• Julije Knifer, TU-L, 1973, acrylic on canvas, 29 3/4 × 41 3/4". From “The Gorgona Group.”


    Kunstmuseum Liechtenstein

    June 9–September 3, 2017

    Curated by Friedemann Malsch

    Outside of small gallery shows, there have been few opportunities in recent years to see the extraordinary work of this Zagreb, Croatia–based postwar collective. In MoMA’s cacophonous 2015 exhibition “Transmissions,” the austere yet elegant installation of work by Josip Vaništa, Julije Knifer, and the brainy curator-critic Mangelos was a welcome reprieve. But it turns out that this was only an hors d’oeuvre. This summer in Liechtenstein, we will see more fully how the group’s identity—part Malevich, part Manzoni—developed as a result of its members having worked in anti-Soviet, semi-capitalist, and (temporarily) antinationalist Yugoslavia. Their creative output, including a stunning journal, a prescient use of correspondence and collaboration in the making of art, and some of the first monochromes of postwar Europe, gives us a glimpse of what art looked like with the Iron Curtain half-drawn.