"Zenit" and Zenitism

Author(s): Irina Subotić and Ann Vasić

Source: The Journal of Decorative and Propaganda Arts, Vol. 17, Yugoslavian Theme Issue
(Autumn, 1990), pp. 14-25
Published by: Florida International University Board of Trustees on behalf of The
Wolfsonian-FIU
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Zenit and Zenitism
Translated by Ann Vasic
Detail: Ljubomir Mici6
(1895-1971), cover for the
book The Rescue Car (Kola
za spasavanje) (Zagreb-
Belgrade: Zenit Publications,
1922). Collection Narodni
muzej, Belgrade.
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By Irina Subotic
E_N
n the spiritual and political climate of Europe following World War I, the
review Zenit (Zagreb-Belgrade, 1921-1926) searched for a strong ideology
that promised a brighter future, a new man, and a new society. In a clear-
ly antimilitary spirit, with unconventional behavior and a decidedly criti-
cal disposition towards all existing norms and values, Zenit presented the
ideas of free artistic forms-from free verse ("words in space") to the most
radical art trends using new typographic and graphic solutions-that followed
its ideological commitment (fig. 1). The avant-garde character of this review is
reflected in proclamations and manifestoes, program texts and slogans appro-
priate to the new media that found expression within its pages: film, radio, ad-
vertisement, jazz, poster, matinee or soiree, propaganda and pedagogic exhibi-
tions, and artistic works supportive of Zenit's goals. At the core of all Zenit's
manifestations stood the new age of the machine, which would champion the
spirit of the modern, forceful, and authentic man-barbarogenius. That new
man in the new society offered new content-new art-and without compro-
mise settled his account with prevailing petit bourgeois taste and the mentali-
ty of moderate cultural politics. With faith and forceful arguments, Zenit de-
fended its point of view, which represented an isolated, utopian, quixotic
struggle to undermine the traditional system of values. Even though it repudi-
ated all traditions, Zenitism acknowledged indigenous roots, which, it be-
lieved, could introduce fresh blood and awaken healthy, young, original, and
forceful tissue in a fatigued and war-exhausted European civilization. With
proclamations of the "Balkanization of Europe," Zenit appeared on the inter-
national scene at the beginning of 1921 and quickly was included in the family
of the most reputable avant-garde reviews of the time, such as Der Sturm,
Het Overzicht, L'Esprit Nouveau, Ma, Blok, Devetsil, Vesc-Objet-Gegenstand,
Contimporanul, and 7Arts. 1 With its polemic and provocative tone, the re-
view's distinctive avant-garde spirit frequently contradicted absurdity in its
demands, assumptions, and exclusivity in defense of nonacademic and anti-
academic forms of behavior.
In its yearning for the "highest forms," Zenit entered the sphere of expression-
ist cosmopolitanism that ruled European cultural circles at the time. Even
though it appears otherwise, this phenomenon of European avant-garde was,
in fact, revolutionary because it was based on aspirations and dreams of chang-
ing the world by introducing new esthetic and cultural criteria. Zenit offered
as its authentic contribution the metaphoric figure of barbarogenius, similar
to the oriental phantom of VV Mayakovsky and A.A.Blok, who arouses the mys-
tical East against the rational West. The illusion of contradiction in this atti-
tude lies in the stated need to mystify the role of the Balkan factor. In fact, it
DAPA Fall 1990 15
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Fig. 1. Cover, Antieurope

(Antievropa) (Zagreb-Belgrade:

Zenit Publications, 1926).

Collection Narodni muzej,

Belgrade.

AITIED ROPE
kAl -

&

embodies a wish for the Europeanization of national and domestic Balkan cul-
ture. Zenit, radically agonistic, antibourgeois under the influence of the ideas
Fig. 2. C
of the October Revolution, with visionary attempts to exceed the limits of the
(March 1922). national and the narrowly local, emphasized the necessity of overcoming the
classical and traditional creative models that it considered the unfortunate
residues of a decadent past.

The original orientation towards Expressionism soon received a new impulse.

