Fokus Grupa

Selected Works

Invisible Matter is a data research project into the global contemporary art field. The project's webpage will be updated and further developed during 2018 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.

Exhibition view: The Trouble with Value, curated by Kris Dittel and Krzysztof Siatka at Bunkier Sztuki, Krakow, Poland

photo credits: studio FILMLOVE and Fokus Grupa

Concept, design, graphics and data research by Fokus Grupa.
All programming by Husky Bytes.

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 database 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.

    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.

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

technical info: installation/exhibition design, digital print on self-adhesive vinyl
dimensions: variable
exhibition views: Collection Collective: Template for a Future Model of Representation,, Bratislava 2017

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

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
drawings: Audrey Morency, photos: Daniel Jarosch / Künstlerhaus Büchsenhausen

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?

Labels from different venues:
MSU, Zagreb 2015, Fundació Antoni Tàpies, Barcelona 2016, MSUB, Belgrade 2015

technical info: intervention, text-based, labels / dimensions: variable / year 2015/2016
exhibition views: Performing the museum — On Resources, MSU, Zagreb & Abstract Socialism, Fundació Antoni Tàpies, Barcelona.

* translates SREDIŠČE SVETA in Slovenian

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.

technical info: neon sign
location: Slovenj Gradec, Slovenia
produced by: Koroška Gallery, 2016

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 is a site-specific intervention into the display system developed by the Bauhaus Dessau to narrate the history and the ideas of the Bauhaus via images and texts. Using the pre-given display mechanism 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.

technical info: intervention, interactive, photo-archive / dimensions: variable / year 2015
exhibition view: Cracks in the Curtain Wall – Beyond an Architecture of Cleanliness, Bauhaus, Dessau

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 (link1, link2), 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.

technical info: sculpture, ambient, modular furniture/ dimensions: variable / year 2015
exhibition view: As It Once Was — the Art of Nation Building, Offbiennale, Budapest
photo credits: Csaba Aknay

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

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

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.

technical info: video installation, improvised furniture/ dimensions: variable / year 2012
exhibition view: People Love Monuments, Transmission Gallery, Glasgow,
ThT Award, Museum of Contemporary Art, Zagreb,
A Proposal for the Monument to the New (Inter)Nationalism, GMK Gallery, Zagreb
photo credits: Tor Johnson, Ana Opalić, Nikola Zelmanović

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

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.

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 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

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.

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, ŠKUC Gallery, Ljubljana
Photo Credits: Fokus Grupa, Wolfgang Thaler, Boris Beja

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.

technical info: drawing series, pencil on paper / dimensions: variable / year 2011-ongoing
exhibition view: Dear Art, Museum of Contemporary Art Metelkova, Ljubljana
Imperfect structures, Culture Center, Belgrade
Photo credits: Boris Burić, Dejan Habicht, Fokus Grupa

Current Research

Invisible matter 2017-2018
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.

Mapping of revisionist monuments (working title) 2018-2019
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 Outsourced Labour (working title) 2018-2020
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

April 21 – July 8, 2018
The Trouble with Value, with: Benera and Estefan, Rachel Carey, gerlach en koop, Karolina Grzywnowicz, Monique Hendriksen, Arnoud Holleman and Gert Jan Kocken, Kornel Janczy, Adrian Paci, Feliks Szyszko, Timm Ulrichs, curated by Kris Dittel and Krzysztof Siatka, Onomatopee, Eindhoven

May, 2018
Some Shapes of Things to Come, with: Army of Love, Bibliothek für Gesellschaftsdesign, Alex Martinis Roe, Julien Prévieux, Clara Winter and Miguel Ferráez, Kunstverein Harburger Bahnhof, Hamburg

July 20, 2018
In Direction of Everything, curated by WHW, Industrial Art Biennial – IAB, Labin

August 2, 2018
Poreč Analle 2018, curated by Nataša Ivančević, Poreč

September – October, 2018
Artist residency, Tobačna 001, Ljubljana

October 13, 2018
(collaboration with Gal Kirn) Neighbours — Warsaw Under Construction, Museum of Modern Art, Warsaw

October 30, 2018
Invisible Matter — chapeter II, Tobačna 001, Ljubljana

November 24, 2018 – January 20, 2019
The Influencing Machine, curated by Čajkovac, Lehmann, MacPherson, Nadim-Wagner, nGbK, Berlin


