ARTICLE

“Made in YugOslaVia” struggles WitH self-ManageMent in tHe neW art Practice, 1965–71 marKo IlIC´

In­September­1978,­Zagreb’s­Gallery­of­Contemporary­Art­staged­the­ fi­rst­survey­exhibition­of­conceptual­and­performance­art­in­Yugoslavia:­ The­New­Art­Practice­in­Yugoslavia,­1966–1978.1 Forty­years­on,­the­ phenomenon­is­relatively­well­known,­largely­because­of­its­internation- ally­renowned­affi­liates,­such­as­Marina­Abramovi´c,­Sanja­Ivekovi´c,­ and­Mladen­Stilinovi´c,­among­others.­But­academic­work­on­the­sub- ject­has­been­hesitant­to­address­the­more­complex­political,­economic,­ and­institutional­factors­that­underpinned­the­New­Art­Practice’s­emer- gence­and­secured­its­prolifi­c­development.­In­this­article,­I­argue­that­ the­New­Art­Practice­both­came­out­of­and­responded­to­a­complex­ and­contradictory­moment­in­Yugoslavia’s­history,­when­the­country­ began­to­integrate­itself­deeper­into­the­Western­capitalist­world­

1­ Organized­by­art­historian­Marijan­Susovski,­this­show­was­the­fi­rst­timely­appraisal­to­ recognize­a­singular­thread­of­young­artists­and­collectives­working­across­many­of­the­ federation’s­republican­capitals.­Following­the­exhibition,­“New­Art­Practice”­became­a­ locally­accepted­umbrella­term­for­a­form­of­artistic­engagement­that­emerged­in­the­ ­cities­of­Ljubljana,­Zagreb,­Novi­Sad,­Subotica,­Belgrade,­and­Split,­which,­fueled­by­the­ youth­movements­of­1968,­had­taken­a­more­socially­engaged­form­in­the­early­1970s.­ For­further­information,­consult­The New Art Practice in Yugoslavia, 1966–1978, edited­ by­Marijan­Susovski­(Zagreb:­Galerija­suvremene­umjetnosti,­1978),­exhibition­catalog.­ This­research­was­supported­by­a­Leverhulme­Trust­Early­Career­Fellowship.­I­am­grate- ful­to­Branka­Curcˇi´c,­Slavko­Bogdanovi´c,­and­Želimir­Košcˇevi´c,­who­offered­their­valuable­´ insights,­and­to­Sven­Spieker­and­the­anonymous­peer­reviewers­for­their­generous­com- ments­and­feedback.

6 © 2019 ARTMargins and the Massachusetts Institute of Technology https://doi:.org/10.1162/artm_a_00225 institutions.” “state youth roles what I’m as their calling acknowledged it has rarely 1960s–80s, the during culture and art in organization of self- of forms new sites introduction key for centers as the cultural students’ of the galleries noted the has Practice Yugoslavia’s Art New on scholarship Although engagement. of artistic models new ture able to nur were initially how artists member its Ichart development, prolific its emergence its enabled secured and that structures tional altogether. art stop making proponents of early to ­ its many driving itself, Practice Art New the for also culture—but ­participation political amore and experimental of promises grassroots its socialism—counteracting managing” of Yugoslav “self-­ direction political for point the turning a crucial not ­ only 1971 was Ipropose that federation. entire the throughout leaderships of liberal purging Movement Mass the and Croatian called ­culminating resentments, so- the nationalist in to refuel began ties inequali sectorial and regional, personal, growing period, this During 1971–72. in politics federal in acrisis by interrupted briefly was and 1965 economic in amassive reform with began which liberalization, economic and of political period but decisive abrief Sad against Novi and centers of Zagreb cultural youth the in episodes particular two ­system. emergence OHO of the the Ljubljana group in and Idiscuss 2 3 of the entities spaces as these to analyze areluctance been has There Programme of the League of Communists of League the of 1958 Programme the to ing accord would, self-management sphere, cultural the In disappear.” will man by man of oppression the and exploitation of traces all and “classes which in asociety toward work to enterprises, and factories own their manage to autonomy the workers grant would that asystem as envisioned was self-management workers’ definition, possible broadest its In Center_Kuda.org. Media New the by Sad’s Tribune Youth Novi on acontribution and ­ Gallery Center Cultural Students’ Belgrade’s about project Prelom’s It included context. ­ sociopolitical wider the and arts visual Yugoslavia’s between interrelationships the articulated that project research interdisciplinary along-term was PPYUart (Sarajevo), SCCA/pro.ba and Sad), (Novi Center_Kuda.org Media New (Zagreb), WHW (Belgrade), Kolektiv Prelom by Initiated (PPYUart). Art (Post-)Yugoslav of Practices Political The ­ called project exhibition and research large-scale the is these of notable most The 2016). Press, Michigan of University Arbor: (Ann 1945–91 Yugoslavia, in Self-Management and Performance Jakovljevi´c’s Effects: Alienation Branislav consult self-management, of definitions contradictory often and numerous ­ the of account nuanced and 1959). For acomprehensive Press, Aldgate (London: Communists Yugoslav of League the of Programme The Studies, Socialist for Society International The in translated 1958), April 22–26 (Ljubljana, Yugoslavia of munists Com of League the of Congress Seventh the of records See authorities.” government of ­ interference administrative the from life cultural other all and artistic scientific, tional, institu the within Practice Art New the To locating by end, this 2 educa of “emancipation the , enact - - ­ - - 3 -

