Katalog Bojan Mucko - znaci vremena

8/9/2019 Katalog Bojan Mucko - znaci vremena

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2 . — 1 2 . 7 . 2 0 1 4 .

bojan mucko“znaci vremena”

dokumentacija performativnog procesa, 17. 1. — 2. 9. 2013.


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Bojan Mucko (1983.) mladi je stvaratelj ši-

rokog raspona obrazovanja i zanimanja zaznanost i umjetnost, za teorijski i praktičnirad. Iako je tek nedavno diplomirao etnolo-giju i kulturnu antropologiju te filozofiju na Fi-lozofskom fakultetu, a još uvijek je studentna Odsjeku novih medija na ALU Zagreb, in-tenzivno je u različitim vidovima prisutan na

javnoj kulturno-umjetničkoj, znanstvenoj imedijskoj sceni. Već je uspio ostvariti pre-poznatljive i problemski relevantne radove ukojima je spojio svoje multidisciplinarne afi-nitete i znanja. Uz ostalo, proveo je istraživa-nje masovnog fenomena ispražnjenih lokalau užem i širem središtu Zagreba, što je re-zultiralo tekstom i fotografijama te napokonpublikacijom ‘Ispražnjeno u povratu’.Rad izložen u Galeriji Forum prezentacija

je njegove dugotrajne akcije/performansakoji je uključivao i ‘pod-performanse’ te ele-mente participativne prakse, odnosno he-peninga, koji je izvodio neprekidno gotovoosam mjeseci 2013. godine. Svakodnev-no, svuda gdje se kretao nosio je sa sobomdva svežnja od po pet registratora prona-đenih na glomaznom otpadu. Iako vjerojat-no ni sam nije bio potpuno svjestan razlogasvoje odluke da iz gomile odbačenih stva-

ri spasi upravo te predmete, čini se da se

to dogodilo zahvaljujući njegovu znanstve-nom backgroundukoji uključuje uzus arhi-viranja činjenica i dokumenata te uvažava-nje rezultata tog posla, neovisno o sadržajutih registratora, a koji ga sam po sebi u tomslučaju i nije zanimao. No isto su tako i aso-cijacije na kafkijansko-birokratski prizvuk tihpredmeta - kao prepoznatih znakova (i) na-šeg vremena/prostora - po svemu sudećibile dodatni razlog čina njihova izdvajanjai prisvajanja.

Apsurdna odluka pak da se optereti bala-stom tih registratora težine 14 kilograma,nestabilno povezanih tankom špagom kojase urezivala u prste, te da se osudi na nji-hovo dugotrajno tegobno tegljenje na svamjesta koja je dnevno obilazio obavljajućisvoje životne i radne funkcije (fakultet, po-slovni sastanci, galerije, trgovine, prome-tala, večernji izlasci...) kako u gradu stano-vanja, tako i na putovanjima, pa i onima uinozemstvo, bila je stvar izrazito umjetnič-kog impulsa.Promećući se u svojevrsnu sizifovsku fi-guru, Mucko se podvrgao permanentnompotenciranom naporu u svladavanju sva-kodnevnih rutinskih radnji, ispitujući svoju

psihofizičku izdržljivost i izlažući se ne uvi-

jek najugodnijoj pažnji okoline. Odlučio sena provođenje specifičnog eksperimen-ta, bivajući istodobno i akterom i proma-tračem-evidentičarom-kroničarom akcije, vlastitog i tuđeg ponašanja koje je akcijauvjetovala te svih drugih njezinih učinaka.Naime, osim što je svuda nosio te predme-te, on je i minuciozno bilježio pojedine fazenjihova prenošenja ‘od točke A do točke B’,kao i pauze u tom procesu. Sve je poslijeegzaktno prezentirao u obliku tablica s po-dacima o mjestima i vremenu radnje. Na-dalje, fotografski je i videokamerom iscrpnosnimao sve etape akcije, poziciju objekatana različitim mjestima, njihova odlaganja ičesta rasipanja (pri čemu je, podobno po-licijskom označavanju predmeta i stradal-nika u nesrećama, kredom opcrtavao nji-hov trenutačni položaj na tlu), kao i brojneosobe koje su bile potaknute da sudjeluju uakciji. Štoviše, grafički je u formi dijagramaprikazao i frekvenciju samog fotografiranjatijekom trajanja akcije. A objekti su u odre-đenom trenutku promaknuti i u aktere re-gistriranja vlastitog kretanja, i to tako da jena njima montiran mobilni telefonski aparats aktiviranom videofunkcijom. Na taj način

