24. 1. – 2. 4. 2017.Suvremeni umjetnici

u Stalnom postavu MUO

Contemporary Artists in MUO Permanent Exhibition

IZDAVAČ ¬ PUBLISHER

Muzej za umjetnost i obrt, Zagreb

ZA NAKLADNIKA ¬ FOR THE PUBLISHER

Miroslav Gašparović

KUSTOSICA IZLOŽBE I AUTORICA TEKSTA

¬ EXHIBITION CURATOR AND AUTHOR OF THE TEXT

Jasmina Fučkan

VODITELJICA PROJEKATA

¬ PROJECT MANAGER

Vesna Ledić

MARKETING

Vesna Jurić Bulatović, Vesna Validžić

ODNOSI S JAVNOŠĆU ¬ PUBLIC RELATIONS Fernando Soprano

PEDAGOŠKI PROGRAM

¬ EDUCATIONAL PROGRAM

Malina Zuccon Martić, Iva Meštrović

FOTOGRAFIJE ¬ PHOTOGRAPHS

Srećko Budek, Vedran Benović, Božica Dea Matasić

PRIJEVOD TEKSTA NA ENGLESKI

¬ ENGLISH TRANSLATION OF THE TEXT

Dunja Nekić

LEKTURA I KOREKTURA ¬ PROOF-READING

Antonia Došen

3D VIZUALIZACIJA POSTAVA

¬ 3D VISUALISATION OF THE EXHIBITION SET-UP

Arni Barišić, Logotip d.o.o.

VIDEO

Tibor Ivan Grujić

TEHNIČKI POSTAV ¬ INSTALLATION TEAM

Katarina Bence, Zoran Svrtan, Robert Brdarić, Branko Dujić, Ksenija Pintar, Jasminka Podgorski

TEHNIČKI TIM MUO ¬ TECHNICAL TEAM

Davorin Valdec, Ivo Lovrić, Velimir Matijašić, Marijan Muhić, Zoran Ćulibrk, Luka Kovačević

ZAHVALA ZA LJUBAZNU SURADNJU ¬

ACKNOWLEDGEMENT FOR KIND COLLABORATION

VIPnet d.o.o.

OBLIKOVANJE VIZUALNOG IDENTITETA IZLOŽBE I DIZAJN

KATALOGA ¬ VISUAL IDENTITY OF THE EXHIBITON AND

CATALOGUE DESIGN

Rašić+Vrabec

TISAK ¬ PRINT

Sveučilišna tiskara

NAKLADA ¬ CIRCULATION 500

ISBN 978-953-7641-59-7

Izložba je realizirana potporom Gradskog ureda za obrazovanje, kulturu i sport Grada Zagreba i Ministarstva kulture Republike Hrvatske. ¬ The exhibition has been financially supported by The Municipal Office for Education, Culture and Sport of the City of Zagreb and the Ministry of Culture of the Republic of Croatia.

PUBLIK S DRUGE SRNE SUÈELJa Autorica Bo�ica Dea Matasiæ (Zagreb, 1970.) svoje radove èesto bazira na afirmativnom odnosu prema formi i suvremenim tehnološkim pro-

cesima i materijalima te promišljenoj, sofisticirano izra�enoj kritiènosti prema senzacionalistièkom i konzumeristièkom okru�enju. U odreðenim

ambijentalnim radovima i instalacijama polazi od arhetipskih imaginarnih konstrukta preobra�avajuæi fizièke prostore galerija u višeosjetilne

opuštajuæe pejza�e natopljene meditativnom atmosferom (izlo�be Izazov svjetlosti, 2002.; Silva Subterranea, 2004.; Znakovi vjerojatnosti, 2004.; Tiha

voda, 2006.; �iva ogledala, 2006.). Iako ne stvara pod unutarnjom obvezom društvenog anga�mana, ne prešuæuje niti ne zaobilazi socijalne kom-

ponente konteksta odnosno teme egzistencije umjetnika te društvene i ekonomske valorizacije umjetnièkog rada èesto plasira na nacionalnim

umjetnièkim smotrama (poput radova Skulpturu mijenjam, 2003. sa VII trijenala hrvatskog kiparstva; Peticija, 2007. povodom 42. zagrebaèkog

salona; Ugovor, 2015. s nastupa na XII trijenalu hrvatskog kiparstva).

