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
Goran Trbuljak
Tendencije avangardi u hrvatskoj modernoj umjetnosti, 1919. – 1941. Plakat za izložbu
Galerija suvremene umjetnosti, Zagreb, 1982.
Tisak SC / Grafički servis
Studentski centar, Zagreb
Jeff Koons
Black Balloon Dog
Editions Studio
Cold cast resin
Comes with its original box
Limited edition 999
number engraved under the foot of the dog Edtions Studio 30x30x12cm
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.
Josip Vaništa
Portrait by Gorgona photographer Branko Balić
Zagreb, 1959.
In the first days of Gorgona group
Dated by Josip Vaništa on back
Stamped by Branko Balić
Originalna vintage (silver gelatin print) fotografija.
18x24cm
Dean Jokanović Toumin
Linija kao dimenzija prostora
The Line as a Dimension of Space
Multiple - X
Zagreb, 2017.
Signed and numbered
Edition 10
Aluminium / Steel
38 cm
Dalibor Martinis: Sanja Iveković
Plakat izložbe
Sanja Iveković; Dokumenti 1949 - 1976. Galerija suvremene umjetnosti, Zagreb 10.-30.12.1976.
High Quality Screen Print / visokokvalitetan sitotisak
Atelier Brane Horvat / Studio S
97,5 x 67,5 cm
Ivan Picelj: Knifer
High Quality Screen Print / visokokvalitetan sitotisak
50x70 cm
Galerija suvremene umjetnosti zagreb katarinin trg 2 24.11-13.12.1970. Bijela podloga, crni meandar. Gore tekst u tisku plave.
Plakat za izložbu Tendencije 5, Zagreb 1973.
Design Ivan Picelj
Silkprint / Sitotisak
Tendencije 5 (Konstruktivna vizuelna istraživanja; Kompjuterska vizuelna istraživanja; Konceptualna umjetnost) - Tendencies 5 (Constructive Visual Research, Computer Visual Research, Conceptual Art).
Exhibition, organized by the Galerija suvremene umjetnosti [Gallery of Contemporary Art], Zagreb. Tehnički muzej [Technical Museum], Zagreb, 1 June – 1 July 1973.
Goran Trbuljak: Zapisi jednog umjetnika
Les ecrits d'un artiste
Silkprint / Sitotisak
48,9 x 68,8 cm
Motovunski susreti, 1978
Signed and numbered
37/50
Sanja Iveković: Ljubica Gerovac (Linda Evangelista)
Gen XX, oglasi u časopisima i novinama, 1997 – 2001.
Plakat
68x98 cm
Gen XX,” 1997–2001, presents posters of famous supermodels emblazoned with the names of female Yugoslav World War II heroes
Iveković equipped the photos of professional models with the names and brief stories of women who were celebrated under socialism as “national heroines,” who are today erased from the public consciousness. The space of common knowledge or familiarity from the socialist past was evacuated in favor of popular mass culture and commercial icons. Iveković utilizes these vehicles of everyday contemporary popular literacy and invests in them content with (generally absent, and to contemporary standards unattractive) historical knowledge.
Ivan Picelj - originalni plakat iz 1969. godine.
High-quality Sitotisak / Silkscreen
50x70cm
Aleksandar Srnec - Galerija suvremene umjetnosti, Zagreb, Katarinin trg 2 10.1-2.2.1969. Crna podloga, gore prezime autora zelenim. Raster od 8 sivih kružnicas upisanim ružičastim okomito i dijagonalno postavljenim nizovima koje čini5 međusobno spojenih kružnica. Između njih tekst bijelim.
Autor: Ivan Picelj
Hexagone, 1988
Plexiglas containing four books
10 1/4 × 11 3/4 × 2 in
26 × 29.8 × 5.1 cm
Signed by author
Limited and numbered edition
Incised and numbered along the bottom
Dalibor Martinis: Ivan Kožarić
Plakat za izložbu: Zagreb, Galerija suvremene umjetnosti, 1975.
Potpisan: Ivan Kožarić
Silkprint - Zagreb: Studio S
98,5 x 69 cm
Fotografije Petar Dabac
Julije Knifer
Atelier Brane Horvata (Horetzky)
Zagreb, 2003.
69 x 49 cm. (27.2 x 19.3 in.)
Edition 50
Signed and numbered
High Quality Screen Print / visokokvalitetan sitotisak