page 2 diogen · page 5 diogen hannelore greinecker-morocutti a-8786 rottenmann, westrandsiedlung...

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Copyright Sabahudin Hadžialić & Authors 2009-2011. All rights reserved. Copying articles, images and other content free of charge with obligation to underline from where it has been taken from: DIOGEN pro culture magazine, Sarajevo, Bosnia and Herzegovina. Otherwise, forget it!

NA NASLOVNICI....ART— Marcos Ribeiro Mendes TUBA, Cachoeirinha, RS, Brazil

DESIGN LOGO I NASLOVNICA/FRONT PAGE: STEVO BASARA, grafički dizajner/graphic designer ...Marcos Ribeiro Mendes TUBA, Cachoeirinha, RS, Brazil

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N O 3 —S P EC I AL ART P A G E 3

Moć žene(a)

Reflektivna moć prepoznata unutar oštrih linija upozorenja, ali i nadanja. Snažni odsjaji sopstvenog ega unutar pokušaja da pronađe unutrašnji mir razarajući kreacijom moguće varijante drugačijeg. No, njeno razaranje je stvaranje sui generis. Kako? Ako pogledamo oštrinu i blagost njenog izražaja koji se kao contradictio in adiecto isprepliću, zaključak logički slijedi: pred nama je umjetnik nadasve izgrađene vizije, ali još uvijek, nažalost, surove nade. Zbog čega– “nažalost”? Jer nada je sve drugo samo ne kraj. U pronalaženju unutrašnjeg bitka Hannelore Greinecker-Morocutti je otišla korak dalje. Postavila je nadu na pijadestal sudbine tražeći izražaj sreće. I zbog toga i rekoh „nažalost“ jer Hannelore i dalje traži, kreira, isprepliće nas i sebe. Bilo koji od predočenih radova da pogledate, bili oni u bojama ili crno-bijeli (o tehnici Scraperboard-a više na str.7.), bili oni svjetlosna ili zatamnjena slika njenoga bića, NADA je ta koja dominira. I vlada. No, zbog čega i naslov ovog uvodnog slova? Pitanja daju odgovore unutar njih samih jer-samo žena(e) mogu davati i kreirati nadu. Iskrenošću, toplinom i predanošću. Čak i unutar likovne umjet-nosti. Djela ovoga autora DIOGEN pro art magazina su bogatstvo istovjetnosti nagovještenih druženja, usmjerena novim varijantama prijateljstava i/ili mogućih, naravno, nadanja. Dok čitah njene umjetničke vizije dvomih se da napišem priču, ili više njih. Možda i hoću. Njena moć je tu, u meni. I stvara ih. Priče. Iz slika. Njenih...

Sabahudin Hadžialić

Woma(e)n power

Reflective power recognized within the sharp lines of warnings, but also hopes. Strong reflections of her own ego within the attempt to find inner peace through devastating with creation the possibe variants of different ones. However, her destruction is the creation of sui generis. How? If you look at the sharpness and gentleness of her expression which, as contradictio in adiecto, intertwine, the conclusion follows logically: in front of us is an artist, above all, of already built vision, but still, unfortunately, of cruel hope. Why—"unfortunately"? Because hope is anything but an end. Within the finding of the internal battle, Hannelore Greinecker-Morocutti went a step further. She set on the pedestal of her destiny— the hope, through seeking expressions of happiness. And that is why I shave said "unfortunately", because Hannelore continue to search, create, weaves us and herself. Any of the presented papers to look at, be it in color or black and white (Scraperboard-on technique and more on page 7.), be it light or tinted pictures of her being, hope is the one which dominates. And rules. But why the title of this kind to introductory letters? Questions provides answers within themselves, because only woman (e) can give and creates the hope. Sincerity, warmth and dedication. Even within art. Works of this author DIOGENES December art magazine are a wealth of identity of indicated meetings, directed towards the new variants of friendship and / or possible, of course, hopes. While I red her artistic vision I was thinking twice (in doubt) to write a story, or even more...stories Maybe I will. Her power is here, in me. And creates them. Stories. From the pictures. Hers...

