10/07/2024

Cinemaniac 2024. – Misliti film / Think film

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Stéphan Crasneanscki: Ono što ostavljamo za sobom – Iz arhiva Jean-Luca Godarda / What We Leave Behind – From the Archives of Jean-Luc Godard

Otvorenje / Opening 12.07.2024., Galerija Novo (Laginjina ulica 7, Pula)

U petak, 12. srpnja 2024. u 20 sati, u Galeriji Novo održat će se otvorenje izložbe Cinemaniac 2024. – Misliti film, Stéphan Crasneanscki: Ono što ostavljamo za sobom – Iz arhiva Jean-Luca Godarda. Nakon premijernog predstavljanja u MMSU – Muzeju moderne i suvremene umjetnosti u Rijeci, te izložbe u Apoteci – prostor za suvremenu umjetnost, izložba se nastavlja u Galeriji Novo u sklopu Cinemanica 2024. – Milsiti film, a ostaje otvorena do 21. srpnja 2024.

Cinemaniac – Misliti film na Pulskom filmskom festivalu novo je mjesto izlaganja nadopunjene i proširene izložbe višemedijskog umjetnika Stéphana Crasneansckog nakon razotkrivanja Godardovih kutija, izložbom koja je započela u Muzeju moderne i suvremene umjetnosti u Rijeci.

Izložba okuplja seriju fotografija koje uokviruju knjige, kolaže, filmske i video arhivalije iz osobnog arhiva antologijskog redatelja, uz predstavljanje foto-knjige Ono što ostavljamo za sobom, te istoimenog filmskog djela, u dijalogu s video radom Četiri kardinalna vremena. Naslov knjige, videa i zvučne kompozicije Ono što ostavljamo za sobom | Iz arhiva Jean-Luca Godarda slijedi tragove rizomatskih međuprostora umjetničko-kustoskog istraživanja Stéphana Crasneansckog i njegova eksperimentalnog Soundwalk Collective nakon što ga je 2014. Godardov snimatelj zvuka François Musy uveo u nepregledno čuvalište Godardova filmskog stoljeća, smješteno u francuskom Cantalu. Beskrajne serije kartonskih kutija klasificirao je i zapakirao sam Godard, bez naziva i bez brojeva. Kutije je rastvorio Crasneanscki transparencijama i sjenovitim zrcaljenjima teksta, slojevitim pretapanjima i višestrukim ekspozicijama, izrezivanjem i paranjem nađenih slika. To je sfinga nepomične fotografije, pisao je Serge Daney o Godardovim zaustavljenim slikama. Rastvorene klapne dupkom punih kartonskih kutija otkrivaju gornje slojeve gustih naslovnica knjiga, bilježaka, izrezaka, kutije filmskih rola, videokazeta, magnetofonskih vrpci, kutije spisa i skica, transparencija i kolaža, fotografija i mapa, blago artefakata koji su bili materijali filmskih (pri)povijesti poslije filma. Godardove sfinge supostavljaju kolažne transparencije povijesti filma i povijesti umjetnosti, od Goyine Gole Maje (La maja desnuda), do Georgesa de la Toura, premontirane mizanscene Botticellijeve obrade Apelove Klevete (Calunnia), ili Munchova crteža. Stéphan Crasneanscki je francuski multidisciplinarni umjetnik, razvijajući konceptualne, transnacionalne, izvedbene, diskurzivne umjetničke prakse u različitim medijima – od umjetničkih instalacija, plesa, glazbe i filma do knjiga, analognih i digitalnih nosača zvuka. Među suradnicima bili su: Patti Smith, Abel Ferrara, Jean-Luc Godard, Jean-Luc Nancy, Charlotte Gainsbourg, Nan Goldin, Willem Dafoe, Wim Wenders, Jean Nouvel, Isabelle Adjani, Catherine Deneuve, Isabelle Huppert. Izlagao je u međunarodni institucijama poput Opéra de Lyon, KW Institute of Contemporary Art, Barbican Centre, Berghain, Centre Georges Pompidou, MUDAM, MuCEM, Museo Madre, New Museum, Palazzo Reale Milan, documenta14 u Ateni i Kasselu, Manifesta 12 Palermo i dr.

Kustosice: Tanja Vrvilo, Branka Benčić
Realizirano u suradnji: Muzeja moderne i suvremene umjetnosti Rijeka i Filmskih mutacija:
Festivala nevidljivog filma – EVIDENCIJE (Film-protufilm)
Partneri: Pula Film Festival, Soundwalk Collective, Studio Naegeli, Udruga Metamedij
Organizacija: Apoteka – Prostor za suvremenu umjetnost, Udruga Metamedij
Podrška: Grad Pula, Ministarstvo kulture i medija Republike Hrvatske, Hrvatski audiovizualni
centar, Zaklada Kultura nova, Istarska županija.

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29/05/2024

Julije Knifer / Tomo Savić-Gecan: Bez naziva / Untitled / Senza titolo

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01-06-2024 – 13-07-2024

Postponing time and place is the fundamental theme of the exhibition Untitled… by Julije Knifer and Tomo Savić-Gecan. Although generationally almost half a century apart, both find the starting point of their artistic activity in absurdity and void, as well as in the freedom defined by the infinity of temporal and spatial duration. They are objective, precise and consistent in the minimalist visual expression, but every work entails complex preparations and duration of the execution. Apoteka is presenting their third joint exhibition. The first was curated by Miško Šuvaković at Ješa Denegri’s initiative at HDLU in Zagreb, early in 2005, soon after Knifer’s departure. Savić-Gecan, Knifer and Goran Petercol exhibited at the Galženica Gallery in Velika Gorica in 2022 on the topic of void. At previous exhibitions, Gecan’s object directly obstructed the view of Knifer’s paintings or followed up on his work distantly. Gecan’s every piece is accompanied by a statement which is an integral part of the work.

