Group exhibition entitled On Photography At The Academy of Arts Osijek has been opened to the public on December 1st, 2017  in the Gallery of Fine Arts in Osijek, Croatia. The exhibition, curated by Vladimir Frelih,  showcased student works in the photography medium. What is amazing about this exhibition is the unique approach of each artist to the photography medium, which resulted in great contemporary photography artworks.

I am very happy to be a part of this exhibition, and a couple of photographs from the series Apartment (2016) and Untitled (2015) were included.

The following artists have been featured in this group exhibition: Adam Atila, Ana Petrović, Andrea Knezović, Damir Lesinger, Dina Lukić, Dora Tomić, Dražen Budimir, Ida Đurkić, Ivan Matančević, Ivana Jozić, Ivona Medarski, Josip Kaniža, Karlo Arnold, Kristina Marić, Krunoslav Dundović, Lucija Jakovina, Lucija Marić, Luka Brico, Marija Matić, Marija Mikulić Bošnjak, Martina Ižaković, Mirna Petrović, Mirna Pokorić, Momir Baborac, Robert Fišer, Tamara Čes, and Zrinka Botić. 

For more information about each artist and their work, read the text about the exhibition, by Anamarija Koljanin.

(scroll down for Croatian version)

On Photography at the UAOS

The exhibition On Photography at the UAOS gathers selected works of the students from the Art Academy in Osijek, realized through photography classes under the mentorship of Professor Vladimir Frelih during the last ten years, from the beginning of the photography class at the UAOS.

The exhibition includes the works of the first generation of students of the Art Academy in Osijek, some of which are those who continued to work as artists after the end of their studies and became noticed in the art scene. We know their work from solo and group exhibitions they are actively participating in, while some of them became educators and art pedagogues. On the other hand, the exhibition gathers the works of the students who exclusively chose to be only educators or they apply their knowledge outside of the sphere of contemporary art, as well as the youngest future artists and educators who are yet to finish their studies.

The photography classes have the goal to familiarize students with the basic terms and technical knowledge and applications of photography through different aspects of visual expression, covering a wide range from documentary photography to works that are created by visual exploration and experimentation with some of the aspects of media or visual, conceptual or representational problems. Aside from questioning the visual in photography and using photography for documenting situations or processes, the students are familiarized with using photography as an integral part of multimedia projects and connecting different art mediums.

Furthermore, learning how to choose and apply the photographic medium and technique for the realization of their work, how to conceive, develop, perform, and present a photographic project, how to compare and combine different photographic experiences from history and theory of photography is learned simultaneously through adopting a multimedia approach and an attitude that photography is simply one of the possible mediums for artistic expression within a number of contemporary art strategies and that choosing photography as a medium comes from solving some sort of artistic problem, idea or a concept.

One of the more complex projects that include multiple mediums is the work of Josip Kaniža, here present with the series of photographs Untitled and Copy/Paste. In this work, photography is used to document imprints of a space with the frottage technique so that the photographs document the relief structure created with graphite. With this process, the photography series functions as an archive of the space transferred into imprints and at the same time as a series of abstract paintings, while it’s primarily created as a document of an artistic process.

Interest for abstract visuals and transferring content from one medium to another is characteristic to Ana Petrović’s Untitled (from the LIFRAM series). Her series of five photographs records light from a movie projector so that the light alone and the spreading of light between the projector and the screen becomes the content of the image, and the series of abstract compositions have subtle tonal variations within an identical frame.

A couple of other authors are also interested in aspects of photography where tonal or coloristic visual compositions are made that move towards abstraction or difficulty of discerning motifs, usually in series, shooting surface structure in close-ups like a flimsy wall, pavement or impressed traces on human skin, in the works of Dora Tomić (Layers of Rationalization), Momir Baborac (Untitled), and Kristina Marić (Traces). Or they emphasize color and geometry of lines and surfaces shot from above in the work of Marija Matić (From Above).

In the works of Krunoslav Dundović (Reconstruction I and Reconstruction II) and Mirna Pokorić (Object), a photograph is a result of a work process in the medium of digital video and animation. Dundović experiments with computer editing of video and collages of micro-frames and he achieves a visual fragmentation of a moving image while Pokorić constructs object from fragments of different discarded objects, photographs them and includes them in a stop animation. In another work, Pokorić intervenes with drawing and painting on the pages of a scrapbook bought at a flea market, and then she photographs her interventions over children drawings, accomplishing meaningful and visual contrasts.

Damir Lesinger explores the possibilities of narration in a photo-comic, using himself as a character in a fictionalized narrative structured through collage photography and a couple of works are done by digital photomontage and digital collage, and the result is strange and humorous displays that critically interpret reality, playing with ingrained patterns of representation. Like in the works of Atila Adam (Colt Python), Ivana Jozić (Dining and Forest), Marija Mikulić Bošnjak (Headless), Tamara Čes (Universal), and Lucija Marić (The Moon), the works a created with photo manipulation of their photographs or collected visual material. From photographs collected from the internet, Ana Petrović and Karlo Arnold create wall collages or photo-installations, questioning personal identity. Ana Petrović structures the installation from random portraits of the people with the same name and surname, while Arnold creates a visual archive of his everyday life and social interactions with the photographs from social media and his personal collection.

Everyday life is a subject of more series of works. Dina Lukić records staged situations where she questions the weird and offensive in the context of an ordinary everyday life. Andrea Knezović, dealing with the problem of self-representation, in the series Apart ment, openly records traces of her lifestyle, privacy, and intimacy, questioning them as a reflection of her personality and identity in relation to social norms. Ivan Matančević in the series In The Home of the Media, shoots portraits of his friends illuminated by a TV screen, in states of intense immersion in the content of the TV program, presenting them as passive consumers of mass media. Ida Đurkić in the series Habit captures the same sight every day, a view through a window with a lamp reflection, in different light conditions, at the same time of the day.

A couple of works deal with different aspects of presentation of the human body, using different techniques like cyanotype or scanning, and different approaches in recording staged situations and portraits: Kristina Marić (Dichotomy of Pain, Hansel and Gretel), Zrinka Botić (Untitled), Andrea Knezović (Untitled), Mirna Petrović (Memento), Martina Ižaković (Untitled), Tamara Čes (Zone).