Sabahudin Hadžialić

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www.austrocomix.blogspot.com

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Hannelore Greinecker-Morocutti

A-8786 Rottenmann, Westrandsiedlung 340/2

Mobil: 0676/468 22 68

e-mail: [email protected]


Member of: IG BILDENDEN KUNST ÖSTERREICH

Birth Date: 1952 in Leibnitz, Österreich

Education: Photographie, Graphik-Design,

Prizes: 2010, 2. Preis, IV International Competition of Cartoons and Short Comic Strips „Kiks Zikison“ Paracin, Serbien;

Linz Kulturhauptstadt Europas 2009, Shortstory „Tangram“ next Comic Festival, nominiert in der Kategorie „Professionell“;

Steirischer Comic Award 2009, ORF + 1. Steir. Comicschule, Sonderpreis in der Kategorie „Comicstrip“;

3. Preis, Triennale für Avantgardgraphik, Prag, Tschechien; Sonderpreis „Comic Campus 2006“, Leipziger Buchmesse, Egmontverlag;

2. Preis, Com Tec Creativ Contest, Kiel, Deutschland;

Publications:

2010 „Papercuts“; in Geschwister – eine Murmel comics Anthologie #32

2010 Aphorismen; in „Gedanken sind unhöflich. Sie kommen ohne anzu-klopfen – Beiträge zum Aphorismuswettbewerb 2010“, Universitätsverlag Brockmeyer;

2010 Comicstrip „Sonntag“; in der „Presse am Sonntag“, Osterausgabe;

2010 „worthülsen“ Lyrik; in „Der duftende Doppelpunkt“, online Literatur Magazin;

Lyrik in Tarantel – Zeitschrift für Kultur von unten;

„Abschied“ in ISBN 978-3-033-01326-1;

„Heimweg“ in ISBN 3-936711-47-X, Verlag für moderne Kunst, Nürnberg;

„Zukunft, Traum und Wirklichkeit“ in ISSN 1815-1612, lin_c;

„Die große Welle“, Shinkan , Egmonverlag;

Soloexhibitions:

2010, „Der Himmel zwischen den Mauern“, Graphik Novelle, Österreichisches Kulturforum in Warschau, Polen;

Friedrich Schiller Universität, Jena, Deutschland;

Galerie „pro arte“, Hallein, Österreich;

Kunstladen, Bressanone, Italien;

Nibelungengalerie, Linz, Österreich;

Groupexhibitions :

„Das brennende Labyrinth“, Künstlerhaus Graz, Österreich;

VI. Women`s International Conference, Künstlerhaus Graz, Österreich;

Haus der Kunst, München, Deutschland; Kunsthalle Kempten, Deutschland;

Galerie im Traklhaus, Salzburg, Österreich;

Künstlerhaus Graz, Kulturhauptstadt Europas, Österreich;

XXV premi international de dibuix Joan Miró, Barcelona, Spanien;

Georg Trakl in der Bildenden Kunst, Traklhaus, Salzburg, Österreich;

Künstlerhaus Salzburg, Österreich; Schloss Burgau, Österreich;

Taller, Galeria Fort, Girona, Spanien; Schloss Schlosshof, Österreich;

Certamen International dÀrquitectura de Villa Carnet de Mar, Barcelona;

Art Centre Seoul, Korea; Taideomuseo, Jeossun, Finnland;

Gallery LÉtang dÀrt, Bages, Frankreich;

House of Humor and Satire, Gabrovo, Bulgarien;

State Museum Madjanek, Polen; Mlada Fronta, Prag, Tschechien;

National Museum of Woman in the Arts, Washington D.C., USA;

Museum für angewandte Kunst, Wien, Österreich.

