Ivan Gundić rođen je 1993. u Koprivnici. Završio je preddiplomski studij na Fakultetu političkih znanosti i diplomski studij fotografije na Akademiji dramske umjetnosti u Zagrebu. Dobitnik je dviju Rektorovih nagrada te Dekanove nagrade za diplomski rad. Bavi se temama memorije, jezika, društva i identiteta. Poseban interes pokazuje za eksperimentiranje sa medijem fotografije, alternativnim poimanjima procesa i tehnika fotografiranja, kao i za kombiniranje fotografije i drugih medija. Godine 2018. predstavio se samostalnom izložbom u sklopu međunarodnog festivala fotografije Organ Vida. Od 2021. do 2024. godine izlagao je samostalno u Galeriji F8 u Zagrebu, Galeriji Kazamat HDLU Osijek, AK galeriji u Koprivnici te Salonu Galić u Splitu. Dobitnik je nagrade u sklopu Međunarodnog studentskog biennala, nagrade MLU u sklopu 36. Salona mladih HDLU te Grand Prix-a Sarajevo Photography Festivala.
Ivan Gundić was born in 1993 in Koprivnica. He completed undergraduate studies at the Faculty of Political Sciences and graduate studies in photography at the Academy of Dramatic Art in Zagreb. He is a recipient of two Rector's awards and the Dean's award for his graduate work. His research focuses on themes of memory, language, society, and identity. He is particularly interested in exploring alternative photographic techniques and combining photography with other media. In 2018, he presented his work in a solo exhibition at the Organ Vida international photography festival. From 2021 to 2024, he exhibited independently at Gallery F8 in Zagreb, Gallery Kazamat HDLU Osijek, AK Gallery in Koprivnica and Salon Galić in Split. He is the winner of an award as part of the International Student Biennale, the MLU award as part of the 36th HDLU Youth Salon and the Grand Prix of the Sarajevo Photography Festival.
ivangundic.com
Ivan Gundić
Korištenje redovnog godišnjeg odmora, 2024. / Taking Annual Leave, 2024.
performans / performance
Nedugo nakon završene akademije morao sam pristati na kompromis i zaposliti se kao fotograf u multinacionalnoj korporaciji. Na posao putujem 80 kilometara, to je skoro 3 sata vožnje autom svaki dan. Svoju umjetničku praksu uporno pokušavam ugurati u vrijeme između. Za svako konkretnije bavljenje umjetničkim radom tražim godišnji, po tri ili četiri dana za izlaganje ili po jedan za neku (drukčije neizvedivu) etapu produkcije novog rada. U 22 slobodna dana godišnje, prijave na rezidencije ne dolaze u obzir. Pitam se može li zaposleni umjetnik uopće biti umjetnik i kosi li se to s umjetničkim pozivom općenito. Čitao sam da umjetnik radi i kad spava, no radi li i kad radi? U žurbi i vožnji između gradova često zamišljam tri dana mira i tišine za razmišljanje o vlastitom radu. U svakodnevnoj rutini koja sve više nalikuje na natezanje s divljim kojotom, čovjek poželi provesti tri dana s pužem. Iako se ta odluka naoko čini besmislenom, od puža se može puno naučiti. Puž je spor, ali uporan (kao i moja umjetnička praksa). Uostalom, tko bi potrošio tri dana godišnjeg za sjedenje s pužem i kako to uopće objasniti?
Shortly after graduating from the academy, I had to compromise and take a job as a photographer at a multinational corporation. My daily commute is a 80-kilometer journey, taking nearly three hours each way. However, I'm determined to fit my artistic practice into my busy schedule. To dedicate myself to artistic work in any meaningful way, I have to request annual leave – three or four days for exhibitions or one day for some (otherwise impossible) stage of producing a new piece. With only 22 days of annual leave, applying for residencies is out of the question. I wonder if a working artist can truly be an artist, and if this conflicts with the artistic vocation in general. I've read that an artist works even when they sleep, but do they also work when they work? In the rush and driving between cities, I often imagine three days of peace and quiet to reflect on my own work. In the daily routine that increasingly resembles a tug-of-war with a wild coyote, one longs to spend three days with a snail. Although this decision may seem pointless, there's much to learn from a snail. A snail is slow but persistent (like my artistic practice). Besides, who would spend three days of annual leave sitting with a snail and how would one even explain that?
