ABOUT

The idea for the project In a Nutshell, a touring exhibition of contemporary Croatian design, was born in mid-2009. Conceived as a relatively small exhibition, practical and flexible in format, it was faced with the oxymoronic task of using a very restricted set-up to show off works in three exceptionally different design areas: product, fashion and graphic design.
     Indeed, because of the various historical givens—the social, economic and political issues—the differences among these design categories are sometimes far greater than the similarities.
     Unlike the ever-bedevilled development of fashion and product design, the production of graphic design in Croatia has always been rich and its achievements have been long visible on an international scale.  We might mention the Grand Prix of Ljubo Babić at the Paris 1925 International Exhibition of Decorative Arts, Ivan Picelj’s pivotal role in the New Tendencies[1], Boris Bućan on the cover of the V&A’s Power of the Poster[2]catalogue, and the numerous international prizes of Boris Ljubičić, Bruketa & Žinić, Laboratorium, Nedjeljko Špoljar and many others.
     The striking differences in production quality among the areas of design have, during their ten years of exhibition activity, been copiously illustrated by the Croatian Design Reviews. At these biennial exhibitions of the Croatian Designers’ Association, various design categories [3] have been shown in parallel and hence necessarily compared—always to the detriment of product design. Furthermore, after The Review 040506 (held in 2006), where the selection of professional product design was so derisory that it was not even put in the exhibition, it was entirely reasonable to ask whether product design in Croatia had, after a long and grave illness, at last passed away.
     Fortunately, the 040506 exhibition worked like a galvanic shock. Local product designers have in recent times been amazingly sprightly. Today, then, it is truly possible to pick out the most exciting phenomena within the given areas. It is possible to find the focal points, the pulsing centres of domestic design that, in spite of incontrovertible differences, do share some key aspirations and values. The name of the exhibition refers, therefore, not only to the concision of its format but also to the similar kernel that every nutshell of design conceals.
     The story called In a Nutshell is a sketch for a portrait of contemporary Croatian design through a specific part of domestic design practice. As the name says, In a Nutshell is a short and concise tale: with the depiction of a small number of consummate designer works, we have tried, pars pro toto, to indicate the currently most interesting phenomena on the designer scene in the country.
     The works chosen share no formal similarity; indeed, works have been chosen that illustrate the contemporarily pluralism of the approach to design. There are  works with a marked expressive and/or aesthetic component (the Cuculić poster Kvetch, the Hoffbauer’s Mogwai poster) and brilliant single-stroke sketches (Kauboji poster of Bruketa and Žinić, the Klupko light of Erika Šimić) but also highly conceptual works (such as the magazine Frakcija directed by Cavarpayer and then the Laboratorium studios) and complex projects that take issue with design and/or productive process (the Symbioisis/Mitosis project of Ljiljana Tutnjević, the poster (No)Work  by Silvio Vujičić and Ruta).
     What do the works on show then have in common? They share key contemporary design preoccupations such as local determination, the research angle, social commitment. Although the themes that occupy contemporary Croatian designers – globalisation, modern colonialism, consumerism, human rights, production ethics – are internationally relevant, in the works on show they are often seasoned with home-grown flavourings.

NATIONAL OR LOCAL
In contemporary society of international production, collaboration and influence, an exhibition that attempts to define itself in national terms will find itself on slippery ground. What is Croatian design (as against, let’s say, design determined regionally)? Do Croatian designers who work abroad belong to Croatian design?[4] And what about foreigner designers who work in Croatia? Design is no bastion that needs (if it is at all possible) to be defended by insistence on some mythical indigenous language, whatever that might be. An unambiguous, national determination of contemporary design - to the extent to which such a distinction was propagated by the Milan Triennials in the fifties and sixties and the large touring exhibitions of the leading design countries (natural Finnish, elegant Italian and inclusive Swedish design and so on)—is today beside the point.
     Instead of questing for some illusory unifying characteristic to define Croatian design, it seems more interesting to explore the exciting conglomerate of local and regional features that shape it.
     As a result of unification of the global market, local diversification has become extremely desirable—today, polas [5]are tastier than French fries. Here of course we are not talking only of local production, raw materials or ethnographic influences. There are also the other essential shapers of our localness: a whole melange of geographical, historical and cultural impacts, controversies and particular features of the former state and its political system, the problems of the transition, the vivid vernacular culture.
     The echoes of the local are loud and clear in the high quality solid oak and walnut furniture Basic (designed by Grupa) and Element (Numen), in the traditional lace making of the ceiling lamp Svjetle niti (Fabrio, Čirjak), the hand-knitted collection of Igor Galašand in Đurek’s project for digitalising Glagolitic script [6]. One needs to dive a little deeper for links of Numen and Laboratorium with the domestic Modernist tradition, quotes of Julije Knifer’s meanders and Vjenceslav Richter’s abstracts in Roban’s jewellery, or the Op Art of the New Tendencies in Ljubičić’s 3D poster.
     In the design of visual communications, the appropriation of meanings is a common post-modernist procedure. In a many-layered reading of the exhibited works, we will note an abundant use of local iconography, the reinterpretation of the traditional, references to the local cultural and social scene, as well as occasional dialogue with the country’s own designer tradition.
     Unfortunately, cases of the reinterpretation of the domestic design heritage are still relatively rare, partially because such a discourse requires a good grounding in domestic design history, which, like its principals, is still to a great extent without any proper evaluation.  The more valuable, then, are the rare existing examples, like the reinterpretation of Bućan’s poster from the 70s on the cover of Review of Croatian Design 040506, the new edition of the cult  Startas sneakers, the logotype alphabet of the Lexicon of YU Mythology, and Đurek’s digitalisation and supplementation of the font RikardArsovski.[7]
     The art of typography in Croatia, until a short time ago a neglected area, is writing a new chapter in the localisation of the country’s design.  The popular boom in the study of fonts can be attributed primarily to the arrival of Nikola Đurek, not only a typographer par excellence, but also a teacher of the subject at two Croatian design faculties. His typefaces are already locally determined by his very treatment of the specifically Croatian elements of the font (the diacritics and diagraphs).  Particularly valuable are his projects for a reinterpretation of domestic design/art heritage: along with the already mentioned typefaces (Glagolitic, Rikard-Arsovski) there is also the meandric Knifer typeface. Numerous less exotic Đurek typefaces have come into standard use; the use of his fonts has become almost a question of honour, and gives Croatian design production a particularly local taste.
     Although at first glance the packaging section is a divergence from the, put provisionally, non-commercial framework of the works shown, this often trivialised section of design practice needs reconsideration. Knowing that the most recognisable world brands today are those of food and beverage (Coca-Cola, Starbucks, McDonalds), we can with a fair degree of certainty claim that the most powerful cultural colonisation is being carried out through our stomachs. The local determination of exhibited products, the manner of production (family farms) and the manner of consumption (the slow food concept) make a total opposition to the ideology advocated by the corporations listed. The battle for the survival of local identities has moved to the culinary theatre, and subsequently, to packaging design which supports indigenous, high quality products.

