Tomislav Čeranić L'HORIZON CHIMERIQUE by HDLU

Tomislav Čeranić

L’ HORIZON CHIMERIQUE

GALERIJA PRSTEN / RING GALLERY 18.11. – 7.12.2014. 3

Crtež kao «šizotekst» Ivica Župan

Dok kod većine umjetnika crtež ima pripremni ili prateći status, kod Tomislava Čeranića uživa status dovršenog umjetničkog rezultata, autonomnog plastičkog organizma, mape koja registrira i na vidjelo iznosi tijek labirintske putanje autorove izrazito subjektivne imaginacije. Današnjem anksioznom svijetu desetljećima na atraktivne i umjetnički uvjerljive načine Čeranić dokazuje da crtež može opravdano konkurirati svim ostalim suvremenim načinima likovnog izričaja. Afirmirajući crtež kao samostalno i potpuno završeno djelo, autonomnu disciplinu i samostalnu tvorevinu, ovaj stvaralac delikatna i profinjena duha ne odlučuje se za referiranje o opažajnoj zbilji, već za eskapizam kao načelo odmaka od predmetna tumačenja realnosti, za stvaranje izmaštanih svjetova, gradnju slika i oblika isključivo iz mašte. Onome što ostali mediji – referirajući se o stvarnosti - nemušto poručuju motritelju on pretpostavlja utopizam izmaštane stvarnosti izrađen jedinstvenim virtuoznim crtežima segmentiranim u zanimljivim i uvijek do kraja i na svim aspektima artikuliranim ciklusima. Za razliku od svake – stare i nove – figuracije kakvu susrećemo u stvaralaštvu lokalnog ambijenta, njegova je figuracija do kraja lišena eshatoloških poruka i jedino što želi postići jest pružiti si prigodu slobodna samoočitovanja u sprezi erudicije i poezije, u jedinstvenoj inačici vizualnog «šizoteksta». Stoga, on u nas nema bližih srodnika ni po stilu ni po jeziku. Takav autor ostaje samostalni individualac koji govori u prvom licu. Zainteresiraniji je za govor jezikom samostalne plastičke logike i citatnost - ostaje kao apartid zatvoren u svoj mali intimistički izmaštani svijet, ali blizak, prijemčljiv i atraktivan vizualnom senzibilitetu današnjeg motritelja kojega lako motivira da uroni u meditavni i sumbliman prostor iza i ispod prikaza. Teško je danas zamisliti umjetničku proizvodnju koja nije svojevrsni komentar o nekoj drugoj proizvodnji, koja ne bi otvoreno odavala referencije na prethodne umjetničke pojave («Umjetnost u zrcalu vlastite prošlosti»). Čeranićev opus utemeljen je na majstorskoj tehnici crteža olovkom na papiru kojom decetljećima razvija osebujni, fantazmagorični svijet hibridnih likova i figura utemeljen na bogatu poznavanju povijesti umjetničkog stvaralaštva i ideja koje su nadahnjivale mistične umjetničke osobnosti. U svom radu u svakom je trenutku prožet sviješću o povezanosti s europskom tradicijom, poglavito s njezinim dijelom sklonijim fantastici i bizarnom. Kod Čeranića je pozivanje i prizivanje važan dio djelatne strategije i u njegovu je rukopisu bliža ili dalja prošlost dio građe, važan konstitutivni čimbenik. Građu - koju slobodno preuzima odasvud - ovaj učeni i profinjeni crtač već desetljećima modificira i na jedinstven način spaja u bizarne i začudne sklopove pa te eklektičke tvorbe ostavljaju dojam bizarnoga, čak i zaumnoga. Oslobođen svih modernističkih skrupula, poglavito lingvističkog darvinizma kao metafore za neprestano kretanje umjetnosti u smjeru inovacija pod svaku cijenu, pa stoga ni jedna solucija nije zastarjela niti je povlašteno nova, shvaćajući umjetnost kao polje u kojem je moguće sve ono što odgovara izvornoj volji samog autora, ne ustručavajući se lingvističkih prekršaja, potpuno se okrećući postmodernističkom načelu da je danas u umjetnosti sve dopušteno jer ništa nije zabranjeno, vraćajući dostojanstvo crtežu, stvara u uvjerenju da se i najrazličitija iskustva vizualnih medija mogu pretopiti u novu slikovnu sintezu. Čeranić, dakle, stvara u uvjerenju da se i najrazličitija iskustva vizualnih medija mogu pretopiti u novu slikovnu sintezu. Zahvaljujući slobodi, disproporcijama, težnji alogizmu i sučeljavanju zakonima materijala, sinkronizacijom u načelu nesinkronih materijala, kombinacijom različitih i po mnogo čemu divergentnih fragmenata, ulomaka i ironičnih i komičnih susreta i prijelaza, minuciozno izvedenih detalja, potpuno izmaštanih ili preuzetih iz različitih stilski udaljenih izvora, među kojima redovito konstruira – u samoj kompoziciji, ali i značenju djela - stabilnu i trajnu poveznicu, Čeranić postiže visok stupanj vizualne aktivizacije i sublimacije te stvara vizualno izuzetno atraktivne utopijske priče. Izvučeni iz autentična im miljea, međusobno bastardno izmiješani te premješteni u drukčiji kontekst, elementi utjelovljuju novo, ambivalentno, provokativno i uznemirujuće značenje svakom crtežu. Fantastičnom ikonografijom, preklapanjima različitih svjetova, njihovim prožimanjima i paralelnim postojanjima, tematskim pretjerivanjima, jedinstvenim tretiranjem predstave, semantičkim igrama, izvrtanjima referencija, preobražajima znakova i značenja, montažama, spojevima proturječnih, preuzetih i izmaštanih elemenata, njihovim disharmoničnim razmještajima, križanjima, mješavinama, sinkretizmima elemenata na papirnatoj podlozi, koja očituje fascinaciju nepostojećim svjetovima te kombinatorikom divergentna materijala od kojeg ju tvori, Čeranić odolijeva izazovima novih aktualnih pa i trendovskih tendencija u crtačkom mediju i umjetnosti uopće, postižući pritom da u njegovu crtežu ne bude ničega nasilnog ili pretjeranog. Elitizam sadržajnog i morfološkog sloja djela, radna koncentracija, akribija i skrupulozne analize detalja, minucioznost, preciznost i metierski standardi kakvi u našoj umjetnosti danas najčešće izostaju, perfekcionizam - duboko su usađeni u Čeranićevu stvaralačku narav i duhovno korespondiraju s kombiniranjem apartnih materijala u strukturu crteža, paradoksima i zagonetkama u igri simbola na raznim stupnjevima i dimenzijama značenja, što u konačnici rezultira bizarnim, ali atraktivim i sugestivnim, vrlo subjektivno intoniranim naracijama, prožetim neprestano vidljivim humorom i ironijom. Posebna je priča Čeranićeva izvanredna crtačka vještina – ona kod motritelja izaziva nedoumicu je li riječ o grafici ili čak o računalnoj simulaciji. I najnoviji Čeranićev ciklus Himerički horizonti iščitavamo kao rijetku sposobnost stalna obnavljanja vlastita govora ostvarena u mediju crteža, kao simptom aktualiziranja manualnosti radnog procesa, naglašavanja statusa tehnike i jezičnih mogućnosti crteža kao medija. 5

