Produced on the occasion of the exhibition Braco Dimitrijević, Culturescapes 1976–1984 at Museum Ludwig, Köln, 30 March–6 May, 1984, and Kunsthalle Bern, 15 June–15 August, 1984.

Braco Dimitrijević gained an international reputation in the seventies with his Casual passer-by series, in which gigantic photo portraits of anonymous people were displayed on prominent facades and billboards in European and American cities. The artist also mimicked other ways of glorifying important persons by building monuments to passers-by and installing memorial plaques in honour of anonymous citizens.

In the mid-seventies he started incorporating in his installations original paintings borrowed from museum collections. The Triptychos Post Historicus, realized in numerous museums around the world, unite in a harmonious synthesis high art, everyday objects, and fruit. The artist’s statement “Louvre is my studio, street is my museum” expresses both the dialectical and transgressive nature of his oeuvre.

For the first time, the 35 legendary box catalogues of Städtische Museum Mönchengladbach have been published as a book. Museum director Johannes Cladders developed the idea of catalogues in the form of a box with Joseph Beuys in 1967. Until 1978, Cladders worked closely with exhibiting artists to create such catalogues, which radically re-envisaged the traditional exhibition and museum publication. They embody the participatory approach of their time and instance a vision of a porous democratic work. Viewers are invited to actively participate in this artistic and institutional endeavour and engage both intellectually and physically. Researched by Susanne Rennert, designed by Petra Hollenbach, with photographs documenting all catalogues by Tobias Hohn & Stanton Taylor, and introductory essays by Susanne Rennert and Susanne Titz.

Exhibition invitation produced on the occasion of Braco Dimitrijević’s exhibitions; Triptychos Post Historicus or, Far From Harbour, Near The Stars at the Queensland Art Gallery, Brisbane, and The Sky of The South Hemisphere; Post Historical Dimension at the Institute of Modern Art, Brisbane.

Dimitrijević gained an international reputation in the seventies with his Casual passer-by series, in which gigantic photo portraits of anonymous people were displayed on prominent facades and billboards in European and American cities. The artist also mimicked other ways of glorifying important persons by building monuments to passers-by and installing memorial plaques in honour of anonymous citizens.

Dimitrijević gained an international reputation in the seventies with his Casual passer-by series, in which gigantic photo portraits of anonymous people were displayed on prominent facades and billboards in European and American cities. The artist also mimicked other ways of glorifying important persons by building monuments to passers-by and installing memorial plaques in honour of anonymous citizens.

In the mid-seventies he started incorporating in his installations original paintings borrowed from museum collections. The Triptychos Post Historicus, realized in numerous museums around the world, unite in a harmonious synthesis high art, everyday objects, and fruit. The artist’s statement “Louvre is my studio, street is my museum” expresses both the dialectical and transgressive nature of his oeuvre. In the last thirty years, Dimitrijevic has realized over 500 Triptychos Post Historicus, with paintings ranging from Leonardo’s Madonna to Malevich’s Red Square, in numerous museum collections including the Tate Gallery, London, the Louvre, the Musee National d’Art Moderne Paris, the Solomon R. Guggenheim Museum New York, the Musee d’Orsay, and the Russian State Museum, St Petersburg, amongst many others.