Filip Trade Collection showcases 12 Croatian artists

FINALISTI ZBIRKA FILIp TRADE
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FINALISTS FILIp TRADE collection
FINALISTI ZBIRKA FILIp TRADE
Lovro Artuković ) Ivan Fijolić )
Ivana Franke ) Andreja Kulunčić )
Kristina Lenard ) Puma 34 ) Sofija Silvia )
Silvo Šarić ) Marko Tadić ) Nikola Ukić )
Zlatan Vehabović ) Silvio Vujičić )
FINALISTS FILIp TRADE collection

FINALISTI sadrzaj
Uvod ⁴ Introduction ⁶
Lovro Artuković ⁸ Ivan Fijolić ²²
Ivana Franke ³² Andreja Kulunčić ⁴⁴
Kristina Lenard ⁵⁸ Puma 34 ⁷⁰ Sofija Silvia ⁸²
Silvo Šarić ⁹² Marko Tadić ¹⁰² Nikola Ukić ¹¹²
Zlatan Vehabović ¹²² Silvio Vujičić ¹³⁴
Zbirka Filip Trade ¹⁴⁶ Filip Trade Collection ¹⁴⁷
Gradska galerija Labin ¹⁴⁸ Labin City Gallery ¹⁴⁹
Impressum ¹⁵⁰
FINALISTS content

FINALISTI uvod
Zbirka Filip Trade predstavlja svoje ovogodišnje favorite — dvanaest hrvatskih umjetnika
i umjetnica. Da je ovo limitirano Taschenovo izdanje, nazvali bismo ga Croatian Art Now!,
s podnaslovom Iz najveće privatne zbirke suvremene HRVATSKE umjetnosti.
Bez natječaja i bez prve nagrade, ovo je finale posljedica jednogodišnjeg rada Zbirke koja prati,
producira i prezentira hrvatske umjetnike mlađe i srednje generacije.
Rad mnogih umjetnika s ove izložbe Zbirka prati i podržava već niz godina; najduže
Lovru Artukovića, s kojim suradnju započinje prije deset godina, otkupom rada Dead Bunny.
Neka su imena prošle i ove godine po prvi puta ušla u Zbirku: Andreja Kulunčić,
Puma 34, Sofija Silvia, Silvo Šarić, Marko Tadić i Zlatan Vehabović. Danas Filip Trade broji više
od sedamdeset akvizicija ovih umjetnika, od kojih je devetnaest novih predstavljeno na izložbi.
Neke imate priliku vidjeti premijerno: Plač Lovre Artukovića, Interconnection
Ivane Franke, te Porinuće Titanika i Priča o Jacku Trbosjeku Pume 34.
Ovaj katalog izložbe sadrži intervjue s umjetnicima u kojima smo razgovarale o njihovom
stvaranju i prezentaciji, s naglaskom na izložene radove. Sve vizualne i tekstualne
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materijale koje nismo uključile u tiskani katalog prezentirat ćemo na web stranicama
www.finalisti.com. Prvenstveno smo željele stvoriti prostor privremenog susreta i razmjene,
u svrhu protočnije i neposrednije komunikacije radova, umjetnika i kustosa s publikom.
Pripremile smo i popratni program: povodom izložbe dolazi i najnoviji dokumentarac
Igora Mirkovića L.A. Nedovršeno, o nastanku slike Lovre Artukovića, izložene u Teatro
Circolo u Labinu.
FinAlisti su jedan u nizu pothvata Zbirke kojima ona prezentira raznolikost hrvatske umjetničke
produkcije danas. Prošle godine organizirala je izložbu U drugom filmu na Motovun film
festivalu, prije dvije godine projekt Linienstrasse113 u Berlinu, prije tri godine reviju dvanaest
umjetnika 12R37 u Komiži na Visu i izložbu Spremište u nekadašnjem TKZ-u u Zagrebu…
Ove godine predstavlja se i izložbom Why So Serious?, ponovo na Motovun film festivalu.
Mihaela Richter, Sabina Salamon i Vanja Žanko
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FINALISTS introduction
The Filip Trade Collection presents twelve Croatian artists — Its favourites for this year.
If this were a Taschen limited edition, we would have named it Croatian Art Now!,
with the subtitle FROM THE LARGEST PRIVATE COLLECTION OF CROATIAN CONTEMPORARY
ART. With no applications and no winners, this finale is the result of a year-long effort of the
Collection which monitors, produces and presents emerging and mid-career Croatian artists.
For years the Collection has followed the work of many artists at this exhibition, the
longest collaboration being with Lovro Artuković, after purchasing his piece Dead Bunny
ten years ago. Other names have made the Collection’s list for the first time in the last and this
year: Andreja Kulunčić, Puma 34, Sofija Silvia, Silvo Šarić, Marko Tadić and Zlatan Vehabović.
Today the Filip Trade Collection totals more than seventy acquisitions from these artists,
with nineteen new ones being presented at this exhibition. Some of them are having their
premiere showing here: Weeping by Lovro Artuković, Interconnection by Ivana Franke
and The Launching of Titanic and The Story of Jack the Ripper by Puma 34.
This catalogue includes interviews with the artists in which they discuss the process
of creating and presenting their work, focusing on the works at this exhibition.
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All the visual and textual materials not printed in the catalogue will be presented on the web
site www.finalisti.com. Our aim was, first and foremost, to create a temporary space of
meeting and exchange in order to facilitate communication between the works, the artists,
the curators and the public. The accompanying program that we have prepared includes the
latest documentary by Igor Mirković, L.A. Unfinished, about the making of Lovro Artuković’s
painting exhibited at Teatro Circolo in Labin.
The FinAlistS is the latest in a series of ventures by the Collection to present the diversity of
Croatian artistic production today. Last year it organized A different Motovun exhibition
at the Motovun Film Festival, two years ago the Linienstrasse113 project in Berlin, three
years ago twelve individual exhibitions 12R37 in Komiža on the island of Vis and the Repository
exhibition in the former TKZ in Zagreb… This year it will also display the Why So Serious?
exhibition at the Motovun Film Festival.
Mihaela Richter, Sabina Salamon, Vanja Žanko
7

Radovi bez naziva iz serije lice slike
izlagani su na izložbama —
bez puno priče, Galerija 01, Zagreb, Hrvatska, 2006.
head trip, Linienstrasse 113, Berlin, Njemačka, 2007.
najbolje slike, Galerija Klovićevi dvori, Zagreb, Hrvatska 2008.
gledati druge, Umjetnički paviljon u Zagrebu, Zagreb, Hrvatska, 2009.
Rad plač premijerno je izložen na ovoj izložbi.
Rad potpisivanje deklaracije o pripajanju zapadne hercegovine
i popova polja republici hrvatskoj (wer hat das bier bestellt?)
izlagan je na izložbama —
najbolje slike, Galerija Klovićevi dvori, Zagreb, Hrvatska, 2008.
deklaracija, Mađarski kulturni centar / bhc Kollektiv, Berlin, Njemačka, 2008.
—
fotografija — Fedor Vučemilović, Kristina Lenard
The works untitled from the face of the painting series
were exhibited at the following exhibitions —
not much talk, 01 Gallery, Zagreb, Croatia, 2006
head trip, Linienstrasse 113, Berlin, Germany, 2007
the best paintings, Klovićevi Dvori Gallery, Zagreb, Croatia 2008
looking at others, Art pavilion in Zagreb, Zagreb, Croatia, 2009
The work weeping is having its premiere showing at this exhibition.
The work signing of the declaration on the unification of western
herzegovina and popovo polje with the republic of croatia
(wer hat das bier bestellt?) was exhibited at the following exhibitions —
the best paintings, Klovićevi Dvori Gallery, Zagreb, Croatia, 2008
declaration, Hungarian Cultural Centre / bhc Kollektiv, Berlin, Germany, 2008
—
photography — Fedor Vučemilović, Kristina Lenard
Lovro Artuković )
finalisti finalists8

radovi works
bez naziva untitled
ulje na platnu oil on canvas
145 x 105 cm, 2006. 145 x 105 cm, 2006
bez naziva untitled
145 x 105 cm, 2006. 145 x 105 cm, 2006
9

10
plač weeping
145 x 105 cm, 2009. 145 x 105 cm, 2009
finalists lovro artukovicfinalisti

radovi works
potpisivanje deklaracije o pripajanju zapadne hercegovine
i popova polja republici hrvatskoj (wer hat das bier bestellt?)
ulje na platnu
280 x 480 cm, 2007 – još malo
signing of the declaration on the unification of western herzegovina
and popovo polje with the republic of croatia (wer hat das bier bestellt?)
oil on canvas
280 x 480 cm, 2007 – a little bit more
11

Intervju )
Lovro Artuković prošle je godine imao izložbu najbolje
slike u Galeriji Klovićevi dvori u Zagrebu, na kojoj su bili
izloženi njegovi radovi nastali od 1984. godine do danas.
U svim radovima iz tog perioda naglašena je njegova
osobna priča: odabirom motiva iz svog života pokazuje
kako se u datim trenucima osjećao. Osamdesetih su to
bile slike suživota sa suprugom Marijanom, a devedesetih
autoportreti, portreti parova i prirode s atmosferom
rata, koji nikada nije direktno naslikao. Nakon 2000. radi
prikaze alegorija i stvarnih likova — uglavnom sebe, obitelji
i prijatelja koji na odjeći nose ispisane želje. Naziva ih
votivnim slikama. Odlaskom u Berlin 2003.,
u svom studijskom prostoru počinje slikati scenografije
s predmetima, modelima i projekcijama.
Prošle je godine izašao iz tog okvira motiva sa grupnim
portretom svoja dvadeset dva berlinska prijatelja, u
sceni koja asocira na posljednju večeru Leonarda da
Vincija. Nazvao ju je potpisivanje deklaracije o pripajanju
zapadne hercegovine i popova polja republici hrvatskoj
(wer hat das bier bestellt?). Reference na potpisivanje
Daytonskog sporazuma inkorporirao je u vlastitu aktualnu
životnu situaciju. Lovro Artuković iz Hrvatske je otišao
Interview )
Lovro Artuković’s the best paintings exhibition was held
last year at the Klovićevi Dvori Gallery in Zagreb, where he
displayed the works he had created since 1984. These works all
emphasize his personal story: in choosing motifs from his life
he shows how he felt at those moments. In the 1980s, these
were paintings of his life with wife Marijana; in the 1990s
these were self-portraits, portraits of couples, nature – all in
the atmosphere of war, even though he never painted war
directly. After 2000, these were scenes with allegories and
real characters: mainly himself, his family and friends who
wore written wishes on their clothes. He calls these votive
paintings. Moving to Berlin in 2003, he started painting studio
scenes with objects, models and projections.
Last year he departed from these motifs with a group portrait
of 22 of his friends from Berlin in a scene that resembles the
last supper by Leonardo da Vinci. He called it signing of the
declaration on the unification of western herzegovina
and popovo polje with the republic of croatia (wer hat
das bier bestellt?). While referring to the signing of the
Dayton Peace Accords, he incorporates his own life situation.
Lovro Artuković left Croatia of his own will, while most of his
Berlin friends had emigrated from former Yugoslavia because
12 finalists lovro artukovicfinalistI

svojom voljom, za razliku od većine njegovih prijatelja
u Berlinu koji su pred ratom emigrirali s područja cijele
bivše Jugoslavije. U središtu slike nalaze se tri njegova
prijatelja: Ero iz Hrvatske, Mime iz Bosne i Hercegovine te
Mišo iz Srbije, u ulogama predsjednika svojih država. Film
Igora Mirkovića l.a. nedovršeno bilježi nastajanje tog
ulja na platnu impozantnih dimenzija (280 x 480 cm), čije
su intenzivne pripreme započele krajem 2007. godine, da
bi nakon pola godine snimanja dokumentarca i dalje bilo
nedovršeno. Na ovoj je izložbi slika predstavljena u svom
dovršenijem obliku.
Slike iz ciklusa lice slike, izložene također na ovoj izložbi,
prikazuju facijalne gestikulacije modela, koji kao da
izvodi glumačku vježbu izražavanja osjećaja. Frontalno
postavljeno lice ispunjava cijelu površinu slike i djeluje
poput zamrznutog krupnog plana na filmskome platnu.
Nalik filmu koji se razvija u glavi gledatelja analogno tijeku
misli, ove se slike kreću u prostoru između naslikane slike
i one na koju nas ta slika asocira. One su iluzija, prostor
koji egzistira prema vlastitim pravilima, paralelno realnom
prostoru.
of the war. Three of his friends are positioned centrally
in the painting: Ero from Croatia, Mime from Bosnia and
Herzegovina and Mišo from Serbia, playing the roles of the
presidents of their own countries. In his film l.a. unfinished,
Igor Mirković recorded the making of that oil on canvas of
impressive dimensions (280 x 480 cm) for which intensive
preparations began at the end of 2007, and even after half a
year of filming the documentary, the painting still remained
unfinished. At this exhibition the painting is being shown in its
more completed form.
Paintings from the series the face of the painting also
shown at this exhibition show the facial gesticulations
of a model who is expressing these emotions as during acting
exercises. The frontal view of the face, which fills the entire
surface of the painting, is like a frozen close-up on a film
screen. Just like the analogue thoughts of the film that is
developing in the mind of the spectator, these images move
in the space between those painted and those that the
painting induces in us. They are illusions, what is painted on
their surface represents an entrance into a space existing
parallel to the real one, into a space built by our will to create
our own world in spite of the real one.
intervju interview 13

