David Maljkovic

David Maljkovic 1973

Lives in Zagreb, HR. Works in Zagreb, HR.
Represented by:

Annet Gelink Gallery

David Maljkovic’s oeuvre focuses on the artistic legacy of modernism, his own work and art in general. Maljkovic often researches the past in order to imagine the future: he often re-evaluates his existing artworks for the sake of progress, which lends an ever-developing nature to his works on view. The process of construction within a set of formal directives encrypts the narrative and postulates what Maljković describes as a new semantic logic.

Artworks
Media
Highlights
Recommendations
Collections
Shows
Market position
CV

Media

Interview with David Maljkovic in relation to his nomination for the Mario Merz Prize and the accompanying exhibition.
Interview with David Maljkovic in relation to his nomination for the Mario Merz Prize and the accompanying exhibition.
Interview with David Maljković as part of his exhibition at VOX.

About

David Maljkovic
Could an artist like David Maljkovic have come to the fore 20 years ago? There’s nothing in his work that is technologically new – his films are on 16mm, and the sculptural installations that they’re framed through, akin to crude minimalist theatre sets, are the product of basic fabrication processes. The artist’s sculptures use traditional materials and do not look like they would have needed prior computer modelling; his photographs and collage works do not display any digital manipulation. Yet the answer is no, David Maljkovic’s work could only have been made this millennium. It’s not the medium that is new, but the world that the work is part of. It is a practice that is both symptomatic and reflective of our contemporary malaise, in which the spectre of the past is forever present and a radical vision of the future is unimaginable in the way it was for previous generations. Progress isn’t what it used to be, you see. Playing with and mixing up notions of past and future is a recurring feature of the Croatian artist’s work. The references within a film will pivot back and forth, or the film will wrong-foot the viewer as to its historic setting. In the first part of the Scene for New Heritage trilogy (2004–6), a subtitle suggests the series is set in the future: May 2045, to be precise. Yet the opening scene shows only a crude attempt to visualise that promised future scene: a contemporary saloon car, entirely wrapped in silver foil, cruises down a country lane; the metallic material conjuring up references to early tv sci-fi, twentieth-century robots and the dawn of space travel. Its destination is a 12-storey curving, monolithic building with a similarly reflective facade: a monument, a bit of further research elicits, erected in the mountain forests of Petrova Gora, Croatia, for victims of the Second World War. Arriving at the building, the passengers of the car congregate with others who have also come to the site in foil-wrapped vehicles. The original function of the building, now in disrepair, is lost on this throng – its purpose long forgotten in the transition between our present and theirs. In an incomprehensible yodelling ‘language’ (subtitled in English for the viewer), these people of the future dis-cuss the function of this historic artefact. “Times were different back then,” one howls. Another answers, “Yes, times that don’t matter to us!” Or is time itself irrelevant to the future? In the film Out of Projection (2009), the disorientation of time is less theatrical – perhaps more mundane – but nonetheless affecting. The 18-minute work intersperses images of a group of older people watching a track on which prototype cars are being tested with muted interviews with the spectators, former Peugeot engineers who used to work at the facility. A simple conflation of the past (represented by the retired workers), the present (the production of the film, the interviews) and the future (the prototype vehicles, some quite outlandish in their design) takes place. The present isn’t simply now, the film says, it is a conflation of the past and possible futures. The work holds up a mirror to the contemporary idea of hauntology, the term introduced by French philosopher Jacques Derrida (with recourse to Marx and Hegel) that addresses the preoccupation and fetishisation – the haunting – of contemporary culture by the past. Yet it cannot fail to be the product of it too. A sense of place and architecture is fundamental to the artist’s work – both onscreen and offscreen – but it is a use that is in service to Maljkovic’s meditation on the spectral nature of the past’s effect on the present. At the Baltic in Gateshead, the second stop for his current touring retrospective, Maljkovic used false walls to create a corridor that ran around the perimeter of the entire exhibition space. Our confrontation with the artworks was momentarily delayed as we were filtered through this passageway, encountering along the way the backs of film projectors, their lenses directed through holes in the wall, through which we first saw the exhibition, fleetingly and obscured, before the final reveal via an entrance at the far end of the space. In his 2010 exhibition for the Glasgow International festival, Maljkovic wanted to show Images with Their Own Shadow (2008) in a space devoid of institutional history or ghosts of previous shows that might have haunted the repeat visitor to a preexisting gallery. The artist found an empty shop space – a raw, concrete bunker of sorts – in which he was able to show his film, an archive audio interview with Vjenceslav Richter, one of founding members of exat-51, 
a group of Croatian artists and architects interested in geometric abstrac
tion, spliced with images of trendy-
looking younger people standing silently next to various Richter sculptures. Modernist design and architecture, Soviet brutalism and the utopian intentions they recall are recurring presences in Maljkovic’s art. Lost Memories from These Days (2006), for example, returned to the Italian Pavilion, designed by Giuseppe Sambito, of the 1961 Zagreb Fair, which Maljkovic had featured in his earlier film These Days (2005). Built in a rare meeting between the West and Yugoslavia as a piece of Communist propaganda, the building now sits derelict. In the (six-minute) later film, silent, vacant female models – almost alien in their washed-out beauty – lean against cars. The wheels of the vehicles are clamped into geometric white sculptures that mimic the bases of the building’s unique inverted-pyramid columns. The effect of these silent posing women isn’t glamorous but unsettling – dreamlike. If dreaming is connected to memory, then perhaps the hallucinatory feel of Maljkovic’s work is a signal that his use of Modernism isn’t just a case of fetishised retrofuturism. The teachers of Ancient Greece would advise their students that being able to visualise places and images that might ‘hold’ their memories – a type of time travel – was the key to mnemotechnic success. Focusing on the link between the empiricism of buildings and the abstract notion of time (a link that explains the purpose of memorials and the preservation of sites of trauma), the artist uses decaying architecture to further underline the idea of the past as being an active facet of the present, both in the work and the wider world. While the details of Francis Fukuyama’s 1992 claim that we have reached the ‘end of history’ have been rightly derided as neoliberal cheerleading, the wider statement that capitalism has subdued the fight for political and cultural progression does seem to ring true. Hauntology is a symptom of this lack of political development. In Maljkovic’s work the past and future are conflated because the politically utopian visions of the future that the artist portrays – from the design ideals of exat-51 to the various facets of modernist architecture referenced – are only to be found in the past. His films feel floaty and hard to pin down because they operate without a clear delineation of what is now, of what has gone and of what is to come. We might term this style of filmmaking antirealist, but perhaps it is just a true reflection of our place in time.
