Jedan od njih je i program Europa za građane kroz koji se želi osnažiti sudjelovanje građana u razvoju lokalne zajednice, potaknuti međunarodna partnerstva za provedbu građanskih inicijativa na EU razini, stvoriti preduvjete za oblikovanje europskog građanstva, ali i upoznati građane s radom EU institucija. Ured za udruge Vlade Republike Hrvatske imenovan je Kontakt točkom ovog Programa u Hrvatskoj i u tom svojstvu djeluje od 2007. godine do danas. S ciljem poticanja prihvatljivih prijavitelja za sudjelovanje u projektima financiranim u sklopu ovog Programa, napravljen je kratki pregled dojmova korisnika projekata koji su financirani na natječajima u 2015. i 2016. godini. Brošura je dostupna ovdje.

Naredni rokovi za slanje projektnih prijedloga u sklopu ovog Programa su 1. ožujka i 1. rujna 2017. godine, a sredstva su namijenjena jedinicama lokalne i područne (regionalne) samouprave, te organizacijama civilnoga društva i svim drugim oblicima neprofitnih organizacija. Program je podijeljen u dvije cjeline: 1. Europsko sjećanje i 2. Demokratski angažman i građansko sudjelovanje koja se sastoji od tri mjere – Bratimljenje gradova, Umrežavanje gradova i Projekti civilnoga društva.

Sedam godina od objave zasad jedinog, ali vrlo hvaljenog, albuma Faustopojke te nakon šest godina glazbene hibernacije, Voland Le Mat vraća se svirci i publici. U sklopu MIMO projekta nastupa u triju (Momir Oljača aka Voland Le Mat – vokal i gitara, Robert Bagarić – klavijature, Velimir Grujić – električna gitara) te najavljuje svežanj novih faustopojki pa se, osim premijernom nastupu u ovom sastavu, možemo nadati i predstavljanju novih skladbi.

Mika Male je tročlani zagrebački bend kroz koji su od 2000. godine prošli brojni značajni članovi nezavisne scene predvođeni karizmatičnim Orlanom Tusom. Posebnost njihove glazbe leži u pomno razrađenim aranžmanima, poetičnim stihovima i velikoj senzibilnosti koja otvara srca onih koji ju čuju. Kako sami kažu, najviše vole svirati u tišini, savršenoj za njihove atmosferične glazbene međuigre. Mika Male su do sada objavili tri albuma; Bijelo (2006.), Vremenom (2010.) i Gdje se sastaju luđaci (2013.), a posljednja dva objavljena su za Dallas Records. Postavu benda čine Igor Bušljeta (bubnjevi), Majda Bojić (violina, glas) i Orlan Tus (glas, klavir, gitara).

MIMO predstavlja kvalitetnu, autentičnu i originalnu domaću glazbenu scenu koja uspješno prati europske trendove te potiče te podupire takvo glazbeno stvaralaštvo s ciljem povećanja njegove vidljivosti i kontinuiranog razvoja. Više o koncertu potražite na njihovim službenim stranicama i Facebooku.

Razgovarao: Dražen Puklavec; kamera: Nikola Lazarin i Dražen Puklavec; montaža: Dražen Puklavec.

Tribina Ti si tako hladna. O borbi za ženska i socijalna prava u Hrvatskoj 1917.- 1961. održana je u petak, 18. prosinca, u prostorima Mreže antifašistkinja Zagreba.

O kontinuiranom organiziranju žena u odabranim momentima predratnog, ratnog i poratnog perioda – borbi žena kroz sindikate, na selu i za samoupravljanje – govorili su Marija Ćaćić, Ivana Pejić, Jelena Tešija i Stefan Treskanica iz BRID-a. Također, dan je i drugačiji pogled na motive iz životopisa Tatjane Marinić (1897. – 1966.), borkinje, učiteljice i pionirke domaćih socijalnih službi, čiji su život i rad u prethodnim interpretacijama dobrim dijelom ispisani likovima njenih suradnika i ljubavnika. 

