GALLERY

Edita Schubert Trapez Zagreb, 1986. Sintetička boja na papiru 74x66 cm

Ivan Picelj Kompozicija / Composition Gouache / gvaš na papiru Pariz, 1958. Galerie Denise René, Paris period 57x45 cm Signed YP

Boris Demur Akrilik na platnu 80 x 120 cm Signed and dated Demur, 1999.

Julije Knifer Black Meandar on Silver Surface Collage Signed and date on back 20x30 cm J. Knifer, 1970. Unique

Radomir Damnjanović Damnjan Dezinformacija 2020. Acrylic on canvas 70 x 70 cm Signed, titled, dated and stamp of the artist on the reverse Work accompanied by a certificate of authenticity issued by Galleria Federico Bianchi Contemporary Art, Milan PROVENANCE: Galleria Federico Bianchi Contemporary Art, Milan Private collection, Lecco LITERATURE: cfr. J. Denegri, T. Trini, Radomir Damnjanovic Damnjan, Federico Bianchi Contemporary Art, Milan, 2010, p. 359

Ivan Picelj Kompozicija Ugljen / papir 1951. godina 330 x 235 mm Publicirano u monografiji EXAT 51. Ješa Denegri i Želimir Koščević. Galerija Nova, Zagreb, 1979. (slika 3)

Boris Demur Spirala Akrilik na platnu 130 x 90 cm Signed and dated Demur, 1994.

Braco Dimitrijević This Could be a Place of Historical Importance Triptych Signed I-III Braco Dimitrijević, 1976. Photography B/W photographs mounted on printed form Photo 18x24 cm 51x36 cm

Juraj Dobrović Rezana kocka Zagreb, 1980. 50x30 cm Signed and dated Akrilik na kaširanom platnu

Juraj Dobrović Akril / Collage Zagreb, 1973 30x30 cm Signed and dated

Boris Bućan: Laž / Lie Rad rađen za Trigon, 1973. Devet vintage fotografija za Bućanovu intervenciju u prostoru Photo Željko Stojanović 9x14cm Boris Bućan na Trigonu 1973. radi »Lažno djelo«. On kaže: »Djelo, koje će biti prikazano na video-tejpu, svjesno sam napravio dokazujući da pravim lažno djelo. Video-tejp ne upotrebljavam u bilo kakve eksperimentalne svrhe, već želim tv medij iskoristiti kako bi što veći auditorij konzumirao moje lažno djelo.«1 Na video-vrpcu trebalo je paralelno u Zagrebu i Grazu snimiti stavljanje velikog transparenta s natpisom »Laž« na fasadu neke kuće, a pri tom zabilježiti i reakciju publike. Rad je imao nekoliko konotacija: Bućan je napravio djelo koje ne smatra umjetničkim ali ga stavlja u kontekst umjetnosti i u kontekst javnog mjesta. Djelo koje nije umjetničko predstavlja se kao umjetničko i provocira riječju laž. Što je laž: politika, umjetnost, medij videa ili televizije ili samo djelo s nazivom Laž – ostaje otvoreno pitanje. Niz sličnih provokativnih radova Bućan je izložio na svojoj samostalnoj izložbi u Galeriji suvremene umjetnosti 1975. Uvijek je u pitanju značenje i smisao nekog djela I njegove poruke. 1 Tekst u katalogu »Audiovisuelle Botschaften«, Trigon ‘73, Graz Susovski, Marijan (1982.). Inovacije u Hrvatskoj umjetnosti sedamdesetih godina. U katalogu izložbe Inovacije u Hrvatskoj umjetnosti sedamdesetih godina. Zagreb : Galerija suvremene umjetnosti; str. 27

Juraj Dobrović Collage Zagreb, 1973 30x30 cm Signed and dated

Dean Jokanović Toumin K 18 Black Zagreb, 2018. 48 cm Akril / drvo

Dean Jokanovic Toumin K 18 White Zagreb, 2018. 48 cm Akril / drvo (wood)

Luis Tomasello Lumiere noire medium: wood and plastics period: 2011 signature: in marker at the back edition 60 size: 40cm x 40cm x 4cm (15.7” x 15.7” x 1.6”)

Marina Abramović: Originalni plakat za prvu veliku izložbu / performance Rhythm 2 Original poster for first big Marina Abramovic solo exhibition / performance Rhythm 2 Design Sanja Iveković. Galerija suvremene umjetnosti 14.10.1974. godine. High Quality Screen Print / visokokvalitetan sitotisak by Studio S 70x100cm Stanje odlično / fine condition. Very very rare and important Among the posters designed by Sanja Iveković for the Gallery, certainly the most well-known is the one created for the exhibition of Marina Abramović in 1974, again characteristic for its unusual intervention into the rectangular shape of the poster, created by cutting the right lower corner of the poster. In this case, the intervention is not only a reflection on the specificity of the medium, but also a reference to the artistic practice of Marina Abramović. The radical intervention in the limits of the poster’s medium is related to the body art of the artist herself, whose artistic practice often involves reaching the limits of physical and psychological exertion. Source: Marko Golub and Dejan Kršić

Mangelos: manifest o impresionizmu (in Croatian), 1977. High Quality Screen Print / visokokvalitetan sitotisak 84 x 52 cm (33 1/8" x 20 1/2") Mangelos: manifest o impresionizmu silknprint on paper. Zagreb 1977. Produced as part of a gallery show in Zagreb that featured his manifesto work. Mangelos. Manifesti: noart. Zagreb: Atelier Tošo Dabac, 1978.

Alberto Biasi: Torsioni Sovrapposte Noir Multiple: wood and pvc lamellae 2016. Signature engraved by the artist Edition 15 Size 52cm x 51cm x 10cm (20.5'' x 20.1'' x 3.9'') Condition perfect condition

Marina Apollonio Dinamica Circolare 6B Ruotato – Vertigo wood and turning circle period: 1968-2020 signature: handsigned at the back edition: 20 size: 42cm x 42cm (16.5” x 16.5”)

Gregorio Vardanega box Boite à cercles de couleurs Plexi. Year: 1970. Signed by autor / at the back 13/15 Edition 15 Size: 35cm x 35cm x 12cm (13.8'' x 13.8'' x 4.7'') Condition: perfect Gregorio Vardanega (1923-2007) was an artist of Italian origins who worked in Argentina and France. Vardanega and Martha Boto, his companion, created the term "chromocinetism" to describe their artistic research. Vardanega was born in Possagno, Italy. Vardanega's family migrated to Argentina when he was three years old. He attended the Escuela Nacional de Bellas Artes in Buenos Aires from 1939 to 1946. Participating on New Tendencies 2 and New Tendencies 3. Zagreb, 1963. & Zagreb, 1965.

Dean Jokanović Toumin Analitičko / primarno slikarstvo Akril na platnu No. XXII 40x40 cm Milano, 1976.

Vlado Kristl Zagreb, 1961. Edition 10 Signed and dated 19x9 cm Framed 28x33 cm Acrylic and colored vibrant plastic foil

Koloman Novak 1962. Akril na dasci. Pjeskareno. 38 x 26 x 2 cm

Eugen Feller Akril na platnu 2010. godina 60x50cm