Autorica izlo\u017ebe: Sanja Bachrach-Kri\u0161tofi\u0107 Radovi Nade Orel danas postoje rasuti \u2013 u originalima, realizacijama u javnom prostoru, fotografijama, katalozima, novinskim zapisima, kritikama i sje\u0107anjima. Izlo\u017eba ih ne poku\u0161ava nadomjestiti niti rekonstruirati kao izgubljenu cjelinu, nego povezivanjem njihovih tragova ponovno ukazuje na njenu jedinstvenu umjetni\u010dku praksu koja je od po\u010detka 1960-ih obuhva\u0107ala fotografiju i fotogram, skulpturu, akcije, prijedloge i intervencije u javnom prostoru.<\/p>\n Kretnja je jedna od trajnih tema rada Nade Orel: od bilje\u017eenja pokreta tijela fotografijom i fotogramom do njegova prevo\u0111enja u skulpturu i multimedijalni projekt Kretnja u vremenu. Na izlo\u017ebi pojam kretnje dobiva i novo zna\u010denje \u2013 kao kretanje kroz rasute tragove umjetni\u010dina opusa i njihovo ponovno povezivanje u prostoru u kojem je djelovala.<\/p>\n Posebno mjesto zauzima Pe\u0161\u010denica, uz koju je Nada Orel bila \u017eivotno i umjetni\u010dki vezana. Sura\u0111ivala je s Centrom kulture na Pe\u0161\u010denici, dala ime Galeriji Doga\u0111anja, radila s djecom i zajednicom te u prostoru kvarta realizirala radove poput Urbanog Trodimenzionalnog stripa i Parka Malog princa.<\/p>\n Izlo\u017eba istodobno govori o va\u017enosti \u010duvanja dokumentarne, \u010desto nazivane \u201esekundarne\u201c, gra\u0111e. Nakon nestanka, rasipanja ili nedostupnosti originalnih djela upravo katalozi, fotografije, tekstovi i drugi dokumenti mogu postati klju\u010dni, a ponekad i jedini trag umjetni\u010dkog rada. Njihovim ponovnim okupljanjem arhiv postaje prostor novog \u010ditanja, povezivanja i aktiviranja kulturne memorije.<\/p>\n Projekt otvara pitanje odgovornosti institucija za \u010duvanje takve gra\u0111e u okolnostima u kojima su arhivi \u010desto nepotpuni, raspr\u0161eni i nedovoljno financirani.<\/p>\n Nada Orel (Zagreb, 1939.\u20132025.) bila je fotografkinja, kiparica i multimedijalna umjetnica. Obrazovala se u podru\u010dju fotografije, likovne pedagogije, tiflopedagogije i kiparstva. Od kraja 1950-ih razvija praksu zasnovanu na komunikaciji, participaciji i djelovanju u javnom prostoru, povezuju\u0107i fotografiju, fotogram, skulpturu, akciju i multimediju. \u010cesto sudjeluje na izlo\u017ebama Zagreba\u010dkog salona, u sekcijama prijedlog, fotografija i skulptura. Me\u0111u klju\u010dnim projektima su Eksperimentalna slika grada, Trodimenzionalni strip, Park Malog princa te serija radova-fotograma Va\u0161a sjena za povijest, koja kulminira izlo\u017ebom Muzej sjena u HDLU-u 2001.<\/p>\n Sanja Bachrach-Kri\u0161tofi\u0107 grafi\u010dka je dizajnerica, autorica i kustosica izlo\u017ebi te istra\u017eiva\u010dica vizualne kulture. Od 1980-ih djeluje sa suprugom, fotografom Marijem Kri\u0161tofi\u0107em, u tandemu Bachrach & Kri\u0161tofi\u0107. Uz grafi\u010dki dizajn i fotografiju bavi se koncipiranjem i oblikovanjem izlo\u017ebi te istra\u017eivanjem povijesti dizajna, primijenjenih umjetnosti, urbanizma i popularne kulture druge polovice 20. stolje\u0107a. Autorica je i suautorica brojnih izlo\u017ebi, publikacija i istra\u017eiva\u010dkih projekata te dobitnica strukovnih nagrada i priznanja.<\/p>\n[\/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=”English”][vc_column_text]\n NADA OREL \/ MOVEMENT IN TRACES<\/p>\n Today, Nada Orel\u2019s works exist dispersed across different forms \u2013 as original works, interventions in public space, photographs, catalogues, newspaper accounts, critical texts, and memories. Rather than attempting to replace them or reconstruct them as a lost whole, the exhibition reconnects their traces, once again pointing to the singularity of her artistic practice, which from the early 1960s encompassed photography and photograms, sculpture, actions, proposals, and interventions in public space.