[{"data":1,"prerenderedAt":227},["ShallowReactive",2],{"exhibition-svjetlan-junakovic-clown-in-the-moon-en":3},{"id":4,"uid":5,"url":6,"type":7,"href":8,"tags":9,"first_publication_date":10,"last_publication_date":11,"slugs":12,"linked_documents":14,"lang":15,"alternate_languages":16,"data":20},"aZTC1hYAACYAMe7B","svjetlan-junakovic-clown-in-the-moon","/exhibitions/svjetlan-junakovic-clown-in-the-moon","exhibtion","https://gkm-gallery.cdn.prismic.io/api/v2/documents/search?ref=acewlBEAACQAf1h_&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22aZTC1hYAACYAMe7B%22%29+%5D%5D",[],"2026-02-17T19:35:12+0000","2026-03-09T13:52:05+0000",[13],"svjetlan-junakovic",[],"en-us",[17],{"id":18,"type":7,"lang":19,"uid":5},"aZTADRYAACUAMeo4","hr",{"title":21,"subtitle":22,"cover_image":23,"start_date":50,"end_date":51,"about":52,"setup_gallery":69,"opening_gallery":134,"panorama_images":196},"Svjetlan Junaković","Clown in The Moon",{"dimensions":24,"alt":27,"copyright":27,"url":28,"id":29,"edit":30,"card":35,"thumbnail":43},{"width":25,"height":26},1920,1080,null,"https://images.prismic.io/gkm-gallery/aZTA9FWLo0XkEmpm_Screenshot2026-02-17at20.25.00.png?auto=format%2Ccompress&rect=55%2C0%2C1543%2C868&w=1920&h=1080","aZTA9FWLo0XkEmpm",{"x":31,"y":32,"zoom":33,"background":34},55,0,1.0000720097933318,"transparent",{"dimensions":36,"alt":27,"copyright":27,"url":39,"id":29,"edit":40},{"width":37,"height":38},600,400,"https://images.prismic.io/gkm-gallery/aZTA9FWLo0XkEmpm_Screenshot2026-02-17at20.25.00.png?auto=format%2Ccompress&rect=38%2C0%2C1302%2C868&w=600&h=400",{"x":41,"y":32,"zoom":42,"background":34},38,1.0000000000000002,{"dimensions":44,"alt":27,"copyright":27,"url":46,"id":29,"edit":47},{"width":38,"height":45},300,"https://images.prismic.io/gkm-gallery/aZTA9FWLo0XkEmpm_Screenshot2026-02-17at20.25.00.png?auto=format%2Ccompress&rect=248%2C0%2C1157%2C868&w=400&h=300",{"x":48,"y":32,"zoom":49,"background":34},248,1,"2025-04-07","2025-05-31",[53,57,60,63,66],{"type":54,"text":55,"spans":56},"paragraph","\"The 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":54,"text":58,"spans":59},"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":54,"text":61,"spans":62},"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":54,"text":64,"spans":65},"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":54,"text":67,"spans":68},"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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