Tag Archive for: virtual gallery

Petra Mrša – Victory, taste, smell


Victory, taste, smell

The playing of social games extends over all the periods of history. A game, since time out of mind, has been a device of social cohesion and is present in all cultures; it belongs among the oldest forms of social interaction. With the development of science, technology too advanced, with a huge effect on society. An almost unbelievable technical advance took place with the appearance of the Internet, and had its effect in the games sector. This medium was particularly favourable for the development of video games and in particular multiplayer games when several gamers are going to be involved at the same time in the same video game. The Internet enables them to come together in a game without being physically present in the same real space. Video games have become a widespread social and cultural phenomenon, one that has swept over the globe. The Statista platform puts forward research from which the proliferation of gamers can be seen, and we can find out that the number of video gamers worldwide in 2022 was 3.03 billion, and that there had been a huge surge in this number right at the beginning of the pandemic, in 2020. It was only in the last year that the number steadied slightly and is now a little smaller. But if research is to be trusted, by 2027 in planetary terms gaming is not going to wane but will continue its campaign of conquest and there will be the incredible number of 3.8 billion gamers worldwide. ¹

Health 90, video still


These are truly amazing data and, I believe, can hardly be looked on with equanimity, the more so if we know that playing – gaming – has its good and bad effects on those taking part. According to numerous researches, it has an effect on real life, particularly on the development and psycho-physical formation of the younger population, which accounts for the majority of players in global terms. On the negative side there are violence, dysfunctional behaviour on the part of players, subconscious evasion of real life problems, avoiding/neglecting everyday obligations and the danger of dependence resulting from excessive playing. Reception of the good side of playing video games largely comes down to their entertainment value (leisure time instrument), and to the medium, from which something new can be learned, affecting creativity, helping the logic of rapid inference and the advancement of cognitive processes.

Health 90, video still


Whether or not we are more inclined to the proposition that gaming is toxic or, more optimistic, think that more good can be found in it than harm, we have to admit that this planetary-wide phenomenon has become intertwined in all social strata, irrespective of age, education and purchasing power. Gaming has become a force that in plain sight, from some parallel virtual world, is intersecting with our real and material world, changing it, creating a totally new paradigm to be seen in numerous social realities, from global economy (the video game market was worth 196.8 billion dollars in 2020) to the creation of new subcultures and the formation of identities within them. It is clear that the academic community can hardly remain immune to all these processes and changes, and the videogame phenomenon is the subject of interest of psychologists and philosophers, sociologists and researchers from other disciplines, but this world sensation has also captured the attention of artists. A phenomenon that is literally developing before our eyes and, as we can see, from simple has grown into very complex worlds, has also woven its narrative in art. Looking at it from this angle, it is interesting to see how artists feel and think about it in their works.

[1]          https://www.statista.com/statistics/748044/number-video-gamers-world/
[2]          https://newzoo.com/insights/trend-reports/newzoo-global-games-market-report-2022-free-version

Artist Petra Mrša in her art practice deals with videogames, or rather the phenomenon of video-gaming, and in a number of works in which she delves into videogames spurs thinking about the material and physical consequences of interactive digital experience of playing. Her degree background is in not only photography but also sociology and psychology, which, of a surety, has had a hand in her looking at the phenomenon deeper and more intensively through the discourses of sociology and psychology. Mrša in her works thinks about the multilayeredness of videogames and other digital contents in wide use. On the one hand she is interested in, for example, what happens with the mind, what happens with the body, the emotions of players while they are using the content, but at the same time raises awareness about the Internet, going into the possibility of self-controlling one’s immersion in digital content. She has been into this topic for quite some time. Her artist research (kindly shared with me) is wide-ranging and extensive, with numerous quotes from many sources. Some of these sources, as she says, are catalogues of exhibitions, scientific research works, popular media and some of them are interviews that she has personally conducted. One of them is important for consideration and understanding of the work Games and Stitches – Chatbot, referring to the self-aware use of digital content. She has interviewed employees in and clients of the Day Centre for Internet and Videogame Dependency. In the twenty questions she put to the employees she attempted to find out what psychic and physical characteristics are shown by clients who are easier or more difficult to treat; the surroundings in which they live and move; whether dependency is related to a given social and economic group; is there a behaviour pattern related to addicts; how to reduce the need for adrenaline and dopamine; how clients can be motivated to reduce their dependency and so on. She has also carried out interviews with former addicts and attempted to find out why they continue to use Internet content in spite of their bodies having given clear signals that enough is enough; whether they think that they have missed out on something in the real world because of the long-time slouching in front of a monitor; what motivated them to resist Internet use even in spite of powerful urges; what happened with their body at the moment when after OD-ing on Internet use they have ceased using the medium. Through the interaction with collaborators in this research process achieved through question and answer Petra Mrša has collected content used for the development of the interactive platform chatbot. In our Virtual Gallery, chatbot is put on as an independent work, but chatbot also appears every time any work on her website is opened. It pops up in the right hand corner with: Hi! I’m chatbot and my aim is to help you shut down your computer when you find it difficult to do so and set yourself free! After the chat I’ll say goodbye and that will be the sign to shut down. OK? Chatbot is embodied in the form of a digital non-binary entity that puts to the user or participant in front of the monitor various questions and gives instructions to. The purpose of the questions and instructions is to provoke reactions in the user that will generate awareness in the context of the relations of emotional and physical experience, spatial and corporeal, comforts and discomforts of the digital environment, interior and exterior, as well as awareness of how crucial is the space in which the participant is located at the moment of interaction with the chatbot and the essentialness of the environment in the user’s wider surroundings. To wean the user away from digital content, to shorten the time they spend in front of the time, chatbot gives them entertaining tasks that compel them, as it were, to abandon digital content for a short time at least (“turn your chair round in a new way and sit on it again”), but also gives them tasks to get them physically moving (“Walk three times around your building and look all the people you meet in the eye. Say hi to one person, even if you don’t know them. Hi hi”), with which the participant is fully liberated from immersion in digital content for, because of the task, they have to leave it. The purpose of chatbot is to provide alternative contents for those who need and want help from outside to break away from their digital device.