Documentary aspects of photography are developed by Lucija Jakovina by portraying her grandmother and especially Robert Fišer in the series Transitions, precisely capturing the interior of devastated factories like Kožara and Šećerana, creating a visual archive of empty industrial buildings. A critical charge in capturing social reality is evident in the series Cats, Sex & Nazis by Dražen Budimir. He captures the sights inside cars, over the barrier of car windows, making rosaries with crosses hung on the rearview mirror the center of the composition. By repeating the motifs of the religious symbol which he combines with statements taken from internet forums where hate and bigotry is expressed next to religiousness, Budimir constructs a critical narrative about hypocrisy in the contemporary society. Kristina Marić, in the work Nobody’s square, is also critical towards society imprinted with nationalism. She uses photography to document phases of an art action where a piece of land dug up in the territory of one country is transferred over the state border and buried in the territory of the other country.

The number of different approaches, aesthetics and practices that can be seen in this selection of student works show encouraging courses of thought that develop towards different elementary or more complex medium exploration, depending on personal interests, preoccupations, and artistic curiosity. There are works from the ones that are easily read and simple to concepts and more complex ideas that invite us for a more layered reading. Thereby, it shouldn’t be forgotten that these are the works that were often created as a result of first student encounters with the medium of photography and their first explorations of the possibilities of the medium which has, as we can see from a few artist, resulted in a deliberate and complexly structured works.

Ana-Marija Koljanin

Croatian version:

O fotografiji na UAOS

Izložba O fotografiji na UAOS okuplja odabrane radove studenata Odsjeka za likovnu umjetnost Umjetničke akademije u Osijeku realizirane kroz nastavu kolegija fotografije pod mentorstvom profesora Vladimira Freliha, tijekom posljednjih deset godina, odnosno od samoga pokretanja kolegija fotografije na Odsjeku za likovnu umjetnost do danas.

Izložba obuhvaća radove prvih generacija studenata osječke Umjetničke akademije, među kojima su i oni koji su se nakon završetka studija nastavili baviti umjetnošću te postaju sve zapaženijima na umjetničkoj sceni. Njihov rad poznajemo sa samostalnih i skupnih izložbi na kojima aktivno sudjeluju, dok su neki od njih i sami postali edukatori i likovni pedagozi. S druge strane, izložba okuplja i radove studenata koji su se nakon studija opredijelili isključivo za pedagoški rad ili primjenjuju stečena znanja izvan sfere suvremene umjetnosti, kao i najmlađe buduće autore i pedagoge kojima tek predstoji završetak studija.

Nastava se na kolegiju fotografije izvodi u cilju upoznavanja studenata s osnovnim pojmovima, obilježjima, tehničkim znanjima te primjenama medija fotografije kroz različite aspekte likovnog izražavanja, obuhvaćajući širok raspon od reportažne i dokumentarne fotografije do radova koji nastaju vizualnim istraživanjem i eksperimentiranjem s nekim od svojstava medija ili likovnih, konceptualnih i prikazivačkih problema. Pored preispitivanja likovnog u fotografiji, zatim upotrebe fotografije za dokumentiranje situacija ili procesa, studente se upoznaje s upotrebom fotografije kao sastavnog dijela multimedijskih projekata ili poveznice između različitih medija likovnog izražavanja. Štoviše, učenjem kako odabrati i primijeniti fotografski medij i tehniku za realizaciju svog rada, kako koncipirati, razvijati, izvesti i prezentirati fotografski projekt, kako komparirati i kombinirati različita fotografska iskustva iz povijesti i teorije fotografije, uči se istovremeno kroz usvajanje multimedijskog pristupa radu i usvajanje stava da je fotografija tek jedan od ravnopravnih medija umjetničkog izražavanja unutar brojnih suvremenih umjetničkih strategija, odnosno da odabir fotografije kao medija proizlazi iz rješavanja nekog umjetničkog problema, ideje ili koncepta.

Jedan je od kompleksnijih projekata, koji uključuje realizaciju kroz više medija, rad Josipa Kaniže, ovdje predstavljen serijama fotografija Bez imena i Copy/paste. U ovom se radu fotografijom bilježi otiske prostora nastale tehnikom frotaža tako da fotografije dokumentiraju reljefnu strukturu izvedenu grafitom. Takvim postupkom serija fotografija funkcionira kao arhiv prostora prenesenog u otiske te ujedno kao niz apstraktnih slika, dok primarno nastaje kao dokument umjetničkog procesa.

Zanimanje za apstraktnu vizualnost i prenošenje sadržaja jednoga medija u drugi svojstveno je i radu Bez naslova (iz serije LIFRAM) Ane Petrović. Njezina serija od pet fotografija bilježi svjetlost projektora tijekom prikazivanja filma te tako sama svjetlost, odnosno rasprostiranje svjetla između projektora i projekcijske plohe postaje sadržajem slike, a sam niz apstraktnih kompozicija donosi suptilne tonske varijacije unutar identično postavljenog kadra.

Još nekoliko autora zanimaju prikazivački aspekti fotografiranja kojima ostvaruju tonske ili kolorističke likovne kompozicije koje se kreću prema apstrahiranju prikaza ili otežavanju raspoznatljivosti motiva, najčešće u serijama, snimajući u krupnim kadrovima strukturu neke površine, poput oronulog zida, uličnog pločnika ili utisnutih tragova na ljudskoj koži, u radovima Dore Tomić (Slojevi racionalizacije), Momira Baborca (Bez naziva) i Kristine Marić (Tragovi), ili pak naglašavajući boju i geometrizam linija i ploha udaljenim kutom snimanja motiva i odozgo, u radu Marije Matić (Svisoka).

U radovima Krunoslava Dundovića (Rekonstrukcija I i Rekonstrukcija II) i Mirne Pokorić (Objekt) fotografija je rezultat procesa rada u mediju digitalnog videa i animacije. Dundović eksperimentira pomoću računalne montaže digitalnog videozapisa i kolažiranja mikro-kadrova, čime postiže vizualnu fragmentaciju pokretne slike, dok Pokorić konstruira objekte od fragmenata različitih odbačenih predmeta te ih fotografira i potom uključuje u postupak stop-animacije. U drugome radu, Pokorić slikarski i crtački intervenira na stranicama spomenarske bilježnice kupljene na buvljaku, te potom svoje intervencije preko dječjih crteža i zapisa fotografski dokumentira, ostvarujući značenjske i vizualne kontraste.

