n o v i n e galerije nov a / ga lle ry nova newspapers

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edna od najslavnijih epizoda gerilskih umjetnikih protestnih akcija izvedenih u instituciji muzeja jest serija umjetnost uvijek ima posljedice / art always has its consequences akcija Guerilla Art Action Group (GAAG) u razdoblju od 1969. do 1971, ve i zbog toga to su se njihovi protesti otvorenje / opening: subota / saturday 08.05.2010 12 h odravali u Muzeju moderne umjetnosti u New Yorku, stara zgrada muzeja suvremene umjetnosti / muzeju koji i danas, nakon transformacije iz elitistikog former building of the museum of contemporary art katarinski trg 2 hrama estetske kontemplacije u turistiku atrakciju, & galerija nova, teslina 7 zagreb dri primat glavne institucije globalne suvremene umjetnosti. goran orevi mikls erdly mikls erdly & dra maurer Kombinirajui ulino kazalite, happeninge, politike proteste i andreas fogarasi guerilla art action group tibor hajas sanja kolektivizam, djelovanje grupe GAAG 01 preklapalo se s drugim ivekovi david maljkovi dimitrije baievi mangelos vlado umjetnikim kolektivima tog vremena, osobito s Art Workers martek piet mondrian ciprian murean deimantas narkeviius Coalition.02 Njihovo djelovanje bilo je usmjereno protiv rata andreja kuluni novi kolektivizam andrzej partum gyula u Vijetnamu, protiv ukljuenosti lanova uprave Muzeja pauer tomo savi-gecan mladen stilinovi sean snyder tams moderne umjetnosti u korporacije koje profitiraju od rata u st.auby blint szombathy milan trenc ultra-red Vijetnamu (npr., zahtijevali su da se obitelj Rockefeller povue im ujutro otvorim oi, vidim film [ kino klubovi & genre film jer njihov filantropski angaman slui da prikrije injenicu festival / geff ] / as soon as i open my eyes, i see a film [cinema clubs da je velik dio njihovog bogatstva stvoren proizvodnjom i & the genre film festival / geff ] prodajom oruja), a zalagalo se za civilna prava, seksualnu didaktika izloba: apstraktna umjetnost / i rasnu jednakost umjetnika, besplatne dane muzeja kako didactic exhibition: abstract art bi se umjetnost pribliila siromanima, itd. Njihove akcije ideologija dizajna: fragmenti o istoriji jugoslovenskog dizajna / svjedoe nesebinom vjerovanju da se umjetnici kojima je ideology of design: fragments on history of yugoslav design stalo do drutvenih pitanja trebaju udruiti i djelovati izvan simpozij wroclaw 70 / symposium wroclaw 70 fetiiziranih granica muzeja i galerija. Fotografije tih akcija objavljene su u knjizi GAAG, the Guerrilla Art Action Group, kustosi / curators: 19691976: A Selection (Printed Matter, New York, 1978) dra hegyi & zsuzsa lszl [tranzit. hu] magdalena zikowska & katarzyna koja se danas vie ne moe nabaviti i koja u amerikoj oboda [muzeum sztuki d] kuda.org to, kako i za koga / whw muzejsko-galerijskoj kulturi jo nije nala nikoga tko projekt im ujutro otvorim oi, vidim film [kino klubovi & genre film festival/ bi je ponovno objavio. Estetika tih fotografija bliska je geff] / project as soon as i open my eyes i see a film [cinema clubs & genre film dokumentaristikoj i reportanoj fotografiji koja je tih festival/geff] ana janevski [muzeum sztuki nowoczesnej w warszawie] godina biljeila masovne (pop)kulturne manifestacije i politike proteste mladih u Americi. izloba je otvorena do / the exhibition is open until: 02.06.2010. Protesti protiv rata tih su godina poticali politiku radno vrijeme / opening hours: imaginaciju generacije s obje strane eljezne zavjese, utorak subota / tuesdays saturdays 12 20 h nedjelja / sundays 11 14 h kao na primjer u radu Miklsa Erdlya Algebra morala uz podrku / supported by: akcija solidarnosti iz 1972, koji u represivnoj atmosferi erste foundation maarske slubene umjetnosti tih godina protestira gradski ured za kulturu, obrazovanje i port grada zagreba / protiv prijetnje rata i poziva na solidarnost koja city office for culture, education and sport of the city of zagreb nadilazi voe i voene, sukobljene drave ili grupe, ministarstvo kulture republike hrvatske / uvare i uvane solidarnosti koja, na primjer, pokazuje ministry of culture of the republic of croatia da je slinost izmeu robijaa i tamniara vea od one nacionalna zaklada za razvoj civilnog drutva / izmeu tamniara i zatvora ili izmeu robijaa i robije. national foundation for the development of civil society Tih se godina tek pomaljaju prvi znakovi transforturistika zajednica grada zagreba macije politike i ekonomske strukture svijeta kakav je uspostavljen nakon Drugoga svjetskog rata. Jedan Svi radovi izloeni su ljubaznou umjetnika osim / all works courtesy by the artists except: od simptoma te transformacije je i nedavni krah ficreativity exercises & tibor hajas bla balzs stdi / national filmarchive, hungary nancijskih trita i ekonomska kriza ije su nepomikls erdly erdly mikls foundation sredne posljedice naizgled ublaene dosad nevieandrzej partum muzeum sztuki, d nim dravnim intervencijama, ali ije pouke, ini se, sean snyder lisson gallery nisu ozbiljno shvaene. Tada jo nije postojala tzv. as soon as i open my eyes, i see a film (cinema clubs & the genre film festival/geff) hrvatski meunarodna umjetnika scena kakva nastaje irefilmski savez; institut za povijest umjetnosti; akademski filmski centar, beograd njem neo-liberalne politike nakon 1989. i nita nije didactic exhibition nenad gattin & muzej suvremene umjetnosti, zagreb naroito ugroavalo dinamiku sredita i periferije. symposium wroclaw 70 dolnolskie towarzystwo zachty sztuk piknych, wrocaw; To su godine kada ideja modernistike apstrakcije tadeusz rolke; zakad narodowy im. ossoliskich, wrocaw kao univerzalnog jezika umjetnosti ulazi u krizu, izloba je dio projekta umjetnost uvijek ima posljedice, organiziranog uz prvenstveno na Zapadu, ali i u zemljama iza epodrku programa kultura 20072013 evropske unije / this exhibition ljezne zavjese gdje je apstrakcija kao forma koja is part of the project art always has its consequences, organised with se poistovjeuje s idejom umjetnike slobode i support of the programme culture 20072013 of the european union autonomije esto nosila i biljeg umjetnosti koja se opire slubenoj ideologijskoj instrumentaliorganizatori projekta umjetnost uvijek ima posljedice su / the organizers of the project art zaciji umjetnosti, a koja je pedesetih godina doalways has its consequences are: centar za nove medije/new media centre_ kuda.org, novi ista nadahnjivala internacionalne pokrete koji sad muzeum sztuki, d tranzit. hu, budimpeta to, kako i za koga/what, how & for su jezik modernistike apstrakcije povezivali s whom whw, zagreb idejama univerzalne ljudske emancipacije. sva dogaanja u galeriji nova suorganiziraju whw i agm / Ta je misao bila u pozadini Didaktike izloall events in gallery nova are co-organised by whw & agm be: apstraktna umjetnost, koju su od 27.03. medijska podrka / media support: do 30.04.1957. u tada jo sasvim mladoj jutarnji list radio 101 t-portal Gradskoj galeriji suvremene umjetnosti u Zagrebu (slubeno osnovanoj u prosincu www.artalways.org www.subversivefilmfestival.com

subversive film festival

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01 GAAG su 15.10. 1969. u New Yorku osnovali Jean Toche, Jon Hendricks i Poppy Johnson. Virginia Toche i Joanne Stamerra bile su ukljuene u mnoge aspekte rada GAAG-a. Toche i Hendricks povremeno i dalje rade zajedno, no glavno razdoblje djelovanja grupe bilo je od 1969. do 1976. Veina njihovih akcija realizirana je izmeu 1969. i 1971. 02 Koalicija umjetnika, pisaca, kritiara i muzejskog osoblja osnovana u New Yorku 1969. s ciljem stvaranja pritiska na muzejske institucije kako bi se reformirale u smjeru vee demokratinosti. Mladen Stilinovi: Tekst nogom, u katalogu izlobe Instalacija / Footwriting, Installation exhibition catalogue, Studio GSU, Zagreb 1984.

to, kako i za koga / whw

03
03 Ivan Picelj, Radoslav Putar, Tihana Raveli, Vjenceslav Richter, Neven egvi, Vesna Barbi i Edo Kovaevi. 04 Dom Armije u Sisku [prosinac 1957], Muzej primijenjene umjetnosti u Beogradu [sijeanj 1958], Savjet za prosvjetu i kulturu u Skopju [oujak 1958], Tribina mladih u Novom Sadu [svibanj 1958], Gradski muzej u Beeju [lipanj 1958], Gradski muzej u Karlovcu [travanj 1959], Umetnostna galerija u Mariboru [lipanj 1959], Muzej Srema u Sremskoj Mitrovici [veljaa 1960], Umjetnika galerija u Osijeku [travanj 1960], Klub omladine u Zagrebu [prosinac 1961], Gradski muzej u Bjelovaru [veljaa/ oujak 1962]. S jedne strane shvaa se kao kliej o snanom domaem soc-realizmu i borbi za modernu umjetnost u opoziciji slubenoj partijskoj liniji, to se esto protee i do teza o borbi za modernu umjetnost kao svojevrsnom obliku otpora ostataka ugroenog graanskog drutva, tenji za prikljuenjem glavnom toku evropske kulture kojem smo, naravno, oduvijek pripadali, a s druge strane u samim probojima apstrakcije vidi se produena ruka svemone Partije, makijavelistika manipulacija kojom se jedan totalitarni sustav lijepom fasadom predstavljao svijetu. Suvremeni nesporazumi oko shvaanja modernizma i njegove internacionalne opcije dio su prevladavajueg ireg neoliberalnog odnosa prema socijalizmu kao propalom drutvenom eksperimentu koji je rezultirao ekonomskom, politikom i drutvenom katastrofom koju treba prevladati tranzicijom ija cijena nije upitna. U odnosu na umjetnost posljedica je, Andreas Fogarasi: Vasarely izmeu ostalog, povijest Go Home (Announcement), 2010. umjetnosti koja oscilira izmeu dokazivanja autohtonosti i utvrivanja prvenstva ili sinkroniciteta sa zapadnim umjetnikim sreditima. Preispitivanje dominantnih povijesno-umjetnikih narativa i odnosa prema socijalistikom nasljeu okosnica je radova mlaih umjetnika, kao to su David Maljkovi koji se u nizu radova bavi nasljeem grupe Exat 51, ili Andreas Fogarasi iji rad Vasarely Go Home (Announcement) iz 2010. interpretira akciju neo-avangardnog umjetnika Jnosa Majora na pompoznom slubenom otvorenju solo izlobe korifeja nefigurativne umjetnosti Victora Vasarelyja, Maara koji je ivio i radio u Francuskoj, u Budipmeti 1969. Sa slinim intencijama koncipirano je i dokumentacijsko predstavljanje Simpozija Wroclaw 70, koji zauzima upravo mitsko mjesto u utvrivanju

1954) organizirali umjetnici i kritiari donedavno okupljeni oko grupe EXAT 51 (koja je tad ve prestala s radom) i asopisa ovjek i prostor,03 i koja je do 1962. putovala bivom Jugoslavijom04 pribliavajui apstraktnu umjetnost najiroj publici. Ta danas uveliko zaboravljena izloba pokazuje u kojoj je mjeri u bivoj Jugoslaviji ve u drugoj polovici 1950-ih godina apstraktna umjetnost doista prestala biti problematina, a u suvremenom, tzv. tranzicijskom, postsocijalistikom razdoblju, ta se injenica interpretira u skladu s partikularnom ideolokom vizurom na kulturnu povijest SFRJ-a.

Blint Szombathy: Lenjin u Budimpeti / Lenin in Budapest, 1972.

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Premda predstavlja mnoge povijesne radove, izloba nema pretenzije biti muzejska ni na razini konceptualne koherencije, ni muzejskim postavom. Izloba proizlazi iz dvogodinjeg suradnikog projekta organizacija tranzit.hu iz Budimpete, Muzeum Sztuki iz da, Centar za nove medije kuda.org iz Novog Sada i to, kako i za koga/WHW iz Zagreba. Kroz razliite formate projekt se bavio temama vezanim za modernistiko nasljee i zajedniku povijest, kroz rekontekstualizaciju razliitih umjetnikih praksi, od kojih mnoge nisu usmjerene ka proizvodnji umjetnikih objekata i njihovom estetskom vrednovanju, ve medijaciji i komunikaciji umjetnikog djela s publikom irom od uobiajene galerijske. Istraivanje je bilo usmjereno na specifine povijesne, ekonomske i politike okolnosti, ali i na formiranje meunarodno priznatih univerzalnih normi, u odnosu na koje predstavljene umjetnike prakse nastoje afirmirati povijesni kontinuitet i propitivati vlastiti kontekst. Kao rezultat viegodinje suradnike prakse, izloba Umjetnost uvijek ima posljedice temelji se na privremenoj i trenutnoj konstelaciji poduzetih istraivanja nastojei povui paralele i oznaiti dodirne toke razliitih srodnih praksi, te unato naglasku na umjetnikoj produkciji iz istone Evrope, ni u kojem smislu nema ambiciju ponuditi homogenizirajuu sliku istono-evropske umjetnosti posljednjih desetljea, niti se povinovati statistikama kao politici reprezentacije. Prijedlog izlobe Umjetnost uvijek ima posljedice jest ne izvlaiti zakljuke iz injenice da nedostaju mnoge umjetnike pozicije koje bi s pravom zasluile biti predstavljene, niti iz politiki nekorektne naglaene generacijske, geografske i osobito skandalozne rodne neravnotee (svega dvije umjetnice naspram 18 umjetnika i 8 grupnih projekata), ve iz interpretacije odnosa koji pokazuju na koje je naine umjetnost ulazila u napetost i sukob s kulturnom hegemonijom trenutka, s obzirom na pitanja institucije Umjetnosti i umjetnikih institucija, te umjetnike autonomije i politikog angamana, izvan pojednostavljujueg i prevladavajueg shvaanja u kojem politiki angaman ukida umjetniku autonomiju, a umjetnika produkcija istone Evrope svodi se ili na (zakanjelu) reakciju na zbivanja na Zapadu, ili na instrumentalizirani ideoloki konstrukt. GEFF 69, Obavijest 2 / Announcemet 2, 6.3.1970, dizajn/design: Mihajlo Arsovski. Tradicionalni geopolitiki pojmovi Istoka i Zapada danas se ine prejednostavnima poetaka konceptualne umjetnosti u Poljskoj. ima posljedice bavi se politikom izlaganja te da bi opisali kompleksna kretanja kapitala Kao to nas danas Didaktika izloba: apstraktna ukljuujui povijesne radove i nove produkcije, i njegova teritorijalna repozicioniranja u umjetnost ne zanima kao neki vrhunski proizvod arhivsku grau i istraivaku dokumentaciju, posljednih nekoliko desetljea. No to ne exhibition designa, proto-konceptualni umjetniki rekonstruirajui i reinterpretirajui paradigmatske znai da je promijenjeno prevladavajue rad (izloba bez originalnih djela, izloba kopija, umjetnike i izlobene pozicije od 1950-ih godina miljenje ili retorika o centru i periferiji prijevoda i citata) ili kustoski koncept kojim do danas, ukazuje na povijesni kontinuitet koja stalno kaska za njim, kroz koju se se definira jedan pogled na odreeno razdoblje srodnih umjetnikih eksperimenata koji post-komunistike zemlje definiraju kao umjetnosti, ve upravo kao materijalni trag jedne propituju drutvenu ulogu umjetnosti. U sreditu kulturni prostori u kojima je desetljeima kulture, jednog drutva i njegove kulturne politike njezina interesa je ono to u filmu Deimantasa bio zaustavljen modernizam, te se tek sada u kojoj je u jednom periodu bilo ne samo realno Narkeviiusa Uloga ivota (2003), koji se sastoji trebaju integrirati u globalni kapitalistiki mogue ostvariti nego i uope zamisliti takvu od intervjua s pionirom tzv. doku-drame Peterom sustav kroz proces tranzicije, niti da su kulturnu manifestaciju, tako i predstavljanje Watkinsom i predstavlja svojevrsni manifest prijanje podjele, ekonomske nejednakosti simpozija u Wroclawu predlae preispitivanje oba umjetnika, Watkins izraava rijeima: i neravnopravnosti jednostavno nestale. mita koji taj dogaaj interpretira iskljuivo iz Ne vjerujem i ne zanima me ideja neutralnog Paradoksalna je injenica da u dominantnom perspektive umjetnikog disidenstva prema umjetnika. ak ako takvo to i postoji, iskreno diskursu povijesti umjetnosti istona slubenoj kulturnoj politici, reeno, ne mislim da je naroito zanimljivo. Evropa zapravo nije postojala za vrijeme ili kao posljednje okupljanje Izloba Umjetnost uvijek ima posljedice izvlai hladnoratovske blokovske podjele, osim avangarde, ili kao prvu predstavljene radove iz neutralnosti koju namee kao kliej koriten u svrhu ideoloke manifestaciju konceptualne prevladavajui konsenzus koji ulogu umjetnosti instrumentalizacije autonomije umjetnosti. umjetnosti u Poljskoj. u emancipatorskim drutvenim procesima shvaa Kao pojam u umjetnikom svijetu ona Izloba Umjetnost uvijek kao ideoloki i drutveni balast.

