trigon 77
/5
paper, print, 24 x 23 cm
exhibition catalogue
trigon 77: Der kreative Prozeß
18 October–13 November 1977
Neue Galerie Graz und Künstlerhaus, Graz / Neue Galerie Graz im steirischen herbst 1977
The three-country project “trigon” was a biennial that featured contemporary art from the regional neighbors Austria, Italy, and what was then Yugoslavia. This biennial was founded in Graz, Austria, in 1963 and recurred until 1995, by which point a new Europe and a more global understanding of art had already emerged. Throughout its three-decade run, trigon sought to present the latest developments in art—and it was also one of the first international exhibition series to include artists from Yugoslavia, some of whom went on to enjoy further international success.
“The Creative Process” was the motto of trigon 77, held during the heyday of conceptual art—which opted for the total disintegration of conventional modes of artistic expression, transforming sculpture into a process by which to dematerialize both form and matter. Associative modes of perception that enabled new forms of visualization, some of which were only present in the minds of the beholders, arose as a result. This edition included a large number of Yugoslav artists, who were chosen by art theorist Tomaž Brejc. His selection included Boris Demur, Goran Djordjević, Julije Knifer, and the OHO group-related Šempas Family as well as former OHO member Andraž Šalamun. W.S.
exhibition catalogue
trigon 77: Der kreative Prozeß
18 October–13 November 1977
Neue Galerie Graz und Künstlerhaus, Graz / Neue Galerie Graz im steirischen herbst 1977
The three-country project “trigon” was a biennial that featured contemporary art from the regional neighbors Austria, Italy, and what was then Yugoslavia. This biennial was founded in Graz, Austria, in 1963 and recurred until 1995, by which point a new Europe and a more global understanding of art had already emerged. Throughout its three-decade run, trigon sought to present the latest developments in art—and it was also one of the first international exhibition series to include artists from Yugoslavia, some of whom went on to enjoy further international success.
“The Creative Process” was the motto of trigon 77, held during the heyday of conceptual art—which opted for the total disintegration of conventional modes of artistic expression, transforming sculpture into a process by which to dematerialize both form and matter. Associative modes of perception that enabled new forms of visualization, some of which were only present in the minds of the beholders, arose as a result. This edition included a large number of Yugoslav artists, who were chosen by art theorist Tomaž Brejc. His selection included Boris Demur, Goran Djordjević, Julije Knifer, and the OHO group-related Šempas Family as well as former OHO member Andraž Šalamun. W.S.