#Mangelos

[radiogornjigrad]

Promocija novog časopisa - ANTI-SVIJET

Antimuzej i Galerija M23 pozivaju vas na promociju novog časopisa za kulturu „Antisvijet – magazin kulturne autonomije“. Promocija časopisa održati će se u petak, 9. veljače 2024. godine, sa početkom u 19.00 sati u prostorijama Galerije M23, Vlaška ulica 89/1, u Zagrebu. Nulti broj „Antisvijeta“ koji ćemo predstaviti javnosti donosi veliku priču o sakrivenom opusu Dimitrija Bašičevića Mangelosa,…

[e-kultura]

Galerija Neon ~ Izložba Mangelos u Antimuzeju

[thestalkerbunny]

Basically they're sites where you can rate anime/manga, review anime/manga, keep tabs on how far along you are in various animes/mangas.

Anime Planet also has a tag system that lets you find stuff matching certain criteria. Handy for when you have remarkably specific taste.

I honestly use Mangelo so I can keep track of everything I'm currently reading

[mvmvmvmvmvmvmvmvmvmvmv]

Mangelos: manifesto of manifesto  in English Zagreb, 1977.  screenprint on paper 70 x 50 cm (27 1/2" x 19 5/8") Produced as part of a gallery show in Zagreb, 1977. that featured his manifesto work.  Mangelos. Manifesti: noart. Zagreb: Atelier Tošo Dabac, 1978.

[estherattarmachanek]

@curatedby @galeriemartinjanda curated by Asier Mendizabal / Eröffnung: 09. & 10.09.2022 CURATED BY ASIER MENDIZABAL: REROUTE—REORIENT Eröffnung: 09. & 10.09.2022 | 12–18 Uhr Ausstellung: 09.09.–08.10.2022 von Asier Mendizabal kuratierte Ausstellung Reroute—Reorient mit Werken von Goshka Macuga, Mangelos, Ciprian Muresan, Roman Ondak und Tania Pérez Córdova. Haben wir uns verirrt, sind wir verwirrt oder schockiert, so verspüren wir das Bedürfnis, uns neu zu orientieren. Mit diesem Wort meinen wir die Anpassung an eine neue Situation, die durch eine plötzliche, unvorhersehbare oder unbegreifliche Veränderung entstanden sein kann. Der Begriff, sich neu zu orientieren oder neu auszurichten, bezieht sich natürlich auf eine räumliche Vorstellung. Indem wir eine Hauptrichtung (wie etwa Osten, Norden...) Galerie Martin Janda Eschenbachgasse 11 1010 Wien Austria https://www.instagram.com/p/CiSSbXksnA9/?igshid=NGJjMDIxMWI=

[slobodanstosic]

“Walkthrough”

Specifications: Installation of variable dimensions, HD video, b/w, stereo sound, 38’ 38’’, 2021 

“Walkthrough” is a short black­ and­ white film that uses a doc­umentary approach to record a first­ person speech by another  artist and visionary about his project for a self-sustaining en­gine of contemporary art that combines a new production with a form of legacy/museum. Throughout the film, Stošić does not speak, giving completely the floor to the author he is recording. The film is therefore shot as a curatorial or artistic guidance and is a walk through an architectural object that is “conceived on the principle of a work of art” and in which each part has its own purpose. According to its author, this building is “more of a sculpture than a museum” – it combines his experience as an artist and his experience as a director of the Museum of Con­ temporary Art, and he describes this process as an act of activ­ism in the field of culture. 

Conceiving the museum as a meeting place, and not just as a place to store objects from the past, the author leads us from segment to segment of the architectural object, explaining their functions. One segment was dedicated to documentation of his works, followed by a library with publications and documen­tary materials, then with a gallery of current artistic practices of which he was the selector, as well as with a part that is a spe­cific cultural centre where interaction between the people and the object takes place, and in which the local people become an active audience of contemporary art. As he moves through the building, we see that it is completely ruined, as well as the doc­umentation that was in it. 

As the author suffered a stroke in the meantime, the building was completely devastated. On the floor of what was a legacy/ library, we see only torn pieces of books, which he calls a con­ceptual work that presents the fate of art if there is no institu­tion, and suggests that those pieces should be picked up and placed somewhere “to be a trace, not just a memory.” Despite that, aware that this object and concept are created after the end of art history, he announces that he will revitalise it again, as his health improves. According to him, it is a way to revitalise one’s own biography, which, according to him, is a way to overcome the crisis of museums and contemporary culture. With this an­nouncement of revitalisation, “Walkthrough” ends. 

