Od nove umjetničke prakse do komercijalnog dizajna: Željko Borčić

Od nove umjetničke prakse do komercijalnog dizajna: Željko Borčić

Kategorija misc., stručni članci | 02/02/2017 177

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Željko Borčić, autor kojeg hrvatska povijest umjetnosti nekako najviše veže uz tzv. ‘novu umjetničku praksu’ sedamdesetih godina, tijekom više od 40 godina djelovanja na kulturnoj sceni bavio se toliko širokim rasponom aktivnosti da je teško odrediti ga samo kao konceptualnog umjetnika, fotografa ili dizajnera. Na scenu stupa sedamdesetih, nakon povratka iz inozemstva, a pod utjecajem američkog obrazovanja u našu sredinu donosi nova rješenja, osobito u oblikovanju plakata. Iznimno snažan biljeg ostavio je u okviru oblikovanja dizajna ambalaže, vizualnih identiteta i tržišnih komunikacija, no istovremeno djeluje i kao konceptualni umjetnik, a cijeloga života bavi se i fotografijom. U vrijeme kada počinje djelovati, još uvijek nema dizajnerske scene u današnjem smislu, niti dizajnerskih studija. Ipak, javlja se nekolicina jakih individualnih autora kao što su Boris Bućan, Boris Ljubičić i Mihajlo Arsovski, koji donekle utječu na njegov izričaj. Svojim jednostavnim, ali efektnim dizajnom Borčić ne samo da predstavlja standard dobroga dizajna za mlađe generacije, već postaje široko prepoznat među potrošačima, a neka od njegovih dizajnerskih rješenja još su i danas prisutna oko nas.

Povodom izložbe Informacija: Dizajn za kulturu Željka Borčića 70-ih i 80-ih, koja je nedavno zatvorena u Galeriji HDD, odlučila sam saznati više o ovom svestranom autoru.

Rano razdoblje i obrazovanje

Rođen je u Zagrebu 1942. godine gdje je i završio srednju školu. Daljnje obrazovanje započeo je isprva na Akademiji likovnih umjetnosti, s koje se nakon dva semestra prebacio na Arhitektonski fakultet. Studij arhitekture nije završio, no iznimno iskustvo i usmjerenje za svoje buduće zvanje dobio je radom u studiju Vjenceslava Richtera, kojemu je pomagao s grafikama za različite interijere dućana, kao i s opremanjem interijera Titove vile i Kazališne kavane. No, ni to nije bilo dovoljno mladome Borčiću, te u želji da dobije stipendiju za MIT odlazi u New York, iz kojega će, zbog obaveze vojnog roka, 1966. godine preseliti u Kanadu. Samo godinu kasnije u Montreal dolazi i Richter, te Borčića zapošljava na realizaciji svog projekta Jugoslavenskog paviljona na Expou ’67. Taj posao nije mu samo donio iskustvo, već i mogućnost dobivanja stipendije na Sveučilištu Sir George Williams u Montrealu, na kojemu je 1969. godine diplomirao grafički dizajn i vizualne komunikacije. Za vrijeme studija se intenzivno bavio slikarstvom, pa je tako njegov rad Blue Progression bio izložen u Muzeju suvremene umjetnosti u Montrealu, a imao je i jednu manju samostalnu izložbu serije Go-Go plesačice u galeriji Blue Barn u Ottawi. Ipak, na njegov umjetnički rad najviše je utjecao program studija, koji je bio orijentiran prema vizualnome u širem smislu, prema umjetnosti više nego prema rješavanju nekih prozaičnih problema.1

U Hrvatsku se Borčić vraća 1970. godine, te od tada počinje njegov dizajnerski angažman, koji će trajati sve do njegove smrti 2015. godine.

Djelovanje u okviru ‘nove umjetničke prakse’

Prije negoli se sagleda dizajnerska aktivnost Željka Borčića, ključno je osvrnuti se na njegovo djelovanje u okviru tzv. ‘nove umjetničke prakse’. Radi se o pojmu koji se koristi kako bi se opisale pojave na umjetničkoj sceni Jugoslavije u razdoblju od 1966. do 1978. godine, a za koje je karakterističan prekid s tradicionalnim umjetničkim djelovanjem i uspostava drugačijih načina djelovanja i izražavanja. Mladi umjetnici, od kojih su samo neki Dalibor Martinis, Jagoda Kaloper, Braco Dimitrijević i Boris Bućan, zalažu se za dematerijalizaciju umjetničkog objekta, korištenje novih medija, naglašenu ulogu umjetnikovog subjekta, aktiviranje vlastite okoline i generacijsko spajanje istomišljenika.2 U tome im se pridružuje i Željko Borčić, koji u svojim umjetničkim projektima koji tada nastaju anticipira ono što će kasnije biti vidljivo i u nekim od njegovih dizajnerskih rješenja.

