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Ivan Picelj: Lenjingrad u godinama rata i mira

Ivan Picelj: Lenjingrad u godinama rata i mira Kabinet grafike JAZU Zagreb, 1976. 84 x 59 cm High Quality Screen Print / visokokvalitetan sitotisak Atelier Brane Horvat / Studio S
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Antimuzej

Antimuzej. Artist Book. Vladimir Dodig Trokut & Tomislav Šola (tekst) Zagreb, 1981.Nakladnik: Božo Biškupić, Zagreb, edicija Iris. Tekst je otisnut na bijelom Hannemuhle Butten papiru u 49 primjeraka, u Grafi-Konu, Zagreb. Slog je složen iz pisma Excelsior 10 točaka. U svakom primjerku nalazi se sedam grafika Vladimra Dodiga otisnutih na 200 g papiru, formata 260x190 mm u tehnici svilotiska, Knjiga je zajedničko izdanje autora i Zbirke Biškupić. Ovaj primjeraj je redni broj 15 Stanje - odlično
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Mihajlo Arsovski: TEKA 7

Mihajlo Arsovski: TEKA 7 Pravo na lijenost / Paul Lafargue 50x70 cm Sititisak / Silkscreen Zagreb, 1970 / 1975.
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Ivan Picelj: Petlevski

Ivan Picelj: Petlevski Plakat za izložbu Ordana Petlevskog Zagreb, Galerija suvremene umjetnosti, 1962. Sitotisak / Silkprint 50x70 cm
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Ivan Picelj: Prica

Ivan Picelj: Prica Plakat za izložbu Zlatka Price Galerija suvremene umjetnosti Zagreb, 1964. Sitotisak / Silkprint 50x70 cm
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Dalibor Martinis: Bill Brandt

Dalibor Martinis: Bill Brandt Plakat za izložbu Bii Brandt, fotografije 1937 / 1970 Zagreb, Galerija suvremene umjetnosti, 1983. Sitotisak / Silkprint 97,5 x 67,5 cm Sitotisak Studio S Zagreb
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Sanja Iveković: Žene i politika mira

Sanja Iveković: Žene i politika mira Sanja Ivekovic: Woman and the Politics of peace Plakat 50x70 cm Sitotisak / Silkprint Ženski međunarodni forum Centar za ženske studije, Zagreb 1993.
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Ivan Picelj: Fernand Léger

Ivan Picelj: Plakat za izložbu "Fernand Léger" u Galeriji suremene umjetnosti, Zagreb, 1963. godine. Silkprint / sitotisak 50x70cm Reprodukcija rada u cno-zelenom tonu. U dnu plakata na crvenoj pozadini crnim slovima (Helvetica) naziv izožbe i podaci. Fernand Léger, (born February 4, 1881, Argentan, France—died August 17, 1955, Gif-sur-Yvette), French painter who was deeply influenced by modern industrial technology and Cubism. He developed “machine art,” a style characterized by monumental mechanistic forms rendered in bold colours.
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Ivan Picelj: Petar Dabac

Ivan Picelj: Petar Dabac Zagreb, 1975. Sitotisak / Silkprint Plakat za izložbu "Petar Dabac - Fotogrami" u CEFFT. Osnovni motiv pakata čini kvadrat u verlaufu duginih boja na kojem je icrtan niz identičnih likova. Pri vrhu plakata, na bijeloj pozadini, crnim slovima ispisan naziv izložbe i podaci.
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Ivan Picelj: Tjedan muzeja

Ivan Picelj: Tjedan muzeja Zagreb, 1963. godine 70.5 × 50 Sitotisak / Silkprint Plakat za manifestaciju "Tjedan muzeja" u organizaciji Muzejskog društva Hrvatske. Plakat tiskan u 4 boje (plava, crvena, siva, crna) na bijelom papiru. U središtu plakata, na plavoj pozadini, nalazi se bijeli kvadrat unutar kojeg se nalazi crveni kvadrat.U crvenom kvadratu, crnim slovima upisan je datum trajanja manifestacije. Iznad i ispod bijelog kvadrata tekst sivom bojom.
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Dejan Kršić: WHW

Dejan Kršić: WHW Deset plakata za kolektiv WHW Sitotisak / Silkprint 50x70cm Born 1961 in Sarajevo. He graduated art history and ethnology from the Faculty of Philosophy in Zagreb. He has exhibited in several solo shows (in Zagreb, Ljubljana, Rijeka, Belgrade) and has participated in many collective exhibitions and video festivals. Since the mid 1980s he has been working for various magazines and newspapers as a journalist, editor and/or graphic designer (Polet, Studentski list, Quorum, Svijet, Start, Mladina, Moment, Danas…, Frakcija, Zarez). In the 1993 he was one of the founders and later editor-in-chief of Arkzin biweekly newspaper/magazine and publishing project. He translated to Croatian and published essays by many distinguished theorists and writers such as Slavoj Zizek, Renata Salecl, Darian Leader, Brian Holmes. He created graphic design for numerous respectable exhibition catalogues. Additionally, his design works have been published in many design magazines: Eye (UK), Print (USA), AIGA journal (USA), Kak (Russia); and books: Mirko Ilic & Steven Heller: "Genius Moves - 100 Icons of Graphic Design" (North Light Books, 2001), "Two Colour Graphic" (Rockport, 2004), Milton Glaser & Mirko Ilic: "Design of Dissent" (Rockport, 2005), Timoty Samara: "Publication Design Workbook" (Rockport, 2005); Rick Poynor: "Designing Pornotopia: Travels in Visual Culture" (Laurence King, 2006). Since 2000, Dejan has been collaborating on many projects. As a graphic designer and writer Dejan Krsic has been collaborating on WHW projects: "What, how and for Whom - on the occasions of the 152nd Anniversary of the Communist Manifesto" (Zagreb 2000, Vienna 2001); "Broadcasting Project, dedicated to Nikola Tesla" (Zagreb 2001/2002); "Collective Creativity" (Kassel 2005). Since 2003 he has been designing all visual materials for Gallery Nova, including the gallery newspaper. The interdisciplinary focus of Dejan's work is putting the visual art practice and art theory in a creative dialogue with graphic design and curatorial strategies. Since 2008 he teaches graphic design at Department of visual communications at UMAS, Split, Croatia. Source: Monoskop What, How & for Whom/WHW is a curatorial collective formed in 1999 and based in Zagreb and Berlin. Its members are Ivet Ćurlin, Ana Dević, Nataša Ilić and Sabina Sabolović, and designer and publicist Dejan Kršić.
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Dalibor Martinis: Konfrontacije

