Sedmo nebo - izbor iz zbirki mmsu-a

— Izbor iz zbirki Mmsu-a

— SEDMO NEBO Izbor iz zbirki MMSU-a — The Seventh Heaven The selection from the MMSU collection

— Sadržaj | Content

— Geneza | The Genesis kratka priča | short story — Neva Lukić

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— Kratki spojevi | Short circuits predgovor | preface — Ksenija Orelj

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— Sloboda od svih restrikcija i ograničenja | Freedom from all restrictions and limitations predgovor | preface — Nadežda Elezović

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— Svemirski rotacijski ples | The whirling dance of the Universe riječ suradnika | associate’s note — Andrea Cvitan

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— Krug znači da granice nema | The circle means there is no boundary riječ suradnika | associate’s note — Šejh Hajrula Osmani Dushi

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— Radovi na izložbi | Exhibited works

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— Geneza

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Jednom davno postojalo je amorfno biće koje je sama sebe toliko poticalo da je na kraju, koji se može nazvati i početkom, doista i poteklo. Prvih godina bivalo je statično unutar gustoga tkanja kamena jer nije bilo nikoga da ga na nešto potakne. Samo je postojalo, sveobuhvatno, bez udova koji bi ga nekamo povukli. No, bilo kako bilo, ako je doista tako bilo, već i tad, u najranijim vremenima pokazala se istinitom indicija kako dva potpuno različita puta često rezultiraju istom radnjom. Sve dođe na isto, pa je i to biće došlo na isto: nije ga imao tko taknuti te je nakon nekoga vremena ono odlučilo potaknuti samoga sebe, samo da poteče u nekom smjeru kako bi napokon od nekud poteklo. Cjelovito i jedinstveno malo se s obje strane izduljilo, i poput jednoga jedinstvenog uda krenulo. Taj praiskonski stvor bio je snažan i samostalan a njegova ambicija za tečenjem postojanija od vrtnje same zemaljske kugle. Još prije pojave Mojsijevih Deset zapovijedi i pojave epitafa, ovo je biće bilo zapisano u kamenu, i da mu to nije dosadilo, tko zna kako bi se povijest razvijala. Možda bi sve ostalo na toj biće-riječi koja se zbog inercije tvrde tvari u koju je bila utisnuta nikada ne bi ostvarila na ničijim usnama. Početni razvojni stupanj toga stvorenja, kako se može pročitati u knjigama, bio je neobičan – neki znanstvenici tvrde da se sastojalo od spoja riječi i genetskog materijala neizmjerno sličnog čovjekovu, a cijeli taj dah i materija bili su uglavljeni duboko u hridi.

U trenutku bijega biće je metamorfoziralo u tok. Moralo je poteći kako bi moglo potjeći a naposljetku nešto i steći. Iz želje za tečenjem, a ono još od najranijih vremena podrazumijeva bijeg ili odlazak, nastao je fluks koji je poželio od samoga sebe uteći jer ga više nije zadovoljavalo stalno biti sa samim sobom ovdje i nikada ni sa kim drugim negdje drugdje. Neki znanstvenici tvrde da je to novo, naprednije biće bilo

— The Genesis

Once upon a time there was an amorphous creature that encouraged itself so intensely that it eventually started flowing. It was static in the first years of its existence, trapped in a thick fabric of stone, for there was no one around to serve as motivation. So it was just there, existing comprehensively, without limbs that could have taken it somewhere. Anyway, if the story is true, even then, back in the earliest times, the assumption that two completely different paths often have the same result proved accurate. Everything is always the same, and the creature was always the same: there was nobody to inspire it so it decided to inspire itself to flow in any direction, just for the purpose of flowing. Fundamentally and uniquely, it extended both its ends, and it began moving, as one perfect limb. This primordial creature was strong and independent and its passion for flowing was as unyielding as the Earth’s rotation. Even before God gave Moses the Ten Commandments, even before epitaphs, this creature was inscribed in stone, and had it not grown tired of it, who knows how the history would have developed. Perhaps, due to the inertia of its solid substratum, this creature-word would have never materialized itself on anyone’s lips. The initial stage of this creature’s development was quite unusual – some scientists say it consisted of a combination of words and genetic material remarkably similar to human, and these breath and matter were set deeply in the rock.

At the moment of escape, the creature has metamorphosed into a flow. It had to flow since it had to have an origin, and it had to get somewhere, eventually. The urge for flowing, inseparable from the act of escape or departure since the earliest times, created a flux which wanted to flee from itself, for it was not content anymore with being only with itself and no one else, nowhere else. Some scientists believe

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duguljasta voda s nekom vrstom živčanoga sustava gdje je tekućina predstavljala veliko tijelo na kojemu su plutali živci. Koliko je ta prva voda bila čista, mi koji imamo utrobe pune plinova i nečistih tvari, danas ne možemo niti zamisliti (možda je čak i mirisala ta voda, mirisala na oleandre, kažu ovi znanstvenici). Drugi tvrde da je biće izašlo iz kamena u obliku mesnatoga crva koji se vrlo elegantno kretao, tijelom mekim poput sipine kosti, a treći, pak, da je bilo svojevrstan hibrid svega spomenutoga – riječi, vode i crva a od toga je najveći postotak otpadao na kisik i vodik.

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Biće je počelo kapati po kamenu iz kojega je nastalo a koji se tada možda Zemljom nazivao, prvo plaho a potom sve snažnije, išlo je sve dalje i dalje od samoga sebe... I kad god bi se okrenulo da vidi je li se napustilo, vidjelo bi da je rep još uvijek tu, sve veći i veći, jer cijelo to biće je i bilo veliki crv, odnosno, rep. Nikako nije moglo prekinuti svoj tijek i početi ispočetka! Uskoro je postalo ljuto na čitav postojeći svijet, odnosno, na sebe sama, te je počelo orkanski vijugati svojim sve većim i većim tijelom. Ono što filmski junaci čine s automobilima u akcijskim filmovima bježeći od nekoga, to je to biće radilo sa samim sobom. Spirale, osmice, elipse, krugove i polukrugove čije su se putanje međusobno sudarale izvodilo je biće svojim sve bujnijim i bujnijim tijelom. Njegov tlocrt koji je sada bio veći i od same Zemlje bio je apsolutno zamršen i nečitljiv. Sve vrste neobičnih čvorova i slijepih ulica nalazile su se unutar toga tijela. Uskoro se biće umorilo od kontinuiranog izbijanja na nova mjesta te je odlučilo na svoj način malo stati (u njegovom slučaju to je značilo prestati biti u toku te pustiti stvari da idu svojim tijekom). Shvatilo je da mu je struktura tako kompliciranoga nacrta da većinu svojih dijelova, razbacanih po naprosto neobujmljivoj (ne)površini prostora, nikada više neće vidjeti niti uspjeti pronaći. Izgubilo je samoga sebe po cijelome svijetu, a cijeli je svijet ionako predstavljao njega sama... U tom trenutku nastao je prvi Labirint, velikim dijelom sastavljen od vode. Biće, koje nikako nije moglo sagledati sama sebe sastojalo se od isprepletenih meandara, zapetljanih žniranaca i zlatnih lančića! I ponovno je shvatilo da sve dođe na isto – stvaralo je svijet dok je teklo a kao da ništa nije steklo. Sad je imalo još manje, a u najboljem slučaju jednako kao na samome početku, kad je samo postojalo kao biće-riječ. Čitav teret već izgubljenih a nikad istinski stvorenih sjećanja svalio mu se na

that this new, grown creature was a long stream of water. It had a nervous system formed of a huge body of liquid, with nerves floating on its surface. We, whose stomachs are full of gases and impure matter, cannot even imagine how pure this liquid was (it may have smelled of oleanders, these scientists say). Others believe this creature emerged from a rock in the form of a meaty worm whose movements were quite elegant and whose body was as soft as a cuttlefish bone.

Finally, some say that this creature was a mixture of all that was mentioned here – word, water and worm – with the largest part of its body consisting of oxygen and hydrogen.

The creature started dripping onto the rock from which it emerged, which then might have been called Earth, shyly at first, and then more assertively; it ran farther, and farther from itself… And whenever it looked back to see if it had departed from itself, it would realize that its tail was still there, and it was getting bigger and bigger, because all this time the creature was a long worm, or a long tail. It was impossible for the creature to terminate its own flow and begin anew! Soon it got angry with the world, namely, with itself, so it started wriggling, turbulently, using its enlarging body, running away from itself, like heroes running away from villains in action films. The growing creature made spirals, ellipses, eights, circles and semi circles, and its trails crossed and collided with one another. Its blueprint, which surpassed the Earth itself, was extremely complicated and unreadable. Its body contained every form of unusual knots and dead-end streets. It did not take long for the creature to get exhausted from the constant attempts of breaking out in different places so it decided to stop for a while (in the creature’s case, that meant to stop flowing and let things take their course). The creature realized that its structure was so complex that it would never be able to find most of its parts, which were scattered along the limitless (non)surface of space. It lost itself, all over the world, and the whole world represented the creature, anyway… At that moment the first Labyrinth was created, mostly of water. The creature, which could not see itself, was made of twisted meanders, tangled strings and golden chains! And once again it realized that everything always stays the same – the creature created the world while it flowed, but it got nowhere. It had less than it had at the beginning, when it existed only as the creature-word. The burden of memories that were

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protočna leđa te se biću učinilo kako mu je voda ustajala iako teče. U tom trenutku došlo je vrijeme za novu metamorfozu. Biće je shvatilo da ono ima izvor (korijen) iako teče i to mu se učinilo kontradikcijom.