Health 90, video still


In the twenty-minute-long documentary film Health 90, Petra Mrša explores in depth the contents of the digital space, probing it at several levels. As well as the psychological and sociological aspects of playing videogames, an important educational level is to be read. The core of the work consists of playing a game and the interaction of players that occurs during play as well as after gaming. The artist invited six young gamers (three boys, three girls) who share a common passion for gaming together. Previously they never met, and for the first time meet virtually in the sandbox of the game Garry’s Mod, and then life in the real world, or real space. While the virtual place of encounter in the game is a known space in which they feel OK, the place of encounter in reality must have been entirely unexpected to them, but not necessarily unpleasant, for the place was filled with content that in the associative sense they meet in their virtual world. The artist then decided, on the basis of Garry’s Mod, which gives the players opportunities for the virtual building of bridges, buildings, furniture… that the encounter space should be in the Materials Laboratory of the Civil Engineering Faculty where, I suppose, they had never been previously. The laboratory is used not only for research and commercial purposes, but also for student education; in it there are various engineering materials, tools, simulators, instruments and other devices. Having chosen this laboratory for the encounter of her young subjects, the artist metaphorically teleported them from the virtual to a similar but real world. Because of this displacement, the action of Health 90 takes place here and in the beyond, now and then. The essence of the work lies in the monitoring of the interaction of players during and after play and the relations they develop in this period, and, in consequence, everything that springs from it. The players are not abandoned to arbitrary relations/dialogue, for the artist determined the questions for discussion in advance, to find out how important playing videogames was in their everyday lives, and why. From the young protagonists of the documentary film we find out that they perceive the digital as a protective place, a kind of safe space. In this virtual safe space nothing can happen to them that they don’t want, for, unlike physical space, they can control the virtual space, and accordingly think it secure. This is confirmed by the remark of one of the girls that you can change your gender identity and be a boy teenager, in order to avoid any possible embarrassments and prejudices on the part of the other players, without any of the other multiplayers finding out. The protagonists list the many restrictions that exist in the real world, none of which are there in the digital world. It gives the players the chances that in the real world they could never have. One of the protagonists, along these lines, says that it is much easier on line to play soccer or basketball because you just log in and play by yourself, or gather a team, while playing the same sports physically is much more complicated and harder, depending as it does on numerous factors, like weather, the moods of the players and their physical abilities. They also say that the digital environment enables them greater socialisation and to have intimate relationships, one of the players saying that via play he is in contact every day with a girl friend from whom he is separated in real life terms; a girl participant says that she met her current boyfriend playing games. Playing, we find out too, gives them self-confidence and a feeling of respect for themselves, for the feeling of accomplishment is much easier to come by in a videogame than it is in real life.

Chatbot Games and stiches


This kind of imaginary world is attractive to the young. Many of them feel better in it, for as we see, it gives a feeling of security, happiness, power, usefulness, rightfulness, gives them many possibilities of choice and freedom, for they can be what they want and do what in the real world because of various personal or social restrictions they would never be able to. But also in the digital world they acquire certain skills, knowledge, cognitive abilities that can be of use in the real world, so that the videogame is both a means of entertainment and a kind of emotional fall-back space as well as a resource for the acquisition of new knowledge and skills applicable in reality, if the choice is critically well-informed.


                                                                                                            Jasminka Poklečki Stošić



Health 90

documentary film, 20 min, HD, color and sound

After books, comics, music and movies, video games have joined the mass media formats that influence the youth’s upbringing. In Health 90, six gamers reveal what needs and desires they satisfy through video games. Describing the world they would like to live in, the protagonists reveal the influence of video games on shaping their ideas and desires in the physical world.

protagonists /
Lorena Brnica
Patrik Butorac
Jakob Vučić-Šenperger
director / Petra Mrša
screenplay / Petra Mrša
cinematography / Tomislav Sutlar
editing / Denis Golenja
sound design / Luka Gamulin
sound recorder / Ana Jurčić
colorist / Magdalena Ptiček
opening credits designer / Sara Pavleković Preis
producers / Petra Mrša
production assistant / Elena Apostolovski

The film was realized with the help of funds from the Ministry of Culture of the Republic of Croatia, the Department for Culture of the City of Rijeka and the Croatian Audiovisual Center (HAVC).

Health 90, video still


Health 90, video still


Health 90, video still


Health 90, video still


Health 90, Museum of Fine Arts Osijek 2022

Chatbot Games and stiches


The content of an interactive platform was created based on interviews with patients and employees of the hospital for the treatment of Internet and video games addiction. Their experiences of losing and regaining control of their behavior form a chatbot that connects the digital experience with physical and emotional reactions. Unexpected questions and instructions aim to raise awareness of the relationship between one’s own body and the environment, moments of interruption, and the discomfort caused by immersion in digital content. Based on the answer, the chatbot generates one of 3 conversation topics offered: people, fun or goal. Each conversation encompasses rising awareness of body parts, entertaining tasks, and the suggestion for an activity in the physical environment that implies leaving the digital device.














The video game research process behind these works,
is available during the duration of the exhibition at the following links:

Odabrani citati iz raznih izvora (ENG)



Games and politics katalog (ENG)



Grupirani sadržaj intervjua provedenih za rad “Filthy casul”



Dijelomični transkripti intervjua za rad “Filthy casul”



More links




Petra Mrša is an artists and educator based between Rijeka and Berlin. Her practice is centered on researching the ways in which social norms shape the lives of individuals. Through evoking situations and dealing with representation, she questions the mechanisms of socialization in the physical and virtual environments. She studied Photography (Academy of Dramatic Art, University of Zagreb), Sociology (Faculty of Humanities and Social Science, University of Zagreb), and Psychology (Faculty of Croatian Studies, University of Zagreb). She participated in the postgraduate international art program WHW Akademija (run by curatorial collective What, How & for Whom/WHW) in Zagreb and was nominated for the Radoslav Putar award 2020. She took part in numerous residencies among which are MuseumsQuartier Wien; Cité internationale des arts, Paris; CreArt Bluecoat – Liverpool’s contemporary arts centre. Her work was exhibited at the OSTRALE Biennale (Germany), Museum Kunst+Wissen (Switzerland), FOTODOK (Netherland), Galerie L’inlassable (France) among many others. Her artworks are in several collections.


