VARIOUS ARTISTS

Penezić & Rogina: Works = radovi Vinko Penezić & Krešimir Rogina Grafička mapa Naklada 50 primjeraka Signatura autora na svakom graf. listu d.d. olovkom: VPenezić K. Rogina '92; l.d. olovkom: numeracija; s.d. naslov prikaza. - Grafički listovi formata 103 x 703 mm Mapa je u zaštitnom omotu Zagreb 1992. Screenprint / sitotisak Atelier Brane Horvat Uključuje i knjigu - Feđa Vukić: 30 do 30 (30 to 30)

Braco Dimitrijević: His Pencil's Voice / Njegove olovke glas Signed and dated. B/W photos Sven Stilinović & Fedor Vučemilović Galerija SC & Muzički salon Teatar ITD Zageb, 1973. Single. Jacket / wrap & "records". In very fine codition. Very very rare.

Josip Stošić: A Signed and dated Zagreb, 1969. Edicija 1 Sitotisak / Screenprint Likovni ustrojem riječi na plohi, suodnosom predmeta i riječi (“A”, 1969

Boris Bućan Art Original poster for Bućan Art Galerija Studentskog centra Zagreb, 1973. Silkprint 43x59,5 cm Signed

Ivan Čizmek: Structures III Grafička mapa Naklada 50 Signed and numbered Edition Studio Forma Urbis, Zagreb Papir Fabriano 5 / 380g Tisak: Design & tisak Straža, Zagreb Predlist predgovor na hrvatskom i engleskom jeziku Ivica Župan 50 x 50 cm

Boris Bućan: Laž / Lie Rad rađen za Trigon, 1973. Devet vintage fotografija za Bućanovu intervenciju u prostoru Photo Željko Stojanović 9x14cm Boris Bućan na Trigonu 1973. radi »Lažno djelo«. On kaže: »Djelo, koje će biti prikazano na video-tejpu, svjesno sam napravio dokazujući da pravim lažno djelo. Video-tejp ne upotrebljavam u bilo kakve eksperimentalne svrhe, već želim tv medij iskoristiti kako bi što veći auditorij konzumirao moje lažno djelo.«1 Na video-vrpcu trebalo je paralelno u Zagrebu i Grazu snimiti stavljanje velikog transparenta s natpisom »Laž« na fasadu neke kuće, a pri tom zabilježiti i reakciju publike. Rad je imao nekoliko konotacija: Bućan je napravio djelo koje ne smatra umjetničkim ali ga stavlja u kontekst umjetnosti i u kontekst javnog mjesta. Djelo koje nije umjetničko predstavlja se kao umjetničko i provocira riječju laž. Što je laž: politika, umjetnost, medij videa ili televizije ili samo djelo s nazivom Laž – ostaje otvoreno pitanje. Niz sličnih provokativnih radova Bućan je izložio na svojoj samostalnoj izložbi u Galeriji suvremene umjetnosti 1975. Uvijek je u pitanju značenje i smisao nekog djela I njegove poruke. 1 Tekst u katalogu »Audiovisuelle Botschaften«, Trigon ‘73, Graz Susovski, Marijan (1982.). Inovacije u Hrvatskoj umjetnosti sedamdesetih godina. U katalogu izložbe Inovacije u Hrvatskoj umjetnosti sedamdesetih godina. Zagreb : Galerija suvremene umjetnosti; str. 27

Vilko Žiljak: 62-CM-24-MY-1975 Zagreb, 1975. Signed and numbered 57 X 76,5 cm Edition 2/10 High Quality Screen Print / visokokvalitetan sitotisak In (New) Tendencies 5 (1973), Vilko Ziljak exhibited ASCCI photographs, i.e. digital printouts. The graphics of the series are based on the same programmes which he wrote for his professional activities in various companies in the early 1970s – that is, for technical applications. He uses artistic computer graphics exclusively for abstract portrayals and regards these as an analogy to music. Vilko Ziljak has been involved with computer graphics, among other things he was a programmer of geographical maps. In Croatia, Ziljak is a pioneer in the fields of computer graphics and typography, mathematical models as well as simulations and visual research aided by computers. Since the early 1980s he has also produced films and computer-aided animations. Born 1946 in Sveti Ivan Zelina, Croatia. Studied electrical engineering at the Faculty of Electrical Engineering and Computing at the University of Zagreb (Ph.D. 1981). From 1999 professor of graphic technology and head of the department of typography and computer graphics at the Faculty of Graphic Art at the University in Zagreb.