Bit će slobodno kad izgubi izvor, kad postane čista, slobodna voda, rijeka bez oslonca! Svu je snagu uložilo u potpuno istjecanje iz kamena, čvrsto odlučivši da će napokon sasvim napustiti svoje porijeklo. U tom trenutku voda je postala crvenkasta i dobila je tanki oklop od mesa. Taj labirint je, tvrde znanstvenici koji zastupaju vječno uzmičuću Teoriju bijega, napokon dobio ime pod kakvim ga danas poznajemo – čovjek.

— Neva Lukić

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lost, although never truly created, fell on its liquid shoulders. The creature got the feeling that its water had gone stale, regardless of its constant flow. And then the moment came for a new metamorphosis.

The creature realized it had a source; it had roots, which seemed contradictory because of its fluidity. The creature would therefore be liberated when it loses its source, when it becomes clear, free water, a river without a shore! So the creature focused all its strength to flow out of its rock completely and abandon its origins. At that moment the water turned red and it received a thin armor made of meat. The labyrinth, according to the scientists who argue in favor of the elusive escape theory, finally got the name for which it is known today – man. — Neva Lukić

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EUGEN FELLER — Bez naziva | Untitled, 2001.–2002.

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DAN OKI — Underground Loop, 1996.

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OTTO PIENE — Kraljica noći | Queen of the Night, 1967.

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JULIJE KNIFER — Bez naziva, Meandar | Untitled, Meander, 1965.

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VOJIN BAKIĆ — Svjetlonosni oblici | Lightbearing Forms, oko 1968. | around 1968

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IVAN PICELJ — Cy-Blu I, 1971.

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DALIBOR MARTINIS — Stormtellers, 1997.

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TOMISLAV BRAJNOVIĆ — Pregate per la pace | Pray for Peace, 2005.

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DAMIR STOJNIĆ — Sedmo nebo | Seventh Heaven, 2002.

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ALEKSANDAR SRNEC — Objekt | Object, 1968.

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ALEKSANDAR SRNEC — Kompozicija U-P-14 | Composition U-P-14, 1953.

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— Kratki spojevi

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Okupljajući klasične medije, videa i instalacije, izložba nastaje kao pokušaj posredovanja umjetničkih radova na način elementarnih krivulja, poput progresije daha, koji istodobno djeluju kao parabole i uravnoteženosti i kolapsa, bilo na razini individualnog, bilo na razini duštvenog tijela. Nailazimo na začudni energetski vrtuljak u kojem se organski tokovi spajaju i sudaraju s tehnološkim kodovima, zapliću u mrežu društva kontrole i tržišnog nadmetanja, na jedinoj nastanjivoj planeti u Sunčevom sustavu. Pokazujući zakrivljeni fundus i vezujući se uz tridesetak radova, u rasponu od djela visokog modernizma do suvremenih umjetničkih izraza, nastojimo zavrtiti normative normalnog koji se u doba permanentne krize ionako pokazuju pogrešivima.

Prihvaćamo se naoko staromodnog arhetipskog uzorka – kružnih i spiralnih oblika kao osnove organskih spojeva i temeljnog svojstva galaktičkih prostora, a koji se u umjetničkim prefiguracijama nastalim od pedesetih godina 20. stoljeća do danas pokazuju neiscrpnim motivom. Jedan je od referentnih radova Kaos – umjetnost Borisa Demura koji se od 1983. gotovo opsesivno posvećivao spiralnim ciklusima, ...dokumentirajući tako i neizmjerljivost i nedokučivost prostora Svijeta. ... Ono što je Maljeviču bio crni ili bijeli kvadrat na bijelom, Kniferu crno-bijeli meandar, Glihi gromača, Demuru je – po materijalnome i duhovnom korpusu, dubini teme, širini zamisli, estetskoj osjetljivosti, raspoloživim imaginativnim sposobnostima, suverenošću u razradama motiva – spirala, znak apsolutne supremacije duhovnoga u umjetnosti.1 Kao Demurovog srodnika možemo izdvojiti Damira Stojnića prema čijem je radu izložba i dobila naslov. Kružnost kozmičkog i prirodnog toka oslobođena je pritiska sadašnjosti. Oblici fluktuiraju, a energije se prelijevaju jedna u drugu slaveći pokretljivost životnih formi; uzmičući sustavu posjedništva, granica i zidina.

— Short circuits

Gathering traditional media, videos and installations, this exhibition aims to present the artworks as elementary curves, like progressions of breath. It offers pieces that may function as the parabolas of balance and collapse, both on individual and social level. Hence, we may expect to see a wondrous merry-go-round in which organic flows meet and collide with technological codes; they get entangled in a network formed by the society of control and market competition, on the only inhabitable planet in the Solar System. Offering a curving collection of approximately thirty works that range from high modernism to the contemporary artistic expressions, this exhibition spins the standards of normalcy, which in the times of permanent crisis appear fallible anyway. We are presented with seemingly old-fashioned, archetypal forms – circles and spirals, as the elementary components of organic compounds and galactic spaces, which have served as inexhaustible well of motives since the 1950s. One of the exhibited works is Chaos Art by Boris Demur, who almost obsessively worked with spiral cycles …documenting the immeasurability and incomprehensibility of the space of the World. What black or white square on a white surface was to Malevitch, black and white meander to Knifer, or dry stone walls to Gliha, that was the spiral to Demur. This was visible in material and spiritual aspect of his work, in the scope of his thought, in his aesthetic sensibility, imaginative ability and his sovereignty in development of motives. The spiral, in Demur’s work, was the symbol of absolute supremacy of the spiritual in art.1 Damir Stojnić, whose work served as the title for this exhibition, is of a similar mind. The circularity of the cosmic and natural flow is liberated from the pressures of present moment. Stojnić’s forms fluctuate and the energies merge into each other, celebrating the mobility of life forms, eluding the system of ownership, borders and walls.

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Nasuprot pravocrtnog kretanja i linearnog modela vremena, Sedmim nebom naglašavamo kružno vrijeme i cikličko načelo o pretvorbi energije. Oslonjeni na kružno gibanje, dotičemo se umjetničkih parabola o stanjima opuštenosti, ali i grčenja, osobito karakterističnog za sadašnje doba koje ipak ne odustaje od potrage za alternativnim smjernicama. Pitanje iscrpljivanja, istisnuto općim nalogom produktivnosti i učinkovitosti, pokazuje se ključnim upravo u vremenu non-stop produkcije, ubrzane do krajnjih granica socijalne i ekološke neravnoteže. Zalazeći u stranputice modernih ideja o progresu, zastajemo nad ograničenjima energetske protočnosti i optimističkog zanosa. U dosluhu s umjetničkim radovima i tihim protagonistima izložbe koje možemo imenovati skepticima globalnog napretka, pitamo se, zašto smo ‘cilj’ projicirali u samo nebo?... Uslijed kakva su se to nesporazuma ljudi dočepali njegovih turbulencija i pretvorili ih u blagodati? Kakav je to nedostatak poezije čistu zvijezdu sveo na korisno čudovište? 2 Zbog specifične perspektive koju je sam autor prozvao kopernikanskim obratom u modernoj znanosti, dohvaćamo se eseja Georgesa Bataillea Prokleti dio (The Accursed Share: An Essay on General Economy, 1949.). Objavljujući ga u doba poslijeratne obnove i promicanja vjere u tehnološki progres, Bataille proklamirani napredak sagledava s nemalo podozrivosti. Polazi od sunčeve galaksije i solarne energije koja se apsorbira iz nužnosti preživljavanja svih organizama, ali uvijek ostavlja i određeni višak označen dinamičkim sustavom ravnoteže i oscilacijama između reda i kaosa. Ovaj višak, odnosno ekscesivna energija, može biti i poticajno upotrijebljen, ali se primarno rasipa na bizarne načine, poput prekomjerne potrošnje ili ratnih pohoda, prijeteći uništavanjem sustava koji ga je proizveo.

Pojednostavljeno rečeno, kada zemljinu kuglu počinju zamjenjivati pojmovi poput globalnog tržišta, savršena okruglost postaje svršenom, a energetska protočnost prerasta u energetsku bulimiju. Umjesto spiralnog tijeka energije koji nalikuje transgresivnom kružnom gibanju, zatečeni smo ponirućim kruženjem koje se podudara s čestim sinonimom današnjeg ustroja i slikom začaranog kruga.

Razlaganje modernih mitova o progresu, karakteristika je mnogih radova nastalih na prijelazu stoljeća. Umjesto utopijske vjere u izgradnju prosperitetnog svijeta, prevladavajuće u društvu stabilnosti šezdesetih godina, nailazimo na sumanutu utrku za profitom,

In contrast to the linearity of time and movement, The Seventh Heaven stresses circular time and cyclical principle of energy conversion.

Relying on a circular motion, we are dealing with artistic parables about the states of relaxation, but also states of convulsion. Such states are especially characteristic of present time, which has still not given up its quest for alternative ways. The key issue in these times of non-stop production, which has accelerated to the extent that threatens social and ecological equilibrium, is the issue of exhaustion.

