JOŽE CIUHA | Igra bez početka i kraja / Play Without Beginning or End by Adriatic Luxury Hotels

JOŽE CIUHA Igra bez početka i kraja / Play Without Beginning or End Igra bez početka i kraja / Play Without Beginning or End

Jo탑e Ciuha

Jože Ciuha rođen je 26. travnja 1924. u Trbovlju. Studirao je na Akademiji likovnih umjetnosti u Ljubljani. Diplomirao je 1950. godine a zatim se kod prof. Slavka Pengova usavršavao na Specijalnoj školi za zidno slikarstvo.

Jože Ciuha was born in april 1924. in Trbovlje. He studied painting at the Academy of Art in Ljubljana. After graduating in 1950, he did postgraduate studies in mural painting under Prof. S. Pengov.

Prilikom studijskih putovanja posjetio je Austriju, Saveznu Republiku Njemačku, Nizozemsku, Belgiju, Francusku, Švicarsku, Italiju, Švedsku, Poljsku i Sovjetski Savez. Putovanja po Makedoniji pobudila su njegov interes za baštinu Bizanta i Istok uopće. U vremenu od 1959. - 1961. godine slikar je na Rangunskom sveučilištu pod mentorstvom prof. Lucea proučavao budističku umjetnost i filozofiju. U to vrijeme posjetio je i Indiju, Pakistan, Indoneziju, Tajland i Kambodžu.

Travelling for study purposes, he visited Austrija, West Germany, The Netherlands, Belgium, France, Switzerland, Italy, Sweden, Poland and the Soviet Union. Trips to Macedonia aroused his interest in Byzantine art and the East in general. In the years 1959 - 1961 he studied Buddhist art and philosophy under Prof. Luce at the Rangoon University. At that time he visited India, Pakistan, Indonesia, Thailand and Cambodia.

U 1964. i 1965. godini putovao je po Južnoj Americi i u prvom redu upoznavao indijanske civilizacije. Posjetio je Brazil, Argentinu, Čile, Peru i Boliviju te sa putovanja uz iscrtane blokove donio niz zapisa koji su mu služili kao materijal za knjige “Skamenjeni osmjeh” i “Razgovori s tišinom”, gdje je slikar opisao susrete sa drevnim kulturama i ljudima, odnosno događajima iz vremena u kojem živimo. Godine 1965. Jože Ciuha bio je gost Sveučilišta “Western Michigan” i tom prigodom proputovao Sjedinjene Američke Države i Meksiko. Pored navedene dvije knjige napisao je i “Putovanje v deseto deželo”, knjigu za djecu koja je nagrađena Levstikovom nagradom. Sedamdesetih godina Jože Ciuha je pet godina vodio seminar na “International Summer Academy” u Salzburgu. Niz godina bavio se ilustracijom, a pored slikarstva bavi se grafikom, tapiserijom i mozaikom.

Igra bez početka i kraja / Play Without Beginning or End

In 1964 and 1965 he travelled in South America, where he got acquainted with Indian civilizations. He visited Brasil, Argentina, Chile, Peru and Bolivia. From his journeys he brought home sketchbooks full of drawings and material for his two books, “The Petrified Smile” and “Conversation with Silence”, describing his encounters with ancient civilizations and the people and events of our time. In 1965 Jože Ciuha worked as visiting artist at Western Michigan University. It was at that time he criss - crossed the United States and Mexico. In adition to the two mentioned books he has written “The Journey to Fairyland”, a childrens book awarded the Levstik Prize. In the 1970’s Jože Ciuha tutored painting courses at the International Summer Academy in Salzburg for five successive years. He has illustrated books for a number of years. Apart from painting, he is now engaged in graphic art and tapestries and mosaics.

Derviš / Dervish, 2012 Akril na panelu / Acrylic on panel, 40 × 40 cm

Naslovna stranica / Cover Page: Parižanka / Parisienne, 2011 Akril na panelu / Acrylic on panel, 30 × 30 cm