Vilko Žiljak: 60-4-AC-1975 Zagreb, 1975. Signed and numbered 57 X 76,5 CM Edition 2/10 High Quality Screen Print / visokokvalitetan sitotisak The graphics of the series are based on the same programmes which he wrote for his professional activities in various companies in the early 1970s – that is, for technical applications. He uses artistic computer graphics exclusively for abstract portrayals and regards these as an analogy to music. Vilko Ziljak has been involved with computer graphics, among other things he was a programmer of geographical maps. In Croatia, Ziljak is a pioneer in the fields of computer graphics and typography, mathematical models as well as simulations and visual research aided by computers. Since the early 1980s he has also produced films and computer-aided animations. He lives and works in Zagreb, Croatia.

Dragoljub Raša Todosijević Edingburška izjava / Ko profitira od umetnosti Edinburgh Statement / Who makes profit from art Beograd, 1975. Silkprint 50x66,5 cm Signed Text on Serbian Cyrillic and English

Tri generacije beogradskih graditelja Odnos prema nasljeđu Beograd, 1984. Likovna mapa Etui sa pet grafičkih listova: Aleksandar Deroko Bogdan Bogdranović Grupa MEČ: Mustafa Musić Stevan Žutić

Vinko Penezić & Krešimir Rogina Staklena kuća za slijepog čovjeka Diptih: Uzdužni presjek + Poprečni presjek Signed and numbered Edition 50 103 x 703 mm Zagreb 1992. Screenprint / sitotisak Atelier Brane Horvat

Vladimir Jovanović Varia Bila Triptih Beograd, 1976. Screenprint / Sitotisak 50 x 70 cm Sigend and dated Pop Art

Komplet od trinaest (13) fotografija akcije / perfomansa Ere Milivojevića. Fotografije su numerirane, sa pečatom umjetnika na poleđini. Format 15,3x10,3 cm Era Milivojević (Titovo Užice, 1944) graduated from the Academy of Fine Arts in Belgrade in 1970, in the class of S. Ćelić. During 1971 - 1973 period he worked and exhibited with the Group of Artists: Marina Abramović, Neša Paripović, Zoran Popovic, Raša Todosijević, Gera Urkom, all famous for their early conceptual art practice. Milivojević's oeuvre includes painting, photography and performance. He lives in Belgrade.

Pan 69. Mladen Stilinović: "Together with Milivoj Puhovski, Degenek and Boris Bata we formed the student film club Pan 69. Through the Union of Socialist Youth we received some funds to buy the necessary equipment and start making films. At first Pan 69 had six or seven members. The first film produced by Pan was Miša Budisavljević's film in 1969, which was screened at GEFF. Pan 69 held film screenings in Zagreb and Belgrade: at the Zagreb Cinema Club Pan 69 had regular nights, as it did in Belgrade at the SKC (Students Cultural Center)." (from Ana Janevski's interview with Mladen Stilinović, unpublished) At the beginning, like many young people, Stilinović wrote poetry, and published some of it in the literary journal Republika. But since his interests were more in the direction of film, with his friends in 1969 he founded the group Pan 69, which was a student cinema club. In order to get hold of film stock and the equipment necessary for making films, this was the only way at that time. Some of the first films were shown at amateur film festivals, but they were fairly different from the production that could be seen there, and so he was invited to places more adapted to his idiom, where the focus was on contemporary visual art. (Branka Stipančić) In 1969 a group of friends – Boris Barta, Mišo Budisavljević, Branko Degenek, Ninoslav Lovčević, Krsto Mihaljević, Milivoj Puhlovski and Mladen Stilinović – founded the student cinema club Pan 69. He shot his first films Ostani na uglu (Stay on the Corner) and Sam si (You’re Alone) in 1970. That year, in a disco club, he met a high school student, Branka Stipančić, (the author of this text) and the two started a long-term relationship. With Pan 69 and his friends he performed the one and only happening entitled Majski i ostali rituali (May and Other Rituals) in Zagreb, in the Theatre ITD during the 24th May Festival of Yugoslav Student Theatre. The happening was stopped and censured while in progress due to political reasons. He also watched American underground films at Zagreb Genre Film Festival (1970), and admired films by Gotovac, Pansini, Petek, Kristl, Vukotić, Makavejev, Pavlović, Žilnik, Naško Križnar, Nuša and Srečo Dragan… He always visited exhibitions of the New Tendencies as well as those held at the Gallery of Contemporary Art. He was motivated by numerous events and translations of critical editions about film, historical avant-gardes, happening, conceptual art, philosophy of language and linguistic theories, which were available in former Yugoslavia in numerous journals such as Rok, Polja, Treći program, Delo, Filmske sveske, Književnost, in the book Mixed Media by Bora Ćosić, etc. He knew well the domestic art scene: the Slovene group OHO, works by Zagreb artists such as Goran Trbuljak, Sanja Iveković, Dalibor Martinis, Braco Dimitrijević and others, and their interventions in urban space. During Pan’s Days, held on a small stage of the Student Centre in Zagreb in 1971, Stilinović showed his films Panika (Panic), Ja volim ljude, a vi? (I Love People, How about You?), More i … (The Sea and …), and Ramenim tako bolno ceo smešan svet (Painfully Shouldering the Whole Funny World), all shot in the same year, and participated in the 6th Festival of Croatian Amateur Film in Zagreb.

