The Museum of Contemporary Art Zagreb



Museum of Contemporary Art Zagreb, 20 December 2017 – 11 March 2018.

Never accepting completeness, being willing to always start from the beginning, using dynamic processes of retailoring and relocation in order to strip his own works of the aura of untouchability, transforming "garbage into gold" and vice versa; the artefacts in Kožarić's Studio often got a chance at a new life.

In the performative gestures of a much younger artist, Vlatka Horvat, which are often enacted in situ, through the ever shifting dynamic relations between architecture, the body and objects, but also speaking to a wider context, it will not be difficult to recognize points of connection, even resonance. The works in the exhibition “Extensions” – as well as many of the artist’s earlier ensembles – were mostly created using rejected, dysfunctional items."By modifying and adapting these found objects it is as if I’m extending their expiry date, whilst at the same time literally spatially extending or repeating some element of their form, or some aspect of the space they occupy," says the artist. "I am drawn to the ways in which objects ‘improved’ in this way embody a kind of a paradox – they are extended or enlarged in space, but this process of expansion simultaneously compromises their function, transforming them from usable, 'useful' items into puzzling objects caught in the processes of concurrent fragmentation and multiplication.”The purpose of these performative gestures is a transformation that creates a certain tension and activates imaginative processes in multiple directions, both emotional and associative. Objects that were in their former life associated with acts and conditions of ascent, rest, fitting-in and adapting... through these artistic gestures which emphasise some of their key spatial or functional features using a set of witty do-it-yourself strategies, appear here as absurd reminders of an almost existential state of stuckness, marked by an inability to hold on to things or to put them in order, so that we may finally get going, or else, stop.

Vlatka Horvat (born 1974. in Čakovec) works across a wide range of forms, namely sculpture, installation, drawing, performance, photography, and text, presenting her work in various contexts – from gallery spaces through theatre and dance festivals to the public realm. She has had solo exhibitions at Renata Fabbri (Milan), Wilfried Lentz (Rotterdam), CAPRI (Dusseldorf), Zak|Branicka (Berlin), Museums Sheffield, Disjecta Contemporary Art Center (Portland),MMC Luka/Galerija SC (Pula/Zagreb), annex14 (Zurich), Boston University Art Gallery, Rachel Uffner Gallery (NYC), Bergen Kunsthall, and the Kitchen (NYC), and has realized solo projects for Volt (Bergen), Marta Herford Museum (Herford), October salon (Beograd), Bunkier Sztuki (Krakov), Kunsthalle Osnabrück, Stroom (Haag), MoMA PS1 (New York), MGLC and Galerija Škuc (Ljubljana) and the 11th Istanbul Biennale. She holds a BA in Theatre from Columbia College Chicago, an MA in Performance Studies from Northwestern University, and a practice-based PhD from Roehampton University in London. Vlatka’s work is represented by annex14 (Zurich), Renata Fabbri arte contemporanea (Milan) and Rachel Uffner Gallery (New York).After 20 years in the US, she’s currently based in London where she teaches at Central St Martin’s academy.

The "Laboratory for Reviving“ exhibition cycle has been held every year since the Kožarić Studio moved from Medulićeva Street 12 to the Museum of Contemporary Art. Artists or curators present projects that find an origin, inspiration or a link in the rich holdings of the Kožarić Studio, a space the artist himself described as a laboratory for reviving. So far the following artists have participated in the programme: Darko Brajković, Vaast Colson, Kristina Leko, Antun Maračić, Vlado Martek, Kata Mijatović, Zoran Pavelić, and the curator Vladimir Čajkovac.

The Kožarić Studio’s “Laboratory for Reviving“ programme was realized with the financial support of the City of Zagreb.

Exhibition curator: Radmila Iva Janković

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