Uvid iz knjige\u00a0\u201cFenomenologija percepcije\u201c<\/em>, Mauricea Merleau-Pontyja otkriva kako tijelo nije tek objekt me\u0111u objektima, izoliran i neovisan, ve\u0107 medij spoznaje, sredstvo pomo\u0107u kojeg interpretiramo i oblikujemo svijet oko sebe. Upravo u tom duhu radovi Filipa Ani\u0107a i Katarine Kov\u010dalije istra\u017euju tijelo, ne samo kao fizi\u010dku formu, ve\u0107 kao prostor u kojem se preklapa privatno i javno, a dru\u0161tveni tereti i iskustva ostavljaju svoje tragove. Nikola Zmijarevi\u0107[\/vc_column_text][divider line_type=”Full Width Line” line_thickness=”1″ divider_color=”default” animate=”yes” custom_height=”1″][vc_column_text css=”.vc_custom_1737107942118{margin-top: 30px !important;margin-bottom: 30px !important;}”]\u201cThe body is our general medium for having a world.\u201d<\/em> The insight from Maurice Merleau-Ponty\u2019s book\u00a0\u201cPhenomenology of Perception\u201d<\/em>\u00a0reveals that the body is not just an object among other objects, isolated and independent, but a medium of knowledge, a means through which we interpret and shape the world around us. It is in this spirit that the works of Filip Ani\u0107 and Katarina Kov\u010dalija explore the body, not only as a physical form but as a space where the private and public overlap, and where social burdens and experiences leave their traces. Nikola Zmijarevi\u0107[\/vc_column_text][divider line_type=”Full Width Line” line_thickness=”1″ divider_color=”default” animate=”yes” custom_height=”1″][vc_column_text css=”.vc_custom_1737107895935{margin-top: 30px !important;}”]\u201cO badani si amaro \u010dekatno medium savesa i dunija si amari.\u201c<\/em> Jekh dikhipe katar i pustik\u00a0\u201cFenomenologia e percepciakiri\u201c<\/em>, katar Maurice Merleau-Ponty pu\u010darel kaj badani nanaj sade objekto ma\u0161kar e objektia, garavdo thaj biadhinalo, thaj vov si medium e pend\u017earkeripaskoro, vastu\u0161ej savesa keras interpretiripe thaj formiripe e dunijakoro trujal amende. \u010ca\u010dikane ano adava ruhi e butja katar Filip Ani\u0107 thaj Katarina Kov\u010dalija rodljarena o badani, na sade sar fizikani forma, numaj thaj sar thanipe saveste u\u010dharel pe jekh upral aver o privatnikano thaj o putardo, a e amalnikane ladavipa thaj o nakhlovaxtipe mukhena peskere dire. Nikola Zmijarevi\u0107[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=”” gradient_type=”default”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][toggles style=”minimal”][toggle color=”Default” heading_tag=”default” heading_tag_functionality=”default” title=”Biografije”][vc_column_text css=”.vc_custom_1737107864695{margin-bottom: 30px !important;}”]Filip Ani\u0107<\/strong>\u00a0u svom radu istra\u017euje vizualne medije kojima preispituje egzistencijalna pitanja osobnog identiteta kao umjetnika. Ro\u0111en je 2001. godine u Osijeku. 2020. godine upisuje Akademiju za umjetnost i kulturu u Osijeku gdje trenutno poha\u0111a magistarski studij Vizualne umjetnosti. Od 2023. kustos ciklusa izlo\u017ebi\u00a0\u201cStojim na le\u0111ima divova\u201d<\/em>. Iste godine dobiva priznanje Akademije za umjetnost i kulturu u Osijeku za predanost i doprinos u podru\u010dju vizualnih umjetnosti. Do sada je izlagao na samostalnim i grupnim izlo\u017ebama u Hrvatskoj, Kaliforniji, Ujedinjenom Kraljevstvu i Italiji.