Mersad Berber - Memories of Dubrovnik / Sjećanja na Dubrovnik

MERSAD BERBER Sjećanja na Dubrovnik / Memories of Dubrovnik Sjećanja na Dubrovnik / Memories of Dubrovnik

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mersad berber

Mersad Berber rođen je 1. siječnja 1940. u gradiću Bo­san­ skom Petrovcu u zapadnoj Bosni. Posvećen raznovrsnom umjetničkom izričaju, upisao je studij arhitekture, no već sljedeće godine upisuje studij slikarstva na Akademiji likovnih umjetnosti u Ljubljani. Njegovi profesori bili su velikani poput Božidara Jakca, Franca Miheliča, G ­ abrijela Stupice i Maksima Sedeja, u čijoj je klasi Berber diplo­ mirao u 23. godini života. Iste godine mladi umjetnik počinje pohađati poslijediplomski studij grafičke umjet­ nosti u klasi Rike Debenjaka – i upravo je odabir te tehni­ ke snažno prožeo cijeli njegov opus.

Mersad Berber umire u Zagrebu 7. listopada 2012.

Sjećanja na Dubrovnik / Memories of Dubrovnik

Mersad Berber was born in Bosanska Petrovac, a small town in western Bosnia, on January 1st, 1940. Devoted to artistic expressions of most different kinds, he enrolled in the study of architecture but the very next year he took a painting course at the Ljubljana Academy of Fine Arts. His professors included Božidar Jakac, France Mihelič, Gabrijel Stupica and Maksim Sedej in whose class the then 23-year old Berber received a degree. The same year the young man started a postgraduate course in graphic arts in Riko Debenjak’s class and his choice of that technique was to significantly mark his entire opus.

Mersad Berber died in Zagreb on 7th October 2012.

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hommage vlahu bukovcu i / homage to vlaho bukovac i, 2005 Ulje na platnu / Oil on canvas, 80 × 100 / 111 × 130 cm

Naslovna stranica / Cover Page: flora iz dubrovnika i / flora from dubrovnik i, 2004 Ulje na platnu i drvu / Oil on canvas and wood, 140 × 118 cm

MERSAD BERBER Sjećanja na Dubrovnik / Memories of Dubrovnik

SJEĆANJA NA DUBROVNIK

MEMORIES OF DUBROVNIK

Edward Lucie-Smith, povjesničar umjetnosti, kritičar i autor

Edward Lucie-Smith, Art Historian, Critic and Author

Mersad Berber najvažniji je umjetnik ponikao iz vihora ratnih stradanja na Balkanu devedesetih godina prošloga stoljeća.

Stekao je međunarodnu slavu, što dotad nije uspjelo nijed­ nom umjetniku iz tog dijela Europe, održavši izložbe u Lon­ donu (Galerija Albemarle), Hamburgu, Istanbulu, Chicagu, Abu Dhabiju, Moskvi, Madridu, Zürichu i New Yorku. Njego­ va posljednja važna izložba prije smrti – velika retrospektiva koja je obuhvatila cijeli njegov radni vijek – održana je 2009. u centru CaixaForum u Barceloni. Njegov uspjeh još je fas­ cinantniji jer je bio Bošnjak, pripadnik muslimanske vjerske zajednice u Bosni.

Nekoliko mjeseci nakon njegova rođenja u Bosanskom Petrovcu, općini u tadašnjoj Kraljevini Jugoslaviji, obitelj je po­ bjegla u Banju Luku potraživši ondje spas od borbi Drugoga sv­ jetskog rata koje su se proširile Balkanom.

Berberova majka bila je darovita tkalja, a on je, naslije­ divši njezin umjetnički talent, od rana djetinjstva prepoznat kao vješt crtač. Od rane adolescentske dobi bio je pravi virtuoz crtanja i slikanja na papiru. Godine 1959. počeo se formalno umjetnički obrazovati na Akademiji likovnih umjetnosti u Lju­ bljani na kojoj je završio dodiplomski i diplomski studij. Na Ak­ ademiji likovne umjetnosti u Sarajevu počeo je predavati 1978. i ondje je uredio prostrani atelijer.

