ART

Ivan Picelj: Kompozicija Dimensions: 35×49.8 cm Publisher: Kultura, Zagreb 1957. Sitotisak / Silkprint Signed and numbered. Uredništvo: Božo Bek, Zlatko Prica, Dragovan Šepić Tehnički urednik: Ivan Picelj Tisak: Atelier za serigrafiju, Zagreb Otisnuli: Zvonimir Melnjak i Mirka Mader Prva grafička mapa Ivana Picelja.

Ivan Picelj: Kompozicija IV Dimensions: 35×49.8 cm Publisher: Kultura, Zagreb 1957. Sitotisak / Silkprint Signed and numbered. Uredništvo: Božo Bek, Zlatko Prica, Dragovan Šepić Tehnički urednik: Ivan Picelj Tisak: Atelier za serigrafiju, Zagreb Otisnuli: Zvonimir Melnjak i Mirka Mader Prva grafička mapa Ivana Picelja.

Rok 1-4 Rok 1 - Beograd 1969. godine. 22x22cm Rok 2 - Beograd 1969. godine. 22x22cm Rok 3 - Beograd, 1969. Oprema Branko Vučičević (ZMKS) 14x20cm Rok 4a - Beograd, 1970. 21x20,5cm In prestige list in Artists' Magazines: An Alternative Space for Art (The MIT Press) by Gwen Allen

Ivan Picelj: Picasso Plakat za izložbu "Picasso" u Galeriji suvremene umjetnosti. Zagreb, 1962. godine 50x70 cm Sitotisak / Silkprint

Mladen Stilinović: Nemam vremena (I Have No Time) Artist Book Prvo izdanje iz 1979. godine. Zagreb. Vlastita naklada. Offset na papiru 7 listova, zaklamano Naklada 70 primjeraka

Ivan Picelj: Jean Dubuffet Galerija suvremene umjetnosti, Zagreb, 1964. Sitotisak / Silkprint 50x70cm

Ivan Picelj: Edo Murtić Zagreb, 1963. Sitotisak / Silkprint Plakat za izložbu "Murtić - emajli " u MUO.Plakat je tiskan u 4 boje (crna, žuta, narančasta i crvena). Plakatom dominira raster pravokutnika crven i narančaste boje. Po sredini plakata, na narančastoj traci, crnim slovima naziv izložbe, u dnu plakata na žutoj traci iste debljine crnim slovima podaci o izložbi.

Maj 75, broj Ć, 1979; Boris Demur, Željko Jerman, Vlado Martek, Mladen Stilinović, Sven Stilinović, Fedor Vučemilović, Željko Kipke, Zlatko Kutnjak, Antun Maračić 42,33 x 29,13 cm Maj 75 is in prestige list in Artists' Magazines: An Alternative Space for Art (The MIT Press) by Gwen Allen From 1978 to 1984, seventeen issues of “May’75” were published, each issue coded by letters of the alphabet. The magazine was produced by assembling individual works. The artists made their own pages on A4 paper and then bound them together into a magazine format. In addition to the original six, over fifty artists from Ex-Yugoslavia, Germany, Ex-Czechoslovakia, and Italy amongst other countries were invited to contribute their work to the magazine. Each issue including original art work, ready made artwork, ciclostile print work or silkscreen work, texts, concepts, projects, attitudes, ironical and political opinions, collages and photographs which lost almost nothing of their original quality when reproduced or multiplied. Pages were occasionally reproduced by screenprinting in the workshop of Željko Jerman and Vlasta Delimar. Most pages however, were hand-made. By repeating the same, simple and quickly executed work, the artist diminishes the significance of the original. Issues of “Maj’75” with their spontaneous use of available materials and technologies are obviously there to be used and handled, and although they are full of original works, there is nothing of a deluxe edition about them. “Maj’75”, financed by the artists themselves, was usually handed out for free during the exhibition-actions to other artists, friends, critics or passers-by. Later, when the Group of Six Artists no longer exhibited on the streets, distribution was usually managed through personal contacts and through mail. The magazine was never sold through bookstores or in galleries, not because its authors did not want this, but because it was impossible. Each private enterprise was met with countless obstacles in communist countries. “Maj’75” was thus completely unofficial. This had one advantage in that it avoided censorship, but also a drawback, in that the magazine remained little known outside a narrow circle. Branka Stipančić