odnosa subverzije i agitacije u kontroverznom plakatu za Dan mladosti 1987. zapravo postoji tek danas kada su donekle slovenskog Novog kolektivizma, u politikim ilustracijama Milana Trenca u uspostavljeni procesi njezine historizacije i visokotiranom magazinu Start kasnih 1980-ih, ili desetak godina kasnije u gradnje njezina narativa, a ono to tek treba antifaistiko-feministikoj intervenciji Sanje Ivekovi u asopisu Arkzin, koji uiniti jest dekonstruirati hegemonijski je u drugoj polovici 1990-ih iz fanzina Antiratne kampanje izrastao u, dakako, narativ Zapada i ukazati na naine na koje niskotirani i neprofitni, ali intelektualno iznimno vaan kritiko-teorijski on jo uvijek odreuje ekonomske odnose asopis? umjetnike produkcije. Sluaj socijalistike Kakva je danas legitimna pedagoka i didaktika Kontekstualizacija kontradiktornih procesa Jugoslavije efektno ukazuje na te promjene, funkcija umjetnosti koja je od povijesne avangarde kroz koje su se razliiti ideoloki procesi i jer nakon 1948, zahvaljujui neovisnoj i desetljeima pokretala umjetnike pokrete, drutveni razvoj prelamali u irem okviru kasnije nesvrstanoj politici, SFRJ uglavnom primjerice onaj meksikih muralista, ijom se kulturnog rada, ukljuujui polje dizajna, vizualnih nije shvaana kao dio istone Evrope kojoj izlobom odranom u ukrajinskom selu 1960-ih identiteta, javnih medija i popularnog obrazovanja, su pripadale zemlje Istonog bloka pod bavi Sean Snyder, i kako i s kojim se ciljem ona problematizira se ukljuivanjem projekata im neposrednim sovjetskim utjecajem. Tek koristi u filmovima studija Bla Balsz iz 1970-ih, ili ujutro otvorim oi, vidim film (kino klubovi & genre nakon pada Zida i rasapa SFRJ-a poetkom u suvremenim radovima Andreje Kuluni? Postoji film festival/GEFF) kustosice Ane Janevski, koji 1990-ih, Jugoslavija i drave nastale njezinim li kontinuitet izmeu odnosa prema umjetnikim istrauje eksperimentalnu filmsku produkciju rasapom sve vie postaju dio te nove institucijama i ambicijama koje su pokretale amaterskih kino-klubova u Zagrebu, Beogradu i bive istone Evrope. To ne znai da u ideju izlaska iz institucija u direktnim akcijama Splitu i veze s umjetnikim zbivanjima pedesetih mnogoemu SFRJ objektivno nije bila dio 1970-ih godina i danas? Treba li odgovor traiti i ezdesetih godina, kao i projekta Ideologija istone Evrope, ve da je sam pojam (bive) unutar irokog polja umjetnike prakse koja se dizajna: Fragmenti o istoriji jugoslovenskog dizajna, istone Evrope promjenjiv ideoloki od 1990-ih naziva institucionalnom kritikom, ili u kustoskoj interpretaciji kolektiva kuda.org iz konstrukt. je, konkretno u Jugoslaviji, ideja koja je oblikovala Umjetnost uvijek ima posljedice polazi kritiki odnos spram sustava institucija u radu od umjetnosti bive istone Evrope imajui mnogih grupa i umjetnika 1970-ih na podlozi na umu pitanje rumunjskog filozofa Ovidia kritike birokratizacije i okotavanja socijalizma, Tichindeleana Kakvog smisla imaju diskusije primjerice u radu Vlade Marteka ili Mladena o istono-evropskim prijeporima o komunizmu, Stilinovia, lanova Grupe estorice autora, danas ako ne kao izvor za obnovu lijeve teoretske nezamisliva? Mogu li se institucionalno-kritike tradicije?.05 Izloba pristupa pitanju odnosa intervencije Tome Savia-Gecana objanjavati prema kolektivnoj amneziji progresivnih iskljuivo iz perspektive globalnog svijeta dostignua prolosti, pokuavajui ponuditi umjetnosti koji se oblikovao 90-ih i bez pogleda estetsko-politiku slagalicu koja nam moe u prolost? Kako shvatiti injenicu da je izloba pomoi reformulirati pitanja vezana za Gorana orevia Glasnici apokalipse, odrana dananji trenutak akutne krize politike 1981. u galeriji SKC u Beogradu, Galeriji Proirenih imaginacije nastale kao posljedica tektonskih medija u Zagrebu i Galeriji KUC u Ljubljani, pomaka nakon 1989, kao i za mjesto i ulogu odigrala tako vaan utjecaj na ljubljansku scenu umjetnosti danas koja pitanja ona moe 1980-ih? otvoriti, kojih se ne uspijeva dokatnuti, na koji se nain umjetnost nosi sa svojim (ne)mogunostima? to moemo nauiti iz kontinuiteta nastojanja i umjetnikog Izloba Umjetnost uvijek ima posljedice eksperimentiranja izlaska umjetnosti u predstavlja radove i izlobene projekte koji javni prostor? Kako geste politike agitacije pozivaju na formuliranje pitanja i njihove i protesta reagiraju na limitiranost i implikacije, predstavljajui radove u kljuu koji ih zatvaranje javnog prostora i krizu koncepta interpretira kao kritiku i reartikulaciju politike, javnosti u razliitim situacijama, od realkulturne i umjetnike konstelacije, kao direktnu Mangelos: Shid-theory (no art), 1978. socijalizma u Maarskoj 1970-ih godina, akciju ili agitaciju, ili kao simptom koji nam primjerice u radovima Tibora Hajasa ili govori to je mogue i prihvatljivo u odreenom Novoga Sada, koji prouava razvoj i percepciju Gyule Pauera, do neo-liberalne Rumunjske drutveno-politikom kontekstu. injenica jest dizajna u odnosu prema umjetnikim praksama i nakon uspjenog prikljuenja Evropskoj da je film Kentaur (1973-75) Tamsa St. Aubyja, kritikim diskursima. uniji u recentnom radu Auto-da-F Cipriana lucidna i otra kritika otuenja i degradacije Kako se preplitanje umjetnosti i drutvenog Mureana? Moemo li u isti niz smjestiti rada u drutvu koje se pozivalo na vrijednosti djelovanja odraava na polemike oko autonomije i performans Blinta Szombathyja iz 1972. komunizma, smjesta bio zabranjen i da je autor umjetnosti, kako se u nekom trenutku odreena Lenjin u Budimpeti, u kojem umjetnik nosi proveo godine u emigraciji, no injenica je i da je praksa prepoznaje, legitimizira i brani kao poster s likom Vladimira Iljia Lenjina, ili 70-ih godina, u opresivnim okolnostima maarske umjetnost? Kako je autonomiju shvaao Dimitrije je njegov odnos prema slubenoj politikoj kulturne politike, takav film bilo mogue snimiti Baievi, lan Gorgone, istaknuti kritiar i propagandi produktivnije itati u svjetlu u dravno financiranom studiju Bla Balzs kustos koji je desetljeima gotovo u tajnosti onoga to je kasnije nastajalo u sklopu Neue koji je omoguavao proizvodnju avangardnih stvarao radove pod pseudonimom Mangelos, a Slowenische Kunsta? Kakvu vezu izmeu eksperimentalnih filmova. ija umjetnost znaajnije ulazi u javni politikog angamana, Naslov Umjetnost uvijek ima posljedice prostor tek nakon retrospektivne internacionalne povijesti 05 Ovidiu Tichindeleanu, preuzet je iz konceptualnog teksta Mladena izlobe Gorgone 1977, i je li potreba za ljevice i umjetnike Towards a Stilinovia Tekst nogom iz 1984, i upuuje na autonomijom odreivala djelovanje produkcije tvore critical theory of istraivanje odnosa koji umjetnost ima na enfant-terriblea poljske post-avangarde, aktivistike ambijentalne postcommunism? realnost, ali i na jednaku vanost unutranjih, umjetnika, pjesnika i glazbenika Andrzeja zvune instalacije Beyond bitno umjetnikih procedura kojima se umjetnost Partuma koji je od 1960-ih godina kolektiva Ultra-red anticommunism in opetovano ograniava na polje umjetnosti. djelovao izvan postojeih struktura osnovanog kasnih Romania, Radical Pitanja odgovornosti umjetnosti prema razotkrivajui apsurde drutvenog i 1990-ih u Los Angelesu? Philosophy, no 159, vlastitim procedurama i pomicanju umjetnikog ivota? Kako shvatiti dinamiku 2010. vlastitih granica, u vezi s umjetnikim

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Tomo SaviGecan: Bez naslova / Untitled, 2010.

samopozicioniranjem kako u samom sistemu Umjetnosti tako i u irem drutveno-politikom kontekstu, nisu razrijeena suvremenom transformacijom kulturnog polja u koloniju marketinga i profita, ni injenicom da je vana funkcija koju suvremenoj umjetnosti dodjeljuje neo-liberalizam potaknula njezino utapanje u kreativnim industrijama. Dapae, ona se danas ine vanijima nego ikad. Izloba Umjetnost uvijek ima posljedice stavlja u dijalog povijesne i suvremene umjetnike pozicije te razmatra odnose kolektivnog identiteta i kulturne homogenizacije i uloge umjetnikih institucija u tim procesima. Izloba se odvija u prostoru barokne palae Kulmer na Katarininom trgu u Zagrebu, a predstavljeni umjetniki radovi i istraivanja sueljeni su s materijalnom i ideolokom memorijom same zgrade koja je godinama sluila kao glavni prostor Galerije suvremene umjetnosti, kasnije preimenovane u Muzej suvremene umjetnosti. Zgrada je nakon 2. svjetskog rata nacionalizirana, te potom prije nekoliko godina denacionalizirana, a njen karakter neodvojiv je od institucionalnog konteksta koji ga je desetljeima naseljavao, sve do relativno nedavnog preseljenja u novoizgraenu zgradu Muzeja suvremene umjetnosti u Novome Zagrebu. Prostor barokne palae i nekadanjeg muzeja ostavljen je u stanju u kojem je zateen, a izloba osim biveg izlobenog prostora zauzima i posjetiteljima ranije nevidljive prostore prijanjih ureda i muzejskog depoa. Taj odabir lokacije ne znai priklanjanje trenutnoj politiko-kulturnoj konjunkturi koja nastoji priskrbiti kulturni kapital openitom kritikom muzeja kao elementa kulturnog turizma, proimanja kulture i ekonomije grada i posljedinim malverzacijama i kontaminacijama, ili pak euforinom valorizacijom novootvorenog Muzeja suvremene umjetnosti. Privremeno zauzimanje lokacije bive zgrade muzeja poziva se na povijesnu memoriju institucije i njezinu ulogu u procesima oblikovanja i uvanja kolektivne memorije i artikulacije kolektivnih interesa koji nisu u potpunosti zasjenjeni temama nametnutim real-politikim, prvenstveno izbornim, ritmom fiktivne demokracije. Izloba sueljava suvremene pristupe sa strategijama koritenima u prolosti, pozivajui na itanje predstavljenih radova u odnosu na pitanja uloge i odgovornosti javnih institucija umjetnosti, naina na koje se pozicioniraju prema ekonomskim i ideolokim okvirima i pridonose formiranju kulturnih utjecaja i hegemonizaciji odreenih normi. Izloba Umjetnost uvijek ima posljedice otvara se 8. svibnja, na Dan osloboenja Zagreba 1945. Danas, u vremenu epohalnog prestrojavanja u odnosu na Drugi svjetski rat i tendencije izjednaavanja nacizma i komunizma pod openitom odrednicom totalitarizma, taj odabir datuma posveta je emancipatorskoj sekvenci Narodno-oslobodilake borbe kao temeljnom uporitu iz kojeg moemo gledati u budunost.

art always has its

ne of the most famous episodes of guerrilla art protest actions carried out in a museum institution is a series of actions by the group GAAG (Guerilla Art Action Group) in the period from 1969 to 1971, especially because their protests were carried out in the Museum of Modern Art in New York, a museum which even today, after its transformation from an elitist temple of aesthetic contemplation into a tourist attraction, maintains its position as the main institution of con01 GAAG was founded on 15 temporary global art. Combining street theatre, happenings, October 1969 in New York by political protests and collectivism, the actions of GAAG01 fit Jean Toche, Jon Hendricks in with other art collectives of the time, especially with the and Poppy Johnson. Virginia 02 Art Workers Coalition. Their actions were directed against Toche and Joanne Stamerra the war in Vietnam, against the involvement of members of were included in many aspects the Museum of Modern Arts management in corporations of GAAGs work. Toche and which profited from the Vietnam War (for example, they deHendricks still continue to work manded the Rockefeller familys withdrawal because their today on occasion, but the main philanthropic involvement serves to cover up the fact that a period of the groups activities great part of their wealth was created by the production and was from 1969 to 1976. The sale of arms), and stood for civil rights, the sexual and racial majority of their actions were equality of artists, free museum days in order to bring art closer executed between 1969 and to the poor, etc. These actions bear witness to the unselfish 1971. belief that artists who care about social matters should join together and act outside the fetishized boundaries of museums 02 A coalition of artists, writers, and galleries. Photographs of those actions were published critics and museum staff in the book GAAG, the Guerrilla Art Action Group, 19691976: founded in New York in 1969 A Selection (Printed Matter, New York, 1978) which can no with the aim of putting pressure longer be obtained today and which still has not found anybody on museum institutions to in American museum and gallery culture to republish it. The reform themselves towards aesthetics of those photographs is close to documentary and greater democracy. reportage photography which in those years recorded massive (pop)cultural events and political protests by young people in America. The anti-war protests of those years fuelled the political imagination of a generation on both sides of the Iron Curtain, as an example in Mikls Erdlys work The Algebra of Morals Actions of Solidarity from 1972, which in the repressive atmosphere of Hungarys then official art protested against the threat of war and called for solidarity which surpasses leaders and the led, conflicting countries or groups, guards and guarded solidarity which, for example, shows that the similarity between prisoner and jailer is greater than that between jailor and jail or between prisoner and imprisonment. At that time the first signs of the transformation of the political and economic structure of the world that was established after the Second World War were just beginning to come into sight. One of the symptoms of that transformation is the recent crash of the financial markets and the economic crisis whose direct effects appear to have been softened by unprecedented state interventions, but whose lessons it seems have not been taken seriously. At a time, the so-called international art scene which came into being by the broadening of neo-liberal politics after 1989 did not exist, and nothing has had particularly endangered the dynamics of centre and periphery. Those were the years when the idea of modernist abstraction as a universal language of art entered into crisis, especially in the West, but also in countries behind the

