„GUILTY PLEASURES”

“Guilty Pleasures” exhibition presents a wide arsenal of bizarre pleasures that people feel guilty about. Photographed in their own environment, in their homes, the subjects participating in the project reveal in front of the camera, sometimes hushed and hesitating, other times theatrical and demonstrative, what they normally hide from the eyes of others at all costs: situations, habits, rituals or various objects that constitute props for their guilty pleasures. Photographer Odeta Catana succeeds in capturing these pleasures with naturalness, without creating the sensation of an intrusive interference in the intiacy of her subject.

“Guilty Pleasures” was created within a six months art residency for British Square Magazine where it was first published in issue 5.1 (http://www.squaremag.org/501-FR-GB.pdf). The project and various interviews were subsequently published in numerous newspapers and magazines in Germany (Süddeutsche Zeitung, Stern, Huffington Post), the United Kingdom, Italy (Repubblica Il Post) and the USA (Cosmopolitan). The entire project can be viewed on the artist’s website: www.odetacatana.com

In collaboration with Rumanian Cultural Institute and Embassy of Rumania to the Republic of Serbia

Sponsors: Cooperativa Agrícola de Garriguella

Friday, April 22nd, 7:00 PM
Božidarac 1947
April 22nd – 30th

Opening: Monday April 18th, 8:00 PM
KC Grad
18 – 30. April 2016.

Second exhibition of the annual program for this year will be opened April 18th at 8 pm. The artistic duo Just Machine is preparing a unique set up consisting of installations and wall sculptures entitled Old Cameras after the essential sculptural material used: broken analog cameras of various brands. The first level of the formation of these sculptures and installations is certainly the upcycle principle recontextualizing objects which lost the original use-value, in this case, into works of art: over three hundred Praktica, Zenit, Kodak and other brand cameras were carefully collected over the years, to form a narrative and a system of personal symbols. As authors state: “… All the works that will be exhibited are actually kind of symbols that define our identity.”
Also, one side of the narrative can be read as so called “respect of the material” meaning for example that one of the sculptures made entirely of Zenit cameras is referring to the definition of the term zenith: referring to an imaginary point directly “above” a particular location, on the imaginary celestial sphere, and is different for different points of view. The cross sculpture is playing with that definition and with its origin of the material Russia: trying to transposition, through the forms, a mechanical machine into something metaphysical.
One of the crucial elements of this set up will be the interactive part of it, as the audience will be participating in some of the multi media installations. We will not disclose the details of interaction in order to preserve the surprise for the opening day.