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STEREOARTYPES exhibition [Labin Edition]

STRTYP B1 POSTER 01 WebGradska galerija Labin u suradnji s virtualnom galerijom i nezavisnom art produkcijom EGOIST ARTZ & PARTZ predstavlja međunarodni umjetnički projekt STEREOARTYPES

foto-galerija

Izvorno predstavljen kao dio šire izložbene prezentacije stereotipa kao zbroja povijesnog nasljeđa i suvremenog civilizacijskog balasta u Zagrebu 2014., aktualni STEREOARTYPES koncept, uz bazični korpus artističkih radova iz zagrebačkog postava, proširen je novim originalnim poglavljima čiji će neosporni potencijal doći do punog izražaja pogotovo u njihovim budućim, možda i samostalnim uprizorenjima: prije svega, riječ je o interpretacijama stereotipa u turizmu, zatim o specijaliziranim promišljanjima o predrasudama u fotografiji, ekstremnoj skupini radova pod udarom cenzure i posebno odabranom grupom likovnih, glazbenih, pjesničkih i dizajnerskih radova čiji autori djeluju na širem labinskom i regionalnom području.

Maja Briski, autorica projekta, koncepta i postava izložbe, za svoju spektakularnu promociju okupila je čak 29 autora: ADRIANO GON, BRANKO KOLARIĆ, OPA group, JERCA ŠANTEJ, ROBERTA WEISSMAN NAGY, DAMIR CHARLIE ČARGONJA, LJUBOMIR MIŠČEVIĆ, ZANETO PAULIN, MARINA ŠTEMBERGAR, VLADO MARTEK, DAVOR RAPAJIĆ, NEVEN UŠUMOVIĆ, FULVIO JURIČIĆ, SILENA KOŠARA, ANTONI MAZNEVSKI, DALIBOR TALAJIĆ, VLADIMIR LEBEN, TAJČI ČEKADA, NIKOLA RAŽOV, ROBERT SIRONIĆ, LJILJANA VLAČIĆ, RINO GROPUZZO, TEA BIČIĆ, ELIS LOVRIĆ, ĐANI CELIJA, ROBERTA RAZZI, IVONA VERBANAC, DIMITRI BREČEVIĆ i RAŠA TODOSIJEVIĆ.

Otvorenje je zakazano u petak 07. kolovoza 2015. u 20 i 30 sati, a izložba u Gradskoj galeriji Labin ostaje otvorena do 13. rujna 2015. Projekt je realiziran uz potporu i suradnju Grada Labina, Pučkog otvorenog učilišta Labin, 1. Maj d.o.o. Labin, LABIN 2000, Idea Futura Labin, Vina PIQUENTUM, Restorana Kvarner Labin, Albona Cafea Labin, Galerije POOLA Pula, Antik-Galerije-Komision & GRIN Photo Gallery.

Attachments / U prilogu:

Službeni logotip projekta, najavni posteri, pozivnica/kartolina s radom Vladimira LEBENA nazvanim ORTHODOGS, pozivnica s radom SYGNO (autor ADRIANO GON), jednu od 4 naslovnice kataloga (autor fotografije Robert SIRONIĆ), kompletan tekst iz kataloga izložbe na hrvatskom i engleskom i popis autora i radova u katalogu izložbe.

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STEREOARTYPES Labin Edition
[ ili kako otvoriti 29 samostalnih izložbi u jednom danu ]

Suvremena umjetnička praksa u suštini je nepregledna nakupina stereotipa čija bi se detaljna analiza ubrzo pokazala kao nesmotren pokušaj snalaženja unutar enciklopedijskog istraživanja na neodređeno vrijeme. Svakodnevna art produkcija, osim generalne, cinične opaske da je dobrim dijelom posljedica besmislenog gomilanja egotrip varijacija neodgovornih autora, može se iz te perspektive rastaviti na niz, često kontradiktornih elemenata: patnik pa stoga umjetnik, umjetnik u krizi, bezbrižni umjetnik, državni umjetnik, neovisna alternativna scena, art institucije s činovničkim aparatom, figurativno slikarstvo, konceptualne dosjetke, video artisti, štafelajni klasici, multimedija i internet eksperimenti, tiskana kataloška papirologija, oblikovanje izložbenog prostora, otvorenja i pozdravne govorancije, globalno tržište umjetnina, lokalni black market, umjetničke kolonije, extempore parade, pretenciozni kustosi i samozatajni artisti, raskošni atelieri, podrumske art špilje, hotelske slikarije, ulične turističke ropotarnice, nagomilane instalacije, intrigantni performansi, umjetnički integritet, sindrom praznog bijelog platna i tako dalje u nedogled.

Na prvi pogled reklo bi se da art djelatnici, neprestano izloženi raznovrsnim dnevnim dozama i koktelima stereotipa više niti ne registriraju njihovu prisutnost, no još prije dvije godine tijekom pripreme premijerne izložbe, višemedijski artist Vlado Martek rekao mi je da mu, kad bolje razmisli, "čitav njegov život u potpunosti djeluje kao kontinuirana borba sa stereotipima". Zapravo je iznenađujuća energija i neskriveni zanos što su ga demonstrirali svi artisti s kojima sam razgovarala i pozvala ih da specijalno za ovu prigodu formuliraju osobnu interpretaciju nekog od stereotipa s kojim su se suočili u umjetničkoj produkciji. Inspirativna tema privukla ih je širokim slobodnim teritorijem u kojem su iskoristili ili raznovrsne pojedinačne motive, ili njihove višestruke, promišljene sinteze uz odgovarajuće izvedbene varijacije kako bi se obračunali s tim, najčešće iritantnim, njima nepodnošljivim ili ponekad naprosto zabavnim fenomenom.

