Croatia
Contents
- 1 Avant-garde
- 2 Experimental film
- 3 Action art, happening, performance, body art
- 4 Visual poetry, Concrete poetry, Lettrism
- 5 Conceptual art
- 6 Geometric abstraction, Neo-constructivism, Op art, Kinetic art
- 7 Electroacoustic music
- 8 Computer and computer-aided art
- 9 Video art
- 10 New media art, Media culture
- 11 Art theory and art history
- 12 More artists
Avant-garde[edit]
Artists and groups[edit]
- Zenit, Zagreb/Belgrade (see below)
- Josip Seissel
- Vilko Gecan
- Dragan Aleksić
- Branko Ve Poljanski
- Travelers (Traveleri) group, 1922-1932, Zagreb. Čedomil Plavšić [1], Dragutin Herjanić, Višnja Kranjčević, Zvonimir Megler, Vlado Pilar, Josip Seissel, Miloš Somborski, Miho Schön [2], Dušan Plavšić.
- Earth Group (Zemlja), 1929-1935, Zagreb. Members: Augustinčić, Hegedušić [3], Ibler, Junek, Kršinić, Mujadžić, Postružnik, Ružička, Tabaković. [4]
- Ivana Tomljenović-Meller, studied at Bauhaus.
- Ludwig Čačinović (Lajos Tarai), studied at Bauhaus.
- Otti Berger, studied at Bauhaus.
Events[edit]
- Proljetni (Spring) Salon, the first avant-garde activity in Zagreb, 1916
- 1923, the first Zenithist soirees in Belgrade and Zagreb, organised by Micić
Journal[edit]
- Zenit: International Review of Arts and Culture was a Yugoslav avant-garde magazine published in 43 numbers in 34 volumes in Zagreb (Feb 1921-May 1923) and Belgrade (Jun 1923-Dec 1926). Its founder, editor and the chief ideologist of the Zenitist aesthetics Ljubomir Micić, a poet and art critic, was the main progenitor of the avant-garde in Croatia and Serbia during the first half of the 1920s.
Writings[edit]
- Ljubomir Micić, Ivan Goll and Bosko Tokin, "Manifest Zenitizma" [Zenithist Manifesto], Zenit no. 1, Zagreb, 1921. [5]
- Branko Ve Poljanski, "Manifesto", Svetokret, 1921.
- Ljubomir Micić, "Man and Art", Zenit, 1921.
- Ljubomir Micić, "The Spirit of Zenithism", Zenit, 1921.
- Ivan Goll, "Expressionism is Dying", Zenit, 1921.
- Ljubomir Micić, "Šimi na groblju latinske četvrti, Zenitistički Radio-Film od 17 sočinenija" [Shimmy at the Latin Quarter Graveyard, Zenitist Radio-Film in 17 Parts], Zenit, 1922. In his prose text, Micić used constructivist and montage principles of cinema. He christened this new narrative structure "radio-film".
- Ljubomir Micić, "A Categorical Imperative of the Zenithist School of Poetry", in The Rescue Car, 1922.
- Ljubomir Micić, Zenithism as the Balkan Totalizer of New Life, manifesto, Zenit, 1923.
- Drago Ibler, "Group Zemlja Manifesto", 22 May 1929. [6]
- Traveleri, manifesto, 1930
Literature[edit]
- Croatia
- Jadranka Vinterhalter (ed.), Prodori avangarde u hrvatskoj umjetnosti prve polovice 20.stoljeca / Flashes od avant-garde in the croatian art of the first half of the 20th century, Zagreb: MSU, 2007. [7]
- Darko Šimičić, "Strategije u borbi za novu umjetnost. Zenitizam i dada u srednjoeuropskom kontekstu", in Moderna umjetnost u Hrvatskoj, 1898.-1975., Zagreb: Institut za povijest umjetnosti, 2012, pp 40-65. (Croatian)
- Daina Glavočić, "D’Annunzio i riječki futurizam", in Moderna umjetnost u Hrvatskoj, 1898.-1975., Zagreb: Institut za povijest umjetnosti, 2012, pp 66-89. (Croatian)
- Yugoslavia
- Treća decenija, Konstruktivno slikarstvo, eds. Jerko Denegri and Dragoslav Đorđević, Belgrade: Muzej savremene umetnosti, 1967, 249 pp. Catalogue; with texts by Miodrag B. Protić, Jerko Denegri, Špelca Čopič. (Serbo-Croatian),(French)
- 1929-1950: Nadrealizam, socijalana umetnost, ed. Miodrag B. Protić, Belgrade: Muzej primenjene umetnosti, 1969, 291 pp. Catalogue; in the exhibition the work of the Belgrade Surrealists was reconstructed, studied and exhibited as a whole for the first time. With texts by Miodrag B. Protić, Jerko Denegri, Božica Ćosić, Josip Depolo, Špelca Čopič, Azra Begić, Boris Petrovski, Boris Šuica, Dragoslav Đorđević. [8] (Serbo-Croatian)
- Četvrta decenija, Ekspresionizam boje, poetski realizam, ed. Miodrag B. Protić, Belgrade: Muzej savremene umetnosti, 1971, 206 pp. Catalogue; with texts by Miodrag B. Protić, Jerko Denegri, Aleksa Čelebonović, Igor Zidić, Špelca Čopič. (Serbo-Croatian)
- Želimir Koščević, "Jugoslawische Bauhausschüler", Wissenschaftliche Zeitschrift / A, Hochschule für Architektur und Bauwesen, Jg. 33, 1987, H. 4/6. [9]
- Irina Subotić, "Avant-Garde Tendencies in Yugoslavia", Art Journal 49(1): "From Leningrad to Ljubljana: The Suppressed Avant-Gardes of East-Central and Eastern Europe during the Early Twentieth Century", College Art Association, Spring 1990, pp 21-27. [10]
- Esther Levinger, "The Avant-Garde in Yugoslavia", The Structurist 29/30, 1990, pp 66-72.
