David Maljkovic

Decision of the jury International Contemporary Art Prize Diputació de Castelló: David Maljkovic

Espai d’art contemporani de Castelló
Prim s/n 12003. Spain
Telephone: + 34 964 72 35 40
Fax: + 34 964 26 07 71

www.eacc.es

The jury of the International Contemporary art Prize Diputació de Castelló, gathered on September 24th 2010, has decided to give the prize to the artist David Maljkovic “for the new sense that he gives to the photographic scale and to the architectural iconography of the modern movement. From the collage and the pages of magazine, the Croatian artist has been able to articulate the memory of a society that has not abandoned the utopia, with all its contradictions”.

The work Lost Review, 2006-2008 that has formed part of the exhibition 5X5Castelló2010, celebrated at the EACC on the occasion of the prize, will enter the Diputació de Castelló collection. The award is of 60.000 euros.

The jury has been composed by Manuel Borja-Villel, Director of Museo Nacional Centro de Arte Reina Sofía, Madrid; Gabriele Horn, Director of KW Institute of Contemporary Art, Berlin; Ángela Molina, Art Critic of El País; Vicente Todolí (Director of Tate Modern, London, 2002-2010) and Wenceslao Rambla, Professor of Aesthetics and Art Theory of the University Jaume I de Castelló.

David Maljkovic (Croatia, 1973) has made exhibitions in outstanding places such as Museum of Contemporary Art, Belgrade; Kunstverein in Hamburg, Hamburg; Museo Nacional Centro de Arte Reina Sofía, Madrid; Whitechapel Art Gallery, London; Le Plateau, Paris and his work form part of museums and collections as the Museum of Modern Art, New York; the Centre Pompidou, Paris; the Tate Modern, London and the Stedelijk Museum and Van Abbemuseum, both in Amsterdam.

The work Lost Review includes fragments from yearly reviews published by the Zagreb Fair and from other periodicals that presented the Fair’s commercial success and general economic success in the 1960s.

Depictions of the Zagreb Fair in reviews from the past are juxtaposed with images of the fairgrounds at present. The Zagreb Fair saw its heyday in the 1960s when it was a major economic link between East and West. With its national pavilions it was like a “small scale world” in itself. That in fact was its golden age.

Lost Review creates gaps between the past and the present through collage and in this way projects a loss of optimism, emptiness of the tired pavilions, and failure. Yet in those same gaps it tries to find promises of a new beginning.