Subota | Saturday | Sabato
07 | 09 – 12 | 10 | 2024
Otvorenje  | Opening | Apertura | 20h

U subotu, 07. rujna 2024. u 20 sati, u Apoteci – prostoru za suvremenu umjetnost održat će se otvorenje izložbe MLADENA STILINOVIĆA ”BOL”, a ostaje otvorena do 12. listopada 2024. U hrvatskom standardnom jeziku razlikuju se imenica bol muškog roda i ona ženskog roda. Kad u muškom označava osjet tjelesne patnje i trpljenja, a u ženskom osjećaj duhovne patnje i trpljenja. Iako je prošlo više od 10 godina i dalje se sjećam trenutka kad nas je profesorica morfologije učila ovoj distinkciji te svog instinktivnog čuđenja. Tada, još plaha i mlada, moje preispitivanje autoriteta bilo je tiho, no ta je informacija obilježila začetak osobnog odnosa i razumijevanja ideološke podloge jezika. Par godina kasnije, upoznajem Stileta u njegovoj posljednjoj godini života kako stoički podnaša bol (m.r.), a uronjavanjem u njegov rad, biblioteku i prostor, upoznajem i njegovo iskustvo boli (ž.r.).

Iako prisutna i u Mladenovim najranijim radovima (njegovoj poeziji i eksperimentalnom filmu), on temu boli eksplicitno otvara 1970-ih radom Igra Bol. Na svako od 6 polja bijele kockice rukom ispisuje bol te poziva na sedmominutnu igru s vlastitim strpljenjem i pomirenosti s neizbježnim i jednakim ishodom svakog bacanja kockice. Nastavlja u umjetničkim knjižicama u kojima ispisuje dane u tjednu na stranice ili brojeve koje izjednačava s boli, a taj postupak kruni ”redakcijom” Oksfordskog rječnika engleskog jezika (Dictionary – Pain, 2003) u kojem na 523 stranica značenje svake riječi prekriva bjelinom te stvara odsustvo kako bi ju zamijenio riječju – pain. Jer kao što Stile i sam kaže – ponavljanjem ne vježbaš samo ponavljati, već i zaboraviti.

Razmišljajući o boli, on je svoje intimno iskustvo boli, tišine, odsustva i samoće vidio u bijeloj boji. Početkom devedesetih, noseći se s posebnim iskustvom zanijemjele boli i nemoći, producira seriju bijelih radova u kojima svakodnevne objekte prekriva bijelom bojom, bojom zidova koja stvari čini nevidljivima unatoč njihovoj prisutnosti. Prostor obljepljuje praznim papirima i stvara odsustvo informacija. Bavi se nulama kojima dodaje i oduzima nule. Ništa multiplicira i dijeli kako bi se opet svelo na svoju esenciju – nematerijalnost. tišinu. bol.

A polazište boli? Temeljni je konflikt ideološki. Jezični. Početak iskustva – kokoš ili jaje, papir ili novac, sve počinje s jezikom. Pojam bol si naučio s jezikom, kaže L. Wittgenstein, no ona nije u jeziku. Jezik boli. 4 Isključivost postojanja unutar ograničenog sustava stvara elementaran osjećaj bezizlaznosti i bespomoćnosti. Stile kamen omotava u papir s ispisanim stihom Mandeljštamove pjesme u preplitanju težine i lakoće. Pjesnikovo lakše je kamen podići nego ime ti izgovoriti pomalo podsjeća na onu jezičnu razdiobu te pita koja je nemoć teža – ona koja nam ne omogućava slobodu duha i misli ili ona koja nam sužava slobodu kretanja?

