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Split, 2. 10. - 30. 12. 2013

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Održivost = a. sačuvati da ostane cjelovito i da postojib. očuvati od narušavanja

Tema ili koncept šestog Splitgraphic bijenala je održivost definirana kao sposobnost da se ostane cjelovit i da se nastavi s postojanjem. Zašto smo se odlučili za temu održivosti i na što se odnosi na šestom Splitgraphic bijenalu?

Održivost kao pojam se dvojako promišlja na ovogodišnjem Splitgraphic bijenalu - kao održivost manifestacije međunarodnog grafičkog bijenala i kao održivost grafike kao medija u suvremenoj umjetnosti.

Na šesti Splitgraphic natječaj su se prijavila 264 umjetnika koji su poslali preko 700 radova. Ovo je najveći broj prijavljenih umjetnika dosad, te se po broju prijava i interesu umjetnika Splitgraphic kao manifestacija može smatrati održivom. Pitanje održivosti bijenala nije proizašlo iz nedostatka interesa, već iz činjenice da manifestaciju ove veličine već godinama održavamo samo na entuzijazmu. Već dvanaest godina ustrajemo s minimalnim finacijskim potporama, nedostakom vlastitog prostora i mjesta za skladištenje grafika što nam onemogućava i usporava procese širenja, napredovanja i institucionalizacije projekta ove veličine i značaja.

Smatramo da bi se održivost Splitgraphica trebala manifestirati kroz kontinuiranu izložbenu djelatnost baziranu na suvremenoj grafičkoj umjetnosti i kroz osnivanje grafičkog centra s vlastitom kolekcijom grafičke umjetnosti. Smatramo da to znači održivost jednog projekta – njegovo napredovanje.

Splitgraphic je tijekom svoga djelovanja kroz niz uspješnih skupnih i samostalnih izložbi značajnih međunarodnih grafičkih imena uspostavio grad Split kao centar grafičke umjetnosti. Kao izložbeni bijenale koji promovira grafičku umjetnost smo između ostalog i zaslužni za obnovu, poticanje i rast interesa za hrvatsku grafičku scenu. Splitgraphic je od 2003. godine, kada je ustanovljen, pozitivno djelovao na buđenje interesa za grafičku umjetnost, te za propitivanje uloge grafičke umjetnosti danas, jednako kao i što smo poticali da se grafika ne shvaća samo na klasičan način, već da je dio suvremenog umjetničkog stvaralaštva. Ideja održavanja Splitgraphic bijenala je, osim oživljavanja splitske kulturne scene, povezivanja s grafičkom tradicijom Splita koji je kao grad često bio tema grafika, predstavljanje suvremene grafičke produkcije danas.

Održivost grafike kao medija koji u sebi sadrži dvojnost – umjetnički i zanatski gotovo manualni dio posla je dio koncepta šestog Splitgraphica. Jednako zanimljiva nam je uvijek u grafici i opreka tradicionalnih i digitalnih grafičkih tehnika. Kao koncept nas je zanimala relevantnost grafike danas kada se umjetnost temelji uglavnom na konceptu, te su granice tradicionalnih grana umjetnosti već odavno nestale.

Na šestom Splitgraphicu izborom predstavljenih radova i nagradama smo pokušali ukazati na dvojnost i pokazati da je grafika kao medij održiva u svijetu suvremene umjetnosti.

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U nagrađenim radovima Marte Lech, Tomiyakija Sakute, Nicolasa Poignona i Edvina Dragičevića radi se tradicionalnim grafičkim tehnikama koja proizvode suvremeni grafički izričaj. Marta Lech u svojim crnim linorezima iscrtava svjetlosne mreže nam poznatih usamljenih objekata koji graniče s apstraktnim, kod Tomiyuka Sakute nema apsulutno ničeg apstraktnog već vizualno nadrealno majstorstvo detalja koji tvore sasvim nove slike i nove svjetove unutar tih slika, Nicolas Poignon radi usamljene melakolične prikaze zvjezdanog neba i arhitekture, dok Edvin Dragičević zatvorenim teškim formama bunkera suprostavlja lagane znakove papirnatih aviona. Odabrali smo i nagradili radove koji su ukorijenjeni u suvremenost, a još uvijek sadrže podlogu klasičnog grafičkog rada i tu pronalazimo jedan put održivosti grafičke umjetnosti, jednako kao i što podržavamo “nove” grafičke tehnike prisutne kod grupe nagrađenih mladih poljskih studenata.

Tradicionalnim tehnikama nagrađeni autori iskazuju suvremenu tematiku i proizvode nadasve suvremeneno umjetničko djelo. Isto radi i belgijska umjetnica Ingrid Ledent u svojim radovima koju predstavljamo samostalnom izložbom u studenom. Njezin rad je paradigma suvremenog grafičkog stvaralaštva. Grafike odnosno litografije Ingrid Ledent su dio instalacija s videom i zvukom, te tematiziraju repeticije odnosno multiplikaciju kao osnovu grafičkog rada od najmanjeg otisnutog dijela litografije. Ingrid Ledent koristi multiplikaciju da bi propitala trajanje u vremenu sebe jednako kao i svog vlastitog rada. Kombinacijom različitih medija litografije, digitalnog otiska, videa, zvuka Ledent samo potvrđuje fleksibilnost grafičke umjetnosti da izrazi vizualnu modernost.

Dvije razine propitivanja održivosti – na prvoj što se tiče same grafičke umjetnosti smatramo da smo ovogodišnjim odabirom radova i postavom izložbe pokazali da grafička umjetnost odgovara izazovima današnjice, a što se tiče održivosti Splitgraphic bijenala, to u konačnici i ne ovisi o nama jer smatramo da smo se mi do sada dokazali svojim radom.

Marina Majić, povjesničarka umjetnosti

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Sustainability = a. that can or be continued for a long timeb. capacity to endure                                                               

 

Theme or concept of the sixth Splitgraphic is sustainability defined as a capacity to endure and to continue with your activities. Why have we decided on a subject of sustainability and what does it relate to on the sixth Splitgraphic biennial?

Sustainability as an idea was reflected upon in two different ways on Splitgraphic – sustainability of the biennial manifestation itself and the sustainability of the graphic art as a medium in contemporary art.

 During the open call for entry for sixth Splitgraphic 264 artists applied and we have received over 700 prints. This is the largest number of applied artists so far, and according to these application numbers and the interest of artists for Splitgraphic we are certainly one sustainable organisation. The question of sustainability did not come out of the lack of interest for Splitgraphic, but it sprung out from the fact that we are organising this manifestation for years now only on our own enthusiasm. For twelve years we are persisting with a minimal financial support, with the shortage of our own space and the place to archive all the donated prints, which is disabling us and is slowing down the process of growing, developing and institutionalising the project of this size.

We strongly believe that the sustainability of Splitgraphic should be manifested through continuous exhibition making activities based on contemporary graphic art production and founding of a printmaking centre with its own collection of graphic art. We consider that this means sustainability of a project - its continuous progress.

Splitgraphic has organised a number of successful group and solo shows of important international graphic artists during its existence and we have established the city of Split as one of the centres for graphic art. As a printmaking biennial that promotes graphic art we are responsible for renewal, support and growth of interest for graphic art in Croatia. Since 2003 when Splitgraphic was founded it has positively influenced the rise of interest for graphic art, questioning of the role of graphic art today, as well as abolishing the understanding that graphic art is only executed in a classical traditional way, but that printmaking is a part modern artistic creation. The idea of organising Splitgraphic, apart from reinventing Split’s cultural scene, connecting with its graphic tradition, for Split has often been the theme in graphic art, was presenting the contemporary graphic art as it exists today.

