Igor Grubić, rođen u Zagrebu 1969., aktivan je kao multimedijski umjetnik u Zagrebu od ranih 90-ih. Bavi se site-specific intervencijama u javnom prostoru, fotografijom i filmom. Predstavljao je Hrvatsku na 58. Venecijanskom bijenalu. Njegovu kritičku, društveno-politički posvećenu praksu karakterizira dugotrajan angažman, a u radovima se posvećuje prošlim i sadašnjim političkim situacijama, od dubinskog istraživanja sudbine povijesnih spomenika i propasti industrije do istraživanja problema manjinskih zajednica. Iako se temelji na dokumentarnoj tradiciji, Grubićev rad u fotografiji i filmu obilježava afektivan i empatičan pristup, koji je duboko human i često poetičan. Svoje radove izlagao je u različitim međunarodnim institucijama i na izložbama: Tirana Biennial 2 (2003.), Manifesta 4 (Frankfurt, 2002.), Manifesta 9 (Genk, 2012.), 50. Oktobarski salon (Beograd, 2009.), Gender Check, MuMOK (Beč, 2009.), 11. Istanbulski bijenale (2009.), 4th Fotofestival Mannheim Ludwigshafen, Heidelberg (2011.), East Side Stories, Palais de Tokyo (Pariz, 2012.), Gwangjuski bijenale (2014.), Zero Tolerance, MOMA PS1 (New York, 2014.), Degrees of Freedom, MAMbo (Bologna, 2015), 5th Solunski bijenale (2015.), Cut/Rez, MSU (Zagreb, 2018.), Heavenly creatures, MG+MSUM (Ljubljana, 2018.); The Value of Freedom, Belvedere 21 (Beč, 2018.), 58. Venecijanski bijenale (2019.), Jerevanski bijenale – The Time Complex (2020.), Bigger than myself, MAXXI (Rim, 2021.).

Igor Grubić, born in Zagreb in 1969, has been active as a multimedia artist since the early 1990s. His work includes site-specific interventions in public spaces, photography, and film. He represented Croatia at the 58th Venice Biennale. His critical, socio-politically committed practice is characterized by long-term engagement, and his work is focused on past and present political situations, from an in-depth exploration of the fate of historical monuments and the demise of industry, to the examination of the predicament of minority communities. Though grounded in documentarist tradition, Grubić’s work in photography and film is characterized by an affective and empathetic approach that is deeply humane and often poetic. His work has been exhibited at various international exhibitions and institutions, including the Tirana Biennial 2 (2003); Manifesta 4 (Frankfurt, 2002); Manifesta 9 (Genk, 2012); 50th October Salon (Belgrade, 2009); Gender Check, MuMOK (Vienna, 2009); 11th Istanbul Biennial (2009); 4th Fotofestival Mannheim Ludwigshafen, Heidelberg (2011); East Side Stories, Palais de Tokyo (Paris, 2012); Gwangju Biennale (2014); Zero Tolerance, MOMA PS1 (New York 2014); Degrees of Freedom, MAMbo (Bologna, 2015); 5th Thessaloniki Biennial (2015); Cut / Rez, MSU (Zagreb, 2018); Heavenly creatures, MG+MSUM (Ljubljana, 2018); The Value of Freedom, Belvedere 21 (Vienna, 2018); 58th Venice Biennale (2019); Yerevan Biennial – The Time Complex (2020); Bigger than Myself, MAXXI (Rome, 2021).

Igor Grubić

U teoriji i praksi (zovite ga njegovim imenima) / In Theory and Practice (Call Him by His Names), 2020. – 2022.

3 fotografske serije, akcije u javnom prostoru / 3 photographic series, actons in public space

33 x 60 x 80 cm

Realizirajući tijekom dvije i pol godine, u stilu umjetničko-duhovnog aktivizma, male protestno-spiritualne intervencije u javnom prostoru suočavao sam se s različitim skulpturalnim i likovnim interpretacijama Isusova lika na raspelu i došao do zaključka da nepostojanjem jednog određenog lika-simbola koji bi ga univerzalno predstavljao zapravo svi ti različiti likovi i skulpture raspetog Krista kao da govore o mnoštvu različitih osoba koje se utjelovljuju kroz njegov lik. Mnoštvo različitih razapetih likova kao da predstavljaju svakoga od nas. Svatko tko se bori i koji je spreman posvetiti se, pa i žrtvovati život za svoja uvjerenja, za boljitak zajednice i opće dobro čovječanstva, simbolično utjelovljuje ideju i lik toga duhovnog učitelja. Mnoštvo različitosti likova (antifašist, abolicionist, socijalist, sindikalist, feminist, suprematist, situacionist, utopist, pacifist…) u projektu U teoriji i praksi (zovite ga njegovim imenima) predstavlja upravo ideju borbe za zajedničko dobro i više humane vrijednosti. Rad potiče slobodu govora i toleranciju prema različitostima te potrebu za proširivanjem granica ljubavi, i ukazuje na mnoštvo onih koji su ostajali dosljedni i ustrajali na toj liniji borbe za pravednije, odgovornije, solidarnije, duhovnije i sretnije društvo.

By realizing during the course of two and a half years, in the style of artistic and spiritual activism, miniscule protest/spiritual interventions in the public space, I was faced with different sculptural and visual interpretations of the image of Jesus on the crucifix and came to the conclusion that due to the absence of one specific image-symbol that would universally actually represent him  all these different figures and sculptures of the crucified Christ actually talk about a multitude of different persons who are embodied through his figure. A multitude of different crucified characters seem to represent each of us. Everyone who fights and who is ready to devote himself and even sacrifice his life for his beliefs, for the betterment of the community and the general good of humanity, symbolically embodies the idea and image of that spiritual teacher. The multitude of diverse characters (anti-fascist, abolitionist, socialist, unionist, feminist, suprematist, situationist, utopian, pacifist...) in the project In theory and practice (call it by its names) represents precisely the idea of ​​fighting for the common good and higher human values. The work encourages freedom of speech and tolerance towards differences and the need to expand the boundaries of love, and points to the multitude of those who remained consistent and persisted in that line of struggle for a fairer, more responsible, more solidary, more spiritual and happier society.

• iz izjave umjetnika / from the statement of the artist