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Tina GveroviÊMejra MujiËiÊDamir OËkoLala RaπËiÊ

Finale 2006!

Hrvatska Nagrada nosi ime Radoslava Putara, istaknutog povjesniËara umjetnosti, kritiËara i kustosa koji je svojim radom bitno usmjerio hrvatsku kulturnu scenu prema suvre-menom likovnom jeziku. Njegov rad vaæan je i s druπtvenog aspekta jer je promovirao ideje demokracije i zagovarao dijalog, toleranciju, slobodu izraæavanja i otvorenost prema drugim kulturama. Danas je teπko zamisliti u kojoj mjeri je njegov rad bio herojski, a sasvim pouzdano moæemo ustvrditi da njegov doprinos teoriji i praksi kljuËni segment suvremene hrvatske umjetnosti i kulture.

Inicijativa Instituta za suvremenu umjet-nost da nagradu imenujemo Nagrada Radoslav Putar zrcali naπu æelju da promoviramo jasne stavove, aktivno sudjelovanje i visoke profesion-alne standarde, kao alate afirmacije demokrat-skih procesa, meuovisnih s razvojem kulture, kulturnih institucija i umjetnosti u Hrvatskoj.

Cilj Nagrade Radoslav Putar je pruæiti podrπku mladim stvaraocima, olakπati im daljnju djelatnost, smjeπtajuÊi ih sa poloæaja margin-alne prema srediπnjoj ulozi u druπtvu, putem stvaranja pozitivnog konteksta oko mladog stvaralaπtva, kreativnosti i inovativnosti s kojom bi se druπtvo moglo i trebalo identificirati.Cilj nagrade je dodatno aktivirati hrvatsku likovnu scenu, pomoÊi mladim umjetnicima u afirmaciji i profesionalnom radu, te im omoguÊiti razmjenu iskustva na internacionalnoj sceni.

Radoslav Putar Award is this year being assigned for the fifth time to a young art-ist not older than 35 years of age.

The Award has been established in 2002 by the institute for Contemporary Art from Zagreb and its partners from USA and Europe.

The laureates of Radoslav Putar Award since then were Tanja Dabo (2002), Nika RadiÊ (2003), Igor Eπkinja (2004) and Antun BoæiËeviÊ (2005). All four of them have spent 6 weeks in prestigious USA institutions as the prize for their highly qualitative and innovative work. As well they were given the opportunity to present the development of their work on a solo shows in the exhibition space of our part-ner institution, Gallery Miroslav KraljeviÊ and all of them took part in the work of Radoslav Putar Award Jury in the successive years of the competition.

From this year on, Radoslav Putar Award is even stronger connected with its partners in Europe and in USA by forming an international network of Young Visual Artists Awards, YVAA, with its Center for Exchange of Visual Arts at FCCA Bratislava in Slovakia.

Co-founders of this network are: Jindrich Chalupecky Association, PragueJindrich Chalupecky Prize, Czech Republic (since 1991)Foundation - Center for Contemporary Arts, BratislavaOskar »epan Prize, Slovakia (since 1996)Institute for Contemporary art, ZagrebRadoslav Putar Award, Croatia, (since 2002)Center for Contemporary Arts, SkopjeDnes, Macedonia (since 2002)Contemporary Art Center, Belgrade,Dimitrije BaπiËeviʇMangelos, Serbia and Montenegro, (since 2002.)National Art Gallery, Prishtine Artist of Tomorrow, Kosovo, (since 2002.)Sarajevo Center for Contemporary Arts,

Izloæba ostaje otvorena do 25. lipnja 2006.

Radno vrijeme galerije

utorak-petak: 10 - 19 sati, subotom i nedjeljom10 - 13 satiponedjeljkom zatvoreno

Nagrada: Dobitnik/ca Nagrade Radoslav Putar kao nagradu dobiva 6-tjedni boravak u prestiænom njujorπkom ISCP-u u terminima od: 1.9. - 15.10. 2006. ili 16.10. - 30.11. 2006.; samostalnu izloæbu u Zagrebu u proljeÊe 2007. godine i bit Êe Ëlan StruËnog odbora Nagrade Radoslav Putar 2007. godine.

The exhibition remains open until June 25, 2006

Working hours

Tuesday - Friday: 10 a.m. to 7 p.m.Saturdays, Sundays: 10 a.m. to 1 p.m.Mondays closed.Exhibition remains open until June 25, 2006.

