6. VII – 28. VII. 2006 / Curator: Tonko Maroević / Set up: Anabel Zanze, Igor Zidić / Photo: Damir Fabijanić
(…) Confirming a cultivated taste in the treatment of surface and showing an indubitable sensitivity in the character of her refined ductus, Anabel Zanze was able to go a step further in appropriating her expressive syntax. If the collage with the depiction of the figure of Beuys meant a kind of symbolic „raising my hat” to the great model of the esoteric dimensions of art, several combinations on the topic of the frame could perhaps suggest meta-media and a self-referential understanding of the work of the painter. If the transcriptions and accumulations of documents recalled Opałka or On Kawara (and if some solution has been consciously created as a kind of tribute to Knifer), a bold provocation of a shorting-out of tautological and stereotyped lines of force invokes the level of the hermetic surmounting of evidence.
Still, it would seem to me that this painter has achieved the right ratio of discipline and imagination (imaginative discipline, then) in the series called „Invitations” and „Devices”. In these cycles, that is, she has set up an elastic equilibrium of fabricated elements and personal interventions, on compositions with impressed or collaged graphic reticulations, she has been emboldened to deploy fine complexes of organic lines. Suggest and alluding to something objective, beyond function, she has created a life of forms of limber extension, capable of drawing breath more freely. In the coordinate system of implied mental premises, her gesturality and imaginativeness have made a breakthrough that promises further trials, and hence the balance of the roles of creation and learning in the work of Anabel Zanze is at the moment more than satisfatory.