The Transition of New Tendencies from Neo-Avant- Garde Subculture to Institutional Mainstream Culture. An Example of Network Analysis.

Kolešnik, Ljiljana

Source / Izvornik: Modern and Contemporary Artists' Networks. An Inquiry into Digital History of Art and Architecture, 2018, 84 - 122

Book chapter / Poglavlje u knjizi

Publication status / Verzija rada: Published version / Objavljena verzija rada (izdavačev PDF) https://doi.org/10.31664/9789537875596.05

Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:254:605097

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Download date / Datum preuzimanja: 2021-10-06

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PODEST - Institute of Art History Repository The Transition of New Tendencies from Neo-Avant-Garde Subculture INTRODUCTION in the canon of new media art history.156 to Institutional Mainstream Culture. An Example of Network Analysis. In the course of that process – lasting from History of international art movement New 2005 to, approximately, 2010 – archival Tendencies, attracted researchers attention documents on New Tendencies earlier his- DOI: https://doi.org/10.31664/9789537875596.05 just recently, following a (re)discovery of tory, on the events and exhibitions held be- the series of discursive events (seminars, tween 1961 and 1965, were also carefully conferences, colloquia), and exhibitions explored, and explained, but in a manner (Computers and Visual Arts, Tendencije 4, which downplayed, or outright neglected Art and Computers, Tendencije 5), held in the ideological presumptions of the move- Zagreb, at the end of the 1960’s, and at ment, and its direct engagement with the the beginning of 1970s. Shortly after they social, and political reality at the time. The were “discovered” – between 2006, and strategy of curtailing and decreasing the 2010 – New Tendencies became the subject importance of New Tendencies’ social ob- of several large international exhibitions,155 jectives,157 and their relation to both Europe’s presenting legacy of the movement in terms new left, as well to the political, social and of an important and forgotten episode cultural practices of Yugoslav socialism, to of new media art history. Art works and make them fit to a predefined requirements printed materials (exhibition catalogues, of the new media art history canon, spar- magazines, working papers), private and kled the interest in the that period in the official correspondence among the artists, history of New Tendencies. The result was curators, and theorists engaged in discus- still another, recently published series of sions on the “computer supported visual monographs and studies on cultural, social Ljiljana Kolešnik research”, a central theme of New Tenden- and political framework of the movement, cies between 1968 to 1973, were carefully which constructed their accounts of New collected, described, and interpreted in Tendencies by closely following the traces order to provided a discursive framework they have left in visual arts and visual culture for the inclusion of that particular episode (graphic design, experimental film, TV), but from the overall story of the movement also in a debates on cultural policies, and political issues at the time.158 Along with the 155 Die Neuen Tendenzen Eine europäische 156 Tobias Hoffmann: Die neuen Tendenzen: Künstlerbewegung 1961-1973, Museum für Eine europäische Künstlerbewegung 1961- konkrete Kunst Ingolstadt, Sept 29. 2006 1973 (Heidelberg: Edition Braus, 2006); – Jan 7., 2007; Leopold-Hoesch-Museum, Christoph Klütsch: Computergrafik: Düren, 28 Jan-25 Mar 2007; bit interna- Ästhetische Experimente zwischen zwei tional – [Nove] tendencije Computer und Kulturen. Die Anfänge der Computerkunst visuelle Forschung. Zagreb 1961–1973, in den 1960er Jahren (Vienna/New York: Nueu Galerie Graz am Landesmuseum Springer, 2007); Margit Rosen, at al., eds: Joanneum, 28.4-26.8.2007; bit interna- A Little-Known Story about a Movement, A tional. [Nove] Tendencije - Computer und Magazine, And the Computer’s Arrival In visuelle Forschung, Zagreb 1961-1973, Art: New Tendencies and Bit International, ZKM, Karlsruhe, 2008/2009; New Tendencies 1961–1973 (Cambridge Mass.: MIT Press, and Architecture: Abstraction, Ambience, 2011). Algorithm, International Architecture Exhibition, Venice, Aug 2014. Nowa sztuka 157 See, for example, Rosen, A Little Known. dla nowego społeczeństwa / New Art For 158 Jasna Jakšić, Ivana Kancir, eds.: New Society/, Muzeum Współczesne Wrocław, Nowa sztuka dla nowego społeczeńst- 84 85 2015. wa / New Art For New Society/ (Wrocław: descriptions of working procedures, com- azines, critical studies, polemics), and com- in their history (968-1973), as a phenom- sive discussions on its potential to outgrow munication practices, personal, and pro- paration with similar artistic tendencies at enological, artistic, and – in terms of the such format, were already underway.161 In fessional relationships among artists, art other European locations. engaged approach to the existential re- that respect, describing New Tendencies as groups, and cultural professionals involved As a consequence, some previous expla- ality of modern, industrial society – cultur- just another, although important “biannual with the movement, they also provided a nations of the important turning points and al entity on its own right, which is, as such, exhibition” of the Cold War era, might be detailed, theoretically informed analysis of well-known events from the overall history also included in the historic narratives on unjustified, but it is – from my point of view – New Tendencies’ ideological, and social as- of the movement were proven to be ideo- kinetic and programmed art of the 1960s. as inappropriate, as it is a widely accepted pirations, presented on the background of logically biased, and superficial. The same Although inscribed in those narratives as an signifier “international art movement”. the global Cold War politics, and in relation could be claimed for the contact points, international art movement, the insistence Gathering, over the period of twelve years to the transition from industrial to post-in- divergences and borderlines among certain on self-imposed theoretical, and formal rig- a several hundred artists from three conti- dustrial, information society. Descriptions of political and aesthetic choices constituent or, and on the “ideological concentration nents, and from both sides of the Iron cur- New Tendencies as an attempt in formulat- to its programmatic orientation, seeming and commonality of goals”, typical for the tain, New Tendencies were simply too big, ing a socially progressive artistic practice to be quite different if approached from organization model of art movement, was and lasted too long, to maintain the level engaged with science and technology, also the perspective informed by the social and apparent only in period between 1963 and of formal coherence, poetic integrity, and assumed explanations of its inner conflicts, political history of the 1960s, and 1970s. 1965. What New Tendencies were before that theoretical rigor implied by the term “artis- and contradictions grounded in a thorough In other words, those recent findings, and short-time interval, and after 1965, how they tic movement”. There were, however – as in examination of historical documentation accounts made it clear that it is necessary were organized and which was their modus the period between 1963 and 1965 – some (publications, private and official letters, to conduct a thorough reexamination of operandi is another, serious question. serious attempts in defining a common pro- manuscripts), public responses (exhibitions both poetic and political configuration of Some authors as, for example, Piotr Pi- gram, shared goals and rules of conduct in- reviews in daily press and specialized mag- on New Tendencies. otrowski, perceive New Tendencies as an tended to provide New Tendencies with the The attempt in describing process of articu- ambitious, periodical exhibition of contem- prerogatives of an art movement. However, :Muzeum Współczesne Wrocław, 2015); Armin lation, and dissemination of the discourse on porary art,160 which managed to transcend both the nature of these prerogatives, that Medsoch: New Tendencies. Art at the art and technology created in the context of national and ideological borders estab- have been too formal, and restrictive, and Threshold of the Information Revolution that art movement between 1961 and 1965, lished by the Cold War politics. Preferring the oppressive manner of the attempts of (1961 - 1978) (Cambridge Mass.: MIT Press, 2016); Ljiljana Kolešnik, “Zagreb that is, the attempt in describing series of the signifier “New Tendencies biennale”, their impositions were met with the resist- as the Location of the New Tendencies exhibitions, and discussions comprising for and basically referring to the rhythm of Za- ance. The response to such an attempts in International Art Movement (1961–73)”, in the chronology of the movement’s transition greb exhibitions, such approach tends to a wider cultural context sympathetic to the Art beyond Borders: Artistic Exchange in from the framework of neo-avant-garde ar- overlook the overall meaning and effects of concept of “art as research”, was a mix- Communist Europe (1945-1989), eds. Jérôme tistic subculture to the realm of institutional numerous discussions, working meetings, ture approval and restrain, or as American Bazin, Pascal Dubourg Glatigny, and Piotr culture, grounded on the reconstruction and publications, international conferences, artist and art critic Georg Rickey has put Piotrowski (Budapest: Central European analysis of exhibition, which is in the focus of competitions, and other events configuring it, back then in 1964, “There is something University Press, 2016), 311-321; Ljiljana this study, represents a contribution to this temporal landscape of New Tendencies. It necrological about isolating and labeling Kolešnik, Nikola Bojić, Artur Šilić, effort in reexamination, and reinterpretation is, of course, true that Zagreb exhibitions a movement, at any rate by an outsider. “Reconstruction of Almir Mavignier’s of New Tendencies. sustained their biannual rhythm – with the But if the participants become aware of Personal Network and its Relation to Period between 1961 and 196, that is, from single exception of the interval between the what they have in common and begin to the First New Tendencies Exhibition. The the first to the third Zagreb exhibition,159 crit- third and fourth exhibition – throughout the pool their thinking, an event of some im- example of the Application of Network ical for the articulation of New Tendencies’ entire period between 1961 and 1973, but portance in history takes place”.162 It is Analysis and Network Visualisation in view on the art-science-technology rela- at the moment when Zagreb City Council quite possible that Rickey’s opinion was Art History”, Život umjetnosti 99 (2016), tion, is distinguished from the next phase brought a decision to turn New Tendencies 58-79; Jacopo Galimberti: Individuals in the periodical presentation of contempo- against Individualism Art Collectives in 161 Among the meetings on that subject, Western Europe (1956-1969) (Liverpool: 159 Nove Tendencije 3.8-14.9.1961, G alerija rary art, at the beginning of 1962, the inten- the most important was the one held at Liverpool University Press, 2017); Armin suvremene umjetnosti, Zagreb; Nove the studio of group GRAV, in Paris, in Medosch: “Cutting the Networks in Former Tendencije 2, 1.8.-15.9.1963, Galerija su- 160 Piotr Piotrowski, “Why were there November 1962. Yugoslavia. From New Tendencies to the vremene umjetnosti, Zagreb; Nova tendenci- no great Pop art curatorial projects 162 George Rickey, “The New Tendency New Art Practice”, Third Text, 32/4 (2018), ja 3, 13.8-19.9.1965, Galerija suvremene in Eastern Europe in the 1960s?” Baltic (Nouvellet Tendance -recherche contin- 546-561, DOI: 10.1080/09528822.2018.1528716. umjetnosti, Zagreb. 86 87 Worlds 3-4 (2015), 10-16. u elle)”, Art Journal XIII (1964), 279. modeled according to his involvement in ecosystem. That what kept them going – in However, since in the observed period be- dencies exhibition; exhibitions organized the sphere of influence of group ZERO – a my opinion – was gradual and spontane- tween 1961 and 1965, New Tendencies were in 1962-1963 representative for the con- loose, and unrestrictive type of associa- ous development of New Tendencies as a at least partially operating as art move- figuration of the movement’s artistic envi- tions among artists, art groups and art col- social network running in the background ment, I am going to use that signifier in this ronment in the stage of their consolidation, lectives – which, regardless of poetic and of the pursuits for a more structured – for- study, more as a matter of convenience, and recognition in terms of an authentic theoretical similarities, did not make any malized, restrictive and exclusive – model than as a reference to the model of organ- response to mainstream artistic culture; attempt in “labeling and isolating” those of organization. Grounded both in institu- ization to which they pertained. the exhibitions staged in 1964-1965, indic- similarities. Most probably because then, tional and interpersonal ties, its core was ative of the New Tendencies’ appropriation in mid-1960s, it was simply at odds with the established between 1961 and 1965, due METHODOLOGY by the institutional culture, and global art period’s Zeigeist. to skillful exploitation of its communication market. Professional and social network of The opinion of Armin Medosch is a bit differ- potentials, from 1967 on developed into As it was already stated, the articulation New Tendencies, which brought together ent, and he claims that the failure to carry a versatile social structure, which had an and dissemination of New Tendencies’ dis- artists, art groups, and art collectives who on such transformation was one among important role in changing the course of course on art and science, and their tran- took part in all five Zagreb exhibitions, is the important reasons why New Tendencies New Tendencies. Enlarged and invigorated sition from the social and artistic context also reconstructed, presented by network found themselves at the brink of dissipation by the influx of new artists, art groups, and of neo-avant-garde artistic subculture to visualization, and explained in terms of in mid-1960s.163 If approached from the – in particular – art theorists, it has become mainstream institutional culture, will be ruptures and discontinuities in the overall perspective of their social, and political a strong relying point of the activities con- described on the background of the ex- history of the movement. aspirations, the attempt to counteracting ducted the last phase of New Tendencies, hibitions held between 1961 and 1965, in- Analysis of exhibition networks, where the the intensified commodification of art and which also involved charting of the their terconnected by same participants (art- exhibitions are also understood as rep- devastating influence of art market, as- new organizational structure165 that was ist, art groups, curators, organizers), and resentative of particular artistic tenden- sumed – apart from disciplined, joint ac- dynamic, flexible, open towards different, presented through the series of network cy, was expected to answer the following tion guided by clearly defined objectives experimental art practices, much closer to visualizations. Methodology applied is a questions: How are the exhibitions in the – the “historical (self)consciousness”, and the present-day concept of artistic plat- combination of narrative interpretation of network connected (through which artist, “theoretical awareness”164 that – in case form, than to the notion of art movement. textual sources, network visualizations, and art groups, curators, art critics)? Which is of New Tendencies – was not achieved to corresponding maps, that is, a combination the measure of their centrality? Which ex- the extent required for the transformation 165 It is Darko Fritz’s thesis that it is of cultural and quantitative analysis, ap- hibitions / artists / art groups, are bridging into an art movement. From the perspec- justified to describe New Tendencies as a plied in a “soft mode” – that is, in a manner the network or network’s structural holes? tive of the events comprising for the story network, rather than as art movement, due that gives the advantage to epistemic ob- Do they play such role in just one time in- of New Tendencies in late 1960s, however, to the methods and practices of communi- jectives of art history, over those of network terval, or throughout the entire observed the very fact that such transformation did cation – combination of meetings, travels, analysis, relayed on customary concepts period? Data on the exhibitions, artists, not happen, seems as a very important and correspondence – adopted and widely of centrality, detection of strong and weak art groups and exhibition spaces, which reason because of which they have man- used in the course of movement’s history; ties, identification of structural holes, etc. served as a foundation for network analy- aged to survive – not only the severe crisis see see Darko Fritz, “New Tendencies”, It is focused on the structure of the whole sis and visualizations were collected from in the aftermath of the 1965 exhibition, but Oris 54 (2008): 176-191.; by the same network, and the relationship between net- variety of digital and analogue sources,166 also some tensions, and critical situations author, “Histories of Networks and Live work topography to the real-life situation generated both inside, and outside of their Meetings. Case Study: [new] Tendencies of European avant-garde art scene in late 166 The list of the used sources is far 1961-1973(1978)”, in Re-live09, Melbourne too long to be given in this study. 1950s and 1960s, captured and presented 2009. It was, however, the same communi- References to the sources are entered in by the network visualizations. 163 Armin Medosch, Automation, cation model applied already in the late the ARTNET database, and accessible at The networks to which such analysis is ap- Cybernation and the Art of New Tendencies 1950s in the framework of neo-avant-garde http://artnet.s2.novenaweb.info/ plied is based on data about 213 single, (1961-1973), dissertation (London: subculture, but also in number of other web/Login.aspx?ReturnUrl=%2f- Goldsmiths, University, 2012), 131. social systems (economy, science, edu- collective, and thematic exhibitions, divid- web%2fizlozba%2fPageIzlozbaList. 164 For the original use of both see cation), resulting from development of ed – in the interest of analysis – into four aspx%3fpage%3d1%26query%3d%26peri- in Renato Poggioli, “The concept of a postal services, railroad and highway temporal groups: exhibitions held between odfrom%3d%26period- movement”, in The Theory of Avant-garde networks, and telecommunications, also 1958 and 1961, providing insight into the to%3d%26tag%3d10%26sort%3dda- (Cambridge, MA: Harvard University Press, stimulated by the changes in visa regimes neo-avant-garde art scene at the time, that tum&page=1&query=&periodfrom=&period- Belknap Press, 1968), 19. in Europe after 1957. 88 89 was also presented at the first New Ten- to=&tag=10&sort=datum stored, and processed with the application phase”168 of the movement, which defined tivities – Düsseldorf, Munich, Paris, Antwerp, While ZERO found its stronghold in the met- of network visualization, and spatial data its initial poetic stratification. Amsterdam or Bern, but also among Padua, aphorical potential of nature, in the play presentation interfaces, a built-in digital Udine, Ulm or Cholet – outlined in late 1950s, with light, and movement, using advanced tools of ARTNET database. “Gestation” phase: 1958 – 1961 and at the beginning of 1960s outlined the technology, new materials, new working Narrative interpretation of textual and visual (shifting) contours of a complex, rhyzomat- methods, and relying on the legacy of Bau- sources, network visualizations, maps and New Tendencies had its origins in the neo- ic social, artistic, and economic structure haus, other artist who joined group’s net- data obtained by quantitative analysis is avant-garde artistic subculture – a com- created of numerous interconnected, in- work, or occasionally participated in ZERO’s structured according Dieter Pörschmann’s plex social structure, comprised of artist, art tersected or just loosely related personal, activities, developed their own views on the model of periodization167 applied in his re- groups, art collectives, art critics, independ- and collective networks that were unified most proper method of expressing their cent study on the manifestations of art- ent production, and dissemination spaces, – regardless of poetic differences among opposition to mainstream art and visual ist-as-curator phenomena in the practice and their public, sharing common psycho- their actors – by the strong opposition to the culture. Most of these, different tendencies of group ZERO / ZERO movement/. It as- logical, physical, and emotional space, and excessive subjectivity and existential anxiety – some of them strongly politicized – will sumes a subdivision of a series of events loosely related by the common, critical view of Art Informel’s “sloppy painting full of pep find their proper theoretical articulation comprising for the overall history of certain of the mainstream culture. From its nascent and wild gestures, filthy wrinkles and antique towards the end of this time-interval in phenomena, into a short-time intervals pro- in mid-1950s, it was based on solidarity, mu- oxidations”.170 It’s overwhelming, suffocating which the maturation of their ideas and vided with the inner (“micro-scale”) perio- tual support, and, upon “the awareness that presence encouraged search for a different principles assumed a zealous creative ac- dization of their own. Such division allows together you are strong, while alone you are concept of art, assumed – in the mid-1950s tivity, intense networking – frequent trav- for more precise identification of key events lost in a world that does not understand and – the feeling of loneliness, exclusion, and els, numerous meetings, discussions, and and breaking points within the observed does not want to perceive what you are do- complete dependence on one’s own devices. continuous, circular correspondence – and period’s general chronology, also enabling ing,”169 shared among the representatives of It will change towards the end of the decade frequent cross-disciplinary collaborations. a more precise determination of their role different, not always clearly distinguishable into awareness that “other artists had the Out of few hundred exhibitions, staged at and meaning in the overall story on par- artistic positions, brought together by the same feelings and were engaging in similar that period, which outline a poetic, and ticular phenomenon, or process subjected same sense of belonging to the new, tech- actions and approaches”,171 and a desire for media diversity of neo-avant-garde artis- to such type of analysis. Pörschmann’s ap- nologically driven society, and by the shared communication, which – according to Heinz tic subculture, almost hundred individual, pellation of the short-time intervals to which fascination with its accelerated develop- Mack – in the case of group ZERO led to the and collective exhibitions were related to he subdivided account on the group ZERO, ment that was radically transforming both formation of artistic practices presented, or considered was also partially adopted and applied to human environment and sphere of social life. for presentation, at the first New Tenden- periodization of the observed period in the The generation which created social space what we call nowadays a network cies exhibition. Seventy nine exhibitions, New Tendencies early history, which there- of neo-avant-garde subculture, articulated [and] … since all these artists in selected from that overall number comprise fore does not follow the usual chronolo- its position not only in terms of the resistance different countries had been at one for a separate layer within neo-avant-gar- gy defined by the rhythm of exhibitions. In to conservative cultural establishment, un- stage in connection to one anoth- de exhibition infrastructure, composed of the interest of more precise description of responsive to “visual requirements” of con- er, this word ‘network’ goes along independent exhibition spaces (Hessen- New Tendencies’ relationship with the ar- temporary society, but also in opposition with the fact that a net can capture huis58, in Antwerp, Otto Piene Studio in tistic subculture of the neo-avant-garde, to postwar idea of social stability, reflected everything, and can hold things to- Düsseldorf, Studio N, in Padua), artist-run the period between 1958 and 1961 is also in the mainstream visual culture and its de- gether that might be lost if they are galleries (Galleria Azimuth in Milan, Studio included, and approached as a “gestation tachment from existential reality. Intense alone.172 F in Ulm, Galerie Nota in Munich, Galerie communication and exchange among the Renate Boukes, Wiesbaden; Galerij A, Ar- locations of most dynamic avant-garde ac- 170 Stephanie Bailey, “Heinz Mack in hem, New Vision Centre Gallery, London), conversation”, Ocula, 22 December 2014, and at the commercial galleries committed 167 Dirk Pörschmann, “‘M.P.UE.‘ Dynamo for https://ocula.com/magazine/conversations/ to the presentation of neo-avant-garde art ZERO: The artists-curators Heinz Mack, 168 Term “gestation period” was first used heinz-mack/ Accessed June 23, 2018. Otto Piene, and Güther Uecker”, in The by Armin Medosch in the similar context; see (Galerie Schmela, Düsseldorf; Galerie Dato, Artist as Curator. Collaborative initi- Medosch, Automation, 69. 171 Ibid e m., https://ocula.com/magazine/ Frankfurt: Galerie Iris Clert, Paris; Galleria atives in the international ZERO move- 169 Helga Meister, Zero in der conversations/heinz-mack/ Accessed June Pater, Galleria Danese, Galleria Apollinaire mnet1957-1967, eds. Tiziana Cainaello, Düsseldorfer Szene: Piene, Uecker, Mack 23, 2018. in Milan; Internationale galerij OREZ, The Mattijs Visser (Gent: MER. Paper (Dusseldorf: Jan van der Most, 2005) 65; 172 Ibid e m., https://ocula.com/magazine/ Kunsthalle, 2015), 17-58. cited according Pörschmann, „M.P.UE“, 17. 90 91 conversations/heinz-mack/ Accessed June 23, 2018. Yves Klein - Le Vide Piero Manzoni - Oeuvres Vivantes. Monochromes par Yves Klein et Tinguely Galerie Køpcke Concert No. 2 pour sept peintures et autre sculptures New Vision Centre Gallery Heinz Mack