The sustainability of graphic art as a medium can be also analysed in two different ways – artistic, creative way and a manual way for graphic art still contains a part of the craft in its core. These thoughts are also part of Splitgraphic concept, as well as, the opposition of traditional and digital graphic techniques. As a concept we were interested in relevance of graphic art when today art is based mostly on a concept, and the boundaries between traditional art media have almost altogether disappeared.

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On sixth Splitgraphic with the selection of exhibited works and the given awards we tried to point out the duality of graphic art and show that printmaking as a media is still relevant and sustainable in the world of contemporary art.

The awarded prints of Marta Lech, Tomiyaki Sakuta, Nicolas Poignon and Edvin Dragičević were produced with traditional graphic techniques, but in a completely contemporary graphic language. Marta Lech draws light nets of lonely known objects that border with abstract in her black linocuts, while in the work of Tomiyaki Sakuta there is absolutely nothing abstract but a visual surreal mastery of details that create completely new images and new worlds inside the same image over and over again, Nicolas Poignon makes lonesome melancholic images of the sky and architecture, and Edvin Dragičević uses closed heavy forms of bunkers and opposes them to light red signs of paper planes. We have chosen and awarded the works that are rooted in contemporaneity, while still containing the basis of classic  processes in printmaking. In this we found one possible way of sustainability of graphic art, but we have to say that we still strongly support “new” graphic techniques that is visible in the awarded prints of the young Polish students. 

With traditional techniques the awarded artist have produced a contemporary work of art. The Belgian artist Ingrid Ledent, Splitgraphic’s solo exhibition in November this year, is doing the same thing in her work. Ledent’s work is the paradigm of contemporary graphic creation. Graphics, that is lithographs in Ledent’s work are a part of installations with video and sound, and their themes are repetitions and multiplications as a basis of graphic art from smallest printed part of the lithography. Ingrid Ledent uses multiplications to question the duration in time of herself as well as of her work. The combination of various mediums like lithography, digital print, video and sound only confirms the flexibility and ability of graphic art to express modernity.

Two levels of questioning sustainability – the first concerning graphic art where we think we have proved by selection and installation of prints to be up to the challenges of today, and about the sustainability of Splitgraphic, in the end it is not up to us for we have proved that we are sustainable with our work so far.

Marina Majić, art historian

                                                                              

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PrIJAVLJENI UMJETNICI VI SPLITGrAPHIC 2013APPLIED ArTISTS VI SPLITGrAPHIC 2013

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1 Selvihan Kilic Turska/Turkey2 Minoru Suganuma Japan3 Thomas Klepoch Slovačka/Slovakia4 Nicolas Poignon Francuska/France5 Mia Vučić Hrvatska/Croatia6 Dan McCormak SAD/USA7 Natalia romaniuk Poljska/Poland8 Cinla Seker Turska/Turkey9 Dora Vukičević Hrvatska/Croatia10 Briar Craig Kanada/Canada11 Aria Komianou Grčka/Greece12 Emina Pughel Hrvatska/Croatia13 Darina Peeva Bugarska/Bulgaria14 Ellen Karin Maehlum Norveška/Norway15 Mirta Caccaro Italija/Italy16 Ivan Ninov Bugarska/Bulgaria17 Marie Bukowski SAD/USA18 Floki Gauvry Argentina19 Monika Wanyura-Kurosad Poljska/Poland20 Niki Kokkinos Belgija/Belgium21 Jacek Joostberens Poljska/Poland22 Yoshiko Fujita Japan23 Vlatko Čerić Hrvatska/Croatia24 Csaba Pal Mađarska/Hungary25 Sylwia Solak Poljska/Poland26 Bert Menco SAD/USA27 Vedran rosandić Hrvatska/Croatia28 Inga Haemagi Estonija/Estonia29 Eleanora Hofer Južna Afrika/South Africa30 Herman Noordemer Nizozemska/The Netherlands31 Eva Toker Jawerbaum Argentina32 Alexandre Padua Brazil/Brasil33 Maria Heed Švedska/Sweden34 Josee Wuyts & Frans de Groot Nizozemska/The Netherlands35 Meng Li Liao Tajvan/Taiwan36 Masahiro Kasai Japan37 Dino Čokljat Hrvatska/Croatia

38 Zero Brazil/Brasil39 Noriaki Kondoh Japan40 Igor Oster Njemačka/Germany41 Steve Lovett Novi Zeland/New Zeland42 Nese Tekin Turska/Turkey43 Paul Tillila Finska/Finland44 Tomiyuki Sakuta Japan45 reti Saks Estonija/Estonia46 Patricia Delgado dela rosa Španjolska/Spain47 Hyun-Ji Kim Tajvan/Taiwan48 Tadakata Kudo Japan49 rafael rodriguez Garcia Španjolska/Spain50 Que Zhu SAD/USA51 Monika Palka Poljska/Poland52 Paolo Pestell Italija/Italy53 Gudrun Heamagi Estonija/Estonia54 Eva Laila Hilsen Norveška/Norway55 Samuil Georgiev Bugarska/Bulgaria56 Carlos Marin Kolumbija/Columbia57 Eveline Kolijn Kanada/Canada58 Yana Strizhevskaya rusija/russia59 Izabela Petrowska Poljska/Poland60 Mark Graver Novi Zeland/ New Zeland61 Serge Koch Luksemburg/Luxemberg62 Yumiko-Irei Gokce SAD/USA63 Lucia Cleeren Velika Britanija/Great Britain64 Sadao Sakurai Japan65 Marek Sajduk Poljska/Poland66 Peter Myer SAD/USA67 Basil Frank Izrael/Israel68 Faize Bostan Turska/Turkey69 Nilgun Kilincaslan Turska/Turkey70 Goedele Peeters Belgija/Belgium71 Viktoria Nickel Belgija/Belgium72 Koen Sakamoto Japan73 Iga Mikulska Poljska/Poland74 Koyuki Kazahaya Japan

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75 Donald Furst SAD/USA76 Ingrid Ledent Belgija/Belgium77 Grażyna Kulikowska - Antczak Poljska/Poland78 Dubravka Kanjski Hrvatska/Croatia79 Heather Houston Kanada/Canada80 Miwako Oso Japan81 Yoshiaki Murakami Japan82 Chris Van der Venken Belgija/Belgium83 Terry Tricket Velika Britanija/Great Britain84 Lubomir Prybil Češka/Czech republic85 Francisco Velasco Španjolska/Spain86 Aysin Akay Turska/Turkey87 Elena Olimpiev Bugarska/Bulgaria88 Iva Šarić Hrvatska/Croatia89 Laura Widmer Kanada/Canada90 Marie Chantal Biela Belgija/Tajland91 Marija Kokeza roginić Hrvatska/Croatia92 Mia Štark Hrvatska/Croatia93 Mirna Petrović Hrvatska/Croatia94 Dorian Trepić Hrvatska/Croatia95 Jasmin Mišković Hrvatska/Croatia96 Chuan Chen Kina/China97 Mina Bakliža Srbija/Serbia98 Linda Vinck Belgija/Belgium99 Zane Zlemeša Belgija/Belgium100 Ericka Walker Kanada/Canada101 ross racine Kanada/Canada102 Claudia G. Sosa Belgija/Belgium103 Kei Iizuka Japan104 Peter Wiklund Švedska/Sweden105 Olena Golub Ukrajina/Ukraine106 Amaryllis Siniossoglou SAD/USA107 Ida Sušić Hrvatska/Croatia108 Jonathan McFadden SAD/USA109 Felix Baky Ukrajina/Ukraine110 Nino Moharić Hrvatska/Croatia111 Desislava Hristova Bugarska/Bulgaria112 Ana Kinčić Hrvatska/Croatia113 Wojciech Tylbor-Kubrakiewicz Poljska/Poland114 Toshimi Kitano Japan115 Theodore Mariano Mesquita Indija/India116 Edward Bateman SAD/USA117 Marko Živković Hrvatska/Croatia118 Louise Grose Francuska/France119 Patrick Coenye Belgija/Belgium120 Ana Vivoda Hrvatska/Croatia121 Line Marsdal Norveška/Norway122 Hrvoje roguljić Hrvatska/Croatia123 Sevinc Bayraktar Turska/Turkey124 Fernando Montiel Belgija/Belgium125 Nikos Arvaniditis Srbija/Serbia126 Neda Dana Haeri Velika Britanija127 Dajana Karas Hrvatska/Croatia

