SAV TAJ CRTEŽ / ALL THAT DRAWING

60 godina MMSU-a / 60 Years of MMSU 40 GODINA MEĐUNARODNE IZLOŽBE CRTEŽA / 40 YEARS OF THE EXHIBITION OF DRAWINGS

SAV TAJ CRTEŽ / ALL THAT DRAWING 17 međunarodnih izložaba (originalnog) crteža 17 International Exhibitions of (Original) Drawings MMSU, Dolac 1 26. 2. – 19. 4. 2009. / February 26th – April 19th, 2009

(SU)ŽIVOT / (CO)EXISTENCE

plakati 17 međunarodnih izložaba (originalnog) crteža i pratećih programa Posters of 17 International Exhibitions of (Original) Drawings and Accompanying Programs Mali salon, Korzo 24 4. – 22. 2. 2009. / February 4th – 22nd, 2009

Muzej moderne i suvremene umjetnosti, Rijeka Museum of Modern and Contemporary Art, Rijeka

Mr. sc. Daina Glavočić muzejska savjetnica / Museum Counsellor

Ljubica Dujmović Kosovac kustosica / Curator

UVOD INTRODUCTION

Riječki muzej moderne i suvremene umjetnosti šest desetljeća ispisuje stranice svojih htijenja, ustrajno ističući ono najvažnije: čežnju za vlastitim domom u kojemu se može bez sustezanja i grča razviti priča za njegove sugrađane i drage posjetitelje, temeljena na individualnim posebnostima više od 5.000 predmeta, koliko ih stiješnjenih u spremištima skromnih uvjeta čeka na izlazak u javnost. Programima obilježiti jedan takav jubilej za svakog je sudionika izazov i bojazan da bi mogao ispustiti bitnost koja se u ovakvim prigodama očekuje.

Obilježavanje obljetnice otpočelo je izložbom Formalno angažirano koja je 2008. godine omogućila da iz čuvaonica u izložbeni prostor “ušeta” više od šesto umjetnina, kao što je i nalagao koncept izložbe kojom se inaugurirala navodno nova muzejska praksa.

Izložbama Sav taj crtež i (Su)život, Muzej moderne i suvremene umjetnosti nastavlja s obilježavanjem jubileja: šezdeset godina od utemeljenja Muzeja (1948.) i četrdeset godina od prvog izdanja Međunarodne izložbe originalnog crteža (1968.). Potonji je jubilej dobar povod da nakon gotovo pola stoljeća izbivanja od očiju javnosti, plakati i crteži usko povezani u nastajanju i prvom predstavljanju, ponovno, svaki u svome prostoru – crteži u velikoj dvorani MMSU-a, a plakati u Malom salonu – privuku pozornost publike i stručne javnosti – upozore na svoje postojanje u muzejskim spremištima, na misiju koju su ispunili, na iskazanu žilavost i opstojnost, s tendencijom zadržavanja i osvajanja novog prostora unutar vizualne umjetnosti od druge polovice prošlog stoljeća do danas. Za razliku od izložbe Formalno angažirano, ove izložbe u koncepcijskom pristupu nastavljaju prijašnju muzejsku praksu i bave se jednom od likovnih manifestacija koje je ovaj muzej utemeljio, a koja je imala iznimno važnu ulogu u stvaranju imidža ustanove, koji i danas, iako s patinom nostalgije, pridonosi njezinoj prepoznatljivosti.

Nastanak likovnih manifestacija pedesetih i šezdesetih godina na prostoru bivše države 8

For six decades the Rijeka Museum of Modern and Contemporary Art has been writing out the pages of their needs, persistently emphasizing the most important one: the desire for a home of their own in which they could evolve their story to their fellowtownsmen and dear visitors without hesitation and unwillingness, established on the individual particularities of more than 5,000 items, that are at present cramped in storage spaces under modest conditions while they await to appear in public view one day.

The marking of such a jubilee with programs is for every participant a challenge filled with awe lest they fail to catch the essence that is expected on such occasions.

Marking the anniversary started with the 2008 exhibition entitled Formal–Engaged that enabled more than six hundred works of art to leave the storage room and “stroll into” the exhibition hall, as was the intent of the exhibit’s concept, which inaugurated the alleged new museum praxis.

With exhibitions All That Drawing and (Co) existence, the Museum of Modern and Contemporary Art continues marking the jubilee: sixty years since the founding of the Museum (1948) and forty years as of the first version of the International Exhibition of Original Drawings (1968). The latter jubilee is a well-disposed occasion to, after almost half a century of absence from the public eye, the posters and drawings closely related to those initially shown during the first issue would once again, but this time in premises of their own (drawings in the grand hall of the MMCA, and posters in the Mali salon (Mali salon), attract the attention of people in general as well as of the professional public – alerting them to their existence in museum storage rooms, and likewise to the mission they fulfilled, demonstrating a stamina and consistency and propensity of retaining and capturing new areas within the visual arts since the second half of the last century to this day. As opposed to the Formal–Engaged exhibition, the conceptual approach of these exhibitions are a continuation of the previous museum praxis and

planska je strategija razvoja kulture. Tako će se uz manifestacije koje su se bavile drugim medijima, utemeljiti tri izložbe koje se bave crtežom: u Zagrebu se 1963. osniva Zagrebačka izložba crteža (održava se s prekidima do danas). Iste se godine u Somboru osniva Trijenale crteža (ukinut 1991.). Obje se manifestacije bave crtežom koji potpisuju autori iz Jugoslavije (do njezina raspada 1991.), dok se u Rijeci 1968. utemeljuje Međunarodna izložba originalnog crteža koja se uz manje izmjene i promjenu vremenske dinamike održavanja, priređuje do danas. Ovim je likovnim manifestacijama zajedničko da su u svojim ciljevima odredile prioritetnim praćenje i afirmaciju crteža, dok je stvaranje fundusa putem dodjele nagrada, otkupnih nagrada, priznanja i otkupom radova s izložaba ili popratnih izložaba nagrađenih autora logična posljedica, tako da se danas u zbirkama organizatora manifestacija čuvaju reprezentativni primjeri crteža jugoslavenskih/hrvatskih – u riječkome muzeju i stranih autora druge polovice dvadesetog stoljeća.

U fundusu Muzeja moderne i suvremene umjetnosti čuva se više od dvjesta pedeset crteža koji su preko otkupnih nagrada, premija i donacija te otkupima ili darovima autora sa samostalnih izložaba koje je Muzej organizirao dobitnicima premija na međunarodnim izložbama crteža, postali njegovo vlasništvo. No ovdje valja istaknuti da velik broj radova nagrađenih premijom nije ostao u fundusu Muzeja jer niti su otkupljeni niti su ih autori Muzeju darovali, tako da ovo prvo selektivno prikazivanje zbirke pokazuje njezine posebnosti, ali i propuste jer Muzej nije uspio doći u vlasništvo crteža nagrađenih iznimno cijenjenom nagradom u području vizualne umjetnosti.

U koncepcijskom smislu izložba Sav taj crtež kronološki je prikaz svih do sada održanih međunarodnih izložaba crteža, s posebnim naglaskom na crteže koji su nakon proteklih sedamnaest izložaba ostali u vlasništvu Muzeja. U drugome koncepcijskom zadatku, ova se izložba, preko dokumentarnog pregleda događanja u vrijeme održavanja

deal with one of the art manifestations that this museum launched and which played an exceptionally important role in creating the institution’s image, which to this very day contributes to its recognition in spite of the patina of nostalgia.

The emergence of visual art manifestations in the 1950s and 1960s on the territory of the former state was a planned strategy of cultural development. Hence, along with the manifestations that other media were involved in, there were three exhibitions dealing with drawings: in Zagreb in 1963, the Zagreb Exhibition of Drawings was established (and has been maintained, with intermissions, to the present day). That same year, in the town of Sombor, a Triennial of Drawings was constituted (abolished in 1991). Both manifestations went in for drawings signed by their authors from Yugoslavia (until the breakup in 1991), whereas in Rijeka the International Exhibition of Original Drawings founded in 1968, aside from some minor changes and alterations in the timetable, has continued up to now. The common factor between these visual art manifestations is that their goals rendered priority to keeping abreast and acknowledging the visual art of drawing, while the creation of holdings by means of giving awards, acquisitive prizes, commendations and purchasing of exhibited works or ancillary exhibitions of awarded authors is a logical consequence, hence at present the collections held by organizers of these manifestations keep representative examples of drawings by Yugoslav/ Croatian artists of the second half of the 20th century – and in the case of Rijeka, of foreign authors as well.

The holdings in the Museum of Modern and Contemporary Art keep more than two hundred and fifty drawings that have become the museum’s ownership through buy-off awards, premiums and donations and repurchases or giveaways from authors of autonomous exhibitions that the MMCA organized for the winners of premiums during the international exhibitions of drawings. At this point we must emphasize that a large number of works that were awarded premiums were not retained

manifestacije, bavi povijesnim pregledom održavanja Međunarodne izložbe crteža, njezinim rastom i ulogom koju je imala na riječkoj, državnoj i svjetskoj likovnoj sceni.

I ovom se izložbom propituje prepoznavanje aktualnosti na likovnoj sceni druge polovice dvadesetog stoljeća, jer danas se, nakon vremenske udaljenosti od gotovo pola stoljeća, može zaključiti da su autori nagrađivani Grand Prixom svojim stvaralačkim opusom u svojim sredinama obilježili vrijeme i unijeli inovativne elemente u medije u kojima su radili, pa i u medij crteža, što preko pojedinih crteža potvrđuje i ova izložba. Promjene crtačke produkcije utjecale su na koncepciju izložaba i njihov utjecaj na crtež kao medij, pa stoga posao dodatnog, usmjerenog istraživanja tek otpočinje.

Izložba (Su)život prati plakatnu produkciju međunarodnih izložaba crteža i popratnih programa s aspekta inovativnog u kreativnom i izvedbenom postupku i materijalu.

Zahvaljujući vremenskoj distanci ukazat će se na nositelje tih pojava i njihovo pravovremeno (ne)prepoznavanje.

in the holdings of the Museum, nor were they bought off or given to the Museum by their authors, hence this first selective display of the collection illustrates its particularities but also the Museum’s oversights since it did not succeed in becoming owners of drawings awarded with exceptionally high awards in the domain of visual arts.

In a conceptual sense, the exhibition All this Drawing is a chronologic issue of all the international exhibitions of drawings held up to now, with particular emphasis on the drawings that have after seventeen exhibitions remained the ownership of the Museum. The other conceptual task of this exhibition, by way of its documentary review of events at the time of holding the manifestation, deals with the history of the international exhibition of drawings, its development and the role it had on the visual arts scene of Rijeka as well as on the national and international level.

This exhibition deliberates on recognizing the topical qualities of the visual arts scene during the second half of the 20th century in light of the fact that today, from a time distance of almost half a century, we can conclude that the authors who then won the Grand Prix have in their creative opuses in the meantime left an imprint in their own environments and introduced innovative elements to the media in their line of work, including that of the drawing, hence confirmation of this can be determined from certain drawings in this exhibition, The changes in the production of drawings had an impact on the concepts of the exhibitions and their encroachment on the drawing as a medium, therefore the task of supplemental, targeted research is just beginning.

The exhibition (Co)existence demonstrates the poster production of the international exhibitions of drawings and ancillary programs from the aspect of innovations in the creative and implemental procedures and materials used. Thanks to the elapsed time period, it will be possible to spotlight the proponents of these developments and their (non)recognition in due time.

Translation: Slobodan Drenovac 9

Mr. sc. Daina Glavočić muzejska savjetnica / Museum Counsellor

40 GODINA MEĐUNARODNE IZLOŽBE ORIGINALNOG CRTEŽA 40 YEARS OF THE INTERNATIONAL EXHIBITION OF ORIGINAL DRAWINGS

PRETPOVIJEST EARLIER HISTORY

Galerija likovnih umjetnosti, poslije Moderna galerija, osnovana je u Rijeci 1948., a za javnost je otvorena 1949., s namjerom da izlažući djela iz fundusa preraste u muzej moderne umjetnosti. No kako u godinama koje su se nizale ustanova nikad nije dobila muzejsku zgradu ili veći izložbeni prostor za stalni postav, glavninu je svoga djelovanja usmjerila na manifestacijske programe, tj. veće i manje povremene izložbe s međunarodnim sudionicima.

Nakon uspješno održanih pet izložaba riječkih Salona (od 1954. do 1962.), 1960. je osnovana opća jugoslavenska smotra Biennale mladih. Razmišljalo se i o novoj bijenalnoj izložbi većih razmjera, koja bi nadomjestila prazninu nastalu ukidanjem Salona, te je sačinjen pregled tadašnjih izložaba u zemlji i svijetu, osobito onih međunarodnih, radi odabira koncepcije nove riječke izložbe. Treba stalno imati na umu da je položaj Rijeke oduvijek bio na raskrsnici kopnenih i morskih putova, na križanju kulturnih sfera i dotoka Zapada i Istoka, Sjevera i Juga. Oduvijek su se u ovoj velikoj, snažnoj, poznatoj i važnoj luci miješali ljudi, jezici i kulturno-političke utjecajne sfere, pa je internacionalistički duh i pripadnost grada takvu načinu mišljenja u Rijeci sasvim udomaćen. Uz to treba uzeti u obzir i tadašnju političku usmjerenost tadašnje socijalističke zemlje koja je ostvarivala kontakte s mnogim zemljama Trećeg svijeta u širenju ideja nesvrstanosti i otvaranja svijetu. Rijeka je trebala naći ključ prema kojemu bi se sva ta nastojanja pomirila u jednoj velikoj međunarodnoj izložbi, sa sudionicima iz više zemalja, kako bi svjedočila o otvorenosti i multikulturalnosti koja je u ovome gradu, s obzirom na njegovu burnu prošlost, odavna bila prisutna.

Zemlje tzv. istočne Europe tada su organizirale tek nekoliko većih, ali specijaliziranih izložaba (npr. Poljska u Sopotu na Festivalu plastičnih umjetnosti izlaže slikarstvo, grafiku i skulpturu), a nisu prisutne ni na velikim izložbama Zapada. U zapadnim zemljama već su dugi niz godina postojale svjetske izložbe kakav je Rijeci bliz Biennale u Veneciji te

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The Gallery of Fine Arts, later Modern Gallery in Rijeka, was founded in 1948 and opened to the public in 1949 with the intention to develop into a museum of modern art by exhibiting works from its holdings.

However, as during the following years this institution never got a museum building or a larger exhibition venue for its permanent display, it directed most of its activities to event programs, meaning larger or small occasional exhibitions with international participants.

After five successful exhibitions of Rijeka Salons (1954 to 1962), in 1960 preparatory activities for a Yugoslav festival called Biennial of Young Artists commenced. A new biennial exhibition of larger proportions that would fill the gap that occurred by the discontinuation of the Salon was considered, so that a revision of contemporary exhibitions in Yugoslavia and abroad was made, especially international ones, in order to select the concept of the new exhibition in Rijeka. We should keep in mind that Rijeka has always been a crossroads of land and maritime routes, at the intersection of cultural spheres and the influx from the West and the East, the North and the South. In this large, strong, well-known and important port, people, languages, cultural and political influence spheres have always intermingled, so that internationalist spirit and the belonging of the city to this way of thinking is widely accepted in Rijeka. Apart from that, we should also take into consideration that time’s political course of our socialist country that established contacts in many countries of the Third World, spreading the idea of non-alignment with the aim of opening to the world. Rijeka should have found a key for reconciling all that striving in one large international exhibition with many participants from many countries, in order to demonstrate the openness and multiculturalism that, considering Rijeka’s tumultuous past, has been present for a long time.

The countries of the so-called Eastern Europe had very few large and narrowly specialized exhibitions (e.g. Poland exhibited

I. DC Grand Prix: Jean Ipousteguy, Che, 1968., MMSU-1017

smotra u Kasselu, Biennale u São Paulu, Biennale mladih u Parizu ili Trigon u Grazu, koje su promicale slikarstvo, skulpturu i grafiku. Ne treba zaboraviti ni izložbe skulpture u Middleheimu (Belgija) i Spoletu (Italija), grafike u Luganu, Biennale grafike i Premio Biella u Italiji ili Grafički biennale u Ljubljani te izložbu slikarstva Premio Lissone u Milanu i izložbu u San Marinu.

U kasnim 60-im Jugoslavija je imala jedva nekoliko manifestacija zanimljivih za inozemnu javnost. Uz ljubljanski Grafički biennale, poznat je bio zagrebački Muzički biennale, uz koje se mogu izdvojiti još jedino Dubrovačke ljetne igre. Što ovakve manifestacije najviše razine znače gradovima i zemljama u kojima se održavaju, ne treba posebno isticati, ali se iz iskustva s Muzičkim biennalom u Zagrebu vidjelo kakve učinke

painting, graphic art, and sculpture in Sopot, at the “Festival of Plastic Arts”) and rarely took part at large Western exhibitions. In Western countries, for many years there were international exhibitions like the Venice Biennale in Rijeka’s immediate vicinity, or the festival in Kassel, the São Paulo Biennale, Biennale of Young Artists in Paris or Trigon in Graz, promoting painting, sculpture, and graphics. We should also not forget the exhibitions of sculpture in Middleheim (Belgium) and Spoleto (Italy) or the Biennale of Graphics in Lugano and Premio Bella in Italy or the Biennale of Graphics in Ljubljana, as well as painting exhibitions like the one in San Marino or Milan’s Premio Lissone.

During the late 60s, Yugoslavia organised only a couple interesting events interesting

postiže organizacija jedne takve značajne međunarodne priredbe u socijalističkoj Jugoslaviji, da se ne spominje npr. Zagrebačka škola animiranog filma koja je 60-ih godina 20. stoljeća Zagrebu donijela neprikosnoveno prvenstvo u europskim, pa i svjetskim okvirima.

U razmišljanjima o novoj manifestaciji u Rijeci posebno se vodilo računa o pogodnome geografsko-prometnom položaju grada na križanju turističkih transverzala iz Italije prema Dalmaciji, i vertikala iz unutrašnjosti prema moru. Računalo se na turističku regiju Opatije, Istre, kvarnerskih otoka i Vinodolsko-crikveničke rivijere, koja gotovo cijele godine ugošćuje tisuće turista u individualnom ili grupnom aranžmanu. Tako je određen i termin održavanja izložbe – u ljetnim mjesecima kada je priljev i protok turista u

for international public; along with the already mentioned Biennale of Graphics in Ljubljana, well-known was Zagreb’s Music Biennale and the Summer Festival in Dubrovnik. What this kind of events at the highest level meant to cities, as well as countries in which hey were held, does not need to be especially stressed, but from that time’s experience with the organization of an important international event like the Music Biennale in Zagreb, it was visible what kind of effect an event like this could achieve in socialist Yugoslavia, not to mention the Zagreb School of Animated Film that during the sixties of the 20th century brought to Zagreb unchallenged supremacy in Europe and even in the world.

The considerations about the new event in Rijeka were especially focused on the 13

ovom gradu i regiji najveći, te u parnoj godini, istovremeno s održavanjem Biennala u Veneciji, ne bi li se privuklo i posjetitelje susjedne međunarodne smotre čiji su, često isti izlagači, ali u drugome mediju, izlagali i na izložbama u Rijeci. Čak je i datum otvorenja riječke izložbe usklađivan s otvaranjem Biennala u Veneciji, što je katkad bio pun pogodak jer je Venecija od Rijeke udaljena samo tri sata vožnje automobilom, a moglo se ovamo stići i u sklopu atraktivnoga jednodnevnog izleta.

I. DC 1968., detalj izložbenog postava/detail of the exhibition display

Povodeći se donekle za svim tim iskustvima i saznanjima, bilo je neosporno da će jedna međunarodna likovna bijenalna izložba biti pravi izbor, jedino je trebalo odrediti vrstu radova odnosno medija koji će se izlagati. Budući da su već stečena neka iskustva u gotovo dvadesetogodišnjem radu na međunarodnim razmjenama izložaba, tj. eksponata, u pogledu prijevoza, pakiranja, carine te osiguranja i dopisivanja s izlagačima i galerijama, konačno je odlučeno da se odabere tehnika koja za podlogu koristi papir koji je pogodan za transport i za pošiljatelje i za primatelje, kao i za izlaganje.

favourable geographic position and traffic connections at the crossroads of touristic transversals from Italy to Dalmatia and verticals from the inland to the sea; they counted on the tourist regions of Opatija, Istria, and Kvarner islands, as well as the Vinodol and Crikvenica coastal area, a region that throughout almost the entire year hosts thousands of tourists, either individually or as package tours. The time of the exhibition was set with this in mind – in the summer months when the number of visiting and transit tourists in the city and the region is the highest, but also in even years, simultaneously with the Venice Biennale in order to attract at least some visitors from the neighbouring international event whose, often same exhibitors, but in another medium, should have also been present at the exhibitions in Rijeka. Even the opening date of the Rijeka exhibition was adjusted with the opening of the Venice Biennale, which was sometimes a complete success, because from Venice to Rijeka it takes only three hours by car or an attractive day trip by hydrofoil.

All the above experiences and knowledge led to the inference that an international biennial exhibition would be the right choice; the only decision to be made was on the sort of works and media to be exhibited.

Because some experiences emerged from almost 20 years of international exhibition exchanges i.e. transporting and packing the exhibits, customs papers, insurance, and correspondence with exhibitors and galleries, it was finally decided that as a technique would be chosen one of those that use paper as its ground. It is easy for transport, both for the sender and the addressee, as well as for exhibiting.

At first there was a concept of an international exhibition of watercolours or similar painting techniques like tempera or gouache, which would provide a link with painting, but would not require special framing for the exhibition and cause transport difficulties. Finally, the idea about exhibiting drawings took its shape, most

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Isprva se razmišljalo o međunarodnoj izložbi akvarela ili akvarelu sličnih slikarskih tehnika – tempere ili gvaša, što je bila spona sa slikarstvom, ali bi se time izbjeglo opremanje radova za izložbu, odnosno komplikacije u transportu i sl. Konačno se iskristalizirala ideja o izlaganju crteža, najvjerojatnije pod utjecajem iskustva susjedne Ljubljane i njezina Međunarodnoga grafičkog biennala koji je u vrijeme osnivanja riječke izložbe crteža (1968.) bio održan već nekoliko puta (osnovan 1954.), a u zemlji nije imao ni uzora ni sljedbenika.

Budući da je crtež bio i u osnovi grafičkih radova ljubljanske izložbe, riječki su stručnjaci, zahvaljujući dobrim i kolegijalnim vezama s organizatorima, lako stekli uvid u velik dio stvaralaštva takve vrste te osobno ili pismenim putem pozivali velik broj kvalitetnih autora – crtača.

Konačno, i najvažnije, u to se vrijeme osjećala potreba za isticanjem crtačkoga stvaralaštva u procesu umjetničke kreacije, njegovo izdvajanje iz početnog mišljenja o konačnom umjetničkome djelu, tražilo se potpuno osamostaljenje crteža pridavanjem veće važnosti toj likovnoj produkciji nego što ju je tada u nas i u svijetu objektivno imala. Crtež se željelo tretirati kao ciljani i finalni proizvod autorske kreacije, a ne kao počelo, prvi korak prema budućoj umjetnini.

Pri iznalaženju naziva za novu veliku izložbu trebalo je odmah točno odrediti što će prikazivati pa je odlučeno da to bude Međunarodna izložba originalnog crteža, aludirajući riječju “originalan” na jednokratan i jedinstven crtački rad (za razliku od umnožavanja grafike). Odlučeno je da će se pri određivanju umjetničkih djela za izložbu prihvaćati sva umjetnička djela koja sami autori smatraju i proglase crtežom, bez obzira na tehniku ili podlogu crtanja. Prihvaćat će se radovi u kojima prevladavaju glavni elementi crteža – crte, linije – kao čitljiv i jasno uočljiv trag geste i kretanja autorove ruke.

probably under the influence of the neighbouring Ljubljana and its International Biennale of Graphics that had already been held several times (it was founded in 1954) at the time of the foundation of the Rijeka exhibition of drawings (1968). It had neither a previous model nor followers in Yugoslavia. As the drawing was also the basis of graphic works at the Ljubljana exhibition, through very good and friendly contacts with the organizers the curators from Rijeka could easily gain insight into a large part of that kind of creative work and through personal contacts or written invitations reach a large number of outstanding authors – drawers.

Finally, the most important point at that time there was a feeling of the need to stress the creative role of drawing in the process of making art, to set it apart from the initial opinion on the final work of art, to make the drawing completely independent by assigning greater importance to this artistic production than it objectively had at that time, both in Yugoslavia and the world.

The drawing should have been treated as a targeted and final product of authorial creation and not like before as a beginning, as a first step towards the future artwork.

V. DC 1976., pripremni radovi za izložbu: direktor Boris Vižintin i kustosice Marija Čanić i Zdravka Emili/preparatory works for the exhibition: director Boris Vižintin and curators Marija Čanić and Zdravka Emili

During the process of finding the title for the new large exhibition, it should have been right away determined what it would show, so the decision was reached that this should be an INTERNATIONAL EXHIBITION OF ORIGINAL DRAWINGS, with the word “original” referring to the one-off and unique drawing work (unlike the multiplication of graphics). It was decided that in the process of selection of the artworks for the exhibition all the artworks that the authors should consider and proclaim to be drawings would be accepted, without regard to the technique or the drawing ground. The works with prevailing major drawing elements – lines – as readable and clearly observable traces of gesture and movement of the author’s hand would be accepted.

15

PRVIH DESET IZLOŽABA THE FIRST 10 EXHIBITIONS

Način organiziranja, obavještavanja i animiranja umjetnika za izložbu preuzet je od Međunarodnog biennala grafike u Ljubljani. U vrijeme osnivanja, taj je bijenale bio tek jedna od izložaba Moderne galerije u Ljubljani, pa je isti princip prihvaćen i u Modernoj galeriji u Rijeci, iako je ovdje bilo manje izložbenog prostora i manje zaposlenih osoba.

The ways of organisation, notification, and animation of the artists for the exhibition were taken over from the International Biennale of Graphics in Ljubljana. At the time of its foundation, Graphic Biennale was just one of Modern Gallery’s exhibitions, so that the same principle was also accepted in the Rijeka Modern Gallery, although there was less exhibition space and fewer employees.

Mogući su se izlagači obavještavali ponajprije preko osobnih kontakata ili kolegijalnih veza s umjetnicima, galeristima, kolegama iz raznih jugoslavenskih i stranih muzeja i galerija, putem veleposlanstava i konzularnih predstavništava, oglašavanjem u stručnim časopisima, kalendarima likovnih manifestacija i dr. Odlučeno je da se dio izlagača poziva, s obzirom na njihov dotadašnji ugled i uspješan rad, a da drugi, veći dio, zainteresiranih izlagača samoinicijativno šalje radove na natječaj. Iza tih umjetnika nije trebao stajati ni dugogodišnji rad ni nagrade, čak ni akademsko obrazovanje; ocjenjivala se jedino kvaliteta rada poslanog na natječaj.

The notification of potential exhibitors went exclusively through personal contacts or business relationships with artists, gallery owners, colleagues from different Yugoslav and foreign museums and galleries, through embassies and consulates, advertisements in art magazines, calendars of art events etc. It was decided that one part of exhibitors would be invited on the basis of their reputation and success, and the other, larger part of the interested exhibitors should submit their works to the competition on their own. It was not required from these artists to show long-year work, prizes, or even academic education, the only thing assessed was the quality of the submitted work.

Za I. međunarodnu izložbu originalnog crteža 1968., kao i za sve izložbe poslije, osnovan je jugoslavenski selekcijski žiri sastavljen od pet jugoslavenskih likovnih kritičara za odabir radova prispjelih na

For the 1st Exhibition of Original Drawings, as well as the subsequent ones, a Yugoslav selection jury was set up, consisting of five Yugoslav art critics whose task was

I. DC Pierre Tal-Coat, Crtež/Drawing, 1968., MMSU-981 16

natječaj. Žiri je od pristiglih radova odabrao za izložbu one najbolje, ali je bio obvezan predložiti i grupu jugoslavenskih autora koji su trebali izlagati po pozivu, tj. bez natječaja, temeljem već priznatog opusa i potvrđene kvalitete stečene dugogodišnjim radom, nagradama i izložbama. Tako su odabirani i pozivani i strani autori.

Iznimka je bila jedino odabir autora za prvu izložbu jer je većina stranih izlagača došla zahvaljujući osobnom kontaktu s predstavnicima Moderne galerije, najčešće s njezinim direktorom Borisom Vižintinom koji je svojim višegodišnjim međunarodnim sudioništvom ili na koji drugi sličan (i siguran) način preko galerista, muzealaca, umjetnika, kolega i kolekcionara osobno pozvao neke umjetnike da sudjeluju na izložbi. Tako su, unatoč maloj riječkoj sredini i nedovoljno poznatoj Modernoj galeriji, na prvoj izložbi bili izloženi crteži Picassoa, Miróa, Hartunga, Massona, Vedove, Ipousteguya, Mortensena, Guttusoa, Manzùa... Na međunarodni natječaj prve izložbe crteža odazvalo se začuđujuće mnogo zemalja – 44, a taj je broj zadržan na svih jedanaest izložaba kao minimalan, jer je na izložbi obično izlagalo oko 48 zemalja, a to znači po 60-ak na žiriranju, uključujući zainteresirane autore sa svih kontinenata.

