Saclrzaj Content

j KristiiiaBoiijctkovicStojlcovic:
I Dorucak u stampariji Breakfast at the Printer's

14

Kick Poynor
I Rani plakati Borisa Bucana Boris Bucaris Early Posters

26

\ Georges Halliard
Imaginarni svijet Borisa Bucana The Imaginary World of Boris Bucan

32

| SeadetaMiclzh':
I Fantazmagoricni zapisi iz tisine Phantasmagorical Notes from Silence

4ft

Reproclukcije Reproductions

188 i

Kataloski popis clj ela Catalogue of Works

194 i

Zivotopis Biography

196

Raclovi u kolekcijama Works in Collections

197

Nagracle i priznanja Awards and Commendations

198

Samostalne izlozbe (izbor) Solo Exhibitions (selection)

199

Skupne izlozbe (izbor) Group Exhibitions (selection)

2O2 IZivotopisi autora tekstova Text Authors' Biographies

Boris Bucait: Doiiicalc 11 stampariji
14. U nviija - 29. svibnja 2O16.
Boris liiu:.iii: Breakfast at the Printer's
14 April - 29 May 2016
IVluzej suvremene luiijetnosti Museum of Contemporary Art
Av. Dnbrovnik 17,1O O1O Zagreb
KUSTOSICA CURATOR Kristina Bonjekovic Stojkovic
ASISTENTICA ASSISTANT Sara Dukic
LIKOVNIPOSTAV EXHIBITION SET-UP OlegHrzic

KONZERVACIJAIRESTAURACIJA CONSERVATION AND RESTORATION

MirtaPavic
MajaVurusic
Kristina Matkovic
TesaHorvaticek
DanielaRatkajec
Sandra Juranic
Nives Jakovina
Ella Murseli (pomocni poslovi auxiliary tasks)
Nacin izlaganja pkikata osmislila Poster display style created by: Mirta Pavic
EDUKATIVNI PROGRAM EDUCATIONAL PROGRAMME

Nada Beros
Daniela Bilopavlovic Bedenik
TEHNICKA ORGANIZACIJA TECHNICAL ORGANIZATION Darko Copec
TEHNlCKI POSTAV TECHNICAL SET-UP

Tomislav Jadrisko
DamirMaricic
Aleksandar Milosevic
Robert Pavkovic
Dusan Stupar
Zclenko Zavalic

Filip Zima

ODNOSIS JAVNOSCU PUBLIC RELATIONS Jadranka Pintaric Sonja Barbaric

ZAI-IVALE ACKNOWLEDGEMENTS
Ana-Marija Habjan, Dejan Krsic, Nenad Puhovski, Zeljko Stojanovki Zvonko Stojevlc, Ana Skegro, Koraljka Vlajo, Goran Vranic, Marta Banic,
Leila Topic, Vanja Stojkovic, Margaret Rismondo, Anton Bucan, Radmila Iva Jankovic, Igor Bulatovic, Robert-Jurica Krajacic
IZDAVAC-PUBLISHER

Muzej suvremene umjetnosti Museum of Contemporary Art

Av. Dubrovnik 17

10 010 Zagreb, I-Irvatska/Croatia

Tel:+385160 52 700
Fax:+385160 52 798
E-mail: msu@msu.hr
www.msu.hr
ZA IZDAVACA FOR THE PUBLISHER Snjezana Pintaric
UREDNICA-EDITOR Kristina Bonjekovic Stojkovic
TEKSTOVI-TEXTS

SVEUCILISTE 30S1PA 1UR3A STROSSMAYERA U OS1JEKU

RickPoynor Georges Halliard

SVEUCILJSNI PREDDIPi,OMl INTERDISCIPUNARNI STUDU KULTUROLOGTIE

FOTOGRAFIJE - PHOTOCREDITS ^'^VENTARA:

ART4

SIGNAT:

cL J *~> T

m: rt

Mario Kristofic
Zeljko Stojanovic
Filip Zima
Arhiva MSU MSU Archive
PRIJEVODI TRANSLATIONS Milena Bekic Milinovic (s francuskog from French) Tomislav Brlek (s
engleskog from English) Nikolina Jovanovic (na engleski to English)
GRAFICKO OBLIKOVANJEIPRIJELOM GRAPHIC DESIGN AND LAYOUT BachrachS Kristofic
IDEJA ZA NASLOVNICU, PLAKATIPOZIVNICU COVER, POSTER AND INVITATION CONCEPTION Boris Bucan
LEKTURA LANGUAGE EDITING Stentor
KOREKTURA PROOFREADING

AnaBedenko
Sara Dukic

TISAK. PRINTED BY Printera

NAKLADA-PRINT RUN 500
CIP zapis je dostupan u racunalnome katalogu Nacionalne i sveucilisne knjiznice u Zagrebu pod brojem 000928880.
A CIP catalogue record for this book is available from the
National and University Library in Zagreb under
n000928880.
2016 Muzej suvremene umjetnosti
Museum of Contemporary Art,
Zagreb ISBN 978-953-7615-94-9

SU
MUZEJ

SUVREMENE
UMJETNOSTI
ZAGREB MUSEUM OF CONTEMPORARY ART

SSS.

KS.
I2lo2t)a 1 puDlikacija Obtvareni su uz potporu Gi-ada Zagreba i Ministarstva kuikire Republike Hrvatske The exhibition and the publication have been realised with
support of the City of Zagreb and by the Ministry of Culture ol the Republic of Croatia.

r,T .Avm PARTNER OFFICIAL PARTNFR

MEDIJSKI POKROVITKI J - MEDIA SPONSOR
SPONZORI SPONSORS

p Hrvatski L" Telekom "

JutarnjiusT
Zagreb

Kristina Bonjekovic Stojkovic

Dorucak 11 stampariji
Breakfast at the Printer's

Zbog jednog romana i jeclnog filma naslov ove izlozbe vise asocira na Ceznju za glamurom, nego
na buku i prljavstinu starih stamparija. Pa ipak, prije umjetnickog glamura koji je stigao mnogo
goclina nakon toga, Bucan je cekajuci na prvi otisak plakata mnoge clane (a vjerojatno i jutra)
proveo u tiskarama. Plakati bi potom slijeclili svoju sudbinu zavrsavajud na gradskim ulicama i
plakatnim mjestima, da bi vec nekoliko clana kasnije nestali. Tijekom goclina njegovi su plakati
postal! svakodnevica sve dok jeclnog clana nisu iscezli. (R)evolucija oglasivacke inclustrije
izmijenila je komunikacijske moclele oglasivanja te su Bucanovi plakati postal! clio proslosti koja
je i clanas aktualna zahvaljujuci muzejima.
Sto otkupom, sto clonacijama Muzej suvremene umjetnosti danas posjeduje reprezentativnu
autorsku cjelinu plakata Borisa Bucana. Ta zbirka iznimne vrijednosti tako nam je i omogucila
izlaganje i istrazivanje Bucanova opusa. Osim sto su njegovi plakati clio vizualne memorije
mnogih generacija, vazni su zbog inovacija u grafickom dizajnu, all i sirenja pojma plakata i
njegove percepcije.
Jos tijekom studija slikarstva na zagrebackoj Akademiji likovnih umjetnosti, Bucan djeluje u
krugu umjetnickog narastaja okupljenog oko Galerije Studentskog centra. Galerija SC-a tacla je
zivo mjesto istrazivanja novih oblika umjetnickih praksi i njihovih mogucih drustvenih funkcija.
Bucan istrazuje ambijentalnu unijetnost i s grupom tzv. zagrebackih interveiicionista1 napusta
traclicionalni umjetnicko-izlagacki kontekst te se okrece stvaranju u
Because of a novel ana a film, the name of this exhibition brings to mind a longing for glamour
more than it does the noise and grime Of Old printing shops. Still, before reaching the glamour
brought by art, which happened many years later, Bucan had to spend many clays at printers
waiting for the first print of a poster to roll off the press (and probably mornings, as well). After that
the posters would follow their destiny, ending up on city streets and poster sites only to disappear
a few days later. As the years passed his posters became part of everyday life, until one clay they
disappeared. The (r)evolution of the advertising industry changed its models of communication
i thanks to museums.
I
I
i
;
I
i

Today the Museum of Contemporary Art possesses a

representative body of posters by Boris Bucan, which it
acquired partly by purchase and partly by donation. This
extremely valuable collection has enabled us to exhibit and to
research Bucaris oeuvre. His posters belong to the visual
memory of many generations, but they are also important
because he broadened the concept of the poster and the way in which it is perceived.

While still a student of painting at the Zagreb Academy of Fine Arts, Bucan was active in a circle
and a generation of artists gathered around the Student Centre Gallery. At that time SC Gallery was
a lively place buzzing with exploration and
social impact. Bucan researched ambient art and with a group
urbanom prostoru. Prvo ambijentalno i plasticko promisljanje u javnom tkivu gracla bila ]e
Pikturalna petlja (u suradnji s J. Stosicem, 1969.), obojeno plasticno crijevo izlozeno u dvoristu
Galerije Centar. Potom su 1970./1971 uslijedili akcija Total s Davorom Tomicicem, oslikavanje
plocnika u Varsavskoj ulici i bojenje oronule fasade na Savskoj cesti. Taj inovativni karakter
promisljanja umjetnickog cina koji je tezio preispitivanju i aktiviranju vlastite okoline te
negiranju opceprihvacenih estetskih cinjenica definirat ce se kao jedan ocl umjetnickih smjerova
u kontekstu Nove umjetnicke prakse. Bucan, poput mnogih iz generacije sedamdesetih godina
skolovanih na zagrebackoj Akademiji likovnih umjetnosti, istodobno djeluje i na podrucju
grafickog oblikovanja. Ubrzo je napustio urbane intervencije kao oblik umjetnickog izricaja, all
ostao je prisutan u javnom prostoru vise od dvacleset goclina mijenjajuci lice grada svojim
plakatima.
Ocluvijek kreativno nesputan, imao je srecu sto je suraclivao s naruciteljima koji ga nisu
ogranicavali, cenzurirali ill mu nametali svoja rjesenja. Vec je pocetkom sedamdesetih stekao
povjerenje kljucnih narucitelja: Galerije Studentskog centra, Dramskog kazalista Gavella i onclasnje
Galerije suvremene umjetnosti.
Prve plakate, koje radi za Galeriju SC i Gavellu, karakterizira snazna reduciranost grafickog prikaza.
Na plakatima za izlozbenu djelatnost Galerije SC Bucan se simbolicki poziva na likovni jezik
umjemika u grafickoj Interpretaciji izlozenih raclova ill se pak samo referira na oclrecleni pojam
pretvoren u znak. Vrlo pronicavo odabire onaj likovni motiv koji na
Pristup u vizualizaciji ideje pociva na zakonitostima minimalisticke umjetnosti i odjedma
pop arta.
Mectutim, plakatima za Dramsko kazaliste Gavella, Bucan pristupa clvojako: sjeclne strane
reduciranim vizualnim izricajem referira se na sazetu icleju kazalisne teme, a s druge pak izracluje
seriju fotografskih "konceptualnih" plakata. Na foto-plakatima za preclstave reproducira uvecane
novinske fotografije, motiv koji nema nikakve poveznice s temom, oclnosno predstavom. Upravo su
ti raclovi iznimno vazni jer
calling themselves the Zagreb interventionists1 he left the traditional context for exhibiting art and
turned to creating artworks in the urban setting. The first ambient and sculptural intervention in the
public tissue of the city was Pictorial Loop (in cooperation with 1 Stosic, 1969), a colourful plastic
tube exhibited in the courtyard of Galerija Centar. Then followed, in 1970/1971, the action Total with
Davor Tomicic, painting the pavement in Varsavska Street and painting a dilapidated facade in

Savska Street. This innovative approach to the act of artistic creativity, which sought to re-examine
and activate the artist's environment and denied the generally accepted aesthetic, was defined as an
art current in the context of New Art Practice. Bucan, like many others from the seventies
generation schooled at the Zagreb Academy of Fine Arts, was at the same time also engaged in
graphic design. He soon left urban interventions as a form of art expression but remained present in
the public ambiance for more than twenty years, changing the face of the city with his posters.
Always creatively unrestricted, he had the good fortune of collaborating with clients who did not
constrain, censure or impose on him their own solutions. In the early seventies he already gained
the confidence of key patrons: Student Centre Gallery, Gavella Drama Theatre and what was then the
Gallery of Contemporary Art.
He made his first posters for SC Gallery and Gavella using strongly reduced graphic representation.
On the posters for SC Gallery exhibitions, Bucan graphically interpreted the works at the exhibition
by making symbolical references to the artist's art language, or he only referred to a particular
concept which he turned into a symbol. He showed great insight in choosing the art subject that he
could use most forcefully when combining his own graphic solution with the topic announced by
the poster. He approached the visualisation of an idea relying on the laws of minimalist art and
echoes of pop art,
On posters for the Gavella Drama Theatre, however, Bucaris approach was two-sided. On one hand,
he referred to the core idea of the play using a reduced visual expression, on the other, he created a
series of photographic "conceptual" posters. On photo-posters for performances he reproduced
enlarged

Bucanov plakat za izlozbu Barokni dvorci Hrvatskog zagorja Bucan's poster for the Baroque Castles ofHrvatsko Zagorje exhibition,
Zagreb, 1973 fotografija photograph: 2. Stojanovic
Plakat za Klub Studentskog centra Disco Club Poster for the Student Centre Club Disco Club, Zagreb, 1979 fotografija photograph: 2.
Stojanovic

oznacavaju izvjesnu promjenu paradigme u promisljanju plakata kao medija. U torn, na prvi
pogled nelogicnom suodnosu pojeclinih znacenja izmedu nasumicno odabrane fotografije i teme
preclstave, Bucan hotimice proizvocli sumove te ispituje komunikacijske procese koji se pojavljuju u
interakciji s publikom. Primjerice, Bucan se uz osmijeh prisjeca zabune izazvane kod prolaznika koji
su gledajuci plakat za Gavellinu preclstavu Ugustari velegrada (1974.), na kojem je fotografija Franks
Sinatre, ocekivali njegov dolazak u Zagreb.
Tijekom seclamclesetih Bucan suracluje s fotografom Zeljkom Stojanovicem na nizu fotografskih
pletkata za razlicite narucitelje. Tako nastaje serija plakata (1973.) za dogadanja u sklopu festivala
Sterijino pozorje. Bucan tada povezuje temu plakata s fotografijama stvamih (konkretnih)
protagonista dogadanja. Primjerice, za izlozbu kazalisnih plakata na njegovu radu u ulozi moclela
pojavljuju se raclnici u stampariji. Na plakatu kojim se oglasava festival pojavljuje se dizajner sam,
dok simpozij kazalisnih teatrologa najavljuje - teatrolog.
U ozracju konceptualne umjetnosti, Bucan ostvaruje niz samostalnih izlozbi u Zagrebu, Splitu i
Dubrovniku (Bucan Art, 1973.) i taclasnjoj Galeriji suvremene umjetnosti (Povijest moderne
umjetnosti odAltamire do danas, 1976.). Vazno je zabiljeziti cla Bucan radi paralelno na oba
podrucja - u dizajnu i u umjetnosti - all ih i ispreplice. Najocitiji primjer
newspaper photographs that had no connection with the subject, that is, the performance. These
posters are especially
considering the poster as a medium. In this apparently illogical interrelationship between the
randomly chosen photograph and the subject of the performance, Bucan intentionally produced
communication noises and examined communication processes in interaction with the public. For

example, he remembers with a smile how confused passers-by were by the poster for Gavella's
performance In the Jungle of Cities (1974) which showed a photograph of Frank Sinatra, which made
people think that he was to visit Zagreb.
In the seventies Bucan cooperated with photographer Zeljko Stojanovic on a series of photographic
posters for various clients. This led to a cycle of posters (1973) for events in connection with the
Sterijino pozorje Festival. Bucan connected the subject of a poster with photographs of actual
participants in the event it announced. For example, his poster advertising the exhibition of theatre
posters showed workers from the printing shop. The poster advertising the festival showed the
designer himself, while the symposium of theatre experts was announced by a theatrologist.
In the atmosphere of conceptual art, Bucan had a series of solo exhibitions in Zagreb, Split and
Dubrovnik (Bucan Art, 1973) and in what was at that time the Gallery of Contemporary Art

