Slaven Tolj (born 1964) articulates his work in several fields of art, including performance, actions, ambient and site-specific installations and objects. He uses real space, and encountered and found objects, incorporating time into his work and using his own body. His art mainly deals with social themes, themes of identity, the past, human vulnerability, loneliness and death. He has exhibited in numerous individual and group exhibitions around the country and abroad. Besides his work in art, he is known to the public as an exhibition curator, co-founder of the Art Workshop Lazareti in Dubrovnik and Institute of Contemporary Art in Zagreb, Croatian selector of the Venice Biennale of Fine Arts in 2005 and former director of MMSU Rijeka.

Impressum
text: Helena Puhara
graphic design: Rafaela Dražić
thanks: Srdjana Cvijetić, Miranda Veljačić, Dinko Peračić
support: Ministry of Culture and Media of the Republic of Croatia, City Government Split
organization: MKC Split

Objava Slaven Tolj: Craquelure, Pavo and I pojavila se prvi puta na Dom mladih Split.

The conceptual backbone of all these events is experimentation with sound.

The festival begins with a collaboration with Platformat, a festival for independent culture, organized by the Platforma Doma mladih (Youth Center Platform). These two festivals together have invited the House of Extreme Music Theater by DB Indoš to the underground club Kocka, and this time with the participation of the legendary band Trobecove krušne peći. KUŽNI IFRIT is a cosmophonic performance that emerged from joint work for remote performances of DEMONI KUGE, and premiered in early 2022 in the Great Hall of Pogon Jedinstvo in Zagreb.
The unique feature of this year’s ISPOD BINE festival is that it will present local, Split artists of different generations and artistic expressions. Each of them premieres a new creative work created exclusively for the ISPOD BINE festival. On October 13 from noon to 3pm, the festival events spread throughout the city of Split, using a moving audio installation by the legends of the Split art scene, Milan Brkić and Rino Efendić.

On Friday, October 14, Gordan Tudor, a saxophonist from Split with an international career, will perform his Soliloquy at Beton Kino, and on Saturday, October 15, Toni Mijač, an artist of the younger generation, will open his multimedia exhibition “Turn into an ear” in the MKC Gallery. At the very closing of the festival, October 23, we present another legend of Split’s independent scene, Hrvoje Cokarić (c_bastard), who will give us his sound performance “armageddon torch” in Kocka.

In addition to the forces of Split, which the festival continuously supports and promotes, and encourages them to experiment with sound outside of their native artistic media, this year ISPOD BINE presents the work of Miodrag Gladović, an electrical engineer, musician, and multimedia artist, who is extremely active on the contemporary art scene. either as a member of the artistic duo Lightune.G with Bojan Gagić, or independently. With his work, engineering knowledge, and exceptional creativity, he continuously contributes to the innovation of the projects in which he participates. The combination of a punk approach and DIY ethics, two decades of musical experience in stylistically different bands and projects, incorporation and use of new technologies in artistic work, and sensibility for contemporary music and art — these are all reasons why Gladović has become one of the most prominent names of the contemporary scene, primarily experimental and improvisational music, and in Split, he will hold a lecture about his work and perform his audiovisual performance “Packmess”.

So that this year’s festival does not go without international guest appearances by established sound artists, this year we present Manja Ristić, an internationally active artist who, since her institutional training as a violinist, is now very active in the improv and experimental music scene, and is represented by the audiovisual installation “Good Water” which will be opened in the Kocka Gallery on October 21, followed by Igor Stanglitzki’s impro soundscape journey.

Finally, the festival brings musician Amy Denio from Seattle, who is best known as a saxophonist in the band Kultur Shock. This versatile artist, in addition to playing several instruments and permanently engaging in pedagogical work, also performing vocal improvisations, will be in Split on Sunday, October 23, to do a vocal improv workshop for the public, and after that a solo performance in which she will immediately incorporate recordings of vocal improvisations with the participants of the workshop.