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9 IliC´ | “made i n y u g o s l av i a” 10 a r t m a r g i n s 8 : 1 ghostly, into pastel-col transformed bottles of industrial a multitude of MarkoPoga display the in evident most was approach intellectual this Zagreb, In from man. ofpendence “things” inde radical the at discovering aimed project aphilosophical as stood under been has Reism broadest its In possible definition, of Reism. ­ framework to OHO’s were introduced intellectual unique critics and ­ Zagreb’s artists that of generation new young of happenings, series and lecture accompanying an of Shoes), with together (Exhibition 9 8 utilitarian of their obliterated because been has that existence actual of their light in “viewed to be were intended Flasks the historian, earliest to Tomaž According Brejc, heights. OHO’s of varying pedestals white of aseries across strewn and containers, and bottles plastic as such ­ consumption, of everyday molded from products casts, ored plaster artists.” on young exhibitions OHO impression by conditionedthe by left Sad was Novi and Zagreb, Ljubljana, in spreadart of the “conceptual that declared Denegri Ješa Yugoslav critic leading OHO Already, 1971, the in group itself. moment for and for apivotal the Yugoslav politics youth became also mid-1960s the hand, upper abrief to gain Party—began Communist Yugoslav of the name official (LCY)—the of Communists League the within currents liberal As defeated. temporarily stood centralism and Rankov Aleksandar Police Chief Secret of the ousting the when—following and West the markets, toward its and itself oriented when Yugoslavia years” “tolerant the as understood reform,”“market retrospectively 1968. April in Gallery at Zagreb’s shown (SC) Center outside ofStudents’ tion being Slovenia group’s the exhibi first with institutions, cultural youth of state-funded network expansive country’s the in exhibiting by artists “young” these /uploads/2017/cbo/Chapter%203_Collaboration%20and%20its%20(Dis)Contents.pdf. 7, http://courtauld.ac.uk/wp-content 2018, March accessed 2017, Online, Books Courtauld Fisher, Michelle and Brown Meredith ed. Discontents, Its and Collaboration in Institutions,” Alternative of aHistory to Art Alternative of aHistory From Origin: Ili´c, Marko and Gotti of Sofia “Points see period, this during Gallery SC Zagreb’s of ­ activities the of analysis thorough For amore Zagreb. in Practice Art New the for site Košcˇevi´c, Želimir of ­ akey direction itbecame the Under sphere. mid-1960s the from political the to workplace the from self-management extending of process the began Communists of League the when 1957, precisely in founded was Gallery SC Zagreb’s 151. (1971): 15–16 umjetnosti Život uJugoslaviji,” umjetnosti konceptualne “Primjeri Denegri, Ješa cipela Izložba so-called at works the shown the It through was i´c who favored interventionism state hardliners 1966—party in 9 8 on mark their made OHO successfully cˇ Bo nik’s cˇ ( ice Flasks ): - - - - 11 ­economy. about brought astruggle reforms these level, afederal On up to amarket country the to open and economic decision-making involvement from to remove political aimed that of reforms series a new Tribuna in manifesto first 10 function.” December 30,1968,Zvezda Park,Ljubljana.ImagecourtesyofModernaGalerija, OHO, MilenkoMatanovi´c, MtTriglav, performedbyDragoDellabernardina,MilenkoMatanovi´c, andDavidNez, world system. capitalist more moreWestern and itself the into integrating was nomic reforms, of eco aseries through Yugoslavia, which in out ofit aclimate came world, ­ locally, the throughout practices place to 1960s neo-avant-garde common argued, has Piotrowski Piotr as was, for it” objects ordinary “substituting by painting modernist OHO’swhile of critiquing method But traditions. from “modernist” departure important an as textualized values. or brand use their not and through at them, ally, looking by visu from them information to extract spectators encouraged objects 189. 2011), Books, Reaktion (London: 1989 1945– Europe Eastern in Avant-Garde the and Art Yalta: of Shadow the In Piotrowski, Piotr The New Art Practice Art New The in 1966–1971,” Phenomenon, Artistic an “OHOas Tomaž Brejc, broader, Poga accounts, regional Within 10 these items, of commodity words, simulacra as other In 11 before 1965, In OHO ayear their published announced had of Communists League , the cˇ con often are Flasks nik’s - - - , 14. - 11 IliC´ | “made i n y u g o s l av i a” 12 a r t m a r g i n s 8 : 1 it encom Though conditions. living campus and brutality police ing that sovereignty. shared as well as economic and equality, of social ­ protections federation’s on the reforms guaranteed these previously of repercussions the including on Yugoslav reforms ket socialism, of mar impact the it way addressed the illuminate “1968” further may of Yugoslavia’s work early background before the their reading cal, politi However, overtly OHO’s have been while not may always practice world.” to the relation society’s “aid developing and in for all, life day