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Grupa šestorice autora / Group of Six Artists Maj '75 / May '75 Year: 1978-1984 16 magazines: mixed media on paper, stapled Dimensions: Original Size: each 29,5 x 21 cm (11 5/8 x 8 1/4 in. Vlasta Delimar, Tomislav Gotovac, Sanja Iveković, Mangelos, Balint Szombathy, Raša Todosijević and Goran Trbuljak are a few example

Mangelos: Shid-Theory Zagreb, 1978. Screenprint on cardboard 8 pages published by the artist 14 1/10 × 9 4/5 in. 35.8 × 25 cm As he himself accurately foresaw, Dimitrije Bašičević Mangelos died in 1987 at the age of 66; in his manifesto Shid Theory, published and exhibited in 1978 in Zagreb, he divided his life into nine-and-a-half “Mangeloses”, ending in the year of his death. Referring in the manifesto to the “bio-psychological theory” he had learned about as a schoolboy in his native village of Šid in former Yugoslavia — according to which the cells in the human organism are completely renewed within seven years and therefore each human being contains several completely different personalities — Mangelos used it to explain the differences between early and late works of various artists, claiming there were two Rimbauds, two Karl Marxes, three Van Goghs, several Picassos and nine-and-a-half Mangeloses. He also applied this method when categorizing and dating his own works: one Mangelos was a critic and curator, while another questioned it all, claiming that one must start from a clean slate; tabula rasa. One was involved in art institutions, while the other doubted the validity of such systems, prompting the third, and ones that followed, to persevere in the formulation of the artistic project termed “No-art”.

Dieter Roth: Gorgona 9 page (each): 8 1/4 x 7 5/8" (21 x 19.3 cm); sheet: 5 7/8 x 4" (15 x 10.1 cm); overall (closed): 8 5/16 x 7 5/8 x 1/16" (21.1 x 19.4 x 0.2 cm) Zagreb, 1966. Stupidogramm (Stupidogram)

Gorgona 6 Anti-magazine Josip Vaništa, 1961. screenprint on paper 21 x 19,4 cm

herman de vries: [wit is overdaad] 1st edition numbered 120 copies published by herman de vries : Arnhem 1960 artists' book with 20 white pages in folder, stapled dimensions: 13.5 × 10.5 cm In very fine condition the first book by herman de vries appeared in 1960. 'book' may be a big word for this small format booklet of a few sheets, bound with two staples and, surprisingly, without print. no title on the cover, it is blank too. on the colophon page only a few words are printed, in very pale ink and in four languages, like a poem: 'wit / wit is overdaad / blanc est surabondance / white is superabundance / weiss ist übermässig / wit / wit / wit is overdaad'. one might say that this book is at the same time an end and a beginning. it constitutes the end of the work of a scientist soon to renounce the study of nature and who has just announced this by renaming the offprints of a personal scientific publication 'manifest of castrated reality'. it also marks the final point of his parallel work as a painter, related to the abstract movement 'zero'. from 1956 herman de vries has been making monochrome paintings and from 1959, white paintings. [source: Anne Moeglin-Delcroix, 'beyond language', in herman de vries. les livres & les publications (saint-yrieix-la-perche 2005) 29]

Iznimno rijetko i u svjetskoj ponudi. Prvo izdanje Nerudine zbirke poezije iz 1959. s potpisom i posvetom autora.

Mixed Media. Artist's Book. Unikat 1/1. Originalni radovi Marka Tadića. Artist's Book, iz 2009. godine - napravljen u notesu Journal, izrađenom četrdesetih godina dvadesetog stoljeća Notes je kupljen u Los angelosu, i prvih par stranica je bilo korišteno

Mixed Media. Unikat 1/1. Originalni radovi Marka Tadića. Artist's Book iz 2009. godine. Mixed Media. Unikat 1/1. Originalni radovi Marka Tadića. Artist's Book, iz 2009. godine - napravljen u notesu Journal, izrađenom četrdesetih godina dvadesetog stol

Knjigarad = Bookwork. Artist Book. Limited and Rare. Galerija Studentskog centra, Zagreb 1980. This book is stapled in the center, creating space for a catalogue for two artists. The left side contains Martek's work and the right side contains Stilinović'

Manifesti: noart. Zagreb: Atelier Tošo Dabac, 1978. Black. Dvojezično (hrvatsko-engleski) izdanje za drugu samostalnu izložbu Dimitrija Bašičevića Mangelosa, održanu u Atelieru Toše Dabca, Zagreb 1978. godine. Predgovor Nena Dimitrijević. Stanje - odlično. Silkprint on paper. Published on the occasion of the exhibition at ATD, Zagreb, 1978. Artist's edition. With a foreword by Nena Dimitrijevic. Dimitrije Basicevic Mangelos (1921-1987), - a member of avangarde group Gorgona and participated in the Nove tendencije movement. In Croatian and English language. Very rare. Autor: Dimitrije Bašičević Mangelos Izdavač: AtD - Atelier Tošo Dabac Izdanje: prvo/first Godina: 1978 Uvez: meki Format: 14x19 Stranica: 52