Damir Lesinger u foto-stripu istražuje mogućnosti naracije, koristeći svoj lik u fikcionaliziranom narativu strukturiranom kroz kolaž fotografija, a nekolicina je radova izvedena postupcima digitalne fotomontaže ili digitalnog kolaža, čime nastaju likovne cjeline začudno ili humorno konstruiranih prikaza koje nerijetko kritički interpretiraju stvarnost poigravajući se uvriježenim obrascima prikazivanja, primjerice u radovima Adama Atile (Colt Python), Ivane Jozić (Objedovanje i Šuma), Marije Mikulić Bošnjak (Headless), Tamare Čes (Universal) i Lucije Marić (Mjesec), pri čemu se radovi realiziraju naknadnom manipulacijom vlastitih fotografija ili se koriste i kolažiraju fragmenti prikupljenog vizualnog materijala. Od fotografija prikupljenih s Interneta Ana Petrović i Karlo Arnold stvaraju zidne kolaže, odnosno fotoinstalacije, baveći se pitanjima osobnog identiteta. Ana Petrović strukturira instalaciju od nasumično odabranih portreta osoba istog imena i prezimena (Ana Petrović), dok Arnold stvara vizualni arhiv svoje svakodnevice i društvenih interakcija fotografijama s društvenih mreža te iz osobne kolekcije.

Svakodnevica se kao tema na različite načine pojavljuje u još nekoliko serija radova. Dina Lukić snima režirane situacije kojima problematizira zazorno u kontekstu uobičajene svakodnevice. Andrea Knezović, baveći se problemom autoreprezentacije, u seriji Stan neskriveno bilježi tragove svog načina života, privatnosti i intime, propitujući ih kao odraz svoje osobnosti u odnosu na društvene norme. Ivan Matančević u seriji U domu medija portretira svoje prijatelje osvijetljene svjetlošću ekrana, u stanjima intenzivne uronjenosti u sadržaj televizijskog programa, prikazujući ih kao pasivne konzumente masovnih medija. Ida Đurkić pak u seriji Navika svakoga dana bilježi jedan te isti prizor, pogled kroz prozor u kojem se zrcali sobna lampa, u različitim svjetlosnim uvjetima, u isto doba dana.

Nekoliko se radova bavi različitim aspektima reprezentacije ljudskog lika, koristeći različite tehnike, poput cijanotipije ili skeniranja, te različite pristupe u bilježenju režiranih situacija i portretnih uprizorenja: Kristina Marić (Dihotomija boli, Hensel und Gretel), Zrinka Botić (Bez naziva), Andrea Knezović (Untitled), Mirna Petrović (Memento), Martina Ižaković (Untitled), Tamara Čes (Zona).

Dokumentarističke aspekte fotografije razvija Lucija Jakovina portretiranjem svoje bake, te posebno Robert Fišer u seriji Tranzicije, precizno bilježeći kadrove interijera devastiranih tvornica, poput Kožare i Šećerane, stvarajući vizualni arhiv ispražnjenih industrijskih pogona. Kritički naboj u bilježenju društvene stvarnosti dolazi do izražaja i u seriji Cats, Seks & Nazis Dražena Budimira, koji registrira prizore unutrašnjosti automobila preko barijere automobilskih stakala, smještajući u središte kompozicije motiv krunice s križem ovješene o retrovizor. Repeticijom motiva religijskog simbola koji u kompozicijama fotografije i teksta kombinira s iskazima preuzetim s internetskih foruma u kojima se uporedo s religioznošću izražava netrpeljivost ili mržnja, Budimir konstruira kritički narativ o licemjerju i sve prisutnijim nazadnim pojavama suvremenog društva. Kristina Marić se u radu Ničiji kubik također postavlja kritički spram šireg društvenog konteksta obilježenog nacionalizmima, koristeći fotografiju za dokumentiranje faza umjetničke akcije u kojoj se određenu količinu zemlje iskopane na teritoriju jedne države nastoji prenijeti preko državne granice i zakopati na teritoriju druge.

Brojnost i različitost pristupa, estetika i praksi koje se uočavaju u ovom odabiru studentskih radova ukazuju na poticajne smjerove razmišljanja koji se razvijaju se prema različitim elementarnim ili složenijim medijskim istraživanjima, ovisno o osobnim interesima, preokupacijama i umjetničkoj znatiželji. Nastaju radovi u rasponu od lako čitljivih i jednostavnih koncepata do kompleksnijih i detaljnije razrađenih ideja koje pozivaju na slojevitija čitanja. Pri tome ne treba gubiti iz vida da su ovdje izloženi radovi često nastali kao rezultat prvih studentskih susreta s radom u mediju fotografije i njihovih prvih istraživanja samih mogućnosti medija, što je, kako se možemo uvjeriti, kod nekolicine autora rezultiralo i vrlo promišljenim i kompleksno strukturiranim realizacijama radova.

Ana-Marija Koljanin


On Friday, December 1st, in the Gallery of Fine Arts, Osijek, an exhibition entitled On Photography at the Academy of Arts Osijek will be opened. The exhibition will include photography works of current and past students of The Academy, including myself, showing the amazing versatility and different approach to the photography medium. The exhibition is curated by the professor Vladimir Frelih.

Works from two of my photo series will be presented at the exhibition, Apartment (2016) and Untitled (2015)


Artists featured in the exhibition:

Adam Atila
Ana Petrović
Andrea Knezović
Damir Lesinger
Dina Lukić
Dora Tomić
Dražen Budimir
Ida Đurkić
Ivan Matančević
Ivana Jozić
Ivona Medarski
Josip Kaniža
Karlo Arnold
Kristina Marić
Krunoslav Dundović
Lucija Jakovina
Lucija Marić
Luka Brico
Marija Matić
Marija Mikulić Bošnjak
Martina Ižaković
Mirna Petrović
Mirna Pokorić
Momir Baborac
Robert Fišer
Tamara Čes
Zrinka Botić

Below, you can read the text by Leila Topić that provides further info about the exhibition and photography as an art medium.

Why study photography?

“The lens makes everyone a tourist in other people’s reality, and in the end, in its own.”

Susan Sontag: On Photography

In his text Digressions On Photographic Agony written in1972, American avant-garde artist, filmmaker and photographer Hollis Frampton was writing about the paradox of imaginary world captured by photography. In the text, Frampton describes the discovery of Atlantis where a large archive or old photographs was found.

Considering that no one was particularly interested in the archive, the found photographs were distributed to archives and museums up until a young explorer started to analyze them. He determined that all of the photographs from the Atlantis archive were directed and staged to give an imaginary image of the world that never existed.

A similar narrative is contained in the movie Blade Runner where androids are given a false childhood along with photographic evidence of their imaginary past. When Frampton wrote his story, 45 years ago, it was a certain prediction, a vision of the world in which will live in today where an image is absolutely everything!

