My sweet little lamb (Everything we see could also be otherwise) is a series of exhibition episodes based on the Kontakt Collection and dedicated to the artist Mladen Stilinović, unfolded in Zagreb and London in 2016–2017. This publication, conceived as a “post-episode” of the project, presents extensive visual documentation of the exhibitions alongside newly commissioned texts by theorists and writers Branislav Dimitrijević, Miguel A. López, Oxana Timofeeva, and Marina Vishmidt. Drawing on the legacy of the Eastern European neo-avantgarde and the work of Stilinović in particular, these contributions grapple with urgent questions about the value of art and exhibition making. Including the work of Mária Bartuszová, Stano Filko, Tina Gverović, Katalin Ladik, Sanja Iveković, Běla Kolářová, Július Koller, Edward Krasiński, Dóra Maurer, Goran Trbuljak, KwieKulik, Ivan Kožarić, Vlado Martek, Mangelos, Heimrad Bäcker, Stephen Willats.

This publication is an unedited reprint of the catalogue originally published by de Appel in 1980 as a follow-up to the international art manifestation Works and Words. The event sought to break with the one-way traffic of Western artists traveling to the East by inviting artists from Eastern Bloc countries to Amsterdam. The invited artists, theoreticians, film-makers, and art historians represented a broad spectrum of practices, theoretical approaches, and developments. Including artists such as; KwieKulik (Zofia Kulik and Przemysłav Kwiek), Július Koller, Jiří Kovanda, Dóra Maurer, Sanja Iveković and Dalibor Martinis, Mladen Stilinovic, Jozef Robakowski amongst others.

You can find more information on the exhibition here.

Edited by Lukasz Ronduda and Georg Schöllhammer.

Zofia Kulik and Przemyslaw Kwiek (KwieKulik) since the 1970s pioneered the transformation of artistic practice into social experimentation. KwieKulik sought to reconcile artistic praxis with everyday life, essentially basing on the premise that form is a fact of society. The couple’s pioneering approach to film, photography, and multi-screen slide projection epitomise their unique variation of expanded cinema.

This monograph, stemming from a long-term research project on the KwieKulik Archive, documents Zofia Kulik and Przemyslaw Kwiek’s collective works from 1971 to 1987, illuminating the radically unique position of the artists in the history of neo-avant-garde in Central Europe. The book covers and documents more than 200 events, and includes a “KwieKulik Glossary,” the collection of concepts introduced and applied by the artists. The essays in the book are featuring excerpts from texts devoted to KwieKulik in the course of the last decades.