Slavko Grčko, Posvećenost redu, 2013 by MMSU Rijeka

− SLAVKO GRČKO − POSVEĆENOST REDU − DEDICATION TO ORDER

MUZEJ MODERNE I SUVREMENE UMJETNOSTI

MUSEUM OF MODERN AND CONTEMPORARY ART

Mali salon Korzo 24, Rijeka

11. – 30. rujna 2013.

11 – 30 September 2013

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Nakon što je nenadano otišao s likovne scene, glavnina onoga čemu je čitav život bio posvećen ostala je objedinjena i gotovo netaknuta na jednome mjestu. Postavilo se pitanje što učiniti s likovnom ostavštinom slikara i grafičara Slavka Grčka. Građu koja je ostala nakon njegove smrti sačinjavaju radovi iz svih faza stvaralaštva pa se njome može rekonstruirati Grčkov cjelokupni likovni opus. Uzimajući u obzir umjetničku vrijednost radova i ulogu koju je Grčko imao za riječku likovnu scenu, bilo je jasno da građa treba ostati objedinjena i čuvana tako da joj se osigura stalna stručna obrada, vrednovanje te predstavljanje na izložbama i u stručnim publikacijama. S obzirom na vrstu građe, Muzej moderne i suvremene umjetnosti bio je logičan izbor za čuvanje ovoga kulturnog naslijeđa pa je cjelokupna likovna ostavština otkupljena 2008. godine.1 Otkupljenim radovima osnovana je nova, specijalizirana zbirka Slavko Grčko koja sadrži 348 predmeta.2

1 Otkup građe od nasljednika Slavka Grčka pokrenuli su, neposredno nakon umjetnikove smrti, Branko Lenić, predsjednik HDLU-a Rijeka, te Boris Toman, povjesničar umjetnosti koji je u to doba pisao tekst za monografiju Slavko Grčko. Lenić i Toman popisali su i građu koja je predložena za otkup. Otkup je realiziran sredstvima Grada Rijeke – Odjel za kulturu. 2 MMSU ima četiri specijalizirane zbirke (Slavko Grčko, Mirko Ilić, Romolo Venucci, Božidar Rašica). 6

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When he unexpectedly left the art scene, the majority of the things he dedicated his life to remained unified and almost untouched in one place. The question what to do with the artistic heritage of painter and graphic artist Slavko Grčko was raised. The material left after his death comprises all the stages of his creativity, so it may serve to reconstruct Grčko’s entire body of work. Taking into account the artistic value of his works and the role Grčko played on Rijeka’s art scene, it was clear that the material should remain unified and subject to continuous professional examination, evaluation and presentation at exhibitions and in professional publications. Given the type of the material, the Museum of Modern and Contemporary Art was a logical choice for safekeeping this cultural heritage. Therefore, his entire artistic heritage was acquired in 2008.1 The acquired works served as basis for a new, specialised collection Slavko Grčko, containing 348 objects.2

1 The acquisition of works from Slavko Grčko’s heirs was launched immediately after the artist’s death by Branko Lenić, president of the Croatian Association of Artists in Rijeka, and Boris Toman, art historian who was at that time writing a text for the monograph Slavko Grčko. Lenić and Toman made a list of the materials suggested for acquisition. The acquisition was conducted with the financial support of the City of Rijeka and its Department of Culture. 2 MMCA has four specialised collections (Slavko Grčko, Mirko Ilić, Romolo Venucci and Božidar Rašica). 7

Grčko je stvorio osebujan likovni izraz koji ga je okarakterizirao kao specifičnu umjetničku pojavu na riječkoj i hrvatskoj likovnoj sceni. Iako je njegovo školovanje vezano uz medij grafike – diplomirao je na Grafičkom odsjeku zagrebačke Akademije likovnih umjetnosti, a potom i magistrirao grafiku – čitav je stvaralački vijek eksperimentirao različitim likovnim disciplinama i spajao naizgled nespojive elemente i likovne postupke. Medij grafike je, međutim, ostao uvijek primaran u njegovu izričaju: razmišljao je poput grafičara kojemu u procesu izrade rada pogreške nisu dopuštene jer svaka nepreciznost rezultira neuspjehom. Kod Grčka vlada red, a tehnička preciznost u izradi svojstvena je svim njegovim radovima, bez obzira na to u kojem su mediju nastali. Grčkovo umjetničko djelovanje i aktivno izlaganje započinje nakon završetka Akademije – prva samostalna izložba priređena mu je 1965. – a proteže se kroz razdoblje koje je obilježeno izmjenjivanjem različitih likovnih pravaca, vizualnih poetika i konceptualnih pristupa. U kontekstu umjetničkih pojava druge polovice 20. stoljeća, Grčko je umjetnik koji se nikada u potpunosti nije priklonio aktualnim trendovima ili stvarao u okviru ideja i pravila jedne umjetničke grupe. On je eklektik koji iz povijesti umjetnosti uzima one elemente koji odgovaraju njegovoj estetici, inkorporira ih u radove i razvija svoj osobni stil i vizualni govor. Njegovi će radovi često biti spoj dijametralno suprotnih pristupa likovnosti pa spajanje apstraktnih geometrijskih oblika s organskim formama ili figurativnim prikazima u istom kadru postaje karakteristika njegova osobnog stila.3 Muzej moderne i suvremene umjetnosti otkupom je dobio cjelokupnu likovnu ostavštinu koja obuhvaća radove nastale u četiri desetljeća stvaranja. Uz nekoliko akademskih radova izrađenih tušem na papiru, u zbirci se čuvaju i najraniji crteži i tempere nastali neposredno nakon završetka školovanja. Riječ je o minucioznim crtežima izrađenima u maniri nadrealističke poetike. 3 Berislav Valušek, Pohvala ruci, Hrvatsko društvo likovnih umjetnosti, Rijeka, 2000. 8

