Difference between revisions of "Josip Seissel"
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| − | * http://www.avantgarde-museum.com/en/ | + | * http://www.avantgarde-museum.com/en/museum/collection/authors/josip-seissel-jo-klek~pe4481/ |
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* http://en.wikipedia.org/wiki/Josip_Seissel | * http://en.wikipedia.org/wiki/Josip_Seissel | ||
[[Category:Constructivism|Seissel, Josip]] | [[Category:Constructivism|Seissel, Josip]] | ||
Revision as of 14:06, 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), and was also the author of the Zenit exhibition poster. 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.