avatar image
Art Review
Review: ‘Scenes for a New Heritage’ at the Museum of Modern Art
“Scenes for a New Heritage: Contemporary Art From the Collection” is an unusually optimistic-sounding title for the Museum of Modern Art’s latest installation of works from its permanent collection. Filling the second-floor contemporary galleries, the show features videos, installations, sculptures, drawings, prints and photographs produced by more than 30 artists during the past three decades. It’s an uneven selection, but leaving artistic quality aside, it inadvertently raises a large and intriguing question: At a time when contemporary art seems to be spinning its wheels and, like the world at large, going nowhere in particular, what could a new heritage be? What sort of future might art have? (The show was organized by four MoMA curators: Quentin Bajac and Eva Respini, both from the photography department; Ana Janevski, from media and performance art; and Sarah Suzuki, from drawings and prints; with Katerina Stathopoulou, a curatorial assistant from photography.) The exhibition’s title is taken from a series of low-budget videos projected within a framework of cobbled-together pieces of Sheetrock by the Croatian artist David Maljkovic, each called “Scene for a New Heritage.” Set 50 or so years from now, the series starts with cars comically wrapped in shiny metal foil to make them appear futuristic, driving along rural roads and arriving at a derelict monument to dead soldiers of World War II built in 1981 by the government of the former Yugoslavia. A structure of about five stories with curvy walls, it looks like a small office building designed by Frank Gehry. It’s the focus of a park and plaza now invaded by weeds and shrubbery. Seen from a distance, visitors in small groups mill about without clear purpose. There’s a feeling of mournful nostalgia in sharp contrast to the spirit of forward-looking faith in one of history’s most comprehensive collective endeavors — i.e., Communism — that the monument once embodied. In a similarly deflating vein, a group of small paintings titled “Exploitation of the Dead” (1984-90), by another Croatian, Mladen Stilinovic, hangs at the start of the show. Compositions in black, white, red and tan painted on wood scraps and cardboard parody, with slacker attitude, paintings from the early years of Russian Modernism as well as Soviet-style symbolism. On an adjacent wall hangs the first piece that visitors see on entering the exhibition. Made last year by Rirkrit Tiravanija, it’s an approximately seven-foot-by-seven-foot collage of Thai newspapers over which are stenciled words declaiming, “The days of this society is numbered.” A wall label explains that this is a deliberately mistranslated quote from the French theorist Guy Debord, author of “The Society of the Spectacle.” Reasons that modern society’s days may be numbered are given by many other works. There’s the American legacy of slavery in Kara Walker’s “Gone: An Historical Romance of a Civil War as It Occurred Between the Dusky Thighs of One Young Negress and Her Heart” (1994), a mural-scale vision in black paper silhouettes of an antebellum South rife with sexual perversity. A piece by Doris Salcedo called “Atrabiliarios” (1992-93) that has old shoes in small niches behind foggily translucent rectangles made of cow bladder memorializes people who disappeared during the Colombian Civil War. A distinctively American penchant for violence is fiercely distilled in Cady Noland’s “The American Trip” (1988), in which a pirate flag and a United States flag hang together with handcuffs and a blind person’s cane supported by a configuration of metal pipework. The corporate transformations of seaport industries around the world is reported in a series of photographs by Allan Sekula. Demographics and economics of New York prison populations disproportionately hailing from low-income parts of Brooklyn are revealed by posters and a video by a group called Spatial Information Design Lab. “Lament of the Images” (2002), an installation by Alfredo Jaar, consists mainly of a nearly blindingly bright rectangle of white light projected on one wall of an otherwise unlit room. A museum label notes, “It is not about a particular historical event or the exhaustion of certain aesthetic strategies, but rather the future of images in their most reproducible state.”
avatar image
The New York Times
David Maljkovic Metro Pictures / New York
If imitation is the sincerest form of flattery, then alterity is a deeper, more devious tribute, especially when self-inflicted. It’s also perilous creative territory, rife with dead ends: nostalgia, repetition, degradation, the sloppy “remix” that fatally poisons the original. Fortunately, David Maljković thrives at porous, overlapping margins, and his latest exhibition, “Alterity Line,” on view through February 24 at Metro Pictures in New York, revels in the fertile spaces between the self and the other, the found and the made, the end and the means. Born in Rijeka, Croatia, and based in Zagreb, Maljković is an intrepid tracer of transformation and its consequences. The raw materials of this show are not only a selection of his previous works (drawings harvested from sketchbooks past, previous paintings and collages, visual fragments of a student performance) but also the typically concealed — yet suddenly compelling — tools of their production and display. Reconfigured on scales ranging from grand (multimedia installations) to intimate (a rolled up painting, encased in Plexiglas and leaning against a wall or propped on sawhorses), these works gain layers and levels, subverting expectations without erasing their origins. First up (or down, rather) is a trio of large floor pieces: acrylic grates that once resembled squashed and miniaturized Sol LeWitticisms — pristine white infinities of interlocking cubes. By the time Maljković found them, they had seen better days, and he put them to work. The bruised grids served as supports for the exhibition’s fifteen new, aluminum-mounted canvases while the artist performed painstaking feats of laser-assisted Etch-a-Sketching, often inscribing figures and forms in the act of projection (stylized movie cameras, orthogonal lines) atop oil paintings that date to 2002 or 2003. Caked with paint residue and set afloat in vitrines, the grates evoke, by turns, colorful maps, charred puzzles, or denuded honeycombs, while the laser-etched canvases flicker among past, present, and future. Familiar notions of vision and revision are also upended by three video animations, in which line-drawn faces and figures are stretched, shifted, and reshaped — all on an endless loop. Concerns of hierarchy, whether in terms of time or space, form or content, are similarly shrugged off in Frustrated Painter or Something about Painting (2003–18): two large wallpaper works that transmogrify documentary images (a blank canvas, a helmet-wearing figure projecting a beam of light like a virtual paintbrush) through a haze of pigmented wheat paste. “Alterity Line” succeeds not merely by complicating questions of “Which came first?” but by rendering them refreshingly irrelevant.