Pripreme za organizaciju Međunarodne izložbe originalnog crteža isprva su trajale dugo; započele bi krajem neparne godine, koja je prethodila onoj, parnoj, u kojoj se bijenale trebao održati. Tada su se tiskali obrasci, tj. prijavnice u kojima se od sudionika tražilo osnovne podatke o životu i radu, kratka umjetnička biografija, važnije samostalne i grupne izložbe, nagrade i podaci o prijavljenim crtežima. Tiskan je pravilnik izložbe, korespondencijski i sav ostali potreban materijal (naljepnice za crteže i pošiljke, dopisnice za obavještavanje izlagača, upute o slanju crteža, pozivna pisma itd.). Obavijesti i prijavnice za sudjelovanje na natječaju slalo se poštom krajem godine ili početkom one u kojoj se izložba održavala, ali je često zbog pojačana novogodišnjega poštanskog prometa dolazilo do zastoja pa se početkom godine sudionike trebalo podsjećati

I. DC Janez Bernik, Telefon III/Telephone III, 1968., MMSU-1402 17

II. DC Ordan Petlevski, Apel 70/Appeal 70, 1970., MMSU-1036

18

to make a selection among the submitted works. They selected the best ones for the exhibition, but they also had to suggest a group of Yugoslav authors who would exhibit their works by invitation, i.e. without a competition, on the basis of an already acknowledged opus and quality confirmed through long-year work, awards, and exhibitions. Foreign authors were selected and invited in the same way.

An exception to this procedure was the way of selecting authors for the First Exhibition, when the majority of foreign artists were invited through personal contacts of Modern Gallery representatives, mostly its director Boris Vižintin, who due to his permanent international activities or in some other similar (and reliable) way, through galleryowners, curators, artists, colleagues, and collectors personally invited some artists to participate at the exhibition. In this way, despite the limited Rijeka environment and insufficiently known Modern Gallery, at the First Exhibition drawings by Picasso, Miró, Hartung, Masson, Vedova, Iposteguy, Mortensen, Guttuso, Manzù etc. could be put on display. A surprisingly large number of countries, 44, responded to the invitation, and this number was kept as the minimum during all 11 previous exhibitions, because there were usually about 48 participating countries, which means about 60 in the jury selection, including interested authors from all the continents of the world.

Preparations for the organization of the International Exhibition of Original Drawings lasted considerably longer at the beginning.

They started by the end of the odd year preceding the even one in which the Biennale was scheduled. Application forms were printed, requiring from the participants the basic data on their life and work, a short artist’s biography, major individual and group exhibitions, awards and information on submitted drawings. The Regulations of the exhibition were printed, as well as correspondence material and other necessary things (stickers for drawings and consignments, correspondence cards for notifying

na prijavu i hitno slanje crteža na natječaj.

Pozvani izlagači nisu trebali slati radove u siječnju i veljači, nego tek do svibnja, jer nisu ovisili o žiriju koji se sastajao uglavnom krajem ožujka ili početkom travnja. Kada je poslije u sav taj posao bilo uključeno četvero stručnih djelatnika Moderne galerije, pripreme su mogle započeti i nekoliko mjeseci kasnije, tj. početkom godine u kojoj se održavala izložba, ali se ustaljeni ritam žiriranja i daljnjih priprema morao poštovati.

Stručni kolegij Moderne galerije (direktor i kustosi) određivao je sastav Komisije za odabir radova poslanih na natječaj i Međunarodnog žirija za dodjelu nagrada, vodeći se pritom načelima ravnomjerne zastupljenosti najboljih poznavalaca suvremenih tokova likovne umjetnosti iz svih tadašnjih većih središta, kao i iz zapadnih i istočnih zemalja. Članovi žirija uglavnom su bili

the participants, instructions on packing and sending the drawings, letters of invitation etc.). Notifications and application forms for the competition were sent by mail by the end of the year or by the beginning of the one in which the Biennale was held. Because of the heavy New Year postal traffic there were delays, so that by the beginning of the next year the participants had to be notified of their obligation to apply and send their drawings for the competition as soon as possible. The invited participants were not obliged to send their works in January and February, like the ones that had to be adjudicated by the jury, but until the beginning of May, because they did not depend on the jury that usually began its sessions by the end of March or by the beginning of April. During the preparations of later Biennales, when four qualified employees of the

III. DC Raimo Kanerva, Čovjek i pas II/A Man and His Dog II, 1972., MMSU-2313 19

ugledni i priznati povjesničari umjetnosti, likovni kritičari, direktori muzejsko-galerijskih ustanova i kustosi, čije je područje rada vezano za suvremeni crtež. Njihovo iskustvo, informacije o umjetnicima i radovima koje su ocjenjivali, često su bili dragocjena pomoć uspješnom radu žirija.

Ocjenjivanje, sastav žirija i njegov rad te nagrađivanje ostalo je nepromijenjeno za gotovo svih jedanaest izložaba, do izmjene koncepcije same izložbe 1998. godine.

Nastojalo se da žiri za odabir radova uvijek bude sastavljen od neparnog broja članova (pet do sedam).

Radovi su se ocjenjivali nekoliko dana postupnom selekcijom u nekoliko “rundi”, pri čemu su uvijek ispadali oni koji nisu dobili niti jedan glas “za”, ili je većina članova žirija bila “protiv” njihova uvrštenja na izložbu. Žiri je u pravilu zasjedao u ožujku ili travnju u godini održavanja izložbe, tj. dva mjeseca nakon što su radovi počeli pristizati i otprilike dva mjeseca prije otvorenja izložbe.

Izmjena u odabiru i ocjenjivanju radova nastupila je na desetoj izložbi 1986., kada je, radi smanjenja poštanskih i carinskih troškova u dolasku i povratku radova, svima zainteresiranima za natječaj predloženo da umjesto originalnih radova šalju u pismu njihove dijapozitive. To je izazvalo velike teškoće u administriranju pristiglih dijapozitiva i njihovoj pripremi za ocjenjivanje, jer ih je bilo puno, a trebalo je brzo i učinkovito njima manipulirati na projekcijama za žiri.

Opći je zaključak da se takvo žiriranje nepovoljno odrazilo i na rad i na rezultate rada, jer mnogi dijapozitivi nisu bili profesionalno snimljeni, mnogi su dali potpuno krivu informaciju o crtežu, što se uočilo nakon što je izabrani rad stvarno stigao u galeriju. Uz to, nenadomjestiv je užitak neposredna dodira i suočenja s crtežom jer je podloga na kojoj je crtež stvoren u većini slučajeva veoma važna u vizualizaciji ideje autora. Ovakvo se žiriranje više nije ponovilo.

Nakon selekcije i obavještavanja sudionika da su njihovi radovi primljeni ili odbijeni, 20

Gallery worked on that task, preparations could start a few months later, i.e. by the beginning of the year when the exhibition was due to be held, but the usual rhythm of adjudication and further preparations had to be observed.

The professional board of Modern Gallery (its director and curators) appointed the Selection Commission and the International Jury for Awards. They were guided by the principle of even participation of experts knowledgeable in contemporary trends in fine arts, coming from all Yugoslav large centres, as well as Western and Eastern countries. Jury members were usually renowned and acknowledged art historians, art critics, directors of museums and galleries, and curators whose field of work was linked with contemporary drawings. Their experience and information on artists and works they adjudicated were often very valuable for the successful work of the jury.

The manner of adjudication, the set up of the jury and the mode of its work and awarding prizes was kept unchanged during almost all eleven exhibitions, until the change of the exhibition concept in 1998.

It has always been attempted to set up the Selection Jury from an odd number of members (5 to 7).

Adjudication stretched over a couple of days in the form of a gradual selection in several “stages”. The works that got no votes “in favour” or where the majority was “against” their exhibiting were ruled out. The sessions of this jury were usually scheduled for March or April in the year of the exhibition, i.e. two months after the works began to come in and about two months before the exhibition was opened.

An exception in the way how the works have been selected and adjudicated was made at the 10th Exhibition in 1986, when, in order to reduce postal and customs costs of incoming or returned works, a suggestion was made that instead of original works slides should be sent in a letter instead.

pristupilo se snimanju prihvaćenih radova i prikupljanju cjelokupnoga tekstualnog materijala za katalog (predgovori, biografije, sponzori, lektura, prijevodi) i njegovo tiskanje (najčešće u Ljubljani), propagandne akcije i postavljanje izložbe u prostorima Moderne galerije, o čemu su se brinuli direktor i dva kustosa.

Izrada kataloga isprva je povjerena uglednom dizajneru Joži Brumenu iz Ljubljane, koji je odredio njegov oblik, dimenzije (20 x 20 cm), dizajn koji je zadržao iste karakteristike u cijeloj seriji od deset kataloga, rješavajući naslovnicu geometrijski, pravokutnim poljem raspodijeljenim u četiri polja međusobno odvojenih kvadratića, sa po šest polja u jednome horizontalnom nizu te nekim koloriranim geometrijskim likom kao žarištem.

Osnovna, čista boja toga kolorističkog detalja s naslovne stranice, pojavljuje se i u katalogu kao obojena stranica za odjeljivanje cjelina. U istoj boji tiskan je pred samo otvorenje izložbe dvolisni umetak s informacijama o nagrađenim autorima i otkupnim nagradama. Dizajn naslovne stranice gotovo je u pravilu služio i kao pozivnica (dvostruko presavijena naslovnica). Izrada kataloga jedanaeste izložbe povjerena je, unutar istih dimenzija, Predragu Spasojeviću iz Pule, a naslovna stranica, kao i pozivnice, Miroslavu Šuteju iz Zagreba.

Prvih deset kataloga u uvodnom dijelu sadrži pozdravni govor pokrovitelja izložbe (u većini slučajeva predsjednika Skupštine općine Rijeka) te uvodni tekst o crtežu dugogodišnjeg direktora Moderne galerije dr. Borisa Vižintina. U nekoliko prvih kataloga tiskan je i pravilnik izložbe, a u svim katalozima abecedni popis zemalja sudionica i izlagača prema državi za koju izlažu. Uz osnovne informacije o sastavu organizacijskog odbora, podatke o organizatoru, članovima žirija, popis pozvanih jugoslavenskih autora i sličnih podataka, slijedi blok s biografijama i reprodukcijama izloženih radova. Ti su podaci u svim katalozima (osim u katalogu jedanaeste izložbe) svrstani po abecednom redu zemalja, a autori unutar zemlje po abecednom redu izlagača. Svaki je izlagač zastupljen

This caused great difficulties in the administrative procedure and the preparation of slides for the adjudication, because there were so many of them and it was necessary to handle them quickly and effectively during the projections for the jury. The general impression about this way of adjudication was unfavourable, both in regard to the work mode and the results, because many slides were not photographed professionally and many provided an entirely wrong information about the drawing, which could be observed after the selected work actually came into the Gallery. Apart from that, the enjoyment coming from direct touch and facing a drawing is irreplaceable, because its ground in most cases plays a major role in the visualization of the author’s idea. This mode of adjudication has not been repeated ever since.

After the selection and notification of the participants that their works had been accepted or rejected, the accepted works were photographed and the entire text material (forewords, biographies, sponsors, proofreading, translations) assembled for the catalogue that then went into print (mostly in Ljubljana). Advertising and exhibition set up at the Modern Gallery venue was taken care of by the director and two curators.

The renowned designer Jože Brumen was initially entrusted with the design of the catalogue. He determined its form, dimensions (20 x 20 cm), basic design that retained the same characteristics throughout the entire series of 10, solving the front page geometrically, by a rectangular field divided into four fields of detached squares, with 6 fields in a horizontal row and occasional geometric figures as a focus. The basic, pure colour of this detail of the front page also appears in the catalogue as a coloured page for separating catalogue units.

The same colour was used for a two-sheet insert immediately preceding the opening of the exhibition, with information on awarded authors and purchase prizes. The front page design almost as a rule also served as the invitation form (double-folded cover).

IV. DC Maja Dolenčić-Malešević, U vagonu/On the Train, 1974., MMSU-1177 21

V. DC Mersad Berber, Krajiška đenaza/The Funeral, 1978., MMSU-1224 22

sa po jednom reprodukcijom, a na izložbi je obično bio zastupljen sa po dva crteža.

Iznimke su bili radovi vrlo velikih dimenzija ili pak suviše mali, ili radovi sastavljeni od više dijelova (poliptisi, serije i dr.). Na kraju kataloga slijedio je blok za samostalne paralelne izložbe s kraćim esejom i nekoliko reprodukcija radova nagrađenih autora na prethodnom bijenalu crteža, nositelja Grand Prixa koji se na svakom bijenalu dodjeljivao jednom jugoslavenskom i jednom stranom autoru.

Dizajnersko rješenje plakata izložbe, pretežno standardnih dimenzija 100 x 70 cm, povjeravalo se domaćim uglednim dizajnerima, a gotovo su svi rađeni u sitotisku i u nekoliko boja. Ivan Picelj dao je rješenja za I. i IV. međunarodnu izložbu originalnog crteža, Jože Brumen za II. i IX. izložbu, Mihajlo Arsovski za III., Tomaž Kržišnik za V., Ante Kuduz za VI., Boris Bućan za VII., Mladen Galić za VIII., Šime Šutej za X. i Miroslav Šutej za XI. izložbu. Dizajn i izvedbe plakata za sve izložbe bili su na visokoj razini pa su neki plakati danas dio povijesnog pregleda hrvatskoga grafičkog dizajna.

Propagandni materijal u obliku raznih tiskanica, letaka i panoa, bio je u početku (za prve izložbe) mnogo opsežniji, raznovrsniji i bogatiji, a sa svakom sljedećom izložbom propaganda je postajala skromnija da bi se na kraju svela samo na plakat i gradske velike platnene ulične transparente, postavljene na 2–3 najprometnija mjesta u središtu grada. Isprva su se uz veliki, tiskali i kaširani mali plakati koji su se vješali u gradskim i prigradskim autobusima i u izlozima, naljepnice za unutarnje i vanjsko lijepljenje (za stakla automobila), po prometnim punktovima raspačavani su višejezični tiskani leci (flajeri, deplijani) s osnovnim informacijama o izložbi, građi, mjestu i datumu održavanja, izrađivane su “zlatne” značke s logotipom izložbe “dc” (dessin/drawing – crtež), kemijske olovke s nazivom izložbe... Od Rijeke do Opatije i u Opatiji postavljani su uz prometnice drveni panoi s plakatima ili natpisima, a zgrada u kojoj je smještena Moderna galerija redovito je ukrašavana duž cijeloga

Predrag Spasojević from Pula was entrusted with the catalogue of the Eleventh Exhibition (within the same dimensions), while the front page and the invitation cards were designed by Miroslav Šutej from Zagreb.

In their introductory part, the first ten catalogues contain the welcoming address by the patron of the exhibition (usually the President of Rijeka’s City Assembly) and the introductory text on drawings by the long-year director of Modern Gallery, Boris Vižintin. The first few catalogues also contained the exhibition regulations, and the list of participating countries in alphabetical order, as well as the list of participants according to the country for which they display their works. Along with the basic information about the set up of the organizational board, information on the organizer, jury members, the list of the invited Yugoslav authors and the like followed the block with biographies and reproductions of the displayed works. These particulars were always (except in the Eleventh Exhibition) organized according to the alphabetical order of the countries, while the authors within one country were also listed alphabetically. Each exhibitor was represented by one reproduction, while in the exhibition he was usually present with two drawings. Very large or very small dimensions of works were exceptions, which is also true of works assembled from several parts (polyptychs, series, etc.). At the end of the catalogue followed a block devoted to individual parallel exhibitions, accompanied by a short essay and several reproductions of works by authors awarded with the Grand Prix at the previous Biennale of Drawing.

This prize was awarded to only one Yugoslav or foreign author.

V. DC 1976., otvorenje izložbe/exhibition opening

Our renowned designers were entrusted with the design solution of the exhibition poster, usually in standard dimensions 100 x 70 cm. Almost all of them were printed in silk screen, in several colours. Ivan Picelj provided solutions for the 1st and the 4th International Exhibitions of Original Drawings, Jože Brumen for the 2nd and the 9th, Mihajlo 23

VI. DC 1978., otvorenje izložbe/exhibition opening

potkrovnog vijenca zastavama svih zemalja čiji su predstavnici te godine izlagali. Zadnje dvije izložbe imale su na zgradi, na dvama pročeljima, uočljiv platneni transparent s nazivom i logotipom izložbe, jer Moderna zauzima drugi (i najviši) kat zgrade Sveučilišne knjižnice Rijeka, čiji je ulaz iz pokrajnje ulice prilično nezamjetljiv.

Arsovski for the 3rd, Tomaž Kržišnik for the 5th, Ante Kuduz for the 6th, Boris Bućan for the 7th, Mladen Galić for the 8th, Šimun Šutej for the 10th, and Miroslav Šutej for the 11th.

Designs and posters for all exhibitions were highly profiled artistic achievements and some of them are today part of the historical heritage of Croatian graphic design.

Ostale propagandne akcije išle su putem javnih medija objavljivanjem informacija u riječkim, zagrebačkim i jugoslavenskim novinama, u stranim časopisima ili kalendarima važnijih svjetskih izložaba, objavljivanjem razgovora ili informacija preko radija (Rijeka, Kopar, Zagreb) ili u posljednje vrijeme preko televizije (Rijeka, Kopar, Zagreb, Ljubljana), te slanjem pismenih kraćih informacija u turističke urede i recepcije hotela. Pri organizaciji prve izložbe osnovan je, pod vodstvom profesionalnog novinara, poseban Ured štampe izložbe koji je svakog 1. i 15. tijekom tri mjeseca do otvorenja izložbe 14. lipnja 1968., izdavao Informativni bilten/Bulletin d’information koji je izlazio umnožen šapirografom, donoseći mnogobrojne informacije o pripremi izložbe, biografije autora pristiglih crteža, intervjue s nekim umjetnicima, izvješća za tiskovne konferencije, govore za otvorenje, informacije o smještaju gostiju izložbe i ostale podatke.

Advertising material in the form of different prints, flyers, and panels was at the beginning (at the first exhibitions) much more encompassing, diversified and abundant, but the longer the exhibition lasted, advertising became more modest, in the end reduced only to posters and banners, set up at two or three busiest points of the city. At first, along with the large ones, also small posters lined with cardboard were printed. They were displayed in suburban and city busses and shop windows, along with stickers for the outside and inside of windscreens; flyers in several languages were distributed at nodal points of the city, providing basic information on the exhibition, its time and venue, as well as items on display; “golden” badges with the logotype of the exhibition, “dc” for dessin / drawing - crtež were produced, as well as ball point pens with the title of the exhibition… From Rijeka to Opatija and around Opatija, along the roads, wooden billboards with posters or banners were set up and Modern Gallery’s building was regularly decorated along the entire cornice with flags of all the countries whose representatives had their works exhibited that year. The last two exhibitions had a banner with the title and the logotype of the exhibition on two buildings, because Modern Gallery does not have its own building; it occupies the second (and the highest) floor of the Science Library building, whose entrance from the side street is not very prominent.

Posebni je oblik propagande bio i stručno vodstvo kroz izložbu, koje se uvelo na nekoliko posljednjih bijenala 80-ih godina, otkako je u galeriji bila zaposlena muzejska pedagoginja. Stručna vodstva pripremljena su za najavljene grupe školske djece, turista ili građana, ali i na zahtjev grupa ili pojedinaca. Obavijesti o vodstvu posebno su pismenim putem slana na adrese svih osnovnih i srednjih škola u Rijeci, Pedagoškog fakulteta, radija, novina.

Zamišljeno je da sve akcije pri organizaciji izložbe koje nisu bile stručnog karaktera, potpomaže i pospješuje Organizacijski odbor izložbe koji je bio sastavljen od desetak i više članova, pripadnika privrednog i društvenog života grada, čiji je zadatak bio 24

Other advertising actions went through public media, by publishing information in local and newspapers of Rijeka, but also Zagreb and Yugoslavia, in foreign magazines or calendars of major international

VI. DC Mario Toral, Dobar dan proljeće/Buenos dias primavera/Hello, Spring, 1977., MMSU-1271

25

VI. DC Ante Kuduz, Grad 27 A/City 27 A, 1977., MMSU-1277 26

VI. DC Grand Prix: Bernard Bailly, Analiza 101/B-b/ Analysis 101/B-b, 1978., MMSU-1268 27

VII. DC 1980., otvorenje izložbe/exhibition opening

A special form of marketing is also curatorial guidance of the exhibition, organized during the last few Biennales in the 80s, since a museum pedagogue has been employed in the Gallery. Curatorial guidance was meant for previously arranged visits of school children, tourists, and citizens, but also on demand of groups or individuals. Notification of the guidance was sent in written form to the addresses of all elementary and high schools in Rijeka, Teacher’s College, radio and newspapers.

VII. DC 1980., dio postava izložbe/part of the exhibition display

brinuti se o materijalnoj podršci te olakšati organizaciju svih poslova izvan galerije (transport umjetnina, carinjenje, osiguranje, poštanski poslovi, postavljanje propagandnih transparenata i panoa, smještaj gostiju, tj. članova žirija, njihov prijam te prijam stranih umjetnika u gradskim forumima, reprezentacija i sl.). Računalo se da će se sponzorstvom nekih radnih organizacija olakšati sufinanciranje izložbe, ali u pravilu taj Odbor nije u potpunosti odgovorio postavljenim ciljevima i zadacima niti očekivanjima galerije, jer gotovo nikad nije radio u punom sastavu.

Postav izložbe u izložbenim dvoranama bio je od početka velik problem jer je od obilja 28

exhibitions, by broadcasting interviews or information on the radio (Rijeka, Koper, Zagreb), or lately on the television (Rijeka, Koper, Zagreb, Ljubljana), and by sending short information in written form to tourist offices and hotel reception desks. Part of the organization of the First Exhibition was a press office headed by a professional journalist. On each 1st and the 15th of the month, during the three months until the opening of the exhibition on June 14th, 1968, it issued a Bulletin d’information, printed by means of paper stencils, that brought a variety of information regarding the preparations of the exhibition, biographies of authors of the incoming drawings, interviews with some of the artists, press releases, opening speeches, information about guest accommodation and other necessary particulars.

All actions concerning the organization of the exhibition that were not of professional nature should have been supported and encouraged by the Organizational Board of the exhibition that has always had ten and more members from the economic and general social sphere of the city; its task was to provide material support and help the organization of everything that had to be done outside the Gallery (transport of artworks, customs procedure, insurance, postal affairs, setting up of banners and billboards, accommodation of guests, i.e. reception of jury members and foreign artists in administrative offices of the city, representation etc.). The Gallery hoped that sponsorship of some companies would enable the financing of the exhibition, but

VII. DC Anamaria Pacheco, Vještica i luđak/The Witch and the Fool, 1980., MMSU-1331 29

VIII. DC Grand Prix: Yamana MASSAO, Polo탑aj B/ Position B, 1981., MMSU-1362

30

primljenog i odbijenog materijala, još uvijek ostalo previše radova za izlaganje, a Moderna galerija imala je samo tri izložbene dvorane i prilazni hodnik, ukupne površine približno 600 m2. Zbog toga je već na samom početku, uza svesrdni angažman poznatoga riječkog arhitekta ing. Igora Emilija, dograđena izložbena galerija (balkon) u velikoj i zadnjoj dvorani te tzv. boksovi ispod nje, čime se je izlagačka zidna površina uvelike produžila. To je rješenje zadovoljavalo dok dimenzije crteža nisu enormno porasle pa su boksovi postali smetnja. Nakon XI. međunarodne izložbe originalnog crteža obavljena je, zbog pomanjkanja prostora, pregradnja izložbenih (1999. zatvoreni su gotovo svi mnogobrojni prozori) i preseljenje radnih prostorija Moderne galerije, čime se izgubio prilazni hodnik za izlaganje i tzv. prva mala dvorana, ali su se dobile još dvije izložbene dvorane s visokim zidovima, bez bočnih galerija, a time i velike zidne površine.

Koncepcijski je postav izložbe u početku bio zacrtan prema geografskoj pripadnosti ili državnoj opredijeljenosti autora. Taj je princip zadržan na deset izložaba, a na jedanaestoj je izložbi napušten. Naime, izlagati crteže prema kriteriju autorova opredjeljenja za neku državu (jer u njoj živi, radi ili je u njoj rođen) bilo je jednostavno ako su svi autori te države imali otprilike podjednake dimenzije crteža, što se nije uvijek moglo striktno poštovati, a i pojedini su se autori na jednoj izložbi deklarirali kao pripadnici jedne države, a na drugoj neke sasvim druge. U katalogu je bilo donekle lako slijediti države jer su bile raspoređene po abecedi, ali u izložbenom prostoru taj princip nije vrijedio pa je raspored napravljen prema dimenzijama i množini materijala određenog za izlaganje.

Neki zajednički geografski čimbenici nisu se mogli poštovati (npr. kontinentalna ili regionalna pripadnost). Isto tako, crteži nagrađeni Grand Prixom nisu se uvijek mogli istaknuti na udarne, najbolje položaje jer su bili ocijenjeni prije samog otvorenja izložbe, kada je postav već uglavnom bio formiran, pa su bili obilježeni samo natpisom.

as a rule this board has never fully attained its set goals and tasks, because almost never have all of the members been present at its sessions, contributing to easier organization according to the Gallery’s expectations.

The set up of the exhibition in exhibition halls was a large problem from the start, because despite the fact that a large part of the submitted material was rejected, there still remained much to be exhibited.

However, the Modern Gallery venue encompassed three exhibition halls and the access corridor with the overall surface area of about 600 sq.m. Because of that, already at the very beginning, with ardent support of the renowned Rijeka architect Igor Emili, the exhibition gallery (balcony) in the large and last hall was extended, as well as the so-called cubicles underneath, which considerably stretched the wall exhibition surface. This was a satisfactory solution until the drawings have reached enormous dimensions and the cubicles became an obstacle. After the 11th International Exhibition of Drawings, because of the lack of space exhibition halls were reconstructed (in 1999 many windows were walled in) and the Modern Gallery offices relocated; in this way the access corridor had to be sacrificed, as well as the so-called first small hall, but another two exhibition halls with high walls, however without side galleries emerged, which meant a gain of large wall surfaces.

VIII. DC 1982., otvorenje/opening

The exhibition set up was initially conceived in concordance with the geographic origin or the citizenship of the authors. This principle was retained during ten exhibitions, but abandoned in the eleventh. Namely, to exhibit drawings according to the criterion of the author’s commitment to a country (because he lives there, works there or was born there) was easy if all the authors of this country submitted drawings in similar sizes, which could not always be strictly observed. Some authors declared themselves as representatives of one country at one exhibition, but of a different one at another. It 31

VIII. DC Xi Xu, Jezero ujutro, detalj/Lake in the Morning, detail, 1981., MMSU-1373 32

Žiri za dodjelu nagrada, sastavljen od neparnog broja članova, pretežno iz stranih zemalja (Italija, Francuska, Austrija, Mađarska, Belgija, Poljska, Španjolska) i iz Jugoslavije, sastao se i dodjeljivao nagrade neposredno prije otvorenja izložbe, kada su nagrade bile objavljene javnosti i osobno uručene autorima. Uz pisani dokument – Diplomu i određenu novčanu nagradu (u domaćoj valuti – jugoslavenskim dinarima), glavna je nagrada za najbolji crtež na izložbi bio Grand Prix koji je uključivao i održavanje samostalne izložbe nagrađenog autora u Malom salonu tijekom održavanja sljedećeg bijenala, sa svim relevantnim podacima uključenim u glavni katalog. Obično je po jedan Grand Prix dodijeljen stranom i domaćem autoru, iako se moglo dodijeliti i više nagrada. Žiri za dodjelu nagrada mogao je dodijeliti i neke posebne, tzv. počasne nagrade nekolicini autora, međutim takve nagrade, osim

was rather easy to organize countries in the catalogue, because they followed the alphabetical order, but at the exhibition venue this principle could not be applied any more; the distribution followed the quantity of the material for display. Some common geographical factors could not be obeyed (e.g. continents, regions etc.). The drawings awarded with the Grand Prix could not always be placed in the best, outstanding positions, because they were adjudicated immediately before the opening, when the set up was already determined, so that they could only be marked with an additional inscription.

VIII. DC 1982., otvorenje/opening: Boris Vižintin, Sergije Lukeš, Pierre Rouve, Predrag Stanković

VIII. DC 1982., muzejsko osoblje: muzejski tehničar Anton Samaržija, direktor Boris Vižintin, tajnica Alda Farina, kustosica Zdravka Emili, računopolagačica Mila Pandža i muzejski tehničar Željko Žuža/museum employees: museum technician Anton Samaržija, director Boris Vižintin, secretary Alda Farina, curator Zdravka Emili, accountant Mila Pandža, and museum techician Željko Žuža 33

IX. DC Petar Omčikus, San/Dream, 1984., MMSU-1440 34

pismenog Priznanja, nisu uključivale druge pogodnosti. Muzejsko-galerijske ustanove u zemlji i druge radne organizacije mogle su ovlastiti žiri da odabere radove za Otkupnu nagradu koju su naumile dati, isplativši preko Moderne galerije autoru nadoknadu za vrijednost crteža, koju je sam prijavio. Tada je to djelo prešlo (nakon pristanka autora) u stalno vlasništvo kupca. Te su muzejske ili radne organizacije (čak i pojedinci) mogle poslati vlastitu Komisiju za dodjelu otkupne nagrade, ako su tako planski popunjavale svoj fundus, što je redovito činila i Moderna galerija. Na ovaj je način na svakom bijenalu bilo otkupljeno po desetak crteža.

Otvorenje Međunarodne izložbe originalnog crteža, kao što je spomenuto, prilagođeno je otvorenju Biennala u Veneciji krajem lipnja, uz pretpostavku da će dio publike koja boravi duže u Veneciji posjetiti Rijeku zbog geografske blizine i kratkih relacija te

X. DC 1986., otvorenje izložbe: Pierre Rouve, Predrag Stanković, László Beke i Boris Vižintin/exhibition opening

The Prize Jury, consisting of an odd number of members, mostly from foreign countries (Italy, France, Austria, Hungary, Belgium, Poland, Spain) and Yugoslavia, conferred and awarded prizes immediately before the opening of the exhibition when the prizes were publicly announced and handed to the awardees. Along with a written document – a diploma and a certain amount of money (in domestic currency – Yugoslav dinars), the main prize for the best drawing of the exhibition was the Grand Prix that also included an individual exhibition for the awarded author at the Mali salon venue, at the time of the next Biennale, with the catalogue part included into the main catalogue. Usually one Grand Prix was awarded to a foreign and one to a domestic author, although even more were possible. The Prize Jury could also award some special, so-called “honorary” awards to some of the authors, but they, apart from a written Commendation, did not include other benefits.

