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INGRID RUNTIĆ
61.
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REPUBLIKA HRVATSKAMINISTARSTVO FINANCIJA
POREZNA UPRAVA
IZLOŽBENI PROSTOR POREZNE UPRAVEZAGREB, AVENIJA DUBROVNIK 32
CIP zapis dostupan u računalnom katalogu Nacionalne i sveučilišne knjižnice u Zagrebu pod brojem 628407ISBN 798-953-6758-60-9
SLIKA NA NASLOVNOJ STRANI: BIOKOVO III., 2005.
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VIDOKRUZIHORIZONS
ZAGREB, 8. III. – 23. IV. 2007.
INGRID RUNTIĆ
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VIDOKRUZI
Petnaest je godina već prošlo od prve samostalne izložbe slikarice Ingrid Runtić, formirane na zagrebačkoj Akademiji likovnih umjetnosti a potom studijski obogaćene boravcima u raznim europskim sredinama, posebno u Beču, gdje i danas živi. Prateći njezin start u likovni život, mogao sam u početku ustanoviti njezinu znatiželju i sposobnost recepcije što ju je vodila svojevrsnom eklekticizmu između inače vrlo različitih klasika modernizma, od Kandinskoga i Kleea pa do Braquea i Miroa. Naizgled paradoksalno, iz toga sam smio zaključiti kako je u stanju pronaći sebe, jer ne slijedi slijepo niti jednu opciju, nego kom-binatorikom nastoji pronaći što relevantniji vlastiti međuprostor.
Prvi postakademski radovi bili su reduktivni, pomalo geometrizirani i dijelom “kubizirani”, no nipošto lišeni određene bujnosti znakovlja. Važnija od toga, međutim, bila je slikaričina ljubav prema asocijativnoj i aluzivnoj “figurativnosti”, prema tretiranju organskih, tjelesnih oblika i stanovitih fizonomijskih crta. Ali najvažnija je bila koloristička pročišćenost i čak usmjerenost prema određenoj žestini kontrasta. Kako bilo, pupkovinu s motivom nije prekinula, samo su načini transformacije viđenoga bili pluralistički razvedeni, odnosno eklektički “otvoreni”.
Susrećući se nakon dužeg vremena s njezinim recentnim radovima, otprve je uočljiva jača “stilska” homogenizacija. Više nema lutanja između velikih umjetnika, “svjetionika” modernizma, nego je jasnije opredjeljenje za dostojanstvenu tradiciju mimetizma, za kontinuitet slikanja čovjeka i krajolika koji podrazu-mijeva i iskustvo postimpresionizma, fovizma, ekspresionizma, ali uračunava i tekovine fotografije i filma (te, posredno, nekih vidova realizma). Autorica je svjesna anakronističke, retro orijentacije, te je dio slika “filtrirala” kroz pasatistički okular, radeći programatske cikluse varijacija na stare fotografije ili nostalgične kadrove, imenujući te izlete u prošlost eksplicitno “Prostorom vremena” ili pak “Vremenskim strojem”.
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SLIKARICA (autoportret), 2006.
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Izložba kojom se u Zagrebu Ingrid Runtić cjelovitije predstavlja ima jači naglasak na neposrednim reakcijama i vitalističkim, biofilnim motivima. Zavisno od odabrane tehnike, prednost ima snažni tempe-ramentni rukopis (u pastelima na papiru) ili znalačka organizacija kadra sa sustavnim građenjem oblika (u uljima na papiru). Ali izravne bilješke i studiozno konstruirane slike imaju provodnu nit neravnodušnosti prema životu, predznak radosti i okupanosti u svjetlu. Naravno da je hedonistički nerv najočigledniji u tzv. ljetnim scenama kupača i igara na plaži, no luministička energija također intenzivno zrači s panoramskih prizora planine Biokovo.