Grčko created a particular artistic expression that distinguished him as a specific artistic personality on Rijeka’s and Croatia’s art scene. Even though his education was based on the print medium – he graduated from the Department of Prints and Drawings at Zagreb’s Academy of Fine Arts, and then received an MA in printing – he spent entire creative period experimenting with different art disciplines, combining seemingly disparate elements and art procedures. The graphic medium, however, always remained his primary expression: he thought like a graphic artist whose work process did not allow room for error because every imprecision resulted in a failure. With Grčko, order dominated, while technical precision in the execution was characteristic of all of his works, regardless of the medium they were created with. Grčko’s artistic activity and active exhibiting began after graduation from the Academy – his first solo show was held in 1965 – and spanned throughout a period marked by switches between different art trends, visual poetics and conceptual approaches. In the context of artistic currents of the second half of the 20th century, Grčko was an artist who never fully aligned with a current trend or created within the ideas or rules of a particular art group. He was an eclectic personality who took those elements of art history that complied with his aesthetics, incorporated them in works and developed a personal style and visual speech of his own. His works would often combine opposing approaches to art; connecting abstract geometric forms with organic forms or figurative representations in a single frame became a quality and trait of his style.3 Thanks to the acquisition, the Museum of Modern and Contemporary Art got hold of his entire artistic legacy, encompassing works created across four decades of his activity. In addition to several academic works made with ink on paper, the collection keeps the earliest drawings and temperas made immediately after graduation. These minute drawings were made in the manner of surrealist poetics. 3 Berislav Valušek, Pohvala ruci (Praise of the Hand), Croatian Association of Artists, Rijeka, 2000. 9

Sljedeće desetljeće obilježeno je Grčkovim poznatim ciklusom koji prikazuje motiv ruke. U početku su to crno-bijele ruke, plošne i jednostavne, podsjećaju na otisak pa je katkad teško zaključiti je li riječ o ruci izrađenoj prskanim tušem, crnim flomasterom ili serigrafijom. Važno je spomenuti da već tada isti motiv izrađuje u različitim tehnikama tako da postoje brojni primjeri motiva ruke prikazane crtežom, da bi potom isti rad ponovio i u grafici. Malo-pomalo crtež će postati razvedeniji, u crne plohe unosit će se bjeline, a s vremenom će se motiv na istom radu multiplicirati i smještati u geometrijske okvire u koje će se potom unositi i boja. Elementi pop-arta i nove figuracije spojeni s geometrijskim motivima obilježit će ovo razdoblje stvaralaštva. Zašto motiv ruke? Ruka je najjednostavniji i najneposredniji trag koji čovjek ostavlja, počevši još od špiljskog pračovjeka. Grčkova ruka ima složenije značenje, ona je oznaka ljudskosti unutar bezbrojnih znakova tehničke civilizacije čije je opasnosti zapadna kultura postala svjesna upravo sedamdesetih godina.4 Ponavljanje i multipliciranje motiva, prikazivanje varijacija na uvijek istu temu ponovit će se i u crtežima i grafikama koje prikazuju opušak cigarete. U muzejskom fundusu postoji osamdesetak radova iz te serije koji govore o Grčkovoj posvećenosti istome motivu, makar bio toliko minoran kao što je opušak cigarete. Opušak multiplicira, uvećava, kombinira ga s kolažom koji izrađuje od zgužvanih kutija cigareta, kutija šibica i karata, a katkad u njih inkorporira i tekstualne dijelove. Nadovezujući se na oznaku ljudskosti na koju upućuje svojim rukama, i opušak cigarete je svojevrsni trag koji čovjek ostavlja. Grčko je tu dimenziju čovjeka prikazao posprdno, bez njegova lika, ostavljajući ga nevidljivim, prisutnim samo njegovim ostacima i otpacima na ulici.5 Devedesete su godine u zbirci zastupljene apstraktnim crtežima i kolažima te radovima inspiriranima ratnim zbivanjima. U njima nema očekivane ekspresivnosti koju implicira tematika, već 4 Ibid. 5 Ervin Dubrović, Izložba crteža iz ciklusa Rat u Hrvatskoj, Galerija Marinus, Rijeka, 1995. 10

The following decade was marked by Grčko’s famed cycle depicting the hand motif. At first those were black and white hands, flat and simple, reminding of a print, so sometimes it was hard to grasp whether this was a hand made with sprayed ink, black felt pen or serigraphy. It is important to note that even then he presented the same motif in different techniques, which is why there are numerous examples of the drawn hand motif, in order to repeat the same work in print. The drawing would gradually become more developed, white areas would start to penetrate the black surfaces, and with time the motif in the same work would multiply and be placed in geometric grids in which colour would later be inserted. Elements of pop art and new figuration connected with geometric motifs marked this period of his work. Why the hand motif? The hand is the simplest and most immediate trace left by a man, ever since the cave people. Grčko’s hand bears a more complex meaning, it is a mark of humanity among countless symbols of technical civilisation whose risks the western culture became aware of in the 1970s.4 Repetition and multiplication of motifs, depicting variations always on the same theme, would repeat also in the drawings and prints portraying a cigarette butt. The museum holdings keep around 80 works from this series that testify of Grčko’s commitment to the same motif, regardless of how banal it may seem, like a cigarette butt. He multiplies, enlarges and combines the butt with a collage he makes from crumpled cigarette packs, matchboxes and card boxes, and sometimes he even introduces textual elements. As a continuation of the mark of humanity which he referred to with his own hands, the cigarette butt is also a type of trace left by the man. Grčko portrayed this human dimension satirically, without his own character, leaving it invisible, present only in his remains and waste on the street.5 The 1990s are represented in the collection by way of abstract drawings and collages, as well as works inspired by wartime 4 Ibid. 5 Ervin Dubrović, Exhibition of drawings from the cycle War in Croatia, Marinus Gallery, Rijeka, 2005. 11