CONTEMPORARY CONSIDERATIONS
In Croatia, the fondness for formal and conceptual research has been more distinct in the areas of visual communications and fashion design than in product design.  As medium of communication, graphic design has long since intrigued domestic conceptual artists and designers[8]. Moreover, its ability to provoke has attracted the clients who have built up their own alternativeness through an alternative aesthetic. Indeed, advanced [9] graphic design has traditionally been created thanks to particular clients. Traditionally, Croatian graphic design can put its high level of development down primarily to clients in the domain of culture. Ever since the first excursions of domestic Art Nouveau painters into poster art, the cultural institutions - theatres, concert halls or museums—have featured as patrons of quality graphic design.
     Today, equally important generator of advanced design is the (subsidised) independent scene. With the conservative social and political U-turn of the nineties, cultural institutions ceased to be the chief and only movers of progressive research in design, and the emphasis was shifted to newly-founded independent media, curatorial collectives and non-governmental organisations.

On the other hand, Croatian fashion design has been traditionally based on small fashion studios, the resort of designers inclined to research and experiment [10]. This modus operandi that kept the domestic fashion scene alive even during communism era [11] enabled a certain pluralism of approach, methods and thinking.
     Such a type of micro-production [12] has recently been copied by the domestic product design scene. Ultimately, it makes sense: both branches have always had troubles with large-scale industry that has had no interest in design. The paucity of conceptual research in domestic product design is largely related to production and economic constraints, i.e. the dependence of local production on industrial, mass production. However, the shortage of conceptual research in product design is also related to a strong modernist design tradition that did not encourage excessively expressive and polysemous appearances. But at a moment when domestic product design has split off from the existing large industry and moved in the direction of independent, small-batch actions [13], it has also become experimental in its expression. Reaktor—a newly founded platform for the affirmation of product design - played a major role in this movement for the rehabilitation of product design. Through its first workshop, Reaktor generated the development of a dozen new products.  With the topic of direct design—immediate, hands-on design reactions to a situation or a problem through locally accessible technologies and materials—Reaktor gave the invited authors a very broad framework in which to act.[14]
     Contemporary design research—whatever design area it might be about—is focused on a comprehension of the process of creation and use (action and reaction), whether the methods of the research are formal or whether they involve a critical overview of the social role of design. Every shakeup of the firmly enthroned assumptions about the (one and only correct) method, meaning or material conquers space for new interpretations. Thus, some of the authors have radically impinged on the archetypical format of the book (R. Dražič: Book for Two), the journal (Cavarpayer: Frakcija), the poster (Boris Ljubičić: Voli kvadrat i krug /Love square and circle), or garment (Josipa Štefanec); they have brought in typological hybrids (Bačun, Bratović: One is Many) or have indeed explored the very method of production (Ruta, Vujičić: Plakat (Ne)rad) and subsequent use (Numen: KY table).
     Planned product obsolescence, the depleting of natural resources and the dehumanisation of the environment were long ago identified as self-destructive elements of western civilisation. Not only are they present in the Croatian quotidian, but they are much more disastrous for a young society with no evolved self-defence mechanisms. If we add to this the profound social crisis that transcends the economic, there is a still more direct motivation for Croatian designers to investigate new and alternative possibilities for effective action within their own profession.
     In the area of social and political work of designers, the local independent scene has played a key role, supporting engaged, investigative and innovative projects. To mention a few, there are the acute comments of the Zarez covers, the B.a.b.e. calendar, the Lexicon of YU Mythology or the edition of sermons by the NSK philosopher Peter Mlakar.
     Divorced from the industry to which it was until recently connected by an umbilical cord, product design too has discovered its social and political potential. In a super-consumerist society, in which having is the key value, product design is an ideal medium for the communication of ideas. Design is political, and here we are not thinking only of the already mentioned the independent scene or the designing of the state (a topic all by itself). Self-initiated projects like the Play Away Violence dolls (Bačun, Bratović) or the pictographic dissection of society (the poster of Nenad Jaleševac) are markedly political works. The packaging of indigenous domestic products is certainly political.  Not to mention the final act in which designers have given up on big domestic industry turning to the self-production—taking responsibility and the means of production into one’s own hands.
     The existence of alternative—an indigenous, a committed—design is conditional upon a deal of ethical appreciation in the social surroundings: this kind of design does require a critical mass of an aware public receptive of subversion. It is not surprising that the greatest number of visitors to the promotion of Reaktor’s products were coming back from the Right to the City demo against the destruction of a pedestrian zone by yet another mall in the centre of Zagreb. This is the audience for alternative design—a public critical of an absolutist aestheticised society of mass production based on submissive, statistically identical consumers.
     In order to fulfil its function, design must have a user.  Alternative design requires a certain cultural and democratic maturity that Croatian society still has to attain. At this moment, the direction of movement seems encouraging—a critical comprehension of social phenomena and a readiness for an intelligent deviation from immaculate mass production tell of the democratisation of a society. While it still does not accept the diversity with an all out enthusiasm, the Croatian public seems to open up to that possibility more readily than ever.  