Boris Bucan s Ivanom Kozaricem i Davorom Maticevicem u Galeriji suvremene umjetnosti Boris Bucan with Ivan Kozaric and Davor
Maticevic in the Gallery of Contemporary Art, Zagreb, 1976 fotografija photograph: 2. Stojanovic
U Galeriji suvremene umjetnosti In the Gallery of Contemporary Art, Zagreb, 1976 fotografija photograph: Z. Stojanovic

proniisljanja clizajnerske icleje pretocene u slikarstvo clogoclio se 1972. gocline u seriji slika Bucan
Art U toj seriji zastitni znakovi raznih svjetskih tvrtki, prometni znakovi ill znakovi upozorenja
preneseni su iz svojeg prirodnog grafickog ishodista u sferu "ciste" umjetnosti, ne samo zamjenom
i rekonstrukcijom triju karakteristicnih slova ART u tijelo znaka, nego i uporabom tradicionalnog
alata stafelajnog slikarstva -kistom i platnom. Promjena konteksta, poigravanje oclnosom znakova
i pridavanje novih znacenja, bit ce trajna tema i preokupacija Borisa Bucana.
U taclasnjoj Galeriji suvremene umjetnosti 1976. prireduje izlozbu Museum Palmolive - Povijest
moderne umjetnosti od Altamire do danas. Na osebujan nacin duhovito interpretira svoje asocijacije
na velikane povijesti umjetnosti i njihove umjetnicke strategije ill pak "stvara" izmisljene umjetnike
i naziva in imenima raznih proizvoda potrosackog drustva koje smjesta u imaginarni Museum
Palmolive. Vec su tada cluhovitost i kriticki pristup postal! prepoznatljiva konstanta njegovarada.
U drugoj polovici sedamdesetih Bucan naclalje eksperimentira novim metodama i neprestano
manipulira vizualnim
(History of Modem Art from Altamira to the Present, 1976). It is important to note that Bucan
concurrently worked in both fields - design and art - and he intertwined them. The most obvious
example of a design idea transposed into painting took place in 1972 in the cycle of paintings called
Bucan Art. In this series he displaced the logos of various world companies, traffic signs or warning
signs from their natural origin in graphic design into the sphere of "pure" art, not only by substitution

and incorporating the three characteristic letters ART in the body of the sign, but also by using the
traditional tools of easel painting - brush and canvas. The change of context, playing with the
relationship between signs and giving them new meanings was to be Bucaris lasting theme and
preoccupation.
In the Gallery of Contemporary Art he mounted in 1976 the exhibition Museum Palmolive-History
of Modern Art from Altamira to the Present. In it he gave a distinctive and witty interpretation of his
associations connected with great figures of art history and their art strategies, or "created" invented
artists and named them after various consumer products which he situated in an imaginary
Museum Palmolive. Humour and a critical approach had already become a recognisable constant
factor in his work.
elementima i informaci]om cije zclruzivanje otvara prostor i za neka drugacija iscitavanja. Graficko
oblikovanje plakata cesto oclasilje jednoznacnu poruku public!, all Bucan ustraje na
ambivalentnosti pa i viseznacnosti. Duhovitost ill ironija nastaju u suceljavanju slike i rijeci.
Plakati kod promatraca pobuduju vise asocijativnih tokova koji se granaju u mnogo smjerova. U
pop-artistickom duhu Bucan je razvio domisljat i prepoznatljiv slikovni rjecnik upotrebljavajuci
fotografije opcepoznatih motiva, slika iz masovne kulture poput stripa. ljudskih figura, lica,
zivotinja koje cesto naknadno kolorira i metoclom fotomontaze pretvara u zacuclne i cesto
provokativne slike.
Nasuprot minimalistickom izricaju s pocetka 70-ih, krajem tog clesetljeca naslucuje se preokret u
pristupu plakatu, viclljiv u sve raskosnijo] 'uporabi boje i oblika koji postaju dominantni nositelji
likovnog izraza. U potrazi za novim individualnim umjetnickim izrazom koji nastoji prekoraciti
zadane granice grafickog oblikovanja, Bucan neumorno istrazuje korpus povijesti umjetnosti i
suvremene vizualne kulture, proucava samu likovnost, a posebice slikarstvo. U osamdesetima
clogacla se radikalan zaokret u pristupu, znacenju i nacinu oblikovanja ideje. Naime, Bucan u
plakate sve intenzivnije i osebujnije uvodi slikarske i crtacke postupke i stvara novi tip slike.
Davor Maticevic, kustos i ocl 1991. ravnatelj taclasnje Galerije suvremene umjetnosti, napisao je:
"To je razcloblje u kojemu plakati po stavu i nastojanju autora trebaju biti punovrijeclna umjetnicka
cljela nacinjena za ulicu, slike narucene i umnozene na javnim mjestima u povoclu nekog
kulturnog clogaclanja. Dakle, djelom odgovoriti na djelo, a ne djelo staviti u sluzbu drugom cljelu."2
Rezultat tog Bucanovog sirenja pojma plakata ocituje se i u velikom formatu, do tacla nevidenom
na nasim prostorima. Premcla je ocl pocetka postupno povecavao format plakata ocl standafdne
dimenzije 100 x 70 cm, pa clo 140 x 100 cm i 140 x 200 cm, preko izduljenih clo cak 4 metra,
pocetkom osamdesetih taj se format konacno ustalio u kvadratnom obliku 200 x 200 cm. Tada
su to bill neuobicajeni format!, a clanas in viclimo kao standardne marketinske strategy e koje su
poznate pod nazivom billboard ilijumbo-plakati.
In the second half of the seventies Bucan continued experimenting with new methods and kept
manipulating visual elements ancl information, creating combinations that opened up possibilities

for different readings. Poster design often sends an unambiguous message to the public, but
Bucan persisted on ambivalence and a multifaceted approach. The meeting of image and word
often led to humour or irony. Among viewers the posters awoke different kinds of associations
which branched in many directions. In the spirit of pop art, Bucan developed an astute ancl
generally known subjects, images from the mass culture such as cartoons, human figures, faces,
animals and so on, which he often subsequently coloured and using photo montage turned into
wondrous ancl often provocative pictures.
Contrary to the minimalistic expression from the early 1970s, towards the end of that decade his
approach to the poster changed completely and his expression clominantly relied on an
increasingly lavish use of colour and form. In the search for a new individual art expression that
would allow him to overstep the given boundaries of graphic design, Bucan tirelessly explored
art history ancl contemporary visual culture and studied art as such, especially painting.
representation ancl manner of shaping an idea. Increasingly he introduced in his posters
procedures that were characteristic of painting ancl drawing techniques, thus creating a new type
of picture. Davor Maticevic, curator ancl from 1991 director of the Gallery of Contemporary Art,
wrote: "This was a period when posters, according to the artist's views ancl efforts, were to be
artworks in their own right created for the street, paintings commissioned ancl multiplied for
public places in connection with some cultural event. This means, to create a work in response to
a work, not to place a work in the service of another work."2
Another result of Bucaris widening of the poster concept can be seen in the large format that had
previously not been used in the region. Although he gradually began to increase the poster format
right at the beginning, from the standard size of 100 x 70 cm to 140 x 100 cm to 140 x 200 cm, and
Tim "plakatima-slikama" izlazi na ulicu koja postaje njegova galerija i privlaci pozornost i stroke
publike i kulturnjaka. Zahvaljujuci tome angazirali su ga u Hrvatskom narodnom kazalistu u
Splitu. Za HNK Split radi niz plakata od 1982. do 1986., a neki od njih postaju antologijskl. Upravo
je clio till radova predstavio i na Venecijanskombijenalu suvremene umjetnosti 1984. godine, gdje
je nastupao kao predstavnik Jugoslavije.
Plakate nastale u osamdesetima karakterizira zivost, energicnost, dinamika koja proizlazi iz
mnostva razlicitih icleja i oblikovnih likovnih postupaka. Tacla Bucan ispunjava povrsinu plakata
na nekoliko nacina: intenzivnim koloristickim tretmanom, jakim crno-bijelim / zlatno-crnim
grafizmom ili pak gestama snaznog crtackog naboja. Takvim pristupom plakatu Bucan svjesno
clovocli u pitanje granicu ciste umjetnosti i grafickog oblikovanja. Davor Maticevic u svojem
tekstu za katalog Venecijanskogbijenala zakljucuje: "Bucanovi plakati iznlman su doprinos
preplitanju i uzajamnom

fenomen tipican za prijelaz stoljeca, ukljucujuci i ovo".3

O snaznom dojmu koji je Bucanovo stvaralastvo ostavilo na posjetitelje Venecijanskog bijenala
svjedoci i komentar umjetnika Roberta Rauschenberga zapisan na koricama Bucanova kataloga:
"Hvala Vam na predivnom iskustvu!"
S obzirom na to da su mu glavni narucitelji plakata oduvijek bile kulturne ustanove - galerije,
kazalista, Muzicka proizvodnja Zagrebacke radiotelevizije - jasno je da se Bucan obraca public! s
odredenim (likovnim) predznanjem, onima koji ce umjeti proniknuti u njegovu likovnu poruku i
razumjeti referentne okvire.
Primjerice, za plakat predstave Lizistrata, clrame starogrckog komediografa Aristofana o ratu
spolova, posluzio se stiliziranim prikazom zena u maniri grckih vaza iz geometrijskog razdoblja. Ipak,
kako bi ostao u duhu vremena, kao predlozak posluzila mu je poznata fotografija Helmuta Newtona iz
1981. (They're coming/). No, valja pritom istaknuti da se Bucan ne oslanja na povijesne stilove u svrhu
pukog citiranja, nego stvara novi autenticni likovni izricaj. U intervjuu iz 1985. objasnjava:
designed elongated posters of up to 4 metres, in the early eighties the format finally stabilised at
200 x 200 cm. At that time these were unusual formats, today they have become standard
marketing strategies known as billboards or jumbo-posters.
With these "poster-paintings" he went out into the street, which became his gallery and attracted
the attention of the general public and culture experts. Thanks to this, the Croatian National
Theatre in Split engaged him for a series of posters between 1982 and 1986, some of which
became anthological. He showed some of them at the Venice Biennale of contemporary art in
1984, where he represented Yugoslavia.
Posters made in the eighties are vibrant, full of energy and dynamic thanks to the many different
ideas and diverse art and design procedures. At that time Bucan filled in the poster surface in
several ways: intensive colours, graphically strong applications of black-and-white /black-andgold or strokes of potent draughtsmanship. Approaching the poster in this way, Bucan
consciously re-examined the boundary between pure art and graphic design. In his text for the
catalogue of the Venice Biennale, Davor Maticevic wrote: "Bucan's posters are an exceptional
contribution to the intertwining and mutual influence of art and applied art - a phenomenon
typical of turns of centuries including this one."3
Bucan's work left a strong impression on visitors to the Venice Biennale, as evidenced by the
words artist Robert Rauschenberg wrote on the cover of Bucan's catalogue: "Thank you for a
wonderful experience!"
Since Bucan's main clients for posters had always been cultural institutions - galleries, theatres,

Music Production of Zagreb Radiotelevision - he had clearly been cooperating with a public that
had a degree of (artistic) foreknowledge, people who would know how to read his artistic
message and understand the referential framework.
For example, on the poster for the performance Lysistrata, a play by the ancient Greek
comecliographer Aristophanes
"Povijescu se volim baviti na ta] nacin; ne bukvalnim prenosenjem autenticne forme ili njezine
ilustracije... Smatram da je oponasanje cak i najboljih perioda umjetnosti smijesno ako nije
motivirano sadasnjim vremenom."4

Premda nikad nije robovao funkciji plakata kao jasnog i citkog prenositelja informacije, pocinje ju
posve marginalizirati. f to doslovce. Informacija koju plakat prenosi smjestena je uvijek negdje uz
rub ili je postala sastavnim dijelom slike. No, ubrzo je oclvojenost slike i teksta, tj. cinjenica da su
rijeci istisnute na samu marginu plakata, cla su okvir slike, postala svojevrsni Bucanov potpis,
njegov jeclinstveni znak prepoznatljivosti.
Na pitanje kako glazbu pretociti u plakate odgovara nizom plakata ractenih kontinuirano ocl 1983.
do 1991. za Glazbenu proclukciju Zagrebackih simfonicara i Zbora RTZ-a. Radio Televizija Zagreb
(RTZ), clanas HRT, njezina Muzicka proizvoclnja, postaje njegov clrugi glavni narucitelj. U sezoni
1987./1988. stvara seriju plakata Pijanist kojom razvija icleje motiva pijanista u raznim
parafrazama. U razlicitim varijacijama pijanist svira klavir koji se transformira u zoomorfne
oblike ili se crno-bijeli registar klavijature pretapa u clrvored breza, kisu, ili zeljeznicke tracnice.
Pocetkom devedesetih za istog narucitelja racli seriju plakata naclahnutih Fellinijevim
filmomProb-a orkestra (Prova d'ordiestra, 1978.) koji opisuje umjetnicku i politicku borbu
glazbenika i clirigenta. Glazbenici se posvadaju medusobno, all i otkazu poslusnost
dirigentu. Fellinijeva politicka alegorija pretvara se na Bucanovim plakatima u seriju Rat u
orkestru.
U uskovitlanom kosmaru glazbenika i instrumenata, glazbala se pretvaraju u prijeteca oruzja koja
neclvojbeno aludiraju na tadasnja ratna clogaclanja na ovim prostorima.
Ocl devedesetih Bucan se sve vise udaljuje od plakata, navodeci kao jedan od razloga nestanak
dovoljno odvaznih i vizualno osvijestenih narucitelja. Usto, u devedesetima vaznost plakata
nestaje jer primat preuzimaju drugi oblici masovnih meclija, sitotisak postaje preskup clok je
oglasivackoj industriji ocl vizualnog identiteta vazniji trzisni profit. Stoga se intenzivno posvecuje
slikarstvu i to bez
about a battle between the sexes, he used a stylised image of women in the manner of Greek
vases from the geometric period. Still, to remain within the spirit of the times he modelled his
work on Helmut Newton's well-known photograph from 1981 (They're coming!). It must be said
that Bucan did not use historical styles merely for quotation purposes but created a new

authentic art expression. In an interview from 1985 he explained: "That is how I like to engage in
history; not by literally transferring an authentic form or its illustrations... I think that copying
even the best
present time."4
Although he was never a skive to the poster's purpose of providing information clearly and
readably, he began to completely marginalise this aspect. Literally. He always placed the
information a poster conveyed somewhere along the edge or incorporated it in the picture. Soon
the separation of the picture from the text, i.e., relegating the words to the very margins of the
poster, turning them into a frame for the picture, became something like Bucaris signature, his
unique identification mark.
He answered the question about how to depict music on a poster in a series of posters that he
continuously made from 1983 to 1991 for the Music Production of the Zagreb Symphonists and the
RTZ Chorus. The Music Production of Zagreb Racliotelevision (RTZ), today Croatian
Radiotelevision, became his second main patron. In the 1987/1988 season he created a cycle of
posters called The Pianist paraphrasing ideas on the pianist theme. In different variations a
pianist plays the piano which is transformed into zoomorphic shapes, or the black-and-white
keyboard re-forms as a treeline of birches, rain, or a railway track.
In the early nineties, he made a series of posters for the same client inspired by Fellini's film Prova
d'orchestra (Orchestra Rehearsal, 1978) about an artistic and political struggle between musicians
and a conductor. The musicians quarrel among themselves, but they also refuse to obey the
conductor. On Bucan's posters Fellini's political allegory turned into the series The War in
Orchestra. In the swirling
zaljenja, ]er kako i sam istice, upravo ga je dizajn naucio kako se neprestano clolazeci precl nove
zadatke promisija oclredena tema: "To sto sam bio u dizajnu, u slikarstvu mi pomaze neizmjerno."
Plakatni opus koji se clanas nalazi u MSU-u predstavlja relevantan presjek Bucanovog
stvaralastva od samih pocetaka sedamdesetih goclina do kraja prosloga stoljeca. Dizajnirajuci
plakate Boris Bucan upotrebljavao je reference iz masovne kulture, iz svakodnevnog zivota, kao i
reference iz mnogih povijesnih umjetnickih stilova. U mediju plakata pronasao je jedinstven
nacin preispitivanja oclnosa i granica izmeclu umjetnicke autonomnosti i drustvenog konteksta,
likovnih i dizajnerskih pravila, pokazujuci dolazecim narastajima umjetnika kako te granice
valja neprestano pomicati.

