OPEN VERNISSAGE 2009

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Beginning with the intellectualist and conceptual art of Alice Bradshaw who questionsrole and reuse od daily objects in her work, not shrinking from the final results which are oftennothing else but trenchancy of absurd and ending with spontaneous and almost joyfulexpressivity of Kelly Pretty and Eel Eye that use it to make the work grotesque and comic at thesame time, with no indication of romantic and tragic understanding of the same grotesque, theexhibition , concerning the scope and the character of the works, looks in the firstplace as the festival of opposite polarities, as tendentious accumulation of oppositeness, asalmost flamboyante showing of artistic tendencies today, without any synthesis-based threadwhich would help the observer to walk easier through the streams of modern art.

True, the is not a thematic exhibition, unless we take creativity for aseperate theme, which is the case here.

The authors from Europe, North and South America and from Asia sent their worksmainly guided by their free personal choice. Since the theme of the exhibition wasn't given thecoming works were chosen by the authors' momentary will and the need to express themselvespersonally.

That's the reason why this exhibition is to be pondered upon in the concept ofobserving a lot of modern artistic tendencies, distinguishing artistic expressions and personalmaking, in the concept of opening the door to co-existing differences, so that in the width of onelook you can try to show and understand wealthiness of artistic work.

It is far from being possible to show all techniques and expressions of modern art.Because of that at the exhibiton there is mainly easel painting, with one or two moreworks of video-art, conceptual art, artistic graphics, photography and modern sculpture. At theexhibition there are thirty authors exhibiting one or two works from their recent work.

Walking by the exhibited works you can see not only the picture of modern artisticstreams but also a definite section, a reflection of past streamings of modern and postmodernart. From fauvism, tachism and enformel till classicism, expressionism and hyperrealism, fromabstract expressionism till intellectualist conceptual art the exhibition is a reminderof the past and testimony of contemporariness at the same time.

The problematizing of the modern, as in visual-aesthetic context so too in the contextof realization of critical thoughts, is one of the main guidelines of this exhibition.

The exhibition is achieved by the works of conceptual and video-art, Amade of straw by Nikola Faller, which is meandering through the halls till the door of the

Vernissage gallery and by Andrea Cotton, audio and video installation thatproblematizes considering a man as a number what confirms the audio set of video opus, theunquestionable reminder of the noon town crowd.

The authors like the Brazilian Vanderlei Zalochi and the Indian Sangita Chaudhuri arethe heirs of apparently naive painters of the 20th century like Camille Bombois wheremeticulousness of painting techniques and movement skills are almost overshadowed byintense colorful expresson and simplifying of painting motives to plainless and concisenesswhat is characteristic for the naive artists. Therefore their works have features of child's drawingwhose main presentation quality is variety of atmosphere and mood but they also have specificparticularity of their culture and climate. In a sense their paintings can be viewed like gleaning ofcultural entities which they as painting motives arrange like collage emphasizing in that wayfragmentariness of a painting and motive, but also making synthesis which is showing searchfor completeness of identity. Vanderlei and Sangita Chaudhuri remind us with liveliness of theirworks of scenes from Paris suburbs by Jean Francois Raffaelli: there is the same twinkling ofcolors and lavishness of uneasy movements in painting, only that the search for identity in thiscase is defense from the western uniformism.

Maybe in the same context of thinking about national and personal identity is themade of straw by Nikola Faller to be observed which by renown of autochthonous

material straw as a sculptoral medium is pointing out the need of awareness of personalrelationship with the environment.

Tendencies

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Tendencies

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Snake

Strange ways

Snake

In the case of two graphic artists from Bosnia, Josipa Bralo and Alisa aber, thedominant tendency has been continuing research primarily visual - aesthetic quality artisticworks. WhileAlisa aber is on the scent of abstract expressionism, particularly of Mark Rothko,she stresses the expressiveness and substantiality of colors, such as Tpies, with plastic andgraphic quality of canvas and with narrative only art values creating the atmosphere works,Josipa Bralo enriches her drawings with diverse rhythm of graphics, that further refreshesentering colors and composing unexpected details, thus attaining a surrealist game ofsuddenness and strangeness. The works of Icelander Eve G. S. have sigh of abstractexpressionism and tachisme which reminds us of lyrical Wols's Compositions.