of every aspect integral become an whereby would processes creative one, OHO’s a“popular” proposed, has Zabel ultimately approach was Igor As intent. in political OHO’s rarely that was accepted practice early rates. unemployment increase and companies, socialist in inequalities power exacerbate tendencies, pro-capitalist to strengthen ­ economic continued reform while standards, improve living slightly to of society portions large enabling was spread of consumerism forwhen the Yugoslav at atime of society, consumerism dangers of the reflection atimely as seen be ofcould Reism OHO’s doctrine man, and objects between relationships new at imagining Aimed of seeing. model “anti-commodity” an to offer and value use from their objects to emancipate sought approach that artistic an formulating was lifestyles. and attitudes individualized income and levels of higher its groups because from lower social itself disassociating consciously was that class” “middle core the of arising groups became regional and local 1960s, these the During of capital. accumulation the and investment over authority federal ­struggled that old, centralized elites the against economic and political regional and functionaries of local class nocratic emergence of tech the anew witnessed Yugoslavia aresult, workers. As of new recruitment the and accumulation of capital levels the defined which to enterprises, gave more reforms capacity decision the level, 12 banks. or republics, the separate the federation, income: the of national responsibleover redistribution who for be should the 145. 2017), Macmillan, Other Pale and Pavlovi´c’s Živojin Dead through IAm When Socialism Market Yugoslav “On Kirn, Gal June of in Yugoslavia’s of Belgrade University at “1968” the began it generally is spiteIn of dimensions, Reism’s more critical OHO society, ­ stratified increasingly an becoming whatIn was year, Jelacˇa, Dijana , ed. Kolanovi´c, Lugari´c Maša Palgrave Danijela and (London: as The Cultural Life of Capitalism in Yugoslavia: (Post)Socialism and Its Its and (Post)Socialism Yugoslavia: in Capitalism of Life Cultural , 1967,” The in a week-long series of strikes and demonstrations 12 alocal On condemn ------protests. end to the to put an speech, conciliatory and skillful a Tito, through allowed that politics official Party’s from the tiation differen of ideological lack Party,” the it was Yugoslavthe Communist of “program the was program their that Insisting vision. “alternative” articulated aclearly However, lacked work they of self-management. frame the from within economy, reorientation ideological an spark and the reform justice, social to expand wanted they accounts, mainstream ­barons” workers.” of the to According expense at the “enrichment and “socialist out against lashed students Marx,” University–Karl “Red the of involved artistic aproliferation strengthening this For Denegri, country. the in freedoms of artistic strengthening atemporary naled sig 1968 “moment” also the at least, level, on acultural integration, dis of lens Yugoslavia’s the eventual through demonstrations student of the apparent toshortfalls read the fitting it feels But though society. Yugoslav in solidarity and self-management, of egalitarianism, lack the accountable for elite to holdruling the failed students the conclude that socialism. market toward Yugoslavia’s with turn came that stratification class “red bourgeoisie,” the and rising sion country’s of over the resentment expres an as historicized been largely has put it—it magazine, Student Kurspahi´c, Kemal as were anti-socialist,” at editor Belgrade’s an then who face to those ahuman with idea of socialism to the “who adhered from those voicesspectrum—ranging passed from abroad ideological 14 13 38–53. 2008): (Winter 30 Hair 1968, June Resources: “Human Jakovljevi´c, Branislav See 1990s. and 1980s Miloševi´c’s late in ism the during Serbia national intolerant of rise the to integral become turn in would which enjoyment,” illicit and law authoritarian of “double track the through transformed and suppressed were students the of calls revolutionary and radical the how follows argument his moments, critical most demonstrations’ atthe erupted spontaneously that performances theatre the through “1968” Belgrade’s Reading end.” Yugoslavia’s of “beginning the trace to which from point departure historical aclear constituted also but participants, its of some for sentences prison and trials, arrests, numerous in resulted only not protests the of suppression Jakovljevi´c, immediate Branislav almost scholar the studies For performance 84–100. 2011), Books, 1960–1980 Europe, in Revolt and Opposition May: French and Spring Prague Between West,” in and East between Revolt Student Yugoslavia: in “1968 Kanzleiter, Boris see “1968,” Belgrade’s underpinning events the of summary For a 43. 