2023. Pobjeda, okus, miris, Umjetnički paviljon u Zagrebu, Virtualna galerija, Zagreb, Hrvatska
2022. Digital milk, Center sodobnih umetnosti Celje, Celje, Slovenija
2022. Digital milk, Muzej likovnih umjetnosti, Osijek, Hrvatska
2021. Igre i šavovi, Galerija GMK, Zagreb, Hrvatska
2019. Are you sure you want to leave the game? Galerija Prozori, Zagreb, Hrvatska
2019. Killing, arranging, walking, Galerija Flora, Dubrovnik, Hrvatska
2019. Killing, arranging, walking, Galerija Spot, Zagreb, Hrvatska
2017. Changing conditions, changing minds, Galerija PM, Zagreb, Hrvatska
2017. Vježbanje obitelji, Gradska galerija Labin, Labin, Hrvatska
2015. Vježbanje obitelji, Art Workshop Lazareti, Dubrovnik, Hrvatska
2015. Vježbanje obitelji, MKC Split, Split, Hrvatska
2015. Vježbanje obitelji, Mali salon, Muzej moderne i suvremene umjetnosti, Rijeka, Hrvatska
2015. Što vidiš kad zažmiriš?, Foto galerija Lang, Samobor, Hrvatska
2014. Vježbanje obitelji, Galerija Kranjčar, Zagreb, Hrvatska
2014. Balkans brides project, Petra Mrša, OKO i Martina Miholić, Hoxton Gallery, London, Velika Britanija
2013. Kontrolirano izmještavanje – fotografski eksperimenti, Galerija Kortil, Rijeka, Hrvatska
2013. New school, Savignano Immagini festival, Savignano sul Rubicone, Italija
2012. Nova škola, Galerija VN, Zagreb, Hrvatska
2012. Vizualni identiteti, Centralna postaja, Maribor, Slovenija
2012. (Ne)zamijenjivo, Galerija Waldinger, Osijek, Hrvatska
2012. (Ne)zamijenjivo, Galerija KIC, Zagreb, Hrvatska



2022. Are you sure you want to leave?, art quarter budapest, Budimpešta, Mađarska
2022. Riječi za gledanje, Muzej moderne i suvremene umjetnosti Rijeka, Hrvatska
2021. The OSTRALE Biennale, Drezden, Njemačka
2021. Iza sedam gora i sedam mora – tihe noći uz mobitel, Muzej suvremene umjetnosti Zagreb, Hrvatska
2021. Symptoms Of The Future, Out of sight, Antwerpen, Belgija
2021. Symptoms Of The Future, Stereovizija, Beograd, Srbija
2020. 35. salon mladih, Dom HDLU, Zagreb, Hrvatska
2020. Ganz nove perforacije – Noć performansa, Zagreb, Hrvatska
2020. Finalisti Radoslav Putar award, Salon Galić, Split, Hrvatska
2020. 11. Arterija – Međunarodni festival vizualnih umjetnosti, Spasimo ugrožene vrste, Muzej–Museo Lapidarium, Novigrad, Hrvatska
2020. La ville au second regard, Gallery Window, Pariz, Francuska
2019. Što s tijelom? Galerija VN, Zagreb, Hrvatska
2019. United in Diversity Rijeka HR/Århus DK, DeltaLab, Rijeka, Hrvatska
2019. Women, (Be)coming, UGM Studio, Maribor, Slovenija
2019. Open Nova, Galerija nova, Zagreb, Hrvatska
2019. AIR, Krinzinger Projekte, Beč, Austrija
2019. Midterm, Galerija nova, Zagreb, Hrvatska
2018. Traces of Water, Galerija Prsten, Zagreb, Hrvatska
2018. Museum Kunst+Wissen, Diessenhofen, Švicarska
2017. Last one out turn off the lights, Galerie L’inlassable, Pariz, Francuska
2017. Fine del nuovo: Compra, vendi, compra, vendi…,Villa Di Toppo Florio, Udine, Italija
2016. Meer teilen: share more, Shedhalle in Eisenwerk, Frauenfeld, Švicarska
2016. VIG Special Invitation, Ringturm, Beč, Austrija
2016. There is something about my family, FOTODOK, Utrecht, Nizozemska
2016. Different Worlds:Young Contemporary Photography, Foton – Centar za suvremenu fotografiju, Ljubljana, Slovenija



2022. Digital milk, Muzej likovnih umjetnosti, Osijek, Hrvatska
2021. Symptoms Of The Future, Onomatopee Z0033, Eindhoven, Nizozemska
2019. DIS / Inheritance New Croatian Photography, Ikon Arts Foundation, New York, SAD
2015. Rehearsing family, Muzej moderne i suvremene umjetnosti, Rijeka, Hrvatska
2013. New school, Pazzini editore, Villa Verucchio, Italija



