Photo: J.Ostojić
Photo: J.Ostojić
Photo: J.Ostojić
Photo: J.Ostojić
Photo: J.Ostojić
subota, 27. kolovoza 2011.
nedjelja, 15. svibnja 2011.
ponedjeljak, 9. svibnja 2011.
Time after is an annual open submission exhibition hosted by Gallery Kortil in Rijeka and MKC in Split. The exhibition aims to provide an important international platform for contemporary visual art with an emphasis on supporting new and emerging talents from Croatia and UK.
Curator: Sabina Salamon Concept of the show: Emanuela Santini
Gallery Kortil
11 May – 31 May 2011 25 August - 4 September 2011
But what in speaking do we refer to more familiarly and knowingly than time?
Aurelius Augustine, Confessions, Book XI
There are many who claim that the question as to what is time is one of the hardest. It is comforting, however, that the notion of time does not have to be understood in order to sense time. Therefore, science and philosophy debate about time, while we live satisfied with naive-objectivist conceptions, contrary to the truth, and close to our need for time: lost time, hard time, optimistic time, stolen time….
In accord with our interest for the time that oscillates within a range of before and after, appearing as continuance, arising and maturation, becoming, by the way, experience of our existence (Bergson), the contest rules for the exhibition Time After consider the period of five years from graduation, as well as the art production within past two years, from 2008 until today. The accent on the period following graduation, Masters or doctoral degree, is a consequence of a presumption that this period can unfold in many different ways, in self-sufficient idling, in inhibition and fear of public critic, in a burst of creativity or omnipresence.
Since the algorithm of change is inscribed in time, logically there has to exist a precondition for change, an alteration of opposites, a reversal from a state of motion into a state of stillness. Aristotle spoke his mind on this matter by claiming that the time is a measure of stillness as much as it is a measure of motion. Much later on, Aurelius Augustine interpreted time as the subjective and transcendental category that exists within soul, thanks to memory, a peculiar database where, by plunking incessantly, we place event within temporary relations. Throughout the whole history of time research there persisted the above mentioned opposing viewpoints. One holds that time is the reality of soul, of the subject in a process of self-observation. The other, opposing, deems that time exist as an absolute notion, mathematic time, evenly flowing regardless of any external phenomena (Newton). Later on, Einstein too will classify time as objective, though not absolute, but relative phenomenon, the fourth spatial dimension.
Still, most of the scholars have come to incline to the metaphysical comprehension of time, considering it as the determinant of man's psychic and perceptual nature. This gives us impetus to think about time in an entirely personal sense. Finally, Hegel too has postulated such an utterly speculative definition of time, by claiming that time is a characteristic of being in general, revealed to us as something external. Yet perhaps most poetic and most human lines on time come from Augustine, who asked whether time measurements are illusion, since what is to measure if times past now are no longer, and times future are not yet. We have no other option but to agree, that the sense of time is pertaining to a personal inner vision of the world. The space, time’s counterpart, we use to see the external world (Kant).
In many cases, visual art gives a hint of overlapping between space and time, touching our inner sense of transience or continuance through the external, visible world. Parameters such as perception, barely visible change, whether in tempo, whether in the dynamics of image or sound, wake up our inner counter and enable the observer to respond to the known sense of time-lapse, that according to Aristotle is inscribed in our memory. The perception of time is especially impinged upon by the works that represent movement or are movable themselves (video, film). This exhibition contains several such works. However, we shall not go into them for the reason that the exhibition’s motif lays somewhere else entirely. The author of the exhibition’s concept, Emanuela Santini, does not posit time as either a visual problem or task. Rather, her impulse lays with providing artists with motive for communication during the crucial period, after they leave the educational institutions. If time is a form of self-observation and self-reflection on a journey to the self-consciousness (Kant) and if art is the only authentic relation to oneself (Heidegger) than twenty six (26) authors coming from various educational formats and cultural milieus are a sufficient sample to answer the question: What are we going to do with the time after?
Sabina Salamon
April 2011
ponedjeljak, 25. travnja 2011.
