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In the project Outside the Role the artist L.Margan examines the conditions and value of immaterial labor in the process of artistic creation.
In a research driven process, the artist explores modes of re-presentation of labor within art as well as the specific relationship of the art work and audience. In this line, the exhibition space serves as a stage for reviewing different roles in which artistic work and its various modes of production can be articulated and communicated.
Based on the research of the gallery’s role in the early avant-garde Yugoslavian movements of the 60ies and 70ies, a period significant for revaluation of artistic engagements and new forms, Margan created a spatial intervention – a display of wooden panels whose role was to break the large central gallery space as well as the passive role for the viewer proposed with the gallery’s wall-length seating benches.
The installation includes 2 framed photographs, 2 photo-montages, 1 facsimile(from an archive photo) as a digital print, 2 video projections and a sculptural intervention in the exhibition space.


Work Force


Exploring one of the most vibrant periods of the gallery SC in Zagreb(1960-70), the artist uses some of the archive material of the gallery as basis for her work. A photo document from the 1972 becomes one of the key threads of the project Outside the Role. The image, treated as a facsimile on one hand and an enlarged photo–collage on the other, shows a public action of the art group TOK, which was active in Zagreb during the 1970s. The group organized a public protest march as part of the Kunst Markt culture event in Graz in 1972, where the members of the group carried signs that, contrary to expectation, were not emblazoned with political slogans but rather abstract geometrical patterns. The artist protested the commodification of art.
The photograph is analyzed as a visual document of a specific moment in public space, a moment where everyday work action- a group of workers who seem to be occupied with the revitalization of a traffic island is juxtaposed with an organized artistic event, the artists ‘performance’. In a clever counter-move, Margan separates the individual groups, the workers and the artists, into two frames, and by re-framing them, generates a new relationship. Who is working, who is watching? Who is performing and what is being performed?

Production support:
Ministry of Culture Croatia
Bundesministerium für Kunst und Kultur Austria