“znaci vremena”bojana mucka

a n t u n m a r a č i ć

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snimljeni automatski videouratci vjerno, izrakursa samih registratora, svjedoče o ‘tur-bulentnom’ procesu svojega prenošenja.Nije, dakako, izostala ni pismena kronika, za-pisi o motivima rada i iskustvima akumulira-nima tijekom vremena akcije.Ti su predmeti, dakle, postali fokus autorovesvakodnevice, objekti kojima su se podčinja-vale i prilagođavale sve njegove dnevne ak-tivnosti; dobili su status svojevrsnog medijapercepcije stvarnosti, koliko i njezine anima-cije-kreacije. Štoviše, gotovo da su promo-

virani u subjekte, determinatore rakursa i vi-zura ambijenata u kojima su se zatjecali. Izbrojnih fotografija koje dokumentiraju njiho-ve pozicije u različitim prostorima (više od ti-suću ih je snimljeno u prva dva mjeseca ak-cije) vidljiv je prigodno obuhvaćeni okolišdijelova parternih konstelacija, pločnika, zi-dova zgrada, ulica; krhotina urbane ikono-grafije, tekstura i boja. Objekti su kataliziralinaročite fotografske kadrove, snimke grad-

skih zakutaka koji bez njihova posredovanjateško da bi postali metom zanimanja, pogle-da dostojan motiv.Ti neobični, neugledni i trošni predteksti ak-cije, fragilne strukture koje su se svaki čas ra-sipale, postali su tako sredstvo određivanjavizualnog polja, iskustva prostora. Nadalje,zahvaljujući autorovoj neštedljivoj otvoreno-sti senzacijama koje su posredovali i iniciraliti predmeti, njegovoj psihološkoj spremnostina sugestije svih slučajnih sadržajnih i zna-čenjskih susreta, nemaru prema ograničeno

jednosmjernoj ‘čistoći’ projekta, nesklonostida odolijeva digresijama i odbija tekuće po-nude sinkroniciteta svih vrsta, zahvaljujući na-posljetku njegovoj volji da gotovo pobožnosve na putu stavi u odnos nekog fatalnog ka-uzaliteta – omogućen je plodan rast i oboga-ćivanje organizma ovoga rada.U povodu akcije, dakako, događali su se kon-takti s poznatim i nepoznatim ljudima, akci-dentalnim pomoćnicima i participantima; sa

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sućutnim ‘Šimunima Cirencima’ koji su naodređeno vrijeme preuzimali teret umjetni-kova ‘križa’, kao i s onima koji su svojim pri-mjedbama upozoravali prijemčivog autora namoguće dodatne implikacije projekta.Tako ga, saznajemo iz njegove pisane kroni-ke, na jednoj konferenciji u Berlinu izvjesnaSeraphine upozorava na inspirativni esej Bo-risa Groysa Comrades of time, a neki ga slu-čajni putnik u zagrebačkom tramvaju, dugo-godišnji suradnik Državnog arhiva i policije,plaši mogućim elementima protuzakonito-

sti korištenja registratora s dokumentacijomnađenom na otpadu. Stoga je autor oprezanu otkrivanju njihova stvarnog sadržaja i po-rijekla, a publika je lišena saznanja o prvot-noj namjeni preuzetog naslova rada/izložbe.Po navodnicima znamo da je riječ o citatu, avezu s karakterom rada možemo po volji us-postavljati ili negirati. Neće nam, dakle, biti za-branjeno ‘ Znake vremena’ opravdati nekimmogućim značenjskim aspektom, odnosnokonotacijom rada, ali još manje ćemo pogrije-šiti ako ga prihvatimo kao ‘neodgovornu’ na-slovnu proizvoljnost tipa IonescoveĆelave pjevačice ili Vianove Jeseni u Pekingu.Neke podudarnosti koje je autor uočio izme-đu svojeg rada i drugih, prema mnogoče-mu različitih, umjetničkih proizvoda, dovele