' Umjetnici Boris Bucan, Braco Dimitrijevic, Sanja Ivekovic, Jagoda Kaloper, Dalibor Martinis, Davor Tomicic, Goran Trbuljak i Gorki Zuvela
nakon serlje saraostalnih izlozbi u Galeriji Studentskog centra u Zagrebu sudjeluju 1971. na dvjema zajednickim izlozbama te su smatrani

grupom autora intervencionista. Medutim, njihovo djelovanje nije imalo karakter grupnog rada i utarzo je svatko otisao svojim putem. Nova
umjetnicka praksa, katalog izlozbe. Cur.) Marijan Susovski, Zagreb, GSU, 1978., str. 87.
2

Davor Maticevic, Boris Bucan: Collegium artisticum, Sarajevo, 24.1. - 6.2.1985., iz

predgovora kataloga.
3

Davor Maticevic, Boris Bucan Jugoslavia: La Biennale di Venezia, lOgiugno -15 settembre
1984, kustos i autor teksta.
4

Jasna Galjer, intervju "Boris Bucan - umjetnik u javnom prostoru", Covjek iprostor:
arhitektura, kiparstvo, slikarstvo i primijenjena umjetnost, god. 32 (1985), 1=382, str. 19.

nightmare of musicians and instruments, the instruments turn into threatening weapons
which clearly allude to the war that was at that time raging in Croatia.
In the nineties Bucan progressively moved away from posters,
bold and visually conscious clients. In any case, the poster lost importance in the nineties as other
forms of mass media gained dominance, silk screen printing became too expensive, and the
advertising industry began to cherish profit above visual identity. Thus Bucan focused on painting,
without regrets, because as he said himself, design had taught him how to approach a subject when
one is always being faced with new tasks: "The fact that I worked in design is an immense help to
me in painting."
The posters that are today in the Museum of Contemporary Art are a relevant section through
Bucem's creative work from the very beginnings in the seventies to the end of the last century. In
poster design Boris Bucan made references to mass culture, to everyday life, and also references to
many historical art styles. In the medium of the poster he found a distinctive way of re-examining
the relationships and boundaries between autonomy in art and social context, the rules of art and
design, and showed coming generations of artists how to keep extending these boundaries.
1

After a series of solo exhibitions in the

Student Centre Gallery in Zagreb, the artists
Boris
Bucan, Braco Dimitrijevic, Sanja Ivekovic,
Jagoda Kaloper, Dalibor Martinis, Davor
Tomicic,
Goran Trbuljak and Gorki 2uvela in 1971
participated at two group exhibitions and were
looked on as a group of interventionist artists.
However, their activities did not have the
character of group work and soon each of
them went his or her own way. Marijan
Susovski (ed.}, Nova umjetnicka praksa (New
Art Practice), exhibition catalogue, Zagreb
GSU, 1978, p. 87.
2

Davor Maticevic, Bon's Bucan Collegium

artisticum, Sarajevo, 24 January - 6 February
1985, from the introduction by the editor of
the catalogue.
3

Davor Maticevic, Boris Bucan: Jugoslavia: La

Biennale di Venezia, 10 giugno -15 settembre

1984, curator and author of the text, Gallery of

Contemporary Art Zagreb
4

Interview by Jasna Galjer, "Bucan, Umjetnik u

javnom prostoru" (Bucan, An Artist in the
Public Environment), Covjek iprostor:
arhitektura, kiparstvo, slikarstvo i primijenjena
umjetnost, year 32 (1985), 1=382, p. 19..

ick Poynor

laid plakati Sorisa 1 Jucaiin

Boris 1 Uicnn's Early Posters
igledavali mi plakate Borisa Bucana u perspektivi povijesti akata ill unutar povijesti grafickoga
clizajna, njegov opus edstavlja zaseban slucaj. Vise nego bilo koja clruga forma u aksi grafickoga
dizajna, plakat se ocluvijek srajestao na zmedu dizajna i umjetnosti, kao sto to ocito pokazuju nazivi )
put komercijalnogslikarstva iprimijenjene um/efriosfikoji su
)stao uobicajenim pojmom. Buduci da postoji kako bi sluzila 3koj tudoj svrsi, primijenjena je
umjetnost implicitno nizi oblik njetnosti. Ipak, dovoljnoje osobna ciabi zasluzila etiketu njetnosti; na
svojem je pocetku, uostalom, ta aktivnost xenito podrazumijevala slikarsku upotrebu kista.
Prelaskom i graficki clizajn kao dominantan pojam kojim se opisuje aficka komunikacija s
publikom, medutim, stvar postaje roblematicnom. Jesu li izrazito ekspresivni filmski i kazalisni .akati
nastali u Poljskoj ili Cehoslovackoj tijekom 1960-ih djelo Djedinaca koje bi trebalo nazivati
umjetnicima ili clizajnerirna .akata? Jesu li takvi plakati umjetnost ili dizajn, ili mjesavina i dviju
cljelatnosti? Odgovor je nesumnjivo mjesavina, all skim promatracima iz sfere dizajna ta
neodredenost reclstavlja problem. Time djelatnost, koju oni nastoje rofesionalno ustrojiti ne bi li se
razlikovala od subjektivnog i atonomnoga podrucja likovne umjetnosti, kao cla postaje ecistom i
nepouzdanom. Da bi stvar bila kompliciranija, ikari su nerijetko izradivali plakate, obicno radi
najave [astitih izlozbi, a ponekacl i izlozbi svojih kolega. Kad slikari esto stvaraju, makar to bila i
obavijest koja uvelike nalikuje na raficki dizajn, skloni su to smatrati procluzetkom svoje ikarske
prakse, drugim rijecima, umjetnoscu. Slijeclom iste jgike, kad graficki clizajner izradi plakat,
umjetnici su ga skloni rzati naprosto clizajnom, makar izgledao kao slikarski racl.
Whether we approach Boris Bucan's posters from the perspective of poster history, or from the
perspective of graphic design history, his body of work is a special case. The poster, more than any

other form of graphic design practice,

art, and the term "commercial art", used for several decades before "graphic design" became the
normal term, makes this explicit. As the words indicate, commercial art is implicitly a lesser form
of art because it exists to serve someone else's purpose. Nevertheless, it remains sufficiently
personal to be dignified with the label "art" and in the early clays the activity generally involved
using the paintbrush like a fine artist. With the shift to graphic design, as the preferred term to
describe graphic communication with the public, the issue became more problematic. Are the
highly expressive film and theatre posters created in Poland or Czechoslovakia in the 1960s the
work of individuals we should call poster artists or poster designers? Are such posters art or
design, or a mixture of the two activities? The answer is undoubtedly a mixture, but some
observers situated within the design sphere are troubled by this uncertainty. It makes the activity
they are trying to define professionally and distinguish from the subjective and autonomous
realm of art seems impure and unreliable. To complicate matters, artists have often produced
posters, usually to announce their own exhibitions, and sometimes for colleagues. If artists create
something, even a communication that looks a lot like graphic design, then they tend to regard it as
an extension of their art practice; in other words as art. By the same token, if a graphic designer
created a poster, then artists are likely to view it as merely design even if it looks like art.
Bio sam prilicno iznenaden kacl sam viclio Bucanove rane plakate - sto je tema kojom se ovdje
bavim - na izlozbi u Galeriji Studentskog centra u Zagrebu 2002., mnogo goclina nakon sto su
nastali. Bio je to moj prvi posjet Hrvatskoj i o Bucanu nisam znao nista. Osim rada Zarptica (1983.),
uopce mi nisu bill poznati veliki plakati koje je radio u proslavljenom drugom razdoblju svoje
karijere autora plakata. To danas izgleda kao propust, ali Bucanov dizajnerski rad nije bio poznat u
Velikoj Britaniji, ni u SAD-u, a on je tada vec bio napustio rad na plakatima kako bi se posvetio
slikarstvu. Bucanovi plakati s kraja 1960-ih i pocetkom 1970-ih iznenadili su me jer su se i u Europi i
u Americi u to doba djela takvog tipa rijetko, ako uopce, mogla naci. Bucanovi plakati bill su iznimno
originalni i
priblizno bio istrazen na tako temeljit nacin. Taj je prvi susret bio jedan ocl onih trenutaka otkrivenja
koji dovocle do prevrednovanja predodzbe o podrucju koje se sve do tada cinilo clobro proucenim.
Neobicno je sto djelo tako beskompromisne inventivnosti nije bilo zapazeno u dizajnerskim
krugovima engleskoga govornog podrucja. Drugo sto valja naglasitl jest cinjenica kako ta rana djela,
nastala kad je Bucan bio clvadesetogoclisnjak, i nakon tri desetljeca jedva da su ostarjela te su se
doimala kao vrlo rana najava konceptualnih trendova koji ce se u svjetskom clizajnu pojaviti tek oko
2000., stoga nakon svih ovih goclina taj sud o njima jos uvijek stoji.
U drugim krajevima Europe pocetak 1970-ih nije bio osobito povoljno razdoblje za plakat, kao sto je
nizozemski clizajner Wim Crouwel, za ciju je izlozbu Bucan izradio plakat, poslije primijetio: "Kao
medij slavljenja ill promocije, plakat je izgubio vjeroclostojnost pocetkom 1970-ih. Nasao se u
kolotecini. Ljucli su vise vjerovali reklamama i televiziji". To je svakako bio slucaj u Velikoj Britaniji

gdje su plakati bilo koje vrste ubrzano

unatoc kratkom razdoblju preporoda 1967. godine pojavom kontra-kulturnih plakata na rock sceni.
Bucanov racl ni najmanje nije bio nalik na te psihodelicne izljeve slavljenja oslobodilackog naboja
muzike i droga. Nasuprot tim eksplozijama oblika i boja, gotovo sve izlozeno na Bucanovoj
retrospektivnoj izlozbi 2002. kao da je pripadalo tada nepostojecem zanru konceptualnoga dizajna
- iako ml se
My reaction to Bucaris early posters-my subject here-one of considerable surprise when I
encountered them 2002 at an exhibition at the Student Centre Gallery in Z many years after they
were created. It was my first visit Croatia and Bucan was entirely unknown to me. With tl exception
of "The Firebird" (1983), I wasn't even familiar the large posters he created in the celebrated second
pi his career as a poster artist. That seems like an oversigh but Bucan's design work was not well
known in the UK < and he had by that time ceased to create posters so tha could concentrate on art.
The posters dating from the la 1960s and early 1970s surprised me because few, if any, designs of a
comparable nature were produced at that 1 Europe and America. Bucan's posters were highly origii
proposed a direction for the poster that hadn't been exj anything like as thoroughly elsewhere. That
first sightir one of those moments of revelation that forces a reasse of territory that had appeared,
until then, to be adequat mapped. It was strange that work of such uncompromi: invention had
failed to register in English-speaking cles: territories. The other point to emphasize is that those e.
works, created when Bucan was in his twenties, had ba: dated after three decades and seemed to
anticipate conceptual trends emerging around 2000 in internatic design, and all these years later
that remains the case.
Elsewhere in Europe, the early 1970s was not an especi propitious time for the poster, as the Dutch
designer Wi Crouwel, subject of one of Bucan's exhibition posters, la noted: "As a medium with
which to praise or promote, t poster had lost its credibility in the early 1970s. It had fo itself in a rut.
People had more faith in advertisements a probably also in television commercials." This was cert
true in the UK where posters of any kind had become progressively less central to communication
and cultu: despite a brief period of rebirth in 1967 in the countered posters produced by the rock
scene. Bucan's work look nothing like those psychedelic effusions glorifying the liberating impact
of music and drugs. Compared to the: explosions of shape and colour, almost everything in B 2002
retrospective appeared to represent a previously unsuspected genre of conceptual design,
although I nc

qrupa b-1
hilgerrann s
6.6.70-176.70 fl-14,17-20
:la ta odrednica viSe ne cini dovoljno preciznom s obzirom raspon utjecaja i nakana tih plakata.
Medu rijetkim sthodnicima u drugim zemljama nalaze se izrazlto iukcionisticki plakatl temeljenl
na meteoroloskim nbolima kojeje John Melin 1968. dizajnirao za muzej Dderna Museet u
Stockholmu. Plakati Jana van Toorna s aja 1960-ih za Steclelijk Van Abbemuseum u Eindhovenu u
zozemskoj odlikuju se strogoscu i fleksibilnoscu graficke stocle koja ih cini usporedivima s
Bucanovim djelom, emcla]e Van Toorn jos uvijek u svo] rad bio sklon ukljuciti smente umjetnickih
raclova prikazanih na izlozbi, sto je icanbez iznimke odbijao. Drugi su primjeri ustrajnog nimanja
za podrucje konceptualnoga plakata nastali nakon :) je Bucan promijenio smjer. Iz 1980-ih mozemo
spomenuti akate americkog konceptualnog umjetnika Lawrencea einera i plakate za izlozbe koje ]e
Edward Fella izradio za ?troit Focus Gallery na kojima bi izlozena umjetnicka djela mijenio
vlastitim grafickim invencijama. Tek je 1990-ih )rnel Wincllin u Zurichu stvorio opus plakata
usporediv s icanovim po konzistentno konceptualnoj orijentaciji i stezljivosti grafickih oblika.
jcl je zapoceo dizajnirati plakate Bucan je, cini se, bio slabo Doznat s onime sto se zbivalo u
grafickom dizajnu,bilo u igoslavijibilo u svijetu. To ga podrucje nije osobito zanimalo, ileko ga je

vise privlacila likovna scena. O clizajnu plakata u igrebackoj Skoli primijenjene umjetnosti, koju je
zavrsio 1967., je naucio nista sto bi mu se cinilo korisnim. Na ranim akatima za Galeriju Studentskog
centra, kao sto je Imaginami uzej (1968.), i na radovima za Dalibora Martinisa (1969.), Sanju ekovic,
Zmaga Jeraja i Grupu B-l (svi nastali 1970.), Bucan je okrijumcario vizualne icleje posudene izpop i
minimal arta, ko clanas kaze cla je slabo poznavao minimalizam u vrijeme id je dizajnirao plakat
Imaginami muzej na kojem je izbusio ipe kako bi slid cloclao trecu dimenziju. Vizualni izraz tih
.akata zagonetno je reduciran u mjeri koja se i clanas cloima avaznom i traze vizualno pbrazovanu
publiku koja ce lagirati na vizualne signale koji se tek neizravno odnose na ela koja najavljuju.
Prema Bucanovu misljenju, plakat koji dnostavno reproducira neki primjerak umjetnickog djela, 10
sto je to najcesce sluCaj s plakatima za izlozbe, zapravo :)pc':e i nije plakat. Plakat mora biti zasebno
cljelo, slobodno
Grupa B-l Group B-l
Galerija SC Student Centre Gallery
1970
sitotisak/papir silkscreen/paper
97 x 67 cm

this was not a precise enough categorization of the posters' range of influences and intentions.
Among the few precedents
weather symbols, designed by John Melin in 1968 for the Moderna Museet in Stockholm. In the
Netherlands, Jan van Toorn's late 1960s posters for the Steclelijk Van Abbeniuseum in Eindhoven
have a rigour and a flexibility of graphic method that is comparable to Bucan's, though Van Toorn
was still inclined to include elements of the artist's work, which Bucan always resisted. Other
examples of sustained conceptual poster making came later after Bucan had changed direction. In
the 1980s, we might point to the posters of the American conceptual artist Lawrence Weiner, and to
the