By the second year of its appearance, in 1922, Zenit had already formed a clear
editorial concept, chosen the best circle of collaborators, decided on a clear
typographic setting, and arrived at impressive artistic solutions and reproduc-
tions (figs. 2-5). At the time, the daring and inventiveness of these ideas and

16 DAPA Fall 1990

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ORIENT * OCCIDENT HCTOK ** 3AIIA1I
HllJill JillHi II J I J J J J J J J l JJ IIIIIIIIIIIIIIIIIIIIIIIIInllll I Ji ll JJJnJJJJllJlJll jjjjj JJ J

GOD. I.
MEBYHAPOnHH qACOnHC 3A HOBY YMETHOCT *. 122.
REVUE INTERNATIONALE POUR L'ART NOUVEAU
SADR2AJ

D. ALEKSIC / Lud je iovek

V. POLJANSKI / Laso materi boijo
oko vrata / Lepota konja i lice
kraljice Zite
P. DERMEE / Passe - Sports
Jb. MHLUMJi / IUMs usa rpo6by Xa-
TNHCKe qeTBpTN
F. R. BEHRENS / Valettiode
S. FELSHIN / The Famine

Makroskop

Ipak se krete / Die Neue Welt /

Bem--Objet-Gegenstand / Goru6
Grm / Knjiga ve.nosti / Is redakcije
__
Na omotu: Opet plagijat

LJUBOMIR MICI( Reprodukcljo

MIH. S. PETROV / Linoleum
LOUIS LOZOWICK / KomDpoicija

IVAN GOLL Is Al ,dB~ ,dl

19 MART Z

LASO MATERI t
BO J J O e
OKO VRATA

SHIMMY... I i i i i i i I IIIIII

! ZAGREB - YUOGOSLAVIE - STARtEVI(EV TRG 10

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 uite rmio wkna rcvQ

i.me ii i-stCPs
Fig. 3. Cover, Zenit 1 mesecaZa.grb : uomir
Februara 1921. MicicMIci6
Uedik: Ljubomir Udlivo
II Htova b uprlva
utica bol 91. kt
I I Kf. P
Sadrf , i Ljlbn.lr Miclt (-ovek i u,.llo,sl. Iv?n G Ill err M nsch khull. Igor St-veria Pri;a. Kaerinje. Ueolorat L
vor dem MC.r. SIalnl-V Vio...r E.ulhor,lmn MTcI, S&.v..e g Pol .h.li UJ znsak l,ra. Lj.boci, Mici* l)rma
(February 1921). Pali. dl isrice. Bo.ko Tokl.n !r.lo.s pcsnk h,,1n Gull Mt.1o1 Itudoies.vrtli (eater - Na rlhu I)raRan Itub ii:c - N
L r 6v11. - .- 36e1i3.
tJpV6allCkM 1 ii3l r lc P KID..l . p (.ldr. Drr. .Brbli6 I)D,n- C,l}i Vilko G?c.a L.udtak.
dy.am. Llubo..It M1t,1 Ulic.a ,s,.logio gr;all. d . Lut..arlk I; 'r.-letI -