su i do jednog ‘podperformansa’ zabilježe-nog statičnom videokamerom. Performansse održao na uličnim stubama koje vode naplatformu ispred zgrade na uglu Držićeveulice i Ulice grada Vukovara u Zagrebu, namjestu pokraj kojega je autor često prola-zio, a na kojemu je Orson Welles 1962. godi-ne snimio scenu za svoj film po Kafkinu dje-luProces. Mucka je, osim privatne vezanostiza to mjesto (kao i za prvotni ‘kafkijanski mo-

tiv’ usvajanja registratora), privukla i podudar-nost same scene s osnovom njegova rada. Ufilmu se, naime, također pojavljuju paketi-te-reti koje nose i vuku Joseph K. (Anthony Per-kins) i jedan ženski lik iz romana/filma. Muc-ko je prenoseći gore-dolje stepenicama svojeregistratore, izveo stanoviti hommage Kafkii Wellesu, no samo snimanje nije prošlo bezdodatnih, novih koincidentnih događaja. Na-ime, kamera je u isto vrijeme u kadru zabilježi-la i dvojicu muškaraca koji su također razmje-njivali i nosili neke pakete.

Završetak tog maratonskog artističkog podu-zeća dogodio se početkom rujna 2013., na-kon sedam i pol mjeseci neprekinutog traja-nja. Zaključak akcije autor ovako opisuje:Tijekom kolovoza, provedenog u Dubrovni- ku uz temperaturu od gotovo 40 stupnjeva,objekti su bili prisutniji nego ikad, međutim

potreba za dokumentacijom polako je nesta- jala. Krajem mjeseca selio sam se iz stana u kojem sam živio desetak godina. Znao samda će vlasnici stan renovirati u potpunosti i daće kompletan interijer završiti na glomaznomotpadu, odnosno na ulici. Objekte sam osta-vio u ormaru u svojoj sobi i preselio se bez njih.Iz nekog razloga, u tom trenutku – to mi se uči- nilo prikladnom odlukom.I tako, dust to dust , predmeti nađeni na otpa-

du ostavljeni su da budu ponovo odbačeni. Autor sam (koji je ipak i sačuvao poneki njihovsegment) nije, čini se, imao srca to učiniti. Naizložbi, kao što se iz njezina podnaslova raza-znaje, izložena je dokumentacija performativnog procesa. Predstavlja nam se autor znan-stvenik i umjetnik u jednoj osobi. Umjetnik jepo prirodi stvari vođen plemenito neutilitar-nim porivom, apsurdnom odlukom i gestom,a znanstvenik je svoje odlike - preciznost, eg-

zaktnost i sklonost apsolutnoj evidenciji sta-nja stvari i njihovih povijesti - stavio u funkcijukao da se radi o problematici najpresudni-

joj za opstanak čovječanstva. Apsurd je nataj način dobio svoj komplement, odnosnopotporu, znanstvenik se dao inficirati umjet-nikom i postao njegov sudionik u ignoriranjukonvencionalne korisnosti, afirmirajući poezi-

ju bez profanog interesa.Sama izložba izvedena je u formalno nepre-tencioznom, nereprezentativnom obliku, s jednostavno opremljenim, dijelom i na podu

postavljenim fotografijama te monitorima, sprojekcijama iz nekamufliranih aparata i dru-ge tehničke opreme, čineći tako u izvjesnomsmislu analogiju transparentnosti i otvoreno-sti samog rada i njegova procesa.Uz tablice sa zabilježenim podacima o kre-tanju objekata, slušalice s dopunskim zvuč-nim informacijama, tekstove na zidu, video-dokumente i fotografije prezentirane u oblikuispisa na papiru i slajd-projekcija na TV ekra-

