Fokus Grupa

selected works

Map of Revisionist Monuments

Without Anesthesia opening at HDLU, Zagreb Without Anesthesia opening at HDLU, Zagreb Map of Revisionist Monuments

Map of Revisionist Monuments is a research project managed by Gal Kirn and Fokus Grupa, initiated as a response to the public call to raise the Memorial for the Victims of Totalitarianism in Brussels which is equating communism and fascism in the "center of Europe". The aim of the project is to gather and map the data on revisionist monuments like this one that have risen across Europe, as well as build a community of leftist researchers, activists and artists around this aim in order to build upon the knowledge gained and formulate a critique.

We have contacted numerous people from various European countries to submit proposals of the revisionist monuments they think should be included, while building a repository of case studies, we are slowly developing a classification of the revisionist strategies employed by various monuments etc. We have also initiated a Newsletter to correspond with interested artists, researchers and activists. A small selection of monuments that belong to the first group of monuments we have classified as “open rehabilitation of fascism and collaborationism” have been put on a map [pdf] intended to function as an invitation of additional collaborators on the project. Map was initially made for the Neighbours exhibition in Modern Art Museum in Warsaw.

In early 2019. we were invited to exhibit another work (Invisible Matter) on the 54. Zagreb Salon. A couple of days before the opening, after the work was already installed, we found out the Croatian Association of Artists that hosted the exhibition, and of which we are members, published an open call for raising a revisionist monuments to the victims of second world war, and the post world war victims, equating and accentuating victims that were members/collaborationists with the Nazis. The reaction we could come up with in the short time span we had left, was to paste the Map of Revisionist Monuments we had made for the Warsaw exhibition across the work already installed. [with the support of curators of the Salon].

Invisible Matter — East Art Map

Invisible Matter Project, Exhibition view: Invisible Matter, TObacco 001, Ljubljana Invisible Matter Project, Exhibition view: Invisible Matter, TObacco 001, Ljubljana Invisible Matter Project, Exhibition view: Invisible Matter, TObacco 001, Ljubljana Invisible Matter Project, Exhibition view: Invisible Matter, TObacco 001, Ljubljana Invisible Matter Project, Exhibition view: Invisible Matter, TObacco 001, Ljubljana Invisible Matter Project, Exhibition view: Invisible Matter, TObacco 001, Ljubljana Invisible Matter Project, Exhibition view: Invisible Matter, TObacco 001, Ljubljana Invisible Matter Project, Exhibition view: Invisible Matter, TObacco 001, Ljubljana Invisible Matter Project, Exhibition view: Invisible Matter, TObacco 001, Ljubljana

Invisible Matter is a data research project into the global contemporary art field. The project's webpage invisiblematter.xyz will be updated and further developed in order to communicate and further the research.

The goal of Invisible Matter is to locate and describe the entities that produce art events, as well as the printed matter and web sites that participate in the circulation of information and creation of the discourse about the art field. Although the motivation for this research is to observe the economical and political underpinnings of different segments of the art field, the database we are working on is looking to cover as wide a dataset as possible before making any claims toward the meaning of the data produced.

The second step of the research was to analise the overlaping data points between two networks, first — the one resulting from our database, a global map of art events published via e-flux announcements, and second — the East Art Map, an iconic mapping project about East-European art practices, a project by the slovenian collective IRWIN.

We wanted to see the relationships of the artists and art collectives listed in East Art Map, as they appear from their appearance on e-flux. We developed two visualisations, one a grid of ego networks listing all East Art Map artists according to the number of their appearances on e-flux, and the other a social graph showing relationships, and groups of artists based on their appearance on e-flux.

A small number of the most prominent datapoints (artists) were then invited to contribute the work of their choice to the exhibition.

Invisible Matter — Institutions

Invisible Matter Project, Exhibition view: The Trouble With Value, Bunkier, Krakow Invisible Matter Project, Exhibition view: The Trouble With Value, Bunkier, Krakow Invisible Matter Project, Exhibition view: The Trouble With Value, Bunkier, Krakow Invisible Matter Project, Exhibition view: The Trouble With Value, Bunkier, Krakow Invisible Matter Project, Exhibition view: The Trouble With Value, Bunkier, Krakow Invisible Matter Project, Exhibition view: The Trouble With Value, Bunkier, Krakow

Invisible Matter is a data research project into the global contemporary art field. The project's webpage invisiblematter.xyz will be updated and further developed in order to communicate and further the research.

The goal of Invisible Matter is to locate and describe the entities that produce art events, as well as the printed matter and web sites that participate in the circulation of information and creation of the discourse about the art field. Although the motivation for this research is to observe the economical and political underpinnings of different segments of the art field, the database we are working on is looking to cover as wide a dataset as possible before making any claims toward the meaning of the data produced.

The first step of the research was to analyse the institutions that use e-flux announcements to advertise their activities. We are developing a relational database based on the analysis of the announcements pages published on e-flux from January 2000 to date*. At this moment the database contains 2519 [institutions] that have published 18002 [events].

This research does not pertain to portray a comprehensive image of the field but its specific segment. Our long term goal is not to stick with a specific source but to use a variety of sources and try to map the "invisible matter" of the global contemporary art field, its actors and relations between them.

Vedutas from the palace of the Privileged Company of Trieste and Rijeka

Vedutas from the palace of the Privileged Company of Trieste and Rijeka, Exhibition view: Labin Industrial Art Biennial, Museum of Modern and Contemporary Art, Rijeka Vedutas from the palace of the Privileged Company of Trieste and Rijeka, Exhibition view: Labin Industrial Art Biennial, Museum of Modern and Contemporary Art, Rijeka Vedutas from the palace of the Privileged Company of Trieste and Rijeka, Exhibition view: Labin Industrial Art Biennial, Museum of Modern and Contemporary Art, Rijeka Vedutas from the palace of the Privileged Company of Trieste and Rijeka, Exhibition view: Labin Industrial Art Biennial, Museum of Modern and Contemporary Art, Rijeka Vedutas from the palace of the Privileged Company of Trieste and Rijeka, Exhibition view: Labin Industrial Art Biennial, Museum of Modern and Contemporary Art, Rijeka

On the second floor of the neighboring palace attached to the south east side of the Museum of Modern and Contemporary Art, in the “Vedute Salon” there are four large and six smaller wall paintings protected with OSB boards. The building is being restored with European Union funds for industrial heritage restoration. It will house the Museum of the City of Rijeka. The palace was originally the administrative seat of Trieste-Rijeka privileged company which had the monopoly over industrial sugar processing and trade in Austro-Hungarian Monarchy. It was established by Dutch merchants in 1750 at the initiative of the Habsburg crown.

Wall paintings of the Vedute Salon were made after the great fire in 1785 during the mandate of the director Peter de Vierendeels. The salon intended for the use of clerks and administration of the sugar factory was designed according to the habits of Dutch industrialists. The paintings originate from Venetian and Trieste circles with whom the company frequently did business, and their authors are still unknown.