128 Jutta Fricke Njemačka/Germany129 Veerle rooms Belgija/Belgium130 Sanja Nikolić Hrvatska/Croatia131 Danijela Sušak Hrvatska/Croatia132 Ivan Muškić Hrvatska/Croatia133 Josipa Stojanović Hrvatska/Croatia134 Marta Kolodziejska Njemačka/Germany135 Lacia Vogel Kanada/Canada136 Vanja Jović Hrvatska/Croatia137 Jo Ernsten Australija/Australia138 Uta Brouet Velika Britanija139 Hsuan-Yao Chang Tajvan/Taiwan140 Elisa Gutierrez Gomez Belgija/Belgium141 Annette Olsen Caspeller Danska/Denmark142 Gigi Salomon Velika Britanija/Great Britain143 Eduard Pavlović Hrvatska/Croatia144 Marija Knezić Hrvatska/Croatia145 Martin Sevcovic Slovačka/Slovakia146 Magdalena Kudelik Hrvatska/Croatia147 Brita Weglin Švedska/Sweden148 Idaeherma Williams SAD/USA149 Stephanie Holler Austrija/Austria150 Nika Fry Poljska/Poland151 Vappu Johansson Finska/Finland152 Ivan Bogović Hrvatska/Croatia153 Lauri Koppel Estonija/Estonia154 Hilke Hemlich Njemačka/Germany155 Amir Guberstein Njemačka/Germany156 Matthew Scott Gualco SAD/USA157 Sandro Brachitta Italija/Italy158 Maria Kompatsiari Grčka/Greece159 Elena Montoya Álvarez Španjolska/Spain160 Anastasiya Lynnik rusija/russia161 Seoung- Ku Lee Južna Koreja/South Korea162 Irina Zdanowska Poljska/Poland163 Alexander Svistunov rusija/russia164 Andrea ruschetti Italija/Italy165 Marijana Garašić Hrvatska/Croatia166 Manfred Egger Austrija/Austria167 Paweł Delekta Poljska/Poland168 Krenare Nila Kosovo169 Maria Zavitsanou Grčka/Greece170 Vjollca Ajeti Kosovo171 JAN PAMULA Poljska/Poland172 Dardan Fejza Kosovo173 Ilirida Mani Kosovo174 Doruntina Kastrati Kosovo175 Labinot Haxholli Kosovo176 Kurt Wisneski SAD/USA177 Mateusz Bednarz Poljska/Poland178 Valdeta Vuciterna Kosovo179 Eva Choung-Fux Španjolska/Spain180 Acin Lorena Francuska/France

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181 Massimiliano Marianni Italija/Italy182 Mic Dobrunaj Kosovo183 Anna Pytlik Poljska/Poland184 Marta Wapiennik Poljska/Poland185 Julia Wójcik Poljska/Poland186 John-Mark Schlink SAD/USA187 Kirsi Kuusisto Finska/Finland188 Dominika Staniaszek Poljska/Poland189 Naoki Tajima Japan190 Stanislav Matsilevich Poljska/Poland191 Blažej Baláž Slovačka/Slovakia192 Mária Balážová Slovačka/Slovakia193 Kamil Kocurek Poljska/Poland194 Beata Kolakowska Poljska/Poland195 Sari Bremer Finska/Finland196 Nadezhda Anatolevna Ustritskaya rusija/russia197 Cora Vogtschmid Nizozemska/The Netherlands198 Paweł Siodłok Poljska/Poland199 Katarina Fabijanić Hrvatska/Croatia200 Natalia Klemke Poljska/Poland201 Joanna Janowska-Augustyn Poljska/Poland202 Marta Lech Poljska/Poland203 Anna Puszczewicz Poljska/Poland204 Marcin Lach Poljska/Poland205 Jelana Jelača Hrvatska/Croatia206 Giske Sigmundstad Norveška/Norway207 Marinko Jelača Hrvatska/Croatia208 Piotr Skowron Poljska/Poland209 Lyudmila Baronina rusija/russia210 Jodi Le Bigre Velika Britanija/Great Britain211 Deborah Cornell SAD/USA212 Petra Balekić Hrvatska/Croatia213 Pentti Määttänen & Mika Karhu Finska/Finland214 Jerzy Pietruczuk Poljska/Poland215 Nives Jukić Hrvatska/Croatia216 Adrianna Awdziejczyk Poljska/Poland217 Vasiliki Kolipetsa Grčka/Greece218 Veronika Šindilj Hrvatska/Croatia219 Edis Hamza Kosovo220 Dieter Grund Kanada/Canada221 Werner Stemans Francuska/France222 Jutta Odenwaelder Singapor/Singapore

223 Jasper Hoovers Belgija/Belgium224 Margareta Hellman Švedska/Sweeden225 Maja Zemunik Mužinić Hrvatska/Croatia226 Tina Pavoković Hrvatska/Croatia227 Jiang Miao Kina/China228 Tea Ivković Hrvatska/Croatia229 Constantin razvan Caratanase rumunjska/romania230 Jana Bonačić Hrvatska/Croatia231 Bogdan Miga Poljska/Poland232 Simone Jospin Brazil/Brasil233 Juhani Järvinen Finska/Finland234 Andrea Kopi Hrvatska/Croatia235 Dalia Finek Hrvatska/Croatia236 Duje Jurić Hrvatska/Croatia237 Hanna rozpara Poljska/Poland238 Sajra Mirela Pašić BiH/B&H239 Edvin Dragičević Hrvatska/Croatia240 Igor Konjušak Hrvatska/Croatia241 Nevenka Arbanas Hrvatska/Croatia242 Jožica Medle Hrvatska/Croatia243 Janko Orač Hrvatska/Croatia244 Anastasija Sosunova Litva/Lithuania245 Agata Zarzycka Poljska/Poland246 Ewa Mielczarek Poljska/Poland247 Yvan Lafontaine Kanada/Canada248 Joanna Bonder Poljska/Poland249 Damian Idzikowski Poljska/Poland250 Justin Diggle SAD/USA251 Sebastian Grochocki Poljska/Poland252 Ivana Gagić Kičinbaći Hrvatska/Croatia253 Gokce Aysun Kaya Klc Turska/Turkey254 Taichi Kodama Japan255 Jasna Bogdanović Hrvatska/Croatia256 Kristina restović Hrvatska/Croatia257 Maria Łukomska Poljska/Poland258 Christiaan Diedericks Južna Afrika/South Africa259 Marta Dziomdziora Poljska/Poland260 Mark Dutton Kanada/Canada261 Janice Wong Kanada/Canada262 Nikola Skokandić Hrvatska/Croatia263 Jakša Matošić Hrvatska/Croatia264 Boris Bućan Hrvatska/Croatia

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PrOGrAM VI SPLITGrAPHIC 2013

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1. SKUPNA IZLOŽBA, Stara gradska vijećnica, Split, 2. listopada – 27. listopada 2013.