Jedan od njih je izložba Prvi svjetski psihokibernetički superautoportret koja je održana 1973. godine u Galeriji Studentskog Centra u Zagrebu. Na njoj je izložio najkompletniju dokumentaciju o sebi – fotografije sebe u punoj veličini, u cjelini i u detalju, odjevenog i neodjevenog, fotografije obitelji, scene djetinjstva i mladenačke dobi, fotografije prijatelja i profesionalnih krugova, knjige, filmove, novine, igračke, mjere težine, visine i sl., izlučevine, snimke neartikuliranih glasova i zvukova koje ispušta, uzorke vode i zraka koje konzumira itd.3 Izložba je nastala pod utjecajem knjige Nova psihokibernetika Maxwella Maltza, koja je potaknula Borčića da razmisli o jednom drugačijem autoportretu. Tako prikazani autoportret ne prikazuje Borčića onakvim kakvim bi on želio biti, već sve što je izloženo svjedoči o formiranju njegove ličnosti, te se stvara objektivni i nepristrani autoportret umjetnika.

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Željko Borčić/ Prvi svjetski psihokibernetički superautoportret/ plakat za samostalnu izložbu/ sitotisak, 70 x 100 cm/ fotografija: Enes Midžić/ Galerija SC, Zagreb/ 1973.

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Potkraj 1975. godine, Borčić je na trgu pred Hrvatskim narodnim kazalištem održao svoju ‘Akciju za konfrontacijsku reakciju’, u sklopu koje je prolaznike pozivao da se fotografiraju s maskama poznatih ličnosti (Jackie Kennedy, Marilyn Monroe, Belmondo i drugi), te im na taj način pružao priliku da “zadnji puta u godini postanu popularna ličnost“.

Godinu poslije, na Aprilskim susretima proširenih medija u Beogradu, Borčić izvodi projekt koji se nastavlja na prethodna dva, a u sklopu kojega i dalje pokušava odgovoriti na pitanja tko smo i kamo idemo. Naime, formirao je sasvim zamračeni prostor u koji se ulazilo kroz već zamračene predprostore nepoznatih dimenzija, te nije bilo mogućnosti da se u njemu publika kreće oslanjajući se na ranije iskustvo ili na konvencije o stvarima i njihovom značenju.4 Publika je bila puštena da tapka u mraku među neidentificiranim predmetima i licima, stječući sasvim nova iskustva, doživljaje i shvaćanja.

Iako se nakon ovih projekata, Borčić uglavnom koncentrira samo na grafički dizajn, razdoblje vezano uz novu umjetničku praksu najavilo je njegov senzibilitet za prepoznavanje značaja anonimnih svakodnevnih predmeta, radnji i situacija, prije svega u fotografiji.

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Željko Borčić, Akcija za konfrontacijsku reakciju/konceptualna akcija/fotografija:Slobodan Tadić – Tec/ Galerija SC,Zagreb/1975.