2020. Nagrada Radoslav Putar, finalistkinja, Zagreb, Hrvatska
2020. Come prepared to receive a present that you cannot take home, semi-public experimental gathering, MuseumsQuartier, Beč, Austrija
2020. Artist in Residence at Q21/MuseumsQuartier, Beč, Austrija
2020. Filthy casual, online performance, HDLU, Zagreb, Hrvatska
2020. CreArt Rezidencija Ostanidoma, HDLU, Zagreb, Hrvatska
2020. Suradnica umjetnika Davida Maljkovića na multidisciplinarnom međunarodnom projektu With the Collection, Muzej moderne i suvremene umjetnosti, Rijeka, Hrvatska
2018./2019. Poslijediplomski međunarodni umjetnički program WHW Akademija, uz stipendiju, Zagreb, Hrvatska
2018. Umjetnička rezidencija Factoria Cultural Aviles, Wom@arts project, Španjolska
2018. Umjetnička rezidencija Kuberton, Muzej Lapidarium i Galerie Krinzinger, Hrvatska, Austrija
2018. Umjetnička rezidencija CreArt AiR, Bluecoat – Liverpool’s contemporary arts centre, Velika Britanija
2017. Umjetnička rezidencija Cité Internationale des Arts, Pariz, Francuska
2017. Umjetnička rezidencija Spaces between land and water, organizacija Silvie Marie Grossmann (Künstlerhaus, Beč) i HDLU Zagreb, Lošinj, Hrvatska
2017. Inicijatorica i organizatorica međunarodne site-specific radionice s javnom prezentacijom “Otok je naša galerija”, Silba, Hrvatska
2016. Umjetnička rezidencija za projekt Buen vivir, kustos Harm Lux, Frauenfeld, Švicarska
2014. – 2017. Autorica i voditeljica umjetničkih radionica, razgovora i događanja održanih u: Hoxton galeriji, London; International school of Paris; Organ vida 2017- Open show Zagreb; Muzej moderne i suvremene umjetnosti, Rijeka; Foto klub, Rijeka; Foto galerija Lang, Samobor; Arhiv Tošo Dabac, Zagreb; Akademija primijenjene umjetnosti, Rijeka; Akademija dramske umjetnosti, Zagreb
2014. Asistentica iz fotografije na Akademiji primijenjene umjetnosti, Rijeka, Hrvatska
2014. – 2016. Edukatorica umjetničke fotografije u Privatnoj umjetničkoj gimnaziji, Zagreb, Hrvatska
2015. Dobitnica VIG posebne pozivnice, Essl Art Award, Hrvatska
2014. Pobjednica Ex aequo, 24. slavonski biennale, Osijek, Hrvatska
2014. Umjetnička rezidencija Punta arta – Otočka karta 2, kustosica Marina Viculin, Zlarin, Hrvatska
2013. Umjetnička rezidencija IS_land II, kustosi Saša Božić i Petra Hraščanec, Hrvatska
2013. Asistentica u galeriji Hoxton, London, Velika Britanija
2012. Dobitnica nagrade za najbolji portfelj na Savignano Immagini Festival, Savignano sul Rubicone, Italija
2012. Dobitnica Posebne nagrade za mlade autore na Rovinj Photodays, Rovinj, Hrvatska
2011. Dobitnica Posebne nagrade za mlade autore na Rovinj Photodays, Rovinj, Hrvatska
2005./2006. Dobitnica Rektorove nagrade, Sveučilište u Zagrebu, Zagreb, Hrvatska

To find out more about the artist see:  petramrsa.com

Mario Matoković – Conversation with Noise


Conversation with Noise

Mario Matoković appeared for the first time on the national art scene in 2008 when he took part in a collective show at the Gallery SC in Zagreb, which was succeeded by solo exhibitions. In the last fourteen years of his professional biography solo and collective shows have followed quickly upon each others’ heels and have given a very clear insight into the artistic poetics of this visual artist, who uses several different media in which to make himself heard. But be it a matter, of photograph, print, installation or performance, the common denominator of the works of Mario Matoković has always been a recognisable artistic poetics that is manifested in the artist’s concrete engagement where social anomalies and the problems they give rise to are concerned. In his works, he constantly reacts critically to inveterate social inequities, showing as he does so a distinctly developed social awareness and sensitivity. In this context we can recall, for example, works Homeland, Flag or work Strategy of Hypocriticism, that he showed in 2018 at his individual exhibition The Unbearable Lightness of Inertia in Salon Galić in Split as well as works Don’t say anything, don’t react, Uncertain Spaces and Croatian Cultural Tent from the show In Pursuit of Good Governance put on in the same year in the Galerija Galženica in Velika Gorica and the recent To all of those people who destroyed my city which represented him in the Osijek Ideas Factory. These are just a few of the exhibitions in which Matoković has spoken out very openly in his art problematising all the negativities of our society. He reacts to injustice, nepotism, lack of culture… and other anomalies preceded by a minus sign. In his work in art to date his visual articulation was partly woven at the level of a personal encounter with injustice, about which he spoke out in the media: “The social engagement of my works has its footing in my personal story; I have lived and go on living what I have the need to criticise, all those social “irregularities” that overtook my wife and my parents”. Mario Matoković was born in 1985, which puts him, in terms of age group among those artists to whom we usually give the label “younger generation”. And so we wondered whether it was a big burden for a young man to keep on standing up to these problems. Did he feel lassitude and satiation, did he need a change, a deviation from the theme of society? He replied to these questions last year in an interview (https://vizkultura.hr/intervju-mario-matokovic/) for the Vizkultura portal; As for the theme of society, I have already said that it has to an extent begun to weary me, and in recent times I have had the impression that I am starting to recycle my ideas and should probably step back from such concepts For this reason I began to think about how I might involve someone else in my work, instead of being the only one to be critical, so now I’m thinking about my art along those lines”. This interview for the portal overlapped in time with our invitation to the artist to present his work in the Virtual Gallery of the Art Pavilion. He was glad to respond to the present writer saying that in the work Conversation with Noise he was endeavouring to step away from socially engaged themes and relax during the process of work, letting himself be led by the now iconic statement of Ivan Kožarić “Freedom is a rare bird”. It is in this spirit that Matoković, as he says, approached the new work from a totally fresh perspective, unburdened of and liberated from his previous socially engaged themes, finding inspiration for a new piece in – a building. The artist was impressed by the building of the Art Pavilion on which the earthquake had left its devastating handwriting. He was impressed by the cracks arising from this natural disaster. But in them he does not just see mere material damage, for his artistic spirit sees in the damage an artistic work, he photographs the cracks and addresses them as fragments of a drawing that the earthquake left to be seen on the monumental building. With this act he places the fragments of the building on which damage is visible as platforms for some new solutions, artistic ideas stemming out of the catastrophe. Later he will give shape to these artistic ideas in the medium of the print. He uses the fragments in the printmaking process itself, transferring them to the zinc plate and placing them almost as historical artefacts – at both the mental and the visual level – re-composes and deconstructs them for the sake of a new construction.
Matoković points out that “setting down these ideas also takes it for granted that the person carrying out the work will become a part of this damaged and currently non-functional building that is of such great importance for the national culture and art”. We would agree with this evaluation and add that, in the same way, setting down this idea is at the same time the artist’s emotional dedication to the Art Pavilion and that his graphic record, as lasting memory, remains a witness of bygone times.


