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asim hebib retrospektiva
a retrospective
GALERIJA DULČIĆ MASLE PULITIKA / THE DULČIĆ MASLE PULITIKA GALLERY26. siječnja – 3. ožujka 2019. / January 26th – March 3rd, 2019
MUZEJ MIMARA / THE MIMARA MUSEUM4. srpnja – 25. kolovoza 2019. / July 4th – August 25th, 2019
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O kiparstvu Asima Hebiba
Dugu kiparsku liniju Asima Hebiba slijedimo kroz polu stoljetno razdoblje, dakle, od sredine 60-tih godina minuloga stoljeća, kao i u djelima datiranim u ovoj 2018. godini. Na ovu temporalnu komponentu u sagledavanju dosadašnjeg prijeđenoga kiparskoga puta valja skrenuti pozornost najviše stoga kako bismo apostrofirali autorovu stvaralačku vitalnost i time još jednom podvukli tu činjenicu kao njegovu značajnu sastavnicu. Naime, u ovoj kiparevoj značajki ne iščitavamo samo taj impresivni vremenski raspon unutar kojega je oblikovao djela već i sam stvaralački proces u njegovim mijenama, dakako, primarno onim kiparskim, u spoznajnoj percepciji medija, učvršćivanja klesarskog umijeća i usavršavanja kiparskog postupka, te, u raznovrsnosti motiva i različitosti materijala. U ovom retrospektivnom sažimanju kiparskoga opusa, dakle, od ovogodišnjeg datiranja djela kada već bilježimo konac drugog desetljeća 21. stoljeća pa do onih s kojima započinjemo čitanje Hebibova kiparstva datiranih u šestom desetljeću 20. stoljeća nastojali smo prikazati njegova kiparska obilježja u različitosti motiva i materijala. Također, recentnim izborom djela metodom sinteze težili smo precizirati upravo ta kiparska obilježja u kojima bismo razaznali tradicijske premise oblikovanja kao one zasade na kojima Hebib koncipira svoje kiparske forme. Time smo, vjerujemo, zornije predočili da je tradicijska matrica stvaralačko ishodište ovoga kiparstva, odnosno, ona pokretačka energija koja je determinirala sam kiparski postupak u njegovoj primarno ontičkoj utemeljenosti poentirajući i likovne vrijednosti djela.
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Isto tako, ovim izborom djela koncipirali smo izložbu s naglascima na onim formama u kojima se jasnije čitaju i autorske specifičnosti samog kiparskog postupka u nijansiranim inačicama produbljujući spoznaju o samom mediju i vlastitim kiparskim dosezima. Stoga se na izložbi pregledno iščitavaju rečene kipareve značajke i njihove evolucijske mijene počev od djela iz 1964. godine „Isprepletena tijela“ rađenoga u drvu, potom, “Majka i dijete“ iz 1985. oblikovane u bračkom kamenu, „Glava žene“, (2001.) od kvarcnoga žala, kamena i sedefa…i „Konavočice“ iz 1977. rađene u bračkom kamenu…“Okamenjena riba/Glava“ iz 2015. od granita… Čini se da možemo ustvrditi da je svoje kiparsko djelo Asim Habib izgrađivao u minulom razdoblju na velikoj europskoj kiparskoj baštini referirajući se na njezine vrijednosti. Gdjekad, izravnije, recikliranjem elemenata velikih stilskih slogova, primjerice romanike, ili pak, parafraziranjem portrtetnih
značajki iz znamenitog friza od ljudskih glava Šibenske katedrale s potpisom Jurja Dalmatinca koji je tu pučku sastavnicu uzvisio u renesansnu paradigmu. Ponegdje je rustikalnost diskursa oblikovana elementarnom snagom pučkog kiparskog naboja s popudbinom naivnog i rudimentarnog, ili je pak, primordijalnost njegova izraza prožela forma stećaka i kameni ulomci spomeničke plastike iz goleme klesarske baštine. Dakako, ovdje se iščitavaju i znatni unosi pojedinih snažnih kiparskih osobnosti koje su obilježile suvremenu hrvatsku i europsku kiparsku misao što samo učvršćuje Hebibovo kiparstvo i u sinkronijskom čitanju kao kultiviranu likovnu činjenicu. Još nam je napomenuti da Asim Hebib znalački koristi materijale kojima oblikuje kiparske forme poentirajući njihovu značenjsku vrijednost s rafiniranom osjećajnošću za boju i umnažajući simboličke i poetske konotacije vlastitoga likovnoga izraza.
Milan Bešlić
Isprepletena tijela, ciklus „Tijela, aktovi,
portreti“, 1961.
drvo orah, 79 cm x 12 cm x 11 cm
/ Intertwined Bodies, the series “Bodies,
Nudes, Portraits”, 1961
walnut, 79 cm x 12 cm x 11 cm
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Kipar Asim Hebib
Na gotovo nevidljivom obzoru postoje umjetnici i njihovi svjetovi za koje ovaj svijet s obale nije dovoljno izoštrio svoje dalekozore. Nije stoga niti malo zahvalna niti laka zadaća jednog takvog umjetnika izroniti iz dubine horizonta i prinijeti ga bliže kopnu kako bi svijet upoznao njegov rad.
Asim Hebib (Cernica, 1940.) u svojoj 78. godini izlaže u galeriji Dulčić Masle Pulitika u Dubrovniku djela iz brojnih svojih ciklusa nastalih u širokom rasponu od samih kiparskih početaka 1960.-ih do danas. Od sveukupno 36 izloženih djela čak polovica nikada nije izlagana. Iz bogate Asimove produkcije odabrane su skulpture iz jedanaest različitih ciklusa koje je tijekom života neumorno stvarao u Dubrovniku. Pišući o Sredozemlju i umjetničkoj produkciji naših krajeva akademik Tonko Maroević jednom je prilikom zapisao: „Na Sredozemlju je ostvarena jamačno najveća koncentracija kulturnih spomenika, okupljen nenadmašan broj mjesta poticajnih i izazovnih za stvaralačko hodočašće“. Hebib je iskonski upio sredozemnu, dubrovačku svjetlost koja je tako očito imala utjecaja na cjelokupni njegov opus.
Od njegove rane mladosti bilo je jasno da ga kiparstvo opčinja. Učio je najprije kod profesor likovnog u osnovnoj školi i akademskog kipara Ivana Mitrovića zvanog Pajo koji mu je dao prve smjernice iz kiparstva. Školovanje je nastavio kod talijanskog akademskog kipara Giovannija Colonne u Dubrovniku od 1957. do 1960. U tom je razdoblju stekao
Pogledi, ciklus „Tijela, aktovi, portreti“, 1963.
drvo orah, 87 cm x 15 cm x 12 cm
/ Views, the series “Bodies, Nudes,
Portraits”, 1963
walnut, 87 cm x 15 cm x 12 cm
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klesarsku i kiparsku naobrazbu. Colonna je bio veliki prijatelj Ivana Meštrovića čiji je rad iznimno cijenio. Na samom početku šezdesetih godina Hebib je počeo samostalno raditi na svojim prvim kiparskim ostvarenjima, ali je paralelno, tijekom dugog niza godina nastavio surađivati s Colonnom na raznim projektima. Jedan od većih projekata na kojima je bio suradnik je projekt groblja u Mostaru na Bijelom Brijegu čuvenog arhitekta Bogdana Bogdanovića na kojem je bio zadužen za izradu jednog dijela monumentalnih simboličkih reljefa na centralnom zidu u vrhu groblja (prizori svemira, zviježđa, sunca…).
