Faith Love Hope

Kunsthaus Graz

800 Years of the Graz-Secau Diocese

13-04. – 26.08.2018

An exhibition to mark ‘800 Years of the Graz-Seckau Diocese’ together with KULTUM – the Minorites’ Cultural Centre.
In cooperation with Alte Galerie, Folk Life Museum and Diocesan Museum Graz.

Curated by: Katrin Bucher Trantow, Johannes Rauchenberger and Barbara Steiner

Co-curated by: Heimo Kaindl and Alois Kölbl

Artists:Adel Abdessemed, Azra Akšamija, Iris Andraschek, Maja Bajević, Anna Baranowski und Luise Schröder, Maja Bekan, Monica Bonvicini, Louise Bourgeois, Guillaume Bruère, Günter Brus, Berlinde De Bruyckere, Willem De Rooij, Marlene Dumas, Manfred Erjautz, VALIE EXPORT, Harun Farocki, Linda Fregni Nagler, Hilde Fuchs, Dan Graham, Maria Hahnenkamp, Fritz Hartlauer, Anna Jermolaewa, Birgit Jürgenssen, Franz Kapfer, Zlatko Kopljar, Maria Kramer, Kris Martin, Anna Meyer, Inge Morath, Muntean/Rosenblum, Alois Neuhold, Hermann Nitsch, Adrian Paci, Hannes Priesch, Karol Radziszewski, Werner Reiterer, Ulrike Rosenbach, Anri Sala, Christoph Schmidberger, Santiago Sierra, Slavs and Tatars, TEER (Wolfgang Temmel, Fedo Ertl), Norbert Trummer, Luc Tuymans, Danh Vō, Franz West, Markus Wilfling, Manfred Willmann, Artur Żmijewski, u. a.

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Empty

Muzeum of contemporary art Istria, Pula

21. 07 – 15.08. 2017.

Curated by: Mladen Lučić, Ketrin Milićević Mijošek

Zlatko Kopljar na umjetničkoj je sceni intenzivno prisutan od početka 90-ih godina, te je danas jedan od najznačajnijih hrvatskih suvremenih vizualnih umjetnika koji je svojim radovima podjednako prisutan u zemlji i inozemstvu. Interes hrvatske i svjetske kritike stekao je prvenstveno koncentriranim i kontinuiranim usmjerenjem svog umjetničkog diskursa na društvene traume današnjice, odnosu prema centrima moći, preispitivanju uloge muzejskih institucija te pitanju smisla i opstanka umjetnosti.

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ARCHITECTURE IN CONTEMPORARY ART

GALUM Split

11.07. – 17.08.2017.

Curated by: Jasminka Babić i Branko Franceschi

Artists: Duška Boban, Tomislav Buntak, Tomislav Čeranić, Igor Eškinja, Andrea Fraser, Cyprien Gaillard, Zlatko Kopljar, Armin Linke/Srđan Jovanović Weiss, Anita Miloš, Vedran Perkov, Renata Poljak, Viktor Popović, Neli Ružić, Julião Sarmento, Jee Young Sim, Lana Stojićević, Dario Šolman, Marko Tadić, Patricia Teodorescu, Zlatan Vehabović

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D(R)UGO SJEĆANJE

Galleria HDD, Zagreb

14. – 25.04.2017.

Centar za kulturnu dekontaminaciju Beograd

3. 07. 2017.

Koncepcija izložbe: Barbara Blasin i Aneta Lalić

Kustosi izložbe i autori izbora radova: Barbara Blasin, Aneta Lalić, Marko Golub

Autori: Ivan Benussi, Damir Bralić & Aleksandar Kovač, Katarina Duda, Damir Gamulin, Ante Filipović Grčić, Igor Grubić, Mirko Ilić, Sanja Iveković, David Kabalin, Zlatko Kopljar, Dejan Kršić, Boris Ljubičić, Tonka Maleković, MAZ, Niko Mihaljević, Petra Milički, Negra Nigoević, Matija Raos, Vladimir Straža, studio Božesačuvaj (Albino Uršić, Boris Kuk), Saša Šimpraga, Nedjeljko Špoljar, Trio Sarajevo (Bojan Hadžihalilović, Dalida Hadžihalilović, Lejla Mulabegović Hatt), Katarina Zlatec, Željko Zorica

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K21 Random Empty

Oris House of Architecture, Zagreb

13.04. – 22.04.2017

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.

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