Jože Ciuha

JOŽE CIUHA Igra bez početka i kraja / Play Without Beginning or End

MNOGOLIKO, RAZNOSMJERNO, VIŠEZNAČNO Zapis o slikarstvu Jožeta Ciuhe

MULTISHAPED, DIVERGENT, POLYSEMIC On painting of Jože Ciuha

Tonko Maroević

Kao malo tko drugi u današnjem vremenu Jože Ciuha se s pravom usuđuje nazvati jednu od svojih recentnih izložaba zvučnim naslovom “Ljudska komedija”. To pravo uglednom slovenskom umjetniku ne daje samo njegovo veliko iskustvo kozmopolitskih uvida, pa i određeni kritičko-galerijski odjek univerzalnih razmjera, nego ga omogućuju upravo morfološke i psihološke karakteristike njegovih radova. A što se poslužio glasovitom balzakovskom sintagmom razumjet ćemo kako je ona mogla, i čak morala, pasti na pamet čovjeku koji je shvatio Pariz kao središte i uvir svih svojih nomadskih kretanja i stilotvornih putanja. Doista, ljudska komedija! Ponajprije u smislu ustrajnog antropomorfizma, činjenice da se kroz sve svoje mijene i traženja taj slikar nije odrekao stanovitog mimetizma ili, bolje, referencijalnosti, bilježenja u odnosu na ljudsko tijelo, to jest potrebe da krene od znakova i proporcija čovjekolikih udova. Prizorište njegovih kadrova, osim toga, ljudsko je i po tome što ih uglavnom ne nastanjuju pojedinačni likovi nego grupe, kolektivi, korovi, te nužno govore o sudbini (pa uglavnom i o teškoćama) zajedništva, o stanju ljudskosti. Konačno, neće biti slučajno ni prizivanje komedije, jer slikar je svjestan da se svijet može dobro sagledati i iz humorne perspektive, da mnoge situacije bitno nalikuju scenama iz kazališta, sa smiješnim figurama, mehaničkim pokretima, marionetskim i maskiranim sudionicima. U duhu druženja sa svojim “prijateljem Don Kihotom” makar ne zaboravljajući ni Kafku - brojne je svoje agoniste groteskno deformirao, karikaturalno stilizirao, istanjio, izdužio i raščlanio kako bi ih podredio svojoj domijurški-deziluzionističkoj viziji, satirično-granginjolskoj interpretaciji svijeta što ga okružuje i u kojemu empatijski sudjeluje.

Not many contemporary painters would dare to name the exhibition of their paintings “Human Comedy” as Jože Ciuha has recently done. This respectable Slovenian painter has been rightfully entitled to do it not only because of having great experience of cosmopolitan insights, and because of the certain universal reverberation of critics and galleries, but also because of the morphologic and psychological characteristics of his paintings. It is quite understandable why he has used this renowned Balzac-like syntagm since he realized that Paris was for him the center and influx of all nomadic moving and style-forming courses. Indeed, a human comedy! First of all, due to his constantly present anthropomorphism. In fact, although he has been changing his style and searching for the way to express his ideas, he has never given up a certain creative imitating of reality, or rather, referring to human body. In other words, he has always had necessity to start by painting signs and proportions of humanoid limbs. The scenes of his paintings are also human because they are not inhabited by individual characters but by groups, collectives and choirs, and they express the destiny of togetherness (mostly difficulties), the humanity itself. The association of comedy is not accidental, because the painter has been aware that the best way to look at the world is through a humorous perspective. Many life situations seem to be similar to theater scenes — funny figures with mechanic movements, puppets and disguised participants. Influenced by ‘his friendship with Don Quixote’, not forgetting Kafka, he has grotesquely disfigured his agonists, by painting them as caricature, making them thinner, longer and by dissecting them in order to subordinate them to his demiurgically disillusioned vision, to his satirical marionette-like interpretation of the world that surrounds him and in which he emphatically participates.

Jože Ciuha

Više od pola stoljeća dijeli nas od zrelijih slikarevih okušaja u raznim tehnikama i disciplinama, a nema razloga da se on odriče ikojega od ostvarenih plodova. Koliko god se postupno mijenjao i razvijao, koliko god sve odlučnije stjecao specifičnosti vlastitog stvaralačkog rukopisa, Jože Ciuha kao da zapravo sustavno dograđuje na svojim ranim crtačkim, ilustratorskim, dekorativnim i reprezentativnim (mozaičkim, tapiserijskim) zadatcima. A nećemo preskočiti ni to da se dokazao kao pisac putopisa, tumač dalekih civilizacija, autor priča i pjesama. Zaključit ćemo preliminarno kako se on nije preplašio-u modernoj umjetnosti toliko prezirane - ”literarnosti”, a bogme ni odustao od stanovite tehničke virtuoznosti i suzdržane ornamentalnosti. Pretjerano bi bilo kazati kako je u svemu išao baš protiv struje, ali je svakako istinito da je, s povjerenjem u svoju snagu preobrazbe i sposobnost nametanja vlastitih znakova, umio i u slikama izraziti željene (narativne, emotivne, misaone) sadržaje, te nastojati oko neosporne estetske dorađenosti i ekspresivnog učinka. Specifičnost pristupa Ciuha je odnjegovao u plodnom dijalogu s antiakademskim i vaneuropskim likovnim postupcima, u načelnom otklonu od perspektivnog iluzionizma i konvencionalne harmonije, dinamične kompozicije, tonske modelacije. Svoj put je pronašao u ranom oslonu na tekovine bizantinskog slikarstva (u makedonskom području), na strogo strukturiranje elemenata i radikalnu redukciju oblika, na afirmaciju plošnosti kao autonomije medija i na kolorit određenoga simboličnog predznaka. Prihvativši neke od izrazito medijevalnih premisa (izokefaliju, horror vacui, kaligrafiju kao sasvim komplementarnu “ikoničkim” sugestijama), sretno ih je spojio s nedogmatskim prinosima dvadesetostoljetnih avangardi, čak posebno s nekim tipovima lirske apstrakcije i enformela. Neće biti slučajno ni to što se kao vrlo mlad bio uputio prema zidnom slikarstvu, jer je Jože Ciuha u čitavom svom opusu zadržao želju i potrebu za širom komunikacijom, za razgovijetIgra bez početka i kraja / Play Without Beginning or End

