komunicirajmo, -- bastinu komunicirajmo, -- bastinu __ Sabina Barbiš & Mario Depicolzuane Željko Skomeršić Zlatne i srebrne točke Ploviti se mora __ Saša Lončarić Igor Gržetić Vinske tišine Rorschach & Nova pornografija ____________________ 22-10-10-11-2o12 Pomorski muzej Crne Gore, Kotor Maritime Museum of Montenegro, Kotor komunicirajmo, -- bastinu how the heritage can bE communicated komunicirajmo, -- bastinu Milica Žužić Tvrdim da je otok Krk vrlo mudar izbor prostora za življenje. Istovremeno dovoljno izvan središta zbivanja i dovoljno u središtima zbivanja. U koraku s vremenom, a opet tako tradicionalan. Dovoljno suvremen i odmjereno konzervativan. Na njega nailazi budućnost i s njega odlazi prošlost u idealno izmjerenim razmjerima. Danas je otok Krk neka vrsta zlatnoga reza suvremenosti i prošlosti koja na svoje područje propušta dovoljno tehnoloških pa zatim i odnošajnih novotarija i otpušta prežitke bivših vremena koji su se beživotno objesili ne ostavljajući povoda za čuvanje. Drugi pak zvuci, oblici, boje vremena brižljivo podešavaju korak sa sadašnjošću ostajući postojani temelj za stabilnu kralježnicu otoka. Pritom su dovoljno elastični da budu povijeni, ali da ne prepuknu, normirajući tako kriterije za ulazak-izlazak iz zbirke i u zbirku osobina i značajki otočnoga identiteta. Taj je proces iznimno dinamičan – možemo ga zvati komuniciranjem baštine. Znakovit primjer komuniciranja baštine zamijetila sam 2011. godine tijekom Festivala folklora otoka Krka: iz mnoštva malenih, mladih, starijih i starih sudionika pozornost je privlačila jedna tinejdžerka šećući se odjevena u narodnu nošnju, obuvena u starke. Poruka se čitala iz njenoga držanja: ja poznajem ovu glazbu, otplesat ću savršen narodni ples. Ja poznajem i suvremenost svojih vršnjaka – ponijela sam je sa sobom u starkama. Na svoj su način, suvremenim medijem i suvremenim znanjima svojih struka, tu istu tradicionalnu pučku glazbu otoka Krka, suvremenicima komunicirali Sabina Barbiš i Mario Depicolzuane putem dizajnersko-istraživačkoga projekta “Zlatne i srebrne točke”. Srž ovog projekta jesu fotografije usmjerene na pojedinosti iz otočnog miljea, preko kojih je zlatnim i srebrnim točkama nanesen “grafički prijevod” notnoga zapisa pučkih skladbi u tradicionalnoj dvoglasnoj instrumentalnoj / vokalnoj izvedbi s uzdužnim valovitim linijama kao oznakama tempa i cjelovitim tekstom pjesme. Odašiljući istovremeno vizualnu, melografsku i tekstualnu poruku, “Zlatne i srebrne točke” ne komuniciraju samo glazbenu baštinu otoka Krka već cijeli njegov ambijent, a služeći se mogućnostima suvremenog dizajnerskog postupka svjedoče da tradicija i suvremenost nisu suprotstavljene krajnosti već dijelovi jedne cjeline. [3] Iz svoga “brodogradilišta” u središtu grada, drugačijim medijem i drugom tradicijskom temom baštinu komunicira Željko Skomeršić, vrsni hrvatski maketar. Draž minijaturnog Željkovog “brodogradilišta” jest u tome što se u istom prostoru i gradi i izlaže tako da Željko baštinu komunicira neposredno – svaki posjetitelj ima mogućnost pratiti tijek nastajanja brodskih modela. Odavde se baština komunicira preciznošću i strpljivošću, vjerodostojnim umanjenim replikama, težnjom za savršenošću izrade: zamislite primjerice nastajanje jednog elegantnog i složenog šambeka – trupa sa stotinu rebara i izradu rešetkastih pajola koji teško da uopće mogu biti sastavljeni od manjih komadića: najprije se izrezuju gredice dimenzija 1x1 mm, a zatim se spajaju u kvadratiće 3x2 cm. I ne samo modelima, Željko komunicira baštinu i putem strastvenog sakupljanja starih i suvremenih pomorskih izdanja, bogate zbirke brodskih nacrta, brodograđevnog alata... Također barka – jedan od najbaštinskijih motiva ovoga podneblja – središte je propitivanja i sljedećeg umjetnika, Saše Lončarića. Njegove su barke potpuno mirne. Okovane su tišinom, usidrene odlukom da