Ivan Kožarić
Oblik prostora / Shape of Space
Zagreb, 1966.
Bronca / Bronze
H 26cm
W 14cm
Potpis / Signed I.K. 66
Stone pedestal - idea by Artist
Gorgona period.
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
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
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)
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.