"Miljenko Horvat - Gorgonska polja" - HRT Jedno djelo
Epizoda sadrži i snimke nekolicine radova iz Kolekcije Marinko Sudac.
20. ožujak 2019.

Miljenko Horvat, putujući surovim i veličanstvenim krajolikom zapadne obale Irske, snima fotografiju pod nazivom "Gorgonska polja". Pridjev "gorgonski"...

Kako se povijest umjetnosti ponovno ispisuje sa istočnoeuropskom avangardom
intervju s Marinkom Sudcem | Larry's List
14. ožujak 2019.
OTVORENJE IZLOŽBE | Czas przełomu. Sztuka awangardy w Europie Środkowej 1908–1928
7. ožujka 2019. u 18 sati
07. ožujak 2019.

Godina 1918. – kraj Velikog Rata, ključan datum koji predstavlja povijesnu prekretnicu...

Predstavljanje monografije "Gorgona"
Petak, 1. ožujka 2019. u 19 sati
01. ožujak 2019.

U sklopu programa Connect/Reflect, u Gradskoj galeriji Striegl, predstavit će se monografiju o jednoj od ...

Ješa Denegri, Radical Art Informel In Zagreb [ENGLISH]
04. srpanj 2018.

In contemporary European art, the concept of Art informel implies a complex which goes beyond one particular school, movement or ‘style’:  actually, that is a 'state of mind', characteristic of the situation in the early post-war years, when the atmosphere was transformed and gradually altered the whole complexion of the 1950s.

Ješa Denegri, The 1970’s: Radical Artistic Views, Reduction Of the Material Object, New Media, Mental And Analytic Procedures, the Artist’s Personality And Behaviour [ENGLISH]
04. srpanj 2018.

Anyone fortunate enough, closely to have monitored the birth and development of Arte Povera, to have witnessed Kounellis’ live horses and Merz’s igloos displayed at the Galleria L’Attico in Rome, in early 1969, to have listened to Beuys retelling the legend of his life, to have read and leafed through Celant’s book, with its illustrations of Land Art, Anti-Form, ‘Poor’ and Conceptual Art, and to have heard about Szeemann's exhibition in Berne, When Attitudes Become Form, could not fail to be tempted to go along with Renato  Barilli’s prediction that future art historians, discussing the  history of  20th-century art, would divide the entire period into two halves - the  age preceding, and the age following the critical year, 1968.

Ješa Denegri, The Issues Raised By the ‘New Art Practice’ Of the 1970’s [ENGLISH]
04. srpanj 2018.

General Characteristics of the New Attitudes to Art

Although the evolution of art undoubtedly follows a continuous pattern without sudden interruptions marked by fixed dates, a number of symptoms support the claim that a new situation arose some ten years ago, in the late 1960s,  which, it seems, can be justifiably treated as a specific period in the history of post-war art. It goes without saying that the new developments contained many direct or indirect influences and elements discernible in the period preceding it, but it also shows a sufficient number of characteristic constitutive elements that gave it a separate identity.

Ješa Denegri, The New Art of the ’Seventies in Yugoslavia: Properties, Events and Evaluation(s) [ENGLISH]
04. srpanj 2018.

Two quotations – actually, two paragraphs taken from the wider context of some lengthier texts – summarise the principal developments in art of the 1970s:

 ‘The ’seventies were not just a decade like any other in the twentieth century, but a crucial period in which Modernism made its last original contribution, before surrendering to the various forms of Postmodernism that came into being, from the middle of the decade onwards.’ (Tomaž Brejc).

Tribina mladih, Subotica
1969. - 1976.
Matko Meštrović - Piero Dorazio
"Studio G" - izložbe u organizacije grupe Gorgona
1961. - 1963.