avatar image
Flash Art

CV

Education / residencies 2011 Augarten Contemporary, artist residency, Vienna, AT 2009 IASPIS, Stockholm, SE 2007 International Residence at Recollets, Paris, FR 2007 Kunstzeitraum, artist residency, Munich, DE 2006-07 KW Institute for Contemporary Art, studio program, Berlin, DE 2003-04 Rijksakademie van beeldende kunsten, Amsterdam, NL 1998-99 Academy of Fine Arts, Multimedia alternative, University of Zagreb, HR 1996-00 Academy of Fine Arts, Department of Painting, University of Zagreb, HR 1993-96 Faculty of Philosophy, Art Department,University of Rijeka, HR Solo exhibitions 2019 Also On View, The Renaissance Society at the University of Chicaco, Chicago, USA 2018 Alterity Line, Metro Pictures, New York, US 2017 David Malikovics, Dvir Gallery, Tel Aviv, IS 2016 Vignettes, Annet Gelink Gallery, Amsterdam, NL AAASSEMBLAGE, DVIR Gallery, Brussels, BE All Day All Year, T293, Rome, IT The Exhibition is Becoming, VOX Centre de l’image contemporaine, Montreal, CA 2015 A Retrospective by Appointment, Galerija Nova, HDD Galerija and artist’s studio, Zagreb, HR Metro Pictures, Upstairs Gallery, New York, USA David Maljkovic, Sprüth Magers, London, UK New Collection, Blondeau & CIE, Geneve, CH 2014 In Low Resolution, Palais de Tokyo, Paris, FR Leal Rios Fundation, Lisbon, PR Georg Kargl Fine Arts, Vienna, AT Kunstmuseum St. Gallen, St. Gallen, CH 2013 Afterform, Annet Gelink Gallery, Amsterdam, NL Sources in the air, GAMeC – Galeria d’Arte Moderna e Contemporanea di Bergamo, IT Metro Pictures, New York, US CAC Vilnius, Vilnius, LT Solo presentation, Frieze NY with Annet Gelink Gallery and Metro Pictures, NY, US Sources in the air, Baltic Art Centre for Contemporary Art, Gateshead, UK Solo presentation, MIART with Annet Gelink Gallery, Milano, IT Solo presentation, ZONA MACO, Mexico 2012 Morgenlied, with Latifa Echahkhch, Kunsthalle Basel, Basel, CH Sources in the air, Van Abbemuseum, Eindhoven, NL A long day for the form, T293 Gallery, Rome, IT A long day for the form, Sprueth Magers, Berlin, DE Scene, Hold, Balast, with Lucy Skaer, Sculpture Center, New York, US 2011 Exhibitions for Secession, Wiener Secession, Vienna, AT La Casa Mila, Loop Festival, with Rosa Barba, curated by Cristina Camara Bello Barcelona, ES Temporary Projections, Georg Kargl Fine Arts, Vienna, AT Images with their own shadows, Vjenceslav Richter Collection, Museum of Contemporary Art, Zagreb, HR Recalling Frames, Metro Pictures, New York, US 2010 Missing Colours, Annet Gelink Galllery, Amsterdam, NL Out of Projection with Annet Gelink Gallery Amsterdam, Art Unlimited, Art 41 Basel, CH Recalling Frames, Sprüth Magers, London, UK Mala Galerija, Museum of Modern Art, Ljubljana, SI Glasgow International Festival of Contemporary Visual Art, Glasgow, UK Lost Cabinet, Nogueras Blanchard, Barcelona, ES Retired Forms, Galeria Massimo Minini, Brescia, IT 2009 After Giuseppe Sambito, Fondazione Morra Greco, Naples, IT Retired Compositions, Metro Pictures, New York, US Nothing Disappears without a Trace, Solo project ARCO with Annet Gelink Gallery, Madrid, ES After the Fair, Georg Kargl BOX, Vienna, AT Out of Projection, Museo Nacional Centro de Arte Reina Sofia, Madrid, ES The Symbolic Efficiency of the Frame, T.I.C.A.B, Tirana, AL Sprüth Magers, Berlin, DE 2008 Lost Memories from These Days, Annet Gelink Gallery, Amsterdam, NL Handed Over, with Rosa Barba, Project Art Centre, Dublin, IE Lost Review, Le Plateau, Paris, FR Kunstverein Nurnberg, Nurnberg, DE Parallel Compositions, Bergen Kunsthall, Bergen, NO Shadow Should Not Exceed, with Jan St Werner, Pinksummer Contemporary Art, Genova, IT 2007 These Days, Present Future, Artissima 14, Turin, IT Almost Here, Kunstverein in Hamburg, Hamburg, DE Scene for New Heritage III, with Annet Gelink Gallery Amsterdam, Art Unlimited, Art 38 Basel, CH P.S.1 Contemporary Art Center,, International and National Projects, New York, US Scene for New Heritage Trilogy, Whitechapel Art Gallery, London, UK Days Below Memory, CAPC, musee d’art contemporain, Bordeaux, FR Scene for New Heritage Trilogy, The Physics Room, Christchurch, NZ 2006 Salon of Museum of Contemporary Art, Belgrade, RS Museum of Modern and Contemporary Art, Rijeka, HR These Days, with Yael Bartana, Gallery Nova, Zagreb, HR It’s gonna happen, with Rosa Barba, Croy Nielsen, Berlin, DE Scene for New Heritage II, Centre de Creation Contemporaine, Tours, FR 2005 Waiting Tomorrow, Annet Gelink Gallery, Amsterdam, NL 90s without 90s, MMC Palach, Rijeka, HR Scene for New Heritage, Van Abbemuseum, Eindhoven, NL 2002 Paintings for everyday use, Miroslav Kraljevic Gallery, Zagreb, HR Your moment is your heritage, Minimal, Ljubljana, SI Space of painting, Moria, Stari Grad, HR 2001 Transplantation, Kordic Gallery, Velika Gorica, HR Three Paintings – isn’t a Trilogy, Beck Gallery, Zagreb, HR 2000 Juraj Klovic Gallery, with Tomislav Curkovic, Rijeka, HR 1999 Otok Gallery, Dubrovnik, HR Gal Gallery, Rijeka, HR 1998 There is too much of me, Lotrscak Tower, Zagreb, HR The dishes are thrown, Palazzo Ploech, Rijeka, HR 1997 Jederman, Caffe IN, Rijeka, HR 1996 Modern Gallery-Young Artists Club, Rijeka, HR Group exhibitions 2019 Mario Merz Prize 3rd Edition. The Finalists, Fondazione Merz, Turin, IT Toward a Concrete Utopia: Architecture in Yugoslavia, MoMA, New York, USA 2018 The Reservoir of Modernism, Kunstmuseum Liechtenstein, Liechtenstein Art in the Age of the Internet, 1989 to Today, Institute of Contemporary Art, Boston, USA 2016 11th Gwangju Biennale, The Eighth Climate (What Does Art Do?), Gwangju Béton, Kunsthalle, Wien Dans un monde magnifique et furieux, Dvir Gallery, Brussels Répétition, Villa Empain – Fondation Boghossian, Brussels Low-Budget Utopias, Museum