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Michelangelo Pistoletto-Sarajevo 1984 PLAKAT oštećen


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OVO JE ORIGINALNI PLAKAT ZIMSKE OLIMPIJADE u SARAJEVU 1984
62 x 85 cm
urolan, OSTECEN - GORNJA IVICA POCEPANA (4 cm) vidi skenove
samo srbija
ovaj plakat ne saljem u inostranstvo

XIV Zimske olimpijske igre su održane 1984. godine u Sarajevu, tadašnjoj Socijalističkoj Federativnoj Republici Jugoslaviji. Ostali gradovi kandidati za Olimpijske igre su bili Saporo, Japan i Falun/Geteborg, Švedska.

Ovo su bile prve zimske i druge zaredom igre generalno održane u Istočnoj Evropi, na govornom području slovenskih jezika i u socijalističkoj zemlji, kao i prve i za sada jedine Olimpijske igre održane u državi iz Pokreta nesvrstanih i u većinski muslimanskom gradu. Takođe, ovo je bilo prvi put da se Olimpijske igre organizuju na Balkanskom poluostrvu nakon prvih u modernom dobu u Atini.

Sarajevo je organizaciju zimskih olimpijskih medalja dobilo u konkurenciji s japanskim Saporom i zajedničkom kandidaturom švedskih gradova Falun i Geteborg. MOK se pri tome delimično vodio političkim razlozima - kao nesvrstana zemlja, tadašnja Jugoslavija je davala manje prilike za hladnoratovske bojkote - ali glavni je motiv ipak bila želja da se Igre, kao simbol svjetskog mira i bratstva među ljudima - održe u gradu koji je dotada obično bio vezivan za izbijanje Prvog svjetskog rata.

Za vlasti Jugoslavije sarajevske Olimpijske igre su bile sjajna prilika da državu svetu predstave u najboljem mogućem svetlu, i u tom nastojanju ih nije omela ni velika ekonomska kriza koja je SFRJ bila pogodila početkom 1980-ih. U Igre su utrošena velika sredstva, te sagrađen veliki broj impozantnih građevina i ostale infrastrukture. U tome su vlasti imale podršku Sarajlija, a već pre samog održavanja su Igre dovele do povećanja interesa za zimske sportove, dotada gotovo nepoznate u tom delu Jugoslavije.

-----------------------------------------

this is an original poster by
print - offset lithography
62 x 85 cm, 24,4 x 33,5 in
serbia only
I do not send this poster abroad

The poster has the official Yugoslavian Olympic logo in the lower left corner along with the 1984 official logo and is an official Olympics poster.

The 1984 Winter Olympics, officially known as the XIV Olympic Winter Games (French: XIVes Jeux olympiques d`hiver; Serbo-Croatian: XIV. zimske olimpijske igre / XIV Зимске олимпијске игре; Macedonian: XIV Зимски олимписки игри; Slovene: XIV olimpijske zimske igre), was a winter multi-sport event which took place from 8–19 February 1984 in Sarajevo, Yugoslavia, in what is now Bosnia and Herzegovina. Other candidate cities were Sapporo, Japan; and Gothenburg, Sweden.

It was the first Winter Olympic Games held in a socialist state and in a Slavic language-speaking country. It was also the second Olympics overall, as well as the second consecutive Olympics, to be held in a socialist and in a Slavic language-speaking country after the 1980 Summer Olympics were held in Moscow, Soviet Union. Furthermore, it was the first Olympics held in the Balkans after the first modern Games in Athens. The Sarajevo games have also been the only Olympics so far to be hosted by a Non-Aligned Movement member.

The host city for the XIV Winter Olympics was announced on 18 May 1978 during an 80th session of the International Olympic Committee in Athens, Greece. Sarajevo was selected over Sapporo, Japan (which hosted the games 12 years earlier) by a margin of three votes. Gothenburg was the first city in Sweden to lose a Winter Olympics bid, as other Swedish cities such as Falun and Östersund would later lose their consecutive bids to Calgary, Albertville, Lillehammer, Nagano, and Salt Lake City respectively. Sarajevo, capital of present-day Bosnia and Herzegovina, was part of the united Yugoslavia at the time.

