06. X. - 07. XII. 2015. - SPLIT Uvod za VII. Splitgraphic 2015. grafičkim smotrama, što ju je učinilo jednom od značajnijih umjetnica na suvremenoj grafičkoj sceni. Akromatski Grafika kao vizualni jezik današnjice linorezi Marte Lech zasnivaju se na ocrtavanju predmeta i interijera pomoću snopa iscrtane bijele svjetlosti. Radovi Marte Lech odgovaraju grafici kao vizualnom jeziku današnjice – dijalogu suvremenosti grafičkog znaka i Splitgraphic bijenale se 2015. godine organizira po sedmi put, s temom “Grafika kao vizualni jezik tradicionalnosti grafičke tehnike. današnjice”. Grafički medij danas prelazi granice postavljene u prošlosti i ograničenja tradicionalnih shvaćanja. Radovi koje smo zaprimili i koji su odabrani za skupnu izložbu pozicioniraju grafiku unutar suvremne umjetnosti Osobito smo ponosni što će se predstaviti dio velikog i iznimnog opusa Vaska Lipovca (Nagrada “Marko naglašavajaći važnost grafičkog znaka, svijest o reprodukciji, multi-originalnosti i demokratičnosti samog medija. Marulić” za rad na temu mora, I. Splitgraphic 2003) u sklopu ovogodišnjeg Splitgraphica u Staroj gradskoj vijećnici, nakon njegove samostalne izložbe 1996. u galeriji Studio Naranča i izložbe “Grafičke igre” 2007. u sklopu III. Splitgraphic se ove godine sastoji od tri skupne izložbe, središnje skupne izložbe, studentske selekcije i Splitgraphic bijenala. Izložba grafika i crteža Vaska Lipovca organizirana je u suradnji s Ateljeom Lipovac. Uz grafike skupne izložbe litvanske grafike, te dvije samostalne izložbe, Marte Lech i Vaska Lipovca. i crteže u prizemlju Stare gradske vijećnice bit će postavljena skulptura “Plavo stablo”, koje je bilo postavljeno u Središnja skupna izložba se već tradicionalno od 2007. godine održava u prostoru Stare gradske Galeriji Studio Naranča 1996. godine, a kao javna skulptura u Vukovarskoj ulici ispred Ateljea Vaska Lipovca. vijećnice na Pjaci. Na izložbi će biti predstavljeno 97 umjetnika koje je odabrao stručni žiri. Natječaj za ovogodišnji Veseli nas povratak Plavog stabla u splitsku svakodnevnicu! Splitgraphic i izlaganje na središnjoj skupnoj izložbi objavljen je u veljači 2015. Na njega se prijavilo 395 umjetnika čiji će radovi ostati izloženi tijekom cijele godine u Online galeriji na web stranicama Splitgraphic bijenala. U drugi krug izbora prošlo je 297 umjetnika, a za izložbu je izabrano 97 grafičara. Marina Majić Petit Izbor za izložbu je izvršio stručni žiri ove godine iz online galerije Splitgraphic bijenala. Središnja skupna izložba se temelji na izboru međunarodnog žirija koji je odabrao kvalitetnu selekciju suvremenih grafika. Skupna se izložba sastoji od grafičkih listova koji se bave problemom grafike kao vizualnog jezika današnjice, propituju uvjete vlastitog nastanka, te u tematskom i tehničkom višeglasju donose odgovore na širinu suvremenih mogućnosti likovnog izražavanja.

Skupna izložba “Tijelo: grafička umjetnost u Litvi 1980-2013” izložit će presjek litvanske grafičke umjetnosti s temom tijela. Izložba je organizirana u suradnji s Grafičkim centrom iz Vilniusa i kustosicama izložbe Jurgom Minčinauskienė i Kristinom Kleponytė-Šemeškienė. Splitgraphic je bio gost Grafičkog centra Vilnius u studenom 2014. godine kada je postavljena retrospektivna izložba povodom desetogodišnjice bijenala, pod nazivom “Splitgraphic 2003-2013: održiva retrospektiva”. Upravo su ta izložba u Vilniusu, kao i predavanje o Splitgraphic bijenalu, rezultirali činjenicom da se 2015. godine u Splitu ima priliku vidjeti litvanska grafika. Gostovanje Splitgraphic bijenala u Vilniusu utjecalo je i na velik broj litvanskih umjetnika koji su se prijavili na ovogodišnji Splitgraphic, te će mnogi od njih biti izloženi na skupnoj izložbi.

Marta Lech, dobitnica Grand Prix-a 2013. bit će predstavljena samostalnom izložbom linoreza pod nazivom “Svjetlo“. Radi se o ciklusu grafika s kojim je poljska grafičarka dobila niz grand prix nagrada na različitim

2 3 VII Splitgraphic 2015—an introduction Marta Lech, the winner of Splitgraphic’s 2013 Grand Prix will present herself with the solo exhibition Graphic art as today’s visual language of linocuts entitled “Light”. This is a graphic cycle that earned the artist an array of grand prix awards at various festivals of graphic art, which made her one of the more significant artists on the contemporary graphic art scene. In 2015, Splitgraphic biennial is organised for the seventh time, and its topic this year is “Graphic art as Marta Lech’s achromatic linocuts are based on outlining objects and interiors with a beam of intermittent white today’s visual language”. The medium of graphic art today crosses the boundaries set in the past and exceeds the light. Marta Lech’s works are an example of the graphic art shown as a visual language of today—a dialogue limitations of its traditional understandings. Works we received that were selected to enter the group exhibition between the contemporaneity of the graphic sign and the traditional nature of the graphic technique. map out the location of graphic art on the contemporary art scene, they stress the importance of the graphic sign, the awareness of reproduction, multi-originality and the democratic nature of the medium itself. We are especially proud that a part of Vasko Lipovac’s extensive and exceptional opus (the “Marko Marulić” award for a work exploring the theme of the sea at the first Splitgraphic 2003) will be shown within this This year, Splitgraphic will host three group exhibitions—the central group exhibition, the student year’s Splitgraphic at the Old City Hall, after having hosted Lipovac’s solo exhibition in 1996 at the Studio Naranča selection and a group exhibition of Lithuanian graphic art—as well as two individual exhibitions, for Marta Lech and his exhibition “Graphic Games” at the third Splitgraphic biennial in 2007. The exhibition will show the artist’s and Vasko Lipovac. graphics and and it is organised in collaboration with the Atelier Lipovac. The graphics and drawings The central group exhibition has since 2007 traditionally taken place in the space of the Old City will be accompanied by the “Blue Tree” on the ground floor of the Old Town Hall, the sculpture that had Hall on Pjaca. The exhibition will present 97 artists selected by the jury. The call for this year’s Splitgraphic already visited Studio Naranča in 1996 and was publically exhibited in the Vukovarska Street in front of Vaska and the exhibition was published in February 2015. Altogether 395 artists applied and their works will be Lipovac’s atelier. exhibited in the Online Gallery at Splithraphic’s website throughout the year. We have shortlisted 297 artists, We look forward to seeing the Blue Tree return to Split’s everyday life! while 97 of those will take part in the central exhibition. A jury of experts formed the selection of exhibits from Splitgraphic’s Online Gallery. The central group exhibition is based on the international jury’s choice, whose members decided on Marina Majić Petit a selection of high-quality contemporary graphic art. The group exhibition is comprised of works that tackle the problem of graphic art as a visual language of our times, works that question the conditions of their own creation, while proposing thematically and technically polyphonous answers to the breadth of contemporary expression in fine art.

Group exhibition “Body: Graphic Art in Lithuania 1980-2013” will show a cross section of Lithuanian graphic art that deals with the topic of the body. The exhibition is organised in collaboration with the Graphic Centre in Vilnius and the show’s curators Jurga Minčinauskienė and Kristina Kleponytė-Šemeškienė. In November 2014 Splitgraphic was hosted by the Graphic Centre Vilnius with a retrospective exhibition marking the tenth anniversary of the biennial, entitled “Splitgraphic 2003-2013: Sustainable Retrospective”. That very exhibition, as well as the lecture that accompanied it, resulted in Lithuanian graphic art being presented to the Split audience this year. Splitgraphic’s visit to Vilnius likewise influenced the large number of Lithuanian candidates at this year’s biennial and many of them will have their works shown at the group exhibition.

4 5 1 ...popgrafik UK 42 Barbara Kasperczyk- Poljska/Poland 2 Adriana Adrya Moldavija/Moldova Gorlak 3 Adrianna Szwedkowicz Poljska/Poland 43 Barbara Niscior Poljska/Poland 4 Afsoon UK 44 Bartłomiej Chwilczyński Poljska/Poland 5 Agata Ciesielska Poljska/Poland 45 Basil Colin Frank Izrael/Israel 6 Agata Dworzak-Subocz Poljska/Poland 46 Beata Filipowicz Poljska/Poland 7 Aidan Flanagan Irska/Ireland 47 Beata Kolakowska Poljska/Poland 8 Akiko Hasegawa Japan 48 Benjamin Vasserman Estonija/Estonia 9 Alberto Balletti Italija/Italy 49 Bogdan Miga Poljska/Poland 10 Ale Maia e Pádua Brazil/Brasil 50 Borislava Borisova Bugarska/Bulgaria 11 Aleksandra Ilkiewicz Poljska/Poland 51 Branimir Karanović Srbija/Serbia 12 Aleksandra Matyka Poljska/Poland 52 Brian Kreydatus SAD/USA ONLINE 13 Aleksandra Supińska Poljska/Poland 53 Briar Craig Kanada/Canada GALERIJA 14 Alexander Frohberg Njemačka/Germany 54 Brita Weglin Švedska/Sweden 15 Algimantas Povilas Litva/Lithuania 55 Bruna Carev Hrvatska/ ONLINE Kaveckis 56 Carol Hayman SAD/USA GALERY 16 Alicja Snoch-Pawlowska Poljska/Poland 57 Carrie Ann Plank SAD/USA 17 Alja Košar Slovenija/Slovenia 58 Cássia Silva Alves Brazil/Brasil 18 Ana - Marija Markežić Hrvatska/Croatia Gonçalves 19 Ana Goričanec Hrvatska/Croatia 59 Charley Openshaw UK 20 Ana Sabolić Hrvatska/Croatia 60 Chen Chuan Kina/China 21 Ana Sladetić Hrvatska/Croatia 61 Christiaan Diedericks Južna Afrika/South Africa 22 Ana Vivoda Hrvatska/Croatia 62 Christopher Maslon Južna Koreja/South Korea 23 Anastasija Sosunova Litva/Lithuania 63 Cinla Seker Turska/Turkey 24 Anastasiya Epishina Rusija/Russia 64 Claire A. Benson UK 25 Andreea Anghel Rumunjska/Romania 65 Colin Gillespie UK 26 andres ordaz salazar Meksiko/Mexico 66 Cora Vogtschmid Nizozemska/ 27 Andrew Hambleton UK The Netherlands 28 Andry Nakonechnyy Ukrajina/Ukraine 67 Črtomir Frelih Slovenija/Slovenia 29 Anja Serdar Hrvatska/Croatia 68 Csaba Pal Mađarska/Hungary 30 Ann-Kristin Källström Švedska/Sweden 69 Dajana Radoš Hrvatska/Croatia 31 Anna Irena Tomica Poljska/Poland 70 Dan McCormack SAD/USA 32 Anna Kodź Poljska/Poland 71 Daniel Wechsler Izarel/Israel 33 Anne Louise Blicher Danska/Denmark 72 Daniela Cikatić Javorčić Hrvatska/Croatia 34 Annette Olsen Caspeller Danska/Denmark 73 Daniela Rizzi UK 35 Annika van Belkom Švedska/Sweden 74 Danijela Šušak Hrvatska/Croatia 36 Antoni Kowalski Poljska/Poland 75 Danuta Tojka Poljska/Poland 37 António Canau Portugal 76 Davida Kidd Kanada/Canada 38 Aris Engel Nizozemska/ 77 Deborah Cornell SAD/USA The Netherlands 78 Derek Zeitsman Južna Afrika/South Africa 39 Arturo Araujo SAD/USA 79 Dimitrije Pecić Srbija/Serbia 40 Atsuo Sakazume Japan 80 Dina Zebec Hrvatska/Croatia 41 Barbara Czapor - Zaręba Poljska/Poland 81 Dino Surać Hrvatska/Croatia