Dotad je već bio međunarodno priznat, poglavito kao grafički umjetnik, osvojivši zlatnu medalju na prvoj Međun­ arodnoj izložbi grafičke umjetnosti u Trstu 1971., Grand Prix na četvrtome Međunarodnom bijenalu grafičke umjetnosti u Fi­ renci 1974. te počasnu nagradu na desetome Međunarodnom grafičkom bijenalu u Tokiju 1976.

Mersad Berber was the most considerable artist to emerge from the chaos the Balkan wars of the 1990s. He achieved a degree of international celebrity previously unknown for any artist who came from this region of Europe, with exhibitions in London (Albemarle Gallery), Hamburg, Istanbul, Chicago, Abu Dhabi, Moscow, Madrid, Zürich and New York. His last substantial showing before his death was a large retrospective, covering his whole career, held in 2009 at the CaixaForum in Barcelona. His achievement was the more remarkable because he was a Bosniak – a member of Bosnia’s Muslim community.

He was born in 1940 in the Bosnian township of Bosanska Petrovac, in the then Kingdom of Yugoslavia. With a few months of his birth his family had to flee to Banja Luka, to escape the fighting as the Second World War spilled over into the Balkans.

Berber’s mother was a gifted weaver. He inherited her artistic talent, and his skills as a draughtsman became apparent from a young age. From early adolescence he was producing virtuoso drawings and paintings on paper. In 1959 he began his formal art education at the Academy of Fine Arts in Ljubljana, graduating with a BA, then an MA. In 1978 he began to teach at the Academy of Fine Arts in Sarajevo, and set up a spacious studio there.

By then he had already achieved considerable international recognition, chiefly as a graphic artist, winning a Gold Medal at the First International Exhibition of Graphic Arts in Trieste in 1971, the Grand Prix at the 4th International Biennale of Graphic Arts in Florence in 1974, and an honorary prize at the 10th International Biennale of Engraving in Tokyo in 1976.

This comfortable existence was abruptly torn apart by the war that broke out in Yugoslavia in 1991, just over a decade after

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Taj ugodni život naglo je razorio rat koji je 1991. izbio u Jugo­ slaviji, samo desetljeće nakon smrti maršala Tita koji je razno­ like regije uspijevao držati na okupu trideset godina.

Berberova kuća i atelijer uništeni su u ratu, a on i njego­ va obitelj izbjegli su u Hrvatsku teretnim avionom Ujedinjenih naroda. U Zagrebu je ponovno izgradio život i u njemu uz atelijer koji je već od osamdesetih imao u Dubrovniku uredio novi. Ipak, sjećanja na sukob nastavila su ga proganjati, što se ogledalo i u njegovu umjetničkom radu.

Jugoslavensku umjetničku scenu nije karakterizirao sov­ jetski socijalistički realizam, već blago prisvajanje srednjostru­ jaških modernističkih stilova. Rijetkim je jugoslavenskim um­ jetnicima pošlo za rukom probiti se na međunarodnu scenu, zbog čega je Berberov uspjeh u nadilaženju granica vlastite zemlje doista izniman. Zbog svoga herojskog pothvata hvatanja u koštac s poviješću regije u kojoj je živio i osobne veze s njom Berber je zaslužio lovorike.

U radu je primijenio mnogo raznolikih umjetničkih tehnika, od tradicionalnih do suvremenih, primjerice nekoliko kratkih animiranih filmova; bio je opčinjen i mogućnostima novih teh­ nika digitalnog tiska, katkad stvarajući otiske velikih razmjera.