U mnogim njezinim realizacijama kljuèno je naèelo interaktivnog anga�iranja posjetitelja, a oblikovanje volumena tek je povod za izgradnju

fizièke višeosjetilne sa�ivljenosti posjetitelja s okru�enjem (Panacea, 2010.; Èuvari dodira, 2011.; Kula pogleda, 2016.; Vreæa bez dna, 2016.). To

naèelo ispitivanja refleksivnih i autorefleksivnih odgovora publike koji kreiraju rad kroz iskustvo jednako vrijedi u izlagaèkim prostorima poput

galerija i muzeja kao i u javnim prostorima, u prirodnim ambijentima. Raznolikost oblikovnih i tehnoloških metoda kojima Matasiæ pribjegava u

materijalnoj izvedbi proizlazi iz nedjeljive zavisnosti finalnog rada o idejnoj, a ne formalnoj motivaciji i namjeri za izgradnjom dubljih komunikacij-

skih spona objekta s društvenim okru�enjem što znaèi da se stvaralaèka projekcija ne iscrpljuje u pukom postavljanju estetskog objekta u fizièki

kontekst prostora i promatraèa, veæ je naglašen fokus na relacijskim procesima s okolinom i stvaranju proširenog kontekstualnog okvira rada.

SPEMNI Za BUDUÆNOS?

Èini se da svjedoèimo ostvarenju avangardne utopije s poèetka 20.

stoljeæa, futuristièke sanjarije o totalnoj konstrukciji svijeta i dostizanju evo-

lucijskog ideala superiornog homo sapiensa – u vidu kiborga, èovjeka

/ stroja. Oponašanje senzornog i afektivnog potencijala èovjeèanstva

omoguæuje sinkronizaciju tehnološki simuliranih podra�aja i akcija s

organskim sustavom èovjeka, uz visoku razinu moguæe interaktivno-

sti i sofisticiranog manipuliranja ljudskim emocijama. Istra�ivanja na

podruèju proširene i virtualne stvarnosti trenutno su u fokusu razvojnih

strategija mnogih od najjaèih svjetskih tvrtki (Sony, Valve, HTC), a njihovi

dosezi od nesagledivog su znaèaja za mnoge struke i discipline, pa

tako i za umjetnièku produkciju, iako, za sada, najširu primjenu nalaze

u eskapistièkom svijetu industrije masovne zabave i digitalnih igara.

Spremnost korisnika da prihvate fenomenološku objavu tijela svede-

nog na biološku podlogu za montiranje tehnoloških dodataka koji una-

preðuju sposobnost sudjelovanja i do�ivljavanja u virtualnoj sferi predu-

vjet je poretka kulture bestjelesnosti u kiberprostoru.

PUBLIK S DRUGE SRNE SUÈELJa

Na nivou globalne distribucije virtualno stanje nu�na je ekstenzija stvar-

nosti, a procesi digitalizacije oduševljeno su prihvaæeni kao izvanre-

dan alat u muzealizaciji i muzeološkoj obradi, omoguæivši povezivanje

podataka institucionalnih ili nacionalnih baza i kreiranje repozitorija

internacionalnih odnosno nadnacionalnih tematskih virtualnih zbirki.

Na ovaj naèin i muzeji aktivno sudjeluju u izgradnji novih digitalnih

identiteta, a s obzirom na to da je proces prijenosa, prijelaza predmeta

iz konteksta u kontekst iskonsko muzeološko naèelo, virtualni muzej èini

se vrlo potentnim medijem strukturiranja i oèuvanja baštinske memorije

te komuniciranja odnosno aktualiziranja njenih vrijednosti. Meðutim,

suvremeni tehnološki trendovi donoseæi nove oblike komunikacije i

reprodukcije, mijenjaju oèekivanja publike kao i njihove interese što

predstavlja veliki izazov za muzejsku praksu.

