etween 1961 and 1973, a series of five interna­ which, he said, the “line is more important than the .” 2 Manzoni tional exhibitions were held in Zagreb, in what also voiced apprehension about Mavignier as the creator of the exhibi­ was then Yugoslavia and is now Croatia, under tion concept—a well-founded worry since Mavignier, in charge of choos­ the title Nove Tendencije (New Tendencies). The ing the works for the 1961 show, accepted and exhibited only the paint­ idea was originally suggested by Almir Mavignier, ing. This history was long unknown in professional circles, but today it a German artist born in Brazil, and the shows is clear that this decision of Mavignier’s had a far-reaching influence not were organized by Zagreb’s contemporary- just on the thematic physiognomy of the firstNove Tendencije exhibition art museum, the Galerija suvremene umjet­ but on the fundamental orientation of this international art movement nosti. With theoretical elaboration by the critics Matko Meštrović and in all its aspects. BRadoslav Putar, the 1961 exhibition featured members of the international During both the firstNove Tendencije exhibition in 1961 and the artists’ groups , GRAV (Groupe de Recherche d'Art Visuel), Gruppo second in 1963, many personal and conceptual realignments occurred N, and Azimuth ( and ); a number of among the participating artists. Meštrović writes, “In quite a short time, individual artists from outside Yugoslavia; and two local artists, Julije the new movement showed an extraordinary speed in its formal execu­ Knifer and .1 Nove tendencije 2 followed in 1963, Nova tendencija tion, but also a split in its ideology.” 3 On the Italian art scene one symp­ 3 in 1965, Tendencije 4 in 1968–69, and Tendencije 5 in 1973, with dozens of tom of this split was the exhibition Arte programmata (Programmed artists participating from Europe Art), organized in in 1962 and farther afield. by Bruno Munari, under the pa­ Both artists and organizers tronage of the Olivetti company, felt the need for a wide international and with a catalogue essay by network that would connect not Umberto Eco. Displacing the ro­ only their artistic but their ideo­ mantic fervor of Manzoni’s “nuova ART IN THE NETWORK OF logical positions. They were linked concezione artistica” (new artistic by their interest in experiment­ conception), these program-ori­ TECHNOLOGICAL MEDIA AND ing with new technology and by a ented artists, such as Munari and leftist orientation that positioned Enzo Mari, were often designers MASS COMMUNICATION: them against the domination of by trade. Mari would be invited to the art market. It is important to conceptualize the third exhibition NEW TENDENCIES note that on the political stage in Zagreb, now with a title in the the establishment of these exhibi­ singular, Nova Tendencija 3 (New Ješa Denegri tions—and especially of the first, Tendencies 3), in 1965. His concept in 1961—coincided with the emer­ revolved around the topic of the Fig. 1. Pierro Manzoni. Merda d’artista n. 68 (Artist's Shit no. 68). 1961. gence of the Non-Aligned Move­ Tin can and printed paper, 4.8 × 6 × 6 cm. Fondazione Piero Manzoni, Milan “divulgation of research samples.” ment, a global group of developing At the same time, the GRAV nations with Yugoslavia as one of the founders. This is not to say that the group also changed its basic orientation, moving to advocate “art as Nove Tendencije exhibitions fell under the patronage of any “official” state spectacle, viewer engagement, instability, and programming.” 4 politics. On the contrary, the exhibitions’ artists and organizers shared The absence of some participants in the first exhibition from the a fundamental belief in international collaboration based on advanced show of 1965, and the large number of newcomers in that year, were signs political positions and the use of new technologies, at the same time of organizational, operative, and ideological crises within the movement respecting the ethical integrity of each participant. Indeed Nova that the exhibitions showcased. (These crises would be surmounted by Tendencija 3, in 1965, organized in Yugoslavia while the country was a the new thematic foci of Tendencije 4 and Tendencije 5.) In the same year member of the Non-Aligned Movement, included artists from both the as the third exhibition, The Museum of , New York, organized Soviet Union (Moscow’s Dvizheniye group) and the United States (the an exhibition titled The Responsive Eye, curated by William Seitz, which Anonima group, from Cleveland)—the first time such artists exhibited received a mixed response from the participants in the Nove Tendencije together on the international art scene. shows. While Mavignier wrote that “during the opening and the grand An article of Meštrović’s from 2010 unveils some previously un­ exhibition in New York, which can be called historical,” he “thought with known facts about the concept and organization of the Nove Tendencije gratitude of Zagreb’s contribution to it,” 5 Manfredo Massironi, a mem­ exhibition of 1961. In a letter to the author that year, Manzoni wrote that ber of Gruppo N from Padua, saw in the show the unacceptable influence he had sent three works to the exhibition: a tin can (Merda d’artista, 1961; of the U.S.-dominated institutional and market system and pronounced fig. 1), a scroll from the Linee (Lines) series, and an Achrome painting, of it a “Pyrrhic victory” and a “first-class funeral procession.” 6

