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Ivan Picelj: Tendencije 4 (II)

Ivan Picelj: Tendencije 4 (Version 2 .) 49,5x97cm High Quality Screen Print / visokokvalitetan sitotisak Atelier Brane Horvat (Studio S) Exhibition MoMa, 2018. / Thinking Machines: Art and Design in the Computer Age, 1959. - 1989. In Tate’s collection. Tendencije 4, Kompjutori i vizuelna istraživanja - Tendency 4, Computer and Visual Research. Informational exhibition featuring computer graphics and programmed works, Centar za kulturu i informacije [Center for Culture and Information], Zagreb, 2–8 August 1968. Crna podloga, grafičko rješenje čini raster krugova i kružnica u tisku srebrnosive boje. Donji dio plakata: naziv izložbe paralelno na hrvatskom i engleskom jeziku, ispod 4 bloka informativnih tekstova odijeljenih okomitim linijama, sve bijele boje. Participating artists Kurd Alsleben and Cord Passow (DE), Ars intermedia (Otto Beckmann (RU/AT), Alfred Grassl (AT)), Vladimir Bonačić (YU-CR), California Computer Products (Kerry Strand, Larry Jenkins, Doyle Cavin, Dee Hudson, Jane Moon) (US), Compos 68 (Jan Baptist Bedaux, Jeroen Clausman, Arthur Veen) (NL), Waldemar Cordeiro (IT/BR), Charles Csuri (US), Darel D. Eschbach (US), Willam Allan Fetter (US), Alan Mark France (UK), David R. Garrison (US), Jens Harke (DE), Leon D. Harmon and Kenneth C. Knowlton (US), Hiroshi Kawano (JP), Auro Lecci (IT), Robert Mallary (US), Gustav Metzger (DE/UK) (with D. E. Evans, Beverly Rowe and R. J. Stibbs (UK)), Leslie Mezei (HU/CA), Petar Milojević (YU-SR/CA), Frieder Nake (DE/CA), Georg Nees (DE), A. Michael Noll (US), Michael Palyka (US), Ivan Picelj (YU-CR), Rechenzentrum des Instituts Boris Kidrič, Vinča (YU-SR), Manfred Robert Schroeder (DE/US), Lloyd Quinton Summer (US), Alan Sutcliffe (UK), Zdeněk Sýkora (CS-CZ), Evan Harris Walker (US), Edward Zajec (IT/US).
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Ivan Picelj: Tendencije 4 (I)

Ivan Picelj: Tendencije 4 49,5x97cm High Quality Screen Print / visokokvalitetan sitotisak Atelier Brane Horvat (Studio S) Tendencije 4, Kompjutori i vizuelna istraživanja - Tendency 4, Computer and Visual Research. Informational exhibition featuring computer graphics and programmed works, Centar za kulturu i informacije [Center for Culture and Information], Zagreb, 2–8 August 1968. Crna podloga, grafičko rješenje čini raster krugova i kružnica u tisku srebrnosive boje. Donji dio plakata: naziv izložbe paralelno na hrvatskom i engleskom jeziku, ispod 4 bloka informativnih tekstova odijeljenih okomitim linijama, sve bijele boje. Participating artists Kurd Alsleben and Cord Passow (DE), Ars intermedia (Otto Beckmann (RU/AT), Alfred Grassl (AT)), Vladimir Bonačić (YU-CR), California Computer Products (Kerry Strand, Larry Jenkins, Doyle Cavin, Dee Hudson, Jane Moon) (US), Compos 68 (Jan Baptist Bedaux, Jeroen Clausman, Arthur Veen) (NL), Waldemar Cordeiro (IT/BR), Charles Csuri (US), Darel D. Eschbach (US), Willam Allan Fetter (US), Alan Mark France (UK), David R. Garrison (US), Jens Harke (DE), Leon D. Harmon and Kenneth C. Knowlton (US), Hiroshi Kawano (JP), Auro Lecci (IT), Robert Mallary (US), Gustav Metzger (DE/UK) (with D. E. Evans, Beverly Rowe and R. J. Stibbs (UK)), Leslie Mezei (HU/CA), Petar Milojević (YU-SR/CA), Frieder Nake (DE/CA), Georg Nees (DE), A. Michael Noll (US), Michael Palyka (US), Ivan Picelj (YU-CR), Rechenzentrum des Instituts Boris Kidrič, Vinča (YU-SR), Manfred Robert Schroeder (DE/US), Lloyd Quinton Summer (US), Alan Sutcliffe (UK), Zdeněk Sýkora (CS-CZ), Evan Harris Walker (US), Edward Zajec (IT/US).
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Ivan Picelj: Nove tendencije 2