The exhibition in Zagreb – open from December 8th 2015 and January 31st 2016 – is a selection of the most important projects created in the last decades that have significantly marked contemporary artistic production. The exhibition will present objects, artefacts, documents, installations and video works from the second half of the 1970s (the series called “No Events Actions”), the installation Laboratorium II, to the public projects and actions of the 1990s – among them, the pioneer project “Kings of the Street” (1994–1995), which first set out a collaboration with the social minority of Ljubljana’s homeless people, and the long term collaborative project CODE:RED (1999/2000–present).

Tadej Pogačar is engaged in interventionist logic, institutional critique and critical research on social and political issues as well as participatory and collaborative projects. His P.A.R.A.S.I.T.E. Museum of Contemporary Arts, established in 1993, is a virtual institution that has taken a number of forms and roles: from organising activist events, designing collaborative platforms, intervening into the urban structure of cities, to holding street actions, making interventions in museum collections and archives, designing new educational games, documenting parallel economic models and constructing unplanned architecture.

The P.A.R.A.S.I.T.E. Museum has evolved its own operational strategy: “New Parasitism” and, since 1993, has published the Journal for Anthropology and New Parasitism.

Tadej Pogačar is also the founder and managing director of the P.A.R.A.S.I.T.E. Institute (established in 1998), a non-profit cultural institution that operates the P74 Galleryand the KAPSULA project space. The P74 Gallery is the leading independent space for contemporary art in Ljubljana. Its mission is to foster the exchange and promote innovative and challenging models in contemporary art and culture both locally and internationally. In the last eighteen years its programmes have focused on the support, presentation, study and promotion of contemporary visual art, performance, time-based art, and publishing. Since its founding, P74 has organised numerous discursive research projects and workshops, which serve as the basis of its programme. These include Art in the Public Space, Parallel Economies, Public Phenomena, Ready to Change, Local Cartographies, Reality Log / Environmental Scan andThe Renaming Machine.

Pogačar has exhibited widely, most recently at the Visor Gallery, Valencia (2014); Gallery for Contemporary Art in Leipzig (2012), the ZKM – Centre for Art and Media in Karlsruhe (2011–2012), the Vojvodina Museum of Contemporary Art in Novi Sad (2011), and the Museum of Contemporary Art Metelkova in Ljubljana (2011), as well as at biennials in São Paulo, Venice, Istanbul, Prague and Tirana and at Manifesta 1 in Rotterdam. He has also had exhibitions at the MUMOK in Vienna (2009), the San Francisco Art Institute (2007), the NGBK in Berlin (2007), the Stedelijk Museum (2004), the Central House of Artists in Moscow and the Museo de Arte Carillo Gil in Mexico City.

He is the recipient of many awards, grants and residencies, including the György Kepes research fellow at ACT at MIT (2012), the Jakopič Prize, Slovenia’s main national award for visual art (2009), the Shrinking Cities grant (Leipzig, 2004), the Franklin Furnace Grant for Performance Art (New York, 2001), the AIR_port residential programme Forum Stadtpark in Graz (2003) and an Austrian Cultural Forum residency in London (2003).

This retrospective was organised by the Museum of Modern Art, Ljubljana in collaboration with P74 Center and Gallery and the Museum of Contemporary Arts Zagreb. The curator of the exhibition is Igor Španjol. Accompanying the exhibition, a new publication will be published. 

Eric Jarosinski bivši je profesor moderne njemačke književnosti, kulture i kritičke teorije. Nedavno je napustio akademski svijet da bi se posvetio uređivanju Nein.Quarterly, na kojem u formi aforizma piše o kulturi, filozofiji, umjetnosti, politici, očaju, ljubavi i drugim sablastima koje opsjedaju naše živote.