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Galerija SC i Teatar &TD

U vrijeme kada postavlja Prvi svjetski psihokibernetički superautoportret Borčić započinje suradnju sa Želimirom Koščevićem, upraviteljem Galerije Studentskog Centra u Zagrebu. Košćević je inače aktivno poticao protagoniste „nove umjetničke prakse“ i zalagao se za novu umjetnost, pa nas ne treba čuditi što je mladom umjetniku, kao što je Borčić, dao priliku da uređuje Novine Galerije SC. On ih prelama 1974.godine, a prvo što je promjenio u odnosu na prethodnog urednika Davora Tomičića, jest tehnika tiskanja. Naime, do tada se Novine tiskalo u klasičnom knjigotisku ili roto-tisku u Vjesnikovoj tiskari, no takav način tiskanja nije omogućavao nepredvidljive promjene u prijelomu. Iz tog razloga Borčić prelazi na offsetni tisak koji mu omogućuje da reže, lijepi, kolažira, ubacuje različite grafike, koristi letraset slova, te je tako za svaki broj sve do ulaska u stroj mogao mijenjati naslove, fotografije, ilustracije itd., što mu je davalo mnogo više kreativne slobode negoli što je imao kod dizajniranja Studentskog lista 1973.godine.5 To rezultira time da se svaki broj novina može prilagođavati temi kojoj su one posvećene, pa tako Novine br. 49, koje izlaze povodom Izložbe omotnica ploča rock glazbe, u oblikovanju i sadržajno izgledaju poput primjerka omladinskog tiska, a za istu izložbu Borčić radi i plakat koji oblikuje kao single ploču.6 Ono što treba istaknuti jest da su Novine Galerije SC oblikovane gotovo na tragu Zenita iz 1920-ih. Naime, na istoj stranici moglo se nalaziti više tekstova, a često se unutar teksta moglo pronaći i reklame, te se na taj način očekivala veća aktivnost, odnosno veće pridavanje pažnje onoga koji ih čita, jer bi u protivnom lako mogao preskočiti dio nekog teksta.

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Željko Borčić, Novine Galerije SC br. 49 / offset tisak / Galerija SC, Zagreb, 1974.

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Osim Novina, za Galeriju SC Borčić oblikuje i plakate izložbi, iz kojih često progovara njegov humor, ironija, samosvjestan autorski rukopis, razigrana upotreba tipografije i svojevrsni pop-senzibilitet, a povremeno i drska autoreferencijalnost.7 Ističe se plakat za izložbu Intervencije Radomira Damnjanovića Damnjana 1974. godine, kojeg Borčić oblikuje tako da imitira novinsku naslovnicu, kolažirajući glavu američkog magazina Look s trakicom Great poster offer! uz osnovne informacije o izložbi i privatnom fotografijom svoje supruge. Autoreferencijalnost će koristiti i sedam godina kasnije u oblikovanju plakata za izložbu Iz fundusa galerije Benko Horvat u Hrvatskom muzeju naivne umjetnosti u Zagrebu. Plakat čini kolorirana fotografija samog Borčića koji u jednoj ruci drži crno-bijelu fotografiju sadržaja izložbe, dok drugom rukom gestikulira svoje pozitivno mišljenje o njoj.

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Radomir Damnjanović Damnjan / Intervencije / plakat izložbe / sitotisak, 70 x 100 cm / foto: Željko Borčić / Galerija SC, Zagreb 1974

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Iz fundusa galerije Benko Horvat / plakat izložbe / sitotisak, 70 x 100 cm / fotografija: Slobodan Tadić-Tec / Galerija primitivne umjetnosti, Zagreb 1981.

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Otprilike istovremeno Borčić započinje suradnju sa susjednim Teatrom &TD koji, pod vodstvom Vedrana Zuppe, također pruža slobodu i stimulativno okruženje za mlade dizajnere. Prije Borčića, plakate za Teatar dizajniraju Mihajlo Arsovski i Boris Bućan, koji imaju vrlo snažne i prepoznatljive autorske jezike oslonjene na raskošnu tipografiju, odnosno na provokativne vizualne asocijacije.8 Od takvog dizajna se Borčić odmiče, te na svojim plakatima fokus premješta na fotografije ljudi uključenih u predstavu koja se promovira (uglavnom glumaca ili dramskih pisaca), i koje onda kombinira s tipografijom. U tom smislu, ističe se plakat za Orwellovu 1984 u režiji Nenada Puhovskog, kojeg oblikuje kao narativni niz što se odvija na TV-ekranu i funkcionira kao najavna špica predstave, istovremeno povezano s korištenjem videa u teatru u toj konkretnoj predstavi. Ipak, u nekim slučajevima Borčić se odmiče od fotografije, te kao glavno sredstvo prenošenja poruke koristi tipografiju. Najbolji primjer takvih plakata su oni za Povratak Arlechina iz 1976../77. ili Raspućin iz iste godine. U nizu plakata ističe se i onaj za predstavu Pozdravi koji je u obliku pisma u kuverti. Ukratko, kod oblikovanja plakata za Teatar &TD Borčić se referira na sadržaj predstave, ali u njega unosi i svoje elemente.