KAKO SAM RAZBILA STEREOTIPE

Geneza koncepta STEREOARTYPES vodi nas do šire koncipiranog originalnog projekta pod nazivom VIC O PLAVUŠI: STEREOTIPI U KOJIMA ŽIVIMO (BLONDE JOKE: STEREOTYPES WE LIVE BY) što sam ga zajedno s Irenom Kolbas tijekom studenog 2013. realizirala u zagrebačkom Etnografskom muzeju. Kao svojevrsni mamac koji će privući publiku toj nepreglednoj i često nepoželjnoj temi, magistra Kolbas je predložila populistički lajtmotiv o "plavuši" koja se beskrajnim nizom viceva neprestano regenerira kao ljepuškasta lutka bez pameti i osjećaja za realnost. Iza tog zabavnog naslova/paravana, počele smo gomilati informacije o najrazličitijim nakupinama stereotipa, od povijesnih do aktualnih, etničkih, vjerskih, socijalnih, (po)modnih, tehnoloških, rodnih, filmskih, geografskih itd., kojima bismo vjerodostojno materijalizirali prikupljene tekstualne zaključke i stavove. Ubrzo sam shvatila kontradiktornost tog rovovskog pristupa! S jedne strane fascinantno je da se o stereotipima, čak i o onim najneugodnijima ili čak besmislenima, ali već okoštalima u predrasude, može slobodno i bez kompleksa razgovarati: nema tabu tema, nema "političke nekorektnosti", svijet je krcat stereotipima, a internet beskrajni izvor informacija. Zvuči idealno. S druge strane, suočila sam se sa činjenicom da zapravo nemam niti jedan predmet koji reprezentira osnovni teoretski rukopis! Nije bilo moguće pribaviti autentične povijesne karte i dokumente, replike mitskih bića, strojeva ili alata, kultne automobile ili vespe, fotografije, suvenire ili kolekcije umjetnina; nedostajala nam je, primjerice, reprezentativna rekonstrukcija supermarketa gdje među pretrpanim policama puže plavuša u potrazi za niskim cijenama, a nismo mogli pronaći čak niti crno-bijeli televizor s pletenim miljeom i svjetlećom venecijanskom gondolom na vrhu. Izložbu je trebalo izmisliti iz - ničega!

Jedina čvrsta strateška odluka koje sam se tvrdoglavo držala kako u formuliranju vizualnog identiteta projekta, tako i u postavu izložbe u muzejskom prostoru, bila je srušiti što više stereotipa bez obzira na to sviđalo se to nekome ili ne. Stoga smo se najprije bacili na produkciju kataloga baziranog na originalnom istraživačkom tekstu Irene Kolbas, kojeg je popratio esej Laure Šakaje "Imaginativne geografije" i literarne varijacije pod nazivom "Pravo na nesreću" Dubravke Ugrešić. Bizarnu činjenicu da se ilustracije koje su nam bile potrebne mogu lako pronaći na web stranicama, ali su zbog neadekvatne rezolucije uglavnom neupotrebljive za tisak, nadomjestilti smo dinamičnom tipografijom (inspiriranom otiscima izloženog tiskarskog stroja Boston) i varijacijama od ukupno četiri različite naslovne stranice kataloga, postera i uličnih "billboarda". Kako sam u međuvremenu završila prvu selekciju artista čiji radovi interpretiraju ili razbijaju stereotipe u suvremenoj umjetničkoj praksi, katalog smo završili naznakom tog poglavlja uz najavu da ćemo tijekom izložbe proizvesti dodatnu knjigu prikladnog naziva "ByBook" u kojoj će se detaljno dokumentirati svi događaji vezani uz prezentaciju projekta: otvorenje izložbe, postav eksponata u muzejskom prostoru, pojedinačni portreti svih autora i sudionika, opisi tematskih nakupina, ambijentalnih instalacija i video radova, primjeri interakcije s publikom (natječaj za najbolji vic o plavuši!) te "press clipping" stručnih i medijskih reakcija na projekt u cjelini.

Kako "ByBook" nije realiziran iako je sama izložba zbog iznimnih reakcija i zanimanja stručnjaka i publike ostala otvorena čitavih godinu dana (do kraja 2014.), labinska edicija stereotipa logičan je nastavak projekta koji uz njegovu napokon ukoričenu elementarnu dokumentaciju istodobno donosi i niz novih, kreativnih autorskih i sadržajnih proširenja. Naime, aktualni STEREOARTYPES koncept, uz bazični korpus artističkih radova izmještenih iz cjelokupnog zagrebačkog postava u samostalni izložbeni umjetnički projekt, proširen je novim originalnim poglavljima čiji će neosporni potencijal doći do punog izražaja tek u njihovim budućim, možda i samostalnim uprizorenjima: prije svega, riječ je o interpretacijama stereotipa u turizmu, zatim o specijaliziranim promišljanjima o predrasudama u fotografiji, ekstremnoj skupini radova pod udarom cenzure i posebno odabranom grupom likovnih, glazbenih, pjesničkih i dizajnerskih radova čiji autori djeluju na širem labinskom i regionalnom području.