In Apoteka, Tomo Savić-Gecan directly intervenes into Knifer’s work. Gecan’s work is based on the data he received for the needs of representing the Croatian pavilion at the Venice Biennale 2022. Exactly two years later, using the same data, a new algorithm was made; in Vodnjan it will define the pace of the changes, the arrangement and number of Julije Knifer’s works in Apoteka’s gallery space. Over the course of one month of the exhibition’s duration, the arrangement of Knifer’s works, whose number will also vary, will change. A total of twelve drawings will be exhibited. The changes in the set-up will be announced on Apoteka’s website. The starting point of the Vodnjan work is the same as the one in Venice two years ago. In executing the series of drawings in an A4 format mathematical notebook, Knifer uses classical materials and means, while Gecan for his works uses technological tools and AI. However, both focus on calculations and postponement, making time the subject of their expression.

In 1988 in Tübingen, Knifer used pen and paper to draw the outlines of a model for his future paintings. A year later, with a remark of the time and place of the making, he upgraded the ‘sketches’ by shading, which then no longer serve just as models, but become a work in their own right. He on occasions even draws more works on the same piece of paper. The artist returns to these works once again, marking the exact date and time of transferral to the canvases.

In the case of these two artists, postponement means the deferment of the end and the transferral of action through time, by no means the deferment of the action itself. In his journal from 1986, Knifer writes about work on graffiti, and his multiply repeated idea is applicable to other areas of his work: “I began working. Finishing a drawing is not my goal. Sounds absurd, because simply these drawings cannot be finished.”

Although both Knifer and Gecan are reserved in visual expression, this is a very dynamic project addressing seemingly marginal, but in fact very significant segment of their activity, a specific treatment of time.

Ana Knifer

“During the exhibition ‘Untitled’ at Vodnjan’s Apoteka, in 2024, the work process data results “Untitled (Croatian Pavilion) 2022” will affect the set-up of Julije Knifer’s works, including the time of change, the number of exhibited works, the choice of works and their arrangement.”

Tomo Savić-Gecan, Untitled 2024

Julije Knifer was born in Osijek, Croatia in 1924 and died in Paris in 2004. His work was focused over the exploration of a single form-the meander which started in the late 1950’ and later developed into the single central point of his artistic production. He was a member of Croatian artistic collective Gorgona. Knifer represented Croatia in the 1976. and 2001. Venice Biennale, and, in 2014, the Museum of Contemporary Art in Zagreb mounted a major retrospective exhibition of his work. He has exhibited at the Centre Pompidou, Paris; MAMCO (Musée d’art moderne et contemporain) in Geneva and the Museum of Contemporary Art, Sydney. His works are in numerous private and public collections around the world, including the Museum of Modern Art, New York; the Tate, London; the Centre Pompidou, Paris and the National Gallery, Berlin.

Tomo Savić-Gecan was born in 1967 in Zagreb and lives and works in Amsterdam. He studied at the School of Applied Arts in Zagreb and the Academies of Fine Arts in Venice and Milan, followed by postgraduate studies at Ateliers Arnhem, the Netherlands. In 2020 he was the subject of career-spanning retrospective at the Museum of Contemporary Art, Zagreb. Solo shows have taken place at the Museum of Modern and Contemporary Art, Rijeka (2017); Zuidplein, Amsterdam, and Van Abbemuse- um, Eindhoven, the Netherlands (2016); Jeu de Paume, Paris, and Bergen Kunsthall, Norway (2010); Etablissement d’en face, Brussels (2005); De Loge, Haarlem, the Netherlands (2000); Gallery PM, Zagreb (1998); Kapelica Gallery, Ljubljana (1994); and Gallery SC, Zagreb (1994), among others. Selected group exhibitions have taken place at Kunsthalle Basel, Switzerland (2017); Witte de With Center for Contemporary Art, Rotterdam, the Netherlands (2011); the Museum of Contemporary Art, Zagreb (2011); Apex Art, New York (2007); De Appel, Amsterdam (2006); MoMA PS1, New York (2004); Fridericianum, Kassel, Germany (2003); Arti & Amicitiae, Amsterdam (2002); National Gallery of Art, Tirana, Albania (2002); and Kunsthalle Exnergasse, Vienna (2001). He has participated in major perennial exhibitions, including the Sculpture Garden Biennale Geneva (2020), the Taipei Biennial (2012), the 51st Venice Biennale of Art (2005), and Manifesta, Ljubljana (2000), and various artist residencies, including Art Explora, Paris (2021); Accelerate Croatia with Arts, CERN, Geneva (2017); 1646 Experimental Art Space, The Hague (2012); and PS1, New York (2004).

Drawing: Julije Knifer, Bez naziva 1988-90
Technical production lead: Ela Đimoti
Thank you: Martijntje Hallmann, Tomislav Pokrajčić

Supported by Ministarstvo kulture i medija Republike Hrvatske, Zaklada Kultura nova, Grad Vodnjan – Dignano, Istarska županija – Regione Istriana, TZ Vodnjan – Dignano, Medea vina.