 *
tumacenje i treba saclrzavati elemente osmisljene posebno za tu prigodu. Neovisno o njegovoj

namjeni, Bucan je od pocetka smatrao plakat umjetnickim cljelom, a ne primijenjenom

miijetnoscu. Linearno slikarstvo Zmaga Jeraja postalo je povod za oblikovanje praznine u obliku
kutije koja zauzima vecinu prostora, kao da se na plakatu otvorila rupa, clok je slikarevo ime
odgumuto u kut kao nesto posve sporedno. Na plakatu za Dalibora Martinisa, Bucan je postavio
unutrasnji okvir koji na mjestu na kojem bismo ocekivali neku sliku preclstavlja cisto bijelo nistavilo.
Premcla su ga Ijucli pitali zasto nije u torn prostoru nesto nacrtao, ni narudtel] ni umjetnik nisu se
zalili na prikazanu prazninu. Kad pogleda unatrag, Bucan smatra da je bio u stanju prodrijeti u
neistrazeno podrucje zato sto tada, osim ponekog umjetnika, nitko nije obracao previse pozornosti
na ono sto se zbivalo u relativno nerazvijenom polju dizajna. Narucitelji njegovih radova u Galeriji
Studentskog centra bill su njegovi vrsnjaci koji su mu davali otvorene ruke, a jeclino je s
naruciteljima iz kazalista Gavella morao raspravljati o konceptu pojedinih rjesenja. Bucan je uzivao
stupanj slobocle koji je dizajnerima plakata uglavnom postao nedostupan kacl su u kasnijim
desetljecima prevladali marketinski principi poslovanja.
U takvom je ozracju Bucan mogao nastaviti raditi plakate izrazito reduciranoga izraza, all to mu
nisu dopustili njegova nemirna narav i potreba da istrazuje nove zamisli. Nakon 1973. linearne je
konstrukcije ranih plakata zamijenio naglaseniji konceptualni pristup koji je mogao biti kako
verbalni, tako i fotografski. Premda su mu taclasnja zbivanja u jugoslavenskoj konceptualnoj
umjetnosti barem nacelno bila nadahnuce, Bucan je poslije postao skeptican spram tog
domlnantnog podrucja umjetnosti te ce ga kao umjetnik posve napustiti. Na plakatu za 5. splitski
salon Bucan je narucitelju Tonku Simonelliju isporucio dijagramski prikaz procesa naruclzbe
ga se angaziralo, kako se Wimu Crouwelu nije clalo, dok je Ivan Picelj imao drugih obaveza. Bucan
ima icleju koju predstavlja krivudava linija koja postaje ravnom, i ta Je ideja "zlatna" kao i boja
plakata. Simonellija je uzasnuo tako izravan graficki prikaz procesa nastanka plakata i odbio je
platiti Bucanu koji nikacl nije ustanovio je li tiskani plakat bio upotrijebljen u Splitu, sto je malo
vjerojatno. Njegov je koncept za dva plakata
exhibition posters produced by Edward Fella for the D< Focus Gallery in Detroit, where Fella
substituted his ov\ graphic inventions for the exhibited artists' work. It too the 1990s for Cornel
Windlin in Zurich to create a body posters equal to Bucaris in their consistently conceptu
orientation and elasticity of graphic form.
When he began designing posters, Bucan seems to hav little acquaintance with what was happening
in graphic in Yugoslavia or internationally. The discipline didn't particularly interest him and he was
far more engaged 1 art scene. A poster design course he took at the School Applied Art in Zagreb,
graduating in 1967, provided him nothing he could use. In early posters for the Student G Gallery, such
as "Imaginary Museum" (1968) and pieces artists Dalibor Martinis (1969), Sanja Ivekovic, Zmago Je
Group B-l (all from 1970), Bucan smuggled in visual idea borrowed from Pop art and minimal art,

although he sa that he knew little about minimal art when he designec "Imaginary Museum", which
he punched with holes to introduce a third dimension to the image. The posters j enigmatically
reductive to a degree that still looks auda and they rely on a visually educated audience responc
visual cues that refer only obliquely to the art being ad In Bucaris view, a poster that merely
reproduces an ex; the artist's art, which is what often happens with exhibi posters, is not properly
speaking a poster at all. A posts a work in its own right, a free interpretation, and should elements
designed specifically for it. From the outset, f regarded the poster as an artwork, irrespective of its pu
rather than as a piece of applied art. Zmago Jeraj's linea became a pretext for creating a box-like void
dominatii of the space as though a hole has opened up in the pos pushing the artist's name into the
corner, as if it were a 1 little consequence. In the poster for Dalibor Martinis, Bi devises an internal
frame that presents an image of pu nothingness where we usually expect the image to be. asked
him why he didn't draw something in the space neither the client nor the artist objected to the void.
In retrospect, he thinks he was able to make forays into uncharted territory because, apart from
some artists, ] paid much attention to what was going on in the relati
5RAFIKON O ZLATNOM PLAKATU PETOG SPLITSKQG SALONA

[5

i
UMJETNlCKI SALON SPLIT
MILTON GLASER USA preskup

I
LALIN

narud2baza plakat
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ZLATO

BORIS BUCAN
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SITOTISAK BRANO HORVAT

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ideju

odstampano 100 kom.

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UMJETNICKI SALON
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MALI SALON
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28.10-18.11.1973
SALON FOTO KLUBA'SPLIT'
MARMONTOVA 11
26.1O-18.11.1973

9-12+17-20

undeveloped field of design. His clients at the Student Centre Gallery were the same age and gave
him carte blanche and only the Gavella Theatre required much discussion of concepts. Bucan
enjoyed a degree of freedom that poster designers were rarely granted once marketing
considerations became paramount in later decades.
In such a climate, it would have been possible to continue making highly reductive posters, but
Bucaris restlessness and need to try out new ideas would not permit this. By 1973, the linear
constructions of the early posters had been superseded by a more conceptual approach, which
could be either verbal or photographic. If developments on the Yugoslavian conceptual art scene
were notionally at least his inspiration,
dominant area of art and, as an artist, he would leave it far behind. In a poster for the fifth Salon in
Split, Bucan presented the client, Tonko Simonelli, with a diagrammatic rendition of the poster
commissioning process, which reveals that Milton Glaser had been too expensive to undertake the
job, Wim Crouwel couldn't be bothered and Ivan Picelj was otherwise engaged. Bucan has an idea,
represented by a wavy line becoming solid, and this idea is "gold"-the colour of the poster.

afikon o zlatnom plakatu 5. splitskog salona Gold Poster Chart for the Split Salon

"3
>tisak/papir silkscreen/paper
5 x 50 cm

atra &TD iz 1975. bio podjednako ekstreman, sazimajuci eclstave n]ec\maMuski plakat (na crnoj
podlozi) iZenski 3/<af (na ruzicastoj). Narucitelj je to shvatio kao provokaciju i icana vise nikad nije

angazirao. On je pak smatrao da, bucluci i on redatelju ne tumaci kako cla rezira, niti bi redatelj
trebao smu govoriti kako da dizajnira plakat. Bucan bi odbio posao icl njegove zamisli nisu bile
prihvacene. Bio je spreman na >mpromise jedino pod uvjetom da bit njegova koncepta ne ide
dovedena u pitanje.
acanovi su se konceptualni plakati najcesce temeljili na tografiji, a na vizualizaciji svojih ideja
redovito je radio s tografom Zeljkom Stojanovicem. Na plakatu za izlozbu
poster's origination and refused to pay Bucan, who never found out whether the printed pieces
were used in Split, though it seems unlikely. In 1975, his concept for two Teatar&TD posters was
similarly extreme, summarizing the productions with the words "Male poster" (on a black
background) and "Female poster" (on pink). The client regarded this as a slap in the face and it was
the last time Bucan worked for the theatre. He took the view that he would not tell a director how to
direct a play so the director should not tell him how to design a poster. If his ideas were not
accepted, then he would refuse the job. He was only prepared to compromise where the essence of
his concept would be preserved.
Bucaris conceptual posters were more often based on photographs and he worked regularly with
the photographer Zeljko Stojanovic to visualize his ideas. In a 1973 poster for an exhibition of
Stojanovic's work at the Student Centre Gallery, the photographer's manhood becomes a camera
stuffed down


Arsovski
Galerija SC Student Centre Gallery
1972
sitotisak/papir silkgcrcen/paper

49,5x95,5 cm

Stojanovicevih radova u Galeriji Stuclentskog centra 1973., fotografova muskost postaje fotoaparat
uguran u hlace: warholovska slika kreativne potencije sasvim u cluhu svog vremena. Bucanov
plakat za izlozbu graflckog dizajna kolege Mihajla Arsovskog iz 1972. istice nezavidne uvjete u
kojima su i najbolji plakati clolazili do publike prikazujuci plakatno mjesto zagrebacke tvrtke Ozeha
izlijepljeno osreclnjim raclovima drugih clizajnera, all ne i samog Arsovskog. Bucan danas navocli
cla je jeclini razlog tome sto na clan kad je pano snimljen na njemu nije bilo nijeclnog plakata
Arsovskoga, all to se dakako lako moglo urediti. Tu ponovno zapazamo iznimnu konceptualnu i
estetsku sloboclu u kojoj je Bucan radio: cak i kolega clizajner pristaje cla se njegov racl izostavi na
plakatu koji reklamira njegovu izlozbu. Bucan si je clopustio jos vecu slobodu na dvama plakatima
za zagrebacki Hipodrom 1975. i 1976. Na prvom, koji se temelji na predlosku za fotografiju gola zena
s umjetno obojenom peril-corn svezanom u konjski rep predstavlja konja, motiv koji su organizatori
(a pretpostavljamo i publika) vjerojatno ocekivali na plakatu. Plakat vise nalikuje

the front of his trousers, a Warholian image of creative; very much of its time. Bucaris poster for an
exhibition < graphic design by his colleague Mihajlo Arsovski, in 19' spotlights the haphazard
conditions in which even the posters reached the public by showing an Ozeha aclve frame in
Zagreb plastered with mediocre offerings by c designers, though nothing by Arsovski. Bucan says no\
this was merely because there were no posters by Arse present on the day the frame was
photographed, but it have been easy enough to arrange. Here, again, we not conditions of
exceptional conceptual and aesthetic f re from which Bucan benefited; even a fellow designer tc
being left out of an image promoting his own show. Bin still greater liberties with two posters for
Equestrian Cl events in Zagreb in 1975 and 1976. In the first, based on sketch for the photographer, a
naked woman wearing, artificially coloured pony-tale wig stands in for the hor the organizer (and
perhaps also the public) might reasi have expected. The poster looks more like an acl for a 1
. reklamu za neki proizvod za njegu Rose. Sljeclece gocline njesto konja i jahaca koje se narucitelj
naclao vicljeti, Bucan ,m Maze konjsku straznjicu obojenu u sitotisku tako da se ii kao cla konj nosi
traperice. Spremno priznaje da je >nekad namjerno iznevjeravao ocekivanja narucitelja jer je latrao
cla ih valja spustiti na zemlju, a ne bespogovorno isati kao sto to cine oni graficki clizaijneri koji
sami sebe latraju obicnim pruzateljima usluga.
i nizu se plakata Bucan izravno referira na samoga sebe i o]u poziciju dizajnera. U seriji od cetiriju
fotografskih imacla za kazalisni festival Sterijino pozorje u Novom Saclu 73. stoji pred nama poput

kakva svetog Sebastijana u zajnerskom stucliju drzeci stranice programskog materijala, )k su

umjesto mucenikovih strijela cluz njegova tijela icvrsceni listovi papira. Natpis na clnu
obavjestava adatelje cla na slid vide dizajnera snimljenog u vlastitoj sobi. Novom Saclu nitko nije
znao tkoje taj covjek, a Bucana je ibavljalo cla narucitelju procla sliku samoga sebe. Plakati su li
njegov zivot, a autoportret je bio znak potpune )svecenosti poslu.
i plakatu za izlozbu vlastitih radova u Njemackoj prikazuje toe kako grab! ulicom u oclijelu na pruge,
dok zakrivljene jojene cite po lieu, poput kakve lebclece tetovaze, claju akatu osobniju pa cak i
pomalo ispovjeclnu notu. rugoni je prigoclom, samo zato sto mu se prohtjelo, predstavio iku zene u
clzemperu koja sjedi, dok se objasiijenje Ovu ]ozbu napravio sam zbogsvoje cure, poput narukvice
obavija co njezine ruke. Bucanovo se ime istice crvenom bojom ukoso eko njezinih usana, poput
poljupca. anas nam je ta vrsta javne intimnosti normalna - u SAD-u efan Sagmeister i njegova
dizajnerska partnerica Jessica 'alsh neprestano upotrebljavaju slike samih sebe kako bi Ddatno
podcrtali svoju dizajnersku slavu - all 1970-ih itoreferencijalne geste uopce nisu bile uobicajene u
sferi .zajna. Na nizu plakata za kazaliste Gavella na kojima se sluzi itografijama ronilaca, japanskih
sumo-boraca i Franka Sinatre, jean cloclaje iskaz kojim iskreno prizna]eplakatje raclen za
iigupredstavu. Dizajner se ponovno ubacuje izmeclu edatelja i toboznje teme plakata kako bi nas
podsjetio cla je risutan u svakom trenutku te cla on upravlja svim polugama rocesa komunikacije.
Demistificira cak i vlastite financije.
product. The following year, instead of the horse and rider the client hoped to see, Bucan supplied a
horse's rear coloured by silkscreen to look like it is sporting a pair of blue jeans. He readily admits
that he sometimes worked against the wishes of the commissioner because he felt that clients
should be brought clown to earth and not held in such high regard by graphic designers who
thought of themselves merely as service providers.
In a number of posters, Bucan makes explicit reference to himself and his own agency as poster
designer. In 1973, in a series of four photographic pieces for Sterijino Theatre festival in Novi
Sacl, he stands before us, like a kind of Saint Sebastian of the design studio, holding up the pages
of the theatre program, with other sheets attached to the length of his body in place of the
martyr's arrows. A caption at the bottom informs viewers that they are contemplating: "A designer
photographed in his room." In Novi Sacl, no one would have known who this man was and it
amused Bucan to sell an image of himself to the client. Posters were his life and the self-portrait
was a sign of his total investment in the task. In a poster for an exhibition of his work in Germany
he pictures himself striding along a street in a pinstripe suit, and the placement of coloured lines
of twisting type over his face, like a kind of floating tattoo, makes the poster more personal and
even confessional in mood. Elsewhere, because it pleased him to clo so, he presented a picture of
a seated woman in a jumper, with the explanation "I made this exhibition for my girlfriend"
curving like a bracelet around her arm. Bucaris name, picked out in reel, slants across her lips: a
kind of kiss. Today, we might take this style of public intimacy for granted-in the United States,
Stefan Sagmeister and his design partner Jessica Walsh constantly trade on their own images to
boost their celebrity-but in the 1970s self-referential gestures were not at all usual within the

design sphere. In a series of posters for the Gavella Theatre, using found images of a man
snorkeling, Japanese sumo wrestlers and Frank Sinatra, Bucan includes a statement frankly
admitting, "The poster was made for another show." Again, the designer inserts himself between
the viewer and the ostensible subject of the poster to remind us that he is present at all times
controlling the levers of the communication
Plakatom koji je 1975. napravio za Teatar &TD dominira cek na sest dolara koji je u SAD-u dobio
za til racla. Ako je
filmove, Bucan je smatrao da je to clopusteno i njemu. Svim tim postupcima Bucan je naglasavao cla
njegovi plakati trebajublti shvaceni kao umjetnicka djela na kojima je on odgovoran za svaki detalj.
Sto se plakati vise uclaljavaju ocl
postovati (i koje publika sukladno tome ocekuje), to vise svracaju pozornost na sebe kao
autonomna djela. Razlika izmedu obicnog dizajnera i umjetnika koji se sluzi dizajnom postaje
ocigleclna kacl se Bucanovi plakati usporecle s plakatima koje je u torn razcloblju dizajnirao
Arsovski, koji je deset godina stariji. Arsovskom je primarni interes tipografija i mnogi se njegovi
plakati zasnivaju iskljucivo na slovnim oblicima kojima se sluzi poput virtuoza koji u potpunosti
vlacla svojim instrumentom kako bi postigao beskonacno sirok raspon dramatskih i strukturnih
varijacija. Na plakatima za Muzej suvremene umjetnosti Zagreb Arsovski toliko povecava slova cla
ispunjaju povrsinu te ih upotrebljava kako bi razdijelio i artikulirao prostor. Zaokrece ih, lomi rijeci
na abececlne sastavnice i te cestice rasprsuje duz zasebnih linija. Sluzeci se
kontrapunkte. Njegove se konstrukcije uvijek doimaju cvrsto projektiranima i estetski istancanima.
Kacl uvodi slike rijec je uglavnom o sekundamim elementima, posve precizno umetnutima u
tipografsku strukturu. Obicava istu sliku ponavljati mnogo puta, uzivajuci u njoj kao u grafickoj
jedinici i sluzeci se njome kako bi stvorio teksture i ritmove. Njegovi

