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Bae Lee Bajić Mrdjan Bakić Gordana Bazilé PascalBuntak TomislavCarrasquer Marcos + Clough Leah + Čeranić Tomislav – Devereux Nick + Dudek Nicolaj + Đorđević Nemanja Erič Milan Feiner Ana Gverović Tina Janković Velibor Jonsbu Tina + Kavurić Kurtović Nives Keser Zlatko -

Kovačević Damjan Kulundzic Kosta + Kurtin Andrej Lanzarini Ricardo + Léglise Frédéric + Linck Heidi + Martindale Ruth + Mocquet Marlène + Oosterbaan Michelle Pencreac’h Stéphane Pignon Ernest Porchy David + Rončević Igor Santini Emanuela -

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Šimrak Robert Tadić Marko Varl Petra + Veličković VladimirVelk Marko + Verschaere Fabien Vrankić DavorXiao Fan Ru Zanki Josip Zonder Jérôme

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MMSU, Dolac 1/II, Rijeka, Hrvatska

Stručno povjerenstvo professional committee Tomislav Čeranić Henri François Debailleux dr. sc. Frano Dulibić mr. sc. Slavica Marković akademik Vladimir Veličković Davor Vrankić

18. međunarodna izložba crteža

18th international exhibition of drawings

mUZEJ mODERNE I suVREMENE UMJETNOSTI

mUSEUM OF mODERN AND cONTEMPORARY aRT

25. sije nja ─ 16. ožujka 2013.

25 January ─ 16 March 2013

Pitanje glasi: zašto ne crtež? Zašto većina dje đenoj dobi, kao da se radi o kakvom primitivn mliječne zube, tako prestajemo crtati.

Moje vlastito iskustvo započinje bijesom mogao nacrtati čovječuljka kojeg sam želio sam imao oko pet godina. Glava je uspijevala želio prikazati, no ruka ju nije pratila. Čini m nisam uspio, i još uvijek se trudim. Crtanje j izradi maketu vlastitog svijeta ili, preciznije, p znicu, kućicu, drveće možete staviti gdje god osveta mnogim stvarima koje su presnažne dugačak. Sve je već unaprijed izgubljeno, nar mrtve niti popraviti nepopravljivo.

jece prestaje crtati u odrevnom jeziku? Kako gubimo

m i frustracijom što nisam lio nacrtati u vrtiću, kada ala zamisliti sliku koju sam mi se da nisam stao dok e je divan način da čovjek e, paralelnog svijeta: željeod želite. Svojevrsna je to ne ili opresivne – popis je aravno: crtež neće oživjeti Marcos Carrasquer Zašto crtež?

The question is why not drawing? Why do most children stop drawing at a certain age, as if it was some primitive language?

In the process of shedding our milk teeth we stop drawing.

My own experience starts with anger and frustration at my incapacity of drawing the little man I wanted to draw, when I was about five at nursery school.

The head was able to imagine the image it wanted to represent, but the hand did not follow. I guess I did not stop until I got it right and still try to do so. Drawing is a wonderful way of scale modelling your own world, or, more precisely, a parallel world; you put the railways, the little house, the trees wherever you want them to be. It is a kind of revenge against a lot of things that are too powerful or oppressive; the list is long. Everything is lost in advance, of course: drawing will not bring back the dead nor will it repair the irremediable.

Marcos Carrasquer Why drawing?

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Kada je 2009. godine izložbom Sav taj crtež riječki Muzej moderne i suvremene umjetnosti obilježio dva jubileja – šezdeset godina od utemeljenja Muzeja (1948.) i četrdeset godina od prvog izdanja Međunarodne izložbe originalnog crteža (1968.), bio je to jasan pokazatelj ustrajnosti i kontinuiteta jednog od nesumnjivo najvažnijih izlagačkih projekata ovoga riječkog muzeja.

Međunarodna izložba crteža započeta je prije četiri desetljeća kao reprezentativna dvogodišnja izložba suvremenoga likovnog stvaralaštva, da bi se njezin ritam održavanja poremetio početkom Domovinskog rata. Nakratko je tada došla u pitanje koncepcija izložbe, ali i sam njezin opstanak, pa je njezino sedamnaesto izdanje prije tri godine bila važna potvrda da ovu, sada osvježenu i osuvremenjenu, izložbu svakako treba nastaviti njegovati.

Ministarstvo kulture, uz Grad Rijeku, redovito financijski podupire održavanje ove izložbe kao nesumnjivo jedne od likovnih manifestacija od najvišega međunarodnog značenja za Republiku Hrvatsku, koja daje relevantan presjek i uvid u recentna likovna ostvarenja.

U sedamnaest se prethodnih izdanja međunarodnih izložaba crteža u crtež

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When the exhibition All That Drawing was displayed in 2009, Rijeka’s Museum of Modern and Contemporary Art marked two anniversaries – sixty years since the Museum’s establishment (1948) and forty years since the first edition of the International Exhibition of Original Drawings (1968) – which was a clear sign of the persistence and continuity of undoubtedly one of the most important curatorial projects of this Museum.

The international exhibition of drawing was launched four decades ago as a representative biennial show of contemporary visual art, whose rhythm was then disturbed by the beginning of the Croatian War of Independence. The exhibition concept was at that moment briefly jeopardised, as well as its very survival, which is why its 17th edition three years ago was an important testimony that this exhibition, in its refreshed and contemporary form, should definitely be nurtured.

In addition to the City of Rijeka, the Ministry of Culture regularly financially supports this exhibition as an indisputable art event of the highest international importance for the Republic of Croatia, providing a relevant cross-section and insight into recent accomplishments in 11

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organizaciji MMSU-a Rijeka sustavno propitivao crtež kao medij i njegova uloga u drugim područjima umjetnosti kao što su kiparstvo, dizajn, strip, animirani crtež; dakle, crtež koji je mišljen unutar drugih ili novih umjetničkih praksi. Ovogodišnja je izložba zato posvećena problematici tradicionalnoga crtačkog izraza i pitanjima koliko je crtež danas samostalno zastupljen i prisutan. Tako će tijekom trajanja ove manifestacije, nekoliko popratnih izložaba i programa – od razgovora s umjetnicima, prezentacija i predavanja o crtežu – iznova učiniti ovu riječku likovnu smotru aktivnim mjestom i zanimljivim susretištem znanja i novih ideja o značenju i, općenito, ulozi crteža u suvremenoj umjetnosti.

Slijedom toga, možemo biti ponosni što Republika Hrvatska ima ovakvu likovnu smotru međunarodnog ugleda, kojom ne samo da se s razumijevanjem prate svjetski likovni trendovi nego ih često ova izložba i sama diktira. Zahvaljujući tome te svojoj afirmaciji na tako uvaženoj smotri, mnogim se hrvatskim umjetnicima otvaraju vrata prema svijetu te oni potom redovito sudjeluju na relevantnim međunarodnim izložbama i pozivnim natječajima s kojih se često vraćaju kao do12

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the field of visual art.

The previous seventeen editions of the international exhibition of drawings organised by MMSU systematically explored drawing as a medium and its role in other art forms, such as sculpture, design, cartoon, animated drawing; therefore, drawing within other or new art practices. This year’s exhibition is thus dedicated to the issue of traditional drawing expression and matters of drawing’s representation and presence today.

During this event, several special exhibitions and programmes – from interviews with artists, to presentations and discussions about drawing – will make Rijeka’s art show an active place and interesting meeting point of knowledge and new ideas about meaning and the general role of drawing in contemporary art.

Therefore, we are rightfully proud that the Republic of Croatia hosts such an important internationally renowned art event, which not only follows world art trends, but often dictates them. Due to that fact and their acknowledgement at such an important event, many Croatian artists will open their door to the world and become regular participants at relevant international exhibitions and invited dessin

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bitnici uglednih nagrada i priznanja za svoje crtačko umijeće.

Stoga vjerujem da će i ovogodišnja 18. međunarodna izložba crteža vjerno pokazati svu raskoš i vrijednost svjetske i domaće crtačke produkcije te da će iznjedriti neka nova mlada i perspektivna imena koja će i u budućnosti osigurati visoku kvalitetu i kontinuitet ove likovne discipline u Hrvatskoj.

competitions, from which they often return as winners of prestigious awards and merits for their drawing skills.

My belief is that this year’s 18th International exhibition of drawings will realistically testify of all the richness and value of the international and local drawing production and engender new and perspective names as the future guarantees of high quality and continuity of this art discipline in Croatia.

dr. sc. Andrea Zlatar Violić ministrica kulture Republike Hrvatske

Andrea Zlatar Violić, PhD Minister of Culture of the Republic of Croatia

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Iz svoje burne prošlosti i mnoštva događaja, Rijeka se s posebnom radošću sjeća svake od sedamnaest dosad održanih međunarodnih izložaba crteža, čiji početak seže do vremena od prije gotovo 45 godina u prostoru današnjega Muzeja moderne i suvremene umjetnosti.

Međunarodna izložba crteža u Rijeci tradicionalna je i prepoznatljiva manifestacija, koja je Rijeku postavila visoko na ljestvici najkvalitetnijih i najintrigantnijih umjetničkih zbivanja u svijetu.

Ma koja tema bila kojom se bavilo sedamnaest dosad održanih međunarodnih izložaba crteža, misao vodilja uvijek je bila originalnost, svježina, kreativnost, žudnja da se napravi barem korak ispred svojega vremena. Bez obzira na to koji su selektori bili angažirani za odabir uvrštenih djela za izložbu, bez obzira na to odakle su bili umjetnici, Međunarodna izložba crteža u MMSU-u bila je uvijek svjež povod da se dođe u Rijeku.

Ugodno i nadasve vrijedno svjedočanstvo dosadašnjih sedamnaest izložaba jest i djelima najbrojnija muzejska zbirka crteža umjetnika koji su sudjelovali na tim manifestacijama i koji su svoje radove darovali Muzeju. Ta zbirka, nastajala tijekom gotovo pola stoljeća, danas crtež

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Out of its tumultuous past and a multitude of events, Rijeka recalls each of its seventeen international exhibitions of drawings with particular joy. Their beginnings date 45 years back and the events have taken place at today’s Museum of Modern and Contemporary Art. The International Exhibition of Drawings in Rijeka is a traditional and recognisable event, which placed Rijeka high on the scale of the best and most intriguing art events in the world. Whatever the topic of these seventeen international exhibitions of drawings, the guiding principle has always been originality, freshness, creativity, desire to get a step ahead of the time. Regardless of the curators hired to select the works to be displayed, regardless where the artists came from, the International Exhibition of Drawings at the Museum of Modern and Contemporary Art has always been a fresh reason to visit Rijeka.

A pleasant and utterly valuable testimony of these seventeen exhibitions is the Museum’s richest collection, containing drawings by artists who have participated at the event and donated their pieces to the Museum. This collection, which took almost half a century to 15

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sadrži više od tisuću crteža raznih poetika, izričaja i tehnika.

Ove godine, otvorenje izložbe planirano je kao poslastica ljubiteljima umjetnosti za Noć muzeja. Izložba se temom vraća svojim korijenima, originalnom, standardnom, tradicionalnom crtežu i istraživanju njegovih mogućnosti u okviru suvremene umjetnosti. Uvjeren sam da će i ova izložba biti osvježenje i izvanredan doprinos umjetnosti i kulturi naše zajedničke europske stvarnosti.

reach its present form, today counts more than a thousand drawings of different poetics, expressions and techniques.

This year, the opening is planned as a treat for all art lovers on the Museum Night. In terms of subject, the exhibition goes back to its roots, to the original, standard, traditional drawing and the exploration of its potential within contemporary art. I am certain that this exhibition will be both a refreshment and an exceptional contribution to the art and culture of our common European reality.

mr. sc. Vojko Obersnel gradonačelnik Grada Rijeke

Vojko Obersnel, MA Mayor of the City of Rijeka

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Jedno od temeljnih, naizgled paradoksalnih problemskih pitanja, koje se postavilo već na prvoj Međunarodnoj izložbi originalnog crteža bilo je – što je crtež, gdje prestaje crtež i nastaje slika? Granice koje određuju neki likovni medij bilo je teško definirati i u vrijeme prvih izdanja izložbe crteža budući da je već tada evoluirao pojavom novih materijala i tehnika te izmicao tradicionalnim određenjima i razgraničenjima temeljenih na upotrijebljenim likovnim tehnikama.

Nedvojbeno je da je velik dio recentnoga umjetničkog stvaralaštva uvjetovan razvojem novih tehnologija. Različiti se mediji međusobno prožimaju i paralelno egzistiraju, što otežava određivanje meritornih kriterija kojima bi se definirala određena likovna disciplina. Bez obzira na to, umjetnička ideja i njezino prenošenje na način da se ističu i njeguju vještina i métier, usprkos tehnološkom razvitku i multidisciplinarnosti u vizualnim umjetnostima, ne zastarijeva pa smo smatrali zanimljivim i važnim na aktualnoj izložbi prikazati crtež par excellence.

Međunarodna izložba crteža u svojoj je raznolikosti i dugovječnosti problematizirala crtež u rasponu od tradicionalnog do konceptualnog shvaćanja, crtež

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One of the basic, seemingly paradoxical issues, established at the very first International Exhibition of Original Drawings was – what is drawing, where does a drawing end and a painting begins? The limitations determining a certain visual arts medium were hard to define even in the times of the early editions of this drawing exhibition, since it had already evolved through new materials and techniques and escaped the traditional notions and differences based on the artistic technique used.

A large portion of recent art has been conditioned by the use of new technologies. Different media mutually interweave and coexist, which makes it difficult to establish relevant criteria to define a certain art discipline. In spite of that, the idea of art and its transposition highlighting and fostering the skill and métier, regardless of the technological progress and multidisciplinary view in visual arts, do not age and therefore we deemed it interesting and important to present the drawing par excellence at the current exhibition.

The International Exhibition of Drawings has throughout its diversity and longevity dealt with drawing in terms 19

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obrađivala različite tematske pristupe crtežu, pokazivala prožimanje s drugim likovnim medijima. Nakon više od četrdeset godina postojanja, rasta, transformacija i kriza, suočava se s novim izazovom samoobnavljanja.

Aktualiziranje ishodišnih postavki crteža preispituje se kroz središnju temu izložbe, a to je originalni crtež oblikovan kao cjelovito i završeno umjetničko djelo, crtež koji ne služi kao predradnja za neki drugi oblik likovnog izražavanja. Iako recentnu crtačku praksu karakteriziraju različitost i široka paleta upotrijebljenih materijala i tehnika, željeli smo vidjeti postoji li još uvijek tradicionalan crtež izrađen klasičnim izražajnim sredstvima, je li aktualan, moderan ili su ga nadvladale suvremene umjetničke tendencije.

Za razliku od dosadašnjih međunarodnih izložbi crteža, odabir umjetnika za aktualnu izložbu proveo je Organizacijski odbor Muzeja moderne i suvremene umjetnosti u suradnji sa Stručnim povjerenstvom koje sačinjavaju stručnjaci iz područja likovne umjetnosti, dobri poznavatelji suvremenog crteža koji se crtežom bave teorijski ili se crtežom izražavaju.

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of both traditional and conceptual understanding, processed different thematic approaches to drawing, and shown intertwining with other visual media. After more than forty years of its existence, growth, transformations and crises, it is facing a new challenge of self-renewal.

The focus on the original settings of drawing is challenged through the central subject matter of the exhibition, the original drawing shaped as a unified and finite work of art, the drawing that does not serve as foreplay to some other form of artistic expression. Even though the recent drawing practice is characterised by diversity and a wide array of used materials and techniques, we wanted to see if there still exists traditional drawing in classic expressive methods, is it up-to-date, modern, or it has been overcome by contemporary art tendencies.

Unlike the previous international Exhibitions of Drawings, the selection of artists for this edition was made by the Organisational Board of the Museum of Modern and Contemporary Art, in collaboration with the Professional Committee comprising of professionals from the field of visual art, connoisseurs of contemporary drawing who have pursued dessin

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pridonijeti dinamičnosti i atraktivnosti izložbe budući da umjetnici likovno izražavanje sagledavaju iz iskustvene perspektive pa se i njihovo poimanje crteža, a time i prijedlog autora za izlaganje, razlikuje od teoretičara umjetnosti.

Različitost u pristupu temi originalnoga, tradicionalnog crteža, koja se očituje u svakom segmentu izložbe, nastala je kao logičan slijed okolnosti u kojem se odvijala njezina organizacija. Jedinstvenu ideju vodilju ili posebnu tezu koja bi se programski mogla objasniti, a koja se proteže kroz rad svih onih umjetnika koje predlaže član Stručnog povjerenstva, bilo bi pretenciozno očekivati budući da je svaki od njih predložio veći broj izlagača.

Umjetnici su birani prije svega na osnovi neupitne likovne kvalitete svoga rada, što potvrđuju dugovječnom i uspješnom prisutnošću na nacionalnoj ili svjetskoj likovnoj sceni, a o uspjehu mlađe generacije autora svjedoče i dobivene nagrade i priznanja, izlaganje na renomiranim izložbama ili salonima međunarodnog značenja. Pri predlaganju umjetnika polazilo se i od činjenice da je crtež u cjelokupnomu likovnom stvaralaštvu pojedinog autora važna i ravnopravna likovna disciplina, a kod mnogih je autora osnova crtež

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drawing either on a theoretical basis or used it as a means of expression. By including renowned drawing artists into the selection process, our aim was to contribute to the dynamism and appeal of the exhibition, since the artists pursue their expressions from a point of view of their experience; therefore their notion of drawing, as well as their suggestions of prospective authors, differs from the art theorists’ choice.

The difference in the approach to the subject of original, traditional drawing, evident in every aspect of the exhibition, came out as a logical series of events surrounding its organisation. It would be pretentious to expect a unique guiding principle or special hypothesis that could be explained programmatically and spanning through the work of all those artists proposed by a Professional Committee member, since each of them proposed a larger number of participants. The artists were selected primarily on the basis of unequivocal artistic quality of their work, confirmed by their long and successful presence of the national or international art scene. The success of younger generations is testified by their earned awards and recogni21

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njihove umjetnosti, primarni oblik izražavanja. Vrsno vladanje métierom bilo je jedno od osnovnih kriterija pri selekciji umjetnika, koju su obavili članovi Povjerenstva koji se i sami bave crtežom. Vezano uz konkretne radove kojima će se pojedini umjetnici predstaviti na izložbi, valja reći da su neki od predlagača sudjelovali u njihovu odabiru, ali je u većini slučajeva odabir ostavljen na izbor samom autoru ako je rad udovoljavao postavljenim kriterijima i konceptu izložbe.

Umjetničko stvaralaštvo autora predstavljenih na ovoj izložbi karakteriziraju različite izražajne poetike koje upućuju na dinamiku u pristupu suvremenom crtežu u kojem supostoji apstraktan, figurativan, hiperrealističan, narativan, intimistički ili bilo koji drugi pristup radu.

Iako smo postavljenim kriterijima za odabir radova željeli prikazati osnovni, bazični crtež bez utjecaja tehnika karakterističnih za neku drugu likovnu disciplinu, koje crtež, uvjetno rečeno, udaljavaju od njegove izvornosti, uočili smo da je takva percepcija crteža održiva kod manjeg broja umjetnika.

Zanimanje za figuraciju, koju određeni krug umjetnika sustavno propituje, novost je u usporedbi s ranijim izdanjima 22

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tions, displays at renowned exhibitions or art fairs of international importance.

In proposing artists, the starting point was the fact that drawing was an important and equal art discipline in particular artist’s total work or, in many artists’ case, the basis of their art, their primary means of expression. Skilful mastery of the métier was one of the basic criteria in the selection the artists, made by the Committee members who also pursue drawing. In terms of specific works the artists will display at the exhibition, some of the committee members participated in their selection as well, but mostly the choice was given to the artist himself if the work satisfied the set criteria and exhibition concept.

The art of the authors presented at this exhibition is characterised by different expressive poetics which point to dynamics in the approach to contemporary drawing, in which abstract, figurative, hyperrealist, narrative, intimate or any other approach coexist. Even though the set selection criteria meant to represent the basic, fundamental drawing, without the influence of techniques characteristic of other art disciplines which would, in a manner of speaking, push the drawing dessin

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Međunarodne izložbe crteža, što svjedoči o trendu koji bilježi povratak u likovno izražavanje. Narativni prizori u kojima svaki od umjetnika na svoj način izgrađuje osobnu mitologiju, sebi svojstven bajkovit dnevnik u kojem svakodnevno postaje magično te u kojemu dominiraju metafizički i spiritualni autoportreti ili mikrosvjetovi puni neobičnih likova, karakteristika je figurativnih, minuciozno izrađenih crteža prisutnih na svjetskoj, ali i na nacionalnoj umjetničkoj sceni.

Tijekom pripremanja izložbe i kataloga odlučili smo da se crtež i poimanje crteža kontekstualiziraju postavljenjem pitanja umjetnicima koja su vezana uz njihovo iskustvo izražavanja crtežom▀.

Dobiveni odgovori pridonose boljem razumijevanju izloženih radova, ali i pozicioniranja crteža u kontekstu suvremene umjetničke prakse.

Uzimajući u obzir iskustvo umjetnika, valorizaciji crteža pridonose različite manifestacije kojih u posljednjih desetak godina na svjetskoj likovnoj sceni ima sve više. Budući da na našem području postoji svojevrstan deficit sličnih priredbi, pri pripremanju ove izložbe naišli smo na odobravanje i podršku umjetnika kojima je crtež jedina ili jedna od primarnih izražajnih likovnih disciplina. Vjerujemo da crtež

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away from its originality, we noticed that such a perception of drawing is sustainable only in fewer artists.