Koraljka Vlajo 

[1] The New Tendencies – an international movement of neo-Constructivist and kinetic art was embodied in five exhibitions held in what was then the Gallery of Contemporary Art in Zagreb from 1961 to 1973. In parallel with the exhibitions, symposia were organised, and the journal Bit International was published.  In this event, along with numerous world artists, over the years some of the most significant world art and information theorists took part.

[2] Margaret Timmers (ed.): Power of the Poster, V&A Publications, 1998, London. The front cover reproduced Boris Bućan's poster for the Croatian National Theater in Split (Firebird, Petrushka) of 1984.

[3] Above all this concerns product and graphic design; fashion design has been featured at the exhibitions of the Croatian Designers' Association only since 2008.

[4] From this point of view I should point out that the In a Nutshell exhibition focused on works created in Croatia primarily because these projects provide an additional insight into the impact of local/regional circumstances on design work. The works shown are necessarily determined by local specificities: by clients and public expectation or production in/capacities.

[5] Pola is a way of baking potato in Croatian regions of Lika and Gorski Kotar.

[6] Glagolitic is an Old Slavonic script created in the 9th century and subsisting in Croatia until the 19th.

[7] The typography was partially devised by designer Mihajlo Arsovski in 1972 for the Rikard Boutique.

[8] Right until the foundation of Zagreb’s Design School in 1989 and the establishment of professional training in design, design staff tended to be derived from art practice.

[9] The expression advanced design was introduced by Maroje Mrduljaš  in the book Dizajn i nezavisna kultura / Design and Independent Culture (Savez udruga Klubtura i dr., Zagreb, 2010).

[10] Large scale Yugoslav fashion and textile industries were quite averse to excess or experimentation.

[11] This period was explored in detail in the exhibition Drugarica a la mode devised by Tonči Vladislavić in 2006 [drugarica is “female comrade” in the socialist sense].

[12] Tonči Vladislavić  brought in the expressions micro and macro trends while talking of the way in which the fashion industry worked in Croatia after WWII. 

[13] The trend was started by Numen, working with the local distributor Intera, launching a set of furniture called Element.

[14] The exhibition includes five works from the Reaktor workshop: the standing lamp Model (Grupa); the KY  table (Numen); the ceiling lights Klupko (Erika Šimić) and Kumulus (Ksenija Jurinec); and the shelf Iz-rez of Neven Kovačić.

