Anamnesis, dijalozi umjetnosti u javnom prostoru

Sandra Uskoković

” Teorija traume nas uči da je prošlost takoreći urezana u sadašnjost. No, kod traume ne postoji linearno kronološko vrijeme, jer je traumatski događaj uvijek podjednako ispred i iza nas.[1] Stoga nam umjetnost predočava ono što nam inače promiče, ili postaje nevidljivo protokom vremena. Riječima Jacquesa Derride: “Memorija nam dolazi u tragovima; to su tragovi prošlosti koji nikad nisu bili sadašnjost, tragovi koji nikad ne ostvaruju oblik sadašnjosti, ali nam trajno (pre)ostaju kako bi zadobili oblik budućnosti.”[2]

Za razliku od ograničenja zapadnjačkog shvaćanja memorije, pogotovo Aristotelovog modela koji objašnjava memorijska mjesta kao pasivne površine ili objekte utisnute u prošlost, gdje memorija zadobiva značenje palimpsesta, instalacija K-19 Zlatka Kopljara iz 2014.godine, postavljena na kružnom perimetru Meštovićevog paviljona u Zagrebu,  animira višestrukost prostora i vremena u memoriji, a memorija se otkriva samim procesom stvaranja, transformiranja, izražavanja i prenošenja prošlosti u sadašnjost. 

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REALIZE! RESIST! REACT!

Performance and Politics in the 1990s in the Post-Yugoslav Context

Museum of Contemporary Art Metelkova (+MSUM), Slovenia

24.06. – 3.10.2021

Curator: Bojana Piškur

Guest curators: Linda Gusia | Jasna Jakšić | Vida Knežević | Nita Luci | Asja Mandić | Biljana Tanurovska-Kjulavkovski | Ivana Vaseva | Rok Vevar | Jasmina Založnik | Exhibition design: Siniša Ilić

Participants: Arkzin | Art Publishing group (Bojan Bahić & Sanda Hnatjuk) | Autonomna tvornica kulture – Attack! (Autonomous Cultural Center – Attack!) | Maja Bajević | Damir Bartol Indoš | Aleksandar Battista Ilić, Ivana Keser, Tomislav Gotovac | Faruk Begolli | Matjaž Berger | Goran Bertok | Iva-Matija Bitanga & Bijesne gliste | Zoran Bogdanović | Marko Brecelj | Mateja Bučar | Centar za izveduvački umetnosti Multimedia (Performing Arts Center Multimedia) | Centar za kulturnu dekontaminaciju (Center for Cultural Decontamination) | Suzana Cerić & Anela Šabić | Predrag Čančar | Ivica Čuljak (Satan Panonski) | Dah Teatar | Danica Dakić | Vlasta Delimar | Iskra Dimitrova | Dodona Teatri (Dodona Theater) | Eclipse | Feral Tribune | Tomislav Gotovac | Igor Grubić | Grupa Elementi (Biljana Petrovska Isijanin, Ljupčo Isijanin) | Marina Gržinić & Aina Šmid | Kemal Hadžić | Jusuf Hadžifejzović | Emil Hrvatin (Janez Janša) | Ištvan Išt Huzjan | Irwin | Sanja Iveković | Sanjin Jukić | Robert Jankuloski | Ante Jurić | Božidar Jurjević | Kanal 103 | KOHA | Zlatko Kopljar | Marko Košnik, Inštitut Egon March (Egon March Institute) | Marko A. Kovačič | Ema Kugler | Laibach | Le Cheval | Led art | Maja Licul | Goran Lišnjić (LEBENSFORMER) | Magnet | Mala Stanica | Saša Marković Mikrob | Goranka Matić | MAXUMIM (Ajna Arnautalić, Eldina Begić, Suzana Cerić, Alma Fazlić, Zlatan Filipović, Anur Hadžiomerspahić, Almir Kurt, Damir Nikšić, Hamdija Pašić, Samir Plasto, Rachel Rossner, Anela Šabić, Nebojša Šerić Shoba, Dejan Vekić) | Ana Miljanić | Mirovni inštitut (The Peace Institute) | Mladina | Peter Mlakar | Montažstroj | Mreža za Metelkovo (The Metelkova Network) | Oliver Musovik | Muzej biciklističkog ustanka (Museum of the Bicycle Uprising) | Nepopravljivi optimisti (The Incorrigible Optimists) | Novi kolektivizem (New Collectivism) | NSK | Edin Numankadić | Organizirane ženske skupine Slovenije (Organized Women’s Groups of Slovenia) | Irena Paskali | Nusret Pašić | Marko Peljhan | Alenka Pirman, Vuk Ćosić, Irena Woelle | Tadej Pogačar | Ivana Popović | Arjan Pregl, Miha Štrukelj, Marko Zatler | Franc Purg | Agim Qena | Radio Študent | Vlado G. Repnik | Sarajevski New Primitivs (Sarajevo New Primitivs) | Schmrtz Teatar | Enes Sivac | Mustafa Skopljak | Maja Smrekar | Soros centar za sovremena umetnost Skopje (Soros Center for Contemporary Arts Skopje) | Aleksandar Stankoski et al. | Mladen Stilinović | Sven Stilinović | Saša Stojanović | Alma Suljević | Bojan Šarčević | Nebojša Šerić Shoba | Škart | Igor Štromajer | Ive Tabar | Radoslav Tadić | Slaven Tolj | Igor Toševski | Srđan Veljović | Vreme | Sonja Vukićević | Petar Waldegg | Žene u crnom (Women in Black) | Dunja Zupančič::Dragan Živadinov | Janja Žvegelj

