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Exhibitions-Actions by the Group of Six Artists

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Date: 1975-1979

Place: City of Zagreb (various outdoor and indoor locations); Mošćenička Draga beach; City of Belgrade, SKC Gallery, Belgrade

Concept by: Group of Six Artists

Participants: Boris Demur, Željko Jerman, Vlado Martek, Mladen Stilinović, Sven Stilinović, Fedor Vučemilović

In the period of 1975-1979 a group of artists and friends (later dubbed “Group of Six Artists”) — Boris Demur, Željko Jerman, Vlado Martek, Mladen Stilinović, Sven Stilinović, Fedor Vučemilović  — organized a series of twenty-one “exhibition-actions.” With the exception of Demur, who graduated painting at the Zagreb Academy of Arts, the group members were not trained as visual artists, but rather approached the “new art practice” from other fields, such as poetry (Martek), photography (Sven Stilinović, Vučemilović), amateur photography (Jerman), amateur film (Mladen Stilinović). This determined their shared anti-aesthetic, anti-programmatic and anti-professional stance to art production, resulting in experiments with photography, poetry, text, concepts, ephemeral interventions and actions, as well as exhibition experiments. The initial distance from academic and art institutions led them to the concept of “exhibition-actions,” a series of self-organized public presentations of their work, initially taking place in the open, public spaces of the city and its surroundings: the streets and squares of the Zagreb city center, residential neighborhoods, the river banks, beaches, university hallways.

In his chronology of the group’s activities, Darko Šimičić traces the group’s self-organized presentations to the action performed on the night of the 9th of October 1974, when three group members (Demur, Jerman, Martek) intervened on the advertising board under the railway bridge of Savska Street in Zagreb. In this action, Jerman presented his famous slogan “This Is Not My World,” written in hypo on photographic paper. According to Šimičić, “[t]his illegal exhibition in a public site was to become in somewhat modified form the prototype [of] the later group appearances.” 1 The first exhibition of the whole group took place on the 11th of May at the Sava River public bathing site: works were installed along the embankment, on sunbathing boards, and the grass. The term “exhibition-action” was first used to describe their second collaborative exhibition, which took place on the 29th of May, at the Zagreb neighborhood Sopot, part of the newly-urbanized zones of the “New Zagreb” built during the 1950s and 1960s. In their exhibition-actions, the artists exhibited paintings, photographs, installations, objects, as well as performed actions. For example, in the Sopot exhibition-action, Jerman showed two childhood photographs pasted on styrofoam boards: one in which he became member of the pioneer organization, and the other where he received his first Holy Communion. Mladen Stilinović showed paintings from the cycle Me, You, Mine, Yours, and performed an action of jumping up in order to appear higher than the skyscrapers in the background.

The group’s public presentations gained more visibility and attention with their October 1975 exhibition at the Republic Square, the central square in Zagreb. Jerman exhibited his “elementary photographs,” along with the slogan “Life, and not slogans”; Sven Stilinović showed a series of photos of a dead dog juxtaposed with photographs deemed to possess artistic beauty; Mladen Stilinović handed out photos of smiles to passers-by; Demur pasted the advertisement board with the poster on which only the word “Eto” [There you go] was written; Vučemilović asked the passer-by to take a photo of him. Judging from the reactions that the artists recorded and later published in one of the issues of their Maj 75 magazine, Zagreb citizens were not impressed, dubbing the exhibition “international idiocy” and seeing it as a symptom of disease, or simply students’ immaturity and idleness. Polemics in the newspapers ensued when a local art critic dismissed the artistic validity of the action. 2

An interesting twist to the form of exhibition-action was added with the May 1976 action City Walk, in which the artists walked through the streets of Zagreb, carrying their paintings, photographs and art objects. Demur carried a black painting with the text “I’m not crazy to paint bourgeois paintings” written in red. In June of the same year, they staged an exhibition-action on the beach of Moščenićka Draga. Jerman laid on photo-paper, leaving behind the imprint of his body; Martek performed an action of tearing banknotes: “In my opinion there is no greater contradiction than the contradiction between the sea as a reality and a the money as an abstraction.” 3 Sven Stilinović painted beach stones, while Vučemilović, who was not present, declared the movements of Jerman to be his own art (live sculptures). Several works testify to the centrality of the dematerialized idea of art for the group’s work: art — as well as collective and collaborative work — was conceived as a process, and a form of immediate sharing that cannot be reproduced or materialized. For example, Demur made a series of “mental works,” works that were not realized and that were forgotten: “I left my mental process of action in its original form without translating it into communication of any kind whatsoever.” 4 Similarly, Mladen Stilinović stated that part of the works conceived for the exhibition-action “was neither produced, noted down, now memorized. It was lived with friends.” 5

Starting from 1977, several exhibition-actions took place in gallery spaces. For the January 1978 exhibition at the Nova Gallery in Zagreb, the artists played with the idea of “oral tradition.” Keeping the tradition of their street presentations, the concept required a mandatory presence of the artists next to their work exhibited in the gallery, so that they could engage in conversations with the visitors and communicate their ideas about each particular work, as well as more general ideas on art. In June 1968, in the framework of the April Encounters festival in Belgrade, the group decided to organize a public working meeting at the SKC Gallery, making the very workings of the group and the plotting of their contributions to the festival transparent to the audience. This idea of openness, communication, and sharing was central to the group, and resonated with other artistic and curatorial practices that engaged in the conversations around the “democratization of the arts” that characterized the 1960s and 1970s. However, also crucial was the idea of self-organization and autonomy, and the freedom from institutional and ideological conditioning and censorship. Alongside the unique concept of “exhibitions-actions,” the group’s samizdat “catalogue-magazine” Maj 75, initiated in 1978, as well as their engagement in Podroom — the Working Community of Artists from 1978-1980, became additional platforms through which the group strove to achieve these aims.

DocumentComments of passers-by recorded during exhibition-actions at the Zagreb Republic Square (1975 and 1978)

Guide for the chronology (Ivana Bago: Something to think about: values and valeurs of visibility in Zagreb from 1961 to 1986)


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