Zanimljivu “stilsku vježbu” nametnula je slikarica sebi kad je niz veduta naslikala u ključu jedne od dominantnih boja (žute, plave, sive, ružičaste itd.). U discipliniranju vizije i strogosti game pokazala je moć sažimanja na bitno. Na drugačiji način samu je sebe programski ograničila kad je motiv portreta svela na uski izraz lica, na karakterističnu jezgru psihološki nosivih detalja (oči, nos, usta). To nije baš apstrahiranje predmetnosti, ali jest određena demijurška gesta ovladavanja motivom, pretvaranja i preobrazbe konkret-noga povoda, poticaja ili predloška u čisti slikarski znak.
Kvantitativno i kvalitativno dominantni su veliki ciklusi aktova i zagrljenih parova, izvedeni dijelom tehnikom akrilika na papiru a dijelom ulja na platnu. Kod akrilika posebno dolazi do izražaja odlučna gestualnost i koloristička nesputanost, dok u slikama uljem imamo ostvarenu sintezu svih elemenata. “Zumiranje” hvata dijelove tijela u grču spolnog čina, kadrira (više no dinamične) preplete udova, no tem-peratura slikanja ne gubi iz vida sugestivnu modelaciju dijelova, ostvarenu karakterističnim četvrtastim fasetama nanosa vibrantnog pigmenta. Nije riječ ovdje o tome da je Ingrid Runtić smjelo ušla u nekoć tabuizirano područje otvorene tjelesnosti, nego da je konvencionalnost motivike neosporno nadmašila suvremenim tretmanom životodajnih oblika.
Tonko Maroević
HORIZONS
Fifteen years have already gone by since the first individual exhibition of painter Ingrid Runtić, who was educated at the Zagreb Academy of Fine Arts and subsequently gained invaluable experience in vari-ous European cities, particularly in Vienna, where she lives today. Keeping up with her induction into the life of art, I was able to observe right from the beginning her curiosity and capacity for reception, which led her into a kind of eclectic position somewhere between various modernist classics, very different among themselves, from Kandinsky and Klee to Braque and Miro. With ostensible paradoxicality, I ventured to conclude from this that she was capable of finding herself, for she did not blindly follow a single option, but attempted, via various combinations, to find an in-between space relevant for herself.
The first post-academy works were reductionist, a little geometrical and partially Cubist in spirit, but in no way devoid of a certain luxuriance of emblem. More important than that, however, was the painter’s
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love for associative and allusive figurativeness, the treatment of organic and corporeal forms and certain physiognomic traits. But most important of all was the colourist refinement, the orientation, even, to a certain vehemence of contrast. As it was, she never broke the umbilical cord with motif, rather the manners in which what was seen was transformed were pluralistically intricate and eclectically open.
For some time I have not seen her work, and what is apparent from the very first from these recent works is a stronger stylistic homogenisation. There is no longer any of that wandering among the great art-ists, the beacons of modernism, rather there is a much clearer plumping for a dignifiedly mimetic tradition, for the continuity of painting man and landscape, which also takes for granted some of the experience of post-Impressionism, Fauvism, Expressionism, in addition to factoring in the inheritance of photography and the film (and, indirectly, some forms of realism). The author is aware of this anachronistic and retro orientation, and has filtered some of the paintings through a backward-looking lens, creating programmatic cycles of variations on old photographs or nostalgic compositions, naming these excursions into the past, explicitly, “Space of Time” or “Time Machine”.
The exhibition with which Ingrid Runtić is giving a more complete account of herself has a stronger emphasis on immediate reactions and vitalist, biophilic motifs. Depending on the technique chosen, it is either a powerfully charged imprint (in pastels on paper) or an adroit organisation of the framework in the systematic construction of form (in oils on paper). But the direct notes and studiedly constructed paint-ings have an ongoing thread of lack of detachment from life, are marked by a joyful immersion in light. Of course the hedonistic vein is more manifest in the summer scenes of bathers and beach games, but a luminist energy is also vigorously given off by the panoramic scenes from Mt Biokovo.
The painter committed herself to an interesting kind of stylistic exercise when she painted a sequence of scenes in the key of one of the dominating colours (yellow, blue, grey, pink and so on). With a disci-plined vision and an austere range of colours she showed her ability to condense down to essentials. In a different way she deliberately constrained herself when she reduced the motif of the portrait to the strictly defined expression of the face, to the characteristic core of psychologically telling details (of eyes, nose, mouth). This is not quite to make the object abstract, but it is a certain demiurgic gesture at mastering motif, turning and transforming a concrete occasion, stimulus or model into the pure painterly sign.
