NARODNI MUZEJ CRNE GOREATELJE DADO

Branko Lenart

Tito. Če. IkoneTito. Che. Icons

Kult moći | kult zavisnosti od slika

“Stvarnost se uvek tumačila kroz izveštaje koje su davale slike; a filozofi su, od Platona naovamo, pokušavali da smanje našu zavisnost od slika time što bi uspostavili neko merilo poimanja stvarnosti kojem slike ne bi bile potrebne. Ali kada se polovinom devetnaestog veka učinilo da se ovo merilo konačno može uspostaviti, povlačenje starih religioznih i političkih iluzija pred nadirućim humanističkim i naučnim mišljenjem nije – kako se nagoveštavalo – dovelo do masovnog pribegavanja na stranu stvarnog. Naprotiv, novo doba neverice osnažilo je privrženost slikama.”1

Branko Lenart je autor koji je tokom svoje fotografske karijere duge preko četiri decenije kroz različite pristupe fotografskom mediju i odabranom motivu izbrisao granicu između konceptualnog pristupa fotografiji i konceptualne umjetnosti. Koristeći elemente klasične lajf fotografije u najboljem maniru američkih autora XX vijeka kombinuje ih sa jezikom konceptualne umjetničke prakse. Strastveni putnik, ali ona posebna vrsta koja opaža i osjeća posebnost atmosfere mjesta u kojem boravi, fiksira slike naglašavajući osjećanje prisustva. Često su njegov izbor prepoznatljive lokacije, a nerjetko mjesta njegove lične istorije za koje ga veže porijeklo i uspomene iz ranog djetinjstva. Veliki dio Lenartovog opusa zauzimaju pejzaži i ljudi koji ih nastanjuju. Njegova „subjektivna topografija“ posjeduje nešto od autentičnog izraza zabilježenog stanja pažljivog gledaoca. Ipak, njegovo iskustvo i pripadnost avangardnoj umjetničkoj asocijaciji Forum Stadtpark Graz još krajem šezdesetih godina XX vijeka uticalo je da njegov rad ima izrazite karakteristike konceptualno shvaćenog mišljenja i djelovanja. Objedinjavanje elemenata fotožurnalizma sa karakteristikama konceptualne fotografije / umjetnosti, stvara posebnu vrstu fotografije uklopljene “između zone subjektivne/realne fotografije i subjektivne topografije dok se fokusira na socijalne i političke teme.“2

Za izložbu u Ateljeu DADO odabrana su dva ciklusa (“Tito lice. Pogled” i “Če ikona”) posvećena dvjema ličnostima koje su obilježile XX vijek, čija su imena i uticaj i nakon njihovog života dostigla status kulta, a čije su aure i dalje izuzetno snažne i prisutne. Po definiciji “kult ličnosti javno je nekritičko isticanje i obožavanje jedne osobe kao nepogrešivog političkog vođe društvenog napretka. Kult ličnosti često nalikuje na religiju.” Ako se prisjetimo da danas, 33 godine nakon Titove smrti, i dalje štafeta putuje do njegove “kuće cveća” u Užičkoj 15, kao i da se na brojnim građanskim protestima mogu vidjeti zastave sa Čegevarinim likom jasno je da je kult njihove ličnosti i dalje veoma jak i da “titoizam još uvek nije ni politički ni emotivno toliko potrošen da ne bi i dalje učestvovao u struktuiranju jugoslovenske realnosti”3.