8. Networks, Media & Communication Ješa Denegri 685 etween 1961 and 1973, a series of five interna­ which, he said, the “line is more important than the painting.” 2 Manzoni tional exhibitions were held in Zagreb, in what also voiced apprehension about Mavignier as the creator of the exhibi­ was then Yugoslavia and is now Croatia, under tion concept—a well-founded worry since Mavignier, in charge of choos­ the title Nove Tendencije (New Tendencies). The ing the works for the 1961 show, accepted and exhibited only the paint­ idea was originally suggested by Almir Mavignier, ing. This history was long unknown in professional circles, but today it a German artist born in Brazil, and the shows is clear that this decision of Mavignier’s had a far-reaching influence not were organized by Zagreb’s contemporary- just on the thematic physiognomy of the firstNove Tendencije exhibition art museum, the Galerija suvremene umjet­ but on the fundamental orientation of this international art movement nosti. With theoretical elaboration by the critics Matko Meštrović and in all its aspects. BRadoslav Putar, the 1961 exhibition featured members of the international During both the firstNove Tendencije exhibition in 1961 and the artists’ groups ZERO, GRAV (Groupe de Recherche d'Art Visuel), Gruppo second in 1963, many personal and conceptual realignments occurred N, and Azimuth (Enrico Castellani and Piero Manzoni); a number of among the participating artists. Meštrović writes, “In quite a short time, individual artists from outside Yugoslavia; and two local artists, Julije the new movement showed an extraordinary speed in its formal execu­ Knifer and Ivan Picelj.1 Nove tendencije 2 followed in 1963, Nova tendencija tion, but also a split in its ideology.” 3 On the Italian art scene one symp­ 3 in 1965, Tendencije 4 in 1968–69, and Tendencije 5 in 1973, with dozens of tom of this split was the exhibition Arte programmata (Programmed artists participating from Europe Art), organized in Milan in 1962 and farther afield. by Bruno Munari, under the pa­ Both artists and organizers tronage of the Olivetti company, felt the need for a wide international and with a catalogue essay by network that would connect not Umberto Eco. Displacing the ro­ only their artistic but their ideo­ mantic fervor of Manzoni’s “nuova ART IN THE NETWORK OF logical positions. They were linked concezione artistica” (new artistic by their interest in experiment­ conception), these program-ori­ TECHNOLOGICAL MEDIA AND ing with new technology and by a ented artists, such as Munari and leftist orientation that positioned Enzo Mari, were often designers MASS COMMUNICATION: them against the domination of by trade. Mari would be invited to the art market. It is important to conceptualize the third exhibition NEW TENDENCIES note that on the political stage in Zagreb, now with a title in the the establishment of these exhibi­ singular, Nova Tendencija 3 (New Ješa Denegri tions—and especially of the first, Tendencies 3), in 1965. His concept in 1961—coincided with the emer­ revolved around the topic of the Fig. 1. Pierro Manzoni. Merda d’artista n. 68 (Artist's Shit no. 68). 1961. gence of the Non-Aligned Move­ Tin can and printed paper, 4.8 × 6 × 6 cm. Fondazione Piero Manzoni, Milan “divulgation of research samples.” ment, a global group of developing At the same time, the Paris GRAV nations with Yugoslavia as one of the founders. This is not to say that the group also changed its basic orientation, moving to advocate “art as Nove Tendencije exhibitions fell under the patronage of any “official” state spectacle, viewer engagement, instability, and programming.” 4 politics. On the contrary, the exhibitions’ artists and organizers shared The absence of some participants in the first exhibition from the a fundamental belief in international collaboration based on advanced show of 1965, and the large number of newcomers in that year, were signs political positions and the use of new technologies, at the same time of organizational, operative, and ideological crises within the movement respecting the ethical integrity of each participant. Indeed Nova that the exhibitions showcased. (These crises would be surmounted by Tendencija 3, in 1965, organized in Yugoslavia while the country was a the new thematic foci of Tendencije 4 and Tendencije 5.) In the same year member of the Non-Aligned Movement, included artists from both the as the third exhibition, The Museum of Modern Art, New York, organized Soviet Union (Moscow’s Dvizheniye group) and the United States (the an exhibition titled The Responsive Eye, curated by William Seitz, which Anonima group, from Cleveland)—the first time such artists exhibited received a mixed response from the participants in the Nove Tendencije together on the international art scene. shows. While Mavignier wrote that “during the opening and the grand An article of Meštrović’s from 2010 unveils some previously un­ exhibition in New York, which can be called historical,” he “thought with known facts about the concept and organization of the Nove Tendencije gratitude of Zagreb’s contribution to it,” 5 Manfredo Massironi, a mem­ exhibition of 1961. In a letter to the author that year, Manzoni wrote that ber of Gruppo N from Padua, saw in the show the unacceptable influence he had sent three works to the exhibition: a tin can (Merda d’artista, 1961; of the U.S.-dominated institutional and market system and pronounced fig. 1), a scroll from the Linee (Lines) series, and an Achrome painting, of it a “Pyrrhic victory” and a “first-class funeral procession.” 6

