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Maj 75

Grupa šestorice autora / Group of Six Artists Maj '75 / May '75 Year: 1978-1984 16 magazines: mixed media on paper, stapled Dimensions: Original Size: each 29,5 x 21 cm (11 5/8 x 8 1/4 in. Vlasta Delimar, Tomislav Gotovac, Sanja Iveković, Mangelos, Balint Szombathy, Raša Todosijević and Goran Trbuljak are a few example
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Jama (The Pit)

Ivan Goran Kovačić: Jama. Poetsko-grafička mapa. Litografija Ede Murtića i Zlatka Pice. Uvezano u padobransko platno. Tiskano u 250 primjeraka, ratne 1944., godinu dana nakon pjesnikove tragične smrti. Objavljena je u Topuskom, gdje je 1944. održan Kongres kulturnih radnika Hrvatske na oslobođenom teritoriju, a Edo Murtić mape je poslao Theodoru Rooseveltu, Winstonu Churchillu, Staljinu i Pablu Picassu. Primjerak je redni broj 248. The most known translation of the poem was made already in 1948 in French language, with a title La fosse commune. The illustration in it was made by Pablo Picasso. The Croatian painter Edo Murtic (1921-2005) was an active member of the armed resistance against the German occupation in 1944. Before the war he painted representational. After the end of the war, he was already a famous artist in Yugoslavia, but also beyond its borders.
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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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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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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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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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Josip Vaništa: Gorgona 1

Gorgona no. 1. Josip Vaništa - Izlog trgovine rabljenom robom. Vlaška ulica 1961. Gorgona broj jedan 1961 godine bila je prazna pozornica, devet slika na kojima se više ništa ne događa. The Gorgona Group , was a Croatian avant-garde art group which consi
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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: DaDa

Josip Vaništa: DaDa Zagreb 1960/1965 Artist Book HandMade / Ručno izrađen Unique 15x21,5cm 12pp Collage
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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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Marko Ristić & Krsto Hegedušić: Turpituda

Marko Ristić & Krsto Hegedušić - Turpituda. Zagreb, 1938. Sa vrlo rijetkim letkom ispravaka. 40p Format: 20x28cm U odličnom stanju Paranoično-didaktička rapsodija jednog od pokretača srpskog i regionalnog nadrealizma i avangarde Marka Ristića. Ilustrirano sa sedam crteža Krste Hegedušića, Zagreb, 1938. Zaplijenjeno odmah po objavljivanju. With the scarce errata leaf. In very fine condition. With seven drawings by Krsto Hegedusic. A "paranoiac-didactic rhapsody," one of Ristic's most inflammatory works buttressed by powerful, shocking surrealist-expressionist images by Hegedusic. This is a work enshrouded in legend and some mystification. Any public discussion of sex and violence was absolutely forbidden under the statutes of the Yugoslav government by the 1930s. Word of this project reached the censors in advance of its release, who ordered the police to raid the printer, seizing the entire edition on the order of the Law of Protecting State Security and Order by Royal Edict and had it destroyed. This is very scarce as well as important.
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Mangelos: Energija no 9.

Artist's Book. Artist Edition for Exhibition, Galerija Dubrava, Zagreb January 1979. Postav izložbe Vlado Perović. Naklada 200 primjeraka.
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Victor Vasarely: Gorgona 4 (FRA)

Gorgona no 4. Francuski / French 4/61. VictorVasarely 1961 Nice condition screenprinted cover and screenprinted insert page (each): 8 1/4 x 7 9/16" (21 x 19.2 cm) privée Vasarely's Gorgona includes several drawings from that period and the author's
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Mangelos: Shid-Theory

Screenprint on cardboard, 8 pages, published by the artist. 14 1/10 × 9 4/5 in. 35.8 × 25 cm. As he himself accurately foresaw, Dimitrije Bašičević Mangelos died in 1987 at the age of 66; in his manifesto Shid Theory, published and exhibited in
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Victor Vasarely: Gorgona 4 (CRO)

Victor Vasarely: Gorgona 4 (CRO) Gorgona no 4. Victor Vasarely 1961. Croatian language edition. Edition privée, Josip Vaništa, Zagreb, Yougoslavie. Exemplarie 113 / 250 Izdanje na hrvatskom jeziku. Screenprinted cover and screenprinted insert page (each): 8 1/4 x 7 9/16" (21 x 19.2 cm) Vasarely's Gorgona includes several drawings from that period and the author's text. Fine condition. 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. Autor: Victor Vasarely Izdavač: Josip Vaništa, Zagreb Izdanje: prvo/first Godina: 1961 Uvez: meki Format: 20,8x19.2
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Ivan Picelj: Tendencije 5

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.
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Harold Pinter: Gorgona 8

Harold Pinter: Tea Party. Gorgona No. 8, 1965. Josip Vaništa, vlastita naklada. Vaništa sent Harold Pinter the seven issues of Gorgona that had already come out and asked him to “design his issue like Vasarely and others had done”. Pinter, in turn, sent
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Vlado Martek & Mladen Stilinović: Knjigarad