SVARNOS I FIKCIJa MUZEJSKOG POSTA‹a

Autorica Bo�ica Dea Matasiæ, poput drugih umjetnika koji su do sada

sudjelovali u programu Suvremeni umjetnici u Stalnom postavu MUO

(Dalibor Martinis, Dubravka Rakoci, �eljko Badurina, Slaven Tolj, Ida

Bla�ièko i Nika Radiæ) uspostavljajuæi drugaèije odnose unutar sustava

muzejskih protokola i znaèenja eksponata u muzejskim

dvoranama, ostvaruje dijalog s prostornim

i znaèenjskim kontekstom no

to ne èini kroz

REALITY AND FICTION OF MUSEUM EXHIBITION

Author Bo�ica Dea Matasiæ, like other artists who have participated

so far in the project Contemporary Artists in MUO Permanent Exhibition

(Dalibor Martinis, Dubravka Rakoci, �eljko Badurina, Slaven Tolj, Ida

Bla�ièko and Nika Radiæ) in constructing different relations within the

museum protocols and meaning of exhibits in the museum halls, cre-

ates a dialogue with the spatial and semantic context, however she

does not do it through formal recognizable works. At first it even seems

that she tempts the very understanding of a site-specific work, or visitors’

patience. In several halls, museums segments from art historical time-

line (Gothic, Baroque, Classicism, Art Deco and Design), technological

sections are set for visitors which offer virtual reality headsets. This is not

merely a manifestation of technological attraction, but an exhibition in

the centre of whose artistic focus is a problem set we encounter in the

demarcation of the real and the virtual museum. The very aspect of

materiality is tested and the question is whether the fact that by losing

the importance of the indispensable conditions for interaction, it also

really loses the qualitative character for the audience. Author’s inten-

tion is that through the appropriation of the digital system apparatus,

which relativizes materiality or abolishes the need for being present,

the quality of reality is presented whose characteristics we are called

to re-discover and explore.

‹ISIBILITY AND INVISIBILITY OF RELITY

Through a series of 3D virtual alternations author has, by amending

exposed content of museum halls, created not only a new concept of

virtual exhibition, but also partially deconstructed the actual exhibition

and changed the code of its original message. The original message

of MUO Permanent Exhibition structural diversity of art and craft col-

lections was compiled in historiographical review of artistic styles, and

technological aspects without direct explication remains overshad-

owed by the emphasis on formal characteristics.

According to the understanding of Bo�ica Dea Matasiæ it is precisely

different technological aspects of craft, art and design in approach-

ing design as manual processes, manufacture or industrialwork, that

determine the level of spiritual memory of object, the potential from

which we gain awareness of the continuity of human efforts to shape

the environment, to improve reality, and dignify matter. This sedimented

time and physical energy consumed in the production process is stored

in each museum object, which mirrored in the minds

of visitors becomes a link for transferring

messages.

POSJETITELJ I NJEGOVO MUZEJSKO MJESO

Bo�ica Dea Matasiæ shvaæa prostor kao medij interakcije ljudi, objekata

i koncepata zbog èega u mnogim radovima posjetitelja i njegov do�iv-

ljaj postavlja u središte zbivanja, pru�ajuæi mu moguænost za cjelovitu

fizièku participaciju uz aktiviranje prostorne, vizualne, taktilne i slušne

percepcije. U radu osmišljenom za Stalni postav MUO individualna par-

ticipacija posjetitelja predstavlja iskljuèiv uvjet ostvarenja intervencije

jer je autorski pogled unutar javnog prostora poistovjeæen sa subjektiv-

nim kadrom posjetitelja, kadrom koji uokviruje samu moguænost do�iv-

ljaja. Iako mo�da najjasnije prizivaju asocijacije na serijsku hiperpro-

dukciju i osjeæaj zasiæenja uniformnim ambijentacijama trgovaèkih

izlo�benih salona, scenografski aran�mani autorskih alternativnih ver-

zija postava korespondiraju s totalitetom izvanmuzejskog okru�enja.

Izgraðeni su na generativnom principu i naèelima bliskim biomedi-

cinskoj metodologiji genetskog in�enjeringa poput stroge selekcije

uzorka, potenciranja reprodukcije identiènosti uz eliminaciju razlika.