The sound art festival ISPOD BINE was founded and led by Natasha Kadin and Hrvoje Pelicarić since 2016, it is organized by the Mavena association, and this year it is held in partnership with the Multimedia Cultural Center Split, the Youth Center Platform, the Coalition of Youth Associations and with the financial support of the City of Split and the Ministry of culture and media of the Republic of Croatia. The authors of the festival logo are Kazinoti&Komenda, this year’s visual identity was designed by Igor Stanglitzky, and the poster was screen-printed by Edi Matić, E.m.gra, while the animations were done by Tihana Mandušić.

09/10
8pm_ Kocka
ISPOD BINE meets PLATFORMAT
DB Indoš
Kuća ekstremnog muzičkog kazališta &
Trobecove krušne peći – KUŽNI IFRIT

13/10
Noon-3pm_ Split
Milan Brkić / Rino Efendić – moving audio installation

14/10
8pm_Beton kino
Gordan Tudor – Soliloquy

15/10
9pm_ MKC Gallery
Toni Mijač – Pretvori se u uho

21/10
8pm_ Kocka gallery
Manja Ristić / Aleksandar Lazar – Dobra voda

21/10
10pm_ Kocka
Igor Stangliczky — MOOD_EXC_2.1

22/10
5pm_Beton kino
Mijo Gladović – lecture

22/10
8pm_Beton kino
Mijo Gladović – Packmess

23/10
5pm_Beton kino
Amy Denio – IMPROVOKALL – workshop

23/10
8pm_Beton kino
Amy Denio – IMPROVOKALL – performance

23/10
10pm_ Kocka
c_bastard – armagedon torch

Objava ISPOD BINE, sound art festival 2022 pojavila se prvi puta na Dom mladih Split.

Curators: Tomas Vu, Brian Novatny, Stipan Tadić i Marija Stipišić Vuković

Exhibition venues: Museum of Fine Arts and MKC Gallery

Opening: 05 July 2022, 7 pm — MKC Gallery,  8 pm — Museum of Fine Arts

Artists:

Jonathan Adams, Selva Aparicio, Ahmet Aslan, Vinko Barić, Margaret Braun, Ambreen Butt, Ernesto Caivano, Alexis Callender, Caroline Carlsmith, Nathan Catlin, Katarina Chamberlin, Alejandro Contreras, William Cordova, JJ Cromer, Predrag Dimitrijević, Davor Dmitrović, Edvin Dragičević, Mario Ferretti, Sonja Gašperov, Baris Gokturk, Cate Holt, Katarina Ivanišin Kardum, Lin Jing, Jasper Johns, Nikica Jurković, Darina Karpov, Nils Karsten, Dan Kennedy, Alexander Kvares, Nebojša Lazić, Miki Lee, Fred Liang, Miron Milić, Anita Miloš, Simonetta Moro, LeRoy Neiman, Brian Novatny, Jennifer Nuss, Aga Ousseinov, Lav Paripović, Vedran Perkov, Eva Petrič, Ivana Pipal, Aleksandra Popović, Veljko Popović, Ivan Prerad, Eric Ramos Guererro, Andrea Resner, Kristina Restović, Dennis Scholl, Jessica Segall, Shahzia Sikander, Luis Silva, Kiki Smith, Damir Sobota, Valentina Supanz Marinić, Ivan Svaguša, Miran Šabić, Marko Tadić, Richard Tinkler, Rirkrit Tiravanija, Vice Tomasović, Andy Van Dihn, Tomas Vu, Kara Walker, Laura Watt, Tommy White, Sun Xun, Yuan Zuo, Loren Živković Kuljiš