8. Networks, Media & Communication Ješa Denegri 685 The staging of the Nove Tendencije exhibitions in Zagreb owes a debt The Zagreb exhibitions integrated the city’s art scene firmly in related and professional problems but also establishing personal connections, to the activities of the EXAT-51 (Experimental Atelier 1951) group there events abroad, while also contributing to the wider cultural mediation successful collaborations, and close friendships. a decade earlier. The group announced itself by issuing a manifesto in of the art scenes of West and East, as well as to those of the nonaligned The legacy of the Zagreb exhibitions remains fully evident today. December of 1951; its members were Picelj, who would participate in a nations. These five shows initiated many discussions on the problematics of number of the Nove Tendencije exhibitions beginning in 1961, and Vlado The Nove Tendencije movement was not strictly confined to a his­ contemporary art practices, ranging from postwar and Kristl, , and , who would variously torical period and has lately been gaining attention from younger art Neo-Constructivism through monochrome painting, , and the participate beginning in 1963. The EXAT-51 manifesto argued for a synthe­ historians and curators. Recent exhibitions devoted to it include Die use of computers in art-making to the emergence of Conceptual art. This sis of visual art, architecture, and design; its members produced Neuen Tendenzen. Eine europäische Künstlerbewegung 1961–1973, at the wide conversation enveloped a great number of participants, involving in the manner of postwar geometric abstraction. Another antecedent to Museum für Konkrete Kunst, Ingolstadt, (2006–7),8 Bit International— international networking, artists' groups, collaborations, and interperson­ the Nove Tendencije movement was Zagreb’s (1959–66), [Nove] tendencije. Computer und visuelle Forschung. Zagreb 1961–1973, al communications that served as a platform for constructivist and activ­ whose members, including Knifer, Meštrović, Putar, and Josip Vaništa at the Neue Galerie, Graz (2007), and the Zentrum für Kunst und ist thinking in a time of the unstoppable expansion of the mass media. similarly featured among its exhibitors, organizers, and theoreticians.7 Medientechnologie, Karlsruhe (2008–9). This latter show generated In his essay “Die Utopie der Neuen Tendenzen” (The Utopia of the New Tendencies) Rasmus Kleine comes to this pertinent conclusion: 1 The Nove Tendencije exhibition, 1961, is listed as one of the significant exhibitions of that year in Jürgen Harten, Benjamin Buchloh, Rudi Fuchs, Konrad Fischer, John Matheson, and Hans Strelow, eds., Prospekt/Retrospect: Europa 1946–1976 (Cologne: Verlag der Bu- The environment in which Nove Tendencije were created was, in es- chhandlung Walther König, 1976). The catalogue also lists Bewogen bewegung (Stedelijk sence, from the very beginning filled with optimism and hope. Although Museum, Amsterdam), À 40° au-dessus de Dada (Galerie J, Paris), Le Nouveau Réalisme à Paris et à New York (Galerie Rive Droite, Paris), Avantgarde 61 (Städtisches Museum, Trier) the consequences of World War II were still felt, young artists were look- as notable shows of that year. Participating artists were Marc Adrian, Alberto Biasi, Enrico ing ahead to what they thought would be a better future. … Advances Castellani, Ennio Chiggio, Andreas Christen, Toni Costa, Piero Dorazio, Karl Gerstner, Gerard in technology and science were no longer considered a threat. The von Graevenitz, Rudolf Kämmer, , Edoardo Landi, , Heinz Mack, Piero Manzoni, Manfredo Massironi, Almir Mavignier, François Morellet, Gotthart Müller, Herbert declared goal of Nove Tendencije was to answer this development and Oehm, Ivan Picelj, , Uli Pohl, Dieter Rot, Joël Stein, Paul Talman, Günther Uecker, reconcile art, science, and technology. … The works in Nove Tendencije Marcel Wyss, and Walter Zehringer. The participants in Nove Tendencije 2, in 1963, were Marc Adrian, , Giovanni Anceschi, Vojin Baki´c, Davide Boriani, Martha Boto, aimed to make their viewers reflect on and understand the changed Enrico Castellani, Andreas Christen, Gianni Colombo, Carlos Cruz-Diez, Ugo Rodolfo Demarco, 10 conditions of real life. Gabriele De Vecchi, Piero Dorazio, Equipo 57, Héctor Garcia-Miranda, Karl Gerstner, Gruppo N, Dieter Hacker, Julije Knifer, Vlado Kristl, Enzo Mari, Julio Le Parc, Heinz Mack, Almir Mavignier, Francois Morellet, Gotthart Müller, Henk Peeters, Ivan Picelj, Uli Pohl, Karl Reinhartz, Vjenceslav The first of these exhibitions was not “a surprising case,” in Mavi­ Richter, , Helge Sommerrock, Aleksandar Srnec, Klaus Staudt, Joël Stein, gnier’s no doubt well-meant phrase. It could not have happened with­ Miroslav Šutej, Paul Talman, Luis Tomasello, Günther Uecker, , Gerhard von out an existing artistic foundation in Zagreb, a foundation of which Graevenitz, Ludwig Wilding, Jean-Pierre Yvaral, and Walter Zehringer. 