The group exhibition C.O.S.M.O.G.O.N.I.E.S. opened at Gallery Pikto (Branimir Center in Zagreb) on Tuesday, May 8th 2018 at 8 pm. The exhibition is available for visit until May 15th, Monday to Friday from 5:00 pm to 8:00 pm.
From the catalogue:
The C.O.S.M.O.G.O.N.I.E.S. project, which demonstrates the interdisciplinary and multimedia networking of contemporary visual practices and conceptual strategies of five assembled artists – Lena Franolić, Vedrana Valenčić, Maja Radešić, Igor Gržetić and Lea Čeč – offers a variety of different but interconnected exhibits related primarily to visual (images, drawing, collage, photography, computer graphics, video), as well as textual (poetry) reflections on cosmogonic ideas and theories, in terms of (meta)physics and theology of origin and development of the universe largely reduced to an archetypal matrix.
The creations of Lena Franolić (paintings and drawings) and Vedrana Valenčić (photographs, video, poetry), while considering the creative approach, are interesting at first to connect with two modernist directions that were successfully projected in the postmodern period – (neo)expressionism and (neo)symbolism. Expressionism because the creative process is based on the mechanism of automatism, that is, on the materialization of uninterrupted sequences of thoughts (Lena) or the literal transfer – through recording of accidentally detected and then captured energy structures (Vedrana) in the visual or textual medium; while symbolism – because it is close to iconology: thought projected and captured in the iconographic structure of the work. It is precisely this exploration of personal visual genesis that introduces the theory of mimesis according to which the task of creating in one of the media is to convey reality as it is. However, the modern theory of objection has been completely rejected by mimesis, because our visual apparatus does not see the world as it really is, which means that its true visual materialization is impossible. The abolition of mimesis also eliminates the distinction between abstraction and realism, which on several levels (consciously or unconsciously) consider, both Lena’s and Vedrana’s works. But while abstraction is mostly communicated at first, realism becomes accessible through thematic analysis, because it is the visualization – evocation of concrete, yet often elusive, segments of reality such as energies, emotions, or symbols, often understood in their (deeply) mystical essence.