RACHAEL ALLEN
Untitled (mortuary table), 2011, mixed media, 110 x 42 x 50 mm
Miniature model making and drawing provide a stage for the exploration of mortal existence, where the fine line separating youth and age, birth and death highlights our vulnerable condition as human beings. The intimate juxtaposition of birth and mortality resides in familiar miniature objects; sentimental in relation to childbirth and juvenile times or with reference to debilitating age, illness, disease and death. They speak about our irreversible, inevitable journey from ‘the cradle to the grave’ and provide a platform for the projection of ones own authentic experience of true life. These objects nourish lived experience and are inseparable from the thoughts, feelings and associations anchored by them.
Rachael Allen was born in Derby in 1984, and currently lives and works in Newcastle. On achieving a first class honours degree in Fine Art at Cumbria Institute of the Arts in 2008, Allen has established her expertise in miniature model making and drawing, and has exhibited regularly since graduating. She began her artist career by being selected for the Northern Graduate 08 at The Curwen and New Academy Gallery in London, followed by several group shows around the UK and solo exhibitions, of which includes Bricks and Mortar at Bath University Gallery, DNA at The Vault in Lancaster and Breach Birth at Lime Street Gallery in Newcastle. Most recently in 2010, Allen was represented at the Newcastle and Gateshead Art Fair, achieving subsequent sales and further exhibitions nationwide. In addition to artwork sales, she is actively involved in miniature model commissions and various arts related community work, with her most recent project facilitated and funded by Newcastle Science City.
MAŠA BAJC
Untitled (Lakescape), 2010, video
Untitled (Treescape) and Untitled (Lakescape) are video loops constructed from still images. Long-exposure still photographs are reassembled non-linearly, transitioning into each other. Very slow and subtle changes play with the viewer’s perception by enhancing the illusion of stillness in the moving image and challenging the viewer to become still in order to sense the movement. Framing of a sequence is fixed as the element of light differs in each still and consequently becomes essential to breathing life into inanimate imagery: movement occurs as a function of changing spatial qualities of each layer rather than from their succession in time. Created video loops can be understood as fixed views (or projections) that are infinitely in flux. There is no marked beginning or ending, no visible credits or titles. The light itself circulates in Treescape: the very element that makes the image now stares back at us. In Lakescape, waves already annihilated with long exposures rise up and fall down on the horizon never reaching the shore, forever stuck “in between”. The wonder of moving stillness touches the quitness we find within ourselves.
Maša Bajc is a Croatian artist (b. 1980) who currently resides in Rochester, NY and works in photography, video and installation. She obtained an MFA degree in Imaging Arts from Rochester Institute of Technology. She has exhibited in solo and group shows both in Europe and US. Her photographic work was recognized and awarded in several international competitions such as International Aperture Awards, International Photography Awards & Prix de la Photographie Paris.
LARA BADURINA
SINEGDOHA 1, 2x šperploča: 1800mm x 1500mm x 60mm
Lara Badurina rođena je 1968. u Rijeci. 1993. diplomirala kiparstvo, Akademija Likovnih Umjetnosti u Ljubljani. 2003. magistrirala na Akademiji Likovnih Umjetnosti u Ljubljani. Uz samostalno(24) i skupno (42) izlaganje bavi se scenografijom i oblikovanjem svjetla (30). Od 2003. asistentica na Akademiji Primijenjenih Umjetnosti u Rijeci, odsjek kiparstvo.
ANNA BAKER
Cells, 2010/2011, paper and threads, dimension variable
Resulting from my research at zoos and various museum archives a series of works focussing on swarming are being developed. I am looking into synchrony and group behaviours of bacteria, insects, fish and some mammals. I am particularly interested in group happenings where the individuals appear not to directly communicate with each other OR communicate only to serve their own ends. This recent work explores positive and negative space. Repetition of marks in the form of hand drawn grids on neutral surfaces has become a feature and has led to a minimalist aesthetic. ‘Cells’ describes individual cells that make-up a piece of work which evolves according to its location. The piece can grow or shrink depending on where it is installed. The work covers an entire wall or floor space and echoes the natural order of the inner workings of a living organism whilst describing its ever evolving nature. Central to the production of my work is my fascination with exploiting the potential of commonplace materials, such as lining paper, cooking oils, vinegars and candle wax; substances that are inexpensive, easily accessible and of a domestic nature. The familiarity of the materials, coupled with the ambiguous and sometimes alarming effect of the collective helps me question the power of group endeavour.