<\/p>\n Instagram\u00a0@filip__anic<\/a><\/p>\n <\/p>\n Katarina Kov\u010dalija\u00a0<\/strong>ro\u0111ena je 1999. u Osijeku, gdje je zavr\u0161ila diplomski studij Likovne kulture, modul slikarstvo, na Akademiji za umjetnost i kulturu u Osijeku. Umjetnica je izlagala na brojnim grupnim izlo\u017ebama po i radionicama te je imala dvije samostalne izlo\u017ebe. Mail\u00a0katarina.kovcalija@gmail.com<\/a>[\/vc_column_text][divider line_type=”Full Width Line” line_thickness=”1″ divider_color=”default” animate=”yes” custom_height=”1″][vc_column_text css=”.vc_custom_1737107949408{margin-top: 30px !important;margin-bottom: 30px !important;}”]Filip Ani\u0107<\/strong>\u00a0in his work explores visual media through which he questions existential issues of personal identity as an artist. He was born in 2001 in Osijek. In 2020, he enrolled at the Academy of Arts and Culture in Osijek, where he is currently attending the Master\u2019s program in Visual Arts. Since 2023, he has been the curator of the exhibition series \u201cStanding on the Shoulders of Giants.\u201d In the same year, he received recognition from the Academy of Arts and Culture in Osijek for his dedication and contribution to the field of visual arts. He has exhibited in solo and group exhibitions in Croatia, California, the United Kingdom, and Italy.<\/p>\n Instagram\u00a0@filip__anic<\/a><\/p>\n <\/p>\n Katarina Kov\u010dalija\u00a0<\/strong>was born in 1999 in Osijek, where she completed her graduate studies in Fine Arts, with a focus on painting, at the Academy of Arts and Culture in Osijek. She has exhibited her work in numerous group exhibitions and workshops, and has held two solo exhibitions. Mail\u00a0katarina.kovcalija@gmail.com<\/a>[\/vc_column_text][divider line_type=”Full Width Line” line_thickness=”1″ divider_color=”default” animate=”yes” custom_height=”1″][vc_column_text css=”.vc_custom_1737107915060{margin-top: 30px !important;}”]Filip Ani\u0107\u00a0<\/strong>ano peskoro butikeripe rodljarel e vizualnikane medie savenca pu\u010dljarel e egzistencialnikane pu\u010dipa plesutne identitetoskoro, e artutneskoro. Biame si ano 2001. ber\u0161 ano Osijek. Ko 2020. ber\u0161 xramonkerel pes ki Akademia va\u0161o artipe thaj kultura ano Osijek kote si akana ke magisterikane studie va\u0161e Vizuelnikane artipa. Instagram\u00a0@filip__anic<\/a><\/p>\n <\/p>\n Katarina Kov\u010dalija<\/strong>\u00a0biame si 1999. ber\u0161 ano u Osijek, kote so agorkerdja masterikane studie ki Artutni kultura, modulo piktoripe, ki Akademia va\u0161o artipe thaj kultura ano Osijek. Mail\u00a0katarina.kovcalija@gmail.com<\/a>[\/vc_column_text][\/toggle][\/toggles][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” disable_element=”yes” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]CRTA ZA BESKRAJ -PROGRAM<\/a>[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” top_margin=”3%” bottom_margin=”5%” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” 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\nMultimedijalna izlo\u017eba\u00a0\u201cTijelo kao prostor\u201c<\/em>\u00a0isti\u010de monumentalno uve\u0107ane detalje ljudskog tijela \u2013 koljena, gle\u017enjeve, usne, prsa \u2013 transformiraju\u0107i ga u krajolik pro\u017eet osobnim i kolektivnim, materijalnim i simboli\u010dkim. Ova prenagla\u0161ena blizina apstrahira tjelesnost, dok istovremeno potencira njezino ambivalentno tuma\u010denje: koljeno i gle\u017eanj su oslonci snage, stabilnosti i pokreta, a ipak toliko krhki i potro\u0161ni \u2013 postaju simboli otpora i ranjivosti.
\nIzlo\u017eene radove ne percipiramo samo kao dvodimenzionalne prikaze, ve\u0107 kao materijalne \u010dinjenice u stvarnom prostoru. Tu tjelesnost same slike, Katarina Kov\u010dalija isti\u010de u spoju delikatne podloge i monumentalnih dimenzija jantarnih kolorita, a Filip Ani\u0107 materijalnost nalazi u nadrealnom spoju mekane, privla\u010dne intime jastuka i neprirodne kontorzije lica i trupa, gotovo u duhu Hansa Bellmera. Ovakvi pristupi odra\u017eavaju Merleau-Pontyjevo stajali\u0161te da upravo tijelo predstavlja temelj percepcije svijeta te, umjesto otu\u0111enog promatranja i nemogu\u0107e objektivne reprezentacije, nudi duboko osobno, osjetilno i emotivno iskustvo.