Drawing as «schizotext» Ivica Župan

Whereas in the majority of artists drawing has a preparatory or accompanying status, in Tomislav Čeranić’s work it holds the status of a finished artistic result, autonomous sculptural organism, map that registers and brings to light the flow of labyrinthine path of the author’s extremely subjective imagination. For decades now Čeranić has been proving to the anxious modern world, in attractive and artistically compelling ways, that drawing can justifiably compete with other modern methods of artistic expression. Establishing drawing as independent and completely finished work, an autonomous discipline and independent creation, this artist of delicate and refined spirit does not decide to refer to the perceived reality, but instead he opts for escapism as the principle of detachment from the material interpretation of reality, for the creation of fictional worlds, purely fictional construction of images and shapes. In Čeranić’s work the utopianism of fictional reality, created with unique and virtuoso-drawings, segmented in interesting and always and completely, and in all aspects articulated cycles, comes before the message that the other media – when referring to reality - send to the observer in a clumsy way. Unlike the – old and new – figuration we usually encounter in the work of the local environment, his figuration is completely deprived of eschatological messages, and the only thing he wants to achieve is to provide himself with the opportunity for free self-disclosure in the conjunction of erudition and poetry, in a unique version of visual “schizotext“. Therefore, there are no artists in Croatia who are similar to him in style or language. Such artist remains an independent individual who speaks in the first person. He is more interested in using the language of autonomous sculptural logic and citation – it is like he is stateless, he remains enclosed in his own small intimate fictional world, but familiar, open and attractive to the visual sensibility of the present observer, who is thus easily motivated to dive into the meditative and subliminal space behind and below the image. Nowadays it is hard to imagine an artistic production that is not a comment on some other type of production, which does not openly show references to earlier artistic developments (“Art in the Mirror of its Own Past“). Čeranić’s oeuvre is based on the masterful technique of pencil drawing on paper, through which he has for decades been developing a peculiar, phantasmagorical world of hybrid characters and figures based on the extensive knowledge of the history of artistic creation and ideas that inspired mystical artistic personalities. Each moment of his work is imbued with the awareness of the connection with the European tradition, especially with its part prone to fantastic and bizarre. Citation and references are important parts of the active strategy in Čeranić’s work and older and recent history, as important constitutive factors, form his handwriting. This erudite and sophisticated artist has been modifying his construction elements - which he freely takes from everywhere - for centuries, combining bizarre and uncanny contexts in a unique way, and thus those eclectic formations leave a bizarre, even transrational impression. He is free of all modernist scruples, especially of linguistic Darwinism as a metaphor for the continuous movement of art in the direction of innovation at all costs and therefore no solution is out-dated nor has a privileged novelty status, he sees art as a field in which anything that suits the author’s need is possible, he does not hesitate to break linguistic rules, he believes in the postmodern principle that today in art anything goes because nothing is forbidden, restores the dignity of the drawing, he creates in the belief that even the most different experiences of visual media can be merged into a new visual synthesis. Čeranić, thus, creates in the belief that even the most different experiences of visual media can be merged into a new visual synthesis. Due to freedom, disproportions, tendency towards alogism and confrontation with the laws of the material, synchronization of generally asynchronous materials, through the combination of different and divergent fragments, pieces and ironic and comic encounters and transitions, meticulously performed details, completely fictional or taken over from different stylistic sources, among which he regularly creates – in the composition itself, but also in the meaning of the work – a stable and permanent link, Čeranić achieves a high degree of visual activation and sublimation and creates visually very attractive utopian stories. Extracted from their original milieu, put together in a hybrid way and transferred to a different context, the elements embody a new, ambivalent, provocative and upsetting meaning in each drawing. With his fictional iconography, overlapping of different worlds, their interpenetration and parallel existence, thematic exaggerations, unique treatment of performance, semantic games, distortions of references, transformations of signs and meanings, editing, merging contradictory, borrowed and fictional elements, their disharmonic arrangements, overlapping, mixtures, syncretism of elements on paper, which expresses the fascination with the non-existing worlds and through combining divergent materials it is made of, Čeranić resists the challenges of new and even trendy tendencies in the drawing medium and art in general, while still achieving to avoid violent or excessive elements in his drawings. The elitism of content-related and morphological layer of the work, painstaking care for and scrupulous analysis of details, meticulousness, precision and metier standards, most often absent from the art of our time, perfectionism – are deeply embedded in Čanić’s creative nature and they spiritually correspond to combining unusual materials in the structure of a drawing, paradoxes and puzzles in the play of symbols at various levels and dimensions of meaning, which ultimately results in bizarre, but also attractive and suggestive narrations with a very subjective overtone, permeated with constantly visible humour and irony. Čeranić’s extraordinary drawing skills are something special – they leave the observer wondering whether they are looking at a graphic, or even a computer simulation. We even interpret the latest Čeranić’s series Himerički horizonti as a rare ability of constant renewal of one’s own voice established in the drawing medium, as the symptom of actualizing the manual working process, emphasizing the status of technique and possibilities of the drawing medium. 7

