UMJETNOST

Eugen Feller Akril na platnu 50x60 cm 2010. godina Opremljen Eugen Feller (Zagreb, 1942), one of the most radical representatives of informel in contemporary Croatian art.

OHO group: preicarežeracirep Likovna oprema Marko Pogačnik Znamenja 6 Ljubljana, 1969. Autori: Aleš Kermavner, Marko Pogačnik, Tomaž Šalamun, Franci Zagoričnik, I.G.Plamen, Milenko Matanović, Vojin Kovač Chubby, Matjaž Hanžek, Slavoj Žižek 10x18cm Publikacija Pericarežaracirep (palindrom, tj. riječ koja se može čitati s kraja, a da pri tom ostaje ista) završena je u listopadu. Suradnici su Aleš Kermavner, Marko Pogačnik, Tomaž Šalamun, Franci Zagoričnik, Iztok Geister, Milenko Matanović, Vojin Kovač-Chubby, Matjaž Hanžek i Slavoj Žižek; a urednici su Geister i Pogačnik. Veliki dio publikacije obuhvaća reističku i konkretnu poeziju, Pogačnik objavljuje svoje članke i tekst pod nazivom Frolich-Moscon, dok Geister i Žižek objavljuju eseje. Knjiga je objavljena 1969. kao šesti svezak izdanja Znamenja. U studenom je priređena Geistnerova i Pogačnikova knjiga Ikebana, objavljena kao osmi svezak izdanja Znamenja (Znakovi).

Aleš Kermavner 1946-1966 OHO, Ljubljana 1966 20,3x14,7 cm cjelokupno književno naslijeđe objavljeno je iste godine u Knjizi Aleša Kermavnera u kojoj su objavljeni i otisci kanala i ostalih objekata. Aleš Kermavner's suicide on April, 3, strongly affects his colleagues. His literary legacy is published the same year in the Book of Aleš Kermavner and also features imprints of ducts and other objects. V Ljubljani, Kulturna komisija pri univerzitet- nem odboru Zveze študentov Jugoslavije, t. Učne delavnice 1966.) (64) str.

Ivan Picelj: Homage to El Lissitzky Dimensions: 35×49.8 cm Publisher: Kultura, Zagreb 1957. Sitotisak / Silkprint Signed and numbered. Uredništvo: Božo Bek, Zlatko Prica, Dragovan Šepić Tehnički urednik: Ivan Picelj Tisak: Atelier za serigrafiju, Zagreb Otisnuli: Zvonimir Melnjak i Mirka Mader Prva grafička mapa Ivana Picelja.

Ivan Picelj: Galerija suvremene umjetnosti 50x70cm Zagreb, 1963. godine High Quality Screen Print / visokokvalitetan sitotisak Plakat za Galeriju suvremene umjetnosti. Plakat je izveden u 4 boje (crna, smeđa, plava i tamno plavo) na bijelom papiru. Podijeljen na dvije plohe, donja manja u tamno plavoj, gornja veća crne boje. Unutar veće plohe plavi kvadrat.

Artist Book 21x29,5 cm Radna zajednice umjetnika Podroom, Zagreb 1979. Samostalna izložba Svena Stilinovića se održala 6. - 13. ožujka 1979. Povodom te izložbe autor je objavio katalog s replikama radova i tekst. U tekstu piše o "velikim" radovima i objašnjava što ih čini velikima (dimenzije, što neobičniji materijal, višeznačnost i slojevitost). Smatra da umjetnici koji rade "velika djela" znaju gdje ih treba prezentirati, a to nisu mali prostori nego oni većih dimenzija i velikog značaja. Na ovoj izložbi izložio je seriju tekstova na papiru i dvije kamene kocke dimenzija 1 x 1 x 1 m, naziva Skulpura 1 i Skulptura 2. Skulpturu 3 je postavio u park Ribnjak 1. ožujka 1979., pa je u katalogu objavio dvije fotografije spomenute skulpture.

Ivan Picelj: Vaništa Plakat za izložbu Josipa Vanište, iz 1965. godine / period Gorgone. Sitotisak / Silkprint 50x70 cm

Ivan Picelj: Picasso Plakat za izložbu "Picasso" u Galeriji suvremene umjetnosti. Zagreb, 1962. godine 50x70 cm Sitotisak / Silkprint

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

Ivan Picelj: Edo Murtić Zagreb, 1963. Sitotisak / Silkprint Plakat za izložbu "Murtić - emajli " u MUO.Plakat je tiskan u 4 boje (crna, žuta, narančasta i crvena). Plakatom dominira raster pravokutnika crven i narančaste boje. Po sredini plakata, na narančastoj traci, crnim slovima naziv izložbe, u dnu plakata na žutoj traci iste debljine crnim slovima podaci o izložbi.

