reviews

Josip Vaništa, Deposition (detail), 1986, digital print on archival paper, multipart, each 18 7/8 x 13".

Gorgona

Kunstmuseum Liechtenstein

Josip Vaništa, Deposition (detail), 1986, digital print on archival paper, multipart, each 18 7/8 x 13".

In a 1986 action titled Deposition, artists Josip Vaništa and Marijan Jevšovar and critic Radoslav Putar dutifully lugged one of Vaništa’s signature horizon-line paintings to a snowy forest outside Zagreb, Croatia, where they propped it against a tree. On return visits, the group would photograph the painting in its new environment, tracking the gradual damage to the snow-soaked canvas, until one day in the spring, when it disappeared altogether.

Decades earlier, Vaništa, Jevšovar, and Putar had served as founding members of Gorgona, an artistic alliance that, like Deposition, left little but archival traces in its wake. Active from 1959 until 1966, the group—whose other participants included artists Dimitrije Bašičević (better known as Mangelos), Julije Knifer, Ivan Kožarić and Đuro Seder, architect Miljenko Horvat and critic Matko Meštrović—was not bound by an aesthetic

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