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22/03/2024

STÉPHAN CRASNEANSCKI: GODARD’S BOXES

30/03/2024 - 04/05/2024

Film Mutations and Apoteka – Space for Contemporary Art are opening the second part of the exhibition trilogy of multidisciplinary artist Stéphan Crasneanscki –GODARD’S BOXES with photographs of books, collages, film and video archivalia from Godard’s personal archive and the presentation of the photo-book What We Leave Behind | From the Archives of Jean-Luc Godard. Stéphan Crasneanscki appropriates and artistically reactivates Godard’s personal museum of the film century as a case study of radical cinematic self-archiving by repeating some of the infinite jump cuts and reframings.

The title of the book, video and sound composition What we leave behind | From the Archives of Jean-Luc Godard follows the traces of the rhizomatic interstices of the artistic-curatorial research of Stéphane Crasneansky and his experimental Soundwalk Collective after being introduced in 2014 by Godard’s sound engineer François Musy to the vast repository of Godard’s film century, located in Cantal, France. Endless series of cardboard boxes were classified and packed by Godard himself, with no names and no numbers. The boxes were unfolded by Crasneanscki for a photographically remedialized kino-eye of Godardian pedagogy that theorizes and terrorizes with the vertigo of spacing, interstices and superimpositions, transparencies and the shimmering shadows of text, layered dissolves and multiple exposures, cutting and tearing of found images. It is the sphinx of still photography, as Serge Daney wrote about Godard’s still images.

We are standing in front of 9 frames of Godard’s sphinxes behind museum glass in photographs by Stéphan Crasneanscki. Some undecidably reflect 2 or 3 cinematic or erotic questions. But most retain the viewer’s look holding on desire to blow-up the shadows of ripped images. We are witnessing the practices of slow motion, condensation, simultaneity of leafing through a false continuities to the embryos of images. Godard’s sphinxes juxtapose transparencies of Goya’s The Nude Maja (La maja desnuda), the doubled ecstasy of Guido Cagnacci’s The Death of Lucretia (La morte di Lucrezia), the interventional frame of Hope (L’Esperance) by Pierre Puvis de Charannes, the disembodied The Penitent Magdalen (La Madeleine pénitente) by Georges de la Tour, the re-cut mise-en-scène of Botticelli’s reconstruction of The Calumny of Appelles (Calunnia), and the lower segment of Munch’s drawing Death and Woman (Jenta og dødsfallet). Beneath the glass text, the photographic mise-en-abîme awaits to be blown-up by the viewer’s eyes.

Separation of functions. Radio-ear – the montage I hear! Kino-eye – the montage I see! – Dziga Vertov reminds us in the Kinoks manifesto from one of the photo-boxes.

In the search of Stéphane Crasneansky’s radio-ear for sound without an image from Godard’s collection of unused sound recordings, before and after the shot, his photo-eye captured arhivalia from 43 stored boxes. And then, a film – the moving image for the recorded sound. Opened flaps of hole-filled cardboard boxes reveal the upper layers of dense book covers, notes, clippings, boxes of film reels, video cassettes, tapes, boxes of files and sketches, transparencies and collages, photographs and maps, a treasure of artifacts that were the material of cinematic histories after the cinema.

The third function. Photo-book – the montage I touch! The artist’s photo-book What We Leave Behind | From the Archives of Jean-Luc Godard unfolds four precisely structured series of photographs: BOXES-COLLAGES-STILL LIFES-NOTES. Stéphan Crasneanscki and Abel Ferrara talk between BOXES and COLLAGES, and between COLLAGES and STILL LIFES we read Antoine de Baecque’s essay Godard Inventory: How He organizes His Library. The book opens with the poetic prologue The Reluctant Master by Patti Smith. An artist book of photo-archivalia is edited and designed by Tony Cederteg in spirit of Godardian politics of open packaging. The book provides an insight into the exhibition of the same name in Paris in 2016, where Crasneanscki exhibited 164 photographs from Godard’s yet-to-be-discovered archival stratum. Godard did not package all the times. Filmic time from 1980 to 2000 is preserved in Godard’s boxes.

Boxes do not protect in space but postpone in time, as Roland Barthes wrote in his Empire of Signs about the Japanese art of packaging. One of Godard’s transparencies in Stéphan Crasneanscki’s photo-book, next to page 115, is a torn out black-and-yellow newspaper photogram from Oshima’s Empire of the Senses. In the depth of the frame, the text is mirrored, with the French title L’Empire des sens and the handwritten inscription Harmonica at the top, and a pinched cut floating at the bottom and on the right side of the paper. Stéphan Crasneansky’s living archive for Godard’s boxes of the postponed times.

