Aleksandar Srnec

aleksandar_srnec

Aleksandar Srnec

Born 1924-07-30 in Zagreb, Croatia.
Died 2010-03-27 in Zagreb, Croatia.

Snerc is an was a Croatian avant-garde painter, sculptor , designer and author of animated films. He studied at the Academy of Fine Arts in Zagreb (from 1943 to 1946, and from 1947 to 1949) and architecture in between. He’s one of the founders of the Exat 51, which advocated for abstract art, contemporary visual communication and synthesis of all the disciplines of artistic creativity.

For a short time involved in animated film (1959 to 1960) as a collaborative project with Zagreb school of animated film, where he designed the scenography for three puppet films, and collaborated with Dragutin Vunak on animated film ‘The Man and Shadow’ (1960).

During the sixties Srnec has participated at the exhibition of New Tendencies and in seventies he created a kinetic sculpture from high polished metals.

At the exhibition ‘Ambience Lumino-plastics’ (SC Gallery, Zagreb 1967) the first lumino kinetic object in Croatia was presented, designed by Aleksandar Srnec.

Part of artist groups(s): Exat 51 New Tendencies

1924 Born in Zagreb, Croatia.

???? In Zabreg, graduated from high school and painting class of famous artist Antun Motika.

1943 Srnec enrolled in the Academy of Fine Arts in Zagreb. During the first year of his studies with his colleagues Ivo Kalina and Ivan Picelj, he founded the Ipikas art group, named after its members’ initials.

1948 – 1951 Together with Vjenceslav Richter and Ivan Picelj, he worked on the design of Yugoslav exhibitions and pavilions at industrial and cultural fairs in Yugoslavia and abroad (People’s Republic of Croatia Book Exhibition, Industry of the P.R. of Croatia in Zagreb, Brotherhood and Unity Highway in Zagreb and Belgrade, projects for Yugoslav pavilions at fairs in Stockholm, Vienna, and Hannover).

1951 Together with Ivan Picelj and Božidar Rašica, he has founded a group of artists and architects named Exat 51.

1952 Srnec, Picelj, and Rašica exhibited their works at the 7th Salon des Réalites Nouvelles.

1952 Srnec has executed the abstract drawing Lines, a crucial work for the development of his art.

1953 He transferred the two-dimensional play of lines into the three-dimensional body of an object called Spatial Modulator.

1956 Started to experiment with mobile sculptures and reliefs. Srnec made his first reliefs in painted wood by the end of the fifties and from 1960 onwards he began working in aluminum, other metals, and plexiglass.

1955 Srnec intensified his work with collage.

1959 Together with Ivan Picelj and Vojin Bakić, he exhibited his works at the Denise René Gallery in Paris, and in 1960 and 1961 at Drian Gallery in London.

1959 – 1960 Srnec was active collaborator of the Zagreb School of Animation, where he made three set designs for puppet films and, together with Dragutin Vunak, the animated film Man and Shadow (1960).

since 1962 The experience of working on a new medium inspired him to examine the possibilities of light in movement which led him to lumino-kinetic research.

1963 Made the film Beginnings, a series of different dynamic light patterns unified into a film.

1969 Srnec exhibited the first and the second variant of Luminoplastic and created total lumino-ambiences in which light was projected from one or more sources onto structure propelled by electric motors generating visual effects. He also filmed his luminoplastic objects (Luminoplastic 66), at the exhibition in the Contemporary Art Gallery (today’s Museum of Contemporary Art).

1974 – 1977 Srnec created kinetic sculptures in highly polished metal.

1978 Individual exhibition of the kinetic sculptures at the Nova Gallery in Zagreb.

Awards:

1969 Republic Vladimir Nazor Award for Sculpture.

1971 The Josip Račić Award for Visual Arts.

1973 Second prize at the 1st Yugoslav Biennial of Small Sculpture in Murska Sobota.

1974 Sculpture award at the 9th Zagreb Salon.

1975 Grand Prix at the 3rd International Biennial of Small Sculpture in Budapest.

1999 Srnec has received the Vladimir Nazor Award for life achievement in the field of visual and applied art.

2008 Srnec was awarded with Croatian Association of Visual Artists Award for life Achievement. His retrospective was organized by Marinko Sudac collection in Varaždin in 2008 followed by its repetition as the first one man show at new building of the Museum of Contemporary Art in Zagreb in 2010. Aleksandar Srnec has passed away one month after Retrospective’s closure.

Texts about Srnec:

Bibliography:

1948

  • Exhibition of books from People’s Republic of Croatia in Zagreb, Arhitektura, Zagreb, No. 13-17, p. 104–105.

1950

  • V. Stojković, At the international fair in Stockholm the Yugoslav pavilion is in the focus of attention, Politika, Belgrade, Sept. 16th, 1950.
  • M. Bratić, Our products at the Stockholm fair, Borba, Belgrade, Sept. 16th, 1950.

1952

  • Exhibition of the works of Kristl, Picelj, Rašica, and Srnec, Arhitektura, Zagreb, No. 6, p. 40–41. Vjenceslav Richter, Curved theories, Krugovi, Zagreb, No. 1, p. 84–91.