6 7 82 Domagoj Sušac Hrvatska/Croatia 122 Haruko Cho Japan 160 Joanna Janowska- Poljska/Poland 200 Laisvyde Salciute Litva/Lithuania 83 Dora Mihaljević Hrvatska/Croatia 123 Heather Huston Kanada/Canada Augustyn 201 Laura Guoke Litva/Lithuania 84 Dragana Kupresanin Srbija/Serbia 124 Heather Leier Kanada/Canada 161 John Graham Kanada/Canada 202 Lea Jerlagić Bosna i Hercegovina/ 85 Dubravka Kanjski Hrvatska/Croatia 125 Helga Goran Hrvatska/Croatia 162 John Watson UK Bosnia and Herzegovina 86 Duje Medić Hrvatska/Croatia 126 Herman Noordemer Nizozemska/ 163 Jolanda Jelkin Poljska/Poland 203 Leila Shahhosseini Iran 87 Edvin Dragičević Hrvatska/Croatia The Netherlands 164 Jolanta Mikulskyte Litva/Lithuania 204 Lena Achtelik Poljska/Poland 88 Edward Bateman SAD/USA 127 Hiro-omi Takeuchi Japan 165 Joseph Peller SAD/USA 205 Leon Zakrajsek Slovenija/Slovenia 89 Edwin Garcia Venezuela 128 Hiroyuki Miyazaki Japan 166 József Kántor Mađarska/Hungary 206 Letitia Gaba Njemačka/Germany 90 Egle Vertelkaite Litva/Lithuania 129 Hiroyuki Suzuki Japan 167 Juhani Järvinen Finska/Finland 207 Letricija Linardić Hrvatska/Croatia 91 Elena Grudzinskaitė Litva/Lithuania 130 Hrvoje Roguljić Hrvatska/Croatia 168 Jūratė Rekevičiūtė Litva/Lithuania 208 Lida Dubauskiene Litva/Lithuania 92 Elena Guzun Moldavija/Moldova 131 Hwa Young Caruso SAD/USA 169 Justin Diggle SAD/USA 209 Lida Sharet Massad Izrael/Israel 210 Lidija Ferenčak Hrvatska/Croatia 93 Eli Schnitzer Austrija/Austria 132 Ida Đurkić Hrvatska/Croatia 170 Justyna Patecka Poljska/Poland 171 K_Van Nizozemska/ 211 Lidija Nonveiller Hrvatska/Croatia 94 Eliska Kovacikova Slovačka/Slovakia 133 Iga Mikulska Poljska/Poland The Netherlands 212 Linas Blažiūnas Litva/Lithuania 95 Elvyra Katalina Litva/Lithuania 134 Igor Čabraja Hrvatska/Croatia Kriaučiūnaitė 172 Kaja Wojtyga Poljska/Poland 213 Lisa Graham SAD/USA 135 Igor Konjušak Hrvatska/Croatia 96 Emina Kefelja Hrvatska/Croatia 173 Kamil Baś Poljska/Poland 214 Ljubiša Brković Srbija/Serbia 136 Ingrid Ledent Belgija/Belgium 97 Endi Poskovic SAD/USA 174 Karina Sladović Hrvatska/Croatia 215 Lubomír Přibyl Češka/Czech republic 137 Irena Škrinjar Hrvatska/Croatia 98 Eva Galizzi Švicarska/Switzerland 175 Karol Pomykała Poljska/Poland 216 Luce UK 138 Irena Stopić Srbija/Serbia 99 Eva Toker Jawerbaum Argentina 176 Kataoka Masaki man Japan 217 Luka Čačić Hrvatska/Croatia 139 Irfan Handukić Bosna i Hercegovina/ 100 Ewa Gołogórska- Kucia Poljska/Poland 177 Katarina Fabijanić Hrvatska/Croatia 218 Łukasz Bogdan Poljska/Poland Bosnia and Herzegovina 101 Ewa Malijewska Poljska/Poland 178 Katarzyna Budka Poljska/Poland 219 Łukasz Butowski Poljska/Poland 140 Irina Samosyuk Rusija/Russia 102 Ewa Włostowska Poljska/Poland 179 Katarzyna Zimna Poljska/Poland 220 Lula Valletta Nizozemska/ 141 Iva Šarić Hrvatska/Croatia 103 Floki Gauvry Argentina 180 Katherine Marmaras Australija/Australia The Netherlands 142 Ivan Gregov Hrvatska/Croatia 104 Frances Valesco SAD/USA 181 Kelli Valk Estonija/Estonia 221 Lyra Zajmi Hrvatska/Croatia 143 Ivana Gagić Kičinbači Hrvatska/Croatia 105 Francisco Velasco Španjolska/Spain 182 Keshav Malla Francuska/France 222 Magdalena Gardeła Poljska/Poland 144 Ivana Kevo Hrvatska/Croatia 106 FRANCISZEK NIEĆ Poljska/Poland 183 Kestutis Vasiliunas Litva/Lithuania 223 Magdalena Pastuszak Poljska/Poland 145 Ivona Mustapić Jelavić Hrvatska/Croatia 107 Geoffrey Tune Novi Zeland/New Zealand 184 Kirsti Grotmol Norveška/Norway 224 Mahpeyker Yönsel Turska/Turkey 146 Izabella Retkowska Poljska/Poland 108 Gerard van Santen Nizozemska/ 185 Kit Chirachaisakul Tajland/Thailand 225 Maja Dokudowicz Poljska/Poland The Netherlands 147 Jacek Joosterbens Poljska/Poland 186 Klasja Habjan Hrvatska/Croatia 226 Maja Simić Srbija/Serbia 109 Gerardas Satunas Litva/Lithuania 148 Jacek Tybur Poljska/Poland 187 Koen Sakamoto Japan 227 Malcolm Franklin UK 110 Gerardo De la Cruz Meksiko/Mexico 149 Jacek Zaborski Poljska/Poland 188 Koenraad Claes Belgija/Belgium 228 Małgorzata Chomicz Italija/Italy 111 Giri Dwinanto Indonezija/Indonesia 150 Jacek Zięba-Nęcek Poljska/Poland 189 Koyuki Kazahaya Japan 229 Manfred Egger Austrija/Austria 112 Goran Jovanov Makedonija/Macedonia 151 Jacquelien Beenen Nizozemska/ 190 Krasi Dimtch Kanada/Canada 230 Marcin Wydrzyński Poljska/Poland 113 Grace Sippy SAD/USA The Netherlands 191 Kristian Andersen Danska/Denmark 231 Marco Hernandez SAD/USA 114 Grażyna Kulikowska- Poljska/Poland 152 Jakša Matošić Hrvatska/Croatia 192 Kristina Norvilaitė Litva/Lithuania 232 Marea Atkinson Australija/Australia Antczak 153 Janne Nytorp Finska/Finland 193 Kristina Restović Hrvatska/Croatia 233 MAREK POŚPIECH Poljska/Poland 115 Greta Znojemsky Austrija/Austria 154 Jarosław Jasiński Poljska/Poland 194 Krystyna Maniecka- Poljska/Poland 234 Marek Sajduk Poljska/Poland 116 Gudrun Heamägi Estonija/Estonia 155 Jelena Karišik Bosna i Hercegovina/ Bogdan 235 Margaret Ashman UK 117 Guy Langevin Kanada/Canada Bosnia and Herzegovina 195 Krysztof Tomalski Poljska/Poland 236 Margarita Berg SAD/USA 118 Han Xiao Japan 156 Jelena Sredanović Srbija/Serbia 196 Ksenija Tomičić Hrvatska/Croatia 237 Mari Nagem Brazil/Brasil 119 Hanna Haske Poljska/Poland 157 Jenny Smith UK 197 Kudo Tadakata Japan 238 Maria Heed Švedska/Sweden 120 Hanna Rozpara Poljska/Poland 158 Jerzy GORBAS Poljska/Poland 198 Kumnam Baik Južna Koreja/South Korea 239 Maria Karnar-Lemesheva Slovenija/Slovenia 121 Harri Leppänen Finska/Finland 159 Joani Tremblay Kanada/Canada 199 Laila Terra Brazil/Brasil 240 Maria Lukomska Poljska/Poland

