Tiskano u 50 numeriranih primjeraka, s potpisom autora. Poezija. Prijevod na talijanski jezik Dubravko Pušek. Ovo je primjerak broj 11. Tiskano na finom papiru.
Vrlo rijetko u ponudi. Katalog za prvu samostalnu izložbu Mladena Stilinovića - Ruka kruha, Galerija Nova, Zagreb 1976. godine. Uključuje i pozivnicu za izložbu, vlastoručno adresiranu od M.S. za M.B. Predgovor Nena Baljković. Design Mladen Galić.
Kabinett für aktuelle Kunst, Bremerhaven, Germany. 1976. Artist’s book. Black and white. Wrappers. Staple bound. Edition of 500. Very good minus condition. Creasing at crown of spine. Sunning along spine. Pages sunned. 8.25 x 11.75”. Unpaginated. 20 pages
Grafički zavod Hrvatske i Galerija SC, Zagreb 1973. godine. Knjiga umjetnika NE! ili “Igre odraslih”. Uključuje poster 42x28cm. Roman Cieslewicz - jedan od najznačajnijih i najutjecajnijih dizajnera druge polovice 20. stoljeća, čije su retrospektive pri
Artist Book / Art Work Gorana Trbuljaka iz 2005. godine. S potpisom, datirano. Meki uvez s klapnom, 17x16cm. Predgovor na separatnom dijelu (talijanski i hrvatski jezik) Darko Glavan. Cittanova, Novigrad 2005. Fotografije Goran Trbuljak. Oblikovanje Đanin
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.
Knjiga GEFFa 63/1
Mihovil Pansini, urednik
Likovna oprema Mihajlo Arsovski.
230pp 12x23cm
Zagreb 1967.
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
Mangelos: Fenomen Picasso
Pozivnica / katalog
Novi Sad, Tribina mladih
17.-30.04.1972.
Katalog i plakat Mangelos
Štampa: Prosveta, Novi Sad
Klišea: Forum, Novi Sad
Urednici galerije: Csernik Attila, Mirko Radojičić, Biljana Tomić
Ivana Pegan Baće: Mindness
2017.
vinil 7 inch sa knjigom
Multimedijalna umjetnica Ivana Pegan Baće u svom radu koristi jezik, pismo, govor i glas izražavajući se u medijima umjetničke knjige, poetskih objekata te audio i video radova.
Kako kroz dnevničke zapise, fragmentarne tekstove, poeziju, kratke priče i gramatičke pitalice tako i kroz vizualne i zvučne radove ( spoken word ) vlastitim glasom ispituje načine na koje se subjekt konstituira, usredotočujući se na emocionalni, mentalni i glasovni potencijal prekoračivanja društvenih konvencija i ustaljenih granica.
Ivana Pegan Baće diplomirala je 1996. na kiparskom odsjeku Akademije likovnih umjetnosti u Zagrebu. Članica je HZSU, HDLUDU i ARL. Od 1998. živi i radi u Dubrovniku. Od 2014. voditeljica je Galerije Flora Hrvatskog društva likovnih umjetnika Dubrovnik.
7 inch vinyl
Ivana Pegan Baće: Srce tame / Dnevnik br. 1
Heart of Darkness / Diary no.1
2018/19
2/50
samizdat. signed
Artist Book
20,5x14,5
Multimedijalna umjetnica Ivana Pegan Baće u svom radu koristi jezik, pismo, govor i glas izražavajući se u medijima umjetničke knjige, poetskih objekata te audio i video radova.
Kako kroz dnevničke zapise, fragmentarne tekstove, poeziju, kratke priče i gramatičke pitalice tako i kroz vizualne i zvučne radove ( spoken word ) vlastitim glasom ispituje načine na koje se subjekt konstituira, usredotočujući se na emocionalni, mentalni i glasovni potencijal prekoračivanja društvenih konvencija i ustaljenih granica.
Ivana Pegan Baće diplomirala je 1996. na kiparskom odsjeku Akademije likovnih umjetnosti u Zagrebu. Članica je HZSU, HDLUDU i ARL. Od 1998. živi i radi u Dubrovniku. Od 2014. voditeljica je Galerije Flora Hrvatskog društva likovnih umjetnika Dubrovnik.
Matko Meštrović: Od pojedinačnog općem
Prvo izdanje.
Od utemeljitelja Gorgone i Novih tendencija.
Mladost, Zagreb 1967.
Tvrdi uvez s ovitkom.
12,5x17,5cm 364pp
Naslovnica: Francois Morellet - Sphere-trames
U vrlo korektnom antikvarnom stanju, minimalna oštećenja ovitka.
Nolit, Beograd
Design Pavle Bihaly
Bruno Traven: Troza
Nolit, 1938.
Bruno Traven: Lov na ljude
Nolit, 1936.
Martin Andersen Nexo: U božjoj zemlji
Nolit, 1940
Johan August Strindberg: Služavkin sin
Nolit, 1939
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
Vladimir Kopicl & Ana Raković
Telo umetnika kao subjekt i objekt umetnosti
Body Art Antologija
Likovni salon tribine mladih - Novi Sad, 1972.
21,5 X 30 cm
Materijal preuzet iz Avalanche, New York, / katalog `Dokumenta 5` Kassel i časopis Problemi, Ljubljana
Izgled / Juni 77
Srećna nova umetnost, Beograd, 1977.
Urednik Vladimir Jovanović
15x35 cm
The first announcement of a Kozmetika concert appeared in June 1977, on the back cover of Izgled magazine. The author of that magazine, as well as of the name of the group, was painter Vladimir Jovanović, one of many visual artists who tried themselves out as R’n’R musicians. Explaining the name of the band, he spoke about a visual art technique he invented himself – painting with face powder and lipstick. Izgled was a fanzine, self-published, but it was completely different from the punk fanzines made in those days. It looked like Warhol’s Interview, and was under the strong influence of David Bowie’s aesthetics. Kozmetika was the other face of Izgled, and its members were Marko Pešić, Saša Nikolić, Goran Vejvoda and Slobodan Konjović. Since they were without a formal musical education, they began to work within a band context in order to gain musical experience and investigate the potential of mutual communications through playing in the band. They had no pretentions to great careers, and no desire to be stars in the eyes of the audience – they were already that in their own eyes, even before they started playing. They made only one record, which they worked on for three years.
Izgled / Maj 78
Galerija suvremene umjetnosti, Zagreb, 1978.
Urednici Vladimir Jovanović i Marko Pešić
32x45 cm
The first announcement of a Kozmetika concert appeared in June 1977, on the back cover of Izgled magazine. The author of that magazine, as well as of the name of the group, was painter Vladimir Jovanović, one of many visual artists who tried themselves out as R’n’R musicians. Explaining the name of the band, he spoke about a visual art technique he invented himself – painting with face powder and lipstick. Izgled was a fanzine, self-published, but it was completely different from the punk fanzines made in those days. It looked like Warhol’s Interview, and was under the strong influence of David Bowie’s aesthetics. Kozmetika was the other face of Izgled, and its members were Marko Pešić, Saša Nikolić, Goran Vejvoda and Slobodan Konjović. Since they were without a formal musical education, they began to work within a band context in order to gain musical experience and investigate the potential of mutual communications through playing in the band. They had no pretentions to great careers, and no desire to be stars in the eyes of the audience – they were already that in their own eyes, even before they started playing. They made only one record, which they worked on for three years.