predrag

todorovi
aladinov duh
15. 3. 19. 4. 2014.

aladinov duh
predraga todorovia
antun marai
Izloba Predraga Todorovia u Galeriji Forum sastoji se od dva strukturalna elementa, odnosno od etiri izloka: tri crtea/slike na pocinanom limu i velikog objekta
nastalog na licu mjesta, zmijolike forme
varirajue debljine, koja bogato meandrirajui prizemljem i katom ini markantnu
dominantu unutar galerijskog prostora.
Iako u konanom izgledu i dojmu izlobe
prikljueni dvodimenzionalni izloci nesumnjivo korespondiraju kao suvisli vizualni sastavni dio, inei organski i komplementarno nadopunjujuu komponentu
decentno rijeenog ambijenta, oni slue i
kao predmeti za mogunost uvida u porijeklo velike sredinje skulpture/instalacije,
kao neka vrsta didaktikog materijala. Naime, objekt koji kruei prelazi iz prizemlja
na kat galerije i obrnuto, debljajui prema
sredini i tanjei se poput zmije prema svojim krajevima, trodimenzionalni je prijevod
spomenutih plonih izloaka.
Nakon ranih radova od kraja 1980-ih nadalje (1990. Todorovi zavrava studij Likovnih umjetnosti na Pedagokom fakultetu u Rijeci) bliskih (neo)informelnom

slikarstvu, u kojima njeguje materinost

boje uz upotrebu neslikarskih materijala, pri emu, barem u naznaci, iskorauje
i u treu dimenziju - koristi gips, icu, staklo, inkorporira razliite sitnije predmete umjetnik pribjegava i atipinim izletima u
narativne, ma koliko minimalne instalacije. Izvodi ih u poliesteru, staklu, olovu i ready-made materijalima, ponekad uz upotrebu zvuka, a potom i ironino tretiranu
amblemsku ikonografiju suvremenog industrijskog i politikog okruja.
Ipak, bez obzira to ti razliiti, naizgled inkopatibilni, katkad primijenjenoumjetniki pristupi u njegovu radu i sinkrono egzistiraju, Todorovi se izgleda prvenstveno
problemski ukotvio u produkciji svojih gustih mazo-mantrikih crtea izvedenih na
razliitim podlogama u razliitim materijalima (ugljen, flomasteri-markeri, akrilik...).
Rije je o sustavnim, dugotrajnim, sitnim
potezima izvedenim crteima, o rojevima
krunih, valovitih, spiralnih poteza-zareza,
o vrtlonim nakupinama koje izviru iz razliitih toaka povrine, meusobno se zavrno proimajui u zasienom tkanju plohe papira, perploe, daske...
3

Posljednjih godina Todorovi koristi metalne povrine koje prekriva tuem, a potom otrim predmetima urezuje navedeni
tip crtea. Te guste crtake ispune cjelokupnih podloga nastaju upornim radom,
pri emu, ini se, izostaje preliminarni plan
konanog izgleda, koji se formira spontano automatistiki kao posljedica mentalnog stanja u vremenu djelovanja, stanja emocija i smjerova misli koje se preko
crtea specifinim ritmom reflektiraju na
povrini. Takvu aktivnost istodobno bismo mogli atribuirati kao svojevrsni vid
tenje neutilitarnom, utopijskom djelovanju, kao prijepis vlastitog vremena, kao
oblik terapije ili pokuaja panine potvrde vlastite prisutnosti u svijetu, kao nain
molitve-iskupljenja ili kao medijski karakteristinu praksu mantre kojom se tei inducirati vlastita duhovna esencija, odnosno bie tako nastalog produkta.
Dakako, formalno gledajui, u ovim Todorovievim radovima moemo evocirati i oblike primarnog, elementarnog slikarstva iz sedamdesetih godina. No za razliku
od suhih temeljnih zahvata koji analiziraju
samu podlogu, materijal i proces nastanka