This jury could be authorized by Yugoslav museum or gallery institutions or industrial companies to select the works for a Purchase Prize, envisaged by the institution or company to be paid through the Modern Gallery to the author as a price he had set for the drawing. After the consent of the author, the work became a lasting property of the buyer. The mentioned organizations (and even individuals) could set up their own commission for awarding the Purchase Prize if in this way they contributed to their holdings in an organized manner. This was regularly done by Modern Gallery as well. In this way about ten drawings at each Biennale were purchased.

The opening of the International Exhibition of Original Drawings, as already mentioned, was adjusted to the date of opening of the Venice Biennale by the end of June, as it was supposed that part of the public that stayed in Venice longer would undertake a day trip to Rijeka because of its proximity, short journey and relatively good traffic connections (bus, train, ship, hydrofoil, car). Some of this actually happened, but 35

razmjerno dobrih prometnih komunikacija (autobus, vlak, brod, hidrogliser, rent-a-car, vlastiti automobil). Ponešto se od toga i događalo, ali nikad u dovoljnoj mjeri. Posjet se uglavnom odnosio na autore-izlagače, kojima je bilo u interesu da vide izložbu na kojoj im je rad izložen. No organiziranih grupnih posjeta iz Italije nikad nije bilo, kao što to nije uspijevalo niti s domaćim turističkim agencijama.

X. DC 1986., postav izložbe/exhibition display

X. DC 1986., otvorenje samostalne izložbe Ede Murtića u Malom salonu (dobitnik Grand Prixa na IX. DC, 1984.): Edo Murtić, Georges Boudaille i László Beke/opening of Edo Murtić’s solo exhibition in Mali salon (Grand Prix awardee at the 9th DC, 1984)

36

Izložba je isprva trebala biti otvorena dva ljetna mjeseca: srpanj i kolovoz, ali je već treća izložba trajala do kraja rujna kako bi je i riječki učenici mogli organizirano posjetiti.

Vrijeme posjeta bilo je slično kao na mnogim drugim izložbama u zemlji i svijetu: 10–13 i 17–20 sati svakog dana, osim ponedjeljka, iako je to za organizatora predstavljalo teškoću zbog osiguranja izložbe. Moderna je galerija, naime, smještena na drugom katu zgrade u kojoj se nalazi Sveučilišna knjižnica s radnim vremenom od 7 do 19 sati, a subotom popodne i nedjeljom zgrada je zatvorena. Nije bilo čuvara niti je tko kontrolirao ulaz pa je bilo vrlo riskantno držati otvorenom izložbu nakon zatvaranja većeg dijela zgrade koja inače sadrži neprocjenjive vrijednosti knjižnog i likovnog naslijeđa u svim svojim etažama.

Zatvaranje izložbe nikad nije bilo popraćeno posebnim događanjima. Nakon raspremanja materijala, svi su otkupljeni crteži dostavljeni kupcima, nagrađeni su vraćeni autorima ili s ostalim darovanim radovima zadržani u Modernoj galeriji, postavši dijelom Zbirke crteža. Ostali su radovi vraćeni autorima, odnosno pošiljateljima u istoj ambalaži i na isti način kako su stigli u galeriju, uz pomno vođenje evidencije o pakiranju, carinjenju, poštanskoj otpremi i eventualnom povratu u galeriju, ako pošiljka ne bi bila uručena primatelju. Nakon zatvaranja svakog bijenala provodila se evaluacija te je pri analizi postignutih rezultata, uvažavanja kritika iz dnevnog tiska i kolega, uvijek izricano mišljenje da izložbu nije vidjelo onoliko posjetitelja koliko takva manifestacija zaslužuje.

unfortunately never to the desired extent.

The visitors were mostly authors who wished to see the exhibition where their work was on display. There were no organized visits from Italy, which is also true of domestic tourist agencies.

The lasting of the exhibition should have initially covered two summer months: July and August, but already the Third Exhibition was extended to the end of September so that Rijeka’s pupils and students could pay an organized visit to the exhibition.

The opening hours were similar to many other exhibitions here and abroad: from 10 a.m. to 1 p.m. and 5 p.m. to 8 p.m. every day except Monday, although this posed a difficulty before the organizer in regard to security aspects. Modern Gallery is located on the second floor of the building in which the University Library is open every day from 7 a.m. to 7 p.m., while on Saturday afternoon and on Sunday it is closed. There is no doorkeeper or entrance control, so that it is very risky to keep the exhibition open after the closing of the major part of the building that contains invaluable books and fine art heritage on all its storeys.

The closing of the exhibition was never accompanied by special events. After the exhibition was taken down, all the purchased drawings were dispatched to the buyers, the awarded ones returned to the authors, or kept at the Modern Gallery together with the other donated works, thus becoming part of the Collection of Drawings. Other works were returned to their authors or senders in the same packaging and the same way how they came to the Gallery; precise protocols were made on packaging, customs procedure, postal dispatch, and possible return to the Gallery, should the delivery prove impossible. After the closing of each Biennale evaluation was made, so that during the analysis of the achieved results, under consideration of the criticism from daily press and colleagues, the opinion was always expressed that the exhibition had not been visited by as many visitors as such an event would deserve.

X. DC Grand Prix: Miroslav Šutej, Slike s izložbe XIX/Pictures at the Exhibition XIX, 1985., MMSU-1451 37

38

PUBLIKACIJA “ŠTO JE CRTEŽ”?

THE PUBLICATION “WHAT IS A DRAWING?”

Svaki kritičar koji je pisao o izložbi iole opširniji prikaz, neizbježno je, analizirajući radove i stanje u svjetskom crtežu općenito, svoja razmišljanja sveo na pitanje: “Što je crtež?” To je pitanje konstanta ove izložbe jer se pojavilo i prije njezina oformljenja, kada su se utvrđivali kriteriji prema kojima će se neki radovi primati i ocjenjivati, pojavljivalo se svaki put iznova kada je iskrsnula kakva nova vrsta, tehnika, rješenje, ideja, kao i pri kritičkoj analizi nakon izložbe. Organizator je stoga nakon treće izložbe svim dotadašnjim sudionicima poslao anketni upitnik s osnovnim pitanjem: “Što je crtež?” Dobio je vrlo zanimljive, ali posve različite odgovore, mišljenja, shvaćanja i objašnjenja crteža, njegova rješavanja te značenja crteža za pojedine umjetnike. To je pitanje, uostalom, zanimalo i mnoge druge organizatore sličnih smotri (npr. International Drawing Biennale u Clevelandu, SAD), pa su tekstove s razmišljanjima nekih autora o svojim crtežima tiskali u katalozima zajedno s reprodukcijama radova da bi dodatno objasnili i obogatili izloženi materijal. Modernoj galeriji stizali su odgovori na njezina pitanja dulje vrijeme te je namjeravala tiskati posebnu publikaciju usporedno s četvrtom izložbom, ali kako su materijali i dalje pristizali, posao nije bio na vrijeme gotov. Kada je konačno sakupljen veći broj izjava umjetnika, publikaciju je trebalo opremiti i tekstovima uglednih likovnih kritičara, što je tek djelomično učinjeno, no publikacija je zbog administrativnih nedorečenosti zapela na natječaju za sufinanciranje na Republičkom SIZ-u kulture, te nikada nije tiskana.

Each critic who wrote any kind of comprehensive account of the exhibition, when analysing the works and the general situation in international drawing, necessarily reduced his considerations to the question: “What is a drawing?” This question is the constant of the exhibition, because it appeared even before it became its final form, as criteria were set how works would be accepted and evaluated; it appeared every time anew when a new kind of drawing, technique, solution or idea cropped up, but also during the critical analysis after the exhibition. Therefore, after the Third Biennale the organizer of the exhibition sent to all previous participants a questionnaire with the basic question “What is a drawing?” and got very interesting, but also very different answers, opinions, notions and explanations of the drawing, its solution, and the meaning of the drawing for particular artists. This question is also present in the organization of many similar later exhibitions (e.g. International Drawing Biennale in Cleveland, USA), so that texts with reflections of some authors on their drawings were printed in catalogues along with the reproductions of works, in order to provide additional explanations and enrich the displayed material. Modern Gallery had been getting the answers to its questions through a longer period of time and intended to print a separate publication along with the Fourth Biennale, but as relevant material was still coming in, this task was not completed in time. Later on, when a large number of artists’ statements were gathered, the publication should have been extended with further texts by renowned art critics, which was also done, but the project came to a halt at a competition for co-financing at the Republic Self-governed Interest Community for Culture because of administrative shortcomings, so that it has never been printed.

X. DC Suwan Metapisit, Leti sam nad Tokyom/Fly Alone over Tokyo, 1986., MMSU-1444 39

Želja Moderne galerije da i izvan Rijeke prikaže ovako veliku i skupu izložbu s presjekom međunarodnog crteža, kako bi je vidjelo što više ljudi, ostvarena je tijekom godina prikazivanjem dijela izložbe u drugome gradu te gostovanjem u zemlji i inozemstvu.

GOSTOVANJA U ZEMLJI I INOZEMSTVU DOMESTIC AND INTERNATIONAL GUEST EXHIBITIONS

S IX. međunarodnom izložbom originalnog crteža, koja je obuhvaćala izbor od 83 autora s 83 crteža iz 41 zemlje, gostovalo se od 3. prosinca 1984. do 5. siječnja 1985. u Axiom Centre for the Arts u Cheltenhamu u Velikoj Britaniji, a izložba je bila prikazana i na turneji u Belfastu, Edinbourghu i Llandudnou u Irskoj.

Tiskan je reprezentativni katalog Highlihgts from the Ninth Rijeka International Drawing Biennale u kojem je prikazano 30 crno-bijelih reprodukcija i uvodni tekstovi direktora dr.

Borisa Vižintina i Pierrea Rouvea s Institute of Education Londonskog sveučilišta.

IX. DC Gostovanje/Guest Exhibition Axiom Centre for the Arts, Cheltenham, Velika Britanija/Great Britain, 1984./1985.

Krajem 1988. cijela je jedanaesta izložba (uz neznatno smanjen broj crteža) gostovala u Muzejsko-galerijskom centru u Zagrebu, u zgradi Gradeca, u sklopu kulturne suradnje dvaju gradova, Rijeke i Zagreba. U predvorju zgrade Moderna galerija je organizirala prateću izložbu plakata svih dosadašnjih bijenala crteža. Sljedeće, 1989. godine, na jesen, nakon dugotrajnih pregovora s Muzejom moderne umjetnosti u Tampereu, Finska, tamo je gostovala jugoslavenska selekcija s XI. međunarodne izložbe sa 101 crtežom 53 jugoslavenskih autora. Tiskan je i umetak na finskom i engleskom jeziku s tekstom Pekka P. Paavole, a kao katalog upotrijebljen je dvojezični (hrvatsko-engleski) katalog riječke izložbe.

Moderna galerija uvijek je nastojala cijelu međunarodnu izložbu, ili barem jedan njezin dio, izložiti u još nekom europskom središtu, kako bi se popularizirala sama izložba i crtež posebno. Jugoslavenska selekcija crteža s XI. međunarodne izložbe originalnog crteža gostovala je na I. festivalu crteža u Grand Palaisu i Kulturnom informativnom centru u Parizu, a s Italijom (Mantova) pregovaralo se o prijenosu dvanaeste izložbe, no zbog dugih i sporih administrativnih postupaka i putovanja raznih saveznih i republičkih komisija, dogovori su trajali i po nekoliko godina te se gubila aktualnost pa se nisu ostvarili.

40

The wish of the Modern Gallery to show such a large and expensive exhibition with a cross-section of international drawing also outside Rijeka and make it accessible to as large number of visitors as possible, was realized during years of efforts to show at least a part of the exhibition in some other centre within the country or abroad.

The selection from the 9th International Exhibition of Original Drawings, featuring 83 authors with 83 drawings from 41 countries could be seen as a guest exhibition from December 3rd to January 1st 1985 in the Axiom Centre for the Arts in Cheltenham, Great Britain, from where it continued the tour to Belfast, Edinburgh, and Llandudno in Ireland. A representative catalogue was issued, titled “Highlights from the Ninth Rijeka International Drawing Biennale” with 30 black and white reproductions and introductory texts by the director Boris Vižintin and Pierre Rouve from the Institute of Education of the London University.

By the end of 1988, the entire 11th Exhibition (with a slightly smaller number of drawings) was moved to the Museum and Gallery Centre in Zagreb, in the Gradec building, as part of the cultural collaboration of the two cities, Zagreb and Rijeka.

At the entrance hall of the building, Modern Gallery organized an accompanying exhibition of posters of all the previous drawing biennales. During the next year, 1989, in the autumn, after long negotiations with the Museum of Modern Art in Tampere, Finland, a Yugoslav selection from the 11th International Exhibition was set up as guest exhibition, featuring 101 drawing from 53 Yugoslav authors. At this occasion an insert in Finnish and English was added, with a text by Pekka P. Paavola; the bilingual (Croatian – English) catalogue from the Rijeka exhibition was used there as well.

Modern Gallery has always tried to exhibit a part or the entire International Exhibition in another European centre, in order

X. DC to popularize both the exhibition and the drawing. The Yugoslav selection of drawings from the 11th International Exhibition of Original Drawings was shown at the 1st Festival of Drawing in Grand Palais and the Cultural Information Centre in Paris, representing our country. There was also the intention of moving the 12th Exhibition, so that negotiations with Italy (Mantua) were opened, but because of long and slow administrative processes and procedures introduced by different federal and republic commissions, they lasted for several years, actuality was lost and the plans were not realized.

Jean Messagier, Nepoznato proljeće/The Unknown Springtime, 1986., MMSU-1446

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Ustaljeni obrazac organiziranja i realizacije Međunarodne izložbe originalnog crteža kakav je bio uobličen daleke 1968. (odnosno zacrtan već za Grafički biennale u Ljubljani 1954.), s vremenom se iživio, potrošio. Budući da se bijenale ustalio, ušavši u neke važnije svjetske kalendare likovnih događanja, a zbog svoje demokratičnosti privlačio stalno nove izlagače, izložbeni prostor Moderne galerije postao je pretijesan za sve veći broj eksponata. Svake je godine na žiriranje stizalo sve više radova, donekle se povećavao i broj pozvanih autora, jer u tu grupu ulaze i autori nagrađeni na prethodnoj izložbi (bez obzira na to što se svi nisu odazivali). Primijećeno je da kvaliteta radova pozvanih autora često nije na visini čak ni onih odbijenih na žiriju, a pravila su nalagala da ih se izloži. Uz to, mnogi autori koji su, bilo pozvani ili primljeni nakon natječaja, sudjelovali na izložbi, slali su već skoro dva desetljeća potpuno iste radove, ne rješavajući ništa bitno, ne problematizirajući ništa novo na crtežima. Na radovima nekih autora bili su vidni pomaci, razrada problema, sažimanje ili promjene, no takvih je uglavnom bilo manje.

K NOVOJ KONCEPCIJI – PRIJELAZNA FAZA TOWARDS A NEW CONCEPT – THE TRANSITIONAL PHASE

XI. DC 1988., otvorenje izložbe: Boris Vižintin, Željko Lužavec i Jerko Denegri/exhibition opening

Već povećan izložbeni prostor, u koji je pri osnivanju izložbe ugrađena balkonska konstrukcija s boksovima, počeo se dopunjavati prijenosnim metalnim ostakljenim panoima, tzv. konstrukcijama koje su pod pravim kutom krivudale sredinom prostora i s obje strane prikazivale crteže. Opći dojam nakon

As time passed, the usual pattern of organizing and setting up the International Exhibition of Original Drawings, as conceived in the far-off 1968 (its outline was clear already for the Graphic Biennale in Ljubljana 1954), got worn out. Considering the fact that the Biennale became a regular event, recorded in several important calendars of art events because of its democratic approach continuously attracting new exhibitors, Modern Gallery’s exhibition space became too cramped for the continuously rising number of exhibits. Every year a larger number of works was submitted for adjudication and to some extent even the number of invited authors increased, because also the ones awarded at the previous Biennale belong to this group (although not everyone could accept the invitation).

It could often be observed that the quality of works of invited authors (displayed because this was required by regulations) was often unable to reach even that of the ones rejected at the adjudication, but they still had to be exhibited because regulations were a public matter. Apart from that, many authors that participated at the exhibition, either invited or accepted in the competition, kept sending identical works for almost two decades, without solving anything that mattered and without problematizing anything new in their drawings.

In the works of some authors, progress, elaboration of problems, summarizing or changes were visible, but such authors were usually in the minority.

The already extended exhibition venue with the built-in balcony construction with cubicles was increasingly supplemented by movable metal, glazed picture walls, the so-called “constructions” that meandered through the centre of the venue at right angle, with drawings hanging on their both sides. The general impression after visiting the exhibition was that it was crammed up, causing dizziness and making it impossible to view the whole display or get any general or detailed impression of the exhibits.

Although both in the catalogue and at the

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XI. DC Radovan Kragulj, Stoka 119/Livestock 119, 1988., MMSU-1532

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exhibition the drawings from one country were grouped together, it was difficult to find relations between the catalogue and the display.

The 11th International Exhibition of Original Drawings in 1988 envisaged some changes, both in the preparation of the exhibition and later in the realization of the display. First of all, preparations began later than usual, by sending the invitations and application forms in February. Because of growing financial difficulties, caused by the enormous inflation rate and the crisis

XII. DC 1988., otvorenje samostalne izložbe Miroslava Šuteja u Malom salonu (dobitnik Grand Prixa na X DC, 1986.): Miroslav Šutej i Boris Vižintin/opening of Miroslav Šutej’s solo exhibition in Mali salon (Grand Prix awardee at the 10th DC, 1986)

posjeta izložbi bio je vrtoglava prenatrpanost koja je onemogućavala sagledavanje izložbe u cjelini i stjecanje bilo kakva općeg ili pojedinačnog dojma o izloženom materijalu. Iako su i u katalogu i na izložbi crteži iste države bili postavljeni zajedno, teško je bilo jedno s drugim povezivati.

Za XI. međunarodnu izložbu originalnog crteža 1988. predviđene su bile neke promjene i u pripremi same izložbe i, poslije, u realizaciji postava. Tako se s pripremama počelo kasnije nego obično, tek u veljači, slanjem pozivnoga informativnog i prijavnog materijala, a zbog sve većih materijalnih teškoća uzrokovanih enormnom inflacijom i kriznom u jugoslavenskom društvu, nemogućnosti planiranja troškova nekoliko godina unaprijed i tome slično, na Stručnom je kolegiju odlučeno da se umjesto dva žirija pozove samo jedan koji će odabrati radove i podijeliti nagrade, a istovremeno će se uštedjeti i s manjim brojem sudionika. Umjesto pet do sedam domaćih i tri do pet inozemnih članova žirija, koji su obično boravili u Rijeci sedam dana, osnovan je žiri od tri strana stručnjaka, jednog domaćeg i jednog predstavnika galerije, koji su, provodeći selekciju, imali uvid u cjelokupni pristigao materijal, a time i najširi uvid u stanje crteža pa je bilo logičnije da sami, a ne na temelju tuđeg, prethodnog izbora, odaberu od selektiranog materijala radove koji zaslužuju nagrade.

U uvodnom tekstu kataloga, koji se do jedanaeste izložbe sastojao od samo dva teksta, sada su svoj prilog i viđenje crteža dali i svi pozvani članovi žirija, čime je katalog obogaćen. Živeći intenzivno nekoliko dana s obiljem crtačke građe, članovi žirija uvidjeli su da se među pristiglim crtežima nameću neke grupe srodna izraza i sličnog rješavanja problema. Predložili su stoga organizatoru da pri postavu izložbe crteže više ne izlaže po geografskoj pripadnosti, jer će se time ove grupe razbiti i izgubit će se njihova osnovna zajednička ideja-poveznica. Osobito su uočljive bile grupe crteža tzv. skulpturalnog, pa geometrijskog ili slikarskog karaktera, dok su se na drugoj strani formirali minimalistički crteži s jedva nekoliko crta ili pak oni

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of the Yugoslav society, the impossibility of planning the expenses a few years in advance and the like, Professional Board reached the decision to replace two juries by only one that would select the works and award prizes; less participants should have also helped to save money. Instead of five to seven domestic members and three to five foreigners who usually spent about seven days in Rijeka, a jury of three foreign experts, one domestic and one representative of the Gallery was formed. In the process of selection they had the insight into the entire submitted material, so that is was more logical that they choose the works that deserve to be awarded from the selected material than to do this on the basis of somebody’s previous selection.

In the introductory text to the catalogue that consisted of only two texts until the 11th exhibition, a contribution containing their personal idea on the drawing situation was made by all invited jury members, which improved the catalogue. The jury members of the 11th exhibition, for a few days intensively concerned with a variety of drawings, realized that among the submitted drawings groups showing similar expression and similar problem solutions stood out. Therefore they proposed to the organizer to take that fact into account while setting up the exhibition and not to exhibit the drawings according to their geographic origin, because in this way the groups would fall apart and their common connecting idea would be lost. Especially observable were the groups of drawings showing the so-called sculptural, but also geometrical and painting character, while another group were minimalist drawings consisting of only a few lines or the ones overloaded with details, the so-called horror vacui group. Some tried to solve the relations of light and shadow or realized them by a source of light on photographic paper or had the character of photography, so that they were grouped as so-called photo-drawings. There were groups with realistic (traditionalist) drawings or groups

pretrpani detaljima, tzv. grupa Horror vacui.

Neki su rješavali odnose svjetlosti i sjene ili su crteži bili ostvareni svjetlosnim izvorom na fotografskom papiru ili su imali karakter fotografije, pa su razvrstani u tzv. fotocrtež.

Bilo je grupa s realističkim (tradicionalističkim) crtežima i onih naivna izraza itd. Stvoreno je tako petnaest grupa crteža, od kojih su neki mogli biti uvršteni u dvije ili više grupa jer su zadovoljili nekoliko kriterija. Tako se poneki crtež iz grupe “ubrani pejzaž” mogao svrstati i u “realistički crtež” pa i u “naivni”.

Najveći je nedostatak ovakva postava neujednačenost kriterija za razvrstavanje crteža jer su grupe stvarane i na temelju sadržaja, teme (pejzaž, urbani pejzaž) i na temelju tehnike (fotocrtež), dojma (ekspresionistički, slikarski, dječji, naivni) i na temelju izraza, odnosno pristupa (kaligrafski, minimalistički) itd. No posjetiteljima izložbe bilo je olakšano kretanje kroz šumu crteža zahvaljujući putokazima koji su postavljeni u obliku natpisa s nazivom grupe, pa su se prema vlastitim sklonostima mogli opredijeliti za promatranje samo nekih grupa, a preskakati one koje im nisu bile bliske.

U katalogu koji je povjeren novome grafičkom dizajneru – Predragu Spasojeviću (Pula), nastojalo se zadržati neke elemente prvobitne serije kataloga dizajnera Jože Brumena (oblik, dimenzije), uz poneke manje izmjene u artikulaciji sadržaja. Izostao je popis zemalja i izlagača po zemljama, ali je dodan popis grupa crteža s pripadajućim izlagačima po abecedi (ali bez označene državne pripadnosti). Uveden je i nov način prikaza pojedinog autora pa je jednom autoru pripala cijela stranica ili pola stranice, ali sa svim podacima na jednome mjestu: ime, adresa, reprodukcija, biografija i naziv radova. U Brumenovu dizajnu to je bilo vrlo komplicirano pa su se čitaoci teško snalazili u tekstu, slikama i legendama. Kao i svih prijašnjih deset kataloga, i ovaj je bio u crno-bijeloj tehnici. Na kraju kataloga su, kao i prije, navedeni podaci o samostalnim izložbama u Malom salonu: Miroslava Šuteja i Oloviera Debrèa, dobitnika Grand Prixa na prethodnoj, desetoj izložbi.

with naïve manner of expression etc. In this way, 15 groups of drawings were formed, of which some could be included into two or more groups because they could satisfy several criteria. For example, a drawing from the group “urban landscape” could also be classified as “realistic drawing” or “naïve drawing” etc. The greatest difficulty as well as the main drawback of this display were uneven criteria in the grouping of drawings, because groups were formed on the basis of content, topic (landscape, urban landscape), technique (photo-drawing), appearance (expressionist, painterly, childish, naïve) and expression, i.e. approach (calligraphic, minimalist) etc. On the other hand, for many visitors moving through the forest of drawings was made easier because of the signs in the form of the inscriptions with the titles of respective groups, so that according to their preferences they could view only some groups and omit the ones that they did not favour.

In the catalogue designed by the new graphic designer, Petar Spasojević from Pula, some of the elements (form, dimensions) of the initial catalogue series by Jože Brumen were retained, with some minor changes in the articulation of the content. The list of countries and their exhibitors was left out, but the list of groups of drawings with corresponding exhibitors in alphabetical order (however without their home countries) was added. A new way of presenting a particular author was introduced, so that one author was presented on one entire or half a page, but with all the information in one place: name, address, reproduction, biography and the titles of works. In Brumen’s design this was very complicated, so that the readers often had difficulties in finding their way through the text, illustrations and captions.

Like all ten former catalogues, this one was also entirely black and white. At the end of the catalogue, there is, like before, information on individual exhibition in the Mali salon: Miroslav Šutej and Olovier Debrè, Grand Prix awardees from the former, 10th exhibition.

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NOVO RUHO – PUT U BUDUĆNOST NEW FORM – THE WAY INTO THE FUTURE

U razgovorima s članovima Međunarodnog žirija za izbor radova i dodjelu nagrada XI. međunarodne izložbe originalnog crteža, mnogo je riječi potrošeno na analizu prijašnjih izložaba. Bilo je pohvala i opravdanih kritika. Organizatori u Modernoj galeriji bili su potpuno svjesni i jednog i drugog, ali i nužnosti promjena.

U posljednjih nekoliko godina u svijetu, kao i u našoj zemlji, ostvaruju se značajne izložbe, ali se više ne teži širini u smislu revijalnosti, kao pri stvaranju riječke izložbe. U ono davno vrijeme stidljiva otvaranja Jugoslavije prema svijetu (1968.), Rijeci je bilo u interesu dovlačiti čim više (stranih) izlagača, stvarati kozmopolitski duh, organizirati međunarodne smotre sa željom i nadom da i ovaj grad postane dio te međunarodne scene.

Tijekom deset izdanja, u izložbu je bilo uključeno ukupno 79 zemalja sa svih svjetskih kontinenata i stotine izlagača svih rasa, državnosti, škola i izraza. No posebnih razloga za zadovoljstvo u konačnici ipak nije bilo jer prateći zbivanja na međunarodnome likovnom planu, a ponešto i na crtačkom,

XII. DC Skulptorski crtež, 1990.–91., pročelje zgrade Moderne galerije/Sculptural Drawing, 19901991, front of the Modern Gallery building

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In the contacts with the members of the international jury for the selection of works and awarding prizes of the 11th International Exhibition of Original Drawings a lot has been said about the analysis of previous exhibitions. There were commendations and justified criticism. The organizers in the Modern Gallery were entirely aware of both, but also of the necessity of introducing changes.

During the last few years the world has seen important exhibitions, which is also true of our country, but the tendency to encompassing review, like the one at the start of the Rijeka exhibition is being abandoned. At that long-gone time of Yugoslavia’s shy opening to the world (1968), Rijeka’s interest was to attract as many (foreign) exhibitors as possible, to create cosmopolitan spirit, and organize international reviews, hoping and wishing that Rijeka would become part of that international scene.

During its first ten issues, the exhibition encompassed 79 different countries from all continents of the world and hundreds of exhibitors of all races; also every kind of citizenship, school, and expression. However, finally there were no special reasons for satisfaction, because who observed the events on the international painting scene, including to a certain extent also the drawing aspect, could get the impression that the drawing and the real drawers are somewhere else.

The greatest names did not appear any more like at the beginning, new trends were at the right time present only as reflections, the entire exhibition was not any more a real overview of the drawing situation in the world, but a survey of works of interested exhibitors who participated on their own initiative. The organizers could not closely observe what happened with the drawing in Yugoslavia (Belgrade, Zagreb) and even less in Europe or the world either through personal contacts or exhibitions, or even through literature and publications of that sort. Occasional, rare and belated information was not enough for regular and complete education of curators working at the exhibition. The general economic crisis certainly affected all other aspects of

dobio se dojam da su crtež i oni pravi crtači – negdje drugdje. Najveća imena više se nisu pojavljivala kao na početku, novi su trendovi tek u odjecima bili prisutni u pravo vrijeme, cjelokupna izložba nije bila pravi pregled stanja crteža u svijetu, već stvaralaštva zainteresiranih izlagača koji samoinicijativno sudjeluju. Organizatorima nije bilo moguće pratiti izbliza zbivanja s crtežom ni u Jugoslaviji (Beograd, Zagreb), a kamoli u Europi ili u svijetu, ni putem osobnih kontakata, ni preko izložaba, pa čak ni preko literature i publikacija toga tipa. Povremene, rijetke i neblagovremene ili zakašnjele informacije nisu bile dovoljne za pravilno i potpuno obrazovanje kustosa koji na izložbi rade. Sveopća gospodarska kriza svakako se odrazila i na sve ostale vidove života, kulture, pa i galerijskog djelovanja. Često je i političko-ekonomska nestabilnost Jugoslavije bila jedan od uzroka izostajanja pošiljaka za međunarodnu izložbu najvrednijih autora.