Anna Baker studied at Cardiff School of Art and Goldsmiths College, London. She is currently completing an MA in Fine Art at Camberwell College, London. Her work has been shown across Europe and China. She has received a number of awards including The Eleanor Hipwell Prize for Fine Art and The Dulcie Mayne Stephens Travel Award. Most recently Anna has been awarded residencies at Flat Time House, London and Frans Masereel Centrum, Belgium.
ANIA BAS
Audiences Actions, 2011, black pen on a variety of surfaces (floors and walls)
Ania Bas is an artist that works with people not canvas. Through her practice she tests methods and processes of collaboration and participation and her work is both research and production based. Bas explores the art of everyday life and involves everyday people in investigations of human connection with place using an inter-disciplinary approach. The work is co-made and takes diverse forms ranging from live events, tours, publications, installations, video and photography to eating cakes and sipping tea. Bas acts as a catalyst, a facilitator, a host, a service provider, a support structure, an administrator, a waitress, a producer – in short an artist.
Ania Bas is an artist, curator and developer of arts projects. Bas worked with a number of art organisations, institutions and businesses: funder and curator of Natural House Project (2007), resident artist in Vestas Blades in UK (2007) and Labein Tecnalia in the Basque Country (2008), arts events curator at KUBE gallery (2008 – 2009), Whitechapel Gallery artist in residence (2010), Very Public People project initiator (2010), member of the Laundry Association (West Midlands, UK). Currently she lives in London, UK.
JUSTINE BLAU
The Circumference of the Cumanán Cactus, 2010, Photography, Duratran Lightbox (Series of 9), 1200 x 900 mm
With the support of the Ministère de la Culture, de l'Enseignement supérieur et de la Recherche, Luxembourg
Justine Blau is a visual artist working between London and Luxembourg, creating works that explore the visual language of photography and its usage in its vernacular context. She is also interested in the influence of culture and how it shapes our habits and our environment. Her works borrow from the world of spectacle, museums artefacts and the realm of childhood. Following a recent MA at Wimbledon College of Art, University of the Arts she has been developing works concerned with the yearning for exoticism and foreignness encountered in the West, looking into the ways it is conveyed through culture, the media and tourism. Her work has been exhibited around Europe with recent exhibitions including Ecotone, CNA (Centre National d’Audiovisuel), Luxembourg, Moving Worlds, Carré Rotondes, Luxembourg, Studio, Künstlerhaus Bethanien, Berlin, ALT+1000, High Altitude, photography in the mountains, Rossinière and Normalcy Bias, Listros Gallery, Berlin. She has co-curated shows in Luxembourg and the UK; and is one of the founding members of ArtRole, an organisation developing cultural exchanges between the Middle East and the United Kingdom.
Justine often uses photography in her practice, as she is am drawn towards the medium’s complex relationship with the real and its ability to bridge fiction and reality. She is interested in its vernacular use and history. She tends to place the medium in relation to ancient illusionary and optical techniques such as panoramas, dioramas and peep- show theatres, interested in establishing a comparison between old illusionary practices and today’s concerns on the simulacra. Her current work is concerned with the process of traveling and our yearning for exoticism, she uses fabricated images and narratives that each location carries to create complex montages and collages that simulate a landscape, taking the shape of large sculptures and photographs. Her work refers to an archetypal place, alluding to the myth of origin and our conception of virgin territories. The Circumference of the Cumanán Cactus is an invitation to the voyage. Originally a
commission for Manchester Piccadilly Station, Metrolink platform, the work constitutes of a series of nine images featuring wild and exotic landscapes of far-flung territories. These natural environments bear little signs of human presence, hinting towards the possibility of an untouched land, in its primal state. What at first appear to be picturesque views of sunburned deserts, lush jungle and puffing volcanoes, are actually constructed fantasy worlds created by means of photographs found on the web. The images are three-dimensional collages of cutout photos, photographed, creating an optical illusion. The pictures, by their very nature,
sway between the worlds of reality and fiction, culture and nature. They mimic the
visual language of tourism billboards, playing with the striking imageries associated to travel, fulfilling our thirst for exoticism and our quest for paradise-like places, devoid of signs of modernity.The project is also an exploration of visual imageries connected to the very act of 'traveling'. The images take as inspirations, drawings and paintings made during expeditions to new worlds, with the like of Columbus and Cook, a time when Europeans started trawling throughout the world in search of new territories. Visual accounts from the outside world steadily returned to the homeland by travelers avid to share what their eyes had seen; these images becoming part of our collective imagination, shaping our views of foreign lands. This tradition has persisted until nowadays, with the 18-19th centuries' scientific expeditions under figures like Darwin and Humboldt, the European Grand Tour by romantic painters and writers and modern tourism and the holiday snapshots. The works is concerned with the representations of the ‘outside’ world when returned
'home', these images working as testimonies and scientific proofs, but also as exotic
memorabilia or subjects of myths.