Maj 75, broj C, 1979; Darivoj Čada, Jovan Čekić, Boris Demur, Željko Jerman, Vlado Martek, Željko Kipke, Mladen Stilinović, Sven Stilinović, Fedor Vučemilović 21 x 29,5 cm Maj 75 is in prestige list in Artists' Magazines: An Alternative Space for Art (The MIT Press) by Gwen Allen From 1978 to 1984, seventeen issues of “May’75” were published, each issue coded by letters of the alphabet. The magazine was produced by assembling individual works. The artists made their own pages on A4 paper and then bound them together into a magazine format. In addition to the original six, over fifty artists from Ex-Yugoslavia, Germany, Ex-Czechoslovakia, and Italy amongst other countries were invited to contribute their work to the magazine. Each issue including original art work, ready made artwork, ciclostile print work or silkscreen work, texts, concepts, projects, attitudes, ironical and political opinions, collages and photographs which lost almost nothing of their original quality when reproduced or multiplied. Pages were occasionally reproduced by screenprinting in the workshop of Željko Jerman and Vlasta Delimar. Most pages however, were hand-made. By repeating the same, simple and quickly executed work, the artist diminishes the significance of the original. Issues of “Maj’75” with their spontaneous use of available materials and technologies are obviously there to be used and handled, and although they are full of original works, there is nothing of a deluxe edition about them. “Maj’75”, financed by the artists themselves, was usually handed out for free during the exhibition-actions to other artists, friends, critics or passers-by. Later, when the Group of Six Artists no longer exhibited on the streets, distribution was usually managed through personal contacts and through mail. The magazine was never sold through bookstores or in galleries, not because its authors did not want this, but because it was impossible. Each private enterprise was met with countless obstacles in communist countries. “Maj’75” was thus completely unofficial. This had one advantage in that it avoided censorship, but also a drawback, in that the magazine remained little known outside a narrow circle. Branka Stipančić

Julio Le Parc: Cercles par deplacement Designed in 1965. / Produced in 2015. 9.5×8×6.7 cm Acrylic sculpture. Sculpture uses a mirror and a printed side inside, and is made of plexiglass. By looking into the sculpture from a different angle you will see the circles changing color. Editions 100.

Ivan Picelj: Picasso. Plakat za izložbu "Picasso " 70.5 × 51 cm High Quality Screen Print / visokokvalitetan sitotisak Galerija suvremene umjetnosti, Zagreb, 1967. godine. Plakat je tiskan u 3 boje na bijelom papiru (ljubičasta, crvena, crna). Tipografija Helvetica.

Ivan Picelj: Kiky Vinces Vinci Zagreb, 1965. godine High Quality Screen Print / visokokvalitetan sitotisak 50x70cm Plakat za izložbu "Kiky Vinces Vinci" u MUO. Plakat je izveden u 2 boje (crna, siva) na bijelom papiru. Tipografija Helvetica.

Juraj Dobrović Polja / Fields Zagreb, 1965 Silkscreen edition. 35/50 48,5 x 48 cm Signed, dated and numbered in pencil lower right

Ivan Picelj: Cyclophoria 80x80 cm Denise René Edition Paris, 1971. godine Signed and numbered 146/200

József Markulik: DAL Artist Book. 14x10,5cm Limited and numbered 4/75

Piero Manzoni 1970. Published by Städtisches Museum Mönchengladbach, Germany Texts by Johannes Cladders and Udo Kultermann 16.5 × 3.4 × 20.5 cm Plastic box case Edition of 440 This limited-edition catalogue for Piero Manzoni's posthumous 1969-70 exhibition at the Städtisches Museum Mönchengladbach comes encased in a clear plastic box with eight indents. The catalogue includes twenty-two black-and-white offset images. With essays by Johannes Cladders and Udo Kultermann (in German). From an edition of 440 copies.