Če Gevara (1928-1967.) i Josip Broz Tito (1892 –1980.) - savremenici u možda najturbulentni-jim decenijama XX vijeka predstavljaju autentične simbole jednog vremena, nastavili su da privlače pažnju i pokreću polemike mnogo decenija nakon njihove smrti. Iako različiti po mjestu koje zauzimaju u širem istorijskom i sociološkom kontekstu aura koja ih prati nadilazi uloge koju su igrali u društveno – političkom životu svojih matičnih zemalja. Postoji niz fotografa koji su tokom života slikali Tita, ali i onih kojih su zabilježili atmosferu adoracije i stanje šoka koji je nastupio u trenutku saznanja o njegovoj smrti. Taj događaj je posredno svedočio o svakodnevnom životu „govoreći manje o običnom životu a više o navikama, običajima i naravima ljudi na ovim meridijanima.“4 Ciklus nazvan Tito na reprodukcijama (Tito v reprodukcijah) nastao u periodu

1 Susan Sontag, Eseji o fotografiji, radionica SIC, Beograd, 1982, 125. 2 Primož Lampič, katalog izložbe Branko Lenart, fotografije/photographs 1972-1993, Arhitekturni muzej Ljubljana, 1995. 3 Bojana Pejić, citat Dejana Sretenovića, Tito ili ikonizacija jedne predstave, u Novo čitanje ikone, pripredio Dejan Sretenović, Geopoetika, Beograd, 1999, 1444 Slavko Timotijević, tekst povodom izložbe u Srećnoj galeriji, novembar 1984.

između 1980-1984. godine je rezultat fotografske analize i ankete podstaknut tradicijom još iz vremena Jugoslavije koja je nalagala da se u javnim prostorima drži Maršalova fotografija, koja je predstavljala „simbol za tačno lociranje jednog žireg kulturnog i životnog prostora“ (S. Timotijević). Titova smrt je bila povod za istraživanje – specifičnu sociološku studiju u kojoj se jasno oslikava atmosfera prostora u koji je smještana fotografija, koja posredno predstavlja svjedočanstvo o svakodnevnom životu „običnih građana“ – kulturi življenja, dominantnom sistemu vrijednosti. Ovaj dokumentaristički pristup blizak fotografskim istraživanjima američkog tipa iz vremena 30. tih godina XX vijeka dopunjen je izjavama anonimnih ljudi o Titovoj ličnosti koje je sakupila autorova supruga i pruža nam jasnu sliku o stanju društva i raspoloženju stanovništva širom prostora Jugoslavije prije i neposredno nakon Titove smrti. To su snimci anonimnih prostora, zabilježeni širom Jugoslavije - pretrpanih prodavnica, zapuštenih prostorija, kafana, stepeništa zgrada, izloga u kojima je Titov portret pažljivo uklopljen u brižljivo osmišljen (sladunjavi kič) aranžaman. Bez obzira da li je postavljen na centralnom mjestu u kompoziciji portret „doživotnog predsjednika“ godinama i nakon njegove smrti nastavio je da figurira kao jezgro oko kojeg se definiše jedna specifična aura prisustva sa energijom koja izbija iz njegovog snažnog pogleda. Fotografija predsjednika u svečanoj maršalskoj uniformi ili u modernom građanskom odjelu predstavlja tipičan primjer prenesenog značenja moći slike koja otjelovljuje apsolutnu, sveprisutnu moć. Lenart fotografiše napuštene predjele u crno bijeloj tehnici, zadržavajući momenat dokumentarnog, rekonstruišući jednu vrstu dramatične uzvišenosti, uz prisutno osjećanje filmskog saspensa - scene praznog kadra u kojoj se upravo nešto značajno dogodilo.

Če ikona. Cienfuegos | Che icon. Cienfuegos, 2006.

Tito Lice. Pogled, Krk | Tito Face. Look, Krk, 1983.

Če ikona. Cienfuegos | Che icon. Cienfuegos, 2006.

„I posle Tita – Tito!“ i njegov lik i djelo ostaju jednako važni i nakon tog tragičnog dana, a njegova slika je „ostala na istom mestu na kome se nalazila od 1945.“5 Još dosta vremena nakon toga. Tito - harizmatična ikona u decenijama koje slijede biće predmet rasprava, koju će mnogi nastojati da ospore i negiraju. U kontekstu prostora koji se danas naziva “region” odnosno bivših jugoslovenskih republika, ovaj diskurs je još uvijek aktuelan ne samo sa stanovišta istorijskih i kulturoloških razmatranja već i sa stanovišta očiglednog neuspjeha politika koje su označile kao negativno i srušile društveni sistem kojeg Maršal personifikuje.

