Bucan Art from Marinko Sudac Collection
Gallery of Fine Arts, Split, Croatia
30. January 2015 - 01. March 2015


Curators: Branko Franceshi, Mateja Fabijanić (Institute for the Research of the Avant-Garde)

Boris Bućan (Zagreb, 1947): painter and graphic designer, one of the most successful artists of the generation that, at the end of the 60’s, gathered around the Gallery SC – the most innovative exhibition space in Zagreb of the era. Their detachment from the traditional understanding of visual arts, toward the ambience and conceptual art, performance, new media and intermedia exploration, will define the Croatian visual scene for the second half of the century. This informal group of artists stepped out of gallery space with its resistance to the institutionalised art, and its intervening in the environment and urban tissue of a city. The action of coloring the sidewalk in Varsavska Street, and later a dilapidated façade on Savska Street, performed by Bućan in 1969, had made public his stance about the necessary overcoming of media and class divisions in the name of the expansion and extension of art into real life. At the beginning of the 70’s, using the interaction of words and signs, he turns toward researching the meanings and functions of various conventions of visual art and communication. He inscribed LIE onto a silk banner using a simple, effective method of deconstruction of the most recognizable symbol of any nation. He also initiates the series Bućan ART. He covers the standard format of a canvas with the logos of globally recognizable companies, such as Coca Cola, Swissair etc. and then, instead of keeping their name as a logo, he inscribes the word ART. These lucid, neo–dadaist ideas and attitudes, continued with the series of templates for Teleplak posters. New symbols and surprising combinations of motifs emerge attempting to involve the audience into a complex process of communicating critical attitudes toward the present state of nature and society at large. Establishing a personal code of visual communication, applied to the acclaimed series of theatrical posters, after the appearance at the Venice Biennale of 1984, brought the artist a worldwide acclaim.

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