Četiri samostalne izložbe koje je imao u Dubrovniku (1995., 2000., 2001. i 2011.) uz brojne skupne na kojima je izlagao omogućile su publici da prodre u njegov umjetnički univerzum. Međutim, sve do trenutka realizacije njegove prve velike dubrovačke retrospektive nastale na poticaj ravnatelja Umjetničke galerije Dubrovnik Marina Ivanovića, a koja će po svom završetku biti prikazana u zagrebačkoj Mimari, Asim Hebib nije istovremeno izložio toliko različitih dijela iz različitih ciklusa.
„Atelijer Hebib“ otvoren 1963. u Dubrovniku otkriva mladenačke početke, najranije cikluse aktova, portreta i tijela rađenih u drvetu, gipsu, terakoti i kamenu. Zatim skulptura posvećenih obitelji, ljubavi, ženi (koju diže na pijedestal), majci i djetetu što ga usmjerava na izrađivanje portreta (portreti supruge, kćeri, prijatelja i brojnih drugih osoba iz njegova života). Nakon portreta umjetnik se posvećuje pejzažu, jedrima, vjetru, moru, suncu, valovima, odmoru, delfinima i pticama iz čega prirodno proizlazi sljedeći ciklus nazvan „Igre žala“. Potaknut ratnim nevoljama dao je svoj obol tim teškim vremenima u kojima je ciklusom „Ratne patnje“
izrazio svoj bolni krik u kamenu. Na ratna stradanja nadovezuje se ciklus „Buđenja“ posvećen buđenju prirode, rađanju i snazi života. Slijede izdužene forme u ciklus „Aktovi“ koji prethodi „Ritmovima života“. Nemiri, smiraj i prolaznost života zaokupljuju Asima u zrelim kiparskim godinama što se očituje u serijama „Izdužena tijela“ te „Vjetrovi budućnosti“. Ciklus na kojem je kipar radio posljednjih godina nazvan „Novi pogledi“ jedinstven je po tematici, formi ali i kombiniranim kiparskim materijalima.
Hebib je ove mnogobrojne kiparske cikluse ostvario u bračkom kamenu, mramoru, kvarcnom kamenu, drvetu, gipsu, terakoti i bronci. Osim Bračkog kamena i mramora koje koristi od samih početka pa sve do danas njegovo stvaralaštvo obilježila je uporaba vrijednog materijala zvanog kvarcni kamen (ili kako ga umjetnik naziva „kvarcni žal“) kojeg je pronalazio u dubrovačkim plažama i sam ga birao za svoje skulpture. Riječ je o materijalu vrlo zahtjevnom za oblikovanje čiji osebujan i tvrdoglav karakter umjetnik na poseban način ćuti. Književnik Mato Jerinić 2001. godine u predgovoru Hebibove izložbe „Igra žala“ nazvao je kvarcni žal „biserom kojemu je more podarilo boju i dušu i dijelom ga oblikovalo“.
Tekstura mora 1, ciklus „Ritmovi života“,
2010.
brački kamen, mramor iz Verone, 66 cm x
20 cm x 22 cm
/ Texture of the Sea 1, the series “Rhythms of
Life”, 2010
Brač stone, marble from Verona, 66 cm x
20 cm x 22 cm
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Putovanje, ciklus „Ritmovi života“, 2011.
brački kamen, mramor iz Verone,
75 cm x 15 cm x 15 cm
/ Journey, the series “Rhythms of Life”, 2011.
Brač stone, marble from Verona,
75 cm x 15 cm x 15 cm
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Sve nabrojene teme kao i njihova ostvarenja neosporan su dokaz da se Hebib kao umjetnik razvijao u iznimno povlaštenim uvjetima, u prostorima i ambijentima što su pogodovali njegovu formiranju i pridonosili otvaranju estetičkih vidika. Taj specifični dubrovački, odnosno mediteranski genius loci, činio je svoje pa se umjetnik uvijek iznova nadahnjivao svojim Dubrovnikom kojem se u svom stvaralaštvu često vraćao.
Najraniji radovi prikazani na izložbi sežu u same umjetnikove početke. Jedine dvije drvene skulpture na ovoj izložbi, „Isprepletena tijela“ i „Pogledi“ izdužene su forme izrađene od tamnijeg i svjetlijeg orahova drva koje je posve drugačije obradio pa se na prvi pogled čini da su načinjeni od različitog materijala. U svojoj apstraktnoj pojavnosti podsjećaju na drvene figure primitivnih civilizacija. Njihova će varijacija „Ritmovi života“ u kamenu nastati 2007. i 2008. godine. Izduženi, tanki oblici („Tekstura mora 1“, „Tekstura mora 2“ i „Putovanje“) kvadratnog presjeka na postoljima kao reperi nekog imaginarnog prostora prizivaju svojim plitko ispupčenim reljefima nepravilne arabeske naboranih valova i izvitoperenih vjetrova. U pjesmi „More“ Drago Ivanišević je motiv mora i vjetra spojio stihovima:
„Biti ziban
Ziban
U sebi otvoren
otvorena rana
za svaki bodež.
