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Tragedija Jedne Venere / A Tragedy of a Venus, 1975. First edition of exhibition catalogue originally published in conjunction with show held December 1976, Gallery of Contemporary Art, Zagreb. Text in English and Croatian.

Putevi, srpski avangardni časopis. Urednici Miloš Crnjanski i Marko Ristić. Prvo izdanje.

Zenit, 1921-1926, fototipsko izdanje svih brojeva. Komplet se nalazi u dva fascikla sa časopisima. U prvom se nalazi 6 brojeva časopisa od siječnja do prosinca 1926 (38, 39,40,41,42,43). format 23 cm. U drugoj, većoj fascikli se nalaze brojevi časopisa od

Pjesme I-III. Naslovnice za prve dvije zbirke su rad Ljube Babića. U odličnom stanju. Rijetko u ponudi. S ozbirom na vrijeme Krležinih književnih početaka razvidno je da se matrica književnosti moderne nasukala na oštru hrid povijesnih zibvanja te da vi

Dated inscription in pencil from Goran Trbuljak to artist Willoughby Sharp on page 25Goran Trbuljak. 1972, Artiste anonyme / Goran Trbuljak, 1974 Zagreb: Galerija suvremene umjetnosti, 1976 Artist book Using simple statements and questions, public space

Rok 1 - časopis za književnost i estetičko ispitivanje stvarnosti. Urednik Bora Ćosić, Beograd 1969. godine. Časopis je uvršten u prestižno izdanje MIT pressa Artists' Magazines - An Alternative Space for Art By Gwen Allen. Mixed Media. Artist's Book. O

Ivan Meštrović: Dennoch will ich hoffen...Ein Weihnachtsgespräch (Ipak se nadam ili Božićni razgovori) Knjiga refleksija Rascher Verlag, Zürich, 1945.

Josip Stošić: Đerdan Prvo izdanje / First edition Zagreb Limited edition Josip Stosic was born in Zagreb in 1935. He graduated from the Faculty of Arts in Zagreb in 1963. He worked at the Institute for History of Art (early Christian, Medieval and Renaissance art in Croatia). He specifically researched the cathedral in Dubrovnik and the parish church in Čazma. In 1951, as a high school student, Stosic self-published Đerdan (Necklace), the first book of concrete poetry in the former Yugoslavia. His poetry was prohibited the same year. Stosic's art practice included concrete poetry, visual structure of words mounted on boards, and the interaction of objects and words ("A", 1969; Premetaljka (Word Puzzle), 1971). Josip Stosic died in 2009 in Zagreb (source: Avantgarde Museum, Zagreb) Format: 20x14 cm Broj stranica: 106 Uvez: meki Godina izdanja: 1951 Izdavač: Vlastita naklada Josipa Stošića Antikvarijat: Preradovićeva 5, Zagreb dodaj u listu želja Artikla trenutno nema na skladištu!

Nuša i Srečo Dragan Tri dopisnice za crtežima Sreče Dragana iz 1970. godine. Crteži i tekstovi vezani uz film H2O. 14x9cm Dopisnica 1: Roka na maski na obrazu Dopisnica 2: Roka v zraku na zraku Dopisnica 3: Roka v zraku na nogi Nusa was born in Jesenice in 1943 and her partner Sreco, in Spodnji Hrastnik in 1944. Nusa earned her degree in Pedagogy and Sociology at the University of Ljubljana. Sreco earned his degree in painting at the Academy of Fine Arts in Ljubljana, where he completed his postgraduate studies under prof. Zoran Didek. In 1971 Sreco attended a class in New Media in London. Between 1967 and 1988 Nusa and Sreco worked together artistically as a couple. In 1969, they filmed the first video in the former Yugoslavia (White Milk of White Breasts). During 1968-1969 they participated in the work of OHO. Their beginnings belong to reizm, arte povera, conceptualism, contextualization of language, installation, and usage of new technologies, film and video. Since 1998 Nusa has lived and worked as an independent video artist in Ljubljana. Sreco Dragan has lectured at the Academy of Fine Arts in Ljubljana since 1989, where he is a professor of video and new media. His latest art practice is focused on net-video, Internet art installations and computer animation.