of Contemporary Art Metelkova, Ljubljana KALEIDOSCOPE: A Moment of Grace, Modern Art Oxford, Oxford, UK Faraway So Close, High Line Art, New York New Visions, Tensta Konsthall, Stockholm 2015 Back to the future, Annet Gelink Gallery, Amsterdam, NL Negatives (with Konstantin Grcic), Centre d'édition Contemporaine, Geneva, CH Scenes for a New Heritage: Contemporary Art from the Collection, Museum of Modern Art, New York, USA 75 Gifts for 75 Years, Walker Art Center, Minneapolis, USA 56th Biennale: All The World’s Futures, 56Th Biennale, Venice, IT Museum of Contemporary Art, Banja Luka, BiH Une Histoire. Art, architecture, design. Des annèes 1980 à nos jours, Centre Pompidou, Paris, FR 2014 Amsterdam Drawing Extended, Annet Gelink Gallery, Amsterdam, NL PERSONAL CUTS, Carré d’Art Musée d’Art Contemporain Nimes, Nimes, FR UNE HISTOIRE (art arch design années 80 a nos jours) / A HISTORY (art architecture design) from the 80 s to now) Musée nationale d’art moderne Centre Pompidou, Paris, FR El Teatro del Mondo, Museo Tamayo Arte Contemporaneo, curator: Andrea Torreblanc, Mexico City, MX Coming to Reality – SVIT Praha, Prague, CZ At the outset, Circus, Berlin, DE Films Corridor, CECCH / Centre d`edition contemporaine, Geneva, CH Collective III, Galerie Guy Bärtschi, Geneva, CH Orpheus Twice, David Roberts Art Foundation, London, UK Cinema Remake, EYE Film Institute Netherlands, Amsterdam, NL Empty Pedestal, Museo Civico Archeologico, curator: Marco Scotini and Giorgio Verzotti, Bologna, IT The Sea is my land. Artist dal Mediterraneo, La Triennale di Milano, Design museum, Milan, IT 2013 If you will it, it is not a dream, Annet Gelink Gallery, Amsterdam, NL … Was ist Kunst? … Resuming Fragmented Histories, Steirischer herbst & Künstlerhaus, Halle für Kunst & Medien Last year at Marienbad, Bureau for Open Culture, EFA Project Space, New York, US ArtBO International Art Fair Bogota, CO In the Cut, ACCA Australian Centre for Contemporary Art, Melbourne, AUS The Sea is my Land, MAXXI Museum Rome, Rome, IT En suspension… a Marc Camille Chaimowicz’s statement, Frac Carquefou, FR Cinematic Scope, Georg Kargl Fine Arts, Vienna, AT Zero Point of Meaning, Camer Austria, Graz, AT Europen Kunsthalle in Bregenz, KUB Arena Kunsthaus Bregenz, Bregez, AT Speak Memory, Miriam and Ira D. Wallach Art Gallery – Colombia University, New York, US Tomorrow Was Already here, MARCO, MX Sin Motive aparante – For no Apparent Reason, CA2M Centre de Art Dos de Mayo, Madrid, ES 2012 VIP Showroom, Annet Gelink Gallery, Amsterdam, NL East Side Stories, Videos Contemporaines Croates, Palais de Tokyo, Paris, FR BB5, Biennale Bucharest, RO Fremde Uberall – Zeitgenossische Kunst aus der Pomeranz Collection, Jewish Museum, Vienna, AT Lighting out for territories, Kunsthall Vienna Project Space, Vienna, AT Performing Abstraction, Luciana Brito Galeria, Sao Paulo, BR A wavy line is drawn across the middle of the original plan, Koelnischer Kunstverein, Cologne, DE Animism, Haus der Kulturen der Welt, Berlin, DE Moving forward, counting backwards, MUAC, Mexico City, MX Indirect speech, Bolit Art Centre, Girona, IT Intense Proximité, La Triennale, Paris, FR Lugares en perdida (Lost Sites), Centro Huart de Arte Contemporaneo, Pamplona, ES One Sixth of the Earth. The Ecologies of the Image, curated by Mark Nash, MUSAC, Museo de Arte Contemporaneo de Castilla y Leon, ES and ZKM, Karlsruhe, DE Rearview Mirror. New Art From Central and Eastern Europe, Art gallery of Alberta, Edmonton, CAN Scene, Hold, Ballast. David Maljkovic and Lucy Skaer, Sculpture Centre, New York, US 2011 Two Versions of the Imaginary, curated by Maria Barnas, Annet Gelink Gallery, Amsterdam, NL Indirect Speech, curated by Marti Peran, Fundacio Foto Colectania, Barcelona, ES The Present and Presence, Moderna Galerija: Museum of Contemporary Art Metelkova, Ljubljana, SI Magical Consciousness, curated by Runa Islam, Arnolfini, Bristol, UK 1st Time Machine Biennial of Contemporary Art, D-O ARK Underground Konjic, No Network, curated by Branislav Dimitrijevic, Sarajevo, BA Wir sind alle Astronauten – Universum Richard Buckminster Fuller, MARTA Herford, curated by Markus Richter, Herford, DE El Grito, curated by Maria Ines Rodriguez and Sofia Hernandez Chong, MUSAC Museo de Arte Contemporaneo de Castilla y Leon, ES Rearview Mirror, curated by Christopher Eamon, The Power Plant, Toronto, CAN Past Desire, Galerie im Taxipalais, Innsbruck, DE Aether Project Nouveau Festival du Centre Pompidou, curated by Christoph Keller, Centre Pompidou, Paris, FR Abstract Possible curated by Maria Lind, Museo Tamayo, Mexico City, MX The Present’s Present, CAN Centre d’Art Neuchatel, Neuchatel, CH Look with all your eyes, look, Frith Street Gallery, London, UK Lost Stories, curated by Barnabas Bencsik, SOKOL Gallery for Contemporary Art, Nowy Sacz, PL Past Desire, Galerie im Taxipalais, Innsbruck, AT 2010 Out of Projection with Annet Gelink Gallery Amsterdam, Art Unlimited, Art 41 Basel, Basel, CH 29th Sao Paulo Art Biennial, Sao Paulo, BR 51st October Salon, Belgrade, RS Luc Tuymans: A Vision of Central Europe, Brugge Centraal Festival, Brugge, BE 5 x 5 Castello 10, Espai d’Art Contemporani de Castello (EACC), Castello, ES Double Infinity, Dutch Culture Centre in Shanghai, CN Rehabilitation, Wiels Center of Contemporary Art, Brussels, BE Rethinking Location, Sprüth Magers Berlin, DE Che cosa sono le nuvole? Artworks from the Enea Righi Collection, Museion, Bolzano, IT Les Promesses du Passé, curated by Joanna Mytkowska and Christine Macel, Centre Pompidou, Paris, FR Star City: The Future Under Communism, curated by Alex Farquharson, Lukasz Ronduda and Michal Wolinski, Nottingham Contemporary, Nottingham, UK Modernologies, curated by Sabine