< URBAN FESTIVAL

AUTHOR
Lina Kovačević

YEAR
2003

URBAN FESTIVAL URBAN FESTIVAL
< LOVE SQUARE AND CIRCLE

AUTHOR
Boris Ljubičić

YEAR
2000

LOVE SQUARE AND CIRCLE LOVE SQUARE AND CIRCLE
< DRUNKEN WOODS

AUTHORS
Bilić_Müller design studio; Dora Bilić, Tina Müller

YEAR
2007

DRUNKEN WOODS DRUNKEN WOODS
/
< S. BERKOFF: KVETCH

AUTHOR
Studio Cuculić; Vanja Cuculić

COLLABORATOR
Željka Plasajec

YEAR
2006

S. BERKOFF: KVETCH S. BERKOFF: KVETCH
< MOGWAI

AUTHOR
Igor Hofbauer

COLLABORATOR
Marko Matošić

YEAR
2004

MOGWAI MOGWAI
< THIRSTY EAR No. 7

AUTHOR
Mate Škugor

YEAR
2006

THIRSTY EAR No. 7 THIRSTY EAR No. 7
< THE SOCIETY MANUAL

AUTHOR
Nenad Jalšovec

YEAR
2007

THE SOCIETY MANUAL THE SOCIETY MANUAL
< COJONES & UMOR MAMMOTH MARCH TOUR

AUTHORS
Ana Marija Poljanec, Andro Giunio

YEAR
2008

COJONES & UMOR MAMMOTH MARCH TOUR COJONES & UMOR MAMMOTH MARCH TOUR
< SAŠA ANOČIĆ: KAUBOJI

AUTHORS
Bruketa & Žinić OM; Tomica Jurica Kaćunić

YEAR
2008

SAŠA ANOČIĆ: KAUBOJI SAŠA ANOČIĆ: KAUBOJI
< THE EUROPEAN SHORT STORY FESTIVAL 2007

AUTHORS
KO:KE kreativna farma; Maja Bagić, Danijel Srdarev

YEAR
2007

THE EUROPEAN SHORT STORY FESTIVAL 2007 THE EUROPEAN SHORT STORY FESTIVAL 2007
< EUROPE 2020 IDENTITY/ INTEGRITY

AUTHOR
Studio International; Boris Ljubičić

YEAR
2004

EUROPE 2020 IDENTITY/ INTEGRITY EUROPE 2020 IDENTITY/ INTEGRITY
< THE ELECTRONIC MUSIC NIGHT STAGE

AUTHOR
Damir Gamulin

YEAR
2007

THE ELECTRONIC MUSIC NIGHT STAGE THE ELECTRONIC MUSIC NIGHT STAGE
< FEMALE CREATIVITY FESTIVAL — FEMINAE EXTRAVAGANZA

AUTHOR
Rafaela Dražić

YEAR
2009

FEMALE CREATIVITY FESTIVAL — FEMINAE EXTRAVAGANZA FEMALE CREATIVITY FESTIVAL — FEMINAE EXTRAVAGANZA
/
< ZAGREBDOX 2006

AUTHOR
Damir Gamulin

YEAR
2006

ZAGREBDOX 2006 ZAGREBDOX 2006
/
< TILLA'S BOX

AUTHOR
Studio Cuculić; Vanja Cuculić

COLLABORATORS
Krešimir Đurić, Ivona Đogić

YEAR
2002

TILLA'S BOX TILLA'S BOX
< 6th BIT

AUTHORS
Laboratorium; Orsat Franković, Ivana Vučić

COLLABORATOR
Tomislav Jurica Kaćunić

YEAR
2009

6th BIT 6th BIT
< TRI KRALJA / THREE KINGS WINES

AUTHORS
Vanja Cuculić, Damir Bralić

YEAR
2005

TRI KRALJA / THREE KINGS WINES TRI KRALJA / THREE KINGS WINES
< KOS WINES

AUTHOR
Studio Cuculić; Vanja Cuculić

COLLABORATOR
Tomislav Tomić

YEAR
2009

KOS WINES KOS WINES
< GJUREK WINES

AUTHOR
Studio Cuculić; Vanja Cuculić

YEAR
2010

GJUREK WINES GJUREK WINES
< GRIMALDA WINE

AUTHOR
Ira Payer

COLLABORATOR
Željko Burić

YEAR
2010

GRIMALDA WINE GRIMALDA WINE
< FRUIT WINES INCANTO

AUTHORS
Bruketa & Žinić OM; Tonka Lujanac, Davor Bruketa, Nikola Žinić,  Nikola Đurek

