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a concise insight into the oeuvre of Jadranka Fatur, this exhibition symbolically marks forty years since her last solo exhibition in Varaždin, as well as this year's publication of her monograph by the National Museum of Modern Art. By structuring the exhibition thematically rather than chronologically, a comparison of different approaches to the treatment of similar motifs is enabled, pointing to changes in the tonality and emotional charge of paintings created in different periods. Thus, despite a systematic hyperrealistic treatment of motifs, portraits of kin, depictions of animals, urban landscapes, and other seemingly insignificant, yet for the artist visually intriguing everyday motifs become witnesses to conceptual changes in her painting. Given that Fatur’s paintings emerge from the experience of living, they—much like life’s reality—can be characterized by moments of both joy and hardship. Guided by personal preoccupations and interests, the artist selects a thematic focus, and in her paintings, the personal and the universal form a unique visual code pointing to the passage of time. To ensure the paintings remain a faithful reflection of a \"frozen moment\" and a state of unposed naturalness, each is subjected to a series of preparatory actions before realization. First, guided by her own aesthetics, Fatur photographs the motif. She then creates a sketch in watercolor or pastel, and often records the entire process of contemplation in diary entries. It is precisely due to this infusion of the artist’s personality that the works transcend the notion of mimetic imitation of reality.",[],"ltr",{"type":261,"text":266,"spans":267,"direction":264},"Two early works stand out at the exhibition due to their distinct stylistic diversity. The paintings The King and I (1972) and Untitled B (1973/74) were created before Fatur graduated from the Academy of Fine Arts in Zagreb. These works, formed by a different visual logic, reflect the beginnings of the artist's fascination with reality and her testing of the illusionistic potential of painting. The painting The King and I is the product of deliberate collaging and the unification of painting and sculpture through the application of ready-made objects, while the insertion of a self-portrait alongside a monumental reference to Titian’s portrait of Charles V can be interpreted as a reflection of self-awareness, but also as evidence of a need to modernize classical motifs, as well as a kind of confirmation of authenticity that the artist would utilize multiple times in her creative work.",[],{"type":261,"text":269,"spans":270,"direction":264},"Out of personal necessity in the 1970s, Jadranka Fatur began depicting unaltered nature, thus reviving realistic painting on the domestic art scene during the dominance of the abstract style. It was precisely this position that solidified her role as a reaffirmer of realism in contemporary Croatian art, and her work became a catalyst that would open a space for younger generations to explore, in their own interpretations, the new possibilities that contemporary realisms can 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nucleus for founding an art gallery in Varaždin can be found in the collection of the distinguished entrepreneur from Ludbreg, Ivan Kovačić (b. 1939). As an enthusiast of his native Podravina region, Kovačić mostly collected works by naïve artists of the Hlebine School, along with other artistically significant achievements from Yugoslav self-taught creativity. Unlike most collectors, his passion for art did not stem from a rational investment of capital, but rather from a genuine love for history, artistic expression, and the cultural identity of the region.",[],{"type":261,"text":477,"spans":478},"Around 1980, Kovačić purchased the baroque Sieber house for gallery purposes, located in the center of Varaždin at today’s 13 Ljudevita Gaja Street, once known as Velika vulicza. This is a representative two-story building from the 17th century, last reconstructed in the 19th century. The building was found in a severely dilapidated state, and because of the complex restoration, work lasted a full ten years.",[479],{"start":480,"end":481,"type":482},163,177,"em",{"type":261,"text":484,"spans":485},"The realization of this romantic initiative occurred upon the return of Ivan Kovačić’s daughter, Gordana Kovačić Macolić (b. 1966), and her husband Slaven Macolić (b. 1964) from postgraduate studies at the art academy in Kassel, when the gallery’s focus expanded to contemporary Croatian art and its connection to international currents. With the inclusion of the Macolić artistic family, the Gallery also began to value the work of relevant academic painters and Zagreb professors Mladen Macolić (1940–1980) and Nevenka Šafranić Macolić (1942–2015), Slaven Macolić’s parents.",[],{"type":261,"text":487,"spans":488},"The Kovačić Macolić Gallery was ceremoniously opened on December 22, 1990. Today it operates as an interdisciplinary art institution that has, for more than 35 years, actively promoted art, organized exhibitions and scholarly events, preserved and sold artworks professionally, and systematically enriched its collection of modern and contemporary art. The Gallery's holdings currently include more than 1,500 exhibits, and the exhibition (DIS)CONTINUITIES – Croatian Art in the Last Decades of the 20th Century presents