Dalibor Martinis: Konfrontacije od 30.09. 1976. do 17.10.1976. / design [Dalibor] Martinis. Impresum Zagreb : Galerija 1976. (Zagreb: studio s) Plakat : sitotisak C/B ; 67 x 97,5 cm.
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Dalibor Martinis: Damir Sokić

Dalibor Martinis: Damir Sokić Plakat za izložbu Damira Sokića, Galerija suvremene umjetnosti Zagreb, 1983. Sitotisak / Silkprint 97,5x67,5cm
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Dalibor Martinis: Drinković

Dalibor Martinis: Drinković Plakat za izložbu Slavomira Drinkovića Galerija suvremene umjetnosti Zagreb, 1984. Sitotisak / Silkprint 97,5x67,5 cm
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Pan 69 (Mladen Stilinović)

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.
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Ivan Picelj: Zidno slikarstvo Istre

Ivan Picelj: Zidno slikarstvo Istre Autorska radionica: Grafički zavod Hrvatske, Zagreb 80x60,5 cm Sitotisak / Silkprint Reprodukcija u crno-bijeloj tehnici detalja freske (zamak). Donji dio plakata: crna podloga, tekst u tisku smeđe boje.
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Ivan Picelj: Vizionarna arhitektura

Ivan Picelj: Vizionarna arhitektura Plakat za izložbu "Vizionarna arhitektura" u Muzeju za umjetnost i obrt. Tiskano u 5 boja (plava, narančasta, crvena, zelena, svj. siva) na bijelom papiru. Plava pozadina. Krugovi ucrtani jedan u drugi, raznih boja. U zagrebačkom muzeju za umjetnosti i obrt 1963. godine održana je izložba Vizionarna arhitektura u organizaciji moma-e iz new Yorka. na izložbi je bio prikazan niz projekata iz raznih razdoblja, sveukupno stotinjak djela na panoima podijeljenima u nekoliko kategorija: 1. zgrade čiji oblici predstavljaju neku vrstu odredišta, 2. linearne, “putujuće” strukture, 3. zgrade složenih 'mitoloških' oblika. dio izloženih projekata bio je inspiriran organskim svijetom i evolucijom oblika. Uz izložbu je otisnut manji katalog.
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Ivan Picelj: Majakovski

Ivan Picelj: Majakovski Majakovski: Galerija suvremene umjetnosti, Zagreb 1973. godine Autorska radionica: Studentski centar, Zagreb 70.5 × 50 cm High-quality Silkscreen / Sitotisak Bijela podloga, grafičko rješenje: kompozicija geometrijskih elemenata u tisku crne i crvene koji čine srp i čekić. Dijagonalno položenim slovima u tisku crveneprezime autora. Ispod gornjeg ruba plakata informativni tekst u tisku crne (4 reda).
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Vjenceslav Richter: SESPO (Spontana grafika)

SESPO (Spontana grafika) 1979. g. 100 x 70 cm sitotisak / papir Autor (umjetnik): Vjenceslav Richter
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Dalibor Martinis: Zagrebački solisti

Dalibor Martinis: Zagrebački solisti photo Željko Stojanović. Impresum Zagreb : Galerija suvremene umjetnosti, 1974. Zagreb studio s
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Ivan Picelj: Donner à voir

66 × 52cm, sitotisak na kartonu. Ivan Picelj - Plakat za izložbu "Donner a Voir 2 " u galeriji Galerie Creuze u Parizu. Zeleni papir, lijevo jedno ispod drugog imena autora. Desni dio: brojka 2, iznadi ispod tekst. Sve u tisku crne boje.
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Ivan Picelj: Fotograf Edward Steichen

Ivan Picelj, plakat za izložbu Fotograf Edward Steichen, Muzej za umjetnost i obrt, Zagreb 1966. godine. Crna podloga, reprodukcija fotografije u rasteru sita: grupa ljudi. Gornji dio plakata: bijela podloga, centrirano naziv izložbe (3 reda), ispodinfor
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Ivan Picelj: Marc Chagall

Ivan Picelj - Plakat za izložbu: Marc Chagall, Galerija suvremene umjetnosti Zagreb, katarinin trg 2 7.VII-10.IX 1967. Žuta podloga, crni crtež (stilizirani muški lik s violinom), dolje lijevo datum crnim, gore lijevo i ispod gornjeg ruba (4 bloka) tekst
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Ivan Picelj: Oskar Herman

Plakat za izložbu "Herman" u Galeriji suvremene umjetnosti 1966. godine. Plakat je izveden u 3 boje (crna, roza, plava) na bijelom papiru. Sitotisak 70 × 50cm
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