6th Splitgraphic International Graphic Art Biennial 2013 Catalogue with preface, exhibited and selected prints and artists.

1. Split, 2. 10. - 30. 12. 2013
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2. Održivost =
a. sačuvati da ostane cjelovito i da postoji
b. očuvati od narušavanja
Tema ili koncept šestog Splitgraphic bijenala je održivost definirana kao sposobnost da se ostane cjelovit i da se nastavi s
postojanjem. Zašto smo se odlučili za temu održivosti i na što se odnosi na šestom Splitgraphic bijenalu?
Održivost kao pojam se dvojako promišlja na ovogodišnjem Splitgraphic bijenalu - kao održivost manifestacije međunarodnog
grafičkog bijenala i kao održivost grafike kao medija u suvremenoj umjetnosti.
Na šesti Splitgraphic natječaj su se prijavila 264 umjetnika koji su poslali preko 700 radova. Ovo je najveći broj prijavljenih
umjetnika dosad, te se po broju prijava i interesu umjetnika Splitgraphic kao manifestacija može smatrati održivom. Pitanje
održivosti bijenala nije proizašlo iz nedostatka interesa, već iz činjenice da manifestaciju ove veličine već godinama održavamo
samo na entuzijazmu. Već dvanaest godina ustrajemo s minimalnim finacijskim potporama, nedostakom vlastitog prostora i
mjesta za skladištenje grafika što nam onemogućava i usporava procese širenja, napredovanja i institucionalizacije projekta
ove veličine i značaja.
Smatramo da bi se održivost Splitgraphica trebala manifestirati kroz kontinuiranu izložbenu djelatnost baziranu na
suvremenoj grafičkoj umjetnosti i kroz osnivanje grafičkog centra s vlastitom kolekcijom grafičke umjetnosti. Smatramo da
to znači održivost jednog projekta – njegovo napredovanje.
Splitgraphic je tijekom svoga djelovanja kroz niz uspješnih skupnih i samostalnih izložbi značajnih međunarodnih grafičkih
imena uspostavio grad Split kao centar grafičke umjetnosti. Kao izložbeni bijenale koji promovira grafičku umjetnost smo
između ostalog i zaslužni za obnovu, poticanje i rast interesa za hrvatsku grafičku scenu. Splitgraphic je od 2003. godine, kada
je ustanovljen, pozitivno djelovao na buđenje interesa za grafičku umjetnost, te za propitivanje uloge grafičke umjetnosti
danas, jednako kao i što smo poticali da se grafika ne shvaća samo na klasičan način, već da je dio suvremenog umjetničkog
stvaralaštva. Ideja održavanja Splitgraphic bijenala je, osim oživljavanja splitske kulturne scene, povezivanja s grafičkom
tradicijom Splita koji je kao grad često bio tema grafika, predstavljanje suvremene grafičke produkcije danas.
Održivost grafike kao medija koji u sebi sadrži dvojnost – umjetnički i zanatski gotovo manualni dio posla je dio koncepta
šestog Splitgraphica. Jednako zanimljiva nam je uvijek u grafici i opreka tradicionalnih i digitalnih grafičkih tehnika. Kao
koncept nas je zanimala relevantnost grafike danas kada se umjetnost temelji uglavnom na konceptu, te su granice
tradicionalnih grana umjetnosti već odavno nestale.
Na šestom Splitgraphicu izborom predstavljenih radova i nagradama smo pokušali ukazati na dvojnost i pokazati da je
grafika kao medij održiva u svijetu suvremene umjetnosti.
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3. U nagrađenim radovima Marte Lech, Tomiyakija Sakute, Nicolasa Poignona i Edvina Dragičevića radi se tradicionalnim
grafičkim tehnikama koja proizvode suvremeni grafički izričaj. Marta Lech u svojim crnim linorezima iscrtava svjetlosne mreže
nam poznatih usamljenih objekata koji graniče s apstraktnim, kod Tomiyuka Sakute nema apsulutno ničeg apstraktnog već
vizualno nadrealno majstorstvo detalja koji tvore sasvim nove slike i nove svjetove unutar tih slika, Nicolas Poignon radi
usamljene melakolične prikaze zvjezdanog neba i arhitekture, dok Edvin Dragičević zatvorenim teškim formama bunkera
suprostavlja lagane znakove papirnatih aviona. Odabrali smo i nagradili radove koji su ukorijenjeni u suvremenost, a još
uvijek sadrže podlogu klasičnog grafičkog rada i tu pronalazimo jedan put održivosti grafičke umjetnosti, jednako kao i što
podržavamo “nove” grafičke tehnike prisutne kod grupe nagrađenih mladih poljskih studenata.
Tradicionalnim tehnikama nagrađeni autori iskazuju suvremenu tematiku i proizvode nadasve suvremeneno umjetničko
djelo. Isto radi i belgijska umjetnica Ingrid Ledent u svojim radovima koju predstavljamo samostalnom izložbom u studenom.
Njezin rad je paradigma suvremenog grafičkog stvaralaštva. Grafike odnosno litografije Ingrid Ledent su dio instalacija
s videom i zvukom, te tematiziraju repeticije odnosno multiplikaciju kao osnovu grafičkog rada od najmanjeg otisnutog
dijela litografije. Ingrid Ledent koristi multiplikaciju da bi propitala trajanje u vremenu sebe jednako kao i svog vlastitog
rada. Kombinacijom različitih medija litografije, digitalnog otiska, videa, zvuka Ledent samo potvrđuje fleksibilnost grafičke
umjetnosti da izrazi vizualnu modernost.
Dvije razine propitivanja održivosti – na prvoj što se tiče same grafičke umjetnosti smatramo da smo ovogodišnjim odabirom
radova i postavom izložbe pokazali da grafička umjetnost odgovara izazovima današnjice, a što se tiče održivosti Splitgraphic
bijenala, to u konačnici i ne ovisi o nama jer smatramo da smo se mi do sada dokazali svojim radom.
Marina Majić, povjesničarka umjetnosti
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4. Sustainability =
a. that can or be continued for a long time
b. capacity to endure
Theme or concept of the sixth Splitgraphic is sustainability defined as a capacity to endure and to continue with your
activities. Why have we decided on a subject of sustainability and what does it relate to on the sixth Splitgraphic biennial?
Sustainability as an idea was reflected upon in two different ways on Splitgraphic – sustainability of the biennial manifestation
itself and the sustainability of the graphic art as a medium in contemporary art.
During the open call for entry for sixth Splitgraphic 264 artists applied and we have received over 700 prints. This is the largest
number of applied artists so far, and according to these application numbers and the interest of artists for Splitgraphic we are
certainly one sustainable organisation. The question of sustainability did not come out of the lack of interest for Splitgraphic,
but it sprung out from the fact that we are organising this manifestation for years now only on our own enthusiasm. For
twelve years we are persisting with a minimal financial support, with the shortage of our own space and the place to archive
all the donated prints, which is disabling us and is slowing down the process of growing, developing and institutionalising
the project of this size.
We strongly believe that the sustainability of Splitgraphic should be manifested through continuous exhibition making
activities based on contemporary graphic art production and founding of a printmaking centre with its own collection of
graphic art. We consider that this means sustainability of a project - its continuous progress.
Splitgraphic has organised a number of successful group and solo shows of important international graphic artists during
its existence and we have established the city of Split as one of the centres for graphic art. As a printmaking biennial that
promotes graphic art we are responsible for renewal, support and growth of interest for graphic art in Croatia. Since 2003
when Splitgraphic was founded it has positively influenced the rise of interest for graphic art, questioning of the role of
graphic art today, as well as abolishing the understanding that graphic art is only executed in a classical traditional way,
but that printmaking is a part modern artistic creation. The idea of organising Splitgraphic, apart from reinventing Split’s
cultural scene, connecting with its graphic tradition, for Split has often been the theme in graphic art, was presenting the
contemporary graphic art as it exists today.
The sustainability of graphic art as a medium can be also analysed in two different ways – artistic, creative way and a manual
way for graphic art still contains a part of the craft in its core. These thoughts are also part of Splitgraphic concept, as well
as, the opposition of traditional and digital graphic techniques. As a concept we were interested in relevance of graphic art
when today art is based mostly on a concept, and the boundaries between traditional art media have almost altogether
disappeared.
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5. On sixth Splitgraphic with the selection of exhibited works and the given awards we tried to point out the duality of graphic