An interest in figuration, constantly systematically explored by a certain artistic circuit, is a novelty compared to the earlier editions of the International Exhibition of Drawings, which testifies of a trend characterised by a return to visual expression. Narrative scenes in which each of the artists in their own way builds a personal mythology, a characteristic dreamy journal in which everyday becomes magical and in which metaphysical and spiritual self-portraits or micro-worlds full of unusual characters dominate, are a common trait of figurative, minutely executed drawings present both on the global and national scene.

While preparing the exhibition and the catalogue, we decided that drawing and the notion of drawing should be contextualised by asking the artists questions related to their experience in drawing as a means of expression▀. The answers contribute to a better understanding of the displayed works, but also to the positioning of drawing in the context of contemporary art practice.

Bearing in mind the artist’s experience, the valorisation of drawing has 23

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će i kod publike koja pokazuje afinitet prema tradicionalnom te one sklone suvremenoj umjetničkoj praksi iste reakcije postići i 18. međunarodna izložba crteža kao i izložba na kojoj izlažu crtači, članovi Stručnog povjerenstva, Vladimir Veličković, Davor Vrankić i Tomislav Čeranić.

also been aided by different events, which have in the past ten years grown in size and number. Since our area lacks in similar events, while preparing this exhibition we encountered approval and support from the artists who pursue drawing as the only or one of the primary expressive disciplines. We believe the audience showing an inclination towards the traditional, as well as the one more inclined to contemporary art practice, will react equally to both the 18th International Exhibition of Drawings and the exhibition of works by the Professional Committee members, Vladimir Veličković, Davor Vrankić and Tomislav Čeranić.

VILMA BARTOLIĆ kustosica Muzeja moderne i suvremene umjetnosti u Rijeci

VILMA BARTOLIĆ curator of Museum of Modern and Contemporary Art in Rijeka

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▀ Zašto crtež?

Koje biste specifičnosti svojega rada istaknuli vezano uz suvremenu praksu crtanja?

Koliko je teško baviti se klasičnim crtežom u vrijeme dominacije tehnologije u stvaralačkom procesu?

Smatrate li da je crtež dovoljno zastupljen na izložbama kao samostalna umjetnička disciplina?

▀ Why drawing?

Which specifics in your own work would you choose to outline in regard to the contemporary drawing practice?

How hard is it to pursue the classic drawing in the time when the use of technology dominates the creative process?

Do you think drawing is sufficiently represented at art exhibitions as an autonomous art discipline?

Sjećam se jednog intervjua s piscem Philipp cuskoj televiziji: izvadio je olovku iz džepa i po je rekao nešto poput: Trebam samo ovo i k raditi svugdje, potpuno sam slobodan...

Upravo zbog toga smatram crtež tako va samo olovku i komad papira. Neovisan sam razlika je u tome što kada stranac pogleda prijevod.

ppeom Sollersom na franpokazao je kameri. Zatim komad papira i mogu to

važnim medijem: trebam am, dakle, i slobodan, no da moj crtež, ne treba mu

Frédéric LÉglise Zašto crtež?

I remember an interview of the writer Philippe Sollers to French TV: he took his pen out of his pocket and showed it to the camera. Then he said something like: I only need this and a paper to write, I can do it anywhere, I am absolutely free…

It is for the same reasons that, for me, drawing is such an important medium: I only need a pen and a sheet of paper. Thus, I am independent and free, but the difference is that when a stranger looks at one of my drawings, he does not need any translation…

Frédéric Léglise Why drawing?

30 The working class goes to heaven graphite pencil, charcoal, paper, 103x75 cm, 2011

međunarodna izložba crteža

Radnička klasa ide u raj grafitna olovka, ugljen, papir, 103x75 cm, 2011.

MrDjan Baji

18 dc mmsu

dessin

crtež

Linear, visual and drawing alphabet has its conciseness and efficiency which for me have an irresistible, instinctive, cognitive immediacy. To put it simply: I understand the drawn world better than the one explained to me in words.

I regard drawing as a natural way of understanding and apprehending the three-dimensional. My drawing work is a cross-section of my personal experience and acquired beliefs, artistic education founded on classic studying according to nature, and individual interest in sculpture explorations in a broad field of sculpting practices from the 1980s to this day. I draw on a daily basis, in museums, I doodle in meetings, I use sketches to explain structures to my co-workers and workmen, on post-its, notepads, newspaper corners, on my iPad, anywhere. Even though the process itself is important, systematic exploration leads to large-scale drawings combined with collage and painting elements with classic drawing techniques, creating independent projects, but also beginnings of future sculpture conglomerates. All innovative elements I included in sculptures were previously or at the same time parts of drawings. The continuous use of different materials, frequent passage into different handwriting registers and a quest for seductive defined forms of unstable, storming balance. The repertory repeats, but also changes.

international exhibition of drawings

1957/ Beograd Fakultet likovnih umetnosti, Beograd Beograd mrdjan@eunet.rs/ www.mrdjanbajic.com

Linearna, vizualna, crtačka abeceda ima svoju jezgrovitost i efikasnost koja za mene ima neodoljivu, instinktivnu, spoznajnu direktnost. Jednostavnije: bolje razumijem nacrtani svijet od onoga koji mi se objašnjava riječima.

Crtež smatram prirodnim načinom razumijevanja i spoznavanja trodimenzionalnog. Moj je crtački rad u presjeku osobnog iskustva i izgrađenih uvjerenja, umjetničkog obrazovanja koje je zasnovano na klasičnom studiranju prema prirodi te individualnog zanimanja koje je okrenuto skulptorskim istraživanjima u proširenom polju skulptorskih praksa od osamdesetih godina do danas. Crtam na dnevnoj bazi, po muzejima, črčkam na sastancima, skicama objašnjavam strukture suradnicima i majstorima, na papirićima, po tematskim blokovima, po kutcima novina, na iPad-u, svejedno. Iako je i sam taj proces važan, sustavno istraživanje vodi k crtežima velikog formata u kojima kombiniram kolaž, elemente slikanja s klasičnim crtačkim tehnikama, stvarajući tako samostalne projekte, ali i začetke budućih skulptorskih konglomerata. Sve inovativne elemente koje sam uvodio u skulpturu, prethodno sam ili istodobno unosio i u crtež. Stalna upotreba različitih materijala, čest prelazak u različite rukopisne registre i potraga za zavodljivim definiranim formama, nestabilnog, obrušavajućeg balansa. Repertoar se ponavlja, ali i mijenja.

mmSU 18 dc

31

32 Transmission graphite pencil, paper, work in progress, 2005–2011 detail

međunarodna izložba crteža

Prijenos grafitna olovka, papir rad u nastajanju, 2005.–2011. detalj

Gordana Baki

18 dc mmsu

dessin

crtež

I use drawing as a cornerstone of all of my works. The possibilities of drawing as a technique, the variability of expression and, in general, the application of drawing against various backgrounds have kept me in this medium. The structure, changeability and dynamics of work, the manner in which artwork is either involved or passive in relation to the space it is created and then presented and archived in, as well as the interrelation between the inevitable verification and positioning of the final work, conditionally speaking – all these are elements forming a personal desire to further examine drawing.

My entire work is in constant connection and transformation, compliant with the space it is created, presented and archived in. In other words, as a physical component, space is the main and quite possibly the only determinant of work because the drawing’s motif is – (interior) space. A place is a meeting point of the entire combination and the drawing has yet to become an object, a space in itself. Finally, the work will become more communicative and open, which is a moment not only for the present, but also for the future.

Today, drawing is autonomous artwork enriched with values worth highlighting in a good idea and good realisation. Good work is always good, regardless of the medium it is presented in. This goes for drawing as well, which definitely, in my view, deserves and can keep track with all the contemporary elements. Speaking of the situation in Croatia, I think that drawing is still seen sporadically because rarely an artist works only with graphic techniques or uses traditional techniques at all.

international exhibition of drawings

1972/ Zagreb Akademija likovnih umjetnosti, Zagreb → Akademija za likovno umetnost in oblikovanje, Ljubljana Zagreb gbakicv@gmail.com

Crtež koristim kao okosnicu svih svojih radova. Mogućnosti crteža kao tehnike, varijabilnosti izraza i, općenito, primjena crteža na raznim podlogama, kontinuirano me zadržavaju u ovom mediju. Struktura, promjenjivost i dinamika rada, način na koji je umjetnički rad angažiran ili pasivan u odnosu na prostor u kojem nastaje, pa je onda prezentiran i skladišten, te međuodnos neizbježne provjere i stavljanja u poziciju, uvjetno rečeno, završnog rada – sve su to elementi koji formiraju osobnu želju za daljnjim propitivanjem crtačkog.

Cjelokupni moj rad u stalnoj je vezi i transformaciji sukladno prostoru u kojem nastaje, prostoru prezentacije i prostoru skladištenja. Drugim riječima, prostor je kao fizička komponenta glavna, a moglo bi se reći i jedina, odrednica rada jer je i motiv samoga crtačkog – prostor (interijer). Mjesto je sjecište cjelokupnog sklopa, a crtež je tek budući objekt, prostor za sebe. U toj konačnici rad će postati komunikativniji i otvoreniji, a to je moment ne samo sadašnjosti nego i budućnosti.

Danas je crtež samostalan umjetnički rad koji u dobroj ideji i izvedbi nosi vrijednosti koje treba isticati. Kvalitetan rad je uvijek kvalitetan, bez obzira na medij u kojem je prezentiran. To vrijedi i za crtež koji itekako, po mome mišljenju, zaslužuje i može održati korak sa svim suvremenim elementima. Kada govorimo o situaciji kod nas, mislim da se zastupljenost crteža još uvijek svodi na povremenost jer je rijetkost da neki umjetnik ili radi samo u crtačkim tehnikama ili uopće koristi tradicionalne tehnike rada.

mmSU 18 dc

33

34 Blind Spots 1 acrylic marker, polyester film, 93x134 cm, 2012 detail

međunarodna izložba crteža

Slijepe pjege 1 akrilik marker, poliesterska folija, 93x134 cm, 2012. detalj

Pascal Bazilé

18 dc mmsu

dessin

crtež

The practice of drawing is essential for me because I am first and foremost a draftsman. I am even more a draftsman than a painter, more even than a sculptor.

And although today I’m probably best known as a sculptor, one must not forget that I started by drawing and that sculpture came only much later. So drawing is for me a whole separate discipline in itself.

Basically, what interests me is the shape, the form, and more precisely the stroke, the line, and even the return to the same line. Furthermore, my drawing is based on perception and anticipation. I can actually see my work only when it is completely finished. It is only then that I see whether the drawing holds or not, never while I’m doing it. And what I look for is a visual shock, a plastic shock. My work is purely retinal.

In my drawings, there is no story, no subject matter. It is only about a game of forms, with a single line, a repetition of the same line, which on arrival, in a previously determined format, suggests a game of interlacing and, especially, meshing, since the drawing is the result of a superposition of transparent films and, thusly, forms. To make a drawing, I play with loops and curves, I proceed in successive layers, I make trails and I highlight, I control routes, repeat ellipses, multiply traits, I follow the line as an itinerary, I cover tracks, I lose myself to build, I take notice of chance and accident, I play with the offset. In fact, I dream my way.

international exhibition of drawings

1957/ Boulogne Billancourt École d’Arts Graphiques Corvisart, Paris → École Nationale Supérieure des Beaux-Arts, Paris Paris, Amboise pascal.bazile0@orange.fr/ www.pascalbazile.com

Crtanje je za mene najvažnije jer sam prije svega crtač.

Više sam crtač nego slikar, pa čak i više nego kipar. A premda sam danas nedvojbeno najpoznatiji kao kipar, ne treba zaboraviti da sam počeo od crteža i da je kiparstvo došlo tek puno poslije. Crtež je stoga za mene čitava zasebna disciplina.

U biti, mene zanima kontura, forma i, još konkretnije, crta, linija, pa čak i povratak liniji. S druge strane, moj se crtež temelji na percepciji i predviđanju. Naime, ja svoj rad ne mogu vidjeti prije nego što bude potpuno dovršen. Tek u tom trenutku vidim valja li crtež ili ne, nikad dok ga radim. A ono što tražim jest vizualni šok, plastični šok. Moj rad posve je namijenjen mrežnici oka.

U mojim crtežima nema priče, nema teme.

Riječ je samo o igri oblicima, jednom jedinom linijom, ponavljanjem jedne te iste linije koja na koncu, u unaprijed odlučenom formatu, sugerira igru prepletanja i, ponajprije, mreže, s obzirom na to da je crtež plod superpozicije prozirnih slojeva pa, dakle, oblika. Da bih stvorio crtež, igram se petljama i krivuljama, napredujem u uzastopnim slojevima, pravim pruge i šare, kontroliram putanje, ponavljam elipse, umnažam obrise, slijedim liniju kao plan putovanja, zamećem tragove, gubim se da bih gradio, vodim računa o slučaju i nezgodi, igram se s raskorakom. Zapravo, sanjam svoj put.

mmSU 18 dc

35

36 Free Seed, Water and Education (Night Swim) charcoal, paper, 218x198 cm, 2012

međunarodna izložba crteža

Slobodno sjeme, voda i obrazovanje (noćno kupanje) ugljen, papir, 218x198 cm, 2012.

Tomislav Buntak

18 dc mmsu

dessin

crtež

Why drawing? It is the fundamental way, drawing is the beginning. Profound pleasure and a personal need.

My drawing refers to figurative representations. The idea of drawing as an accomplished art discipline opened up possibilities for my approach to evolve and cleared up space for exploration. The specificity of each graphic artist whose drawings are not a sketch or an overture for something else is a constituent part of the diversity of contemporary graphic practice because it contemporary graphic practice allows for all approaches. The contemporary graphic practice fosters diversity, fosters drawings as an accomplished art form and expands drawing’s dimensions and space.

If drawing is your choice and need, I do not see any difficulty in maintaining classic drawing. In fact, today’s time favours classic drawing techniques because the material is cheaper and it requires simples conditions in which a drawing is created. I think drawing has never had such an importance as an accomplished art discipline as it does today. The door to drawing in all display spaces is wide open. The amount of representation depends on the artists to make them and curators and institutions to understand them or not. In the last ten years drawing has been widely seen in galleries and at exhibitions. Drawing has met sculpture, painting and new media on an equal basis.

international exhibition of drawings

1971/ Zagreb Akademija likovnih umjetnosti, Zagreb Zagreb tomislav.buntak@gmail.com

Zašto crtež? Temeljni način, početak je crtanje. Duboko zadovoljstvo i osobna potreba.

Moj crtež vezan je uz figurativne prikaze.

Ideja crteža kao završene umjetničke cjeline otvorila je mogućnosti razvoja mog načina i oslobodila mi je prostor za istraživanje. Specifičnost svakog autora koji se bavi crtežom koji nije skica i predigra za nešto drugo, sastavni je dio različitosti suvremene crtačke prakse jer suvremena crtačka praksa dopušta sve pristupe.

Suvremena crtačka praksa njeguje različitost, njeguje crteže kao završenu umjetničku formu i širi dimenzije i prostor crteža.

Ako je crtež odabir i potreba, ne vidim nikakvu teškoću u održavanju klasičnog crteža. Zapravo, ovo današnje vrijeme pogoduje klasičnim crtačkim tehnikama jer je i jeftiniji materijal i zahtijeva jednostavnije uvjete u kojima možemo izrađivati crtež. Mislim da crtež nije nikad imao takvo značenje kao završena umjetnička cjelina kao danas. Crtežu su otvorena vrata za sve izložbene prostore. Koliko će biti zastupljen ovisi o autorima koji će izrađivati crteže, razumijevanju ili nerazumijevanju kustosa i institucija. U posljednjih desetak godina crtežu su otvorena vrata galerija i izložbi.

Crtež se ravnopravno susreo i s kiparstvom, slikarstvom i novim medijima.

mmSU 18 dc

37

38 saturnism ink, paper, 120x160 cm, 2010

međunarodna izložba crteža

Saturnizam tuš, papir, 120x160 cm, 2010.

Marcos Carrasquer

18 dc mmsu

dessin

crtež

When it comes to the relation between the classical drawing and technological domination, to begin with, new technology is not necessarily better; more often it is, in my opinion, flatter, especially in the beginning of its development. It is, though, more practical and faster.

I am not even sure it really dominates the creative process. Ever since I was a student in art school, painting and drawing must have died a dozen deaths according to this one and have risen from their ashes according to that one. It is boring; it is a waste of time to make different techniques compete with other newer technologies. If people do not like oil paintings or pencil drawings as a principle; if they think newer technologies are there to replace them and cannot simply co-exist or for whatever other reason think drawing or painting should be in history's dustbin, I definitely do not share the same problem.

international exhibition of drawings

1959/ Hilversum Academie van Beeldende Kunsten Rotterdam, Rotterdam Paris www.marcoscarrasquer.com

Kada je riječ o odnosu tehnika klasičnog crteža i tehnološke dominacije, za početak, nova tehnologija nije nužno i bolja; često je, po mome mišljenju, plošnija, osobito na početku svojega razvoja. Međutim, praktičnija je i brža. Nisam siguran ni u to da dominira stvaralačkim procesom. Još otkako sam studirao umjetnost, slikarstvo i crtež umrli su valjda desetak puta, prema jednima, i uzdignuli se iz pepela, prema drugima. To je dosadno; tjerati razne tehnike da se natječu s drugim, novijim tehnologijama, gubitak je vremena. Ako se ljudima načelno ne sviđa slika u ulju ili crtež olovkom, ako smatraju da nove tehnologije postoje zato da bi ih zamijenile i da ne mogu jednostavno supostojati ili zbog bilo kojega drugog razloga misle da slikanje i crtanje treba pohraniti u ropotarnicu povijesti, definitivno ne dijelim njihov problem.

mmSU 18 dc

39

40 Unfurl and Bloom gel pen, paper, 110x80 cm, 2012

međunarodna izložba crteža

U cvatu gel-kemijska olovka, papir, 110x80 cm, 2012.

Leah Clough

18 dc mmsu

dessin

crtež

Unfurl and Bloom is a pen drawing of botanical fiction.

A dense mass of created hybrid flowers. Parts of exotic flora – petals, leaves, textures and organic shapes are selected and merged together with the idea of carving out a drawing, another world, from paper by pen. My work intends to encourage imagination and alludes to the more animal, alluring and seductive side of plant life. By using shapes and textures that can be found in nature and marine organisms I create my drawings of hybrid and embellished flowers.

My most recent drawings are of built up from fact and fiction, originating from a collection of imagery ranging from poems and stories, to photos and past drawings. I admire botanical illustrations and etchings and strive for the same sense of extreme detail that they employ.

international exhibition of drawings

1985/ Hong Kong Wimbledon College of Art - University of the Arts London, London Hong Kong www.leahclough.com

U cvatu je crtež botaničke fikcije olovkom. Gusta masa kreiranoga hibridnog cvijeća. Egzotična flora – latice, lišće, teksture i organski oblici biraju se i stapaju s ciljem izrade crteža, nekoga drugog svijeta, uz pomoć papira i olovke. Moj rad želi potaknuti maštu i ukazuje na animalniju, privlačniju i zavodljiviju stranu biljnog života. Uporabom oblika i tekstura koje se mogu naći u prirodi, kod morskih organizama, stvaram svoje crteže hibridnoga i prenaglašenog cvijeća.

Moji se najnoviji crteži sastoje od stvarnog i nestvarnog, a proizlaze iz slikovnosti koja seže od pjesama i pripovijetki do fotografija i postojećih crteža.

Divim se botaničkim ilustracijama i bakropisima, a težim istom osjećaju za ekstremnost u detalju koja je u njih upisana.

mmSU 18 dc

41

42 New Mythologies (St Somebody Narrative) charcoal, paper, 130.5x420 cm, 2009 detail

međunarodna izložba crteža

Nova mitologija (Sv. Netko Propovjednik) ugljen, papir, 130,5x420 cm, 2009. detalj

Nick Devereux

18 dc mmsu

dessin

crtež

In the way I work, when compared to the way I paint, drawing has a certain immediacy when it comes to the translation of ideas and perception. Closer to the feeling of modelling clay in the directness of the connection between the eye and the work, charcoal allows me to develop the same volume attainable through oil, without the limitation of thinking so far ahead.

I observe from life and employ classical techniques of representation. The approach does not attain the sharpness of photorealism, but focuses on information perceived by the human eye, i.e. essential volumes and light. I aim to isolate this sense of perception by creating compositions that elude recognition.

Regadless of the fact if we are discussing classical drawing or the use of technology, it is important that everything evolves. The approach used must be fulfilling to the artist while making a difference to the status quo in any way possible. It seems that drawing generally remains traditionally labelled as a medium for preparatory work.

international exhibition of drawings

1978/ Panama City Paris www.bugadacargnel.com

Kada crtam, u usporedbi sa slikanjem, crtež odlikuje neposrednost u pogledu prijenosa ideja i opažanja.

Ugljen, bliskiji osjećaju modeliranja gline u izravnosti veze između oka i djela, dopušta mi da razvijem isti onaj volumen koji mogu postići i uljem, a da ne moram jako unaprijed razmišljati.

Promatram život i koristim klasične tehnike.

Ovaj pristup ne postiže oštrinu fotorealizma, ali se usredotočuje na informacije koje doživljava ljudsko oko, to jest osnovne volumene i svjetlo. Cilj mi je izolirati takav smisao za opažanje stvarajući kompozicije koje izmiču prepoznavanju.

Bez obzira na to je li riječ o klasičnom crtežu ili o korištenju tehnologije, važno je da se sve razvija.

Odabrani pristup umjetnika mora ispunjavati i istodobno na svaki mogući način mijenjati status quo. Čini se da crtež općenito ostaje tradicionalno obilježen kao medij za pripremni rad.

mmSU 18 dc

43

Mišići na žici tuš, papir, 32x24 cm, 2012.