consequences
what, how & for whom / whw

Iron Curtain where abstraction as a form which is equated The exhibition Art Always Has as today Didactic Exhibition on Abstract Art does not with the idea of freedom of art and autonomy frequently also Its Consequences considers interest us as some excellent product of exhibition bore the stamp of art which resists the official ideological the politics of exhibiting design, proto-conceptual art work (exhibition instrumentalisation of art, and which in the 1950s really and, by including historic without original works, exhibition of copies, inspired the international movements which connected the works and new productions, translations and quotations) or a curatorial concept language of modernistic abstraction with the ideas of universal archive material and research which defines one view of a particular period human emancipation. documentation, reconstructing of art, but rather as a material trace of a culture, This thought was in the background of Didactic Exhibition and reinterpreting paradigmatic of a society and its cultural policies in which in on Abstract Art, which was organised from 27 March to 30 April artistic and exhibition positions one period it was not only realistically possible 1957 in the then still very new City Gallery of Contemporary from the 1950s until today, to create but even to conceive of such a cultural Art in Zagreb (officially founded in December 1954) by artists shows the historical continuity event, thus the presentation of the symposium and critics who had until recently been gathered around the of similar art experiments which in Wroclaw also proposes the examination of the group EXAT 51 (which had then already ceased to work) and the question the social role of art. myth which interprets that event exclusively from magazine ovjek i Prostor,03 and which travelled around former The focus of this interest is what the perspective of artistic dissent against official cultural policies, or as a last gathering of the avant- Peter Watkins expresses in Yugoslavia04 until 1962 bringing abstract art closer to the Deimantas Narkeviius film The garde, or as the first event of conceptual art in general public. That exhibition which is largely forgotten today Role of Lifetime (2003) which Poland. shows the degree to which abstract art had really ceased to be consists of an interview with Watkins, a pioneer of so-called problematic in the former Yugoslavia as early as the second half docudrama and presents a kind of manifesto of both artists of the 1950s, but in the contemporary, so-called transitional, when he said: I dont believe or Im not interested in the idea post-socialist period, that fact is interpreted in accordance of a neutral artist, even if there were such a thing, I dont think with a particular ideological vision of the cultural history of it interesting very much, frankly. The exhibition Art Always Yugoslavia. On the one hand it is understood as a clich about Has Its Consequences extracts the presented works from the strong domestic social realism and the struggle for modern art in opposition to the official party line, which frequently also leads to the thesis about the struggle for modern art as a kind of form of resistance of the remains of the threatened bourgeois society, the aspiration to join the main current of European culture to which we have, of course, always belonged, and on the other hand the extended arm of the all-powerful Party is seen in the very breakthrough of abstraction, a Machiavellian manipulation by which the totalitarian system presented itself to the world with a nice facade. Contemporary misunderstandings about the understanding of modernism and its international option are part of the prevailing wide neo-liberal relationship towards socialism as a failed social experiment which resulted in economic, political and social catastrophe which needs to be overcome by transition whose price is not to be questioned. In relationship to art the consequence is, amongst other things, a history of art which oscillates the neutrality imposed by the prevailing consensus, which between demonstrating its autochthony and Didaktika izloba: Apstraktna umjetnost sees the involvement of art in emancipatory social processes establishing precedence or synchronicity / Didactic Exhibition: Abstract Art, Zagreb as ideological and social ballast. with Western art centres. Examining 1957, foto/photo: Nenad Gattin. Although it presents many historical works, the the dominant art history narratives exhibition has no pretensions to be museum-like either and relationships towards the socialist 03 Ivan Picelj, Radoslav Putar, Tihana on the level of conceptual coherence or by a museum inheritance forms basis for the works of Raveli, Vjenceslav Richter, Neven egvi, staging. The exhibition has emerged as a result of a two-year younger artists, such as David Maljkovi who Vesna Barbi and Edo Kovaevi. collaborative project of the organisations tranzit. hu from in a range of works is concerned with the Budapest, Muzeum Sztuki from d, Centre for New heritage of the group EXAT 51, or Andreas 04 Hall of the Army in Sisak [December Fogarasi whose work Vasarely Go Home 1957], Museum of Applied Arts in Belgrade Media kuda.org from Novi Sad and What, How and for Whom/WHW from Zagreb. Through various formats the (Announcement) from 2010 interprets the [January 1958], Advisory Body for project deals with topics connected with the modernistic action of neo-avant-garde artist Jnos Major Education and Culture in Skopje [March inheritance and joint history, across the recontextualisation at the pompous official opening of a solo 1958], Tribune of Youth in Novi Sad [May of different art practices, of which many are not directed exhibition of the leader of non-figurative 1958], City Museum in Beej [June 1958], towards the production of art objects and their aesthetic art, Victor Vasarely, a Hungarian who City Museum in Karlovac [April 1959], Art evaluation but towards mediation and communication of lived and worked in France, in Budapest Gallery in Maribor [June 1959], Museum an artwork with a wider public than the usual gallery-goers. in 1969. The documentary presentation of of Srem in Sremska Mitrovica [February Symposium Wroclaw 70, which holds a 1960], Artstic Gallery in Osijek [April 1960], The research was directed towards a specific historical, economic and political context and also towards the mythical place in the establishment of the Youth Club in Zagreb [December 1961], forming of internationally recognised universal beginnings of conceptual art in Poland, was City Museum in Bjelovar [February/March norms, in relationship to which the exhibited art also conceived with similar intentions. Just 1962].

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practices try to affirm historical continuity and to question their own context. As the result of years of collaborative practice, the exhibition Art Always Has Its Consequences is based on the temporary and current constellation of ongoing research trying to draw parallels and define touching points of different related practices, and despite the accent on art production from Eastern Europe, in no sense is there any ambition to offer a homogenising picture of the Eastern European art of the last few decades, nor to yield to statistics as a policy of presentation. The proposal of the exhibition Art Always Has Its Consequences is not to draw conclusions from the fact that many art positions which would justifiably deserve to be exhibited are missing, nor from the politically incorrect generational, geographical and especially scandalous gender imbalance (two female artists as opposed to eighteen men and eight group projects), but from the interpretation of relationships which show in what way art entered into tensions and conflicts with the cultural hegemony of the moment, in its relationship to both the institution of Art and art institutions. The exhibition examines the question of autonomy of art and political involvement outside the simplifying and prevailing understanding in which political involvement negates autonomy of art, and the art production of Eastern Europe is reduced either to a (delayed) reaction to events in the West or to an instrumentalised ideological construction. The traditional geopolitical concepts of East and West today seem too simplistic to describe the complex movement of capital and its territorial repositioning in the last few decades. But that does not mean that there has been a change in the prevailing thought or rhetoric about the centre and a periphery which constantly trails after it, through which post-communist countries are defined as cultural spaces in which Sanja Ivekovi: Gen XX, 1997-2001. modernism has been halted for decades, and which now it is necessary to integrate into the global capitalistic system past, attempting to offer an aesthetic and political jigsaw through the process of transition. Nor which can help us reformulate questions connected to todays it means that the previous divisions, moment of acute crisis of the political imagination which economic disparities and inequalities came about as a consequence of the tectonic shifts after 1989, have simply vanished. It is a paradoxical and also to the place and role of art today which questions fact that in the dominant discourse of it can open, which it does not succeed in addressing, and how the art history, Eastern Europe indeed does art deal with its (in)capabilities? What can we learn from did not exist during the time of the Cold Goran orevi: Glasnici apokalipse / The the continuity of the endeavours and art experimentation War division into blocks, except as a Harbingers of Apocalypse, PM Zagreb 1981. that characterise arts engagement in the public space? clich used for the purpose of ideological How do gestures of political agitation and protest react to instrumentalisation of the autonomy of the contracting and closing of public space and the crisis of art. In fact it only exists as a concept in the art world today, when the the concept of the public in different situations, from real processes of its historicisation and building of its narrative have to a socialism in Hungary in the 1970s, as in the works of Tibor certain extent been established, and what still needs to be done is to Hajas and Gyula Pauer, to neo-liberal Romania after its deconstruct the hegemonic narrative of the West and point out the successful accession to the European Union in the recent work ways in which it continues to determine the economic relations of art Auto-da-F by Ciprian Murean? Can we see the performance production. The case of socialist Yugoslavia indicates those changes Lenin in Budapest of Blint Szombathy from 1970, in which the effectively, because after 1948, thanks to its independent and later artist wore a poster with a picture of Vladimir Ilyich Lenin, as non-aligned politics, Yugoslavia was mainly not thought of as part a part of the same continuity, or is it more productive to read of Eastern Europe to which the Eastern Bloc countries under direct his relationship to official political propaganda in the light Soviet influence belonged. Only after the fall of the Wall and breakup of what later occurred in the context of Neue Slowenische of Yugoslavia at the beginning of the 1990s, did Yugoslavia and the Kunst? What connection between political involvement, the countries which emerged from it become more and more part of that international history of the left and art production is made by new former Eastern Europe. That does not mean that Yugoslavia the activist ambient sound installations of the collective Ultrawas not in many ways objectively part of Eastern Europe, but red founded in the late 1990s in Los Angeles? How to conceive that the very concept of (former) Eastern Europe is a changeable the dynamics of the relationship of subversion and agitation ideological construct. in the controversial poster for the 1987 Day of Youth Art Always Has Its Consequences starts from 05 Ovidiu Tichindeleanu, by the Slovenian New Collectivism, in the political the art of the former Eastern Europe bearing Towards a illustrations of Milan Trenc in the high-circulation in mind the question of Romanian philosopher critical theory of magazine Start in the late 1980s, or ten years later Ovidiu Tichindeleanu: For what point is there postcommunism? in the anti-fascist/feminist intervention of Sanja a discussion about East European debates on Beyond Ivekovi in the magazine Arkzin, which in the second communism if not to look there for a renewal of the left anticommunism in half of the 1990s developed from a fanzine of the antitheoretical tradition? 05 The exhibition approaches Romania, Radical war campaign into a low-circulation and unprofitable, Philosophy, no. 159, but intellectually extremely important critical and the question of the relationship to the collective 2010. theoretical magazine? amnesia of the progressive achievements of the

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The exhibition Art Always Has Its Consequences presents works and The contextualisation of the contradictory processes through exhibition projects which encourage the formulation of questions which various ideological processes and social development and their implications, presenting the works in a key which broke up in the wider context of cultural work, including the interprets them as critique and rearticulation of the political, cultural fields of design, visual identities, public media and popular and art constellations, as direct action or agitation, or as a symptom education, is addressed by the inclusion of the project As soon which tells us what is possible and acceptable in a given socio-political as I open my eyes, I see a film (cinema clubs and the Genre Film Festival/ context. The fact is that the film Centaur (Kentaur, 197375) by Tams GEFF) by curator Ana Janevski, which examines the experimental film St. Auby, a lucid and sharp criticism of the alienation and degradation production of amateur cinema clubs in Zagreb, Belgrade and Split and of the work in a society which appealed to the values of communism, the connections with the art events of the 1950s and 1960s, as well as was immediately banned, with the author spending years in exile, but the project The Ideology of Design: Fragments about the History of Yugoslav it is also the fact that it was possible to shoot such a film in the 1970s Design, in the curatorial interpretation of the collective kuda.org from in the oppressive circumstances of Hungarys cultural policies, in Novi Sad, which studies the development and perception of design in the state-financed Bla Balzs studio which enabled the production of relation to art practices and critical discourses. avant-garde experimental films. How does the interweaving of art and social action reflect on The title Art Always Has Its Consequences is taken from the the polemics over the autonomy of art, how is a certain practice conceptual text of Mladen Stilinovi Footwriting from 1984, and recognised, legitimised and defended as art in a given moment? How was refers to research of the relationship which art has with reality, but autonomy understood by Dimitrije Baievi, a member of Gorgona, also to the equal importance of internal, intrinsically art procedures prominent critic and curator who has for decades created works almost in secrecy under the pseudonym Mangelos, and whose art mostly started by which art is repeatedly limited to the field of art. Questions to enter the public space only after of the responsibility of art to the retrospective exhibition of Gorgoits own procedures and the na in 1977? Did the need for autonomy extension of its own boundaries, dictate the action of the enfant terriin connection with selfble of Polish post-avant-garde, artist, positioning of an artist both poet and musician Andrzej Partum in the system of art and in the who from the 1960s acted outside wider socio-political context, the existing structures, revealing the have not been resolved by the absurdities of social and art life? contemporary transformation of What is today the legitimate pedathe cultural field into a colony of gogical and didactic function of art, marketing and profit, nor by the which from the historic avant-garde fact that the important function has propelled art movements for which neo-liberalism has decades, such as the movement of given to contemporary art has Mexican muralists, whose exhibistimulated its drowning in the tion held in a Ukrainian village in the creative industries. Indeed, these 1960s is starting point for the video questions seem more important by Sean Snyder? And how and with today than ever. what aim was this pedagogical and The exhibition Art Always didactic function used in the films of Has Its Consequences places the Bla Balzs studio from the 1970s, in dialogue historical and or in the contemporary works of Ancontemporary art positions and dreja Kuluni? Is there continuity considers the relationship of between the relationship towards art collective identities and cultural institutions and ambitions of exiting homogenisation, and the role the institutions that were the basis of that art institutions have in the direct actions of the 1970s, and the these processes. The exhibition is art endeavours of today? Should we being held at the Kulmer Palace look for an answer within the wide on Katarinas Square in Zagreb, field of art practice which since the and the presented art works and 1990s has been called institutional investigations are confronted critique, or, as in case of Yugoslavia, Milan Trenc: Srp i eki/Hammer & Sickle, Start, Zagreb 1986. with the material and ideological is the idea which formed the critical memory of the building itself, relationship towards the system of institutions in the work of many which for years served as the main space of the Gallery of Contemporary groups and artists of the 1970s based on critique of the bureaucratisation Art, later renamed to the Museum of Contemporary Art. The building was and ossification of socialism as in the work of Vlado Martek and nationalised after the Second World War and then denationalised again a few Mladen Stilinovi, members of the Group of Six Authors today years ago, and its character is inseparable from the institutional context that inconceivable? Can the institutional and critical interventions of Tomo it had for decades, right up to the relatively recent move to the newly-built Savi-Gecan be explained exclusively from the perspective of the global building of the Museum of Contemporary Art in New Zagreb. This baroque palace and the former space of the museum has been left in the state art world that was formed in the 1990s, and without looking in which it was found, and besides the former exhibition spaces, the at the past? How to understand the fact that the exhibition Art Always Has Its Consequences also takes part in museums former of Goran orevi Harbingers of the Apocalypse, held in 1981 offices and depot, previously invisible to the visitors. in Gallery SKC in Belgrade, the Gallery of Extended Media This choice of location does not mean aligning with the current in Zagreb and Gallery KUC in Ljubljana, had such political cultural conjunction which attempts to acquire cultural an important influence on the Ljubljana scene of capital by a general criticism of the museum as an element of cultural the 1980s. tourism, and of the conjuncture between the culture and economy in the city with all consequential embezzlements and contaminations. Neither does it mean to lean towards the euphoric valorisation of

Goran orevi: Glasnici apokalipse / The Harbingers of Apocalypse, 1980/81.

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the recently opened Museum of Contemporary Art. This temporal occupation of the location of the museums former building appeals to the institutions historic memory and its role in the processes of forming and maintaining collective memories and articulation of collective r. / b. 1950. ivi i radi u new yorku. lives & interests which are not completely works in new york. overshadowed by topics imposed by Glasnici Apokalipse je slika koju sam nainio u mladosti. the realpolitik, and mainly electoral, Ta krajnje runa, neukusna, a prije svega diletantska rhythm of fictional democracy. The slika, koje sam se mnogo godina stidio, moj je prvi exhibition confronts contemporary ozbiljan slikarski pokuaj. Deset godina nakon to je approaches with the strategies used nastala odluio sam nainiti vie skica koje predstavljaju in the past, inviting the reading of preliminarne pripreme za njezinu izvedbu, vjerojatno zato the presented works in relation to sam znao da su crtei, skice i studije prethodile mnogim to the questions of the role and vanim slikama u povijesti umjetnosti. Odluio sam od responsibility of public art Glasnika Apokalipse napraviti vano umjetniko djelo. institutions, the way in which (...) Poeo sam slikati kopije Glasnika Apokalipse, a istodobno they are positioned towards sam kopirao radove modernih umjetnika (Mondriana, the economic and ideological Maljevia, Lichtensteina). Istina je da moje kopije nisu rezultat circumstances and the way in namjere da korak po korak ovladam umijeem slikanja, iako sam which they contribute to the povremeno pokuao nainiti dobru kopiju. Mislim da to dokazuje forming of cultural influences ve i sam odabir radova za kopiranje. (...) Na primjer, jedva da and hegemonisation of certain ima razlike izmeu Mondrianove kompozicije i one koju sam ja norms. nainio. Meutim, Mondrianova slika vjerojatno je rezultat njegova The exhibition Art Always zanimanja za odnos izmeu povrine i boje, dok je njena kopija Has Its Consequences rezultat mog zanimanja za problem samoga kopiranja. Moemo opens on 8 May, on the zakljuiti da se te dvije slike, premda formalno sline, na semantikoj Day of the Liberation of razini u potpunosti razlikuju. Ali, to nije sve. Dok se predmet Zagreb in 1945. Today, at Mondrianovog zanimanja moe oitati sa same slike, to ne vrijedi za a time of epoch-making njegovu kopiju. Kopija je slika prema svim slikarskim parametrima, realignment in relation ali njezina ideja ipak lei izvan same slike... Ako je original bezvrijedan, to the Second World War znai li to da je i kopija takva? ini se da ovaj primjer dokazuje da to nije and the tendency of uvijek sluaj. Mislim da su kopije Glasnika vanije od originala, iako jedva equating Nazism and da se razlikuju od njega. [Goran orevi, iz intervjua Original i Communism under kopija, asopis Moment, Beograd, 1984] the general term totalitarianism, this choice of date is dedicated to the 19281986. ivio u budimpeti. lived in budapest. Moral Algebra, a work consisting of five tableaus, was exhibited emancipatory in 1972 at the Foksal Gallery in Warsaw as part of the exhibition Algebra morala, rad koji se sastoji od pet slika, bio je sequence of the st. jauby jovanovics lakner mikls pauer tot. The present izloen 1972. u galeriji Foksal u Varavi, kao dio izlobe st. National Liberation location of the work is unknown. The prints of the tableaus jauby jovanovics lakner mikls pauer tot. Sadanja Struggle as the being shown in Zagreb are almost identical in size to the lokacija rada je nepoznata. Kopije fotografija prikazanih basic point of originals and were made from the photo documentations of the u Zagrebu po veliini su gotovo identine s originalima i reference from exhibition. These can be considered as the physical/material nainjene su prema fotodokumentaciji izlobe. Moe ih which we can reconstruction of the work supplemented with some prints se smatrati fizikom/materijalnom rekonstrukcijom rada, look into the and copies of preparatory photos, documents pertaining to the nadopunjenom nekim fotografijama i kopijama pripremnih future. work, sketches and other studio materials. Besides Warsaw, the fotografija, dokumentima o radu, skicama i drugim work appeared in a today unknown manner either in 1973 or studijskim materijalima. Osim Varave, rad se pojavio na 1974 at CAYC (Center of Art and Communication) in Buenos danas nepoznat nain ili 1973. ili 1974. u CAYC-u (Centar za Aires. The catalogue of the Festival Hngaro 74 (Hungarian umjetnost i komunikacije) u Buenos Airesu. Katalog Festival Festival 74) contains a sketch of the work and the English Hngaro 74 (Maarski festival 74) sadri skicu rada i engleski translation of the text Solidarity Action. The text pertaining to prijevod teksta Akcija solidarnosti. Taj tekst, koji se odnosi na the work can be considered as a work in its own right. rad, moe se i sam smatrati radom.