Otvoren svim vjetrovima…“
Elegancija ovih „stupića“ doziva u sjećanje čempresatu dubrovačkog krajolika. Finoća
Asimove kamene linije posebno dolazi do izražaja u geometriziranim skulpturama „Obrisi u noći“, „Linija života 2“ i „Dvoje/Izdužene forme“ iz iste serije. Njihova je površina gotovo posve zaglađena. Tanka linija koja u svileno nježnom naboru prelazi tijelima ovih skulptura dodatno ističe njihovu izduženost pojačavajući vizualni dojam suptilne zakrivljenosti. Na skulpturi „Dvoje/Izdužene forme“ to je zapravo linija kojom se zapunila praznina između dva apstraktna tijela povezana u jedno. Drugačije je i obrađena, hrapavija je i time pojačava dojam razbijanja cjeline materičnošću detalja. Jedina skulptura u crnom mramoru prikazana na ovoj izložbi je skulptura „Obrisi u noći“ kojoj i samo ime nagovješćuje tamniju vanjštinu. Pišući o Hebibovim „Ritmovima života“ koje je 2011. izložio u Sponzi, povjesničar Vinicije B. Lupis je istaknuo da „plošne reljefne skulpture ovog ciklusa mogu biti slobodno stojeći kipovi, ali i aplicirani reljefi na nekoj suvremenoj građevini…“
Stilizirana skulptura „Konavočica“ (ciklus „Moj Grad“) čiji su udovi sabijeni u nošnju, a glavu joj krasi oglavlje u obliku pravokutnika što je pojednostavnjena umjetnikova verzija razgranatog konavoskog ubručića nastala je 1977. Svojim je oblikom mogla poslužiti kao polazište duguljastim „Ritmovima života“. Poveznica ovih radova s organičkim, poetiziranim svođenjem forme na samu bit u europskim razmjerima nadovezuje se bez sumnje na liričnost Brancusijeve „Ptice“. U domaćim se pak prilikama djela iz serija „Majka i dijete“, „Mediteran“ i „Igre žala“ može stilski povezati s elegantnim redukcijama Vojina Bakića („Glava“, „Bik“, „Torzo žene“). Na govor o redukciji forme sasvim se prirodno nadovezuju radovi iz ciklusa „Forme u žalu I“ koji nastaje tijekom jednog desetljeća – između 1990. i
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2000. godine. Djela nazvana „Snaga“, „Bik“ i „U sjeni“ čisti su, stakleno glatki oblici koji prestaju biti aluzije i postaju metafore jer ih jedino uz pomoć naziva možemo povezati sa značenjem kojima im je umjetnik utisnuo. „Snaga“ i „Bik“ se izdvajaju i svojom neobičnim prelijevanjem nijansi kvarcnog kamena koje se pojavljuju u rasponu od bež, preko žućkastih do smeđih tonova koje mjestimice izgledaju kao da su godovi nekog starog panja. U tim istim devedesetima Hebib mrvicu manje metaforički (ali i dalje krajnje stilizirano i minimalistički) prikazuje „Igru delfina“ i „Kokota“ kojima nastavlja njegovati tečnost i zaglađenost oble forme jednako kao što to radi u temi majke i djeteta kojom se od 1985. često vraćao. Blagost i brižnost obiteljskog čovjeka očituje se u nježnim, podatnim zagrljajima, utočištima svih znanih i neznanih čovjekovih boli i tegoba.
S druge strane, umjetnik započinje sredinom devedesetih jedan od recentnijih ciklusa „Portreti u kvarcnom kamenu“ istovremeno radeći i na najnovijem ciklusu „Novi pogledi“ kojim otkriva da itekako poznaje, doduše do tada skriven, robustan i nezaglađen kiparski vokabular. „Glava žene“ i „Indijanka“ načinjeni u kvarcnom kamena kao i „Pogled iz kamena“ i granitna „Okamenjena riba/Glava“ kao da su nastali iz dlijeta nekog drugog kipara. Detalji njihove grube obrade, plitko urezane linije kojima su detalji vrlo plošno naznačeni te sveukupni dojam ukočenosti prizivaju u sjećanje sitnu plastiku s kapitela i portala romaničkih katedrala.
Na samom kraju gleda nas „Promatrač“ nastao 2018. godine. Sva se njegova figura zbila u oblutak postavljen na tanki držač od mesinga postavljen na trokutastu bazu koja daje skulpturi potrebnu stabilnost. Dva velika Promatračeva
oka, linearno naglašene obrve koje se spajaju s linijom špicastog nosa sumnjičavo gledaju prema onome koji uzvraća pogled. Prema Lacanovoj teoriji pogleda predmeti nas gledaju kao što mi gledamo njih. Ono što se nalazi na nekom umjetničkom djelu nije pogled objekta već pogled subjekta, odnosno umjetnika koji gleda kroz određeni materijal.
Neki se umjetnici razvijaju u stalnom kontaktu s publikom, dok ovi drugi u posvemašnjoj tišini rade, napreduju i izazivaju sami sebe. Neprestano radeći na svom kiparskom izričaju Asim Hebib uspostavio je vlastiti umjetnički svijet kojega danas s entuzijazmom valoriziramo kako bismo ga izazvali na plodan nastavak djelovanja u njegovoj zreloj dobi, ali i kako bismo upozorili publiku na postojanje jedinstvenog opusa ovog romantika i poete izronjenog iz kamena. Sklad čovjeka i prirode te nevjerojatan mir kojim zrači Hebibov opus karakteristike su koje pozivaju na uživanje u plemenitosti rada ovog iskonskog dubrovačkog kipara. Vječne i neprolazne vrijednosti poput obitelji, zavičaja, ljepote prirode i baštine njegov opus čine vrijednim svake naše pažnje. Osim toga, zahvaljujući njegovom istaknutom umijeću kojim oblikuje forme možemo ga uvrstiti u pregled dubrovačkog, hrvatskog, pa i šireg geografskog konteksta koji itekako zaslužuje mjesto među istaknutim kiparskim osobnostima. Na koncu, kiparstvo Asima Hebiba posve je ispravno shvatiti kao ostvarenja njegovog sublimiranog intimnog dnevnika koji se ovom prilikom velikodušno i nepretenciozno otvorio svojoj staroj i što je još važnije – novoj publici.
Anita Ruso
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Tekstura mora 2, ciklus „Ritmovi života“, 2008.
brački kamen, mramor iz Verone, 48 cm x 14 cm x 14 cm
/ Texture of the Sea 2, the series “Rhythms of Life”, 2008
Brač stone, marble from Verona, 48 cm x 14 cm x 14 cm
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We have followed the long line that Asim Hebib’s sculpture has taken over the period of half a century, from the mid-1960s to works dated 2018. It is worth drawing attention to the time component in a survey of the path taken previously by this sculptor mostly so that we can refer to the author’s creative vitality and accordingly once again underline this fact as a vital feature. In this characteristic of the sculptor we see bit only the impressive temporal span within which he has formed his works but also the actual creative process in its changes, primarily sculptural changes, in the cognitive perception of the medium, the strengthening of stone carving skills and the perfection of the sculptural procedure, as well as in the diversity of motifs and materials.
In this retrospective summation of the sculptural oeuvre, from works dated in this year, when we are already marking the end of the second decade of the 21st century, to those with which we start the reading of Hebib’s sculpture dated in the seventh decade of the 20th century, we have endeavoured to depict his sculptural creatures in something of the diversity of their motifs and materials. With a recent selection of works, by the method of synthesis, we have aimed at making clear precisely those sculptural features in which we can discern the traditional premises of rendering shape as those principles on which Hebib conceives his sculptural forms. We have accordingly, we believe, vividly shown that the traditional matrix is the creative point of
The Sculpture of Asim Hebib
Obrisi u noći, ciklus „Ritmovi života“,
2008.
crni mramor, 50 cm x 13 cm x 10,5 cm
/ Contours in the Night, the series
“Rhythms of Life”, 2008
black marble, 50 cm x 13 cm x 10.5 cm
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departure of this sculpture, is the driving energy that determined the actual sculptural procedure in its primary ontic foundation, pointing up the visual values of the work as well. Similarly, in this selection of works we have conceived an exhibition with emphases on those forms in which the creative specificities of the sculptural procedure can be read the more clearly in their nuanced variations, making more profound the knowledge of the actual medium and the artist’s own sculptural achievements. Thus at the exhibition a legible view is given of these sculptural features and their evolutionary changes, starting off from a work of 1964, Intertwined bodies, done in wood, followed by Mother and child of 1985 in Brač stone, Head of a woman of 2001 of quartz stone, stone and mother of pearl, and Konavle girl of 1977, done in Brač stone and leading up to Petrified fish / Head of 2015 made out of granite.