je riječ o izlomljenim fragmentima sa simbolima i znakovima lišenima bilo kakve subjektivnosti.6 Aktualne teme i društvene pojave koje se javljaju u svijetu u kojem živi, intenzivno će ga zaokupljati u posljednjem desetljeću života. Radovi koji prikazuju simbole potrošačkog društva, a sačinjeni su od industrijski proizvedenih predmeta, vrhunac su perfekcije i umjetničke produkcije. Grčko strpljivo skuplja limenke Coca Cole, Spritea ili sličnih napitaka, reže ih u trakice koje potom slaže jednu uz drugu, njima zamotava kartonske trake ili olovke koje slaže u zanimljive i oku prihvatljive kompozicije. Industrijski i upotrebni materijal kao što je valovita ljepenka, logex-spužvice, pluto, metal, guma... postaju radovi izrazite vizualne ljepote i umjetničke vrijednosti. Na izložbi Posvećenost redu željeli smo prikazati dio građe koju je Muzej otkupio. Odlučili smo se za Ruke, Opuške i Smeće budući da su radovi iz tih ciklusa prepoznatljiv znak Grčkova likovnog izražavanja i tek jedan u nizu mogućnosti predstavljanja ovoga samozatajnog i redu posvećenog umjetnika. Nakon prvobitnih ambicioznih planova da se priredi retrospektivna izložba koja bi prikazivala presjek kroz cjelokupno stvaralaštvo, a što bi i bilo potrebno s obzirom na Grčkovu ulogu u riječkome likovnom krugu, shvatili smo da na takvu izložbu treba još sačekati. Presudan je razlog za tu odluku bio što je u međuvremenu Muzeju ponuđen dio građe Slavka Grčka kao dar. Ta se građa sastoji od radova umjetničke vrijednosti, ali i od materijala čije iščitavanje pridonosi boljem razumijevanju i kontekstualiziranju Grčkova opusa. Brojni su predmeti koje je skupljao i pedantno slagao s namjerom da ih upotrijebi u nekomu budućem radu. Neki od radova nisu dovršeni, a zanimljivi su i važni za razumijevanje načina na koji je koncipirao neku likovnu zamisao. Tu su i pripremne skice ili smanjene verzije rada koje će poslije uvećati. U skicama, kao i

6 Ibid. 12

events. They are not as expressive as the subject matter would imply – rather, these are scattered fragments with symbols and signs devoid of all subjectivity.6 Current issues and social occurrences appearing in the world he lives would occupy him intensely in the last decade of his life. Works portraying symbols of the consumerist society, made of industrially manufactured objects, represent a pinnacle of perfection and artistic production. Grčko patiently collects cans of Coke, Sprite and similar soft drinks, cuts them into ribbons and then lines up and uses to wrap cardboard boxes or pens he arranges in interesting and likeable compositions. Industrial and usable material like pliable cardboard, logex-sponges, cork, metal, rubber etc. become works of particular visual beauty and artistic value. With the exhibition Dedication to Order we wanted to display just segments of the body of work the Museum acquired. We chose Hands, Cigarette Butts and Garbage, since these works carry the most recognisable traits of Grčko’s artistic expression and are only one in a series of possibilities for the presentation of this mysterious artists devoted to order. After initial ambitious plans to host a retrospective exhibition as a crosssection of his entire creative work, which would indeed be necessary given Grčko’s role in Rijeka’s art circuit, we realised such an exhibition would have to wait. The key reason for this decision was that in the meantime the Museum was offered a part of Slavko Grčko’s legacy as a donation. This legacy consists of works of undoubted artistic value, but also of materials whose interpretation contributes to a better understanding and contextualisation of Grčko’s work. There are numerous objects he used to collect and arrange with great precision, hoping that one day he might use them in future work. Some of them are unfinished, but they are interesting for a comprehension of the manner in which he conceived

6 Ibid. 13

u svim Grčkovim radovima, vidljiva je sklonost prema redu i minucioznom radu. Među građom koja se nudi Muzeju nalaze se i brojne ilustracije, fotografije radova, evidencije prijavljenih i neodržanih izložbi, autorova korespondencija, pripreme za predavanja. Riječ je kompleksnoj i bogatoj građi koju treba obraditi i koja će pridonijeti valorizaciji Grčkova rada. Vilma Bartolić

an artistic idea. There are also preparation sketches or small-scale versions of the works he would later enlarge. The sketches, like all other Grčko’s works, testify of his inclination to order and precision work. The material offered to the Museum contains many illustrations, photographs of works, records of scheduled and unheld exhibitions, the artist’s correspondence, preparations for lectures. This complex and rich material yet needs to be processed in order to contribute to the valorisation of Grčko’s work. Vilma Bartolić

− Literatura

Branko Cerovac Smoke, vlastito izdanje, Rijeka, 1997. Branko Cerovac WEST – EAST – NORTH – SOUTH, HDLU Rijeka, Rijeka, 1997. Ervin Dubrović Slavko Grčko, Galerija Jadroagent, Rijeka, 1987. Ervin Dubrović Slavko Grčko, Turističko društvo Selce, Selce, 1988. Ervin Dubrović Izložba crteža iz ciklusa Rat u Hrvatskoj, vlastito izdanje, Rijeka, 1995. Ervin Dubrović Unakrst Slavka Grčka, Galerija Vincent, Kastav, 1997. Ervin Dubrović, Pohrana urbanog otpada, Galerija Alvona, Labin, 2002. Vanda Ekl Slavko Grčko, Moderna galerija, Rijeka, 1976. Nataša Ivančević Kontrapunkt, reciklaža, metamorfoza, HDLU, Rijeka, Rijeka, 2005. Guido Quien Slavko Grčko, Galerija Mladost, Zagreb, 1982. Boris Toman Gradska događajnost, Centar za kulturu Grada Krka, Krk, 2001.

− Bibliography

Berislav Valušek Grčko, HDLU Rijeka, Rijeka, 1995. Berislav Valušek Pohvala ruci, HDLU Rijeka, Rijeka, 2000. Berislav Valušek Esteta u okruženju, Zavičajni muzej grada Rovinja, Rovinj, 2001. Nataša Šegota Poliptih recikliranog smisla, Turistička zajednica Grada Rijeke, Rijeka, 2000. Milan Zinaić Slavko Grčko, Odbor gradine Trsat, Rijeka, 1982. Milan Zinaić Slavko Grčko, HDLU Rijeka, Rijeka, 1984.

