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Dejan KršićŠto, kako i za koga & tako daljeWho, how and for whom & etc.

DIZAJN UVIJEK IMA POSLJEDICE – O Dejanu Kršiću, WHW-u i drugim stvarima

Ova  parcijalna retrospektiva  dizajnerskog rada Dejana Kršića  –  čiji je vremenski okvir s jedne strane ugrubo definiran početkom suradnje s kustoskim timom Što kako & za koga 2000. godine, a s druge sadašnjim trenutkom te iste suradnje – predstavlja, uvjetno rečeno, neku treću etapu jedne uzbudljive i produktivne karijere koja sad već ukupno broji tri i pol desetljeća s dovoljno mitskih trenutaka za bar dva ‘normalna’ opusa nekog grafičkog dizajnera. Fast-forward od 1978: Kršić je prvo prošao kroz sve u kontekstu dizajna bitne hrvatske tiskovine kasnog socijalističkog perioda, od početaka u Studentskom listu, preko Poleta, Quoruma, Svijeta, Starta i Danasa, usput prateći i svog mentora Mirka Ilića kojemu je asistirao na dizajnu omotnica ploča u kojem je kasnije i sam realizirao nekoliko značajnih izdanja. Paralelno s tim 80-ih je razvijao i vlastiti projekt Nova Evropa  (NEP) konceptualno blizak raznim ograncima slovenskog pokreta  Neue Slowenische Kunst, a lokalno duhovno najsrodniji dizajnersko-umjetničkim fenomenima kao što su Studio Imitacija života i Greiner&Kropilak. NEP-ova filozofija i eklektična estetika napojena u ono vri-jeme sveprisutnim odjecima ruskog konstruktivizma, pop glazbe i xerox kulture infiltrirala se i u neke od Kršićevih mainstream narudžbi, ali njegovo ustrajanje na prepoznavanju simultanosti političkog, ideološkog i kulturnog konteksta našlo je svoj idealan okvir i platformu u kultnom magazinu Arkzin početkom 90-ih. Časopis koji je po svemu bio drugačiji od svega ostalog, barem u lokalnim okvirima, jednako je važan kao društveni, medijski i dizajnerski fenomen. Obilježio ga je nesuspregnuti aktivizam i kritički naboj, jednako kao i ta s vremenom sve radikalnija naklonjenost eksperimentima u tipografiji, prijelomu, dizajnerskom tretmanu sadržaja itd, pogotovo u zadnjoj fazi s Kršićem kao grafičkim a sada i glavnim urednikom nečeg što je u isto vrijeme i pop i her-metično, i razigrano i strašno ozbiljno.

Povijest suradnje Kršića i WHW-a zapravo i počinje s Arkzinom i jednim od niza izdanja proiza-šlih iz njegove kritičko-teorijske biblioteke – reizdanjem Marxovog i Engelsovog Komunističkog manifesta  (1998.), pomno odabrane nepodobne knjige, bauka za hrvatski politički kontekst kasnih 90-ih čiju su ponovnu cirkulaciju skoro svi prešutjeli. Kolektiv tada mladih kustosica koji se okupio iza Arkzinove inicijative da se povratak Manifesta među Hrvate ipak nekako obilježi, uz potporu tek osnovanog Multimedijalnog instituta mi2  i vremešne ustanove  HDLU-a pod vizionarskim vodstvom Nevene Tudor, realizirao je te 2000. godine veliku međunarodnu izložbu nakon koje su njihova kustoska i Kršićeva dizajnerska aktivnost praktički neodvojive. Naslov izložbe Što kako & za koga / What How & for Whom, u akronimu WHW, uzet je za ime grupe, a Dejan Kršić je ostao kao službeni dizajner i suradnik u svemu što će kolektiv raditi narednih 15 godina. Kroz prva dva velika projekta, ovaj već spomenuti i onaj posvećen Nikoli Tesli godinu i pol dana kasnije (2002, Projekt: Broadcasting) WHW je već snažno naznačio put kojim smjera ići i pitanja koja želi opet i opet i opet otvarati – pitanja repolitizacije umjetnosti, potisnutog nasljeđa, kontinuiteta radikalnih umjetničkih pozicija koje teže društvenoj promjeni. Vrlo brzo nakon toga, preuzimanjem programa Galerije Nova WHW dobiva trajni stožer za svoje aktivnosti koje nisu nimalo izgubile na intenzitetu u jeku sve većih međunarodnih izložbenih projekata poput  Kolektivne kreativnosti  u Kunsthalle Fridericianumu  u Kasselu (2005.),  Istanbulskog bijenala – Od čega čovjek živi? (2009.) ili Stvarno korisno znanje u Muzeju Reina Sofia u Madridu (2014.). WHW je već desetak godina bez ikakve sumnje najprominentniji hrvatski kustoski tim sa zavidnim internacionalnim utjecajem i divno je da nisu otišli negdje drugdje ili se, zajedno s Kršićem, kako on to lijepo kaže – „međusobno poubijali“.