                                                                                                            Jasminka Poklečki Stošić


Technical specification of work:
Conversation with noise, 2022.
A series of intaglio prints
7 graphic sheets in an edition of 10 pieces
1000 x 700 mm, paper size
500 x 700 mm print size, matrix

Paper Fabriano Rosaspina Bianco, 285 gr.

Access the virtual exhibition by clicking on the photo:


Details of works

List of exhibitions


2022. nagrada na „Međunarodnoj izložbi grafika i knjiga umjetnika GraficaRI” u Rijeci, Galerija Kortil
2018. Nagrada „Ex Aequo“, 26. slavonski bijenale: „Ravna ploča“, Muzej likovnih umjetnosti, Osijek
2017. 3. nagrada za video rad Zastava iz 2011. na 5. bijenalu suvremene umjetnosti u Novorosijsku u Rusiji
2016. finale Nagrade Radoslav Putar za 2016. godinu
2011. priznanje za uspjeh u razvijanju likovnog stvaralaštva u nastavi likovne kulture na natječaju
„Tradicija i suvremenost“, Udruga hrvatskih učitelja likovne izobrazbe, (UHULI)
2008. sudjelovanje u finalu natječaja Henkel Art Award 2008.
2007. Rektorova nagrada Sveučilišta Josipa Jurja Strossmayera u Osijeku za akademsku godinu 2006./2007.



2022. Zagreb, Umjetnički paviljon u Zagrebu, Virtualna galerija, „Conversation with Noise”
2021 Zagreb, Galerija Prsten, “Kontinuitet tišine”, kustosica: Valentina Radoš
2021. Osijek, Osječka tvornica ideja, “To all of those people who destroyed my city.”
2021. Zagreb, Galerija VN, “Mjesta koja imaju razloga postojati”, kustosica Tanja Špoljar
2020. Koprivnica, AK Galerija, “200 000 koraka”, kustosica Tanja Špoljar
2018. Split, Salon Galić, „Nepodnošljiva lakoća inercije“, kustos Božo Kesić
2018. Velika Gorica, Galerija Galženica, „U potrazi za dobrom vladavinom“, kustos Klaudio Štefančić
2016. Beč, Austrija, Galerija Hrvatskog centra, „The Disasters of Nature“
2015. Zagreb, Galerija PM, „Umjetnost kao pokušaj reaktivacije“ (Matoković, Knežević), kustos Igor Loinjak
2014. Zagreb, Studio Kabineta grafike Hrvatske akademije znanosti i umjetnosti, „The Disasters of Nature“, kustosica Ružica Pepelko
2013. Osijek, Galerija Kazamat, „Obiteljsko, nacionalno, zabilježeno, zaboravjeno“ (M.Rožman, A.Sladetić, M.Matoković, M.Šabić), kustosica Barbara Vujanović
2013. Grožnjan, Galerija Fonticus, „Metonimija ekonomije“, kustos Eugen Borkovsky
2012. Zabok, Galerija Green Room, „1/318658“, kustosica Vlatka Bosutić-Cvijić
2011. Zagreb, Galerija Događanja, „Hommage nevidljivom“, kustosica Ivana Gabrić



Split, Sveučilišna galerija u Splitu, Međunarodna izložba grafika i knjiga umjetnika GraficaRI
Zagreb, Muzej suvremene umjetnosti, Program umjetničkih akcija i performansa Ljeta u MSU-u, performans Dominacija
Rijeka, Galerija Kortil, Međunarodna izložba grafika i knjiga umjetnika GraficaRI

Osijek, Muzej likovnih umjetnosti, 27. slavonski bijenale: Slika kao virus
Zagreb, Galerija Bačva, 35. salon mladih: Millenial
Wave Hill, New York, USA, On-line projekt Art Off Screen, kustosica Eileen Jeng Lynch

Zagreb, Gliptoteka HAZU, 8. trijenale grafike
Zagreb, Galerija Prsten, Prostori Krajolika
Zagreb, Muzej suvremene umjetnosti Zagreb, 12. izložba HT nagrada za suvremenu umjetnost
Venecija, Italija, grupna izložba Arte Laguna Prize 18.19, Arsenale

Osijek, Muzej likovnih umjetnosti u Osijeku, 26. slavonski bijenale: „Ravna ploča“
Koprivnica, 5. Festival izvedbenih umjetnosti i kazališta, Koprivnička sinagoga
Zagreb, 34. salon mladih: Panoptikon, Galerija Prsten

Novorosijsk, Rusija, Novorossyik Biennale 2017 / 5. bijenale suvremene umjetnosti u Novorosijku, “Museum of Fine Arts” / Art centar Angar
Odesa, Ukrajina, 5th Odessa Biennale of Contemporary Art, Muzej suvremene umjetnosti u Odesi, koncept Mihail Raškovecki
Zadar, 21. međunarodni festival suvremenog kazališta ZADAR SNOVA 2017. / Perforacije 2017., performans p(r)osipanje
Pečuh, Mađarska, Galerija Nador, The Academy of Art Osijek in Pecs
Osijek, Performans Art Festival, tema: Sreća, koncept Marka Markovića, performans P(r)osipanje
Zenica, BiH, Muzej Grada Zenice, Aprilski susreti 2017.