On the north wall of the Salon, above the door, there is a smaller, elongated panoramic view while two larger vertical ones are located on their left and right side. They depict imaginary, idealized cities, ancient monuments and architecture, sailing ships (with Austrian flag) and maritime landscapes. The characters inhabiting them are dressed according to the 18th century European fashion or, if depicted in working clothes, the details imply that they come from the Far East. On the left painting, the undifferentiated figures of “Asians” with bound hands, bare feet and bended backs under the surveillance of armed gendarmes appear as the exponents of slavery in the mercantilist city space.

Austro-Hungary did not have its own colonies, raw sugar was acquired indirectly from London, Venice, Marseilles. The scenes from the graphic prints which were the templates for the panoramas may have belonged to some other companies (we can imagine another flag on the painting), but for the director Peter de Vierendeels who was in charge of the works on the salon, they were an expression of the aspirations for global expansion. The vedute ideale are a rare depiction of slave labor, otherwise invisible in Rijeka. These paintings circuitously point to the history of colonialism as a constituent part of Rijeka’s industrialization and development while industrial heritage is elucidated as colonial heritage.

Classification of Sugar, Divison of Labour

Classification of Sugar, Divison of Labour, Exhibition view: Labin Industrial Art Biennial, Museum of Modern and Contemporary Art, Rijeka Classification of Sugar, Divison of Labour, Exhibition view: Labin Industrial Art Biennial, Museum of Modern and Contemporary Art, Rijeka Classification of Sugar, Divison of Labour, Exhibition view: Labin Industrial Art Biennial, Museum of Modern and Contemporary Art, Rijeka Classification of Sugar, Divison of Labour, Exhibition view: Labin Industrial Art Biennial, Museum of Modern and Contemporary Art, Rijeka

Two objects presented under the glass cover are replicas of the tools for refining sugar borrowed for the Labin Industrial Art Biennial from the Archeological Museum of Istria. Similar objects were used in the same rooms that are now exhibition spaces of the Museum of Modern and Contemporary Art in Rijeka, and which in 18th century were the facilities of the Privileged Company of Trieste and Rijeka, a sugar refinery of the Austro-Hungarian Monarchy.

As a form of politicisation of musealisation of industrial heritage objects, notions of whiteness and purity of sugar refinement process were put in relation with labour divison in the refinery on a pseudo museum signage [PDF].

Regarding sugar processing the signage states:

Sugar refineries thermally processed imported concentrate that was poured in conus ceramic molds. The molds were then settled on a clay surface which filtered and refined sugar. Thus the conus base, i.e. its widest part, contained the purest sugar and its top the least pure sugar. By breaking the conus in segments, sugar of different quality depending on its purity, was harvested. When looking at sugar from the perspective of societal status at the beginning of the 18th century, it is important to say that the labouring classes did not have sugar; they instead had molasses. It was the middle and upper classes that actually had sugar. So, not only does sugar vary in type, but that type is used as a denotation of position in society.

Stats about the labour division in the company itself reads:

On the most expert and best paid positions in the refinery foreign workers from the Netherlands and Hamburg were employed. In order to attract them to Rijeka, they were given salaries twice as high as in their countries. In 1768 the company employed 704 workers and employees. In the refinery itself a total of six masters were employed, all of them foreigners. Following them in the labor qualification came raffineurs (expert skilled workers) 34 of whom were foreigners while 18 were Croats. In the refinery pottery workshop artisans from Croatia were employed and in the boiler room artisans from Prussia, while low skilled workers were mainly Croats. Wage workers and cabmen were also mostly local people, Croats, Slovenians (from Kranj and Koruska). It is significant that all company directors were generally from Antwerpen/Anvers in Belgium.

Moretto Fiumano

The work Moretto Fiumano, Exhibition view: Labin Industrial Art Biennial, Museum of Modern and Contemporary Art, Rijeka The work Moretto Fiumano, Exhibition view: Labin Industrial Art Biennial, Museum of Modern and Contemporary Art, Rijeka The work Moretto Fiumano, Exhibition view: Labin Industrial Art Biennial, Museum of Modern and Contemporary Art, Rijeka

At the beginning of 2018, tabloids barraged of the affair related to a figure similar to Morčić. It was the case of a blackamoor brooch that Princess Michael of Kent wore at the Christmas banquet organized by the Queen of England. Various media speculated that a possible reason for Princess’s choice of jewelry was a racist provocation aimed at the future British princess Meghan Merkle whose mother is Afro-American.

Tourist Office of the City of Rijeka states that Morčić is the original jewelry from Rijeka, Kvarner and Croatian Littoral. “Earrings with the bust of a black man with turban is worn even today by 70% of women from the region regardless of their social status and national identity, in multiethnic Rijeka which has as many as 22 ethnic minorities.” In multiethnic Rijeka the number of people of different races is still disproportional to the frequency of their depiction on jewelry.

Exhibition view: Labin Industrial Art Biennial, curated by WHW, Museum of Modern and Contemporary Art, Rijeka
photo credits: Fokus Grupa
Earrings belong to the personal collection of Fokus Grupa

The And of Art IN at FOR new

The And of Art IN at FOR new, Exhibition view: Collection Collective: Template for a Future Model of Representation, tranzit.sk The And of Art IN at FOR new, Exhibition view: Collection Collective: Template for a Future Model of Representation, tranzit.sk The And of Art IN at FOR new, Exhibition view: Collection Collective: Template for a Future Model of Representation, tranzit.sk The And of Art IN at FOR new, Exhibition view: Collection Collective: Template for a Future Model of Representation, tranzit.sk The And of Art IN at FOR new, Exhibition view: Collection Collective: Template for a Future Model of Representation, tranzit.sk The And of Art IN at FOR new, Exhibition view: Collection Collective: Template for a Future Model of Representation, tranzit.sk The And of Art IN at FOR new, Exhibition view: Collection Collective: Template for a Future Model of Representation, tranzit.sk The And of Art IN at FOR new, Exhibition view: Collection Collective: Template for a Future Model of Representation, tranzit.sk The And of Art IN at FOR new, Exhibition view: Collection Collective: Template for a Future Model of Representation, tranzit.sk The And of Art IN at FOR new, Exhibition view: Collection Collective: Template for a Future Model of Representation, tranzit.sk The And of Art IN at FOR new, Exhibition view: Collection Collective: Template for a Future Model of Representation, tranzit.sk The And of Art IN at FOR new, Exhibition view: Collection Collective: Template for a Future Model of Representation, tranzit.sk

The And of Art IN at FOR new*'s take on e-flux does not reproduce Triple Canopy's puritan critique of International Art English or the retaliation which followed on e-flux. It proposes a correlation of the Collection Collective's model of an art collection run by cultural producers with the e-flux model of an artist-run datab ase of art writing. Whilst Collection Collective seeks to intervene into the circulation and consumption of material art production, e-flux is a major player in the information and discourse circulation of the art-world.

In an attempt to focus on language as material rather than as representation The And of Art IN at FOR new was composed with software tools designed for text manipulation and analysis. The long line of text follows the parameters of the physical space of tranzit(dot)sk in an attempt to articulate language both as material and as measuring device, thus linking the physical space of tranzit(dot)sk with the imagined space of e-flux.