Beastly Beauty

Discordia

Hypnerotomachia

Proteus Variations

Beastly Beauty

Discordia

Hypnerotomachia

Proteus Variations

„Ohlađena“ i otmjena starina, raskoš završenih i mrtvih stilova Vinko Srhoj

Crteži Tomislava Čeranića, koji su grupirani u četiri ciklusa: Hypnerotomachia, Discordia, Proteus varijacije i Beastly Beauty, uz nekolicinu radova iz starijeg ciklusa Star City, množinom i središnjim mjestom unutar ukupne produkcije autora, svojevrstan su retrospektivni pregled. No i bez ambicija prema retrospektivnosti, koja bi neizostavno uključila i druge cikluse crteža kao i kolaže koji kontinuirano nastaju paralelno s njima, ipak se može reći da je zagrebačka izložba u prostoru Doma hrvatskih likovnih umjetnika prvo cjelovito predstavljanje i zaokruživanje jedne plodne višegodišnje crtačke elaboracije. Djela Tomislava Čeranića unutar hrvatske postmoderne su, bez sumnje, iznimna, ne zbog toga što je to uvriježeno reći ushićenom retorikom tekstopisca u katalogu izložbe, već mu ne nalazimo srodnike u pristupu koji je nastao izvan svake pripadnosti kolektivnim modelima stila pa i u tipologiji crteža koji svojim mikroskopskim zorom nije baš u modi kod njegovih suvremenika. Čeranić crta sporo, akribično, skrupulozno do strukture „crtačkog atoma“ i svako makro uvećanje detalja njegovih naracijski bogatih slika ne proizvodi zamućenje na bilo kojem stupnju približavanja strukturi, već se oštrina kapilarnih situacija još više ističe. Izdvajajući ga kao „insularnu pojavu“ hrvatske suvremene umjetnosti, Margarita Sveštarov Šimat, osim poetološkog, naglašava i tehnički aspekt Čeranićeva crteža. Naime, uočava važnu osobinu crteža koji se, kao u kakvom poentilističkom sitnozoru, sad nudi kao niz malih, gotovo mikroskopskih granula (crta), a onda opet kao čvrsta cjelina sasvim izvjesnog oblika koja svoju gustoću i konzistenciju zahvaljuje upravo svojoj sićušnoj „atomskoj strukturi“. Njegove grafičke strukture, tvrdi Sveštarov Šimat, tvorbe su „teško sagledive i uočljive prostim okom… riječ je o labirintu kao unutarnjem kodu Čeranićeva svijeta – skrivenoj potki koja promičući oku ostaje skrivena autorova signatura. S druge pak strane, ona podiže zaslon višestrukih značenja; oponira predodžbi savršene digitalne slike koja se u konačnici ipak razilazi na pikselne čestice… reafirmirajući iz crteža u crtež jediničnost i jedinstvenost manufakta.“ I doista, detalj jednako kao i cjelina prikaza ima ravnopravnu/ravnomjernu opstojnost, i ne zna se što crtača zadovoljava više - minijaturno slaganje crtačkih korpuskula ili njihovo konačno uobličenje u cjeline arhitekture ili bića. Uostalom, jedno zove ka drugom; začudni sklopovi koji tvore nove alogične, ali čvrste cjeline, upućuju nas na zagledanje u njihovu mikrostrukturu u kojoj nalazimo beskrajno strpljivu predanost da se sve ispuni i definira filigranizmom crte. Ništa u toj crtačkoj strategiji nije prepušteno spontanosti, provali nepredvidljivosti, hiru slučaja, mada je konačni slikovni učinak neočekivan i hirovit spoj graditeljstva i bića. Autoritativnost crteža, koji je gotovo tehnički deskriptivan, primorava nas da nevjerojatne sklopove sagledavamo kao stvarnost - gotovo neporecivu u svojoj detaljiziranoj tvarnosti. Čeranić podiže čvrste spomenike svojim utvarnim fantazijama, u ruho klasicističkih zdanja, masivnih zidova, trijumfalnih portala, oblačeći ljudsku fizionomiju i psihologiju. Slično misli i Frano Dulibić kada u svim tim kamenim i mramornim uprizorenjima likova vidi psihička stanja. „Iako na prvi pogled može izgledati da se Čeranić ne bavi čovjekom, jer crta predmete, lako je uvidjeti da su zapravo čovjek i njegova duševna stanja vješto prikriveni, ali stvarni i uvijek aktualni predmet njegova interesa.“ Tu nakanu ne skriva ni sam autor opisujući svoj archimboldovski postupak, poglavito u ciklusu Protejeve varijacije, na sljedeći način: „Kombiniranjem disparatnih fragmenata, koji pripadaju odvojenim slikovnim cjelinama, želio sam konstruirati niz stiliziranih fizionomija koje bi u konačnici mogle nagovijestiti 35

