BorisBucan Dorucak u stampariji

8/16/2019 BorisBucan Dorucak u stampariji

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Saclrzaj • Content

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

14 Kick Poynor

I Rani plakati Borisa Bucana • Boris Bucaris Early Posters

26 \ Georges Halliard

Imaginarni svijet Borisa Bucana • The Imaginary Worl of Boris Bucan

2 ! Seadeta"iclz#$:I !anta"magoricni "apisi i" tisine • Phantasmagorical #otes from $ilence

%ft j Reproclukcije • Reprouctions

& i (ataloski popis clj ela • )atalogue of Works

&*% i +ivotopis • Biography

&*, I Raclovi u kolekcijama • Works in )ollections

&*- i #agracle i pri"nanja • ./ars an )ommenations

&* i $amostalne i"lo"0e 1i"0or2 • $olo E3hi0itions 1selection2

&** i $kupne i"lo"0e 1i"0or2 • 4roup E3hi0itions 1selection2

565 I +ivotopisi autora tekstova • Te3t .uthors' BiographiesBoris B%cait: &oiiicalc 11 sta'(ariji

14) * nviija + 2,) svi-nja 2.16)

Boris lii%:)iii: Break/ast at t#e Printer$s

14 0(ril + 2, "ay 216

3l%zej s%vre'ene l%iijetnosti • "%se%' o/ Conte'(orary 0rt

0v) &n-rovnik 151. .1. agre-

(7$T6$I). • )7R.T6R (ristina Bonjekovic $tojkovic

.$I$TE#TI). • .$$I$T.#T $ara Dukic

8I(69#IP6$T.9 • E:;IBITI6# $ET


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(6#+ER9.)I=.IRE$T.7R.)I=. • )6#$ER9.TI6# .#D RE$T6R.TI6#

>irtaPavic

>aja9urusic

(ristina >atkovic

Tesa;orvaticek

DanielaRatkajec

$anra =uranic

#ives =akovina

Ella >urseli 1pomocni poslovi • au3iliary tasks2

#acin i"laganja pkikata osmislila • Poster isplay style create 0y? >irta Pavic

ED7(.TI9#I PR64R.> • ED7).TI6#.8 PR64R.>>E

#aa Beros

Daniela Bilopavlovic Beenik

TE;#I)(. 6R4.#I+.)I=. • TE);#I).8 6R4.#I+.TI6# Darko )op ec

TE;#l)(I P6$T.9 • TE);#I).8 $ETaricic

.leksanar >ilosevic

Ro0ert Pavkovic

Dusan $tupar

+clenko +avalic

!ilip +ima

6D#6$I$ =.9#6$)7 • P7B8I) RE8.TI6#$ =aranka Pintaric $onja Bar0aric

+.IE#T$

.naarija ;a0jan@ Dejan (rsic@ #ena Puhovski@ +eljko $tojanovki +vonko $tojevlc@ .na $kegro@ (oraljka 9lajo@ 4oran 9ranic@ >arta Banic@

8eila Topic@ 9anja $tojkovic@ >argaret Rismono@ .nton Bucan@ Ramila Iva =ankovic@ Igor Bulatovic@ Ro0ert


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TI$.(A PRI#TED B Printera

#.(8.D.u"ej suvremene umjetnosti

• >useum of )ontemporary .rt@

+agre0 I$B# *-inistry of )ulture ol the Repu0lic of )roatiaA

r@T A.vm P.RT#ER • 6!!I)I.8 P.RT#!R

>EDI=$(I P6(R69IT(I = < >EDI. $P6#$6R

$P6#+6RI • $P6#$6R$

p ;r va ts ki 8L Telekom L

8%tarnji%s9

+agre0

(ristina Bonjekovic $tojkovic

&or%cak 11 sta'(arijiBreak/ast at t#e Printer$s


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+0og jenog romana i jeclnog filma naslov ove i"lo"0e vise asocira na )e"nju "a glamurom@ nego

na 0uku i prljavstinu starih stamparijaA Pa ipak@ prije umjetnickog glamura koji je stigao mnogo

goclina nakon toga@ Bucan je cekajuci na prvi otisak plakata mnoge clane 1a vjerojatno i jutra2

proveo u tiskaramaA Plakati 0i potom slijeclili svoju su0inu "avrsavaju na graskim ulicama i

plakatnim mjestima@ a 0i vec nekoliko clana kasnije nestaliA Tijekom goclina njegovi su plakati

postalM svakonevica sve ok jeclnog clana nisu isce"liA 1R2evolucija oglasivacke inclustrije

i"mijenila je komunikacijske moclele oglasivanja te su Bucanovi plakati postalM clio proslosti koja

je i clanas aktualna "ahvaljujuci mu"ejimaA

$to otkupom@ sto clonacijama >u"ej suvremene umjetnosti anas posjeuje repre"entativnu

autorsku cjelinu plakata Borisa BucanaA Ta "0irka i"nimne vrijenosti tako nam je i omogucila

i"laganje i istra"ivanje Bucanova opusaA 6sim sto su njegovi plakati clio vi"ualne memorije

mnogih generacija@ va"ni su "0og inovacija u grafickom i"ajnu@ all i sirenja pojma plakata i

njegove percepcijeA

=os tijekom stuija slikarstva na "agre0ackoj .kaemiji likovnih umjetnosti@ Bucan jeluje u

krugu umjetnickog narastaja okupljenog oko 4alerije $tuentskog centraA 4alerija $)useum of )ontemporary .rt possesses a

I representative 0oy of posters 0y Boris Bucan@ /hich it

i acNuire partly 0y purchase an partly 0y onationA ThisO e3tremely valua0le collection has ena0le us to e3hi0it an to

I research Bucaris oeuvreA ;is posters 0elong to the visual

i memory of many generations@ 0ut they are also important

0ecause he 0roaene the concept of the poster an the /ay in /hich it is perceiveA


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While still a stuent of painting at the +agre0 .caemy of !ine .rts@ Bucan /as active in a circle

an a generation of artists gathere aroun the $tuent )entre 4alleryA .t that time $) 4allery /as

a lively place 0u""ing /ith e3ploration an

social impactA Bucan researche am0ient art an /ith a group

ur0anom prostoruA Prvo am0ijentalno i plasticko promisljanje u javnom tkivu gracla 0ila e

Pikturalna petlja 1u suranji s =A $tosicem@ &*,*A2@ o0ojeno plasticno crijevo i"lo"eno u voristu

4alerije )entarA Potom su &*-AC&*-& uslijeili akcija Total s Davorom Tomicicem@ oslikavanje

plocnika u 9arsavskoj ulici i 0ojenje oronule fasae na $avskoj cestiA Taj inovativni karakter

promisljanja umjetnickog cina koji je te"io preispitivanju i aktiviranju vlastite okoline te

negiranju opceprihvacenih estetskih cinjenica efinirat ce se kao jean ocl umjetnickih smjerova

u kontekstu #ove umjetnicke prakseA Bucan@ poput mnogih i" generacije seamesetih goina

skolovanih na "agre0ackoj .kaemiji likovnih umjetnosti@ istoo0no jeluje i na porucju

grafickog o0likovanjaA 70r"o je napustio ur0ane intervencije kao o0lik umjetnickog i"ricaja@ all

ostao je prisutan u javnom prostoru vise o vacleset goclina mijenjajuci lice graa svojim plakatimaA

6cluvijek kreativno nesputan@ imao je srecu sto je suraclivao s naruciteljima koji ga nisu

ogranicavali@ cen"urirali ill mu nametali svoja rjesenjaA 9ec je pocetkom seamesetih stekao

povjerenje kljucnih narucitelja? 4alerije $tuentskog centra@ Dramskog ka"alista 4avella i onclasnje

4alerije suvremene umjetnostiA

Prve plakate@ koje rai "a 4aleriju $) i 4avellu@ karakteri"ira sna"na reuciranost grafickog prika"aA

#a plakatima "a i"lo"0enu jelatnost 4alerije $) Bucan se sim0olicki po"iva na likovni je"ik

umjemika u grafickoj Interpretaciji i"lo"enih raclova ill se pak samo referira na oclrecleni pojam

pretvoren u "nakA 9rlo pronicavo oa0ire onaj likovni motiv koji na

Pristup u vi"uali"aciji ieje pociva na "akonitostima minimalisticke umjetnosti i ojema

pop artaA

>ectutim@ plakatima "a Dramsko ka"aliste 4avella@ Bucan pristupa clvojako? sjeclne strane

reuciranim vi"ualnim i"ricajem referira se na sa"etu icleju ka"alisne teme@ a s ruge pak i"racluje

seriju fotografskih LkonceptualnihL plakataA #a foto


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$avska $treetA This innovative approach to the act of artistic creativity@ /hich sought to re


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B%canov plakat "a i"lo"0u Barokni dvorci Hrvatskog zagorja Bucan's poster for the Baroque!astles o"Hrvatsko #agorje e3hi0ition@