GrOUP EXHIBITION, Old City Hall, Split, 2nd October – 27th October, 2013

2. Izložba studentskih radova, Galerija Loggia, Centar za kulturu Zlatna vrata, listopad/studeni 2013.

Exhibition of student prints, Gallery Loggia, Center for culture Zlatna vrata, October/November, 2013.

3. Samostalna izložba INGrID LEDENT (Belgija, Grand Prix 2011), Galerija Sveučilišne knjižnice u Splitu, studeni 2013.

Solo exhibition INGrID LEDENT (Belgium, Grand Prix 2011), Gallery of University Library Split, November, 2013.

4. Predavanje Ingrid Ledent, UMAS, studeni 2013.

Lecture Ingrid Ledent, Art Academy Split, November, 2013.

5. Samostalna izložba IVAN KOŽArIĆ, Galerija Studio Naranča, prosinac 2013.

Solo exhibition IVAN KOŽArIĆ, Gallery Studio Naranča, December 2013.

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ŽIrI SPLITGrAPHIC / JUrY SPLITGrAPHIC

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Hugo U. Besard, profesor i grafičar / professor and graphic artist

Edvin Dragičević, profesor i grafičar / professor and graphic artist

Pavo Majić, samostalni umjetnik / artist

Nikola Skokandić, profesor i grafičar / professor and graphic artist

Janice Wong, vizualna umjetnica / visual artist

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NAGrADE / AWArDS

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Grand Prix 2013

Marta Lech, Poljska/Poland

Posebne nagrade / Special awards

Tomiyuki Sakuta, Japan

Nicolas Poignon, Francuska/France

Edvin Dragičević, Hrvatska/Croatia

Nagrada mladim umjetnicima / Young Artists Award

Studenti Lodz Akademija / Students Lodz Academy Poland:

Piotr Skowron, Stanislav Matsilevich, Adrianna Awdziejczyk,

Agata Zarzycka, Damian Idzikowski, Sebastian Grochocki, Ewa Mielczarek

Nagrada za invetivnost u grafici/Award for originality in graphic art:

Katarina Fabijanić, Hrvatska/Croatia

Nagrada umjetnika/Artist’s Award (Online Splitgraphic 2013)

Natalia romaniuk, Poljska/Poland

Nagrada Miroslav Šutej/Miroslav Šutej Award

Duje Jurić, Hrvatska/Croatia

Nagrada za životno djelo/Lifetime Achievement Award

Ivan Kožarić, Hrvatska/Croatia

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Grand Prix 2011Ingrid Ledent, Belgija / Belgium

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Biografija Ingrid Ledent

Ingrid Ledent rođena je 1955. godine u Brasschaatu, u Belgiji. Studirala je grafičku umjetnost na Kraljevskoj akademiji u An-twerpenu od 1973. do 1978., kada je tijekom jednogodišnjeg boravka specijalizirala litografiju u studiju rudolfa Broulima na Akademiji primjenjenih umjetnosti u Pragu (Češka). Na Višem nacionalnom institutu primjenjenih umjetnosti u Antwerpenu je 1981. godine stekla magisterij. Također je sudjelovala na velikom broju radionica usavršavajući različite tehnike poput: heliogravure, monotipije, litografije i keramike.

Ingrid Ledent je profesorica litografije na Kraljevskoj akademiji u Antwerpenu od 1984. godine.

Održala je litografske radionice na Akademiji primjenjenih umjetnosti u Turku (Finska), na Sveučilištu Santa Cruz na Teneri-fima (Španjolska), na Akademiji primjenjenih umjetnosti u Hasseltu (Belgija), na Akademiji primjenjenih umjetnosti u Kra-kowu (Poljska), na Akademiji primjenjenih umjetnosti u Pragu (Češka), na Sveučilištu Tianjin (Kina), na grafičkoj radionici “Daglicht” u Eindhovenu (Nizozemska) i u Frans Masereel centru u Kasterleeu (Belgija).

Održala je predavanja na Sveučilištu Shenzhen (Kina), na Sveučilištu Tianjin (Kina), u grafičkom centru u Guanlanu (Kina), na Sveučilištu York u Torontu (Kanada), na Southern Graphic konferenciji na Sveučilištu u Austinu (SAD), na rudgers sveučilištu u New Jerseyu (SAD), na Sveučilištu St. Louis (SAD), na Musashino sveučilištu u Tokyu (Japan), na Sveučilištu u Kyotu (Japan), u Društvu umjetnika u Tallinnu (Estonija) i Društvu finskih litografičara u Helsinkiju (Finska).

SAMOSTALNE IZLOŽBE:

U Belgiji, Kanadi, Engleskoj, Estoniji, Francuskoj, Mađarskoj, Njemačkoj, Maroku, Norveškoj, Poljskoj, Nizozemskoj.

SKUPNE IZLOŽBE:

U Armeniji, Austriji, Belgiji, Brazilu, Bugarskoj, Kanadi, Kini, Hrvatskoj, Češkoj republici, Danskoj, Estoniiji, Finskoj, Francuskoj, Njemačkoj, Velikoj Britaniji, Mađarskoj, Hawajima, Italiji, Japanu, Litvi, Maroku, Nizozemskoj, Norveškoj, Poljskoj, rumunjskoj, rusiji, Škotskoj, Sloveniji, Španjolskoj, SAD, Južnoj Africi, Južnoj Koreji, Švedskoj, Ukrajini.

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NAGrADE (izbor):

2011: Peti Splitgraphic međunarodni grafički bijenale; Grand Prix

2007: Peti Međunarodni trijenale grafike Prag, Češka; Prva nagrada

2007: Međunarodni bijenale grafike u Guanlanu 2007, Kina; Velika nagrada

2006: Međunarodni trijenale grafike 2006 Krakow, Poljska; Grand Prix

2006: “Peti međunarodni simpozij litografije”, Tidaholm, Švedska; Grand Prix

2005: Četvrti Novosibirsk međunarodni bijenale suvremene grafike 2005, rusija; Treća nagrada: “Digitalno generirane grafike”

2005: Osmi međunarodni bijenale crteža i grafičke umjetnosti, Gyor, Mađarska; Grand Prix

2003: Sedmi međunarodni bijenale crteža i grafičke umjetnosti, Gyor, Mađarska; Druga nagrada

2001: Treći međunarodni trijenale grafičke umjetnosti Prag, Češka; Grand Prix

1999: Peti međunarodni bijenale grafike Györ, (Mađarska): Mission Art Gallery nagrada

1997: Najbolje od grafičke umjetnosti, rockport Publishers, SAD; Počasna nagrada

1996: Međunarodni Senefelder natječaj za litografiju, Offenbach, Njemačka; Treća nagrada

12 nagrada na National Awards (Belgija)

radovi Ingrid Ledent se nalaze u mnogim javnim i privatnim kolekcijama u Belgiji i inozemstvu.

Nacionalni muzej primjenjene umjetnosti, Antwerpen (Belgija); Frans Masereel centar, Kasterlee (Belgija); Muzej moderne umjetnosti, Jerevan (Armenjia); Gradski muzej, Györ (Mađarska); Muzej Majdanek (Poljska); Gasol Art muzej, Stellenbosch (Južna Afrika); Međunarodni trijenale Krakow (Poljska); Međunarodna Senefelder fundacija, Offenbach (Njemačka); Među-narodno umjetničko bijenale Peking (Kina); Guanlan međunarodno bijenale grafike (Kina); Sanbao muzej keramike (Kina); Sakima muzej prefektura Okinawa (Japan)

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Biography Ingrid Ledent

Ingrid Ledent was born in 1955 in Brasschaat (Belgium). She studied graphic art at the royal Academy of Fine Arts in Antwerp between 1973 and 1978, and then she specialized in lithography for one year in rudolf Broulim’s studio at the Academy of Applied Arts in Prague (Czech republic). In 1981 she obtained her Master Degree at the National Higher Institute of Fine Arts in Antwerp. She also followed several workshops in different techniques: heliogravure by Graig Zammielo (master printer at U.L.A.E., Long Island, New York, U.S.A.), monotype by Joe Zirker (U.S.A.), paper-making by Don Cortese (professor at School of Art, Syracuse University, New York, U.S.A.), waterless lithography by Jeff Sippel (master printer at the Tamarind workshop, Albuquerque, U.S.A.), advanced lithography by Lynne Allen (professor at rudgers University, New Jersey, U.S.A.), ceramics by Paul Perdieus, Johan Van Geert and rudy Delanghe (professor at Karel de Grote Hogeschool, Antwerp, Belgium).

