“City” is a project of collecting and archiving abandoned dog houses that became part of three different installations shown on three exhibitions:
- “City”, Solo Exhibition in Barrel Gallery, Zagreb
- “Space In and In Between” in Le Konschthaus Beim Engel, Luxembourg
- “10th Triennial of Croatian Sculpture”, Glyptotheque Sculpture Museum of Croatian Academy of Science and Arts, Zagreb
The project ended with a donation of dog houses to The Animal Protection Association “Spirit” – shelter to abandoned dogs.
Monday, January 11, 2010
Sunday, December 20, 2009
Thursday, July 9, 2009
EXHIBITION "CITY" - BARREL GALLERY, ZAGREB
Site-specific installation "City" - Barrel Gallery, Zagreb
Monday, July 6, 2009
Marta Kiš, catalogue preview - Anita Sulimanović: CITY site-specific installation in Barrel Gallery
Marta Kiš - "Anita Sulimanović: CITY site-specific installation in Barrel Gallery"
Catalogue preview
...And then it was as if Dogville just waited. Even the wind dropped, leaving the town in an unfamiliar calm. As if somebody had put a large cheese dish cover over it, and created the kind of quietness that descends while you're awaiting visitors.*
In hands of artist Anita Sulimanović, space of Barrel Gallery has been transformed into an unusual settlement of former dog's homes. Exhibition consists of fifteen objects found in Zagreb's suburbs or in the city, set in the gallery space in row that may remind us of settlements that are built more or less according to a plan. One of the objects rises above from the row, creating installation of interesting visual and spatial characteristics. This surreal element shows that it is not only about randomly shown found objects and their visual quality, but about multilevel story that exists behind each actor and behind the whole ensemble.
In her recent work Anita Sulimanović is using found objects transforming them into site-specific installations which main characteristic, along with clearly present concept, is visual quality, which manifests in comprehension of the space emphasized through sharp, intelligent interventions. Perhaps artist’s visual sensibility was primary strength that attracted her to picturesque kennels. But their setting into clear, rounded, symmetrical space of Barrel Gallery, alteration of their usual surrounding, dislocation and decontextualisation, make an important artistic concept, that emphasizes its visual value but also simulates new meanings or points to existing meanings.
Social component is inevitable and very important element of the work. From the word doghouse, for some of them quite inappropriate and gentle title, many issues that enclose micro and macro levels of our society can be read. Looking daily at these constructions within their primary ambient, even at the very center of Zagreb, we probably won’t notice, less likely read their multi-meanings. Diversity of kennel’s shapes, that can be view as mare curiosity, points to much more serious issues. Lack of kennel building regulations is probably much easier to comprehend through lack of same regulations in building real, big homes projects as well as whole urban entities along Croatia. Walking along Zagreb’s residential area Tresnjevka, is it realistic to expect sensitivity for best human friend’s homes, when there is no sensitivity for human itself? Kennels – homes for dogs on short chains, which limits dog’s life on only few meters of space and food – from frustration surely delivers aggression. The aggression is probably life role of the housekeeper, furious barker, frightener of potential intruder. Its insensitive owner in his hard life circumstances had no time to think about more human relation to the animal or he just copied his way of life in which some greater power is keeping him on chain. This vicious circle will not and cannot be changed by any dog or any man. Civil society will go through many more battles with its constant antagonists, more government will fall and more crises will pass until the improvement of standard and quality of life will break this inhuman practice.
By adding light accent into some of the kennels, most of us will get chance to look what is hiding inside for the first time, a chance to look the house and everything it presents from every angle. In addition to the view from above (from Gallery PM) and view from below at object hanged in the space, the author made the most of spatial possibilities that she had been offered. It is precisely these isolated inner lights that are connecting elements that may provoke apparition. Fear of what might expect us in unknown, small space. Fear of what this space presents. The artist is setting up a challenge, by minimal intervention, by installation that reminds us of an abstracted set-design of abandoned dog’s settlement, recalls many associations and sets up many questions from contemplative personal to wider social. Aiming to emphasize them, visual element as a promoter is crucial in this tale, along with perceptiveness for space primary to sculpture and powerful tool in hands of Anita Sulimanović.