Bretwieser, Warsaw Museum of Modern Art, Warsaw, PL 2009 Places To Be. New York – Shanghai – Texas – Zagreb, Annet Gelink Gallery, Amsterdam, NL The Symbolic Efficiency of the Frame, Tirana International Contemporary Art Biannual, Tirana, AL Modernologies, Museu D’Art Contemporani De Barcelona, Barcelona, ES Plus General En Particulier, Fonds regional d’art contemporain des Pays de la Loire, Carquefou, FR What keeps mankind alive?, 11th Istanbul Biennial, Istanbul, curated by WHW – What, How and for Whom, Istanbul, TUR A Pair of Left Shoes, curated by Tihomir Milovac, Kunstmuseum Bochum, DE Transitland. Video art from Central and Eastern Europe 1989-2009, organized by InterSpace, Sofia, transmediale, Berlin and Ludwig Museum, Budapest, HU Transitory Objects, T-B A21Thyssen-Bornemisza Art Contemporary, curated by Daniela Zyman, Vienna, AT New Acquisitions - Rarely Seen Works, Ludwig Museum – Museum of Contemporary Art, Budapest, HU Just in the Dark, Roma – The Road to Contemporary Art, Rome, IT Modern Ruins, Kate MacGarry, London, UK Shadows of Forgotten Ancestors, Cosmic Galerie, Paris, FR Solaris, curated by Cecilia Alemani, Gio Marconi Gallery, Milan, IT Contour, The 4th Video Biennial,curated by Katerina Gregos,Mechelen, BE Europe XXL, curated by Caroline David and Elena Sorokina, Tri Postal, Lille, FR The Symbolic Efficiency of the Frame, 4th Tirana International Contemporary Art Biennial, curated by Corinne Diserens, Tirana, AL Lunar Distance, De Hallen, curated by Suzanne Wallinga, Haarlem, NL Utopia and Monument, public project, curated bu Sabine Brettwieser, Graz, AT Instantane (75): Plus general en particular, Frac- Pays de la Loire, Carqueton, FR Downtwn at the Bamboo Club, Picture This, Bristol, UK Zweckgemeinschaft, Micamoca, curated by Art At Work, Berlin, DE Warsaw in Construction, Warsaw Museum of Modern Art, curated by ebastian Cichocki, Ana Janevski and Tomasz Fudala, Warsaw, PL Coltural Memories/Recits parelleles, In Situ, curated by Clement Dirie, Paris, FR From One Thing to Another, Romanian Cultural Institute, curated by Maria Lind, Stolkholm, SE Star City- An Archeology of Communist Futures, Ujazdowski, curated by Alex Farquharson, Lukasz Ronduda and Michal Wollinski, CCA Warsaw, PL 2008 Eyes Wide Open, acquisition,Stedelijk Museum CS,Amsterdam,NL Cohabitation, Galleria Francesca Kaufmann, Milan, IT Mobile Archive, Halle für Kunst e.V. Lüneburg, DE Italia Italie Italien Italy wlochy, ARCOS-Sannio Contemporary Art Museum, curated by Alessandro Rabottini, Gigiotto del Vecchio, Elena Lydia Scipioni and Andrea Viliani, .. Benevento, IT When Things Cast No Shadow, 5th Berlin Biennial, curated by Elena Filipovic and Adam Szymczyk, Berlin, DE Lost Worlds - An archeology of future, Centre d’Art Bastille, Grenoble, FR"Wasteland" curated by Kata Oltai, Pecs, HU The Violet Hour, Henry Art Gallery with Matthew Day Jackson and Jen Liu, curated by Sara Krajewski, Seattle WA, US Modern Ruins, Queesland Art Gallery, Queesland, AU That's Not How I Remember It, Anna Helwing Gallery, Los Angeles, US Something and Something Else, Museum van Bommel van Dam, Velno, NL Behind, Monitor Gallery, curated by Ilaria Gianni, Roma, IT Other Certanties, NYCAMS, curated by Summer Guthery and Amy Owen, New York, US Zero Gravity, curated by Vessela Nozharova and Bettina Steinbruegge, Plovdiv, BG Try again, fail again, fail better, Mucsarnok Kusthalle, curated by Hajnalka Somogyi, Budapest, HU Rendez-vous nowhere, Montehermoso Cultural Center, curated by Beatriz Herraez, Montehermoso, Spain, ES Can art do more?, 5th Art Focus Jerusalem, curated by Ami Barak and Bernard Blistene, Jerusalem, IL Restaging the Past/Dialogue Baltic-Balkans, Muzeum Narodowe w Szczecin, Szczecin, PL 2007 Magellanic Cloud, Centre Pompidou, curated by Joanna Mytkowska, Paris, FR Elephant Cemetery, Artist Space, curated by Christian Rattemeyer, New York, US Der Prozess, Prague Biennial 3, curated by Marco Scotini, Prague, CZ Ground Lost, Forum Stadtpark, curated by WHW, Graz, AT Verbalno vokalno, Galerija SC, curated by Lala Rascic, Zagreb, HR Inbetweeness, Complesso di San Michele, curated by Dobrila Denegri and Ludovico Pratesi, Roma, IT Ground Lost, Gallery Nova, curated by WHW, Zagreb, HR On Lost Worlds, CAPC muse d’art contemporain, curated by Charlotte Laubard, Bordeaux, FR Artist in the wonderland, curated by Agata Rogos, Gdansk, PL 42th Zagreb Salon, Zagreb HR Made in, Schloss Ringerberg, curated by Marcus Lutkemeyer, Ringerberg, DE The line of time and the plane of now, Harris Lieberman, curated by Ohad Meromi, NY, US Kapitaler Glanz, Kunstverein Dusseldorf, curated by Vanessa Joan Muller, Dusseldorf, DE Stalking with Stories, apexart, curated by Antonia Majaca and Ivana Bago, New York, US Nature & Society: Parallel Lines, Gliptoteque of the Academy of Sciences and Arts,Zagreb, HR Nature & Society: Parallel Lines, Muzej Rupe, Dubrovnik, HR Art Protects, Yvon Lambert, Paris, FR All Dresed-up with Nowhere to Go, tranzitdisplay, curated by WHW, Prague, CZ 2006 Contemporary Surrealists, Mali salon, curated by Branko Franceschi, Rijeka, HR New Ghost Entertainment-Entitled, Kunsthaus Dresden, curated by Katrin Pesch, Dresden, DE Art is always somewhere else, 2nd Biennial of Young Artists, Bukarest, RO 47th October Art Salon, curated by Rene Block, Belgrade, RS Everywhere, Busan Biennale 06, curated by Manu Park, KR Ideal City-Invisible Cities, curated by Sabrina van der Ley and Markus Richter, Potsdam, DE Downloads from Future, Kunsthalle Winterthur, curated by Oliver Kielmayer, Winterthur, CH Ideal City-Invisible Cities, curated by Sabrina van der Ley and Markus Richter, Zamoch, PL Monument to Nikola Tesla, Gallery Nova, curated by WHW, Zagreb, HR Phantom, Charlottenborg, curated