Zograf. Kosmoplovci . Mirko Stoilkov Mirčez. Damir Smith. Wostok. the cultural-political one) Radovan Popović (voice two.AlternAtive comics in serbiA 1980-2010 Aleksandra Sekulić (voice one. Damir Rijovich. the comics-drawing one) Instrumental accompaniment: Metaklinika.


Welles. Queer thing to see an empty sleeve come at you like that! And then—” “Invisible man”. likewise. slowly. SekulIć.filmskemutacije. The invisible comics will now for the first time publicly „memorize“. PoPovIć – Alternative comics in Serbia 1980-2010 What is the specificity of this exhibition and this publication which allows us to describe them as a sort of screen broadcasting live from the world of invisibility? It is an experiment: an attempt to present a dynamic. slowly—just like that—until the cuff was six inches from my face. is a theatre taking place in unexpected places (it has its origins in the theatre of the suppressed). R. according to a definition. I was beginning to feel frightened. H. He extended it straight towards me.introduction into invisibility “Had to say something. “Mr. embrangle and problematize its invisibility game.com). roles and potentials of alternative/authorial/independent comics that have assured its invisibility1. I could see right down it. In accordance with its basic tenets and motivations.G. Such an overview will expose representation levels. The invisible movie. We will try to delineate a principle according to which its history has been structured as a part of one or several cultural systems and which has provided a continuity of the production that can be labeled a culture of enthusiasm. Chapter IV. intensive and peculiar production of comics outside the scope of its usual presentation model and distribution network. questions the ways of movie presentations and politics of curatorship and screening (www. Cuss interviews the stranger” A. this cultural scene will 1 The invisible theatre. 3 .

This cooperation was taking place outside the bounds of institutional culture. blind followers of mainstream excess sizes lost in mathematics of literal understanding of activity of adding up the text to the image. authorial. It will not pretend to fully encompass the rich.“ The text that follows is therefore logographic and represents an attempt to extract stories from individual experience that may help the reader gain an insight into the context that has shaped the selected works that make this exhibition. Due to its innovativeness. Zograf. which will make a part of the entitled „’The Invisible Comics’ virtual exhibition. You will understand me. which will be supported by the National library of Serbia. Radovan Popović. However. Nikola korać. PoPovIć – Alternative comics in Serbia 1980-2010 be presented through a series of selected time and space dots that constitute a personal map of alternative comics as experienced by the authors of this text. Its long-standing „invisibility“ for official representation of culture justifies the concept of digitalization in the form of a participatory platform containing an option of constant.. so charmingly located in small round clouds. older than the others. not that it’s not and because and why not. my friends from the entire world of comics. intensity and intertwining with tendencies in various other fields of alternative culture. this experiment actually announces a more thoroughgoing historiographical and archival work. is not just a simple summing up of these two forms of expression. because alternative comics is the production that is rooted in alternative and samizdat modes of creation and distribution. vuk Palibrk and a series of other authors who have been included in this dynamic development with their creative. alternative comics production in Serbia in the last 30 years and new possibilities of archiving and interface. is old. the alternative comics turned out to be the cultural production from Serbia which was the most present on the international scene. SekulIć. producing a new generation of authors and generating growing interest by both institutions and audience. lazar Bodroža. love and love comic fanzines!!! The old comics from the Universe of the Future where the stars that still shine even though they have been dead for eons are throwing light on the path leading to but unable to take you back. complex and interesting history with its few dots. because it was so and is so. alternative comics in Serbia experienced were in full swing in the 1990s. contrary and in opposition to fun mathematics. Continuing the tradition of samizdat activity that has characterized youth and alternative culture in Yugoslavia. but it has nevertheless proved to be effective in opening new platforms for production and exchange.. Aleksandar opačić. Damir Rijowitch and Damir Šmit. „The Invisible Comics“ virtual collection has been conceived as the connecting line between peculiar independent. fans of nice images. R. whoever can and whoever knows and wants and loves and dares and is able and has to and should feel. blind to their own comics medium which.. The story about comics as a hybrid of two media. to reiterate for hundredth time. my dear readers. is something in-between. having even when he doesn’t have. something unsaid above the three dots. Milan Pavlović Stocca. adherents of the commissioned written word. but. Nikola vitković. „The Invisible Comics“ collection will also display and preserve digitalized independent/ samizdat comics print and fanzine comics production that has not previously been systematically 4 . despite the social circumstances that were greatly aggravating the lines of international communication. enabled us to perceive their work in continuity of an alternative scene tradition and find ways in the new context to develop the discussion about what is an alternative – in both comics and culture. Saša Mihajlović.A. Danijel Savović. Maja veselinović. educational or organizational activities. namely the drawn image and the written text. the seemingly empty space between the two comic strips. Wostok. not known although it is felt. as well as institutional culture. capillary feed-in and developing an archival strategy that parallels the way of functioning of this scene – through joint and open exploration. The sad mainstream adherents.


that can be followed at leisure or that will happen so far away into 2 vernacular production is the one that has not been created within the bounds institutional culture. sequential narrative. children of your children and children of their children. See more in Sherman.org ). which can be found at the Studiostrip platform. trends that you have just missed or that are about to happen. far away past. that will take hold so far away into the future that it is not certain at all that you will come to see them. Morcina. The small print run of this or that fanzine gives us the right to repeat the same empty words till eternity. Bolji život. Phantom works.chtodelat. Tit bit and others. SekulIć. three different comics. hardly tangible. pre-history of comics. Titov zabavnik or Zadrugar. from art schools. Belgrade: DkSG. PoPovIć – Alternative comics in Serbia 1980-2010 the future that you will need to be reminded about them at least once or twice. that which you can catch up with if you hurry. concrete and concretely hard and firm. playwrights. The levels of visibility of this peculiar production enable us to approximately define it as invisible comics. that you can still catch up.org/videografijaregiona (alternatively. collectors whose collections are incomplete without this hard. script writers. Chto delat. adult picture books. implying the concept of fanzine as a vernacular2 print cultural production. the appearance of video portals and merging of various media have exerted a strong pressure from the new media to view vernacular creativity as a part of the cultural system rather than as an antropological-research resource. for our audience. in order to affirm more intensive institutional concern for this continual and vital production. honest. such as Striper. authorial. Bizar. Tom Sherman: “vernacular video”. self-issued graphic magazines in fanzine form published under labels such as Momci. underground. writers. Hororretard. 6 The context within which we hereby perceive independent comics production underlines the question of representative quality of authorial comics for the culture from which it stems. that you will be telling about to your children and grandchildren. The times have passed when strip fanzines were bringing regular information about local. women and children.collected and preserved in institutions (including magazines the manner of production and distribution of which makes them equivalent to fanzines. and about current trends. wives and husbands. pupils pedestrians. R. that are drawing so close that you are already late in casting your glance on them. girls and boys. the same images in two. present and future pupils and students of fine arts. www. and its graphic and drawing standards. between invisible. 2009. in five or six fanzines. Čovek iz bunara and so on. but noble and gentle like spring bud. „vernacular video“ in: Videography of the Region. Gorski vijenac. painters. about the past. and experimental forms which are the result of the process of osmosis in the new media. The collection will provide an insight into various materials both from the point of view of media archeology. interdisciplinary attendants of multidisciplinary arts. With its impressive development and emancipation from the existing codes of classical. classical and more comics. applied visual arts. www. for ten or dozen people. children and elderly. it has ensured increasingly intense involvement in current . e. Mutanat. Debilana. comic fanzines by authors and collectives directly stemming from punk fanzine culture. Tvrdi strip. and from the point of view of the history of comics in Serbia and the region. comic strips.medarh. Feathered Friends.g. A. European. global or wider scene belonging to alternative. natural and social scientists and their followers. Tom. former. cartoons. infinite space of the universe which exists between comic strips. fanzine stripped of information. special issue Make Films Politically. products of workshops and collective work such as Kuhinja. fanzines for the young and the old. graphic novels. female and male pupils. regional. Intimna Mašina etc). oh. such as Krpelj. only the fruit of love between image and word.