More than half a century has passed since this painter tried to make some more mature paintings in various techniques, and there has been no reason why he should have rejected any of his achievements. Although he has been changing and developing very gradually, and although he has been obtaining his own specific, more determined creative handwriting, Jože Ciuha seems to be systematically building up his painting on his early drawings, illustrations, decorations and representative mosaics and tapestries. It is also important to mention his achievements as a travel writer, as an interpreter of far away civilizations and as an author of stories and poems. We can preliminarily conclude that he has not been frightened by scorned “literality “in modern art, and, by no means, he has not given up certain technical virtuosity and restrained ornamentation. It would be exaggerated to say that he has always been going against the tide, yet it is true that, believing in his power of change and in his ability to impose his own signs, he has managed to express narrative, emotive and reflective contents in his paintings and tried to achieve an indisputably esthetic finished quality and an expressive effect. Ciuha’s approach to painting has been specifically cultivated in his fruitful dialogue with anti-academic and non-European visual artistic procedures, in his principled deviation from perspective illusionism and conventional harmony, in his dynamic composition and tonal modulation. At first he found his own course relying on achievements of Byzantine painting (in the region of Macedonia), and on strict structuring of elements, on radical reduction of forms, on affirmation of one dimensionality as autonomy of the medium and on the colorism of specified symbolic sign. By accepting some explicitly medieval premises (isocephalic arrangement of figures, horror vacui, calligraphy as completely complementary to “iconic” conceptions), he has connected them with non-dogmatic contributions of 20th century vanguard, even particularly with some types of lyric abstraction and art Informel. It is not accidental that while he was very young artist he tried his skill in mural painting, because Jože Ciuha has always

Antička drama / Ancient Drama, 2010

Barbara, 2007

Akril na panelu / Acrylic on panel, 30 × 30 cm

nim govorom boja i oblika koji prenosi i egzistencijalna iskustva. A nije niti sasvim sporedno što se u jednom času opredijelio za slikanje na prozirnoj površini stakla, odnosno pleksi stakla, uvidjevši da mu slijeđenje drevne tehnike Hinterglassmalerei omogućuje specifično kaptiranje svjetlosti i približavanje pučkom registru bajkovitosti, transcendencije, mita. U svakom slučaju Ciuha je došao do prepoznatljivog načina viđenja i oblikovanja, do cjelovite ikonosfere dubokih dijakronih korijena. Na neutralnim i često monokromnim pozadinama nižu se pročišćeni obrisi grafički ritmizirane plohe predstavljenih likova (najčešće ljudi, povremeno životinja), kao da je riječ o kukcima pribodenim za čvrstu podlogu. U diferenciranju figura posebna je pažnja posvećena rukama, koje su ionako predstavljene poput krakova, ticala, pipaka,

wanted to communicate widely, to use distinct language of colors and shapes which transmits existential experience. And it is not of secondary importance that he even tried to paint on a transparent glass surface, i.e. on plexiglass, when he realized that he can specifically capture light and get close to popular register of fairy tales, transcendentalism, myths by practicing an ancient technique of Hinterglassmalerei. Anyway, Ciuha has reached a recognizable way of visualizing and shaping — an integral iconic sphere of deep diachronic roots. Refined contours of graphically rhythmic areas showing figures (mostly people, but occasionally animals as well) follow each other on neutral and often monochromatic backgrounds, giving an impression of insects having been pinned to a firm background.

Jože Ciuha

Crni patuljak / Black Dwarf, 2007

Posrnuli anđeo / The Fallen Angel, 2009

Akril na panelu / Acrylic on panel, 30 × 30 cm

jer izduženi prsti kao da samostalno vijore i prodiru u okoliš. U tretiranju ljudskih udova Ciuhi je, čini se, dobrodošlo prethodeće bavljenje slovima, abecedama, natpisima te ritam izmjene ruku i glava djeluje sasvim poput sekvenci piktograma. Osim alfabetnih i kaligrafskih intervencija u kadar povremeno ulaze i neki drugi “toposi” citatnog karaktera, kao što su mete i čipke, dijagrami i koordinatni reperi, a u jednoj su fazi bile učestale i “inkrustracije” hiperrealističkog (ili popartističkog) naglaska (s posebno istaknutim motivom majmuna-kao najbližega ljudskog srodnika, svojevrsnoga zamjenika ili kafkijanskoga amblema). Organizacija plohe bila je strogo hijeratična, dominantni motivi upućivali su na teškoću ostvarenja razlikovnosti, na strah od gubitka identiteta, na pretapanje u babilonskoj zbrci jezika. Jedno je razdoblje Ciuhina slikarstva bilo obilježeno manihejskim kon-