8 9 241 Marie Chantal BIELA Tajland/Thailand 283 Mohamed Zakaria Soltan Egipat/Egypt 324 Roberta Restaino SAD/USA 365 Ugnė Žilytė Litva/Lithuania 242 Marie Louise Martin Irska/Ireland 284 Monika Lederbauer Austrija/Austria 325 Roksana Gołębiowska Poljska/Poland 366 Valdeta Vuciterna Kosovo 243 Marija Anđelković Srbija/Serbia 285 Nan Mulder Nizozemska/ 326 Ross Racine Kanada/Canada 367 Valentina Grubačević Hrvatska/Croatia 244 Marija Kapa Crna gora/ The Netherlands 327 Roy Wilingham UK 368 Vida Meić Hrvatska/Croatia 245 Marija Marcelionyte Litva/Lithuania 286 Naoki Tajima Japan 328 Sadao Sakurai Japan 369 Vinko Fišter Hrvatska/Croatia 246 Marija Škrobo Hrvatska/Croatia 287 Natalia Romaniuk Poljska/Poland 329 sadko hadzihasanovic Kanada/Canada 370 Violeta Apostolova Bugarska/Bulgaria 247 Marinko Jelača Hrvatska/Croatia 288 NATSUKO NAKAMURA Japan 330 Sam Heydt SAD/USA 371 Višnja Mach Orlić Hrvatska/Croatia 248 Mario Čaušić Hrvatska/Croatia 289 Neda Dana-Haeri UK 331 Sanja Miladinovic Srbija/Serbia 372 Vittorio Selleri Italija/Italy 249 Mark Havens SAD/USA 290 Nenad Zeljić Srbija/Serbia 332 Sanja Žigić Srbija/Serbia 373 Vjollca Ajeti Kosovo 250 Marko Pogačnik Slovenija/Slovenia 291 Nicholas Ruth SAD/USA 333 Sara Bonaventura Italija/Italy 374 Vladimir Milanović Srbija/Serbia 292 Nick A.T. Knotman Hrvatska/Croatia 251 Marko Živković Hrvatska/Croatia 334 Saša Krstićević Crna gora/Montenegro 375 Vladimir Stanković Srbija/Serbia 293 Nif Hodgson SAD/USA 252 MARTA GRZYWIŃSKA Poljska/Poland 335 Sebastian Grochocki Poljska/Poland 376 Vlatko Čerić Hrvatska/Croatia 294 Nikola Skokandić Hrvatska/Croatia 253 Martin Askholm Danska/Denmark 336 Sebastian Skowroński Poljska/Poland 377 Vytenis Tolutis Litva/Lithuania 295 Noriaki Kondoh Japan 254 Martin Paul Muller Njemačka/Germany 337 Sławomir Plewko Poljska/Poland 378 Wenjun Fu Kina/China 296 Oksana Bagriy Poljska/Poland 255 Martin Ware Francuska/France 338 Slobodan Tomić Hrvatska/Croatia 379 Werner Stemans Francuska/France 297 Oktawia Furtak Poljska/Poland 256 Martina Gracin Hrvatska/Croatia 339 Sophie Kurzer Njemačka/Germany 380 Weronika Marszelewska Poljska/Poland 298 Olesya Dzhurayeva Ukrajina/Ukraine 257 Mary Hood SAD/USA 340 Steve Lovett Novi Zeland/New Zealand 381 Weronika Siupka Poljska/Poland 299 Olga-Maria Klassen Njemačka/Germany 258 Masaaki Sugita Japan 341 Sunčana Simichen Hrvatska/Croatia 382 William Penney UK 300 Ovidiu Petca Rumunjska/Romania 259 Masako Fujita Japan 342 Svetlana Shchetinina Rusija/Russia 383 Witold Winek Poljska/Poland 301 Paolo Pestelli Italija/Italy 260 Masoud Ghafari Iran 343 Sybilla Skaluba Poljska/Poland 384 Witold Zaręba Poljska/Poland 302 Patrick Whitehead UK 261 Matej Ižaković Hrvatska/Croatia 344 Szymon Ryczek Poljska/Poland 385 Wojciech Tylbor- Poljska/Poland 303 Patryk Lutomski Poljska/Poland 262 Mateja Rusak Hrvatska/Croatia 345 Tadataka Kudo Japan Kubrakiewicz 304 Paul Coldwell UK 263 Matthew Egan SAD/USA 346 Taichi Kodama Japan 386 Wolfgang Folmer Njemačka/Germany 305 Pawel Delekta Poljska/Poland 264 Mehdi Darvishi Iran 347 Taina Hvidlykke Danska/Denmark 387 Yael Brotman Kanada/Canada 306 Paweł Kwiatkowski Poljska/Poland 265 Mehran Hamze Nezhad Iran 348 Takafumi Ide SAD/USA 388 Yildiz ÖRÜCÜ Turska/Turkey 307 Paweł Weinreb Poljska/Poland 266 Melihat Tuzun Turska/Turkey Tamara Žderić Srbija/Serbia 389 Yo Iseki Japan 308 Penny Dika - Korneti Grčka/Greece 349 267 Melita Matulic Jelec Hrvatska/Croatia 390 Yoshiaki Murakami Japan 309 Pete Clarke UK 350 Tellervo Viitaniemi Finska/Finland 268 Merike Sue-Trubert Estonija/Estonia 391 Yumiko Irei-Gokce SAD/USA 310 Peter Wiklund Švedska/Sweden 351 Theo Damsteegt Nizozemska/ 269 Merilyn Anvelt Estonija/Estonia The Netherlands 392 Żaneta Wojtala Poljska/Poland 311 Petra Kriletić Hrvatska/Croatia 270 Meriton Maloku Kosovo 352 Thierry Wesel Belgija/Belgium 393 Zdenka Pozaić Hrvatska/Croatia 312 Philip Dare UK 271 Mia Vučić Hrvatska/Croatia 353 Thilo Droste Njemačka/Germany 394 Zenon Burdy Kanada/Canada 313 Pia Möller- Light Danska/Denmark 272 Michał Grabowy Poljska/Poland 354 Thomas Fatzinek Austrija/Austria 395 Zivile Minkute Litva/Lithuania 314 Pieter Myers SAD/USA Michal Mikulski Poljska/Poland 355 Tihana Dražić Hrvatska/Croatia 273 315 Piotr Skowron Poljska/Poland TINA MOHOROVIĆ Slovenija/Slovenia 274 Michel Barzin Belgija/Belgium 316 Piotr Zaczek Poljska/Poland 356 275 Miglė Pužaitė Litva/Lithuania 317 Polina Petrova Bugarska/Bulgaria 357 Tom Bogaert Švicarska/Switzerland 276 Miloš Đorđević Srbija/Serbia 318 Razvan-Constantin Rumunjska/Romania 358 Toma Silinaite Litva/Lithuania 277 Mira Dalma Makai Mađarska/Hungary Caratanase 359 Tomasz Barczyk Poljska/Poland 278 Miran Šabić Hrvatska/Croatia 319 Reinis Gailītis Latvija/Latvia 360 Tomasz Gągała Poljska/Poland 279 Mirta Kupferminc Argentina 320 Reti Saks Estonija/Estonia 361 Tomasz Pietrek Poljska/Poland 280 Mitsuru Ishimasa Japan 321 Reza Abbaspour Iran 362 Tressa Jones SAD/USA 281 Miyoko Fujii Japan 322 Richard Hricko SAD/USA 363 Trish Hondzel Kanada/Canada 282 Mladen Čulić Hrvatska/Croatia 323 Rita Marhaug Norveška/Norway 364 Tsveta Petrova Bugarska/Bulgaria

10 11 Program VII. SPLITGRAPHIC 2015 “Grafika kao vizualni jezik današnjice”

1. Online izložba svih prijavljenih radova VII. Splitgraphic bijenala, tijekom cijele 2015. godine

2. SKUPNA IZLOŽBA, 06. - 30. listopada 2015., Stara gradska vijećnica, Split

3. IZLOŽBA STUDENTSKIH RADOVA, 08. – 30. listopada 2015., Galerija Loggia Zlatna Vrata Split

4. IZLOŽBA “TIJELO: grafička umjetnost u Litvi 1980.-2013.”, listopad 2015., Sveučilišna knjižnica Split, u suradnji s Grafičkim centrom Vilnius iz Litve

5. SAMOSTALNA IZLOŽBA MARTE LECH (POLJSKA), dobitnica GRAND PRIX Splitgraphic 2013., studeni 2015., PROGRAM Sveučilišna knjižnica Split 2015 Marta Lech će održati predavanje o svom radu i radionicu linoreza u suradnji s Umjetničkom akademijom Split.

6. VASKO LIPOVAC, IZLOŽBA GRAFIKA I CRTEŽA, 24. studeni – 7. prosinca 2015., Stara gradska vijećnica, Split

Programme VII Splitgraphic 2015 “Graphic Art as the Visual Language of Today”

1. ONLINE EXHIBITION VII Splitgraphic biennial 2015 of all the works that entered the competition, throughout 2015

2. GROUP EXHIBITION, 6th - 30 th October 2015, Old City Hall, Split

3. GROUP EXHIBITION – student selection, 8th - 30th October 2015, Loggia gallery, Zlatna vrata, Split

4. “THE BODY: Lithuanian Graphic Art 1980-2013”, October 2015, University library Split, in collaboration with Vilnius Graphic Art Centre, Lithuania

5. Solo exhibition by MARTA LECH (Poland), winner of Splitgraphic GRAND PRIX 2013, November 2015, University library Split The artist Marta Lech will hold a lecture on her work and a linocut workshop. In collaboration with Art Academy Split

6. VASKO LIPOVAC, EXHIBITION OF GRAPHICS AND DRAWINGS, 24th November – 7th December 2015, Old City Hall, Split 12 13 Žiri VII. Splitgraphic 2015 Jury VII Splitgraphic 2015

Edvin Dragičević, profesor i grafičar / professor and graphic artist

Ingrid Ledent, profesorica i grafička umjetnica/ professor and graphic artist

Dr. Lovorka Magaš-Bilandžić, profesorica i povjesničarka umjetnosti / professor and art historian

Pavo Majić, samostalni umjetnik / visual artist ŽIRI JURY Richard Noyce, likovni kritičar, kustos, predavač i umjetnik / art critic, curator, lecturer and artist

14 15 GRAND PRIX 2015 Wojciech Tylbor-Kubrakiewicz, Poljska/Poland

POSEBNE NAGRADE/SPECIAL AWARDS Taichi Kodama, Japan Krzysztof Tomalski, Poljska/Poland Egle Vertelkaite, Litva/Lithuania

NAGRADE NAGRADA ZA MLADE UMJETNIKE-CE/YOUNG ARTISTS AWARD AWARDS Studenti Umjetničke Akademije Split/Students Art Academy Split Bruna Carev Tihana Dražić Ivana Kevo Danijela Šušak

NAGRADA UMJETNIKA/ARTIST’S AWARD (Online Splitgraphic 2015) Slawomir Plewko, Poljska/Poland

NAGRADA ROBERT ADAM/ROBERT ADAM AWARD Marko Pogačnik, Slovenija/Slovenia

NAGRADA ZA DOPRINOS GRAFIČKOJ UMJETNOSTI/AWARD FOR PROMOTING GRAPHIC ART Guy Langevin, Kanada/Canada

16 17 MARTA LECH

18 19 Biografija Marta Lech Samostalne izložbe Rođena u Wrocławu u Poljskoj 1979. 2006. Light – Linorezi, Muzej Akademije likovnih umjetnosti, Wrocław, Poljska 2000.-2005. pohađa Akademiju likovnih umjetnosti u Wrocławu. 2006. Najbolji diplomski radovi 2005 – Poljska grafika, Poljski Institut u Stockholmu, Švedska Instruktorica je grafike u grafičkom studiju PGA na ODT Światowid u Wrocławu. 2011. Marta Lech – Linorezi, Clifford Chance, London, Engleska