Zagreb, Galerija Prsten, 33. salon mladih
Split, Podrumi Dioklecijanove palače, Rub slike ili granična područja
Zagreb, Kabinet grafike HAZU, 7. hrvatski trijenale grafike
Rijeka, Muzej moderne i suvremene umjetnosti, FINALE 2016! Nagrada Radoslav Putar

Douro, Portugal, 2nd GLOBAL PRINT 2015
Zagreb, Platforma p_3, Izložba_4
Kalsruhe, Njemačka, V8 Platform, Projektraum Donau
Osijek, Kulturni centar Osijek, Publika – djelo – kontekst, kustos izložbe: Igor Loinjak
Temišvar, Rumunjska, Galerija Fundatei Inerart Triade, Projektraum Donau
Zaprešić, Galerija Novi dvori, 18. međunarodna izložba „Minijature”

Osijek, Galerija Kazamat, 1+1
Zagreb, Institut za suvremenu umjetnost, Hrvatski krajolik – poravnanja povijesti na imaginarnom horizontu, kustos izložbe: Lorenzo Fusi
Osijek, Galerija Kazamat, godišnja izložba članova HDLU-a, Novo lice grafike

Osijek, Galerija Kazamat, izložba Međunarodne radionice umjetničke grafike 2012./2013.
Zagreb, Galerija Kaj, 1. međunarodna radionica umjetničke grafike 2012.
Osijek, Muzej Slavonije Osijek, Starter 2

Osijek, projekt POPUP – Odbiennale
Zagreb, Galerija Klovićevi dvori, OFF Program
Zagreb, Galerija Prsten, 6. hrvatski trijenale grafike
Dordrecht, Nizozemska, 222lodge Extern: The inevitable – Video festival

Pečuh, Mađarska, Galerija Nador, izložba „Osijek – Pečuh“
Zagreb, Galerija SC, 7. Velesajam kulture

Labin, Gradska Galerija Labin, HDLU Grafika 1975. – 2009.
Osijek, Galerija likovnih umjetnosti Osijek, 22. slavonski bijenale

Osijek, Galerija Kazamat, HDLU Grafika 1975. – 2009.
Zagreb, Galerija Prsten, 5. hrvatski trijenale grafike

Split, Galerija Kocka, Krojcberg
Dubrovnik, Galerija Orlando, „Krojcberg“
Pula, Galerija Rojc, „Krojcberg“
Berlin, Njemačka, Kunstraum Kreuzberg / Bethanien, Anonymous Drawings # 9
Osijek, Galerija likovnih umjetnosti Osijek, 21. slavonski bijenale
Zagreb, Galerija SC, 8. međunarodni festival studentskog kazališta multimedije, test!8



2008. „445,69 km“ (F. Badurina, A. Bukvić, J. Butković, I. Čabraja, M. Čaušić, I. Karlović, M. Krstačić-Furić, L. Mazalović, D. Posavec, A. Prutki, M. Sunko, D. Šokičić,
A. Tomić, A. Vivoda)



2023. Osijek, suautor i koordinator radionice “ORG. / Osječka radionica grafike”, zajedno s izv. prof. art. Marijem Čaušićem, izv. prof. art. Ines Matijević Cakić i Krunoslavom Dundovićem, umj. sur.
2022. Osijek, suautor i koordinator radionice “Tok i karakter; krajolik kao mogućnost” zajedno s doc. art. Vjeranom Hrpkom, listopad 2022.
2021./2022. Osijek, suautor i koordinator likovne radionice u sklopu projekta “EXPLORE(R) – Narativi prošlosti”, suradnja s Nansen dijalog centrom u Osijeku, idejni postav izložbe u Galeriji Kat, Kulturni centar Osijek
2021. Osijek, autor i koordinator radionice “Tok i karakter rijeke” zajedno s doc. art. Vjeranom Hrpkom (Zlatna greda, HR), izložba u Galeriji Knifer, listopad 2021.
2017. Osijek, koordinator i urednik izložbe „Starter3 – izložba nagrađenih studenata UAOS“, Galerija Kazamat, rujan 2017.
2017. Osijek, suradnik na predavanju i organizaciji izložbe „Kemija u umjetničkoj grafici“ u sklopu Simpozija kreativne i kulturne industrije – Kreativna riznica
2016. Osijek, voditelj radionice na Simpoziju kreativne i kulturne industrije – Kreativna riznica, radionica „Funkcija dizajna“
2015. Osijek, voditelj (zajedno sa izv. prof. art. Mariom Čaušićem) grafičke radionice sa studentima Umjetničke akademije u Osijeku,
manifestacija Tjedan mozga: Ljudska komunikacija
2012. Osijek, sudionik na 1. međunarodnoj radionici umjetničke grafike CUG 1
2011. Novi Sad, Srbija, sudionik međunarodne radionice A3. Format D.I.Y. workshop
2011. Sremski Karlovci, Srbija, sudionik međunarodne radionice Employ Youth 2011
2010. Subotica, Srbija, sudionik međunarodne konferencije Pannonian Reunion, suradnja udruge Kulturanova (Novi Sad) i Udruge za kreativni razvoj Osijek
2006. Pula, Hrvatska, sudionik radionice Krojcberg workshop



2022. u sklopu Erasmus+ programa boravio tjedan dana u Wroclawu, u Poljskoj, kao predavač na Eugeniusz Geppert Academy of Art and Design Wrocław, tema predavanja: Modra galica kao jetka u grafici
2016. u sklopu Erasmus+ programa boravio dva tjedna u Tallinnu, u Estoniji, kao predavač na Estonskoj akademiji umjetnosti, tema predavanja: Netoksični pristup u klasičnoj grafici


