After the terrible spring when many of the artist's friends had found their death in the earthquake, Mihai Olos decided he had to go by any means to the Kassel Documenta 6.
The international art event was limited to 100 days, since midsummer to the beginning of October.
That year the number of participants was 655, including some of the greatest artists, such as Francis Bacon, Marcel Duchamp, Sol LeWit, Lucio Fontana, Nam June Pike and many others, and there were 2700 exhibits.
The Documenta featured the first international telecast by artists and some of the performances were to be transmitted to over 25 countries.
One of the greatest attraction of the Documenta was the Free International University where the famous conceptual artist Joseph Beuys was addressing directly the participants elaborating on his theory of "social sculpture", crucial for his art project.
Olos had already become an admirer of Beuys' art when he saw one of the German artist's drawings on a crumpled piece of paper at a museum in Paris.

Arrived in Kassel, Olos did not hesitate to approach the famous German artist.
During one of Beuys's seminars, he took the chance to draw on a blackboard the sketch of his own project of the universal city.
Without a proper knowledge of any international language, still he was able to expose his theory of the Universal City so as to be understood by the participants.
Afterwards, he proudly used to quote the German artist who, looking at his drawing had exclaimed:"Finally, an artist!".
The blackboard with Olos' drawing was included – with Beuys having drawn over it a swan – in the installation with blackboards entitled "The Capital"(hinting at Marx) shown at the next Venice Biennial and reproduced in Beuys' booklet entitled Das Kapital Raum 1970–77.

Another meeting with Beuys was in Düsseldorf, on 26 June 1980, when Olos asked the German artist to make an intervention on one of his work.
Accepting, Beuys cut off some spindle-knots from one of the Romanian artist's sculptures.
The intervention had been recorded on photos.

The artist will describe his experience at Documenta 6 in an article published in Romanian Arta, in 1978, while his meetings with Beuys and his parting from Beuys could be found in two of his notebooks, after Beuys' death in January 1986.
After the terrible spring when many of the artist's friends had found their death in the earthquake, Mihai Olos decided he had to go by any means to the Kassel Documenta 6. The international art event was limited to 100 days, since midsummer to the beginning of October. That year the number of participants was 655, including some of the greatest artists, such as Francis Bacon, Marcel Duchamp, Sol LeWit, Lucio Fontana, Nam June Pike and many others, and there were 2700 exhibits. The Documenta featured the first international telecast by artists and some of the performances were to be transmitted to over 25 countries. One of the greatest attraction of the Documenta was the Free International University where the famous conceptual artist Joseph Beuys was addressing directly the participants elaborating on his theory of "social sculpture", crucial for his art project. Olos had already become an admirer of Beuys' art when he saw one of the German artist's drawings on a crumpled piece of paper at a museum in Paris.
Arrived in Kassel, Olos did not hesitate to approach the famous German artist. During one of Beuys's seminars, he took the chance to draw on a blackboard the sketch of his own project of the universal city. Without a proper knowledge of any international language, still he was able to expose his theory of the Universal City so as to be understood by the participants. Afterwards, he proudly used to quote the German artist who, looking at his drawing had exclaimed:"Finally, an artist!". The blackboard with Olos' drawing was included – with Beuys having drawn over it a swan – in the installation with blackboards entitled "The Capital"(hinting at Marx) shown at the next Venice Biennial and reproduced in Beuys' booklet entitled Das Kapital Raum 1970–77.
Another meeting with Beuys was in Düsseldorf, on 26 June 1980, when Olos asked the German artist to make an intervention on one of his work. Accepting, Beuys cut off some spindle-knots from one of the Romanian artist's sculptures. The intervention had been recorded on photos.
The artist will describe his experience at Documenta 6 in an article published in Romanian Arta, in 1978, while his meetings with Beuys and his parting from Beuys could be found in two of his notebooks, after Beuys' death in January 1986.
Mihai Olos