Ivan Kožarić

Ivan Kožarić (born 1921 in Petrinja, died 2020) was one of the most influential Croatian artists of the 20th century, whose work is celebrated for its creative freedom, experimentation, and relentless pushing of artistic boundaries.

Although classically trained as a sculptor, the distinguished Croatian sculptor and academician (HAZU) transcended traditional notions of his discipline. His complex body of work includes assemblages, installations, conceptual projects, and the use of ready-made objects. It is characterized by cheerfulness, unique humor, and self-irony, often drawing inspiration from Surrealist and Dadaist approaches. Kožarić was also a member of the influential, informal art collective, Gorgona (1959–1966).

Key Public Works in Zagreb

Kožarić is perhaps most familiar through his public works in Zagreb, which fundamentally changed the perception of city sculpture and actively encourage interaction with the audience. These include: “Grounded Sun“ (Prizemljeno Sunce), Monument to Antun Gustav Matoš and “Red Sign“ (Crveni znak).

Creative Approach and Legacy

Kožarić’s artistic profile is defined by continuous searching and exploration. His works often pose the critical question: how far can one go in defying the habits and conventions of what constitutes a sculpture or a work of art, while still achieving a result of supreme artistic quality?

His output spans a wide range, from early figurative pieces like “Sitting Man” (1954) and the masterpiece “Bather under the Shower” (1956, a replica of which was installed outdoors in Zagreb in 1999), to conceptual projects such as “Cutting Sljeme” (1960), which anticipated Land Art.

On the international scene, he gained prominence at the 1976 Venice Biennale with his exhibition of “Piles”—strategically scattered heaps of his own sculptures—and his “Temporary Sculptures,” created spontaneously on the spot by squeezing flexible aluminum kitchen foil in his hand. Through these radical moves, Kožarić demonstrated the artist’s freedom, demystified art, and utilized low-value materials.

Museum Collection: In 2007, the City of Zagreb purchased Kožarić’s entire studio, encompassing over 6,000 exhibits, and entrusted it to the Museum of Contemporary Art (MSU) in Zagreb. This collection provides deep insight into his creative process.

Kožarić celebrated a life stance that fiercely defended his freedom. His creative youthfulness and dynamic vitalism kept him relevant even in his later years. His entire body of work strives for a sign of existence, connecting the mythical and the profane into a unique symbol of the human macro-cosmos.

Like a traveler who packs light and is not restricted by heavy suitcases or fixed itineraries, Kožarić worked without classical constraints. His works resemble ideas spontaneously grounded or spontaneous gestures—intentionally shifted and liberated from the weight of tradition, precisely so they can speak spontaneously to us, the passersby.

Sources: Avangarde Museum, Avangarde Museum, Wikipedia, HBL