Ingrid Ledent is professor of lithography at the royal Academy of Fine Arts in Antwerp since 1984.

She has given workshops in lithography at the Academy of Fine Arts in Turku (Finland), at the University of Santa Cruz in Tenerife (Spain), at the Academy of Fine Arts in Hasselt (Belgium), at the Academy of Fine Arts in Krakow (Poland), at the Academy of Fine Arts in Prague (Czech republic), at the University of Tianjin (China), at the print shop “Daglicht” in Eindhoven (The Netherlands) and at the Frans Masereel Center in Kasterlee (Belgium).

She gave lectures at the University of Shenzhen (China), at the University of Tianjin (China), at the Printmaking Base in Guanlan (China), at the York University in Toronto (Canada), at the Southern Graphic Conference at the University of Austin, at the rudgers University in New Jersey and (U.S.A.), at the S.G.C. at the University of St.Louis (U.S.A.), at the Musashino University in Tokyo (Japan), at the University of Kyoto (Japan), at the Artist Association in Tallinn (Estonia) and at the Association of Finish Lithographers in Helsinki (Finland).

INDIVIDUAL EXHIBITIONS:

In Belgium, Canada, England, Estonia, France, Hungary, Germany, Morocco, Norway, Poland, The Netherlands

COLLECTIVE EXHIBITIONS:

In Armenia, Austria, Belgium, Brazil, Bulgaria, Canada, China, Croatia, Czech republic, Denmark, Estonia, Finland, France, Germany, Great Britain, Hungary, Hawaii, Italy, Japan, Lithuania, Morocco, The Netherlands, Norway, Poland, romania, russia, Scotland, Slovenia, Spain, U.S.A., South Africa, South Korea, Sweden, Ukraine.

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AWArDS (selection):

2011: 5th Splitgraphic International Graphic Art Biennial; Grand Prix

2007: 5th International Triennial of Graphic Arts Prague, Czech republic; 1st Prize

2007: International Print Biennial in Guanlan 2007, China; Big Prize

2006: International Print Triennial 2006 Krakow, Poland; Grand Prix

2006:”The 5th International lithographic Symposium”, Tidaholm, Sweden; Grand Prix

2005: IV Novosibirsk International Biennial of Contemporary Graphic Art 2005, russia; 3rd Prize: ‘Digital generated Prints’

2005: 8th International Biennial of Drawing and Graphic Arts Gyor, Hungary; Grand Prix

2003: 7th International Biennial of Drawing and Graphic Arts Gyor, Hungary; 2nd prize

2001: 3rd International Triennial of Graphic Arts Prague, Czech republic; Grand Prix

1999: 5th International Graphic Biennial Györ, (Hungary): Mission Art Gallery Prize

1997: The Best of Printmaking, rockport Publishers, U.S.A.; Honorary Award

1996: International Senefelder Competition for Lithography, Offenbach, Germany; 3rd prize

12 prizes on National Awards (Belgium)

Ledent’s works are in many public and private collections in Belgium and abroad.

National Museum of Fine Arts, Antwerp (Belgium); The Frans Masereel Center, Kasterlee (Belgium); Museum of Modern Art, Jerevan (Armenia); Municipal Museum, Györ (Hungary); Museum of Majdanek (Poland); Gasol Art Museum, Stellenbosch (South Africa); The International Triennial of Cracow (Poland); International Senefelder Foundation, Offenbach (Germany); The Beijing International Art Biennale (China); The Guanlan International Print Biennial (China); The Sanbao Ceramic Art Museum (China); The Sakima Art Museum Okinawa Prefecture (Japan)

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Umjetnica Ingrid Ledent o svom radu:

Proces utječe na sadržaj i sadržaj utječe na process.

Sadržaj = Proces = Sadržaj = Proces = Sadržaj = Proces

Kao umjetnica volim smatrati kako nema razlike između grafičke umjetnosti i čitavog područja vizualnih umjetnosti. Umjetnik bi trebao ispitivati granice svih medija. Upotreba grafika u instalacijama ili trodimenzionalnim radovima pokazuje fleksibilnost grafičke umjetnosti i koliko je ona korisna svim umjetnicima. U mom vlastitom radu, pokušavam više koristiti tradicionalne grafičke tehnike kombinirajući ih s digitalnim ispisom, videom i zvukom. Konceptualno, proces stvaranja grafičke umjetnosti je vrlo značajan i postao je dio sadržaja mog rada. Vrlo sam fascinirana jednim od karakterističnih atributa grafičkih tehnika, a to je reproduktivnost. Koristim reproduktivnost ne da bih radila edicije, nego kao generativni element. Tijekom procesa tiskanja grafika “ponavljanja” se poput slojeva slažu jedan na drugi stvarajući nove vizualne forme.

Nikada ne radim složene pripreme; moj rad se razvija na mojoj preši otiskujući slojeve jedan na drugi, u neprekinutom radnom procesu. Naravno, imam svoje izvore. Vrijeme, koje je također proces, je osnovna tema mog rada. Na mene je imala mnogo utjecaja ideja vremena Henrija Bergsona, posebno njegovo filozofsko razmišljanje o pojmu “durée” kao kontinuiranom životu memorije, koji prenosi prošlost u sadašnjost. Proizlazeći iz načina na koji ja doživljavam vrijeme, naglašavam ono što se ne može shvatiti kao konkretno, u mjerljivom vremenu, jer duša ne može shvatiti iskustvo kao fenomen u granicama vremena. Ovo je temelj mojih slika, netransparentno, arhaično tkivo ponavljajućih formi. Također su u sadržaju važni procesi manipulacije, fenomen matrice i kontrolirane slučajnosti. Vrijeme je također dio ljudskog tijela kao i svih radnji koje tijelo poduzima. Dakle, često koristim vlastitu kožu i dijelove tijela da bi se referirala na vrijeme i prevela ga u vizualni aspekt.

To se može vidjeti kroz tamnu mrežu u podlozi litografskih otisaka. Horizontalne linije se pojavljuju, nastavljaju se kroz čitav rad, formiraju se iz nabora digitalnih fotografija moje kože, ili prepoznatljivih dijelova usta ili oka, koji su proizašli iz fotografija površine mog tijela. Na ovaj način, vrijeme koje je potrebno da proizvedem litografski otisak je zrcaljeno u prolasku vremena koje je očito u naborima kože, tako da moja fizička prisutnost, u jednoj vrsti autoportreta, postaje sjedinjena s procesom koji sam pratila kroz protok vremena koje je bilo potrebno da napravim rad kao cjelinu.

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Artist Ingrid Ledent on her work:

Process influences the content and the content influences the process.