Mario Matoković was born in 1985 in Osijek, Croatia. He graduated from the Academy of Arts in Osijek, Department of Fine Arts in 2010. He is professionally engaged in artistic activities in the field of contemporary arts through graphics, video, installations and art photography media. He has taken part in many fine arts workshops, and has exhibited in numerous Croatian and in few international exhibitions. He is a holder of the Rector’s Award of the J. J. Strossmayer University in Osijek. In 2016 Mario was one of the finalists of Radoslav Putar Award, award for young visual artists in Croatia up to 35 years of age, in 2017 received 3rd award 5th International Biennale of Contemporary Fine Arts in Novorossyisk, Russia and in 2018 received Ex Aeuqo Award on 26th Slavonian Biennale in Osijek, Croatia. Initiator of the Art in residency program as part of the MMML Studio project, which was conceived as a platform for visual research in the form of short art residencies, but also projects that contribute to the improvement of creative-critical thinking within the community. Lives and works in Osijek, Croatia.



2010. diplomirao na Umjetničkoj akademiji u Osijeku, Odsjek za Likovnu umjetnost, studij Likovne kulture
2004. završio Školu za tekstil, dizajn i primijenjene umjetnosti u Osijeku



lipanj – srpanj 2019. Umjetnička rezidencija ART OMI Arts Center, Ghent, New York, SAD


More about artist: mariomatokovic.com

Isječci iz video instalacije Jelen Lovrec 1

Jelena Lovrec – Eggo


The Art of Cooking or Artistic Cuisine

Multimedia artist Jelena Lovrec’s exhibition Eggo is the first to be presented in the framework of the second consecutive cycle of exhibitions in the Virtual Gallery of the Art Pavilion covered by the common denominator of Work in Progress. Aesthetically speaking, the exhibition picks up from the cuisine that has become fairly recently a highly popular theme of not only western culture but of the universal social quotidian as well. In its nature, the work Eggo is part of the broader artistic exploration of Jelena Lovrec that, significantly, bears the name of the traditional Balkan dish Moussaka, so fixing the project both socially and geographically. The three basic provisions necessary to make this dish are revealed in the titles of the individual sections of the project – Eggo, Hot potato and Meat me. These ingredients were used as the point of departure for the elaboration of the conception of the project of preparing a volume of three cook-books of the same names. Eggs, potato and meat were assigned the role of figuratively depicting the current state of the general cultural, political and social casserole. Accordingly, the participants of the first part of the project are artists, while the creator in the late phases has provided for the involvement of migrants and pensioners, as a whole thus drawing attention to marginal social groups.

Through the choice of ingredients for the initial section of the Moussaka project, Jelena Lovrec is referring to a famed 1968 advertising jingle of the egg producer Agrokoka: “To each morning eggs belong / They make the organism strong!”. The phrase must surely in this region have contributed to the everyday consumption of this foodstuff, generally accepted as making an important input to the overall health of the individual. The artist (Lovrec) transfers the slogan and the connotations it evokes to cultural health, promoting the regular consumption of art, claimed to be one of the most important factors in the process of making the society in which we live healthier, stronger and more resistant. Addressing the first of the three main meals of the day, the work Eggo symbolically invokes the consumption of art as early as possible during the day.

Although in its last phase it is imagined in the traditional and in recent times popular format of the cookery book, composed of 365 recipes using one egg, at this moment it is documentary materials that form an integral part of the work in progress Eggo. Employing the video medium, the artist records the preparation of dishes unified around the theme, i.e., the foodstuff designated in the title of the work. Numerous contemporary Croatian artists (Neven Bilić, Vojin Hraste, Ivan Tudek, Đorđe Jandrić, Boris Greiner, Kata Mijatović, Igor Ruf, Goran Škofić, Neli Ružić, Vedran Perkov, Bojan Krištofić, Vanja Babić, Ivana Pipal, Lana Stojićević and others) who have the status of active participants in this artistic research prepare their dishes in the artist’s own kitchen, which they then eat together. The mundane action of making a meal is thus in the exhibition put in the position of being a performative artistic creativity that is there to be of service to the voice of the insufficiently socially supported contemporary art community. The form of the implementation of the project confirms the participative character of the work, typical of the oeuvre of Jelena Lovrec, as well as the propensity of the artist to have direct communication with the research participants, at the same time suggesting the appearance of intimism in her idiom.

The first version of the work, composed of more than twenty recipes, was presented at the exhibition of the shortlisted artists in the Radoslav Putar Prize in the Galić Salon in Split. Demonstrating the possibility of the piece operating successfully as independent performance, the artist on that occasion, within the exhibition space of the gallery, set up a mobile kitchen for the artists of Split to be able to prepare their one-egg dishes in it while the show was on. Since the earthquake inflicted damage on the Art Pavilion in Zagreb, it was impossible to have the multimedia exhibition of Jelena Lovrec and for that reason the exhibition has been shifted in its entirety to the Web site of the gallery. In the virtual format, the exhibition provides us with a supplemented and re-cut version of the video, which currently includes about fifty recipes – at the same time, placing the emphasis on its gradual evolution and its nature as process.