Unatoč svemu, kasnih se 80-ih godina nastojalo pronaći rješenje za revitalizaciju i reorganizaciju bijenala crteža, a ideja se iskristalizirala upravo nakon jedanaeste izložbe u razgovorima s članovima i predsjednikom Međunarodnog žirija, svjetski priznatim muzejskim inovatorom Pontusom Hultenom koji je najviše i zagovarao stvaranje sekcija, njihovo odvojeno izlaganje te naglašavanje novom izložbom grupe koja je kvalitetom radova najviše odskočila, tzv. skulpturalne grupe. Hulten je predložio prezentaciju takve vrste crteža na sljedećoj, XII. međunarodnoj izložbi crteža 1990. godine. Moderna galerija prihvatila je ideju i povjerila Pontusu Hultenu, jedinom selektoru, koncepciju izložbe i odabir grupe do tridesetak izlagača iz raznih zemalja Europe, Amerike i drugih kontinenata, koji stvaraju skulpturalne crteže, a da nisu nužno i sami skulptori. Tako je zaživio nov koncept Međunarodne izložbe originalnog crteža prema načelu: jedna tema – jedan selektor, i prešlo se od prezentacijskog oblika stanja na problemski pristup, ali nije više bilo natjecateljskog karaktera, tj. izložba je ostala bez nagrada i otkupa. Smanjen je broj izlagača, povećao se broj crteža

life, culture, and even gallery activities. Political and economical instability of our country was often one of the causes for the absence of the works of the most valuable authors at the international exhibition.

In spite of everything, during late 80s there was an attempt at finding a solution for revitalisation and reorganisation of the Biennale of Drawings. The idea took on its shape after the 11th Exhibition in conversations with the members and the president of the international jury, the renowned museum innovator Pontus Hulten, who most persistently advocated the forming of sections, their separate display, as well as stressing them by a new exhibition of a group that stood out most, the so-called “sculptural” one. He suggested a presentation of this kind of drawings at the next, 12th International Exhibition of Drawings in1990. Modern Gallery accepted this idea and entrusted Pontus Hulten, the only commissioner, with the concept of the exhibition and selection of a group up to 30 exhibitors from different European, American and other countries, who create drawings of sculptural kind, although they are not sculptors. In this way, a new concept of the International Exhibition of Original Drawings came to life. It followed the model: one topic – one commissioner and the transition from the presentational form to problem-related approach, but competition character was discontinued, there were no more awards and purchases. The number of exhibitors was decreased, the number of drawings that represented the authors was increased, which contributed to better understanding and appropriate viewing of each particular work, as well as the general picture. As in this way about 200 works were shown, the layout of the exhibition was improved, the venue became less cramped and the entire project more compact. A luxury version of the accompanying publication by the designer Luka Gusić from Zagreb was issued, with colour reproductions, introductory text – a study on (sculptural) drawing by the commissioner of the exhibition as an explanation of the topic selection, as well as critical essays

s kojima su autori bili zastupljeni, a to je pridonijelo boljem razumijevanju i sagledavanju rada svakoga posebno i cjeline općenito.

Kako je time prikazano oko dvjesta radova, povećala se preglednost cjelokupne izložbe, smanjila natrpanost prostora i postigla veća kompaktnost cijelog projekta. Tiskana je raskošnija publikacija dizajnera Luke Gusića (Zagreb) s reprodukcijama u boji, uvodnim tekstom – studijom o (skulpturalnom) crtežu selektora izložbe, obrazloženjem izbora teme te popratnim kritičkim esejima nekih od vodećih europskih i američkih likovnih kritičara, kustosa ili samih autora. Budući da se s pripremama kasnilo, XII. međunarodna izložba crteža otvorena je tek krajem 1990. i trajala je do početka 1991. godine. S time se poslije nastavilo zbog tehničko-organizacijskih razloga, ali se ta odluka u konačnici ipak nepovoljno odrazila zbog nedovoljne fluktuacije publike u vrijeme božićno-novogodišnjih blagdana i zimskih praznika školske i studentske populacije. Poslije se prešlo i na trijenalni ritam održavanja međunarodnih izložaba.

XII. DC Skulptorski crtež, 1990.–91., otvorenje: Daina Glavočić, Želimir Koščević i Željko Lužavec/Sculptural Drawing, opening

XII. DC Skulptorski crtež, 1990.–91., postav izložbe/Sculptural drawing, 1990-1991 exhibition display

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XII. DC Gregory Mahoney, Skala Zemljine zakrivljenosti/The Scale of the Earth’s Curvature, 1988.–1990., MMSU-1673 48

XIII. DC Jarrod Lane Linton, ÄŒetkice za zube 1/ Toothbrushes 1, 1994., MMSU-1820-1 49

XIII. DC Dizajnerski crtež, 1995., okrugli stol, 30. ožujka1995.: Marijan Susovski, Stane Bernik, Daina Glavočić i Berislav Valušek/Design Drawing, panel discussion, March 30th, 1995

XIII. DC Dizajnerski crtež, 1995., otvorenje izložbe: Berislav Valušek, Zvonko Maković, Stane Bernik i Slavko Linić/Design Drawing, exhibition opening

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Zbog ratnih godina na našem tlu, preskočena je uobičajena parna, 1992. godina jer je Hrvatska bila zona visokog rizika pa autori nisu bili skloni slati svoja djela ni s najskupljim osiguranjem. Prema novom je sustavu organizirana i XIII. međunarodna izložba crteža 1994./1995., po odluci Moderne galerije odabrana je tema bila dizajnerski crtež, a za koncept i selekciju pozvan je dr.

Stane Bernik iz Ljubljane, stručnjak na tom području. Izložba je unijela novine, ali je izazvala i mnogo muke jer je vrsta originalnoga dizajnerskog crteža, koju se nastojalo dobiti za izložbu, za mnoge dizajnere bila tek početna skica koja se baca, a one perfekcionistički dotjerane nisu bile cilj izložbe. Željelo se predstaviti dizajnerske ideje i misli pretočene u liniju crteža te razvoj umjetnikove zamisli na papiru. Konačno odabrani crteži 55 autora iz raznih zemalja te jednog njujorškog studija s dvanaestak autora (Smart Design) pokazali su sve bogatstvo i različitost poimanja, izvođenja i prikazivanja crteža, te je i opet aktualizirano staro pitanje: Što je crtež? Gdje počinje, a gdje završava?

Izložba je pobudila veliko zanimanje i publike i umjetnika, a muzej je obogatio svoju zbirku crteža s više od stotinu darovanih novih djela.

by leading European and American art critics, curators or authors of the works. Because preparations started late, the 12th International Exhibition of Drawings was opened by the end of 1990, so that it was extended into the beginning of 1991, which later turned into favourable practice for technical and organisational reasons, but in the end very unfavourable because of the insufficient fluctuation of the public at the time of Christmas and New Year holidays and winter vacations of pupils and students. Later on, international exhibitions were held triennially.

Because of the wartime in Croatia, the usual even year, 1992, was skipped, because Croatia was a high risk zone and authors were not willing to send in their works even with most expensive insurance. The 13th International Exhibition of Drawings was organized in 1994 / 1995, according to the new system. Modern Gallery decided that its topic should be designer drawing, and the appointed commissioner for the concept and selection was Stane Bernik from Ljubljana, an expert in this field. The exhibition was made in a new, but also painstaking way, because the kind of original designer drawing that was intended for the exhibition was for many designers just the initial sketch that they threw away, while the perfectly finished ones were not the aim of the exhibition. The idea was to present designer ideas and thoughts converted into the line of the drawing and the development of their concept on paper. The finally selected drawings by 55 authors from different countries, as well as one New York studio with about a dozen authors (Smart Design) showed all the richness and differences of perception, execution and presentation of drawings, so that the old question was actualized: What is a drawing? Where does it begin and where does it end? The exhibition got a lot of attention both from the public and the artists, and the museum’s collection of drawings was enhanced by over a hundred new donated works. The catalogue and poster were designed by Graffiti Design, Samobor (Borčič, Pavlović, Reljan-Musulin).

XIII. DC Lahav Gil, Dlijeto i malj/Chisel and Hammer, 1987., MMSU-1825 51

XIV. DC Mort Walker, Beetle Bailey 1-4/Beetle Bailey 1-4, 1998., MMSU-5230 52

Budući da se novoprihvaćeni koncept jedna tema – jedan selektor pokazao uspješnim, sljedeća je, nakon trideset godina trajanja, XIV. međunarodna izložba crteža 1998./1999. prikazala strip-crtež u selekciji Darka Glavana iz Zagreba, zanimljiv svim starosnim generacijama zbog specifičnog likovno-verbalnog jezika, popularnog medija masovne komunikacije. Izlagalo je mnogo poznatih autora strip-junaka, uz dodatna događanja i samostalne izložbe.

Oblikovanje raskošnog, dvojezičnog kataloga povjereno je svjetski poznatom imenu u području dizajna i stripa Mirku Iliću (New York), a postav izložbe i izgled kataloga prilagođeni su obrascu stripova. Uz uvodne tekstove selektora te gostiju Michaela Hilla (Sideny) i Vibeke Christiansen (Skandinavija), predstavljeno je 140 značajnih autora iz zemlje i svijeta, uz popratne izložbe velikana hrvatskog stripa Waltera Neugebauera i svjetskoga velikana Mirka Ilića, te dokumentarna izložba japanskog stripa Manga Energy.

XV. međunarodna izložba crteža održana 2001./2002., zbog nepovoljnih je organizacijskih i materijalnih okolnosti produžila razmak između dviju izložaba, prešla na trijenalni ritam te je nakon desetljeća jednotematskih izložaba zakratko vraćena na stari način organizacije, i upravo te godine “hommage je njezinu idejnome tvorcu i dugogodišnjem ravnatelju Moderne galerije Rijeka, dr. Borisu Vižintinu (1921.– 2001.), ‘iznimno dalekovidnome muzejskom direktoru’” (Pierre Rouve). Opet su pozvana 42 autora, a ostalih je 126 autora odabrano natječajem. Radila su dva tijela: Komisija za izbor radova i Međunarodni žiri za dodjelu nagrada – Grand Prix i otkupne nagrade. Uz glavnu, priređene su i tri prateće tematske izložbe: Drawing Against Method (B. Cerovac, S. Salomon), Zidovi i prostor (B. Franceshi) i Kaos-Art (B. Cerovac). Uz uvodne tekstove o izložbi i uobičajene informacije o članovima žirija, svaki je autor bio zastupljen jednom reprodukcijom i kratkom biografijom.

As the newly accepted concept, one topic – one commissioner proved successful, the next, 14th International Exhibition of Drawings in 1998/1999, after 30 years of existence, showed cartoon strip drawings selected by Darko Glavan from Zagreb, a topic interesting to all generations because of its specific artistic vernacular, a popular medium of mass communication. Many renowned authors and cartoon heroes were exhibited, along with additional events and individual exhibitions. The design of a bilingual, opulent catalogue was entrusted to an internationally acknowledged author in the field of design and cartoon drawing, Mirko Ilić (New York), while the set up of the exhibition and the appearance of the catalogue were adjusted to the cartoon strip medium.

Along with introductory texts by the selector and the guests, Michael Hill (Sydney) and Vibeke Christiansen (Scandinavia), 140 important domestic and international authors were presented along with accompanying exhibitions featuring the great Croatian cartoonist Walter Neugebauer, the contemporary international top class artist Mirko Ilić, and the documentary exhibition of Japanese cartoon strip Manga Energy.

The 15th International Exhibition of Drawings in 2001/2002 has, for different unfavourable organizational and material circumstances, extended the pause between two exhibitions, changed to a triennial rhythm, and after a decade of singletopic exhibitions reverted to the old model of organization, but for a short period only.

In the death year of the founder of the exhibition of drawing, it presented “homage to its spiritual creator and long-time director of the Modern Gallery in Rijeka, Boris Vižintin (1921-2001), an especially long-sighted museum director (Pierre Rouve).” Again 42 authors were invited, while the other 126 were selected in a competition. Two bodies held their sessions: the Selection Commission and the International Jury for Awards – the Grand Prix and purchases. Apart from the central exhibition, three accompanying ones were set up: Drawing against Method

XIV. DC Strip crtež, 1998.–99., okrugli stol: Ervin Rustemagić, Darko Glavan, Hermann Hupenn, Krešimir Zimonić, Darko Macan i Ljubica Dujmović Kosovac/Cartoon Strip Drawing, 1998-1999, panel discussion

XV. DC 2001.–02., otvorenje izložbe: Hrvoje Giacconi, Ljubica Dujmović Kosovac, Vojko Obersnel i Marijan Susovski/exhibition opening

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XV. DC Grand Prix: Samuel Walsh, Crte탑 281/ Drawing 281, 2001., MMSU-2238 54

XV. DC Grand Prix: Samuel Walsh, Crte탑 279/ Drawing 279, 2001., MMSU-2238 55

XV. DC Davor Vrankić, Iz ciklusa Promatrači/Les Observeurs/Observers, 2001., MMSU-2247 56

XV. DC Damir Stojnić, Jeleni/Deer, 1999., MMSU-2236 57

Muzej moderne i suvremene umjetnosti je XVI. međunarodnu izložbu crteža 2004./2005. opet vratio konceptu jedna tema – jedan selektor, no selektor Branko Franceshi (Zagreb) odustao je od tradicionalne umjetničke crtačke podloge, odnosno medija na kojem se crtež do tada najčešće prikazivao, i predložio šesnaestorici odabranih autora intervencije crtežom izravno na izložbene zidove, neposredno prije otvorenja izložbe, uključivši performanse dodatnog “doslikavanja” jednog rada “bombardiranjem” kondomima ispunjenim crnilom. Iako je bilo zanimljivo svjedočiti višednevnom nastajanju svih radova u izložbenom prostoru, komunicirati s autorima ili izvođačima njihovih ideja (studentima riječke Akademije likovnih umjetnosti), ipak je kustosima ostao gorak okus u ustima jer nakon izložbe nije zabilježen nikakav trag od izloženih radova u muzejskoj zbirci crteža. U Malom salonu su već uobičajeno tri popratne izložbe prikazale tradicionalni crtež T. Ćeranića (I. Župan), konceptualni B. Dimitrijevića (N. Dimitrijević) i povijesno-avangardni B. Rašice iz fundusa MMSU-a (D. Glavočić), s tekstovima integriranim u zajednički dvojezični, bogato ilustrirani katalog, s uvodnim tekstom selektora, koji je dizajnirao Aljoša Brajdić (Rijeka).

XVI. DC

XVII. međunarodna izložba crteža 2008./2009., baveći se animacijom crteža pod naslovom Do posljednjeg crteža, prikazuje animirani crtež po izboru selektorice Vanje Hraste (Zagreb) koja je u uvodnom

Claus Carstensen, A.M.E.R.I.K.A. N.A. D.J.E.L.U. (pred zidom)/ A.M.E.R.I.C.A. A.T. W.O.R.K. (up against the wall), 2004.

XVI. DC Crteži na zidu, 2004.–05., sudionici: Tomislav Buntak, Zdravko Milić, Damir Stojnić, Duje Jurić, Paolo Canevari i Claus Carstensen/Mural Drawings, 2004-2005, paticipants 58

(B. Cerovac, S. Salomon), Walls and Space (B. Franceschi), and Chaos-art (B. Cerovac).

Apart from the introductory texts about the exhibition and the usual information on jury members, each author was represented by one reproduction and a short biography.

In 2004/2005, at the 16th International Exhibition of Drawings, MMCA reverted to the concept one topic – one commissioner; the selector Branko Franceschi (Zagreb) gave up the traditional artistic drawing ground, i.e. the medium that previously usually served for presenting drawings and suggested to the sixteen selected authors to directly intervene on venue walls, immediately before the opening of the exhibition, including the performance of additional “painting” of one work by “bombardment” with condoms filled with Indian ink. Although it was interesting to witness the several days’ emergence of works at the exhibition venue, to communicate with authors or performers of their ideas (students of the Rijeka Academy), the curators still had a bitter feeling at the end, because after the exhibition there remained no trace of the exhibited drawings in the museum collection.

At the Mali salon the usual three accompanying exhibitions showed traditional drawing

by T. Čeranić (I. Župan), conceptual drawing

by B. Dimitrijević, and B. Rašica’s historical and avant-garde drawing from MMCA holdings (D. Glavočić), with texts integrated into a common, bilingual, richly illustrated catalogue with the commissioner’s introductory text, designed by Aljoša Bradić (Rijeka).

The 17th International Exhibition of Drawings in 2008 / 2009, focused on the animation of drawings. It was titled To the (Very) Last Drawing and showed animated drawings selected by the commissioner Vanja Hraste (Zagreb), who in her introductory texts explained her reasons for selecting fifteen internationally renowned authors.

For the first time a designer (Darko Fritz) was involved into the set up of the exhibition. He presented grouped works on black continuing tape, so that along with animation phases, film sequences in the form of original drawings on paper, a screen with

XVI. DC Duje Jurić, Progresso®8911/6B, 2004.

XVI. DC Crteži na zidu, 2004.–05.: Branko Franceschi s asistentima radova na izložbi, studentima Filozofskog fakulteta, Odsjek za likovnu kulturu/Mural Drawings, 2004-2005: Branko Franceschi with drawing assistants, students of the Faculty of Humanities, Fine Arts Department 59

tekstu objavila razloge svojeg izbora petnaestorice autora svjetskoga glasa. Prvi je put u postavu izložbe angažiran dizajner (D. Fritz) koji je animirane filmove prikazao na ekranu paralelno sa serijom pripremnih originalnih crteža, sekvencija filma. Tu se pokazalo koliko ima različitih pristupa istome cilju, ali i sve češće napuštanje tradicionalnog crtanja svih faza rukom i uporaba tehnologije (fotokopirki, kompjutora). Dvojezični ilustrirani katalog izložbe i malu programsku knjižicu raznovrsnih događanja uz sedamnaestu izložbu crteža oblikovao je Aljoša Brajdić (Rijeka).

XVII. DC Crtež i animacija/Drawing and Animation, 2008.-09., Andreas Hykade, Kržljavi/The Runt, 2006.

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U Malom salonu organizirane su uobičajene dvije prateće izložbe – izložba originalnih crteža Regine Pessoae iz filma Tragična priča sa sretnim završetkom i izložba povijesnih originala Zagrebačke škole crtanog filma (V. Hraste), dok je za studente Edo Lukman (Čakovec) upriličio edukativni program – radionicu animiranog filma. Uza sve to, u novootvorenom riječkom Art-kinu Croatia više su dana prikazivani animirani filmovi za široku publiku.

a projection of the final film animation can be seen. This showed how many different approaches to the same goal are possible, but also the increasing abandonment of the traditional drawing by hand of all phases and the growing usage of technology (Xerox machines, computer). The bilingual illustrated catalogue of the exhibition and a small program brochure of different events along with the 17th Exhibition of Drawings were designed by Aljoša Brajdić (Rijeka).

Two usual accompanying exhibitions were organised at the Mali salon – original drawings by Regina Pessoa from the film A Tragic Story with a Happy Ending and the display of historical originals from the Zagreb School of Animated Film (V. Hraste), while Edo Lukman from Čakovec organised an educative program for students – an animated film workshop. Apart from all that, the newly opened Rijeka art film theatre Croatia for several days ran animated film programs for general public.

KAKO DALJE WHAT NEXT?

Kako i koliko će se još na ovaj način održavati Međunarodna izložba crteža teško je prognozirati s obzirom na promjene u društvu i u umjetnosti, najave financijskih kriznih situacija u svijetu i u našoj zemlji, pa i u budžetu MMSU-a, a posebice s obzirom na izgradnju nove muzejske zgrade i preseljenje u nju. Svaka promjena izvan muzeja, kao i u njemu, nužno donosi i neke teškoće pri ostvarenju velikih izložaba dok se ne uhoda organizacija na nov način. Kakvi će biti crteži odabranih autora za dvije-tri godine teško je reći jer se autorska razmišljanja, stvaralaštvo i tehnologija umjetničke prakse drastično i prebrzo mijenjaju da bi se išta moglo predvidjeti. Sigurno je jedino da niti jedno suvremeno dostignuće neće i ne može zamijeniti čovjekovu, pogotovo ne umjetnikovu, ruku i misao. Može se pretpostaviti da će na izložbama biti sve manje originalnog crteža, a sve više tehničkog, generiranog kompjutorskim programima. Hoće li crteži biti na papiru ili na ekranu ili će lebdjeti u zraku, ispisani svjetlošću – ne možemo predvidjeti. Kustosima će svakako biti teže pronaći još neobrađene teme, a još teže dokumentirati ih i arhivirati u muzejske zbirke kako bi se zadovoljili osnovni razlozi muzejskih izložaba i zbirki.

Treba se nadati i očekivati da će i nove koncepcije dati ponajbolje rezultate tek kada ih se izbrusi, kada se usavrše i ustale te kada ispune svoj raison-d’etre, ali i tada će opet trebati razmišljati o novim rješenjima dok se i taj način organizacije ne iživi i izložba postavi na neki, opet novi, način prezentacije suvremene pojavnosti crteža jer – “stalna na tom svijetu samo mijena jest”…

How and how long international exhibitions of drawings would be continued in this way is hard to tell, considering the changes in the society and even in art, the announced financial crises in the world, Croatia, and even the funding of the MMCA, especially if we consider the plan for a new museum building and moving of the museum into it.

Each change within the museum as well as outside of it necessarily brings difficulties in opening of large exhibitions until the new organisation is run in. What will the drawings by selected authors be like in two or three years is hard to tell, because the authors’ way of thinking, creative work, and technology of art practice change too quickly and radically that we could foresee anything. It is certain that no contemporary achievement can replace the human, especially the artist’s hand and the way of thinking. We can suppose that there will be less original drawings at the exhibitions and more technical ones, generated by computer programs. Will they be on paper, on screen, or just hover in the air, outlined by light – we can not foresee. One thing is certain: the curators will have increasing difficulties in finding fresh topics and even greater problems in documenting and archiving them in museum collections in order to meet basic requirements for museum exhibitions and collections.

We must hope and expect that new concepts will also yield best results only when they are refined, perfected, and stabilized, when they fulfil their “raison d’être”, but even than it will be necessary to conceive new solutions until that way of organisation is also worn out and some new way of presenting contemporary forms of drawing is set up, because “only change is constant in this world”…

Translation: Andy Jelčić 61

Ljubica Dujmović Kosovac kustosica / Curator

PLAKATI MEĐUNARODNIH IZLOŽABA (ORIGINALNOG) CRTEŽA POSTERS OF THE INTERNATIONAL EXHIBITIONS OF (ORIGINAL) DRAWINGS

Oglašavanje i propaganda u prvim desetljećima nakon Drugoga svjetskog rata na prostoru bivše SFR Jugoslavije obiluje posebnostima, osobito kada se prati oglašavanje likovnih, kazališnih i filmskih programa – još uvijek je zastupljen centralistički pristup u organizaciji/planiranju i distribuiranju programa, što je podrazumijevalo i popratne sadržaje kao što su predavanja i posjeti programima te njihovo oglašavanje. Sve se događalo pod nadzorom agitpropa koji je u svaki promidžbeni materijal ugradio tekstualne poruke s ciljem edukacije i afirmacije državne politike temeljene na novoj ideologiji. U rad propagandnih radionica/agencija poput OLIKPROPA (Odjel likovne propagande Državne agencije) i OZEHA-e (Oglasni zavod Hrvatske) uključena su poznata i priznata imena hrvatske kulture. Usporedno se od kasnih pedesetih i ranih šezdesetih godina pojavljuje praksa da se za propagandu umjesto agencija i autora uključenih u njihove timove, angažiraju likovni umjetnici koji potpisuju dizajn tiskovina (knjige, monografije, katalozi) i propagandnih materijala.

Za razliku od oglašavanja plakatima koji su nastajali u “specijaliziranim” radionicama i agencijama pod budnim okom partijskog rukovodstva, i koji su “nagovarali” i razvijali želju za posjedovanjem oglašenih sadržaja, poticali natjecateljski duh u radu i bespogovorno pripadanje ideologiji, samostalno oglašavanje programa u kulturi u plakatnim je i drugim propagandnim materijalima stvaralo želju za proširenjem informacije i vizualnom ugodom, što je dobra osnova za razvijanje nove leksike u grafičkom dizajnu.

U riječkoj likovnoj situaciji plakatno oglašavanja ima važno mjesto, na što upućuje prije ostvarena plakatna produkcija poput plakata koji su oglašavali izložbe riječkih salona i bijenala mladih umjetnika Jugoslavije, tako da će se na grafička rješenja plakata novoutemeljene manifestacije primijeniti estetika slikarstva i ostvariti sinergija između znaka i mišljenoga u smislu slikovne i tekstualne poruke.

Svako izdanje izložbe originalnog crteža prati plakat kao primarni komunikacijski oblik 64

Advertising and promotion in the course of the first decades after World War II on the territory of former SFR Yugoslavia abounds in particularities, especially in the domain of advertising programs of the visual arts, theater and cinema – wherein the centralistic approach in organizing/planning and program distribution was adhered to, implying that ancillary contents such as lectures and visits to programs and their advertising were also included. All this took place under the supervision of agitprop, which disseminated textual messages into all promotional material with the aim of cultivating and affirming the state policy based on the new ideology. The activities of these propagandistic workshops/agencies, like OLIKPROP (State Agency Department for Visual Art Propaganda) and OZEHA (Advertising Institution of Croatia), included the names of well known and recognized names in the cultural life of Croatia. Analogously, beginning in the late Fifties and early Sixties, the emergence of a practice took place in lieu of propaganda by agencies and authors employed in their teams, hence artists themselves began to sign the designs of their prints (books, monographs, catalogs) and propaganda material. As opposed to advertising with posters that came out of “specialized” workshops and agencies under the heedful eye of the party leadership that “brainwashed” and acquired desires to take possession of the advertised contents through animation of a spirit of work competition and an unquestioning affiliation with the ideology, independent advertising of programs in the poster printing culture and other forms of advertising created a desire to extend the scope of information and visual satisfaction, which is a good foundation for the development of a new reading in graphic design. In the visual art situation of Rijeka, poster advertising holds an important place, as indicated by the previously realized poster production such as the posters advertising exhibitions in the salons of Rijeka and the biennials of the young artists of Yugoslavia, so that these graphic poster solutions on the newly founded

koji je namijenjen sredini u kojoj se program održava, dok pozivnica, bilten (uz prve izložbe) i katalog imaju ulogu komunikacijskog i informacijskog posrednika u sredinama iz kojih dolaze likovni umjetnici i članovi žirija.

OD UTEMELJENJA DO PRVIH PROMJENA (1968.–1988.)

Plakatna produkcija međunarodnih izložaba originalnog crteža može se podijeliti u dva razdoblja: od prvog do desetog (1968.– 1988.) i od jedanaestog do sedamnaestog izdanja Međunarodne izložbe originalnog crteža (1990.–2008.). Podjela se temelji na formalnoj i likovno/sadržajnoj razlikovnosti.

Od prvoga do desetog izdanja izložbe su bijenalne, a od jedanaeste se izložbe vremenski razmak između izložaba povećava na tri i više godina i održava se u zimskom umjesto ljetnom terminu. Prvih deset izdanja organizira se po pravilu poziva i natječaja, a nakon desetog izdanja izložbe su tematske i autorske.

Za grafičko rješenje i prijelom prvih deset kataloga angažira se jedan, a za grafičko oblikovanje plakata drugi autor, osim za drugu i devetu izložbu originalnog crteža za koje Jože Berumen1 radi grafičko oblikovanje za katalog, plakat, pozivnicu, memorandum i logo koji je objavljen u katalogu prve izložbe, a sastoji se od početnih slova DC za riječ crtež na hrvatskom i engleskom jeziku.

Od devedesetih godina prošloga stoljeća, kao logična posljedica novih pojava u vizualnoj umjetnosti, otvara se pitanje održivosti riječke izložbe crteža u izvornoj koncepciji.

Revizija ciljeva postavljenih pri utemeljenju manifestacije neizbježna je jer je percepcija 1

Jože Brumen, slovenski arhitekt, kipar i grafičar, rođen je 14. ožujka 1930. u Mariboru gdje je 1950. završio klasičnu gimnaziju. Diplomirao je arhitekturu na Visokoj tehničkoj školi u Ljubljani 1960. te na Akademiji za likovnu umetnost u Ljubljani – katedra za kiparstvo 1963., na kojoj postaje docent 1968., izvanredni profesor 1974., a redovni 1979. godine. Surađuje s Modernom galerijom u Ljubljani koja mu 1977. priređuje samostalnu izložbu, a s Modernom galerijom u Rijeci surađuje od 1968. do 1988. godine. Ubraja se među vodeće slovenske autore za grafičko oblikovanje.

Umro je 7. prosinca 2000. u Ljubljani.

manifestations apply an estheticism of art and create a synergism between the sign and the thought in the sense of a pictorial and textual message.

Each opening of an exhibition of original drawings is accompanied by the poster as a form of primary communication with the environment in which the program is taking place, while the invitation card, bulletin (accompanying the first exhibitions) and catalog play the role of a communicative and informative go-between in the environments from which the artists and jury members are coming.

FROM ITS FOUNDING TO THE FIRST CHANGES (1968–1988) The poster production of the international exhibitions of original drawings can be divided into two periods: from the first to the tenth (1968–1988) and the eleventh to the seventeenth opening of the International Exhibition of Original Drawings (1990–2008).

This division is based on a formal and visual artistic distinction in terms of content. From the first to the tenth issue the exhibitions were biennial and from the eleventh the time intervals between exhibitions were modified to three or more years and held in the winter season instead of the summer season. The first ten issues were organized on the principle of invitations and contests, and after the tenth issue the exhibitions are thematic and authorial.

crteža proširena tako da je shvaćanje njegove uloge i mjesta u nastajanju slike od prije četrdeset godina odavna postala povijesna činjenica, iako među likovnim umjetnicima i teoretičarima ima mnogo onih koji mu ne odriču značenje u smislu samostalnoga likovnog uratka.