COLLABORATOR
Marija Jakeljić

YEAR
2008

FRUIT WINES INCANTO FRUIT WINES INCANTO
< JAM ŠINJORINA SMOKVA

AUTHOR
Studio Cuculić; Vanja Cuculić

YEAR
2006

JAM ŠINJORINA SMOKVA JAM ŠINJORINA SMOKVA
< OLIVE OIL CHIAVALON

AUTHORS
Bruketa & Žinić OM / Davor Bruketa, Nikola Žinić, Ruth Hoffmann

YEAR
2007

OLIVE OIL CHIAVALON OLIVE OIL CHIAVALON
< OLIVE OIL BRACHIA

AUTHORS
TRIDVAJEDAN tržišne komunikacije; Izvorka Jurić, Jelena Gvozdanović

YEAR
2006

OLIVE OIL BRACHIA OLIVE OIL BRACHIA
< AROMA RAGUSEA

AUTHORS
Laboratorium

YEAR
2006

AROMA RAGUSEA AROMA RAGUSEA
< HOME MADE FIG CAKE HIB

AUTHORS
Laboratorium; Ivana Vučić, Orsat Franković

YEAR
2009

HOME MADE FIG CAKE HIB HOME MADE FIG CAKE HIB
< FOLDING TABLE KT

AUTHORS
Numen / For Use; Nikola Radeljković, Sven Jonke, Christoph Katzler

YEAR
2010

FOLDING TABLE KT FOLDING TABLE KT
< FOLDING DECK-CHAIR XZ

AUTHORS
Numen / For Use; Nikola Radeljković, Sven Jonke, Christoph Katzler

YEAR
2010

FOLDING DECK-CHAIR XZ FOLDING DECK-CHAIR XZ
< EXTRAVAGANT BODIES

AUTHOR
Dejan Dragosavac Ruta

COLLABORATORS
Vedran Metelko, Tomislav Medak, Dragan Mileusnić

YEAR
2007

EXTRAVAGANT BODIES EXTRAVAGANT BODIES
< TENA ŠTIVIČIĆ: FIREFLIES

AUTHORS
Nina Bačun, Roberta Bratović

YEAR
2007

TENA ŠTIVIČIĆ: FIREFLIES TENA ŠTIVIČIĆ: FIREFLIES
< BECKETT: ROUGH FOR THEATRE I AND II

AUTHORS
Dora Budor, Maja Čule

YEAR
2007

BECKETT: ROUGH FOR THEATRE I AND II BECKETT: ROUGH FOR THEATRE I AND II
< DIRTY LITTLE PANTIES

AUTHOR
Dario Dević

YEAR
2009

DIRTY LITTLE PANTIES DIRTY LITTLE PANTIES
< MONTAŽSTROJ — THEATRE OF YOUR AND OUR YOUTH

AUTHORS
Cavarpayer; Lana Cavar, Ira Payer, Narcisa Vukojević

YEAR
2007

MONTAŽSTROJ — THEATRE OF YOUR AND OUR YOUTH MONTAŽSTROJ — THEATRE OF YOUR AND OUR YOUTH
< INVISIBLE WORK

AUTHORS
Dejan Dragosavac Ruta, Silvio Vujičić

YEAR
2005

INVISIBLE WORK INVISIBLE WORK
< BOOKTIGA

AUTHORS
Studio Sonda; Kristina Poropat, Sean Poropat, Jelena Šimunović

COLLABORATORS
Aleksandar Živanov, Tina Erman, Ana Bursić

YEAR
2009

BOOKTIGA BOOKTIGA
< THE 45th GORAN SPRING

AUTHORS
Bestias; Božidarka Brnas, Tanja Stipišić, Tomislav Kraljević

YEAR
2008

THE 45th GORAN SPRING THE 45th GORAN SPRING
< LIBRA LIBERA

AUTHOR
Dejan Dragosavac Ruta

YEAR
2000 -

LIBRA LIBERA LIBRA LIBERA
< UP & UNDERGROUND

AUTHORS
Damir Bralić, Maroje Mrduljaš

YEAR
2005 - 2008
 

UP & UNDERGROUND UP & UNDERGROUND
< UP & UNDERGROUND

AUTHOR
Dejan Dragosavac Ruta

YEAR
2009 -

UP & UNDERGROUND UP & UNDERGROUND
< SUBVERSIVE FILM FESTIVAL

AUTHOR
Dejan Dragosavac Ruta

YEAR
2009 – 2010

SUBVERSIVE FILM FESTIVAL SUBVERSIVE FILM FESTIVAL
< ZAREZ / COMMA

AUTHORS
Ira Payer, Tina Ivezić

YEAR
2009 -

ZAREZ / COMMA ZAREZ / COMMA
< ORIS

AUTHORS
Damir Bralić, Vanja Cuculić, Nikola Đurek

YEAR
2008 –

ORIS ORIS
< GORDOGAN #11-14

AUTHORS
Rafaela Dražić (cover), Dejan Dragosavac Ruta (layout)