Tanja Vrvilo

Stéphan Crasneanscki is a French multidisciplinary artist based in New York.
In 2000, he founded the audio-visual platform Soundwalk Collective, joined by the producer and sound artist Simone Merli and a wide group of artists and musicians on long-term projects that are related to specific places and develop conceptual, transnational, performative, and discursive art practices in different media – from art installations, dance, music, photography and film to books, analog and digital albums. The approach to composition combines anthropology, ethnography, non-linear narrative, psycho-geography, landscape politics and explorations in recordings and synthesis. Their collaborations include: Patti Smith, Abel Ferrara, Jean-Luc Godard, Jean-Luc Nancy, Sasha Waltz, Charlotte Gainsbourg, Jesse Paris Smith, Mulatu Astatke, Nan Goldin, H.E. Hussain Al Jassmi, Willem Dafoe, Zhou Dongyu, Nina Kraviz, Wim Wenders, Jean Nouvel, Isabelle Adjani, Elodie Bouchez, Laetitia Casta, Catherine Deneuve, Isabelle Huppert, Isild Le Besco, Anna Mouglalis, Charlotte Rampling. They have exhibited and performed at the Opéra de Lyon, CTM Festival, KW Institute of Contemporary Art, Barbican Centre, Berghain, Centre Georges Pompidou, Florence Gould Hall, Mobile Art by Zaha Hadid Hong Kong, MUDAM, MuCEM, Museo Madre, National Museum Singapore, New Museum, Palazzo Reale Milan, La Triennale, Radialsystem V, documenta14 in Athens and Kassel, Funkhaus Berlin, Manifesta12 Palermo, and elsewhere.

Curators: Tanja Vrvilo, Branka Benčić

Production : Film-protufilm (Zagreb), Apoteka – prostor za suvremenu umjetnost (Vodnjan)
In partnership with: Studio Naegeli (Gstaad)
Curatorial support: Anna Högl (Studio Naegeli)
In collaboration with: Simone Merli, Douglas Pisterman – Soundwalk Collective, Christian Högl – Studio Naegeli, Tony Cederteg – Libraryman
Texts, notes, translations: Stéphan Crasneanscki, Patti Smith, Antoine de Baecque, Marina Schumann, Tanja Vrvilo
Transportation: Tomislav Crnković (Panda Wheels)

The programme is taking place as part of FILM MUTATIONS – EVIDENCES, a long-term project of art organisation Film-protufilm on the politics of film curatorship and modes of migration of the cinematic dispositive in digital era, curated by Tanja Vrvilo.

Supported by: Hrvatski audiovizualni centar, Ministarstvo kulture i medija Republike Hrvatske, Zaklada Kultura nova, Grad Zagreb – Gradski ured za kulturu i civilno društvo, Language Barrier Productions, Grad Vodnjan, Istarska županija i TZ Vodnjan.

Photographs, sound composition and book courtesy of: Stéphan Crasneanscki, Soundwalk Collective, Libraryman, Studio Naegeli.

soundwalkcollective.com
libraryman.se/stephan-crasneanscki-what-we-leave-behind/
filmskemutacije.com

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Cadavre Exquis


23.3.2024. (subota)
Apoteka – prostor za suvremenu umjetnost
Trgovačka 20, Vodnjan

Multimedijalna radionica Cadavre exquis temelji se na istoimenoj igri odnosno nadrealističkoj crtačkoj metodi, a osmišljena je kao kolektivni, suradnički eksperiment polaznika/ca pod vodstvom Ane Labudović – dizajnerice (digitalni mediji, RISO tisak, grafički dizajn) i edukatorice te dizajnerice i vizualne umjetnice Dorotee Škrabo. Poznatu igru voditeljice prevode u jezik multimedije s konačnim (teško predvidljivim) rezultatom u animiranom video formatu.

Sudionici/e radionice međusobno crtanjem, kolažiranjem i/ili izvedbom komuniciraju u sekvencama odnosno frameovima na zadanu temu ili osnovnu ideju, preispitujući koncepte suradnje i pripovijedanja. Multimedijalna radionica spoj je analognih i digitalnih tehnika.
Radionica se održava u subotu u dva bloka od četiri školska sata s pauzom. Voditeljice će upoznati polaznike/ce s metodom Cadavre exquis i primjenom na druge medije. U grupama i samostalno razrađivati će se koncepti, teme, digitalne tehnike videa, animacije i montaže, a rezultati dinamične radionice biti će kratki video formati.

Radionica je namijenjena mladima i svima koji se tako osjećaju.

Prijave su otvorene do petka, 22.3.2024. u podne.

Prijavite se putem maila apoteka.info@gmail.com te navedite dosadašnje iskustvo u radu s videom, zvukom slikom, premda iskustvo nije presudno.

Program se realizira uz podršku Odjela za kulturu i zavičajnost Istarske županije.

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Otvoreni termin
Natječaj za izlaganje u 2024. godini

Otvoreni termin je programska jedinica koju Apoteka provodi u želji za stvaranjem novih mogućnosti za izlaganje, realizacijom programa, otvorenog za različite umjetničke medije, pozicije i prakse.

Program Apoteke realizira se direktnim pozivom i programskom jedinicom Otvoreni termin – otvorenim javnim pozivom za izlaganje. Usmjeren je prema svim zainteresiranim umjetnicima i kustosima, povjesničarima umjetnosti, posebno mlađoj generaciji i lokalnim umjetnicima, te studentima likovnih akademija, kako bi u okviru programa Apoteke mogli upoznati, pratiti i javno predstaviti njihov rad. Ovom gestom Apoteka želi postati otvoreni prostor i pružiti podršku mladim umjetnicima za izlaganje te produkciju rada i izložbe. Na taj se način umjetnicima, umjetničkim projektima i ostalim sudionicima omogućava i osigurava, u nedostatku financijskih i prostornih uvjeta, adekvatna financijska i tehnička podrška. Otvoreni termin ne mora nužno rezultirati izložbom, već prezentacijom, predavanjem, razgovorom, performansom.