by Soren Andresen and Jasper Rasmussen, Copenhagen, DK Modern Lovers, Three Colts Gallery, curated by Pil and Galia Kollectiv, London, UK Downloads from Future, Townhouse Gallery, curated by Oliver Kielmayer, Cairo, EG Mercury in Retrograde, De Appel, Amsterdam, NL Again for tomorrow, Royal College of Art, London, UK Interrupted Histories, Gallery of Modern Art, curated by Zdenka Badovinec, Ljubljana, SI A picture of war is not war, Wilkinson Gallery, London, UK Wild man in the Looking Glass, Art 2102, Los Angeles, US Synergy, 40th Zagreb Salon, Zagreb, HR 2005 Mixed Pickles, K3 Project Space, Zurich, CH Go Inside, Tirana Biennale 3, curated by Hou Hanru, Tirana, AL Insert, Retrospective of Croatian Video Art, Museum of Contemporary Art, Zagreb, HR Snapshot, Museum of Modern Art, Dubrovnik, HR Istanbul Biennial 9, curated by Charles Esche and Vasif Kortun, Istanbul, TR Present Perfect, T293, Napoli, IT Artists Books, Art 36 Basel, curated by Lionel Bovier, Basel, CH International Biennial of Contemporary Art, National Gallery, Prague, CZ Le Plateau, with Joan Jonas, curated by Caroline Bourgeois, Paris, FR The Imaginary Number, KW Institute for Contemporary Art, curated by Anselm Franke, Berlin, DE Telegram, Rosa Barba Studio, Amsterdam, NL Linear Structures, Riga Gallery, Riga, LV Annet Gelink Gallery, Amsterdam, NL Fin de siecle, end of painting? The Croatian Fine Arts Centre, curated by Zdenko Rus, Zagreb, HR 2004 Love it or leave it, Cetinje Biennial 5, curated by Rene Block and Natasa Ilic, Cetinje, ME Exhibition of Nature and Society, Exit Gallery, curated by WHW, Peja, XK Normalisation, Nova Gallery, Zagreb, HR Painting and Object, Museum of Modern Art, Dubrovnik, HR Open studios, Rijksakademie van beeldende kunsten, Amsterdam, NL 2003 Emerging Artists, Museum of Modern and Contemporary Art, curated by Natasa Ivancevic, Rijeka, HR Dislocation, Town Museum of Zagreb, HR Open studios, Rijksakademie van beeldende kunsten, Amsterdam, NL 2002 36th Zagreb Salon, curated by Andrej Medved, Zagreb, HR Slow Watching, Casal Balaguer, Palma de Mallorca, ES Start, Mestna Gallery, curated by WHW, Ljubljana, SI Filip Trade Collection of Contemporary Croatian Art, Manes Gallery, curated by Zvonko Makovic, Prague, CZ Here Tomorrow, Museum of Contemporary Art, curated by Roxana Marcoci, Zagreb, HR Space and Walls, Mali Salon, curated by Branko Franceschi, Rijeka, HR 16th Blue Salon, Zadar, HR 2001 26th Salon of Young Artists, curated by Jurij Krpan, Michal Kolocek and Slaven Tolj, Zagreb, HR 2nd Salon of Young Artists, Sisak, HR 2000 4th International Student Biennial, Skopje, MK SC Gallery, curated by David Maljkovic, Zagreb, HR New Beginning, SC Club, curated by Marijan Crtalic, Zagreb, HR Filodrammatica, curated by David Maljkovic, Rijeka, HR Millenium, Geto Gallery, curated by Zeljko Jerman, Split, HR Vice – chancel prize, Vladimir Nazor Gallery, Zagreb, HR 1999 2nd Croatian Triennial of Drawings, Zagreb, HR 1998 Ars Futura” Matrix Croatica, Trieste, IT Exhibition of Young Artists, Kortil Gallery, Rijeka, HR Otok Gallery, curated by Zarko Violic, Dubrovnik, HR 1995 The Day of Planet Earth, Pedestrian Underpass, Rijeka, HR Screenings 2016 “80 Years Van Abbe - Open for 80 Hours”, Van Abbemuseum, Eindhoven, NL 2015 “Modern Mondays”, MOMA, New York, US 2014 “Films - Corridor – CECCH” - Centre d'edition contemporaine - Geneva, Geneva, CH 2013 “Afterform”, Undated, Annet Gelink Gallery, Amsterdam, NL 2013 "Walking Sideways" Artist Fim Club, ICA, curated by Elsa Couston, Lucia Garavaglia and Alana Kushnir, London, UK 2012 "Morgenlied" an exhibition by Latifa Echakhck and David Maljkovic, Kunsthalle Basel, Basel “MOCA TV”, curated by Michael Connor, MOCA, Los Angeles, US “Contemporary Past Summer”, Nida Art Colony of the Vilnius Academy of Art, Nida, Lithuania "East Side Stories" Palais de Tokyo, Paris, FR “Balkan Visions: Creativity for the Future in South-East Europe”, Sofia International Filmfestival within the UNESCO forum, Sofia, BG 2011 "History Lessons" MUMOK Museum Modernner Kunst Stiftung Ludwig, Vienna Bosch Art Film. Architectural Space & Film, ‘s-Hertogenbosch, NL “Propaganda by Monuments”, CIC – Contemporary Image Collective, curated by Clare Butcher and Mia Jankowicz, Cairo, EG Poetry International, screening curated by Maria Barnas, Rotterdam, NL 2010 “Transitland in Trieste” – Studio Tommaseo – Instituto per la documentazione e diffusione delle arti, Trieste, IT 2009 “L’ Abstraccionisme Geometric” MACBA, curated by Sabine Breitwieser, Barcelona, ES “Just in the Dark” 2nd Roma Art Fair/The Road to Contemporary, Cinema at the Mercati di Traiano curated by Cecilia Canziani and Andrea Villiani, Rpma, IT “Sequelism Part 3: Possible Probable of Preferable Futures,” Arnolfini, curated by NavHaq, Bristol, UK “Sequelism Part 3: Possible Probable or Preferable Futures”, Arnolfini, Bristol, UK “Abstractionism and Beyond”, Museu d’Art Contemporani de Barcelona. ES Screening related to Cold War Modern Design 1945-1970 curated by Egle Mikalajunaite, Lithuanian National Gallery of Art, Vilnius, LT ARCAM Architectuurcentrum on the occasion of Museumnacht Amsterdam, NL 2008 “A Night of Provisional Futures” NAI (Netherlands Architecture Institute) Rotterdam, NL “These Days” Kunstzeitraum, Munich, DE “Oracle of the Constitution ”Art Dubai” curated by Nav Hag, Dubai, AECCCS – Centre for Contemporary Culture la Strozzina, Florence, IT 2007 Videotheque mobile/Residents, Le Plateau, Paris, FRFiac Cinema,Palais de Tokyo,Paris,FR “Back to the Future” Borderline Festival of Moving Images, curated by Jelena Vesic,Beijing, CN “Coffee Break” Sibiu Urban Ambient project, Sibiu, RO “Just Around the Block”, curated by Magdalena Ziolowska, Bijlmer, NL “Normalization”, LACE, curated by WHW, Los Angeles, US “Normalization”, 16 Beaver, curated by WHW, NY, US “Strange Weather”, NBK, selction by Michelle Cotton, Berlin, DE “Normalization”, Platform Garnati Contemporary Art Centre, selection by Minna Henrikson, Istanbul, TR “Challenging the East-West Art Map”, U-turn, selection by Angelika Richter, Copenhagen, DK 2006 “Glocal Realities as Periferal In-Betweeness”, Tranzit, selection by Antonia Majaca, Prague,CZ “Stories from Neigbourhood”, De Balie, selection by Jelena Vesic, Amsterdam, NL “Rituals” The Artists Cinema,Frieze Art Fair,curated by Cristina Ricuperto,London, UK “Zagreb Calling” Maison populaire,selection by Ivana Mestrov,Montreuil, FR “Visura aperta”,Momiano, HR 2005 “Imaginary is Potential” MUU, selection by Henrikke Nielsen, Helsinki, FI “Imaginary is Potential” Nikolaj centre of contemporary art, Copenhagen, DK “Imaginary is Potential” Halle fur Kunst, Luneburg, DE “Imaginary is Potential” W139, Amsterdam, NL “Stories from Neighbourhood” Kunsthalle Tallinn, selection by Jelena Vesic, Tallinn, EE “Serial Cases” selection by Antonia Majaca, Usti nad Labem, Istanbul, TR; Iasi, RO; Graz, AT; Sofia, BG; Holon, IL; Novi Sad, RS; Zagreb, HR “Normalisation and Its Discontents” selected by Natasa ilic, Askalalwan, Beirut, RL Bibliography 2014 David Maljkovic: “Peep – Hole Sheet 2005-2007-2009”, Mousse Publishing David Maljkovic: “2003 – 2013”, EN/GER, Verlag für moderne Kunst Nürnberg 2013 David Maljkovic: “New Reproductions”, Mousse Publishing 2012 Charles Esche, Annie Fletcher, Anselm Franke, Alessandro Rabottini, Alessandro Vicentelli, Andrea Viliani: “Sources in the air”, JRP/Ringier 2011 David Maljkovic, “Exhibitions for Secession”, catalogue, Secession, Vienna, AT J.J. Charlesworth, Reviews: David Maljkovic Recalling Frames, Art Review, January/February Giorgio Dragoni, David Maljkovic “The Trial Reloaded”, Casa Vogue, April “David Maljkovic Recalling Frames”, text Simone Neuenschwander, Sprüth Magers Berlin London, Metro Pictures, New York “David Maljkovic Temporary Projections”, interview with Fiona Liewehr, Georg Kargl Fine Arts, Vienna, AT Sint Art 02, David Maljkovic “Images with Their Own Shadows” text Vesna Mestric, Museum of Contemporary Art, Zagreb, HR 2010 Igor Spanjol “Images with Their Own Shadows” Mala Galerija, Moderna galerija / Museum of Modern Art, Ljubljana, SI "The Art of Tomorrow", ed. by Laura Hoptman, Yilmaz Dziewior, Uta Grosenick, Distanz “David Malkovic & Vojin Bakic” cat Promises of the Past, Centre Pompidou and jrp/ringier “Me Myself and I – Conversation with Oneself David Maljkovic” Input, Heration #2, Spring Gigiotto Del Vecchio “David Maljkovic” cat. Rehabilitation, Wiels Contemporary Art Centre, MER. Paper Kunsthalle vzw, Gent, BE “Shadow Should not Exceed” – intervista a David Maljkovic, cat. Che cosa sono le nuvole? Opere dalla collezione Enea Righi, MUSEION Museo d’arte moderna e contemporanea, Bolzano, IT Political practices of (post) Yugoslav Art:Retrospective 01 “David Maljkovic / Retired Form” Open Space of the Future and interview with David Maljkovic conducted by WHW, Prelom kolektiv, Akademija, Beograd Maria Ines Rodriguez “David Maljkovic a propos des palmiers et d’autres monuments emblematiques, ROVEN Revue critique sue les dessin contemporain No3 /printemps-ete Andrew Pulver "David Maljkovic's best shot" The Guardian, November 18 Phoebe Adler and Duncan Mc Corquodale "Contemporary Art in Eastern Europe" Black Dog Publishing, London, UK Silvia Conta, David Maljkovic - Galleria Massimo Minini, Brescia, IT Manon Berendse, "Haveloze toonbeelden van de voouitgang", FD Persoonlijk, 18 december 2010 Hans den Hartog Jager, "Het geloof in een perfecte wereld", NRC Handelsblad, 3 december 2010 Hans den Hartog Jager, "Vreemde zwarte gaten", NRC Next, 8 december 2010 2009 WHW, Galerija Nova newspapers No. 17 special issue on the occasion of the exhibition David Maljkovic “Retired Compositions” jan 17-feb 21. 2009 Metro Pictures, New York Clement Dirie, “La tentation de l’architecture”, archiSTORM no. 34, dec 2008 – jan 2009 Karen Rosenberg, “Art in Review: David Maljkovic”, The New York Times, February 20 2009 Raul Zamudio, “David Maljkovic – Metro Pictures New York”, FlashArt Reviews, mar-apr Bosko Blagojevic, “Uncertainties in Hindsight: David Maljkovic’s Retired Compositions”, Art in America, News & Opinion Jenny Brownrigg, “But to go back”, MAP Magazine, issue 17, spring 2008 Cecilia Alemani “eMerging Artists; Rosa Barba + David Maljkovic” Modern Painters, Dec 2008 /Jan 2009. Ana Janevski “The elusive past” Mousse-Contemporary Art Magazine, Issue 15 ”Imobile space between yesterday and tomorrow” EXAT 51 & David Maljkovic, Piktogram, Issue 11 J.J. Charlesworth, “Almost Here: David Maljkovic”, Art Review, Issue 24, July/August Celine Kopp “Freezed Images” Domus, 914, 05/08 David Maljkovic, artist book “Lost Review” published on the occasion of the contribution to the 5th Berlin Biennial for Contemporary Art, Sudhausbau and PIN & Koening Books London Rhea Dall, cat. When Things Cast No Shadow, 5th Berlin Biennial for Contemporary Art, jrp/ringier Charles Esche, What How & for Whom/WHW, A Prior Magazine # 17 Andrea Viliani, cat. Italia Italie Italien Italy wlochy, ARCOS Museo d’Arte Contemporanea sannio, Electa Adam Szymczyk and Elena Filipovic “The Lost Pavilion” Hekmag, Winter # 5 Mary Cork “What Fiction?” A Fine Red Line A Curatorial Miscellany, IM press, London, UK Hajnalka Somogyi, Try Again, Fail Again, Fail Better, Muscarnok/Kunsthalle, Budapest, BG Sara Krajewski, The Violet Hour, Henry Art Gallery, Seattle, US Antonia Majaca “What is (video) art compared to this being?” Notes to the Insert exhibition, INSERT Retrospective of Croatian Video