Marta Kiš
* Quotation from the movie Dogville, Lars von Trier (2003)
Catalogue preview
...And then it was as if Dogville just waited. Even the wind dropped, leaving the town in an unfamiliar calm. As if somebody had put a large cheese dish cover over it, and created the kind of quietness that descends while you're awaiting visitors.*
In hands of artist Anita Sulimanović, space of Barrel Gallery has been transformed into an unusual settlement of former dog's homes. Exhibition consists of fifteen objects found in Zagreb's suburbs or in the city, set in the gallery space in row that may remind us of settlements that are built more or less according to a plan. One of the objects rises above from the row, creating installation of interesting visual and spatial characteristics. This surreal element shows that it is not only about randomly shown found objects and their visual quality, but about multilevel story that exists behind each actor and behind the whole ensemble.
In her recent work Anita Sulimanović is using found objects transforming them into site-specific installations which main characteristic, along with clearly present concept, is visual quality, which manifests in comprehension of the space emphasized through sharp, intelligent interventions. Perhaps artist’s visual sensibility was primary strength that attracted her to picturesque kennels. But their setting into clear, rounded, symmetrical space of Barrel Gallery, alteration of their usual surrounding, dislocation and decontextualisation, make an important artistic concept, that emphasizes its visual value but also simulates new meanings or points to existing meanings.
Social component is inevitable and very important element of the work. From the word doghouse, for some of them quite inappropriate and gentle title, many issues that enclose micro and macro levels of our society can be read. Looking daily at these constructions within their primary ambient, even at the very center of Zagreb, we probably won’t notice, less likely read their multi-meanings. Diversity of kennel’s shapes, that can be view as mare curiosity, points to much more serious issues. Lack of kennel building regulations is probably much easier to comprehend through lack of same regulations in building real, big homes projects as well as whole urban entities along Croatia. Walking along Zagreb’s residential area Tresnjevka, is it realistic to expect sensitivity for best human friend’s homes, when there is no sensitivity for human itself? Kennels – homes for dogs on short chains, which limits dog’s life on only few meters of space and food – from frustration surely delivers aggression. The aggression is probably life role of the housekeeper, furious barker, frightener of potential intruder. Its insensitive owner in his hard life circumstances had no time to think about more human relation to the animal or he just copied his way of life in which some greater power is keeping him on chain. This vicious circle will not and cannot be changed by any dog or any man. Civil society will go through many more battles with its constant antagonists, more government will fall and more crises will pass until the improvement of standard and quality of life will break this inhuman practice.
By adding light accent into some of the kennels, most of us will get chance to look what is hiding inside for the first time, a chance to look the house and everything it presents from every angle. In addition to the view from above (from Gallery PM) and view from below at object hanged in the space, the author made the most of spatial possibilities that she had been offered. It is precisely these isolated inner lights that are connecting elements that may provoke apparition. Fear of what might expect us in unknown, small space. Fear of what this space presents. The artist is setting up a challenge, by minimal intervention, by installation that reminds us of an abstracted set-design of abandoned dog’s settlement, recalls many associations and sets up many questions from contemplative personal to wider social. Aiming to emphasize them, visual element as a promoter is crucial in this tale, along with perceptiveness for space primary to sculpture and powerful tool in hands of Anita Sulimanović.
Marta Kiš
* Quotation from the movie Dogville, Lars von Trier (2003)
Marta Kiš - Predgovor katalogu
Anita Sulimanović: CITY
...And then it was as if Dogville just waited. Even the wind dropped, leaving the town in an unfamiliar calm. As if somebody had put a large cheese dish cover over it, and created the kind of quietness that descends while you're awaiting visitors.*
Galerijski prostor Bačve u rukama umjetnice Anite Sulimanović pretvorio se u neobičnu naseobinu bivših psećih domova. Izložba se sastoji od petnaestak objekata, pronađenih u bližoj okolici Zagreba ili u samom gradu, složenih u prostoru kao niz koji može podsjećati na više-manje planski građena naselja. Jedan objekt uzdiže se iz niza u prostor stvarajući tako instalaciju zanimljivih likovno-prostornih karakteristika. Upravo taj nadrealni element ukazuje kako se ne radi samo o nasumce izloženim pronađenim objektima i njihovoj vizualnoj kvaliteti, već o višeslojnoj priči koja stoji iza pojedinačnih aktera, ali i cjeline.