Če Gevara – argentinski marksistički revolucionar, po obrazovanju ljekar, Kastrov najbliži saradnik, a potom vođa gerilske vojske, diplomata i vojni analitičar bio je takođe harizmatični, kontroverzni lider. Nakon smrti postao je legendarna politička figura (njegovo ime je često poistovjećivano sa pobunom, revolucijom i socijalizmom) mada se mnogi sjećaju njegove okrutnosti (u vrijeme dok je bio na čelu zatvora La Cabaña Fortress) kada je naređivao egzeku-cije bez suđenja na Kubi. Uprkos njegovoj često osporavanoj političkoj ulozi u kubanskoj revoluciji ostao je globalna inspiracija popularne kulture i postao dominantna ikona brojnih ljevičarskih pokreta, čak je imenovan jednim od 200 najuticajnijih ljudi XX vijeka. Čuveni po-tret koji je načinio Alberto Korda 1960. godine jedna je od najreprodukovanijih i najpoznatija fotografija koju je Maryland Institutie College of Art proglasio simbolom XX vijeka, a čije verzije su slikane, štampane, vezene, tetovirane ... a on i nakon toliko godina ostaje nacionalni simbol Kube, ali istovremeno najbolje prodavan brend i ujedno dio masovnog potrošačkog društva, iako je bio jedan od onih koji je prezirao kulturu konzumerizma. Mit o Če Gevari daleko prevazilazi romatičnu predstavu i istinu o njegovom životu i ponašanju. Snimci pustih ulica i trgova sa Čeovim likom koji “bdi” nad njima potenciraju osjećanje prisustva i naglaša-vaju vezu između konteksta mjesta i vremena u kojem su nastali. Serija svjedoči o jednom takođe značajnom istorijskom fenomenu fascinacije likom i djelom čuvenog kubanskog gerilca. Kao i kod Titovih portreta ono što dominira na ovim predstavama usamljenih prostora koji djeluju napušteno čak i kada u njima ima ljudi je njegov pogled koji generiše snagu i odlučnost i sublimira sve ono po čemu će ostati zapamćen.

Postavljene u kontekst iste izložbe ove dvije harizmatične ličnosti - osobe „čvrstog, stoičkog karaktera“6 koje su se borile pod istim ideološkim simbolom – crvenom zvjezdom i postale „zaštitni znak“ jednog vremena i posebnog čitanja određenih istorijskih identiteta „društva nominalne jednakosti“ (Feđa Vukić, Hibridni identiteti) danas u vrijeme hibridne kulture i „hibridnih identiteta suprotstavljanja u realnom vremenu“ (F.V.) upućuju na drugačije čitanje onoga što je tada bilo zasnovano na ideji o (načelnoj) ravnopravnosti i blagostanju za sve.

Ogroman “višak značenja” koji se generisao oko ove dvije ličnosti - prvo kroz njihovo revolucionarno-političko djelovanje, zatim kroz (službenu) izgradnju kulta ličnosti, a onda kroz posthladnoratovske i postmodernističke interpretacije, popularnu kulturu i komercijalizaciju toliko je veliki da nekako “nestaje iz vidokruga” ostavljajući mogućnost samo izolovanog (a za mnoge od “nas” i ličnog) tumačenja.

Mogućnost da se posjetilac izložbe susretne sa “ovom dvojicom” u kondenzovanoj interpreta-ciji Branka Lenarta svakako je izuzetna prilika da se taj ogromni balast značenja refokusira, “pomiri” i sagleda.

