Posebna ponuda

  • Vlado Martek
  • Braco Dimitrijević
  • Raša Todosijević
  • Mladen Stilinović
  • avant-garde covers
  • Radovan Ivšić
cijena: 15.000 kn ubaci u košaricu Exat 51 Exat 51
  • izdavač: Zagreb - Beograd
  • godina: 1953
  • izdanje: prvo
  • uvez:
  • format: 30x42 cm
  • broj stranica:

EXAT 51 - Manifest, Beograd. 15x21 Rastvoren 40x42. Stanje - odlično. Izložba Kristl  - Picelj - Rašica - Srnec. Mogućnost novoga, tekst Jure Kaštelan. Štamparija Vjesnik NHF 2592/53. Rukom dopisane prethone izložbe EXAT 51

EXAT 51 - Manifest, Zagreb, 1953. godine 15x21cm

Proglas sa izložbe u Zagrebu, ispisan na pisaćoj mašini.

Katalog / Artist Book izložbe u Zagrebu, 1953. godine. S potpisima Ivana Picelja i Aleksandra Srneca. Na zadnjoj praznoj stranici rukom ispisan proglas; na ulazu u izložbeni prostor je postavljeno rukom potpisani tekst: ONIMA...

EXAT 51. je naziv umjetničke grupe iz Zagreba, (kratica od Eksperimentalni atelje), slikara i arhitekata koja je djelovala u Zagrebu od 1950. do 1956. godine.

Članovi grupe bili su arhitekti; Bernardo Bernardi, Zdravko Bregovac, Zvonimir Radić, Božidar Rašica, Vjenceslav Richter, Vladimir Zarahović i slikari; Vlado Kristl, Ivan Picelj i Aleksandar Srnec.

EXAT 51 is the name of the artist group (an abbreviation of Eksperimentalni atelje – Experimental Studio), architects and painters that worked in Zagreb from 1950 to 1956. The members of the group were architects: Bernardo Bernardi, Zdravko Bregovac, Zvonimir Radić, Božidar Rašica, Vjenceslav Richter, Vladimir Zarahović, and painters: Vlado Kristl, Ivan Picelj and Aleksandar Srnec. The EXAT 51 Manifesto, whose authorship is disputed and which was supported by all of the members, was read publicly at the central meeting of the Croatian Association of Artists of Applied Arts in 1951. The manifesto proclaimed the synthesis of art, architecture and design that should improve the practice of everyday life. It promoted socially engaged art inspired by constructivism, De Stijl (The Style) and Bauhaus, with the tendency to replace the ruling dogma of socialist realism with a modernist synthesis which should cover the totality of life. The manifesto coincided with similar trends in Italy, and especially the Espace Group that was active in France under the leadership of Le Corbusier and of which the members of EXAT had no knowledge while conceiving their own manifesto. The first exhibition of EXAT 51 was held in 1953 in the Croatian Association of Architects and it represents an event that marked the definitive end of socialist realism in Yugoslavia. The members of EXAT developed their professional knowledge actively and progressively from an independent position. Although their activities fit into the contemporary dominant ideology on the general progress and prosperity of society, the aesthetic radicalism and urban worldview of EXAT members were on the verge of acceptance of the government. Therefore, in relation to the winning, local variant of moderate, so-called socialist modernism, they were pushed into the background. The realization that the comprehensive strategy of EXAT 51 and its social activism are based on the awareness that an art work is the area and domain solely of the artist’s vision, action and rational control probably contributed to that. Although the work of EXAT 51 is local in scope, the size of their results was a precondition and basis of the international movement Nove tendencije (New Tendencies) that was formed in Zagreb in 1961.