Opis
The Centre d’Art Contemporain Genève is happy to host the first retrospective of Zagreb based-artist Goran Trbuljak.
Goran Trbuljak has been active since the late 1960s, in the context of conceptual art and the so-called New Art Practice. While searching from the very beginning for alternative means of production and representation of the artwork, Trbuljak showed himself to be a sort of sophisticated, amused raider in the art world, and someone interested in sowing doubts and nurturing uncertainties regarding the art system rather than joining and being a part of it.
The exhibition in Geneva will feature highlights from all Trbuljak works of the last 50 years, encompassing paintings, frottages, monochromes and monograms, photographs, films, books and documentations of his street actions. These works underline the ability of his to humorously touch our inner chords that, which sets Trbuljak’s work apart from that of so many other artists who, at the turn of the sixties and seventies, worked on the dematerialization of the work of art, with conceptual practices involving the use of the word and performance. This exhibition will be presented in January 2019 at MAMbo – Museo d’Arte Moderna di Bologna, Italy.
A monograph will be launched on the occasion of the exhibition. Entitled “Before and After Retrospective”, it is edited by the artist himself and Tevz Logar, in collaboration with the Centre d’Art Contemporain Genève; Gregor Podnar Gallery, Berlin; Snaporazverein, Zurich and Erste Foundation, Vienna. It will communicate a number of interests and important issues which have been the focus of Trbuljak’s complex artistic practice in the past 45 years. Via theoretical essays (by Ivana Bago, Andrea Bellini, Jerko Denegri, Christian Rattemeyer) and an interview (by Vit Havranek) the publication will address specific elements of Trbuljak’s work with a rich iconography, and present key developments Trbuljak’s practice.
Goran Trbuljak was born in 1948 in Croatia. He lives and works in Zagreb. His work was presented at Carré d’art, Nîmes; New Museum, New York; Kunstverein für die Rheinlande und Westfalen, Düsseldorf, Germany; Halle für Kunst & Medien, Graz; Museion Bolzano; Schirn Kunsthalle, Frankfurt; Centre Pompidou, Paris, as well as at the 51st Venice Biennial, Venice, among others.
Curated by Andrea Bellini
Trbuljak, Goran, hrvatski slikar i filmski snimatelj (Varaždin, 21. IV. 1948). U Zagrebu diplomirao 1972. na Akademiji likovnih umjetnosti (M. Detoni) te filmsko i televizijsko snimanje na Akademiji dramske umjetnosti. Polazio i École des Beaux-Arts u Parizu (1973–74). Potkraj 1960-ih svoje umjetničko djelovanje započeo je u okviru konceptualne umjetnosti i od tada preispituje vlastito umjetničko ponašanje i odnos umjetnik–društvo; u Zagrebu sa S. Dimitrijevićem osnovao skupinu Penzioner Tihomir Simčić (1969) i izveo seriju radova i umjetničkih uličnih akcija. Jedan je od najistaknutijih hrvatskih filmskih snimatelja. Njegov istančan osjećaj za kompoziciju kadra i sklonost vizualnoj stilizaciji razvidni su već u prvom snimateljskom radu na Izgubljenom zavičaju (1980) A. Babaje, potom osobito u trilerima Z. Tadića Ritam zločina (1981), Treći ključ (1983), San o ruži (1986., Zlatna arena u Puli), Čovjek koji je volio sprovode (1989), Orao (1990), Treća žena (1997), kao i u Babajinim Kamenitim vratima (1992). Režirao je zapaženi animirani film Svaki je dan za sebe, svi zajedno nikad (2002). Bavi se također grafičkim oblikovanjem, fotografijom i sitnom plastikom. Jedan je od pionira hrvatske videoumjetnosti: Bez naziva (Diktat), Bez naziva (Labirint), Bez naziva (Cut), Bez naziva (Razor Two), Bez naziva (Pismo), Bez naziva (L’air de large). Ostali značajniji filmovi (kao snimatelj): Ljubavna pisma s predumišljajem (1985) Z. Berkovića, Oficir s ružom (1987) D. Šorka, Sokol ga nije volio (1988) B. Schmidta, Prezimiti u Riju (2002) D. Žmegača.
