During the terrible times, which many human beings have endured for a long time, and of which the current crisis has made us aware, we need to relearn four forgotten feelings: gratitude, for those on the front line; empathy, for those who suffer; admiration, for those who find solutions; and altruism, to act in support of one another. [...]
We are reminded of the moments the artists spent on the Artist on Vacation project, organised by the Institute for the Research of the Avant-Garde and the Marinko Sudac Collection, with Valamar Riviera d.d.d in whose facilities they reside in Poreč. [...]
Last week the exhibition Poetry and Performance. The Eastern-European Perspective was scheduled to open at the Wroclaw Contemporary Museum in Poland.
Due to the current [...]
One of the most peculiar phenomena in the history of Croatian and Yugoslav art has entered the historiy books under the name of Gorgona (‘Gorgon’), this being the name in Greek mythology for a monster, whose eyes, supposedly, had the power to turn to stone anyone who dared look into her face.
It was the novel ways of comprehending the structure and the meaning of a work of art, based on mental and post-aesthetic attributes, as well as the emergence of a broader social and spiritual atmosphere, that had conditioned the newest developments and opened up the way to a better understanding of a whole range of artistic processes. In Zagreb, the phenomena to which this general comment refers include some examples of Radical Art informel that appeared between 1956 and 1962 and all the activities of the group named Gorgona (‘Gorgon’), which was active between 1959 and 1966.
The Concept of a ‘Yugoslav Art Space’
The concept of a ‘Yugoslav art space’ denotes the geographic area and political environment in which the polycentric and decentralised, yet at the same time unified, and shared, art life of the ‘Second Yugoslavia’ (1945-1991) was maintained. It was polycentric and decentralised, because it consisted of several cultural milieux and their capitals, i.e. the republics of the former country which have meanwhile become independent states; unified and shared in common, for it was interlinked by numerous personal and institutional ties between the many active participants in Yugoslavia’s art scene of the time.
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.