Muzej moderne i suvremene umjetnosti, Rijeka, 2012.

Museum of Modern and Contemporary Art, Rijeka, 2012

Rijeka depoIzbor iz zbirki MMSU-a

Rijeka DepotA selection from the MMSU collections

Naslov publikacije preuzet je iz naziva instalacije Rijeka depo 87-03 Jusufa Hadžifejzovića

The title of the publication was adopted from the title of the installation Rijeka depot 87-03 by Jusuf Hadžifejzović

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Sadržaj / Contents

Ksenija Orelj 5

Pazi, klizav teren! / Attention, Slippery Ground!

Sabina Salamon 15

Pejzaž u Zbirci fotografija MMSU-a – sintakse,žanrovi i podudaranja / Landscape in the MMSU Collection of Photographs – Syntax, Genres, and Matches

Daina Glavočić 29

Radovi na papiru / Works on Paper

Diana Zrilić 39

Notica: “Riječka galerija priprema zanimljivu...” / Note: „The Gallery in Rijeka is Preparing an Interesting...“

Milica Đilas 53

Plešimo u muzeju / Let’s Dance at the Museum

Nataša Šuković 61

U europskoj mreži / Part of a European Network

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Tekst sam pisala usredotočena na radove Greenhou-se (2003.) Tomislava Brajnovića, Triumph (2007.) Tomislava Ćurkovića, Novi identiteti: Nova Europa (1993.) Vlaste Delimar, Tryptichos Post Historicus, (2005.) Brace Dimitrijevića, Realnost slike – slika realnosti (1999.) Sandra Đukića, Rijeka depo 87–03 (2003.) Jusufa Hadžifejzovića, Zrelo doba – Mors – Dolor – Angustiae (1998. – 1999.) Vlatka Vinceka i kolektiva The Moving Crew, What’s Inside Ideal X? (2010.)

Skliskost smisla unutar različitih registra realnosti, uključujući i sam muzejski prostor, propituju mno-gi suvremeni umjetnički radovi. Vrijednosti pojedi-nog sustava, u određenom trenutku uzdignute na paradig mu, korelirane su s elementima koji upućuju na ambivalentnost kriterija i uvjeta nastanka, njiho-vo promjenjivo čitanje u različitim prostorno-vre-menskim koordinatama, čime se potiče kritičko razmišljanje koje ne priznaje univerzalne odgovore.

U muzejskom kontekstu zanimljivi su na razini virus nog infiltriranja u samu matricu muzeja, nagri-zanja rutiniranih načina na koji muzeji oblikuju per-cepciju stvarnosti, usmjeravaju pozornost na poje-dini društveni fenomen, a u užem smislu definiraju status određenog umjetnika i njegova rada. Umjet-nici aktiviraju pravo da sam muzej shvate ...kao umjetničku formu s kojom se može slobodno postupa-ti...1 Ove ‘autorske’ zbirke unutar muzejske zbirke

1 Boris Groys, Učiniti stvari vidljivima. Strategije suvremene umjetnosti, Muzej suvremene umjetnosti, Zagreb, 2006., str. 101.

Ksenija Orelj

Pazi, klizav teren!

I wrote this text focused on the works Greenhouse (2003) by Tomislav Brajnović, Triumph (2007) by Tomislav Ćurković, New Identities: New Europe (1993) by Vlasta Delimar, Tryptichos Post Histori-cus (2005) by Braco Dimitrijević, Reality of Image – Image of Reality (1999) by Sandro Đukić, Rijeka Depot 87-03 (2003) by Jusuf Hadžifejzović, Adult Age-Mors-Dolor-Angustiae (1998-1999) by Vlatko Vincek and the collective The Moving Crew, What’s Inside Ideal X? (2010).

The slippery ground of meaning within different registers of reality, including the museum space itself, has been examined by many contemporary works of art. The values of a particular system, at a certain moment elevated to a paradigm, have been correlated to elements that indicate the ambivalence of criteria and conditions of its emergence, their vari able decoding within different spatial and tem-poral coordinates, which encourages critical con-templation that does not accept universal answers.

In the museum context, they are interesting at the level of virus-like infiltration into the very matrix of the museum and the erosion of routine ways in which museums form the perception of reality. They direct attention at a particular social phenomenon and in the narrower sense they define the status of a particular artist and his work. The artists activate the right to understand the museum ...as an art form one

Ksenija Orelj

Attention, Slippery Ground!

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uznemiruju reprezentacijski okvir, sustave sakuplja-nja i imenovanja, stvaranja kolekcije i memorijalnih vrijednosti, bilo da je riječ o materijalnoj ili simbo-ličkoj domeni. Nekad se temelje upravo na postup-cima koji bi u tradicionalnoj muzeološkoj praksi bili proglašeni heretičkim jer narušavaju prividnu neu-tralnost institucionalnog, kao i samoga izložbenog okruženja. U prisvajanju pojedinih kolekcionarskih i kustoskih metoda – sakupljanja, uključivanja i ispuš-tanja informacija i objekata, grupiranja materijala i prostornog koreografiranja, prisutno je propitivanje načela otvorenosti i objektivnosti. Tako se u nekim radovima može ogledati povlaštenost i subjektivnost kustoske uloge, u aktualnom slučaju upravo moje, kao poziv na propitivanje principa vlastita djelova-nja. Ipak, adresiranje odnosa umjetnik – kustos tek je jedna od okosnica. Pojedini radovi mogu asocirati na pristupe institucionalne kritike, pokrenute u okri-lju konceptualne i neoavangardne umjetnosti kasnih šezdesetih, koja kroz različite iskaze iskušava imu-nitet klasične raspodjele uloga u trokutu institucija – umjetnik – publika, te načine uspostave odnosa, stavova i vrijednosti. Trebam, međutim, spomenu-ti da se sam termin institucionalne kritike koristi oprez no zbog toga što je imenovanje restriktivno, a ova praksa odavna kanonizirana u vodećim svjet-skim muzejima.2 Radovi se bave asimetričnim od-nosima i opresivnim mehanizmima u proširenomu društvenom području, ovisno o kontekstu nastanka i umjetničkoj personi, postavljajući naglaske na spe-cifična polja, geopolitičke, ekonomske, kulturološke ili, primjerice, rodne aspekte.

Pritom je namjerno očuđivanje i distanciranje pro-matrača često zasnovano na prisvajanju i miješanju

2 Više: Ivana Bago, Činjenica da postoji institucionalna kritika važnija je od onoga što bi o njoj moglo biti napisano, Život umjetnosti br. 80 – 07, Institut za povijest umjetnosti, Zagreb, 2007., str. 6. – 24.

can freely use...1 These ‘author’s’ collections within the museum collection upset the representational framework, the systems of collecting and naming, of creating a collection and memorial values, no matter if we speak of a material or symbolic domain. Some-times they are founded on procedures that would be declared heretic in the traditional museological practice, because they disturb the apparent neutral-ity of the institutional, as well as the exhibition en-vironment as such. In the adoption of particular col-lectors’ or curatorial methods – collecting, inclusion and exclusion of information and objects, grouping of material and spatial choreography, questioning of principles of openness and objectivity is present. Thus some works reflect the privileged and subjec-tive aspect of the curatorial role, in this case mine, as an invitation to examine the principles of one’s own work. However, addressing the relation artist – curator is just one of the mainstays. Particular works can remind of the institutional critique ap-proach, launched under the auspices of conceptual and neo-avant-garde art of the late sixties, which through different expressions tests the immunity of the classic distribution of roles within the trian-gle institution-artist-public, as well as the ways of setting up relations, attitudes, and values. I should, however, mention that the term of institutional critique is used cautiously, because naming is re-strictive and this practice has long been canonised in leading international museums.2 The works are focused on asymmetrical relations and obsessive mechanisms in the expanded social area, depend-ing on the context of emergence and the artistic

1 Boris Groys, Making Things Visible. Modern Art Strategies, Museum of Contemporary Art, Zagreb, 2006, pp. 101

2 More on this topic: Ivana Bago, The fact that institutional critique exists is more important than that which could be written about it, Život umjetnosti (Life of Art), No. 80/07, Institute of Art History, Zagreb, 2007, pp. 6-24

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Tomislav Brajnović Staklenik, 2003. Greenhouse, 2003 instalacija (staklenik i rabljeni predmeti, standard 8 mm film, video, zvuk, svjetlo) / installation (greenhouse and used objects, standard 8mm fim, video, sound, lighting) 2200 x 2237 x 2640 mm, MMSU-2467 (1-160)

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predmeta svakodnevice s predmetima ‘visoke kul-ture’, na susretima između javnog i privatnog, kul-turno-povijesnog fakta i njegova kontaminiranog dvojnika. Nekonvencionalni spojevi stvari i stvar-nosti unose smetnje u uvriježene formule i iščašuju prihvaćanje značenja zdravo za gotovo. Ubacivanje izrazito subjektivnih i nelinearnih faktora, inzisti-ranje na decentriranju priče, preuzimanje pozicije nepouzdana pripovjedača, neke su od poveznih karakteristika. Razotkrivajući artificijelni karakter autentičnosti, objektivnosti i neutralnosti, umjet-nički radovi upućuju na to da su institucionalne norme zasnovane na konstrukcijama te u svojoj osnovi manjkave i arbitrarne, a time i promjenjive. Nalik kretanjima paralelnih historiografija posve-ćeni su marginaliziranim i zatomljenim (pri)po-vijestima. Ulaskom u muzejsku zbirku postaju dio ‘službenog’ narativa, što može izgledati kao omek-šavanje njihove kritičke oštrice, ali može i djelovati kao šum u samom sustavu, kao rizično mjesto koje podsjeća da stanje stvari i pravila igre treba stalno testirati, izazivati i korigirati. To bi ujedno značilo da su i sami podložni revidiranju, pod rizikom da njihov subverzivan učinak u određenom trenutku, unutar izmijenjenih uvjeta produkcije i recepcije, postane upitan. Budući da ulazak u zbirku često slijedi godinama nakon nastanka radova, njihov se status pomiče s horizonta aktualnog na ‘dokument’ određenog vremena i konteksta djelovanja. Pažnja se usmjerava na kustosku ulogu, osluškivanje i us-poređivanje različitih pristupa, propuštanje razno-vrsnih interpretacija te osobnu vještinu snalaženja u namještanju glasnoće.

person, stressing specific fields, geo-political, eco-nomic, culturological or gender aspects.