Ivan Picelj: Nove tendencije 2 High Quality Screenprint on metallic paper 27 3/4 x 19 7/8" (70.5 x 50.4 cm) Galerija suvremene umjetnosti Zagreb, 1963. godine Grafičko rješenje: podloga u tisku zlatnožute, raster (12 horizontalnih nizova po 10) crnih kružnica s upisanim manjim kružnicama (boja podloge). Donja 2 niza odijeljena crnom horizontalnom plohom s tekstom u tisku bijele.
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herman de vries: wit is overdaad

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]
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Alberto Biasi: Torsioni Sovrapposte

Alberto Biasi: Torsioni Sovrapposte Noir Multiple: wood and pvc lamellae 2016. Signature engraved by the artist Edition 15 Size 52cm x 51cm x 10cm (20.5'' x 20.1'' x 3.9'') Condition perfect condition
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Goran Trbuljak

“Još jedna prilika da budete umjetnik”, plakat za izložbu, Galerija SC, 1973. tipografski plakat dimenzija 70 x 50 cm koji počinje sa tekstom ‘Ovaj plakat nije dobar plakat jer:’ i nastavlja istim pismom u drugom pasusu: ‘Odlikom dobrog plakata smatra se jasan, u isti mah sadržajan i kratak, s veće udaljenosti čitljiv tekst koji se lako pamti, a programski je povezan sa slikom. Plakatska slika opet treba da veže optičku pažnju i ujedno emotivno-izazovno ili asocijativno- djeluje na senzibilitet onih kojima je namijenjena.’ Drugi paragraf prenosi članak o plakatu iz Enciklopedije Leksikografskog zavoda, što je i navedeno manjim slovima, uz osnovne podatke o izložbi. Ovim plakatom ostvaren je reprezentativni primjer meta-dizajna. Osim kada koristi medij plakata za radove u vlastitoj umjetničkoj praksi, ovo je rijedak primjer gdje Trbuljak direktno implementira metodologiju konceptualne umjetnosti u područje dizajna. Kasnije će ostvariti još nekoliko primjera meta-dizajna, izložbenog plakata ‘Christian Boltanski – Annette Messager’ (1975), naslovnice časopisa Film (1978) i novina Polet (1979) te filmskog plakata Treća žena (1997), o čemu će naknadno biti riječi. Izvor: Darko Fritz
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Mangelos: manifest o impresionizmu

Mangelos: manifest o impresionizmu (in Croatian), 1977. High Quality Screen Print / visokokvalitetan sitotisak 84 x 52 cm (33 1/8" x 20 1/2") Mangelos: manifest o impresionizmu silknprint on paper. Zagreb 1977. Produced as part of a gallery show in Zagreb that featured his manifesto work. Mangelos. Manifesti: noart. Zagreb: Atelier Tošo Dabac, 1978.
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Miljenko Horvat: Gorgona 7

Screenprinted cover and two gelatin silver prints.. This edition of Gorgona contains 2 original photographs taken in Denmark. Photographs are identical, presenting two different stages of photographic development. Miljenko Horvat: Gorgona A photograph of the lighthouse and the dead seagull from Skagen, which Miljenko Horvat shot in 1963, during his visit to the further most north point of Denmark, was sent to Josip Vaništa and used as a photo-contribution to the anti-magazine Gorgona no. 7 from 1965. This enigmatic, but almost emblematic image contains within itself the basic principle of not only Gorgonian photography, but also of Horvat's personal approach to the medium. And this is firstly a thought, and only far after it an actual photograph of the seaside with a lighthouse and a dead seagull. The photograph unambiguously has the built-in component of the "mysterious reality".
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Dieter Roth: Gorgona 9

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)
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Marijan Jevšovar: Gorgona 3

Marijan Jevšovar: Gorgona 3 Zagreb, 1962. Stanje: odlićno. Condition: very good. Periodical with screenprinted cover and screenprinted insert. page (each): 8 1/4 x 7 9/16" 21 x 19.2 cm Marijan Jevšovar was born in Zagreb in 1922. Besides his painting, he was an accomplished graphic designer, specialized in books and posters. He died in 1998 in Zagreb. The art of Marijan Jevšovar is punctuated by his association with Gorgona (1959 -1966).
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Julije Knifer