recent acquisitions. Incidentally, the second half of the 20th century is especially significant for Croatian art. It was a time when foundations were laid for the contemporary Croatian art scene. The artists presented in the exhibition are, in order: Boris Bućan, Josip Diminić, Krsto Hegedušić, Zlatko Kauzlarić Atač, Nikola Koydl, Nives Kavurić Kurtović, Ferdinand Kulmer, Ivan Lovrenčić, Tihomir Lončar, Edo Murtić, Ivan Picelj, Josip Poljan, Miljenko Stančić, Ivica Šiško, Josip Vasilije Jordan, and Zlatan Vrkljan. The exhibition is thematically divided and offers an insight into the styles and visual techniques prominent at the end of the 20th century, such as painting and sculpture, with particular attention given to the review of graphic production and drawing as a means for print preparation.",[489],{"start":490,"end":491,"type":482},439,511,{"type":261,"text":493,"spans":494}," Overall, the Gallery preserves and consistently promotes three fundamental dimensions of artistic creation – past, present, and 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a successful presentation in Zagreb, the group exhibition Fragments of Nature is coming to Varaždin, at the Kovačić Mačolić Gallery, as part of the Varaždin Courtyard Festival organized by the Varaždin Tourist Board, taking place on June 14 and 15, 2025.",[623],{"start":624,"end":625,"type":482},65,84,{"type":261,"text":627,"spans":628},"The exhibition is the result of the work of the members of the Ceramics, Porcelain and Glass Section of ULUPUH, and through works in clay, it reflects on the complex and multilayered relationship between humans and nature. The artworks represent a dialogue with natural materials, focusing on mindfulness, the process of creation, and transformation through fire—a process that is as spiritual as it is material. In the Varaždin edition of the exhibition, the program is further enriched with additional content, providing visitors with an authentic, educational, and interactive experience.",[],{"type":261,"text":630,"spans":631},"Through guided tours with the exhibition curator Antonija Balić and participating artists, the public will have the opportunity to deepen their understanding of the exhibited works. The interactive performance Touch and the specially designed segment Applied 10 allow visitors to actively engage in the creative process, further emphasizing the theme of sensory contact and natural interconnectedness. The performance symbolically connects three significant anniversaries at the same time—10 years of the Varaždin Courtyard Festival, 75 years of ULUPUH, and 35 years of the Kovačić Mačolić Gallery—leaving a lasting mark through ceramic imprints that may become part of the cultural memory of the city.” – Antonija 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exhibition Clown In The Moon features a series of paintings, drawings, and sculptures by Svjetlan Junaković, created over the last ten years. The exhibition's title is taken from the poem of the same name by Welsh poet and writer Dylan Thomas from the first half of the 20th century. As both artists address the challenges of the harsh reality of the contemporary world faced by artists with sensitive sensibilities, Junaković, by carefully choosing the exhibition's name, suggests a connection between his works and Thomas's poetry.",[],{"type":261,"text":821,"spans":822},"Even though they tackle the same subject, given that both Thomas's poem and Junaković's exhibition are reflections of individual perceptions of everyday life, their approaches differ significantly. While Thomas depicts the clown as a symbol of joy and laughter within a pathetic context, Junaković's interpretation goes in the opposite direction. His works satirize established concepts and place the main protagonists within a satirical frame. The humor in his visual narratives arises from the use of the grotesque, forms distorted in shape, and the addition of unexpected attributes and phrases that, according to the viewer’s expected logic, \"shouldn’t be here.\" The equal importance of pictogrammatic and textual elements in Junaković's work is especially evident in his paintings and drawings, as well as in sculptures such as Dog Mater or Light-Weight Champion. In fact, the strong emphasis on the connection between image and text is a reference to comics, but also to illustrations, with which the artist is deeply engaged. ",[],{"type":261,"text":824,"spans":825},"In his play with visual codes, Junaković strongly references historical facts and past artistic movements. This is clearly visible in works such as the triptych Dance with the Crying Breast, which is a direct reinterpretation of Matisse’s Dance. He uses a similar strategy in his self-portraits, inserting himself into unexpected historical situations with which he can personally identify (for example, Self-Portrait with Romulus and Remus, Self-Portrait with Birds, Self-Portrait with the Queen and King, Self-Portrait with Sharks, or Self-Portrait with Valentina Tereshkova). Aside from his ability to reinterpret classical motifs through a contemporary context, it is important to highlight Junaković’s reliance on urban iconography. Thus, the work The Mediterranean as It Once Was, reduced to only two symbols of urban culture (an airplane and a shark), is a sharp critique of the excessive urbanization and touristification of the Adriatic coast.",[],{"type":261,"text":827,"spans":828},"A particularly