Croatia

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Cities

Zagreb, Rijeka, Split, Čakovec, Dubrovnik, Kalebova Luka, Karlovac, Krizevci, Labin, Osijek, Ražanj, Zadar.

Avant-garde

Artists and groups
  • Zenit (see below)
  • Zemlja (Earth), *1929, Zagreb. Members: Augustinčić, Hegedušić [1], Ibler, Junek, Kršinić, Mujadžić, Postružnik, Ružička, Tabaković.
  • Ivana Tomljenović-Meller [2] [3]
  • Radovan Ivšić [4]
  • Traveleri group (1922-1932): Čedomil Plavšić [5], Dragutin Herjanić, Višnja Kranjčević, Zvonimir Megler, Vlado Pilar, Josip Seissel, Miloš Somborski, Miho Schön [6], Dušan Plavšić. [7] [8]
  • Josip Seissel (Jo Klek; Jo). At international exhibitions in the 1920s (held in Belgrade, Bucharest, Bielefeld, Moscow), he represented Zenit, which published his collages, photomontages, architectural drafts, drawings, watercolours, temperas, sketches for theatre costumes and a curtain, advertisements, ex-libris etc. He was responsible for the graphic design and layout of some of Zenit’s editions (Effect on Defect and The Monkey Phenomenon by Marijan Mikac), and he was also the author of the Zenit exhibition poster. His abstract and multidisciplinary work was used by Micić to identify PAFAMA (Papier-Farben-Malerei, the Serbian version of which was ARBOS – (h)ARtija-BOja-Slika [paper-colour-picture]) as an authentic phenomenon of zenitist art. His work is characterised by narrativity, humour and irony of dadaist provenance. Relying on the constructivist principles of the valuation of materials and exploration of space, Klek became involved in non-representational art, quite exceptional in Croatian and Yugoslav art of the early 1920s. [9] [10]
Events
  • Proljetni (Spring) Salon, the first avant-garde activity in Zagreb, 1916
  • 1923, the first Zenithist soirees in Belgrade and Zagreb, organised by Micić
Journal
  • Zenit (Zenith) avant-garde magazine, published in Zagreb, 1921-1923, later in Belgrade, 1923-1926. Initiated by poet Ljubomir Micić, introduced constructivism, futurism and Dadaism to Croatia and Serbia. 43 issues of Zenit and 34 volumes of varying format and size were published in Zenit collection. The magazine brought together a number of collaborators: Marijan Mikac, Jo Klek, Vilko Gecan, Mihailo Petrov, Boško Tokin, Stanislav Vinaver and others. Foreign collaborators included the French poet Ivan Goll and with Alexander Archipenko, Ilya Ehrenburg, Wassily Kandinsky, El Lissitzky, Louis Lozowick.
Writings
  • Ljubomir Micić, Ivan Goll and Bosko Tokin, "Manifest Zenitizma" [Zenithist Manifesto], Zenit no. 1, Zagreb, 1921. [11]
  • 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. [12]
Literature
  • 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. [13]
  • 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. [14]
  • Irina Subotić, "Avant-Garde Tendencies in Yugoslavia", Art Journal Vol. 49, No. 1, From Leningrad to Ljubljana: The Suppressed Avant-Gardes of East-Central and Eastern Europe during the Early Twentieth Century (Spring, 1990), pp. 21-27. [15]
  • Dubravka Đurić, "Radical Poetic Practices: Concrete and Visual Poetry in the Avant-garde and Neo-avant-garde" published in Impossible Histoires (Historic Avant-Gardes, Neo-Avant-Gardes, and Post-Avant-Gardes in Yugoslavia, 1918-1991) edited by Dubravka Đurić and Miško Šuvaković (MIT Press: 2003), pp 64-95
  • Darko Šimičić, "From Zenit to Mental Space: Avant-garde, Neo-avant-garde, and Post-avant-garde Magazines and Books in Yugoslavia, 1921--1987" published in Impossible Histoires (Historic Avant-Gardes, Neo-Avant-Gardes, and Post-Avant-Gardes in Yugoslavia, 1918-1991) edited by Dubravka Đurić and Miško Šuvaković (MIT Press: 2003), pp 294-331
Film
  • Karpo Acimovic-Godina, The Medusa Raft (Splav meduze, 1980). Film about Zenithists. [16]
Resources
  • Avantgarde Museum, [17]

Artist groups

Arts and engineering groups and collectives in CEE#Croatia

Computer and computer-aided art

New Tendencies

Electroacoustic music

Works
  • Davorin Kempf, Synthesis for electronics and chamber ensemble (1979)
  • Davorin Kempf, Spectrum for orchestra and electronics (1985)
Literature
  • Mirjana Veselinović-Hofman, "Problems and Paradoxes of Yugoslav Avant-garde Music (Outlines for a Reinterpretation)" published in Impossible Histoires (Historic Avant-Gardes, Neo-Avant-Gardes, and Post-Avant-Gardes in Yugoslavia, 1918-1991) edited by Dubravka Đurić and Miško Šuvaković (MIT Press: 2003), pp 404-441

Experimental film

"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)

Artists

avant-garde
  • Zlatko Hajdler
1950s-1960s - the second avant-garde
1970s - video art, "new art practices"
1980s - video art
1990s
  • Kuduz, Knezevic, Tikulin, Bukovac, Simonovic-Narath, Zanki.