Bucanu je slika na prvom mjestu, a tipografija mu je uvijek sporedna briga. U njegovu se raclu cesto
osjeca cla bi se najradije potpuno rijesio slova. Smanjuje slova koliko je god moguce kako bi se slid
clalo vise prostora i ne brine ga sto narucitelji misle cla bi to trebao biti glavni element. Prvih se
godina sluzio pismom Helvetica jer je tacla bilo u sirokoj upotrebi u Jugoslaviji (i u svijetu), a ne zato
sto je zelio izraziti naklonost prema modernizmu internacionalnog stila. Kacl se pomnije prouce ti
njegovi radovi, uvicla se cla pojedinosti razmjestaja i razmaka mectu slovima nisu bas spretno
rijeseni kao sto je to slucaj u klasicnoj svicarskoj tipografiji, all torn se
process. The clemystification can even extend to his fir A cheque for six dollars that he received in the
USA in r three posters dominates a poster made in 1975 for Teat If Hitchcock coulcl include selfreferential gestures in 1" then Bucan felt free to clo the same. These devices all served to assert that
Bucan's poster c should be understood as works of art in which he was responsible for every detail.
The more the posters dep the standard procedures and restrictions that designe observe (and that

audiences consequently might corr expect) the more they draw attention to themselves a
autonomous creations. The distinction between regu designer and artist-designer becomes
obvious when; comparison is made with posters designed during thi by Arsovski, who was ten
years older than Bucan. Arsi primary concern was typography and many of his po based entirely
on letterforms, which he manipulates 1 virtuoso who has total command of his instrument to an
endless range of dramatic and structural variation; posters for the Museum of Contemporary Art in
Zagre Arsovski blows up letters so they fill the surface and u them to divide and articulate the
space. He turns then sideways, breaks words down into their alphabetical components and
disperses these particles across sep. lines. He achieves dynamic contrasts and expressive
counterpoints using letters alone. His constructions a. feel rigorously engineered and aesthetically
refined. V he introduces images, they tire usually secondary elei slotted with great deliberation into
the typographic str He tends to repeat the same image multiple times witl" design, savouring them
as graphic units and using thei generate patterns and rhythms. His posters exploit the resources of
graphic language to maximum effect.
For Bucan, the image comes first and type is always a secondary consideration. There is often a
feeling in hi; that he would like to dispense with typography entire made the type as small as
possible to give more space image and he paid no attention when clients thought: be the main
element. He employed Helvetica in the ee
Yugoslavia (and worldwide), rather than because he v\

Susret mladosti Zagreb 77 Zagreb Youth Meeting 77

1977
sitotisak/papir silkscreen/paper
70,5 x 100 cm

:stom vjestine Bucan nikada nije zamarao. Pomalo nehajan inos spram vizualnlh detalja povezuje
ga s konceptualnim mjetnicima kojima je izvedba uvijek bila podredena Dnceptu. Bucan je
tijekom 1980-ih razrijesio problem slova iko sto ih je izgurao na rubove golemih plakata i sveo ih na
dio kvira sredisnje slike. Kad se na ranim plakatima sluzio pografijoni kao primarnlm sredstvom,
bilo je to zato sto je
a slovima, a ne zato sto bi osjecao privrzenost tipografiji kao ecem samo po sebi lijepom, kao sto je
to bio slucaj kod isovskog. Na plakatu za kazaliste Gavella iz 1971. nizom
remetnuo u rijec Osvajac. Kljucna je sama transformacija, a ne rada (niz slovnih znakova) koja se
transformira. Nastao u isto rijeme, plakat Klupko se urednim stupcima slova i crvenim Lovom "o"
oblikovanim od kruga istrgnuta iz sredisnjeg diska loze cloimati poput rada dizajnera purista. No, kod
Bucana je esumnjivo manje u pitanju dizajnerska fascinacija pstrakcijom geometrije, a vise
zanimanje za to kako se dgovarajuci f ragmenti mogu upotrijebiti i reciklirati kao lovni oblik.
[ad je za izlozbe u Galeriji Studentskog centra dizajnirao niz ilakata temeljen na rednim brojevima
izlozaba, Bucan je po ibicaju otisao u krajnost pa mu je redni broj postao primarni
to signal an attachment to the modernism of the International Style. Examined closely, the
particulars of type placement and spacing are not as well resolved in his designs as they are in
classic Swiss typography, but this kind of finesse was never Bucaris concern. The slightly cavalier
treatment of visual detail aligns him with conceptual artists for whom execution was always
subordinate to concept. In the 1980s, he eventually resolved the problem of type by pushing it out
to the edges of his enormous posters and treating it as a picture frame around the central image.
When Bucan used type as a principal device in an early poster, it was because he had devised a
novel concept or interpretation that happened to be based on type and not because he felt any
commitment to type as a thing of beauty in its own right, as it was for Arsovksi. In a 1971 poster for
the Gavella Theatre, Bucan turned the word "Balthazar" into "conqueror", line by line, with a series of
typographic operations. The essential point here is transformation and not the material (a set of
letters) being transformed. Created around the same time, the "Bundle" poster, with its neat
columns of type and reel "o" formed with a circle extracted from the main disc, might feel like the
work of a more purist designer. But for Bucan, this is doubtless less a matter of designer-like
fascination with the abstractions of geometry than an interest in the way a matching fragment can
be pressed into use and recycled as a letterform.
element tvrdeci kako bi to trebalo biti dovoljno cla zaintrigira promatraca i potakne interes. Danas ni
jeclna galerija ne bi na to pristala. Bucanje u clrugo] polovini 1970-ih nastojao integrirati tipografiju
u sliku pa je katkad zadatak shvacao doslovno i "silio" slova da postanu troclimenzionalni clijelovi
slike: uskladivao je slova s nogama macke na plakatu za balet, pretvarao in u brkovima slicne rogove

za Dalijevu izlozbu ili ih prilagoctavao rubutenisice zabejzbol. Najos jeclnom netipicnom raclu - u
opusu punom netipicnih raclova - za zagrebacki Muzicki biennale 1977., Bucan razmahanog
"dirigenta" (zapravo policajca) zajapurena lica okruzuje drecavom kakofonijom pisama koja bi
trebala predstavljati zvuk razlicitih orkestara.
Kao sto je to kocl Bucana cesto slucaj, na toj je slid prisutan element uvrnutog ili pritajenog humora,
kao i dovoljno vizualnih implikacija za cijeli niz eksperimenata kakva manje svestranog dizajnera.
Medutim, Bucanje kao i uvijek otisao korak dalje. Vec je na vicliku korjenita promjena smjera na koju
ukazuje gusta. isprepletena i koloristicki bogata povrsina plakata za Muzicki biennale. U svjetlu
Bucanove kasnije karijere, i na podrucju plakata kao umjetnosti i na podrucju slikarstva, neobicno
je sto se tako preclana i iznimno kreativna osobnost uopce mogla prisiliti cla tako clugo bucle
svedena na reduktivne i konceptualno zadane vizualne geste. Ponekacl se cak i na najranijim
plakatima moze nazrijeti tracak buducega grafickog razvoja, recimo na plakatima Tigar (1969.)
tiiAmbijent+ (1970.). Ocl kraja 1970-ih Bucanovi plakati znatno su manje raznoliki, kao da namjemo
ili podsvjesno nastoji naci izlaz iz poclrucja koje je potpuno istrazio. Ubrzo je pronasao novi smjer,
oblikujuci 1980-ih opus visedijelnih plakata jedinstvenih u kasnijoj povijesti toga medija. Siroka
prihvacenost Bucanovih zrelih clostignuca ne bi, meclutim trebala zakloniti cinjenicu cla njegovi
manje poznati rani plakati takocler tvore iznimno vrijedan opus smjesten na granici umjetnosti i
clizajna, pun trajnih pouka za svakoga tko zeli istraziti sav potencijal grafickoga promisljanja.
When Bucan designed a series of exhibition posters for Student Centre Gallery based on numbering,
he acloptc-extreme position as usual and treated the exhibition ni the primary element, arguing
that this alone should be to intrigue stimulate the viewer's interest. No gallery would consent to that
now. In his attempts, li the 1970s, to integrate type into the image Bucan somet interprets the task
literally, forcing the letterforms to bei three-dimensional components of the picture: aligning with a
cat's legs for a ballet poster, treating it as a mouste pair of horns for a Dali exhibition, or fitting it
around the a baseball boot. In 1977, in another untypical work-in a; full of untypical works-for the
Music Biennale in Zagre surrounds the gesticulating pink-faced "conductor" (in i policeman) with a
garish cacophony of typefaces inten represent the sounds of different orchestras.
As so often with Bucan, there is an element of wry or understated humour in this image, as well as
enough v: implications to sustain a series of experiments by a less multidimensional designer. As
ever, though, Bucan mo1 A more profound change of direction, hinted at by the I Biennale poster's
dense, tangled and richly hued surfac just around the corner. When we look at the later trajec
Bucaris career, both the posters-as-art and the fine art, ri seem surprising that such a driven and
exuberant crea
conceptually determined visual gestures for so long. Occasionally, even in the earliest posters, there
is a sign graphic developments to come, as in the "Tiger" poster i the "Environment-i-" poster (1970).
By the end of the 197C

either actively or unconsciously seeking a way out of a territory he has fully explored. He soon
found a new dii creating in the 1980s a body of multi-sheet posters unic the later history of the
medium. If Bucaris mature achievements are widely appreciated now, that should obscure the fact
that his lesser-known early posters alsi comprise a notable body of work, situated on the borck-ancl
design, with enduring lessons for anyone seeking t investigate the full potential of graphic thinking.

teorges Raillard

[iiiagiiiariii vijel Borisa

liucaiia
The Imaginary World of
Boris Bucaii
/ijet Borisa Bucana prostran je i raznolik. No, prizori se u iemu ne ponavljaju. Bilo cla su urezani, bilo
naslikani, svaki ut kad se pojave, otvaraju neka nova vrata. Bucan je naslikao ma vrata, neobicno i
iznimno djelo koje pokazuje u kojoj je ijeri njegova imaginacija utemeljena na grafizmu i uvijek
rugim bojama. One iznenaduju, iako su uvijek povezane s redmetima - stvarima preuzetim iz
stvamosti, iz stvarnosti 3ja se svaki puta iznova preslaguje.
ucanovaje umjetnost umjetnost kolorista, ponajvise crtaca. jegov je imaginami svijet sacinjen od
snage i ucinkovitosti oteza.Malraiixjeu/mag/narnommuzejupokazaofotografije
epoznatih svjetova iz njegove maste. Nema niceg naclrealnog Bucanovu svijetu, stvarnost je tu,
spremna da bucle reslozena, nadohvat ruke umjetnika lutalice, spremna za reobrazbu, spremna da
postane oblik.
a Bucanov svijet uvelike je zasluzan potez iz kojega izvlaci ;tinu cljela. Jacques Derrida, filozof koji
se proslavio onceptom "dekonstrukcije" naslovio je svoja razmisljanja ;fi'na u slikarstvu.
Promatrajuci Bucanov racl prisjecamo se Jerridaovih misli, osobito njegova vreclnovanja latinske
rijeci 'uctus-. vodenje rukom, potez. Trag te rijeci nalazi se u irodukciji, reprodukciji, redukciji,

cledukciji... Svi nacini iromisljanja u kojima su stvari oploctene rijecima i obrnuto. Hoga poteza kocl
Bucana prikazuje se ubrojnosti njegovih aogucnosti. Nalazimo ih u meclusobno vrlo razlicitim
The world of Boris Bucan is spacious and diverse. However, the images in it do not repeat
themselves. Engraved or painted, every time they appear they open up a new cloor. Bucan painted
a black cloor, an unusual ancl exceptional work that shows the degree to which his imagination is
based on graphic design ancl always on new colours. They surprise us even though they are
always connected with a subject/thing seen in reality, a reality that is always recomposecl.

Vrata Door
2012
akril/platno acrylic/canvas
140 x 140 cm

raclovima. Tako je Strindbergov portret gumut u dubinu i izvucen na povrsinu u bujici poteza bez
jasnog smjera, pocetka, zavrsetka. Od njega se posve razlikuje dvanaest portreta glazbenika
Skrjabina, Mozarta, Mahlera, Verdija ltd. Tim su imenima, povezanima s poznatim djelima,
pridruzena lica cije su crte (shvacene clvoznacno: kao potezi i kao fizionomija lica) zajeclnicke, all
koje kroz odmjerenu isprepletenost stvaraju najvjernije moguce lice svakog skladatelja ponaosob.
U kakvu prostoru oni pronalaze svo] zivot? Podrijetlo vuku iz boje, pozadina je crna, a crte tih lica
ispisane su na zelenoj pozadini s kojom komuniciraju. Mectusobno se ispreplicu korijeni grafizma i
slikarstva.
Znamo cla je Matisse na koncu zivota napustio slikarstvo. Njegova ruka izrezivala je papire uboji
koji su poprimali oblike iz stvarnosti, najcesce iz biljnog svijeta. Bucanova macka nestaje, izgubljena
pod snijegom, all je umjetnik ipak vicli na susjednom krovu. No, macka se ponovno pojavljuje:
njezin linearni profil doima se izrezanim na bjelini koja zauzima tri cetvrtine lista.

cljelo u kojem je Aristofan opisao velicanstvenu pobjeclu zena. Te su zene razlicita stasa, a ipak slicne
geometrije lica, grucli, pubicnoga trokuta sto se crni mectu vodoravnim kromatskim prugama koje
oblikuju njihova tijela. Te slike nisu apstraktne; jeclna tek neznatno podignuta noga oznacuje
pobjeclu Lizistrate nacl muskim roclom.
Grafizam i boja mogu jeclno drugome posuditi sreclstva i ucinke. Krajem 19. stoljeca Pariz je bio
preplavljen plakatima, "reklamama", kako se tacla nazivalo oglasavanje: slika kocke za juhu Kub
istaknuta golemim slovom K, sivaci stroj Singer s golemim slovom S u kojem je smjestena svelja. U
ono vrijeme ljucli nisu bill opsjeclnuti gradovima sa syjeze okrecenim zidovima. Jeclnako tako,
umjetnici nisu zazirali od prijavljivanja na natjecaje za tu novu umjetnost, litografiju. Dobar je
primjer veliki slikar Pierre Bonnard. Upravo su ocl njega zatrazili cla izradi naslovnicu prvog broja
Revue blanche (Bijela revija), casopisa posvecenog umjetnosti i knjizevnosti koje su ispred svojeg
vremena. Na njoj dominira crna boja. Medutim, isti taj veliki slikar izraduje i reklamu za sampanjac
Bucan's art is that of a colourist and above all a draughtsm His imaginary world is built of the power
and efficiency of stroke. InLeMusee imaginaire Malraux showed photograp world masterpieces and
invited the reader/viewer to discc unknown worlds in the imagination. There is nothing surr in
Bucan's world; it is reality, ready to be composed, close a hand to the artist/wanderer, ready for
transformation, reac take its form.
Bucan's world owes a lot to the line from which he derivt the truth of the work. Jacques Derricla,
the philosopher \ gained fame with the concept of "deconstruction", entitlf his thoughts The Truth
in Painting. Looking at Bucan's we we bring to mind Derrida's thoughts, especially his evaluation
of the Latin word ductus-. guided by the hand the stroke. The word has left traces in words such
as production, reproduction, reduction, deduction... All the ways of thinking in which things are
impregnated by wo and vice versa.
With Bucan, the role of the stroke is revealed in the multil of its possibilities. We find them in works
that widely cliffi from one another. Thus Strinclberg's portrait is pushed in the depths and pulled
out onto the surface in a torrent ol lines without a clear direction, beginning or ending.
Completely different are twelve portraits of the musiciar Scriabin, Mozart, Mahler, Verdi etc. To
these names, connected with famous works, are joined faces whose lir (understood dually as
strokes and as facial features) are common to all, and whose measured convolutions rend< the
features of each particular composer with utmost faithfulness. In what kind of space do these
portraits find Their origin is in colour, the background is black and the of the face are written on a
green background with whicl they communicate. Graphic design and painting exchan their roots.
We know that Matisse stopped painting towards the end c life. His hands cut out coloured papers
which took shapes reality, usually from the world of plants. Bucan's cat disappears, lost under the
snow, but the artist nevertheless sees her on a neighbouring roof. But the cat

