K21 Random Empty / 2017

K21 Random Empty: Concrete object 1,  34,5 x 42,3 x 34,5 cm / Concrete object 2, 36 x 53,5 x 36 cm / ful HD video loop

I do not think I know another contemporary Croatian artist whose works evoke a feeling of terror with such ease. As far as I know, Zlatko Kopljar does not like to interpret his works and even when he does so, he never analyses their particular elements or reveal hidden allusions, except those that are explicitly laid in front of the viewer and are more or less universally graspable. However, from his very first to his most recent, his works resist any unambiguous interpretation; they do not presume the viewer’s intellectual receptiveness, but immerse them into an intensive experience of things such as impotence, anxiety, the feeling of guilt and responsibility, the impossibility to communicate, loneliness, deafening silence, unbearable noise, fear, the proximity of death, sadness, anger, compassion, redemption and the likes. Kopljar has developed his whole career around receptiveness to strong emotions, conditions and presentiments, materialising it outside his own self by using a wide range of media from performances, gestures, video works, objects, poetic utterances, sound, narration and the combination of all those, but never has he – except in one case, the case of “compassion” – explicitly named them.  Read More “K21 Random Empty / 2017”

K20 Empty / 2015

K20 Empty MoMA NY, 20 x 17,5 x 80 cm / K20 Empty TATE Modern, 60 x 40 x 33 cm / full HD video 1, video 2, loop

Although presented in slightly unexpected forms, the works from the new series by Zlatko Kopljar, Empty, do not shift away from his basic and well-recognized artistic preoccupation. Whatever the subject matter of his works or projects may be, and regardless of whether it is a performance, video-film or another media form, Kopljar’s concern, or to be

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K19 / 2014

K19 / Bricks / EU pallet in aluminum fusion 120 x 80 x 20 cm

In an essay written for new work of Zlatko Kopljar, K19, Žarko Paić, in the context of Adorno, Badiou and Lyotard, ask a question: Can contemporary art provide a possibility for man’s redemptive reversal? How and when does it become legitimate to open the possibilities of facing the question of boundaries between the sublime and the evil if just turning

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K18 / 2014

4K transferred to full HD video / 14ʼ42″ / sound / colour

Camera is following the stream in the forest. All the time we hire recital which sound like a sound or music. The meaning of the recital is confuse and very often we do not understand what is said. At the end of the film camera finds death “ entity”.  Film is finishing with vibrating rectangle light in dark forest.Film is based on the question: “ Isn’t it an artist job to say constantly good by to art?”

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K17 / 2012

Full HD video / 10ʼ49″/ sound / colour

One of the photographs from the work of K9 Compassion (2003) shows me in the kneeling position underneath the NYSE on Wall Street. After the stock market crash in 2008, Occupy movements and protests around the world emerged. I turned back to the same place and offer new commentary given these current events. This projects speaks about the urgent need for ethics in the area of global finance.

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