Our civilization is saturated by photographs: from famous people who are famous because their photographs are omnipresent, politicians who kiss babies, to drones who record before and after bombs destroy a certain area. It seems that in such world photographs create events instead of recording them.

The proof of the power of the image/photograph is the corporative business of collecting and repurchasing archives; let’s mention Getty Images or Corbis owned by Bill Gates whose existence (and the usage price) has a big impact on the usage of the photographic image. Why? The answer is obvious; archives that are owned by a single person or a corporation control our memory and representation of the universe.

Let’s take a look how illustrated magazines that use the aforementioned stock photos look: they are full of photographs beautified by Photoshop, the world is full of beautiful people, heavenly landscapes and homes that are designed in a cool way. Even the misery and squalor has to look beautiful, if we remember frequent photographic motifs from Havana or recently, in the Guardian, a published spread about the ‘beauties’ of demolished Syrian cities.

If photography was once connected to documenting sights and capturing ‘the deciding moments’, then today using photography in advertising takes a dominant role. Advertising and improved or imaginary photographs demand our undivided attention. That is an ideological reconstruction of a world that doesn’t exist, designed to keep the dominant status quo of the capitalistic production and support the craving for consumption.

Withal, visual studies are a recent dynamic discipline that asked important questions and offered the even more important answers about how to approach images and what are they telling us. That’s why the role of photography studies is important, because it helps to unmask and show the effects of photographic propaganda and the possibility of constructed photo-scenes serving the capital.

Vladimir Frelih with the exhibition simply titled On Photography proves that it’s very important to learn how to analyze, observe, and master the language of the media and create photography.

The works of the students who question their identities and analyze/construct the society are a good start for showing resistance to corporate photographs because they promote personal approach in viewing the world around us.

Student works vividly show how the professor Vladimir Frelih and the generations of his students managed to master the tasks like how to decide what to photograph, digital understanding and multi-disciplinarity of the photographic medium, communication, self-belief, the power of articulating and presenting projects, cooperation and self-analysis.

Those are the skills that not only enable them to be great artists but also great participants in the contemporary society.

On the other hand, photography is undoubtedly used as a certain proof of reality. It’s enough to remember unusually painful photographs that American soldiers captured inside the Iraqi Abu Ghraibu prison. Or the monstrous sights from concentration camps recorded after the liberation of its prisoners.

I mention these photographs because they were used as truthful evidence of these events and in the end used as a legal proof for the conviction of the perpetrators. But it’s clear that there is no simple way of how to reconcile documentary and constructed nature of a photographic image.

One of the most significant photographers of contemporary art, Jeff Wall, gave a good formulation of the dual nature of photographic image when he wrote that there are two repeating myths about photography; one myth says that photography represents the truth and the other is that it doesn’t.

And again, Frelih’s determination is very important here as well as the desire that the potential of student works presented at this exhibition developed between those two extremes; ‘truth and lies’ of the photographic image.

From the works created during ten years of devoted dialogue of the students and the professors of the Osijek’s UAOS, it is evident that a solid platform was made for the students, future artists, to transcribe and write the world while being aware that photography is made thanks to the camera and the decision only they make by pressing the camera shutter.

Of course, they carry an artistic responsibility considering that we live in a civilization that wholeheartedly embraced the term ‘alternative fact’ and ‘post-truth’.

In Susan Sontag’s book On Photography which, I believe, deliberately shares the title with this exhibition, the author writes that photographers, when photography was ‘only’ a business, were considered to be keen observers, “scribers but not poets”.

Today, when thanks to the availability of technology everybody can make a photograph, but not everybody can make a photographic artwork, On Photography exhibition shows that studying photography enables us to be closer to the poetic, artistic understanding of the world.

Leila Topić



Zašto studirati fotografiju?

„Objektiv svakog čini turistom u stvarnosti drugih ljudi, a na koncu i u svojoj vlastitoj“

Susan Sontag „O fotografiji“

U svom tekstu  „Digresije o fotografskoj agoniji“ napisanom 1972. američki avangardni umjetnik, filmaš i fotograf  Hollis Frampton  pisao je o paradoksu imaginarnog svijeta zabilježenog fotografijom. U tekstu Frampton opisuje otkriće Atlantide u kojoj je pronađena i velika arhiva starih fotografija. S obzirom da nitko nije bio pretjerano zainteresiran za arhivu,  pronađene fotografije su podijeljene arhivima i muzejima sve dok ih nije počeo analizirati mladi istraživač.

On je ustvrdio da su sve fotografije iz arhive Atlantide režirane i uprizorene kako bi dale imaginarnu sliku svijeta kakav uistinu nikada nije postojao.  Sličnu pripovijest sadrži i film Blade Runner. Naime, tamo se androidima, replikantima u paketu sa lažnim djetinjstvom podmeću i fotografije kao dokaz njihove izmišljene prošlosti. Kada je Frampton pisao svoju pripovijest, prije četrdeset i pet godina, posrijedi je bilo stanovito pretkazanje, vizija svijeta u kakvom danas živimo u kojem je slika apsolutno sve!

Naša je civilizacija  zasićena fotografijama: od slavnih osoba koje su slavne zato jer su njihove fotografije sveprisutne, preko političara koji ljube djecu pa do prizora koje dronovi snimaju prije i nakon što bombe razore određeno područje.

Čini se da u takvom svijetu fotografije stvaraju događaje a ne da ih bilježe.  Svojevrsni dokaz  o moći slike/fotografije jest i korporativni biznis prikupljanja i otkupa arhiva; spomenimo samo „Getty Images“ ili „Corbis“ u vlasništvu Billa Gatesa a čije postojanje (i cijena korištenja) imaju veliki utjecaj na uporabu fotografske slike. Zašto? Odgovor je očigledan; naime arhivi u vlasništvu jedne osobe odnosno korporacije upravljaju našom memorijom i reprezentacijom svijeta.

Pogledajmo kako  izgledaju ilustrirani časopisi koji koriste spomenute photo stocks: prepuni su fotografija uljepšanih photoshopom, svijet je napućen lijepim ljudima, rajskim krajobrazima ili cool uređenim domovima. Čak i bijeda mora izgledati lijepo, ukoliko se prisjetimo čestih fotografskih motiva iz primjerice Havane ili nedavno, u the Guardianu, objavljene reportaže o „ljepotama“ porušenih sirijskih gradova. Ukoliko je nekoć fotografija bila povezana s dokumentiranjem prizora i hvatanjem „odlučujućih trenutaka“, utoliko danas oglašavanje fotografijom preuzima dominantnu ulogu. Oglašivačke odnosno unaprijeđene ili izmišljene fotografije zahtijevaju našu nepodijeljenu pažnju.

