Duchamp’s readymades, Tatlin’s counter-reliefs or Hugo Ball’s appearance as the “magic bishop" reciting his Karawane, are all works displayed in different cultural circumstances in the time of the WWI. For us they exist as photographs of the crucial moments of the fully-fledged advent of Avant-Garde art. As radical events in the history of exhibiting (that will be briefly overviewed in the talk), these three works transcend the barrier of the media-based art (of “aesthetic modernism”) and develop a new sense of presentation of works in relation to established exhibition standards, and particularly to the ideological relation of the “work of art” and the “artefact”.
Branislav Dimitrijević is Professor of History and Theory of Art at the School for Art and Design in Belgrade, and was formerly active as a contemporary art curator. His main research interests are in the fields of visual art, popular culture and film of the socialist Yugoslavia, but he also regularly writes on contemporary cultural, artistic and political issues in Serbia. For selected texts and his CV see: https://independent.academia.edu/BranislavDimitrijevic