Željko Kipke”s Police Yard covers two groups of works. The first group includes a set-up of recent series: in the main hall, Predators, filmophile and a bottle of wine (2010); Surveillance Camera (2011-2012) in the eastern wing and Boulevard of Nine Lives (2010-2012) in the western wing of the Pavilion. The second group of works, in the south wing, named Short Guide through the 70s and 80s is a reminder of the processual works and the film documentation that the artist considers an adumbration of his currently dominant interest in film. To this group is joined the film Invisible Galleries (2009), the theme of which is the history and fates of the cult Zagreb exhibition venues of that period.
At the level of conception and presentation, Kipke comes across in this exhibition as a multidisciplinary author who does not discriminate against contemporary possibilities of media production of message and idea, particularly whether it is static images (painting, photography, print) or moving pictures (film) that are concerned. The temporal connection with the earlier works precisely places this kind of artistic practice, typical of the third millennium, in the 70s, when Željko Kipke appeared on the art scene as one of the leading exponents of the New Artistic Practice.
At the level of meaning, the exhibition refers equally to the manipulative aspects and power of moving pictures and contemporary media and to the fascination that they arouse in political strongmen, all too ready to instrumentalise them for the purposes of their own ideological programmes. The new series at the levels of content, form and aesthetics summarise the documentary and diaristic elements, Kipke”s recognisable artistic style and his idiosyncratic understanding of reality, and they should also be understood as a manifestation of his subversive activity and existence, which he calls the feline strategy.
Branko Franceschi, Curator