Tingely Internationale galerij OREZ Piero Manzoni Drian Galleries Walter Leblanc Vision in Motion / Motion in Vision Leo Castelli Gallery Dynamo 1 Galerie Pierre Loeb The new artistic concept Peintures et sculptures rayonnantes Bakic - Picelj - Srnec

Editions MAT - Multiple Art Transformable - Art cinétique G58 Hessenhuis Galerie Renate Boukes Kunstgewerbemuseum der Stadt Zürich Yves Klein le Monochrome L’art abstrait et l’avant-garde en Yougoslavie - Bakić - Picelj - Srnec Yves Klein Monochrome und Feuer Piero Manzoni Piero Manzoni Das Helmhaus Louisiana Museum of Modern Art Miriorama 6 Galerie Iris Clert Galerie Rive Droite Miriorama 1 Bas-reliefs dans un foret d'eponges Galerija suvremene umjetnosti Lucio Fontana Consumazione dell'arte dinamica del pubblico divorare l'arte Galerie Denise Rene Stedelijk Museum Miriorama 5 Galerie Schmela Galleria Cadario Mostra collettiva Corpi d'aria Le linee di Piero Manzoni Moderna Museet in Stockholm Miriorama 3 Bewogen / Beweging Mostra collettiva Yves Klein le Monochrome ZERO. Edition - Exposition - Demonstration Piero Manzoni Oskar Holweck Galleria Pater Heinz Mack La nuova concezione artistica Kinetische Kunst Le Nouveau Réalisme à Paris et à New York Galleria Danese Konkrete Kunst: 50 jahre entwicklung Museum Morsbroich Miriorama 4 Piene - Ein Fest fur das Licht Monohcrome Malerei Groupe de recherche d’art visuel Muzej za umjetnost i obrt Miriorama 2 Editions MAT - œuvres d’art de Paris qui se meuvent ou sont mues Galerie dato Miriorama 8 Yves Klein. Il nuovo realismo del colore Heinz Mack Ausstellung Heinz Mack 7. ZERO Abendausstellung – Das rote Bilder Miriorama 10 Galleria Azimut Nove tendencije À 40º au-dessus de Dada Piero Manzoni Otto Piene Studio Licht ballet Almir Mavignier Otto Piene Galleria Apollinaire 9. ZE R O Abendausstellung - Piene. E in Fest fur das Licht Miriorama 9 Heinz Mack Art abstrait constructif international Galerie J 8. ZERO Abendausstellung – Vibration Bruno Munari - Luce polarizzata Francoise Morellet und Marc Adrian Les Nouveaux Réalistes Miriorama 11 2 ZERO Abendaustellung Francois Morellet Heinz Mack - Rilievi luminosi e pitture Massironi - Moldow - Oehem - Uecker Mostra chiusa. Nessuno e' invitato a intervenire Miriorama 7 Getulio Alviani

Galerie Diogenes Almir Mavignier Expositie - demonstratie ZERO Galerie Nota Studio N Motus Studio F

Galleria La Salita Galerie Haro Lauhus Mostra a puntata - Chiggio - Landi Enrico Castellani (Monocromi)

Tokyo Museum of Modern Art Mostra apuntata - Alberto Biasi Mostra a puntata - Massironi - Costa Der Ko†er. Idee und Regie: Daniel Spoerri

Galleria San Matteo

artist-run galleries and independent exhibition spaces private galleries museums Hague; Galerie J, Paris; Galerie Schindler, Position of particular gallery in the topog- Bern; Galerie Kasper, Lausanne; Galerie raphy of neo-avant-garde exhibition infra- Køpcke, Copenhagen), which formed their structure network related to New Tendencies own network. In most cases, and pertain- (Fig. 1) denotes the intensity of that gallery’s

Yves Klein - Le Vide ing to the “pronounced and undaunted activities, but also the strength and number Piero Manzoni - Oeuvres Vivantes. 173 Monochromes par Yves Klein et Tinguely Galerie Køpcke do-it-yourself mentality” , curators, and of its ties with other network actors. Based Concert No. 2 pour sept peintures et autre sculptures New Vision Centre Gallery Heinz Mack organizers of those exhibitions were artist upon such criteria, central position in the

Tingely Internationale galerij OREZ themselves, who took responsibility not only network, and in category of artists-run gal- Piero Manzoni Drian Galleries Walter Leblanc over the technical, financial, and commu- leries, is occupied by Gallery Azimut run by Vision in Motion / Motion in Vision Leo Castelli Gallery Dynamo 1 Galerie Pierre Loeb The new artistic concept nication matters, but also over the manner Piero Manzoni, and Enrico Castellani in Milan, Peintures et sculptures rayonnantes Bakic - Picelj - Srnec in which the artworks, their own or those of from December 1959 to July 1960. Active only Editions MAT - Multiple Art Transformable - Art cinétique G58 Hessenhuis like-minded artists, will be displayed and eight months, it has allowed Manzoni and Galerie Renate Boukes Kunstgewerbemuseum der Stadt Zürich Yves Klein le Monochrome L’art abstrait et l’avant-garde en Yougoslavie - Bakić - Picelj - Srnec represented to public. Castellani to organize thirteen, mostly group Yves Klein Monochrome und Feuer Piero Manzoni Piero Manzoni Das Helmhaus Louisiana Museum of Modern Art The list of exhibitions curated, and or- exhibitions, to launch gallery’s spin-off pub- Miriorama 6 Galerie Iris Clert Galerie Rive Droite Miriorama 1 Bas-reliefs dans un foret d'eponges Galerija suvremene umjetnosti ganized between 1958 and 1961 by Otto lication, magazine Azimuth, and to acquire Lucio Fontana Consumazione dell'arte dinamica del pubblico divorare l'arte Peine, Heinz Mack, Piero Manzoni, Enrico the reputation – in particular within artistic Galerie Denise Rene Stedelijk Museum Miriorama 5 Galerie Schmela Castellani, Yves Klein, Jean Tinguely, Dan- circles – of the most dynamic, and engaged Galleria Cadario Mostra collettiva Corpi d'aria Le linee di Piero Manzoni Moderna Museet in Stockholm iel Spoerri, Walter Leblanc, Gerhardt von new exhibition space. Along with the surveys Miriorama 3 Bewogen / Beweging Graevenitz, Hank Peeters, and number of of Lombardian independent art scene, the Mostra collettiva Yves Klein le Monochrome ZERO. Edition - Exposition - Demonstration Piero Manzoni other artists is quite long. Along with one- most important exhibition supporting such Oskar Holweck Galleria Pater Heinz Mack La nuova concezione artistica Kinetische Kunst Le Nouveau Réalisme à Paris et à New York man shows, artist also curated a collective perception was La Nuova Concezione Artis- Galleria Danese Konkrete Kunst: 50 jahre entwicklung Museum Morsbroich exhibitions, frequently displaying the works tica /New Artistic Concept/, an early over- Miriorama 4 Piene - Ein Fest fur das Licht Monohcrome Malerei Groupe de recherche d’art visuel Muzej za umjetnost i obrt of particular art group, and artists from its view of European neo-avant-garde, which Miriorama 2 Editions MAT - œuvres d’art de Paris qui se meuvent ou sont mues Galerie dato inner circle. Even though the financial con- brought together artists from Germany (ZERO Miriorama 8 Yves Klein. Il nuovo realismo del colore Heinz Mack Ausstellung Heinz Mack 7. ZERO Abendausstellung – Das rote Bilder Miriorama 10 Galleria Azimut struction of such exhibitions was modest, movement), France (Yves Klien, Tinguely), and À 40º au-dessus de Dada Nove tendencije they usually had catalogues, edited by art- Italy (members of Gruppo N and Gruppo T). Piero Manzoni Otto Piene Studio Licht ballet Almir Mavignier Otto Piene Galleria Apollinaire ists themselves, and often printed at small Emphasis on international presentations, 9. ZE R O Abendausstellung - Piene. E in Fest fur das Licht Miriorama 9 Heinz Mack Art abstrait constructif international Galerie J local printing houses. In some situations and inclusion of both European, and Ameri- 8. ZERO Abendausstellung – Vibration Bruno Munari - Luce polarizzata Francoise Morellet und Marc Adrian Les Nouveaux Réalistes function of the catalogue was performed by can artists (Rauschenberg, Jasper Johns, Ira Miriorama 11 2 ZERO Abendaustellung Francois Morellet Heinz Mack - Rilievi luminosi e pitture Massironi - Moldow - Oehem - Uecker artist magazines, or vice versa – the mag- Moldow), which turned Gallery Azimut into the Mostra chiusa. Nessuno e' invitato a intervenire Miriorama 7 Getulio Alviani azine was standing for the exhibition, but most important hub in the neo-avant-garde Almir Mavignier Expositie - demonstratie ZERO 174 Galerie Diogenes in a printed from. infrastructural network at the time, motivated Studio N Galerie Nota Studio F Almir Mavignier, an Matko Meštrović, curators Motus 173 Pörschmann, «‘M.P.UE‘”, 18. Galleria La Salita Galerie Haro Lauhus of first New Tendencies to consult Manzoni Mostra a puntata - Chiggio - Landi Enrico Castellani (Monocromi) 174 Legendary, third issue of magazine Tokyo Museum of Modern Art regarding Italian selection at the exhibition. Mostra apuntata - Alberto Biasi ZERO, was composed out of artists printed Mostra a puntata - Massironi - Costa Der Ko†er. Idee und Regie: Daniel Spoerri Although it is not explicitly stated, from the works, texts and graphic interventions, Galleria San Matteo correspondence preceding the exhibition it by Fontana, Klein, Manzoni, Castellani, is possible to conclude that it was Manzoni Dorazio, A. Pomodoro, Lo Savio, Peetres, who made that selection.175 artist-run galleries and independent exhibition spaces private galleries museums Schoonhoven, Pol Bury, Van Hoyedonck, Manzoni, Castellani, and Nanda Vigo first Mavignier, Soto, Spoerri, Arman, Roth, and quit a few German artists. It was pub- met with group ZERO, that is, with Otto Pi- Fig. 1 licly presented with great pomp, at ZERO ene, and Heinz Mack, on the occasions of Visualization of neo-avant-garde exhibitions’ infrastructure network established between 1958 and 1961 that involves future members of Edition, Exposition, Demonstration (July, the New Tendencies, and outlines the relations among independent art 1961), which resembled Fluxus festivals, 175 Matko Meštrović, “Nepoznate potankos- scene (artists-run galleries, independent exhibition spaces), art market and involved active participation of pub- ti - Iz sačuvane korespondencije s Pierom (private galleries), and institutional mainstream culture (museums) 92 93 lic. See in Meister, Zero, 78. M a n z o nije m”, Fantom slobode 3 (2010), 207-216. 1/10/2019 map1_1958-61.svg