NAČIN SUDJELOVANJA

Prijave su otvorene od 24. siječnja do 24. veljače 2024., a šalju se isključivo u elektronskom formatu, NE većem od 20 MB na adresu apoteka.info@gmail.com s naznakom Otvoreni termin 2024. Videozapisi mogu biti dostavljeni putem wetransfera ili drugih aplikacija za prijenos većih podataka. Prijave s nepotpunom dokumentacijom, kao i one koje pristignu nakon naznačenog roka, neće se razmatrati.

PRIJAVA MORA SADRŽAVATI:
● Kontakt informacije (ime i prezime/naziv kolektiva; e-mail adresa; broj tel/mob)
● Ažurirani portfolio s izjavom umjetnika/ce, i životopisom
● Naziv i prijedlog projekta
● Sažeti opis i koncept projekta, sažeti tehnički opis projekta i zahtjeve postava
● Vizualnu dokumentaciju: skice i/ili foto/video dokumentaciju projekta
● Link na projekt (video i sl. ako je primjenjivo).

Tlocrt i fotografije prostora možemo dostaviti na zahtjev.

Apoteka će u okviru mogućnosti snositi troškove honorara umjetnika/ce, dio produkcijskih troškova i organizaciju/realizaciju izložbe (transport radova, postav, smještaj, deplijan, promocija) u dogovoru s odabranim prijaviteljem i potrebama projekta.

O rezultatima natječaja odabrani/a prijavitelj/ica bit će obaviješten/a krajem ožujka 2024. godine.

Program Apoteke – prostora za suvremenu umjetnost provodi se uz financijsku podršku Ministarstva kulture i medija RH, Istarske županije, Zaklade Kultura nova i Grada Vodnjana.

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(HR) Kino Apoteka / Silvi Naçi The Bow Wake


U srijedu, 17. siječnja 2023. u 19 sati, u Apoteci – prostoru za suvremenu umjetnost u Vodnjanu, održat će se projekcija filma Silvi Naçi The Bow Wake [Vala e Harkut], u sklopu programa Kino Apoteka. Kustos filmskog programa je Lorenzo Lazzari.
Kino Apoteka je program filmskih projekcija i predavanja koji uključuje suradnju nekoliko nezavisnih sektora okupljenih oko ideje filma. Takva je suradnja planirana za različite dispozitive, suradnike i publike pokretnih slika, a koji uranja u isprekidane prostorne politike pokretnih slika (na) zemlji, njihove afilmske (svesnimljive) i profilmske (snimljene) stvarnosti, istražujući zapostavljene prostorne mutacije filma.

Program se realizira uz potporu Grada Vodnjana

Silvi Naçi
Bow Wake [Vala i Harkut], 2019
HD video / dvokanalna HD video instalacija, boja, zvuk, 77 min.
Rad Silvi Naçi bavi se temom patrijarhata i nacionalnog identiteta, ilustrirajući opipljive napetosti između dviju LGBTQIA+ zajednica u Albaniji: drevne (kulturne) tradicije virdžina (zavjetovanih djevojaka) koje su obožavane, i romske trans zajednice iz Tirane koja se opire državnom nasilju na dnevnoj bazi.
Uz potporu Zaklade Felix Gonzalez-Torres (2017.-2018.), Naçi putuje u Albaniju i dokumentira dvije LGBTQIA+ zajednice: Burrneshu i Aleancu, aktivističku organizaciju protiv diskriminacije LGBTI osoba, koju je osnovala Xheni Karaj u Tirani. Rad koji je 2019. godine nastao u tom procesu – The Bow Wake [Vala i Harkut] – poprima formu dvokanalne instalacije i dugometražnog filma, ilustrirajući veze i napetosti između ovih zajednica. Uz to, Naçi kreira i široki portret Albanije, njezinih gradova i ljudi koje posjećuje u svom putovanju, iznoseći na vidjelo složene problematike koje okružuju izraze i percepcije roda kroz povijesti i kulture. Zadubljivanje u živote Iali i Xhenifer predstavlja pothvat koji zahtijeva ustrajan ali delikatan pristup, osobito jer se rad fokusira na izrazito intimnu i kontroverznu temu. U tom pogledu, jukstapozicija snimaka u dvokanalnom videu poziva gledatelje na nijansirani interkulturalni dijalog.

Biografija
Silvi Naçi (Albanija, 1987.) radi s različitim izražajnim sredstvima, uključujući fotografiju, performans, pokretne slike, tekst, tekstilna vlakna, crtež i instalaciju. Interes je usmjeren prema suptilnim i nasilnim modalitetima kojima dekolonizacija i migracija utječu i oblikuju ljude, jezik i rodni identitet, kao i društvenu i kulturnu dinamiku. Uz diplomu likovne umjetnosti i dizajna, specijalizira fotografiju i medije. Radovi Silvi Naçi predstavljeni su u brojnim izložbenim kontekstima, uključujući Manifestu 14 (Priština), Nacionalnu galeriju umjetnosti (Tirana), MAK Center (Los Angeles), MoCA Geffen (Los Angeles), Other Places Art Fair (Los Angeles). Za svoj rad dobiva nagradu Tim Disney Excellence in Storytelling Award i Felix Gonzalez-Torres Travel Grant. Također, sudjeluje i u nekoliko rezidencija, poput Saas-Fee Summer Institute of Art (Berlin), Elsewhere Museum and Residency (Greensboro) i Évora NAU (Évora).
Lorenzo Lazzari, istraživač i kustos, živi u Trstu. Doktorirao je povijest umjetnosti, kinematografije i novih medija na Sveučilištu u Udinama. Kurirao je izložbe s brojnim umjetnicima, uključujući Érica Baudelairea, Danila Correalea, Evu Giolo, Sofiju Caesar, Giuliu Iacolutti, Noémie Goudal. U Udinama surađuje kao kustos na projektu Mind the Gap. Predaje multimedijsku umjetnost na IUAV u Veneciji, gdje je također odgovoran za magistarski studij MOVIES – Moving Images Arts.