+agre0@ &*- fotografija • photograph? 5A $tojanovic

Plakat "a $lu% Studentskog centra & 'isco !lu% • Poster for the Student !entre !lu% & 'isco !lu%( +agre0@ &*-* fotografija • photograph? 5A

$tojanovic

o"nacavaju i"vjesnu promjenu paraigme u promisljanju plakata kao meijaA 7 torn@ na prvi

pogle nelogicnom suonosu pojeclinih "nacenja i"meu nasumicno oa0rane fotografije i teme

preclstave@ Bucan hotimice proi"vocli sumove te ispituje komunikacijske procese koji se pojavljuju u

interakciji s pu0likomA Primjerice@ Bucan se u" osmijeh prisjeca "a0une i"a"vane ko prola"nika koji

su gleajuci plakat "a 4avellinu preclstavu )gustari velegrada 1&*-%A2@ na kojem je fotografija !ranks

$inatre@ ocekivali njegov ola"ak u +agre0A

Tijekom seclamclesetih Bucan suracluje s fotografom +eljkom $tojanovicem na ni"u fotografskih pletkata "a ra"licite naruciteljeA Tako nastaje serija plakata 1&*-A2 "a ogaanja u sklopu festivala

$terijino po"orjeA Bucan taa pove"uje temu plakata s fotografijama stvamih 1konkretnih2

protagonista ogaanjaA Primjerice@ "a i"lo"0u ka"alisnih plakata na njegovu rau u ulo"i moclela

pojavljuju se raclnici u stamparijiA #a plakatu kojim se oglasava festival pojavljuje se i"ajner sam@

ok simpo"ij ka"alisnih teatrologa najavljuje < teatrologA

7 o"racju konceptualne umjetnosti@ Bucan ostvaruje ni" samostalnih i"lo"0i u +agre0u@ $plitu i

Du0rovniku Bucan +rt( &*-A2 i taclasnjoj 4aleriji suvremene umjetnosti Povijest ,oderne

u,jetnosti od+lta,ire do danas( &*-,A2A 9a"no je "a0ilje"iti cla Bucan rai paralelno na o0a

porucja < u i"ajnu i u umjetnosti < all ih i isprepliceA #ajocitiji primjer

ne/spaper photographs that ha no connection /ith the su0ject@ that is@ the performanceA These

posters are especially

consiering the poster as a meiumA In this apparently illogical interrelationship 0et/een the

ranomly chosen photograph an the su0ject of the performance@ Bucan intentionally prouce

communication noises an e3amine communication processes in interaction /ith the pu0licA !or


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e3ample@ he remem0ers /ith a smile ho/ confuse passers


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Boris Bucan s Ivanom (o"aricem i Davorom >aticevicem u 4aleriji suvremene umjetnosti • Boris Bucan /ith Ivan (o"aric an Davor

>aticevic in the 4allery of )ontemporary .rt@ +agre0@ &*-, fotografija • photograph? 5A $tojanovic

7 4aleriji suvremene umjetnosti • In the 4allery of )ontemporary .rt@ +agre0@ &*-, fotografija • photograph? +A $tojanovic

proniisljanja cli"ajnerske icleje pretocene u slikarstvo clogoclio se &*-5A gocline u seriji slika Bucan

+rt 7 toj seriji "astitni "nakovi ra"nih svjetskih tvrtki@ prometni "nakovi ill "nakovi upo"orenja

preneseni su i" svojeg prironog grafickog ishoista u sferu LcisteL umjetnosti@ ne samo "amjenom

i rekonstrukcijom triju karakteristicnih slova .RT u tijelo "naka@ nego i upora0om traicionalnog

alata stafelajnog slikarstva


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an incorporating the three characteristic letters .RT in the 0oy of the sign@ 0ut also 0y using the

traitional tools of easel painting < 0rush an canvasA The change of conte3t@ playing /ith the

relationship 0et/een signs an giving them ne/ meanings /as to 0e Bucaris lasting theme an

preoccupationA

In the 4allery of )ontemporary .rt he mounte in &*-, the e3hi0ition >useum Pal,olive/Histor0

o" odern +rt "ro, +lta,ira to t-e Present. In it he gave a istinctive an /itty interpretation of his

associations connecte /ith great figures of art history an their art strategies@ or LcreateL invente

artists an name them after various consumer proucts /hich he situate in an imaginary

useu, Pal,olive. ;umour an a critical approach ha alreay 0ecome a recognisa0le constant

factor in his /orkA

elementima i informaciom cije "clru"ivanje otvara prostor i "a neka rugacija iscitavanjaA 4raficko

o0likovanje plakata cesto oclasilje jeno"nacnu poruku pu0licM@ all Bucan ustraje na

am0ivalentnosti pa i vise"nacnostiA Duhovitost ill ironija nastaju u suceljavanju slike i rijeciA

Plakati ko promatraca po0uuju vise asocijativnih tokova koji se granaju u mnogo smjerovaA 7 pop


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for ifferent reaingsA Poster esign often sens an unam0iguous message to the pu0lic@ 0ut

Bucan persiste on am0ivalence an a multifacete approachA The meeting of image an /or

often le to humour or ironyA .mong vie/ers the posters a/oke ifferent kins of associations

/hich 0ranche in many irectionsA In the spirit of pop art@ Bucan evelope an astute ancl

generally kno/n su0jects@ images from the mass culture such as cartoons@ human figures@ faces@

animals an so on@ /hich he often su0seNuently coloure an using photo montage turne into

/onrous ancl often provocative picturesA

)ontrary to the minimalistic e3pression from the early &*-s@ to/ars the en of that ecae his

approach to the poster change completely an his e3pression clominantly relie on an

increasingly lavish use of colour an formA In the search for a ne/ iniviual art e3pression that

/oul allo/ him to overstep the given 0ounaries of graphic esign@ Bucan tirelessly e3plore

art history ancl contemporary visual culture an stuie art as such@ especially paintingA

representation ancl manner of shaping an ieaA Increasingly he introuce in his posters

proceures that /ere characteristic of painting ancl ra/ing techniNues@ thus creating a ne/ type

of pictureA Davor >aticevic@ curator ancl from &**& irector of the 4allery of )ontemporary .rt@

/rote? LThis /as a perio /hen posters@ accoring to the artist's vie/s ancl efforts@ /ere to 0e

art/orks in their o/n right create for the street@ paintings commissione ancl multiplie for

pu0lic places in connection /ith some cultural eventA This means@ to create a /ork in response to

a /ork@ not to place a /ork in the service of another /orkAL5

.nother result of Bucaris /iening of the poster concept can 0e seen in the large format that ha

previously not 0een use in the regionA .lthough he graually 0egan to increase the poster format

right at the 0eginning@ from the stanar si"e of & 3 - cm to &% 3 & cm to &% 3 5 cm@ an

Tim Lplakatima


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fenomen tipican "a prijela" stoljeca@ ukljucujuci i ovoLA

6 sna"nom ojmu koji je Bucanovo stvaralastvo ostavilo na posjetitelje 9enecijanskog 0ijenala

svjeoci i komentar umjetnika Ro0erta Rauschen0erga "apisan na koricama Bucanova kataloga?

L;vala 9am na preivnom iskustvuML

$ o0"irom na to a su mu glavni narucitelji plakata ouvijek 0ile kulturne ustanove < galerije@

ka"alista@ >u"icka proi"vonja +agre0acke raiotelevi"ije < jasno je a se Bucan o0raca pu0licM s

oreenim 1likovnim2 pre"nanjem@ onima koji ce umjeti proniknuti u njegovu likovnu poruku i

ra"umjeti referentne okvireA

Primjerice@ "a plakat prestave Lizistrata( clrame starogrckog komeiografa .ristofana o ratu

spolova@ poslu"io se stili"iranim prika"om "ena u maniri grckih va"a i" geometrijskog ra"o0ljaA Ipak@

kako 0i ostao u uhu vremena@ kao prelo"ak poslu"ila mu je po"nata fotografija ;elmuta #e/tona i"

&*&A T-e01re co,ing23. #o@ valja pritom istaknuti a se Bucan ne oslanja na povijesne stilove u svrhu pukog citiranja@ nego stvara novi autenticni likovni i"ricajA 7 intervjuu i" &*FA o0jasnjava?

esigne elongate posters of up to % metres@ in the early eighties the format finally sta0ilise at

5 3 5 cmA .t that time these /ere unusual formats@ toay they have 0ecome stanar

marketing strategies kno/n as %ill%oards or ju,%o/posters.

