Serbia

From Monoskop
Revision as of 13:48, 21 September 2011 by Dusan (talk | contribs) (→‎Video art)
Jump to navigation Jump to search

Cities

Belgrade, Niš, Novi Sad, Pančevo.

Avant-garde

Exhibition
  • 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. [1]
Journals
  • Zenit avant-garde magazine published in Zagreb, 1921-1923, and 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.
  • Critique and Thoughts [Kritika i Misao] 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).
Publications
  • 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.
  • Ljubomir Micić, "Barbarogenius", Zenit, 1924.
  • Ljubomir Micić, "The New Art", Zenit, 1924.
  • Ljubomir Micić, "Zenithosophy: Or the Energetics of Creative Zenithism", Zenit, 1924.
  • Risto Ratković, "Barbarism as Culture", Zenit, 1925.
  • Tivadar Raith, "Toward the Documentation of the European Cultural Crisis: Five Years of Zenithism", Magyar Iras, 1926.
  • Branko Ve Poljanski, "Upside Down", 1926.
  • Ljubomir Micić, "Beyond-Sense Poetry", Introduction to Anti-Europe, 1926.
  • Ljubomir Micić, "Zenithism through the Prism of Marxism", Zenit, 1926.
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. [2]
  • 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. [3]
  • 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. [4]

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! catalogue)

Artists

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) [5], founded by Predrag Čonkić. In 1974 it relocated to New Belgrade within the Dom kulture Studentski grad.
  • Kinoteka Belgrade, unofficial "open university" [6]

Festivals and exhibitions

Archives

Archive of Alternative Film and Video at Academic Film Club Belgrade, head: Ivko Šešić [7]

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), 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.
  • "Uncharted Serbia: The Avant-Garde of the Kino Clubs", film selection with an introduction, 2009. [8]
  • "Experimental Ex-Yu", film selection with an introduction, 2009. [9]
  • 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). [10] Interview with Ana Janevski, June 2011

Performance art

Branko Vučićević [11]

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

Sound art

Works
  • At the 'October '71' exhibition at Skc Gallery, Marina Abramovic created a public sound art piece, the first of its kind in Yugoslavia, Birds Twittering in the Tree, which consisted of a loudspeaker perched in a tree outside SKC that projected the sounds of birds chirping. Inside she created a series of sound boxes with the sounds of Bleeting(sic), Moaning, and A Shot. She created a number of Sound Spaces in 1972, which were meant to provoke shock in the audience. For one of her Sound Spaces, sounds of the body seemed to inhabit open empty room punctuated by light beams and surrounded by white drapes. Video and sound were recorded and immediately played back so that the recorded activity was of equal importance to the live action. Abramovic’s sound pieces created for 'October '72' imitated the destruction of buildings while she aimed floodlights at the actual standing building of the SKC. Airport Sound Environment featured the voice of an airport announcer. Circular Space was the echo of a wire strung through the space.

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. [17]
  • Various – Elektronski Studio Radio Beograda. PGP RTB, 3130037, 1985. [18]
  • Various – 30 Godina Elektronskog Studija Radio Beograda - Elektroakustička Muzika I - Izbor Dela Ostvarenih Od 1972. Do 2000. Godine. PGP RTS, CD 431333, 2002. [19]
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. [20]
  • Ivana Janković, "Vladan Radovanović's 'synthesic art'", Muzikologija, 2003. (Serbian) [21] [22]

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

Video-yu-1970s.png

Artists
Events

Video-yu-events-1970s.png

Centres
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. [25] [26] [27]
  • 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 [28]

New media art, Media culture

Andrej Tisma

Literature
  • Tom Bass, "A Travellogue from the Balkan", Telepolis, 19.06.1997. [29]

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. [30]
  • 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. [31]
  • Dejan Sretenovic lecture on Media Art in Serbia, MonteVideo/Amsterdam, 2 May 2000. [32]
  • Katherine Ann Carl, Aoristic Avant-garde: Experimental Art in 1960s and 1970s Yugoslavia. Dissertation, Stony Brook University, May 2009. [33]


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