\nIzlo\u017eba\u00a0\u201cTijelo kao prostor\u201c<\/em>\u00a0podsje\u0107a nas da na\u0161a tijela nose memoriju, tragove iskustva, izmjene identiteta i spojeve kultura \u2013 ona progovaraju o stvarnosti koja nas oblikuje, o povijesti koja nam ne da zaboraviti.<\/p>\n
\n(Maurice Merleau-Ponty)<\/p>\n
\nThe multimedia exhibition\u00a0\u201cThe Body as Space\u201d<\/em>\u00a0highlights monumentally enlarged details of the human body \u2013 knees, ankles, lips, breasts \u2013 transforming it into a landscape saturated with the personal and collective, material and symbolic. This exaggerated proximity abstracts the physicality of the body, while simultaneously amplifying its ambivalent interpretation: the knee and ankle are supports of strength, stability, and movement, yet so fragile and expendable \u2013 they become symbols of resistance and vulnerability.
\nThe displayed works are not perceived solely as two-dimensional representations but as material facts in real space. The corporeality of the images is emphasized by Katarina Kov\u010dalija in the combination of delicate backgrounds and monumental dimensions of amber hues, while Filip Ani\u0107 finds materiality in the surreal fusion of the soft, alluring intimacy of pillows and the unnatural contortion of faces and torsos, almost in the spirit of Hans Bellmer. Such approaches reflect Merleau-Ponty\u2019s viewpoint that the body is the foundation of our perception of the world and, rather than detached observation and impossible objective representation, offers a profoundly personal, sensory, and emotional experience.
\nThe exhibition\u00a0\u201cThe Body as Space\u201d<\/em>\u00a0reminds us that our bodies carry memory, traces of experience, changes in identity, and intersections of cultures \u2013 they speak of the reality that shapes us, of history that refuses to let us forget.<\/p>\n
\n(Maurice Merleau-Ponty)<\/p>\n
\nI multimedialnikani pradar\u0161ani\u00a0\u201cO badani sar thanipe\u201c<\/em>\u00a0del akcento ke monumentalnikane barjarde detale e manu\u0161ikane badaneske \u2013 ko\u010daka, kunia, vu\u0161ta, kolina \u2013 kerindoj lenge transformacia ane agora saven isi plesutne thaj kolektivnikane, materialnikane thaj simbolikane. Akava but akcentirime pa\u0161ipe kerel o badanikano apstrahiripe, d\u017eikaj ki jekh vrama del potenciripe ko lakoro ambivalentnikano rin\u010dhibjaripe: i ko\u010dak thaj i kuni si dajandin e zorakiri, stabilnipaskiri thaj mi\u0161kipaskiri, a pale si odobor ki\u0161le thaj xard\u017eutne \u2013 thaj ovena simbole u\u0161tavipaskere thaj ratvardipaskere.
\nE pradar\u0161anime butja na dikhas sade sar dujdimenzionalnikane sikavdipa, numaj dikhas sar materialnikane \u010da\u010dipa ano \u010da\u010dikano thanipe. Adava badanipe korkori e suretakoro, Katarina Kov\u010dalija sikavel ano phandipe e delikatnikane phuvthanipaste thaj e monumentalnikane dimenziende ko ku\u010dbareskere rangipa, a Filip Ani\u0107 o materialnipe arakhel ano upral\u010da\u010dikano phandipe e kovle, cxidutne intimakoro e \u0161erandeskoro thaj biprakritakiri kontorzia e simakoro thaj e pa\u0161le badanipaskoro, sar ano ruhi e Hans Bellmereskoro. Akala reslipa ikeren e Merleau-Pontyjeskoro dikhipe kaj o badani si temelo e percepciako e dunijakoro, vi, kothan e jabanikane dikhipaskoro thaj o na\u0161tipaskoro e objektivnikane reprezentiripaskoro, del jekh xor plesutno, xo\u0161ipaskoro thaj emotivnikano nakhlovaxtipe.
\nI pradar\u0161ani\u00a0\u201cO badani sar thanipe\u201c<\/em>\u00a0liparel amen kaj amare badania legaren o lipardipe, e dire e nakhlevaxtipaskere, averkeripe e identiteteskoro thaj e phandipa e kulturakere \u2013 von mothoven va\u0161o \u010da\u010dipe savo so formirinel amen, va\u0161i historia so na del amen te bistras la.<\/p>\n
\nDvije je godine zaredom (2023., 2024.) nagra\u0111ivana za produkciju rada na Godi\u0161njoj izlo\u017ebi Odsjeka za vizualne i medijske umjetnosti. Njezin je rad nagra\u0111en i na izlo\u017ebi\u00a0\u2018\u2019One su tu\u2019\u2019<\/em>\u00a02024.<\/p>\n
\nShe has been awarded for her work at the Annual Exhibition of the Department of Visual and Media Arts for two consecutive years (2023, 2024). Her work was also awarded at the exhibition \u201cThey Are Here\u201d in 2024.<\/p>\n
\nKatar 2023. si kustoso e cikluseskoro e pradar\u0161anipangoro \u201cTerdjovav ke dumoja e d\u017einongoro\u201d. Adava ber\u0161 del pe leske thaj o angigaripe e Akademiakoro va\u0161o artipe thaj kultura ano Osijek va\u0161 leskiri bari buti so kerel ki ranik e vizualnikane artongiri.