art and show that printmaking as a media is still relevant and sustainable in the world of contemporary art.
The awarded prints of Marta Lech, Tomiyaki Sakuta, Nicolas Poignon and Edvin Dragičević were produced with traditional
graphic techniques, but in a completely contemporary graphic language. Marta Lech draws light nets of lonely known objects
that border with abstract in her black linocuts, while in the work of Tomiyaki Sakuta there is absolutely nothing abstract but
a visual surreal mastery of details that create completely new images and new worlds inside the same image over and over
again, Nicolas Poignon makes lonesome melancholic images of the sky and architecture, and Edvin Dragičević uses closed
heavy forms of bunkers and opposes them to light red signs of paper planes. We have chosen and awarded the works that
are rooted in contemporaneity, while still containing the basis of classic processes in printmaking. In this we found one
possible way of sustainability of graphic art, but we have to say that we still strongly support “new” graphic techniques that
is visible in the awarded prints of the young Polish students.
With traditional techniques the awarded artist have produced a contemporary work of art. The Belgian artist Ingrid Ledent,
Splitgraphic’s solo exhibition in November this year, is doing the same thing in her work. Ledent’s work is the paradigm of
contemporary graphic creation. Graphics, that is lithographs in Ledent’s work are a part of installations with video and sound,
and their themes are repetitions and multiplications as a basis of graphic art from smallest printed part of the lithography.
Ingrid Ledent uses multiplications to question the duration in time of herself as well as of her work. The combination of
various mediums like lithography, digital print, video and sound only confirms the flexibility and ability of graphic art to
express modernity.
Two levels of questioning sustainability – the first concerning graphic art where we think we have proved by selection and
installation of prints to be up to the challenges of today, and about the sustainability of Splitgraphic, in the end it is not up
to us for we have proved that we are sustainable with our work so far.
Marina Majić, art historian
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6. prijavljeni umjetnici VI SPLITGRAPHIC 2013
Applied artists VI SPLITGRAPHIC 2013
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7. 1
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Selvihan Kilic
Minoru Suganuma
Thomas Klepoch
Nicolas Poignon
Mia Vučić
Dan McCormak
Natalia Romaniuk
Cinla Seker
Dora Vukičević
Briar Craig
Aria Komianou
Emina Pughel
Darina Peeva
Ellen Karin Maehlum
Mirta Caccaro
Ivan Ninov
Marie Bukowski
Floki Gauvry
Monika Wanyura-Kurosad
Niki Kokkinos
Jacek Joostberens
Yoshiko Fujita
Vlatko Čerić
Csaba Pal
Sylwia Solak
Bert Menco
Vedran Rosandić
Inga Haemagi
Eleanora Hofer
Herman Noordemer
Eva Toker Jawerbaum
Alexandre Padua
Maria Heed
Josee Wuyts & Frans de Groot
Meng Li Liao
Masahiro Kasai
Dino Čokljat
Turska/Turkey
Japan
Slovačka/Slovakia
Francuska/France
Hrvatska/Croatia
SAD/USA
Poljska/Poland
Turska/Turkey
Hrvatska/Croatia
Kanada/Canada
Grčka/Greece
Hrvatska/Croatia
Bugarska/Bulgaria
Norveška/Norway
Italija/Italy
Bugarska/Bulgaria
SAD/USA
Argentina
Poljska/Poland
Belgija/Belgium
Poljska/Poland
Japan
Hrvatska/Croatia
Mađarska/Hungary
Poljska/Poland
SAD/USA
Hrvatska/Croatia
Estonija/Estonia
Južna Afrika/South Africa
Nizozemska/The Netherlands
Argentina
Brazil/Brasil
Švedska/Sweden
Nizozemska/The Netherlands
Tajvan/Taiwan
Japan
Hrvatska/Croatia
38 ZeRo
Brazil/Brasil
39 Noriaki Kondoh
Japan
40 Igor Oster
Njemačka/Germany
41 Steve Lovett
Novi Zeland/New Zeland
42 Nese Tekin
Turska/Turkey
43 Paul Tillila
Finska/Finland
44 Tomiyuki Sakuta
Japan
45 Reti Saks
Estonija/Estonia
46 Patricia Delgado dela Rosa
Španjolska/Spain
47 Hyun-Ji Kim
Tajvan/Taiwan
48 Tadakata Kudo
Japan
49 Rafael Rodriguez Garcia
Španjolska/Spain
50 Que Zhu
SAD/USA
51 Monika Palka
Poljska/Poland
52 Paolo Pestell
Italija/Italy
53 Gudrun Heamagi
Estonija/Estonia
54 Eva Laila Hilsen
Norveška/Norway
55 Samuil Georgiev
Bugarska/Bulgaria
56 Carlos Marin
Kolumbija/Columbia
57 Eveline Kolijn
Kanada/Canada
58 Yana Strizhevskaya Rusija/Russia
59 Izabela Petrowska
Poljska/Poland
60 Mark Graver
Novi Zeland/ New Zeland
61 Serge Koch
Luksemburg/Luxemberg
62 Yumiko-Irei Gokce
SAD/USA
63 Lucia Cleeren
Velika Britanija/Great Britain
64 Sadao Sakurai
Japan
65 Marek Sajduk
Poljska/Poland
66 Peter Myer
SAD/USA
67 Basil Frank
Izrael/Israel
68 Faize Bostan
Turska/Turkey
69 Nilgun Kilincaslan
Turska/Turkey
70 Goedele Peeters
Belgija/Belgium
71 Viktoria Nickel
Belgija/Belgium
72 Koen Sakamoto
Japan
73 Iga Mikulska
Poljska/Poland
74 Koyuki Kazahaya
Japan
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8. 75 Donald Furst
76 Ingrid Ledent
77 Grażyna Kulikowska - Antczak
78 Dubravka Kanjski
79 Heather Houston
80 Miwako Oso
81 Yoshiaki Murakami
82 Chris Van der Venken
83 Terry Tricket
84 Lubomir Prybil
85 Francisco Velasco
86 Aysin Akay
87 Elena Olimpiev
88 Iva Šarić
89 Laura Widmer
90 Marie Chantal Biela
91 Marija Kokeza Roginić
92 Mia Štark
93 Mirna Petrović
94 Dorian Trepić
95 Jasmin Mišković
96 Chuan Chen
97 Mina Bakliža
98 Linda Vinck
99 Zane Zlemeša
100 Ericka Walker
101 Ross Racine
102 Claudia G. Sosa
103 Kei Iizuka
104 Peter Wiklund
105 Olena Golub
106 Amaryllis Siniossoglou
107 Ida Sušić
108 Jonathan McFadden
109 Felix Baky
110 Nino Moharić
111 Desislava Hristova
112 Ana Kinčić
113 Wojciech Tylbor-Kubrakiewicz
114 Toshimi Kitano
115 Theodore Mariano Mesquita
116 Edward Bateman
117 Marko Živković
118 Louise Grose
119 Patrick Coenye
120 Ana Vivoda
121 Line Marsdal
122 Hrvoje Roguljić
123 Sevinc Bayraktar
124 Fernando Montiel
125 Nikos Arvaniditis
126 Neda Dana Haeri
127 Dajana Karas
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SAD/USA
Belgija/Belgium
Poljska/Poland
Hrvatska/Croatia
Kanada/Canada
Japan
Japan
Belgija/Belgium
Velika Britanija/Great Britain
Češka/Czech republic
Španjolska/Spain
Turska/Turkey
Bugarska/Bulgaria
Hrvatska/Croatia
Kanada/Canada
Belgija/Tajland
Hrvatska/Croatia
Hrvatska/Croatia
Hrvatska/Croatia
Hrvatska/Croatia
Hrvatska/Croatia
Kina/China
Srbija/Serbia
Belgija/Belgium
Belgija/Belgium
Kanada/Canada
Kanada/Canada
Belgija/Belgium
Japan
Švedska/Sweden
Ukrajina/Ukraine
SAD/USA
Hrvatska/Croatia
SAD/USA
Ukrajina/Ukraine
Hrvatska/Croatia
Bugarska/Bulgaria
Hrvatska/Croatia
Poljska/Poland
Japan
Indija/India
SAD/USA
Hrvatska/Croatia
Francuska/France
Belgija/Belgium
Hrvatska/Croatia
Norveška/Norway
Hrvatska/Croatia
Turska/Turkey
Belgija/Belgium
Srbija/Serbia
Velika Britanija
Hrvatska/Croatia
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129
130
131
132
133
134
135
136
137
138
139
140
141
142
143
144
145
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166
167
168
169
170
171
172
173
174
175
176
177
178
179
180
Jutta Fricke
Njemačka/Germany
Veerle Rooms
Belgija/Belgium
Sanja Nikolić
Hrvatska/Croatia
Danijela Sušak
Hrvatska/Croatia
Ivan Muškić
Hrvatska/Croatia
Josipa Stojanović
Hrvatska/Croatia
Marta Kolodziejska
Njemačka/Germany
Lacia Vogel
Kanada/Canada
Vanja Jović
Hrvatska/Croatia
Jo Ernsten
Australija/Australia
Uta Brouet
Velika Britanija
Hsuan-Yao Chang
Tajvan/Taiwan
Elisa Gutierrez Gomez
Belgija/Belgium
Annette Olsen Caspeller
Danska/Denmark
Gigi Salomon
Velika Britanija/Great Britain
Eduard Pavlović
Hrvatska/Croatia
Marija Knezić
Hrvatska/Croatia
Martin Sevcovic
Slovačka/Slovakia
Magdalena Kudelik
Hrvatska/Croatia
Brita Weglin
Švedska/Sweden
Idaeherma Williams
SAD/USA
Stephanie Holler
Austrija/Austria
Nika Fry
Poljska/Poland
Vappu Johansson
Finska/Finland
Ivan Bogović
Hrvatska/Croatia
Lauri Koppel
Estonija/Estonia
Hilke Hemlich
Njemačka/Germany
Amir Guberstein
Njemačka/Germany
Matthew Scott Gualco
SAD/USA
Sandro Brachitta
Italija/Italy
Maria Kompatsiari
Grčka/Greece
Elena Montoya Álvarez
Španjolska/Spain
Anastasiya Lynnik Rusija/Russia
Seoung- Ku Lee
Južna Koreja/South Korea
Irina Zdanowska
Poljska/Poland
Alexander Svistunov Rusija/Russia
Andrea Ruschetti
Italija/Italy
Marijana Garašić
Hrvatska/Croatia
Manfred Egger
Austrija/Austria
Paweł Delekta
Poljska/Poland
Krenare Nila
Kosovo
Maria Zavitsanou
Grčka/Greece
Vjollca Ajeti
Kosovo
JAN PAMULA
Poljska/Poland
Dardan Fejza
Kosovo
Ilirida Mani
Kosovo
Doruntina Kastrati
Kosovo
Labinot Haxholli
Kosovo
Kurt Wisneski
SAD/USA
Mateusz Bednarz
Poljska/Poland
Valdeta Vuciterna
Kosovo
Eva Choung-Fux
Španjolska/Spain
Acin Lorena
Francuska/France