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Ruka CCXVI tempera, papir, 70x50 cm, 1974. MMSU-6545 23

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Hand CCXVI tempera, paper, 70x50 cm, 1974 MMSU-6545

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Ruka CCXIV Ruka CCXVI, tempera, papir, 70x50 tuš, olovka, kolaž, papir, 69,8x49,8 cm, 1974. cm,1974., MMSU-6545 MMSU-6550 24

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Hand CCXIV Hand CCXVI, tempera, indian ink, pencil, collage,paper, paper,70x50 69,8x49,8 cm, cm,1974, MMSU-6545 1974, MMSU-6550

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Ruka CCIX tuš, papir, 70x50 cm, 1973. MMSU-6552 25

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Hand CCIX indian ink, paper, 70x50 cm, 1973 MMSU-6552

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Potrošni sadržaj 68 olovka, tuš, kolaž, papir, 46x62 cm, 1982. MMSU-6528 27

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Expendable Content 68 pencil, indian ink, collage, paper, 46x62 cm, 1982 MMSU-6528

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Izlomljeni opušak 54 olovka, tuš, papir, 32x41 cm, 1981. MMSU-6614 29

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Broken Cigarette Butt 54 pencil, indian ink, paper, 32x41 cm, 1981, MMSU-6614

Ruka CCXVI, tempera, papir, 70x50 cm,1974., MMSU-6545 30

Hand CCXVI, tempera, paper, 70x50 cm,1974, MMSU-6545

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Piramida opušaka 63 olovka, tuš, flomaster, kolaž, sitotisak, papir, 46x62 cm, 1982., MMSU-6525 32

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Cigarette Butt Pyramid 63 pencil, ink, felt-tin pen, collage, screen print, paper, 46x62 cm, 1982, MMSU-6525

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Reciklirano smeće I lim, akrilik, drvo, karton, 20x12x5cm, 1999. MMSU-5653 33

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Recycled Gargabe I tin, acrylic, wood, cardboard, 20x12x5cm, 1999, MMSU-5653

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Reciklirani otpad lim, drvo, 53x16x8 cm, 2002. MMSU-5654 35

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Recycled Waste tin, wood, 53x16x8 cm, 2002 MMSU-5654

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Spakirano smeće A+B drvo, poliester, karton, 30,5x43 cm, 2001. MMSU-5658

Packed Garbage A+B wood, polyester, cardboard, 30,5x43 cm, 2001, MMSU-5658

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Spakirano smeće A+B drvo, poliester, karton, 30,5x43 cm, 2001. MMSU-5658

Packed Garbage A+B wood, polyester, cardboard, 30,5x43 cm, 2001, MMSU-5658

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Depresivno smeće akrilik, kolaž, lim, papir, 150x91 cm, 2002., MMSU-5647 38

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Depressing Garbage acrylic, collage, tin, paper, 150x91 cm, 2002, MMSU-5647

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Slavko Grčko rođen je u Rijeci 1934. godine. Pohađao je Srednju školu primijenjene umjetnosti u Zagrebu, a nakon položenog završnog ispita na Odjelu za primijenjenu grafiku, upisuje se na Akademiju likovnih umjetnosti. Školuje se na Grafičkom odsjeku u klasi profesora Krste Hegedušića i Frane Baće. Diplomirao je 1962., a 1975. magistrirao grafiku kod profesora Alberta Kinerta. Od 1964. do 1997. posvećen je pedagoškom radu: radi kao redoviti profesor na Pedagoškom fakultetu u Rijeci, a 1970. objavio je knjigu Grafički postupci u osnovnoj školi u izdanju Školske knjige. Istovremeno priređuje mnogobrojne samostalne i skupne izložbe, izražava se grafikom, crtežom, slikom, a potkraj života izrađuje objekte kojima tematizira aktualne društvene probleme (globalizacija, ekologija...). Radio je i kao grafički dizajner te ilustrator, a među ilustracijama ističu se one koje je izradio za dječji list Galeb. Umro je u Rijeci 2007.

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Slavko Grčko was born in Rijeka in 1934. He attended the High School of Applied Art in Zagreb and after completing the final exam at the Department of Applied Graphics he enrolled in the Academy of Fine Arts. He studied at the Department of Graphics under professors Krsto Hegedušić and Frane Baće, graduating in 1962 and completing an MA in prints and drawings in 1975, mentored by professor Albert Kinert. Between 1964 and 1997 he pursued the teaching profession as a full-time professor at the Faculty of Teacher Training in Rijeka and in 1970 he Školska knjiga published his book Grafički postupci u osnovnoj školi (Graphic Methods in Elementary School). At the same time he hosted numerous solo and group exhibitions, expressing himself in prints, drawings, painting and towards the end of his life he made objects to address current social issues (e.g. globalisation, environment etc). He worked as a graphic designer and illustrator, achieving particular success with the illustrations made for the children’s magazine Galeb. He died in Rijeka in 2007.

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Samostalne izložbe (izbor)

1995.

1965.

Rijeka, Galerija Juraj Klović

Rijeka, Salon Doma JNA

Rijeka, Galerija Marinus

1976. Rijeka, Moderna galerija, Mali salon

1997. Kastav, Galerija Vincent

1979.

Rijeka, Galerija Gal Rijeka, Izložbeni prostor Filodrammatica

Ljubljana, Galerija Ars Grožnjan, Galerija Vladimir Pavoković 2000.

1981.

Rijeka, Galerijski prostor Trsatske gradine

Rijeka, Galerija Juraj Klović Zagreb, Studio Galerije Karas 1982.

Rijeka, Galerija Kortil 2001.

Zagreb, Galerija Mladost Opatija, kavana hotela Slavija

Rovinj, Zavičajni muzej grada Rovinja

Rijeka, Gradina Trsat

Krk, Galerija Decumanus

1984.