the eight ZERO Abendausstellung, held in for preparing their own exhibitions held Otto Piene’s Studio in 1958. Taking the most in that gallery, Mack and Piene were also prominent position in the network topog- informally involved in organization of the raphy in the category of independent ex- exhibitions of their fellow artists (Yves Klein, hibition spaces, and established two years Jean Tinguely, Lucio Fontana), and served before Gallery Azimut, it was exemplary as Alfred Schmela’s liaison with a wider of artists’ self-organization in late 1950s, neo-avant-garde community . Through Ira when, according to Heinz Mack, both his Moldow, whom Mack first met in Milan, he and Piene’s studios, were acting as “work- established relations with American artists, shops, platforms for discussions and were and was first in Germany – a few years later used occasionally as gallery spaces, open- – to show the works of Robert Motherwell, ing for one-night events, or used as meeting and Keneth Noland.178 Group ZERO also points for a few artists and friends”.176 In the had contacts with Parisian Gallery Iris Clert, course of 1957 and 1958, Piene and Mack which staged Heinz Mack’s solo exhibition organized there eight group exhibitions in 1958. However, a highly visible position (Abendausstellungen 1 - 8), and several of that gallery in network topography, is happenings involving artists from Belgium, primarily the result of its ties with other ex- Netherlands, Switzerland, and France. hibition venues, established through Yves Collaboration with Italian artist started, Klein, and his numerous exhibitions held at as it was already mentioned, in 1958, at both artist-run, and commercial galleries, the end of that cycle. From 1959 on, Otto and within a wide geographic area from Piene’s Studio remained the stronghold of Milan, Düsseldorf, Antwerp, London, and ZERO’s communication and networking, Amsterdam to Paris. It is also important but curatorial activities, almost exclusive- to notice, that both iris Clert and Gallery ly related to presentation of the group / Schmela were – at the time – important ZERO movement/ were performed at other liaisons of the neo-avant-garde artists exhibition venues, both independent and with art-market, and institutional culture. commercial. In the category of commercial Gallery Denise Réne performed the same galleries, the most prominent position in function for the members of group GRAV, network topography is occupied by Galerie and for few Croatian artists, representatives Schmela. Established in 1957 in Düsseldorf, of neo-constructivism, who entered the in- it owes such prominent position, and much ternational art scene in 1958-1959. Through of its real-life fame, to early, and close co- both of these groups her gallery established operation with Mack and Piene.177 Except ties with New Tendencies, reaffirmed with the exhibition Art abstrait constructif in- 176 Baily (2014), https://ocula.com/maga- ternational (Paris, 1961; Leverkusen, 1962), zine/conversations/heinz-mack/ Accessed file:///C:/Users/Ljiljana%20Kolesnik/Documents/ARTNET/ARTNET_knjiga_II/moj%20tekst/map1_1958-61.svg 1/1 June 23, 2018. held three months after the New Tendencies, 177 Heinz Mack even claims that he and Günther Uecker were the persons whom com/magazine/conversations/heinz-mack/ Alfred Schmela asked for advice on how Accessed June 23, 2018. to open his private gallery, and what to 178 Anette Kuhn, Zero: eine Avantgarde exhibit there. Schmela opening exhibition, der sechziger Jahre (Frankfurt am Main Klien’s Yves, Propositions monochromes & Berlin: Propylaen-Verl., 1991), 42; (1957) was organized, according to Mack, Dietmar Elger, Elizabeth M Solaro, Gerhard on the suggestion of artist Norbert Richter: A Life in Painting (he University Map 1. Kricke; see in Bailey http s://o c ula. Of Chicago Pres, 2010), 33-34. 94 95 Spatial distribution of the neo-avant-garde exhibitions between 1958 and 1961 Willys Castro Mary Callery Jose Duarte Montilla Antoine Pevsner involving quite a few artists who also exhib- Hélio Oiticica Camille Graeser Henryk Stazewski Waldemar Cordeiro ited in Zagreb. Other artist-run galleries, as Amilcar Augusto Pereira de Castro Martha Boto Maurício Nogueira Lima Enio Iommi Jean Arp Gallery Nota, or Studio F, organized solo Hércules Barsotti Emilio Pettoruti Hermelindo Fiaminghi Klaus Staudt Lygia Clark Morice Lipsi exhibitions of prominent artists with multiple Jasper Morrison Juan Serrano Muñoz Geraldo Barros Émile Gilioli Augustin Ibarrola Le Corbusier Chryssa ties to quite a few other, exhibition spaces, Manuel Calvo Michel Seuphor Franz Joseph Weissmann Luiz Sacilotto Geneviève Claisse Lajos Kassák Paul Nemours which lends to their importance. Both are Angel Duarte Günter Fruhtrunk André Bloc Konkrete Kunst: 50 jahre entwicklung Richard Paul Lohse Ellsworth Kelly positioned at edge of the network, together Olle Bærtling Aluísio Carvão Anthony Hill Wilfredo Arcay Lee Bontecou Sonia Delaunay with few other exhibition spaces and art- Max Bill Ad Reinhardt Lygia Pape Décio Luiz Monteiro Vieira Werner Haftmann Arnold Bode ist-run galleries that were either established Alexander Calder Willy Rotzler Art abstrait constructif international Gregorio Vardanega Judith Lauand Josef Albers Egidio Bonfante towards the end of the observed period 2 documenta / Kunst nach 1945 Kinetische Kunst Denise René Marcelle Cahn Bakic - Picelj - Srnec César Domela Kenneth Martin Fritz Glarner Jean Gorin (Studio N, Internationale galerij OREZ, New Mary Vieira Vjenceslav Richter Martial Raysse Juan Cuenca Robert Rauschenberg Walter Linck Simona Ertan Vision Centre Gallery), or hosted the exhi- John Chamberlain Richard Mortensen Le Nouveau Réalisme à Paris et à New York Jasper Johns Francisco Sobrino Ivan Picelj Maria Helena Vieira da Silva Takis George Rickey bitions held in late 1960, and 1961 (Galleria Bernard Aubertin Mimo Rotella Der Ko¢er: Daniel Spoerri Luis Tomasello Niki de Saint Phalle Karl Gerstner Siegfried Cremer Pater, Galerie J, Galerie Køpcke). In spatial À 40º au-dessus de Dada Nicolas Schö¢er Vera Molnár François Dufrene Bakić - Picelj - Srnec terms, network of neo-avant-garde’s in- Yves Klein le Monochrome Raymond Hains Einar Höste Isabelle Waldberg Andreas Christen Bill Copley Mark Rothko Robert Breer Arman Pierre Restany Jesús Rafael Soto Victor Vasarely Marcel Wyss Gyula Kosice frastructure covered a large geographic Leo Castelli Yves Klein - Le Vide Robert Müller Joël Stein Alfred Leslie Daniel Spoerri Marc Adrian Narciso Debourg Frank Malina Yaacov Agam area, spanning from northern Italy (Milan, Udo Kultermann Carlos Cruz-Díez Monochromes par Yves Klein et Tinguely Manfred Kage Julio Parc Marcel Duchamp Hans Bellmer Padua, Rome, Torino), over Switzerland Guido Le Noci Pol Bury Dieter Roth Uli Pohl Camille Bryen Jacques Villeglé Les Nouveaux Réalistes Héctor Garcia-Miranda Len Lye (Zürich, Bern, Lausanne), Austria (Vienna), Jean Tinguely Expositie - demnstratie ZERO Yves Klein. Il nuovo realismo del colore Groupe de recherche d’art visuel Rube Goldberg Eric Olson Jan Schoonhoven Piero Dorazio Germany (Düsseldorf, Munich, Berlin, Wies- Yves Klein Yves Klein Monochrome und Feuer Henk Peeters Editions MAT - Art cinétique François Morellet Bewogen / Beweging baden, Ulm, Frankfurt), Netherlands (Arn- Tingely Francoise Morellet und Marc Adrian Gloria Graves Yves Klein le Monochrome Claude Bellegarde Bruno Munari - Luce polarizzata hem, Amsterdam, Rotterdam, The Hague), Herbert Oehm Concert No. 2 pour sept peintures et autre sculptures Vision in Motion / Motion in Vision Hugo Rodolfo Demarco Harry Bertoia Enzo Mari Heinz Mack Yasuhide Kobashi Philippe Hiquily Belgium (Antwerp), France (Paris), Great Paul Hoeydonck Francois Morellet Jean-Pierre Yvaral Yayoi Kusama Walter Leblanc Editions MAT - Paris Kurt Fried Dynamo 1 Almir Mavignier Billy Klüver Britain (London), to Denmark (Copenha- Lothar Quinte Horacio Garcia Rossi Marisol Escobar Günther Uecker Gerhard Graevenitz Roy Ascott Jef Verheyen ZERO. Edition - Exposition - Demonstration Willem Sandberg gen), to Socialist Yugoslavia (Map 1). Raymond Grandjean Matko Meštrović Richard Stankiewicz Hans Salentin Motus Nove tendencije Enrico Bordoni Reiner Ruthenbeck Representation of exhibitions’ spatial distri- Peintures et sculptures rayonnantes Otto Piene Almir Mavignier Victor Pasmore Serge Charchoune Richard Hamilton Heinz Mack Heinz Mack Dadamaino Eduarda Emilia bution also includes location of few public Francesco Lo Savio Božo Bek John Burnside Bruno Munari Robert Jacobsen 7. ZERO Abendausstellung – Das rote Bilder Harry Kramer Mark Verstockt Toni Costa museums, not integral to the neo-avant- Alfred Schmela Kilian Breier Paul Talman garde exhibition infrastructure network, but Monohcrome Malerei La nuova concezione artistica Shinkichi Tajiri Lucio Fontana Mostra collettiva Boris Kelemen Gotthart Müller Per Olof Ultvedt Naum Gabo Jose Riviera included in its structure because of the large Ralph Rumney Oskar Holweck Heinz Mack - Rilievi luminosi e pitture Alberto Biasi Arnulf Rainer exhibitions they have organized at the time, 8. ZERO Abendausstellung – Vibration Walter Zehringer Nicolas Ionesco Enrico Castellani Boris Kleint Radoslav Putar Pontus Hulten Alberto Giacometti Günther Wolfram Sellung Robert Watts and which were firmly tied to other network Almir Mavignier Heinz Mack Otto Piene Castellani - Monocromi Christian Megert Raimund Grike Getulio Alviani Georg Brecht actors. Up to the beginning of the 1960s, the Antonio Tàpies Miriorama 11 Stan Vanderbeek Georges Mathieu Piene – E in Fest fur das Licht Mostra collettiva Piero Manzoni Edoardo Landi Allan Kaprow majority of museums, curators, art critics and Salvatore Scarpitta Massironi - Moldow - Oehm - Uecker Agostino Pisani Ennio Ludovico Chiggio other professionals from cultural establish- Hermann Bartels Piero Manzoni Rudolf Kämmer Miriorama 10 Giovanni Aneschi Ernst Geitlinger 2 ZERO Abendaustellung ment, did not express particular interest in the Corpi d'aria Klaus Jürgen Fischer Bruno DaneseManfredo Massironi Mostra a puntata - Alberto Biasi Lucio Fontana Mostra chiusa. neo-avant-garde artistic subculture. How- Shuzo Takiguchi Johannes Geccelli The new artistic concept Consumazione dell'arte Gianni Colombo ever, due to its intense exhibition activity, a Rupprecht Geiger Grazia Varisco Mostra a puntata - Massironi, Costa Piero Manzoni Miriorama 8 Piero Manzoni Davide Boriani divers neo-avant-garde artistic tendencies Frédéric Benrath Mostra a puntata - Chiggio, Landi Gotthard Graubner Le linee di Piero Manzoni articulated during the above-described Piero Manzoni Adolf Zillmann Gabriele Devecchi Piero Manzoni Miriorama 9 Agostino Bonalumi “gestation” phase, started to surface dis- Peter Brüning Karl Fred Dahmen Miriorama 1 Rochus Kowallek Miriorama 4 course on contemporary art at the end of Piero Manzoni - Oeuvres Vivantes. Miriorama 5 Konrad Klapheck Johannes Gecelli the observed period. It will require at least Miriorama 3 Fig. 2 Traugott Spiess Alberto Zilocchi Miriorama 7 Iaroslav Serpan Miriorama 6 three more years – from 1961 to 1964 – be- Arthur Køpcke Network of exhibitions held between 1958 and 1961, Bernard Schultze Albert Fuss Miriorama 2 fore those tendencies will start to attract the Denis Bowen denoting relations between the neo-avant-garde Gillo Dorfles interest of art market. However, since the pre- subculture, and institutional, mainstream culture 96 97 condition to their inclusion in the economy of bition Art abstrait constructif internation- was formed, but since the rest of its mem- tions from that series were only group mem- institutional culture was the establishment of al, (Paris, 1961), and exhibition Groupe de bers did not have previous artistic or social bers. Gruppo N, on the other hand, was a proper contestation framework, exhibitions recherche d’art visual, (Paris, 1961) points relations with other network actors, the po- located in Padua, and except from initial Kinetische Kunst, organized at Stadts Kunst- that they had a strong tie, since the entire sition of the Nouveaux Réalisme in network connections with Milan avant-garde milieu, gewerbemuseum in Zürich (1960), Konkrete group GRAV participated in both of them; topography is bit remote from its core. established through the participation of Kunst: 50 jahre entwicklung, organized by the thick tie between Matko Meštrović and Gruppo N, and Gruppo T, represented by Manfredo Massironi and Eduardo Landi in Helmhaus, also in Zürich (1960), and Mono- New Tendencies, points to his multiple roles the exhibitions placed on the opposite side the exhibitions organized at Gallery Azimut, chrome Malerie, held at Museums für Gegen- in the exhibition (assistant curator, author of of the network, and also distanced from its it had just a few other connections with Mil- wartskunst Morsbroich (1960), were intended the text in the exhibition catalogue). Rob- central area, were established just a few anese artistic. It was also formed towards to provide them with the proper set of histor- ert Rauschenberg, on the other hand, had months before Nouveaux Réalistes, but their the end of the observed period, and early ical references. Therefore, in all three cases, only one role in the exhibitions Bewogen/ position in the topography of the network exhibitions by which it is represented in the contemporary art was presented as integral Beweging and Le Nouveau Réalisme à Par- – both in relation to French group, and visualization, were held at group’s atelier to continuity of ideas, and problems related is et à New York, that of participating art- towards each other – is a bit different. In (Studio N), not yet integrated into the exist- to historical development of art phenomena ists, meaning that his connection to them contrast to the Nouveaux Réalistes, Gruppo ing neo-avant-garde infrastructure. from the focus of the exhibition. While the po- was weak, and therefore presented by the T had a multiple strong ties with key per- In the center of the network there is Spoerri’s sition of the museums in network topography thin lines. Rauschenberg’s position in the sonalities of Lombardian neo-avant-gar- Editions MAT - Multiple d’Art Transformable, reflects their real-life distance from the neo- topography of the network, much closer de (Manzoni, Castellani, Fontana, Dorfles) exhibition displayed for the first time in Paris, avant-garde subculture, the central position to the second of these two exhibitions, re- established much before it was formed in Galerie Loeb, at the end of 1959. Described of the exhibitions they have organized, and flects his closer real-life relationships with towards the end of 1959. Moreover, mem- as “an anthology of multiples in sculpture, with their multiple ties with other network actors, Le groupe des Nouveaux Réalistes. Although bers of the group Davide Boriani, Giovanni the theme of real or perceptual movement”,180 denote such strategy. each and every connection between two Anecshi, Gianni Colombo, and Gabriele it was the collection of small-scale transform- The relation between the institutional cul- network actors could be described in these Devecchi, were directly involved in techni- able kinetic objects, produced on affordable ture and neo-avant-garde subculture is terms, from the perspective of New Tenden- cal preparations for the opening of Gallery price in a series of one hundred items result- presented with greater clarity by the vis- cies’ relation to neo-avant-garde artistic Azimut, and were also integral to the group ing from Spoerri’s collaboration with artists ualization of same data used for the vis- subculture, structure of the whole network of young artist who belonged, as well as of different generations – from Dieter Roth to ualization of neo-avant-garde exhibition is much more interesting and informative, Manzoni and Castellani, to Lucio Fontana’s Joseph Albers, and Marcel Duchamp.181 Or- infrastructure, but approached through the since it also presents the relations among circle.179 Reasons why Gruppo T was placed ganized and managed by Spoerri, and tour- perspective of bipartite exhibition – artist different artistic tendencies constitutive to at the edge of the neo-avant-garde’s so- ing Europe throughout 1960 (Munich, Zurich, network (Fig. 2). At the level of its topog- its social space. Quite similar to the position cial space, are the dates of their inaugu- Krefeld), it was a very important reference for raphy, the center of the network, crowd- of certain galleries, and exhibition spaces in ral, programmatic exhibitions (Miriorama’s New Tendencies, both in regard to the for- ed with number of tightly interconnected the topography of infrastructural network, 1-11), held in 1960-1961, and the fact that exhibitions, represents the real-life space artistic tendencies articulated towards the except for the first one, which also included 180 Lisa Cempellin, The Ideas, Identity and Art of Daniel Spoerri. Contingencies of neo-avant-garde artistic subculture, end of the observed period, and presented Manzoni, Fontana, Munari, Tinguely, and and Encounters of an ‘Artistic Animator’ while the exhibitions surrounding that in this network visualization with the series Enrico Baj, participants at all other exhibi- (Wellington: Vernon Press, 2017), 1-3. space, with just few exceptions, outline a of exhibitions, are also positioned at the real-life realm of institutional mainstream. very edge of the area representing the re- 179 See in MANZONI: Azimut, exhibition 181 The initial Edition MAT included works catalogue, Gagosian Gallery, 17.11.2011 – by Yaacov Agam, Pol Bury, Enzo Mari, Bruno Strength of ties among network actors, de- al-life space of neo-avant-garde subcul- 6.1.2012 (London: Gagosian Gallery, 2011). A Munari, Man Ray, Dieter Roth, Jesús Rafael noted by the thickness of connecting lines ture. Therefore, the exhibitions related to good impression on how young generation of Soto, Jean Tinguely, and Victor Vasarely. depends – in case of exhibitions – upon the group of Nouveaux Réalistes, formed artists perceived Lucio Fontana, gives Heinz On the occasion of its presentation in number of common participants among on Pierre Restany’s initiative, and officially Mack: “Fontana was a kind of colleague who Zürich, collection was supplemented with two exhibitions, while in case of exhibition established in October of 1960, occupy the supported and inspired us, giving us this works of Joseph Albers, Marcel Duchamp, – person ties, thickness of the connecting upper left corner of network visualization. It affirmation and awareness that we were on Heinz Mack, and Frank Malina; More on line points to the role (organizer, catalogue is true that some of group’s members – Jean the right path … his work was so useful MAT Editions; see in Katerina Vatsella, editor, author of the text in the catalogue) Tinguely, Yves Klein, and Daniel Spoerri – to us; so near to what we were doing.”, in Edition MAT: Daniel Spoerri, Karl Gerstner particular person played in the exhibition. were strongly involved with the international Baily https://ocula.com/magazine/conversa- und das Multiple: die Entstehung einer Therefore, a tick line connecting the exhi- neo-avant-garde much before the group 98 99 tions/heinz-mack/ Accessed June 23, 2018. Kunstform (Bremen: Hauschild, 1998). mat of multiple, and model of production. In comparison to the exhibitions situated their work, in particular in the milieu of the Croatian art critic Matko Meštrović, a well-in- Other important exhibitions, according to cal- within the central network area, tightly inter- contemporary French art scene, stemming, formed intellectual, also not the employee culations (Table 1- 3), which took into account connected by common participants (cura- amongst others, from Nouveaux Réalistes af- of the Gallery of Contemporary art,186 who the strength, and multiplicity of ties among tors, organizers, authors and editors of the firmative relation towards American pop-art, will play a very important role in the overall network actors, belong to the production of catalogues), according to the calculations it was a rather brave curatorial decision.184 history of the movement. Claim that Nove group ZERO (Heinz Mack’s solo exhibition held of centrality none of the large, professionally The selection also included a group of artists tendencije – for the first time – brought to- in Milan, in March 1960; Expositie - demn- curated exhibitions – Kinetische Kunst (Zürich, – Heinz Mack, Julio Le Parc, Otto Piene, Dieter gether works of young European artists from stratie ZERO, Arnhem, 1961; ZERO Edition, 1960), Mononchrome Malerei (Leverkusen, Roth, Paul Talman, Günther Uecker – who will, diverse backgrounds, who for the most part Exposition, Demonstration, Dusseldorf, 1961), 1960), Konkrete Kunst: 50 jahre entwicklung in just a few months, attend the first Nove never met, or seen of each other’s work, was whose activities dominate the central area (Zürich, 1960 Art abstrait constructif inter- Tendencije exhibition. only partially true. It was true for Croatian of the network. It is not particularly surprising national, (Paris, 1961), except from the Be- Although its venue belonged to the system of artists, who started to forge their way towards since, in 1961, ZERO was already, and sponta- wogen / Beweging, (Amsterdam, Stockholm, institutional culture, the exhibition Nove Ten- international art circles only at the end of the neously operating as an international move- Copenhagen 1961-1962), managed to enter dencije (Zagreb, 1961) was firmly embedded 1950’s, and probably for few other authors ment, overarching almost the entire social the group of of five or even ten important in the neo-avant-garde subculture. It was called after the initial participants list, based space of neo-avant-garde artistic subculture. exhibitions at the time. conceived, and curated by Brazilian artist on Mavignier’s personal network has been The largest of these exhibitions, Bewogen / Almir Mavignier, and closely followed “do- exhausted. Guided by his understanding of Beweging, opened in March, 1961, first at it-yourself” principle typical for the practice shared artistic, aesthetic and social values, Stedelijk in Amsterdam, was transferred and of group ZERO, with whom Mavignier was as- and by the similarities in technical aspects Eigenvector centrality restaged a month later at Moderna Museet, sociated from 1958, and therefore strongly of art production, Mavignier put together a Heinz Mack 0.860773 in Stockholm under the title Rörelse Konsten relied on his wide personal network that in- complex overview of diverse art practices op- ZERO. Edition - Exposition - Demonstration 0.846478 /Movement in Art/, and moved again, at the cluded artists from both Europe, and Latin posing the excessive subjectivity, individual- Editions MAT - Paris 0.777507 end of 1961 to Louisiana Museum, in Copen- America185. Mavigier’s assistant was young ism, and idiosyncrasy of Art Informel. Bringing Nove tendencije 0.775177 hagen. The objective of the exhibition, curat- to the fore value system of the first postwar Expositie - demnstratie ZERO 0.658741 ed by Pontus Hultén, with the assistance of 184 Still another peculiarity of Hulten’s generation, its radical stance against he- T.1 Daniel Spoerri, was to outline “the history of selection was also the inclusion of Robert gemonic model of high modernist artistic artists’ interest in movement, from Futurism to Rauschenberg, who already had a firm, culture, and concept of art “growing out of Closeness centrality contemporary art”,182 and across the broadly contacts with both Parisian and Lombardian the diverse structures of modern life”,187 Nove Expositie - demnstratie ZERO 0.45584 understood field of visual arts, which included neo-avant-garde. Few months after Bewogen / Tendencije achieved international success, ZERO. Edition - Exposition - Demonstration 0.407643 “kinetic art, performance, happenings and Beweging he took part in Restany’s exhibition although within still limited circles of neo- Nove tendencije 0.391677 film, along with a host of ‘static’ artworks”.183 Le Nouveau Réalisme à Paris et à New York, avant-garde artists, and among art critic Heinz Mack 0 . 391198 A specific of the selection was an overstat- with artworks recognized in the Parisian sympathetic to their critical stance on the Editions MAT - Paris 0.373832 ed number and position of Tinguely’s works intellectual circles, in particular those Informalist mainstream. close to Galerie Denise Réne, as an epitome T.2 in the exhibition display, and the inclusion of “Americanization”, a (political) strategy of other representatives of Nouveaux Réal- meant to undermining European postwar cul- 079_Kolesnik_Bojic_Silic.pdf istes, Raymond Heins, and Niki de Saint Phale. Betweenness centrality ture. Such perception strongly affected the 186 For ad ddetailed story on organization Concerning a pronouncedly critical view of Nove tendencije 11044.82245 position of Nouveau Réalisme at the Fench, of the first New Tendencies exhibition see Editions MAT - Paris 5515.746477 and consequently European art scene at the Rosen, A Little Known; Rosen, Weibel bit

