The focus of the exhibition is on films directed by Željko Kipke in the period between 2012 and 2017, although it includes pictures, appropriated objects and archive materials. Short film are more or less fictional and cover three themes: the first is about social and film propaganda (Social Skin 60-62, Unyielding Look into the Future); the other is about the artists (Orson's Direction Sign, Le peintre enchanteur); third on recovery processes (Botanical Diary, Diagnosis: Double Vision).

Social Skin 60-62, 2012. video, b/w, sound, 3' 43''
10 paintings, oil on canvas, 100 x 120 cm, 2012.

Orson's Direction Sign, 2015. video, b/w, sound, 18' 55''
8 paintings, oil on canvas, 73 x 65 cm, 2015.
sell On Worse (synthetic paint on aluminum plate, 20 x 60 cm)
magazines: Cinema Nuovo, Film, La settimana INCOM Illustrata, Oggi, Gente, Domenica del Corriere

Le peintre enchanteur, 2016. video, b/w, color, sound, 7' 03''

Botanical Diary, 2017. video, b/w, color, sound, 32' 42''
21 paintings, oil on canvas, 50 x 50 cm, 2017.

Unyielding Look into the Future, 2013. video, b/w, color, sound, 10' 25''
3 paintings, oil on canvas, 100 x 180 cm, 2013.
6 issues of Wiener Film Revue magazine

Diagnosis: Double Vision, 2017. video, c/b, boja, zvuk, 10'
3 paper artefacts from the hospital - paper glove, a former Dinamo football player business card and a cervical exercises scheme

ŽELJKO KIPKE (Čakovec, 1953) – painter, writer, filmmaker, graduated from the Painting Department at the Academy of Fine Arts in Zagreb (1971–1976). He attended the Painting Master Workshop in Zagreb (1976–1981). At the beginning, he focused on primary and analytical painting, but from 1982 he brought expressiveness into his canvases. He was a member of Radna zajednica umjetnika (Working Community of Artists), an informal group of artists gathered around Podroom Gallery and Extended Media Gallery (1978–1981). In the first half of the eighties he made short films, mostly documenting his public actions. He participated in the group exhibition at New York’s Artists Space in 1989. During a Marseilles residency in 1991 he mounted a solo exhibition. He represented Croatia at the Venice Biennale in 1993 and at the Cairo Biennale two years later. He participated at Szeemann's authorial exhibition Blood & Honey / Future Is in the Balkans in Klosterneuburg (Vienna) 2003 and was appointed Commissioner of the Croatian Pavilion at the 52nd Venice Biennale 2007. He is a member of the International Association of Art Critics (AICA), Croatian Society of Film Critics (HDFK), and contributes essays and critiques on experimental film and art practice to daily papers and periodicals (Art magazin Kontura, Globus, Oris, Vijenac, etc.). He has directed about ten short film narratives based on coincidences and dreams (Invisible Sculpture, 2006; Niner Stretch, 2007; Invisible Galleries, 2009; Surveillance Camera, 2011; Unyielding Look into the Future, 2013; Orson's Direction Sign, 2015; Le peintre enchanteur, 2016; Diagnosis: Double Vision, 2017; Botanical Diary, 2018). Nine of his books have been published – ranging from selected theory-related writings, essays on contemporary art, and short stories to one-year diary (February to February, Zagreb 2005), a catalogue of dreams (Sei-khai-reich, Velika Gorica 2006), a book of coincidences (Figure 17 – Heaven Can Wait, Zagreb 2007), and selected essays on film and art (Spokesmen of Apocalypse, Zagreb, 2012). He lives in Zagreb.