Nicoline van Harskamp - DeLVe | Institute for Duration, Location and ...
Nicoline van Harskamp - DeLVe | Institute for Duration, Location and ... Nicoline van Harskamp - DeLVe | Institute for Duration, Location and ...
Biografije / Biographies A.C.A.B. je parola koja znači „All Cop(per)s Are Bastards“ („svi policajci su gadovi“). Ovom se parolom najčešće koriste navijači, ispisuje se u obliku tetovaža, uličnih grafita i na transparentima tijekom utakmica. A.C.A.B. is a slogan, abbreviation for “All Cop(per)s Are Bastards”. It is used mostly by football fans, in the form of tattoos, street graffitti or banners displayed during football matches. Ziad Antar živi i radi u Saidi, Libanonu i u Parizu, Francuskoj. Završio je studij agronomije 2001, a fotografijom i videom se bavi od 2002. Boravio je na jedno-godišnjim rezidencijalnim programima u Palais de Tokyo u Parizu i na École des Beaux-Arts de Paris. Njegovi video radovi su, između ostalih: Tokyo Tonight (2003), WA (2004), Tambourro (2004), Safe Sound (2006), Tank You (2006), Marche Turque (2007), Mdardara (2007). Njegov prvi dokumentarac iz 2002. bavio se francuskim fotografom Jean-Luc Moulèneom, a kasniji dokumentarci, u produkciji arapskog informativnog kanala al-Arabiya, uključuju: L’Islam et la laïcité (2004), Lebanon and its Partners (2005), The Role of Europe (2007). Ziad Antar lives and works between Saida (Lebanon) and Paris (France). He graduated with a degree in agricultural engineering in 2001, and has been working in photography and video since 2002. He completed a one-year residency at the Palais de Tokyo in Paris in 2003 and a one year residency at the École des Beaux-Arts de Paris. Videos include, Tokyo Tonight (2003), WA (2004), Tambourro (2004), Safe Sound (2006), Tank You (2006), Marche Turque (2007), Mdardara (2007). He directed his first documentary in 2002 on the French photographer Jean-Luc Moulène, and has since made several documentaries for the Arabic news channel al-Arabiya, including, L’Islam et la laïcité (2004), Lebanon and its Partners (2005), The Role of Europe (2007). Ivana Bago i Antonia Majača su povjesničarke umjetnosti i kustosice iz Zagreba gdje vode Galeriju Miroslav Kraljević (G-MK) te istraživačku organizaciju Institut za trajanje, mjesto i varijable(DeLVe ). Zajedno su kurirale brojne projekte u G-MK te međunarodne izložbe i projekte: Stalking With Stories – The Pioneers of the Immemorable (Apexart, New York, 2007.), Be A Happy Worker: Work-to-Rule! (G-MK, Zagreb, 2008.), Salon Revolucije (HDLU, Zagreb, 2008.), Where to go? Notes on Transformation after 1989 (Rotor, Graz, 2009.), And Then Nothing Turned Itself Inside Out (Kunsthalle Exnergasse, Beč, 2009.), Izvađeni iz gomile. Sudbina udaljenih planeta (Galerija Škuc, Ljubljana, 2009.). Bile su gošće urednice časopisa Život umjetnosti pod nazivom Izda(va)nje revolucije (IPU, 83/2009.). Voditeljice su i autorice nekoliko edukacijskih projekata, među kojima je i godišnji seminar u sklopu projekta Kustoska platforma koji je ostvaren u suradnji s Kulturom promjene Studentskog centra u Zagrebu. 180
Ivana Bago and Antonia Majača are art historians and curators from Zagreb where they run Galerija Miroslav Kraljević (G-MK), as well as the research organization Institute for Duration, Location and Variables and (DeLVe). Alongside numerous projects in G-MK, together they have curated international exhibitions and projects Stalking With Stories – The Pioneers of the Immemorable (Apexart, New York, 2007); Be A Happy Worker: Work-to-Rule! (G-MK, Zagreb, 2008), The Salon of Revolution (HDLU, Zagreb, 2008), Where to go? Notes on Transformation After 1989 (Rotor, Graz, 2009), Where Everything Is Yet to Happen / SPAPORT (Banja Luka, 2009), And Then Nothing Turned Itself Inside Out (Kunsthalle Exnergasse, Vienna, 2009), Removed From the Crowd – the Fate of the Outer Planets (Škuc Gallery, Ljubljana, 2009). They have edited the 83rd issue of the periodical Život umjetnosti titled Issu(ing) the Revolution. (published by the Institute of Art History). They are authors of several education projects, including a one-year seminar within the project Kustoska platforma realised with Culture of change, Student Center in Zagreb. Zbyněk Baladrán je umjetnik, pisac i organizator koji živi i radi u Pragu, u Češkoj. Studirao je istoriju umjetnosti na Karlovom Univerzitetu u Pragu i umjetnost na Akademiji likovnih umjetnosti, također u Pragu. Izlagao je na brojnim internacionalnim izložbama, među kojima su: Manifesta 5, 2004, Donostia, San Sebastián, The Need to Document, Basel, Luenenburg, 2005, Praguebiennale 2 & 3, Prague, 2005/2007, Auditorium, Stage, Backstage, Frankfurter Kunstverein, Frankfurt, 2006, October, Exit, Memory and Desir 08, Glossary, Secession Vitrine, Vienna, 2008, Gyumri Biennial, Gyumri, Armenia, 2008, Try again, fail again, fail better, Műcsarnok, Budapest, 2008, The Provocation of the Real, National Center for the Arts, Mexico, 2008, Be a Happy Worker: Work-to-Rule, G-MK, Zagreb, 2008, Another City, Zacheta, Warszawa, 2008, Same Democracy, Neon>Campobase, Bologna, 2008, Castillo/ Coralles, Paris, 2008, i dr. Također piše o umjetnosti i srodnim disciplinama. Jedan je od osnivača praške Galerije Display i Galerije tranzitdisplay, prostora za suvremenu umjetnost koji postoji od 2001. i koji se prvenstveno fokusira na prezentaciju internacionalne suvremene umjetnosti. Od 2007. surađuje s teoretičarem Vitom Havránekom na projektu Monument to Transformation, koji se bavi društvenim promjenama proteklih 30 godina. Zbyněk Baladrán is an artist, author and organizer based in Prague, Czech Republic. He studied art history at the Charles University and at the Academy of Fine Arts, both in Prague. He has shown his work in numerous international exhibitions, including Manifesta 5, 2004, Donostia, San Sebastián, The Need to Document, Basel, Luenenburg, 2005, Praguebiennale 2 & 3, Prague, 2005/2007, Auditorium, Stage, Backstage, Frankfurter Kunstverein, Frankfurt, 2006, October, Exit, Memory and Desire, Artra gallery, Milan, 2007, Why do you Resist?, Forum Stadtpark, Graz, 2007, Stalking With Stories, Apexart, New York, 2007, Synonyma, MtT 1989-1968-2009, Index, Stockholm, 2007, What History do they represent?, together with Vangelis Vlahos, Blow de la Barra, London, 2008, Glossary, Secession Vitrine, Vienna, 2008, Gyumri Biennial, Gyumri, Armenia, 2008, Try again, fail again, fail better, Műcsarnok, Budapest, 2008, The Provocation of the Real, National Center for the Arts, Mexico, 2008, Be a Happy Worker: Work-to-Rule, G-MK, Zagreb, 2008, Another City Zacheta, Warszawa, 2008, Same Democracy, Neon>Campobase, Bologna, 2008, Castillo/Coralles, Paris, 2008, and others. He also writes text about art and close disciplines. He was one of the co-founders of the Prague Display gallery and tranzitdisplay gallery, space for contemporary art, that presented its first exhibition in 2001 and is focused to presenting international contemporary art. Since 2007 he has collaborates with theoretician Vit Havranek on the project Monument to Transformation, which is focused on changes in society last 30 years. Yael Bartana (r. 1970, Afula, Israel) živi i radi u Amsterdamu i Tel Avivu. Diplomu je stekla na Bezalel akademji umjetnosti i dizajna u Jeruzalemu, a magisterij na Školi vizuelnih umjetnosti u New Yorku. Također je bila učesnica rezidencijalnog programa na Rijksakademie (2000-2001).