(i nadam se da nagovještavaju) određena raspoloženja, određena psihička stanja…“ Očekivano, Čeranić se pritom poziva na Archimboldoa i Messerschmidta nadajući se da su ti utjecaji „vješto kamuflirani i neprepoznatljivi“. Tako doista i jest, jer u njegovim crtežima nema ni jednog ni drugog, u smislu stilema, pa ni ikonografije - ostaje tek princip i metoda, opće načelo komponiranja (Archimboldo) i psihizama, odnosno karakterologije likova (Messerschmidt) koji u Čeranićevu slučaju nisu više od umjetničkog i kulturološkog općeg mjesta. Istu vrstu zaokupljenosti i zatravljenosti starim, gotovo arhaičnim uzorima, Čeranić je iskazao još u svom prvom važnom ciklusu Star City. Oslanjajući se na projekte arhitekata 18. stoljeća E. L. Boulleea i N. Ledouxa, arheološke rekonstrukcije G.B. Piranesija i fantastične ilustracije A. Kirchera, Čeranić se, kako sam zabilježio u katalogu izložbe Star City, priklonio nekoj vrsti utopije nastale na tadašnjem retro-principu. Boullee, Ledoux, Kircher i Piranesi anticipirali su u svom vremenu umjetnost koja će se kroz klasicistički revival oglasiti stoljeće kasnije - rekonstruiranjem zaboravljenog antičko-renesansnog graditeljskog sloga. Autor, dakako, ne sugerira da bismo trebali graditi po uputama Boulleea ili Ledouxa, već je opčinjen duhom svečane ozbiljnosti, rezidencijalnosti i monumentalizma jedne trezvene megalomanije svojih uzora. Sada je to“ohlađena“ i otmjena starina ili, kako bi rekao M. Šuvaković opisujući neo-neo umjetnost - uživanje u raskoši završenih i mrtvih stilova. Zapisao sam tada, da smještajući ovu arhitekturu u zrakoprazni prostor levitacije crtač podupire njezinu nesvrhovitost, izvlačeći je iz konteksta praktične svakodnevice i korisnosti, kako bi u bestežinskom stanju mogla dodirivati oblake fantazije ujedno biti nešto poput Magritteovog Pirinejskog dvorca koji zajedno sa stijenom na kojoj je izrastao, težinom kamena lakog kao pero, lebdi ponad mora prkoseći zakonima prirode. Doživljavajući ciklus Hypnerotomachia kao nastavak Star Cityja, kritika (I. Župan) u tom djelu, nadahnutom jednom od najljepših ranih tiskanih knjiga: Hypnerotomachia Poliphili F. Colonne iz 15. stoljeća, koja je svoj utjecaj zadržala do 19. stoljeća inspirirajući ilustratore A. Beardsleya i W. Cranea, uočava „emancipaciju od ponegdje pretjerano stroge i dekorativnosti lišene monumentalnosti znakovite za Star City.“ U tom se ciklusu, tvrdi I. Župan: „Osjeća jasnije izražena želja za živahnim i skulpturalnijim pristupom koji na određeni način uravnotežuje teatralno i arheološko.“ I doista, iako se taj ciklus naslanja na prethodni, težnja za skulpturalnim nasuprot arhitektonskom iz ranijeg ciklusa vidljiva je u uobličenjima koja nastaju na spoju dijelova tijela i fragmenata arhitekture. Sve to rezultira antropomorfizacijom koja je bliža isticanju skulpture kao izgrađenog tijela, a ne arhitekture kao konstruirane građevine. Bujanje dekoracije, koja u Star Cityju ne prelazi okvire elegantne paladijevske utilitarnosti, sada poprima razmjere baroknog zatrpavanja, odnosno gomilanja elemenata koji zasićuju. Crtež je gušći, a forme više ne mare za umjerenost, već se ukrašavanje prelilo preko funkcije, a ornament se često osamostaljuje i hiperbolizira. Upravo zbog te naglašene dekorativnosti ni ljudska lubanja ni kostur položen u kripti ne djeluju jezovito, već kao dio velikog ansambla prevršene punoće i ukrasnog obilja. Pritom ona stara parola - da skinuti ukrase znači skinuti meso s građevinskog kostura - dobiva svoju inverznu sliku gdje ljudske kosti postaju dijelom dekorativnog aranžmana, primjerice ukrasnog potpornja neke kraljevske ložnice, a gola čeljusna kost nije ništa više od „opeke“ u građevnom sklopu. Skinuti kost s ovih sklopova značilo bi zapravo skinuti ukras, odnosno meso crteža koji iscrtava potporni skeleton. Ciklus Discordia sretno je odabrano ime, latinizirana verzija grčke boginje Eris zadužene u božanskom panteonu za kaos i nesklad na suprotnoj strani harmonične Concordiae. U tom ciklusu Čeranić poseže za neskladnim susretima predmeta i bića preuzetih iz knjiških ilustracija ili trgovačkih kataloga s patinom prvih komercijalnih oglašavanja kada fotografija još nije preuzela dominantnu ulogu u reklami proizvoda. Čeranićeva strategija zasigurno ne bi bila uporabljiva u oglašavanju bilo kojeg proizvoda, odnosno njegovoj kupovnoj privlačnosti, jer posezanje za samim disparatnostima dezorijentira i zbunjuje potencijalnog kupca. Primjerice, vinilna ploča i veliki morski rak prije su dalijevsko zavođenje na alogičnu stranputicu i igra s podsvjesnim konotacijama, nego uporabljiv cimer za neku prodavaonicu gramofonskih ploča, još manje logo nekog restorana s ponudom morskih plodova. Isto zaključuje i pisac predgovora Čeranićevoj izložbi I. Župan kada tvrdi da je taj crtež oprečan bilo kakvoj reklami, ne privlačeći, nego zbunjujući kupca. Čak su ti spojevi, tvrdi Župan, sablažnjivi i besmisleni u obzoru očekivanja pristojnog kupca nekog proizvoda, ismijavajući svaku potragu za razumnom i uporabljivom stranom proizvoda koji se nudi. Discordia tako ima onaj „devijantni smisao za (crni) humor“ koji kritika dovodi u vezu sa skepsom prema funkcionalnoj i sređenoj stvarnosti (onakvoj kao na policama trgovina), u konačnici, prema svijetu koji se je odavno izvitoperio i pretvorio u rasuti teret smisla. Ciklusom Protejeve varijacije Čeranić ponovo poseže za simbolom dvosmislenosti i zavaravanja, dajući mu ime po bogu Proteju čija je osobina da se nikada jasno ne očituje, a na pitanja odgovara zakučasto. Protejeva pojavnost u raznim obličjima tu je da zavara one koji se zadovoljavaju samo izravnim i nedvosmislenim odgovorima. Tajna odgovora leži, pak, u zagonetkama, u simbolima koji neizravno sugeriraju, u obličjima koja se stalno mijenjaju (Protej uzima obličja zmije, lava, stabla, vode). Čeranićevo protejstvo na strani je bizarnog, spajajući nespojivo i kontekstualno udaljeno pa je tako moguće da karlična kost prolista i izbaci pupoljke i plodove, a da se ženski korzet odmara na komodi i dobije markantan nos i usne. Čeranić u sklopovima bizarnog uvijek računa i na učinak lijepoga, kao da je pred njim uvijek Baudelaireova izreka „da je lijepo uvijek bizarno, to jest da ga bizarno čini lijepim… a Mallarme je sve začinio primjedbom da predmet u umjetnosti ne treba nedvosmisleno imenovati, jer se time gubi njegova višeznačnost i prijeko potrebna tajanstvenost, kao i tri četvrtine užitka koji mu oduzimamo takvim svođenjem na jedno značenje.“ Protejeve varijacije, na koncu, više od ostalih ciklusa gotovo uvijek rezultiraju nekom vrstom anamorfičnog portretaglave. Usporedbe s G. Arcimboldom ovdje su neizbježne. „Pritom se, za razliku od svog slavnog prethodnika, ne trudi pod svaku cijenu složiti lik od mnoštva inklinirajućih dijelova, nego tek od nekoliko većih organsko-graditeljskih fragmenata koji, gotovo slučajno, izlučuju formu glave. No kao i kod Arcimboldoa i kod Čeranića se paradoks jedinstva nastalog spajanjem različitosti provodi nekom vrstom dvolika koji nam u jednom trenu pokazuje gomilu krhotina raspadnutog svijeta, a već u sljedećem kaos 36