2 See Matko Meštrovi ´c, “Nepoznate podrobnosti,” Fantom slobode 3 (2010): 207–15. the EXAT-51 and Gorgona groups were a part. The artists and theoreti­ 3 Meštrovi ´c, “Razlozi i mogu ´cnosti povijesnog osvješ ´civanja,” Nove Tendencije 3 (Zagreb: cians who initiated and participated in the Nove Tendencije exhibitions Galerija suvremene umjetnosti, 1965), pp. 13–15. were aware that they were continuing a regional tradition in culture 4 Luciano Caramel, GRAV: Groupe de recherche d’art visuel 1960–1968 (Milan: Electa Editrice, 1975), n.p. and art, a distinct “Other line” in ideological opposition to the pre­ 5 Mavignier, “Nove tendencije 1—slu ˇcaj koji iznenaduje,” in Tendencije 4 (Zagreb: Galerija vailing moderate modernism. That line ran from the historical avant- suvremene umjetnosti, 1968–69), n.p. Fig. 2. Josip Vaništa. Silver Line 1965 – III – 2. 1965. Oil on canvas, 140 × 180 cm. , Zagreb gardes of the 1920s, including and Dadaism, through EXAT-51 6 See Massironi, “Appunti critici sugli apporti teorici all’interno della Nuova tendenza dal 1959 al 1964,” Nova tendencija 3 (Zagreb: Galerija suvremene umjetnosti, 1965), pp. 23–31, and Gorgona to Nove Tendencije. The fourth exhibition, in 1968–69, and “Ricerche visuali,” Situazioni dell’arte contemporanea (Rome: Edizioni Librarte, 1976), pp. Earlier on, in the 1920s, Zagreb had been the city of the Zenitism an extensive publication, A Little-Known Story about a Movement, a and the fifth, in 1973 opened up new topics, such as the use of com­ 50–63. movement and of Ljubomir Micić’s Zenit magazine, whose pages were Magazine, and the Computer’s Arrival in Art: New Tendencies and Bit puters,11 visual and concrete poetry, and Conceptual art.12 In doing 7 Meštrovi ´c also wrote the key theoretical texts “Nove spoznaje u likovnoj umjetnosti” (1962), “Ideologija Novih tendencija” (1963), “Metodologija i utopija” (1963), “Scijentifikacija 9 graced by texts and reproductions of works by Vasily Kandinsky, Lajos International, 1961–1973. so they fulfilled a far-reaching vision of the creators of the firstNove kao uvjet humanizacije” (1963), and “Razlozi i mogu ´cnosti povijesnog osvješ ´civanja” (1965). Kassák, El Lissitsky, Kazimir Malevich, Aleksandr Rodchenko, Vladimir Bit International was a magazine published by the Galerija su­ Tendencije. (Someone particularly to be noted here is Božo Bek, the Gorgona members also organized exhibitions by two participants in the first Nove Tendencije Tatlin, László Móholy-Nágy, and Karel Teige, as well as by local artists vremene umjetnosti between 1968 and 1972. It produced a number of director of the Galerija suvremene umjetnosti at the time.) That vi­ exhibition at Studio G in Zagreb: Morellet in 1962 and Dorazio in 1963. 8 See Die Neuen Tendenzen. Eine europäische Künstlerbewegung 1961–1973, ed. Tobias such as Josip Seissel/Jo Klek. There were also the magazines Dada Tank topical issues: “Theory of Information and the New Aesthetics,” with sion was to build an organizational and presentational platform in plat­ Hoffman and Rasmus Kleine (Ingolstadt: Museum für Konkrete Kunst, 2006) and Dada Jazz, published by Dragan Aleksić and featuring contributions texts by Max Bense and Abraham Moles; “Computers and Visual form in the local context, although also international and with biennial 9 A Little-Known Story about a Movement, a Magazine, and the Computer’s Arrival in Art: New Tendencies and Bit International, 1961–1973, ed. Margit Rosen in collaboration with by Richard Huelsenbeck, , and Tristan Tzara. Research,” with texts by Herbert W. Franke, Karl Gerstner, Leslie Mezei, continuity, and gathering innovative artists and directions from succes­ Peter Weibel, Darko Fritz, and Marija Gattin (Cambridge, Mass.: The MIT Press, 2011). The exhibitions, then, were part of the very complex artistic at­ Frieder Nake, Georg Nees, Michael A. Noll, Jiří Valoch, and others; sive generations. Indeed these exhibitions became significant events in 10 Kleine, “Die Utopie der Neuen Tendenzen,” Die Neuen Tendenzen, ed. Hoffman and mosphere of postwar Yugoslavia, following the denunciation of the “Design,” with texts by Gui Bonsiepe, Tomas Maldonado, and others; Europe, as were the retrospective shows examining them in Ingolstadt Kleine, pp. 38–46. 11 Tendencije 5 had a “Computers and Visual Research” section, including the artists then-reigning ideology of Socialist Realism and paving the way for a “The Word Image: Poésie Concrète,” edited by Vera Horvat Pintarić and and Karlsruhe. Vladimir Bonaˇci´c, Waldemar Cordeiro, Herbert Franke, Miljenko Horvat, Auro Lecci, Manfred unique form called “Socialist Modernism.” Working in the same vein as others; and “Television,” with texts by Eco, Renato Barilli, , Mohr, Georg Nees, John Whitney, Edward Zajec, Vilko Žiljak, and others. the EXAT-51 and Gorgona groups, the local Nove Tendencije artists created Martin Krampen, Pierre Schaeffer, and others. Especially significant Translated from the Croatian by Dorotea Fotivec. 12 Tendencije 5’s “Conceptual Art” section included Giovanni Anselmo, John Baldessari, Daniel Buren, Radomir Damnjanovi´c-Damnjan, Braco Dimitrijevi´c, Douglas Huebler, Jannis a complex of artistic phenomena whose radicalism makes it stand out were the magazine’s international colloquiums, seminars, symposiums, Kounellis, On Kawara, Sol LeWitt, Giulio Paolini, Giuseppe Penone, Bálint Szombathy, Ilija strongly from the mostly moderate local version of Socialist Modernism. work meetings, and less formal gatherings, arranged to discuss current Šoški´c, Goran Trbuljak, and others.