slike, kod ovog autora evidentan je naglasak na drai pa i dekorativnom uinku materijala, kao to je i primisao na predstavljake, izvanmedijske sadraje (ma koliko
u vrlo stiliziranom obliku) takoer paralelno prisutna. Autor je, primjerice, analogiju teksturi i ritmu svojih crtea pronaao
u gustim i ljeskavim formacijama jata riba
koje se u munjevitim, udesno sinkroniziranim skupnim pokretima, nepredvidivom
dinamikom i promjenama smjerova gibaju, krue i vrtloe ispod povrine mora. Istina, iako je autor nerijetko i eksplicite slikao motiv riba, snimao ih videokamerom
ili tek na razliite naine aludirao na njihove forme, njegovi radovi su daleko od trivijalne ilustracije te bioloke vrste i ive skupne prirodne pojave. Naime, ovdje je rije
vie o prepoznavanju i komparaciji, o vizualizaciji podudarnih struktura i dinamike apstraktnih kategorija poput ritma emocija ili misli.

prostornoj adiciji i trikotai, autorov crte

oprostoriti, uiniti skulpturom, a istodobno rezultirati novom dimenzijom asocijativnosti. Osim jatu riba, koje sad promie
zranom upljinom galerije, umjetnik je u
novoj, prostornoj formi pronaao i mogunost prispodobe eterinog fluida, duhovne supstance odnosno, doslovce, duha Aladinovog duha iz davne orijentalne prie.
Rijeima samog autora:

Te se apstraktne kategorije inkarniraju u

razliitim materijalima koje Todorovi posebnom senzibilnou bogato varira, inducirajui u svakom sredstvu i podlozi razliiti uinak i vibraciju. Rad na limovima
primjerice, shodno prirodi materijala, ukljuuje u konanici i iluziju tree dimenzije, svojevrsne op-art uinke koji se izmjenjuju poloajem promatraa u odnosu na
izloak, odnosno djelovanjem i promjenama svjetla. Ta iluzija prostornosti odnosno dinamizam promjene statinog crtea potakla je umjetnika da, doslovce, svoj
crte pretoi u treu dimenziju. Tako je,
kao adekvat, pandan liniji odnosno zarezu na plohi, pronaao ready-made predmet, plastinu slamku koja e u svojoj

Ova difuzna galerijska instalacija, ma koliko markantno okupirala prostor, ukljuuje dakle i ideju blokiranog energetskog
naboja, supstance koja tek iekuje svoju kreativnu akciju realizacije ina-elje. Naime, iako djeluje kao osloboena i
prostorno izdano razvedena forma, prema autorovom tumaenju, unutranjost
galerije postaje metafora boce s duhom,
oklopa bia koji onemoguuje oplodnju
zarobljene duhovnosti. Time se dodatno
komprimira, odnosno obogauje znaenje prezentiranog oblika, koji istodobno
drastino manifestira i razvija svoju protenost te, paradoksalno, trpi osporenost
razmahivanja svog potencijala.

Unutarnji prostor galerije doivljavam kao

svoj unutarnji prostor (unutar grudnog
koa ili unutar svijesti, ili unutar i blizu nekog mogcentra), kojeg jo uvijek dovoljno,
i iznova, ne poznajem.
Doivljaj Bia koje unutra hui meu zidovima, i koje se ovdje materijaliziralo pomou srebrno-sivih slamica, u stalnoj je
metamorfozi od Svemonog (Aladinovog)
Duha do zarobljenog, sputanog Duha, koji
kao da se ne moe probiti na svjetlo dana.

