Kata Mijatović: Black House

Trg kralja Tomislava 22

1. MG 5377 1000
1. MG 5377 1000
6. MG 5423 1000
6. MG 5423 1000
3. 20221003104424 1000
3. 20221003104424 1000
202210031107291 1000
202210031107291 1000
10. MG 5484 1000
10. MG 5484 1000
P1110284 1000
P1110284 1000
P1110227 1000
P1110227 1000
8. 20221003105011 1000 773x1030
8. 20221003105011 1000 773×1030

spatial intervention / installation

OSB, painted black

white noise

2 x 2.4 x 1 m

September 30 – EXTENDED October 27, 2022

Kata Mijatovic has placed an object on the approach to the Art Pavilion, a black house with neither door nor window, within which white noise is generated, sounds for going to sleep with.

Black House is a kind of substitute form/mass, a metaphor that comes from “non-place”. It is a materialised capsule for the unconscious, a dwelling in which to be and exist, the basic form of the primary human shelter, a home.  The sleep-inducing sound that comes from the structure functions as a signal warning us we are not alert.  In relation to the Art Pavilion, the black house is an added structure the intention of which is enigmatic.

“At first glance, the black object on the white gravel of the approach to the main entrance of the Art Pavilion has the effect of a two-dimensional photographic montage in real, three-dimensional space. Or as if a bit of the space had been cut out in the form of a little house, and that beyond is seen: a space filled with a black void; we are in a balloon, around us is what we see is there, but the balloon is in that black, and the little house is a window into what is out of the balloon. And if for a moment we recall that our sphere is actually in such a space, in a space that cannot be said to be entirely empty and entirely black, even if there is no more intense blackness and bigger emptiness than that of space, and that too is a balloon. And if the little black house is a window into that outside, then space too has something outside, and the window is a black hole. Perhaps behind the black hole there is a bigger balloon still, which, in the logic of things, should be neither black nor empty, but coloured and completely filled with all sorts of stuff. It is impossible, that is, to break free of the feeling that there must always be something else behind something.

If we replace the telescope with a microscope and look inwards, there is always something else in anything. In both cases we have to admit that what we see both outwards and inwards is just a little part of what exists, in other words a detail registered in our senses of some kind of infinite abundance.“

KATA MIJATOVIĆ – BIOGRAPHY

Kata MijatoviĆ, fine artist, was born in 1956 in Branjina. From 1988 to 1991 she was a member of the informal art group Močvara [Wetland] / Baranja. From 1991 to 1993 she studied painting at the Accademia di Belle Arti di Firenze in Florence, and took a degree at the Academy of Fine Arts in Zagreb in 1997, class of Đuro Seder. From 1999 to 2018 she was a member of the Croatian Freelance Artists Association and since 1998 has been a member of the Croatian Artists Association

From 2005 to 2010 she was a member of the artistic committee of the Baranja Art Colony; from 2005 to 2019 manager of the AŽ / Žitnjak Gallery, Zagreb; and from 2007 a member of the PLEH art group. In 2014 she took part in the 55th Venice Biennale as representative of Croatia with the project “Between Heaven and Earth” curated by Branko Franceschi.

She has had numerous solo exhibitions and taken part in a large number of collective shows at home and abroad. A list of exhibitions is to be found in the appendix. Her art has attracted awards and prizes , and her works are to be found in the collections of Croatian museums. She lives and works in Zagreb.

 Solo exhibition / projects

2022. Bijeli šum za crne snove, Galerija Kula, Split

2021. Nema buđenja, Galerija –Legat Milice Zorić i Rodoljuba Čolakovića / MSUB / Beograd

2020. Calendar 2020, AK galerija, Koprivnica

          Anima, animalis, Galerija Kazamat, Osijek

2019. Polje, interaktivna VR aplikacija/projekt MARTA, Mixed Reality Kunst, Sveučilište za primjenjenu zanost, Düsseldorf/, Galerija umjetnina, Split

Resume/Inconscie, Dioklecijanovi podrumi, Split

Nekoliko noćnih mora, performans, MMC Zagreb

Voices & Words /sa Zoranom Pavelićem, IAM Institute, Berlin

2018. Glasovi & Riječi /sa Zoranom Pavelićem, Mladinski Kulturni Centar , Skoplje

Glasovi & RiječiPozdravi iz Baranje, sa Zoranom Pavelićem, Gradska    Galerija Labin, Labin