In his interpretation of human figures he has paid a special attention to arms that are often painted as animal legs, feelers or tentacles, since elongated fingers seem to be fluttering independently, penetrating into the environment. In his interpretation of human limbs Ciuha seems to be making good use of his previous dealing with letters of alphabet and writing of signs, so the rhythm of exchange of arms and heads resembles a sequence of pictogram. Besides alphabetical and calligraphic interventions, he occasionally puts in cadre other ‘typical motives’ of quotable character, such as targets and laces, diagrams and coordination signs (points de repere), while in one of his creative phases he often used ‘incrustations’ of hyper realistic (or pop art) intonations (especially highlighting the motive of monkey, as the closest human relative, a sort of replacement or Kafkian emblem.) The arrangement of the

Igra bez početka i kraja / Play Without Beginning or End

trastima (zemaljske crnine i kozmičke bjeline) i, jamačno, egzistencijalističkim doživljajem bačenosti u svijet. Karakteristični motivi umjetnikova formativnog razdoblja bili su posvećeni prorocima i patrijarsima, svecima i humanistima, totemima i obredima, mukama i žrtvama, odnosili su se na obožavane ikone ili na egzotična božanstva kao što su Kali, Šiva, uračunavali su obradu klasičnih fabula poput Romea i Julije, Uspavane ljepotice, Pinokijeve smrti. Ali Ciuha je također bio svjestan kako djeluje u epohi steinerovske “smrti tragedije”, kako ironija i parodija s punim pravom traže svoj obol. Tako se posvetio i motivima ekstremno oksimoronskoga naboja kao što je “Pieta s harlekinom” ili se odlučio odati počast majstoru tragikomičnoga izraza, rapsodu uozbiljene cirkusarije, načiniv ši niz “Hommageá Fellini”. Jedan je kritičar zgodno formulirao kako u Ciuhinu slučaju dobivamo “Bizant korigiran Miróom”. To se ne odnosi samo na formalne elemente nego i na duhovni raspon, što ide od dramatične ozbiljnosti i patetike do zaigranosti i poruge. Osim Miróa ovome bismo slikaru kao povremene suputnike po afinitetima mogli pridodati još i Kleea i Dubuffeta (“figurativce”, ma non troppo). S obzirom da su neke Ciuhine slike persiflaže i capriccina zadane teme svakako da nije mogao bez picassovskih aluzija, kao povremeni zagovornik light picture održao je pravo na humornu distancu, na ležerniju intonaciju, na vedrije registre. Smije se da ne bi plakao: kako da se drukčije ponaša autor koji svoj dominantni korpus krsti “Ljudskom komedijom”. U punom posjedu svojih stvaralačkih moći, u apogeju slikarskog rada, Jože Ciuha osjetio je potrebu i našao načina da se odlučnije preda hedonizmu izvođenja, ekstazi crte i boje, uvećanoj slobodi duktusa i naglašenijoj igri kolorističkih kontrasta. Kroz nekoliko posljednjih godina svoj je opus obogatio radovima rijetke izravnosti i žestine, potencijalne sinteznosti i gustoće. Kao nikad do sad odvažio se prepustiti bjelini pozadine ulogu bassocontinuo, no samo stoga da bi na njoj (i pomoću nje, još jače izvukao zvučne i krijeseće registre žutila, zelenila, crvenila, plavila ili modrila, u svim mogućim preljevima i slojevima.

surface was strictly stylized and rigid, dominant motives showed how difficult it was to realize distinction, how the author feared of losing his identity, and how he was becoming assimilated in Babylonian confusion of languages. One period of Ciuha’s art of painting was characterized by black-n-white contrasts (blackness of Earth and cosmic whiteness) and obviously by existentialistic experience of being thrown into the world. Characteristic motives of his formative period were dedicated to prophets, patriarchs, saints and humanists; totems and rituals; tortures and victims, relating to worshipped idols or to some exotic deities such as Kali and Shiva, and they interpreted some classical stories such as Romeo and Juliet, Sleeping Beauty, Pinocchio’s death. However, Ciuha was aware that he was working in the period of Steiner’s “death of tragedy”, and that irony and parody rightfully want to give their contribution. This was the reason why he dedicated his time to paint extremely oxymoronic motives, such as “Pieta with a harlequin” or why he decided to pay a tribute to the master of tragicomic expression, to the rhapsodist of serious buffoonery by making a series of paintings called “Hommage á Fellini.” One of his critics has nicely formulated that Ciuha’s opus is something like “Byzantium corrected by Miró.” This does not refer only to formal elements of his paintings but also to a spiritual span, ranging from dramatic seriousness and pathos to fascination and mockery. Apart from Miró, Ciuha has occasionally been inclined to Klee and Dubuffet (“figurative painters”, ma non troppo). Since some of Ciuha’s paintings are persiflage and capriccios on an assigned topic, he could not have painted them without allusions to Picasso, while occasionally in favor of light picture he has kept a humorous distance, a more leisurely intonation, and brighter registers. He laughs, in order not to cry: how can he otherwise behave when he has named his dominant opus “Human Comedy”? In the peak of his creative power, in the apogee of his painting opus, Jože Ciuha has felt need and found the way to indulge in hedonism of performance, in ecstasy of lines and colors, in extended freedom of ductus and in more emphasized play of coloristic conJože Ciuha