Award: Winner of Radoslav Putar Award is awarded by 6 weeks stay at prestigious ISCP in New York (September 1 - October 15, 2006 or October 15 - November 30, 2006.); solo show in Zagreb gallery Miroslav KraljeviÊ in spring 2007 and mem-bership in a Jury of Radoslav Putar Award in 2007.

Gradski ured za obrazovanje, kulturu i πport, Zagreb

Zvono, Bosnia i Herzegovina, (since 2006.)Zavod P.A.R.A.S.I.T.E. Gallery in Center P47, Ljubljana Oho, Slovenia, (since 2006.)

Croatian Award was named after Radoslav Putar, eminent art historian, critic and curator, who by his effort significantly directed Croatian culture towards the contem-porary visual arts language. His work was also significant in its social aspect, because he pro-moted the ideas of democracy and advocated dialogue, tolerance, freedom of expression and the openness to other cultures. We can hardly imagine today to what extent his work was indeed heroic, and we can positively assert that his contribution to theory and practice provided one of the keystones of contemporary Croatian art and culture.

The initiative of the Institute for Contemporary Art to name the Award after Radoslav Putar reflects our desire to promote clear attitudes, active participation and high professional standards as the means of the affirmation of democratic processes, which are interdependent with the development of cul-ture, cultural institutions and the arts in Croatia.

The aim of Radoslav Putar Award is to provide support to young creative artists and facilitate the continuation of their activities by shifting them from the marginal to a central role in society by creating a positive context for the young art, creativity and innovativeness with which society could and should identify. The additional aims of the Award are to acti-vate Croatian art scene, to help young artists in affirmation and professional work, and to enable exchange of experiences on regional and international level.

IZLOÆBA RADOVA FINALISTA NATJECANJA ZA NAGRADU RADOSLAV PUTAR, PROGLA©ENJE POBJEDNIKA I DODJELA NAGRADE, »ETVRTAK, 1.6.2006. U 20 SATIEXHIBITION OF FINALISTS OF RADOSLAV PUTAR AWARD COMPETITION, ANNOUNCEMENT OF THE WINNER AND ASSIGNMENT OF THE AWARD, THURSDAY, JUNE 1, 8 P.M.

Galerija GalæenicaTrg Stjepana RadiÊa 510410 Velika GoricaT: +385 1 6221 122F: 6226 740galerija.galzenica@globalnet.hr

Nagrada Radoslav Putar se ove godine dodjeljuje po peti puta jednom mladom hrvatskom likovnom umjetniku do 35 godina starosti.

Nagradu je 2002. godine ustanovio Institut za suvremenu umjetnost iz Zagreba sa svojim partnerima iz Europe i SAD-a.

Otada do danas laureati Nagrade Radoslav Putar su bili Tanja Dabo (2002.), Nika RadiÊ (2003.), Igor Eπkinja (2003.) i Antun BoæiËeviÊ (2005.). Svi su oni, kao nagradu za svoj kval-itetni i inovativni pristup umjetniËkoj praksi proveli 6 tjedana na studijskom boravku u najprestiænijim institucijama SAD-a, te su po povratku predstavili svoj rad na samostalnoj izloæbi u izloæbenom prostoru naπeg partnera Galeriji Miroslav KraljeviÊ i dobili su priliku sudjelovati u radu StruËnog odbora Nagrade Radoslav Putar.

Od ove godine Nagrada Radoslav Putar joπ se ËvrπÊe povezala sa svojim partnerima u Europi i SAD-u, stvorivπi meunarodnu mreæu Nagrada za mlade likovne umjetnike (Young Visual Artists Awards), YVAA, sa srediπtem u Center for Exchange of Visual Arts pri FCSA u Bratislavi.

OsnivaËi ove mreæe su:Jindrich Chalupecky Association, Jindrich Chalupecky Prize, »eπka (od 1991.)Foundation - Center for Contemporary Arts - Bratislava, Oskar »epan Prize, SlovaËka (od 1996.)Institut za suvremenu umjetnost, Zagreb, Nagrada Radoslav Putar, Hrvatska, (od 2002.)Center for Contemporary Arts - Macedonia, Dnes, (0d 2002.)Centar za savremenu umetnost- Beograd, Dimitrije BaπiËeviÊ-Mangelos, Srbija i Crna Gora, (od 2002.)Nacionalna umjetniËka galerija, Priπtina, Artist of Tomorrow, Kosovo, (od 2002.)Sarajevo Center for Contemporary Arts, Zvono, Bosna i Hercegovina, (od 2006.)Zavod P.A.R.A.S.I.T.E. Gallery in Center P47, Ljubljana, Oho, Slovenija, (od 2006.)

