„Rino Efendić is a photographer who rarely, but very thoughtfully and selectively, exhibits his photographs. In addition to the black-and-white series of photos entitled 'Beyond' and produced in the mid 1980's, the recent exhibition in the Gallery of Fine Arts in Split shows his latest accomplishments in black-and-white, as well as colour photography.

In this selection, his former works function as reference points demonstrating continuity and consistency of themes and methods, singling out Rino as a strong artistic personality whose actions reveal authentic thought. He is an author who cultivates quite exceptional visual languageof recognizable concept, detached from dominant artistic tendencies and developing within itself, rather than in dialogue with contemporary trends…“

Marija Stipišić Vuković, from the exhibition prologue

Rino Efendić was born 1961 in Sinj, studied cinematography at the Zagreb Academy of Dramatic Art in 1981-1983, and art history and ethnology at Zagreb’s Faculty of Humanities and Social Sciences. In 2006 he became a member of the Kvart - association for contemporary art, which is actively working on the micro urban interventions for the purpose of the local community recognition. He is known for his multimedia approach (phototgraphy, urban interventions, sound works, objects and installations). He is author of workshops, presentations and screenings for public audience.

„Vlasta Žanić is a sculptress. Besides those who know her work very well, this fact should be emphasized for the sake of everyone who encounters her work for the first time. The media in which her artworks are made do not lead us directly into the field of sculpture, at least if we conceive sculpture exclusively as art produced by using classical sculptural methods…

… Vlasta's exhibition at the Gallery of Fine Arts in Split consists of art made in the electronice medium of video, as well as installations, performances and recordings of performances, and objects that are mobile or in permanent motion. Such mobile objects start moving if the exhibition visitor (whom we often consider the spectator, the viewer or the audience) initiates the movement by himself or herself, thus taking a part in the artwork, influencing the exhibition's appearance, and participating in the final layout…

… Besides issues related to technique, form, design, and other aspects of art, what we need to know most is how the artists express what they mean, and therefore we must know what they mean in the first place. So what is it that Vlasta seeks to express through her heavy sculptures, her demanding performances, and her art in general? Thematically speaking, they are mostly personal expressions of intimacy from a feminine, yet not necessarily feminist position; expressions of a member of our contemporary society, a victim of contemporary regimes, especially in those aspects that are dominated by anachronistic mechanisms (particularly in the fields of personal, family-related, and intimate), but also those that are dominated by mechanisms of a system (state, education, or society). Vlasta's personal rebellions are quiet; she does not call upon the masses to join her; she moves her sculptural masses all by herself…“

Janka Vukmir, from the exhibition prologue

Vlasta Žanić was born in Zagreb in 1966. In 1990, she took her degree from the Zagreb Academy of Fine Arts, sculpture department, class of Stipe Sikirica. In the first ten years of her career, Vlasta Žanić systematically explored spatial problems in a sculptural way. After 2001, Vlasta Žanić increasingly did performances and shot video works. The change in her medium of expression is a reflection of a change in thematic focus. Now she is largely concerned with issues of a self-referential nature, about her own role as artist, woman, mother; her relationships with the surroundings and the audience; the transformations that occur in manipulations of content in the media.
Since 2010 she has been working as a docent in the Department of Sculpture at the Academy of Arts in Split.