više nikad nikud ne zaplove. One su prispjele da bi ostale. Baštini koju Saša komunicira putem svojih akvarela i vinorela oduzete su povišene emocije. Njegova je baština umirena i zamišljena, zaustavljena u prostoru bez ljudi. Saša prenosi baštinu započetu potezima iznimnog crtača – analitičara, s nadgradnjom istančanih tonova akvarelne i vinorelne boje. Neupućeni bi promatrač mogao pomisliti da se ovdje radi o prenašanju motiva fotografskom preciznošću, upravo doslovnom bilježenju stvarnosti. Međutim, ništa na njegovim slikama nije opipljivo ni prepoznatljivo, niti zbiljsko – riječ je ovdje o poetskom i autorskom tumačenju zbilje, o komuniciranju baštine putem stvaralačkog odraza ozračja otoka. Na vrlo intrigantan način, gotovo relativizirajući svaku pojavnost, u raspravu s viđenim krenuo je Igor Gržetić projektom “Rorschach & Nova pornografija”. Polazeći od postavke Hermana Rorschacha da svaki čovjek izgrađuje ovaj svijet te da je ono što vidimo stvarno samo kao konsenzus te višegodišnjim studiranjem jedne relativno mlade ali zahtjevne discipline – teorije likovnosti, ušao je u interdisciplinarno područje povijesti umjetnosti i projektivne psihologije. Stvaralački pristup projekta “Rorschach & Nova pornografija” definirala je teorija Ernsta [4] Gombricha o tome kako slika prikazuje. Cijeli se ovaj projekt temelji na spomenutoj intrigi, odnosno na različitim čitanjima istog obrasca, ovisno o mentalnoj usmjerenosti promatrača, a okuplja dva grafička i jedan fotografski ciklus, grafički diptih, slikarski eksperiment, niz memorabilija i (pseudo)dokumentarni video. Već je i sasvim sažet prikaz prethodnih četiriju postupaka komuniciranja baštine dostatan za zaključak da baština i suvremenost u Krku dijele ravnopravne udjele. Njihovo je supostojanje prepoznato, čuva se i komunicira kao (pra)počelo ovdašnjeg identiteta. Ovisno o području svoga interesa, autori koji su ovdje predstavljeni do baštine dopiru različitim pristupima, različito o njoj promišljaju, različito je interpretiraju i prenose je uobličenu u novu vrijednost grafike, minijature brodskog modela, akvarela, vinorela... Pritom, poticaje za nova i nova tumačenja baštine ne nalaze kao etnografske izložbene eksponate, muzejske primjerke. Baština je ovdje svuda oko njih, ona je ovdje svakodnevica. Vrlo je živa, dinamična, spremna na preoblike koje od nje zahtijevaju izazovi vremena. To je čini gotovo izaći iz vlastite definicije i živjeti na rubu proturječja: baština je ovdje sasvim suvremena. [5] komunicirajmo, -- bastinu [6] komuni- grad cirajmo, krk. -- bastinu [7] komuni- grad cirajmo, krk. -- bastinu [8] how the heritage can bE communicated Milica Žužić Being in the centre of events and out of them at the same time, Krk is claimed to be a wise choice of living. Krk is modern, but also very time-honoured, contemporary enough but also quite conservative. Future comes on this island and past gives it up in proportions that are ideally measured. Today, the right shares of modernity and past have accepted coexistence on the island of Krk. These two contrasting shares are overseeing the interfusion of innovations and tradition. However, some other sounds, shapes and colours of time have carefully become adjusted with the present time forming the reliable spine of the island’s identity. This process is exceptionally dynamic – we can name it the heritage communicating. I saw a symptomatic example of heritage communicating in 2011 during the Festival of folk songs and dances of the island of Krk. There was a crowd of the little ones, the young ones, the grown-ups and the elderly participants and my attention was caught by a teenage girl. She was roaming around dressed in a folk costume with the green “all stars” trainers that were very much in fashion. Her message could be read from her posture: “I know this music well, I will complete a