Mirjana Dabović Pejović

5 Bojana Pejić, Tito ili ikonizacija jedne predstave, Novo čitanje ikone, pripredio Dejan Sretenović, Geopoetika, Beograd, 1999. 1186 Alberto Korda govoreći o Če Gevari; a Milutin Čolić o Titu u recenziji za film Sutjeska iz 1973.

Cult of Power | Cult of Dependence on Images

“Reality has always been interpreted through the reports given by images; and philosophers since Plato have tried to loosen our dependence on images by evoking a standard of an image-free way of apprehending the real. But when, in the mid-nineteenth century, the standard seemed finally attainable, the retreat of the old religious and political illusions before the advance of humanistic and scientific thinking did not – as anticipated–create mass defections to the real. On the contrary, in the new age of unbelief the allegiance to images was strengthened.”1

Using various approaches to the photographic medium and the selected motif in the course of his more-than-four-decades long career as a photographer, Branko Lenart has erased the border between the conceptual approach to photography and conceptual art. Employing the elements of classical life photography in the best manner of 20th-century American authors, he combines them with the language of conceptual art. As a specific kind of passionate traveller who perceives and feels the distinct atmosphere of the place where he is staying, Lenart fixes the images emphasizing the sense of presence. Quite often, he opts for recognizable locations and, not rarely, for the places he is tied to through his origins and early childhood memories. A large portion of Lenart’s oeuvre is made up of landscapes and people inhabiting those landscapes. His “subjective topography” has something of the authentic expression of the recorded state of a careful observer. Nevertheless, his experience and his membership in the avant-garde art association “Forum Stadtpark Graz” as early as the late 1960s have resulted in his work having marked characteristics of conceptual thought and action. Merging the elements of photo-journalism with the features of conceptual photography/art creates a special kind of photography placed “between the area of subjective/realistic photography and subjective topography while being focused on social and political issues.”2

The exhibition at the DADO Atelier features two selected series: “Tito Face. Look” and “Che Icono”, devoted to two figures who marked the 20th century, figures whose names and influence have become a cult even after their death and whose auras are still present and exceptionally strong. By definition, “the cult of personality is an uncritical emphasis on and adoration of a person as a faultless political leader of social progress. A personality cult is often like religion.” If we just remember that today, thirty-three years after Tito’s death, Tito’s relay still travels to his “House of Flowers” in 15 Užička Street, and that flags with Che Guevara’s face can still be seen in various civil protests, it is clear that the cult of their personalities is still very strong and that “neither politically nor emotionally has Titoism been worn out to such an extent that it does not continue to partake in the structuring of the Yugoslav reality”3.

Che Guevara (1928–1967) and Josip Broz Tito (1892–1980) – contemporaries in what might be the most turbulent period in the 20th century, represent authentic symbols of a time; several decades after their deaths, they continue to draw public attention and spark off debates.

1 Susan Sontag, Essays on Photography, http://www.nybooks.com/articles/archives/1977/jun/23/photography-unlimited/?pagination=false2 Primož Lampič, catalogue of Branko Lenart’s exhibition, photographs 1972-1993, Architecture Museum of Ljublja-na, 1995. 3 Bojana Pejić, quote by Dejan Sretenović, “Tito ili ikonizacija jedne predstave”, in Novo čitanje ikone, edited by Dejan Sretenović, Geopoetika, Beograd, 1999, p.144.

Despite the quite different places they occupy in the broader historical and sociological context, the aura that surrounds them surpasses the individual roles they played in the social and political life of their native countries.

