Difference between revisions of "Josip Seissel"
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<onlyinclude>[[Josip Seissel]] (Jo Klek; Jo). At international exhibitions in the 1920s (held in Belgrade, Bucharest, Bielefeld, Moscow), he represented ''[[Zenit]]'', which published his collages, photomontages, architectural drafts, drawings, watercolours, temperas, sketches for theatre costumes and a curtain, advertisements, ex-libris etc. He was responsible for the graphic design and layout of some of Zenit’s editions (''Effect on Defect'' and ''The Monkey Phenomenon'' by Marijan Mikac). His abstract and multidisciplinary work was used by Micić to identify PAFAMA (Papier-Farben-Malerei, the Serbian version of which was ARBOS – (h)ARtija-BOja-Slika [paper-colour-picture]) as an authentic phenomenon of zenitist art. His work is characterised by narrativity, humour and irony of dadaist provenance. Relying on the constructivist principles of the valuation of materials and exploration of space, Klek became involved in non-representational art, quite exceptional in Croatian and Yugoslav art of the early 1920s.</onlyinclude> | <onlyinclude>[[Josip Seissel]] (Jo Klek; Jo). At international exhibitions in the 1920s (held in Belgrade, Bucharest, Bielefeld, Moscow), he represented ''[[Zenit]]'', which published his collages, photomontages, architectural drafts, drawings, watercolours, temperas, sketches for theatre costumes and a curtain, advertisements, ex-libris etc. He was responsible for the graphic design and layout of some of Zenit’s editions (''Effect on Defect'' and ''The Monkey Phenomenon'' by Marijan Mikac). His abstract and multidisciplinary work was used by Micić to identify PAFAMA (Papier-Farben-Malerei, the Serbian version of which was ARBOS – (h)ARtija-BOja-Slika [paper-colour-picture]) as an authentic phenomenon of zenitist art. His work is characterised by narrativity, humour and irony of dadaist provenance. Relying on the constructivist principles of the valuation of materials and exploration of space, Klek became involved in non-representational art, quite exceptional in Croatian and Yugoslav art of the early 1920s.</onlyinclude> | ||
| + | |||
| + | ==Works== | ||
| + | <gallery> | ||
| + | Klek Jo 1923 Zenithist Theatre.jpg|Designs for ''Le Théâtre zénitiste'', 1923. Centre: stage curtain; left and right: costumes. | ||
| + | Klek Jo 1923 Advertising Kiosk.jpg|''Advertising Kiosk'', 1923. Watercolor. | ||
| + | Klek Jo 1924-25 Vila Zenit.jpg|''Vila Zenit'', 1924-25. | ||
| + | Klek Jo 1924 Zeniteum I sketch.jpg|Sketch for ''Zeniteum I'', 1924. | ||
| + | Klek Josif Untitled.jpg|''Untitled''. Collage. 18.6 x 14 cm. | ||
| + | Klek Jo 1923 Effect on Defect sketch.jpg|Sketch for Marijan Mikac's ''Efekt na defektu'' [Effect on Defect] book cover, 1923. Collage on paper. 19.2 x 20 cm. | ||
| + | Mikac Marijan Efekt na defektu 1923.jpg|Cover of Marijan Mikac's ''Efekt na defektu'' [Effect on Defect], 1923, designed by Jo Klek. | ||
| + | Klek Josip Untitled .jpg|''Untitled''. Collage. 22.7 x 16 cm. | ||
| + | Mikac Marijan Fenomen majmun 1925.jpg|Cover of Marijan Mikac's ''Fenomen majmun'' [Monkey Phenomenon], 1925, designed by Jo Klek. | ||
| + | Seissel Josip 1924 Pomozite studentima.jpg|''Pomozite studentima'', Zagreb, 1924. Poster. | ||
| + | Klek Jo 1924 collage.jpg|Collage published in ''Zenit'' 26-33, 1924. | ||
| + | </gallery> | ||
==See also== | ==See also== | ||
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==Links== | ==Links== | ||
| − | * http://www.avantgarde-museum.com/en/museum/collection/authors/josip-seissel-jo-klek~pe4481/ | + | * [http://www.avantgarde-museum.com/en/museum/collection/authors/josip-seissel-jo-klek~pe4481/ Works and biography] |
| + | * http://www.galerie-krinzinger.at/artist/tamaes_kaszaes/work/selected/tamaes_kaszaes_jo_kleks_kiosk__1 | ||
* http://en.wikipedia.org/wiki/Josip_Seissel | * http://en.wikipedia.org/wiki/Josip_Seissel | ||
[[Category:Constructivism|Seissel, Josip]] [[Category:Zenitism|Seissel, Josip]] | [[Category:Constructivism|Seissel, Josip]] [[Category:Zenitism|Seissel, Josip]] | ||
Revision as of 15:28, 4 April 2016
Josip Seissel (Jo Klek; Jo). At international exhibitions in the 1920s (held in Belgrade, Bucharest, Bielefeld, Moscow), he represented Zenit, which published his collages, photomontages, architectural drafts, drawings, watercolours, temperas, sketches for theatre costumes and a curtain, advertisements, ex-libris etc. He was responsible for the graphic design and layout of some of Zenit’s editions (Effect on Defect and The Monkey Phenomenon by Marijan Mikac). His abstract and multidisciplinary work was used by Micić to identify PAFAMA (Papier-Farben-Malerei, the Serbian version of which was ARBOS – (h)ARtija-BOja-Slika [paper-colour-picture]) as an authentic phenomenon of zenitist art. His work is characterised by narrativity, humour and irony of dadaist provenance. Relying on the constructivist principles of the valuation of materials and exploration of space, Klek became involved in non-representational art, quite exceptional in Croatian and Yugoslav art of the early 1920s.
Works
Designs for Le Théâtre zénitiste, 1923. Centre: stage curtain; left and right: costumes.
Advertising Kiosk, 1923. Watercolor.
Vila Zenit, 1924-25.
Sketch for Zeniteum I, 1924.
Untitled. Collage. 18.6 x 14 cm.
Sketch for Marijan Mikac's Efekt na defektu [Effect on Defect] book cover, 1923. Collage on paper. 19.2 x 20 cm.
Cover of Marijan Mikac's Efekt na defektu [Effect on Defect], 1923, designed by Jo Klek.
Untitled. Collage. 22.7 x 16 cm.
Cover of Marijan Mikac's Fenomen majmun [Monkey Phenomenon], 1925, designed by Jo Klek.
Pomozite studentima, Zagreb, 1924. Poster.
Collage published in Zenit 26-33, 1924.