Heinz Mack 3720.42398 182 According to the catalogue of the ex- time; see, for example, Catherine Dossin, international; Medosch, New Tendencies. ZERO. Edition - Exposition - Demonstration 2636.716467 hibition, there were 223 artworks displayed “To Drip or to Pop? The European Triumph of 187 Manifesto, written and signed by Biasi, Expositie - demnstratie ZERO 2169.756536 by 83 authors; more on the exhibition see American Art”, Artl@s Bulletin, Vol. 3, Issue Mack, Manzoni, and Massironi in 1960 on in Anna Lundström, “Movement in Art. The 1 (Spring 2014), 79-103. the occasion of the exhibition La Nuova T. 3 layers of an exhibition”, in Pontus Hulten 185 For the reconstruction, and visualiza- Concezione Artistica, quoted by Lucilla and Moderna Museet the Formative Years, ed. tion of Almir Mavignier’s personal network Meloni, ed. Gruppo N. Oltre la pittura, Table 1-3. Ranking of the exhibitions held between 1958 Anna Tellgren (Stockholm, London: Moderna and 1961, and related to neo-avant-garde artistic sub- in 1960, see in Kolešnik, Bojić, Šilić, oltre la scultura: l’arte programmata. culture, according to T1) Eigen centrality, T2) Closeness Museet & Koenig Books, 2017), 67-93. “Reconstruction”, 58-79. https://www.ipu. (Frankfurt am Main & Milano: Fondazione VAF centrality, T3) and Betweenness centrality measures 183 Ibidem., 68-69. 100 101 hr/content/zivot-umjetnosti/ZU_99-2016_058- & Silvana Editore, 2009), 45. However, the position of that exhibition in exhibition. Consistent with ZERO’s expan- of a sudden, shared awareness that right foreign politics,193 Zagreb, a local cultural the topography of exhibitions network (Fig. sion strategy, which assumed the support to there, behind those exhibited artworks, center with lively, but conventional main- 2) does not have much to do with the re- persons, and locations responsive towards there was already the entire art move- stream art, suddenly turned into a vibrant al-life reception of the exhibition, but rather group’s concept of art, in one of the letters ment, nameless and invisible to the general location of international experimental art, confirms that New Tendencies provided a they exchanged at the time, Mavignier out- public, but ready to articulate its artistic, hosting New Tendencies, Music Biennale comprehensive overview of neo-avant-garde lined “the opportunity of young critics”, like aesthetic and social objectives. Following (MBZ), the international biannual survey of tendencies with – broadly defined – neocon- Meštrović, “to come to Germany, and have that “instant recognition”, discussions on avant-garde, and experimental music, and structivist orientation.188 Placement of Nove contacts with people, artist and ideas that the programmatic orientation of the move- festival of amateur experimental film (Genre Tendencije along the upper right side of the might help give impulse to some new forces ment started while the exhibition was still Film Festival - GEFF), 194 which all required a network core, is determined by the number of among you”189 as perhaps the most impor- running, and continued throughout 1962, proper critical response, impossible without Italian, and German, and artists from other tant outcome of Nove Tendencije exhibition. creating the core of New Tendencies’ so- acquisition of new epistemic, and discur- locations of ne-avant-garde activities who Fullfilling the promise lurking behind the cial and professional network. Commu- sive devices. In that respect, Meštrović was took part in the exhibition, and also with the lines of that letter already at the beginning nication model in the background of that well ahead of its colleagues from Gallery absence of Dutch authors, and Nouveaux of 1961, Mavignier provided Meštrović with process was common to neo-avant-garde of Contemporary Art, which appointed him Réalistes, positioned on the opposite side of the opportunity to stage the exhibition of of the late 1950s assuming working meet- the chief-curator of Nove Tendencije 2 the network. The connections of Nove Ten- Yugoslav contemporary painting at Galerie ings, frequent travelling among groups of Gallery also provided finances for his par- dencije with other network actors are pre- F, in Ulm.190 The exhibition was followd by people and locations involved in the proj- ticipation in the meetings, and discussions dominantly weak, but numerous and direct, Meštrović’s visit to Düsseldorf, and Zürich, ect, and a lot of circular correspondence. on the fundamentals principles and pro- which provide the exhibition – when translat- where he missed a desired meeting with Almost immediately after the first Zagreb gram objectives of international art move- ed into the measures of centrality (Tables 1–3) Max Bill, establishing, instead, contact exhibition – in October 1961 – Meštrović ment New Tendencies, that was formed in – with the third position within the group of with Karl Gerstner. From Zurich, Meštrović received the grant for visiting Paris,191 and 1962 and by the intense communication five most important exhibitions held between went to Munich to meet with Gerhard von in the following months – until February among Zagreb, Paris and Milan.195 French 1958 and 1961. Other exhibitions organized Graevenitz, whom he will get to know much 1962 – joined forces with group GRAV, Groupe de Recherche d’Art Visuel (GRAV), by the museums and encompassed by this better during his stey in Paris, at the begin- Equipo 57, Gerhard von Graevenitz, and established in 1960, with the ambition “to visualization, were excluded from the calcu- ning of 1962. For the young art critic, with other like-minded artists on creating the fashion Marxist aesthetics compatible lations since their relations to the neo-avant- few previous direct contacs with the forign programmatic outline of the new art move- with works ascribable to the tradition of garde subculture was mediated by the system artists, it was crucialy important encounter ment. Meštrović’s personal benefit gained abstract art”,196 played a very important of institutional culture. If they would have been with the artistic, cultural, and social milleau from those meetings was, according his 193 More on political situation in taken into account, Nove Tendencije would to which he will be firmly tight throught the own statement, “the encounter with the new Yugoslavia, and on its relation with the take the position of the fifth most important 1960s, and equally important for the future ideas” and development of “vocabulary, Cold War cultural politics, see in Ljiljana 192 exhibition in the observed period. of New Tendencies. relating to emerging new notions in art”. Kolešnik, “A Decade of Freedom, Hope and Artists who were later invited to recall their If one compares his articles written before Lost Illusions. Yugoslav Society in the Phase of establishment, and impressions of the first New Tendencies New Tendencies, with those from 1963 to 1960s as a Framework for New Tendencies”, consolidation: 1962 – 1963 exhibition, often described that event in 1965, the advancement in type, structure, Radovi Instituta za povijest umjetnosti 34 terms of ‘epiphany’ – a singular moment and vocabulary of his critical, and theo- (2010), 211-224. Except from his approach to organization, retical discourse is simply – astonishing. It 194 In 1961 Zagreb City Council accepted and curation of New Tendencies, the influ- 189 Medosch, Automation, 55. was even more important concerning the the proposition of avant-garde composer ence of Mavignier’s affiliation with ZERO, fundamental transformations happening in Milko Kelemen to establish Music Biennale 190 Meštrović’s selection was an overview was also manifested through his communi- his immediate cultural environment. At the of Zagreb (MBZ). It was also decided that of Yugoslav art scene at the time, and cation with Matko Meštrović, preceding the beginning of the 1960s, and correspond- MBZ and NT should run together every two encompassed a rather wide range of art years and that the first issue of the com- practices – from geometric abstraction to ing to changes in Yugoslav internal and bined events should happen in spring 1963. 188 Term neoconstructivism is used as naïve art. After Ulm, it was supposed to a signifier for art practices which be restaged in Berlin, but it did not hap- 191 Meštrović stayed in Paris from 195 More on that process see in Denegri, put forward Futurism, Constructivism, pen due to the political tension between October 1961, to February 1962. Exat 51, and Madosch, Automation. Bauhaus, and De Stijl, as their historical Germany and Yugoslavia, issuing from 192 Matko Meštrović, 13.05.1965. Letter to 196 Jacopo Galimberti, “The Early Years references. Yugoslav recognition of DDR. 102 103 Gerhard von Graevenitz. Archive: MSU Zagreb of GRAV: Better Marx than Malraux”, role in that process, imposing itself as a GRAV’s interpretation - had quite similar, The programmatic insistence on clarity, its purely physical features.203 Similar to leading force of the movement by the series negative view of other neo-avant-garde therefore, assumed the act of creation the scientific research, which approves of its programmatic texts, published in the currents. While praising neo-Dadaists and which is based on the same type of ra- repetition of experiments, and recreation immediate aftermath of Nove Tendenci- Nouveaux Realistes for their disrespect to- tional reasoning which is guiding scien- of the results obtained by other scientist, je – declaration Assez de Mystifications / wards “traditional considerations of beauty”, tific research, fully transparent, and de- the objective of New Tendencies was to Stop with Mystification/ issued in September they also pointed out the “contradiction void of any mystification. In comparison create artworks that could be endlessly 1961, along with GRAV’s participation at the between their anti-art and effort to bap- to other art groups, coming together at modified in the course of visual research, second Bienal de París, and the pamphlet tize the object anew”, as essentially different this period to define a common program and endlessly reproduced by anyone will- Transformer l’actuelle situation de l’art plas- from New Tendencies’ “search for clarity” of the movement, devoted to the social ing to follow artist’s instructions.204 At the tique, issued in October 1961, explaining with no other objective than transforma- aspects of art production, and to the op- beginning of the 1960s, forms of artistic group’s view on the relationship between tion of art (“plastic activity”) into practice eration of art-market mechanisms, the po- behaviour which diminished importance of art and society, on the traditional value of which “makes its primary elements evident” sition of GRAV was more pragmatic, and authorship, endorsed collective authorship visual art, and on certain aspects of visual to human eye, as opposed to the “eye of the concerned with the means and devices (Gruppo N, Equipo 57) and production of reception. They were followed by the group’s intellectual, the specialist, the aesthete, the that will allow for better understanding of anonymous, unsigned artworks (GRAV), statement Nouvelle Tendance, published sensitive”. 199 The idea of “art as continuous visual perception, in order to apply that undermining the fetishization of a unique, along the exhibition L’Instabilité (Paris, (visual) research”, introduce by that GRAV’s knowledge in creation of new art objects authorial personality, were not new. In March, 1962), as a summary of discussions statement, also highlighted the understand- / spatial situations that will induce view- case of New Tendencies they were also led between Paris and Milan, emphasiz- ing of art – science relation, specific for New ers’ active response, and the awareness of accompanied by the propositions on new ing that the term employed in its title “was Tendencies as art movement, akin with the their own perceptive, sensory capacities. In forms of organization that would make it already used on the occasion of the Nove questions of its approach to the concept other words, and articulated in theoretical integral to the operative principles of the Tendencije exhibition in Zagreb in 1961”, as of authorship. Drawing on Umberto Eco’s terms, the objectives of “art as research” movement that were discussed but not fully a signifier of phenomena which “appeared term “epistemological metaphor“, Jacopo was to “determine objective psycho-phys- implemented.205 simultaneously among young designers at Galimberti, describes such understand- ical bases of the plastic phenomenon and Programmatic orientation of New Tenden- different points in the world”, and just “be- ing as quasi-scientific, and as an example visual perception”, to change our “manner cies in regard to the institutional art main- gan to give a more homogeneous charac- of “appropriation of scientific values and of perceiving visual phenomena … [and] stream gained a more comprehensive artic- ter”.197 That new phenomenon, described as practices”, with the purpose to “evoke an enhance our entire perception apparatus”, ulation in Bulletin N° 1, document published “the evolution [which] can bring new ways approach to knowledge and society without in order to facilitate better understanding shortly after the exhibition Nove Tendencije of conceiving, appreciating and placing actually trying to turn art into a science”.200 of the “phenomenology of the world and 2, held in Zagreb, in August 1963, 206 with the the work in society”, was rising against “the According to Galimberti, the appropriation society”.202 intention to summarize the actual situation sterile situation which now produces, day and mediation of scientific paradigm, also The important consequence of defining art of the movement, and to identified the risks after day, thousands of works labelled lyri- allowed GRAV (New Tendencies) to as research, was the change in the status coming from its social context. Along with cal abstraction, formless art, Tachism, etc., of artwork that members of New Tenden- the possibility that NT would be absorbed and also against the fruitless extension of a … borrow the notion of authorship cies understood rather as a report on par- into the art scene, or turned into the new lagging mannerism based on the geomet- typical of the scientific community, in ticular stage of the research process, than form of academism due to repetition of its ric forms . . . of Mondrian and,”198 that is, which discoveries and publications as definite, completed visual statement, against both Informalist mainstream, and are generally accredited to a team. or – more precisely – as a “strictly visual 203 GRAV, Tendnace, n.p. geometric abstraction. New Tendencies - in On the other hand, it engaged with situation” without any element outside its 204 Such understanding of New Tendencies’ abstract and process-based works “homogenous” structure that does not objectives was strongly advocated by OwnReality (13), 2015, online, URL: http:// devoid of individual signature sup- allow any kind of interpretation beyond Gruppo N; Meloni, Gruppo N, quoting www.perspectivia.net/publikationen/ownre- plemented by the descriptions of ar- and explaining the views of Manfredo ality/13/galimberti-en , 14; Accessed 23 M assiro ni, 361, 131. tistic engagement which resembles 202 Matko Meštrović, Untitled (The A p r i l 2 017. 201 the process of scientific research. Ideology of the New Tendencies), in 205 Meloni, Gruppo N, 362. 197 Gr aV, Nouvelle Tendance, 1962; http:// Nove tendencije 2, exhibition catalogue, 206 Bulletin N° 1, August 1961, type- 199 Ibidem www.julioleparc.org/grav10.html Accessed 12 Galerija suvremene umjetnosti,Zagreb, written document, Archive MSU, Zagreb; m a r c h 2 017. 200 Galimberti (2015), 7. 1.8.-15.9.1963. (Zagreb: Galerija suvremene published in English translation in Rosen, 198 Ibidem. 201 GRAV, Tendances, n.p. 104 105 umjetnosti, 1963). n. p. A Little Known, 145-147. formal solutions, particular emphasis was Jean Arp Émile Gilioli Shinkichi Tajiri Simona Ertan put on danger that by shifting the focus Gerardo Filiberto Dasi Geneviève Claisse