2002. Zagreb, Galerija Nova

Labin, Galerija Alvona

Rijeka, Galerija Jadroagent 2005. 1987. Rijeka, Galerija Jadroagent Rijeka, Mali salon (s Josipom Butkovićem, Antonom Depopeom i Josipom Diminićem) 1988. Ogulin, kino Partizan Selce, Galerija 2L 46

Rijeka, HDLU, Mali salon (s Brunom Paladinom i Draženom Filipovićem Peglom)

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Solo exhibitions (selection)

1965

1995 Rijeka, Yugoslav National Army House Salon

Rijeka, Juraj Klović Gallery Rijeka, Marinus Gallery

1976 Rijeka, Modern Gallery, Mali salon

1997 Kastav, Vincent Gallery

1979

Rijeka, Gal Gallery Ljubljana, Ars Gallery

Rijeka, Filodrammatica Display Space

Grožnjan, Vladimir Pavoković Gallery 2000

1981

Rijeka, Trsat fortress exhibition space

Rijeka, Juraj Klović Gallery Zagreb, Karas Gallery Studio 1982

Rijeka, Kortil Gallery 2001

Zagreb, Mladost Gallery

Rovinj, Rovinj Heritage Museum

Opatija, Slavija Hotel Bar

Krk, Decumanus Gallery

Rijeka, Trsat fortress 2002

1984

Labin, Alvona Gallery

Zagreb, Nova Gallery Rijeka, Jadroagent Gallery 1987 Rijeka, Jadroagent Gallery Rijeka, Mali salon (with Josip Butković, Anton Depope and Josip Diminić) 1988 Ogulin, Partizan Cinema Selce, 2L Gallery 47

2005 Rijeka, Croatian Association of Artists, Mali salon (with Bruno Paladino and Dražen Filipović Pegla)

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Skupne izložbe (izbor)

1964.

Székesfehérvár, István Király Múzeum, Izložba hrvatske likovne umjetnosti

Rijeka, Moderna galerija, 3. biennale mladih

Zadar, Moderna galerija Narodnog muzeja, 7. plavi salon

1965.

Gospić, Šibenik, Otočac, Rijeka, Bihać, 7. lički likovni anale

Kumrovec, Izložba Mladih Zagreb, Zagrebački salon Skoplje, Muzej na sovremena umetnost, Izložba poklonjenih djela stradalom Skoplju

1973. Zagreb, Umjetnički paviljon, 8. zagrebački salon

Tegucigalpa – Honduras, Izložba suvremene jugoslavenske grafike 1966.

Otočac, Rijeka, Gospić, Bihać, 8. lički likovni anale 1974.

Zadar, Moderna galerija Narodnog muzeja, 4. plavi salon

Zagreb, Umjetnički paviljon, Likovne teme danas Zagreb, Umjetnički paviljon, 9. zagrebački salon

1967. Subotica, Palić, 6. likovni susret

Korenica, Otočac, Rijeka, Gospić, Zadar, Bihać, Zenica, Banja Luka, Prijedor, Kikinda, 9. lički likovni anale

Zagreb, Umjetnički paviljon, Salon mladih

Rijeka, Moderna galerija, 4. međunarodna izložba originalnog crteža

1968.

Firenca, 2. smotra međunarodne moderne umjetnosti 1971. Zagreb, Moderna galerija JAZU, 6. zagrebački salon Subotica, 10. likovni susret 1972. Zagreb, Umjetnički paviljon, 7. zagrebački salon 48

Zadar, Moderna galerija Narodnog muzeja, 8. plavi salon Novi Sad, Izložbeni salon Radničkog univerziteta Radivoj Ćirpanov, Izložba savremene jugoslovenske grafike Split, Umjetnički salon, 1. bijenale suvremene hrvatske grafike

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Group exhibitions (selection)

1964

Székesfehérvár, István Király Múzeum, Exhibition of Croatian Art Rijeka, Modern Gallery, 3rd Youth Biennale

Zadar, Modern Gallery of the Civic Museum, 7th Blue Salon Gospić, Šibenik, Otočac, Rijeka, Bihać, 7th Annual Art Exhibition of Lika Region

1965 Kumrovec, Youth Exhibition Zagreb, Zagreb Salon Skoplje, Museum of Contemporary Art, Exhibition of works donated to devastated Skoplje

1973 Zagreb, Art Pavilion, 8th Zagreb Salon

Tegucigalpa – Honduras, Exhibition of contemporary Yugoslav prints 1966

Otočac, Rijeka, Gospić, Bihać, 8th Annual Art Exhibition of Lika Region 1974

Zadar, Modern Gallery of the Civic Museum, 4th Blue Salon

Zagreb, Art Pavilion, Art Subjects Today Zagreb, Art Pavilion, 9th Zagreb Salon

1967 Subotica, Palić, 6th Art Encounter

Korenica, Otočac, Rijeka, Gospić, Zadar, Bihać, Zenica, Banja Luka, Prijedor, Kikinda, 9th Annual Art Exhibition of Lika Region

Zagreb, Art Pavilion, Youth Salon

Rijeka, Modern Gallery, 4th International Exhibition of Original Drawing

1968

Florence, 2nd Exhibition of International Modern Art

Zadar, Modern Gallery of the Civic Museum, 8th Blue Salon

1971 Zagreb, Modern Gallery of the Yugoslav Academy of Sciences and Arts, 6th Zagreb Salon Subotica, 10th Art Encounter 1972 Zagreb, Art Pavilion, 7th Zagreb Salon 49

Novi Sad, Exhibition space of Worker’s University Radivoj Ćirpanov, Exhibition of Contemporary Yugoslav Prints and Drawings Split, Art Salon, 1st Biennale of Contemporary Croatian Prints and Drawings

1975.