Serija lice slike u knjizi neobarokni subjekt
Krešimira Purgara iz 2006. godine nazvana je osjećaji
ili stanja. Slike koje sada nazivaš bez naziva bile su
nazivane prema osjećajima: strah, bijes, tuga.
Kako to da si ih preimenovao?
Često se početna ideja s vremenom i pri samoj izvedbi transformira
u nešto što možda na početku nije bilo tako zamišljeno. Ideja je bila
da radim seriju slika koja bi prikazivala osjećaje, duševna stanja.
Slikajući, primijetio sam da ona ‘stanja’ koja nisu jasno definirana,
djeluju intrigantnije nego ona gdje je potpuno jasno što predstavljaju.
Zbog te izvjesne nejasnoće odustao sam od toga da im dajem naslove.
lice slike se kao naziv ciklusa isto tako pojavio puno kasnije.
Naime, slika je predmet, dakle nešto neživo, nešto bez osjećaja,
a slikanje postupak nanošenja boje na ‘lice’ tog predmeta. Prikazujući
lice nekoga tko je živ, tko diše osjećajima na nečemu što je neživo;
eto to je bila ta kombinacija koja je naknadno dala naslov ciklusu.
Osim toga, slike koje su u knjizi više ne postoje, tj. postoje u donjem
sloju slika na kojima recimo još radim, kao strah i bijes, a ono što
je bila tuga isto tako danas postoji u drugačijem izdanju i nema naziv.
Također, ne odričem se prava da slike koje jasno pokazuju nešto što se
na slici događa, nose naziv kao što je recimo plač.
Jesi li unaprijed odredio ideju o seriji slika?
Jesi li ih slikao jednu za drugom, ili si u međuvremenu
radio druge stvari pa im se vraćao?
Da, ideja je bila da napravim seriju koja bi prikazivala osjećaje,
iz razloga što se to u vremenu dominacije moderne smatralo
nepriličnim, malograđanskim. Radio sam ih jednu za drugom;
preslikavao, radio drugo, ponovo se vraćao, svakako.
the face of the painting series was called sentiments
or states of mind in the book the neo-baroque subject
by Krešimir Purgar in 2006. The paintings which you now
call untitled were named after feelings: fear, anger and
sorrow. How is it that you renamed them?
Often an initial idea through time and actual execution transforms
into something that was originally not envisaged. The idea was to work
on a series of paintings which would show feelings, states of mind.
While painting I noticed that those‘states’ which are not clearly defined
are more intriguing than the ones that clearly stand for what they
represent. Because of this certain lack of clarity, I withdrew from giving
them titles. the face of the painting as the title of the series also
came much later. In fact, a painting is an object, something inanimate,
something without feelings, while painting is the process of putting paint
on the‘face’ of that object. Showing the face of someone who is alive,
who breathes with feelings, onto something that is inanimate was the
combination that subsequently gave the title to the series.
Apart from that, the paintings described in the book no longer exist,
rather they exist in the lower layer of the paintings on which I am still
working, such as fear and anger; and what used to be sorrow today
exists in a different format and has no title. Also, I am not giving up
the right to give titles to paintings which clearly show something that
appears in the painting, such as weeping.
finalisti14 finalists lovro artukovic

Na Webu kažeš kako je crtanje serije portreta promatranje
tijekom 2005., 2006. i 2007. godine bilo specifično iskustvo.
Što si primijetio? Na koje se načine za tebe razlikuje rad
s poznanicima i rad s modelom, kao za lice slike?
Primijetio sam da kad dvoje ljudi stoji sučelice jedan prema drugome,
i kad im se pogledi susretnu, pojavi se osjećaj izvjesne nelagode.
Da bih to istaknuo, bojio sam šarenice da naglasim pogled, tako da
i promatrač, kada se susretne sa svim tim licima koja ga promatraju,
dobije bar mali dio tog osjećaja. Crteži iz serije promatranje rađeni
su tako da lica budu vjerno i precizno prikazana, potpuno
individualno; zato sam ih i radio u olovci — zatomljavajući ono što se
naziva autorskim pristupom — i tako da ne pokazuju nikakve osjećaje.
Sa Karin, modelom za seriju lice slike radio sam više, nazovimo to
tako, kao režiser. Znači, tražio sam od nje da svojim licem izrazi neko
duševno stanje i bio sam koncentriran na to u kojoj mjeri ono što
na njenom licu vidim odgovara mojoj predodžbi o tome što sam
od nje tražio.
Ove su slike nastale iz nekoliko seansi fotografija.
Što si tražio radeći više seansi?
Svaki je osjećaj bio jedna seansa, često i sa više od sto fotografija.
Rad sa Karin bio je i njen ‘autorski’ rad, budući da bez izraza na
njenom licu ne bi bilo ni slika. Fotografije smo zajedno analizirali
i diskutirali o tome je li to ‘to’, ili bi bilo bolje nekako drugačije.
On your web site you claim that creating the series of portraits
titled observation, made in 2005, 2006 and 2007, was a
special experience. What was your impression? What was
the difference in working with acquaintances and friends
and when you were working with the model for the face of
the painting?
I noticed that when two people stand facing each other and when their
looks meet, there is a feeling of certain discomfort. In order to stress that,
I coloured the irises to emphasise that gaze, so that when spectators
meet all these faces observing them, they at least get part of that feeling.
The drawings from the observation series are made so that the faces
are shown truthfully and precisely, completely individually, which is why
I drew them with pencil, suppressing what is known as the author’s
approach, and in such a way that they show no emotions. With Karin,
the model for the face of the painting series, I worked more as
a director. I asked her to show a state of mind with her face and
I concentrated on how much the expressions shown on her face
corresponded to the image I wanted to get from her.
These paintings resulted from many photo sessions.
What were you looking for in making more sessions?
Every emotion was one session, often with more than a 100 photos.
The work with Karin was also her own‘author’s’ work, as without the
expressions on her face there would have been no paintings. We analysed
the photos together and discussed if that was what we were looking for
or if it could be done another way.

S kojom si idejom radio grupni portret svojih prijatelja
na slici potpisivanje deklaracije o pripajanju zapadne
hercegovine i popova polja republici hrvatskoj
(wer hat das bier bestellt?)?
Htio sam se jednostavno poigrati s uobičajenom predodžbom
o slikarstvu kao elitističkoj disciplini, namijenjenoj eliti, koju je elita
uvijek koristila u prezentiranju svoga statusa. Napravio sam jedan
reprezentativan,‘dvorski’ portret svojih prijatelja — takozvanih
običnih ljudi. Također, namjera mi je bila napraviti nešto što, isto tako,
u našem vremenu baš nije uobičajeno za medij slikarstva, naime htio
sam napraviti jednu humorističku sliku.
Grupni portret svojih prijatelja povezao si sa škakljivim
političkim pitanjem i isprovocirao hrvatske medije,
dospio si čak i u Dnevnik. Jesi li politiziranjem slike postigao
reakciju hrvatskih medija kakvu si i očekivao i je li to
povećalo vidljivost i vrijednost slike?
Kada se gleda koliko je o tome napisano, onda sam fakat izazvao
reakciju, i to veću nego što sam očekivao. Kada se čita što je napisano,
onda mislim da nisam izazvao nikakvu reakciju. Za samu sliku
to naravno nije bitno, ona je tek na početku svog postojanja i to
što je bilo prošle godine sigurno nije i kraj priče o njoj.
What was the idea behind the group portrait of your friends
on the painting Signing of the declaration on the
unification of western herzegovina and popovo polje
with the republic of croatia (wer hat das bier bestellt?)?
I simply wanted to play with the ordinary preconceived notion
of painting being an elite discipline, meant for the elite and which the
elite always used in presenting their status. I made a representative,
courtly portrait of my friends – so-called ordinary people. I also intended
to create something that in our times is unusual for the medium of
painting; in fact I wanted to create a humorous painting.
You associated the group portrait of your friends with
fragile political issues and provoked the Croatian media;
you even made it to the central television news program
Dnevnik. In politicising the painting did you achieve the
expected reaction by the Croatian media and did that
increase the value of your painting?
When you see how much was written, it seems that I really caused
a reaction that was even greater than the one I expected. When you read
what was written, then I think that I caused no reaction at all. For the
painting itself this is irrelevant, as it is at its initial phase of existence,
and what happened last year is definitely not the end of its story.

Pričajući o nastanku ove slike, kažeš da se od umjetnosti
s naših područja očekuje da se bavi tranzicijskim temama,
ali u skladu s pravilima političke korektnosti Europe. Kako
su u Berlinu reagirali na tvoju politički nekorektnu sliku?
Naravno — različito. U medijima površno i sa simpatijama,
na diskusiji koja je bila organizirana u sklopu izložbe, burno i kritički.
Mislim da za velik broj ljudi sama tema i naziv nisu bili toliko važni,
koliko fascinacija veličinom slike i brojem likova na njoj. Meni
najsimpatičnija reakcija bila je: ‘A, ti si naslikao onu sliku
sa stolovima.’ Čovjek je bio ugostitelj.
Što je odredilo ovako golemi format slike?
Kao i kod ostalih slika, prvo se pojavi ideja koja potom određuje
ostalo. U ovom slučaju, parodija na slike koje prikazuju povijesne
događaje morala je biti velikog, reprezentativnog formata.
Nemreš raditi malu povijesnu sliku.
Sliku si nedovršenu izložio na izložbi najbolje slike
u Galeriji Klovićevi dvori, prošle godine. Koliko traje
nastanak slike i što se promijenilo u odnosu na tvoje
prve zamisli? Kada planiraš završiti sliku?
Promjene koje se mogu uočiti posljedica su jednostavnog procesa
dovršavanja slike i ona polako poprima oblik koji sam i zamislio kada
sam je počeo slikati, dakle nikakvih promjena u odnosu na prvotnu
zamisao nema. Prvi sam se put sastao s modelima u mom ateljeu
početkom studenoga 2007. Nije bilo jednostavno objasniti ljudima
što zapravo želim, a ni meni samom to nije bilo baš do kraja jasno.
Kompozicija se iskristalizirala nakon otprilike dva mjeseca. Proces
pripreme s modelima intenzivno je trajao tri do četiri mjeseca,
proces slikanja s polugodišnjim prekidima još traje. Sliku planiram
završiti kada ju završim.
In talking about the creation of this painting, you say that
art from our region is expected to deal with transitional topics
in accordance with the rules of European political correctness.
What was the reaction in Berlin to your politically incorrect
painting?
There were different reactions, of course. In the media it was followed
briefly and with affinity, while at the discussion organised at the
exhibition, it was turbulent and critical. I think that for many people
the topic itself and the title were not as important as was the fascination
with the size of the painting and number of characters in it. The reaction I
liked best was when someone said:‘Oh, you painted that painting
with tables on it.’ That man was a caterer.
What determined the enormous size of this painting?
As with other paintings, first you come up with the idea which
determines the rest. In this case, a parody on paintings showing
historical events had to be in a large and representative size.
You can’t do a small historical painting.