Njegovi radovi često se ne bave jednim prizorom, već spo­ jem više njih, katkad jednostavno smještenima jedan do drugo­ ga, a katkad slojevito naslaganima jedan na drugoga. Snažna odanost vrijednostima talijanske renesanse objašnjava zašto su njegova djela u Italiji uvijek toplo dočekana, zbog sličnosti s djelima talijanskog pokreta Pittura Colta proizašloga iz kasnijih radova Giorgia de Chirica.

Berber parafrazira renesansne portrete i elegantne slike klasičnih aktova — jedan ili dva izravno posuđuje od Davida ili Ingresa — koji su često porazbacani, s likovima odjevenima tradicionalno balkanski.

Njegove književne i religiozne referencije bile su jednako složene. Neka od njegovih impresivnih djela sadržavaju izrazito kršćanske prizore kao što je, primjerice, skidanje Krista s križa,

Sjećanja na Dubrovnik / Memories of Dubrovnik

the death of Marshal Tito, who had held its diverse regions together for three decades.

Berber’s house and studio were destroyed in the conflict, and he and his family escaped to Croatia on a UN transport plane.

He rebuilt his life in Zagreb, where he created a new studio, plus existing from the eighties in Dubrovnik. Memories of the conflict, however, continued to haunt him, and provided material for his art.

The artistic scene in Yugoslavia had been characterised not by anything resembling Soviet Socialist Realism but by a tepid adherence to middle-of-the-road modernist styles. Very few Yugoslav artists managed to create reputations for themselves outside their own region. Berber’s success in breaking out of this situation was altogether exceptional.

Berber deserved his celebrity because he made heroic efforts to get to grips with the history of the region he lived in, and with his own personal relationship to that history. He employed a very wide variety of artistic techniques, from the most traditional to the most contemporary. For example, he made a couple of small animated films, and was fascinated by the possibilities offered by new techniques of digital printing, sometimes producing prints of enormous size.

His paintings frequently do not deal with single images but with conjunctions of images, in some cases simply placed side by side, but in others layered one on top of the other. He felt a strong allegiance to the values of Italian Renaissance art, which explains why his work always met with a warm welcome in Italy, because of its resemblance to the art of the Italian Pittura Colta movement, which derived from the later work of Giorgio de Chirico.

Yet Berber’s paraphrases of Renaissance portraits and elegant images of classical nudes — one or two of them direct quotations from the work of David or Ingres — were often interspersed with figures in old-fashioned Balkan dress.

His literary and religious references were equally complex.

Some of his most impressive works offer directly Christian images, the figure of Christ, for example, being taken down from the Cross.

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a druga su inspirirana Sarajevskom Hagadom, jednim od na­ jvažnijih sačuvanih židovskih srednjovjekovnih rukopisa, danas i najvažnijim blagom obnovljenoga Muzeja grada Sarajeva.

Prema kraju života napravio je začudne serije posvećene brutalnome masakru u Srebrenici, najgorem ratnom zločinu na Balkanu u kojem je od ruke pripadnika Vojske Republike Srpske pod zapovjedništvom generala Mladića stradalo osam tisuća bosanskih muslimana, uglavnom dječaka i muškaraca.

Ovdje prikazane slike, spomen na njegov rad, nisu usre­ dotočene na tu tragičnu fazu njegova umjetničkog djelovan­ ja, već na druge aspekte koji su mu priskrbili svjetsku slavu i divljenje. One uključuju elegantne portrete žena utemeljene na prototipu visoke renesanse, reinterpretaciju majstora vene­ cijanske škole 16. stoljeća; parafraziranje Velázqueza koje iz­ ražava duboko divljenje prema velikome španjolskom majsto­ ru i slike konja koje odražavaju njegovu ljubav prema seoskom životu Bosne. Tu su i snažni te dirljivi autoportreti, napravlje­ ni netom prije Berberove smrti, koji zorno predočavaju širinu njegovih kulturnih interesa, ali česta fragmentacija prizora također odaje da je riječ o proizvodima iznimna suvremenog senzibiliteta.

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Others were inspired by the Sarajevo Haggadah, one of the most important Jewish medieval manuscripts in existence and now the chief treasure of the restored Sarajevo Museum.