perfect folk dance, but I also know me and my generation’s modernity – I took it along in these green trainers.” Exactly that folk music and the local ambiences are communicated and mediated in such a way as to retain the integrity and uniqueness of tradition, yet being interpreted in a contemporary language – that of design in this case. The authors, Sabina Barbiš and Mario Depicolzuane named their project “Gold and Silver Dots”. It is a series of 15 posters, each with a photography record of a characteristic motif from the island of Krk (the architecture, costume, nature, customs...). Via photographs, a graphic riddle develops: an enigmatic abstract structure that flows in a regular rhythm. This is a transcription or a translation of the untempered hexatonic scale. Every poster also conveys a composition in the traditional two-part instrumental or vocal performance. Along the poster there are gently waving lines the vertical density of which marks the tempo. Finally, there are words of the songs that bring in the written word. Sending visual, musical and textual message at the same time, this project doesn’t communicate only the folk music of the island of Krk, but its entire am- [9] bience. Using the possibilities of modern layout technique, the authors testify that tradition and modernity are not two opposed extremes, but two parts of one ensemble. Using other media and another topic taken out from heritage, Željko Skomeršić, an excellent ship model builder, communicates heritage from his “shipyard” in the centre of the town as well. The charm of his miniature “shipyard” is the fact that models are built and displayed in the same room, so, from here, the heritage is communicated at first hand – each visitor has the opportunity to follow the process of an emerging model. From this “shipyard” the heritage is communicated by preciseness and patience, through the authenticity of the lessened replicas which are close to perfection. Can you imagine a process of making a hull with 100 ribs that could hardly be made of smaller parts? Firstly, he cuts tiny parts 1x1 mm and then he puts them together in squares 3x2 cm... And not only by models, Željko is communicating heritage through passionate collecting of old and modern maritime literature, through the rich collection of ships’ sketches, shipbuilding tools… A boat is also in the centre of interest even for the next artist, Saša Lončarić. His boats are completely calm. They are bounded with silence, anchored with decision not to float away anywhere, ever. They have arrived to stay. The heritage that Saša is communicating through his watercolour paintings is deprived of exaltation. His motifs are calm and thoughtful, constricted in a space without people. The base of Saša’s painting are lines of an extraordinary sketcher and the superstructure are refined shades of water colours. An uninformed observer could think of motifs that are literally transferred from reality, but nothing on Saša’s paintings is palpable, recognizable or real. His paintings are poetic and authorial interpretation of reality. They are his way of communicating heritage through creative reflex of island’s aura. [10] In a very intriguing way, relativizing almost each possible manifestation, Igor Gržetić started a debate with “what can be seen”. His project “Rorschach & the New Pornography” is based on Herman Rorschach’s thesis that each being is involved in developing of the world and that “what can be seen” is real only as a consensus. For a couple of years, Igor has studied quite recent, but demanding discipline – theory of visual arts, so he entered in one inter- disciplinary area of art history and projective psychology. Approach to his project is defined by Ernest Gombrich’s theory about what can a picture present. Igor’s project lies on this intrigue and on different