Belgrade. Formal/Informal: A Research on Urban Transformation ETH Studio Basel Contemporary City Institute [Editor] By Roger Diener, Marcel Meili, Christian Mueller Inderbitzin Scheidegger and Spiess, 2012. Hardcover Design Ludovic Balland. ETH Studio Basel, an institute of urban research, undertakes projects that explore the evolution of the contemporary city, looking specifically at how cities transform over time and interact with material space. Belgrade. Formal / Informal presents the fascinating findings of ETH Studio Basel’s research in the former Yugoslavian and now Serbian capital, investigating in particular the city’s development following the international embargo against the Milosevic regime after the Yugoslavian wars of separation in the 1990s until the present day. This richly illustrated book explores in depth how Belgrade has changed throughout years of upheaval and economic shortage. It shows the result of the interplay between guided and accidental urban planning and construction and the varied architecture that has emerged from this. In essays by architects and urban planners, Belgrade is presented as an example of how contemporary cities develop in an increasingly global community. Of interest to architects and planners, Belgrade. Formal / Informal provides a model of how cities spatially adapt to the constantly expanding needs of their inhabitants.

Informacijski bilten - Bulletin 1-4 komplet A4 Klamano

Petar Dabac: fotografija postavljanja dvometarske fotografije 24x18cm GEFF 69, pod naslovom Seksualnost kao mogućnost za novi humanizam, trebao se dogoditi u prosincu 1969., no pomaknut je za travanj 1970. godine. Najavljena Retrospektiva seksualnog i erotskog filma zagolicala je maštu javnosti, ali i politike, tako da je ovo ujedno i njegovo posljednje izdanje. Prva izdanja festivalskog biltena-glasila krasila je fotomontaža Aurore koja izgovara rečenicu: voljela bih da sam hermafrodit pa da mogu i sa ženama, dok je gradske površine ukrašavao plakat za izložbu Renea Hollosa, na kojemu je prikazan stilizirani golemi penis s grčkim podnatpisom fallikos antropos. Kasnije povučen na inzistiranje viših političkih instanci, ovaj plakat najavio je i beskompromisni GEFF 69 koji je, kako je pisao tadašnji Filmski svet, od skromne svečanosti zaljubljenika u film postao senzacija za koju su se ulaznice prodavale kao vruća roba. Najviše zanimanja izazvale su projekcije filmova Andyja Warhola i Paula Morrisseya, gošća festivala Carolle Schneemann pokazala je svoj Fuses, dok je nemali interes izazvao pjesnički performance novosadske umjetnice Katalin Ladik, koja je proglašena i najfinijom damom festivala. Izvor: Željko Luketić GEFF, Genre Experimental Film Festival, was international experimental film festival organized from 1963 to 1970 in Zagreb, Croatia. GEFF was established after a series of debates between experimental filmmakers held at the Kino Club in Zagreb entitled “Anti-film and Us,” which was led by Mihovil Pansini, leading experimental film author. Anti-film was a type of film that was more focused on the pure acts of research and discovery, delving into its self-reflexive media language rather than any expression or communication happening between artist and viewer. Anti-film represented a radical annihilation of conventional film, its elements, principals and structure. GEFF became a worldwide locus for non-professional and experimental filmmakers. Izvor: Avantgarde museum, Zagreb

Ruski klasici by Minerva Maksim Gorki: Djelo Artamonovih 1-2 (Delo Artamonovyh, 1925) Minerva, Zagreb 1934 Čehov: Pripovijesti Tolstoj: Uskrsnuće 1-2 Minerva, Zagreb, 1933. Prijevod Iso Velikanović. 504pp 14x21 cm tvrdi uvez s ovitkom Design Vladimir Mirosavljević - Atelier TRI, Zagreb

Sanja Iveković; Dokumenti 1949 - 1976. Galerija suvremene umjetnosti, Zagreb 10.-30.12.1976. Urednik kataloga i predgovor Davor Matičević (engleski i hrvatski jezik) Prijelom kataloga sanja Iveković Plakat dalin+bor martinis Printed in 300

Jawaharlah Nehru Norodom Sihanouk Ezer Weizman Hans Dietrich Genscher Angela Merkel Thomas Klestil Viktor Klima Wolfgang Schüssel

Braco Dimitrijević: Interview Artist Book Zagreb : Galerija studentskog centra, 1974 . Dimensions: 19,9 x 13,7 Photographs Fedor Vučemilovič

Dimitrije Bašičević Mangelos Artist Book / Catalogue Izložba radova Izložbeni salon doma JNA Zagreb, 1986. Cover and back page silkprint 17x24,5cm 16pp Mangelos Interview by Mladen Stilinović Katalog i izložba: Mladen Stilinović i Žarko Vijatović Prelom kataloga Krešimir Štefanović

Manifesti: noart. Zagreb: Atelier Tošo Dabac, 1978. White. Invitation catalogue. 13x17cm 4pp Silkprint on paper. Published on the occasion of the exhibition at ATD, Zagreb, 1978. Artist's edition. Dimitrije Basicevic Mangelos (1921-1987), - a member of avangarde group Gorgona and participated in the Nove tendencije movement. Very rare.