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23/11/2023

Maja Marković: How we used to inhabit

25/11/2023 - 01/03/2024

The Probing of Housing

Giving a space to Maja Marković’s book Kako smo stanovali at Apoteka – Space for Contemporary Art converges private and public – the artist’s work on listing the samples remaining from old-day, planned and organised housing policies enters the space marked by a, probably, private practice, but of an extremely important public use. Both of these issues – housing and medical care – pertain to fundamental human rights – the right to home, the right to health, but also the policies of managing one’s body, taking care of its state, its work capability, and consequently its adaptability and movability.

A specific trait of Apoteka is the preservation of the old furniture, which evokes some even pre-modern times, classifying and arranging medication, tinctures, preparations, powders and creams, and is in itself a time capsule of sorts. Maja Marković introduces into this time-marked space her registries, paper samples for graphic designs, old abstract wooden toys and ceramic tiles, staging thus the prototypes for a possible exhibition of archaeology of modern-day housing. All these material traces of life out of which the author compiles her spatialised collages are all around us, in derelict houses, emptied apartments and closed down factories and plants.

The author’s probing of the nostalgia over a time of urban planning, quality mass production which created jobs and shaped the long-lost world of progress and, finally, objects with longer durability, happens through – ceramic tiles. A simple object, not manufactured in Croatia anymore, is inevitable in residential premises requiring more intense and frequent maintenance – such as kitchen, bathroom, floors, hallways. It is also inevitable in institutions treated according to highly standardised protocols, such as hospital, which also demand high sanitary standards.

As the book Kako smo stanovali is a visual essay on socially organised housing and its traces, the spatial installations in Apoteka, including a photograph set as a three-dimensional object, function as a laboratory of a retrospective utopian assumption. Regardless of a better past and uncertain future, they connect ancient plans, projections, ideas and utopias with their material traces – in the form of fictional product catalogues, samples of forgotten papers and tiles that never found their place on the wall. Staged photographs, as well as micro-narratives arising from the found samples and arrays of objects whose sketches are long-discarded elegiac view of a long-mislaid and abandoned idea of a better future.

Jasna Jakšić

Maja Marković holds MA in Painting (Academy Of Fine arts, Zagreb).
Her practice is focused on drawing technique, but these drawings are enhanced into spatial installations consisting of several parts. Investigating and interpreting space possibilities, in the attempt to reach its integrality, she stays devoted to the aesthetics of modernism and the ambiguous character of architecture and city-planning of that period. She investigates structures, combines them by highlighting their particular portions in color, with the aim to direct the viewer’s gaze and force him to form an attitude. Seemingly devoid of content, often neglected, the landmarks of modernism are interpreted as places where content is expected.

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21/09/2023

Alma Gačanin: Personal Best

23/09/2023 - 20/10/2023

Alma Gačanin’s works can be read as a journal of sorts, primarily a work log. As she regularly emphasizes in her biography, Alma lives and works as an artist, regardless of the job she is currently performing. Is this a roundabout way of saying that one does not make a living from art, that usually another job is needed? A euphemism? Created over a relatively long period, from 2018 to date, the works reflect her various production positions: from living in her parents’ home, where I could indulge in excellent self-care, snug as a bug, to becoming independent; I had to ruin it all and venture into the world of adventures, that is, of the precariat (As my mom would say!), and accepting various odd jobs, such as being a flight attendant, all through taking up a residency in New York, one of the world’s art centers. Although journalesque, the works are not of an intimate nature; they are more in line with what Annie Ernaux calls auto-socio-fiction: a story about oneself through essential social optics. Therefore, they reflect the contexts in which they were created more than the author herself. She is, after all, unrecognizable.

The exhibition features the works created over the past five years, within a relatively long period but with a short production time, done swiftly, as is customary when journaling. Most drawing ideas originate from daily notes, sometimes from just a word in the Notes app… they are often symbolically charged in accordance with the social environment, like in the new American series. In the most recent works, those created during the New York residency, we notice: imperialism, the military-industrial complex, symbols of MAGA patriotism. Even the technique used in her works is imbued with meaning. Watercolor, known from feminist interventions in art history, is marked as a “female technique;” it’s quick, does not require large formats or studio conditions, can be created in small spaces, often in a domestic setting, alongside socially reproductive labor, as it used to be the only accessible technique for female artists. Watercolor is a poetic technique, most similar to writing. I used to paint with oils and acrylics for a long time, and it influenced my perception of time; it confined and slowed me down. I can create drawings and watercolors very quickly, which suits my impatience! And it also works well for me as a treatment because I work without a sketch.

In Alma’s works, we encounter monstrous creatures, half-women half-animals, sometimes missing limbs, sometimes with multiple arms and legs, often with a tail. These queer beings walk on all fours, sometimes on their hands; they always have strong muscles, claws, and hairy legs. They are exaggerated, somewhat eerie, but fundamentally humorous. Humor is an essential element of Alma’s work, her central strategy, as it is crucial for camaraderie and feminism, and therefore for my own work through which I communicate a wide range of ideas stemming from everyday struggles. However, we cannot escape the impression of the grotesque, the ambivalence between comedy and horror, the real and the fantastic. Are we looking at a world turned upside down or a terrifying reality? At some point, I recognized my alter ego in the drawings that I named Djevina and realized that in doing so, I am seizing freedom constantly and repeatedly.