* 8 most frequently used words in e-flux announcement titles

The line was composed in the following way:

  1. 38 keywords were extracted from the curatorial text.
  2. Those 38 keywords were used to query the entire corpus of the e-flux Journal.
  3. Each keyword appeared in numerous lines of text.
  4. Lines were sorted alphabetically, according to a word that precedes the keyword in a sentence.
  5. A random line of text for each letter of the alphabet was selected.
  6. Text adjacent to the keyword (from punctuation mark to punctuation mark) was extracted from each line.
  7. Selected strings of text were reordered according to the journal number in which they appear.
  8. Letter capitalisation was corrected according to punctuation rules and line-breaks were removed.

A Sketch for a Personal Error

Degrees of Freedom: Human, Robot And The Medium of Automation, Designhuis, Eindhoven Degrees of Freedom: Human, Robot And The Medium of Automation, Designhuis, Eindhoven Degrees of Freedom: Human, Robot And The Medium of Automation, Designhuis, Eindhoven Degrees of Freedom: Human, Robot And The Medium of Automation, Designhuis, Eindhoven

The piece takes a pseudo-documentary form by creating a fictional persona who's work equipment is a computer. We are presented with the metadata of her hand movements on the screen during one week, represented as a graph. We encounter her for a fraction of a minute as she stops in the video frame. The videos focus solely on her hand resting on the side of her body, the body part actively involved in her work. In the first video, we see her in a moment of an attempt at relaxation, indulging her leisure time and the natural landscape, while her treacherous twitching finger reveals this moment as antithetical to her daily routine. In the second video, standing at the traffic light, the rhythmical sound of the traffic lights points to the technology as the environment in which she resides, where time and movement are measured, organised, valued and traded.

A twitching finger, we can safely assume has clicked away around 8000 times that day — a worker's single movement has become minuscule, but its numbers had increased. In addition to the body transformed in contact with the machine, the third element introduces the language of body maintenance used to counter, or facilitate that transformation. The piece is an exercise in exploration of the consequences of rationality, as it is enacted on the body of the worker. It aims to locate such consequences, as the Repetitive Strain Injury (RSI), in the underlying logic of, rather then malfunctioning, of optimisation. Which is to say that “Every technology carries its own negativity, which is invented at the same time as technical progress”.

technical info: installation, 2 x video with sound, digital print
dimensions: variable
exhibition views: Degrees of Freedom: Human, Robot And The Medium of Automation, Designhuis, Eindhoven 2017

Existenzoptimum — Insbruck

Existenzoptimum, axonometric drawing Existenzoptimum, axonometric drawing Existenzoptimum, axonometric drawing Existenzoptimum, axonometric drawing Exhibition view: Störwerte / Nuisance Value, Kunstpavillon, Innsbruck Exhibition view: Störwerte / Nuisance Value, Kunstpavillon, Innsbruck Exhibition view: Störwerte / Nuisance Value, Kunstpavillon, Innsbruck Exhibition view: Störwerte / Nuisance Value, Kunstpavillon, Innsbruck Exhibition view: Störwerte / Nuisance Value, Kunstpavillon, Innsbruck Exhibition view: Störwerte / Nuisance Value, Kunstpavillon, Innsbruck Exhibition view: Störwerte / Nuisance Value, Kunstpavillon, Innsbruck

The project Existenzoptimum is an outcome of our research into architecture and design practices, at the Künstlerhaus Büchsenhausen fellowship programme, that also took a form of a seminar at the Institute of Architectural Theory for students of the Innsbruck Faculty of Architecture.

The project developed into a didactic process and an exchange with the students Audrey Morency, Anouk Muller, Pol Olk and Laura Winterberg. The exchange was initiated through a series of lectures and discussions, which explored the value systems produced and reproduced through material practices such as design, architecture and art. The intention of the seminar was to encourage the students to explore the ways in which these questions find expression in the built environment or, more importantly, to look at alternative ways in which architecture has tried and may try again to address these questions.

The outcome of the seminar simulates a conventional exhibition of architecture, consisting of a 1:1 model of a living unit and a 1:30 model of a modular system implemented at the specific site, that of the Kunstpavillon. In the exhibition space the 1:1 model allows the visitors to relate physically to the space, while the didactic 1:30 model, provided with 10 living units, is a sort of a board game that the visitors can play and experiment with, allowing them to accommodate different possible social and architectural configurations parasitizing on the Kunstpavillon. The players might try to maximize the number of units per sq. meter following the logic of a dormitory, or organize a housing and working collective that can acquire more communal space to use for social or commercial activities.

technical info: university seminar, speculative architecture, model, booklet / dimensions: 300x300x250cm (model), 60x40x11cm (small model), A4, 38 pages (booklet)
exhibition views: Störwerte / Nuisance Value, Kunstpavillon, Innsbruck, 2016, photo by: WEST. Fotostudio
drawings: Audrey Morency, photos: Daniel Jarosch / Künstlerhaus Büchsenhausen

Existenzoptimum — Hamburg

Exhibition view: Some Shapes of Things to Come, Harburger Kunstverein, Hamburg Exhibition view: Some Shapes of Things to Come, Harburger Kunstverein, Hamburg Exhibition view: Some Shapes of Things to Come, Harburger Kunstverein, Hamburg Exhibition view: Some Shapes of Things to Come, Harburger Kunstverein, Hamburg Exhibition view: Some Shapes of Things to Come, Harburger Kunstverein, Hamburg Exhibition view: Some Shapes of Things to Come, Harburger Kunstverein, Hamburg Exhibition view: Some Shapes of Things to Come, Harburger Kunstverein, Hamburg Exhibition view: Some Shapes of Things to Come, Harburger Kunstverein, Hamburg Exhibition view: Some Shapes of Things to Come, Harburger Kunstverein, Hamburg

This second stage of the project Existenzoptimum is a spatial elaboration of the concept developed at the seminar with the students of Innsbruck Architekturtheorie department.

The work utilizies 5 architectural units to create spaces for life and work a small imagined community within the exhibition venue of the Harburger Kunstverein. Existenzoptimum also couples with the Library for Social Design that in this constelation serves as a space for collective education and dicussion.