Gastone Biggi Jean Arp Émile Gilioli from the interests of the viewer, towards Henryk Stazewski Shinkichi Tajiri Simona Ertan Vlassis Caniaris Ellsworth Kelly Anthony Hill Gerardo Filiberto Dasi Geneviève Claisse the aesthetic properties of the object, the Richard Mortensen Christo Lajos Kassák Gastone Novelli Gastone Biggi Bruce Tippett Henryk Stazewski Vlassis Caniaris Ellsworth Kelly research results might easily turn into works Anthony Hill Fritz Glarner Richard Mortensen Nicola Carrino François Mathey Christo GastonePaul Novelli Nemours Lajos Kassák Achille Perilli Günter Fruhtrunk Bruce Tippett of art, and movement’s members into the Vittorio Viale Camille Graeser Le Corbusier 207 Per Olof Ultvedt Fritz Glarner “’stars’ behaving like ‘artists’”. Nicola Carrino François Mathey Paul Nemours Antoine PevsnerAchille Perilli Günter Fruhtrunk Vittorio Viale Nicolas Schöer Camille Graeser Emilio Vedova Robert Morris Achille Pace Le Corbusier From the present perspective, that was a Valerio Trubbiani Per Olof Ultvedt Maria Helena Vieira da Silva Sonia Delaunay Antoine Pevsner Giuseppe Uncini Emilio Pettoruti Nicolas Schöer Manuel Calvo Emilio Vedova Robert Morris rather objective, sober-minded assessment Achille Pace Willem Sandberg Giuseppe Capogrossi Pasquale Santoro Valerio Trubbiani Jasper MorrisonMaria Helena Vieira da Silva Sonia Delaunay Giuseppe Uncini Emilio Pettoruti of the situation, since Nove Tendencije 2 Michel Seuphor Manuel Calvo Pasquale Santoro Jan Lebenstein RaymondWillem Hains Sandberg Giuseppe Capogrossi Eduardo Arroyo Olle Bærtling Jasper Morrison Wilfredo Arcay fell short of providing the image of a co- Nato Frascà Palma Bucarelli Michel Seuphor Ger Elk Jan Lebenstein Raymond Hains Gruppo Uno Giulio Turcato Eduardo Arroyo Gyula Kosice Olle Bærtling Giulio Carlo Argan Palma Bucarelli Wilfredo Arcay herent collective effort in visual research. Giuseppe GattNato Frascà Ger Elk Denise René Gruppo Uno Gyula Kosice Alexander Calder Giulio Turcato Friedensreich Hundertwasser Richard Paul Lohse Giulio Carlo Argan Mimo Rotella Giuseppe Gatt The exhibition had twice as many partic- Jim Dine Denise René Joe Tilson Alexander Calder Pierre Restany Udo Kultermann Vincent Aguilera Cerni Friedensreich Hundertwasser Richard Paul Lohse Mimo Rotella Jim Dine Jean Gorin Robert Rauschenberg Victor Pasmore Josef Albers Joe Tilson Egidio BonfantePierre Restany Udo Kultermann ipants as in 1961, and much more exhib- Vincent Aguilera Cerni Jean Gorin Dylaby Jean Messagier YaacovRobert Rauschenberg Agam Victor Pasmore Josef Albers Egidio Bonfante its – paintings, reliefs, sculptures, and ki- Art abstrait constructif international Morice Lipsi Dylaby Jean Messagier Yaacov Agam Kenneth Noland Art abstrait constructif international Morice Lipsi Filiberto Menna Asger Jorn Kenneth Noland netic objects, intended to interaction with Norbert Kricke Mary Callery Filiberto Menna Oton Gliha Asger Jorn Niki de Saint Phalle Daniel Spoerri Norbert Kricke Equipo 57 Mary Callery Victor Vasarely Oton Gliha their environment, and pertaining – one Niki de Saint Phalle Daniel Spoerri Equipo 57 Marcel Duchamp ConvegnoVictor internazionale Vasarely AICA Horacio Garcia Rossi Marcel Duchamp Vera Horvat-Pintarić Convegno internazionale AICA Hugo Rodolfo Demarco Horacio Garcia Rossi Vera Horvat-Pintarić way, or another – to the concepts of “ac- Constant Nieuwenhuys Arman Hugo Rodolfo Demarco Constant Nieuwenhuys Arman Aleksandar Srnec Kuno Gonschior Manfred Kage Boris Kleint Marcelle Cahn Aleksandar Srnec Kuno Gonschior Karl Gerstner Umbro Apollonio Manfred Kage Boris Kleint tive viewing”, and “viewers participation”. Karl Gerstner Marcelle Cahn Herbert Oehm Vjenceslav Richter Umbro Apollonio Mathias Goeritz Martial Raysse Herbert Oehm Vjenceslav Richter Mathias Goeritz Martial Raysse Gerhard Rühm Julio Parc Gregorio Vardanega However, a number of displayed artworks Gerhard Rühm Francisco Sobrino Julio Parc Gregorio Vardanega Francisco Sobrino Kilian Breier Kilian Breier Julije Knifer Silvio Ceccato Martha Boto Julije Knifer Silvio Ceccato had a repetitive features, encapsulated Franz Erhard Walther Biennale di San Marino - OltreFranz informale Erhard Walther Jean-Pierre Yvaral Martha Boto Toni Costa Biennale di San Marino - Oltre informale Toni Costa Jean-Pierre Yvaral Günter Drebusch Günter Drebusch Ivan Picelj Ivan Picelj by the term “academism” which surfaced Radoslav Putar Radoslav Putar Günter Meisner Günter Meisner Dieter Roth Vojin Bakić Vojin Bakić Bewegte Bereiche der Kunst Dieter Roth L’InstabilitéBewegte Bereiche(G.R.A.V.) der KunstJoël Stein L’Instabilité (G.R.A.V.) Joël Stein the critical reviews of Nove Tendencije 2. Almir Mavignier Almir Mavignier Frank Popper Frank Popper Jesús Rafael Soto Jesús Rafael Soto Hans Schmidt Jean Tinguely GRAV Manfredo Massironi Hans Schmidt Jean Tinguely GRAV François Morellet Manfredo Massironi François Morellet Critical objections on the character and ZERO demonstration UmbertoGetulio Eco Alviani Umberto Eco ZERO demonstration Getulio Alviani Marcello Piccardo Marcello Piccardo Luis Tomasello Hans Salentin Luis Tomasello Hans Salentin Je Verheyen quality of artworks exhibited in Zagreb, and Je Verheyen Bruno Munari NT Paris working meeting Bruno Munari NTZERO Paris -working Der neue meeting idealismus ZERO - Der neue idealismus Enrico Castellani Gruppo N Getulio Alviani Enrico Castellani Gruppo N Getulio Alviani awareness of disintegrating influence of art Herman Geopfert Herman Geopfert Matko Meštrović Rudolf Kämmer Le groupe des Nouveaux Réalistes Piero Dorazio Gerhard Graevenitz Marianne Aue Matko Meštrović Rudolf Kämmer Nove tendencije 2 Piero Dorazio Gerhard Graevenitz Le groupe des Nouveaux Réalistes Nove tendencije 2 Heinz Mack market, required a serious discussion on Marianne Aue Lucio Fontana Ennio Ludovico Chiggio Heinz Mack Lucio Fontana Jochen Hiltmann Ennio Ludovico Chiggio Jochen Hiltmann Arnulf Rainer Piero Manzoni Günther Uecker Uli Pohl Arte programmata Narciso Debourg the clarity of movement’s objectives. The Paul Hoeydonck ZERO Alberto Biasi Angel Duarte Božo Bek Arnulf Rainer Piero Manzoni Günther Uecker Uli Pohl Arte programmata Narciso Debourg Paul Hoeydonck ZERO Alberto Biasi Angel Duarte Božo Bek Adolf Luther Gruppo N Andreas Christen attempt in bringing about such clarity was Pol Bury ZERO schilders gekozen door de galerie Oltre la pittura oltre la scultura Carlos Cruz-Díez Adolf Luther Gruppo N Andreas Christen Pol Bury ZERO schilders gekozen door de galerie Oltre la pittura oltre la scultura Carlos Cruz-Díez Davide Boriani Bulletin N° 1, document which explained, Guy Mees Otto Piene Juan Serrano Muñoz Boris Kelemen Davide Boriani Guy Mees Otto Piene Europäische Avantgarde Edoardo Landi nuova tendenza 2 once again, movement’s relation to artistic Jan Dries AntipeintureJuan Serrano Muñoz Boris Kelemen ZERO Enzo Mari Vladimir Kristl Europäische Avantgarde Edoardo Landi nuova tendenza 2 Gianni Colombo Jan Dries ZERO Antipeinture Gruppo T Ed Kiënder Enzo Mari Vladimir Kristl mainstream, described its basic program- Oskar Holweck Christian Megert Enrico Castellani Giovanni Aneschi Augustin Ibarrola Gianni Colombo Gruppo T Helge Sommerrock Ed Kiënder Oskar Holweck Giovanni Aneschi Dadamaino matic principles, proposed a range of for- Christian Megert Enrico Castellani Wout Vercammen Augustin Ibarrola Juan Cuenca Nieuwe tendenzen Miroslav Šutej HéctorHelge SommerrockGarcia-Miranda Gabriele Devecchi Grazia Varisco Dadamaino Gotthard Graubner mal criteria governing inclusion/exclusion Wout Vercammen Juan Cuenca Nieuwe tendenzen Azimuth/Azimut BernardMiroslav Aubertin Šutej Wybrand GanzevoortHéctor Garcia-Miranda Gabriele Devecchi Grazia Varisco Karl Reinhartz Klaus Staudt from New Tendencies, and introduced rules Gotthard Graubner Nul [62] Azimuth/Azimut Bernard Aubertin Alfred Schmela Henk Peeters Miriorama 13 Wybrand Ganzevoort Nul Karl Reinhartz Klaus Staudt Paul Talman Walter Zehringer Ad Reinhardt of conduct for its members. However, in- Nul [62] Herman Vries Rochus Kowallek Jan Schoonhoven Alfred Schmela Henk Peeters Miriorama 13 Marc Adrian Dieter Hacker Nul Paul Talman Yves Klein Walter Zehringer Ad ReinhardtWalter Leblanc Ludwig Wilding stead of contributing to the inner cohe- Herman Vries Traugott Spiess Rochus Kowallek Jef Verheyen Miriorama 12 Jan Schoonhoven Jan Henderikse Marc Adrian Piero Manzoni Dieter Hacker Gotthart Müller sion of the movement, rules and regulations Yves Klein Walter Leblanc Ludwig Wilding Traugott Spiess Harry Kramer Jose Duarte Montilla Hermann Bartels Jef Verheyen Miriorama 12 Hermann Goepfert made things worse, prompted conflicts, Piero Manzoni Jan Henderikse Gillo Dorfles ArmandoGotthart Müller Jan Schonhooven Harry Kramer Wolfgang SchmidtJose Duarte Montilla tensions and strong objections regarding Hermann Bartels Giorgio Soavi Guido Ballo all Croatian artists, all members of ZERO Hermann Goepfert Raimund Girke Guy Habasque Armando Gillo Dorfles Jan Schonhooven William Simmat Yayoi Kusama the oppressive manner in which they were Wolfgang Schmidt Carlo Belloli movement and group Nul, Piero Dorazio, Giorgio Soavi Guido Ballo Raimund Girke LudwigGuy Habasque Wolfgang Hans Haacke imposed. The list of 46 artists expulsed from Sergio Bettini Carlos Cruz Diez, Héctor Garcia Miranda, Hans Sonnenberg William Simmat Yayoi Kusama Vera Molnár 208 Carlo Belloli Francesco Lo Savio the movement according to the alleged and two out of only four women involved Fig. 3 Ludwig Wolfgang Hans Haacke Sergio Bettini inNetwork New T endencies,of the New Tendencies-related Martha Boto and exhibitions Helge held in Hans Sonnenberg Vera Molnár 207 I b i d e m., 147. Francesco Lo Savio Sommerrock;1962–1963, indicating see in theRosen, division/tension A Little between Known, the “ide- 208 According to that list, excluded were 145.alistic” (left) and the “rational” (right) wing of the movement 106 107 exhibitions art groups discursive events

exhibitions art groups discursive events results of the discussions led in the course rections at the international art scene. They ment of the movement, closer to the views which pertained to the same “idealistic” of Nove Tendencije 2, but also the exclusive assumed an astringent criticism of individu- and practices of group ZERO continued wing of NT, Burnham either consciously nature of the timeline of the exhibitions and alism, and social disinterestedness of Infor- with its geo-cultural expansion. Differenc- omitted, or simply did not recognized as events accounting for the pre-history of the malist mainstream, and involved the most es between those two parallel flows within separate entity. On the other isle of that movement,209 led to the first serious breech influential art critics at the time, as Giulio New Tendencies, demonstrated in Bulletin great divide, there was French group GRAV, in the social dynamics of the movement, Carlo Argan, who were advocating closer N° 1, were clearly articulated, by Jean-Pierre Italian Gruppo N, and Gruppo T, part of and at the moment when “NT was about to relations between art and science, and col- Yvaral, at the end of 1963. the Munich group affiliated with Gallery be absorbed by the art system”.210 lective work practices, as opposed to ex- Nota and Gehrad von Graevenitz, Yugoslav The beginning of New Tendencies’ transi- cessive subjectivity of gestural abstraction. Zero and NUL whose spirit is a little (Croatian) artists, and artists from other tion to the institutional culture is at least Critical assessment of artistic mainstream, touched with Neo-Dada, are slightly socialist countries. partially related to the appearance of arte was backed up by the series of concomitant earlier movements than NTrc [Nouvelle Although it is almost impossible to miss programmata, artistic tendency praising exhibitions – Oltre la Pittura – Oltre la Scul- Tendance - recherche continuelle]. the echoes of ideological bias implied with the algorithmic logic of contemporary ex- tura, Milano and Torino, April - May 1963; Several of their members joined NT at such division,214 and a rather simplified periments with concrete poetry, and ex- the international Biennale di San Marino - the start, but strayed later, their po- application of certain categories essen- panded to the production of Gruppo N, Oltre l’informale, July 1963; nuova tendneza sitions being too far from the general tial for understanding the overall story of and Gruppo T as the examples of the same, 2, Venice, December 1963 – pointing to art spirit of NTrc and one can say that New Tendencies, visualization of exhibition rational and “programmed” approach to phenomena from the context of New Ten- there is no affinity with the exhibitions network related to New Tendencies in 1962- the problems of visual arts. The exhibition dencies, as an important, and convincing called Zero and NUL.212 1963 (Fig. 3), confirms Burnham’s division Arte programmata. Arte cinetica. Opere response to Art Informel. Discussions on the on two groups, differentiated by both the moltiplicate. Opera aperta (Milano, 1962) state of contemporary art scene acquired Division lines between those two groups, understanding of art – science relation, intended to present that new art phenom- international dimension due to the strate- that were together structuring the poetic the objectives of that relationship, but also ena, first at the Italian, then international gic, and simultaneous staging of Biennale field of New Tendencies, were obvious al- by their relation to the mainstream cul- arts scene,211 accelerated a wider recog- di San Marino and Annual AICA Congress ready at the first Zagreb exhibitions. Nove ture. The gap caused by these differences, nition of both New Tendencies, and other (Convegno internazionale artisti critici e Tendencije 2, made them even clearer, jus- which could be explained in the terms of – broadly defined – neoconstructivist trends studiosi d’arte) organized in Rimini, and at- tifying Jack Burnham’s proposed differen- structural hole wold be also clearly visible concurrent to gestural abstraction. Notion tended by large Croatian delegation sup- tiation of the movement on the proponents in the network topography, if it was not of arte programmata certainly contributed portive to New Tendencies, by Latin Amer- of “experimental objectivity, anonymity, bridged by the intervention of art critics, to the ongoing discussions on the state of ican radical art critics, and moderated by perceptual psychology, and socialism” that is, by the international Biennale di San contemporary art, at the time particularly both Argan, and Pierre Restany who, at the and those who were advocating “individ- Marino, which brought them together out- intense at the Italian cultural scene, but time, was the most important liaison be- ual research, recognition, poetry, idealism, side and beyond the framework of New also indicative – due to the role of Venice tween American Pop-art and European art immateriality, luminosity, and nature”.213 Tendencies, and give the equal attention Biennale in the global Cold War cultural scene. The contribution of art critics, and According to Burnham, the representa- to both “neo-Dadaists”, and “rational- politics – of general atmosphere and di- of the discussions led in Rimini to the wider tives of the “idealistic” group affiliated recognition of New Tendencies cannot be with group ZERO in Düsseldorf, were Dutch 214 The artists from the Eastern bloc (art group Dviženije USSR; Edward Krasinski, 209 Nouvelle Tendance - recherche con- overstated. They were reflected in Argan’s group Nul, part of the Munich group, Piero Sándor Szandaï, Hungary; Zdeněk Sýkora, tinuelle. Evolution de sa composition, articles published in the most-read Ital- Manzoni, and artists from Lucio Fontana, Czechoslovakia), took part only in NT’s typewritten, 1963, Archive of MSU, Zagreb. ian daily newspapers, and art magazines and Yves Klein’s circles. “Frankfurt Grupe”, third exhibition – Nova tedencija 3, held shaping both public opinion, and interests 210 Medosch, Automation, 130. in 1965. Considering that next, fourth NT of art-market. 211 With the ample financial support 212 Jean-Pierre Yvaral, December 1963, Letter exhibition was held in 1969, a year after While such critical interventions into the by Olivetti, the exhibition was touring to Georg Rickey; see Rickey (1964), 276. Burnham published his book, a decision to Europe, and from 1964 through the USA as public sphere, and above-mentioned ex- 213 Jack Burnham, Beyond Modern include them in the group of “rational- well. After Milan, where it was first dis- hibitions provided discursive framework for Sculpture: The Effects of Science and ists/socialists”, is arbitrary, ideolog- played, it was restaged in Venice (joined the inclusion of New Tendencies, that is, Technology on the Sculpture of This ically biased, and cannot be confirmed by GRAV), Düsseldorf, London, and at the inclusion of art practices pertaining to the Century. (New York: George Braziller, either by the chronology of the movement, twelve locations in USA, finishing its concept of “art as (visual) research” into the 1968), 247; cited according Medosch, characteristics of their artworks, or per- journey in MOMA, in 1966. system of institutional culture, other seg- 108 109 Automation, 71-72. sonal political choices. 1/10/2019 map2_1962-1963.svg