nima - u posebnoj vitrini bili su izloženi i reliktisame akcije, njezine krhotine: rukavice i zgu-žvani derutni kartončići koji su služili kao zašt i-ta za ruke od oštre tanke špage čiji su temelji-to uporabljeni komadi također izloženi; ostaciponekog registratora i jedan cijeli, sačuvankao reprezentativni primjerak zbog drastič-nih tragova-’rana’; fascikl s napisanom na-slovnom sintagmom izložbe; prtljažni avion-ski kuponi...Zaštićeni staklom i nedodirljivi za publiku, tieksponati, najneugledniji na izložbi, tretirani

su poput fetiša, svetih relikvija. U neku ruku is pravom. Jer ti predmeti uvjerljivo svjedočeo svojevrsnom mučeništvu mladog umjetni-ka čiji ulog nije devalviran činjenicom da ga

je poduzeo dobrovoljno te podnio s neuga-slom vedrinom za cijelog njegova trajanja,oplemenivši ga znatiželjom, društvenošću iludizmom. Time je tek amortiziran imanentnipatos te izdašno osnažena njegova umjet-nička supstancija.

21.03.2013., Ber lin 04.05.2013., Zagreb


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him two bundles of ring files, five in each,found once in a pile of large-scale rubbish. Although probably not even he was aware ofthe reasons for his decision to save from theheap of rejected things precisely these ob-

jects, it seems that it happened because ofhis background in science, which includesthe habit of archiving facts and documents,and respecting the results of such work, in-dependently of the contents that these ringfiles contained, which, as it happened, didnot interest him at all. But there were alsoassociations with Kafka-esque bureaucra-cy and these were by all accounts an addi-tional spur to the selection and appropriationof these objects – recognisable signs of ourtime and space as well.The absurd decision to load himself with theburden of these files, weighing 14 kilogramsin total, loosely linked with a thin length ofcord that bit into the figures, and to con-demn himself to the long-lasting and pain-ful lugging of them to all the places that hewent around day after day in the course ofhis life and work (university, business meet-ings, galleries, shops, vehicles, going out inthe evening...), both in the city in which he

lives and on his journeys, even trips abroad,was a matter of strictly artistic impulse.Turning into a kind of Sisyphean figure,Mucko submitted to the lasting heightenedeffort needed to overcome everyday routineactions, testing out his physical and psycho-logical endurance and exposing himself tothe not always pleasant attentions of the en-vironment. He had decided to undertake aspecific experiment, being at once actor aswell as observer-recorder-chronicler of theaction, of his own and others’ behaviour thatit entailed, and all the other effects produced.

Apart from carrying these items everywhere,he also meticulously noted down all the in-dividual phases in which they were movedfrom point A to point B, the pauses in the pro-cess, and presented them all later on in tab-ular form with data about the places and thetimes of the action. In addition, he used stilland video camera exhaustively to shoot allthe phases of the action, the position of theitems in various places, their being put byand frequently falling apart (when, in a man-ner similar to that used by the police whenmarking the positions of objects and casual-ties in accidents, he would draw round their

Bojan Mucko (1983) is a young artist with abroad educational background and a widerange of interests in science and art, in theo-retical and practical work. Although he onlyrecently took his degree in ethnology andcultural anthropology with philosophy atthe Faculty of Philosophy, and is still a stu-dent at the new media department of the Za-greb Academy of Fine Arts, he figures verymuch on the public arts, science and me-dia scene. He has already managed to pro-duce distinctive and timely works in which hehas combined all his multidisciplinary affini-ties and knowledge. Among other things, hehas carried out research into the large-scalephenomenon of the emptied shops and res-taurants in the immediate and slightly widercentre of Zagreb, resulting in a text and pho-tographs, and ultimately in a publication en-titledEmptied in the Return.The work displayed in the Forum Gallery isa presentation of a long-term action/perfor-mance, involving several ‘sub-performanc-es’ and elements of participatory practice,i.e. happening, which he conducted uninter-ruptedly for almost eight months during 2013.Every day, everywhere he went, he took with

the bojan mucko's“signs of the times”

a n t u n m a r a č i ć

10.04.2013.