StruËni odborThe Jury

Konstantin Akinsha, Artnews Magazine, New YorkAntun BoæiËeviÊ, dobitnik/winner Nagrade Radoslav Putar 2005Antonia MajaËa, Galerija Miroslav KraljeviÊ, ZagrebJanka Vukmir, Institut za suvremenu umjetnost, ZagrebJerica Ziherl, Galerija Rigo, Novigrad/Cittanova

PoËasni odborHonorary Board

Ms. Milana Putar BroπMr. Dan PutarMr. Konstantin AkinshaMs. Mercy Bona PaveliÊMs. Wendy LuersMs. Viera MichalicovaMs. Lenka SurotchakMr. Rumi VerjeeMs. Neda YoungMr. Dan Cameron

Utemeljitelj NagradeAward Established by

INSTITUT ZA SUVREMENU UMJETNOSTGunduliÊeva 37-1, HR-10000 Zagrebtel/fax: +385 1 48 72 111, 48 28 404gsm: +385 91 61 99 454nagrada.putar@scca.hr

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ideje o stvarnim i zamiπljenim putovanjima, o pri-jenosu ili protoku informacija, o toËkama na kojima se one povezuju, o podruËjima na kojima njihove veze ne uspijevaju i gube se.Radovi se bave idejom zamiπljenog putovanja a u meusobnoj povezanosti tvore naraciju puta. Nacrtani su otvoreni prostori, pustinje, otvorena mora, i osobe koji promatraju obale i puËine. Svaki od crteæa sadræi detalje razgovora o putovanju i vezama, o prijenosu i mjestima o kojima smo Ëuli iz priËa. Tekst dijelom slijedi formu putopisa a dijelom turistiËkog vodiËa. Iako crteæi prika-zuju razliËita, naizgled nevezana mjesta, izvedeni olovkom prema fotografiji doimaju se kao sjene koje su zapisi jednog gotovo filmskog putovanja. Prepoznatljiva produkcija crteæa zajedno s tekstom povezat Êe ih do te mjere da Êemo ih gotovo moÊi prepoznati kao kadrove preuzete iz jednog i istog filma.Radovi se bave idejom lokalnog i bliskog, mjes-tima gdje se putovanja joπ uvijek mistificiraju, gdje priËe poËinju i gdje je romantika i drama dolaska i odlaska joπ uvijek prisutna. Prikazano kao roman-tizirana fikcija, ono herojsko i epsko u samom putu je idealizirano kao naËin putovanja koji viπe ne postoji. Serija crteæa takoer razmatra nuænost fetiπizacije drugih mjesta.

I always have been fascinated by geographical maps and by the way in which they are helping us to comprehend certain positions. Observing them, we become only seemingly conscious about where we are, how distant from somewhere, how much time it takes to arrive there, and what lan-guage is there spoken.There are maps from we can read where the day is and where is the night on the planet. The imply time and its multifold dimensions. They offer information about mutual relations and global con-nectedness. There are maps which present the flow of data, phone calls worldwide and only within a certain time frame.Thinking about maps and directions navigates us to ideas about real and imagined travels, about

transmission and flow of information, about points where they get connected, about areas where those connections fail and get lost.My works are occupied by the idea of imagined travels and in mutual connectedness they form a narration of those travels. There are drawn open spaces, deserts, open seas, and persons observ-ing shores and open seas. Each of the drawings contains details of conversations about travels and relations, about transfers and places we have heard about from the stories. Text is partially fol-lowing the form of travelogues and partially of guide book. Despite the fact that drawings present various, seemingly unconnected places, executed by pencil based on photographs, they give an impression of shadows which are records of an almost film travel. Recognizable production of the drawings together with text will connect the two in such an extent that we will be almost able to recognize them as frames taken from one, always the same film.Works are occupied with the idea of local and close, places where travels still get mystified, where stories begin and where romantics and drama of arrival and departure is still present. Presented as romanticized fiction, the heroic and the epic in the travel gets idealized as the way of traveling which ceased to exist.This series of drawings is considering necessity of fetishisation of Other places.