No ako zanemarimo spomenutu sugestiju metaforikog znaaja sredinjeg eksponata, u izlobenom smislu Todoroviev
nastup jedan je od onih koji naglaavaju prostornu injenicu izlagakog mjesta,
nadilazei tako tradicionalni odnos prema
galeriji kao kontejneru za artefakte koji su
izvan relacije s neposrednim kontekstom.
Njegova izloba poprima tako znaaj jedne u nizu kreativnih programskih inaica
koje doprinose dobrodolom naglaavanju i osvjetenju prostora, odnosno svih
karakteristika i posebnosti same Galerije
kao medija prezentacije ive suvremene
umjetnosti.

Aladinov duh, 2014., skulptura-instalacija; postav izlobe |

Aladdins Genie, 2014, sculptural installation; exhibition layout
4

the aladdins genie

of predrag todorovi
antun marai
The Predrag Todorovi exhibition in the
Forum Gallery comprises two structural
elements and four exhibits: three drawings/paintings on galvanized metal sheeting and a large object created on the spot,
a serpentine form of varying thicknesses that in its lavish meanders around the
ground floor and the upstairs makes a
strikingly dominant feature within the gallery space.
Although in the ultimate appearance and
impression of the exhibition the two-dimensional exhibits involved undoubtedly correspond as a coherent visual component part, constituting an organic and
complementarily supplementary component of a befittingly handled environment, they also serve as objects allowing
an insight into the origin of the large central sculpture/installation, didactic material, as it were. For the object that circling
around moves from ground floor to first
floor and back again, thickening in the
centre and attenuating like a snake at its
ends is a three dimensional translation of
the flat exhibits mentioned above.

Aladinov duh, 2014., skulptura-instalacija (detalj) |

Aladdins Genie, 2014, sculptural installation (detail)

After Todorovis early works from the end

of the 1980s onwards (in 1990 he graduated from the fine arts course at the Education Faculty in Rijeka), close to neo-Art
Informel painting, in which he cultivated
the materiality of painting along with the
use of non-painterly materials, employing
plaster, wire, glass and incorporating various small-scale objects and adumbrating
at least a move into the third dimension,
the artist later resorted to atypical excursions into narrative installations, however
minimal, done in polyester, glass, lead and
ready-made materials with the occasional
use of sound, then to an ironically treated
emblematic iconography of the contemporary industrial and political setting.
Still, irrespective of synchronous existence of these different and apparently incompatible approaches, sometimes
even coming into the realm of applied art,
Todorovi seems primarily have to settled problem-wise in the production of
his dense maso-mantric drawings done
on various supports in diverse materials
(charcoal, marker pen, acrylic...). Here
7

there are systematic, long-lasting, drawings made in little strokes, swarms of circular and undulating, spiral strokes-scorings, spiral agglomerations that well out of
the different points of the surface, interfusing at the end in a saturated weave of
the surface of the paper, plywood or panel.
In recent years Todorovi has used metal surfaces he covers with ink, into which
with sharp objects he then inscribes the
type of drawing mentioned. These crowded drawn fills of whole surfaces are created with persevering labour, in which, it
seems, there is no preliminary plan for the
final appearance, which is formed spontaneously and automatically, as a consequence of his mental state at the time of
the work, the state of his emotions and directions of thought that are reflected on
the surface in a specific rhythm by the
drawing. We might describe this kind of
activity at the same time as a kind of form
of aspiration to an non-utilitarian utopian
action, a transcript of his own time, a form
of therapy or an attempt at a panicky confirmation of his own presence in the world;

Polje, 1. - 20. kolovoza, 2013. pocinani lim, crni tu, grebano grafikom iglom |

Aladinov duh, 2014., skulptura-instalacija; postav izlobe |

Field, August 1-20, 2013, galvanised sheet metal, black ink, scratched with a with a dry point needle

