections. She has been nominated for the 2014 Film London Jarman Award.

Goran Petercol (r. 1949., Pula) diplomirao je 1975. godine na zagrebačkoj Akademiji likovnih umjetnosti. 1976./78. suradnik je majstorske radionice

prof. Ljube Ivančića. Poznat po svom radu u mediju svjetla, autor je pro-jekata i kulturnih inicijativa. Izlagao na mnogobrojnim skupnim izložbama poput Trigona u Grazu 1989 i 1992, Translucent Writings u New Yorku 1994, Bijenala u Sao Paolu 1994., Venecijskog bijenala 1995 i Bijenala u Istanbulu 1995., zatim u Londonu na International Symposium of Shadows 1996, As-pect/Position u Beču 2000., Modesty 2003. i Nothingless 2004. u Ljubljani. Samostalne izložbe: Galerija Škuc 1997, ifa- galerie u Bonnu 1998.; Con-temporary Art Centre Spazio Umano, Milano; Muzej suvremene umjet-nosti, Zagreb, galerija Gregor Podnar, Galerija umjetnina, Split, Galerie Ur-sula Krinzinger, Vienna, Austria, Galerija Klovićevi dvori, Zagreb, Gliptoteka, Zagreb

Goran Petercol (1949, Pula) graduated from the Academy of Visual Arts in Zagreb in 1975 and participated in the master class of Prof. Ljubo Ivančić in 1976/78. Petercol is well-known for his work in the medium of light, his projects and cultural initiatives. He participated in many group exhibitions, like Trigon in Graz (1989, 1992), Translucent Writings in New York (1994), the Sao Paolo Biennale (1994), the Venice Biennale (1995) and the Istan-bul Biennale (1995), the International Symposium of Shadows in London (1996), Aspect/Position in Vienna (2000), Modesty (2003) and Nothingless (2004) in Ljubljana. One-man exhibitions: Galerija Škuc (1997), ifa-galerie in Bonn (1998), Contemporary Art Centre Spazio Umano in Milan, Museum of Contemporary Art in Zagreb, Gregor Podnar Gallery, Art Gallery in Split, Galerie Ursula Krinzinger in Vienna, Klovićevi Dvori Gallery in Zagreb, and Gliptoteka in Zagreb.

zahvale / acknowledgementsumjetnicima / artistsOBRADA-KAMEN Kamenoklesarski obrt / Silvano Laković, RakaljGradska knjižnica Poreč

nakladnik / publisher Pučko otvoreno učilište Poreč / Open Public University of Poreč

za nakladnika / for the publisher Sanja Radetić Fatorić

izbornica / selectorBranka Benčić

voditelj projekta / project coordinator Andi Bančić

urednici kataloga / editors of the catalogBranka Benčić, Andi Bančić

predgovor kataloga / catalogue foreword Branka Benčić

postav izložbe / exhibition setup Branka Benčić, Andi Bančić

tehnički tim / technical team Ivan Pisak, Aleksandar Poropat

prijevod predgovora / translation of foreword Marko Maras

grafičko oblikovanje / graphic design Andi Bančić

tisak / printing Kerschoffset Zagreb

naklada / edition 300 primjeraka / copies

Naslovna stranica / coverIgor Eškinja“31% red on white”2010.lambda print on plexiglass,80x150 cm

s ljubaznošću / courtesy:Federico Luger galleryPaolo Maria Deanesi Gallery

Naslovna stranica / coverIgor Eškinja“31% red on white”2010.lambda print on plexiglass,80x150 cm

s ljubaznošću / courtesy:Federico Luger galleryPaolo Maria Deanesi Gallery

54. ANNALEVELIKO RAZLAGANJE

GREAT UNDOING2014.