Covek i Umetnost vo;:nici ata i ubistva za ,slobodu narkrda", -a osd danas

lho1cemo da budemo vojnici sve:ovecje Kulture, Ljubavi
Ljubomir Micit - Zagreb i Brastva. Mi ulazimo ispaceni i preobraleni. Ulazimo
siakti i l,povreleni kao ijudi, ali u namoi je snaga onih
:CO:VIK -- 'o ' ic nasa pirvv, r'c. lkoii s ti l pot i eni, b il oni ni, bi kamenovani na prangeru
I.vrope. Nas ulaz u treci deccnij XX. stoleeca ncka bude
1z sam /oce uko3/e3ih3 z 1idova i piokletihl ulica, Illl.mra niborba za cove,noss kroz umetneost.
dtubin podsvesti i sablasnisi no6i, mi izlazi6nio pred vas
kito apostoli, kao, p1roroci, ci prorpoved6am3: COVEKAN\AA,t p.atnieka tncr/LcijiA izui/iire, Onat ie sva pregaiena
IJMiET.NOST. i unistuna. Sabllst crvene furije rata iskopata e svoijim
Covek je centat m;aklrokosnlwsa aZ uLIlletlno s i filozolij.z.loinaeikin patndilma groblia za sve nais - za mitijune
kruinica nieiov, ri ajvi/e spozn0,tj - n4ajvise svesti.
lildi. J eldan itrlvac na dva vojnilkat, 'Ne zaboravimN . ni-
kad, da i it ubijeno 13 milijtna ljudi u proslom deceniju,
Niaojvi4a man3ifeslatcija j 3(lh i d1u./. )DUll ili polhbog3
od betde umrlo 10 Inilijona a oslabljeno 150 miiliiuna. A
Anlrhl, ho1e it hai,os33 da.l ude vli&,l .. .,vsc1lov,d", dt
Fig. 4. Cover, Zenit 14 bude hbog. ()11 i.tli - iz h1,os;i otvoriti d elo A jedinimi s,o ostadorsmn kao tposlednj: stiaza, nositno zajed-
stwvralac ji umettil,. lkIji tvek 3u stvort-nom detlu ova-nicki bho pod srcem, zajedniciku dusu otait, z.ajedniki
protest:
plo,3 ie C ove tka. Utnctil ik 11 l ovat lo3. e1i, i it313asna ei/ n.a1 Ni k d a v i e 1 at a! N ik a d a! N i k a d a!
(May 1922). z 3t obiavlieniem: C o v e k t. Umctnik j,: Obji vlie je .
Bokoijavljenic ? Strat.nsi ..qucl: _' C v c k O. . ,)n it- beskrajni'1'i.inu i v1 c r;,z1ele su r1nal1te i str;htl pretl sinrti. Ve-
lirtlgozzor kloii nide n., po0nit i nidIe nc svr.av na04(t1rinu (duse zamraCila ic strahola iznakazenih /ove/jih
simrtnio divlici.l ze/lfijok313r t hl kroz p1roltore. Ceotar ic ZF.-
lc.Sva. Spokoj srca, koje sc gusi datnas u krvavim st-
icj.,ino otmkplieije' . 11/a1ai riazorein i'. smrCeu nepreZalnih majkOa sto pomreic
Lst Ilti g sa~orevanitt ,1d il1ada tLie i alosti iza sw jo. n nlevinrl m decem,. O vi,
ORIENT - OCCIDENT HCTOK - 3AfIAA ,I v. Orl j3 kik 3.0ni-
.1to ste vidcli ,tIi ubioi:nih lijdi gt)o u agoniji moliS3 od
------- --- ----- ---- --
t lak zmi ki krik cti- vas iv'ot, vi .lo stc videli crninu m6aika sto s0 sviska-
l

METYItAPOtiHll '1ACJIIHC 3A 1HOBY YMETIHOCT I ,. 14 ao I. oe., vale o(d cmer;i --- vi nikada neete i ne smete poci da
REVLE INTERNATIONA1LE POUR L'AK' NUOUVEA l
t0,e i ,bhilatci
m1 ,ovckai.
ho:cmoVi jedini znatc sto
da je hio i..t-
ttovek u lud-
O1t1, s n6viim 0vetl0
n ici prokletloia stoleca, on 11
_ . 11 Jognlad os.i popljutvan
Covek -- bio je razapet . " i k6 t, 0a on
tlrist, ll3
n i j c
' ; .t / ui bio.l sltS vi1; .
1Hrist.
n t s,e tun tra it n j
Covek - bio ie zaboravljen i poniien k6 prosjak pred
a1tvort nimi vra'ima.

7 J ':,)v,l; bio ic stc rcn dcl bdle 1Bo .... a hi3itan jc

?IN
ij i mllorallmo preko firt-
1k;, stoka n khlaonici.
ijt bili snio van granicv

Fig. 5. Cover, Zenit 25

(February 1924). Catalogue of

the First Zenit International

Exhibition of New Art. Portrait

ZAGREB - YOUGOSLAVIE - STARCEVIC TRG 10 of Ljubomir Micic by Mihailo

S. Petrov.

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 I

, lJh[ U MI''! Il '.i i

JYBBMNP Mllli

a ,1,I-,VA! l'.-'. l ?
3 'LP(1 1\ A 1A '\4

t1I k1ilIA\ 121 ?