1953

  • Jure Kaštelan, foreword to the catalogue of the exhibition Kristl–Picelj–Rašica–Srnec, Croatian Architects’ Society, Zagreb and Graphic Collective Gallery, Belgrade.
  • Jure Kaštelan, Exhibition Kristl, Picelj, Rašica, Srnec, Art of today, Revue d’art contemporain, Paris, No. 7, October – November, 1953, p. 30.
  • Three exhibitions in Zagreb, Borba, Zagreb, Feb. 14th, 1953.
  • Note on the EXAT 51 exhibition, Naprijed, Zagreb, Feb. 20th, 1953, No. 8.
  • Note on the EXAT 51 exhibition, Vjesnik, Zagreb, Feb. 26th, 1953.
  • V. Delač, Four-oared shell without coxswain (caricature), Kerempuh, Zagreb, Feb. 27th, 1953.
  • Exhibition of abstract painting: Kristl, Picelj, Rašica, Srnec. EXAT 51. From the book of impressions, Zagrebački tjednik, Zagreb, Mar. 1st–7th, 1953.
  • Jure Kaštelan, Exhibition of abstract painting – a possibility of the new, Zagrebački tjednik, Zagreb, Mar. 1st–7th, 1953.
  • Mladen Stary, Exhibition of “The Four” – on the occasion of the exhibition Kristl, Picelj, Rašica, Srnec, Vjesnik, Zagreb, Mar. 6th, 1953, p. 5.
  • S. (Slavko) G. (Goldstein), Old news (the exhibition of the “abstract ones” and heated discussions about it), VUS, Zagreb, Mar. 11th, 1953.
  • S. Ostojić, February–March events, NIN, Belgrade, Mar. 15th, 1953, p. 7.
  • Mirko Trišler, The Mood of Waldemar Pemzl, VUS, Zagreb, Mar. 18th, 1953.
  • Vlado Kristl, Waldemar Pemzl’s answer to M. Trišler, VUS, Zagreb, Mar. 25th, 1953.
  • Note on the EXAT 51 exhibition in Belgrade, Vjesnik, Zagreb, Mar. 27th, 1953.
  • A. (Aleksa) Č. (Čelebonović), First group of abstract painters in Zagreb, Borba, Belgrade, Apr. 2nd, 1953, p. 7.
  • EXAT 51 in Belgrade, Beogradske novine, Belgrade, Apr. 2nd, 1953, p. 7.
  • M. (Miodrag) B. Protić, Exhibition of four painters from Zagreb, NIN, Belgrade, Apr. 5th, 1953.
  • Stojan Čelić, From exhibition to exhibition. EXAT 51 group, Revija, Belgrade, Apr. 16th, 1953.
  • Josip Depolo, Art life in Zagreb, Revija, Belgrade, May 1st, 1953, No. 10.
  • Pavle Stefanović, Opening of the exhibition of the Zagreb group EXAT 51, Umetnost i kritika, May 24th, 1953, No. 1.
  • J. (Josip) Depolo, Yugoslav graphics in Naprijed’s issues, Naša knjiga, Zagreb, Aug. 2nd, 1953.
  • Josip Depolo, Art season without critics, Revija, Belgrade, Sept. 16th, 1953, No. 19.
  • Kosta Angeli Radovani, Two legalities of the modern, Naprijed, Zagreb, Oct. 30th, 1953.
  • Heated polemics in the Ritz Bar. Statements by Vilim Svečnjak and Zvonimir Golob, VUS, Zagreb, Nov. 4th, 1953.
  • Radoslav Putar, How does modern art approach us? Comments on some instances of mural painting and surrogates of the abstract, Narodni list, Zagreb, Nov. 15th, 1953, No. 2613, p. 6.
  • The grotesque and the paradoxical. Answer of the EXAT 51 group, VUS, Zagreb, Nov. 18th, 1953.
  • Answer of the EXAT 51 group, VUS, Zagreb, Dec. 2nd, 1953.
  • Ervin Peratoner, A critical review of the critique and discussions related to the exhibition of our “abstracts”, Radio-Zagreb, Zagreb, No. 6, p. 415-421.
  • Seventh exhibition of achievements of contemporary art in Paris, Bulletin JAZU, Zagreb, No. 1-2, p. 57.
  • Exhibition of the painters Kristl, Picelj, Rašica, and Srnec, Bulletin JAZU, Zagreb, No. 1-2, p. 45.
  • Vjenceslav Richter, Kristl, Picelj, Rašica, Srnec, Bulletin JAZU, Zagreb, No. 3-4, p. 31.
  • Đorđe Saula, A few words about abstract painting, odd arguments, Pannonian mud and the like, Krugovi, Zagreb, No. 2, p. 154-159.
  • Mića Bašičević, Language of abstract art, Krugovi, Zagreb, No. 4, p. 365-371.
  • Mića Bašičević, Between Impressionism and abstract art, Krugovi, Zagreb, No. 6, p. 528-538.
  • Rudi Supek, Confusion about abstraction, Pogledi, Zagreb, No. 6, p. 415-421.
  • Grgo Gamulin, Two notions of modern, Naprijed, Zagreb, 1953.

1954

  • Boris Vižintin, Salon 54 in Rijeka, Vijesti društva muzejsko-konzervatorskih radnika, Zagreb, No. 3, p. 73.
  • Ivan Kožarić, Salon 54, Exhibition in Rijeka, Čovjek i prostor, Zagreb, No. 4, Apr. 1st., 1954, p. 7 (reproduction).

1955

  • Radoslav Putar, Short art chronicles, Aleksandar Srnec, Čovjek i prostor, No. 29-30, p. 7.

1956

  • Radoslav Putar, Our contemporary painting, Narodni list, Zagreb, No. 3479, Sept. 12th, 1956, p. 4.
  • Catalogue of the exhibition Picelj–Srnec, Salon of the SAA, Belgrade.
  • N.B., Exhibition of Ivan Picelj’s and Aleksandar Srnec’s works in the SAA Gallery, Politika, Belgrade, Oct. 17th, 1956.
  • Pavle Vasić, Exhibition of Ivan Picelj’s and Aleksandar Srnec’s works in the SAA Gallery, Politika, Belgrade, Oct. 17th, 1956.
  • Miodrag Kolarić, Exhibition of Ivan Picelj’s and Aleksandar Srnec’s works, Večernje novosti, Belgrade, Oct. 18th, 1956.
  • Miodrag B. Protić, October exhibitions, NIN, Belgrade, Oct. 28th, 1956.