“222/2”PerformanceVideo projectionTin-plate vessel 250 x 200 cm, depth 4cm, Water, sound

Njezini radovi koncentrirani su na pitanja identiteta, jednakom mjerom vlastitog osob-nog identiteta, kao i druπtvenog i posebno pro-stornog identiteta. U svojem radu sluæi se instalacijama, performanceom i zvukom kao vrlo vaænom komponentom cjeline, ali je-dnakom mjerom i tradicionalnim tehnikama crteæa i fotografije. U konaËnici njezini postupci rezulti-raju ambijentima u kojem je paænja posveÊena i ulozi gledaoca koji je uvuËen u ambijent i postaje njegovim sastavnim dijelom. Autorica o tome kaæe: Osobna priËa identiteta i emo-tivna reakcija na dvostruki identitet okosnica je prepuπtanja u intimni Ëin pranja i ogoljivanja u maloj poznatoj sredini.

Mejra’s works are concentrated toward questioning identity, equally her personal identity, or social and especially identity of space.She works with installations, performances and as an important part of the works she creates, she uses sound installations. Spaces she creates by new media are usually filled with her drawings of photographs.As a result, her work creates ambiences to which she likes to pay attention to the role of audience, the viewer, whom she likes to merge with the spatial creation. She says: Personal stories of identity and emotional reaction toward my double identity are cent-ers of intimate acts of ritual washing or becoming bare and naked in a small and well known social environment.

Lekcija / Lessonvideo / 16’05”

m2 slobodne voljem2 of Free Willsite specific intervencija / site specific intervention / 1m x 1m

Oba rada za polaziπte uzimaju ideju da je moguÊe stvoriti okvirnu situaciju kojoj zadani parametri odreuju kretanje, ali ne i ishodiπte.U radu Lekcija, svojevrsnom performansu, dokumentiranim video snimkom, postavio sam akademika i kipara Ivana KoæariÊa u njemu novu i neprirodnu situaciju - pijanistiËku lekciju. Kao umjetnik, nakon izbora situacije i glavnih protagonista iste, prestao sam djelovati te pustio da se situacija razvija djelujuÊi refleksno unutar same sebe, po principu antitijela na novo tijelo u organizmu.S druge se strane rad m2 slobodne volje potko-pava postupak aranæiranja i djelovanja na vlastiti okoliπ istovremeno poniπtavajuÊi to djelovanje na jednom m2 nekoπene trave. Naime, na jednome se metru kvadratnom prestaje sa obraivanjem travnate povrπine blizu galerije.Kroz oba rada, bilo da se u reaktor uvode snaæne forme poput akademika KoæariÊa i Bachovog “Dobro ugoenog klavira” ili da se radi o minimalnoj intervenciji na javnu povrπinu, ideja slobodne volje i procesa koji je dijelom izvan kontrole umjetnika nalazi se u interakciji gotovog sustava i (ne)intervencije.U radu Lekcija, taj je sustav “dobro ugoeni klavir” i forma pijanistiËke lekcije, svijet u koji se uvodi strano tijelo.Kvadratni metar slobodne volje s druge strane kao gotov sustav uzima Ëovjekovu potrebu da definira svoj okoliπ, da represivno ukraπava i instrumentalizira slobodnu volju stvarajuÊi gotove prostore po potrebi. U taj svijet ne uvodim niπta, moja je intervencija samo obi-ljeæavanje teritorija na kojem represija prestaje,

mjesto na kojem jednostavno reËeno, trava slobodno raste.

Both works take as a starting point the idea that it is possible to create a frame situation in which given parameters determine movement, but not the point of departure.In the documentary video Lesson, a performance of a kind, I have set Academician, sculptor Ivan KoæariÊ to a situation new to him - piano lesson. As an artist, after selection of the situation and main protagonists, I have stopped acting and I have let the situation develops by acting reflex-ively, in itself, based on the principle of reaction of anti-body to a new body in organism. On the other side, work titled m2 of Free Will undermines the procedure or arranging and act-ing towards the own environment by canceling this procedure on m2 of unmowed down grass. That is to say, that in the vicinity of the gallery there is one m2 where mowing down of the grass was not executed.Through both of these works, being that in the reactor are introduced strong forms such acade-mician KoæariÊ and Bach’s “Finely Tuned Piano”, or being it minimal intervention to public space, the idea of free will and partially by the artist uncontrolled process finds itself in the interac-tion of definite system and (non)intervention.In work lesson, this system is “finely tuned piano” and the form of piano lesson, the world into which a foreign body is introduced.Square meter of free will on the other hand, as a definite system takes one’s need to define own environment, to decorate repressively and instru-mentalise free will by creating ready spaces based on the need. I do not introduce anything into this world, my intervention is only marking the territory on which repression stops, place where, simply said, the grass grows freely.