- Irina Subotić, "Concerning Art and Politics in Yugoslavia during the 1930s", Art Journal Vol. 52, No. 1, Political Journals and Art, 1910-40 (Spring, 1993), pp. 69-71. [11]
- Ivan Dorovský, "Některé zvláštnosti balkánské avantgardy", in Dorovský, Balkán a Mediterán: literárně historické a teoretické studie, Brno: Masarykova univerzita, 1997, pp 193-201. (Czech)
- Esther Levinger, "Ljubomir Micic and the Zenitist Utopia", in Exchange and Transformation: The Central European Avant-Garde, 1910-1930, Los Angeles: Los Angeles County Museum of Art, 2002, pp 260-278.
- Dragomir Ugren, et al., Centralnoevropski aspekti Vojvođanskih avangardi, 1920-2000: granični fenomeni, fenomeni granica, Novi Sad: MSUV, 2002, 193 pp. Catalogue. (Serbian)
- Dubravka Djurić, Miško Šuvaković (eds.), Impossible Histories: Historical Avant-gardes, Neo-avant-gardes, and Post-avant-gardes in Yugoslavia, 1918-1991, MIT Press, 2003, xviii+605 pp. (English)
- Dubravka Đurić, "Radical Poetic Practices: Concrete and Visual Poetry in the Avant-garde and Neo-avant-garde", in Impossible Histories: Historical Avant-gardes, Neo-avant-gardes, and Post-avant-gardes in Yugoslavia, 1918-1991, eds. Dubravka Djurić and Miško Šuvaković, MIT Press, 2003, pp 64-95. (English)
- Darko Šimičić, "From Zenit to Mental Space: Avant-garde, Neo-avant-garde, and Post-avant-garde Magazines and Books in Yugoslavia, 1921-1987", in Impossible Histories: Historical Avant-gardes, Neo-avant-gardes, and Post-avant-gardes in Yugoslavia, 1918-1991, eds. Dubravka Djurić and Miško Šuvaković, MIT Press, 2003, pp 294-331. (English)
- Katherine Ann Carl, Aoristic Avant-garde: Experimental Art in 1960s and 1970s Yugoslavia. Dissertation, Stony Brook University, May 2009. [12]
- Г. Тешић, Српска књижевна авангарда. Књижевноисторијски контекст (1902–1934), Belgrade: Институт за књижевност и уметност - Службени гласник, 2009, 618 pp. Review.
- Laurel Seely Voloder and Tyrus Miller, "Avant-Garde Periodicals in the Yugoslavian Crucible", in The Oxford Critical and Cultural History of Modernist Magazines, vol. 3 (Europe, 1880-1940), New York: Oxford University Press, 2013, pp 1099-1127.
- Miško Šuvaković, "Avant-Gardes in Yugoslavia", Filozofski vestnik 37:1, 2016, pp 201-219. [13]
- Antologiya yugoslavskogo avangarda [Антология югославского авангарда], trans. & forew. Adam Randzhelovich (Адам Ранджелович), Moscow: Opustoshitel (Опустошитель), 2019, 184 pp. Anthology. [14] (Russian)
- Na robu: vizualna umetnost v Kraljevini Jugoslaviji (1929–1941) / On the Brink: The Visual Arts in the Kingdom of Yugoslavia (1929–1941), eds. Marko Jenko and Beti Žerovc, Ljubljana: Moderna galerija, 2019, 445 pp. Catalogue. Exhibition. Exh.review: Bago (Artforum). [15] [16] (Slovenian)/(English)
- Dejan Sretenović, Red Horizon: The Avant-Garde and Revolution in Yugoslavia, 1919-1932, trans. Katarina Radović, Novi Sad: kuda.org, 2021, 228 pp. (English)
- more, more
Film[edit]
- Karpo Acimovic-Godina, The Medusa Raft (Splav meduze, 1980). Film about Zenithists. [17]
Resources[edit]
Experimental film[edit]
"In all of the former Yugoslavia experimental film almost unfailingly derived from the tradition of the so-called amateur film, whose home ground consisted in the numerous cinema clubs (kino klub) that flourished in all major cities of the former federation. The line separating amateur film from experimental film is thus unclear not only due to the subjectivity of judgment, but also because the former term in its most widely accepted meaning refers to the production conditions, while the latter term designates the aspirations, procedures, and effects of a specific cinematic expression. Furthermore, the terms experimental film and its more or less synonymous avant-garde film never really took hold in our current or former countries; thus the Croatian (or more specifically the Zagreb) school tried to shape new theories and practices, such as “antifilm”, while the Belgrade school struggled with the even looser term of “alternative film”." (from This is All Film! catalog)
Filmmakers[edit]
- avant-garde
- Zlatko Hajdler
- 1950s-1960s - the second avant-garde
- Zagreb: Vladimir Petek, Mihovil Pansini, Tomislav Gotovac, Tomislav Kobija, Ivo Lukas, Goran Švob, Tatjana Ivančić
- FAVIT (Film, Audiovisual Investigations, Television) was founded by Vladimir Petek. In 1973, Camera, a group of Zagreb-based artists, published a text titled "Nova forme udruživanja i rada" (New Forms of Organization and Work), which included documents on Camera's activities since 1965. This group embraced all of the findings of the avant-garde expression and explored the dominant visual dimensions. The group Tok from 1972 predominantly focused on interventions in space with mixed media. An artist active in both groups, Petek founded the group FAVIT in 1972. The first FAVIT program was presented at the April Meetings in Belgrade in 1973. It comprised works made on film and videotape, audiovisual interventions, animated paintings, multiple projections, and contacts with the audience, which directly participated in the program. Petek also produced the FAVIT magazine, which was distributed among the viewers. The first issue (No. 0) of the magazine was recorded on film, and viewers received copies of it.
