Beuys, Joseph, Daniel Buren, Sol LeWitt, Lawrence Weiner, and others.

[YUGOSLAV AVANT-GARDE – CONCEPTUAL ART – FLUXUS – HAPPENING – ARTIST'S BOOKS] In Another Moment. Conception: Nena and Braco Dimitrijević.

Belgrade: Galerija SKC, 1971. Quarto (30.5 × 21 cm). Original blind-stamped folder with transparent title page; 32 plates on glossy card stock. Folder with slight signs of wear; preface with a few highlighter marks; else very good. Item #54371

First and only edition of the extremely rare catalog of the first two important international exhibitions of conceptual art in Yugoslavia, which saw participation by renowned artists such as Robert Barry, Joseph Beuys, Daniel Buren, Sol LeWitt, and Lawrence Weiner. In April 1971, the exhibition “At the Moment” was shown in Zagreb and then continued in Belgrade under the title “In Another Moment”. In Zagreb, the exhibition of works by 16 international artists and 3 artist groups did not take place in a prestigious museum or gallery space, not even in a white cube, but in the gateway of an ordinary apartment building on a busy street in the old town. Three photographic images in the catalog document this simple, inconspicuous gateway on the “Day before exhibition”, “Day of the exhibition” and “Day after exhibition”. The catalog makes it impressively clear that the choice of location was itself conceptual in its randomness and simplicity by placing the photographs prominently at the beginning. Apart from this seemingly random driveway, the pictures show nothing more than passers-by and, on the day of the exhibition, a somewhat larger group of visitors and a VW Beetle driving past.

The foreword by Nena Dimitrrijević also begins with the sentence “An international exhibition organized in a hall-gate of an ordinary apartment house (...).” Last but not least, the aim was to desacralize art. The works were to be literally removed from their pedestals and taken out of the temple of art and onto the street. The “conception were the negation of the gallery as a constant and ‘consacrated’ exhibition space”, according to the introduction. The duration of the exhibition was also unusual. The works were only shown for three hours. Although the Belgrade continuation took place in a gallery, a disruption of conventions was also built into this location. The exhibition was interrupted twice to create new constellations. The crucial point, however, was that it was not the curators or artists who were responsible for the rearrangement, but one member of the technical team in each case. In this way, the two exhibition organizers, Nena and Braco Dimitrijević, continued the working principle of conceptual art of delegating as many steps as possible in order to interrupt the fetishization of art and the continuity of the work with the artist. The door was literally opened to chance. The present catalog also continues this concept. Instead of the usual bound book pages, the catalog consists of loose plates placed in a folder, which can be rearranged as desired. Although the plates are numbered on the back, they are not arranged according to content, but merely alphabetically according to the names of the artists and groups.The cardboard-like plates in the catalog can therefore be placed in relation to each other in a variety of ways. Thanks to the excellent print quality, each panel is not merely a reproduction, but an individual work in its own right. The folder thus resembles a transportable exhibition that can be rearranged by anyone. The greatest possible flexibility was the declared aim of the two exhibition organizers. (Cf. Seraina Renz, Kunst als Entscheidung: Performance- und Konzeptkunst der 1970er Jahre am Studentischen Kulturzentrum Belgrad, München 2018, pp. 123-132).

The catalogue documents works by Giovanni Anselmo, Robert Barry, Joseph Beuys, Stanley Brouwn, Daniel Buren, Victor Burgin, Jan Dibbets, Braco Dimtrijević, Barry Flanagan, Grupa / E KOD, Grupa OHO, Douglas Huebler, Alain Kirili, Jannis Kounellis, David Lamels, John Latham, Sol Lewitt, Goran Trbuljak, Lawrence Weiner, Ian Wilson.

As of April 2024, OCLC lists only 2 copies in North America (MoMA and Clark Art Institute).

Price: €6,000.00

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