The exhibition at Apoteka continues to investigate “temporary encounters” established as a framework for the 2014 programming, exploring different dynamics, spatial relations and interactions between objects and subjects, dismantling procedures, processes and relationships within the work of art and the gallery space.
The film is described…. as a chameleon and the figure of the artist as a secretary of the invisible. But it also works in reverse. The artist is the chameleon and film is the secretary of the invisible. (“Marine Hugonnier: The Secretary of the Invisible”)
Chameleon is a synonym for the constant development of human relations, confined by a space where those relations are reversible and changeable. Through the process of the production of place (in this case, the museum), the film serves as a metaphor for human relations, addressing the real needs of individuals and their realities. It emphasises the process of the construction of a space which is still unfinished; a space which is caught between being disrupted and regulated, and that is slowly growing into something and starting to make sense.
Chameleon was commissioned by MSUB, Museum of Contemporary Art in Belgrade, in the framework of collaboration with Tate Modern, London.
Based between Dubrovnik and London, Tina Gverović works with installation, drawing, painting, sound and video. Her work – often in the form of immersive, disorientating installations – engages with space, territory and identity and how these concepts are bound to invention and imagination.
Exhibited at Tate Modern (London, 2014), MSUB (Beograd, 2014), SE8 Gallery (London, 2013), and Busan Biennial (2012). Residencies: Tate Modern (2013), HIAP Residency, Baltic Art Centre (Visby, 2012), ISPC New York. Holds BA in Fine Art at the Academy of Fine Arts in Zagreb, MA at Jan van Eyck Academy in Maastricht, and a doctorate from Middlesex University in London.