possibilities of reading the same pattern which depends on the mental orientation of an observer. The project consists of two graphic and one photographic cycle, a painting experiment, a sequence of memorabilia and a quasi-documentary video recording. This brief review of four different methods of heritage communicating is enough to conclude that heritage and modernity in Krk coexist on an equal footing. A good care is taken of it and it is communicated as the (pre)element of Krk’s identity. Depending on the areas of their interest, the presented authors find their own ways to the heritage, they are thinking about it in different ways, they interpret it via different techniques... While they are doing so, they are not finding motifs such as exhibits in some ethnographical museum, because they are surrounded by heritage, it is there in their everyday lives. It is vivacious, dynamic, ready for transformations demanded by challenges of time. These characteristics are almost stepping out from their own definition and exist on the edge of contradiction because heritage in Krk is completely modern. [11] how the heritage can bE communicated [12] -- sabina barbis mario depicolzuane Zlatne i srebrne točke – vizualizacija pučke glazbe otoka Krka Gold and Silver Dots – A Visualisation of the Folk Music of Krk Island __________ U seriji od petnaest plakata, autori profesionalno besprijekornom i autorski neutralnom fotografijom bilježe karakteristične motive s otoka Krka – graditeljstvo, nošnju, prirodu, običaje... Te fotografije u svojoj izbrušenoj estetici, namjernom inzistiranju na žanrovskim klišejima i fokusiranju na fragment, podsjećaju na rafiniranu, no ponešto distanciranu maniru koju susrećemo i u industriji oglašavanja u turizmu ili pak u putopisima u ambicioznijim časopisima. Time je stvoren komunikacijski kontekst koji je poznat i siguran, koji se ne oslanja na egzotiku, nego na konceptualnu egzaktnost bilježenja zatečenog. Maroje Mrduljaš [13] In a series of 15 posters, the authors are recording characteristic motifs from the island of Krk – architecture, folk costumes, nature, customs etc. using professionally perfect and their own neutral photography. In their high aesthetics these photographs are insisting on the clichés while focusing on a fragment. They are reminding of a refine but a bit distant manner which can be met even in advertising industry for tourism or in travel-books. While doing so, the authors were creating a familiar and safe communication context, which is not leaning on exotic but on conceptual exactness of what can be seen. Maroje Mrduljaš -- sabina barbis mario depicolzuane O autorima About the authors Mario Depicolzuane rođen je 1985. Odrastao je u gradu Krku na otoku Krku, Hrvatska. Diplomirao je grafički dizajn na Grafičkom fakultetu Sveučilišta u Zagrebu. Trenutno radi u studiju Bunch u Zagrebu. Također, radi kao freelance grafički dizajner na širokom spektru naručenih i osobnih projekata. [14] __________ Sabina Barbiš rođena je 1985. Odrasla je u Malinskoj na otoku Krku, Hrvatska. Diplomirala je na Arhitektonskom fakultetu Sveučilišta u Zagrebu. Trenutno radi za “Oris” – časopis za arhitekturu i umjetnost, te kao freelancer u domeni arhitektonskog projektiranja, grafičkog i produkt dizajna. Sabina Barbiš, born in 1985. Raised in Malinska, on the island of Krk, Croatia. She graduated from the Faculty of Architecture in Zagreb. Momentary, she works for “Oris” – magazine for the architecture and art, and as a freelancer in architecture planning, graphic and product design. Mario Depicolzuane, born in 1985. Raised in Krk, on the island of Krk, Croatia. He graduated graphic design at the Faculty of Graphic Arts in Zagreb. Momentarily, he works for Bunch studio in Zagreb as well as a freelancer in design in wide range of commissioned and personal projects. Sabina Barbiš & Mario Depicolzuane Barka mala [15] goldandsilverdots.studio8585.com __ Sabina Barbiš & Mario Depicolzuane Budi hvajeno [16] goldandsilverdots.studio8585.com __ Sabina Barbiš & Mario Depicolzuane Cviće mi poje pokrilo [17] goldandsilverdots.studio8585.com __ Sabina Barbiš & Mario Depicolzuane Majko Jelenina [18] goldandsilverdots.studio8585.com __ Sabina Barbiš & Mario Depicolzuane Mantinjada [19] goldandsilverdots.studio8585.com __ Sabina Barbiš & Mario Depicolzuane Popuhnul je tihi vetar [20] goldandsilverdots.studio8585.com __ Sabina Barbiš & Mario Depicolzuane Prebir [21] goldandsilverdots.studio8585.com __ Sabina Barbiš & Mario Depicolzuane Tanac na halop [22] goldandsilverdots.studio8585.com __ Sabina Barbiš & Mario Depicolzuane Tonoc va kući [23] goldandsilverdots.studio8585.com __ Sabina Barbiš & Mario Depicolzuane Tonoc na placi [24] goldandsilverdots.studio8585.com __ -- -- - zeljko skomersic Ploviti se mora Navigation is necessary [25] __________ Otkrivajući svijet stvaranja jedinstvenog i po mnogočemu iznimnog graditelja brodskih modela i maketa Željka Skomeršića, čovjek ostane začuđen marljivošću i znanjem, ali i neobičnim umijećem. Naime, danas postoji u svijetu i kod nas mnogo modelara drvenih brodova. Posebice u zemljama velike i stare pomorske tradicije. I u Hrvatskoj ima lijepi broj tovrsnih majstora, pa ipak Željko se izdvaja i po godinama uspješnog stvaranja i po širokoj paleti brodskih modela, a rekao bih i po izvrsnosti svoga rada. Od zamisli do koncepcije stvaranja i dovršenja jednog modela protekne dosta vremena, a sve treba držati u glavi i rukama, jer svaki rad mora biti pošteno do kraja izrađen i zaokružen. Stoga su Željka i dopala tolika priznanja i nagrade. Julijano Sokolić Discovering the world of creation of the unique and extraordinary model ship builder, Željko Skomeršić, we are amazed by his diligence, knowledge and unusual skills. Today, there are lots of model ship builders in the world especially in countries with a long naval tradition. There are also a lot of them in Croatia as well, but Željko can be singled out for his long and successful existence on the scene, for a wide range of built models and for the excellent work. From the initial idea to the finished model a long time is needed. He succeeded to keep all the details in his mind and hands all the time and to complete each tiny piece to perfection. This is the main reason why he got so many acknowledgements and rewards. Julijano Sokolić __ * Vlasnik modela Bark Kostrena: dr. Željko Plazonić [Viškovo] -- -- - zeljko skomersic O autoru About the author [26] __________ Željko Skomeršić rođen je 1952. u Rijeci, te živi i radi u Krku. Željko je danas jedan od najpoznatijih hrvatskih graditelja modela brodova okićen mnogim prestižnim svjetskim odličjima i priznanjima. Istražujući građu za svoje modele nalazio je i sakupljao napuštene i odbačene dijelove starih brodova i brodske opreme, zemljopisne karte i danas nepotrebne i gotovo naivne pomorske priručnike. Vraćao ih je u život kako bi ih sačuvao od propadanja i zaborava. Željko Skomeršić, born in 1952 in Rijeka, lives and works in Krk. Today, he is one of the best known Croatian model ship builder rewarded by numerous prestigious world medals and acknowledgements. Searching for the information about his models, he found and collected discarded parts of old ships and their equipment, maps and books. He brought them back to life and preserved them falling into oblivion. Željko Skomeršić Šambek Le Requin M 1:36 | drvo, mesing, pamuk admiralitetni model [27] leut-krk.hr __ Željko Skomeršić Bracera M 1:30 | drvo, mesing, pamuk [28] leut-krk.hr __ Željko Skomeršić Trabakul Sv. Ivan M 1:30 | drvo, mesing, pamuk [29] leut-krk.hr __ Željko Skomeršić Brigantin Sv. Katarina M 1:50 | drvo, mesing, pamuk [30] leut-krk.hr __ Željko Skomeršić Brik Polaris M 