In both quantity and quality, it is the great cycles of nudes and embracing couples that are dominant. These are executed in acrylic on paper, partially in oil on paper. In the case of the acrylics, what particu-larly comes out is the resolute gesturality and the colourist uninhibitedness, while in the oils we have a synthesis achieved of all the elements. The zoom catches parts of the body in the spasm of the sexual act, frames (with great dynamism) the intertwined limbs, but yet the temperature of the painting never loses sight of the suggestive modelling of the parts, achieved with characteristic squarish facets of layers of vibrant pigment. This is not about Ingrid Runtić having embarked boldly on some one-time taboo area of open physicality, rather that the conventionality of the motif has been convincingly surpassed by the contemporary treatment of these life-giving forms.
Tonko Maroević
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2:3 STUDENI (Zagreb, Zrinjevac), 2006.
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12:58 PROSINAC (Zagreb, Preradovićeva), 2007.
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14:13 SIJEČANJ (Zagreb, Zrinjevac), 2005.
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7:56 RUJAN (Beč), 2006.
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CROSS POINT I., 2005.
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ISKORAK, 2005.
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9:10 KOLO
VOZ (Vrboska, H
var), 2007.
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ZOOM THE GREEN STAR, 2007.
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ŽIVOTOPIS
Ingrid Runtić rođena je 8. lipnja 1967. u Osijeku. S dvije godine Ingrid s obitelji seli u Zagreb, gdje je provela djetinjstvo i djevojaštvo. Uz osmogodišnje i gimnazijsko školovanje završila je osnovnu i srednju glazbenu školu, na odjelu za solo pjevanje kao koloraturni sopran, i svi planovi za budućnost bili su usmjereni prema opernopjevačkoj karijeri. Zainteresiranost za kulturu i povijest, a posebno za talijanski jezik i književnost, zbog obilne glazbene literature, dovela ju je u galerije Rima, Firence, Padove, Venecije, Milana i drugih gradova, gdje se susreće s veličanstvenim likovnim djelima tali-janske renesanse i kulture uopće, koji su snažno utjecali na njezin životni izbor zanimanja, koja će je ispuniti velikim poletom i snažnom životnom i radnom energijom. Kada se trebala upisati na Muzičku akademiju, na iznenađenje obitelji, prijatelja i glazbenika, polaže prijemni ispit i upisuje se na slikar-ski odjel zagrebačke Akademije likovnih umjetnosti. Za vrijeme studija, 1988. dobila je priznanje “International Art Competition” u New Yorku za svoje slike. U slikarskoj klasi prof. Vasilija Jordana, Ingrid otkriva njegovu lirsku poetiku i izražajne reminiscencije minulog vremena kao dio svoga slikar-skog sazrijevanje. U svoj svijet poetike unosi uzburkani temperament i snažnu gestualnu kolorističku paletu sugestivne snage, širokih namaza boje, pa njezini radovi postaju potpuno autonomni, slobodni, spontani, zadivljujuće osobne ekspresionističke stilske gradnje slike. U njezinim slikama dominira temperament i izražajna snaga boja, koje u kompozicijskom spletu poteza formiraju figuralnu dramu slike, što će slikarstvu Ingrid Runtić dati novi poticaj u suzvučju metjerskog i senzibilnog sustava u krajolicima, portretima i figuralnim kompozicijama. Diplomirala je slikarstvo 1990. te iste godine primljena u članstvo Hrvatskog društva likovnih umjetnika. Sljedeće godine dobila je jednogodišnju stipendiju na Akademiji likovnih umjetnosti u Beču, gdje je završila poslijediplomski studij kod prof. Antona Lehmdena. Boravak u bečkome likovnom miljeu, slikanje u klasi prof. Arika Brauera, susreti s ličnostima iz svijeta kulture i društvenih komunikacija, dali su joj novu sigurnost u procesu slikanja, u likovnoj transformaciji emocija, u životnoj i umjetničkoj egzistenciji. Kao vrsni poliglot sudjeluje kao prevoditeljica pri Konferenciji za medije istočnih i srednjoistočnih zemalja u Beču, te kao korespon-dentica redakcija vijesti austrijske državne televizije (ORF) za vrijeme Domovinskog rata u Hrvatskoj. Prvu samostalnu izložbu priredila je u Galeriji INA-Commerce u Zagrebu 1992. te iste godine u Galeriji općinske uprave u St. Pöltenu u Austriji. Slijedila je skupna izložba “Umjetnici grada Zagreba – Zagrebu” u Galeriji Starogradske vijećnice u Zagrebu. Od 1995. do 1997. piše eseje i prikaze za kul-turnu rubriku u dnevnom listu “Vjesnik” o izložbenim događanjima u Beču te zapaženi tekst “Izložbeni Beč na razmeđi tisućljeća” na međunarodnom skupu “S koje strane granice”, održanom u Novigradu 1994. U organizaciji Austrijsko-hrvatskog društva iz Beča, u prostoru HNK-a u Zagrebu, postavila je i uredila katalog izložbe “Tragovima Hrvata u Austriji”. U Rumunjskom kulturnom centru u Beču 2005. izlaže sa suprugom slikarom Bogdanom Pascuom te na skupnim izložbama “Hrvatski umjetnici za Plehan” u Zagrebu i na aukciji slika u dobrotvorne svrhe u Galeriji Charim u Beču.