9. 181
182
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203
204
205
206
207
208
209
210
211
212
213
214
215
216
217
218
219
220
221
222
Massimiliano Marianni
Italija/Italy
Mic Dobrunaj
Kosovo
Anna Pytlik
Poljska/Poland
Marta Wapiennik
Poljska/Poland
Julia Wójcik
Poljska/Poland
John-Mark Schlink
SAD/USA
Kirsi Kuusisto
Finska/Finland
Dominika Staniaszek
Poljska/Poland
Naoki Tajima
Japan
Stanislav Matsilevich
Poljska/Poland
Blažej Baláž
Slovačka/Slovakia
Mária Balážová
Slovačka/Slovakia
Kamil Kocurek
Poljska/Poland
Beata Kolakowska
Poljska/Poland
Sari Bremer
Finska/Finland
Nadezhda Anatolevna Ustritskaya Rusija/Russia
Cora Vogtschmid
Nizozemska/The Netherlands
Paweł Siodłok
Poljska/Poland
Katarina Fabijanić
Hrvatska/Croatia
Natalia Klemke
Poljska/Poland
Joanna Janowska-Augustyn
Poljska/Poland
Marta Lech
Poljska/Poland
Anna Puszczewicz
Poljska/Poland
Marcin Lach
Poljska/Poland
Jelana Jelača
Hrvatska/Croatia
Giske Sigmundstad
Norveška/Norway
Marinko Jelača
Hrvatska/Croatia
Piotr Skowron
Poljska/Poland
Lyudmila Baronina Rusija/Russia
Jodi Le Bigre
Velika Britanija/Great Britain
Deborah Cornell
SAD/USA
Petra Balekić
Hrvatska/Croatia
Pentti Määttänen & Mika Karhu
Finska/Finland
Jerzy Pietruczuk
Poljska/Poland
Nives Jukić
Hrvatska/Croatia
Adrianna Awdziejczyk
Poljska/Poland
Vasiliki Kolipetsa
Grčka/Greece
Veronika Šindilj
Hrvatska/Croatia
Edis Hamza
Kosovo
Dieter Grund
Kanada/Canada
Werner Stemans
Francuska/France
Jutta Odenwaelder
Singapor/Singapore
223
224
225
226
227
228
229
230
231
232
233
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235
236
237
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239
240
241
242
243
244
245
246
247
248
249
250
251
252
253
254
255
256
257
258
259
260
261
262
263
264
Jasper Hoovers
Belgija/Belgium
Margareta Hellman
Švedska/Sweeden
Maja Zemunik Mužinić
Hrvatska/Croatia
Tina Pavoković
Hrvatska/Croatia
Jiang Miao
Kina/China
Tea Ivković
Hrvatska/Croatia
Constantin Razvan Caratanase Rumunjska/Romania
Jana Bonačić
Hrvatska/Croatia
Bogdan Miga
Poljska/Poland
Simone Jospin
Brazil/Brasil
Juhani Järvinen
Finska/Finland
Andrea Kopi
Hrvatska/Croatia
Dalia Finek
Hrvatska/Croatia
Duje Jurić
Hrvatska/Croatia
Hanna Rozpara
Poljska/Poland
Sajra Mirela Pašić
BiH/B&H
Edvin Dragičević
Hrvatska/Croatia
Igor Konjušak
Hrvatska/Croatia
Nevenka Arbanas
Hrvatska/Croatia
Jožica Medle
Hrvatska/Croatia
Janko Orač
Hrvatska/Croatia
Anastasija Sosunova
Litva/Lithuania
Agata Zarzycka
Poljska/Poland
Ewa Mielczarek
Poljska/Poland
Yvan Lafontaine
Kanada/Canada
Joanna Bonder
Poljska/Poland
Damian Idzikowski
Poljska/Poland
Justin Diggle
SAD/USA
Sebastian Grochocki
Poljska/Poland
Ivana Gagić Kičinbaći
Hrvatska/Croatia
Gokce Aysun Kaya Klc
Turska/Turkey
Taichi Kodama
Japan
Jasna Bogdanović
Hrvatska/Croatia
Kristina Restović
Hrvatska/Croatia
Maria Łukomska
Poljska/Poland
Christiaan Diedericks
Južna Afrika/South Africa
Marta Dziomdziora
Poljska/Poland
Mark Dutton
Kanada/Canada
Janice Wong
Kanada/Canada
Nikola Skokandić
Hrvatska/Croatia
Jakša Matošić
Hrvatska/Croatia
Boris Bućan
Hrvatska/Croatia
9