stripvesti. bastards of genetic engineering and stepmother nature. too young for the war behind them. the megalomania of emancipated hooligans. the same magazines. the new swing was produced by more intensive communication and increased mobility. as well as through acquired reputation and popularity of certain authors4. culture produced from enthusiasm and has provided the institutional framework for A. at the same time. unrealized patriots. Naša borba daily 4 Primarily. low kicks. like something done for the sake of revenge. the same people involved. has found channels of international communication and has been recognized and found. local adventure comics that look as if they were done by Chinese hired drawers cheaply and mass-produced commensurate to their quality. the sorrow and bitterness. The phenomenon of alternative authorial comics scene has been perceived in Serbia as a part of 1990s alternative culture. superheroes comics. in public events and media public space in Serbia in the 1990s it almost does not exist. articulation of Internet initiatives and portals5. for adults. R. the gallery of thugs not eligible even for jail. 7 . This production. everything looked exactly the same. the southern comfort. PoPovIć – Alternative comics in Serbia 1980-2010 trends on the international scene. eternal freaks. The field of contemporary art was the first to show itself to be open and accessible for involvement with the alternative comics scene. here to remind us that even in deserted. again. cheap photoshop tricks. which has inherited its production and event forms from the previous decade.net/studiostrip.At the first glance. products by authors whose works looked like forced deeds.6 plagiarizers.. failed writers. The Socialist Yugoslavia has been making efforts to democratize its culture by supporting amateurism. but it was the originality of Yugoslav cultural history that has enabled continuities that stem from the concept of the culture of the enthusiasm. untalented 3 For example: journal Reč. eternal autobiographers obsessed with a false picture they made about themselves with the help.. 5 Studiostrip www. overly aggressive. presented and glorified across the border. the authorial alternative independent comics remain invisible for those outside its insider audiencecommunity. bodybuilders in tights with occult symbols on their chests. thus too weak for the new. although in official culture. comics news www. unsuccessful attempts of existence as such. conceited. white monkeys and stupid white men. like the comics form nasty dwarfs exist. destroyed charm of two-pence comics. SekulIć. everything in its place. barons and warlords. Aleksandar Zograf and Danilo Milošev Wostok. vulgarities. 251 “ GRRR! A Travelogue of Sorts – A Tour on Serbian Cartooning scene” about his view of the comics scene in Serbia after the GRRR! Festival in Pančevo in 2003. boring. repulsive faces. in the 1990s this representative role is partly enabled by the network of interchange and cooperation between comics scenes in the ex Yugoslav region through fanzine distributional and net strategies.com 6 one of the most conspicuous examples of such exchange has been documented in the text by the comics author Chris lanier in the Comics Journal no. hidden areas. in which he states that this scene is the central point of alternative comics in eastern europe. I approached the stand with comics. and equally badly written by the same man. sad humorous comics. hesitant fanatics. poor attempts at glamourisation. who managed to attract inquisitive glances to the entire scene. With few exceptions in dailies and literary magazines3. Paradoxically. rejects of civilization. patriarchate. The village comics shows. failed experiments of mother nature. half – humanoids. and easier organization of international events. kid-like chauvinism. Piles of freakish. within Serbian borders. bodybuilders dressed in boys tights. of the photoshop. After 2000. the same books. What are they doing in comics? We hoped at least there they won’t be looking for us. is one of the most visible and present art practices from Serbia outside its borders. best friends.kosmoplovci.



informing and unity in getting together at events of this form of culture. unbelievably awful colors even without photoshop interventions. unsuitable even for my deformed and perverted sight and sense of hearing. unbelievable. lords of the ring. a form that enabled furious development of an entire generation of comics authors in Serbia in the 1980s and intensive interaction of the local with the international scene. I thought. Suitable combination.chanceprojects. alternative. in the alternative culture of the 1980s. even this last space of autonomous territory. silent monologues. communicative comics understood only by themselves. one of the results is the comic strip fanzine. The recent. epic phantasmagorics. 10 7 Describing the work on the project “enthusiasm”. in parallel with the process of lack of or control over free time http:// www. lifetime religious rulers. among all that pile of thrash. nerds. PoPovIć – Alternative comics in Serbia 1980-2010 artistic creativity in leisure time7. mass-produced plagiarizations. primitive drawings. contagious. Finally. was multiplied and distributed within the frames of unofficial cultural production. his inquirers. but in the meaning of practice free from academic or official regulations. There’s nowhere left to go. The mainstream that nobody reads. though invisible. R. ideas and roles. The actualization of the term of vernacular production in contemporary conditions of digital capillarization of cultural production has namely enabled the consideration of the specific tradition of independent. The amateurism. all that reminded me of cave drawings. The old air-brush school. the development of which. illustrates continuation of the culture of enthusiasm – from proclaimed state cultural policy to support amateurism to alternative culture practice in which enthusiasm represents a powerful engine of development of the independent scene. a human. popes of comics. . cheap mystics. naked women with huge and various-sized boobs out of all proportion. Just like rebellious youth and students press from the 1960s. given that alternative culture at the time had implied social networking. The strengthening of this mode of vertical democratization of culture in the mid 20th century generated extremely important frameworks for the development of experimental film practices in the amateur film movement. The Christ disciples. was realized as an idea precisely in the sort of culture that stood up against the given cultural system of a country that was taking itself less and less seriously: namely. the culture of fanzines that followed and developed along music trends (punk and other movements). encompassed wide range of activities. So let`s salute them! Politicians rockers. Rabbit on the cover. still uninvented weapons.com/node/115 . individual expression and group work. a good fanzine8. cardinals of theory. cowboys against Indians. inspired precisely by the practice of selfgenerated editorial activity. which partly makes impossible the emulation of influence and importance of the print comics medium at the time of print as the dominant medium. in the sense of practice performed not by professionals. white men civilizes savages once again. The space is contaminated. and contrasted current absorption of this necessity in the process of work and production. Dark. without the red. the corridor. and authorial comics production. just like this. but with huge influence on creating a youth culture model. cowboys and so on. a black-and-white cover. The point in time of media archaeology from which we observe the history of comics production as a medium is the time of the Internet era. The same strategies of production 8 Refers to komikaze fanzine. Neil Cummings noticed on the example of film clubs in Poland the significance of these fields for art production precisely as places of enthusiasm. heavy and tense. SekulIć. editors of morality. comics. in short actors of the most grotesque story about the comics moved from the comics themselves to everything that surrounded it. too easy and clichéd combination. but by adorers and fans of art. the field which is open for pushing the borders and for experiments. and the most recent.A. torn pages of recent releases. two left hands leaping from the head.


