| NEW BOOK
published by the Institute for Contemporary Art, Zagreb
/ see the pre-registration instructions below /
MARINA VICULIN: TIME WITHOUT INTENT, 2019.
The book Marina Viculin: Time Without Intent brings 67 texts written by Marina Viculin at the exhibitions she organised within the of Snapshot/Brzo okidanje series and the exhibitions at the Waldinger Gallery in Osijek, in the period between 2004 and 2014, before her untimely death at the beginning 2015.
Readers are introduced to the motifs of creating this book and a summary of Marina’s work, by the texts of the book editors Igor Kuduz and Janka Vukmir, and escorted by the editor’s note, the chronology of all the mentioned exhibition cycles and index of artists mentioned in the book.
The book entirely is bilingual, Croatian and English.
Publishers: Institute for Contemporary Art, Zagreb & Igor Kuduz
Editors: Janka Vukmir & Igor Kuduz
444 pages, c/b, softcover
Translation: Zana Šaškin
Graphic design: Igor Kuduz — D72
Support: City office for culture, Zagreb; own funds
The book will be promoted in Zagreb in September 2019.
Price: 150,00 kn.
BOOK PRE-REGISTRATIONS are possible until the book promotion in September, at a promotional price of 120,00 kn
Institut za suvremenu umjetnost/Institute for Contemporary Art
Trg kralja Tomislava 20, 10000 Zagreb
Each subscriber/payer must send the payment certification to the email address: firstname.lastname@example.org and subscribers/payers from outside of Zagreb shall add the postal address to which the book will be sent.
Each subscriber/payer will receive invoice and confirmation of the payment to the email address from which the payment certification was sent.
The books will be available to pick-up in Zagreb at the Institute of Contemporary Art, Trg kralja Tomislava 20, from 3 September during opening hours and by the appointment. For book buyers outside of Zagreb, postal delivery will be organised in September.
[ from the introduction text by Igor Kuduz ]
Books often emerge from an idea, a more or less rational decision to put a certain text in hardback and offer it to the public. I believe that’s true for most books I have held in my hands or which I have worked on myself. But not this one. This book has some strange history that I am not quite clear about, and I have no illusions that I will ever be. I am very reluctant to think about this history, and therefore very reluctant to write about it because I am afraid it might be unnecessarily too overwhelming. That’s why I don’t even think. This book was not generated from a thought or idea that it would be good to collect and edit all the texts and turn them into a book. This book came to be because there’s nothing else I can.
[ from the introduction text by Janka Vukmir ]
This book was inspired by the Snapshot / Brzo okidanje series of photography exhibitions that Marina Viculin launched in 2004 and continuously managed until the end of her days. The exhibitions within the series featured both the beginners and veterans of Croatian photography, they exchanged rapidly and were informative and unpretentious, but at the same time, they seriously advocated various aspects of the photographic medium and possible artistic approaches. Although the exhibition series took place in Zagreb, with the majority of exhibitions being held at the Lotrščak Tower (Kula Lotrščak) and several later ones in the basement of the Klovićevi Dvori Gallery, some exhibitions were transferred to the public space or even presented outside Zagreb, in Osijek. Snapshot was later on joined by, or rather, gave rise to the First Shot / Prvo okidanje, a series of exhibitions intended for young photographers at the dawn of their career and younger photography curators. This initiative also contributed to the exchange of knowledge and interest in photography and photographers, and it provided photographers with opportunities they had not had before.
For eight years, starting from 2007, Marina was also the curator of the exhibition programme at the Waldinger Gallery, City Galleries of Osijek, and so the collection of texts that accompanied the exhibitions held there form the second chapter of this book. The exhibitions in Waldinger reveal some of her other interests and efforts to advocate for artists of very different orientations and different generations, dominated by the selection of artists of the middle generation, who were often ignored by the Croatian cultural policy and without much visibility in the public sphere. With this series, Marina gave the artists and their works greater visibility and accessibility to a wider public, but most importantly to us, her own approach and interpretation by which she enriched the corpus of Croatian art criticism.
Institut za suvremenu umjetnost | Institute for Contemporary Art
Trg kralja Tomislava 20, Zagreb
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