Knjigarad = Bookwork. Artist Book. Limited and Rare. Galerija Studentskog centra, Zagreb 1980. This book is stapled in the center, creating space for a catalogue for two artists. The left side contains Martek's work and the right side contains Stilinović'
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Izlog / Shop Window

Josip Vaništa - Izlog / Shop Window. Offset, 50x70cm. Framed in nice, quality nature frame. Signed and numbered 13/50. Printed for first Gorgona retrospective, Gallery of Contemporary Arts (today Museum of Contemporary Arts) Gorgona no. 1 Josip Vaništ
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GEFF 69: Obavijest 1-3 (komplet)

GEFF 69, Zagreb Seksualnost kao mogući put u novi humanizam GEFF, Genre Experimental Film Festival, was international experimental film festival organized from 1963 to 1970 in Zagreb, Croatia. GEFF was established after a series of debates between experimental filmmakers held at the Kino Club in Zagreb entitled “Anti-film and Us,” which was led by Mihovil Pansini, leading experimental film author. Anti-film was a type of film that was more focused on the pure acts of research and discovery, delving into its self-reflexive media language rather than any expression or communication happening between artist and viewer. Anti-film represented a radical annihilation of conventional film, its elements, principals and structure. GEFF became a worldwide locus for non-professional and experimental filmmakers. GEFF 69, pod naslovom Seksualnost kao mogućnost za novi humanizam, trebao se dogoditi u prosincu 1969., no pomaknut je za travanj 1970. godine. Najavljena Retrospektiva seksualnog i erotskog filma zagolicala je maštu javnosti, ali i politike, tako da je ovo ujedno i njegovo posljednje izdanje. Prva izdanja festivalskog biltena-glasila krasila je fotomontaža Aurore koja izgovara rečenicu: voljela bih da sam hermafrodit pa da mogu i sa ženama, dok je gradske površine ukrašavao plakat za izložbu Renea Hollosa, na kojemu je prikazan stilizirani golemi penis s grčkim podnatpisom fallikos antropos. Kasnije povučen na inzistiranje viših političkih instanci, ovaj plakat najavio je i beskompromisni GEFF 69 koji je, kako je pisao tadašnji Filmski svet, od skromne svečanosti zaljubljenika u film postao senzacija za koju su se ulaznice prodavale kao vruća roba. Najviše zanimanja izazvale su projekcije filmova Andyja Warhola i Paula Morrisseya, gošća festivala Carolle Schneemann pokazala je svoj Fuses, dok je nemali interes izazvao pjesnički performance novosadske umjetnice Katalin Ladik, koja je proglašena i najfinijom damom festivala.
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Nuova Tendenza 2

Nuova Tendenza 2 Design Ivan Picelj Plakat za talijansku izložbu Novih tendencija 2 Venecija / Venice 1963/64. Print: stamparia di Venezia
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Nuša i Srečo Dragan

Nuša i Srečo Dragan Tri dopisnice za crtežima Sreče Dragana iz 1970. godine. Crteži i tekstovi vezani uz film H2O. 14x9cm Dopisnica 1: Roka na maski na obrazu Dopisnica 2: Roka v zraku na zraku Dopisnica 3: Roka v zraku na nogi Nusa was born in Jesenice in 1943 and her partner Sreco, in Spodnji Hrastnik in 1944. Nusa earned her degree in Pedagogy and Sociology at the University of Ljubljana. Sreco earned his degree in painting at the Academy of Fine Arts in Ljubljana, where he completed his postgraduate studies under prof. Zoran Didek. In 1971 Sreco attended a class in New Media in London. Between 1967 and 1988 Nusa and Sreco worked together artistically as a couple. In 1969, they filmed the first video in the former Yugoslavia (White Milk of White Breasts). During 1968-1969 they participated in the work of OHO. Their beginnings belong to reizm, arte povera, conceptualism, contextualization of language, installation, and usage of new technologies, film and video. Since 1998 Nusa has lived and worked as an independent video artist in Ljubljana. Sreco Dragan has lectured at the Academy of Fine Arts in Ljubljana since 1989, where he is a professor of video and new media. His latest art practice is focused on net-video, Internet art installations and computer animation.
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OHO: Gobe v Knjigi

Gobe v Knjigi (Mushrooms in a book) Iztok Geister (I.G. Plamen) and Marko Pogačnik Ljubljana, 1968. Drawings of mushrooms, circular holes in the front cover and the leaves and colored paper chips acting with the holes. Card covers, spiral binding. 9.1 x 22 cm 40pp letterpress, offset, collages and die-cut pages, spiral bound, 20 sheets
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Stjepan Planić: Problemi savremene arhitekture

