trigon 67
/5
paper, print, 24 x 23 cm
exhibition catalogue
trigon 67: ambiente
5 September–15 October 1967
Künstlerhaus, Graz / Neue Galerie Graz im steirischen herbst 1967
The three-country project “trigon” was a biennial that featured contemporary art from the regional neighbors Austria, Italy, and what was then Yugoslavia. This biennial was founded in Graz, Austria, in 1963 and recurred until 1995, by which point a new Europe and a more global understanding of art had already emerged. Throughout its three-decade run, trigon sought to present the latest developments in art—and it was also one of the first international exhibition series to include artists from Yugoslavia, some of whom went on to enjoy further international success.
Starting with trigon 67, central themes associated with transnational exhibition-making practices were discussed and applied, some of them to the dismay of local visitors. Under the title of “ambiente/environments,” radical conceptions of space, interdisciplinary architecture, sculpture, and painting were brought to the fore. It was especially during the 1960s that art witnessed an expansion of the approach to space, its socio-cultural backgrounds, political ramifications, and related environmental concerns. The inherent aesthetic questions also fostered unrestricted access to public space, which even began to include space travel. W.S.
exhibition catalogue
trigon 67: ambiente
5 September–15 October 1967
Künstlerhaus, Graz / Neue Galerie Graz im steirischen herbst 1967
The three-country project “trigon” was a biennial that featured contemporary art from the regional neighbors Austria, Italy, and what was then Yugoslavia. This biennial was founded in Graz, Austria, in 1963 and recurred until 1995, by which point a new Europe and a more global understanding of art had already emerged. Throughout its three-decade run, trigon sought to present the latest developments in art—and it was also one of the first international exhibition series to include artists from Yugoslavia, some of whom went on to enjoy further international success.
Starting with trigon 67, central themes associated with transnational exhibition-making practices were discussed and applied, some of them to the dismay of local visitors. Under the title of “ambiente/environments,” radical conceptions of space, interdisciplinary architecture, sculpture, and painting were brought to the fore. It was especially during the 1960s that art witnessed an expansion of the approach to space, its socio-cultural backgrounds, political ramifications, and related environmental concerns. The inherent aesthetic questions also fostered unrestricted access to public space, which even began to include space travel. W.S.