Content = Process = Content = Process = Content = Process

As an artist, I prefer to make no separation between the print arts and the entire field of visual arts. An artist should challenge the boundaries of any medium. The use of prints in installations or three-dimensional works shows the flexibility of print media and how useful they are to all artists. In my own work, I augment the use of traditional printing techniques combining them with computer print, video and audio. Conceptually, the process of printmaking is quite significant and has become a part of the content of my work. I am mainly fascinated by one of the characteristic attributes of printing techniques, reproducibility. I use reproducibility not to make editions, but as a generating element. During the printing process, the “repetitions” get layered on one another creating new visual forms.

I never make elaborate sketches; my work evolves on my press by printing layers on top of each other, in a fluent working process. I have my sources of course. Time, as it is also in a process, is the basic theme in my work. I am strongly influenced by Henri Bergson’s idea of time, especially his philosophical thinking about “durée,” the continuous living of a memory, which proceeds the past into the present. Emerging out of the manner in which I experience time, I highlight what cannot be interpreted as concrete, within measurable time, for the soul is not able to comprehend the experience as a phenomenon within the limits of time. This is a foundation for my images, a non - transparent, archaic tissue of frequently recurring forms. Also important in the content are processes of manipulation, the phenomena of the matrix and the controlled coincidence or serendipity. Time is also involved in the human body as well as in the actions it undertakes. Therefore, I often use my own skin and body parts to reference and translate time in more visual aspects.

This can be seen through the underlying dark grid of a lithographic print. Horizontal lines emerge, continued across the work, formed from the creases in a digital photographic close-up of my skin, or the recognizable elements of mouth or eye-elements, which are derived from photographs of the surfaces of my body. In this manner, time taken to produce the lithographic print is mirrored in the passage of time evident in the creases in the skin, so that my physical presence, in a kind of self-portrait, becomes unified with the process I followed over a passage of time producing the work as a whole.

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… Ingrid Ledent does her work in a performative way. For her the repetition described by Deleuze is not the repetition of a picture as such, as a second water lily, but the repetition as a movement, a performative. repetition is born out of repeating a dot or a line, as an internal repetition within a picture, as a physical movement of the printer, in the memory of the body, endlessly. repetition produces repetition: the image is repeated until the artist decides otherwise, or endlessly, in the haptic viewing experience. The artwork is the result of the life experience and the cultural experiences of the artists and the spectator. It is reborn in each viewing experience, regardless of the number of repetitions, endlessly.

Annika Dahlsten, artist and curator

…Ingrid Ledent uses a metaphorical language, in which repetitions are layered on one another, creating new visual forms, adding up energies. One is based on the other, the beginning and the end creating an organic system. From the alternation of thinning and thickening, the higher layer unfolds on the surface as a form in time, as some type of existence which is in unceasing contact with the earlier one it is blended with.

The organic concatenation of past and present manifests itself in her works not only notionally but also technically. Lithography and computer technique are coupled with unsurpassed perfection in the works of three or four sheets, whose monochromatic effect is extremely diversified by a subtle change of colours in one or another sheet and change of scale in the basic structure.

This kind of art is exceptionally sensitive, full of thoughts and fascinatingly individual! In it, structure, technique and language constitute a perfect harmony.

Júlia N. Mészáros, Art historianDirector of the Museum of Art Györ, Hungary

... Ingrid Ledent koristi metaforički jezik, u kojem su ponavljanja poput slojeva nanose jedan na drugi, stvarajući nove vizualne forme, dodajući energije. Jedan sloj se temelji na drugom, početak i kraj stvaranja organskog sustava. Alternacijom tanjeg i debljeg, gornji sloj se otkriva na površini kao oblik u vremenu, kao jedna vrsta egzistencije koja je u neprekidnom kontaktu s prijašnjim slojem s kojim je i spojena.

Organsko spajanje prošlosti i sadašnjosti manifestira se u njenim radovima ne samo idejno nego i tehnički. Litografija i kompjuterski ispis su upareni s nenadmašenom perfekcijom u radovima od tri ili četiri lista, čiji je monokromatski efekt izvaredno raznolik suptilnim izmjenama boje u jednom ili drugom listu i promjenom mjere u osnovnoj strukturi.

Ovakva vrsta umjetnosti je osobito osjetljiva, puna misli i fascinantne individualnosti! U njoj, struktura, tehnika i jezik tvore savršeni sklad.

Júlia N. Mészáros, povjesničarka umjetnostiravnateljica Muzeja umjetnosti Györ, Mađarska

… Ingrid Ledent svoj rad izvodi performativno. Za nju ponavljanje o kojem piše Deleuze nije ponavljanje slike kao takve, poput još jednog lopoča, nego ponavljanje kao pokret, kao performans. Ponavljanje proizlazi iz ponavljanja točke ili linije, kao unutrašnje ponavljanje unutar slike, kao fizički pokret grafičara, u memoriji tijela, beskonačno. Ponavljanje proizvodi ponavljanje: slika se ponavlja dok umjetnik ne odluči drugačije, ili traje beskonačno, u haptičkom promatranju iskustva. Umjetničko djelo je rezultat životnog iskustva i kulturnih iskustava umjetnika i promatrača. Ono se ponovno rađa u svakom ponovnom promatranju, bez obzira na broj ponavljanja, beskonačno.

Annika Dahlsten, umjetnica i kustosica

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… Priroda vremena je središnji dio rada Ingrid Ledent, i na-čin na koji se ona nosi s zagonetkom koju vrijeme postavlja vodi je k istraživanju velikog raspona tehnoloških medija jednako kao i održavanju snažne veze s tradicionalnijim medijem litografije.

Litografija je tehnika koja je privlačna perfekcionistima, ne samo u tehničkim aspektima pripreme kamena nego i u načinu na koji prijenos slike s kamena na podlogu (papir ili neki drugi materijal) može biti kontroliran. Ledent perfek-cionist, to je sigurno, ali ona još dodatno čitav proces od samog koncepta rada do krajnje izvedbe shvaća jako ozbilj-no. rezultat njenih radnih metoda možda na prvi pogled sliči tradicionalnoj grafici, ili je možda nešto sasvim drugo, spajanje konceptualnog pristupa s ostalim medijima uklju-čujući video, digitalnu umjetnost ili zvuk. U svakom slučaju jedan stalan dio je snažna meditacija o prirodi ljudskog ži-votnog vijeka.

richard Noyce, Pisac, likovni kritičarPredsjednik žirija MTG Krakow 2003, 2006, 2009

… The nature of time is the central element in the work of Ingrid Ledent, and her manner of dealing with the conun-drum it poses has led her to explore a wide range of techno-logical mediums as well as maintaining a strong connection with the more traditional medium of lithography.

Lithography is a technique that appeals to perfectionists, not only in the technical aspects of the preparation of the stone but also in the ways, which the transfer of the image from the stone to the receiving surface (paper or other ma-terial) can be controlled. That Ledent is a perfectionist is cer-tain, but in addition she takes the whole process from the conception of the work to its final presentation very seri-ously. The outcome of her working methods may be some-thing that at least initially resembles a traditional print, or it may be something else entirely, merging her conceptual approach with other mediums including video, digital art or sound. In every case one constant element is powerful meditation on the nature of the human lifespan.

richard Noyce, Writer, art criticPresident of the Jury of MTG Krakow 2003, 2006, 2009

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Ingrid Ledent, Belgija/BelgiumTok svijesti/ Mindstream of ConciousnessInstalacija (litografija, video projekcija, litografija na Wenzhou papiru na drvenim kockama)/ Installation (lithographie on Zerkall, video projection, lithography on Wenzhou paper mounted on wooden blocks)107cm x 225cm - 255cm x 255cm x 2,5 cm

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Ingrid Ledent, Belgija/BelgiumNeprekinuti život memorije koji prenosi prošlost u sadašnjost IX/ The continuous living of a memory which proceeds the past into the present IXLitografija i kompjuterski tisak/ Lithography and computer print 300cm x 132cm