ZAGREB HIGHLIGHTS

Grupu moćnih autora koji su definirali zagrebačku premijeru predvodi talijanski umjetnik Adriano GON sa svojim fantastičnim znakovnim sustavom SYGNO kojim kontinuirano preispituje moderne sustave urbane signalizacije poigravajući se simbolima smjerokaza, znakova zabrane i informacija. Rovinjski artist Branko KOLARIĆ konstruirao je specijalno za koncept STEREOARTYPS društvenu igru EGALIZACIJA unutar šire ideje o "apsurdu sukoba", dominacije kapitala i gubitka osobnog identiteta. Koristeći materijale iz standardnog tiskarskog offset postupka, zamislio je igru za dvoje u kojoj nema određenih pravila, nema natjecateljskog nadmetanja, a na koncu, nema ni pobjednika. Makedonska grupa OPA (Denis Saraginovski & Slobodanka Stevčeska) svojim se bombonjerama s čokoladnim lavovima i ratnicima referira na megalomansku reinkarnaciju državnih mitova što su se uz oprečne reakcije provodile kroz projekt "Skopje 2014".

Slovenska umjetnica Jerca ŠANTEJ atraktivnom tehnikom kolaža slojevito komentira šaroliku filmsku i političku mitologiju, a Fulvio JURIČIĆ, jedan od najznačajnijih istarskih umjetnika, otisnuo je originalne transparentne zastave ispunjene tekstovima koji osim vizualnog koda nemaju neki smisleni sadržaj, ali ponavljanjem slova signaliziraju stalnu agresiju gomile tiskanih i izgovorenih riječi koje samo podsjećaju na staru dobru verbalnu komunikaciju već odavno izgubljenu u svakodnevnom virtualnom kaosu. Roberta WEISSMAN NAGY za svoj je kiparski stereotip proizvela vojsku voštanih odljeva koristeći dvije bezizražajne, navodno muške i ženske figure, iz dječjeg kompleta "Moje tijelo" reagirajući, između ostalog, i kao roditelj na svakodnevnu izloženost iskušenjima da djetetu za kratkotrajnu zabavu kupi neku od stotina lutaka, monstruma, vojnika, kukaca, sličica i sličnih drangulija koje čekaju u zasjedi na kiosku s novinama ili supermarketu.

Damir Charlie ČARGONJA uz urnebesni performance na otvorenju posvećen plemenskim ritualima sportskih navijačkih skupina, instalirao je prostorni ansambl RAZBIJANJE STEREOTIPA kojim, vođen sintagmom "Ja podržavam kapitalizam koji podržava umjetnost", kontinuirano balansira rubovima vlastitog businessa i arta, odnosa korporativnih struktura prema umjetničkoj praksi i varijacijama osobnog snalaženja u komunikaciji s krupnim kapitalom. Ljubomir MIŠČEVIĆ, arhitekt, zagovornik i promotor koncepta energetski samodostatne "pasivne kuće", maštovito je prezentirao svoj pogled na stereotipe u arhitekturi izvedbom dječje kućice od kartona koju je opremio preskupim pomodnim crijepovima u bojama.
Zaneto PAULIN kreativno je ignorirao osnovne fotografske zakonitosti autorskim serijalom od 24 fotografije pod nazivom NO FACE NO NAME NO NUMBER.

Marina ŠTEMBERGAR svoje je multimedijalne talente reprezentirala spektakularnom verzijom srednjevjekovnog mitskog bića zvanog BLEMI ('Headless'). Jednostavnom mobilnom konstrukcijom i besprijekornim izborom materijala suvereno je evocirala originalnu, stoljećima ispranu mističnu aureolu bezglavog bića s rubova civiliziranog svijeta. Vlado MARTEK ponudio je djelić iz svoje dugogodišnje artističke prakse koju je ionako posvetio korigiranju stereotipa u umjetničkoj praksi nizom pisanih poruka, kolaža, instalacija, intervencija, nebrojenih razgovora i inspirativnih komunikacijskih istraživanja.

Davor RAPAJIĆ snažnom kolekcijom ŠEZDESETE / BEZ KOMENTARA originalno isprepliće nostalgične scene s fotografija iz djetinjstva s autentičnim parolama, događajima i senzacijama iz tadašnjeg socijalističkog brainwashing ambijenta. Dodatna vrijednost ciklusa je osebujna, originalna tehnika kombinacije ulja na platnu u koje umeće aluminijske kutijice, ručno iscrtavajući obrise nekadašnjih fotografija relativizirajući njihovu vjerodostojnost, ali i "naglašavajući njihov naboj emotivnog okidača i neke vrste osobnog piktograma". Neven UŠUMOVIĆ, književnik, svoju policu stereotipa oformio je oko nekad nezaobilaznog kompleta od 48 tomova sabranih djela Marxa i Engelsa. Danas aktualiziranu situaciju oko nametnutog čitalačkog teroriziranja razotkrio je kroz sabrane komentare na populističku REGALSKU KNJIŽEVNOST koja se agresivno plasira nezaustavljivom kiosk prodajom, vizualizirajući osobne autorske naglaske dijelova tekstova BOLD & RED tipografijom.

CENZURA U 21. STOLJEĆU

Posebno značajnu kolekciju unutar novokoncipiranog STEREOARTYPES projekta čine radovi cenzurirani od strane činovnika Etnografskog muzeja koji su tada, iz samo njima poznatih razloga, izbačeni iz postava zagrebačke izložbe. Skupinu predvodi Nikola RAŽOV sa impresivnim triptihom OTAPANJE SIMBOLA kojim nastavlja svoje trajno bavljenje mitologijom masovnih stereotipa: instalacijom u kojoj se križ, petokraka, kukasti križ, polumjesec sa zvijezdom i davidova zvijezda od šećernih kocki, (uz video zapis) istodobno rastaču u vodi, signalizira nepostojanost i strah od pompoznih uvjerenja, dogmi ili učenja što ih ti već pomalo besmisleni simboli desetljećima, stoljećima ili tisućljećima reprezentiraju.