686 8. Networks, Media & Communication Ješa Denegri 687 The staging of the Nove Tendencije exhibitions in Zagreb owes a debt The Zagreb exhibitions integrated the city’s art scene firmly in related and professional problems but also establishing personal connections, to the activities of the EXAT-51 (Experimental Atelier 1951) group there events abroad, while also contributing to the wider cultural mediation successful collaborations, and close friendships. a decade earlier. The group announced itself by issuing a manifesto in of the art scenes of West and East, as well as to those of the nonaligned The legacy of the Zagreb exhibitions remains fully evident today. December of 1951; its members were Picelj, who would participate in a nations. These five shows initiated many discussions on the problematics of number of the Nove Tendencije exhibitions beginning in 1961, and Vlado The Nove Tendencije movement was not strictly confined to a his­ contemporary art practices, ranging from postwar Concrete art and Kristl, Vjenceslav Richter, and Aleksandar Srnec, who would variously torical period and has lately been gaining attention from younger art Neo-Constructivism through monochrome painting, kinetic art, and the participate beginning in 1963. The EXAT-51 manifesto argued for a synthe­ historians and curators. Recent exhibitions devoted to it include Die use of computers in art-making to the emergence of Conceptual art. This sis of visual art, architecture, and design; its members produced paintings Neuen Tendenzen. Eine europäische Künstlerbewegung 1961–1973, at the wide conversation enveloped a great number of participants, involving in the manner of postwar geometric abstraction. Another antecedent to Museum für Konkrete Kunst, Ingolstadt, (2006–7),8 Bit International— international networking, artists' groups, collaborations, and interperson­ the Nove Tendencije movement was Zagreb’s Gorgona group (1959–66), [Nove] tendencije. Computer und visuelle Forschung. Zagreb 1961–1973, al communications that served as a platform for constructivist and activ­ whose members, including Knifer, Meštrović, Putar, and Josip Vaništa at the Neue Galerie, Graz (2007), and the Zentrum für Kunst und ist thinking in a time of the unstoppable expansion of the mass media. similarly featured among its exhibitors, organizers, and theoreticians.7 Medientechnologie, Karlsruhe (2008–9). This latter show generated In his essay “Die Utopie der Neuen Tendenzen” (The Utopia of the New Tendencies) Rasmus Kleine comes to this pertinent conclusion: 1 The Nove Tendencije exhibition, 1961, is listed as one of the significant exhibitions of that year in Jürgen Harten, Benjamin Buchloh, Rudi Fuchs, Konrad Fischer, John Matheson, and Hans Strelow, eds., Prospekt/Retrospect: Europa 1946–1976 (Cologne: Verlag der Bu- The environment in which Nove Tendencije were created was, in es- chhandlung Walther König, 1976). The catalogue also lists Bewogen bewegung (Stedelijk sence, from the very beginning filled with optimism and hope. Although Museum, Amsterdam), À 40° au-dessus de Dada (Galerie J, Paris), Le Nouveau Réalisme à Paris et à New York (Galerie Rive Droite, Paris), Avantgarde 61 (Städtisches Museum, Trier) the consequences of World War II were still felt, young artists were look- as notable shows of that year. Participating artists were Marc Adrian, Alberto Biasi, Enrico ing ahead to what they thought would be a better future. … Advances Castellani, Ennio Chiggio, Andreas Christen, Toni Costa, Piero Dorazio, Karl Gerstner, Gerard in technology and science were no longer considered a threat. The von Graevenitz, Rudolf Kämmer, Julije Knifer, Edoardo Landi, Julio Le Parc, Heinz Mack, Piero Manzoni, Manfredo Massironi, Almir Mavignier, François Morellet, Gotthart Müller, Herbert declared goal of Nove Tendencije was to answer this development and Oehm, Ivan Picelj, Otto Piene, Uli Pohl, Dieter Rot, Joël Stein, Paul Talman, Günther Uecker, reconcile art, science, and technology. … The works in Nove Tendencije Marcel Wyss, and Walter Zehringer. The participants in Nove Tendencije 2, in 1963, were Marc Adrian, Getulio Alviani, Giovanni Anceschi, Vojin Baki´c, Davide Boriani, Martha Boto, aimed to make their viewers reflect on and understand the changed Enrico Castellani, Andreas Christen, Gianni Colombo, Carlos Cruz-Diez, Ugo Rodolfo Demarco, 10 conditions of real life. Gabriele De Vecchi, Piero Dorazio, Equipo 57, Héctor Garcia-Miranda, Karl Gerstner, Gruppo N, Dieter Hacker, Julije Knifer, Vlado Kristl, Enzo Mari, Julio Le Parc, Heinz Mack, Almir Mavignier, Francois Morellet, Gotthart Müller, Henk Peeters, Ivan Picelj, Uli Pohl, Karl Reinhartz, Vjenceslav The first of these exhibitions was not “a surprising case,” in Mavi­ Richter, Francisco Sobrino, Helge Sommerrock, Aleksandar Srnec, Klaus Staudt, Joël Stein, gnier’s no doubt well-meant phrase. It could not have happened with­ Miroslav Šutej, Paul Talman, Luis Tomasello, Günther Uecker, Grazia Varisco, Gerhard von out an existing artistic foundation in Zagreb, a foundation of which Graevenitz, Ludwig Wilding, Jean-Pierre Yvaral, and Walter Zehringer. 