ist” layer of the movement. Result of such Still another reason for high ranking of Bi- strategy was a rather interesting, and quite ennale di San Marino was the inclusiveness important proposition of the new poetic of its selection encompassing both gestur- configuration of the European art scene al and geometric abstraction, figurative that doubtlessly influenced the next, XXXII painting, and almost all art groups involved Venice Biennale. The importance of the with New Tendencies. According to the same 1963 international Biennale di San Marino calculations, Nove Tendencije 2 is ranked as is also confirmed by the calculations of second most important among exhibitions centrality measures, according to which held in 1962-1963, followed by other ex- it was most important of twenty-seven ex- hibitions both those close to the concept hibitions related to New Tendencies, and of “art as research”, and to the poetics of encompassed by this visualisation (Table group ZERO. A dense layer of ties among 4-6). the exhibitions positioned on the right side of the network visualization, where the ex- hibition Nove Tendencije 2 is also placed, Betweenness centrality points to the process of movement’s con- Biennale di San Marino - Oltre informale 10284.05118 solidation, but also to the establishment of Nove tendencije 2 6942.808422 its relationship with the institutional culture. Europäische Avantgarde 6017.023097 In comparison, the exhibitions related to ZERO - Der neue idealismus 3553.341686 group ZERO, including the most important Oltre la pittura oltre la scultura 2868.075843 one ZERO – Der Neue Idealismus, were still Bewegte Bereiche der Kunst 1988.979946 firmly embedded in the exhibition infra- T. 4 structure of neo-avant-garde subculture. Even the exhibition Nul [62], important and early survey of art production emerging Eigencentrality form ZERO’s sphere of influence, held in Nove tendencije 2 0.810169 Amsterdam in Stedelijk Museum, was or- Biennale di San Marino - Oltre informale 0.769657 ganized, prepared, designed and financed Oltre la pittura oltre la scultura 0.694803 by group Nul, while the museum provided nuova tendenza 2 0.648735 only its technical support.215 While both Za- Europäische Avantgarde 0.550563 greb exhibitions were collectively curated T. 5 by artists, all other exhibitions related to the

215 According to the interview with Hank Closeness centrality Peeters:“Nul62 only happened because of file:///C:/Users/Ljiljana%20Kolesnik/Documents/ARTNET/ARTNET_knjiga_II/moj%20tekst/map2_1962-1963.svg Biennale di San Marino - Oltre informale 0.5079681/1 an unexpected gap in the museum’s sched- Nove tendencije 2 0.50495 ule, an intensive lobbying effort and the Europäische Avantgarde 0.479323 artists agreeing to shoulder the costs Arte programmata 0.463636 themselves – including transport, set-up, Bewegte Bereiche der Kunst 0.458633 insurance and even posters and catalogues. Willem Sandberg’s contribution was limited T. 6 to making the exhibition space availa- ble”, see in nul = 0. The Dutch Nul Group Table 4–6 Ranking of the New Tendencies-related ex- in an International Context, exhibition hibitions held in 1962-1963, according to T4) EigenCen- Map 2. catalogue, eds. Colin Huizing, Tijs Visser trality, T5) Closeness centrality, T6) and Betweenness Spatial distribution of exhibitions related to New centrality measures (Schiedam, Amsterdam: Stedelijk Museum & Tendencies in 1962-1963 110 111 NAi Publisher, 2011), 18. concept of art as research, except of nuova of its efforts informed by the concept of art opening of Documenta III in Kassel. New zation Committee intended to assess the tendenza 2,216 had professional curators, or as continuous research. However, the right Tendencies were presented at Biennale in situation, and propose possible solutions art critics in the role of curators. moment for achieving the inner cohesion the central, Italian pavilion with artworks and lines of action, that could counteract Spatial distribution of the exhibitions held in of New Tendencies has passed, and all the and environments of Gruppo N, Gruppo the damaging influence of art market and 1962-1963 (Map 2) points out Netherlands, risks coming from the social environment, T, Erico Castellani and Enzo Mari. The re- almost completed inclusion on New Tenden- as the location of most intense activities, already identified in 1963, were growing sponse was better than in Paris, but still cies in the mainstream culture. The latter which has a lot to do with the energy group with each new exhibition. quite disappointing, since in the focus of became a matter of urgency, after William Nul invested in numerous exhibitions, and From the point of view of its public per- both art critics, and public were American Seitz’s exhibition The Responsive Eye opened events (“demonstrations” according to ception, 1964 was the year of movement’s Pop-Art, and minimalism. However, the suc- in MOMA, in February 1965. 218 Seitz included ZERO terminology), organized at the time. unquestionable success at the internation- cess or disappointment with the presenta- in his selection number of artworks produced New locations at this map, if we compare al art scene. In March 1964 the restaged tion in Venice, was far less important re- in the framework of New Tendencies,219 it with the time interval between 1958 and version of Nove Tendencije 2, was trans- garding the future of New Tendencies, than framed by the explanatory discourse which 1961, are Rome, Torino, and Genoa, on the ferred from Venice to Museum Morsbroich in astonishing fact that the very idea of taking has stripped them off their ideological, and south, and Edinburgh further north. Howev- Leverkusen, displayed under the title Neue prat in the exhibition that was setting the socially engaged pretext, and described as er, majority of exhibitions were still staged Tendenzen. The curator was Udo Kulterman, trends, and strongly affecting international in the geographic area outlined by Italy, art critic and then director of the Museum, art market, pointed out – just a few months … art without relationships— more Switzerland, Germany, Austria, Nether- well-known to Meštrović, and Lombardian before – as a most serious threat to New accurately, an art with a different lands, and Yugoslavia. Some of them al- avant-garde with whom he had close con- Tendencies, has not been put in question. order of relationships. The asymmet- ready crossed the Atlantic, reaching USA tacts from the end on the 1950s. Opened Perhaps the artists exhibiting at the Italian rical dialogues between large and and Latin America, which appears on the with the lectures by Umbro Apollonio, the pavilion were convinced that it is possible small, above and below, empty and map due to the GRAV’s travelling exhibition most vocal advocate of New Tendencies in for the movement to retain its artistic and full, or bright and dull that took place L’instabilite, organized by Galerie Denise Italy, and Matko Meštrović, the exhibition ideological integrity, while displaying the across picture surfaces have been Réne, and staged in 1962-1963 in New York, was quite successful. results of visual research shoulder to shoul- ended either by central placement and Sao Paolo. Exactly a month before the Leverkusen exhi- der with the “fetishized commodities” of or uniformity. Too much diversity of bition was closed, New Tendencies had their institutional visual culture, but it also might form impedes perceptual effect. The phase of integration debut in Paris. The title of the exhibition was be that majority of movement’s members Certain of these works therefore into the institutional Propositions visuelles du mouvement interna- were not interested any more in checking have a stronger family resemblance mainstream: 1964 – 1965 tional Nouvelle Tendance, it was organized the results of such appraisal. to mechanical patterns, scientific by the Musée des Arts Décoratifs, staged Instead, and parallel to Biennale, GRAV and diagrams, and even to screens and The attempt in consolidation, or more pre- in Louvre, at the Pavillon de Marsanof, and Zero also took part in a special exhibition textured surfaces than to relational cise – formalization, and regulation of New opened in late April of 1964. Intended as Light and Movement organized within the abstract art.”220 Tendencies, in 1963, had a far-reaching solo exhibition of group GRAV, it was turned framework of Documenta III in Kassel. How- 218 The exhibition The Responsive Eye. negative effect, evolving through 1964 and into the presentation of New Tendencies, ever, and opposite to both Parisian debut was held at MOMA, New York, February culminating with the exhibition Nova ten- since the group extend that invitation to all and Venice Biennale, the Light and Movement 23-April 25, 1965; restaged at City Art dencija 3, held in Zagreb, in August - Sep- movement members. The selection of art- exhibition or – more precisely – the selection Museum of St. Louis, May 20-June 20, 1965; tember 1965. The exhibition and its side works was made by ballots, the exhibition of works by Mack, Piene, Uecker and group Seattle Art Museum: July 15-August 23, events were the last attempt in New Ten- design and presentation were impeccable, GRAV put together in a haste just before Doc- 1965; The Pasadena Art Museum: September dencies transformation, and reintegration and – as Matko Meštrović said, recalling the umenta opening, and displayed in one, single 25-November 7, 1965; The Baltimore Museum event – it was a large and “beautiful exhi- room were met with critical appraisal as the of Art: December 14, 1965-January 23, 1966. bition”. However, the reactions of the public example of genuinely innovative art.217 216 Antje von Graevenitz, “Gerhard von 219 Out of 97 participating artist and Graevenitz as Curator, Gallerist, Editor, were not at all enthusiastic, and from the The year 1964 came to an end with the es- art groups, 40 were members of New and Lecture Organizer”, in The Artist as perspective of the exhibiting artists – it was tablishment of Nove tendencije 3 Organi- Tendencies. Curator. Collaborative initiatives in the a big disappointment. 220 Seitz, William. “Introduction”, exhi- international ZERO movemnet1957-1967, eds. Paris exhibition was closed just nine days 217 Frank Popper, Die kinetische Kunst: bition catalogue, Responsive Eye. MOMA, Tiziana Cainaello, Mattijs Visser (Gent: before the opening of the XXXII Venice Bi- Licht und Bewegung, Umweltkunst und Aktion New York, February 23-April 25, 1965 (New MER. Paper Kunsthalle, 2015), 290-91. ennale, and at about two weeks before the 112 113 (Cologne: DuMont Schauberg, 1975), 181. York: MOMA, 1965), 8. Naum Gabo Germano Celant Marta Pan

Gruppo MID Roy Ascott Flavio Casadei Alfred Schmela Augusto Antonio Barrese Gyula Kosice John Hoyland Vittorio D'Augusta Liliane Lijn Adolf Luther Inge Claus-Jansen Raimund Girke David Medalla