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Željko Borčić, plakati predstava, sitotisak, 100 x 70 cm / fotografija: Željko Stojanović-Žika / Teatar &TD, Zagreb / sezona 1975./76.

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Plakati za strukovne izložbe

Jedan dio Borčićeva opusa zauzimaju i plakati za strukovne izložbe, koje je sporadično dizajnirao od sredine 70-ih do kraja 80-ih godina. Ti plakati predstavljaju nešto teži zadatak, s obzirom da se treba vizualizirati izložbu koja u trenutku nastajanja plakata ne postoji, te dizajneru nije poznata njena forma, tema, pa čak niti sadržaj. Iz tog razloga Borčićevi plakati nemaju neki zajednički vizualni nazivnik, već kod oblikovanja svakog od njih polazi iz drugačije pozicije. Tako kod oblikovanja plakata za 7. Zagrebački salon uzima broj 7 i preokreće ga naopačke, ali tako da on i dalje ostaje čitljiv, dok na plakatu za 11. Zagrebački salon iscrtava urbanističku mapu na linijama dlana vlastite fotografirane ruke koja među prstima drži pozivnicu za izložbu, kako bi naglasio odnos privatnog i javnog. Plakatu za 21. Zagrebački salon pristupa iz postmodernističke perspektive – uzima primjere raznih vrsta umjetnosti i kombinira ih u neku igru za djecu, a sve to zbog više smjerova primijenjenih umjetnosti koji su na Salonu zastupljeni.9 Kod dizajniranja plakata za Zgraf 5 nastoji na što jednostavniji način publici vizualizirati doživljaj koji ih očekuje na izložbi. Osim za strukovne izložbe, dizajnira i plakate za različite događaje, kao što je Samoborski karneval.

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7.Zagrebački salon / plakat izložbe /sitotisak, 100 x 70 cm/ Zagrebački salon, Zagreb/ 1972.

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Suradnja s velikim tvrtkama

Rad za velike tvrtke Borčić počinje praktički paralelno – već 70-ih započinje suradnju s osječkom Saponijom. Za njih dizajnira oglase i ambalaže, od kojih se posebno ističu rješenja za deodorante i sapun Lahor. Prethodnu ambalažu sapuna radio je Arsovski, no Borčić se odmiče od njegovog „ćoškastog“ rješenja i zajedno s Ivanom Kožarićem stvara zaobljeni sapun jednostavnog omota na kojemu se poigrava različitim nijansama iste boje. Za Saponiju radi i sapun Adriatic fresh i pastu za zube Zirodent, kod kojih primjenjuje sličnu estetiku.

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Željko Borčić, Lahor sapun i deodoranti / ambalaža / Saponia d.d., Osijek / 1970.-73.

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Osim toga, dobiva i zadatak redizajnirati vizualni identitet Leda, čije je krajnje rješenje također jednostavno s izmjenom linija crvene i plave boje te jednostavnom tipografijom. Osim toga, Borčić stvara i novi logo Leda, te osmišljava Medvjedića Leda, koji je do danas ostao prepoznatljiv znak tvrtke. Za Ledo radi i ambalaže za smrznuto povrće, koje dizajnira na način da na kutijama prikazuje povrće koje se nalazi unutar njih, te na taj način kupcima olakšava kupnju u smislu da ne moraju nužno čitati naziv proizvoda.

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Željko Borčić, Ledo vizualni identitet/McCann-Erickson, Zagreb/1980.

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Vjerojatno svoje najpopularnije dizajnersko rješenje ostvario je u okviru suradnje s Krašom. Radi se o ambalaži Bajadera pralina, koja je ostala gotovo nepromijenjenom sve do danas. Osim toga, radi ambalaže za Petit Beurre, Dominos i Harmonija kekse koje oblikuje na isti način, primjenjujući samo različite boje za svaki proizvod.

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Željko Borčić, Bajadera praline/ ambalaža/ ilustracija:Mimi Hoffer/fotografija:Željko Koprolčec/Jadran Film-Promocija,Zagreb/Kraš d.d.,Zagreb/1980.

