Galerija Umjetnina, 2018, 105 pages / ISBN 978-9538167-16-4 / Languages: English & Croatian
We live in Capitalism. Its power seems inescapable. So did the divine right of kings. Any human power can be resisted and changed by human beings. Resistance and change often begin in art. Ursula K. Le Guin (1929 – 2018)
Artists: Ewan Atkinson, Gildo Bavchevicz, La Vaughn Belle, Christopher Cozier & Darko Škrobonja, Tanja Deman, MAksaens Denis, Sharelly Emanuelson, Petar Grimani, Tirzo Martha, Toni Mestrovic, Jorge Pineda,Ivica Jakšić Puko, and Boris Situm. Curated by Branko Franceschi & Sasha Dees.
Mammon presents together works by artists from the Caribbean and Splitsko-Dalmatinska County of Croatia, in order to outline the social and economic context of geographically distant but equally beautiful regions of the globe, sharing similar grip of the tourism as prevailing industry threatening their delicate social fabric and environment. However, as Croatia is compact, white, Catholic country, the Caribbean -also predominantly Catholic- is a universe of diversity regarding race and social constitution. Artists from both regions use the versatile language of contemporary art, ranging from wall drawings to street performances, to reflect upon their respective realities shaped by the ever-growing pressure of the liberal capitalist economy. Art as the last available realm of free individual thinking and creativity proves to be a binding platform for people around the globe.
…Entering the 21st Century, Croatia and the Caribbean region are steadily growing into Capitalist Societies still taking its cues from the United States and Europe. In the pursuit of a market economy, state-owned companies and available resources are quickly being privatized, sold, resold and commercialized. …. (Sasha Dees, from the introductory essay)
…Similar to the works of their Caribbean colleagues, the artworks by artists of my selection reflect the bitter-sweet reality that surrounds them. However, the cultivated eye will notice that even when they are at their most critical, their work betrays an awareness of and affection for the beauty of the habitat designated to them by birth.. (Branko Franceschi, from the introductory essay)