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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

GEFF 67 Umjesto svake druge pozivnice 12x22cm Susret filmskih istraživača Likovna oprema i tipografija Mihajlo Arsovski

Jesus Rafael Soto Galerija suvremene umjetnosti Zagreb, 19. 6. - 23. 8. 1970. Serigrafija - Brano Horvat. Oblikovanje - Ivan Picelj. Format 20x21

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

Attila Csernik i njegovo vreme S potpisom umjetnika na naslovnici Naklada 200 21x21cm

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.

Puste riječi ( Deserted words ) Dubrovnik, 2016 Edicija Knjige umjetnika izdavač Art Radionica Lazareti, Dubrovnik Artist Book 15x21cm

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.

Mladen Stilinović: Eksploatacija mrtvih Zagreb, 1988. Galerija proširenih medija, Zagreb Xerox 29.5x21 Pozivnica/ letak za otvorenje izložbe Mladena Stilinovića - Eksploatacija mrtvih 1984-88.

Crveni koralji x2, Glečeri, VIS Roboti, Boris Babarović, Matt Collins - Karlo Metikoš,

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.