(DoItYourself) activity that has had the strongest uprising in Yugoslavia in the 1980s as an attribute of punk – the music and social movement. that has developed out of the tradition of record stock exchanges. and was blowing them towards the sky. In that moment the wind blew a bit harder.Y. There was no place anymore for self-doubt or doubt in one’s followers. can in most cases be considered as fanzines. There are only skyscrapers there now. Her eyes were green. just a bit harder. I hurried back home. has made 9 The example is Zadruga – created through cooperation of the Striper initiative with the low-Fi video movement.mad. and in tandem with festival and rarities (magazines) production. in autistic and closed media system. promotions of magazines. through public workshops. supported. open. and has therefore developed parallel structures of production and dissemination.. the typhoon was gathering people from the face of the earth. and all previous ones. Or women like you.. literature. in osmosis. film. a group of authors our Pictures – an association which during 1999 and 2000 toured the towns of Serbia to help sustain the continuity of the scene even after institutional venues and previous infrastructure for events of such fields of alternative culture have been destroyed. and it was logical that the comics scene should develop in flux. Now everybody could read what the story was about. nourishing an audience and a practice of collection of the 1980s alternative culture. the economic and cultural sanctions and isolation. The ink was dropping like blood from the tip of the knife that was just used as a weapon for a murder. 12 . underground. the key place for the exchange of information. D. cramped from crime callousness. green like her blond hair. but with a limited range. like the previous one. That`s Asia. Those rare comics magazines that featured alternative comics or which implied higher production and editorial policy standards have also been achieving their visibility in the context and framework of an alternative culture. the wars. The reader was reading the images that the viewer watched. 60 years old. I took off all of my clothes. They never came back. comics one of the most widespread media of alternative culture in Serbia in the 1990s.I. Now it’s full of concrete blocks. and consequently in view of their range and role in the development of the entire scene. I took it from the grave of my ancestors. pulled the record from the sleeve. I ran through the corn fields that once upon the time used to dominate my home landscape. exhibitions with musical. PoPovIć – Alternative comics in Serbia 1980-2010 and distribution have emerged due to the influence of different fields of alternative culture. no more people such as us. She was just giggling.A. SekulIć. video. strengthened. like all previous robberies and lies that we have more and more easily and unashamedly been firing from our filthy mouth with lurched lips. in sin. covered with sweat. Another murder. The orthodox giggled mysteriously. Somewhere in southeast/ southnostalgic /Asia. music. The alternative comics scene managed to create its audience and new generation of authors through initiatives of individual enthusiasm. this medium has enabled authors from different cities to fully contribute to the development of the entire scene. Disguised in the veil of information. the computer demo scene represented by the group Corrosion. film and video content. poured the whole glass of scotch over crushed ice. An important cohesive event of the comics scene was certainly a comics festival (rarely merely a fair). feverish. The concept of unofficial economy of alternative culture is most clearly visible in the fanzine culture. The last. The communist in me was getting red. unscrupulous to the wider audience. Purple label. the alternative culture has increasingly defined itself in the framework of a culture dominated by the nationalistic model. I put the book in the plastic bag with my monogram on it. With the breakup of Yugoslavia. which has emancipated the comics production from the mayhem of official editing in the 1990s and enabled to the comics fanzine as a medium to open a new public space for new authors and audience. and finally. iron concrete chunks on the top of my building. they were speeding and going forward. symbiosis with the kindred scenes of the 1990s9. and developed through forms of joint event forms of alternative culture. The catholic in me was burning in hell. half. R. In the centralized culture. The man was silent. During the 1990s. this comics scene developed performance aspects of its activities.


The best performance. intensive communication and inclusion of his work in cutting-edge events. The Striper magazine. pictures from pagan Russia. The most luxury cream I owned. symbolizing the idea that people can publish something there. as well as a channel for its international promotion. I sat in my favorite armchair. the print runs from those times were large and copies could still be found for years afterwards. I lighted up Hindu incest ropes and lit up the cigarette with the same taste. Like Russian alternative literature of the 1920s and 1930s.Stravinski. To the importance of this communication testifies the fact that this attention and the possibility of becoming acquainted with the global production has motivated an entire generation to preserve Pančevo on the map of the european alternative comics. through a network of international magazines and festivals. reminiscent of similar processes in mediation of contemporary art production between the Balkans and europe. R. Their imagery. A. primarily through cooperation with the Stripburger magazine10. I moistened my hands with the special cream for leafing through fanzines. the production and distribution strategy of which testifies that it has exceeded the fanzine level. Macan) which somewhat exotizes it. print media. The magazines such as Patagonija from vršac or lavirint from Čačak. I usually do that when I read a borrowed book. and subsequently 10 The special issue of Stripburger: Stripburek. velocity and unboundedness of Internet distribution as the key factor for international visibility of this production has been amply served its purpose in the case of Aleksandar Zograf11. There was a lot of communication within the scene. On conspicuously offensive black and white cover – two figures. Crumb. it has swiftly reacted with the support. it was an utterly unfavorable. this growing production was presented to the european audience in 2002 with an interesting . PoPovIć – Alternative comics in Serbia 1980-2010 14 The magazine production which has enabled production and public context for alternative comics builds upon rich and interesting tradition of presence of comics in mass media. And will remain being mine. “Zograf was the only connection with the West. SekulIć. purpose. also including the GRRR! Festival and other events from the “famous town of Pančevo”. Isolation is also the quality of the Serbian scene. have enabled alternative comics to become included in the general overview of all current comics production outside the usual fanzine editions. It is a small wander that the international scene of alternative comics had no problems understanding and recognizing his work. It`s time. The theory of art has taught us how avant-garde selection and text (D.12 We have been reading two kinds of comics: the heritage of comic strips from the 1980s. has established the most direct magazine medium for new alternative comics in Serbia in the 1990s. closed society. the only piece of furniture I had. which I had previously scrubbed thoroughly with blueberry flavored soap. wars and crises. logics and context build up preciselz on the corpus of global alternative comics with which Zograf’s generation was growing up. Shelton and other piracy editions of our friend Rigonat as well as local alternative comics. and effect. as well as a handful of other print media. the fanzine was mine. The incense sticks started to spread their smell. dedicated to comics from the Balkans. my favorite part of this damned planet. This time. Fanzines. 11 Zograf’s fanzines Kreten and Iznad are probably the first or among the first comics fanzines in Yugoslavia and his activity was intensive and well-known internationally even before the 1990s. and simultaneously domestic endeavors to make publications with foreign alternative comics. whose work has been printed and distributed worldwide at the time when Yugoslavia was undergoing the worst period of international isolation. popular and youth culture in Yugoslavia. The problem is that there is no continual attempting to do it. 12 Aleksandar Zograf has conducted a peculiar diary which was published in series throughout the world and thus enabled absurd images from Serbia under sanctions (the one which was translated the most was „life under Sanctions“) or horrible images of war and media contamination of life to appear in graphic narration.