Nagrade: Odabrane skupne izložbe 2015.: prva nagrada, XII. bijenale grafike baltičkih zemalja “Kaliningrad - Koenigsberg 2015.” 2015. Međunarodni bijenale suvremene grafike, muzej BAL, Liège, Belgija 2015.: grand prix, 4. međunarodni trijenale u Bangkoku – Izložba grafike i crteža, Tajland 2013. Međunarodni bijenale grafike Guanlan, Base, Guanlan, Kina 2014.: nagrada za mlade umjetnike Udruge bugarskih umjetnika i nagrada Međunarodne fundacije “Sveti Ćiril i 2010. Vous avez dit…ESTEMPE?, Salle d’Exposition, Guyancourt, Francuska Metod”, 7. međunarodni trijenale grafike, Sofia, Bugarska 2009. Poljska suvremena grafika i crtež, Akademie der Künste, Berlin, Njemačka 2013.: grand prix 2013, bijenale Splitgraphic, Hrvatska 2006. Pro Figura V, galerija Art Fuhrmann, Rostock, Njemačka 2013.: II. ex aequo nagrada, slikarsko natjecanje – Gardens, Wałbrzych, Poljska 2004. Visual Alphabet, BWA Awangarda, Wrocław, Poljska 2013.: pohvala na XII. natjecanju grafičkih umjetnika Gielniak, Jelenia Góra, Poljska 2011.: počasna nagrada na X. Poljskom kvadrijenalu drvoreza i linoreza, Olsztyn, Poljska Međunarodne skupne izložbe u Belgiji, Bugarskoj, Kanadi, Kini, Hrvatskoj, Češkoj, Engleskoj, Francuskoj, 2011.: međunarodna nagrada za rezidenciju Northern Print i nagrada otkupljivanja Clifford Chance, Njemačkoj, Litvi, Makedoniji, Poljskoj, Rusiji, Južnoj Koreji, Španjolskoj, Švedskoj, Tajlandu. Međunarodni bijenale grafike, Newcastle, Engleska 2010.: počasna nagrada, Međunarodni bijenale grafike Caixanova, Ourense, Španjolska 2007.: počasna nagrada, 5. međunarodni trijenale grafike Arts Transfers: Dobitnici nagrada natjecanja 2004- 2007, Inter-Kontakt-Grafik, Prag, Češka 2007.: nagrada publike, 5. međunarodni bijenale suvremene grafike, Trois-Rivieres, Kanada 2006.: grand prix i otkupna nagrada, 14. Space bijenale grafike u Seulu, Južna Koreja 2005.: Henkel Art Award – natjecanje u crtanju, Varšava - Beč, Poljska - Austrija 2005.: nagrada na 2. Samsung Art Master slikarskom natjecanju, Varšava, Poljska 2003.: H. Chrostowska Prize, 5. poljski trijenale grafike u Katowicama, Poljska

Rezidencije 2012. Artist in residence, Northern Print Studio, Newcastle upon Tyne, England

Zbirke 2011. The Clifford Chance Art Collection, London, Engleska 2007. Zbirka suvremene poljske grafike, Ministarstvo vanjskih poslova Republike Poljske, Varšava, Poljska 2006. Space Group, Seul, Koreja 20 21 Biography Marta Lech Personal exhibitions Born in Wrocław, Poland 1979 2006 Light – Linocuts, Museum of Academy of Fine Arts, Wrocław, Poland 2000-2005 Academy of Fine Art in Wrocław. 2006 The Best Diploma 2005 – Polish Print, Polish Institute in Stockholm, Sweden Printmaking Instructor at PGA Printmaking Studio at ODT Światowid, Wrocław. 2011 Marta Lech – Linocuts, Clifford Chance, London, England

Awards: Selected group exhibitions: 2015: The First Prize, XII Baltic states Biennale of graphic art “Kaliningrad - Koenigsberg 2015” 2015 International Contemporary Print Biennial, BAL Museum, Liège, Belgium 2015: Grand Prize, 4th Bangkok Triennale International – Print and Exhibition, Thailand 2013 Guanlan International Print Biennial, Printmaking Base, Guanlan, China 2014: Award of the Union of Bulgarian Artists for young artist and Award of the International Foundation “St. 2010 Vous avez dit…ESTEMPE?, Salle d’Exposition, Guyancourt, France Cyril and Metodii”, 7th International Print Art Triennial, Sofia, Bulgary 2009 Polish contemporary print and drawing, Akademie der Künste in Berlin, Germany 2013: Grand Prix 2013, Splitgraphic Biennial, Croatia 2006 Pro Figura V, Art Fuhrmann Gallery, Rostock, Germany 2013: II Award Ex Aequo, Competition – Gardens, Wałbrzych, Poland 2004 Visual Alphabet, BWA Awangarda, Wrocław, Poland 2013: Commendation at XII Gielniak Graphic Arts Competition, Jelenia Góra, Poland 2011: Honourable Mention at X Polish Woodcut and Linocut Quadrennial, Olsztyn, Poland International group exhibitions in Belgium, Bulgary, Canada, China, Croatia, Czech Republic, England, France, 2011: Northern Print International Residency Prize and Clifford Chance Purchase Prize, International Print Germany, Lithuania, Macedonia, Poland, Russia, South Korea, Spain, Sweden, Thailand. Biennale, Newcastle, England 2010: Honourable Mention, International Print Biennial Caixanova, Ourense, Spain 2007: Honourable Mention, 5th International Triennial of Graphic Arts Transfers: Competition Prize Winners 2004-2007, Inter-Kontakt-Grafik, Prague, Czech Republic 2007: Public Award, 5th International Contemporary Print Biennial Trois-Rivieres, Canada 2006: Grand Prize and Purchase Prize, 14th Seoul Space Print Biennial, Seoul, South Korea 2005: Henkel Art Award - Drawing Competition, Warsaw - Vienna, Poland - Austria 2005: Award at 2nd Samsung Art Master Painting Competition, Warsaw, Poland 2003: H. Chrostowska Prize, 5th Polish Print Triennial in Katowice, Poland

Residencies 2012 Artist in residence, Northern Print Studio, Newcastle upon Tyne, England

Collections 2011 The Clifford Chance Art Collection, London, England 2007 Collection of Contemporary Polish Printmaking, Ministry Of Foreign Affairs Of The Republic Of Poland, Warsaw, Poland 2006 Space Group, Seoul, Korea 22 23 MARTA LECH MARTA LECH Svjetlost – linorezi Light – linocuts

Moj se rad neprekidno vraća motivu svjetlosti. Tražim situacije u kojima svjetlost uzrokuje iluziju My work constantly revolves around the motive of light. I look for situations in which the light causes odmjerene, konačne, izmjerljive strukture. Bilježim trenutke u kojima se čini da je moguće uhvatiti svjetlost unutar the illusory impression of measured, finite, countable structure. I trace the moments when it seems possible to granica moje konceptualizacije svijeta i prostora, te pokušavam zateći njezine odraze na materijalu – što je, u be seized within the limits of my concept about the world and space and I try to catch its images in the material mom slučaju, linoleumska grafička ploča. Postoje tehnike koje su osjetljivije na svjetlost od linoreza. Fotografija - in my case the linoleum graphic plate. There are more light - sensitive techniques than linocut. Photography ili crtež, litografija i mezzotinta omogućuju vrlo suptilne prijelaze u vrijednostima. No, kada se trudim uloviti or drawing, lithography and mezzotint allow very subtle value transitions. But when I strive to catch its volatile njezine odraze na materijalu, kada na papiru nastojim fiksirati atmosferu i izgled delikatne svjetlosti zarobljene u images in the material, try to fix on the paper the atmosphere and image of the delicate light closed in the space prostoru tmine, radije koristim dlijeto nego meku olovku. Kada moram donositi jasne odluke, označavati zasebne of gloom, I prefer to work with chisel, not a soft pencil. When I have to make clear decisions, mark separate točke, locirati zrake, pouzdanim rezom utvrditi površine, približavam se osjećaju otkrivanja pravila prema kojima points, locate the rays, establish the surfaces with a confident cut, I approach the feeling of revealing the rules in se svjetlost pojavljuje na površinama, prema kojima ona ispunjava prostor. which light appears on the surface, fills the space.

24 25 Marta Lech, Poljska/Poland Marta Lech, Poljska/Poland 19.04 20.09 linorez/linocut linorez/linocut 62x90 cm 62x90 cm 26 27 Marta Lech, Poljska/Poland Marta Lech, Poljska/Poland 03.06 03.08 linorez/linocut linorez/linocut 62x90 cm 62x90 cm 28 29 Tijelo. Grafička umjetnost u Litvi 1980–2013

U ovoj su izložbi sagledane varijacije na temu ljudskog tijela, raspoređene po nazivima dijelova, aktivno- sti, procesa, te stanja ljudskog tijela. Naslovi se simbolički referiraju na trendove – u smislu stila, žanra, izraza i tematike – u portretiranju ljudskog tijela od strane različitih umjetnika. Umjetnici su, stoga, kategorizirani u odre- đenu skupinu ne prema pripadnosti istoj generaciji, već zato što njihovi radovi dijele određene karakteristike. Taj se zajednički jezik provlači kroz svaku od deset izložbi, te ističe zajedničke odlike sadržaja i forme u radovima različitih umjetnika izvedenima u zasebnim povijesnim trenutcima od 1980. do 2013. Izložba predstavlja grafike “TIJELO” umjetnika koji, svaki u svojoj jedinstvenoj ekspresiji, kazuju nešto o ljudskom tijelu, jednom od ključnih temata GRAFIČKA vizualne umjetnosti. UMJETNOST Predstavljeno tridesetogodišnje razdoblje obuhvaća tri generacije grafičkih umjetnika. U 1980-ima gra- fičkom su umjetnošću u Litvi dominirali modernistički trendovi, što je značilo da je ranije naivne folklorne grafičke U LITVI LITVI U stilove zamijenio novi – filozofski, simbolički i poetski – jezik. Godina 1980. označila je simbolički preokret s jednog 1980-2013 trenda na drugi. Desetljeće 1990-ih navijestilo je novu generaciju umjetnika koji su grafičkoj umjetnosti pridodali karakteristike postmoderne. Litvanska grafika, ustvari, nikada ni ne prekida vezu sa žilavom narodnom tradici- jom čiji su odjeci itekako zamjetni i u djelima mlađih umjetnika. Od 1980. pa sve do danas, grafička umjetnost cvate, te otkriva pun potencijal vlastitih obličja: moguće je zaroniti u njezina višestruka značenja, interpretirati je ili joj asocijativno odrediti značenja, diviti se bogatstvu njezinih površina – od suptilnih intaglio polutonova sve do impresivnih originalnih tehnika koje osmišljavaju pojedini umjetnici. Izložba otvara širok spektar stilova i izraza: od dekorativnih do ekspresivnih, generaliziranih formi, od arhaičnog reljefnog tiska do nevjerojatnog mnoštva intaglia, planografije i šablonskog tiska. Tehnološke i povijesne promjene donijele su nova gledišta na lik čovjeka, jednog od najvažnijih predmeta umjetničkh nastojanja. Čovjeka se tretira metaforički, te se otkrivaju njegove ili njezine društvene, kulturne, povijesne, egzistencijalne i filozofske dimenzije. Uz najrecentnije radove, izložba predstavlja i pozamašnu zbirku starije litvanske grafike izvedene prije nekog vremena – danas donekle zaboravljena ili nikad dosad izložena, ova djela u sadašnjem kontekstu stječu novo čitanje. Uz nekoliko iznimaka, zbirka je sačinjena čvrsto se držeći pravila o uključivanju samo grafičkih listo- va, odnosno, radova izvedenih na papiru. Suvremenom umjetnošću vlada pomama za novošću pod svaku cijenu, tako da smo je mi namjerno nastojali suzbiti. Zbirka također omogućava letimično sagledavanje litvanske grafike u cijelosti, otkrivajući raznolikost portretiranja ljudskog tijela u radovima nekoliko generacija umjetnika.