goran orevi

The Harbingers of Apocalypse, is a painting I made in my youth. This extremely ugly, distasteful and, above all, dilettantish painting I was embarrassed of for many years, represents my first serious attempt at painting. Ten years after its creation I decided to make a number of sketches which represent, as it were, preliminary preparations for its realization, probably because I knew that drawings, sketches, and studies preceded many important paintings from art history. I decided to make The Harbingers of Apocalypse an important work of art. (...) I began painting the copies of The Harbingers of Apocalypse, and, at the same time, I went on copying works of modern artists (Mondrian, Malevich, Lichtenstein). Its true that my copies are not the result of an intention to master the art of painting step by step, even though I did, occasionally, try to make a good copy. I think that the very selection of the works to be copied proves the point. (...) For instance, there is hardly any difference between a Mondrian composition and the one I have made. However, the painting done by Mondrian is probably the result of his interest in the relationship between surface and color, while its copy is the result of my interest in the problem of copying itself. We can conclude that the two paintings, though formally alike, completely differ on the semantic level. But thats not all. While the object of Mondrians interest can be read from the painting itself, this is not true of its copy. Copy is a painting according to all painterly parameters, but its idea, however, lies outside the painting itself. ... If the original is worthless, does it imply that the copy is such as well? This example seems to demonstrate that its not always the case. I think that the copies of The Harbingers are more important than the original, although they are hardly different from it. [Goran orevi, excerpt from the interview Original & copy, Moment, Belgrade, 1984]

mikls erdly

 andreas fogarasi
r. / b. 1977. ivi i radi u beu. lives & works in vienna
Projekt istrauje dvostruki dogaaj. Victor Vasarely, meunarodno poznati umjetnik maarskog porijekla, 1969. godine odrao je veliku retrospektivnu izlobu u Mcsarnoku (Kunsthalle) u Budimpeti. To je bila njegova najvea izloba dotad i prva izloba apstraktne umjetnosti tih razmjera u Maarskoj. U vrijeme polagane politike normalizacije, kulturalna politika aktivno je obnavljala veze s umjetnicima koji su ivjeli u inozemstvu. Iako je bila uvoz meunarodne umjetnosti (premda ne vie progresivne), u isto vrijeme znaila je prisvajanje Vasarelyja kao Maara, pa se moe govoriti i o kulturalnom izvozu. Iako se maarska avangardna umjetnost (ukljuujui i apstraktnu umjetnost) u to vrijeme u najboljem sluaju tolerirala, Vasarelyjeva izloba bila je vaan javni dogaaj koji je privukao gotovo 90 000 posjetilaca. Drugi dogaaj te veeri bio je individualni protest umjetnika Jnosa Majora, koji je u depu imao malen plakat s tekstom Vasarely Go Home, a pokazivao ga je samo prijateljima kad nitko drugi ne bi gledao. The project examines a double event. In 1969 Victor Vasarely, an internationally renowned artist of Hungarian origin, had a large retrospective exhibition at the Mcsarnok (Kunsthalle) in Budapest. This was his largest exhibition at the time and the first exhibition of abstract art of its size in Hungary. In a time of slow political normalization, cultural politics actively re-established contacts with artists living abroad. While being an import of international art (though not progressive anymore), it was at the same time a reclaiming of Vasarely as being Hungarian, so that one can also speak of a cultural export. While Hungarian avantgarde art (comprising abstract art) of that time was at best tolerated, Vasarelys exhibition was an immense public event attracting almost 90,000 visitors. The second event that took place that evening was a one-person-protest by artist Jnos Major, who had a small sign in his pocket reading Vasarely Go Home that he showed only to friends while no one else was watching. The process of opposite direction, the mission of the West is not always successful in its outcome in the East either. When Vasarelys 1969 life-work exhibition opened filling all the rooms of the Budapest Kunsthalle and ministers and cultural politicians welcomed the pope of nonfigurative art, Jnos Major, one of the most talented (and most humble) members of the new avant-garde, appeared with a small pocket-size portable sign. Whenever he saw an acquaintance in the crowd, he took it out, cast a glance about to be sure the uninitiated were not watching, and held it up: Vasarely go home! Could a western artist understand how little this gesture had to do with envy, aggression or a thirst for professional success, that it was dictated rather by loyalty and self-irony? [From: Gza Perneczky Hogy van Avantgarde, ha nincsen (How is [there] Avant-garde, if there is not)]

Proces suprotnog smjera, misija Zapada, nema uvijek uspjean ishod na Istoku. Kad se 1969. otvorila izloba Vasarelyjevog ivotnog djela, u svim prostorima budimpetanske Andreas Fogarasi: Vasarely Kunsthalle, i kad su miGo Home (Announcement), 2010. nistri i kulturni politiari izrazili dobrodolicu papi nefigurativne umjetnosti, Jnos Major, jedan od najtalentiranijih (i najskromnijih) lanova nove avangarde, pojavio se s malenim depnim, prijenosnim plakatom. Kad god bi vidio poznanika u publici, izvadio bi ga, osvrnuo se da provjeri ne gleda ni tko od neiniciranih, i pokazao: Vasarely, idi kui! Bi li zapadni umjetnik mogao shvatiti koliko je malo ta gesta imala veze sa zaviu, agresivnou ili ei za profesionalnim uspjehom, i da je zapravo uvjetovana lojalnou i autoironijom! [iz: Gza Pernecky: Hogy van Avantgarde, ha nincsen (Kako da postoji avangarda kad je nema)]

guerilla art action group

osnovana / established 1969.
Guerrilla Art Action Group/GAAG: dokumentacija akcija iz knjige / actions documentation from: GAAG, the Guerrilla Art Action Group, 19691976: A Selection (Printed Matter, New York, 1978). GAAG (Guerilla Art Action Group) osnovali su 15.10. 1969. u New Yorku Jean Toche, Jon Hendricks i Poppy Johnson. Virginia Toche i Joanne Stamerra bile su ukljuene u mnoge aspekte rada GAAG-a. Toche i Hendricks povremeno i dalje rade zajedno, no glavno razdoblje djelovanja grupe bilo je od 1969. do 1976. Veina akcija grupe realizirana je izmeu 1969. i 1971. Kombinirajui ulino kazalite, happeninge, politike proteste i kolektivizam, djelovanje grupe GAAG preklapalo se s drugim umjetnikim kolektivima tog vremena, osobito s Art Workers Coalition. GAAG (Guerilla Art Action Group) was formed on October 15th, 1969 in New York by Jean Toche, Jon Hendricks, and Poppy Johnson. Virginia Toche and Joanne Stamerra were involved in many aspects of GAAGs work. Toche and Hendricks still occasionally work together, but the main period of the groups work was from 1969 to 1976. Most actions of the group were realised between 1969 and 1971. Combining street theatre, happenings, political protests and collectivism, the actions of GAAG fit in with other art collectives of the time, especially with the Art Workers Coalition.

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Mikls Erdly: Algebra morala. Akcija solidarnosti / Moral Algebra. Solidarity Action 1972 (20042007).

 tibor hajas
19461980. ivio u budimpeti. lived in budapest.
Hajasov 35-milimetarski kratki film ndivatbemutat (Self fashion show), snimljen 1976. u Balsz Bla Filmstdi sugerira dokumentarne metode prije nego to ih ospori. Zaustavljao je prolaznike na prepunom trgu i traio da na trenutak pogledaju u kameru, zauzevi pozu po svom odabiru, kako bi ih prikazao kao model svoje sudbine. Bila je oito da su zaustavljene osobe ranjive i podlone manipulaciji, to se kasnije dodatno naglasilo filmskom glazbom. Slika i zvuk ine montau: protagonisti se pojavljuju kao zbirka kukaca, antropoloki prirunik (Hajas), a tri govornika upuuju ih kako e se najbolje predstaviti. Hajass short 35 mm film ndivatbemutat (Self fashion show), produced at Balzs Bla Filmstdi in 1976, suggests documentary methods before questioning them. On a busy square, passersby are stopped and asked to look into the camera for one minute in a pose of their own choosing, to present themselves as models of their own fates. The vulnerability and manipulability of the persons approached become apparent and are highlighted by the soundtrack added later. Images and sound form a montage: the protagonists appear as a collection of beetles, an anthropological manual (Hajas) and are instructed by three speakers in how best to present themselves.

sanja ivekovi
r. / b. 1949. ivi i radi u zagrebu. lives & works in zagreb.
Od poetka 1970-ih Sanja Iveko- Since the early 1970s, Sanja Ivekovi has vi zanima se za politiki sadraj been interested in the political contents of privatnosti iz perspektive femi- privacy from the perspective of feminist crinistike kritike. Bilo da se bavi tique. Whether she is engaged in performanperformansima, videoradovima, ces, videos, installations, actions in public instalacijama, akcijama u javnom spaces, media or activist projects, the artist prostoru, medijskim ili aktivisti- transposes a wide range of personal themes kim projektima, umjetnica pre- into the public or media space, emphasizing nosi irok raspon osobnih tema u their political potential and social impact. javnost ili medijski prostor, istiui Her works explore the intersections of crisis njihov politiki potencijal i dru- areas of regimes of representations and the tveni utjecaj. Njeni radovi istra- ideological positions from which they stem. uju presjeke kriznih podruja Gen XX is a work initially published in reima reprezentacija i ideoloke 1998 in the Croatian magazines Arkzin, pozicije na kojima oni poivaju. Kruh i rue and Zaposlena, all of them Gen XX je isprva originating from objavljen 1998. u mathe independent, gazinima Arkzin, Kruh alternative scene i rue i Zaposlena, pothat set out to teklima iz nezavisne, critique nationalistic alternativne scene politics and koja je 1990-ih kriticulture in the zirala nacionalisti1990s. The work ku politiku i kulturu. consists of textual Rad se sastoji od tekinterventions on stualnih intervencija advertising photos na reklamnim fotofeaturing famous grafijama sa slavnim fashion models. manekenkama. Slika An image that is koju prosjeni merecognised as an Sanja Ivekovi: Gen XX, dijski potroa preadvertisement by 1997-2001. poznaje kao reklamu the average media dopunjena je tekstom koji pred- consumer is supplemented by a text that stavlja manekenku imenom ene introduces the model with the name of narodnog heroja iz antifaistike a national heroine from the anti-fascist borbe u 2. svjetskom ratu, uz nje- struggle of World War II, along with her age zinu dob i datum smrti. at the date of her death.

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Tibor Hajas: Self Fashion Show / Auto-modna revija, 1976.

Andreja Kuluni realized the city-lights project NAMA: 1908 employees, 15 department stores as part of the exhibition What, how & for whom, on the occasion of the 152nd anniversary of the Communist Manifesto curated by WHW (Croatian Association of Artists, Zagreb, r. / b. 1968. ivi i radi u zagrebu. 2000). The project was installed at various lives & works in zagreb. city-lights locations in the city centre before U sklopu izlobe to, kako i za koga, and after the exhibition. NAMA (Peoples povodom 152. obljetnice Komunistikog Magazine) was once a firmly established manifesta kustoskog kolektiva WHW chain of department stores that for decades (HDLU, Zagreb, 2000), Andreja Kuluni tried to satisfy the shopping appetites of ostvarila je projekt Nama: 1908 employees, socialist workers and whose glorious story 15 department stores. Projekt je bio ended in bankruptcy in the late 1990s. These postavljen na raznim city lights oglasnim Andreja Kuluni: NAMA1908 Zaposlenika, 15 robnih store locations, which were condemned mjestima u centru grada, prije i poslije kua / NAMA1908 Employees, 15 Department Stores, 2000. to bankruptcy by the countrys economic izlobe. Nama (Narodni magazin) neko je bio najjai lanac robnih kua koji je desetljeima pokuavao zadovoljiti potroaki development, have been in the same paradoxical situation apetit socijalistikih radnika, a njegova velianstvena pria zavrila je steajem krajem for the last few years: they have practically ceased all activity, 1990-ih. Te trgovine, koje je ekonomski razvoj zemlje osudio na bankrot, posljednjih but are kept open by the employees who occupy them. Based nekoliko godina bile su u paradoksalnoj situaciji: praktiki su prekinule svaku on the resources, values and places of the advertisements, a djelatnost, ali otvorenima su ih drali zaposlenici koji su ih zauzeli. Na osnovi resursa, public debate was initiated concerning the economic transition vrijednosti i prostora za oglaavanje, pokrenuta je rasprava o ekonomskoj tranziciji u of Croatia. The project works as an appeal to solidarity, risked Hrvatskoj. Projekt funkcionira kao poziv na solidarnost, ugroenu u trinoj ekonomiji by market economy and transition process in which the state i tranzicijskom procesu u kojemu je drava izgubila status politiko-administrativnog lost its status as the political-administrative representative of predstavnika solidarnosti zasnovane na radu, a uspostavljen je nov graansko-drutveni solidarity based on work, and a new civil-social form of power oblik moi, zasnovan na privatnom vlasnitvu. based on private property had been established.

andreja kuluni

 dimitrije baievi mangelos

19211987. ivio u zagrebu. lived in zagreb.