In the process, deliberate estrangement and alien-ation of the viewer is often based on adoption and blending of everyday objects with ‘high culture’ items, at the meeting points of the public and the private, of the cultural and historical fact and its contaminated double. Non-conventional blending of objects and reality introduce disturbances into standard formulas and shatter the taking of the meaning for granted. The inclusion of pronoun cedly subjective and non-linear factors, insisting on decen-tring of the story and adoption of the position of the unreliable narrator are some of the linking character-istics. By disclosing the artificial character of authen-ticity, objectivity, and neutrality, artworks indicate that institutional norms are based on constructions and basically flawed and arbitrary, which makes them changeable. Similar to the movement of par-allel historiographies, they are devoted to margina-lized and suppressed (hi)stories. Through the inclu-sion into a museum collection, they become part of the ‘official’ narrative that can seem to be a softening of their critical edge, but it can also seem as a noise within the system, as a risky spot that reminds us that the state of things and the rules of the game should be constantly tested, challenged, and corrected. This would also mean that they are subject to revision themselves, risking that at some point their subver-sive effect, within altered conditions of production and reception, might become questionable. Because the inclusion into a collection often takes place years after the creation of particular works, their status is shifted from the current horizon to the domain of a ‘document’ of certain time and context of activity. The attention is directed at the curatorial role, as-sessing and comparing different approaches, letting different interpretations through, and personal skill in setting the volume.

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Jusuf Hadžifejzović Rijeka depo 87-03, 2003. Rijeka Depot 87-03, 2003 instalacija (zastave, muzejska vaga, utezi, kutije za utege, skulptura iz fundusa: MMSU-92) / installation (flags, museum scales, weights, weight boxes, sculpture from the holdings: MMSU-92) MMSU-2727 (1-35)

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Tomislav Ćurković Triumph, 2007. Trijumf, 2007 objekt, detalj (drvo, staklo, organski i anorganski materijali) object, detail (wood, glass, organic and anorganic material) 600 x 2045 x 890 mm, MMSU-5012

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Braco Dimitrijević Tryptichos Post Historicus, 2005. instalacija (bicikli, jabuke, slike iz zbirke MMSU: MMSU-66, MMSU-1597; postament) / installation (bicycles, apples, paintings from MMSU holdings: MMSU-66, MMSU-1597; base) varijabilne dimenzije / varying dimensions, MMSU-2772

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Sandro Đukić Realnost slike – slika realnosti, 1999. Reality of Image – Image of Reality, 1999 instalacija (knjiga, video, fotografija)/ installation (book, video, photograph) varijabilne dimenzije / varying dimensions, MMSU-2249 (1-3)

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Vlasta Delimar Novi identiteti: Nova Europa, 1993. New Identities: New Europe, 1993 instalacija, detalj ( fotografija, akrilik, til)/ installation, detail (photograph, acrylic, tulle) 1730 x 1045 mm, MMSU-2209-1

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Izbor teme pejzaža unutar Zbirke fotografija koja sadrži šestotinjak predmeta, proizlazi iz zapažanja da je pejzaž vrlo star motiv likovne umjetnosti pa zbog toga kao predmet rasprave mnogima neza-nimljiv, iako je, uz portret, jedna od prvih tema fotografije. Heliograf Josepha Nicéphora Niépcea, službeno smatran prvim svjetlosnim zapisom, nosi naziv Pogled kroz prozor na Le Gras. Budući da je priroda oduvijek bila nadahnuće, kao predmet promatranja ili priželjkivanja, nesumnjivo postoji i izvorna povezanost s njom. Unutar fotografije po-stoje sintakse bliske slikarskoj tradiciji, mimezisu i čistoj reprezentaciji te onoj koja počiva na prefor-mulaciji, kolažiranju.

Listajući zbirku MMSU-a nalazimo primjere izrav-na pogleda u prirodnu scenu – ciklus Pelješac-Brat-kovice Ranka Dokmanovića s kraja osamdesetih i Ocean Borisa Cvjetanovića, sniman na obali Au-stralije. Oba snimana Hasselbladom (6 x 6 incha) dobar su primjer odmaka od klasičnoga pravokut-nog formata slike, govoreći u korist posebnosti fo-tografije. O slikarskom tu možemo govoriti samo s odmakom, oslonivši se na ikonografiju, a u svrhu usporedbe specifičnosti obaju medija. Ocean nas podsjeća na poetiku sjevernjačkog romantizma, učestalu temu osamljene jedinke koju nadmoć-na priroda istovremeno plaši i nadahnjuje, izaziva osjećaj sublimnog. Sivo-crni tonovi Cvjetanoviće-vih fotografija izazivaju melankoliju, ali obala mora snimana devedesetih ne prenosi uzvišene emocije romantizma, već govori jezikom proze, mimoilazeći

Sabina Salamon

Pejzaž u Zbirci fotografija MMSU-a – sintakse, žanrovi i podudaranja

The selection of the landscape topic in the Collec-tion of Photographs, which contains about six hun-dred items, originates from the observation that landscape is a very old motif in visual art and thus as an object of discussion uninteresting to many, al-though along with the portrait it is one of the first topics of photography. The heliograph by Joseph Nicéphor Niépce, officially considered the first light recording, is entitled View from the Window at Le Gras. Because nature has always been an inspira-tion, as an object of observation or desire, there is undoubtedly a basic bond with it. In photography there are syntaxes close to painting tradition, mi-mesis, and pure representation, as well as one based on re-formulating and collage.

Leafing through the MMSU collection we find ex-amples of a direct view of the natural scenery – the cycle Pelješac-Bratkovice by Ranko Dokmanović from the end of the eighties and The Ocean by Boris Cvjetanović, shot on Australia’s shores. Both taken by a Hasselblad camera (6x6’’), they are a good ex-ample of detachment from the classical rectangular image format, highlighting the photograph’s spe-cial features. We can speak of the painterly aspect only with certain detachment, relying on iconog-raphy, and with the aim of comparing similarities of both media. The Ocean reminds us of the poet-ics of northern romanticism, a frequent topic of a lonely individual at the same time frightened and inspired by dominant nature, evoking a feeling of the sublime. Gray-black tones of Cvjetanović’s pho

Sabina Salamon

Landscape in the MMSU Collection of Photographs – Syntax, Genres, and Matches

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eventualnu egzaltaciju. Ne samo zahvaljujući medi-ju nego i iskustvu, stječe se dojam da sjeta aktera na fotografijama prelazi na gledatelja putem empatije. Dokmanovićevi lukobrani iz Bratkovica slikarsko prizivaju režući kadar na plošne planove, premda imaju jasno naznačenu perspektivu pomoću kosina koje fotograf postiže kadriranjem. Kad bismo govo-rili o slikarskome platnu umjesto o fotografiji, rekli bismo da se autor služi redukcijom, koju na fotogra-fiji ne primjećujemo zbog visoke razlučivosti boja, držeći nam pažnju na vjerodostojnosti fotografije, dokumentarno uvjerljivoj reprezentaciji prirode. Postoje krajolici koji se čine bezvremenima; ne ot-krivaju ni vrijeme ni mjesto nastanka. Transcendira-jući vrijeme, oni postaju idealnim mjestom kontem-placije, poput zurenja u prazno.

Otvorene vizure pejzaža SofijeSilvie (ciklus Otoci) i Chrystel Lebas (ciklusi Presence i Histoires Natu-relles) nude užitak pogleda u prirodu. Istražujući život u divljini, na nekim fotografijama interakciju životinja i prirode, gdjekad i pridruženog čovjeka, autorice predstavljaju rijedak primjer sustavne želje za otkrivanjem flore i faune kakvu u naseljenim di-jelovima svijeta čuvaju još samo nacionalni parkovi. Njihova je pažnja usmjerena na detalje zahvaćene bliskim susretima sa svijetom koji prosječan čovjek nema prigodu vidjeti. Izložene kušnji strpljenja, nalaze trenutke koje bismo mogli uvrstiti u zbirku kakva znanstvenika – botaničara, biologa. Pseudo-znanstvenim principom rada, uz uvažavanje estet-skih parametara dobre slike – kompozicija u prvom redu – gledatelja nagrađuju užitkom čistoga gleda-nja, kontemplirajućeg motrenja.

Širok raspon pejzažne fotografije proteže se od prikaza noćnih prizora (Marcus Doyle), otvorenih vizura horizonta (Pedro Meyer), studioznih opser-vacija (Lebas, SofijaSilvia) do landscapea, spomenu-tog na početku teksta. U zbirci MMSU-a nalazimo najrazličitije verzije urbanog pejzaža: domaće autore

tographs cause melancholy. However, the seashore photographed in the nineties does not convey the high-pitched emotions of romanticism, but speaks the language of prose, avoiding possible exaltation. Not only thanks to the medium, but also to expe-rience we get the impression that the melancholy of the photographed protagonists is transferred to the viewer by way of empathy. Dokmanović’s wave breakers from Bratkovice evoke the painterly ele-ment by cutting the frame into two-dimensional layers, although they show a clearly outlined per-spective through aslant lines, achieved by the pho-tographer through his framing procedure. If we spoke about a canvas instead of a photograph, we would say that the author applied reduction, which we do not notice in a photograph, because of high colour differentiation that focuses our attention on the verisimilitude of the photograph, a convincing representation of nature in documentary terms. There are landscape photographs that look time-less; they do not disclose either the time or the place of their creation. Transcending time, they be-come an ideal place of contemplation, like staring into a void.