Graphic quality and plasticity of painting canvas, also on the track of abstractexpressionism, but also enformel, are reexamined by Igor Gustini, Italian artist who has alreadyexhibited in the gallery Vernissage. His works are made by putting together colorful andwrinkled cloth on one background canvas. With geometrical compositions of his works Gustinievokes live rhythmicity of painting fields and thus raises the awareness of decorative aesthetic value in the artistic work.

Incorporation of planar and spatial part in the painting, as well as the relationshipbetween the template and prints is noticeable in the work of Erna G. S.

Reassessment of aesthetic - painting values evident in the works of Dora Bratelj,Elvedina Hrustanovi, Tomo Hrgota, uro Adi and Ratko Ljei. For Dora Bratelj can be saidthat, in addition to refine colouristic, her works remind us of hyperrealism of Cottingham andEstes, where the everyday city objects become carriers and the aesthetic and symbolic, andthe apparent irrelevance of shown objects which are difficult to be called the motives of thepainting emphasize the unique atmosphere, duration of mood which is then recognized as aright theme of a painting. At the same time, detailed quality in shaping these 'secondaryobjects', as theAmerican hyperrealists reveal a dose of surrealism, not by selection and collageof motives, but by the perceptive atmosphere of display.

Unlike the peaceful moves of Dora Bratelj, the works of Elvedina Hrustanovi andTomo Hrgota can be observed as a restless plane filled with curly and criss-crossed lines ofcolors. On the track of French realism, Tomo Hrgota dynamizes the surface of a painting withrough diagonals, and with thick spreads of colors at one moment with criss-crossed and atanother moment with completely calm moves. Elvedina Hrustanovi, however, makes acomposition rhythmically sequencing geometric planes which are separated by sharp marginlines and carved graphics, for achieving the effect of spatial depth of landscape. Flatness andspatiality complement each other, as well as the splendor of colors and keen roughness ofengraved lines, and so her work can be seen simultaneously as a flat, abstract, symbolicnarrative as well as a poetic view of the Bosnian landscapes.

The emphasizing of personal in the display of the external and the value of the poeticpainting is magically achieved in the lyrical landscapes of uro Adi who the Slavonianlandscape paints through the affirmation of individual vision, through the controlled expressionof an abundance of content exceeds the theme, and with the synthesis of various painting -ismsachieves grandeur of personal in the painting.

Similar poetic spirit of the phrase can easily be recognized on the excellentphotopolymer engravings of Denis Victor HavmannAndersen.

On the track of metaphysical painting are the works of Indian Prakash Bal Joshi and ofSouth-Korean Oh Soung. And while the art of Soung first appears as a decorative painting, hisworks invite to the rebelliousness against the phenomenon of so-called reduced perception,and although the possible allusion to the symbolism is damped by meticulous technique anddeveloped sense of rhythmical move, Oh Soung actually investigates the phenomena ofeveryday life with the same kind of fervor that he approaches describing the emotionsassociated with humans, such as love and hope. On the track of late pointillists who perceivethe shape behind many coloristic effects, Oh Soung brought the same painting technique to thelevel of abstraction, and it seems like the figurative and abstract work is performed on the samecanvas. As the figurative and abstract is penetrated in his work, so the decorative beauty of hisworks (and the decoration is easy to replace the superficiality) connects with his thought a need

to search for its own being, and his critical attitude towards the negative aspects of everydaylife. It is in reducing the artistic motives display of a vase - the author emphasizes that his art isnot related to the present time, but, like the painting of Pradesh, it is a call for the actualization ofhumanity.

Unlike Soung that with patient detail emphasizes the value of the infinite, Pradesh withdynamism of strokes and colors, and emphasizing quality in spontaneous expression achievesthe symbolism of relations betseen man and his environment. His painting expression isreduced and purified to summarized and concise display of significant, while the richness ofexpression is reflected in the strong and difficult impasto and shading of colors, not tones,where that what is shown is only indicated behind the coloristic rhetoric of the painter, andpainting effects become equally rich in content as well as the motives of a work. It can be saidthat this is primarily a narrative painting that speaks through a form of abstraction, which iswitnessed by the names of his two pictures: and .