Following the by-paths of modern ideas of progress, we experience a shortage of energy flow and optimistic elation. Hence, in a secret agreement with the silent protagonists of this exhibition, which may be called skeptics of the global order, we pose the question: why have we set our targets on the sky? What kind of misunderstanding has allowed people to take hold of the sky’s turbulences and transform them into blessings? Was there a lack of poetry that reduced a bright star to a useful monster? 2 We reach for George Bataille’s essay titled The Accursed Share: An Essay on General Economy (1949), moved by a specific perspective which the author himself called the Copernican revolution of modern science. Written in the period of reconstruction and technological development after the World War 2, this essay tackles the proclaimed progress with profound distrust. Bataille speaks about the Sun’s galaxy and solar energy which is absorbed by organisms out of necessity for survival, but there is always a surplus marked by the dynamic system of balance and the oscillations between order and chaos. This surplus, i.e., the superfluous energy, could be used wisely, but it is mostly wasted in bizarre ways, for example, in excessive consumption or military campaigns, threatening to destroy the system that created it. In other words, when the Earth begins to be referred to only as the global market, its perfect roundness will cease to exist, while the flow of energy will turn into energy bulimia. Instead of spiral flow of energy, we have become witnesses to a sinking circulation that mirrors the image of today’s world trapped in a vicious circle.

Dissolution of modern myths of progress characterizes many works created at the turn of the century. The utopian faith in the construction of the world of prosperity, which permeated the society of stability in the 1960s, has been replaced by a mad rush for profit,

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svojatanjem prostora i resursa. Kozmičko prostranstvo djeluje ograničeno. Nove su koordinate sabijena prostornost, izglavljenost vremena, a time i rasredištenost subjekta.3 Između misteriozno čuvanog stroja koji može raznijeti Zemlju i zvjezdanih bombardiranja koja nas mogu vratiti na izvorne pare, ima mjesta za priličan broj katastrofalnih mogućnosti. Zapravo, vrtimo se u krugu na jednome imanju čiji inventar možda nije iscrpljen, ali znamo da je ograničen.4 U svijetu koji se pojačano zatvara i implodira u sebe, uzgon i uzlet doimaju se upitno. Rad Aleksandra Garbina Proširene granice (1998.

– 2002.) jedan je od primjera, koji na način mise en abîme pokazuje sunovraćene tragove globalizirane kartografije. Temporalna strelica sada se namotava prema unutra, zadobivajući oblik zatvorenog kruženja na jednom mjestu. Loop postaje nametljivim simptomom sadašnjosti. Svojim opetovanim vraćanjem asocira na lucidne analize o perpetuiranju kriza, a osnaživanju kapitala koji razarajućim brzinama sve čvrsto pretvara u dim. Jednostavnu pretpostavku da uravnoteženost počinjemo uvažavati tek kada je uobičajeno funkcioniranje dovedeno pod pitanje, mahom očituju radovi koji se bave upravo dezorijentirajućim situacijama. Tako eksplicitna, kao i tek implicitno sugerirana beskonačna vrtnja, potom ponavljanje ili sukobljavanje kružnih i spiralnih idioma, te pozadinski djelatnih, centripetalnih i centrifugalnih usmjerenja, upućuje na vrtoglavu dimenziju današnjice u kojoj stabilna društvena utočišta i socijalne garancije prestaju važiti. U doba općeg ubrzanja, nezaustavljiv je dojam da se napeta strelica progresa vraća poput bumeranga.

Potmuli krik našeg vremena koji odzvanja u nedogled, prisutan je u videoinstalaciji Dalibora Martinisa Membrana Tympani (1995.).

Sastavljena je iz bubnja i videoslike usta koja se kružno otvaraju i zatvaraju, uz tutnjajući zvuk, …autor inzistira na nejasnoj granici između stvarnosti i projekcije stvarnosti, približujući se situaciji bliskoj doživljaju prostora u snu.5 Ili apsurdu ponavljajućeg sna. Čini se da teturamo u fascinantnom koliko i paničnom stanju u kojem se narušava dojam ravnoteže i čvrstih uporišta. Pritom ekscesivna vrtnja izaziva omaglicu, ...sužava vidokrug baš kao što zamišljamo da se događa u vrtoglavici, prije nastupa mraka i potpunoga gubitka svijesti.6 Njezini odrazi u umjetničkim radovima djeluju na način osvještavanja omamljujućih svojstava kružnih petlji, koje postaju

space and resources. Cosmic widths seem limited. Condensed spatiality, disconnected time and a decentered subject are the new coordinates.3 Between the mysteriously protected machine, which could blow up the entire Earth and starry explosions, which could transform us back into the original vapor, there is plenty of room for a number of catastrophic possibilities. Moreover, we have been running in circle on an estate whose inventory has not been depleted yet, but we know for certain that it is limited.4 In the world that shuts itself off and implodes, any form takeoff is questionable. One of the examples is Aleksandar Garbin’s Extended Boundaries (1998 – 2002), which, in mise en abÎme manner, depicts the plummeted traces of the globalized cartography. The arrow of time turns inward, assuming the form of a closed circuit. Loop becomes an intrusive symptom of our everydayness. Its endless circulation reminds of the lucid analyses of the perpetuation of crises and the power of capital that melts all that is solid into air. The simple assumption that we begin to appreciate balance only under a threat of losing it is conveyed by the works that describe disorienting situations. The explicitly and implicitly endless whirl and the recurrences and collisions of circular and spiral idioms, as well as centripetal and centrifugal tendencies operating in the background, indicate the vertiginous dimension of the present time, in which stable harbors and social guarantees vanish. In the hectic world of today, we receive the impression that the shot arrow of progress comes back like a boomerang. The dull outcry of our time is shown in the video-installation by Dalibor Martinis Membrana Tympani (1995). The installation includes an image of a mouth opening and closing in a circular motion, projected on the flat surface of a drum, which is accompanied by a drumming noise. In this work, Martinis erases the boundary between reality and the projection of reality, reaching a dreamlike experience of space.5 Or the absurdity of a recurring dream.

We seem to stagger in fascination, but also in panic. The sense of balance and foothold is lost. The excessive rotation makes us dizzy, reducing the range of sight just as we imagine happening in vertigo, before darkness falls upon us and we lose consciousness.6 Reflections of such rotation in the exhibited works make us aware of the entrancing features of loops. They become the symbols of

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oznakama neprestanog ponavljanja lišenog mogućnosti promjene.

Mimo izravnih kritičkih intencija, pojedini radovi naglašavaju načelo uzajamnosti po kojem svaki postupak nosi povratne ishode. Tako se iscrpljivanje i zanemarivanje pokazuju kao zatamnjene sastavnice napretka, ipak ostajući u doticaju s mogućnostima regeneriranja, poput Optimističke okosnice Ivana Kožarića (2010.). Grafike prikazuju čudesnu spiralu prispodobivu oblicima iz prirode. Vrtnjom bez početka i kraja podsjećaju na pronicljivu izreku Eadem mutata resurgo / Changed and yet the same, I rise again, matematičara Jacoba Bernoullija koji je sustavno opisao upravo spiralu rasta.7 Spira mirabilis kao i njezine izvedenice dotaknute izložbom, pokrivaju staromodnu, ali prijemčivu koncepciju da su stvaranje i ništenje međusobno neodvojivi procesi, prepuni raspuklina, tenzija i prokletih dijelova čije bi uvažavanje moglo potaknuti zamišljanje drugačijih svjetova.

Nasuprot proizvodnom trku modernih vremena, sedmo nebo prizvano je kao skrovište zatomljenih energetskih zaliha i percepcijskih vidika.

Kao moguće uporište uzmaklog prostora zajedništva.

— Ksenija Orelj 41

— 1 Ivica Župan, Spiralno putovanje spiralnim plesom, u: Ars Adriatica 4, Sveučilište u Zadru, 2014., str. 411.

— 2 Emil Cioran, Brevijar poraženih, Meandarmedia, Zagreb, 2009., str. 11.

— 3 Kao povod suvremenog rascjepa ega, Flora Lysen navodi politike upravljanja prostorom omogućene istraživanjima svemira u hladnoratovskom razdoblju, Nakon tri velika potresa ega u intelektualnoj povijesti – Kopernikanske revolucije (Zemlja nije središte svemira), Darvinove (i nismo toliko različiti od životinja), te Freudove (nesvjesno pokazuje da nismo vladari vlastitog ega) – kaže se da su prikazi planeta bili četvrti udarac, ... čineći ego svjesnim fizičkih ograničenja prostora kojeg nastanjuje. Usp., After we knew that the Earth was

a Sphere, u: The Whole Earth. California and the Disappearance of the Outside, Haus der Kulturen der Welt, Sternberg Press, Berlin, 2014., str. 151.

— 4 Pierre Mac Orlan u: Paul Virilio, Grad Panike, Bijeli val, Zagreb, 2011., str. 50.

— 5 Nada Beroš, Pravi i krivi parovi, Laboratorijske vježbe iz uzajamnosti, u: Observatorium (Dalibor Martinis), MGR, 1997., str. 25.

— 6 O odnosu kružnog i povijesno-linearnog vremena te principu cirkularnosti u medijskim praksama, usp. Sabina Salamon, Vrtoglavi krugotok (Toni Meštrović), MMSU Rijeka, 2015.

— 7 Zapis potječe s Bernoullijeve nadgobne ploče iz 1705., a kasnije je preuzet za moto koledža patafizike, jednog od žarišta nadrealističkih krugova, osnovanog 1948. u Parizu

exhausting, repetitive journeys, without any possibility of change.

Without critical intentions, some of the works emphasize the principle of interconnectedness, where each step produces unavoidable response. In this process, exhaustion and neglecting appear as darkened components of progress. Nevertheless, there remains a possibility of regeneration, like in Optimist Perpendicular by Ivan Kožarić (2010). The graphic prints reveal an enchanting spiral that can be compared to forms found in nature. Their endless turning reminds of that wise phrase coined by the mathematician Jacob Bernoulli, who studied the spiral of growth – Eadem mutata resurgo / Changed and yet the same, I rise again.7 Spira mirabilis and its derivatives shown in this exhibition convey an old-fashioned, but strong impression that creation and destruction are inseparable processes, full of dents, tensions and accursed shares, which may encourage us to envision different worlds. Standing in opposition to the productivity rush of modern times, the seventh heaven serves as the shelter of suppressed energy supplies and fields of vision. As a potential footing in the shrinking space of togetherness.

