Umělec magazine 2001/1 >> Salon 26 List of all editions.
Salon 26
Umělec magazine
Year 2001, 1
6,50 EUR
Send the printed edition:
Order subscription

Salon 26

Umělec magazine 2001/1


Željko Blače | biennal | en cs

The 26th Youth Salon, a key Croatian exhibition that presents a young generation of artists, opened at the Zagreb exhibition hall in January 2001. Since 1967 the Salon has given students not yet ready for individual presentations an opportunity to organize their first shows. It has also traditionally been a place to come and observe contemporary changes in art.
After several attempts at organizing exhibitions in this complex, the fifth pavilion has now become the place where for three weeks visual art is presented and relevant cultural events take place.
This year’s Salon has again confirmed that young people want to maintain the tradition of making revolutionary changes there. On several occasions the curators of this year’s exhibition, Slaven Tolj, Jurij Krpan and Michal Koleček, have underscored the 1970s concept of reaching into society and politics. When the contest for the Salon award was announced, Tolj stressed the need to get beyond “the lack of ideas for Salon exhibitions. Works are being chosen, presented and awarded only within the framework of their own medium. The Academy students walk the well-trodden path from their education to exhibiting at the Salon and then on to helpless wandering.”
Jurij Krpan, manager of Kapelica Gallery in Ljubljana, expressed a similar view in the introductory text to the first of two reports published during Salon. According to him the concepts of the “Salon” and the “young” turn this institution into an anachronism and distance it from the context that the curators and organizers are dealing with.
Among the main “topics” of the exhibition were “individualism and/or collectivism,” “responsibility,” “frustration as an impulse,” and “humor.” These were the higher directives behind the general sensibility of the 26th Youth Salon, rather than the categories that the works were supposed to be presented in. The original plan called for around 270 works but in the end only 30 were displayed. The only excuse for this is the poor state of art production in Croatia.
One of the primary tasks of this year’s Salon was the presentation of the various organizational models being formed outside the old institutions, adding to the universal context. With this aim in mind, Tolj introduced guests from foreign centers who were “…passionately infected by life and ready to see, hear and recognize the pulse of reality. By deciding to erase categories we are confirming that we are only people and not artists, sculptors, designers, architects and so on. No category or box will protect us from real life and real questions.”

Erik Hobijn, Chemo-bar, 2001, performance
Eclipse, untitled, 2001, billboard
Aside from Michal Koleček, who has introduced lesser-known art projects at the Emil Filla Gallery in the Czech Republic, other guests included t0 Public Netbase from Vienna, the Foundation for Art and Creative Technology from Liverpool, Hull Time Based Arts from England, and Bureau of Low Technology—San Francisco. The guest list also included artists from Bologna, Eclipse from Ljubljana, James Wallbank from Redundant Technology Initiative, RtMark from the USA, performer Oscar Dawicki from Krakow, Hanor Hager, and a curator from London’s Tate Modern.
Theory was an issue in the Salon for the first time, and this section was the only one open to artists over 35. Unfortunately, the theoretician event/performance artist, Maša Štrbac, wished to initiate a discussion on the Salon at the Salon itself but found no fertile soil. The guest theoretician Roy Ascott, who had been selected by Zoran Roško, the organizer of the theoretical part of the exhibition, was a poor choice, and coupled with Miška Suvaković’s non-attendance, this part of the exhibition failed to deliver. The theoretical group Past Forward from the Mama Institute presented two entries, but it is as hard to discuss their success as it was to hear above the noise in the pavilion. Sonja Bliski Uzelac took advantage of this bad constellation, working off the famous syntagma: “what, how and for whom to exhibit.” As did Goran Blagus with the text “Art on the Net,” which, in addition to being average and incorrectly titled (the author was talking about net art), it basically did not contribute to the theoretical field it was working in.
The traditional AGM award was duly awarded to Tanja Dabo, whose work most visitors admired for its specifically intimate and modest testimony (a combination of black and white photographs and text). The curators, Krpan, Tojl and Koleček, tried to avoid a sporting-style kind of competitiveness, so they divided the Salon award equally between three artists: Denis Krasković for How the Damned from Hell Saved Ronald Regan’s Gangsters, Martin Crtalić for My Life, My Art, and Ivan Marusić Klif for an untitled interactive video-installation. Despite their diverse sensibilities all three shared an interest in the media
The 26th Salon will probably be remembered for its grand intentions, which, lacking financial support and suffering organizational failures due to a number of compromises, unfortunately could not be realized. Public disinterest despite the prestigious guests from abroad, who clung together as if wishing they were holding a far more interesting show, tells us something about how little understanding there is for contemporary art. In the end, this year’s Salon remained, as Tojl had predicted, mostly a survey of possible directions and not a unified form.

Translated by Lenka Kršiaková. Photo: Marko F. Ercegović



There are currently no comments.

