Ana Sladetić Šabić rođena je 1985. u Vukovaru. Diplomirala je 2009. na Akademiji likovnih umjetnosti Sveučilišta u Zagrebu, na kojoj je 2016. doktorirala pod mentorstvom red. prof. art. Ante Rašića i izv. prof. dr. sc. Leonide Kovač. Sudjelovala je na više od 170 skupnih izložbi u Hrvatskoj i inozemstvu te je održala dvadesetak samostalnih izložbi (Zagreb, Rab, Rijeka, Samobor, Koprivnica, Ilok, Pariz, Berlin, Wiesbaden, St. Mary's City, Maryland, Maribor). Primila je više nagrada za svoj rad, među kojima i nagradu Galerije Kranjčar na 35. Salonu mladih (HDLU, Zagreb, 2020.), nagradu za najbolji rad izložbe World Youth Art Festival (Seul, Južna Koreja, 2017.), Ex aequo na 25. Slavonskom biennalu (Muzej likovnih umjetnosti, Osijek, 2016.), prvu nagradu Celebrate Originality – Adidas u suradnji s Muzejom za uličnu umjetnost (Zagreb, 2010.) te Grand Prix 30. Salona mladih (HDLU, Zagreb, 2009.). Usavršavala se i boravila na umjetničkim rezidencijama u Njemačkoj, Belgiji, Francuskoj, Finskoj i SAD-u. Docentica je na Akademiji za umjetnost i kulturu Sveučilišta Josipa Jurja Strossmayera u Osijeku.

Ana Sladetić Šabić, born in Vukovar in 1985. She graduated in 2009 from the Academy of Fine Arts of the University of Zagreb, where she received her doctorate in 2016 under the mentorship of Professor Ante Rašić and Associate Professor Leonida Kovač, Ph.D.. Ana has participated in more than 170 group exhibitions in Croatia and abroad, and held about twenty solo exhibitions (Zagreb, Rab, Rijeka, Samobor, Koprivnica, Ilok, Paris, Berlin, Wiesbaden, St. Mary's City, Maryland, Maribor). She received several awards for her work, including the Kranjčar Gallery award at the 35th Youth Salon (HDLU, Zagreb, 2020), the award for the best work at the World Youth Art Festival (Seoul, South Korea, 2017), ex aequo award at 25th Slavonian Biennale (Museum of Fine Arts, Osijek, 2016), the first award Celebrate Originality – Adidas in collaboration with the Museum of Street Art (Zagreb, 2010) and the Grand Prix of the 30th Youth Salon (HDLU, Zagreb, 2009). She has participated in continuing education courses and stayed at artistic residencies in Germany, Belgium, France, Finland and the USA. She is an assistant professor at the Academy of Arts and Culture of Josip Juraj Strossmayer University in Osijek.

Ana Sladetić

Welcome, 2021.

instalacija, interaktivni gobleni / installation, interactive tapestries

promjenjive dimenzije / dimensions variable

Izoliranost doma bila je narušena potresom – kad smo u stanju neizvjesnosti zidova vlastitog doma potražili utočište negdje drugdje. Ironično: migracija u novi prostor, bivanje s drugima, izoliranost od drugih, prisutnost i komunikacija putem digitalnih sustava… radnje su na koje smo se prilagodili tijekom pandemije, a uz njih tu su nevino visjeli gobleni, iz nekog drugog razdoblja, predanosti, preciznosti, kontemplacije u ručnom radu, ubadanju igle i konca. Tijekom ZOOM sastanka često bismo skidali goblene ne bi li dobili čistu pozdinu kako bismo se prezentirali u takvoj, suvremenom oku zadovoljavajućoj slici, gdje goblen nema pretjeranu važnost. Slikovni vez, koji su naši stari većinom radili, ima više sentimentalnu vrijednost nego onu estetsku, koja po mnogima graniči s kičem. Zanimaju me takve marginalne vizualne vrijednosti s kojima se čovjek poistovjećuje. Htjela sam napraviti i vidjeti kako funkcionira rad koji bi u sebi sadržavao sadašnje vrijednosti i radnje u svezi sa zaštitom. Kako bi izgledao umjetnički rad koji bi bio stanica za zaštitu pojedinca, koji koketira s vanjskim javnim prostorom i unutarnjim prostorom doma.

The isolation of the home was disturbed by the earthquake – when, in a state of uncertainty within the walls of our own home, we sought refuge elsewhere. Ironically: migration to a new space, being with others, isolation from others, presence and communication through digital systems... these are the actions we got used to during the pandemic, and besides them there were innocently hanging tapestries, from another era, of dedication, precision, contemplation in embroidery, needle and thread. During the ZOOM meeting, we would often remove the tapestries in order to get a clean background as to present ourselves in such a modern light as to please the modern eye, where the tapestry does not have excessive importance. Pictorial embroidery, mostly made by our ancestors, has more of a sentimental value than an aesthetic one, which, according to many, borders on kitsch. I am interested in such marginal visual values ​​that people identify with. I wanted to produce a work that embodies current values ​​and actions related to protection and see how it functions. What would a work of art look like that would be a station for the protection of the individual, that flirts with the external public space and the interior space of the home.

• iz izjave umjetnice/ from the statement of the artist