Radeći na ovoj slici bio si čak primoran pronaći novi
atelje, tako da sada imaš uvjete za slikanje grupnih
portreta na velikim formatima. Baviš li se time?
Momentalno radim na pripremama za novu ‘povijesnu’ sliku,
kojoj će naziv biti pobjeda novih medija nad slikarstvom. Možda
će još u zagradi stajati guljene kože marsiji ili pobjeda popa nad
punkom, ili kako vam drago. Kad već radim tak’ veliku sliku mora
i naziv biti dugačak. Onako ukratko, dok se još nema što za pokazati,
slika će biti ponovo jedna parodija, ovoga puta na umjetničku scenu.
Kako koristiš Internet u svom radu i u svojoj prezentaciji?
Prije nekih sedam godina počeo sam raditi svoju web stranicu
uz pomoć svog prijatelja Dražena Karamana, koji je i danas moj
web-master. To je, mislim, bila jedna važna i dobra odluka jer sam
po prvi put bio ozbiljno prisiljen definirati ono što radim. Taj sam
pristup zadržao do danas; stranica mi nije bitna samo kao mjesto
na kojem pokazujem svoj rad, već i kao prostor u kojemu se ideje,
u početku nejasne i grube, s vremenom kristaliziraju, upotpunjuju
i nadovezuju jedna na drugu. Tako je stranica postala dio samog
procesa stvaranja.
Na koje je načine tvoj rad zastupljen na nacionalnoj
i međunarodnoj sceni?
Na nacionalnoj — fizički, jer se većina onoga što sam napravio
nalazi u Hrvatskoj. Na međunarodnoj — duhovno, jer ono što radim
zadnjih desetak godina odgovara duhu vremena u kojem živimo,
i samim time dio je nečeg što je puno šire od nekakvih nacionalnih
okvira. U stvari, riječ ‘scena’ mi je potpuno odiozna, nisam nikada bio
‘na sceni’, ni doma ni vani. Moj rad proizlazi iz okruženja u kojem živim,
što je daleko više povezano sa životom, nego sa nekakvom scenom.
The painting was shown unfinished at the best paintings
exhibition at the Klovićevi Dvori Gallery last year.
How long have you been working on this painting
and what were the deviations from your initial idea?
When will it be finished?
The changes that can be perceived are the consequence of the simple
process of completing the painting, and it slowly acquires its form, which
I had envisaged when I started painting it, so there are no deviations
from the initial idea whatsoever. I met the models for the first time in my
studio at the beginning of November 2007. It was not easy to explain to
everybody what it was exactly that I wanted, and I was not so sure about
it either. The composition became clear after about two months.
The preparation process with the models was intensive and lasted three
to four months; the painting process, after a half-year break, still
continues. I plan on finishing the painting when I finish it.
Working on this painting you had to find a new studio,
so now you have proper conditions to work on large-size
group portraits. Do you work on them now?
I am currently preparing for a new‘historical’ painting which will be called
the victory of new media over painting. Maybe in brackets it will say
the flaying of marsyas or the victory of pop over punk or as you like it.
Since I am doing such a large painting, the title has to be long too.
In short, since there is nothing to see yet, the painting will again be
a parody, this time of the artistic scene.

Kolika ti je godišnja produkcija radova
i što je tome razlog?
Potpuno različito: nekad malo, nekad malo više. Nastojim,
što više mogu, da proizvodnjom slika ne doprinosim općem
zagađenju okoline.
Živiš li samo od umjetničkog rada?
Da. Nisam niš’ naslijedio.
Da li su tvoji radovi zastupljeni u drugim
privatnim i institucionalnim kolekcijama?
Sve podatke o mojim radovima i njihovim vlasnicima možete
pronaći na mojoj web stranici.
Što za tebe znači biti dio kolekcije?
To je osjećaj koji godi jer mi je, naravno, važno da netko želi
imati to što radim. Taj osjećaj ima i praktičnu stranu jer to što
netko želi imati to što radim donosi sredstva za život i rad
i oslobađa mjesto u ateljeu za nove radove.
intervju vodila Vanja Žanko.
How much do you use the Internet in your work
and in presenting yourself?
Some seven years ago I started working on my web site with the help
of a friend of mine, Dražen Karaman, who is still my webmaster today.
I think it was an important and good decision because for the first time
I seriously had to define my work. I still take that approach today;
my web site is not only important as a place where I show my work
but also as a space where ideas that are initially unclear and rough,
in time become crystallized, completed and incorporated one into
another. That is how the web page became part of the creative process.
How is your work represented on the national
and international art scene?
On the national scene it is physically present, since most of what I have
done is located in Croatia. On the international level it is — spiritual,
because what I have been doing in the last few years corresponds to the
spirit of our times and therefore it is part of something much wider than
the national borders of a country. In fact, I find the word‘scene’ totally
odious; I have never been part of the scene neither here nor abroad.
My work comes from the environment in which I live and has to do much
more with real life than some scene.
How many works do you make in a year?
It really differs, sometimes more sometimes less. I try not to contribute
to the pollution of the environment with my production of paintings.
Do you finance yourself from art works?
Yes, I have not inherited anything.

finalisti
In which collections are your works represented?
All the information about my works and their owners can
be found on my web site.
What does it mean for you to be a part of a collection?
It is a pleasant feeling because of course it is important to know
that someone wants to have what I am creating. That feeling has its
practical side too because when someone wishes to have my work,
it means that my work supports.
interview by Vanja Žanko
finalists lovro artukovic20

BIOGRAFIJA BIOGRAPHY
Lovro Artuković rođen je 1959. godine u Zagrebu.
Diplomirao je na Akademiji likovnih umjetnosti u Zagrebu,
grafički odsjek. Devet godina radio je kao docent na
toj Akademiji, do 2003. godine. Tada je odselio u Berlin
gdje i danas djeluje kao slobodni umjetnik. Izlagao je na
brojnim samostalnim i grupnim izložbama, među kojima
i najbolje slike iz 2008. godine u Galeriji Klovićevi dvori,
na kojoj su bili izloženi radovi nastali između 1984. i 2008.
Artukovićevom opusu posvećena je knjiga neobarokni
subjekt, Krešimira Purgara iz 2006. godine. O njemu su
snimljena dva filma: eksperimentalni film krađa u režiji
Lukasa Nole iz 2004. godine te dokumentarni film
l.a. nedovršeno Igora Mirkovića iz 2008. godine.
Lovro Artuković was born in Zagreb in 1958. He graduated from
the Graphic Department of the Academy of Fine Arts in Zagreb.
For nine years, until 2003, he worked as an assistant professor
at the Academy. He then moved to Berlin, where he still works
as a freelance artist. He has participated in many solo and
group exhibitions. Among others, in 2008 an exhibition of his
work from 1984 to 2008 titled the best paintings was held
at the Klovićevi Dvori Gallery. Krešimir Purgar wrote the book
the neo-baroque subject in 2006 which was dedicated
to Artuković’s work. Two films were made about him: the
experimental film theft directed by Lukas Nola in 2004
and the documentary film l.a. unfinished by Igor Mirković
in 2008.
www.lovro-artukovic.com
21

Ciklus vertikalni triptih izlagan je na izložbama —
vertikalni triptih, Galerija Križić-Roban, Zagreb, Hrvatska, 2007.
2. biennale kvadrilaterale, Muzej moderne i suvremene umjetnosti Rijeka,
Rijeka, Hrvatska, 2007.
u drugom filmu (Motovun Film Festival), Galerija Pet kula, Motovun,
Hrvatska, 2008.
krelac, Galerija Streetzine, Zagreb, Hrvatska, 2009.
—
fotografija — Kristina Lenard
The vertical triptych cycle was exhibited at the following exhibitions —
vertical triptych, Križić-Roban Gallery, Zagreb, Croatia, 2007
2nd biennial of quadrilateral, Museum of Modern and Contemporary Art
Rijeka, Rijeka, Croatia, 2007
a different motovun (Motovun Film Festival), Five Towers Gallery,
Motovun, Croatia, 2008
dork, Streetzine Gallery, Zagreb, Croatia, 2009
—
photography — Kristina Lenard
Ivan Fijolić )
finalisti22 finalists

radovi works
ručne granate, dio ciklusa vertikalni triptih
pozlaćena bronca, jastuk od umjetne svile, pleksiglas,
kromirano željezo, željezni stalci
dimenzije varijabilne, 2007.
hand grenades, a part of the vertical triptych cycle
gilded bronze, artificial silk cushion,
plexiglas, chromed iron, iron stands
variable dimensions, 2007
23

24 finalists ivan fijolicfinalisti

intervju interview
Intervju )
Od kraja devedesetih, kada je Ivan Fijolić počeo izlagati
pa sve donedavno, modeli njegova kiparskoga opusa bili
su herojski likovi iz svijeta medijske kulture. Reproducirao
je tako neke od mitova, poput macho pravednika u liku
kauboja ili kung fu ikone Brucea Leeja. Način na koji
reprezentira svoje modele blizak je nekim od postupaka
post pop-arta, prvenstveno radi ogoljenosti i doslovnosti,
te lišavanja radova bilo kakve likovne ekspresije. Naime,
čitav inventar značenjskih i vizualnih svojstava likova
utvrđen je već davno prije u njihovim originalima, a Fijolić
ih ponovno prikazuje i na taj način obnavlja učinak. Premda
su likovi suptilno erotizirani, oni primarno utjelovljuju
moralnu i fizičku snagu protagonista u borbi dobra i zla.
Nastanak vertikalnog triptiha 2007. godine otvorio
je novu i drugačiju formalno-ikonografsku i značenjsku
cjelinu. Iako radovi poput školice i monocikla i dalje
pokazuju sve karakteristike odsutnosti likovne ekspresije
u tehnički besprijekornoj izradi radova, novost predstavlja
eksplicitnije zauzimanje stava prema nasilju, koje su
kauboji, blockbusteri ili Bruce Lee vješto prikrili karizmom
pobjednika. Ono što Fijolića sada čini drugačijim jesu
ironični komentari ludila i moći nesavladivih mehanizama
suvremenoga društva.
Interview )
Since the late 1990s, when Ivan Fijolić first started exhibiting, and
up to recently, the models of his sculpted oeuvre were the hero
characters from the media culture world. He reproduced some
of the myths, such as the macho vigilante, through a cowboy
character or the kung fu icon Bruce Lee. The manner in which
Fijolić represents his models is close to some of the practices of
post pop-art, primarily because of their bareness and literality,
and the depriving of his works of any visual expression. Namely,
the entire inventory of connotational and visual characteristics
was defined long ago in these models' originals, which Fijolić
depicts again and in that way renews the effect. Even though the
characters are subtly eroticized, they primarily embody the moral
and physical strength of protagonists in the battle between good
and evil. vertical triptych, dating from 2007, opened a new and
different formal-iconographic and connotational whole.Although
works such as hop-scotch and monocycle continue to disclose
all the characteristics of the absence of visual expression in the
technically flawless making of the works, what is new here is
the more explicit assuming of attitudes towards violence which
the cowboys, blockbusters or Bruce Lee have skilfully concealed
with the charisma of the victor. What makes Fijolić different now
are his ironic comments of the madness and power within the
insurmountable mechanisms of contemporary society.
25