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Osamdesetih godina Borčić započinje suradnju s duhanskom industrijom, točnije Tvornicom Duhana Rovinj, za koju osmišljava identitet i pakiranje Walter Wolfa, Respecta i Ronhilla. Radi se o jednostavnom dizajnu koji i danas predstavlja referentni standard. Nešto kasnije, 2000-ih godina, osmislio je i kutiju cigareta Avangard čiji dizajn derivira iz De Stijla, kao i onu za cigarete York Slims koju adaptira po uzoru na ranije redizajniranu kutiju Benston Slims. Osobito su zanimljiva njegova rješenja za jumbo plakate Tvornice duhana Rovinj devedesetih godina, kada dolazi do restrikcije u oglašavanju duhanskih proizvoda. Toj zabrani prikazivanja cigareta Borčić doskače s humoristične strane, pa tako nastaju slogani kao što je ‘Dobar proizvod je dobar proizvod (ma koliko mi šutjeli o tome)’ ili plakat na kojemu laganu cigaretu sugerira djevojka koja, sva u bijelome, trči po plaži, uz nezaobilazan slogan ‘Pozdrav iz Rovinja!’.

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Željko Borčić/ Walter Wolf, Respect, Ronhill/ ambalaža/ TDR d.o.o.,Rovinj/ 1989.-2009.

Kada bi se suradnja s velikim tvrtkama trebala svesti pod zajednički nazivnik, zaključak bi bio da Borčić ne teži vrhunskom dizajnu kao takvome, već tome da proizvod i koncept koji ga prati bude na nivou. Upravo zbog toga je kod većine proizvoda koje je redizajnirao prodaja skočila.

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Željko Borčić/ Reklame/ TDR d.o.o.,Rovinj

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Duga suradnja s velikim tvrtkama i rad u okviru studentskih ustanova zasigurno su kod Borčića doveli do određenog zasićenja s grafičkim dizajnom, što je najbolje shvatljivo ukoliko pogledamo njegove privatne projekte koje radi istovremeno. Radi se uglavnom o fotografskim projektima, serijama polaroid fotografija u kojima se poigrava s kemijskom strukturom fotografske slike ili umjetničkom razradom grafičkih uzoraka kakve je upotrebljavao u dizajnu.10 Teme fotografija gotovo su jednake kao i one sedamdesetih, na samom početku njegovog umjetničkog djelovanja – i dalje se bavi svakodnevnim situacijama, detaljima koje negdje slučajno primjećuje, a koji su mu indikativni i za njega osobno važni.

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Željko Borčić, Intervencije crtežom u polaroid SX-70:08/83,06/83,12/83,36/83/ SX-70 polaroid, markeri/1983.

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Naravno, rad na komercijalnom polju utječe i na način njegovog djelovanja, pa tako od gotovo samih početaka djeluje u okviru vlastitog Borčić Studija, da bi kasnije prešao u radnu zajednicu Sinthesys, a potom 1988. godine osnovao prvu privatnu hrvatsku tvrtku za grafički dizajn i komunikacijeGraffiti Design d.o.o.. Osim za eksploataciju vlastitog rada, Graffiti Design mu služi i za podučavanje drugih dizajnera, pa su tako tijekom godina prva ozbiljna profesionalna iskustva i neformalnu edukaciju tamo stjecali Sanja Bachrach Krištofić, Sanja Rocco, Ana Žaja, Mario Petrak i Ivan Antunović.11 Tvrtka 2000. godine mijenja ime u Trans ID/Studio Borčić, a posao sve više preuzimaju Željkova djeca, dok se on uglavnom bavi osobnim istraživanjima na području grafike i fotografije, s tek pokojim povremenim projektom na polju grafičkog dizajna.

Iako je opus Željka Borčića iznimno različit, jasno se može primijetiti da, i u svojoj ranoj fazi i u komercijalnome radu, on zastupa jednostavan dizajn koji je istovremeno i funkcionalan. Jedan je od rijetkih dizajnera koji sedamdesetih godina radi na stvaranju prepoznatljivog identiteta hrvatskog dizajna, no unatoč tome njegova važnost još uvijek nije dovoljno prepoznata.

Osim zbog svojih dizajnerskih rješenja, za struku je važan i kao suosnivač ZGRAF-a i Hrvatskog dizajnerskog društva, čiji je bio predsjednik početkom 2000-ih godina.