Nuša i Srečo Dragan: 1. aprilski susreti Plakat i novine za projekt na 1. aprilskim susretima Beograd, 1971. godine Plakat 24x80 cm Novine 12,5x22,5 (2pp) Na plakatu su intervencije ljepljenjem markica Projekat misaone vizualizacije objekta Misli videnu kocku u desnu stranu svaki dan u 12.00h. Project thinking visualisation of object think of the seen right cube every day at 12.00h

Edicija OHO: EVA Avtorji knjige: Marko Pogačnik (Risba), Franci Zagoričnik (Rej pod lipo), I. G. Plamen (Polnočne metamorfoze, Usvajanje pošte, Pošta, Rodni kraji), Tomaž Šalamun (Hiša Markova), Braco Rotar (Jan Kazimir), Aleš Kermavner (Reklama za Namo)

Ivan Picelj: 16. zagrebačka izložba jugoslavenske grafike Kabinet grafike Jugoslavenske akademije znanosti i umjetnosti, Zagreb, svibanj - lipanj, 1990. 84 x 57,5 cm High Quality Screen Print / visokokvalitetan sitotisak

Új Symposion 43. szam Novi Sad, 1968. godine 23,5x33cm 32pp Vegel laszlo, Otto Tolnai, Nandor Burany, Jozsef Podolski, Miklos Hornyik, Istvan Bosnuak, Tibor Varady, Miroslav Egerić, Beata thomka, Gabor Vajda, Katalin Ladik, Gabor Fulop, Imre Bori, Leszek Kolakovski, Karoly Jung

Új Symposion 79. szam Novi Sad, 1971. godine 20x29cm 36pp Design Balint Szombathy

Új Symposion (76) 76. szam Novi Sad, 1971. godine 20x29cm 36pp Design Balint Szombathy Valter Benjamin, Vegel laszlo, Gerold Laszlo, Antal Bognar, Varady, Miroslav Egerić, Beata Thomka, Imre Bori, Leszek Kolakovski, Gion nandor Új Symposion, a Hungarian-language journal published in Yugoslavia, maintained a courageous critical stance and a deliberate spontaneity. The creative community that grew around the editorial team and all but turned into a movement created a literary and artistic milieu in Vojvodina that was marked by a proclivity for experimenta-tion. Struggling with the minority status of the Hungarian language, while enjoying an access to cultural knowledge that was fresher in Yugoslavia than in Hungary, the consecutive editorial teams and the associated generations of artists shaped the periodical with different emphases on literature, visual culture and social criticism, and vary-ing degrees of readiness to comply with the demands of the cultural authorities. Though the history of Új Symposion may appear uninterrupted, it was constantly hampered by bans, lawsuits, and in 1983 by the dismissal of the editors, right up to the Yugoslav war, when it could no longer be maintained. Izvor: Avantgarde Museum, Zagreb

Új Symposion (87/88) Novi Sad, 1972. godine 20x29cm 58pp Design Balint Szombathy Bosch + Bosch, Lukacs Gyorgy, Istvan Bosnyak, Maria Benedek, Lukacs Kovacs, Sandor Rozsa, Balint Szhombaty, Valter Benjamin, Vegel laszlo, Gerold Laszlo, Antal Bognar, Varady, Miroslav Egerić, Beata Thomka, Imre Bori, Leszek Kolakovski, Gion nandor Új Symposion, a Hungarian-language journal published in Yugoslavia, maintained a courageous critical stance and a deliberate spontaneity. The creative community that grew around the editorial team and all but turned into a movement created a literary and artistic milieu in Vojvodina that was marked by a proclivity for experimenta-tion. Struggling with the minority status of the Hungarian language, while enjoying an access to cultural knowledge that was fresher in Yugoslavia than in Hungary, the consecutive editorial teams and the associated generations of artists shaped the periodical with different emphases on literature, visual culture and social criticism, and vary-ing degrees of readiness to comply with the demands of the cultural authorities. Though the history of Új Symposion may appear uninterrupted, it was constantly hampered by bans, lawsuits, and in 1983 by the dismissal of the editors, right up to the Yugoslav war, when it could no longer be maintained. Izvor: Avantgarde Museum, Zagreb

Ivan Picelj: Indijsko kazalište Zagreb, 1969. High Quality Screen Print / visokokvalitetan sitotisak 69 × 49 cm Plakat za izložbu "Indijsko kazalište" u MUO. Plakat je tiskan u 3 boje (crna, neonski zelena i ružičasta) na bijelom papiru. Donja polovica plakata izvedena u rasteru zelenih, bijelih i ružičastih traka.