With these Lposter


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>usic Prouction of +agre0 Raiotelevision < he ha clearly 0een cooperating /ith a pu0lic that

ha a egree of 1artistic2 forekno/lege@ people /ho /oul kno/ ho/ to rea his artistic

message an unerstan the referential frame/orkA

!or e3ample@ on the poster for the performance L0sistrata( a play 0y the ancient 4reek

comecliographer .ristophanes

LPovijescu se volim 0aviti na ta nacinO ne 0ukvalnim prenosenjem autenticne forme ili nje"ine

ilustracijeAAA $matram a je oponasanje cak i naj0oljih perioa umjetnosti smijesno ako nije

motivirano saasnjim vremenomAL%

Prema nika nije ro0ovao funkciji plakata kao jasnog i citkog prenositelja informacije@ pocinje ju

posve marginali"iratiA f to oslovceA Informacija koju plakat prenosi smjestena je uvijek negje u"

ru0 ili je postala sastavnim ijelom slikeA #o@ u0r"o je oclvojenost slike i teksta@ tjA cinjenica a su

rijeci istisnute na samu marginu plakata@ cla su okvir slike@ postala svojevrsni Bucanov potpis@

njegov jeclinstveni "nak prepo"natljivostiA

#a pitanje kako gla"0u pretociti u plakate ogovara ni"om plakata ractenih kontinuirano ocl &*A

o &**&A "a 4la"0enu proclukciju +agre0ackih simfonicara i +0ora RT+u"icka proi"voclnja@ postaje njegov clrugi glavni naruciteljA 7 se"oni

&*-AC&*A stvara seriju plakata Pijanist kojom ra"vija icleje motiva pijanista u ra"nim

parafra"amaA 7 ra"licitim varijacijama pijanist svira klavir koji se transformira u "oomorfne

o0like ili se crno


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authentic art e3pressionA In an intervie/ from &*F he e3plaine? LThat is ho/ I like to engage in

historyO not 0y literally transferring an authentic form or its illustrationsAAA I think that copying

even the 0est

present timeAL%

.lthough he /as never a skive to the poster's purpose of proviing information clearly an

reaa0ly@ he 0egan to completely marginalise this aspectA 8iterallyA ;e al/ays place the

information a poster conveye some/here along the ege or incorporate it in the pictureA $oon

the separation of the picture from the te3t@ iAeA@ relegating the /ors to the very margins of the

poster@ turning them into a frame for the picture@ 0ecame something like Bucaris signature@ his

uniNue ientification markA

;e ans/ere the Nuestion a0out ho/ to epict music on a poster in a series of posters that he

continuously mae from &* to &**& for the >usic Prouction of the +agre0 $ymphonists an theRT+ )horusA The >usic Prouction of +agre0 Racliotelevision 1RT+2@ toay )roatian

Raiotelevision@ 0ecame his secon main patronA In the &*-C&* season he create a cycle of

posters calle T-e Pianist paraphrasing ieas on the pianist themeA In ifferent variations a

pianist plays the piano /hich is transforme into "oomorphic shapes@ or the 0lackartinis@ Davor Tomicic@ 4oran Tr0uljak i 4orki +uvela

nakon serlje saraostalnih i"lo"0i u 4aleriji $tuentskog centra u +agre0u sujeluju &*-&A na vjema "ajenickim i"lo"0ama te su smatrani


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grupom autora intervencionistaA >eutim@ njihovo jelovanje nije imalo karakter grupnog raa i utar"o je svatko otisao svojim putemA 8ova

u,jetnicka praksa( katalog i"lo"0eA )urA2 >arijan $usovski@ +agre0@ 4$7@ &*-A@ strA -A

5 Davor >aticevic@ Boris Bucan9 !ollegiu, artisticu,( $arajevo@ 5%A&A < ,A5A&*FA@ i"

pregovora katalogaA

Davor >aticevic@ Boris Bucan Jugoslavia9 La Biennale di :enezia( l7giugno /;< sette,%re

;=?( kustos i autor tekstaA

% =asna 4aljer@ intervju LBoris Bucan < umjetnik u javnom prostoruL@ !ovjek iprostor9

ar-itektura( kiparstvo( slikarstvo i pri,ijenjena u,jetnost( goA 5 1&*F2@ &Q5@ strA &*A

nightmare of musicians an instruments@ the instruments turn into threatening /eapons

/hich clearly allue to the /ar that /as at that time raging in )roatiaA

In the nineties Bucan progressively move a/ay from posters@

0ol an visually conscious clientsA In any case@ the poster lost importance in the nineties as other

forms of mass meia gaine ominance@ silk screen printing 0ecame too e3pensive@ an the

avertising inustry 0egan to cherish profit a0ove visual ientityA Thus Bucan focuse on painting@/ithout regrets@ 0ecause as he sai himself@ esign ha taught him ho/ to approach a su0ject /hen

one is al/ays 0eing face /ith ne/ tasks? LThe fact that I /orke in esign is an immense help to

me in paintingAL

The posters that are toay in the >useum of )ontemporary .rt are a relevant section through

Bucem's creative /ork from the very 0eginnings in the seventies to the en of the last centuryA In

poster esign Boris Bucan mae references to mass culture@ to everyay life@ an also references to

many historical art stylesA In the meium of the poster he foun a istinctive /ay of reartinis@ Davor

Tomicic@

4oran Tr0uljak an 4orki 5uvela in &*-&

participate at t/o group e3hi0itions an /ere

looke on as a group of interventionist artistsA

;o/ever@ their activities i not have the

character of group /ork an soon each of

them /ent his or her o/n /ayA >arijan

$usovski 1eA@ 8ova u,jetnicka praksa 1#e/

.rt Practice2@ e3hi0ition catalogue@ +agre0

4$7@ &*-@ pA -A

5 Davor >aticevic@ Bon's Bucan !ollegiu,

artisticu,( $arajevo@ 5% =anuary < , !e0ruary

&*F@ from the introuction 0y the eitor of

the catalogueA

Davor >aticevic@ Boris Bucan9 Jugoslavia9 La

Biennale di :enezia( ;@ giugno /;< sette,%re


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;=?( curator an author of the te3t@ 4allery of

)ontemporary .rt +agre0

% Intervie/ 0y =asna 4aljer@ LBucan@ 7mjetnik u

javnom prostoruL 1Bucan@ .n .rtist in the

Pu0lic Environment2@ !ovjek iprostor9

ar-itektura( kiparstvo( slikarstvo i pri,ijenjena

u,jetnost( year 5 1&*F2@ &Q5@ pA &*AA

ick Poynor

laid (lakati Sorisa 1 8%caiinBoris 1 *icnn$s 7arly Posters

igleavali mi plakate Borisa Bucana u perspektivi povijesti akata ill unutar povijesti grafickoga

cli"ajna@ njegov opus estavlja "ase0an slucajA 9ise nego 0ilo koja clruga forma u aksi grafickoga

i"ajna@ plakat se ocluvijek srajestao na "meu i"ajna i umjetnosti@ kao sto to ocito poka"uju na"ivi 2

put ko,ercijalnogslikarstva ipri,ijenjene umCefriosfikoji su

2stao uo0icajenim pojmomA Buuci a postoji kako 0i slu"ila koj tuoj svrsi@ primijenjena je

umjetnost implicitno ni"i o0lik •njetnostiA Ipak@ ovoljnoje oso0na cia0i "aslu"ila etiketu njetnostiA nasvojem je pocetku@ uostalom@ ta aktivnost 3enito pora"umijevala slikarsku upotre0u kistaA

Prelaskom i graficki cli"ajn kao ominantan pojam kojim se opisuje •aficka komunikacija s

pu0likom@ meutim@ stvar postaje ro0lematicnomA =esu li i"ra"ito ekspresivni filmski i ka"alisni Aakati

nastali u Poljskoj ili )ehoslovackoj tijekom &*,


17/53

other form of graphic esign practice@

art@ an the term Lcommercial artL@ use for several ecaes 0efore Lgraphic esignL 0ecame the

normal term@ makes this e3plicitA .s the /ors inicate@ commercial art is implicitly a lesser form

of art 0ecause it e3ists to serve someone else's purposeA #evertheless@ it remains sufficiently

personal to 0e ignifie /ith the la0el LartL an in the early clays the activity generally involve

using the paint0rush like a fine artistA With the shift to graphic esign@ as the preferre term to

escri0e graphic communication /ith the pu0lic@ the issue 0ecame more pro0lematicA .re the

highly e3pressive film an theatre posters create in Polan or )"echoslovakia in the &*,s the

/ork of iniviuals /e shoul call poster artists or poster esignersS .re such posters art or

esign@ or a mi3ture of the t/o activitiesS The ans/er is unou0tely a mi3ture@ 0ut some

o0servers situate /ithin the esign sphere are trou0le 0y this uncertaintyA It makes the activity

they are trying to efine professionally an istinguish from the su0jective an autonomous

realm of art seems impure an unrelia0leA To complicate matters@ artists have often prouce

posters@ usually to announce their o/n e3hi0itions@ an sometimes for colleaguesA If artists createsomething@ even a communication that looks a lot like graphic esign@ then they ten to regar it as

an e3tension of their art practiceO in other /ors as artA By the same token@ if a graphic esigner

create a poster@ then artists are likely to vie/ it as merely esign even if it looks like artA

Bio sam prilicno i"nenaen kacl sam viclio Bucanove rane plakate < sto je tema kojom se ovje