The torch relay for the 1984 Winter Olympics started in Olympia and then proceeded by airplane to Dubrovnik. The total distance of the torch relay through Yugoslavia was 5,289 kilometres (3,286 mi) (plus 2,879 kilometres (1,789 mi) of local routes). There were two main routes – one in the west (Split – Ljubljana – Zagreb – Sarajevo with 2,602 kilometres (1,617 mi) of length) and the other in the east (Skopje – Novi Sad – Belgrade – Sarajevo with 2,687 kilometres (1,670 mi) of length). The final torchbearer, from a total of 1600, was figure skater Sanda Dubravčić, who received the torch from skier runner Ivo Čarman. Today one of the two original torches is in Slovenia in a private collection in Žalec, Slovenia. Also 20 more torches are in Greece owned by individual athletes, who were the torchbearers from Ancient Olympia to the nearby military airport and from Athens Domestic Airport to the Panathinaikon Stadium where the Ceremony of handing over the Olympic Flame to the Sarajevo Olympic Games Committee occurred.

---------------------

Michelangelo Pistoletto (born 23 June 1933 in Biella) is an Italian painter, action and object artist, and art theorist. Pistoletto is acknowledged as one of the main representatives of the Italian Arte Povera. His work mainly deals with the subject matter of reflection and the unification of art and everyday life in terms of a Gesamtkunstwerk.

From 1947 until 1958, Pistoletto worked in his father`s restoration workshop in Turin. In the 1950s, he started painting figurative works and self-portraits. In 1959, he participated in the Biennale di San Marino. In the following year, he had his first solo exhibition in the Galleria Galatea in Turin. In the beginning of the 1960s, Pistoletto started painting figurative works and self-portraits which he painted on a monochrome, metallic background. Later on, he combined painting with photography using collage techniques on reflective backgrounds. Eventually, he switched over to printing photorealistic scenes on steel plates polished to a high finish. He did that using the screen-printing method which made the observer almost completely melt in with what was depicted.[1] In the mid-1960s, gallery owner Ileana Sonnabend brought him into contact with an international audience.

In 1965/1966, he produced the series of works Oggetti in meno (Minus Objects), which belongs to Pistoletto`s early sculptural works. In 1966, Pistoletto had his first solo exhibition in the US, at the Walker Art Center in Minneapolis. In 1967, his work was awarded first prize in the Biennale de São Paulo. In the same year, Pistoletto started focusing on performance, video art and theatre. He founded an action art group, called `Zoo Group`, which gave several performances between 1968 and 1970. These took place in the studio, public buildings or on the streets of Turin or other large cities. As was already the case with Pistoletto`s 2-dimensional and sculptural works, the aim was to display the unity of art and everyday life.

Michelangelo Pistoletto began painting on mirrors in 1962, connecting painting with the constantly changing realities in which the work finds itself. In the later sixties he began bringing together rags with casts of omnipresent classical statuary of Italy to break down the hierarchies of `art` and common things. An art of impoverished materials is certainly one aspect of the definition of Arte Povera. In his 1967 Muretto di straci (Rag Wall) Pistoletto makes an exotic and opulent tapestry wrapping common bricks in discarded scraps of fabric. The work received a lot of feedback: Pistoletto, who started under the American influence of `post-pop art` and photorealism, was soon listed by gallery owners and critics in the catalogues as a significant representative of the novel, mostly Italian trend of the Arte Povera. Against the background of the 1968 student riots, Pistoletto withdrew his participation in the Venice Biennale. In the following years, he dealt with conceptual ideas, which he presented in the book L`uomo nero (1970). In 1974, he nearly completely withdrew from the art scene: he took an exam as a skiing instructor and spent most of his time in the mountains of San Sicario. At the end of the 1970s, he produced sculptures, heads, and torsos using polyurethane and marble. In doing so, he was a recipient of antique artifacts and he furthermore pursued other performance and theatre projects–including those in the US in Athens, Atlanta, and San Francisco. At the beginning of the 1980s, he presented theatre works, such as Anno Uno (March 1981) in the Teatro Quirino in Rome. Since 1990, Pistoletto has been living and working in Turin.