ANNA CHAPMAN
Soundmarks, mix media installation, 2008
Anna Chapman is an artist based in Edinburgh University of Edinburgh and Edinburgh London
‘My approach to making work has to do with the state of being speculative, and involves a basic curiosity about how art gets made. I use a variety of media and generally begin with collecting material information out in the street or at a particular site, either using drawing, note-taking, a camera or sound recording device or by literally bringing found materials into the studio. In the studio a work may come about through small reformulations or juxtapositions to this captured information. This involves some sort of transfer of what I have collected across media in a particular way - for example breaking down a camera pan into a series of screen prints, or enlarging a collection of pencil marks into three-dimensional models. Such transfers entail losses, gains and distortions to the original material information, according to the particular characteristics of the medium/media involved. In the process gaps occur, leading to new possibilities for both the realisation and reception of the work. The end-form of the work may vary from a small pencil drawing to a sound installation, but in each case involves in some way a feedback loop between the medium used and the content it is carrying. I see this as a two-way exchange of information whereby the fragility and limitations of each artistic medium contribute essentially to what is conveyed.’
www.annachapman.co.uk
CORINNE FELGATE
Deficit Denier, 2010, synthetic hair, glue, hairspray, felt, silk, bias ribbon, wood,
250mm x 250mm x 450mm
Sculptor Corinne Felgate was born in London in 1984 she has both Italian and
Armenian heritage. She studied linguistics, and then later Fine Art at University
College London and went on to graduate with an MA in Sculpture from Wimbledon
College of Art in 2009. She has exhibited extensively in London, and the U.K,
Germany and in Slovenia and has works held in the U.K Government Art Collection. Her work focuses on linguistic conceits and the use of objects as sociological
artefacts. Her work is playful, often requiring the acquisition of obscure skills, toying
with the margins of human error and the comfort of repetition. She has produced public Sculpture for Islington Council and works as a visiting
lecturer/ speaker at London institutions including the Victoria and Albert Museum and The Tate Modern and has worked on Art education projects with English Heritage & The Courtauld Institute. She is currently working on a commission for the National Gallery.
ZDRAVKO HORVAT
Typematic Self-portrait, 2008 - work in progress, drawing
Ova serija autoportreta rađena je prema fotografijama koje potvrđuju identitet (osobna karta, putovnica, vozačka dozvola...), te ostavljaju svojevrsni zapis nečije egzistencije. Između izrade svakog autoportreta postoji pravilni razmak od 5 godina (1989., 1994., 1999., 2004., 2009... idući autoportret bit će izrađen 2014.), radi utjecaja vremena vidljive su fizičke promjene na vanjštini autora (odrastanje, sazrijevanje, a u budućnosti i starenje = utjecaj vremena, prolaznost). Crtež na papiru je svojevrsna želja za ostavljanjem traga vlastite egzistencije, a brisanjem tog crteža (poništavanje samog sebe) autor niječe svoju egzistenciju odnosno on ukazuje na paradoks čovjekova hvatanja tračka „aktualne egzistencije“. Djelo je proces koji će trajati tokom cijelog autorovog života, a bit će dovršen tek kada umre.
Zdravko Horvat rođen je 1980. godine u Zagrebu gdje je završio Školu primijenjenih umjetnosti i dizajna. 2007. diplomirao je na Akademiji likovnih umjetnosti u Zagrebu (grafički smjer) u klasi profesora Ante Kuduza. Studijski je boravio na Le Quai école supérieure d’art de Mulhouse u Francuskoj, a dva puta mu je dodijeljen rezidencijalni boravak Kunstenaarslogies u nizozemskom gradu Amersfoortu.