Julije Knifer Knifer, Julije: Friedrich Hölderlin - Der Rhein" Edition Tiessen, 1984. Linocut on wove cardboard and 1 book with linocut. Both in the imprint signed, dated and numbered 66/75. Original-Janson-Antiqua on 16pp Format (ŠxV): 22,8 x 30,1 cm (meki uvez), 23,5 x 29,6 cm (Leporello). Ručni papir Vélin d'Arches. Uvez: broširani uvez ušiven koncem, tiskan linorezom.
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Mangelos: manifesto of manifesto

Mangelos: manifesto of manifesto in English Zagreb, 1977. screenprint on paper 70 x 50 cm (27 1/2" x 19 5/8") Produced as part of a gallery show in Zagreb that featured his manifesto work. Mangelos. Manifesti: noart. Zagreb: Atelier Tošo Dabac, 1978.
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Julije Knifer

Julije Knifer Untitled Silkscreen. 1970/1972 ed. 18/25 45 x 63 cm Signed in pencil lower right and numbered lower left
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Mangelos: manifest o društvu bez umjetnosti

Mangelos - manifest; o društvu bez umjetnosti. 50x70cm, screenprint on paper. An active member of the Gorgona group in Zagreb from 1959 to 1966, Dimitrije Bašičević was a conceptual artist devoted to the idea of “anti-art” and a desire to mov
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Josip Vaništa: Leonardo da Vinci

Josip Vaništa: Leonardo da Vinci Zagreb 1960/1965 Artist Book Collage. HandMade / Ručno izrađen Unique 15x21,5cm 12pp Collage S urednim papirima
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Julije Knifer: Gorgona 2

Julije Knifer, Gorgona artists group. Gorgona no. 2 Zagreb 1961. Periodical with screenprinted cover and screenprinted insert. page (each): 8 1/4 x 7 9/16" (21 x 19.2 cm). Julije Knifer designed the second issue, with a serpentine black-and-white geometri
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Josip Vaništa : Antun Branko Šimić

Josip Vaništa : Antun Branko Šimić Originalni crtež iz ciklusa Crteži 1980-1990. Potpisan JV na crtežu u donjem desnom kutu. Na pozadini ispisano Vaništinim rukopisom: A.B.Šimić / olovka / 1980 - 1990 Opremljen u kvalitetni nature okvir Crtež 34 x 31 cm Opremljen 52 x 72 cm
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Julije Knifer

Julije Knifer Untitled Silkscreen ed. 20/25 45 x 63 cm Signed in pencil lower right and numbered lower left JULIJE KNIFER Medium Silkscreen, ed. 20/25
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Ivan Kožarić: Gorgona 5

Periodical with screenprinted cover and relief half-tone plate Dimensions page (each): 8 1/4 x 7 9/16" (21 x 19.2 cm) Zagreb, 1961. The Gorgona Group was a Croatian avant-garde art group which consisted of artists and art historians: Dimitrije Bašičević-Mangelos, Miljenko Horvat, Marijan Jevšovar, Julije Knifer, Ivan Kožarić, Matko Meštrović, Radoslav Putar, Đuro Seder, Josip Vaništa, operated along the lines of anti-art in Zagreb between 1959 and 1966. Beside individual works linked to traditional techniques, the members proposed different concepts and forms of artistic communication and published the anti-magazine Gorgona - 11 issues.
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Julije Knifer

Julije Knifer Atelijer Brane Horvata Zagreb, 1979. 76x64cm U desnom donjem kutu potpis Julije Knifer U lijevom kutu oznaka B (Julije Knifer je oznakama A-D označavao primjerke grafija namijenjene nakladniku i majstorima koji su radili na izradi grafike High Quality Screenprint
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Julije Knifer

Julije Knifer Meandar Zagreb, 1970-1974. Silkscreen on glossy paper 62.2 x 84.8 cm Signed in pencil lower right, numbered lower left
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Mangelos: Fenomen Picasso

Mangelos: Fenomen Picasso Novi Sad, Tribina mladih 17.-30.04.1972. Sitotisak / Silkprint Plakat: 29,6x39,6 cm
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Josip Vaništa: Gorgona 1

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.
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Dušan Džamonja

Dušan Džamonja Multimodel X Multiple Zagreb, 1974. Signed and stamped "Dzamonja/ADM on the third plate and "ALESSIDAPRES" beneath the base. Stainless steel (rotating plates) 10.8 x 15.2 x 15.2 cm 4 1/4 x 6 x 6 in. Mounted to a stone plinth.
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