Zagreb, Kabinet grafike JAZU, 12. zagrebačka izložba jugoslavenske grafike

Gospić, Rijeka, Bihać, Zenica, Banja Luka, Zadar, Zagreb, Beograd, 10. lički likovni anale Zagreb, Galerija Karas, Stalni postav recentne hrvatske likovne umjetnosti

Split, Umjetnički salon, 5. bijenale suvremene hrvatske grafike 1983. Zagreb, Galerija Karas, 11. postav recentnih radova članova SHDLU

Subotica, 14. likovni susret – izložba grafika

Beograd, Umjetnički paviljon Cvijeta Zuzorić, 25. izložba ilustracija Zlatno pero Beograda

1976. Rijeka, Moderna galerija, 5. međunarodna izložba originalnog crteža

1984. Zagreb, Salon galerije Karas, 19. zagrebački salon

Zagreb, Galerija Karas, 3. postav recentne hrvatske likovne umjetnosti

Zagreb, Kabinet grafike JAZU, 13. zagrebačka izložba jugoslavenske grafike

1977.

Zagreb, Galerija Karas, 12. postav recentnih radova članova SHDLU

Subotica, Grožnjan, Kopar, Rovinj, 15. likovni susret

Sombor, Gradski muzej, 8. trijenale savremenog jugoslovenskog crteža

1979.

Rijeka, Mali salon, Crteži umjetnika riječke regije

Karlovac, Vinkovci, Biennale akvarela Jugoslavije

Split, Umjetnički salon, 6. biennale suvremene hrvatske grafike

1980. Rijeka, HDLU, Mali salon, Nadrealizam – nova figuracija

1986. Zagreb, Kabinet grafike JAZU, 14. zagrebačka izložba jugoslavenske grafike

1981. Zagreb, Galerija Karas, 9. postav recentne hrvatske likovne umjetnosti

1987.

Zagreb, Umjetnički paviljon, 16. zagrebački salon

Ferrol, Museo Municipal Bello Pińeiro, 4. Premio de Grabado Máximo Ramos

Zagreb, Kabinet grafike JAZU, 8. zagrebačka izložba jugoslavenskog crteža

Zemun, Umetnička galerija Stara kapetanija, Izložba crteža grupe autora iz Rijeke i Banja Luke

Karlovac, Zadar, Kragujevac, 2. biennale akvarela Jugoslavije

Sombor, Gradski muzej, 9. trijenale savremenog jugoslovenskog crteža

Poreč, 21. porečki annale Sombor, Gradski muzej, 7. trijenale savremenog jugoslovenskog crteža Beograd, Umjetnički paviljon Cvijeta Zuzorić, 23. izložba ilustracija Zlatno pero Beograda 1982. Zagreb, Galerija Karas, 10. izložba recentnih radova članova SHDLU i HDLUZ

1988. Zagreb, Kabinet grafike JAZU, 15. zagrebačka izložba jugoslavenske grafike Zagreb, Galerija Karas, 16. postav recentnih radova članova SHDLU

Zagreb, Department of Prints and Drawings of the Yugoslav Academy of Sciences and Arts, 8th Zagreb Exhibition of Yugoslav Prints and Drawings

1975 Gospić, Rijeka, Bihać, Zenica, Banja Luka, Zadar, Zagreb, Beograd, 10th Annual Art Exhibition of Lika Region

Split, Art Salon, 5th Biennale of Contemporary Croatian Prints and Drawings

Zagreb, Karas Gallery, permanent exhibition of recent Croatian art Subotica, 14th Art Encounter – exhibition of prints and drawings

1983 Zagreb, Karas Gallery, 11th display of recent works by members of SHDLU

1976

Belgrade, Art Pavilion Cvijeta Zuzorić, 25th exhibition of illustrations Golden Quill of Belgrade

Rijeka, Modern Gallery, 5th International Exhibition of Original Drawings Zagreb, Karas Gallery, 3rd display of recent Croatian art

1984 Zagreb, Karas Gallery Salon, 19th Zagreb Salon

1977

Zagreb, Department of Prints and Drawings of the Yugoslav Academy of Sciences and Arts, 13th Zagreb Exhibition of Yugoslav Prints and Drawings

Subotica, Grožnjan, Kopar, Rovinj, 15th Art Encounter 1979

Zagreb, Karas Gallery, 12th display of recent works by members of SHDLU

Karlovac, Vinkovci, Biennale of Yugoslav Watercolours

Sombor, Civic Museum, 8th Triennial of Contemporary Yugoslav Drawings

1980

Rijeka, Mali salon, Drawings of Rijeka Region Artists

Rijeka, HDLU, Mali salon, Surrealism – New Figuration

Split, Art Salon, 6th Biennale of Contemporary Croatian Prints and Drawings

1981 Zagreb, Karas Gallery, 9th display of recent Croatian art

1986

Zagreb, Art Pavilion, 16th Zagreb Salon

Zagreb, Department of Prints and Drawings of the Yugoslav Academy of Sciences and Arts, 14th Zagreb Exhibition of Yugoslav Prints and Drawings

Zagreb, Department of Prints and Drawings of the Yugoslav Academy of Sciences and Arts, 8th Zagreb Exhibition of Yugoslav Drawings Karlovac, Zadar, Kragujevac, 2nd Biennale of Yugoslav Watercolours Poreč, 21st Poreč Annual Exhibition Sombor, Civic Museum, 7th Triennial of Contemporary Yugoslav Drawings Belgrade, Art Pavilion Cvijeta Zuzorić, 23rd exhibition of illustrations Golden Quill of Belgrade

1987 Ferrol, Museo Municipal Bello Pińeiro, 4. Premio de Grabado Máximo Ramos Zemun, Art Gallery Stara kapetanija, exhibition of drawings by a groups of artists from Rijeka and Banja Luka Sombor, Civic Museum, 9th Triennial of Contemporary Yugoslav Drawings

1982 Zagreb, Karas Gallery, 10th exhibition of recent works by members of SHDLU and HDLUZ

1989.

Split, Šibenik, Zadar, Pula, Rijeka, Koprivnica, Varaždin, Bjelovar, Sisak, Osijek, Požega, Mostar, 1. festival akvarela Hrvatske

Rijeka, Moderna galerija, Riječko slikarstvo 1900. – 1970. godine 1990.