univerzalnije teme: potencije neznanog, nevi-dljivoga, Drugoga, utvarnog u konstruktu fan-tazije.Nevidljivi general: NoÊ iguane zakljuËuje istraæivanje koje sam zapoËela prije godinu dana. Naime, Fenomen Gotovina koji se zbivao ne samo u javnom propagandno-deklarativnom prostoru, nego i dublje, u kolektivnoj svijesti dao mi je povoda za analizu politike reprezentacije.Portretne fotografije generala, izloæene kao propagandni materijal, izgubile su svoju funkciju portreta. Ta je funkcija u ovom sluËaju kidna-pirana od strane “parole”. I dok se inzistira na otjelovljenju “poruke” kroz brojne varijacije i repeticije prikaza lika generala Ante Gotovine, njegova se tjelesnost zapravo negira. Njegov nam je lik, koji se tek nazire iz mraka politike ili izmaglice daljine - u bijegu ili u zatvoru - nevi-dljiv. Generalov se lik, neovisno od fiziËke zbilje, uspostavlja kao fantomska prisutnost.Slika postaje metafora. ©toviπe, fantazmagorija koji obavija “Nevidljivog generala” Ëini taj lik podloænim mitizaciji i erotizaciji.Rad se sastoji od sedam najËeπÊe repro-duciranih fotografija generala Gotovine. Video je zapis Ëitanja / interpretacije ulomaka iz knjige “Oluja nakon oluje” (2006), drugog po redu erotskog romana spisateljice Sinaje Bui ©imunoviÊ u kojem se ona, kroz protagonisticu, posveÊuje seksualnim susretima sa Gotovinom, dok za njim traga takoreÊi cijeli svijet.

Although based on the symptoms of Phenomenon Gotovina, in this work I am trying to touch more universal theme: potency of the

unknown, invisible, Other, apparition in the con-struct of phantasm.Invisible General: The Night of Iguana is con-cluding the research which I have conceived a year ago. That is to say, Phenomenon Gotovina, which lived not only in public propagandist and declarative space, but deeper as well, in collec-tive consciousness, has given me the motive for the analysis of the politics of representation.The portrait photographs of the general, exhib-ited as a material of propaganda, have lost their function of the portrait. This function has been kidnapped by the “slogan”. And during one’s insisting on embodiment of the “message” through numerous vibrations and repetitions of the figure of general Gotovina, his corporeality is in fact denied. To us, his figure which only glimpses from the dark of politics or fogginess of the distance - in escape or in jail - in fact remains invisible. Independent from physical reality, the figure of the general establishes a phantomlike presence.The image becomes metaphor. Furthermore, phantasmagoria which conceals the “Invisible general” makes that figure subject of mythisa-tion and erotisation.The work consists of seven most often repro-duced photographs of general Gotovina. Vidao is a record of reading / interpreting excerpts from the book “The Storm after the Storm” (2006), second in a row erotic novel of the writer Sinaja Bui ©imunoviÊ in which she, through he role of the protagonist, dedicates to sexual encounters with Gotovina, at the time when he is searched for, by almost the whole world.

Tina GveroviÊ diplomirala je na Akademiji likovnih umjetnosti u Zagrebu 1997., i na Jan van Eyck Akademie u Maastrichtu. Viπe je puta nagraivana za svoje radove i izlagala je na nizu izloæbi. Rad Tine GveroviÊ je kontinuirana studija vremena, prostora i jezika s ciljem analize osobnih opaæanja. Iskustvo povezanosti s promjenama kroz koje je prolazila Hrvatska odredilo je nekoliko kljuËnih ci-ljeva u mojem profesionalnom usmjerenju, kao πto je primjerice izravan odnos s idejama pripadanja posebnom teritoriju i prihvaÊanje fikcije aparata dræave ili projiciranje slike druπtvenog okruæja. U radu se koristi medijima od klasiËnog crteæa i slikarstva, preko fotografija, videa ili instalacija, koji Ëesto zajedno Ëine dio iste cjeline. Istodobno isprepliÊe koncept i naraciju, analizu i emocije, istodobno biva i sama prisutna u radu kao πto biva i njegovim promatraËem.

