Schleifmühlgasse 18 - 1040 Vienna 
+43-699-19207778 -

30.6. -  3.9.2016
Opening party: Wednesday, June 29th at 6 pm
WHERE: Galerie Michaela Stock, Schleifmühlgasse 18, 1040 Vienna

Branka Cvjetičanin (HR), Vlasta Delimar (HR), Tomislav Gotovac (HR), Luiza Margan (HR)

PERFORMANCE | Vlasta Delimar (HR) | The Right to Orgasm in the '60s
30.6.16, 18h (55 min), DOPUST/Days of open performance VIENNA

The exhibitions The Reality behind the Fantasy – Masculine Icons will opt for photographs, installation, video, and sculpture, based on their significance in the repertoire of manly attributes, such as powerful, strong, heterosexual and sexual power illustrations of man. In our mental image, men are influenced by their upbringing, experience, and social environment, which plays a big role in determining one's view of masculinity and manhood. This means that masculinity is going to be different for everyone. Some particularly influential factors in shaping one's idea of manhood are race, class, ability, sexual orientation, and gender.

As socially constructed identities, boys and men learn "appropriate" gender roles in accordance with the masculine expectations of their given society and they receive messages on what it means to be a boy. To illustrate how pervasive the "gendering" process is, we can now take a closer look at the art works and try to weave a relationship in which way these stereotypes are represented with their different identities and if we can locate masculine icons.

We see a man in a tight-fitting blue costume with a red-and-yellow emblem on the chest, consisting of the letter S in a shield shape, and a red cape. It is Superman! He is a widely considered a cultural icon, a masculine icon. The banal, yet obvious, transfiguration into Superman is now turned into a tool which Tomislav Gotovac, one of the most prominent Croatian filmmakers, performers, and visual artists, uses to encourage his viewers to think and interact during his performance 1986. The Superhero appears with shaved head and a bored gaze, walking through the streets of Zagreb and doing banal things like looking at flowers, sausages, talking to people and it seems that his hands clasped in prayer. Without doing anything special, Tomislav Gotovac demolishes ideological symbols and patterns while linking them to the iconography of the American culture and film industry he adored.

In the other performance we see Gotovac with a conspicuous moustache; he has a five-pointed star on his forehead, a stick in his mouth and provocative holding his trench coat opend. Tomislav Gotovac exposed penis, on which the words "ST. VALENTINE'S PIECE" is written in pink letters, dangles neatly below the Glen Miller Shirt. The title of the artwork pays homage to a slogan by Theodore Roosevelt „Speak softly and carry a big stick; you will go far".

Performance is also the medium that has marked the opus of the most important female performers in the former Yugoslavia Vlasta Delimar. She has been based on exposing and breaking the taboos related to the female body and its codification through stereotypical roles and expectations by choosing her own naked body as the primary medium of her work and provided an intimate view into her life. She continuously refuses to construe her own work through the terms "female" or "feminist", insisting on universal art which is not divided into male and female. Delimar's conceptual strategy of provocation, - no hesitancy or shyness -, is directly visible for the viewer, it is erotic and the emotional intertwining.

In her photographic collages such as "KURAC VOLIM ( KOCK I LOVE)" or "Celebration", Vlasta Delimar examines the status of women as social and creative beings, and their multiple roles as housewife, mother, artist, lover by expanding the range of her own sensibility and sensuality. The performance Male and female, which she did together with her former husband Željko Jerman, focuses on the tension between men and a women as lovers and partners in the sexual relationship.

Luiza Margan is a young conceptual working artist from Croatia, currently based in Vienna. Her new work Di si, brate? evolves around the artists' continuous engagement with the visual representation of power within public space. For example, for the work Public Tales Margan made a silkscreen poster, in which she used photographs of Viennese equestrian sculptures, using only the horses' tails, which she photomontages into different types of (urban)„moustaches", naming each of the „moustache type" by the name of the aristocrat that rides the horse.

For her new work, Margan once again uses the symbol and the meaning of the beard, as sculptural, but also fashion and sociological reference point. The work is inspired by ancient Greek sculptural remains of stone-carved beards exhibited on a site below the Acropolis in Athens. Margan recreates some of the „beards". These larger-than-life sculptur carry the history of power, dominance and virility within them, they are at the same time displaced and vulnerable in their detachment, resembling cocoons (of possible futures).

Branka Cvjetičanin is a multimedia/intermedia artist, most of her work is based on particular circumstances in situ and relations between body, movement and space framed by particular economy, urbanism, politics, history or just everyday circumstances, which is why she always chooses different media.

She has contributed an installation to the exhibition, which combines the development of the Political Economic and thoughts of her Granny Masha. The continuation of her practice called She:Story targeting personal famine history within dominant he:storical narratives. This particular work focuses on the Political Economic thought in relation to women. Gender gaps in the art world will be shown through male-centric graph statistics and "Butter Economy" as a transformative resolution of the moment. This is a spatial triptych which is important for the perception of the idea. The circle starts by symbolism and acknowledgment, embracing trans-generational famine spiritual superiority and ability for regeneration which is beyond comprehendible, then visualising life within art world in this particular moment, finishing off in critique of the economy of the aggression suggesting the common "butter" sculpturing.

press photo 1 | Vlasta Delimar, KURAC VOLIM, 1980, Collage, 49 x 40 cm
press photo 2 | Tomislav Gotovac, Superman, 1986, photography / silver gelatin print - process RA4, new print, 30,5 x 20,2 cm, edition 1/5+ 2AP, Photographer: Braco Vukelić Cobra

Portfolio | Masculine Icons | galerie michaela stock

Go to top