2 See Matko Meštrovi ´c, “Nepoznate podrobnosti,” Fantom slobode 3 (2010): 207–15. the EXAT-51 and Gorgona groups were a part. The artists and theoreti­ 3 Meštrovi ´c, “Razlozi i mogu ´cnosti povijesnog osvješ ´civanja,” Nove Tendencije 3 (Zagreb: cians who initiated and participated in the Nove Tendencije exhibitions Galerija suvremene umjetnosti, 1965), pp. 13–15. were aware that they were continuing a regional tradition in culture 4 Luciano Caramel, GRAV: Groupe de recherche d’art visuel 1960–1968 (Milan: Electa Editrice, 1975), n.p. and art, a distinct “Other line” in ideological opposition to the pre­ 5 Mavignier, “Nove tendencije 1—slu ˇcaj koji iznenaduje,” in Tendencije 4 (Zagreb: Galerija vailing moderate modernism. That line ran from the historical avant- suvremene umjetnosti, 1968–69), n.p. Fig. 2. Josip Vaništa. Silver Line 1965 – III – 2. 1965. Oil on canvas, 140 × 180 cm. Marinko Sudac Collection, Zagreb gardes of the 1920s, including Zenitism and Dadaism, through EXAT-51 6 See Massironi, “Appunti critici sugli apporti teorici all’interno della Nuova tendenza dal 1959 al 1964,” Nova tendencija 3 (Zagreb: Galerija suvremene umjetnosti, 1965), pp. 23–31, and Gorgona to Nove Tendencije. The fourth exhibition, in 1968–69, and “Ricerche visuali,” Situazioni dell’arte contemporanea (Rome: Edizioni Librarte, 1976), pp. Earlier on, in the 1920s, Zagreb had been the city of the Zenitism an extensive publication, A Little-Known Story about a Movement, a and the fifth, in 1973 opened up new topics, such as the use of com­ 50–63. movement and of Ljubomir Micić’s Zenit magazine, whose pages were Magazine, and the Computer’s Arrival in Art: New Tendencies and Bit puters,11 visual and concrete poetry, and Conceptual art.12 In doing 7 Meštrovi ´c also wrote the key theoretical texts “Nove spoznaje u likovnoj umjetnosti” (1962), “Ideologija Novih tendencija” (1963), “Metodologija i utopija” (1963), “Scijentifikacija 9 graced by texts and reproductions of works by Vasily Kandinsky, Lajos International, 1961–1973. so they fulfilled a far-reaching vision of the creators of the firstNove kao uvjet humanizacije” (1963), and “Razlozi i mogu ´cnosti povijesnog osvješ ´civanja” (1965). Kassák, El Lissitsky, Kazimir Malevich, Aleksandr Rodchenko, Vladimir Bit International was a magazine published by the Galerija su­ Tendencije. (Someone particularly to be noted here is Božo Bek, the Gorgona members also organized exhibitions by two participants in the first Nove Tendencije Tatlin, László Móholy-Nágy, and Karel Teige, as well as by local artists vremene umjetnosti between 1968 and 1972. It produced a number of director of the Galerija suvremene umjetnosti at the time.) That vi­ exhibition at Studio G in Zagreb: Morellet in 1962 and Dorazio in 1963. 8 See Die Neuen Tendenzen. Eine europäische Künstlerbewegung 1961–1973, ed. Tobias such as Josip Seissel/Jo Klek. There were also the magazines Dada Tank topical issues: “Theory of Information and the New Aesthetics,” with sion was to build an organizational and presentational platform in plat­ Hoffman and Rasmus Kleine (Ingolstadt: Museum für Konkrete Kunst, 2006) and Dada Jazz, published by Dragan Aleksić and featuring contributions texts by Max Bense and Abraham Moles; “Computers and Visual form in the local context, although also international and with biennial 9 A Little-Known Story about a Movement, a Magazine, and the Computer’s Arrival in Art: New Tendencies and Bit International, 1961–1973, ed. Margit Rosen in collaboration with by Richard Huelsenbeck, Kurt Schwitters, and Tristan Tzara. Research,” with texts by Herbert W. Franke, Karl Gerstner, Leslie Mezei, continuity, and gathering innovative artists and directions from succes­ Peter Weibel, Darko Fritz, and Marija Gattin (Cambridge, Mass.: The MIT Press, 2011). The exhibitions, then, were part of the very complex artistic at­ Frieder Nake, Georg Nees, Michael A. Noll, Jiří Valoch, and others; sive generations. Indeed these exhibitions became significant events in 10 Kleine, “Die Utopie der Neuen Tendenzen,” Die Neuen Tendenzen, ed. Hoffman and mosphere of postwar Yugoslavia, following the denunciation of the “Design,” with texts by Gui Bonsiepe, Tomas Maldonado, and others; Europe, as were the retrospective shows examining them in Ingolstadt Kleine, pp. 38–46. 11 Tendencije 5 had a “Computers and Visual Research” section, including the artists then-reigning ideology of Socialist Realism and paving the way for a “The Word Image: Poésie Concrète,” edited by Vera Horvat Pintarić and and Karlsruhe. Vladimir Bonaˇci´c, Waldemar Cordeiro, Herbert Franke, Miljenko Horvat, Auro Lecci, Manfred unique form called “Socialist Modernism.” Working in the same vein as others; and “Television,” with texts by Eco, Renato Barilli, Gillo Dorfles, Mohr, Georg Nees, John Whitney, Edward Zajec, Vilko Žiljak, and others. the EXAT-51 and Gorgona groups, the local Nove Tendencije artists created Martin Krampen, Pierre Schaeffer, and others. Especially significant Translated from the Croatian by Dorotea Fotivec. 12 Tendencije 5’s “Conceptual Art” section included Giovanni Anselmo, John Baldessari, Daniel Buren, Radomir Damnjanovi´c-Damnjan, Braco Dimitrijevi´c, Douglas Huebler, Jannis a complex of artistic phenomena whose radicalism makes it stand out were the magazine’s international colloquiums, seminars, symposiums, Kounellis, On Kawara, Sol LeWitt, Giulio Paolini, Giuseppe Penone, Bálint Szombathy, Ilija strongly from the mostly moderate local version of Socialist Modernism. work meetings, and less formal gatherings, arranged to discuss current Šoški´c, Goran Trbuljak, and others.

