Serbia

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Cities

Belgrade, Niš, Novi Sad, Pančevo.

Predecessors

  • 1924, Ljubomir Micić organizes The First Zenit International Exhibition of New Art in the Stanković music school, Belgrade. Peeters, Lozowick, Balsamdžieva, Bojadžiev, Delaunay, Archipenko, Kandinsky, Lissitzky, Foretić-Vis, Gecan, Klek, Petrov participate. [1]
  • 1926, the group Oblik (Form) is founded in Belgrade.
  • Belgrade Surrealists, late 1920s-early 1930s. The group gathered around the writer Marko Ristić [[2]]: poets and publicists Vane Bor (Stevan Živadinović), Aleksandar Vučo, Oskar Davičo, Milan Dedinac, Mladen Dimitrijević, Đorđe Jovanović, Đorđe Kostić, Dušan Matić, Branko Milovanović, Koča Popović, Petar Popović and artist Radojica Živanović Noe. After Zenitism and Dada, Belgrade Surrealism is the third avant-garde movement in Yugoslavia. [3]
Publications
  • Zenit avant-garde magazine (published in Zagreb, 1921-1923, later in Belgrade, 1923-1926. Initiated by Ljubomir Micić, introduced constructivism, futurism and Dadaism to Croatia and Serbia.
  • Hipnos journal, 1922-23, of Hipnist movement, edited by Rade Drainac. Two issues published. Feat. work by Moni Buli.
  • Kritika i Misao (Critique and Thoughts) avant-garde review
  • Other Belgrade avant-garde magazines: Putevi (Paths) (1922-24), Crno na belo (Black on White) (1924), Svedočanstva (Testimonies) (1924-25), 50 u Evropi (50 in Europe) (1928), Tragovi (Traces) (1928-29), Nova literatura (The New Literature) (1928-30), Nemoguće (Impossible) (1930), Nadrealizam danas i ovde (Surrealism Here and Now) (1931-32).
  • Bosko Tokin, Micic and Gol: Manifestos of Expressionism and Zenithism
  • Bosko Tokin: 'Pokusaj jedne kinematografske estetike' (Essasis d'une estetique cinegraphique, 1920), considered the first film theory work in Yugoslavia. Greatly influenced by French visualists (in French original entitled L’Esthetique du cinema.
  • Ljubomir Micic in his prose text 'Zenithist vertical of the Sopirit' (1922) "uses constructivist and montage principles of the cinema". This new narrative structure he baptizes "radio-film".
Literature
  • 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. [4]
  • 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. [5]
  • 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

Electroacoustic music

Composers
Works
  • Radovanović, Polifonija (Polyphony), Sferoon (Spheroon), Evolucija (Evolution), Vokalinstra (Vocalinstra). Works utilising the concept of hyperpolyphony.
  • Radovanović, Elektronska studija (Electronic Study), Sonora, Audiospacijal for female chorus and electronics (Audiospatial, 1978), Timbral. Electro-acoustic works.
  • Hofman, Hexagons cycle (1974–1978), serial music.
  • Stefanović, Whither with the Bird on the Palm (Kuda sa pticom na dlanu, 1980), for percussion and tape, made at Ircam in Paris.
  • Hofman, Déja vu (1985). Electro-acoustic work with the use of collage.
  • Miljković, E silentio for voice, prepared piano, strings and tape (1987). She created a subtle atmosphere, mixing sound and noise in her minimalist and repetitive works.
  • Hofman, Musica concertante for piano, strings and electronic devices (1993), introduced rock music pulsations and paraphrased the concerto as a genre belonging to the past.
  • Paranosić, Scarabeus for electronics (1994)
  • Radovanović, Constellations (Sazveždja, 1997), a complex work for mixed electronics, in which three components belonging to different media are active: the sound, visual and kinetic.
Events
  • Permanent Art exhibition, 212 Gallery, September 1968, included electronic music, concrete music, experimental film, and computer art, based on the ideas of multiples and technologies of reproduction. Curated by Biljana Tomić.
Studios
Releases
  • Radovanović, Pignon, Devčić, Kalčič – Elektronski Studio Radio Beograda. PGP RTB, 1977. [6]
  • Various – Elektronski Studio Radio Beograda. PGP RTB, 3130037, 1985. [7]
  • Various – 30 Godina Elektronskog Studija Radio Beograda - Elektroakustička Muzika I - Izbor Dela Ostvarenih Od 1972. Do 2000. Godine. PGP RTS, CD 431333, 2002. [8]
Publications
  • Radovanović, Vokovizuel (Vocovisual), Belgrade, Nolit, 1987.
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
  • Mirjana Veselinović-Hofman, "Stvaralačko prisustvo evropske avangarde u nas" [The Creative Presence of the European Avant-Garde in Serbian Music], Belgrade, Univerzitet umetnosti, 1983.
  • Mirjana Veselinović-Hofman, "Fragment o muzičkoj postmoderni" [Fragment on Musical Postmodernism], Novi Sad, Matica srpska, 1997.
  • Vladan Radovanović, “Srpska avangarda u odlasku od muzike (1955–1980)” [Serbian Avant-garde in the Process of Leaving Music (1955–1980)], Gradina, 10, 1984, pp. 5–37
  • Melita Milin, "Serbian Music of the Second Half of the 20th Century: From Socialist Realism to Postmodernism", in: Katy Romanou (ed.), Serbian and Greek art music: a patch to Western music history, Intellect Books, 2009, pp 82-97.
  • The Synthesic Art of Vladan Radovanović monograph for his retrospective, 2005. Includes collection of essays by Dejan Đorić (The Founder of the Serbian Avant-Garde), Ješa Denegri, Nikola Šuica (on vocovisual), Ivan Rastegorac (On the Recording of Dreams and the Literary Works of Vladan Radovanović), Melita Milin (Metamusic and Music of Vladan Radovanović), Vladan Radovanović (Sintezijska umetnost / Synthesic Art); and catalogue of works. [9]
  • Ivana Janković, "Vladan Radovanović's 'synthesic art'", Muzikologija, 2003. (Serbian) [10] [11]