Naime, posrijedi je ideološka konstrukcija nepostojećeg svijeta osmišljena kako bi se zadržao dominantan status quo kapitalističke proizvodnje i podržala žudnja potrošnje. Usto, vizualni studij recentna su dinamična disciplina  koja je postavila važna pitanja i ponudila još važnije odgovore  o tome kako pristupiti slikama i što nam one govore. Upravo je stoga neobično važna uloga studija fotografije koja pomaže u raskrinkavanju  odnosno p(r)okazivanju  učinaka fotografske propagandne i mogućnosti  konstruiranih foto-prizora u službi kapitala.

Naime, Vladimir Frelih  izložbom jednostavno naslovljenom „O fotografiji“ dokazuje kako je važno naučiti analizirati, promatrati, ovladati jezikom medija i stvarati fotografiju. Upravo su radovi studenata koje propitaju vlastite identitetske mogućnosti i kamerom analiziraju/konstruiraju društvo dobar početak pružanja otpora  korporativnim fotografijama jer promiču osob(e)ni pristup promatranju svijeta kakvog nas okružuje.

Studentski radovi zorno prikazuju kako je  izvanrednom profesoru Vladimiru Frelihu i naraštajima njegovih studenata i studentica uspjelo savladati zadatke poput kako se donose odluke što fotografirati, digitalno razumijevanje i multidisciplinarnost fotografskog medija, komunikacija, vjera u same sebe, moć artikulacije za predstavljanje projekta, suradnja i  samoanaliza. Posrijedi su redom vještine koje im ne omogućuju samo da budu kvalitetni umjetnici nego i kvalitetni dionici suvremenog društva.

S druge pak strane,  fotografija, nesumnjivo, ipak služi kao stanoviti dokaz stvarnosti. Dovoljno se prisjetiti neobično mučnih prizora s fotografija koje su američki vojnici snimili u zatvoru, u iračkom Abu Ghraibu. Ili pak monstruoznih prizora iz koncentracijskih logora snimljenih po oslobođenju njihovih uznika. Spominjem ove fotografije jer su poslužile kao istinski dokaz o događajima te na koncu korištene i kao pravni dokaz za osudu počinitelja.

No jasno je, nema jednostavnog načina kako pomiriti i dokumentarnu i konstruiranu prirodu fotografske slike. Jedan od najznačajnijih fotografa suvremene umjetnosti Jeff Wall iznio je dobru formulaciju o dvostrukoj prirodi fotografske slike kada je napisao da postoje dva ponavljajuća mita o fotografiji; jedan mit govori da fotografija prikazuje istinu a drugi je mit da ju ne prikazuje. I opet, tu je važna Frelihova odlučnost i želja da se potencijali studentskih radova prikazanih na ovoj izložbi razvijaju između ta dva pola;“ istine i laži“ fotografske slike.

Iz radova nastalih tijekom deset godina predanog dijaloga studenata i profesora Osječkog UAOS-a  razvidno je kako je stvorena solidna platforma kojom studenti, budući umjetnici transkribiraju i ispisuju svijet no istodobno svjesni su da je fotografija stvorena zahvaljujući svojstvima kamere i odluke koju donose samo oni pritiskom na okidač.

Naravno,  i za to snose stanovitu umjetničku odgovornost s obzirom da živimo u civilizaciji koje je zdušno i objeručke prigrlila pojam „alternativnih činjenica“ i „post-istine“. U knjizi Susan Sontag „O fotografiji“  koja, vjerujem,  hotimice dijeli naziv s ovom izložbom autorica piše kako su fotografi nekoć, dok je fotografija bila „samo“ obrt, bili smatrani za pronicljive promatrače, „pisare ali  ne i pjesnike“.

Danas kada zahvaljujući dostupnosti tehnologije svatko može napraviti fotografiju no ne može svatko napraviti fotografsko djelo, izložba „O fotografiji“ pokazuje, naposljetku, kako studirajući fotografiju postajemo korak bliže pjesničkom, dakle, umjetničkom poimanju svijeta.

Leila Topić


Here you can read the interview for my solo exhibition Story of the “I” and check out the photo and video documentation from the exhibition opening.

You can check out the announcement of the exhibition and the works featured by clicking on this link. 

*Scroll down for the Croatian version

Andrea Knezovic – Story of the I (POPUP34 Solo Exhibition 2017) from Andrea Knezovic – Artist on Vimeo.


Story of the “I”

Andrea Knezović

Interview by POPUP

While choosing the artists, POPUP advocated that generational and ideological boundaries don’t guide the program from the very beginning. Content and research were crucial in making the decisions of who will be presented and with what.

You, it seems to me, are the seventh artist from Osijek that presents her graduate work to the public. How does it feel to be compared with some, I can say, big shots that were part of the POPUP project? How do young artists, you, look at it?

As you said yourself, POPUP doesn’t choose the artists based on experience and status in the art world. I think that young artists should get a chance to present their work since that is extremely important at the beginning of anybody’s art career.

I also think that exhibitions of affirmed artist or big shots as you call them, are equally important as the exhibitions of young artists because in some aspects, they have a different purpose (although both groups of artists have a common goal of presenting themselves and their work) and because we can see and learn different thing from them.

It’s logical that young artists have a harder time getting exhibitions, but I think that’s one of the most important aspects of the POPUP project and something that differentiates it from the majority of other art organizations.

Existentialism with metaphors of fineness and harshness is evident or is it defense, attack, a necessity at the same time?

There are aspects of existentialism in my work, maybe mostly in the context of individualism or some aspects of nihilism, but I can’t say I find myself in the existentialist philosophy as a whole. Also, I wouldn’t say that the starting point of my work is defense or attack or a necessity.

Andrea Knezovic Story of the I popup solo exhibition opening photography people

An attack has connotations of aggression and a lack of intellect for me, but that could be discussed further because it’s not always correct. Although I see why my works could be read as though they are an attack in terms of a certain critic and opposition, my intent is to express my views that are substantially different and in opposition with those of our society so in that way some of my ideas could be viewed as radical and as a result of that loo as an attack.

So I wouldn’t say I start from the position of an attack, but a certain critic and commentary on our society.

