Project leaders: Duje Dorotka, Božo Majstorović, Marija Plenković

Concept: Božo Majstorović

Exhibition curators: Vanja Babić (Snježana Ban), Božo Majstorović (Kažimir Hraste), Iris Slade (Loren Živković Kuljiš)

Katamaran Art is a joint project of the Jelsa Municipal Museum and the Museum of Fine Arts, launched in 2018. It is an exhibition programme that takes place alternately in Jelsa and Split during the summer months. The name refers to one of the busiest catamaran lines on the Adriatic, that between Split and Jelsa, which transports thousands of passengers every year, especially in summer. This circulation of people and goods is mainly related to tourism and the daily life of the domicile population. The aim of Katamaran Art is to actualize the third, equally important dimension of travel, which is the traffic of ideas, in this specific case those related to art.

In terms of programme, Katamaran Art is open to various generational, media, and poetic combinations. The project task presented to the artists included in Katamaran Art 2022, namely Snježana Ban, Kažimir Hraste, and Loren Živković Kuljiš, is the conception and realization of artworks that will take into consideration the specific exhibition context.

Collaboration between the LeRoy Neiman Center for Print Studies, Columbia University and the Museum of Fine Arts Split

Exhibition venues: Museum of Fine Arts and Gallery of the Multimedia Cultural Centre

Artists:

Jonathan Adams, Selva Aparicio, Ahmet Arslan, Vinko Barić, Margaret Braun, Ambreen Butt, Ernesto Caivano, Alexis Callender, Caroline Carlsmith, Nathan Catlin, Kat Chamberlin, Alejandro Contreras, William Cordova, JJ Cromer, Predrag Dimitrijević, Davor Dmitrović, Edvin Dragičević, Mario Ferretti, Sonja Gašperov, Baris Gokturk, Cate Holt, Katarina Ivanišin Kardum, Lin Jing, Jasper Johns, Nikica Jurković, Darina Karpov, Nils Karsten, Dan Kennedy, Alex Kvares, Nebojša Lazić, Miki Lee, Fred HC Liang, Miron Milić, Anita Miloš Tomaić, Simonetta Moro, LeRoy Neiman, Brian Novatny, Jennifer Nuss, Aga Ousseinov, Lav Paripović, Vedran Perkov, Eva Petrič, Ivana Pipal, Aleksandra Popović, Veljko Popović, Ivan Prerad, Eric Ramos Guerrero, Andrea Resner, Kristina Restović, Dennis Scholl, Jessica Segall, Shahzia Sikander, Luis Silva, Kiki Smith, Damir Sobota, Valentina Supanz Marinić, Ivan Svaguša, Miran Šabić, Marko Tadić, Richard Tinkler, Rirkrit Tiravanija, Vice Tomasović, Andy Van Dinh, Tomas Vu, Kara Walker, Laura Watt, Tommy White, Sun Xun, Yuan Zuo, Loren Živković Kuljiš

The acute awareness of clay as a material suitable for very subtle, intuitive communication with the creative principle that permeates all beings and determines their layered interconnectedness is what makes Ivana Petan stand out among a growing number of artists who have chosen ceramics as their primary artistic practice. Thus, starting from the directness of contact and work with the material, the artist’s notion of the creation of an artwork is embodied in her personal relationship towards the experience of life and the world. At the same time, the final form of her works, whether they are individual sculptures or more complex spatial installations, is shaped in communication with the site-specific and temporal context in which she is working. It is precisely for this reason that Ivana Petan’s creative process always has a fluid portent, and is open to experiment in the formal and technological sense. Of course, we should be aware that this is an artist who has behind her some score of years of work and tireless investigation of technologies related to clay, an artist who is very familiar with various techniques, ranging from clay pit or electric kiln, smoked clay, Raku or Saggar firing processes, and in that sense the experiment does not mean the process of mastering a certain technique, but free creation and combination of acquired knowledge that is unencumbered by the potential limitations of material or processes.

Installation A possible landscape (Split version) is a part of the project Exhibition continues which focused on Aballi's work of the past fifteen years and presented journey through his aesthetic preferences in contemplating the conventional systems of production of the work of art.