2017), Press, University Manchester (Manchester: Socialism Late in Cultures and Politics Youth of Rethinking The Generation: Yugoslav Last The Spaskovska, Ljubica from istorije Licne osma— Šezdeset in svet,” bolji Kurspahi´c, pravedeniji, Kemal ljudski, na ‘68’: Poziv “Moja of 1968 events today, at the reasonable back it seems to Looking 13 renamed had they institution the in astrike Proclaiming Đord¯e translation , ed. 202, 2008), glasnik, Malavrazi´c Službeni (Belgrade: Room Grey End,” Yugoslavia’s of Beginning the , and Berghahn (Oxford: JacobPekelder , ed. 14 ------13 IliC´ | “made i n y u g o s l av i a” 14 a r t m a r g i n s 8 : 1 16 15 Paris.” and York, New as centers such London art global in practices artistic latest the pace apronounced with to as keep desire well as cultures national from traditional detachment and “urbanity their by defined activities Studentskog centra,Zagreb.ImagecourtesyofArhivzalikovnkeumjetnostiHAZU,Zagreb,Inv. no.:SC-46/F1. Vlado Jakoli´c, PhotographfromIzlozˇba zˇena imusˇkaraca [ExhibitionofWomen andMen],June26,1969,Galerija themselves. mountain the to visit unable who were ofphysically those mindful particularly were of Ljubljana, they and citizens to the gift alate December to offer ­ wanted participants city,” to the three the mountain the By “bringing ­ Alps. Julian of the peak of Mount Triglav, highest outline the craggy the to replicate figures silhouetted their arranged Together, artists the heads visible. long-haired their leaving while bodies, their enveloped that cloth ablack in themselves cloaked had They square. city Park center of Ljubljana’s the in himself Zvezda positioned Dellabernardina, Matanovi´c, Drago OHO Nez and David members with together of 1968, day penultimate workthe simple. On was the idea behind of Juneevents 1968. the after months six just of OHO’smy reading staged project, Triglav /interview-with-milenko-matanovi. ­ http://www.artmargins.com/index.php 2011, 24, August Pogacˇnik,” Online, ArtMargins Marko with Interview OHO Files: “The Žerovc, Beti Matanovi´c with Milenko interview in Jakovljevi´c, in Effects cited Vojvodine), Alienation umetnosti savremene Muzej Sad: (Novi sedamdesetih umetnost novu za liniju: drugu za Razlozi Denegri, Ješa to Triglav According 15 to central be will cultures national toward resistance This 16 motiva personal artists’ of But the regardless creator, Matanovi´c,’s Milenko principal the , 146. - media.” “OHO space of movement mixed the in ­ of the prism the readers through to Serbo-Croatian actions and OHO’s happy,” to introducing them writings central was Rok making and individuals pleasing by tack’ wrong the “‘took increasingly that writing against afight of reality,” study announcing and aesthetic the Bora prose writer experimental “blacklisted” the by 1969 early edited and in Belgrade in of issue Rok first the in appeared happening ­ cemented when photographs of the were fully credentials cultural action’s The counter commentary. political anuanced than nation Slovene of the mockery irreverent it havean may looked more like ­ Ljubljana’s squares, city through historic strolling passerby casual the However, to 1960s counterculture. faces of the unshaven and scruffy the with mountain of the peaks anonymous the replacing for itself, reform. market toward turn party’s the following conservatism political and nationalism, consumerism, between complex on intersections the reflection asubtle as acted tain moun three-peaked of the OHO’s change, staging constitutional and on economic decentralization divisions party by spurred crisis, national regions. northwestern wealthier from the profits redistributing by growth republics’ southern less-developed the to fund aimed which system, tax federal of the ­ critical openly leaders of Yugoslavia’s became republic the wealthiest amoment also when was This Slovene and lic’s statehood. sovereignty repub to the pertaining on issues focusing Slovene press increasingly identity,”the of “national question with the reopened had tralization economic and decen political country’s when the performed first was Slovene action Ljubljana, In of the the nation. asymbol remains still and then it Slovenia, was in mountain highest not the is only Triglav action. to this dimension ironic undeniably an still is there tions, 18 17 Bora 88–100. 1983), Press, University Princeton (Princeton: Yugoslavia Socialist in Cohesion and Conflict Burg, L. Steven see crisis, the underpinning events the of account For adetailed himself. Tito of intervention personal the prompted and government federal the of lapse col the threatened that Ljubljana in protests public full-blown in erupted had World Bank the to republic that in projects construction road for proposal afunding submit to failure Council’s Executive Federal the over Dissatisfaction point. breaking reached had Slovenia in situation the then, By time. second the for Triglav performed and Tribune Youth atthe exhibition an mount to Sad Novi to OHO came 1969, December in later, year One it claim and symbol national the inhabit to both seemed Triglav Cosi´c, C Rok: ed., ´ Cosi´c. and for literature a“periodical as Self-defined ´ ˇ asopis za književnost i esteticˇko ispitivanje stvarnosti iesteticˇko ispitivanje književnost za asopis 17 of Yugoslavia’s