0avim < na i"lo"0i u 4aleriji $tuentskog centra u +agre0u 55A@ mnogo goclina nakon sto su

nastaliA Bio je to moj prvi posjet ;rvatskoj i o Bucanu nisam "nao nistaA 6sim raa #arptica 1&*A2@

uopce mi nisu 0ill po"nati veliki plakati koje je raio u proslavljenom rugom ra"o0lju svoje

karijere autora plakataA To anas i"glea kao propust@ ali Bucanov i"ajnerski ra nije 0io po"nat u

9elikoj Britaniji@ ni u $.D


18/53

gje su plakati 0ilo koje vrste u0r"ano

unatoc kratkom ra"o0lju preporoa &*,-A goine pojavom kontra


19/53

qrup !"1#il$%rr&& '()()*0"1*()*0 +l"1,1*"-0

?la ta orenica vi$e ne cini ovoljno preci"nom s o0"irom raspon utjecaja i nakana tih plakataA

>eu rijetkim sthonicima u rugim "emljama nala"e se i"ra"lto iukcionisticki plakatl temeljenl

na meteoroloskim n0olima kojeje =ohn >elin &*,A i"ajnirao "a mu"ej Derna >useet u

$tockholmuA Plakati =ana van Toorna s aja &*,


20/53

vise privlacila likovna scenaA 6 cli"ajnu plakata u igre0ackoj $koli primijenjene umjetnosti@ koju je

"avrsio &*,-A@ je naucio nista sto 0i mu se cinilo korisnimA #a ranim akatima "a 4aleriju $tuentskog

centra@ kao sto je I,agina,i uzej 1&*,A2@ i na raovima "a Dali0ora >artinisa 1&*,*A2@ $anju ekovic@

+maga =eraja i 4rupu Belin in &*, for the >oerna >useet in $tockholmA In the

#etherlans@ =an van Toorn's late &*,s posters for the $teclelijk 9an .00eniuseum in Einhoven

have a rigour an a fle3i0ility of graphic metho that is compara0le to Bucan's@ though 9an Toorn

/as still incline to inclue elements of the artist's /ork@ /hich Bucan al/ays resisteA 6ther

e3amples of sustaine conceptual poster making came later after Bucan ha change irectionA In

the &*s@ /e might point to the posters of the .merican conceptual artist 8a/rence Weiner@ an to

the


21/53

. *

tumacenje i tre0a saclr"avati elemente osmisljene pose0no "a tu prigouA #eovisno o njegovoj

namjeni@ Bucan je o pocetka smatrao plakat umjetnickim cljelom@ a ne primijenjenom

miijetnoscuA 8inearno slikarstvo +maga =eraja postalo je povo "a o0likovanje pra"nine u o0liku

kutije koja "au"ima vecinu prostora@ kao a se na plakatu otvorila rupa@ clok je slikarevo ime

ogumuto u kut kao nesto posve sporenoA #a plakatu "a Dali0ora >artinisa@ Bucan je postavio

unutrasnji okvir koji na mjestu na kojem 0ismo ocekivali neku sliku preclstavlja cisto 0ijelo nistaviloA

Premcla su ga Ijucli pitali "asto nije u torn prostoru nesto nacrtao@ ni narutel ni umjetnik nisu se

"alili na prika"anu pra"ninuA (a poglea unatrag@ Bucan smatra a je 0io u stanju prorijeti u

neistra"eno porucje "ato sto taa@ osim ponekog umjetnika@ nitko nije o0racao previse po"ornosti

na ono sto se "0ivalo u relativno nera"vijenom polju i"ajnaA #arucitelji njegovih raova u 4aleriji

$tuentskog centra 0ill su njegovi vrsnjaci koji su mu avali otvorene ruke@ a jeclino je s

naruciteljima i" ka"alista 4avella morao raspravljati o konceptu pojeinih rjesenjaA Bucan je u"ivao

stupanj slo0ocle koji je i"ajnerima plakata uglavnom postao neostupan kacl su u kasnijim

esetljecima prevlaali marketinski principi poslovanjaA

7 takvom je o"racju Bucan mogao nastaviti raiti plakate i"ra"ito reuciranoga i"ra"a@ all to mu

nisu opustili njegova nemirna narav i potre0a a istra"uje nove "amisliA #akon &*-A linearne je

konstrukcije ranih plakata "amijenio naglaseniji konceptualni pristup koji je mogao 0iti kako

ver0alni@ tako i fotografskiA Prema su mu taclasnja "0ivanja u jugoslavenskoj konceptualnoj

umjetnosti 0arem nacelno 0ila naahnuce@ Bucan je poslije postao skeptican spram tog

omlnantnog porucja umjetnosti te ce ga kao umjetnik posve napustitiA #a plakatu "a FA splitski

salon Bucan je narucitelju Tonku $imonelliju isporucio ijagramski prika" procesa narucl"0e

ga se anga"iralo@ kako se Wimu )rou/elu nije clalo@ ok je Ivan Picelj imao rugih o0ave"aA Bucan

ima icleju koju prestavlja krivuava linija koja postaje ravnom@ i ta =e ieja L"latnaL kao i 0oja

plakataA $imonellija je u"asnuo tako i"ravan graficki prika" procesa nastanka plakata i o0io je

platiti Bucanu koji nikacl nije ustanovio je li tiskani plakat 0io upotrije0ljen u $plitu@ sto je malo

vjerojatnoA #jegov je koncept "a va plakata

e3hi0ition posters prouce 0y E/ar !ella for the DU !ocus 4allery in Detroit@ /here !ella

su0stitute his ovV graphic inventions for the e3hi0ite artists' /orkA It too the &**s for )ornel

Winlin in +urich to create a 0oy posters eNual to Bucaris in their consistently conceptu

orientation an elasticity of graphic formA

When he 0egan esigning posters@ Bucan seems to hav little acNuaintance /ith /hat /as happening

in graphic in ugoslavia or internationallyA The iscipline in't particularly interest him an he /as

far more engage & art sceneA . poster esign course he took at the $chool .pplie .rt in +agre0@

grauating in &*,-@ provie him nothing he coul useA In early posters for the $tuent 4 4allery@ such

as LImaginary >useumL 1&*,2 an pieces artists Dali0or >artinis 1&*,*2@ $anja Ivekovic@ +mago =e

4roup B


22/53

although he sa that he kne/ little a0out minimal art /hen he esignec LImaginary >useumL@ /hich

he punche /ith holes to introuce a thir imension to the imageA The posters j enigmatically

reuctive to a egree that still looks aua an they rely on a visually eucate auience responc

visual cues that refer only o0liNuely to the art 0eing a In Bucaris vie/@ a poster that merely

reprouces an e3O the artist's art@ /hich is /hat often happens /ith e3hi0i posters@ is not properly

speaking a poster at allA . posts a /ork in its o/n right@ a free interpretation@ an shoul elements

esigne specifically for itA !rom the outset@ f regare the poster as an art/ork@ irrespective of its pu

rather than as a piece of applie artA +mago =eraj's linea 0ecame a prete3t for creating a 0o3


23/53

V+"s&!)p!+ ,-- k+).

IUMJETNICKI SALON

POSLOVNICA JATZAGREB e/press &r!sp+r&

KRESIMIROVA 01,SPilton 4laser ha 0een too e3pensive to unertake the

jo0@ Wim )rou/el couln't 0e 0othere an Ivan Picelj /as other/ise engageA Bucan has an iea@

represente 0y a /avy line 0ecoming soli@ an this iea is LgolL


24/53

anga"iraoA 6n je pak smatrao a@ 0ucluci i on reatelju ne tumaci kako cla re"ira@ niti 0i reatelj

tre0ao smu govoriti kako a i"ajnira plakatA Bucan 0i o0io posao icl njegove "amisli nisu 0ile

prihvaceneA Bio je spreman na mpromise jeino po uvjetom a 0it njegova koncepta ne ie

oveena u pitanjeA

acanovi su se konceptualni plakati najcesce temeljili na tografiji@ a na vi"uali"aciji svojih ieja

reovito je raio s tografom +eljkom $tojanovicemA #a plakatu "a i"lo"0u

poster's origination an refuse to pay Bucan@ /ho never foun out /hether the printe pieces

/ere use in $plit@ though it seems unlikelyA In &*-F@ his concept for t/o TeatarXTD posters /as

similarly e3treme@ summari"ing the prouctions /ith the /ors L>ale posterL 1on a 0lack

0ackgroun2 an L!emale posterL 1on pink2A The client regare this as a slap in the face an it /as

the last time Bucan /orke for the theatreA ;e took the vie/ that he /oul not tell a irector ho/ to

irect a play so the irector shoul not tell him ho/ to esign a posterA If his ieas /ere not

accepte@ then he /oul refuse the jo0A ;e /as only prepare to compromise /here the essence of

his concept /oul 0e preserveA

Bucaris conceptual posters /ere more often 0ase on photographs an he /orke regularly /ith

the photographer +eljko $tojanovic to visuali"e his ieasA In a &*- poster for an e3hi0ition of