I dok WHW u toj svojoj inicijalnoj fazi možda duguje Arkzinu povod svog okupljanja i početna diskurzivna polazišta i medijske strategije, a zahuktaloj atmosferi nezavisne civilne i kulturne scene s prijelaza stoljeća smisao za solidarnost, zajedništvo i kako se to danas lijepo kaže networking, cijela ta Kršić+WHW dizajnersko-kustoska simbioza zapravo je od samog početka našla vlastiti autentični smisao postojanja, vlastiti teorijski i vizualni jezik. Dijelom, naravno, zato što je on u njima imao nekog tko slično njemu promišlja odnos između kulture, umjetnosti, politike i ideologije, a dijelom zato što je WHW-ova strategija brzog i konzistentnog organiziranja mnoštva malih taktičkih zbivanja oko velikih tema jako trebala okretnog grafičkog dizajnera koji će svim tim sadržajima udahnuti komunikacijsku oštrinu. U atmosferi globalnog smirivanja ekspresivne dekonstruktivističke dizajnerske retorike devedesetih u korist nekog novog smisla za red, Kršić je, izgleda, s WHW-om ponovno otkrio i onu svoju početnu ljubav prema likovnom repertoaru sovjetske avangarde, ali sada na malo drugačijim pozicijama od onih koje je imao 80-ih s Novom Evropom. WHW-ovo zanimanje za repolitizaciju umjetnosti, naime, bilo je u potpunosti komplementarno s tom historijskom idejom korištenja apstraktnog/modernog likovnog jezika u svrhu advokacije političke promjene, koja je u svojim kasnijim odjecima bila izgubila svaku ideološku oštricu.

WHW-ov odmak od uštogljene institucionalne kustoske prakse u smjeru projekata koji imaju širu društvenu relevantnost, kao i stalnog otvaranja puno malih frontova (predavanja, diskusija, malih izložbi, velikih izložbi, brzih rošada na relaciji između zagrebačke Galerije Nova i koje god već druge međunarodne institucije) umjesto igranja na kartu jednog, reprezentativnog izložbenog/umjetničkog proizvoda, sam je po sebi otvorio stimulativno polje za Kršićevu di-zajnersku produkciju, ali i primorao ga na stalno osvježavanje repertoara postupaka, vizualnih referenci, načina rješavanja layouta, izbora tipografskih pisama i sl. Bezbroj letaka, razglednica, brošura, knjiga, kataloga, novinskih izdanja – svemu tome morao je udahnuti auru urgentnosti, progresivnosti, važnosti, dinamičnosti, radikalnosti. Kršićev specifičan osobni i dizajnerski sen-zibilitet na stol je donio još jedan adut kojeg si WHW, zapravo, nikad nisu mogle priuštiti jer su sebe i svoja nastojanja uvijek shvaćale pomalo previše ozbiljno. Kao što se Kršićev rad zadnjih 15 godina ne može zamisliti bez WHW-a, tako se ni komunikativnost, vidljivost i javni učinak WHW-ovih projekata ne može zamisliti bez Kršićeve dizajnerske imaginacije, smisla za humor, elokvencije u baratanju najrazličitijim ikoničkim referencama i odavna prisutnog pop-senzibiliteta koji je uspio efektno animirati i one neprobojnije među WHW-ovim tezama i konceptima.