light the in growing Seen published , amagazine 18 of pages the On 1 (1969). , no. ­ - - - - 15 IliC´ | “made i n y u g o s l av i a” 16 a r t m a r g i n s 8 : 1 i žena of Izložba opening the announced “Competition,” it also 19 ideas.”gressive of pro realization to enable the field, or other any or plastic, visual, the in explorations to “encourage all intended June 1969, acompetition in ­ announcing, by of Academy Fine Arts city’s from the group of artists anew, unknown and to support young, began SC Gallery “informal” more city’s the validation, institutional this OHO secured had after space. Shortly Yugoslav the cultural within out for itself carved had tive collec the that esteem the demonstrates Art of Contemporary Gallery the as such institution art spaces to areputable contemporary youth OHO’s from parallel transfer Art. of Contemporary Gallery attion the exhibi first to their mount to Zagreb 1969, OHO returned February In 1971 against 1968 at Zagreb’s staged SCevents Gallery. some landmark of the apparent when examining increasingly becomes that position critical of 1968—a events the following developments political of seismic aseries with parallel it in emerged Instead, Europe. Western and America in currents of, to, similar or derivate analogous no by means was Yugoslavia in Practice Art New development of the debates, the international these in, participated and with, engaged movement the world. But the while but throughout Yugoslavia in of 1968, year not watershed only the around and in emerged that tion produc artistic the informed of breadth that ideas and complexity the It more Sad. Novi also, and broadly, Belgrade, displays Zagreb, ences in audi unanticipated Ljubljana and able in larger was to reach square city asmall in staged gesture ephemeral and howspace and afleeting Yugoslav the cultural across to how sense circulated ideas avivid gives Spring. Prague end of the to protest the alight himself setting 1969 after January in who died dent Jan Palach, stu Czech young of the death the commemorating cessions Prague in of and pro of May protests Paris 1968 from the in students of battered photographs with interspersed turn were in statements artistic These Duchamp. Marcel and Cabanne Pierre between adiscussion as well as Center, Maciunas, George Hi-Red Ay-O, by and Brecht, George texts Rok Fluxus various alongside were printed , OHO’s texts and actions Novine GSC Novine iraspisuje,” objavljuje centra studentskog “Galerija Rok in photographs of Triglav detailed large, Encountering 19 this initiated SC Gallery the that month same the In 20. 5 (1968–69): , no. ’s pages ------from them: expected of what was tors were informed bition of Women of at “leftist core, Men its was, and expression an Exhi persuasively, the argued has Bago Ivana As Western markets. Yugoslavia’s to with opening came that influences oftion capitalist infiltra over the fears broader by social motivated was exhibition this capitalism, of advanced structures in rooted deeply accounts, to leading according was, art But whereas Western Conceptual art. of Conceptual understanding critical little was when there Zagreb playedout in which of dematerialization, gesture considered a pioneering Men today is of Women Exhibition and the to “idea” art, shift global the into entry masks. paper into sheet the turned space, others gallery the into them launched and airplanes paper into newspaper distributed the transformed some visitors while in: swept resonate, heat and sounds formed.” is move, exhibits where the exhibit, aunique in united all face-to-face, “eye to eye, staring foundthemselves But late—visitors too sure. it was expo their to minimize wall center tothe move toward from the began slowly they point, At that exhibition. of the subject were the themselves they that realizing gradually visitors one hundred around space,lit with opening.” the after press “close release, straight short to the according would, of Women that Men): (Exhibition and exhibition an muškaraca 23 22 21 20 to look at themselves.” ­ “opportunity the them were about give to enterwould they exhibition the that proclaiming distributed, catalog—were exhibition an as acted often and activities recorded exhibition which broadsheet, monthly self-published gallery’s GSC copies (SC of Newspaper)—the Novine where entrance gallery’s at the June waited 27 atOn 9 p.m., visitors Ibid. Košcˇevi´c, 29. “Izložba,” Košcˇevi´c,Želimir GSC Novine imuškaraca,” žena “Izložba Vecˇernji in featured list Announcement you don’t if ideas,even your have any. with here intimately you is . live art or that no is art, there not outside ofEither you. is Art Realism. Social you the are figuration, work, you the are the you are exhibition, At this itself! For exhibition God’s the be sake, for date Yugoslavia’s one before Lippard’s year Staged estimated flood abright, captures photographicdocumentation existing The 21 visi bewildered and confused text, same the In 4. 27, 1969, June , Zagreb, 23 element of frivolity Soon an 29. 8 (1968–69): , no. 22 ­ - 20 - - -

