NARODNI MUZEJ CRNE GOREATELJE DADO

Branko Lenart

Tito. e. IkoneTito. Che. Icons

Kult moi | kult zavisnosti od slika

Stvarnost se uvek tumaila kroz izvetaje koje su davale slike; a filozofi su, od Platona naovamo, pokuavali da smanje nau zavisnost od slika time to bi uspostavili neko merilo poimanja stvarnosti kojem slike ne bi bile potrebne. Ali kada se polovinom devetnaestog veka uinilo da se ovo merilo konano moe uspostaviti, povlaenje starih religioznih i politikih iluzija pred nadiruim humanistikim i naunim miljenjem nije kako se nagovetavalo dovelo do masovnog pribegavanja na stranu stvarnog. Naprotiv, novo doba neverice osnailo je privrenost slikama.1

Branko Lenart je autor koji je tokom svoje fotografske karijere duge preko etiri decenije kroz razliite pristupe fotografskom mediju i odabranom motivu izbrisao granicu izmeu konceptualnog pristupa fotografiji i konceptualne umjetnosti. Koristei elemente klasine lajf fotografije u najboljem maniru amerikih autora XX vijeka kombinuje ih sa jezikom konceptualne umjetnike prakse. Strastveni putnik, ali ona posebna vrsta koja opaa i osjea posebnost atmosfere mjesta u kojem boravi, fiksira slike naglaavajui osjeanje prisustva. esto su njegov izbor prepoznatljive lokacije, a nerjetko mjesta njegove line istorije za koje ga vee porijeklo i uspomene iz ranog djetinjstva. Veliki dio Lenartovog opusa zauzimaju pejzai i ljudi koji ih nastanjuju. Njegova subjektivna topografija posjeduje neto od autentinog izraza zabiljeenog stanja paljivog gledaoca. Ipak, njegovo iskustvo i pripadnost avangardnoj umjetnikoj asocijaciji Forum Stadtpark Graz jo krajem ezdesetih godina XX vijeka uticalo je da njegov rad ima izrazite karakteristike konceptualno shvaenog miljenja i djelovanja. Objedinjavanje elemenata fotournalizma sa karakteristikama konceptualne fotografije / umjetnosti, stvara posebnu vrstu fotografije uklopljene izmeu zone subjektivne/realne fotografije i subjektivne topografije dok se fokusira na socijalne i politike teme.2

Za izlobu u Ateljeu DADO odabrana su dva ciklusa (Tito lice. Pogled i e ikona) posveena dvjema linostima koje su obiljeile XX vijek, ija su imena i uticaj i nakon njihovog ivota dostigla status kulta, a ije su aure i dalje izuzetno snane i prisutne. Po definiciji kult linosti javno je nekritiko isticanje i oboavanje jedne osobe kao nepogreivog politikog voe drutvenog napretka. Kult linosti esto nalikuje na religiju. Ako se prisjetimo da danas, 33 godine nakon Titove smrti, i dalje tafeta putuje do njegove kue cvea u Uikoj 15, kao i da se na brojnim graanskim protestima mogu vidjeti zastave sa egevarinim likom jasno je da je kult njihove linosti i dalje veoma jak i da titoizam jo uvek nije ni politiki ni emotivno toliko potroen da ne bi i dalje uestvovao u struktuiranju jugoslovenske realnosti3.

e Gevara (1928-1967.) i Josip Broz Tito (1892 1980.) - savremenici u moda najturbulentni-jim decenijama XX vijeka predstavljaju autentine simbole jednog vremena, nastavili su da privlae panju i pokreu polemike mnogo decenija nakon njihove smrti. Iako razliiti po mjestu koje zauzimaju u irem istorijskom i sociolokom kontekstu aura koja ih prati nadilazi uloge koju su igrali u drutveno politikom ivotu svojih matinih zemalja. Postoji niz fotografa koji su tokom ivota slikali Tita, ali i onih kojih su zabiljeili atmosferu adoracije i stanje oka koji je nastupio u trenutku saznanja o njegovoj smrti. Taj dogaaj je posredno svedoio o svakodnevnom ivotu govorei manje o obinom ivotu a vie o navikama, obiajima 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 Primo Lampi, katalog izlobe Branko Lenart, fotografije/photographs 1972-1993, Arhitekturni muzej Ljubljana, 1995. 3 Bojana Peji, citat Dejana Sretenovia, Tito ili ikonizacija jedne predstave, u Novo itanje ikone, pripredio Dejan Sretenovi, Geopoetika, Beograd, 1999, 1444 Slavko Timotijevi, tekst povodom izlobe u Srenoj galeriji, novembar 1984.

