KRISTIAN KOŽUL
“REKOLEKCIJE”
07. 07. 2023. – 22. 08. 2023.
Kristian Kožul predstavlja krajolik skulptura kao metodu prisjećanja. Ono čega se sjećamo često je određeno načinom na koji se sjećamo, a o prošlim izložbama uglavnom razmišljamo kao o izoliranim prostorno-vremenskim točkama. Rekonstruirajući 20-godišnje stvaralaštvo, Kožul pojedinačna ostvarenja i širok raspon ciklusa spaja u jedinstvenu topografiju vlastitog rada, ukazujući na snažne linije kontinuiteta i uzajamnost metoda, ideja i pristupa. Izložbom prisjećanja, Kožul nanovo uprostoruje svoje (i naše) sjećanje, ispreplićući rane i recentne radove u svjež i ponovo aktualan kontekst.
Izbor objekata pokriva razdoblje od 2003. do 2023. godine i nudi kronologiju razvoja jedne kiparske prakse: od diplomskog ciklusa Discoware (2003.), invalidskih kolica i drugih ortopedskih pomagala oblijepljenih blistavim disko ogledalima s kojima umjetnik uvodi svoja načela minuciozne izvedbe fetišizacije zazornoga; do recentnijih “forenzičkih” istraživanja u biomorfnim instalacijama znatno sterilnijeg dojma (Contagious effigies, 2023.), a koji nastavljaju preispitivati kolektivnu memoriju i provocirati osjećaj nelagode.
Izloženi su ključni Kožulovi radovi u polju skulpture, kojima pokazuje svoje trajno zanimanje za manipulacijom nespojivog, za stvaranjem objekata čija je primarna funkcija u opreci s afektivnom dekoracijom, pa tako dječjem krevetiću i hranilici pridružuje sado-mazo ikonografiju (Asylum, 2004.), ratnu opremu pretvara u lokalni suvenir ukrašavajući kacige i oruđe etnomotivima licitara i tabletića (Licitari, 2004.), a Balkanska zvona, Gozba (2006.) optočava mecima i presvlači finom i mekom čipkom. Opsesija vašarskim spektaklima, klišejiziranim mitovima i kićenošću (Rog izobilja, 2003., Tease, 2004., American playground, 2011.) pročišćuje se u novijim radovima prema gotovo kliničkim konstruktima (Forensic Folklore: The Archipelago, 2018., Sisyphus exalted, 2019.); Kožul prepušta apstraktnim formama da stanu na mjesto uporabnih predmeta i bisti, dok nastavlja ustrajati na neobičnim spojevima materijala i oblika, kao i na vlastitoj želji za stvaranjem neodoljivih objekata koji izazivaju i iznenađuju promatrača.
Ostajući dosljedan prepuštanju interpretacije djela gledatelju, Kožul i ovim postavom želi potaknuti slobodu shvaćanja radova. Frizom pitanja koji teče uokolo postamenata uvodi dramaturški efekt izravnog obraćanja promatračima, stimulira ih i navodi na preispitivanje ustaljenih razmišljanja o vrijednosti umjetnosti, o kolekcionarstvu i autentičnosti umjetničkih koncepata, ali i pokušava osvijestiti emotivnu recepciju umjetnosti, ističući tako svrhovitost radova i važnost publike u finalnoj tvorbi značenja.
Martina Marić Rodrigues
Kristian Kožul rođen je 1975. u Münchenu, živi i radi u Zagrebu. Obrazovanje je započeo na Akademiji likovnih umjetnosti u Zagrebu, a nastavio na umjetničkoj akademiji Kunstakademie Düsseldorf, gdje je diplomirao 2002. godine u klasi prof. Irmin Kamp.
Među samostalnim izložbama ističu se izložbe u Laubi, HDLU-u i Muzeju suvremene umjetnosti (Zagreb, Hrvatska), Galeriji Goff+Rosenthal i Galeriji Pablo’s Birthday (New York, SAD), Galeriji TZR (Düsseldorf, Germany), Galeriji Anhava (Helsinki, Finland), Art salonu (Celje, Slovenija), Galeriji Kibla (Maribor, Slovenija), Galeriji Minorita (Graz, Austria).
Sudjelovao je na brojnim skupnim izložbama, poput: International projects PS1/MoMa, New York, SAD, 2005.; Bijenale suvremene umjetnosti, Peking, Kina, 2005.; Criss-Cross, Muzej suvremene umjetnosti, Zagreb, Hrvatska, 2007.; Boys Craft, Muzej Haifa, Izrael, 2008.; Summer Camp, Galerija Exile, Berlin, 2010.; Bandits, Pirates & Outlaws – Lost Coast Culture Machine, Fort Bragg, USA, 2010.; B-B-B-BAD, Galerija Anna Kustera, New York, USA, 2011.