Within the context of the exhibition Some Shapes of Things to Come, Existenzoptimum also figures as exhibition design, organizing the space of the exhibition and housing the video works presented. Interiors of the units are deveoted to further elaboration of the historical presedents and conceptual lineages of the Existenzoptimum presented in the form of posters/info panels.

technical info: exhibition design, speculative architecture / dimensions: 300x300x250cm (per model), posters 150x110cm, (per poster)
exhibition views: Some Shapes of Things to Come, Harburger Kunstverein, Hamburg, 2018
photos: Michael Pfisterer / Harburger Kunstverein

Stories about Frames

Performing the museum — On Resources, MSU, Zagreb Performing the museum — On Resources, MSU, Zagreb Performing the museum — On Resources, MSU, Zagreb Performing the museum — On Resources, MSU, Zagreb Performing the museum — On Resources, MSU, Zagreb Performing the museum — On Resources, MSU, Zagreb Performing the museum — On Resources, MSU, Zagreb Performing the museum — On Resources, MSU, Zagreb Abstract Socialism, Fundació Antoni Tàpies, Barcelona Abstract Socialism, Fundació Antoni Tàpies, Barcelona Abstract Socialism, Fundació Antoni Tàpies, Barcelona

Stories about Frames is a series of interventions throughout the exhibition space, realized as a system of labels that adapt to each particular exhibition by renewing the content of the labels. Texts on the labels focus on the years in which exhibited artworks were created in order to establish the links between artworks and selected art institutions from around the world. Instead of revealing the properties of the artworks, new texts point to the material reality of the art institutions, taking us beyond the boundaries of the exhibition space. The project thus creates a parallel history of contemporary art, based on the art institution rather then an artwork.

The basis for the Stories about Frames is a digital database in development that contains institutions of modern and contemporary art. It includes information such as when and where the institution was established, if and what kind of transformations, architectural extensions it underwent, etc. Is it privately or publicly funded? Does it have a collection? How large is the exhibition space?

Centre of the World*

Centre of the World — production Centre of the World — installation Centre of the World Centre of the World

The agreement reached in 1947 between MoMA and Metropolitan Museum was revoked in 1953 as MoMA decided that they no longer wanted to renounce the wealth they had acquired in the form of modern masterpieces, thus forsaking the concept of the museum developed by Alfred Barr in his 1933 “Torpedo moving through time” diagram. Since then, the collections of MoMA had grown immensely and the spaces that house them followed, starting with the acquisitions of the neighboring buildings in the years that followed.

Sponsored by the UN, Koroška galerija in Slovenj Gradec organized first in the series of international exhibitions titled “Peace, humanity and friendship among nations” in 1966. As the number of works that had arrived in the open call far surpassed the physical capacities of the gallery, the leadership of the Gallery decided that an extension to the museum should be built. Within the context of Socialist Slovenia (part of Yugoslavia), they were able to realize this with the help of the working brigades made up of the voluntary citizens of Slovenj Gradec, co-financed by the state-owned companies from the region in the course of 3 months. In the press of the time, unconcealed optimism boomed. The exhibition was to bring both the world to Slovenj Gradec and Slovenj Gradec to the world. One of the journalists states “These days our small Slovenj Gradec is the center of the world”.

If we decontextualize these events and view them as material processes the difference between MoMA and Koroška stories is only in scale. But while the growing of MoMA signifies a reactionary turn in the history of the institution the growth of Koroška signifies an emancipatory historical moment for the people of Slovenj Gradec materialized in an architectural form - a museum. Fokus Grupa revives this history of the museum and tries to increase it's visibility in the public space by realizing the neon sign based on the optimist discourse of the press from 1966. The work thus tries to both commemorate and propose that a different kind of museum is possible.


* translates SREDIŠČE SVETA in Slovenian
technical info: neon sign
location: Slovenj Gradec, Slovenia
produced by: Koroška Gallery, 2016

Perfect Structures

Exhibition view: Inperfect structures, SC Gallery, Zagreb Exhibition view: Inperfect structures, SC Gallery, Zagreb Exhibition view: Inperfect structures, SC Gallery, Zagreb Exhibition view: Inperfect structures, SC Gallery, Zagreb Exhibition view: Inperfect structures, SC Gallery, Zagreb Exhibition view: Inperfect structures, SC Gallery, Zagreb Exhibition view: Inperfect structures, SC Gallery, Zagreb Exhibition view: Inperfect structures, SC Gallery, Zagreb Exhibition view: Inperfect structures, SC Gallery, Zagreb

Today, e-flux announcements inform more than 90.000 subscribers about the contemporary art world. The work Perfect Structures contains all the announcements titles on e-flux website. Beginning on January 5, 2000, with the exhibition titled “Nothing”, ending in last days of 2016 Perfect Structures amount to 16.632 announcement titles, perhaps establishing the kanon of the art of today.The titles form a continuous line of words, a sentence, a poem. The uninterrupted line follows the parameters of the physical space of the venue, its exhibition and auxiliary premises, through a direct presentation of language (of contemporary art).

Prior to it's placement in space, titles are rearranged from chronological to alphabetical order with the intention to move the content from its everyday utilitarian domain of announcing and archiving events to it’s (ideological) function as language and finally from language to a measuring device. Using the language of e-flux as material – in the spirit of concrete poetry – the sentence covers the entire length of the walls. If language defines the world around us, the language in Perfect Structures points to (in)visible power-work behind art production.

technical info: intervention, text-based, poetry / dimensions: variable / year 2016
exhibition view: Imperfect structures, SC Gallery, Zagreb
photo credits: Tjaša Kalkan & Fokus Grupa

Vjera Pavlovna's Fourth Dream

Cracks in the Curtain Wall – Beyond an Architecture of Cleanliness, Bauhaus, Dessau Cracks in the Curtain Wall – Beyond an Architecture of Cleanliness, Bauhaus, Dessau Cracks in the Curtain Wall – Beyond an Architecture of Cleanliness, Bauhaus, Dessau Cracks in the Curtain Wall – Beyond an Architecture of Cleanliness, Bauhaus, Dessau Cracks in the Curtain Wall – Beyond an Architecture of Cleanliness, Bauhaus, Dessau Cracks in the Curtain Wall – Beyond an Architecture of Cleanliness, Bauhaus, Dessau Cracks in the Curtain Wall – Beyond an Architecture of Cleanliness, Bauhaus, Dessau Cracks in the Curtain Wall – Beyond an Architecture of Cleanliness, Bauhaus, Dessau Cracks in the Curtain Wall – Beyond an Architecture of Cleanliness, Bauhaus, Dessau

Vjera Pavlovna's Fourth Dream is a site-specific intervention into the display apparatus developed by the Bauhaus Dessau to narrate the history and the ideas of the Bauhaus via images and texts. Using the pre-given apparatus as well as archives of historical documents / photographs of Bauhaus Dessau, by a way of textual re-framing, another (fictional) narrative has been established. The text is a digital collage of textual fragments of the chapter “Vera Pavlovna’s Fourth Dream” from the novel What Is To Be Done? by Nikolay Gavrilovich Chernyshevsky (1863).

In her dream Vera Pavlovna imagines a society where social relations and scientific progress find their expression in crystal palaces that are spread around the world bringing about a “radiant and beautiful” future. A variety of utopian, ideological and architectural nodes can be mentally remapped via this intervention; from Paul Sherbert’s Glass Architecture, Bruno Taus’s Glass House to Domestic Revolution’s kitchen-less houses and communal housing ideas.