\nD\u017ei akana sikavel peskiri buti ke korkorutne thaj grupengere pradar\u0161anipa ani Hrvatska, Kalifornia, Baro Pa\u0161akerdo Thagaripe thaj Italia.<\/p>\n
\nI artutni sikavdja peskiri buti ke but pradar\u0161anipa thaj ke butjarne be\u0161ina thaj sas la duj korkorutne pradar\u0161anipa.
\nDuj ber\u0161 jekh pal aver (2023., 2024.) isi la pursake va\u0161i produkcia e butjakiri ko Ber\u0161eskoro pradar\u0161anipa ko Departamento va\u0161o vizualnikano thaj mediengoro artipe. Lakiri buti si pursakime thaj ki pradar\u0161ani \u2018\u2019Von si akate\u2019\u2019 2024.<\/p>\n
\nIzlo\u017eba se jo\u0161 danas\u00a0do 21 h mo\u017ee pogledati u Galeriji Doga\u0111anja.<\/div>\n
\nAktualnost ove teme ne jenjava. A kako i bi kada je rije\u010d o borbi za slobodu (umjetni\u010dkog) izraza i kretanja. Danas ju tuma\u010dimo u kontekstu migracija i novih dinamika do kojih takva kretanja dovode. Zatim pitanja (ne)sigurnosti. U neposrednoj nam blizini diljem Srbije odr\u017eavaju se masovni prosvjedi protiv vlasti zbog tragi\u010dnih posljedica pada novosadske nadstre\u0161nice za koje nitko ne preuzima odgovornost. Kod nas je nepovjerenje izazvao glas o tome da su hrvatske dr\u017eavljanke, sudionice radioni\u010dkog programa s nekoliko zemalja iz balkanske regije, a me\u0111u kojima je u medije istupila predstavnica kolektiva \u0160to, kako & za koga (WHW), deportirane nakon uhi\u0107enja bez obja\u0161njenja. I izvan kulturnog konteksta \u010desto se povla\u010de pitanja jesmo li za\u0161ti\u0107eni \u2013 no tko nas \u0161titi?
\nO ovom dijalogu ranjivosti i \u010dvrsto\u0107e promi\u0161ljamo i u kontekstu ekolo\u0161kih pitanja \u2013 gomilama sme\u0107a koje nastaje (i ostaje) oko nas, su\u017eivotu ljudskog tijela i \u201etijela\u201c drve\u0107a podlo\u017enih jednakim reakcijama \u2013 rastu pri povoljnim uvjetima, savijanju pod optere\u0107enjem, me\u0111usobnom podupiranju te ru\u0161enju pri ozljedama. Tu su i stare gradnje oko nas, tro\u0161ni objekti, zapu\u0161tene zgrade koje uglavnom zahva\u0107a nepovoljna sudbina. Mo\u017eda \u0107e jednom postati predmet nekog istra\u017eivanja, ipak su u njih (bila) upisana iskustva, obi\u010daji, izazovi, slojevi \u017eivota koje su korisnici tih prostora ponijeli sa sobom, a mo\u017eda \u0107e ih o\u017eivjeti neke druge pri\u010de, neki drugi doga\u0111aji. +Ivana Zavr\u0161ki<\/div>\n[\/vc_column_text][\/toggle][\/toggles][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” disable_element=”yes” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_video link=”https:\/\/www.youtube.com\/watch?v=fzZ6Gr9smsQ”][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” top_padding=”4%” translate_y=”-80″ text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=”” gradient_type=”default”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_gallery type=”flickity_static_height_style” images=”11835,11836,11837″ flickity_spacing=”default” flickity_controls=”pagination” flickity_overflow=”hidden” flickity_wrap_around=”wrap” flickity_autoplay=”true” flickity_box_shadow=”none” image_loading=”default” onclick=”link_image” img_size=”full”][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\n[\/vc_column_text][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"