Dimitrije Baievi Mangelos bio je umjetnik, povje- Dimitrije Baievi Mangesniar umjetnosti, kritiar i kustos u Galerijama gra- los was an artist, art histoda Zagreba (Muzej suvremene umjetnosti, Zagreb). rian, critic and curator at Bio je lan grupe Gorgona (aktivne u Zagrebu od the Zagreb City Gallery of Contemporary 1959. do 1966). Mangelosovo djelo, prema kasnijim Art (todays Museum of Contemporary Art, Mangelosovim periodizacijama, poinje u poslije- Zagreb). He was a member of the Gorgona ratnom razdoblju serigroup (active in Zagreb from 1959 to 1966). jama radova: Paysages Mangelos oeuvre, according to later periodizations, starts in the postde la mort, Paysages de la war period with the groups of works: Paysages de la mort, Paysages de la guguerre, Paysages, Tabula erre, Paysages, Tabula Rasa (black and white monochrome surfaces with rasa (crno-bijele mo- text written underneath), which he used to express a state of oblivion David Maljkovi: Slike sa svojim vlastitim sjenama / nokromatske povrine and the setting for a new beginning. Using Gorgonas anti-art position, Images with their own shadows, 2008. ispod kojih je napisan Mangelos denied painting in the series Pythagoras, Anti-peinture, and tekst), kojima se sluio Abecede instead accenting the rational factor of art. He later wrote da izrazi stanje zabora- ideas, poetry (No-stories) and manifestos in a palette of black, red and r. / b. 1973. ivi i radi u zagrebu. lives & works va i pozornicu za nov white, in calligraphy between drawn lines, in a hybrid form of writing in zagreb. poetak. Nastupajui and painting in notebooks, on wooden boards and globes. Texts were a Radovi Davida Maljkovia suoavaju nas sa sa stajalita Gorgonine specific form for expressing highly subjective points dominated by the zaboravljenim ili nevidljivim naslijeem, ili antiumjetnosti, Mange- theory of the machine civilization and functional thought with naslijeem koje se trenutano ne smatra vanim. los je poricao slikarstvo which he affirmed his theories about the development of society and Serija kolaa Images with their own shadows u serijama Pythagoras, non-development of art, i.e. about the crisis and death of art, explaining (2010) podsjea nas na radove hrvatskog slikara i Anti-peinture i Abecede this with the rift between two civilizations: the handmade and the arhitekta Vjenceslava Richtera (roen 1917, umro naglaavajui racional- machine, the former being based on the old nave and metaphoric 2002) koji je bio i lan grupe umjetnika EXAT 51, ni faktor u kompoziciji and the latter on functional thought. [Branka Stipani] aktivne u Zagrebu od 1950. do 1956. Grupa je umjetnikih djela. Popredlagala ukidanje granica izmeu visoke i slije toga je biljeio ideje, primijenjene umjetnosti, naglaavajui kolektivne i poeziju (Ne-prie) i manieksperimentalne aspekte umjetnike prakse. r. / b. 1951. ivi i radi u zagrebu. lives & works in zagreb feste crnom, crvenom i biU Images with their own shadows Maljkovi jelom bojom, krasopisom se slui fragmentima popisa izloaba iz izmeu nacrtanih linija, u monografije o Richterovom radu iz 1970, hibridu teksta i slikarstva, autorice Vere Horvat Pintari. Dok se u ranijim u biljenicama, na drvekolaima sluio motivima jugoslavenskog nim ploama i globusima. modernizma, u ovoj seriji Maljkovi se Tekstovi su bili specifian namjerno slui oznaiteljima lienim svake oblik izraavanja vrlo suvizualne referencije kako bi tematizirao bjektivnih stajalita, konepostojanje optimistinih i progresivnih jima je dominirala teorija politikih i umjetnikih projekata danas. o strojnoj civilizaciji i Usprkos injenici da vraaju prolost, funkcionalnoj misli, a koMaljkovievi radovi ne bave se nostalgijom jom je potkrepljivao svoje nego mogunou trijeznog sagledavanja teorije o razvoju drutva i prolosti kako bi se iznova procijenio njezin nerazvoju umjetnosti, tj. potencijal za sadanjost. o krizi i smrti umjetnosti, objanjavajui to jazom izDavid Maljkovis works confront us with meu dviju civilizacija: one forgotten or invisible heritage, or heritage that is not perceived as valuable in the present moment. runoga rada i one strojne, pri emu se prva zasniva na The series of collages, Images with Their Own Shadows (2010), evokes works by Croatian painter staroj, naivnoj i metafornikoj misli, a potonja na funkand architect Vjenceslav Richter (born in 1917, cionalnoj misli. [Branka died in 2002) who was also a member of EXAT 51, a group of artists active in Zagreb from 1950 Stipani] to 1956. The group proposed to abolish the borders between high and applied art, emphasizing the Vlado Martek stands for the idea that the art world is a world of collective and experimental aspects of artistic practice. exchange. Something like this brings in a dilemma or two: how to prepare, or, how to perceive ones own role, ones own art, work and In Images with Their Own Shadows, Maljkovi uses fragments activity, and how to align criticism and irony with self-criticism, of the list of exhibits from a monograph on Richters work from self-irony. What does a child of conceptualism do? Through colourful 1970 authored by art historian Vera Horvat Pintari. Whereas in forms it gives promise to the constant impulse of utopia. It cannot previous collages that have used motifs of Yugoslav modernism, stop art in its idealism. It is practice playing with the limits of art in this series Maljkovi is deliberately using signifiers devoid and life. Symptoms. There is speech, the rhetoric of imperatives of an of any visual reference in order to thematize the current lack idealist: Read... Be alert... Eat..., Choose... Political and social symbols in of an optimistic and progressive political and artistic project the service of the attitude: I WILL NOT in the present moment. Despite the fact that they bring Art as an imagined and won territory of freedom. The author is back the past, Maljkovis works are not concerned with ephemeral as he subjects himself to alchemical change. Art is a staged nostalgia, but the possibility of looking to the past with parting from it. Art as its own witness. sober eyes, to reassess its potential for the present.

13

david maljkovi

vlado martek

They definitely know better (not more) than the experts. And if they are still inclined to romanticism, they draw close to their desires and understand the dual fabric of the world; everything apparently folds up to the starting point. (According to Eliot: care and do not care). Every insistence on the means is pitiful. All things and phenomena are more serious than they are considered to be, but are also more ephemeral than they are treated. Art is very close to metaphysics well, what prevails is hodgepodge la funny and short. Martek, an art generalist (poems, pre-poems, paintings, sculptures, ambients, graffiti, actions, drawings, texts) reveals individuality as the idea of art, with all the repercussions of this attitude and position. Children of conceptualism in the desert of the selfreferential. Every artist is an ancestor of ideals. Many motifs, many ideograms a few ideas, the crucial ones: freedom, individuality, community (formerly: brotherhood). Hesitation in entering the world of art (pre-poetry...) brings disperse, heterogeneous work and a heterogeneous communication/exchange. Where is the last station for the audience? Surely not the art it consumes; maybe it is boundlessness (both for the good and the bad). [Martek]

14

Ciprian Murean: Auto-da-F, 2008.

ciprian murean
r. / b. 1977. ivi i radi u cluju. lives & works in cluj.
Nekoliko stranica iz romana Die Blendung / Auto-da-F (1932) Eliasa Canettija napisane su u obliku grafita na zidovima diljem rumunjskih gradova. Tekst stjee monumentalnu kvalitetu, dok su procesi rastakanja subjekta koje opisuje utjelovljeni u monomentalno. Rezonancija svake reenice, njezini uporni pokuaju da lociraju i preurede naplavine subjektiviteta u raspadu, postavljeni su na nepominost zidova i zabrana. Neprekidni monolog kojim se Canettijev protagonist obraa svojoj knjinici knjievni kritiati su tumaili kao vaan dokument kraja modernizma, razbijenih utopija i fragmentiranih vjerovanja. Umjetnikova strategija rasprivanja teksta do neke mjere replicira razorno ubrzanje koje je Canetti upisao u moderni urbani prostor. No, pedatnim rekomponiranjem teksta od njegovih rasprenih djelia, Ciprian Murean bavi se i tranzicijom iz modernizma i njegovih postmodernosti kao povijesnim trenutkom u kojemu se monumentalno treba prevrednovati. Izmeu ostataka modernizma i postmodernih dvosmislenosti, Mureanov ambivalentan spomenik Canettiju, otuujuim prostorima i sposobnosti govora da definira i odrava subjektivitet, utjelovljuje iskustvo onih ispranjenih, lienih prava na grad i gurnutih na same margine drutvenoga ivota. [Mihnea Mircan] A few pages from Elias Canettis novel Die Blendung/Auto-daF (1932) are grafittied onto walls throughout the cities of Romania. The text acquires a monumental quality, while the processes of subjective dissolution it describes are embedded into the monumental. The resonance of each sentence, its persistent attempts to locate and rearrange the flotsam of a disintegrating subjectivity, are set against the immobility of walls and enclosures. The rambling monologue that Canettis protagonist addresses to his library has been interpreted by literary critics as a significant document of the end of modernism, shattered utopias and fragmented beliefs. The artists strategy of dispersing the text replicates to an extent the destructive acceleration written by Canetti into modern urban space. But by painstakingly recomposing the text from its scattered bits, Ciprian Murean also engages the transition between modernism and its post-modernities as a historical point where the monumental needs to be re-evaluated. Between the detritus of modernism and post-modern equivocation, Mureans ambivalent monument to Canetti, to alienating spaces and to the capacity of speech of defining and holding together a subjectivity, embodies the experience of those evacuated, dispossessed of their right to the city and pushed to the very margins of social life. [Mihnea Mircan]

Kako kopirati Mondriana, javna demonstracija / How to Copy Mondrian, public presentation, Narodni muzej, Beograd/ Belgrade 1983.

piet mondrian
19121944.
Doznali smo da u Beogradu u Narodnom muzeju postoji original Mondriana, preko poznatih smo organizirali da se to provjeri, i zaista - slika je bila u podrumu, u depoima. Kad je holandska kraljevska obitelj dola u posjet Karaoreviima, a princ Pavle je bio poznati kolekcioner, donijela je na poklon Mondriana iz 1932. i jedan crte Van Gogha. Van Gogh je bio izloen, a Mondrian nikada nije pokazan. I onda je uz Bekovu pomo Galerija odluila posuditi Mondriana i napraviti serigrafiju. Stigao je Mondrian u kutiji, zapakiran u pak-papir, potom. Potom! Mi smo se primili za glavu. Odmah smo poeli razgovarati tko e ga odnijeti natrag. To je morao biti netko tko nee zaspati! Mondrian je visio tu u mom stanu, na ovom zidu, dva mjeseca. I onda smo otisnuli serigrafiju i preveli Sandbergov tekst koji je objavljen u Parizu kod Denise Ren, u dogovoru s njom. Vera Horvat Pintari je takoer napisala tekst i tako je nastala ta mapa. Taj Mondrian i nerazumijevanje oko njega bio je poticaj da pripremimo didaktiku izlou o apstraktnoj umjetnosti. [iz razgovora WHWa s Ivanom Piceljem, katalog izlobe Politike prakse (post) jugoslovenske umetnosti, Beograd, 2010] We were informed that there was an original Mondrian in Belgrade, at the Peoples Museum, and we managed to verify that information through some people we knew. And indeed, the painting was in a cellar depot. When the Dutch royal family visited the Karageorgevich in 1932, knowing that Prince Paul was a renowned art collector, they brought a Mondrian and a drawing by Van Gogh. The Van Gogh was exhibited, but the Mondrian was stored away. With Beks help, the Gallery decided to borrow the Mondrian and make a serigraph. It came in a box, packed in plain brown paper, by regular mail. By mail! We were totally shocked. We immediately started negotiating as to who would take it back, someone who wouldnt fall asleep! It was hanging here in my apartment, on this wall, for two months. Then we printed a serigraph and translated Sandbergs text that had been published in Paris, at Denise Rens gallery, with her approval. Vera Horvat Pintari wrote another text and that is how we created the portfolio. That Mondrian and the misunderstandings around him motivated us to prepare the didactic exhibition on abstract art. [excerpt from WHWs interview with Ivan Picelj, exhibition catalogue Political Practices of (Post-)Yugoslav Art, Belgrade, 2010]

 deimantas narkeviius
r. / b. 1964. ivi i radi u vilniusu. lives & works in vilnius.
Filmovi i videoradovi Deimantasa Narkeviiusa esto nisu u skladu s tvorbenim narativnim elementima te tako propituju proces snimanja filma. The Role of a Lifetime (2003) ima nekoliko prostornovremenskih slojeva koji se preklapaju: glavna narativna nit je intervju s filmskim reiresom Peterom Watkinsom, jednim od pionira dokudrame, iji politiki angairani filmovi pokuavaju promijeniti shvaanje dokumentarnog anra. Zvuni zapis intervjua supostavljen je crteima litvanskog umjetnika Mindaugasa Lukoaitisa i amaterskim Super-8 filmovima ljudi koji uivaju u Brightonu, naenim u britanskim filmskim arhivima. Pitanja u intervjuu se ne uju, a Watkinsov teni monolog razmatra pitanja realizma i fikcije, konstruiranja i prerade stvarnosti, pitanje objektivne forme i njegov interes za film ne samo iz stvaralakih nego i iz politikih i drutvenih razloga, zbog ega se njegov rad sve vie marginalizira. Istananom montaom trenutaka u kojima se Watkinsove izjave slau s vizualnim elementima ili pak odstupaju od njih, film djeluje kao jaka objava nunosti kritikog i samokritikog miljenja u umjetnosti, te gotovo da je manifest obojice umjetnika.

novi kolektivizam
osnovan 1983. u medvodama / established in 1983 in medvode.
U Jugoslaviji se 1987. jo odravao ritual Titove tafete. Politika organizacija omladine, Savez socijalistike omladine Jugoslavije, organizirala je godinju tafetu koja je prolazila kroz sve jugoslavenske gradove, a u tome su sudjelovala djeca (pioniri) i mladi ljudi koji su nosili tafetu s porukama jugoslavenske omladine Titu. Na 25. svibnja, roendan predsjednika Tita, tafeta se sveano uruivala Titu na masovnoj proslavi na velikom sportskom stadionu u Beogradu. Titova tafeta nastavila se i nakon Titove smrti. Svake godine je jedna od jugoslavenskih republika bila zaduena za pripremu koncepta proslave i za dizajn same tafete i plakata. Godine 1987. doao je red na Sloveniju. Odbor za pripremu proslave objavio je javni natjeaj za dizajn plakata i tafete na koji se javila i grupa Novi kolektivizam. Njihov rad temeljio se na slici njemakog umjetnika iz doba Treeg Reicha, Richarda Kleina. U njihovom dizajnu, nacistika zastava s Kleinove slike zamijenjena je jugoslavenskom, a njemaki orao bijelom golubicom mira. Od nekoliko predloenih radova, komisija sastavljena od likovnih strunjaka i politiara odabrala je upravo taj. No, problemi su nastali kad je beogradski In Yugoslavia in 1987, the ritual of dnevni list Politika objavio predloe- Titos relay race was revered. The ni plakat. Objavljeni prijedlog vidio political youth organisation named je Nikola Gruji, inenjer mehani- the Association of Socialist Youth of ke, kojega je on podsjetio na dje- Yugoslavia organised an annual youth lo nacistike propagande koje je relay race which travelled through vidio u knjizi pod naslovom Od all the major Yugoslav towns with the Sarajeva do Potsdama. Na to je participation of children (Pioneers) upozorio neke jugoslavenske and young adults carrying a baton bearing medije i preko noi je izbla tako- messages from the youth of Yugoslavia to zvana plakatna afera. Policija Tito. On May 25th, President Titos birthday, je pokrenula postupak u jav- the baton with its messages was solemnly nom tuilatvu protiv studija presented to Tito at a mass celebration in a Novi kolektivizam. lanovi large sports stadium in Belgrade. Titos relay komisije koji su odabrali taj race continued even after Titos death. Every prijedlog bili su podvrgnuti year, one of the Yugoslav republics was in ispitivanju. Neki od njih charge of the preparation of the celebrations tvrdili su da su odabrali taj concept and the design of the relay baton and rad jer im se svidio i da nisu poster. In 1987 it was Slovenias turn. The bili svjesni da je to zapra- committee for the preparation of the celebration vo redizajnirani nacistiki issued a public competition for the design of plakat. Zbog nedostatka the poster and the relay baton; responses to dokaza koji bi potvrdili this competition included one from the New sumnju da je taj plakat Collectivism group. Their poster was based on proizvod protudravne a painting by a German artist of the Third Reich, propagande, nije dolo Richard Klein. In the proposal, the Nazi flag from do suenja. Nakon go- Kleins painting was replaced with the Yugoslav dinu dana slovensko flag, and the German eagle with a white dove of javno tuilatvo izda- peace. From several proposals, this one was selected lo je izjavu za javnost by a jury comprised of art experts and politicians. u kojoj se kae da je Problems, however, developed when a print of the studio Novi kolek- proposed poster was published in the Belgrade daily tivizam primijenio newspaper Politika. The published proposal was seen legitimnu retro- by Nikola Gruji, a mechanical engineer, who was gardnu umjetni- reminded of a piece of Nazi artwork he had seen in ku metodu koja je a book entitled From Sarajevo to Potsdam. He alerted podlona razlii- the Yugoslav media and overnight the so-called Poster tim tumaenjima. Scandal erupted. Police filed charges against the New [Novi kolek- Collectivism studio with the public prosecutors office. The members of the jury who had selected the work were tivizam] interrogated. Some of them claimed to have selected the proposal because it appealed to them and that they had not been informed that it was in fact a redesigned Nazi poster. Because of the lack of evidence to confirm the suspicion that the poster was a product of anti-state propaganda, no trial ever took place. After a year, the Slovene public prosecutors office issued a public statement that the New Collectivism studio had adopted a legitimate retrogardist artistic method which allowed for different interpretations. [New Collectivism]

The films and video works of Deimantas Narkeviius often mismatch constituent narrative elements, questioning the process of filmmaking. The Role of a Lifetime (2003) has several overlapping spatiotemporal layers: the main narrative thread is an interview with film director Peter Watkins, one of the pioneers of docudrama, whose politically engaged films set out to change the understanding of the documentary genre. The audio recording of the interview is juxtaposed with drawings by Lithuanian artist Mindaugas Lukoaitis and amateur Super-8 film clips of people enjoying Brighton, taken from British film archives. The questions in the interview are not heard, and Watkins gently flowing monologue touches upon questions of realism and fiction, of the construction and recreation of reality, the question of objective form, and his interest in filmmaking not only for creative, but for political and social reasons, which resulted in his work becoming increasingly marginalised. Through a subtle montage of moments in which statements by Watkins converge and diverge with its pictorial elements, the film works as a powerful declaration of belief in the necessity of critical and self-critical thinking in art, and is almost a manifesto for both artists.