(contact us or publishers for copies)

Didactic Exhibition

Edition: 300
published by: MSU, Zagreb
& Fokus Grupa
distributed by: MSU
Download PDF (20,4MB)


Edition: 100
published by: Künstlerhaus Büchsenhausen, Innsbruck
distributed by: Fokus Grupa
Download PDF (4,7MB)

A Taste for Work

Edition: 300
published by: SKUC Gallery
distributed by: Motto Books
Download PDF (4MB)

Politics of Feelings
/ Economies of Love

project by k.r.u.z.o.k.
Edition: 400
published by: onomatopee
& Loose Associations

As It Once Was
— the Art of Nation Building

Edition: 300
published by: MGML Ljubljana
& Fokus Grupa
Download PDF (4,1MB)

Perfect Lovers

Edition: 100
published by: Edition Taube

Art & Market
— There is No Art Without Consequences

Edition: 1000
published by: Morning Media
web & print

About Fokus Grupa

Download Long Version (PDF)

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.

You can read some of our writings on our page.

Our studio @ artist run space Delta 5 located in Rijeka, Croatia.

Collective representation by Collection Collective.



Approaching the 3S, Autumn School, Die Angewandte & A Matter of Historicity, Vienna / 2016

International Fellowship Program for Art and Theory Künstlerhaus Büchsenhausen / Innsbruck / 2016

Performing the Museum residency / Museum of Contemporary Art / Zagreb / 2015, 2016

Postgraduate research program, Bauhaus Lab: “Beyond an Architecture of Cleanliness” / Bauhaus Dessau, Dessau / 2015

SharedSpace: Retreat residency / Theatre Institute, Riga & Kiasma, Helsinki / 2014

Cite Internationele des Artes / Paris / 2012


What's Wrong With the Republic? / Tošo Dabac Archive, MSU, Zagreb / 2016

As It Once Was — the Art of Nation Building / Off Biennale, Budapest / 2015

People Love Monuments / Transmission Gallery, Glasgow / 2014

A Taste for Work / ŠKUC Gallery, Ljubljana & Remont Gallery, Belgrade / 2014

A Proposal for the Monument to the New (Inter)Nationalism / GMK, Zagreb & SIZ, Rijeka / 2013

Art & Market; There is No Art Without Consequences / Gitte Bohr, Berlin / 2012


Self Managed Interest Community (SIZ) in Gallery Waldinger / Waldinger Gallery, Osijek / 2018

The Trouble with Value / curated by Kris Dittel and Krzysztof Siatka / Bunkier Sztuki, Krakow / 2018

Collection Collective: Template for a Future Model of Representation,, Bratislava

Degrees of Freedom: Human, Robot and The Medium of Automation, Designhuis, Eindhoven 2017

ThT Award Finalists Exhibition, Museum of Contemporary Art, Zagreb / 2017

Prelude, The Influencing Machine project presentation, nGbK, Berlin / 2017

The Symbols of Socialist Art – REVISITED, OSA Archivum / Galeria Centralis, Budapest / 2017

Archives and Power, Museum of Contemporary Art Vojvodina, Novi Sad / 2016

Performing a Museum, Koroška Gallery of Fine Arts, Slovenj Gradec / 2016

56. October Salon, as member of k.r.u.ž.o.k. collective, Belgrade / 2016

Upside-down: Hosting the Critique, curated by: Zoran Erić, Alenka Gregorič, Vít Havránek, Suzana Milevska, Vladimir Vidmar, Raluca Voinea, Museum of Contemporary Art, Belgrade / 2016

Störwerte / Nuisance Values, Kunstpavillon, Innsbruck / 2016

Abstract Socialism / Permanent Collection, Fundació Antoni Tàpies, Barcelona / 2016

Didactic Exhibition / NO Gallery, MSU, Zagreb / 2016

Labour Day Assembly — Conditions for new anti-fascism / SIZ, Rijeka / 2016

(Re)thinking Space&Place / Flottmann Hallen, Herne / 2016

Imperfect Structures / SC Gallery, Zagreb / 2016

Like Fireflies, curated by Raffaella Barbato, organized by SIZ, Museum of Modern and Contemporary Art, Rijeka / 2015

Walking Without Footprints, curated by Translocal Institute,, Bratislava / 2015

New Art for a New Society, curated by Jasna Jakšić and Ivana Kancir, Wrocław Contemporary Museum, Wrocław / 2015