- Split: Ivan Martinac, Ranko Kursar, Nakic, Lordan Zafranović, Andrija Pivčević, Ante Verzotti.
- Lordan Zafranović. His first films made in the early 1960s were mostly experimental shorts with themes stretching from existentialist romanticism to the grotesque and absurd. [18] [19]
- Ivan Ladislav Galeta
- Split: Petar Fradelic, Branko Karabatic, Zdravko Mustac, Boris Poljak.
- 1990s
- Kuduz, Knezevic, Tikulin, Bukovac, Simonovic-Narath, Zanki.
Film theory[edit]
Mihovil Pansini: antifilm (in use since 1962)
Centres[edit]
Amateur cinema clubs in Yugoslavia (or cine clubs) were the basic organizational units for amateur filmmakers. Originally they were formally dependent "film sections" of photo clubs, with the first photo clubs in the region organized in the late 19th century. After the Second World War, photographers and filmmakers often formed clubs together; one such example was the Janez Puhar Photo-Cinema Club in Kranj. Initially, photo clubs covered a wide range of activities and took on the role and responsibilities of cultural and educational institutions that had not yet been set up. Their scope was, however, limited: they provided premises for meetings, some equipment and materials, they organized courses and enabled their members to enter their works for festivals, which did not accept independent filmmakers. As amateur clubs had been the domain of the bourgeoisie before the war, an umbrella organization was set up for them after the Second World War, Popular Engineering Society (Ljudska tehnika). This was to ensure that representatives of the working class also joined the clubs and in part also to supervise the clubs for any potentially subversive activities. In the 1970s the clubs gradually became less significant, although some exist as associations to this day.
- Split Cinema Club (Kino klub Split) was founded in 1952. With 313 short films produced and four generations of authors, it is also referred to as the "Split Film School". This denomination has two actual meanings, one in terms of continuity of the style of it; and which does not distinguish production from individuals as separate phenomena, but as mere curiosity. Generations of Split authors were also strongly influenced by "editing in the square", advocated along with the concept of pure film of the early avant-garde by Ivan Martinac, a dominant figure in the Split film circle. His films, characterized by contemplative style and strict form, are rhythmic poetic reflections on life and death, space and time, in the search for the pure film and the "film of state". The first generation comprises the founders of the club in the 1950s (Nozica, Bogdanovic), while the second, active in the 1960s, is considered the "golden" one, which saw the most prolific and radical film activity (Zafranović, Verzotti, Nakić, Pivčević, Kursar, Crvelin, Drušković and Buljević). In the following decade the third generation (Karabatić, Tasić, Bošnjak, Bojić) still displayed a recognizable touch, while the last generation, active in the 1980s, introduced some novelties into the filmic expression of the day (Batinović, Bezi, Fradelić, Mustać, Poljak, Stambuk). Kino klub Split is still active.
- Zagreb Cinema Club (Kino klub Zagreb) was founded in 1928 what makes it the oldest amateur club in south-eastern Europe. The most important authors of the 1930s were Maksimilijan Paspa and Oktavije Miletic, who left behind a series of family, travel and documentary films. After the Second World War the Club joined Foto Savez Hrvatske and later Narodna Tehnika. In the 1950s it gathered a number of young people who would initiate an active and prolific period of film production: Mihovil Pansini, Tomislav Kobija, Vladimir Petek, Tomislav Gotovac, and many others. At the beginning of the 1960s, Pansini and Kobija initiated lively discussions on the concept of antifilm, and co-founded the GEFF festival. The "structuralist" inclinations of the Club were mainly marked by deliberation and experimentation with the medium. Later the club served as a springboard point for almost half of the film professionals in Croatia. During the club's many years they have worked on various ways of approaching audiovisual culture. Today the cinema club organizes workshops, produces independent short and feature films, takes part in the coordination of the One Take Film Festival, and more.
- Film Authors Studio (FAS) was the first independent and autonomous production house in Yugoslavia, established in 1967 as a collaboration of Zagreb and Split Cinema Clubs. FAS operated until 1973 under the management of Kruno Heidler. The motives for associating in FAS were new organizational forms of cooperation in all stages of film production, independence from professional production, openness toward authorial concepts and practices, filmmaking under guerrilla conditions, and lastly, modernism and new poetics. In addition to renowned professionals, such as Branko Bauer, Branko Majer, Zlatko Sudović, Mate Relja and Dusan Vukotić, Ivo Škrabal and Fadil Hadžić, new young filmmakers too gathered around FAS: Lordan Zafranović, Vladimir Petek, Ranko Kursar, Ivan Martinac, Petar Krelja, Milivoj Puhlovski, Zoran Tadić, Ante Peterlić, Miroslav Mikuljan, and Tomislav Radić. Most of the Studio film authors were Croatian, some Slovenians too were involved, like Karpo Godina, who realized his Piknik v nedeljo (Picnic on Sunday) there. FAS films tended to do quite well each year at the festival of documentary film in Belgrade, particularly owing to their provocative and innovative approaches to their chosen themes. Five feature films were produced by FAS, as well as some 50 shorts.