Workshops: Arts-Motion-Project mit 2000 Schülern aus dem Tennengau und Berchtesgaden


Hannelore Greinecker-Morocutti

A-8786 Rottenmann, Westrandsiedlung 340/2

Mobil: 0676/468 22 68

e-mail: [email protected]


Ordentliches Mitglied der IG BILDENDEN KUNST

ÖSTERREICH

Geboren: 1952 in Leibnitz / Stmk.

Ausbildung: Photographie, Graphik-Design,

Auszeichnungen: 2010, 2. Preis, IV International Competition of Cartoons and Short Comic Strips „Kiks Zikison“ Paracin, Serbien;

Linz Kulturhauptstadt Europas 2009, Shortstory „Tangram“ next Comic Festival, nominiert in der Kategorie „Professionell“;

Steirischer Comic Award 2009, ORF + 1. Steir. Comicschule, Sonderpreis in der Kategorie „Comicstrip“;

3. Preis, Triennale für Avantgardgraphik, Prag, Tschechien; Sonderpreis „Comic Campus 2006“, Leipziger Buchmesse, Egmontverlag;

2. Preis, Com Tec Creativ Contest, Kiel, Deutschland;

Ankäufe: Land Salzburg; Sportstudentenheim Salzburg, 22 Bilder;

Nordico, Museum der Stadt Linz; Private Sammler;

Veröffentlichungen:

2010 „Papercuts“; in Geschwister – eine Murmel comics Anthologie #32

2010 Aphorismen; in „Gedanken sind unhöflich. Sie kommen ohne anzu-

klopfen – Beiträge zum Aphorismuswettbewerb 2010“, Universitätsverlag

Brockmeyer;

2010 Comicstrip „Sonntag“; in der „Presse am Sonntag“, Osterausgabe;

2010 „worthülsen“ Lyrik; in „Der duftende Doppelpunkt“, online Literatur Magazin;

Lyrik in Tarantel – Zeitschrift für Kultur von unten;

„Abschied“ in ISBN 978-3-033-01326-1;

„Heimweg“ in ISBN 3-936711-47-X, Verlag für moderne Kunst, Nürnberg;

„Zukunft, Traum und Wirklichkeit“ in ISSN 1815-1612, lin_c;

„Die große Welle“, Shinkan , Egmonverlag;

Vorträge: 2010 „Ist die Darstellung des Warschauer Ghettos im Comic möglich?“, beim Symposium „Obraz Polski w kulturze zydowskiej“, Warschau;

Literatur über H. Greinecker-Morocutti:

Anton Gugg: „Kunstschauplatz Salzburg“;

Barbara Wally: „Künstlerinnen in Salzburg“;

CD-Covergestaltung:

„Between Chairs“ Uwe Markert / Jazz

Einzelausstellungen:

2010, „Der Himmel zwischen den Mauern“, Graphik Novelle, Österreichisches Kulturforum in Warschau, Polen;

Friedrich Schiller Universität, Jena, Deutschland;

Galerie „pro arte“, Hallein, Österreich;

Kunstladen, Bressanone, Italien;

Nibelungengalerie, Linz, Österreich;

Villa Seeblick / Eugenia Schwarzwaldsaal, Österreich;

Ausstellungsbeteiligungen:

„Das brennende Labyrinth“, Künstlerhaus Graz, Österreich;

VI. Women`s International Conference, Künstlerhaus Graz, Österreich;

Haus der Kunst, München, Deutschland; Kunsthalle Kempten, Deutschland;

Galerie im Traklhaus, Salzburg, Österreich;

ünstlerhaus Graz, Kulturhauptstadt Europas, Österreich;

XXV premi international de dibuix Joan Miró, Barcelona, Spanien;

Georg Trakl in der Bildenden Kunst, Traklhaus, Salzburg, Österreich;

Künstlerhaus Salzburg, Österreich; Schloss Burgau, Österreich;

Taller, Galeria Fort, Girona, Spanien; Schloss Schlosshof, Österreich;

Certamen International dÀrquitectura de Villa Carnet de Mar, Barcelona;

Art Centre Seoul, Korea; Taideomuseo, Jeossun, Finnland; Gallery LÉtang dÀrt, Bages, Frankreich;

House of Humor and Satire, Gabrovo, Bulgarien; State Museum Madjanek, Polen; Mlada Fronta, Prag, Tschechien;

National Museum of Woman in the Arts, Washington D.C., USA;

Museum für angewandte Kunst, Wien, Österreich.