Foreword by Aneta Barišić

Access the virtual exhibition by clicking on the photo:

List of exhibitions

Solo exhibitions

2021. Until Tomorrow/Do sutra, Galerija Kranjčar, Zagreb
2020. Želim bit’ k’o Berber vol.3, Galerija Matice hrvatske, Zagreb
2020. Žeim bit’ k’o Berber vol.2, Galerija APURI, Rijeka
2019. Izložba Godine, Galerija Kranjčar, Zagreb
2019. Deveti Život, Salon Izidor Kršnjavi, Zagreb
2018. Mein Kulturkampf, Landeshauptstadt, Düsseldorf
2017. Kotlovina, Galerija AŽ, Zagreb
2017. ‘Ko te šiša, Galerija Šira, Zagreb
2016. Still Life/Still Alive, Galerija SC, Zagreb
2015. In English please! Galerija Vladimir Filakovac, Zagreb
2014. Švedski stol, Galerija Zlati Ajngel, Varaždin
2013. O znanju, neznanju i ostalim tvrdokornostima, Galerija Inkubator, Zagreb


Group exhibitions (selection)

2021. Save the Date, Galerija Umjetnina, Split
2021. Almissa Open Art Festival, Omiš
2021. Nagrada Radoslav Putar, Salon Galić, Split
2021. Performing Ilica, HDLU, Zagreb
2018. Okoliš sjećanja, Galerija 90-60-90, Pogon jedinstvo, Zagreb
2018. 34. Salon mladih – Panoptikon, HDLU, Zagreb
2017. Graphics open 2, Hungarian Academy of Fine Art, Budimpešta
2016. 33. Salon mladih – Troškovnik, HDLU, Zagreb
2015. T-HT nagrada@msu.hr, Muzej suvremene umjetnosti, Zagreb
2014. ESSL ART AWARD – VIG Special Invitation, Junge Kunst aus CEE, Beč
2014. Erste Fragmenti X, HDLU, Zagreb
2013. ESSL ART AWARD CEE, Essl Museum, Beč


Jelena Lovrec (1989, Zagreb) is a multimedia artist who works in the medium of documentary photography, video, installation, performance and book. She took her degree in Graphic Arts from the Academy of Fine Arts in Zagreb in 2014. She has shown her work at numerous solo and collective exhibitions at home and abroad. She was on the shortlist for the Radoslav Putar Prize in 2021 and has won various prizes and awards, such as the Croatian Artists’ Association Best Young Artist Prize (2019); the Kranjčar Gallery Prize at the “Panopticon” 34th Young Artists Salon, Croatian Artists’ Association (2018); the “Bill of Quantities” 33rd Young Artists Salon, Croatian Artists’ Association (2016); the VIG – Junge Kunstaus CEE Prize, Museum of Contemporary Art Zagreb (2013) and the CEE Essl Art Grand Prix, Museum of Contemporary Art (2013). She is a member of the Croatian Artists’ Association. She lives and works in Zagreb.

To find out more about the artist, see: jelenalovrec.com


The Virtual gallery of the Art Pavilion in Zagreb

The Virtual gallery of the Art Pavilion in Zagreb

March 2021 – February 2022

The particular and unpredictable circumstances of 2020 faced us with multiple challenges. Not only was there the demanding epidemiological situation but in March Zagreb was struck by an earthquake that temporarily put the Art Pavilion out of commission as far as the holding of its regular exhibitions was concerned.

And yet, new and uncommon conditions often make fertile ground for the generation of a new kind of creativity. In addition to a special programme called Art in Front of the Art Pavilion, which has maintained the continuity of the institution’s exhibition activity, the Virtual gallery of the Art Pavilion has also been launched, the aim being to expand the area of artistic activity.  Idea and production have moved to a different sphere – online. The specific context has resulted in a unique project that actually in these difficult conditions functions in a somewhat experimental new-media form, the focus being placed on contemporary art and artists of the younger generation.

The selector of the virtual programme is art historian Dr Ivana Mance from the Institute of Art History in Zagreb. To her has been confided the task of selecting several young artists who at intervals of a couple of months will be presented in the venue of the online gallery. The artists featured will be Tin Dožić, Mihael Giba, Klasja Habjan, Oleg Šuran and Ivana Tkalčić.

In communication with the artists, the idea of infiltrating the space of the Pavilion was developed, in a kind of parasitism of its digital sphere, because it is not permitted to spend time in the exhibition rooms because of the damage caused by the earthquake. The artists use footage of the surveillance cameras in the building so as to be able to intervene indirectly in the space of the Pavilion. Each one in accordance with his or her own poetics, but united by the umbrella idea of inhabiting the Pavilion, the artists offer visitors a well-nigh voyeuristic view of the space that currently cannot be accessed, reveal its secret life, offer a view into the bowels of the building that has been previously impossible. In conceptual terms, the project functions as a reference to WFH in the period of the “new normal”, the shifting of all functions under the aegis of the home – artistic work and production, as well as the consumption of artistic contents.

In the course of this year, within the programme of the Virtual gallery we will introduce you to five young artists.

On March 22, on the anniversary of Zagreb earthquake, we will launch our Virtual gallery by presenting the first author in the cycle – a multimedia artist Mihael Giba. In his work, Giba applies digital tools in research in the sphere of the media. He has created numerous interactive installations and applications, often focusing on social and political reality and commenting on the system in which we live.

This will be followed by four more exhibitions:

Illustrator and graphic designer Klasja Habjan cultivates an intimist and introspective artistic expression. She is a tale-teller with an exceptional ability to perceive world around her and record it in succinct and poetic stories.

Ivana Tkalčić is a multimedia artist who also possesses a master’s in economics; her work deals with the transformation of the image and memory with the help of technical media, the influence of technology and social media and in consequence with the change in the attitude to reality and the formation and transformation of identity. She won the Grand Prix of the 35th Youth Salon in 2020.

Oleg Šuran is a designer of interactions and visual communications as well as assistant at the visual communications design department at Arts Academy in Split. He is one of the front-runners in research and critical practices in Croatian design, with a special interest in speculative design practice. The phenomenon of sound is the point of departure of artist and psychologist.

Tin Dožić; his area of activity includes multimedia field recordings, radio, experimental music and installations, media archaeology and DIY culture. In his work he also deals with the construction of his own electronic instruments, via the appropriation and recycling of obsolescent technology.

We believe that the Virtual gallery project is an excellent platform for representing young artists. More so if we take into consideration that the Web site of the Art Pavilion was visited around 70 000 times in 2019! Therefore, we are going to continue with this project even after the damage to the Art Pavilion caused by the earthquake is repaired and our exhibitions available again in “live” version.

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