Tina Gverović je diplomirala slikarstvo na ALU u Zagrebu, završila poslijediplomski studij na Jan van Eyck Akademiji u Maastrichtu i doktorirala na sveučilištu Middlesex u Londonu. Njezin rad - često u formi dezorijentirajućih instalacija – istražuje ekonomiju i povijest materijala. Izlagala je na Folkestone Trijenalu, u muzeju Tate Modern, na Bijenalu u Busanu, a 2017. godine je uz Marka Tadića bila predstavnica Hrvatske na 57. Venecijanskom bijenalu.

Ben Cain je diplomirao na smjeru interaktivnih umjetnosti na Metropolitan University u Manchesteru, te zavrsio poslijediplomski studij na Jan van Eyck Akademie, u Maastrichtu. Sudjelovao je na brojnim izložbama te izlagao u međunarodnim institucijama i manifestacijama poput Manifesta 9.; Weils, Bruxelles; Turner Contemporary, Margate; Supplement Gallery, ICA, London.

Gverović i Cain su suradivali na nizu umjetničkih projekata, nedavno na zajedničkoj samostalnoj izložbi u Muzeju grada Zagreba, te su izveli rad u javnom prostoru na kampusu Sveučilišta u Readingu u Velikoj Britaniji.

Tina Gverović graduated from the Academy of Fine Arts in Zagreb, completed her postgraduate studies at the Jan van Eyck Academy in Maastricht, and received PhD from Middlesex University in London. Her work, often in the form of disorienting installations, explores the economy and history of materials. She has exhibited at the Folkestone Triennial, Tate Modern, the Busan Biennale, and in 2017, alongside Marko Tadić, represented Croatia at the 57th Venice Biennale.

Ben Cain graduated in Interactive Arts from Manchester Metropolitan University and completed his postgraduate studies at the Jan van Eyck Academy in Maastricht. He has participated in numerous exhibitions and has shown work at international institutions and manifestations such as Manifesta 9; Weils, Brussels; Turner Contemporary, Margate; Supplement Gallery, and ICA, London.

Gverović and Cain have collaborated on various artistic projects, most recently in a joint solo exhibition at the Zagreb City Museum, and have recently installed work in public space at the University of Reading campus in the UK.

www.tinagverovic.com

https://ben-cain.blogspot.com/

Tina Gverović i Ben Cain
Slow Jacket, 2024.
multimedijalna instalacija; video, 5'00'' / multimedia installation; video, 5'00''
cca 400 x 500 cm (dimenzije promjenjive) / approx. 400 x 500 cm (dimensions variable)

Rad je postavljen kao kombinacija dva velika slobodnostojeća flat screen monitora i šest visećih komada tkanine obješenih na metalne sajle, postavljenih tako da tvore scenu. Kada se gleda sprijeda, fragmenti pokretne slike i različito obojena tkanina mogu se vidjeti kao jedna ravna slika. Međutim, budući da su ekrani i tkanina postavljeni na različitim dubinama, moguće je proći između različitih slojeva ekrana/tkanine tako da rad postaje mini okruženje.

Video je proces – izmjenjuju se kadrovi usporene izrade radne kute. Na rukavima možemo nositi razne stvari: srca, zakrpe, značke, etikete, logotipe, sigurnosne igle, a te stvari otkrivaju na različite načine. Slično tome, šavovi mogu biti vidljivi ili skriveni, a izrada odjevnog predmeta može biti više ili manje opipljiva. U slučaju ove radne kute, nije toliko riječ o nošenju emocionalnog ili psihičkog unutarnjeg stanja izvana, već o pokušaju da se odjevnim predmetom progovori o radu (vještom i nevještom!), trudu i vremenu uloženom u njegovu izradu. Ova kuta je prerađena verzija stare tradicionalne radne kute – materijal je izdržljiv, korisnost iznad svega, zaštitna i korisna. Međutim, umjesto znački, ova jakna ima nekoliko slika prišivenih na vanjsku stranu. Slike su otisci na tkanini i prikazuju različite faze izrade odjevnog predmeta, s ciljem skretanja pažnje na rad uložen u radni kaput. To je spor proces, a mi smo ga dodatno usporili – tkanina se kupuje, reže, pere, boji, opet pere, pegla… Ovaj radni kaput je zapis o transformaciji materijala u predmet – na neki način možda su to svi odjevni predmeti, ali ovaj želi vizualizirati trud, mrežu aktivnosti i ljudi te općenito vrstu rada iza kulisa koji - kada se zaboravi - olakšava razmišljanje o odjeći kao nepolitičkoj ili nekompliciranoj u štetnim gospodarstvima.

The installation combines two large, freestanding flat-screen monitors and six suspended pieces of fabric hung from metal cables, arranged to form a scene. From a frontal viewpoint, fragments of moving images and colorful fabrics siem to merge into one flat picture. However, the layered arrangement of screens and fabric invites viewers to move around, transforming the work into a mini-environment.

The video is a process—a sequence of slowed-down shots showcasing the craftsmanship involved in making a work coat. The sleeves can be adorned with a variety of symbols, from hearts and patches to badges, logos or safety pins, each carrying its own meaning and revealing something different. Similarly, seams can be visible or hidden, and the creation of a garment can be more or less tangible. In the case of this work work, it's not so much about wearing one's emotional or psychological state on the outside, but rather an attempt to use clothing to speak about work (both skilled and unskilled!), effort, and the time invested in its creation. This coat is a reworked version of an old, traditional work coat—the material is durable, utility is paramount, it's protective and useful. However, instead of badges, this jacket has several images sewn onto the outer surface. The images are printed on fabric and depict various stages of garment production, aiming to draw attention to the labor involved in making a work coat. It's a slow process, and we've slowed it down even further—fabric is bought, cut, washed, dyed, washed again, ironed... This work coat is a record of the transformation of material into an object—in a way, perhaps all garments are, but this one seeks to visualize the effort, the interconnected processes and people, and the general type of behind-the-scenes work that, when forgotten, makes it easier to think of clothing as apolitical or uncomplicated in harmful economies.