Miljenko Horvat (Gorgona Group)
grafitna olovka + pastel
Miljenko Horvat was the group’s youngest member
and worked as a painter, architect and photographer.
His early art informel pieces already betray his interest
in the constructive, which would become even more pronounced in his later years in the form of minimalist and computer-generated designs and creations. Horvat also had a penchant for the surreal, which mainly informed his photographic practice.
Friedemann Malsch
Tomo Gusić: Herman Bolle
Organisers: Institute of Art History, Zagreb and Zagreb City Museum
Zagreb, 1976.
Exhibition concept: Željka Čorak, Ljiljana Nikolajević
Exhibition design: Joža Ladović
Poster design: Tomo Gusić
Sitotisak: Studentski centar, Zagreb
61x103 cm
El Lissitzky
Plakat za izložbu Umjetnost oktobra
Reprodukcija plakata iz 1919. godine
Didaktičko informativna izložba
Koncept: Želimir Koščević
Galerija Studentskog centra
Zagreb, 1967.
Offset
50x70 cm
Izbij Bijele Crvenim klinom (po El Lissitzky)
Gianni Colombo: Senza Titolo (Multiple)
Medium: Silkscreen print & thick plastic foil
Dimensions: 28 x 21 cm
Editor: Edition Panderma, Basel
Year: 1961
Edition: 230 (65 hors commerce were unnumbered)
Signature: Signed with ball point pen
Mixed media - Hand signed - 230
Gianni Colombo: Senza Titolo (Multiple)
Medium: Silkscreen print & thick plastic foil
Dimensions: 28 x 21 cm
Gianni Colombo - Senza Titolo (Multiple)
Mixed media - Hand signed -
Gianni Colombo: Concrete Composition from La Lune en Rodage III
Medium: Silkscreen print & thick plastic foil
Dimensions: 28 x 28 cm
Editor: Edition Panderma, Basel
Year: 1961
Pastel, slap Plive, Jajce - 21.06.1940. Potpisano, signirano, format 10x14,5. Slika je bila poslana iz Jajca autoru, Eduardu Stepančiču u Beograd 1941. godine. Eduard Stepančič studied in Monza at the Instituto di Belle Arti (1923 -1926), in Venice at the
Ante Brkan: Gospodar situacije, 1958.
295x392mm
Izrađeno iz originalnog negativa na baritnom papiru
Na poleđini pečat
Ante Brkan (Veliki Jadrč, 1918. − Zadar, 2004.),
Ante Brkan: U koturima, 1957.
295x392mm
Izrađeno iz originalnog negativa na baritnom papiru
Na poleđini pečat
Ante Brkan (Veliki Jadrč, 1918. − Zadar, 2004.).
Ante Brkan: Asfalter, 1938.
295x392mm
Izrađeno iz originalnog negativa na baritnom papiru
Na poleđini pečat
Ante Brkan (Veliki Jadrč, 1918. − Zadar, 2004.).
Ante Brkan: Olupine, 1959.
295x392mm
Izrađeno iz originalnog negativa na baritnom papiru
Na poleđini pečat
Ante Brkan (Veliki Jadrč, 1918. − Zadar, 2004.).
Untitled
1973
Silkscreen and collage, ed. 98/200, Kolàz Séria 12/B, with original cardboard folder
14,5 x 14,5 cm
Signed in pencil lower right, numbered lower left and dated lower center
Signed on the folder
Untitled
1974
Silkscreen, ed. 18/200, Graphika Séria 28/D, with original cardboard folder
14,5 x 8,5 cm
Signed in pencil lower right, numbered lower left and dated lower center
Signed on the folder
Milan Dobeš (1929, Přerov) is a constructivist and kinetic artist. He studied at the Academy of Fine Arts in Bratislava.
participating in NT 4—Latest Examples of Research: Tendencije 4, / Nove tendencije 4 /Tendencies 4, /New Tendency 4 Zagreb, 1969.
Dobeš created dynamic constructivist works, in parallel with the international movement of this tendency by exponents such as Le Parc, Morellet and Soto; took part in formative international exhibitions such as Kunst-Licht-Kunst (Eindhoven, 1966), Konstruktive Tendenzen (Nürnberg, 1968) and New Tendencies 5 (1973), as well as the Documenta 4 exhibition in Kassel; and which did not go unnoticed by the leading critics and theorists of the day (those writing on Dobeš's work include F. Popper, U. Kultermann and O. Bihalji-Merin).
In 1971, Dobeš toured the United States with his lumino-dynamic programme accompanying American Wind Symphony Orchestra performances of T. Mayazumi and Krzysztof Penderecki.
Untitled
1968
Silkscreen, ed. 70/100, Grafika Séria 7/P, in original cardboard folder
Signed and dated in pencil lower right and numbered lower left