Tina GveroviÊ has graduated at Fine Arts Academy in Zagreb in 1997 and Jan van Eyck Akademie in Maastricht. She has already been awarded for her work and has exhibited at numer-ous shows. Work of Tina GveroviÊ is continuous research of time, specific space and language aiming to analyze mechanism of personal obser-vations. My experience with being connected with general changes which Croatia was passing has determined several key aims in my profes-sional orientation, such as direct relation t ideas

of belonging to a specific territory and accepting fiction of state apparatus, or such as projecting the images of social environment., Tina says on her work.She uses various media from classical types of drawing and painting, photography, video or instal-lations which all make part of the same works. Simultaneously she overlaps in her works fiction and narration, analyses and emotion, being in the same time herself present in the work or being the outside observer.

Na prvi pogled / At First Sight2 acrylic paintings 90 x 125 cm2 pencil drawings 70 x 90 cm3 pencil drawings 30 x 40 cmText painted on the wall

U kartama je moguÊe vidjeti neπto πto nije na njima.Treba pripaziti na privienja πto vrebaju izmeu koordinata karte.One is liable to see things in maps that are not here.One must be careful of the hypothetical mon-sters that lurk between maps latitudes.

Uvijek su me fascinirale zemljopisne karte i naËin na koji nam one pomaæu shvatiti odreene pozicije. PromatrajuÊi ih postajemo naizgled svjesniji gdje smo, koliko udaljeni od nekuda, koliko vremena nam treba da bismo onamo stigli, kojim se jezikom ondje govori.Postoje karte iz kojih Ëitamo gdje je dan a gdje noÊ na planeti. Ukazuju nam na vrijeme i njegove viπestruke dimenzije. Pruæaju informaciju o meusobnim vezama i globalnoj povezanosti. Postoje karte koje prikazuju protok podataka, tel-efonskih poziva πirom svijeta πto se vode samo u odreeno vrijeme.Razmiπljanje o kartama i smjerovima navodi nas na

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Mejra MujiËiÊ je studirala slikarstvo na Akademiji likovnih umjetnosti u Zagrebu, te je zavrπila radionicu animacije Zagreb filma, ALU i Royal College of Art. Nastupila je na 8 samostalnih izloæbi i nizu skupnih, te je nagraena na 2. bijenalu grafike.

Mejra MujiËiÊ has studied painting at Fine Arts Academy in Zagreb and has fin-ished the Animation Workshop by Zagreb Academy, Zagreb Film and Royal College of Art. She has exhibited at 8 solo exhibitions and a row of group shows. She was awarded at 2nd Biennial of Graphic Art in Zagreb.

Damir OËko diplomirao je na Akademiji likovnih umjetnosti u Zagrebu 2003. godine, veÊ je priredio 7 samostalnih, a nastupio je na viπe grupnih izloæbi. Tijekom posljednje godine dana bavi se istraæivan-jem tiπine i intuitivne virtuoznosti, te procesima koji utjeËu na artificijelna umjetniËka djela, pri Ëemu se sluæi upotrebom procesa koji utjeËu i na njegov vlastiti rad i koncept o Ëemu kaæe: Svim je mojim radovima zajedniËko pravo na pogreπku: potreba da se sustav razvija i prilagoava, te izbjegavanje autorske virtuoznosti u materijalu (moji se radovi Ëesto oslanjaju na tue resurse). U svojim radovima tako, oslanjajuÊi se na procesu-alnost kao ideju i kao postupak, oslobaa prostor promjenama i nepredvidivim ishodima vlastite kon-cepcije i konaËnog stanja vlastitog umjetniËkog djelovanja.