Deimantas Narkeviius: Uloga ivota / The role of a Lifetime, 2003.

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 Andrzej Partum: Tiina avangarde / The Vanguard Silence, 1970.

tomo savi-gecan
r. / b. 1967. ivi i radi u amsterdamu. lives & works in amsterdam.
Tomo Savi-Gecan je umjetnik koji gotovo u pravilu izlae nita. Osmiljeni kao tabula rasa, autorovi projekti funkcioniraju kao prazne lokacije, ispunjene raznim nabojima, skrivenim napetostima i referencama. Dematerijalizacija, odsutnost i praznina posljedice su specifinog tretmana galerijskog prostora. U cjelini, umjetnikove radove moe se shvatiti kao trajno taktiko postavljanje nasuprot i unutar prostora galerijske bijele kocke arhetipskog prostora moderne umjetnosti. Rad Untitled iz 2010. izravno referira na rad koji je autor izveo u prostoru Muzeja suvremene umjetnosti povodom izlobe Here, Tomorrow (4.10 3.11. 2002) kad je zidove jedne prostorije Muzeja obloio staklenom povrinom.

andrzej partum
19382002. ivio u varavi. lived in warsaw.
Umjetnik, performer, pjesnik, skladatelj, filmski reiser, autor manifesta, kao i kritikih i teorijskih tekstova o suvremenoj umjetnosti. Njegovu praksu ugrubo se moe opisati kao zbirku umjetnikih gesta, akcija s rijeima, tekstovima i interakcijama. Ve 1960-ih i 1970-ih Partuma se poelo smatrati umjetnikom legendom jer je iskazivao svoj otklon i od slubenog umjetnikog ivota koji su podupirali politiki krugovi i od sfere avangardnih umjetnika. U svojim akcijama, od mareva, preko recitacija, do happeninga, slubeno se rugao apsurdima administracije socijalistike stvarnosti. 1971. Partum je osnovao Ured za poeziju u Varavi (koji je djelovao do 1985) i meu prvim umjetnicima u Poljskoj financirao je svoje vlastite grafike i knjiice.

gyula pauer
r. / b. 1941. ivi i radi u budimpeti. lives & works in budapest.

Gyula Pauer poeo je karijeru 1960-ih kao kipar, a 1970. svojim Pseudo artom doao je do antiskulpture. Protest Sign Forest, intervencija u javni prostor, bila je konceptualizirana kao ulini protest, prenesen u prirodno okruje. itljivost slogana na transparentima ovisila je o dobu dana i o kutu pod kojim ih je osvjetljavalo sunce. Transparenti su bili plastiki i topografski strukturirani. Rad je na kraju prekrivao povrinu od oko 400 kvadratnih metara, gotovo cijeli dan, dok ga vlasti nisu unitile. Samo na Pauerovim fotografijama ouvana je opa slika rada, koji nitko nije uspio obii i zahvatiti ga kako je umjetnik bio zamislio.

Artist, performer, poet, composer, filmma- Tomo Savi Gecan is an artist who almost as a rule exhibits notker, author of manifestos as well as critical hing. Conceived as tabulae rasae, the authors projects function and theoretical texts about contemporary as empty sites filled with various charges, concealed tensions and art. His practice could be broadly described references. Dematerialization, absence and emptiness are the as a collection of artistic gestures, actions consequences of the specific treatment of gallery space. Overall, involving words, texts and interactions. the artists works can be seen as an ongoing tactical positioning Already in the 1960s and 1970s Partum came vis--vis and within the space of the gallery white cube the arto be considered an artistic legend, by de- chetypal space of modern art. The work Untitled 2010 directly monstrating his dissent from both the offi- refers to the work that author realized in the space of the Museum cial artistic life supported by political circles of Contemporary Art on the occasion of the exhiand the sphere of avant-garde artists. In his bition Here, Tomorrow (04/10 03/11/2002) when actions ranging from walks to recitations one of the Museums rooms was walled in by a and happenings, he officially mocked the glass surface. absurdity of the administration of socialist reality. In 1971 Partum established the Bureau of Poetry in Warsaw (operating until 1985) and was among the first artists in Poland to finance his r. / b. 1972. ivi u kijevu i tokiju. lives & works in kiev & tokyo. own prints and booklets. Exhibition (2008) je video o umjetnosti i o diskursu i ritualima koje ona stvara, kao i o radu ukljuenom u proizvodnju izloaba. Izloba odraava drutvenu dimenziju umjetnosti i neuspjeh obrazovnih projekata utemeljenih na pretpostavkama o univerzalnoj estetskoj vrijednosti. Tema videa je sovjetski dokumentarni film Noble Impulses of Soul, 1965, Izraela Goldtajna. U tipinom sovjetskom stilu 1960-ih, pria filma pedagokim tonom velia trud provincijskog muzeja u selu Parhomivka na istoku Ukrajine, gdje je odrana izloba suvremene meksike umjetnosti, popraena predavanjem o povijesti umjetnosti na seoskom imanju. Obraeni video restrukturira primarne komponente, uklanja glas pripovjedaa i preureuje kronologiju filma kako bi razbila neprekinut realistiki svijet dokumentarnosti.

16

sean snyder

Gyula Pauer: uma plakata / Placard Forest, 1978.

Gyula Pauer began his career in the 1960s as a sculptor to arrive at the anti-sculpture of his pseudo-art in 1970. Protest-Sign Forest, an intervention in public space, was conceptualized as a street protest transferred to a natural setting. The legibility of the slogans on the signs was determined by the alterations of the time of day, the angle of incidence of the suns rays. The protest-signs formed a plastically and topographically structured order. The work stood covering an area of about 400 m2 for a single day, after which it was demolished by the authorities. Only photographs made by Pauer before he fled the site preserve the overall image of the work, which no one was able to traverse and take in as the artist himself had imagined.

Exhibition (2008) is a video about art, and the discourse and rituals it generates as well as the work involved in the production of exhibitions. Exhibition reflects the social dimension of art and the failure of educational projects based on assumptions of the universal aesthetic experience. The video uses Soviet documentary film Noble Impulses of Soul (1965) by Israel Goldstein as its subject. In typical 1960s Soviet style, the pedagogical tone of the films narrative praises the efforts of a provincial museum in the village of Parkhomivka in Eastern Ukraine revolving around an exhibition of contemporary Mexican art being presented at the museum accompanied by an art history lecture at a village farm. The reprocessed video restructures the primary components, eliminates the voice of the narrator, and reorders the chronology of the film to break the continuous realistic world of the documentary. [Sean Snyder] Sean Snyder: Izloba / Exhibition, 2008.

 tams st. auby

r. / b. 1944. ivi i radi u budimpeti. lives & works in budapest.

blint szombathy
r. / b. 1950. ivi i radi u budimpeti. lives & works in

Tams St.Auby, poznat i kao Tams Szentjby, Tamas Stjby, Tamas Stauby, budapest. Tamas St. Aubsky, Emmy Grant, Emily Grant, Tamas Staub, Tamas Taub and Szombathyjev rani performans Lenin in Budapest anoniman je Kurt Schwitters, kljuna je figura maarske postavangarde. St.Auby je 1960-ih fotoperformans. U zemljama realsocijalizma, plakati s portretima poeo svoje eksperimente s antiumjetnou i poezijom. ivot je veinom proveo Vladimira Iljia Lenjina, voe sovjetske boljevike revolucije, bili u egzilu u enevi, gdje je 1981. prekinuo veze sa sustavom komercijalnih galerija i su slike-fetii ili simboli revolucionarnog stava koji se zauzimao objavio Geneva Strike protiv otuenja radom na podruju umjetnosti. na partijskim kongresima, skupovima u organizaciji drave i na Njegov 16-milimetarski crno-bijeli film Kentaur (197375) propituje politiku paradama, zajedno sa slikama lokalnih partijskih funkcionara i i vrijednost rada. Snimljen je u dravnom Bla Balsz Studio, koji je omoguavao klasika marksizma, Marxa i Engelsa. Szombathy je krenuo nositi proizvodnju eksperimentalnog filma, i cenzorski odbor odmah ga je zabranio. plakat s Lenjinovim portretom po Budimpeti kao reklamni plakat ili Eksperimentirajui s odnosom i diskrepancijama izmeu zvuka i slike, film kao transparent s protestnim sloganima. Tako je Lenjinov potret lien predstavlja lucidnu i jetku kritiku drutvenog otuenja, klasnih odnosa i svoje fetike funkcije. Slika voe postavljena je usred svakodnevnih degradacije rada u drutvu koje je trivijalnosti u realsocijalizmu. Simbol revolucije izvan podruja proglaavalo vjernost komunistipartijske kontrole znaio je otpor birokratskom sistemu, jer se inilo kim vrijednostima. Dokumentarda odraava utjecaj nove ljevice sa Zapada ili da nalikuje ludizmom ne sekvence snimljene na raznim inspiriranom triku. [Miko uvakovi] javnim mjestima (tvornica tekstila, Szombathys early performance Lenin in Budapest is an anonymous autobus, tvornika hala, ured, kafi, photo-performance. In the countries of real socialism, posters polje, spavaonica, ekaonica) prikarepresenting the portraits of Vladimir Ilyich Lenin, leader of the zuju svakodnevicu ljudi (radnika, 1917 Soviet Bolshevik revolution, were fetish-images or symbols of domaica, seljaka, rudara i njihovih the revolutionary attitude that used to be put up at Party congresses, nadreenih) kao glavnih protagonista. state-organized rallies and parades together with the pictures of the Dokumentarne snimke kombiniraju local Party officials and the classics of Marxism, Marx and Engels... se sa zvunim zapisom koji se sastoji Szombathy ventured to carry a poster with Lenins portrait around od niza poetinih i otuenih fragmenBudapest as an advertising poster or one containing slogans of protest. tarnih dijaloga koji se naizgled odviThus, the portrait of Lenin was deprived of its fetish function. The jaju izmeu protagonista. U kojim image of the leader was placed within the mundane trivia of life in okolnostima radikalna misao moe real socialism. The symbol of the Revolution outside the field of Party promijeniti drutveno stanje? Istracontrol meant defiance to the bureaucratic system, as it seemed to ivanje mogunosti revolucioniranja reflect the impact of the New Left from the West or looked like a drutvenih institucija i kolektivne Luddism-inspired dodge. [Miko uvakovi] svijesti ostaje nerazrijeeno, proeto openito pesimistinim dojmom o neskrivenoj eksploataciji. Tams St.Auby, Kentaur / Centaur, Tams St.Auby, also known as Tams 197375. Szentjby, Tamas Stjby, Tamas r. / b 1947. ivi i radi u zagrebu. lives & works in zagreb. Stauby, Tamas St. Aubsky, Emmy Grant, Emily Grant, Tamas Od sredine 1970-ih Mladen Stilinovi razvija umjetnike strategije uz primjenu Staub, Tamas Taub and Kurt Schwitters, is a key figure of the siromanih materijala. Njegovi radovi jednostavno su izvedeni i bave se temama Hungarian post avant-garde. St.Auby began his anti-art and kao to su bol, siromatvo, smrt, mo i jezik represije, kao trajnim i meusobno poetry experimentations in the 1960s. He spent most of his povezanim stanjima. Naslov je obino napisan na samome radu, na primjer, na radu years of exile in Geneva, where in 1981 he broke ties with the Sutra (1975) koji se sastoji od natpisa s rijeju Sutra, koju je umjetnik prekriio. commercial gallery system and proclaimed the Geneva Strike Taj jezini rad, koji je referirao na esto koritenu sintagmu socijalistike against alienation through working in the field of art. zajednice: sada nije vrijeme za rjeavanje ovog ili onog problema, treba pokazati u His 16 mm black and white film, Centaur (197375) questions novom drutvenom, politikom i the politics and value of work. Produced by the state-funded Bla jezinom kontekstu. 01 Since the mid-1970s, Mladen Stilinovi has Balzs Studio that enabled the production of experimental film, developed artistic strategies using poor materials. Sluei se nespretnim, it was immediately banned by the censorship committee. Whilst neujednaenim rukopisom i His works are simple in their execution and engage experimenting with the relationship and discrepancies between jeftinim, prirunim ili organskim such subjects as pain, poverty, death, power sound and image, the film presents a lucid and bitter criticism and the language of repression as ongoing and materijalima, poput hrane, of social alienation, class relationships and the degradation of mutually connected conditions. Usually the title koje esto postavlja u dijalog labour in a society that has declared adherence to communist is inscribed into the work itself, such as in the s prostorom i kontekstom values. Documentary sequences shot in various public spaces work Tomorrow (1975) consisting of a banner with izlobe, umjetnik istie krhkost (sewing factory, bus, industrial hall, office, caf, field, dormitory, i ranjivost egzistencije. To je the text Tomorrow, which he then crossed out. waiting room) feature everyday people (workers, housewives, This linguistic work, which referred to the often-used oito u brutalnoj fragmentaciji farmers, coalmen, and their superiors) as the main protagonists. syntagm of the socialist community: now is not the rijei, znakova i predmeta, kao The documentary footage is combined with a soundtrack time to solve these and these problems, has the urge i u opsesivnom ponavljanju i comprised of a series of poetic and estranged fragmentary to be shown in a new, social, political and linguistic zbunjujuim supostavljanjima. dialogues that appear to be taking place between the context. 01 01 Branka Stipani: protagonists. In what circumstances can radical thought On Unknown By using clumsy, uneven handwriting and cheap, readily change social conditions? An examination of the possibilities Works, str/p. 9, available or organic materials, such as food, which he often for revolutionising social institutions and On Unknown places in dialogue with the space and context of the exhibition, collective consciousness is left unresolved, Works, WHW/AGM, the artist underlines the fragility and the vulnerability of tinted with an overall pessimistic Zagreb; existence. This is evident in the brutal fragmentation of words, undertone of flagrant exploitation. ARL, Dubrovnik; signs and objects, as well as in the obsessive repetition and Zagreb, 2006. confusing juxtapositions.

mladen stilinovi

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 Mladen Stilinovi: Sutra/Tommorrow, (1975) 2006.