It seems that we can aver that Asim Hebib developed his sculptural work in the period to date upon the foundation of the great European cultural heritage, with references to its values that sometimes include rather direct recycling of elements of large stylistic complexes, for
example the Romanesque, or by rephrasing the portrait features of the celebrated frieze of human heads on Šibenik Cathedral signed by George of Dalmatia, who elevated this vernacular component into a Renaissance paradigm. In some cases the rustic nature of the discourse is rendered through the elementary strength of the vernacular sculptural charge with its inevitable accompaniment of the naïve and the rudimentary; or else, the primordial expression has been permeated by the form of the stechak or the stone fragments of monumental architectural decoration from the vast heritage of stone cutting. Here, then, the considerable inputs of individual powerful sculptural personalities can be seen, those that have set a stamp on contemporary Croatian and European sculptural thinking, only reinforcing the position of Hebib‘s sculpture in a synchronic reading as well as its value as a cultivated visual fact. Further needing to be noted is that Asim Hebib has dexterously used the materials with which he shapes his sculptural forms, pointing up their semantic value with a refined feeling for colour and multiplying the symbolic and poetic connotations of his visual idiom.
Milan Bešlić
Linija života 2, ciklus „Izdužene forme“, 2007.
mramor, 76 cm x 15 cm x 12 cm
/ Line of Life 2, the series “Elongated
Forms”, 2007
marble, 76 cm x 15 cm x 12 cm
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Asim Hebib: Sculptor
On the almost invisible line of the horizon there are artists and their worlds on which this world on the shore has not focused its binoculars well enough to see. And so the task of dragging such an artist up from the depths of the horizon and pulling him close to the landmass for the world to become aware of his work is neither easy nor very rewarding.
Asim Hebib (Cernica, 1940), is, now in his seventy-eighth, year exhibiting in the Dulčić Masle Pulitika Gallery in Dubrovnik works from numerous series of pieces created over a broad span that stretches from his very beginnings in sculpture in the 1960s to the present day. Of the all-told thirty-six works on show, fully a half of them have never been exhibited. From his ample production, sculptures have been selected from eleven different cycles, created tirelessly during his lifetime in Dubrovnik. Writing of the Mediterranean and the artistic production of our regions, Academician Tonko Maroević once wrote: “What must be the greatest ever concentration of cultural monuments has been produced on the Mediterranean, an unequalled number of places that urge to and provoke creative pilgrimages have been brought together”. Hebib has authentically absorbed the light of the Mediterranean, of Dubrovnik, for it has clearly had an influence on the whole of his oeuvre.
From his early youth it was clear that he was fascinated by sculpture. He studied it first of all with his elementary school teacher, the academy-trained sculptor Ivan Mitrović, known as Pajo, who gave him his first guidelines in the art. He continued
Konavočica, ciklus „Moj Grad“, 1977.
brački kamen, 45 cm x 12 cm x 12 cm
/ Konavle Girl, the series “My City”, 1977
Brač stone, 45 cm x 12 cm x 12 cm
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his education with the Italian academy-educated sculptor Giovanni Colonna in Dubrovnik from 1957 to 1960. In this period he acquired an education in sculpture and stonecutting. Colonna was a big friend of Ivan Meštrović, whose work he rated very highly. At the very beginning of the 1960s, Hebib started working independently on his first pieces of sculpture, but in parallel, for many a long year, he went on working with Colonna on various projects. One of the biggest in which he assisted was that for the cemetery at Bijeli Brijeg in Mostar by the famed architect Bogdan Bogdanović; Hebib was charged with making the monumental symbolic reliefs placed on the central wall at the top of the cemetery (scenes of space, constellations and suns). For a full three years, he worked on a project that was subsequently destroyed.
The four solo exhibitions that he has had in Dubrovnik (1995, 2000, 2001 and 2011), along with the many collective shows at which his work has been featured, have allowed the public to get into his artistic universe. But right up to the moment of the production of his first big Dubrovnik retrospective, put on at the prompting of the director of the Museum of Modern Art in Dubrovnik, Marin Ivanović, which will transfer after its closure to the Mimara Museum in Zagreb, Asim Hebib had never before put on show at one time so many different works from so many diverse series or cycles.
The Hebib Studio, opened in Dubrovnik in 1963, reveals the youthful beginnings, the earliest cycles of life studies, portraits and bodies done in wood, plaster, terracotta and stone; sculptures dedicated to family, love, woman (whom he places on a pedestal), mother
and child that direct him to the making of portraits (of his wife, daughter, friends and many other persons from his life). After the portrait, this artist devoted himself to landscape, sails, wind, sun, sea, waves, relaxation, dolphins and birds, from which naturally derive the following cycle called “Games of the Strand”. Prompted by the woes of the war, he contributed his mite to these difficult times, uttering in the cycle “Wartime Sufferings” a cry of pain in stone. Going on from the casualties and losses of war is the cycle “Awakening”, dedicated to the awakening of nature, to birth and the power of life. After that come elongated form in the cycle “Nudes”, which precedes “Rhythms of Life”. Disquiets, then composure and the transience of life occupied Asim in his ripe sculptural years, as seen in the series “Elongated Bodies” and “Winds of the Future”. The series on which the sculptor has been working in recent years called “New Views” is unique in terms of theme, form and the combined sculptural materials.
Hebib has produced these very many series of sculptures in Brač stone, in marble, quartz, wood, plaster, terracotta and bronze. Apart from Brač stone and marble, which he has used from the very beginnings, until this very day, his work has been particularly characterised by the use of the valuable material called quartz stone (or as he calls it, quartz cobble), which he has found on the beaches of Dubrovnik and selected for his sculptures. This is a material that is very difficult to work, the artist sensing its idiosyncratic and intractable character in a special manner. In 2001 the writer Mato Jerinić in a foreword to the Hebib exhibition “Play of Cobbles” called quartz stone “a pearl to which the sea has imparted colour and spirit and has partially formed”.
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Dvoje / izdužene forme, ciklus „Ritmovi života“, 2007.
brački kamen, 65,5 cm x 13 cm x 12 cm
/ Twain / Elongated Forms, the series “Rhythms of Life”, 2007
Brač stone, 65.5 cm x 13 cm x 12 cm
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All these themes, and their productions, are an incontestable proof that as artist Hebib has developed in exceptionally privileged conditions, in spaces and settings that have aided in his formation and contributed to the opening up of his aesthetic viewpoints. This specifically Mediterranean, Dubrovnikan, genius loci has had its effect, and the artist has constantly been refreshed, again and again, by his own Dubrovnik to which in his art he has so often returned.
The earliest works shown at the exhibition go back to the artist’s very beginnings. The only two wooden sculptures at the show, Intertwined Bodies and Views are elongated forms made of darker and lighter walnut, completely differently worked, so that at first glance they seem to have been made from different substances. In their abstract manifestation they recall the wooden figures of primitive civilisations. Variations of them in “Rhythms of life” in stone were created in 2007 and 2008. Slender, elongated forms (Texture of the Sea 1 and Texture of the Sea 2 and Journey) of square cross section on plinths like vantage points of some imaginary space invoke with their mildly convex reliefs the irregular arabesques of wrinkled waves and tortuous winds. In the poem Sea Drago Ivanišević combined the sea and the wind motif in the verses:
To be rocked
Rocked
Open in self
an open wound
for every dagger.
