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.

www.pippakoszerek.com

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.

www.kutlesamirna.blogspot.com

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.

www.ruthmartindale.com

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.

www.musinou.net

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.

Plinije