1957

  • Aleksandar Srnec (reproduction), Vjesnik, Zagreb Jan. 1st, 1957.
  • Pavle Stefanović, Non-figural painting, Vidici, Belgrade, Jan. – Feb. 1957, No. 24-25, p. 8-9.
  • J. (Josip) D. (Depolo), A generation lacking curiosity, Vjesnik, Zagreb, Feb. 12th, 1957, p. 5.
  • J. (Josip) D. (Depolo), Group work on making panels for the pavilion at the world exhibition in Brussels, Vjesnik, Zagreb, Apr. 23rd, 1957.
  • Questions concerning visual art, Vjesnik, Zagreb, Dec. 31st, 1957.
  • Miodrag B. Protić, From cubism to abstraction, Yugoslavia, Belgrade, Vol. 14, p. 155-188.

1958

  • Questions concerning visual art, Vjesnik, Zagreb, Feb. 20th, 1958.
  • Questions concerning visual art, Vjesnik, Zagreb, Apr. 14th, 1958.
  • P.S., Important affirmation of Yugoslav painting, Borba, Belgrade, June 8th, 1958, p. 8.
  • Andrija Mutnjaković, Yugoslav pavilion (Brussels), Arhitektura, Zagreb, No. 1-6, p. 47-55

1959

  • Michel Seuphor, foreword to the catalogue of the exhibition Bakić–Picelj–Srnec, Denise René Gallery, Paris.
  • I. (Ivo) T. (Tomljanović) Artists from Zagreb in Paris, Borba, Zagreb, Feb. 4th, 1959.
  • Michel Seuphor, (Victor) Vasarely, Bakić, Picelj, Srnec in Paris, Čovjek i prostor, Zagreb, Feb. 15th, 1959, No. 83, p. 6.
  • D. C., Young Yugoslav artists, France Observateur, Paris, Feb. 5th, 1959, p. 20.
  • S. Glumac, Bakić, Srnec, and Picelj received well in Paris, Borba, Belgrade, Feb. 6th, 1959.
  • P.-M. Crand, Three “abstractists” from Zagreb, Le Monde, Paris, Feb. 6th, 1959.
  • (Victor) Vasarely, Abstract art – three Yugoslav artists at the Denise René Gallery, Le journal de Paris, Paris, Feb. 9th, 1959, p. 7.
  • Claude Riviére, Three Yugoslav artists, L’Art d’aujourdhui, Paris, No. 21, p. 37.
  • B. P., Bakić, Picelj, Srnec in Paris, Narodni list, Zagreb, Apr. 24th, 1959, front page.
  • Radoslav Putar, On the horizon: machines. About the Second Zagreb Triennial, Narodni list, Zagreb, May 22nd, 1959, No. 4306, p. 6.
  • Matko Peić, Fight on the pavilion wall. Marginalia about the Young Artists’ Exhibition, Borba, Belgrade, June 5th, 1959, p. 7.
  • J. (Josip) Depolo, Two generations at the CAA’s Young Artists’ Exhibition in the Zagreb Art Pavilion, Vjesnik, Zagreb, June 7th, 1959, p. 7.
  • P. Picquet, Paris: exhibition. Our painters and sculptors in France, Večernji list, Zagreb, Nov. 7th, 1959, front page.

1960

  • Catalogue of the exhibition Bakić–Picelj–Srnec, Drian Galleries, London.
  • Ivan Škiljan, Dry wine, Čovjek i prostor, Zagreb, August, 1960, No. 101, p. 7.

1961

  • The artist’s lot in Yugoslavia, The Times, London, Nov. 30th, 1961.

1962

  • Vladimir Rozić, Second visual art autumn – Sombor, Mozaik, Novi Sad, December 1962, p. 5.

1964

  • Vera Horvat-Pintarić, Yugoslav contemporary art, Razlog, Zagreb, No. 5, p. 459.
  • Matko Meštrović, Particularity and universality – one look into Yugoslav painting of the last decade, Kolo, Zagreb, No. 2.

1965.

  • Slobodan Mašić, Ješa Denegri, Opening of the situation, Vidici, Belgrade, Sept. 1965, No. 94 – 95, p. 8 and 9.
  • Aleksa Čelebonović, Yugoslav contemporary painting, Yugoslav Publishing Institute, Belgrade, 1965, p. 20.
  • Bernardo Bernardi, Yugoslavia at the 13th Triennial, Arhitektura, No. 90, p. 42-43

1966

  • M.P. and F.S., Ambasador Hotel from the inside, Vjesnik, Zagreb, June 26th, 1966.
  • Patrons, Večernji list, Zagreb, July 23rd, 1966, p. 7.
  • Vanda Ekl, Daring, original and – inconsequent, VUS, Zagreb, July 27th, 1966, p. 4.
  • I. Krtalić, Traffic – the primary problem, Borba, Beograd, July 28th, 1966.
  • Božidar Gagro, Peripheral structure – from Karas to EXAT, Život umjetnosti, Zagreb, No. 1, p. 15-25.
  • Igor Zidić, Our region in art, Život umjetnosti, Zagreb, No. 1, p. 26-37.
  • Ješa Denegri, Ivan Picelj – one of the initiators of the EXAT 51 group, Umetnost, Beograd, No. 5.
  • Ž. (Žarko) D. (Domljan), Aleksandar Srnec, Encyclopaedia of Visual Art, Yugoslav Lexicographic Institute, Zagreb, p. 301.