Add new comment

Recommended articles

Intoxicated by Media Déjà-vu / Notes on Oliver Pietsche"s Image Strategy Intoxicated by Media Déjà-vu / Notes on Oliver Pietsche"s Image Strategy
Goff & Rosenthal gallery, Berlin, November 18 - December 30, 2006 Society permanently renegotiates the definition of drugs and our relationship towards them. In his forty-five minute found-footage film The Conquest of Happiness, produced in 2005, Oliver Pietsch, a Berlin-based video artist, demonstrates which drugs society can accommodate, which it cannot, and how the story of the drugs can be…
Magda Tóthová Magda Tóthová
Borrowing heavily from fairy tales, fables and science fiction, the art of Magda Tóthová revolves around modern utopias and social models and their failures. Her works address personal and social issues, both the private and the political. The stylistic device of personification is central to the social criticism emblematic of her work and to the negotiation of concepts used to construct norms.…
Contents 2016/1 Contents 2016/1
Contents of the new issue.
Wicked / Interview with Jim Hollands Wicked / Interview with Jim Hollands
“A person must shake someone’s hand three times while gazing intently into their eyes. That’s the key to memorizing their name with certainty. It is in this way that I’ve remembered the names of 5,000 people who have been to the Horse Hospital,” Jim Hollands told me. Hollands is an experimental filmmaker, musician and curator. In his childhood, he suffered through tough social situations and…
27.07.2014 19:39
Where to go next?
out - archeology
S.d.Ch, Solitaires and Periphery Culture (a generation born around 1970)
S.d.Ch, Solitaires and Periphery Culture (a generation born around 1970)
Josef Jindrák
Who is S.d.Ch? A person of many interests, active in various fields—literature, theater—known for his comics and collages in the art field. A poet and playwright foremost. A loner by nature and determination, his work doesn’t meet the current trends. He always puts forth personal enunciation, although its inner structure can get very complicated. It’s pleasant that he is a normal person and a…
out - poetry
THC Review and the Condemned Past
THC Review and the Condemned Past
Ivan Mečl
We are the fifth global party! Pítr Dragota and Viki Shock, Fragmenty geniality / Fragments of Charisma, May and June 1997. When Viki came to visit, it was only to show me some drawings and collages. It was only as an afterthought that he showed me the Czech samizdat publication from the late 1990s, THC Review. When he saw how it fascinated me, he panicked and insisted that THAT creation is…
To hen kai pán (Jindřich Chalupecký Prize Laureate 1998 Jiří Černický)
To hen kai pán (Jindřich Chalupecký Prize Laureate 1998 Jiří Černický)
birthing pains
Who’s Afraid of Motherhood?
Who’s Afraid of Motherhood?
Zuzana Štefková
Expanding the definition of “mother” is also a space for reducing pressure and for potential liberation.1 Carol Stabile The year was 2003, and in the deep forests of Lapák in the Kladno area, a woman in the later phase of pregnancy stopped along the path. As part of the “Artists in the Woods” exhibit, passers-by could catch a glimpse of her round belly, which she exposed especially for them in…
Books, video, editions and artworks that might interest you Go to e-shop
15 x 21 x 3 cm / 160 pages / sérigraphie 14 pass.couleur / 200 ex
More info...
30 EUR
Text: Jan Čep| Design: Lenka Jasanská| Size: 26 x 30 x 1 cm| 80 pages of special print on coated paper with photographs in sewn...
More info...
26 EUR
More info...
2,50 EUR
Burning at the stake, 2014, acrylic painting on paper, 69 x 80 cm
More info...
1 450 EUR


Divus and its services

Studio Divus designs and develops your ideas for projects, presentations or entire PR packages using all sorts of visual means and media. We offer our clients complete solutions as well as all the individual steps along the way. In our work we bring together the most up-to-date and classic technologies, enabling us to produce a wide range of products. But we do more than just prints and digital projects, ad materials, posters, catalogues, books, the production of screen and space presentations in interiors or exteriors, digital work and image publication on the internet; we also produce digital films—including the editing, sound and 3-D effects—and we use this technology for web pages and for company presentations. We specialize in ...

Citation of the day. Publisher is not liable for any mental and physical states which may arise after reading the quote.

Enlightenment is always late.
CONTACTS AND VISITOR INFORMATION The entire editorial staff contacts

Arch 8, Resolution Way, Deptford
London SE8 4NT, United Kingdom

Open Wednesday to Saturday 12 - 6 pm


Office: +44 (0) 20 8692 5157

Ivan Mečl, +44 (0) 7526 902 082


Shop, +44 (0) 20 8692 5157

Former papermill area, Nádražní 101
252 46 Vrané nad Vltavou, Czech Republic, +420 602 269 888

Open from Wednesday to Sunday between 11am to 6pm. From 15.12. to 15.1. only on appointment.


Potsdamer Str. 161, 10783 Berlin, Germany, +49 (0) 1512 9088 150
Open Wednesday to Saturday 2 - 7 pm



Divus New book by I.M.Jirous in English at our online bookshop.