He also, towards the close of his life, made a hugely impressive series devoted to the brutal massacre at Srebrenica, the worst crime of the Balkan wars, in which 8.000 Bosnian Muslims, mostly men and boys, were slaughtered by units from the Army of Republika Srpska, under the command of General Mladic.

The paintings shown here, as a memorial to his career and work, do not focus on this tragic phase of his art, but on other aspects of it that have brought him worldwide admiration. These include elegant female portraits, based on High Renaissance prototypes, with which he challenged the 16th century masters of the Venetian school; paraphrases of Velázquez, which express his profound admiration for the great Spanish master; and paintings of horses, which recall his love for the peasant life of the Bosnian countryside. There are also some touching and penetrating self-portraits, made shortly before his death. They give a good idea of the breadth of his cultural interests, but the frequent fragmentation of the images also makes it clear that these are the product of an extremely contemporary sensibility.

mersad berber

Diptih I / Diptych I, 2011 Ulje na platnu / Oil on canvas, 100 × 70 / 123 × 93 cm

Sjećanja na Dubrovnik / Memories of Dubrovnik

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poliptih / polyptych, 2005 Ulje na platnu i drvu / Oil on canvas and wood, 65 × 144 / 65 × 181 cm

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Sjećanja na Dubrovnik / Memories of Dubrovnik

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Djevojka i konj III / A girl and a horse III, 2007 Ulje na platnu / Oil on canvas, 70 × 40 / 95 × 73 cm

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Djevojka i bijeli konj / A girl and a white horse, 2007 Ulje na platnu / Oil on canvas, 70 × 50 / 102 × 76 cm

Sjećanja na Dubrovnik / Memories of Dubrovnik

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Flora iz Dubrovnika II / Flora from Dubrovnik II, 2007 Ulje na platnu / Oil on canvas, 37 × 60 / 51 × 94 cm

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Djevojka i konj I / A girl and a horse I, 2012 Ulje na platnu / Oil on canvas, 70 × 50 / 95 × 87 cm

Sjećanja na Dubrovnik / Memories of Dubrovnik

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Katalog umjetnina / Artwork Catalogue

naziv umjetnine / artwork title

Dimenzije / Dimensions

tehnika / technique

Flora iz Dubrovnika I / Flora from Dubrovnik I Hommage Vlahu Bukovcu I / Homage to Vlaho Bukovac I Djevojka i bijeli konj / A Girl and a White Horse Flora iz Dubrovnika II / Flora from Dubrovnik II Djevojka i konj I / A Girl and a Horse I Flore / Florae Flora u bijelom / Flora in White Flora iz Dubrovnika III / Flora from Dubrovnik III Diptih I / Diptych I Poliptih / Polyptych Diptih II / Diptych II Glava djevojke / Head of a Girl Djevojka i konj II / A Girl and a Horse II Djevojka i konj III / A Girl and a Horse III Hommage Vlahu Bukovcu II / Homage to Vlaho Bukovac II Djevojka i konj IV / A Girl and a Horse IV Autoportret / Self-portrait

140 × 118 cm 80 × 100 cm / 111 × 130 cm 70 × 50 cm / 102 × 76 cm 37 × 60 cm / 51 × 94 cm 70 × 50 cm / 95 × 87 cm 100 × 50 cm / 123 × 73 cm 50 × 50 cm / 60 × 80 cm 60 × 40 cm / 94 × 58 cm 100 × 70 cm / 123 × 93 cm 65 × 144 cm / 65 × 181 cm 100 × 51 cm / 112 × 72 cm 40 × 80 cm / 64 × 104 cm 40 × 30 cm / 69 × 60 cm 70 × 40 cm / 95 × 73 cm 100 × 50 cm / 142 × 95 cm 78 × 69 cm / 95 × 87 cm 34 × 45 / 44 × 55 cm

ulje na platnu i drvu / oil on canvas and wood ulje na platnu / oil on canvas ulje na platnu / oil on canvas ulje na platnu / oil on canvas ulje na platnu / oil on canvas ulje na platnu / oil on canvas ulje na platnu / oil on canvas ulje na platnu / oil on canvas ulje na platnu / oil on canvas ulje na platnu i drvu / oil on canvas and wood ulje na platnu i drvu / oil on canvas and wood ulje na platnu / oil on canvas ulje na platnu / oil on canvas ulje na platnu / oil on canvas ulje na platnu / oil on canvas ulje na platnu / oil on canvas ulje na lesonitu / oil on panel