London (šetnja s Willom Peckom), video zapis mobitela

instaliranog u objekte | London (a walk with Will Peck), video

recording from a mobile phone installed in the objects; film still


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current position on the ground in chalk), aswell as the participation of the many personswho felt moved to take part in the action. In-deed, he recorded in the form of diagramsthe frequency of the actual photographingduring the course of the entire action. At a given time the objects would be pro-moted to actors of the registration of theirown movement, when a mobile phone withits video function activated was fixed ontothem. Video works shot thus automaticallyfaithfully tell from the angle of vision of thefiles themselves of the ‘turbulent’ process oftheir transportation.

Nor was a written chronicle missing, ac-counts of the motivations of the work andthe experiences that came as it unfolded inthe course of time.These objects, then, became the focus ofthe artist’s everyday life, objects to whichall his daily activities had to be adjusted andsubordinated, they obtained the status of akind of medium for the perception of reality,

just as they animated and created it. Indeed,they have almost been transfigured into sub-

jects, determining the angle and the view ofthe settings in which they are found. Visiblefrom the many photographs that documenttheir positions in various spaces (more thana thousand of them were shot in the first twomonths of the action) are the environments

recorded in passing of parts of ground floorconfigurations, pavements, walls of build-ings, streets; fragments of urban iconogra-phy, textures and colours. The objects havecatalysed rather particular photographicframings, shots of urban nooks and cran-nies that without their mediation would hard-ly have become the object of interest or motifworthy of attention.

These unusual, unprepossessing and dilap-idated pre-texts of the action, fragile struc-tures that collapse at any moment, becamea means for determining the visual field, theexperience of space. Then, thanks to the au-thor’s unsparing openness to sensationsthat the objects mediated and initiated, tohis psychological readiness for the sugges-tions of all accidental substantial and seman-tic encounters, to the lack of concern for anyconstraining one-way ‘purity’ of the project,aversion to resisting digressions and reject-ing current offers of synchronicity of all kinds,thanks finally to his will practically piously to

correlate everything on the way with somefatal causality – the fruitful growth and en-hancement of this work was enabled.Because of the action, of course, contactswere made with known and unknown peo-ple, accidental helpers and participants; withsympathetic Simons of Cyrene who for acertain time took over the burden of the art-ist’s cross, or those who with their commentswarned the obliging author of the possibleimplications of the project. Thus we learnfrom his written chronicle that at a confer-ence in Berlin, a certain Seraphine drew at-tention to an inspiring essay of Boris Groys,Comrades of time, and another coinciden-tal traveller in a Zagreb tram, long-time as-sociate of the State Archives and the police,

scared him with various suggestions of ille-gality in the use of files with documents foundon a dump. The artist is then circumspect inrevelations of their contents and origin, andthe public is deprived of knowledge of theoriginal content that marked the title of theexhibition, or work. We know from the quota-tion marks that a quote is at work, and the linkwith the character of the work can be estab-

lished or denied at will. We are not bannedfrom justifying ‘Signs of the times’ with somepossible semantic aspect or connotation ofthe work. Still less will we go wrong if we ac-cept it as an ‘irresponsible’ act of arbitrary ti-tling of the same type as Ionesco’s Bald So- prano or Vian’s Autumn in Peking.Some of the similarities that the author not-ed between his work and other, in many re-spects different, artistic products, led to one‘sub-performance’ registered with a staticvideo camera. The performance took placeon the street stairs that lead to a platform infront of a building on the corner of Držićeva

ulica and Ulica grada Vukovara in Zagreb, aplace the author often passes by, at whichin 1962 Orson Welles shot a scene for thisfilm of Kafka’s The Trial. Apart from the pri-vate connection with the place (and the initialKafka-esque motif of appropriating the bind-ers) Mucko was attracted by the correlationof the scene itself with the basis of his ownwork. In the film, there are also packages,loads, carried or pulled by Joseph K. (playedby Anthony Perkins) and a female characterfrom the novel/film. Carrying his files up anddown the steps, Mucko performed a certainkind of hommage to Kafka and Welles, butthe shooting did not pass off without addi-tional newly coincidental events. Recordedat the same time in the take were two men,

also exchanging and carrying some pack-ages.The ending of this marathon artistic enter-prise came in early September 2013, afterseven and a half months. The author de-scribes the conclusion in this way.During an August spent in Dubrovnik at atemperature of almost 40 degrees, the objects were more present to me than ever be-