izmeu 1980-1984. godine je rezultat fotografske analize i ankete podstaknut tradicijom jo iz vremena Jugoslavije koja je nalagala da se u javnim prostorima dri Maralova fotografija, koja je predstavljala simbol za tano lociranje jednog ireg kulturnog i ivotnog prostora (S. Timotijevi). Titova smrt je bila povod za istraivanje specifinu socioloku studiju u kojoj se jasno oslikava atmosfera prostora u koji je smjetana fotografija, koja posredno predstavlja svjedoanstvo o svakodnevnom ivotu obinih graana kulturi ivljenja, dominantnom sistemu vrijednosti. Ovaj dokumentaristiki pristup blizak fotografskim istraivanjima amerikog tipa iz vremena 30. tih godina XX vijeka dopunjen je izjavama anonimnih ljudi o Titovoj linosti koje je sakupila autorova supruga i prua nam jasnu sliku o stanju drutva i raspoloenju stanovnitva irom prostora Jugoslavije prije i neposredno nakon Titove smrti. To su snimci anonimnih prostora, zabiljeeni irom Jugoslavije - pretrpanih prodavnica, zaputenih prostorija, kafana, stepenita zgrada, izloga u kojima je Titov portret paljivo uklopljen u briljivo osmiljen (sladunjavi ki) aranaman. Bez obzira da li je postavljen na centralnom mjestu u kompoziciji portret doivotnog predsjednika godinama i nakon njegove smrti nastavio je da figurira kao jezgro oko kojeg se definie jedna specifina aura prisustva sa energijom koja izbija iz njegovog snanog pogleda. Fotografija predsjednika u sveanoj maralskoj uniformi ili u modernom graanskom odjelu predstavlja tipian primjer prenesenog znaenja moi slike koja otjelovljuje apsolutnu, sveprisutnu mo. Lenart fotografie naputene predjele u crno bijeloj tehnici, zadravajui momenat dokumentarnog, rekonstruiui jednu vrstu dramatine uzvienosti, uz prisutno osjeanje filmskog saspensa - scene praznog kadra u kojoj se upravo neto znaajno dogodilo.

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

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

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

I posle Tita Tito! i njegov lik i djelo ostaju jednako vani i nakon tog traginog dana, a njegova slika je ostala na istom mestu na kome se nalazila od 1945.5 Jo dosta vremena nakon toga. Tito - harizmatina ikona u decenijama koje slijede bie predmet rasprava, koju e mnogi nastojati da ospore i negiraju. U kontekstu prostora koji se danas naziva region odnosno bivih jugoslovenskih republika, ovaj diskurs je jo uvijek aktuelan ne samo sa stanovita istorijskih i kulturolokih razmatranja ve i sa stanovita oiglednog neuspjeha politika koje su oznaile kao negativno i sruile drutveni sistem kojeg Maral personifikuje.