Dobitnik je niza nagrada, među kojima su i Nagrada za najbolju izložbu godine (HDLU, 2018.), 2. nagrada T-HT u MSU za tandem Žižić/Kožul (MSU, 2014.), Nagrada Josip Račić (2007.), Nagrada za suvremenu umjetnost Filip Trade (2004.) i Nagrada 8. Trijenala hrvatskog kiparstva (2003.).
Djela mu se nalaze u privatnim i muzejskim zbirkama u Hrvatskoj i inozemstvu.
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KRISTIAN KOŽUL
RECOLLECTIONS
07/07/2023 – 08/22/2023
Kristian Kožul presents a landscape of sculptures as a method of remembering. What we remember is often determined by how we remember, and we tend to think of past exhibitions as isolated spatiotemporal points. Reconstructing 20 years of creativity, Kožul combines individual achievements and a wide range of cycles into a unique topography of his own work, pointing to strong continuity and mutuality of methods, ideas, and approaches. With this exhibition of memories, Kožul spatializes his (and our) memory anew, intertwining early and recent works in a fresh and again current context.
The selection of objects covers the period from 2003 to 2023 and offers a chronology of the development of a sculptural practice: from the graduate cycle Discoware (2003), wheelchair and other orthopedic aids plastered with glittering disco mirrors with which the artist introduces his principles of meticulous performance of the fetishization of the invisible; to more recent “forensic” research in biomorphic installations with a much more sterile impression (Contagious effigies, 2023), which continues to question collective memory and provoke a feeling of discomfort.
Kožul’s key works in the field of sculpture are exhibited, with which he shows his permanent interest in manipulating the incompatible, in creating objects whose primary function is in opposition to effective decoration, so he covers the children’s crib with sado-mazo iconography (Asylum, 2004), he turns war equipment into a local souvenir by decorating helmets and tools with ethnic motifs of licitari and tablets (Licitari, 2004), and Balkanska zvona, Feast (2006) encrusted with bullets and covered with fine and soft lace. The obsession with fair spectacles, clichéd myths, and kitsch (Corn of plenty, 2003, Tease, 2004, American Playground, 2011) is refined in recent works towards almost clinical constructs (Forensic Folklore: The Archipelago, 2018, Sisyphus exalted, 2019. ); Kožul lets abstract forms take the place of utilitarian objects and busts, while he continues to insist on unusual combinations of materials and shapes, as well as his own desire to create irresistible objects that challenge and surprise the observer.
Remaining consistent with leaving the interpretation of the work to the viewer, Kožul also wants to encourage the freedom of understanding the works with this exhibition. The frieze of questions that flows around the pedestals introduces the dramaturgical effect of directly addressing the observers, stimulates them, and leads them to reconsider established thoughts about the value of art, collecting and the authenticity of artistic concepts, but also tries to raise awareness of the emotional reception of art, thus highlighting the purposefulness of the works and the importance of the audience in the final creation meanings.
Kristian Kožul was born in 1975 in Munich, he lives and works in Zagreb. He began his education at the Academy of Fine Arts in Zagreb and continued at the art academy Kunstakademie Düsseldorf, where he graduated in 2002 in the class of Prof. Irmin Kamp.
Among the solo exhibitions, he exhibited in Lauba, HDLU and the Museum of Contemporary Art (Zagreb, Croatia), Goff+Rosenthal Gallery and Pablo’s Birthday Gallery (New York, USA), TZR Gallery (Düsseldorf, Germany), Anhava Gallery (Helsinki, Finland), Art Salon (Celje, Slovenia), Kibla Gallery (Maribor, Slovenia), Minorita Gallery (Graz, Austria).
He participated in numerous group exhibitions, such as International projects PS1/MoMa, New York, USA, 2005; Contemporary Art Biennale, Beijing, China, 2005; Criss-Cross, Museum of Contemporary Art, Zagreb, Croatia, 2007; Boys Craft, Haifa Museum, Israel, 2008; Summer Camp, Exile Gallery, Berlin, 2010; Bandits, Pirates & Outlaws – Lost Coast Culture Machine, Fort Bragg, USA, 2010; B-B-B-BAD, Anna Kuster Gallery, New York, USA, 2011.
He is the winner of a number of awards, including the Award for the best exhibition of the year (HDLU, 2018), the 2nd award T-HT at MSU for the tandem Žižić/Kožul (MSU, 2014), the Josip Račić Award (2007), the Award for contemporary art Filip Trade (2004) and the Award of the 8th Croatian Sculpture Triennale (2003).
His works are in private and museum collections in Croatia and abroad.