Vladimir LEBEN iz Ljubljane, pogođen svakodnevnim, već uobičajenim brutalnim tretmanom životinja, direktno se i bez okolišanja referirao na stravične postupke zabilježene na otočju Rèunion (inače pod francuskom kontrolom) gdje se na izletima ribiča amatera kao mamci u lovu na morske pse u more bacaju živi psi i mačke, portretirajući četiri psa mučenika sa pozlaćenim aureolama u briljantno naslovljenoj i majstorski realiziranoj kolekciji ORTHODOGS. Multimedijalka iz Rijeke Tajči ČEKADA ponudila je dvostruki video rad pod nazivom "Vepar-Veprica-Veprovina". Na polovici paralelno emitiranog filma autorica se uz jagode sa šlagom i bijelo vino zabavlja na cvjetnoj livadi sa svojom partnericom, vepricom od 150 kilograma. Obje su za raskošni piknik odjevene u svečane haljine te, prema riječima autorice "nakon nekog vremena, uz maženje i češkanje zajedno zaspimo site i zadovoljne". Na drugoj polovici ekrana istodobno se emitiraju autentične lovačke orgije snimljene za vrijeme rutinskog lova na veprove i grotesknog paradiranja s lovinom.

STEREOTIPI U TURIZMU

Značajna i vrlo poticajna skupina novih radova na izložbi, s neospornim potencijalom da i sama preraste u samostalni projekt, bavi se najrazličitijim primjerima stereotipa u turizmu. Prije svega tu su autori koji su svoje zagrebačke stereotipe pohranili u arhivu i ponudili nove tematske kreacije: Branko KOLARIĆ izlaže instalaciju RE SERVE kojom ironizira niz konvencija u sezonskoj ugostiteljskoj strategiji, a Zaneto PAULIN predstavlja svoju pseudo-kič kompoziciju SANCTVS NICOLVS iz koncepta "Vertigo Ruveîgno" kojim komentira višegodišnju praksu sajma arta i magneta za hladnjake na ex-tempori rovinjske Grisije. Fotograf Dalibor TALAJIĆ ciklusom "Journey to the center of Histria" vrlo suptilno prenosi osobne impresije tijekom svojih istraživanja napuštenih rudnika u Raši, dok Rino GROPUZZO naturalistički postavlja svoje aktove u razrušene ostatke nekadašnjeg hit kompleksa Haludovo i nostalgične dvorane bivše tvornice šećera "Rikard Benčić" u Rijeci. Glumica i pjevačica iz Rapca Elis LOVRIĆ predstavlja se u urnebesnom muzičkom propagandnom filmu iz 1988. naslovljenom "Ovdje nema nesretnih turista", a Dimitri BREČEVIĆ donosi primjer nekonvencionalnog designa i promocije vina svojom ekskluzivnom serijom "Piquentum Brazda". Robert SIRONIĆ priključuje se serijom vinjeta snimljenih na tipičnim turističkim destinacijama s komičnim epizodama na istarskim plažama.

ISTARSKI & EUROPSKI ARTISTI

Nezaobilazno proširenje koncepta STEREOARTYPES odnosi se na izuzetne doprinose istarskih umjetnika, u ovom primjeru fotografa Đanija CELIJE i Silene KOŠARA, a posebno onih s užeg područja Labina kao što su Ljiljana VLAČIĆ, Tea BIČIĆ, Ivona VERBANAC i pjesnikinja Roberta RAZZI. Dodamo li tome individualne art izvedbe poput skopsko/venecijanske mobilne instalacije autora s njujorškom adresom Antoni MAZNEVSKOG, a na kraju i proglas "Uprkos ekonomskoj krizi" legendarnog europskog umjetnika Raše TODOSIJEVIĆA (čiji impresivan nastup na Biennalu u Veneciji 2011. još uvijek pamtim), sklona sam zaključiti da se STEREOARTYPES u labinskom izdanju može shvatiti kao inspirativan artistički kolaž ispunjen isključivo pozitivnim vibracijama, definiran radovima autora raskošnog talenta i evidentne umjetničke vjerodostojnosti. Neograničena energija koju su pritom uložili u kreativno okupljanje oko istog tematskog izvorišta, razmjena istraživanja, emocija i izvedbenih iskustava, kao i zajednička promocija rezultata njihova rada, očito je dobrodošla svim sudionicima projekta, bez ozbira na to je li riječ o umjetnicima s autentičnih istarskih ili pak širih europskih terirorija.

Konačno, rekla bih da brojne i neizbježne stereotipe u kojima živimo, kroz sveobuhvatnu vizuru ovog duhovitog, slojevitog i nekonvencionalnog projekta, svi zajedno doživljavamo kao prikrivene akupunkturne točke čijom aktivacijom nagovještavamo osobnu vitalnost, kreativnost i spremnost na dragocjenu sposobnost - promjene.

Maja BRISKI
likovni kritičar, kustos, neovisni producent & grafički designer
Labin, 24. srpanj 2015.