Branka Stipančić u vodnjanskoj Apoteci kurira malenu “biblioteku” Mladenovih boli. Na police smješta njegove knjige: Janje moje malo, Oduzimanje nula, I have no time. Iznad polica smješta Stiletove foto serije i knjige, njegov reprezentativan Artist at work i Odnos noga kruh. U ladice u kojima su se nekad skladištili lijekovi pohranjuje fragmente Stiletovih misli i ideja te citate koje je volio, s namjerom da iz njih gotovo čujemo njegov glas. U prvoj nas prostoriji suočava s nemoći na svakom kutku, ona je jasno pred nama, no i skrivena u malim, nepravilnim zakutcima. Publika postaje sudionik, ako se na to, naravno, odvaži, jer tko zna što se može otkriti kad se upusti u otvaranje ladica boli? Proces je i dodatno egzaltiran ogledalima koja nude mogućnost dodatnog obračunavanja sa sobom u tom istraživanju. Dubljim ulaskom u prostor, dobivamo maleni trenutak za predah do posljednje prostorije, gdje smo obračunati i okruženi surovosti boli. Iako se pronalazimo u sličnom procesu čitanja, kao što je to slučaj s knjižicom I have no time, ovdje nam Dictionary – Pain ostavlja dodatan prostor za intimno iskustvo i promišljanje vlastitog odnosa s boli.

Branka izložbom Mladen Stilinović – Bol poetično povezuje prostore boli. Prostor bivše apoteke, iako snažno obilježen konceptom boli, predstavlja i maleno utočište od nje. Trudi se ponuditi rješenja. Sličan postupak možemo vidjeti i u Stiletovom radu, bogatom sjecištu filozofske misli, poetskog nasljeđa i njegovog intimnog iskustva koje sve te segmente povezuje i oblikuje. Razumjevši suštinu ljudskog iskustva i njezine nemoći, on se boli ne suprotstavlja agresivno, previše svjestan apsurda takve borbe, već prihvaća bezizlaznost ljudskog iskustva te se posvećuje njezinoj antitezi koja nije ugoda, užitak ili lakoća. Antiteza boli je sloboda, ideal ljudskog duha lišen hladne i željezne sustavnosti gramatike, nazivlja i definicija. Vrijednosti i tržišta. Svrhovitosti.

Tekst: Sabina Softić
Kustosica: Branka Stipančić

Mladen Stilinović (rođen u Beogradu 1947. – preminuo u Puli 2016.). Od 1969. do 1977. radio je s
eksperimentalnim filmom. Bio je član Grupe šestorice umjetnika u Zagrebu (1975. – 1979.). Vodio je Galeriju PM u Zagrebu (1982. – 1991.). Njegovi radovi uključuju kolaže, fotografije, umjetničke knjige, slike, instalacije, akcije, filmove i video.
Samostalne izložbe: Galerija Nova (Zagreb, 1976.), Muzej suvremene umjetnosti (Zagreb, 2003.), Galerija ŠKUC (Ljubljana, 2005.), Kunstverein (Graz, 2006.), Platform Garanti (Istanbul, 2007.), Vanabbe Museum (Eindhoven, 2008.), Centar za suvremenu umjetnost (Glasgow, 2008.), Galerija u Taxis Palaisu (Innsbruck, 2008.), Index Gallery (Stockholm, 2009.), VOX (Montreal, 2010.), E-flux (New York, 2010.), Muzej moderne umjetnosti (Varšava, 2010.), Sing!, Muzej Ludwig (Budimpešta, 2011.), Zero for Conduct, Muzej suvremene umjetnosti (Zagreb, 2012. – 2013.), 1 + 2 =, MuAC (Mexico City, 2015.), On Work, Academia Moderna (Zagreb, 2018.), Smiles, Galerie Martin Janda (Beč, 2019.), Primer 1, 2, 3, Galerie Frank Elbaz (Pariz, 2019.), Mladen Stilinović: Ako nemaju kruha, neka jedu kolače, Hunt Kastner (Prag, 2020.), Mladen Stilinović: Portret umjetnika kao mladića „Filmovi, fotografije i kolaži“ 1973. – 1978. (Bratislava, 2021.), Word Images: Mangelos – Mladen Stilinović, 1MIRA Madrid (Madrid, 2021.), Mladen Stilinović: Crveno – Rozo: Refleksija o boji, Galerija Nova (Zagreb, 2022.), Mladen Stilinović: Jer sam mogao, Galerija Prozori (Zagreb, 2022.), Nezamjenjivi čovjek – Uvjeti kreativnosti u doba AI, Louisiana Museum of Modern Art (Kopenhagen, 2024.), itd.
Grupne izložbe: Biennale de Paris (1977.), Works and Words, De Appel (Amsterdam, 1979.), Sydney Biennale (1992./93.), After the Wall, Moderna Museet (Stockholm, 1999.), Aspekte / Positionen, Muzej moderne umjetnosti SLW (Beč, 1999.), In den Schluchten des Balkan, Kunsthalle Fridericianum (Kassel, 2003.), 50. Bijenale u Veneciji (2003.), Sydney Biennale (2006.), Documenta 12, Kassel (2007.), Istanbul Biennale (2009.), Promises of the Past, Centre Pompidou (Pariz, 2010.), Ostalgia, New Museum of Contemporary Art (New York, 2011.), Carnegie International, Pittsburgh (2013.), Personal Cuts, Carré d’Art Muséee d’Art Contemporain, Nîmes (2014.), 57. Bijenale u Veneciji (2017.), My Sweet Little Lamb (Everything We See Could Also Be Otherwise), The Showroom (London, 2017.), Left Performance Histories, nGbK (Berlin, 2018.), Hello World – Revisions of a Collection: Sites of Sustainability – Pavilions, Manifestos and Crypts, Hamburger Bahnhof (Berlin, 2018.), … of bread, wine, cars, security and peace, Kunsthalle (Beč, 2020.), Amuse-bouche. The Taste of Art, Museum Tinguely (Basel, 2020.), After the Wall, MoMA (New York, 2020.), Enjoy, MUMOK (Beč, 2021.), How Sleep the Brave, Nest Gallery (Den Haag, 2022.), From Scratch (New York, 2022.), I am only the housekeeper, but I don’t know…, Plečnikova hiša (Ljubljana, 2022.), The Act of Seeing that Unfolds, Colección Susana y Ricardo Steinbruch, Museo Reina Sofia (Madrid, 2022.), The Irreplaceable Human – Conditions of Creativity in
the Age of AI, Louisiana Museum of Modern Art (Kopenhagen, 2024.), itd.