Aladdins Genie, 2014, sculptural installation; exhibition layout

a manner of redemptive prayer or a media-wise characteristic practice of a mantra with which the aspiration is to induce
his own spiritual essence, the being of a
product so created.
Of course, looked at formally, we might
find that these works of Todorovi evoke
the forms of primary, elementary painting
of the seventies; but unlike those dry, fundamental operations that analyse just the
support, the material and the process of
creation of a painting, in this artist there is
a clear emphasis on the charms and the
decorative effect of the material, as there
is a subdued consideration of the representative, extra-media content (if in very
stylised form) also present in parallel. The
artist has, for example, found an analogy to the texture and rhythm of his drawings in the dense shimmery formations of
a shoal of fish that in lightning-fast, amazingly synchronised collective movements,
with unpredictable dynamics and changes of direction shift, circle and spiral below
the surface of the sea. Indeed, although
the author has sometimes explicitly painted fish motifs, shot them with video camera and alluded to their forms in various
ways, his works are far from being a trivial illustration of the species and live collective natural phenomenon. This is more
about recognition and comparison, the
visualisation of correlated structures and
the dynamics of abstract categories like
the rhythm of emotions or thoughts.
These abstract categories are incarnated
in the diverse materials that, with his special sensitivity, Todorovi richly varies, in-

ducing in each means and support a different effect and vibration. His work on sheet
metal, for example, according to the nature of the material, includes ultimately
an illusion of the third dimension, a kind
of Op Art effect, changing with the position of the observer vis--vis the exhibit, or
the effects and changes of the light. This
illusion of spatiality or the dynamism of
change of a static drawing prompted the
artist literally to transmit his drawing into
the third dimension. And so, as an equivalent, a match to the line or the score on the
surface, he found a ready-made object,
a plastic straw that in his spatial addition
and knitting will be spatialised by the authors drawing, made into sculpture, and
at the same time result in a new associative dimension. Apart from the shoal of fish
that now slip through the air cavity of the
gallery, the artist in the new, spatial form
has found the possibility of a parallelism
for the ethereal fluid, of the spiritual substance or literally of the spirit the spirit or
genie of Aladdin from the ancient oriental tale. In the words of the author himself:
I experience the inner space of the gallery
like my own inner space (within the ribcage
or within the consciousness, or inside and
close to some centre of mine), which I still,
once again, do not know well enough.
Experience of the Being that roars and
rushes among the walls inside (and that
here has been materialised with the help
of the silver-grey straws), is in constant
metamorphosis, from the Omnipotent Genie of Aladdin to the captured, trammelled
Spirit that cannot seem to be able to break
through to the light of day.
This diffused gallery installation, howev-

10

er dramatically it has occupied the space,

includes, then, the idea of a blocked energy charge, a substance that is still in
waiting for its creative action in the implementation of the deed and the desire. Although it appears to be a liberated and
a spatially thoroughly intricate form, according to the authors interpretation, the
interior of the gallery has become a metaphor for the lamp or bottle with the genie,
the hardened carapace of the being that
makes impossible the fecundation of the
imprisoned spirituality. This additionally
compresses, or enriches, the signification
of the form presented, which at the same
time drastically manifests and develops its
extension and, paradoxically, has to suffer the deceleration of the flourishing of its
own potential. But if we ignore the suggestion mentioned of the metaphorical significance of the central exhibit, in an exhibition sense, Todorovis appearance is one
of those that aim to bring out the spatial
fact of the venue, surmounting the traditional attitude to gallery as container of artefacts that are devoid of any relationship
with the immediate context.
His exhibition thus takes on the meaning
of one of a number of creative programme
versions that contribute to a welcome emphasis on and understanding of the space,
that is, of all the characteristics and special features of the Gallery itself as a medium for the presentation of living contemporary art.

