Impossible Histories: Historical Avant-gardes, Neo-avant-gardes, and Post-avant-gardes in Yugoslavia, 1918-1991Dubravka Djurić, Miško Šuvaković MIT Press, 2003 - 605 Seiten This is a critical survey of the extraordinary experiments in the arts that took place in the former Yugoslavia from the country's founding in 1918 to its breakup in 1991. The combination of Austro-Hungarian, French, German, Italian and Turkish influences gave Yugoslavia's avant-gardes a distinct character unlike those of other Eastern and Central European avant-gardes. Censorship and suppression kept much of the work far from the eyes and ears of the Yugoslav people, while language barriers and the inaccessibility of archives caused it to remain largely unknown to Western scholars. Many Westerners have never heard of the movements Belgrade Surrealism, Signalism, Yugo-Dada and Zenitism, the groups Alfa, Exat 51, Gorgona, OHO, and Scipion Nasice Sisters Theatre, or the magazines Danas, Red Pilot, Tank, Vechaceknost and Zvrk. |
Inhalt
| 36 | |
| 64 | |
Textual Body | 96 |
Visual Arts in the Avantgardes between the Two Wars | 122 |
Inside or Outside Socialist Modernism? Radical Views on | 170 |
Avantgarde Neoavantgarde | 294 |
From the Avantgarde to | 332 |
New Theater in Slovenia 19801990 | 376 |
Popular Music in the Second Yugoslavia | 442 |
Yugoslav Avantgarde | 466 |
Zenitist Manifesto | 525 |
ОНО | 553 |
Untitled | 561 |
About the Elementary or PostAesthetic Art Elementary Painting | 568 |
Footwriting | 573 |
The Ear behind the Painting | 579 |
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Impossible Histories: Historical Avant-gardes, Neo-avant-gardes, and Post ... Dubravka Djurić,Miško Šuvaković Keine Leseprobe verfügbar - 2003 |
Häufige Begriffe und Wortgruppen
activity aesthetic Aleš architects architecture artists avant Avant-garde Music Avgust Černigoj Balkan Belgrade Bijelo dugme bourgeois Braco Dimitrijević Branko Ve Poljanski building catalog Černigoj collage conceptual art concrete constructivism constructivist Contemporary Art context creative critical Croatian culture Dada dadaist developed Dimitrijević Dragan Aleksić Dušan early European exhibition expressionism expressionist film Gallery garde Gorgona historical avant-garde ideological Impossible Histories Informel Ivan Ješa Denegri Josip Laibach language literary literature Ljubljana Ljubomir Micić magazine manifesto Marko Ristić Miško Šuvaković modern modernist Muzej neo-avant-garde Neue Slowenische Kunst Novi Sad OHO group painters painting performance Peter Krečič photographs poems poet poetic political post-avant-garde postmodern postwar Private collection published radical rock Šalamun Sarajevo Serbian Slovenian social socialist realism society Sonja Briski Uzelac space structure surrealism surrealist Taras Kermauner textual tion Tomaž tradition umetnosti urban Visual Arts Visual Poetry words Yugoslav Yugoslav Avant-garde Yugoslavia Zagreb Zenit zenitist
Beliebte Passagen
Seite 267 - ... by more diverse institutions - than the restricted circle of professional art-making. The theme of originality, encompassing as it does the notions of authenticity, originals and origins, is the shared discursive practice of the museum, the historian, and the maker of art.
Seite 25 - Russia at the end of the 1920s and the beginning of the 1930s...
Seite 123 - Warsaw from the end of the nineteenth century to the beginning of World war ii. The story is about a rich man's family, with their relatives. friends. and hangerson. and their customs and religion.
Seite 156 - The conception of the unconscious psychic activity enabled us to get the first glimpse into the nature of the poetic creativeness. The valuation of the emotional feelings which we were forced to recognize while studying the neuroses enabled us to recognize the sources of artistic productions and...
Seite 556 - When I've used all of the knives (all the rhythms), I rewind the tape recorder. I listen to the recording of the first part of the performance. I concentrate. I repeat the first part of the performance. I take the knives in the same order, follow the same order, follow the same rhythm, and cut myself in the same places. In this performance the mistakes of time past and time present are synchronized.
Seite 267 - ... the copy to the original. But this is the negative half of the set of terms that the critical practice of modernism seeks to repress, has repressed. From this perspective we can see that modernism and the avant-garde are functions of what we could call the discourse of originality, and that that discourse serves much wider interests — and is thus fueled by more diverse institutions — than the restricted circle of professional art-making. The theme of originality, encompassing as it does the...
Seite 560 - Performance. The video camera is only focused on my face without showing the blower. The public looking at the monitor have the impression of me being under water. The moment I lose consciousness the performance lasts 3 more minutes, during which the public are unaware of my state. In...
Seite 93 - Seventy years and two world wars later, it is almost impossible to understand this particular mixture of radicalism and patriotism, of a worldly, international outlook and a violently nationalist faith. Yet we find this paradox everywhere in the arts of the avant guerre.
Seite 251 - NSK did not posit the gaze as a menace, nor as a natural fact, but rather showed that this menace was a social product determined by power.
Seite 288 - The Originality of the Avant-Garde," in The Originality of the Avant-Garde and Other Modernist Myths (Cambridge, Mass.: MIT Press, 1986), pp.