Braco Dimitrijević: His Pencil's Voice / Njegove olovke glas B/W photos Sven Stilinović & Fedor Vučemilović Galerija SC & Muzički salon Teatar ITD, Zageb, 1973. In very fine codition. Very very rare. Ursula Block’s seminal catalog of art records and anti-records, entitled Broken Music, includes several artifacts that today are coveted by collectors of unusual records. One seminal item in that catalog Njeqove Olovke Glas, a.k.a. His Pencil’s Voice, a “record” produced by the conceptual artist Braco Dimitrijević: he piece is an LP jacket with a piece of cardboard inside; the “record” is a piece of cardboard inside the jacket. Dimitrijević used a pencil to draw a spiral on the cardboard record, meant to represent the its grooves. The title, His Pencil’s Voice, is no doubt a reference to the early record label, His Master’s Voice: Little is known about His Pencil’s Voice, so I emailed Braco Dimitrijević to learn more. He is a man of few words, always keeping things to the point when conversing via email. He explained that His Pencil’s Voice was created for a solo exhibition in London’s Situation Gallery, which was a linchpin of the modern art scene in the seventies. “What bothered me always was the process of realization from the idea, the sketch to the final art work,” he explains. “This was not only in visual arts, but in music too. So I wanted to create a record with no score performed, but what is written is drawn to be played.” In essence, Dimitrijević saw His Pencil’s Voice as a more direct way of producing a final art product, cutting out the laborious production process. “I drew by hand the spiral on the paper and brought it to printers to make a zinc plate to emboss and print the label,” he recalls Source: Anomaly Index.

EXAT 51: Manifest EXAT 51: Manifest Zagreb, 1953. A4 obostran + Proglas ONIMA, povodom zagrebačke izložbe, pisan na pisaćem stroju. Zagreb, Dvorana Društva arhitekata Hrvatske, 18.02.-04.03.1953. + EXAT 51: Zagreb 1953. Iznimno rijetko. Zagreb, Dvorana Društva arhitekata Hrvatske, 18.02.-04.03.1953. Pozivnica za izložbu Exat 51: Kristl / Picelj / Rašica / Srnec Design Ivan Picelj Jednobojni tisak (tamnosiva) na bijelom papiru. 25x11cm Stanje - odlično.

EXAT 51: Manifest Beograd, 1953. Manifest objavljen prigodom izložbe Kristl / Picelj / Rašica / Srnec A4 Na dva lista A4, obostrano. Presavijan. Tekst Jure Kaštelan

Josip Vaništa: Gorgona 1 Zagreb, 1961. Periodical with screenprint cover and relief half-tone prints Dimensions: page (each): 8 1/4 x 7 5/8" (21 x 19.3 cm) Josip Vaništa, the group's founder, conceived the first issue, which consisted of the same photograph of an empty shop window reproduced on each of its nine pages.

Bakropis s likom i potpisom bana Jelačića. Muzejski primjerak. Bakropis je nastao negdje oko 1850. godine. Josip grof Jelačić Bužimski (Petrovaradin, 16. listopada 1801. - Zagreb, 20. svibnja 1859.), general i hrvatski ban od 1848. do 1859., član plemićke

Manifesti: noart. Zagreb: Atelier Tošo Dabac, 1978. Dvojezično (hrvatsko-engleski) izdanje za drugu samostalnu izložbu Dimitrija Bašičevića Mangelosa, održana u Atelieru Toše Dabca, Zagreb 1978. godine. Predgovor Nena Dimitrijević. Published on the occa

GEFF 69, Zagreb Seksualnost kao mogući put u novi humanizam 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. 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.

Mangelos: Energija no 9. Artist's Book. Artist Edition for Exhibition in Galerija Dubrava, Zagreb, January 1979. Sitotisak / Silkprint on Paper. In very good condition / U vrlo dobrom stanju. Format: 12x17 cm Stranica: 30

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

Studentski Centar Sveucilista u Zagrebu, Josip Stosic, Zagreb, 1976. Paperback. Book Condition: Good. French poet and critic, Stephane Mallarme (1842 – 1898) was a major French symbolist poet, and his work anticipated and inspired several revolutionary ar

Artist's Book. Artist Edition for Exhibition, Galerija Dubrava, Zagreb January 1979. Postav izložbe Vlado Perović. Naklada 200 primjeraka.

Izložbe - akcije 1975-1977, Grupa šestorice autora. Cefft - Centar za fotografiju, film i televiziju. 25.03. - 17.04. 1977. Uključuje rad Mladena Stilinovića i jednu intervenciju u tekstu. Artist's book. Urednik edicije Mangelos. Autori koncepcije i tekst

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