- Pan 69. Mladen Stilinović: "Together with Milivoj Puhovski, Degenek and Boris Bata we formed the student film club Pan 69. Through the Union of Socialist Youth we received some funds to buy the necessary equipment and start making films. At first Pan 69 had six or seven members. The first film produced by Pan was Miša Budisavljević's film in 1969, which was screened at GEFF. Pan 69 held film screenings in Zagreb and Belgrade: at the Zagreb Cinema Club Pan 69 had regular nights, as it did in Belgrade at the SKC (Students Cultural Center)."
Festivals and exhibitions[edit]
In the 1960s and 1970s, experimental films were shown almost exclusively at various amateur film festivals organized under the auspices of the Photo-Cinema Association, which was part of the umbrella organization Popular Engineering Society (Ljudska tehnika). The festivals were in fact organized in a system that echoed that of the organizational structure of Ljudska technika or the federal state structure. The basic units in the system were cinema clubs, whose members could enter films for festival consideration; as a rule, filmmakers could not work independently, although there were some exceptions. Following an agreement with the Republic or Federal Subcommittee for Film of the Photo-Cinema Association the individual cinema club would then hold a festival. Initially, the festivals were divided into non-competitive reviews and competitive festivals and then structured hierarchically like the main organization into club, interclub, regional, republic-wide, and federal festivals. The latter two related, as only films that had been successful at the republican level could be entered for federal festivals. This restriction proved too harsh as the federal festival came to be seen as prestigious, and was abandoned in 1970. Although formally only events at club or interclub level, some of them were nonetheless held in high esteem, depending on the organization and the filmmakers they managed to attract. As a result, filmmakers valued GEFF, MAFAF, 8 mm in Novi Sad, the Alternative Film Festival in Split, and the Alternatives in Belgrade more than they did the federal festival.
- GEFF (Genre Experimental Film Festival) was established in Zagreb and held in 1963, 1965, 1967 and the last in 1970. The festival attracted film enthusiasts, some of whom would later become well known movie directors, and the films of the cinema clubs from the entire former Yugoslavia. As early as the first edition of the festival, called "Antifilm and New Tendencies in Cinematography", GEFF's inclination to connect more human activities was expressed, not only in the field of art, but in science and technology as well, all in the name of experimentation and research. The themes of the festivals to follow were: "Exploration of Cinematography and Exploration through Cinematography" (1965), "Cybernetics and Aesthetics" (1967), and "Sexuality as a New Road towards Humanity" (1970). Various research programs and approaches procured by other disciplines were used in the process. The first GEFF - "the first meeting of film experimentators" - is also the one on which we have the largest body of information.
- MAFAF (Mala Pula; Meduklupski i autorski festival amaterskog filma; Interclub Amateur and Artist Film Festival). In 1957 the organisers of the Pula Festival of Yugoslavian professional film invited cinema amateurs to show their work. All amateur cinema clubs were invited, but at such short notice that only the Belgrade Cinema Club managed to participate. This event later gave rise to the forming of MAFAF, one of the most important amateur film festivals in Yugoslavia, sometimes referred to as Mala Pula (Minor Pula) in allusion to the Pula Film Festival. MAFAF was organised by the Belgrade Cinema Club and Pula Cinema Club in Pula between 1965 and 1990. The initiative for the festival came from the Pula club Jelen. Film screenings took place outdoors, in the garden of the Museum of the Revolution, a few days before the Pula Yugoslavian Film Festival. This timing ensured the atttendance of many authors, spectators, and journalists. During the festival courses were organized for film amateurs. Juries were mostly comprised of prominent young directors, renowned critics and theoreticians, and award-winning amateurs, all of whom shared great sympathy for explorations and research in film. This encouraged the participation of many authors who later became the great names of Yugoslavian film: Lordan Zafranović, Karpo Godina, Želimir Žilnik, Srdan Karanović, Franci Slak, Vilko Filač, and the more avant-garde Mihovil Pansini, Vladimir Petek, Tomislav Gotovac, Ivan Martinac, Miro Mikuljan, Ivica Matić, etc.