Za gotovo svaki detalj u tim plakatima, publikacijama i letcima postoji neki mali razlog, bio on ozbiljan ili zafrkantski, pragmatičan ili intiman, bilo da je riječ o odabiru pisma ili skrivenoj pop referenci unutar neskrivene umjetničke i dizajnerske. No bilo bi (skoro) sasvim pogrešno misliti da su Dejanu Kršiću projekti za koje dizajnira neko dječje igralište, jer izdržljivost ove sinergije između njega i WHW počiva na međusobnom povjerenju i činjenici da on u te projekte duboko vjeruje, da ih temeljito iščitava na svim razinama (kustoskog koncepta, tekstova, pojedinačnih predstavljenih umjetničkih radova) i da sve te sadržaje, kao dizajner, interpretira s pažnjom, poštovanjem i uređivačkim smislom za njihove različite hijerarhije, dinamike, značenja i druge specifičnosti. To se posebno vidi u knjigama i publikacijama, u kojima dolazi do izražaja njegova vještina slaganja i preglednog strukturiranja nerijetko goleme količine sadržaja u layoutu, izbrušena radom za brojne novine i magazine 80-ih i 90-ih godina. Zato one i jesu već na prvi pogled toliko ‘drugačije’, jer ne podliježu sasvim ni konvencijama medija knjige ni konvencijama novinskog/magazinskog medija, nego su prije neki hibridi kakve Kršić i inače uzgaja u svom dizajnerskom laboratoriju još od 80-ih.

Inače, onaj ranije spomenuti WHW-ov interes za „potisnutu tradiciju“ Kršić dijeli i na svje-tonazorskoj i na praktičarskoj razini, pa je u neke projekte uspio implementirati i određene refleksije svog vlastitog zanimanja za historiografiju dizajna. U slučaju WHW-a, najočigledniji primjer su Novine Galerije Nova, nastale dijelom iz pragmatičnih razloga, a dijelom kao hommage Novinama Galerije SC  i cijelom dizajnerskom, ali i ideološkom kontekstu koji ih čini zanimljivima i važnima. Razmišljajući o tome, u ovu izložbu smo, osim rada za WHW te za niz inozemnih muzejskih institucija i nekoliko domaćih autora i umjetnika, uvrstili i mali segment o Kršićevom bavljenju poviješću dizajna – od izložbe Mihajla Arsovskog u Galeriji SC, retrospektive i monografije Mirka Ilića, do opet hibridne izložbe Designed in Croatia – didaktička izložba održane u prostoru HDD-a (Hrvatsko dizajnersko društvo) prije 6 godina, koja je vjerojatno označila početak danas puno rasprostranjenijeg trenda dizajnerskog ku-riranja, praktičara istraživača u potrazi za svojim dizajnerskim ‘precima’.

Marko Golub

Foto | Photo: Senja Vild

DESIGN ALWAYS HAS CONSEQUENCES – On Dejan Kršić, WHW and other things

This partial retrospective of Dejan Kršić’s design work – the timeframe of which is roughly defined on one side by the beginning of his collaboration with the curatorial collective What, How & for Whom/WHW in the year 2000 and on the other by their current collaboration –  conditionally speaking represents the third stage of an exciting and fruitful career lasting already for three and a half decades and boasting mythic moments sufficient for at least two “ordinary” oeuvres of a graphic designer. Fast-forward from 1978: Kršić initially passed through all the Croatian print media of the late socialist period significant in the context of design, from his early endeavours in Studentski list, through Polet, Quorum, Svijet, Start and Danas, following on the way his mentor Mirko Ilić whom he assisted in the design of LP covers, in which he later produced several important issues himself. In parallel, in the 1980s he developed his own New Europe project (NEP), conceptually akin to various branches of the Slovenian movement Neue Slowenische Kunst, and spiritually, at the local level, closest to the design and art phenomena, such as the Imitation of Life Studio and Greiner&Kropilak. The NEP philosophy and eclectic aesthetics, imbued with at that time omnipresent echoes of Russian constructivism, pop music and xerox culture, infiltrated also some of Kršić’s mainstream commissions, but his insistence on the recognition of the simultaneity of the political, ideological and cultural context found its ideal framework and platform in the cult Arkzin magazine in the early 1990s. This periodical, which, at least locally, differed from anything else, was equally important as a social, media and design phenomenon. It was characterized by unbridled activism and critical charge, as well as an increasingly radical propensity to experiment in typography, layout, content design and the like, particularly at the final stage when Kršić worked as the layout editor and then the editor-in-chief of something that was at the same time pop and hermetic, playful and tremendously serious.