U kojem je periodu nastao ciklus vertikalni triptih,
kojemu pripada rad ručne granate?
Je li nastao za konkretnu izložbu ili natječaj?
vertikalni triptih radio sam za prostor bivše galerije Križić-Roban
u Zagrebu, gdje je bio izložen 2007. godine. Rad je nastao kao
posljedica moje prethodne izložbe, s kojom nisam bio zadovoljan jer
sam pred samu izložbu od voditeljice galerije saznao kako bušenje
zidova nije dozvoljeno, a moji su radovi trebali biti postavljeni s
mnogo vijaka u zidu. Morao sam improvizirati, što se u konačnici i
vidjelo. Ovim sam radom pokušao izbjeći mrsku mi improvizaciju,
držao sam se priče koju sam htio ispričati, i to sam tehnički izveo na
nivou koji sam od sebe zahtijevao.
Na što upozoravaš povezivanjem ručnih granata s
mozgom, srcem i falusom? Što si postigao birajući baš ta tri
organa ljudskoga tijela?
To su simboli kroz koje upozoravam na moć manipulacije znanjem,
religijom i seksom. Izradio sam ih od bronce i pozlatio, jer je moć
svima slatka i primamljiva, ali s druge strane i krajnje opasna —
zato su u pitanju ručne granate.
Skulptura je tvoj prvi medij.
U kojim situacijama pribjegavaš slici/crtežu?
Skulptura jest moj prvi medij, premda ona proizlazi iz crteža.
Budući da ne znam slikati, umislio sam si kako slikanje nije ništa teže
od crtanja. Zato svako toliko naslikam nešto za svoju dušu i svako
toliko planiram izložbu slika, koja će se jednom dogoditi…
When did the vertical triptych cycle originate and to
which the work hand grenades also belongs?
Was it made for a specific exhibition or competition?
I made vertical triptych for the space of the former Križić-Roban
Gallery in Zagreb, where it was exhibited in 2007. The work originated as
a consequence of my previous exhibition which I wasn't satisfied with,
since just before the show the gallery director told me that drilling of the
walls was forbidden. Since the installation of my works required many
screws drilled into the wall, I had to improvise, which could be seen in the
end. In this work I tried to avoid that detestable improvisation, sticking to
the story I wanted to tell, and which I technically rendered at the level
I demanded from myself.
What do you warn against by linking hand grenades
with the brain, heart and phallus? What did you achieve
by choosing these three organs of the human body?
These are the symbols I use to warn against the power of manipulating
with knowledge, religion and sex. I made them from bronze and gilded
them, since everyone finds power sweet and attractive. Yet, on the other
hand, power is extremely dangerous — thus the hand grenades.
Sculpture is your first medium.
In which situations do you resort to painting/drawing?
Sculpture is my first medium, even though sculpture evolves from
drawing. Since I can't paint, I mistakenly assumed that painting was not
harder than drawing. Therefore once in a while I paint something for
my soul and every now and then I plan an exhibition of paintings that will
happen some day…
finalisti finalists ivan fijolic26

Radovi poput brucea leeja, okršaja i blockbustera
prikazi su herojskih figura američke mainstream filmske
produkcije. Od tih se bezbrižnih tema naglo odmičeš
upravo s vertikalnim triptihom, kojim komentiraš kolaps
vrijednosnoga sustava i upozoravaš na mogući kolaps
svijeta. Objasni vezu triju bombi sa likovima Isusa, Jeffa
Koonsa i figure Krelca?
Svjetski kolaps već se dogodio… Ili mi se to samo čini s obzirom
da živim u Hrvatskoj, možda sam subjektivan i možda bih bio
‘objektivniji’ da živim u nekoj socijalno osviještenoj zemlji zapadne
Europe. Kroz Krelca, Isusa i Koonsa tumačim drugu stranu našega
svijeta. Što se događa kad imamo sve, a želimo još, bez obzira na
posljedice? Što se događa kada religiju shvaćamo doslovno i što smo
sve u stanju poduzeti radi seksualnog zadovoljstva?
Što je, osim filma i estetike blockbustera, presudno
utjecalo na tvoju ikonografiju?
Prva stvar koje se sjećam bila je Caravaggiovo polaganje krista
u grob. Nakon toga bio sam potpuno zbunjen i u nevjerici pokušao
pronaći dokaz da se zapravo radi o insceniranoj fotografiji.
U istoj je knjizi bila i laokoontova grupa, koja me se jednako dojmila
i mislim da sam tada zagrizao do kraja i obećao sam sebi kako ću i ja
biti umjetnik. Kasnije sam se zanosio raznim poznatim umjetnicima,
ali i onima koji imaju potrebu izražavati se, a službeno nisu priznati
kao umjetnici, npr. polupoznatim strip crtačima, ilustratorima,
kojekakvim naivcima, grafiti majstorima, brejkdenserima, boksačima,
likovima iz loših filmova, bauštelcima…
Works such as bruce lee, duel and blockbusters represent
mainstream movie production hero figures. You abruptly
swerve from these carefree themes with vertical triptych,
by which you comment the collapse of the value system and
warn of a possible word collapse. Can you explain the relation
between the three bombs displaying the figures of Jesus,
Jeff Koons and Dork?
The world collapse has already occurred… or maybe it just seems like that
to me, as someone living in Croatia. Maybe I’m subjective and maybe
I would be‘more objective’ if I lived in some socially consciousWestern
European country. Through Dork, Jesus and Koons I interpret the other
side of our world.What happens when we have it all and want more,
regardless of the consequences? What happens when we understand
religion literally and what are we capable of undertaking to achieve sexual
pleasure?
Besides movies and blockbuster aesthetics what has
exercised a crucial impact on your iconography?
My first memories include Caravaggio's the entombment of christ
which left me totally confused. In disbelief, I tried to find proof that
this was actually a staged photograph. I was equally impressed by
the laocoon group from the same book. I think that at that moment
I swallowed the bait and promised myself that I too would be an artist.
Later I was carried away by various renowned artists, but also by those
who have the need for self-expression yet are not recognized officially,
artists such as semi-acknowledged comic-strip artists, illustrators,
various naive artists, graffiti masters, breakdancers, boxers, characters
from bad movies, construction workers…

Razmišljaš li o tome na koji način posjetitelj doživljava tvoj
rad/izložbu? Da li te to čini zadovoljnim ili te opterećuje?
Kod gledatelja pokušavam isprovocirati bilo kakvo mišljenje.
Volim čuti feedback. Naravno, kad izvedem radove na razini s kojom
sam zadovoljan, tada nemam nikakvih problema s bilo kakvim
mišljenjem, koliko god ono loše bilo, dok kod radova s kojima nisam
zadovoljan, kritika jako teško pada.
Neki od tvojih radova jednostavni su, jer pristaju u bilo
koji prostor, neki su izrazito muzejski. Da li ti se dogodilo
da je neka fizička osoba poželjela imati tvoj rad u svom
privatnom prostoru i kupila ga?
Mnogo je ljudi izrazilo želju imati moj rad, a tek neki su i kupili…
Ah, prokletstvo kipara u Hrvatskoj, ljudi imaju premalene stanove
da bi nečiju skulpturu držali nasred dnevnog boravka ili hodnika!
Koliko se kao autor pojavljuješ na međunarodnoj sceni?
Osim na grupnim izložbama pod državnim pokroviteljstvom, kojih je
bilo više, tri puta sam izlagao na samostalnim izložbama; u privatnim
galerijama Linienstrasse113 u Berlinu, Agenzia04 u Bologni i Zanardi u
Bassano del Grappa. Ove sam godine prvi put izlagao na sajmu Arte
Fiera u Bologni, s galerijom Agenzia04.
Do you think of how a visitor experiences your work /
exhibition? Does this give you satisfaction or burden you?
I attempt to provoke an observer towards any kind of opinion. I love
to have feedback. Of course, when I create works at a level that satisfies
me, then I have no problems with any opinion, no matter how bad
it is, while with works I do not find satisfactory, I do not take criticism
that well.
Some of your works are simple because they fit into any kind
of space, while others possess a marked museum character.
Has it ever happened that someone wanted to have your work
in their private space and bought it?
Many people have expressed a desire to have my work, yet only a few have
actually bought them… Ah, this is the curse of sculptors in Croatia, people
have too small apartments to keep someone's sculpture in the middle
of their living room or hall!
How much do you appear as an author on
the international scene?
Besides several group exhibitions under state patronage, I have exhibited
three times at solo exhibitions namely at the private galleries Linienstrasse
113 in Berlin, and at Agenzia04 Bologni and Zanardi in Bassano del Grappa.
This year for the first time I exhibited at theArte Fiera fair in Bologna with
the Agenzia04 Gallery.
finalisti28 finalists ivan fijolic

Kolika ti je godišnja produkcija radova
i što je tomu razlog?
Godišnja produkcija, naravno, ovisi o budžetu, a budžet ovisi
o prošlogodišnjoj prodaji i blagonaklonosti Grada i Ministarstva.
Galerije ovdje otpadaju s liste donatora jer one imaju samo za svoje
plaćice koje, ako ništa drugo, stižu na vrijeme. Kako bih zaradio
za produkciju, koja je nekada prilično skupa, moram odrađivati razne
poslove. Tako da bi mi, u svemu tome, produkcija bila puno opširnija
da u Hrvatskoj postoji širi senzibilitet za suvremenu umjetnost.
U kojim kolekcijama su zastupljeni tvoji radovi?
Mislim da je to bilo 2003. godine, kada je okršaj postao
dio Zbirke Filip Trade i od tada surađujemo, nadam se,
na obostrano zadovoljstvo.
Naravno, ponosan sam što sam dio jedine bitne zbirke
suvremene hrvatske umjetnosti.
intervju vodila Sabina Salomon.
How large is your annual artwork production
and what is the reason behind this?
The annual production naturally depends on a budget, and the budget
depends on past year's sales and the benevolence of the City and
Ministries. Galleries here drop off the donors' list as they dispose of funds
covering only their small payrolls, which if nothing else, at least arrive
on time. In order to earn money for the production which is sometimes
quite expensive, I have to work different jobs. In this sense, my production
would be much more extensive if there was a general sensibility in Croatia
with regard to contemporary art.
I think duel became part of the Filip Trade Collection in 2003.We have
been cooperating ever since, I hope, to everyone's satisfaction.
Of course, I am proud to have my works kept by the only contemporary
Croatian art collection that matters.
interview by Sabina Salamon

finalisti30 finalists ivan fijolic

Ivan Fijolić rođen je 1976. godine u Zagrebu. Završio je
Školu primijenjenih umjetnosti i dizajna. Diplomirao je
na Akademiji likovnih umjetnosti u Zagrebu, nastavnički
smjer na odjelu kiparstva. Do sada je izlagao na tridesetak
skupnih i sedamnaest samostalnih izložbi. Radovi mu se
nalaze u Zbirci Filip Trade i Hrvatskoj gospodarskoj komori
u Zagrebu. Dobitnik je nagrade ALU za diplomski rad 2001.
godine i Rektorove nagrade za izložbu check your head
out, 2004. godine. Ostvario je tri javna rada (u Republici
Češkoj, Hrvatskoj i Bosni i Hercegovini).
Živi i radi u Zagrebu.
Ivan Fijolić was born in 1976 in Zagreb. He completed the
School for Applied Arts and Design and graduated as a teacher
from the Sculpting Department of the Academy of Fine Arts in
Zagreb. To date he has exhibited at some 30 group and 17 solo
exhibitions. His works are included in the Filip Trade Collection
and the Croatian Chamber of Economy in Zagreb. He has
received the Academy of Fine Arts award for his graduation
work in 2001 and the Rector's Award for his 2004 exhibition
titled check your head out. He realized three public works
(Czech Republic, Croatia, Bosnia and Herzegovina).
He lives and works in Zagreb.
ivanfijolic.blogspot.com
www.linienstrasse113.com
31

Rad interconnection premijerno je izložen na ovoj izložbi.
—
fotografija — Kristina Lenard
asistent — Rado Jarak
Ivana Franke )
finalisti finalists
The work interconnection is having its premiere showing at this exhibition.
—
photography — Kristina Lenard
assistant — Rado Jarak
32

interconnection
metalna konstrukcija, flaks
promjer 30 cm, 2009.
edicija 2/5
interconnection
metal construction, monofilament
diameter 30 cm, 2009
edition 2/5
33radovi works