Damir OËko has graduated from the Fine Arts Academy in Zagreb 2003 and has exhibited by now at 7 solo exhibitions and numerous group shows.During last year he keeps himself occupied by researching of the silence and intuitive virtuosity of other as well as by processes that are influ-encing his own work and concept. He explains: Common to all my works is a right to mistake: the need to develop and adapt system and escaping virtuosity of the author in material, (as my works often consist of resources of the others).Relying on processuality as an idea and as a procedure, he liberates the space to unexpected results of his own concepts and own artistic prac-tice.

Lala RaπËiÊ zavrπila je ©kolu za primijenjenu umjetnost i dizajn (1995.) i Akademiju Likovnih umjetnosti (2001.) u Zagrebu, te Rijksakademie van Beeldende Kunsten (2003./04.), u Amsterdamu. Dosada se u svojem radu sluæila nizom razliËitih medija, najËeπÊe videom. U posljed-nje vrijeme napuπta dominantni medij videa i radi sve ËeπÊe narativna audio djela i kompjuterski generirane vektorske crteæe. Do sada je na-stupila na nizu grupnih izloæbi i video festivala, sud-jelovala u rezidencijalnim programima, a priredila je i 9 samostalnih izloæbi. Bila je nekoliko puta nagraivana za svoje net i video projekte.O svojem radu kaæe: »esto poseæem za koriπte-njem metafora iz svakodnevnice, literature i popu-larne kulture, koristim ih kao lako prepoznatljive koncepte na koje nadograujem slojeve znaËenja. Teæim da moji radovi imaju potencijal doæivljaja, izvan intelektualne interpretacije, da komuniciraju na sublimnom nivou.

Lala RaπËiÊ has finished School of Applied Arts and Design in Zagreb (1995.) and Fine Arts Academy of Zagreb in 2001 and Rijksakademie van Beeldende Kunsten (2003./04.), in Amsterdam. So far she has employed various media in her works, mostly video. Recently she

is leaving the dominant medium of video and is oriented toward making narrative audio pieces and computer, vector drawings. She has exhibited in numerous group shows, video festivals and resi-dencies, and has made 9 solo exhibitions. She has been awarded several times for her video projects.

About her work she says: I am often search-ing to use metaphors from everyday life, literature and popular culture. I use them as easy recognizable concepts to which I add layers of other meanings. I am trying to give to my works the potential of an event, outside of intellectual interpretation, to com-municate on the sublime level.

Nevidljivi general: NoÊ iguane2006.Nevidljivi general / Invisible general2006.7 slika, 70 x 100 cm, akvarel na papiru7 paintings, watercolor on paper70 x 100 cm

NoÊ iguane / The Night of Iguana, 2006.MiniDV/PAL/CB/mono9 min. loop

tekst: ulomci iz knjige “Oluja nakon oluje”, Sinaja Bui ©imunoviÊ, 2006Text: excerpts from the book “The Storm after the Storm”, Sinaja Bui ©imunoviÊ, 2006