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STEREOARTYPES Labin Edition
[ or how to inaugurate 29 solo exhibitions in one day ]

The contemporary artistic practice is essentially an infinite accumulation of stereotypes whose detailed analysis would soon prove to be a reckless attempt to find a way within permanent encyclopaedic research. From this point of view, the day-to-day artistic production, with the exception of a general, cynical observation that it is pretty much a consequence of a senseless amassment of variations by irresponsible authors on an ego trip, can be resolved into a series of elements, often contradictory: a sufferer and therefore an artist, an artist in crisis, a careless artist, a government artist, the independent alternative art scene, art institutions with bureaucratic apparatus, figurative painting, conceptual witty remarks, video artists, easel classics, multimedia and Internet experiments, printed catalogue paperwork, the creation of exhibition space, inaugurations and speechifying moments of welcome address, the global art market, the local black market, art colonies, extempore parades, pretentious curators and self-sacrificing artists, luxurious ateliers, basement art caves, hotel painted decorations, touristic street lumber rooms, amassed installations, intriguing performances, artistic integrity, the blank canvas syndrome and so forth until the end of time.

At first glance, one could think that artistic workers, constantly exposed to various daily doses and cocktails of stereotypes, do not perceive their presence anymore. However, as far back as two years ago, during the preparation of the first exhibition, Vlado Martek, a multimedia artist, told me that, on second thought, "his entire life appears to him as a constant battle against stereotypes". What is really surprising is the energy and unhidden enthusiasm shown by all the artists to whom I spoke and whom I invited to formulate, for this very occasion, their own interpretation of a stereotype that they had faced in their artistic production. This inspiring theme has attracted them with its wide free territory within which they used either various single motifs or their multiple, carefully examined syntheses with corresponding implemental variations in order to settle the score with this rather annoying phenomenon, which they find unbearable or sometimes just amusing.

HOW I BROKE STEREOTYPES

The genesis of the STEREOARTYPES concept brings us to the original project conceived in a wider sense and with the title of BLONDE JOKE: STEREOTYPES WE LIVE BY, which I carried out with Irena Kolbas during November 2013 at Zagreb's Ethnographic Museum. Thinking of it as a bait which was supposed to bring this infinite and often unwanted theme to the attention of a wider audience, Kolbas, MSc, suggested the populist leitmotiv about "blondes" who in an infinite series of jokes end up being constantly regenerated as pretty dolls with no brains and no sense of reality. Behind this amusing title/screen we started to accumulate information about a wide range of stereotype amassments, from the historical ones to current, ethnical, religious, social, fashionable or new-fangled, technological, gender, filmic, geographical and other stereotypes, through which we would then bring into being the collected textual conclusions and attitudes. Soon I realised the contradiction of such a trench approach! On one hand, it is fascinating that stereotypes, even the most embarrassing or the most senseless ones, which nevertheless turned into prejudices, can be discussed with no limitations or complexes: there are no taboo topics, no "political correctness", the world is full of stereotypes and the Internet is an endless source of information. It sounds perfect. On the other hand, I faced the fact that I do not really have any object representing the basic theoretical manuscript! It was impossible to obtain authentic historical maps and documents, replicas of mythic creatures, machines and tools, cult automobiles or scooters, photographs, souvenirs or works of art collections. What we did not have was, for example, a representative reconstruction of a supermarket among whose overcrowded shelves a blonde would be crawling in search of low prices. Moreover, we were unable to find even a black-and-white television set with a knitted doily and a Venetian gondola on top. The exhibition had to be created out of - nothing!

The only firm strategic decision that I stubbornly abided by in both the formulation of the project's visual identity and in mounting the exhibition in a museum space was to break as many stereotypes as possible, regardless of whether it pleases or not anybody. Therefore, what we did first was hitting the production of a catalogue based on the original research text by Irena Kolbas, which was accompanied by the essay "Imaginativne geografije" (Imaginative geographies) by Laura Šakaja and literary variations titled "Pravo na nesreću" (A right to unhappiness) by Dubravka Ugrešić. We compensated for the bizarre fact that illustrations which we needed could easily be found on websites but most of which could not be used for printed materials because of their inadequate resolutions by using a dynamic typography (inspired by the imprints of the exhibited Boston printing machine), as well as variations of a total of four different front covers of the catalogue, posters and street billboards. Since in the meantime I had finished the first selection of artists whose works interpret or break stereotypes in the contemporary artistic practice, we completed the catalogue with a hint of that chapter announcing that during the exhibition we would produce an additional book appropriately titled "ByBook", in which all the events related to the presentation of the project would be documented in great detail: the inauguration of the exhibition, mounting the exhibits within a museum space, individual portraits of all the authors and participants, the description of the thematic amassments, space installations and video works, examples of interaction with the audience (a competition for the best joke about blondes!) and press clipping reports about expert and media reactions to the project as a whole.

Since "ByBook" has not been carried out, although the exhibition itself remained open for an entire year (until the end of 2014) because of the exceptional reactions and interest shown by experts and its audience, Labin's stereotypes edition is a logical continuation of the project, which at the same time, in addition to its basic documents, finally put in hardcover, brings along a series of new, creative authorial and content expansions. In fact, together with the basic body of works transferred from the all-inclusive Zagreb layout into an independent exhibition and artistic project, the current STEREOARTYPES concept is expanded with new original chapters whose unquestionable potentiality will be fully emphasised only in their future, perhaps individual staging moments: first of all, these are interpretations of stereotypes in tourism, then specialised reflections about photography, extreme group of works affected by censorship and a specially chosen group of works from the field of visual arts, music, poetry and design, the authors of which are active in the wider area of Labin and the region.