KSENIJA JURIŠIĆ
Voice, 2010, video
Kroz krupni statični kadar ženskog lika snimljenog ispod površine vode u koju je preko usana uronjen, pratimo neverbalno iznesenu kratku biografsku priču. Nekoliko rečenica iz dijaloga sa starijom osobom prenesene su dvoručnom abecedom za gluhe osobe koja se koristila i u širim društvenim skupinama kao način komunikacije u situacijama poželjne tišine ili prisilne šutnje. Praznim crtama u tekstu naglašene su izostavljene riječi kao dijelovi koji nedostaju ili manjkaju u komunikaciji. Egzaktan slijed neispisanih riječi odaje način kojim bi se razvijala produktivnija komunikacija. Skriveni sadržaj samog teksta referira se na položaj pojedinca nečujnog glasa u suvremenom društvu. Tradicionalna manualna naracija integrirana u nijemi video uradak vremenski zbližava načine komuniciranja, čime problematizira učestalo pitanje prednosti i mana suvremene komunikacije. Problem se nerijetko objašnjava posljedicama metoda i medija izmjene informacija tehnološke ere, zanemarujući druge aspekte i uzročnike istog problema.
STEFANO KATUNAR
5m2, 2009-2010, paper sculpture, 5 x 5 x 5 m
Riječki umjetnik predstavlja svoju viziju intimnog prostora u kojoj sugerira sobu u kojoj svaki čovjek može pronaći mir. Rad zaista može biti soba svakog posjetioca jer se svima pruža prilika da ostavimo trag našeg posjeta. Obični svakodnevni predmeti, od stolice do lampe, umotani su u mekani sloj papirića izrezanih iz različitih tiskovina. Sam materijal papira daje mogućnost da se interakcijom mijenja, nastaje šuškanje koje stvara zvučnu kulisu vizualnom doživljaju, ostaju tragovi nagnječenja, promjene u pigmentaciji materijala pod utjecajem svjetla ili čak može doći do kidanja samog papira. Papir više nije novina, više nije ni smeće, više ne služi za reckliranje, on postaje zaštitni omotač koji sakriva, ali istovremeno i daje bezbroj slika. Svakodnevni predmeti postaju isti po površinskom sloju, više ne vidimo razlike u materijalima, sve postaje jednako osjetljivo i zapravo privlači gledaoca da ih dotakne.
Mladom kiparu papir je oduvijek bio zanimljiv medij i uvijek iznova pokušava oživjeti bezbroj uloga koje papir nosi. Čitavi rad nema konkretan završetak, ono će uvijek oživljavati stvaranjem i dodavanjem novih predmeta, tako da je ovo djelo samo isječak u vremenu kontinuiranog stvaranja i fascinacije temom. Krhkost materijala je zapravo u opreci sa svim naslovima koji nas bombardiraju dok čitamo novine, ali tu kao da se sve informacije poništavaju i ukidaju samim činom rezanja. Ritual ponavljanja, tj. slaganja 500 000 komadića papira na elemente koji čine nečiji intimni prostor je i meditativan način na koji umjetnik stvara unutarnji monolog kreativnog čina. (Iva Divić)
Stefano Katunar ođen je 1984. u Rijeci. Trenutno je na poslijediplomskom studiju pri Akademiji za likovno umetnost in oblikovanje u Ljubljani, smjer kiparstvo u klasi prof. Matjaž Počivavšeka. Djeluje kao scenograf od veljače 2008. Diplomirao 2007. godine pri Akademiji za primijenjenu umjetnost u Rijeci na odsjeku za kiparstvo u klasi akad. slik. i kip. Josipa Diminića. Član HDLU-a od 2009. godine.
YOON JUNG KIM
Snap Fasteners on A4 Paper, 2009, snap fasteners, thread, A4 paper, sign holder, 21.7 x 30 x 10 cm
YoonJung Kim is a Korean artist based in London. She completed MA in Sculpture at Wimbledon College of Art in 2008. Her work is often characterized by the utilization and transformation of ubiquitous materials through labour intensive process.
