Age, Biography and Wiki

Braco Dimitrijević (Slobodan Dimitrijević) was born on 18 June, 1948 in Sarajevo, PR Bosnia and Herzegovina, FPR Yugoslavia, is a Slobodan Braco" Dimitrijević is conceptual artist conceptual artist. Discover Braco Dimitrijević's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is he in this year and how he spends money? Also learn how he earned most of networth at the age of 75 years old?

Popular As Slobodan Dimitrijević
Occupation N/A
Age 75 years old
Zodiac Sign Gemini
Born 18 June 1948
Birthday 18 June
Birthplace Sarajevo, PR Bosnia and Herzegovina, FPR Yugoslavia
Nationality Bosnia and Herzegovina

We recommend you to check the complete list of Famous People born on 18 June. He is a member of famous artist with the age 75 years old group.

Braco Dimitrijević Height, Weight & Measurements

At 75 years old, Braco Dimitrijević height not available right now. We will update Braco Dimitrijević's Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.

Physical Status
Height Not Available
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Dating & Relationship status

He is currently single. He is not dating anyone. We don't have much information about He's past relationship and any previous engaged. According to our Database, He has no children.

Family
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Wife Not Available
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Children Not Available

Braco Dimitrijević Net Worth

His net worth has been growing significantly in 2023-2024. So, how much is Braco Dimitrijević worth at the age of 75 years old? Braco Dimitrijević’s income source is mostly from being a successful artist. He is from Bosnia and Herzegovina. We have estimated Braco Dimitrijević's net worth, money, salary, income, and assets.

Net Worth in 2024 $1 Million - $5 Million
Salary in 2024 Under Review
Net Worth in 2023 Pending
Salary in 2023 Under Review
House Not Available
Cars Not Available
Source of Income artist

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Timeline

1948

Slobodan "Braco" Dimitrijević (born 18 June 1948) is a Bosnian conceptual artist.

His works deal mainly with history and the individual's place in it.

He lives and works in Paris, France.

Braco Dimitrijević was born on 18 June 1948 in Sarajevo, Bosnia and Herzegovina, FPR Yugoslavia.

His father was the painter Vojo Dimitrijević, one of the most famous modern artists in Yugoslavia.

1957

He started painting at the age of 5 and was featured in a TV show entitled Filmske Novosti (Film News) in 1957.

1963

His first conceptual work dates back to 1963.

1970

He has exhibited internationally since the 1970s, including at the Tate Gallery in 1985.

In the 1970s, Dimitrijevic gained attention when he began his Casual Passer-by series.

The work features very big close-up photographic portraits of everyday people that were hung on buildings and billboard in different cities in Europe and America.

He then went on to produce memorial plaques in honour of other people that he met.

About the one he made for the Lucio Amelio's "Terrae Motus" collection he said: "I Stopped the first man i saw in the street, explained to him what my work was and then asked him to be the model for the foto".

1971

He went on to study at Academy of Fine Arts in Zagreb, from which he graduated in 1971.

He then studied at Saint Martin's School of Art in London from 1971 to 1973.

1972

He has participated in documenta (1972, 1977 and 1992) and the Venice Biennale (1976, 1982, 1990, 1993 and 2009).

His works are held in the collection of the Tate Gallery, MoMA Museum of Modern Art New York, and that of the Centre Pompidou, among others.

1976

In 1976, he wrote Tractatus Post Historicus, which formed the theoretical basis of his early work.

1980

His work from the 1980s which joined animals and works of art would go on to become an exhibition in 1998 at the Paris Zoo that was visited by over a million people.

His Triptychos Post Historicus installations feature paintings by old or modern masters in conjunction with everyday objects and fruits/vegetables.

More than 500 of these installations exist.

Controversy arose when a man who visited the exhibition at the Tate realized that the paintings in question were not copies but the originals and reported this to The Times who then wrote about it.