Živi i djeluje kao samostalna umjetnica u Beču, Zagrebu i Makarskoj. Mob.: 098/137 0127, tel.: 0043699 10411208, web stranica: www.runtic i e-mail: [email protected]
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BIOGRAPHY
Ingrid Runtić was born in Osijek on June 8, 1967. When she was two, Ingrid and her family moved to Zagreb, where she spent her childhood and girlhood. As well as attending elementary and secondary schools, she also did a complete course at elementary and secondary music school, where she studied voice, as a coloratura soprano. All her plans for the future at this time were oriented towards an operatic career. An interest in culture and history, particularly in Italian language and literature, because of the abundance of musical literature, brought her to the galleries of Rome, Florence, Padua, Venice and Milan, where she encountered the magnificent artworks of the Italian Renaissance, for example, which had a powerful impact on her choice of vocation, which was to fill her with great zest and a powerful energy for life and work. When it was time to enrol in the Music Academy, to the great surprise of family, friends and musicians, she took the entrance exam and enrolled in painting department of the Zagreb Academy of Fine Arts. During the time of her studies, in 1988, she won the commendation of the International Art Competition in New York for her paintings. In the painting class of Vasilij Jordan, Ingrid was to discovery his lyrical poetics and expressive reminiscences of bygone times as a part of his painterly maturation. She brought into her world of poetics a turbulent temperament and a powerful gestural colourist palette of suggestive strength, broad applications of paint, and her works became totally autonomous, free, spon-taneous, with an admirable personal expressionist style in the construction of the painting. Her paintings are dominated by temperament and an expressive strength of colour, which in the compositional complex of the strokes form a figural drama in the painting, which was to give the painting of Ingrid Runtić a new stimulus in the concordance of craft skills and sensibilities in landscapes, portraits and figural composi-tions. She graduated in painting in 1990, and was the same year received as a member of the Croatian fine arts association HDLU. In the next year she won a one-year scholarship to the Academy of Fine Arts in Vienna, where she did post-graduate work with Anton Lehmden. A period in the Vienna artistic milieu, encounters with figures from the world of culture and social communications gave her a new security in the process of painting, in the visual transfer of emotions, in life and in art. Gifted for languages, she worked as an interpreter at the Conference for Media of Eastern and Middle Eastern countries in Vienna, and as a correspondent for Croatian affairs during the Homeland War for ORF, the Austrian national televi-sion. She had her first individual exhibition in the INA-Commerce Gallery in Zagreb, and in the same year in the Municipal Administration Gallery in St Pölten in Austria. Then came a collective exhibition “Artists of the City of Zagreb to Zagreb” in the Old Council Chamber Gallery. From 1995 to 1997 she wrote essays and reviews for the cultural page in the daily paper Vjesnik, concerning exhibition activities in Vienna, and a well-received paper “Exhibiting Vienna at the Turn of the Millennia”, read at the international con-ference “On which side of the border” held in Novigrad in 1994. As organised by the Austrian-Croatian Association of Vienna, in the Croatian National Theatre in Zagreb, she mounted and edited the catalogue for the exhibition “In the Footsteps of the Croats in Austria”. In the Romanian Culture Centre in Vienna, in 2005, she exhibited together with her husband the painter Bogdan Pascu, as well as at the exhibitions “Croatian Artists for Plehan” in Zagreb and at a benefit auction in the Charim Gallery in Vienna.