10. program VI SPLITGRAPHIC 2013
10

11. 1.
SKUPNA IZLOŽBA, Stara gradska vijećnica, Split, 2. listopada – 27. listopada 2013.
GROUP EXHIBITION, Old City Hall, Split, 2nd October – 27th October, 2013
2.
Izložba studentskih radova, Galerija Loggia, Centar za kulturu Zlatna vrata, listopad/studeni 2013.
Exhibition of student prints, Gallery Loggia, Center for culture Zlatna vrata, October/November, 2013.
3.
Samostalna izložba INGRID LEDENT (Belgija, Grand Prix 2011), Galerija Sveučilišne knjižnice u Splitu, studeni 2013.
Solo exhibition INGRID LEDENT (Belgium, Grand Prix 2011), Gallery of University Library Split, November, 2013.
4.
Predavanje Ingrid Ledent, UMAS, studeni 2013.
Lecture Ingrid Ledent, Art Academy Split, November, 2013.
5.
Samostalna izložba IVAN KOŽARIĆ, Galerija Studio Naranča, prosinac 2013.
Solo exhibition IVAN KOŽARIĆ, Gallery Studio Naranča, December 2013.
11

12. Žiri Splitgraphic / Jury Splitgraphic
12

13. Hugo U. Besard, profesor i grafičar / professor and graphic artist
Edvin Dragičević, profesor i grafičar / professor and graphic artist
Pavo Majić, samostalni umjetnik / artist
Nikola Skokandić, profesor i grafičar / professor and graphic artist
Janice Wong, vizualna umjetnica / visual artist
13

14. NAGRADE / AWARDS
14

15. Grand Prix 2013
Marta Lech, Poljska/Poland
Posebne nagrade / Special awards
Tomiyuki Sakuta, Japan
Nicolas Poignon, Francuska/France
Edvin Dragičević, Hrvatska/Croatia
Nagrada mladim umjetnicima / Young Artists Award
Studenti Lodz Akademija / Students Lodz Academy Poland:
Piotr Skowron, Stanislav Matsilevich, Adrianna Awdziejczyk,
Agata Zarzycka, Damian Idzikowski, Sebastian Grochocki, Ewa Mielczarek
Nagrada za invetivnost u grafici/Award for originality in graphic art:
Katarina Fabijanić, Hrvatska/Croatia
Nagrada umjetnika/Artist’s Award (Online Splitgraphic 2013)
Natalia Romaniuk, Poljska/Poland
Nagrada Miroslav Šutej/Miroslav Šutej Award
Duje Jurić, Hrvatska/Croatia
Nagrada za životno djelo/Lifetime Achievement Award
Ivan Kožarić, Hrvatska/Croatia
15

16. Grand Prix 2011
Ingrid Ledent, Belgija / Belgium
16

17. 17

18. Biografija Ingrid Ledent
Ingrid Ledent rođena je 1955. godine u Brasschaatu, u Belgiji. Studirala je grafičku umjetnost na Kraljevskoj akademiji u Antwerpenu od 1973. do 1978., kada je tijekom jednogodišnjeg boravka specijalizirala litografiju u studiju Rudolfa Broulima na
Akademiji primjenjenih umjetnosti u Pragu (Češka). Na Višem nacionalnom institutu primjenjenih umjetnosti u Antwerpenu
je 1981. godine stekla magisterij. Također je sudjelovala na velikom broju radionica usavršavajući različite tehnike poput:
heliogravure, monotipije, litografije i keramike.
Ingrid Ledent je profesorica litografije na Kraljevskoj akademiji u Antwerpenu od 1984. godine.
Održala je litografske radionice na Akademiji primjenjenih umjetnosti u Turku (Finska), na Sveučilištu Santa Cruz na Tenerifima (Španjolska), na Akademiji primjenjenih umjetnosti u Hasseltu (Belgija), na Akademiji primjenjenih umjetnosti u Krakowu (Poljska), na Akademiji primjenjenih umjetnosti u Pragu (Češka), na Sveučilištu Tianjin (Kina), na grafičkoj radionici
“Daglicht” u Eindhovenu (Nizozemska) i u Frans Masereel centru u Kasterleeu (Belgija).
Održala je predavanja na Sveučilištu Shenzhen (Kina), na Sveučilištu Tianjin (Kina), u grafičkom centru u Guanlanu (Kina), na
Sveučilištu York u Torontu (Kanada), na Southern Graphic konferenciji na Sveučilištu u Austinu (SAD), na Rudgers sveučilištu
u New Jerseyu (SAD), na Sveučilištu St. Louis (SAD), na Musashino sveučilištu u Tokyu (Japan), na Sveučilištu u Kyotu (Japan),
u Društvu umjetnika u Tallinnu (Estonija) i Društvu finskih litografičara u Helsinkiju (Finska).
SAMOSTALNE IZLOŽBE:
U Belgiji, Kanadi, Engleskoj, Estoniji, Francuskoj, Mađarskoj, Njemačkoj, Maroku, Norveškoj, Poljskoj, Nizozemskoj.
SKUPNE IZLOŽBE:
U Armeniji, Austriji, Belgiji, Brazilu, Bugarskoj, Kanadi, Kini, Hrvatskoj, Češkoj republici, Danskoj, Estoniiji, Finskoj, Francuskoj,
Njemačkoj, Velikoj Britaniji, Mađarskoj, Hawajima, Italiji, Japanu, Litvi, Maroku, Nizozemskoj, Norveškoj, Poljskoj, Rumunjskoj,
Rusiji, Škotskoj, Sloveniji, Španjolskoj, SAD, Južnoj Africi, Južnoj Koreji, Švedskoj, Ukrajini.
18

19. NAGRADE (izbor):
2011: Peti Splitgraphic međunarodni grafički bijenale; Grand Prix
2007: Peti Međunarodni trijenale grafike Prag, Češka; Prva nagrada
2007: Međunarodni bijenale grafike u Guanlanu 2007, Kina; Velika nagrada
2006: Međunarodni trijenale grafike 2006 Krakow, Poljska; Grand Prix
2006: “Peti međunarodni simpozij litografije”, Tidaholm, Švedska; Grand Prix
2005: Četvrti Novosibirsk međunarodni bijenale suvremene grafike 2005, Rusija; Treća nagrada: “Digitalno generirane grafike”
2005: Osmi međunarodni bijenale crteža i grafičke umjetnosti, Gyor, Mađarska; Grand Prix
2003: Sedmi međunarodni bijenale crteža i grafičke umjetnosti, Gyor, Mađarska; Druga nagrada
2001: Treći međunarodni trijenale grafičke umjetnosti Prag, Češka; Grand Prix
1999: Peti međunarodni bijenale grafike Györ, (Mađarska): Mission Art Gallery nagrada
1997: Najbolje od grafičke umjetnosti, Rockport Publishers, SAD; Počasna nagrada
1996: Međunarodni Senefelder natječaj za litografiju, Offenbach, Njemačka; Treća nagrada
12 nagrada na National Awards (Belgija)
Radovi Ingrid Ledent se nalaze u mnogim javnim i privatnim kolekcijama u Belgiji i inozemstvu.
Nacionalni muzej primjenjene umjetnosti, Antwerpen (Belgija); Frans Masereel centar, Kasterlee (Belgija); Muzej moderne
umjetnosti, Jerevan (Armenjia); Gradski muzej, Györ (Mađarska); Muzej Majdanek (Poljska); Gasol Art muzej, Stellenbosch
(Južna Afrika); Međunarodni trijenale Krakow (Poljska); Međunarodna Senefelder fundacija, Offenbach (Njemačka); Međunarodno umjetničko bijenale Peking (Kina); Guanlan međunarodno bijenale grafike (Kina); Sanbao muzej keramike (Kina);
Sakima muzej prefektura Okinawa (Japan)
19