I was thinking more do you feel attacked by the society or excluded by hypocrites? What do you think in what phase is our society locally, nationally, and worldwide?

I think that I belong to more than several minority groups and when I see how the society treats me, that gives me a pretty accurate indication of what phase the society is in. That’s also one of the reasons why I often show myself in my works. Of course that a shift has happened globally and I can’t say we’re completely stagnating, but unfortunately, it’s still far from ideal. The situation is far worse locally and nationally and I don’t really see any progress, sometimes it even seems that we’re going backward.

Without any deeper look at the history of human rights and the affirmation of women and their similarities and differences with men, I come to a number of fourth or fifth generation of feminists. You definitely belong to the last one, the newest generation. What the generations of today understand in the meaning of the word feminism?

Feminism has developed through history and you’re right when you say that its meaning is constantly changing. It seems to me that there are different feministic currents and that’s the main reason I often avoid using that word, especially in the explanation of my work.

All of my works have different aspects of feminism, but I often don’t use that word because I think it has different connotations, some of which I don’t agree with, so I’m very careful about using that word. It seems to me that today one part of feminists became ideologically too strong, even radical, while the other part is too ‘soft’ and practically unusable. There’s a middle ground of course, but the point is that I don’t think that there is just one meaning of feminism today. I explain feminism to myself in a way that I consider is right for me.

But the basis, and something that is common with all feministic thought from its beginnings until today, is equality and everything else are only variations. And as an addition, I think that it’s very interesting, and kind of funny that the word feminism is a masculine noun in Croatian language.

That’s how it is with languages, they, like art, don’t always know the principles of equality. For an example, in German, the word feminism is a neuter noun, and in some languages nouns don’t have a gender. Besides the ideas of equality, another important aspect of your work is self-presentation, or how you call it, self-representation.

Self-representation is extremely important in my works, and in some ways it is connected with the questions of equality. Women and women’s bodies were presented by men throughout history.

Because of that, self-representation is immensely important in the works of female artists and I think they should talk about themselves and their experience as much as possible. It’s about taking control and having the possibility to choose how women are represented. Besides artists using self-representation to simply present themselves, there are many questions about identity itself when we talk about self-representation, and what identity actually is. Many artists, including me, use self-representation in their works to present and explore different roles.

Andrea Knezovic Story of the I popup solo exhibition opening photography people

To me, the game of what I think I am and how others perceive me is really interesting so I try to incorporate that in my works. All of that speaks to the complexity of who we are, what we want to be, and what others think we are. The question of female sexuality is also closely tied with self-representation and that’s another aspect of my works that I always like to explore in many different ways.

Female sexuality is still something that’s not being talked about enough and I’m surprised every time that it’s still a taboo. That’s why I think that showing one’s sexuality is immensely important for young female artists around the world, especially for ones who are living in smaller and less advanced places like Croatia.

In the last fifty years and before, and especially from the sexual revolution that definitely changed the view of the world, a lot of artists dealt with subjects of sexuality in many different ways. To make it simple and not ask a rhetorical question, what is new here and is your criteria a provincial Croatian mentality, because then we can refer to an even more rigid and hypocritical mentally.

As long as people have a problem with any aspects of sexuality and don’t understand, accept, and be completely free, there will be something artists should talk about. Here I also mean the questions of gender, sex, sexual orientation and anything that has to do with these subjects.

For example, only recently we started publicly talking about transgender and transsexual people and the questions of gender and sex. Of course, all of that exists from the beginning of mankind, but it’s something that the majority of people didn’t know much about and they’re still beginning to understand those terms.

Andrea Knezovic Story of the I popup solo exhibition opening photography people

That is just one of the indicators that there’s certainly something new that society and artists should deal with, with the purpose of discourse, learning, and awareness. I speak of these issues on a global level but of course my starting point is the environment and the place that I live in because I look at those problems directly and have experiences on a personal level. If we talk about provincial Croatian mentality, there’s a lot to say.

First of all, there’s a peculiar fear of everything that’s different and doesn’t fit in the outdated and restrictive norms. Tolerance towards something that’s different from someone’s personal idea of life is very low. False moralists and hypocrites are abundant and those are the people who are always shocked with the way I live my life, which is nothing more than a free, open way of living that is not dictated by any social norms or opinions.

From growing up in a village where I was completely excluded from the community because I didn’t fit in, to living in Osijek where I saw that the situation wasn’t that much better, I had the chance to experience what people are like and how they treat someone like me. And I’m someone who is often not accepted even in the minority or alternative groups that should have similar opinions. Although my attitude and opinions are normal for me, as they are for everybody,

Andrea Knezovic Story of the I popup solo exhibition opening photography people reading

I always get reminded that they are immensely different to the people in this community. I always had the feeling of not belonging anywhere and I simply couldn’t fit in into the typical social groups; I didn’t fit with people from college, I can’t relate to the majority of women, and it’s really hard for me to find people who understand and accept my way of thinking.

I’m not a type of person that finds it necessary to be a part of something and be accepted by everyone, but it’s really interesting for me to observe myself in relation to other people and how they perceive me. What I want to provoke in my works is an open conversation about subjects and problems that are insufficiently talked about

Andrea Knezovic Story of the I popup solo exhibition opening photography people

Photos by: POPUP




Story of the „I“

Andrea Knezović

Interview vodio POPUP

 Prilikom odabira umjetnica i umjetnika POPUP se od samog početka zalagao da generacijske i ideološke granice ne budu vodilja programa već da sadržaj i istraživanje budu presudni u donošenju odluka koga i s čim predstaviti.

Ti si, čini mi se, sedma osječka umjetnica koja svoj diplomski rad izručuje javnosti. Kakav je osječaj biti uspoređan sa nekim od slobodno mogu reći, faca koji su prodefilirali u zadnjih sedam godina. Kako mladi umjetnici/ce odnosno ti gledaš na to?

Kao što si i sam rekao, POPUP ne bira umjetnike i umjetnice na temelju iskustva ili umjetničkog statusa. Smatram da mladi umjetnici i umjetnice trebaju dobiti priliku predstaviti svoj rad s obzirom na to da je to iznimno bitno na početku svačije umjetničke karijere.

Također smatram da su izložbe afirmiranih umjetnika ili ‘faca’, kako ih zoveš, jednako bitne kao i izložbe mladih umjetnika zato što u nekim aspektima imaju različitu svrhu (iako obje skupine umjetnika imaju zajednički cilj predstavljanja sebe i svojih radova) i zato što možemo vidjeti i naučiti različite stvari kod njih. Logično je da je mladim umjetnicima teže doći do izložbi ali mislim da je baš to jedan od bitnijih aspekata POPUP-a i nešto što ga razlikuje od većine umjetničkih organizacija.