Open to all the winds.
The elegance of these columns calls to mind the cypress stands of the Dubrovnik landscape. The refinement of Asim’s stone line comes out in particular in geometrically treated sculptures, Contours in the night, Line of Life 2 and Twain / Elongated Forms from the same series. Their surface is almost completely polished. The slender line that in the silkenly tender fold passes over the bodies of these sculptures additionally brings out their elongation, enhancing the visual impression of subtle curvilinearity. On the sculpture Twain / Elongated Forms this is in fact a line with which the void between two abstract bodies linked into one is filled. It is differently worked, rougher, thus enhancing the impression of breaking up the whole with the materiality of the detail. The only sculpture in black marble shown at this exhibition is the sculpture Contours in the night, the very name of which adumbrates the darker exterior. Writing of Hebib’s “Rhythms of Life”, shown in the Sponza in 2011, historian Vinicije B. Lupis pointed out that the “flat relief sculptures of this cycle can be freestanding sculptures, but also reliefs appliquéd onto some contemporary building”.
The stylised sculpture Konavle Girl (the cycle “My City”), whose limbs are compressed in their traditional attire, whose head is graced by a headpiece in the form of a rectangle, a
Ženski aktovi, ciklus „Aktovi“, 2002.
brački kamen, 67 cm x 10 cm x 9 cm
/ Female Nudes, the series “Nudes”, 2002
Brač stone, 67 cm x 10 cm x 9 cm
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simplified, artistic version of the ramified Konavle head square, was created in 1977. In its form it could have served as the point of origin for the long “Rhythms of life”. The connection of these works with organic, poeticised reduction of form to the very essence in European terms is following on without a doubt from the lyricism of Brancusi’s Birds. In local conditions, the works from the series “Mother and Child” “Mediterranean” and “Games of the Strand” can be linked stylistically with the elegant reductions of Vojin Bakić (Head, Bull, Torso of a Woman). Talk of reduction of form naturally leads on to works from the series “Forms in the strand I” which were created during a decade, between 1990 and 2000. The works entitled Strength, Bull and In the Shadow are pure, glass-smooth forms that cease to be allusions and turn into metaphors, for only with the help of the title can we link them with the meaning that the artist has packed into them. Strength and Bull also stand out with their uncommon iridescence of the nuances of quartz stone that appear in a range from beige via yellow to browns, looking in places for all the world as if they were the knots in some old tree stump. In the same decade, the nineties, Hebib shows a tad less metaphorically (but still with extreme stylisation and minimalism) Game of dolphins and Cock, with which he continues to cultivate the fluidity and smoothness of the round form, just as he does in the theme of mother and child, to which since 1985 he has often returned. The tender care of the family man is manifested in the gentle supple embraces, the refuges of all known and unknown human pains and anxieties.
On the other hand, in the middle of the nineties, he started one of the more recent series, “Portraits in quartz stone” working at the
same time on the most recent series, “New views” in which he shows that he knows very well indeed, although hidden until that time, a more robust and less polished sculptural vocabulary. Head of a woman and Indian woman, done in quartz stone, and View from stone and the granite Petrified fish / Head seem to have issued from the chisel of some other sculptor. The details of their rough working, the shallowly incised lines in which the details are indicated very flatly and the overall impression of stiffness recall to memory the small sculptural decorations from the capitals and portals of Romanesque cathedrals.
At the very end, Observer, 2018, looks at us. The whole of this figure is compacted into a cobble placed on a slender holder of brass placed on a triangular base that gives the sculpture the needful stability. The two big eyes of the Observer, the linearly emphatic eyebrows that are joined with the line of the pointed nose look suspiciously at those who return the gaze. According to Lacan’s theory, objects look at us as we look at them. What is in some artistic work is not the look of the object, but the look of the subject, that is, of the artist, who looks through the given material.
Some artists develop in constant contact with the public, while others work in an all embracing silence, making progress from their own self-provocation. Constantly working on his sculptural idiom, Asim Hebib has established his own art world that we can today put with enthusiasm a proper value upon, to cheer him on to a fertile continuation of his work in his maturity, and to draw the attention of the public to the existence of the unique oeuvre of this romantic, this poet that has welled up from the stone. The harmony of man
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and nature, the incredible peace that Hebib’s oeuvre gives off, are characteristics that call upon us to revel in the generosity of the work of this primal Dubrovnik sculptor. Lasting and non-transient values like family, homeland, beauty of nature and beauty of the heritage make his work worth of all our attention. Apart from that, thanks to the conspicuous artistry with which he renders form, we can put him into any survey of the context of Dubrovnik, Croatia and further afield, in which he is well deserving of a place among leading sculptural personalities. At the end, the sculpture of Asim Hebib can very justly be understood as the embodiment of his sublimated private diary, which on this occasion he has both generously and yet unpretentiously laid open to his old and, more importantly, to his new public.
Anita Ruso
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Strujanje, ciklus „Ritmovi života“, 2011.
brački kamen, 59 cm x 24 cm x 14 cm
/ Flowing, the series “Rhythms of Life”, 2011
Brač stone, 59 cm x 24 cm x 14 cm
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Kokot, ciklus „Buđenje“, 2000.
brački kamen, 35 cm x 25 cm x 10 cm
/ Cock, the series “Awakening”, 2000
Brač stone, 35 cm x 25 cm x 10 cm
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Igra delfina, ciklus „Mediteran“, 1995.
brački kamen, 62 cm x 18 cm x 12,5 cm
/ Dolphin Play, the series “Mediterranean”, 1995
Brač stone, 62 cm x 18 cm x 12.5 cm
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Snaga majčinstva 1, ciklus „Majka i dijete“, 1990.
kvarcni kamen, 41 cm x 13 cm x 26 cm
/ Strength of Motherhood 1, the series “Mother
and Child”, 1990
quartz stone, 41 cm x 13 cm x 26 cm
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Odmor, ciklus „Mediteran“, 1996.
brački kamen, 29,5 cm x 10,5 cm x 17 cm
/ Rest, the series “Mediterranean”, 1996
Brač stone, 29.5 cm x 10.5 cm x 17 cm
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Majka i dijete 1, ciklus „Majka i dijete“, 1985.
brački kamen, 47 cm x 11 cm x 17 cm
/ Mother and Child 1, the series “Mother and Child”, 1985
Brač stone, 47 cm x 11 cm x 17 cm
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Glava žene, ciklus „Portreti u kvarcnom kamenu“, 2001.
kvarcni kamen, 17 cm x 23 cm x 14 cm
/ Head of a Woman, the series “Portraits in Quartz Stone”, 2001
quartz stone, 17 cm x 23 cm x 14 cm
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Pogled iz kamena, ciklus „Novi pogledi“, 2016.
mramor, granit, 27 cm x 23 cm x 15,5 cm
/ View from Stone, the series “New Views”, 2016
marble, granite, 27 cm x 23 cm x 15.5 cm
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Okamenjena riba / Glava, ciklus „Novi pogledi“, 2015.
