Interventions

Rafaela Dražić i [BLOK] - Ivana Hanaček, Ana Kutleša, Vesna Vuković,

Brod=Grad / City=Ship

> 3. 5. 2013 / public action, Jadranski trg, during evening hours

CITY=SHIP is a public space action performed by the authors in collaboration with journalists, activists, artists and other interested parties. The action aims to draw the attention to the function of shipbuilding in urban production and expand the discussion on the future of 3. maj shipyard by questioning the spatial and social implications of its transformation. On 17 May at the Museum premises / Mali salon, the work process documentation will be exhibited and issues will be raised on the potential and limitations of such a form of artistic activity. (www.blok.hr/, http://www.rafaeladrazic.net/)

Marko Batista and Boštjan Čadež, Aksioma, Institute for Contemporary Art, Ljubljana: Timing Diagrams

> 13. 5. 2013 @ 9pm / multimedia performance, Koblerov trg

The performance TIMING DIAGRAMS by Marko Batista and Boštjan Čadež (www.aksioma.org/t-diagrams/index.html) is based on an open form and unpredictable effects, enabled through the use of video mapping, interaction with sound modules and hybrid combinations of digital image, electronic sound and mechanical movement. Without narrative communication and exploration of meaning, a visitor relies on the most immediate, perceptive and emotional experience which can yield other visions of a known space. Different aspects of reality are intertwined on the spot, i.e. in this case Kobler Square, while errors, noises and interferences become a constituent part of the process.

Zoran Pavelić: Roll Call 2013

> 14. – 16. 5. 2013 @ 12am / performance, Korzo, in front of the Mali Salon

From a hunter’s observation point in the middle of Korzo Zoran Pavelić calls the names of persons the Museum usually invites to its exhibition openings. In that way we want to draw the attention of the “called” potential museum visitors to the importance of their participation in the museum’s becoming. The hunter’s observation point serves as a connection of two disparate notions – the natural and the urban ambience – but also reminds of a hunter’s “preying”, in this case the museum visitors. (Z. Pavelić) The artist’s intervention is a witty comment on the visibility of artists in the stream of everyday life, as well as on the institutional rhetoric, in this case contained in a call for “neighbourhood resuscitation”. Next to formal inspection, there is a (utopian) cry for gathering, for communication beyond elitism, boundaries and parentheses.

Boris Oicherman: Reflected City

>14. – 19. 5. 2013 @ 9pm / mobile intervention, different locations around the Museum

Boris Oicherman’s practice (www.oicherman.com/boris) is a result of direct contact with the found surroundings. He is interested in space on the fundamental, emotional and perceptive level, the way it is in every day circulation, even if his intervention is not perceived as art. Reflected City is realised in movement, as a mobile projection travelling through the city centre. A camera and a projector are placed on a mini-van; almost in a parallel action the camera captures urban landscape and the projector reflects the filmed image back onto its surroundings.

Antonio Kiselić: Perpetuations

>14. – 19. 5. 2013 / every day / performance, Hotel Bonavia stairs

Challenging the hypothermic scheme, i.e. the valid standard of behaviour in public space launches the performance entitled Perpetuations by Antonio Kiselić (antoniokiselicledinsky.tumblr.com). A zone of movement was selected as the performance venue – the staircase near Hotel Bonavia. However, instead of a vertical body, we are welcomed by a body tumbling down, rolling, bending, gathering together and then falling again and rising again. A permanent fight with one’s own stamina is also a test of the social body’s sensitivity, the general threshold of tolerance to social injustice. After each fall, the artist climbs up and restarts a similar, but never the same cycle of falling, pointing to the fact that the artistic struggle is never-ending, regardless of the falls it is continuously facing. (A. Kiselić)

Pawel Kowzan: Untitled (All solids melt into Air)

> 13. – 19. 5. 2013 / sound installation, entrance to the Museum of Modern and Contemporary Art

The “wired facade” by Pawel Kowzan (www.pawelkowzan.com) at the entrance to the Museum building maps architecture itself through a whistling sound and becomes a signal of a fluid boundary between the concealed and the visible, between protection and exposure, and can provoke very different reactions, confusion, discomfort, laughter. Fuelled by the contradictions arising from its name – the harmless word Untitled quotes The Communist Manifesto, while the other part of the title, All solid melts into Air is a proverbial warning against capitalism’s excessive appetite, which turns the invisible installation suddenly into a warning signal placed, believe it or not, next to a public institution. Furthermore, a whistling human voice is heard as an expression of individuality and subjectivity. Devoid of a body producing it, it also appears as a phantom image.

http://www.mmsu.hr/Default.aspx?art=502

KVART – Boris Šitum, Milan Brkić, Rino Efendić, Split: Brief Visit to Rijeka

> 17. 5. 2013 / performance, interventions, Mali salon zone

The work of Kvart, a contemporary art association from Split, is positioned between civil and artistic initiative, between life and art practice. It is integrated in immediate surroundings, as a spontaneous activation of human and social values. According to their announcement, Brief Visit to Rijeka will be performed by their core members, Boris Šitum, Milan Brkić i Rino Efendić.