PAMTIM TO KAO DA JE BILO DANAS
Knjiga je u osnovi priča o pjesmama Seje Sexona. Istovremeno i opis Sarajeva osamdesetih, podsjećanje na brojne ljude koji su se kretali u tim krugovima, aferama koje su pratile grupu, ratu i povratku Zabranjenog pušenja poslije sedam godina te svim poslijeratnim albumima ove grupe sve do današnjeg dana.
- Boro Kontić -
Tehnike, pribor i projekti za savladavanje kaligrafije
Ova knjiga osnovnih kaligrafskih tehnika postat će neprocjenjiv pomoćnik svih kaligrafa početnika. Na vrlo jasan ali i zanimljiv način, knjiga će vam pokazati osnovne i složenije tehnike kaligrafske umjetnosti. Prema jasnim i jednostavnim uputama lako ćete savladati tradicionalna pisma, od kojih ćete kasnije moći sastavljati tekstove prema vlastitim idejama. Pomoći ćemo vam da izaberete odgovarajuće pismo za svaku priliku.
U Knjizi projekata nalaze se dvodimenzionalni i trodimenzionalni primjeri upotrebe najrazličitijih pisama za osobne potrebe i za prodaju, od uramljenih citata, predmeta koje možete darovati, ukrasnih kutijica, ukrasnih natpisa, preko slika za zid, omotnica i logo znakova, do pjesama, albuma za fotografije, posjetnica, jelovnika i pozivnica.
Ann Bowen, profesionalna kaligrafkinja i tipografkinja predlaže (izrađuje) tipografske profile za dizajnerske tvrtke, izdavače, filmske tvrtke i privatne klijente, uključujući i Paula McCartneya. Ona je suautorica knjige o pozlaćivanju, aktivno sudjeluje na mnogim izložbama i seminarima i po cijeloj Engleskoj održava tečajeve kaligrafije. Redovna je članica Društva za nova pisma, društava Letter Exchange i Painter Stainers Livery. Godine 1996. dobila je nagradu za kaligrafiju Scrivener's Award.
Komplet koji sadržava dvije posebne knjige i osnovni kaligrafski pribor provest će vas kroz umjetnost kaligrafije od tradicionalnog pisma i osnovnih vještina do najsuvremenijih postupaka i metoda.
Početnici i svi oni koji već imaju određenih iskustava s lijepim pisanjem, u kompletu »Kaligrafija« pronaći će korisne informacije. Prema jasnim uputama, svatko će sam uspjeti napraviti malo originalno umjetničko djelo.
Texts by Ziyah Gafić, Ozren Kebo, Dragan Bursać
English and Bosnian language
Heartland is a long and tedious journey through my war ravaged homeland. Its been twenty years since the war ended. But peace cant simply be the absence of violence. Bosnia is locked in self perpetuating cycle of ethno-politics, ruled by ethnic elites and rapidly devastated in suspicious privatisation of public companies. The state is so weakened by nepotism and systemic corruption that it may as well qualify as failed state. I aim to capture the quiet, the loneliness and the determination of people trying to carry on with their lives after the very fabric of their community, their rituals and their social life has been torn apart while thousands of missing Bosnians are still being exhumed from mass graves across the country.
When the Bosnian war started I was 12: too young to take part, to fight or to take photographs. I was, however, old enough to be targeted and to be part of the Balkan news circus - as an object. Unlike many other Bosnians, my family was fairly lucky. My disabled aunt was burned alive in her house and her remains were never recovered; my grandfather committed suicide after he recognised the same pattern of ethnic hate he had fought fiercely as Titos partisan in World War 2; one of my cousins was gang raped. I grew up under siege. I was raised and shaped by war. My teenage years were marked by regular sniper fire, continuous shelling, scarce water and electricity supply and occasional hunger. That was the life in besieged Sarajevo, the longest siege in modern warfare. In rare moments when we had electricity, I watched media reports tell the story of my homeland--while I lived a very different war. There was so much more to war than an old lady, veiled and weeping. I knew there was an underground musical scene, I knew there was a gang of teenagers collecting fresh shrapnels after shelling just to show off to the young girls hiding in improvised bomb shelters. I knew because I was in it. Instead, a reduced, fragmented and distorted image was projected for others to see. As a boy, I had no means or knowledge with which to respond; I watched as truth was corrupted in others hands and it was worse than a lie. For my truth to be told, I had to find a voice of my own and share it unflinchingly. Heartland is a visual journey and an homage to my ailing homeland.