Generièkim ponavljanjem jednog jedinog eksponata u odabranim

dvoranama naglašava se podreðenost trendovima multiplikacije koji

zahvaæaju tehnološke i biološke nivoe društvene produktivnosti i repro-

duktivnosti. Kroz virtualni karakter svog postupka Bo�ica Dea Matasiæ

provodi kulturni in�enjering, razgraðujuæi kompaktno povijesno tkivo

muzejskog postava mjestimiènim nukleusima metastaza koje posjeti-

telj sporadièno otkriva. Degenerativni uzorci – lišeni povijesti i ljudskosti,

duhovnog potencijala s kojim bismo se povezali simptom su postma-

terijalnog statusa ne samo umjetnosti, veæ i �ivota i doslovno tijela, u

kojemu privid instrumentalizira èak i samu suštinu identiteta. Nakon sis-

tematskog pregleda kroz okular umjetnosti dijagnozu aktualnog stanja

postavit æe svaki posjetitelj za sebe.

Jasmina Fuèkan

HTTP://MATASIC.COM/

fo r -

malno pre-

poznatljive radove. Isprva

se èak èini da iskušava i samo shvaæanje

site-specific rada ili strpljenje posjetitelja. U nekoliko dvorana,

muzejskih isjeèaka iz povijesnoumjetnièke lente vremena (Gotika,

Barok, Klasicizam, Art Deco i Dizajn) za posjetitelje su postavljeni teh-

nološki odjeljci s ponuðenim setovima naoèala za virtualnu stvarnost.

Ovo nije puka manifestacija tehnološke atrakcije, veæ izlo�ba u središtu

èijeg umjetnièkog okulara stoji problemski sklop s kojim se susreæemo

pri razgranièenju stvarnog i virtualnog muzeja. Na kušnji je sam aspekt

materijalnosti i pitanje je, je li s èinjenicom da je izgubio va�nost neza-

obilazne pretpostavke za interakciju, on za publiku doista izgubio i kva-

litativni znaèaj. Autorska intencija jest da se kroz prisvajanje aparature

digitalnog poretka, koja relativizira materijalnost ili dokida potrebu za

prezentnošæu, predstavi kvaliteta stvarnosti èija obilje�ja smo pozvani

nanovo otkrivati i ispitivati.

‹IDLJIVOS I NE‹IDLJIVOS SVARNOSI

Kroz seriju 3D virtualnih alternacija autorica je, izmijenivši eksponirani

sadr�aj muzejskih dvorana, stvorila ne samo novu koncepciju virtualnog

postava, veæ je ujedno parcijalno dekonstruirala stvarnu izlo�bu i pro-

mijenila kôd njezine izvorne poruke. U izvornoj poruci Stalnog postava

MUO strukturalna raznorodnost obrtno-umjetnièkih zbirki objedinjena

je historiografskim pregledom umjetnièkih stilova, a tehnološki aspekt

bez izravnije eksplikacije ostaje zasjenjen naglaskom na formalnim obi-

lje�jima. Prema shvaæanju Bo�ice Dee Matasiæ upravo razlièiti tehno-

loški aspekti zanatskog, umjetnièkog i dizajnerskog pristupa oblikova-

nju kao i procesi ruènog, manufakturnog ili industrijskog rada, odreðuju

nivo duhovne memorije predmeta, potencijala iz kojeg crpimo svijest

o neprekidnosti ljudskog nastojanja da se okru�enje oblikuje, stvarnost

doradi, a materija oplemeni. Ovaj natalo�eni ulog vremena i tjelesne

energije utrošenih u proces proizvodnje èini energetsku zalihu

pohranjenu u svakom muzejskom predmetu,

koja ozrcaljena u svijesti posjetitelja

postaje sponom za prije-

nos poruke.

REDY FOR THE FUURE?

It seems that we are witnessing the realization of the avant-garde uto-

pia of the early 20th century, futuristic fantasy about the total construc-

tion of the world and achieving evolutionary ideal of a superior Homo

sapiens - as a cyborg, man / machine. Impersonation of sensory and

affective potential of mankind enables synchronisation of technolog-

ically simulated stimuli and actions with an organic human system,

with a high level of possible interactivity and sophisticated manipula-

tion of human emotions. Research in the field of extended and virtual

reality are currently in the focus of development strategies of many

of the most powerful companies in the world (Sony, Valve, HTC), and

their achievements are of immense importance for many professions

and disciplines, as well as for artistic production, even though, for now,

they are most widely used in the escapist world of mass entertainment

industry and digital games. Willingness of users to accept the phenom-

enal revelation of the body reduced to a biological basis for mounting

technological add-ons, which improve the ability to participate and

experience the virtual sphere, is a prerequisite for order of cultural dis-

embodiment in cyberspace.