In terms of contents the works ofAlmir ehi in combined technique can be seen in thesame context as the works of Oh Soung and Prakash Bal Joshi. His exhibited paintings relay astrong human and anti-war message, enhanced by collage of notices of death and newspaperarticles, and enformelistic expressiveness.

On the exhibition there are exposed works that are stylistically movingaway from the modern and postmodern artistic trends to traditional painting and perceptive artof the19th century These are pictures by Aleksandra Zubova andby Gabor Urban which are postmodern more by affinity than by style. Namely the authors takeon classic motives and compositions of the 19th century which they are dealing with from thelevel of everyday referentiality in relation to the value of the past. A similar tendency is shown inthe paintings of Milorad irajski, on the track of Miodrag uri Dado where the connection ofsurrealism and fear of vain can be read. The photography made by Stefan Havadi-Nagy is traditonally dependant.

Art of sculpture is represented by the works of Dejan Pranjkovi, Marie Darkins, PeterDoli, Irena Brunec - Tebi and Vanda Bilinski. The sculpture of Marie Darkins is actually aninverse mask by which the artist problematizes the relationship of man and his environment.

Soapstone heads made by Vanda Bilinski show tendencies of extremely reduced andschematical display on the track of cubism, but, on the other hand there is roundness andintegrality of shape, certain compact mass and volume softness. Sculptural display of V.Bilinski with his substantiality and power of expressivity prevails over object. It can be said thatthe stone heads of Vanda Bilinski are more on the trace of abstraction rather than figurativenessand a template is only a basis for pondering on the values and possibilities of form.

Similar can be said for made by Irena Brunec - Tebi who the search for formsdoes not lead to the unity and integrity of the mass, but to the volume extremely developed bythe explosion of forms.

Peter Doli is also led by tendency of compression of material in apsolut sculpturalexpression, in the unity of content and form, while the heads of Dejan Pranjkovi are so far byexpression decanted forms, and seem like perforated, hollow volumes.

All mentioned impacts, all previous artistic - stylistic periods and the dominant presenttrends that are visible on the exposed works are only the initial expression of affinity which laterdeveloped into each artist, guided by his or her personal sensibility, and led in an ownidiosyncrasy, personal style idiom. Owning their own expression, regardless of the initialimpacts, is one of the main quality and aspirations of contemporary art and culture. Each workof art is therefore an expression of personal aspirations, witness of personal development,without the necessity of belonging to antique, and each image is a reflection of personaltendencies. For us it is only left to imagine in what direction the streams of contemporarinessmight still take us ...

Written by: IVA PAPI, art historian

Awakening Degradation

Tendencies

The Elements of Work Vadlovak

Boston Views

Evica

Alice Bradshaw, United Kingdom

Kelly Pretty, United Kingdom

Nikola Faller, Croatia

Eel Eye, United States

Andrea Cotton, United Kingdom

Vanderlei Zalochi, Brasil

Sangita Chaudhuri, India

Josipa Bralo, Bosnia and Herzegovina

Alisa aber, Bosnia and Herzegovina

Eve G. S., Iceland

Erna G. S., Iceland

Igor Gustini, Italy

Dora Bratelj, Croatia

Elvedina Hrustanovi,Bosnia and Herzegovina

uro Adi, CroatiaTomo Hrgota, Croatia

Ratko Ljei,Bosnia and Herzegovina

Denis Victor Havmann Andersen, Denmark

Oh Soung, South Korea

Prakash Bal Joshi, India

Almir ehi, Bosnia and Herzegovina

Aleksandra Zubova, Russia

Gabor Urban, Hungary

Milorad irajski, Serbia

Stefan Havadi-Nagy, Romania

Dejan Pranjkovi, Bosnia and Herzegovina

Marie Darkins, United KingdomPetar Doli, Croatia

Irena Brunec - Tebi, Slovenia

Vanda Bilinski, Switzerland

Od intelektualistike, konceptualne umjetnostiAlice Bradshaw, koja svojim djelimapropitkuje ulogu i re-upotrebu predmeta svakidanjice, ne zazirui od krajnjeg rezultata kojiesto nije drugo doli britkost apsurda, do spontane i gotovo radosne ekspresije Kelly Pretty iEel Eyea, koji koriste ekspresiju za stvaranje grotesknog i kominog u isto vrijeme, bezikakve naznake romantino traginog shvaanja iste groteske, izloba , poopsegu i karakteru radova, moe, u prvi mah, izgledati kao festival suprotnih polariteta, kaotendenciozno gomilanje oprenosti, kao gotovo flambojantno prikazivanje umjetnikihtendencija danas, bez sintezne niti koja bi gledatelju omoguila laki hod kroz strujesuvremene umjetnosti.