— Ksenija Orelj

— 1 Ivica Župan, Spiralno putovanje spiralnim plesom, in: Ars Adriatica 4, The University of Zadar, 2014, p. 411 — 2 Emil Cioran, Brevijar poraženih, Meandarmedia, Zagreb, 2009, p.. 11.

— 3 Flora Lysen describes the policies of space management, spurred by outer space research during the Cold War, as the reasons of ego disintegration. After the three big ego-smashing divides in intellectual history – the Copernican revolution (our Earth is not at the centre of The Universe), the Darwinian revolution (we are not that different from animals), and the Freudian revolution (unconsciousness shows we are not the masters of our ego) – this representation of earth was said to be the fourth blow, since it “displaced the human ego by making it conscious of the physical limitations of the space

it inhabits”. Cf. After we knew that the Earth was a Sphere, in: The Whole Earth. California and the Disappearance of the Outside, Haus der Kulturen der Welt, Sternberg Press, Berlin, 2014, p. 151 — 4 Pierre Mac Orlan in: Paul Virilio, Grad Panike, Bijeli val, Zagreb, 2011, p. 50 — 5 Nada Beroš, Pravi i krivi parovi, Laboratorijske vježbe iz uzajamnosti, in Observatorium (Dalibor Martinis), MGR, 1997, p. 25 — 6 The relationship of circular and linear time and the principle of circularity in media practices, Sabina Salamon, Vertiginous Flow (Toni Meštrović), MMSU Rijeka, 2015 — 7 The inscription was made on Bernoulli’s tombstone 1705. It was used later as the motto of the College of Pataphysics, one of the centers of Surrealism founded in 1948 in Paris

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VJENCESLAV RICHTER — Cca 1 | Ca 1, 1984.

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SANJA IVEKOVIĆ — Meeting point, 1978.

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IVAN KOŽARIĆ — Optimistička okomica | Optimist Perpendicular, 2010.

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— Sloboda od svih restrikcija i ograničenja

Znanje o postojanju nečega što ne možemo dokučiti, o pojavnostima najdubljega razuma i najsjajnije ljepote, koji su dostupni našem umu jedino u svojim najelementarnijim oblicima - upravo ovo znanje i ove emocije tvore istinski religiozan stav. Samo u tom smislu, i ni u jednom drugom, ja sam duboko religiozan čovjek.

— Albert Einstein, Moj pogled na svijet, 1949.

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Vizualna umjetnost, znanost i vjerska misao, tri su vida pojavljivanja duhovnog i humanističkog pristupa unutar cjeline izložbene koncepcije naslovljene Sedmo nebo, prema slici riječkog umjetnika Damira Stojnića. U suodnos su dovedena posredstvom i odabirom forme kruga kao tematske okosnice izložbe, obuhvaćajući djela u mediju slikarstva, crteža, skulpture, fotografije te video umjetnosti, u kojima se kao osnovni motiv pojavljuje motiv kruga, odnosno njegova dinamizirana i pokrenuta manifestacija u formi spirale. Riječ je o antropološkom pristupu pri koncipiranju izložbe, pri čemu su djela moderne i suvremene umjetnosti, iako mahom posvećena pitanjima rješavanja vizualnih problema, dovedena u suodnos s antropološkim postavkama o formi kruga, sveprisutnoj u ljudskoj kulturi i civilizaciji; od urbanizma prapovijesnog čovjeka, preko prapovijesnih megalitskih građevina posvećenih suncu i praćenju njegove kretnje, pa do sakralne arhitekture srednjeg vijeka – sjetimo se hrvatskih centralnih crkvica ranog srednjeg vijeka razasutih u okolici Zadra ili Splita. Krug je jedan od prvotnih simbola. Prisutan je i korišten tijekom svih razdoblja u povijesti čovječanstva, od sunčevog diska, aureole, budističkih mandala, taoističkih kozmičkih polova jina i janga… Također, po modelu kruženja zbivaju se svi procesi u prirodi, od makrokozmičkih do mikrokozmičkih kruženja; kružnih putanja nebeskih tijela, kruženja čestica elektrona, vrtložnih gibanja vode ili vjetra u prirodi…

— Freedom from all restrictions and limitations

A knowledge of the existence of something we cannot penetrate, of the manifestations of the profoundest reason and the most radiant beauty, which are only accessible to our reason in their most elementary forms – it is this knowledge and this emotion that constitute the truly religious attitude; in this sense, and in this alone, I am a deeply religious man.

— Albert Einstein, The World as I See It, 1949 Visual art, science and religious thought are the three manifestations of spiritual and humanistic spheres of the exhibition The Seventh Heaven, titled after the work of Rijeka’s artist Damir Stojnić. These three spheres are interconnected through the form of a circle as the thematic framework of the exhibition. The exhibition is comprised of paintings, drawing, sculptures, photographs and video artworks with the motive of circle, i.e., its dynamized manifestation – the spiral. The concept of the exhibition has taken an anthropological approach – the modern and contemporary works, mainly dedicated to visual problem solving, are correlated with the anthropological theses about circle. The circle has been all-pervasive in human culture and civilization since always, from the urbanism of pre-historical man and megalithic constructions dedicated to the sun and the sun’s movement, to the sacral architecture of the Middle Ages, the example of which are medieval churches around Zadar and Split. Circle is one of the primary symbols. It has been present in our civilization from its very beginnings and used throughout the entire history of mankind, from the Sun’s disc, halo, Buddhist mandala, Taoist Yin Yang…

The nature’s processes, macrocosmic and microcosmic, are based on circulation, like the orbits of celestial bodies, the circuits of electrons or the whirling movement of water or wind…

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Sve je spirala, kozmos diše u ritmu spirale…motiv spirale pojavljuje se prirodi u svim vidovima…to su prirodne analogije…1 govorio je umjetnik Boris Demur, koji je svoju umjetnost u potpunosti posvetio jednom te istom motivu spirale kao univerzalnom kozmičkom načelu uočenom iz prirode. Svoje je slikarstvo nazvao Spiralno akcijsko slikarstvo, a o svojim slikama, izvedenim ekspresivnim nanošenjem te kapanjem boje po površini papira, krećući se pritom istovremeno cijelim tijelom u ritmu spirale, govorio je i u terminima Spiralne art memorije. Spiralne art memorije po Demuru su polja posebne frekvencije koja odgovaraju ritmu harmonije svijeta, iscjeljujuće su naravi i u suprotnosti s “kolektivnim zaboravom”. Neiscrpno ponavljanje istog motiva u službi nadilaženja materijalnosti slikarske forme, pretvorbom elemenata na grafički znak, obilježje je Kniferove umjetnosti. Meandar se u djelima Julija Knifera počinje pojavljivati oko 1960. godine. Meandar iz 1965., što se nalazi u fundusu Muzeja i obuhvaćen je izložbom, manjih je dimenzija i jedan od ranijih, te ukazuje na Kniferov pristup i razvoj meandra kao znaka dobivenog iz redukcijskih postavki monokromne geometrijske apstrakcije.

Iako postoje brojne široj javnosti poznate skulpture, jedna je posebno upisana u kolektivnu nacionalnu svijest. To je Prizemljeno Sunce Ivana Kožarića. Pozlaćena kugla prizemljena u Bogovićevoj ulici u Zagrebu skulptura je na kojoj se šetači potpisuju, ispisuju svoja stajališta, misli, izražavaju psihička i emotivna stanja. To je skulptura koja se imitira, pokriva u znak društvenog protesta, s kojom se komunicira i koja komunicira, s kojom se duhovno kao “vrhovnim iskazom istine“ poistovjećuje. Na izložbi su prikazane grafike iz Kožarićeve grafičke mape naslovljene Optimistička okomica (2010.), izvedene u tehnici sitotiska. Slobodnim potezima i jednostavnim likovnim elementima linijske okomice te kružnim potezima, Kožarić u grafikama pronosi suštinu samog principa stvaranja, odnosno princip komplementarnosti i uzajamnosti. Snažno i prodorno nasuprot blagom i prijemčivom – označava stapanje suprotnih vrlina.

Ta je dijalektička perspektiva ostvarena jednostavnim i reduciranim likovnim sredstvima – linijom i krugom – te njihovim posredstvom formira sugestiju prirode i života.

Everything is spiral; the cosmos breaths in a spiral rhythm… the motive of the spiral appears in nature in all aspects… these are natural analogies….1 These are the words of Boris Demur, who dedicated his entire artistic creation to the motive of spiral, thinking of this form as the universal cosmic principle of nature. He called his painting “spiral action painting” and he referred to his works, which he painted with expressive strokes of brush and dripping of paint, in terms of the spiral art memory. The spiral art memory, according to Demur, is a field of special frequency that corresponds to the rhythm of harmony in the world.

The spiral art memory is healing and it is in absolute contradiction with “the collective oblivion”. An inexhaustible repetition of one and the same motive in the service of surpassing the materiality of painting, achieved by transformation of elements into a graphic symbol, is the characteristic of Julije Knifer’s art. Around 1960 he got interested in the form of meander. The meander from 1965, which is part of the holdings of the Rijeka’s Museum of Modern and Contemporary Art and which is shown is this exhibition, has somewhat smaller dimensions and it belongs to Knifer’s earlier works. It reveals Knifer’s approach and suggests that the meander as symbol is derived from the reductive precept of the monochromatic geometrical abstraction.