She lives and works as freelance artist in Vienna, Zagreb and Makarska. Cell: 098/137 0127, 0043699 1041128; Web www. runtic.com and email [email protected]
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ZOOM DOWN, 2007.
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ZOOM THE PINK BENTING, 2007.
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SAMOSTALNE IZLOŽBE1992. ZAGREB, Galerija “INA-Commerce” ST. PÖLTEN, Galerija općinske uprave 1994. BEČ, Škola crtanja “Maia”2005. BEČ, Rumunjski kulturni centar, Izložba slika sa suprugom
Bogdanom Pascuom BEČ, Galerija SPÖ Margareten2006. ZAGREB, Galerija ETK, Tesla Ericsson
SKUPNE IZLOŽBE1990. ZAGREB, Galerija “Vladimir Nazor”, Završna izložba diplomanata
Akademije likovnih umjetnosti1992. ZAGREB, Galerija Starogradske vijećnice,
“Umjetnici grada Zagreba – Zagrebu” 2005. ZAGREB, Mimara, “Hrvatski umjetnici za Plehan” BEČ, Galerija Charim, Izložba i aukcija u dobrotvorne svrhe
PUBLICISTIKA1. POLET, Studentski list, putopisna proza “Tko je pokrio Ameriku”,
Zagreb, 1985.2. FORUM, Časopis za kulturu i umjetnost, ožujak-travanj,
broj 3-4, zbirka pjesama, Zagreb, 1988.3. ORF, Austrija, korespondentica i konzultantica redakcije vijesti,
Beč, 1991.4. IZLOŽBENI BEČ NA RAZMEĐI TISUĆLJEĆA, esej, sudjelovanje
na međunarodnom skupu “S koje strane granice”, Novigrad, 1994.5. VJESNIK, stranice kulture dnevnog lista, O izložbenim događajima u
Beču (13 priloga), Beč, 1996. i 1997. godina
PRIZNANJA1988. “International Art Competition”, priznanje žirija za slike, New York
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POPIS IZLOŽENIH DJELA
CIKLUS SPACE OF TIME1. 8:17 LISTOPAD, 2005.
(Beč), ulje na platnu, 70x100 cm 8:17 OCTOBER, 2005 (Vienna), oil on canvas, 70x100 cm
2. 12:27 RUJAN, 2005. (Venecija), ulje na platnu, 35x80 cm 12:27 SEPTEMBER, 2005 (Venice), oil on canvas, 35x80 cm
3. 13:56 RUJAN, 2005. (Venecija), ulje na platnu, 80x100 cm 13:56 SEPTEMBER, 2005 (Venice), oil on canvas, 80x100 cm
4. 15:8 SIJEČANJ, 2005. (Beč, Schönbrunn), ulje na platnu, 90x120 cm 15:8 JANUARY, 2005 (Vienna, Schönbrunn), oil on canvas, 90x120 cm
5. 12:10 RUJAN, 2005. (Venecija), ulje na platnu, 80x35 cm 12:10 SEPTEMBER, 2005 (Venice), oil on canvas, 80x35 cm
6. 17:46 SRPANJ, 2006. (Makarska, lučica), ulje na platnu, 80x140 cm 17:46 JULY, 2006 (Makarska, port), oil on canvas, 80x140 cm
12:27 RUJAN (Venecija), 2005.