1967

  • Aleksandar Srnec (reproduction), Slobodna Dalmacija, Split, Feb. 15th, 1967.
  • Andrija Mutnjaković, foreword to the catalogue of the exhibition Aleksandar Srnec, Students’ Centre Gallery, Zagreb.
  • Exhibition of Aleksandar Srnec’s works, Večernji list, Zagreb, Apr. 27th, 1967.
  • Igor Zidić, Srnec on one foot and on both, Telegram, Zagreb, June 9th, 1967, No. 371, p. 5.
  • Josip Depolo, Work “attacks” the passer-by, Vjesnik, Zagreb, June 12th, 1967.
  • Ješa Denegri, Luminoplastics by Aleksandar Srnec, Umetnost, Belgrade, July–Sept., 1967, No. 11, p. 63-65.
  • Ješa Denegri, Croatian contemporary art – post-war period, Umetnost, Belgrade, July–Sept., 1967, No. 11, p. 74–76.
  • Oto Bihalji Merin, Time – light – movement, Umetnost, Belgrade, Nov.–Dec., 1967, No. 12, p. 5–26.
  • Ješa Denegri, About Ivan Picelj, Izraz, Sarajevo, No. 7.
  • Vera Horvat-Pintarić, Resume 67 – New Year’s Telegram poll, Telegram, Zagreb, Dec. 29th, 1967, p. 5.
  • Željka Čorak, Aleksandar Srnec, Život umjetnosti, Zagreb, No. 5, p. 122-124.

1968.

  • Vladimir Maleković, Exhibition Croatian Contemporary Art – The Post-war Period in the Zagreb Modern Gallery. The avant-garde cult of tradition and enthusiasm, Vjesnik, Zagreb, Jan. 22nd, 1968.
  • Vera Horvat-Pintarić, foreword to the catalogue of the exhibition Aleksandar Srnec – mobili, Youth Centre Gallery, Belgrade.
  • D.P., Play of light and colours, Ekspres, Belgrade, Mar. 18th, 1968.
  • Aleksandar Srnec, Youth Centre Gallery, Književne novine, No. 324, Mar. 30th, 1968.
  • Srnec’s mobiles, Večernji list, Zagreb, Mar. 22nd, 1968.
  • M. Pušić, A new visual art phenomenon, Vjesnik, Zagreb, Apr. 8th, 1968.
  • Ješa Denegri, Aleksandar Srnec, Umetnost, Belgrade, Apr.–June, 1968, No. 14, p. 95.
  • Ješa Denegri, Dobrović–Feller–Galić–Kuduz–Picelj–Srnec–Šutej, Umetnost, Belgrade, Apr–June, 1968, No. 14, p. 96–97, 101.
  • Želimir Koščević, About the third and the fourth dimension in Croatian contemporary art, Telegram, Zagreb, Aug. 16th, 1968.
  • Ješa Denegri, Situation in visual and kinetic research in Yugoslavia, Polja, Novi Sad, No. 113–114, p. 30-31.
  • Ješa Denegri, First experiences of kinetic art in Yugoslavia, Život umjetnosti, Zagreb, No. 6, p. 98–101.
  • Igor Zidić, Abstracting of materiality and forms of abstraction in Croatian painting 1951–1968, Život umjetnosti, Zagreb, 1968, No. 7–8, p. 51–91.

1969

  • Andrija Mutnjaković, foreword to the catalogue of the exhibition Movement and Light, Gallery of Contemporary Art, Zagreb.
  • Aleksandar Srnec’s movement and light, Večernji list, Zagreb, Jan. 10th, 1969.
  • T. (Tonko) Maroević, Field of the possible. Exhibition of Aleksandar Srnec’s works, Movement and Light. Gallery of Contemporary Art, Telegram, Zagreb, Jan. 24th, 1969.
  • Movement and light, Vjesnik, Zagreb, Jan. 13th, 1969.
  • Želimir Koščević, Aleksandar Srnec, Umetnost, Belgrade, Jan.–Apr., 1969, No. 17, p. 104.
  • Vladimir Maleković, Enchantment of kinetic space, Vjesnik, Zagreb, Feb. 4th, 1969.
  • Ješa Denegri, Draft for the final achievement of New Tendencies after one decade, Umetnost, Belgrade, Apr.- Sept., 1969, No. 18–19, p. 26–35.
  • Aleksander Bassin, Aleksandar Srnec, Delo, Ljubljana, Dec. 6th, 1969.
  • Ješa Denegri, EXAT 51 between history and contemporariness, Polja, Novi Sad, No. 133–135, p. 38–39.
  • Ješa Denegri, On the first ambiences, Polja, Novi Sad, May 1969, No. 128.
  • Zvonko Maković, Exhibition of Aleksandar Srnec’s works, Movement and Light, Život umjetnosti, Zagreb, No. 9, 120–122.

1970.

  • Vera Horvat-Pintarić, Vjenceslav Richter, Croatian Graphic Institute, Zagreb.
  • F. K., Vladimir Nazor Award winners, Večernji list, Zagreb, June 18th, 1970.