686 8. Networks, Media & Communication Ješa Denegri 687

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POSTWAR: ART BETWEEN THE PACIFIC AND THE ATLANTIC 21 1945 – 1965 EXHIBITION SECTIONS 3. NEW IMAGES OF MAN 5. CONCRETE VISIONS 7. NATIONS SEEKING TABLE OF 1. AFTERMATH: 338 Section Introduction 476 Section Introduction FORM ZERO HOUR AND THE 340 Yule Heibel 478 Pedro Erber 624 Section Introduction CONTENTS ATOMIC ERA ’s Postwar Out of Words: The 626 Galia Bar Or 132 Section Introduction Search for a New Spacetime of Concrete Channels for 134 Yasufumi Nakamori Image of Man Poetry Democratic Iteration Imagining a City 344 Sarah Wilson 484 Andrea Giunta 632 Atreyee Gupta PATRON’S STATEMENT DIRECTOR’S FOREWORD Through Photography New Images of Man: Simultaneous After Bandung: 7 Dr. Frank-Walter 13 Okwui Enwezor 140 Stephen Petersen Postwar Humanism Abstractions and Post- Transacting the Nation Steinmeier “Forms Disintegrate”: and its Challenges war Latin American Art in a Postcolonial World Federal Minister for CURATORS’ in the West Painting in the Shadow 490 Mari Carmen Ramirez 638 Chika Okeke-Agulu Foreign Affairs ACKNOWLEDGMENTS 350 Homi K. Bhabha of the Bomb The Necessity of Con- Fanon, National Culture, 17 Okwui Enwezor, 146 Ariella Azoulay Remembering Fanon: creteness: A View from and the Politics of BAVARIAN STATE Self, Psyche, and the Form in Postwar Africa Lygia Clark’s first major European exhibition Katy Siegel, The Natural History of the (Global?) South takes place at Signals, London, 1965. MINISTER’S STATEMENT Ulrich Wilmes Rape Colonial Condition 9 Dr. Ludwig Spaenle 6. COSMOPOLITAN APPENDIXES Minister of State for INTRODUCTORY ESSAYS 4. REALISMS MODERNISMS Education and Culture, 759 Selected Documents 20 Okwui Enwezor 418 Section Introduction 558 Section Introduction Science and Art The Judgment of Art: 776 Artists’ Biographies 420 Alejandro Anreus 560 Zainab Bahrani Postwar and Artistic Whatever happened to 806 Bibliography PREFACES Baghdad Modernism Worldliness Realism after 1945? 566 Catherine Grenier 812 About the 10 Johannes Ebert 42 Katy Siegel Figuration and Politics Plural Modernities: Contributors Secretary-General, Art, World, History in the Western Goethe-Institut Hemisphere A History of a Cosmo- 816 List of Works 58 Ulrich Wilmes politan Modernity 11 Hortensia Völckers Tanaka Atsuko wearing her Electric Dress 826 Index Postwar: (Denkifuku) at the 2nd Gutai Art Exhibition, 424 Ekaterina Degot 570 Courtney J. Martin Artistic Director, Denazification and Tokyo, 1956. Commitment to 834 List of Lenders Kulturstiftung des Humility Exiles, Émigrés and Reeducation Hermann Nitsch’s first Aktion (‘Action’) 836 List of Bundes Cosmopolitans: takes place on December 19 at the flat of 430 Anneka Lenssen 68 Mark Mazower 2. FORM MATTERS London’s Postwar Art Otto Mühl, Vienna, 1963. Acknowledgments Alexander Farenholtz Postwar: Exchangeable Realism World Administrative Director, 212 Section Introduction 840 Image Credits The Melancholy 436 Gao Minglu Kulturstiftung des 214 Emily Braun 574 Tobias Wofford 844 Colophon History of a Term The Historical Logic of 8. NETWORKS, MEDIA & Bundes The Dirt Paradigm The Black 74 Dipesh Chakrabarty Chinese Nationalist Cosmopolitans COMMUNICATION Legacies of Bandung: 220 Salah M. Hassan Realism from the 580 Damian Lentini 682 Section Introduction Decolonization and the When Identity Becomes 1940s to the 1960s Cosmopolitan Politics of Culture “Form”: Calligraphic 442 Nikolas Drosos and 684 Ješa Denegri Contaminations: Artists, Abstraction and Suda- Romy Golan Art in the Network of Objects, Media VISUAL ESSAYS AND nese Modernism Realism as Technological Media CHRONOLOGIES 226 Geeta Kapur International Style and Mass Communica- Compiled by Damian Lentini Material Facture tion: New Tendencies and Daniel Milnes 232 Richard Shiff 688 Walter Grasskamp 82 Visual Essay: Social True Grid Installation view of the Ninth Street Show, 0 to 1 and Political Events New York, 1951. 238 Terry Smith 692 Anne Massey 96 Chronology of Social Abstraction and Ideol- Reframing the and Political Events ogy: Contestation in Independent Group 102 Visual Essay: Arts Cold War Art Criticism 696 Pamela M. Lee and and Culture Fred Turner The Cybernetic Vision 116 Chronology of in Postwar Art Arts and Culture