I plakat u dvadesetom stoljeću prolazi razdoblja propitivanja održivosti unutar novih medija. Prognoze su mu, kao i crtežu, odricale daljnju opstojnost. Danas se može sa sigurnošću tvrditi da su i jedan i drugi osigurali (su)život na art-sceni, a plakat je čak u prvom desetljeću trećeg tisućljeća svoj život “intenzivirao” tako da je formatom i tehnološkom izvedbom navijestio vrijeme koje dolazi kao svoje, ali i otvorio brojna pitanja koja zadiru u područja dugih znanosti.

in the catalog of the first exhibition, comprised of the initial letters DC to designate the word for drawing in the Croatian and English language.

Since the 1990s, as a logical consequence of new developments in visual art, the question arose regarding the maintenance of the Rijeka exhibition of drawings in its original form. A revision of the goals laid out when the manifestation was founded is inescapable because the perception of drawing has expanded so that the apprehension of its place and role in the creation of a picture forty years ago has long since become a historical reality, in spite of the fact that among artists and theoreticians there are many of them who do not deny its significance in the sense of an independent visual artwork.

In the twentieth century the poster also went through periods of enquiry with regards to its sustainability within the new media. The forecasts, like in the case of drawings, disavowed the poster’s further viability. Today we can assert with certainty that one and the other have secured their (co)existence on the art-scene, and the poster has even “intensified” its life in the first decade of the third millennium in the sense that its format and technological design heralds a future time that will be theirs, but also opens numerous issues that encroach upon other fields of science.

Only one author was engaged on the graphic design and layout of the first ten catalogs, whereas the graphic design for the poster was by another author, save for the second and ninth exhibitions of original drawings for which Jože Brumen1 did the graphic design for the catalog, poster, invitation cards, memorandum and logo that was printed 1

Jože Brumen, Slovenian architect, sculptor and graphic artist, was born on March 14, 1930 in Maribor where he finished the lyceum in 1950. He was granted a degree in architecture at the four-year technical college in Ljubljana in 1960, as well as the Visual Arts Academy in Ljubljana – Department of Sculpture in 1963, where he became assistant lecturer in

1968, associate professor in 1974, and full professor in 1979. He collaborates with the Modern Gallery in Ljubljana where his one-man exhibition was held in 1977, and with the Modern Gallery in Rijeka he collaborated from 1968 to 1988. He is considered one of the leading Slovene authors in graphic design. He died in Ljubljana on December 7, 2000.

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PLAKATNA PRODUKCIJA 1968.–1988.

POSTER PRODUCTION 1968–1988

U razdoblju od 1968. do 1988. riječka Moderna galerija priredila je deset izdanja međunarodnih izložaba originalnog crteža i tiskala deset plakata koji su oglašavali ove programe.

Iz sačuvane arhivske građe zaključuje se da je Moderna galerija važno mjesto u oglašavanju izložbe posvetila plakatu koji je s komunikacijskoga gledišta davao cjelovitu informaciju o programu, ali i uspješno ostvario kriterij suvremenog dizajna. Budući da nema pisanih tragova o raspisivanju natječaja za grafičko oblikovanje kataloga, plakata i pozivnice, može se zaključiti da je za dizajn plakata Međunarodne izložbe originalnog crteža po pozivu angažiran Ivan Picelj, a za prijelom kataloga i grafičko oblikovanje naslovnice kataloga Jože Brumen kojemu se pripisuje i logo manifestacije.

Pripreme za otvorenje izložbe otpočele su imenovanjem komisija, organizacijskog odbora i uključivanjem velikog broja suradnika radi logistike u zemljama iz kojih su se očekivali likovni umjetnici, te objavljivanjem prvog broja Biltena u kojemu se obrazlaže koncepcija manifestacije i razlozi njezina utemeljenja. S gledišta reklame i propagande, Bilten donosi strategiju propagande koja obuhvaća skupine kao što su posjetitelji, turističke zajednice (hoteli, organizirana ljetovanja) i privredni subjekti (otkupi, otkupne nagrade i dotok financijskih sredstava), te strategiju komunikacijskog približavanje inozemnim kulturnim središtima na svim kontinentima. Kako je riječ o oglašavanju likovnog programa, imamo li na umu oblike strategije i ciljeve, Moderna galerija Rijeka grafičko oblikovanje promidžbenih materijala smatra važnim čimbenikom u stvaranju slike o manifestaciji u zemlji i inozemstvu.

Grafičko oblikovanje plakata prvog izdanja Međunarodne izložbe crteža potpisuje Ivan Picelj2, prijelom kataloga svih deset izložaba Jože Brumen, a tiskani su u tiskari ČGP Delo u Ljubljani i GP Tipograf u Rijeci.

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Ivan Picelj (1924.) suosnivač je Grupe EXAT 51 (Eksperimentalni atelje) i autorski tvorac brojnih projekata koji su realizirani u Zagrebu ranih šezdesetih godina prošlog stoljeća i jedan od autora Manifesta posvećenog apstraktnoj umjetnosti i zahtjevu za potpunom slobodom umjetničkoga izražaja i eksperimentiranja.

Tih godina postaje članom Galerije Denise René u

In the period from 1968 to 1988 the Modern Gallery of Rijeka organized ten issues of international exhibitions of original drawings and printed ten posters that advertised these programs. From the preserved archival depository it may be concluded that the Modern Gallery dedicated importance to public promotion of the exhibitions by means of the poster whose communicatory aspect provided complete information on the program, but also a successful realization of the criteria of contemporary design. Since there are no written records inviting tenders for graphic designs of catalogs, posters and invitation cards, it may be concluded that Ivan Picelj was engaged for the poster design, whereas the catalog layout and graphic design of the catalog’s title page as well as the logo for the manifestation was attributed to Jože Brumen.

Preparations for opening exhibitions began with the appointment of committees, an organization board and the inclusion of a large number of co-workers for the logistics in the countries from which artists were expected, in addition to the publication of the first edition of the Bulletin that elaborated on the manifestation’s concept and reasons for its implementation. From the aspect of advertising and propaganda, the Bulletin sets forth the propaganda strategy that embraces the various groups such as visitors, tourist associations (hotels, organized vacations) and business operators (buy-offs, buy off awards and inflow of financial means), as well as the strategy of communicatory convergence with cultural centers abroad from all continents.

Since we are talking about the public promotion of a visual art program, if we bear in mind the strategic forms and aims, the Modern Gallery of Rijeka considers graphic designing of promotional material an important factor in creating an image of the manifestation at home and abroad. The graphic design of the poster for the first and fourth issue of the International Exhibition of Drawings bears the signature of Ivan Picelj2, the layout 2

Ivan Picelj (1924) is co-founder of Group EXAT 51 (Experimental Atelier) and author of numerous projects that were realized in Zagreb in the early 1960s and

Angažiranje Ivana Picelja za dizajn plakata i pozivnice prvog DC-a, Modernu galeriju u Rijeci posredno ubraja među kulturne subjekte u Jugoslaviji koji stvaraju uvjete i otvaraju prostor zagovornicima novih pojava u hrvatskoj umjetnosti u drugoj polovici dvadesetog stoljeća. Grafičko rješenja snažnoga simbolskog značenja i čitljive poruke sukladne polaznim kriterijima i ciljevima manifestacije, odlike su plakata koji prati prvo izdanje Međunarodne izložbe originalnog crteža. Autor je u jednakim razmacima rasporedio istovjetne forme različita kolorita i s minimalnom količinom teksta.

Dizajn i prijelom kataloga, pozivnice i plakata II., IV. i IX. međunarodne izložbe originalnog crteža potpisuje Jože Brumen. U grafičkom rješenju Brumen polazi od linije kao čitljivog traga – što je u suglasju s kriterijem odabira prispjelih radova na natječaj izložbe. Na naslovnici kataloga druge izložbe Jože Brumen razrađuje ideju postavljenu u rješenju naslovnice prvog kataloga, što će kao pravilo biti primijenjeno na svako sljedeće rješenje do 1988. godine. Plakat druge izložbe istoga je grafičkog polazišta kao i katalog. Četiri pravokutna, gotovo kvadratna polja ispunjena su fluorescentnom crvenom bojom unutar kruga. Monotoniju rasporeda geometrijskih oblika (pravokutnik i krug) razbija tankom crtom koju u središtu dopunjuje brojevima. Po svom je grafičkom rješenju inovativan i u suglasju s idejama konceptualne umjetnosti, a s aspekta grafičkog oblikovanja i tehničke izvedbe zadržava visok standard. Treća međunarodna izložba originalnog crteža održana je od 30. lipnja do 30. rujna 1972. godine. Kao i u prethodna dva kataloga, prijelom potpisuje Jože Brumen, plakat i pozivnicu Mihajlo Arsovski3.

Parizu, specijalizirane za konstruktivističku umjetnost.

Galerija mu priređuje izložbe i izdaje grafičke mape s popratnim tekstovima Michela Seuphora, Victora Vasarelyja i drugih. Početkom 1960-ih godina Zagreb je, organizacijom brojnih izložaba Novih tendencija na prijedlog Ivana Picelja, a zahvaljujući njegovim međunarodnim vezama, postao jedan od najjačih središta međunarodnoga neokonstruktivističkog pokreta.

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Plakati Mihajla Arsovskog prepoznatljivi su po primjeni kolaža, fotomontaže i citiranja, ali moždanajviše po raskošnim tipografskim rješenjima koja

I. DC 1968., MMSU-2665 GrafiÄ?ko oblikovanje/Design: Ivan Picelj 67

of the catalog for all ten exhibitions was by Jože Brumen, and the printing was executed by printing house of ČGP Delo in Ljubljana.

The engagement of Ivan Picelj for the poster design and invitation card to the first DC indirectly ranked the Modern Gallery in Rijeka among the cultural entities in Yugoslavia that create conditions and open avenues to the advocates of new developments in Croatian art during the second half of the 20th century. The graphic solution with its powerful symbolic significance and readable message congruent with the initial criteria and goals of the manifestation, are the features of the poster that accompanied the first International Exhibition of Original Drawings. In equal spatial arrangement the author puts together identical forms of different colors and uses a minimum amount of words.

III. DC 1972., MMSU-5584 Grafičko oblikovanje/Design: Mihajlo Arsovski

IV. DC 1974., MMSU-5585 Grafičko oblikovanje/Design: Jože Brumen 68

The catalog design and layout, invitation cards and posters for the 2nd and 9th International Exhibition of Original Drawings were signed

by Jože Brumen. In the graphic arrangement Brumen starts from the line as a readable clue – which is in compliance with the criteria for selecting the contestant works that arrived for the exhibition. On the cover of the catalog of the second exhibition, Jože Brumen elaborates on the idea used as a solution for the cover of the first catalog, and as a rule this will be applied on each following solution until 1988. The poster for the second exhibition applies the same graphic point of departure used in the catalog. Six rectangular, all but square fields filled with a light-green shade of color. He installs a circle in four of the fields.

The monotony of arrangement of geometrical forms (rectangle and circle) is broken with a one of the authors of the Manifesto dedicated to abstract art and demand for entirely free artistic expression and experimentation. In those years he became member of the Gallery Denise René in Paris, specializing in the modern art movement of constructivism.

The Gallery organized his exhibitions and published a graphic portfolio with accompanying texts by Michel Seuphor, Victor Vasarely and others. In the beginning of the 1960s Zagreb organized a number of exhibitions of New tendencies upon suggestions from Ivan Picelj, and thanks to his international connections, became one of the most potent centers of the neoconstructivist movement.

Katalog je tiskan u ČGP-u Delo u Ljubljani.

U odnosu na naslovnicu kataloga, plakat je riješen figurativnom simbolikom. U prvom je planu lik Mona Lise izveden fotoobradom. Za grafičko rješenje plakata korišten je fotografski predložak koji je nastao kolažiranjem obrađene fotografije Mona Lise, a u pozadini je multiplicipiran broj tri tako da tvori crnu strukturu u središtu plakata.

Tekst je rasporedio u tri grupe smještene u donjem dijelu plakata. Fotografiju potpisuje Petra Dabac.

Tomaž Kržišnik4 autor je plakata V. međunarodne izložbe originalnog crteža (1976.) na kojem dominira olovka koja simbolizira tradicionalnu alatku za crtež. Ispod je broj pet koji označava peto izdanje izložbe. Kao i rješenje plakata za prethodnu izložbu, i ovo se oslanja na prepoznatljivu formu koja preuzima simbolsko značenje i otvara komunikaciju u željenom smjeru. Šesta međunarodna izložba originalnog crteža organizirana je kao jubilarna, što nije istaknuto na plakatu koji potpisuje Ante Kuduz.5 Kondenzirana, crtački uravnotežena forma dominira sredinom plakata simbolizirajući crtež kao bitnost i određenost manifestacije. Tekstualno nije naglašena njezina jubilarnost. su u nekim serijama i jedini prisutan element. U njima je kombinirao različite veličine i tipove slova, kompozicijski pritom razbijajući rečenice i redove, a eksperimentirao je i sa samom tehnikom tiska.

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Tomaž Kržišnik rođen je u Žirehu (Slovenija). Završio je Višu pedagošku školu u Ljubljani, a na Akademiji lijepih umjetnosti u Varšavi magistrirao je 1968. ilustraciju knjige. Godine 1975. dobio je nagradu Prešernovega sklada za likovno rješenje predstave Zlata ptica. Kratko je surađivao s Muzejom moderne umjetnosti u Rijeci.

Ante Kuduz (Podsoj, 1935.) upisuje 1951. Školu primijenjenih umjetnosti u Zagrebu. Grafički odjel Akademije likovnih umjetnosti u Zagrebu polazi od 1956. do 1961. Te godine postaje član Udruženja likovnih umjetnika Hrvatske. Izlagao je na mnogim samostalnim i grupnim izložbama u zemlji i inozemstvu. Za svoj rad dobio je brojne nagrade i priznanja. Na Akademiji likovnih umjetnosti u Zagrebu radi kao redovni profesor. Potpisuje dizajn plakata VI. DC u Rijeci.

thin line whose center is supplemented by numbers. The graphic solution is innovative and in accordance with the ideas of conceptual art, whereas from the aspect of graphic design and technical execution it retains a high standard. The third international exhibition of original drawings was held from June 30 to September 30, 1972. As in the previous two catalogs, the layout was signed by Jože Brumen, and the poster and invitation card by Mihajlo Arsovski3. The printing company of the Catalog was ČGP Delo in Ljubljana.

By comparison with the catalog cover, the poster is resolved through figurative symbolism. The foreground depicts the image of Mona Lisa executed by means of photoprocessing. The graphic design of the poster used a photographic pattern carried out by making a collage of the photo-processed Mona Lisa, while the background depicts a replicated number three so that it creates a blacker structure in the center of the poster.

Tomaž Kržišnik4 is author of the 5th International Exhibition of Original Drawings (1976) in which the pencil predominated as the symbolically traditional tool of drawing. The lower part depicted the number five to indicate the fifth issue of the exhibition. Similar to the solution for the previous poster, this one also relied on the recognizable pattern that acquired a symbolic purport and opened communication in the desired direction.

The text is arranged into three grey blemishes situated in the lower part of the poster. The photography bears the signature of 3

The posters by Mihajlo Arsovski are recognizable by their application of collage, photo montage and citation, but perhaps mostly for their opulent typographical solutions that are in some series the sole immanent element. They combine varying letter sizes and fonts, compositionally breaking up sentences and lines. He also experimented in printing techniques.

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Tomaž Kržišnik was born in Žireh (Slovenia). He finished Teachers Training College in Ljubljana, and was awarded a Master’s Degree at the Academy of Fine Arts in Warsaw in 1968 in the field of book illustration. In 1975 he won the Prešernovega sklada prize for his visual art solution for the theatrical performance of The Golden Bird. His collaboration with the Museum of Modern Art in Rijeka was brief.

VI. DC 1978., MMSU-5583 Grafičko oblikovanje/Design: Ante Kuduz 69

VII. DC 1980., MMSU-5592 Grafičko oblikovanje/Design: Boris Bućan 70

Sedmu međunarodnu izložbu originalnog crteža prati plakat Borisa Bućana6, koncipiran kao skup znakovlja koji grade informaciju o nastanku crteža u dalekoj prošlosti i širok spektar suvremenih alata koji se rabe za njegovu izvedbu.

Osma međunarodna izložba originalnog crteža priređena je, kao i prethodne izložbe, prema standardnim organizacijskim pravilima. Prijelom kataloga i za ovo izdanje potpisuje Jože Brumen, a grafičko oblikovanje plakata Mladen Galić. Desetim izdanjem plakata Međunarodne izložbe originalnog crteža zatvara se iznimno plodno razdoblje u organizaciji ovih izložaba, nakon koje dolazi do bitnih promjena i u koncepciji manifestacije i u propagandnim materijalima, što se vidi u obliku kataloga, oblikovanju naslovnice, prijelomu i grafičkom rješenju plakata.

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Boris Bućan (Zagreb, 1947.) završio je Školu primijenjene umjetnosti u Zagrebu 1967. godine. Diplomirao je na Akademiji likovnih umjetnosti u Zagrebu 1972., a 1982. realizirao je, sada već legendarno, rješenje plakata za balet Igora Stravinskog Žar ptica. Upravo je to rješenje plakata stavljeno na naslovnicu kataloga opsežne izložbe o povijesti dizajna plakata, održane u londonskom Victoria & Albert Museumu 1998. godine. Ovo djelo zauvijek je ostalo u Bućanovu promišljanju dizajna i slike unutar poruke pa se može smatrati logičnim da mu se vratio, nakon duže stanke i po matrici formalnih elemenata na kojima je Žar ptica nastala, i osmislio novi slikarski ciklus nazvan Majka guska, po još jednome djelu baštine, klasične glazbe – Ravelovoj istoimenoj simfoniji. Svojim dizajnerskim rješenjima obilježio je hrvatski dizajn druge polovice prošlog stoljeća.

Petar Dabac. The 6th International Exhibition of Original Drawings was organized as a jubilee, but this was not accentuated on the poster signed by Ante Kuduz.5 A condensed, balanced form dominates the central part of the poster symbolizing the drawing as the essence and explicitness of the manifestation. The text does not stress its jubilee.

The 7th International Exhibition of Original Drawings is accompanied by a poster by Boris Bućan6, conceived as an assemblage of signs that put together information about the emergence of the drawing in the distant past and the broad spectrum of modern tools that are used in its making.

The 8th International Exhibition of Original Drawings was prepared like the previous exhibitions, in accordance with the standard organizational rules. The catalog layout for this issue was signed by Jože Brumen, and the graphic design of the poster by Mladen Galić. The catalog is for the first time printed in Rijeka’s printing workshop, GP Tipograf.

The tenth edition of a poster for the International Exhibition of Original Drawings brings to a close an exceptionally prolific period in the organization of these exhibitions, after which certain essential changes take place, both in the concept of the manifestation and in the propaganda material, as is visible in the format of the catalog, the cover design, layout and graphical solution of the poster.

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Ante Kuduz (Podsoj, 1935) in 1951 enrolled at the School of Applied Arts in Zagreb. He attended the Graphic Art Department of the Academy of Visual Arts in Zagreb from 1956 to 1961. In that same year he becomes a member of the Croatian Association of Visual Artists.

He participated in many one-man shows and group exhibitions at home and abroad. He has received numerous awards and commendations for his work. He is full professor at the Academy of Visual Arts in Zagreb. The poster design 6DC in Rijeka bears his signature.

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Boris Bućan (Zagreb, 1947) finished the School of Applied Arts in Zagreb in 1967. He received a degree upon completion of studies at the Academy of Visual Art in Zagreb in 1972, and in 1982 he created the, now legendary, poster for Igor Stravinsky’s ballet The Firebird.

Exactly this solution of the poster was placed on the catalog cover of the comprehensive exhibition on the history of poster designing held in London’s Victoria & Albert Museumu in 1998. This work forever remains in

VIII. DC 1982., MMSU-2712 Grafičko oblikovanje/Design: Mladen Galić 71

Deseta međunarodna izložba originalnog crteža posljednja je izložba organizirana prema ranijoj shemi – pozivom za izlaganje i prijavom na natječaj. Nakon toga postupno se uvode nova pravila, što će posredno uvjetovati i izmjene u propagandnoj strategiji te dizajnu plakata, kataloga i pozivnice. Na tome desetom, jubilarnom izdanju crteža, održanom u srpnju i kolovozu 1986. godine, 203 autora iz 48 zemalja izložilo je više od 400 crteža koje je vidjelo više od 2.000 posjetitelja, a izložba je ponovno potaknula dijalog o mogućim promjenama kriterija za izlaganje, prezentaciji crteža te propagandnoj i izdavačkoj aktivnosti, tako da se već sada uvode manje promjene koje se odnose na tehničko uređenje i izvedbu tiskanih materijala. Uz Jožu Brumena koji potpisuje prijelom kataloga, Šimuna Šuteja7, autora dizajna plakata, prvi se put pojavljuje Ivo Marendić8 kao tehnički urednik kataloga.

OD PRVIH PROMJENA DO SEDAMNAESTOG IZDANJA MEĐUNARODNE IZLOŽBE ORIGINALNOG CRTEŽA (1991.–2009.)

FROM THE FIRST CHANGES TO THE SEVENTEENTH ISSUE OF THE INTERNATIONAL EXHIBITION OF ORIGINAL DRAWINGS (1991–2009)

X. DC 1986., MMSU-5582 Grafičko oblikovanje/Design: Šimun Šutej

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Plakat je tiskan u standardnom formatu 100 x 70 cm, u velikoj nakladi, i u nekoliko je ciklusa distribuiran na oglasnim mjestima u gradu i gradovima u bližem okruženju Rijeke te hotelima i turističkim zajednicama.

The tenth international exhibition of original drawings was the last one organized in compliance with the earlier scheme – invitation to take part and application to enter the competition. Thereafter new rules are gradually introduced, which will indirectly give rise to changes in the propaganda strategy and design of the poster, catalog and invitation cards. On occasion of that tenth jubilee issue of drawings held in July and August 1986, 203 authors from 48 countries exhibited more than 400 drawings that were seen by more than 2,000 visitors, and once again the exhibition aroused a dialogue about possible changes of the criteria for exhibiting, the issue of drawings and the promotional and publishing activities; so already then certain minor changes were introduced with regard to technical editing and executing of printed materials. Besides Jože Brumen who signed the catalog layout and Šimun Šutej7, author of the poster design, Ivo Marendić8 appears for the first time as the technical editor of the catalog.

Bućan’s deliberation of design and picture within the message, hence it may be considered logical that he came back to it after an intermission according to the matrix of the formal elements upon which the Firebird emerged, and so he came up with a new pictorial cycle called Mother Goose, based on another traditional transmuted into classical music – Ravel’s symphony of the same name. His graphic designs have marked the Croatian design of the second half of the last century.

Jedanaesta međunarodna izložba crteža u Rijeku dovodi 208 izlagača iz 49 zemalja.

Impozantan je podatak da su na natječaj za tu izložbu prispjela 1.292 rada iz 53 zemlje, od kojih 668 iz Jugoslavije. Na ovome, jedanaestom izdanju riječke izložbe crteža, inaugurirana su nova pravila kada je riječ o 7

Šimun Šutej (1965.), grafičar i dizajner, završio je Školu primijenjene umjetnost i studij povijesti umjetnosti na Filozofskom fakultetu u Zagrebu, a industrijsko oblikovanje i dizajn na Arhitektonskom fakultetu u Zagrebu. Bavi se crtežom i digitalnom grafikom. Izlagao je na više samostalnih i grupnih izložaba u zemlji i inozemstvu. Član je HDD-a i HDLU-a. Živi i radi u Ljubljani i Zagrebu.

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Ivo Marendić (Biograd na Moru, 1937. – Rijeka, 2004.) školovao se za scenografa na Filmskoj akademiji u Rimu. Tijekom svoga – više nego plodnog! – radnog vijeka uredio je i grafički oblikovao gotovo 600 brojeva časopisa, publikacija, knjiga i monografija, od kojih se velik broj odnosi na muzejsku djelatnost (Muzej grada Rijeke, Pomorski i povijesni muzej Hrvatskog primorja i drugi). Osim grafičkim dizajnom, aktivno se bavio karikaturom. Taj dio njegova opusa još čeka obradu, valorizaciju i prezentaciju.

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Šimun Šutej (1965), graphic artist and designer, graduate of the School of Applied Arts and studied art history at the Faculty of Philosophy in Zagreb, as well as industrial design at the Faculty of Architectonics in Zagreb. He is engaged in drawing and digital graphics. He has participated in several one-man shows and group exhibitions at home and abroad. Member of HDD and HDLU. He lives and works in Ljubljana and Zagreb.

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Ivo Marendić (Biograd na Moru, 1937 – Rijeka, 2004) was schooled for the vocation of set designer at the Film Academy in Rome. In the course of his – more than prolific! – working life edited and graphically designed almost 600 numbers of magazines, publications, books and monographs, of which a large number were related to museum activities (City Museum of Rijeka, Maritime and History Museum of Croatian Littoral, et al). In addition to graphic designing, he was actively engaged in drawing caricatures. This aspect of his opus is yet to be evaluated and presented.

uređenju i tisku kataloga, plakata i pozivnice.

Grafičko rješenje jednako je za sve prateće materijale, a potpisuje ga Miroslav Šutej9, prijelom pak kataloga Predrag Spasojević.

I u likovnom je postavu primijenjena nova praksa prema kojoj su crteži na izložbi predstavljeni po temama umjesto prijašnje koncepcije – po zemljama.

Ovakav koncept prati i prijelom kataloga u kojem su autori razvrstani po temama, što otežava pronalazak željenog podatka. U sklopu kataloga su i cjeline koje se odnose na izložbe Oliviera Debréa i Miroslava Šuteja u Malom salonu te najavljena izložba jugoslavenske selekcije crteža na I. festivalu crteža u Grand Palaisu i u Kulturno-informativnom centru u Parizu.

Dvanaesta, trinaesta, četrnaesta, šesnaesta i sedamnaesta međunarodna izložba crteža organizirane su prema novim pravilima: tematske su i autorske, dok je petnaesta izložba organizirana prema pravilima prvih deset izdanja. Petnaesto izdanje izložbe pokazalo je da je u svijesti brojnih umjetnika, bez obzira na generacijsku pripadnost, riječka izložba crteža još uvijek duboko ugrađena u skupnu informaciju o crtežu pa se čak i danas, gotovo deset godina nakon njezina održavanja, javljaju umjetnici iz raznih država tražeći podatke o vremenu raspisivanja natječaja.

Za plakatnu produkciju koja je pratila ove međunarodne izložbe crteža, može se reći da je nastojala naći nove učinke kojima bi privukla pozornost primatelja informacije i dovela publiku u svoje prostore. Kao jedno od moćnijih uporišta reklame, često će se koristiti ponavljanje, uvođenjem pravila da se na svakom izdanju plakata pojavi tekst naslova 9

Miroslav Šutej (Duga Resa, 1936. – Zagreb, 2005.) školovanje je započeo na zagrebačkoj Školi primijenjene umjetnosti. Na Akademiji likovnih umjetnosti u Zagrebu diplomirao je 1961. u klasi profesora Marijana Detonija. Jedan je među vodećim hrvatskim autorima u oblasti dizajna, koji je svojim originalnim radovima i invencijama u slikarstvu postavio snažne smjernice nadolazećim generacijama. Organizirano mu je više od 200 samostalnih izložaba, a izlagao je na više od 500 grupnih izložaba. Dobitnik je brojnih nagrada. Radovi mu se nalazi u gotovo svim poznatim svjetskim muzejima.

The poster is printed in the standard 100 x 70 cm format, in a large circulation, and in several cycles it was distributed through advertising agencies in the city and towns nearby Rijeka, as well as hotels and tourist associations.

The 11th International Exhibition of Drawings in Rijeka attracted 208 exhibitors from 49 countries. An impressive fact is that 1,292 works from 53 countries arrived to compete in the exhibition, of which 668 were from Yugoslavia. During this eleventh issue of drawing in Rijeka, new rules were inaugurated when it comes to editing and printing of the catalog, poster and invitations. The graphic design is identical for all the materials and bears the signature of Miroslav Šutej9, while the catalog layout is

by Predrag Spasojević.

A new practice was also laid out in the sense that the exhibited drawings were now presented with regard to thematic content, instead of the previous concept – by countries.

This kind of approach is also adhered to in the layout of the catalog in which the authors are classified thematically, which makes finding a sought after factual information more difficult. There are independent sections within the framework of the catalog that refer to the exhibitions of Olivier Debré and Miroslav Šutej in the Mali salon and the announced exhibition of the Yugoslav selection of drawings at the 1st Festival of Drawings held in the Grand Palais and the Cultural-Information Center in Paris.

XII. DC 1991., MMSU-5006 Grafičko oblikovanje/Design: Luka Gusić

The twelfth, thirteenth, fourteenth, sixteenth 9

Miroslav Šutej (Duga Resa, 1936 –Zagreb, 2005) began his schooling at the School of Applied Arts in Zagreb. In 1961 he was awarded a degree at the Academy of Visual Art in Zagreb, in the class of professor Marijan Detoni. He is one of the leading Croatian authors in the domain of design, hence his original works and inventions in painting have established emphatic guidelines for future generations.

He has had more than 200 one-man exhibits and appeared in more than 500 group exhibitions. Winner of numerous awards. His works can be found in almost all renowned world museums.

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manifestacije i nakon izmjene njezine koncepcije, stvarajući u našoj svijesti misao o Međunarodnoj izložbi crteža kao o jedinstvenome kulturnom proizvodu koji se zagovara ili čak dovodi u stanje takve posebnosti koja se jedino ovdje može vidjeti/doživjeti.