NeinQuarterly je na Twitteru zadobio šaroliku globalnu publiku koja trenutno broji preko 100 000 čitatelja iz više od 125 zemalja. Redovito objavljuje i u njemačkom Die Zeitu i nizozemskom NRC Handelsbladu. Jarosinski i njegov rad pojavili su se u brojnim međunarodnim publikacijama, uključujući The New Yorker, The Paris Review, Frankfurter Allgemeine Zeitung, The Believer, Der Spiegel, Neue Zürcher Zeitung. Njegova prva knjiga, Nein. A Manifesto., objavljena je ove jeseni u SAD-u, Kanadi, Njemačkoj, Italiji, Nizozemskoj, Španjolskoj, Ujedinjenom Kraljevstvu i Australiji, a bit će objavljena i u Finskoj.

Jarosinski je u Zagrebu gostovao u petak, 13. studenog 2015.

A) Why do we still talk about net.art?

Personal view of a father, enriched with anecdotes and vague allusions that lead the listener in a dangerous direction. The presence is required.

B) Position of early Internet art in the narrative arc of progressive art practices from dada through the Situationists towards the future.

Private view of who was once a carrier of the virus of freedom in an unfree time and in an unfree infrastructure.

C) The collapse of context 2.0

Public reflection of changes in the physical state of Internet as a space of freedom to space of surveillance – and possible artistic tactics.

Vuk Ćosić is an Internet veteran and internationally acclaimed classic of internet art. Cofounder of the Ljubljana Digital Medialab (Ljudmila) and the consultancy Case Sensitive. Throughout his explosive and fruitful career as a creative director, UX lead and CEO, Vuk was the leader of project teams for key projects in Slovenian internet space. Generically, these projects range from proto-startups via corporate work to enterprise web strategies (in all sectors: corporate, government, NGO & culture). Currently focused on ways in which fundamental business strategy overlaps with fundamental ethical orientation. A pioneer of internet art, he frequently exhibits (Venice Biennial; ICA, London; Beaubourg, Paris; ICC, Tokio; Kunsthalle, Vienna; Digital Artlab, Tel Aviv; ZKM, Karlsruhe; Ars Electronica, Linz; Walker, Minneapolis; Postmasters, NYC; Friedricanum, Kassel; Neue Galerie, Graz; IAS, Seoul; Baltic, Newcastle; Moca, Oslo…) and lectures (Musemus: Beaubourg, Paris; Guggenheim, Venice; CCA, Glasgow; Thing, NYC; LAMoCA, LA; Festivals – Hong Kong, London, Liverpool, Dessau, Montreal, Banff, Madrid, Gorizia, Copenhagen). He lives in Ljubljana, Slovenia.

The net.cube project explores context of Internet art, seeks to provide the conditions for artistic Internet projects and encourages local online creativity, its contextualisation and mapping. The program is conducted on two levels – as a web gallery (in progress) and a series of public lectures.

The project is supported by the Kultura nova Foundation, the Ministry of Culture of the Republic of Croatia and the City of Zagreb.

The exhibition – Alen Floričić: Video 1998 – 2015 – at the Rijeka MMSU is the first in a series of exhibitions to be hosted here and abroad throughout 2016. The aim is to present the artist not just locally but also internationally; after Rijeka, the exhibition will be shown in Ljubljana’s ŠKUC Gallery (Slovenia) and Trieste Contemporanea (Italy). The exhibition catalogue is envisaged in the same way; it is going to cover the three exhibition locations, along with reviews of several curators and art theorists. The catalogue is to be published before summer.                                                