intriguing aspect of Junaković's work is his tendency to experiment with sculpture. Alongside traditional sculptural materials such as terracotta or bronze, the artist often employs new synthetic materials like acrystal, which allows for an innovative approach to sculpture. Also, his sculptures are often assemblages made from fragments of previously created sculptures. The informel approach to sculpture is particularly evident in the series  Šibenik – Smokers.",[],{"type":261,"text":830,"spans":831},"This cycle, which in appearance draws on the stone heads of citizens from St. James Cathedral in Šibenik, is actually the result of breaking apart the first version and reassembling the sculptural forms. Through exploring the relationship of form, space, and narrative, Junaković’s works almost always retain a sense of playfulness. Thus, anthropomorphic and zoomorphic figures balance between the real and the imaginary, simultaneously evoking classical artistic traditions and subversively reinterpreting them. In addition to his deep knowledge of history and art, the exhibited oeuvre testifies to the artist’s need to question established social norms through satire and humor. Junaković intrigues the viewer’s perception and invites them to move beyond commonsense boundaries and enter the rich, self-suggestive world of personal imagination.\" – Klara Macolić 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Schultheis Edgeler","Deus Machina // Oblivio",{"dimensions":998,"alt":28,"copyright":28,"url":999,"id":1000,"edit":1001,"card":1003,"thumbnail":1010},{"width":26,"height":27},"https://images.prismic.io/gkm-gallery/aZTA81WLo0XkEmpl_Screenshot2026-02-17at20.26.05.png?auto=format%2Ccompress&rect=0%2C54%2C1062%2C597&w=1920&h=1080","aZTA81WLo0XkEmpl",{"x":32,"y":1002,"zoom":34,"background":35},54,{"dimensions":1004,"alt":28,"copyright":28,"url":1005,"id":1000,"edit":1006},{"width":38,"height":39},"https://images.prismic.io/gkm-gallery/aZTA81WLo0XkEmpl_Screenshot2026-02-17at20.26.05.png?auto=format%2Ccompress&rect=164%2C189%2C892%2C595&w=600&h=400",{"x":1007,"y":1008,"zoom":1009,"background":35},164,189,1.19,{"dimensions":1011,"alt":28,"copyright":28,"url":1012,"id":1000,"edit":1013},{"width":39,"height":45},"https://images.prismic.io/gkm-gallery/aZTA81WLo0XkEmpl_Screenshot2026-02-17at20.26.05.png?auto=format%2Ccompress&rect=0%2C330%2C1062%2C797&w=400&h=300",{"x":32,"y":1014,"zoom":34,"background":35},330,"2024-12-02","2025-01-26",[1018,1021,1024,1029,1032,1036,1039,1042,1045,1050],{"type":261,"text":1019,"spans":1020},"When Aby Warburg began his renowned Mnemosyne Atlas project in 1924, researching the “afterlives” (Nachleben) of images, he could hardly have imagined that a century later humanity would be communicating with an artificial consciousness capable even of offering interpretations of answers. Helena Schultheis Edgeler (Zagreb, 1972), a painter and art historian, is a pioneer on the domestic scene who embraced artificial intelligence tools with openness, exploring the creative possibilities of dialogue between human and “machine.”",[],{"type":261,"text":1022,"spans":1023},"What Warburg anticipated with his panels as a sort of illustrated database, AI now accomplishes with a simple programming command. By consciously engaging in interaction that generated templates for her work in the traditional medium of oil on canvas, the artist created eight distinct visual reflections of archetypal civilizational fears and aspirations. The Deus Machina series is the result of prolonged questioning of the boundaries between art and technology, as well as the moral and ethical implications of interaction with artificial consciousness.",[],{"type":261,"text":1025,"spans":1026},"Dual Habitus and Universal Codes",[1027],{"start":32,"end":1028,"type":641},32,{"type":261,"text":1030,"spans":1031},"The habitus of Helena Schultheis Edgeler is distinctly dual—combining the scientific framework of an art historian with the sensibility of a visual artist. Her “postcards from the future” are dialectical images in which what we see appears simultaneously familiar and entirely foreign. The works are programmatically titled with mathematical terms that transcend geographic and cultural codes:",[],{"type":1033,"text":1034,"spans":1035},"list-item","1.6180 – Golden Ratio",[],{"type":1033,"text":1037,"spans":1038},"1.17628 – Salem’s Constant",[],{"type":1033,"text":1040,"spans":1041},"0.001400 – Schwarzschild Radius",[],{"type":261,"text":1043,"spans":1044},"These titles temporally transcend the content, so the works are read simultaneously as traces of the past and fragmentary sketches of the future. The artist is unafraid to use “inexact deviations” and noise in dialogue with AI to achieve numinosity and introspection in the final visual translation.",[],{"type":261,"text":1046,"spans":1047},"A Ghost Story for Adults",[1048],{"start":32,"end":1049,"type":641},24,{"type":261,"text":1051,"spans":1052},"Referring to Leonida Kovač’s thesis on Warburg’s Atlas as a “ghost story for adults,” the Deus Machina series resonates with the term Nachleben. Here, imagination—through the potential of montage and AI generation—offers knowledge that exceeds the limits of direct observation. With this series, Helena Schultheis Edgeler approaches Benjamin’s concept of the dialectical image, affirming history as a text in which the past has indelibly left its visual 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