In fact, the history of the collaboration between Kršić and WHW commences with Arkzin and one the volumes resulting from his collection of critical and theoretical books: the new edition of Marx and Engels’s The Communist Manifesto (1998), the carefully selected unsuitable book, a bugaboo for the Croatian political context of the late 1990s the circulation of which remained almost entirely unrecorded. In the year 2000, with the support of the newly founded Multimedia Institute mi2 and the old Croatian Association of Artists (HDLU) under the visionary leadership of Nevena Tudor, the team of young female curators who gathered together behind the Arkzin initiative to mark the return of The Communist Manifesto among the Croats, organized a large international exhibition after which their curatorial work and Kršić’s design activity are practically inseparable. The title of the exhibition What, How & for Whom, with its acronym WHW, was chosen as the name of the group, while in the following fifteen years Dejan Kršić remained as the official designer and associate in all the activities of the collective. Through its first two large projects, the one mentioned above and the other dedicated to Nikola Tesla eighteen months later (2002, Project: Broadcasting), WHW clearly delineated its path and the issues they wished to open again and again: the repolitization of art, supressed heritage, the continuity of radical art positions striving for social change. Shortly afterwards, WHW took over the Nova Gallery programme, thus creating a permanent basis for its activities which did not lose momentum in the midst of larger and larger international exhibition projects such as the Collective Creativity in Kunsthalle Fridericianum  in Kassel (2005),  Istanbul Biennial – What Keeps Mankind Alive?  (2009), or  Really Useful Knowledge  in the Reina Sofia Museum in Madrid (2014). For about ten years now, WHW has undoubtedly been the most prominent Croatian curatorial team with enviable international

impact and it is wonderful that they have not left or that they have not, as Kršić nicely put it, “killed each other” together with him.

Even though WHW might be indebted to Arkzin for its initial gathering, its discursive starting points and media strategies, while at the same time the heated atmosphere of an independent civil and cultural scene at the turn of the century gave the team a sense of solidarity, unity and what is now nicely referred to as networking, the Kršić+WHW designer-curator symbiosis from the very beginning found its own raison d’être, its own theoretical and visual language. This, of course, was partly because Kršić was attracted to people with similar views on the relationship between culture, art, politics and ideology, and partly because WHW’s strategy of fast and consistent organization of a multitude of small tactical events on major themes required an adapt graphic designer capable of breathing communicative sharpness into the content. In an atmosphere of the global silencing of expressive deconstructivist designer rhetoric of the 1990s, in collaboration with WHW Kršić seems to have rediscovered his old love for the artistic repertoire of the Soviet avant-garde, but now with positions slightly different from the ones taken in the 1980s with New Europe. The interest of WHW in the repolitization of art was essentially complementary to the historic idea of using abstract/modern visual language for the purpose of advocating political change, which in its later echoes had lost its ideological edge.

WHW’s departure from the rigid institutional curatorial practice towards projects with greater social relevance, together with the continual establishment of many other channels instead of merely playing the card of just one representative exhibition/art product, channels such as lectures, discussions, small exhibitions, large exhibitions, fast exchanges between the Nova Gallery in Zagreb and various international institutions, opened up a stimulating field for Kršić’s design production, but also forced him to continuously refresh the repertoire of procedures, visual references, layout solutions, selection of fonts and the like. Numberless flyers, postcards, brochures, books, catalogues, newspapers – to all these Kršić had to give an aura of urgency, progressiveness, importance, dynamics, and radicalism. His distinct personal and designer sensibility brought to the table another asset which WHW, in fact, had never been able to afford since they always took themselves and their efforts too seriously. Just like Kršić’s work over the past fifteen years cannot be conceived without WHW, the communicativeness, visibility and public effect of WHW projects cannot be conceived without Kršić’s imagination as a designer, his sense of humour, eloquence in handling the most diverse iconic references and the long-standing pop-sensibility which have managed to animate effectively even the most impenetrable theses and concepts of WHW.

There is always a small reason behind each detail in the posters, publications and flyers, whether serious or humorous, pragmatic or intimate, whether it is a selected letter or disguised pop reference within the undisguised art or design reference. But it would be (almost) entirely wrong to think that the projects which Kršić partakes in are a playground for him, since the durability of the synergy between him and WHW rests on mutual trust and the fact that he firmly believes in these projects, that he thoroughly studies them at all levels (curatorial concept, texts, presentation of individual artworks), and that, as a designer, he interprets all this with great attention, respect and editorial sense of different hierarchies, dynamics, meanings and other specificities. This is particularly visible in books and publications, which highlight his skill of setting out and structuring clearly an often huge amount of material in the layout, honed by his work in various newspapers and magazines in the 1980s and the 1990s. This is why they are so “different” even at first glance, as they do not fully conform to the conventions of the medium of either books or newspapers/magazines, but they are rather hybrids produced by Kršić in his design studio ever since the 1980s.