povezan likom koji izranja na njegovoj fermentirajućoj podlozi.“ I kako bi rekao I. Župan: Sve se na koncu doima logično, kompaktno, homogeno „kao skladan uzorak“. Posljednjim ovdje izloženim ciklusom Beastly Beauty ikonografski sadržaj ispunjen je sada životinjskim mutacijama, spojevima hibridnih bića, neke nove biologije komponirane od dijelova tijela koji su izglobljeni, hipertrofirani ili umanjeni, ali je konačan učinak u dovršenoj evoluciji, novim organizmima koji suvereno šetaju planetom, odnosno crtačkom uobraziljom. Unatoč neočekivanim spojevima, gdje i dijelovi ljudskih tijela sudjeluju u novoj reorganizaciji živih bića, čudovišna ljepota, ali ipak ljepota, postvaruje se minucioznošću koja te organizme čini logičnim na mikrorazini njihove strukturne sraslosti, u konstrukciji koja ih ističe kao bića koja sudjeluju u novoj harmoniji novostvorenih vrsta, odnosno njihovih začudnih organskih novotvorina. U konačnici, pisao sam svojedobno povodom Čeranića, njegova se strategija može povezati i s arcimboldovskim, piranesijevskim i nadrealističkim strategijama gradnje prizora, ali i s postmodernom. Ono što je postmoderno u ovom naizgled anakroničnom crtežu, upravo je u miješanju razina i planova. Zato je i moguće da se u dosluhu s prošlošću, rekli bismo velikom poviješću koja se ovdje rekreira bilo kroz pojedinačni doprinos umjetnika prošlosti bilo kroz neki prošli stilem, može ponuditi i mala povijest kao sjećanje pojedinca. Taj je pojedinac po postmodernom obrascu oslobođen obzira da se pridržava povijesne slijednosti, utvrđenih vrijednosti i linearne kronologije poetika i stilova čiji se slijed sada može slobodno remetiti. Napisao sam svojedobno da se ono što je u ovoj postmodernoj strategiji važno ogleda u nekoj vrsti dekorativne ekspresivnosti, ohlađene barokizacije (da se poslužim terminom Ch. Millet i G. Carandentea) koje vode stavu superiorne distancije s koje umjetnik poput Čeranića, ne želeći se miješati u uzburkane strasti povijesno-stilskih opreka, gleda i nastanak svoga djela koje kao da se rađa samo po sebi. Jer, doista, crtač poput Čeranića odaje dojam da ekspresivnost najneobičnijih i bizarnih spojeva, pretilo obilje jedne barokizirane i manirirane gramatike oblika, samo inventarizira u svoj crtački blok kao strastveni arhivar koji želi ostati po strani, nevidljivi i zatajan popisivač koji ne želi imati ništa s nemirima vanjskoga svijeta.

--Margarita Sveštarov Šimat, Grafički simulakrum u crtačkim ciklusima Tomislava Čeranića, Grafika, br. 16-17, Galerija Canvas, Zagreb, 2008., str. 56. Frano Dulibić, predgovor u katalogu izložbe 18. Međunarodne izložbe crteža, Muzej moderne i suvremene umjetnosti, Rijeka, 25.1.-16.3. 2013., str.119. Nela Valerjev Ogurlić, Tomislav Čeranić. Kolekcionar nepostojeće kolekcije (razgovor), Novi list (Mediteran), Rijeka. 3. 2. 2013. str. 4. Ilustracije u knjizi Latium Atanasiusa Kirchera prikaz su vile rimskog vojskovođe Kvintilijana Varusa u obliku zigurata koja je postavljena u suvremeni francuski vrt. Tu je kao referentna točka i Kircherova knjiga Turis Babel, eklektički antičko-renesansno-barokni pokušaj rekonstrukcije Babilonske kule. Čeranićeva slika Star City (fig. IV.) tako u jezgri iz koje se radijalno nižu kupolaste arhitektonske gradnje, sadržava izravni citat Kircherove vizije unutrašnjosti našega planeta. Vinko Srhoj, Album nepostojećih starina, Tomislav Čeranić, Star City, Galerija Miroslav Kraljević, Zagreb, 9. – 24. 10. 2002. Zamišljajući tako u 18. stoljeću memorijalno zdanje posvećeno Newtonu, Etienne Boullee projektira nikad izvedeni kenotaf u obliku planetarijuma, kupolastog zdanja koje podsjeća na aterirani svemirski brod. Potom zamišlja gigantsku baziliku Bibliotheque du Roi koja bi pod svojim svodom podno beskrajne kolonade stupova čuvala ukupnu knjišku memoriju svijeta. Ivica Župan, Emanacija delikatna i profinjena duha, Star City/Hypnerotomachia, Muzej moderne i suvremene umjetnosti, Rijeka, 16.12. 2004 – 14.1. 2005. I. Župan, isto Ivica Župan, predgovor u katalogu izložbe Discordia, Galerija Rigo, Novigrad, 5.-30. 6. 2009, str. 8. Vinko Srhoj, Protejeve postmoderne varijacije, Tomislav Čeranić – Proteus varijacije, Galerija umjetnina NMZ, Zadar, 19.3. – 12.4. 2009. V. Srhoj, isto, str. 2. 37

„Cool“ and elegant antiquity, the luxury of ended and dead styles Vinko Srhoj

Tomislav Čeranić’s drawings, grouped in four cycles: Hypnerotomachia, Discordia, Proteus Variations and Beastly Beauty, with several works from the earlier cycle Star City, due to their plurality and central place in the context of the author’s overall production, are a sort of retrospective overview. But even without the intention to become a retrospective exhibition, which would inevitably include other series of drawings, as well as collages that are continuously created in parallel with them, one can still say that Zagreb exhibition at the Croatian Association of Artists is the first complete presentation and wrap-up of a fruitful, years-long drawing elaboration. Tomislav Čeranić’s works are, without a doubt, exceptional in the context of the Croatian postmodernism, not because it is popular to say so in the ecstatic rhetoric of the author of the exhibition catalogue, but because there are no artists similar in this approach, created beyond any affiliation with collective models of art styles, nor in the typology of drawing and its microscopic perception that was not in fashion with his contemporaries. Čeranić draws slowly, meticulously, scrupulously to the structure of “the drawing atom“ and macro enlargement of the details of his narratively rich images does not result in blurring at any stage of approaching the structure, quite the opposite; the sharpness of capillary situation becomes even more noticeable. Margarita Sveštarov Šimat, by setting him apart as “an insular phenomenon“ of the Croatian contemporary art, besides the poetological also emphasizes the technical aspect of Čeranić’s drawing. Namely, she notices an important characteristic of the drawing that, like in some kind of pointillistic microscope, now offers as a sequence of small, almost microscopic granules (lines), and then again like a solid unit of an unquestionable shape that owes its density and consistency precisely to its tiny “atomic structure“. His graphic structures, Sveštarov Šimat claims, are formations “difficult to notice and perceive with the naked eye… it is a labyrinth as the internal code of Čeranić’s world – a hidden texture that, overlooked, remains the author’s hidden signature. On the other hand, it raises the screen of multiple meaning; opposes the idea of a perfect digital image that in the end still disappears into pixels particles…reaffirming from drawing to drawing unit-based and unique handicraft.“ Indeed, a detail, the same as the whole image, has equal/uniform stability, and it is not clear which satisfies the artist more – miniature arranging of drawing particles or shaping in the architectural unit or being. After all, one calls to another; uncanny structures that make new and illogical, but solid units, make us look deeper into their microstructure in which we see an infinitely persistent commitment for everything to be filled and defined by intricate line work. Nothing in that drawing strategy is left to spontaneity, eruption of unpredictability, whim of the moment, although the final visual effect is an unexpected and whimsical blend of architecture and being. The authoritativeness of drawing, which is almost technically descriptive, forces us to see unbelievable structures as a reality – almost undeniable in its detailed materiality. Čeranić builds solid monuments to his ghostlike fantasies, dressing human 39