Although there are many sculptures known to the Croatian public, there is one that is etched into the collective consciousness of this nation. It is The Grounded Sun by the great Ivan Kožarić. The gold-plated sphere in Bogovićeva in Zagreb is a sculpture on which passers-by sign their names, write down their thoughts and opinions, express their mental and emotional states. It is a sculpture that others imitate, or cover in an expression of social, a sculpture with which one communicates and which communicates back. With this sculpture the spiritual is identified with “the supreme expression of truth”. The exhibition includes serigraphs from Kožarić’s graphic portfolio titled the Optimist Perpendicular (2010). By using free lines, simple visual elements and circular lines, Kožarić conveys the essence of the principle of creation, the principle of complementariness and mutuality. The powerful and intensive stands in contrast to the mild and susceptible. This dialectic perspective is accomplished with the use of simple, reduced methods – line and circle – and through them Kožarić creates a connotation of nature and life.

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Dematerijalizacija forme postignuta pokrenutim kompozicijskim načelom te svjetlosnim refleksijama glavno je obilježje skulpture iz serije Svjetlonosni oblici, još jednog velikana – Vojina Bakića.

Kompozicija skulpture, napravljene iz nehrđajućeg čelika 1968. godine, dobivena je uslojavanjem kružnih zrcalnih listova, s blagim konkavnim i konveksnim udubljenjima. Dokidanje materijalnosti Bakić postiže na više razina; sugestijom pokreta te zaobljenom formom skulpture, time i asocijacijom kruga koji se ne zatvara već prostornim pomakom nastavlja svoju kretnju. Konačno, što je i u naslovu serije Svjetlonosni oblici sugerirano – svjetlošću, odnosno refleksijom okoline koja se zrcali na visoko poliranoj istanjenoj plohi, ulazeći u njezina obličja, ispupčenja i blaga udubljenja, ispunjavajući i u potpunosti upijajući njezinu materijalnost. Perceptivna iluzija ovdje se nameće i sugerira kao stvarnost, čime skulptura indirektno otvara niz pitanja o naravi realnosti, o problemu refleksije okoline na oblikovanje te iste realnosti.

Nazire se ideja o iskrivljenom polju percepcije te utoliko skulptura neposredno propituje što je, zapravo, iluzija, a što je stvarnost i da li ona uopće postoji. Razradom i dematerijalizacijom forme Svjetlonosni oblici označavaju sam vrh modernističke skulpture u Evropi.

Među radovima, još je jedan rad koji se posredstvom forme kruga bavi pitanjima dematerijalizacije u umjetnosti. Riječ je o grafici Antimateria III riječke umjetnice Jasne Šikanje. Monokromna geometrijska plošnost kruga ovdje je “omekšana“ latentnošću nejednako prisutnog traga otiska na papiru. Osim formom kruga, ideja antimaterije ovdje je postignuta sugestijom odsustva materije. Nejednaki nanosi boje na pojedinim mjestima otkrivaju grafičke ureze stvarajući priziv površine kakve udaljene planete. Antimateria III time zadobiva svoje asocijativno značenje, ulazi u područje osobne individualne interpretacije, odnosno u područje duboko psihološke opservacije. Od kompozicijskih načela konstruktivističke razrade slike i geometrijske apstrakcije s početka pedesetih godina, modernizma Aleksandra Srneca te Ivana Picelja, preko umjetnika optičke i kinetičke umjetnosti, poput ovdje optičke fantastike Miroslava Šuteja, nadalje preko kontemplativne umjetnosti umjetnika Gorgone, radova konceptualne umjetnosti pa do multimedijalnih umjetničkih pristupa, izložba prikazuje raspon uporabe forme kruga u rješavanju vizualnih problema u različitim medijima te različitim stilskim formacijama.

Dematerialization of form achieved by a moving principle of composition and light reflections is the main feature of the sculpture from Lightbearing Forms series, created by another great artist, Vojin Bakić. The composition of the sculpture, made of stainless steel in 1968, was formed through an arrangement of circular mirror plates with mild concave and convex angles. Bakić does away with materiality in several ways: by suggesting movement through the rounded form of the sculpture, which reminds of a circle that never closes, but continues its progression through spatial shifts. Finally, as the title of the work suggests – it is accomplished through light itself, through the ways the background reflects on the highly polished, thinned surface, entering its forms, its convexities and recesses, filling and completely absorbing its materiality. The illusion of perception imposes itself as reality and the sculpture indirectly raises a series of questions about the nature of reality, about the problem of reflection of reality.

There are glimpses of a distorted field of perception, which is why this sculpture seems to explore the difference between illusion and reality. Moreover, it puts the existence of reality into question. Through decomposition and dematerialization of form itself, the Lightbearing Forms express the spirit of the modernist sculpture in Europe.

This exhibition includes another work that delves into the dematerialization by using the form of circle – graphic print titled Antimateria III by Rijeka-based artist Jasna Šikanja. The monochromatic geometric evenness of circle is “softened” in this work, which is achieved through latency of an uneven impression on the paper. Irregular layers of color reveal the traces of graphic carvings, creating an image of a faraway planet’s surface. Antimateria III therefore assumes an associative meaning and steps into the sphere of personal, individual interpretation – in a field of a deeply psychological observation. From the principles of constructivism and geometrical abstraction of the early 1950s, the modernism of Aleksandar Srnec and Ivan Picelj, through optical and kinetic art, such as Miroslav Šutej’s optical fantasy, to the contemplative art of the Gorgona Group, conceptual art and multimedia, this exhibition shows manifold variations of circle and its use in various media and style.

One of the early video works of the artist Sanja Iveković, for instance, reveals an inert rotation of the camera in a single, “circular” frame,

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Jedan od ranih video radova umjetnice Sanje Iveković, primjerice, formativno označava usporeno kruženje kamere u jednom “kružnom“ kadru, bez prekida kadra i ritma kruženja oko postavljene “skulpture“.

Postupak koji će, u novije digitalno i tehnički dostupnije vrijeme, u kruženjima kamerom oko daleko veće površine, površine geografskog područja ili otoka, u svojim video radovima primijeniti umjetnik Toni Meštrović. Krug se javlja i u djelima umjetnika društveno-politički akcentiranih stavova inkorporiranih u sadržajno značenje rada, poput, video rada Pregate per la pace autora Tomislava Brajnovića, satire Pompeanaca Zlatka Kutnjaka ili mobilnog objekta Dolina odluke Petra Brajnovića. Ponekad su asocijacije na kozmička gibanja i kruženja direktna, primjerice u radu Mirjane Đorđević, ponekad intimne ekspresije, osobna emotivna i ritualna zabilješka u rasteru koji reflektira nebeski svod i suptilnost duše, poput rada Pojavljivanje zvijezda od 10.

X do 20.XII 1999. Melite Sorole Staničić. Ponekad su rezultat rukopisa ili načina rada…kruženje kao pokret ruke, ritualna gesta… Ponavljanje žustre kretnje rukom sredstvom po podlozi, što u konačnici rezultira linijskom pokrenutošću plohe, obilježje je stvaralaštva umjetnika Predraga Todorovića. Želio sam biti slobodan od svih restrikcija i ograničenja 2 , rekao je povodom nastupa na Venecijanskom bijenalu Julije Knifer 2001. godine. Slijedeći Kniferovu misao, izložba koja je u potpunosti posvećena formi kruga, odnosno spirale koja je iz kruga izvedena, te svim filozofsko znanstvenim, ali i mistično religioznim sistemima, učenjima i znanjima koji o toj formi govore ili iz nje izvode svoje postulate, također nastoji izmaknuti ograničenjima tradicionalno promišljenih izložbi. Nasuprot linearnom vremenskom slijedu i linearno-vremenskom postavu djela nastalih unatrag posljednjih šezdesetak godina, odnosno nasuprot promišljanja o dekadama i pripadajućim mijenama stila, nudi pristup koji namjerava biti slobodan od restrikcija i ograničenja. Znanost o astronomskim kretanjima nebeskih tijela dio je izložbene priče, jednako kao i vjerski obred derviša te pripadajuća filozofija sufija. Kruženja su ovdje predstavljena u različitim manifestacijama ljudske znanosti, umjetnosti i duhovnosti.

Takav antropološki stav u sebi odražava i pronosi humanistički pristup – izraz jedinstva pa i istosti kroz različitost. Pobratimstvo lica u svemiru, kako je mislio i pisao još jedan veliki hrvatski umjetnik – Tin Ujević.

without any interruption of the rotation that takes place around a “sculpture”. The process of rotation can also be seen in the work of Toni Meštrović, where the camera rotates around a significantly larger surface – an island. Further on, the circle appears in the works of artists with strong social and political attitudes. Such attitudes are incorporated in the content of their works, such as Pregate per la pace by Tomislav Brajnović, the satire of Pompeans by Zlatko Kutnjak or the mobile object titled the Valley of Decision by Petar Brajnović.

Sometimes the associations on cosmic movement are direct, like in the work of Mirjana Đorđević, sometimes they are intimate expressions of belonging, seen in the work of Jasna Šikanja, and sometimes they are personal notes of emotions and rituals, made on a screen that reflects the skies and the subtleness of a soul, such as in The Coming of Stars from 10/10/1999 to 20/12/1999 Melita Sorola Staničić. Sometimes they are the result of a style or a way of work… of circulation as a hand gesture… as a ritual... Repetition of a quick movement of hand on a surface, which results in a distinct mobility of lines, marks the entire oeuvre of Predrag Todorović.