YEAR
2009

GORDOGAN #11-14 GORDOGAN #11-14
< FRAKCIJA

AUTHOR
Igor Masnjak

YEAR
1996 — 2000

FRAKCIJA FRAKCIJA
< FRAKCIJA

AUTHORS
Cavarpayer; Lana Cavar, Ira Payer, Narcisa Vukojević

YEAR
2000 — 2002

FRAKCIJA FRAKCIJA
< FRAKCIJA

AUTHORS
Laboratorium; Ivana Vučić, Orsat Franković, Jurana Puljić

COLLABORATOR
Tomislav Jurica Kaćunić

YEAR
2004 - 2005

FRAKCIJA FRAKCIJA
< ČIP

AUTHOR
Numen; Jelenko Hercog

YEAR
2004 - 2006

ČIP ČIP
< ČIP

AUTHORS
Ira Payer, Maša Poljanec, Andro Giunio

YEAR
2010 - 2011

ČIP ČIP
< LIFE OF ART

AUTHORS
Bilić_Müller dizajn studio; Dora Bilić, Tina Müller

YEAR
2009 –

LIFE OF ART LIFE OF ART
< SECRET EXHIBITIONS

AUTHORS
Robert Čanak, Ivan Klisurić

COLLABORATORS
Ivana Hanaček, Irena Gessner, Ana Kršenić Lozica

YEAR
2009

SECRET EXHIBITIONS SECRET EXHIBITIONS
< UNTRASHED — EXHIBITION OF REJECTED WORKS

AUTHOR
Sensus Design Factory; Nedjeljko Špoljar

COLLABORATORS
Iva Babaja, Željko Serdarević

YEAR
2002

UNTRASHED — EXHIBITION OF REJECTED WORKS UNTRASHED — EXHIBITION OF REJECTED WORKS
/
< GALLERY MIROSLAV KRALJEVIĆ

AUTHORS
Damir Gamulin, Antonija Majača, Ivana Bago

COLLABORATOR
Marko Vuković

YEAR
2006 - 2008

GALLERY MIROSLAV KRALJEVIĆ GALLERY MIROSLAV KRALJEVIĆ
< PM GALLERY ANNUAL CATALOGUE 2008

AUTHOR
Lana Cavar

YEAR
2008

PM GALLERY ANNUAL CATALOGUE 2008 PM GALLERY ANNUAL CATALOGUE 2008
< PM GALLERY ANNUAL CATALOGUE 2009

AUTHOR
Rafaela Dražić

YEAR
2009

PM GALLERY ANNUAL CATALOGUE 2009 PM GALLERY ANNUAL CATALOGUE 2009
< LEXICON OF YU MYTHOLOGY

AUTHORS
Dragan Mileusnić, Željko Serdarević

YEAR
2004

LEXICON OF YU MYTHOLOGY LEXICON OF YU MYTHOLOGY
< HOW ANTUNTUN LIVES

AUTHOR
Tomislav Torjanac

YEAR
2009

HOW ANTUNTUN LIVES HOW ANTUNTUN LIVES
< SEXUS, NEXUS, PLEXUS

AUTHORS
Bestias; Božidarka Brnas, Tomislav Kraljević

YEAR
2007

SEXUS, NEXUS, PLEXUS SEXUS, NEXUS, PLEXUS
< AMERICA

AUTHOR
Igor Hofbauer

YEAR
2006

AMERICA AMERICA
/
< TORTURED GOD

AUTHOR
Damir Bralić

COLLABORATOR
Nikola Đurek

YEAR
2008

TORTURED GOD TORTURED GOD
< SOURCE OF DREAMS

AUTHORS
Bilić_Müller dizajn studio; Dora Bilić, Tina Müller

YEAR
2005

SOURCE OF DREAMS SOURCE OF DREAMS
< MIRKO ILIĆ

AUTHOR
Dejan Kršić

COLLABORATORS
Mario Aničić, Jele Dominis, Luka Mjeda

YEAR
2008

MIRKO ILIĆ MIRKO ILIĆ
< FROM BAUHAUS TO THE PRESENT

AUTHORS
Dragan Mileusnić, Željko Serdarević

YEAR
2006

FROM BAUHAUS TO THE PRESENT FROM BAUHAUS TO THE PRESENT
< MONOGRAPH KRISTIAN KOŽUL

AUTHORS
Laboratorium; Ivana Vučić, Orsat Franković, Saša Stubičar

COLLABORATORS
Tomislav Jurica Kaćunić, Kristian Kožul

YEAR
2006

MONOGRAPH KRISTIAN KOŽUL MONOGRAPH KRISTIAN KOŽUL
< PHILOSOPHY IN THE BOUDOIR

AUTHORS
Dragan Mileusnić, Željko Serdarević

YEAR
2004

PHILOSOPHY IN THE BOUDOIR PHILOSOPHY IN THE BOUDOIR
< INTRODUCTION TO GOD

AUTHORS
Dejan Kršić, Dejan Dragosavac Ruta

YEAR
2000

INTRODUCTION TO GOD INTRODUCTION TO GOD
< GLAGOLITIC

AUTHOR
Nikola Đurek (Typonine)

YEAR
2006 - 2009

GLAGOLITIC GLAGOLITIC
< KNIFER

AUTHOR
Nikola Đurek (typonine)

YEAR
2007

KNIFER KNIFER
< RIKARD

AUTHOR
Nikola Đurek (Typonine)

YEAR
2009

RIKARD RIKARD
< INVERTYPE

AUTHOR
Dario Dević

YEAR
2010

INVERTYPE INVERTYPE
/
< ARMCHAIR + TABLE BASIC

AUTHORS
Grupa — product design studio; Filip Despot, Tihana Taraba, Ivana Pavić

YEAR
2007

ARMCHAIR + TABLE BASIC ARMCHAIR + TABLE BASIC
< GLASS TABLES / BENCHES - ICE

AUTHOR
Studio Milimetar; Ljiljana Kolundžić

YEAR
2009

GLASS TABLES / BENCHES - ICE GLASS TABLES / BENCHES - ICE
< SHELF FKY

AUTHORS
Numen / For Use; Nikola Radeljković, Sven Jonke, Christoph Katzler

YEAR
2009

SHELF FKY SHELF FKY
< HANGER 3G3

AUTHORS
Grupa — product and graphic design studio; Filip Despot, Tihana Taraba, Ivana Pavić

YEAR
2010

HANGER 3G3 HANGER 3G3
< SHELF CUT-OUT

AUTHOR
Neven Kovačić

YEAR
2010

SHELF CUT-OUT SHELF CUT-OUT
< COASTER / TRAY HOTFLAT

AUTHOR
Milimetar; Ljiljana Kolundžić

YEAR
2009

COASTER / TRAY HOTFLAT COASTER / TRAY HOTFLAT
< DOLL TOYS 'PLAY AWAY VIOLENCE'