mramor, granit, 26 cm x 21 cm x 28 cm
/ Petrified Fish / Head, the series “New Views”, 2015
marble, granite, 26 cm x 21 cm x 28 cm
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Indijanka, ciklus „Novi pogledi“, 2013.
brački kamen, kvarcni kamen, 25 cm x 20 cm x 11,5 cm
/ Indian Woman, the series “New Views”, 2013
Brač stone, quartz stone, 25 cm x 20 cm x 11.5 cm
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Promatrač, ciklus „Novi pogledi“, 2018.
brački kamen, željezo mesing, kvarcni
kamen, 28 cm x 20,5 cm x 14 cm
/ Observer, the series “New Views”, 2018
Brač stone, iron, brass, quartz stone,
28 cm x 20.5 cm x 14 cm
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Majka i dijete 2, ciklus „Forme u žalu I.“, 1995.
kvarcni kamen, 24 cm x 16,5 cm x 12 cm
/ Mother and Child 2, the series “Forms in
the Cobble I”, 1995
quartz stone, 24 cm x 16.5 cm x 12 cm
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Sirena, ciklus „Forme u žalu I.“ 2001.
kvarcni kamen, 28 cm x 24 cm x 11 cm
/ Siren, the series “Forms in the Cobble I” 2001
quartz stone, 28 cm x 24 cm x 11 cm
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Ljubav II., ciklus „Forme u žalu I“, 1999.
kvarcni kamen, 27 cm x 26 cm x 21,5 cm
/ Love II, the series “Forms in the Cobble I”, 1999.
quartz stone, 27 cm x 26 cm x 21.5 cm
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Forma, ciklus „Forme u žalu I.“, 1999.
kvarcni kamen 24 cm x 21 cm x 11 cm
/ Form, the series “Forms in the Cobble I”, 1999
quartz stone 24 cm x 21cm x 11 cm
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Forma 2, ciklus „Forme u žalu I.“, 1994
kvarcni kamen, 19 cm x 21 cm x 13,5 cm
/ Form 2, the series “Forms in the Cobble I”, 1994
quartz stone, 19 cm x 21 cm x 13.5 cm
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Ljubav I., ciklus „Forme u žalu I.“, 1999.
kvarcni kamen, 21 cm x 13 cm x 26 cm
/ Love I, the series “Forms in the Cobble I”, 1999
quartz stone, 21 cm x 13 cm x 26 cm
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Snaga, ciklus „Forme u žalu I.“, 2000.
kvarcni kamen, 17 cm x 21 cm x 12 cm
/ Strength, the series “Forms in the Cobble I”, 2000
quartz stone, 17 cm x 21 cm x 12 cm
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Leda, ciklus „Forme u žalu I.“, 1990.
kvarcni kamen, 18 cm x 30 cm x 13 cm
/ Leda, the series “Forms in the Cobble I”, 1990
quartz stone, 18 cm x 30 cm x 13 cm
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Jedra-Snaga vjetra, ciklus „Forme u žalu I.“, 2001.
kvarcni kamen, 41 cm x 13 cm x 26 cm
/ Sails – Strength of the Wind the series “Forms
in the Cobble I”, 2001
quartz stone, 41 cm x 13 cm x 26 cm
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Zamišljeno lice, ciklus „Forme u žalu I.“, 2000.
kvarcni kamen, 24 cm x 14 cm x 22cm
/ Pensive Face, the series “Forms in the Cobble I”, 2000
quartz stone, 24 cm x 14 cm x 22cm
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Bik, ciklus „Forme u žalu I.“, 1996.
kvarcni kamen i bronca, 23 cm x 22,5 cm x 20 cm
/ Bull, the series “Forms in the Cobble I”, 1996
quartz stone and bronze, 23 cm x 22.5 cm x 20 cm
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Forma, ciklus „Forme u žalu I.“, 2001.
kvarcni kamen, 23 cm x 22,5 cm x 10,5 cm
/ Form, the series “Forms in the Cobble I”, 2001
quartz stone, 23 cm x 22.5 cm x 10.5 cm
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U sjeni, ciklus „Ritmovi života“, 2010.
brački kamen, 76,5 cm x 17 cm x 22,5 cm
/ In the Shadow, the series “Rhythms of life”, 2010
Brač stone, 76.5 cm x 17 cm x 22.5 cm
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Majka i dijete 3, ciklus „Forme u žalu I.“, 1999.
kvarcni kamen, 20,5cm x 31 cm x 17 cm
/ Mother and Child 3, the series “Forms in
the Cobble I”, 1999
quartz stone, 20.5cm x 31 cm x 17 cm
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Forma 3, ciklus „Forme u žalu I.“, 1999.
kvarcni kamen, 16,5 cm x 20,5 cm x 11 cm
/ Forms 3, the series “Forms in the Cobble I”, 1999
quartz stone, 16.5 cm x 20.5 cm x 11 cm
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ASIM HEBIB
Asim Hebib rođen je 1940. u Cernici. Prve smjernice iz kiparstva daje mu profesor likovnog u osnovnoj školi, akademski kipar Ivan Mitrović (Pajo). U razdoblju od 1957. do 1960. školuje se kod talijanskog akademskog kipara Giovannija Colonne u Dubrovniku gdje je stekao klesarsku i kiparsku naobrazbu. Nakon školovanja Asim Hebib na početku šezdesetih godina 20. stoljeća počinje samostalno stvarati svoje prve kiparske radove te paralelno surađuje dugi niz godina s Giovannijem Colonnom na raznim projektima.
Sudjelovao je i na projektu Spomen-groblja u Mostaru arhitekta Bogdana Bogdanovića gdje je u razdoblju od tri godine bio zadužen za izradu jednog dijela monumentalnih simboličkih reljefa.
Atelijer Hebib osnovao je 1963. godine u Dubrovniku u kojemu stvara sve do danas. Ostvario je značajan i prepoznatljiv kiparski opus kroz mnoge tematske cikluse.
Radovi mu se nalaze na javnim površinama i u brojnim privatnim i javnim zbirkama umjetnina. Osim kiparstvom Asim Hebib bavi se i dekorativnim klesarstvom i crtežom, a piše i poeziju. Aktivan je sudionik niza umjetničkih kolonija u Hrvatskoj. Član je HDLU-a Dubrovnik. Izlagao je na više samostalnih i skupnih izložbi u Hrvatskoj.
Asim Hebib was born in 1940 in Cernica. His first instruction in sculpture came from his art teacher in primary school, Ivan “Pajo” Mitrović. From 1957 to 1960 he trained with the Italian sculptor Giovanni Colonna in Dubrovnik, where he gained his sculpting and carving education. After this period of learning, Asim Hebib at the beginning of the 1960s started creating his first independent sculptural works, while also working for many years with Giovanni Colonna on various projects.
He also took part in the Memorial Cemetery Mostar project of the architect Bogdan Bogdanović, on which for three years he was charged with the making of one part of the monumental symbolic reliefs.