Architecture in Slobodan Stošić’s film is a testimony to the at­ tempt to create a decentralized hybrid concept of contemporary culture that brings new dynamics to the rural environment, but also to the much wider crisis of museums and the crisis of in­frastructure for contemporary art. The architecture and ruin of the internal content of the building also testify to what happens when such an initiative is undertaken by an individual without institutional support, who at some point is prevented from de­voting himself to the project.  Stošić’s film thus becomes a cura­torial work that documents the current phase of this building, which its author himself considers to be more of a work of art than a museum. 

Sonja Jankov

* The work was shown for the first time at the exhibition “Who doesn’t want to think, goes out! – Joseph Beuys & Mangelos – 100 years and art today” which was set up during August and September 2021 in the Gallery Menjačnica of the Goethe Institute in Belgrade, U10 Art Space and the New Gallery of Visual Arts (NGVU), on the occasion of the birth centenary of Joseph Beuys and Dimitrije Bašičević Mangelos. The curators of the exhibition were Selman Trtovac, PhD and Ivana Bašičević Antić, PhD. 

[boyofseventies]

#exhibition #awards #pictures #videoart NAGRADA DIMITRIJE BAŠIČEVIĆ MANGELOS 2022 - izložba finalista (11.7.-6.8.2022.) Pavle Banović (1998, Beograd) Kemil Bekteši (1997, Beograd) Dea Džanković (1991, Novi Pazar) Milan Kujundžić (1997, Foča) (у месту Remont - nezavisna umetnička asocijacija) https://www.instagram.com/p/Cf4XHMAsNoY/?igshid=NGJjMDIxMWI=

[garadinervi]

Mangelos (Dimitrije Bašičević), Alfabet (hel), 1953 [MoMA, New York, NY. © 2021 Estate of Mangelos (Dimitrije Bašicevic)]

[vorvoros]

Dimitrije Bašičević Mangelos

mangelos no.9 (no art) shid-theory, 1978

Dimitrije Bašičević Mangelos died in 1987 at the age of 66, as he himself accurately foresaw: in his manifesto “Shid Theory,” published and exhibited in Zagreb in 1978, he had divided his life into nine-and-a-half “Mangeloses,” ending in the year of his death. Mangelos’s manifesto refers to the “psycho-biological” hypothesis that he had learned about as a schoolboy in his native village of Šid in former Yugoslavia—a hypothesis according to which the cells in the human organism are entirely renewed within seven years, for which reason each human being successively embodies several completely different personalities—as an explanation of the differences between the early and late oeuvres of various artists, claiming that there were two Rimbauds, two Karl Marxes, three Van Goghs, several Picassos, and nine-and-a-half Mangeloses. He also applied this method when categorizing and dating his own works: one Mangelos was a critic and curator, while another questioned it all, claiming that one must start from a clean slate: tabula rasa. One was involved in arts institutions, while the other doubted the validity of such systems … prompting the third as well as the others thereafter to persevere in their formulation of the artistic project termed “No-Art.” B.S.

[antronaut]

Mangelos - Relation Manifesto (1976)

[radiogornjigrad]

Mangelos u Antimuzeju

2.9.2022. u 20 sati – 3.9.2022. u 7 sati Desetak kutija, koje su se našle među više od stotinu i pedeset kutija koje su 15.7.2020. godine bačene na krupni otpad kao smeće iz stana u kojem je živio i radio Vladimir Dodig Trokut, kao i iz pripadajućih skladišnih prostora, u zgradi u Bulićevoj 6, u središtu Zagreba, skrivalo je posebnu tajnu Antimuzeja. Tajnu koju je i sam Trokut vjerno skrivao,…

[moma-prints]

Paysage de la guerre, Mangelos, 1942-44, MoMA: Drawings and Prints

Gift of Peter Freeman Size: 9 x 12 5/8" (22.9 x 32.1 cm) Medium: Watercolor on paper

http://www.moma.org/collection/works/102882

[thestalkerbunny]

Oh could you reccomend me any? I alway looking for websites with least amount of unwanted dicks and tits.

tragically the least amount I’ve found is on Mangelo. And even then there’s a lot of ads you gotta exit out of, that will try to send you to another page because fucking that’s how it works, but once they’re cleared out you can just read the chapter easy

[mvmvmvmvmvmvmvmvmvmvmv]

Mangelos: manifest o impresionizmu (in Croatian), 1977. High Quality Screen Print / visokokvalitetan sitotisak 84 x 52 cm (33 1/8" x 20 1/2") 

Mangelos: manifest o impresionizmu silknprint on paper. Zagreb 1977. Produced as part of a gallery show in Zagreb that featured his manifesto work.  Mangelos. Manifesti: noart. Zagreb: Atelier Tošo Dabac, 1978.

[nymphaevm]