This queer body can also be read as an antipode to representations that we identify with classical art: the pure, polished, perfect, and, of course, white body. In contrast to that sublime depiction, we observe an unfinished body, a body that rearranges and constantly dissolves itself. The emphasis is on its parts that are open to the external world: the mouth, the vagina, breasts, the anal opening. The special sexual emphasis attributed to female legs is here destabilized, challenged, threatened by claws, hair, strong quadriceps. The grotesque erotic body thus escapes into the unknown, the uncontrolled, as an aesthetic alternative to conventional representations. “This nakedness is not an expression of her own feelings; it is a sign of her submission to the owner’s feelings or demands. (The owner of both woman and painting),” we recall Berger’s observations on the nude. It is essential to me that they are somehow altered and monstrous. That’s why I give them those qualities that herald trouble, threat, and danger. It is almost certain that the protagonists of my drawings will cause some harm, create chaos, fulfill their purpose.

The body is an important feminist theme and often a significant medium in feminist art. The question of body representation in art and its role in reproducing gender divides were at the center of feminist interests in the 1970s. Monstrosity was precisely one of the key operative concepts for feminist interventions in art, criticizing the so-called male gaze and seeking to redefine gendered aesthetics. Monstrosity as a feminist aesthetic strategy, unruly bodies that matter, has been analyzed most recently by Lauren Elkin, whose book titled “Art Monsters: On Beauty and Excess” is to be released next month. In my work, I have created a female body that is constantly transforming, but in a negative sense, embodying the Freudian unheimlich. However, I want to draw special attention to another aspect of monstrosity here: (monstrous) bodies under the pressure of productivity. The monstrous nature of capitalism, whose basic characteristics, as Marx noted, are invisible. Many have already pointed out Marx’s frequent use of monstrous figures in Capital to describe how capitalism works. One of the most cited figures is the one related to the appropriation of surplus value: “Capital is dead labour, which, vampire-like, lives only by sucking living labour, and lives the more, the more labour it sucks.” Therefore, every discourse on labour in capitalism is also a discourse on coercion, compulsion, discipline, subordination, and alienation. The same goes for the imperative of self-work. The figures in the works (the character Djevina, or perhaps Alma herself) have claws to climb the social ladder better and hold on tighter once they ascend, they walk on all fours if necessary, if the ceiling is too low, they have strong muscles, sometimes with multiple arms and legs, two pairs of breasts to handle all the daily tasks. The titles of the works are painfully clear: #useyourpotential, No pain no gain, Fighter, Work hard play hard, I will make it… The everyday suffering, through Alma’s aesthetic treatment, transitions into S&M, delving into the realm of sexual practices (sexual labour?). I use the visual play with S&M to question power relations and the concept of obedience in the workplace. However, it also allows me to criticize the capitalist hierarchy and the insidious relationships within work collectives, where elements of adult play are present and where a safe word often does not exist.

Turning established notions upside down and grotesquely connecting diverse and even contradictory elements are at the core of Alma’s artistic process. The monstrous beings, Djevina, Alma, Kentaurica, leave us with conflicting impressions: they comfort us when we recognize ourselves in certain situations, they evoke laughter, but not without a certain level of apprehension. Turning the world upside down also results in a reversal of power dynamics, albeit briefly and imaginary, but enough to remind us that the history of subjugation, alienation, and discipline has also been a history of formidable resistances.

Vesna Vuković

Alma Gačanin (Sarajevo, 1988) lives and works as an artist, regardless of the job she might have at any given time. She holds a Master’s degree in Fine Arts Education from the Academy of Fine Arts in Sarajevo, specializing in Art Education. She creates drawings, photography, video, and performance art. In 2022, she received the ZVONO Award for the best artist in Bosnia and Herzegovina. She represented Bosnia and Herzegovina at the Biennale of Young Artists from Europe and the Mediterranean in Milan in 2015. Her work is based on exploring the specificities of labour and the precarity of certain occupations, with a particular focus on the position of women in capitalism and gendered division of labor. She identifies as a feminist in her personal life and in the roles she assumes as an artist-worker. Alma also writes poetry and has been published in magazines, anthologies, and online portals in Bosnia and Herzegovina and the region.

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Cinemaniac Think Film 2023: Double Exposure


The twenty-second edition of the side program Cinemaniac > Think Film of the 70th Pula Film Festival, Double Exposure, presents a look back, a fragmented and cursory glance at the audiovisual production of women in the cultural space of the Socialist Federal Republic of Yugoslavia during the 1960 and 1970s. It brings together several curators, initiatives, programmes, and research interested in the affirmation of the visibility of women, artists, authors, filmmakers in art and film – from the exhibition, research, and accompanying film and video programme of the current inter-museum project Vidljive (Visible)*, which includes the RONDO programme – from exposure to oblivion and back, to Film Mutations – Festival of Invisible Cinema and the Katarina Cinema.