XII. DC Skulptorski crtež, 1990.–91., otvorenje samostalne izložbe Ivice Propadala u Malom salonu (dobitnik Grand Prixa na XI. DC, 1988.)/ Sculptural Drawing, 1990-91, Ivica Propadalo’s solo exhibition, Mali Salon (Grand Prix winner, XI DC, 1988): Vlado Bužančić, Daina Glavočić, Ivica Propadalo

and seventeenth international exhibition of drawings was organized in compliance with the new rules: the rules are thematic and authorial, whereas the fifteenth exhibition was organized in accordance with the rules of the first ten issues. The fifteenth issue of the exhibition showed that the consciousness of numerous artists, regardless of the generation they belong to, is still deep-rooted in the collective mind regarding drawing so that even today, almost ten years after its issue, artists from various countries continue contacting the organizer for information as to when the announcement of the competition will take place. As regards the poster production that accompanied these international exhibitions of drawings, it may be concluded that they strived to discover new impacts with which to draw the attention of the receivers of information and attract the public into their premises.

As one of the more potent strongholds of advertising, repetition is frequently applied, by introduction of the rule that every poster presentation carries the text of the 74

Selekciju dvanaestoga međunarodnog bijenala, posvećenog skulptorskom crtežu, potpisuje Pontus Hulten, a dizajn plakata koji i vizualno, svojim dimenzijama 65,5 x 47 cm, upućuje na promjenu, te kataloga, pozivnice i memoranduma Luka Gusić10. Naslovnica kataloga u komunikacijskoj je poveznici s plakatom preko znaka dc. Za razliku od prijašnjih grafičkih rješenja, na plakatu dvanaeste izložbe kao likovni se predložak koristi rad Gregoryja Mahoneya Studija za isušeni Pacifik iz 1990., na kojem autor propituje slike prostora u vremenu te locira civilizacijska pitanja opstanka.

Fotografiju rada koji je upotrijebljen kao likovna podloga, potpisuje Istok Žorž.

Dizajnerski crtež tema je trinaestoga međunarodnog bijenala koji je, nakon stanke od dvije godine, održan u Rijeci 1995./96. Selektor je ovog izdanja izložbe prof. dr. Stane Bernik.

Grafičko rješenje potpisuje Graffiti Design iz Samobora11. Jedinstveno grafičko rješenje, kao što i priliči temi, primijenjeno je na katalog, pozivnicu, plakat i drugi propagandni materijal, uvjeravajući nas da svaki uradak odabran za izložbu i uvršten u katalog ima sudbinsko značenje za nastali produkt. Na naslovnici kataloga, pozivnici i plakatu istaknut je znak dc koji nas uvjerava da je i ova izložba još jedno izdanje riječke izložbe crteža.

manifestation’s title in spite of its conceptual changes, thereby creating in our mind the idea that the International Exhibition of Drawings is a unique cultural product that is advocated or even brought into such a state of specificity that can only be seen/ experienced here.

The selection of the twelfth international biennial, devoted to sculptural drawing, bears the signature of Pontus Hulten, whereas the poster design, that with its dimensions of 65.5 x 47 cm also refers to changes, in addition to the catalog, invitations and memorandum, bear the signature of Luka Gusić10.

The catalog cover is communicatively linked to the poster via the DC symbol. In comparison with previous graphic solutions, the poster of the twelfth exhibition uses Gregory Mahoney’s 1990 work A Study of the Drained Pacific for its visual pattern, in which the author queries the depictions of space in time and locates the issues of civilization’s survival. The photographic work used as a visual art background is signed

by Iztok Žorž.

U grafičkom rješenju plakata, naslovnice kataloga i pozivnice, kao likovni predložak koristi se crtež stolice autora Enzoa Marija

The design drawing is the theme of the thirteenth international biennial which, after a two-year pause, was held in Rijeka in 1995/96. The selector of this issue is Prof. doctor Stane Bernik. The graphic solution is signed by Graffiti Design from Samobor11.

The unique graphic solution, as befits this theme, is applied on the catalog, invitation card, poster and other publicity material, assuring us that each work/product selected for the exhibition and entered into the catalog possesses a fated significance for the resulting product. The catalog cover,

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Luka Gusić član je Hrvatskoga društva dizajnera. Autor je grafičkih rješenja za brojna izdanja knjiga, monografija i kataloga. Surađivao je s Muzejom suvremene umjetnosti u Zagrebu (grafički dizajn) i MMSU-om na katalogu i plakatu XII. međunarodne izložbe crteža. Dobitnik je brojnih priznanja za grafičko oblikovanje knjiga.

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Graffiti Design utemeljio je Željko Borčić, grafički dizajner i umjetnik, koji je zvanje stekao u Montrealu, usavršio ga u bivšoj Jugoslaviji, a danas iz ureda u Rudarskoj Dragi vodi posao na potezu Samobor – London – Bruxelles. Dobitnik je niza međunarodnih

Luka Gusić is a member of the Croatian Association of Designers. He is the author of graphic designs for numerous publications of books, monographs and catalogs. He collaborated with the Museum of Modern Art in Zagreb (graphic design) and on the catalog of the MMCA for the 12th International Exhibition of Drawings. He has won numerous awards for his graphic designing of books.

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Graffiti Design was founded by Željko Borčić, graphic designer and artist, who acquired his knowledge in Montreal, perfected it in former Yugoslavia, and at

XIII. DC Designer’s Drawing, 1995., MMSU-5594 Grafičko oblikovanje/Design: Graffiti Design 75

XIV. DC Strip-crtež, 1998.-99., MMSU-2358 Grafičko oblikovanje/Design: Mirko Ilić Autor predloška/Template: Davor Vrankić 76

– ekspresivna zabilješka polaznoga kreativnog impulsa održivog u smislu analize crteža kao dovršenoga likovnog rada. Četrnaesto izdanje međunarodnog bijenala crteža održava se pod promijenjenim nazivom: XIV. međunarodna izložba crteža – Strip-crtež. Autor izložbe je Darko Glavan. Vizualni identitet potpisuje Mirko Ilić12. Izložba je koncipirana kao skup programa koji čini cjelinu. Glavna izložba održava se u velikoj dvorani, a u Malom salonu se svakih dvadesetak dana smjenjuju izložbe strip-crtača i autora dizajna. Plakat koji prati četrnaesto izdanje izložbe riješen je kao oda izvornom crtežu i majstorskome crtačkom nervu onodobnog zaljubljenika u crtu kao trag i olovku kao alat, uzevši za likovni predložak crtež poznatog i svjetski priznatog autora Davora Vrankića, slikara koji je na XV. međunarodnoj izložbi crteža u Rijeci dobio nagradu.

invitation card and poster emphasize the DC sign that reassures us that this exhibition is indeed another issue of Rijeka’s exhibition of drawings.

The graphic solution for the poster, catalog cover and invitation cards utilized the drawing of a chair that the author Enzo Mari used as his visual pattern – an expressive notation of the initial creative impulse maintainable in the sense of analyzing the drawing as a completed work of visual art.

The fourteenth issue of the international biennial of drawings was held under the modified heading: 14th International Exhibition of Drawings – The Comic Strip Drawing. The author of the exhibition is Darko Glavan. The visual art identity is signed by Mirko Ilić12. The concept of the exhibition was based on an assemblage of programs that made a whole. The main exhibit took

i domaćih nagrada za vizualni identitet, trgovačke marke i ambalaže brojnih proizvoda, institucija i tvrtki. Osim dizajnom, bavi se konceptualnom umjetnosti, istražuje u mediju fotografije (od polaroida do digitalne fotografije). Bio je predsjednik Hrvatskoga dizajnerskog društva. Potpisuje vizualni identitet za reklamnu kampanju Tvornice duhana Rovinj. Njegova novoregistrirana tvrtka Trans-ID ima urede u Zagrebu, Londonu i Bruxellesu. Dizajn XII. međunarodne izložbe crteža, uz Borčića, potpisuju Zoran Pavlović i Tamara Reljkan-Musulin.

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Mirko Ilić rođen je 1956. u Bijeljini. Završio je Školu primijenjene umjetnosti u Zagrebu. Prve ilustracije objavljuje 1973. u omladinskom tjedniku Modra lasta te u Tinu, Pitanjima i drugim časopisima. Prvi strip objavljuje 1975. u Studentskom listu. Urednik stripa i ilustracije u omladinskom listu Polet postaje 1976. godine. Oko Poleta okuplja grupu strip-autora koji su poslije postali poznati pod imenom Novi kvadrat.

Samostalno izlaže 1977. u Galeriji Studentskog doma.

U vrijeme održavanja izložbe, u Galeriji se održavaju rock-koncerti. S njim u Zagrebu počinje vrijeme punka i novog vala. Ubrzo nakon 1977. otvaraju mu se nove mogućnosti. Radi dizajn za albume hrvatskih/jugoslavenskih pjevača, plakate za mnoge programe u kulturu, naslovnice i ilustracije za tjedne časopise. U ožujku 1986. odlazi u New York i ubrzo započinje suradnju s najpoznatijim novinama i časopisima: Time New Times, Wall Street Journal. Mjesto art-direktora Time Internationala prihvaća 1991. godine. Jedan je od osnivača Studija za dizajn i 3D grafiku Oko&Mano, a 1995. pokreće Mirko Ilic Corp, Studio za grafički dizajn 3D kompjutorsku grafiku i animaciju. Dobio je brojne nagrade i priznanja. Bio je predsjednik njujorške sekcije AIGA 1994.–1995. i predavač na Cooper Unionu i

present from his office in Rudarska Draga runs the business on the stretch between Samobor – London – Bruxelles. He has won a sequence of international and national awards for visual identity, trademarks of institutions and firms and the packaging on numerous products. In addition to design, he is involved in conceptual art, as well as research in photography (from Polaroid to digital photography). He was president of the Croatian Association of Designers. He is the author of the visual identity in the campaign of the Rovinj Tobacco Factory. His newly registered company Trans-ID has offices in Zagreb, London and Bruxelles.

The designs for the 12th International Exhibition of Drawings, besides Borčić, bear the signatures of Zoran Pavlović and Tamara Reljkan-Musulin).

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Trideset godina od utemeljenja i četrnaest održanih izložaba bio je dovoljan razlog da se petnaesto izdanje riječke izložbe organizira prema pravilima i koncepciji prvih deset međunarodnih izložaba crteža, što se moglo shvatiti kao retro-korak nakon tematskih i autorskih izložaba koje je stručna javnost pohvalno ocijenila. Iako je prošlo gotovo deset godina od održavanja zadnje izložbe prema pravilima natječaja i poziva za izlaganje, izložba je pokazala da zauzima visoko mjesto među stalnim manifestacijama te da značajan broj umjetnika još uvijek propituju crtež kao medij.

XIV. DC Strip-crtež, 1998.–99., otvorenje samostalne izložbe Mirka Ilića u Malom salonu/ Comics, 1998-99, Mirko Ilić’s solo exhibition, Mali salon: Branko Cerovac, Ljubica Dujmović Kosovac i Darko Glavan

Mirko Ilić was born in 1956. in Bijeljina. Finished the School of Applied Arts in Zagreb. His first ullustrations were published in 1973 in the Omladinski tjednik (Youth’s Weekly), Modra lasta, Tina, Pitanjima and other magazines. His first comic strip was published in 1975 Studentski list. He became the art and comics editor of the student’s magazine Polet in 1976. He rounded up a group of comic strip authors around Polet who will subsequently become well known under the name Novi kvadrat (The New Square). He exhibits independently in 1977 at the Student Center’s Gallery.

During the presentation rock-concerts took place. With him, punk and new wave bands emerged in Zagreb.

Soon after 1977, new opportunities opened up. He designs albums for Croatian/Yugoslav singers, posters for numerous cultural programs, cover pages and illustrations for weekly magazines. In March 1986 he went to New York and soon begins working for the most prominent and influential newspapers and magazines: Time, New York Times, Wall Strreet Journal. In 1991,

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XV. DC 2001.–02. ; MMSU-5593 Grafičko oblikovanje/Design: Sandro Đukić Autor predloška/Template: Davor Vrankić 78

place in the grand hall, while every 20-odd days there was a rotation of exhibits by comic strip draftsmen and designers in the Mali salon. The poster concomitant to the fourteenth issue is resolved as an ode to the original drawing and masterful genius of the draftsman of that period who was in love with the line as a sign and pencil as a tool, adopting for its visual art pattern a drawing by Davor Vrankić, renowned and world-famous author, awarded artist on occasion of the 15th International Exhibition of Drawings in Rijeka.

Thirty years since its foundation and fifteen exhibitions held, is ample cause for the fifteenth issue of the Rijeka exhibition to organize in accordance with the conventions and concepts of the first ten international exhibitions of drawings, which could be envisaged as a retro-version subsequent to the thematic and authorial exhibitions that the professional public assessed as praiseworthy. Even though almost ten years have gone by since the presentation of the last exhibition that adhered to the competition conventions and invitations to participate, the exhibition demonstrated that it is highly ranked among standing manifestations and that a large number of artists carry on deliberating the drawing as a medium.

The catalog design, invitation cards and poster bear the signature of Sandro Đukić13.

Similar to the solution of the poster for the he becomes an art director of Time Internationala. He is one of the founders of Graphic Design Studio and 3D Graphics Oko&Mano, and in 1995 he founded Mirko Ilic Corp, a graphic design and 3-D computer graphics and motion picture title studio. He has received numerous awards and commendations. He was president of the New York AIGA section in 1994-1995 and lecturer at the Cooper Union and School for Visual Arts. Within the framework of the 14th International Exhibition of Drawings an independent exhibit of his works was held in the Mali salon in Rijeka, and in 2008 retrospective exhibitions were organized in Zagreb and Rijeka and a monograph was published under the title Mirko Ilić, strip/illustration/design.

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Sandro Đukić in recent years is developing a concept of gathering and archiving occurrences and deliberating the environment in which he works, as well as of himself as an unavoidable participant

Dizajn kataloga, pozivnice i plakata potpisuje Sandro Đukić13. Kao i za rješenje plakata četrnaestog izdanje bijenala, i za plakat petnaeste izložbe koristi se likovni predložak – insert crteža Davora Vrankića, koji Đukić računalno obrađuje dajući mu novu estetsku vrijednost i motivsko polazište za otvaranje dijaloga radi bolje informiranosti o sadržaju programa koji se oglašava. Rješenje plakata, pozivnice i naslovnice kataloga referira se na aktualne mogućnosti korištenja računalnih alata za oblikovanje propagandnih poruka.

Nakon XV. međunarodne izložbe crteža, ponovno se otvaraju pitanja vezana za održivost njezine koncepcije, tako da će se XVI. međunarodna izložba, održana 2004., baviti crtežom s aspekta novih medija i novih umjetničkih praksa. Prvi put od utemeljenja, izložba je okupila iznimno mali broj autora i zemalja iz kojih autori dolaze. Za razliku od prijašnjih izložaba, za ovu izložbu nije tiskan plakat, a informacija o izložbi ostaje u području tiskanih i elektronskih medija. Za XVII. međunarodnu izložbu tiskan je plakat u maloj nakladi tako da se koristi u prostoru u kojem se izložba održava. Nije distribuiran u značajnijem broju u vanjskom prostoru i s gledišta aktualnih pojava sve agilnijih reklamnih poruka o muzejskim programima, ovakva propagandna strategija upućuje na nužnost uključivanja svih potencijala te detekciju sadržaja i metoda koje vode do kvalitetnog plasmana muzejskog proizvoda, u smislu dovođenja planiranog broja posjetitelja na programe koje Muzej moderne i suvremene umjetnosti priređuje.

School for Visual Artsu. U sklopu XIV. međunarodne izložbe crteža priređena mu je samostalna izložba u Malom salonu u Rijeci, a 2008. retrospektivna izložba u Zagrebu i Rijeci te tiskana monografija Mirko Ilić, strip/ilustracija/dizajn.

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Sandro Đukić posljednjih godina razvija koncept sakupljanja i arhiviranja pojava te propitivanja okoline u kojoj djeluje, i sebe kao nezaobilaznog sudionika u procesu, upućujući na tektoniku mikro/makroodnosa, koliko je percipiramo i kako na nju reagiramo. Usporedno se bavi dizajnom. Autor je grafičkog rješenja plakata, pozivnice i kataloga XV. međunarodne izložbe crteža u Rijeci.

fourteenth issue of the biennial, the poster for the fifteenth exhibition applies a visual art pattern – an infix of Davor Vrankić’s drawing and by means of computer-aided treatment Đukić gives it a new esthetic value and a motivating point of departure to open a dialog for the purpose of improving awareness of the program contents that are being advertised. The poster solution, invitation card and catalog cover refer to the current possibilities of utilizing computer tools in graphic designing of promotional messages.

After the 15th International Exhibition of Drawings there is a repeat of discussions regarding the sustainability of its concept, hence the 16th international exhibition held in 2004 will deal with drawing from an aspect of new media and new artistic procedures. For the first time since its establishment, the exhibition assembled an exceptionally small number of authors and countries from which the authors came. In comparison with previous exhibitions, a poster was not published for this one, and on the other hand information about the exhibition remained in the domain of the print media and electronic media. A poster was printed for the 17th international exhibition in a small circulation so that it was entirely used inside the environment in which the exhibition was being held. It was not distributed outside of this space, while from the aspect of increasingly agile promotional messages regarding programs by museums and galleries this sort of promotional strategy calls for the inclusion of full potentials and the detection of contents and methods that lead to a high-quality positioning of the museum product, in the sense of attracting a planned number of visitors to the programs that the Museum of Modern and Contemporary Art is organizing. in the process, referring to the tectonics of micro/ macro relations, to the extent of their perception and our reaction to it. At the same time he is preoccupied with design. He is author of the graphic design of the poster, invitation and catalog of the 15th international exhibition of drawings in Rijeka.

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Od održavanja prvog izdanja Međunarodne izložbe originalnog crteža do ovogodišnjeg, sedamnaestog po redu, riječka Moderna galerija (MMSU) u svojoj programskoj shemi s posebnom stručnom odgovornosti planira programe koji se održavaju u Malom salonu tijekom izložaba crteža (srpanj–rujan svake druge godine). Zanimljiv je podatak da se u Zbirci plakata čuva prvi plakat koji je trebao oglasiti izložbu u Malom salonu u povodu drugog izdanja Međunarodne izložbe originalnog crteža 1970. godine. Plakat je riješen slovno, po modelu oglasa sadrži naziv, vrijeme i mjesto održavanja izložbe Pablo Picasso i suvremenici. Posebnost je u podatku što je sačuvan plakat izložbe koja u Rijeci nikada nije realizirana zbog komplikacija s carinom, ali je zato održana iste godine u Poreču, nekoliko mjeseci nakon riječkog termina, u povodu X. porečkog anala, o čemu postoji niz zanimljivih tekstova objavljenih u medijima, ali nedovoljno u dokumentaciji riječkog muzeja.

OGLAŠAVANJE PRATEĆIH IZLOŽABA I PROGRAMA ADVERTISING ANCILLARY EXHIBITIONS AND PROGRAMS

VIII. DC Daniel Brush, 1982., MMSU-5590 Nepoznati autor

Od 1970. do 1974. godine nema popratnih programa u vrijeme održavanja bijenala. U Pravilniku o organiziranju izložbe nisu definirana pravila prema kojima se stječe pravo na samostalnu izložbu u Malom salonu ili kojemu drugom izložbenom prostoru. Analizom objavljenih tekstova u katalozima i objavljenih dobitnika premija može se zaključiti da je dobitniku premije u vrijeme održavanja sljedećeg izdanja bijenala priređena samostalna izložba u Malom salonu. U katalogu četvrtog izdanja Međunarodne izložbe crteža, u obliku samostalnog odjeljka navedena je samostalna izložba Dušana Džamonje u Malom salonu od 18. do 30. lipnja 1974. godine. Izložba je oglašena preko tipske obavijesti unutar izložbenog prostora.

Za vrijeme održavanja V. međunarodne izložbe crteža, u Malom salonu (2. srpnja – 14. kolovoza 1976.) priređena je samostalna izložba Vladimira Veličkovića (dobitnik premije na četvrtoj izložbi) koju prati plakat koji potpisuje sam Veličković. Kao dobitniku premije na petoj izložbi priređena je samostalna izložba Stojanu Ćeliću (Mali salon, 29. lipnja – 14. kolovoza 1978.), a 1980. godine u Malom salonu (2. lipnja – 15. kolovoza 1980.) izlaže

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Since the first issue of the International Exhibition of Original Drawings to this year’s, the seventeenth in a sequence, the program plan of the Modern Gallery in Rijeka elaborates programs with emphasized professional responsibility on professional responsibility in planning the programs to be held in the Mali salon during the exhibitions of drawings (July-September every other year). An interesting fact is that the Poster Collection has preserved the first poster that was supposed to promote the exhibition in the Mali salon for the event of the second issue of the International Exhibition of Original Drawings in 1970. The poster was resolved by lettering; on the model of advertising it contains the inscription (title), time and whereabouts of the exhibition Pablo Picasso and contemporaries.

The particularity is the fact that the preserved poster refers to an exhibition in Rijeka that was never held due to complications with the customs, but it was held that same year in Poreč, several months after the anticipated term for Rijeka, on occasion of the 10th Poreć Annals. There was a series of interesting texts about this in the media, but barely in the documentation of the Rijeka Museum.

From 1970 to 1974, there were no ancillary programs during the presentation of the biennials. The Rulebook on organizing exhibitions does not define the conventions by which a person acquires the right to a solo exhibit in the Mali salon or any other exposition space. By an analysis of texts published in the catalogs and the announced winners of premiums it may be concluded that a winner of a premium on occasion of the biennial presentation that comes after was entitled to a solo exhibit in the Mali salon. The catalog of the fourth edition of the International Exhibition of Drawings, in the form of an autonomous department, cites the solo exhibit of Dušan Džamonja in the Mali salon from June 18 to June 30, 1974. The exhibition was publicized as a standardized advertisement inside the displaying premises.

During the 5th International Exhibition of Drawings, a solo exhibit by Vladimir Veličković (winner of premium at the fourth

Ratko Janjić Jobo. Unutar izložbenog prostora izložbu najavljuje/oglašava plakat koji sadrži osnovne podatke koje je za izložbu autor dopunio aplikacijom s podacima o vremenu njezina održavanja. Budući da nisu postojala pravila o organiziranju izložaba u Malom salonu, autori su sami oblikovali plakat ili su se poslužili tzv. općim plakatom na kojem je najčešće reproduciran jedan rad i otisnuto ime autora, a podaci o aktualnom programu tiskaju se ili ručno ispisuju na posebnom, za određenu namjenu pripremljenom, formatu papira koji se aplicira na opći plakat.

Na osnovi relevantnih podataka može se zaključiti da se od četvrtog do sedmog bijenala, u vrijeme trajanja izložbe, organizirao po jedan program, a od osmog bijenala počinju se održavati po dva programa za svako izdanje izložbe. Prema ovom obrascu, 1982. se prvi put održavaju dvije samostalne izložbe: Radovana Kragulja (Mali salon, 7.–31. srpnja 1982.), za koju nema sačuvanog plakata, i Daniela Brusha (Mali salon, 10.–29. kolovoza 1982.).

Dobitnici premije Nives Kavurić Kurtović priređena je samostalna izložba u Malom salonu od 2. do 30. srpnja, a Yamani Masaou od 8. do 31. kolovoza 1984. godine. Osim teksta u katalogu bijenala i tekstova u medijima, nema pouzdanih podataka o oglašavanju programa plakatom.

Za deseto, jubilarno, izdanje Međunarodne izložbe originalnog crteža pripremljen je program koji se organizirao prema pravilima manifestacije. Te, 1986. godine su u vrijeme održavanja bijenala, u Malom salonu priređene samostalne izložbe Ede Murtića (19.–27. srpnja 1986.) i Raima Kanerve (1.– 31. kolovoza 1986.). Pretpostavlja se da je za izložbu Ede Murtića tiskan plakat koji je oblikovao sam Murtić. Na plakatu je reproduciran Murtićev rad, ali nije istaknut podatak da je izložba dio programa bijenala.

Od XI. međunarodne izložbe crteža uvode se nova pravila koja se odnose na koncepciju izložbe i dizajn kataloga, plakata i pozivnice.

Kao dobitniku premije na X. međunarodnoj

exhibition) was held in the Mali salon (July 2 – August 14, 1976) and the poster for the exhibit also bears the signature of Veličković.

As the premium winner of the fifth exhibition, a solo exhibit was organized for Stojan Čelić (Mali salon, June 29 – August 14, 1978), and in 1980 Ratko Janjić Jobo exhibited in the Mali salon (June 2 – August 15, 1980). In the context of the exhibiting space, the shows are announced/advertised by means of the poster, which incorporates the basic information, and to which the author supplements for the exhibit by providing the data as to when the presentation is to take place. Due to the non-existence of rules on organizing the exhibits in the Mali salon, the authors designed the posters themselves or used the so-called general poster, which in most cases depicted one of the author’s reproduced works and imprinted the authors name, while the information about the program was printed or written by hand on a separately prepared paper format for application on the general poster.

On basis of relevant data it may be concluded that from the fourth to the seventh biennial, within the duration of the exhibitions, only one program was usually organized, and from the eighth biennial, two programs were organized during the exhibition.

According to this recipe, the first time that two independent exhibits took place was in 1982: Radovan Kragulj (Mali salon, 7th to 31st July, 1982) and Daniel Brush (Mali salon, 10th to 29th August, 1982), of which no posters or data were preserved as to how these programs were advertised.

II. DC Pablo Picasso i suvremenici/Pablo Picasso and His Contemporaries, 1970., MMSU-2695

Premium winners Nives Kavurić Kurtović had a solo exhibit in the Mali salon from 2nd to 30th July, and Yamano Masao from the 8th to 31st August, 1984. Apart from the texts in the biennial catalog and texts in the media, no reliable data is available regarding poster advertising of the program.

On the tenth, jubilee issue of the International Exhibition of Original Drawings, the program was prepared in compliance with the rules of the manifestation. In that year of 81

izložbi crteža, Miroslavu Šuteju priređena je samostalna izložba u Malom salonu (30. lipnja – 31. srpnja 1988.) nakon koje je od 4. do 28. kolovoza iste godine predstavljena Jugoslavenska selekcija na kojoj su izlagali: Rodoljub Anastasov, Dubravka Babić, Boris Benčić, Vladimir Bogdanović, Aleksandar Cvetković, Božidar Damjanovski, Šućrija Đurković, Milan Erić, Jadranka Fatur, Herman Gvardjančić, Andrej Jemec, Juraj, Zmago, Zlatko Keser, Milan Kešelj, Velizar Krstić, Ivan Lovrenčić, Dragan Mojović, Dimće Nikolov, Salim Obralić, Ljubomir Perčinlić Ljubomir Stahov, Ivica Šiško, Iztok Šmajs, Stanka Todorović i Mehmed Zaimović. Nakon Rijeke izložba je predstavljena u Parizu u prosincu 1988. u Galeriji kulturnoinformativnog centra SFRJ. Program u Malom salonu završava samostalnom izložbom Oliviera Debréa 30. rujna 1988. godine.

Dobitniku Grand Prixa 1988. na XI. međunarodnoj izložbi crteža, Ivici Propadalu, organizirana je izložba u Malom salonu (28. lipnja – 31. srpnja 1990.). Plakat izložbe veličinom se referira na plakat manifestacije, a potpisuje ga Ivica Propadalo.

VII. DC Ratko Janjić-Jobo, 1980., MMSU-2654 Grafičko oblikovanje/Design: Ratko Janjić - Jobo

XI. DC Propadalo – crteži sa mog radnog stola 1987/1988.–1990./Drawings from my Desk 1987/1988.-1990., 1990., MMSU-2679 82

Dvanaesta i trinaesta međunarodna izložba crteža priređene su kao tematske i autorske i uz njih nisu planirani popratni programi. Četrnaesto je izdanje izložbe koncipirano kao jedinstven program koji se sastojao od više

1986 during the holding of the biennial, solo exhibits were organized in the Mali Salon for Edo Murtić (19th to 27th July, 1986) and Raimo Kanerva (1st to 31st August, 1986). It is assumed that the Edo Murtić exhibit was promoted with a printed poster that Murtić designed himself. A reproduction of a work

by Murtić was on the poster, yet the poster does not mention that the exhibit was a part of the biennial program.

As of the 11th International Exhibition of Drawings new conventions were introduced and related to the concept of the exhibition and catalog design, poster and invitation card. As a premium winner of the 10th International Exhibition of Drawings, a solo exhibit was organized for Miroslav Šutej in the Mali salon (30th June to 31st July, 1988) after which, in that same year, the Yugoslav selection was presented from the 4th to the 28th August with exhibits by: Rodoljub Anastasov, Dubravka Babić, Boris Benčić, Vladimir Bogdanović, Aleksandar Cvetković, Božidar Damjanovski, Šućrija Đurković, Milan Erić, Jadranka Fatur, Herman Gvardjančić, Andrej Jemec, Juraj, Zmago, Zlatko Keser, Milan Kešelj, Velizar Krstić, Ivan Lovrenčić, Dragan Mojović, Dimće Nikolov, Salim Obralić, Ljubomir Perčinlić Ljubomir Stahov, Ivica Šiško, Iztok Šmajs, Stanka Todorović and Mehmed Zaimović. After Rijeka, the exposition was presented in Paris in December 1988 in the Gallery of the Cultural-Information Center of SFRY. The program in the Mali salon ended with the solo exhibit of Olivier Debré on the 30th September, 1988.

The twelfth and thirteenth international exhibition of drawings were organized as thematic and authorial and no ancillary programs were planned to go with them. The fourteenth issue was conceptualized as a unique program made up of several programs that took place in the Mali salon: a solo exhibit by Hermann, world renowned comic strip master; exhibits

by Ivan Bednjanac and Andrija Maurović, Croatian comic strip masters; and a solo exhibit by Mirko Ilić, author who emphatically marked the period after the 1970s in

programa koji su se događali u Malom salonu: samostalna izložba Hermanna, svjetski priznatog majstora stripa, Ivana Bednjanca i Andrije Maurovića, hrvatskih majstora stripa, te Mirka Ilića, autora koji je u stripu i dizajnu snažno obilježio razdoblje nakon sedamdesetih godina prošloga stoljeća u Hrvatskoj.