e Gevara argentinski marksistiki revolucionar, po obrazovanju ljekar, Kastrov najblii saradnik, a potom voa gerilske vojske, diplomata i vojni analitiar bio je takoe harizmatini, kontroverzni lider. Nakon smrti postao je legendarna politika figura (njegovo ime je esto poistovjeivano sa pobunom, revolucijom i socijalizmom) mada se mnogi sjeaju njegove okrutnosti (u vrijeme dok je bio na elu zatvora La Cabaa Fortress) kada je nareivao egzeku-cije bez suenja na Kubi. Uprkos njegovoj esto osporavanoj politikoj ulozi u kubanskoj revoluciji ostao je globalna inspiracija popularne kulture i postao dominantna ikona brojnih ljeviarskih pokreta, ak je imenovan jednim od 200 najuticajnijih ljudi XX vijeka. uveni po-tret koji je nainio Alberto Korda 1960. godine jedna je od najreprodukovanijih i najpoznatija fotografija koju je Maryland Institutie College of Art proglasio simbolom XX vijeka, a ije verzije su slikane, tampane, vezene, tetovirane ... a on i nakon toliko godina ostaje nacionalni simbol Kube, ali istovremeno najbolje prodavan brend i ujedno dio masovnog potroakog drutva, iako je bio jedan od onih koji je prezirao kulturu konzumerizma. Mit o e Gevari daleko prevazilazi romatinu predstavu i istinu o njegovom ivotu i ponaanju. Snimci pustih ulica i trgova sa eovim likom koji bdi nad njima potenciraju osjeanje prisustva i naglaa-vaju vezu izmeu konteksta mjesta i vremena u kojem su nastali. Serija svjedoi o jednom takoe znaajnom istorijskom fenomenu fascinacije likom i djelom uvenog kubanskog gerilca. Kao i kod Titovih portreta ono to dominira na ovim predstavama usamljenih prostora koji djeluju naputeno ak i kada u njima ima ljudi je njegov pogled koji generie snagu i odlunost i sublimira sve ono po emu e ostati zapamen.

Postavljene u kontekst iste izlobe ove dvije harizmatine linosti - osobe vrstog, stoikog karaktera6 koje su se borile pod istim ideolokim simbolom crvenom zvjezdom i postale zatitni znak jednog vremena i posebnog itanja odreenih istorijskih identiteta drutva nominalne jednakosti (Fea Vuki, Hibridni identiteti) danas u vrijeme hibridne kulture i hibridnih identiteta suprotstavljanja u realnom vremenu (F.V.) upuuju na drugaije itanje onoga to je tada bilo zasnovano na ideji o (naelnoj) ravnopravnosti i blagostanju za sve.

Ogroman viak znaenja koji se generisao oko ove dvije linosti - prvo kroz njihovo revolucionarno-politiko djelovanje, zatim kroz (slubenu) izgradnju kulta linosti, a onda kroz posthladnoratovske i postmodernistike interpretacije, popularnu kulturu i komercijalizaciju toliko je veliki da nekako nestaje iz vidokruga ostavljajui mogunost samo izolovanog (a za mnoge od nas i linog) tumaenja.

Mogunost da se posjetilac izlobe susretne sa ovom dvojicom u kondenzovanoj interpreta-ciji Branka Lenarta svakako je izuzetna prilika da se taj ogromni balast znaenja refokusira, pomiri i sagleda.

Mirjana Dabovi Pejovi

5 Bojana Peji, Tito ili ikonizacija jedne predstave, Novo itanje ikone, pripredio Dejan Sretenovi, Geopoetika, Beograd, 1999. 1186 Alberto Korda govorei o e Gevari; a Milutin oli 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 anticipatedcreate 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 Lenarts 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 Titos death, Titos relay still travels to his House of Flowers in 15 Uika Street, and that flags with Che Guevaras 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 reality3.

Che Guevara (19281967) and Josip Broz Tito (18921980) 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 Primo Lampi, catalogue of Branko Lenarts exhibition, photographs 1972-1993, Architecture Museum of Ljublja-na, 1995. 3 Bojana Peji, quote by Dejan Sretenovi, Tito ili ikonizacija jedne predstave, in Novo itanje ikone, edited by Dejan Sretenovi, 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 Marshals photograph in public places as a symbol of accurate location of a wider cultural and living space (S. Timotijevi). Titos 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 peoples statements about Tito as a person compiled by the artists wife, thus offering a clear picture of the society and the general mood of the population all over Yugoslavia prior to and immediately after Titos death. They are photos of anonymous spaces, taken throughout Yugoslavia: cluttered stores, shabby rooms, coffee places, stairways of various buildings, shop windows in which Titos 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 Titos 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, Castros 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 Cabaa Fortress prison), when he ordered executions without trials.