Description of a Family Apartment

Exhibition view: As It Once Was — the Art of Nation Building, Offbiennale, Budapest Exhibition view: As It Once Was — the Art of Nation Building, Offbiennale, Budapest Exhibition view: As It Once Was — the Art of Nation Building, Offbiennale, Budapest Exhibition view: As It Once Was — the Art of Nation Building, Offbiennale, Budapest Exhibition view: As It Once Was — the Art of Nation Building, Offbiennale, Budapest

Description of a Family Apartment is an installation, which represents an “ideal home”, made in order to reveal the political and ideological background used to define “the basic social unit.” The 29 plywood cubes, taking their shape from the monument Altar of the Homeland, transform the gallery space into a prototype of the family apartment as proposed by conservative politics. By building the private space using the elements of state representation, a dystopian collapse of the division of private and public is made apparent.

In Croatia, the civic initiative In the Name Of the Family initiated a referendum in 2013, in order to constitutionally define marriage as a union of a man and a woman, which had an affirmative outcome. Fokus Grupa branded the elements of their work using the logo of the organization, featuring a heterosexual couple with two children.

Reading corner: Imaginative Soldiers

Exhibition view: Some Say You Can Find Happiness There, Visual culture research centre, Kyiv Exhibition view: Some Say You Can Find Happiness There, Visual culture research centre, Kyiv Exhibition view: Some Say You Can Find Happiness There, Visual culture research centre, Kyiv Detail of news articles pasted on monument replica Detail of news articles pasted on monument replica Detail of news articles pasted on monument replica Detail of news articles pasted on monument replica Detail of news articles pasted on monument replica

Altar of the Homeland, “a monument to all that have died for Croatia” was erected near the Croatian capital, Zagreb. It was inaugurated by Franjo Tuđman, first Croatian president on May 30, 1994. Sculptor Kuzma Kovačić created a peculiar kind of minimalist sculpture arranged out of stone blocks brought from all regions of the country and glass blocks in place of the sea. The monument represents total unity of the homeland in a form of a sanctuary to the nation, it’s blood and it's land.

Recent re-emergence of the far-right political organisations across Europe re-actualised the 1990’s wars in the Balkans. In the imagination of the political right old alliances can easily be to reestablished and new ones can be forged in order to fantasise about “brotherhood and unity”, but also about “ancient enemies”. In comparison to the 1990’s Serbs and Croats don’t even need to start a war, there is a ready-made conflict happening in Ukraine. This appropriation of war by extreme nationalists, is built upon the very core of imaginary nature of the concept of love-for-each-other-via-the-state, which serves as a striking reminder of perverse ways we relate to each other based on national myths.

The Altar to the Homeland gains a new urgency in this new context. Devoted to all Croatian heroes it represents a very “inclusive memorial”. Who are all the heroes that have died for Croatia? Are they also the Ustaše - WW2 collaborationists? Recently the phrase “…to all the victims“ reemerged in Serbia to deny the collaborationism with the nazis in the WW2, on the side of Chetniks.

Altar of the Homeland re-articulated by Fokus Grupa, takes it’s material from used furniture in order to create a hybrid sculpture that links fantasy and war with the very idea of a nation. In this new installation the piece becomes a “news-board” presenting a selection of articles about the trans-national links between Croatian right wing and the paramilitaries like AZOV, as well as Serbian right wing with the Russian separatists. This new “Altar of the Homeland” becomes simultaneously a utilitarian and semantical object; serving as the reading corner, a seating place, as well as the conceptual framing.

technical info: sculpture, ambient, modular furniture/ dimensions: variable / year 2015
exhibition view: Some Say You Can Find Happiness There, Visual culture research centre, Kyiv
photo credits: VCRC, Kyiv

Exercising Novy Byt

Exhibition view: A Taste for Work, ŠKUC Gallery, Ljubljana Exhibition view: A Taste for Work, ŠKUC Gallery, Ljubljana Exhibition view: A Taste for Work, ŠKUC Gallery, Ljubljana Exhibition view: A Taste for Work, ŠKUC Gallery, Ljubljana Exhibition view: A Taste for Work, ŠKUC Gallery, Ljubljana Exhibition view: A Taste for Work, ŠKUC Gallery, Ljubljana Exhibition view: A Taste for Work, ŠKUC Gallery, Ljubljana Exhibition view: A Taste for Work, ŠKUC Gallery, Ljubljana Exhibition view: A Taste for Work, ŠKUC Gallery, Ljubljana Exhibition view: A Taste for Work, ŠKUC Gallery, Ljubljana Exhibition view: A Taste for Work, ŠKUC Gallery, Ljubljana Exhibition view: A Taste for Work, ŠKUC Gallery, Ljubljana Exhibition view: A Taste for Work, ŠKUC Gallery, Ljubljana Exhibition view: A Taste for Work, ŠKUC Gallery, Ljubljana

Exercising Novy Byt* consists of two pieces of reconstructed furniture made after designs by Alexandr Rodčenko and his pupil Nikolai Sobolev, paired with two sets of photo-collages made as instructions for the use of the furniture. An office table and a sofa/bed are multifunctional objects designed in the first years after the Russian Revolution as part of an attempt to redesign the everyday life and help create a new efficient human. The bourgeois separation of private and public is manifested in the object of the bed where the bed is a dedicated object for leisure or procreation set apart from daily, namely public, activity. The bed for the new human, hence, needs not to be separate but needs to change its shape and function for a new daily/public activity. The office table changes from a table for a singular practice into the practice for many, it bridges the space of privacy and a public space. Almost a century later these principles are easily recognized within the register of flexible, precarious working conditions where an individual is endlessly able to erase every distinction of private and professional. The reconstructed furniture is accompanied by photo collages that borrow the form, both from user manuals and body exercises. The instructions show how even the time needed to adapt the furniture from one type of use to another can be utilized as an exercise device to enhance body’s ability to ever greater achievement.

* Novy Byt is a Russian term for the new quotidian.
technical info: furniture prototype & photo collages / dimensions: variable / year 2014
exhibition view: A Taste for Work, ŠKUC Gallery, Ljubljana
photo credits: Dejan Habicht, Vladimir Vidmar

People Love Monuments

Exhibition view: People Love Monuments, Transmission Gallery, Glasgow Exhibition view: People Love Monuments, Transmission Gallery, Glasgow Exhibition view: People Love Monuments, Transmission Gallery, Glasgow Exhibition view: People Love Monuments, Transmission Gallery, Glasgow Exhibition view: People Love Monuments, Transmission Gallery, Glasgow

Paraphrasing the film theoretician Hrvoje Turković “Horses Heads” are less memorable shots, filmed before or after filming the main plot, inserted in order to bridge main shots and help the narration flow, most commonly used in interviews when the head shots are interwoven with close-ups of hands.

People Love Monuments consists of a 3D print of a part of an equestrian sculpture of Viceroy Josip Jelačić and a series of photographs documenting roughly 150 years of life on the main square in the city Zagreb.