I wanted to be free from all restrictions and limitations 2, said Julije Knifer at the Venice Biennale in 2001. The Seventh Heaven follows Knifer’s thought and breaks free from the limitations of a traditionally conceived exhibition. It celebrates the circle and the spiral, with its circular pattern, dedicated to different philosophical, mystical and religious systems, concepts and wisdoms referring to this particular form. In contrast to linear time and linear settings that usually entail reflections about decades and their styles, this exhibition, encompassing the works created over the past sixty years, offers a comparative approach. Its story includes the findings about the revolving motion of celestial bodies, as well as the dervish religious ceremony and the Sufi philosophy. Circularity is presented here in different manifestations of human science, art and religion. Such anthropological attitude reflects and conveys a humanistic approach – it expresses unity, even sameness, through diversity. It is the brotherhood of faces in the universe, as written by the great Croatian poet Tin Ujević.

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Mikroskopski život na kamenu sa zvijezdama je uspoređivala kiparica i slikarica Mila Kumbatović. Jer u mnoštvu uvijek postoji veza koja spaja; povezuje misli i ljude, lišajeve i zvijezde, kamen i trud u jedinstvo.

Označava kruženja osjećaja uzajamne povezanosti radi postizanja i ne narušavanja mogućeg sklada.

— Nadežda Elezović

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— 1 Vidi intervjue Borisa Demura; vidi Boris Demur, Retrospektiva I, katalog izložbe, autor predgovora Zdenko Rus, Moderna galerija Zagreb, travanj/april 2004.

— 2 Zvonimir Maković, Intervista a Julije Knifer / Talking to Julije Knifer, Galerija proširenih medija, Zagreb, 1988.

The painter and sculptor Mila Kumbatović also compared microscopic life on a rock with stars. Among a crowd, there is always a link that joins everything together; it connects thoughts and people, lichens and stars, a rock and an effort, into a unity. It marks the rotation of feelings in mutual bonds, on order to reach, and preserve, possible harmony.

— Nadežda Elezović

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— 1 Cf. Interviews with Demur in different Croatian media.

— 2 Zvonimir Maković, Intervista a Julije Knifer / Talking to Julije Knifer, The Extended Media Gallery, Zagreb, 1988

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ANTE KUDUZ — Kadar - O | FRAME - O, 1969.

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LUCIO SAFFARO — Keplerovi kristali | Kepler’s crystals, 1970.

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JASNA ŠIKANJA — Antimateria III | Antimatter III, 1994.

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PREDRAG TODOROVIĆ — Veliki asfalt | Big Asphalt, 1998.

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BORIS CVJETANOVIĆ — Ciklus Ocean | Ocean Cycle, 1998.

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PETAR BRAJNOVIĆ — Dolina odluke | Valley of Decision, 2002.

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ZLATKO KUTNJAK — Iz ciklusa Pompeanci (11) (Hrvatski bog Pompeanus) | From the Cycle Pompeians (11) (Croatian God Pompeanus), 2005.–2006.

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BORIS DEMUR — Chaos – art, spiralna fraktalna serija | Chaos – art, Spiral Fractal Series, 2001.–2002.

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ŽELJKO KIPKE — Haddah, 1986.

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— Svemirski rotacijski ples

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U vrtnji i prašini rođena je i naša zvjezdana ulica. Nebeska tijela koja tvore Sunčev sustav nastala su urušavanjem oblaka prašine i plina – zvane solarna maglica – prije nekih 4.5 milijardi godina. Solarna maglica bila je fragmentiran i razgranat gust i taman oblak smješten unutar spiralnog kraka Mliječnog puta. Sastojala se većim dijelom od vodika i helija, no sadržavala je i teške elemente nastale u prethodnim generacijama zvijezda. Sažimajući oblak od kojeg su nastali Sunce i planeti, u početku je možda imao vrlo malo rotacijsko gibanje (kutni momentum) no potom se rotacija ubrzavala kao kad svoje ruke privuče uz tijelo. Taj se oblak naposljetku urušio u disk te se materija spiralno zavila u protosunce, stvarajući središnju zvijezdu okruženu rotirajućim diskom.

Premda tragove spoznaje Svemira nalazimo već u spiljskom slikarstvu (paleolitička umjetnost) te o ulozi astronomije u kameno doba svjedoče i megalitski ostaci, kao što su Gosecki krugovi (stari gotovo 7000 godina) ili Stonehenge, prošlo je više stoljeća prije nego su astronomi prihvatili i dokazali heliocentrični model. U dugom periodu od Ptolomeja do Kopernika astronomi su imali jednostavan, ali netočan stav: Sunce i planeti kruže oko Zemlje, putanje planeta su kružnice.

Svemirski rotacijski ples – tvari u disku počinju stvarati nakupine; oko zvijezde nastaju manja tijela, a njihovim rastom gravitacija počinje djelovati još jače te se polako formiraju veća tijela: planeti. Osim njih, u Sunčevom sustavu nastala su i malo manja tijela koja zovemo patuljasti planeti, a postoji i mnoštvo malenih objekata – asteroida, kometa itd.

Osim nazočnosti samog Sunca, najvažnije svojstvo Sunčevog sustava jest da sav materijal u njemu (s malo sitnih iznimaka) kruži u istom smjeru. I Sunce se okreće oko vlastite osi (jednom u otprilike 25,4 dana),

— The whirling dance of the Universe

Our starry street was born from circulation and dust. Celestial bodies of the Solar System were formed in the collapse of a cloud of dust and gas – known as the Solar Nebula – approximately 4.5 billion years ago. The Solar Nebula was a fragmented, dense and dark cloud residing within the spiral arm of the Milky Way. It consisted mainly of hydrogen and helium, but it also contained heavy elements formed in the previous generations of stars. This compressing cloud had a slightly rotational motion (angular momentum), after which it started rotating faster, like an ice skater when he pulls in his arms. The cloud finally flattened into a disc and matter started spiraling into a protosun, forming a central star surrounded by the revolving disc.

The evidence of human knowledge about Universe can be found in the drawings painted on cave walls (Paleolithic art). There are many megalithic remnants, such as Goseck circles (nearly 7000 years old) testifying about the role astronomy had in the Stone Age. However, centuries had to pass before astronomers accepted and proved the heliocentric model of the Universe. In the long period from Ptolemy to Copernicus, the astronomers shared a simple, but incorrect view: that the Sun and the planets revolve around the Earth, and their orbits are perfect circles.

In the rotational dance of the Universe, small solid bodies began to take shape around the star. As they grew larger, gravitation grew stronger and larger bodies – planets – began to form, together with dwarf planets, asteroids, comets etc. The most important characteristic of the Solar System, apart from the Sun’s presence, is the fact that its matter (with few minor exceptions) revolves in the same direction. The Sun too revolves around its own axis (once in approximately 24.5 days).

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različiti mjeseci Sunčeva sustava oko svojih matičnih planeta uglavnom kruže u tom istom smjeru. Planeti oko Sunca kruže po eliptičnim putanjama, unutarnji brže, a vanjski sporije. Zemlji treba 365 dana da napravi jedan krug oko Sunca - to nazivamo revolucija, Merkuru 88 dana, a patuljastom Plutonu 248 zemaljskih godina. Osim što neprekidno kruže oko Sunca, planeti se na svom putu vrte oko vlastite osi – rotacija. Zemlja svoju rotaciju napravi za 24 sata i taj interval nazivamo danom. Spomenimo samo da se Zemlja u svemirskom prostoru ponaša još kao zvrk. To gibanje Zemljine osi u prostoru složeno je od više manjih pomaka pa tako imamo više vrsta precesija.

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Spoznaju o Svemiru i njegovoj raznolikosti struktura i oblika omogućio je razvitak teleskopa i tehnologija u novije doba i dovelo do nevjerojatnih otkrića. Tek stotinjak godina znamo koje je naše mjesto u Svemiru: mali planet jedne zvijezde, ni velike ni male, periferni stanovnici galaksije Mliječna staza među milijardama drugih galaksija. Znamo i to da se Svemir širi. Tek prije pola stoljeća otkriveno je kako se razvija život jedne zvijezde i da postoje zvijezde različitih starosti i struktura, smještenih u različitim dijelovima naše galaksije, a da Svemir ispunjavaju jata galaktika. Neke su malene nakupine nekoliko desetaka galaktika, raznih oblika i struktura. Naša, nazvana Lokalna grupa, sadrži samo dvije velike galaktike, obje spiralne: Mliječni Put i M31. Druga jata sadrže goleme grupe od tisuća galaktika u međusobnom gravitacijskom zagrljaju. U novije vrijeme razvijene su metode pronalaženja planeta oko drugih zvijezda u bliskom galaktičkom susjedstvu, na udaljenostima od nekoliko svjetlosnih godina do nekoliko tisuća svjetlosnih godina do danas je potvrđeno više od 3400 ekstrasolarnih planeta. Otkriveni su kvazari, pulsari i kompleksne molekule međuzvjezdanog prostora, a čovjek se uputio u najbliži Svemir. Poslane su i prve letjelice u istraživanja Sunčevog sustava, a 2015. godine svemirska sonda New Horizons poslala je snimke patuljastog planeta Plutona i njegovih mjeseca te nastavila pionirski let u Kuiperov pojas. Istraživanja početkom 2016. godine, potvrdila su detekciju gravitacijskih valova, deformacije u prostoru i vremenu o kojima je govorio Albert Einstein prije sto godina što ukazuje da će Svemir i njegove tajne biti vječna inspiracija ljudima.

I mi smo dio Svemira – u toj činjenici leži važnost njegova proučavanja.

Sve što se u Svemiru događa ima posljedice na stanovništvo na Zemlji.