4 Slavko Timotijevi, text on the occasion of the exhibition in the Happy Gallery (Srena galerija), November 1984.5 Bojana Peji, Tito ili ikonizacija jedne predstave, in Novo itanje ikone, edited by Dejan Sretenovi, 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 Ches 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 Titos portraits, what dominates these representations of isolated spaces which appear deserted even when there are some people in them is Che Guevaras 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 character6 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 (Fea Vuki, 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 Lenarts condensed interpretation is by all means an exceptional chance for the huge load of meaning to be refocused, reconciled and grasped.

Mirjana Dabovi Pejovi

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

Branko Lenart roen 15. juna 1948. u Ptuju, Slovenija. Sa porodicom emigrigao u Grac, Austrija, 1954. 1968. postao lan avangardne asocijacije Forum Stadtpark, Grac. Od 19721978. pohaao master studije u Gracu. 1980. studijski boravio u Apeiron radionici, Millerton, Njujork. Nastavio studije u La Roelu, Arlsu, Oksfordu, Rimu, Parizu, Londonu, USA i Izraelu. Osniva je i predsjednik (19942007.) kulturne asocijacije Artikel-7 za Slovenake Stirijance/Pavel Haus. 2001. saraivao na projektu Poslednje putovanje Inge Morat, putujue izlobe i knjige (predgovor Artur Miler), Prestel 2003. Predavao fotografiju na koli za umjetnost i dizajn (19792007.) i na Univerzitetu Primjenjenih nauka Joaneum (19962003.) u Gracu.

Od 1968. uestvovao na brojnim grupnim izlobama u Evropi i Sjevernoj Americi. Izlae samostalno od 1970. ukljuujui galerije Galeria Ins Barrenechea, Madrid i Museo dArte Moderna Car, Muggia in 2010/2011.

Objavljeno je nekoliko monografija ukljuujui Wahr genommen, predgovor Peter Weiermair, Izdanje Fotohof, Otto Mller Verlag, Salzburg 1991. Vitalogy, tekst Wolfgang Kos und Walter Titz, Neue Galerie, Graz 1998. Kaddisch, tekst Johannes Schmidt, Izdanje Camera Austria, Graz 1998. Augen:BlickeSchrift:Stcke, 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 Primo Lampi, Arhitekturni muzej, Ljubljana 2008. Vergangen und vergessenJdische Kultur in Slowenien, tekst Elisabeth Arlt, Pavelhaus, Graz 2009. Styrians, tekst Ale teger, Galerie Marenzi, Leibnitz 2009. Krkave Istria.Terra, tekst Aleksander Bassin, Primo Lampi, Salvator itko, Pavelhaus, Graz 2012.

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

ivi 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 Moraths 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 Ins Barrenechea, Madrid and Museo dArte Moderna Car, Muggia in 2010/2011.

Several monographs were published, including Wahr genommen, preface Peter Weiermair, Edition Fotohof, Otto Mller 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:Stcke, 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 Primo Lampi, Arhitekturni muzej, Ljubljana 2008. Vergangen und vergessen Jdische Kultur in Slowenien, text Elisabeth Arlt, Pavelhaus, Graz 2009. Styrians, text Ale teger, Galerie Marenzi, Leibnitz 2009. Krkave Istria.Terra, text Aleksander Bassin, Primo Lampi, Salvator itko, Pavelhaus, Graz 2012.

His works are in national and international collections, including Albertina, Vienna; Archivio fotogra-fico, Trieste; Arhitekturni muzej, Ljubljana; Bibliothque Nationale, Paris; Fundaci Joan Mir, Barcelona; Lentos Kunstmuseum, Linz; Muse dart et dhistoire, Fribourg; Muse de la Photographie Andr Villers, Mougins; Museum der Moderne, Salzburg; Neue Galerie/Universalmuseum Joanneum, Graz; Rmerquelle 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.

Izdava: Narodni muzej Crne Gore | Za izdavaa: Pavle Pejovi | Kustos izlobe i tekst: Mirjana Dabovi Pejovi | Prevod: Olivera Kusovac | Fotografija: Branko Lenart | Dizajn: Branka Vujovi | tampa: DPCTira: 400

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

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