30 31 Kustosice: The Body. Lithuanian Graphic Art 1980–2013 Kristina Kleponytė-Šemeškienė Jurga Minčinauskienė This exhibition explores different variations on the human body, thematically arranged under the titles of body parts, activities, processes and states of the human body. The titles symbolically refer to trends – in terms of Organizator: style, genre, manner of expression and subject-matter – in which the human body has been portrayed by different Vilnius Graphic Art Centre artists. Thus, artists have been grouped together for each part not because they belong to the same generation, but because their work shares something in common. That common ground for each of the ten shows has been Potpora: certain regularly recurring features of content and form in the artwork created by different artists at different Lithuanian Council for Culture times from 1980 to 2013. The exhibition presents prints by artists who, each in their own uniquely expressive style, say something about the human body, one of the key objects of visual art. This period of 30 years spans three generations of graphic artists. In the 1980s the art of fine prints in Lithuania was dominated by modernist trends, which meant that the earlier crude folk style in printmaking had been replaced by a new – philosophical, symbolist and poetic – language. The year 1980 marked the symbolic changeover from one trend to another. The 1990s ushered in another generation of artists who added post- modernist features to graphic art. Actually, the Lithuanian print has never lost connection with the tenacious folk tradition and its echoes are also quite distinct in the works of younger artists. Since 1980 up till now, graphic art has blossomed, revealing the full gamut of its manifestations: one can delve into its multiple meanings, inter- pret and ascribe meanings to it by association, one can admire the richness of its surfaces – from subtle intaglio halftones to impressive original techniques invented by individual artists. The ten shows open up a broad pano- rama of styles and manner: from decorative to expressive, generalised forms, from archaic printing to an amazing variety of intaglio, planography and stencil printing. Technological and historical changes have brought about changes in the image of man, one of the most important objects of artistic endeavour. Man has come to be treated metaphorically, unveiling his or her social, cultural, historical, existential and philosophical dimensions. Next to the most recent works, the show present a sizeable collection of premier Lithuanian graphic art created some time ago – now somewhat forgotten or maybe on display for the first time, these works acquire a new reading in today’s context. With a few exceptions, the collection has been formed in strict adherence to the principle of including only fine prints, i.e. images printed on paper. Contemporary art is plagued by the complex of novelty at whatever cost, so we have deliberately tried to keep it at bay. The collection also makes it possible to have a glimpse of Lithuanian graphic art in its entirety, revealing the diverse portrayal of the human body in the work of several generations of artists.

32 33 Curators: Kristina Kleponytė-Šemeškienė Jurga Minčinauskienė

Organizer: Vilnius Graphic Art Centre

Support: Lithuanian Council for Culture

Eglė Kuckaitė, Litva/Lithuania Bez naziva/Untitled 2006. monotipija/monotype 19x24 cm 34 35 Egmontas Bžeskas, Litva/Lithuania Laura Selmistraitytė, Litva/Lithuania Vatra u bijeloj tami/Fire in White Darkness Radeći ništa/Doing Nothing 2001. 2012. drvorez, platno, silikon/woodcut, canvas, silicon drvorez u boji/colour woodcut 300x200 cm 76x152 cm 36 37 Lili Paškauskaitė, Litva/Lithuania Lida Dubauskienė, Litva/Lithuania Akademik Algirdas Žukauskas/ Gomila/The Crowd Academician Algirdas Žukauskas 2005-2006. 1983. fotopolimer/photopolymer mezzotinta/mezzotint 120x240 cm 113x54 cm 38 39 Od 297 umjetnika koji su prošli u 2. krug, žiri je odabrao 82 (70+12 studenata) za skupnu izložbu: From the 297 artists selected for tvhe 2nd stage, the jury selected 82 (70+12 students) for the group exhibition:

1. Margaret Ashman, UK 53. Naoki Tajima, Japan 2. Borislava Borisova, Bugarska/Bulgaria 54. Krysztof Tomalski, Poljska/Poland 3. Margarita Berg, SAD/USA 55. Wojciech Tylbor-Kubrakiewicz, Poljska/Poland 4. Zenon Burdy, Kanada/Canada 56. Atsuo Sakazume, Japan 5. Łukasz Butowski, Poljska/Poland 57. Anja Serdar, Hrvatska/Croatia 6. Haruko Cho, Japan 58. Jelena Sredanović, Srbija/Serbia 7. Paul Coldwell, UK 59. Domagoj Sušac, Hrvatska/Croatia 8. Deborah Cornell, SAD/USA 60. Hiroyuki Suzuki, Japan 9. Bartłomiej Chwilczyński, Poljska/Poland 61. Ana Vivoda, Hrvatska/Croatia 10. Pete Clarke, UK 62. Mia Vučić, Hrvatska/Croatia 11. Barbara Czapor-Zaręba, Poljska/Poland 63. Francisco Velasco, Španjolska/Spain 12. Vlatko Čerić, Hrvatska/Croatia 64. Thierry Wesel, Belgija/Belgium ODABIR 13. Mehdi Darvishi, Iran 65. Jacek Zaborski, Poljska/Poland 14. Philip Dare, UK 66. Lyra Zajmi, Hrvatska/Croatia ŽIRIJA 15. Christiaan Diedericks, Južna Afrika/South Africa 67. Leon Zakrajšek, Slovenija/Slovenia 16. Justin Diggle, SAD/USA 68. Witold Zareba, Poljska/Poland JURY 17. Olesya Dzhurayeva, Ukrajina/Ukraine 69. Derek Zeitsman, Južna Afrika/South Africa 18. Črtomir Frelih, Slovenija/Slovenia 70. Katarzyna Zimna, Poljska/Poland SELECTION 19. Miyoko Fuji, Japan 20. Oktawia Furtak, Poljska/Poland Pozvani umjetnici VII. Splitgraphic bijenale 2015. 21. Letitia Gaba, Njemačka/Germany Invited artists VII Splitgraphic 2015 22. Elena Grudzinskaitė, Litva/Lithuania 71. Igor Čabraja, Hrvatska/Croatia 23. Gudrun Heamägi, Estonija/Estonia 72. Mario Čaušić, Hrvatska/Croatia 24. Trish Hondzel, Kanada/Canada 73. Edvin Dragičević, Hrvatska/Croatia 25. Mary Hood, SAD/USA 74. Lida Dubaskiene, Litva/Lithuania 26. Heather Huston, Kanada/Canada 75. Sebastian Grochocki, Poljska/Poland 27. Ivana Gagić Kičinbači, Hrvatska/Croatia 76. Davida Kidd, Kanada/Canada 28. Elvyra Katalina Kriaučiūnaitė, Litva/Lithuania 77. Igor Konjušak, Hrvatska/Croatia 29. Taichi Kodama, Japan 78. Ingrid Ledent, Belgija/Belgium 30. Anna Kodź, Poljska/Poland 79. Bogdan Miga, Poljska/Poland 31. Antoni Kowalski, Poljska/Poland 80. Marko Pogačnik, Slovenija/Slovenia 32. Petra Kriletić, Hrvatska/Croatia 81. 33. Paweł Kwiatkowski, Poljska/Poland Nikola Skokandić, Hrvatska/Croatia 82. 34. Tadataka Kudo, Japan Piotr Skowron, Poljska/Poland 83. 35. Guy Langevin, Kanada/Canada Iva Šarić, Hrvatska/Croatia 84. 36. Harri Leppänen, Finska/Finland Egle Vertelkaite, Litva/Lithuania 85. 37. Letricija Linardić, Hrvatska/Croatia Brita Weglin, Švedska/Sweden 38. Joanna Janowska-Augustyn, Poljska/Poland 39. Tressa Jones, SAD/USA Studenti VII. Splitgraphic bijenale 2015. 40. Marija Marcelionyte, Litva/Lithuania Student selection VII Splitgraphic 2015 41. Vladimir Milanović, Srbija/Serbia 86. Bruna Carev, Hrvatska/Croatia 42. Iga Mikulska, Poljska/Poland 87. Kit Chirachaisakul, Tajland/Thailand 43. Herman Noordemer, Nizozemska/The Netherlands 88. Tihana Dražić, Hrvatska/Croatia 44. Kristina Norvilaitė, Litva/Lithuania 89. Marco Hernandez, SAD/USA 45. Janne Nytorp, Finska/Finland 90. Aleksandra Ilkiewicz, Poljska/Poland 46. Dimitrije Pecić, Hrvatska/Croatia 91. Ivana Kevo, Hrvatska/Croatia 47. William Penney, UK 92. Koyuki Kazhaya, Japan 48. Karol Pomykała, Poljska/Poland 93. Meriton Maloku, Kosovo 49. Endi Poskovic, SAD/USA 94. Toma Silinaite, Litva/Lithuania 50. Zdenka Pozaić, Hrvatska/Croatia 95. Anastasia Sosunova, Litva/Lithuania 51. Kristina Restović, Hrvatska/Croatia 96. Danijela Šušak, Hrvatska/Croatia 52. Natalia Romaniuk, Poljska/Poland 97. Han Xiao, Japan 40 41 GRUPNA GRUPNA IZLOŽBA GROUP EXHIBITION