There were a number of photographers who photographed Tito during his life, but also a number of those who recorded the atmosphere of adoration and the state of shock ensuing upon the news of his death. This event indirectly testified to the daily life “speaking less about ordinary life and more about the habits, customs and nature of the people in this area.”4 The series entitled Tito in reproductions (Tito v reprodukcijah), created as a result of a photographic analysis and a survey in the period 1980-1983, was inspired by the tradition from the era of former Yugoslavia which imposed the obligation to keep the Marshal’s photograph in public places as a “symbol of accurate location of a wider cultural and living space” (S. Timotijević). Tito’s death was a motive for research – a specific sociological study depicting clearly the atmosphere of the space where the photograph is placed, which indirectly represents a testimony to the daily existence of “ordinary people” – their lifestyle and their predominant value system. This documentary approach resembling the American-style photographic research from the 1930s is accompanied by anonymous people’s statements about Tito as a person compiled by the artist’s wife, thus offering a clear picture of the society and the general mood of the population all over Yugoslavia prior to and immediately after Tito’s death. They are photos of anonymous spaces, taken throughout Yugoslavia: cluttered stores, shabby rooms, coffee places, stairways of various buildings, shop windows in which Tito’s portrait was carefully fitted into the meticulously designed (saccharine kitsch) arrangement. No matter whether it occupied the central place in the composition, the portrait of the “President for Life” for many years after Tito’s death continued to be the focal point with the specific aura of presence surrounding it, with the energy emanating from his powerful look. The photograph of the President in the formal marshal uniform or in a modern civil suit represents a typical example of the metaphorical meaning of the power of the image embodying omnipresent absolute power. Lenart takes black and white photographs of abandoned sceneries, preserving the dimension of the documentary, reconstructing a kind of dramatic sublimity, with the sense of cinematic suspense – scenes of empty frames where something important has just happened. “After Tito – Tito!” – his character and work remain equally important after this tragic day and his photograph “remains at the same place where it had been standing since 1945,”5 long after his death. In subsequent decades, Tito, the charismatic icon, will be a subject of debates which many people will attempt to dispute or negate. In the context of space nowadays referred to as “the region”, i.e. in former Yugoslav republics, this is still a current issue not only from the perspective of historical and cultural considerations but also from the perspective of the obvious failure of the policies which labelled the social system personified by the Marshal as negative and demolished it.

Che Guevara – an Argentine Marxist revolutionary and a physician, Castro’s closest associate and later a guerrilla leader, a diplomat and a military analyst, was also a charismatic, controversial leader. Upon his death, he became a legendary political figure (his name has often been seen as a synonym for rebellion, revolution and socialism), although many people remember his cruelty (while he was in charge of La Cabaña Fortress prison), when he ordered executions without trials.

4 Slavko Timotijević, text on the occasion of the exhibition in the Happy Gallery (Srećna galerija), November 1984.5 Bojana Pejić, “Tito ili ikonizacija jedne predstave”, in Novo čitanje ikone, edited by Dejan Sretenović, Geopoetika, Beograd, 1999, p. 118.

Despite his frequently disputed political role in the Cuban revolution, he has remained the global inspiration of popular culture and become the main icon of a large number of leftist movements; he has also been included among the two hundred most influential people of the 20th century.

The famous portrait of his created in 1960 by Alberto Korda is one of the most frequently reproduced and best-known photographs proclaimed by Maryland Institute College of Art as the symbol of the 20th century, with a tremendous variety of painted, printed, embroidered or tattooed versions. And Che Guevara himself, after so many years, remains the national symbol of Cuba, but at the same time the best-selling brand and also part of the mass consumer society, although he was among those who despised the culture of consumerism. The Che Guevara myth goes far beyond the romantic representation and truth about his life and conduct. The photographs of empty streets and squares with Che’s image “hovering” above them accentuate the sense of presence and emphasize the connection between the context of place and time in which they were created. The series testifies to another also significant historical phenomenon of fascination for the character and work of this renowned Cuban guerrilla. Just like in Tito’s portraits, what dominates these representations of isolated spaces which appear deserted even when there are some people in them is Che Guevara’s look which generates strength and determination and sublimates everything that he will be remembered for.