Nicolaj Dudek

Muscles on Wire ink, paper, 32x24 cm, 2012

18 dc

44

međunarodna izložba crteža mmsu

dessin

crtež

Drawing is quick.

Drawing is, besides photography, the only art discipline that can catch up with the speed of the new revolutionary technical equipment: ask somebody to boot up the computer. If you are an averagely skilled drawing artist you will be finished with a little sketch not just showing the computer but also its mechanically functional behaviour long before the computer has started. My drawings are this combination of a fairly impulsive approach to the outer surrounding world (included the so called virtual world) and the possibility of a more conceptual and slower process in the studio.

Drawing for me relates to a certain way of combining rational AND emotional qualities that are developed in a complex interweaving during the drawing process. The direct and short way between head and hand and hand and head offers a flexibility in changing things spontaneously, making it a perfect tool in my work to explore my areas of interest in an experimental way, to DRAW near to them in circular movements and leading, in my case, to a body of work that is clearly not driven by formalism. So my drawings are mostly shown in groups in different compositions that give me the opportunity to add a second layer of artistic narration through the selection of certain drawings. In my work the art of drawing is a relational approach to human existence, not an absolutistic. I can change very quickly between the intimate and the objective, the fast and the slow, and being able to create new constellations.

international exhibition of drawings

1964/ Frankfurt am Main Hochschule für Gestaltung, Offenbach am Main Frankfurt am Main info@nicolaj-dudek.de/ www.nicolaj-dudek.de

Crtež je brz.

Uz fotografiju, crtež je jedina umjetnička disciplina koja može sustići brzinu nove revolucionarne tehničke opreme: zamolite nekoga da upali računalo.

Ako ste prosječno umješan crtač, dovršit ćete manji crtež koji ne samo da prikazuje računalo nego i njegovo mehanički funkcionalno ponašanje i mnogo prije nego što se ono upali. Moji crteži su takav spoj prilično impulzivnog pristupa vanjskom svijetu koji nas okružuje (uključujući i takozvani virtualni svijet) i mogućnosti za konceptualniji i sporiji proces u ateljeu.

Crtež me podsjeća na svojevrsnu kombinaciju racionalnih i emocionalnih značajki koje se razvijaju u složenom prepletanju koje se događa u procesu crtanja.

Izravan i kratak put od glave do ruke te od ruke do glave omogućava fleksibilnost pri spontanom mijenjanju stvari, što ga čini savršenim sredstvom za eksperimentalno istraživanje ideja koje me zanimaju, za pristupanje njima kružnim pokretima. To bi, u mojem slučaju, dovelo do stvaranja opusa koji vrlo vidljivo ne pokreće formalizam. Stoga se moji crteži uglavnom prikazuju u skupinama i različitim kompozicijama koje mi omogućavaju da odabirom određenih crteža, pridodam i drugi sloj umjetničke naracije. U mojem radu umijeće crtanja predstavlja relativan pristup ljudskom životu, ne apsolutan. Vrlo brzo prelazim s intimnog na objektivno, s brzog na sporo, i pritom uspijevam stvoriti nove odnose.

mmSU 18 dc

45

46 Cioran ink, paper, 90x210 cm, 2012 detail

međunarodna izložba crteža

Cioran tuš, papir, 90x210 cm, 2012. detalj

Nemanja mate djordjevic

18 dc mmsu

dessin

crtež

Why drawing? Because of loneliness... I had many experiences before, which determined me more as a person, not to mention more profoundly. Drawing came later. I have always felt like I do not have a biography, so to speak, I lived. There is something tragic in the aspect of personal history every man possesses. In my view, drawing is an expression of shame. Every prediction is in itself risky and humorous, I felt terrible before and after each drawing. Lost. Finally, I find it hard to determine my own position. This is related to life action, things developed in the drawing aspect outside of me, so that it finally seems like people still know my work from afar...

To me, drawing is an inept, almost lost language in the Frommian sense. I try to draw from the point of view of languor or insomnia... Sometimes I make myself believe my drawings are alive. To me there is only a drawing that does or does not breathe, the drawings that flaunt with cobweb and dust, not ones created by the artist, but by the drawing itself when it stops being a part of you... I feel like my drawings are more or less wintery. Made in the dark, when the days are shorter, like a winter equinox, but in the process of combination and thinking.

I am sincerely interested in the end, not the beginning. In that sense I am aware that the relation to drawing is so degenerated, in the sense of the mutation of the medium, that today it is a colourful game for children. How to start again, is something sustainable or not, what are the new forms... This is an escape into different types of sophism. It is clear that one has to extinguish everything in the darkness, gutter, fire – only to give them a new life.

international exhibition of drawings

1983/ Beograd Fakultet likovnih umetnosti, Beograd Beograd mate.djordjevic@gmai.com

Zašto crtež? Zbog usamljenosti… imao sam mnoga iskustva i prije toga, koja su me više odredila kao čovjeka, da ne kažem dublje. Crtanje je došlo naknadno.

Oduvijek sam imao osjećaj da nemam biografiju, kao što bi se reklo, živio sam. Ima nečega tragičnog u aspektu osobne povijesti koju posjeduje svaki čovjek. Po meni, crtanje je izraz stida. Svako predviđanje samo po sebi je rizično i smiješno, ja sam se osjećao strašno i prije i poslije svakog crteža. Izgubljeno. Naposljetku, teško se određujem prema sebi. To je stvar koja je vezana za životnu akciju, u biti stvari su se razvijale u crtačkom smislu izvan mene, naposljetku mi se čini da ljudi i dalje taj moj rad poznaju izdaleka…

A meni je crtež nemušt, gotovo izgubljen jezik u fromovskom smislu. Trudim se crtati s pogledom bezvoljnosti ili nesanice... uostalom, nekada uobražavam da su moji crteži živi. Za mene postoji samo crtež koji diše ili ne, oni koji se razmeću nekom paučinom i prašinom, ali nju ne stvara crtač, već sam crtež kad se otrgne od tebe... Čini mi se da su moji crteži manje-više zimski. Kao da su pravljeni u mraku, kada su dani kraći, kao nekakva zimska ravnodnevica, da, upravo tako, ali u procesu sklapanja, mišljenju.

Mene iskreno zanima kraj, a ne početak. I u tom smislu za mene je jasno da je odnos prema crtežu toliko izdegeneriran, prije u smislu mutacije toga medija, da je to sada šarena laža za djecu. Kako početi ponovno, je li nešto održivo ili nije, koje su nove forme...

To je bijeg u razne vrste sofizama... jasno je da se u čovjeku sve ugasi u tami, mulju, vatri – da bi se ponovno rodilo.

mmSU 18 dc

47

NGC 223 grafitna olovka, papir, 240x360 cm, 2009 detalj

Milan Eri

NGC 223 graphite pencil, paper, 240x360 cm, 2009 detail

18 dc

48

međunarodna izložba crteža mmsu

dessin

crtež

Drawing is the basic visual language and therefore the easiest to speak. It is quick, vigorous and vital. Even though it does not have the same emotional charge as painting, it still gives enough possible experiences to those who pursue it.

As a drawing artist, I find my inspiration in every possible source. This means I am attracted to all old and contemporary practices and all periods, in artistic, historical and sociological sense. In my works I use certain experiences which I then process into something else, something opening the door to new mental spaces, to another associative feeling.

The classical drawing has lost the dominant position it had until, say, the mid-20th century. Even though it is still used as a basic visual record, its skill, sensibility, complexity and comprehensiveness do not reside that much anymore in the house of painting and contemporary art. They have moved over to the field of illustration, cartoon, animation, to the field of narrative arts, which is not so bad after all. In any case, it is always interesting to take a peek into any creative artist’s sketch book because this is the place ideas and their approaches are born. In that sense it would be better if there were more drawing-related exhibitions.

international exhibition of drawings

1956/ Slovenj Gradec Akademija za likovno umetnost in oblikovanje, Ljubljana Ljubljana

Crtež je osnovni likovni jezik pa je njime najlakše govoriti.

Brz je, okretan i vitalan, iako nema takav emotivni naboj kao slikanje, ali pruža toliko mogućih iskustva da ih je dovoljno za sve koji se njime bave.

Kao crtač, nadahnuće crpim iz svih mogućih izvora. To znači da me privlače sve stare i suvremene prakse i sva razdoblja, i u umjetničkom i u povijesnom ili sociološkom smislu. U svojim radovima upotrebljavam određena iskustva koja prerađujem u nešto drugo, nešto što mi otvara vrata u neki novi mentalni prostor, neki drugi asocijativni osjećaj.

Klasičan crtež izgubio je svoj dominantni položaj kakav je, recimo, imao do sredine 20. stoljeća.

Iako se još upotrebljava kao osnovni likovni zapis, njegova vještina, senzibilitet, kompleksnost i sadržajnost ne stanuju više toliko u kući slikarstva ili suvremene umjetnosti, više su se pomaknuli na područje ilustracije, stripa, animacije, u polje narativnih umjetnosti, što, na kraju krajeva, i nije tako loše. U svakom slučaju, uvijek je zanimljivo zaviriti u skicirku bilo kojega stvaraoca jer je to mjesto na kojem se stvaraju ideje i rađa njegov pristup. U tom bi smislu bilo bolje kad bi izložbi na temu crteža bilo više.

mmSU 18 dc

49

50 Mater Nostra quill and ink, paper, 200x100 cm, 2012

međunarodna izložba crteža

Mater Nostra tuš perom, papir, 200x100 cm, 2012.

Ana Feiner žalac

18 dc mmsu

dessin

crtež

Every new vision seeks a new means of drawing, a material for itself. Material and vision need to be compatible, but also challenging. That is why I often change paper and drawing materials. I deliberately choose classic materials and classic techniques in order to find a format within the existing historical context, a form to express and articulate a woman’s being, importance and existence. Since a woman lives in a different reality, in a different action, she has different ideas of life and art. This is exactly the representation of a woman I want to design visually.

Classic means of drawing, classic materials leave a part of their substance on paper and wear out.

Every touch, every slightest contact with a pencil, chalk or ink leaves a mark, a trace on paper, on the background surface. This trace remains, it is indelible, it is telling, it knows everything about us, it tells both good and bad, truth and lies, it is with us, it is our ray of life. Pencil, chalk or ink remain on paper, they are what wears out. Everything is recorded, every stroke is different because of the different wear, the hand pressure is different because it records our misunderstandings, our powerlessness. No stroke can be repeated, everything is one of a kind. There is no manipulation, traces are permanent, everything stays, grows to the expense of what is being worn out.

Worlds are born on paper, while we wear ourselves out.

This simple wear generates growth on the other end, a mark, a trace, a sign. Life is worn out, the drawing lives. A pencil has worn out, chalk has worn out, ink dripped along the quill. Nothing is lost, everything is concentrated and summed on the white piece of paper. There is a sign on the paper, a trace of us being here, a sign of our existence.

The drawing never dies!!! Why drawing? ... because drawing speaks a newborn language in which a line on paper cries, squeals or sings because it is alive.

international exhibition of drawings

1945/ Dol kraj Jastrebarskog Akademija likovnih umjetnosti, Zagreb Ingolstadt/ München/ Zagreb

Svaka nova vizija traži novo crtačko sredstvo, njoj svojstveni materijal. Materijal i vizija moraju biti suglasni, ali i izazovni. Zato često mijenjam vrstu papira i sredstva kojima crtam. Namjerno biram klasičan materijal i klasične tehnike kako bih unutar postojećega povijesnog konteksta pronašla oblik, formu kroz koju bih mogla bitak, bitnost, bivstvo žene iskazati i izgovoriti. Budući da žena živi u drugoj zbilji, u drugom zbivanju, ima druge spoznaje o životu i o umjetnosti. Upravo taj prikaz žene želim likovno oblikovati.

Klasična crtačka sredstva, klasični materijal, ostavljaju na papiru dio svoje supstancije i troše se.

Svaki dodir, svaki najmanji doticaj olovke, krede, tuša ostavlja trag, otisak na papiru na crtačkoj podlozi. Taj trag ostaje, on je neizbrisiv, on nas odaje, on zna sve o nama, on govori o nama dobro i loše, istinu i neistinu, on je s nama, on je naš životni tračak. Olovka, kreda, tuš ostaju na papiru, to je ono što se troši. Sve se bilježi, svaki potez je drugačiji jer se drugačije troši, jer je pritisak ruke drugačiji, jer zapisuje naše nesporazume, našu nemoć. Ni jedan potez se ne može ponoviti, sve je neponovljivo. Manipulacije nema, znakovi su neizbrisivi, sve ostaje, raste na račun onoga što se troši. Na papiru se rađaju svjetovi, dok se mi trošimo. To je jedinstveno trošenje, da bi na drugom kraju raslo, da bi ostavili trag, oznaku, znak. Život se daje trošeći, crtež živi. Olovka se istrošila, kreda se potrošila, tuš je kroz pero iskapao.

Ništa se nije izgubilo, sve se koncentriralo, saželo na bjelini papira. Na papiru je sve znak, oznaka da smo tu, da smo tu bili, da smo postojali. Taj crtež ne umire!!!

Zašto crtež? ... jer crtež govori novorođenim jezikom u kojem crta na papiru jauče ili cvili ili pjeva jer živi.

mmSU 18 dc

51

52 Construction Site: Dreams in Dust graphite powder, ink, paper, 36x226 cm, 2012

međunarodna izložba crteža

Gradilište: Snovi u prašini grafitna prašina, tuš, papir, 36x226 cm, 2012.

Tina Gverovi

18 dc mmsu

dessin

crtež

On the one hand, drawing concerns the direct connection with the subject and as such documents the environment; however, a layer of fiction and the imaginary is always present. In my work I try to connect these two positions, what is presently experienced or perceived and what obviously belongs to the world of the imaginary.

Careful observation with notes made by the drawing material (pencil) on a piece of paper can generate self-sufficiency and independence which appear necessary and vital in a time of economic crisis and all-around uncertainty. In that context, drawing bypasses the often long and expensive procedures of art production, which is how a work of art can be accomplished without institutional or production framework.

The surfaces of displayed drawings depict workplaces, the floor in a workshop, the ground on a construction site, or a desktop with falling scattered material. At the same time, I can also refer to distant universe or wastelands. My intention is to put the human figure, characters, in situations where they seem to be carried to and fro by the raging sea, or left to the mercy of corporate space’s anonymity. Some of them work, while others dream of work.

A drawing does not necessarily have to be a literal outcome or proof of the primary (i.e. of the immediate contact with the subject/motif), but the very idea of the direct relation between the completed drawing and the real is the idea I am trying to explore and question in my work. The field of digital image is related to image retouching, upgrading, manipulation and processing and is as such presented as hyper-real.

In that sense, drawing can offer a connection with the real, which the other media cannot do.

international exhibition of drawings

1975/ Zagreb Akademija likovnih umjetnosti, Zagreb → Jan van Eyck Academia, Maastricht Zagreb tina_vic@yaho.com/ tinagverovic.blogspot.co.uk

Crtež se u jednu ruku bavi neposrednom vezom sa subjektom i kao takav dokumentira okruženje, ali sloj fikcije i imaginarnog uvijek je prisutan. U svom radu nastojim povezati te dvije pozicije, ono što je netom doživljeno ili opaženo i ono što očigledno pripada svijetu imaginarnog.

Pažljivo opažanje uz bilješke crtačkog pribora (olovke) na komadu papira, može omogućiti vrstu samodostatnosti i neovisnosti koja se čini nužnom i vitalnom u doba ekonomske krize i sveprisutne neizvjesnosti. Crtež u tom kontekstu zaobilazi često dugačke i skupe procese umjetničke produkcije, tako da se umjetničko djelo može ostvariti bez institucijskog ili produkcijskog okvira.

Površine izloženih crteža prikazuju mjesta rada, pod radionice ili gradilišta, ili pak površinu radnog stola po kojemu materijal pada, rasipa se, ali se istovremeno mogu referirati i na daleki svemir i bespuće.

Namjera mi je smjestiti ljudske figure, likove, u sitacije u kojima se čini da su nošeni amo-tamo u podivljalomu moru, ili su pak prepušteni slučaju u anonimnosti korporacijskog prostora. Neki od njih rade, dok ostali sanjaju o radu.

Crtež ne mora nužno uvijek biti doslovni ishod ili dokaz primarnoga (misli se na neposredni susret sa subjektom-motivom), ali sama ta ideja izravne veze izmedu dovršenog crteža i stvarnog, ideja je koju nastojim istražiti i propitati u svom radu. Područje digitalne slike izričito je vezano za retuširanje, unapređivanje, manipulaciju i obradu slike i kao takvo se predstavlja hiperrealnim. Crtež u tom smislu može ponuditi vezu sa stvarnim, kakvu drugi mediji ne mogu.

mmSU 18 dc

53

54 Lithos IX colour pencil, graphite pencil, paper, 56x38 cm, 2012

međunarodna izložba crteža

Lithos IX olovka u boji, grafitna olovka, papir, 56x38 cm, 2012.

Velibor Jankovi

18 dc mmsu

dessin

crtež

How hard is it to pursue the classic drawing in the time when the use of technology dominates the creative process? I would rather ask the question in the following manner: Is there a sense in developing classic drawing by using contemporary technologies in the creative process?

If we recall Da Vinci’s or Dürer’s devices for faithful representation of the desired motif on paper, we can easily identify them with a projector many artists use today for the same purpose. On the other hand, a computer, a scanner and a digital camera can only help us attain the desired result more easily. By this I do not mean computer drawing and the subsequent print of the drawing. This is part of computer graphics and try as it might to imitate it, it has nothing to do with the classic drawing. However, a computer can help us make sketches for a drawing, painting or sculpture... it is easy to frame, combine, solve compositional problems etc., therefore I do not see a problem here, quite the contrary. Whether it is possible to maintain classic art disciplines in general in a time of technological domination and whether these will crumble before technology and whether virtual art is our future, is a whole different issue. We are always wary of technical novelties and find them hard to accept, and often it happens that it was them to enable a new approach to artwork. For instance, welding machine in sculpture, airbrush or spray in painting, and when it comes to drawing, until recently is was a blasphemy to use a felttip pen, ballpoint or rapidograph as a means of drawing, while today these are equal tools.

international exhibition of drawings

1948/ Varaždin Pedagoška akademija, Zadar Primošten velibor.jankovic2@gmail.com

Koliko je teško održati klasičan crtež u vrijeme dominacije tehnologije u stvaralačkom procesu? Radije bih pitanje postavio ovako: Ima li smisla razvijati klasičan crtež korištenjem suvremenih tehnologija u stvaralačkom procesu?

Ako se prisjetimo Leonardovih ili Dürerovih naprava za vjerno prenošenje željenog motiva na papir, lako ih možemo poistovjetiti s projektorom kojim se danas mnogi umjetnici služe za istu svrhu. S druge strane, računalo, skener i digitalni fotoaparat mogu nam samo pomoći da lakše dođemo do željenog rezultata. Ovdje ne mislim crtanje na računalu i kasniji otisak crteža. To spada u računalnu grafiku i koliko god ga oponašalo, nema veze s klasičnim crtežom. Računalo nam, međutim, može pomoći pri izradi skica za crtež, sliku, skulpturu… na njemu jednostavno možemo kadrirati, kombinirati, rješavati kompozicijske probleme itd., tako da tu ne vidim problem, već suprotno. Potpuno je drugo pitanje koliko je teško održati općenito klasične likovne discipline u vrijeme dominacije tehnologije i hoće li one pokleknuti pred tehnologijom i slijedi li nam virtualna umjetnost. Uvijek nas je strah tehničkih novotarija i teško ih prihvaćamo, a često se događa da su upravo one omogućile nov pristup likovnom djelu. Primjera radi: aparat za zavarivanje u skulpturi, zračni kist ili sprej u slikarstvu, a kad je riječ o crtežu, donedavno je bilo bogohulno koristiti flomaster, kemijsku olovku ili rapidograf kao crtačko sredstvo, dok su to danas ravnopravni crtački alati.

mmSU 18 dc

55

56 No title 2 graphite pencil, paper, 15.5x21.5 cm, 2011

međunarodna izložba crteža

Bez naziva 2 grafitna olovka, papir, 15,5x21,5 cm, 2011.

Tina Jonsbu

18 dc mmsu

dessin

crtež

I work with drawing as a means of recording time and systems through the registering and accentuation of various acts and phenomena that are rarely given attention.

In advance, I create a framework and a set of rules which I allow to determine the drawing. However, the execution of the drawings is not machine-like but follows my rhythm and concentration and which can over time result in small irregularities that breed into unplanned variations, so important for the final expression of the piece.

The monotonous and repetitive nature of the drawing’s execution provides a refuge for thought, not as much in a meditative sense but in a more concentrated and open manner. This then develops the often tedious execution of the work into something meaningful and worthy, and I want the drawings to reflect this. I strive for a result that is not solely rooted in conception, but that also possesses a dry and sober aesthetic.

I pursue my own project and seek simple and trivial materials and techniques to develop my ideas. I need the possibilities for failing and the aesthetic in irregularities which comes out of manual drawing. Technology has really never been a meaningful option so far.

Based on my own experience with drawing in Norway, over the last years the status of drawing is rapidly growing. The way artists use drawing has changed, and I think drawing is represented when the work’s concept is relevant for the exhibition. But, of course, there have also been several large exhibitions with drawing as a theme. Focusing on what drawing can be.

international exhibition of drawings

1968/ Lørenskog Kunst-og designhøgskolen i Bergen Bergen hei@tinajonsbu.no/ www.tinajonsbu.no

Crtanje je za mene sredstvo za bilježenje vremena i sustava praćenjem i isticanjem različitih radnji i pojava kojima se rijetko pridaje pažnja.