Different moons of the Solar System also move in the same direction.

The planets travel around the sun along elliptical orbits. Planets close to the Sun travel faster, while those which are farther away move slower.

The Earth takes 365 days to complete one revolution around the Sun. In contrast to that, the Mercury does a full orbit in 88 days, while the dwarfish Pluto takes as much as 248 Earth years to orbit the Sun. Apart from constantly revolving around the Sun, the planets revolve around their own axes. This is called rotation. The Earth completes its rotation in 24 hours and these intervals are called days. Let’s not forget to mention that the Earth behaves like a whirligig in the Universe. The movement of the Earth’s axis is based on several motions, which means there are several forms of precessions.

We owe our knowledge about the Universe and the diversity of its structures to the invention and development of telescope and technologies that lead to amazing discoveries. Still, we learned more about our place in the Universe only about a hundred years ago. We are nothing but a small planet revolving around a star neither big nor small; we live on the periphery of the Milky Way galaxy, among myriads of other galaxies. Only half a century ago did we learn how the life of a star develops and that there are stars of different age and structures, settled in different parts of our galaxy. There are different groups of galaxies and ours is called the Local Group. It comprises only two large galaxies, the Milky Way and M31. Other clusters of galaxies comprise large groups of thousands galaxies in a gravitational embrace. New methods of detecting planets in our galactic neighborhood have been developed lately, which have allowed for discovery of more than 3400 extrasolar planets. Man has found quasars, pulsars and complex molecules of interstellar space, and he even set foot in the closest part of Universe.

Different space probes have been exploring the Solar System. In 2015, New Horizons spacecraft sent us the images of Pluto and its moons and continued its mission to Kuiper Belt. Explorations from the beginning of 2016 confirmed the detection of gravitational waves, which Albert Einstein mentioned hundred years ago. This proves that the Universe and its secrets will serve as an eternal inspiration to people.

We are also part of the Universe – therein lies the importance of its exploration. Everything that happens in the Universe produces effects

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Spoznaja Svemira graniči s znanstveno-fantastičnim temama, poput onih u filmu Vibrato, uvrštenog u znanstveno-umjetnički program Sedmo nebo. Otkrivanje Svemira, unutar ove apstraktne animacije u simulatoru virtualne stvarnosti u kojoj se istražuju kozmičke rezonancije, bljeskovi gama zračenja, crne rupe, super jata galaktika i ostalih fascinantnih pojava poticaj su pažljivim promatračima na otkrivanje novih granica, prvenstveno u nama samima, gdje mašta i um dovode do novih spoznaja. U neprekidnom krugu novih pitanja i odgovora.

— Andrea Cvitan, Astronomski centar Rijeka (Rijeka sport d.o.o.)

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on the Earth’s population. Knowledge about the Universe borders with SF topics, such as those covered in Vibrato, the film which forms a part of the artistic and scientific repertoire of The Seventh Heaven. Exploration of the Universe, gamma-ray flashes, black holes, superclusters of galaxies and other fascinating phenomena, shown by this abstract animation in the virtual reality simulator, serve as an inspiration to careful observers to cross boundaries, especially those within us, and let our minds and imagination gain new understandings.

In a timeless circle of new questions and answers. — Andrea Cvitan, Astronomical Center Rijeka (Rijeka sport d.o.o.)

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— Krug znači da granice nema

Najveća svetost i teškoća je ostati dobar čovjek.

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Mi derviši nikoga ne smatramo neprijateljem. Mi čuvamo Božji amanet, zalog kojeg su dobili svi poslanici Božji. Ima nas dvanaest derviških redova. Mi smo derviši iz reda Rifaji (Rufaji). Iako danas u svijetu postoji mnogo samoprozvanih redova derviša, samo je dvanaest službeno priznatih redova, onih koji čuvaju derviški red. Tih dvanaest redova razlikuju se po školama i obredu; neki derviši pri molitvi koriste vrtnje tijelom, neki se vrte oko svoje osi, neki koriste gibanja tijela lijevodesno, neki uglavnom pjevaju Ilahije, neki su “urlajući“, a postoji i četiri vojnička reda.

Pri molitvi, tijelo derviša se giba kružnim kretnjama. Za derviše, krugovi su neograničena vrata koja primaju i odašiljaju mentalne poruke. Krug znači da granice nema. Krugovi, revolucija i rotacija, odnosno pojava spiraliteta, važni su jer stvaraju komunikaciju van postavljenih granica nevidljivih prostim okom. Derviš sebe smatra dijelom svemira. Vrteći se oko sebe i u krugu, simbolizirajući pritom gibanja svemira, svojim tijelima stvaraju gibanja mikro i makro kozmosa. Sve je u svemiru svedeno na kružna gibanja. Čestice atoma kreću se rotacijom i revolucijom, oko svoje osi i oko drugog tijela, ta se gibanja ponavljaju sve do nebeskih tijela i makrokozmosa - u istim kretnjama rotacije i revolucije, no uvećanih dimenzija. Spiralnim formama i kretanjima tijela, poput nebeskih tijela, mi derviši pokazujemo da smo dio svemira.

Derviši vjeruju u postojanje više svemira i to u svojoj molitvi iskazuju.

Derviš je čovjek, odnosno svjesno biće koji se kroz molitvu, koju vrši u krugovima uz spominjanje Božje riječi ili imena, približava svojoj biti, odnosno Bogu. Kroz formu kruga mi se svojom sviješću vraćamo

— The circle means there is no boundary

The holiest and the most difficult thing today is to remain a good man.

We, dervishes, think of no one as enemy. We protect God’s heritage, the pledge received by all God’s envoys. There are twelve Dervish orders. We come from the Rifai Order. Even though there are numerous self-proclaimed orders of Dervishes, only twelve are officially recognized. These twelve orders differ according to schools of thought and ceremonies; some dervishes rotate their bodies during prayer, some revolve around their axes and some turn from right to left.

Some sign ilahis, while some “howl”. There are also four military orders of dervishes.

During prayer, a dervish’s body makes circular motions. For dervishes, circles are unlimited doors that convey and receive mental messages.

The circle means there is no boundary. Circles, revolution and rotation, that is, spirality, are important, for they enable communication outside the boundaries invisible to the bare eye. A dervish thinks of himself as a part of the universe. Through the act of revolving, which symbolizes the motion of the universe; dervishes encourage movement in microcosm and macrocosm. Everything in the universe is based on circularity.

Atoms move in rotation and revolution, they revolve around their axes and around other bodies. Their movements replicate, approaching the macrocosm and celestial bodies, never abandoning the rotation and never acquiring large dimensions. Through the spiral forms and movements of our bodies, we show that we are part of the cosmos.

Dervishes believe in the existence of several universes and they express that belief in their prayers. A dervish is a man, a conscious being, who comes closer to himself and God through prayer. The prayer is

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Bogu. Svemir se širi, ali i skuplja u ishodište od kuda je potekao. Molitve derviša, poput šamanskih obreda, imaju svrhu postizanja određenih stanja svijesti i vizija. Molitvom i rotacijom tijela derviši postižu duhovna stanja odsutnosti i blaženstva (Fana). Također, radi postizanja većeg nivoa odsutnosti ili blaženstva, koristi se poseban način disanja uz opuštene dijelove tijela. Poslije dosizanja tih iskustava čovjek se osjeća odmornije i obnovljene snage i energije.

— Što znači biti derviš?

Derviši govore bez jezika, slova i pisanih riječi, govore svojim pokretima, načinom molitve, ponašanjem. Derviš je vjernik koji se zavjetovao da će biti bolji vjernik i bolji čovjek. Cijelog života posvećen je pitanjima – tko sam, od kuda potječem i kuda idem?

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Iako su derviši Islamske vjeroispovijesti, ne ograničavamo se u Islamskoj doktrini. Smatramo da derviši odnosno Sufiji datiraju prije Islama kao pravovjernici. Derviš je kap vode u oceanu. Kap, ali i sastavni dio tog oceana. Kao kap vode u oceanu, ili kao pojedinac u društvu, derviš skromnošću, načinom života, vjerničkim ponašanjem djeluje u svojoj zajednici na primjeren način, na ublažavanju društvenih devijacija i ekstremizama. Više bistrih kapi vode u zajedničkoj posudi vodu čine bistrijom.

— Simbolizam boje Derviši nose posebnu nošnju, načinjenu od vune (islamski vjernici vunu, pamuk nazivaju sufi). Tijekom vremena ta se odjeća prilagođavala vremenskim prilikama i podneblju, no njezina je simbolika ostala ista.

Boje u sufizmu imaju simbolično značenje, posebno crna, crvena, bijela i zelena. U sufizmu, bijela boja označava čistoću – čistoću duše. Crna i crvena mijenjaju svoja značenja ovisno o htijenju kazivanja pri obredu.

Crvena boja simbolizira krv ali i borbu čovjeka i derviša sa samim sobom. Kada Šejh oblači crvenu boju, tada derviši znaju da će učenja biti intenzivnija, žustrija. Zelena boja je boja Islama, te simbolizira mir, smiruje i daje prosperitet. Crna boja označava iskaz žalosti. Kada je Šejh u crnini derviši znaju da je netko njegova roda ili od roda derviša preminuo.

performed in circles, with the mentioning of God’s name or word.

Through the form of circle we return to God. The cosmos is expanding, but it is also compressing, returning to its origin.

The prayers of dervishes, like in shaman ceremonies, are aimed at reaching different states of consciousness and visions. Through the prayers and body rotation, dervishes achieve the states of absence and spiritual bliss (Fana). In order to reach a deeper level of absence and bliss, they use special way of breathing and their bodies are relaxed.