- Alternative Film Festival Split
- avant-garde film exhibition in Lodz, Poland in 1978
- "Third International Avant-Garde Festival" at National Film Theatre in London, 1979
- "Film as Film" exhibition at Hayward Gallery, London, 1979
- Genoa 1980
- "The Other Side: European Avant-Garde Cinema 1960-1980", The American Federation of Art program
- This Is All Film! Experimental Film in Yugoslavia 1951-1991, 2010-2011, Museum of Modern Art Ljubljana
Literature[edit]
- Croatia
- Hvorje Turkovic, "Croatian Avant-Garde Scene", Zagreb, 1993. [20]
- Heiko Daxl, "Film and Video-art in Croatia. Fragmentary Sketches of a History and a Description of the Status Quo", August 1993. (English), (German)
- Andrew J Horton, "Avant-garde Film and Video in Croatia" Central European Review (November 1998) [21] (English)
- "Uncharted Serbia: The Avant-Garde of the Kino Clubs", film selection with an introduction, 2009. [22]
- Branka Benčić, Diana Nenadić, Adriana Perojević, Splitska škola filma – 60 godina Kino kluba Split, 2012. With DVD. (in English/Croatian) [23] [24]
- Yugoslavia
- Nevena Daković, "The Unfilmable Scenario and Neglected Theory: Yugoslav Film Avant-Garde: 1895-1992" in Impossible Histories: Historical Avant-gardes, Neo-avant-gardes, and Post-avant-gardes in Yugoslavia, 1918-1991, eds. Dubravka Djurić and Miško Šuvaković, MIT Press, 2003, pp 466-489. (English)
- "Experimental Ex-Yu", film selection with an introduction, 2009. [25]
- Ana Janevski (ed.), As Soon as I Open My Eyes I See a Film. Experiment in the Art of Yugoslavia in the 1960s and 1970s, Warsaw: Museum of Modern Art in Warsaw, 2010, 344 pp. With essays by Ana Janevski (on experimental art and film in Yugoslavia), Stevan Vuković (on political upheaval in 1968 in Belgrade), and Łukasz Ronduda (on contacts between Yugoslav and Polish artists in the 1970s). Publisher. Distributor. Exhibition. Interview with Ana Janevski, June 2011.
- Kiedy rano otwieram oczy, widzę film. Eksperyment w sztuce Jugoslawii w latach 60. i 70., Warsaw: Muzeum Sztuki Nowoczesnej w Warszawie, 2011. Excerpt. (Polish)
- Bojana Piškur, et al. (eds.), This Is All Film: Experimental Film in Yugoslavia 1951-1991 / Vse to je film: Eksperimentalni film v Jugoslaviji 1951-1991, Ljubljana: Museum of Modern Art, 2010, 154 pp. (English)/(Slovenian)
- Pavle Levi, Cinema by Other Means, Oxford University Press, 2012, 224 pp.
- Gal Kirn, Dubravka Sekulić, Žiga Testen (eds.), Surfing the Black: Yugoslav Black Wave Cinema and Its Transgressive Moments, Maastricht: Jan van Eyck Academie, 2012, 216 pp.
- Pavle Levi, Jolted Images: Unbound Analytic, Amsterdam University Press, 2017, 216 pp. TOC, Excerpt.
- Programs
- Portraits and the Sky: Yugoslav Experimental Films, 1960s–1990s, eds. Petra Belc and Pavle Levi, 2020. [26]
- Eksperimentisanje bilo koga - jugoslovenski i postjugoslovenski eksperimentalni film od 1963. do danas, ed. Ivana Momčilović, 2020.
Action art, happening, performance, body art[edit]
Literature[edit]
- Croatia
- Ivana Mance, "Performance Art Practices in Croatia from the Late 1960s through the late 1980s: An Essay in Genealogy", Centropa 14:1, Jan 2014. [27] (English)
- Suzana Marjanić, Kronotop hrvatskoga performansa: od Travelera do danas, 3 vols., Zagreb : Udruga Bijeli val: Institut za etnologiju i folkloristiku: Školska knjiga, 2014, 2008 pp. TOC. [28] (Croatian)
- Adair Rounthwaite, This is Not My World: Art and Public Space in Socialist Zagreb, Minneapolis: University of Minnesota Press, 2024, 296 pp, EPUB. Publisher. Review: Amy Bryzgel (ARTMargins). (English)
- Yugoslavia
- Nova umjetnička praksa, 1966-1978, ed. Marijan Susovski, Zagreb: Galerija suvremene umjetnosti, 1978, 106+[66] pp. Catalogue. (Serbo-Croatian)
- The New Art Practice in Yugoslavia, 1966-1978, ed. Marijan Susovski, Zagreb: Gallery of Contemporary Art, 1978, 80+[61] pp. (English)
- Bálint Szombathy, "Action Art in Yugoslavia and its Successor States between 1969 and 1999" / "L ́art action en Yougoslavie et dans les États qui lui ont succédé de 1969 a 1999", in Art Action 1958-1998, ed. Richard Martel, Québec: Inter, 2001, pp 478-487. (English)/(French)
- Branislav Jakovljević, "Handworks: Yugoslav Gestural Culture and Performance Art", in 1968-1989: Political Upheaval and Artistic Change, eds. Claire Bishop and Marta Dziewańska, Warsaw: Museum of Modern Art, 2009, pp 30-50. Proceedings from the 2008 conference. (English)
- Političke prakse (post) jugoslovenske umetnosti: retrospektiva 01, eds. Jelena Vesić and Zorana Dojić, Belgrade: Prelom kolektiv, 2010, 287 pp. Catalogue. [29] (Serbo-Croatian)
- Political Practices of (Post-) Yugoslav Art: Retrospective 01, Belgrade: Prelom kolektiv, 2010, 279 pp. (English)
- Balcan Contemporary 7: "Performance Art", eds. Zvonimir Dobrović and André von Ah, Ljubljana: Maska, 2012, 25 pp. (English)
- Branislav Jakovljević, Alienation Effects: Performance and Self-Management in Yugoslavia, 1945-91, University of Michigan Press, 2016, xii+369 pp. Explores aspects and relations between artistic and economic performances in Yugoslavia, such as self-management, socialist aestheticism, conceptual art, theoretical Marxism, performance art and political performances.