Jewad Selim’s Monument of Freedom at Tahrir Square, Baghdad, 1962. Exhibition Team Publication © 2016 Stiftung Haus der Kunst München, gemeinnützige Betriebsgesellschaft mbH Curators of the Exhibition and Editors Exhibition Coordination Managing Editor Chronologies und Prestel Verlag, · London · New York of the Catalogue Tina Köhler Tim Roerig Damian Lentini A member of Verlagsgruppe Random House GmbH Okwui Enwezor Neumarkter Strasse 28 · 81673 Munich Katy Siegel Registrar Essay Editor Selected Documents Ulrich Wilmes Cassandre Schmid David Frankel Megan Hines With respect to links in the book, the Publisher expressly notes that no Daniel Milnes illegal content was discernible on the linked sites at the time the links were Assistant Curators Assistant Exhibition Coordination Essay Authors created. The Publisher has no influence at all over the current and future Damian Lentini Sofia Sprick Nilsson Alejandro Anreus Visual Essays design, content or authorship of the linked sites. For this reason the Publisher Daniel Milnes Ariella Azoulay Daniel Milnes expressly disassociates itself from all content on linked sites that has been Assistants Zainab Bahrani altered since the link was created and assumes no liability for such content. Research and Curatorial Assistants Lucas Hagin Galia Bar Or Artists’ Biographies Megan Hines Mareike Hetschold Homi K. Bhabha Carina Kaminsky © for the texts by the authors Tim Roerig Emily Braun Damian Lentini © for the works of art by the artists Sonja Teine Conservators Dipesh Chakrabarty Nicolas Linnert Johannes Baur Ekaterina Degot Daniel Milnes Prestel Publishing Ltd. Goethe-Institut Postdoctoral Fellows Marjen Schmidt Ješa Denegri Alexandra Nicolaides 14-17 Wells Street at Haus der Kunst Susanne von der Groeben Nikolas Drosos Tatjana Schäfer London W1T 3PD Atreyee Gupta (2013–14) Okwui Enwezor Wendy Vogel Yan Geng (2014–15) Interns Pedro Erber Prestel Publishing Damian Lentini (2015–16) Chloé Coquilhat Gao Minglu Index 900 Broadway, Suite 603 Jelena Vesic´ (2016–17) Maxim Weirich Romy Golan Jordan Pace New York, NY 10003 Andrea Giunta Exhibition Liaison Technical Office Walter Grasskamp Copy-Editors Library of Congress Control Number: 2016954276 Luz Gyalui Anton Köttl Catherine Grenier Jonathan Fox (Chronology of Social and Glenn Rossiter Atreyee Gupta Political Events; Chronology of Cultural A CIP catalogue record for this book is available from the British Library. Film Program Salah Hassan Events) Mark Nash Installation Team Yule Heibel Ann Henderson (Artists’ Biographies) Editorial direction: Constanze Holler Anton Bosnjak Geeta Kapur Stacy Moore (Artists’ Biographies) Design and layout: Double Standards Music Program Markus Brandenburg Pamela M. Lee Monica Rumsey (Artists’ Biographies) Production management: Cilly Klotz Markus Mueller Elena Carvajal Díaz Anneka Lenssen Emily Salmon (Artists’ Biographies) Separations: Helio Repro GmbH, Munich Tanja Eiler Damian Lentini Wendy Vogel (Artists’ Biographies) Printing and binding: Longo SPA | AG, Bozen Curatorial Interns Andrea Faciu Courtney Martin Typeface: Lyon Display; Berthold Akzidenz Grotesk Carina Kaminsky Vincent Faciu Anne Massey Proofreading Paper: 150 g/qm Garda matt 0,9f.; 80 g/qm Druckfix 2000 Laura Lang Hans-Peter Frank Mark Mazower Stacy Moore Adam Gandy Yasufumi Nakamori Monica Rumsey Exhibition Architects Ben Goossens Chika Okeke-Agulu Emily Salmon KUEHN MALVEZZI, BERLIN Martin Hast Stephen Petersen Tommy Jackson Mari Carmen Ramirez Translators Marzieh Kermani Richard Shiff Richard Flantz (Galia Bar Or) Christian Leitna Katy Siegel Dorotea Fotivec (Ješa Denegri) Ruth Munzner Terry Smith Judith Rosenthal (Ulrich Wilmes; Verlagsgruppe Random House FSC® N001967 Kaori Nakajima Fred Turner Patron’s Statement; State Minister’s Roland Roppelt Ulrich Wilmes Statement; Prefaces) Printed in Tina Schultz Sarah Wilson Rebecca van Dyck (Walter Grasskamp) Andrea Snigula Tobias Wofford David Wharry (Catherine Grenier) ISBN 978-3-7913-5584-9 Nikolaus Steglich (English edition) Magnus Thoren Graphic Designers Laura Ziegler Double Standards ISBN 978-3-7913-5583-2 Chris Rehberger (German edition) Media Team Julia Egger Florian Falterer Annika Riethmüller www.prestel.com Moritz Friedrich Tim Wolff

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