Item #55551 [YUGOSLAV AVANT-GARDE] Raša Todosijević: Galerija suvremene umjetnosti Zagreb Katrinin trg 2. 10. 10–31. 10 1982 [Raša Todosijević: Gallery of Contemporary Art, Zagreb, Katarina Square 2. 10. 10–31. 10 1982]. artist, texts, Dragoljub Raša Todosijević, Marijan Susovski, Ksenija Pavlinić Ješa Denegri, text, documentation.
[YUGOSLAV AVANT-GARDE] Raša Todosijević: Galerija suvremene umjetnosti Zagreb Katrinin trg 2. 10. 10–31. 10 1982 [Raša Todosijević: Gallery of Contemporary Art, Zagreb, Katarina Square 2. 10. 10–31. 10 1982].
[YUGOSLAV AVANT-GARDE] Raša Todosijević: Galerija suvremene umjetnosti Zagreb Katrinin trg 2. 10. 10–31. 10 1982 [Raša Todosijević: Gallery of Contemporary Art, Zagreb, Katarina Square 2. 10. 10–31. 10 1982].

[YUGOSLAV AVANT-GARDE] Raša Todosijević: Galerija suvremene umjetnosti Zagreb Katrinin trg 2. 10. 10–31. 10 1982 [Raša Todosijević: Gallery of Contemporary Art, Zagreb, Katarina Square 2. 10. 10–31. 10 1982].

Zagreb: Galerija suvremene umjetnosti, 1982. Quarto (30 × 21 cm). Original pictorial wrappers; [20] pp. with numerous photographic reproductions of artworks and documentary images of performances. Wrappers with signs of wear; individual leaves detached from the binding; else about very good. Item #55551

Catalog for an early retrospective of the Yugoslav neo-avant-garde artist. Raša Todosijević, along with Neša Paripović, Marina Abramović, Zoran Popović, Slobodan Milivojević, and Gergelj Urkom, was one of the leading figures in Serbian performance and conceptual art who gathered around the Belgrade Student Cultural Center. Even during his studies at the Belgrade Academy of Fine Arts, Raša Todosijević was among those who took a critical stance toward the art system. This attitude was directed not only at the conservative, Pablo Picasso-oriented camp, but also at the international art market. Thus, he authored the “Edinburgh Statement” with the question, “Who makes a profit on art, and who gains from it honestly?” His provocative and aggressive performances of the 1970s are reminiscent of those by Herman Nitsch. For instance, the performance “Water Drinking” (1974) included a dying carp and vomit. He had already let a fish die in “Decision as Art” (1973). At the same time, he remained active as a conceptual artist and art theorist. His texts are among the most important art-critical writings in the region. (Cf. >https://monoskop.org/Ra%C5%A1a_Todosijevi%C4%87<, April 21, 2026; AKL vol. 109, p. 350; Branislav Dimitrijevic, Thank you, Rasa Todosijevic! A retrospective exhibition of Rasa Todosijevic, Museum of Contemporary Art - Belgrade, >https://www.springerin.at/en/2002/4/danke-rasa-todosijevic/<, April 21, 2026.)

As of April 2026, OCLC lists four copies in North America.

Price: €600.00

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