. N N i: i; I V. E

I i e -ft ' l C l I tJid; ll tli

,k
Li0t1. MIIZIICl

-, - - , I . I P 3I t'I l)P 'II-.I . -,. . I I I - I I --l- -

nPBA ME1YHAPOgHit ! (PtF:il-'NAt It',it MAI'I"'
3EHZTOBA H3JIO)KBA
HOBE YMETHOCTH
C4
-.I if11 l1AM 3 I * l:I.l' 111:OHI11.IM
4t cOG _U
__(1
I,,tc I . I JII813s U , ? iM ,

' i' \,"PHIF- (.)' MARS ! PREMIERE ZENIT-EXPO-

SITION INTE NATIONA-
LE DE L'ART NOUVEAU
*. 1 I
I/I 1-\ * i 1 a I 'SA! ,
,I {)N'
I EI1 !?l
lt L'
1'\lf II l' IW
Fxl\'\ li IA-\ ,, U?
I't l'IS.Mt.

RA - SBIE S SKEZM ILV

B . I. R A ]E - SERBIE, S. H. S. KNEZ 'MICHAILOVA 42

. . . . I . . ....... .. ..... . .

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 MEBYHAPOJHH IACOIIHC
3A 3EHHTH3AM H HOBY YMETHOCT

REVUE INTERNATIONALE
POUR LE ZENITISME ET L'ART NOUVEAU

BEOGRAD S. H. S. 3AFPEB

111. - II~~~~~

Fig. 6. El Lissitzky (Russian,

1890-1941), cover of Zenit

17-18 (October-November

1922). The letters RS stand

for ruska sveska, Russian

volume. Collection Narodni

muzej, Belgrade.

L uLISICKI

ru ska nova umetnost

the force of the struggle for their re

choice of Constructivism was probabl
guest editors Ilya Ehrenburg and El L
issue.2 The front page was done by Lis
of the texts were written specifically
rated with artists Laszlo Moholy-Nagy
Delaunay, Lajos Kassak, Alexander Arc
Alexandre Rodchenko, and Albert Gle
Epstein, Max Jacob, Jiri Voskovec, He

20 DAPA Fall 1990

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 International collaboration was Zenit's fate, not only because of its program
and poetic orientation, which saw the possibility of overcoming local limita-
tions in cosmopolitan views, but also because of the specific local situation
in which the review existed in Yugoslavia. As soon as Ljubomir Micic,4 Bosko
Tokin, and Ivan Goll signed Zenit's Manifesto in June 1921,5 the initial collabo-
ration with mainstream artists and writers from Zagreb and Belgrade suddenly
ceased. The militant line of Zenitism rejected all existing trends with the aim
of creating its own. This conflicted with the ambitions of the rest of Zenit's
collaborators, who, in spite of their innovations, continued to develop a more
moderate, compromising line. The exclusiveness of the editor and director,
Ljubomir Micic, whose great ideas diverged from the current trends and who
was unwilling to make any concessions, certainly contributed to Zenit's grow-
ing isolation. For this reason, his review and his manifestoes were welcomed
with sarcasm and insults, which were soon followed by court bans and police
persecutions because of accusations of blasphemy and offending public moral-
ity and the king's name. Finally, an administrative decision in Zenitism through
the Prism of Marxism6 prohibited the further issue of Zenit because of its in-
vitation to Bolshevik revolution.

How the review was received should be seen in the wider context of the cul-
tural climate in Yugoslavia at that time. Along with many other avant-garde
reviews in their own milieu, Zenit could not count on its radicalism being
well received. The character of Yugoslav art was less experimental at that time,
less adventurous, built on the experience of great and successful schools of
European art centers, especially Paris. This may explain why Zenitism was sup-
ported by only a small number of artists, mainly the youngest, just setting out
on their creative ways and yet ready to sacrifice their careers as official artists
for uncertain, almost doubtful avant-garde paths.

A typical example of the first phase of Zenitism was Mihailo S. Petrov, who did
linocuts of an expressionistic-abstract structure, wrote poems, and published
translations of Kandinsky's texts on abstract art for Zenit and other avant-
garde reviews (fig. 7).7 However, he soon gave up this engagement for a
quieter, clearer path, participating at official Yugoslav exhibitions with paint-
ings that were only a vague reminiscence of his heroic avant-garde adventure.