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fore, but the need for documentation gradu- ally faded. At the end of the month I movedfrom the flat I had lived in ten years. I knewthat the owners would renovate the flatcompletely and that the whole of the interiorwould end up in a dumpster, or on the street.I left the objects in the wardrobe in my room and moved without them. For some reason, at that moment, it seemed to me a fitting de-cision.

And so, dust to dust, the objects found in thetrash were left to be discarded again. The au-thor himself (who kept, though, some seg-ment of them) did not have the heart to doit. At the exhibition, as the subtitle indicates,

documentation of a performative processwas exhibited. The author introduces him-self to us as scientist and artist in one person.The artist is in the nature of things guided by agenerous and non-utilitarian urge, an absurddecision and gesture, while the scientist puthis typical characteristics to work - his preci-sion, exactness and propensity for absoluteevidence concerning the state of things and

their histories - as if it were all about a themeof the utmost importance for the survival ofmankind. In this manner the absurd achievedits complement, or support, the scientist lethimself be infected by the artist, and be-came a participant in ignoring the conven-tional usefulness, endorsing the poetry with-out a profane interest.The exhibition itself was put on in a formal-ly unpretentious and non-prestigious form,with simple equipment, partially with photosand monitors placed on the floor, with pro-

jections from unconcealed projectors andother equipment, creating in a way an analo-gy to the transparency and openness of the

work itself and its process. Alongside the tables recording data aboutthe movement of the objects, the earphoneswith extra audio information, texts on thewall, video-documents and photographs inthe form of printouts on paper and slide pro- jections on TV screens – in a separate dis-play case relicts, fragments of the actionwere exhibited: the gloves and the crum-

pled and tatty pieces of cardboard that hadserved to protect the hands from the sharpthin cord, the thoroughly used fragments ofwhich were also shown; the remains of a fileor two and one whole one, preserved as arepresentative example because of the dras-tic traces or wounds; a file with the title of theexhibition written on it; an airline baggagecheck…Protected by glass and not to be touched bythe public, these exhibits, the least prepos-sessing in the exhibition, are treated like fet-ishes or holy relics. In a sense, with some

justice. For these objects convincingly tell ofthe martyrdom of the young artist, the role of

which is not diminished by the artist’s hav-ing undertaken it willingly, submitting withunquenched cheerfulness the whole periodit lasted, ennobling it with curiosity, socialityand ludism. Thus the immanent emotional-ity was buffered, the artistic substance am-ply reinforced.

17.03.2013., Zagreb 10.04.2013., London (šetnja s Willom Peckom | a walk with Will Peck)


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Grafikon količine fotografija proizvedenih

po danima tijekom cijelog procesa |

Graph showing the number of photographs

per day during the whole of the process

Postavke rada | Settings

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Relikti performativnog procesa |

Relicts of the performative process

Rekonstrukcija šetnje Londonom, 10.04.2013. |

Reconstruction of a walk around London, April 10, 2013

Primjer tablice s prikazom dnevnih radnih ruta i radnog

vremena | Example of a table with a representation of

daily working routes and working time


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b i o g r a f i j a

Bojan Mucko (Varaždin, 1983.) diplomirao je etnologiju

i kulturnu antropologiju te filozofiju na Filozofskom fa-

kultetu u Zagrebu. Student je diplomskog studija Novih

medija na zagrebačkoj Akademiji likovnih umjetnosti.

Dio je organizacijskog tima međunarodnog festivala

etnografskog filma ETNOFILM; član je Udruge za in-

terdisciplinarna i interkulturalna istraživanja (UIII), a do

sad je, između ostalih, surađivao s Lokalnom bazom

za osvježenje kulture (BLOK), Bacačima sjenki , Druš-

tvom arhitekata Zagreba, Etnografskim muzejom u Za-

grebu, HRT-om.