Horse, a traditional attribute of figures of military power, when part of an equestrian sculpture, literally and metaphorically elevates the protagonist. Laid down in front of the viewer, 3D printed head implies an act of mutilation of the signifier, it also enacts a technique of omission, a standard editing method used to remove problematic, unwanted, uncanny elements in order to create seamless narration. The revolutionary potential of the cut is pitted against the final cut as the privilege of those in power.

technical info: 3d print (thermoplastic polymer) & photo archive / year 2014
exhibition view: People Love Monuments, Transmission Gallery, Glasgow
photo credits: Tor Johnson

There Aren't Words for What We Do or How We Feel so We Have to Make Them Up

Exhibition view: People Love Monuments, Transmission Gallery, Glasgow Exhibition view: ThT Award, Museum of Contemporary Art, Zagreb Exhibition view: A Proposal for the Monument to the New (Inter)Nationalism, GMK Gallery, Zagreb Exhibition view: ThT Award, Museum of Contemporary Art video still video still video still video still

Investigating the significance of nature for the nationalist discourse, the film There Aren't Words for What We Do or How We Feel so We Have to Make Them Up [pass=fgvideo] is both political and escapist. Trough contemplation of the narrator and the imagery of national parks, the film explores the questions of representation and the notion of the “national essence.”

Fokus Grupa is taking its language out of a variety of sources from the Croatian national anthem to nature documentaries and tourist campaigns, in order to compose the text for the narration. Through various topographies, from open plains to mountain peaks, the camera explores the notions of the sublime, establishing it’s (critical) relationship to romanticism, and making a full circle, all the way back to contemporary (Croatian) nationalism.

When exhibited as an installation, the film’s premise about the relationship of nationalism and nature extends into gallery space via the use of the work Altar of the Homeland that transforms the national monument into an auditorium for the film, serving also as its ideological framework.

Perfect Lovers

Exhibition view: A Taste for Work, ŠKUC Gallery, Ljubljana Exhibition view: A Taste for Work, ŠKUC Gallery, Ljubljana Exhibition view: A Taste for Work, ŠKUC Gallery, Ljubljana Exhibition view: A Taste for Work, ŠKUC Gallery, Ljubljana

Perfect Lovers is an appropriation of Felix Gonzales-Torres work with an intervention, a redesign of the front side of two clocks into pie-charts. In Torres’s work two ready-made clocks inevitably go out of sync as time passes, illustrating a painfully simple allegory of love and partnership, while at the same time making a sharp critique of the heteronormative paradigm. In the case of Fokus Grupa the work approaches both the question of time and the idea of partnership, trough an economic lens. Here, the time is less a matter of meditation and more something to be measured, divided and instrumentalized. In an attempt to represent an ideal workday, which the 19th century proletarian desired; Eight hours labor, Eight hours recreation, Eight hours rest the required time has to span two clocks. Perfect Lovers fulfil the tasks of an effective worker. The function of their union is thus one of survival, essentially an economical one. The clocks/partners fulfil this function perfectly, but they are also, and this is an important difference with the Torres’s work, out of sync from the very beginning.

technical info: altered ready-made, mass produced objects — 2 wall clocks / dimensions: variable / year 2014
exhibition view: A Taste for Work, ŠKUC Gallery, Ljubljana

Walk

Pages from the book Pages from the book Pages from the book Pages from the book Pages from the book Pages from the book Pages from the book Pages from the book

The artist book Walk is comprised of all the inputs for the word (and related phrases) Walk in The Oxford English Dictionary, 1989 edition. Each input has been given a page to slow down the attention on each particular item in the way that dictionary layout doesn’t allow.

The work revolves around the idea of political and artistic potential of walking, stemming from linguistic and cultural meaning(s) of the word. Walk up (to rebel), Walking papers (to get fired) etc. Book can be used as a source-book of ideas for other artworks based around the idea of walking.

technical info: 1-color ink-jet print / 136 x 190 mm / 288 pages / perfect bound and hand stitched with open spine / numbered edition of 6 / 2014
exhibition view: A Taste for Work, ŠKUC Gallery, Ljubljana

Platform

exhibition view: A Taste for Work, ŠKUC Gallery, Ljubljana exhibition view: A Taste for Work, ŠKUC Gallery, Ljubljana Book cover Pages from the book Pages from the book Pages from the book Pages from the book Pages from the book

Platform is a readymade object with graphic interventions, a paperback copy of Michael Houellebecq’s novel Platform. Following the storyline, the main character Michael introduces us to different people who work in various sectors; we receive data about the time they spend at work, he tells us about their social and class background, working conditions and professional ambitions. Throughout the book, Fokus Grupa conceals the principal narrative, leaving only information about work. The method used, itself a laborious process of covering text with graphite within the span of four months, was at the same time exhausting and meditative, borrowed from a Croatian avant-garde artist Julije Knifer whose work dealt with the timelessness and abatement of progress. In an old interview Knifer gave some time before his death, he speaks about how he has acquired enough graphite to last him until the end of his life, thus, in a way, measuring time in sequences of graphite material.

technical info: altered ready-made, artist-book / unique / perfect bound / paperback / 362 pages / graphite on paper / 2014
exhibition view: A Taste for Work, ŠKUC Gallery, Ljubljana
photo credits: Dejan Habicht

Herbarium

exhibition view: Pipe Dream, Kunsthalle Exnergasse, Vienna exhibition view: A Taste for Work, ŠKUC Gallery, Ljubljana detail view exhibition view: Pipe Dream, Kunsthalle Exnergasse, Vienna exhibition view: Pipe Dream, Kunsthalle Exnergasse, Vienna

Project Herbarium consists of performative walks, to which we invite people who relate to the questions of precarious work in their practice or as workers. We talk about specific themes within this field, like gender bias in regards to precarity, lack of free time, body strain in flexible working conditions... While walking and talking we pick plants to be used as documentation of event. The conversations are not recorded, but are afterwords put into short indexical textual forms within the prescribed space on the herbarium sheets where normally one would find botanical information. One image of the location of the walk is taken without protagonists in them. The project Herbarium is a sort of re-enactment of the walks described by Jean Jacques Rousseau in his book, Reveries of a Solitary Walker, a sort of praise to the slow pace, loneliness and leisure.

technical info: performative walks documented as plant herbarium & slide projection of location + photographs of sections from a book / dimensions variable / 2014-ongoing
exhibition view: Pipe Dream, Kunsthalle Exnergasse, Vienna
A Taste for Work, Ljubljana
Photo Credits: Fokus Grupa, Wolfgang Thaler, Boris Beja

I Sing to Pass the Time

exhibition view: Imperfect structures, Culture Center, Belgrade exhibition view: Dear Art, Museum of Contemporary Art Metelkova, Ljubljana exhibition view: Dear Art, Museum of Contemporary Art Metelkova, Ljubljana Detail: I Sing to Pass the Time Detail: I Sing to Pass the Time Detail: I Sing to Pass the Time Detail: I Sing to Pass the Time

I Sing to Pass the Time is a series of drawings that derives its title from the work of Croatian singer-songwriter Arsen Dedić whose song expresses disbelief towards the effectiveness of political music. Alluding to this theme, the drawings explore the relations of art and political action. The imagery used in the drawings is based on historical photographs and documents, re-articulating moments of politicisation in art history, emphasising links between art and workers’ struggles in particular.

