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Ivan Picelj: Oblikovanje

Ivan Picelj: Oblikovanje Zagreb, 1963. godine High Quality Screen Print / visokokvalitetan sitotisak 50x70cm Plakat za izložbu "Oblikovanje" u MUO u organizaciji ULUPUH-a. Plakat je tiskan u 2 boje (crvena i cna) na bijelom papiru. Raster crnih vertikalnih linija, 2 crvena kvadrata, krug izveden rasterom.
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Ivan Picelj: Vasarely

Ivan Picelj: Victor Vasarely Zagreb, 1968. godine 50x70cm High Quality Screen Print / visokokvalitetan sitotisak Plakat za izložbu "Vasarely " u GSU. Plakat je izveden u 6 boja (plava pozadina, tamno plava, ljubičasta, narančasta, crvena, tamno crvena). Plakatom dominira nepravilan geometrijski lik izveden od kvadrata i rombova raznih boja. Pri vrhu plakata nalazi se ime izložbe a ispod imena podaci o izložbi.
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Ivan Picelj: Galerija suvremene umjetnosti

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.
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Dalibor Martinis: Sanja Iveković

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
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Sven Stilinović: Podroom

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.
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OHO: pericarežeracirep

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).
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Ivan Picelj: Bruno Munari

Ivan Picelj: Bruno Munari Plakat za izložbu u Galeriji suvremene umjetnosti Zagreb, 1973. godine 50x70cm High Quality Screen Print / visokokvalitetan sitotisak Atelier Brane Horvat Bijela podloga, grafičko rješenje: prostorni prikaz crne kocke (donjivrh presječen joj je rubom plakata), gornja ploha: srebrnosiva. Ispod gornjeg ruba plakatacentrirano prezime autora zelenim, ispod njega informativni tekst (3 reda) u tisku crveneboje.
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Mihajlo Arsovski: TEKA 3

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
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Ivan Picelj: Mogućnosti za "72

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.
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Ivan Picelj: Vaništa

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

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

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
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Maj 75 Ć

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
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Maj 75 C

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
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Maj 75 Č

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
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Mladen Stilinović: Nemam vremena

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
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Sanja Iveković: Ugo la Pietra – Ponovno prisvajanje okoline

Sanja Iveković: Ugo la Pietra – Ponovno prisvajanje okoline Plakat izložbe Galerija suvremene umjetnosti, Zagreb 1975. High Quality Screen Print / visokokvalitetan sitotisak Atelier Brane Horvat / Studio S Plakat je iz dva djela. 68x100 cm
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Ivan Picelj: Cieslewicz

Ivan Picelj: Cieslewicz Galerija suvremene umjetnosti Zagreb, 1973. godine High Quality Screen Print / visokokvalitetan sitotisak 50x70cm Crna podloga, foto-montaža u crno-bijeloj tehnici i rasteru sita: ženski lik s leđa. Ispod gornjeg ruba plakata bijelim slovima prezime autora,ispod njega (centrirano) zelenim (3 reda) informativni tekst.
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Ivan Picelj: Plakat / Knjiga

Ivan Picelj: Plakat / Knjiga Zagreb, 1964. godine 50x70cm High Quality Screen Print / visokokvalitetan sitotisak Crna podloga, grafičko rješenje: koncentrični krugovi (po 2 u tisku plave, smeđe, zelene i srebrnosive) koje čine faksimili potpisa slikara Borisa Dogana. Ispodnaziv izložbe smeđim slovima. Donji dio plakata: bijela podloga, lijevo tekst utisku crne boje.
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Mihajlo Arsovski: Aleksandar Srnec

Mihajlo Arsovski: Aleksandar Srnec Plakat za izložbu Galerija suvremene umjetnosti Zagreb, 1971. godine High Quality Screen Print / visokokvalitetan sitotisak 50x70 cm Podloga u tisku ljubičaste, grafičko rješenje: kompozicija 3 kvadratapod raznimkutevima: zeleni, žuti i narančasti. Gornji dio plakata: lijevoinformacija, desno ime autora, oboje u tisku zelene.
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Mihajlo Arsovski: Josip Stošić

Mihajlo Arsovski: Josip Stošić Plakat za izložbu Josipa Stošića Zagreb. Galerija suvremene umjetnosti, 1971. 50x70cm High Quality Screen Print / visokokvalitetan sitotisak
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Aleksandar Srnec

Aleksandar Srnec Zagreb, 1965. godine 48.5 × 68.5 High Quality Screen Print / visokokvalitetan sitotisak Udruženje kompozitora hrvatske radio-televizije Kazalište "Komedija". Crna podloga, desno geometrijska kompozicija koju čine 2 okomita niza pravokutinih ploha različitih dimenzija i položaja, lijeva bijeli niz sjednom smeđom plohom desno smeđi niz s ejdnom bijelom. Naziv priredbe žutim, gore i dolje tekst bijelim.
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Ivan Picelj: Mogućnosti za "72

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.
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Ivan Picelj: Žena

Ivan Picelj: Žena Zagreb, 1972. godine 70 × 50 cm High Quality Screen Print / visokokvalitetan sitotisak Plakat za izložbu "Žena - 2. svjetska izložba fotografije" u GSU. Plakat izveden u 1 boji na bijelom papiru (crna). U dnu plakata, na crnoj pozadini, fotografija žene koja prstima uokviruje oko. U vrhu plakata naziv izložbe i podaci bijelim slovima.
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