17 IliC´ | “made i n y u g o s l av i a” Bálint Szombathy, cover of Student’s “Underground” issue, Belgrade, December 16, 1971. 52 ∞ 34.5 cm. Image courtesy of Slavko Bogdanovi´c. ­ “figurative,” and “abstract” the between it as was nomenon—poised phe of this nature contradictory and eclectic, scattered, of the sense realism.” tion” “social and “figura the transformation, this itself,” through but also, “exhibition become not the only visitor the that impassioned demand its with particularly question, to this answer apotential provides statement West.” of the influence negative the deemed West,of been or the what has “Art ideology,” ­ to the to bourgeois opposition more and specifically, 27 26 25 24 SC Gallery? at who the ers gathered work and artists “leftist” the by were considered reactionary influences artistic “Western” Which time. at this considered “bourgeois” been have of what question might important the other. But raises it also on the of Yugoslav socialism, failures over the movement’s fears deeper the and one onhand, the commodification, art’s Western Conceptual with disenchantment growing Practice’s Art New the between tion Yugoslavia’s represented: throughout history 1950s the persevered and in emerged that “moderate modernism” Šuvakovi´c­, to Miško According abstraction. and figuration between the relationship aesthetic to the debates shifted of the focus the event, this after culture in more granted As 1948. “freedom” was in Cominform from the expulsion country’s the following style official the as carded Djuri´c 11. 2003), Šuvakovi´c Press, MIT Miško and MA: (Cambridge, 1918–1991 Yugoslavia, in Post-Avant-Gardes and Neo-Avant-Gardes Gardes, Avant- Historic Histories: Impossible in Politics,” and Šuvakovi´c, Art Miško “Introduction: Košcˇevi´c, 29. “Izložba,” 9. “Dematerialization,” Bago, 15. 2014): (Spring no.1 2, Review Studies Curatorial and Museum 1970s,” and 1960s the during Yugoslavia in Critique Institutional as Curation Exhibition: the of Politicization and “Dematerialization Bago, Ivana Šuvakovi´c’s astrong gives of “moderate modernism” description of Women Exhibition Men’s look and at the A closer supporting neo-avant-gardes). to the (from abstraction modernism versions of avoice to it more was of other radical resistance the on ­ while Western modernism, of international mainstream the to approach artists allowed this one hand the . On nationalism inter and regionalism between traditional, the and modern the between figurative, the and abstract the between path A middle 24 connec of the sense anuanced provides Bago’s interpretation 26 dis was Realism Socialist Yugoslavia, In 25 27 Dubravka , ed. ­ - - - - - 19 IliC´ | “made i n y u g o s l av i a” 20 a r t m a r g i n s 8 : 1 creation.” of concern artistic main the be should ity, which “national” the regarding from questions arose and wing,” right “definitely activities 30 29 28 collaborators. SC Gallery’s ­“moderate force a“bourgeois” the by as not viewed was modernism” of institutions. range awide within encased and of individuals avariety with associated ofrate field practices, dispa arather embodied clearly For style the construct. a monolithic ­ as “moderate modernism” this it of comes approaching to Yugoslavia, when ­ difficulty, the reveals It also “traditional.” the and “modern” the figurative “non-­ that believed which “Biafra,” agroup called with associated to be ­ came on painters display. young By1970, objects these the destroyed 1967, October and in (Hit Parade) exhibition Hit parada of the ing open the into when it stormed SC Gallery the with come conflict into first had which of Academy Fine Arts, at the studying painters rative the republic’s autonomy later, November month One 1971. in Tito charged of the support in on strike going universities at Croatian students over 30,000 Movement,” Mass included “Croatian which the in ing of culminat Croatia’s many core spread had institutions, through cies tenden 1970s, of nationalist the beginning Bythe sentiment. national defender of Croatian aggressive an became that institution cultural ­ ancient and arespected Hrvatska, Matica the institution, Croatian one ­ stoked through being primarily was agitation This Federation. Croatia’s the autonomy for within expanding demands popular refuel incompleteness economic of to reform 1965 of the the began which in