Aladinov duh, 2014., skulptura-instalacija; postav izlobe |

Aladdins Genie, 2014, sculptural installation; exhibition layout

11

biografija

al prizes and commendations. His works are kept in numerous private collections at home and abroad, in the

Rijeka, Muzej moderne i suvremene umjetnosti , Mali

salon, Magnetinost crtanja (White Noise)

Predrag Todorovi je roen 1966. u Drvaru. Diplomirao

holdings of the Museum of Modern and Contempo-

Rijeka, Galerija HDLUR-a Juraj Klovi

je Likovne umjetnosti, izborni kolegij slikarstvo, na Pe-

rary Art in Rijeka, in graphic collections of the the Mu-

Labin, Gradska galerija Labin, crtei

dagokom fakultetu u Rijeci 1990. godine (prof. Kseni-

seum of Contemporary Art in Zagreb and the National

Zagreb, galerija Ramasutra, crtei

ja Mogin). U kustoskim selekcijama iz zemlje i inozem-

and University Library in Zagreb. He is a member of the

2005.

Croatian Association of Independent Artists.

Dubrovnik, Lazareti, Galerija Otok, crtei

stva radovi su mu predstavljali suvremenu hrvatsku

Rijeka, Palach, Galerija OK, Devedesete

likovnu scenu u Italiji, Njemakoj, Finskoj, Egiptu, Maarskoj i Makedoniji. Od 2000. do 2006. godine radio je

kontakt | contact

2003.

kao profesor u koli za primijenjenu umjetnost u Rijeci.

tel: +385 (0)95 910 99 63

Labin, Galerija Downtown, crtei

Volontirao je kao predsjednik HDLU-a Rijeka 2003. i

e-mail: srijeda@gmail.com

Rijeka, MMC Palach, Galerija OK, Crni ciklus (asfal-

2004. godine. Kao vii umjetniki suradnik predavao je

www: predragtodorovic.com

ti, crtei)
Rijeka, HKD na Suaku, ambijentalna instalacija Slu-

slikarstvo na Akademiji primijenjenih umjetnosti u Rijeci 2009. i 2010. Od 2006. g. ivi i radi u Zagrebu. Do

samostalne izlobe (izbor) |

ajni posjetitelji (instalacija ponovljena u Modernoj ga-

sad je izlagao na 36 samostalnih izlobi te na brojnim

individual exhibitions (selection)

leriji u sklopu tribine o kulturnoj strategiji Rijeke, Jav-

skupnim, iriranim i selektiranim izlobama u Hrvatskoj

ni prostori u kulturi)

i inozemstvu. Dobitnik je nekoliko nagrada i priznanja.

2014.

2000.

Radovi mu se nalaze u brojnim privatnim zbirkama u

Zagreb, Galerija Forum, Aladinov duh

Rijeka, Art klub Gal, ambijentalna instalacija, Poljubac

zemlji i inozemstvu, u fundusu Muzeja moderne i suvre-

2013.

1998.

mene umjetnostiu Rijeci te u grafikim zbirkama Mu-

Koprivnica, Muzej Grada Koprivnice - Galerija Kopriv-

Rijeka, Galerija Gal - gabucin, 100 DEM

zeja suvremene umjetnosti Zagreb i Nacionalne i sveuiline knjinice u Zagrebu. lan je Hrvatske zajednice
samostalnih umjetnika.

biography

Rijeka, Galerija Juraj Klovi, Veliko u malom, s Marja-

nica, Polje - Matrica

Rovinj, Zaviajni muzej grada Rovinja, Galerija Sv.

nom Blainom i Damirom Boiem Pitom

1997.

Toma, Polje - Matrica

Rijeka, MMSU, Polje - Matrica

Rijeka, Palach-Galerija Kruna, ambijentalna instalacija

2012.

Neuss (Njemaka) Stadtbibliothek, s Majom Franko-

Zagreb, Galerija GRETA, Dvadeset dana ili oslukiva-

vi i Melitom S. Stanii
Rijeka, Galerija Filodrammatica, Prolazne metamor-

Predrag Todorovi was born in 1966 in Drvar. He took

nje neobjavljenog

his BFA, painting major, at the Education Faculty in

2011.

foze (mogu se pretvoriti u bilo to kad god to poelim)

Rijeka in 1990 (class of Ksenija Mogin). In curatorial

Rab, Galerija Kneev dvor, Emanacije crteom

1996.

selections from at home and abroad, his works have

Pula, MMC Luka, galerija ANEX, Nakupine

Split, Muzejski prostor, s M. Sorola-Stanii i aninom

represented contemporary Croatian art scene in Ita-

2010.

ly, Germany, Finland, Egypt, Hungary and Macedonia.

