Vjeceslav Richter was a co-founder of Exat 51, which started its activity in 1951, and he spent his entire creative life inquiring into the new possibilities of architecture, painting, and sculpture, seeking to achieve a synthesis of all the arts.
His experiments in the field of visual arts associated him with the international movement of New Tendencies. During that period, he created his cycles Centre i centrije, Sistemske skulpture, Reljefometri, Sistemske grafike, and Prostorne grafike, which originated in his fascination with systems and his interest in the possibility of synthesis in the field of visual arts. In the thirty-odd pieces from his cycle on Spatial Images (Prostorne slike), created in the 1990s, he finally managed to elide the borders between architecture, sculpture, and painting.
1917 Born in Drenova, near Zagreb, Croatia.
1937-1941 Followed the development of design throughout the world through the English journal Art and Industry, exploring in particular the works of artis of the “October Avant-garde” and Russian constructivists.
1947 Designed his fist exhibition pavilion in Trieste.
1948 Richter, Picelj and Srnec worked on the Book Expositionof the People’s Republic of Croatia in the Art Pavilion in Zagreb. Richter worked as a planner, while Picelj and Srnec implemented visual designs.
1949 Executed the perspectives and views of the Yugoslav Pavilion for the fairs in Vienna and Stockholm.
1949 Graduated architecture at the Technical Faculty in Zagreb.
1950-1954 Head of the Architecture Department at the Academy of Applied Arts in Zagreb.
1951 One of the founders of the group Exat 51 – which seemed avant-garde to what was understood as architecture, visual arts and design was or should be at the time.
1958 Became correspondent for the prestigious journal L’architecture d’aujourd’hui.
from 1959 Worked as editor of the journal Covjek i prosto (Man and Space), which during the 1960s published important articles and texts by respected European authors on modern art, particularly in the area of constructivism.
1954 First prize for designing the City of Belgrade Museum (in collaboration with Zdravko Bregovac).
1955 First prize in the Yugoslav competition for designing the Yugoslav Pavilion at the Vienna Fair.
1956 First prize in the international competition for designing the Museum of Antiguities in Aleppo, Syria (in collaboration with Zdravko Bregovac).
1956 Second prize in the competition for designing the Yugoslav Pavilion at the Brussels Worlk Exposition.
1956 First prize in the short-list for designing the Yugoslav Pavilion at the Brussels World Exposition.
1957 First prize for designing the Yugoslav Pavilion at 11th Milan Triennial.
1959 The Award of the City of Zagreb for designing the Yugoslav Pavilion at the Brussels World Exposition.
1959 Second prize for desiigning the Museum of the Revolution in Sarajevo (in collaboration with Zdravko Bregovac).
1960 First prize in the closed competition for the Yugoslav Pavilion at the Italia 61 International Labor Exhibion in Torino.
1961 Fist palce in the competition for the Museum of the Revolution in Belgrade.
1964 Gold Medal in the competition for the Yugoslav Pavilion at 13th Milan Triennial.
1966 Second prize for designing the Yugoslav Pavilion at the World Exposition in Montreal.
1969 Third prize for designing the Aeronautics Museum at Surcin near Belgrade (in collaboration with Vlasta Kohout).
1970 Third prize in the urban planning competition for adaptations of downtown Zagreb (in collaboration with Hildegard Auf-Franic and Marijan Uzelac).
1964 Zagreb, Museum of Arts and crafts – Projects, Scenography, Posters, Synthetic Urbanism, Centriads, Reliefometer, Multiplier, Systemic Sculpture.
1966 Zagreb, Museum Documentation Center, Archeological Museum, Exhibition of Museum’s Architectural Projects.
1968 Zagreb, Gallery of Contemporary Art, Systemic Sculpture.
1968 New York, Staemply Gallery, Systemic Sculpture.
1969 Zagreb, Student Center’s Gallery (in collaboration with architect Andrija Mutnajkovic), Starting Assumptions.
1969 Belgrade, Salon of the Museum of Contemporary Art, Systemic Sculpture.
1969 Zürich, Galerie Semiha Huber, Systemic Sculpture.
1969 Ljubjana, Mala Gallery, Systemic Sculpture.
1972 Graz, Neue Galerie am Landesmuseum Joanneum, Systemic Sculpture and Architecture.
1972 Hilversum, Galerie Steenrukrerij de Jong, Systemic Sculpture and Architecture.
1972 Milan, Galleria Naviglio, Systemic Sculpture.
1972 Rappersvill, Galerie 58.
1973 Naples, Galleria Il centro, Systemic Sculpture.
1976 Milan, Galleria Visconti, Sculpture and Graphics.
1977 Udine, Galleria La Loggia, Sculpture and Graphics.
1977 Rapperswill, Galerie Zeestrasse, Sculpture and Graphics.
1977 Zagreb, Palainovka Gallery, Graphics.
1977 Ljubljana, Iskra Gallery, Sculpture and Graphics.
1978 Vrnjacka Banja, Culture and Publicity Center, Architecture and Graphics.
1978 Zagreb, Karas Gallery, Architecture and Graphics.
1979 Ljubljana, Modern Gallery (solo exhibition as part of the International Graphic Art Biennale).
1980 Rapperswil, Galerie Am See.
1981 Celje, Salon of Visual Arts.
1981 Piran, Gallery.
1985 Split, Alfa Gallery.
1985 Vodice, Basta Gallery.
1995 Zagreb, Bernardo Bernardi Gallery.
1995 People’s Open University of Zagreb, Notes from a 1995 Notebook.
1997 Zagreb, Museum of Contemporary Art.
1997 Zagreb, Miroslav Kraljevic Gallery, Apocryphal Geometry.
1999 Zagreb, Mala Gallery.
2000 Duisburg, Wilhelm Lehmbruck Museum Duisburg, sculpture entitle Nada.
2000 Zagreb, richter Collection, Donation to the City of Zagreb by Bjenceslav Richter and Nada Kares-Richter.
2001 Sibenik, Sveti Krsevan Gallery, Four Themes.
2001 Sibenik (Tribunj, Sovlja), Fith Theme – Wedding of Rocks.
Source: Richter Collection : http://www.msu.hr/#/en/22/
Vjenceslav Richter, Reliefmeter, 1967
168 × 169 × 12 cm
MSU | Museum of Contemporary Art Zagreb
Photo: Darko Bavoljak