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7. 12:58 PROSINAC, 2007. (Zagreb, Preradovićeva), ulje na platnu, 90x120 cm 12:58 DECEMBER, 2007 (Zagreb, Preradovićeva street), oil on canvas, 90x120 cm
8. 1:46 STUDENI, 2006. (Zagreb, Teslina), ulje na platnu, 90x120 cm 1:46 NOVEMBER, 2006 (Zagreb, Teslina street), oil on canvas, 90x120 cm
9. 7:56 RUJAN, 2006. (Beč), ulje na platnu, 80x80 cm 7:56 SEPTEMBER, 2006 (Vienna), oil on canvas, 80x80 cm
10. 2:3 STUDENI, 2006. (Zagreb, Zrinjevac), ulje na platnu, 90x90 cm 2:3 NOVEMBER, 2006 (Zagreb, Zrinjevac street), oil on canvas, 90x90 cm
11. 9:10 KOLOVOZ, 2007. (Vrboska, Hvar), ulje na platnu, 80x170 cm 9:10 AUGUST, 2007 (Vrboska, Hvar), oil on canvas, 80x170 cm
12. 16:47 PROSINAC, 2005. (Zagreb, Radićeva), ulje na platnu, 70x90 cm 16:47 DECEMBER, 2005 (Zagreb, Radićeva street), oil on canvas, 70x90 cm
13. 17:53 OŽUJAK, 2006. (Zagreb, Basaričekova), ulje na platnu, 90x120 cm 17:53 MARCH, 2006 (Zagreb, Basaričekova street), oil on canvas, 90x120 cm
14. 9:16 SVIBANJ, 2005. (Zagreb, Ilica), ulje na platnu, 80x100 cm 9:16 MAY, 2005 (Zagreb, Ilica street), oil on canvas, 80x100 cm
15. 14:13 SIJEČANJ, 2005. (Zagreb, Zrinjevac), ulje na platnu, 90x120 cm 14:13 JANUARY, 2005 (Zagreb, Zrinjevac park), oil on canvas, 90x120 cm
16. 14:42 KOLOVOZ, 2005. (Hvar, Dubovica), ulje na platnu, 70x90 cm 14:42 AUGUST, 2005 (Hvar, Dubovica), oil on canvas, 70x90 cm
CIKLUS COLORS OF(F)17. BLUE I., 2005.
(Makarska), kombinirana tehnika na papiru, 50x70 cm BLUE I, 2005 (Makarska), combined technique on paper, 50x70 cm
18. GREY I., 2005. (Zagreb), kombinirana tehnika na papiru, 69x49 cm GREY I., 2005 (Zagreb), combined technique on paper, 69x49 cm
19. PINK I., 2006. (Venecija), kombinirana tehnika na papiru, 70x50 cm PINK I., 2006 (Venice), combined technique on paper, 70x50 cm
20. YELLOW I., 2005. (Zagreb, Ilica), kombinirana tehnika na papiru, 70x50 cm YELLOW I., 2005 (Zagreb, Ilica street), combined technique on paper, 70x50 cm
21. YELLOW II., 2005. (Venecija), kombinirana tehnika na papiru, 50x70 cm YELLOW II., 2005 (Venice), combined technique on paper, 50x70 cm
CIKLUS X-RAY22. SLIKARICA, 2006.,
ulje na platnu, 60x60 cm WOMAN PAINTER, 2006, oil on canvas, 60x60 cm
23. SLIKAR, 2005., ulje na platnu, 60x40 cm PAINTER, 2005, oil on canvas, 60x40 cm
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BIOKOVO, 2006.