Markus Raetz Ueli Berger Marianne Aue Davor Grünwald Computer-Generated Pictures Augusto Betti Peintures de feu Naum Gabo Germano Celant Marta Pan Giovanni Pizzo Jan Schoonhoven Max Bense Cam Estenfelder Agostino Bonalumi Bernard Baschet Roy Ascott Oskar Holweck Gruppo MID Ante Vulin Jan Henderikse Flavio Casadei Alfred Schmela Mario Eronda de Dona Bruce Lacy Gottfried Fabian Augusto Antonio Barrese François Baschet Guy Brett Gyula Kosice John Hoyland Valerio Trubbiani Vittorio D'Augusta Zdenka Munk Liliane Lijn Adolf Luther Dieter Roth Marina Apollonio May Fasnacht Gotthard Graubner Inge Claus-Jansen Raimund Girke David Medalla Friedrich Fritz Hartlauer Christian Roeckenschuss Hans Salentin Markus Raetz Sonia Delaunay Ueli Berger Radoslav Putar Boris Kelemen Marianne Aue Davor Grünwald Computer-Generated Pictures Nanda Vigo Piotr Kowalski Kenneth Martin Harald Szeemann Karl Korab Augusto Betti Peintures de feu Ferdinand Spindle Krsto Hegedušić Willi Weber Paolo Bonaiuto Elisa Debenedetti Giovanni Pizzo Jan Schoonhoven Max Bense Yayoi Kusama Cam Estenfelder Agostino Bonalumi Bernard Baschet Giulio Carlo Argan Sándor SzandaïOskar Holweck Walter Koschatzky Ante Vulin Jan Henderikse Erwin Thorn Achille Perilli Mario Eronda de Dona Bruce Lacy Gottfried Fabian Giorgio Soavi Kiar Bogdan Meško François Baschet Božidar Gagro Herbert Zangs Guy Brett Valerio Trubbiani Henk Peeters Hans Haacke Armando Zdenka Munk Marina Apollonio Paolo Scheggi Hans Sonnenberg Dieter Roth May Fasnacht Gotthard Graubner Waldemar Cordeiro Umberto Eco Abraham A. Moles Herman Geopfert Vladimir Velickovic Friedrich Fritz Hartlauer Man Ray Lucio Pezzo Hans Salentin Christian Roeckenschuss Helga Philipp Udo Kultermann Hermann Painitz Lothar Quinte Palma Bucarelli Radoslav Putar Sonia Delaunay Boris Kelemen George Ortman Lucio Fontana Nanda Vigo Piotr Kowalski Jef Verheyen Marcel Thienen Karl Prantl Kenneth Martin Harald Szeemann Karl Korab Turi Simetti VeraFerdinand Horvat-Pintarić Spindle Krsto Hegedušić Gian Alberto Dell'Acqua Willi Weber Paolo Bonaiuto Elisa Debenedetti Frank Popper Frank Malina Max Weiler Yayoi Kusama Giuseppe Gatt Giulio Carlo Argan Sergio Camargo Sándor Szandaï Ed Kiënder WalterLea VergineKoschatzky Siegfried Cremer Erwin Thorn Achille Perilli Drago Tršar Herman Vries Francesco Somaini Giorgio Soavi Kiar Bogdan Meško Ed Sommer Herbert ZangsJochims Reimer Božidar Gagro Rolf Wedewer Abraham Palatnik Trigon 65 - Italien - Jugoslawien - Ostereich Henk Peeters Hans Haacke Armando Giovanni Aneschi Janez Bernik Paolo Scheggi Hans Sonnenberg Waldemar Cordeiro Bernard Lassus Umberto Eco Vladimir Velickovic Edo Murtić Abraham A. Moles Herman Geopfert Edward Krasinski Man Ray Lucio Pezzo Maurizio Calvesi Proposte strutturali plastiche e sonore Lygia Clark Helga Philipp Udo Kultermann Hermann Painitz Lothar Quinte Palma Bucarelli Antonio Asis George Ortman Giorgio Scarpa Lucio Fontana Karl Prantl Turi Simetti Jef Verheyen Lucia Luciano Marcel Thienen Symposium in Brezovica Francis Ray Hewitt Equipo 57 Group ZERO Vera Horvat-Pintarić Gian Alberto Dell'Acqua Umbro Apollonio Frank Popper Frank Malina Max Weiler Vojin Bakić Art and Movement Marcello Salvadori Giuseppe Gatt Sergio Camargo Dimitrije Bašičević Mangelos Ed Kiënder Lea Vergine Siegfried Cremer Herman Vries Pino Parini Drago Tršar nova tendencijaFrancesco Somaini 3 Davide Boriani Sergio Bettini Jochims Reimer Ed Sommer Rolf Wedewer Abraham Palatnik Trigon 65 - Italien - Jugoslawien - Ostereich Aktuell 65: neue tendenzen Mikro nul zero exhibition Fedora Orebić Giovanni Aneschi Tom Hudson Janez Bernik Dušan Džamonja Bernard Lassus Edo Murtić Walter Linck Denise René Matko Meštrović Takis - Signals Edward Krasinski Gabriele Devecchi Giuseppe Romagnoni Maurizio Calvesi Lygia Clark Grazia Varisco Proposte strutturali plastiche e sonore Gianni Colombo Lygia Clark Takis Antonio Valmaggi Božo Bek Joannis Avramidis Arnold Bode AntonioHans AsisKönig-Klingersberg Fred Thieler Christian Megert Giorgio Scarpa Josef Mikl Lucia Luciano Symposium in Brezovica Equipo 57 Vjenceslav Richter Licht und Bewegung – Kinetische Kunst Francis Ray Hewitt Group ZEROFrancisco Arana Jannis Spyropoulos Umbro Apollonio Miriorama 13 Paul Talman Marcel Duchamp Johannes Cladders Vera Molnár Vojin Bakić Art and Movement Marcello Salvadori Gregorio Vardanega Werner Haftmann Dimitrije Bašičević Mangelos Hartmut Böhm Bruno Munari Raoul Hausmann Rolf Szymanski Pino Parini Manfredo Massironi Getulio Alviani Carlos Cruz Diez Frieder Nake Davide Boriani Sergio Bettini June Tabohashi nova tendencija 3 Dieter Hacker Enzo Mari Tapio Wirkkala Aktuell 65: neue tendenzen Mikro nul zero exhibitionGeorgij Ivanovič Lopakov Alfonso Franco Grassi José Rivera Enrico Castellani Kinetik und Objekte Eva Renée Nele Bode Fedora Orebić Tom Hudson Art et Mouvement/ Omanut utenu'a Arman Otto Greis Dušan Džamonja Otto Piene Walter Linck Denise René Takis - Signals Neue tendenzen Matko Meštrović Rudolf Kämmer Giuseppe Romagnoni Gabriele Devecchi Lev Voldemarovič Nusberg George Rickey Árpád Szenes Gustav Seitz Grazia Varisco Klaus Staudt Hans Steinbrenner Gianni Colombo Lygia Clark Takis César Domela Antonio Valmaggi Božo Bek Joannis Avramidis Arnold Bode Concetto Pozzati Heimrad Prem Hans König-Klingersberg Fred Thieler Christian Megert Uli Pohl On the Move: Kinetic Sculpture Ryuichi Yamashiro Helge Sommerrock Arte programmata Josef Mikl Alberto Biasi Vjenceslav Richter Licht und Bewegung – Kinetische KunstMario Valentini Alberto Marangoni Edoardo Landi Georg Nees Francisco Arana Jannis Spyropoulos Jean Tinguely Marcel Duchamp Miriorama 13 Paul Talman Karl Reinhartz Sori Yanagi Christian de Orgeix Johannes Cladders Dadamaino Eduarda Emilia Vera Molnár Gregorio Vardanega Ludwig Wolfgang Werner Haftmann Pol Bury Paul Voss Group ZERO - Mack - Piene - Uecker Carl Pott Wilhelm Wagenfeld Hartmut Böhm Bruno Munari Raoul Hausmann Rolf Szymanski Hans Uhlmann Manfredo Massironi Getulio Alviani Carlos Cruz Diez Frieder Nake nuova tendenza 2 Joseph Beuys Toni Stadler Ivan Picelj June Tabohashi Reva Urban Dieter Hacker Enzo Mari Tapio Wirkkala Jesús Rafael Soto Georgij Ivanovič Lopakov Alfonso Franco Grassi José Rivera Marc Adrian Enrico Castellani Kinetik und Objekte Eva Renée Nele Bode Heinz Mack Jürgen Graaf Edwin Mieczkowski Ennio Ludovico Chiggio Le Mouvement 2 Alexander Calder Klaus Steinbrenner Art et Mouvement/ Omanut utenu'a Arman Otto Greis Piero Dorazio Wilhelm Loth Ikko Tanaka Otto Piene Dieter Rams Rudolf Kämmer Neue tendenzen Richard Süssmuth Vladimir Petrovič Galkin Hans Erni Lev Voldemarovič Nusberg Klaus Staudt Aldo Villani George Rickey Árpád Szenes Martha Boto Gustav Seitz Maria Helena Vieira da Silva César Domela Hans Steinbrenner François Morellet Otto Treumann Ludwig Wilding Concetto Pozzati Group ZERO Günter Ferdinand Ris Heimrad Prem Harry Kramer Jean Messagier Arte programmata Uli Pohl On the Move: Kinetic Sculpture Ryuichi Yamashiro Julio Parc Helge Sommerrock Alberto Biasi Giovanni Pintori Mario Valentini Alberto Marangoni Edoardo Landi Georg Nees Jean Tinguely René Feurer Propositions visuelles du Nouvelle Tendance Karl Reinhartz Koloman Novak Ivan Čižmek Sori Yanagi Christian de Orgeix Bewegung / Mouvement Waldemar Swierzy Dadamaino Eduarda Emilia Hans Wegner Jason Seley Ludwig Wolfgang Pol Bury Paul Voss Hann Trier Group ZERO - Mack - Piene - Uecker Carl Pott Pierluca Innocenti nuova tendenza 2 Hans Uhlmann Wilhelm Wagenfeld Giuseppe Santomaso Stanislaw Zagorski Joseph Beuys Toni Stadler Karl Gerstner Magnus Stephensen Ivan Picelj Andreas Christen Reva Urban Raymond Savignac Jan Lewitt Marc Adrian Jesús Rafael Soto Juan Serrano Muñoz Gerhard Graevenitz Günther Uecker Heinz Mack Milan Čanković Jose Duarte Montilla XXXII Venice Biennial Hans Aeschbacher Jürgen Graaf Edwin Mieczkowski Ennio Ludovico Chiggio Le Mouvement 2 Alexander Calder Klaus Steinbrenner Piero Dorazio Wilhelm Loth Ikko TanakaKinetic and Optic Art Today Walter Leblanc Willem Jacob Henri Berend Sandberg Angel Duarte Richard Süssmuth Dieter Rams Vladimir Petrovič Galkin Viktor Voldemarovič Stepanov Rudi Supek Ernst Benkert Hans Scheugl Aldo Villani Martha Boto Maria Helena Vieira da Silva Hans Erni Nicolas Schöer K.R.H. Sonderborg François Morellet Otto Treumann Wim Crouwel Ludwig Wilding Carlos Cruz-Díez Group ZERO Günter Ferdinand Ris Anton Stankowski Julio Parc Harry Kramer Walter Zehringer Hugo Rodolfo DemarcoJean Messagier Generative Computer Graphic Heinz Trökes Toni Costa Paul Wunderlich Roman Cieslewicz Adolphe Jan-Marie Mouron Michel FadatGiovanni Pintori Marcello Nizzoli Juraj Dobrović Yaacov Agam René Feurer Propositions visuelles du Nouvelle Tendance L’Instabilité (G.R.A.V.) Koloman Novak Ivan Čižmek Bewegung / Mouvement Héctor Garcia-Miranda Gotthart Müller Waldemar Swierzy Richard Oelze Hans Wegner Jason Seley Berto Lardera Pierluca Innocenti Hann Trier Luis Tomasello Francisco Sobrino Ray Eames Bridget Riley Giuseppe Santomaso Stanislaw Zagorski Wilfredo Lam Vladimir Kristl Magnus Stephensen Karl Gerstner Peter Sedgley Italo Valenti Otto Dix Andreas Christen JosefRaymond Albers Savignac Jan Lewitt Emil Cimiotti Josua Reichert Eugène Dodeigne Gerhard Graevenitz Günther Uecker Horacio Garcia Rossi Almir Mavignier Victor Vasarely Juan Serrano Muñoz Eric Olson Fritz Winter Milan Čanković Jose Duarte Montilla XXXII Venice Biennial Hans Aeschbacher Alfred Jensen Augustin Ibarrola Jean-Pierre Yvaral Aleksander Kobzdej Hans Mettel Kinetic and Optic Art Today Willem Jacob Henri Berend Sandberg Ronald Goeschl Walter Leblanc Miroslav Šutej Eliot Noyes Viktor Voldemarovič Stepanov Rudi Supek Angel Duarte Ernst Benkert Thomas Downing Ad Reinhardt Hans Scheugl Antonio Saura Nicolas Schöer JuanK.R.H. Cuenca Sonderborg Wim Crouwel Richard Anuszkiewicz Étienne Hajdú Carlos Cruz-Díez Len Lye Claes Oldenburg Anton Stankowski Helmut A. P. Grieshaber Walter Zehringer Hugo Rodolfo Demarco Generative Computer Graphic Heinz Trökes Joël Stein Kamekura Yūsaku Erich Hauser Paul Wunderlich Roman Cieslewicz Robert Rauschenberg Hervé Télémaque Herbert Leupin Toni Costa Lily Greenham Adolphe Jan-Marie Mouron Konrad Klapheck Michel Fadat Günter Fruhtrunk Marcello Nizzoli Erik Nitsche Juraj Dobrović Yaacov Agam Richard Mortensen Hans Michel L’Instabilité (G.R.A.V.) Hans Kock Héctor Garcia-Miranda Gotthart Müller Ludwig Sander Richard Oelze Francis Bacon Berto Lardera Francisco Sobrino Robert Irwin Richard Paul Lohse Luis Tomasello John Goodyear Ellsworth Kelly Ray Eames Fritz Koenig James Metcalf Bridget Riley Herbert Hirche Vladimir Kristl Wilfredo Lam Julije Knifer André Masson Jan Lenica Peter Sedgley Italo Valenti John Chamberlain Otto Dix Kōno Takashi Josef Albers Emil Cimiotti Josua Reichert Eugène Dodeigne Georges Noël Horacio Garcia Rossi Almir Mavignier Victor Vasarely Brigitte Matschinsky-Denningho Eric Olson Fritz Winter Rolf Nesch Jules Lismonde Jerey Steel Herbert Bayer Frank Stella Alfred Jensen Jasper Johns Jean-Paul Riopelle Augustin Ibarrola Jean-Pierre Yvaral Aleksander Kobzdej Herbert Oehm Hans Mettel Ronald Goeschl Bram Velde Miroslav Šutej Lilian Florsheim Michel Seuphor Jacques Garamond Eliot Noyes Gego (Gertrude Goldschmidt) Thomas Downing Ad Reinhardt Antonio Saura Jean Bazaine Willem Kooning Gregory Masurovsky Bernhard Luginbühl Juan Cuenca Richard Anuszkiewicz Rainer Küchenmeister Len Lye Oli Sinhvonen Étienne Hajdú Jim Dine Claes Oldenburg Kamekura Yūsaku Helmut A. P. Grieshaber Joël Stein Erich Hauser Vic Gentils James McGarrell Robert Rauschenberg Hervé Télémaque Horst Antes Jean Dubuet Lucebert The Responsive Eye Herbert Leupin Karl Hartung Lily Greenham Leon Polk Smith Günter Fruhtrunk Erik Nitsche Konrad Klapheck Richard Mortensen Hannes Beckmann Hans Michel Afro Hans Kock Gerhard Marcks 3 documenta Ludwig Sander Francis Bacon Kenneth Noland Max Bill Anton Heyboer Robert Irwin Richard Paul Lohse John Forrester Alfonso Ossorio John Goodyear Ellsworth Kelly Fritz Koenig Paul Brach James Metcalf André Lanskoy Julije Knifer André Masson Herbert Hirche David Smith Bernhard Jäger Hans Gugelot John Chamberlain Peter Anthony Straudt Jan Lenica Klaus Kröger Kōno Takashi Georges Noël Lynn Chadwick Eduardo Chillida Brigitte Matschinsky-Denningho Clara Skinner Rolf Nesch Jules Lismonde Jerey Steel Herbert Bayer William C. Seitz Hans-Joachim Bleckert Martin Engelman Frank Stella Jean-Paul Riopelle Kenzo Okada Celestino Piatti Herbert Oehm Jasper Johns Henry Moore Bram Velde Rudolf Hoflehner Lilian Florsheim Michel Seuphor Jacques Garamond Gego (Gertrude Goldschmidt) Paul Hoeydonck Eduardo Paolozzi Jean Bazaine Willem Kooning Gerald Oster Gregory Masurovsky Bernhard Luginbühl Étienne-Martin Joseph Fassbender Rainer Küchenmeister Oli Sinhvonen Jim Dine Tadasky - Tadasuke Kawayama Kenneth Armitage Gino Severini Lee Bontecou Nicholas Georgiadis Mon Levison Leroy Lemise Kazumasa Nagai Vic Gentils James McGarrell Horst Antes Jean Dubuet Lucebert Lothar Fischer The Responsive Eye Karl Hartung Leon Polk Smith Robert Motherwell César Balldacini Alicia Penalba Kenjirō Azuma Afro Lynn Leland Hannes Beckmann Gerhard Marcks 3 documenta Henry C. Pearson Quinto Ghermandi Kenneth Noland Max Bill Anton Heyboer Hans Hartung John Forrester Alfonso Ossorio Wolfgang Hollegha Donald Brun Paul Brach André Lanskoy Gerhard Wind Serge Poliako Sam Francis David Smith Hans Gugelot Bernhard JägerLarry Poons Peter Anthony Straudt Klaus Kröger Klaus Flesche Pitt Moog Lynn Chadwick Claude Tousignant Zdeněk Sýkora Allen Jones Avinash Chandra Eduardo Chillida Julian Stanczak Alexander Liberman Michael Engelmann Clara Skinner Komodore William William C. Seitz Hans-Joachim Bleckert Martin Engelman Klaus Burkhardt Kenzo Okada Marko ŠuštaršičCelestino Piatti Henry Moore Marino Marini Waldemar Grzimek Rudolf Hoflehner Robyn Denny Hans Georg Hilmann Gerald Oster Paul Hoeydonck Eduardo Paolozzi Joan Miró Lucian Bernhard Étienne-Martin Agnes MartinJoseph Fassbender Lippold Richard Eusebio Sempere Gerson Fehrenbach Tadasky - Tadasuke Kawayama Kenneth Armitage Gino Severini Lee Bontecou Nicholas Georgiadis Peter Brüning Graham Sutherland Jan Tschichold Mon Levison Leroy Lemise Kazumasa Nagai Arnold Alfred Schmidt Matta Roberto Sebastian Karl Oscar Blase Lothar Fischer Phillip King Alfred Manessier Jean Carlu Robert Motherwell César Balldacini Alicia Penalba Franco Grignani Kenjirō AzumaSheldon Machlin Lynn Leland Henry C. Pearson Gene Davis Quinto Ghermandi Wolfgang Schmidt Hans Hartung Marc Chagall Wolfgang Hollegha John McLaughlin Richard Lin Norbert Kricke Gerhard Wind Donald Brun Sir Anthony Caro Serge Poliako Sam Francis Ben Shahn Benjamin Karl Stanley R. Kitaj Larry Poons Klaus Flesche Miodrag Đurić Claude Tousignant Zdeněk Sýkora Allen Jones Robert Bruce Stevenson Pitt Moog Miguel Berrocal Julian Stanczak Alexander Liberman Avinash Chandra Michael Engelmann Ben Nicholson Ernst Wilhelm Nay Herbert Kapitzki Tom Eckersley Komodore William Klaus Burkhardt Hermann Goepfert Constant Nieuwenhuys Marko Šuštaršič Larry Bell Waldemar Grzimek Marino Marini Michael James Kidner Giò Pomodoro Robyn Denny Günther Haese Édouard Pignon Max Huber Joan Miró Hans Georg Hilmann Lucian Bernhard Walter Darby Bannard Agnes Martin Lippold Richard Guido Molinari Victor Pasmore Saul Bass Eusebio Sempere Jan Tschichold Gerson Fehrenbach Peter Brüning Graham Sutherland Bernhard Heiliger Thomas Bayrle Pietro Consagra Emil Schumacher Arnold Alfred Schmidt Matta Roberto Sebastian Karl OscarTony Blase Lap Günther Kieser Alfred Manessier Francis Celentano Phillip King Jean Carlu Antonio Tàpies Shinkichi Tajiri Asger Jorn Franco Grignani Sheldon Machlin Friedensreich Hundertwasser Gene Davis Wolfgang Schmidt John McLaughlin Marc Chagall Sue Fuller Richard Lin Norbert KrickeJerry Foyster Rupprecht Geiger Louise Nevelson Sir Anthony Caro Bernard Schultze Ben Shahn Benjamin Karl Stanley R. Kitaj Jean Ipoustéguy Walter Maria Kersting Lorser Feitelson Miodrag Đurić Otto Herbert Hajek Carlo Carrà Robert Bruce Stevenson Miguel Berrocal Brett Whiteley Ben Nicholson Ernst Wilhelm Nay Jochen Hiltmann Herbert Kapitzki Tom Eckersley Hermann Goepfert Constant Nieuwenhuys Radomir Damjanović Damjan Jacques Lipchitz Julius Bissier Larry Bell Pablo Picasso Giorgio Morandi Michael James Kidner Giò Pomodoro Reginald Neal Mark Tobey Günther Haese Édouard Pignon Benjamin Frazier Cunningham Alan Davie Walter Darby Bannard Max Huber Isamu Noguchi Guido Molinari Victor Pasmore Saul Bass Zoltán Kemény Bernhard Heiliger Kumi Sugai Piet Zwart Antoni Clavé Thomas Bayrle Pietro Consagra Emil Schumacher Arne Jacobsen Alberto Giacometti Tony Lap Günther Kieser Francis Celentano Frederick Hammersley Antonio Tàpies Shinkichi Tajiri Asger Jorn Robert Adams Larry Rivers Friedensreich Hundertwasser Fritz Wotruba Hans Bellmer