1971

  • Boris Kelemen, foreword to the catalogue of the exhibition Aleksandar Srnec–Objects, Gallery of Contemporary Art, Zagreb.
  • Boris Kelemen, foreword to the catalogue of the exhibition Aleksandar Srnec, Kunstverein, Mannheim.
  • E. (Elena) Cvetkova, A feast for eyes, but . . . , Večernji list, Zagreb, June 9th, 1971.
  • Vladimir Maleković, Srnec’s cinematograph or light metamorphoses, Vjesnik, Zagreb, June 22nd, 1971.
  • Ješa Denegri, Aleksandar Srnec, Polja, Novi Sad, Oct. 1971, No. 152, p. 12–13.
  • Ješa Denegri, Aleksandar Srnec, NAC, Milan, Oct. 1971, No. 10, p. 36–37.
  • Aleksandar Srnec exhibits in Belgrade, Politika, Belgrade, Oct. 20th, 1971.
  • Mr P., Everything is moving in the Salon, Ekspres, Belgrade, Oct. 25th, 1971.
  • Luminoplastics by Aleksandar Srnec, Politika, Belgrade, Nov. 1st, 1971.
  • The critics on Srnec, Vjesnik, Zagreb, Dec. 21st, 1971.
  • Aleksandar Srnec receives Vjesnik’s award, Politika, Belgrade, Dec. 20th, 1971.
  • Vjesnik’s award – to Srnec, Večernji list, Zagreb, Dec. 21st, 1971.
  • Vjesnik’s Josip Račić Award goes to Aleksandar Srnec, Vjesnik, Zagreb, Dec. 21st, 1971.
  • Ješa Denegri, The Zagreb silk-screen school, Život umjetnosti, Zagreb, No. 14, p. 3–12.

1972

  • Catalogue of the exhibition Ljerka Šibenik–Aleksandar Srnec, Art Gallery, Banja Luka.
  • Vlado Maleković, The destiny of the avant-garde, VUS, Zagreb, Jan. 5th, 1972.
  • D. L. Josip Račić Prize awarded, Večernji list, Zagreb, Feb. 8th, 1972.
  • Vjesnik’s Award goes to Srnec, Borba, Belgrade, Feb. 8th, 1972.
  • J. (Josip) Š. (Škunca), Aleksandar Srnec receives Vjesnik’s Josip Račić Prize for visual art, Vjesnik, Zagreb, Feb. 8th, 1972.
  • E. (Elena) Cvetkova, This has not come suddenly . . . (interview), Večernji list, Zagreb, Feb. 12th and 13th, 1972, p. 8.
  • Zvonko Maković, Aleksandar Srnec, Život umjetnosti, No. 17, p. 119–121.
  • Slobodan Ristić, Abstract painting in Serbia 1951-1971, Umetnost, Belgrade, Jan.–June, 1972, No. 29–30, p. 78–83.
  • Zvonko Maković, Aleksandar Srnec’s light rhythmicity, in the book “Eye in Action”, Youth: Culture Centre of the City of Zagreb People’s College, Zagreb.

1973

  • Visual artist Aleksandar Srnec, Oko, Zagreb, Aug. 1st, 1973.
  • S. Ć., Tihec gets the Murska Sobota Biennial Award, Borba, Belgrade, Oct. 2nd, 1973.
  • Ješa Denegri, Tendencies 5, Umetnost, July–Sept., 1973, No. 35, p. 66–67.
  • Ješa Denegri, Remembering Vlado Kristl’s paintings, Izraz, Sarajevo, No. 7.
  • Ješa Denegri, Two decades since the first exhibition of the EXAT 51 group, Sinteza, Ljubljana, Dec. 1973, No. 28–29, p. 98–99.

1975

  • Ješa Denegri, Geometric tendencies in contemporary graphics, Umetnost, Belgrade, Jan.–June, 1975, No. 41–42, p. 45–50.
  • Aleksandar Srnec – Award-winner of the Budapest Biennale, Borba, Belgrade, Sept. 22nd, 1975.
  • First prize goes to a Zagreb artist, Oslobođenje, Sarajevo, Sept. 22nd, 1975.
  • The highest award, Novi list, Rijeka, Sept. 22nd, 1975.
  • Srnec wins in Budapest, Večernji list, Zagreb, Sept. 22nd, 1975.
  • Srnec awarded, Večernje novine, Sarajevo, Sept. 23rd, 1975.
  • Ješa Denegri, The EXAT 51 group and Miljenko Stančić, Pogled (supplement to IT newspaper), Belgrade, Dec. 26th, 1975, No. 669, p. 4.

1976

  • E. (Elena) C. (Cvetkova), 100 projects, Večernji list, Zagreb, Apr. 12th, 1976.
  • Želimir Koščević, How social realism died, Start, Zagreb, Dec. 15th, 1976, No. 208, p. 40–44.
  • Ješa Denegri, Zagreb: occurrences around 1960, Polja, Novi Sad, No. 204.
  • Emmanuel Bénézit, Aleksandar Srnec, Dictionnaire des peintres, sculpteurs, dessinateurs et graveurs, Librarie gruend, 1976, p. 762.

1977

  • Josip Karakaš, Posters, Student, Belgrade, Apr. 27th, 1977.

1978

  • Božo Bek, foreword to the catalogue of the exhibition Aleksandar Srnec at the Nova Gallery, Zagreb.
  • Josip Škunca, Devoted to the unexplored, Vjesnik, Zagreb, Apr. 26th, 1978.
  • Ješa Denegri, Aleksandar Srnec, Umetnost, Belgrade, July–Aug. 1978, No. 60, p. 80.
  • Zlatko Sudović, Ranko Munitić, Zagreb circle of animated film, fifty years of animated film in Croatia, Vol. 1, Croatian Cultural Institute, Zagreb film, Zagreb, p. 168, 301.

1979.

  • Vladimir Maleković, Historisation of the EXAT 51 group, Vjesnik, Zagreb, Oct. 9th, 1979.
  • Josip Depolo, Still open EXAT questions and panel discussion on EXAT, abstraction, our own, first! Participants: I. Picelj, A. Srnec, B. Rašica, B. Bernardi, V. Richter, M. Prelog, B. Kelemen, J. Denegri, Oko, Zagreb, Nov. 1st–15th, 1979, No. 199.
  • Gordana Kobia, Aleksandar Srnec, The third side of the coin, Oko, Zagreb, Dec. 27th, 1979.
  • Ješa Denegri, Želimir Koščević, EXAT 51 1951–1956, Nova Gallery, Zagreb.