In 1994, Michelangelo Pistoletto proclaimed his programme Progetto Arte, the aim of which was the creative and social economic unification of all parts of human existence; in a narrower sense, the systematic combination of all achievements and knowledge of civilisation with aspects of art (e.g. fashion, theatre, design, etc.). In 1996, he founded the art city Cittadelarte – Fondazione Pistoletto in an abandoned textile factory near Biella, as a centre and `laboratory`, supporting and researching creative resources, and producing innovative ideas and possibilities. The Cittadelarte is divided into different Uffici/Offices ( work, education, communications, art, nutrition, politics, spirituality, and economics), which exchange with each other within an intermedial network. Although it is conceived as a closed system, transparency towards the outside world is an important aspect of the Cittadelarte.

Pistoletto`s Mirror Paintings are artworks made of human size mirrors. Using these mirrors as basic material, he paints figures or prints photographic images on them. First Mirror Paintings were created in the early sixties. The printed subjects show a broad spectrum of motives: for example self-portraits, pictures from gallery visitors or objects of daily life.

Pistoletto intentionally uses the reflective properties of the steel to produce an interactive dialogue between the viewer and the image in front of them. From an interview in 1963 Pistoletto states the relationship between the viewer, the painting, and the virtual space as “the joining of couples of opposite polarity between the photographic image and what goes on in the virtual space generated by the reflecting surface…” A central role is given to the spectator. His mirrored picture seems to get in interaction with the printed motive. In some way the viewer becomes part of the artwork. This phenomenon is relevant especially in time of European Student activism. Every individual spectator becomes active while regarding the artwork. This central position of the visitor could motivate him to become active also in other parts of society, which matches the ideas of the Gesamtkunstwerk.

Pistoletto is quoted saying, “In my mirror-paintings the dynamic reflection does not create a place, because it only reflects a place which already exists- the static silhouette does no more than re-propose an already existing place. But I can create a place by bringing about a passage between the photograph and the mirror: this place is whole time.” The previous quote enlightens the reader on Pistoletto`s attempt to, in 1964 at the Galleria Sperone, work on bringing the meaning of the mirror out into the inhabited space surrounding it. The simultaneous representation of traditional dimensions and of reality in motion reveal the new dimensions of the mirror-paintings. Sometimes the paintings on the mirrors are portraits of Pistoletto`s friends, patrons and/or self-portraits: this is true for the artist`s recent entirely mirrored-hall at the Ristorante del Cambio, Piazza Carignano, Turin.

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Predmet: 64041597
OVO JE ORIGINALNI PLAKAT ZIMSKE OLIMPIJADE u SARAJEVU 1984
62 x 85 cm
urolan, OSTECEN - GORNJA IVICA POCEPANA (4 cm) vidi skenove
samo srbija
ovaj plakat ne saljem u inostranstvo

XIV Zimske olimpijske igre su održane 1984. godine u Sarajevu, tadašnjoj Socijalističkoj Federativnoj Republici Jugoslaviji. Ostali gradovi kandidati za Olimpijske igre su bili Saporo, Japan i Falun/Geteborg, Švedska.

Ovo su bile prve zimske i druge zaredom igre generalno održane u Istočnoj Evropi, na govornom području slovenskih jezika i u socijalističkoj zemlji, kao i prve i za sada jedine Olimpijske igre održane u državi iz Pokreta nesvrstanih i u većinski muslimanskom gradu. Takođe, ovo je bilo prvi put da se Olimpijske igre organizuju na Balkanskom poluostrvu nakon prvih u modernom dobu u Atini.

Sarajevo je organizaciju zimskih olimpijskih medalja dobilo u konkurenciji s japanskim Saporom i zajedničkom kandidaturom švedskih gradova Falun i Geteborg. MOK se pri tome delimično vodio političkim razlozima - kao nesvrstana zemlja, tadašnja Jugoslavija je davala manje prilike za hladnoratovske bojkote - ali glavni je motiv ipak bila želja da se Igre, kao simbol svjetskog mira i bratstva među ljudima - održe u gradu koji je dotada obično bio vezivan za izbijanje Prvog svjetskog rata.

Za vlasti Jugoslavije sarajevske Olimpijske igre su bile sjajna prilika da državu svetu predstave u najboljem mogućem svetlu, i u tom nastojanju ih nije omela ni velika ekonomska kriza koja je SFRJ bila pogodila početkom 1980-ih. U Igre su utrošena velika sredstva, te sagrađen veliki broj impozantnih građevina i ostale infrastrukture. U tome su vlasti imale podršku Sarajlija, a već pre samog održavanja su Igre dovele do povećanja interesa za zimske sportove, dotada gotovo nepoznate u tom delu Jugoslavije.