2017. Voices & Words /sa Zoranom Pavelićem, Michaela Stock Gallery, Beč

2015. Crna Traka iz Arhiva, Galerija Greta, Zagreb

Voices & Words/sa Zoranom Pavelićem, AQB, Budimpešta,

2014. Između neba i zemlje, Umjetnički paviljon u Zagrebu, Zagreb

Između neba i zemlje, Muzej Likovnih Umjetnosti, Osijek

Između neba i zemlje, Muzej Savremene umjetnosti, Banja Luka

Ovdje možete reći bilo što/sa Zoranom Pavelićem, Galerija Ružić, Slavonski Brod

Ovdje možete reći bilo što/s Z. Pavelićem,I.A.M. Institute, Berlin

2013. Između neba i zemlje, Zattere, 55. Venecijnski bijenale, Venecija

Biti, Galerija 60-90-60, Zagreb

Ovdje možete reći bilo što/sa Zoranom Pavelićem, Galerija Flora, Dubrovnik

Na Zemlji, POP UP, Osijek

2012. Snovi iz pothodnika, Galerija Događanja, Zagreb

2011. Pogled otpora/sa Vlastom Žanić, No Galerija, MSU, Zagreb

2010. Dozivanje, Gliptoteka HAZU, Zagreb

Spavanje između neba i zemlje, performans, MSU, Zagreb

Greetings from Baranja/sa Zoranom Pavelićem, Kooh-i-nor Gallery, Copenhagen

Odabir/Selected, MKC Split, Split

2009. Zbor, performans, MSU Zagreb

Vrištanje, Galerija Prsten, HDLU, Zagreb

2008. Luka i Matej iz Branjinog Vrha, Galerija Prozori, Zagreb

Vidljivo/Nevidljivo, Mali Salon, Rijeka

2007. Vidljivo /Nevidljivo, Galerija Bačva, Dom HDLU, Zagreb

Jeka /s Zoranom Pavelićem, Galerija Moria, Stari Grad, Otok Hvar

Kunst ist ein deutsches Wort,sa Zoranom Pavelićem,Studioausstelung, Düsseldorf

2006. Posjet, MMC Kuglana2, Koprivnica

Resume, performans, MMC, Zagreb

2005. Markitin san, performans, Studio MSU, Zagreb

2004. Izabrani snovi – stvarniji od stvarnosti, Galerija Karas, Zagreb

Željkov san, performans, Galerija Karas , Zagreb

2003. Forzithia, Galerija Matice Hrvatske , Križevci

Robertova poruka, performans, Galerija Miroslav Kraljević , Zagreb

Zidanje, Galerija Križić-Roban , Zagreb

2002. Izabrani snovi, Klub Močvara, Zagreb

Privremeni smještaj, Muzej suvremene umjetnosti , Zagreb

2001. K+Z, /sa Zoranom Pavelićem / Art radionica Barutana, Slavonski Brod

Mreža snova, web projekt, Galerija Miroslav Kraljević , Zagreb

2000. Nisam svjesna, performans, Galerija SC, Zagreb

Izabrani snovi, Galerija Ghetto, Split

1999. Ugljen iz podsvijesti, Galerija SC, Zagreb

Kako je u nesvjesnom?, Galerija Gradska, Zagreb

Povratak iz nesvjesnog, Galerija Miroslav Kraljević, Zagreb

1998. Pripreme, Muzej suvremene umjetnosti, Zagreb

1997. Radovi na površini, Galerija PM/Dom HDLU, Zagreb

Traklov život, Galerija Nova, Zagreb

1996. Žudnja, Galerija Otok, ARL, Dubrovnik

 Group exhibition / projects

 2021. Umjetnost Približavanja, Islam Grčki i Islam Latinski, Kula Jankovića

Device Art 7.021, Festival umjetnosti, robotike i novih tehnologija, MSU, Zagreb

2020. Noć Muzeja / Djevojački zbor, Galerija umjetnina, Split

Almissa Open Air, art festival/ Almissa Emergency, with Zoran Pavelić

Predsuvremena akcija –postmoderna reakcija, Nacionalni muzej moderne umjetnosti, Zagreb