1981

  • Ješa Denegri, Abstract tendencies in Croatia 1951–1961, Izraz, Sarajevo, No. 11-12.
  • Želimir Koščević, Art criticism in Croatia between 1950 and 1960, Zbornik Trećeg programa Radio Zagreba, Zagreb, No. 6, p. 246–266.
  • Predrag Vuković, Abstract tendencies in Croatia 1951–1961, Modern Gallery, Zagreb, 1981, Život umjetnosti, No. 32, p. 22-29.

1983

  • Damir Grubić, Aleksandar Srnec’s kinetic images, Vjesnik, Zagreb, Feb. 17th, 1983.
  • Mladen Lučić, Living on abstraction, Vjesnik, Zagreb, Mar. 6th, 1983.
  • Zvonko Maković, Return to the surface, Danas, Zagreb, Mar. 8th, 1983.
  • Lazy spectators, Studio, Zagreb, Mar. 19th, 1983.
  • Berislav Valušek, Salon ’54 in Rijeka, Život umjetnosti, No. 36, p. 98–107.
  • Damir Grubić, Aleksandar Srnec, Život umjetnosti, No. 36, p. 130–131.
  • Ješa Denegri, The second line – the post-war years (chapters entitled EXAT 51, Informal painting, Gorgona, and New Tendencies), Radio Belgrade’s Third Programme, Belgrade, No. 58, p. 54–94.
  • Ješa Denegri, New tendencies, Radio Belgrade’s Third Programme, Belgrade, No. 58.

1984

  • Ž. (Želimir) Kć. (Koščević), EXAT 51, Yugoslav Encyclopedia of Visual Art, Yugoslav Lexicographic Institute Miroslav Krleža, Zagreb, 1984, Vol. 1, p. 401.

1985

  • Ješa Denegri, Zagreb silk-screen production in retrospect, Odjek, Sarajevo, No. 22.
  • Ješa Denegri, Extremes of the second line, Oko, Zagreb, No. 343.
  • Kosta Angeli Radovani, Wondering at 1950 (1963–1982), in the book “Sculpture without mane: theses, portraits, crashes”, Publishing Institute of Matica Hrvatska, Zagreb, 1985.
  • Ješa Denegri, Abstract art in Croatia 2 – Geometric tendencies in Croatian art, Logos, Split, 1985.

1987

  • Božo Bek, foreword to the catalogue of the exhibition Aleksandar Srnec, Nova Gallery, Zagreb.

1988

  • Želimir Koščević, Artist groups in post-war Croatian art, Život umjetnosti Zagreb, No. 43/44, p. 79–85.
  • Grgo Gamulin, In the liberating flux, in “Croatian Painting of the Twentieth Century”, Naprijed, Zagreb, 1988, p. 531-546.

1989

  • Ješa Denegri, New tendencies – a quarter of a century later, Dometi, Rijeka, No. 9.

1991

  • Ješa Denegri, The second line as the expression of the spirit of place, Život umjetnosti, Zagreb, No. 50, 1991, p. 21–27.

1992

  • Želimir Koščević, The sense and the messages of the EXAT 51 group, Kontura, Zagreb, Mar. 1992, No. 5, p. 4–5.
  • Ivica Župan, Ivan Picelj – the art of synthesis (interview), Kontura, Zagreb, Mar. 1992, No. 5, p. 6–9.

1993

  • Catalogue of the exhibition Picelj–Srnec–Richter, Beck Gallery, Zagreb.
  • Mirjana Šigir, From poster to abstraction, Vjesnik, Zagreb, Mar. 24th, 1993, p. 17.

1994

  • Radovan Ivančević, Examining abstraction 1953 – 1993, Život umjetnosti, Zagreb, No. 54/55, 1993/1994, p. 84.

1995

  • H.H., An important chapter in European art, Vjesnik, Zagreb, May 17th, 1995, p. 19.
  • Želimir Koščević, Sculpture in Croatia, Život umjetnosti, No. 56-57, p. 4–9.
  • Ž. (Želimir) Kć. (Koščević), EXAT 51, Encyclopedia of Croatian Art, Miroslav Krleža Lexicographic Institute, Zagreb, Vol. 1, p. 243-244.

1996

  • Ž. (Želimir) Kć. (Koščević), Aleksandar Srnec, Encyclopedia of Croatian Art, Miroslav Krleža Lexicographic Institute, Zagreb, Vol. 2, p. 264.

1997.

  • Ivica Župan, Sculptor of room and light, Slobodna Dalmacija, Split, Nov. 18th, 1997, p. 4.
  • Goran Blagus, Light of the universe (interview), Kontura, Autumn 1997, No. 54, p. 12–15.
  • Ivica Župan, A pioneer of Croatian luminoplastics, Hrvatsko slovo, Nov. 21st, 1997, p. 19.
  • Emil Špirić, Homage to EXAT 51, Čovjek i prostor, Zagreb, No. 1–2, 1997.

1998

  • Zvonko Maković, Krešimir Galović, Vinko Penezić, Krešimir Rogina, Emil Špirić, Interview with Ivan Picelj: the illusion of freedom did not last long, Čovjek i prostor, Zagreb, No. 3–4, 1998.
  • Ljiljana Kolešnik, Radoslav Putar – critic and chronicler (1950–1960), in the book Ljiljana Kolešnik (ed.), “Radoslav Putar – art critique, studies, notes 1950–1960”, Institute for the history of art / AICA, Zagreb, 1998, p. 25–57.
  • Zvonko Maković, Kristl, Picelj, Rašica, Srnec: anniversary of the first exhibition of the members of the EXAT 51 group in the CAA, Feb. 18th, Mar. 4th, 1953, Publishing Department of the Croatian Architects’ Association, Zagreb, 1998.