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Iz postava izložbe Informacija: Dizajn za kulturu Željka Borčića 70-ih i 80-ih, Galerija HDD, Zagreb

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Za kraj, nekoliko riječi o već spomenutoj izložbi u Galeriji HDD. Izložba je posvećena Borčićevom dizajnu za kulturu 70-ih i 80-ih godina, pa su tako bili izloženi samo plakati i novine koje je dizajnirao. S obzirom na malen prostor s kojim galerija raspolaže, nisam niti očekivala neko izrazito dosjetljivo rješenje u postavu izložbe, već je ona postavljena na način koji ni po čemu nije upečatljiv. Plakati su postavljeni na zidove, novine su izložene u staklenom regalu u sredini prostora, a osvježenje jedino predstavlja svojevrsna lenta vremena na kojoj je ukratko objašnjen Borčićev dizajnerski put kroz vrijeme. Postav je dodatno obogaćen kratkim tekstovima koji su gotovo svi preuzeti iz Borčićeve monografije koju su 2015. objavili Marko Golub i Goran Martin Štimac, inače i kustosi izložbe. Izabrani tekstovi su zanimljivi (uglavnom se radi o isječcima intervjua sa Borčićem), no onima koji su ranije pročitali knjigu ne predstavljaju ništa novo i oni su na izložbi vjerojatno i preskakali njihovo čitanje. Što se tiče samog postavljanja plakata, rješenje je vrlo jednostavno – složeni su u cjeline ovisno o razdoblju u kojem nastaju i njihovom naručitelju. Lijepo iznenađenje na izložbi predstavlja dokumentarni film u nastajanju, u sklopu kojega Sanja Bachrach Krištofić, Davor Bruketa, Boris Ljubičić, Sanja Rocco i Ivan Antunović pričaju o Borčiću. Iako se radi o izložbi posvećenoj samo jednom segmentu Borčićeva opusa, i dalje osobno osjećam žaljenje što ambalaže npr. Bajadere ili Petit Beurre keksa nisu zaživjele u postavu, već su završile samo kao ilustracije na lenti vremena. Ipak, svakako je pohvalno što je Galerija HDD prepoznala izniman značaj Željka Borčića za našu povijest umjetnosti i dizajna, te su se posljednje dvije godine aktivirali da osvijeste i širu javnost o njegovim uspjesima.

Bilješke

[1] Željko Borčić : [dizajn, umjetnost, fotografija] / [tekstovi Marko Golub ; urednici Goran Martin Štimac, Marko Golub]. Zagreb : Hrvatsko dizajnersko društvo, 2015., str.6

[2] Miško Šuvaković, Pojmovnik suvremene umjetnosti, Zagreb: Horetzky,2005., str.421

[3] Nova umjetnička praksa: 1966.-1978/ uredio Marijan Susovski, Zagreb:Galerija suvremene umjetnosti, 1978., str.25

[4] Nova umjetnička praksa: 1966.-1978/ uredio Marijan Susovski, Zagreb:Galerija suvremene umjetnosti, 1978., str.25

[5] Željko Borčić : [dizajn, umjetnost, fotografija] / [tekstovi Marko Golub ; urednici Goran Martin Štimac, Marko Golub]. Zagreb : Hrvatsko dizajnersko društvo, 2015., str.14

[6] http://dizajn.hr/blog/dizajner-umjetnik-njihovi-odrazi-u-orbiti-superautoportreta-zeljka-borcica/

[7] https://vizkultura.hr/in-memoriam-zeljko-borcic/

[8] http://dizajn.hr/blog/dizajner-umjetnik-njihovi-odrazi-u-orbiti-superautoportreta-zeljka-borcica/

[9] Željko Borčić : [dizajn, umjetnost, fotografija] / [tekstovi Marko Golub ; urednici Goran Martin Štimac, Marko Golub]. Zagreb : Hrvatsko dizajnersko društvo, 2015., str.18

[10] https://vizkultura.hr/in-memoriam-zeljko-borcic/

[11] http://dizajn.hr/blog/od-konceptualne-umjetnosti-dizajnerskog-koncepta/

Fotografije preuzete sa dizajn. hr i iz knjige Željko Borčić: Dizajn, umjetnost, fotografija

Naslovna fotografija: Željko Borčić, plakat predstave 1984., sitotisak, 100 x 70 cm / fotografija: Željko Stojanović-Žika / Teatar &TD, Zagreb / sezona 1976./77.

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