Micic saw a model of Zenitist painting in the youthful work ofJosif/Jo Klek,8 a
student of architecture at the time, and a paradigmatic artist in the second,
mature, and most successful phase of Zenit (figs. 8 and 9). The term pafama
(Papier-Farben-Malerei), translated into Serbo-Croatian as arbos (hartija-boja-
slika/paper-color-image), was invented for Klek to define and dynamically ar-
range clear, abstract forms of intense color in collage-a modern technique
at that time. The theoretically conceived ideas in the text New Art, by Micic,9
were basically related to Zenitist art seen through the work of Klek and his
Constructivist collages and photomontages, which relied on the experiences
of Lissitzky, Mayakovsky, and the Bauhaus and had a humorous dimension,
the origins of which can be traced to Dadaism.10 However, these basic assump-
tions could not have been applied to any other authors in Yugoslavia, so Micic
looked for adequate models in the international field. For sculpture, he dis-
covered Alexander Archipenko, to whom he dedicated a separate monograph/
album, Archipenko-Plastique nouvelle, with a foreword entitled "Towards
Opticoplastic."1' For Micic, the term opticoplastic meant abandoning mimesis,
distancing from visible nature, and approaching the technical-technicist sensi-
bility of modern man:

DAPA Fall 1990 21

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 Fig. 7. Mihailo S. Petrov

(1902-1983), Composition,

1922, India ink and water-

color, 22.3 x 29 cm. Collection

Narodni muzej, Belgrade.

Fig. 8. Josip Seissel (Jo Klek)

(1904-1987), Advertising,

1923, India ink and watercolor,

25.1 x 33.6 cm. Collection

Narodni muzej, Belgrade.

22 DAPA Fall 1990

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Fig. 9. Josip Seissel (Jo Klek)
(1904-1987), Men Are Killers,
1924, collage, 10.6 x 12.7 cm.
Collection Narodni muzej,
Belgrade.
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No more somatology of women and horses (completely naked!), but formol-
ogy of cubistic space. No more metaphysics and abstractions (it is erroneous
to mark Cubism and Archipenko's sculptures as abstract), only physics and
the reality of new forms, which were discovered and which are formed on
the path towards a collective style. On the path towards pure opticoplastic!
Thus, Micic becomes one of the first to theorize about this significant
Ukrainian artist, who was establishing a great career in the United States. This
modern vision of fine art problems, unfortunately, did not urge new genera-
tions of Yugoslav artists to follow the new path and reach a new plasticity, so
Zenit slowly expired with its ideas and manifestations.
One of these manifestations, which exhausted the creative, as well as the mate-
rial forces of the editor, was a big international exhibition organized in April
1924 in Belgrade. Zenit 25 served as its catalogue.12 This was another battle-
field in which Micic strove to put his theoretic assumptions in practice. With
over a hundred works by artists from ten countries, this exhibition embraced
all the movements of the time, from Cubism and Constructivism to Futurism
and Zenitism, which participated equally, each with a small number of repre-
sentatives. Similar to the lectures and soirees, this exhibition also had an
educational character, which Micic considered one of his primary tasks.
DAPA Fall 1990 23
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 Among the most valuable contributions of Zenit are its typographic and, in
general, graphic and art solutions, which showed a high esthetic conscious-
ness and a new attitude towards the technological era, but which simulta-
neously were significant from a social and ideological aspect. With its new ap-
pearance, the review also had a new pictorial and scriptural aspect that left a
striking impression and directly, almost aggressively, pointed to the basic line
of its ideologists' thoughts. It is through these graphic solutions that one is
able to follow the ideological line of Zenit's development, its ups and downs,
its theoretical but also purely practical material. Thus, the first numbers,
which showed residue from theJugendstil and an emerging expressionist
tone, were soon followed by numbers of Constructivist orientation based on
collaboration with the Russian avant-garde and sources such as Bauhaus or
Neoplasticism, even Dadaist-Constructivist publications (G, Mecano, ABC,
and Merz). This use of visual solutions to uncover the contents also exists in
other Zenitist publications, for example, Micic's The Rescue Car (fig. 10).13 The
Futurist-Dadaist releasing of words confronted a Constructivist graphic method
and radical acceptance of the solutions offered by Malevich in Suprematism
and elaborated by Lissitzky in his Prouns.