1:50 | drvo, mesing, pamuk [31] leut-krk.hr __ Željko Skomeršić Leut M 1:30 | drvo, mesing, pamuk admiralitetni model [32] leut-krk.hr __ Željko Skomeršić Brik-škuner Gigino M 1:30 | drvo, mesing, pamuk admiralitetni model [33] leut-krk.hr __ Željko Skomeršić Bark Kostrena* M 1:60 | drvo, mesing, pamuk [34] leut-krk.hr __ Željko Skomeršić Pelig Naprej M 1:30 | drvo, mesing, pamuk [35] leut-krk.hr __ Željko Skomeršić Falkuša raspremljena M 1:20 | drvo, mesing, pamuk [36] leut-krk.hr __ -- -- - Sasa loncaric Vinske tišine The silences of wine Višnja Slavica Gabout [37] __________ U nekom nam trenutku postaje jasno da je taj Sašin “svijet predmetnoga iznad predmetnosti”, u stvari neki drugi svijet, u kojem uz profinjenu figuraciju žive metafore i simboli, poetika i metafizika. A u tom drugom svijetu je i vrijeme drugačije, jer prolazi polako, možda čak i stoji - i “odzvanja” tišinom. Sve što se tu na prvi pogled čini opipljivim i prepoznatljivim, neopipljivo je i izmaštano, jer je gledano nekim pogledom stvarnijim od stvarnoga. Pogledom poetskoga nadrealizma i magičnoga realizma, koji transformira viđeno i doživljeno u nestvarno i irealno. Zato za sve što naša osjetila kažu da je tu zbilja, naš razum u konačnici otkrije da je tek vrsta njezine poetske replike - dakle - iluzija. There is a moment when we understand that Saša’s world exists above the world of objects, that in fact it is another world where metaphors, symbols, poetry and metaphysics live supported by refined figuracy. And in that other world even time is different because it passes slowly, perhaps it is even stopped and reverberated by silence. Everything that is palpable and known there, is fiction in fact, watched over by a glance that is more real than the real one. It is a glance of surrealism and magical reality which transforms seen and experienced in unreal. That’s why everything that our senses feel as real, our minds see as only the variation, as an illusion. Višnja Slavica Gabout -- -- - Sasa loncaric O autoru About the author [38] __________ Saša Lončarić rođen je 1969. u Rijeci. Godine 1972. odlazi u Belgiju, gdje završava osnovnu školu i gimnaziju, a nakon toga u Bruxellesu završava Akademiju likovnih umjetnosti “St. Luc”, specijaliziravši se za crtanje stripa. Uz to, u Belgiji završava i trogodišnju školu za fotografe. Nakon povratka u Hrvatsku nastanjuje se u Krku te od 1998. godine započinje izlagačku aktivnost, samostalnim i skupnim izložbama, a uz to vodi likovne tečajeve i sudjeluje u radu likovnih kolonija. Član je HDLU Rijeka i ULUPUH-a. Živi u gradu Krku. Saša Lončarić, born in 1969. in Rijeka. Since 1972. he lived in Belgium where he completed the elementary school, college and the Academy of “St. Luc” Art College specializing in comics. In Belgium he also finished the school for photographers. After his return to Croatia, he settled in the city of Krk and since 1988 he has exhibited his work. He teaches courses in art. He is a member of HDLU (Croatian Association of Artists) in Rijeka and ULUPUH (Association of Artists of the Applied Visual Arts). He lives and works in Krk. Saša Lončarić Gajeta vinorel [tehnika slikanja vinom] [39] __ __ Saša Lončarić Oseka vinorel [tehnika slikanja vinom] [40] __ __ Saša Lončarić Mačja šetnja akvarel [41] __ __ Saša Lončarić Ribarska kućica akvarel [42] __ __ Saša Lončarić Portapizzana vinorel [tehnika slikanja vinom] [43] __ __ Saša Lončarić Starac vinorel [tehnika slikanja vinom] [44] __ __ Saša Lončarić Uvala Sv. Krševan akvarel [45] __ __ Saša Lončarić Krčke zidine akvarel [46] __ __ Saša Lončarić Bonaca akvarel [47] __ __ Saša Lončarić Uvala Čavlena akvarel [48] __ __ -- - igor grzetic Rorschach & Nova pornografija Rorschach & The New Pornography Igor Gržetić [49] __________ Projekt “Rorschach & Nova pornografija” javlja se kao rezultat višegodišnjeg studiranja jedne