Istina, nije tematska izloba, osim ako se za temu ne moe uzetistvaralatvo samo, to je ovdje ipak sluaj.

Autori iz Europe, Sjeverne i June Amerike te Azije slali su svoje radove uglavnomvoeni slobodom osobna izbora. Kako tema izlobe nije bila zadana, pristigli radovi su veod strane samih autora bili odabrani logikom trenutana htijenja, potrebom osobna izraza.

Stogu ovu izlobu treba promiljati u kontekstu sagledavanja mnotva umjetnikihtendencija suvremenosti, razabiranja umjetnikih izraza i osobnih rukopisa, u kontekstuotvaranja vrata koegzistirajuim razliitostima, da se u irini jednog pogleda pokuaprikazati i razumjeti bogatstvo umjetnikog djelovanja.

Daleko od toga da je jednom izlobom mogue prikazati sve tehnike i izrazesuvremene umjetnosti. Stoga je na uglavnom zastupljeno tafelajnoslikarstvo, uz po jedno do dva djela video arta, konceptualne umjetnosti, umjetnikegrafike, fotografije i suvremenog kiparstva. Na izlobi izlae sveukupno trideset i jedanautor, s jednim do dva djela iz svoga recentnog opusa.

Hodajui kroz izloena djela, gledatelju se ne nudi samo slika suvremenihumjetnikih struja, nego i odreeni presjek, odraz prolih strujanja moderne i postmoderneumjetnosti. Od fovizma, taizma, enformela, do klasicizma, ekspresionizma i hiperrealizma,od apstraktnog ekspresionizma do intelektualistike konceptualne umjetnosti, izloba

istovremeno je podsjetnik prolosti i svjedoenje suvremenosti.Problematiziranje suvremenog, kako u likovno estetskom kontekstu, tako i u

kontekstu ostvarenja kritike misli, jedna je od glavnih odrednica ove izlobe.Izlobu otvaraju djela konceptualne i video umjetnosti, od

slame Nikole Fallera, koja vijuga hodnicima sve do vrata galerije Vernissage iAlice Cotton, zvuna i video instalacija koja problematizira shvaanje ovjeka kao broja, topotvruje i zvuna kulisa video uratka, neupitni podsjetnik podnevne gradske vreve.

Autori poput Brazilca Vanderleia Zalochija i Indijke Sangite Chaudhuri batinici sunaoko naivnih slikara 20.st., poput Camillea Bomboisa, gdje je minucioznost slikarsketehnike i vjetina poteza gotovo zasjenjena jakim koloristikim izrazom i simplificiranjemslikarskih motiva na jednostavnost i saetost, karakteristinu za naivce. Radovi im stogapoprimaju karakter gotovo djejeg crtea, ija je osnovna kvaliteta prikaz raznolikostiatmosfera, raspoloenja, ali ujedno i specifinih posebnosti kulture i podneblja. U neku ruku,njihove slike bi se mogle promatrati kao pabirenje kulturnih entiteta, koje zatim kaoslikarske motive slau poput kolaa, istiui tako fragmentarnost slike i motiva, no, opet,stvarajui sintezu koja prikazuje potragu za cjelovitou identiteta. Vanderlei i SangitaChaudhuri ivou svojih djela podsjeaju na scene iz parikih predgraa Jean FrancoisaRaffaellija: jednako je treperenje boja i bujnost uznemirenih poteza u oslikavanju, samo toje potraga za identitetom u ovome sluaju obrana od zapadnjakog uniformizma.

Moda u istom kontekstu promiljanja o nacionalnom i osobnom identitetu trebapromatrati i od slame Nikole Fallera, koji afirmacijom autohtonog materijala slame kao skulptorskog medija ukazuje na potrebu osvjeivanja osobnog odnosa prema vlastituokoliu.