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as soon as i open my eyes, i see a film [cinema clubs & the geff]
The starting point for the Zagreb presentation is the research and exhibition As soon as I open my eyes, I see a film Experiments in Yugoslav art in the 60s and 70s, which was held at the Museum of Modern Art in Warsaw in April 2008. The beginning of the research consisted of analyzing the operations of amateur cinema clubs, especially in Zagreb, Belgrade and Split, and the connection and mutual permeation between experiments in so-called amateur cinematic art, the art of the 50s and 60s, as well as the anticipation, that is, the birth of a new artistic production in the former cultural space of the Socialist Federal Republic of Yugoslavia. Polazna toka zagrebake postave je istraivanje i izloba im ujutro otvoIn 1962 and 1963, a group of film amateurs, as part rim oi vidim film Eksperimenti u jugoslavenskoj umjetnosti ezdesetih i of the Cinema Club Zagreb, came up with the term ansedamdesetih, odrana u Muzeju moderne umjetnosti u Varavi, u travnju ti-film. Namely, cinema club members Mihovil Pansini 2008. Poetak istraivanja sastojao se od analize djelovanja amaterskih and Tomislav Kobija instigated lively discussions on the kino klubova, posebice u Zagrebu, Beogradu i Splitu, te povezanosti i proimanja izmeu eksperimenta u takozvanoj amaterskoj filmskoj umjetnosti, i umjet- concept of anti-film, and these conversations were spontaneously nosti pedesetih i ezdesetih, i anticipacije, odnosno raanja, nove umjetnike produkcije named Anti-film and us. It was concluded that anti-film was not a film of conveyance, expression or communication between the na nekanjem kulturnom prostoru SFRJ. Godine 1962. i 1963. grupa filmskih amatera, okupljenih u Kino klubu Zagreb osmislila artist and the viewer, but an act of disclosure, exploration and je pojam anti-film. Naime, lanovi kino kluba Mihovil Pansini i Tomislav Kobija potaknuli reduction. There were multiple reductions: the reduction of the su ustre rasprave vezane za ideju antifilma, a ti razgovori su spontano nazvani Anti-film i author himself to his work, then the reduction of narration, of mi. Zakljueno je kako anti-film nije film izraavanja, ekspresije ili komunikacije izmeu expressive means in the film, of rational metaphor, traditional autora i gledaoca, nego in otkrivanja, istraivanja i redukcije. Redukcije su bile viestru- communication with the viewers, etc. Soon after, the biennial Genre Film Festival (GEFF) was estake, samog autora na svoje djelo, potom redukcija naracije, ekspresivnih sredstava u filmu, blished in Zagreb in 1963 (the last one was held in 1969), analogous racionalne metafore, tradicionalne komunikacije s gledateljima, itd. Neposredno je u Zagrebu osnovan i bijenalni Genre film festival, poznatiji po skrae- with the Music Biennial and New Tendencies. The festival gathenici GEFF, osnovan 1963 (posljednji je odran 1969), po analogiji s Muzikim Bijenalom i red film enthusiasts, some of who would later become renowned film directors, and the films of cinema clubs from the Novim tendencijama. Festival je okupljao filmske entuzijaste, od kojih entire former Yugoslavia. e neki kasnije postati poznati filmski redatelji, te filmove kino-klubova 04 In the introduction of Due to constant demands for professionalization iz cijele bive Jugoslavije. the GEFF book it was in all social systems, especially those related to art, Zbog neprestanog zahtjeva za profesionalizacijom u svim drutverecorded: During these from todays perspective it is almost impossible to nim sistemima, a posebice umjetnikim, iz dananje perpsektive gotovo discussions the concept interpret correctly the meaning of the terms amateur je nemogue iitati pravilno znaenje pojma amaterskog filma i amateof anti-film appeared. film and amateurism, but fortunately there is the first rizma, no sreom postoji 1. knjiga GEFF-a koja detaljno dokumentira tvz. For the first time, antiGEFF Book that documents in detail the so-called five pet razgovora o antifilmu i prvo izdanje GEFFa. To je ujedno i jedini dokufilm was more or less discussions on anti-film and the first issue of the GEFF. ment koji svjedoi o aktivnosti festivala i nastanku pojma antifilm.03 defined at the end of At the same time, this is the only document that tethe third discussion, in Kino-klubovi su pruali mogunost avangardistikog eksperimentistifies to the festival activities and the emergence of May 1962. The texts of ranja, samoorganizacije u duhu socijalistikog samoupravljanja, te odrethe concept of anti-film.04 the New Tendencies and eni oblik politikog angamana. Stoga, kino-klubovi, a neto kasnije i Gorgona were actually studentski kulturni centri, postaju izvansistemski prostori autonomije, The cinema clubs offered the opportunity of paraphrased, and in this te svjedoe o razvijanju i supostojanju paralelnih sustava kulture u odavant-garde experimenting, self-organization in the way their influence on nosu na onu oficijelnu. Institucionalni okvir se, dakle, pokazao sklon spirit of socialist self-management, and a certain form anti-film was confirmed. rekonfiguraciji, reinvenciji i prilagodbi, te omoguio paradigmatske of political engagement. In that regard, cinema cluGEFF Book 63. obrate u filmskoj i umjetnikoj produkciji. [Ana Janevski] bs, and somewhat later the student cultural centers, became extra-systemic spaces of autonomy, and bear witness to the 03 U uvodu Knjige GEFF-a development and coexistence of zabiljeeno je: U toku parallel systems of culture in relatih razgovora nastala je tion to the official one. The instikoncepcija o anifilmu. tutional framework has, therefoAntifilm je prvi put kakore, shown itself as being prone to tako definiran na kraju reconfiguration, reinvention and treeg razgovora, u maju adjustment, and enabled paradi1962. Parafrazirani su gmatic twists in film and artistic zapravo tekstovi Novih production. [Ana Janevski] tendencija i Gorgone, pa je i na taj nain potvren njihov utjecaj na anti-film Knjiga Geffa 63.

im ujutro otvorim oi, vidim film [kino klubovi & genre film festival/geff]

Marina Abramovi Gorgona Tomislav Gotovac Zlatko Hajdler Duan Makavejev Ivan Martinac Dalibor Martinis Mihovil Pansini ivojin Pavlovi Vladimir Petek Vojislav Rakonjac Milan Samec Mladen Stilinovi Sava Trifkovi Ante Verzotti

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ultrared
Kolektiv zvune umjetnosti koji su 1994. osnovala dvojica AIDSaktivista trenutano ima devet lanova baziranih u Sjevernoj Americi i Evropi. Vodei istraivanja u kojima je zvuk i poprite i sredstvo istraivanja, kolektiv razvija projekte u odnosu prema drutvenim pokretima u kojima lanovi Ultra-reda rade kao organizatori, aktivisti i militantni istraivai. Oslanjajui se na tradicije konkretne muzike, konceptualne umjetnosti, narodnog obrazovanja i militantnog istraivanja, Ultra-red pristupa komponiranju terenskim snimkama kao zvunim objektima za kolektivno sluanje i analizu. U brojnim performansima i radionicama predstavljenim diljem Sjeverne Amerike i Evrope, Ultra-red naglaava organizaciju sluanja upotrebom konceptualno izvedenih protokola performansa. Njihova istraivanja stvaraju audiosnimke, izlobe, dogaaje i zvune etnje. Ultra-redovi Protokoli za ispred, unutar i iza pozivaju sluatelje da propitaju presjek izmeu svih poredaka sluanja; sluanje izvora zvuka, sluanje radi znaenja i sluanje perceptualnih obiljeja zvuka. Pitanje to si uo? pojaava odnos izmeu sluatelja i uha drugog sluatelja. Militantno istraivanje zvuka nastavlja se odatle, kao prijelaz na drugu stranu zastora. [ultra-red]

Milan Trenc: Armija i KPJ/ Army & KPJ, Start 1989.

milan trenc
r. / b. 1962. ivi i radi u zagrebu. lives & works in zagreb.
Milan Trenc objavljuje ilustracije, stripove, i slikovnice, radi kao scenarist i reiser igranih i animiranih filmova. Od poetka osamdesetih objavljuje stripove, najprije u omladinskome, a zatim i tjednome tisku. Od 1985. godine pa do njegova gaenja 1991. bio je glavni ilustrator magazina Start. 19912003 radi u New Yorku, te objavljuje stripove u Heavy Metal Magazinu a ilustracije mu se pojavljuju u The New York Timesu, Timeu, The Wall Street Journalu, New Yorkeru, Fortune Magazinu, Washinton Postu, Business Weeku i ostalim vanijim amerikim listovima. Umjesto da ilustriram tekstove, ilustrirao sam probleme o kojima su tekstovi govorili. Ponekad je ilustracija imala upravo obrnuto miljenje od onoga to je iznosio tekst. Kako je to bilo vrijeme poputanja politike stege, deurni cenzori osvrtali su se u panici. U Startu smo imali veliku slobodu, ali istodobno i veliku odgovornost, upravo stoga to su se ilustracije predavale u posljednjem trenutku, a tekstovi su bili provokativni, politiki. Budui da nisam morao prilagati skice, napraviti ilustraciju koja e se moi objaviti bila je stvar iskljuivo moje procjene. [milan Trenc: Darko Glavan, iz predgovora izlobe Milan Trenc, Retrospektiva 1980-2005. Strip, ilustracija, film, Galerija Klovievi dvori, Zagreb, 2005] Milan Trenc publishes illustrations, comics, and picture books, works as a screenwriter and director of animated films. He started publishing his comics in the early 80s, initially in youth press, and then in weekly magazines. From 1985 to 1991 he was chief illustrator of Start magazine, holding this position until the last issue of the magazine. From 1991 to 2003 he was working in New York, publishing comics in Heavy Metal Magazine, and his illustrarions are found in The New York Times, Time, The Wall Street Journal, New Yorker, Fortune Magazine, Washington Post, Bussines Week, and other major American press.

Ultra-Red: Protokoli za ispred, unutar i iza / Protocols for In Front, Within, and Beyond, 2009.

Instead of illustrating texts, I illustrated the problems the texts were talking about. Sometimes the illustration had a completely opposite opinion to what the text was saying. Since it was the time of the relaxation of political discipline, the duty censors looked round in panic. In Start we had a lot of freedom, but a great deal of responsibility as well, precisely because the illustrations were handed in at the last moment, and the texts were provocative and political. Since I did not have to hand in sketches, making an illustration that was publishable was exclusively a matter of my own judgement. [milan trenc: Darko Glavan, Milan Trenc, Retrospektiva 1980-2005. Strip, ilustracija, film, exhibition catalogue, Galerija Klovievi dvori, Zagreb, 2005]

Founded in 1994 by two AIDS activists in Los Angeles, the sound art collective currently has nine members based in North America and Europe. Conducted investigations where sound is both the site and the means of inquiry, the collective develops projects in relation to social movements wherein Ultra-reds members have worked as organizers, activists and militant researchers. Drawing on the traditions of musique concrte, conceptual art, popular education, and militant inquiry, Ultra-red approach composition with field recordings as a sound object for collective listening and analysis. In numerous performances and workshops presented across North America and Europe, Ultra-red emphasize the organization of listening through the use of conceptually-derived performance protocols. Their investigations have resulted in audio recordings, art exhibitions, events, or sound walks. Ultra-reds Protocols for In Front, Within, and Beyond invites listeners to interrogate the intersection between all orders of listening; listening for a sounds origins, listening for meaning, and listening for a sounds perceptual characteristics. The question, What did you hear? amplifies the relationship between the listener and the ear of another listener. The militant sound investigation continues from here, a movement beyond the curtain. [ultra-red]

 didaktika izloba: didactic exhibition: apstraktna umjetnost abstract art

Od 27.03. do 30.04.1957. u tada jo sasvim In the month between 27 March and 30 April 1957, mladoj Gradskoj galeriji suvremene an exhibition entitled Contemporary Art 1. Didactic umjetnosti u Zagrebu (slubeno osnovanoj Exhibition on Abstract Art took place at the Municipal u prosincu 1954. god) organizirana je Gallery of Contemporary Art in Zagreb, which was izloba pod nazivom Suvremena umjetnost at that time still a very new art space (since it was I. Didaktika izloba: apstraktna umjetnost. officially founded in 1954). The selection of texts and Izbor tekstova, reprodukcija kao i postav reproductions, as well as the layout of the exhibition, izlobe obavili su umjetnici i kritiari were decided and realised by artists and art critics who donedavno okupljeni oko grupe EXAT 51 had previously been connected to EXAT 51 (by that (koja je tada ve prestala s radom) i time, the art group had already ceased its activity) asopisa ovjek i prostor: slikar i dizajner and ovjek i prostor journal: painter and designer Ivan Picelj, kritiar Radoslav Putar, Ivan Picelj, art critic Radoslav Putar, Tihana Raveli, Tihana Raveli, arhitekt Vjenceslav architect Vjenceslav Richter, architect Neven egvi, Richter, arhitekt Neven egvi, slikar painter Edo Kovaevi, and the Gallerys manager Edo Kovaevi, te od strane Galerije Vesna Barbi. direktorica Vesna Barbi. Even though it is known that the idea of Mada, koliko znamo nikad nije continuation suggested by the number 1 in the napravljen nastavak, sugeriran brojem I. exhibitions title never took place, some of its u naslovu izlobe, dio ambicija oito je ambitions were obviously satisfied, since in the uspjeno ostvaren jer je sljedeih godina following years the exhibition traveled through a izloba obila niz gradova SFRJ. number of Yugoslav towns. U interpretacijama te izobe s jedne In the interpretation of the exhibition there is je strane mit o vrhunskom proboju on one side the myth about the supreme outbreak of slobode umjetnikog izraza i stvaralatva freedom of artistic expression and creation it was edukativna izloba o apstraktnoj an educational exhibition on abstract art in a socialist umjetnosti u jednoj socijalistikoj country, facing the village in an almost Ilf-andzemlji, gotovo u iljfipetrovskom motivu Petrovian sense. This myth emphasizes the fact that in licem prema selu. Istie se da je u those dire circumstances, with almost no specialized tadanjim uvjetima oskudice strune literature, insufficient access to information and rare literature, nedovoljnih informacija i opportunities for seeing the original artworks of rijetkih mogunosti uvida u originalne international artists, that an exhibition of a didactic radove inozemnih umjetnika, ta izloba character and a relatively modest number of exhibits didaktikog karaktera i relativno meant much more that one might presume today: an skromnog broja izloaka znaila puno vie opportunity for learning and obtaining information, nego to se to danas moe pretpostaviti: something which was a part of the overall strategy priliku za uenje i informiranje, to which the members of EXAT 51 systematically je i bio dio cjelokopne strategije koju practiced. The exhibition catalogue, with its numerous su pripadnici grupe EXAT 51 sustavno biographical data, excerpts from manifestos and provodili u svojem djelovanju. Katalog tih artists texts, and a comprehensive bibliography, was izlobi, s brojnim biografskim podacima, the first historical overview of abstract art in our izvodima iz manifesta i tekstova language.01 A version of this approach claims that the umjetnika te bibliografijom bio je ujedno label didactic was an efficient means of countering prvi na naem jeziku povijesni pregled possible accusations of ideological undesirability. apstraktne umjetnosti.01 U jednoj verziji The opposing hypothesis claims that the exhibition takvog pristupa smatra se da je oznaka can barely have any interest for us today, except didaktinosti predstavljala efikasno perhaps as an interesting attempt at setting up sredstvo protiv optubi za ideoloku an educational exhibition, and that it came at the nepoudnost. moment when the main part of the struggle for the Suprotstavljena teza kae da sama freedom of artistic expression had already passed. izloba, osim kao, eto, zanimljiv pokuaj After all, it was in 1957, when EXAT 51 no longer edukativne izlobe, danas i nije osobito existed and the chief polemics had long since become zanimljiva, a dolazi u trenutku kad je entrenched... Some critics interpret the didactic glavna bitka za slobodu umjetnikog character of the exhibition as an indicator of its izraza zavrena. To je ipak ve 1957. servitude to the ideological apparatus of the state godina, EXAT 51 vie ne postoji, glavne rather than its non-ideological character. [WHW] polemike su davno zavrene. U samoj didaktinosti izlobe neki kritiari vide ne njezin neideoloki 01 The book of Michel 01 Knjiga Michela karakter, nego upravo Seuphor on Abstract Seuphora Apstraktna pokazatelj upregnutosti Art was published in umjetnost objavljena u ideoloke aparate 1959 by Mladost from je 1959. u prijevodu tadanje drave. Zagreb [translation: Radoslava Putara i [WHW] Radoslav Putar]. izdanju zagrebake Mladosti.

Mikls Erdly & Dra Maurer: Creativity Excersises / Creativity-Visuality / Vjebe kreativnosti / Kretivnost - vizualnost, 1987.

vjebe kreativnosti / creativity excersises [mikls erdly & dra maurer]

erdly 1928-86. ivio u budimpeti. lived in budapest. maurer r. / b. 1937. ivi i radi u budimpeti. lives & works in budapest.
Od 1975. do 1977. takozvane kreativne vjebe koje su vodili Dra Maurer i Mikls Erdly, vizualni umjetnici, odravale su se u kulturnom centru Ganz Mvag, koji je, umjesto pojedinanog kreativnog procesa usmjerenog na umjetniko djelo, uvodio alternativni model, zasnovan na iskustvima zajednice i dekonstrukciji tradicionalnog umjetnikih studija/obrazovanja. Studijski krug poslije se odrao pod rukijim imenom i na drugoj lokaciji (kao Vjebe za razvoj mate (FaFej, 1977) i Interdisciplinarni teajevi miljenja / InDigo (1978-86) te se na kraju pretvorio u grupu INDIGO, koja je nastupala na izlobama krajem 1970-ih. Dra Maurer dokumentirala je radionice i u 80-ima je u Balsz Bla Studio uredila fotografski materijal u tematske odsjeke i nainila film pod naslovom Creativity-Visuality. From 197577, visual artists Dra Maurer and Mikls Erdly led what were known as Creativity Exercises at the Ganz Mvag Cultural Centre which, instead of the individual, artwork-centred creative process, introduced an alternative educational model that was based on community experiences and the deconstruction of traditional art studies/ education. These were later continued under a different name and in a new location, namely as Fantasy Developing Exercises (FaFej, 1977), and Inter-Disciplinary-Thinking (InDiGo group, 197886) finally transforming into the INDIGO group, which made appearances at a number of exhibitions at the end of the 1970s. Dra Maurer documented these workshops and in the 1980s she edited the footage into thematic sections at the Balzs Bla Studio producing a film entitled Creativity-Visuality.