To name but a few cases: drawings referring to the German Kunstlump debate from the 1920s address the question of solidarity between artists and workers. One of the most powerful chapters in the history of artists’ labour organising originates from USA where artists employed by the state-funded Works Progress Administration projects formed the Artists' Union in 1933. A number of images featured in the series are re-articulating the visual legacy of Art Workers’ Coalition which is one of the most well-documented examples of art workers' organising in the history of contemporary art.

Less known is a case from 1979 Zagreb, where artists Sanja Iveković and Dalibor Martinis drafted a so-called Agreement [Ugovor] in the context of the Working Community of Artists with which they tried to define and protect the position of artists in socialist Yugoslavia.

current research

  • Invisible matter -

    Data-based research and experimentation with the visualisation of the power relations within the art field.
    In collaboration with developer Željko Dragosavac.

    research funded by:
    Grants for Innovative Media Projects, Ministry of Culture of the Republic of Croatia.
  • Map of revisionist monuments (working title) -

    Empirical research and critical mapping of revisionist monuments on European territory.
    In collaboration with political philosopher Gal Kirn.

    View the selection of our research data and join our project's newsletter if you wish to receive these in your inbox.
    (up to 4 times a year).

    research funded by:
    Grants for Artistic Research, Kultura Nova Foundation
    New Media Grants, Department of Culture of the City of Rijeka.
  • Labour is Dead, Long Live the Labour (working title) -

    Artistic research of the legislation governing “Agency Employment” furthering the precarious position of workers in Croatia.

    produced by Drugo More and funded by Rijeka EPK 2020

news, announcements

publications

about fokus grupa

When founded in 2012, we appropriated a generic name for a research method. Fokus Grupa — a construction, became a fictional author that took credit and responsibility for our artwork, fictional author that sees itself as both the manipulator and the manipulated in a broader artistic and social context. We use text, objects and images, act both within and outside the gallery. The outcomes are mainly spatial installations and interventions, which consist of drawings, texts, photographs, videos or (usable) objects. Content-wise, we point to the power relations within the art system, as well as within the broader economic and social context, and we are especially interested in the role of art within those relations. Our work extends over the neighbouring disciplines and borrows and learns from design, architecture, curating and literature. Therefore, Fokus Grupa also works with occasional collaborators, be it with specialists for a specific discipline or for a specific topic.

In 2008 we co-founded a self-organised collective Kružok (group for discussions and production of discursive events), which operated intermittently until 2015. We participated in the work of the Autonomous Cultural Centre Medika in Zagreb, and co-founded a collective artist-run space Delta 5 in Rijeka in 2013. Fokus Grupa is a member of artist-run space SIZ in which it regularly co-organises exhibitions of regional and international artists since 2012.

biography

stipends and residencies

Tobacco 001 Cultural Centre International Residency Program

, Ljubljana, .

Approaching the 3S, Autumn School

, Die Angewandte & A Matter of Historicity, Vienna, .
International Fellowship Program for Art and Theory

Künstlerhaus Büchsenhausen

, Innsbruck, .

Performing the Museum

residency, MSU, Zagreb, , .

SharedSpace: Retreat

Residency, a project by The Prague Quadrennial of Performance Design and Space, Retreat Latvia held in Jūrkalne (hosted by: New Theatre Institute in Latvia), and Retreat in Helsinki, held in Suomenlinna (hosted by: KIASMA),

Cité internationale des arts

residency, Paris, .
selected solo exhibitions & projects

Invisible Matter

, Tobacco 001 Cultural Centre, Ljubljana, .

What's Wrong With the Republic?

, Tošo Dabac Archive, MSU, Zagreb, .

As It Once Was — the Art of Nation Building

, Offbiennale Budapest 2015, .

People Love Monuments

, Transmission Gallery Glasgow, .

A Taste for Work

, Galerija ŠKUC, Ljubljana, .

Artist Contracts as Artistic Manifestos

(a workshop and presentation), in the framework of Micropolitics project by BLOK, Zagreb, + .

A Proposal for the Monument to the New (Inter)Nationalism

, SIZ, Rijeka, .

A Proposal for the Monument to the New (Inter)Nationalism

, GMK, Zagreb, .

Art & Market; There is No Art Without Consequences

, Gitte Bohr, Berlin, .
selected group exhibitions

The Influencing Machine

, curated by Čajkovac, Kramer, Lehmann, MacPherson, Nadim, Wagner, nGbK, Berlin, .

Neighbours — Warsaw Under Construction 10

, curated by Visual Culture Research Center (VCRC), Museum of Modern Art, Warsaw .

On the Shoulders of Fallen Giants: Industrial Art Biennial

, curated by What How and for Whom (WHW), Museum of Modern and Contemporary Art, Rijeka .

Some Shapes of Things to Come

, curated by Lisa Britzger, with works by Army of Love, Bibliothek Für Gesellschaftsdesign, Alex Martinis Roe, Julien Prévieux, Clara Winter & Miguel Ferráez, Kunstverein Harburger Bahnhof, Hamburg, .

The Trouble with Value

, curated by Kris Dittel and Krzysztof Siatka, Onomatopee, Eindhoven .

Self Managed Interest Community (SIZ) in Gallery Waldinger, curated by Nemanja Cvijanovic, Waldinger Gallery, Osijek, .

The Trouble with Value

, curated by Kris Dittel and Krzysztof Siatka, Bunkier Sztuki, Krakow, .

Collection Collective: Template for a Future Model of Representation

, curated by Judit Angel, Vlad Morariu, Raluca Voinea, tranzit.sk, Bratislava, .

Degrees of Freedom: Human, Robot and The Medium of Automation

, tutor Bassam el Baroni in framwork of Dutch Art Institute, Designhuis, Eindhoven, .

ThT Award Finalists Exhibition 10

, project by Croatian Telekom, organized by Museum of Contemporary Art Zagreb, .

The Symbols of Socialist Art – REVISITED

, curated by Katalin Székely, .

Archives and Power

, curated by Sanja Kojić Mladenov and Gordana Nikolić, Museum of Contemporary Art Vojvodina, Novi Sad, .

Performing a Museum

, curated by Andreja Hribernik, Koroška Gallery of Fine Arts, Slovenj Gradec, .

56. October Salon

, curated by David Elliott, Belgrade, .

Upside-down: Hosting the Critique

, curated by Zoran Erić, Alenka Gregorič, Vít Havránek, Suzana Milevska, Vladimir Vidmar, Raluca Voinea, Belgrade, .

Störwerte / Nuisance Values

, curated by Andrei Siclodi, Kunstpavillon, Innsbruck, .

Abstract Socialism

, curated by Oriol Fontdevila, Fundació Antoni Tàpies, Barcelona, .

(Re)thinking Space&Place

, curated by Branka Bencic, Flottmann Hallen, Herne, .

Imperfect Structures

, curated by Marta Kis and Zorana Đaković, SC Gallery, Zagreb, .

Like Fireflies

, curated by Rafaella Barbato, SIZ Gallery in MMSU, Rijeka, .