Sanja Iveković - Ženska kuća 1998-2002 Sanja Ivekovic: Women's house 1998-2002 Artist's book. Edition 200. Texts: Nada Beros, Tihomir Milovac,Katy Deepwell. Design Sanja Bachrach Kristofic. Bilingual edition: croatian and english Muzej suvremene umjetnosti, Zagreb, 2003. 139 pp 31x31 cm

Akcija Total Originalni letak iz 1970. godine 15x22 cm U sklopu akcije Total (izvedena je 16. lipnja 1970. u Zagrebu, a potaknula ju je Galerija Studentskog centra te realizirali Boris Bućan, Davor Tomičić i Želimir Koščević), koja je osmišljena kao izravna intervencija u urbanom prostoru, slučajnim je sudionicima dijeljen letak Nacrt dekreta o demokratizaciji umjetnosti, kojim se manifestno i, dakako, ironijski zahtijeva ukidanje svih likovnih disciplina, zabrana likovne kritike i obustava izložbenih djelatnosti (Koščević 1978:94-95, Matičević 1978:22). Manifestne smjernice Nacrt dekreta o demokratizaciji umjetnosti u svojem uvodnom dijelu ironijski je obrazložio u trima točkama: Ukida se: slikarstvo, kiparstvo, grafičarstvo, primijenjene umjetnosti, industrijsko oblikovanje, arhitektura i urbanizam Zabranjuje se nadalje: svaka djelatnost na području povijesti umjetnosti, a posebice takozvana likovna kritika Obustavljaju se: sve izložbe u svim galerijama, muzejima, izložbenim i umjetničkim paviljonima (prema Matičević 1978:22). Naime, akcija Total, zajedno sa 6. zagrebačkim salonom te uličnom izložbom Mogućnosti za ‘71 u organizaciji Muzeja suvremene umjetnosti (tadašnje Galerije suvremene umjetnosti) prema koncepciji Davora Matičevića i izložbom Guliver u zemlji čudesa, koja je iste godine organizirana u Koranskom parku skulpture u Karlovcu (kustos: Želimir Koščević), ubraja se u glavne intervencijske projekte sedamdesetih na ovim prostorima.

Erogen Zoon | poems Serbian | translated by: Katalin Ladik, Selimir Radulović, Judita Šalgo, Arpad Vicko Književna Zajednica Novog Sada, Novi Sad Na naslovnoj strani Hieronymus Bosch Likovni prilozi i likovni urednik Doru Bosiok Fotografija na poleđini Oszkar Hernadi Stanje - antikvarno odlično 13x20cm 126pp

Slavko Matković: Knjiga (The Book) Artist Book Osvit , 1979. Predgovor Balint Szombathy. Tekst na srpskom, mađarskom i engleskom jeziku. Slavko Matkovic is one of the most prominent Serbian conceptual artists. His work highlights the creative process as opposed to the finished work, and explores such issues as the authorship of a work of art and the relationship between the visual and linguistic spheres, among others. As the most prominent representative of artistic nomadism and in an anticipation of art movements, Matkovic was involved in visual poetry, body art, comics, poetry, painting, performance, film, mail art, etc. In 1969 in Subotica, Matkovic together with Balint Szombathy established the art group Bosch + Bosch. Within this small community, the group embodied contemporary artistic sensibility. Its art practice fulfilled international artistic aspirations by transcending former aesthetic categories in favor of ethics. The Group founded the magazines "Contractor e972" and "WOW" which published relevant articles in the fields of art and theory.

Tomislav Gotovac: Čišćenje javnih prostora / Public place cleaning Homage za Vjekoslava Frecea, zvanog boljševik i apostol čistoće / Public place cleaning Zagreb, 1981. godine Fotografija Ivan Posavec Format: 17,5x12,5

Pan 69. Okupljanje grupe kod Mladena Stilinovića Original fotografija. Autor fotografije Mišo Budisavljević, jedan od nagrađenih autora na Geff '69 Zagreb, 1969. Sitotisak / Silkscreen 50x70cm 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.