First Zenit International Exhibition of New Art
The First Zenit International Exhibition of New Art organised by Ljubomir Micić in April 1924 in the Stanković music school, Belgrade. The establishment of a collection of avant-garde works for Zenit’s gallery, presented to the public at the editorial office of the periodical, first in Zagreb, then in Belgrade, and for a while even in the Paris suburb of Meudon, reflected great social and educational ambitions on the part of Zenit. The gallery advertised the works as "futurism, cubism, expressionism, ornamental cubism, suprematism, constructivism, neoclassicism and the like". This broad scope provided the basis for Zenit's exhibition, featuring more than one hundred exhibits by significant 20th-century artists (Kandinsky, Moholy-Nagy, Lissitzky, Archipenko, Delaunay, Charchoune, Gleizes, Peeters, Zadkine, Paladini, Prampolini and others). Local scene was represented by Balsamadjieva, Katchulev, Bojadjiev, Willink, Hansen, Medgyes, Freudenau, Helen Grünhoff- Elena Gringova, Vilko Gecan, Jo Klek, V. Foretić-Vis, Vjera Biller, M. Petrov, and Branko Ve Poljanski. The exhibition did not receive a lot of publicity, and was therefore not very well attended, but Micić later wrote "No boycott had any effect" – evidently convinced of the purpose and the value of such an undertaking.
- Ljubomir Micić
- Central and Eastern Europe#Constructivists, Futurists
|Art exhibitions and events|
Second Spring Exhibition of OBMOKhU (Moscow, 1920-21), Congress of International Progressive Artists (Düsseldorf, 1922), Congress of the Constructivists and Dadaists (Weimar, 1922), First Russian Art Exhibition (Berlin, 1922), New Art Exhibition (Vilnius, 1923), Zenit Exhibition (Belgrade, 1924), Contimporanul Exhibition (Bucharest, 1924), Machine-Age Exposition (New York, 1927), a.r. International Collection of Modern Art (Łódź, 1931), New Tendencies (Zagreb, 1961-73), The Responsive Eye (New York, 1965), 9 Evenings: Theatre and Engineering (New York, 1966), Cybernetic Serendipity (London, 1968), Live In Your Head: When Attitudes Become Form (Bern, 1969), Information (New York, 1970), Software - Information Technology: Its New Meaning for Art (New York, 1970), Documenta 5 (Kassel, 1972), Pictures (New York, 1977), Biennial of Dissent (Venice, 1977), Les Immatériaux (Paris, 1985), Magiciens de la Terre (Paris, 1989), Hybrid Workspace (Kassel, 1997)