-----------------------------------------

this is an original poster by
print - offset lithography
62 x 85 cm, 24,4 x 33,5 in
serbia only
I do not send this poster abroad

The poster has the official Yugoslavian Olympic logo in the lower left corner along with the 1984 official logo and is an official Olympics poster.

The 1984 Winter Olympics, officially known as the XIV Olympic Winter Games (French: XIVes Jeux olympiques d`hiver; Serbo-Croatian: XIV. zimske olimpijske igre / XIV Зимске олимпијске игре; Macedonian: XIV Зимски олимписки игри; Slovene: XIV olimpijske zimske igre), was a winter multi-sport event which took place from 8–19 February 1984 in Sarajevo, Yugoslavia, in what is now Bosnia and Herzegovina. Other candidate cities were Sapporo, Japan; and Gothenburg, Sweden.

It was the first Winter Olympic Games held in a socialist state and in a Slavic language-speaking country. It was also the second Olympics overall, as well as the second consecutive Olympics, to be held in a socialist and in a Slavic language-speaking country after the 1980 Summer Olympics were held in Moscow, Soviet Union. Furthermore, it was the first Olympics held in the Balkans after the first modern Games in Athens. The Sarajevo games have also been the only Olympics so far to be hosted by a Non-Aligned Movement member.

The host city for the XIV Winter Olympics was announced on 18 May 1978 during an 80th session of the International Olympic Committee in Athens, Greece. Sarajevo was selected over Sapporo, Japan (which hosted the games 12 years earlier) by a margin of three votes. Gothenburg was the first city in Sweden to lose a Winter Olympics bid, as other Swedish cities such as Falun and Östersund would later lose their consecutive bids to Calgary, Albertville, Lillehammer, Nagano, and Salt Lake City respectively. Sarajevo, capital of present-day Bosnia and Herzegovina, was part of the united Yugoslavia at the time.

The torch relay for the 1984 Winter Olympics started in Olympia and then proceeded by airplane to Dubrovnik. The total distance of the torch relay through Yugoslavia was 5,289 kilometres (3,286 mi) (plus 2,879 kilometres (1,789 mi) of local routes). There were two main routes – one in the west (Split – Ljubljana – Zagreb – Sarajevo with 2,602 kilometres (1,617 mi) of length) and the other in the east (Skopje – Novi Sad – Belgrade – Sarajevo with 2,687 kilometres (1,670 mi) of length). The final torchbearer, from a total of 1600, was figure skater Sanda Dubravčić, who received the torch from skier runner Ivo Čarman. Today one of the two original torches is in Slovenia in a private collection in Žalec, Slovenia. Also 20 more torches are in Greece owned by individual athletes, who were the torchbearers from Ancient Olympia to the nearby military airport and from Athens Domestic Airport to the Panathinaikon Stadium where the Ceremony of handing over the Olympic Flame to the Sarajevo Olympic Games Committee occurred.

---------------------

Michelangelo Pistoletto (born 23 June 1933 in Biella) is an Italian painter, action and object artist, and art theorist. Pistoletto is acknowledged as one of the main representatives of the Italian Arte Povera. His work mainly deals with the subject matter of reflection and the unification of art and everyday life in terms of a Gesamtkunstwerk.

From 1947 until 1958, Pistoletto worked in his father`s restoration workshop in Turin. In the 1950s, he started painting figurative works and self-portraits. In 1959, he participated in the Biennale di San Marino. In the following year, he had his first solo exhibition in the Galleria Galatea in Turin. In the beginning of the 1960s, Pistoletto started painting figurative works and self-portraits which he painted on a monochrome, metallic background. Later on, he combined painting with photography using collage techniques on reflective backgrounds. Eventually, he switched over to printing photorealistic scenes on steel plates polished to a high finish. He did that using the screen-printing method which made the observer almost completely melt in with what was depicted.[1] In the mid-1960s, gallery owner Ileana Sonnabend brought him into contact with an international audience.

In 1965/1966, he produced the series of works Oggetti in meno (Minus Objects), which belongs to Pistoletto`s early sculptural works. In 1966, Pistoletto had his first solo exhibition in the US, at the Walker Art Center in Minneapolis. In 1967, his work was awarded first prize in the Biennale de São Paulo. In the same year, Pistoletto started focusing on performance, video art and theatre. He founded an action art group, called `Zoo Group`, which gave several performances between 1968 and 1970. These took place in the studio, public buildings or on the streets of Turin or other large cities. As was already the case with Pistoletto`s 2-dimensional and sculptural works, the aim was to display the unity of art and everyday life.