1999

  • Marijan Susovski, foreword to the catalogue of the exhibition Memories of EXAT 51, 1951–1956, MCA Zagreb.
  • Ješa Denegri, EXAT 51 in international and domestic environments, paper presented at the symposium Art and Ideology. The Fifties in a Divided Europe, Zagreb, Feb. 18th – Feb. 21st, 1999.
  • Radovan Ivančević, Croatian art of the fifties between Eastern and the Western Europe, paper presented at the symposium Art and Ideology: The Fifties in a Divided Europe, Society of Croatian Art Historians, Zagreb, Feb. 18th – Feb. 21st, 1999.
  • Radovan Ivančević, Problems of critical reception of the geometric abstraction of the EXAT 51 group in Croatian art criticism of the fifties, paper presented at the symposium Art and Ideology: The Fifties in a Divided Europe, Society of Croatian Art Historians, Zagreb, Feb. 18th – Feb. 21st, 1999.
  • Ljiljana Kolešnik, Problems of critical reception of the geometric abstraction of the EXAT 51 group in the Croatian art critique of the 50s, paper at the symposium Art and Ideology: The Fifties in a Divided Europe, Society of Croatian Art Historians, Zagreb, Feb. 18th – Feb. 21st, 1999.

2000

  • Goran Jovetić, Vladimir Nazor Prizes awarded, Vjesnik, Zagreb, June 20th, 2000, p. 13.
  • Ješa Denegri, Art of constructive approach – EXAT 51, New Tendencies, Horetzky, Zagreb.
  • Radovan Ivančević, Project as destiny, in the book Ljiljana Kolešnik (ed.), “Croatian Art Criticism of the Fifties: Selected Texts”, Society of Croatian Art Historians, Zagreb, 2000, p. 255–276.

2001

  • Marina Tenžera, The Croatian avant-garde in Portugal, Vjesnik, Zagreb, May 10th, 2001, p. 15.
  • Marina Tenžera, The Croatian avant-garde in the heart of Portugal, Vjesnik, May 13th, 2001, p. 25–26.
  • Kinetic architecture and sculpture, Vjesnik, Zagreb, May 17th, 2001, p. 27.
  • Exhibition of kinetic art, Glas Slavonije, Osijek, May 19th, 2001, p. 22.
  • Goran Jovetić, Architecture for the third millennium, Vjesnik, Zagreb, May 19th, 2001, p. 13.
  • Adriana Piteša, Kinetics as the future of architecture and sculpture, Jutarnji list, Zagreb, May 19th, 2001, p. 20.
  • J.M., Innovation in art, Novi list, Rijeka, May 22nd, 2001, p. 10.
  • Krešimir Rogina, Houses/machines of a non-conforming architect, Jutarnji list, May 23rd, 2001, p. 19.
  • Ati Salvaro, Taking up petals, Hrvatsko slovo, June 15th, 2001, p. 14.

2002

  • Ivanka Horvat, Offer of the week: Srnec’s luminoplastics, Nedjeljni Vjesnik, Zagreb, Jan. 13th, 2002, p. 28.
  • M. (Marijan) Susovski et al., EXAT 51 & New Tendencies, MCA, Zagreb.
  • Leila Topić, A virtual stroll through modernity, Vjesnik, Zagreb, Dec. 22nd, 2002, p. 15.
  • Ivica Župan, In 1952 nothing was “accidental”, Novi Kamov, Rijeka, No. 1, Vol. I, p. 50–68.
  • Ješa Denegri, Discussion between Grgo Gamulin and Vjenceslav Richter on abstract art, Novi Kamov, Rijeka, No. 1, Vol. I, p. 38–49.
  • The Croatian avant-garde in Lisbon, Zapis – bulletin of the Croatian Film Association, Zagreb, No. 1.
  • Ješa Denegri, Vjenceslav Richter: a visionary and utopian of the idea of synthesis, Čovjek i prostor, Zagreb, No. 578–579.
  • Ješa Denegri, Four models of the “second line” in Croatian art 1950–1970, Književna –4, p. 95–106.
  • Ješa Denegri, EXAT 51 in international and domestic environments, Riječ, Zagreb, No. 4, p. 144–147.
  • Tonko Maroević, Vjenceslav Richter, 1917–2002, Život umjetnosti, Zagreb, No. 67/68, p. 104.
  • Vjenceslav Richter, Who is the author of the EXAT 51 group’s manifesto?, Život umjetnosti, Zagreb, No. 67/68, p. 106–111.
  • Nena Dimitrijević, Gorgona: Art as a way of existence, Primary documents. A sourcebook for eastern and central European art since the 1950s, The Museum of Modern Art, New York, 2002, p. 124–140.