Mihajlo Arsovski: dizajn za Beatles Fan Club Zagreb, 1968/1969. The Beatles single Christmas Time koji su dobivali isključivo članovi Beatles Fan Cluba. Uz single ide i pripadajući flyer. Zagreb, 1968. Yellow Submarine, fanzin iz 1969. godine. 14x21cm 6pp folded

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

Maj 75, broj Č, 1979; Boris Demur, Željko Jerman, Vlado Martek, Mladen Stilinović, Sven Stilinović, Fedor Vučemilović, Goran Petercol 21x29,5 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

Ivan Picelj: Jean Dubuffet Galerija suvremene umjetnosti, Zagreb, 1964. Sitotisak / Silkprint 50x70cm

Ivan Picelj: Kompozicija Y23 Dimensions: 35×49.8 cm Publisher: Kultura, Zagreb 1957. Sitotisak / Silkprint Signed and numbered. Uredništvo: Božo Bek, Zlatko Prica, Dragovan Šepić Tehnički urednik: Ivan Picelj Tisak: Atelier za serigrafiju, Zagreb Otisnuli: Zvonimir Melnjak i Mirka Mader Prva grafička mapa Ivana Picelja.

Rok 1-4 Rok 1 - Beograd 1969. godine. 22x22cm Rok 2 - Beograd 1969. godine. 22x22cm Rok 3 - Beograd, 1969. Oprema Branko Vučičević (ZMKS) 14x20cm Rok 4a - Beograd, 1970. 21x20,5cm In prestige list in Artists' Magazines: An Alternative Space for Art (The MIT Press) by Gwen Allen

Ivan Picelj: Kompozicija Y-IV Dimensions: 35×49.8 cm Publisher: Kultura, Zagreb 1957. Sitotisak / Silkprint Signed and numbered. Uredništvo: Božo Bek, Zlatko Prica, Dragovan Šepić Tehnički urednik: Ivan Picelj Tisak: Atelier za serigrafiju, Zagreb Otisnuli: Zvonimir Melnjak i Mirka Mader Prva grafička mapa Ivana Picelja.

Ivan Picelj: Kompozicija W Dimensions: 35×49.8 cm Publisher: Kultura, Zagreb 1957. Sitotisak / Silkprint Signed and numbered. Uredništvo: Božo Bek, Zlatko Prica, Dragovan Šepić Tehnički urednik: Ivan Picelj Tisak: Atelier za serigrafiju, Zagreb Otisnuli: Zvonimir Melnjak i Mirka Mader Prva grafička mapa Ivana Picelja.

Ivan Picelj: Kompozicija Dimensions: 35×49.8 cm Publisher: Kultura, Zagreb 1957. Sitotisak / Silkprint Signed and numbered. Uredništvo: Božo Bek, Zlatko Prica, Dragovan Šepić Tehnički urednik: Ivan Picelj Tisak: Atelier za serigrafiju, Zagreb Otisnuli: Zvonimir Melnjak i Mirka Mader Prva grafička mapa Ivana Picelja.

Ivan Picelj: Kompozicija IV Dimensions: 35×49.8 cm Publisher: Kultura, Zagreb 1957. Sitotisak / Silkprint Signed and numbered. Uredništvo: Božo Bek, Zlatko Prica, Dragovan Šepić Tehnički urednik: Ivan Picelj Tisak: Atelier za serigrafiju, Zagreb Otisnuli: Zvonimir Melnjak i Mirka Mader Prva grafička mapa Ivana Picelja.

OHO: Pegam in Lambergar Art Marko Pogačnik Poezija / Poetry Iztok Geister-Plamen Artist Book edicija OHO 11.1 x 20.1 cm V Ljubljani : samozaložba [I. G. Plamen, 1968]. - [80] str.

Ivan Picelj: Mogućnosti za "72 Zagreb, 1972. godine 70 × 50 cm High Quality Screen Print / visokokvalitetan sitotisak Bijela podloga, grafičko rješenje: u donjem dijelu plakata kompozicija geometrijskih oblika: lijevo kvadrat (čine ga 4 manja u tisku plave, crvene, žute i bijeli), koji se desno produžuje u izduženu pravokutnu plohu: crni okvir, horizontalna podjela dvjema bijelim linijama, raster sita od gotovo bijelog (lijevi dio), do crnog (desno). Gornji dio plakata: naziv izložbe, ispod njega 6 blokova informacija o izložbi, sve u tisku crne boje.

Mihajlo Arsovski: TEKA 3 Plakat High Quality Screen Print / visokokvalitetan sitotisak 70x100 cm Danijel Dragojević: “Prirodopis”, BiblioTEKA, knjiga br. 3, Studentski centar Sveučilišta u Zagrebu, Zagreb, 1974