Virtual exhibition - Ivana Tkalčić

The Ivana Tkalčić exhibition Floating for the Virtual Gallery of the Art Pavilion

Inspired by the ideas of Hito Steyerl, renowned video artist, cineaste and writer in the domain of media theory, Ivana Tkalčić starts off in the intervention she has devised for this occasion from the idea of floating. In one of her articles Steyerl discusses the proposition that contemporary surveillance systems, satellite geo-location, mapping and similar tools entail a new scopic regime, replacing the centuries-old domination of the linear picture and the illusion of the anthropocentric image of the world that this illusion created, the epistemological and political implications of which also prompt the necessary adoption of a critical viewpoint. This new disembodied view from above is a view without a continuous horizon, a view that rejects the laws of gravitation and Newtonian physics,  that does not imply a fixed standpoint in space, and that also calls into question its own point of origin in the consciousness of the individual. The subjective kinaesthetic feeling to which such a view gives rise can be compared with the experience of floating, of more or less weightless movement that is not rectilinear and in consequence affects the perception of space and time. In the context of a cycle conceived as a number of artistic interventions in the surveillance recordings of the internal and external space of the Art Pavilion, that Ivan Tkalčić should be inspired by the propositions of Hito Steyerl is clear and logical. Not so very new in and of itself, but in the new circumstances and the very up-to-date form of the virtual exhibition, it cannot be thought of as a mere substitute for the classical exhibition format, but rather implies some new and different experiences and understandings.  

The CCTV recordings that all artists use as basis for, that is, the medium of their intervention by their very nature incarnate the new model of looking that Steyerl’s speculations take up. The view of the surveillance camera is the look down from up above, a look that breaks the continuity of real space into a number of partial visions, which do not depend on the movement of the watcher, but on the deliberation or willed selection of the given positions of the cameras. This view which is by definition voyeurish – as a result of the impossibility of corporeal involvement in the happenings that are offered to the gaze, the disposition of the surveillance camera enjoins a passive pleasure in watching, a pleasure that as a result of the monotony of the black and white scenes can easily turn into nausea. The intervention of Ivana Tkalčić is concerned precisely with this aspect: in the given situation, she opens up the possibility of interaction; by accessing the recordings of the spy cameras through which a view is given of the interior and the surrounding space of the Pavilion, the visitor is also enabled to communicate with the artist and other visitors of the exhibition via a live chat platform that parasitically inhabits the pictures transmitted by the camera. In the given time slots, visitors and artist, and visitors among themselves, will be able to chat live, text-wise, initiating a communication event the course and the long-term outcome of which are actually impossible to predict; with no set theme for the discussion, with no moderator, no restriction on numbers of participants, the performative of this act of communication can outgrow the context of the exhibition itself.  

As a whole then this is about a model of the innovative use of the operational assets of the gallery institution and the conventions of exhibition presentation. The use of the video surveillance system as symbolic stand-in for the gallery space, which is currently out of use and the resultant intervention into the actual recordings, or with their help – the common denominator of all the original contributions to this cycle – is in its very self a form of tactical, in a sense even of outlaw, and certainly unexpected artistic behaviour that plays with the actual medium of the exhibition. The possibility of opening up via the surveillance cameras for both artist and visitors a scopic channel in the space of the Pavilion creates an ambiguous situation. Although they are not physically present in the space, artist and public both are nevertheless mediatedly present, via a tool that does not usually serve this purpose. The work of Ivana Tkalčić additionally focuses this situation; by the installation of a chat facility in the camera recordings visitors will be able to take part interactively in the exhibition event. Their communication, which in the usual circumstances is peripheral to the exhibition event, is now the central content of the exhibition. As already mentioned, the course of development of this event is not set, except by the functions of the chat platform itself. The dialogical exchange of ideas, impressions and viewpoints is the expected assumption, but also one has to count on interference, on noise in the communication channel, on misunderstanding, and the breakdown of effective communication. However it turns out, the experimental factor is proper to art: the procedure chosen does not necessarily have to bring us to the goal we have set forth, without this necessarily having to be bad news.

Author of the text: dr. sc. Ivana Mance

Access the virtual exhibition by clicking on the photo:

List of exhibitions

Solo exhibitions:

2021. Why am I seeing this?, Mavena, Split, Croatia2019. A(rtificial) I(ntelligence) I and II, Atelier Meštrović, Zagreb; Gallery Meštrović, Split, Croatia

2019. BWPWP / BACK WHEN PLUTO WAS A PLANET, Lauba, Zagreb, Croatia

2019. Paradise now_ _twilight zone, snapchat, camera, text to speech, Gallery Kazamat, Osijek, Croatia

2018. Family mythology, City Gallery Striegl, Sisak, Croatia

2018. Paradise now_, gallery Izidor Kršnjavi, School of Applied Art and Design, Zagreb, Croatia

2017. Error in Utopia v 0.2, Jan Arnold gallery, RCAA, Museums Quartier, Vienna, Austria

2017. Error in Utopia v 0.1, Showroom Karlplatz, RCAA, Vienna, Austria

2017. Error in Utopia v 0.0, Y AMKE, Athens, Greece

2016. Unread books, Šira, Zagreb, Croatia

Group exhibitions:

2021. 13. International Exhibition of Contemporary Arts – OSTRALE Biennale O21, Dresden, Germany

2021. 20. Radoslav Putar Award, Institute of Contemporary Art, Salon Galić, HULU – Split, Split, Croatia

2021. #pivilion_dot_net, Inquiry Inc., Format C & [hacklab01], Galerija Prozori, Zagreb, Croatia