My practice often involves an investigation into process and repetition. I have principally used materials that could be described as familiar, mundane and functional in my work – for example snap fasteners, string, A4 papers, tags, stickers - but that could contain a secondary reading when used out of their intended context. The relative significance of these materials could be perceived as diminished by their status as being ordinary. Familiar materials contain the potential to be transfigured into the non-familiar by repetitious process. The application of a prescribed, repeated process to a material generates a new form. The realization of this form is entirely dependent on the process of its manufacture. Moreover, although actions are intangible, a process that generates a trace generates an object – actions can become tangible. A simple repetitive act can render the ordinary extraordinary.
PIPPA KOSZEREK
Planting Strategy, 2008, printed brochure (folder & 3 booklets)
The Unasked-for Public Art Agency is an organisation as artwork that blurs the boundaries between usefulness and futility. Nominating itself as consultant for specific institutions it develops logical and realistic plans for illogical ends.
Pippa Koszerek is an artist, writer and curator based in London. In 2008 she graduated from the MA Fine Art (Sculpture) at Wimbledon College of Art, University of the Arts London. She makes work in response to specific contexts and is interested in the blurring between art and non-art environments. She borrows materials or ways of working from other vocations. In 2010 she adopted shorthand and minute-taking as her primary artistic tools developing an ongoing series of text-based works and participatory performances. Pippa’s early works responded to public sites and their specific social and cultural contexts. She aimed to surprise, discomfort or introduce a magical element into everyday journeys. She changed the character of sites by appropriating them as stage sets through which the unsuspecting passer-by became a performer. Through exploring the performance moment in everyday life she has developed a practice based on art as an intervention.
MIRNA KUTLEŠA
Red Forest, dyptich, 2009, oil on canvas, 150 x 240 cm
My artistic interest is directed towards the heritage of figuration in the contemporary painting. It deals with image as framed piece of content from the visual environment, whether the frame consist of a photograph, movie still, language, or live experience. I’m interested in scenes that have its anchorage in the field of mental space: memory and the subconscious, and develop themselves throughout atmosphere or a possibility of more different readings, in making a structure of many meanings by super positioning visual layers. It is a game between personal situation and a found one. In my paintings there are often a recognizable general references confronted to filtered personal information. What I’m interested in this process is balancing in keeping the story closed and open at the same time.
Mirna Kutleša rođena je 1980. u Rijeci. Završila je Srednju školu primijenjene umjetnosti i dizajna u Zagrebu, a 2004. je diplomirala slikarstvo u klasi profesora Igora Rončevića na zagrebačkoj Akademiji likovnih umjetnosti. Kroz slikarstvo i crtež istražuje višeslojnost vizualnih kodova baveći se načinima na koje književnost, film, humanističke i prirodne znanosti sudjeluju u konstruiranju značenja i naracija. Sudjelovala je na više radionica i kolonija te 2006. boravila na rezidencijalnom programu Cité des Arts Internationale u Parizu. Izlagala je na brojnim skupnim i samostalnim izložbama u Hrvatskoj, a s radom Smetnje u komunikaciji sudjelovala je 2009. na Biennalu mladih Europe i Mediterana u Skopju. Za diplomski rad Autoportreti primila je nagradu ALU, a radovi joj se nalaze u zbirci Erste Fondacije te zbirci Muzeja moderne i suvremene umjetnosti u Rijeci. Članica je Hrvatske zajednice samostalnih umjetnika od 2009.
MAJA MARKOVIĆ
The Happening, 2009, drawing, pencil, wood color and self-adhesive foil on paper, 1000x700mm
"The Happening" (100x70cm, 200x130cm) is a series of drawings with depicting scenes where I can not specify the time and place. Images come from my vague memories: the landscape of events is fixed, and movement of clouds and changes in light indicate distorted perception of time.The event is again each time: there is uncertainty of the following scene. My aim is to reconstruct the kind of anxiety we feel in our dreams.
Outline specified architecture (scenes) is in service of the sudden separation of plans, while space remains between the planar and strong perspective. At the same time, inserted black silhouettes of people and
dogs are in the function of approaching the scene to "real". Architecture is unnaturally combined with nature (in the construction of new suburbs, abandoned houses, industrial buildings ...).These drawing are my continuing preoccupation with plans and maps, as well as my interest in architecture, set-spaces that contain uncertainty and indefinite (imaginary) time...