Double Exposure is not attempting the impossible – establishing a complete overview that is inherently fragmented and elusive, but wants to remind, expose, or take another look at certain artistic positions and phenomena. It brings together select amateur, experimental film and video, or short documentarist interventions created by female artists and film authors and amateurs in the cultural space of Socialist Federal Republic of Yugoslavia, examining the practices extending from avant-garde experiments, documenting everyday life, works based on video recordings, and performances. The works explore the positions of identity, strategies of self-representation, and media experiments. They were created in the 1960s, a time marked by a wave of enthusiasm in cinema clubs and cinema amateurism, especially in cinema clubs in Zagreb, Split, and Belgrade, and the time when video appeared as a medium within the practice of conceptual and post-conceptual art related to the New artistic practice of the 1970s. The programme brings together artistic positions, contexts, curatorial practices, and institutions that frame and shape the production of moving images of female artists in the Socialist Federal Republic of Yugoslavia: its presentation, care, interpretation, visibility, availability, and circulation. Double Exposure brings together some of anthological works of art exhibited and recognised the world over, as well as some forgotten works by the female artists. Double exposure means shaping the position of double visibility: artistic and audiovisual production by women at the central place of representation of cinema.

Double Exposure presents film and video works by Erna Banovac, Dunja Ivanišević, Tatjana Ivančić, Sanja Iveković, Ljubica Janković, Divna Jovanović, Jagoda Kaloper, Bojana Marijan, Bogdanka Poznanović and Irena Vrkljan.

Thank you / Courtesy of Museum of Modern and Contemporary Art Rijeka, Museum of Contemporary Art Zagreb, family of Bogdanka Poznanović and Milica Badalić, Kino klub Split, Kino klub Zagreb, Miroslav Bata Petrović, Zagreb film, Provincial Secretariat of the Autonomous Province Vojvodina and Antje Ehmann and the Harun Farocki Institute

Curated by: Branka Benčić, Aleksandra Sekulić, Marta Baradić, Tanja Vrvilo

Organized by: Apoteka – Prostor za suvremenu umjetnost • Apoteka – Space for Contemporary Art
In collaboration with: Film Protufilm / Film Mutations – Festival of Invisible, Kino Katarina

Partners: Pula Film Festival, Gradska galerija Pula.

Project is supported by:
City of Pula, Ministry of Culture and Media of the Republic of Croatia, HAVC Croatian Audiovisual Center, Region of Istria

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09/06/2023

Sara Salamon: Archaeological Excavations One, Two and Three

10/06/2023 - 22/07/2023

Archaeological Excavations begin as a mobile public installation appearing as a false promise across Zagreb’s neighbourhoods and slowly moving a metre a day. Over the past three years, they have experienced transformations in different cities and translations to different media and exhibition spaces.

The first ‘digs’ were inspired by an article from The Guardian, Millennia of Human Activity: Heatwave Reveals Lost UK Archaeological Sites, which describes the ironic blossom of English tourism and historical research under the new climate conditions and global warming, which uncover buildings under the green grass.

Can a space be performed? The pieces articulate an unstable atmosphere and tension in relation to the observer, space, objects and materials. The unstable atmosphere refers to the performativity of exhibits and installations, which most often barely visibly perform before an audience. The events outside or at the edge of the ‘frame’, both temporariness and constant flow, provoke in us a mixed feeling of humour and anxiety. Archaeological Excavations deal with ‘promises’ and ‘uncertainty’ of the past and the future – playing with the perception of a missed event through interventions in public space or a gallery.

A display space thus becomes a field of translation of signs taken from public space; inside it, an artistic document abandons testimony. The author then performs translations of translations, pressuring the materials to perform, i.e. to take ‘unattainable’ or ‘opposite’ shapes.

“In her work, Sara Salamon explores media betrayals. ‘Betrayals’ here denote activities beyond or despite the use: and ‘media’ define every object and process serving to transmit potential information or meaning – light, image, echo, body, history. There is a stowaway in every transmission and this surplus (or foundation?) resorts to secretive activities to shape realities we naively call ours. Sara Salamon’s work can be read in the tradition of speculative materialism which will, roughly, claim that our semiotic mappings are simply part of reality and what remains uncoded fundamentally shapes us and our reality. Salamon at the same time introduces a new line of artistic exploration in speculative materialism. By pragmatic semiotic mapping, by mediatisation of reality, we have created a new part of reality disengaged from subordination to our utilitarianism and fantasies of meaning – the medium itself. Our attempts at making reality understandable create new materialities which, independently of us and unbeknownst to us, shape our world.

(…)

The dramaturgically crucial point of the work is the moment we pass by the digs for the second time and notice there is something wrong with the scene. However, it is hard to admit that the excavations have moved. The affective register changes. The domestic comfort of paranoia and the appeal of historical belonging are replaced by the uncanny, the shallow horror of dissonance.

Is it me or is it reality?”

(from a text by Marko-Luka Zubčić)

Object automatization associate: Hrvoje Spudić

Sara Salamon, born in Rijeka in 1991, holds an MA in Media Arts and Practices from the Academy of Applied Arts in Rijeka. She works in the fields of various artistic practices, as a visual artist, director of photography and film editor. In her work she is trying to betray the media. She is inspired by collective wilderness and shifting realities. From 2013 to 2022 she presented her artistic work and collaborative projects at group exhibitions in Rijeka, Sisak, Zagreb, Ljubljana, Graz and Berlin. She was co-awarded for artistic works at 55th Zagreb Salon and 35th Youth Salon in Zagreb. She participated in a residency at the MuseumsQuartier Wien in 2022 and the Bergen Centre for Electronic Art as part of Future DiverCities in 2019.

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