mlu - mlu

Kristina Marić
www.kristinamaric.com

Kristina Marić rođena je 1990. u Đakovu. Diplomirala je 2015. na Umjetničkoj akademiji u Osijeku, na Odsjeku za likovnu umjetnost. Dobitnica je Priznanja za najbolji rad iz multimedije u akademskoj godini 2013/’14. Dobitnica je Red Carpet Art Award, austrijske nagrade za mlade umjetnike 2017. Godine 2018. finalistica je Nagrade Radoslav Putar, Instituta za suvremenu umjetnost u Zagrebu. Boravila je na umjetničkim rezidencijama Art Quarter Budapest (Mađarska, 2013.), Nida Art Colony (Litva, 2019.), CCN-Artist in Residence, Kulturvermittlung Steimark (Austrija, 2020.). Sudjeluje na brojnim izložbama i festivalima u Hrvatskoj i inozemstvu, među kojima su: HT nagrada za suvremenu umjetnost (MSU Zagreb, 2019.), 13 Festivalen Göteborg (Švedska, 2018.), Performance Art Festival (Osijek, 2017.), 26. i 24. slavonski biennale (MLU, Osijek, 2018., 2016.), 34. salon mladih (Dom HDLU-a, Zagreb, 2018.), 51. i 54. zagrebački salon vizualne umjetnosti (Dom HDLU-a, Zagreb, 2016. i 2019.), Device Art (Zagreb, 2015.), Crosstalk video art Festival (Budimpešta, 2013.). Članica je HDLU-a Osijek. Od 2018. voditeljica je Galerije Kazamat u Osijeku. Od 2016. asistentica je na Akademiji za umjetnost i kulturu u Osijeku.

Kristina Marić was born in Đakovo in 1990. She graduated from the Academy of Arts in Osijek, Fine Arts Department in 2015. She won the Award for the best work in multimedia in the academic year 2013/14, and in 2017 she received the Red Carpet Art Award, the Austrian award for young artists. In 2018 she was the finalist of the Radoslav Putar Award, awarded by the Institute of Contemporary Art in Zagreb. She participated in the artist in residence programs in Art Quarter Budapest (Hungary, 2013), Nida Art Colony (Lithania, 2019), CCN-Artist in Residence, Kulturvermittlung Steimark (Austria, 2020). She has participated in numerous exhibitions and festivals in Croatia and abroad, including HT Award for Contemporary Art (MSU Zagreb, 2019), 13 Festivalen Göteborg (Sweden, 2018), Performance Art Festival (Osijek, 2017), the 26th and 24th Slavonian Biennale (MLU, Osijek, 2018, 2016), the 34th Youth Salon (Home of HDLU, Zagreb, 2018), the 51st and 54th Zagreb Salon of Visual Arts (Home of HDLU-a, Zagreb, 2016, 2019), Device Art (Zagreb, 2015), Crosstalk video art Festival (Budapest, 2013). She is a member of HDLU Osijek and since 2018 the manager of the Kazamat Gallery in Osijek. Since 2016, she has been an assistant at the Academy of Arts and Culture in Osijek.

Eye to Eye bezirksgericht 1

Eye to Eye bezirksgericht 3

Kristina Marić
Oči u oči, 2020., performans u javnom prostoru, video i fotodokumentacija, trokanalna video instalacija
Eye to Eye, 2020, performance in public space, video and photo documentation, three-channel video installation

Performans “Oči u oči” izveden je u javnom gradskom prostoru, gdje umjetnica u središte pozornosti stavlja odnos između pojedinca i sustava nadzornih kamera. Suočena je licem u lice s kamerom, uz minimalističku gestu zurenja u nadzorni sustav. Umjetnica koja šuti i nepomično stoji, ovim činom postavlja pitanje što se događa kada pojedinac uzvrati pogled, oči u oči prema upornom promatraču. U svojevrsnom preokretu u situaciji neprekidnog nadgledanja, elektroničko oko susreće ljudsko. Akcija koja istovremeno – i je i nije akcija, zbog svoje napadne pasivnosti i lišenosti čitljive namjere, pokreće čitav niz pitanja. Pogled usmjeren u promatrača u sebi sadrži zlokobni i prijeteći predznak na koji nadzornici imaju potrebu i obvezu reagirati.
(iz umjetničine izjave)

The performance "Eye to Eye" takes place in a public city space, where the artist focuses on the relationship between the individual and the surveillance camera system. She confronts the camera face to face, with a minimalist gesture of staring at the surveillance system. The artist's act, silent and motionless, raises the question of what happens when an individual looks back face to face with a persistent observer. In a kind of reversed situation of constant surveillance, the electronic eye meets that of a human. This action, being and yet not being one at at the same time due to its offensive passivity and deprivation of distinct intention, raises many questions. The gaze directed at the observer contains within itself a sinister and threatening omen to which supervisors have a need and obligation to respond.
from the artist's statement)