Open views of SofijaSilvia’s landscapes (her Is-lands cycle) and Chrystel Lebas (her cycles Presence and Histories Naturelles) offer us the enjoyment of a view into nature. Exploring wildlife, in some photographs the interaction between animals and nature, sometimes also in the company of man, these authors represent a rare example of system-atic desire to discover flora and fauna of the kind preserved only by nature reserves. Their attention is focused on details emerging from close encounters with the world the average person has no chance to see. Exposed to the test of patience, they discover moments that we might include into a collection of a researcher – botanist or biologist. In a pseudo-sci-entific work procedure, taking into account the

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Ranko Dokmanović Bratkovice-Pelješac, 1989. fotografija u boji / colour photograph 413 x 415 mm, MMSU-2490

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Boris Cvjetanović Ciklus Ocean, 1998. Ocean Cycle, 1998 želatinski srebrotisak na fotopapiru / gelatin silver print on photo-paper 396 x 298 mm, MMSU-2764-30

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SofijaSilvia Tihi otoci, Brijuni – Studija drveća – Pinije – br. 01, 2010. Quiet Islands, Brijuni – Tree study – Umbrella pines – No. 01, 2010 želatinski srebrotisak na fotopapiru / gelatin silver print on photo-paper 305 x 460 mm, MMSU-6848

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aesthetic parameters of a good image – this applies primarily to composition – they reward the viewer with the enjoyment of pure viewing, of contem-plating observation.

A broad scope of landscape photography stretch-es from a depiction of nocturnal views (Marcus Doyle), open horizon views (Pedro Meyer), me-ticulous observations (Lebas, SofijaSilvia) to land-scapes mentioned at the beginning of this text. In the MMSU collection we can find different ver-sions of urban landscape: local authors – Viktor Hreljanović (Agreement) and Željko Vukušić (View from Slatina), as well as Marcus Doyle (Rijeka Cy-cle). This kind of photography cannot be accused of the lack of engagement, documentary sensibility mostly purified by social commentary (Pedro Me-yer, Mexican Day Labourers). Here we can add the example of Ivan Posavec, who observed the deso-late streets of Zagreb on the day of J.B.Tito’s funeral on May 8th, 1980.

The context does not have to be always clear, the place and time can be indiscernible, and the scene can be a pure metaphor, like in the work Somoza Destroyed (1979) by Pedro Meyer. However it contextually eludes it, we can consider war photography a sub-spe-cies of landscape photography if its setting includes a landscape (Robert Kalčić, Silvano Ježina). Here aes-thetic criteria have been taken into consideration (the frame is not random), but the memory of the viewer is of primary importance.

At the time of digital technology, photo-editing serves the authors as a means of conceptualization. Works from the series Excavations by the Canadi-an photographer Isabelle Hayeur show fictive and documentary coagulations of scenes from de-hu-manized suburbs of North American metropolis-es (Montreal, Omaha). Grown up in the suburbs, the author monitors the uncontrolled growth of

– Viktora Hreljanovića (Dogovor) i Željka Vukušića (Pogled sa slatine), odnosno Marcusa Doylea (Riječki ciklus). Toj se fotografiji ne može zanijekati angaž-man, dokumentarni senzibilitet najčešće pročišćen socijalnim komentarom (Pedro Meyer, Meksički nadničari). Dodajmo i primjer Ivana Posavca koji zamjećuje opustjele zagrebačke ulice na dan pogre-ba J. B. Tita 8. svibnja 1980. godine.

Kontekst ne mora uvijek biti jasan, mjesto i vrijeme mogu biti neizvjesni, kao što prizor može biti čista metafora, poput rada Somoza Distroyed (1979.) Pedra Meyera. Ma koliko joj kontekstualno izmiče, podvrstom pejzažne fotografije možemo smatrati i ratnu fotografiju, ako mjestom događaja ulazi u vidokrug pejzaža (Robert Kalčić, Silvano Ježina). I ovdje su uzeti u obzir estetski kriteriji (kadar je bi-ran), ali je važnija memorija onoga tko gleda.

U doba digitalne tehnologije, fotomontaža auto-rima služi kao sredstvo konceptualizacije. Radovi iz serije Iskapanja kanadske fotografkinje Isabelle Hayeur prikazuju fiktivno-dokumentarističke ko-agulacije prizora dehumaniziranih predgrađa sje-vernoameričkih velegradova (Montreal, Omaha). I sama odrasla u predgrađu, autorica prati nekon-troliran rast naseobina, potaknut sve većom napu-čenošću kontinenta, lišen brige za kreiranjem život-nog prostora zadovoljavajućeg standarda. Nered kao rezultat zanemarivanja planske urbanizacije, simptom je socijalne neosjetljivosti i regresivnog razvoja visokoproduktivnih društava. U fotograf-skom smislu, njezini su radovi digitalne fotomonta-že u obliku preslaganja prednjih i zadnjih planova, žabljih i ptičjih perspektiva.

Slika i fotografija dva su načina viđenja stvarnosti, a podudarnost u formatima i kompoziciji treba-lo bi rješavati drugo područje, analiza druge vrste koja bi u radni zadatak postavila pitanje zašto se tijekom povijesti vizualne kulture i umjetnosti po-

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Marcus Doyle Torpedo 01 , 2011. C-type, fotografski papir / C-type, photo-paper 158 x 300 mm, MMSU-6348

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navljaju pravokutni i kvadratni format. Ostavljaju-ći po strani činjenicu da svi parametri dobre slike vrijede i za fotografiju, istaknuti treba da je razlog njezine vitalnosti vrijeme, bilo da je riječ o Derri-daovu pojmu fotografa-svjedoka ili o Barthesovu i Benjaminovu poimanju vremena koje nam kao u zrcalnoj slici vraća smrt. Jezik fotografije proizlazi iz duboko ljudskog odupiranja smrti, čemu pripisuju i svaku namjeru arhiviranja, prikupljanja i čuvanja.

Referentna literaturaR. Krauss, A Note on Photography and the Simulacral, str. 56. http://bookre.org/reader?file=1098408&pg=9

J. Derrida, Copy, Archive, Signature, http://en.bookfi.org/book/1060986

Roland Barthes, Camera lucida, Studia Humanitatis, Ljubljana

settlements, induced by increased population of the continent and careless about creating places with satisfactory living conditions. Disorder as a result of neglect of city-planning is a symptom of social insensitiveness and regressive development of highly productive societies. In the photographic sense, her works are digital photo-montages that reshuffle the fore- and background, worm’s eye and bird’s eye views.

Painting and photography are two ways of viewing reality and the overlapping in format and com-position should be researched in a different field, through an analysis of a different kind that would ask itself a question why through the history of visual culture and art the rectangular and square formats are repeated. Leaving aside the fact that all parameters of a good painting are also true of a pho-tograph, we must point out that the reason of its vi-tality is time, no matter if this is applied to Derrida’s notion of a photographer-witness or to Barthes’s and Benjamin’s understanding of time that returns death to us like in a mirror image. The language of photography emerges from a deeply human resist-ance to death, which is allegedly the reason for any intention at archiving, collecting, and preservation.

Literature:R. Krauss, A Note on Photography and the Simulacral, p. 56 http://bookre.org/reader?file=1098408&pg=9

J. Derrida, Copy, Archive, Signature, http://en.bookfi.org/book/1060986

Roland Barthes, Camera lucida, Studia Humanitatis, Ljubljana

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Isabelle Hayeur Tragovi, 2006. Traces, 2006 ink jet print, polipropilen; digitalna fotomontaža / Ink jet print, polypropylene; digital photo-editing 1240 x 2130 mm, MMSU-6841

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Viktor Hreljanović Dogovor, 4. 2. 1976. Agreement, Feb. 4th, 1976 želatinski srebrotisak, barit papir / gelatin silver print, barite paper 300 x 404 mm, MMSU-5413

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Luka Mjeda Vodena skulptura 1-35, 1998. Vater Sculpture 1-35, 1998 želatinski srebrotisak, barit papir / gelatin silver print, barite paper 304 x 404 mm, MMSU-4002

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Ivan Posavec 8. 5. 1980. May 8th, 1980 želatinski srebrotisak, fotopapir / gelatin silver print, photo-paper 505 x 608 mm, MMSU-2476-10

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Pedro Meyer Meksički nadničari, 1986., 1990., 2008. Mexican Migrant Workers, 1986,1990, 2008 negativ, crno-bijeli, 35 mm, papir digitalno modificirano, digitalna fotografija negative, black and white, 35 mm, paper digitally modified, digital photography 880 x 1119 mm, MMSU-5487

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U svim se zbirkama MMSU-a, među raznorodnim radovima, neizbježno nalaze i djela rađena na papi-ru ili oblikovana papirom, s obzirom na to da je to jedan od najstarijih, ljudskom rukom i tehnologi-jom, proizvedenih materijala prikladnih za umjet-ničko izražavanje. Papir je kao podloga umjetničke kreacije najzastupljeniji u zbirkama crteža i grafi-ke koje sadrže radove domaćih i stranih autora, kao djela pojedinih autora ili grupna umjetnička djela. Budući da autori sami određuju što je crtež, što slika, a što grafika, miješajući često i tehnike i discipline, pa i podloge, zastupljene su raznolike tehnike i for-mati te mnogi crteži nalikuju slikama ili grafikama, štoviše, rađeni su slikarskim bojama i priborom (ulje, gvaš, tempera, akvarel, kombinirane tehnike). Ipak, pri uvrštavanju u zbirku uvijek se nastoji poštovati osnovni kriterij, a to je – kvaliteta i inovativnost.

Zanimljivo je kako autori biraju i koriste papir jer je katkad za neko djelo važan izgled papira, debljina (gramatura), glatkoća ili hrapavost, sjaj ili mat povr-šina, boja ili bjelina, proces izrade papira (ručno ili tvornički) ili podrijetlo sirovine (biljke, tkanine)… O izboru papira ovisi karakter rada, motiv, odabir tehnike, održivost i trajnost crteža, riječju – opći dojam dovršenoga umjetničkog djela. Neki umjet-nici rade često, ili jedino, na papiru i s papirom, ali nisu isključivo slikari, grafičari ili crtači, već mogu biti i kipari koji stvaraju posebnom tehnikom mo-

deliranja, papier mâché: međusobno lijepljenje tr-ganih ili narezanih traka papira na neki kalup. Kipar Branko Ružić izradio je tako skulpturu Autoportret.