After five years of publication, the review was banned in 1926 with Zenit 43.
Micic left the country, to return only after several years. The exhaustion of
ideas was obvious, but the radiation from the Zenitist movement left a notice-
able historical trace. Yugoslav culture was enriched by these avant-garde at-
tempts, which also served as a signpost for the Slovenian Constructivist circle
around Avgust Cernigoj and the review Tank, which, in a way, took over where
Zenit left off. 14

Notes

1. Karel Teige underlines, in the review Cerven (no. 12, 1921), Zenit's consequent interna
entation, and Hannes Meyer includes it among the most modern reviews of that time,
with Blok, L'Esprit Nouveau, Mavo, Merz, Bowkunde, 7Arts, Der Sturm, Ma, and othe

2. Zenit 17-18 (October-November 1922).

3. El Lissitzky gave the name Proun to a series of two-dimensional experiments that he cr

tween 1919 and 1924. Compositional arrangements in mass, force, and tension, Prouns
"creation of form (control of space) by means of the economic construction of materia
a new value is assigned." Harold Osborne, ed., The Oxford Companion to Twentieth-Ce
(New York: Oxford University Press, 1988), p. 449.

4. Ljubomir Micic (b. 1895, Sosice; d. 1971, Kacarevo, near Belgrade). Together with his br
Branko Ve Poljanski, he was the main initiator and ideologist of Zenitism, a critic, and a po
the banning of Zenit in 1926, he escaped to Paris, where he lived for ten years. For a ti
a gallery in Meudon, and then published his post-Zenitist books in French. After his ret
tired from public activity and lived mainly on charity.

5. Zenit publication, edition no. 1.

6. The author was an unidentified writer, Dr. Rasinov, who could have been Ljubomir Mic
Zenit 43 (1926).

7. Mihailo S. Petrov (1902-1983, Belgrade). He studied in Krakow and Paris. Later he was p
of graphics at the Academy of Fine Art in Belgrade and worked for the reviews Dada-T

8. Josip Seissel (b. 1904, Krapina; d. 1987, Zagreb). As a Zenitist artist, he worked under
pseudonym Josif/Jo Klek. He studied in Belgrade and Zagreb, where he was occupied w
planning and architecture (Yugoslav Pavilion at the World Exhibition in 1937, Paris). He
tures, collages, photomontages, sketches for scenography and costumes, utopian archi
projects, and similar works for Zenit.

9. Zenit 34 (1924).

10. See Vera Horvat Pintaric,Jo Klek-Seissel, (Zagreb: Galerija Nova, May 1978).

24 DAPA Fall 1990

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Fig. 10. Ljubomir Micid

(1895- 1971), cover for the

book The Rescue Car (Kola

za spasavanje) (Zagreb-

Belgrade: Zenit Publications,

1922). Collection Narodni

muzej, Belgrade.

11. The book appeared with fifteen reproductions and the Zenitist symbol as the fifth volume of the
Zenit publications, Belgrade, 1923.

12. Because Zenit 25 appeared in February 1924, and the exhibition took place in April, information
about the exhibitors and works in the exhibition is not completely precise. However, it is a valu-
able document, showing that Moholy-Nagy, Kandinsky, Delaunay, Lissitzky, Gleizes, Archipenko,
Lozowick, and many others took part. Most of these works are preserved in the collection of the
National Museum in Belgrade. See the catalogue of the exhibition, Zenit and the Avant-Garde of
the Twenties (Belgrade: Narodni muzej and Zavod za knjiievnost i umjetnost, 1983).

13. The first edition of this book also appeared in 1922 under the title Stotine vam Bogova, but it
was banned and confiscated because of "severe violation of public morals and insult to the ruler."
Both editions were Zenit publications, Zagreb-Belgrade.

14.Avgust Cernigoj (b. 1898, Trieste; d. 1985, Lipica). Tank, Ljubljana, editors Ferdo Delak and Avgust
Cernigoj. See the text of Vida Golubovii on p. 61.

DAPA Fall 1990 25

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