physiology and psychology in classicistic clothes, massive walls and triumphant portals. Frano Dulibić shares a similar opinion by seeing psychological states in all those stone and marble presentations of characters. “Although at first it may seem that Čeranić is not preoccupied with a man, because he draws objects, it is easy to see that in fact man and his psychological states are skilfully disguised, but real and always current subject of his interest.“ The author himself does not hide this intention by describing his Arcimboldo-like procedure, especially in the cycle Proteus Variations, in the following way: “By combining disparate fragments that belong to separate visual units, I wanted to construct a number of stylized physiognomies that eventually might suggest (and I hope they do) certain moods, certain psychological conditions…“ As expected, in doing so Čeranić refers to Arcimboldo and Messerschmidt, hoping that those influences are “artfully disguised and unrecognizable“. It truly is so, because they are not present in his drawings, in the sense of stylistic elements and iconography – there is only principle and method, general principle of composition (Arcimboldo) and psychological characteristic, i.e. characterology of characters (Messerschmidt) that in Čeranić’s case are nothing more than artistic and cultural commonplace. Čeranić showed the same kind of preoccupation and enchantment with the old, almost archaic models in his first important cycle Star City. Referring to the projects of the 18th century architects like E. L. Boullee and N. Ledoux, as well as G. B. Piranesi’s archaeological reconstructions and A. Kircher’s fantastic illustrations, Čeranić, as he put it in the Star City exhibition catalogue, adhered to certain Utopia created on the retro-principle of the time. By reconstructing the forgotten classic-renaissance architectural order Boullee, Ledoux, Kircher and Piranesi anticipated the art that was to come to life a century later with the classicist revival. The artist is clearly not suggesting that we should construct according to Boullee’s or Ledoux’s instructions, but he is fascinated with the spirit of solemn seriousness, residentiality and monumentality of a sober megalomania of his paragons. It is now a “cool “ and elegant antiquity or, as M. Šuvaković said when describing neo-neo art – indulgence in the splendour of concluded and dead styles. I wrote then, that by placing this architecture into the vacuum of levitation, the artist supports its functional uselessness, he takes it out from the context of everyday practicability allowing it to touch the clouds of fancy in the state of zero gravity - at the same time it is something like Magritte’s The Castle of the Pyrenees that, together with the rock it grew on, with the weight of stone light as a feather, floats above the sea, defying the laws of nature. Seeing Hypnerotomachia cycle as the sequel of Star City, critics (I. Župan) notices in that work, inspired by one of the most beautiful early printed books Hypnerotomachia Poliphili by F. Colonna from the 15th century, which retained its influence until the 19th century by inspiring the illustrators A. Beardsley and W. Crane, that “emancipation from somewhat severe monumentality deprived of decorativeness previously characterising Star City.“ That cycle, as I. Župan claims: “more clearly expresses desire for more vivacious and more sculptural approach that would in a way harmonize the theatrical and the archaeological.“ Indeed, although that cycle refers to the earlier one, the tendency toward sculptural as opposed to architectural from the earlier cycle is visible in the embodiments created at the junctures of body parts and fragments of architecture. All this results in the anthropomorphization that is closer to emphasizing the sculpture as a constructed body, and not architecture as a constructed building. The expansion of decoration, which in Star City does not go beyond the elegant Palladian utilitarianism, now assumes the proportions of Baroque overwhelming, i.e. piling saturating elements. Drawing is more intense, and forms no longer care about moderation, now the decoration spilt over function, and ornament is often independent and over-exaggerated. Precisely due to that emphasized decorative value neither skull nor skeleton in a crypt seem creepy, but like a part of a large overcrowded ensemble filled with decorations. The old saying – to remove the decorations is to remove the flesh from the skeleton of a building – gets an inverse image where human bones become part of a decorative arrangement, for example an ornamental support of a royal nuptial bed, and bare jaw-bone is nothing more than a “brick“ in the construction process. To remove the bone from these structures would actually mean to remove the decoration, i.e. the flesh of the drawing that outlines the supporting skeleton. Discordia cycle is a cleverly chosen name, a Latinised version of Greek goddess Eris in charge of chaos and disharmony in the divine pantheon, on the opposite side of harmonious Concordiae. In that cycle Čeranić reaches for disharmonious encounters of objects and beings borrowed from book illustrations or shopping catalogues with the patina of first commercial advertisements, at the time when photography still had not assumed the dominant role in product advertising. Čeranić’s strategy would definitely not be useful for advertising any product and its advertising appeal, because reaching for the very opposites disorients and confuses the potential buyer. For example, vinyl record and a large sea crab are more of a Dali-like seduction that leads astray and plays with subconscious connotations than a useful roommate for a vinyl record store, even less a logo for a seafood restaurant. I. Župan, the author of the foreword to Čeranić’s exhibition concludes the same when he claims that this drawing is incompatible with any advertisement, it does not attract, but confuses the buyer. Those combinations, claims Župan, are even shocking and meaningless on the horizon of expectations of a decent buyer, because they make fun of a search of reasonable and useful aspect of the offered product. Discordia thus has that “deviant sense of (black) humour“ that critics connect with scepticism toward functional and organized reality (like the one on store shelves), and finally, toward the world that distorted a long time ago and turned into a scattered pile of sense. In Proteus Variations cycle Čeranić again reaches for the symbol of ambiguity and deception, naming it after Proteus whose characteristic is that he never expresses himself lucidly and answers queries in an abstruse manner leaving room for guesswork and riddles. Proteus’ manifestation in different forms is here only to deceive the ones who are only satisfied with direct and unambiguous answers. The secret to the answer lies, however, in riddles, in symbols that suggest indirectly, in constantly changing forms (Proteus takes on the form of the snake, lion, tree, water). Čeranić’s diversity is on the side of bizarre, combining incompatible and contextually 40