Daina Glavočić

Radovi na papiru

Among different works, all MMSU collections also contain the ones on paper or shaped in paper, be-cause it is one of the oldest man-produced materials suitable for artistic expression. As a ground for ar-tistic creation it is best represented in collections of prints and drawings that contain works by local and foreign authors, in the form of individual or group products. Because the authors themselves deter-mine what is a drawing, what a painting, and what a print, often mixing media and disciplines, and even their grounds, different techniques and formats are represented. Many drawings come close to paint-ings or prints; moreover, they have been created in oil, gouache, tempera, water colours or mixed media and with the help of other painterly supply. However, the basic criterion for the inclusion into a particular collection has always been the one of innovativeness and quality.

The way how authors choose and use paper is inter-esting, because sometimes for a particular work the appearance of paper is important (its thickness – weight, smoothness or coarseness, shining or matte surface, colour or whiteness, the process of its pro-duction – hand or factory made, or the source of raw material – plants, fabric)... The choice of paper commands the character of a work, its motif, media selection, sustainability and durability of a drawing, in one word – the general impression of a finished artwork. Some artists work frequently or exclusive-ly on paper and with paper, but they are not only painters, drawers or graphic artists; they can also be

Daina Glavočić

Works on Paper

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Donedavna su i fotografi koristili posebnu vrstu fo-topapira za svoja djela, ali danas to polako zamire pred digitalnom slikom na ekranu.

Iz Zbirke crteža MMSU-a treba istaknuti neke sjaj-ne crteže, kao npr. skicozni rad Giuseppea Zigaine, simbolički crtež Che Jeana Ipoustegyja, hiperrea-listički crtež Position B Massaoa Yamane, fragilni kolažirani crtež Leti sam nad Tokijom Suwana Met-hapisita koji sažima svu tradiciju Istoka: zmaja od ri-žina papira. Iznimni su koloristički jaki crteži Jeana Messagiera Nepoznato proljeće i Proljetna katastrofa s cvjetanjem ili gestualni crtež Oliviera Debréa Signe personnage. Treba istaknuti i minimalistički crtež samo jedne obojene kružnice Sama Francisa SF-UI 63. Suprotnost tome su vrlo bogati crteži Davora Vrankića i Tomislava Čeranića te precizni dizajner-ski crteži Etorea Sottsassa Posuda za voće i Studija okvira, s mnogo detalja arhitektonske konstrukcije. Mnogima crtež služi kao skica za daljnje radove pa koriste blokove za skiciranje, kakav je precizni Au-toportret olovkom Miroslava Kraljevića ili mnogo-brojni minuciozni crteži Alexandera Marxa te skice kredom i ugljenom Louisa Meyniera. Herman Bra-un primjenjuje aplikaciju tkanine na crtežu Košulja za svaki dan, a Cardoso José Matos metalnim spaja-licama povezuje rastrgane papire.

Posebno su vrijedni mnogobrojni kubokonstruk-tivistički crteži na natron-papiru (omotnom, pak-papiru, kraft-papiru od nebijeljene celuloze) iz 1930-ih Romola Venuccija. Stvarao ih je u vrijeme neimaštine, nedostatka papira i drugoga slikarskog pribora, jednostavnim crtačkim sredstvima – olov-kom, ugljenom, kredom – što nije umanjilo njihovu umjetničku vrijednost, a povećalo izražajnu.

Cijela zbirka od nekoliko tisuća doniranih radova Božidara Rašice gotovo je u potpunosti ostvarena na papiru, gvašem, flomasterom, tušem ili olovkom. Autor je imao stalnu potrebu bilježenja svojih misli,

sculptors who use a special sculpting technique - papier mâché: glueing together of torn or cut strips of paper to a mould. Sculptor Branko Ružić has in this manner created the sculpture Self-portrait. Un-til recently, photographers have used a special kind of photo-paper for their works, but today it is grad-ually being replaced by a digital image on a screen.

In the MMSU Collection of Drawings we must emphasize some brilliant drawings like the sketchy work by Giuseppe Zigaina, the symbolic drawing Che by Jean Ipoustegy, the hyperrealist drawing Position B by Massao Yamana or a fragile collaged drawing Fly Alone over Tokyo by Suwan Methapisit that condenses all Eastern tradition: a rice paper dragon. Exceptional works are the drawings by Jean Messagier Unkonwn Spring and Spring Catastro-phe with Blossoming in pronounced colours or the gestural drawing Signe personage by Olivier Debré. We should also mention the minimalist drawing of a single coloured circle by Sam Francis, SF-UI 63. Juxtaposed to this are very flamboyant drawings by Davor Vrankić and Tomislav Čeranić and precise designer drawings by Etore Sottsass Fruit Bowl and Study of a Frame, with many details of an architec-tural construction. To many a drawing serves as a sketch for further works, so that they use sketch-ing pads; to this category belong the precise pen-cil Self-portrait by Miroslav Kraljević or numerous meticulous drawings by Alexander Marx, as well as sketches in chalk and charcoal by Louis Meynier. In the drawing An Everyday Shirt, Herman Braun applies fabric on the ground, while Cardoso José Matos joins torn paper with metal staples.

Especially valuable are numerous cubist-construc-tivist drawings on brown packing paper from 1930s by Romolo Venucci. He created them at a time of poverty, of paper and other painterly supply short-age, using very simple drawing means – pencil,

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Miroslav Kraljević Autoportret, 1911. Self-portrait, 1911 olovka, papir / pencil, paper 110 x 180 mm, MMSU-126

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dojmova i ideja. Crtao je na bilo kakvome priruč-nom papiru, u gotovo svim dnevnim i životnim prigodama – na putovanju, u kavani, u bolnici, na poslu, u besanim noćima…

Na prijelazu iz 20. u 21. stoljeće raznovrsnost teh-nika, tema i pristupa crtežu i grafici neprestano se mijenja i obogaćuje novom suvremenom tehnolo-gijom, čemu uvelike pridonosi kompjutorizacija integrirana u umjetničko-crtačkoj sferi. Proces jed-nostavnijeg, bržeg i jeftinijeg umnožavanja umjet-nikova grafičkog predloška nakon 1950. sve se više tehnički unapređuje uvođenjem jednostavnijih i bržih tehnika i pomagala za sitotisak, serigrafiju, fototisak, offset i xerox, sve dok u grafiku ne uđe i kompjutor te usporedno s njim i vizualni ekspe-rimenti. Vilko Žiljak već 70-ih stvara apstraktne kompjutorske prikaze slovima, a Vjenceslav Richter kombinira matrice s beskonačnim mogućnostima uzoraka Sistemskih grafika. Grafika se rastače na niz pojedinačnih pristupa, stavova i stilova, uvode se novine u tehniku, način izvođenja i prezentacije grafičkih listova, mapa, grafičkih knjiga poput rada 2-3D Ivane Franke. Sve je više boja, vrsta papira i prostornih instalacija poput velikih paravana Maje S. Franković ili Velog Mrgara Josipa Butkovića, kao i kombinacija s mnogim drugim medijima i novim digitalnim tehnologijama koje izostavljaju papir kao podlogu.

charcoal, and chalk – which did not diminish their art value, but enhanced their expressiveness.

The entire collection of several thousand donated works by Božidar Rašica has almost entirely been realized on paper in gouache, felt-pen, Indian ink or pencil. The author had a constant need to record his thoughts, impressions, and ideas. He drew on any kind of paper he had at hand, on almost all daily and current occasions – on travels, in cafes, at the hospital, at work, during sleepless nights...

At the turn of the last century, the diversity of me-dia, topics, and approaches to prints and drawings has constantly changed, enhanced by new, modern technology. Here a large contribution has been made by computerization integrated into the ar-tistic and drawing sphere. After 1950, the process of simpler, faster, and cheaper multiplication of the artist’s printing template has continuously been technically improved by introducing simpler and faster procedures and devices for silkscreen, seri-graphs, photo-prints, offset, and Xerox, all the way to the computer and its visual experiments. Already in the seventies Vilko Žiljak created abstract com-puter images consisting of characters and Vjekoslav Richter combined matrices with endless combi-nations of patterns, System Prints. The prints have dispersed into a myriad of individual approaches, standpoints, and styles, new technical, performa-tive, and presentational elements have been intro-duced to prints, portfolios, and art books, like the work 2-3D by Ivana Franke. There are more and more colours, sorts of paper, and spatial installa-tions like large screens by Maja S. Franković or Veli Mrgar by Josip Butković, as well as combinations with other media and new digital technologies that do not need paper as their ground.

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Romolo Venucci Apstraktna kompozicija, 1927. Abstract Composition, 1927 ugljen, papir / charcoal, paper 427 x 295 mm, MMSU-1557

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Richard Mortensen Rijeka I, 24. 11. 1987. Rijeka I, Nov. 24th, 1987 tuš kistom, papir / brush-painted Indian ink, paper 760 x 560 mm, MMSU-1537

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Vjenceslav Richter Sistemska grafika, 1995. System Print, 1995 serigrafija u boji, papir / colour serigraph, paper 680 x 480 mm; otisak 345 x 345 mm, MMSU-1975-2

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Andrej Jemec Risba 9. / Crtež 9., 12. 4. 1976. Drawing 9, Apr.12th, 1976 tuš perom, papir / Indian ink on paper 1004 x 701 mm, MMSU-1240

←

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Petar Omčikus San, 1984. Dream, 1984 crna kreda, papir / black chalk, paper 750 x 1100 mm, MMSU-1440

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Više od pola stoljeća muzej skuplja, čuva i valori-zira dokumentarnu građu u čijem su središtu po-jave, kretanja i relacije vezane uz Galeriju likovne umjetnosti – Modernu galeriju – Muzej moderne i suvremene umjetnosti. Svaki spomenuti činitelj ima iznimnu važnost bez obzira na to za koje je raz-doblje vezan. Stoga je najbolje krenuti od početka i prvih deset godina povijesti muzeja.