ZAGREB HIGHLIGHTS

The leader of the group of powerful authors who defined the first exhibition in Zagreb is Adriano GON, an Italian artist, with his fantastic sign system SYGNO with which he continuously re-examines the modern systems of urban signalisation by playing with symbols of direction signs, prohibition traffic and information signs. Branko KOLARIĆ, an artist from Rovinj, created especially for the STEREOARTYPES concept the social game EGALIZACIJA (Equalisation), within a broader idea of "the absurdity of conflict", the dominance of capital and the loss of personal identity. By using materials deriving from the standard offset printing process, he imagined a game for two players in which there are no rules, no competition and at the end there is no winner either. With its chocolate boxes with chocolate lions and warriors, the Macedonian OPA group (Denis Saraginovski & Slobodanka Stevčeska) refers to the megalomaniac reincarnation of national myths carried out, with opposite reactions, through the Skopje 2014 project.

By opting for the attractive collage technique, Jerca ŠANTEJ, a Slovenian artist, offers a complex comment on the varied filmic and political mythology, while Fulvio JURIČIĆ, one of the most important Istrian artists, printed original transparent flags filled with texts which, apart from the visual code, do not have a meaningful content, but by repeating letters, they signal a constant aggression of a large number of printed and spoken words which are only a reminder of the good old verbal communication lost a long time ago in the everyday virtual chaos. For her sculpture stereotype, Roberta WEISSMAN NAGY produced an army of wax casts by using two expressionless figures, allegedly representing a man and a woman, from the children's set "Moje tijelo" (My body) offering thus, also as a parent, a reaction to the daily exposure to the temptation of purchasing, only to provide short-term entertainment for the child, some of hundreds of dolls, monsters, soldiers, bugs, stickers and similar odds and ends lying in ambush and waiting at a newspaper stand or a supermarket.

Along with his hilarious performance presented at the inauguration ceremony and dedicated to the tribal-like rituals of diehard sports fans, Damir Charlie ČARGONJA placed a space ensemble RAZBIJANJE STEREOTIPA (Breaking stereotypes), with which, guided by the syntagmatic structure "I support the form of capitalism that supports art", he keeps balancing on the edge of his own business and art, of the attitude of corporate structures towards the artistic practice and the manners of coping in his communication with big businesses. Ljubomir MIŠČEVIĆ, architect, advocate and promotor of the concept of energetically self-sufficient "passive houses", presented with imagination his view of stereotypes in architecture by building a children's cardboard house which he equipped with very expensive trendy tiles in various colours.
Zaneto PAULIN has shown a creative disrespect towards the elementary rules of photography with his authorial series of 24 photographs titled NO FACE NO NAME NO NUMBER.

Marina ŠTEMBERGAR presented her multimedia talents with a spectacular version of a medieval mythical creature called BLEMI ('Headless'). By opting for a simple mobile construction and a flawless choice of materials, she masterfully evokes the original mystical aureole, faded over the centuries, of a headless creature from the edges of the civilised world. Vlado MARTEK offered a small fraction of his long artistic practice which he already devoted to correcting stereotypes in artistic practice with a series of written massages, collages, installations, interventions, numerous conversations and inspirational communication research studies.

With his powerful collection ŠEZDESETE / BEZ KOMENTARA (Sixties / No comment), Davor RAPAJIĆ combines in an original manner the nostalgic scenes in his childhood photographs and authentic slogans, events and sensations from the socialist brainwashing environment of the time. An additional value of the cycle is a peculiar, original technique consisting in combining oil on canvas into which he inserts aluminium boxes and manually draws the outlines of the old photographs thus relativizing their credibility, but also "emphasising the charge they possess as emotional triggers and a sort of personal pictogram". Neven UŠUMOVIĆ, a writer, created his shelf of stereotypes around what used to be an inevitable set of the 48 volumes of the collected works of Marx and Engels. He revealed the current topical situation related to the imposed terror of reading by selecting comments on the populist REGAL LITERATURE (REGALSKA KNJIŽEVNOST) marketed aggressively through unstoppable sale at news-stands and by working on visualisation of personal authorial emphases of some parts of the text opting for the BOLD & RED typography.

CENSORSHIP IN THE 21ST CENTURY

An especially important collection within the newly conceived STEREOARTYPES project is made of works censored by the clerks working at the Ethnographic Museum and at the time removed, for reasons known only to them, from the exhibition in Zagreb. The group's leader is Nikola RAŽOV with his impressive triptych OTAPANJE SIMBOLA (Symbol melting), with which he continues his permanent activity of dealing with the mythology of massive stereotypes: an installation in which stars, swastikas and crosses made of sugar cubes (with a video note) are being melted in water at the same time symbolises the inconstancy of pompous beliefs, dogmas or studies represented over the decades, centuries or millennia by these nowadays rather meaningless symbols.

Affected by the everyday brutal treatments of animals, that have become a constant, Vladimir LEBEN from Ljubljana, reacted directly and unambiguously to the horrible acts on the island of Réunion (under French control), where on excursions organised for amateur fishermen live dogs and cats are being thrown into the sea as baits for catching sharks. He chose to portrait four martyr dogs with a gold-plated aureoles in a brilliant and masterfully carried out collection ORTHODOGS. The multimedia artist from Rijeka, Tajči ČEKADA, offered a twofold video work titled "Vepar-Veprica-Veprovina" (Wild boar-Female wild boar-Boar meat). In the middle of the film shown at the same time we find the author having fun on a flower meadow enjoying strawberries and cream and a glass of white wine together with her partner, a 150-kilogram female wild boar. They are both wearing festive dresses for this luxurious picnic and, according to the author, "after a while, when we finish cuddling and scratching, we fall asleep together, satiated and satisfied". At the same time on the other half of the screen authentic hunters' orgies are shown, recorded during wild boar routine hunting and showing off with the bag.