2020. 27. SLAVONSKI BIENNALE, Osijek, Croatia

2020. Millennial, 35th Youth Salon, HDLU, Zagreb, Croatia

2020. Video Picnic, Martha’s Contemporary, Austin, Texas, USA

2020. #pivilion_dot_net, Booksa, Zagreb, Croatia

2020. To the Curious; Proceed, TAILS(online)

2020. Drei Tage bis zum Ende der Kunst, WHW Akademija, Galerija Nova, Zagreb, Croatia

2020. Atlas of particles – Are you predictable?, Art Pavilion “Cvijeta Zuzorić”, Belgrade, Serbia

2020. With the Collection, Perfect Peripheral, The Museum of Modern and Contemporary Art, Rijeka, Croatia

2020. The Wrong New Digital Art Biennale II, Proxy, El Farolito – Centro Cultural de España en Costa Rica

2019. Resonances III, BOZAR Centre for Fine Arts, Brussels, Belgium

2019. The Wrong New Digital Art Biennale II, Proxy (online)

2019. The Wrong New Digital Art Biennale II, WDWDN(online)

2019. What Do We Do Now ? , Casino Notabile, Mdina, Malta

2019. The Wrong New Digital Art Biennale II, Pivilion(online)

2019. Format C | #pivilion_dot_net, Scheier, Čakovec, Croatia

2019. Resonances III | Datami Festival, JRC, Milan, Italy

2019. Global vs. Endemic, C3 Centro de Ciencias de la Complejidad, UNAM, Mexico City, Mexico

2018. Summer Sessions 2018 (Kunstavond XL), V2_ Lab, Rotterdam, Netherlands

2018. Zlatna lubenica 2.0, 20th Media Mediamediterrana Festival, SKUC, Pula, Croatia

2018. 34th Youth Salon – Panoptikon, HDLU, Zagreb, Croatia

2018. Platform for Experiment 1.2, Gallery VN, Zagreb, Croatia

2017. The Wrong New Digital Art Biennale- Homeostasis Lab(online)

2017. Memories II, Gallery Huong Ngo, Hanoi, Vietnam

2017. 4th Biennial of Painting, HDLU, Zagreb, Croatia

2017. 5th Odessa Biennial of Contemporary Art, Museum of Odessa Modern Art, Odessa,Ukraine

2017. VIDEOTECA HOMEVIDEO, PROGETTO TOPPUNT, THE INDIPENDENT (National Museum of the Arts of the 21st century), Lecca, Italy

2017. The Glitch Art is Dead, Gamut Gallery, Minneapolis, USA

2016. 25th Slavonian Biennial, Gallery of fine arts, Osijek, Croatia

2016. Transform 2016: Transformation of image, Museum of Contemporary Art, Zagreb, Croatia

2016. Erste fragments 12, Kranjčar Gallery, Zagreb, Croatia

2016. fu:bar, Siva Gallery, ALU, Zagreb, Croatia

2016. The process of initiation, Kulturflux, Pogon jedinstva, Zagreb, Croatia


May – September 2021 – EthicAI=LABS, Goethe-Institut Kroatien (online)

5.11.2019.-1.6.2020. WHW Akademija – international art study program, Zagreb, Croatia

1.02. 2019.-1.02.2020. SciArt Project, Artist-in-Resonance I., The Joint Research Centre (JRC), European Commission, Ispra, Italy

17.10.2018.-20.10.2018. – CreArt (Network of Cities for Artistic Creation) workshop „The use of photography as a sculptural material in contemporary art“ led by artist Kristian Kožul and curator Lea Vene, Museum of contemporary art, Zagreb, Croatia

17.7.2018 – 8. 9. 2018. Summer Session, V2_ Lab, Rotterdam, Netherlands

25 – 29 June 2018. SciArt, Summer School, Resonances III Festival, The Joint Research Centre (JRC), European Commission, Ispra, Italy

28 – 30 November 2017. masterclass program with Katarzynom Kozyrom, Galeria Labirynt, CreArt (Network of Cities for Artistic Creation), Lublin, Poland

3.7.2017. – 31.8.2017. – Kunstnarhuset Messen, Ålvik, Norway

1.4.2017. – 30.6.2017. – NXT Residency 2017, ELIA & Academy of Fine Arts Vienna, Vienna, Austria

1.12.2016. – 31.1.2017. – Y AMKE, Athens, Greece


2015 – 2016 Academy of Fine Arts, Zagreb,Croatia Graduate studies (MA)

2014 – 2015 Academy of Fine Arts, Munich, Germany

2011 – 2015 Academy of Fine Arts, Zagreb, Croatia, Undergraduate studies (BA)

2010 – 2012 Faculty of Economics, Zagreb, Croatia, Graduate Studies, Tourism (mag oec.)

2006 – 2010 Faculty of Economics, Zagreb, Croatia, Undergraduate studies (BSc)


Ivana Tkalčić (born in 1987) is a contemporary multimedia artist. She obtained her master’s degree in 2012 from the Faculty of Economics and Business at the University of Zagreb and later went on to study at the Academy of Fine Arts Zagreb (ALU), where she achieved the title of Bachelor of Arts. She continued her education at the Academy of Fine Arts in Munich, Germany, before proceeding to complete her master’s degree at Zagreb’s ALU in 2016. She has exhibited independently a number of times in Croatia and Europe, as well as taken part in group exhibitions worldwide.

She has received numerous nominations and awards: 20th Radoslav Putar Award, Young Visual Artists Awards; HPB Grand Prix award at the 35th Youth Salon; Erste Fragments 12; The Rector’s Award for Student Excellence; RCAA – young European art award.

She has participated in multiple residencies in Italy, The Netherlands, Belgium, Poland, Norway, Austria, and Greece.