The Hebib Studio was founded in 1963 in Dubrovnik, and the sculptor still works in it today. He has created an important and distinctive sculptural oeuvre in its many thematic series.
His works are placed in public places and are to be found in numerous private and public art collections. As well as with sculpture, Asim Hebib also occupies himself with decorative stone carving and drawing, and writes poetry as well. He is an active participant of numerous art colonies in Croatia. He has exhibited at numbers of solo and collective shows in Croatia.
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SAMOSTALNE IZLOŽBE / INDIVIDUAL EXHIBITIONS
IZDVOJENE SKUPNE IZLOŽBE / MAJOR COLLECTIVE EXHIBITIONS
1995. Kipovi, Crkva Rozario, Dubrovnik / Statues, Rosary Church, Dubrovnik
2000. Skulpture, Palača Ranjina, Dubrovnik / Sculptures, Ranjina Palace, Dubrovnik
2001. Igra žala, Palača Ranjina, Dubrovnik / Play of Cobbles, Ranjina Palace, Dubrovnik
2011. Ritmovi života, Palača Sponza, Dubrovnik / Rhythms of Life, Sponza Palace, Dubrovnik
2019. Asim Hebib: Retrospektiva, Galerija Dulčić Masle Pulitika, Dubrovnik / Asim Hebib: A Retrospective, Dulčić Masle Pulitika Gallery, Dubrovnik
2019. Asim Hebib: Retrospektiva, Muzej Mimara, Zagreb / Asim Hebib: A Retrospective, Mimara Museum, Zagreb
1994. Dubrovčani – nepoznati umjetnici, Predvorje kazališta Marina Držića, Dubrovnik / Dubrovnik Unknown Artists, Lobby of the Marin Držić Theatre, Dubrovnik
2008. Dubrovački likovni trenutak, Umjetnička galerija Dubrovnik, Dubrovnik / Dubrovnik Moment in the Fine Arts, Museum of Modern Art Dubrovnik, Dubrovnik
2010. Humanitarna poruka iz Dubrovnika, projekt u organizaciji Lions cluba “Libertas” Dubrovnik i umjetničke galerije Sebastian u ozračju održavanja XVI konvencije Lionsa, Galerija Sebastian, Dubrovnik / Humanitarian message from Dubrovnik – a project organised by the Libertas Lions’ Club, Dubrovnik and the Sebastian Art Gallery during the holding of the 16th Lions’ Convention
2010. II Međunarodni bijenale slikara i kipara, Mediteran 2010, Palača Milesi, Split / 2nd International Biennial of Painters and Sculptors of the Mediterranean, 2010, Milesi Palace, Split
2016. Godišnja izložba članova HDLU Dubrovnik, Galerija Flora, Dubrovnik / Annual exhibition of members of the Dubrovnik branch of HDLU, Flora Gallery, Dubrovnik
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POPIS IZLOŽAKA / LIST OF EXHIBITS
Intertwined Bodies, the series “Bodies, Nudes, Portraits”, 1961walnut, 79 cm x 12 cm x 11 cm
Views, the series “Bodies, Nudes, Portraits”, 1963walnut, 87 cm x 15 cm x 12 cm
Texture of the Sea 1, the series “Rhythms of Life”, 2010Brač stone, marble from Verona, 66 cm x 20 cm x 22 cm
Journey, the series “Rhythms of Life”, 2011.Brač stone, marble from Verona, 75 cm x 15 cm x 15 cm
Texture of the Sea 2, the series “Rhythms of Life”, 2008Brač stone, marble from Verona, 48 cm x 14 cm x 14 cm
Contours in the Night, the series “Rhythms of Life”, 2008black marble, 50 cm x 13 cm x 10.5 cm
Line of Life 2, the series “Elongated Forms”, 2007marble, 76 cm x 15 cm x 12 cm
Konavle Girl, the series “My City”, 1977Brač stone, 45 cm x 12 cm x 12 cm
Twain / Elongated Forms, the series “Rhythms of Life”, 2007Brač stone, 65.5 cm x 13 cm x 12 cm
Female Nudes, the series “Nudes”, 2002Brač stone, 67 cm x 10 cm x 9 cm
Isprepletena tijela, ciklus „Tijela, aktovi, portreti“, 1961.drvo orah, 79 cm x 12 cm x 11 cm
Pogledi, ciklus „Tijela, aktovi, portreti“, 1963.drvo orah, 87 cm x 15 cm x 12 cm
Tekstura mora 1, ciklus „Ritmovi života“, 2010.brački kamen, mramor iz Verone, 66 cm x 20 cm x 22 cm
Putovanje, ciklus „Ritmovi života“, 2011.brački kamen, mramor iz Verone, 75 cm x 15 cm x 15 cm
Tekstura mora 2, ciklus „Ritmovi života“, 2008.brački kamen, mramor iz Verone, 48 cm x 14 cm x 14 cm
Obrisi u noći, ciklus „Ritmovi života“, 2008.crni mramor, 50 cm x 13 cm x 10,5 cm
Linija života 2, ciklus „Izdužene forme“, 2007.mramor, 76 cm x 15 cm x 12 cm
Konavočica, ciklus „Moj Grad“, 1977.brački kamen, 45 cm x 12 cm x 12 cm
Dvoje / izdužene forme, ciklus „Ritmovi života“, 2007.brački kamen, 65,5 cm x 13 cm x 12 cm
Ženski aktovi, ciklus „Aktovi“, 2002. brački kamen, 67 cm x 10 cm x 9 cm
Strujanje, ciklus „Ritmovi života“, 2011.brački kamen, 59 cm x 24 cm x 14 cm
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Kokot, ciklus „Buđenje“, 2000.brački kamen, 35 cm x 25 cm x 10 cm
Snaga majčinstva 1, ciklus „Majka i dijete“, 1990.kvarcni kamen, 41 cm x 13 cm x 26 cm
Igra delfina, ciklus „Mediteran“, 1995.brački kamen, 62 cm x 18 cm x 12,5 cm
Majka i dijete 1, ciklus „Majka i dijete“, 1985.brački kamen, 47 cm x 11 cm x 17 cm
Odmor, ciklus „Mediteran“, 1996.brački kamen, 29,5 cm x 10,5 cm x 17 cm
Glava žene, ciklus „Portreti u kvarcnom kamenu“, 2001.kvarcni kamen, 17 cm x 23 cm x 14 cm
Pogled iz kamena, ciklus „Novi pogledi“, 2016.mramor, granit, 27 cm x 23 cm x 15,5 cm
Okamenjena riba / Glava, ciklus „Novi pogledi“, 2015.mramor, granit, 26 cm x 21 cm x 28 cm
Indijanka, ciklus „Novi pogledi“, 2013.brački kamen, kvarcni kamen, 25 cm x 20 cm x 11,5 cm