Maja Markovic has completed her education at School Of Applied Arts and Design in Zagreb in 1999. In 1999. she enrolled Fine Arts Academy in Zagreb. She was granted with CEEPUS Student Exchange Stipendy for spending three months in Ljubljana at the Fine Arts Academy (Design department in the class of prof. I. Paik). Currently she is completing her studies at Fine Arts Academy in Zagreb, in the Class of Painting (prof. Ante Rasic). She was born 1979. in Zagreb. She is a memeber of Croatian Association Of Artists and Croatian Freelance Artists Association. Lives and works in Zagreb.
www.markovicmaja.blogspot.com
RUTH MARTINDALE
Rope Making in London, 2008, Leaf Ropes
Ruth Martindale is a visual artist based on South London who graduated with an MA from Wimbledon College of art in 2008. Her work investigates our relationship to a place and to the natural world, focussing on plants, agriculture, growing, gardening, folklore, and manufacture using plants as raw materials. She is also fascinated be the history and myths surrounding individual plants and the places they grow and how we view those places. Ruth has exhibited across the UK and undertaken several residencies the most resent of which, was a drawing project called, Proposal for an Urban Farm in Stoke on Trent. This residency has led to a group of local people coming together to form a group called Stoke Town Growers to take the project further and develop various projects about growing with a long term aim of developing a community market garden.
Ruth Martindale’s work investigates our relationship with the natural world and particularly our relationship with plants, agriculture, and manufacture using plants as raw materials. She is interested in biodiversity and agriculture, including issues surrounding sustainability, the importance of plants in medicine and in feeding our growing population. Ruth is also interested in the histories and myths surrounding individual plants and the places they grow. She investigates the traditional uses of plants and there acquired history and folklore, often referring to the common or folk names of the plants and how an object made from that plant can reflect that history as well. In her work Ruth also explorers how our perception and knowledge about of a specific place, its history or images we have seen of it, affects how we experience it today, using drawing to suggest an idea or document an event that can be real, exaggerated or totally invented.
SONIA Paço-ROCCHIA
Installation sur le Slinky version pour la Croatie, 2011, interactive sound installation, 30cm x 20cm x 4m
After the first version of the installation, in 2004, a research on the slinky in 2004 and performances of Sans Escalier, piece for slinky solo from 2003 to 2011, an exhibition in London of a new version of the installation last summer the Installation sur le Slinky series continues now here, in Croatia. Please do touch. If you use the handle you can make the slinky dancing and singing. Listen to it, try to get new sounds. Make it move, see its way to dance. Dry little chocks will make the sound I prefer.
Sonia Paço-Rocchia is a young artist who took a degree in Instrumental and Electro-Acoustic Music Composition from the Université de Montréal after a double collegial diploma in natural sciences and music. She studied composition with Michel Tétreault, José Evangelista, Michel Smith, Michel Longtin and Jean Piché. Her work has been presented in Québec, Alberta, England, Scotland, Ireland, Belgium, France, Serbia and Germany. She enjoys composing for non-conventional instruments (CAM, for seven bus-card players, 2001; Sans escalier, for solo slinky, 2004; Pedalling Under London's Clouds, bicycle solo and projection, 2008), and she readily incorporates improvisation and theatrical action into her pieces (Improvisation sur les cinq sens, for piano, soprano, cello, percussions, tape and real-time processing, highland pipes and toy motor-car, 2004; Eau, for soprano under the shower and processed water, 2005). As she is interested in emerging technologies, she does not hesitate, when artistically necessary, to incorporate live electronics into her works (Soupirs, for clarinet and accompanying electroacoustics, 2005; Il temps-te, variations and improvisations for cornet, trumpet, trumpet piccolo, flugelhorn, sounds which move in space and stage actions, 2006). She has participated in workshops on sensors, Max/MSP and FTM, at iRCAM in Paris, and more recently in an interface workshop by Numediart, in Belgium. She performs/improvises using a myriad of readily available sound-makers, invented instruments, voice and/or bassoon, along with live electronics through gesture-based interfaces which enable her to perform using her body movements freely (Commentary, an half improvised solo performance for bassoon, live electronics and theatrical live art, 2009). She plays solo and in different ensembles, including the London Improvisers Orchestra a large conducted and free improvisation professional ensemble. Sonia Paço-Rocchia is very interested in the sound installation medium (Installation sur le Slinky, up to 40 different instruments made with slinkies, 2004; S'enfeuiller, l'installation, live art, lighting and interaction with the public, 2006). She exhibited her work in Québec, England, Ireland and now, Croatia.