As for the already mentioned WHW’s interest in “supressed tradition”, Kršić sees it at two levels: the level of the worldview and practical level; thus, in some projects he has managed to implement certain reflections of his own interest in the historiography of design. With regard to WHW, the most obvious example is the Novine Galerije Nova (Nova Gallery Newspaper), partly created for practical reasons, and partly as a homage to Novine Galerije SC (Student Centre Gallery Newspaper)  and to the entire design and ideological context which makes it interesting and significant. In view of this, in addition to his work related to WHW and a number of foreign museum institutions and several local authors and artists, we have also included in this exhibition a small section devoted to Kršić’s interest and work in design history – from Mihajlo Arsovski’s exhibition in the Student Centre Gallery, through the retrospective of and monograph on Mirko Ilić, to the also hybrid event Designed in Croatia – A Didactic Exhibition held on the premises of the Croatian Designers Association (HDD), which probably marked the beginning of the now widely spread curatorial design, the concept of practitioner researchers in search of their design “ancestors“.

Marko Golub

Kršić je po obrazovanju istoričar umjetnosti, koji, pored dizajnerskih aktivnosti koje obavlja, radi kao pisac, urednik, izdavač i prevodilac. Sarađuje i sa veoma cijenjenim kustoskim timom Što, kako & za koga (WHW). Da živi u Njujorku ili Londonu, slavili bi ga širom svijeta kao značajnu ličnost.

Rik Pojnor

Kršić is an art historian by training and he works as a writer, editor, publisher and translator, in addition to his activities as a designer. He also collaborates with the highly regarded Croatian curatorial team What, How and for Whom (WHW). If he were based in New York or London, he would be celebrated widely as a notable figure.

Rick Poynor

‘Nema ničeg bez ideologije’, rekao bi DK. Samo prazna ljuštura, ma koliko vešto i bravurozno bila izvedena. Snaga, prepoznatljivost i doslednost Dejanovog dizajna (ali i tekstova i autorskih projekata) je zapravo omeđena tim čvrstim, jasnim i nedvosmislenim konceptualnim i ideološkim okvirom. U to spada i njegov ‘dizajn za umetnost’. Kao što ga definiše i arkzinovska prošlost i sadašnjost kritičkog intelektualca. Dejan nije dizajner širokog spektra. On ne radi ono što voli, već ono u šta veruje. E, drage moje, dragi moji, to je prava privilegija.

Borut Vild‘

There’s nothing without ideology’, Dejan Kršić would say. Just an empty shell, regardless of the skill and bravura with which it may be done. The strength, recognizability and consistency of Dejan’s design (but also of his texts and independent projects) are in fact defined by this firm, clear and unambiguous conceptual and ideological framework. His ‘design for art’ also belongs here. Just like he is defined by the Arkzin past and the present of the critical intellectual. Dejan is not a designer of a wide range. He does not do what he likes but what he believes in. And this, I can tell you, is a true privilege.