AUDIENCE BEYOND TE INERFCE

At the level of global distribution, virtual state is a necessary extension

of reality, and digitalisation processes are enthusiastically accepted

as an outstanding tool in musealisation and museological processing,

thus enabling the linking of data of national or institutional bases and

creation of repositories of international and transnational thematic

virtual collections. In this way museums actively participate in creat-

ing new digital identities and considering the fact that the process of

transmission, transfer of objects from one context to the other context

is museological primordial principle, a virtual museum seems to be

a very potent medium for structuring and preserving the memory of

heritage and communication i.e. updating its value. However, mod-

ern technological trends, introducing new forms of communication

and reproduction, change expectations of the audience as well

as their interests, thus becoming a major chal-

lenge for museum practice.

‹ISITOR AND HIS / HER PLCE IN TE MUSEUm

Bo�ica Dea Matasiæ understands space as a medium for people’s

interaction, objects and concepts, which is why in many works visitor

and his / her experience is placed at the heart of events, providing him

/ her with a possibility for a complete physical participation through

activation of spatial, visual, tactile and auditory perception. In her work

intended for MUO Permanent Exhibition individual participation of a

visitor presents the only requirement in order to achieve the intervention

because the authorial view within the public space is identified with

the subjective view point of visitors, perspective which frames the very

possibility of experience. Although perhaps they most clearly evoke

associations with serial overproduction and a sense of overload with

uniform ambient trade fairs, scenography arrangements of alternate

authorial setups correspond to the totality of environment outside the

museum. They are built on the generative principle and the principles

close to the biomedical methodology of genetic engineering such as

strict selection of samples, by enhancing identical reproduction with

the elimination of differences.

Generic repetition of a single exhibit in selected halls enhanced the

subordination to multiplication trends affecting technological and bio-

logical levels of social productivity and reproducibility. Through the vir-

tual character of her process Bo�ica Dea Matasiæ carried out cultural

engineering, by breaking the compact historic fabric of the museum

exhibition with occasional nuclei of metastases that visitor sporadically

reveals. Degenerative samples - devoid of history and humanity, spiri-

tual potential with which one could connect are the symptom of post-

material status not only of art, but also of life and literally body, in which

illusion instrumentalizes even the very essence of identity. After a phys-

ical examination through the ocular of art, every visitor can diagnose

for themselves its current state.

Jasmina Fuèkan

Author Bo�ica Dea Matasiæ (Zagreb, 1970) often bases her works on affirmative relation to form and modern technological processes and materials

and well thought out, sophisticated expressed criticism towards sensationalist and consumerist environment. In certain ambient works and installations

the basis is found in the archetypal imaginary constructs which transform the physical space of galleries into multisensory relaxing landscapes soaked

in meditative atmosphere (exhibitions Izazov svjetlosti, 2002; Silva Subterranea, 2004; Znakovi vjerojatnosti, 2004; Tiha voda, 2006; �iva ogledala, 2006).

Although she does not create under internal obligation of social engagement, she also does not suppress or circumvents the social compo-

nents of the context and themes of existence of artists, as well as social and economic evaluation of an artwork, which she often presents on

the national art festivals (such as works Skulpturu mijenjam, 2003, from VII Triennial of Croatian Sculpture; Peticija, 2007 on occasion of 42nd Zagreb

Salon; Ugovor, 2015 from XII Triennial of Croatian Sculpture).

In many of her realizations the key principle is the interactive engagement of visitors whereas designing of volume is only a pretext for the con-

struction of physical multisensory involvement of visitors with the environment (Panacea, 2010; Èuvari dodira, 2011; Kula pogleda, 2016; Vreæa bez

dna, 2016). This principle of testing reflective and auto-reflective responses of the audience which create work through the experience is as valid

in venues such as galleries and museums as well as in public places, in natural surroundings. The variety of formal and technological methods to

which Matasiæ resorts in material performance stems from the indivisible dependance of the final work on the conceptual, rather than the formal

motivation and intent, for the construction of deeper communication links of objects with the social environment, which means that the creative

projection does not exhaust itself in the mere setting up of aesthetic object in the physical context of space and the viewer, but what is accentu-

ated is the focus on relational processes with the environment and the creation of an expanded contextual framework of the artwork.