We have been more accustomed to supporting one another.. The Grafička zavera magazine. like Jews. However. sleeping over at one another. R. which has stemmed from the overall activity of the kosmoplovci collective and exponentially accelerated both production and distribution. continuing the activity of Striper magazine in the new circumstances. A good example of making use of the potential of media externalizing and simultaneously of one of the most basic tenets of alternative nature of new comics. under pressure from two sides. which has recognized this important element of alternative comics production and has been including it in this biweekly paper supplement last couple of years. 13 Radovan Popović quotes Wostok. carried by emotions. groups and sub-groups and 15 A. whereby the scene is presented in its full power as capable of mastering this demanding forms of comics. In the backwaters of fanzines there were more authors. which is continually concerned with diffusion of information and dissemination of editions. The possibility of limitless digital reproduction has somewhat problematized collectors’ rituals and live exchanges such as fairs and alternative culture stock markets. and narrow transmission of all that to the outside world. PoPovIć – Alternative comics in Serbia 1980-2010 . trying to survive. the very roots of original comics communities from the 1980s and 1990s. but also by the West. and in which authors are given a rare opportunity to publish comic books (Aleksandar opačić. SekulIć. indigenousness and strangeness. The journal for literature and culture Reč was among the first in the 1990s to open a space for affirmation of alternative authorial comics and has enabled permeation of new literary production in Serbia with experiments which alternative comics were conducting in narrative and visual modes. We were threatened both by the regime.. including domestic publications.13 The establishment of the Studiostrip Portal marks establishment of a new form of independent electronic publishing. the dominant alternative comics medium – the fanzine – has continued to blossom in previous years and to experiment with new interfaces – digital distribution has provided independent publishing with an opportunity to overcome limitations of print run and transport and comic fanzines are produced and distributed in both print forms and on comic fairs and in electronic forms on Internet portals and among digital communities. It continued to occasionally include comics in its editions during the 2000s. is certainly literary supplement Beton. un-thought-of. little is publicized. permanent exposition of alternative production and its live contact with the audience. somebody said. jealous because mainstream is not like that. Radovan Popović and others). somewhere in between. we have even been accused of being a sect. There was a lot of unconscious. lazar Bodroža. The cooperation of journal editor Dejan Ilić with alternative comics scene has reached its peak in an edition which represents joint production of publishing house Fabrika knjiga and Studiostrip. which has made numerous alternative comics focus on live meetings and live communication as a supplement to their electronic activities. people helping each other. A kind of permanent spot for fanzine and comics distribution is Belgrade bookstore Beopolis. little is known. Two things have emerged as an outcome of such a situation: a lot of originality. it has produced a very successful symbiosis and rich issues which restore the idea of comics as a field for narrative experimenting in a grand manner. one of the best and most successful examples of a publishing experiment on the crossroads between literature and comics is certainly Symposion magazine from Subotica: by connecting writers and comics authors into a process of creating a common graphic-literary work. editions of SkC (Student Cultural Centre) Belgrade and SkC (Student Cultural Center) Novi Sad provided in the 2000s occasional or regular insights into topical productions. namely its social engagement and criticism. in the way that has made the potential of new comics visible in high level print production.movements have been emerging amid crises and we were trying to make use of that isolation as much as possible and I think it is good that we have had few contacts with the outside – thus we have been fantasizing and hallucinating a lot on the inside.

Croatia. unfortunately. historians. Comics festivals have provided an opportunity for the scene to be created and for exchanges to take place. owing to the realization of the inspiration inherent in limitations themselves. the region and around the world. the method that has perhaps more than any other shaped and defined the work of fanzine and other comic studios as well as limitless exploration of the space between the strips themselves even in the case of not so rare Siamese strips.A. comics pioneers. on several occasions. have willingly or unwillingly.klopkazapionira. 15 http://www. audience from towns of Serbia. by organizing this festival in the 2000s.. city radio etc. „interventory“ festival of the comics and all kindred activities and (re)connected an initial network of cooperation in the region of former Yugoslavia16.. but also pastry shops. Spiral & lulu. However. collectives.. The workshop „kuhinja“ and other activities have affirmed and instigated the local scene to make joint appearances (Stevan Markuš.“ katarina Živanović and Radovan Popović. one of the best examples is the GRRR!14 Festival in Pančevo. children from the Pančevo surroundings. publishers and initiatives from Serbia. conception and distribution of which has its origins in fanzine tradition.. clearing the way for new authors ady in 1992 when the First Comics Salon was organized in Pančevo. numerous local and regional groups and Turbo Comix organization. R. The promotions of Striper magazine. contacts have not been completely cut off. the author who launched the local scene in the 1990s and who. interpretation of the past through comics. It has introduced the concept of a festival-city. writers – they have all been a part of an interesting experiment during this festival – thanks to the openness of Pančevo cultural institutions (Cultural Center Pančevo. often to the detriment of mental and physical health of members themselves who. brings articles reporting from Slovenia. „Despite the war propaganda. letač. one of the key events in Belgrade – the XeR Festival which was organized in 1998 by Striper magazine and Radovan Popović. mass hallucinations. during their work. future telling. The GRRR! has also distinguished itself from other such event with an additional trait – its continual work on development and promotion of historiography of comics in Serbia. magazines. spreading programs and exhibitions throughout cultural institutions’ venues. marginal city venues. the importance of the boost and the importance of the live meeting which the XeR has brought is hard to overestimate as well as all its imaginativeness with which it has overcome all objective hurdles in regional communication. established a model of flexible. The Tarot comics. brought together a large number of authors. Probably the most intensive contacts have been maintained by people engaged in alternative culture. blockade. the physically and conceptually inseparable moments of comic narration flow.net/bio. Youth Hall). but preferably by pure and uncorrupted limitless freedom. disfunctioning of postal and traffic relations. The desire is to rebuild and strengthen existing bridges. Serbia. indigenous rituals called forth by various methods. founded upon the 14 The GRRR! International Authorial Comics Festival was held for the first time in 2002 in the cultural center Pančevo. residence and occasional permanent habitation on the other side of the comic strip. shop windows. very strict and sometimes exhausting limitations within and during the work. The GRRR! continues to exist through events and discussion programs within elektrika Gallery in Pančevo. In addition. Mr. comics theoreticians. have enabled the scene in Belgrade to be established as a dynamic field of new expression and experiment. groups. both ancient witchcrafts. but also with psychological aspects of the work on fanzines.php 16 The XeR Files. 1999. unconsciously or subconsciously encountered phenomena such as clinical death. musicians. modern technology and cheap chemistry. they have facilitated production through various workshops and editions. in lively cooperation with Pančevo initiatives klopka za pionira15 and Ceger Fanzine. vuk Palibrk. Numerous authors from the entire world. PoPovIć – Alternative comics in Serbia 1980-2010 their projects than members and there was fantastic desire to create comics. and is probably the most active center of continual public presentation. entry. SekulIć. the festival catalogue. Macedonia. Zontag. often spiced up with frameworks. Radio B92. to experiment not only with content and form. as well as products of workshops and documents from exhibitions that have been held at the festival. The comics were an essential component of the local cultural policy adopted as such alre- initiative of and organized by Saša Rakezić alias Aleksandar Zograf. Napred u prošlost group and others). 16 . its staging of special historiographical exhibitions and issuing of publications in cooperation with comics historian Zdravko Zupan.. Bosnia and Herzegowina. promotion and exposition of alternative comics in Serbia today. consciously. XeR Files. collectives and artists from the region of former Yugoslavia. local.

