Central and Eastern Europe
- Croatia
- a group of Zagreb-based experimentators, Vjenceslav Richter, Ivan Picelj, Julije Knifer, Aleksandar Srnec, and others who founded Exat 51 group, and organised New Tendencies exhibition series (1961-73).
- Vojin Bakić
- Vlado Kristl
- Miroslav Šutej
- Juraj Dobrović
- Koloman Novak
- Fedora Orebić
- Ante Vulin
- Vilko Žiljak
- Tomislav Mikulić
- Braco Dimitrijević
- Goran Trbuljak
- Serbia
- Petar Milojević
- Rechenzentrum des Instituts Boris Kidrič, Vinča
- Zoran Radović
- László Szalma
- Bálint Szombathy
- Macedonia
- Czech Rep
- Jiří Bielecki
- Jarmila Cihankova
- Radoslav Kratina
- Jiří Hilmar
- Hugo Demartini, neo-constructivist
- Stanislav Kolibal, neo-constructivist
- Jan Kubiček, neo-constructivist
- Slovakia
- Hungary
- Poland
- Edward Krasinski
- Henryk Stażewski, a member of many international groups before the war, not only remained influential, but continued his artistic career almost till the end of his long life (died in 1988)
- Katarzyna Kobro (died in early 1950s)
- Władysław Strzemiński (died in early 1950s)
- East Germany
- Hermann Glöckner, a very active artist almost till the end of his very long live (died in 1987), i.e. till the eighties, however, his influences among young East-German artists were not very significant
- Romania
- Russia
- Dvizheniye (Movement) group (early 1960s-1970s)
- ARGO group (early 1970s)
- neo-constructivism
All neo-constructivists favored the discourse of freedom expressed in a more or less orthodox language of geometry. The crucial question, however, to repeat after Rosalind Krauss, is: how was the expression of freedom possible in that way, if the "grid," a system of intersecting lines, allegedly discovered anew again and again, is one of the most stereotypical visual devices? Furthermore, as the American art historian suggests, all the artists who started using "grid" as their "own" means of expression brought their artistic evolution to an end, since in many respects (structural, logical, as well as commonsensical) that particular figure can only be repeated.2 What was then the justification of the discourse of freedom or, more precisely, of its mythologization in the artistic practice of the Central European neo-constructivists? Most likely, it was the negative function of that art; the fact that under the specific historical circumstances it was directed against the socialist realism, absolutizing "form" (or even "pure form") while the authorities, particularly in the early fifties, were conducting a campaign against the so-called "formalism" identified with the bourgeois culture. According to the doctrine of the socialist realism, the form was supposed to be "national" ("narodnaya"), and the content "socialist." On the contrary, the neo-constructivists preferred the form to be universal, whereas the so-called content did not exist for then at all. [1]
- Electro-acoustic music studios
- Polish Radio Experimental Studio Warszawa, *1957
- Studio of Experimental Music Plzeň, *1965
- Experimental Studio of Slovak Radio Bratislava, *1965
- Electro-acoustic Music Studio Krakow, *1973
- Electroacoustic Music Studio Katowice, *1992
- Electro-acoustic music societies
- Polish Society for Electroacoustic Music, *2005
- Society for Electroacoustic Music Prague+Brno *1990
