NOTE: The following text is taken directly from the catalogue for "In another moment". Words in [ ] are mine; I have not attempted to correct the English.

Gallery SKC

September 15 - 20

September 22 - 27

September 29 - October 3

Beograd

1971

AT THE MOMENT
An international exhibition organized in a hall-gate of an ordinary apartment house in Frankopanska street # 2a in Zagreb was held on April [23rd] 1971 between 5 and 8 p.m. The organizers of this exhibition, Braco Dimitrijevic and myself [Nena Dimitrijevic] had the opportunity to present the last two-year works of 16 artists and 3 art groups. The most of the artist we had met in November last when we negotiated their participation. However, contact with the authors we didn't meet personally was established through a letter which later on was used as an idea for the poster. It is most important to point out the place and the unusually short period of duration of this show. The hall-gate in Frankopanska street # 2a was found accidentally at the time when a need for a new exhibition space without influence of museum and gallery policy appeared. The locality of this hall-gate, hospitality of tenants of the house and frequency of the street where the most important facts in selecting of this place. To exhibit in a noninstitutional space, almost in the street, fundamentally follows the idea of this avangard creation and results from the consequently conveyed thesis of the democratisation of art, since, apart from the permanent gallery public, it gives the opportunity to a casual passer-by and man for whom exhibition visiting isn't programmed in his free time, to see the show.
The hall-gate of Frankopanska 2a was chosen at rendom and it can just as well be suddenly abbandoned and the whole happening transferred to another place. If one insists on a location, then it becomes an institution like any other gallery with a fixed programme, its reputation and permanent public. It wasn't our intention. The point is that out of an almost street space, we wanted to make a centre of interest and information - but not to establish it. Since the majority of the public was not informed on the work of this art current it was possible for them to get acquainted with this new kind of work in space of which they had no previous image or prejudice concerning the orientation, programme of work etc.
The exhibition lasted only 3 hours as the difference between the figures of 700 and 70,000 of the possible visitors is insignificant compared to the number of those informed by mass-media. The initial impulse was given by means of exhibiiton, and further, information was brought by press, radio and TV.

Nena Dimitrijevic

If the show "At the moment" by its organizational conception were the negation of the gallery as a constant and "consacrated" exhibition space, at first glance it could seem that "In another moment" held under traditional gallery patronage means the denial of all previous theses. Conceived and carried out under the institutionalised patronage of a gallery, which though young and without strictly established orientation, this exhibition accomplishes itself by a previously established order of the following occurrences: from the invitation cards and posters to the unevitable opening and the catalogue with the introduction. However in this order of strickly determined organizational procedures there is an aberration which, by its apparent groundlessness and absurdity provoques restlessness, uncertainty, which normally follows every disturbance of a previously set order. This illogicality appears within the structure called the holding of an exhibition, a structure of which one of the main dispositions is either a longer or a shorter lasting period but always complete and continuous. The show "In another moment" will last 3 times 5 whole days with intervals of one day in between. During these intervals the exhibition will be rearranged; this inapprehensable and apparently absurd proceeding, without justification within the the organizational difficulties, but too regularely repeated to be accidental, is not motivated by efforts of more effective setting up and neither has its origin in the altered aesthetical motives of the "arranger"; each arrangement is given to another member of the technical staff of the gallery (for the practical reasons we did not engage completely inknown persons, although this possibility is not excluded) so that the categories of "taste", "professionality", "knowledge of the works and their authors" which are of main importance in the arrangements of most exhibitions lose all its priority in this particular case. The reasons and implications of an exhibition conceived and presented in such a manner are multiple. The first reason has its orgin in the nonvisual character of conceptual art. In accordance with the idea that this kind of art has made free itself not only from all aesthetic but also from all formal research, by constant change of the set up of the exhibition one delies each formal-aesthecial access to the exhibited works.
Secondly, the reappearance of the same selection of artists each time in an apperently different exhibition is a scheme of the policy and operation of certain galleries. Most of the galleries upon a successful affirmation of a certain group of artists remains symbolically linked to them. From the appearance of the new artistic current up to its affirmation achieved by the gallery supporrt, this institution played more or less a positive role up to the moment when it began to create a shell around the successfully established group of artists. From there on the gallery programme is determined: new arrangements or new works of the same group of artists - members of the same current. By more contemporary arrangements of exhibitions or by the introduction of a new member of the same creational orientation, one cinceals the staticity of the obsoleteness and nonflexibility of the gallery policy.
After a short symbolical brakes the show "In another moment" appears with identical selection of authors illustrating a negative rigidness of the programme of certain galleries. If any exhibition would be repeated unaltered after a considerably long period, without a new set-up, a new arrangement, without apparently new exponents, than it would be from this time distance a more understandable and also a more apprehensible value, but also the ephemerality of a certain orientation. The reasons of such organization are given partially, i.e. only the posibility has been offered to association caused by minor changes of fixed order.
A visitor is indduced to find his own explenation of this organizational aberrance. In terms of art which moves creative action from the personality of artist to a receiver is adequate to transfer of the role of an arranger of the exhibition from the theoretician of art to any other person whose active participation is not limited to accomplishment of the exhibited works, but in creation of the show as a whole.

Nena Dimitrijevic