The exhibition DRAW – What Is Contemporary Drawing and What Can It All Be? presents a number of American and Croatian contemporary artists who are rethinking the medium of drawing in various ways. It is a project that was initiated by Tomas Vu, visual artist, professor and artistic director at the LeRoy Neiman Center for Print Studies at Columbia University in New York, and conceived as a curatorial platform focused on affirming drawing as an independent art discipline, and to encourage creativity in this medium of artistic expression. The DRAW exhibition provides an insight into the latest developments on the contemporary art scene, those artists who recognise the quality and possibilities of creation in the drawing medium, whose work surprises with its inventiveness and creativity, whether in pure drawing or in combination with other art techniques. Bringing together, in an exhibition format, internationally recognised artists and local artists from the milieus hosting the exhibition, the project carries particular importance for the cultural rapprochement between different cultures, primarily because of the need to consider our local art production in the broad international context and evaluate our own artistic achievements on the global stage. Participation of the world-renowned artists in eight exhibitions held thus far (Beijing, China; Dali City, Yunnan Province, China; Boston, Mass, USA; Novi Sad, Serbia; Manila, Philippines; Winston-Salem, North Karolina, USA; Hangzhou, China) confirms the international reputation of this project, which has become a meeting place of ideas and current art production in the drawing medium on a global level.

The artists selected for the exhibition in Split demonstrate, with their works, a strong synergy between contemporary trends in visual communications and classic draughtsmanship, which spans a wide array of techniques and materials used. Their example confirms that there is an overlap and intertwining of different media and disciplines in this as in other art disciplines today, in the spirit of postmodernism, as well as a respect for a broad range of approaches, from classical drawing to objects in space, the ready-made, installation and ambient art, from manual execution to computer processing. It is precisely this rethinking and examining of the ludic component of drawing, stepping out of the two-dimensional surface towards the third dimension, creating spatial drawings and objects in various materials, inventive procedures and combinations, pushing the limits of drawing towards a different and broader definition of this contemporary medium, or better yet this timeless medium, that answer the question – what is drawing today and what can it all be, what are its potentials in the time of expansion and coexistence of all possible pluralisms of styles, directions and tendencies, numerous new media and technically extremely sophisticated means of artistic expression.

The exhibition remains on view until 25 August 2022.

MKC Gallery works from 5:00 pm to 9:00 pm all days, except except Sundays and holidays.

Ahmet Aslan
Untitled, 2020

Davor Dmitrović
Još samo malo, još samo malo, uskoro smo tamo / Just a Little Longer, Just a Little Longer, We’re Almost There, 2022.

Ivana Pipal
Eksperiment misli (detalj) / Thought Experiment (detail), 2019. – 2021.

Jasper Johns
Untitled, 2012

Katarina Ivanišin Kardum
Rojenje: Roj III / Swarming: Swarm III, 2022.

Kiki Smith
Bez naziva (Plava drvena žena s podignutim rukama) / Untitled (Blue wooded woman with arms raised), 2019.

Shahzia Sikander
Embark/Disembark III / Ukrcaj/Iskrcaj II , 2004.

Simonetta Moro
Ticklish Zones: Digital Maps II / Škakljive zone: Digitalne mape II, 2022.

Kara Walker
Signal Station, Summit of Maryland Heights from Harpers Pictorial History of the Civil War / Signalna stanica, Vrh Maryland Heightsa iz Harper’s Pictorial History of the Civil War, 2005.
offset litografija sa sitotiskom / offset lithograph with s

Objava DRAW – WHAT IS CONTEMPORARY DRAWING AND WHAT CAN IT ALL BE? pojavila se prvi puta na Dom mladih Split.

The audio compositions of the subaquatic soundscape encourage us to reflect upon the anthropogenic sonic impact on the underwater habitat and marine life, as well as illuminate awareness and underscore the importance of maintaining safe sound environments for animals living in the world’s oceans, seas, lakes and rivers.

The sound compositions are a re-mix of the bioacoustics of marine life (shrimps, fish, sea urchins etc.), the aquatic acoustics and the presence of human generated noise in the world’s oceans and seas. Underwater noise effects a great number of marine life forms which depend on the sub-aquatic sonic environment to survive.

Over the last few years Robertina Šebjanič has made a number of recordings using hydrophones in different locations around the globe.