Osnovana 1948. godine, nedugo nakon završetka ratnog bezumlja i stradanja, Galerija likovnih um-jetnosti započela je s izložbenom praksom kao ža-rište za populariziranje našeg likovnog stvaralaštva1. Otvorena 1949. godine na drugom katu Doma kulture Vladimira Švalbe Vida2 uz postav od 120 umjetnina i najavljena vodstva kroz izložbu, obavila je svakodnevnu važnu funkciju u podizanju likovnog umjetničkog obrazovanja radnih ljudi3. U prilog tome govori i jedna od prvih skupnih izložbi 72 člana Udruženja likovnih umjetnika iz Rijeke, koja je kao putujuća izložba posjetila istarske i slovenske gra-dove. Galerija nije samo njegovala neposredan pri-kaz umjetničkog djela kroz grupne ili samostalne izložbe, već je 1953. pokrenula snimanje u boji 70 najznačajnijih djela iz zbirki, koja su kao ilustracija bila sastavni dio niza predavanja o likovnoj umjet-

1 O riječkoj galeriji likovnih umjetnosti, Riječki list, 2. veljače 1951.

2 Zgrada Guvernerove palače.3 Ljubo Babić, Galerija u palači guvernera, Vjesnik,

22. travnja 1953., prilog Vjesnik u srijedu

For longer than half a century the Museum has been collecting, preserving, and evaluating historical ma-terial focused on occurrences, tendencies, and rela-tions linked with the Fine Arts Gallery – Modern Gallery – Museum of Modern and Contemporary Art. Each of these mentioned factors is of utmost im-portance, regardless of the period of its emergence. Therefore it is best to start from the beginning and the first ten years of the Museum’s history.

Founded in 1948, shortly after the end of war horrors and atrocities, the Fine Arts Gallery has commenced its exhibiting practice as a focal point for popularization of local visual art1. Opened in 1949 at the second floor on the second floor of the Vladimir Švalba Vid Culture Centre2 with a display encompassing 120 artworks and envisaged guided tours, it has performed an important everyday task in raising the educational level of working people in the area of fine arts.3 One of the first group exhibitions of the 72 members of Rijeka’s Visual Artists Associ-ation, which as a travelling exhibition toured Istrian and Slovenian cities, supported this concept. The Gallery did not only focus on the direct display of artworks in group and solo exhibitions, but in 1953 it started the process of photographing 70 most

1 About the Fine Arts Gallery in Rijeka, Riječki list, February 2nd, 1951

2 The Governor Palace building3 Ljubo Babić, Gallery at the Govrnor’s Palace, April 22nd,

1953, special section of the Vjesnik u srijedu weekly

Diana Zrilić

Notica: “Riječka galerija priprema zanimljivu...”

Diana Zrilić

Note: „The Gallery in Rijeka is Preparing an Interesting...“

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nosti4. Na putujućim su izložbama preko reproduk-cija bili predstavljeni i svjetski umjetnici, a takav format u izložbeno-programskom razvoju pokre-nula je i Galerija s ambulantnom izložbom Hrvatsko kiparstvo XIX i XX stoljeća u umjetničkoj fotografiji, autora Marijana Szaba i Toše Dabca, koju su mogli vidjeti građani Istre, Rijeke i okolice, Zadra, Splita i Dubrovnika.

Posebno mjesto od samoga početka, kroz stalni postav i samostalne izložbe, zauzimaju slikari koji su živjeli i radili u riječkome kraju. U okviru repub-ličkog Tjedna muzeja 1954. godine, građani su na izložbi Riječko slikarstvo XIX stoljeća imali prigodu vidjeti što i kako se stvaralo prije stotinu godina u Rijeci. Objedinjenoga kulturološkog, sociološkog i umjetničkog sadržaja, koji se čuva i u zbirkama i u dokumentaciji, tu izložbu s pravom možemo ozna-čiti prvom tematskom izložbom. Izloženi radovi Fijumana upravo su zahvaljujući muzejskom pristu-pu postali predmetom mnogobrojnih istraživanja i predstavljanja, na temelju čega je izgrađen današnji prepoznatljiv identitet ustanove i jezgra fundusa.

Kulminacija aktivnosti bio je Salon 54, prva kod nas originalno koncipirana i smjelo postavljena (od mno-gih možda još ne shvaćena) izložba5. Među najvred-nijom sačuvanom građom muzejskog Odjela do-kumentacije jesu fotografski zapisi riječkih salona koji su kvalitetnim idejnim pristupom i odabirom predstavljali i problematizirali umjetnička kretanja i pojave likovne scene, a čije vrijednosti se i danas ak-tualiziraju i stručno sagledavaju. Organiziran prema pravilima skupnih tematskih izložbi, s tijelima koja su odlučivala i odabirala te nagrađivala, zanimljivost je prvoga Salona u tome što su radovi birani u od-

4 Riječka galerija priprema zanimljivu izložbu, Vjesnik, 13. kolovoza 1953.

5 Boris Vižintin, Likovni život u Rijeci, 15 dana, 1. listopada 1954.

important works from its collections in colour; they served as illustrations in a series of lectures on visual art.4 Through images and slides, international artists were also included in travelling exhibitions. This kind of format in the development of the ex-hibition programs was implemented by the Gallery also in the travelling exhibition Croatian Sculpture of the 19th and 20th Centuries in Art Photography that included works by the authors Marijan Szabo and Tošo Dabac. The exhibition could be viewed by people of Istria, Rijeka, and its surroundings, as well as Zadar, Split, and Dubrovnik.

From the very beginning, in the permanent dis-play and through solo exhibitions, a special place was assigned to painters who lived and worked in the area of Rijeka. Within the framework of the republic Museum Week in 1954, at the exhibition The Painting of Rijeka in the 19th Century, the pub-lic had the opportunity to see what and how was created hundred years ago in Rijeka. Unified in its culturological, sociological, and artistic content from both collections and archives, this exhibition can be deservedly termed the first thematic exhibi-tion. Thanks to this approach by the Museum, the exhibited works by the painters of Rijeka have be-come objects of many research projects and pres-entations, which has been the foundation of today’s recognizable identity of this institution and the core of its holdings.

The pinnacle of the Museum’s activities was Salon 54, the first originally conceived and boldly displayed exhibition (maybe misinterpreted by many).5 Among the most valuable preserved material of the Muse-um’s Documentation Department are photograph-

4 The Rijeka Gallery Is Preparing and Interesting Exhibition, Vjesnik, August 13th, 1953

5 Boris Vižintin, Life of Art in Rijeka, 15 dana, October 1st, 1954

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Ivan Picelj Plakat za izložbu Salon 54, 1954. Poster for the exhibition Salon 54, 1954 litografija / lithograph 1000 x 700 mm, MMSU-2357

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Postav izložbe Salon 54, 7. - 22. ožujka 1954. prostorije Galerije u Domu kulture Vladimira Švalbe Vida, Guvernerova palača, Rijeka Set-up of the exhibition Salon 54, Mar. 7th - 22nd, 1954, Gallery venue at the Vladimir Švalba Vid Culture Centre, Governor’s Palace, Rijeka

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Aleksandar Srnec Kompozicija U-P-14, 1953. Composition U-P-14, 1953 ulje na platnu / oil on canvas 743 x 685 mm, MMSU-1874 Izloženo na izložbi Salon 54/ Displayed at the exhibition Salon 54

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nosu na koncepciju izložbe te što je to bila jedina izložba u zemlji takve vrste koju su na noge postavili i održali povjesničari umjetnosti i kritičari a ne krea-tivni umjetnici6. Izložba je bila osmišljena u dva dije-la: uvodna počasna dvorana s radovima nastalim u razdoblju između dva rata te dvorana suvremenika. Salon je imao i sveobuhvatno vizualno rješenje koje je oblikovao Ivan Picelj pa taj plakat i katalog spa-daju među najvrednije primjerke grafičkih rješenja izložbenih programa Galerije.

Grafika je kao predmet s karakterističnim predno-stima u izlagačkom poslu imala visoko mjesto u programskoj shemi koju je godinama potvrđivalo veliko zanimanje publike. Izložbu slovensko-tr-šćanskog grafičara Lojza Spacala u tri je tjedna po-gledalo 2.700 posjetitelja, a prema zapisima Borisa Vižintina i svjedočanstvima iz 1954. godine, radilo se o najvećoj retrospektivnoj izložbi nekog umjetni-ka. Koncepcijom i suvremenim pristupom nadove-zala se na prvi riječki Salon, dok je tiskom i opre-mom postavila nove standarde u pristupu izlaganja samostalnog autora kojega su imali prigodu vidjeti u Ljubljani i Novom Sadu.

Smještajem zbirki s više od 450 umjetnina te novim prostorima za postav, koje je Galerija dobila u ob-novljenoj zgradi nekadašnje osnovne škole Brentari na Dolcu, proširuje se i djelatnost. Na inicijativu predstavnika Kunstvereine Erlangena i uz pomoć veleposlanstva u Bonu, 1957. je prepoznata kao go-dina dobre suradnje i veza te se počelo s organizira-nim predstavljanjem suvremenih hrvatskih slikara i kipara u Erlangenu u Zapadnoj Njemačkoj, s ciljem razmjene izložbi i gostovanja njemačkih umjetnika kod nas. Izložba kao prilika za manifestaciju politič-ko-društvenog utjecaja, bila je tada jedna od čestih

6 MMSU – Pismohrana, arhivska kutija 1954: Boris Vižintin, iz dokumentacije izložbe Salon 54.

ic records of Rijeka’s Salons, which through their highly developed concepts and selection presented and problematized movements, tendencies, and occurrences on the visual art scene, whose attain-ments are being researched into and re-evaluated even today. Organized in accordance with the rules of group thematic exhibitions, with bodies that made decisions and the selection, finally awarding prizes, the interesting feature of the first Salon consisted in the fact that works were selected in relation to the ex-hibition concept and that this was the only exhibition of that kind in the country, mounted and kept alive by art historians and not creative artists.6 The exhibition was conceived in two sections: the introductory fes-tive hall with works created between the two wars and the contemporary artists’ hall. The Salon also had an encompassing visual identity designed by Ivan Picelj, so that this poster and catalogue belong to the most prominent graphic design solutions of the Gallery’s exhibition programs.

