The exhibition 8th Floor combines the architectural heritage of Zagrebian skyscrapers in the district of Vrbik, popularly known as Rockets, and the introspective insight and visual poetics of photographer Jelena Janković. Vrbik Residential Towers, built in 1968 according to the project of the architectural bureau Centar 51, symbolise the urban development of Zagreb and combine brutalist aesthetics with functional modernist architecture. Even though this heritage is recognised by the wider public today as an influential creation of architect Vjenceslav Richter – hence the moniker Richter’s Skyscrapers – his collaborators on this project were also Berislav Šerbetić, Ljubo Iveta, and Olga Koržinek.
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Marko Tadić’s exhibition, as part of the Kožarić Studio - Reviving Lab Cycle, is also part of the Triggers Cycle, in which artists, activists, communities or associations, each in their own way, interpret museum collections.
The links between Marko Tadić and Ivan Kožarić are profound. Tadić, just like Kožarić, perceives his own work as a large abstract archive that speaks of itself mainly through the whole. Furthermore, he also underlines other components of Kožarić’s approach that meant a lot to him as an artist, namely, the overlapping of living and exhibition spaces, and treating the entire spectrum of material objects as art tools. Still, the deepest connection between them as artists is the constant urge to explore the world around them through play.
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The two main views of the future are often mutually exclusive; the first is based on progressive advancement and growth, while the other one sees this advancement and growth as a threat to the planet and all living beings. Already from these different views, we can conclude that the future before us is not a single one; rather, there are several possible futures and hence, we do not speak of a “future,” but rather of the “futures.”
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'Comradeship' exhibition is the second in a series called Collection as a Verb, which we are doing as a team, to redefine the concept of a museum and the social context in which it is located. After the the first exhibition – 'Sad Songs of War', about war and violence, 'Comradeship' opens up the themes of solidarity and compassion, the role of art and museums in improving the world. The word 'camaraderie' has the same root as society, and comrades are connected by affection, cooperation, connection with an idea or work.
That's why 'Comradeship' presents works from the collections of Museum's art collectives, as well as works by artists realized in cooperation with various communities. Ranging from today's canonized neo-avant-garde to recent participatory research, 24 artists and art collectives show the innovative ways in which they can contribute to change, and even improvement, both for individuals and communities.
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The first sequence of presenting works from the fundus of the Museum is conceived as an answer to the current situation. It is a desire to express solidarity and empathy with the country undergoing a tragedy similar to that which is still fresh in our memory. The exhibition was named after the sound work by the Lithuanian artist, Deimantas Narkevičius, produced in 2014 in the period of the first protests, unrests, and plights in The Ukraine, on the Independence Square in Kyiv.
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