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24. PISAC, 2005., ulje na platnu, 60x50 cm WRITER, 2005, oil on canvas, 60x50 cm
25. REŽISER, 2006., ulje na platnu, 50x60 cm DIRECTOR, 2006, oil on canvas, 50x60 cm
CIKLUS THE BEST OF26. CROSS POINT I., 2005.,
ulje na platnu, 120x90 cm CROSS POINT I., 2005, oil on canvas, 120x90 cm
27. CROSS POINT II., 2005., ulje na platnu, 120x90 cm CROSS POINT II., 2005, oil on canvas, 120x90 cm
28. THE BALLOON, 2006., ulje na platnu, 170x80 cm THE BALLOON, 2006, oil on canvas, 170x80 cm
29. ZOOM IN YELLOW, 2007., ulje na platnu, 100x100 cm ZOOM IN YELLOW, 2007, oil on canvas, 100x100 cm
30. ZOOM ON THE RED LINE, 2007., ulje na platnu, 100x100 cm ZOOM ON THE RED LINE, 2007, oil on canvas, 100x100 cm
31. ZOOM THE GREEN STAR, 2007., ulje na platnu, 100x100 cm ZOOM THE GREEN STAR, 2007, oil on canvas, 100x100 cm
32. ZOOM TOUCH, 2007., ulje na platnu, 100x100 cm ZOOM TOUCH, 2007, oil on canvas, 100x100 cm
33. ZOOM DOWN, 2007., ulje na platnu, 100x100 cm ZOOM DOWN, 2007, oil on canvas, 100x100 cm
34. ZOOM THE LEGS, 2007., ulje na platnu, 100x100 cm ZOOM THE LEGS, 2007, oil on canvas, 100x100 cm
35. ZOOM THE PINK BENTING, 2007., ulje na platnu, 100x100 cm ZOOM THE PINK BENTING, 2007, oil on canvas, 100x100 cm
36. ZOOM THE SLEEPING BACK, 2007., ulje na platnu, 100x100 cm ZOOM THE SLEEPING BACK, 2007, oil on canvas, 100x100 cm
37. ZOOM THE RED HUG, 2007., ulje na platnu, 100x100 cm ZOOM THE RED HUG, 2007, oil on canvas, 100x100 cm
38. ZOOM IN BLUE, 2007., ulje na platnu, 100x100 cm ZOOM IN BLUE, 2007, oil on canvas, 100x100 cm
39. ZOOM I., 2006., akril na papiru, 60x80 cm ZOOM I., 2006, acrylic on paper, 60x80 cm
40. ZOOM II., 2006., akril na papiru, 60x80 cm ZOOM II., 2006, acrylic on paper, 60x80 cm
41. ZOOM III., 2006., akril na papiru, 60x80 cm ZOOM III, 2006, acrylic on paper, 60x80 cm
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24
42. ZOOM IV., 2006., akril na papiru, 60x80 cm ZOOM IV., 2006, acrylic on paper, 60x80 cm
43. ZOOM V., 2006., akril na papiru, 60x80 cm ZOOM V, 2006., acrylic on paper, 60x80 cm
44. ZOOM VI., 2006., akril na papiru, 60x80 cm ZOOM VI., 2006, acrylic on paper, 60x80 cm
45. ZOOM VII., 2006., akril na papiru, 60x80 cm ZOOM VII., 2006, acrylic on paper, 60x80 cm
46. ZOOM VIII., 2007., akril na papiru, 60x80 cm ZOOM VIII., 2007, acrylic on paper, 60x80 cm
47. ZOOM IX., 2007., akril na papiru, 60x80 cm ZOOM IX., 2007, acrylic on paper, 60x80 cm
48. ZOOM X., 2007., akril na papiru, 60x80 cm ZOOM X., 2007, acrylic on paper, 60x80 cm
49. SKAKAČICA, 2005., akril na papiru, 65x95 cm FEMALE JUMPER, 2005, acrylic on paper, 65x95 cm
50. ISKORAK, 2005., akril na papiru, 75x55 cm ADVANCE, 2005, acrylic on paper, 75x55 cm