- Bojana Videkanic, Nonaligned Modernism: Socialist Postcolonial Aesthetics in Yugoslavia, 1945-1985, McGill-Queen's University Press, 2019, 304 pp. Based on PhD dissertation (2013). Interview. (English)
- Marko Ilić, "“Made in Yugoslavia”: Struggles with Self-Management in the New Art Practice, 1965-71", ARTMargins 8:1, Feb 2019, pp 6-30. [30] (English)
- Marko Ilić, A Slow Burning Fire: The Rise of the New Art Practice in Yugoslavia, Cambridge: MIT Press, Feb 2021, 384 pp. Publisher. Reviews: Rounthwaite (ArtMargins), Jurich (Afterimage), Wetzler (Art in America), Smith (CAA), Drosos (Critique d'art). (English)
- Katja Praznik, Art Work: Invisible Labour and the Legacy of Yugoslav Socialism, University of Toronto Press, 2021, 217 pp. Publisher. Reviews: Kulić (Critique d'art), Webster (Cult Soc). [31] (English)
- Delo umetnosti. Nevidno delo in zapuščina jugoslovanskega socializma, Ljubljana: Maska, 2023. Publisher. (Slovenian)
- Spoznanje! Upor! Reakcija! Performans in politika v devetdesetih letih v pojugoslovanskem kontekstu / Realize! Resist! React! Performance and Politics in the 1990s in the Post-Yugoslav Context, ed. Bojana Piškur, Ljubljana: Moderna galerija, 2021, 257 pp. Explores different trajectories of political performance, especially what it brought to, meant, or changed in the broader field of art of the 1990s post-Yugoslavia, as well as the connections between performances and political and ideological structures from which these performances emerged. Exh. with 120+ artworks, archival materials, and video documents, and is structured around the following topics: war, nationalism, the body, new spaces, demonstrations, states, territories, new borders, the Other, feminism, and media. Texts by Bojana Piškur, Rok Vevar and Jasmina Založnik, Jasna Jakšić, Asja Mandić, Vida Knežević, Biljana Tanurovska-Kjulavkovski and Ivana Vaseva, Linda Gusia and Nita Luci, and Zdenka Badovinac. Publisher. Exhibition held at MG+MSUM Metelkova, Ljubljana, 24 Jun-10 Oct 2021. Curator: Bojana Piškur; guest curators: Linda Gusia, Jasna Jakšić, Vida Knežević, Nita Luci, Asja Mandić, Biljana Tanurovska-Kjulavkovski, Ivana Vaseva, Rok Vevar, Jasmina Založnik. Exh. photo. Exh. review: Lépold (Artmagazin). Commentary: Kraner (Maska). [32] (Slovenian)/(English)
- Jasmina Tumbas, "I am Jugoslovenka!": Feminist Performance Politics During and After Yugoslav Socialism, Manchester: Manchester University Press, 2022, 344 pp. Publisher. (English)
- Haptická ozvena. Príroda, telo, politika v umení bývalej Juhoslávie a Československa, ed. Daniel Grúň, Bratislava: Galéria mesta Bratislavy, 2024. Catalogue. Exhibition. (Slovak)
Visual poetry, Concrete poetry, Lettrism[edit]
Literature[edit]
- Dubravka Đurić, "Radical Poetic Practices: Concrete and Visual Poetry in the Avant-garde and Neo-avant-garde", in Impossible Histories: Historical Avant-gardes, Neo-avant-gardes, and Post-avant-gardes in Yugoslavia, 1918-1991, eds. Dubravka Djurić and Miško Šuvaković, MIT Press, 2003, pp 64-95. (English)
- OEI 90-91: "Sickle of Syntax & Hammer of Tautology: Concrete and Visual Poetry in Yugoslavia, 1968-1983", ed. Sezgin Boynik, Stockholm, 2021, 304 pp. [33] [34]
Conceptual art[edit]
Literature[edit]
- Croatia
- The Misfits: Conceptualist Strategies in Croatian Contemporary Art / Neprilagodeni: konceptualističke strategije u hrvatskoj suvremonoj umjetnosti, ed. Tihomir Milovac, Zagreb: Museum of Contemporary Art, 2002, 208 pp. Exh. held at Expo Park, Moscow, 18-28 Apr 2002; Museum of Contemporary Art, Skopje, May-Jun 2002; Kunstraum Kreuzberg Bethanien, Berlin, Oct 2002. (English)/(Croatian)
- O nepoznatim radovima. On Unknown Works, ed. Branka Stipančić, Zagreb: AGM & WHW, and Dubrovnik: Art Workshop Lazareti, 2006, 56 pp. Catalogue. (Croatian)/(English)
- Yugoslavia
- Projekat 11-15: "Hijatusi modernizma i postmodernizma. Jedna teorijska kontraverza", ed. Dragomir Ugren, Novi Sad, Mar 2001, 639 pp. (Serbian)
- Miško Šuvaković, "Conceptual Art", in Impossible Histories: Historical Avant-gardes, Neo-avant-gardes, and Post-avant-gardes in Yugoslavia, 1918-1991, eds. Dubravka Djurić and Miško Šuvaković, MIT Press, 2003, pp 210-245. (English)
- Oltari avangarde, eds. Jadran Adamović and Marina Viculin, Zagreb: Galerija Klovićevi dvori, 2008, 32 pp. Catalogue. (Croatian)
- Političke prakse (post) jugoslovenske umetnosti: retrospektiva 01, eds. Jelena Vesić and Zorana Dojić, Belgrade: Prelom kolektiv, 2010, 287 pp. Catalogue. (Serbo-Croatian)
- Marko Ilić, A Slow Burning Fire: The Rise of the New Art Practice in Yugoslavia, Cambridge: MIT Press, Feb 2021, 384 pp. Publisher. Reviews: Rounthwaite (ArtMargins), Jurich (Afterimage), Wetzler (Art in America), Smith (CAA), Drosos (Critique d'art). (English)
- Nada Beroš, Početnica za konceptualce. Nova umjetnička praksa protumačena djeci, ills. Klasja Habjan and Zita Nakić, Zagreb: Muzej suvremene umjetnosti Zagreb (MSU), 2017, 62 pp. Publisher. (Croatian)
- Haptická ozvena. Príroda, telo, politika v umení bývalej Juhoslávie a Československa, ed. Daniel Grúň, Bratislava: Galéria mesta Bratislavy, 2024. Catalogue. Exhibition. (Slovak)
Geometric abstraction, Neo-constructivism, Op art, Kinetic art[edit]
Artists[edit]
- Exat 51 group, 1950-1956, Zagreb
- Vjenceslav Richter, 1917-2003, Zagreb, Exat 51 member
- Julije Knifer, 1924-2004, Zagreb/Paris, Gorgona member
- Aleksandar Srnec, 1924-2010, Zagreb, Exat 51 member
- Juraj Dobrović, 1928, Zagreb
- Miroslav Šutej, 1936-2005, Zagreb
Literature[edit]
- Croatia
See also New Tendencies.