34 finalisti finalists ivana franke

35
Intervju )
U svojoj umjetničkoj praksi Ivana Franke koristi
transparentne i često fragilne materijale, poput flaksa,
selotejpa i pleksiglasa. Kada upotrebljava niti flaksa,
postavlja ih u geometrijske strukture visoke složenosti
koje ne možemo pojmiti samo gledanjem: ako bismo ih
doista željeli definirati, to bi podrazumijevalo zahtjevne
matematičke proračune. Nespoznatljivost tih mrežnih
struktura promatrača potiče na daljnje vizualno
istraživanje, i to kretanjem oko rada, koji se u svakom
položaju percipira drugačije. Radovi su često smješteni
u zamračen prostor, sa svjetlom usmjerenim na dio mreže.
Oni su vizualno efermalniji i zavaravaju percepciju iluzijom
mobilnosti unutar zapravo statične strukture.
U radovima Ivane Franke ključna je sinteza koju oni
stvaraju s prostorom, penetrirajući kroz njihove praznine.
Variraju od manjih, poput rada interconnection,
izloženog na ovoj izložbi, do site-specific instalacija koje u
potpunosti transformiraju prostor u koji posjetitelj ulazi,
kao rad latency izložen na 52. venecijanskom bijenalu.
Interview )
In her art practice Ivana Franke uses transparent and often
fragile materials, such as nylon thread, clear adhesive tape
and Plexiglas. When she uses nylon threads she arranges
them in highly complex geometrical structures that cannot
be conceived by mere observation; if we should really wish
to comprehend them it would require complex mathematical
calculations. The inconceivability of these net-like structures
impels the observer to further visual exploration by moving
around the structure, which changes perspectives from each
angle. Her works are often situated in darkened spaces with
a light directed to a certain part of the net. In this way, they
are visually more ephemeral and distort perception with the
illusion of mobility inside a static structure. The key aspect
of Ivana Franke’s works is their synthesis with the penetrating
space around them. The works vary in size: from smaller ones
such as interconnection displayed at this exhibition,
to site-specific installations which completely transform the
exhibiting space, such as latency exhibited at the 52nd
venice biennale.
intervju interview

U mnogim svojim radovima, kao i u radu interconnection,
radiš sa flaksom. Kada započinje tvoja kontinuirana praksa
korištenja flaksa?
Prvu instalaciju / ambijent u kojoj sam koristila flaks i svjetlo
napravila sam 1999., na izložbi sučeljavanje u HDLU, na poziv
gđe Slavice Marković. Izložba je bila dio trijenala crteža,
a projekt sučeljavanje bavio se crtežima u prostoru.
Niti flaksa slažeš u strukture visoke složenosti.
Možeš li nam reći više o strukturama koje koristiš?
Često radim s poznatim geometrijskim strukturama; primjerice
u radu na izložbi koristim geodezijsku sferu. Odabir i razvoj strukture
unutar određenog rada posljedice su ideje koju pokušavam
materijalizirati u tom konkretnom radu. U radu interconnection,
ideja je bila napraviti 3d strukturu u kojoj su sve točke međusobno
povezane.
U svojim radovima koristiš transparentne
materijale, poput flaksa i pleksiglasa. Što ti je kod
tih materijala zanimljivo?
Često koristim transparente materijale — koji u odnosu na poziciju
i vrstu svjetla i gledatelja postaju nevidljivi, odnosno vidljivi — jer
otvaraju mogućnost pojavljivanja sumnje u točnost percepcije.
You use nylon thread in many of your works, such as in
interconnection at this exhibition. When did you start using
nylon thread continuously in your art practice?
The first installation / ambience where I used nylon thread and light
was in 1999 at the confrontations exhibition held at the Croatian
Association of Artists and curated by Slavica Marković. The exhibition
was part of the drawing triennial in Zagreb and confrontations
dealt with drawings in space.
You combine nylon threads to make highly complex structures.
Could you tell us more about the structures you use?
I often work with well-known geometrical structures; for example in
the work at this exhibition I used a geodesic sphere. The choice and
development of a structure in a certain work depends on an idea which I
try to materialize in that particular work. In the work interconnection
the idea was to make a 3-d structure in which all points are
interconnected.
You use transparent materials in your works, such as
nylon thread and plexiglas. What is it that you find interesting
about them?
I often use transparent materials — which in relation to the source,
quality of light and the position of the observer can become either
invisible or visible — because they open up the possibility for questioning
the accuracy of perception.
finalisti36 finalists ivana franke

Često se baviš vizualnim iluzijama. Koji značaj iluzija
zauzima u tvom istraživanju percepcije?
U susretu s određenim vizualnim fenomenima, mi doživljavamo
njihovu iluzornu prirodu. Pri tome mislim na optičke iluzije, u kojima
informacije prikupljene okom i procesuirane mozgom rezultiraju
opažajem koji se razlikuje od stvarnog fizičkog oblika, odnosno
uzroka vizualnom podražaju, kao i, generalno gledano, od drugih
fenomena koji mogu izazvati sumnju u točnost percepcije.
Iluzorne fenomene često interpretiramo kao nestvarne, no
s obzirom da iluziju percipirao na sličan način kao i sve druge
fenomene, mogli bismo reći da ona čini dio same stvarnosti. Na neki
način, to podrazumijeva mogućnost uključivanja onoga što inače
smatramo nevažnim, nemogućim, neprisutnim (uključujući pojave
na granici percepcije) ili nevidljivim. Fenomeni iluzije blisko su
povezani s istraživanjem prostornosti, s obzirom da promatranje
nemogućnosti interpretacije percepcije često otkriva aspekte
djelatnih mehanizama našeg perceptivnog aparata, kao i načine na
koje prostor konstruiramo. Njihovo bi istraživanje podrazumijevalo
usmjeravanje pažnje na navedene međuzavisne procese i njihovu
permeabilnost.
You often explore visual illusions. What is the importance of
illusion in your research of perception?
In our encounters with certain visual phenomena, we experience their
illusory nature. By this I mean optical illusions in which the information
gathered by the eye and processed by the brain results in a percept that
differs from the physical measurement of the stimulus source, as well
as more broadly to other phenomena that might raise doubts about the
accuracy of our perception.
Illusory phenomena can be interpreted as being unreal, but since we
perceive illusions in a similar way as all other phenomena, we can say
that they are a constitutive part of reality. In a way, this implies the
possibility of including what we habitually consider irrelevant, impossible,
or not present, including things at the border of perception, or invisible.
Illusory phenomena are closely intertwined with spatial explorations,
since observations of the impossibilities of interpreting perceptions
often uncovers aspects of the working mechanisms of our perceptual
apparatus and the modes in which we construct space. Exploring them
would imply focusing our attention on those interdependent processes
and their permeability.

Kako je tvoje istraživanje iluzornih fenomena povezano
s istraživanjem načina konstruiranja prostora i vremena?
Neki iluzorni fenomeni čine naše poimanje prostornih dimenzija
nejasnim, poput nesigurnosti u vlastiti smjer kretanja ili položaj,
što ometa našu sposobnost neposredne orijentacije. To utječe
na naše kretanje i, sukladno tome, na poimanje vremena i prostora.
Na taj se način u pitanje mogu dovesti uspostavljeni odnosi s našom
okolinom i pretpostavka da je prostor definiran unaprijed, da su
mu dimenzije statične, da egzistira neovisno o nama.
Laban smatra da pokret predstavlja životnost prostora i da mrtav
prostor ne postoji, s obzirom da prostora nema bez pokreta, kao
ni pokreta bez prostora. To bi zapravo značilo da je vrijeme
konstitutivni element samog prostora. U mojim je radovima kretanje
posjetitelja njihov sastavni dio, odnosno ono formira rad
u međuodnosu sa prostorom, svjetlom i materijalnim elementima.
How is your exploration of illusory phenomena related to the
exploration of modes in which we construct space and time?
Some illusive phenomena introduce ambiguities into our sense of
spatial dimensions, such as uncertainty as to our direction of movement
or position, which disrupts our ability for immediate orientation.
This affects our movement and, accordingly, our sense of time and space.
In this way, the established relations with our surroundings and the
presumption that a space is pre-given, static, and external to us are
challenged.
Laban maintains that movement represents the vitality of a space
and that dead space does not exist, for there is neither space without
movement nor movement without space. Time is a constitutive part
of space. The movement of the observer is a constituent element in my
works, i.e. it defines a work in its interrelation with space, light and
material elements.

Na koji način koristiš svjetlo u svojim radovima?
Svjetlo je uvijek sastavni dio rada (isto kao i kretanje, tj. vrijeme)
bilo da se radi o umjetnoj rasvjeti kao materijalnom elementu rada,
ili o danjem svjetlu — manipuliranom ili ne. U principu, pokušavam
u obzir uzeti i definirati osvjetljenje, u nekim radovima u potpunosti,
dok kod nekih interveniram minimalno.
Istraživanje svjetla ukazuje na činjenicu da se oko nas zbivaju
brze promjene koje često ne percipiramo jer predmetima obično
pripisujemo trajne karakteristike, čime stvaramo osjećaj prostorne
koherentnosti i stabilnosti.
Općenito, svjetlo vidimo kada se reflektira s neke površine, a u slučaju
sjajnih ploha odsjaj postaje vidljiv ovisno o poziciji promatrača,
našem položaju u odnosu na svjetlo i promatranome objektu. Kako
se krećemo, mijenja se i položaj reflektiranog svijetla u prostoru;
moglo bi se reći da ga mi svojim kretanjem animiramo. Veći dio mojih
radova bazira se na tom odnosu: u pokušaju da preispitam načine
percipiranja tog fenomena.
Koliko ti je u radovima važna praznina?
Možeš li nam reći što postižeš tim prazninama?
Prazninu samu po sebi ne percipiramo, vidimo samo granice
prostora i objekte koji se u njemu nalaze. Nekim sam radovima
pokušala istražiti na koje je načine moguće prebaciti fokus
gledanja na taj međuprostor. Zapravo, to je jedno od osnovnih
pitanja s kojima se bavim.
How do you use light in your works?
Light is always a part of a work (just like movement, or the aspect of
time), be it artificial light as a material element of the work, or daylight
(manipulated or not). Generally, I try to take lighting into consideration
and define it, in some works completely, while in others I intervene
minimally.
The exploration of light makes apparent that rapid changes are taking
place around us that we, however, do not always perceive, because we
usually ascribe permanent properties to objects, thus creating a sense of
spatial coherence and stability.
In general, we see light when it is reflected off a surface, and in the case
of shiny surfaces, when the glare becomes apparent. This depends on
the observer’s position, on our position in relation to the light and on the
object we are observing. As we move, the position of the reflected light
in the space changes; we could say that we animate it by our movement.
I have based quite a few of my works on this relation, in an attempt to
probe our modes of perception of this phenomenon.
How important is emptiness in your works? Can you
tell us what you achieve with voids in your works?
We do not perceive empty space; we observe the edges of space
and the objects inside it. In some works I tried to explore in which way
is it possible to turn the focus of observing to that intermediate space.
Actually, this is one of the basic issues I’m working with.

U svojoj se praksi koristiš saznanjima iz neuroestetike,
koja se bavi odnosom umjetnosti i neuroznanosti.
Možeš li nam reći ponešto o nekim tvojim novim
istraživanjima iz tog područja?
Upravo radim na projektu u suradnji s organizacijom Neuroaesthetics
iz Berlina, u kojem ću koristiti intermittent photic stimulator,
koji je neka vrsta stroboskopa i koji, s obzirom na frekvenciju titranja
svjetla, izaziva različite perceptivne reakcije. Budući da se koristi
u medicinske svrhe u području neurologije, reakcije su istražene i
testirane na većem broju ljudi. Rezultati tih istraživanja početna su
točka u radu na ovom projektu.
Svaki je tvoj rad eksperiment. U kojoj je mjeri to
kontroliran proces, a u kojoj mjeri tek nakon nastanka
rada uočavaš njegove učinke?
Prije same produkcije radim eksperimente — testove, ali i sami
su radovi najčešće eksperimenti, pogotovo site-specific i radovi većih
formata. U završenom radu obično se pojave neki aspekti koje
nisam mogla predvidjeti i tada, na neki način, ti radovi postaju
potencijalni eksperimenti za sljedeći rad.
Je li za tebe stvaranje site-specific radova veći izazov od
izrade rada koji može funkcionirati u različitim prilikama?
Svaki je rad ovisan o kontekstu. Rad na projektima u kojem sam
s njime upoznata omogućava mi reakciju na specifičnosti konteksta,
što je dodatna — i stimulativna dimenzija.
In your art practice you use knowledge from neuroaesthetics,
a scientific field which deals with the relationship between
art and neuroscience. Could you tell us something about your
new research in that field?
At the moment I am working on a project in cooperation with an
organization from Berlin called Neuroaesthetics, in which I will use
an intermittent photic stimulator – a type of stroboscope which,
according to light oscillation frequency, causes various perceptive
reactions. Since it has been used in medical practice in the field of
neurology, the reactions have been studied and tested on a number
of people, and the results of these studies are the starting point
for the project.
Your every work is an experiment. To what extent is it
a controlled process and to what extent do you notice its
effects only after the work has been done?
Before the production itself I make experiments, or tests, but usually
the works themselves are often experiments, especially the site-specific
and large scale works. In the final work some aspects usually appear
which I couldn’t have predicted, and in a way, these works become
potential experiments for my next work.
Is the creation of site-specific works a larger challenge for you
than making a work which can function in various contexts?
Every work depends on its context. Working on projects in which
I am familiar with the context offers the possibility of reacting to the
specificities of the context, which gives an additional and stimulative
dimension to it.

