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Slought Foundation, Philadelphia is pleased to announce The Ways to Post History, a retrospective exhibition featuring the work of artist Braco Dimitrijević. The exhibition will be on display in the galleries at Slought Foundation from October 13-November 28, 2007, in conjunction with "The Casual Passer-By I Met at 3.01 pm, Philadelphia, April 9, 2007," an outdoor installation by the artist on the facade of Fisher-Bennett Hall on the campus of the University of Pennsylvania (3340 Walnut Street, Philadelphia; here for more information). The opening reception for the exhibition will take place on Saturday, October 13th, 2007 from 6:30-8:30pm. The exhibition is curated by Osvaldo Romberg, a Senior Curator at Slought Foundation.
At 6pm on the evening of the opening, Braco Dimitrijević will engage in a public conversation about his work with Katherine Carl, an art historian who specializes in conceptual artists of the 1960s and 1970s of the former Yugoslavia and was recently Curator of Contemporary Art at The Drawing Center.
"[In my 1976 book Tractatus Post Historicus], I made reference to a discourse that first appeared in my work in 1969, when I made the following statement: 'There are no mistakes in history, the whole of history is a mistake.' This marked a revolt against history which I have always considered as being a false science and which I would call the only impressionistic science. The true power of history does not lie in the physical facts. It manifests itself through the psychological effects brought about by the event. What we call History is nothing more than one subjectivity which is imposed on the whole world as objective opinion. This is the reasoning behind my critique of history and my formulation of the notion of Post History which, for me, means the time of a multitude of co-existing truths rather than any one ultimate truth." --- Braco Dimitrijević, Interview with Jean-Hubert Martin (2005)
Braco Dimitrijević (1948-) lives and works in Paris, France. He was born in Sarajevo in the former Yugoslavia. He graduated from the Zagreb Academy in 1971, continuing at St Martin's School of Art in London. Selected solo exhibitions include the Xin-Dong Cheng Space for Contemporary Art, Beijing, 2006; Galeria Il Ponte Contamporanea, Rome and Galeria Pino Casagrande, Rome, 2006-2007; The State
Russian Museum, St Petersburg and Musée d’Orsay, Paris, 2005; Ikon Gallery Birmingham/UK, 2001; Museo Nacional de Colombia, Bogota and Porin Taidemuseo, Finland, 2000; Musée National d’Histoire Naturelle - Menagerie du Jardin des Plantes, Paris, 1998; Kunsthalle, Dusseldorf, 1997; the Israel Museum, Jerusalem, 1994; the Museum Moderner Kunst-Stifung Ludwig, Vienna, 1994; Tate Gallery, London, 1985; Museum Ludwig, Cologne, 1984; Kunsthalle Bern, 1984; Stedelijk van Abbemuseum, Eindhoven, 1979; and Sperone Gallery, New York and Turin, 1975-6.
Selected group exhibitions include Confllict, Slought Foundation, Philadelphia, 2006; Open Systems: Rethinking Art c.1970, Tate Modern, London, 2005; Force de l’Art, Grand Palais, Paris, 2005; Big Bang, 2005, Manifeste, 1997, and Magiciens de la Terre, 1989, Musee National d'Art Moderne, Centre Georges
Pompidou, Paris; In der Schluchten des Balkan, Kunsthalle Fridericianum Kassel, 2003; Valencia Biennial, 2001; D’après l’antique, Musée du Louvre, Paris, 2000; L'Autre moitie de l'Europe, Galerie Nationale du Jeu de Paume, Paris, 2000; Zeitwenden, Kustmuseum, Bonn, Germany, 1999–2000; Les Champs de la Sculpture 2000, Champs Elysees, Paris, 1999; Global Conceptualism, Queens Museum, NY, 1999; Havana Biennale, Cuba, 1997; The 23rd International Biennial of São Paulo, 1996; SITE Santa Fe, New Mexico, 1995; Kwangju Biennial, Korea, 1995; Rhetorical Image, New Museum of Contemporary Art, New York, 1990; Life-Size, The Israel Museum, Jerusalem, 1990; Venice Biennale, Italy, 1976, 1982, 1990, 1993; Documenta V, VI, IX, Kassel, Germany, 1972, 1977, 1992; Sydney Biennale, Australia, 1978, 1986; Aspects of British Art Today, Tokyo Metropolitan Art Museum, 1982; and the Biennale de Paris, 1971.
This program is made possible in part through the generous sponsorship or support of the Society of Friends of the Slought Foundation, University City District, Foundation for Contemporary Arts, and the Departments of the History of Art and English at the University of Pennsylvania, which gratefully acknowledges the generous support of the Russell Bergman Foundation in funding the 2007-2008 RBSL Bergman Foundation Curatorial Seminar.
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