Budimpeta, Galerija maarskog nacionalnog teatra

From 2000 to 2006 he taught at the Applied Art School

in Rijeka. He was volunteer president of the Croatian

Boiem
Zagreb, Galerija proirenih medija, crtei
Rijeka, Otvoreni krug, (ex kavana Sarajevo), projekt s

Zikkurat, Sedam postaja (Seven Stations)

Zagreb, Galerija Matice Hrvatske, ambijentalna insta-

Ervinom Jahiem, Galaktika Baba Roga

Artists Association (HDLU) in Rijeka in 2003 and 2004.

lacija Mir / Nemir

1995.

Then, with the grade of senior art associate he taught

2009.

Rijeka, stubite Moderne galerije, Krug

painting at the academy of Applied Art in Rijeka in 2009

Zagreb, Galerija Canvas, crtei i grafika mapa Spek-

Rijeka, Galerija Juraj Klovi, Jutro

and 2010. Since 2006 he has lived and worked in Za-

tar / Specter

1994.
Rim, DDT CLUB

Aladinov duh, 2014., izloba, pogled s ulice |

greb. To date he has shown his work at 36 individual

2008.

Aladdins Genie, 2014, exhibition, view from the street

exhibitions and at numerous collective, juried and se-

Zagreb, Galerija Kontura, Pet slika iz Gorskog Kotara

1993.

lected shows at home and abroad. He has won sever-

2006.

Rijeka, Mali salon

12

13

skupne izlobe (izbor) |

collective exhibition (selection)
2013.
Be, Galerie Michaela Stock, SILENT WORK
Rovinj, Zaviajni muzej grada Rovinja, Likovna kolonija Rovinj 2013.
Zagreb, MSU, NAGRADA@MSU.HR
2012.
Pula, Tu smo
Zagreb, HDLU, 6. hrvatski trijenale grafike, Iluzija u um-

1996. New York, The Pollock-Krasner Foundation -

Galerija Forum, Teslina 16, Zagreb

tisak | printing

Zagreb, 25. Salon mladih

Grant, financial fund (1996. - 1997.)

tel. 01 4810 710

Intergrafika, Zagreb

1997.

1994. Piran, XXIX International Ex tempore - Grand Prix

gf@kic.hr

kacijski kod slike

Novigrad, Galerija Rigo, s Jasnom ikanja, Melitom S.

Tiskano u Hrvatskoj, 2014. |

izloeni radovi

Stanii i Larom Badurinom

Stanii i Larom Badurinom
Rijeka, Mala galerija - Trsat, s J. ikanja, Melitom S.
Stanii i Damirom B. Pitom
Torino, paviljoni Cavallerizze, Biennale mladih stvara-

Printed in Croatia, 2014

izdava | publisher

Rovinj, Zaviajni muzej, s Jasnom ikanja, Melitom S.

Polje, srpanj i kolovoz, 2012., pocinani lim, crni tu,

Kulturno informativni centar

naklada | edition

grebano grafikom iglom, 100 x 200 cm

Preradovieva 5, Zagreb

150

Polje, 1. - 20. kolovoza, 2013., pocinani lim, crni tu,

tel. 01 4810 714

grebano grafikom iglom, 80 x 100 cm

www.kic.hr

Polje, veljaa, 2014., pocinani lim, crni tu, grebano

laca Europe i Mediterana

__________

za izdavaa | for the publisher

jetnosti

Split, Dioklecijanovi podrumi, Vedri rijeki duh

grafikom iglom, 60 x 80 cm

2011.