Prints, as objects with characteristic advantages in display terms, occupied a prominent place in the program, which has for years been corroborated by the huge interest of the public. In three weeks, the exhibition of Slovenian, Trieste-based graphic art-ist Lojze Spacal was visited by 2700 viewers in three weeks. According to Boris Vižintin’s notes and the records from 1954, this was the largest retrospective exhibition of an artist’s work. In its concept and contemporary approach, it was a continuation of the first Salon in Rijeka, while regarding the printed material and the set-up it established new standards in the approach to a solo-exhibition of the works of an author we had the chance to see in Ljubljana and Novi Sad.

6 MMSU – Archives, archive box 1954: Boris Vižintin, from the documentation of the Salon 54 exhibition

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Lojze Spacal Kuće i prozori, 1953. Houses and Windows, 1953 ulje na platnu / oil on canvas 599 x 799 mm, MMSU-390 Izloženo na izložbi Salon 54/ Displayed at the exhibition Salon 54

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verzija međukulturne suradnje podijeljenih svjeto-nazora. Iz sačuvane korespondencije može se išči-tati značenje projekta koji nije imao samo umjetnič-ku misiju već i političku i ideološku te ne začuđuje da je Galerija od različitih razina državnog aparata morala osigurati podršku, ali i dobiti dopuštenje za realizaciju takva povijesno važnog događaja. Neko-liko je puta bila čak i odgađana, ali su upornim i iz-ravnim kontaktima ravnatelja galerije Borisa Vižin-tina, u Galeriji Orangerie postavljena 73 rada koja su izabrali članovi umjetničkog vijeća Božo Bek, Edo Murtić i ravnatelj Vižintin.

U prvih deset godina Galerije ostvarilo se nekoliko različitih vrsta programa prema kojima se mogu de-finirati njezini pristupi u izlagačkom usmjerenju. U okviru „svoja“ tri prostora7 Galerija je izlagala pre-uzete domaće ili međunarodne putujuće izložbe kao dominantan oblik izložbene djelatnosti, ili je u koncepcijskom i organizacijskom smislu realizirala svoj program – tematske izložbe retrospektivnog sadržaja te samostalne izložbe pretežno domaćih umjetnika poput Vladimira Udatnyja, Ede Murtića, Jakova Smokvine, Otona Glihe, Miljenka Stančića, Emanuela Vidovića. U okviru internog rada Galerija je zacrtala muzejski pristup: stalni postav, oformlje-ne zbirke, kartoteka umjetnina i fototeka, zbirke ne-gativa i dijapozitiva, stručna biblioteka, arhiv štam-pe, brojne aktivnosti vezane za likovni (pre)odgoj te važne misije s didaktičkim izložbama putem kojih se djelovalo na odgoj u estetskom smislu8.

Zacrtanim i metodično dosljednim programom u službi afirmacije ideologije novonastale države, u relaciji s izvršnim gradskim i republičkim ustano-vama te širim državnim aparatom, Galerija se pozi-

7 U okviru izložbenih prostora Galerija je imala i prostor na Korzu, današnji Mali salon.

8 Jubilarna godina riječke Galerije likovnih umjetnosti, Novi list, 14. siječnja 1959.

With the organization of storage for more than 450 art-works and a new display venue that was put on dispos-al of the Gallery in the restored building of the former Brentari elementary school at Dolac, its activity was enhanced. At the initiative of the Kunstverein Erlangen representative and with the help of the General Embassy in Bonn, the year 1957 was recognized as a year of suc-cessful collaboration and relations, which resulted in or-ganized presentations of contemporary Croatian painters and sculptors in Erlangen, West Germany, with the aim of exchanging exhibitions and staging guest performanc-es by German artists here. Exhibition as an opportunity for showing political and social influence was at that time one of common versions of intercultural collaboration between different world-views. From the preserved cor-respondence we can discern the importance of the pro-ject that had not only an artistic, but also a political and ideological mission. Therefore it is not surprising that the Gallery had to obtain support and permission for the realization of a historically so important event on differ-ent levels of the state apparatus. It had been postponed several times, but thanks to persistent and direct contacts of the Gallery Manager Boris Vižintin, 73 artworks, se-lected by members of the Art Council Božo Bek, Edo Murtić, and Boris Vižintin, were finally mounted at the Orangerie Gallery.

During the Gallery’s first ten years, several kinds of dif-ferent programs according to which its approach in the exhibition aspect can be defined, came to realization. Within the framework of its “own” three venues7, the Gal-lery hosted local or international travelling exhibitions as the dominant aspect of its exhibition activities or it real-ized its own programs (in terms of concept and organi-zation) – thematic exhibitions of retrospective kind and solo exhibitions of works prevailingly by local artists, like Vladimir Udatny, Edo Murtić, Jakov Smokvina, Oton Gli-

7 One of the Gallery’s exhibition venues was also the one at Korzo, today’s Mali salon.

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cionirala kao jedno od središta promocije likovne umjetnosti. Brojna dopisivanja i bilješke, čuvani u pismohrani današnjeg muzeja, govore o naporu, ustrajnosti i nastojanjima ustanove da održi dose-gnutu razinu tada najmlađe galerije kod nas, una-toč čestom izostanku novčane i političke podrške, nedostatnoj infrastrukturi i prostoru te slabom odazivu i nezainteresiranosti medija – tipičnim problemima centara daleko od središta političke i kulturne moći.

Nemoguće je u ovako kratkom tekstu sagledati ukupan dinamični život i društvenu ulogu Galerije u vremenu u kojem je nastala i stasala. Svaki doku-ment znak je mnogobrojnih događanja čiji su akteri, poznate i manje poznate ličnosti, osvjedočili zbiva-nja. Riječ je o vrijednoj zbirci dokumentacije koja se sustavno skuplja i čuva predstavljajući duh vremena, te čini važnu kronološku arhivu razvoja djelatnosti i programske okosnice ustanove unutar formalne kulturne politike. Postavljajući se danas u odnosu na tadašnju galerijsku praksu, ali i suvremene trendove, popularno ili stručno, iščitavamo da je riječ o građi koja u svakom trenutku daje sliku o istinitosti i važ-nosti, o raznim zgodama i nezgodama, o legendama, ljubavima i mržnji, o netrpeljivosti i simpatijama, podobnostima i nepodobnostima te svim materijal-nim, vidljivim činjenicama dokumentacije.

ha, Miljenko Stančić, and Emanuel Vidović. As its interior activities, the Gallery has outlined a museum approach: permanent display, defined collections, archives of artworks and photographs, collections of negatives and slides, professional library, news-paper archives, numerous activities linked to visual art education and important missions with didactic exhibitions that had an impact on aesthetic education.8

Through an outlined and methodically consequential program serving the affirmation of the newly emerged state, maintaining relations with executive city and republic institutions and a wider state apparatus, the Gallery has positioned itself as one of the centres for the promotion of visual art. A lot of correspondence and notes, preserved in the general documentation of the today’s Museum, speak of the efforts, persistence, and strivings of this institution to maintain the at-tained work level of at that time youngest gallery here, in spite of frequent lack of financial and political sup-port, insufficient infrastructure and space, as well as a weak echo and lack of interest by the media – typical problems of centres far away from strongholds of po-litical and cultural power.

In this brief article, it is impossible to make an encompassing overview of the dynamic life and the social role of the Gallery during the time of its emergence and growth. Each document is a sign of numerous events, whose protagonists, well-known and less known personalities, witnessed the events. This is a valuable collection of documents, system-atically collected and preserved, representing the spirit of time and constituting important chrono-logical archives of the development of activities and the programmatic mainstay of this institution with-in the formal cultural policies. Taking a contem-

8 The Jubilee Year of Rijeka Fine Arts Gallery, Novi list, January 14th, 1959

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porary standpoint, popular or professional, to that time’s gallery practice, but also to its contemporary trends, we can discern that this is a material, which at any moment provides us with a notion of true-ness and importance, of different events and expe-riences, legends, love and hate, dislikes and sympa-thies, appropriate and inappropriate approaches, as well as all material, visible facts contained in the documentation.

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Postav izložbe Gromače Otona Glihe, 2. 6. - 29. 6. 1958. prostorije Galerije u zgradi Sveučilišne knjižnice, Dolac 1/II, Rijeka / Set-up of the exhibition Dry Stone Walls by Oton Gliha, June 2nd-29th, 1958, Gallery venue at the University Library building, Dolac 1/II, Rijeka

Oton Gliha Bakarske gromače, 1950. – 1958. Dry Stone Walls in Bakar, 1950 – 1958 ulje na platnu / oil on canvas 813 x 1160 mm, MMSU-530 Jedan od radova s izložbe / One of the works from the exhibition

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Vojin Bakić Glava s osmijehom, 1953. Head with a Smile, 1953 bronca / bronze 240 x 215 x 85 mm, MMSU-560

Dušan Džamonja Jelen II (Ljubav), 1957. Stag II (Love), 1957 bronca / bronze 450 x 120 x 320 mm, MMSU-561

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Struktura izložbenog prostora, mjesto ulaza i izla-za, ili ulaza koji je ujedno i izlaz, kao u Muzeju mo-derne i suvremene umjetnosti, unaprijed određuju kretanje posjetitelja. Postavom kojim se, ovisno o kustoskom konceptu, izložena umjetnička djela dovode u međusobne odnose i u odnos sa zadanim prostorom, to se kretanje dalje artikulira, ‘’propisu-

je se posebna koreografija koraka i gesti’’. Premda toga najčešće nismo svjesni, kretanje je jedan od te-meljnih elemenata svake izložbe. I u muzejskoj edu-kaciji/medijaciji, osobito kada je riječ o formatu vođenja kroz izložbu, kretanje, pokret i neverbalni govor tijela edukatora imaju važnu ulogu. Preuzi-majući prošireni pojam plesa, u smislu poruke Mer-cea Cunninghama da je svaki pokret ples i da svako tijelo može prenijeti estetsku poruku, taj aspekt muzejske edukacije/medijacije sličan je plesu.1

Da izložba može biti i pozornica na kojoj nastaje nova koreografija potaknuta strukturama izloženih djela, pozornica na kojoj se uči plesati, pokazuje suradnja Muzeja moderne i suvremene umjetnosti i Osnovne škole za klasični balet i suvremeni ples pri OŠ Vežica u Rijeci, ostvarena na nekoliko različitih izložbi.