Performing the museum — On Resources / Permanent collection, MSU, Zagreb / 2015

Long Live Labour, Pogon Jedinstvo, Zagreb / 2015

Economies of the Imaginary, curated by Andrei Siclodi, Künstlerhaus Büchsenhausen, Innsbruck

Self-managed Interest Community / Podroom, Culture Centre Belgrade / 2015

Beyond the Obvious / Viltin Gallery, Budapest / 2015

A Real Work of Art; — Art, Work and Solidarity Structures / RAM Gallery, Oslo / 2015

Vrbnik May Day Assembly – Transactions / SIZ Gallery, Rijeka / 2015

Some Say You Can Find Happiness There / Visual Culture Research Center, Kyiv / 2015

Displacement of All Places / Uqbar Space, Berlin / 2015

The Place of Disquiet / F2 Galería, Madrid / 2015

The Horizon Tries / Good Children Gallery, New Orleans / 2015

The Pipe Dream / Kunsthalle Exnergasse, Vienna / 2015

Art Has No Alternative /, Bratislava / 2015

Imperfect structures / Culture Center, Belgrade / 2014

Croatian Landscape — Levelling Histories on an Imaginary Horizon / Institute for Contemporary Art, SCCA, Zagreb / 2014

Curated by Vienna: The Century of the Bed / Galerie Ernst Hilger, Wien / 2014

Dissent and Certainty / Kunstpavillion, Innsbruck / 2014

What if the Doubt in a Space is the Doubt of the Space / Museo Macro, Roma / 2014

Politics Within / Contemporary Art Gallery, Celje / 2014

Dear Art / Calvert 22, London & MSUM, Ljubljana / 2013

Arte: Affari, Lavoro o Perditempo / Furini - Arte Contemporanea, Rome / 2013

Radoslav Putar Award — Finalists / Galženica Gallery, Zagreb / 2013

aBook / Galženica Gallery, Zagreb / 2012

City of Women; The Mirror of Time / ŠKUC Gallery, Ljubljana / 2012

Disorder / Fabbrica del Vapore, Milano & New Art Exchange, Nottingham / 2012

Overlapping Biennial / Bucharest, Romania / 2012


Tango Rebelion / curated by Minna Henriksson, Pispala library, Hirvitalo and Nekala Library, Tempere, Finland / 2015

Rencontres Internationales / Haus der Kulturen der Welt, Berlin & Gaîté Lyrique, Paris / 2014

Director’s Lounge / Naherholung Sternchen, Berlin / 2014

Medien Kunst / Balassi Institut, Berlin / 2013

Simplon Express; Le Retour / FIAC & Nuit Blanche, Paris / 2013

25FPS — Experimental Film Festival / Zagreb / 2012

21 Days of Croatian Film / Zagreb / 2012


Artist talk, The Kitchen / not the Restaurant, Becoming more, Van AbbeMuseum, Eindhoven / 2017

Artist talk / The symposium: ARCHIVES AND POWER II / Museum of Contemporary Art Vojvodina, Novi Sad / 2016

Hotel-Camp: Liminality and Heterotopia in Tourism, talk by Michael Zinganel, organised by Fokus Grupa, Kunstpavillon, Innsbruck / 2016

SE Sonderkapitel der Architekturtheorie, Architecture theory department lectureship / Faculty of Architecture of the University of Innsbruck / Summer semester, 2016

Artist talk / Start Up Lectures, Economies of the Imaginary / Künstlerhaus Büchsenhausen, Innsbruck / 2015

Artist talk / Office for Cultural Translations (Бükü), Leipzig / 2015

Liberation Through Laziness — debate group / Shame on You! project / Gallery Miroslav Kraljvić, Zagreb / 2015

Remaking the Bed: Utopia in Daily Life — k.r.u.z.o.k. / Arte Util project / organized by Van Abbemuseum & WHW / Gallery Nova, Zagreb / 2015

Artist talk / NABA, Milano / 2014

Practices as Intersection in Fragile Environment (conference) / Fabbrica del Vapore, Milano / 2014

Parasites and Prophets (conference) /, BucureÎti & ArtLeaks / 2013

Kunsthof Casino & Playschool Kunsthof and the Aesthetic Paradigm Traversing Them (conference) / der Zürcher Hochschule der Künste, Zürich / 2013


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