From the very beginning of the artist’s engagement in video, in the late 1990s, we have witnessed the authentic language of simple forms, usually lasting only few minutes, featuring only one character – the author himself. The video mostly consists of a single scene (sitting in the room) or a single action (coming out of the sea), endlessly repeated, impossible to retell. Nevertheless, the experience is always intense, for the observer is affected by the rhythm of the repetitions, the vibrations of the electronic image, the absence of narration and linear structure. Floričić strips the video of its documentary qualities, enabling the observers to consciously think about what they see. Immersed in Floričić’s video, the observers experience a whirl of emotions, of apprehension, humour and confusedness. They pass through the parts of their inner beings that are not for showing, through the states that we try to overcome in order to meet the standards of normalcy. A benevolent humour permeates these works, too, emerging as a side effect of funny gags (rising and falling on the screen in the 2005 series). Sidestepping the current trends and pretentiousness, Floričić’s artwork takes us deep into the shelters of the subconscious, into the unidentified aspects of the human. This is confirmed by the author’s avoidance of descriptions, titles and the related implications of content: these are all Untitled videos, indexed by ordinal numbers and the years of creation. Throughout the above stated period of production, with introducing some new chapters, Floričić continued to develop his themes. These include, for instance, repetitions as the cause of discomfort, the motif of doppelgänger and broken “self”, dysfunction of communication.

Alen Floričić graduated in Fine Arts from the Rijeka Faculty of Education, Sculpture Department, under the mentorship of the professor Žarko Violić. He earned his master’s degree in Video and New Media at the Ljubljana Academy of Fine Arts and Design. Floričić currently works as an art teacher at the High School of Applied Arts and Design in Pula. He also worked as a part-time associate at the Rijeka Academy of Applied Arts from 2008 to 2013. He participated in group exhibitions, for example, at MoMA PS1 in New York, Kunsthalle Bethanien in Berlin and Renaissance Society in Chicago, among others. He was on the Croatian representatives at the 51st Biennial of Contemporary Art in Venice in 2005.  

Alen Floričić: Video 1998 – 2015, curated by Sabina Salamon, is open in the Museum of Modern and Contemporary Art (MMSU) in Rijeka until November 22nd. 

Deborah Hustić is a media artist and curator. She is into wearable technology and sound art (open source hardware, sound boxes and synthesizers) and educational development via workshops, supporting the STEAM concept of education. She has taken part in many festivals, exhibitions and conferences in Croatia and abroad in the domain of DIY and DIWO electronics, new media, intermedia and hybrid art.  She has run a series of workshops concerned with creative electronics and eTextile for children, young adults and adults. She is the project manager and curator of Radiona.org / Zagreb Makerspace.

Radiona / Makerspace – Association for Development of ‘do-it-yourself’ Culture has been founded in order to enhance the visibility of makers’ open source culture and self sustainable production, as well as with an aim of connecting all possible fields of art, science and technology. The objective here is to create new realities of networked and collaborative intermedia and new media practices in line with DIY (do-it-yourself) and DIWO (do-it-with-others) scene. Radiona.org focuses its activities on education, research processes, artistic projects, curatorial practices, international and domestic inter-sector collaborations, renewable systems and social awareness related issues.

This weekend is designed for everyone – art lovers and those who will now become ones, collectors, artists, curators, families, friends and all those interested to take a stroll through the galleries. Visitors will be able to see new art works, meet artists who will talk about their work, see in live how it  looks like to mount an exhibition and ask curators about their work in galleries. Basically, a Weekend when you can see more than any other weekend of the year.

During three days, galleries will offer wide range of programs, exhibition openings of local and international artists, guided tours through the exhibition, new and old publications, welcome their guests, talk to all interested and curious visitors, and show their spaces and their professional work to all of Zagreb.

Participating galleries: Institute for Contemporary Art; Gallery Academia Moderna; AŽ Gallery / Žitnjak Studios; Gallery Forum; Klovićevi dvori / Lotrščak; Gallery Matica Hrvatska; Miroslav Kraljević Gallery; Gallery Nova; SC Gallery; Spot Gallery; Gallery ULUPUH; Greta; HDD Gallery / Croatian Designers Society;  HDLU galleries  Bačva / PM / Prsten; Oris / House of Architecture; Pogon/ Gallery 90-60-90 Studio David Maljković.