2003

  • Ješa Denegri, Pioneers of real light, Kontura, Zagreb, Feb. 2003, No. 74, p. 42–47.
  • Ivica Župan, 50 years of EXAT: revolutionary or politically correct art, Kontura, Zagreb, April 2003, No. 75, p. 16.
  • Form – Specific in Ljubljana, Zarez, Zagreb, June 5th, 2003, No. 106.
  • Vesna Kusin, The Croatian avant-garde on a European tour, Vjesnik, Zagreb, Nov. 14th, 2003, p. 19.
  • Ješa Denegri, Neo-avant-garde in Croatian art of the fiftes and sixties. EXAT 51 and Gorgona groups, Republika, No. 12, p. 59–69.
  • Radovan Ivančević, Saša Srnec and animated abstract painting, Hrvatski filmski ljetopis, No. 36, p. 89–97, 223.
  • Ješa Denegri, The Graphics of Ivan Picelj, catalogue of the Leipzig exhibition, 2003.
  • Ješa Denegri, Contributions for the second line. Chronicles of a critic’s efforts, Horetzky, Zagreb.
  • Marijan Susovski, EXAT 51 1951–1956, New Tendencies 1961–1973, Commune di Siena, assessorato alla cultura, Museum of Contemporary Art, Zagreb, Siena.
  • Maroje Mrduljaš, Design from Zagreb and the designing of Zagreb, in the book: Feđa Vukić (ed.), Zagreb, Modernity, and the City, AGM, Zagreb, 2003, p. 84–107.
  • Petar Prelog, Visual art as part of a city’s cultural identity, in the book: Feđa Vukić (ed.), Zagreb, Modernity, and the City, AGM, Zagreb, 2003, p. 108–129.
  • Marijan Susovski, Fjodor Fatičić, EXAT 51 & New Tendencies. Avant-garde and International Events in Croatian Art in the 1950s and 1960s, Museum of Contemporary Art, Zagreb.
  • Ješa Denegri, Inside or outside “socialist modernism”?, in the book: Miško Šuvaković, Dubravka Djurić (ed.), Impossible Histories, Historical Avant-gardes, Neo-avant-gardes, and post-avant-gardes in Yugoslavia, 1918–1991, The MIT Press, London, 2003, p. 168–208.
  • Darko Šimičić, From Zenith to Metal Space, in the book: Miško Šuvaković, Dubravka Djurić (ed.), Impossible Histories, Historical Avant-gardes, Neo-avant-gardes, and post-avant-gardes in Yugoslavia, 1918–1991, The MIT Press, Cambridge, London, 2003, p. 294–330.

2004

  • Art and ideology. The fifties in a divided Europe (thematic supplement), Život umjetnosti, Zagreb, No. 71–72, p. 85–167.
  • Jasna Galjer, Design of the fifties in Croatia: from Utopia to reality, Horetzky, Zagreb.

2005

  • Leila Topić, Challenges of the avant-garde in the region, Vjesnik, Zagreb, Mar. 10th, 2005, p. 15.
  • Nina Ožegović, First Croatian museum of the avant-garde, Nacional, Zagreb, Mar. 15th, 2005, p. 82–85.
  • Ivica Župan, Prokleta avlija, Zarez, Zagreb, Mar. 24th, 2005, No. 151, p. 16–17.
  • Marina Baričević, Instead of a biography, a valuable collection of paintings, Novi list, Rijeka, Apr. 3rd, 2005, p. 8.
  • Šefik Nadarević, A collection not “devoured” by globalization, Zadarski list, Zadar, Apr. 12th, 2005, p. 18, 23.
  • Marijan Špoljar, Collecting avant-garde[ art], Vijenac, Zagreb, Apr. 28th, 2005, No. 291, p. 16.
  • L. I. The very best of, Feral Tribune, Split, May 20th, 2005, p. 39.
  • Ivica Župan, Is there room for avant-garde specificities, Kontura, Zagreb, June 2005, p. 28–29.
  • Ljiljana Kolešnik, Contributions to the interpretation of Croatian art of the fifties. Presentation of the formative phase in the relationship between art and the socialist state, Papers of the Institute for Art History, Zagreb, No. 29, 2005, p. 307–315.
  • Ivica Župan, EXAT 51 and others: Croatian art and culture in the changed political circumstances of the early 1950s, Zagreb, Croatian Writer’s Society, 2005.

2006

  • Silva Kalčić, Fashion between body and society, Zarez, June 15th, 2006, No. 182.
  • Ljiljana Kolešnik, Between East and West: Croatian art and visual art criticism of the fifties, Institute for the History of Art, Zagreb, 2006.

2007

  • Barbara Vujanović, Art that moved frontiers, Vjesnik, Zagreb, Mar. 6th, 2007, p. 22–23.
  • Nadežda Elezović, The art of our global memory, Novi list, Rijeka, Mar. 7th, 2007, p. 19.
  • Nadežda Elezović, Art that opens the paths of freedom (Marginal specificities: regional avant-garde art) (reproduction), Novi list, Rijeka, Mar. 10th, 2007, p. 68.
  • Nadežda Elezović, Avant-garde art that has never been national (Marinko Sudac Collection), Novi list, Rijeka, Mar. 11th, 2007, p. 8–9.
  • Darko Glavan, Rectifying the sins of museum structures, Jutarnji list, Zagreb, Mar. 12th, 2007, p. 43.
  • Patricia Kiš, The Croatian avant-garde, Jutarnji list, Zagreb, Mar. 16th, 2007, p. 21.
  • Nadežda Elezović, Subversive material that helps us to live (reproduction), Novi list – Mediteran, weekly cultural supplement, Mar. 18th, 2007, p. 2–3.
  • Goran Sikić, The steep growth of avant-garde “shares” (reproduction), Privredni vjesnik, Zagreb, Apr. 23rd, 2007, p. 11.
  • Ješa Denegri, Fragmentary notes on the exhibition “Avant-garde Tendencies in Croatian Art”, Kvartal, Zagreb, p. 30-35

Source: http://avantgarde-museum.com/kolekcija/ht/autor.php?lang=en&autor=103

Source: http://www.culturenet.hr/default.aspx?id=31040

aleksandar_srnec

Aleksandar Srnec

aleksandar_srnec_young

Aleksandar Srnec