Zanimaju ga metodološka preklapanja antropologije

i intermedijalnih umjetničkih praksi t e interdisciplinar-

nost u kontekstu urbanih studija.

b i o g r a p h y

Bojan Mucko (Varaždin, 1983) took a degree in eth-

nology, cultural anthropology and philosophy at the

Faculty of Philosophy in Zagreb. He is also currently

a graduate student in new media at the Zagreb Aca-

demy of Fine Arts.

He is a part of the organisational team of the interna-

tional ethnographic film festival ETNOFILM He is a

member of the Association for Interdisciplinary and

Intercultural Research (known as UIII) and has also

worked with BLOK, Bacači sjenki , the Association of

Architects of Zagreb, the Ethnographic Museum in

Zagreb, Croatian Radio Television.

He is interested in the methodological overlapping of

anthropology and intermedia art practices, and inter-

disciplinarity in the context of urban studies.

k o n t a k t | c o n t a c t

tel: +385 (0)98 1650 331

e-mail: [email protected]

14

s a m o s t a l n e i z l o ž b e |

i n d i v i d u a l e x h i b i t i o n s

2014. ‘Znaci vremena’, dokumentacija performativnog

procesa, Galerija Forum, Zagreb

2010. Glasovi gradske zimnice, Galerija VN, Zagreb

Prostor identiteta, prostor interakcije, prostor promje-

ne,Galerija Modulor, Zagreb

s k u p n e i z l o ž b e |

c o l l e c t i v e e x h i b i t i o n

2014. Likvidacija, Galerija Miroslav Kraljević, Zagreb

2013.Prostor je taktika 4. / Biti doma, Galerija 90-60-

90, Zagreb

Lijepa naša domovino! - izložba Hrvatskog fotosaveza,

Umjetnički paviljon, Zagreb

Liquidation, Stacion, Center for Contemporary Art Pri-

shtina, Priština, Kosovo

Posljednja koju smo imali nedavno,Galerija Miroslav

Kraljević, Zagreb

aBook [artist’s book],Galerija Galženica, Velika Gorica

2012.Prostor je taktika 3. Velesajam kulture, Galerija

SC, Zagreb

Urban Festival 12: Između svijetova. Javni prostor, Ga-

lerija Greta, Zagreb, interdisciplinarna radionica, video

instalacija, promocija publikacije

2011. Tamna tvar, Galerija Karas, Zagreb

Prostor je taktika 2., Galerija SC, Zagreb

Prostor je taktika 1.,Galerija Jogurt, Medika, Zagreb

10.05.2013., Zagreb

film still; snimio | camera: Igor Bezinović

Galerija Forum, Teslina 16, Zagreb

tel. 01 4810 710

[email protected]

izdavač | publisher

Kulturno informativni centar

Preradovićeva 5, Zagreb

tel. 01 4810 714

www.kic.hr

za izdavača | for the publisher

Emil Matešić

ravnatelj KIC-a

urednik | editor

Antun Maračić

predgovor | preface

Antun Maračić

lektura | proof reading

Rosanda Tometić

prijevod | translation

Graham McMaster

dizajn postava | exhibition design

Ivan Klis i Bojan Mucko

tehnički postav | technical set up

Hrvoje Lončar i Vedran Grladinović

fotografije | photographs

Bojan Mucko, Vida Guzmić, Antun Maračić

naslovnica | cover

22.3.2013., Berlin; foto | photo by: Bojan Mucko

grafičko oblikovanje | design

Tomislav Turković, www.tTom.info

tisak | printing

Intergrafika, Zagreb

Tiskano u Hrvatskoj, 2014. |

Printed in Croatia, 2014

naklada | edition

150

__________

izložbu omogućili | the exhibition

has been made possible by

Gradski ured za obrazovanje, kulturu i sport, Zagreb

i Ministarstvo kulture RH-e | City office for education,

culture and sport, Zagreb and Ministry of Culture of

the Republic of Croatia


9/9

“signs of the time”

documentation of a performative process, january 17 - september 2, 2013

Documents

Katalog Bojan Mucko - znaci vremena