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Ingrid Ledent, Belgija/BelgiumVrtlog vremena/ Whirl of timeLitografija, kompjuterski tisak, projekcija, zvuk, Whenzou papir na drvenim kockama/ Lithography, computer print, projection, sound, Whenzou paper on the wooden blocksrad na zidu/The work on the wall: 100cm x 195cm

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Ingrid Ledent, Belgija/BelgiumSlojevi u vremenu serija (A, B, C)/Layers in time series (A,B,C)Litografija i kompjuterski tisak/Lithography and computer print100cm x 195cm, 60cm x 186,5cm

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ODABIr ŽIrIJA VI SPLITGrAPHIC 2013JUrY SELECTION VI SPLITGrAPHIC 2013

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ODABIr ŽIrIJA VI Splitgraphic 2013JUrY SELECTION VI Splitgraphic 2013

1. Manfred Egger, Austrija/Austria2. Hugo U. Besard, Belgija3. Ingrid Ledent, Belgija/Belgium4. Lubomír Přibyl, Češka/Czech republic5. Lauri Koppel, Estonija/Estonia6. Juhani Järvinen, Finska/Finland7. Nicolas Poignon, Francuska/France8. Nevenka Arbanas, Hrvatska/Croatia9. Jana Bonačić, Hrvatska/Croatia10.Boris Bućan, Hrvatska/Croatia11.Edvin Dragičević, Hrvatska/Croatia12.Katarina Fabijanić, Hrvatska/Croatia13.Marinko Jelača, Hrvatska/Croatia14. Duje Jurić, Hrvatska/Croatia15.Vanja Jović, Hrvatska/Croatia16. Igor Konjušak, Hrvatska/Croatia17. Marija Kokeza roginić, Hrvatska/Croatia18. Kristina restović, Hrvatska/Croatia19. Nikola Skokandić, Hrvatska/Croatia20. Iva Šarić, Hrvatska/Croatia21. Ana Vivoda, Hrvatska/Croatia22. Maja Zemunik – Mužinić, Hrvatska/Croatia23. Masahiro Kasai, Japan24. Tadataka Kudo, Japan 25.Miwako Oso, Japan26.Tomiyuki Sakuta, Japan27.Christiaan Diedericks, Južna Afrika/South Africa28.Briar Craig, Kanada/Canada29.ross racine, Kanada/Canada30. Janice Wong, Kanada/Canada31.Chuan Chen, Kina/China32.Herman Noordermeer, Nizozemska/The Netherlands33. Joanna Janowska-Augustyn, Poljska/Poland34.Grażyna Kulikowska – Antczak, Poljska/Poland35.Marta Lech, Poljska/Poland36.Bogdan Miga, Poljska/Poland37.Natalia romaniuk, Poljska/Poland 38.Wojciech Tylbor-Kubrakiewicz, Poljska/Poland

IZBOr STUDENTSKIH rADOVA Splitgraphic 2013STUDENT SELECTION Splitgraphic 2013

1. Samuil Georgiev2. Koyuki Kazahaya 3. Zane Zlemeša4. Fernando Montiel5. Jasper Hoovers6. Danijela Sušak7. Tina Pavoković8. Marija Knezić9. Jožica Medle 10.Janko Orač11.Hanna rozpara12.Sanja Nikolić13.Kamil Kocurek14.Maria Łukomska15.Piotr Skowron16.Stanislav Matsilevich17.Adrianna Awdziejczyk18.Agata Zarzycka19.Damian Idzikowski20.Sebastian Grochocki21.Ewa Mielczarek

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GrUPNA

IZLOŽBA

GrOUP

EXHIBITION

34

Manfred EggerAustrija/AustriaŽenski oblici II/Female forms IIDrvorez/Woodblock Print36 x 47 cm

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Hugo U. Besard, Belgija/BelgiumPrema boljem okolišu/Towards a Better Environment

Bakropis/Etching110x75cm

36

Ingrid Ledent, Belgija/BelgiumProlazak vremena I/Passage through Time I Algrafija/Alugraphy75 cm x 200 cm

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Lubomír Přibyl, Češka/Czech republicRazvijanje/Evolventreljef/relief112 x 85 cm

38

Lauri Koppel, Estonija/EstoniaŽuti klik/Yellow ClickLitografija/Lithography69,5 x 99,5 cm

39

Juhani Järvinen, Finska/FinlandSjećanje II/Memory II, Digitalni tisak/Digital print, 20 x 20 cm

40

Nicolas Poignon, Francuska/FrancePOSEBNA NAGrADA / SPECIAL AWArDMliječni put - Grad/Milky way - CityLinorez/Linocut55 x 89 cm

41

Nevenka Arbanas, Hrvatska/CroatiaU potrazi za identitetom/ Searching for IdentityAkvatinta, bakropis/Aquatint, etching48x62 cm

42

Jana Bonačić, Hrvatska/CroatiaŽivo stanovanje/Vibrant Household, Bakropis/Etching, 29 x 21 cm

43

Boris Bućan, Hrvatska/CroatiaDan kada je kiša padala naopako/Day When Rain Was Falling Backwards, Sitotisak/Silkscreen, 50x50 cm

44

Edvin Dragičević, Hrvatska/Croatia POSEBNA NAGrADA/SPECIAL AWArDIluzija sigurnosti 2/Illusion of Safety 2Bakropis/Etching100x70 cm

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Katarina Fabijanić, Hrvatska/Croatia NAGrADA ZA INVENTIVNOST U GrAFICI/AWArD FOr OrIGINALITY IN GrAPHIC ArTPreklapanja II/Overlapping II, Sitotisak/Silkscreen, 210x70x2cm

46

Marinko Jelača, Hrvatska/CroatiaSpalatumLinogravura/Linocut50x50 cm

47

Duje Jurić, Hrvatska/CroatiaNAGrADA MIrOSLAV ŠUTEJ/MIrOSLAV ŠUTEJ AWArDChip, Sitotisak/Silkscreen, 75x50 cm

48

Vanja Jović, Hrvatska/CroatiaGranice/Boundaries, Bakropis/Etching, 80 x 80 cm

49

Igor Konjušak, Hrvatska/CroatiaCrna kompozicija/Black CompositionSuha igla/Drypoint43x101 cm

50

Marija Kokeza RoginićHrvatska/CroatiaAqua altaAkvatinta/Aquatint49 x 23,8 cm

51

Marija Kokeza RoginićHrvatska/CroatiaAqua altaAkvatinta/Aquatint49 x 23,8 cm

Kristina RestovićHrvatska/CroatiaTetovaža (Sailor Jerry/Adolf Loos)/Tattoo (Sailor Jerry/Adolf Loos)Akvatinta, suha igla/Aquatint, drypoint, 55x40 cm

52

Ivan KožarićHrvatska/CroatiaNAGrADA ZA ŽIVOTNO DJELO/LIFETIME ACHIEVEMENT AWArDProljeće/SpringSitotisak/Silkscreen50x70cm

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Nikola Skokandić, Hrvatska/CroatiaZaotočeni/ Island PrisonersBakropis, akvatinta/ Etching, aquatint50 x 35 cm

54

Iva Šarić, Hrvatska/CroatiaHandoffset CMY(K)Linorez, pečat/Linocut, stamp, 360 x 360cm

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Ana Vivoda, Hrvatska/CroatiaTragovi/Traces

Suha igla/ reservage, dry point100 x 70 cm

56

Maja Zemunik – Mužinić, Hrvatska/CroatiaBez naziva / UntitledKombinira tehnika /mixed media65 x 93 cm