Sve su slike ulje na platnu ili drvu te uključuju elemente raznolikih ­miješanih medija koji se u bezbroj navrata nastavljaju i na okviru.

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godina / year 2004 2005 2007 2007 2012 2008 2012 2008 2011 2005 2011 2009 2005 2007 1999 2012 2012

All paintings are oil on canvas or wood and include elements of various mixed media, which on numerous occasions continue on to the frame.

mersad berber

Mersad Berber Sjećanja na Dubrovnik Memories of Dubrovnik

Galerija umjetnina Luna+Sol Dubrovnik, Hrvatska 13. kolovoza – 1. studenog 2015.

Art Gallery Luna+Sol Dubrovnik, Croatia August 13th – November 1st 2015

Nakladnik / Publisher:

Postav izložbe / Exhibition setup:

Tisak / Print:

Terra Marique d.o.o.

Ulica Od čempresa 1 20000 Dubrovnik Hrvatska

Ensar Berber, Art Gallery Luna+Sol

Kerschoffset Zagreb d.o.o.

Naklada / Print run:

Fotografija / Photo:

500 primjeraka / 500 copies

Bekir Balagić Za nakladnika / For the publisher:

Aleksandra Bilić

kolor obrada / image processing:

Jelenko Hercog Urednik / Editor:

Mislav Bilić

Prijevod na engleski jezik i lektura / English translation and proofreading:

Autor predgovora / Foreword by:

Dubrovnik, kolovoz 2015. © Copyright Terra Marique d.o.o., 2015. All rights reserved.

ISBN 978-953-8032-03-5

Sonja Trzin Berta, Jasna Kufner

Koncept izložbe / Exhibition concept:

prepress:

Ensar Berber

Jelenko Hercog

CIP zapis je dostupan u računalnome katalogu Nacionalne i sveučilišne knjižnice u Zagrebu pod brojem 000910944.

Adriatic Luxury Hotels

Heritage Gallery Dubrovnik

Kerschoffset Zagreb d.o.o.

Masarykov put 20

Ulica Petra Krešimira IV. No. 7

Ježdovečka ulica 112

20000 Dubrovnik, Hrvatska

20000 Dubrovnik, Hrvatska

10250 Zagreb, Hrvatska

Edward Lucie-Smith Dizajn i priprema za tisak / Design and

Pokrovitelji / Sponsors:

Izbor samostalnih izložbi Selected Solo Exhibitions

• Galerija Luna+Sol, Dubrovnik (Croatia), 2015 • Albemarle Gallery, London (UK), 2014 • Palača Milesi & Galerija Kula, Split (Croatia), 2013 • El Claustre, Girona (Spain), 2011 • Albemarle Gallery, London (UK), 2009 • Fundacio La CaixaForum, Palma de Mallorca (Spain), 2009 • Fundacio La CaixaForum, Barcelona (Spain), 2009 • Galeria de Arte Mada Primavesi, Madrid (Spain), 2008 • El Claustre, Girona (Spain), 2008 • Albemarle Gallery, London (UK), 2007 • Galeria de Arte Mada Primavesi, Madrid (Spain), 2006 • Galerija Stradun, Dubrovnik (Croatia), 2005 • Albemarle Gallery, London (UK), 2005 • Galeria de Arte Mada Primavesi, Girona (Spain), 2005 • Eleanor Ettinger Gallery, New York (USA), 2004 • Fundacio Centro Cultural Caixanova, Mersad Berber Retrospective, Vigo (Spain), 2004 • Stucker Gallery, Zürich (Switzerland), 2004 • Moscow Museum of Contemporary Arts, Moscow (Russia), 2003 • Galerija Stradun, Dubrovnik (Croatia), 2003 • Albemarle Gallery, London (UK), 2002 • Eleanor Ettinger Gallery, New York (USA), 2002 • Greuze Gallery, Geneva (Switzerland), 2001 • Museum wor Moderne Kunst, Oostende (Belgium), 2001 • CFM Gallery, Soho, New York (USA), 2000 • Sammer Gallery, Marbella (Spain), 2000 • Albemarle Gallery, London (UK), 2000 • Cultural Foundation, Sheikh Zayed, Abu Dhabi (UAE), 2000 • International Print Triennial Society (SMTG), Krakow (Poland), 2000 • The Studio of Long Grove, Chicago (USA), 2000 • Albemarle Gallery, London (UK), 1999 • Gallerie Hans Hoeppner, Frankfurt (Germany), 1999 • Isetan Gallery, Tokyo (Japan), 1998 • Albemarle Gallery, London (UK), 1998 • Akbank Sanat Merkezi, Istanbul (Turkey), 1998 • Asahi Gallery, Tokyo (Japan), 1997

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• Grand Hyatt Hotel, Jakarta (Indonesia), 1995 • Galerie Hans Hoeppner, Hamburg (Germany), 1994 • Shangri - La Gallery, Jakarta (Indonesia), 1994 • Galerien Haas, Essen (Germany), 1994 • Galerie Hans Hoeppner, Frankfurt (Germany), 1993 • Galerie Hans Hoeppner, Hamburg (Germany), 1993 • Muzej Mimara, Zagreb (Croatia), 1992 • Umjetnički Paviljon, Zagreb (Croatia), 1988 • Universitätsmuseum für Bildende Kunst, Marburg (Germany), 1986 • Galerie Hans Hoeppner, Hamburg (Germany), 1986 • Galerie Hans Hoeppner München (Germany), 1986 • Hilton Hotel, Geneva (Switzerland), 1986 • Taimei Gallery, Tokyo (Japan), 1985 • Galerie Hans Hoeppner, Frankfurt (Germany), 1985 • Galerie Weber Geneva (Switzerland), 1985 • Galerie Hans Hoeppner, Hamburg (Germany), 1984 • Galerie Haus des Rundfunks, West Berlin (Germany), 1984 • Galerija Sebastian, Dubrovnik (Croatia), 1984 • Art Gallery, Dallas (USA), 1983 • Inter–American Development Bank – Staff Association, Washington (USA), 1982 • Galerie Hans Hoeppner, (DALI – BERBER), Hamburg (Germany), 1982 • Universitätsmuseum für Bildende Kunst, Marburg (Germany), 1982 • Gallery Nodiers, New York (USA), 1981 • Gallerie Vetter, Duren (Germany) , 1981 • Galerija Sebastian, Dubrovnik (Croatia), 1981 • Umjetnička Galerija Dubrovnik, Samostalna izložba dobitnika nagrade “Nikola Božidarević”, Dubrovnik (Croatia), 1981 • Galerija Sebastian, Dubrovnik (Croatia), 1979 • Galerija Umjetnina, Split (Croatia), 1978 • Galerija Labirint, Ljubljana (Slovenia), 1978 • Galerija Sebastian, Dubrovnik (Croatia), 1977 • Galleria d’Arte Ghelfi, Verona (Italy), 1976 • Palazzo Strozzi, Retrospective of Mersad Berber's graphics at V. Biennale Internazionalle della Grafica, Firenze (Italy), 1976 mersad berber