Kako koristiš Internet u svom radu?
Do sada nisam direktno koristila Internet u radu, osim za research.
Na čemu trenutno radiš?
Upravo sam završila site-specific instalaciju za izložbu u Galeriji
Grey Sheep u Berlinu, a sljedeći veći projekt na kojem trenutno radim
je izložba u Umjetničkom paviljonu u Zagrebu.
Većim su dijelom zastupljeni u kolekcijama u Hrvatskoj;
u najvećem broju u Zbirci Filip Trade.
U principu mi je drago da se radovi nalaze unutar kolekcije,
budući da su tada pristupačni većem broju ljudi. Doduše, unutar
nekih, uglavnom javnih institucija, radovi su često većinu
vremena uskladišteni, što je manje sretna kombinacija.
intervju vodila Vanja Žanko.
How do you use the Internet in your work?
To date I have not used the Internet directly in my work,
except for doing research.
What are you working on at the moment?
I have just finished a site-specific installation for an exhibition at
the Grey Sheep Gallery in Berlin, and the other large project I am working
on at present is an exhibition at the Art Pavilion in Zagreb.
My works are mostly part of art collections in Croatia, with the largest
number of works in the possession of the Filip Trade Collection.
In general, I am pleased when my works are part of art collections
because they are accessible to a greater number of people. However,
in some of them, mostly public institutions, the works are kept in storage
most of the time, which is a less satisfying option.
interview by Vanja Žanko

Ivana Franke rođena je 1973. godine u Zagrebu.
Diplomirala je na Akademiji likovnih umjetnosti u Zagrebu,
grafički odsjek. Boravi na studijskim programima:
2001. u New Yorku pri Centru za suvremenu umjetnost
ps1, 2001 / 2002. u Japanu pri Centru za suvremenu
umjetnost u Kitakyushu, te 2004. u Helsinkiju pri
Nordijskom institutu za suvremenu umjetnost. Dva je
puta predstavljala Hrvatsku na venecijanskom bijenalu:
prvi put zajedničkim radom frameworks s arhitektima
Petrom Miškovićem, Tomom Plejićem i Leom Pelivan na
bijenalu arhitekture 2004., zatim samostalno izložbom
latency na umjetničkom bijenalu 2007. godine. Izlagala
je na brojnim izložbama, koje uključuju: full empty space,
p.s.1 Contemporary Art Center, New York, 2001.; passage
d’europe, Musee d’Art Moderne de Saint Etienne, Saint
Etienne, 2004.; izbjegavanje (s D. Očkom i S. Vujičićem),
Muzej suvremene umjetnosti, Zagreb, 2005; levity, The
Drawing Center, New York, 2007.; reykjavik experiment
marathon, Umjetnički muzej u Reykjaviku, 2008., te
manifesta 7, Bolzano, 2008. godine. Živi i radi u Zagrebu.
Ivana Franke was born in 1973 in Zagreb. She graduated from
the Department of Graphic Arts of the Academy of Fine Arts
in Zagreb. She participated in the following study programs:
p.s.1 Contemporary Art Centre in New York in 2001, Centre
for Contemporary Art Kitakyushu (ccak) in Kitakyushu, Japan
in 2001/2002 and Nordic Institute for Contemporary Art
(nifca) in Helsinki in 2004. She twice represented Croatia
at the venice biennale: the first with the collaborative
work frameworks with architects Petar Mišković, Toma
Plejić and Lea Pelivan at the biennale of architecture
2004, and with her solo exhibition latency at the 2007 art
biennale. She has taken part in a number of exhibitions,
including: full empty space, p.s.1 Contemporary Art Centre,
New York, 2001; passage d’europe, Musee d’Art Moderne de
Saint Etienne, Saint Etienne, 2004; avoid (with D. Očko and S.
Vujičić), Museum of Contemporary Art, Zagreb, 2005; levity,
The Drawing Center, New York, 2007; reykjavik experiment
marathon, Art Museum in Reykjavik, 2008; and manifesta 7,
Bolzano, 2008. She lives and works in Zagreb.
www2.mmsu.hr/franke
www.niklasbelenius.com/cgi-bin/index.pl?id=55
43

Projekt samo za austrijance izlagan je na izložbama —
festival regije, Gornja Austrija, Austrija, 2005.
normalization, Centar za suvremenu umjetnost Rooseum,
Malmo, Švedska, 2006.
eastern neighbours, Kulturni centar Babel, Utrecht, Nizozemska, 2006.
samostalna izložba, Galerija Nova, Zagreb, Hrvatska, 2006.
privatni plesači, Galerija o3one, Beograd, Srbija, 2007.
priroda i društvo / parallel lines, Muzej Rupe, Dubrovnik, Hrvatska, 2007.
donumenta2008 – hrvatska, Regensburg, Njemačka, 2008.
a pair of left shoes – reality check in east europe, Kunstmuseum Bochum,
Bochum, Njemačka, 2009.
—
dizajn — Dejan Dragosavac Ruta
Andreja Kulunčić )
finalisti finalists
The project austrians only was exhibited at the following exhibitions —
festival of regions, Upper Austria, Austria, 2005
normalization, Rooseum Center for Contemporary Art,
Malmo, Sweden, 2006
eastern neighbors, Cultural center Babel, Utrecht, Netherlands, 2006
solo show, Gallery Nova, Zagreb, Croatia, 2006
private dancers, Gallery o3one, Belgrade, Serbia, 2007
nature& society / parallel lines, Rupe Museum, Dubrovnik, Croatia, 2007
donumenta2008 – croatia, Regensburg, Germany, 2008
a pair of left shoes – reality check in east europe, Kunstmuseum Bochum,
Bochum, Germany, 2009
—
design — Dejan Dragosavac Ruta
44

radovi works
samo za austrijance letak za poštanski
novinski oglasi, plakati, poštanski leci sandučić
Festival regije Gornje Austrije, 2005. Gornja Austrija
edicija 2 / 5 lipanj 2005.
Uz rad su izloženi transkripti telefonskih odgovora na oglase.
Razgovore je vodila Sandra Krampelhuber.
The phone call transcripts of the responses to the advertisements are exhibited
along with the work. Sandra Krampelhuber interviewed the callers.
austrians only direct-mail leaflet
newspaper advertisements, posters, direct-mail items Upper-Austria
Festival of Regions 2005, Upper-Austria June 2005
edition 2 / 5
45

46 finalists Andreja Kuluncˇic
novinski oglas u der standard
Sub./Ned., 18/19. lipnja 2005.
newspaper advertisement in der standard
Sat/Sun, 18/19, June 2005
finalisti

radovi works 47
plakati u selima gornje austrije
lipanj 2005.
posters in the villages of upper-austria
June 2005

Intervju )
Andreja Kulunčić kroz svoju umjetničku praksu pokušava
senzibilizirati širu javnost na važnost kritike aktualnih
društvenih problematika. To čini vrlo vještim prisvajanjem
uvriježenih komunikoloških oblika, kao što su oglasi
u novinama, posteri za kampanje, leci, radio emisije
i slične forme. Multidisciplinarnost (suradnja sa
sociolozima, filozofima, znanstvenicima, dizajnerima…)
i istraživanje kao umjetnički proces glavne su
karakteristike njezinih projekata. Gledatelj je vrlo često
postavljen u ulogu aktivnog sudionika, apelira se na
njegovu odgovornost i participaciju, kao i na kritički odmak
od date realnosti. Radovi Andreje Kulunčić gradiraju od
onih koji tretiraju opća pitanja, kao zatvorena zbilja
— embrio ili kiborg dućan, u kojima se može simulirati
kreacija vlastitog embrija ili kupovati novi dijelovi tijela,
do radova koji se bave konkretnim mikro-lokalnim
problematikama kao nama: 1908 zaposlenika, 15 robnih
kuća, maloljetnička trudnoća — rad o tinejdžerskim
trudnicama u Britaniji, kao i projekt samo za austrijance,
o imigratnima koji u Austriji rade ‘na crno’, prezentiran
na ovoj izložbi.
Interview )
Throughout her art practice, Andreja Kulunčić attempts
to increase public awareness on the importance of addressing
current social issues. She accomplishes this by skilful
appropriation of conventional forms of communication,
namely newspaper advertisements, campaign posters,
leaflets, radio shows, etc. A multidisciplinary approach
(cooperation with sociologists, philosophers, scientists,
designers…) and research as an art process are the main
characteristics of her projects. The audience is often put in
the role of active participants. Appeals are made on their
responsibility and participation, as well as on their critical
detachment from the given reality. Andreja Kulunčić's
works vary from those that tackle general issues, such
as closed reality – embryo or cyborg web shop, in
which you can simulate the creation of your own embryo
or buy new body parts, to those dealing with concrete
micro-local problems, such as nama: 1908 employees,
15 department stores; teenage pregnancy – a project
on pregnant teenage girls in Britain, as well as the project
austrians only – about‘moonlighting’ immigrant workers
in Austria – which is being presented at this exhibition.
48 finalistI finalists Andreja Kuluncˇic

Projekt samo za austrijance nastao je ciljano za
međunarodni Festival regije Gornje Austrije 2005.
godine. Možeš li mi ukratko ispričati kako je tekao
proces nastanka koncepta?
Bila sam pozvana na sudjelovanje na Festivalu regije Gornje Austrije.
Održava se svake godine i vrlo je kvalitetan festival, čija je središnja
ideja zapravo decentraliziranje umjetnosti iz gradova u manja mjesta.
Tada se održavao u okolici Linza i umjetnici su bili pozvani da tjedan
dana provedu u toj regiji i osmisle rad. Otišla sam tamo 5-6 mjeseci
prije održavanja samog festivala i započela rad na konceptu projekta
samo za austrijance.
Kada putujem negdje, odnosno kad sam pozvana da radim projekt
u nekoj meni ne tako poznatoj sredini, kao u slučaju ovog projekta,
onda je najbolja slika društva (vrsta ogledala društva) odnos većine
prema ljudima koji su na margini. Njih je najlakše pritisnuti, oni su
već na neki način društveno ‘pali’ (imigranti koji rade na crno, azilanti,
trudnice-tinejdžerke itd.). Pri tome, grupe sa kojima radim, nisu
‘objekt’ moga rada, već ja pokušavam biti instrument za njih,
odnosno nastojim da se njihov problem, njihova priča, glas čuje
i na neki način podigne. Želja mi je omogućiti im drugačiji alat,
drugačiji kontekst.
The project austrians only was specifically created for the
international Festival of Regions of Upper Austria in 2005. Can
you briefly describe the process of creating the concept for this
work?
I was invited to participate at the Festival of Regions of Upper Austria.
This is a festival that is held every year and is quite first-rate. Its central
idea is actually to decentralize art from the cities to smaller towns.
At the time, it was held in the surrounding area of Linz, and the artists
were invited to spend a week in that region to come up with ideas for
their works. I went there 5-6 months beforehand and started working
on the concept of austrians only.
When I travel somewhere, or rather when I'm invited to work on a project
in not-so-familiar surroundings, as was the case with this project, then
the most accurate impression of a society (a sort of mirror of society) can
be obtained by observing the majority’s attitude towards marginalized
individuals. They are the easiest to suppress, in a way they are the
‘fallen’ members of society (moonlighting immigrants, asylum seekers,
pregnant teenagers, etc.). By this, the social groups I work with are not
‘the objects’ of my study; moreover I attempt to be their instrument.
In other words, I want their problem, their story, their voice to be raised
and heard. My wish is to give them access to different tools,
to a different context.