Prije početka kreiram okvir i niz pravila kojima dopuštam da odrede crtež. Međutim, izvedba crteža nije strojna, već pratim svoj ritam i koncentraciju, a s vremenom može doći i do manjih nepravilnosti koje prerastaju u neplanirane varijacije važne za krajnji izričaj djela.

Monotona i opetovana priroda crtanja utočište je za misli, ne toliko u meditativnom smislu koliko u koncentriranijem i otvorenijem smislu. To potom razvija često zamorno crtanje u nešto značajno i vrijedno, a ja želim da crteži to i odražavaju. Težim rezultatu koji ne počiva samo na konceptu, nego ujedno posjeduje suhu i trezvenu estetiku.

Bavim se vlastitim projektom i za razvoj svojih ideja tražim jednostavne i trivijalne materijale i tehnike.

Potrebna mi je i opcija promašaja i estetike u nepravilnostima koja je rezultat crtanja rukom. Tehnologija se do sada još nije pokazala kao važna opcija.

Na temelju svog iskustva crtanja u Norveškoj, posljednjih godina ondje status crteža raste nevjerojatnom brzinom. Promijenio se način na koji umjetnici koriste crtež, a mislim da je crtež zastupljen kada je koncept rada relevantan za izložbu. Dakako, održano je i nekoliko velikih izložbi posvećenih crtežu i onome što crtež može biti.

mmSU 18 dc

57

58 Pulsation, Rocking ink and quill, paper, 57x76 cm, 2012

međunarodna izložba crteža

Pulsiranje, ljuljanje tuš perom, papir, 57x76 cm, 2012.

Nives Kavuri Kurtovi

18 dc mmsu

dessin

crtež

The more lines – the closer I get to the reality of all futilities!

Piling up lines to the annihilation (nullifying nothingness), but with a lot of passion in touching the quill and paper surface!

Drawing – multiplying lines in search of the materialisation of life, smothered in lines – I catch my breath for a straight exit line → ‼ That would be it, at this stage of hand testimony!

(Lines are travellers, landmarks, lines are heaping determinants, I trust the hand.)

international exhibition of drawings

1938/ Zagreb Akademija likovnih umjetnosti, Zagreb Zagreb

Što više crta – to sam bliža zbilji svih uzaludnosti!

Gomilanjem crta do poništenja (ništiti ništavnost), ali s puno strasti dodirivanja pera i površine papira!

Crtež – umnožavanje crta u potrazi za ozbiljenjem života, zagušena crtama – hvatam dah za pravocrtnu liniju izlaznicu → !!

To bi bilo to, u ovoj fazi, svjedočenja ruke!

(Linije su putnice, smjerokazi, crte su gvalje silnice, ruci vjerujem.)

mmSU 18 dc

59

60 Aura of a Large Lead Head graphite, charcoal, colour pencil, paper, 188.5x151 cm, 2012

međunarodna izložba crteža

Aura velike olovne glave grafit, ugljen, olovka u boji, papir, 188,5x151 cm, 2012.

Zlatko Keser

18 dc mmsu

dessin

crtež

Drawing is the only medium in visual arts which is a created bypass between the idea and synthesis. Drawing is simplicity and truth, a horizon of sensibility – sensibility of the cut made by the quill and ink, by the stain and surface. Drawing encompasses the mental broadness of the dawn of humanity with the curiosity of experimentation which shapes all the new visual sensations. At this moment I use graphite and charcoal of darkness to nullify the particles of light so that the light of drawing matter may express the spirit of shape and its origin. There are all kinds of drawings and all kinds of technical tools. The decision is only between tactility, the touch of pigment’s epidermis and virtual reality.

Drawing is not sufficiently represented at art exhibitions because very few artists treat it not as a pre-sketch for a finished artefact, but as an authentic expression in their art process.

international exhibition of drawings

1942/ Zagreb Akademija likovnih umjetnosti, Zagreb Zagreb zlatko.keser@zg.t-com.hr

Crtež je jedini medij u vizualnim umjetnostima koji je stvarana premosnica od ideje do sinteze. Crtež je jednostavnost i istinitost, obzor osjećajnosti – osjetljivosti posjekotine pera i tuša, mrlje i plohe. Crtež obuhvaća mentalnu širinu čovjekova praskozorja sa znatiželjom eksperimenta kojim oblikuje sve nove i nove likovne senzacije. U ovom trenutku grafitom i ugljenom tame potirem čestice svjetlosti da bi svjetlost crtačke tvari iskazala duh oblika i njegovo porijeklo. Crtati se može na sve načine i svakojakim tehničkim sredstvima.

Opredjeljenje je samo između taktilnosti, dodira epiderme pigmenta i virtualne stvarnosti.

Crtež nije dovoljno zastupljen na izložbama jer je zapravo malo umjetnika koji crtež ne tretiraju kao predskicu za gotov umjetnički artefakt, nego ga doživljavaju kao autentični izričaj u svome umjetničkom procesu.

mmSU 18 dc

61

62 Monk from Cologne colour pencil, paper, 270x145 cm, 2012

međunarodna izložba crteža

Svečenik iz Kölna olovka u boji, papir, 270x145 cm, 2012.

Damjan Kova evi

18 dc mmsu

dessin

crtež

Why drawing? I inherited talent from my father, therefore drawing picked me.

On a simple level I would say that there is something metaphysical in the figuration I express through drawing, whereas in contemporary drawing this is neither an issue nor a need.

Drawing is represented at art exhibitions, but more because of its powerlessness, than as an aspect of virtuosity. It is not that hard to pursue drawing, but to attract attention and understanding for it.

international exhibition of drawings

1983/ Bihać Fakultet likovnih umetnosti, Beograd Beograd damjan4kovacevic@gmail.com/ www.damjankovacevic.com

Zašto crtež? Od oca sam naslijedio talent, tako da je crtež mene izabrao.

Na jednostavnom nivou rekao bih da ima metafizičkog u figuraciji koju izražavam kroz crtež, a u suvremenom crtežu to nije tema niti potreba.

Crtež je na izložbama zastupljen više zbog nemoći nego kao vid virtuoznosti. Nije toliko teško održati crtež, koliko privući pažnju i razumijevanje za njega.

mmSU 18 dc

63

64 Saint George’s apocalypse ink, paper, 150x150 cm, 2012

međunarodna izložba crteža

Apokalipsa sv. Jurja tuš, papir, 150x150 cm, 2012.

Kosta Kulundzic

18 dc mmsu

dessin

crtež

Drawing is the base, the beginning of every creative process. It is also a universal language, direct communication, something that reaches people in the most direct way. From the prehistoric cave of Lascaux to any 3D animation today, drawing is the guiding factor. My drawing (and work) is inspired in an equal way by the classical drawing, cinema, video games and digital technology.

Technology should help us to pursue classical drawing. Some digital inventions like the 3D, bullet time, morphing, etc., give new points of view on the movement, new space to discover and use in the classical drawing.

Today, drawing is not only considered a tool for the creation, perhaps due to the fact that drawing is, as I said, direct and universal communication, something that appears instantly familiar, direct and intimate.

Actually, there is a re-birth of drawing.

international exhibition of drawings

1972/ Paris École Nationale Supérieure d’Architecture, Paris-Val de Seine Paris kosta@kulundzic.com/ www.kulundzic.com

Crtanje je osnova, početak svakoga kreativnog procesa.

Ujedno je i univerzalni jezik, izravna komunikacija, nešto što izravno dopire do ljudi. Od pretpovijesne spilje u Lascauxu do današnje 3D-animacije, crtanje je vodilja.

Moje crtanje (i rad) podjednako je nadahnuto klasičnim crtežom, filmom, videoigrama i digitalnom tehnologijom.

Tehnologija bi nam trebala pomoći da se bavimo klasičnim crtežom. Neki efekti digitalnih izuma poput 3D-a, bullet timea, morfinga i slično bacaju novo svjetlo na pokret, nov prostor koji treba otkriti i upotrijebiti u klasičnom crtanju.

Danas se crtež ne smatra samo stvaralačkim sredstvom, možda i zbog toga što je to, kao što sam već rekao, izravna i univerzalna komunikacija, nešto što se odmah čini poznatim, izravnim i bliskim. Zapravo, došlo je do preporoda crteža.

mmSU 18 dc

65

66 Dream of Death 1 graphite pencil, graphite, charcoal, paper, 140x180 cm, 2012

međunarodna izložba crteža

San o smrti 1 grafitna olovka, grafit, ugljen, papir, 140x180 cm, 2012.

Andrej Kurtin

18 dc mmsu

dessin

crtež

Why drawing?

Because of the book about Henry Moore and his drawigns, because of Peđa Todorović and his dedication to drawing, because of comic books, animated and live action films, because of Žarko Violić and his statement: ...If you can’t afford paint, work with charcoal, you’ve got to have that!

international exhibition of drawings

1971/ Rijeka Accademia di belle arti, Venezia Rijeka andrej.kurtin@gmail.com/ andrejkurtin.blogspot.com

Zašto crtež?

Zbog knjige o Hernyju Mooreu i njegovim crtežima, zbog Peđe Todorovića i njegove posvećenosti crtežu, zbog stripova, crtanih i igranih filmova, zbog Žarka Violića i njegove rečenice: ...Ako nemaš za boje, radi s ugljenom, njega sigurno imaš!

mmSU 18 dc

67

68 Exodus, ink, paper, 48x60 cm, 2008 detail

međunarodna izložba crteža

Egzodus tuš, papir, 48x60 cm, 2008. detalj

Ricardo Lanzarini

18 dc mmsu

dessin

crtež

Drawing is the most touching and poignant tool of art: it is the artifice of the transformation of an individual into an artist, because everything in drawing is a way to pose a question, it is an alchemy that always unveils a new spiritual dimension. The enigma that a drawing hides is that it contains in its structure the primary emotions of the artist, it does not mind how much time has passed the first concepts and emotions of the artist always come about.

I recognise a preponderance of technology on the current art scene and very valuable artists who work with technology as their tool for creation, but for me drawing is always unique and personal and that is something technology cannot achieve. It took me many years of underground work to make of drawing my main field of work. I worked in drawing mostly in parallel to installations and actions, and hardly ever exhibited my graphic work. One day all those paths converged in a crossroad and drawing prevailed, but it has been fed by all that creative experience given by the other media I have worked with. I have been working lately mostly with site-specific works, which for me represent the union between drawing, action and thinking. I always seek a vital action behind each drawing and for me the vital in art means: pushing to the limits.

Drawing has always been the main art expression in Uruguay, maybe not fully recognised as it deserves, but it has always been there and completely accepted as an art expression in itself. On the recent contemporary international art scene I noticed that drawing regained space after 2004-2005. In that sense I think Phaidon’s Vitamin D from 2005 is an extraordinary publication that addresses the problem of specificity in depth but places the drawing in the contemporary discussion.

international exhibition of drawings

1963/ Montevideo Escuela Nacional de Bellas Artes - Universidad de la República Uruguay, Montevideo Montevideo contact@galeriealfa.com/ www.galeriealfa.com

Crtanje je najdirljivije, ali i jetko umjetničko sredstvo: vještina je to transformacije pojedinca u umjetnika, jer sve u crtanju samo je način da se postavi pitanje, to je alkemija koja uvijek otkriva novu duhovnu dimenziju.

Zagonetka koju crtež krije jest ta da u svojoj strukturi sadrži temeljne emocije umjetnika; bez obzira na to koliko je vremena prošlo, prve ideje i emocije umjetnika uvijek se pojave.

Prepoznajem nadmoć tehnologije na današnjoj umjetničkoj sceni i vrlo cijenjene umjetnike koji koriste tehnologiju kao stvaralački alat. Međutim, za mene je crtež uvijek jedinstven i osoban, a to je nešto što tehnologija ne može postići. Trebale su mi godine rada u podzemlju kako bi mi crtanje postalo glavno područje rada. Bavio sam se crtanjem uglavnom uz instalacije i akcije, i gotovo nikada nisam svoje grafičke radove izlagao. Jednoga dana svi su se putovi našli na križanju, a crtanje je odnijelo prevagu, ali nadahnuto svim onim stvaralačkim iskustvom rada u drugim medijima. U posljednje vrijeme uglavnom se bavim site-specific radovima koji su za mene spoj crtanja, djelovanja i razmišljanja. Uvijek tragam za ključnim potezima u pozadini svakog crteža, a po meni je ključ umjetnosti prelaziti granice.

Crtež je oduvijek bio glavni umjetnički izričaj u Urugvaju, možda ne u potpunosti prepoznat, ali uvijek prisutan i potpuno prihvaćen kao samostalan umjetnički izraz. Na novijoj suvremenoj međunarodnoj umjetničkoj sceni primijetio sam da je crtež osvojio nešto prostora nakon 2004.–2005. godine. U tom smislu mislim da je Phaidonov Vitamin D iz 2005. godine izvrsna publikacija koja se iscrpno bavi problemom specifičnosti i stavlja crtež u žarište suvremene rasprave.

mmSU 18 dc

69

Crtež 112 pigment i tuš kistom, papir, 80x61 cm, 2011.

Bae Lee

DRAWING 112 brush with pigment ink, paper, 80x61 cm, 2011

18 dc

70

međunarodna izložba crteža mmsu

dessin

crtež

Drawing is the very foundation of my work. In fact all forms found in my paintings are first born in a drawing.

My drawings are not preparatory drawings, in the sense that we use this term, they are the very origin of the work.

When I arrive at the studio in the morning, I always start by drawing a long time. This is my way to let out what I have in me, to work out my hand – the way a pianist does – my hand, which becomes an extension of my body and my mind, which brings back the influences of my daily life and, at the same time, the elements of my memory, of my past, of my Korean culture, which gives great importance precisely to paper and to the color black. My drawings therefore give the best account of who I am, I even discover myself by drawing. In my approach, if the painting is a place for know-how, the drawing is the one for letting go.

In a smaller format, drawing allows me, in fact, to seek and find my forms with a freedom and spontaneity that painting does not allow me. If the time of a painting is a long, spread, suspended time, then the time of a drawing is one of explosion, upsurge, apparition, moment.

The drawings selected for this exhibition do not represent anything special. However, each of them reveals a different set of gestures, a specific way to build the form, they inflect a variation. They have the same spirit as my paintings, which is perfectly logical, since they are their origin. And as such they also allow me to work out the black, to instal the black in a form so as to give it what I look for, that is, a density, a depth and a vibration which is necessarily different on paper.

international exhibition of drawings

1956/ Seoul Department of Fine Arts, Hongik University Graduate School of Art, Seoul Paris leebae56@gmail.com

Crtež je sam temelj moga rada. Naime, svi oblici koji se nalaze na mojim platnima prvo se rode putem crteža.

Moji crteži nisu pripremni crteži u smislu u kojem se taj izraz rabi, oni su baš ishodište djela.

Kad ujutro dođem u atelje, uvijek najprije dugo crtam. To je moj način da izbacim ono što imam u sebi, da si razradim ruku – poput kakva pijanista – ruku, koja postane produžetak mog tijela i moje glave, koja izvlači na vidjelo utjecaje iz moga svakodnevnog života i, istovremeno, elemente iz mog sjećanja, iz moje prošlosti, iz moje korejske kulture, koja pridaje veliku važnost upravo papiru i crnoj boji. Moji crteži, dakle, najbolje svjedoče o onome što ja jesam, ja se putem crteža čak i otkrivam. U mom pristupu, ako je slika mjesto za vještinu, crtež je mjesto za prepuštanje.

U nešto manjem formatu, crtež mi, naime, omogućuje da tražim i pronalazim svoje oblike uz slobodu i spontanost koje mi slika ne omogućuje. Ako je vrijeme slike dugačko, razvučeno, zaustavljeno vrijeme, vrijeme crteža vrijeme je eksplozije, izbijanja, ukazanja, trenutka.

Crteži odabrani za ovu izložbu ne predstavljaju ništa osobito. Zauzvrat, svaki od njih razotkriva drugačiju gestualnost, specifičan način izgradnje forme, oni dekliniraju jednu varijaciju. Istoga su duha kao moje slike, što je i posve logično, s obzirom na to da su im oni ishodište. A kao takvi, i oni mi omogućuju da radim s crnim, da ugradim crno u neki oblik kako bih mu pridao ono što tražim, odnosno određenu gustoću, dubinu i vibraciju, koje su nužno drugačije na papiru.

mmSU 18 dc

71

72 Selfportrait of my shadow (19/10/2012) colour pencil, paper, 65x50 cm, 2012

međunarodna izložba crteža

Autoportret moje sjene (19.10.2012.) olovka u boji, papir, 65x50 cm, 2012.

Frédéric Léglise

18 dc mmsu

dessin

crtež

There are mostly several different processes in my drawing practice. For the works I will display in Rijeka, I use a process I call self-portraits of my shadow. The first thing I do is to draw the shape of the shadow of my head on a paper, then I improvise inside this shape.

These self-portraits are portraits from the inside of me, because I have not the same perception of me as I have of other people. I see others directly in front of me, but to see myself I need a mirror, and the only direct image of me I can see is my shadow. It is an image and a reality that always follow me. In a way my shadow is one of the best models, because it is there whenever I need it – and is always different.

Drawing with the help of technology is really a matter of choice; sometimes I use photography and a computer, but the important thing for me is that technology is only a tool, and if it fails, I can continue to practise drawing in another way. In some other arts, like cinema, the artist depends so much on technology and many other things that he is almost their prisoner.

In a way, drawing is an archaic way of producing images, but the biggest advantage compared to other disciplines is that I need almost nothing to draw, it is very direct. If I have an idea, I can draw it immediately and it will still be on paper in a hundred years or more. With art using technology it is different: think, for example, of all these artists in the 1960s and 1970s using black and white TV sets in their installations; forty years later it is almost impossible to repair these TV sets if they are broken. So when I draw, I know that time is on my side.

international exhibition of drawings

1972/ Nantes École Nationale Supérieure des Beaux-Arts, Paris Paris frederic.leglise@gmail.com/ www.fredericleglise.com

U mojoj crtačkoj praksi riječ je uglavnom o nekoliko različitih procesa. Za radove koje izlažem u Rijeci, koristim se procesom koji nazivam autoportretima svoje sjene. Najprije crtam oblik sjene svoje glave na papiru, zatim improviziram unutar oblika. Ovi autoportreti su portreti mene iznutra, jer ne doživljavam sebe onako kako doživljavam druge. Druge vidim ravno ispred sebe, ali da bih vidio sebe treba mi ogledalo, a jedina izravna slika mene je moja sjena. To je slika i stvarnost, koje me uvijek prate. Na neki je način moja sjena najbolji model jer je tu kada mi god zatreba – i uvijek je drugačija.

Stvaranje crteža uz pomoć tehnologije – to je pitanje izbora: katkad koristim fotografiju i računalo, ali mi je važno da je tehnologija samo alat, a ako zakaže, mogu nastaviti crtati na drugi način. U nekim drugim umjetnostima, poput filma, primjerice, umjetnik toliko ovisi o tehnologiji i mnogo čemu drugome da je gotovo njihov zatočenik. Crtanje je nekako arhaičan način proizvodnje slika, ali mu je najveća prednost – u usporedbi s ostalim disciplinama – ta da mi pritom nije potrebno gotovo ništa. Izravno je – ako imam ideju, mogu je odmah nacrtati, a na papiru će ostati i sljedećih stotinu ili više godina. Kod umjetnosti koje primjenjuju tehnologiju, stvar je drugačija. Sjetimo se, na primjer, svih onih umjetnika iz šezdesetih ili sedamdesetih koji su koristili crno-bijele televizore u svojim instalacijama. Četrdeset godina poslije te je televizore gotovo nemoguće popraviti ako se pokvare. Dakle, kada crtam, znam da je vrijeme na mojoj strani.

mmSU 18 dc

73

Kliničke sobe za pripremu 3 tinta, papir, 29x40 cm, 2012.

Heidi Linck

The preparation rooms 3 ink, paper, 29x40 cm, 2012

18 dc

74

međunarodna izložba crteža mmsu

dessin

crtež

My works on paper, spatial installations and video-projections all appear as drawings, either on paper or in situ. Using black ink, black objects or light and shadows, I create a graphic visual expression.

I never use any colour. Paradoxically, I experience a great freedom because the lack of possibilities drawing offers me, whereas painting drowns me in the seemingly endless amount of choices you can make in it. I draw because I love to and I do not care if any other technique would ever be more popular.

My drawings arise from my observations of public and private spaces that undergo transformation.

These places are often abandoned. They have escaped from the urban planning control and they look as if I have created them – but I only discovered them.

I choose to work in black and white because I aim to subtract information from my drawn subjects, rather than to add anything. By reducing the rooms and object that I draw to black, they lose their site-specificity and they become anonymous. As anonymous spaces and places they can connect to the memories of the viewer, which can be based upon many other spaces. I find the connection between my memories and those of others, made possible by my drawings, very interesting.

In the Netherlands, where I live, drawing is perhaps not as much represented at art exhibitions as painting, but in the past years there have been several shows in museums and galleries which exclusively displayed classical drawings made by contemporary artists.

Curators and gallerists are seriously researching the contemporary drawing practice and they also question the drawing process in exhibitions with pieces that may equally be regarded as installation art or painting.

international exhibition of drawings

1978/ Breda Fine Art, ArtEZ, Arnhem Arnhem www.heidilinck.nl

Moji radovi na papiru, prostorne instalacije i videoprojekcije, svi se pojavljuju kao crteži, bilo na papiru, bilo in situ. Uz pomoć crne tinte, crnih predmeta ili svjetla i sjene stvaram vizualne izraze.

Nikada ne koristim boju. Paradoksalno, uživam veliku slobodu jer mi crtanje ograničava mogućnosti, dok me slikanje utapa u naizgled beskonačnom moru izbora. Crtam jer volim crtati i ne zanima me hoće li ijedna druga tehnika postati popularnija.