Labour Day Assembly — Conditions for new anti-fascism

, curated by Nemanja Cvijanovic, SIZ, Kortil, Rijeka, .

Walking Without Footprints

, curated by Translocal Institute for Contemporary Art, tranzit.sk, Bratislava, .

New Art for a New Society

, curated by Jasna Jakšić and Ivana Kancir, Wrocław Contemporary Museum, Wrocław, .

Performing the museum — On Resources

, curated by Jasna Jakšić, Museum of Contemporary Art, Zagreb, .

Long Live Labour

, concept author Leila Topic curated by Marijana Stanić, Gallery 90-60-90, Zagreb, .

Economies of the Imaginary

, curated by Andrei Siclodi, Künstlerhaus Büchsenhausen, Innsbruck.

Selfmanaged Interest Community

, curated by Nemanja Cvijanovic, Podroom, Culture Centre Belgrade, Belgrade, .

Beyond the Obvious

, VILTIN Gallery, Budapest, .

A Real Work of Art; — Art, Work and Solidarity Structures

, curated by Rena Raedle & Vladan Jeremic, RAM GAllery, Oslo, .

Vrbnik May Day Assembly – Transactions

, curated by Nemanja Cvijanovic and Alenka Gregorič, SIZ, Vrbnik, .

Some Say You Can Find Happiness There

, curated by Visual Culture Research Center, Visual Culture Research Center, Kyiv, .

Displacement of All Places

, curated by Maja Ciric, uqbar, Berlin, .

The Place of Disquiet

, curated by Miguel Amado, F2 Galería, Madrid, .

The Horizon Tries

, curated by Lala Rascic, Good Children Gallery, New Orleans, .

Pipe Dream

, curated by Irena Boric, Kunsthalle Exnergasse, Vienna, .

Art Has No Alternative

, curated by Hajnalka Somogyi, Tranzit.sk, Bratislava, .

Imperfect structures

, curated by Marta Kis and Zorana Đaković, Podroom, KCB, Belgrade, .

Croatian Landscape — Levelling Histories on an Imaginary Horizon

, curated by Lorenzo Fusi, Institute for Contemporary Art, SCCA, Zagreb, .

Coexistence: for a new Adriatic koinè

, curated by Ksenija Orelj, Museum of Modern and Contemporary Art, Rijeka, .

Coexistence: for a new Adriatic koinè

, curated by Antonio Frugis, Pino Pascali Foundation, Polignano a Mare, .

Curated by Vienna: Points of View

, curated by Alenka Gregorič, Galerie Ernst Hilger, Vienna, .

Dissent and Certainty

, curated by Andrei Siclodi, Kunstpavillion, Innsbruck, .

What if the Doubt in a Space is the Doubt of the Space

, curated by Nemanja Cvijanovic, Museo Macro, Roma, .

CreArt: White Noise, Black Words

, curated by Miguel Amado, Rosa Lleo and Joao Laia, HDLU Zagreb, .

CreArt: White Noise, Black Words

, curated by Miguel Amado, Rosa Lleo and Joao Laia, Vilniaus rotuse, .

Edition Taube Booth, NY Art Book Fair

, Printed Matter inc., MoMA PS1, New York, .

Politics Within

, curated by Irena Boric, Contemporary Art Gallery, Celje, .

Dear Art

, curated by What How and for Whom (WHW), Calvert 22, London, .

Arte: Affari, Lavoro o Perditempo

, curated by Nemanja Cvijanovic, Furini - Arte Contemporanea, Rome, .

Radoslav Putar Award — Finalists Exhibition

, Galženica Gallery, Velika Gorica, .

Dear Art

, curated by What How and for Whom (WHW), Museum of Modern Art, Ljubljana, .

aBook

, curated by Curatorial Platform (2013), mentored by Ana Kovačić, Galženica Gallery, Velika Gorica, .

City of Women; The Mirror of Time

, curated by Mara Vujic, Galerija SKUC, Ljubljana, .

Disorder

, curated by Claudio Zecchi and Marco Trulli, Fabbrica del Vapore, Milan, .

World Event Young Artists: Disorder

, curated by Claudio Zecchi and Marco Trulli, New Art Exchange, Nottingham, .

Overlapping Biennial

, curated by Branko Franceschi, Meta Cultural Foundation, Bucharest, .
selected festivals & screenings

Tango Rebelion

, curated by Minna L. Henriksson, Prispala Library, Tempere, Finland, .

Topographies: Rencontres Internationales

, Haus der Kulturen der Welt (HKW), Berlin, .

Media Art from Croatia

, curated by Ingeborg Fullep, 10th Berlin International Directors Lounge Festival, Naherholung Sternchen, Berlin, .

25FPS — Experimental Film Festival

, Kino SC, Zagreb, .

Simplon Express; Le Retour

, curated by Ida Biard, Train from Zagreb to Paris, .

21 Days of Croatian Film

, Kino SC, Zagreb, .
Selected Talks, Discussions, Workshops & Conferences

Artist talk: Fokus Grupa & Marie Lukáčová

, Tobacco 001 Cultural Centre, Ljubljana, .

Artist talk: Track Academy: Moments of Transition: Social Design

, Kunstverein Harburger Bahnhof & University of Fine Arts Hamburg, HFBK, Hamburg, .

Artist talk: The Kitchen, not the Restaurant

, Dutch Art Institute, De Coehoorn, Arnhem, .

Artist talk: Becoming more: The Kitchen, not the Restaurant

, Dutch Art Institute & Van AbbeMuseum, Eindhoven, .

Artist talk: The Symposium: Archives And Power II

, Museum of Contemporary Art, Vojvodina, .

Moderating: Hotel-Camp: Liminality and Heterotopia in Tourism

, talk by Michael Zinganel in framework of the project Existenzoptimum by Fokus Grupa, Kunstpavillon, Innsbruck, .

Lectureship (Summer Semester): SE Sonderkapitel der Architekturtheorie

, Architecture theory department, Faculty of Architecture of the University of Innsbruck, .

Artist talk: Vera Pavlovna’s Fourth Dream, Start Up Lectures

, Künstlerhaus Büchsenhausen, Innsbruck, .

Artist talk: Office for Cultural Translations (Бükü)

, Leipzig, .

Debate: Remaking the Bed: Utopia in Daily Life, k.r.u.z.o.k.

at Arte Util project, organized by Van Abbemuseum & WHW, Nova Gallery, Zagreb, .

Debate: Liberation Through Laziness, Shame on You! project

, GMK, Zagreb, .

Conference: Practices as Intersection in Fragile Environment

, Fabbrica del Vapore, Milano, .

Conference: Art Leaks, Parasites and Prophets

, tranzit.ro, Bucurest, .

Conference: Kunsthof Casino & Playschool Kunsthof and the Aesthetic Paradigm Traversing Them

, curated by Dimitrina Sevova, Zürcher Hochschule der Künste, Zürich, .

Conference: re.act.feminism, a performing archive

, GMK, Zagreb, .

contact