Sve te programe u Malom salonu, osim izložbe Andrije Maurovića, oglašava plakat tako da je na ovu izložbu primijenjen jedinstven obrazac plakatnog oglašavanja. Petnaesta međunarodna izložba crteža ima kvalitetan i pažljivo koncipiran program koji je održan u Malom salonu. Izložbu Crtež nasuprot metodi potpisuju Branko Cerovac i Sabina Salamon (25. studenoga 2001. – 2. siječnja 2002.), kustos je izložbe Kaos – umjetnost (4.–25. siječnja 2002.) Branko Cerovac, a izložbu Zidovi i prostor (29. siječnja – 19. veljače 2002.) potpisuje Branko Franceschi.

Niti jedna od tih izložaba nije oglašena plakatom. Šesnaesta i sedamnaesta međunarodna izložba crteža također su autorske i tematske, koncipirane kao jedinstven program koji se događao u velikoj dvorani – središnja izložba, a popratni programi u Malom salonu: Star City & Hypnerotomachia autora Tomislava Čeranića, koju potpisuje Ivica Župan, Triptychos Post Historicus, autora Brace Dimitrijevića, u izboru Nene Dimitrijević, te Crteži iz donacije Božidara Rašice 1945.–1965. po izboru Daine Glavočić.

Sedamnaesta međunarodna izložba je u tijeku – bavi se animiranim filmom i koncipirana je tako da se programi održavaju u velikoj dvorani te u Malom salonu i Art-kinu Croatia. Za izložbu je tiskan katalog, programska knjižica i plakat. Grafičko rješenje potpisuje Aljoša Brajdić14.

14

Aljoša Brajdić ubraja se među hrvatske dizajnere koji su razmjerno brzo ostvarili uspješnu profesionalnu karijeru. Nakon stjecanja diplome za dizajnera, već je 2006. godine izabran u zvanje asistenta za grafiku odjela likovnih umjetnosti. Član je hrvatskog društva dizajnera. Sudjeluje na brojnim natječajima, pozivnim natječajima i izložbama. Potpisuje brojna rješenja zaštitnih znakova renomiranih ustanova i tvrtki. Autor je vizualnog identiteta MMSU-a u Rijeci.

Croatia. All these exhibits in the Mali salon, save for the Andrija Maurović exhibit, were advertised by posters, hence this exhibition applied the unique form of poster advertising. The fifteenth international exhibition of drawings came out with a high-quality and cautiously conceptualized program that was held in the Mali salon. The exhibit The Drawing As Opposed to Method bears the signature of Branko Cerovac and Sabina Salamon (25th November, 2001 to 2nd January, 2002); the curator of the exhibit Chaos – Art (4th to 25th January, 2002.) is Branko Cerovac, and the exhibit Wall and Space (29th January to 19th February, 2002) bears the signature of Branko Franceschi.

Not one of these exhibits were advertised by poster.

The sixteenth and seventeenth international exhibition of drawings were likewise authorial and thematic, conceptualized as a singular program that took place in the grand hall – the central exhibition, while the ancillary program in the Mali salon featured: Star City & Hypnerotomachia by author Tomislav Čeranić, and signed by Ivica Župan; Triptychos Post Historicus, by Braco Dimitrijević, and selected by Nena Dimitrijević; drawings from the Božidar Rašica (1945–1965) Donation as selected by Daina Glavočić.

The seventeenth international exhibition is underway – it is engaged in animated film and conceptualized so that the programs are held in the grand hall, as well as in the Mali salon and the Art-Cinema Croatia. A catalog, program booklet and poster have been published for this exhibition. The graphic design carries the signature of Aljoša Brajdić14.

14

XVII. DC 2008., MMSU-5580 Grafičko oblikovanje/Design: Aljoša Brajdić

Aljoša Brajdić is included among Croatian designers who have relatively quickly accomplished a successful professional career. After acquiring the academic degree of designer, as early as 2006 he wall elected assistant professor of graphic art at the department of visual arts. He is a member of the Croatian Association of Designers. He participates in numerous competitions, invitation contests and exhibitions. He is the signatory of numerous trademark solutions for well-known institutions and companies. He is the visual identity author of the MMCA in Rijeka.

83

ZAKLJUČAK CONCLUSION

U sedamnaest se izdanja riječkih međunarodnih izložaba crteža u organizaciji MMSU-a Rijeka u protekla četiri desetljeća sustavno propituje crtež kao medij i njegova uloga u drugim područjima umjetnosti kao što su kiparstvo, dizajn, strip, animirani crtež; ili je crtež jednostavno mišljen unutar suvremenih umjetničkih praksa. Početak ili prva izdanja izložaba u znaku su crteža i njegove definicije koja mu osigurava iznimnu ulogu u području umjetnosti.

Kao što to u pravilu biva, nakon održanih deset izdanja bijenala, postavljena su razna pitanja – od održivosti koncepcije izložbe do propitivanja granica do kojih se inovacije i primjena teorijskih znanja mogu ugraditi u formu utvrđenih gabarita kakvih je riječka manifestacija. Svaka, čak i površna, analiza dostignutih ciljeva riječkih međunarodnih izložaba crteža, ne ostavlja nas ravnodušnima kada se govori o broju autora koji su pozvani da izlažu na ovim izložbama, o broju autora koji su se javili na raspisane natječaje, o broju autora koji su izlagali na ovim izložbama, o statusu i ugledu koji je manifestacija i ustanova izgradila, o utjecaju koji je imala/ima na riječku likovnu scenu i na ne manje važnu ulogu koju ima za rast zbirki crteža, ozračje na otvorenjima izložaba, na posjetitelje, na odjek u gradu koji su izložbe imale, tako da ćemo nakon dokumentarnih videozapisa ostati u uvjerenju da je publika ovoga grada snažno živjela s izložbama kojih se nije željela odreći ni kada je struka upozoravala na zamor i uvjetovala promjenu.

A uvod u promjenu događao se nakon desetog izdanja Međunarodne izložbe crteža.

Pokazatelji su neumoljivi – broj posjetitelja je manji, a sve češća pitanja postavljena muzejskom osoblju odnosila su se na očekivanje izložbe crteža kakvu stariji posjetitelji muzejskih programa pamte, a većina bi mladih posjetitelja rado upoznala.

Preko izložaba Sav taj crtež i (Su)život, Riječani i posjetitelji ovoga grada moći će određeno vrijeme vidjeti, a struka procijeniti, tek manji broj crteža i plakata koji se čuvaju u muzejskom fundusu, a koji su nakon održanih sedamnaest izdanja trajno ostali u

84

The seventeen issues of Rijeka’s international exhibitions of drawings organized by the MMCA in the past four decades systematically deliberated on the drawing as a medium and its role in other domains of art such as sculpture, design, comic strips, animated drawing; or is the drawing simply deliberated within contemporary artistic practices. The inception or first issues of the exhibitions were in the sign of the drawing and its definition that ensures its exceptional role in the domain of art.

As the rules of the game usually go, after ten issues of the biennial various queries popped up – from the viability of the exhibition’s concept to deliberations on the limits to which innovation and application of theoretical knowledge can be installed into the pattern of established profiles of the likes of the manifestation in Rijeka. Any analysis, even the most superficial one, does not leave us indifferent when we talk about the number of authors invited to participate in these expositions, the number of authors who expressed their interest to compete in the contests, the number of authors who exhibited at these exhibitions, the status and reputation that the manifestation and institution created, the impact that it had on the visual art scene and the not less important role on the growth of the collection of drawings and on the atmosphere during the openings of the exhibitions, on visitors, on the reflection they had on the city, etc., so that after the documentary video recordings we will have a strong conviction that the populace of this city ardently lived with the exhibitions and did not want to reject them even when the profession forewarned them about fatigue and stipulated changes. And the introduction to these changes began happening after the tenth issue of the International Exhibition of Drawings. The indicators are relentless – the number of visitors is less, and the ever more often questions asked of the museum staff referred to expectations of an exhibit of drawings of the kind that older visitors of the museum programs remembered, and that most of the

Rijeci, ukazat će se na organizatora koji je znao misliti na nacionalne interese preko kulturne akcije, dodijelivši ovim izložbama termin održavanja u vrijeme kada ovaj grad vrvi od stranaca koji su, zahvaljujući dobroj reklami, odnijeli informaciju o nama u svijet. Danas, u vrijeme globalizacijskih procesa, jedna takva strategija potrebna nam je poput zraka ili vode. Ovakvi nas programi uče da nije potrebno putovati u daleki svijet po mišljenje o nama, puno je uputnije da svoje mišljenje o nama u svijet odašiljemo u svakoj prigodi koja nam se ukaže. Kako se planirana strategija ostvarivala, može se saznati iz pisanih dokumenata ove ustanove, koji se bave razvojem, analizom postignutih uspjeha, metodama distribuiranja informacija putem medija, plakatnog oglašavanja i drugim prihvatljivim oblicima uvjeravanja.

Nakon zatvaranja izložaba ostaje obveza muzejskim djelatnicima da u dolazećem vremenu nastave istraživati, obrađivati i prezentirati drugi aspekt ove manifestacije, koji zbog ograničenih uvjeta, od vremenskih do financijskih, u ovu izložbu nije uvršten.

young visitors would gladly like to become familiarize with.

By way of exhibits Sav taj crtež (All This Drawing) and (Su)život ((Co),Existence) the residents of Rijeka and visitors to this city will for some time be able to see, and the profession to evaluate, only a more smallscale number of drawings and posters that are kept among the museum’s holdings that have now after seventeen exhibitions permanently become the ownership of Rijeka; the spotlight will be on the organizers who knew how to bear in mind our national interest through cultural action, allocating a period of time for the exhibitions when the city is bustling with foreigners who, thanks to good advertising, spread the information about us to the rest of the world. Today, at a time of global processes, we need a strategy of this kind like one needs air and water. Programs like this one teach us that it isn’t necessary to travel to far-off places worldwide to hear opinions about us; it is by far more opportune that our thoughts about ourselves are sent out to the world on every occasion that comes along. As to how this planned strategy was achieved, one will find out in the written documents of this institution that deal with its development, analyses of accomplished results, methods of distributing information via the mass media, poster advertising and other acceptable forms of persuasion.

After the closing of the exhibitions, the obligations of the museum staff in the forthcoming time are to continue the research, treatment and presentation of other aspects of this manifestation, which due to time and financial limitations, were not included in this exhibit.

XIV. DC Mirko Ilić − Hate, 1999., MMSU-2671 Grafičko oblikovanje/Design: Mirko Ilić 85

KOMISIJA ZA IZBOR RADOVA JURY FOR SELECTION OF WORKS

I. DC 1968.

Jerko Denegri Vanda Ekl Zdravka Emili Vladimir Maleković Melita Stele

IX. DC 1984.

Beograd Rijeka Rijeka, Moderna galerija Zagreb Ljubljana

II. DC 1970.

Aleksander Bassin Jerko Denegri Radoslav Putar

Azra Begić Kosta Bogdanović Tonko Maroević Jure Mikuž

Ljubljana Rijeka, Moderna galerija Beograd Rijeka, Moderna galerija Zagreb

XI. DC 1988.

Ljubljana Rijeka, Moderna galerija Beograd Rijeka, Moderna galerija Zagreb

XV. DC 2001./2002.

IV. DC 1974.

Aleksander Bassin Marija Čanić Jerko Denegri Zdravka Emili Vladimir Maleković

Rijeka, Moderna galerija Ljubljana Zagreb Rijeka, Moderna galerija Beograd

X. DC 1986.

Ljubljana Zagreb Beograd

III. DC 1972.

Aleksander Bassin Marija Čanić Jerko Denegri Zdravka Emili Vladimir Maleković

Zdravka Emili Brane Kovič Mladenka Šolman Berislav Valušek Kosta Vasiljković

Pontus Hulten Laszlo Beke Florent Bex Jerko Denegri Daina Glavočić Baumann

Marijan Susovski Slavica Marković Ljubica Dujmović Kosovac Branko Cerovac Nataša Ivančević

Sarajevo Beograd Zagreb Ljubljana

Venecija Budimpešta Antwerpen Beograd Rijeka, Moderna galerija

Zagreb Zagreb Rijeka Rijeka Rijeka

V. DC 1976.

Aleksander Bassin Zdravka Emili Vladimir Maleković Irina Subotić

Ljubljana Rijeka, Moderna galerija Zagreb Beograd

VI. DC 1978.

Aleksander Bassin Zdravka Emili Zdenko Rus Dragan Đorđević

Ljubljana Rijeka, Moderna galerija Zagreb Beograd

VII DC 1980.

Aleksander Bassin Dragoslav Đorđević Renata Gotthardi-Škiljan Milan Zinaić

Ljubljana Beograd Zagreb Rijeka

VIII. DC 1982.

Stane Bernik Zdravka Emili Irina Subotić Milan Zinaić

Ljubljana Rijeka, Moderna galerija Beograd Rijeka 87

MEĐUNARODNI ŽIRI ZA DODJELU NAGRADA INTERNATIONAL JURY FOR AWARDS

I. DC 1968.

Mario De Micheli Walter Koschatzky Jiři Kotalik Zoran Križišnik Jacques Lassaigne Ryszard Stanislawski Boris Vižintin

VII. DC 1980.

Milano Beč Prag Ljubljana Pariz Varšava Rijeka

II. DC 1970.

Božo Bek Pierre Descargues Jiři Kotalik Giuseppe Marchiori Luis Gonzales Robles Ryszard Stanislawski Boris Vižintin

Zagreb Pariz Prag Venecija Madrid Varšava Rijeka

III. DC 1972.

Pierre Descargues Božidar Gargo Giuseppe Marchiori Luis Gonzales Robles Ryszard Stanislawski Boris Vižintin Peter Wiermair

Pariz Zagreb Venecija Madrid Varšava Rijeka Innsbruck

IV. DC 1974.

Pierre Descargues Giuseppe Marchiori Boris Vižintin Aleksander Bassin

Pariz Venecija Rijeka Ljubljana

V. DC 1976.

Gilbert Lascault Giuseppe Marchiori Amelia Pavel Pierre Rouve Boris Vižintin

Pariz Venecija Bukurešt London Rijeka

VI. DC 1978.

Umbro Apollonio Aly Khalid Jiři Kotalik Lazar Trifunović Boris Vižintin

Venecija Aleksandrija Prag Beograd Rijeka

Božo Bek Alain Jouffroy Pierre Rouve Giuseppe Marchiori Boris Vižintin

Zagreb Pariz London Venecija Rijeka

VIII. DC 1982.

Brigitta Peterne Cifka Giulio Montenero Marija Pušić Pierre Rouve Boris Vižintin

Budimpešta Trst Beograd London Rijeka

IX. DC 1984.

Georges Boudaille Zoran Kržišnik Giulio Montenero Pierre Rouve Boris Vižintin

Pariz Ljubljana Trst London Rijeka

X. DC 1986.

Laszlo Beke Georges Boudaille Pierre Rouve Aleksander Bassin Boris Vižintin

Budimpešta Pariz London Rijeka Ljubljana

XI. DC 1988.

Pontus Hulten Laszlo Beke Florent Bex Jerko Denegri Daina Glavočić-Baumann

Venecija Budimpešta Antwerpen Beograd Rijeka

XV. DC 2001./2002.

Claude Schweisguth Jerko Denegri Günther Holler-Schuster Ljubica Dujmović Kosovac Branko Cerovac

Pariz Beograd Prag Rijeka Rijeka

89

AUTORI NAGRAĐENI GRAND PRIXOM I POČASNIM PRIZNANJIMA GRAND PRIX WINNERS AND HONORARY AWARDS

GRAND PRIX

POČASNE NAGRADE HONORARY AWARDS

I. DC

1968.

Renato Gattuso, Italija Alfred Hrdlicka, Austrija Jean Ipousteguy, Francuska

II. DC

1970.

Achile Perilli, Italija Miroslav Šutej, Jugoslavija Gerard Titus Carmel, Francuska

Etienne Hajdu, Francuska

III. DC

1972.

Ay-O, Japan Oton Gliha, Jugoslavija Antonio Dias, Brazil

Joan Mirò, Francuska Pierre Alchinsky, Belgija Alexandre Calder, Francuska Antoni Tapies, Francuska Alina Szapocznikow, Poljska

IV. DC

1974.

Kunihiro Amano, Japan Vladimir Veličković, Jugoslavija

Dušan Džamonja, Jugoslavija Alan Davie, Velika Britanija Emilio Vedova, Italija

V. DC

1976.

Emilio Vedova, Italija Stojan Čelić, Jugoslavija

Richard Mortensen, Danska

VI. DC

1978.

Bernard Bailly, Švicarska Ratko-Jobo Janjić, Jugoslavija

Edo Murtić, Jugoslavija

VII. DC

1980.

Daniel Brush, SAD Radovan Kragulj, Jugoslavija

Takesada Matsutani, Japan

VIII. DC

1982.

Yamana Masao, Japan Nives Kavurić-Kurtović, Jugoslavija

Emilio Vedova, Italija Alan Davie, Velika Britanija

IX. DC

1984.

Raimo Kanerva, Finska Edo Murtić, Jugoslavija

Richard Mortensen, Danska Achile Perilli, Italija

X. DC

1986.

Oliver Debrè, Francuska Miroslav Šutej, Jugoslavija

Emilio Vedova, Italija Mersad Berber, Jugoslavija Dušan Džamonja, Jugoslavija

XI. DC

1988.

Tadeusz Gustaw Wiktor, Poljska Ivica Propadalo, Jugoslavija

Paul Gees, Belgija Milija Nešić, Jugoslavija Bojan Bensa, Jugoslavija

Samuel Walsh, Ireland

Đanino Božić Radomir Damnjanović Damnjan Joško Eterović Vesko Gagović Nabuhiko Ichikawa Ana Kadoić Sanja Švrljuga Milić Jelena Tomašević Dragomir Ugren Veljko Vujačić Yumiko Yamazaki

XV. DC 2001./2002.

91

OTKUPNE NAGRADE PURCHASE AWARDS

AUTOR

OTKUP

I. DC

1968.

Jean Messagier, Francuska Franco Francese, Italija Janez Bernik, Jugoslavija Francisco Peinado, Španjolska Jan Lebenstein, Poljska Pierre Tal-Coat, Francuska Richard Mortensen, Danska Vladimir Veličković, Jugoslavija Hideo Hagiwara, Japan Nives Kavurić-Kurtović, Jugoslavija Wolf Buchholz, SR Njemačka Mehmed Zimović, Jugoslavija

Galerije suvremene umjetnosti, Zagreb Komisija za kulturne veze s inostranstvom, Beograd Jugolinija, Rijeka Fond Moša Pijade, Beograd Muzej savremene umetnosti, Beograd Moderna galerija, Rijeka Muzej na sovremenata umetnost, Skoplje Moderna galerija, Ljubljana Grafički kabinet JAZU, Zagreb Izdavačko poduzeće Otokar Keršovani, Rijeka Građevno-projektni zavod, Rijeka Galerije suvremene umjetnosti, Zagreb

II. DC

1970.

Jiři John, Čehoslovačka Lucio Safaro, Italija Zoran Music, Francuska Roman Cieslewicz, Poljska Zoran Radović, Jugoslavija Radomir Damjanović Oton Gliha, Jugoslavija Georg Baldessin, Australija Juan Hernandez Pijuan, Španjolska Jon Nicodim, Rumunjska Tadesz Brzozowski, Poljska Robert Jacobsen, Danska Paez Jorge Vilaro, Urugvaj Otto Piene, DR Njemačka Ivan Lovrenčić, Jugoslavija Paul Rebeyrolle, Francuska

Moderna galerija, Rijeka Galerije grada Zagreba Muzej savremene umetnosti, Beograd Grafički kabinet JAZU, Zagreb Republički fond za unapređivanje kulturnih djelatnosti, Zagreb Mestna galerija, Ljubljana Gradski muzej, Karlovac Galerija umjetnosti, Vinkovci Redakcija Vjesnik u srijedu, Zagreb Narodna čitaonica, Vinkovci Brodomaterijal, Rijeka Zavod za komunalnu djelatnost, Rijeka Mladost, Zagreb Metal, Vinkovci Transjug, Rijeka Građevno-projektni zavod, Rijeka

III. DC

1972.

Zlatko Prica, Jugoslavija Ian Colverson, Velika Britanija Rudolf Hoflehner, Austrija Stojan Ćelić, Jugoslavija Ulla Rantanen, Finska Gerardiaz, Francuska Thangchalok Ithipol, Tajland Tony O'Carrol, Irska Edo Murtić, Jugoslavija Zdzislaw Jurkiewicz, Poljska Zoltin Peeter, Nizozemska Ferdinand Kulmer, Jugoslavija Raimo Kanerva, Finska Mare Vint, SSSR Petar Jakelić, Jugoslavija Takesada Matsutani, Japan Renzo Margonari, Italija Pierre Vlerick, Belgija Angela Jansen, SAD Mario Toral, Čile Moo-Chew Wong, Malezija

Moderna galerija, Rijeka Muzej savremene umetnosti Beograd Kabinet JAZU, Zagreb Umjetnička galerija, Sarajevo Galerija savremene likovne umetnosti, Novi Sad Galerija umjetnosti, Vinkovci Gradski muzej, Karlovac Jorge Paez Vilaro, Montevideo, Urugvay Strojarsko-brodograđevni fakultet, Rijeka Urbanistički biro, Rijeka Građevno-projektni zavod, Rijeka Jugolinija, Rijeka Jugolinija, Rijeka Izdavačko poduzeće Otokar Keršovani, Rijeka Novi list, Rijeka Zavod za komunalne djelatnosti, Rijeka Brodomaterijal, Rijeka Metal, Vinkovci Rijekatekstil, Rijeka PIK, Vinkovci Agroimpex, filijala Rijeka

93

IV. DC

1974.

Miroslav Šutej, Jugoslavija Dieter Grund, Kanada Gordon Kilkey, SAD Pavel Nešleha, Čehoslovačka Concetto Pozzati, Italija Tonis Vint, SSSR Branko Miljuš, Jugoslavija Rudi Španzel, Jugoslavija Raimo Kanerva, Finska Ivo Friščić, Jugoslavija Zvest Apollonio, Jugoslavija Borislav Aleksić, Jugoslavija Mersad Berber, Jugoslavija Ordan Petlevski, Jugoslavija Maja Malešević-Dolenčić, Jugoslavija Oton Gliha, Jugoslavija Carla Marianne Kaper, Nizozemska Balakjian, Velika Britanija Klaus Däniker, Švicarska Edo Mutrić, Jugoslavija Richard Mortensen, Danska Michael Rothenstein, Velika Britanija

Moderna galerija, Zagreb Republički fond za unapređivanje kulturnih djelatnosti, Zagreb Umjetnička galerija BiH, Sarajevo Muzej savremene umetnosti, Beograd Moderna galerija, Rijeka Muzej na sovremenata umetnost, Skoplje Akademija likovnih umjetnosti, Sarajevo Galerija jugoslovenskog portreta, Tuzla Grafički kabinet JAZU, Zagreb Gradski muzej, Karlovac Moderna galerija, Ljubljana Komisija za kulturne veze s inozemstvom Izvršnog vijeća Sabora SR Hrvatske, Zagreb Redakcija Politike, Beograd Arhitektonski atelje 051, Rijeka Zajednica za kulturu, Rijeka Fond za unapredivanje kulturnih djelatnosti, Labin Mozaik, Opatija Layos Egyedi, Montreal, Kanada Jugolinija, Rijeka Novi list, Rijeka Zavod za komunalnu djelatnost, Rijeka Brodomaterijal, Rijeka

V. DC

1976.

Mersad Berber, Jugoslavija Azza Hachmi, Maroko Andrej Jemec, Jugoslavija Branko Miljuš, Jugoslavija Mića Popović, Jugoslavija Victor Fortes, Portugal Petra Orieškova, Čehoslovačka Sergio Camporale, Argentina Luis Caballro, Kolumbija Miroslav Arsić, Jugoslavija

SIZ kulture, Rijeka Galerija savremene umetnosti, Novi Sad Kabinet grafike JAZU, Zagreb Umjetnička galerija BIH, Sarajevo Galerija jugoslovenskog portreta, Tuzla Moderna galerija, Rijeka Novi list, Rijeka Urbanistički biro, Rijeka Jugolinija, Rijeka Redakcija Politika, Beograd

VI. DC

1978.

Mario Toral, Čile Islam Monirul, Bangladeš

SIZ kulture, Rijeka Komisija za kulturne veze s inozemstvom republičkog sekretarijata za prosvjetu, kulturu i fizičku kulturu, Zagreb Muzej savremene umetnosti, Beograd Akademija likovnih umjetnosti, Sarajevo Umjetnička galerija BiH, Sarajevo Kabinet grafike JAZU, Zagreb Moderna galerija, Rijeka Novi list, Rijeka Redakcija Politika, Beograd Republički SIZ u oblasti kulture, Zagreb Galerije grada Zagreba Galerije grada Zagreba Galerija savremene umetnosti, Novi Sad Galerija jugoslavenskog portreta, Tuzla Zavod za izgradnju Rijeke, Urbanistički biro, Rijeka Zavod za izgradnju Rijeke, Urbanistički biro, Rijeka INA, rafinerija nafte, Rijeka

Dragan Mojović, Jugoslavija Ratko- Jobo Janjić, Jugoslavija Vjenceslav Richter, Jugoslavija George Leolea, Rumunjska Herman Braun, Peru Hetty Krist, Nizozemska Boris Jesih, Jugoslavija Ante Kuduz, Jugoslavija Ay-O, Japan Istvan Geller, Mađarska Ryszard Otreba, Poljska Dimitrije Popović, Jugoslavija Igael Tumarkin, Izrael Milan Kešelj, Jugoslavija Stojan Ćelić, Jugoslavija

94

VII. DC

1980.

Anna-Maria Pacheco, Brazil Ryszard Otreba, Poljska Wanda Mihuleac, Rumunjska Anna Constantinou-Wilson, Grčka Pilar Palomet Mateos, Španjolska Aleksandar Cvetković, Jugoslavija Zdravko Milić, Jugoslavija Danijel Butala, Jugoslavija Radovan Kragulj, Jugoslavija Dragan Mojović, Jugoslavija Safet Zec, Jugoslavija Istvan Geller, Mađarska Ratko Janjić - Jobo, Jugoslavija Josip Diminić, Jugoslavija Pavel Nešleha, Čehoslovačka Miroslav Šutej, Jugoslavija Annus Siim-Tanel, SSSR Tanas Lulovski, Jugoslavija Maritine Mougin, Francuska

VIII. DC

IX. DC

1982.

1984.

Xu-Xi, Kina Katrin Van Houten, SAD

SIZ kulture, Rijeka Komisija za kulturne veze s inozemstvom republičkog sekretarijata za prosvjetu, kulturu i fizičku kulturu, Zagreb Moderna galerija, Ljubljana Grad Ljubljana Galerija suvremene umjetnosti, Zagreb Otkupna nagrada Umjetničke galerije BiH, Sarajevo Izvršno vijeće Skupštine zajednice općine , Rijeka Republički SIZ u oblasti kulture, Zagreb Akademija likovnih umjetnosti, Sarajevo Muzej na sovremenata umetnost, Skoplje Rijekaprojekt, Rijeka Zavod za izgradnju Rijeke, Rijeka Gradski muzej, Karlovac Novi list, Rijeka Kabinet grafike JAZU, Zagreb Grafička zbirka Nacionalne i sveučilišne biblioteke, Zagreb Moderna galerija, Rijeka Redakcija Politika, Bograd Umjetnička kolonija Počitelj, Sarajevo

Cees Andriessen, Nizozemska Dušan Todorović, Jugoslavija Nives Kavurić-Kurtović, Jugoslavija Nikolaj Ponomarjev, SSSR Andrzej Popiel, Poljska Andreas Mengyan, Mađarska Doris Lanier, SAD Jose Matos Cardoso, Portugal Adela Matasova, Čehoslovačka Yamana Masao, Japan Herman Hebler, Norveška Concetto Pozzati, Italija Esin Numankadić, Jugoslavija Radosalv Tadić, Jugoslavija Ay-O, Japan

SIZ kulture, Rijeka Komisija za kulturne veze s inozemstvom republičkog sekretarijata za prosvjetu, kulturu i fizičku kulturu, Zagreb Izvršno vijeće Skupštine zajednice općine , Rijeka Fond za unapređivanje kulturnih djelatnosti Moša Pijade, Beograd Akademija likovnih umjetnosti, Sarajevo Umjetnička kolonija Počitelj, Sarajevo Gradski muzej, Karlovac Kabinet grafike JAZU, Zagreb Muzej savremene umetnosti, Beograd Moderna galerija, Ljubljana Mestna galerija, Lljubljana Zavod za urbanizam i i zgradnju Rijeke, Rijeka Kulturni centar Miško Kranjec, Murska Sobota Moderna galerija, Rijeka Umjetnička galerija BiH, Sarajevo Republički SIZ u oblasti kulture, Zagreb Galerija suvremene umjetnosti, Zagreb

Aldecoq Moises De Los Santos Finale, Kuba Mileta Prodanović, Jugoslavija Boris Zaplatil, Jugoslavija Boon Thaiwijit Puangkasemson, Tajland Isaka Yoshio – Okomoto Shinjiro, Japan Hamid Tahir, Irak Sandra Thomson, Novi Zeland Vjenceslav Richter, Jugoslavija Ivan Lovrenčić, Jugoslavija Petar Omčikus, Jugoslavija Neal Taylor, SAD Milan Kešelj, Jugoslavija Roberto Perez Fabelo, Kuba Andrej Jemec, Jugoslavija Edo Murtić, Jugoslavija Steve Poleskie, SAD Jadranka Fatur, Jugoslavija Richard Yates, Kanada

Grafička zbirka Nacionalne i sveučilišne biblioteke, Zagreb Fond za unapređivanje kulturnih djelatnosti Moša Pijade, Beograd Umjetnička kolonija Počitelj, Sarajevo Kabinet grafike JAZU, Zagreb Muzej savremene umetnosti, Beograd Moderna galerija, Ljubljana Mestna galerija, Lljubljana Umjetnička galerija BiH, Sarajevo Republički SIZ u oblasti kulture, Zagreb SIZ kulture, Rijeka Galerija suvremene umjetnosti, Zagreb Gradski muzej, Karlovac Galerija jugoslovenskog portreta, Tuzla Muzej na sovremenata umetnost, Skoplje Kulturni centar Miško Kranjec, Murska Sobota Izložbeni salon Rotovž, Maribor Jugolinija, Rijeka Novi list, Rijeka

95

X. DC

1986.