Proljetno slavlje / Spring celebration, 2012 Akril na panelu / Acrylic on panel, 40 × 40 cm

Neposrednost i prividna lakoća izvedbe ne priječe postizanje uvjerljivih kompozicijskih sintagmi, kao što su “Hamlet”ili “Dedal”, parafraza “Las meninas” daleko je od robovanja uzoru, “hodočasnik”, ”trubadur” ili “modri anđeo” nadmašuju svaku doslovnost evokacije, da ne govorimo o obavezi ilustracije. “Ljeto na Šipanu” otvara prostore intimne prepuštenosti čulima, emotivne autobiografije, dok gotovo monumentalne slike rječitih naslova “kako zaustaviti vrijeme”, ”Hommage Albertu Einsteinu” ili “vučije vrijeme” govore o opsesiji problemom vremena. Slikar koji je pronašao ambleme i korelative za dijakrono povezivanje epoha nije mogao ostati ravnodušan pred tajnama četvrte dimenzije. Ciuhino mnogoliko, raznosmjerno i višeznačno djelo nudi jedan od odgovora, jedan od oblika suprotstavljanja neizbježnoj prolaznosti. Igra bez početka i kraja / Play Without Beginning or End

trasts. In the past few years he has enriched his opus with extremely direct and powerful paintings, potentially synthesized and dense. As he has never done before, he has dared to appoint the role of basso continuo to the whiteness of the background, so that he could draw on it (and by using it) some sound and sparkling registers of various yellow, green, red, blue and azure spillovers and layers. His spontaneousness and apparent ease of performance do not interfere with achieving of convincing compositional syntagm, as in his paintings “Hamlet” or “Daedalus”, a paraphrase “Las meninas” is far from being a slave to its idol, and “pilgrim”, “troubadour” or “blue angel” exceed all the literalness they evoke, not to mention the obligation of illustration. “Summer on the island of Šipan” opens the intimate space of author’s emotional autobiography where the author gives way to his senses, while, on the other hand, his monumental paintings with eloquent titles, e.g. “How to stop the time flow”, “Hommage to Albert Einstein” or “Wolf’s time” speak about his obsession with time. This painter who has found the emblems and correlatives for diachronic connection of time periods could not have been indifferent to the secrets of the fourth dimension. Ciuha’s multishaped, divergent, polysemic opus offers one possible answer, one of the ways of confrontation with the unavoidable transience.

Makedonke / Macedonian Women, 2012 Akril na platnu / Acrylic on canvas, 100 × 60 cm

Jože Ciuha

Visoka svećenica / A High Priestess, 2012

Neveseli portret / Mirthless Portrait, 2012

Akril na platnu / Acrylic on canvas, 60 × 100 cm

Akril na platnu / Acrylic on canvas, 60 × 100

Igra bez početka i kraja / Play Without Beginning or End

iza ugla / aRound the corner, 2010

Vatrogasac / Firefighter, 2010

Tuš i akril na papiru / Ink and acrylic on paper, 30 × 40 cm

Jože Ciuha

Vještica / A witch, 2010

Sa mislima u oblacima / With Thoughts in Clouds, 2011

Tuš i akril na papiru / Ink and acrylic on paper, 30 × 40 cm

Igra bez početka i kraja / Play Without Beginning or End

Katalog umjetnina / Artwork Catalogue

naziv umjetnine / artwork title

Dimenzije / Dimensions

tehnika / technique

Primadona / Prima Donna Antički vojnik / Ancient Soldier Makedonke / Macedonian Women Neveseli portret / Mirthless Portrait Visoka svećenica / A High Priestess Žene na bunaru / Women at the Well Zeleni križ / Green Cross Barbara / Barbara Crni patuljak / Black Dwarf Prije zalaska sunca / Before Sunset Čekajući čudo / Waiting for a Miracle Mulatkinja / Mulatto Woman Zeleni misterij / Green Mistery Epilog / Epilogue Posrnuli anđeo / The Fallen Angel Antička drama / Ancient Drama Parižanka / Parisienne Spomenik / Monument Derviš / Dervish Proljetno slavlje / Spring Celebration Ako me želiš… / If You Want Me Ispravan smjer / The Proper Direction Moby Dick / Moby Dick Antuntun / Antuntun Duh iz kazana / Spirit of Kettles Iza ugla / Around the Corner Jednog svibanjskog dana / One Day in May Neobični jahač / A Strange Rider Stari dečki / Old Boys Vatrogasac / Firefighter Vesela braća / Cheerful Brothers Vještica / A Witch Zeleni Jurij / Green Yuri Sa mislima u oblacima / With Thoughts in Clouds