Lecture Invisible underwater pollution: Aquatocene and STARTS4Water Zero Pollution Adriatic
Robertina Šebjanič, Marjan Žitnik and Gjino Šutić (UR Institute-STARTS4Water)
Beton kino Friday, October, 29, 11 am

Robertina Šebjanič (SI) based in Ljubljana/ is working in the cros- field of art – technology – science. Her art — research focus has several years been in the cultural, (bio)political, chemical and biological realities of aquatic environments, which serves as a starting point to investigate and tackle philosophical questions regarding the intersection of art, technology and science. Her ideas and concepts are often realized in collaboration with others, through interdisciplinary and informal integration in her work. She was awarded with an Honorary Mention @Prix Ars Electronica 2016, STARTS2020 and a STARTS2016 nomination. Robertina is part of the SHAPE platform 2017. In 2018 she was a resident artist at Ars Electronica in the framework of EMARE / EMAP.
She exhibited / performed at solo and group exhibitions as well as in galleries and festivals: Ars electronica Linz, Kosmica festival_ Laboratorio Arte Alameda_Mexico City, La Gaîté Lyrique_ Paris, Le Cube_Paris, Art Laboratory Berlin, ZKM_Karlsruhe, re:publica_Berlin, Mladi Levi_Ljubljana, Centro de Cultura Digita_ Mexico City, Piksel_Bergen, OSMO/ZA_Ljubljana, Device art 5.015 at Klovićevi dvori_Zagreb & Eastern Bloc_Montreal, Eyebeam_New York, PORTIZMIR#3_Izmir, Kiblix festival_Maribor, Spektrum_Berlin, KIKK festival_ Namur and more.

Organizer: MKC Split
Lecture coorganisation: UR Institute, ARTScience MedILS
Curator: Jasna Gluić
Design: Rafaela Dražić
Technical support: Ivor Koren
Translation: Goranka Tomčić, Brian Willems (text)
Support: Croatian Ministry of Culture and Media, Split City Government

Objava Robertina Šebjanič: Aquatocene / The subaquatic quest for serenity exhibition pojavila se prvi puta na Dom mladih Split.

Flexibility and adaptability, human, society and nature have been central themes in my work. In nature, resilience is probably a matter of course, in the human mind and actions not so much. Man adapts, succumbs to almost any conditions, but is not flexible in his relationship with nature, easily destroys his environment, the planet. The state, society is guided by economic and political power, coercion and ignorance.

My works are from recent years, the oldest installation Masquerade of ghosts, is from 2013. The main point of this exhibition refers to bees, which I used to keep between 2017 and 2021. Bees are kept for pollination and honey. Many food plants that are important to humankind need insect pollination to produce a crop. Bees, like bumblebees, are farmed on an enormous scale in global food production. The bee has also been colonized as the only species of insect to the industrial food production of mankind.

The relationship between human and animals is evident around beekeeping. The human relationship with the animal is usually absurd. Either it is overflowing with companionship and humanizing, making the pet rise in value to friends and fellow human beings, above all as a place of worship. Or the relationship is disgusting in its industrial cruelty and brutality. Somewhere in the middle ground, caring for animals is for the benefit of all parties. A man always takes and uses more than gives back. In today’s world, it is possible for a person to live in a city without ever encountering nature. Until climate change and pandemics are reminiscent of the existence of nature. Against this context I have created poetic and understanding art.
Harri Larjosto

Biography
Harri Larjosto was born in 1952 in Turku and lives in Vantaa, Finland.
In 1976, he graduated Primary Teacher Educating at the University of Turku (specializing in Visual Arts and Biology). After ten years working as a teacher, he became an independent artist. From 2002 to 2008, he worked as a lecturer at the Academy of Fine Arts Helsinki (Aalto University). Harri Larjosto’s first solo exhibition was in 1978. He has made photographs, videos and short films, installations, collages, paintings, conceptual art and performances, a variety of artistic activities related to image and testing the boundaries of art disciplines. He has made several photobooks, writings, aphorisms and poets.