PoPovIć – Alternative comics in Serbia 1980-2010 . R.17 A. SekulIć.

in the town which hosted Yugo17 Cyber-Rex is a platform established in the Cultural Center Rex in Belgrade. 21 Particularly interesting is the case of the comics „Illegal Migrants“ published in one of the issues of Krpelj. the 19 Yugoslav Cheap Film Festival (Jugoslovenski festival jeftinog filma -JFJF) has been taking place from 1998 to 2002 in Subotica and was organized by the low-Fi video movement and klJuN from Subotica. After hundreds of programs. Wostok gathered an odd group around the Krpelj production. has managed to initiate workshop and exhibition events on the local scene of his hometown of vršac20 (Grabowski. continuing to (re)animate the audience making use of social networks. made up of works of film amateurs. including authors such as Maja veselinović. social engagement in decentralizing the culture in Serbia. whose parallel and intertwined opuses within both low-Fi video movement and the comics scene are probably the best example. he has been recognized at the international scene already in the early 1990s. „The Bunch of Drugged Maniacs Terrorizes our Comics Scene. which showed that provocativeness of alternative comics has mostly been recognized precisely as a dangerous competitor to the frustrated „mainstream“ scene. Saša Mihajlović. but is also capable of drawing the most diverse audience. with its rich tradition of fanzines (Entropija) and alternative culture. Ivan Grubanov and others. The same year. etc…) 20 Since the first exhibition of comics in vršac in 1992. This interdisciplinary character has enabled the authors from various fields of alternative culture production to meet and articulate their ideas in workshops (authors of such varied profiles include Daniel kovač. Burek and many other younger authors. lazar Bodroža.19 has displayed the fruitfulness of the crossover between currents and activity fields – probably best illustrated by the work of the Damir Rijovich& Damir Smith tandem. Zlikovac. leo fon Punkerstein etc). Stocca. numerous fairs and festivals. who have produced an impressive number of fanzines and developed activities nearing an audio-visual performance. It was this author who was the first to explore and test the possibilities of new interfaces for fanzine activism and alternative comics. Due to this project. Seljak. through the events it has been organizing. slav Cheap Film Festival. Aleksandar Gubaš) the aim of which was to produce programs that would project video and film works collected by open call. experimental Tv program on B92 Television. numerous review video and film programs as well as obligatory musical and accompanying programs of comics workshops and exhibitions. Miloš Tomić. which has provided. but also a number of other comics authors coming from Subotica (Damir Pavić Septik. led by Stipan Milodanović. Hundreds of numbers of Krpelj fanzine probably provide the best example of efficiency of this production and its influence. one of the metacomics that has been created as a reaction to such attacks on alternative comics used one such text for its motto and name. international guest appearances and prizes (from the Sundance Festival in the uSA to the kansk Festival in Siberia). technical and institutional infrastructure for digital activities has been established and in 1999 alternative culture transformed its production and dissemination and has speedily increased its power of absorption of new ideas and communities such as the computer demo scene. low-Fi video has swiftly evolved into a movement gathering together hundreds of authors and giving a boost and cohesive event-organizing for alternative culture. and has managed to draw attention of that scene to the ongoing production in the entire region. Specific collage programs. cultural production and exchange. Milan Pavlović Mr. The Cyber-Rex17 Platform has provided digital infrastructure for development of new interfaces and comics formats and inspired some long-term projects and cooperation between the demo scene and the comics. PoPovIć – Alternative comics in Serbia 1980-2010 . opening an unsuspectingly wide field of influence on the wider audience for comics and for development of a new generation of authors. Igor Basorović. the first Comics Meetings were held in vršac. with an aim to affirm digital field of cultural production and broach the possibility of education in the fields of digital communications. Neda Dokić. The archive of this movement is being digitalized and gathered in the hope that they will resuscitate the microcinema principles in the new circumstances.21 despite the fact that many have been distributed in merely several copies. beginners and affirmed artists. have created a context for the new scene that reacted to the autistic media environment by establishing a parallel system of critical reading of culture and social reality. cohesion of all active alternative culture currents and productions and exertion of mutual influence. It consisted of domestic competition program. The comics scene in Subotica. lola and others).such as Danijel Savović. promoting the idea of video as an accessible technology for „democratization“ of art creativity and promotion and rejuvenation of tenets of Yugoslav film amateurism. 18 low-Fi video was established in 1997 as an independent organization (Miloš kukurić. Nikola vitković and Momci group. R. Subsequently this generation was followed by another. With his extraordinarily varied work. the comics scene has swiftly developed and been recognized locally in only a couple of years: Wostok and Grabowski were awarded the october Prize in vršac in 1996. work on introducing international production. from early fanzine actions of the 1980s to activities within Patagonija magazine. low-Fi video decided in 2003 to freeze its activity. video activists. Danilo Milošev Wostok.“ 18 A. established international cooperation and became included in the microcinema movement. The scene has certainly been given a boost with its participation in the low-Fi video movement18. reinforcing of alternative culture. Miroslav lazendić. SekulIć.