57

Masahiro Kasai, JapanMolitva/La priere (Prayer)Sitotisak/Silkscreen55 x 80 cm

58

Tadataka Kudo, JapanGrad 13-1 / Town13-1Drvorez, kombinirana tehnika /Woodcut, mixed media70 × 50 cm

59

Miwako Oso, JapanZapetljano 13 / Tangled 13Bakropis, akvatinta /Etching Aquatint50 x 40 cm

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Tomiyuki Sakuta, JapanPOSEBNA NAGrADA/SPECIAL AWArD5 žena /5 womenIntaglio60.6 x 91 cm

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Christiaan Diedericks, Južna Afrika/South AfricaŠapat stabala / The Whisper of TreesLinorez / Linocut57,5 x 89,5 cm

62

Briar Craig, Kanada/CanadaBough HouseSitotisak/Screenprint107x72 cm

63

Ross Racine, Kanada/CanadaCentar perimetra / Perimeter CenterDigitalni crtež (inkjet otisak) / Digital drawing (inkjet print)90 x 120 cm

64

Janice Wong, Kanada / CanadaPutnikov prozor / Traveller’s WindowUljna monotipija / Oil monotype40,6 x 91,4 cm

65

Chuan Chen, Kina / ChinaGrad na vodi sretne pjesme zbog novog kanala • Sjećanje 1965. u mom snu 1/ Watertown Happy Songs over New Channel • Memory of 1965 in My Dream1reljef i sitotisak / relief and silkscreen86,6 x 101,6 cm

66

Herman Noordermeer, Nizozemska/The NetherlandsIzgubljena lica / Lost faces, Litografija / Lithography, 70 x 100 cm

67

Joanna Janowska-Augustyn, Poljska / PolandVanitas – Ples II / Vanitas - Dance IIDigitalni tisak / Digital print70 x 140 cm

68

Grażyna Kulikowska – Antczak, Poljska/PolandIzmeđu svjetla i sjene I/Between the light and the shadow IMezzotinta/Mezzotint26x20cm

69

Marta Lech, Poljska/PolandGrAND PrIX 201303.07Linorez/Linocut, 62x92cm

70

Bogdan Miga, Poljska/PolandParavan I/Parawan ILinorez/Linocut46 x 192 cm

71

Natalia Romaniuk, Poljska/Poland NAGrADA UMJETNIKA/ArTIST’S AWArD (ONLINE SPLITGrAPHIC)De-rekonstrukcija identiteta 3/De-reconstruction of identity 3Digitalni tisak/Digital print110x73cm

72

Wojciech Tylbor-Kubrakiewicz, Poljska / PolandBrana / DamLinorez s UV otiskom / Linocut with UV print100 x 70 cm

73

STUDENTI

STUDENTS

74

Danijela SušakŽivot grada/ Life of the CityKombinirana tehnika/Mixed media70x100 cm

75

Fernando MontielBoyuyoLitografija/Lithography55,6x75,1 cm

76

Hanna RozparaPodmornice/SubmarinesLitografija na drvu/Lithography on wood107 x 79cm

77

Janko Orač Krug/CircleSuha igla/Drypoint70x100 cm

78

Jasper HooversBez naslova/No titleLitografija/Lithography53x37 cm

79

Jožica MedleVisoka pjesma/High SongSuha igla, reservage, mezzotinta/Drypoint, reservage, mezzotint121x81,5 cm

80

Kamil KocurekIgraj igru Sjeverna Koreja/Play North Korea GameIntaglio89x50 cm

81

Koyuki KazahayaMreškanje#3/Ripple#3Suha igla, mezzotinta, chine colle/Drypoint, mezzotint, chine colle70x100 cm

82

Maria LukomskaAcedia IISitotisak/Silkscreen204x100 cm

83

Marija KnezićIt was greatDigitalni tisak/ Digital print70x100 cm

84

Samuil GeorgievDijete mora dio I/Sea Child part oneLinorez/Linocut60x100 cm

85

Samuil GeorgievDijete mora dio I/Sea Child part oneLinorez/Linocut60x100 cm

Sanja NikolićSveništa 1/Allnothing 1Bakropis/Etching49,5x 35 cm

86

Tina PavokovićBez naziva/UntitledBakropis/Etching100x70 cm

87

Zane ZlemešaBez Naslova 2/Untitled 2Karborund na bakru, chine colle/Carborundum on copper, chine colle15x17 cm

88

NAGrADA MLADIM

UMJETNICIMAYOUNG ArTISTS AWArD

89

Adrianna AwdziejczykNAGrADA MLADIM UMJETNICIMA/YOUNG ArTISTS AWArDPolarni dan/Polar dayKombinirana tehnika/Mixed media100x70cm

90

Agata ZarzyckaNAGrADA MLADIM UMJETNICIMA/YOUNG ArTISTS AWArDMisao o pokretu – dio II/Thought about motion - part IILinorez i serigrafija/Linocut and serigraphy100x70 cm

91

Damian IdzikowskiNAGrADA MLADIM UMJETNICIMA/YOUNG ArTISTS AWArDBila jednom cipela/Once upon a shoeSerigrafija i monotipija/Serigraphy and monotype76x112 cm

92

Ewa MielczarekNAGrADA MLADIM UMJETNICIMA/YOUNG ArTISTS AWArDKompozicija I/Compostion IAnalogna fotografija, digitalni tisak/Analogue photography, digital print70x100 cm

93

Piotr SkowronNAGrADA MLADIM UMJETNICIMA/YOUNG ArTISTS AWArD1029092011Intaglio, serigrafija/Intaglio, serigraphy, 74x110 cm

94

Sebastian GrochockiNAGrADA MLADIM UMJETNICIMA/YOUNG ArTISTS AWArDBardo of PhaetonLinorez/Linocut, 86,5 x 64,3 cm

95

Stanislav MatsilevichNAGrADA MLADIM UMJETNICIMA/YOUNG ArTISTS AWArDDomestikacija/DomesticationDigitalni tisak/Digital print200x400cm

96

Splitgraphic bijenale realiziran je uz potporu / Splitgraphic is supported byGrad Split, Splitsko-dalmatinska županija, HULU Split, Turistička zajednica grada Splita

U suradnji / In collaboration withHULU Split, Centar za kulturu Zlatna vrata, Sveučilišna knjižnica Split, Galerija umjetnina, Atelje Vasko Lipovac

Organizacija / OrganisationKulturno umjetnička udruga Splitgrafik / Cultural Association Splitgraphic

Galerija Studio Naranča / Studio Naranča GalleryMajstora Jurja 5, Splitwww.splitgraphic.hr

splitgraphic@gmail.com

Direktor Splitgraphic bijenala / Director of Splitgraphic BiennialPavo Majić

Kordinator i kustos Splitgraphic bijenala / Splitgraphic Biennial coordinator and curatorMarina Majić

Savjetnik za Splitgraphic nagrade / Consultant Splitgraphic AwardsŠimun Šutej, umjetnik i voditelj fundacije Miroslav Šutej / artist and head of Miroslav Šutej foundation

Zahvale / Special thank you toMateo Perasović, Danijel Gudelj, Josip Botteri, robert Matić, Obitelj Lipovac, Filip Kožarić

Vladimir Straža, Zoran Krželj, Helena Petrinović, Igor Novaković

Tajništvo i arhiva / Office and archivesMaja Mijač Majić

Prijevod / TranslationMarina Majić

Oblikovanje / DesignPavo Majić

Grafika na naslovnici / ArtworkDamian Idzikowski

Fotografije / Photographsrobert Matić

Ivan Willemyns (radovi Ingrid Ledent / Ingrid Ledent’s prints)

Medijski pokrovitelj / Media PartnerSlobodna Dalmacija

Web stranice / Web siteDizajn studio Zebra

Tisak / PrintDalmacija papir

2013.