20. Biography Ingrid Ledent
Ingrid Ledent was born in 1955 in Brasschaat (Belgium). She studied graphic art at the Royal Academy of Fine Arts in Antwerp
between 1973 and 1978, and then she specialized in lithography for one year in Rudolf Broulim’s studio at the Academy of
Applied Arts in Prague (Czech Republic). In 1981 she obtained her Master Degree at the National Higher Institute of Fine Arts
in Antwerp. She also followed several workshops in different techniques: heliogravure by Graig Zammielo (master printer at
U.L.A.E., Long Island, New York, U.S.A.), monotype by Joe Zirker (U.S.A.), paper-making by Don Cortese (professor at School
of Art, Syracuse University, New York, U.S.A.), waterless lithography by Jeff Sippel (master printer at the Tamarind workshop,
Albuquerque, U.S.A.), advanced lithography by Lynne Allen (professor at Rudgers University, New Jersey, U.S.A.), ceramics by
Paul Perdieus, Johan Van Geert and Rudy Delanghe (professor at Karel de Grote Hogeschool, Antwerp, Belgium).
Ingrid Ledent is professor of lithography at the Royal Academy of Fine Arts in Antwerp since 1984.
She has given workshops in lithography at the Academy of Fine Arts in Turku (Finland), at the University of Santa Cruz in
Tenerife (Spain), at the Academy of Fine Arts in Hasselt (Belgium), at the Academy of Fine Arts in Krakow (Poland), at the
Academy of Fine Arts in Prague (Czech Republic), at the University of Tianjin (China), at the print shop “Daglicht” in Eindhoven
(The Netherlands) and at the Frans Masereel Center in Kasterlee (Belgium).
She gave lectures at the University of Shenzhen (China), at the University of Tianjin (China), at the Printmaking Base in Guanlan
(China), at the York University in Toronto (Canada), at the Southern Graphic Conference at the University of Austin, at the
Rudgers University in New Jersey and (U.S.A.), at the S.G.C. at the University of St.Louis (U.S.A.), at the Musashino University in
Tokyo (Japan), at the University of Kyoto (Japan), at the Artist Association in Tallinn (Estonia) and at the Association of Finish
Lithographers in Helsinki (Finland).
INDIVIDUAL EXHIBITIONS:
In Belgium, Canada, England, Estonia, France, Hungary, Germany, Morocco, Norway, Poland, The Netherlands
COLLECTIVE EXHIBITIONS:
In Armenia, Austria, Belgium, Brazil, Bulgaria, Canada, China, Croatia, Czech Republic, Denmark, Estonia, Finland, France,
Germany, Great Britain, Hungary, Hawaii, Italy, Japan, Lithuania, Morocco, The Netherlands, Norway, Poland, Romania, Russia,
Scotland, Slovenia, Spain, U.S.A., South Africa, South Korea, Sweden, Ukraine.
20

21. AWARDS (selection):
2011: 5th Splitgraphic International Graphic Art Biennial; Grand Prix
2007: 5th International Triennial of Graphic Arts Prague, Czech Republic; 1st Prize
2007: International Print Biennial in Guanlan 2007, China; Big Prize
2006: International Print Triennial 2006 Krakow, Poland; Grand Prix
2006:”The 5th International lithographic Symposium”, Tidaholm, Sweden; Grand Prix
2005: IV Novosibirsk International Biennial of Contemporary Graphic Art 2005, Russia; 3rd Prize: ‘Digital generated Prints’
2005: 8th International Biennial of Drawing and Graphic Arts Gyor, Hungary; Grand Prix
2003: 7th International Biennial of Drawing and Graphic Arts Gyor, Hungary; 2nd prize
2001: 3rd International Triennial of Graphic Arts Prague, Czech Republic; Grand Prix
1999: 5th International Graphic Biennial Györ, (Hungary): Mission Art Gallery Prize
1997: The Best of Printmaking, Rockport Publishers, U.S.A.; Honorary Award
1996: International Senefelder Competition for Lithography, Offenbach, Germany; 3rd prize
12 prizes on National Awards (Belgium)
Ledent’s works are in many public and private collections in Belgium and abroad.
National Museum of Fine Arts, Antwerp (Belgium); The Frans Masereel Center, Kasterlee (Belgium); Museum of Modern Art,
Jerevan (Armenia); Municipal Museum, Györ (Hungary); Museum of Majdanek (Poland); Gasol Art Museum, Stellenbosch
(South Africa); The International Triennial of Cracow (Poland); International Senefelder Foundation, Offenbach (Germany);
The Beijing International Art Biennale (China); The Guanlan International Print Biennial (China); The Sanbao Ceramic Art
Museum (China); The Sakima Art Museum Okinawa Prefecture (Japan)
21

22. Umjetnica Ingrid Ledent o svom radu:
Proces utječe na sadržaj i sadržaj utječe na process.
Sadržaj = Proces = Sadržaj = Proces = Sadržaj = Proces
Kao umjetnica volim smatrati kako nema razlike između grafičke umjetnosti i čitavog područja vizualnih umjetnosti. Umjetnik
bi trebao ispitivati granice svih medija. Upotreba grafika u instalacijama ili trodimenzionalnim radovima pokazuje fleksibilnost
grafičke umjetnosti i koliko je ona korisna svim umjetnicima. U mom vlastitom radu, pokušavam više koristiti tradicionalne
grafičke tehnike kombinirajući ih s digitalnim ispisom, videom i zvukom. Konceptualno, proces stvaranja grafičke umjetnosti
je vrlo značajan i postao je dio sadržaja mog rada. Vrlo sam fascinirana jednim od karakterističnih atributa grafičkih tehnika,
a to je reproduktivnost. Koristim reproduktivnost ne da bih radila edicije, nego kao generativni element. Tijekom procesa
tiskanja grafika “ponavljanja” se poput slojeva slažu jedan na drugi stvarajući nove vizualne forme.
Nikada ne radim složene pripreme; moj rad se razvija na mojoj preši otiskujući slojeve jedan na drugi, u neprekinutom radnom
procesu. Naravno, imam svoje izvore. Vrijeme, koje je također proces, je osnovna tema mog rada. Na mene je imala mnogo
utjecaja ideja vremena Henrija Bergsona, posebno njegovo filozofsko razmišljanje o pojmu “durée” kao kontinuiranom
životu memorije, koji prenosi prošlost u sadašnjost. Proizlazeći iz načina na koji ja doživljavam vrijeme, naglašavam ono
što se ne može shvatiti kao konkretno, u mjerljivom vremenu, jer duša ne može shvatiti iskustvo kao fenomen u granicama
vremena. Ovo je temelj mojih slika, netransparentno, arhaično tkivo ponavljajućih formi. Također su u sadržaju važni procesi
manipulacije, fenomen matrice i kontrolirane slučajnosti. Vrijeme je također dio ljudskog tijela kao i svih radnji koje tijelo
poduzima. Dakle, često koristim vlastitu kožu i dijelove tijela da bi se referirala na vrijeme i prevela ga u vizualni aspekt.
To se može vidjeti kroz tamnu mrežu u podlozi litografskih otisaka. Horizontalne linije se pojavljuju, nastavljaju se kroz čitav
rad, formiraju se iz nabora digitalnih fotografija moje kože, ili prepoznatljivih dijelova usta ili oka, koji su proizašli iz fotografija
površine mog tijela. Na ovaj način, vrijeme koje je potrebno da proizvedem litografski otisak je zrcaljeno u prolasku vremena
koje je očito u naborima kože, tako da moja fizička prisutnost, u jednoj vrsti autoportreta, postaje sjedinjena s procesom koji
sam pratila kroz protok vremena koje je bilo potrebno da napravim rad kao cjelinu.
22