Moji su crteži rezultat promatranja javnih i privatnih prostora koji doživljavaju preobrazbu. Ta su mjesta često napuštena. Izmakla su se urbanističkom nadzoru i izgledaju kao da sam ih ja stvorila – međutim, ja sam ih samo otkrila.

Radim u crno-bijeloj tehnici jer, umjesto da nešto dodajem, želim oduzeti informacije svojim nacrtanim subjektima. Svodeći ih na crnu boju, prostorije i objekt koji crtam gube svoju prostornu specifičnost i postaju anonimni. Kao anonimni prostori i mjesta, mogu se povezati s uspomenama promatrača, koje se pak mogu temeljiti na brojnim drugim prostorima.

Veza između mojih i tuđih uspomena, koju postižem crtežima, veoma mi je zanimljiva.

U Nizozemskoj, gdje živim, crtež možda nije toliko zastupljen na izložbama kao slikarstvo, ali je ipak proteklih godina u muzejima i galerijama priređeno nekoliko izložbi klasičnih crteža suvremenih umjetnika. Kustosi i galeristi ozbiljno proučavaju suvremenu crtačku praksu, ujedno propitujući proces crtanja na izložbama kroz radove koji se podjednako mogu smatrati instalacijama ili slikarstvom.

mmSU 18 dc

75

76 paper making in the wood graphite pencil, fibre-tip pen, watercolour ink, paper, 42x29 cm, 2009

međunarodna izložba crteža

izrada papira u šumi grafitna olovka, flomaster, lavirani tuš, papir, 42x29 cm, 2009.

Ruth Martindale

18 dc mmsu

dessin

crtež

Drawing allows me to play with the ideas of fact and fiction and create narratives, to record a factual happening or a fictional occurrence. There is something about drawing that when you see it, you feel quite an intimate connection to the author which I really like.

I am interested in the actual drawing materials, paper, ink charcoal graphite, the places that they come from and things they are made of. Even though there is a growing popularity to the idea of handmade, it is hard for a classic drawing to be recognised as contemporary art, so I would like to see more of it at exhibitions.

international exhibition of drawings

1983/ Colchester Wimbledon College of Art - University of the Arts London, London London ruthmartindale@hotmail.com/ www.ruthmartindale.com

Crtanje mi omogućava da se poigravam idejama stvarnog i nestvarnog i kreiram pripovijesti, da zabilježim stvarne događaje ili izmišljene pojave. Crtež ima nešto u sebi tako da kada ga vidite, osjećate blisku vezu s njegovim tvorcem, što mi se veoma sviđa.

Zanimaju me izvorni materijali za crtanje – papir, tinta, grafitni ugljen, odakle dolaze i od čega su napravljeni. Iako raste popularnost koncepta ručnog rada, mislim da se klasični crtež teško priznaje kao suvremena umjetnost, stoga bih ga na izložbama željela više vidjeti.

mmSU 18 dc

77

78 Landscape Disorder spray aérosol, graphite pencil, coloure pencil, felt tip pen, paper 14.5x21 cm, 2012

međunarodna izložba crteža

Nezgode u pejzažu boja u spreju, grafitna olovka, olovka u boji, flomaster, papir 14,5x21 cm, 2012.

Marlène Mocquet

18 dc mmsu

dessin

crtež

There are several kinds of drawings in my work. The most numerous are automatic drawings, those which allow me to develop my grammar, to free myself from repetitions and to develop my imagination, usually marked by the emotional, by the felt. They are characterized by juxtaposition and a certain transparency of elements that are all laden with symbolic meanings, not necessarily related to the collective unconscious, but related to my own unconscious in any event. This juxtaposition could remind of children's drawings, but obviously I am not a child.

There are other drawings, those that are more of the order of a trace, related to a moment, a place, my state of mind, and that are not necessarily born in the studio. They are made with the means at hand, for example with make-up, fingers and the earth that I can find.

There are also drawings that give a great importance to the paper itself, which I use as a medium, as the very element of the drawing. I use it in the composition of the drawing, its edge becomes a symbolic element just like other elements and, like them, it carries meanings.

The drawings presented at this exhibition are made with few resources. They maintain a human relationship with the object. For example, in The Shadow of My Body, it is the shadow that allows me to discover my body.

They also reveal differences of scale, which are, for me, an important indicator for highlighting an idea. A big head with a small body behind bars in a prison can emphasize and help convey the feeling of being isolated and alone in the world. There is also this constant of a multitude of characters in motion. They allow me to show the continuity of a scene, to avoid stopping the time, while in general there is a tendency towards fixing a moment.

international exhibition of drawings

1979/ Maison Alfort École Nationale Supérieure des Beaux-Arts, Paris Paris marlene.mocquet@gmail.com/ www.haunchofvenison.com

U mom radu ima više vrsta crteža. Najbrojniji su automatski crteži koji mi omogućuju da stvorim vlastitu gramatiku, da se oslobodim od ponavljanja i razvijem svoju maštu, uglavnom obilježenu emocionalnim, oćućenim.

Karakteriziraju ih usporednost i određena transparentnost elemenata, svih redom nabijenih simboličnim značenjima koja nisu nužno vezana uz kolektivno nesvjesno, ali u svakom slučaju jesu uz moje nesvjesno. Ta usporednost mogla bi podsjećati na dječje crteže, ali ja očigledno nisam dijete.

S druge strane, ima crteža koji su više iz kategorije traga, koji su vezani uz neki trenutak, neko mjesto, moje stanje duha, i koji stoga ne nastaju nužno u ateljeu. Načinjeni su priručnim sredstvima, primjerice šminkom, prstima i zemljom, koje uspijem pronaći. Uz to, ima i crteža koji pridaju veliku važnost samom papiru, kojim se služim kao medijem, kao samim elementom crteža. Upotrijebim ga u kompoziciji crteža, njegov rub postane simbolični element kao drugi elementi pa, kao i oni, prenosi značenja.

Crteži predstavljeni na ovoj izložbi načinjeni su s malo sredstava. Govore o ljudskom odnosu prema predmetu. Primjerice, na crtežu Sjena tijela, sjena mi omogućuje da otkrijem svoje tijelo.

Usto prikazuju razlike u razmjeru, koje su mi važan pokazatelj za naglašavanje neke ideje. Velika glava s malim tijelom iza rešetaka u zatvoru omogućuje isticanje i bolje prenošenje osjećaja izoliranosti i bivanja samim na svijetu. Isto tako, uočava se ona konstanta mnoštva likova u pokretu. Oni mi omogućuju da pokažem kontinuitet nekog prizora, da ne imobiliziram vrijeme, dok obično postoji sklonost tome da se fiksira neki trenutak.

mmSU 18 dc

79

80 amber babes and bed rock coloure pencil, graphite, paper, 129.5x304.8 cm, 2009 detail

međunarodna izložba crteža

jantarne ženke i kamena jezgra olovka u boji, grafit, papir, 129,5x304,8 cm, 2009. detalj

michelle oosterbaan

18 dc mmsu

dessin

crtež

Drawing is grounding activity. There is something intimate and direct about the act of making marks, whether quick, crisp, soft and blurry, or rendered that allows me to express myself in the world.

My drawings are cognitive maps that reflect my impressions of being in the world. Within these drawings I investigate the confluence of order and chaos to highlight junctures of the familiar with the improbable and the fantastic.

My drawings also are a search to create a sense of place and trace the passage of time. I aim to portray the visceral experience of change – marking stages of things falling apart and things coming together; pairing the unknown alongside the familiar.

It is also a goal of mine to map the realms of space where memory and daydream meet. Geometric abstract patterns in imagery build with references to myth, landscape, architecture, and space in general. I am intrigued by how events in our lives transform us, whether they are personally visceral and/or vicarious.

I create and will continue to create drawings regardless of the advances of technology. Drawing remains a personal outlet. Drawing reflects best who I am and what interests me; and best conveys what I find mysterious and compelling in living this life. It feels like a heartbeat compared to the synthetic and distancing qualities of technologies and machines.

Today, drawing is represented at art exhibitions, I see evidence of drawing being respected and valued in the market place as a viable mode of working for a professional artist. The immediacy and naturalness of drawing is acknowledged as a truth for the contemporary artist working today.

international exhibition of drawings

1967/ Boston Fine Arts, Washington University, St. Louis → Fine Arts, Indiana University, Indiana Philadelphia mjo3132@gmail.com/ www.michelleoosterbaan.com

Crtanje je temeljna radnja. Ima nečega osobnog i izravnog u iscrtavanju oznaka, brzih, uvijenih, mekih, nejasnih ili obrađenih, što mi omogućava da se izrazim u ovom svijetu.

Moji su crteži kognitivne mape koje odražavaju moje dojmove o postojanju na ovom svijetu. Preko tih crteža istražujem sjecište poretka i kaosa kako bih istaknula spoj poznatog s nevjerojatnim i fantastičnim.

Moji crteži su i potraga za osjećajem pripadnosti te trag prolaska vremena. Cilj mi je prikazati organski doživljaj promjene – obilježavanjem faza raspadanja ili sastavljanja stvari, združivanjem nepoznatog i poznatog. Želim također mapirati ona područja u prostoru u kojima se susreću sjećanje i mašta. Geometrijski apstraktni uzorci u slikovnosti grade se u odnosu na mit, krajolik, arhitekturu i prostor općenito. Dojmljivo mi je kako nas događaji iz života mijenjaju, bilo da su organski na osobnoj razini i/ili posredni.

Crtam i crtat ću bez obzira na tehnološki napredak. Crtanje ostaje moj osobni ventil. Crtanje najbolje zrcali tko sam i što me zanima te najbolje izražava ono što je tajanstveno i prekrasno u životu. U usporedbi sa sintetskim i otuđujućim značajkama tehnologije i strojeva, podsjeća me na kucanje srca.

Crtež je danas zastupljen na izložbama, primjećujem da se crtež cijeni i poštuje na tržištu kao održiv način rada za profesionalnog umjetnika. Neposrednost i prirodnost crteža priznaje se kao istina za današnjeg suvremenog umjetnika.

mmSU 18 dc

81

82 orgy felt tip pen, paper, 44x34 cm, 2011

međunarodna izložba crteža

orgije flomaster, papir, 44x34 cm, 2011.

Stéphane Pencréac’h

18 dc mmsu

dessin

crtež

You cannot make art without drawing, whatever you do.

Drawing was an everyday practice for years for me, but it is not so anymore since I work on painting 24/7. But I go back very often to it, more as work in itself than as studies for paintings or sculptures. I also keep a diary of my life (I have a wonderful life) in drawings, started in 2006. I work on it in summer, when times are cool and without stress.

Maybe the fact that I have no bound or process, I can try out very classic or totally modern. My drawings are like my paintings, I want them to be very strong and powerful. No anecdotes, no social commentary, just affects and feelings. I do not care about the technique, I can do anything as long as it is close to my first thought.

Drawing is still the basic, although this false idea of production is surrounding us today. I love etching, I do it a lot, litho and every practice concerning reproduction, but the force of one single and original work such as a pure drawing will always have more value in every aspect.

Drawings have made a comeback in the art world 10 years ago, for some strange reason. Part of the fact that painting was left on the side of the road regarding biennales and things like that (and mostly in France); nowadays I would say that everybody draws, for the best and the worst... Drawing is mankind, isn’t it?

international exhibition of drawings

1970/ Paris samouk/ autodidacte Paris

Nema umjetnosti bez crteža, čime god se bavili.

Crtanjem sam se godinama svakodnevno bavio, ali više ne jer se 24 sata na dan bavim slikarstvom. Ipak mu se često vraćam, više kao samostalnom radu nego kao studijama za slike ili skulpture.

Vodim i dnevnik života (imam predivan život) kroz crteže, koji sam započeo 2006. godine. Radim na njemu ljeti, kada sam opušten i bez stresa.

Možda zato što nemam ograničenja i ne slijedim nikakav proces, mogu se okušati u vrlo klasičnom ili potpuno modernom. Moji su crteži poput mojih slika, želim da budu snažni i moćni. Bez anegdota, bez društvenog komentara, samo raspoloženja i osjećaji. Nije mi važna tehnika, mogu raditi s bilo čime dok god je blisko mojoj prvoj zamisli.

Crtež je još uvijek osnova, iako nas danas okružuje lažna ideja o proizvodnji. Volim i bakropis, često se njime bavim, kao i litografiju i svaku tehniku koja podrazumijeva reprodukciju, no snaga jednog jedinstvenog i originalnog djela kao što je čisti crtež uvijek će imati veću vrijednost u svakom pogledu.

Crteži su se vratili u umjetnički svijet prije deset godina, iz nekog čudnog razloga. Djelomice i zato što je slikarstvo ostavljeno po strani na bijenalima i sličnim događajima (uglavnom u Francuskoj); danas svi crtaju, rekao bih, u najboljem i u najgorem smislu...

Crtanje jest ljudski rod, zar ne?

mmSU 18 dc

83

84 beatified angela of foligno pierre noire, ink, paper, 55x45 cm, 2007

međunarodna izložba crteža

blažena anđela iz foligna prešani ugljen, tuš, papir, 55x45 cm, 2007.

Ernest Pignon - Ernest

18 dc mmsu

dessin

crtež

Drawing is like a sign of human essence: directly from the thought to the hand... something universal and timeless. I have drawn, I would say naturally, like it was obvious.

My work consists of placing images in a space; in this regard, my drawings aim to objectify the space by making it voluminous, simultaneously by means of what they represent and how they represent it, as well as to develop, to reveal and to emphasize the symbolism of the space. Only drawing allows me to work like this, at the same time on that which is seen and on that which is not.

international exhibition of drawings

1942/ Nice www.pignon-ernest.com

Crtež je kao znak ljudskoga: ravno iz misli u ruku... nešto univerzalno i bezvremensko. Crtam, rekao bih prirodno, kao da je to nešto očigledno.

Moj rad sastoji se od postavljanja slika u prostor; u tom pogledu moji crteži teže opredmećivanju prostora čineći ga voluminoznim istovremeno onime što predstavljaju i načinom na koji to predstavljaju, te razradi, razotkrivanju i isticanju simbolike prostora.

Jedino mi crtež omogućuje da tako radim istodobno i na onome što se vidi i na onome što se ne vidi.

mmSU 18 dc

85

Dvostruka igra grafit, papir, 110X100 cm, 2011.

86

međunarodna izložba crteža

Double Game graphite, paper, 110x100 cm, 2011

David Porchy

18 dc mmsu

dessin

crtež

Drawing is the pictorial technique that best suits my concerns and my current needs. I use graphite for its accuracy and chuck-charcoal for the deep, almost silky, black it allows. For me, drawing is not just a sketch or a preparatory phase of a future fulfilment, but a complete technique performing works of rare finesse and stupendous complexity.

My drawings are figurative and directly related to photography. But they are also very far from the reality captured by the camera. Actually, I am trying to find a new aesthetic form in the continuity of the surrealist spirit, which for me is necessary in any poetic process.

Traditional and manual aspect of drawing, the freedom and the accessibility of this technique, make it an indestructible pillar of creation. Do a test: ask a child not to draw!

Since a decade we have been witnessing a return to painting. Quite logically, drawing follows this trend and seems to be more and more exposed.

international exhibition of drawings

1976/ Lyon Paris d.porchy@gmail.com/ www.galeriealfa.com

Crtanje je slikovna tehnika koja najbolje odgovara mojim idejama i trenutačnim potrebama. Koristim grafit zbog njegove preciznosti i ugljen zbog duboka, gotovo svilenkasta crnila koje daje. Za mene crtež nije samo skica ili pripremna faza nekoga budućeg ostvarenja, nego cjelovita tehnika koja rađa djela rijetke suptilnosti i zadivljujuće kompleksnosti.

Moji su crteži figurativni i izravno povezani s fotografijom, ali su ujedno i vrlo daleko od stvarnosti koju bilježi kamera. Zapravo se trudim pronaći nov oblik estetike nadovezujući se na nadrealistički duh, što je, po meni, nužno u svakom poetičnom procesu.

Tradicionalni i ručni aspekt crtanja te sloboda i dostupnost takve tehnike čine crtež neuništivim stupom stvaralaštva. Pokušajte sljedeće: zatražite od djeteta da ne crta!

Već smo cijelo desetljeće svjedoci povratka slikarstvu. Posve logično, i crtanje prati ovaj trend i postaje sve vidljivije.

mmSU 18 dc

87

88 ABSTRACT DRAWING WITH SILVERPOINT - A silverpoint, paper, 64X92 cm, 2009 detail

međunarodna izložba crteža

APSTRAKTI CRTEŽ SREBRENKOM - A srebrenka, papir, 64X92 cm, 2009. detalj

Igor Ron evi

18 dc mmsu

dessin

crtež

Drawing is a different mental process. Drawing follows out thoughts, unlike painting, which fulfils our plan.

Drawing is omnipresent. Just take a look at all these tattoos wandering around the streets.

Contemporary drawing practice does not even exist. What could be called that, serves as a private showdown. Great drawing works are often unconvincing and forgettable because it became impossible to use drawing to perform a relevant, even a mainstream art action. The last person who did that was Bruce Newman. Will that change? In my work drawing appears only as a template for a painting.

There is no domination of technology, just its regular use. For now this is a great novelty. Digital technology determines us as creative people and as observers. Classic techniques? Classic techniques to classic times!

I have not paid too much attention to the ratio of drawings at exhibitions, but when I see one, I say: Look, a drawing!

international exhibition of drawings

1951/ Zadar Akademija likovnih umjetnosti, Zagreb Zagreb/ Zadar roncevic.i@gmail.com/ www.igor-roncevic.com

Crtež je drugačiji mentalni proces. Crtež prati naše misli, za razlku od slike koja ostvaruje naš plan. Crtež je sveprisutan. Pogledajte samo sve te tetovaže što šetaju ulicama.

Suvremena crtačka praksa i ne postoji. Ono što tako možemo nazvati služi za neki privatni obračun. Veliki crtački opusi često su neuvjerljivi i zanemarivi jer crtežom je postalo nemoguće izvesti relevantnu, makar i mainstreamovsku, umjetničku akciju. Posljednji kojemu je to uspjelo bio je Bruce Newman. Hoće li se to promijeniti? U mome radu crtež se pojavljuje samo kao predložak za sliku.

Ne može se govoriti o dominaciji tehnologije, već o njezinu regularnom korištenju. Za sada je to velika novina. Digitalna tehnologija nas određuje kao stvaraoce i kao promatrače. A klasične tehnike? Klasične tehnike klasičnim vremenima!

Ne pratim posebno koliko je crtež zastupljen na izložbama, ali kad ga ugledam, kažem: Gle, crtež!

mmSU 18 dc

89

90 Trapped graphite pencil, felt tip pen, paper, 140x280cm, 2012 detail

međunarodna izložba crteža

U zamci grafitna olovka, flomaster, papir, 140x280 cm, 2012. detalj

Emanuela Santini

18 dc mmsu

dessin

crtež

For some, drawing is only a moment, a start, a basis for work in another medium, but for me it is something even more than verbal expression, a way of perceiving and understanding the world, portrayed in a hidden code which describes individual mythology.

Its immediacy, its spontaneity gives me space to think, to add meaning to the line I draw. It is a contemplative process which flows between the conscious and unconscious, intentional and accidental. Sometimes the drawing process begins and ends on paper, sometimes it embarks on an exploration and experiment. Everything manufactured in our environment sprang first from a drawing, therefore new drawing technologies are an important contribution to the drawing glossary.

Drawing has always been seen as a subordinate medium, a basis for the development of an idea, but for me it is independent. Maintaining the classic drawing is unquestionable since drawing definitely has great cultural importance, stretches throughout the entire history of art, from cave drawings to computers; it is vital in education and, despite being explored, it still remains in many ways the basis of artistic practice and development.

Paper is not the only background for a drawing, but it is undoubtedly the most widespread. Drawing appears in sculpture, installations, photography etc. In my opinion view, drawing (traditional and contemporary, if we divide them into categories) is sufficiently represented at exhibitions. I would like to quote Frank Popper who said in his book of interviews Réflexions sur l’exil, l’art et l’Europe: Our current situation is characterised by the fact that different media crosscontribute and can be seen globally as the representatives of our time which at the same time encompass traditional arts and techniques...

international exhibition of drawings

1976/ Pula Filozofski fakultet, odjel Grafike, Rijeka → Wimbledon College of Art - University of the Arts London, London Rijeka emanuela_santini@yahoo.co.uk

Za nekog je crtež tek trenutak, početak, baza za rad u nekom drugome mediju; za mene je to nešto čak i više od verbalnog izraza, način viđenja i razumijevanja svijeta, prikazan skrivenim kodom koji opisuje individualnu mitologiju.

Njegova neposrednost, spontanost daje mi prostora za razmišljanje, dodavanje značenja liniji koju crtam. To je kontemplativan proces koji teče između svjesnog i nesvjesnog, namjernog i slučajnog. Katkad proces crtanja započne i završi na papiru, katkad krene u propitivanje i eksperiment. Sve što se proizvede u našem okolišu nastaje najprije iz crteža, stoga su i nove crtačke tehnologije važan doprinos crtačkom rječniku.

Na crtež se uvijek gledalo kao na podređeni medij, bazu kako bi se razvila ideja, ali za mene je on nezavisan. Održavanje klasičnog crteža nije upitno s obzirom na to da crtež definitivno ima veliku kulturnu važnost, provlači se kroz cijelu povijest umjetnosti, od pećinskih uradaka do računala; vitalno je važan u obrazovanju i, bez obzira na to što je istražen, na mnoge načine do sada ipak ostaje osnova u umjetnikovoj praksi i razvoju.

