instalacija, Atelijeri Žitnjak, 2024
suradnici : Jakov Habjan, Sanja Bistričić, Srića
// installation, Atelijeri Žitnjak, 2024
collaborators : Jakov Habjan, Sanja Bistričić, Srića
Ćuk u hodniku promatra Zagreb koji se mijenja, grad koji se popravlja nakon potresa 2020. Središnji dio instalacije čini klackavi pod, instalacija od šperploče koja prekriva trideset kvadrata poda koji poziva publiku na interakciju. Rad nastoji disbalansirati kretanje, nudeći taktilno iskustvo traženja ravnoteže — kako u kretanju kroz grad, tako i unutar osjetljivog mentalnog prostora majčinstva.
Poetske crtice i dnevničke fotografije prikazuju prostor između selidba, uspostavljaju razlike između novog i starog doma, novih i starih odnosa s gradom i kvartom, prostoru između popravaka i onog neplanske gradnje. Bilježi sakupljanje odbačenih materijala po gradu, stolaca, ormara i njihove obnove. Stvara nit između gradilišta i dječje igre, igrališta.
Neopterećenost u dječjim konstrukcijama povezuje sa savladavanjem prepreka u gradu ili sakupljanjem materijala koji mogu biti prenamijenjeni, a ista ideja prenamjene ili konstrukcije slijedi i način na koji su zamišljeni prijelom knjige i materijal tiska. Poetske crtice su forma dnevničkih zapisa u stihu, kao kratka i brza forma koja je moguća u datim okolnostima majčinstva, kratkim vremenskim periodima predaha i vremenu koje preostaje za kreativan rad.
Fotografije postava: Boris Cvjetanović, Sanja Bistričić Srića
The work explores the shifting spaces of Zagreb, a city simultaneously recovering from the 2020 earthquake and transforming its neighborhoods. At the heart of the installation is the “wobbly floor,” a thirty-square-meter plywood structure that invites the audience to tread carefully. The work aims to unsettle, offering a tactile experience of searching for balance, both while moving through the city and within the delicate mental landscape of motherhood.
Through diary-like mobile photographs, I document materials,barricades, and obstacles, exploring how we navigate them when we are not their primary users—particularly from the perspective of motherhood, moving through the city with two children. Short poetic fragments describe the spaces between relocations, neighborhood changes, and the maneuvers needed to traverse streets overtaken by construction, capturing everyday life and the search for balance through play.
A series of photographs of children’s play—stacked structures and precariously balanced objects—relates these gestures to construction sites, materials, and built forms. The images and texts are printed on various textures and mounted on the gallery walls. The final part of the exhibition’s narrative is a video. Shot in a vertical format that fills the gallery’s height, it shows me carrying a large sponge through the streets. Along the way, I encounter cars and other obstacles. The camera follows me frontally as I struggle with the oversized, soft, and unwieldy material, emphasizing the tension between my body, the object, and the urban environment.
Photography, exhibition view: Boris Cvjetanović, Sanja Bistričić Srića
Trenutno razvijam umjetničku knjigu iz materijala.
I am currently developing the work as an artist book.