$tojanovic's /ork at the $tuent )entre 4allery@ the photographer's manhoo 0ecomes a camera

stuffe o/n


25/53

/0rsovski

4alerija $) • $tuent )entre 4allery

&*-5

sitotisakCpapir • silkgcrcenCpaper

%*@F3*F@F cm

$tojanovicevih raova u 4aleriji $tuclentskog centra &*-A@ fotografova muskost postaje fotoaparat

uguran u hlace? /arholovska slika kreativne potencije sasvim u cluhu svog vremenaA Bucanov

plakat "a i"lo"0u graflckog i"ajna kolege >ihajla .rsovskog i" &*-5A istice ne"avine uvjete u

kojima su i naj0olji plakati clola"ili o pu0like prika"ujuci plakatno mjesto "agre0acke tvrtke 6"eha

i"lijepljeno osreclnjim raclovima rugih cli"ajnera@ all ne i samog .rsovskogA Bucan anas navocli

cla je jeclini ra"log tome sto na clan ka je pano snimljen na njemu nije 0ilo nijeclnog plakata

.rsovskoga@ all to se akako lako moglo ureitiA Tu ponovno "apa"amo i"nimnu konceptualnu i

estetsku slo0oclu u kojoj je Bucan raio? cak i kolega cli"ajner pristaje cla se njegov racl i"ostavi na

plakatu koji reklamira njegovu i"lo"0uA Bucan si je clopustio jos vecu slo0ou na vama plakatima

"a "agre0acki ;iporom &*-FA i &*-,A #a prvom@ koji se temelji na prelosku "a fotografiju gola "ena

s umjetno o0ojenom perilihajlo .rsovski@ in &*' spotlights the hapha"ar

conitions in /hich even the posters reache the pu0lic 0y sho/ing an 6"eha aclve frame in

+agre0 plastere /ith meiocre offerings 0y c esigners@ though nothing 0y .rsovskiA Bucan says noV

this /as merely 0ecause there /ere no posters 0y .rse present on the ay the frame /as

photographe@ 0ut it have 0een easy enough to arrangeA ;ere@ again@ /e not conitions of

e3ceptional conceptual an aesthetic f re from /hich Bucan 0enefiteO even a fello/ esigner tc

0eing left out of an image promoting his o/n sho/A Bin still greater li0erties /ith t/o posters for

ENuestrian )l events in +agre0 in &*-F an &*-,A In the first@ 0ase on sketch for the photographer@ a

nake /oman /earing@ artificially coloure ponya"e konjsku stra"njicu o0ojenu u sitotisku tako a se ii kao cla konj nositrapericeA $premno pri"naje a je neka namjerno i"nevjeravao ocekivanja narucitelja jer je latrao

cla ih valja spustiti na "emlju@ a ne 0espogovorno isati kao sto to cine oni graficki cli"aijneri koji

sami se0e latraju o0icnim pru"ateljima uslugaA

i ni"u se plakata Bucan i"ravno referira na samoga se0e i ou po"iciju i"ajneraA 7 seriji o cetiriju

fotografskih imacla "a ka"alisni festival $terijino po"orje u #ovom $aclu -A stoji pre nama poput


26/53

kakva svetog $e0astijana u "ajnerskom stucliju r"eci stranice programskog materijala@ 2k su

umjesto mucenikovih strijela clu" njegova tijela icvrsceni listovi papiraA #atpis na clnu

o0avjestava aatelje cla na sli vie dizajnera sni,ljenog u vlastitoj so%i. #ovom $aclu nitko nije

"nao tkoje taj covjek@ a Bucana je i0avljalo cla narucitelju procla sliku samoga se0eA Plakati su li

njegov "ivot@ a autoportret je 0io "nak potpune 2svecenosti posluA

i plakatu "a i"lo"0u vlastitih raova u #jemackoj prika"uje toe kako gra0M ulicom u oclijelu na pruge@

ok "akrivljene jojene cite po lieu@ poput kakve le0clece tetova"e@ claju akatu oso0niju pa cak i

pomalo ispovjeclnu notuA rugoni je prigoclom@ samo "ato sto mu se prohtjelo@ prestavio iku "ene u

cl"emperu koja sjei@ ok se o0jasiijenje 7vu oz%u napravio sa, z%ogsvoje cure( poput narukvice

o0avija co nje"ine rukeA Bucanovo se ime istice crvenom 0ojom ukoso •eko nje"inih usana@ poput

poljupcaA anas nam je ta vrsta javne intimnosti normalna < u $.D


27/53

esign sphereA In a series of posters for the 4avella Theatre@ using foun images of a man

snorkeling@ =apanese sumo /restlers an !rank $inatra@ Bucan inclues a statement frankly

amitting@ LThe poster /as mae for another sho/AL .gain@ the esigner inserts himself 0et/een

the vie/er an the ostensi0le su0ject of the poster to remin us that he is present at all times

controlling the levers of the communication

Plakatom koji je &*-FA napravio "a Teatar XTD ominira cek na sest olara koji je u $.Du"ej suvremene umjetnosti +agre0 .rsovski toliko povecava slova cla

ispunjaju povrsinu te ih upotre0ljava kako 0i ra"ijelio i artikulirao prostorA +aokrece ih@ lomi rijeci

na a0ececlne sastavnice i te cestice rasprsuje u" "ase0nih linijaA $lu"eci se

kontrapunkteA #jegove se konstrukcije uvijek oimaju cvrsto projektiranima i estetski istancanimaA

(acl uvoi slike rijec je uglavnom o sekunamim elementima@ posve preci"no umetnutima u

tipografsku strukturuA 60icava istu sliku ponavljati mnogo puta@ u"ivajuci u njoj kao u grafickoj

jeinici i slu"eci se njome kako 0i stvorio teksture i ritmoveA #jegovi

Bucanu je slika na prvom mjestu@ a tipografija mu je uvijek sporena 0rigaA 7 njegovu se raclu cesto

osjeca cla 0i se najraije potpuno rijesio slovaA $manjuje slova koliko je go moguce kako 0i se sli

clalo vise prostora i ne 0rine ga sto narucitelji misle cla 0i to tre0ao 0iti glavni elementA Prvih se

goina slu"io pismom Helvetica jer je tacla 0ilo u sirokoj upotre0i u =ugoslaviji 1i u svijetu2@ a ne "ato

sto je "elio i"ra"iti naklonost prema moerni"mu internacionalnog stilaA (acl se pomnije prouce ti

njegovi raovi@ uvicla se cla pojeinosti ra"mjestaja i ra"maka mectu slovima nisu 0as spretnorijeseni kao sto je to slucaj u klasicnoj svicarskoj tipografiji@ all torn se

processA The clemystification can even e3ten to his fir . cheNue for si3 ollars that he receive in the

7$. in r three posters ominates a poster mae in &*-F for Teat If ;itchcock coulcl inclue self<

referential gestures in &L then Bucan felt free to clo the sameA These evices all serve to assert that

Bucan's poster c shoul 0e unerstoo as /orks of art in /hich he /as responsi0le for every etailA

The more the posters ep the stanar proceures an restrictions that esigne o0serve 1an that


28/53

auiences conseNuently might corr e3pect2 the more they ra/ attention to themselves a

autonomous creationsA The istinction 0et/een regu esigner an artistuseum of )ontemporary .rt in

+agre .rsovski 0lo/s up letters so they fill the surface an u them to ivie an articulate the

spaceA ;e turns then sie/ays@ 0reaks /ors o/n into their alpha0etical components an

isperses these particles across sepA linesA ;e achieves ynamic contrasts an e3pressive

counterpoints using letters aloneA ;is constructions a. feel rigorously engineere an aesthetically

refineA 9 he introuces images@ they tire usually seconary elei slotte /ith great eli0eration into

the typographic str ;e tens to repeat the same image multiple times /itlL esign@ savouring them

as graphic units an using thei generate patterns an rhythmsA ;is posters e3ploit the resources of

graphic language to ma3imum effectA

!or Bucan@ the image comes first an type is al/ays a seconary consierationA There is often a

feeling in hiO that he /oul like to ispense /ith typography entire mae the type as small as

possi0le to give more space image an he pai no attention /hen clients thought? 0e the main

elementA ;e employe ;elvetica in the ee

ugoslavia 1an /orl/ie2@ rather than 0ecause he vV


29/53

S%sret 'ladosti agre- > agre- ?o%t# "eeting --

&*--

sitotisakCpapir • silkscreenCpaper

-@F 3 & cm

?stom vjestine Bucan nikaa nije "amaraoA Pomalo nehajan inos spram vi"ualnlh etalja pove"uje

ga s konceptualnim mjetnicima kojima je i"ve0a uvijek 0ila poreena DnceptuA Bucan jetijekom &*


30/53

"a Dalijevu i"lo"0u ili ih prilagoctavao ru0utenisice "a0ej"0olA #ajos jeclnom netipicnom raclu < u

opusu punom netipicnih raclova < "a "agre0acki >u"icki 0iennale &*--A@ Bucan ra"mahanog