Papir nije jedina podloga za crtež, ali je nesumnjivo najraširenija. Crtež se pojavljuje u skulpturi, instalacijama, fotografiji itd. Smatram da je crtež (tradicionalni i suvremeni, ako ih odvajamo u kategorije) dovoljno zastupljen na izložbama, a tu bih citirala Franka Poppera koji je u svojoj knjizi intervjua Razmišljanja o progonstvu, umjetnosti i Europi rekao: Sadašnju situaciju karakterizira činjenica da se različiti mediji uzajamno oplođuju i možemo na njih globalno gledati kao na predstavnike našeg vremena koji u isto vrijeme obuhvaćaju i tradicionalne umjetnosti i tehnike…

mmSU 18 dc

91

92 Luna pastel, chalk, paper, 150x100 cm, 2012

međunarodna izložba crteža

Luna pastel, kreda, papir, 150x100 cm, 2012.

Robert Šimrak

18 dc mmsu

dessin

crtež

Drawing is, by nature, the most intimate expression of an artist (creator) when art techniques are concerned; it is a visual record of feelings, thoughts and emotions, or states of mind. As such, drawing appeared for the first time in prehistory and even though with time it acquired new forms (study, technical drawing, preparation for a painting or a statue), still today it represents an artist’s initial impulse, thinking on paper and visualising an experience.

For that exact reason, and encouraged by the competition description for the drawing exhibition which promised a return to the original notion of a drawing, I decided to make something utterly personal for that occasion and present myself somewhat stripped off of concepts, projects, cycles which I usually examine on an entirely different level, mainly using the technique of digital three-dimensional design.

The drawing of Luna, my German Shepherd, is an expression of my love for a creature which brought balance and peace to my life after great turmoil, and which is also a silent witness to that period. In her look I tried to portray the transmission of trust and unconditional love for me as a recipient and observer. By selecting a large-scale format and portraying Luna in a certain emotional perspective, I wanted to accentuate the importance of her presence in my life. My drawing does not have a concept, or it reflects the concept of unconditional love without premeditation.

This phrase by one of the greatest geniuses in the history of humanity perhaps best describes the psychological unity of the work and its author: Where the spirit does not work with the hand there is no art, Leonardo da Vinci.

international exhibition of drawings

1967/ Zagreb Akademija likovnih umjetnosti, Zagreb Zagreb

Crtež je po svojoj naravi najintimniji izraz umjetnika (stvaraoca) kada su u pitanju likovne tehnike, to je likovni zapis osjećaja, misli i emocija, odnosno stanja duha. Kao takav prvi se put pojavio u prethistoriji i iako je s vremenom poprimio nove oblike (studija, tehnički crtež, predložak za sliku ili kip), i danas za umjetnika znači onaj početni impuls, razmišljanje na papiru i vizualiziranje doživljaja.

Upravo zbog tog razloga, a ohrabren tekstom pravilnika za izložbu crteža koji je obećavao povratak izvornom poimanju crteža, odlučio sam za tu prigodu načiniti nešto sasvim osobno i predstaviti se pomalo ogoljen od koncepata, projekata, ciklusa koje inače promišljam na jednom sasvim drugom nivou, uglavnom u tehnici digitalnoga trodimenzionalnog oblikovanja.

Crtež Lune, moje njemačke ovčarke, iskaz je moje ljubavi prema biću koje je nakon velikih potresa u moj život ponovno vratilo ravnotežu i mir, a koje je ujedno i nijemi svjedok tog razdoblja. Nastojao sam u njezinu pogledu pokazati prijenos povjerenja i bezuvjetne ljubavi na mene u ulozi primatelja/promatrača. Odabirom velikog formata i prikazom Lune u svojevrsnoj emocionalnoj perspektivi, želio sam naglasiti važnost njezine prisutnosti u mojem životu. Moj crtež nema koncepta ili je pak odraz koncepta bezuvjetne ljubavi bez predumišljaja.

O psihološkom jedinstvu ostvarenog djela i njezina autora možda najbolje govori ova misao jednog od najvećih stvaraoca u povijesti čovječanstva: Tamo gdje ruka ne stvara zajedno s dušom, nema umjetnosti, Leonardo da Vinci.

mmSU 18 dc

93

Zamišljanje pokretne slike 1 tuš, papir, 60x80 cm, 2012.

Marko Tadi

IMAGINE A MOVING IMAGE 1 ink, paper, 60x80 cm, 2012

18 dc

94

međunarodna izložba crteža mmsu

dessin

crtež

I have pursued drawing forever and I consider it the most important element in my work, no matter the approach and technique. By developing a certain idea, by drawing certain elements, an idea and a drawing interchange and fulfil each other. Drawing is a medium I use to point to some other things. I use it only as a narrative medium, both in animation and in classic drawing and collage.

I believe it is not at all hard to pursue the classic drawing, the only important thing is to decide what it is we want to do. There are options, the artist only needs to choose a medium best suited to his translation of ideas into reality.

Drawing is sufficiently represented at exhibitions. In spite of the frequent use of new media, I believe drawing is still quite represented and equally important as before. It has managed to get restructured through conceptual approach and has not lost importance.

international exhibition of drawings

1979/ Sisak Accademia delle belle arti, Firenza Zagreb www.markotadic.blogspot.com

Crtežom se bavim oduvijek i smatram ga najvažnijim elementom u svom radu, bez obzira na pristup i tehniku.

Razrađujući određenu ideju, crtajući određene elemente, ideja i crtež se mijenjaju i stalno nadopunjuju. Crtež je medij kojim se služim kako bih ukazao na neke druge stvari.

Koristim ga isključivo kao narativni medij, kako u animaciji, tako i u klasičnom crtežu i kolažu.

Smatram da uopće nije teško održati klasičan crtež, bitno je samo odlučiti čime se želimo baviti. Opcije postoje, autor samo treba odabrati mediji koji mu najviše odgovara u prenošenju ideja u stvarnost.

Crtež je dovoljno zastupljen na izložbama.

Usprkos čestom korištenju novih medija, mislim da je i dalje jednako bitan kao i prije. Uspio se restrukturirati kroz konceptualni pristup i nije izgubio na važnosti.

mmSU 18 dc

95

96 Bucket black pigment, brush, paper, 100x70 cm, 2010

međunarodna izložba crteža

Vjedro crni pigment kistom, papir, 100x70 cm, 2010.

petra Varl

18 dc mmsu

dessin

crtež

The prevalence of technology-based works and a kind of saturation it caused led me to manual work, back to the basics involving direct drawing, to the immediacy of tactile expression. I very much enjoy drawing, yet I often rush and am all over the place. But my brush strokes make me calmer, all the nervousness fades away, I am absorbed by the process and everything seems OK. Sometimes the drawings turn out perfectly right away, other times I go back and perfect again and again, ad infinitum.

Even the drawings I make when I doodle are part of a mosaic that eventually forms a more complex story. I make many drawings, discard many of them, and now and then one turns out to my liking. Drawing helps me think and is present in all of my work, from the drawing itself, to my graphic art, installations or site interventions.

The contemporary characteristics of my drawings are related to form, simplicity and clarity. As far as content is concerned, I like to address everyday situations, to have a positive and humorous eye. I am interested in the quotidian and how art affects and changes people, in working towards a better world.

The final technique I use has an important role but is not crucial. I primarily pursue an idea and seek to bring it to a certain form, whereby the discipline plays a subordinate role to what I want to express. In other words, I do not first choose the discipline and then the message. It is the message that leads me to the discipline.

Undoubtedly, drawing is less frequently exhibited than other art disciplines. But I do not attribute this to an underrepresentation of drawing, but to the choice of voice with which artists decide to speak.

international exhibition of drawings

1965/ Ljubljana Akademija za likovno umetnost in oblikovanje, Ljubljana Ljubljana/ Maribor petra@varl.si/ www.petravarl.com

Prevlast tehnoloških radova i svojevrsno zasićenje time vratilo me radu rukom, osnovama izravnog crtanja, neposrednosti taktilnog izričaja. Doista uživam u crtanju, ali sam često u žurbi i na stotinu strana. Međutim, potezi kistom me smiruju, sva nervoza blijedi, obuzima me rad i sve se čini u redu. Katkad crtež otprve ispadne savršeno, katkad se moram vraćati i usavršavati ga ad infinitum. Čak i crteži nastali dok samo skiciram, dio su mozaika koji naposljetku tvori kompleksniju priču. Nacrtam puno crteža, ali ih puno i odbacim, a svako toliko mi se poneki i svidi. Crtanje mi pomaže da mislim i prisutno je u cjelokupnomu mojemu radu, od samog crtanja do grafičke umjetnosti, instalacija ili intervencija u prostoru.

Suvremene karakteristike mojih crteža vezane su za formu, jednostavnost i jasnoću. Što se tiče sadržaja, volim se baviti svakodnevnim situacijama, imati pozitivno i duhovito oko. Zanima me svakodnevica te kako umjetnost utječe na ljude i mijenja ih u nastojanju da postanemo bolji svijet.

Konačna tehnika koju koristim ima važnu, ali ne i ključnu ulogu. Prvenstveno se bavim idejom i želim je iskazati u određenoj formi, dok disciplina ima podređenu ulogu u odnosu na ono što želim izraziti. Drugim riječima, ne odabirem prvo disciplinu, a zatim poruku.

Upravo me poruka vodi do discipline.

Crtež se, bez sumnje, izlaže rjeđe od drugih umjetničkih disciplina. Ne pripisujem to nedovoljnoj prisutnosti crteža, nego odabiru glasa kojim umjetnici žele govoriti.

mmSU 18 dc

97

Leksik ugljen, papir, 125x125, 2009.

Marko Velk

Lexicon charcoal, paper, 125x125, 2009

18 dc

98

međunarodna izložba crteža mmsu

dessin

crtež

Drawing and specifically charcoal that I use are for me the most direct and simplest way to express a multitude of things through the use of a very simple tool. No paint and cans and water or brushes, just a black stick and a multitude of possibilities that can do as much as any other tool.

I only draw in black and white which means that a lot has to do either with leaving the paper blank which brings the light while creating the image with the intervention of black and grey tones; or just with the line itself and its infinite possibilities. Two exercises that, for the moment, I keep separate most of the time.

Drawing exists today like any other category and because of technology authenticity is dying. If one observes closely, works seem to look more and more alike. Creating something today without the intervention of a program or a filter is becoming rare. I do not find it difficult in the sense of my individual process, just more challenging as far as the time required to complete is concerned.

In the past ten years, drawing has reached good visibility on the market. A lot of art fairs and art exhibitions today promote drawing and make it by definition more visible to the public.

international exhibition of drawings

1969/ Split École nationale supérieure des Arts Décoratifs, Paris New York www.markovelk.com

Crtanje, a posebno ugljen, za mene je najizravniji i najjednostavniji način da izrazim puno toga koristeći vrlo jednostavno sredstvo. Nema boje, limenki, vode i kistova, samo crni štapić kojim mogu postići jednako toliko kao i svakim drugim alatom.

Crtam samo crno-bijelo, što znači da puno toga ovisi o ostavljanju praznina na papiru, što osvjetljava sliku u nastanku, uz intervenciju crnih i sivih nijansi; ili samo uz liniju i njezine beskonačne mogućnosti.

Te dvije metode trenutačno uglavnom držim odvojene.

Crtanje danas postoji kao i svaka druga kategorija, a zahvaljujući tehnologiji autentičnost umire.

Pogledamo li ih izbliza, radovi se čine sve sličniji i sličniji.

Stvarati nešto danas bez pomoći programa ili filtera postaje rijetkost. Ne smatram to teškim u smislu vlastita stvaralačkog procesa, samo zahtjevnijim jer mi je potrebno mnogo više vremena.

Crtež je, u posljednjih deset godina, postigao dobru vidljivost na tržištu, a danas ga i brojne umjetničke smotre i izložbe promiču i već po definiciji čine vidljivijim u javnosti.

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100 King Birdy acrylic marker, paper, 40x30 cm, 2009

međunarodna izložba crteža

Kralj Birdy akrilik marker, papir, 40x30 cm, 2009.

Fabien Verschaere

18 dc mmsu

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crtež

Drawing practice prevails in my work. It starts from notation, from sketch, leading to a finished work. It is quotidian, like scales on the piano, and, which is especially important, there is the poorish notion of this practice. We do not need a lot of material to make a drawing. It can be done anywhere, at any time. In this sense, this practice is anchored into life.

I started drawing because I was hospitalized when I was a child and this practice helped me to escape and travel while remaining in a closed environment. Drawing was the only thing I could do in a restricted framework and in an intense way.

Today, I make all types of drawing, in felt pen, pen, pencil, watercolor. Basically, I do observational drawings that I then retranscribe according to my imagination.

The drawings selected for this exhibition are in felt pen. They tell a story, my story, since all my drawings are autobiographical. They perfectly illustrate my approach, which is, generally speaking, based on the principle of automatic writing combined with my observations of everyday life, whether while traveling in Africa, staying in the United States, or living in Paris. In fact, my drawings are a retranscription of my everyday life in a mythological way. They are an accumulation of what I live and what I see every day. They fit both in the retinal and in the mental registry.

international exhibition of drawings

1975/ Vincennes École Nationale Supérieure des Beaux-Arts, Paris Paris

Crtanje je dio moga rada, a proteže se od bilježenja, od skice, do gotova rada. Svakodnevno je, poput ljestvica na klaviru, a osobito je važno siromašno svojstvo te prakse. Čovjeku nije potrebno puno materijala da bi nešto nacrtao. To može svuda, u svakom trenutku. U tom smislu, to je praksa usidrena u život.

Počeo sam crtati jer sam kao dijete bio u bolnici, a crtanje mi je omogućilo da pobjegnem i putujem tijekom boravka u zatvorenoj sredini. Crtež je jedino što sam mogao raditi u ograničenu okviru, a intenzivno.

Danas radim sve vrste crteža, flomasterom, perom, olovkom, akvarelom. U osnovi, stvaram crtež prema zapažanju koje zatim preuredim u skladu sa svojom maštom.

Crteži izabrani za ovu izložbu su crteži flomasterom koji pričaju priču, moju priču, s obzirom na to da su svi moji crteži autobiografski. Savršeno ilustriraju moj pristup koji se, općenito govoreći, temelji na načelu automatskog pisanja, kombiniranog s mojim zapažanjima o svakodnevnom životu, bilo to za mojih putovanja Afrikom, boravaka u Sjedinjenim Državama ili pak mog života u Parizu. Naime, moji su crteži ponovni prijepis moje svakodnevice na mitološki način. Akumulacija su onoga što proživljavam i što vidim svaki dan.

U isti mah upisuje se i u oči i u dušu.

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102 Just Flowers 3 washing acrylic, charcoal, paper, 150x120 cm, 2012

međunarodna izložba crteža

Samo cvijet 3 lavirani akrilik, ugljen, papir, 150x120 cm, 2012.

Xiao Fan

18 dc mmsu

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crtež

In my approach, drawing is as important as painting or sculpting. It is a practice like any other to make a work.

For me, drawing is a discipline in its own right. It is not, or seldom is, a preparation for painting. I do not do, as the saying goes, preparatory drawings. So I devote myself in the same way, I put the same energy into it when I draw as when I paint or sculpt.

What I like in drawing is the lightness, the freedom it gives me. It is a simple matter, for easy use.

Besides, we can draw anywhere.

On another level, I sometimes use drawing to take notes, as a writer would. When traveling, I always carry some small notebooks on me, allowing me to make small sketches, so as to record and retain an idea anywhere, in a train, in a plane.

The flower theme has been a recurring theme in my work for the past fifteen years, referring to the tradition of flowers in China and the Campaign of Hundred Flowers, launched by Mao Zedong in 1957. The flowers that I evoke in these drawings, these flowers are directly inspired by real flowers that I have seen in the countryside, in fields, with some flowers taller than others, savage, cannibal. As I have also always equally paid a lot of attention to modernity, to the world around us, to the consumer society in which we live, I mix these plants with a sort of pipes, like electrical wires, as an evocation of the industrial world and the waste created by man. As soon as they see a passage, the plants rush into it. In these drawings, they engage in a battle with human products, this is the struggle of nature against man and of man against nature. In the image of life today.

international exhibition of drawings

1954/ Nanjing School of Fine Arts, Nanjing Normal University, Nanjing → École Nationale Supérieure des Beaux-Arts, Paris Paris ruxiaofan@gmail.com/ www.ruxiaofan.com

U mom pristupu crtež ima jednaku važnost kao i slika ili skulptura. To je vještina, kao i svaka druga, za stvaranje nekog djela. Crtež je za mene čitava zasebna disciplina.

Crtež nije, ili je to veoma rijetko, priprema za slikanje.

Ja ne radim, kako glasi uvriježeni izraz, pripremne crteže. Jednako se, dakle, unosim, ulažem istu energiju kada crtam kao i kada slikam ili stvaram skulpturu.

U crtežu volim lakoću, slobodu koju mi daje.

Crtež je jednostavan, njime se lako koristiti. Uostalom, crtati se može posvuda.

Na jednoj drugoj razini, katkad se crtežom služim za pravljenje bilješki, poput kakva pisca. Kad putujem, uvijek sa sobom nosim blokiće koji mi omogućuju da bilo gdje, u vlaku ili avionu, napravim male skice kako bih zabilježio i zapamtio neku zamisao.

Tema cvijeća ponavlja se u mom radu već petnaestak godina, kao referenca na tradiciju cvijeća u Kini i na kampanju Sto cvjetova koju je Mao Ce-tung pokrenuo 1957. godine. Ovo cvijeće, ovo koje evociram na tim crtežima, izravno je pak nadahnuto pravim cvijećem koje sam vidio u prirodi, na poljima, cvjetovima od kojih su neki viši od drugih, divlji, kanibalski.

Budući da oduvijek pridajem jednako mnogo pozornosti modernitetu, svijetu koji nas okružuje, potrošačkom društvu u kojem živimo, miješam te biljke s nekim vrstama cijevi, poput električnih žica, kao nagovještaj industrijskog svijeta i otpadaka koje čovjek stvara. Čim spaze neki prolaz, biljke nadru u nj. Na ovim crtežima ulaze u bitku s ljudima, to je borba prirode protiv čovjeka i čovjeka protiv prirode. Na sliku i priliku današnjeg života.

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Bukva Mozak tuš, papir, 70x100 cm, 2011.

Josip Zanki

Beech Mozak ink, paper, 70x100 cm, 2011

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From the very beginning of my art practice I have pursued drawing. From my love for comic books in my early youth to the passion for William Blake’s graphics.

To me, drawing is the basis of all artistic media. The construction of drawing makes the understanding of the construction of any other medium possible, from video editing to action performance or site-specific realisations.

My work is a constituent part of my interdisciplinary explorations. In them I use ethnographic methodology for data collection on Mount Velebit. I upgrade my explorations in different visual media, from performance to installation, video or drawing. In my art practice drawing is mainly part of a greater art project.

The classic drawing complements technology and these two worlds coexist, not excluding each other.

Just like, according to Claude Lévi-Strauss, the wild, i.e. magical thought does not exclude the so-called Western thought. These two forms of thought and cultural matrices are parallel, live side by side. The same goes for drawing and technology.

Drawing is not sufficiently represented at art exhibitions. It mostly appears as a documentation of an idea for a more complex work of art. Very rare contemporary art projects are based on drawing alone, like Kippenberger’s series of drawings on the official memoranda of the hotels he stayed in.

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1969/ Zadar Akademija likovnih umjetnosti, Zagreb Zagreb/ Zadar www.zankijosip.com

Od početka svoga umjetničkog djelovanja vezan sam uz crtež. Od ljubavi prema stripovima u najranijoj mladosti do strasti spram grafizama Williama Blakea. Crtež je za mene osnova svih umjetničkih medija. Konstrukcija crteža omogućuje shvaćanje konstrukcije bilo kojega medija, od montaže videa do izvedbe akcije ili realizacije site specifica.

Moj je rad nedjeljiv dio mojih interdisciplinarnih istraživanja. U njima se koristim etnografskom metodologijom za prikupljanje podataka na Velebitu.

Istraživanja nadograđujem u različitim vizualnim medijima, od performansa do instalacije, videa ili crteža.

Crtež u mojoj umjetničkoj praksi najčešće je dio većega umjetničkog projekta.

Klasičan crtež je komplementaran tehnologiji i ta dva svijeta postoje paralelno, ne isključujući jedan drugoga. Kao što, prema Claudeu Levi Straussu, divlja, odnosno magijska misao ne isključuje takozvanu zapadnu znanstvenu misao. Ta su dva oblika mišljenja, ali i kulturne matrice, paralelna, jedan uz drugi. Isto je s crtežom i tehnologijom.

Crtež nije dovoljno zastupljen na izložbama.

Uglavnom se pojavljuje kao dokumentacija ideje za neki kompleksniji umjetnički rad. Rijetki su suvremeni umjetnički projekti koji se zasnivaju isključivo na crtežu kao što je to Kippenbergerova serija crteža na memorandumima hotela u kojima je odsjeo.

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106 Get Him Down graphite, charcoal, paper, 160x160 cm, 2011

međunarodna izložba crteža

Dokrajčili smo ga grafit, ugljen, papir, 160x160 cm, 2011.

Jérôme Zonder

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Drawing is the way I perceive the world, all what we are made of. Drawing is a matter of limits... limits of materials, limits of narratives, etc. Human species has been drawing for 35,000 years... It is a symbolic, yet efficient space.