Upon having such an experience, man feels rested and his strength and energy are renewed.

— Who is a dervish?

Dervishes communicate without language, letters and written word.

They speak through motion, through a distinct way of praying and behaving. A dervish is a believer who vowed to be a better believer and a better man. His entire life is devoted to responding to the questions: Who am I? Where do I come from? Where am I going?

Although dervishes belong to the Islamic religion, we are not limited by the Islamic doctrine. We also believe that dervishes, i.e. Sufis, existed as true believers before Islam was born. A dervish is a drop of water in an ocean. A drop, but also an inseparable part of that ocean. Just like a drop of water, and just like an individual in a society, a dervish acts in his community in the right way. Through his modesty, his ways of life and his behavior of a believer, he straightens social deviations and reduces extremisms. The greater the number of such drops in the ocean, the clearer is the water.

— The symbolism of color Dervishes wear special costumes, made of wool (suf is “wool” in Arabic). Over the years these costumes have adapted to different periods and environments, but their meaning remained the same.

Colors in Sufism have symbolic meaning, especially black, red, white and green. In Sufism, white denotes purity – the purity of soil. Black and red change their denotations depending on what is being expressed in

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Danas kada među ljudima vlada netrpeljivost, svrha nas derviša je boriti se protiv podjele među ljudima. Bit derviša je da živi i voli život. I da zna umrijeti, da zna prihvatiti smrt, na način da će se u smrti iz jedne oblasti prenijeti u drugo stanje. Kako mijenjamo svoja stanja, tako mijenjamo i jačinu svijesti. Najveća svetost i teškoća – i današnjice i sutrašnjice – je ostati dobar čovjek.

— Šejh Hajrula Osmani Dushi, vođa derviškog reda Rifaije (Rufaija) u Hrvatskoj — Iz razgovora pripremila Nadežda Elezović

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a ceremony. Red symbolizes blood and the struggle of man, or dervish, with himself. If the sheikh wears red, dervishes know that the learning will be more intense and powerful. Green is the color of Islam and it denotes peace, serenity and prosperity. Black is the expression of sorrow.

If the sheikh wears black, his dervishes know that someone close to him or someone from their order died.

Today, when there is so much hostility among people, when people are divided by politics and origin, dervishes struggle to fight these divisions. Their goal is to live and love life; to know how to die, how to accept death, since death in one sphere means different state in another.

When we change our states of being, we change the intensity of our consciousness. The holiest and the most difficult thing today is to remain a good man.

— The esteemed sheikh Hajrula Osmani Dushi, the leader of Rifai Dervish Order in Croatia — From an interview with the sheikh, Nadežda Elezović 92

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— Radovi na izložbi | Exhibited works

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GETULIO ALVIANI — Površina | Surface 1962. brušenje, aluminij | frosting, aluminium MMSU 667 VOJIN BAKIĆ — Svjetlonosni oblici | Lightbearing Forms oko 1968. | around 1968 nehrđajući čelik | stainless steel MMSU 1087

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PETAR BRAJNOVIĆ — Dolina odluke | Valley of Decision 2002. akrilik, šperploča, metal | acrylic, plywood, metal MMSU 4460 (1-2) TOMISLAV BRAJNOVIĆ — Pregate per la pace | Pray for Peace 2005. video u boji, zvuk | colour video, sound MMSU 2770 BORIS CVJETANOVIĆ — Ciklus Ocean | Ocean Cycle 1998. želatinski srebro tisak, fotografski papir | gelatin silver print, photo paper MMSU 2764 (1-31) BORIS DEMUR — Chaos – art, spiralna fraktalna serija | Chaos – art, Spiral Fractal Series 2001.–2002.

akrilik, papir | acrylic, paper MMSU 2254 (1-13) MIRJANA ĐORĐEVIĆ — Mjesec | The Moon 1991. serigrafija, staklo, vosak, guma | serigraph, glass, wax, rubber MMSU 1689 EUGEN FELLER — Bez naziva | Untitled 2001.-2002. akrilik, platno | acrylic, canvas MMSU 2242 ALEKSANDAR GARBIN — Proširene granice | Extended boundaries 1998.-2002. stalak, zrcalo, tiskana slova, žica | tripod, mirror, printed letters, wire MMSU 2294 SANJA IVEKOVIĆ — Meeting point 1978. crno-bijeli video, zvuk | black and white video, sound MMSU 2520 — Monument 1976. crno-bijeli video, zvuk | black and white video, sound MMSU 2516

ŽELJKO KIPKE — Haddah 1986. ulje, platno | oil, canvas MMSU 1652 JULIJE KNIFER — Bez naziva, Meandar | Untitled, Meander 1965. ulje, platno | oil, canvas MMSU 1702 IVAN KOŽARIĆ — Optimistička okomica | Optimist Perpendicular 2010. sitotisak, papir | screen print, paper MMSU 6051 (1-7) — Bez naziva | Untitled 1994. ugljen, papir | charcoal, paper MMSU 2742 ANTE KUDUZ — Kadar - O | FRAME - O 1969. serigrafija, papir | serigraph, paper MMSU 4698 ZLATKO KUTNJAK — Iz ciklusa Pompeanci (11) (Hrvatski bog Pompeanus) | From the Cycle Pompeians (11) (Croatian God Pompeanus) 2005.–2006. akrilik, platno | acrylic, canvas MMSU 3464

DALIBOR MARTINIS — Stormtellers 1997. zvučni zapis, električna instalacija, drvo, voda, metal | sound recording, electrical fitting, wood, water, metal MMSU 1921 — Membrana tympani 1995. video u boji, zvuk | colour video, sound drvo, platno, staklo | wood, canvas, glass MMSU 1941 DAN OKI — Underground Loop 1996. analogna fotografija, fotografski papir | analogue photograph, photo paper MMSU 5969 (1-15) IVAN PICELJ — Cy-Blu I 1971. sitotisak, papir | screen print, paper MMSU 4704 OTTO PIENE — Kraljica noći | Queen of the Night 1967. litografija, papir | lithograph, paper MMSU 1006 BOŽIDAR RAŠICA — Kompozicija: Sve Madone | Composition: All Madonnas 1948.

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pastel, papir | pastel, paper MMSU 2547 VJENCESLAV RICHTER — Cca 1 | Ca 1 1984. flomaster, olovka | felt-tip pen, paper MMSU 2763 LUCIO SAFFARO — Keplerovi kristali | Kepler’s crystals 1970. tuš-pero, papir | indian ink, quill, paper MMSU 1046

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ALEKSANDAR SRNEC — Kompozicija U-P-14 | Composition U-P-14 1953. ulje, platno | oil, canvas MMSU 1874 — Objekt | Object 1968. drvo, metal, pleksi-staklo | metal, plexiglas, wood MMSU 1056 MELITA STANIČIĆ SOROLA — Pojavljivanje zvijezda od 10. X do 20.XII 1999. | The appearance of stars from October 10th until December 20th, 1999 1999. akril i olovka na papiru | acrylic and pencil on paper ljubaznošću autorice | courtesy of the artist

DAMIR STOJNIĆ — Sedmo nebo | Seventh Heaven 2002. ulje, platno | oil, canvas MMSU 2477 JASNA ŠIKANJA — Antimateria III | Antimatter III 1994. suha igla, papir | drypoint, paper MMSU 1753 MIROSLAV ŠUTEJ — Slike s izložbe XIX | Pictures at an Exhibition XIX 1985. tuš-pero, kolaž, papir | collage, Indian ink, quill, paper MMSU 1451 PREDRAG TODOROVIĆ — Polje, srpanj / kolovoz, 2012.

Field, July / August, 2012 2012. crni tuš, pocinčani lim, grebano grafičkom iglom | black ink, galvanized sheet metal, scratched by graphic needle ljubaznošću autora | courtesy of the artist

— SEDMO NEBO Izbor iz zbirki MMSU-a — The Seventh Heaven the selection from the MMSU collection 14 / 7 / – 14 / 8 / 2016 /

izdavač | publisher Muzej moderne i suvremene umjetnosti, Rijeka Museum of Modern and Contemporary Art, Rijeka za izdavača | for the publisher Slaven Tolj

u suradnji s | in collaboration with U suradnji s Astronomskim centrom Rijeka (Rijeka sport d.o.o.) i Akademskim astronomskim društvom – Rijeka | In collaboration with the Astronomical Center Rijeka (Rijeka sport d.o.o.) and Academic Astronomical Society - Rijeka

kustosice | curators Nadežda Elezović, Neva Lukić, Ksenija Orelj

tisak | printing Kerschoffset, Zagreb

prijevod | translation Lidija Toman

naklada | print run 300

fotografije | photography Zlatko Babić, Boris Cvjetanović, Goran Vranić

broj kataloga | catalogue no.

352

grafičko oblikovanje | graphic design Marino Krstačić-Furić & Ana Tomić

©MMSU, Rijeka, 2016.

edukacija | education Josipa Bubaš, Andrea Cvitan, Milica Đilas, Nadežda Elezović, Neva Lukić, Ksenija Orelj, Vanesa Ujčić Ožbolt dokumentacija | documentation Diana Zrilić

CIP zapis dostupan u računalnom katalogu Sveučilišne knjižnice Rijeka pod brojem 131004007.

ISBN 978-953-8107-04-7 podržano | supported by Grad Rijeka

odnosi s javnošću | public relations Ivo Matulić tehnički postav | technical display Vanja Pužar, Anton Samaržija naslovnica | cover photo IVAN KOŽARIĆ — Optimistička okomica | Optimist Perpendicular, 2010.

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