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“GEBT MIR BILDER!”: Am 500. Geburtstag von Petrus Canisius

Diocese Innsbruck, Austria

8.5. – 30.9.2021.

Projektleitung: Bischof Hermann Glettler, Inhalt und Konzeption der Ausstellung: Dr. Hubert Salden, Organisatorische Leitung:Karin Pernegger und Michael Schallner

Werke von: Michel Abdollahi, Hans Andre, Thomas Bayrle, Guillaume Bruère, Berlinde De Bruyckere, Christo, Eva Grubinger, Herbert Hamak, Wolfram Köberl, Zenita Komad, Zlatko Kopljar, Elke Silvia Krystufek, William Lamson, Clare Langan, Thomas Locher, Kris Martin, Olaf Nicolai, Adrian Paci, SUSI POP, Andrej Tarkowskij, Mark Wallinger, Franz Erhard Walther

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Setup of the K 19 by Zlatko Kopljar, Vatroslav Jagić Park, Varaždin

Vatroslav Jagić Park, Varaždin, Croatia

30.11.2020.

Reinterpretation of the K19, Kopljar’s anthological art installation in public space initially placed in Zagreb, in front of the Meštrović Pavilion in 2014, into permanent public sculpture in the city park in Varaždin against local synagogue, represents unique example of logical strategic choice and memorial sculpture settings in Croatia. This act is realized thanks to the initiative of Ivan Mesek, director of the Varaždin City Museum, and artist himself who donated the sculpture.

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Zlatko Kopljar – TENEBROSO

Museum of Fine Art, Varaždin, Croatia

14.10-15.11.2020
Curated by Branko Franceschi

After a successful retrospective at the Museum of Contemporary Art in Zagreb, and according to the curatorial concept of art historian Branko Franceschi a befitting selection of Zlatko Kopljar’s works will be presented in accordance with the architectural style and smaller size of Varaždin’s museum’s exhibition halls. The name of the exhibition is a reference to the dramatic painting style of the same name introduced by the greatMichelangelo Merisi da Caravaggio, which marked the beginning of the Baroque period. Varaždin known as Croatia’s baroque city and the baroque Sermage Palace converted into museum of fine art are an ideal setting to introduce tenebrism as a significant quality of Kopljar’s oeuvre. The exhibition presents works marked by the strong contrast of light and darkness, fierce action, and intensity of his worldview and art. It includes all the media Kopljar has employed during the three decades of his career, from an expanded understanding of painting, performance, objects and installations to photography and video.

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