2019. Visura Aperta, Art Festival, Lastovo/Janjina

2018. 50/68 Slike Utopije, HDLU/Filozofski fakultet, Zagreb

Cargo Transfer, Noć Muzeja, MMSU Rijeka, Rijeka

Pleh Akcija, 2008.-2018., AK Galerija, Koprivnica

Nesvrstani, Galerija Lauba, Kuća za ljude i umjetnost, Zagreb

Žena na plaži, Empeduja Beach, Rijeka

Festival Dunavski Dijalozi, Petrovaradinska tvrđava, Novi Sad

Center of Periphery, Gdanska Galeria Miejska, Gdansk

2017. Festival Željezara, Sisak

Nek ti kamen bude stina, Almissa Open Art Festival, Omiš

Video Festival ARTMETAMEDIA, Galerie Projektraum LS43, Berlin

2016. Umjetnost protiv represije, Goli Otok

            Festival Željezara, Gradski muzej Sisak, Sisak

Grassomania 8 Sieroca – Revisited, Art festival, Gdanjsk

Mijene srca, Muzej prekinutih veza/Gornji grad, Zagreb

Media festival ARTMETAMEDIA SC – Studentski centar, Zagreb

Video festival ARTMETAMEDIA Kreuzberg Pavillon , Berlin

 Onward cakes/Remembering Mladen Stilinović, ZKM, Zagreb

Intangibile/ Praški Kvadrienale, NO Galerija, MSU, Zagreb

2015. Grad na Drugi pogled, Koprivnica

Performance Art Festival, Osijek

Arhiv kao sudbina, PLEH, Galerija VN, Zagreb

Hiša na hribu, PLEH in Medvode, Medvode, Slovenija

2014. Intangibile /Praški Kvadrienale, Prag

PLEH Reference/ Ljubljana, MGLC, Ljubljana

Festival Željezara, Sisak

13. Dani Performansa, Varaždin

Industrial Art Bienalle, Labin

Grad je mrtav, živio Grad!, Dubrovnik

2013. Art SanyaEncounters, Sanya, Kina

Medienkunst aus Kroatien, CHB Berlin

All of me, Stephen Stoyanov Gallery, New York

2012. Performance Art Festival, Osijek

2011. Plexus, Galerija Galženica, Velika Gorica

Dopust, Festival performansa, Dvorana Jedinstvo, Zagreb

Slika od zvuka, NO galerija, MSU, Zagreb

2010. PLEH u Sarajevu, Charlama Depoth Gallery, Sarajevo

Nitko nije siguran, 50. Porečki Annale, Galerija Zuccato, Poreč

T-HTnagrada, MSU, Zagreb

Slika od zvuka, MKC Split, Split

Extended/Ex -pe -ze, Kulturamt, Düsseldorf

2009. Hram, Galerija Prsten, HDLU, Zagreb

Performance Art Festival, Barutana, Osijek

Dopust, Dani Performansa, Split

PLEH u Subotici, Galerija dr. Vinko Perčić, Subotica

Nitko nije siguran, 50. Porečki Annale, Galerija Zuccato

Baranjska Umjetnička kolonija, Dvorac Tikveš

BUK 2009, Galerija Miroslav Kraljević, Zagreb

2008. PLEH u Koprivnici, Galerija S, Koprivnica

BUK 2008, Galerija Waldinger, Osijek

BUK 2008, Galerija Miroslav Kraljević, Zagreb

2007. Umjetnost kao život, 20. Slavonski biennale, Galerija Kazamat, Osijek

BUK 2005/2006, Galerija Miroslav Kraljević, Zagreb

Baranjska Umjetnička Kolonija, Dvorac Tikveš

T-HT nagrada, MSU, Zagreb

20. Slavonski biennale, Gradski muzej Vukovar

2006. Insert /retrospektiva hrvatske video umjetnosti, MMSU, Rijeka

Zagubljeni portreti, Galerija Meandar Media, Zagreb

Do you celebrate Christmas, Galerija prozori, Zagreb

Baranjska Umjetnička kolonija, Centar za kulturu Beli Manastir

  1. 40 godina galerije SC-a / Akcija-atrakcija, Galerija SC, Zagreb

Insert / retrospektiva hrvatske video umjetnosti, MSU / Zagrebački velesajam, Zagreb

