Two issues of the magazine, Azimuth and twelve exhibitions at the Azimut Gallery sum up the activities of Piero Manzoni and Enrico Castellani in Milan, at the end of 1959 and in the first half of 1960.
The concept of ‘The Other Line’, which is conditional and ungrounded in art theory, anticipated and suggested the grasping of one particular set of events in contemporary Yugoslav art. These events were in contrast to, or consciously distinct from, certain dominant streams in art; they formed a specific area, which basically aspired towards radicalisation of the notion of ‘art’ and, therefore, towards the radicalisation of artistic behaviour.
A Factual Sketch
The group of painters, architects and designers under the name of EXAT 51 (abbreviation for Eksperimentalni atelier 1951) has for a long time been considered, by general consent, to be a phenomenon of fundamental historic significance to the Croatian art and culture in the period after the Second World War.
One Prediction and the Question of Whether It Came True
The Italian critic, Renato Barilli, once claimed once that, in the future, art historians would draw a dividing line at the year 1968, to mark the separation between the two phases of artistic developments in the second half of the twentieth century - i.e. those from the period pre--1968 and those from the period post-1968.