LirigentaL 1"apravo policajca2 "ajapurena lica okru"uje recavom kakofonijom pisama koja 0i

tre0ala prestavljati "vuk ra"licitih orkestaraA

(ao sto je to kocl Bucana cesto slucaj@ na toj je sli prisutan element uvrnutog ili pritajenog humora@

kao i ovoljno vi"ualnih implikacija "a cijeli ni" eksperimenata kakva manje svestranog i"ajneraA

>eutim@ Bucanje kao i uvijek otisao korak aljeA 9ec je na vicliku korjenita promjena smjera na koju

uka"uje gustaA isprepletena i koloristicki 0ogata povrsina plakata "a >u"icki 0iennaleA 7 svjetlu

Bucanove kasnije karijere@ i na porucju plakata kao umjetnosti i na porucju slikarstva@ neo0icno

je sto se tako preclana i i"nimno kreativna oso0nost uopce mogla prisiliti cla tako clugo 0ucle

sveena na reuktivne i konceptualno "aane vi"ualne gesteA Ponekacl se cak i na najranijim

plakatima mo"e na"rijeti tracak 0uucega grafickog ra"voja@ recimo na plakatima Tigar 1&*,*A2

tii+,%ijentD 1&*-A2A 6cl kraja &*-


31/53

either actively or unconsciously seeking a /ay out of a territory he has fully e3ploreA ;e soon

foun a ne/ ii creating in the &*s a 0oy of multi


32/53

cleukcijiAAA $vi nacini iromisljanja u kojima su stvari oploctene rijecima i o0rnutoA ;oga pote"a kocl

Bucana prika"uje se u0rojnosti njegovih aogucnostiA #ala"imo ih u mecluso0no vrlo ra"licitim

The /orl of Boris Bucan is spacious an iverseA ;o/ever@ the images in it o not repeat

themselvesA Engrave or painte@ every time they appear they open up a ne/ cloorA Bucan painte

a 0lack cloor@ an unusual ancl e3ceptional /ork that sho/s the egree to /hich his imagination is

0ase on graphic esign ancl al/ays on ne/ coloursA They surprise us even though they are

al/ays connecte /ith a su0jectCthing seen in reality@ a reality that is al/ays recomposeclA

3rata • &oor

5&5

akrilCplatno • acrylicCcanvas

&% 3 &% cm

raclovimaA Tako je $trin0ergov portret gumut u u0inu i i"vucen na povrsinu u 0ujici pote"a 0e"

jasnog smjera@ pocetka@ "avrsetkaA 6 njega se posve ra"likuje vanaest portreta gla"0enika

$krja0ina@ >o"arta@ >ahlera@ 9erija ltA Tim su imenima@ pove"anima s po"natim jelima@

priru"ena lica cije su crte 1shvacene clvo"nacno? kao pote"i i kao fi"ionomija lica2 "ajeclnicke@ all

koje kro" omjerenu isprepletenost stvaraju najvjernije moguce lice svakog sklaatelja ponaoso0A

7 kakvu prostoru oni pronala"e svo "ivotS Porijetlo vuku i" 0oje@ po"aina je crna@ a crte tih lica

ispisane su na "elenoj po"aini s kojom komunicirajuA >ectuso0no se ispreplicu korijeni grafi"ma i

slikarstvaA

+namo cla je >atisse na koncu "ivota napustio slikarstvoA #jegova ruka i"re"ivala je papire u0oji

koji su poprimali o0like i" stvarnosti@ najcesce i" 0iljnog svijetaA Bucanova macka nestaje@ i"gu0ljena

po snijegom@ all je umjetnik ipak vicli na susjenom krovuA #o@ macka se ponovno pojavljuje?

nje"in linearni profil oima se i"re"anim na 0jelini koja "au"ima tri cetvrtine listaA


33/53

cljelo u kojem je .ristofan opisao velicanstvenu po0jeclu "enaA Te su "ene ra"licita stasa@ a ipak slicne

geometrije lica@ grucli@ pu0icnoga trokuta sto se crni mectu vooravnim kromatskim prugama koje

o0likuju njihova tijelaA Te slike nisu apstraktneO jeclna tek ne"natno poignuta noga o"nacuje

po0jeclu 8i"istrate nacl muskim roclomA

4rafi"am i 0oja mogu jeclno rugome posuiti sreclstva i ucinkeA (rajem &*A stoljeca Pari" je 0io

preplavljen plakatima@ LreklamamaL@ kako se tacla na"ivalo oglasavanje? slika kocke "a juhu (u0

istaknuta golemim slovom (@ sivaci stroj $inger s golemim slovom $ u kojem je smjestena sveljaA 7

ono vrijeme ljucli nisu 0ill opsjeclnuti graovima sa syje"e okrecenim "iovimaA =eclnako tako@

umjetnici nisu "a"irali o prijavljivanja na natjecaje "a tu novu umjetnost@ litografijuA Do0ar je

primjer veliki slikar Pierre BonnarA 7pravo su ocl njega "atra"ili cla i"rai naslovnicu prvog 0roja

4evue %lanc-e Bijela revija3( casopisa posvecenog umjetnosti i knji"evnosti koje su ispre svojeg

vremenaA #a njoj ominira crna 0ojaA >eutim@ isti taj veliki slikar i"rauje i reklamu "a sampanjac

Bucan's art is that of a colourist an a0ove all a raughtsm ;is imaginary /orl is 0uilt of the po/er

an efficiency of strokeA InLeusee i,aginaire >alrau3 sho/e photograp /orl masterpieces aninvite the reaerCvie/er to iscc unkno/n /orls in the imaginationA There is nothing surr in

Bucan's /orlO it is reality@ reay to 0e compose@ close a han to the artistC/anerer@ reay for

transformation@ reac take its formA

Bucan's /orl o/es a lot to the line from /hich he erivt the truth of the /orkA =acNues Derricla@

the philosopher V gaine fame /ith the concept of LeconstructionL@ entitlf his thoughts T-e Trut-

in Painting. 8ooking at Bucan's /e /e 0ring to min Derria's thoughts@ especially his evaluation

of the 8atin /or ductus/. guie 0y the han the strokeA The /or has left traces in /ors such

as prouction@ reprouction@ reuction@ euctionAAA .ll the /ays of thinking in /hich things are

impregnate 0y /o an vice versaA

With Bucan@ the role of the stroke is reveale in the multil of its possi0ilitiesA We fin them in /orks

that /iely cliffi from one anotherA Thus $trincl0erg's portrait is pushe in the epths an pulle

out onto the surface in a torrent ol lines /ithout a clear irection@ 0eginning or eningA

)ompletely ifferent are t/elve portraits of the musiciar $cria0in@ >o"art@ >ahler@ 9eri etcA To

these names@ connecte /ith famous /orks@ are joine faces /hose lir 1unerstoo ually as

strokes an as facial features2 are common to all@ an /hose measure convolutions renU the

features of each particular composer /ith utmost faithfulnessA In /hat kin of space o these

portraits fin Their origin is in colour@ the 0ackgroun is 0lack an the of the face are /ritten on agreen 0ackgroun /ith /hicl they communicateA 4raphic esign an painting e3chan their rootsA

We kno/ that >atisse stoppe painting to/ars the en c lifeA ;is hans cut out coloure papers

/hich took shapes reality@ usually from the /orl of plantsA Bucan's cat isappears@ lost uner the

sno/@ 0ut the artist nevertheless sees her on a neigh0ouring roofA But the cat


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reappears? its linear profile seems cut out on the /hiter that covers three Nuarters of the sheetA

)ompletely opposite are the five /omen that illustrate L0sistrata( in /hich .ristophanes escri0e

the magnif victory of the /omen's re0ellionA These /omen are of c heights 0ut still have a similar

geometry of face@ 0ust an triangle@ /hich is 0lack among the hori"ontal chromati stripes that shape

their 0oiesA The pictures are not a0 one slightly raise leg marks 8ysistrata's victory over tr male

se3A

0rt (o "arl-oro% iz serije B%can 0rt • 0rt according to "arl-oro /ro' t#e series B%can 0rt

&*-5

polikolorCplatno • polycolourCcanvas

F 3 - cm

SDissart iz serije B%can 0rt • SDissart /ro' t#e series B%can 0rt

&*-5

polikolorCplatno • polycolourCcanvas

F 3 - cm


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!rance


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Oupno Bucanovo jelo poka"uje a umjetnost nije pove"ana ?2m nare0om@ niti s 0ilo kojom

rugomA .ll ona nas navoi@ i nas pomocu pote"a i 0oje u svijet slika koji nikaa nije tvorenA

mavljanje susrecemo samo kacl je rijec o gla"0iA 7 Traviati ill u iovima na"vanima Elaz%eni dozivljaji

na grafickoj polo"i cinjenoj ocl okomitih linija "apa"amo likA =e li to su0jekt ili ijektS Ili pak umjetnik

u svojem jeluS Bilo a slika@ 0ilo a ta@ Bucan stvara gla"0eni ogaajA

Bucan takes his thinking a0out reference a long /ay in the .RT seriesA Where is .rtS Before@ after@

0ehin the 0lack oorS 6r is it containe in those very /orsS

. recent Paris e3hi0ition in the 4eorges Pompiou )entre 0egan /ith a /all that sho/e one single

/or in all possi0le /ays@ ra/n@ painte@ engrave@ isplaye 0y light@ in all languages? entrance.