Baranjska Umjetnička kolonija, Batina

30 godina BUK-a, Galerija Likovnih Umjetnosti, Osijek

 2004. Homlles ideas, Galerija Miroslav Kraljević, Zagreb

Baranjska umjetnička kolonija/BUK, Batina

4. dani hrvatskog performansa, Varaždin

2003. Zagreb stories, Galerija Miroslav Kraljević , Zagreb

Mala špijunka, HDLU, Zagreb

FONA, Art festival, Rijeka

Mala špijunka, Galerija Minima, Zagreb

  1. Zinnober 5, Studio 6ix Pack, Hannover

18. Slavonski biennale, Galerija likovnih umjetnosti, Osijek

Osječko ljeto mladih, Galerija KaZAMAT, Osijek

Gola / Drava kolonija, Koprivnica

Inter muros/ Internacionalni art festival, Zadar Live 2, Zadar

Urban Festival, javni prostori, Zagreb

2001. Transit, Stadtische Galerie Lehrte, Lehrte

Transit, Galerija Matice hrvatske, Zagreb

Mali radovi, Galerija Minima, Zagreb

Teatar i Mit, Kazalište Gavella, Zagreb

2000. Ambijent 90, Collegium Artisticum, Sarajevo

Ambijent 90 Moderna Galerija, Rijeka

17. Slavonski biennale, Galerija likovnih umjetnosti, Osijek

1999. Mala Zemlja, Galerija Otok, Art radionica Lazareti, Dubrovnik

  1. 16. Slavonski biennale, Galerija Likovnih umjetnosti, Osijek

Knjiga i društvo, Cvjetni Trg, Zagreb

Small Planet Earth, Council of Europe, Strassbourg

Baranjska umjetnička kolonija/BUK, Batina

  1. Mala Zemlja, Klub arhitekata DAZ-a, Zagreb

KommunicationKunst in der Stadt, Mainz

XVI Slavonski bijenale, Gradski Muzej, Vinkovci

  1. International Trienniale of Painting, Sofia

XV Slavonski biennale, Galerija Likovnih Umjetnosti, Osijek

 Labin Art Expres/Ideja/Materijal, Labin

Slavonian artist /XIV Slavonian biennale, Pech Gallery, Pečuh

1994. XIV Slavonski biennale, Galerija likovnih umjetnosti, Osijek

1991. Grupa Močvara, Knjižara Nova, Osijek

1990. Grupa Močvara, P+8., Beli Manastir

Grupa Močvara, Galerija CM, STUC, Osijek

 Nagrada:

Ex Aequo, 18. Slavonski biennale, Osijek

Radovi u zbirkama:

Muzej suvremene umjetnosti, Zagreb

Muzej moderne i suvremene umjetnosti, Rijeka

Filip Trade Collection – Muzej Lauba, Zagreb

Kata Mijatović

THE BLACK HOUSE

At first glance, the black object on the white gravel of the approach to the main entrance of the Art Pavilion has the effect of a two-dimensional photographic montage in real, three-dimensional space. Or as if a bit of the space had been cut out in the form of a little house, and that beyond is seen: a space filled with a black void; we are in a balloon, around us is what we see is there, but the balloon is in that black, and the little house is a window into what is out of the balloon. And if for a moment we recall that our sphere is actually in such a space, in a space that cannot be said to be entirely empty and entirely black, even if there is no more intense blackness and bigger emptiness than that of space, and that too is a balloon. And if the little black house is a window into that outside, then space too has something outside, and the window is a black hole. Perhaps behind the black hole there is a bigger balloon still, which, in the logic of things, should be neither black nor empty, but coloured and completely filled with all sorts of stuff. It is impossible, that is, to break free of the feeling that there must always be something else behind something.

If we replace the telescope with a microscope and look inwards, there is always something else in anything. In both cases we have to admit that what we see both outwards and inwards is just a little part of what exists, in other words a detail registered in our senses of some kind of infinite abundance.

Science claims that we use software-wise just a bit of our hardware capacity, that our brain has a greater capacity than that which we use. People say that the cerebral convolutions should sometimes after all be told to exert themselves, which is on the one hand accurate and on the other not, because the brain doesn’t work like a muscle the volume of which can be increased by exercise, or exertion, because it would mean that the brain arrived at this volume by exerting itself. And since it can hardly be said that we have ever in the past used it more than we do today, it turns out that we haven’t developed it but have got the use of it. But we didn’t get a user’s manual. We have more or less mastered some of the programmes in the computer gifted us during the course of time, but the others are waiting, a good part of our brain is on stand-by.

Its effective part is in vigorous communication with the senses, it processes their registration, and this part we call consciousness or reason. Most people agree though that there is something else, what is not quite at our disposal, what happens when, as Matoš says, “madness orders reason to comply”. In other words, sometimes some of the programmes on stand-by will activate themselves. I dare say that these random activations are not all that rare, but the firm hand of reason on the whole crushes them at the very beginning. Not to pay attention, however, to the lights that have lit up all by themselves, in us, though, in fact means to be deaf to the fundamental responsibility, responsibility to the self-generated thought that is the contact between us and all.

That part of us that is not controlled by reason, the existence of which we are persuaded of by science and personal experience, is the lasting theme of the artistic work of Kata Mijatović. The space of the unconscious is the area of her interest, no matter whether it is a matter of dreams or of the subconscious, forms of her communication with the conscious, Kata endeavours to highlight the role of the subconscious, to include its reflexes in the experience of the whole.