1998. Rijeka, Moderna galerija, 18. postav recentnih radova članova SHDLU

Zagreb, Gliptoteka HAZU, Žrtve Bleiburga i žrtve Križnog puta Karlovac, 1. hrvatski triennale akvarela

1992. Rijeka, Mali salon, 26. lički likovni anale

1999. Venecija, Palazzo Correr, 1. proljetni anale

1993.

Rijeka, Galerija Kortil, 2. međunarodna izložba Ex libris

Zagreb, Sinj, Sinjska alka i rat u Hrvatskoj

Venecija, Correr Pocket Gallery, 2. jesenski anale

1995. Udine, Galleria del centro, 5. biennale Intergraf Alpe Adria Tuzla, Međunarodna galerija portreta, 7. internacionalni bienalni festival portreta – crtež i grafika

2000. Zagreb, Umjetnički paviljon, 2. hrvatski trijenale grafike 2001.

1996.

Stockholm, Art Addiction Gallery, 6. međunarodni annale minijaturne umjetnosti

Zagreb, Kabinet grafike HAZU, 1. hrvatski trijanale crteža

Rijeka, Moderna galerija Rijeka – MMSU, 15. međunarodna izložba crteža

Neuss, Galerie der Stadtbibliothek, Pet umjetnika iz Rijeke Zagreb, Galerija Ulrich, Izložba portreta Stockholm, Art Addiction International Gallery, 4. međunarodna izložba minijaturne umjetnosti Split, Pinakoteka Gospe od zdravlja, Bienale malog formata 1997. Rijeka, Zagreb, Jubilarna izložba 50 godina HDLU Rijeka Stockholm, Art Addiction International Gallery, Međunarodna nagrada Art Addiction – Najtalentiraniji umjetnici Stockholm, Art Addiction International Gallery, 1. međunarodna izložba crteža – Svijet umjetnosti Bitola, Umjetnička galerija, 1. međunarodni grafički trijenale

Split, Galerija umjetnina, Splitski salon 2001. 2002. Stockholm, Art Addiction Virtual Gallery, 1. međunarodna izložba kolaža Rijeka, Moderna galerija Rijeka – MMSU, Inovacije – Akvizicije: suvremeni hrvatski umjetnici

Stockholm, Art Addiction International Gallery – Most Talented Artists

1988 Zagreb, Department of Prints and Drawings of the Yugoslav Academy of Sciences and Arts, 15th Zagreb Exhibition of Yugoslav Prints and Drawings

Stockholm, Art Addiction International Gallery, 1st International Exhibition of Drawings – World of Art

Zagreb, Karas Gallery, 16th display of recent works by members of SHDLU

Bitola, Art Gallery, 1st International Triennial Exhibition of Prints and Drawings

1989

Split, Šibenik, Zadar, Pula, Rijeka, Koprivnica, Varaždin, Bjelovar, Sisak, Osijek, Požega, Mostar, 1st Croatian Festival of Watercolours

Rijeka, Modern Gallery, Rijeka’s Painting 1900 – 1970 1990

1998 Rijeka, Modern Gallery, 18th display of recent works by members of SHDLU

Zagreb, Glyptotheque of the Croatian Academy of Sciences and Arts, Victims of Bleiburg and Victims of the Cross

1992 Rijeka, Mali salon, 26th Annual Art Exhibition 1993

Karlovac, 1st Croatian Triennial Exhibition of Watercolours 1999

Zagreb, Sinj, Alka of Sinj and War in Croatia

Venice, Palazzo Correr, 1st Annual Spring Exhibition Rijeka, Kortil Gallery, 2nd International Exhibition Ex libris

1995

Venice, Correr Pocket Gallery, 2nd Annual Autumn Exhibition

Udine, Galleria del centro, 5th Biennale Intergraf Alpe Adria Tuzla, International Portrait Gallery, 7th International Biennial Portrait Festival – Prints and Drawings

2000 Zagreb, Art Pavilion, 2nd Croatian Triennial Exhibition of Prints and Drawings

1996 Zagreb, Department of Prints and Drawings of the Croatian Academy of Sciences and Arts, 1st Croatian Triennial Exhibition of Drawings

2001 Stockholm, Art Addiction Gallery, 6th International Exhibition of Miniature Art

Neuss, Galerie der Stadtbibliothek, Five Artists from Rijeka

Rijeka, Modern Gallery Rijeka – MMSU, 15th International Exhibition of Drawings

Zagreb, Ulrich Gallery, Portrait Exhibition Stockholm, Art Addiction International Gallery, 4th International Exhibition of Miniature Art Split, Art Gallery of Virgin of Health, Biennale of Small Formats 1997 Rijeka, Zagreb, Anniversary Exhibition 50 years of Rijeka’s Association of Artists 53

Split, Art Gallery, Split Salon 2001 2002 Stockholm, Art Addiction Virtual Gallery, 1st International Exhibition of Collages Rijeka, Modern Gallery Rijeka – MMSU, Innovations – Acquisitions: Croatian Contemporary Artists

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Popis izloženih radova

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Bačeni opušak 30 olovka, tuš, papir, 32x41 cm, 1981. MMSU-6622

Crtež 20 tuš, papir, 41x32 cm, 1981. MMSU-6512

Depresivno smeće akrilik, kolaž, lim, papir, 150x91 cm, 2002. MMSU-5647

Eko vertikale logex spužvice, guma, 81x31x5 cm, 1998. MMSU-5649

Eko vertikale karton, platno, 81x31x5 cm, 1998. MMSU-5650

Eko vertikale lim, pluto, poliester, 81x31x5 cm, 1998. MMSU-5651

Inventurne razlike 66 olovka, tuš, kolaž, papir, 46x62 cm, 1982. MMSU-6526

Izlomljeni opušak 54 olovka, tuš, papir, 32x41 cm, 1981. MMSU-6614

Opušci cigarete Kent 103 olovka, tuš, papir, 32x41 cm, 1984. MMSU-6510

Piramida opušaka 63 olovka, tuš, flomaster, kolaž, sitotisak, papir, 46x62 cm, 1982. MMSU-6525