Borut Vild

Dejan Kršić, rođen 1961. u Sarajevu. Diplomirao povijest umjetnosti i etnologiju na Filozofskom fakultetu u Zagrebu. Radi kao grafički dizajner, publicist i prevoditelj. Član HDD-a (Hrvatskog dizajnerskog društva). Od 2008. zaposlen na Odsjeku za dizajn vizualnih komunikacija UMAS, Split.Imao nekoliko samostalnih i grupnih izložbi (u Zagrebu, Ljubljani, Rijeci, Beogradu...), učestvovao na nizu kolektivnih izložbi i video festivala.Devedesetih godina jedan od pokretača, grafički urednik a kasnije i glavni urednik dvotjednika/magazina Arkzin, te Arkzinovog izdavačkog projekta Biblioteke Bastard. Kao član udruge za vizualnu kulturu Što, kako i za koga/WHW surađuje na izložbeno/medijskim projektima (Što, kako i za koga –povodom 152. godišnjice Komunističkog manifesta [Dom HDLU, Zagreb 2000, Kunsthalle Exnergasse, Beč 2001], Projekt: Broadcasting, posvećen Nikoli Tesli [Zagreb 2001/2002]; Collective Creativity [Kunsthalle Fridericianum, Kassel, 2005], What keeps mankind alive, 11. istanbulsko bijenale, Istanbul, Turska itd.), te realizaciji programa Galerije Nova.Dizajnira za međunarodne umjetničke projekte i institucije: dizajn kataloga Love it or Leave It, V Cetinje Biennial, 2003; vizualni identitet i publikacije Van Abbemuseum, Eindhoven, Nizozemska, 2005–9; monografija There’s Gonna Be some Trouble... 5 years Rooseum Book, Rooseum Centre for Contemporary Art, Malmö, Švedska 2007.; Personal Cuts, Carré d’Art, Nimes 2014, Francuska, itd.Autor teksta publikacije o Borisu Bućanu (HDD, Zagreb 2006). Priredio i napisao monografiju Mirko Ilić: strip / ilustracija / dizajn / multimedija (AGM & Profil International, Zagreb 2008.); američko izdanje Fist to Face (Print Books, F+W Inc, New York 2012.), te autor koncepcije izložbe Mirko Ilić: strip / ilustracija / dizajn / multimedija (Zagreb, 2008., Rijeka, Maribor, Tuzla)Član kustoskog tima izložbe Socijalizam i modernost (Ljiljana Kolešnik, Dean Duda, Sandra Kržić Roban, Dejan Kršić), MSU, Zagreb, 2011.

Dejan Kršić was born in 1961 in Sarajevo. He obtained a BA degree in art history and ethnology from the Faculty of Philosophy, Zagreb. He has worked as a graphic designer, publicist and translator. He is a member of HDD (Croatian Designers Association). Since 2008, he has been employed at the Department of Visual Communication Design, UMAS, Split.Kršić has exhibited his works in a number of solo exhibitions (in Zagreb, Ljubljana, Rijeka, Belgrade...), and participated in a wide range of group exhibitions and video festivals.In the 1990s Kršić was one of the initiators of the biweekly magazine Arkzin and its publishing project Biblioteka Bastard, working first as its layout editor and later on as its editor-in-chief. As a member of the organization for visual culture What, How & for Whom/WHW, he has collaborated on various exhibition and media projects (What, How & for Whom – on the occasion of the 152nd Anniversary of The Communist Manifesto [Dom HDLU, Zagreb 2000, Kunsthalle Exnergasse, Vienna 2001], Project: Broadcasting, dedicated to Nikola Tesla [Zagreb 2001/2002]; Collective Creativity [Kunsthalle Fridericianum, Kassel, 2005], What Keeps Mankind Alive [11th Istanbul Biennial, Istanbul, Turkey etc. ]), as well as the realization of the Nova Gallery programme. Dejan Kršić designs for international art projects and institutions. Some of his works include the design of the catalogue Love it or Leave It, 5th Cetinje Biennial, 2003; the visual identity of the Van Abbemuseum publications, Eindhoven, Netherlands, 2005–9; the monograph There’s Gonna Be some Trouble... 5 years Rooseum Book, Rooseum Centre for Contemporary Art, Malmö, Sweden 2007; Personal Cuts, Carré d’Art, Nimes 2014, France and so on. Kršić has written the text for the publication on Boris Bućan (HDD, Zagreb 2006); prepared and authored the monograph Mirko Ilić: strip / ilustracija / dizajn / multimedija (AGM & Profil International, Zagreb 2008); American edition Fist to Face (Print Books, F+W Inc, New York 2012); and created the concept of the exhibition Mirko Ilić: strip / ilustracija / dizajn / multimedija (Zagreb, 2008, Rijeka, Maribor, Tuzla).He was a member of the curatorial team of the exhibition entitled Socialism and Modernity (Ljiljana Kolešnik, Dean Duda, Sandra Kržić Roban, Dejan Kršić), MSU, Zagreb, 2011.

Cetinje, april | maj 2016.

Izdavač: Narodni muzej Crne Gore | Za izdavača: Pavle Pejović Kustos: Marko Golub | Tekst: Marko Golub, Rick Poynor, Borut Vild | Prevod: Olivera Kusovac

Grafičko oblikovanje: Branka Radunović | Štampa: DPC – Podgorica | Tiraž: 300