reappears: its linear profile seems cut out on the whiter that covers three quarters of the sheet.
Completely opposite are the five women that illustrate Lysistrata, in which Aristophanes described
the magnif victory of the women's rebellion. These women are of c heights but still have a similar
geometry of face, bust an triangle, which is black among the horizontal chromati stripes that shape
their bodies. The pictures are not ab one slightly raised leg marks Lysistrata's victory over tr male
sex.
Art (po Marlborou) iz serije Bucan Art Art (according to Marlboro) from the series Bucan Art
1972

polikolor/platno polycolour/canvas
50 x 70 cm

Swissart iz serije Bucan Art Swissart from the series Bucan Art

1972
polikolor/platno polycolour/canvas
50 x 70 cm

France-Champagne, litografiju u boji na kojoj mlada zena vrlo I

duboka clekoltea u zamamnoj pozi uziva u picu.
i
Bucanu je takoder bio cilj izraditi "logotip" u kojem crtez i boja i moraju biti clovoljni cla stvore cljelo,
preclmet koji govori i koji se j razlikuje ocl svoje prvobitne stvarnosti. Poput primjerice logotipa
marks Shell crvene i zute boje. Poclrijetlo skoljke,
Graphic design and colour can lend one another mear effects. In the late 19th century Paris was
flooded with p reclames as advertising was then called: a big letter K w to sell the bouillon cube Kub,
Singer sewing machines advertised with a big S and a woman sewing in the background. At that
time people were not yet obsessec cities with freshly painted walls. Artists did not shrink 1 applying
at competitions for this new art, lithography. The great painter Pierre Bonnard is a good example.
H< asked to design the cover for the first number of La Re\ blanche, a magazine devoted to art and
literature that \ ahead of their time. It is dominated by black. But this SE great painter made an
advertisement for France-Chan a lithograph in colour showing a young woman in a lo\ dress and
in an enticing pose, enjoying her drink.
Bucan, too, aimed at creating a "logo" in which drawing; colour must suffice to create the work, an
object that sp about but which differs from its original reality. Such as, example, the reel and yellow
Shell logo. The origin of tin the vaginal shell from which rises Botticelli's Venus (an that has been so
forgotten that Spanish girls called Con little shell - are not aware that their name announces tt of
their sex).
The oil producer's Shell contains the history of the shel forgotten history. The art of the graphic
artist imagined erased it from our imaginary present. It became its owr reference.
)ljke spolovila iz koje se racla Botticellijeva Venera (podrijetlo ie je do te mjere zaboravljeno da
spanjolske djevojke zvane Conchita - skoljkica - nisu syjesne da imenom javljuju cinjenicu o
svojeni spolu).
ikoljci naftnog proizvodaca sadrzana ]e povijest skoljke, Doravljena povijest. Umjetnost graficara
zamislila ju je i irisala u nasoj imaginamoj saclasnjosti. Postala je sama sebi erencom.
Dja razmisljanja o referenci Bucan odvodi daleko u seriji ART. Ije je Umjetnost? Prije, poslije, iza crnih
vrata? Hi je sadrzana u Trim tim rijecima?
idavna izlozba u Parizu u centru Georges Pompidou
crtana, naslikana, ugravirana, svjetloscu prikazana na svim :icima jedna jedina rijec: ulaz.
drazumijevalo se da iza te rijeci, koja je zapravo nareclba, stoji nesto sto treba pogledati. Bucanova
serija ART je iikalnija; umjetnost nije ni prije ni poslije.

;upno Bucanovo djelo pokazuje da umjetnost nije povezana :)m naredbom, niti s bilo kojom
drugom. All ona nas navodi, di nas pomocu poteza i boje u svijet slika koji nikada nije tvoren.
mavljanje susrecemo samo kacl je rijec o glazbi. U Traviati ill u iovima nazvanima Glazbeni dozivljaji
na grafickoj podlozi cinjenoj ocl okomitih linija zapazamo lik. Je li to subjekt ili ijekt? Ili pak umjetnik
u svojem djelu? Bilo da slika, bilo da ta, Bucan stvara glazbeni dogadaj.
Bucan takes his thinking about reference a long way in the ART series. Where is Art? Before, after,
behind the black door? Or is it contained in those very words?
A recent Paris exhibition in the Georges Pompidou Centre began with a wall that showed one single
word in all possible ways, drawn, painted, engraved, displayed by light, in all languages: entrance.

word, which was in fact a command. Bucaris ART series is more radical; art is neither before nor after.
What Bucaris work shows, in its totality, is that art is not linked with that command, nor with any
other. But it guides us, leads us with the help of lines and colour into a world of pictures that is
never closed.
We meet repetition only in the case of music. In La Traviata or in works called "musical experiences"
we notice a figure on a graphic foundation consisting of vertical lines. Is it a subject or an object? Or
the artist inside his work? Whether he paints or draws, Bucan creates a musical event.

sadeta Midzit

'aiitazmagoiiciii
Pliaiitasiiiagorical :apisi iz
tisiue
Notes from Silence
rlheinz Stockhausen je trenutnim oblikom (Momentforni) zvao one oblike "kocl kojih se u svakom
casu moze ocekivati nimum ill maksimum, a iz sadasnjosti se ne moze sa urnoscu pretkazati nikakav
smjer razvoja; (oblike) koji su :': zapoceli i tako mogu ici u beskraj... u kojima tren nije samo lomak
vremenske crte, trenutak ne mora biti tek djelic njerenog trajanja... a koncentracija na sada... na
svako :la - cirri istovremeno vertikalne rezove koji ukoso probijaju rizontalnu crtu clo u

bezvremenost." Upravo u pulsirajucem jctuprostoru glazbenog i likovnog tijeka, koji asociraju

ralelizam heterofone prirode nudeci uz to privid dosljedne mplementarnosti, iako su tek vanjski
okvir nastanka canovih slika-plakata, izrasta njegov osebujan slijed oblika s clvremenskim nabojem
i ujedno potencijalom naclilazenja bicajenih predodzbi raznih disciplina, glazbenih i likovnih, u
jima je ugradena i hijerarhicna podijeljenostbliskog vijesnog prostora. Oni su prvenstveno trag
Bucanova nopromatracki odredenog i sinteticv:kog prepricavanja istitih, slozenih i slobodnih reakcija
na kompozicije ncertnih programa - objeclinjavajucih uporista/izvorista grebackog i hrvatskoga
glazbenog zivota. Ne kao erpretacija odredene teme ill ideje, odnosno misli o glazbi, i kao aluzija na
strukture njezinih konstrukcija, cak ni kao kusaj karakterizacije mjesta glazbenog dogadaja u
nekom iju kultumog univerzuma, Bucanovi gotovo fantazmagoricni pisi raznih "sada" sazimaju
visestruke perspektive i ocekivano ipak upucuju na raznorodna cvorista skrivenog azbenog ill
glazbom potaknutog) smisla.
)guce ih je, dakle, shvatiti kao svojevrsnu kaleidoskopski ru sliku trenutka, te na imaginiranoj
transverzali For Karlheinz Stockhausen, momentary forms (Momentforni) are those "from which one can at
any moment expect the minimum or the maximum, and from whose present one cannot
confidently predict any future course of development: (forms) that have already started and can
continue as they are for ever... in which the moment is not just a section of the time line, a moment
need not only be a small portion of measured duration... and concentration on the now... on every
Now - at the same time makes vertical cuts which, at an angle, penetrate the horizontal line up to the
timeless." It is in this pulsating interspace between the musical and the visual courses, which
associate parallelism of a heterophonic nature and also offer an illusion of being consistently
complementary, although they are just the outer frame in the formation of Bucan's images/posters,
where his characteristic progression of forms develops. The power of these forms reaches beyond
time and they also have the potential of reaching outside the usual insights belonging to the
various disciplines, in music and the fine-arts, which also include the built-in hierarchical division
of recent history. They emerge in the first place from Bucan's synthesising and self-observing
recounting of his complex and free reactions to the compositions of concert programmes - the
unifying strongholds/sources of the musical life of Zagreb and Croatia. Not as an interpretation of a
particular theme or idea, or thoughts about music, not as an allusion to its structural construction,
not even as an attempt to characterise the site of the musical event in some division of the cultural
universe; Bucan's almost phantasmagorical notations of various "nows" condense manifold
perspectives but they nevertheless unexpectedly indicate heterogeneous junctions of hidden
(musical or musically incited) meaning.
svepovezujucem stockhauzenovskom rezu - nazirati zrelost glazbene sredine, prepoznavati
prirodu i stupan] osvijetljenosti horizonta neke skladateljske licnosti, opcinjavajucu moc
interpreta, cak pojedinog instrumenta, koji moze prerasti u znak glazbe Hi muziciranja, all i
pretvoriti se u sliku ratnog stroja. No, moze se naslutiti i energija onih vibracija iz duboke prapocetne
pozacline glazbe same, sto su poput valnih pokreta koji zacinju, ispunjaju i ujedinjuju prostor i

vrijeme.
"Pokret lezi u osnovi svih stvari," napisao ]e uostalom Paul Klee, koji je vocten idejom o duhovnoj
(nacl)moci glazbe, uronjen u prirodu, procese i zakonitosti njezina postojanja i ostvarenja, izgraclio
neuhvatljivi sublimni svijet, koji ce zauzvrat poticati i skladatelje da osvojeni njegovim analizama i
0 znakovitom povratu te Kleeove discipline i poeticne mudrosti u sfere glazbenog stvaralastva
potkraj 1950-ih, clakle u cloba tektonskih pomaka clramaticnih razmjera, oslobadanja silne zvucne
magme nasuprot sofisticiranim i strogo kontroliranim sistemima, te pokusaja premoscivanja i
kontrole nastalih ponora, govori Stockhausenov clar Pierreu Boulezu, knjizica Kleeovih predavanja
u Bauhausu, Das Bildnerische Denken i to s napomenom "vidjet cete, Klee je najbolji profesor".
Gotovo simbolicno, nekoliko godina poslije u Zagrebu, na trecem Muzickom biennalu 1965., izvodi
se na koncertu Kolnskog radijskog simfonijskog orkestra i zbora Boulezova kantata Le visage
nuptial (revidirana verzija praizvedena u Kolnu 1957.) i Stockhausenove Gruppen za tri orkestra.
Stockhausen dirigira zajedno s Brunom Mademom i Michaelom Gielenom, tacla je prvi put u
Zagrebu s velikim angazmanom i odjekom (nakon predavanja o elektronickoj glazbi na prvom
MBZ-u 1961. godine). Bucan ce clodirnuti tu intelektualno presudnu i revolucionamo zvucecu liniju
racleci plakate za Biennale 1977. godine na poziv snazno motiviranog, izvanredno informiranog i
prosvjetiteljski usmjerenog autorskog tima MBZ-a. Taj je meclunarodni festival tada jos uvijek
produktivni kulturni laboratory u kojem se susrecu avangarde i istovremeno odmjerava snaga
hrvatskih skladatelja u primanju novog, all se istoclobno procjenjuje domet i autenticnost njihova
osobnog odgovora na
They may, therefore, be understood as a kind of kale: living image of a moment, and on the
imaginary tran the Stockhausen section that links all - they allow or perceive the maturity of the
musical milieu, recogni; nature and intensity of the illumination of a compos horizon, the beguiling
power of the interpreter, even particular instrument, which can grow into a symbo or playing
music, but can also turn into the image of machine. However, one can also sense the energy of from
the deep primeval background of music itself, i are like undulations that initiate, pervade and unite <
and time.
"Movement lies in the foundation of all things," wrote who, led by the idea about the spiritual
ascendancy immersed in the nature, processes and laws of its ex and achievements, constructed an
elusive sublimin which would in return encourage composers, capti\ his analyses and
transcending experiences, to exarr own world. The significant return of this Klee's disci] poetic
wisdom in the sphere of musical creativity in 1950s, that is, in the time of tectonic changes of dran
proportions, of the liberation of immense sound ma opposed to sophisticated and strictly
controlled sys attempts to bridge and control the resulting chasms seen in Stockhauseris gift to
Pierre Boulez, a booklet lectures in the Eauhaus, Das Bildnerische Denken, w: observation, "You'll
see, Klee is the best teacher."

Almost symbolically, several years later in Zagreb, al Music Biennale 1965, ait its concert the Cologne
Radi Symphony Orchestra and Chorus played Boulez's c visage nuptial (a revised version of the
1957 world pi Cologne) and Stockhausen's Gruppen for three orchi Stockhausen conducted, together
with Bruno Mack Michael Gielen; this was his first visit to Zagreb (afte: on electronic music at the
first MBZ1961) and his ac a strong echo. Bucan touched this intellectually cru revolutionary line of
sound by making posters for tl 1977 at the invitation of the strongly motivated, exa informed and
enlightened team of MBZ organisers, this international festival was still a productive avar
mogucnosti i probleme suvremene umjetnosti. Na plakatu za koncert Zbora sjeverno-njemackog
radija iz Hamburga s dvije praizvedbe na programu - Kelemenovim Sucima i Stockhausenovim
Disanje daje zivot/Pjevam za tebe, tipjevas za mene - Bucanovo "sada" upisano je s apsolutnom,
gotovo zaigranom neovisnoscu od narativnog potencijala dogadaja i njegova izvornog okruzja, te
oni nicim ne poticu niti opterecuju njegovu reakciju i kreaciju. Nasuprot smirenoj privlacnosti
velike svijetle povrsine nije vazno, all dozvoljeno ]e fabulirati i pitati se na sto poziva slika legije
rasterski pravilno, gotovo mehanickim ritmom rasporedenih sitnih bumbara (88), koji potpuno
ispunjaju svileno - fino sivilo pozadine; polovica

dok se drugi - izmeclu cijih reclova su tanke linije podataka o koncertu - optimisticno erne i zute u
svom prirodnom uzorku. Govore li mozda i nehoticno o disciplini zbora s aluzijom na
treba ostati pri icleji vec poznatoga glazbom kodiranog leta bumbara ciji zuj i let otvaraju kanal u
sveobuhvatni svijet i realitet zvuka u svim konkretnim i mentalnim dimenzijama, ocl praiskonskog
oma clo bombardera? No to je tek jeclan ocl cetiri Bucanova plakata kojima MBZ1977. najavljuje
prisutnost u javnom prostoru. Izborom tako istaknutih koncerata koji nose i visoko izclizu iclejni luk
festivala, zeli se poslati slozena poruka o novom svijetu, novoj nepoznatoj glazbi, sto je tema i naslov
simpozija koji je organiziran u okviru festivala kao iskaz ambicije i znak vremena.
Slijedeci usput trag Stockhausenove prisutnosti u Zagrebu, a prisjecajuci se Bucanove rane
vezanosti za Galeriju Stuclentskog centra (pa i njegovih plakata za Muzicki salon Stuclentskog
centra iz 1974./75. godine) vrijecli spomenuti izlozbu glazbene grafike iz kolekcije Erharda
Karkoschke 1974. godine. Jeclan ocl tri Stockhausenova izloska bila je prva tiskana partitura
elektronske glazbe, Studiell, (Universal Edition 1956) realizirane 1954. godine u studiju WDR-a
(Zapadno-njemackog raclija) u Kolnu. "Grafizam novoglazbenog zapisa", napisao je u katalogu
izlozbe Niksa Gligo, "niposto ne zelimo shvatiti jedino kao specialist! namijenjen sustav podataka
koji se funkcionalno iscrpljuje trenutkom njegove zvucne realizacije... Htjeli bismo eksplicitno
razotkriti nasu osnovnu namjeru cla se citav prostor izlozbe
cultural laboratory and venue, a testing-place for tr of Croatian composers to accept the new, but at
the a place for assessing the scope and authenticity of answers to the possibilities and problems of
center music. On the poster for the concert of the North G< Radio Chorus from Hamburg, which had
two world on its programme - Kelemen's Suci (Judges) and Stc Atmen gibt das Leben//Sing ich
furDich, singstDu fu, (Breathing gives life/If I sing for thee, you will sing to Bucaris "now" is inscribed