Promatrač, ciklus „Novi pogledi“, 2018.brački kamen, željezo mesing, kvarcni kamen, 28 cm x 20,5 cm x 14 cm
Majka i dijete 2, ciklus „Forme u žalu I.“, 1995. kvarcni kamen, 24 cm x 16,5 cm x 12 cm
Sirena, ciklus „Forme u žalu I.“ 2001. kvarcni kamen, 28 cm x 24 cm x 11 cm
Ljubav II., ciklus „Forme u žalu I“, 1999.kvarcni kamen, 27 cm x 26 cm x 21,5 cm
Flowing, the series “Rhythms of Life”, 2011Brač stone, 59 cm x 24 cm x 14 cm
Cock, the series “Awakening”, 2000 Brač stone, 35 cm x 25 cm x 10 cm
Strength of Motherhood 1, the series “Mother and Child”, 1990quartz stone, 41 cm x 13 cm x 26 cm
Dolphin Play, the series “Mediterranean”, 1995Brač stone, 62 cm x 18 cm x 12.5 cm
Mother and Child 1, the series “Mother and Child”, 1985Brač stone, 47 cm x 11 cm x 17 cm
Rest, the series “Mediterranean”, 1996Brač stone, 29.5 cm x 10.5 cm x 17 cm
Head of a Woman, the series “Portraits in Quartz Stone”, 2001quartz stone, 17 cm x 23 cm x 14 cm
View from Stone, the series “New Views”, 2016marble, granite, 27 cm x 23 cm x 15.5 cm
Petrified Fish / Head, the series “New Views”, 2015marble, granite, 26 cm x 21 cm x 28 cm
Indian Woman, the series “New Views”, 2013Brač stone, quartz stone, 25 cm x 20 cm x 11.5 cm
Observer, the series “New Views”, 2018Brač stone, iron, brass, quartz stone, 28 cm x 20.5 cm x 14 cm
Mother and Child 2, the series “Forms in the Cobble I”, 1995quartz stone, 24 cm x 16.5 cm x 12 cm
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Forma, ciklus „Forme u žalu I.“, 1999.kvarcni kamen 24 cm x 21 cm x 11 cm
Ljubav I., ciklus „Forme u žalu I.“, 1999.kvarcni kamen, 21 cm x 13 cm x 26 cm
Forma 2, ciklus „Forme u žalu I.“, 1994kvarcni kamen, 19 cm x 21 cm x 13,5 cm
Leda, ciklus „Forme u žalu I.“, 1990. kvarcni kamen, 18 cm x 30 cm x 13 cm
Snaga, ciklus „Forme u žalu I.“, 2000.kvarcni kamen, 17 cm x 21 cm x 12 cm
Jedra-Snaga vjetra, ciklus „Forme u žalu I.“, 2001.kvarcni kamen, 41 cm x 13 cm x 26 cm
Zamišljeno lice, ciklus „Forme u žalu I.“, 2000.kvarcni kamen, 24 cm x 14 cm x 22cm
Bik, ciklus „Forme u žalu I.“, 1996. kvarcni kamen i bronca, 23 cm x 22,5 cm x 20 cm
Forma, ciklus „Forme u žalu I.“, 2001. kvarcni kamen, 23 cm x 22,5 cm x 10,5 cm
Majka i dijete 3, ciklus „Forme u žalu I.“, 1999.kvarcni kamen, 20,5cm x 31 cm x 17 cm
Forma 3, ciklus „Forme u žalu I.“, 1999.kvarcni kamen, 16,5 cm x 20,5 cm x 11 cm
U sjeni, ciklus „Ritmovi života“, 2010. brački kamen, 76,5 cm x 17 cm x 22,5 cm
Siren, the series “Forms in the Cobble I” 2001quartz stone, 28 cm x 24 cm x 11 cm
Love II, the series “Forms in the Cobble I”, 1999.quartz stone, 27 cm x 26 cm x 21.5 cm
Form, the series “Forms in the Cobble I”, 1999quartz stone 24 cm x 21 cm x 11 cm
Love I, the series “Forms in the Cobble I”, 1999quartz stone, 21 cm x 13 cm x 26 cm
Form 2, the series “Forms in the Cobble I”, 1994quartz stone, 19 cm x 21 cm x 13.5 cm
Leda, the series “Forms in the Cobble I”, 1990 quartz stone, 18 cm x 30 cm x 13 cm
Strength, the series “Forms in the Cobble I”, 2000quartz stone, 17 cm x 21 cm x 12 cm
Sails – Strength of the Wind the series “Forms in the Cobble I”, 2001quartz stone, 41 cm x 13 cm x 26 cm
Pensive Face, the series “Forms in the Cobble I”, 2000quartz stone, 24 cm x 14 cm x 22cm
Bull, the series “Forms in the Cobble I”, 1996quartz stone and bronze, 23 cm x 22.5 cm x 20 cm
Form, the series “Forms in the Cobble I”, 2001quartz stone, 23 cm x 22.5 cm x 10.5 cm
Mother and Child 3, the series “Forms in the Cobble I”, 1999quartz stone, 20.5cm x 31 cm x 17 cm
Forms 3, the series “Forms in the Cobble I”, 1999quartz stone, 16.5 cm x 20.5 cm x 11 cm
In the Shadow, the series “Rhythms of life”, 2010 Brač stone, 76.5 cm x 17 cm x 22.5 cm
IZLOŽBA / EXHIBITION
asim hebibretrospektiva / a retrospective
Galerija Dulčić Masle Pulitika / The Dulčić Masle Pulitika Gallery26. siječnja – 3. ožujka 2019. / January 26th – March 3rd, 2019
KUSTOSI IZLOŽBE / EXHIBITION CURATORSMilan Bešlić dr. sc. Anita Ruso
VODITELJICA PROJEKTA / PROJECT MANAGERMarijeta Radić
SURADNICA NA IZLOŽBI / EXHIBITION COLLABORATORAida Hebib Raguž
IZLOŽBENI POSTAV / EXHIBITION LAYOUTMilan BešlićMarin Ivanovićdr. sc. Anita Ruso
TEHNIČKI POSTAV / TECHNICAL SET-UPKristijan BebićToni RadetićŽeljko Sušić
ODNOSI S JAVNOŠĆU / PUBLIC RELATIONSMagdalena Prkut
Muzej Mimara / The Mimara Museum4. srpnja – 25. kolovoza 2019. / July 4th – August 25th, 2019
KUSTOSI IZLOŽBE / EXHIBITION CURATORSMilan Bešlić dr. sc. Anita Ruso
SURADNICI NA IZLOŽBI / EXHIBITION COLLABORATORSmr. sc. Lada Ratković BukovčanBruno Šeper
IZLOŽBENI POSTAV / EXHIBITION LAYOUTMilan Bešlićmr. sc. Lada Ratković Bukovčandr. sc. Anita Ruso
TEHNIČKI POSTAV / TECHNICAL SET-UPTehnička služba Muzeja Mimara/ The Mimara Museum Technical Staff
MARKETING/ MARKETINGSiniša PušonjićNikša Vodanović
ODNOSI S JAVNOŠĆU / PUBLIC RELATIONSAna Hoić
EDUKATIVNI PROGRAM/ EDUCATIONAL PROGRAMDanijela Šoštarić Brna
www.momad.hr |
ugd +385 20 426 590 |
galerija dmp +385 20 612 645 |
Poljana Marina Držića 1
www.mimara.hr |
+385 1 4828 100 |
Zagreb, Rooseveltov trg 5