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Biografije / Biographies<br />
A.C.A.B. je parola koja znači „All Cop(per)s Are Bastards“ („svi policajci su gadovi“). Ovom se parolom<br />
najčešće koriste navijači, ispisuje se u obliku tetovaža, uličnih grafita i na transparentima<br />
tijekom utakmica.<br />
A.C.A.B. is a slogan, abbreviation <strong>for</strong> “All Cop(per)s Are Bastards”. It is used mostly by football<br />
fans, in the <strong>for</strong>m of tattoos, street graffitti or banners displayed during football matches.<br />
Ziad Antar živi i radi u Saidi, Libanonu i u Parizu, Francuskoj. Završio je studij agronomije 2001, a<br />
fotografijom i videom se bavi od 2002. Boravio je na jedno-godišnjim rezidencijalnim programima<br />
u Palais de Tokyo u Parizu i na École des Beaux-Arts de Paris. Njegovi video radovi su, između<br />
ostalih: Tokyo Tonight (2003), WA (2004), Tambourro (2004), Safe Sound (2006), Tank You (2006),<br />
Marche Turque (2007), Mdardara (2007). Njegov prvi dokumentarac iz 2002. bavio se francuskim<br />
fotografom Jean-Luc Moulèneom, a kasniji dokumentarci, u produkciji arapskog in<strong>for</strong>mativnog<br />
kanala al-Arabiya, uključuju: L’Islam et la laïcité (2004), Lebanon <strong>and</strong> its Partners (2005), The Role of<br />
Europe (2007).<br />
Ziad Antar lives <strong>and</strong> works between Saida (Lebanon) <strong>and</strong> Paris (France). He graduated with a degree<br />
in agricultural engineering in 2001, <strong>and</strong> has been working in photography <strong>and</strong> video since<br />
2002. He completed a one-year residency at the Palais de Tokyo in Paris in 2003 <strong>and</strong> a one year<br />
residency at the École des Beaux-Arts de Paris. Videos include, Tokyo Tonight (2003), WA (2004),<br />
Tambourro (2004), Safe Sound (2006), Tank You (2006), Marche Turque (2007), Mdardara (2007). He<br />
directed his first documentary in 2002 on the French photographer Jean-Luc Moulène, <strong>and</strong> has<br />
since made several documentaries <strong>for</strong> the Arabic news channel al-Arabiya, including, L’Islam et la<br />
laïcité (2004), Lebanon <strong>and</strong> its Partners (2005), The Role of Europe (2007).<br />
I<strong>van</strong>a Bago i Antonia Majača su povjesničarke umjetnosti i kustosice iz Zagreba gdje vode<br />
Galeriju Miroslav Kraljević (G-MK) te istraživačku organizaciju Institut za trajanje, mjesto i<br />
varijable(<strong>DeLVe</strong> ). Zajedno su kurirale brojne projekte u G-MK te međunarodne izložbe i projekte:<br />
Stalking With Stories – The Pioneers of the Immemorable (Apexart, New York, 2007.), Be A Happy Worker:<br />
Work-to-Rule! (G-MK, Zagreb, 2008.), Salon Revolucije (HDLU, Zagreb, 2008.), Where to go? Notes<br />
on Trans<strong>for</strong>mation after 1989 (Rotor, Graz, 2009.), And Then Nothing Turned Itself Inside Out (Kunsthalle<br />
Exnergasse, Beč, 2009.), Izvađeni iz gomile. Sudbina udaljenih planeta (Galerija Škuc, Ljubljana,<br />
2009.). Bile su gošće urednice časopisa Život umjetnosti pod nazivom Izda(va)nje revolucije (IPU,<br />
83/2009.). Voditeljice su i autorice nekoliko edukacijskih projekata, među kojima je i godišnji<br />
seminar u sklopu projekta Kustoska plat<strong>for</strong>ma koji je ostvaren u suradnji s Kulturom promjene<br />
Studentskog centra u Zagrebu.<br />
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