AUTHORS
Nina Bačun, Roberta Bratović

YEAR
2004 / 2005

DOLL TOYS 'PLAY AWAY VIOLENCE' DOLL TOYS 'PLAY AWAY VIOLENCE'
< WALLPAPERS WOND

AUTHORS
Damir Bralić, Ljiljana Kolundžić

YEAR
2007

WALLPAPERS WOND WALLPAPERS WOND
< ENDLESS SELF-ADHESIVE CALENDAR

AUTHORS
Laboratorium; Ivana Vučić, Orsat Franković

YEAR
2005 - 2006

ENDLESS SELF-ADHESIVE CALENDAR ENDLESS SELF-ADHESIVE CALENDAR
< CRAYONS BOYA

AUTHOR
Maja Mesić

YEAR
2010

CRAYONS BOYA CRAYONS BOYA
< RUBBER SURFACE ABSTRACT

AUTHOR
Maja Mesić

YEAR
2010

RUBBER SURFACE ABSTRACT RUBBER SURFACE ABSTRACT
< CEILING LIGHT KUMULI

AUTHOR
Ksenija Jurinec

YEAR
2007

CEILING LIGHT KUMULI CEILING LIGHT KUMULI
/
< TABLE LIGHT MINIME

AUTHOR
Filip Gordon Frank

YEAR
2006

TABLE LIGHT MINIME TABLE LIGHT MINIME
< CEILING LIGHT LIGHT THREADS

AUTHORS
Ivana Fabrio, Sanja Čirjak

YEAR
2004

CEILING LIGHT LIGHT THREADS CEILING LIGHT LIGHT THREADS
< FLOOR LIGHT MODEL 1 & 2

AUTHORS
Grupa—product design studio; Filip Despot, Tihana Taraba, Ivana Pavić

YEAR
2010

FLOOR LIGHT MODEL 1 & 2 FLOOR LIGHT MODEL 1 & 2
< CEILING LIGHT STRING BALL

AUTHOR
Erika Šimanić

YEAR
2009–2010

CEILING LIGHT STRING BALL CEILING LIGHT STRING BALL
< PROJECT SYMBIOSIS / MITOSIS

AUTHOR
Studio Milimetar; Ljiljana Kolundžić

COLLABORATOR
Andrej Kolundžić

YEAR
2010

PROJECT SYMBIOSIS / MITOSIS PROJECT SYMBIOSIS / MITOSIS
< PUZZLE TOY OBLO

AUTHOR
Marko Pavlović

COLLABORATORS
Mladen Orešić, Faculty of Design, Zagreb, G. C. W.

YEAR
2007

PUZZLE TOY OBLO PUZZLE TOY OBLO
< BROOCHES DELICT

AUTHOR
Nenad Roban

YEAR
2009

BROOCHES DELICT BROOCHES DELICT
< SNEAKERS STARTAS

AUTHOR
Sheriff&Cherry; Mauro Massarotto

COLLABORATORS
Saša Joka, Ranko Vučinić, Vanja Marković, Magdalena Olujić, Ivana Vukšić

YEAR
2005

SNEAKERS STARTAS SNEAKERS STARTAS
< GARMENT ONE IS MANY

AUTHORS
Roberta Bratović, Nina Bačun, Tomislav Mostečak

YEAR
2006 - 2008

GARMENT ONE IS MANY GARMENT ONE IS MANY
/
< MOBILE

AUTHOR
Josipa Štefanec

COLLABORATOR
Ante Tonči Vladislavić (mentor)

YEAR
2005

MOBILE MOBILE
< DOES GOLD CORRODE

AUTHOR
Diana Tješinski

COLLABORATOR
Jasminka Končić / Josipa Štefanec (mentor / co-mentor)

YEAR
2010

DOES GOLD CORRODE DOES GOLD CORRODE
< K1 (COLLECTION 1)

AUTHOR
Dalibor Šakić

COLLABORATORS
Jasminka Končić / Josipa Štefanec (mentor / co-mentor)
Mihra Vrhovski (knitting); Ana Hanić

YEAR
2009


K1 (COLLECTION 1) K1 (COLLECTION 1)
< SCROLLING BODY

AUTHOR
Lidija Lovrić

COLLABORATORS
Jasminka Končić / Josipa Štefanec (mentor / co-mentor)