Andrea Knezovic Story of the I popup solo exhibition photography

Egzistencijalizam sa metaforama finoće i grubosti je evidentan ili je to istovremeno obrana, napad, nužda?

U mojim radovima postoje aspekti egzistencijalizma, možda ponajviše u kontekstu individualizma ili male doze nihilizma, ali ne mogu reći da se pronalazim u cjelokupnoj egzistencijalističkoj filozofiji. Isto tako, ne bih rekla da je polazište mojih radova ni obrana, ni napad, a ni nužda.

Napad za mene ima konotacije agresije i manjka intelekta, no dalo bi se i o tome raspravljati, to nije uvijek točno. Iako vidim na koji način bi se moji radovi mogli iščitati kao da imaju napadački karakter u smislu određene kritike i opozicije, moja namjera je više iskazati svoje stavove, koji jesu poprilično drugačiji i u suprotnosti od onih našeg društva pa se tako neke moje ideje mogu smatrati radikalnim i kao rezultat toga izgledati kao napad. Tako da ne bih rekla idem s pozicije napada, nego određene kritike i komentara.

Andrea Knezovic Story of the I popup solo exhibition opening photography people

Mislio sam više na to, dali se ti osjećaš od društva napadnuta ili licemjerno isključena, odnosno što misliš u kojoj je fazi naše društvo lokalno i nacionalno ili šire?

Smatram da sam pripadnik više od nekoliko manjinskih skupina i kada vidim kako se društvo ponaša prema meni, to mi daje prilično točnu indikaciju o tome u kojoj je fazi. To je i jedan od razloga zašto ćesto prikazujem sebe u svojim radovima.

Naravno da su se neki pomaci dogodili globalno i ne mogu reći da skroz stagniramo, ali i dalje to nažalost nije ni blizu idealnog. Lokalno i nacionalno je situacija naravno puno gora i iskreno ne vidim neke posebne pomake, ponekad mi se čini i da idemo unazad.

Bez nekog posebno dubinskog pogleda u povijest razvoja ljudskih prava pa tako i afirmacije žena kao i njihovih sličnosti i različitosti sa muškarcima, dolazim do neke brojke od 4. ili 5. generacije feministica. Ti svakako pripadaš toj zadnjoj, odnosno najnovijoj generaciji. Što današnje, nadolazeće generacije podrazumijevaju u značenju riječi feminizam?

Feminizam se razvijao kroz povijest i u pravu si da se njegovo značenje mijenja. Meni se čini da i danas postoje različite feminističke struje i to je glavni razlog zašto jako često izbjegavam koristiti tu riječ, posebno u objašnjenjima svog rada. Svi moji radovi imaju očite aspekte feminizma, no često tu riječ ne koristim zato što smatram da ima različite konotacije, neke s kojim se ne slažem, pa sam zbog toga veoma oprezna.

Čini mi se da je u današnje vrijeme jedan dio feministica postao previše ideološki strog, pa čak i radikalan, dok je drugi dio previše ‘mekan’ i praktički neiskoristiv. Postoji i neka sredina naravno, ali poanta je u tome da ne mislim da danas postoji samo jedno značenje feminizma. Ja sebi feminizam objašnjavam na način koji ja smatram da je ispravan.

Ali osnova, i ono što je zajedničko feminizmu od njegovog začetka do danas je jednakost, a sve drugo su samo varijacije. I kao dodatak, smatram da je iznimno zanimljivo, a pomalo i smiješno to što je feminizam imenica muškog roda u hrvatskom jeziku. 😉

Andrea Knezovic Story of the I popup solo exhibition opening photography

Tako je to sa jezicima, oni kao i umjetnost ne poznaju uvijek načela jednakosti. Npr., na njemačkom je srednji rod, a u nekim jezicima imenice nemaju rod. Osim što su ideje ravnopravnosti prisutne, kod tebe je također prisutna, kao druga bitna znaćajka, auto prezentacija ili kao si ti to još bolje nazivaš auto reprezentacija.

Autoreprezentacija je iznimno bitna u mojim radovima, a na neki način se i veže s pitanjem jednakosti. Žene i žensko tijelo su kroz gotovo cijelu povijest umjetnosti prikazivali muškarci. Zbog toga je autoreprezentacija veoma bitna u djelima umjetnica i mislim da što više trebaju govoriti o sebi i svojim iskustvima. Tu se radi o preuzimanju kontrole i mogućnosti biranja načina na koji se žene prikazuju.

Osim što se umjetnice i umjetnici služe autoreprezentacijom da jednostavno predstave sebe, tu se nude mnoga pitanja o samom identitetu, što je on zapravo, kako nastaje, i u kojoj mjeru ga oblikuje društvo u kojem živimo?  

Mnogi umjetnici/e, uključujući i mene, koriste prezentaciju sebe u djelima kako bi prikazali i istražili različite uloge. Meni je jako zanimljiva i igra između onoga što smatram da jesam i onoga kako me drugi ljudi vide pa to često pokušavam utjeloviti u svojim djelima. Sve to govori o kompleksnosti onoga što jesmo, što želimo biti, i što drugi misle da jesmo.

Pitanje ženske seksualnosti je također usko vezano s autoreprezentacijom i to je još jedan aspekt mojih radova koji uvijek volim istraživati na mnogo različitih načina. Ženska seksualnost je nešto o čemu se i dalje malo govori, i svaki put me iznova iznenađuje da je to i dalje taboo tema. Zbog toga mislim da je prikazivanje vlastite seksualnosti neizmjerno važno za mlade umjetnice diljem svijeta, a posebno za one koje žive u tradicionalnijim i manje naprednim sredinama kao što je Hrvatska.

Andrea Knezovic Story of the I popup solo exhibition photography

U zadnjih 50 godina i prije, a posebno od sexualne revolucije koja je definitivno promijenila pogled na svijet, zaista mnogo umjetnica i umjetnika se na vrlo različite načine bavilo temama sa i oko sexualnosti. Da pojednostavim, a da ne postavim retoričko pitanje, što tu ima još novo i dali je tebi mjerilo nekakav provincijalni hrvatski mentalitet, da ne kažem osječki, jer onda se možemo referirati na neki još rigidniji i licemjerniji mentalitet ili sredinu.