23 www. by now intricately connected.net 24 www. thereby establishing new lines of communication between older and topical production and drawing unexpectedly large audience. Serbian Orthodox Church i. on the verge of true respect. its exclusively holy wing and so on.. music.. establishment of total communication. for intensive cooperation with the international scene and regional authors and for organizing joint events. namely klopka za pionira. SekulIć. Johanna Marcade established in Belgrade. This activity has been intensified in the last couple of years with the appearance of Turbo Comix organization. especially with the group Komikaze from Zagreb. which in Belgrade in 2009 launched an event directly focused on alternative comics .net from other countries who are becoming its actors and historians. A Bunch of Drugged Maniacs Terrorizing our Comics Scene. The fanzine activity in Zrenjanin. material and human resources. often without making use of any text. the example of which is NoMAD – electronic Art Festival. conversely. With his work on visualization and reading of the epic form (Gorski vijenac). i. which continues and intensifies regional and international cooperation of the scene that now faces new demands and challenges. frequently with ill-defined or no rules at all. The work of the Kosmoplovci group since their inception in 2001 has indicated vast and varied possibilities for symbiosis among the computer demo scene. one of the first editions of this production was the book issued in 2009 „Strips/Strips – Contemporary Comics in Croatia and Serbia. Studiostrip. Ceger Fanzine and the young generation of activists such as Bojana Petković. which is an important project of fanzine production. which encompasses numerous tours. individuals. the defining feature of this work. one of the most important activities of Studiostrip section. which will probably. labeling itself “the non-aligned comics. even in titles of comics. never in literal and actual form. Metaklinika. kragujevac and Novi Sad also generated a number of authors who have swiftly become included in alternative comics map22. vladimir Palibrk and others.so-called „facebook librarianship“. if the future history does not decide otherwise. friends. comics historian and katie Wozniacki. Studiostrip and Metaklinika with komikaze group from Zagreb as well as initiatives from Belgrade. extreme disrespect.e. Let us remember psychological-propaganda experiments such as Southern Solace. with participation of various groups.the New Age Festival.25 The joint work on a comic. Bodroža has developed the initial comics form from a visual art study to a complex film provocation. as well as comic strip drawers such as Aleksandar opačić and lazar Bodroža. the Turbo Comix organization. video and comics production within the framework of an Internet platform23. Rascal Baby. of course in potential form. never.. workshops and exhibitions. the author. is regional cooperation. often graphic non-telling.”24 one of the numerous reasons for this designation is an allusion to increasingly obvious internationalization of alternative comics in Serbia.novodobafestival. PoPovIć – Alternative comics in Serbia 1980-2010 . together with Bruno Tolić. regardless of objective attractiveness of experiments from which the scene has successfully stayed away. not be revealed. for direct work on comics themselves and graphic telling in general.e. the work of which can fully be seen on one of the podcasts of the Kosmoplovci platform. Among the authors who have shifted understanding of comics as a two-dimensional space to its understanding as a new media experiment are those from computer demo scene such as Dominator and Ilke. 25 After comics exhibitions and workshops she organized in cooperation with the French Cultural Center in Belgrade and the elektrika Gallery in Pančevo. Pančevo and Subotica. of course not from the point of view of the very scene of fanzine approach to comics. The New Age Festival was created in close cooperation among Turbo Comix (organizers).“ These two scenes. using its time and energy. it’s futile and sometimes not so harmless to discover all manipulations used by the discrete barrier of distance of fanzine approach for all those years since it had been established. starting from regional cohesion to increasing number of authors and theoreticians 22 The example for such activity is Dejan uzelac from Zrenjanin. are also associated with lisa Mangum. 19 A. often also enemies. R. exclusively graphical narration.kosmoplovci.

Saša Marković Mikrob. Such exhibitions have reached their peak at the international GRRR! Festival that has supported the extraordinary enthusiasm of the newly emerging local scene. which. Belgrade. is proud to have established and conducted) by connecting the comics contextually and performatively with the alternative film and video scene. with styles that have been derived from authors. The Cultural Center Pančevo was among the first in the early 1990s to enable gallery exhibition of comics. This was also an opportunity to summarize and reexamine the qualities which the scene perceives as its specificities26. discussions and additionally the presentation of the computer demo scene and has subsequently developed this program line by cooperating with the Metaklinika group and the New Age Festival in 2010. through the program edited by Maida Gruden since 2006. exhibition catalogue „The End of the Episode. 1999. authenticity and honesty stripped to the point of confession. on the one hand. are staying true to experimenting with styles that had been an unwritten agreement from the very start. PoPovIć – Alternative comics in Serbia 1980-2010 Since the 1980s and early 1990s direct and unmediated communication between comics and visual art institutions is established in the work of artists such as Srđan Đile Marković. USA or Japan.“ Center for Contemporary Art. It has to find it all by itself. R. Inclusion of comics by Aleksandar Zograf and Stevan Markuš in major events and exhibitions such as october Salon 2000. but mostly almost exclusively intuitively. for common actions of alternative comics. 20 . The field of contemporary art in the 1990s showed an interest and potential to include alternative comics in its dynamics. participation of kosmoplovci group at the october Salon 2003. discussion and presentation of print production activities throughout the 2000s. The exhibition gave an overview of ample production and gave new boost to the youngest generation of authors. SekulIć. but on the other. Pablo Picasso. Jack Kerouac. to continue what has objectively already been finished.“ Radovan Popović: „The End of the Episode – Romanticized Monograph of New Yugoslav Comics“. minimize and establish once and for all the shape his style. The Center for Cultural Decontamination curator vladimir Tupanjac organized in 2008 a one-day alternative comics program. immediacy even at the expense of banality. This was subsequently confirmed on numerous occasions27. just like before. in the necessary act of submission to contemporary market laws. sermon-like power of the message and a defensive resolve to search for new expression even at the risk of being led astray into hermetic obscurity. in cooperation with comics scene protagonists was curated by Dejan Sretenović and produced by the Center for Contemporary Art. or works of authors whose comics would provoke a sad smile on the Comics Salon has created a new space for widening the comics audience and for diversification of streams and levels of comics production. are continuing. by the way. communication approaching intimacy. originality and autochthony on the verge of autism. bad examples from the recent past and almost completely perfect examples especially from the early beginning. even movements that have been appearing throughout the short but killingly rich history of comics. groups. inclusion of Zograf’s work in the exhibition „on Normality – Contemporary Art in Serbia 1991-2001“ by the Museum of Contemporary Art in Belgrade in 2005. The Student Cultural Center presented an exhibition „Hard Comics“ organized by Studiostrip in 2006 within the visual Program by Stevan vuković. who have grown up as artists through workshop work. 26 This was articulated by Radovan Popović in the text of the catalogue: „elusive and unbelievable variety of visual identity of new comics. complementing their electronic editions. the kosmoplovci group has continued to cooperate with the Academic Film Center in the 2005-2008 period (which Aleksandra Sekulić. devastating subversion to the point of terrorism. fruitfully. sometimes randomly. merging workshops.A. has shown that contemporary art presentational field has the greatest potential to include alternative/authorial/independent comics in official institutional culture. which summarized the directions explored by the Studiostrip section as well as other groups. 27 one of the most important venues for gallery display of this scene was the independent Remont Gallery in Belgrade. which has enabled continual exhibition. And it will be entirely new. to make complicated works. The example of recognition of importance of alternative comics is exhibition „The end of an episode“ held at the SuluJ Gallery in 1999. in Europe. the Student City Culture Hall opened the possibilities. Stevan Markuš and others. uroš Đurić. exhibitions. also fantastically intensively. the author of this text. unexplored and impenetrable way. provocation to the point of reexamination of one’s own as well as general aesthetical and ethical norms. orthodoxy to the point of fundamentalism. The Student Cultural Center with its workshops and Now when literally every main or marginal author of parallel or wrong orientation seeks to simplify. Following initial presentations of alternative comics in programs of the Student City Culture Center. music and video. the work admired and even uncritically adored by Gertrude Stein. the new scene of authors influenced precisely by 1990s or later fanzines. indicate that the new comics in Yugoslavia is treading its own. unwittingly or wittingly.