Art, MSU Zagreb, HR 2007 Yilmaz Dziewior, Anselm Franke, David Maljkovic, Natasa Ilic, cat “Almost Here” Kunstverein in Hamburg, published by DuMont Luca Cerizza, “David Maljkovic, CAPC musee d’art contemporain,Bordeaux”, Frieze, Issue 110 Artist Project, Bidoun, issue 11 Jantine Kremer, “De grenzeloosheid van het bouwen”, Kunstbeeld, NR 05 2007 Teresa Gleadowe, “David Maljkovic, Whitechapel Art Gallery London”, Art Monthly, No 306 Joanna Mytkowska, interview, cat. Magellanic Cloud, Centre Pompidou, Paris Charles Esche, “Looking Back: Emerging Artists”, Frieze, Issue 104 Ami Barak, “The displaced issue”, Parabol, Issue 2 Christian Rattemeyer, Elephant Cemetary, Pref. cat. Artists’ Space, N WHW, Ground Lost, Pref. cat. Forum Stadtpark, Graz, AT Dobrila Denegri, Ludovico Pratesi, Inbetweeness – Balcani: metafora di cambiamento, SanMauro Torinese CTP Team 2005-2006, cat “Mercury in Retrograde” de Appel arts centre, Amsterdam WHW, Galerija Nova – Bakic, Graficki zavod Hrvatske, Zagreb, novine # 12 Thomas Michelon “Neutrinos-othernes from elswere” Another Publication, Piet Zwart Institute, Rotterdam, Revolver Vanessa Joan Muller, Beton Brut 02/07, Kunstverein fur die Rheinlanden und Westfalen, Dusseldorf 2006 Goska Charylo, “Ideal City”, Various venues, Zamosc,Poland, Frieze, issue 102 Ivet Curlin, “A dead end is a good start”, Oris Magazine for Architecture and Culture, issue 41, Zagreb Jelena Vesic, “Nothing is more remote than yesterday nothing is closer than tomorrow”, pref.cat. Museum of Contemporary Art, Belgrade Branko Franceschi, “Tired places”, pref.cat. Museum of Modern and Contemporary Art, Rijeka, HR Douglas Heingartner, “Mercury in retrograde”, De Appel, Amsterdam, Frieze, issue 100 Max Andrews, “A Picture of war is not war”, Wilkinson Gallery, London, Frieze, issue 99 Jasna Jaksic, Feral Tribune, No. 1072 Jonathan Carrol, “Again for tomorrow”, pref. cat. Royal College of Art, London, UK 2005 Eleanor Heartney, “Artist in the city: engagement with the urban environment and the local public was the theme of this year’s Istanbul Biennial”, Art in America, Dec .. Cay Sophie Rabinovich, “Address – Unknown”, Texte zur Kunst, Nr. 61 Charles Esche, pref. cat. Istanbul Biennial 9 Charles Esche, interview, artist book “Place with limited premeditation” published by Artimo, Amsterdam, NL Anselm Franke, “The Imaginary Number”, pref. cat, KW Institute for Contemporary Art, Berlin, DE Branko Franceschi, “Again for tomorrow”, pref. cat. International Biennial of Contemporary Art, Prague, CZ Branko Franceschi, “Linear Structures”, pref. cat. Riga Gallery, Riga, LV Zdenko Rus, “Fin de siecle, end of painting?” pref. cat. HDLU, Zagreb, HR 2004 David Maljkovic, Cetinje Biennial 5, Love It or Leave It, What, How and for Whom, Normalisation, pref. cat. Nova Gallery, Zagreb, HR Antun Maracic, Painting and object, pref. cat, Museum of Modern Art, Dubrovnik, HR Sabina Salamon, Emerging Artists, Kontura, No. 80 Zlatko Wurzberg, Emerging Artists, Nedjeljni Vjesnik, January 11th 2003 Natasa Ivancevic, Emerging artists, pref. cat. Museum of Modern and Contemporary Art, Rijeka, HR Maja and Reuben Fowkes,Here Tomorrow,Museum of Contemporary Art, Zagreb, Frieze,issue 72 2002 Roxana Marcoci, Here Tomorrow, pref. cat. Museum of Contemporary Art, Zagreb Andrej Medved, What is there left of Croatian Painting, pref. cat. 36th Zagreb Salon, Zagreb, HR What, How and for Whom, Aperto Zagreb, Flash Art, Vol. XXXIV Rebecca Heald, Tale of 12 cities, Zagreb, Art Review, Vol. LIII Branko Franceschi, Paintings for everyday use, pref. cat. Miroslav Kraljevic Gallery, Zagreb, HR Branko Franceschi, Space and Walls, pref. cat. Mali Salon, Rijeka, HR Marina Baricevic, Ni jedno vrijeme ne moze najaviti smrt slikarstva,Novi List, No 17 493 Mladen Lucic, Slow Wtching, pref. cat. Casal Balaguer, Palma de Mallorca, ES Leila Topic,Kontura, No. 71 Iva Boras, trenutak upisan cavlima,Zarez, No. 83 2001 Leila Topic, Transplantacija umjetnickih djela,Zarez, No. 52 Zlatko Keser, pref. cat. Beck Gallery, Zagreb, HR 2000 Zlatko Wurzberg, Virtualni i aktualni prostor,Vjesnik, April 28th Natasa Ivancevic, pref. cat. Juraj Klovic Gallery, Rijeka, HR Zlatko Keser, pref. cat. Vice - chancel prize, Vladimir Nazor Gallery, Zagreb,HR Natasa Segota, Nova Apstrakcija,Novi List, April 14th 1999 Damir Stojnic, pref. cat. Otok Gallery, Dubrovnik, HR 1998 Branko Cerovac, Made in Ri, Nova likovna situacija, Rijeka, HR Ana Devic, There is too much of me, pref. cat. Lotrscak Tower, Zagreb, HR 1997 Branko Cerovac, Jedermann, pref. cat. Caffe IN, Rijeka, HR Awards 2010 International Contemporary Art Prize Diputacio de Castello, Castello, ES Croatian Association of Artists Award, Zagreb, HR 2009 ARCO Prize for Young Artists, Madrid, ES Collections Centre Pompidou, Paris, FR CA2M Centro de Arte Dos De Mayo, Madrid, ES David Roberts Foundation, London, UK EACC Espai d’art contemporani de Castello, ES Enea Righi Collection, IT Espacio 1414, Santurce, PR EVN Collection, Maria Enzerdorf, AT Filip Trade Collection, Zagreb, HR Fonds municipal d’art contemporain, Ville de Paris, FR Frac des Pays de la Loire, FR GOMA, Gallery of Modern Art, Glasgow, SCH LA CAIXA Foundation Contemporary Art Collection, Barcelona, ES Kadist Art Foundation, Paris, FR Ludwig Museum, Museum of Contemporary Art, Budapest, HU MUSAC, Leon, ES MUDAM Musee d’Art Moderne Grand-Duc Jean, LU Museo Nacional Centro de Arte Reina Sofia, Madrid, ES Museum of Modern Art, New York, USA Museum of Modern and Contemporary Art, Rijeka, HR Stedelijk Museum, Amsterdam, NL Tate Collection, London, UK T-B A21 Thyssen – Bornemisza Art Contemporary, Vienna, AT Van Abbemuseum, Eindhoven, NL KRC Collection, NL The Rabo Art Collection, NL ABN Amro, NL MoMA, New York, USA