fotografije su poredane abecadnim redom, prvo crno bijele a zatim u boji / the photographs are arranged alphabetically, coloured ones following the black and white ones 42 43 Margaret Ashman, UK Margarita Berg, SAD/USA Izmijenjene povijesti Highgate/Altered Histories Highgate Magla na East Riveru/East River Fog fotogravura/photo etching bakropis/solarplate etching 39x66 cm 17x35 cm 44 45 Paul Coldwell, UK Barbara Czapor-Zaręba, Poljska/Poland Cvijet što ostaje/What Remains-Flower Prijelaz III/Transition III bakropis/etching linorez/linocut 56x65 cm 100x140 cm 46 47 Mehdi Darvishi, Iran Philip Dare, UK Van vremena II/Outside of The Time II Glazba limenke/Tin Can Music intaglio fotogravura/photo etching 25x35 cm 28x20 cm 48 49 Justin Diggle, UK Olesya Dzhurayeva, Ukrajina/Ukraine Paparazzi Drone Pravi smjer/The Right Direction foto polimer intaglio/photo polymer intaglio linorez/linocut 29x36.5 cm 50.5x77.5 cm 50 51 Oktawia Furtak, Poljska/Poland Črtomir Frelih, Slovenija/Slovenia Autoportret VII/Self Portrait VII Lisičji vrt 1/Fox Garden 1 aquatinta, kombinirana tehnika/ intaglio aquatint, mixed media 75x57 cm 100x70 cm 52 53 Elena Grudzinskaite, Litva/Lithuania Antoni Kowalski, Poljska/Poland Pejzaži lažnog mjeseca I/Fake Moon Landscapes I Drvo života - početak/Tree of Life - Begining bakropis, aquatinta/etching, aquatint digitalni otisak/digital print 28.5x39 cm 70x100 cm 54 55 Petra Kriletić, Hrvatska/Croatia Megastruktura/Megastructure Paweł Kwiatkowski, Poljska/Poland kombinirana tehnika, linorez/ Prolog za kraj, verzija III/Prologue to The End, Version III mixed media, linocut reprint i monotipija/reprint and monotype 100x70 cm 80x120 cm 56 57 Marija Marcelionyte-Paliuke, Litva/Lithuania Letricija Linardić, Hrvatska/Croatia Sekundarne ljepote/ Otisci sjećanja I/Prints of Memory I Secondary beauties suha igla/drypoint direktni print/direct print 70x70 cm 42x60 cm 58 59 Vladimir Milanović, Srbija/Serbia Herman Noordemer, Nizozemska/The Netherlands Transit/Tranzit Z.T. digitalni otisak/digital print litografija/lithography 60x80 cm 115x85 cm 60 61 Kristina Norvilaitė, Litva/Lithuania Janne Nytorp, Soba za osobni razvoj/ Finska/Finland Room of Personal Development ABTK11 linorez/linocut drvorez/woodcut 50x70 cm 37x47 cm 62 63 Karol Pomykala, Poljska/Poland Endi Poskovic, SAD/USA Radoznalost 1/Curiosity 1 Jedno/One linorez/linocut litografija/lithograph 60x90 cm 54x69 cm 64 65 Naoki Tajima, Japan Krzysztof Tomalski, Poljska/Poland Staza/Footpath Epiderma II/Epidermy II intaglio mezzotinta/mezzotint 70x130 cm 69x99 cm 66 67 Atsuo Sakazume, Japan Pogledaj Veliku Odalisku - preobraženi podaci/ Look at Grand Odalisque Anja Serdar, Hrvatska/Croatia -Metamorphosed Data Susret na pola puta 2/Meeting Halfway 2 mezzotinta/mezzotint kombinirane tehnike, digitalni otisak/combined techniques, digital print 66x49.5 cm 95x79 cm 68 69 Francisco Velasco, Španjolska/Spain Europljani pred raljama zmaja (M-1)/ Ana Vivoda, Hrvatska/Croatia Europeans at Dragon’s Mouth (M-1) Tragovi 2/Traces 2 litografija, digitalni otisak, bakrorez/ linorez/linocut lithography, digital print, engraving 100x70 cm 105.5x74 cm 70 71 Lyra Zajmi, Hrvatska/Croatia Derek Zeitsman, Južna Afrika/South Africa Čipke i tkanice 1/Lace and Weaving 1 Crn kao ja/Black Like Me digitalna grafika/digital graphic bakropis, aquatinta/etching, aquatint 80x80 cm 50x33.3 cm 72 73 Sebastian Grochocki, Poljska/Poland Fontana, od posljednjih Faetona/ Igor Konjušak, Hrvatska/Croatia Fountain, From The Last Phaethons Pomaknuta kompozicija/Shifted composition plaster print, drvorez/plaster print, woodcut suha igla/drypoint 106.5x70.5 cm 82x117 cm 74 75 Marko Pogačnik, Slovenija/Slovenia Bogdan Miga, Poljska/Poland Dekodiranje Dioklecijanove palače u Splitu/ Vir na rijeci Wisłok/Whirlpool on The Wisłok River Decoding Diocletian’s Palace in Split linorez/linocut sitotisak/silkscreen 50x90 cm 60x200 cm 76 77 Kit Chirachaisakul, Egle Vertelkaite, Litva/Lithuania Tajland/Thailand Stol/Table Veza/Connection bakropis/etching mezzotinta/mezzotint 49x59 cm 70x100 cm 78 79 Marco Hernandez, SAD/USA Aleksandra Ilkiewicz, Na čelu ti je kaktus 2/ Poljska/Poland Tienes el nopal en la frente 2 Bez naziva/Untitled bakropis/etching linorez/linocut 23x15 cm 80x55 cm 80 81 Koyuki Kazhaya, Japan Meriton Maloku, Kosovo Horizont u Oostendeu 4/Horizon in Oostende 4 Snijeg/Snow suha igla, mezzotinta, chine-colle/drypoint, mezzotint, chine-colle litografija/lithography 50x50 cm 36x30 cm 82 83 Anastasia Sosunova, Litva/Lithuania Borislava Borisova, Bugarska/Bulgaria Otisci zvuka - opijum/Sound Prints - Opium Daj da se igram među zvijezdama 2/Let Me Play Among The Stars 2 aquatinta, zvučni valovi/aquatint, sound waves kompjuterski digitalni otisak/computer digital print 37x40 cm 100x62.5 cm 84 85 Zenon Burdy, Kanada/Canada Lukasz Butowski, Poljska/Poland Luka XIa/Harbour XIa Plazmat linorez/linocut litografija/lithography 65.5x100 cm 100x280 cm (4 lista 100x70 cm/4 sheets of 100x70 cm) 86 87 Haruko Cho, Japan Bartlomiej Chwilczynski, Poljska/Poland Jastuk B razred br. 9/B-Cushion Grade#9 Bazen/Swimming Pool piezograph digitalni otisak/digital print 70x100 cm 100x250 cm 88 89 Pete Clarke, UK Umorni tužni tornjevi/Tired Sad Towers Deborah Cornell, SAD/USA drvorez, reljefni tisak/ Vodeni stup/Water Column woodcut, letterpress arhivski pigment print/archival pigment print 76x76 cm 76x60 cm 90 91 Christiaan Diedricks, Južna Afrika/South Africa Vlatko Čerić, Hrvatska/Croatia Život ispod površine - celularno pamćenje II/ Fusion-7 Life Below The Surface - Cellular Memory II digitalni otisak/digital print litografija/lithography 70x70 cm 50x85 cm 92 93 Miyoko Fujii, Japan Letitia Gaba, Njemačka/Germany Cirkuska trupa s farme 3/ Djelovi moje slagalice/ The Circus Troupe of Farm 3 My Puzzle Pieces bakropis, aquatinta u boji/ linorez, inkjet otisak, pečati, konac/ etching, aquatint, polychrome linocut, inkjet print, stamps, stitches 90x58 cm 50x70 cm 94 95 Trish Hondzel, Gudrun Heamagi, Estonija/Estonia Kanada/Canada Himna četiri pala vala/Hymn of The Four Falling Waves Djed/Dziadek (Grandfather) ofset litografija i giclée otisak/offset lithography and giclée print litografija/lithography 50x70 cm 56x76 cm 96 97 Mary Hood, SAD/USA Heather Huston, Kanada/Canada Izmješteno/Zamijenjeno / Displaced/Replaced Pogled prema ogradi vrta/Looking Towards The Garden Fence laserski gravirani drvorez s colle/laser engraved woodcut with colle sitotisak/silkscreen 60x91 cm 38x55 cm 98 99 Elvyra Katalina Kriaučiūnaitė, Litva/Lithuania Kontinuitet I/Continuity I ručno izrađeni papir (reciklirana Ivana Gagić Kičinbači, Hrvatska/Croatia Posidonia oceanica) i duboki tisak/ Tisak kućanice/Housewife Print hand made paper (recycling digitalni otisak i drvorez/digital print and woodcut Posidonia oceanica) and intaglio 10x10 cm 81x63 cm 100 101 Anna Kodz, Poljska/Poland Taichi Kodama, Japan Zaštitna boja III/ Krajolik ondje_014_09/Scenery Overthere_014_09 Protective Coloration III sitotisak/silkscreen sitotisak/silkscreen 100x70 cm 50x70 cm 102 103 Kudo Tadakata, Japan Guy Langevin, Kanada/Canada Grad15-1/Town15-1 Bit ću tvoja sjena/ drvorez, kombinirana tehnika/ I Will Be Your Shadow woodcut, mixed media mezzotinta/mezzotint 50x70 cm 58x39 cm 104 105 Harri Lepannen, Finska/Finland Janowska Augustyn Joanna, Poljska/Poland Pejzaž u osnovnim bojama/Basic Color Landscape Razmišljanja o duši i tijelu I/Deliberations About Soul and Body I litografija/lithography digitalni otisak/digital print 93x132 cm 70x100 cm 106 107 Tressa Jones, SAD/USA Iga Mikulska, Poljska/Poland Prostor i mjesto/Space and Place Transfiguracija 3/Transfiguration 3 sitotisak/screenprint digitalni otisak/digital print 25x25 cm 100x70 cm 108 109 Dimitrije Pecić, Srbija/Serbia William Penney, UK Kiša/Rain Noć u Belfastu/Belfast Night drvorez/woodcut sitotisak/screenprint 65x85 cm 77x61 cm 110 111 Kristina Restović, Zdenka Pozaić, Hrvatska/Croatia Hrvatska/Croatia Ležaljke 3/Easy Chairs 3 Crveni Peristil/Red Peristyle visoki i duboki tisak/ linorez/linocut relief print, intaglio 60x48.5 cm 50x70 cm 112 113 Natalia Romaniuk, Poljska/Poland De-rekonstrukcija identiteta 2/ Wojciech Tylbor-Kubrakiewicz, Poljska/Poland De-reconstruction of identity 2 Refleksija/Reflection digitalni otisak/digital print linorez, UV print/linocut, UV print 100x60 cm 100x140 cm 114 115 Jelena Sredanović, Srbija/Serbia Domagoj Sušac, Hrvatska/Croatia Putujuća formacija/Travelling Formation Mimikrija/Mimicry drvorez/woodcut digitalni otisak/digital print 70x100 cm 32x48 cm 116 117 Hiroyuki Suzuki, Japan Mia Vučić, Hrvatska/Croatia Oblikovanje br. 1/Being Shaped No.1 Brisanje 6/Deleting 6 monotipija/monotype digitalni arhivski print, linorez/digital archive print, linocut 30x40 cm 70x70 cm 118 119 Thierry Wesel, Belgija/Belgium Jacek Zaborski, Poljska/Poland Ratno sjećanje II/War Memory II Strah/Fear serigrafija/serigraphy litografija/lithography 55x73 cm 100x140 cm 120 121 Leon Zakrajšek, Slovenija/Slovenia Witold Zaręba, Poljska/Poland Dijalog/Dialogue Gas-maska 3/Die gasmaske 3 monotipija/monotype linorez/linocut 100x70 cm 120x55 cm 122 123 Katarzyna Zimna, Poljska/Poland Igor Čabraja, Hrvatska/Croatia Proljeće (ružin grm)/Spring (briar rose) Krhotine/Shards linorez/linocut aquatinta/aquatint 100x70 cm 150x80 cm 124 125 Edvin Dragičević, Hrvatska/Croatia Mario Čaušić, Hrvatska/Croatia Kontrolirajući nemoguće 1/ Pozadinska svjetlost/Backlight Controlling The Impossible 1 jetkanica, aquatinta, lightbox/etching, aquatint, lightbox bakropis/etching 50x50x11 cm 100x70 cm 126 127 Davida Kidd, Kanada/Canada Lida Dubaskiene, Litva/Lithuania Kritičar/The Critic Soba II/The Room II digitalni otisak/ suha igla, bakropis, aquatinta/drypoint, etching, aquatint digitalni print 15.5 x23.5 cm 31.25x40.5 cm 128 129 Nikola Skokandić, Hrvatska/Croatia Ingrid Ledent, Belgija/Belgium Grop/The Knot Struja svijesti D/The Stream of Consciousness D bakropis, aquatinta/ algrafija/alugraphy etching, aquatint 71.5x33 cm 47x36 cm 130 131 Piotr Skowron, Poljska/Poland Iva Šarić, Hrvatska/Croatia 300615 27!4²⁷ serigrafija/serigraphy pečat, grafička instalacija/stamp, graphic installation 100x70 cm svaka ploča/each plate 39x39 cm 132 133 Brita Weglin, Švedska/Sweden Bruna Carev, Hrvatska/Croatia Žena iz šume/Forest-Woman Iznenadni susret/A Sudden Encounter digitalni otisak/digital print kombinirana tehnika, grafička instalacija/mixed media, graphic installation 63x43 cm 100x70cm (diptih/diptych) 134 135 Ivana Kevo, Hrvatska/Croatia Smišljam svijet/ Tihana Dražić, Hrvatska/Croatia Inventing The World Cirkus 4/Circus 4 meki vosak, aquatinta, bakropis/ kombinirana tehnika/mixed media soft wax, aquatint, etching 100x70 cm 100x70 cm 136 137 Toma Silinaite, Litva/Lithuania Jarko cvijeće na crnoj podlozi 1/ Danijela Šušak, Hrvatska/Croatia Bright Flowers on The Black Background 1 Prvi kadar/First Shot linorez/linocut drvo, staklo, folija, sitotisak/ wood, glass, foil, silkscreen 100x150 cm 40x25 cm 138 139 VASKO LIPOVAC GRAFIKE I CRTEŽI I