Michelangelo Pistoletto began painting on mirrors in 1962, connecting painting with the constantly changing realities in which the work finds itself. In the later sixties he began bringing together rags with casts of omnipresent classical statuary of Italy to break down the hierarchies of `art` and common things. An art of impoverished materials is certainly one aspect of the definition of Arte Povera. In his 1967 Muretto di straci (Rag Wall) Pistoletto makes an exotic and opulent tapestry wrapping common bricks in discarded scraps of fabric. The work received a lot of feedback: Pistoletto, who started under the American influence of `post-pop art` and photorealism, was soon listed by gallery owners and critics in the catalogues as a significant representative of the novel, mostly Italian trend of the Arte Povera. Against the background of the 1968 student riots, Pistoletto withdrew his participation in the Venice Biennale. In the following years, he dealt with conceptual ideas, which he presented in the book L`uomo nero (1970). In 1974, he nearly completely withdrew from the art scene: he took an exam as a skiing instructor and spent most of his time in the mountains of San Sicario. At the end of the 1970s, he produced sculptures, heads, and torsos using polyurethane and marble. In doing so, he was a recipient of antique artifacts and he furthermore pursued other performance and theatre projects–including those in the US in Athens, Atlanta, and San Francisco. At the beginning of the 1980s, he presented theatre works, such as Anno Uno (March 1981) in the Teatro Quirino in Rome. Since 1990, Pistoletto has been living and working in Turin.

In 1994, Michelangelo Pistoletto proclaimed his programme Progetto Arte, the aim of which was the creative and social economic unification of all parts of human existence; in a narrower sense, the systematic combination of all achievements and knowledge of civilisation with aspects of art (e.g. fashion, theatre, design, etc.). In 1996, he founded the art city Cittadelarte – Fondazione Pistoletto in an abandoned textile factory near Biella, as a centre and `laboratory`, supporting and researching creative resources, and producing innovative ideas and possibilities. The Cittadelarte is divided into different Uffici/Offices ( work, education, communications, art, nutrition, politics, spirituality, and economics), which exchange with each other within an intermedial network. Although it is conceived as a closed system, transparency towards the outside world is an important aspect of the Cittadelarte.

Pistoletto`s Mirror Paintings are artworks made of human size mirrors. Using these mirrors as basic material, he paints figures or prints photographic images on them. First Mirror Paintings were created in the early sixties. The printed subjects show a broad spectrum of motives: for example self-portraits, pictures from gallery visitors or objects of daily life.

Pistoletto intentionally uses the reflective properties of the steel to produce an interactive dialogue between the viewer and the image in front of them. From an interview in 1963 Pistoletto states the relationship between the viewer, the painting, and the virtual space as “the joining of couples of opposite polarity between the photographic image and what goes on in the virtual space generated by the reflecting surface…” A central role is given to the spectator. His mirrored picture seems to get in interaction with the printed motive. In some way the viewer becomes part of the artwork. This phenomenon is relevant especially in time of European Student activism. Every individual spectator becomes active while regarding the artwork. This central position of the visitor could motivate him to become active also in other parts of society, which matches the ideas of the Gesamtkunstwerk.

Pistoletto is quoted saying, “In my mirror-paintings the dynamic reflection does not create a place, because it only reflects a place which already exists- the static silhouette does no more than re-propose an already existing place. But I can create a place by bringing about a passage between the photograph and the mirror: this place is whole time.” The previous quote enlightens the reader on Pistoletto`s attempt to, in 1964 at the Galleria Sperone, work on bringing the meaning of the mirror out into the inhabited space surrounding it. The simultaneous representation of traditional dimensions and of reality in motion reveal the new dimensions of the mirror-paintings. Sometimes the paintings on the mirrors are portraits of Pistoletto`s friends, patrons and/or self-portraits: this is true for the artist`s recent entirely mirrored-hall at the Ristorante del Cambio, Piazza Carignano, Turin.
64041597 Michelangelo Pistoletto-Sarajevo 1984 PLAKAT oštećen

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