subsequent realization concerning distance from reality.. eastern. R. comics workshops have occasionally been recognized and supported through local cultural policies as an interesting way of communicating with youth. oral.. beyond school and quasischool education. The old school. school of life and death. This form of open public happening acquired its shape already in the 1990s at festivals such as Yugoslav Cheap Film Festival (JFJF) and was subsequently developed by Serbian electrical Film Festival (SFeF)29. it is never late to fly dangerously. preschool. NoMAD and others. air. brary of Serbia.. north icic. construction and subversion. antischool. heavy school. The future. far and middle eastern. comprehensive school. staging a series of events assembling large audience and many authors in the public process of producing screen prints. The street kung fu school. right now or whenever. exchange. entitled „The Museum of the universe“. especially Banatsko Novo Selo where the Alternative Cultural Club used to function). school in flames. In some cultural centers regular programs of this kind have been established28. with the digital collection of comics. ongoing process of creation and development of archival practice at the institutional level that will surely find also its performative shape. entry and exit from school. two-pence fanzines.“ published by the National li28 The pioneering example is the activity of the Kuhinja workshop in Pančevo (and villages in Pančevo surroundings. All-school. postschool. groups. Turbo Comix group has launched an interesting form of „performative distribution“ implying a tour of various towns in Serbia and the region. but also as a part of its activity in public events in which it takes part. non-school. In addition to workshop activities enabling new generation and the youngest authors to meet the international scene. comics workshops and exhibition. Thus. again lower. SekulIć. corresponding. Now. Novi Sad etc. has enabled externalization of the Invisible Comics in an open. low school. special school. The library as the central locus of cultural memory. thus resembling comics collectives (Syndicate Bill Mclurre) who have authored science fiction comics and been included in Yugoslav youth magazines. rare examples of participation of alternative comics in programs of national institutions in Serbia was the exhibition organized in 2002 in the National library of Serbia by kosmoplovci group. self-supporting school for the self-taught. infiltrating and expelling. written. the workshops of vladimir vesović in the Student Cultural Center in Belgrade and numerous workshops within local scenes in vršac. A. kosmoplovci collective promotes workshop work. multiplying of various comics forms. 29 SFeF – The Serbian electrical Film Festival was held in Belgrade in 2002 organized by low-Fi video-Striper-kosmoplovci group and included parallel and interwined programs of computer demo-party. literary performances and competitive film projections. concerts. a 5-dinar pencil. pencilless pupils. The way to school. The exhibition has symbolically enabled this production to make a step into the dynamic of reformulating institutional culture in Serbia. as it turned out. south southeastern school. After 2000. In the process of work on its own production. pupilless schools. and then higher. something in between and not in the building itself. one of the first and. Fanzines which await to be born. The favorite place in school has always been school library and exit leading to the street. Subotica. even lower one. authors. activists. workshops and exhibitions. which was accompanied by an edition „The Travel to the universe. subsequent school. both collective and team work. superfluous armor of bourgeois morality. astro.the lips of actors. auto. platforms. PoPovIć – Alternative comics in Serbia 1980-2010 22 Insistence that openness for both new and initial and sophisticated forms of subversion of status quo and the given system based on educational-participatory-production programs is the essential quality that gives alternative comics its vitality and enables its constant . evening school.

After 2000 subversiveness of alternative comics has been demonstrated largely with their capability to speedily react. while its incontestable innovative quality and openness for exploring new possibilities and interfaces in integrated media systems hold huge potential for articulating a new alternative. these movements accomplished the impossible: they gathered extraordinary strength. authenticity and minutely crafted plagiarism. even most probably another swindle of sphere of action of a certain number of people tied by a pencil. wall or air. this rich tradition. pride and shame. contemporary art. the idea that one’s own (even artistic) expression of rebelliousness is possible and accessible to everyone has remained the basis of subsequent history of what can be termed alternative comics. tragedy and comedy. mostly through intensive substitution of arguments. both movements have deserved their status of an alternative mostly owing to the new social circumstances and their position within the cultural system. is almost probably impossible. keeping track of the global production. and is very likely that this text could precisely be it. this production has not been included in this book and this exhibition. previously exclusively reduced to the music scene. By demonstrating such an open structure. PoPovIć – Alternative comics in Serbia 1980-2010 rejuvenation is precisely what makes this scene so flexible. twoway and sometimes multiple-way conversion of direct opposites. word in a sentence. false or not. in the very construction and the overall mood. youth media etc. this basis was also shared by the lowFi video movement: suspension of standards – professional and conventional . stylistic. unpredictable and – an alternative. namely the alternative comics of the 1980s. screen. In the 1990s. although in the general nature of things. this shying away from established and expected models. in the play of symbols exhausting to the point of masochism. frequently also blackness of the paper. both aesthetical and theoretical. even ironic self-historization which alternative comics sometimes writes of itself. within the international scene and among various fields of cultural production. At the time of resuscitating samizdat and fanzine culture created by punk. the presence of comics in public media field is certainly an important element of a Buildungsroman of the generation who has launched alternative comics. However. music and other scenes that have included it in their critical discourses. SekulIć. but can potentially be created. distribute and merge with other forms of public activities. color and whiteness. rather than owing to their formal or stylistic prerogatives as they pertain to official art disciplines. stirred response and resuscitated alternative culture. In the 1990s. 1990s and 2000s. to enable simultaneous and joint presence of both beginners’ and top-notch works in the creation of a new context and intervention in the social and cultural system as an example of unexpected united action. to transformations and experimenting. play of image and words. a paper and a cheap copy shop or even their own cheap printers. since they focus on the comics which has not yet had its „systematic overview“ and treatment. regretted or not. contains a trace of a manifesto that has truly never existed. 23 A. or might have existed.in the desire to externalize potential for enthusiasm. Each strip and image. or onthe-job printer of one of us. . The communication which alternative comics have enabled throughout former Yugoslavia. Erasing the border between beautiful and ugly. is made possible precisely due to this flexibility. Therefore it is difficult to set alternative comics in opposition to mainstream comics of the 1990s – since the latter practically did not exist – or to local and global comics traditions30 – they were present as an object of appropriation and game.30 The history of the comics in Serbia usually begins with the first half of the 20th century and its huge impact by means of daily press until its peak in the production of specialized magazines. frequently also generally established and moral. Criticism and subversion manifested by alternative comics and have been recognized by socially engaged literature. R. fiction and fact. the current ideological platform that will change repeatedly out of recognition until the next time. empty clouds above nameless faces of invisible actors of the sketched show. experiment and critical attitude.


notes from the past and half-conscious thoughts.Invisible comics sketched on the basis of dreams. . transcedental experiences.