Sue Fuller Ludwig Mies van den Rohe William Scott Jerry Foyster Rupprecht Geiger Louise Nevelson Paul Jenkins Bernard Schultze Wojciech Fangor Lorser Feitelson Jean Ipoustéguy Walter Maria Kersting Max Ernst Otto Herbert Hajek Carlo Carrà Brett Whiteley Jochen Hiltmann Giorgio de Chirico Gerrit Thomas Rietveld Dick Elers Radomir Damjanović Damjan Jacques Lipchitz Julius Bissier Henri Michaux Jean Arp Pablo Picasso Giorgio Morandi Guillaume Corneille Reginald Neal Salvador Dalí Oskar Kokoschka Benjamin Frazier Cunningham Alan Davie Mark Tobey Isamu Noguchi Pierre Alechinsky Zoltán Kemény Leon Golub Kumi Sugai Antoni Clavé Karel Appel Arne Jacobsen Alberto Giacometti Piet Zwart Pierre Soulages Paul Schuitema Frederick Hammersley Robert Adams Alberto Burri Larry Rivers Fritz Wotruba Hans Bellmer Valerio Adami Roger Bissière Ludwig Mies van den Rohe William Scott Paul Jenkins Wojciech Fangor Max Ernst Giorgio de Chirico Gerrit Thomas Rietveld Dick Elers Henri Michaux Jean Arp Guillaume Corneille Salvador Dalí Oskar Kokoschka Pierre Alechinsky Leon Golub Karel Appel Pierre Soulages Paul Schuitema Fig 4. Alberto Burri Valerio Adami Roger Bissière Network of group exhibitions held in 1964-1965, related to New Tendencies 114 115 discursive event exhibitions

discursive event exhibitions The exhibition Responsive Eye, according to became vulnerable to commodification introducing new type of “industrial” aes- In 1975, from the ten-year distance of Nove Pamela Lee, soon became the most popu- and trivialization of its results, and divisive thetics, and first interactive environments, tendencije 3, and two years after the story lar exhibition in MOMA’s history221 attended regarding their consequences. The topic of and playful, ludic, engaging ambiances, of New Tendencies was definitely over, in by more than 180.000 visitors.222 Contrary Nova tendencija 3 – “ideological concen- but also quite a few artworks that were his talk at the MIT conference Arttransition, to the general approval by the New York tration and commonality of goals”, reflect- repetitive, superficial, and – redundant. It Matko Meštrović gave an early and rath- art audience, it was severely and unan- ed the awareness of the situation, prompt- is not to say that rigor, rationality and qua- er objective assessment of movement’s imously attacked by art critics, as trivial ing exhibition’s Organization Committee si-scientific discipline of earlier artworks achievements. In a lengthy article based and shallow.223 Mass-media visibility of art- to instigate a serious (political) discussion was completely gone in favor of a more on the transcript of that talk, reflecting on ists experimenting with physical properties on the objectives of the movement, and its frivolous and eye-pleasing results, but it the relations between art, and science, of color, and movement, propelled by this obvious crisis. Integral to that decision was was quite obvious that the movement, as Meštrović put forward his honest opinion exhibition and framed by the proliferation the competition for the “Dissemination of it presented itself at this exhibition, was on the reason of the movement’s failure, “In of terms Kinetic, and Op-Art applied to examples of [visual] research” conceived incongruent with the radicalism of its the- the field of art and science we can follow both the production of New Tendencies, as application of the results of the visual oretical discourse. Perhaps the best ac- only phenomenological changes. Essential and a growing number of artworks that research, emphasizing the possibility of count of the exhibition, and of the reasons changes can occur and must be expected successfully emulated some of move- New Tendencies stronger contribution to causing the crisis of New Tendencies at the only in the understanding and evaluation ment’s formal solutions, while striving for “visual requirements” of industrial society. time, was given by Manfredo Massironi, of human work”.226 the superficial, and playful optical effects, Design will become the subject of New Ten- who concluded, with resignation that The network visualization of exhibitions quickly endorsed and appropriated by the dencies’ theoretical considerations only held in 1964-1965 (Fig. 4) is encompass- fashion industry, popular culture, and art much later, in 1968, and its appearance at … when one is looking around he ing 43 group exhibitions held mainly in market, undermining and degraded New the horizon of the movement at the time, sees that … mediocrity is spreading the museums and influential, commercial Tendencies’ grounding aesthetic princi- could be related to the conviction that and decay threatening, and that galleries, which played a crucial role in ples, and its confidence in the socially more pragmatic orientation might pre- these are dangers characteristic the final transition of New Tendencies for- transformative potential of art – science vent its pending dissipation. It also might of all kinds of intellectual work mal solutions to artistic mainstream. In the relation. be the reason why – for the first time – the taking place within a capitalistic same period there was at least twice as Already in the course of 1964, but in par- organizers of the exhibition were art his- society.225 many solo-exhibitions of artists involved ticular after MOMA exhibition, it has be- torians, art critics and theorists, instead with movement, organized by the private come clear that initial, shared commitment of artists themselves. However, compared One-day discussion with artist, art crit- galleries, because – up to 1964 and in to resist the inclusion in the economy of with other sections of the exhibition, over- ics, and art theorists involved in the in- 1965 - majority of independent spaces, institutional culture, was forgotten some- view of projects concerning the problem of ception and promotion of the movement, and artist-run galleries comprising for the where along the way towards the individ- disseminating research examples,224 was but also those for whom it was the first, neo-avant-garde infrastructure already ual, or group affirmation. New Tendencies disappointing, regardless of unexpect- direct encounter with the New Tendencies, ceased to exist. The sheer number of these edly enthusiastic artists’ response to the organized in the course of the exhibition, exhibitions that would be concentrated competition, and intensified the feeling confirmed Massironi’s assessment, brought in the central area of the network, would 221 The opening of the exhibition was recorded in the 26‘ documentary The that New Tendencies have come to a dead to the surface all problems, and controver- make it illegible, and since the concentra- Responsive Eye, filmed by Brian de end. It was a bit paradoxical, since Nova sies of the movement, and made it clear tion of collective exhibitions on the same Palma. https://www.mymovies.it/film/1965/ tendencija 3 was still another large, and that the concept of visual research was ex- position in network topography convinc- the-responsive-eye/ “beautiful exhibition” with 114 participants, hausted, and that the damage done by the ingly denotes dynamics of New Tendencies 222 Pamela M. Lee, Chronophpbia: On Time in presenting at two locations 137 examples inclusion of New Tendencies in the economy assimilation in the institutional mainstream the Art of the 1960s (Cambridge Mass.: MIT of bold experiments with light, movement, of mainstream culture was beyond repair. and space; the objects with intriguing op- Press, 2004), 160. 226 Matko Meštrović, “Art Transition ver- 223 Dylan Kerr, “MOMA: The Groovy Years: tical effects whose smooth, slick surfaces 225 Manfredo Massironi, “Kritičke prim- sus World Transition – Some Reflections on 7 Transformative Exhibitions from the jedbe na teoretske priloge unutar Novih the phenomenological and essential chang- Swinging Sixties”, Artspace, 16 October, 224 Nova tendencija 3, exhibition cat- Tendencija od 1959 do 1964 godine”, exhibi- es”, in Art in Transition, (October 15-19, 2016. https://www.artspace.com/magazine/ alogue, Galerija suvremene umjetnosti, tion catalogue, Nova endencija 3 (Zagreb: 1975), 42-45, Cambridge Mass.: Centre for art_101/lists/moma-archives-1960s-54286 13.8.-3.10.1965 (Zagreb: Galerija suvremene Galerija suvremene umjetnosti, 1965): Advanced Visual Studies, Massachusetts Accessed 17 June 2018. umjetnosti, 1965) 116 117 23-33. Institute of Technology, 1975. 1/10/2019 map3-1964-1965.svg

culture, solo-exhibitions were excluded Bern Kunsthalle, it was a comprehensive from the visualization. Network struc- overview of art practices dealing with the ture is composed out of two main, clearly subjects of light, and movement and op- distinguished and almost equally large erating at the borderline of art and tech- segments – one, occupying the right and nology. Other exhibitions constitutional upper part of network graph is related to to the “concentration zone” with almost art practices integral to New Tendencies, similar objectives were Kinetic and Optic and includes exhibition The Responsive Eye, Art Today (Albert Knox Gallery, Buffalo, Nova tendencija 3, and number of other art 1965), Art and Movement (Royal Scottish shows mainly presenting kinetic, and optic Academy, Edinburgh, 1965; curated by art; the other segment, positioned on the Frank Popper, and Guy Brett) Art et Mou- left lower side of network visualization is vement: Optique et Cinétique / Omanut occupied by Documenta III that with its 353 utenu’a: ‘omanut optit veqintit / (Galerie participants, including the representatives Denise Réne, Museum of Modern Art in New Tendencies, was the largest exhibition Tel Aviv, 1965; collaboration Jaen Cassu- held in 1964-65. ou, Frank Popper), end number of other, Area in the center of the network (marked more or less ambitious shows pertaining with a light read ellipsoid), integral to the to certain aspect of kinetic or optic art. sphere of kinetic, and optical art related Perhaps the earliest among them was the to New Tendencies, covered by a dense exhibitions Le Mouvement 2, opened at layer of multiple ties among number of the end of 1964, at Galerie Denise Réne, smaller exhibitions, is concentrator of echoing Le Mouvement 1, the first, legend- network activities, also bridging the gap ary presentation of kinetic art after WWII, between exhibitions related to New Ten- curated by Pontus Hulten and staged at dencies, and Documenta III. Those ex- the same gallery in 1955. The authors of hibitions constituent to that area were explanatory texts in the catalogue of Le either disseminating results of the re- Mouvement 2 were Frank Popper, art critic search on visual perception according of younger generation, and future theo- to the grounding principles of New Ten- rist of new media art, and Jean Cassou, dencies, or providing the overview of art then director of the National Museum of file:///C:/Users/Ljiljana%20Kolesnik/Documents/ARTNET/ARTNET_knjiga_II/moj%20tekst/map3-1964-1965.svg practices integral1/1 to the movement, and Modern Art. The selection of exhibited art those developing at its “edges”, present- works was both the statement on pending, ed as a new mainstream paradigm. Nova and insuppressible penetration of Ameri- tendencija 3, ranked as the second most can pop-art into European cultural space, important exhibition in the observed time and attempt in reconfiguration of New interval according to calculations of cen- Tendencies (extended to Latin America) trality measures (Table 7-9) is positioned in terms pertaining to the Denise Réne’s at the edge of the “concentration” zone, profile at the international art market, in whose center there is the exhibition symbolically closing the story on New Licht und Bewegung – Kinetische Kunst Tendencies, which happened between – Lumière et Mouvement – the most im- the two exhibitions, even before it was portant collective exhibition held in 1964- officially over. 1965, due to its to poetic configuration, tied to almost each, and every exhibition Map 3. in the central network zone. Curated by Spatial distribution of the exhibitions held in 1964-1965, related to New Tendencies 118 119 Harald Szeeman, and first displayed ta Closeness centrality – “met”. Some of those exhibitions either viding the grounds for the “invention” of analysis could be conducted in different Licht und Bewegung 0.431579 Bern, crossed the Atlantic (Map 3), or were or- appropriate signifiers which de-contex- manners, on both big, and small datasets, – Kinetische Kunst – Brussels ganized in USA, as the first presentation tualized, and singled out art practices in- and depending on how it was used could Lumière et Mouvement of particular individual oeuvre, or produc- tegral to that movement in terms of their answer both simple and rather complex Group ZERO 0.421811 London

Group ZERO - Mack, 0.421811 New York tion of particular art group. The exhibition obvious marketability. The assimilation and research questions. In this study it is ap- Piene, Uecker Arte programmata, arte cinetica, opere dispersion of its formal solutions into the plied – as it was already stated – in a ‘soft’

Nova tendencija 3 0.406209 Zagreb moltiplicate, opera aperta, started its tour mainstream art and visual culture, went manner, resting upon a substantial body of

The Responsive Eye 0.386549 New York through American museums in 1964, and parallel to the process of disintegration of operative knowledge on thus approached was displayed, with the support of Smithso- New Tendencies social tissue. Art groups art historical phenomenon, so that readers nian Museum at twelve different locations, (Nul, Gruppo N) were dissolved, number of can comprehend the level of its artistic, T7 commencing its journey at MOMA in 1966. artists involved in the movement – as, for social, and political complexity. Unless such After the successful presentation in New example, central figure of Dutch group Nul, type of analysis is preceded by research Betweenness centrality York, the exhibition Responsive Eye, which Hank Peetres – decided, at about 1965, to findings that bring essentially important, Nova tendencija 3 51965.9717 Zagreb included a number of European artists, was give up on art and change their profession, new information, the basic precondition Licht und Bewegung – 12445.7925 Bern, Brussels also displayed at several other locations while others left Europe for USA – some for for its application is a clear idea on how Kinetische Kunst – Lumière in USA (Seattle, St. Louis, Pasadena, and good, some just temporally – trying to build already available data should be reused et Mouvement Baltimore). In 1964 Howard Wise Gallery in their careers in New York, and after 1964, in order to reveal the information that are Le Mouvement 2 8506.61686 Paris New York organized the first exhibition of the unquestionable metropolis of modern already there but have been concealed, or Mikro nul zero exhibition 6808.60313 Rotterdam group ZERO (Group ZERO – Mack, Piene, art. Others continued with their work in overlooked due to the generally accepted Art and Movement 5913.44175 Edinburgh Uecker), and in 1965 the exhibition of both framework of international art mainstream, narrative on the art phenomena in question. ZERO group, and artists from the sphere of developing their personal discourse on art In the case of New Tendencies it assumes T8 its influence. Also in 1964, in the same gal- in different directions. In the light of such the concentration on micro-situations, that lery, Georg Rickey curated the exhibition On developments the organization of next, the is on the short time periods in-between the Eigenvector centrality the Move: Kinetic Sculpture, which brought fourth New Tendencies exhibition under the first and third Zagreb exhibition, and on Nova tendencija 3 0.350339 Zagreb together European and American artists aegis of continuity with the period between the ‘gestation’ period preceding the very Licht und Bewegung 0.336103 Bern, Brussels and served as the announcement of ZE- 1961 and 1965, was not only pointless, but appearance of that art phenomena. It is – Kinetische Kunst – RO’s exhibition. In 1964, GRAV’s exhibition simply – impossible. already framed by “carefully reasoned his- Lumière et Mouvement L’instabilite was still touring Latin America, torical narrative”, or – more precisely – sev- The Responsive Eye 0.332433 New York reaching few locations in Brazil, and Buenos CONCLUSION eral historical narratives differentiated by Propositions visuelles 0.324862 Paris Aires, and by the solo-exhibition of Bruno the perspective from which they approach - Nouvelle Tendance Munari at Isetan stores in Tokyo, in 1965, A frequent objection to digital art histo- the New Tendencies. The knowledge provid- Le Mouvement 2 0.306951 Paris the aesthetics, and view on art, close to the ry is the claim that the results obtained ed by those narratives, and data on which optics of New Tendencies, extended also to by the application of empirical methods, they are based, informed the choice of the T9 Asia, as final touch on the image of that art that is, of quantitative analysis, developed angle, and analytic approach exercised in movement as an art phenomenon with the in response to the requirements of social this study. It is focused on New Tendencies’s Table 7-9 Ranking of the New Tendencies-related ex- global outstretch. sciences, cannot give any fundamentally transition from independent, to institutional hibitions held in 1964-1965, according to T7) EigenCen- trality, T8) Closeness centrality, T9) and Betweenness Exhibition The Responsive Eye was just one important contribution to the epistemo- culture, observed in relation to the parallel centrality measures albeit the most important event in the series logical objectives of discipline. Network process of movement’s poetical articula- of events comprising for the operation of analysis is often in the focus of such critical tion, and attempts at establishing its activi- the institutional culture performed upon observations, taken as an example of dry, ties and model of the organization accord- The number of collective exhibitions related New Tendencies aiming at the inclusion, and more or less pointless calculations of ing to the principles of an art movement. to New Tendencies in this period contrib- and assimilation of that new art phenome- number of ties between people or objects, Since the existing studies on the history of uted to overall growth of exhibition activ- na in the institutional system of arts. MOMA by which digital art history intends to re- New Tendencies, which encompass the pe- ities in 1964-1965, they will soon become exhibition contributed to that process by place “carefully reasoned historical nar- riod between 1961 and 1965 are focused typical for years when two large art exhi- glancing over the ideological, and social rative”. Superficial, and uniformed such a either on the relationship of the movement bitions – Venice Biennale and Documenta objectives of New Tendencies, and pro- 120 121 view disregards the simple fact that network to its social and political context, or on its programmatic principles – the manner in visualization it was possible to indicate which they were conceptualized, theoret- the Biennale di San Marino, as the critical ically funded and applied – the relation moment when that process of disempow- of New Tendencies to the mainstream erment has begun. It did not assume the culture is explained in somewhat general change in the intensity of art production, terms. It is pointing to the deterioration at least not in the immediate aftermath of those programmatic principles under of that exhibition, but rather the regard of the influence art-market / market logic of New Tendencies from retrospective, histor- capitalism, as the main reasons for both ical perspective both by artists themselves the unsuccessful transformation of New (XXXII Venice Biennale, New Tendencies Tendencies into a “proper” art movement Paris exhibition), and by art historians, and and its inability to resist the absorption art critics as well (The Responsive Eye, Licht into mainstream culture. und Bewegung – Kinetische Kunst – Lumière The intention of this study was not to ques- et Mouvement). tion such explanations, but rather to give a In the next stage of the research, based on closer look to the process of programmatic such conclusion, the exhibition networks articulation, and self-representation of the generated and analyzed for the purposes movement, including the identification of of this study could be extended to include key moments, and decisions that have, or art critics involved in New Tendencies, and have not been made, and whose conse- to provide a bit different angle from which quences strongly affected New Tenden- the relation between art production, writ- cies’s early history. ing on art and interests of art-market in The most important insight provided by the 1960s could be approached and ex- such an approach, and by the application amined. of network analysis is a role of art critics in the process of New Tendencies’s transi- tion to institutional culture, which is either systematically overlooked or described in a manner which is encompassing both artists, and art critics with the same ide- ological, and political objectives. 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