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Poetry in Paper Poezija U Papiru

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Poetry in Paper Poezija U Papiru Pučko otvoreno učilište Krapina, Open University Krapina, Galerija grada Krapine Krapina City Gallery Magistratska 25 Magistratska 25 5. - 20. lipnja 2008. June 5 - 20, 2008 A ORIGAMIR T POEZIJA U PAPIRU POETRY IN PAPER Prva izložba origami arta u Hrvatskoj The first origami art exhibition sa svjetskim majstorima in Croatia with international origamija origami masters Zahvale Acknowledgments Izložbu "Poezija u papiru" organizirali su Pučko otvoreno učilište Krapina, Ga- The exhibition "Poetry in Paper" was organized by the Open University lerija grada Krapine, u suradnji sa Veleposlanstvom Japana u Zagrebu. Krapina, Krapina City Gallery, in conjunction with the Japanese Embassy in Zagreb. Željeli bismo izraziti zahvalnost za fiancijsku potporu tvrtki Baotić Rotus d.o.o., tvrtki Profil multimedijalne knjižare d.o.o., gradu Krapini, Hrvatskom društvu We would like to gratefully acknowledge the financial support of: Baotic znanstvenih i tehničkih prevoditelja te Prevoditeljskom centru. Rotus d.o.o., Profil multimedijalne knjižare d.o.o., the City of Krapina, the Croatian Association of Scientific and the Technical Translators and Croatian Posebno zahvaljujemo svim autorima i origamistima koji su poslali svoje radove Translation Agency. za ovu izložbu ili dozvolili drugim origamistima da ih predstave te na taj način We are particularly grateful to all the origami authors and folders who sent pomogli promoviranju origami arta u Hrvatskoj. their art models or permitted other folders to fold their models for this exhibi- Galerija grada Krapine sa zahvalnošću i poštovanjem prima origami art modele tion and thus helped promoting origami art in Croatia. donirane od: Petera Budaia, Joela Coopera, Dragutina Gerića, Mirjane Go- Krapina City Gallery is honoured and grateful for the donated origami art letić, Roberta Grettera, Gorana Konjevoda, Michaela G. LaFossea, models to: Peter Budai, Joel Cooper, Dragutin Gerić, Mirjana Goletić, Bernarda Peytona, Sanje Srbljinović Čuček, Arnolda Tubisa, Davora Vinka, Roberto Gretter, Goran Konjevod, Michael G. LaFosse, Bernard Peyton, Josepha Wua. Sanja Srbljinović Čuček, Arnold Tubis, Davor Vinko, Joseph Wu. Osobito se želimo zahvaliti svim autorima članaka u ovom katalogu: potpred- We would especially like to thank for the contributed articles for this cata- sjedniku Britanskog origami društva Davidu Brillu, kustosu origami art izložbe u logue: Vice President of the British Origami Society David Brill, Saadya Tikotinu Saadyi Sternbergu te Goranu Konjevodu, znanstveniku sa Arizona Sternberg, curator of the Tikotin origami art exhibition, and Goran Konjevod, State University. scientist from the Arizona State University. Osobite zahvale dugujemo Davidu Brillu i Goranu Konjevodu za kontakte i We are also very much indebted to David Brill and Goran Konjevod for preporuke, posebice Saadyi Sternbergu za dragocjene savjete kustosa i po- their contacts and recommendations, and especially to Saadya Sternberg for sudbu modela iz njegove privatne zbirke. his precious curatorial advice and the loan of works from his private collec- Srdačne zahvale upućujemo Biljani Knebl na neumornom radu na dizajnu tion. kataloga. Na fotografijama za katalog posebno zahvaljujemo Davidu Brillu, We would like to extend heartfelt thanks to Biljana Knebl for her tireless Giang Dinhu, Zdravku Hršaku, Goranu Konjevodu i Bernardu Peytonu. work on the catalogue design. Special thanks for catalogue photography go to David Brill, Giang Dinh, Zdravko Hršak, Goran Konjevod and Bernard Peyton. Sanja Srbljinović Čuček, autorica izložbe Sanja Srbljinović Čuček, author of the exhibition Pučko otvoreno učilište Krapina, Galerija grada Krapine Open University Krapina, Krapina City Gallery Sponzori: Baotić rotus d.o.o., Škorpikova 24/1, Zagreb tel. 01/5495-170 Pučko otvoreno učilište Krapina, Open University Krapina, Galerija grada Krapine Krapina City Gallery Magistratska 25 Magistratska 25 5. - 20. lipnja 2008. June 5 - 20, 2008 POEZIJA U PAPIRU POETRY IN PAPER Prva izložba origami arta The first origami art exhibition u Hrvatskoj sa svjetskim in Croatia with international majstorima origamija origami masters Impressum Impressum Izdavač: Publisher: Pučko otvoreno učilište Krapina, Galerija grada Krapine Open University Krapina, Krapina City Gallery www.krapina.net/galerija www.krapina.net/galerija Za izdavača: For the publisher: Viktorija Krleža Viktorija Krleža Autor izložbe i likovni postav: Author of the exhibition and display: 2 Sanja Srbljinović Čuček Sanja Srbljinović Čuček Predgovori: Foreword by: David Brill, Goran Konjevod, Saadya Sternberg David Brill, Goran Konjevod, Saadya Sternberg Urednik kataloga: Catalogue editor: Sanja Srbljinović Čuček Sanja Srbljinović