ČLANCI I KATALOZI
The exhibition about the Istrian liberators is an artistic concept by Branko Gulin consisting of pencil-drawn portraits and bronze sculptures. The project is both multidisciplinary and conceptual, offering interpretations of artistic perspectives on the community and the individual, with a focus on the illusory and potentially manipulative nature of the concept of freedom.
A poet can only feel ashamed and fall silent in the face of war. And yet, he somehow finds the strength, through tears and sobs, to speak of the suffering and pain of the meaninglessness in which countless lives come to an end.
The book explores the profound interconnectedness of anthropology, archaeology, ritual, and artistic practice, in search of the Whole that unites the material, spiritual, and energetic dimensions of human existence. Through the artistic work and intuition of sculptor, performance artist, and painter Branko Gulin, the artist is presented as a mediator between the visible and invisible worlds, while art emerges as an elemental, unifying, and ultimately optimistic force.
The exhibition and accompanying publication Phenomenology of Transience present an extensive artistic project by Branko Gulin, rooted in the daily recording and contemplation of human existence, society, and transience through collages, photographs, sculptures, objects, installations, video, and performance. Bringing together personal and collective experience with influences from conceptual art, Fluxus, body art, street art, and ritual and Indigenous practices, Gulin views art as an engaged space for raising awareness of reality and questioning the role of the artist in contemporary society.
An Autobiographical Concept. From 2014 to 2017, I created one photograph every day, documenting my everyday life. In total, I produced 1,470 photographs depicting various situations, scenes, and environments, which I compiled into 15 photo albums. These photographs became the source material for my painting project Parallel Reality.
A Found Object Transformed into a Conceptual Artifact
Not every found object is, in essence, a ready-made. Every object contains the potential to become an artifact of contemporary art, but only within the context of the artist’s creative and conceptual process.