Anita Sulimanović u svojim radovima posljednjih godina koristi pronađene objekte i pretvara ih u site-specific instalacije čija glavna karakteristika, uz jasno prisutan koncept, jest likovna vrijednost, koja se očituje u razumijevanju prostora naglašenom kroz britku, pametnu intervenciju. Likovna senzibilnost umjetnice možda je i bila primarna snaga koja ju je privukla životopisnim kućicama za pse. No, upravo njihovo postavljenje u čist, kružno simetričan prostor Bačve, mijenjanje njihova klasičnog okruženja, dislociranje i dekontekstualizacija čine bitan umjetnički koncept, koji naglašava njihove vizualne vrijednosti, ali i simulira nova značenja ili ukazuje na već postojeća.
Neizbježan i vrlo bitan segment čitave priče onaj je socijalni. Iz pojma kućica za pse, za neke od njih zapravo potpuno neprimjeren i blag naziv, iščitava se niz problema koji obuhvaćaju mikro ili makro razine našeg društva. Gledajući svakodnevno ovakve konstrukcije unutar njihova primarnog ambijenta, pa čak i u centru grada Zagreba, vjerojatno ih nećemo niti primijetiti, a još manje iščitati njihovu slojevitost.
Raznolikost oblika objekata, koju izolirano možemo gledati kao zanimljivost, ukazuje na puno ozbiljnije probleme. Nepostojanje pravila gradnje psećih domova ljudima je možda puno bliskije u nepostojanju istih tih pravila u gradnji velikih građevina, projekata, pa i čitavih urbanih cjelina duž čitave Hrvatske. Prolazeći zagrebačkom Trešnjevkom, može li se realno očekivati osjetljivost za domove čovjekova najboljeg prijatelja, kad ona ne postoji niti za čovjeka samog? Kućice – domovi psa na kratkom lancu, čiji pasji život obuhvaća par okolnih metara i hranu – iz frustracije sigurno rađa agresiju. Ta agresija vjerojatno je i životna uloga čuvara kuće, bijesnog lajavca, strašitelja potencijalnog uljeza. Njegov neosjetljivi vlasnik u svojim teškim životnim uvjetima nije imao vremena da razmisli o humanijem odnosu prema životinji ili je samo preslikao svoj način života, u kojem ga na lancu drži neka veća sila. Ovako stvoren začarani krug neće i ne može promijeniti niti jedan pas, niti jedan čovjek. Civilno društvo odradit će još niz borbi sa stalnim protivnicima, još poneke vlade će pasti i krize proći prije no što poboljšanje standarda i kvalitete života prekinu ovakvu neljudsku praksu.
Dodavanjem svjetlosnog akcenta u neke od kućica većina nas po prvi put moći će pogledati i što se krije iznutra, moći ćemo kuću i ono što ona predstavljati „pogledati“ iz svih kutova. Uz pogled odozgo (iz prostora balkona Galerije PM) i pogleda odozdo na objekt postavljen u prostoru, autorica je u potpunosti iskoristila prostorne mogućnosti koje su joj se ponudile. Upravo, pojedino izolirano unutrašnje svjetlo povezni je element koji može izazvati sablast. Strah od onoga što nas očekuje u nepoznatom, malom prostoru. Strah od onoga što taj prostor predstavlja. Umjetnica nam postavlja izazov, minimalnom intervencijom, instalacijom koja podsjeća na apstrahiranu scenografiju napuštenog psećeg naselja, priziva brojne asocijacije i postavlja brojna pitanja od kontemplativnih osobnih do puno širih socijalnih. U cilju njihova naglaska presudan je likovni element kao pokretač ove priče te prostoran senzibilitet primaran kiparstvu i moćno oružje u rukama Anite Sulimanović.
Marta Kiš
* citat iz filma Larsa von Triera Dogville (2003.)
...And then it was as if Dogville just waited. Even the wind dropped, leaving the town in an unfamiliar calm. As if somebody had put a large cheese dish cover over it, and created the kind of quietness that descends while you're awaiting visitors.*
Galerijski prostor Bačve u rukama umjetnice Anite Sulimanović pretvorio se u neobičnu naseobinu bivših psećih domova. Izložba se sastoji od petnaestak objekata, pronađenih u bližoj okolici Zagreba ili u samom gradu, složenih u prostoru kao niz koji može podsjećati na više-manje planski građena naselja. Jedan objekt uzdiže se iz niza u prostor stvarajući tako instalaciju zanimljivih likovno-prostornih karakteristika. Upravo taj nadrealni element ukazuje kako se ne radi samo o nasumce izloženim pronađenim objektima i njihovoj vizualnoj kvaliteti, već o višeslojnoj priči koja stoji iza pojedinačnih aktera, ali i cjeline.
