Kipke Zeljko (5 results)

32 pp.; 22.9 x 21.5 cm.; staple bound; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed Exhibition catalogue published in conjunction with show held May 25 - July 1, 1989. Texts by Susan Wyatt, Valerie Smith, Kathy Rae Huffman, and Biljana Tomic. Artists include Mrdjan Bajic, Miroslaw Balka, Jiri David, El Kazovszkij, Zeljko Kipke, Jiri Kovanda, Mariusz Kruk, Piotr Kurka, and others. Cover: Peter McClennan. Fine. Covers and contents clean and unmarked.…

21 x 21, sans pagination, quelques illustrations en couleurs, broché, bon état.

Paperback. Condition: Near fine in wraps. First Edition. 29 x 16.5cm. Paperback, 55pp. In Dual English and Croatian. Rare exhibition catalogue - fully illustrated - for an exhibition showing lesser-known and almost unknown works by Zeljko Kipke. This especially applies to prints from 1977, which had not been publicly displayed until the exhibition. Other attractions included 'Prayer Machine Chambers', rotating vinyl records and messages on aluminum boards, chair with a rotating seat, a wooden wheel rotating on a bicycle axis, an early ready-made board, and an indicative painting from 1982 that reflects the author's obsession with circular shapes, record players, and films. The exhibition also spotlit rare early examples of elementary and primary procedures in the graphic techniques of drypoint, intaglio, lithograph, and silkscreen in Croatian visual arts. In the introductory text Leonida Kovac draws links to Marcel Duchamp and pataphysics founder Alfred Jarry. Near fine.…

In-8, 24 cm, 16pp., illustr., planches hors-texte, Bibliogr., 1 p., petits cachets de bibliotheque, Nb-0279.

Zagreb: self-published, 1978-1984. Quartos (ca. 30.5 × 21.5 cm). Original side-stapled, partially illustrated wrappers on various paper and card stock and in various media; ca. 14-34 leaves per issue of prints and individual artworks to rectos and versos, including drawings, photographs, screen printing, assemblages, collages, decoupages, and found objects. Overall very good. Nearly complete set of the extremely rare series, issues of which were produced manually by the artists in only 100 to 200 copies. The series was named after an exhibition organized in Zagreb by the Sava River in May 1975, which was organized by the artists independently of galleries and other art world institutions. On this occasion, leaflets were also distributed in addition to individual works of art, in order to stimulate discussion about the pieces. All participating artists were present and available for discussions with the public. Among them were the painter Boris Demur, the photographers ?eljko Jerman, Sven Stilinovi?, and Fedor Vu?emilovi?, the poet Vlado Martek and the experimental filmmaker Mladen Stilinovi? The action was so decisive for the six artists that they followed up with around 20 such exhibitions in public spaces - in squares, streets, by the sea, in university halls, courtyards and private homes - in Zagreb, Belgrade, Mo??eni?ka Draga and Venice. This radical form of allowing art to take place outside the established art context set a precedent in Zagreb (we should remember Arthur C. Danto's thesis published in 1981 in "The Transfiguration of the Commonplace" that a work is defined as a work of art by its context). From 1979, the Group of Six Artists (?estorice autora) worked within a larger group that exhibited in alternative spaces such as "Podroom" (The Cellar) (1979-1980) and "Prostor Prosirenih medija" (The Expanded Media Space), later renamed Gallery PM, from 1981 to 1991. (On this and the following: Cf. Darko ?imi?i?, From Zenit to Mental Space, in: Impossible histories: historical avant-gardes, neo-avant-gardes, and post-avant-gardes in Yugoslavia, 1918-1991, pp. 324-326). Founded in the summer of 1978, the journal "Maj 75" is part of the concept of organizing exhibitions outside of established spaces. Numbered alphabetically, the issues themselves exhibit individual works, rather than simply reproducing them. In addition to prints and original prints of photographs, the issues are interspersed with collages, assemblages, and drawings, which sometimes differ from issue to issue (as a comparison with other copies reveals). The texts are mostly manifestos, quotations, visual and concrete poetry, and documentation of art actions. The series was started by Martek and Stilinovi? Their concept is reminiscent of the "Tango" series started a few years later in Poland by the "Kultura Zrzuty" group. But with "Maj 75", there was no fixed group working together on the issues. Instead, the issues were curated in the manner of exhibitions. The artists sent in the required number of A4 works, which were then stitched together with the works of other artists. The wrappers were usually screen-printed in the studio of Zeljko Jerman and Vlasta Delimar. The series was introduced with a text by the group of six. The first point (a) states that the first and foremost priority is to create an alternative to the contemporary trend of making art exclusive to the art world. The compartmentalization of art is lamented. The second point emphasizes that each issue is made up of individual works of art, so they are not collective works. Over the years, works by 53 artists from Yugoslavia (including Zagreb, Belgrade, Novi Sad, Ljubljana, Kranj, Rijeka, Pula and Sarajevo) and abroad (Venice, Bratislava, Frankfurt) have been brought together. Some issues dealt with specific topics: Vlasta Delimar published issue "F" in 1981 and invited only female artists to contribute. Issue "E" from 1981 contained the documentation of two exhibition events; issue "LJ" from 1984 published a series of short stories collected by Martek. Issue "K" from 1983, which is the only issue lacking in our set, was a special case due to its tiny print run: only 16 copies were produced (two for each of the participating artists), published, and launched unofficially. As of April 2024, OCLC lists only one holding in North America, at MoMA.…