But unlike Bruno Schultz, whose Republic of Dreams is for him a metaphor for the interpretation of the inner event, Kata treats the dimension of our existence that occupies a third of our life as raw material and symbolically translates it with material properties, that is, the characteristics of elements from reality. The presence of the unconscious is illustrated with water, whether writing out words with a brush dipped in water, or with white sheets soaked in water, just as water evaporates in the air, so dreams disappear in waking. Another element is coal, for as against water that flows, coal stands, water evaporates, and coal constantly gains new layers, identifying it as a sign of the subconscious. Performatively, Kata brings the materialisation of interior deposits out onto the surface (Resume, MM Centre, 2014). Dreams are volatile and fluid like water, but the matter from which they are built is constant and solid, the sedimented layers of the external that the senses have registered and saved on the hard disk, incontrovertible proofs, we can imagine them as images that lurk or eke out an existence in one of the long-since not-visited quarters. And when consciousness slumbers, then from stand-by state the programme for editing and montage is activated, we can imagine it as a VJ, with shades and tousled hair, a simple T, looking like any jerk off the streets, using our archive, fitting in episodes from our singles or long plays into his scenario, adding SFX, a classic experimental film. In the absence of the rule of reason we understand the director’s idea without a problem. It’s hard to say how long his show lasts because in dreams time is not subject to our criteria. As consciousness arouses, so the point and meaning drains out of the director’s concept, just as sheets dry, so we forget the language, no longer know its syntax, and the content too vanishes bit by bit. Sometimes some picture will remain, a moment before waking, what the VJ has put on instead of The End, these images Kata gathers and puts aside, where else but in a virtual archive, I won’t be going overboard if I say that she has the biggest collection of other people’s dreams in the world.

“The Black House is a kind of replacement form, a metaphor of a mass that comes from the same non-place. Unlike coal, which signified the transfer of content from the unconscious, the Black House is a materialisation of a capsule of unconsciousness.” (Kata Mijatović)

From this it must derive that the unconscious has once again served as raw materials, in this case as building material, it not being about black painted walls within which there is nothing, rather there is a whole dwelling of a mass from non-place. This non-structure, the material staging of the negation of materiality is there, says the author, in the role of pattern, a captured part of the unconscious. Just as in the Black Hole gravity to which all the rest of the universe is subject, so in the Black House our criteria don’t work and one cannot know how big a part of the unconscious is housed within it.

Lovers of SF will recognise the non-object as a portal for a trip down a wormhole to some other universe located in who knows what dimension, fans of psychoanalysis as a means of getting into what are otherwise inaccessible dimensions of the being, those into the esoteric as a medium of communication with the beyond and impassioned metaphysicians will be absorbed by its very material negation of reality, a palpable three-dimensional excerpt from it. It doesn’t represent what is not, for there is not what is not, but the logic of the place involves something outside or apart from this place, if there is space, then there must also be non-space. Just as in a black hole time is not subject to gravitation, so in the Black House in front of the Art Pavilion space is not subject to the criteria of reality for it is built of non-reality.

But Kata is not concerned with the negation of reality, rather with the figure of that part that is inaccessible to her. She is not interested in analysing the films we watch while we sleep, but in presenting them as images, the Dream Archive is not a book of dreams but a mosaiced survey of various directorial concepts. She is not interested in using coal as effective fuel for her production, but in foregrounding the transfer, the communication with the interior layers of the being, with spaces that, if not accessible, in a good part form our experiences and govern our decisions. That coal is extracted from a mine is also effective in her translation; the protagonist of Camus’ The Stranger says it is enough to live one day to have something to remember the whole of one’s life, is an inexhaustible thesaurus of internal deposits. But this thesaurus is just a smallish part of the space of the inaccessible, and the transfer that Kata conducts performatively, resulting in an every greater pile of coal on the stage, is a portrait of an artistic procedure. It is not about psychoanalytically delving into the subconscious, into the origin of one’s own personality, because this personality is a part of all personalities, but it is about delving into the space where they not only dwell but also communicate, mining coal. Kata mines fragments of a dialogue that is conducted within her between her and all else.

So we cannot explain the Black House as either portal or tool or medium. Following the instructions of Ionesco, who in his Notes and Counter Notes says “Only the imagination can reveal the authentic nature of things, truth, more real than any realism”, we might understand the non-structure as a sample of the area of imagination. For just like the process expounded so far, dreams vanish in waking, the interior is transferred out, it moves on from the unconscious and in the authorial procedure art is identified as link or point of contact with the conscious, so it is now: the imagination is that with which the field of artistic activity is sown, located in the area of the unconscious although it gathers the fruits consciously. Which would mean that we look consciously through the lens of the unconscious, or through the lens of art we observe reality.

Boris Greiner

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