STEREOTYPES IN TOURISM

An important and a very stimulating group of new works at the exhibition, having an undeniable potentiality to become a separate project, deals with a wide range of examples of stereotypes in tourism. First of all, there are authors who archived their Zagreb stereotypes and offered new thematic creations: Branko KOLARIĆ exhibits his installation RE SERVE, with which he ironizes a series of conventions in the strategy of the seasonal catering industry, while Zaneto PAULIN presents his pseudo-kitsch composition SANCTVS NICOLVS from the concept "Vertigo Ruveîgno", with which he comments on the long practice pertaining to the fair of art and refrigerator magnets at the Extempore exhibition of Grisia in Rovinj. With his cycle "Journey to the centre of Histria", Dalibor TALAJIĆ, a photographer, conveys in a very subtle manner his impressions gained during the research which he carried out in the abandoned mine galleries in Raša. Opting for a naturalistic presentation, Rino GROPUZZO locates his nudes into the demolished remains of what once was the popular tourist complex of Haludovo and in the nostalgic hall of the former Rikard Benčić sugar plant in Rijeka. Elis LOVRIĆ, actress and singer from Rabac, offers the presentation of the hilarious musical propaganda film from 1988 entitled "Ovdje nema nesretnih turista" (There are no unhappy tourists here), while Dimitri BREČEVIĆ brings to our attention an example of unconventional design and wine promotion with his exclusive series "Piquentum Brazda". Robert SIRONIĆ is joining in with a series of vignettes photographed at typical tourist destinations with funny episodes on Istrian beaches.

ISTRIAN & EUROPEAN ARTISTS

The inevitable expansion of the STEREOARTYPES concept refers to the exceptional contributions made by Istrian artists, in this case by two photographers, Đani CELIJA and Silena KOŠARA, and especially by the artists from Labin, such as Ljiljana VLAČIĆ, Tea BIČIĆ, Ivona VERBANAC and Roberta RAZZI, a poet. If we add to that some individual artistic performances, for example, the mobile installations created between Skopje and Venice by Antoni MAZNEVSKI, an artist living in New York, and eventually also the manifesto "In spite of economic crisis" of the legendary European artist Raša TODOSIJEVIĆ (whose impressive performance at Venice Biennale in 2011 I still remember), I am inclined to conclude that Labin's edition of STEREOARTYPES can be understood as an inspirational thematic collage filled with nothing but positive vibrations, defined by the works of highly talented authors possessing evident artistic credibility. The unlimited amount of energy that they invested in their creative gathering around the same thematic source, the exchange of research, emotions and performing experiences, as well as a joint promotion of the results of their work, all this is obviously what all the participants in the project needed, regardless of where they are from, authentic Istrian or wider European territories.

And finally, I would say that, through the comprehensive aspect of this witty, complex and unconventional project, we all experience the various and inevitable stereotypes surrounding us in our everyday life as hidden acupuncture points by whose activation we announce personal vitality, creativity and readiness for the precious ability to – change.

Maja Briski
Art critic, curator, independent producer & graphic designer
Labin, 24 July 2015

• • • • •

01 Autori naslovnih stranica kataloga: Adriano GON (Sacro Cuore), Robert SIRONIĆ, Vladimir LEBEN (ORTHODOGS) & Maja BRISKI (StereoArtypes logotip).

02 & 30 Art stereotipi u Etnografskom muzeju Zagreb (radovi: Adriano GON, grupa OPA, Davor RAPAJIĆ, voštane figure Roberte WEISSMAN NAGY, kartonska kuća s pomodnim crijepom arhitekta Ljubomira MIŠČEVIĆA i EGALIZACIJA, utopijska igra rovinjskog autora Branka KOLARIĆA.
03 Vlado MARTEK ispred svog nekonvencionalnog kolaža.
04 Četiri naslovne stranice zagrebačkog kataloga & tekst o art segmentu izložbe s posebnim naglaskom na radove istarskih umjetnika u Glasu Istre.
05 Damir Charlie ČARGONJA sa suradnikom [Medo Meduza u ulozi Sestre Marije] izvodi performance RAZBIJANJE STEREOTIPA. U pozadini je biblioteka stereotipa Nevena UŠUMOVIĆA.
06 Marina ŠTEMBERGAR uz svoje žičano mitsko biće BLEMI.
07 Jerca ŠANTEJ ispred svojih političkih i filmskih mitova.
08 Fulvio JURIČIĆ s originalnim pečatima ispred jedne od svojih spektakularnih tipografskih grafika.
09 Vladimir LEBEN: potresna kolekcija portreta pasa mučenika pod nazivom ORTHODOGS.
10 Branko KOLARIĆ: dio nove instalacije RE SERVE.
11 Roberta WEISSMAN NAGY uz svoje voštane figure u limenim konzervama.
12 Bombonjere s čokoladnim lavovima i naoružanim ratnicima grupe OPA iz Skopja.
13 Dimitri BREČEVIĆ: vinska boca iz ekskluzivne serije "Piquentum Brazda". Design studio SONDA.
14 Antoni MAZNEVSKI: autorski performance 2014. u Skopju
i zatim tijekom 56. Art Biennala 2015. u Veneciji.
15 Zaneto PAULIN: instalacija SANCTVS NICOLVS u pozla-ćenom okviru (dio koncepta "Vertigo Ruveîgno" u 24 snimke) & 4 fotografije iz projekta NO FACE NO NAME NO NUMBER.
16 Robert SIRONIĆ: fotografija iz ciklusa ljetnih stereotipa na plažama oko Umaga.
17 Fotografska kompozicija STEREO-TIP. Autor Đani CELIJA.
18 Tajči ČEKADA, riječka multimedijalna umjetnica u svom umiljato/brutalnom videodiptihu "Vepar-Veprica-Veprovina".
19 Davor RAPAJIĆ i njegov nostalgični opus ŠEZDESETE / BEZ KOMENTARA.
20 Proročanski manifest Raše TODOSIJEVIĆA.
21 Tea BIČIĆ: instalacija PUNI PANSION / DORUČAK, RUČAK, VEČERA.
22 TRACES, grafika / instalacija u šećernom prahu Ivone VERBANAC.
23 OTAPANJE SIMBOLA Nikole RAŽOVA. Kocke šećera prije dezintegracije globalnih motiva u bezličnu otopinu.
24 Sudbonosni masterpiece Ljiljane VLAČIĆ.
25 Fotografski antistereotipi Silene KOŠARA: eksperimenti s nestandardnim osvjetljenjem i ekspozicijom.
26 Elis LOVRIĆ u promotivnom turističkom filmu "Ovdje nema nesretnih turista" iz 1988.
27 "Journey to the centre of Histria", serija podzemnih vizura napuštenih rudnika u Raši Dalibora TALAJIĆA.
28 Poetski biser Roberte RAZZI kao dio njene kontinuirane kreativne prakse revitalilizacije starolabinskog govora.
29 Rino GROPUZZO: kostimirani model u dvorani bivše tvornice šećera "Rikard Benčić" u Rijeci.