Tendencije

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Tendencijama

Tendencije

Tendencije ZmijaStrange ways

Zmiju

U sluaju grafika dvaju umjetnica iz Bosne, Josipe Bralo i Alise aber, dominantnaje tendencija nastavka istraivanja prvenstveno likovno - estetske kvalitete umjetnikogdjela. Dok je Alisa aber na tragu apstraktnog ekspresionizma, posebice Marka Rothka,ona izraajnost i sadrajnost kolorita naglaava, poput Tpiesa, plastinom vrijednou ireljefnou samoga platna, te se narativnou iskljuivo likovnih vrijednosti stvaraatmosfera samoga djela, Josipa Bralo obogauje svoje grafike raznolikim ritmom crtea,kojeg dodatno osvjeava unoenjem boja i komponiranjem neoekivanih detalja,ostvarujui tako nadrealistiku igru iznenadnosti i zaudnosti. Na tragu apstraktnogekspresionizma i taizma nastali su i radovi Islananke Eve G. S., to podsjeaju na lirineWolsove .

Reljefnost te plasticitet slikarskoga platna, na tragu takoer apstraktnogekspresionizma, ali i enformela, propitkuje i Igor Gustini, talijanski umjetnik koji je veizlagao u galeriji Vernissage. Njegovi radovi nastali su komponiranjem koloriranih inaboranih platna na jednom, pozadinskom platnu. Geometrijskim kompozicijama svojihdjela Gustini doarava ivu ritminost slikarskih polja te time osvjetava vrijednostdekorativno estetskog u umjetnikom djelu.

Proimanje plonog i prostornog u slikarskom djelu, kao i odnos predloka i otiska,vidljivo je i u radu Erne G. S.

Preispitivanje estetsko - slikarskih vrijednosti vidljivo je u djelima Dore Bratelj,Elvedine Hrustanovi, Tome Hrgote, ure Adia te Ratka Ljeia. Za Doru Bratelj se moerei da, osim istananog kolorizma, njezini radovi podsjeaju na hiperrealizam Cottinghamai Estesa, gdje predmeti gradske svakodnevnice postaju nositelji i estetskog i simbolinog, aprividna beznaajnost prikazanih objekata, koji teko da se mogu nazvati motivima slike,istie posebnu atmosferu, raspoloenje trajanja, koje se tada prepoznaje kao prava temaslike. Ujedno, detaljnost pri oblikovanju tih 'sporednih objekata', kao kod amerikihhiperrealista, otkriva dozu nadrealizma, ne po odabiru i kolau motiva, ve posenzibiliziranoj atmosferi prikaza.

Za razliku od mirnog poteza Dore Bratelj, radovi Elvedine Hrustanovi i TomeHrgote mogu se promatrati kao uznemirene plohe ispunjene vitiastim i iskrzanim linijamaboja. Na tragu francuskog realizma, Tomo Hrgota grubim dijagonalama, gustim namazimaboje i as iskrzanim, as posve smirenim potezom dinamizira povrinu slike. ElvedinaHrustanovi, pak, slae kompoziciju ritmikim nizanjem geometrijskih ploha, jedne oddrugih odijeljenih otrim rubnim linijama i urezanim grafizmima, radi postizanja efektapejsane prostorne dubine. Plonost i prostornost se nadopunjuju, kao i rasko kolorita ibritka grubost urezane linije, te se njezin rad moe istovremeno promatrati kao plona,apstraktna, simbolika narativnost, ali i kao poetian prikaz bosanskog pejsaa.

Naglaavanje osobnog u prikazu vanjskog i vrijednost poetinosti u slikarstvumagino je ostvarena u lirinim pejsaima ure Adia, koji slavonski krajolik oslikava krozafirmaciju individualne vizije, kroz kontroliranu ekspresiju koja bogatstvom sadrajanadmauje temu, te uz sintezu raznih slikarskih izama, ostvaruje rasko subjektivnog uslikarstvu .

Slina poetinost u izrazu lako se moe prepoznati na izvrsnim fotopolimernimgravurama Denisa Victora HavmannaAndersena.