Stjepan Planić: Problemi savremene arhitekture Zagreb, 1932. 23x31 cm 240pp Tvrdi uvez In Planiæ's practice of building detached houses on hills and green slopes of woodlands of the Sljeme, the regulation defining that living spaces should be looking on the street, opening the possibility of a representative façade, and the utility spaces at the back of a house, proved to be senseless and unreasonable. One of his earliest projects, a house in Jabukovac, will from that time on serve as an example of an architect's victory in his endeavours to create architecture "intended for the better life of man". Planiæ's belief in humanistic principles of the modern architecture, his persistence in the struggle to realise them and the strength of his argumentation, with considerable quantity of his personal charm, won him the triumph in confronting the regulations. It would "in the future be the aim of progress, not an obstacle." He spoke of this optimistic delusion of his, from that time, on the occasion of receiving the Life Achievements Award "Vladimir Nazor" in 1968. "The struggle for the modern is not yet won." The drawings accompanying Planiæ's projects during the interwar period witness of his personal friendship with a distinctive and a great painter Ernest Tomaševiæ, who graphically designed a number of Planiæ's articles, exhibitions and competition works. Planiæ's opus, with 700 projects and realisations, as far as we know, belongs to the most numerous and is also one where family houses prevailed around which he designed gardens. In the most individual and authentic manner he applied the vocabulary of the two idioms of the contemporary architecture - the international functional and the regionally organic. Combining the two on a structural level he created works (the stereometrically pure Round Villa in Gornje Prekrižje, the Tomislav Mountaineers Home of an Y- layout from the thirties and the cube-house from the fifties), which are anthology examples of the 20th century art memorials, as well as of the entire Croatian architecture. My assumption is that the Zagreb School of modern architecture managed to realise syntheses hard to find elsewhere, primarily in the works of Drago Ibler and Stjepan Planiæ. I believe that when explaining the Zagreb school of modern architecture, as we call it, it would be proper to apply a thesis of Ljubo Karaman, our local art historian of "creating the freedom of a peripheral environment", instead of inappropriately importing hypotheses pertaining to literature and ideology. It can explain the specificity of Ibler's and Planiæ's opuses in an infinitely more objective and convincing manner, even of the Zagreb school of modern architecture as a whole. As distinguished from a provincial milieu adopting norms and imitating solutions of great centres, Karaman believes a peripheral milieu to be the one sufficiently distanced from more powerful cultural centres (and norms and dogmas dominating them) and according to him Croatia is a typical country suited to this notion. It offers an artist greater freedom of creation, without respect for the sometimes-rigid criteria ruling great centres and power-focuses, gives him a chance to draw from two or more sources and to make creative synthesis in auspicious moments. In the earlier mentioned Stjepan Planiæ's book just about every published example is of a building ending with a living terrace and a flat roof, it is almost a manifesto. These were the common qualities of the represented projects and works. Perhaps at the time they displayed the most expressive mark of distinction from the historical, particularly the historicism architecture of roofs and metal domes of Zagreb. Stjepan Planiæ, speaking in a documentary from 1978, standing on a terrace of a multi-storey building in the Petriæ's Street 5, on the so-called “Zakladni blok” in the heart of Zagreb, designed by himself, alluded to the continuity of forms and to the significance of a terrace in the architecture of ancient civilisations and not to the paragons of contemporary building. Gesturing towards the tin dome of the First Croatian Savings Bank building, the popular Octagon, he said: "All these roofs, all these domes were the composition equipment of the preceding generation, which was then called great architecture. Driven by an aspiration to bring gardens into the centre of the city, to offer a man in urban environment a commodity of a meadow, brook, or a forest, we realised them on terraces where they blossom even today. The hanging gardens of the Queen Semiramis are not a dream, this terrace realised 40 years ago proves that, it literally realises a connection between a man and the juices of nature." "To organise life…" as Planiæ often repeated, did not mean to impose solutions, but to creatively answer the demands of life and harmoniously resolve human needs within the architectonic space. Besides writing (to begin with a book for adults "Problems of Contemporary Architecture," from 1932, to "Culture of Living," from 1985, intended for children) Planiæ wanted to effect immediate influence on individuals and small family communities. For that, he would always find time. "Three Letters on Housing" were just an example and a pattern, a drop in the ocean of talks and interpretations that Planiæ had led with the people he built houses for or with those who wanted him to design a home for them. During the seventies I often drove Planiæ on his tours of construction sites and the adaptation of my terrace apartment was taking place at that time, too. I observed a relationship of true respect and absolute obedience on the part of his craftsmen, regardless of whether they worked with him for forty years or had been engaged only recently. It was rather unusual, since in his designs and in his demands on craftsmen Planiæ always went further, often demanding new, bold and uncommon procedures. Construction carriers designed by Planiæ would, as a rule, be more slender than others were, his windows were bigger (not to mention that they were of better proportions) than those in the neighbourhood. He often "broke" the regulations of dimensioning (excessive, as a rule, due to safety precautions). He defined them according to proportions, according to the formative criteria of the whole. For example, a board of reinforced concrete of a balcony usually appears thickset and in the Round Villa (1936), the round balcony board girding three quarters of the cylindrical body of the villa is deeply protruded into space, boldly thin, elegantly elevated in space. "It even vibrates a little," commented Planiæ. That was the earliest example I can recall. In his inexhaustible creativity he always made room for something new, ranging from the use of building materials and construction to the formation. It was particularly evident in the organisation of space, which he kept returning to in his later projects, most often dealing with a dynamic play in connecting of different levels within a flat.
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