Placed in the context of the same exhibition, these two charismatic figures, persons of “strong and stoic character”6 who fought under the same ideological symbol – red star, and became the “trademark” of a time and a special reading of certain historic identities of a “society characterized by nominal equality” (Feđa Vukić, Hibridni identiteti (Hybrid Identities)), at a time of hybrid culture and “hybrid identities of opposition in real time” (F.V.), point to a different reading of what was then based upon the idea of (general) equality and welfare for all.

A “surplus of meaning” generated around these two figures – first through their revolutionary and political action, then through the (official) development of a personality cult, and finally through all post-Cold War and postmodernist interpretations, popular culture and commercialization – is so huge that it somehow “disappears from sight” leaving only the possibility of isolated (and for many of “us” also personal) interpretation.

The opportunity for the viewer in this exhibition to meet “the two figures” in Branko Lenart’s condensed interpretation is by all means an exceptional chance for the huge load of meaning to be refocused, reconciled and grasped.

Mirjana Dabović Pejović

6 Alberto Korda speaking about Che Guevara and Milutin Čolić about Tito in a review of the film “Sutjeska” (1973).

Branko Lenart rođen 15. juna 1948. u Ptuju, Slovenija. Sa porodicom emigrigao u Grac, Austrija, 1954. 1968. postao član avangardne asocijacije Forum Stadtpark, Grac. Od 1972–1978. pohađao master studije u Gracu. 1980. studijski boravio u Apeiron radionici, Millerton, Njujork. Nastavio studije u La Rošelu, Arlsu, Oksfordu, Rimu, Parizu, Londonu, USA i Izraelu. Osnivač je i predsjednik (1994–2007.) kulturne asocijacije Artikel-7 za Slovenačke Stirijance/Pavel Haus. 2001. sarađivao na projektu “Poslednje putovanje Inge Morat”, putujuće izložbe i knjige (predgovor Artur Miler), Prestel 2003. Predavao fotografiju na Školi za umjetnost i dizajn (1979–2007.) i na Univerzitetu Primjenjenih nauka Joaneum (1996–2003.) u Gracu.

Od 1968. učestvovao na brojnim grupnim izložbama u Evropi i Sjevernoj Americi. Izlaže samostalno od 1970. uključujući galerije Galeria Inés Barrenechea, Madrid i Museo d’Arte Moderna Carà, Muggia in 2010/2011.

Objavljeno je nekoliko monografija uključujući „Wahr genommen“, predgovor Peter Weiermair, Izdanje Fotohof, Otto Müller Verlag, Salzburg 1991. „Vitalogy“, tekst Wolfgang Kos und Walter Titz, Neue Galerie, Graz 1998. „Kaddisch“, tekst Johannes Schmidt, Izdanje Camera Austria, Graz 1998. „Augen:Blicke–Schrift:Stücke“, tekst Gerhard Melzer, Droschl Verlag, Graz 2004. „Die Leute von Rachau“, tekst Roland Girtler, Holzhausen Verlag, Wien 2004. „Photo:Concept 1965 – 2005“, tekst Kurt Kaindl, Fotogalerie Wien, Wien 2005. „Piran:Pirano“, tekst Primož Lampič, Arhitekturni muzej, Ljubljana 2008. „Vergangen und vergessen–Jüdische Kultur in Slowenien“, tekst Elisabeth Arlt, Pavelhaus, Graz 2009. „Styrians“, tekst Aleš Šteger, Galerie Marenzi, Leibnitz 2009. „Krkavče Istria.Terra“, tekst Aleksander Bassin, Primož Lampič, Salvator Žitko, Pavelhaus, Graz 2012.

Njegovi radovi se nalaze u nacionalnim i internacionalnim kolekcijama uključujući: muzej Albertina, Beč; Fotografski arhiv, Trst; Arhitekturni muzej, Ljubljana; Nacionalnu biblioteku, Pariz; Fondaciju Huan Miró, Barselona; Lentos Umjetnički muzej, Linc; Muzej umjetnosti i istorije, Frajburg; Muzej Fotografije André Villers, Mugin; Muzej Moderne, Salzburg; Novu galeriju/Univerzalmuzej Joaneum,Grac; Römerquelle Kunstsammlung, Beč; Sammlung Fotografis/Bank Austria, Beč; Fondaciju Inge Morath, Njujork.