Drawing is insufficiently present at exhibitions. In the 1960s, drawing began to be known as an autonomous form of art, but still it takes place in a sort of Indian reserve... Close both to outsider art and popular art.

international exhibition of drawings

1974/ Paris École Nationale Supérieure des Beaux-Arts, Paris Paris galerie@evahober.com/ www.evahober.com

Crtež je način na koji doživljavam svijet i sve ono od čega smo stvoreni. Crtanje je pitanje granica, granica materijala, granica narativnosti.... Ljudski rod crta već 35 tisuća godina... To je simboličan, a opet djelotvoran prostor.

Crtež je nedovoljno prisutan na izložbama. Šezdesetih je godina crtež postao poznat kao samostalna umjetnička forma, ali kao da se još uvijek događa u svojevrsnome indijanskom rezervatu... Blizak je i autsajderskoj i popularnoj umjetnosti.

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Gotovo svatko je jednom u životu nešto nac skulpturu ili snimili film. Crtanje je temeljna umjetnosti; linija određuje naše živote svugd građevini... Shvaćamo, definiramo i gradim Uz minimalan trud i u tren oka možemo st EMOCIJE i KOMUNICIRATI s drugima.

acrtao, no nisu svi izradili jna disciplina, ne samo u gdje: u dizajnu, arhitekturi, mo svoj svijet kroz crtež. stvoriti SMISAO, pokazati

Nicolaj Dudek Zašto crtež?

Nearly every person has once in their life made a drawing, but not everyone has made a sculpture or a movie. Drawing is a very fundamental discipline, not only in art; the line defines our lives everywhere: design, architecture, engineering… We understand, define and construct our world through drawing. With minimal effort and in no time we can create SENSE, show EMOTIONS and be able to COMMUNICATE with others.

Nicolaj Dudek Why drawing?

MALI SALON, Korzo 24, Rijeka, Hrvatska

Tomislav erani Vladimir Veli kovi Davor Vranki mali salon

mali salon

25. sije nja ─ 16. velja e 2013.

25 January ─ 16 February 2013

MALI SALON

international exhibition of drawings

crteži

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Drawings

Izložba trojice autora crteža u istom prostoru posljedica je toga što su povezani prije svega funkcijom selektora na 18. međunarodnoj izložbi crteža koju priređuje Muzej moderne i suvremene umjetnosti u Rijeci. Vladimir Veličković, Davor Vrankić i Tomislav Čeranić različiti su generacijski, po tehnikama i pristupu crtežu, motivima i poetici, a prije svega po vrlo različitim, prepoznatljivim rukopisima.

Stoga bi svako traženje poveznica između ove trojice autora bilo nametnuto i nepotrebno, a upravo spomenute razlike privući će svakog promatrača koji pokazuje interes za specifičnosti koje su upravo u mediju crteža najzanimljivije, i to u crtežima koji u sebi sadrže karakteristike vremena i civilizacije koja posrće i urušava vlastite vrijednosti.

The exhibition of three graphic artists in a same space is a consequence of the fact that they are connected primarily by their role of programmer at the 18th International Exhibition of Drawings, curated

by Rijeka’s Museum of Modern and Contemporary Art. Vladimir Veličković, Davor Vrankić and Tomislav Čeranić belong to different generations, apply different techniques and approaches to drawing, use different motifs and poetics, and primarily display very different, recognisable handwritings. Therefore, any attempt at finding links between these three authors would be forced and unnecessary, while precisely the said differences will attract any spectator with an interest in the specific qualities that prove as the most interesting in the drawing medium, precisely in those drawings that display Vladimir Veličković crtač i sli- the characteristics of time and civilisation kar koji živi i radi u Parizu i Beogradu i koji which falters and destroys its own values. je međunarodnu afirmaciju stekao djelujući već pedesetak godina, poznat je i preVladimir Veličković is a graphic poznatljiv po svojim motivima izmučenih artists and painter based in Paris and ljudskih tijela, štakora, vrana i pit bulova, Belgrade, who made a name for himself motivima koji su odraz nasilja, stradanja internationally throughout almost fifty i raspadanja. Ako je zadatak umjetnosti years. He is known and recognised by his

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odražavati stvarnost, onda upravo Veličkovićev pristup to potvrđuje. Prošlog je ljeta, u povodu svoje retrospektivne izložbe radova koji su nastali u posljednjih dvadesetak godina, a koja je održana u Splitu, Veličković izjavio: Dužnost je umjetnika da na nekakav način prenese stvarnost, a naša je obilježena negativnom dinamikom koja opterećuje savjest koju imamo. I ta je misao doista temelj na kojemu se izgrađuje kaotičan prostorni vrtlog unutar kojega se raspadaju tijela, u kojem lica poprimaju krajnje groteskne izraze, a glave su odavno napustili svi osjećaji i bilo koji oblik svijesti.

Ako istaknemo samo ono što je kod Veličkovića uvijek prepoznatljivo – dinamizam pokreta i dramatika, raspadanje tijela i razgradnja materije ili kaotični prostorni vrtlog, ostat ćemo na površini prikazanoga. Poluraspadnuta tijela koja gotovo lebde u zrakopraznom prostoru u neobičnim položajima, crtana su sigurnom rukom, brzim potezima pera, spontano, virtuoznom vještinom koja odražava Veličkovićeve jasne obrisne linije i snažne zacrnjene sjenovite površine ili mrlje koje u kontrastu pojačavaju ekspresivnost i grotesknost rastočene ljudskosti. Na Veličkovićevim crtežima nema 114

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motifs of tortured human bodies, rats, crows and pit bulls, motifs that reflect violence, suffering and decay. If art’s task is to portray reality, then Veličković’s approach testifies to that. Last summer, at the occasion of a retrospective exhibition of the works he made in the last twenty years, taking place in Split, Veličković said: It is the artist’s duty to convey reality in a certain manner, and ours is characterised by a negative dynamics that burdens the conscience we have. Indeed this thought is a basis for the construction of a chaotic spatial whirlwind in which bodies decay, in which faces turn into utter grotesques, and heads are long vacated of all feelings or forms of awareness.

If we point out only Veličković’s ever recognisable qualities – dynamism of movement and dramatics, bodily decay and decomposition of matter or the chaotic spatial whirlwind – we will remain only on the surface of the seen. Semidecomposed bodies which almost float in unusual positions through the vacuum are drawn with a steady hand and quick quill strokes, spontaneously and with virtuosity which reflects Veličković’s clear contour lines and powerful blackened shady surfaces or spots which in contrast dessin

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konkretnih rubova ili granica prostora, nema nežive materije predmeta, samo ogoljena tijela koja sve crteže u konačnici svode na temu već stoljećima prisutnu u zapadnoeuropskom slikarstvu: Memento mori. Materijalistička civilizacija potpuno poremećene i izopačene vrijednosne skale dobila je svoj stravičan odraz u Veličkovićevim crtežima bez lažnog moraliziranja, bez komentiranja, bez literariziranja – Veličković samo likovno interpretira opće stanje duha crtajući tijela i glave, motive koji podsjećaju da je u njima nekada bio eros, emocija, misao, život.

Zastrašujuće, apokaliptične prikaze i prizore užasa nadrasta iznimna snaga i ljepota virtuoznih poteza pera, promišljenih linija koje stvaraju kaotičan odraz svijeta u kojem su svi aspekti života, od ekonomskih do ekoloških, od političkih do kulturnih, od zdravstvenih do socijalnih, od javnih do privatnih, izgubili svoje nekadašnje vrijednosti i značenja.

accentuate the expressivity and grotesque of dissolved humanity. There are no concrete edges or borders of space in Veličković’s drawings, no inanimate object matter, only bared bodies which finally reduce all the drawings to the subject present for centuries in Western European painting: Memento mori. Materialist civilisation and its utterly deregulated and perverted value system got a horrifying reflection in Veličković’s drawings without false morality, without comment, without literalisation – Veličković only visually interprets the general state of mind by drawing bodies and heads, motifs reminiscent of former traces of eros, emotion, idea, life. Frightening, apocalyptic scenes and depictions of horror are overpowered by exceptional strength and beauty of skilful quill strokes, methodical lines creating a chaotic reflection of the world in which all the aspects of life, from economic to environmental, from political to cultural, from health-related Davor Vrankić akademski je to social, from public to private, have lost slikar srednje generacije koji se od dola- their former values and meaning. ska u Pariz, u počecima svoje međunarodno uspješne karijere, u potpunosti poDavor Vrankić is a middle-aged svetio crtežu olovkom. Već na prvi pogled academic painter who fully devoted himsvatko će uočiti zanimljivu minucioznu self to pencil drawing since his arrival to

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Vrankićevu tehniku koja zadržava pro- Paris, in the beginnings of his internamatračevu pozornost. Vrankić nije crtač tionally successful career. Already at first koji će mijenjati debljinu olovke, niti će sight anyone will notice Vrankić’s interstvarati spontane mreže krivudavih, esting minute technique that holds the isprepletenih linija. On uvijek koristi olovku observer’s attention. Vrankić is not a iste debljine (0,9 mm, 2B) i velikom pre- graphic artist likely to change his pencil ciznošću ispunjava svaki centimetar po- thickness or create spontaneous webs of vršine papira. Koristi bjelinu podloge te sinuous, interlaced lines. He always uses crta u rasponu od gotovo nevidljivih svije- the same pencil thickness (0.9 mm, 2B) tlosivih tonova do potpuno zatamnjenih, and with great precision fills almost every crnih dionica, što njegovim crtežima pruža centimetre of the paper’s surface. He uvjerljivost poput crno-bijele fotografije. U uses the white background and draws in središtu široka dijapazona njegovih moti- ranges from almost invisible light grey va nalazi se figura čovjeka, koja je često shades to almost completely darkened, vezana uz neke gotovo hiperrealističke black parts, which gives his pieces the detalje, da bi bila transformirana začud- credibility of a black and white photonim, nadrealnim elementima. Vrankić je graph. The centre of his broad range of često ambivalentan u asocijacijama: koža motifs is the figure of a man, often relatljudskog tijela pretvorena u slojevite mo- ed to almost hyperrealist details, only to tive čipke fascinantna je u svojoj bogatoj be transformed in curious, surreal eledekorativnosti, a istodobno je odbojna ments. Vrankić is often ambivalent in his poput kozičave ili oguljene površine tijela. associations: human skin transformed Na njegovim likovima ne osjećamo ništa into layered lace motifs is fascinating in hedonističko (usprkos mnogim erotskim its rich decorative aspect, and at the asocijacijama), dapače, likovi djeluju ili same time repulsive like a spotty or ravnodušno ili kao da su u dugotrajnom scratched body part. There is nothing hestanju izmučenosti duha i tijela, ali tehni- donist about his characters (despite nuka crtanja je takva da crteži odražavaju merous erotic associations), quite the dojam kako autor uživa u procesu stva- contrary, the characters seem either inranja, crtanja, u prenošenju svojih vizija different or as though their bodies and 116

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na površinu papira. Na istom crtežu Vrankićev svijet je istodobno pun bajkovitih i zastrašujućih motiva, čestih naglih prijelaza između dijelova koji su iznimno blizu promatraču i naglih skraćenja, poniranja u dubinu prostora uz korištenje neobičnih rakursa. To je svijet kojim vlada podsvijest, nestvarna vizija koja govori o izopačenoj stvarnosti. Vrankićev nadrealni svijet s toliko posebnosti lako je prepoznatljiv u svojoj slojevitosti koja omogućava različite interpretacije i to je svakako jedan od mnogih razloga što uspijeva fascinirati međunarodnu publiku, kolekcionare i muzeje između Pariza i New Yorka.

Tomislav Čeranić, crtač koji potječe iz Šibenika, grada iz kojega je tijekom povijesti poteklo nekoliko iznimnih grafičara poput Martina Kolunića Rote ili Natalea Bonifacija, na neobičan način spaja elemente iz različitih povijesnih razdoblja, od antike i renesanse do suvremenosti. No Čeranić u svome likovnom izrazu nije oslonjen na naslijeđe šibenskih grafičara, kao ni na prethodnike s kojima je lako uspostaviti asocijativne veze kao što je to, primjerice, Giuseppe Arcimboldo. Čeranić prije svega traži vlastiti izraz koji se temelji na potpuno osobcrtež

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minds are constantly and incessantly tormented. However, the drawing technique is such that the drawings appear as if the author enjoys the process of making, of drawing, of translating his visions onto paper. In the same drawing Vrankić’s world is simultanously full of fantastic and frightening motifs, often with sudden passages between the parts extremely close to the observer, and sudden shortenings, reaching deep into space with the use of unusual points of view. It is a world governed by the subconscious, an imaginary vision speaking of perverted reality. Vrankić’s surreal world and all its idiosyncrasies are easily recognisable in their multiplicity of layers which enables different interpretations and is quite definitely one of the reasons why he fascinates international public, collectors and museums from Paris to New York.

Tomislav Čeranić, a graphic artist originally from Šibenik, a town which has generated several exceptional graphic artists such as Martin Kolunić Rota or Natale Bonifacio, in an unusual manner connects elements from different historical periods, from antiquity and renaissance to the contemporary era. How117

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nim preokupacijama poput francuske arhitekture 19. stoljeća. Njegovi crteži iz ciklusa Proteus – varijacije nemaju u fokusu ljudsku figuru nego fragmente tijela ili glave i fragmente onoga što je čovjek tijekom povijesti stvarao, da bi u konačnici prikazani elementi bili spojeni tako da podsjećaju na groteskna lica. I upravo je groteska, koja se odnosi na bilo kakav izobličeni prikaz, posebice onaj koji prikazuje kombinaciju ljudskih i životinjskih svojstava, prava podloga za Čeranićeve neobične crtačke realizacije koje se u potpunosti uklapaju u postmoderni izričaj.

On komponira neobične, fantastične predmete koji su statični i nepokretni na podlozi koja ne odražava nikakav osjećaj prostora niti vremena, jer takvi predmeti postoje jedino u mediju crteža. Često inzistiranje na potpunoj simetričnosti još više ističe stroge odrednice neobičnih vizija koje Čeranić predstavlja promatraču.

Ipak, u kontrastu s meditativnom mirnoćom i simetričnošću predmeta ističe se snažna ekspresivnost pojedinih detalja koji nežive predmete pretvaraju u lica, karaktere i različita emotivna stanja. Od promatrača traže aktivan pristup u svojevrsnoj igri dešifriranja osjećaja straha, začuđenosti, zgađenosti, vedrine ili pot-

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ever, in his artistic expression Čeranić does not rely on Šibenik’s graphic heritage, nor his predecessors with whom he could have easily established associative connections like Giuseppe Arcimboldo did, for instance. Čeranić primarily pursues his own expression based on completely personal preoccupations, such as French 19th century architecture. His drawings from the Proteus – Variations cycle do not focus on the human figure, but on fragments of body or head and fragments of what man has created throughout history, in order to finally connect the depicted elements so as they would remind of grotesque faces. Grotesque, which refers to any sort of disfigured representation, especially the one portraying a combination of human and animal qualities, is in fact the true basis of Čeranić’s unusual graphic realisations which fully comply with the post-modern expression. He composes unusual, fantastic objects which are static and immobile against a background that reflects no sense of space or time, because such objects exist only in the drawing medium. Frequent insisting on utter symmetry highlights the strict determinants of unusual visions presented by Čeranić to dessin

MALI SALON

crtež

international exhibition of drawings

pune introvertnosti. Iako na prvi pogled može izgledati da se Čeranić ne bavi čovjekom, jer crta predmete, lako je uvidjeti da su zapravo čovjek i njegova duševna stanja vješto prikriveni, ali stvarni i uvijek aktualni predmet njegova interesa.

the observer. However, in a contrast with meditative tranquillity and symmetry of the object there is strong expressiveness of particular details which turn inanimate objects into faces, characters and different emotional states. They require an active approach from the observer in a game of deciphering the feelings of fear, wonder, repulsion, serenity or complete introversion. Although at first sight it may seem as though Čeranić does not deal with man, because he draws objects, it is easy to discern that man and his emotional states are in fact skilfully disguised, but still real and always the present subject of his interest.

dr. sc. Frano Dulibić izvaredni profesor Filozofskog fakulteta u Zagrebu

Frano Dulibić, PhD associate professor at Faculty of Humanities and Social Sciences in Zagreb

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120 Proteus Variations Fig. xxiv colour pencil, graphite pencil, paper, 70x50 cm, 2010.

međunarodna izložba crteža

Proteus varijacije Fig. xxiv olovka u boji, grafitna olovka, papir, 70x50 cm, 2010.

Tomislav erani

18 dc MALI SALON

dessin

Proteus varijacije Fig. xxi/ fig. vi olovka u boji, grafitna olovka, papir, 70x50 cm, 2010.

Proteus Variations Fig. xxi/ fig. vi colour pencil, graphite pencil, paper, 70x50 cm, 2010.

MALI SALON

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122 Bodies ink, acrylic, paper, 103x66 cm, 2012.

međunarodna izložba crteža

tijela tuš, akrilik, papir, 103x66 cm, 2012.

Vladimir Veli kovi

18 dc MALI SALON

dessin

tijela tuš, papir, 103x66 cm, 2011.

Bodies ink, paper, 103x66 cm, 2011.

MALI SALON

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124 PAINTERS & Co graphite, paper, 50x32,5cm, 2006-2007

međunarodna izložba crteža

slikarska kompanija grafit, papir, 50x32,5cm, 2006.-2007.

Davor Vranki

18 dc MALI SALON

dessin

slikarska kompanija grafit, papir, 50x32,5cm, 2006-2007

PAINTERS & Co graphite, paper, 50x32,5cm, 2006-2007

MALI SALON

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102 Xiao Fan

100 Fabien Verschaere

98 Marko Velk

96 Petra Varl

94 Marko Tadić

92 Robert Šimrak

80 Michelle Oosterbaan

78 Marlène Mocquet

76 Ruth Martindale

74 Heidi Linck

72 Frédéric Léglise

60 Zlatko Keser

58 Nives Kavurić Kurtović

56 Tina Jonsbu

54 Velibor janković

52 Tina Gverović

40 Leah Clough

38 Marcos Carrasquer

36 Tomislav Buntak

34 Pascal Bazilé

32 Gordana Bakić

30 Mrdjan Bajić

124 Davor Vrankić

122 Vladimir Veličković

120 Tomislav Čeranić

106 Jérôme Zonder

104 Josip Zanki

90 Emanuela Santini

88 Igor Rončević

86 David Porchy

84 Ernest Pignon - ERNEST

82 Stéphane Pencréac’h

70 Bae Lee

68 Ricardo Lanzarini

66 Andrej Kurtin

64 Kosta Kulundzic

62 Damjan Kovačević

50 Ana Feiner ŽALAc

48 Milan Erič

46 Nemanja mate djordjevic

44 Nicolaj Dudek

42 Nick Devereux

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MrDJan Bajić

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Tomislav Buntak

Radnička klasa ide u raj, grafitna olovka, ugljen, papir, 103x75 cm, 2011.

The Working Class Goes To Heaven, graphite pencil, charcoal, paper, 102x75 cm, 2011

Slobodno sjeme, voda i obrazovanje (noćno kupanje), ugljen, papir, 218x198 cm, 2012.

Free Seed, Water and Education (Night Swim), charcoal, paper, 218x198 cm, 2012

Tenk, grafitna olovka, ugljen, papir, 102x75 cm, 2011.

The Armed Vehicle, graphite pencil, charcoal, paper, 102x75 cm, 2011

Fotografije/ Photographs: Stanislav Novak, Mio Vesović

Dat ću ti ono što nemam, grafitna olovka, ugljen, papir, 102x75 cm, 2011.

I’ll Give You What I Don’t Have, graphite pencil, charcoal, paper, 102x75 cm, 2011 Fotografije/ Photographs: Vladimir Popović 32

Gordana Bakić

Prijenos, grafitna olovka, papir, 2005.–2011., rad u nastajanju Transmission, graphite pencil, paper, 2005–2011, work in progress Fotografije/ Photographs: Alan Vlahov, Jurica Škudar 34

Pascal Bazilé

Slijepe pjege 1/ 2/ 3/, akrilik marker, poliesterska folija, 93x134 cm, 2012.

Blind Spots 1/ 2/ 3/, acrylic marker, polyester film, 93x134 cm, 2012 Fotografije/ Photographs: Didier Ronflard, Jean Marie del Moral Zahvale/ Acknowledgments: Galerie RX, Paris

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Marcos Carrasquer

Saturnizam, tuš, papir, 120x160 cm, 2012., vlasništvo Tal Adams, Pariz Saturnism, ink, paper, 120x160 cm, 2012., collection Tal Adams, Paris Izumitelj, tuš, papir, 120x160 cm, 2012., vlasništvo Tal Adams, Pariz The Revelator, ink, paper, 120x160 cm, 2012., collection Tal Adams, Paris Fotografije/ Photographs: Alberto Ricci

Fotografije/ Photographs: Nick Devereux, Alexandre Guirkinger Zahvale/ Acknowledgments: Galerie Bugada & Cargnel, Paris 44

Nicolaj Dudek

Sveden na osjetila, tuš, papir, 32x24 cm, 2011.

Reduced to Senses, ink, paper, 32x24 cm, 2011 Egomanija, tuš, grafitna olovka, papir, 32x24 cm, 2012.

Egomania, ink, graphite pencil, paper, 32x24 cm, 2012 Mišići na žici, tuš, papir, 32x24 cm, 2012.

Muscles on Wire, ink, paper, 32x24 cm, 2012 Fotografije/ Photographs: Nicolaj Dudek, Iris Hufnagel 46

Nemanja Mate Djordjevic

Zahvala/ Acknowledgments: Galerie Samantha Sellem, Paris

Cioran, tuš, papir, 90x210 cm, 2012.

Cioran, tuš, papir, 90x210 cm, 2012.

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Fotografije/ Photographs: Aleksandra Nikitin

Leah Clough

U cvatu, gel-kemijska olovka, papir, 110x80 cm, 2012.