Na tragu metafizinog slikarstva su i radovi Indijca Prakash Bal Joshija teJunokorejca Oh Sounga. I dok se Soungova umjetnost isprva ini kao dekorativnoslikarstvo, njegovi radovi pozivaju na bunt protiv fenomena tzv. smanjene percepcije, tepremda je mogua aluzija na simbolizam priguena minucioznom tehnikom i razvijenimosjeajem za ritminost poteza, Oh Soung zapravo istrauje fenomene svakidanjicejednakim arom kakvim pristupa opisivanju iskonskih emocija vezanih uz ovjeka, poputljubavi i nade. Na tragu kasnih poentilista, koji daju tek nazrijeti oblik iza mnotvakoloristikih efekata, Oh Soung je doveo istu slikarsku tehniku do razine apstrakcije, te sedoima kao da se na istom platnu isprepliu figuracija i apstrakcija. Kao to se u njegovim

Kompozicije

djelima proimaju figuracija i apstrakcija, tako se dekorativna ljepota njegovih radova (adekorativnost se lako zamijeni za povrnost) spaja s njegovom milju o potrebi istraivanjavlastita bia, te s njegovim kritikim odnosom prema negativnim aspektima svakidanjice.Upravo u reduciranju slikarskog motiva - prikaz vaza - autor istie kako njegova umjetnostnije vezana za vrijeme sadanjice, ve je, poput slikarstva Pradesha, poziv na ostvarenjeovjenosti.

Za razliku od Sounga, koji strpljivom detaljnou istie vrijednost beskrajnog,Pradesh dinamizmom poteza i kolorita te isticanjem kvalitete spontanog u ekspresijiostvaruje simbolizam odnosa ovjeka i njegova okolia. Slikarski izraz mu je reduciran iproien do saeta i jezgrovita prikaza bitnog, dok se bogatstvo izriaja ogleda u jakom itekom namazu te nijansiranju bojama, a ne tonovima, gdje se ono prikazano tek nasluujeiza koloristike retorike slikara, te slikarski efekti postaju jednako bogati sadrajem, kao imotivi samog djela. Moe se rei da je to prvenstveno narativno slikarstvo koje govori krozformu apstrakcije, o emu svjedoe i nazivi njegovih dvaju slika: i .

Sadrajno, radovi Almira ehia u kombiniranoj tehnici mogu se promatrati uistome kontekstu kao i djela Oh Sounga i Prakash Bal Joshija. Njegove izloene slikeprenose snanu humanu i antiratnu poruku, pojaanu kolaom osmrtnica i novinskihlanaka, te enformelistikom ekspresivnou.

Na su izloeni i radovi koji se, stilski, od modernih i postmodernihumjetnikih struja odmiu k tradicionalnom slikarstvu i senzibilitetu umjetnosti 19.st. To suslike ( Aleksandre Zubove i Gabora Urbana,postmoderne vie po afinitetu, nego po stilu. Naime, autori preuzimaju klasine motive ikompozicije 19.st. kojima barataju s nivoa referentnosti sadanjice u odnosu na vrijednostiprolosti. Slinu tendenciju pokazuju i slike Milorada irajskog, na tragu Miodraga uriaDade, na kojima se ita spoj nadrealizma i straha od nitavila. Tradicijom uvjetovana je ifotografija Stefana Havadi Nagya.

Umjetnost kiparstva je zastupljena djelima Dejana Pranjkovia, Marie Darkins,Petra Dolia, Irene Brunec - Tebi i Vande Bilinski. Skulptura Marie Darkins zapravo jeinverzna maska, kojom umjetnica problematizira odnos ovjeka i njegova okolia.

Kamene porfirne glave Vande Bilinski pokazuju tendencije krajnje reduciranosti ishematiziranosti prikazanog, na tragu kubizma, no, opet, prisutna je i zaobljenost icjelovitost forme, odreena kompaktnost mase i mekoa volumena. Skulptorski izraz V.Bilinski sadrajnou i snagom ekpresije nadjaava objekt prikazivanja. Moe se rei da sukamene glave Vande Bilinski vie na tragu apstrakcije, nego figuracije, a predloak je samopodloga za promiljanje o vrijednostima i mogunostima forme.

Slino se moe rei i za Irene Brunec Tebi, koju istraivanje forme ne vodi kjedinstvu i cjelovitosti mase, ve k volumenu do krajnosti razvedenom eksplozijom formi.