<\/p>\n Movement is one of the enduring themes of Nada Orel\u2019s work: from recording the movement of the body through photography and photograms to translating it into sculpture and the multimedia project Movement in Time. In the exhibition, the notion of movement acquires a new meaning as well \u2013 as a movement through the dispersed traces of the artist\u2019s oeuvre and their reconnection within the space in which she worked.<\/p>\n Pe\u0161\u010denica holds a particularly important place, as Nada Orel was closely connected to the neighborhood both personally and artistically. She collaborated with the Pe\u0161\u010denica Cultural Center, gave the Events Gallery its name, worked with children and the local community, and realized works in the neighborhood such as Urban Three-Dimensional Comic and The Little Prince Park.<\/p>\n At the same time, the exhibition addresses the importance of preserving documentary material, often referred to as \u201csecondary\u201d material. Following the disappearance, dispersal, or inaccessibility of original works, catalogues, photographs, texts, and other documents can become crucial, and sometimes the only surviving traces of an artistic practice. By bringing them together again, the archive becomes a space for new readings, connections, and the activation of cultural memory.<\/p>\n The project raises the question of institutional responsibility for preserving such material in circumstances where archives are often incomplete, dispersed, and insufficiently funded.<\/p>\n Nada Orel (Zagreb, 1939\u20132025) was a photographer, sculptor, and multimedia artist. She was educated in photography, art education, tiflopedagogy, and sculpture. From the late 1950s onward, she developed a practice based on interaction, participation, and engagement in public space, bringing together photography, photograms, sculpture, action, and multimedia. She frequently participated in exhibitions of the Zagreb Salon, in the Proposal, Photography, and Sculpture sections. Among her key projects are Experimental Image of the City, Three-Dimensional Comic, The Little Prince Park, and the series of photogram works Your Shadow for History, which culminated in the exhibition Museum of Shadows at HDLU in 2001.<\/p>\n Sanja Bachrach-Kri\u0161tofi\u0107 is a graphic designer, exhibition author and curator, and visual culture researcher. Since the 1980s, she has worked with her husband, photographer Mario Kri\u0161tofi\u0107, as the Bachrach & Kri\u0161tofi\u0107 duo. Alongside graphic design and photography, she works on the conceptualization and design of exhibitions and researches the history of design, applied arts, urban planning, and popular culture of the second half of the 20th century. She has curated and co-curated numerous exhibitions and contributed to a wide range of publications and research projects. Her work has received numerous professional awards and distinctions.