Izložba Lane Stojićević Betonicus, Galerija CEKAO, Zagreb, od 28.12.2020. do 13.1.2021. (original) (raw)

2020, Galererija CEKAO

Betonicus se nastavlja na ranije serije fotografija Lane Stojićević, koje su temeljni medij njezinih konceptualno-istraživačkih projekata; snimljene su u depou Hrvatskog narodnog kazališta Split, Amfiteatru Doma mladih ili u javnom prostoru u kojemu autorica nosi kostime stupa i PVC vrata, evocirajući time kazališna načela. U klasicizmu 19. stoljeća (engl. Neoclassicism) ustanovljen je novi arhitektonski program s vlastitom tipologijom: kazališta, odnosno opere, u skladu sa Schinkelovom idejom architecture parlante. Christian Norberg-Schulz historicizam čita kao „zbrku stilova”, a Fouquet ga označava kao osjećaj uvijenog prostora koji je rekreiran antički senzibilitet za prostor. U radu Lane Stojićević riječ je o fotografskoj i pjesničkoj evokaciji neostilova koji glume povijesne. U kostimu stupa će se fotografirati pored zatečenih scenografskih rekvizita nalik na osnovni rječnik arhitekture, koji su za potrebe fotografiranja ekstrahirani iz gomile (ostvaruje se dijalog kostimiranog tijela i prostora – odnosno, aktivacija prostora kostimiranom figurom).

Radionica glinenih predmeta i tkanine u naselju starčevačke kulture na Galovu u Slavonskom Brodu / Workshop of Clay objects and Fabric in the Starčevo Culture Settlement at Galovo in Slavonski Brod

During the summer of 2003, the Galovo site in Slavonski Brod saw the sixth stage of systematic archaeological research into a settlement from the Starčevo culture as a part of the scientific research project on “The Prehistoric Identity of Northern Croatia”. Research efforts have so far covered an area of 2,200 m2, with the 2003 excavations focused on the western working pit (SU 155/156). The discovery of remains of four kilns as well as the layout of its interior rooms suggest that the working pit served as a workshop for the production of clay objects and pottery of smaller dimensions. The findings discovered in this settlement so far include 87 censers, 2 altars, 3 sacrificial vessels, 7 anthropomorhipc idols, a zoomorphic clay figurine and a zoomorphic clay protome. The fragments of censers, anthropomorhipc idols and sacrificial vessels discovered in Slavonski Brod during 2003 belong to the already known types published in a previous paper, including the noteworthy and unique findings...

3. međunarodni trijenale grafike Livno / 3 rd International Triennial of Graphic Arts Livno 2023

3. međunarodni trijenale grafike Livno / 3 rd International Triennial of Graphic Arts Livno 2023 , 2023

The 3rd International Triennial of Graphic Arts Livno, as a field of new confrontations of various forms of freedom is a vital reflection on the stimulating impulses of multi-original art, which in contemporary art still has its artistic dimension – both in technical terms and in visual interpretation. In accordance with the development of new technologies and artistic practices, some authors depict interesting inventions in the interweaving of traditional and contemporary graphic practice. For some authors, the basis is figuration in a naturalistic, expressive or lyrical spirit, while others indulge in the discovery of their own introspective forms and bring us countless variations of organic, geometric, abstract or metaphorical interpretation. With its continuity, the International Triennial of Graphic Arts Livno is becoming recognisable and is receiving attention in international graphic circles. Like all similar events, the Triennial’s aspiration is to provide insight into current concepts of different graphic art generations. It is up to us and the artists to ensure that in the future such exhibition meetings, through their diversity, remain not only a place of positive collaboration, but also a place for expressing aesthetic, communicative and technical reaches of contemporary society. The gathered authors from 35 countries of the world at the 3rd International Triennial of Graphic Arts Livno testify that art is a medium that enables freedom of expression and remind man that in the end, the limits are only those that we impose on ourselves, and confirm that art will always be sociologically sensitive and in the service of humanism.

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