Podrška: Ministarstvo kulture i medija Republike Hrvatske, Zaklada Kultura nova, Grad
Vodnjan, Istarska županija, TZ Vodnjan, Medea vina.

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Curated by Branka Bencic

Exhibition by Marko Tadic at Apoteka – space for contemporary art brings together a selection of collages, drawings, installation and objects, and it is formed around the idea of the museum and exhibiting displays. In his series Table of Contents or Accumulation of images from below the artist investigates spaces and contexts of art and it’s institutions. In addition, the exhibition includes a new animated film Moving Elements with references to for golden age Zagreb school of animation in 50s and 60s. Works by Marko Tadic explore his long-term interest in the legacy of modernism. His works represent a look back at the recent history as a visual narrative of obsolete remains by the elements of visual arts, architecture, or art history. The works build up an unusual atmosphere of oblivion, shaped by the interest in archives, highlighting the possibilities of re-reading and the relationship with the past. Tadic’s “accumulation” of images and contents take shape as different forms of reproduction, museum exhibition displays and fragmented and imaginary scenes and appropriations. His model of the museum, constitutes a metonymic model of architecture, as a place for (re)writing different ideas and positions.

Marko Tadić, born in 1979 in Sisak, Croatia. Graduated at the Academy of Fine Arts in Florence, Italy. Works with collage, animation, drawings. Exhibited at solo and group exhibitions and film festivals in Croatia and internationally, at venues in Zagreb, Ljubljana, Vienna, Kassel, Berlin, Los Angeles and New York. Awards: 28. Youth Salon (Zagreb, 2006) and Radoslav Putar Award for young Croatian artist (Zagreb, 2008). Participated in residencies and study programs: 18th Street Arts Center, Los Angeles, USA (2008); KulturKontakt, Vienna, Austria (2008); ISCP, New York, USA (2009); Kultur Bunker, Frankfurt, Germany (2010) and Helsinki International Artist Programme, Helsinki, Finland (2011). Lives and works in Zagreb, Croatia.