23. Artist Ingrid Ledent on her work:
Process influences the content and the content influences the process.
Content = Process = Content = Process = Content = Process
As an artist, I prefer to make no separation between the print arts and the entire field of visual arts. An artist should challenge
the boundaries of any medium. The use of prints in installations or three-dimensional works shows the flexibility of print
media and how useful they are to all artists. In my own work, I augment the use of traditional printing techniques combining
them with computer print, video and audio. Conceptually, the process of printmaking is quite significant and has become
a part of the content of my work. I am mainly fascinated by one of the characteristic attributes of printing techniques,
reproducibility. I use reproducibility not to make editions, but as a generating element. During the printing process, the
“repetitions” get layered on one another creating new visual forms.
I never make elaborate sketches; my work evolves on my press by printing layers on top of each other, in a fluent working
process. I have my sources of course. Time, as it is also in a process, is the basic theme in my work. I am strongly influenced
by Henri Bergson’s idea of time, especially his philosophical thinking about “durée,” the continuous living of a memory, which
proceeds the past into the present. Emerging out of the manner in which I experience time, I highlight what cannot be
interpreted as concrete, within measurable time, for the soul is not able to comprehend the experience as a phenomenon
within the limits of time. This is a foundation for my images, a non - transparent, archaic tissue of frequently recurring forms.
Also important in the content are processes of manipulation, the phenomena of the matrix and the controlled coincidence
or serendipity. Time is also involved in the human body as well as in the actions it undertakes. Therefore, I often use my own
skin and body parts to reference and translate time in more visual aspects.
This can be seen through the underlying dark grid of a lithographic print. Horizontal lines emerge, continued across the
work, formed from the creases in a digital photographic close-up of my skin, or the recognizable elements of mouth or
eye-elements, which are derived from photographs of the surfaces of my body. In this manner, time taken to produce the
lithographic print is mirrored in the passage of time evident in the creases in the skin, so that my physical presence, in a kind
of self-portrait, becomes unified with the process I followed over a passage of time producing the work as a whole.
23

24. ... Ingrid Ledent koristi metaforički jezik, u kojem su
ponavljanja poput slojeva nanose jedan na drugi, stvarajući
nove vizualne forme, dodajući energije. Jedan sloj se temelji
na drugom, početak i kraj stvaranja organskog sustava.
Alternacijom tanjeg i debljeg, gornji sloj se otkriva na
površini kao oblik u vremenu, kao jedna vrsta egzistencije
koja je u neprekidnom kontaktu s prijašnjim slojem s kojim
je i spojena.
…Ingrid Ledent uses a metaphorical language, in which
repetitions are layered on one another, creating new visual
forms, adding up energies. One is based on the other, the
beginning and the end creating an organic system. From
the alternation of thinning and thickening, the higher layer
unfolds on the surface as a form in time, as some type of
existence which is in unceasing contact with the earlier one
it is blended with.
Organsko spajanje prošlosti i sadašnjosti manifestira se u
njenim radovima ne samo idejno nego i tehnički. Litografija i
kompjuterski ispis su upareni s nenadmašenom perfekcijom
u radovima od tri ili četiri lista, čiji je monokromatski efekt
izvaredno raznolik suptilnim izmjenama boje u jednom ili
drugom listu i promjenom mjere u osnovnoj strukturi.
The organic concatenation of past and present manifests
itself in her works not only notionally but also technically.
Lithography and computer technique are coupled with
unsurpassed perfection in the works of three or four sheets,
whose monochromatic effect is extremely diversified by
a subtle change of colours in one or another sheet and
change of scale in the basic structure.
Ovakva vrsta umjetnosti je osobito osjetljiva, puna misli i
fascinantne individualnosti! U njoj, struktura, tehnika i jezik
tvore savršeni sklad.
Júlia N. Mészáros, povjesničarka umjetnosti
Ravnateljica Muzeja umjetnosti Györ, Mađarska
… Ingrid Ledent svoj rad izvodi performativno. Za nju
ponavljanje o kojem piše Deleuze nije ponavljanje slike
kao takve, poput još jednog lopoča, nego ponavljanje kao
pokret, kao performans. Ponavljanje proizlazi iz ponavljanja
točke ili linije, kao unutrašnje ponavljanje unutar slike,
kao fizički pokret grafičara, u memoriji tijela, beskonačno.
Ponavljanje proizvodi ponavljanje: slika se ponavlja
dok umjetnik ne odluči drugačije, ili traje beskonačno,
u haptičkom promatranju iskustva. Umjetničko djelo je
rezultat životnog iskustva i kulturnih iskustava umjetnika
i promatrača. Ono se ponovno rađa u svakom ponovnom
promatranju, bez obzira na broj ponavljanja, beskonačno.
Annika Dahlsten, umjetnica i kustosica
This kind of art is exceptionally sensitive, full of thoughts
and fascinatingly individual! In it, structure, technique and
language constitute a perfect harmony.
Júlia N. Mészáros, Art historian
Director of the Museum of Art Györ, Hungary
… Ingrid Ledent does her work in a performative way.
For her the repetition described by Deleuze is not the
repetition of a picture as such, as a second water lily, but
the repetition as a movement, a performative. Repetition
is born out of repeating a dot or a line, as an internal
repetition within a picture, as a physical movement of the
printer, in the memory of the body, endlessly. Repetition
produces repetition: the image is repeated until the artist
decides otherwise, or endlessly, in the haptic viewing
experience. The artwork is the result of the life experience
and the cultural experiences of the artists and the spectator.
It is reborn in each viewing experience, regardless of the
number of repetitions, endlessly.
Annika Dahlsten, artist and curator
24

25. … Priroda vremena je središnji dio rada Ingrid Ledent, i način na koji se ona nosi s zagonetkom koju vrijeme postavlja
vodi je k istraživanju velikog raspona tehnoloških medija
jednako kao i održavanju snažne veze s tradicionalnijim
medijem litografije.
… The nature of time is the central element in the work of
Ingrid Ledent, and her manner of dealing with the conundrum it poses has led her to explore a wide range of technological mediums as well as maintaining a strong connection
with the more traditional medium of lithography.
Litografija je tehnika koja je privlačna perfekcionistima, ne
samo u tehničkim aspektima pripreme kamena nego i u
načinu na koji prijenos slike s kamena na podlogu (papir ili
neki drugi materijal) može biti kontroliran. Ledent perfekcionist, to je sigurno, ali ona još dodatno čitav proces od
samog koncepta rada do krajnje izvedbe shvaća jako ozbiljno. Rezultat njenih radnih metoda možda na prvi pogled
sliči tradicionalnoj grafici, ili je možda nešto sasvim drugo,
spajanje konceptualnog pristupa s ostalim medijima uključujući video, digitalnu umjetnost ili zvuk. U svakom slučaju
jedan stalan dio je snažna meditacija o prirodi ljudskog životnog vijeka.
Lithography is a technique that appeals to perfectionists,
not only in the technical aspects of the preparation of the
stone but also in the ways, which the transfer of the image
from the stone to the receiving surface (paper or other material) can be controlled. That Ledent is a perfectionist is certain, but in addition she takes the whole process from the
conception of the work to its final presentation very seriously. The outcome of her working methods may be something that at least initially resembles a traditional print, or
it may be something else entirely, merging her conceptual
approach with other mediums including video, digital art
or sound. In every case one constant element is powerful
meditation on the nature of the human lifespan.
Richard Noyce, Pisac, likovni kritičar
Predsjednik žirija MTG Krakow 2003, 2006, 2009
Richard Noyce, Writer, art critic
President of the Jury of MTG Krakow 2003, 2006, 2009
25

26. Ingrid Ledent, Belgija/Belgium
Tok svijesti/ Mindstream of Conciousness
Instalacija (litografija, video projekcija, litografija na Wenzhou papiru na drvenim kockama)/ Installation (lithographie on Zerkall,
video projection, lithography on Wenzhou paper mounted on wooden blocks)
107cm x 225cm - 255cm x 255cm x 2,5 cm
26

27. Ingrid Ledent,
Belgija/Belgium
Neprekinuti život
memorije koji prenosi
prošlost u sadašnjost IX/
The continuous living
of a memory which
proceeds the past into
the present IX
Litografija i
kompjuterski tisak/
Lithography and
computer print
300cm x 132cm
27