Dokle god ljudi budi imali problema sa bilo kojim aspektima seksualnosti i ne budu shvaćali, prihvaćali i bili potpuno slobodni, postojat će nešto o čemu se treba govoriti i čime se treba baviti u umjetnosti.

Ovdje također mislim i na pitanja roda, spola, seksualne orijentacije, i svega što ima veze s tim temama. Na primjer, tek nedavno se javno počelo govoriti transrodnosti, transeksualnosti i pitanjima roda i spola. Naravno, sve to postoji oduvijek, ali o tome ljudi nisu puno znali i još uvijek su na početku upoznavanja sa tim pojmovima.

To je samo jedan od indikatora da svakako postoji nešto novo čime se društvo i umjetnici trebaju pozabaviti u svrhu diskursa, učenja i osvještavanja ljudi. O tim problemima progovaram na globalnoj razini, ali naravno da mi je polazište sredina u kojoj živim zato što ovdje te probleme direktno gledam i imam iskustva s njima na osobnoj razini. Ako govorimo o provincijalnom hrvatskom mentalitetu, tu se ima mnogo toga za kazati.

Prvenstveno se tu radi o strahu od svega što je drugačije i što se ne uklapa u zastarjele i ograničavajuće norme. Tolerancija prema nečemu što se razlikuje od nečije osobne ideje o životu je na veoma niskoj razini. Lažnih moralista i licemjera ima mnogo i to su ljudi koji su se uvijek šokirali na moj način života koji nije ništa više nego slobodan, otvoren način života koji nije diktiran nikakvim društvenim normama niti mišljenjima.

Andrea Knezovic Story of the I popup solo exhibition opening photography people

Od odrastanja na selu gdje sam bila apsolutno isključena iz zajednice zato što se nisam uklapala, do života u Osijeku gdje sam shvatila da situacija nije puno bolja, sam imala prilike iskusiti kakvi su ljudi i na koji način se ponašaju prema nekome kao što sam ja.

A ja sam netko tko često biva ne prihvaćen čak i u manjinskim i alternativnim skupinama za koje sam mislila da dijelimo slične stavove. Iako su meni moji stavovi i razmišljanja normalni, kao što su svakome, iznova uviđam da su oni iznimno neobični ljudima u ovoj sredini.

Oduvijek me prati osjećaj ne pripadanja i nikako se nisam mogla uklopiti u tipične socijalne zajednice; nisam se uklapala u društvo sa faksa, ne razumijem većinu svojih vršnjaka pa sam uvijek bila u puno starijem društvu, sa velikom većinom žena se ne mogu poistovjetiti, i zapravo mi je teško pronaći ljude koji prihvaćaju moj način razmišljanja. Nisam osoba kojoj je nužno potrebno da bude dio nečega i da bude opće prihvaćena, ali mi je jako zanimljivo promatrati sebe u odnosu na druge i kako oni mene doživljavaju. Ta razmišljanja su naravno prisutna i u mojim radovima.

Ono što želim provocirati svojim radovima je otvoreni razgovor o temama i problemima o kojima se nedovoljno često priča.

Encounters In The Making Exhibition/Izložba Susreti u Nastajanju

 English version

The exhibition Encounters In The Making took place on July 19th, 2017 at Eurodom in Osijek, Croatia.

What is different and interesting about this exhibition is that it was an all-female exhibition of Academy of Arts, Osijek students. Apart from myself, fifteen of my colleagues were involved in the exhibition:  Mirela Blažević, Antonela Juriša, Martina Ištvan, Dorotea Cvijanović, Mirjana Pjevac, Martina Kovačević, Josipa Stojanović, Maja Gjajić, Ivona Matoušek, Lucija Mitar, Iva Muškić, Ida Đurkić, Doris Despot, Ivona Medarski, and Marija Šurina.

Our mentor and curator was dr. art. Ines Matijević Cakić, a professor at the Academy of Arts, Osijek.




The exhibition Encounters In The Making included works from all four departments of the Academy of Arts, Osijek; painting, sculpture, graphics, and multimedia. The artworks ranged from paintings, graphics, sculptures, installations, photographs, videos, and mixed media art.










I showcased two of my artworks; First Experience video and two photographs from the Apartment 2 series.

The importance of this exhibition was showcasing young female artists in the Osijek area, and that is something that is often overlooked in the Osijek art scene. Female look on art is very important and this exhibition shows the incredible range of female artworks. Encounters In The Making also gives a chance to young student artist to showcase their work and gain more experience in exhibition setup.

Although this was a student exhibition, the quality of the artworks and the exhibition setup was at a high level which is very important to note. A high number of viewers and their praise and positive reactions suggests that these kinds of events should happen more often in Osijek.



Croatian Version

Izložba Susreti u Nastajanju održala se 19.07.2017. u prostoru Eurodoma u Osijeku.

Ono što je zanimljivo i drugačije u ovoj izložbi je to što su u njoj sudjelovale samo žene, studentice Umjetničke Akademije u Osijeku. Osim mene, 15 mojih kolegica je izlagalo na izložbi: Mirela Blažević, Antonela Juriša, Martina Ištvan, Dorotea Cvijanović, Mirjana Pjevac, Martina Kovačević, Josipa Stojanović, Maja Gjajić, Ivona Matoušek, Lucija Mitar, Iva Muškić, Ida Đurkić, Doris Despot, Ivona Medarski i Marija Šurina.

Naša mentorica i kustosica je bila dr. art. Ines Matijević Cakić, profesorica na Umjetničkoj Akademiji u Osijeku.

Izložba Susreti u nastajanju je uključivala radove sa sva četiri smjera Umjetničke Akademije u Osijeku; slikarstvo, grafika, kiparstvo i multimedija. Stoga su radovi uključivali slike, grafike, skulpture, instalacije, fotografije i video.

Ono što je bilo iznimno važno u ovoj izložbi je bila prezentacija mladih umjetnica na području Osijeka, nešto što je često zanemareno u Osječkoj umjetničkoj sceni. Ženski pogled na umjetnost je veoma važan i ova izložba prikazuje domet i opseg radova mladih umjetnica u Osijeku. Susreti u nastajanju također daju priliku mladim studenticama da pokažu svoje radove i steknu više iskustva u organizaciji i postavljanju izložbi.

Iako je ovo bila studentska izložba, kvaliteta radova i postav izložbe je bio na visokom nivou, što je iznimno važno napomenuti. Velik broj posjetitelja i njihove pozitivne reakcije sugeriraju da se izložbe ove vrste trebaju češće događati u Osijeku.