• • • • •

01 The authors of the catalogues' front covers: Adriano GON (Sacro Cuore), Robert SIRONIĆ, Vladimir LEBEN (ORTHODOGS) & Maja BRISKI (StereoArtypes logotype).

02 & 30 Art stereotypes at the Ethnographic Museum in Zagreb (works: Adriano GON, group OPA, Davor RAPAJIĆ, wax figures by Roberta WEISSMAN NAGY, the cardboard house with its trendy roof tile designed by the architect Ljubomir MIŠČEVIĆ and EQUALISATION, the Utopian game by Branko KOLARIĆ from Rovinj.
03 Vlado MARTEK in front of his unconventional collage.
04 Four front covers of the Zagreb catalogue & a text about the artistic segment of the exhibition with a special emphasis on the works of the Istrian artists published in Glas Istre.
05 Damir Charlie ČARGONJA with his associate [Medo Meduza (Teddy the Jellyfish) playing the role of Sister Mary] in the performance RAZBIJANJE STEREOTIPA (BREAKING STEREOTYPES). At the back there is the library of stereotypes by Neven UŠUMOVIĆ.
06 Marina ŠTEMBERGAR together with her mythical creature made of wire BLEMI.
07 Jerca ŠANTEJ in front of her political and film myths.
08 Fulvio JURIČIĆ with his original stamps in front of one of his spectacular typography graphics.
09 Vladimir LEBEN: the shocking collection of the martyr dogs' portraits titled ORTHODOGS.
10 Branko KOLARIĆ: a part of the new installation RE SERVE.
11 Roberta WEISSMAN NAGY with her wax figures in tins.
12 Chocolate boxes with chocolate lions and armed warriors, carried out by the group OPA from Skopje.
13 Dimitri BREČEVIĆ: a wine bottle from the exclusive series "Piquentum Brazda". Design studio SONDA.
14 Antoni MAZNEVSKI: an authorial performance in 2014 in Skopje and then during the 56th Art Biennale 2015 in Venice.
15 Zaneto PAULIN: the installation SANCTVS NICOLVS in its gold-plated frame (a part of the "Vertigo Ruveîgno" concept in 24 photographs) & 4 photographs from the project NO FACE NO NAME NO NUMBER.
16 Robert SIRONIĆ: a photograph from the cycle of summer stereotypes on the beaches around Umag.
17 The photographic composition STEREO-TIP (STEREO-TYPE). The author is Đani CELIJA.
18 Tajči ČEKADA, the multimedia artist from Rijeka in her gentle and brutal video diptych "Wild Boar-Female Wild Boar-Wild Boar Meat".
19 Davor RAPAJIĆ and his nostalgic work ŠEZDESETE / BEZ KOMENTARA (THE SIXTIES / NO COMMENT).
20 The prophetic manifesto of Raša TODOSIJEVIĆ.
21 Tea BIČIĆ: installation FULL BOARD / BREAKFAST, LUNCH, DINNER.
22 TRACES, graphic / installation made of powdered sugar by Ivona VERBANAC.
23 DISSOLVING OF SYMBOLS by Nikola RAŽOV. Sugar cubes before the disintegration of the global motifs into a featureless solution.
24 Ljiljana VLAČIĆ's fateful masterpiece.
25 The photographic anti-stereotypes of Silena KOŠARA: experimenting with nonstandard lighting and exposure.
26 Elis LOVRIĆ in her promotional tourist film "Ovdje nema nesretnih turista" (There are no unhappy tourists here) from 1988.
27 "Journey to the centre of Histria", a series of underground views of the abandoned mines in Raša, by Dalibor TALAJIĆ.
28 The poetic pearl of Roberta RAZZI as a part of her ongoing creative practice of Labin's old dialect revitalisation.
29 Rino GROPUZZO: a model in costume in the hall of the former Rikard Benčić sugar factory in Rijeka.

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