Intermedijski edukativni program Sjecišta održan u MMSU-u u svibnju 2011., po mnogočemu se izdva-

1 Denis Sözen, The Aspect of Dance in Gallery Education, u: Documenta 12 Education II: Between Critical Practice and Visitor Services. Results of a Research project. Ur. Carmen Mörsch, Diaphanes, Zürich – Berlin, 2009., str. 33. – 42.

Milica Đilas

Plešimo u muzeju

The structure of the display area, the point of en-trance and exit or entrance that is exit at the same time, like at the Museum of Modern and Contem-porary Art, pre-determine the visitors’ lines of movement. This movement is further articulated by the display that, in dependence of the curatorial concept, brings the exhibited artworks in further interrelations and the relation to the given space; “a special choreography of steps and gestures is deter-mined”. Although we are usually not aware of this, movement is one of the key elements of every exhi-bition. Also in the museum education/mediation, especially in relation to the format of exhibition guidance, steps, movements, and the non-verbal expression of the educator’s body play an impor-tant role. If we adopt an enhanced notion of dance, in the sense of Merce Cunningham’s message that every movement is dance and that each body can convey an aesthetic message, this aspect of muse-um education is similar to dance.1

The collaboration between the Museum of Modern and Contemporary Art and the Elementary School for Classic Ballet and Contemporary Dance at the Vežica Elementary School in Rijeka, realized at several different exhibitions, shows that an exhibi-tion can also be a stage where a new choreography

1 Denis Sözen, The Aspect of Dance in Gallery Education, in: Documenta 12 Education II: Between Critical Practice and Visitor Services. Results of a Research project. Ed. Carmen Mörsch, Diaphanes, Zürich – Berlin, 2009, pp. 33 – 42

Milica Đilas

Let’s Dance at the Museum

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ja.2 Učenici suvremenog plesa i njihovi učitelji imali su tada prigodu učiti i plesati u poticajnom okruženju umjetničkih djela iz muzejskih zbirki, odabranih i po-stavljenih samo za njih. Koristeći se tiskanim i on-line katalozima zbirki MMSU-a, učiteljice plesa su u su-radnji s muzejskom pedagoginjom odabrale radove iz zbirki, uz koje su željele raditi. Zatim je postavljena izložba s dovoljno slobodnog prostora među izlo-ženim djelima za kretanje, vježbanje i plesanje. Do-premljen je i klavir te je izložbeni prostor MMSU-a pretvoren u studio za istraživanje odnosa vizualne umjetnosti, glazbe i plesa, u kojemu su sudjelovali polaznici sva četiri razreda Odjela za suvremeni ples.

Program, pokrenut u školi, bio je utemeljen na iskustvima intermedijskog dijaloga kakav su više od pola stoljeća primjenjivali američki umjetnici – kompozitor, pjesnik i vizualni umjetnik John Cage i koreograf i plesač Merce Cunningham, u suradnji s mnogobrojnim vizualnim umjetnicima svoga vre-mena. Stoga ni izbor glazbe, kompozicija za prepari-rani klavir Johna Cagea, nije bio slučajan.

Učenici, pripremljeni u školi gdje su slušali snimke Cageovih kompozicija i gledali reprodukcije za njih odabranih umjetničkih djela, našli su se u Muzeju u posve različitoj situaciji od one školske. Na ‘po-zornici’ određenoj stvarnim, materijalno prisutnim umjetničkim djelima trebalo je najprije, uz pomoć muzejske pedagoginje istražiti umjetničke radove. U toj je medijaciji bilo puno nesvjesnoga govora tijela, gesta, pozicija, približavanja, udaljavanja, kruženja oko izloženih djela. Nakon toga je slijedio puno duži proces u kojemu su učenici, samostalno i

2 Milica Đilas, Intersection – Dance, Music and Visual Art at the Museum of Modern and Contemporary Art, u: Old Questions, New Answers: Quality Criteria for Museum Education. Proceedings of the ICOM CECA ’11 Conference, Zagreb, 16. – 21. rujna, 2011. Ur. Željka Jelavić, ICOM Croatia, Zagreb, 2012., str. 30. – 310.

emerges, inspired by structures of the displayed works, a stage where children learn to dance.

The inter-media educative program Intersections, held in May of 2011 at MMSU, was exceptional in many respects.2 Contemporary dance students and their teachers had the opportunity to learn and dance in the inspiring environment of artworks from museum collections, selected and displayed only for them. Using printed and online catalogues of MMSU collections, in collaboration with the museum educator dance trainers selected the works from collections they wished as a background for their work. Then a display was set up with enough movement, exercise, and dancing space between the exhibited works. A piano was also brought to the MMSU venue, transformed into a studio for in-vestigating the relations between visual art, music, and dance, under the participation of all four grades of the Contemporary Dance Department.

This program, launched at school, was founded on the experiences of the inter-media dialogue applied by American artists for more than half a century – the composer, poet, and visual artist John Cage and choreographer and dancer Merce Cunningham in collaboration with many visual artists of their time. Therefore neither the selection of the music score, John Cage’s composition for a prepared piano, was not accidental.

Students, prepared at school where they listened to recordings of Cage’s musical compositions and saw the reproductions of artworks selected for them, found at the Museum a situation entirely different

2 Milica Đilas, Intersection – Dance, Music and Visual Art at the Museum of Modern and Contemporary Art, in: Old Questions, New Answers: Quality Criteria for Museum Education. Proceedings of the ICOM CECA ’11 Conference, Zagreb, Sept. 16th – 21st, 2011. Ed. Željka Jelavić, ICOM Croatia, Zagreb, 2012, pp. 30 – 310.

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Jean Messagier Catastrophe printanière avec èpanouissement, 1986 Proljetna katastrofa s cvjetanjem, 1986. Spring Catastrophe with Blossoming, 1986 masni pastel, papir / oil pastel, paper 650 x 1000 mm, MMSU-1447

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vođeni uputama svojih učiteljica, prenosili vizualne strukture u pokret i ples.

Učenice prvoga razreda, učiteljice plesa Mile Ču-ljak, potaknute ritmom obojenih linija na crtežima Nepoznato proljeće (1986.) i Proljetna katastrofa s cvjetanjem (1986.) Jeana Messagiera, razvijale su vlastito kretanje u prostoru uz Cageove kompozici-je And the Earth Shall Bear Again i Sonata V.

Drugi razred, koji su vodile Kate Foley i Sanja Josi-pović, bio je usredotočen na veliku sliku Vlastimira Mikića Dajem kraljevstvo za konja (1983.). Na glaz-bu Cageove Daughters of the Lonesome Isle (1945.), učili su kako interpretirati sliku i prenijeti je u ples, kako plesati zajedno i kako koristiti prostor.

Treći razred, učiteljice plesa Sanje Josipović, bavio se tijelom i koristio više figurativnih i apstraktnih skulp-tura iz muzejske zbirke. Na podlozi dviju Cageovih kompozicija, Triple Paced i Sonata XIII., učenice su istraživale kvalitetu pokreta i kretanja tijela u prostoru.

Slijedeći baštinu Marcela Duchampa, Kate Foley je za svoje učenice i učenike četvrtog razreda odabrala instalacije koje sadrže ready-made elemente: Trypti-chos Post Historicus (2005.) Brace Dimitrijevića, Tr-peza slikarstva dunavsko-jadranskog II (1987.) Laszla Kerekesa i Moj dio neba (1987.) Viktora Libla. Zada-tak je bio puno složeniji: eksperimentirati s vreme-nom i prostorom u solo i grupnim improvizacijama uz Cageovu kompoziciju Bacchanale (1940.).

Istražujući, učenici su crtali i pisali bilješke. Crtež je imao važnu ulogu posrednika, medija koji im je omo-gućio slobodno razvijanje ideja o položaju i kretnjama njihovih vlastitih tijela u prostoru. Ti njihovi crteži i bilješke postali su sastavni dio izložbe Sjecišta.

from the one at school. On a “stage” delineated by real, materially present artworks, students were first supposed to explore the artworks with the help of the museum educator. In this mediation there was a lot of unaware body talk, gestures, positions, ap-proaches and detachments, circling around the art-works. This was followed by a much longer process in which the students, individually and guided by teachers’ instructions, transferred the visual struc-tures into movement and dance.

First grade pupils, taught by Mila Čuljak, inspired by the rhythm of coloured lines in the drawings Printemps inconnu (1986) and Catastrophe printan-nière avec épanouissement (1986) by Jean Messagier, developed their own spatial movement to Cage’s compositions And the Earth Shall Bear Again and Sonata V.

The second grade, tutored by Kate Foley and San-ja Josipović, was focused on the large painting by Vlastimir Mikić Kingdom for a Horse (1983). To the music of Cage’s Daughters of the Lonesome Isle (1945) they learned how to interpret a painting and transfer it into dance, how to dance together and how to use space.

The third grade, tutored by Sanja Josipović, was fo-cused on the body and used several figurative and abstract sculptures from the museum collection. Against the background of two Cage’s composi-tions, Triple Paced and Sonata XIII, the students investigated the quality of movement and the tra-jectories of the body in space.