Za ovaj si projekt koristila i istraživanje.
Čemu ti služi takva temeljita priprema za projekt
i korištenje informacija iz ‘prve ruke’?
U Linzu postoji udruga za prava žena/imigranata Maiz koja mi
je ustupila svoje istraživanje. Osnovale su je žene iz Latinske
Amerike, imigrantice koje su s vremenom dobile papire za rad.
Napravile su istraživanje o spremačicama i njihovoj poziciji kod
poslodavaca. U istraživanju su postavile ista pitanja onima koji
zapošljavaju imigrantice na crno i imigranticama i uspoređivale
su odgovore. Procjep odnosa je znatan. One spremaju u tim kućama
već dulje vremena, što znači da se susreću jedanput ili dvaput
tjedno, ali svejedno ne dolazi do razumijevanja, odnosno kontakta
na osobnijoj razini. Poslodavka recimo kaže: ‘Moja spremačica
je prekrasna, ona je tiha kao miš. Mi nju ni ne primjećujemo’.
A s druge strane, spremačica komentira: ‘Pa naravno da me
ne primjećuje! Mogla bih ostati bez posla, može me prijaviti.
Trudim se biti neprimjetna, kao da me nema.’, itd.
Bitno mi je da problem koji uočim mogu potkrijepiti
istraživanjima, intervjuima i slično. Krenem iz jedne pozicije,
osjećam da je to mogući problem i onda tražim postoje li već
podaci o tome ili u istraživanje tek treba krenuti, koje me
potom može opovrgnuti ili podržati u onome što ja intuitivno
osjećam kao postojeći problem, sivu zonu društva.
You utilized social research in this project. How was this
thorough preparation and first-hand information put to use?
There is a women’s immigrant rights organization called Maiz in Linz
whose research I used. The organization was founded by Latin American
immigrant women who, in time, gained legal working papers. They
conducted a study involving cleaning women and their position in
the households where they worked. They asked the same questions
to the employers of the illegally employed immigrant women and to
the women themselves. They compared the answers and discovered
a significant discrepancy. The immigrant women had been cleaning
in those houses for some time, which means that they had to bump
into their employers at least once or twice a week, but there was still
no mutual understanding, no connections being made on a more
personal level. One employer said:‘My cleaning lady is wonderful.
She’s quiet as a mouse. We don’t even notice her around.’ On the
other side, the cleaning lady said:‘Of course they don’t notice me.
I could lose my job. They could report me. I try to be invisible, as if I’m
not there.’ When I sense a problem, it’s important to me that I can
support it with research, interviews and similar. I start off by sensing
a potential problem and then I search for existing data or research
that is yet to be conducted, which could support or challenge what
I intuitively sense as being the real problem, society’s grey zone.
finalisti50 finalists Andreja Kuluncˇic

Kako si odabrala točno određene profesije
stranih obespravljenih radnika/ca? Zašto je fokus
baš na prostitutkama i spremačima/icama?
Festival regije, za koji je rad bio produciran, održavao se
u selima Gornje Austrije, na tromeđi sa Češkom i Njemačkom.
Stanovnici tih sela Čehe/Čehinje smatraju manje vrijednima.
Recimo, kako je prostitucija raširena, stvorila se predrasuda o tome
da su sve Istočnoeuropljanke prostitutke. Zbog toga plakat-oglas
s prostitutkom.
Dva su pak najraširenija posla spremanje u privatnim kućama, što
uglavnom rade žene, i ‘bauštela’, odnosno muški građevinski radnici.
Kako nisam došla do dovoljno informacija o radnicima na građevini,
rad sam fokusirala na spremačice/če i prostitutke.
Od čega se projekt sastoji?
Projekt se sastojao od toga da sam dala oglase za posao, oglasila sam
poslove koje ljudi običavaju raditi ‘na crno’. Ponudila sam i uvjete koji
se nude ljudima ‘na crno’, ali sam naglasila da zapošljavam isključivo
Austrijance. Oglase sam postavila u novine i kao plakate, na mjesta
gdje su i inače oglasi za zapošljavanje Austrijanaca. Ponudila sam im
ono što oni nude drugima.
How is it that you chose exactly those particular professions
of foreign disenfranchised workers? Why did you put the focus
on prostitutes and cleaning women?
The Festival of Regions, for which this work was created, was held
in the villages of Upper Austria, the area bordering with Germany and
the Czech Republic.
Czech men and women are considered second-rate citizens by the
villages' inhabitants. For example, as prostitution is widely spread, the
prejudice has arisen that all Eastern European women are prostitutes.
This explains my poster-ad with a prostitute.
Two of the most widely spread professions are house cleaning in private
houses which is mostly done by women, and working on construction
sites, a job reserved for men.
As I wasn’t able to gather enough information about the construction
workers, I focused on cleaning women/men and prostitutes.
What did this project entail?
The project involved putting job advertisements in local papers.
I advertised those jobs at which people usually moonlight. I also offered
the same working conditions that are offered to those moonlighting,
but I emphasized that I would hire only Austrians. I placed
advertisements in newspapers, and like the posters, in places where
jobs for Austrians are usually advertised. I offered them what they have
been offering to others.

Na svim vizualima bio je prisutan i broj telefona
na koji su se austrijski građani mogli prijaviti za posao.
Kad ovaj rad izlažeš u galerijskom prostoru, dio projekta
je i dokumentacija transkripata razgovora koji su
zabilježeni tijekom provođenja projekta. Tko je bio
na drugoj strani linije i kakve su bile reakcije ljudi koji
su nazivali? Čemu služi taj dodatni korak u projektu ?
Socijalnoj radnici, koja je tjedan dana radila na telefonskoj liniji,
dala sam pitanja koja je postavljala ljudima. Oni su odgovarali na ta
pitanja, ukoliko su htjeli. Ona im nije lagala da razgovaraju o poslu,
nego je ulazila s njima u priču o tome da li je to u redu, da li bi oni
to prihvatili, da li bi oni nekome dali takav posao, što uopće o tome
misle. Dakle, ona je ulazila s njima u razgovor o društvu, što smatram
ključnim, jer mi je želja bila ljude osvijestiti o tome što čine drugima.
Najmanje je ljudi zvalo za posao. Uglavnom su zvali jer su bili ljuti što
se Austrijancima nudi ‘takav’ posao. Ili su zvali da pozdrave projekt, jer
su smatrali da je to veliki skriveni problem. Zanimalo ih je tko je iznio
taj problem, je li to neka nevladina udruga ili politički aktivizam ili...
Neki su zvali jer su mislili da je sve to šala, jer nešto takvo
u njihovom društvu ne postoji. To je najgore; kada ljudi žive
u nekom društvu i pretvaraju se da to nije istina.
In all the visuals there was also a phone number listed that
Austrian citizens could call and apply for a job. Documented
transcripts of phone calls recorded during the project
implementation are also part of your work when you exhibit
it in galleries. Who was on the other side of the phone line and
how did the callers react? What purpose does this additional
step serve in the project?
I gave a list of questions to a social-worker, who worked on the phone
line for a week. The callers answered the questions if they chose to.
Rather than pretending it was a real job interview, she attempted to start
a discussion by asking them if they thought if this was okay, if they would
accept a job like that or give somebody such a job, or what was their
general opinion on the subject. She engaged them in conversation about
society, which I consider to be a crucial element of my project because
I wished to let people know what they were doing to others.
The least number of people called to apply for a job. Most of them
called to express their revolt against‘these kinds’ of jobs being offered
to Austrians. Or they called to support the project because they
thought this was a significant hidden social issue. They were interested
in who was bringing this problem to the public's attention, was it a
nongovernmental organization or an act of political activism or…
Some people called because they thought it was a joke as no such thing
existed in their society. That's the worst thing; when people pretend not
to see the problems that surround them.

Kako si odabrala formu plakata, letaka i novinskih
oglasa za izvedbu koncepta i koliko je tu bio važan
vizualni identitet tih materijala? Estetika vizuala je
i ugodna oku, a tekst zapravo šokantan.
Kako je došlo do takvog spoja?
Dizajn sam radila u suradnji s Rutom, dizajnerom iz Zagreba, po uzoru
na prikupljeni materijal. Prvo sam tražila da mi kopiraju i skeniraju
plakate i novine u kojima sam znala da ćemo objavljivati oglase.
Iz njih sam preuzela izraze koje koriste kada nude posao, način na koji
nude posao, kao i vizualni identitet tih oglasa. Novine u kojima smo
objavili oglas, u samo jednom izdanju, imaju dijelove s kulturom
i politikom, no velik je dio namijenjen upravo prostoru za oglašavanje
i distribuiraju se u velikom broju primjeraka. Oglas je bio stavljen
među ostale oglase koji su inače namijenjeni za poslove Austrijanaca.
Ideja je bila da napravimo nešto što izgleda kao oglas za dobar posao,
za nešto elegantno, tako da ih to privuče: ‘Career in the world of
cleaning’. Plakati su stavljani na mjesta gdje se i inače oglašavaju
poslovi: benzinske pumpe, drveće, stupovi i slično. A leci su bili
distribuirani po kaslićima stambenih kuća. Tekstualni dio za oglase
izvukla sam iz istraživanja, svjedočanstava radnica, pa sam upravo
takav opis posla i ponudila. Nisam ništa izmišljala niti nadodavala,
a za plakate i letke izvukla sam i statistike, te neke važnije zaključke.
Why did you choose the form of posters, leaflets
and newspaper advertisements to develop the concept?
How important was the visual identity of those materials?
The aesthetics of the visuals is appealing and pleasing to the
eye, while the text actually aims to shock. What contributed
to such a combination?
The design, based on the collected material, was made in cooperation
with Ruta, a designer from Zagreb. First I asked for scanned and copied
editions of the posters and newspapers where I knew we would be
publishing our ads. I appropriated the typical phrases used in job
advertising, the manner in which the jobs are being offered, as well
as the visual identity of those ads. The newspaper in which we published
our advertisement (in one edition only), has sections intended for cultural
or political topics, but a large segment is intended for advertising space,
and copies of the paper are distributed in large quantities. Our job
ad was published next to the regular job ads that are usually intended
for Austrians.
The idea was to make something that would look like an advertisement
for a decent job, for something sophisticated, so people would be drawn
to it:‘Career in the world of cleaning’. The posters were put up in places
where you usually find job advertisements: gas stations, trees, poles,
etc. And the leaflets were distributed directly to mailboxes in apartment
buildings. The text used in the ads was taken from the research, from
workers' testimonials. I offered an authentic job description without
inventing anything or adding to it. On the posters and leaflets I also
included statistical data along with some more important conclusions.