Unfurl and Bloom, gel pen, paper, 110x80, 2012

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Milan Erič

Fotografije/ Photographs: Leah Clough

NGC 223, grafitna olovka, papir, 240x360 cm, 2009.

NGC 223, graphite pencil, paper, 240x360 cm, 2009

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Fotografije/ Photographs: Miha Benedičić, Iztok Premrov

Nick Devereux

Nova mitologija (Sv. Netko Propovjednik), ugljen, papir, 130,5x420 cm, 2009.

New Mythologies (St Somebody Narrative), charcoal, paper, 130.5x420 cm, 2009

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Ana Feiner Žalac

Mater Nostra, tuš perom, papir, 200x100 cm, 2012.

Mater Nostra, ink and quill, paper,

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200x100 cm, 2012 Fotografije/ Photographs: Stanislav Novak, Fabian Feiner 52

Tina Gverović

Gradilište: Snovi u prašini, grafitna prašina, tuš, papir, 36x226 cm, 2012.

Construction Site: Dreams in Dust, graphite powder, ink, paper, 36x226 cm, 2012 Fotografije/ Photographs: Ben Cain 54

Velibor Janković

Lithos VII/ IX/ XI/, olovka u boji, grafitna olovka, papir, 56x38 cm, 2012.

Lithos VII/ IX/ XI/, colour pencil, graphite pencil, paper, 56x38 cm, 2012 Fotografije/ Photographs: Velibor Janković, Boris Lapov 56

Tina Jonsbu

Bez naziva 1/ 2/ 3/ grafitna olovka, papir, 15,5x21,5 cm, 2011.

No title 1/ 2/ 3/ graphite pencil, paper, 15.5x21.5 cm, 2011 Fotografije/ Photographs: Tina Jonsbu, Morten Kildevæld Larsen 58

Nives Kavurić Kurtović

Doček, tuš perom, papir, 57x76 cm, 2011.–2012.

Welcome, ink and quill, paper, 57x76 cm, 2011–2012 Pulsiranje, ljuljanje, tuš perom, papir, 57x76 cm, 2012.

Pulsation, Rocking, ink and quill, paper, 57x76 cm, 2012

crtež

Pogled na sve uzaludne uzaludnosti, tuš perom, lavirani tuš kistom, akvarel, papir, 62,7x78,5 cm, 2012.

View on All Futile Futilities, ink and quill, brush ink washing, watercolor, paper, 62.7x78.5 cm, 2012 Fotografije/ Photographs: Stanislav Novak, Karim Kurtović 60

Zlatko Keser

Ravnina nepostojanja, grafit, ugljen, olovka u boji, papir, 141x299,6 cm, 2012.

Plane of Inexistence, graphite, charcoal, colour pencil, paper, 141x299.6 cm, 2012 Aura velike olovne glave, grafit, ugljen, olovka u boji, papir, 188,5x151 cm, 2012.

Aura of a Large Lead Head, graphite, charcoal, colour pencil, paper, 188.5x151 cm, 2012 Fotografije/ Photographs: Stanislav Novak, Goran Vranić 62

Damjan Kovačević

Svečenik iz Kölna, olovka u boji,papir, 270x145 cm, 2012.

Monk from Cologne, colour pencil, paper, 270x145 cm, 2012 Fotografije/ Photographs: Damjan Kovačević, Danilo Kovačević 64

Kosta Kulundzic

Apokalipsa sv. Jurja, tuš, papir, 150x150 cm, 2012.

Saint George’s Apocalypse, ink, paper, 150x150 cm, 2012 Apokalipsa sv. Jurja: suparnik, tuš, papir, 120x120 cm, 2012.

Saint George’s Apocalypse: the

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opponent, ink, paper, 120x200 cm, 2012 Fotografije/ Photographs: Sacha Vatkovic, Philippe Bonan 66

Andrej Kurtin

San o smrti 1/ 2/, grafitna olovka, grafit, ugljen, papir, 140x180 cm, 2012.

Dream of Death 1/ 2/, graphite pencil, graphite, charcoal, paper 140x180 cm, 2012 Fotografije/ Photographs: Luciano Bibulich 68

Ricardo Lanzarini

Egzodus, tuš, papir, 48x61 cm, 2008. /1-2/ privatno vlasništvo, Pariz Exodus, ink, paper, 48x61 cm, 2008 /1-2/ private collection, Paris Djelić obiteljskog života, tuš, grafitni prah, papir, 48x190 cm, 2007., privatno vlasništvo, Pariz Fragment of Family Life, ink, graphite powder, paper, 48x190 cm, 2007, private collection, Paris Fotografije/ Photographs: Doris Fatur, Adriana Gallo Zahvale/ Acknowledgments: Galerie Alfa, Paris 70

Bae Lee

Crtež 110/ 111/ 112/, pigment i tuš kistom, papir, 80x61 cm, 2011.

Drawing 110/ 111/ 112/, brush with black pigment ink, paper, 80x61cm, 2011 Fotografije/ Photographs: Patrice Maurin, Mia Kim Zahvale/ Acknowledgments: Galerie RX, Paris

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Frédéric Léglise

Autoportret moje sjene 19. 10.

2012./ 20. 10. 2012./ 21.10. 2012./ olovka u boji, papir, 65x50 cm, 2012.

Selfportrait of My Shadow 19.

10. 2012./ 20. 10. 2012./ 21.10.

2012./, colour pencil, paper, 65x50 cm, 2012 Fotografije/ Photographs: Steve Lauper, Philippe Bonan Zahvale/ Acknowledgments: Backslash gallery, Paris 74

Heidi Linck

Kliničke sobe za pripremu 1/ 2/ 3/, tuš, papir, 40x29 cm, 2012.

The Preparation Rooms 1/ 2/ 3/, ink, paper, 40x29 cm, 2012 Fotografije/ Photographs: Heidi Linck Zahvale/ Acknowledgments: Galerie Maurits van de Laar, Den Haag 76

Ruth Martindale

Izrada papira u Big Woodu, Barnet, grafitna olovka, flomaster, lavirani tuš kistom, papir, 42x29 cm, 2009.

Paper making in Big Wood, Barnet, graphite pencil, fibre-tip pen pen, brush and watercolour ink, paper, 42x29 cm, 2009 Skupljanje lišća na Wimbledon Commonu, grafitna olovka, flomaster, lavirani tuš kistom, papir, 42x29 cm, 2009.

Leaf Collecting on Wimbledon Common, graphite pencil, fibre-tip pen, brush and watercolour ink, paper, 42x29 cm, 2009 Izrada papira u šumi, grafitna olovka, flomaster, lavirani tuš kistom,

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papir, 42x29 cm, 2009.

Paper Making in the Wood, graphite pencil, fibre-tip pen, brush and watercolour ink, paper, 42x29 cm, 2009 Fotografije/ Photographs: Ruth Martindale 78

Marlène Mocquet

Sjena tijela, boja u spreju, grafitna olovka, korektor, flomaster, papir, 21x14,5 cm, 2009., privatno vlasništvo, Brunoy Body’s Shadow, spray aérosol, graphite pencil, tipex, felt tip pen, paper, 21x14.5 cm, 2009, private collection, Brunoy Nezgode u pejzažu, boja u spreju, grafitna olovka, olovka u boji, flomaster, papir, 14,5x21 cm, 2012., privatno vlasništvo, Pariz Landscape Disorder, spray aérosol, graphite pencil, colour pencil, felt tip pen, paper, 14.5x21 cm, 2012., private collection, Paris Duga iza rešetaka, boja u spreju, grafitna olovka, korektor, flomaster, papir, 14,5x21 cm, 2009., privatno vlasništvo, Pariz The Rainbow Behind The Bars, spray aérosol, graphite pencil, tipex, felt tip pen, paper, 14.5 x 21 cm, 2009, private collection, Paris Fotografije/ Photographs: Marlène Mocquet Zahvale/ Acknowledgments: Galerie Alain Gutharc, Paris 80

Michelle Oosterbaan

Dobra strana, olovka u boji, grafit, papir, 130,18x171,45 cm, 2009.

Upside, colour pencil, graphite, paper, 130.18x171.45 cm, 2009

Kada se zvijezde rastvore kao šatori, olovka u boji, grafit, papir, 165x130,5 cm, 2011.

When Stars Unfold Like Tents, colour pencil, graphite, paper, 165x130.5 cm, 2011 Jantarne ženke i kamena jezgra, olovka u boji, grafit, papir, 129,5 x 304,8 cm, 2009.

Amber Babes and Bedrock, colour pencil, graphite, paper, 129.5x304.8 cm, 2009 Fotografije/ Photographs: Greg Benson, Jon Carlano, John Michael Maas 82

Stéphane Pencréac’h

Bez naziva, lavirani tuš, papir, 133x96 cm, 2011.

No Title, ink washing, paper, 133x96 cm, 2011 Iskonski prizor, grafitna olovka, pastel, papir, 50x70 cm, 2011., privatno vlasništvo, Pariz Primitive Scene, graphite pencil, pastel, paper, 50x70 cm, 2011, private collection, Paris Orgije, flomaster, papir, 44x34 cm, 2011., privatno vlasništvo, Pariz Orgy, felt tip pen, paper, 44x34 cm, 2011, private collection, Paris Fotografije/ Photographs: Doris Fatur Zahvala/ Acknowledgments: Galerie Alfa, Paris 84

Ernest Pignon-Ernest

Ekstaza, prešani ugljen, tuš, papir, 38x40 cm, 2008.

Extasy, pierre noire, ink, paper, 38x40 cm, 2008 Marija u inkarnaciji, prešani ugljen, tuš, papir, 57x36 cm, 2008.

dessin

mmSU

international exhibition of drawings

pierre noire, ink, papir, 55 x 45 cm, 2007

Fotografije/ Photographs: Sandro Donda, Emanuela Santini

Blažena Anđela iz Foligna, prešani ugljen, tuš, papir, 38x28 cm, 2007.

Beatified Angela of Foligno, pierre noire, ink, paper, 38x28 cm, 2007

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Fotografije/ Photographs: Doris Fatur, Sarah Robine

Luna, pastel, kreda, papir, 150x100 cm, 2012.

Luna, pastel, chalk, paper, 150x100 cm, 2012

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Fotografije/ Photographs: Robert Šimrak

David Porchy

Vrištim, grafit, papir, 138x127 cm, 2012.

I Scream, graphite, paper, 138x127, 2012 Parada, grafit, papir, 65x125 cm, 2011.

Parade, graphite, paper, 65x125, 2011 Dvostruka igra, grafit, papir, 110X100 cm, 2011.

Double Game, graphite, 110x100 cm, 2011 Fotografije/ Photographs: Alberto Ricci, Carole Deleuse Zahvala/ Acknowledgments: Galerie Alfa, Paris 88

Igor Rončević

Apstraktni crtež srebrenkom – A/ – B/ – C/ srebrenka, papir, 64x92 cm, 2009.

Abstract Drawing With Silverpoint – A/ – B/ – C/ silverpoint, paper, 64x92 cm, 2009 Fotografije/ Photographs: Goran Vranić, Stjepan Šandrk 90

Emanuela Santini

U zamci, grafitna olovka, flomaster, papir, 140x280 cm, 2012.

Trapped, graphite pencil, felt tip pen, paper, 140x280 cm, 2012

crtež

Robert Šimrak

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Marko Tadić

Zamišljanje pokretne slike 1/ 2/ 3/, tuš, papir, 60x80 cm, 2012.

Imagine a Moving Image 1/ 2/ 3/, ink, paper, 60x80 cm, 2012 Fotografije/ Photographs: Damir Žižić 96

Petra Varl

Vjedro, crni pigment kistom, papir, 100x70 cm, 2010.

Bucket, black pigment and brush, paper, 100x70 cm, 2010 Dječak s vjedrom, crni pigment kistom, papir, 50x40 cm, 2010.

Boy with Buckets, black pigment and brush, paper, 50x40 cm, 2010 Sve je u sadržaju, crni pigment kistom, papir, 30x40 cm, 2010.

The Content that Matters, black pigment and brush, paper, 30x40 cm, 2010 Vjedro, crni pigment kistom, papir, 50x40 cm, 2010.

Bucket, black pigment and brush, paper, 50x40 cm, 2010 Fotografije/ Photographs: Matija Pavlovec, Branimir Ritonja

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Marko Velk

Dim, ugljen, papir, 125x125, 2009.

Smoke, charcoal, paper, 125x125 cm, 2009 Nesreća, ugljen, papir, 125x125, 2009.

Accident, charcoal, paper, 125x125, 2009 Leksik, ugljen, papir, 125x125, 2009.

Lexicon, charcoal, paper, 125x125, 2009 Fotografije/ Photographs: Žarko Vijatović, Carol Schaefer Zahvala/ Acknowledgments: Galerie Eric Mircher, Paris 100

Fabien Verschaere

Slavlje, akrilik marker, papir, 40x30 cm, 2009.

Celebration, acrylic marker, paper, 40x30 cm, 2009 Kralj Birdy, akrilik marker, papir, 40x30 cm, 2009.

King Birdy, acrylic marker, paper, 40x30 cm, 2009 Maska, akrilik marker, papir, 40x30 cm, 2009.

Mask, acrylic marker, paper, 40x30 cm, 2009 Fotografije/ Photographs: Blaise Adilon Zahvala/ Acknowledgments: Galerie RX, Paris 102

Xiao Fan

Samo cvijet 1/ 2/ 3/, lavirani akrilik, ugljen, papir, 150x120 cm, 2012.

Just Flowers 1/ 2/ 3/, washing acrylic, charcoal, paper, 150x120 cm, 2012

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Fotografije/ Photographs: Xiao Fan Ru, Wnag Jiazheng Zahvala/ Acknowledgments: Galerie RX, Paris 104

Josip Zanki

Bukva Suva draga, tuš, papir, 70x100 cm, 2011.

Beech Suva draga, ink, paper, 70x100 cm, 2011 Bukva Mozak, tuš, papir, 70x100 cm, 2011.

Beech Mozak, ink, paper, 70x100 cm, 2011 Bukva Stražbenica, tuš, papir, 70x100 cm, 2011.

Beech Stražbenica, ink, paper, 70x100 cm, 2011 Fotografije/ Photographs: Josip Strmečki 106

Jérôme Zonder

Dokrajčili smo ga, grafit, ugljen, papir, 160x160 cm, 2011., privatno vlasništvo, Pariz Get Him Down, graphite, charcoal, paper, 160x160 cm, 2011, private collection, Paris Zahvala/ Acknowledgments: Galerie Eva Hober, Paris 120

Tomislav Čeranić

Proteus varijacije, fig. III/ fig. IV/ fig. V/ fig. VI/ fig. VII/ fig. XIX/ fig.

XXI/ fig. XXII/ fig. XXIV/ fig. XXV/ olovka u boji, grafitna olovka, papir, 70x50 cm, 2010.

Proteus Variations, Fig. III/ Fig. IV/ Fig. V/ Fig. VI/ Fig. VII/ Fig. XIX/ Fig. XXI/ Fig. XXII/ Fig. XXIV/ Fig. XXV/ colour pencil, graphite pencil, paper, 70x50 cm, 2010

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Fotografije/ Photographs: Snježana Zdunić 122

Vladimir Veličković

Biljke, tuš, papir, 103x66 cm, 2010.

Plants, ink, paper, 103x66 cm, 2010 Tijela, tuš, papir, 103x66 cm, 2012.

Bodies, ink, paper, 103x66 cm, 2012 Pit bul, tuš, papir, 225x165 cm, 2011.

Pit Bull, ink, paper, 225x165 cm, 2011 Tijela, tuš, papir, 103x66 cm, 2011.

Bodies, ink, paper, 103x66 cm, 2011 Tijela, tuš, akrilik, papir, 103x66 cm, 2010.

Bodies, ink, acrylic, paper, 103x66 cm, 2010 Tijela, tuš, akrilik, papir, 103x66 cm, 2012.

Bodies, ink, acrylic, paper, 103x66 cm, 2012 Tijela, tuš, papir, 103x66 cm, 2011.

Bodies, ink, paper, 103x66 cm, 2011

mmsu

120x80 cm, 2008.

Inside, graphite, paper, 120x80 cm, 2008 Nostalgija, grafit, papir, 111x77 cm, 2011. /1-3/ Homesick, graphite, paper, 111x77 cm, 2011 /1-3/ Pokretač namještaja, grafit, papiru, 70,5x100,5 cm, 2009.–2010. /1-2/ Furniture Remover, graphite, paper, 70.5x100.5 cm, 2009–2010 /1-2/ Slikarska kompanija, grafit, papir, 50x32,5 cm, 2006.– 2007. /1 - 9/ Painters & Company, graphite, paper, 50x32.5 cm, 2006–2007 /1 - 9/ Kiklopova nježnost, grafit, papir, 56,7x76,7 cm, 2007.

Cyclops tenderness, graphite, paper, 56.7x76.7 cm, 2007 Fotografije/ Photographs: Alberto Ricci Zahvala/ Acknowledgments: Galerie Alfa, Paris

Tijela, tuš, papir, 103x66 cm, 2010.

Bodies, ink, paper, 103x66 cm, 2010 Fotografije/ Photographs: Žarko Vijatović Zahvala/ Acknowledgments: Galerie Samantha Sellem, Paris 124

DAVOR VRANKIĆ

TOČNO U PODNE, grafit, papir, 200x100 cm, 2011.

High Noon, graphite, paper, 200x100 cm, 2011 Zajedno, grafit, papir, 120x80 cm, 2008. /1-2/ Together, graphite, paper, 120x80 cm, 2008 /1-2/ Unutrašnjost, grafit, papir,

dessin

Doista bi se ponekad morali zapitati što je za svrha i zašto je tako blizak čovjekovoj prirodi drži u međuljudskim odnosima? Kada razgova govornikom crtamo rukama po zraku uvjerav obraćamo da znamo oblikovati, opcrtati naš namjere i iščitavamo i sugovornikove crtarije kav gestualni crtež možemo čak ponekad boju. Svakako, obasjan je nekom aurom tren

zapravo crtež? Koja mu je di i kakva ga to tajna veza ovaramo sa zanimljivim suravajući onoga kojemu se našu misao. Crtamo svoje rije njegovih kretnji. Za tad ustvrditi da ima i svoju enutka.

Zlatko Keser 16. rujna 2002., Zagreb, iz teksta Ponešto o sjaju crteža…

Indeed, we should sometimes ask ourselves what drawing, in fact, is. What is its purpose and why is it so close to man’s nature, what kind of secret connection keeps it in human relationships?

When we are talking to an interesting interlocutor, we draw with our hands in the air persuading him we can shape, design, outline our thought. We draw our intentions and read our conversational partners through their drawn motions. For such a gestural drawing we can sometimes even say it has its own colour. Naturally, it is illuminated by an aura of a moment.

Zlatko Keser 16 September 2002, Zagreb, from the text About the Brilliance of Drawing...

Izdavač Publisher Muzej moderne i suvremene umjetnosti Museum of Modern and Contemporary Art

CIP zapis dostupan u računalnom katalogu Sveučilišne knjižnice Rijeka pod brojem 130115055 ISBN 978-953-6501-86-1

Za izdavača For the publisher Slaven Tolj Urednica kataloga Catalogue editor Diana Zrilić Uvodni tekstovi Introductory texts Andrea Zlatar Violić, Vojko Obersnel Vilma Bartolić, Frano Dulibić

Organizacijski odbor Organisational Board Vilma Bartolić, Daina Glavočić, Ivo Matulić, Slaven Tolj, Diana Zrilić Postav izložbe Intsallment Vilma Bartolić, Slaven Tolj

Biografija, intervju Biography, interview Diana Zrilić, Henri François Debailleux

Likovni postav Visual display Stefano Katunar

Lektura, korektura Proofreading Gordana Ožbolt, Ivana Ostojčić

Izvedba likovnog postava Realization of visual display Elizabeta Močibob, Nevena Živić

Prijevod Translation Ivana Ostojčić, Andrea Bagović

Tehnički postav Tehnical display Anton Samaržija, Vanja Pužar, Željko Žuža

Grafičko oblikovanje i prijelom kataloga Graphic design & Layout of Catalogue Marino Krstačić-Furić & Ana Tomić

Odnosi s javnošću Public relations Ivo Matulić

Grafička priprema fotografija Prepress of Photography Lidija Anić

Edukacija Education Milica Đilas

Tisak Print Printera grupa, Sveta Nedelja

Administracija Administration Tanja Jelovica Roglić , Stošija Baljak

Naklada Print run 500 Broj kataloga Catalogue No.

Zahvala Acknowledgment Silva Vrankić

18© MMSU, Rijeka, 2012.

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Katalog je realiziran zahvaljujući potpori Ministarstva kulture Republike Hrvatske.

The catalogue has been made possible thanks to the financial support of the Ministry of Culture of the Republic of Croatia.

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Izložba je realizirana zahvaljujući potpori Ministarstva kulture Republike Hrvatske i Grada Rijeke – Odjel za kulturu.

The exhibition has been made possible thanks to financial support of the Ministry of Culture of the Republic of Croatia and City of Rijeka – Department of Culture.

Muzej moderne i suvremene umjetnosti Museum of Modern and Contemporary Art Dolac 1/II, 51 000 Rijeka, Hrvatska/ Croatia Tel. +385 51 492 611, Fax +385 51 492 623 mmsu@ri.t-com.hr/ www.mmsu.hr

GRAND HOTEL

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18 dc

140

međunarodna izložba crteža

mmsu

dessin

mmSU

crte탑

international exhibition of drawings

18 dc

141

18 dc

142

međunarodna izložba crteža

mmsu

dessin

mmSU

crte탑

international exhibition of drawings

18 dc

143

18 dc

144

međunarodna izložba crteža

mmsu

dessin