40 x 40 cm 40 x 40 cm 100 x 60 cm 60 x 100 cm 60 x 100 cm 100 x 60 cm 40 x 40 cm 30 x 30 cm 30 x 30 cm 30 x 30 cm 30 x 30 cm 30 x 30 cm 30 x 30 cm 40 x 40 cm 30 x 30 cm 30 x 30 cm 30 x 30 cm 40 x 40 cm 40 x 40 cm 40 x 40 cm 30 x 40 cm 30 x 40 cm 30 x 40 cm 30 x 40 cm 30 x 40 cm 30 x 40 cm 30 x 40 cm 30 x 40 cm 30 x 40 cm 30 x 40 cm 30 x 40 cm 30 x 40 cm 30 x 40 cm 30 x 40 cm

akril na platnu / acrylic on canvas akril na platnu / acrylic on canvas akril na platnu / acrylic on canvas akril na platnu / acrylic on canvas akril na platnu / acrylic on canvas akril na platnu / acrylic on canvas akril na platnu / acrylic on canvas akril na panelu / acrylic on panel akril na panelu / acrylic on panel akril na panelu / acrylic on panel akril na panelu / acrylic on panel akril na panelu / acrylic on panel akril na panelu / acrylic on panel akril na panelu / acrylic on panel akril na panelu / acrylic on panel akril na panelu / acrylic on panel akril na panelu / acrylic on panel akril na panelu / acrylic on panel akril na panelu / acrylic on panel akril na panelu / acrylic on panel tuš i akril na papiru / ink and acrylic on paper tuš i akril na papiru / ink and acrylic on paper tuš i akril na papiru / ink and acrylic on paper tuš i akril na papiru / ink and acrylic on paper tuš i akril na papiru / ink and acrylic on paper tuš i akril na papiru / ink and acrylic on paper tuš i akril na papiru / ink and acrylic on paper tuš i akril na papiru / ink and acrylic on paper tuš i akril na papiru / ink and acrylic on paper tuš i akril na papiru / ink and acrylic on paper tuš i akril na papiru / ink and acrylic on paper tuš i akril na papiru / ink and acrylic on paper tuš i akril na papiru / ink and acrylic on paper tuš i akril na papiru / ink and acrylic on paper

godina / year 2004 2005 2012 2012 2012 2012 2004 2007 2007 2007 2008 2008 2008 2009 2009 2010 2011 2011 2012 2012 2009 2009 2009 2010 2010 2010 2010 2010 2010 2010 2010 2010 2010 2011 Jože Ciuha

Jože Ciuha Igra bez početka i kraja Play Without Beginning or End

Galerija umjetnina Luna+Sol Dubrovnik 22. kolovoza – 10. listopada 2014.

Art Gallery Luna+Sol Dubrovnik 22 August – 10 October 2014

Nakladnik / Publisher:

Postav izložbe / Exhibition setup:

Naklada / Print run:

Terra Marique d.o.o. Od čempresa 1 20000 Dubrovnik Hrvatska

Peter Ciuha, Art Gallery Luna+Sol

500 primjeraka / 500 copies

Fotografija i kolor obrada / Photo and

Izložba realizirana u suradnji sa / Exhi-

color processing:

bition realised in collaboration with:

Peter Ciuha

Fundacija Jože Ciuha (FJC)

Za nakladnika / For the publisher:

Aleksandra Bilić

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

Lektor d.o.o., Zagreb

Urednik / Editor:

Mislav Bilić

Dizajn i priprema za tisak / Design and

ISBN 978-953-8032-00-4

Autor predgovora / Foreword by:

prepress:

Tonko Maroević

Jelenko Hercog

Koncept izložbe / Exhibition concept:

Tisak / Print:

Radmila Novak Ciuha i Jože Ciuha

Kerschoffset Zagreb d.o.o.

CIP zapis dostupan u računalnom Skupnom katalogu hrvatskih knjižnica pod brojem 540811066.

Pokrovitelji / Sponsors:

Adriatic Luxury Hotels

Fundacija Jože Ciuha (FJC)

Heritage Gallery Dubrovnik

Kerschoffset Zagreb d.o.o.