- Lidija Butković Mićin, "Novo osvjetljavanje. Realno svjetlo kao medij u hrvatskoj umjetnosti 1960-ih i ranih 1970-ih godina" [The Use of Light as Medium in Croatian Art during the 1960s and Early 1970s], Zarez 14:340-341, 2012, pp 27-28. [35] [36] (Croatian)
- Yugoslavia
- The New Art Practice in Yugoslavia, 1966-1978, ed. Marijan Susovski, Zagreb: Gallery of Contemporary Art, 1978, 148 pp. Catalogue. (English)/(Serbo-Croatian)
- Impossible Histories: Historical Avant-gardes, Neo-avant-gardes, and Post-avant-gardes in Yugoslavia, 1918-1991, eds. Dubravka Djurić and Miško Šuvaković, MIT Press, 2003, xviii+605 pp. (English)
Electroacoustic music[edit]
Composers[edit]
- Dubravko Detoni [37]
- Davorin Kempf
- Ivo Malec. Moved to Paris in 1955, since 1959 active member of Groupe de musique concrète directed by Pierre Schaeffer. He then started to work at the Research Services of the french national broadacsting services (ORTF) and within the Groupe de recherche musicale (GRM). He's the co-founder of Ensemble Musique Plus, and he's teaching compostion at the Conservatoire national supérieur de musique in Paris from 1972 to 1990, pursuing at the same period his conductor work. [38]
- Martin Davorin-Jagodić
Works[edit]
- Davorin Kempf, Synthesis for electronics and chamber ensemble (1979)
- Davorin Kempf, Spectrum for orchestra and electronics (1985)
- In Search of a New Sound: 1956-1984. Anthology of Electroacoustic Music from Croatia, 2-CD, ed. Višeslav Laboš, Zagreb: Croatia Records & Mama, 2016. [39]
Literature[edit]
- Mirjana Veselinović-Hofman, "Problems and Paradoxes of Yugoslav Avant-garde Music (Outlines for a Reinterpretation)" in Impossible Histories: Historical Avant-gardes, Neo-avant-gardes, and Post-avant-gardes in Yugoslavia, 1918-1991, eds. Dubravka Djurić and Miško Šuvaković, MIT Press, 2003, pp 404-441. (English)
Computer and computer-aided art[edit]
New Tendencies network (includes individual artists and bibliography)
Literature[edit]
- Margit Rosen et al (eds.), A Little-Known Story About a Movement, a Magazine, and the Computer's Arrival in Art: New Tendencies and Bit International, 1961-1973, Karlsruhe: ZKM Center for Art and Media, and Cambridge, MA: MIT Press, 2011, 576 pp. (English)
- Darko Fritz, Digitalna umjetnost u Hrvatskoj 1968. – 1984., Zagreb: Tehnički muzej Nikola Tesla (TMNT), 2020, 224 pp. Digital companion. (Croatian)
- Digital Art in Croatia 1968-1984, Zagreb: Tehnički muzej Nikola Tesla (TMNT), 2022, 224 pp. Digital companion. (English)
See also New Tendencies.
Video art[edit]
Artists[edit]
- 1970s (incl. video installations): Sanja Iveković, Dalibor Martinis, Goran Trbuljak
- solitary video artists: Ivan Ladislav Galeta (Zagreb), Ivan Faktor (Osijek), Mladen Stilinović (Zagreb)
- Željko Kipke, Breda Beban, Hrvoje Horvatic
Events[edit]
- Video-mix 001, the first Yugoslav music video festival, Zagreb, 1987, also presented art videos and international rock videos and films.
- Insert - Retrospective of Croatian Video Art, Sep - Oct 2005, MSU Zagreb, [40]. Mar - Apr 2006, MMSU Rijeka, [41].