Petar Doli takoer je voen tendencijom saimanja materijala u apsolutskulptorskog izraza, u jedinstvo sadraja i forme, dok su glave Dejana Pranjkovia u tolikojmjeri ekspresijom rastoene forme, te se doimaju poput perforiranih, upljih volumena.

Svi navedeni utjecaji, sva ranija umjetniko stilska razdoblja i dominantne strujedananjice, vidljive na izloenim djelima, samo su izraz poetnog afiniteta, koji se kasnijerazvio u svakog pojedinog umjetnika, voenog osobnim senzibilitetom, u vlastituidiosinkraziju, osobni idiom stila. Posjedovanje vlastita izraza, bez obzira na poetneutjecaje, jedna je od glavnih odlika i tenji suvremene umjetnosti i kulture. Svako umjetnikodjelo tako je izraz osobnih aspiracija, svjedok osobna razvoja, bez nunosti stilskogpripadanja, a svaka slika je odraz jedne osobne tendencije. Preostaje nam samo zamiljatiu kojem smjeru e nas struje suvremenosti jo dalje odvesti

Buenje Degradacija

Tendencijama

Elementi rada The Elements of Work) Vadlovak

Boston Views

Evicu

IVA PAPI, dipl. pov. umj.

1996KRUNOSLAV KERNMATO JURKOVIZLATKO ULARZLATKO PRICAELJKO MUCKOORE PETROVIVLADIMIR POLINELA GRUDENZDRAVKO OSI

1997SKUPNA IZLOBASLIKARAKOJI SU IZLAGALI U 1996.PREDRAG LESIFRANJO MATEINMUNIR VEJZOVIVELJKO LUAISINIA SIMONGORANKA POLITEOMILAN PAVLOVIKELLE SANDORALEKSANDRA ROTARDALIBOR RUBIDOELJKO MUCKO

1998SKUPNA IZLOBASLIKARAKOJI SU IZLAGALI U 1997.MATO GERECIBOGOMIL KARLAVARISURENA ZALUKIHARAMIJAMATO JURKOVI

1999SKUPNA IZLOBAFRANJO MATEINRENATA FACAN pl. KUECZLATKO PRICAFRANE RADAKGORANKA POLITEOLUJ PINTARIVLADIMIR MEGLI

2000SKUPNA IZLOBAHELENA RAMLJAKANTE SCHRAMADEITIHOMIR LONARNENAD OPAIEDO MURTIDAVORIN RADIZLATKO KAUZLARI ATA

2001SKUPNA IZLOBAMATO JURKOVIGORAN PETRAIGOR GUSTINISKUPINA 5 GODINA LIKOVNOGSALONAELJKO HEGEDUIFRANE RADAK

2002SKUPNA IZLOBAELJKO MUCKOMILAN PAVLOVIROBERT PAULETTAIVO EBALJELJKO LESARIGOR GUSTINITIHOMIR LONARVIKTOR VASARELYMATO JURKOVI

2003SKUPNA IZLOBABOJAN UMONJADAVORIN RADISKUPNA PUT CRKVE I NARODAIGOR GUSTINIZLATKO PRICAGORANKA POLITEONIVES KAVURI KURTOVI

2004LJUBO KRNJUGROBERT PAULETAVLADIMIR POLI

2005SKUPNA IZLOBABORIS GLUMAC

2006LJUBO PERINLISREKO PLANINIELJKO MUCKONADA ILJAKSKUPNA IZLOBA 10 GODINALIKOVNOG SALONATOMO HRGOTA

2007SKUPNA IZLOBAGORANKA POLITEOSTJEPAN JOZIPAVLE HEGEDUFULVIO JURII

2008SKUPNA IZLOBAVLADIMIR BLAANOVISTIPE IVANIEVI(AKT)UALIZACIJAALISA ABERVLADIMIR DANKOGORANKA POLITEO

2009SKUPNA IZLOBAZA RITAM SRCANIKOLA FALLERRATKO LJEIIVICA ANTOLIOPEN VERNISSAGE2009

U GALERIJI VERNISSAGE IZLAGALI SU:

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akDesign: Andree Knoll

Alice BradshawAleksandra Zubova

Vanderlei ZalochiAlmir Sehic

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OH SoungTomo HrgotaDora BrateljPetar Dolic

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Gabor UrbanJosipa Bralo

Erna G.S.Denis Victor Havmann Andersen

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