Han Xiao, Japan G. Knjiga koji tiska/ Mr.Book Who Is Printing Now drvorez/wood-engraving 15x20 cm 140 141 LUDEO ERGO SUM impostaciju. Pikturalne vrijednosti uvijek zadržavaju lokalni značaj u službi sažimanja volumena ovalnih geometrijskih struktura i postizanja jačeg organskog jedinstva. Ovdje ponovno nailazimo na kompaktnu zlatnu Promišljanje stila kao jedinstva formalnog obilježja na morfološkoj razini i sadržaja, sa svim psihološkim pozadinu koja akcentuira sažetost samog lika koji, unatoč tešku i zatvorenu volumenu, kao da lebdi u idealnom i socio-kulturološkim konotacijama, kao strukture u kontekstu umjetnosti Vaska Lipovca, nameće se kao prostoru nebeskog Jeruzalema. Ponekad je površina pozadine dinamizirana i koloristički transparentna, conditio sine qua non čitanja i interpretacije slojevitosti Lipovčeva likovnoga jezika. Stil Vaska Lipovca morfološki sugerirajući ornamentalni repertoar romaničkih i gotičkih slika i reljefa, ali i umjetnikovu radoznalost i sklonost je suvremen, dok se na razini sadržaja umjetnik fokusira na ono nepromjenjivo i imanentno, gdje tipično radu u raznovrsnim materijalima. Naglašena vertikala skulpturalne napetosti (ciklus Hommage Blažu Jurjevu) postaje pojedinačno tek u prepoznatljivosti onoga sudbinskoga. U svojoj interakciji s prošlošću umjetnik nije popušta u prikazu raspetoga Krista koji, i dalje anatomski i fizionomski neizdiferenciran i gotovo monokroman sentimentalni pasatist koji prošlosti pristupa referentno, već doživljajno - kao interpret arhetipske simbolike i primordijalnog iskustva impregniranog značenjem i kulturnom tradicijom prostora u kojem se povijest naspram bijeloj pozadini, postaje simbolom patnje (Christus Dolens), izuzetno sugestivnim i originalnim primorskih ambijenata piše kao jedna jedina zgoda u ciklusu vječnog vraćanja istog, kako to primjećuje V. Srhoj pojednostavnjenjem tradicionalne ikonografije dokidanjem razlike između čavla i trnove krune. povodom autorove samostalne izložbe u Galeriji umjetnina 1987. godine. Lipovčevo vrijeme nije ni izgubljeno Da je Mediteran Lipovcu ishodište i mjera, pokazuje najnoviji ciklus crno bijelih slika karakterističnih motiva: ni pronađeno, jer je u njegovu pomalo oniričkom i nadrealnom svijetu i prolaznost vječna. Tako shvaćena hridi, brodova, panorama i veduta primorskih gradova smještenih podno sainte victoirevskih geoloških formacija atemporalnost s pozitivnim predznakom otkriva sintetičara koji ono tradicionalno u ikonografskom sloju (u tonski nijansiranih partija dubokih crnih i sivih sijena uravnoteženih masa i ploha kuća i zidina. Nova Lipovčeva tematici) reinterpretira suvremenim oblikovnim leksikom, jer Lipovac je umjetnik hic et nunc koji u medij unosi izražajnost zaposjeda velike formate koji i formalno postaju gradivni element nove osjećajnosti. Mediteranska red, te svojom receptivnošću i senzibiliziranošću na promjenjivi ritam društvene stvarnosti (izložba Prijedlozi komponenta morfološki povezuje Lipovca preko neoklasicizma dvadesetih godina (Miše, Plančić, Job, Tartaglia) s prostoru 1977. godine) stvara autonoman stil, pronalazeći pravu mjeru u ekvivalenciji starog i novog, baštinskog temeljnim cézannovskim poukama. Međutim, racionalna apolinijska slika svijeta, kanonski sređenog u suglasju i suvremenog, karakterističnog i tipičnog, motiva i likovnog teksta. Prividna zaustavljenost vremena i svijeta čovjeka i podneblja kao izgubljenog prvotnog svijeta, zemlje sreće…svijeta Mediterana kao Arkadije (I. Reberski), Lipovčevih protagonista, vjernih Penelopa i njihovih mornara, brodova na pučini, smirenih disputa na balkonu, više nije uravnotežena. Lipovčevi pejzaži, sada tamni i ogoljeli, pomalo su zlokobni, a njihovo sivilo, a ne više nije metafora fatalistički pasivizirane stvarnosti u kojoj je svaka akcija unaprijed osuđena na neuspjeh, a čovjek prozračna bijelina osunčanosti, prijeteći prekriva i gradske zidine. Gaseći svoju živu paletu čistih netoniranih spreman priznati svoju metafizičku krivnju. Lipovčevoj estetici strana je egzaltirana patetika široke geste, a prava drama počinje tek sviješću o neizvjesnosti postojanja, postavljanjem pitanja, čovjekovu strahu pred elementima boja, umjetnik nas upozorava, a egzistencijalni nemir kojim je prožet ovaj ciklus potiče na preispitivanje naših kada odlazak ne znači uvijek i ponovni susret, a pitanje odgovor. Napetost iščekivanja odgovora i konačne spoznaje mogućnosti - jer kao da smo zaboravili da pravo na toleranciju nije isključivo naša privilegija. Tjeskobu povećava i popušta posredovanjem zagovora galerije nebeskih zaštitnika. Lirika sjetnog i nostalgičnog raspoloženja svoj neka sablasna tišina u kojoj čovjek skriven napeto čeka da priroda preuzme riječ. U prikazu splitske Pjace Lipovac kontrapunkt pronalazi u ludičkoj i humornoj komponenti, kao i u blagoj ironiji Lipovčeve sardonske figuracije. fotografski bilježi karakteristično ambijentalno, gradom ponovo odzvanjaju glasovi, a detaljni prikaz urbanog Ludička je komponenta (Ludeo ergo sum) naročito uočljiva u erotskom ciklusu. Ako nas, kako to kaže I. Zidić, krajolika kao da se prenosi na skupine ljudi tek guardijevski naznačene crnim potezima, pretvarajući prikaz u Kraljevićevi crteži vabe u noć i obećavaju opasnost, onda nas prpošne (nisu to Platonove Venere Coelestis ili jedinstven i neponovljiv trenutak. Sveden na crnu plohu poput sjene, čovjek kao da nakon upozorenja u katarzi Venere Vulgaris) Lipovčeve Eufrozine lišene predrasuda i mistifikacija pozivaju na erotsku igru, zavodeći nas čeka da zadobije izgubljeni plasticitet. Pronalazi li umjetnik ponovno svoju etičku mjeru u kojoj skepsa polako nestašno se penjući na stupiće. ustupa mjesto optizmu? Asocijativnost i višeznačnost, morfološka čistoća i preglednost, ontološko-antropološka Crteži nastali u zadnjih desetak godina predstavljaju kontinuitet umjetnikova traganja za izražajnim određenost, te dosljedan antropomorfizam odlike su iskrene stvaralačke intuicije umjetnika koji je, napuštajući mogućnostima medija bez radikalnog odmaka, ali i bez eksperimentalnog hijatusa. Iako mekše tretirani od geometrijsku apstrakciju svojih ranih godina, pronašao svoju Itaku i svoj svijet, topao, intiman, protkan dubokim slike ili kipa, Lipovčevi crteži odaju umjetnikovu zaokupljenost formom, bilo da se radi o akvareliranom crtežu, humanizmom. Prevodeći Terencijevu Ništa ljudsko nije mi strano na jezik likovnosti Vaska Lipovca, rekli bismo: suptilnoj tehnici suhog pastela, tušu ili flomasteru. Za razliku od nekih crteža nastalih osamdesetih godina, gdje se oblik stvara matisseovski rafinirano i precizno, na crtežima iz devedesetih uočavamo osamostaljivanje linije Sve što nije ljudsko nije mi blisko. koja, oslobođena i nesputana, sada samo što ne prijeđe granicu prepoznatljive vizualne realnosti, otvarajući, mimetičkom redukcijom, nove mogućnosti komunikacije i neposrednijeg doživljaja. Kolorirani crteži i dalje Siniša Ninčević zadržavaju naglašenu, ponekad šrafiranu, obrisnu liniju, težinu i voluminoznost, te strogu profilnu ili frontalnu Predgovor kataloga izložbe “Mediteranski panoptikum”, 1999. Split, Galerija umjetnina 142 143 LUDEO ERGO SUM profile or frontal pose. The pictorial values are always subject to amplifying the solidity of oval geometrical structures aimed at achieving compactness. A figure standing before a golden background, which accentuates its Style reflected upon as the unity of both formal features at the morphological level and contentas heavy and enclosed volume, seems to float in the ideal space of the holy Jerusalem. The background surface is the structure implying all its psychological, sociological and cultural connotations poses as a sine qua non of sometimes colouristically dynamized and transparent resembling not only the Romanesque and Gothic painting reading and interpreting the complexity of Vasko Lipovac’s artistic language. V. Lipovac’s style is contemporary and relief ornamentation but also speaking of the artist’s curiosity and the propensity to working in different in morphological terms whereas at the content level the artist focuses on what’s immutable and immanent materials. The accented vertical line of the sculptural tension (the cycle Tribute to Blaž Jurjev) has become less tight where the typical becomes individual only when reckoned to be fateful. The artist’s interaction with the past in the scene of crucified Christ who, without any anatomical or physiognomical details and almost monochrome doesn’t make him a sentimental past-lover whose approach to the bygone times is referral but cognitive, hence against the white background, becomes the symbol of suffering (Christus Dolens) by the extraordinarily expressive making him an interpreter of archetypal symbolism and primordial experience impregnated with the meaning and inventive simplification of the traditional iconography i. e. by abolishing distinction between the nail and the and cultural tradition of the space where the history of the sea-side ambience is written as the one and only event in a crown of thorns. The most recent series of the black-and-white depicting the distinctive motives, cliffs, never-ending cycle of eternal returns as was pointed out by V. Srhoj on the occasion of the author’s exhibition at the ships, a view of sea-side towns sitting at the foot of the Sainte Victoiresque geological formations finely shaded gallery in 1987. Lipovac’s time is neither lost nor found because in his almost unreal and slightly surrealistic world with a sense of well-proportioned black and grey masses and surfaces of the city walls and houses, speaks of the even the passability is eternal. Such timelessness preceded by the positive sign reveals a man of synthesis who Mediterranean as the artist’s starting point and module. The new expressiveness occupies the big-sized paintings reinterprets the traditional iconographical schemes by means of contemporary formative lexis because Lipovac making the size a formal component part of the new sensibility. The Mediterranean Component in Lipovac’s art is an artist hic and nunc who brings order into medium by being receptive and sensitive about the ever-changing recalls Cézanne’s basic principles through neoclassicism of the twenties (Miše, PLančić, Job, Tartaglia). However, rhytm of social reality, thus (the 1987 exhibition Space Proposals) creating an autonomous style, having found the this rational Apollonian picture of the world ordered by canon laws of harmony between the man and nature as right balance between old and new, inherited and contemporary, characteristic and typical, between motive and the lost original world, the land of happiness….the Mediterranean world as an image of Arcadian bliss (I. Reberski) is artistic handwriting. Seemingly stopped time in the world of Lipovac’s heroes, faithful Penelopes and their sailors, not well-balanced any more. Lipovac’s landscapes now dark and barren are almost ominous, and their greyness sailing boats on the sea, serene balcony disputes, is not a metaphor of an inert reality where each action has in place of the sunlit whiteness threateningly covers the city walls. Extinguishing his palette of pure bright colours been doomed to failure, and the man ready to confess to his metaphysical guilt. Lipovac’s aesthetics is unfamiliar the artist seems to warn us, and the existential uneasiness, which permeates this cycle, makes us revalue our with the exalted pathos, and the real drama commences with the feeling of existential uncertainty, with asking attitude because we seem to have forgotten the right to tolerance is not exclusively our privilege. This feeling of questions, the man’s fear of the elements when a departure doesn’t imply an arrival, and the question an answer. anxiety has been intensified by dead silence, and the man hidden tensely waits for nature to take over. Depicting The suspense of waiting for the answer and the ultimate cognition has been relaxed through the gallery of celestial patron-saints. The lyric atmosphere of nostalgia and melancholy has its counterpoint in playfulness the Split square Lipovac photographically records what’s characteristic of the ambience, voices fill the air again, and as well as in discreet irony of Lipovac’s sardonic figuration.These elements are most marked in his erotic cycle the detailed depiction of urban landscape seems to be reflected on clusters of people Guardiesquely shadowed (Ludeo ergo sum). If (as was said by I. Zidić) Kraljević’s drawings lure us into the night by the promise of danger, then out making this scene unique and unrepeatable. Reduced to the black shadowy surfaces, having undergone a Lipovac’s unprejudiced and straightforward (not Plato’s Venus Coelestis or Venus Vulgaris) Euphrosynes invite us catharsis, the man seems to wait to regain his lost plasticity. Has the artist found his ethical measure, where to play erotic games, seducing us by friskily climbing up the columns. scepticism gives up its place to optimism? The drawings of the past decade represent a continuity of the artist’s search for the expressive Associativity and polysemantics, morphological purity and clarity, ontological and anthropological possibilities of medium without radical divergence or experimental hiatus. Although conveyed more softly than explicitness and the consequential anthropomorphism stand for the features of the genuine creative intuition the paintings or the , Lipovac’s drawings display the artist’s passion for form whether it is a drawing in of an artist who, having left the geometrical abstractness of his early formative years, has found his Ithaca, his water-colour, pen-and-ink, chalk or a felt-tip pen drawing. Compared with a certain number of drawings from the world, warm, intimate and permeated with profound humanism. Translating Terence’s proverb …I reckon nothing eighties where the shape was given an air of Matissesque refinement and elegance, the drawings of the nineties human to be foreign to me into the artistic language of V. Lipovac we should say…I reckon nothing inhuman to be display an autonomous flow of line which tends to surpass the limits of recognizable visual reality opening up the close to me. new possibilities of communication as well as a more direct experience through mimetic reduction. The coloured drawings still retain unbroken, sometimes overlapping contours, the weight and volume as well as a prominent Siniša Ninčević 144 145 Biografija Biography Vasko Lipovac, slikar, kipar i grafičar, rođen je 14. lipnja 1931. godine u Kotoru. U njegovom obiteljskom Vasko Lipovac was born on June 14, 1931, in Škaljari, a small coastal settlement near in Montenegro. domu koji je smješten na samom tjemenu bokokotorskog zaljeva, njegovala se ljubav prema raznim znanjima i He was the youngest of five children in a very harmonious family of a prosperous merchant and a shipping agent umjetnostima. Bajkoviti okoliš, visoka kulturna razina i samosvijest građana Kotora imat će velik utjecaj na razvoj Spasoje Lipovac and Antica Lui, the daughter of a respectable landowner Maksimilijan Lui. He attended Real Lipovčeva osebujnog stvaralaštva. Grammar School in Kotor, where his drawing teacher was Mato Đuranović (1895–1973), the painter who inspired Tijekom školovanja na zagrebačkoj Akademiji primjenjenih umjetnosti nije stekao samo kvalitetno ob- his students with the bright, shiny colors of his works. razovanje, nego i veliki broj prijatelja koji su mu kroz život bili značajna potpora. Nakon završene Akademije, a u After graduating from the secondary school, he moved to , Croatia in 1950 and enrolled in the razdoblju od 1955. do 1959. godine, bio je polaznik Majstorske radionice Krste Hegedušića. Kada je 1967. godine Academy of Applied Arts. He initially chose sculpture, in the class of , but during his second stigao u Split, nije ni slutio da će mediteransko ozračje blagotvorno utjecati na njegovo stvaranje. Kako je ovaj year (1951/1952) he switched to painting, where his mentor became Željko Hegedušić. It is worth mentioning that dalmatinski grad ostao njegovo doživotno prebivalište, u njemu je stvorio vlastiti figurativni svijet, svijet Vaska during this period of the early 1950s, many future prominent artists attended Zagreb Academy of Applied Arts, such Lipovca. Oblikujući svoje maštovite likove, služio se najrazličitijim materijalima, bojama, oblicima kao i tehnikama as , Jagoda Buić, Ante Sony Jakić, Zvonimir Lončarić, Mladen Pejaković, Ordan Petlevski and Pavao u najneobičnijim kombinacijama. Središte njegovog interesa uvijek i za svagda bila je ljudska figura. Koliko god Štalter. After graduation, from 1955 to 1959 he attended the Master’s Workshop of professor Krsto Hegedušić. stilizirana, ona je životna, kao čovjek koji radi, misli i osjeća… This postgraduate study gave many talented young visual artists much needed freedom and opportunity to Vasko nije izlagao bilo kada i bilo gdje. Njegove izložbe su se događale samo onda kada bi zaokružio explore and use their artistic sensibility. jedan dio svoga rada te ga smatrao dovoljno vrijednim izlaganju pogledu javnosti. Zato je svaka Vaskova samo- In 1959 he married Milena Matas, and they later had three sons. He spent most of the 1960 in the army, stalna ili skupna izložba bila iznenađenje i za stručnu i za široku publiku. Kontinuiranim umjetničkim djelovanjem and upon returning to Zagreb he spent a year (1961–1962) as an art editor assistant in the magazine “Chemistry priskrbio si je niz nagrada, kako za skulpturu tako za ilustraciju i javne spomenike. U svibnju 2006. godine dobio in industry”, which was the only full-time job he ever had. Since 1967, Vasko Lipovac lived and worked in Split, je i nagradu za životno djelo. Croatia, where the Mediterranean climate inspired him to fulfill his poetic vision, and to create numerous works. Vasko Lipovac preminuo je 4. srpnja 2006. godine i ostavio svoj bogat opus kao „Ostavštinu za budućnost“. Four thematic units have been detected in the work of Lipovac, namely the Mediterranean, sports, the sacral and erotic. Sretan sam što sam bio prijatelj i suradnik šjor Vaska i što sam u posljednjih dvadeset godina bio proma- He was intrigued by the idea of integrating art with architecture, and especially integration of art into trač i sudionik procesa nastajanja njegova plemenitog umjetničkog svijeta. workspace, so he collaborated with numerous architects. Among his most prominent are the collaborations with Jerko Rošin, Dinko Kovačić and Bernardo Bernardi. Lipovac had around 100 solo exhibitions and over 200 group, juried, problem, conceptual, and important invitational exhibitions in Croatia as well as abroad. In addition, he received over twenty awards and honours for his sculptures, paintings, graphics, illustrations and public monuments. Vasko Lipovac died on July 4, 2006.