Živi i radi u Gracu i Piranu.

Born on 15th of June 1948 in Ptuj, Slovenia. He emigrated with his family in 1954 to Graz, Austria. In 1968 he became member of the avantgarde art association Forum Stadtpark, Graz. From 1972 – 1978 he studied for mastership in Graz. 1980 he was Artist-in-Residence at Apeiron Workshop, Millerton, N. Y. Further studies in La Rochelle, Arles, Oxford, Rome, Paris, London, USA and Israel. He is a founding member and was chairman (1994 – 2007) of the cultural society Artikel-7 for Slovenian Styrians/The Pavel House. In 2001 he cooperated with the project “Inge Morath’s Last Journey”, travelling exhibition and book (preface by Arthur Miller), Prestel 2003. He has been teaching photography at the College of Art and Design (1979 – 2007) and at the University of Applied Sciences Joanneum (1996 – 2003), both in Graz.

Since 1968 he has taken part in many group exhibitions in Europe and North America. He has had solo exhibitions since 1970, including Galeria Inés Barrenechea, Madrid and Museo d’Arte Moderna Carà, Muggia in 2010/2011.

Several monographs were published, including „Wahr genommen“, preface Peter Weiermair, Edition Fotohof, Otto Müller Verlag, Salzburg 1991. „Vitalogy“, text Wolfgang Kos und Walter Titz, Neue Galerie, Graz 1998. „Kaddisch“, text Johannes Schmidt, Edition Camera Austria, Graz 1998. „Augen:Blicke – Schrift:Stücke“, text Gerhard Melzer, Droschl Verlag, Graz 2004. „Die Leute von Rachau“, text Roland Girtler, Holzhausen Verlag, Wien 2004. „Photo:Concept 1965 – 2005“, text Kurt Kaindl, Fotogalerie Wien, Wien 2005. „Piran:Pirano“, text Primož Lampič, Arhitekturni muzej, Ljubljana 2008. „Vergangen und vergessen – Jüdische Kultur in Slowenien“, text Elisabeth Arlt, Pavelhaus, Graz 2009. „Styrians“, text Aleš Šteger, Galerie Marenzi, Leibnitz 2009. „Krkavče Istria.Terra“, text Aleksander Bassin, Primož Lampič, Salvator Žitko, Pavelhaus, Graz 2012.

His works are in national and international collections, including Albertina, Vienna; Archivio fotogra-fico, Trieste; Arhitekturni muzej, Ljubljana; Bibliothèque Nationale, Paris; Fundació Joan Miró, Barcelona; Lentos Kunstmuseum, Linz; Musée d’art et d’histoire, Fribourg; Musée de la Photographie André Villers, Mougins; Museum der Moderne, Salzburg; Neue Galerie/Universalmuseum Joanneum, Graz; Römerquelle Kunstsammlung, Vienna; Sammlung Fotografis/ Bank Austria, Vienna; The Inge Morath Foundation, New York. He lives and works in Graz and Piran.

www.brankolenart.com www.kulturserver-graz.at/v/lenart.html

Cetinje, jul 2013.

Izdavač: Narodni muzej Crne Gore | Za izdavača: Pavle Pejović | Kustos izložbe i tekst: Mirjana Dabović Pejović | Prevod: Olivera Kusovac | Fotografija: Branko Lenart | Dizajn: Branka Vujović | Štampa: DPCTiraž: 400

Tito Lice. Pogled, Dubrovnik | Tito Face. Look, Dubrovnik, 1980.

Naslovna strana | Cover page:Tito Lice. Pogled Kumrovec | Tito Face. Look, Kumrovec, 1983.