Between Prague Spring and French May: Opposition and Revolt in Europe, 1960-1980 (2011)

27 January 2017, dusan

“Abandoning the usual Cold War–oriented narrative of postwar European protest and opposition movements, this volume offers an innovative, interdisciplinary, and comprehensive perspective on two decades of protest and social upheaval in postwar Europe. It examines the mutual influences and interactions among dissenters in Western Europe, the Warsaw Pact countries, and the non-aligned European countries, and shows how ideological and political developments in the East and West were interconnected through official state or party channels as well as a variety of private and clandestine contacts. Focusing on issues arising from the cross-cultural transfer of ideas, the adjustments to institutional and political frameworks, and the role of the media in staging protest, the volume examines the romanticized attitude of Western activists to violent liberation movements in the Third World and the idolization of imprisoned RAF members as martyrs among left-wing circles across Western Europe.”

Edited by Martin Klimke, Jacco Pekelder and Joachim Scharloth
Publisher Berghahn Books, New York, 2011
Protest, Culture, and Society series, 7
ISBN 9780857451064, 0857451065
vi+347 pages
via publisher

Reviews: Caroline Hoefferle (J Study of Radicalism, 2012), Benoît Challand (Memory Studies, 2013), Rosemary H.T. O’Kane (Political Studies Rev, 2013), Sarah Žabić (Peace&Change, 2013), Matthias Dapprich (J Cold War Studies, 2014), Francis D. Raška (European Legacy, 2016).



Armin Medosch: New Tendencies: Art at the Threshold of the Information Revolution, 1961–1978 (2016)

27 October 2016, dusan

New Tendencies, a non-aligned modernist art movement, emerged in the early 1960s in the former Yugoslavia, a non-aligned country. It represented a new sensibility, rejecting both Abstract Expressionism and socialist realism in an attempt to formulate an art adequate to the age of advanced mass production. In this book, Armin Medosch examines the development of New Tendencies as a major international art movement in the context of social, political, and technological history. Doing so, he traces concurrent paradigm shifts: the change from Fordism (the political economy of mass production and consumption) to the information society, and the change from postwar modernism to dematerialized postmodern art practices.

Medosch explains that New Tendencies, rather than opposing the forces of technology as most artists and intellectuals of the time did, imagined the rapid advance of technology to be a springboard into a future beyond alienation and oppression. Works by New Tendencies cast the viewer as coproducer, abolishing the idea of artist as creative genius and replacing it with the notion of the visual researcher. In 1968 and 1969, the group actively turned to the computer as a medium of visual research, anticipating new media and digital art.

Medosch discusses modernization in then-Yugoslavia and other nations on the periphery; looks in detail at New Tendencies’ five major exhibitions in Zagreb (the capital of Croatia); and considers such topics as the group’s relation to science, the changing relationship of manual and intellectual labor, New Tendencies in the international art market, their engagement with computer art, and the group’s eventual eclipse by other “new art practices” including conceptualism, land art, and arte povera. Numerous illustrations document New Tendencies’ works and exhibitions.”

Based on 2012 dissertation from Goldsmiths, University of London.

Publisher MIT Press, 2016
Leonardo series
ISBN 9780262034166, 0262034166
x+395 pages

Reviews: Oliver Schürer (Versorgerin 2016, DE), Kristian Lukić (Furtherfield 2017).



Bojana Cvejić, Goran Sergej Pristaš (eds.): Parallel Slalom: A Lexicon of Non-aligned Poetics (2013)

11 March 2016, dusan

“What does it take to create one’s own concepts? What does it mean to own a concept? Parallel Slalom is an edited collection of essays that attempt to address these questions from the viewpoint of artistic and theoretical practices that have been developing since the 1960s, especially in the period after the breakup of Yugoslavia in 1991. Artists, dramaturges, theorists, editors, writers or ‘cultural workers’ who write or are written about in this volume don’t always belong to the same historical, geopolitical and cultural framework that the curator Ješa Denegri called, the ‘common Yugoslav cultural space’ also because a considerable number of writers come from contexts other than those in Eastern Europe. Yet they share a kind of thought that arises from within, or close to, artistic practice as a poetical instrument of looking past art into the production of political, social and aesthetic realms.”

“Among the concepts developed are: Americanism; artivisim; acting without publicizing; Chaplinism; cinema clubs; cinematic modes of action; contextual art; delay; delayed audience; digitality; East Dance Academy; generations; group sex; laziness; operation; politics of affection and uneasiness; proceduralism; protocol; radical amateurism; reconstruction, second-hand-knowledge; slideshow; temporary zones, shelters, and project spaces; tiger’s leap into history; unburdened, aesthetically; unlearned, terminally.”

Contributions by Ric Allsopp, Jonathan Beller, Ivana Bago, Bojana Cvejić, Isabel de Naveran, Tomislav Gotovac, Owen Hatherley, Ana Janevski, Janez Janša, Marko Kostanić, Bojana Kunst, Antonia Majača, Aldo Milohnić, Goran Sergej Pristaš, Mårten Spångberg, Mladen Stilinović, Miško Šuvaković, Terminally Unschooled, Terms study group, and Ana Vujanović.

Publisher Walking Theory ‒ TkH, Belgrade, and CDU – Centre for Drama Art, Zagreb, 2013
ISBN 8690589961, 9788690589968
411 pages

Publisher (TkH)
Publisher (CDU)

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