Potrošni sadržaj 68 olovka, tuš, kolaž, papir, 46x62 cm, 1982. MMSU-6528

Prekretnica u zagađenju drvo, karton, 133,5x12 x 10 cm, 1998. MMSU-5655

Reciklirani objekt lim, drvo, 53x16x5 cm, 2001. MMSU-5656

Reciklirani otpad lim, drvo, 53x16x8 cm, 2002. MMSU-5654

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The List of Exhibited Works

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Dropped Cigarette Butt 30 pencil, indian ink, paper, 32x41 cm, 1981 MMSU-6622

Drawing 20 indian ink, paper, 41x32 cm, 1981 MMSU-6512

Depressing Garbage acrylic, collage, tin, paper, 150x91 cm, 2002 MMSU-5647

Eco Verticals logex sponges, rubber, 81x31x5 cm, 1998 MMSU-5649

Eco Verticals cardboard, canvas, 81x31x5 cm, 1998 MMSU-5650

Eco Verticals tin, cork, polyester, 81x31x5 cm, 1998 MMSU-5651

Stock Differences 66 pencil, indian ink, collage, paper, 46x62 cm,1982, MMSU-6526

Broken Cigarette Butt 54 pencil, indian ink, paper, 32x41 cm, 1981 MMSU-6614

Kent Cigarette Butts 103 pencil, indian ink, paper, 32x41 cm, 1984 MMSU-6510

Cigarette Butt Pyramid 63 pencil, indian ink, felt-tin pen, collage, screen print, paper, 46x62 cm, 1982, MMSU-6525

Expendable Content 68 pencil, indian ink, collage, paper, 46x62 cm, 1982, MMSU-6528

Turning Point in Pollution wood, cardboard, 133,5x12x10 cm, 1998 MMSU-5655

Recycled Object tin, wood, 53x16x5 cm, 2001 MMSU-5656

Recycled Waste tin, wood, 53x16x8 cm, 2002 MMSU-5654

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Reciklirani otpad katran, akrilik, lim, drvo, 61x14x5 cm, 1998. MMSU-5660(1-3)

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Reciklirano smeće I lim, akrilik, drvo, karton, 20x12x5 cm, 1999. MMSU-5653

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Reciklirano smeće II lim, katran, platno, 20x12x5 cm, 1999. MMSU-5657

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Ruka CCIX tuš, papir, 70x50 cm, 1973. MMSU-6552

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Ruka CCXIV tuš, olovka, kolaž, papir, 69,8x49,8 cm, 1974. MMSU-6550

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Ruka CCXV tuš, papir, 70x50 cm, 1974. MMSU-6549

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Ruka CCXVI tempera, papir, 70x50 cm,1974. MMSU-6545

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Ruka CCXXI tuš, papir, 70x50 cm, 1974. MMSU-6546

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Spakirano smeće A+B drvo, poliester, karton, 30,5x43 cm, 2001., MMSU-5658

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Tri vertikale drvo, logex spužvice, lim, karton, 31x7x5 cm, 1998., MMSU-5659 (1-3)

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Zgužvana kutija Kent 51 olovka, tuš, kolaž, papir, 32x41 cm, 1981., MMSU-6625 56

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Recycled Waste tar, acrylic, tin, wood, 61x14x5 cm, 1998 MMSU-5660(1-3)

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Recycled Gargabe I tin, acrylic, wood, cardboard, 20x12x5 cm, 1999, MMSU-5653

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Recycled Garbage II tin, tar, canvas, 20x12x5 cm, 1999 MMSU-5657

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Hand CCIX indian ink, paper, 70x50 cm, 1973 MMSU-6552

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Hand CCXIV indian ink, pencil, collage, paper, 69,8x49,8 cm, 1974, MMSU-6550

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Hand CCXV indian ink, paper, 70x50 cm 1974 MMSU-6549

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Hand CCXVI tempera, paper, 70x50 cm,1974 MMSU-6545

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Hand CCXXI indian ink, paper, 70x50 cm, 1974 MMSU-6546

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Packed Garbage A+B wood, polyester, cardboard, 30,5x43 cm, 2001, MMSU-5658

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Three Verticals, wood logex sponges, tin, cardboard, 31x7x5 cm 1998, MMSU-5659(1-3)

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Crumpled Kent Pack 51 pencil, indian ink, collage, paper, 32x41 cm, 1981, MMSU-6625 57

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Izdavač Publisher Muzej moderne i suvremene umjetnosti Museum of Modern and Contemporary Art Za izdavača For the publisher Slaven Tolj Urednica kataloga Catalogue editor Vilma Bartolić Uvodni tekst Introductory text Vilma Bartolić Lektura, korektura Proofreading, language editing Gordana Ožbolt, Ivana Ostojčić

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Katalog je realiziran zahvaljujući potpori Ministarstva kulture Republike Hrvatske. The catalogue has been made possible thanks to the financial support of the Ministry of Culture of the Republic of Croatia. CIP zapis dostupan u računalnom katalogu Sveučilišne knjižnice Rijeka pod brojem 130222092 CIP record available in the electronic catalogue of the Rijeka University Library as unit 130222092 ISBN 978-953-6501-87-8 Postav izložbe Exhibition set up Vilma Bartolić, Slaven Tolj

Prijevod Translation Ivana Ostojčić

Tehnički postav Technical display Vanja Pužar

Fotografije Photography Goran Vranić

Odnosi s javnošću Public relations Ivo Matulić

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

Edukacija Education Milica Đilas

Tisak Print Kerschoffset, Zagreb Naklada Print run 300 Broj kataloga Catalogue No. 320

Izložba je realizirana zahvaljujući potpori Ministarstva kulture Republike Hrvatske i Grada Rijeke – Odjel za kulturu. The exhibition has been made possible thanks to financial support of the Ministry of Culture of the Republic of Croatia and City of Rijeka – Department of Culture.

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

Muzej moderne i suvremene umjetnosti Museum of Modern and Contemporary Art

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Dolac 1/II, 51 000 Rijeka, Hrvatska / Croatia Tel. +385 51 492 611 / Fax +385 51 492 623 mmsu@ri.t-com.hr www.mmsu.hr

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