distant, so it is possible for a pelvic bone to bloom with vegetation and grows buds and fruits, and for the women’s corset to rest on the dresser and have handsome nose and lips. In these bizarre structures Čeranić always has in mind the effect of beautiful, like there is always this Beudelaire’s saying in front of him “that the beautiful is always bizarre, that it is the bizarre which makes it especially beautiful...and Mallarme would finally remark that the object in art ought not to be unambiguously named because if this is done its multi-meanings and its much-needed mystery would be lost just as three quarters of the pleasure it gives disappears if it is reduced to a single meaning.“ Proteus’ Variations, in the end, more than other cycles, almost always result in some form of anamorphic head-portraiture. Comparisons to G. Arcimboldo are inevitable. “In doing so, differently than his famous predecessor, he does not attempt at all costs to form the figure out of the multitude of inclining parts but only by using a few larger organic-architectural fragments which then, almost by chance, give shape to a head. However, just as was the case with Arcimbold, in Čeranić’s work the paradox of unity created through the conjoining of diversity is accomplished by a sort of double figure which at one moment displays a heap of fragments of a world in ruins while at the next moment it shows a chaos put into order by a figure which emerges from its fermenting background.“ And as I. Župan would say: in the end, everything appears logical, compact, homogeneous “as a harmonious pattern“. In the last here exhibited cycle Beastly Beauty, the iconographic content is now filled with animal mutations, combinations of hybrid creatures, some new biology composed of twisted, hypertrophied or diminished body parts, but the final effect is finished evolution, new organisms independently walking the planet, i.e. drawing fantasy. Despite the unexpected combinations, in which the parts of human bodies participate in new reorganization of living beings, monstrous beauty, but still beauty, becomes real through meticulousness that makes those organisms logical on micro level of their structural symbiosis, in the construction that emphasizes them as beings that participate in a new harmony of newly-created species, i.e. their uncanny organic creation. And finally, I wrote once on the occasion of Čeranić, his strategy can be compared to Arcimbold’s, Piranesi’s or the surrealist construction of scenes but also to postmodernism. What is postmodern in this seemingly anachronistic image is the mixing of levels and plans. It is therefore possible that in collusion with the past, a glorious history that is here recreated through individual contribution of artists from the past or through some historical style, even small history can be offered as the memory of an individual. Following the postmodernist pattern this individual does not need to pay heed to historical linearity, established values and linear chronology of poetics and styles whose sequence can now be freely disrupted. I wrote once that what is of importance in this postmodernist strategy is manifested in some sort of decorative expressivity, a chilled down “baroqueization- (to refer to a notion put forward by Ch. Millet and G. Carandente), which paves the way towards a superior distance from whence an artist like Čeranić, not wanting to participate in the convoluted passions of historical-stylistic oppositions, perceives the creation of his own work as though it came into being by itself. Because, truly, artist like Čeranić gives the impression that he only makes the expressivity of the most unusual and bizarre combinations, obese abundance of a Baroque- and Mannerism-like grammar of forms, part of the inventory of his drawing block, like some passionate archivist who wishes to remain on the side-lines, invisible and hidden cataloguer who wants nothing to do with the turmoil of the outside world.

--Margarita Sveštarov Šimat, Grafički simulakrum u crtačkim ciklusima Tomislava Čeranića, Grafika, No 16-17, Canvas Gallery, Zagreb, 2008, pg. 56 Frano Dulibić, foreword to the exhibition catalogue of the 18th International Exhibition of Drawing, Museum of Modern and Contemporary Art, Rijeka, 25/1 – 16/3/2013, pg. 119 Nela Valerjev Ogurlić, Tomislav Čeranić. Kolekcionar nepostojeće kolekcije (interview), Novi list (Mediteran), Rijeka. 3/2/2013, pg. 4 Illustrations in the book Latium by Atanasiusa Kirchera show the reconstruction of the Roman general Quintilianus Varus’s villa in the shape of ziggurat, placed in contemporary French garden. As a referent point here is also Kircher’s book Turis Babel, an eclectic classic-renaissancebaroque attempt of reconstruction of the Babel Tower. Čeranić’s drawing Star City (fig. IV) showing domed architectural structures that radially grow from its core, contains the direct quotation of Kircher’s vision of the interior of our planet. In the 18th century, imagining a memorial dedicated to Newton, Etienne Boullee designed a never-built cenotaph in the shape of planetarium, a domed building reminiscent of a landed space ship. Then he imagined a gigantic basilica Bibliotheque du Roi that could keep the whole bibliographic memory of the world under its spherical vault and endless colonnade. Ivica Župan, Emanacija delikatna i profinjena duha, Star City/Hypnerotomachia, Museum of Modern and Conteporary Art, Rijeka, 16/12/2004 – 14/1/2005 I. Župan, ibid. Ivica Župan, foreword to Discordia exhibition catalogue, Rigo Gallery, Novigrad, 5-30/6/ 2009, pg. 8 Vinko Srhoj, Proteus’ Postmodern Variations, Tomislav Čeranić – Proteus Variations, Gallery of Fine Arts NMZ, Zadar, 19/3 – 12/4/2009 V. Srhoj, ibid. pg. 2 41

ŽIVOTOPIS

CURRICULUM VITAE

Tomislav Čeranić rođen je 1961. u Šibeniku. Diplomirao je povijest umjetnosti na Filozofskom fakultetu u Beogradu. www.tomislav-ceranic.net

Tomislav Čeranić was born in 1961 in Šibenik. He graduated in Art History at the Faculty of Philosophy in Belgrade. www.tomislav-ceranic.net

Samostalne izložbe 2002. Star City, Gradska loža, Zadar Star City, Galerija Miroslava Kraljevića, Zagreb 2003. Hypnerotomachia, Salon Galić, Split 2004. Discordia, Galerija Ghetto, Split Hypnerotomachia, Zavičajni muzej grada Rovinja, Rovinj Star City/Hypnerotomachia, Muzej moderne i suvremene umjetnosti, Rijeka 2005. Hypnerotomachia, Art radionica Lazareti, Dubrovnik 2008. Discordia, Galerija Forum, Zagreb 2009. Proteus varijacije, Galerija umjetnina, Zadar 2013. Čeranić-Veličković-Vrankić, Mali salon, MMSU, Rijeka