/or@ /hich /as in fact a commanA Bucaris .RT series is more raicalO art is neither 0efore nor afterA

What Bucaris /ork sho/s@ in its totality@ is that art is not linke /ith that comman@ nor /ith any

otherA But it guies us@ leas us /ith the help of lines an colour into a /orl of pictures that is

never closeA

We meet repetition only in the case of musicA In 8a Traviata or in /orks calle Lmusical e3periencesL

/e notice a figure on a graphic founation consisting of vertical linesA Is it a su0ject or an o0jectS 6r

the artist insie his /orkS Whether he paints or ra/s@ Bucan creates a musical eventA

saeta >i"it

$aiitaz'agoiiciiiPliaiitasiiiagorical :a(isi iztisi%e Eotes /ro' Silence

rlhein" $tockhausen je trenutnim o0likom o,ent"orni3 "vao one o0like Lkocl kojih se u svakom

casu mo"e ocekivati nimum ill maksimum@ a i" saasnjosti se ne mo"e sa urnoscu pretka"ati nikakav

smjer ra"vojaO 1o0like2 koji su ?'? "apoceli i tako mogu ici u 0eskrajAAA u kojima tren nije samo lomak

vremenske crte@ trenutak ne mora 0iti tek jelic njerenog trajanjaAAA a koncentracija na saaAAA na

svako ?la < cirri istovremeno vertikalne re"ove koji ukoso pro0ijaju ri"ontalnu crtu clo u


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0e"vremenostAL 7pravo u pulsirajucem jctuprostoru gla"0enog i likovnog tijeka@ koji asociraju

raleli"am heterofone priroe nueci u" to privi osljene mplementarnosti@ iako su tek vanjski

okvir nastanka canovih slika


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vrijemeA

LPokret le"i u osnovi svih stvari@L napisao e uostalom Paul (lee@ koji je vocten iejom o uhovnoj

1nacl2moci gla"0e@ uronjen u prirou@ procese i "akonitosti nje"ina postojanja i ostvarenja@ i"graclio

neuhvatljivi su0limni svijet@ koji ce "au"vrat poticati i sklaatelje a osvojeni njegovim anali"ama i

"nakovitom povratu te (leeove iscipline i poeticne murosti u sfere gla"0enog stvaralastva

potkraj &*F


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.lmost sym0olically@ several years later in +agre0@ al >usic Biennale &*,F@ ait its concert the )ologne

Rai $ymphony 6rchestra an )horus playe Boule"'s c visage nuptial 1a revise version of the

&*F- /orl pi )ologne2 an $tockhausen's Eruppen "or t-ree orc-i $tockhausen conucte@ together

/ith Bruno >ack >ichael 4ielenO this /as his first visit to +agre0 1afte? on electronic music at the

first >B+&*,&2 an his ac a strong echoA Bucan touche this intellectually cru revolutionary line of

soun 0y making posters for tl &*-- at the invitation of the strongly motivate@ e3a informe an

enlightene team of >B+ organisers@ this international festival /as still a prouctive avar

mogucnosti i pro0leme suvremene umjetnostiA #a plakatu "a koncert +0ora sjeverno


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/ith a0solute@ almost pla inepenence from the event's narrative potential environment@ /hich clo

not inspire or 0uren his re creation in any /ayA !ace /ith the tranNuil attract great pale surface it is

not important@ 0ut is permittcusic Si $tuent )entre in &*-%C-F2@ /e must

mention the e3 musical prints from the Erharcl (arkoschka collects

rati kao svojevrsno slo"eni gla"0eni "nak cija je reali"acija@ i kakva 0ila@ sasvim slo0ono

prepustena onome koji se u n prostoru nala"iAAA $ljeeci raikalniji korak tre0alo 0i Tijeriti prema

potpunom rasterecenju prostoraono i o0okar otvaraju nove@ inamicne i u se0i antagonisticne i introver"ne svjetoveA

$lojevitost previranja gla"0e i ogaaja ican instinktivno prepo"naje vec i" programskih icleja@

o0ili"irajucih naslova i opisa "gusnutih ogaanja ijra"noroclnijih vrsta gla"0e i gla"0enikaA

Posegnuo je stoga ontanom i sirokom gestom "a svojim ljuskim i umjetnickim custvoni? na

cloktrinarni humani"am@ politickM all iskreni eali"am #onoa@ te na ekscesno raskosni gla"0enicki


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refleks ustveno anga"iranog 4lo0okara@ ogovorio je clojmljivim

jrukama 1crni 0alon transformiran u 0om0u ili s lisicinama i cijoj se sjajnoj povrsini ora"ava Luh

koji kru"i oko svijetaL naslova #onove kompo"icije ili "ajapureni policajacann


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prigusenoj 0uci ogaaja@ prica oslo0oclena ekorativne sumnosti stvara cuclesne privieA (ao i

gla"taa sama@ raaju se i" tisine@ sto ce reel i Bucan? L$ve se to clogacta spontano na nekoj iracionalnoj

ra"ini@ jer ja nisam umjetnik koji ok racli slusa gla"0uA #aprotiv@ ok raclim@ ja se "atvaram u tisinuA

#a to

a ie

simfonicare 1otprilike osam goclina2 napravio tolike serije plakata a ne "nam postoji li umjetnik koji

ima toliko oclgovora na pitanje sto je gla"0aAL

Poneki je oclgovor ragojevicevska Li"misljotinaL s korijenom u ri"nici vlastitih lucinih povijesno<

umjetnickih kom0inacija@ all postoje i oni koji cistom Ijepotom i koncentracijom na spontano

prepo"natu sr" 1najcesce samoi"a0rane2 teme i sar"aja otvaraju spekulativan prostor 0eskrajan

po upijenom mnostvu ra"noronih konstelacija "ivota i uha gla"0e atissovski ekorativna plosnost 1>aroevic2 "agrljaja irigenta i pjevacice 1s cije ce se haljine

nalik na kimono lisce sanseverije prosiriti na cijeli@ takoer crnou"ickom 0iennalu &*FA pru"ajuci utociste pticama@ long


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silence@ as Bucan himself sai? LIt all takes place on an ii level@ 0ecause I am not an artist /ho /orks

listening to 6n the contrary@ /hile I /ork I shut myself in silenceA In ans/er to the Nuestion@ ho/ to

e3press music 0y art means@ I say that this is a magical task an I think that I@ /orking for the +agre0

$ymphonists 1for a0out eight ye mae so many series of posters that I o not kno/ /he there is any

artist /ho has given so many ans/ers to tlL Nuestion@ /hat is musicAL

$ome ans/ers are a Dragojevicusic Prouction


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otisakCpapir • silkscreenCpaper

', 3 &, cm

a svime sto ga cini konkretnim i u"visenim u sreini i •enutku u kojem se "iviA

.psolutnom saaA

?uljeric'?ev sveo0uhvevtni talent@ posvecenost raclu s nsam0lima@ f estivalima i 0rigom "a

amatersko stvaralastvo@ 5 intelektualna "ivost i moralna osjetljivost@ prestavljaju iltnu

sa0irnu tocku cjelokupne hrvatske gla"0ene kultureA = meni se steklo uvjerenjeL@ ka"ao e

(uljeric 1reklo 0i se u uglasju < cak vremenskom < s Bucanovim "ahtjevom "a

Autenticnoscu i istinitoscu2@ Lkako gla"0a < cak i jenim 5inim tonom < neminovno potice

'transcenclentiranje'@ ona ?ao a potice otkianje prvotne rijeci o njegove "emaljske

creativity an activities of )roatian musicians@ the persistence of people /ho organise their

presence an follo/ them@ mature groups /ith an aim an mission@ an the serious

institution >usic Prouction of +agre0 1)roatian2 Raio Television@ /hich ensures sta0le

support for a /ie spectrum of musical an cultural ieasA .ll this makes a vi0rating sphere/hich@ on the poster for a concert of the +agre0 $ymphonists of +agre0 Raio Television@ for

the /orl premiere in +agre0 of $anconijera za glasove i instru,ente 1$ongarch &*@ 0lens into the light of a surface 0ehin the

figureCfiguresA

The ecorative >atissearoevic2 of the em0race 0et/een the conuctor an

the prima onna 1from /hose

also 0lack


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music 0y a hope in 'everyay musical activity'@ in a ne/ kin of musical act@ /ithin /hose

aesthetic programme critical

Poklon (rijatelji'a: da Ga'%lin i Goran Koncar • S(ecial concert /or /riends: da Ga'%lin and Goran Koncar

RT+ >u"icka proi"vonja • +agre0 RT9 >usic Prouction

&*%

sitotisakCpapir A silkscreenCpaper

*, 3 5- cm

sile te"e@ i < sto se tek na prvi poglecl mo"e uciniti protuslovljem < manje je revna u traganju "a

smislom@ a vise strasti poka"uje u isticanju i ra"otkrivanju svega onoga sto 0i ta isti smisao moglo

ovesti u sumnjuAL

7ka"ujuci na Lrastresitu homogenost heterogenog i" kojeg0i tre0alo i"rasti novo sklaateljstvoL@ Eva

