Grupa šestorice autora / Group of Six Artists
Maj '75 / May '75
16 artist's magazines (17 published). Missing issue K.
Mixed media on paper, stapled
Dimensions: Original Size: each 29,5 x 21 cm (11 5/8 x 8 1/4 in.)
In nice condition. Very very rare.
Group of Six Artists: Boris Demur, Željko Jerman, Vlado Martek, Mladen Stilinović, Sven Stilinović and Fedor Vučemilović.
Other Artists in May 75: Vlasta Delimar, Tomislav Gotovac, Sanja Iveković, Mangelos, Balint Szombathy, Raša Todosijević, Goran Trbuljak, Grupa jedan, dva tri, Goran Petercol, Darivoj Čada, Jovan Čekić, Željko Kipke, Zlatko Kutnjak, Antun Maračić, Stanislav Filko, Vladimir Gudac, Marijan Molnar, Sergio Pausig, Rajko Radovanović, Darko Šimičić, Iris Vučemilović, Zoran Popović, Pino Ivančić, Breda Beban, Rada Čupić, Jasna Jurum, Vesna Miksić, Vesna Pokas, Bogdanka Poznanović, Duba Sambolec, Edita Schubert, Branka Stanković, Živko Kladnik, Lela Mujkić, Egist Zagoričnik, Franci Zagoričnik, Orest Zagoričnik, Zan Futranovitch Toupillon, Matjaž Hanžek, Boris Ivandić, Radomir Mašić, Jaroslav Supek, Vlatko Vincek, Filimir, Vladimir Dodig Trokut, Boris Jelenić, Dobrica Kamperelić, Nenad Bogdanović, Jusuf Hadžifejzović.
From 1978 to 1984, seventeen issues of “May’75” were published, each issue coded by letters of the alphabet. The magazine was produced by assembling individual works. The artists made their own pages on A4 paper and then bound them together into a magazine format. In addition to the original six, over fifty artists from Ex-Yugoslavia, Germany, Ex-Czechoslovakia, and Italy amongst other countries were invited to contribute their work to the magazine. Each issue including original art work, ready made artwork, ciclostile print work or silkscreen work, texts, concepts, projects, attitudes, ironical and political opinions, collages and photographs which lost almost nothing of their original quality when reproduced or multiplied. Pages were occasionally reproduced by screenprinting in the workshop of Željko Jerman and Vlasta Delimar. Most pages however, were hand-made. By repeating the same, simple and quickly executed work, the artist diminishes the significance of the original. Issues of “Maj’75” with their spontaneous use of available materials and technologies are obviously there to be used and handled, and although they are full of original works, there is nothing of a deluxe edition about them. “Maj’75”, financed by the artists themselves, was usually handed out for free during the exhibition-actions to other artists, friends, critics or passers-by. Later, when the Group of Six Artists no longer exhibited on the streets, distribution was usually managed through personal contacts and through mail. The magazine was never sold through bookstores or in galleries, not because its authors did not want this, but because it was impossible. Each private enterprise was met with countless obstacles in communist countries. “Maj’75” was thus completely unofficial. This had one advantage in that it avoided censorship, but also a drawback, in that the magazine remained little known outside a narrow circle. Branka Stipančić