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 ideologija dizajna: fragmenti o istoriji jugoslovenskog dizajna

Projekat Ideologija dizajna se bavi kontekstualizacijom praksi i teorije jugoslovenskog dizajna tokom duge istorije ove socijalistike zemlje. Kroz seriju dokumentarnih video-intervjua, protagonisti praksi i teorija dizajna, arhitekture, urbanizma i istorije umetnosti, govore o dizajnu kao o interdisciplinarnoj oblasti koja u sebe ukljuuje domete iz kulture, nauke, arhitekture, tehnologije i umetnosti, a samim tim predstavlja plodno tle za socioloko-filozofske rasprave o tehnologiji i tritu, o drutvenoj i politiko-ekonomskoj dinamici i procesu rada. Poseban akcenat projekta postavljen je na diskusije i prakse voene u vreme socijalistike Jugoslavije koje su pokuavale da definiu: ulogu dizajna u (ne)-trinoj socijalistikoj ekonomiji, njegov funkcionalizam i uslovljenost tritem ili pak drutvenu angaovanost, te ulogu dizajna u oblikovanju novog odnosa oveka prema materijalnim stvarima. Razvijajui progresivne, kritike i kontradiktorne pozicije, dizajn je istovremeno predstavljao simbol posleratne obnove zemlje pod okriljem procesa industrijalizacije i osloboenje oveka od materijalne oskudice, ali kroz naredne decenije sve je vie igrao jednu od glavnih uloga u izgradnji socijalistikog trinog drutva. Izloba Ideologija dizajna je prvi put odrana krajem 2009. godine u Novom Sadu (www.kuda.org/projekat-i-izlozbaid-ideologija-dizajna), dok je ovom prilikom iz originalne postavke izdvojen njen dokumentaristki deo u formi video intervjua sa nekim od najznaajnijih protagonista jugoslovenske teorije i prakse dizajna i istorije umetnosti, meu kojima su: Matko Metrovi i Fedor Kritovac iz Zagreba, Stane Bernik iz Ljubljane, Jerko Denegri i Branko Vuievi iz Beograda i Branislav Dobanovaki iz Novog Sada. Istorijska perspektiva dizajna u socijalizmu je upotpunjena intervencijom savremenog dizajn i teorijskog kolektiva Metahaven (Amsterdam/Brisel) koji u okviru ove celine predstavljaju svoj najnoviji rad. [kuda.org]

ideology of design: fragments on history of yugoslav design

The project Ideology of Design is dedicated to contextualizing the theories and practices of Yugoslav design that took place during the long history of this socialist country. Through a series of documentary video interviews, protagonists of design theory and practice, architecture, urbanism and art history, talk about design as an interdisciplinary field which includes achievements from culture, science, architecture, technology and artistic practice, and which accordingly represents fertile soil for sociological and philosophical discussions on technology and the marketplace, on social and politicaleconomical dynamics and the labour process. A special accent of the project is placed on the discussions and practices led during the time of socialist Yugoslavia which tried to define the role of design in a (non-)market socialist economy, its functionalism and its being conditioned by the market, or its social engagement, and the role of design in shaping a new relationship of man towards material objects. Developing progressive, critical and contradictory positions, design was simultaneously presented as a symbol of the post-war reconstruction of a country under the wing of industrialisation and the liberation of man from material privation, but as decades went by it played more and more one of the main roles in building a socialist market society. The exhibition Ideology of Design was presented for the first time at the end of 2009 in Novi Sad (www. kuda.org/en/project-and-exhibition-id-ideology-design), while for this occasion, the documentation part has been extracted in the format of video interviews with some of the most important protagonists of Yugoslav theory and practice of design and art history, among them: Matko Metrovi and Fedor Kritovac from Zagreb, Stane Bernik from Ljubljana, Jerko Denegri and Branko Vuievi from Belgrade, and Branislav Dobanovaki from Novi Sad. The historical perspective of design in socialism is complemented with the intervention of contemporary design and theory by the collective Metahaven (Amsterdam /Brussels), who are presenting their latest piece. [kuda.org]

ymposium Fine Arts, poznat i kao Symposium Wroclaw 70 odran je kao dio politikog dogaaja kojim se obiljeavalo takozvanu 25. objetnicu povratka zapadnih i sjevernih zemalja domovini [Poljskoj]. Prema organizatorima, slubeni cilj skupa bio je da poslui kao pokuaj da se sukobe razliiti naini modernoga miljenja, to e rezultirati razvojem iznimnih umjetnikih djela u gradu Wroclawu. Umjetnike je pozvao odbor od 12 likovnih kritiara i teoretiara koji su predstavljali razliita avangardna stajalita i zatraio da podastru projekte koji e pridonijeti oblikovanju nove urbane strukture grada, koji je jo bio u ruevinama nakon 2. svjetskog rata. Projekti su prikazani javnosti na izlobi otvorenoj 17. oujka 1970. u gradskom Muzeju arhitekture i restauracije. Prvotna pretpostavka da e se svi oni realizirati u site-specific uvjetima grada, trajnim materijalima, u raspravi u kojoj su sudjelovali umjetnici, arhitekti i kritiari, postala je poprite simbolike igre izmeu lokalnog politikog establishmenta i odbora likovnih kritiara i umjetnika. Od podastrtih prijedloga ostvarena su samo dva, ukljuujui Unlimited Vertical Composition Henryka Staewskog, jedini rad stvoren na samome Simpoziju. U desetljeima koja su uslijedila Simpozij se veliao ili kao posljednja konvencija avangarde ili se priznavao kao prva manifestacija konceptualne umjetnosti u Poljskoj. U novije vrijeme taj dogaaj postao je podruje interesa povjesniara umjetnosti koji ga ele locirati u iri okvir koji nadilazi njegov mit o konceptualnom pristupu. [muzeum sztuki]

symposium wroclaw 70
The Symposium Fine Arts, also known as the Symposium Wroclaw 70, was held as part of a political event celebrating what came to be called the 25th Anniversary of the Return of Western and Northern Lands to the [Polish] Motherland. According to the organizers, the official goal of the gathering was to serve as an attempt to confront different ways of modern thinking that will result in developing outstanding art works in the city of Wroclaw. The artists invited by the board of 12 art critics and theorists, representing various avant-garde positions, were asked to submit projects that would contribute to the shaping of a new urban structure of the city, still in ruins after the Second World War. The projects were shown to the public in the exhibition opened on the 17th March 1970 at the citys Museum of Architecture and Restoration. The original assumption that all of them be realized within the site-specific conditions of the city, in solid materials, negotiated between artists, architects and critics became a field of symbolic play between the local political establishment and the committee of art critics and artists. From among the submitted proposals only two were realized, including Henryk Staewskis Unlimited Vertical Composition, which was the only work produced during the Symposium itself. In the following decades the Symposium was hailed either as the last convention of the avant-garde or recognized as the first manifestation of conceptual art in Poland. Recently the event became a field of interest of art historians who aimed at situating it in a broader framework going beyond its myth of the conceptual approach. [muzeum sztuki]

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 Marian Bogusz group: Andrzej Bartyski, Krzysztof Coriolan, Roman Nyga, project for the Celina housing estate. Barbara Kozowska, Continuance photographs by Zdzisaw Holuka, courtesy of Dolnolskie Towarzystwo Zachty Sztuk Piknych, Wrocaw.

22

centar za nove medije_kuda.org / new media center_kuda.org, novi sad

www.kuda.org

muzeum sztuki, d
http://www.msl.org.pl/en/index

Centar za nove medije_kuda.org nezavisna je organizacija za kulturu sa sjeditem u Novome Sadu u Srbiji, a od 2001. okuplja umjetnike/ice, teoretiarke/-re, medijske aktiviste/-kinje, znanstvenike/-ce i iru javnost u prouavanju novih kulturnih odnosa, suvremene umjetnike prakse, novih tehnologija i drutvenih tema. S drugim je nezavisnim organizacijama 2007. godine kuda.org osnovala centar za mlade Omladinski centar CK13 u Novom Sadu, a sudjeluje i u radu inicijative Za kulturne politike - politika kulture, mree nezavisnih organizacija za kulturu na razini grada. Osim organizacije predavanja, konferencija i radionica, Centar_kuda.org sudjeluje u postavljanju izlobi, i bavi se izdavakim projektom kuda.read, u sklopu kojeg surauje s mnogim meunarodnim organizacijama za kulturu, kao i izdavakim kuama. Vaan dio rada Centra_kuda.org jest i analiza drutvenog, kulturnog i intelektualnog nasljea bive Jugoslavije, Vojvodine i Novoga Sada, a koja se ostvaruje u suradnji s razliitim regionalnim kolektivima.

New Media Center_kuda.org, founded in 2001, is an independent cultural organization based in Novi Sad, Serbia, bringing together artists, theoreticians, media activists, researchers and the wider public in the research of new cultural relations, contemporary artistic practice, new technologies and social issues. Together with several independent organizations, kuda.org established the Youth cultural centre in 2007 in Novi Sad, and it also participates in the activities of the city network of independent cultural organizations For Cultural Policies Politics of Culture. Besides organizing lectures, conferences and workshops, kuda.org (co-)curates exhibitions and edits the publishing project kuda.read, thereby collaborating with many international cultural organizations and publishing houses. An important part of kuda. orgs work is the analysis of the social, cultural and intellectual heritage of former Yugoslavia, Vojvodina and Novi Sad, which is realized through cooperation with different regional collectives.

Muzej Sztuki u du posjeduje jednu od najinteresantnijih zbirki umjetnosti dvadesetog i dvadeset i prvoga stoljea u Europi. Samo srce zbirke sainjava Meunarodna kolekcija suvremene umjetnosti iz 1931, postav a.r. grupe koja ukljuuje Jana Brzkowskog, Wadysawa Strzemiskog, Katarzynu Kobro, Juliana Przyboa i Henryka Staewskog. Ova je kolekcija od meunarodnog znaaja, budui da su je osmislili i pokrenuli sami umjetnici, te proizlazi iz zajednikog nastojanja da se djeluje izvan i protiv svih granica. Muzej okuplja djela velikih avangardnih i neo-avangardnih umjetnika/-ica, kao to su: Theo van Doesburg, Sonia i Robert Delaunay, Hans Arp, Kurt Schwitters, Joseph Beuys... Godine 2008. Muzej Sztuki dobio je novi prostor, ms, unutar Manufakture u kojoj je izloena zbirka ovog muzeja. The Muzeum Sztuki in d has one of the most remarkable art collections of 20th and 21st century in Europe. The heart of the collection is the International Collection of Modern Art of the a.r. group from 1931, which included Jan Brzkowski, Wadysaw Strzemiski, Katarzyna Kobro, Julian Przybo and Henryk Staewski. This is internationally significant since it was initiated by the artists themselves, and results from a joint effort to act beyond and against any boundaries. The Museums collection includes works by major avant-garde and neoavant-garde artists such as: Theo van Doesburg, Sonia and Robert Delaunay, Hans Arp, Kurt Schwitters, Joseph Beuys... In 2008 Muzeum Sztuki received a new space ms2 located in the grounds of Manufaktura where the Museums collection is displayed.

projekt centra za nove medije_kuda.org podrali:

Didaktika izloba: apstraktna umjetnost / Didactic Exhibition on Abstract Art, GSU, Zagreb, 1957. Mikls Erdly & Dra Maurer: Creativity Excersises / CreativityVisuality / Vjebe kreativnosti / Kretivnost-vizualnost, 1987.

novine galerije nova / gallery nova newspapers

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izdavai / publishers: to, kako i za koga / what, how & for whom / whw Slovenska 5/1 HR-10000 Zagreb whw@mi2.hr AGM Mihanovieva 28 HR-10000 Zagreb agm@agm.hr editors: whw [ivet urlin ana devi nataa ili sabina sabolovi] tekstovi / texts: dra hegyi & zsuzsa lszl [tranzit. hu] magdalena zikowska & katarzyna soboda [Muzeum Sztuki d] centar za nove medije_kuda.org to, kako i za koga / what, how & for whom whw prijevodi/translation: goran vujasinovi lektura / proofreading: susan jakopec dizajn/design: dejan kri @ arkzin

tranzit. hu, budimpeta / budapest

http://hu.tranzit.org/

to, kako i za koga what, how & for whom/whw, zagreb

to, kako i za koga/WHW udruga je koju sainjava kustoski kolektiv koji od 1999. godine djeluje u Zagrebu. lanice kolektiva su Ivet urlin, Ana Devi, Nataa Ili i Sabina Sabolovi, te dizajner i teoretiar Dejan Kri. WHW organizira i provodi niz produkcijskih, izlobenih i publikacijskih projekata, a od svibnja 2003. godine udruga WHW vodi i program Galerije Nove u Zagrebu. to, kako i za koga tri su osnovna pitanja svake ekonomske organizacija, a primjenjuju se i pri planiranju, konceptualizaciji i realizaciji izlobi, kao i kod izrade i distribucije umjetnikih djela, te u odnosu na poloaj umjetnika/-ca na tritu rada. Ova su pitanja postala nazivom WHW-ova prvog projekta posveenog 152. obljetnici Komunistikog manifesta, 2000. godine u Zagrebu, a ona su i misao vodilja WHW-ova rada, kao i ime kolektiva. Godine 2009. lanice WHW-a bile su kustosice 11. istanbulskog bijenala pod naslovom Od ega ovjek ivi?. What, How & for Whom/WHW is a curatorial collective formed in 1999 and based in Zagreb, Croatia. Its members are Ivet urlin, Ana Devi, Nataa Ili and Sabina Sabolovi, and designer and publicist Dejan Kri. WHW organizes a range of production, exhibition and publishing projects and has been running Gallery Nova in Zagreb since 2003. What, how and for whom, the three basic questions of every economic organization, concerns the planning, concept and realization of exhibitions as well as the production and distribution of artworks and the artists position in the labour market. These questions formed the title of WHWs first project dedicated to the 150th anniversary of the Communist Manifesto, held in 2000 in Zagreb, and became the motto of WHWs work and the title of the collective. In 2009 WHW curated the 11th Istanbul Biennial entitled What Keeps Mankind Alive?.

typhography: brioni text typonine sans t9 stencil [nikola urek] tisak/printing by: tiskara zagreb naklada/print run: 3000 svibanj/may 2010, Zagreb ovo izdanje novina galerije nova dio je projekta

Maarski tranzit. hu [www.tranzit.org] nezavisno je udruenje koje provodi projekte razliitih formi, iz razliitih podruja, kao to su edukacija, istraivanja, izdavatvo i organizacija izlobi. Budui da su i teorija i praksa razliiti aspekti specifinog naina razmiljanja umjetnikog miljenja tranzit. hu zastupa ideju da umjetnost proizvodi viak znanja koji se moe reciklirati i iskoristiti u irem drutvenom diskursu, i to uvjerenje definira aktivnosti organizacije. Tranzit.hu dio je mree tranzit autonomnih inicijativa, aktivnih u Austriji, ekoj, Maarskoj i Slovakoj od 2002. godine. Dra Hegyi lanica je tima kustosa tranzit.orga za Manifestu 8. Hungarian tranzit.hu [www.tranzit. org] is an independent association initiating projects in different formats and fields such as education, research, publishing and exhibitions. As both theory and practice are different aspects of a specific way of thinking artistic thinking tranzit. hu represents the idea that art produces an excess of knowledge, which can be recycled and used in broader social discourse and this belief defines the activities of the organization. The association tranzit.hu belongs to a network of tranzit offices active in Austria, the Czech Republic, Hungary and Slovakia since 2002. Dra Hegyi is member of the tranzit.org curatorial team for Manifesta 8.

umjetnost uvijek ima posljedice kojeg podupire program europske unije kultura 2007-2013 / this issue of gallery nova newspapers is part of the project art always has its consequences supported by the culture 2007-2013 program of the european union

organizatori projekta umjetnost uvijek ima posljedice su / organizers of art always has its consequences are: centar za nove medije_kuda.org, novi sad muzeum sztuki, d tranzit. hu, budimpeta to, kako i za koga/whw, zagreb uz podrku / supported by erste foundation gradski ured za kulturu, obrazovanje i port grada zagreba / city office of culture, education and sport of city of zagreb ministarstvo kulture republike hrvatske / ministry of culture of the republic croatia nacionalna zaklada za razvoj civilnoga drutva agm, zagreb

Ovaj projekt financiran je sredstvima Europskog povjerenstva. Publikacija odraava iskljuivo miljenje autora te Povjerenstvo ne preuzima nikakvu odgovornost za naine koritenja informacija koje su u njoj sadrane.

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This project has been funded with the support from the European Commission. This publication [communication] reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

goran orevi mikls erdly mikls

erdly & dra maurer andreas fogarasi

guerilla art action group tibor hajas

sanja ivekovi david maljkovi dimitrije baievi mangelos vlado martek piet narkeviius andreja kuluni novi tomo savi-gecan mladen stilinovi sean snyder tams st. auby blint szombathy milan trenc ultra-red mondrian ciprian murean deimantas

kolektivizam andrzej partum gyula pauer

im ujutro otvorim oi, vidim film [ kino klubovi & genre film festival / geff ] / as soon as i open my eyes, i see a film [cinema clubs & the genre film festival / geff ] didaktika izloba: apstraktna umjetnost / didactic exhibition: abstract art

ideologija dizajna: fragmenti o istoriji jugoslovenskog dizajna / ideology of design: fragments about the history of yugoslav design simpozij wroclaw 70 / symposium wroclaw 70

Novi kolektivizam, Plakat za Dan Mladosti/ Youth Day poster, 1987.

19 08/05/ 45 08/05/2010
Parada povodom osoboenja Zagreba/ Liberation of Zagreb parade, svibanj/May 1945.