with absolute, almost pla independence from the event's narrative potential environment, which clo
not inspire or burden his re creation in any way. Faced with the tranquil attract] great pale surface it is
not important, but is permittc-fictionalise and ask oneself about the meaning of tl showing a legion
of regularly distributed tiny ladyb grid-like order and in an almost mechanical rhythn completely
cover the fine grey silk of the backgroui them seem to emerge from some imaginary shado1 has taken
away their colour, while the others - betv\ rows are thin lines of data about the concert - optin show
their natural black-and-yellow pattern. Do the even unintentionally express the discipline of a clu
allude to the orderly and functionally required con-group of players, or should one keep to the
already idea about the musically coded ladybird's flying wr buzzing and flight open a channel into
the comprel world and reality of sound in all its concrete and m< dimensions, from the primeval om
to the bomber p this is only one of Bucaris four posters which MBZ 1 announce its presence in the
public sphere. The sel such major concerts to carry and uplift the concept the festival was designed
to send a complex messaj new world, a new unknown music, which was the s the title of the
symposium organised as part of the f an expression of ambition and the sign of the times
Incidentally following the trail of Stockhausen's pre Zagreb, and remembering Bucaris early links
with ti Centre Gallery (and also his posters for the Music Si Student Centre in 1974/75), we must
mention the ex musical prints from the Erharcl Karkoschka collects
rati kao svojevrsno slozeni glazbeni znak cija je realizacija, i kakva bila, sasvim slobodno
prepustena onome koji se u n prostoru nalazi... Sljedeci radikalniji korak trebalo bi Tijeriti prema
potpunom rasterecenju prostora-preclloska bilo kakvih do sada postojecih specijalistickih
konvencija: prosto isjecak iz svijeta, ponuden za intimnu kontemplaciju bi se sto potpunije
oglazbio."
nuden za kontemplaciju je i plakat koji generalno najavljuje 5Z1977. s likom mannovski lijepog
djecaka s violinom, put lonescova stanara okruzenog stvarima koje govore o bokoj ukorijenjenosti
u XIX. stoljecu. Mirni pogled djeteta s ografije Zeljka Stojanovica kao da Sudan zaustavlja svojim
gleclom i pecati lezerno sliku neonskim rasvjetnim avima rukopisom ispisanu godinu Biennala
(77). U sredini ikata istim slovima stoji "21. stotjece" - poclsjecanje na tacla ; daleku, all nuzno
poticajnu buducnost. Tesko je uopce misliti, rekao je Boulez citirajuci Renea Chara, "kako zivjeti z
nepoznatog pred sobom."
mcerti Nonoa i Globokara, njihove umjetnicke sudbine i rakteri, te aktivno sucljelovanje u
izvedbama vlastitih djela u ;inskom i sportskoj dvorani "Zagreb", odabrani su kao mjeravajuci
znakovi torzicne povijesti u trajnom nastajanju. 3sirenjem materijalnog i clrustvenog prostora
glazbe, Mono i obokar otvaraju nove, dinamicne i u sebi antagonisticne i introverzne svjetove.
Slojevitost previranja glazbe i dogadaja ican instinktivno prepoznaje vec iz programskih icleja,
obilizirajucih naslova i opisa zgusnutih dogadanja ijraznoroclnijih vrsta glazbe i glazbenika.
Posegnuo je stoga ontanom i sirokom gestom za svojim ljudskim i umjetnickim custvoni: na
cloktrinarni humanizam, politick! all iskreni ealizam Nonoa, te na ekscesno raskosni glazbenicki

refleks ustveno angaziranog Globokara, odgovorio je clojmljivim

jrukama (crni balon transformiran u bombu ili s lisicinama i cijoj se sjajnoj povrsini odrazava "duh
koji kruzi oko svijeta" naslova Nonove kompozicije ili zajapureni policajac-itrogasac iz
Globokarovog Carrousels, izvodackog mnostva ofesionalnih i amaterskifi ansambala, all i
sofisticiranih esnika i glazbenika). Te slike gotovo automatski dozivaju eci Igora Ziclica"[...] Bucan
govori svojim jezikom. Taj jezik ne
One ol Stockhauseris three exhibits was the first printed musical score for electronic music, Studie
II (Universal Edition 1956), realised in 1954 in the WDR studio (Western-German Radio) in Cologne.
"The graphic design of the new musical notation," wrote Niksa Gligo in the exhibition catalogue, "is
not by any means to be understood only as a data system for the specialist, to be functionally
exhausted at the moment when it is realised as sound... We would like explicitly to express our basic
intention of understanding the entire exhibition space as a kind of complex musical sign whose
realisation, whatever it may be, is ceded completely freely to whoever finds himself in that space at
any moment... The next, more radical, step should be directed towards completely unburdening
the space/model of any currently existing professional conventions: it is simply a section from the
world, offered for personal contemplation so as to be set to music as comprehensively as possible."
Also offered for contemplation is the poster generally announcing MBZ1977, with the figure of a
beautiful Mann-like boy with a violin, surrounded like lonesco's tenant by things that reveal deep
roots in the 19th century. Bucan seems to halt the child's calm look, from a photograph by Zeljko
Stojanovic, with his own look and with ease marks the picture with neon light tubes showing the
hand-written year of the Biennale (77). In the centre of the poster are the words "21st century" - a
reminder of the then still distant, but necessarily stimulating future. It is difficult even to imagine,
saicl Boulez quoting Rene Char, "how to live without the unknown in front of one".
Nono's and Globokar's concerts, their artistic destinies and characters, and their active participation
in playing their own works in the Lisinski Concert Hall and the Zagreb Sports Hall, were chosen as
guiding signs for torsic history in lasting nascence. By extending the material and social sphere of
music, Mono and Globokar opened new, dynamic and internally antagonistic and controversial
worlds. Bucan instinctively recognised the many-layered turmoil in the

connected to the most diverse kinds of music and musicians. He thus reached into his human and
artistic experience with a
cine 'ikone' nego njihove strukture, mogucnost (npr.), cla se na jednom plakatu izrazi s pomocu tri
tucta stila i s jednim svojim. Til su zapamcena, cetvrti je onaj koji se pamti."

Bucanov opus koji se potvrduje i pamti kao izniman slucaj s ruba glazbe, hirovito je vijugav niz
malih cucla u cijoj pozadini mrmori govor, linijski trag energije zvuka poput crteza se utapa u

prigusenoj buci dogadaja, prica osloboclena dekorativne sumnosti stvara cuclesne privide. Kao i
glaztaa sama, radaju se iz tisine, sto ce reel i Bucan: "Sve se to clogacta spontano na nekoj iracionalnoj
razini, jer ja nisam umjetnik koji dok racli slusa glazbu. Naprotiv, dok raclim, ja se zatvaram u tisinu.
Na to
da ie
simfonicare (otprilike osam goclina) napravio tolike serije plakata da ne znam postoji li umjetnik koji
ima toliko oclgovora na pitanje sto je glazba."
Poneki je oclgovor dragojevicevska "izmisljotina" s korijenom u riznici vlastitih lucidnih povijesnoumjetnickih kombinacija, all postoje i oni koji cistom Ijepotom i koncentracijom na spontano
prepoznatu srz (najcesce samoizabrane) teme i sadrzaja otvaraju spekulativan prostor beskrajan
po upijenom mnostvu raznorodnih konstelacija zivota i duha glazbe -stvaralastva i djelovanja
hrvatskih glazbenika, upomosti onih koji je cine prisutnom i prate, zrelih ansambala s ciljem i
misijom, kao i ozbiljne institucije Muzicke proizvodnje Zagrebacke (I-Irvatske) radiotelevizije, koja
osigurava stabilnu podrsku sirokom spektru glazbenih i kulturnih icleja. Sve to cini titrajucu sferu,
koja se na plakatu za koncert Zagrebackih simfonicara Radiotelevizije Zagreb sa zagrebackom
praizveAhomKanconijerazaglasoveiinstrumentelgora Kuljerica u ozujku 1983. godine pretapa u
svjetlost plohe iza lika/likova.
Matissovski dekorativna plosnost (Maroevic) zagrljaja dirigenta i pjevacice (s cije ce se haljine
nalik na kimono lisce sanseverije prosiriti na cijeli, takoder crno-bijeli plakat za prvi i zadnji
koncert Simfonijskog orkestra na Muzickom biennalu 1985. pruzajuci utociste pticama, long-play
plocama i drugim malim stvarcicama) upucuje i na sljubljenost kreatora tonova i pjesni ljuvenih,
pa i na potpuno stapanje glazbenika i glazbe,
spontaneous and broad gesture: to Nono's doctrinaire humanism, political but sincere idealism, and
to the so engaged Globokar's excessively luxuriant musical refk-responclecl with impressive posters
that still today can frighteningly clear and up-to-date messages (the black transformed into a bomb,
or the handcuffs whose shin surface reflects "the spirit that circles the world" from tl of Nono's piece,
or the red-faced policeman/fireman frc Globokar's Carrousel, played by many professional and
amateur groups, but also by sophisticated poets and musicians). These images almost
automatically bring t the words of Igor Zidic"... Bucan speaks his own langua language is not formed
by 'icons' but by their structure: possibility (for example) of expressing himself on one ] with the help
of three styles belonging to someone else one of his own. Three have been memorised, the fourtl one
that is remembered."
Bucaris body of work, which is confirmed and rememl: an exceptional case on the fringes of music,
is a caprici winding series of small miracles with speech murmuri the background; the linear
rendering of the energy of s such as a drawing, is drowned in the suppressed noise event, the story
liberated from decorative interference apparitions of wonder. Like music itself, they are born f

silence, as Bucan himself said: "It all takes place on an ii level, because I am not an artist who works
listening to On the contrary, while I work I shut myself in silence. In answer to the question, how to
express music by art means, I say that this is a magical task and I think that I, working for the Zagreb
Symphonists (for about eight ye made so many series of posters that I do not know whe there is any
artist who has given so many answers to tl" question, what is music."
Some answers are a Dragojevic-like "fabrication"1 with r the treasury of Bucan's own lucid history-ofart combir but there are also answers whose pure beauty and concentration on the spontaneously
recognised essen (usually self-chosen) of the theme and contents open i
various constellations in the life and spirit of music - th

pi Jijtmc
IBRAHIM

>rnnc,,
Lgrebacki simlonicari i Zbor RTZ: Kanconijer Zagreb Symphony Orchestra and Zagreb fV Choir: Canzoniere
fZ muzicka proizvodnja Zagreb RTV Music Production
83

otisak/papir silkscreen/paper
'6 x 136 cm

a svime sto ga cini konkretnim i uzvisenim u sredini i enutku u kojem se zivi.

Apsolutnom sada.
:uljeric':ev sveobuhvevtni talent, posvecenost raclu s nsamblima, f estivalima i brigom za
amatersko stvaralastvo, 2 intelektualna zivost i moralna osjetljivost, predstavljaju iltnu
sabirnu tocku cjelokupne hrvatske glazbene kulture. J meni se steklo uvjerenje", kazao ]e
Kuljeric (reklo bi se u uglasju - cak vremenskom - s Bucanovim zahtjevom za
.utenticnoscu i istinitoscu), "kako glazba - cak i jednim 2dinim tonom - neminovno potice
'transcenclentiranje', ona :ao da potice otkidanje prvotne rijeci od njegove zemaljske
creativity and activities of Croatian musicians, the persistence of people who organise their
presence and follow them, mature groups with an aim and mission, and the serious
institution Music Production of Zagreb (Croatian) Radio Television, which ensures stable
support for a wide spectrum of musical and cultural ideas. All this makes a vibrating sphere
which, on the poster for a concert of the Zagreb Symphonists of Zagreb Radio Television, for
the world premiere in Zagreb of Kanconijera za glasove i instrumente (Song-Book for Voices
and Instruments) by Igor Kuljeric in March 1983, blends into the light of a surface behind the
figure/figures.
The decorative Matisse-like flatness (Maroevic) of the embrace between the conductor and
the prima donna (from whose
also black-and-white, poster for the first and the last concert of the Symphony Orchestra at the
Music Biennale 1985, offering sanctuary to birds, long-play records and other small objects)
also indicates the intimacy of the creator of music and love songs, even the complete
blending of the musician and music, with everything that makes him concrete and elevated
in the environment and moment in which life takes place. The absolute now.
Kuljeric's all-encompassing talent, dedication to work with groups, festivals and care for
amateur creativity and his intellectual verve and moral sensitivity, are an essential focal point
for the entire Croatian musical culture. "I have come to believe," saicl Kuljeric (one would say,
in harmony - even from the aspect of time - with Bucaris demand for authenticity and truth),
"that music - even of one single tone - inevitably causes transcending', it seems to incite the
detachment of the original word from its earthly gravitational force, and - which at first glance
might seem contradictory - it is less zealous in the search for meaning and shows more
passion in emphasising everything that could bring that meaning into doubt."
Pointing out the "dispersed homogeneity of the heterogeneous from which should grow new
composing", Eva Seclak clarified: "There were also attempts to replace the shaken faith in new

music by a hope in 'everyday musical activity', in a new kind of musical act, within whose
aesthetic programme critical

Poklon prijateljima: Ida Gamulin i Goran Koncar Special concert for friends: Ida Gamulin and Goran Koncar
RTZ Muzicka proizvodnja Zagreb RTV Music Production
1984
sitotisak/papir . silkscreen/paper
96 x 270 cm

sile teze, i - sto se tek na prvi poglecl moze uciniti protuslovljem - manje je revna u traganju za
smislom, a vise strasti pokazuje u isticanju i razotkrivanju svega onoga sto bi ta] isti smisao moglo
dovesti u sumnju."
Ukazujuci na "rastresitu homogenost heterogenog iz kojegbi trebalo izrasti novo skladateljstvo", Eva
Seclak precizira:
i nada u 'svakodnevno glazbeno djelovanje', u novi glazbeni cin, unutar cijeg su estetickog
programa kriticko slusanje i analiticko izvodenje neodvojive i ravnopravne sastavnice
komponiranja."
Upozoravajuci na "bogatu i posebno obiljezenu plakatnu produkciju vezanu uz glazbenu
proclukciju Zagrebackih simfoniCara i Zbora RTZ" u sezoni 83784. Maroevic istice da "Bucanovi

noviji plakati angaziraju ne samo mastu nego i ruku.

listening and analytical playing would be inseparable ai equally valuable components of
composing."
Pointing out the "rich and very striking poster productic connection with the Zagreb Symphonists
and RTZ Choi the 83/84 season, Maroevic stressed that "Bucan's newe: posters engage not only the
imagination but also the ha: they demand strength and participation, they are extric from the elbow
and shoulder (not only the hand) by res' whirling and rotating movements", providing an almost
tone, measuring and nuancing its force and hue. "It is on coincidence, of course, that the works of
direct hanclwri mostly intended for posters for musical performances, 1: its own way this still seems
significant to us," continues Maroevic, and with poetic astuteness discovers not onl} sources from
which begin these paintings connected to

htijevaju snagu i participaciju, izvuceni iz lakta i ramena ne samo iz cllana) odlucnim vrtloznim i
virovitim kretnjama", 3 je gotovo cujno-vidljiva pokretna slika pijanisticke geste /aranja tona,
odmjeravanja i nijansiranja njegove snage iboje. amoje koincidencija, naravno, da su radovi
neposrednog kopisa namijenjeni uglavnom plakatima za glazbene /edbe, pa ipak nam se na svoj

nacin cini znakovitim", istavlja Maroevic i s poetskom pronicavoscu ne nalazi samo ela ishoclnih
impulsa tih slika koje stoje uz glazbene )gada]e, nego in istodobno, suptilno i sugestivno, istinski
muzikalizira. "U potpunosti se opustila Bucanova crtacka :a, kao cla je i sama krenula za tonovima i
ritmovima u lergicnim potezima koncentricnog i spiralnog toka; epoznat cemo po zelji, trilere i
kolorature, u pokretima i avovima predstavljenih figura stavke i tempa. Tesko bi bilo, edutim,
pronaci melodijsku liniju u crtl koja opsesivno punjava plohu, a cestoje vodi upravo horror vacui.
Glazbeni akati uglavnom su horizontalni i izcluzeni, pa ih ne DZivljavamo i ne vidimo odjedanput
nego, poput glazbe,
musical events, but also subtly and suggestively truly re-musicalizes them. "Bucan's
draughtsmanship has become completely relaxed, as if it has begun to follow the tones and
rhythms; in the vigorous strokes of concentric and spiral flow we will recognise, according to our
wish, trilling and coloraturas, in the moving and posture of the figures, movements and tempos. It
would, however, be difficult to find a melodic line in the strokes that obsessively cover the surface,
often led by horror vacui. Most of the musical posters are horizontal and elongated, so we do not
experience and see them at once, but, like in music, follow their unfolding... Completely specific are
the designs for the concerts of Ramovs, Mozart, Dvorak and so on, with the continuous flickering of
large, greenish, yellow-edged leaves of the sansevieria, or for the concerto Poklon prijateljima (A Gift
for Friends) by Gamulin-Koncar, on which a great black silhouette of an open piano dominates the
middle of the field, while the edges are enlivened by also black and completely sketchily rendered
grasses and beetles."