Film theory

Mihovil Pansini, antifilm (in use since 1962)

Centres

Kino-klub Split amateur club, Multi-Media Center of Student center Zagreb (*1976)

Festivals and exhibitions

  • Genre Film Festival (GEFF), Zagreb (1963, 1965, 1967, 1970)
    • 1963, Antifilm and New Tendencies in Cinema
    • 1965, The Research of Film and Research by Film
    • 1967, Cybernetics and Aesthetics
    • 1970, Sexuality as the Possible Way to New Humanism
  • MAFAF (Interclub Amateur and Artist Film Festival) aka 'Mala Pula'
  • 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

  • Nevena Daković, "The Unfilmable Scenario and Neglected Theory: Yugoslav Film Avant-Garde: 1895-1992" published in the Impossible Histoires (Historic Avant-Gardes, Neo-Avant-Gardes, and Post-Avant-Gardes in Yugoslavia, 1918-1991) edited by Dubravka Djuric and Misko Suvakovic (MIT Press: 2003)
  • 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, Museum of Modern Art, Warsaw, 2010. 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). [21] Interview with Ana Janevski, June 2011
  • Hvorje Turkovic, "Croatian Avant-Garde Scene", Zagreb, 1993. [22]
  • 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) [23] (English)

Video art

Video-yu-1970s.png

Artists
Events

Video-yu-events-1970s.png

Literature
  • Heiko Daxl, "Film and Video-art in Croatia. Fragmentary Sketches of a History and a Description of the Status Quo", August 1993. (English), (German)
  • Tihomir Milovac (ed.): Insert / Retrospective of Croatian Video Art, MSU: Zagreb, 2008. The publication is a follow-up of the museum’s 2005 retrospective and presents the works of some one hundred video artists on 360 pages with 466 reproductions, in Croatian and English. Authors: Tihomir Milovac, Silva Kalčić, Antonija Majača, Branko Franceschi. [26]
  • Andrew J Horton, "Avant-garde Film and Video in Croatia" Central European Review (November 1998) [27] (English)
  • Barbara Borčić, "Video Art from Conceptualism to Postmodernism" published in Impossible Histoires (Historic Avant-Gardes, Neo-Avant-Gardes, and Post-Avant-Gardes in Yugoslavia, 1918-1991) edited by Dubravka Đurić and Miško Šuvaković (MIT Press: 2003), pp 490-524. [28] [29] [30]
  • Marijan Susovski, "Video u Jugoslaviji", Spot, no. 10, Zagreb 1977.
  • Raša Todosijević, Video, Videosfera: video/društvo/umetnost ("The Video: Videosphere: video/society/art"), Studentski izdavački centar, ed. Mihailo Ristić, Belgrade 1986.

Art theory and art history

Matko Meštrović, Božo Bek, Dimitrije Bašičević, Željko Bujas, Grgo Gamulin, Vera Horvat-Pintarić

New media art, Media culture

Literature
  • Tom Bass, "A Travellogue from the Balkan", Telepolis, 19.06.1997. [31]

More artists

Past events

Media

Publications

  • Dubravka Đurić and Miško Šuvaković (eds.), Impossible Histories: Historic Avant-Gardes, Neo-Avant-Gardes, and Post-Avant-Gardes in Yugoslavia, 1918-1991, MIT Press, 2003. [33]
  • Klaudio Štefanović, "New Media Art in Croatia", 2007 [34], (Croatian)
  • Darko Fritz, "Media Arts in Croatia" [35] [36]
  • 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" [37]
  • Irina Subotić, "Avant-Garde Tendencies in Yugoslavia", Art Journal, Vol. 49, No. 1, From Leningrad to Ljubljana: The Suppressed Avant-Gardes of East-Central and Eastern Europe during the Early Twentieth Century (Spring, 1990), pp. 21-27. Published by: College Art Association. [38]
  • Katherine Ann Carl, Aoristic Avant-garde: Experimental Art in 1960s and 1970s Yugoslavia. Dissertation, Stony Brook University, May 2009. [39]


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