Workshops: Arts-Motion-Project mit 2000 Schülern aus dem Tennengau und Berchtesgaden Verschiede Workshops und künstlerische Begleitung für Kinder alle Alterstufen

P A G E 7 D IO G EN

Scraperboard ( Wikipedia) is a technique where drawings are created using sharp knives and tools for etching into a thin layer of white China clay that is coated with black India ink. Scraperboard can also be made with several layers of multi-colored clay, so the pressure exerted on the instrument used determines the color that is revealed. Scratchboard can be used to yield highly detailed, precise and even textured art work. History: Modern scraperboard originated in the 19th century in Britain and France. As printing methods developed, scratchboard became a popular medium for reproduction because it replaced wood, metal and linoleum engraving. It allowed for a fine line appearance that could be photographically reduced for repro-duction without losing quality. It was most effective and expeditious for use in single-color book and newspaper printing. From the 1930's to 1950's, it was one of the preferred techniques for medical, scien-tific and product illustration. During that time period, Virgil Finlay made very detailed illustrations, often combining scratchboard and pen & ink techniques, producing astoundingly detailed artworks. In more re-cent years, it has made a comeback as an appealing medium for editorial illustrators of magazines, ads and graphic novels. The technique: Using a sharp, angled blade or scratch tool an outline is made on the surface of the scratchboard. Scratchboard can be purchased in either all black or all white sheets. Shadows and high-lights are created by "scratching" away at the board. Artists using the white scratchboard paint or draw black areas onto it and then proceed to scratch into the black portions to create their drawing. Alterna-tively, the cleared portions of the scratchboard may be left blank for a stark black-and-white image. Vari-ous techniques such as hatching or stippling can be used to texture and detail the image further. Depend-ing on the intent of the artist, several areas may be cleared out for layering with watercolors, airbrush or acrylics. These layers are then scratched off one by one to create different shades of color that blend into and highlight certain parts of the image. It can then be retouched with more paint as necessary. This tech-nique can yield an image that appears remarkably lifelike. Contemporary illustrators sometimes prefer to add color afterwards in Adobe Photoshop or Adobe Illustrator. Materials needed: Scraperboard itself comes either with a paper (cardboard) backing, or a hardboard. While the cardboard does have its uses, as it can be easily cut into size, the hardboard is much superior, giving greater stability to the work, being able to be corrected more often, and being able to be framed without glass.Several tools have been created specifically for scratchboard; however any sharp implement will do. It is good to have a range of different thicknesses in your blades so that you can remove more or less of the ink at will.Sandpaper and non oily, fine, steel wool are also useful for removing large areas, and creating texture.

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N O 3 —S P EC I AL ART P A G E 1 0

P A G E 1 1 D IO G EN P A G E 1 1 D IO G EN

N O 3 —S P EC I AL ART P A G E 1 2 N O 3 —S P EC I AL ART P A G E 1 2

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Illustration The Remains of the Day 1

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Abschied

Illustration You have left your Lotus Pods on the Bus 3

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Golem 1

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olem 2


Golem 3


Golem 4


Golem 5


I will be always on your mind



Illustration

Th

e Rem

ains of th

e Day 3


Živojin Pavlović ŽIKIŠON (1885—1950. Paraćin, Serbia)


Illustration You have left your Lotus Pods on the Bus


Kaugummiautomat


Memory


Memory 2


My small town


Rorschach Test


Rottenmanner Bilderbogen 1


Rottenmanner Bilderbogen 2


Telepathy


Urbane Architektur


Winter Evening


Woman power

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