This is (not) a Museum is the umbrella-title of 2016 programming at Apoteka, in the framework of research based perennial program line Temporary encunters, established in 2014. Temporary Encounters are exploring spatial relations and interactions between objects and subjects, dismantling procedures, processes and relationships within the work of art and the gallery space. The exhibition brings together artistic positions that deal with issues of (re)presentation and exhibiting by the works of  artists that are re-working through tensions between the space, the observer and the observed .

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The works of Ibro Hasanović are revealed to us as places of “impossible encounters” that embody connections with the past.
The exhibition includes: film a Short Story, video Study for an Applause, and series Crna kronika / Black Chronicle.
Curated by: Branka Bencic

The landscape in A Short Story, is metonymically representing a space where territory and destiny have been intertwined for centuries. In A Short Story, the narrator retells a string of events that took place in the recent past, and some premonitions about the future, which are mediated by way of oral narration. Here, the narration of the past is intermingled with indications of future events, as the form acquires an uncertain position on the narrator’s reliability, so that the unclear narratives are placed between the past and the future. The paradigm of oral narratives – oral history, oscillates on the edges between fiction and reality, documents, truth and falsehood, history and narrative.
In Study for the Applause Ibro Hasanović remembers the anniversary of the infamous signing of the Dayton Accords re-enacts a scene from a Gérard Julien photograph showing three representatives of the conflicting parties along with their patrons, the presidents of the world´s superpowers who initiated the peace talks and assisted with the adoption of the agreement.
When we look at the vast collection of media images that constitute Black Chronicles we understand that we are actually looking at images whose purpose is pure propaganda: far from being neutral documents, they operate a telegenic staging of violence through standard codes.

Publication includes essays by Branka Bencic, Miha Colner and Marlene Rigler and is fully illustrated. Design Škart.

Ibro Hasanović (1981) lives and works in Bruxelles, He studied at the Academy of Fine Arts in Sarajevo and at Le Fresnoy – Studio national des arts contemporains in France. The central themes of his works – films, videos, photographs and installations are individual and collective memories. He showed his works at Turku Art Museum, Finland (2012); Open Space – Zentrum für Kunstprojekte, Vienna; SPACE Gallery, Bratislava, Galleria A+A, Venice, 52. Oktobarski salon, Belgrade; Panorama 13, Le Fresnoy; Brot Kunsthall, Vienna, Mestna Galerija Ljubljana, Ljubljana; Galerija P74, Ljubljana (2010), Galleria d’Arte Moderna Palazzo Forti, Verona; Galerija Galženica, Velika Gorica (2009); SPAPORT Banja Luka (2008); and Busan Metropolitan Art Museum, South Korea (2006).

http://www.ibrohasanovic.com

Supported by City of Pula and Gandy gallery Bratislava.

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The artistic practice of Mladen Stropnik, shaped around works on paper, collages, drawings and short video loops, builds up on a specific intervention in the spaces of the everyday, immediate and recognizable, yet wondrous and distorted. Mladen’s artistic process is shaped around minimalist and conceptualist practices, and his artistic gesture operates through cuts and breaks while the narrative is reduced to a minimum, relying on a consistent visual language and a certain economy of representation. Mladen Stropnik’s drawings or collages are based on minimal gestures intervening in the conceptual and abstract frameworks, as hints and fragments of the visible world, its bare and basic abstract details, often with elements of humor, playfulness, curiosity…Within such new relationships unfolds the title of the exhibition at Apoteka “under the counter,” which invites the viewer to try to figure out new meanings, articulate the unknown, what the artist is holding as a surprise, under the table, as a range of options in the relation with the everyday, the usual and unusual, to expose it, inviting us to look again.

Curated by: Branka Bencic

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Mladen Stropnik, born in Slovenj Gradec in 1977., lives in Ljubljana. Solo exhibitions (selection): night train (whos there?), gallery Škuc, Ljubljana, 2014; LET GO, galerija gregor podnar, Ljubljana, 2013 / Group exhibitions (selection): Crossings, International center of graphic arts, Ljubljana, 2014; THE PLEASURE IS MINE, gallery ŠKUC, Ljubljana, 2013; Intergraf Alpe Adria, Villa Manin, Udine, IT, 2012; 29th graphic biennale, Ljubljana, 2011. He was recipient of the OHO Award for young artist in 2008 and artist in residence at ISCP NYC.

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