Primarna publika projekta samo za austrijance
bili su stanovnici mjesta u kojima su bili postavljeni
ili distribuirani vizuali. Na koji način translatiraš rad
u galerijski kontekst i smatraš li takvu translaciju
problematičnom?
Moj je stav da je galerija, u slučaju ovakvih radova, mjesto
informacije o radu — kako bismo rad dokumentirali i imali kulturnu
referencu, odnosno postavili ga u kontekst te vrste umjetničke prakse.
Izlaganjem u galeriji pitam posjetitelje za njihov kritički osvrt.
Gdje to stoji? Da li je to dobro ili nije? Može li ta vrsta prakse imati
politički dijalog? Tu mislim na kontekst umjetnosti, ali i na kontekst
diskusije o našem društvu i promjenama koje slijede.
Od publike, u slučaju kada su u poziciji ‘drugog primatelja’,
zapravo imaš i drugačija očekivanja?
Tako je. Projekt je nastao u Austriji, ali treba imati na umu da su često
žene iz naših krajeva te koje tamo spremaju pa nam problem zapravo
i nije toliko stran i dalek. S druge strane, dolazi Europska unija i mi
ćemo uskoro imati slične situacije sa ljudima koji će dolaziti raditi
‘na crno’ kod nas.
Iako od pedesetih postoje radovi koji su postavljeni kao
dokumentacije u galerijama (akcije, performansi itd.), kod nas
još uvijek posjetitelji izložbe često očekuju da dožive umjetnost
direktno, kao primarni primatelji. Stoga nisu sigurni kako ‘čitati’
ovakvu vrstu radova, a često i ne žele u umjetnosti biti suočeni
s kritikom društva.
To je problem mjesta umjetnosti u obrazovanju i društvu. Pitanje
je što je umjetnost za nas i ima li mjesta društvenom osvješćivanju,
postavljanju pitanja i kritici u umjetničkom djelu.
The primary public for the project austrians only were
the town’s inhabitants where the visuals were set up and
distributed. How is this work translated into the context
of a gallery and do you find this translation problematic?
In my opinion, a gallery is a place where you can find information about
this kind of work — where it is documented and given a cultural reference,
where it is placed within the context of that kind of art practice.
By exhibiting the work in a gallery we ask visitors to give us their critical
overviews. Where does it stand? Is it good or not? Can this kind of art
practice have a political dialogue? Here I refer to the context of art,
but also to the context of discussion about our society and about the
changes that follow.
You actually have different expectations from your audience
when they are in the position of a‘secondary recipient’?
That’s right. The project was created in Austria, but one needs to keep
in mind that the women who clean there are often from these very
regions, so actually the problem isn’t so distant and strange to us.
On the other hand, the accession to the European Union is fast
approaching and we will soon be in a similar situation where people
will be coming here to moonlight.
Even though galleries have been featuring art works set up in the form
of documentation since the 1950s (actions, performances etc.),
exhibition visitors still expect to experience art directly as‘primary
recipients’. Therefore, they are not sure how to‘read’ this kind of work,
and often don’t want to encounter social criticism in art.
This problem arises from the status that art holds in the educational
system and in society. The questions we have to ask ourselves are: what
does art mean to us and should there be a place for social awareness,
asking questions and criticism in an art work.

Osim u Zbirci Filip Trade, u Muzeju moderne i suvremene
umjetnosti Rijeka, u Muzeju suvremene umjetnosti u Zagrebu
i u kolekciji Nede Young.
Od kolekcija očekujem da me stave u novi kontekst, dokumentiraju,
izlažu, da na neki način daju ‘novi život’ radovima. Mislim da je važno
i da buduće generacije mogu graditi na našim radovima, da se ne
ponavljamo. Radovi imaju drugačiju kulturnu vrijednost kad stoje
u kolekcijama, stalnim postavima za koje će se netko dugoročno
brinuti.
intervju vodila Mihaela Richter.
Besides the Filip Trade Collection, in the Museum of Modern
and Contemporary Art in Rijeka, in the Museum of Contemporary Art
in Zagreb and in the Collection of Neda Young.
I expect the collections to present me in a new context, to document,
to exhibit, to give‘new life’ to my works. I believe it is important for future
generations to build upon our works, so we don’t repeat ourselves. Art
works have a different cultural value when they are part of collections
and permanent exhibitions with someone to take care of them over the
long term.
interview by Mihaela Richter

Andreja Kulunčić je rođena 1968. godine. Diplomirala
je na Fakultetu primijenjenih umjetnosti i dizajna
u Beogradu, odsjek kiparstva, nakon čega je nastavila
studije na Akademiji likovnih umjetnosti u Budimpešti.
Nakon toga provodi šest mjeseci u Jordanu i Siriji, i jednu
godinu putujući Južnom Amerikom. Sudjelovala je na
mnogobrojnim izložbama u Hrvatskoj i inozemstvu,
a od značajnijih izdvajamo sljedeće: documenta11
(Kassel, Njemačka, 2002.), manifesta 4 (Frankfurt na
Maini, Njemačka 2002.), 8. istanbulski bijenale
(Turska, 2003.), the american effect (Muzej američke
umjetnosti Whitney, New York, 2003.), liverpulski
bijenale (uk, 2004.), day labor (p.s.1, New York, 2005.)
i druge. Boravila je i na umjetničkim rezidencijalnim
programima u sklopu 10. trijenala indije (Jaipur, Indija,
2001.), u Artspace-u (Sydney, Australija, 2002.),
u Walker Art Centru (Minneapolis, sad, 2003.), u Art
in General (New York, sad, 2005.) i drugdje.
Živi u Zagrebu.
andreja kulunčić was born in 1968. She graduated
from the Department of Sculpture, Faculty of Applied
Arts and Design in Belgrade, after which she continued
her studies at the Hungarian Academy of Fine
Arts in Budapest. She spent six months in Jordan and
Syria, and one year travelling around South America.
She has participated in numerous exhibitions in Croatia
and abroad, the most significant ones being: documenta11
(Kassel, Germany, 2002), manifesta4 (Frankfurt/Main,
2002), 8th international istanbul biennial (Turkey, 2003),
the american effect (Whitney Museum of American
Art, New York, 2003), liverpool biennial (uk, 2004),
day labor (p.s.1, New York, 2005), etc. She has also taken
part in artist-in-residence programs as part of the 10th
triennale-india (Jaipur, India, 2001), at Artspace (Sydney,
Australia, 2002), at the Walker Art Center (Minneapolis,
u.s., 2003), at Art in General (New York, u.s., 2005), etc.
She lives in Zagreb.
www.andreja.org
57

Rad interijer izlagan je na izložbama —
fotosinteza, Galerija Galženica, Velika Gorica, Hrvatska, 2007.
projekt linienstrasse113 – Kristina Lenard, Linienstrasse 113,
Berlin, Njemačka, 2008.
finale nagrade radoslav putar, Galerija Galženica, Velika Gorica,
Hrvatska, 2008.
Rad metro izlagan je na izložbama —
fotosinteza, Galerija Galženica, Velika Gorica, Hrvatska, 2007.
izložba umjetnika na rezideniji kulturkontakt, Galerija ArtPoint,
Beč, Austrija, 2007.
projekt linienstrasse113 – Kristina Lenard, Linienstrasse 113,
Berlin, Njemačka, 2008.
re/konstrukcije, Galerija Waldinger, Osijek, Hrvatska, 2008.
finale nagrade radoslav putar, Galerija Galženica,
Velika Gorica, Hrvatska, 2008.
for a happier tomorrow, Galerija Tom Christoffersen, Copenhagen,
Danska, 2008.
Kristina Lenard )
finalisti finalists
The work interior was exhibited at the following exhibitions —
photosynthesis, Galženica Gallery, Velika Gorica, Croatia, 2007
linienstrasse113 project – Kristina Lenard, Linienstrasse 113,
Berlin, Germany, 2008
finale of the radoslav putar award, Galženica Gallery,
Velika Gorica, Croatia, 2008
The work metro was exhibited at the following exhibitions —
photosynthesis, Galženica Gallery, Velika Gorica, Croatia, 2007
exhibition of artists at kulturkontakt residence, ArtPoint Gallery,
Vienna, Austria, 2007
linienstrasse113 project – Kristina Lenard, Linienstrasse 113,
Berlin, Germany, 2008
re/constructions, Waldinger Gallery, Osijek, Croatia, 2008
finale of the radoslav putar award, Galženica Gallery, Velika Gorica,
Croatia, 2008
for a happier tomorrow, Tom Christoffersen Gallery, Copenhagen,
Denmark, 2008
58

radovi works 59
interijer
inkjet ispis na back light foliji u lightboxu
100 x 170 x 15 cm, 2007.
edicija 1/5
interior
inkjet print on backlight film in lightbox
100 x 170 x 15 cm, 2007
edition 1/5

60 finalists Kristina Lenard
metro
inkjet ispis na back light foliji u lightboxu
78 x 98 x 12 cm, 2007.
edicija 1 / 5
metro
inkjet print on backlight film in lightbox
78 x 98 x 12 cm, 2007
edition 1 / 5
finalisti

Intervju )
U svojim radovima Kristina Lenard medij fotografije
koristi na nekonvencionalan način. Fotografski
dokumentarizam služi joj kao polazišna točka za poigravanje
unutar prizora, kao svojevrsna baza koju potom u
potpunosti izokreće. Teme koje odabire za svoje radove
preuzete su iz svakodnevice: portreti, interijer, mrtva priroda
i urbani pejzaž, no njihovom se transformacijom otvaraju
mogućnosti šireg čitanja. Ono što je svim radovima Kristine
Lenard zajedničko jest korištenje zrcalne simetrije, unutar
koje uvijek ostavlja tragove za iščitavanje perceptivnih varki.
Propitivanje medija ne ograničava samo na samostalni rad,
nego se usmjerava i na kolaborativno te eksperimentalno
umjetničko djelovanje. U projektu copycat bavi se ‘vizualnim
dopisivanjem’ i pitanjem autorstva. Njena samostalna
izložba pod nazivom fotosinteza (Galerija Galženica,
Velika Gorica, 2007.) bazira se na ciklusu od sedam radova
kroz koje nastavlja igru percepcije. Radovi interijer i
metro, izloženi na ovoj izložbi, dijelovi su toga ciklusa.
Interview )
In her works, Kristina Lenard applies the medium of
photography in an unconventional way. Photographic
documentarism serves as her starting point for playing
within a scene as a kind of base which she then completely
turns upside down. The themes of her works are taken
from everyday life: portraits, interiors, still life or urban
landscapes. However, their transformation opens up
possibilities for a wider interpretation. What is common
in all of Kristina Lenard's works is the use of mirroring
symmetry, within which she always leaves traces for the
reading of perceptive illusions. Lenard’s exploration of media
is not only limited to her solo work but is also being directed
towards collaborative and experimental work modes. In her
copycat project she is engaged in‘visual correspondence’
and the issue of authorship. Her solo exhibition titled
photosynthesis (Galženica Gallery, Velika Gorica, 2007)
is based on a series comprising 7 works, whereby she
continues the game of perception. The same series includes
interior and metro, works presented at this exhibition.

Koji su radovi sadržani u ciklusu fotosinteza
i koji je bio njegov središnji koncept?
U seriji fotografija fotosinteza bavim se istraživanjem medija
fotografije, dupliciranjem stvarnosti i njezinim konstruiranjem.
Upotrijebila sam fotografiju, koja se često smatra samo medijem
vjernog predočavanja stvarnosti, kao sredstvo za postavljanje
nekih pitanja promatraču.
Radovi sadrže motive klasičnih slikarskih i fotografskih žanrova
koji se ne razlikuju samo po motivima, već i po pristupu realizaciji
‘slike’. Serija portreta realizirana je manipulacijom u Photoshopu.
Od jednog lica, jedne fotografije, stvorena su dva portreta.
Jedan od dvije lijeve strane lica, a drugi od dvije desne strane lica.
Drugi dio ciklusa prezentira motive stvorene metodom inverzije —
slike koje izgledaju kao da su izmanipulirane u Photoshopu,
a zapravo su stvarne, vrlo precizno složene zrcalne instalacije
u prostoru, fotografirane na način da promatrača navedu
na ‘pogrešan’ zaključak.
Which works are comprised in the photosynthesis series
and what is their central concept?
The series of photos titled photosynthesis is about exploring the
medium of photography, duplicating reality and its construction. I used
photography, which is often considered to be a medium that faithfully
presents reality, as a means for posing certain questions to the observer.
The works comprise motifs from classic painting
and photographic genres which differ not only in motifs,
but also in their approach to‘image’ realization.
The portrait series was realized using Photoshop manipulation.
A single photograph with a single face gives rise to two portraits, one
made from two left sides of the face and the other from the two right
sides. The second part of the series presents motifs produced by the
inversion method. These images appear as if manipulated in Photoshop,
and yet are real, very precisely arranged mirrored installations in space,
photographed in a manner designed to lead the observer towards
a‘mistaken’ conclusion.
finalisti62 finalists Kristina Lenard

Filip Trade Collection showcases 12 Croatian artists

Filip Trade Collection showcases 12 Croatian artists

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