28. Ingrid Ledent, Belgija/Belgium
Vrtlog vremena/ Whirl of time
Litografija, kompjuterski tisak, projekcija, zvuk, Whenzou papir na drvenim kockama/
Lithography, computer print, projection, sound, Whenzou paper on the wooden blocks
Rad na zidu/The work on the wall: 100cm x 195cm
28

29. Ingrid Ledent, Belgija/Belgium
Slojevi u vremenu serija (A, B, C)/Layers in time series (A,B,C)
Litografija i kompjuterski tisak/Lithography and computer print
100cm x 195cm, 60cm x 186,5cm
29

30. ODABIR ŽIRIJA VI SPLITGRAPHIC 2013
JURY SELECTION VI SPLITGRAPHIC 2013
30

31. ODABIR ŽIRIJA VI Splitgraphic 2013
JURY SELECTION VI Splitgraphic 2013
IZBOR STUDENTSKIH RADOVA Splitgraphic 2013
STUDENT SELECTION Splitgraphic 2013
1. Manfred Egger, Austrija/Austria
2. Hugo U. Besard, Belgija
3. Ingrid Ledent, Belgija/Belgium
4. Lubomír Přibyl, Češka/Czech republic
5. Lauri Koppel, Estonija/Estonia
6. Juhani Järvinen, Finska/Finland
7. Nicolas Poignon, Francuska/France
8. Nevenka Arbanas, Hrvatska/Croatia
9. Jana Bonačić, Hrvatska/Croatia
10. oris Bućan, Hrvatska/Croatia
B
11. Edvin Dragičević, Hrvatska/Croatia
12. atarina Fabijanić, Hrvatska/Croatia
K
13. arinko Jelača, Hrvatska/Croatia
M
14. Duje Jurić, Hrvatska/Croatia
15. anja Jović, Hrvatska/Croatia
V
16. Igor Konjušak, Hrvatska/Croatia
17. Marija Kokeza Roginić, Hrvatska/Croatia
18. Kristina Restović, Hrvatska/Croatia
19. Nikola Skokandić, Hrvatska/Croatia
20. Iva Šarić, Hrvatska/Croatia
21. Ana Vivoda, Hrvatska/Croatia
22. Maja Zemunik – Mužinić, Hrvatska/Croatia
23. Masahiro Kasai, Japan
24. Tadataka Kudo, Japan
25. iwako Oso, Japan
M
26. omiyuki Sakuta, Japan
T
27. hristiaan Diedericks, Južna Afrika/South Africa
C
28. riar Craig, Kanada/Canada
B
29. oss Racine, Kanada/Canada
R
30. Janice Wong, Kanada/Canada
31. huan Chen, Kina/China
C
32. erman Noordermeer, Nizozemska/The Netherlands
H
33. Joanna Janowska-Augustyn, Poljska/Poland
34. rażyna Kulikowska – Antczak, Poljska/Poland
G
35. arta Lech, Poljska/Poland
M
36. ogdan Miga, Poljska/Poland
B
37. atalia Romaniuk, Poljska/Poland
N
38. ojciech Tylbor-Kubrakiewicz, Poljska/Poland
W
1. Samuil Georgiev
2. Koyuki Kazahaya
3. Zane Zlemeša
4. Fernando Montiel
5. Jasper Hoovers
6. Danijela Sušak
7. Tina Pavoković
8. Marija Knezić
9. Jožica Medle
10. anko Orač
J
11. Hanna Rozpara
12. anja Nikolić
S
13. amil Kocurek
K
14. aria Łukomska
M
15. iotr Skowron
P
16. tanislav Matsilevich
S
17. drianna Awdziejczyk
A
18. gata Zarzycka
A
19. amian Idzikowski
D
20. ebastian Grochocki
S
21. wa Mielczarek
E
31

32. 32

33. grupna
izložba
group
exhibition
33

34. Manfred Egger
Austrija/Austria
Ženski oblici II/Female forms II
Drvorez/Woodblock Print
36 x 47 cm
34

35. Hugo U. Besard, Belgija/Belgium
Prema boljem okolišu/Towards a Better Environment
Bakropis/Etching
110x75cm
35

36. Ingrid Ledent, Belgija/Belgium
Prolazak vremena I/Passage through Time I
Algrafija/Alugraphy
75 cm x 200 cm
36

37. Lubomír Přibyl,
Češka/Czech republic
Razvijanje/Evolvent
Reljef/Relief
112 x 85 cm
37

38. Lauri Koppel, Estonija/Estonia
Žuti klik/Yellow Click
Litografija/Lithography
69,5 x 99,5 cm
38

39. Juhani Järvinen, Finska/Finland
Sjećanje II/Memory II, Digitalni tisak/Digital print, 20 x 20 cm
39

40. Nicolas Poignon, Francuska/France
POSEBNA NAGRADA / SPECIAL AWARD
Mliječni put - Grad/Milky way - City
Linorez/Linocut
55 x 89 cm
40

41. Nevenka Arbanas, Hrvatska/Croatia
U potrazi za identitetom/ Searching for Identity
Akvatinta, bakropis/Aquatint, etching
48x62 cm
41

42. Jana Bonačić, Hrvatska/Croatia
Živo stanovanje/Vibrant Household, Bakropis/Etching, 29 x 21 cm
42

43. Boris Bućan, Hrvatska/Croatia
Dan kada je kiša padala naopako/Day When Rain Was Falling Backwards, Sitotisak/Silkscreen, 50x50 cm
43

44. Edvin Dragičević,
Hrvatska/Croatia
POSEBNA NAGRADA/
SPECIAL AWARD
Iluzija sigurnosti 2/
Illusion of Safety 2
Bakropis/Etching
100x70 cm
44

45. Katarina Fabijanić, Hrvatska/Croatia
NAGRADA ZA INVENTIVNOST U GRAFICI/AWARD FOR ORIGINALITY IN GRAPHIC ART
Preklapanja II/Overlapping II, Sitotisak/Silkscreen, 210x70x2cm
45

46. Marinko Jelača,
Hrvatska/Croatia
Spalatum
Linogravura/Linocut
50x50 cm
46

47. Duje Jurić, Hrvatska/Croatia
NAGRADA MIROSLAV ŠUTEJ/
MIROSLAV ŠUTEJ AWARD
Chip, Sitotisak/Silkscreen, 75x50 cm
47

48. Vanja Jović, Hrvatska/Croatia
Granice/Boundaries, Bakropis/Etching, 80 x 80 cm
48

49. Igor Konjušak, Hrvatska/Croatia
Crna kompozicija/Black Composition
Suha igla/Drypoint
43x101 cm
49

50. Marija Kokeza Roginić
Hrvatska/Croatia
Aqua alta
Akvatinta/Aquatint
49 x 23,8 cm
50

51. Kristina Restović
Hrvatska/Croatia
Tetovaža (Sailor Jerry/Adolf Loos)/
Tattoo (Sailor Jerry/Adolf Loos)
Akvatinta, suha igla/
Aquatint, drypoint, 55x40 cm
51

52. Ivan Kožarić
Hrvatska/Croatia
NAGRADA ZA ŽIVOTNO DJELO/
LIFETIME ACHIEVEMENT AWARD
Proljeće/Spring
Sitotisak/Silkscreen
50x70cm
52

53. Nikola Skokandić,
Hrvatska/Croatia
Zaotočeni/ Island Prisoners
Bakropis, akvatinta/
Etching, aquatint
50 x 35 cm
53

54. Iva Šarić, Hrvatska/Croatia
Handoffset CMY(K)
Linorez, pečat/Linocut, stamp, 360 x 360cm
54

55. Ana Vivoda, Hrvatska/Croatia
Tragovi/Traces
Suha igla/ Reservage, dry point
100 x 70 cm
55

56. Maja Zemunik – Mužinić,
Hrvatska/Croatia
Bez naziva / Untitled
Kombinira tehnika /
mixed media
65 x 93 cm
56

57. Masahiro Kasai, Japan
Molitva/La priere (Prayer)
Sitotisak/Silkscreen
55 x 80 cm
57

58. Tadataka Kudo, Japan
Grad 13-1 / Town13-1
Drvorez, kombinirana tehnika /
Woodcut, mixed media
70 × 50 cm
58

59. Miwako Oso, Japan
Zapetljano 13 / Tangled 13
Bakropis, akvatinta /
Etching Aquatint
50 x 40 cm
59

60. Tomiyuki Sakuta, Japan
POSEBNA NAGRADA/SPECIAL AWARD
5 žena /5 women
Intaglio
60.6 x 91 cm
60

61. Christiaan Diedericks, Južna Afrika/
South Africa
Šapat stabala / The Whisper of Trees
Linorez / Linocut
57,5 x 89,5 cm
61

