Braco Dimitrijević: Future Post History, a collateral event at the 53rd International Art Exhibition – La Biennale di Venezia, is an exhibition of the work of the internationally acclaimed artist Braco Dimitrijević, born in Sarajevo, Bosnia and Herzegovina.

The exhibition is organized by the Ars Aevi Museum of Contemporary Art Sarajevo in collaboration with Comune di Venezia and Fondazione Musei Civici di Venezia. It will be held at two central Venice locations: the ground floor of the Ca’ Pesaro Museum and on the façade of the Ca’ Farsetti palace, the Venice City Hall, located on the Grand Canal. The exhibition will present recent works by Braco Dimitrijević in different media: large-scale installations and video works at the Ca’ Pesaro Museum and a site specific installation on the façade of the Ca’ Farsetti palace.

The exhibition at Ca’ Pesaro will also portray the accomplishments of the Ars Aevi Museum of Contemporary Art Sarajevo. Braco Dimitrijević is one of the 160 renowned international artists who have, with their works, become the founders of the Ars Aevi Collection for the Museum of Contemporary Art in Sarajevo, designed by Renzo Piano.



Launch of Tractatus Post Historicus at Ca’Pesaro

Launch of Braco Dimitrijević’s theoretical book Tractatus Post Historicus (1976), republished by the Slought Foundation at the University of Pennsylvania in Philadelphia, will take place during the Ca’ Pesaro opening. In addition to Tractatus Post Historicus and other early writings by Dimitrijević, the book includes critical commentaries by Achille Bonito Oliva, Nicolas Bourriaud, Dan Cameron, Nena Dimitrijević, Lóránd Hegyi, Želimir Koščević, Cornelia Lauf, Aaron Levy, Jean-Hubert Martin, Catherine Millet, Klaus D. Pohl and Osvaldo Romberg.

The artist and contributors Achile Bonito Oliva, Nicolas Bourriaud, Lóránd Hegyi, Želimir Koščević, Aaron Levy, Jean-Hubert Martin and Catherine Millet will be
present.





BRACO DIMITRIJEVIĆ

Braco Dimitrijević is a seminal artist of conceptual art who gained international reputation in the seventies with his Casual Passer-by series, in which gigantic photo portraits of anonymous people were displayed on prominent facades and billboards in European and American cities. Dimitrijević also mimicked other ways of glorifying important persons by building monuments to passers-by and installing memorial plaques in honour of anonymous citizens.

In the mid-seventies he started incorporating in his installations original paintings borrowed from a museum collection. The Triptychos Post Historicus, realized in
numerous museums around the world, unite in a harmonious synthesis high art, everyday objects and fruit. The artist’s statement “Louvre is my studio, street is my museum” expresses both the dialectical and transgressive nature of his oeuvre.
Braco Dimitrijević’s work as well as his theoretical book Tractatus Post Historicus (1976) were an important influence on two tendencies that dominate artistic discourse today: critical practices in public space and interventions in museum collections.

Cornelia Lauf

In “Braco Dimitrijevic”, Monograph, Edizioni Charta, Milan, 2006