dominant instrument whose keyboard is hidden, which like a black hole attracts and swallows
everything around it, even outside the boundaries of the poster, already contains dramatic,
invading, black masses that convert into new pianos but decompose or surpass the pure piano
form, so that the energy it disperses turns it into a diabolically powerful and dominant panther
figure, or it almost organically blends with a locomotive and rushes along the rails of the
keyboard. Bucan brings life to this simultaneously constructive and destructive liberation of the
chest of symbols, reservoir of notes and music (in which the pianist is just the agent, almost only
a witness in his immobility, sometimes a Mephistophelian controller) using the playful,
sometimes completely liberated, counterpoint of piano keys. Their black-and-white geometry may
escape as if from under Pandora's licl and gain freedom in the voluptuous forms of young racing
horses, then mellow, obtain colour and come back in a tiger's stripes that continue to touch the
pianist's hands, or like a bandolier they not only sternly encircle a black athletic body that seems
cut out of paper, but also try to discipline the many events, artists and groups with challengingly
rebellious
atimo u slijedu... A sasvim posebna su rjesenja koncerta imovs, Mozart, Dvorak, s kontinuiranim
treperenjem velikih lenkastih, zuto obrubljenih listova sanseverije, ili koncerta Mon prijateljima,
Gamulin-Koncar, gdje sredinom polja >minira golema cma silhueta otvorenog klavira, dok su bovi
ozivljeni takoder crnim 1 sasvim sumamo prikazanim jvkama i kukcima."

cmilu clo napetosti jasnog oblika tog dominirajuceg strumenta sakrivene klavijature, koji kao crna
rupa privlaci i ita sve oko sebe i izvan granica plakata, istovremeno su vec drzane i dramaticne
erne mase, koje nadiru pretapajuci se u we klavire all rastacuci ili nadrastajuci cisti klavirski oblik,
i ga tako rasprostiruca energija pretvara u dijabolicki snazan lominantan lik pantere, ili on u nekoj
gotovo organskoj aslosti s lokomotivom juri po klavijaturnim sinama. To todobno graditeljsko i
razarajuce osamostaljenje kutije mbola, rezervoara nota i glazbe (uz koje je pijanist tek Dkretac,
gotovo samo svjedok u svojo] nepomicnosti, snekacl mefistofeleskni kontrolor), Bucan ozivljava sa
ligranim, povremeno sasvim osamostaljenim Mitrapunktom tipaka. Njihov crno-bijeli
geometrizam moze maci kao ispod Pandorinog poklopca i osloboditi se u bujne Dlike mlaclih
konja u trku, zatim se ublaziti, obojiti i nastaviti tigrovim linijama koje i nadalje clodiruju ruke
pijanista, ili Dput redenika strogo obuhvacati ne samo crno atletsko tijelo 10 izrezano od papira,
nego pokusati i disciplinirati mnostvo Dgadaja, umjetnika i grupa s izazovno buntovnim imenima
Dje plakat najavljuje. No, tipke mogu bit! i njezni graditeljski lement paunovog perja (slika
trijumfalnog glasovirsko-.azbenog prozimanja prostora?), pa cak rasute slobodno tmizirati vise
magmu nego jednoliku masu klavirskog oblika ; koje uranjaju-izranjaju ljuclska i zivotinjska lica na
plakatu Djim Bucan najavljuje izlozbu svojih plakata u Galzenici 1991. lavijatura s jasnlm
antropomorihlm aluzijama pridruzuje se rugim instrumentima u plesnom pokretu, neki Eol je puse
u lavi nebeski prostor izmedu svijetlih oblaka, pijanista u gnalno zutom fraku i nacl njim uzdignute
ureclne erne tipke ao daleki cilj, povezuju all stvarno ne zblizavaju njezno jlujave biljne lijane, kao ni
topli ton boja. To se ne clogada ni na lakatu na kojem se transformacija tipaka moze naslutiti u
alisadama koje asociraju brezovu sumu, pa ni na plakatu
names which the poster announces. However, the keys can also be a gentle structural element in a
peacock's feathers (a picture of the triumphant piano/musical permeation of space?), even freely
scattered to give rhythm more to the magma than to the uniform mass of the piano shape
into/from which sink/emerge the human and animal faces on the poster Bucan designed to
announce the exhibition of his posters in Galzenica in 1991. The keyboard, with clear
anthropomorphic allusions, joins other instruments in a dance movement, Aeolus blows it into
the blue celestial space between light-coloured clouds, the pianist in a signal-yellow coloured tailcoat under ticly black keys like a distant target, are all connected but not really brought closer by
the gently unduMing climbing plants or by the warm-toned colours. Nor does this happen on the
poster on which the palisades that associate a birch forest can be seen as a transformation of
piano keys, or even on the posters showing manifold junctions, indications of a terrace of houses,
and built-in red slabs between multiplied piano lids with a yellow shadow-like mask on the pianist's
reel face above whom a stag, as a sign (omen of luck or elevated absence?), suggests, like a unicorn,
a view from other ages of the space. Perhaps also not in the grey-black situation in which a small
piano, definitely alone, remains on the low horizon like on a defence line, between a
tornado (of rising musical currents ?) and the pressure of heavy, stratified cloud masses through
which the storm is penetrating.

Almost enigmatically, in this chain of piano keyboards he can shape, in an undefined grey space
which is nevertheless inhabited by tiny events, a ladder with a woman sitting in front of it (the figure
of a contemplating interpreter?); a pianist who is sooner broken than bowing on some virtual stage,
who remains separated from the instrument both in direction and movement, and is accompanied
by a zebra beside the black body of the piano which seems to have completely grown out of the
black-and-white keyboard. Even a pianist's elegant sound-swollen hands, ready to strike the keys, are
in this world just an indication of the potentials of piano playing and are only the shaded cores of
the music which begins here, but which is in fact somewhere else.
visestrukih raskrsca, naznake stambenog niza i ugraclenih crvenih ploha izmedu multipliciranih
poklopaca klavira i sa zutom niaskom nalik sjenama na crvenom lieu pijanista iznacl kojeg jelen
kao znak (omen srece ill uzvisene odsutnosti?) poputjednoroga sugerira pogled iz clrugih doba
prostora. Mozda i na sivo-crnu situaciju u kojoj mail klavir, definitivno sam, ostaje na niskom
obzorju, kao na nekombraniku, izmedu kucice i povijenih elegantnih stabala odolijevajuci
neuznemireno olujnoj pijavici (glazbenog strujanja koje se poclize?) i pritisku teskih, slojevitih
oblacnih masa kroz koje se ona probija.
Gotovo enigmatski, u torn klavirskom lancu klavijatura moze u nedeflnirano sivom, all ipak sitnim
dogadajima napucenom prostoru, oblikovati Ijestve precl kojima sjecli zena (lik zamisljenog
interpreta?), a pijanist, vise prelomljen nego u naklonu na nekoj virtualnoj sceni, sa zebrom koja
kao da je u punini izrasla iz crno-bijelog klavijaturnog reda uz crni trup klavira, ostaje smjerom i
pokretom odvojen ocl instrumenta. Cak i elegantne, zvukom nabubrile ruke pijanista spremne na
udar, u torn su svijetu samo naznaka potencijala pijanistickog igranja i tek su osjencane jezgre
glazbe koja tu zapocinje, all je zapravo negdje drugdje.
Opsesivnu moc tog clivnog i kobnog instrumenta, koja se dijelom temelji na njegovu
svezamjenskom kapacitetu, prilagodljivosti i sintetizirajucoj sposobnosti, a kojem - uz nialo
izabranih koji brzo prerastaju u legencle, cak mitove - pijanisti cesce sluze nego sto s njim
muzicirajuci gospodare, Silvio Foretic s povijesnim znanjem, skladateljskim i interpretativnirn
iskustvom analizira, diskutira i rekreira u svojoj skladbi "Za klavir?" -parlata quasi una sonata za
klavir, scensku akciju, magnetofonsku vrpcu i dijaprojekcije. Hrvatsku verziju svog najstarijeg
glazbeno-scenskog djela izveo je autor u ozujku 1976. godine u Muzickom salonu Stuclentskog
centra, a original na njemackom jeziku praizveden je u Dusseldorfu 1971. godine. Zagrebacka
izvedba je snimljena za glazbeni program Televizije Zagreb i prikazana je na Muzickom biennalu
1977. u pratecem programu "Nova glazba i slika" zajedno sa snimkom skladbe Stanka Horvata
Traumerei, koja je intimno romanticna posveta klaviru, a koju je izveo Vladimir Krpan (reziser
Nenacl Puhovskl, urednica Seacleta Midzic).
Using his knowledge of history and experience in comp< and interpretation, Silvio Foretic analysed,
discussed an recreated the obsessive power of this wonderful and fat< instrument, which rests partly
on its capacity to replace, adaptability ancl synthesising ability, and which - except small number of
the chosen who quickly grow into legei even myths - is more often served by pianists than mast by

them, in his composition "Za klavir?"-parlata quasi un, sonata za klavir, scensku akciju,
magnetofonsku vrpcu i dijaprojekcije ("For the Piano?"- parlata quasi una sonata /< piano, stage action,
tape and slides'). The composer playec Croatian version of his oldest musical-stage work in Man 1976
in the Music Salon of the Student Centre, and the or in German had its world premiere in Dusselclorf
in 19711 Zagreb performance was taped for the musical program: Zagreb Television ancl shown at
the Music Biennale 1977 accompanying programme "New Music ancl Image", toge with a recording
of Stanko Horvat's composition Traurne which is an intimate-romantic dedication to the piano, ai
which was played by Vladimir Krpan (director Nenacl Puhovski, editor Seacleta Midzic).
German critics called this piano theatre a satirical attack contemporary musical life, but Foretic, the
author of the for the text which he treated as equal to the music, const a deeper dramatic clash. It
"grows out of the triangle com interpreter and instrument," wrote Mirta Spoljaric, emphasising that
"the piano is an axis of symmetry that 1 together all that is taking place... and in its passive way res
both the composer and the interpreter" - this is, in any cas< announced at the beginning of the work:
"My name is Piano, Fortepiano or Pianoforte, with us SOUK called Glasovir, but even more often - after
the German - R which comes from the word Oaves, that is to say, keys... Pe> gained success and glory
through me, a lot was written for and about me; I was sold, leased ancl auctioned."
Ancl whether in a painting or drawing, when the piano wa; and shown as a symbol or indication of
music itself, it was as a boundary surface in the realm of dreams ancl fantasy deconstructed ancl
scattered and the separate elements u
amacka kritika je taj klavirski teatar ocijenila kao satiricni pacl na suvremeni glazbeni zivot, all
Foretic, autor ideje <sta kojeg tretira kao ravnopravni glazbeni sloj, konstruira iblji dramski
sukob. On "izrasta iz trokuta skladatel], :erpret i instrument", pise Mirta Spoljaric, naglasavajuci da
'glasovir os simetrije ko]i clrzi sva clogadanja na okupu... te na svoj pasivni nacin odupire i
skladatelju i interpretu" -D uostalom najavljuje i pocetak djela:
ne mi je Piano, Fortepiano ill Pianoforte, u nas katkad me vu Glasovir, no jos cesce - prema
njemackom - Klavir, sto >lazi od rijeci Claves, a to ce reel tipke... Kroz mene do pjeha i slave se
stizalo, za mene i o meni se masovno pisalo; odavalo me se, iznajmljivalo i licitiralo."
likalo, crtalo, dozivljavajuci i predstavljajuci klavir kao znak trag glazbe same, upotrebljavalo ga se
kao razgranicavajucu ohu u prostoru snova i fantazija, dekonstruiralo i rasprsivalo i bi se tako
nastalim i izdvojenim elementima neki prostor nljezio ill oduhovio simbolima glazbe. O tome
govori i radesetak Bucanovih plakata kojima je klavir os i okosnica akata, koji su nastajali u raznim
razclobljima i za razlicite )gadaje, pa bi se moglo po vremenskoj transverzali pratiti .mostalni put
linije zivota i sudbine glazbe, koja kao da se wremeno izdvaja iz svoje osnovne struje clodirujuci
boju, ohu, liniju, te mastovitu, sretno samouvjerenu, all i irezljivu krivulju prepleta likovne misli i
intelektualnog ava Borisa Bucana.

a horizontu zbivanja u torn cudesnom vrtu nemoguce je ne jjetiti, isto toliko koliko i vidjeti, seriju
posljednjih crteza itila KleeaEidola, iz 1940. gocline, uglavnom s likovima ivsih glazbenika", a
posebno "bivsu pijanisticu", i vrijedi se
demark a space or spiritualise it with symbols of music. This is seen on Bucaris twenty-or-so posters
on which the piano forms the axis and backbone, which were made at various times and for various
events, so one could use the transversal of time to follow the independent line of the life and fete of
music, which seems sometimes to depart from its basic flow and touches colour, surface, line and the
imaginative, happily self-confident but also generous curve emerging from the interplay of the artistic
thought and intellectual views of Boris Bucan.
On the horizon of the happenings in this marvellous garden it is impossible not to feel and equally to
see Paul Klee's last drawings from the Eidola series, from 1940, mostly showing the figures of "former
musicians", and especially that of the "former lady piano player", and one should remember his poem
from 1909:
Ich kenne wohl /1 know well
die Aolsharfen-artige Weise, / songs resembling Aeolian harps,
nach innen zu erklingen. / that resound within.
Ich kenne wohl clas Ethos, /1 know well the ethos, welches dieser Sphare eignet. / appropriate
to that sphere.
Ich kenne ebenso gut /1 know just as well
die pathetische Gegend der Musik / the lofty area of music,
bildnerische Analoga aus. / visual analogies for it.
Das Schwere 1st claran nur, / The only difficulty is Entwicklungen, die schon vorbei, / to
catch up with nachzuholen, / developments already past, aber "es muss"! / but, "one must"!

h kenne wohl / Dobro poznajem

ie Aolsharfen-artige Weise, / napjeve eolskim harfama nalik,
ach innen zu erklingen. / sto odjekuju unutra.
:h kenne wohl das Ethos, / Poznajem dobro etos, elches dieser Sphare eignet. / koji je toj sferi
primjeren.
1

Dragojevic, Danijel, Izmisljotine (Fabrications), book of essays, Naprijed, Zagreb 1976.

References:
Karlheinz Stockhausen, "Momentform", in Texte zur elektronischen und
instrumentalen Musik, vol. I, Dumont Dokumente, Koln 1963, p. 199.

Ich kenne ebenso gut / Poznajem takoder clobro die pathetische Gegencl cler Musik / pateticno
podrucje glazbe und denke mich leicht dazu / i lako si izmislit uz to mogu bildnerische Analoga aus.
/ slikovne analogije.
Das Schwere ist claran nur, / U torn je tesko samo, Entwicklungen, die schon vorbei, / razvoje,
vec prosle, nachzuholen, / nadoknaditi, aber "es muss"! / all "mora se"!

Literatura:

Karlheinz Stockhausen, "Momentform", u Texte zur elektronischen und tnstrumentalen Musik, sv I, Dumont Dokumente, Koln
1963, str. 199. Paul Klee, "Graphik", u Helga de la Motte Faber, Musik und bildendeKunst von cler Tonmalerei zur Klangskulptur,
Laaber-Verlag 1990, str. 185. Pierre Boulez, Le pays fertile, Gallimarcl, Pariz 1989, str. 8. Niksa Gligo, katalog izlozbe
GlazbenagrafikaErhardaKarkoschke, Galerija Studentskog Centra, Zagreb 1974.
Tonko Mamevic, Bucan plakati/posters (1967-1984), Nacionalna i sveucilisna biblioteka, Zagreb 1984, str. 70/71.

Igor Ziclic, "Sjecanje i suvremenost" u Granica i obostrano, Art studio Azinovic, Zagreb 1996, str. 562.
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