Experimental film

avant-garde
  • Esther Johnson with Vane Bor and Josip Slavenski, Belgrade's Mysteries (Les Mysteres de Belgarde, 1930s). Homage to Pearl White. During her European tour American pianist Esther Johnson visited Belgrade. Via the composer Josip Slavenski she gets in touch with Vane Bor and the three of them shoot her film project - film note(s) about Belgarde as one of the capitals. Slavenski and Bor are the founders of Filmska kulturna zadruga that "produces" the film; the camera is rented from the Aeroclub while Vane Bor serves as the guide around the town. The film is crisscross of distinctive, oblique visions of the city of an outsider and of maverick connoisseur. Belgrade's Mysteries later turns into real mystery as after the premiere the copy disappears and is never found again.
1950s-1960s - the second avant-garde
  • Marko Babac
  • Kokan Rakonjac
  • Živojin Pavlović, Triptych about Material and Death (Triptich o materiji i smrti, 1960). Produced at Akademski filmski klub.
  • Dušan Makavejev
  • Dragoljub Ivkov
  • Nikola Djurić
  • Ivko Šešić
  • Milorad Glušica
  • Želimir Žilnik, from Novi Sad
1970s - video art, "new art practices"
1980s - video art

Film theory

Dušan Stojanović

Centres

  • Kino klub Beograd (*1951). Membership in the club was considered a compulsory interlude in the professional careers of the directors of the 1960s and 1970s.
  • Academic Film Club Belgrade (*1958, Akademski filmski klub Beograd) [12], founded by Predrag Čonkić. In 1974 it relocated to New Belgrade within the Dom kulture Studentski grad.
  • Kinoteka Belgrade, unofficial "open university" [13]
Festivals and exhibitions

Archives

Archive of Alternative Film and Video at Academic Film Club Belgrade, head: Ivko Šešić [14]

Literature

  • 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). [15] Interview with Ana Janevski, June 2011
  • 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), pp 466-489
  • Alternativni film u Beogradu od 1950. do 1990. godine [Elektronski izvor] : vreme kino klubova : zbornik priloga za buduća istraživanja / [priredio] Miroslav-Bata Petrović. - Novi Beograd : Dom kulture „Studentski grad“, Arhiv alternativnog filma i videa, 2009 (Beograd : Pink digital system). - 1 elektronski optički disk (DVD) : tekst, slika; 12cm. - (Biblioteka „Istorija alternativnog filma“), ISBN 978-86-7933-052-9.

Performance art

Branko Vučićević [16]

Events
  • Bitef (Belgrade International Theater Festival), *1968, performance and theatre festival

Computer and computer-aided art

Artists

Vladan Radovanović (computer graphics works since 1988), Petar Milojević (emigrated to Canada in 1960), Zoran Radović (emigrated to Berlin in 1973)

Events
  • Permanent Art exhibition, 212 Gallery, September 1968, included electronic music, concrete music, experimental film, and computer art, based on the ideas of multiples and technologies of reproduction. Curated by Biljana Tomić.

Video art

Festivals and exhibitions
Literature
  • Dejan Sretenović, "Video Art in Serbia". POGLED /VIEW/ series, Centre for Contemporary Art, Belgrade, 1999.
  • 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. [19] [20] [21]
  • 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.
  • VIDEOGRAFIJA regiona = Videography of the Region : 2006-2009 : [katalog projekta = project catalogue] / [priređivač, edited by Aleksandra Sekulić]. - Beograd : Dom kulture “Studentski grad”, 2009 (Beograd : Alta Nova). - 245 str. : ilustr. ; 24 cm [22]

Art theory and art history

László Kerekes, Ješa Denegri, Irina Subotić, Dejan Sretenović, Stevan Vuković, Biljana Tomić

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. [23]
  • 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. [24]
  • Dejan Sretenovic lecture on Media Art in Serbia, MonteVideo/Amsterdam, 2 May 2000. [25]
  • Katherine Ann Carl, Aoristic Avant-garde: Experimental Art in 1960s and 1970s Yugoslavia. Dissertation, Stony Brook University, May 2009. [26]


Countries
avant-garde, modernism, experimental art, media culture, social practice

Albania, Argentina, Armenia, Australia, Austria, Azerbaijan, Belarus, Belgium, Bosnia and Herzegovina, Brazil, Bulgaria, Central and Eastern Europe, Chile, China, Croatia, Cyprus, Czech Republic, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Hungary, Iceland, India, Indonesia, Iran, Ireland, Italy, Japan, Kazakhstan, Kosova, Latvia, Lebanon, Lithuania, Luxembourg, Malta, Mexico, Moldova, Montenegro, Morocco, Netherlands, North Macedonia, Norway, Pakistan, Peru, Poland, Portugal, Romania, Russia, Serbia, Spain, Slovenia, Slovakia, South Korea, Sweden, Switzerland, Turkey, Ukraine, United Kingdom, United States