Croatian Inevitably Želimir 124. 2015), Press, CEU (Budapest: Socialism under Ecology and Neo-Avant-Garde Bloc: Green The Fowkes, Azinovi´c, Studio Art Maja 62; 2001), (Zagreb: 1970–1978 Biafra Grupa Srhoj, Vinko 2016). Press, MIT MA: (Cambridge, Revolution Information the of Threshold the at Art Tendencies: New Medosch’s Armin to refer Tendencies, New on information For more movement. Tendencies New international and trailblazing the to onward, 1961 from host, played also 1950); ithad (in 51 EXAT name the by went that architects and painters of group “modernist” sive progres the of emergence the only not witnessed already had Zagreb 1969 by all, After of Women Exhibition Men, and of the time at Zagreb, In the (December

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26 a r t m a r g i n s 8 : 1 outset. the from charge of emancipatory deprived was self-management inception, from its market the with linked that, Yugoslavia—namely former the ­allegations on ­ histories to recent political have become central that culture. political healthy and active an to sustain work urgent needed from the tract to dis beginning was ally,” of consumerism style communist asofter dubbed “America’s often country the in to implycover that appeared Bogdanovi´c’s Yugoslavia.”in Taken with conjunction in “song,” this “Made ­ it stating beneath acaption accompanied by flag, American of the print Szombathy: areversed group Balínt member Bosch + Bosch issue’s by the designed cover, was which reinforced through 45 44 43 1971). (December Student magazine ofissue the Youth for censoredSong “Underground” the Sad” the Novi Tribune, in work, Bogdanovi´c fortees democratic “Underground his published guaran to provide weren’t position the in institutions city’s when the At amoment intervention. to overcome which institutional through KÔD Slavko member Bogdanovi´c channels out different to seek began artists, experimental city’s Youth to the the now Tribune With closed Th of tradition.” new conservation and apreservation ideology, de-individualization, provincial of] exponent [an creation, of world all to the . [a] stance suffocation a consumerist with city of the habitants zation,” “adaptation of young become an had organi youth of the property “official the being Youth which, Tribune, Bogdanovi´c’s Sad, Novi conditionsat the current the addressed text outside audiences of to wider appealing and publication youth leading of the beginning compliance. public Atwere the employed to preserve means more sphere,and dispersed softer political the in taken being were clearly measures coercive But while life. of political principle first the as moment, for reasserted was, abrief centralism democratic and introduced, Bureau was Executive strengthened and anew 72, e S after Yugoslavia after Politics Radical Post-Socialism: of Desert the to Welcome in Experiment,’” ‘Yugoslav the of Fall and Rise The Debt: and Development “Self-Management, Unkovski-Korica, Vladimir Bogdanovi´c, underground.” “Pesma 1971. 16, Student Sad,” Novi mladih Bogdanovi´c, tribina Slavko underground “Pesma 1971, Bogdanovi´c’s in Written of the many “song” anticipated truggle f truggle 45 1971– in leaderships liberal of the removal the Following 42. 2014), Verso, Srecˇko, ed. (London: Štiks Igor and Horvat o r S elf-Manage 44 were subtly accusations These m ent 43 Belgrade’s in Printed , December ­ - - - “end” representedthe “gestures” of these For artists, the bottles. Cola Coca- empty holding while END” “THE caption the with embossed ­photographs,other t-shirts wearing captured are protagonists the produced Yugo automobile. nationally of In the front windshield the on ashop holders front perched window, or Coke on pencil and bottles Coke empty photographicdocumentation: sparse through only exist store. Today, front of in alocal actions friends “invisible” these with day every kvass Russian and Coca-Cola drank they 1972 1977 and between ( umetnost work Nevidljiva the included which THE END called action time-based the began they Instead, practice. C and Tišma Slobodan members situation, regressive political the criticized who directly of artists of ahandful imprisonment the and Youth League local the institutions to provocationwas to direct alternative sentence. prison eight-month an received artist the aresult, As excesses. any moment, not could take at that which, system institutional an Bogdanovi´c, of way challenging effective only the provocationbecame indoctrination.” socialist and clubs ­ ­promoting . disco- talks political and underground “commercial simply entertainment,” of mass become a“distributor had Tribune Bogdanovi´c progressive Youth of previously complained how the 1971, in Already society. a“self-managing” capable of supporting ture cul of arobust political lack from the diverting while of Communists, League of the hand heavy the to cushion began once again sumerism con and comforts material and were lifted, measures 1970s, austerity 47 46 Sad.” but Novi not in Russia, in expected be could . this fists clenched with follows Stalin inevitably them behind and breathed, short- already goggled, eyes their running, are fingers gentle with men “young which in environment, of the nature coercive fronted the con further text of production.” means The of the ownership “social the in grounded theoretically relations of commercial pillar ideological state’s one,removed from the far consumerist and conformist totally to a of culture understanding engaged and active away from an steered Ibid. Bogdanovi´c, underground.” “Pesma only the line, party to the to adhere who refused For artists other Youth the by Tribune against taken action the . Following ˇ edomir Drcˇa art from public withdrew 46 Tribune’s been had The programs state the through stop working ), for which Art Invisible KÔDformer 47 For - , - - 27 IliC´ | “made i n y u g o s l av i a” 28 a r t m a r g i n s 8 : 1 Slobodan Tisˇma andC Contemporary Art,Vojvodina. courtesy oftheMuseum action, 19∞24.2 cm.Image photograph ofartistinstreet Sad, 1976.Black-and-white [Examples ofInvisibleArt],Novi Drcˇa, Primeri nevidljive umetnosti instead. Šempas in house abandoned farm an in acommune of silence,”a “period forming Art Invisible Dr and Tišma that year same the In to them. left ­ engagement of artistic form only the became escapism that seems Tribune. Youth abandoned the by at being felt artists by disappointment to the spoke also acts private Sad these Novi in time, same the atners around ofpractitio key “Global Conceptualism’s” many resonated with draw 49 48 Isimply and quit.” we did doubt everything to Istarted politics. i.e. strategies with way any in to deal I didn’t want ­ dead. definitely was art equals life idea that The sions were crushed. illu great The Seventies. early the in what happened with chantment disen agreat “reason in consisted the that revealed recently Tišma or performance. action artistic of an documents as than reflection more residues as of of aform photographs serving the with art, their “Prise Denegri, Ješa šume.” “Kralj Boban, 1974): In 20. (December 190 no. 1995, until about whynot anything Asked to publish he chose Ljubljana’s ˇ edomir