relativno mlade, ali zahtjevne, discipline – teorije likovnosti. Ušavši dublje u materiju ove struke sve mi je jasnijim postajalo provođenje interdisciplinarnosti – pažljivo ispreplitanje povijesti umjetnosti s postignućima ostalih znanstvenim disciplinama. Ovaj projekt tako objedinjuje raspravu o problemu iluzije austrijskog povjesničara umjetnosti Ernsta Gombricha, psihodijagnostička istraživanja švicarskog psihijatra Hermanna Rorschacha, te neobično igranje slobodnim mrljama njemačkog pjesnika, medicinara i parapsihologa Justinusa Kernera. Project “Rorschach and the New Pornography” is the result of studying quite recent, but demanding discipline – theory of visual arts. Understanding deeper and deeper meaning of this discipline, he appreciated more and more the importance of an interdisciplinary aspect of art history and other disciplines. This project is a spot where the discussion about the problem of illusion set by the Austrian art historian Ernst Gombrich meets the researches of Swiss psychiatrist Hermann Rorschach and the unusual play of free splashes made by German poet, doctor an parapsychologist Justinus Kerner. Igor Gržetić -- - igor grzetic O autoru About the author [50] __________ Igor Gržetić rođen je u Rijeci 1981. Školu Primijenjenih umjetnosti – smjer: kiparski dizajn, završio je 2000. godine, da bi te iste upisao studij likovne umjetnosti na Filozofskom fakultetu u Rijeci. Godine 2008. završava Akademiju primijenjenih umjetnosti Sveučilišta u Rijeci. Diplomirao je na temu “Geneze ikonologije” i “Uvoda u fetiš(izam)”. U likovnoj praksi najčešće ostaje u domeni kompjuterske grafike, grafičkog dizajna i eksperimentalnog videa – unutar sva tri diskursa istražujući načela Creative Commons-a. Od 2004. objavljuje analitičke tekstove u riječkom časopisu za umjetnost i kultutu “Re”. Igor Gržetić was born in Rijeka in 1981. He finished School of Applied Arts in Rijeka (Statuary Design) in 2000. In the same year he became an art student at the Faculty of Social Sciences in Rijeka. In 2008 he finished Academy of Applied Arts, University of Rijeka. He graduated with theses on “Genesis of Iconology” and “Introduction in Fetish(ism)”. His art practice includes computer graphic, graphic design and video experiments. In all tree discourses he has been exploring principles of Creative Commons. He has been publishing analytical essays since 2004 in Rijeka`s art and culture journal “Re”. Igor Gržetić (Porno)grafija 5 [51] igorgrzetic.com __ Igor Gržetić (Porno)grafija 6 [52] igorgrzetic.com __ Igor Gržetić (Porno)grafija 8 [53] igorgrzetic.com __ Igor Gržetić (Porno)grafija 9 [54] igorgrzetic.com __ Igor Gržetić Novi Rorschach [55] igorgrzetic.com __ Igor Gržetić Novi Rorschach [56] igorgrzetic.com __ Igor Gržetić Schloss: Aufrauf [57] igorgrzetic.com __ Igor Gržetić Schloss: Beobachtungen [58] igorgrzetic.com __ Igor Gržetić Schloss: Entdeckung [59] igorgrzetic.com __ Igor Gržetić Schloss: Manuskript [60] igorgrzetic.com __ komunicirajmo, -- bastinu pokrovitelji sponsors IMPRESSUM __ Centar za kulturu Grada Krka Centre for Culture of Krk, Trg Sv. Kvirina 1, 51500 Krk, e-mail: [email protected], web: grad-krk.net __ Pomorski muzej Crne Gore Maritime museum of Montenegro, Trg Bokeljske Mornarice 391 Kotor, e-mail: [email protected], web: museummaritimum.com __ Centar za kulturu Grada Krka Izdavač Publisher: Centre for Culture of Krk Za izdavača For the publisher: __ Maja Parentić __ Milica Žužić Esej Essay: Prijevod na engleski English __ Milica Žužić translation: __ Igor Gržetić Dizajn Design: __ Printera grupa d.o.o. Zagreb Tisak Printed by: __ 150 primjeraka copies Naklada Edition: Organizatori Organisation: komunicirajmo, -- bastinu Potpora u tiskanju kataloga: Koncert klapa “Sjećanje na Mladena” how the heritage can bE communicated
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