51. LET, 2005., akril na papiru, 95x65 cm FLIGHT, 2005, acrylic on paper, 95x65 cm
52. ŠTAP, 2005., akril na papiru, 95x65 cm STICK, 2005, acrylic on paper, 95x65 cm
53. SUNGLASES, 2005., akril na papiru, 70x50 cm SUNGLASES, 2005, acrylic on paper, 70x50 cm
54. UP, 2005., akril na papiru, 75x55 cm UP, 2005, acrylic on paper, 75x55 cm
CIKLUS SUMMER SCENES / BIOKOVO55. BIOKOVO IV., 2006.,
ulje na platnu, 70x115 cm BIOKOVO IV., 2006, oil on canvas, 70x115 cm
56. BIOKOVO I., 2004., ulje na platnu, 75x120 cm BIOKOVO I., 2004, oil on canvas, 75x120 cm
57. BIOKOVO III., 2005., ulje na platnu, 70x100 cm BIOKOVO III., 2005, oil on canvas, 70x100 cm
58.-68. Crteži, 2005. (2006.), uljeni pasteli na papiru, 26x35 cm (30x42 cm) Drawings, 2005 (2006), oil pastell on paper, 26x35 cm (30x42 cm)
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REPUBLIKA HRVATSKAMINISTARSTVO FINANCIJA POREZNA UPRAVA ZAGREB
Za izdavačaIVICA MLADINEOravnatelj Porezne uprave
Odgovorni urednikŽELJKO GLAVAŠ
Urednik katalogaSREĆKO PLANINIĆ
Koncepcija izložbeINGRID RUNTIĆ TONKO MAROEVIĆ SREĆKO PLANINIĆ
Autor predgovoraTONKO MAROEVIĆ
Lektorica i korektoricaKATA MAJDANDŽIĆ-STUPAC
Prijevod na engleski jezikGRAHAM McMASTER
Oblikovanje pozivnice, kataloga i plakataSREĆKO PLANINIĆ
Likovni postavSREĆKO PLANINIĆMARIJA GRUBIŠIĆ
DijakoloriSINIŠA UŠTULICAIGOR SITAR
Priprema za tisakART STUDIO AZINOVIĆ
TisakART STUDIO AZINOVIĆ
Naklada600 primjeraka
I. Runic.indd 25 3/1/07 1:38:16 PM
U IZLOŽBENOM PROSTORU POREZNE UPRAVE ZAGREB, AVENIJA DUBROVNIK 32DOSAD SU IZLAGALI:
GODINE 1999.VESNA SOKOLIĆ, VINKO FIŠTER, RUŽICA DEŠKOVIĆ, DANIEL BUTALA,
BORIS DEMUR, JURE LABAŠ, BORIS BUČAN, IVAN TUNA JAKIĆ
GODINE 2000.GORAN PETRAČ, KREŠIMIR NIKŠIĆ, FRANE RADAK, VLADIMIR MEGLIĆ,LATICA IVANIŠEVIĆ, ALBINA JAKIĆ, ŽELJKO KROPF, EUGEN KOKOT
GODINE 2001.MARKO ŽIVKOVIĆ, ŽELJKO UREMOVIĆ, JOSIP ŠKERLJ, MIRJANA KAROLINA KOREN,MARIJAN RICHTER, SANJA GAŠPARAC, KARINA SLADOVIĆ, VLADIMIR VRLJIĆ-ANKIN
GODINE 2002.ŽELJKO MUCKO, ZLATKO KOKANOVIĆ, JOŠKO ETEROVIĆ,
PREDRAG LEŠIĆ, ŽELJKO HEGEDUŠIĆ, VESNA PAVLAKOVIĆ, ZDRAVKO ĆOSIĆ
GODINE 2003.MATO LOVRIĆ, MLADEN VEŽA, BRANKO BAZINA, ALBERT KINERT,TONI FRANOVIĆ, ANTON CETÍN, ZVJEZDANA MARGUŠ-PROHASKA
GODINE 2004.IVAN LOVRENČIĆ, MATO JURKOVIĆ, JAGOR BUČAN, TOMISLAV BUNTAK,
KIRO VINOKIĆ-VIKI, ZLATKO KAUZLARIĆ ATAČ, VASKO LIPOVAC
GODINE 2005.ZDENKO BUŽEK, ROKO ŠTOKIĆ, ANA GUBERINA, IVAN ANDRIJANIĆ,
MILE SKRAČIĆ, MAJA ARČANIN, SREĆKO PLANINIĆ
GODINE 2006.JURICA PUHALOVIĆ, KRUNISLAV STOJANOVSKI, ANTE KUDUZ, LJUBOMIR PERČINLIĆ,
IVAN LOČAR – ŽAN, NEVENKA ARBANAS, STIPE GOLAC
GODINA 2007.MARCELA MUNGER, INGRID RUNTIĆ
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