In his art, Larjosto deals with environmental questions and thinking. He is both poetic and absurd, a black humorist. He strives to convey the energy of changing opportunities and perspectives, resilience. The second important theme in his art is a human — nature in man and man as part of nature, a man-made environmental problem. Larjosto combines traditional narration and experimental forms, surprising twists and turns.
Larjosto received the Finland Award 2006, the highest art prize given by state.

In 2017 Larjosto started with beekeeping (ecology and ethology) as a new hobby, and in 2018 photographing bees, which lead to the short movie Beekeeping and mixed photo collages-paintings with poems and aphorisms project Resilience. In 2021, Larjosto has to stop with bees, he got serious allergic reaction to bee venom.

Organizer: MKC Split
Support: Grad Split, Suomen kulttuurirahasto, Oskar Öflunds Stiftelse
Translation and proofreading: Goranka Tomčić

More at www.harrilarjosto.com and https://www.harrilarjosto.com/artist/

Objava Harri Larjosto: Prilagodljivost / Resilience pojavila se prvi puta na Dom mladih Split.

The exhibition can be seen until April 2nd 2020.
The activity is a part of “Gradimo Dom zajedno”, co-funded by the European Union (ESF).

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Objava Igor Grubić: Tragovi nestajanja (u tri čina) / Traces of disappearance (in three acts) pojavila se prvi puta na Dom mladih Split.

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Objava AbFab Agency: Ulla the Influencer pojavila se prvi puta na Dom mladih Split.

Curators: Marko Golub and Maša Milovac.

The exhibition opening will also include the artist’s walkthrough.
The activity is a part of “Gradimo Dom zajedno”, co-funded by the European Union (ESF).

More:
http://dizajn.hr/blog/izlozba-ivan-marusic-klif-klizanje-u-nepoznato-u-multimedijalnom-kulturnom-centru-u-splitu

Objava  IVAN MARUŠIĆ KLIF: KLIZANJE U NEPOZNATO / SLIDING INTO THE UNKNOWN pojavila se prvi puta na Dom mladih Split.

Natasha Kadin

One of the main concepts of the NMG platform is exhibiting new media works of young artists with an activist note. I always took this label loosely – yes, it is true that the focus is placed on new media, but the program is not defined or constrained by that. There is a variety of content and media presented throughout the years. There were ten exhibitions in 2016, eight the year after, and nine in 2018. Although exhibitions are the most visible part of the NMG@PRAKTIKA program, more focus should be placed on the accompanying content of each exhibition. The workshops, artist talks and lectures, which the Mavena association insists on from the beginning, contribute to the educational aspects every quality exhibition should contain. This is backed up by the fact that a curator workshop is held every year, depending on a specific exhibition picked for the program. In the space where young students seek curatorial experience outside of their universities, the NMG program provides an entrance to this world.

Lana Beović

______________________________________

IMPRESSUM

Kustosica programa i urednica publikacije // Programme curator and Publication editor NATASHA KADIN
Kustosi izložbi // Exhibition curators LANA BEOVIĆ, JOZEFINA ĆURKOVIĆ, NATASHA KADIN, TONČI KRANJČEVIĆ BATALIĆ, MARKO VOJNIĆ GIN, TINA VUKASOVIĆ ĐAKOVIĆ, IVANA VUKUŠIĆ
Dizajn i prijelom // Design and layout NIKOLA KRIŽANAC
Prijevod // Translation LANA BEOVIĆ, IVAN BERECKA
LEKTURA / PROOFREADING
Hrvatski / Croatian: Ana Žanko
Engleski / English: Ivan Berecka
Tehničari // Technicians GILDO BAVČEVIĆ, HRVOJE COKARIĆ, TIHANA MANDUŠIĆ, HRVOJE PELICARIĆ
Dokumentacija // Documentation TIHANA MANDUŠIĆ, GILDO BAVČEVIĆ
Donatori // Donors NACIONALNA ZAKLADA ZA RAZVOJ CIVILNOG DRUŠTVA, ZAKLADA KULTURA NOVA, HRVATSKI AUDIOVIZUALNI CENTAR, MINISTARSTVO KULTURE RH, GRAD SPLIT, ŽUPANIJA SPLITSKO-DALMATINSKA
Organizator i producent // Organizer and Producer MAVENA, www.mavena.hr
Hvala // Thanks UMJETNIČKA AKADEMIJA U SPLITU, MULTIMEDIJALNI KULTURNI CENTAR SPLIT, KOALICIJA UDRUGA MLADIH, PLATFORMA DOMA MLADIH, HRVATSKA UDRUGA LIKOVNIH UMJETNIKA, GALERIJA UMJETNINA SPLIT
Tisak // Print Kerschoffset, Zagreb
Naklada // Print run 300
Nakladnik // Publisher MAVENA – 36 njezinih čuda
Split, 2019.

