curator: Živko Grozdanić
Three units plus one dedicated to early works – under the common title Police Back Yard – are focused on the connection between the film medium and repressive society. They reach from a story on the connection of film art and dictators (Predators, Film Lovers, and a Bottle of Wine) to a camera directed at a repressive institution (Surveillance Camera) and permanent seeking of a boulevard, a fictive place for protecting privacy and author’s freedom from repressive everyday life (Nine Lives Boulevard). The fourth unit focuses on the early works that partly cover the mentioned topic, but to a larger degree speak about the fateful connection between the artist and the film medium, irrespectively of the fact that here we have photo series, early paintings or several short Super Eights (A Short Guide Through the 70s and 80s)
The FIRST UNIT, entitled Predators, Film Lovers, and a Bottle of Wine encompasses five
paintings and an object (a bottle of wine), which means six elements of a possible scenario for a film that speaks of a special relation between dictators and the film medium. It will probably never assume a classical film form.
The SECOND UNIT is a mix of a documentary and a fictional story, entitled Nine Lives
Boulevard. This is a permanent process or an open search for an invisible boulevard. It consists of thirteen paintings, one object (a plate from Istanbul), one image-map and a video-film as a specific screenplay form for a future film (Nine Lives Boulevard in 12 Figures and a P. S. (film draft) 25' 51'').
The THIRD UNIT consists of the film Surveillance Camera produced by the Croatian Film
Association (HFS) and 49 prints corresponding with one chapter in the film. In it the surveillance camera is directed at the police back yard, i.e. the institution in charge of the surveillance of the community and its members.
The FOURTH UNIT – A Short Guide Through the 70s and 80s – comprises a short survey of
the 70s and 80s, focusing on the author’s early works that contain film elements, that are close to similar media experiments or that are early film experiments themselves. It also comprises a photo-documentation and a couple of posters from the early phase of the artist’s work. In some of its segments, the fourth unit comes close to the story about repression and artistic resistance.