$eclak preci"ira?

i naa u 'svakonevno gla"0eno jelovanje'@ u novi gla"0eni cin@ unutar cijeg su estetickog

programa kriticko slusanje i analiticko i"voenje neovojive i ravnopravne sastavnice

komponiranjaAL

7po"oravajuci na L0ogatu i pose0no o0ilje"enu plakatnu proukciju ve"anu u" gla"0enu

proclukciju +agre0ackih simfoni)ara i +0ora RT+L u se"oni -%A >aroevic istice a LBucanovi


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noviji plakati anga"iraju ne samo mastu nego i rukuA

listening an analytical playing /oul 0e insepara0le ai eNually valua0le components of

composingAL

Pointing out the Lrich an very striking poster prouctic connection /ith the +agre0 $ymphonists

an RT+ )hoi the C% season@ >aroevic stresse that LBucan's ne/e? posters engage not only the

imagination 0ut also the ha? they eman strength an participation@ they are e3tric from the el0o/

an shouler 1not only the han2 0y res' /hirling an rotating movementsL@ proviing an almost

tone@ measuring an nuancing its force an hueA LIt is on coincience@ of course@ that the /orks of

irect hancl/ri mostly intene for posters for musical performances@ &? its o/n /ay this still seems

significant to us@L continues >aroevic@ an /ith poetic astuteness iscovers not onl sources from

/hich 0egin these paintings connecte to

htijevaju snagu i participaciju@ i"vuceni i" lakta i ramena ne samo i" cllana2 olucnim vrtlo"nim i

virovitim kretnjamaL@ je gotovo cujno


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nacin cini "nakovitimL@ istavlja >aroevic i s poetskom pronicavoscu ne nala"i samo ela ishoclnih

impulsa tih slika koje stoje u" gla"0ene 2gaae@ nego in istoo0no@ suptilno i sugestivno@ istinski

mu"ikali"iraA L7 potpunosti se opustila Bucanova crtacka ?a@ kao cla je i sama krenula "a tonovima i

ritmovima u lergicnim pote"ima koncentricnog i spiralnog tokaO epo"nat cemo po "elji@ trilere i

kolorature@ u pokretima i avovima prestavljenih figura stavke i tempaA Tesko 0i 0ilo@ eutim@

pronaci meloijsku liniju u crtl koja opsesivno punjava plohu@ a cestoje voi upravo -orror vacui.

4la"0eni akati uglavnom su hori"ontalni i i"clu"eni@ pa ih ne D+ivljavamo i ne viimo ojeanput

nego@ poput gla"0e@

musical events@ 0ut also su0tly an suggestively truly reo"art@ Dvorak an so on@ /ith the continuous flickering of

large@ greenish@ yello/


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cmilu clo napetosti jasnog o0lika tog ominirajuceg strumenta sakrivene klavijature@ koji kao crna

rupa privlaci i ita sve oko se0e i i"van granica plakata@ istovremeno su vec r"ane i ramaticne

erne mase@ koje nairu pretapajuci se u /e klavire all rastacuci ili narastajuci cisti klavirski o0lik@

i ga tako rasprostiruca energija pretvara u ija0olicki sna"an lominantan lik pantere@ ili on u nekoj

gotovo organskoj aslosti s lokomotivom juri po klavijaturnim sinamaA To too0no graiteljsko i

ra"arajuce osamostaljenje kutije m0ola@ re"ervoara nota i gla"0e 1u" koje je pijanist tek Dkretac@

gotovo samo svjeok u svojo nepomicnosti@ snekacl mefistofeleskni kontrolor2@ Bucan o"ivljava sa

ligranim@ povremeno sasvim osamostaljenim >itrapunktom tipakaA #jihov crno


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.lmost enigmatically@ in this chain of piano key0oars he can shape@ in an unefine grey space

/hich is nevertheless inha0ite 0y tiny events@ a laer /ith a /oman sitting in front of it 1the figure

of a contemplating interpreterS2O a pianist /ho is sooner 0roken than 0o/ing on some virtual stage@

/ho remains separate from the instrument 0oth in irection an movement@ an is accompanie

0y a "e0ra 0esie the 0lack 0oy of the piano /hich seems to have completely gro/n out of the

0lack


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them@ in his composition #a klavirK/parlata uasi un( sonata za klavir( scensku akciju(

,agneto"onsku vrpcu i dijaprojekcije 1L!or the PianoSLusic $alon of the $tuent )entre@ an the or in 4erman ha its /orl premiere in Dusselclorf

in &*-&& +agre0 performance /as tape for the musical program? +agre0 Television ancl sho/n at

the >usic Biennale &*-- accompanying programme L#e/ >usic ancl ImageL@ toge /ith a recoring

of $tanko ;orvat's composition Traurne /hich is an intimatei"ic2A

4erman critics calle this piano theatre a satirical attack contemporary musical life@ 0ut !oretic@ the

author of the for the te3t /hich he treate as eNual to the music@ const a eeper ramatic clashA It

Lgro/s out of the triangle com interpreter an instrument@L /rote >irta $poljaric@ emphasising that

Lthe piano is an a3is of symmetry that & together all that is taking placeAAA an in its passive /ay res

0oth the composer an the interpreterL < this is@ in any casU announce at the 0eginning of the /ork?

L>y name is Piano@ !ortepiano or Pianoforte@ /ith us $67( calle Elasovir( 0ut even more often < after

the 4erman


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a hori"ontu "0ivanja u torn cuesnom vrtu nemoguce je ne jjetiti@ isto toliko koliko i vijeti@ seriju

posljenjih crte"a itila $leeaFidola( i" &*%A gocline@ uglavnom s likovima ivsih gla"0enikaL@ a

pose0no L0ivsu pijanisticuL@ i vrijei se

emark a space or spiritualise it /ith sym0ols of musicA This is seen on Bucaris t/entyusik C the lofty area of music@

0ilnerische .naloga ausA C visual analogies for itA

Das $ch/ere &st claran nur@ C The only ifficulty is Ent/icklungen@ ie schon vor0ei@ C to

catch up /ith nach"uholen@ C evelopments alreay past@ a0er Les mussLM C 0ut@ Lone mustLM

h kenne /ohl C Do0ro po"najem

ie .olsharfen


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References?

(arlhein" $tockhausen@ L>omentformL@ in Tete zur elektronisc-en und

instru,entalen usik( volA I@ Dumont Dokumente@ (oln &*,@ pA &**A

Ich kenne e0enso gut C Po"najem takoer clo0ro ie pathetische 4egencl cler >usik C pateticno

porucje gla"0e un enke mich leicht a"u C i lako si i"mislit u" to mogu 0ilnerische .naloga ausA

C slikovne analogijeA

Das $ch/ere ist claran nur@ C 7 torn je tesko samo@ Ent/icklungen@ ie schon vor0ei@ C ra"voje@

vec prosle@ nach"uholen@ C naoknaiti@ a0er Les mussLM C all Lmora seLM

8iteratura?

(arlhein" $tockhausen@ L>omentformL@ u Tete zur elektronisc-en und tnstru,entalen usik( sv I@ Dumont Dokumente@ (oln

&*,@ strA &**A Paul (lee@ L4raphikL@ u ;elga e la >otte !a0er@ usik und %ildende$unst von cler Ton,alerei zur $langskulptur(

8aa0erirta $poljaric@ L4la"0a kao akcija < o instrumentalnom teatru $ilvija !oreticaL@ .rti musices? lirvatski mu"ikoloski "0ornik@ goA

15-2@ 0rA &@ strA ,A $ilvio !oretic@ L+a klavirSL < parlata Nuasi una sonata "a klavir@ scensku akciju@ magnetofonsku vrpcu i

ijaprojekcijeA >anuskript u vlasnistvu autoraA Paul (lee@ Eedic-te 1;erausgege0en von !eli3 (lee2@ .rche 9erlag .4@ +urich<

;am0urg &*,A

>u"icki 0iennale +agre0@ festival suvremene gla"0e &*,&usic as .ction < on the Instrumental Theatre of $ilvio !oretic'?2@ +rti i -rvatski ,uzikoloski

z%ornik( year 15-2@ noA &@ pA ,A $ilvio !oretic@ L+a klavirSL < parlata Nuasi una sonata "a klavir@ scensku magnetofonsku vrpcu

i ijaprojekcije 1L!or PianoSL < parlata Nuasi unc for piano@ stage action@ tape an slies2A >anuscript property of the ai Paul

(lee@ Eedic-te Herausgege%en von Qeli $lee3( .rche 9erlag .4@ 5 ;am0urg &*,A

>usic Biennale +agre0@ contemporary music festival &*,&


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;=?@3Pol0p-onies( >usee musiNue 5&&

BorisBucan Dorucak u stampariji

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