Nagrade i priznanja / izbor Prizes and Awards / Selected

• Galerija Forum, Zagreb (Croatia), 1976 • Galleria Comunale d’Arte Contemporanea, Sasso Marconi, Bologna (Italy), 1975 • Galerie Hans Hoeppner, München (Germany), 1975 • Kunstmarkt, Köln (Germany), 1975 • Galerie Hans Hoeppner, Hamburg (Germany), 1975 • Galleria la Magiolina, Alessandria (Italy), 1974 • Galleria Studio 80, Bocca di Marga (Italy), 1974 • Galleria Forum, Trieste (Italy), 1974 • Galleria Comunale d’Arte Contemporanea, Sasso Marconi, Bologna (Italy), 1974 • Gallery Akhnaton, Cairo (Egypt) , 1973 • Galleria Comunale d’Arte Contemporanea, Sasso Marconi, Bologna (Italy), 1973 • Mala Galerija, Ljubljana (Slovenia), 1973 • Galleria la Magiolina, Alessandria (Italy), 1972 • Galleria d’Arte, Cremona (Italy), 1972 • Galleria Comunale d’Arte Contemporanea, Sasso Marconi, Bologna (Italy), 1972 • Centro d’Arte Mediterranea, Torre del Greco (Italy), 1972 • Galleria d’Arte Cartesius, Trieste (Italy), 1972 • Galleria La Loggia Nuova per Grafica, Bologna (Italy), 1971 • Galleria il Tribbio, Trieste (Italy), 1970 • H.& S. Canvers Art Gallery Montreal, Vancouver (Canada), 1968 • City Council, Vasteras (Sweden), 1968

Sjećanja na Dubrovnik / Memories of Dubrovnik

• Odlukom predsjednika Republike Hrvatske, za osobiti doprinos razvitku i ugledu Republike Hrvatske i dobrobiti njezinih građana, Mersad Berber odlikovan je Redom hrvatskog pletera (Croatia), 2010 • Grand Prix d’Honneur – International Print Triennial Krakow (Poland), 2009 • Grand Prix MTG – International Print Triennial Krakow (Poland), 1997 • Odlikovanje Reda Danice hrvatske sa likom Marka Marulića za osobite zasluge u kulturi (Croatia), 1996 • Nagrada ZAVNOBiH, Sarajevo (Bosnia and Herzegovina), 1991 • Prize of the Olympic Committee of Spain, VIII Bienal Internacional de Deportes en las Bellas Artes, Madrid (Spain), 1982 • Bronze medal for the illustration of a book in the field of children’s literature – “Leipziger Buch Messe”, Leipzig (Germany), 1983 • 1st prize for book illustrations - “World Book Fair”, New Delhi (India), 1980 • Grand prize of the Lalit Kala Academy at the 5th Indian Triennal, New Delhi (India), 1978 • Award of the International Council of Museums (ICOM) at the XIII Grand Prix International, Monte Carlo (Monaco), 1978 • 10th International Biennial Exhibition of Prints, Tokyo (Japan), 1976 • Grand Prix, IV Biennale Internazionale della Grafica d’Arte, Firenze (Italy), 1974 • IV Prize of the Warsaw National Museum, V. Miedzynarodowe Biennale Grafiki, Krakow (Poland), 1974 • Prize of the City of Krakow at the IV Miedzynarodowe Biennale Grafiki, Krakow (Poland), 1972 • Gold Medal and Honorary Diploma at the International Graphics Exhibition, Premio Cesare Sofrakopulu, Trieste (Italy), 1971 • Premio Aquisicao Nugrasp, XI Bienal Internacional de Sao Paulo (Brazil), 1971 • First prize, VI Mediterranean Bienniale, Alexandria (Egypt), 1967 • Nagrada Prešernovog sklada, Academy of Fine Arts, Ljubljana (Slovenia), 1961

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LUNA+SOL Galerija umjetnina / Art Gallery Hotel Dubrovnik Palace, Masarykov put 20, Dubrovnik, Croatia T +385 98 209150, e aleksandra@terra-marique.hr 978-953-8032-03-5 H

mersad berber