<\/p>\n[\/vc_column_text][\/toggle][toggle color=”Default” heading_tag=”default” heading_tag_functionality=”default” title=”Romski”][vc_column_text]\n NADA OREL\/ MI\u0160KIPE ANE DIRE<\/p>\n E butikeripa katar Nada Orel si frame – ane originialia, realiyacie ano putardo than, fotografie, katalogia, \u017eurnalistikane xramovipa, kritike thaj liparipa. I pradar\u0161ana na zumavel pe te pherel len thaj rekonstruirinel len sar na\u0161aldo sahnipe, numaj e phandipasa lengere direngoro pale sikavkerel ko lengoro jekhipaskoro artikano prakticipiripe savo katar o \u0161ird e 1960-goro astaren fotografie thaj fotogramia, sculpture, akcie, bahania thaj intervencie ano putardo thanipe.<\/p>\n O mi\u0161kipe si jekh katar e sahnovramakere teme katar i Nada Orel: katar o notiripe e mi\u0161kipangoro e badaneskoro fotografiasa thaj fotogramesa d\u017ei leskiri translacia ani skulptura thaj multimedialnikano proekto Mi\u0161kipe ano vaxt. Ki pradar\u0161anao termino mi\u0161kipe lel thaj nevo d\u017eanlipe – sar mi\u0161kipe ko frame dire katar artikano opuso thaj lengoro palkerdo phandipe ano thanipe saveste voj kerda buti.<\/p>\n Ulavdo than lel i Pe\u0161\u010denica savasa i Nada Orel si d\u017eivdipasa thaj artesa phandli. Kerelas buti e Centrosa va\u0161i kultura Pe\u0161\u010denica, denda anav e Galeriake Dogadjanja, kerdas buti e \u010dhavenca thaj khedinasa thaj ano kvarteskoro than kerda butja sar so si Urbanikano Trindimenzionalnikano stripo thaj O parko Tikno princo.<\/p>\n I pradar\u0161ana ko jekh thaj phenel va\u0161o baro d\u017eanlipe e arakhipaskoro e dokumentarnikaneskoro vakerdo thaj “sekundarnikano” tamiripe. Palo na\u0161aldipe, ruminipe vaj na\u0161tipe te avel pe d\u017ei e originalnikane kotora, majbut e katalogoja, fotografie, tekstia thaj aver dokumentia \u0161aj te oven klidarde, a dajekhvar thaj jekhutni dira e artikane butjakiri. Lengere nevljarde khedipasa o arhivo ovel than neve drabaripaskoro, phandlipaskoro thaj aktiviripaskoro e kulturnikane memoriakoro.<\/p>\n O proekto putarel pu\u010dipe e obligaciakoro e instituciengoro va\u0161o arakhipe e akale tamiripaskoro ane trujalipa ane save e arhivia si majbut bipherde, frdime thaj but xari lovenca finansirime.<\/p>\n Nada Orel (Zagreb, 1939.-2025.) sas fotografi, kipari thaj multimedialnikani artutni. Siklili fotografia, artikani pedagogia, tiflopedagogia thaj kiparipe. Katar o agor e 1950-to ber\u0161engoro barjarel praktika savi anel komunikacia, participacia thaj aktiviripe ano putardo thanipe pahndindoj athe thaj fotografia, fotogrami, skulptura, akcia thaj multimedia. Lel butvar than ke pradar\u0161ane ko Zagrebeskoro salono ane sekcie bahan, fotografia thaj skulptura. Ma\u0161kar e klidarde proektia si i Eksperimentalnikani piktura e dizakiri, Trodimenzionalnikano stripo, o Parko e Tikne princeskoro thaj seria butja e fotogramengoro Tumari u\u010dhalin va\u0161i historia, savi so kulmirinel e pradar\u0161anasa Muyeum e u\u010dhalinengoro ano HDLU ano 2001.<\/p>\n Sanja Bachrach – Kri\u0161tofi\u0107 si grafikani dizajneri, auktori thaj kustosi e pradar\u0161anakoro thaj si rodljarutni e vizuelnikane kulturakoro. Katar o 1980. ber\u0161 kerel buti pe romesa Mario Kri\u0161tofi\u0107 ano tandemo Bachrach – Kri\u0161tofi\u0107. Uzal o grafikano dizajno thaj fotografia kerel thaj koncipiripe thaj formiripe e pradar\u0161anengoro thaj rodljaripasa e historiakoro e dizajneskoro, artutnipe, urbanizam thaj popularnikani kultura katar o dujto ekva\u0161ipe katar o 20. \u0161eliber\u0161. Auktori si thaj koauktori bute pradar\u0161anengoro, publikaciengoro thaj rodljaripaskere proektongoro thaj isi la but lele pursakia.<\/p>\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_column_text]
\n<\/strong>Otvorenje 21.9.2026. u 19 sati
\n<\/strong>Centar kulture na Pe\u0161\u010denici<\/strong>\u00a0<\/strong><\/p>\n