Masarykov put 20

Prešernova 12

Petra Krešimira IV. 7

Ježdovečka 112

20000 Dubrovnik, Hrvatska

1000 Ljubljana, Slovenia

20000 Dubrovnik, Hrvatska

10250 Zagreb, Hrvatska

IZBOR IZ VIŠE OD 500 SAMOSTALNIH IZLOŽBI SELECTED FROM 500 ONE MAN EXHIBITIONS • Convocation Hall, Rangoon, ‘60. • Institute of Arts , Kalamazoo, ‘63, ‘76. • The Ryder Gallery, Los Angeles, ‘66. • Sveagalleriet, Stockholm, ‘69. • Galleria d’arte Pietra, Milano, ‘76. • Galleria d’arte La Lanterna , Trieste, ‘73, ‘77. • Moderna galerija, Ljubljana, ‘74. • Galleria d’arte i Volci, Roma, ‘72. • Philips onspannings centrum, Eindhoven, ‘76, ‘83. • Rijksmuseum Vincent van Gogh, Amsterdam, ‘76. • Künstlerhaus, Klagenfurt, ‘77. • Casa del Palladio, Venezia, ‘77. • Museum Kritzraedthuis, Sittard, ‘79, ‘85. • Rijksmuseum Frans Hals, Haarlem, ‘79. • Galerie Hoffmann, Köln, ‘79,’81, ‘82, ‘83, ‘84, ‘86, ‘87, ‘90, ‘95. • Museum Henriette Polak, Zutphen, ‘79. • Xochipilli Art Gallery, Rochester, ‘80. • Kulturzentrum, Linz, ‘80. • McKissic museum, Columbia, ‘80. • Galerie Aras, Ravensburg, ‘81, ‘86. • Volksbank Galerie, Biberach, ‘86 – ‘87. • Galerija Sebastian, Dubrovnik, ‘81, ‘06. • Markiezenhof, Bergen op Zoom, ‘81, ‘89. • Ichisan Gallery, Tokio, ‘82. • Museum de Tendschuur, Weert, ‘83. • Galerie Carinthia, Klagenfurt, ‘83, ‘89. • The Harbison Foundation, Columbia, ‘83, ‘84. • Künstlerhaus, Graz, ‘84, ‘86. • Galerie d’art Barzacchi, Paris, ‘84, ‘86. • Mia Joosten galleries, Amsterdam, ‘85, ‘86, ‘87, ‘88, ‘89. • Narodni muzej, Beograd, ‘86. • ART 17, Kunstmesse Basel, (Gallerie Hoffmann Köln), ‘86. • Muzej na Makedonija, Skopje, ‘86. • Centre Culturel de la RSF de Yugoslavie, Paris, ‘86. • Schlossgalerie Arbon, Arbon, ‘87, ‘88. • Galleria Vinciana, Milano, ‘87. • Galerija Smelt, Ljubljana, ‘87, ‘92. • Muzej i galerija savremene likovne umetnosti, Niš, ‘88. • Galerija savremene likovne umjetnosti, Novi Sad, ‘88. • Moderna Galerija, Budva, ‘88. • Galleri Gamlebyen, Fredrikstad, ‘88. • Kunsthalle, Nürnberg, ‘87. • Galerie Weihergut, Salzburg, ‘87, ‘91, ‘93, ‘95, ‘01 – ‘03, ‘06. • Umetnički paviljon “Cvijete Zuzorić”, Beograd, ‘88.

• Collegium artisticum, Sarajevo, ‘88, ‘96. • Umjetnički paviljon, Zagreb, ‘89. • Galerija umjetnosti, Podgorica, ‘89. • Kunsthal Hof, Almelo, ‘89. • Gemeentemuseum, Markiezenhof, ‘89. • Centro culturale Rocca Borromeo di Angera, Angera, ‘89. • Museum Morsbroich, Leverkusen, ‘89. • Galerie Hofman, Alphen aan den Rijn, ‘90, ‘94, ‘00 – ‘10. • Walker Hill Art Center, Seoul, ‘90. • Galerie Art et communication, Paris, ‘90, ‘93, ‘96, ‘97, ‘02, ‘03. • Saga 90 FIAC, (Galerie Art et communication), Paris, ‘90. • National Center of Arts, Akhnaton Gallery, Cairo, ‘91. • Tokyo International Art Show (Galeria Politeo), Tokyo, ‘91. • Galerie Montjoie, Bruxelles, ‘91. • Gallerie Aras, Saulgau, ‘91, ‘92. • Galerie Jutta Radicke, St. Augustin, (Bonn), ‘90, ‘93, ‘94, ‘01, ‘03 – ‘06. • Razstavni salon Rotovž, Maribor, ‘93. • Galleria l’Occhio, Venezia, ‘93. • Ateneo di San Basso, Venezia, ‘93. • Galleria del Cavallino, Venezia, ‘93. • MGLC – Galerija Tivoli, Ljubljana, ‘94, ‘05. • Cankarjev dom, Ljubljana, ‘94. • Le Monde de l’Art, Paris, ‘94. • Künstlerhaus, Graz, ‘95. • Neue Galerie der Stadt Linz, Linz, ‘95. • Filodrammatica, Rijeka, ‘95. • Scuola internationale di grafica, Venezia, ‘94, ‘95. • Dolenjski muzej, Novo mesto, ‘97. • Galerija Zavoda za zdravstveno zav. Slov., Ljubljana, ‘97, ‘08. • Palais des Nations, Genève, ‘97. • Galerija sodobne umetnosti, Celje, ‘97. • Kunst Wien, (Galerie Šikoronja), Wien, ‘97. • Mestna galerija Piran, Piran, ‘97. • Galerija Mercator, Ljubljana, ‘97. • Galerija Murska Sobota, Murska Sobota, ‘98. • Galerie Trittligasse, Zürich, ‘98. • Galerie im Schloss Porcia, Spittal, ‘98. • Galerie le Lys, Paris, ‘96, 99 – ‘03. • Galerie Alain Margaron, Paris, ‘00, ‘06. • Gezira Art Center, Cairo, ‘02. • Galleria Jan, La Jolla, California, ‘97 – ‘11. • The Central House of Artists – CHA, Moscow, ‘04. • Galerie Leonhard, Graz, ‘05. • Galerie Lise Cormery, Paris, ‘05 – ‘09. • Galerija Kortil, Rijeka, ‘06. • Galerie Korotan, Wien, ‘06. Jože Ciuha

