Author: Ewa Malgorzata Tatar
Keywords: conceptual art, interactivity, multimedia, performance, thematized role of the audience
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Poster of the XIX Meetings of Artists, Scientist, and Theoreticians of Art, Osieki ’81. Published in the website of Muzeum in Koszalin, Poland: http://muzeum.koszalin.pl/?q=node/929
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Script of the performance. Photo from the archive of Anna Kutera.
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Photos of the performance (courtesy of Anna Kutera) Photo: Romuald Kutera.
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Photo of the props (courtesy of Anna Kutera) Photo: Romuald Kutera.
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Photos of the performance (courtesy of Anna Kutera) Photo: Romuald Kutera.
Date: 1985
Participant: Anna Kutera
Location: Gallery Labyrinth 2, Lublin
No documentation remains of the first action performed in Osieki. The video-performance was repeated three times: at Gallery Labyrinth 2 in Lublin, Poland (1985), Philip Waters Gallery in Banff, Canada (1985), and during the “Polish Manifestation” exhibition in Drents Museum, Assen, the Netherlands (1986).
The title dialogue takes place between the artist in the gallery space and an image of herself prerecorded on video playing on a TV screen. The conversation concerns the situation in which the artist found herself: the relationship between herself and her image, and their relation to the audience and the gallery space (the actual one as well as the empty one in which the recorded performance took place). The final dialogue concerns a misunderstanding between the two Annas: the TV one whose space of action is clean and neutral and the live one whose space of action is always relational, always considered an encounter, never neutral. She suggests that her TV image consider her art in the illusionary freedom gap and even does not take responsibility for her actions because she is only an image.
Author: Ivana Bago
Keywords: artist-publication, exhibition in a publication, gender issues, institutional critique, self-organized
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Maj 75 — F, cover page
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Breda Beban
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Rada Čupić, “Private house in a village in Vojvodina”
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Vlasta Delimar, “Handwriting leaves a more intimate communication than print”
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Sanja Iveković, “Study for a Speech” (1979). “The fact that there is much emphasis on the need for ever greater discipline and responsibility indicates how widespread in our context is still the behavior antithetical to the proclaimed aims.”
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Jasna Jurum, “Yves Klein/Dostoyevsky”. “In the same way, one girl has thrown herself off from a cliff into a river. But if the cliff had not been where it was, she would not have jumped. It is all because of beauty (according to Dostoyevsky).”
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Vesna Miksić
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Vesna Pokas. “I annul the meaning of this copy”
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Bogdanka Poznanović. “Insert your dot into a spiral”
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Duba Sambolec
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Duba Sambolec
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Edita Schubert
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Branka Stanković, “Triptych” (A)
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Branka Stanković, “Triptych” (B)
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Branka Stanković, “Triptych” (C)
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Iris Vučemilović. “No smoking at least one hour before reading this text.”
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Date: 1981
Concept: Vlasta Delimar
Participants: Breda Beban, Rada Čupić, Vlasta Delimar, Sanja Iveković, Jasna Jurum, Vesna Miksić, Vesna Pokas, Bogdanka Poznanović, Duba Sambolec, Edita Schubert, Branka Stanković, Iris Vučemilović
Location: Maj 75 — F (samizdat)
Maj 75 was a self-published magazine initiated in 1978 by a group of Zagreb-based artists— the Group of Six Artists, or “the group of friends,” as they refer to themselves in the introductory pages of the magazine. In connection to their self-organized “exhibition-actions,” the publication was conceived as a “magazine-catalogue,” another hyphenated neologism with which they attempted to overcome conventional and institutionalized ways of presenting art. Comprised solely of pages presenting artworks, the magazine can be viewed as an alternative exhibition space, enabling the artists to communicate their work to the public without the mediation and the sanctioning authority of art institutions and curators. Between 1978 and 1984, seventeen issues were published (marked by letters of the alphabet instead of numbers), with an additional one produced in 1990, and commemoratively called Ex-Maj.
The F issue, published in 1981, was conceived by artist Vlasta Delimar as a presentation of female artists who were active within the Yugoslav “new art practice” scene. The introductory page stated that very few female artists had been featured in Maj 75, which was the main motivation for dedicating a special issue to them. The magazine was produced in the home-run print studio of Delimar and her then partner and Group of Six member, Željko Jerman, with whom she worked on technical execution of each issue. By proposing and realizing her concept for the special issue on women artists, including herself, Delimar brought forward her own creative, and no longer just technical, “behind the scenes” contribution to the magazine, together with enhancing the visibility of the work of other Yugoslav women artists.
From the 1950s to mid-1970s, the Yugoslav art scene was dominated by male artists and male artist groups; prominent women artists, such as Sanja Iveković or Marina Abramović were the exception. By the end of the 1970s, the situation started to change and more women artists were becoming active art-scene protagonists, especially with the “return of painting” in the early 1980s. The F issue of Maj 75 is a small testament to this change, even if not all of its contributors have continued to pursue their artistic careers, and today’s audiences would be unfamiliar with some of the artists’ names. A number of the Maj 75 contributions included in the issue were explicit gender-conscious interventions that responded to the history of art as a male-dominated narrative.
Guide for the chronology (Ivana Bago: Something to think about: values and valeurs of visibility in Zagreb from 1961 to 1986)
The group included Boris Demur, Željko Jerman, Vlado Martek, Mladen Stilinović, Sven Stilinović, and Fedor Vučemilović. The name of the magazine Maj 75 (May 75) referred to the date when the group came together to start its collaborative work.