146 147 149 Vasko Lipovac 150 151 152 153 154 155 Splitgraphic bijenale realiziran je uz potporu/ Splitgraphic is supported by Grad Split Ministarstvo kulture RH Jadransko osiguranje d.d. Turistička zajednica grada Splita Caffe Žbirac

U suradnji s/In collaboration with Atelje Vasko Lipovac Centar za kulturu Zlatna vrata Sveučilišna knjižnica Split HULU Split

Organizacija/Organisation Kulturno umjetnička udruga Splitgrafik/ Cultural Association Splitgraphic Galerija Studio Naranča/Studio Naranča Gallery Majstora Jurja 5, Split www.splitgraphic.hr [email protected]

Direktor Splitgraphic bijenala/ Director of Splitgraphic Biennial Pavo Majić

Kordinator Splitgraphic bijenala/ Splitgraphic Biennial coordinator Marina Majić Petit

Tajništvo i arhiva/Office and archives Maja Mijač Majić

Prijevod/Translation Martina Pranić

/Design Oblikovanje Pavo Majić Pavo

Grafika na naslovnici/Artwork Wojciech Tylbor-Kubrakiewicz

Video Ivica Kalinić

Medijski pokrovitelj/Media partner

Web stranice/Web site dharmaWebStudio

Priprema/Layout KLinch

Tisak/Print Kerschoffset Zagreb

Naklada/Edition 300 komada

Split, 2015. ISBN 978-953-56861-1-8