Grapes for Aaron .26 WoSTok .

Fifth scene .27 WoSTok .

Fifth scene .28 WoSTok .

Fifth scene .29 WoSTok .

Fifth scene .30 WoSTok .

Fifth scene .31 WoSTok .

32 WoSTok .Fifth scene .

Fifth scene .33 WoSTok .

34 MoMCI .A rat’s eating it .

35 MoMCI .A rat’s eating it .

The well of prophecy .36 AlekSANDAR ZoGRAF .

37 AlekSANDAR ZoGRAF .The well of prophecy .

SloBoDAN TIŠMA .Metropolis (excerpt) .38 AlekSANDAR ZoGRAF.


AlekSANDAR ZoGRAF, SloBoDAN TIŠMA - Metropolis (excerpt)


WoSTok - The burrow



42 DeJAN uZelAC .

43 DeJAN uZelAC .

44 DeJAN uZelAC .

45 DeJAN uZelAC .

46 MIlAN PAvlovIć MR.Đašt gnjuta . SToCCA .

SToCCA .Đašt gnjuta .47 MIlAN PAvlovIć MR.

48 MIlAN PAvlovIć MR. SToCCA .Đašt gnjuta .

49 WoSTok .

Gone mad with beauty .50 MAJA veSelINovIć .

Gone mad with beauty .51 MAJA veSelINovIć .

Gone mad with beauty .52 MAJA veSelINovIć .

53 MAJA veSelINovIć .Gone mad with beauty .

54 ToMA PAN .Jova .

Jova .55 ToMA PAN .

Jova .56 ToMA PAN .

Jova .57 ToMA PAN .

New Age .58 ToMA PAN .

59 DANIJel SAvovIć .


Invisible comics in the dialogue with tradition and social legacy .

62 NIkolA koRAć .eddie .

63 NIkolA koRAć .

64 NIkolA vITkovIć .The foundry of astro technology .

65 .









The herd . JoHANNA MARCADé .74 MIleTA MIJATovIć.

75 MIleTA MIJATovIć. JoHANNA MARCADé .The herd .


arragonce and envy.Moving and less moving human destinies. broken hearts. . lethargy.

78 NeBoJŠA CveTkovIć .Graphisms .

79 NeBoJŠA CveTkovIć .Graphisms .

80 NeBoJŠA CveTkovIć .Graphisms .

In the meantime .81 BeRNHARDA XIlko .

82 IvAN GRuBANov .

83 IvAN GRuBANov .

84 IvAN GRuBANov .

85 IvAN GRuBANov .

86 NeDA DokIć .

evergreen .87 NeDA DokIć .

uncle Misho? .88 NeDA DokIć .

oedipus complex .89 vlADIMIR vukovIć SelJAk .

examples .90 RADovAN PoPovIć .

examples .91 RADovAN PoPovIć .

examples .92 RADovAN PoPovIć .

93 RADovAN PoPovIć .examples .

94 IvANA FIlIPovIć .My Neighborhood .

95 IvANA FIlIPovIć .My Neighborhood .

lost youth .96 MIloŠ kRSMANovIć kRle .

The sudden death of waiter laza Derikoža .97 MIlAN PAvlovIć MR. SToCCA .

98 MIRoSlAv lAZeNDIć .Talk Show .

DAMIR RIJoWITCH oRIGINAlov .99 GeZA CSAT.little emma .

Invisible comics with science fiction themes, intimate micro-universes, apocalyptic graphisms and an apocalypse of the genre.


ŽelJko loNČAR

103 ŽelJko loNČAR .

104 ŽelJko loNČAR .

105 ŽelJko loNČAR .

Glow in the grass .106 NIkolA vITkovIć .

107 NIkolA vITkovIć .Glow in the grass II .

Glow in the grass II .108 NIkolA vITkovIć .

109 NIkolA vITkovIć .Glow in the grass II .

110 NIkolA vITkovIć .Gaze .

Gaze .111 NIkolA vITkovIć .

1922 (excerpt) .112 DANIJel SAvovIć .

1922 (excerpt) .113 DANIJel SAvovIć .

1922 (excerpt) .114 DANIJel SAvovIć .

1922 (excerpt) .115 DANIJel SAvovIć .

1922 (excerpt) .116 DANIJel SAvovIć .

1922 (excerpt) .117 DANIJel SAvovIć .

1922 (excerpt) .118 DANIJel SAvovIć .

119 DANIJel SAvovIć .1922 (excerpt) .

1922 (excerpt) .120 DANIJel SAvovIć .


DANIJel SAvovIć - 1922 (excerpt)


DANIJel SAvovIć - 1922 (excerpt)


DANIJel SAvovIć - 1922 (excerpt)

124 AlekSANDAR oPAČIć .The secret of spider’s blood .

125 AlekSANDAR oPAČIć .The secret of spider’s blood .

126 AlekSANDAR oPAČIć .The secret of spider’s blood .

The secret of spider’s blood .127 AlekSANDAR oPAČIć .

A member of the kosmoplovci group.Text authors Aleksandra Sekulić. B.com . a founder of the Studiostrip platform. of the kosmoplovci group and the Media Archeology team. employed at the Center for Cultural Decontamination in Belgrade since 2010.A. XeR Festival. the editor of the Studiostrip edition (Fabrika knjiga). M. Curated and organized programs of the Academic Film Center from 2005 to 2009. in Cultural Policy Studies. PhD student of Theory of Art and Media at the university of Arts in Belgrade. Radovan Popović.metaklinika. in General literature and Theory.A. A member of the low-Fi video movement till 2003. an initiator and editor of the Striper magazine. Authors of the Virtual Exhibition of Alternative Comics in Serbia Metaklinika www. an initiator and editor of numerous alternative comics events and comic fanzines in Serbia and the region. Comics author and publisher from Belgrade.

nb. 2011 The printing of this publication has been supported by the Ministry of Culture of the Republic of Serbia. Johanna Marcadé.rs nbs@nb. Belgrade www.nb.SR-ID 182269196 .rs For the publisher Sreten ugričić Publication editor lazar Bodroža Text authors Aleksandra Sekulić and Radovan Popović Design and graphic layout Metaklinika (lazar Bodroža.ThE InVISIblE CoMICS Alternative comics in Serbia 1980-2010 Publisher National library of Serbia Skerlićeva 1. CIP .katalogizacija u publikaciji Narodna biblioteka Srbije. Beograd ISBN 978-86-7035-232-2 CoBISS. Tijana Tropin (comics) Print Altanova Print run 300 Electronic edition www. Nenad Trifunović.strip.rs belgrade. Ivan kostić. Dušan Đorđević) Translated into English by vanja Savić (text) Milan Petrović Tica.

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