Čuček Prijevod: Translation: Sanja Srbljinović Čuček Sanja Srbljinović Čuček Lektura: Proofreading: Branimir Čuček, Goran Konjevod Branimir Čuček, Goran Konjevod Fotografije: Photography: David Brill, Giang Dinh, Zdravko Hršak, David Brill, Giang Dinh, Zdravko Hršak, Goran Konjevod i Bernard Peyton. Goran Konjevod and Bernard Peyton. Dizajn kataloga: Catalogue design: Biljana Knebl Biljana Knebl Tisak: Print: Profil International d.o.o. Profil International d.o.o. Naklada: Edition: 500 primjeraka 500 copies David Brill Origami idoli i ideali Some personal views Origami Idols and Ideals of Yesterday and Today Kao mladi origamist, 70-tih sam godina bio fasciniran zapad- As a young folder in the 70’s I was fascinated by the west- njačkim inženjerskim remek djelima tog vremena, npr. Rhoad- ern origami engineering masterpieces of the day, e.g. Rhoad’s ovim Slonom, Cercedinim Maurom na konju, Eliasovim Elephant, Cerceda’s Moor on Horseback, Elias’ Moment of Trenutkom istine. U to sam doba imao potrebu im- Truth. presionirati, kako bi moja "publika" (uglavnom At that time, I felt a need to impress, so that my obitelj i prijatelji) mogli reći, "Zar si to stvarno “public” (mainly family and friends) would say, napravio iz samo jednog komada papira?!" “Did you really make that from just one piece of Moji prvi susreti s britanskim stvaraocima 70-tih, paper?! poput Martina Walla i Maxa Hulmea, koji su kas- My first meetings with British creators of the 70’s nije postali moji prijateljski rivali, samo su pojačali taj such as Martin Wall and Max Hulme, who were stav. Na konvencijama Britanskog origami društva later to become my friendly rivals, reinforced this (BOS) prikazivali bi vanjštinom slične, autorske attitude. They had a similar outlook, displaying de- modele poput tenka s rotirajućom kupolom (Wall) signs at BOS conventions such as tank with rotat- 3 i čovjeka na Penny-Farthing biciklu. (Hulme). Ova ing turret (Wall) and man on penny-farthing zadivljenost kompleksnim savijanjem prevladavala je bicycle. (Hulme). This admiration of complex fold- u BOS krugovima kasnih 70- tih i 80-tih, a ing was prevalent in BOS circles in the late 70’s izložbeni stolovi na konvencijama bili su prepuni and 80’s, and convention display tables were složenih modela nesumnjivo raznolike estetske vri- filled with complex designs of decidedly mixed jednosti. Mnogi od tih modela bili su odeblji, aesthetic value. Many of these pieces were thick, budući da su morali biti savijani iz kvadrata metalne being necessarily folded from rectangles of foil or folije ili laminata vrlo tankog papira i metalne folije, tissue-foil paper, materials I consider hateful today! materijala koji su mi danas mrski! Tako dizajnirani The designs showed small regard either for the modeli pokazivali su malo poštovanja spram kvalitete papira, ili qualities of the paper or the form and shape of the subject, oblika i obrisa predočenog, a još manje prema bilo kakvom and far less any real “life.” They were frequently contorted in stvarnom "životu." Često su bili iskrivljeni u našim our attempts to be strictly accurate, and our belief pokušajima da budemo strogo točni, vjerujući da that we should show every possible detail of our trebamo pokazati svaki mogući detalj naših chosen subjects. Hulme’s remarkable vintage car had odabranih tema. izvanredni Hulmeov oldtimer a steering wheel and a gear stick, with a colour imao je čak volan i mjenjač s promjenom boje na change gear knob! Origami seemed then to be a ručici! Origami je tada izgledao kao izazov ili challenge or a puzzle, not an artistic pursuit. Our zagonetka, a ne umjetničko pregnuće. Tada su nam idols then were the American folders Neal Elias idoli bili američki origamisti Neal Elias i Fred Rohm. and Fred Rohm. Otprilike u isto vrijeme, na BOS sceni pojavio se However, at about the same time, a young sculp- mladi student kiparstva, Paul Jackson. Pomalo bun- ture student, Paul Jackson, arrived on the BOS tovnik, otvoreno je kritizirao taj inženjerski pristup. Stil mu je scene. A bit of a rebel, he was openly critical of this engineer- bio minimalistički, a dizajn zapanjujuće jednostavan. Napravio ing approach. His style was minimal, and his designs were je elementarne maske, životinje te neke originalne pomične strikingly simple. He produced elemental masks, animals and modele poput lajućeg psa, djetlića te konja i jahača. Jackson some original action models such as barking dog, woodpecker, je, sjećam se, digao dosta prašine u Britanskom and horse and rider. Jackson ruffled quite a few origami društvu. Pokazao je vrlo jednostavnu ribu, a BOS feathers I recall. He showed a very simple netko je prilično podrugljivo prokomentirao: fish and someone rather sneeringly commented “ "Dobro, Paul, a koja je to vrsta ribe, pastrva, losos, Ok, Paul, but what species of fish is it, a trout,
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