• Galerija RTS, Beograd, ‘07. • Orangerie de Château de Sucy en Brie (Paris) ‘08. • Palača “Milesi i Kula” – Dioklecianova palača, Split, ‘09. • Svetska galerija na crtež, Skopje, ‘09. • Ljubljanski grad, Ljubljana, ‘10. • Galerija Kula, Split, ‘10. • Galerija Rima, Kragujevac, ‘11. • Hrvatsko društvo likovnih umjetnika – HDLU, Meštrovićev paviljon, Zagreb, ‘11. • Villa Manin, Passariano di Codroipo, ‘12. • Muzej in galerije mesta Ljubljane – Galerija Jakopič, Ljubljana, ‘13. • Galerija Srpske akademije nauka i umetnosti – SANU, Beograd, ‘14. • Umjetnička galerija Dubrovnik, Dubrovnik, ‘14. • Galerija Luna+Sol, Dubrovnik, ‘14. MUZEJI I ZBIRKE / IZBOR MUSEUMS AND COLLECTIONS / SELECTED • ARBON: Schlossgalerie, ‘87, ‘88 • ALMELO: Kunsthal Hof, ‘89 • BEOGRAD: Narodni muzej, ‘86 • BUDVA: Moderna Galerija, ‘88 • CELJE: Galerija sodobne umetnosti, ‘97 • COLUBIA S.C.: The Harbison Foundation, ‘83, ‘84 • EINDHOVEN: Philips onspannings centrum, ‘76, ‘83 • FREDRIKSTADT: Galleri Gamlebyen, ‘88 • GENÈVE: Palais des Nations, ‘97. • HAARLEM: Rijksmuseum Frans Hals, ‘79 • KALAMAZOO: Institute of Arts, ‘63, ‘76 • LEVERKUSEN: Museum Morsbroich, ‘89 • LINZ: Wolfgang – Gurlitt Museum - Neue Gallerie der Stadt Linz, ‘95 • LJUBLJANA: Cankarjev dom, ‘94 • LJUBLJANA: Galerija Mercator, ‘97 • LJUBLJANA: MGLC – Galerija Tivoli, ‘94, ‘05 • LJUBLJANA: Moderna Galerija, ‘72, ‘74, ‘75, ‘77, ‘79 • LONDON: Tate Gallery, ‘81 • MARKIEZENHOF: Gemeentemuseum, Bergen op Zoom, ‘81, ‘89 • NEW DELHI: Museum of Modern Art, ‘78 • NIŠ: Muzej i galerija savremene likovne umetnosti, ‘88 • NOVO MESTO: Dolenjski muzej, ‘97 • NOVI SAD: Galerija savremene likovne umjetnosti, ‘88 • NÜRNBERG: Kunsthalle Nürnberg, ‘87 • PARIS: Musée de la ville de Paris – purchase for a national art collection, ‘81 Igra bez početka i kraja / Play Without Beginning or End

• PODGORICA: Galerija umjetnosti Titograd, ‘89 • SALZBURG: Rupertinum Sammlung, ‘76 • SALZBURG: Trakl Haus Museum, ‘02 • SAULGAU: Gallerie Aras, ‘91, ‘92 • SARAJEVO: Collegium artisticum, ‘88, ‘96 • SEOUL: Museum of Modern Art, ‘90 • SITTARD: Museum Kritzraedthuis, ‘79, ‘85 • SKOPJE: Muzej na Makedonija, ‘86 • WIEN: Albertina, ‘83 • ZAGREB: HAZU, Kabinet grafike, ‘69 • ZUTPHEN: Museum Henriette Polak, ‘79 NAGRADE I PRIZNANJA / IZBOR PRIZES AND AWARDS / SELECTED • Prize for painting, XXVII Premio Internazionale Michetti, Francavilla al mare, ‘73. • First Prize, Exhibitions of Small Sizes, Chietti, ‘73. • Župančič Prize, Ljubljana, ‘75. • Second Prize, VII. Graphic Biennial Cracow, ‘80. • Jakopič Prize, 4th Biennial of Yugoslav Watercolours, Karlovac, ‘85. • Prize at XVI International Graphic Biennial Seoul, ‘90. • First Prize, “Do Forni”, Venezia, ‘93. • Distinguished with: Chevalier de l’ordre des arts, et des lettres, Paris, France, ‘96. • Distinguished with: Österreichisches Ehrenkreuz für Wissenschaft und Kunst – I. Klasse, Wien, Austria, ‘99. • Distinguished with: Honorable Member of Russian Academy of Art, Moscow, Russia, ‘04. • Grand Prix for Life Work, World Gallery of Drawings Osten, Skopje, ‘09. • First Prize for Mozaic: Fra Acque e Uve, Zoppola, Pordenone, ‘10.

LUNA+SOL Galerija umjetnina / Art Gallery Hotel Dubrovnik Palace, Masarykov put 20 Dubrovnik, Croatia H

Jo탑e Ciuha