Solo Shows 2002 Star City, Town Guard Loggia, Zadar, Croatia Star City, Miroslav Kraljević Gallery, Zagreb, Croatia 2003 Hypnerotomachia, Galić Salon, Split, Croatia 2004 Discordia, Ghetto Gallery, Split, Croatia Hypnerotomachia, Rovinj Heritage Museum, Croatia Star City/Hypnerotomachia, Museum of Modern and Contemporary Art,Rijeka, Croatia 2005 Hypnerotomachia, Art Workshop Lazareti, Dubrovnik, Croatia 2008 Discordia, Forum Gallery, Zagreb, Croatia 2009 Proteus varijacije, Gallery of Fine Arts, Zadar, Croatia 2013 Čeranić-Veličković-Vrankić, Mali salon, Museum of Modern and Contemporary Art, Rijeka, Croatia

Skupne izložbe 2002. III. hrvatski trijenale crteža, Kabinet grafike HAZU, Zagreb Plavi salon, XVI. triennale hrvatskog slikarstva, Galerija umjetnina Narodnog muzeja, Zadar 2003. Antiche arhitetture, Palazzo Bovara, Milano, Italija 2004. XVI. međunarodna izložba crteža, Muzej moderne i suvremene umjetnosti, Rijeka 2005. Linearne strukture, Gallery Riga, Latvija 2006. Common Destination, The Drawing Center, New York, SAD Serijalnost, Galerija umjetnina, Osijek Suvremeni nadrealisti, Muzej moderne i suvremene umjetnosti, Rijeka 2008. IV. hrvatski bijenale crteža, Gliptoteka HAZU, Zagreb Nevertheless, Künstlerhaus Bethanien, Berlin 2010. The 2009-10 Sovereign European Art Prize, Barbican Centre, London Nagrade 1987. Zagreb, Otkupna nagrada Sveučilišne i nacionalne knjižnice na 19. zagrebačkom Salonu mladih 1989. Zagreb, Velika nagrada za grafiku i crtež na 21. zagrebačkom salonu mladih 1990. Split, nagrada Slobodne Dalmacije za mlade likovne stvaraoce 1999. Zagreb, nagrada za crtež na II. hrvatskom triennalu crteža

Group Shows 2002 III Croatian Triennial of Drawing, Graphic Arts Cabinet of the Croatian Academy of Arts and Sciences, Zagreb, Croatia Blue Salon, XVI Triennial of Croatian Painting, Gallery of Fine Arts, National Museum Zadar, Croatia 2003 Antiche arhitetture, Palazzo Bovara, Milano, Italy 2004 XVI International Drawing Exhibition, Museum of Modern and Contemporary Art, Rijeka, Croatia 2005 Linear Structures, Riga Gallery, Riga, Latvia 2006 Common Destination, The Drawing Center, New York, USA Seriality, Gallery of Fine Arts, Osijek, Croatia Contemporary Surrealists, Museum of Modern and Contemporary Art, Rijeka, Croatia 2008 IV Croatian Biennale of Drawing, Glyptotheque of the Croatian Academy of Arts and Sciences, Zagreb, Croatia Nevertheless, Künstlerhaus Bethanien, Berlin, Germany 2010 The 2009-10 Sovereign European Art Prize, Barbican Centre, London, UK Awards 1987 Zagreb, Purchasing Award of the National and University Library at the 19th Zagreb Youth Salon 1989 Zagreb, Grand Prize for Graphics and Drawing at the 21st Zagreb Youth Salon 1990 Split, Slobodna Dalmacija Award for Young Visual Artists 1999 Zagreb, Award for Drawing at the II Croatian Drawing Triennial

IMPRESSUM NAKLADNIK / PUBLISHER

Hrvatsko društvo likovnih umjetnika / Croatian Association of Fine Artists, Trg žrtava fašizma 16, 10 000 Zagreb, hdlu@hdlu.hr, www.hdlu.hr ZA NAKLADNIKA / FOR THE PUBLISHER Josip Zanki, predsjednik /president UPRAVNI ODBOR HDLU / EXECUTIVE BOARD OF HDLU Josip Zanki (predsjednik / president), Tomislav Buntak (zamjenik predsjednika / vice president), Fedor Vučemilović (zamjenik predsjednika / vice president), Ida Blažičko, Ivan Fijolić, Koraljka Kovač Dugandžić, Anita Kuharić Smrekar UMJETNIČKI SAVJET GALERIJE PRSTEN / ARTISTIC BOARD OF RING GALLERY

Koraljka Kovač Dugandžić, Gordana Bakić, Josip Zanki / Tomislav Buntak, Gaella Alexandra Gottwald, Leonida Kovač, Ivica Župan, Igor Španjol STRUČNA SURADNICA / ASSOCIATE Tea Hatadi RAVNATELJICA / DIRECTOR Ivana Andabaka AUTOR / AUTHOR

Tomislav Čeranić

KUSTOS / CURATOR

Vinko Srhoj

PREDGOVOR / PREFACE

Ivica Župan Vinko Srhoj

LEKTURA / PROOFREADING

Mirna Vidić

PRIJEVOD / TRANSLATION

Zana Šaškin

LIKOVNI POSTAV IZLOŽBE / EXHIBITION DESIGN

Tomislav Čeranić, Vinko Srhoj

DIZAJN NASLOVNICE / COVER DESIGN

Tomislav Čeranić

GRAFIČKO OBLIKOVANJE I PRIJELOM KATALOGA / DESIGN

Tea Hatadi

UREDNICA / EDITOR

Tea Hatadi

TISAK / PRINTED BY

Cerovski Print Boutique NAKLADA / COPIES

150

CIP zapis dostupan u računalnom katalogu Nacionalne i sveučilišne knjižnice u Zagrebu pod brojem 891889 ISBN 978-953-6508-87-7 / A CIP catalogue record for this book is available from the National and University Library in Zagreb under 891889 ISBN 978-953-6508-87-7

Izložba je ostvarena uz novčanu potporu Gradskog ureda za obrazovanje, kulturu i sport Grada Zagreba i Ministarstva kulture Republike Hrvatske. / The exhibition has been kindly supported by City Office for Education, Culture and Sport Zagreb and the Ministry of Culture of the Republic of Croatia. Posebna zahvala Muzeju moderne i suvremene umjetnosti Rijeka i Akademiji likovnih umjetnosti Zagreb / Special Thanks to Museum of Modern and Contemporary Art Rijeka and Academy of Fine Art Zagreb 43