Originalni plakat izložbe "Za umjetnost u umu" u Podroom, Mesnička 12, Zagreb; Boris Demur, Vladimir Dodig Trokut, Ivan Dorogi, Ladislav Galeta, Tomislav Gotovac, Vlado Gudac, Sanja Iveković, Željko Jerman, Željko Kipke, Antun Maračić, Vlado Martek Mal

Boris Bućan: Xerox A4 plakat Borisa Bućana za izložbu Xerox Made by Xerox. Galerija Studentskog centra, Zagreb, Savska 25. Zagreb, 1973.

Dejan Kršić: WHW Deset plakata za kolektiv WHW Sitotisak / Silkprint 50x70cm Born 1961 in Sarajevo. He graduated art history and ethnology from the Faculty of Philosophy in Zagreb. He has exhibited in several solo shows (in Zagreb, Ljubljana, Rijeka, Belgrade) and has participated in many collective exhibitions and video festivals. Since the mid 1980s he has been working for various magazines and newspapers as a journalist, editor and/or graphic designer (Polet, Studentski list, Quorum, Svijet, Start, Mladina, Moment, Danas…, Frakcija, Zarez). In the 1993 he was one of the founders and later editor-in-chief of Arkzin biweekly newspaper/magazine and publishing project. He translated to Croatian and published essays by many distinguished theorists and writers such as Slavoj Zizek, Renata Salecl, Darian Leader, Brian Holmes. He created graphic design for numerous respectable exhibition catalogues. Additionally, his design works have been published in many design magazines: Eye (UK), Print (USA), AIGA journal (USA), Kak (Russia); and books: Mirko Ilic & Steven Heller: "Genius Moves - 100 Icons of Graphic Design" (North Light Books, 2001), "Two Colour Graphic" (Rockport, 2004), Milton Glaser & Mirko Ilic: "Design of Dissent" (Rockport, 2005), Timoty Samara: "Publication Design Workbook" (Rockport, 2005); Rick Poynor: "Designing Pornotopia: Travels in Visual Culture" (Laurence King, 2006). Since 2000, Dejan has been collaborating on many projects. As a graphic designer and writer Dejan Krsic has been collaborating on WHW projects: "What, how and for Whom - on the occasions of the 152nd Anniversary of the Communist Manifesto" (Zagreb 2000, Vienna 2001); "Broadcasting Project, dedicated to Nikola Tesla" (Zagreb 2001/2002); "Collective Creativity" (Kassel 2005). Since 2003 he has been designing all visual materials for Gallery Nova, including the gallery newspaper. The interdisciplinary focus of Dejan's work is putting the visual art practice and art theory in a creative dialogue with graphic design and curatorial strategies. Since 2008 he teaches graphic design at Department of visual communications at UMAS, Split, Croatia. Source: Monoskop What, How & for Whom/WHW is a curatorial collective formed in 1999 and based in Zagreb and Berlin. Its members are Ivet Ćurlin, Ana Dević, Nataša Ilić and Sabina Sabolović, and designer and publicist Dejan Kršić.

Ljerka Šibenik Zagreb, 1968. Silkprint Edition 50 Signed and numbered 52,5 x 54,5 cm

Izniman plakat za izložbu Vjenceslava Richtera, Hilversum, Holand iz 1972. godine. Steendrukkerij de Jong and Co.

Vinko Penezić & Krešimir Rogina Luč igre (Bazen u Zagrebu) Signed and numbered Edition 50 103 x 703 mm Zagreb 1992. Screenprint / sitotisak Atelier Brane Horvat

Vinko Penezić & Krešimir Rogina Luč izbora (Galerija H&C) Signed and numbered Edition 50 103 x 703 mm Zagreb 1992. Screenprint / sitotisak Atelier Brane Horvat

Vinko Penezić & Krešimir Rogina Luč izoblike (Bazen u Dubrovniku) Signed and numbered Edition 50 103 x 703 mm Zagreb 1992. Screenprint / sitotisak Atelier Brane Horvat

Vinko Penezić & Krešimir Rogina Luč mjesta (Crkva u Dubrovniku) Signed and numbered Edition 50 103 x 703 mm Zagreb 1992. Screenprint / sitotisak Atelier Brane Horvat

Vinko Penezić & Krešimir Rogina Luč promjene (Stil 2001.) Signed and numbered Edition 50 103 x 703 mm Zagreb 1992. Screenprint / sitotisak Atelier Brane Horvat