YEAR
2009 - 2010

SCROLLING BODY SCROLLING BODY
/
< THE KEEPERS FROM THE KNITTED GALAXY

AUTHOR
Igor Galaš

YEAR
2009 - 2010

THE KEEPERS FROM THE KNITTED GALAXY THE KEEPERS FROM THE KNITTED GALAXY
< CELEBER

AUTHORS
Kuna zlatica; Ana Kunej, Zlata Salopek

YEAR
2007 - 2009

CELEBER CELEBER
< THE SMALL BLUE SET

AUTHOR
Dejan Dragosavac Ruta

YEAR
2004 -

THE SMALL BLUE SET THE SMALL BLUE SET
< VBZ

AUTHOR
Sensus Design Factory; Nedjeljko Špoljar

YEAR
2006 -

VBZ VBZ
< ON THE TRAIL OF THE CLASSICS

AUTHORS
Bilić_Müller dizajn studio; Dora Bilić, Tina Müller

COLLABORATOR
Stanko Abadžić

YEAR
2007

ON THE TRAIL OF THE CLASSICS ON THE TRAIL OF THE CLASSICS
< ECUMENICA

AUTHOR
Damir Bralić

YEAR
2005 -

ECUMENICA ECUMENICA
< ART FOR CHILDREN

AUTHORS
Bilić_Müller Design Studio; Dora Bilić, Tina Müller, Danijel Srdarev

YEAR
2009 - 2010

ART FOR CHILDREN ART FOR CHILDREN
< SWEATER 7/35

AUTHOR
Studio I-gle; Nataša Mihaljčišin, Martina Vrdoljak Ranilović

YEAR
2007

SWEATER 7/35 SWEATER 7/35
< CATALOGUES 25 FPS

AUTHORS
Dragan Mileusnić, Željko Serdarević

YEAR
2006 -

CATALOGUES 25 FPS CATALOGUES 25 FPS
< CATALOGUES FOR SISAK CITY THEATRE

AUTHOR
(R)evolucija; Vladimir Končar

YEAR
2008

CATALOGUES FOR SISAK CITY THEATRE CATALOGUES FOR SISAK CITY THEATRE
< MARC CHAGALL — STORY OF STORIES

AUTHORS
Sensus Design Factory; Nedjeljko Špoljar, Kristina Špoljar

YEAR
2007

MARC CHAGALL — STORY OF STORIES MARC CHAGALL — STORY OF STORIES
< THE FIFTIES IN CROATIAN ART

AUTHORS
Numen

YEAR
2004

THE FIFTIES IN CROATIAN ART THE FIFTIES IN CROATIAN ART
< WHAT, HOW & FOR WHOM

AUTHOR
Dejan Kršić

YEAR
2003

WHAT, HOW & FOR WHOM WHAT, HOW & FOR WHOM
/
< CROATIAN DESIGN OVERVIEW 040506 / BUĆAN: POSTERS

AUTHORS
Damir Bralić, Vanja Cuculić, Željka Plasajec

COLLABORATOR
Maroje Mrduljaš (ed.)

YEAR
2006

CROATIAN DESIGN OVERVIEW 040506 / BUĆAN: POSTERS CROATIAN DESIGN OVERVIEW 040506 / BUĆAN: POSTERS
/
< ZGRAF 10

AUTHORS
Nukleus creative agency; Igor Perkušić, Iva Canki, Nenad Vukušić

COLLABORATORS
Oleg Moskaljov, Damir Bralić, Nikola Đurek

YEAR
2008

ZGRAF 10 ZGRAF 10
/
< MONTHLY PROGRAM BOOKLETS

AUTHORS
Dora Budor, Maja Čule

YEAR
2007 - 2008

MONTHLY PROGRAM BOOKLETS MONTHLY PROGRAM BOOKLETS
< THE SMALLEST LEAFLET

AUTHORS
Dario Dević, Hrvoje Živčić

YEAR
2010

THE SMALLEST LEAFLET THE SMALLEST LEAFLET
< CALENDAR SUPERHEROES

AUTHORS
Bruketa & Žinić OM; Goga Golik (design), Alan Brežanski (illustration), Danijel Vuković (copy)

YEAR
2005

CALENDAR SUPERHEROES CALENDAR SUPERHEROES
< BOOKLET BAD CO.

AUTHORS
Cavarpayer; Ira Payer

YEAR
2008

< EL SHATT

AUTHORS
Marko Šesnić, Goran Turković

YEAR
2007

EL SHATT EL SHATT
< A PAIR OF LEFT SHOES

AUTHOR
Pinhead; Igor Kuduz

YEAR
2009

A PAIR OF LEFT SHOES A PAIR OF LEFT SHOES
< FIRST PERSON SINGULAR

AUTHORS
Laboratorium; Ivana Vučić, Orsat Franković

COLLABORATORS
Saša Stubičar, Marko Ercegović, Tomislav Turković, Antun Maračić

YEAR
2005

FIRST PERSON SINGULAR FIRST PERSON SINGULAR
< NUMEN LIGHT

AUTHOR
Lana Cavar

YEAR
2008

NUMEN LIGHT NUMEN LIGHT
< NEW LIGHTHOUSES OF THE CROATIAN ADRIATIC

AUTHOR
Damir Gamulin

COLLABORATORS
Tina Ivezić, Nives Sertić

YEAR
2006 - 2008

NEW LIGHTHOUSES OF THE CROATIAN ADRIATIC NEW LIGHTHOUSES OF THE CROATIAN ADRIATIC
< NOVA GALLERY

AUTHOR
Dejan Kršić

YEAR
2003 -

NOVA GALLERY NOVA GALLERY
< THE TALE OF BODIES, SOULS AND MACHINES (BOOK FOR TWO)

AUTHORS
Rafaela Dražić, Marcin Gokieli

YEAR
2010

THE TALE OF BODIES, SOULS AND MACHINES (BOOK FOR TWO) THE TALE OF BODIES, SOULS AND MACHINES (BOOK FOR TWO)
< HERE HARE, THERE HARE

AUTHORS
LITTLE HORSE AND BABY BEUYS; Maja and Meira Mujičić

YEAR
2011

HERE HARE, THERE HARE HERE HARE, THERE HARE
< MODERN INTERPRETATION OF TRADITION: OBJECT CALLED "/"

AUTHOR
Nina Bačun

YEAR
2006 / 2007

MODERN INTERPRETATION OF TRADITION: OBJECT CALLED "/" MODERN INTERPRETATION OF TRADITION: OBJECT CALLED "/"