Anita Sulimanović u svojim radovima posljednjih godina koristi pronađene objekte i pretvara ih u site-specific instalacije čija glavna karakteristika, uz jasno prisutan koncept, jest likovna vrijednost, koja se očituje u razumijevanju prostora naglašenom kroz britku, pametnu intervenciju. Likovna senzibilnost umjetnice možda je i bila primarna snaga koja ju je privukla životopisnim kućicama za pse. No, upravo njihovo postavljenje u čist, kružno simetričan prostor Bačve, mijenjanje njihova klasičnog okruženja, dislociranje i dekontekstualizacija čine bitan umjetnički koncept, koji naglašava njihove vizualne vrijednosti, ali i simulira nova značenja ili ukazuje na već postojeća.
Neizbježan i vrlo bitan segment čitave priče onaj je socijalni. Iz pojma kućica za pse, za neke od njih zapravo potpuno neprimjeren i blag naziv, iščitava se niz problema koji obuhvaćaju mikro ili makro razine našeg društva. Gledajući svakodnevno ovakve konstrukcije unutar njihova primarnog ambijenta, pa čak i u centru grada Zagreba, vjerojatno ih nećemo niti primijetiti, a još manje iščitati njihovu slojevitost.
Raznolikost oblika objekata, koju izolirano možemo gledati kao zanimljivost, ukazuje na puno ozbiljnije probleme. Nepostojanje pravila gradnje psećih domova ljudima je možda puno bliskije u nepostojanju istih tih pravila u gradnji velikih građevina, projekata, pa i čitavih urbanih cjelina duž čitave Hrvatske. Prolazeći zagrebačkom Trešnjevkom, može li se realno očekivati osjetljivost za domove čovjekova najboljeg prijatelja, kad ona ne postoji niti za čovjeka samog? Kućice – domovi psa na kratkom lancu, čiji pasji život obuhvaća par okolnih metara i hranu – iz frustracije sigurno rađa agresiju. Ta agresija vjerojatno je i životna uloga čuvara kuće, bijesnog lajavca, strašitelja potencijalnog uljeza. Njegov neosjetljivi vlasnik u svojim teškim životnim uvjetima nije imao vremena da razmisli o humanijem odnosu prema životinji ili je samo preslikao svoj način života, u kojem ga na lancu drži neka veća sila. Ovako stvoren začarani krug neće i ne može promijeniti niti jedan pas, niti jedan čovjek. Civilno društvo odradit će još niz borbi sa stalnim protivnicima, još poneke vlade će pasti i krize proći prije no što poboljšanje standarda i kvalitete života prekinu ovakvu neljudsku praksu.
Dodavanjem svjetlosnog akcenta u neke od kućica većina nas po prvi put moći će pogledati i što se krije iznutra, moći ćemo kuću i ono što ona predstavljati „pogledati“ iz svih kutova. Uz pogled odozgo (iz prostora balkona Galerije PM) i pogleda odozdo na objekt postavljen u prostoru, autorica je u potpunosti iskoristila prostorne mogućnosti koje su joj se ponudile. Upravo, pojedino izolirano unutrašnje svjetlo povezni je element koji može izazvati sablast. Strah od onoga što nas očekuje u nepoznatom, malom prostoru. Strah od onoga što taj prostor predstavlja. Umjetnica nam postavlja izazov, minimalnom intervencijom, instalacijom koja podsjeća na apstrahiranu scenografiju napuštenog psećeg naselja, priziva brojne asocijacije i postavlja brojna pitanja od kontemplativnih osobnih do puno širih socijalnih. U cilju njihova naglaska presudan je likovni element kao pokretač ove priče te prostoran senzibilitet primaran kiparstvu i moćno oružje u rukama Anite Sulimanović.
Marta Kiš
* citat iz filma Larsa von Triera Dogville (2003.)
Monday, June 29, 2009
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