Izdavanje ove publikacije financijski je potpomogao Europski socijalni fond kroz projekt Gradimo Dom zajedno.

Objava NMG@PRAKTIKA: THREE-YEAR CATALOGUE (PROMOTION) pojavila se prvi puta na Dom mladih Split.

Through the set-up of his installations, the artist, in a cold tone, studiously researches the mechanisms with which various spiritual teaching and wellbeing practices address the public. He recognizes their tendency to use scientific terms, analytical explanations, extensive factual constructions, confidence in the character of the teacher/guru … Sometimes it is enough just to change the name of a method, or subsume it under a similar, wider term, in order to treat it with more confidence (lithotherapy sounds more serious than thinking about treatment by crystal, epigenetics is better than the energy of thoughts…). Alternative teaching is often based on principles originated by scientists or scientific heretics (the biologist Rupert Sheldrake is the creator of morphic field theory; we owe the name of orgon energy to Wilhelm Reich); some of it was even taught by artists (→ Leonardo da Vinci, sacred geometry)… However, all of this is on the order of scientifically unfounded theories and knowledge. Today, some methods of alternative healing have fought for a position on the side of legitimate, so-called complementary medical practices. The paradox is that at first they were accepted as an alternative to expensive medical treatment and pharmaceutical domination, while today they have become part of an expanding industry. In descriptions of their effectiveness, a lack of adverse side-effects seems to be a key element (!). It is precisely the contemporary phenomenon of the social acceptance of various alternative teachings and knowledge, as well as a spreading interest in them, that is the main theme of the artist’s work.

In the construction of the artwork the artist applies a vocabulary identical to the world of the so-called spiritual industries. He adopts the rules of the game and delves into specific knowledge and information, demonstrating his own research through graphs and exhibits; he creates collections and new products such as the morphogenic enhancement of Split as an energy entity. The world that is presented in the artist’s practice strives not to be a distant, fantasy world of strange alternatives. The artist’s discourse goes a step further and wants to convince the observer of the authenticity of the presented techniques as part of his own spiritual practice, which is in keeping with the concept of the mockumentary as an artform and the structure of transmedial narration. Spreading stories across other media platforms targets the credibility of the fictional line, adapting to different communication channels as well as the game of pretending that the story is reality. In the construction of his world of alternatives, the artist simultaneously uses gallery design, advertising, social networks… In addition to creating the character of a guru on Instagram, and advertising the products and services of an institute, Tomasović plays with the role of the gallery space in the veracity of his theme, encouraging us to think about on what we base our trust in knowledge offered to us, and which sources we believe. Is this because we are offered information from media service platforms and social networks, or is it about artwork as part of a museum collection or a gallery setup? Additional credibility of the exhibition concept is also created by the previous opus of the artist, in which philosophical and ethical themes have an important place. In a consistently developed thread in his own work, Tomasović not only points out problems that lie in ourselves, but also those in different power structures (whether it is market mechanisms and social networks or the value systems of institutions and the media) that have succeeded in producing a wide offering of products by aiming at our tendencies and different interests. So, before many have become aware of their own needs, the number of consumers has grown. We hope without any damaging side-effects.

Jasna Gluić

Objava Vice Tomasović: Spiritual Practice pojavila se prvi puta na Dom mladih Split.