Iako zasnovan na simptomima Fenomena Gotovina, u ovom radu pokuπavam se dotaÊi i

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Razotkrivanje osobnog identiteta i potreba da se spozna sebe osloboenu od taloga kolektivnih nacionalnih, vjerskih i rodnih identiteta, dominantne su teme u mojim radovima posljednjih godina, osobito izraæene u perform-ansu Macha i ambijentu 222. Prvi rad izveden na izloæbi Za- zen (u koncepciji Ive Radmile JankoviÊ i u Galeriji Moria u Starome Gradu) sastojao se u ispiranju ruku i nogu na kojima sam prethodno istetovirala svoj "magijski broj" 222 (datum roenja), i predstavljao je svojevrsni osobni ritual proËiπÊenja, u kojemu se privatno tretiralo poput sakralnoga. U ambijentu 222 (Galerija Proπirenih medija u Hrvatskom domu likovnih umjetnika) joπ sam radikalnije nastojala izloæiti vlastitu privatnost, pa se u njemu kroz nekoliko znaËenjskih slojeva te uvaæavanje memorije mjesta i ranije namjene prostora kao dæamije, propitivao vlastiti identitet, i to s obzirom na pojedine biografske Ëinjenice - moje ime, obiteljsku tradiciju, vjersku pripadnost, razliËite æenske uloge... Kulturoloπki utjecaji Japana primjetni u prvome radu (Macha na japan-skome znaËi ceremonijalni zeleni Ëaj, a upravo se zelenim Ëajem i ispiru napisi s tijela), te obrasci preuzeti iz islama i naËina njegova prakticiranja u bosanskom specifikumu a zatim i u mojoj obitelji, meusobno se isprepleÊu ocrtava-juÊi u konaËnici obrise jednoga osobita mikrokozmosa.Æelja da se odupre unificiranim matricama identiteta, æelja da se vlastito ili tue tijelo iπËitava kao otvorenu knjigu, kao carstvo znakova koji se upisuju tijekom cijeloga æi-vota da bi postupno ocrtali obrise neËijega lika i njegove neponovljivosti - ishodiπta su i rada pred-stavljenog na ovoj izloæbi. Video projekcija na kojoj se simulira muslimanska molitva odvijaju se istodobno, no na dva krajnje razliËita naËina: u propisanoj odjeÊi, ali i razodjeveno, dakle oficijelno i subverzivno. Voda, kao opÊi simbol proËiπÊenja i kontemplacije , ali i kao vaæan osobni simbol, odraæava i umnoæava figure/uloge/osob-nosti prikazane na video projekcijama i istiËe suptilnost i krhkost privatnoga. Izmeu tih prizora - koji se odvijaju istodobno i meusobno se suprotstavljaju, ali i nadopu-njuju - i njihova odraza u vodi, pojavljuje se i stvarna osoba. Moje sudjelovanje u ambijentu, dakle subjekta, i kao objekta prikazivanja, dodatno naglaπava shvaÊanje po kojemu su osobni identiteti uvijek neËisti, heterogeni i sastavljeni od razliËitih, Ëesto za okolinu kontradiktornih elemenata. Razotkriti sebe u ovome radu znaËi doæivjeti pojedinca izvan ograniËavajuÊih i druπtveno poæeljnih stereotipa odreenih vjerskih, nacionalnih, kulturoloπkih, rodnih... identiteta. Razotkriti sebe znaËi i istraæiti sve one znaËenjske potencijale koje nosi odreeno ime na ovim prostorima, obiteljsko naslijee koje moæe biti i poticaj i teret odreene pripadnosti. Dakle, razotkriti sebe znaËi doslovno i metaforiËki razgolititi se, te krenuti u potragu za vlastitom nesavrπenoπÊu.

Revealing own identity and need to become aware of one’s self liberated from sediments from collective nation-al, religious and gender identities, are dominants in my works of past years, expressed especially in performance Macha and ambiance 222. The first of those works has been executed at the exhibition Za-Zen (curated by Iva Radmila JankoviÊ in Moria Gallery in Stari Grad) consisted of rinsing hands and feet where magical nuber 222 (date of birth) das been previously tattooed, and represented a private ritual of purification, in which private was treated as sacral. In ambience 222 (Gallery expanded Media at HDLU, Zagreb) I was trying to expose my own privacy in even more radical way. I enquired own identity through several strata of meaning and through appreciation of memory of place and earlier purpose of the space as a mosque, and I enquired in regard to several aspects of biographical facts - my name, family tradition, religion, gender roles…Cultural influences of Japan, present at the first work (Macha meaning in Japanese ceremonial green tea, and by the green tea I rinsed the tattoos from my body), and patterns overtaken from Islam and ways of practicing it in Bosnian specificum, inherited by my family, are mutually overlapping drawing at final a contours of a particular microcosm.Wish to oppose the unified matrix of identity, wish to read own body and bodies of the others as an open book, as empire of signs which are inscribed during the whole lifetime in order to mark one’s figure or uniqueness - are starting point for the work presented at this exhibition. Video projections which simulate Muslim praying are simultaneous: in prescribed clothing and nude. That is to say, officially and subversively. Water, as a general symbol of purification and contemplation, but as well as own individual symbol, reflects and multiplies figures / roles / particularities presented on video projections and emphasizes subtleness and fragility of private. Between those scenes, simultaneous but conflicting and comple-menting - and their reflection in the water, appears a real person. My participation in the ambience, as a subject and as an object of presentation, stresses understanding that personal identities are always impure, heterogeneous and consist of various, often for the environment contradictory elements.To reveal oneself in this work means to live the individual outside of the limiting and socially desirable stereotypes of certain religious, national, cultural, gender…identities. Reveal oneself means research all of the potentials of meanings which are included in one’s name living in this area, family tradition which could be impulse and burden of a certain belonging. That is to say, reveal oneself means literally and metaphorically bar oneself, and start to search for own imperfectness.

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