EMANUELA SANTINI
Emanuela Santini is Croatian based artist, born 1976 in Pula. She finished her BA at University of Rijeka, Department of Fine Arts and specialized in Printmaking. She has graduated with an MA in Fine Art at University of the Arts London, Wimbledon College of Art in 2008 (MA Drawing). She has participated in many national and international group and solo shows and presented her installations and collaborative work. Santini is exploring an expanded notion of drawing, using sound; photography and video where relevant to create time-based sketches and glimpses into moments that have been captured by her own photo-camera.
Her recent work is mostly related to the memories of places, people and events closely linked to her everyday life. She is interested in narration, in telling the stories and her main concern is how to transfer a thought and an emotion into a visual diary in a variety of media. All of the images in her recent artworks are based on her private collection of photographs and have been used as a stage setting to bring back moments and to tell a story about personal relationships.
Emanuela lives in Rijeka and works as an tutor and technitian at the Academy of Applied Arts in Rijeka, Croatia.
'My practice is about memories of places, people and events; about everyday life and how an emotion can be transcribed into a visual narrative. Through drawing, collages and photography I isolate incidents, re-conveying them as a story. I take photographs incessantly and then carefully and systematically wade through them to find those that can be used as a stage setting to bring back moments, that conjure up drama's about relationships. I am concerned with questions about the representation of autobiographical moments, distortion and truth. I am interested in how new places can conjure up subjective memories and how the alien can feel familiar in uncanny ways.'
DARIO SMETIŠKO
Postanak, 2010, Instalacija
Plinije Stariji ( Caius Plinius Secundus ), rimski prirodoslovac i pisac u znanstvenoj enciklopediji „Naturalis Historia“, govori o početnom karakteru vizualnog prikazivanja. Pokazuje na činjenicu da porijeklo slikarstva i kiparstva nije bio plod direktne opservacije i njegovog reprezentativnog prikazivanja već fiksna projekcija u realnom prostoru pomoću svjetlosnog izvor te iscrtavanje sjene na površinu.Problematika u Plinijevom primjeru, između druge i treće dimenzije, odnosno slike i skulpture, odražava se na vlastiti stvaralački duh realizacije umjetničkog djela kao kiparskog čina u cilju pronalaska slikarskog prikaza u interaktivnosti fizičkog tijela i projekcije. Prostor i svjetlost kao umjetnički mediji čine osnovicu istraživanja. Rad se razvija u odnosu matematičkih koordinata prostora X,Z,Y, te u vezi prethodnih iskustava, definiram strukturu dispozicije oko koje instalacija dobiva finalnu formu.Radi se o osmišljenoj dispoziciji u kreativnom i invencioznom smislu. Dispozicija stvara svjetlosne zrake, realizira različite oblike u zajedništvu autentične optike, određuje dimenziju projekcije, uvjetuje percepciju prostora i otkriva mnoštvo simboličkih konotacija. Kompozicija na površini prostora se sastoji od kruga u pozitivu i negativu stvarajući dvoslojnu projekciju ovalne forme. Uz navedenu kompoziciju, djeluje i dekompozicija u interaktivnosti gledatelja mijenjajući dvodimenzionalni prikaz (krug) u trodimenzionalnost (sfera). Učinak i doseg instalacije „POSTANAK“ jest u njezinom estetskom i perceptivnom dojmu na gledatelja koji pri opažanju i sudjelovanju ponuđenog interaktivnog i svjetlosnog zbivanja pozvan da izoštri vlastite perceptivne i kognitivne sposobnosti.
Dario Smetiško rođen je 1976.godine u Zagrebu. Diplomirao je francuski jezik 1999.godine na Fakultetu humanističkih znanosti Marc Bloch u Strasbourgu. Iste godine upisuje studije na Ecole d'art de Mulhouse, na kojoj diplomira likovne umjetnosti 2003.godine. Likovni odjel na Ecole des arts decoratifs de Strasbourg polazi od 2003. do 2005.godine i stječe diplomu likovnih ekspresija.Izlagao je na više samostalnih i skupnih izložbi u zemlji i inozemstvu.
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