62. Briar Craig, Kanada/Canada
Bough House
Sitotisak/Screenprint
107x72 cm
62

63. Ross Racine, Kanada/Canada
Centar perimetra / Perimeter Center
Digitalni crtež (inkjet otisak) / Digital
drawing (inkjet print)
90 x 120 cm
63

64. Janice Wong, Kanada / Canada
Putnikov prozor / Traveller’s Window
Uljna monotipija / Oil monotype
40,6 x 91,4 cm
64

65. Chuan Chen, Kina / China
Grad na vodi sretne pjesme zbog novog kanala • Sjećanje 1965. u mom snu 1/
Watertown Happy Songs over New Channel • Memory of 1965 in My Dream1
Reljef i sitotisak / Relief and silkscreen
86,6 x 101,6 cm
65

66. Herman Noordermeer, Nizozemska/The Netherlands
Izgubljena lica / Lost faces, Litografija / Lithography, 70 x 100 cm
66

67. Joanna Janowska-Augustyn, Poljska / Poland
Vanitas – Ples II / Vanitas - Dance II
Digitalni tisak / Digital print
70 x 140 cm
67

68. Grażyna Kulikowska – Antczak, Poljska/Poland
Između svjetla i sjene I/Between the light and the shadow I
Mezzotinta/Mezzotint
26x20cm
68

69. Marta Lech, Poljska/Poland
GRAND PRIX 2013
03.07
Linorez/Linocut, 62x92cm
69

70. Bogdan Miga, Poljska/Poland
Paravan I/Parawan I
Linorez/Linocut
46 x 192 cm
70

71. Natalia Romaniuk, Poljska/Poland
NAGRADA UMJETNIKA/ARTIST’S AWARD (ONLINE SPLITGRAPHIC)
De-rekonstrukcija identiteta 3/De-reconstruction of identity 3
Digitalni tisak/Digital print
110x73cm
71

72. Wojciech Tylbor-Kubrakiewicz, Poljska / Poland
Brana / Dam
Linorez s UV otiskom / Linocut with UV print
100 x 70 cm
72

73. studenti
students
73

74. Danijela Sušak
Život grada/ Life of the City
Kombinirana tehnika/Mixed media
70x100 cm
74

75. Fernando Montiel
Boyuyo
Litografija/Lithography
55,6x75,1 cm
75

76. Hanna Rozpara
Podmornice/Submarines
Litografija na drvu/Lithography on wood
107 x 79cm
76

77. Janko Orač
Krug/Circle
Suha igla/Drypoint
70x100 cm
77

78. Jasper Hoovers
Bez naslova/No title
Litografija/Lithography
53x37 cm
78

79. Jožica Medle
Visoka pjesma/High Song
Suha igla, reservage,
mezzotinta/Drypoint,
reservage, mezzotint
121x81,5 cm
79

80. Kamil Kocurek
Igraj igru Sjeverna Koreja/Play North Korea Game
Intaglio
89x50 cm
80

81. Koyuki Kazahaya
Mreškanje#3/Ripple#3
Suha igla, mezzotinta, chine colle/Drypoint, mezzotint, chine colle
70x100 cm
81

82. Maria Lukomska
Acedia II
Sitotisak/Silkscreen
204x100 cm
82

83. Marija Knezić
It was great
Digitalni tisak/ Digital print
70x100 cm
83

84. Samuil Georgiev
Dijete mora dio I/Sea Child part one
Linorez/Linocut
60x100 cm
84

85. Sanja Nikolić
Sveništa 1/Allnothing 1
Bakropis/Etching
49,5x 35 cm
85

86. Tina Pavoković
Bez naziva/Untitled
Bakropis/Etching
100x70 cm
86

87. Zane Zlemeša
Bez Naslova 2/Untitled 2
Karborund na bakru, chine colle/Carborundum on copper, chine colle
15x17 cm
87

88. nagrada
mladim
umjetnicima
young
artists
award
88

89. Adrianna Awdziejczyk
NAGRADA MLADIM UMJETNICIMA/YOUNG ARTISTS AWARD
Polarni dan/Polar day
Kombinirana tehnika/Mixed media
100x70cm
89

90. Agata Zarzycka
NAGRADA MLADIM UMJETNICIMA/YOUNG ARTISTS AWARD
Misao o pokretu – dio II/Thought about motion - part II
Linorez i serigrafija/Linocut and serigraphy
100x70 cm
90

91. Damian Idzikowski
NAGRADA MLADIM UMJETNICIMA/YOUNG ARTISTS AWARD
Bila jednom cipela/Once upon a shoe
Serigrafija i monotipija/Serigraphy and monotype
76x112 cm
91

92. Ewa Mielczarek
NAGRADA MLADIM UMJETNICIMA/YOUNG ARTISTS AWARD
Kompozicija I/Compostion I
Analogna fotografija, digitalni tisak/Analogue photography, digital print
70x100 cm
92

93. Piotr Skowron
NAGRADA MLADIM UMJETNICIMA/YOUNG ARTISTS AWARD
1029092011
Intaglio, serigrafija/Intaglio, serigraphy, 74x110 cm
93

94. Sebastian Grochocki
NAGRADA MLADIM UMJETNICIMA/YOUNG ARTISTS AWARD
Bardo of Phaeton
Linorez/Linocut, 86,5 x 64,3 cm
94

95. Stanislav Matsilevich
NAGRADA MLADIM UMJETNICIMA/YOUNG ARTISTS AWARD
Domestikacija/Domestication
Digitalni tisak/Digital print
200x400cm
95

96. Splitgraphic bijenale realiziran je uz potporu / Splitgraphic is supported by
Grad Split, Splitsko-dalmatinska županija, HULU Split, Turistička zajednica grada Splita
U suradnji / In collaboration with
HULU Split, Centar za kulturu Zlatna vrata, Sveučilišna knjižnica Split, Galerija umjetnina, Atelje Vasko Lipovac
Organizacija / Organisation
Kulturno umjetnička udruga Splitgrafik / Cultural Association Splitgraphic
Galerija Studio Naranča / Studio Naranča Gallery
Majstora Jurja 5, Split
www.splitgraphic.hr
splitgraphic@gmail.com
Direktor Splitgraphic bijenala / Director of Splitgraphic Biennial
Pavo Majić
Kordinator i kustos Splitgraphic bijenala / Splitgraphic Biennial coordinator and curator
Marina Majić
Savjetnik za Splitgraphic nagrade / Consultant Splitgraphic Awards
Šimun Šutej, umjetnik i voditelj fundacije Miroslav Šutej / artist and head of Miroslav Šutej foundation
Zahvale / Special thank you to
Mateo Perasović, Danijel Gudelj, Josip Botteri, Robert Matić, Obitelj Lipovac, Filip Kožarić
Vladimir Straža, Zoran Krželj, Helena Petrinović, Igor Novaković
Tajništvo i arhiva / Office and archives
Maja Mijač Majić
Prijevod / Translation
Marina Majić
Oblikovanje / Design
Pavo Majić
Grafika na naslovnici / Artwork
Damian Idzikowski
Fotografije / Photographs
Robert Matić
Ivan Willemyns (radovi Ingrid Ledent / Ingrid Ledent’s prints)
Medijski pokrovitelj / Media Partner
Slobodna Dalmacija
Web stranice / Web site
Dizajn studio Zebra
Tisak / Print
Dalmacija papir
2013.
96