Suwan Metapisit, Tajland Jean Messagier, Francuska Richard Mortensen, Danska Zdenko Huzjan, Jugoslavija Petar Omčikus, Jugoslavija Arpad Szabados, Mađarska Akira Tokuda, Japan Victor Fortes, Portugal Fabian Cerredo, Argentina Marius Atanase, Rumunjska Brane Sever, Jugoslavija Ljubomir Perčinlić, Jugoslavija Ante Kuduz, Jugoslavija Ivan Lacković, Jugoslavija Zlatko Prica, Jugoslavija Andrej Jemec, Jugoslavija Edo Murtić, Jugoslavija Oton Gliha, Jugoslavija Ratko Janjić Jobo, Jugoslavija Judith Uehling, SAD Lyubomir Yanev, Bugarska Petar Omčikus, Jugoslavija

SIZ kulture, Rijeka Moderna galerija, Rijeka Muzej savremene umetnosti, Beograd Moderna galerija, Ljubljana Muzej na sovremenata umetnost, Skoplje Kabinet grafike JAZU, Zagreb Grafička zbirka Nacionalne i sveučilišne biblioteke, Zagreb Akademija likovnih umjetnosti, Sarajevo Mestna galerija, Ljubljana 3. maj, Rijeka Republički SIZ u oblasti kulture, Zagreb Galerija suvremene umjetnosti, Zagreb Umjetnička galerija BiH, Sarajevo Gradski muzej, Karlovac Galerija jugoslovenskog portreta, Tuzla Kulturni centar Miško Kranjec, Murska Sobota ZO Croatia – Zagreb, Filijala Rijeka Građevno-projektni zavod, Rijeka Elektroprimorje - elektrodistribucija, Rijeka Riječka banka, Rijeka Jugobanka, Rijeka Jugobanka, Rijeka

XI. DC

1988.

Tetsuo Noda, Japan Masao Yamana, Japan Zoran W. Belić, Jugoslavija Bojan Bensa, Jugoslavija Concetto Pozzati, Italija Oton Gliha, Jugoslavija Dag Kristian Kuloey, Norveška Yossef Asher, Izrael Jean Messagier, Francuska Richard Mortensen, Danska Oton Gliha, Jugoslavija Svenrobert Lundquist, Švedska

Novi list, Rijeka Transjug, Rijeka Umjetnička kolonija Počitelj Moderna galerija, Rijeka RSIZ kulture, Zagreb Gradski muzej, Karlovac Galerija jugoslovenskog portreta, Tuzla Galerije grada Zagreba Muzej savremene umetnosti, Beograd SIZ kulture, Rijeka SIZ stambeno-komunalnih djelatnosti, Rijeka Nacionalna i sveučilišna biblioteka, Zagreb

Daniel Hanzlik, Češka Davor Vrankić, SAD Tomislav Ćurković, Hrvatska Damir Stojnić, Hrvatska

Primorsko-goranska županija, Rijeka Grad Rijeka Moderna galerija, Rijeka Moderna galerija, Rijeka

XV. DC 2001./2002.

96

ZBIRKA CRTEŽA DRAWING COLLECTION

I.

1968. Ð

Pierre Tal-Coat Crtež, 1968., tuš perom/papir, 638 x 480 mm, MMSU-981

Janez Bernik Telefon III, 1968., tuš, kreda/hamer, 710 x 500 mm, MMSU-1402

II.

100

Alejandro Casares Crveno nad horizontom, 1967., akvarel, olovka, tinta, tuš, kolaž/papir, 670 x 975 mm, MMSU-979

Jean Ipousteguy Che, 1968., tuš/papir, 500 x 930 mm, MMSU-1017

1970. Ð

Mehmed Zaimović Odlazak 1967 – iz ciklusa Dialozi, 1967., bajc-pero/papir, 570 x 780 mm, MMSU-980

Yvette de la Fremondiere Noir et blanc 1, 1967., ugljen/papir, 650 x 500 mm, MMSU-1029

Ferdinand Kulmer Tuš februar III 1970., 1970., tuš/papir, 920 x 630 mm, MMSU-1035

Ordan Petlevski Apel 70, 1970., tuš u boji/papir, 1000 x 615 mm, MMSU-1036

Eduardo Moll Yananaku, 1970., tuš perom/papir, 610 x 820 mm, MMSU-1045

Ivan Lovrenčić Na groblju, 1970., ugljen, tempera, pastel/papir, 445 x 623 mm, MMSU-1051

Branko Miljuš Strelište, 1970., tuš u boji/papir, 750 x 560 mm, MMSU-1038

Lucio Saffaro Keplerovi kristali, 1970., tuš perom/papir, 1000 x 700 mm, MMSU-1046

Ibrahim Kodra Rođen je jedan čovje-k, 1970., tuš, tempra, papir, 500 x 700 mm, MMSU-4630

John Jiri Vrstvy, 1970., tuš perom/papir, 640 x 480 mm, MMSU-1043

Vilaro Jorge Paez Cafetin del sur, 1970., tinta/papir, 920 x 720 mm, MMSU-1047

101

III.

1972. Ð

Raimo Kanerva Čovjek i pas, II, 1972., olovka, olovke u boji/ papir, 860 x 620 mm, MMSU-2313

Dieter Grung Wide circle, 1974., kombinirana/papir, 750 x 1050 mm, MMSU-1173

IV.

102

Jose Maria Iglesias Objašnjenje totalnog fragmenta I, 1972., tuš/ papir, 593 x 495 mm, MMSU-1096

1974. Ð

M. Balakjian U spomen povijesne izreke, 1974., olovka/ papir, 560 x 460 mm, MMSU-1175

Tony O’Carroll Hodaj oprezno, 1972., tuš/papir, 320 x 490 mm, MMSU-1098

Nils Burwitz Passing Parade, 1974., grafit/papir, 500 x 670 cm, papir: 435 x 620 cm, MMSU-1162

Maja Dolenčić-Malešević U vagonu, 1974., olovka, olovka u boji/papir, 540 x 450 mm, MMSU-1177

V.

VI.

1976. Ð

Stojan Ćelić Vij, 1975., tuš perom/papir, 695 x 1040 mm, MMSU-1236

1978. Ð

Mersad Berber Krajiška đenaza, 1978., kombinirana/papir, 1150 x 1580 mm, MMSU-1224

Kosta Angeli Radovani Igre i masakri, 1976., kist, tempera/papir, 297 x 418 mm, MMSU-1237

Antun Depope Tragovi mora 6, 1977., olovka, olovka u boji, akvarel/papir, 500 x 710 mm, MMSU-1248

Victor Fortes Studija za projekt, 1976., kombinirana/papir, 700 x 1040 mm, MMSU-1225

Andrej Jemec Risba 9. – 12.4.1976., 1976., tuš perom/papir, 1004 x 701 mm, MMSU-1240

Islam Monirul Stranica povijesti, 1977., kombinirana/papir, 560 x 760 mm, MMSU-1267

103

Bernard Bailly Analiza 101/B-b, 1978., kombinirana/papir, 1200 x 800 mm, MMSU-1268

Ante Kuduz Grad 27 A, 1977., tuš perom/papir, 707 x 1005 mm, MMSU-1277

Felix Beltran Kretanje je trajno, 1980., tempera/papir, 695 x 560 mm, MMSU-1329

VII.

104

Herman Braun Košulja za svaki dan, 1978., kombinirana/ papir, 1240 x 270 mm, MMSU-1270

1980. Ð

Anamaria Pacheco Vještica i luđak, 1980., olovka/papir, 560 x 655 mm, MMSU-1331

Mario Toral Dobar dan proljeće, 1977., olovka u boji/ papir, 765 x 1020 mm, MMSU-1271

Ryszard Otreba Bez naslova, 1980., kombinirana/papir, 695 x 484 mm, MMSU-1328

Tanel Annus Siim Tehnički krajolik, 1980., tuš/papir, 614 x 595 cm, MMSU-1335

IX.

Daniel Butala Leptir I, 1980., tuš perom/papir, 705 x 1000 mm, MMSU-1339

Yamana Masao Position B, 1981., akrilik, platno/papir, 830 x 1308 mm, MMSU-1362

1984. Ð

1982. Ð

Robert Brandy Phases, 1982., kombinirana (akvarel, tempera, olovka, flomaster)/papir, 750 x 525 mm, MMSU-1363

Herman Gvardjančič In memoriam, 1983., olovka/papir, 480 x 630 mm, MMSU-1376

Aleksandar Cvetković Sazvežđe Pegaz, 1981., olovka, olovka u boji, kolaž/papir, 570 x 750 mm, MMSU-1345

Xi Xu Jezero ujutro, 1981., tuš/papir, 2207 x 1101 mm, MMSU-1373

Eero Eirto Mišolovka, 1982., olovka, olovka u boji/ hamer, 530 x 840 mm, MMSU-1407

VIII.

105

X.

106

Radovan Kragulj Livestock 1984, 1984., olovka/hamer, 880 x 1250 mm, MMSU-1408

Petar Omčikus San, 1984., crna kreda/papir, 750 x 1100 mm, MMSU-1440

1986. Ð

Wanda Mihuleac Linija – tvar i sjećanje, 1984., olovka, tempera, akvarel/papir, 780 x 1306 mm, MMSU-1414

Jadranka Fatur Djevojka, 1984., olovka u boji/papir, 705 x 500 mm, MMSU-2288

Suwan Metapisit Leti sam nad Tokyom, 1986., kombinirana (japanski papir, obični papir, bambus, konopac, tuš), 1160 x 970 mm, MMSU-1444

Carlos Harle Bez naziva, 1983., kombinirana (flomaster, olovka, kolaž)/papir, 500 x 700 mm, MMSU-1432

Vjenceslav Richter cca 1, 1984., flomaster/papir, 500 x 700 mm, MMSU-2763

Jean Messagier Nepoznato proljeće, 1986., pastel, akrilik, svjetlucavi prah/papir, 650 x 1000 mm, MMSU-1446

Jean Messagier Proljetna katastrofa s cvjetanjem, 1986., boja, masni pastel/papir, 650 x 1000 mm, MMSU-1447

Miroslav Šutej Slike s izložbe XIX, 1985., tuš perom/papir, 1658 x 970 mm, MMSU-1451

Otavio Roth Bez naziva, 1986., obojana pulpa/platno, 650 x 4250 mm, MMSU-1533

XI.

Cardoso Jose Matos Crtež, 1985., perforirani papir, metalne spojnice, 700 x 1000 mm, MMSU-1448

1988. Ð

Carlos Harle Događaj na otoku, 1987., kombinirana/papir, 595 x 805 mm, MMSU-1535

Brane Sever Opstanak, 1985., suhi pastel, akrilik/papir, 710 x 970 mm, MMSU-1450

Radovan Kragulj Livestock 119, 1988., gvaš, olovka u boji/ papir, 1020 x 730 mm, MMSU-1532

Bojan Bensa Ulaz II, 1988., grafit/papir, 1000 x 705 mm, MMSU-1536

107

XII.

108

Richard Mortensen Crtež Rijeka I, 1987., tuš/papir, 760 x 560 mm, MMSU-1537

1990. Ð

Sam Francis SF-UI 63, 1963., tuš/papir, 490 x 350 mm, MMSU-1674

Concetto Pozzati Dva stručka suhog cvijeća, 1987., ugljen/ papir, 700 x 1000 mm, MMSU-1543

Greg Colson Riverfront Stadium, 1990., olovka, akvarel/papir, 570 x 380 mm, MMSU-1672

Sarah Perry Bez naziva, 1990., željezo, ptičje krilo, 250 x 85 x 360 mm, MMSU-1675

Gianni Ambrogio Ples djevojke u cvijeću, 1988., grafit, emajl/lesonit, 1000 x 800 mm, MMSU-1544

Gregory Mahoney Skala zemljine zakrivljenosti, 1988.–1990., olovka, pastel/papir, 560 x 760 mm, MMSU-1673

Kosta Bogdanović Crtež III, 1990., tuš/papir, 1000 x 700 mm, MMSU-1676

XIII.

Ivan Kožarić Malo duha, malo materije, 1989., pastel/papir, 700 x 500 mm, MMSU-1679

1994./1995. Ð

Stephen Russak Četkica za zube 6, 1994., flomaster u boji, tuš, papir, 280 x 215 mm, MMSU-1818-6

Ivan Kožarić Bonaca, 1989., pastel, papir, 700 x 500 mm, MMSU-1681

Jarrod Lane Linton Telephone 4, 1994., flomaster (rapidograf), olovka u boji, kaširani papir na karton, 280 x 355 mm, MMSU-1817-4

Scott Henderson Četkice za zube 3, 1994., kombinirana tehnika, papir, 280 x 215 mm, MMSU-1819-3

Jarrod Lane Linton Telephone 5, 1994., flomaster (rapidograf), olovka u boji, kaširani papir na karton, 280 x 355 mm, MMSU-1817-5

Jarrod Lane Linton Četkice za zube 1, 1994., flomaster u boji, papir, 215 x 280 mm, MMSU-1820-1

109

110

Jarrod Lane Linton Četkice za zube 2, 1994., kombinirana tehnika, papir, 215 x 280 mm, MMSU-1820-2

Lahav Gil Dlijetao i malj, 1987., olovka, gvaš (akvarel, tempera)/papir, 1010 x 702 mm, MMSU-1825

Thomas Taveira Dvosjed 1, 1994., laserska kopija, papir, 500 x 700 mm, crtež: 300 x 420 mm, MMSU-1828-3

Vincent Haley Zidna radna stanica, 1987., flomaster u boji, papir, 350 x 425 mm, MMSU-1822-1

Oskar Kogoj Slovenska dvanaestica I, 1994., kombinirana, papir, 370 x 270 mm, MMSU-1827-1

Thomas Taveira Tri stolice, 1994., laserska kopija, papir, 500 x 700 mm, MMSU-1828-5

Vincent Haley Super smart kartica, 1987., flomaster u boji, papir, 350 x 425 mm, MMSU-1822-13

Oskar Kogoj Vaza iz Kolekcije Dioklecijan, 1994., kombinirana, papir, 370 x 270 mm, MMSU-1827-4

Štefan Klein Aeromobil, olovka, akvarel, papir, 500 x 600 cm, MMSU-1829-3

Štefan Klein Aeromobil II, olovka, papir, 500 x 600 cm, MMSU-1829-4

Borek Šipek Vaza - 1, litografija, papir, 817 x 552 mm, MMSU-1834-1

Fabio Smotlak Trodimenzionalna skica oblika u prostoru, 1979., masni pastel, krejon, ugljen, kreda/ papir, 700 x 500 mm, MMSU-1838-1

Jorge Pensi Elipse, 1986., lavirani tuš, olovka, paus-papir, 300 x 220 mm, MMSU-1830-2

Bohuslav Horák Vaclav IV, 1994., tuš perom, akvarel/papir, 418 x 296 mm, MMSU-1837-1

Enzo Mari Stolica Tonietta, 1980., olovka/papir, 295 x 210 mm, MMSU-1839-1

Jorge Pensi Conica series, 1993., lavirani tuš, olovka; paus-papir, 417 x 297 mm, MMSU-1830-4

Bohuslav Horák Stolica Paleta, 1993., tuš perom, akvarel/ papir, 418 x 296 mm, MMSU-1837-4

František Burian Vaze (posude) IV, ugljen, krejon/papir, 700 x 500 mm, MMSU-1840-4

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Ettore Sottsass Studija okvira, 1990., kombinirana tehnika/ papir, 398 x 578 mm, MMSU-1842-1

Jan K. Meisner Jedrilica na kotačima / Mali auto, 1970., tuš, flomaster/papir, 210 x 297 mm, MMSU-1845-1

Jan K. Meisner Pismo (tekst), tuš, akvarel/papir, 210 x 295 mm, MMSU-1845-4

Ettore Sottsass Posuda za voće, 1991., akvarel, olovka/papir, 582 x 392 mm, MMSU-1842-2

Jan K. Meisner Novo Braillovo pismo / Popravljač raspoloženja, tuš, flomaster/papir, 210 x 296 mm, MMSU-1845-2

Marjan Videc Stol i stolnjak, 1994., kolažirana reprodukcija, tuš/papir, 730 x 510 mm, MMSU-1847-1

Shin Matsunaga Papirnati frikovi, 20. st., grafička boja/hamer, 1030 x 680 mm, MMSU-1843 (1-5)

Jan K. Meisner Majmun, tuš, akvarel/papir, 295 x 210 mm, MMSU-1845-3

Nenad Fabijanić Kolekcija u staklu – čepovi III, 1994., tuš perom/paus-papir, 710 x 500 mm, MMSU-1848-3

XIV.

1999. Ð

Dik Browne; Mort Walker Hi and Lois 4-21, 1985.; 1998., tuš, papir, 310 x 420 mm, crtež: 260 x 385 cm, MMSU-5235

Tomislav Ćurković Gomatoped – Teton – Loforat, 1999.–2001., ljudska dlaka, papir, staklo,3 x (1000 x 1000 mm), MMSU-2237/1-3

XV.

Mort Walker Beetle Bailey 1-4, 1998., tuš, papir, 300 x 385 mm, crtež: v=255 cm, š=375 cm, MMSU-5230

2001./2002. Ð

Samuel Walsh Crtež 279 / Drawing 279, 2001., ugljen/papir, 560 x 760 mm, MMSU-2238

Mort Walker Beetle Bailey 2-23, 1998., tuš, papir, 140 x 368 mm, crtež: 325 x 94 cm, MMSU-5234

Damir Stojnić Jeleni, 1999., prešani ugljen/pakpapir, 1305 x 2182 mm, MMSU-2236

Samuel Walsh Crtež 281, 2001., ugljen/papir, 760 x 560 mm, MMSU-2239

113

Davor Vrankić Iz ciklusa “Promatrači”, 2001., olovka/papir, 1000 x 700 mm, MMSU-2247

Daniel Hanzlik Boundary-Lines, I, 2001., krejon / papir, 720 x 1010 mm, MMSU-2289

Nobuhiko Ichikawa Ribar, 2001., olovka/papir, 318 x 135 mm, MMSU-2251

Dražen Filipović - Pegla Armirani objekt, 2001., kombinirana, papir, 700 x 2000 mm, MMSU-5569

Joško Eterović JR 1A, 2001., olovka, pastel, plastika, papir, 1000 x 1400 mm, MMSU-2252

114

ZBIRKA PLAKATA POSTER COLLECTION

PLAKATI MEĐUNARODNIH IZLOŽABA (ORIGINALNOG) CRTEŽA POSTERS OF THE INTERNATIONAL EXHIBITIONS OF (ORIGINAL) DRAWINGS

II. MEĐUNARODNA IZLOŽBA ORIGINALNOG CRTEŽA, 1970.

Grafičko oblikovanje: Jože Brumen Tisak: Sitotisak Studentski centar Zagreb Izdavač: Moderna galerija Rijeka sitotisak, papir, 680 x 696 mm, MMSU-5588

IV. MEĐUNARODNA IZLOŽBA ORIGINALNOG CRTEŽA, 1974.

Grafičko oblikovanje: Jože Brumen Tisak: Studio S Izdavač: Moderna galerija Rijeka sitotisak, papir, 839 x 584 mm, MMSU-5585

III. MEĐUNARODNA IZLOŽBA ORIGINALNOG CRTEŽA, 1972.

Grafičko oblikovanje: Mihajlo Arsovski Fotograf: Petar Dabac Tisak: Studio S. Izdavač: Moderna galerija Rijeka sitotisak, papir, 797 x 508 mm, MMSU-5584

V. MEĐUNARODNA IZLOŽBA ORIGINALNOG CRTEŽA, 1976.

Grafičko oblikovanje: Tomaž Kržišnik Izdavač: Moderna galerija Rijeka sitotisak, papir, 990 x 683 mm, MMSU-5586

Ð

I. MEĐUNARODNA IZLOŽBA ORIGINALNOG CRTEŽA, 1968.

Grafičko oblikovanje: Ivan Picelj Tisak: ČGP Delo, Ljubljana Izdavač: Moderna galerija Rijeka sitotisak, papir, 973 x 640 mm, MMSU-2665

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V. MEĐUNARODNA IZLOŽBA CRTEŽA, 1976.

Nepoznati autor Tisak: Riječka tiskara Izdavač: Moderna galerija Rijeka mašinski tisak, papir, 950 x 66 mm, MMSU-5587

VII. MEĐUNARODNA IZLOŽBA ORIGINALNOG CRTEŽA, 1980.

Grafičko oblikovanje: Boris Bučan Izdavač: Moderna galerija Rijeka ofset, papir, 944 x 676 mm, MMSU-5592

IX. MEĐUNARODNA IZLOŽBA ORIGINALNOG CRTEŽA, 1984.

Grafičko oblikovanje: Jože Brumen Izdavač: Moderna galerija Rijeka sitotisak, papir, 1000 x 700 mm, MMSU-5591

VI. MEĐUNARODNA IZLOŽBA ORIGINALNOG CRTEŽA, 1978.

Grafičko oblikovanje: Ante Kuduz Tisak: Sitotisak Studio S/Likum Izdavač: Moderna galerija Rijeka sitotisak, papir, 970 x 667 cm, MMSU-5583

VIII. MEĐUNARODNA IZLOŽBA ORIGINALNOG CRTEŽA, 1982.

Grafičko oblikovanje: Mladen Galić Izdavač: Moderna galerija Rijeka sitotisak, papir, 970 x 671 mm, MMSU-2712

X. MEĐUNARODNA IZLOŽBA ORIGINALNOG CRTEŽA, 1986.

Grafičko oblikovanje: Šimun Šutej Tisak: V&V Straža Izdavač: Moderna galerija Rijeka sitotisak, papir, 990 x 685 mm, MMSU-5582

XI. MEĐUNARODNA IZLOŽBA ORIGINALNOG CRTEŽA, 1988.

Grafičko oblikovanje: Miroslav Šutej Izdavač: Moderna galerija Rijeka 1000 x 700 mm, MMSU-2701

XIII. MEĐUNARODNI BIENNALE CRTEŽA – DIZAJNERSKI CRTEŽ, 1995.

Grafičko oblikovanje: Graffiti Design Izdavač: Moderna galerija Rijeka ofset, papir, 980 x 680 mm, MMSU-5594

XV. MEĐUNARODNA IZLOŽBA CRTEŽA, 2001.

Grafičko oblikovanje: Sandro Đukić Likovni predložak: Davor Vrankić, Promatrači, isječak crteža, 2001.

Izdavač: Muzej moderne i suvremene umjetnosti ofset, papir, 960 x 668 mm, MMSU-5593

XII. MEĐUNARODNI BIENNALE CRTEŽA – SKULPTORSKI CRTEŽ, 1991.

Grafičko oblikovanje: Luka Gusić Likovni predložak: Greg Mahoney, studija za Isušeni Pacifik, 1990.

Foto: Istok Žorž Izdavač: Moderna galerija Rijeka sitotisak, papir, 655 x 465 mm, MMSU-5006

XIV. MEĐUNARODNA IZLOŽBA CRTEŽA – STRIP-CRTEŽ, 1999.

Grafičko oblikovanje: Mirko Ilić Likovni predložak: crtež Davora Vrankića Izdavač: Moderna galerija Rijeka ofset, papir, 810 x 600 mm, MMSU-2671

XVII. MEĐUNARODNA IZLOŽBA CRTEŽA – DO POSLJEDNJEG CRTEŽA, 2008.

Grafičko oblikovanje: Aljoša Brajdić Izdavač: Muzej moderne i suvremene umjetnosti ink-jekt, papir, 1000 x 700 mm, MMSU-5580

119

PLAKATI PRATEĆIH PROGRAMA POSTERS OF ACCOMPANYING PROGRAMS Mali salon

V. MEĐUNARODNA IZLOŽBA ORIGINALNOG CRTEŽA, 1976.

VELIČKOVIĆ Grafičko oblikovanje: Ivan Picelj Izdavač: Moderna galerija Rijeka sitotisak, papir, 955 x 620 mm, MMSU-2676

VIII. MEĐUNARODNA IZLOŽBA ORIGINALNOG CRTEŽA, 1982.

DANIEL BRUSH Nepoznati autor Izdavač: Moderna galerija Rijeka ofset, papir, 691 x 484 mm, MMSU-5590

VII. MEĐUNARODNA IZLOŽBA ORIGINALNOG CRTEŽA, 1980.

RATKO JANJIĆ - JOBO Grafičko oblikovanje: Ratko Janjić - Jobo Izdavač: Moderna galerija Rijeka sitotisak, papir, 890x870 mm, MMSU-2654

X. MEĐUNARODNA IZLOŽBA ORIGINALNOG CRTEŽA, 1986.

EDO MURTIĆ Grafičko oblikovanje. Edo Murtić Izdavač: Moderna galerija Rijeka sitotisak, papir, 700 x 500 mm, MMSU-3065

Ð

II. MEĐUNARODNA IZLOŽBA ORIGINALNOG CRTEŽA, 1970.

PABLO PICASSO I SUVREMENICI Nepoznati autor Izdavač: Moderna galerija Rijeka strojni tisak, papir, 982 x 673 mm, MMSU-2695

120

XI. MEĐUNARODNA IZLOŽBA ORIGINALNOG CRTEŽA, 1988.

MIROSLAV ŠUTEJ Grafičko oblikovanje: Miroslav Šutej Izdavač: Moderna galerija Rijeka sitotisak, papir, 1000 x 700 mm, MMSU-5595

XIV. MEĐUNARODNA IZLOŽBA CRTEŽA – STRIP-CRTEŽ, 1999.

MIRKO ILIĆ – HATE Grafičko oblikovanje: Mirko Ilić Izdavač: Moderna galerija Rijeka 810 x 600 mm, MMSU-2671

XIV. MEĐUNARODNA IZLOŽBA CRTEŽA – STRIP-CRTEŽ, 1999.

BEDNJANEC Likovni predložak: Ivica Bednjanec Izdavač: Moderna galerija Rijeka 670 x 480 mm, MMSU-2697

XII. MEĐUNARODNA IZLOŽBA ORIGINALNOG CRTEŽA, 1990.

PROPADALO Grafičko oblikovanje: Ivica Propadalo Likovni predložak: Ivica Propadalo, Travanjski susret, 1990.

Izdavač: Moderna galerija Rijeka ofset, papir, 982 x 690 mm, MMSU-2679

XIV. MEĐUNARODNA IZLOŽBA CRTEŽA – STRIP-CRTEŽ, 1999.

HERMANN Grafičko oblikovanje: Andrej Mohorič Likovni predložak: Hermann Hupenn Izdavač: Moderna galerija rijeka ofset, papir, 680 x 440 mm, MMSU-2675

XVII. MEĐUNARODNA IZLOŽBA CRTEŽA – DO POSLJEDNJEG CRTEŽA, 2008.

REGINA PESOA: HISTORIA TRAGICA COM FINAL FELIZ Nepoznati autor ink-jet print, papir, 998 x 680 mm, MMSU-5581

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Izdavač / Publisher Muzej moderne i suvremene umjetnosti Museum of Modern and Contemporary Art Za izdavača / For the Publisher Jerica Ziherl Urednica kataloga / Editor Daina Glavočić Tekst / Essay Daina Glavočić, Ljubica Dujmović Kosovac Fotografije / Photographs arhiva MMSU, Goran Vranić, Iztok Žorž

Program su financijski podržali / Programe is supported by Grad Rijeka, Odjel gradske uprave za kulturu / City of RIjeka, Departmenf of Culture Primorsko-goranska županija / Primorsko-goranska County Ministarstvo kulture Republike Hrvatske / Republic of Croatia, Ministry of Culture

Medijski pokrovitelj / Media Sponsor NOVI LIST, Rijeka

Lektura i korektura / Textual Revision Gordana Ožbolt Prijevod / Translation, Textual Revision Andy Jelčić, Slobodan Drenovac Oblikovanje plakata i ovitka/ Poster and Cover Design Mirko Ilić Oblikovanje kataloga / Catalogue Design Aljoša Brajdić Odnosi s javnošću / Public Relations Ivo Matulić Edukacija / Education Milica Đilas Dokumentacija / Documentation Diana Zrilić Postav izložbe / Exhibition Layout Aljoša Brajdić, Daina Glavočić, Ljubica Dujmović Kosovac Tehnički postav / Technical Layout Željko Žuža, Anton Samaržija, Vanja Pužar

CIP zapis dostupan u računalnom katalogu Sveučilišne knjižnice Rijeka pod brojem 120207026 ISBN 978-953-6501-64-9

Administracija / Administration Tamara Medač Medija, Stošija Baljak Gržančić Prijelom / Layout Sagita d.o.o. Opatija Tisak / Print Tiskara Zambelli, Rijeka

Muzej moderne i suvremene umjetnosti Museum of Modern and Contemporary Art

Naklada / Copies 500

Dolac 1/II, 51000 Rijeka, Hrvatska/Croatia Tel. +385 51 492 611, Fax +385 51 492 623 e-mail: mmsu-rijeka@ri.t-com.hr www.mmsu.hr

Broj kataloga / Catalogue number 287

© MMSU, Rijeka 2009