it turmoil, political At and amoment of oppressive change on embarked and performances public , OHO all dropped

Students’ 49 cˇ

OHO,” C Polja: grupe rad na anje From Students’ 1971, Belgrade’s newly opened Cultural

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Art - - - 51 50 multifaceted and more afar complex, gradual, was self-management ­ with experience country’s the that to register fail simultaneously they relevance, of political its Practice Art New the depriving While Yugoslav in socialism. implicit contradictions many over the to smooth 1970s. the of ­ beginning at the art proponents of early to stop its making many driving upheaval, and amoment by of impacted crisis were clearly Practice Art New the nurtured spaces that youth nomic conditions, the eco of these for acritique necessary activity radical Able the to foster world into economic markets. integration country’s to the linked mately inti development its 1960s,was and of the part latter the Sad in Novi “golden Practice’s Ljubljana, and in Zagreb, era” began Art New the youth.” student of urban segment to anarrow effects their . limiting thinking and practices art critical to “ghettoise attempt an Kolešnik, Ljiljana curator Yugoslavia’s words that ofclude spacesthe were,Zagreb youth in to con fair today,seem even stories it might these opment. Revisiting devel its when examining outlook disillusioned and to adopt adefeatist circumstances. cultural and ferent political dif very under albeit disillusionment, similar end in would ment that engage artistic of critical forms to establish struggle the inherit would of 1968, events to the reaction in founded Gallery, and Center Cultural

157. catalog, exhibition 2014), umjetnosti, suvremene Muzej 1950–1974 Politics Culture Art, Modernity: and Socialism pamphlet. exhibition 1971), umetnosti, savremene Muzeja uJugoslaviji umetnosti konceptualne Primeri see information, For more groups. OHO, (E KÔD, the and by works of consisted ­ which gallery, its in uJugoslaviji) umetnosti konceptualni (Primeri Art” Conceptual “Yugoslav of exhibition first the organized Art Contemporary of Museum Belgrade’s opened, Center Cultural Students’ Belgrade the that year same the in Interestingly, .com/index.php/oho-homepage. ­ http://www.artmargins 2018, 31, August accessed Online, ARTMargins OHO Files,” “The Žerovc, Beti and 1978), center, kulturni Študentski (Ljubljana: OHO, 1966–1971 Tomaž Brejc, see OHO’s on dissolution, information For more commitments. personal divergent increasingly to living, communal and meditation, spirituality, in interest ing agrow from varied—ranging and prosaic more are reasons their Online, at ARTMargins published members, group’s the with interviews recent more Žerovc’s Beti in production, art professional with disillusionment its of because OHO dissolved that assumed often tem’ Practice “threshold tend of accounts defeat they are, these as However, compelling as tend Practice Art New of accounts the that It comes no as surprise

dictated

exhibition,

of

by their 51

here presented have demonstrated, studies case the As the

greatest

Tomaž art

market

Brejc success”

and

explained Tomi´c Biljana , ed.

exhibition

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because

that

policies

OHO’s

they 50

Salon (Belgrade: Denegri Ješa and

never in (Zagreb: Kolešnik Ljiljana , ed.

decision

the

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late

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stop

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- - - 29 IliC´ | “made i n y u g o s l av i a” 30 a r t m a r g i n s 8 : 1 world the today. place in taking processes political worrisome of the timely, view not in least seems of self-management potentials more the progressive excavating time same at the gration—while disinte eventual and economic and fragmentation, political vast try’s coun to the led Yugoslavia—what in what went wrong understanding of outcome, its terms in period entire the to recast continues existence on Yugoslavia’s literature the seventy-year to solve. arose ism While Yugoslav problems social that the erase cannot of experience years fifty of nearly dismissal But the socialism. of rest European the with along condemned was Yugoslav 1990s the experiment the during that given not is surprising, Perhaps dissolution. violent this country’s the driving eventually regime to the stability to provide appeared that elements of the many with glance, apparent at be may first phenomenon than Image courtesyoftheMuseumContemporary Art,Vojvodina. Novi Sad,1976.Black-and-whitephotographofartistinstreetaction,19∞24.2 cm. Slobodan Tisˇma andC ˇ edomir Drcˇa, Primerinevidljiveumetnosti[ExamplesofInvisibleArt],

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