Kairo, galerija Ekhnaton, 9. Nacionalni salon mladih

Aladinov duh, skulptura-instalacija u prostoru Galerije,

Goran Matovi

izlobu omoguili | the exhibition

Kumanovo (Narodni muzej), Skoplje, Bitola, Strumi-

1996.

plastine slamke, termoljepilo, ribarski najlon, udice

v.d. ravnatelja KIC-a

has been made possible by

exhibits

urednik | editor

ca, Balkanski crte

Piran, Obalne galerije, XXXI Mednarodni Ex tempore

2008.

1995.

Pula, Tu smo, izloba za MSU Istre

Osijek, Izlobena dvorana Waldinger, Suvremeni rije-

2007.

Gradski ured za obrazovanje, kulturu i port, Zagreb |

Antun Marai
Field, July and August, 2012, galvanised sheet me-

ki umjetnici

Zagreb, 42. Zagrebaki salon

Zagreb, Galerija Arterija, Suvremeni rijeki umjetnici

tal, black ink, scratched with a dry point needle, 100

predgovor | preface

2006.

Rijeka, Moderna galerija, Biennale mladih - Umjetnici

x 200 cm

Antun Marai

Sarajevo, Izloba lanova HDLU-a Rijeka

Rijeka, Galerija Kortil, Igra, koncepcijska izloba Kritiar bira
Rovinj, Zaviajni muzej grada Rovinja, Likovna kolonija Rovinj 2006
2005.
Rijeka/akovec Galerija Kortil, Sublimno-neprikazi-

Field, August, February, 2014, galvanised sheet me-

europskog Mediterana
1994.

tal, black ink, scratched with a with a dry point needle,

lektura | proof reading

Piran, Obalne galerije, XIX Meunarodni Ex tempore

60 x 80 cm

Sinia Labrovi

1993.

Field, August 1-20, 2013, galvanised sheet metal,

Zagreb, Umjetniki paviljon, 14. zagrebaka izloba

crtea
Split, Umjetniki salon, III. salon sakralne umjetnosti

black ink, scratched with a with a dry point needle,

prijevod | translation

80 x 100 cm

Graham McMaster

Aladdins Genie, sculptural installation in the space of

vo-ekstatino

Piran, Obalne galerije, XXVIII. Meunarodni Ex tempore

the Gallery, plastic drinking straws, thermal adhesive,

postav izlobe | exhibition set up

2002.

1992.

fishing line, hooks

Predrag Todorovi

Russi-(Ravenna), Museo dell Arredo Contemporaneo,

Zagreb, Gliptoteka, 23. Salon mladih

tehniki postav | technical set up

Appunti sull arte contemporanea Croata 2001.

Rijeka, Moderna galerija, 15. meunarodna izloba crtea
Rijeka, Mali salon, Crte nasuprot metodi

pohvale i nagrade (izbor) |

Vanja Babi

commendations & prizes

(selection)

fotografije | photographs
Tomislav Turkovi

2000.
2013. Rovinj, Zaviajni muzej, Likovna kolonija Rovinj

Branimir Bakovi (naslovnica | cover page),

2013. Prva otkupna nagrada

Antun Marai (unutarnja stranica korica |

Pula, Ready-made in Croatia

2002. Rijeka, 56. godinja izloba lanova ( HDLUR-a),

inside of the cover page)

1998.

Crte, grafika - Godinja nagrada HDLUR-a

Rijeka, Galerija Kortil, Izloba Grupe mladih

2001. Rijeka, 15. International Drawing Exibition - Po-

grafiko oblikovanje | design

Rijeka, Mali salon, Materija kao strukturalni i komuni-

hvala irija

Tomislav Turkovi, www.tTom.info

Rijeka, Galerija Kortil, Ready-made in Croatia, S umjetnicima na kavi

14

City office for education, culture and sport, Zagreb