Literature[edit]
- Croatia
- Inovacije u Hrvatskoj umjetnosti sedamdesetih godina, ed. Boris Kelemen, Zagreb: Gallery of Contemporary Art Zagreb, 1982. Excerpt. (Serbo-Croatian),(English)
- Heiko Daxl, "Film and Video-art in Croatia. Fragmentary Sketches of a History and a Description of the Status Quo", August 1993. (English), (German)
- Andrew J Horton, "Avant-garde Film and Video in Croatia", Central European Review, Nov 1998. [42] (English)
- Insert: retrospektiva hrvatske video umjetnosti / Retrospective of Croatian Video Art, ed. Tihomir Milovac, Zagreb: MSU, 2008, 360 pp. Exh. held at MSU Zagreb, Sep-Oct 2005, and MMSU Rijeka, Mar-Apr 2006. Texts by Tihomir Milovac, Silva Kalčić, Antonija Majača, Branko Franceschi. Exhibition. [43] (Croatian)/(English)
- Cinemaniac > Misliti film: Video animacija anticipacija / Cinemaniac > Think Film: Video Television Anticipation, ed. Branka Benčić, Pula: Apoteka — Space for Contemporary Art, 2017, 77 pp. (Croatian)/(English)
- Yugoslavia
- Spot: Review of Photography 10: "Video", ed. Radoslav Putar, Zagreb: Grafički zavod Hrvatske, 1977. (Serbo-Croatian),(English)
- Marijan Susovski, "Video u Jugoslaviji" / "Video in Yugoslavia", Spot 10, Zagreb, 1977.
- XVI Sao Paulo Biennial: Video from Yugoslavia, ed. Davor Maticevic, Zagreb: Gallery of Contemporary Art Zagreb, 1981, 8 pp. (English)
- Mihailo Ristić (ed.), Videosfera: video/društvo/umetnost [Videosphere: Video/Society/Art], Belgrade: Studentski izdavački centar, 1986. Anthology of theoretical texts about video, including contributions from video-makers. Review: Radić. (Serbo-Croatian)
- Barbara Borčić, "Video Art from Conceptualism to Postmodernism", in Impossible Histories: Historical Avant-gardes, Neo-avant-gardes, and Post-avant-gardes in Yugoslavia, 1918-1991, eds. Dubravka Djurić and Miško Šuvaković, MIT Press, 2003, pp 490-524, PDF. (English)
- Balkan Video Federation, ed. Branislav Dimitrijević, Belgrade: Center for Contemporary Art - Belgrade, 2000, [55] pp. Catalogue. (English)
- Jon Blackwood, "On Women’s Video Art in the context of Yugoslavia, 1969–91", in EWVA: European Women's Video Art in the 70s and 80s, eds. Laura Leuzzi, Elaine Shemilt, and Stephen Partridge, John Libbey, 2019, pp 55-66. [44] (English)
New media art, Media culture[edit]
- Cities
Zagreb, Split, Rijeka, Čakovec, Dubrovnik, Kalebova Luka, Karlovac, Krizevci, Labin, Osijek, Ražanj, Vis, Zadar.
Networks[edit]
- Anti-War Campaign and Zamir Transnational Net, early 1990s
- Arkzin, 1990s
- Media-Scape festival, 1990s
- mama (Multimedia Institute), Zagreb, 2000s-10s
- Department of Visual Communication Design at the Fine Arts Academy, University of Split and International Festival of New Film
Events[edit]
- New Media - New Networks exhibition, Zagreb, 2008.
Media[edit]
- Stanica MIR, Media-art-hr list.
Resources[edit]
- Timeline of new media art and culture in Croatia, 1989-2005. (Croatian)
- Digital Art in Croatia, 1968-1984, ed. Darko Fritz, Zagreb: Technical Museum Nikola Tesla, 2020.
Literature[edit]
- Croatia
- Darko Fritz, "A Brief Overview of Media Art in Croatia (Since 1960s)", Culturenet.hr, 2002.
- Klaudio Štefančić, "Nove mreže novih medija", Kontura, 2008 [written May 2007]; updated version, 2017 [rev. Jan 2017]. (Croatian)
- "New Media - New Networks", trans. Anita Kojundžić, 2008; repr., Nettime, 2008; updated version, 2017. (English)
- Ana Peraica, "HR - A remark on art & technology research in regard to the place of origin taken as the state, place of living, as well as only a domain", Dec 2008. [45]
- Klaudio Štefančić, "Transparentno polje društvene napetosti – novi mediji u hrvatskoj suvremenoj umjetnosti 90-ih", Život umjetnosti 93, 2013, 86-93. (Croatian)
- Sanja Sekelj, Digitalna povijest umjetnosti i umjetničke mreže u Hrvatskoj 1990-ih i 2000-ih, [Digital Art History and Artists' Networks in Croatia in the 1990s and 2000s], Zadar: Sveučilište u Zadru, 2021, 358+167 pp. PhD dissertation. (Croatian)
- Yugoslavia
- Tom Bass, "A Travellogue from the Balkan", Telepolis, 19 Jun 1997.
Art theory and art history[edit]
Matko Meštrović, Božo Bek, Dimitrije Bašičević, Željko Bujas, Grgo Gamulin, Vera Horvat-Pintarić
More artists[edit]
- Vojin Bakić
- Vlado Kristl
- Miroslav Šutej
- Juraj Dobrović
- Koloman Novak
- Fedora Orebić
- Ante Vulin
- Vilko Žiljak
- Tomislav Mikulić
- Braco Dimitrijević
Countries avant-garde, modernism, experimental art, media culture, social practice |
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