Salon

Goran Djordjevic has been active in the art scene from the mid seventies as one of the protagonists of the so-called “analytic line” of Belgrade conceptualism. In 1979, he completely turns to copying projects, which he practices until 1985, when he stops producing authorial work in the field of art. Although many works from Djordjevic’s copyist body of works were exhibited in independent and group exhibitions in the country and abroad, with few exceptions, they were not attracting attention of local critics, nor were they included in the art history reviews of the time.