A house is a house. A home. A measure. An island. An experience. An inheritance. A loan. A property. A community. A life goal. An image that never existed, or one that suddenly disappears without a trace. But what is a house without a person? Still a house, it would seem. What is it that gets labelled, archived, conserved when someone’s private space becomes a museum? What connects the protocols of protection, touch and care in the case of a private house and a public institution?
On-line exhibition and book: https://anahusman.net/sintart14/#
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On the occasion of the 100th anniversary of birth of Dimitrije Bašičević Mangelos (1921 – 1987), the exhibition Documents of an Experiment will be opened at the Vjenceslav Richter and Nada Kareš Richter Collection.
The exhibition’s title has been drawn from one of Mangelos’s works produced in the blackened catalogue of the group EXAT 51 – whose co-founder and member was also Richter – in which this artist expressed his attitude towards their 1953 exhibition at the Association of Architects, which he supported with his critical and theoretical work.
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This retrospective exhibition, to mark the centenary of the birth of Ivan Kožarić (Petrinja, 10 June 1921 – Zagreb, 15 November 2020), is just one out of many possible ways to present the work of a completely uncharacteristic and thus exceptional artistic personality of recent Croatian and European art. From the very beginning of his journey in art he rejected the petrified art language of any recognized version of style and tirelessly sought for the best way to materialise his artistic thought – his idea. “If a work has an idea,” he said, “it has everything, it has life.” In this spirit, he took a stance of disagreeing – not only with the conventions of the profession or with any form of dogmatism – but also with himself, deciding just as firmly to start from scratch every day.
Instead of a fixed, forever completed aesthetic object, he supported the open work, the principle of processuality, which came to expression as an articulated artistic stand which he materialised in numerous processes, also including radical gestures of denying and annulling his own past in the name of what was yet to come. By reversing the system of values through the alchemy of transforming “rubbish into gold”, using strategies of recycling, appropriation, placing works in new constellations… Ivan Kožarić continuously kept alive issues about the nature and boundaries of art as something that is “ever elusive” and is “always something else”.
The oeuvre of this artist, who managed to be anachronistic and completely contemporary almost in parallel, sometimes even anticipating trends in art that were yet to happen, can be accurately summarized in the words “anarchical discontinuity”. This retrospective does not underline it by creating a new discontinuity, by reiterating what had taken place quite naturally and has been recognised as the main substance of Atelijer Kožarić – the place where it all began. The concept of this retrospective moves in the opposite direction, it is an attempt to present his work through the continuity of discontinuities – by establishing as precisely as possible the sequence of sudden changes that took place on that artistic path almost seventy years long.
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The project Cinematographies of Resistance lead by curators Dina Pokrajac and Leila Topić as a joint venture of Subversive Festival and Museum of Contemporary Art Zagreb for three years running, presents film authors whose oeuvre emerges on the crossroads of contemporary art and film strategies and practices, combining the expressive possibilities inherent to art house film, essay film and openness to experimentation.
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On Tuesday, June 1, 2021, the exhibition Recycled News by Polish artist Jarosław Kozłowski opens at the MSU Gallery. At 6 pm Kozłowski will give a presentation: "On painting and politics.”
Recycled News is a long-term project by Jarosław Kozłowski that focuses on the policy and criticism of news media. The exhibition consists of hundreds of newspaper pages from different parts of the world, which the artist has painted over with watercolors. The exhibition spotlights the media and the differences between news and its presentation. News is most often recycled, and the speed with which information is spread is inversely proportional to its reliability.
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SofijaSilvia has decided to name her exhibition Equilibrium, i.e. balance. Why Equilibrium? Because of the fact that the exhibited photographs, selected among her recent cycles such as Urban Animal (started in 2004), Pulsations (2015), About to Leave (2017), Dust to Dust (2018) or Sound of Water (2019) oppose the idea of a dualist division of our world into ‘nature’ and ‘culture’. By choosing subject matters which defy the anthropocentric logic of the early 21st century society, SofijaSilvia’s photographs underline the fact that the dimensions of the ‘natural’ and the ‘artificial’ are irreversibly and permanently interwoven, and in their connection SofijaSilvia seeks balance.
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We kindly invite to the SintArt exhibition From Top to Bottom on Thursday, January 21, 2021, from 5 pm to 8 pm at Richter Collection.
The story of the legendary Zagreb firefighter Matija Juričić is the basis of the artistic work of Ištvan Išt Huzjan, through which he explores his own family history, observing it not only in a personal, but also in a symbolic way. The story of the famous Cathedral-Man, a relative who realised his noble life dream of saving people in danger, is preserved in the family history of Ištvan Išt Huzjan. In the 1930s the unemployed carpenter Matija Juričić, in order to show a high level of physical fitness and agility, climbed the tower of the cathedral and perform acrobatics. However, due to the strong wind, Juričić could not stay on the tower for long, and after a few poses started to climb down. Juričić's descent was accompanied by huge applause from the gathered crowd of citizens, but he was taken to the police station accompanied by a police officer. Matija Juričić's greatest desire was soon realised and he was employed as a firefighter.
The exhibition To Be Continued… Comics and visual culture in Croatia sets the so-called Ninth Art of comic strips, cartoons and graphic storytelling in its European and international context, bringing together its history, evolution, and canonical authors. The exhibition examines the way in which perceptions of comics have changed over time, the role of comics in shaping popular and mass culture, and the professional and personal networks within which comics are created and find their way to the audience.
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The exhibition “Dream Catchers“ gives an overview of the contemporary marginal/outsider art and art brut scene in Croatia and Serbia.
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Radenko Milak is a young artist from Banja Luka with a distinguished international career who represented Bosnia and Herzegovina at the 58th Venice Biennale in 2017 with the project ‘Universe of Disaster’. For the exhibition at MSU, Radenko Milak will produce completely new series of drawings, large composite murals and scenes as well as several new film animations. This will be their first showing.
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