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at the Museum of the Moving Image, Sunday, September 16, 2007 at 9:15 pm Approximately 50 minutes long selection of the single channel video works from the collection of the Museum of Modern and Contemporary Art in Rijeka, brings together the classic black and white video works by the icons of the 70s video art in Eastern Europe Sanja Iveković and Dalibor Martinis, with the works by the generation of artists who established themselves after 2000 such as Tomislav Brajnovic, Nemanja Cvijanovic, Alen Floricic, David Maljkovic and Lada Sega. Though restricted in length, scope and mode of presentation, selection successfully presents three prevailing interest of the 40 years long video production in Croatia: interest in media, interest in oneself and interest in social dynamics.
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1. Dalibor Martinis & Sanja Iveković, TV timer, 1973 - His first work in the video medium (together with Sanja Iveković), entitled TV-Timer, was first shown at the Trigon '73 international exhibition in Graz, Austria, and was a 25-minute black-and-white video film showing the intervention of the artists in TV broadcasts by means of other media (telephone, watch) or by the appearance of the artists themselves. With the established relationship between the real space (of TV broadcast) and the illusory space (the artists' interventions), the authors clearly showed that they are not merely using video as a means of personal expression, but as an opportunity for critical relation to another medium - in this case, to broadcast national television programmes.
2. Sanja Iveković, Personal Cuts, 1982 - She uses the performative potential of the mass media, of magazines and newspapers, of advertising, of “public” and – very decisively – also of “private” photography in order to bring her own person into play in the broad field of representation as a structural reference figure. Iveković follows “the woman” in the wide field of media representation, using her method of “personal cuts” to reveal empty spaces that the signifier “woman” continually highlights as it traverses this field under a host of various circumstances.
3. Lada Sega, Fragile No. 001, 2002 - Lada Sega’s close-ups of lush greenery contrasts fragile beauty of the nature with superimposed Fragile label. Heightened colure intensity of grass and slow camera moves creates nostalgic aura framing the inevitable decay of nature under the exploitation by consumerist society that protects its superficial products, while destroying and neglected its most precious possession.
4. Alen Floričić, Untitled No ½, 2002 - In Alen Floričić's video (Untitled, 2001) a night scene of a window view opens up before us into a lit up living room. This is a view downwards, which somehow works voyeuristically, seeming as if one were somehow standing in front of the window. In the room a transmission of TV snow and a person lying on the settee can be perceived. The person is the artist himself. It works like some kind of hologram, appearing and disappearing, never disappearing totally. Floričić uses himself in all his video works - the body/artist/person - as the source material from which the videos are made of. What is typical is the sharpness with which he deals with himself in everyday situations, which are intertwined with satiric-sarcastic elements. Most video works present the artist performing different absurd actions. These repeat into infinity and often function self-destructively. It is about a confrontation between the public and the private, and with it also, the artist and the artwork, as well as the perception of the viewer. Interwoven is the author's everyday life and the paradoxical condition in which he has found himself. 
5. Tomislav Brajnović, Wooden Angel, 2005 - Wooden Angel together with Pray for the Peace and Buddhas of Bamiyan creates Brajnovic's iconoclastic video trilogy that upon its presentation in 2006 has aroused a heated debate within the Croatian public. Wooden Angel in single shot and static camera presents grand and baroque vision of flame consuming the medieval wooden head of an angel. So far, the trilogy is the most powerful and provoking body of work in Brajnovic’s symbolic criticism of the ideology generated manipulation, especially, the one contaminating religions.
6. Nemanja Cvijanović, Mantra, 2005 - Nemanja Cvijanović made his name by witty and humorous works targeting paradoxes of politics. His performative video “Mantra” 2005 was recorded in front of the famous waterfalls of Jajce, Bosnian city in which political fundaments of socialist Yugoslavia were conceived during the II World War in 1943. The date was during existence of socialist Yugoslavia celebrated as the Day of Republic and waterfalls became one of the visual symbols of Yugoslavia’s unity. During the war in Bosnia and Herzegovina city was occupied, population expelled and the famous waterfalls destroyed. Ten years later Cvijanovic himself is portrayed in front of the famous waterfalls vista while singing bare-chested the repetition of the socialist song verses: “Hey, role up our sleeves, let the sweat flow, we’ll build a new man”, mocking the futility of the socialist utopia. 
7. David Maljković, Lost memories from these days, 2006 - Lost Memories from These Days belongs to a group of works created between 2003 and 2006 including the renowned Again for Tomorrow and Scene for New Heritage which always involved various media like collages, video and drawings. Maljkovic’s entire oeuvre of this period poses questions about the existence of vision and insists on the enlightening quality of art in opposition to the present-day tendency to dismiss relevant historical achievements, like the visionary concepts of late modernism. Moreover, it is a personal quest for the meaning of art, an unbiased search for the mysterious, elusive, lost beauty of creation, an escapist flight to a realm of the future. The works evolve around the emblematic architecture of the Memorial Centre for a Partisan Hospital designed by Vojin Bakic in 1981, and Giuseppe Sambito’s Italian Pavilion for the Zagreb Fairgrounds dating from 1962. For Maljkovic, the expressive monumentality and distinct style of these buildings give them a status which surpasses mere representation of mannerisms in late modernism. Instead, they are perceived as time capsules, spaces so intensively charged by their own era, that they become means of transfer for spiritual 
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