Full HD video / 12ʼ05″/ sound / color
In K14, the artist is still wearing the same luminescent suit, as he moves further out into the world, into Sopnica Jelkovec, a pre-constructed district of Zagreb that was originally slated to become an affordable housing area for young people. Over the years, the project passed through the hands of various property developers and political
Print on synthetic foil, 225 x 180 cm
In the manner of a pilgrim, the artist has staged a photographic performance at the Mirogoj Cemetery in Zagreb, on the grave of the first Croatian president, Franjo Tuđman. The artist decided to continue his series of performances in the way he has done them in K9 Compassion (2004) in New York, before cult urban toponyms, and in K9 Compassion+ (2005) before parliaments in centres of international political power: Washington, London, Brussels, Moscow, and Beijing. Like before, the performance includes the ritual of kneeling in a humble posture; the artist always wears the same black suit, a white shirt, and a white handkerchief beneath his knees.
Full HD video / 13ʼ22″/ sound / color
In Kopljar’s latest “construction”, K13, which will for the first time be shown at the Styria Autumn in the Minorite Gallery Graz and then at the Museum of Contemporary Art Zagreb, this LIGHT TOWER becomes the place of an unconditional scene. It is again the forest that heralds the beginning of this transformation, but we do not see the
HD video 1 loop / video 2 loop
“K12” (2007), the latest work by Zagreb based artist Zlatko Kopljar, brings us face to face with the fatal relationship between performance and installation with regards to the “metaphysical” drama of perceiving the human life as it is—the sole and not-so-sole human life among things, beings, occurrences, events and affects in the space of attraction, rejection, slippage, as well as experience and reflection, i.e. potentiality.
Print on synthetic foil, 225 x 180 cm
Kopljar made photographic portraits of his artist colleagues who never consented to becoming part of the mainstream. They were forever true to themselves and remained in the margin, neglected and forgotten. Here, their fellow artist has depicted them as human refuse, as people who are unwanted, whereby he casts them as nominal examples of the Western cultural tendency to create circumstances whereby certain people are banished to the margins, or even wholly excluded.