In the wake of Marcel Duchamp’s heritage, for her fourth grade students Kate Foley selected the installations that contain ready-made elements: Tryptichos Post Historicus (2005) by Braco Dimi-trijević, Festive Table of Danube and Adriatic Paint-ing II (1987) by Laszlo Kerekes and My Portion of

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Olga Jančić Pad, 1957., 1988. Fall, 1957, 1988 bronca / bronze 190 x 610 x 290 mm, MMSU-579

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Jednomjesečni rad odjela za suvremeni ples u MM-SU-u završen je javnim koncertom3 Cageovih kom-pozicija za preparirani klavir u izvedbi Joe Kaplowi-tza i Mihaela Nikolića, plesnom točkom učenica i učenika četvrtog razreda te izložbom Sjecišta, tada otvorenom i široj publici. Posjetitelji su imali rijetku prigodu za doživljaj i odčitavanje višeslojnih relaci-ja avangardne glazbe, suvremenog plesa i izloženih umjetničkih djela.

U intermedijskom programu Sjecišta, MMSU je odgovorio na potrebe posebne grupe korisnika, učinio je svoje zbirke dostupnima, otvorio prostor intermedijskom dijalogu i pokazao kakav je neiscr-pan estetički, edukativni i interpretativni potencijal pohranjen u njegovim depoima.

3 http://www.mmsu.hr/Default.aspx?art=371&sec=6 (5.11.2012.)

the Sky (1987) by Viktor Libl. This task was much more complex: to experiment with space and time in solo and group improvisations to Cage’s compo-sition Bacchanale (1940).

During their explorations and investigations, stu-dents made drawings and notes. The drawing had an important mediating role, of a medium that enabled them to freely develop ideas on the posi-tion and movement of their bodies in space. These drawings and notes became a constituent part of the Intersections exhibition.

This one-month activity of the Contemporary Dance Department at the MMSU was wrapped up by a public concert3 of Cage’s compositions for a prepared piano, performed by Joe Kaplowitz and Mihael Nikolić, a dance performance by fourth grade students, and the exhibition Intersections, at that time opened for broader public as well. The public had a rare opportunity to experience and read the multi-layered relations of avant-garde music, contemporary dance, and the displayed art-works.

In its inter-media program Intersections, MMSU at-tempted to meet the needs of a special group of us-ers, made its collections accessible, opened a space for inter-media dialogue and showed what kind of inexhaustible aesthetic, educative, and interpreta-tive potential is held in its storerooms.

3 http://www.mmsu.hr/Default.aspx?art=371&sec=6 (5/11/2012)

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Laszlo Kerekes Trpeza slikarstva dunavsko-jadranskog II, 1987. Festive Table of Danube and Adriatic Painting II, 1987 instalacija (drvo, bojane i metalne aplikacije, kist, rudača, sol, pšenica, model konjske glave, boca i čaše, žarulja, ogledala) / installation (wood, painted and metal application, paint brush, ore, salt, wheat, model of a horse head, bottle and tumblers, light bulb, mirrors) MMSU-1467 (1-23)

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Početkom 2011. godine Muzej moderne i suvremene umjetnosti Rijeka postao je putem projekta Digitising Contemporary Art – DCA dio mreže 25 europskih kulturnih institucija i muzeja suvremene umjetnosti.

Tijekom trideset mjeseci, unutar 21 europske ko-lekcije suvremene umjetnosti digitalizira se oko 27.000 najznačajnijih djela i oko 2.000 kontekstu-alnih dokumenata nastalih nakon 1945. godine. Po-sebna pažnja posvećena je stvaranju tekstualnih in-formacija o radovima koje opisuju izvorni kontekst i asocijativno povezuju umjetnine putem ključnih riječi. Time se nastoje prenijeti, za širu javnost kat-kad nedostupne, konceptualne vrijednosti umjet-nine koje, osobito u slučaju suvremene umjetnosti, postaju nositelji poruke.

Razmjena digitalne građe na Europeani, jedinstve-noj internetskoj arhivi europske kulturne baštine, glavni je ishod projekta DCA. Tu ćete od lipnja 2013., pritiskom na identifikacijsku sličicu, biti usmjereni na izvorni kontekst pronađenih umjet-ničkih djela (npr. na web-stranice MMSU-a) kako biste prikupili dodatne informacije o originalnom radu i pristupili poboljšanim vizualnim podacima. Takve će poveznice dodatno obogatiti iskustvo Europeane povećavajući vidljivost web-stranica par-tnerskih muzeja i potaknuti ih na razvoj (neovisno o DCA-projektu) novih web-aplikacija, što će kori-snicima omogućiti aktivno sudjelovanje, npr., stva-ranjem vlastitih virtualnih izložbi ili zbirki. Time će se obogatiti korisničko iskustvo zbirki suvremene umjetnosti pripadajućih institucija.

Nataša Šuković

U europskoj mreži

By the beginning of 2011, through the project Digi-tising Contemporary Art – DCA, the Museum of Modern and Contemporary Art Rijeka became part of a network comprising 25 European cultural institutions and museums of contemporary art.

During thirty months, in 21 European collections of contemporary art about 27 000 of most impor-tant works and about 2000 contextual documents created after 1945 will be digitalized. Special atten-tion has been devoted to creation of textual infor-mation on works that describe the original context and associatively link artworks by key words. This is an attempt to convey for broader public sometimes inaccessible conceptual values of artworks to view-ers. These conceptual values, especially in the case of contemporary art, have become message carriers.

The exchange of digital material in the Europeana, a unified digital archive of European cultural heri-tage, is the main outcome of the DCA project. Since June 2013, by clicking on the identification image, you will be directed to the original context of the selected artworks (for example to MMSU web-pag-es) in order to collect additional information on the original work and access the improved visual data. Such links will additionally enrich the experience of the Europeana, enhancing the visibility of part-ner museums’ web-pages and encouraging their de-velopment (independently of the DCA project) of new web-applications, which will enable the users to actively participate in the process, e.g. by creating their own virtual exhibitions or collections. This

Nataša Šuković

Part of a European Network

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Dostupnost kvalitetnih digitalnih reprodukcija ujedno će pridonijeti očuvanju umjetnina od mo-gućeg trošenja, oštećenja ili uništenja uvijek kada je potreban uvid u djelo (primjerice u svrhu istraživa-nja), čime se značajno produžuje vijek umjetnine. Projektom će se ujedno pružiti smjernice i savjeti o načinu čuvanja digitalnih datoteka i održavanja njihove dostupnosti tijekom  duga vremenskog razdoblja. Uza zaštitu umjetnina, DCA će povećati dostupnost suvremene umjetnosti izvan uobičaje-nog konteksta muzeja i galerija. On-line vidljivost na Europeani i ostalim portalima omogućit će slabije pokretnim osobama pristup suvremenoj umjetno-sti, te će moći uživati u umjetničkim djelima, a da stvarno ne posjete muzej.

Tijekom projekta, MMSU će u Europeanu uvrstiti 730 umjetnina iz vlastita fundusa, koje predstavlja-ju najznačajnija ostvarenja suvremene umjetničke produkcije. Članstvo u ovoj međunarodnoj plat-formi omogućuje stručnu suradnju i razmjenu sa srodnim institucijama, otvaranje dijaloga za proble-matiku suvremene umjetnosti i muzeološkog rada, promociju hrvatske likovne scene, kao i komunika-ciju sa širokim krugom korisnika.

will enrich the user experience of contemporary art collections in the institutions preserving them.

The accessibility of quality digital reproductions will also contribute to the preservation of artworks from possible wear, damage or destruction when-ever insight into a work is necessary (for example for research purposes), which considerably ex-pands the artwork’s life. The project will also pro-vide guidelines and counselling on the manner of preserving digital databases and the maintenance of their accessibility during a long period of time. Along with the protection of artworks, DCA will expand the accessibility of contemporary art out-side of the usual context of museums and galleries. Online visibility at Europeana and other portals will enable less mobile persons to access contem-porary art. They will be able to enjoy artworks without actually visiting a museum.

During the project, MMSU will include 730 art-works from its holdings into the Europeana; they be-long to the most important achievements of contem-porary art production. The membership in this inter-national platform enables professional collaboration and exchange with similar institutions, opening of a dialogue on contemporary art and museological ac-tivities, promotion of Croatian visual art scene, and communication with a wide circle of users.

www.digitisingcontemporaryart.eu www.dca-project.eu

Projekt DCA sufinancira CIP-ICT Policy Support Programme Europske unije. This project has been co-financed by the EU CIP-ICT Policy Support Programme

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Ivana Franke Frame of reference, 2006. sitotisak, pleksi-staklo /Silkscreen, Plexiglas 500 x 500 x 500 mm, 500 x 500 x 500 mm, 800 x 500 x 1000 mm, 750 x 450 x750 mm MMSU-5051 (1-4) Postavljanje instalacije za fotografiranje / Setting up the installation for photographing

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Izdavač / PublisherMuzej moderne i suvremene umjetnosti / Museum of Modern and Contemporary Art

Za izdavača / For the publisher Slaven Tolj

Urednica kataloga / Catalogue editorMilica Đilas

Tekst / Essays Ksenija Orelj, Sabina Salamon, Daina Glavočić, Diana Zrilić, Milica Đilas, Nataša Šuković

Lektura i korektura / Proofreading Gordana Ožbolt

Prijevod na engleski / Translation into English Andy Jelčić

Fotografije / Photographs Boris Cvjetanović, Goran Vranić, Odjel dokumentacije

Obrada fotografija / Photo editing Lidija Anić

Grafičko oblikovanje i priprema / Design and lay-outStudio Kindin

Tisak / PrintTisak Zambelli

Naklada / Print run500

Broj publikacije / Publication number 317© MMSU, Rijeka 2012.

Publikacija je realizirana sredstvima Ministarstva kulture Republike Hrvatske i Primorsko-goranske županije. This publication was made possible through financial support of the Ministry of Culture of the Republic of Croatia and the Primorsko-goranska County

CIP zapis dostupan u računalnom katalogu Sveučilišne knjižnice Rijeka pod brojem 130112020

ISBN 978-953-6501-85-4

Muzej moderne i suvremene umjetnosti Museum of Modern and Contemporary Art

Dolac 1/II, 51000 Rijeka, Croatia Tel. + 385 51 492 611, Fax + 385 51 492 623 e-mail: mmsu-rijeka@ri.t-com.hr, mmsu@mmsu.hrwww.mmsu.hr