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VIJESTI IZ KULTURE - New Fundamental Tendecies & 62. Annale
HRTi
15. July 2022

report

 
JORRIT TORNQUIST | "Artist on Vacation 2022" by Valamar
15. July 2022
 
62. POREČKI ANNALE ‘Umjetnost se uvijek zanosila revoulcionarnim promjenama. Stvaramo novu platformu za NFT u Hrvatskoj‘
Jutarnji.hr
15. July 2022

article

 
NEW FUNDAMENTAL TENDENCIES. Dijalog o umjetnosti danas, onoj koja se stvara unutar rapidno-mijenjajuće tehnološke stvarnosti i novih sustava vrednovanja
glasistre.hr
13. July 2022

article

 
essays
Ješa Denegri, Exat 51 [ENGLISH]
04. July 2018

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.

 
Ješa Denegri, The Year 1968 and the Related Developments in Art [ENGLISH]
04. July 2018

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.

 
Ješa Denegri, EXAT 51 on the International and Home Scene [ENGLISH]
04. July 2018

The work of the group EXAT-51 was accomplished in the early 1950’s (its members issued their Man­ifesto in 1951, and four painters exhibited their work in 1953), but this art circle, or its individual members, also acted in keeping with some principles that had characterised the group’s practice and ideology several years before and some years after these important dates. 

 
Ješa Denegri, Video Art in Yugoslavia 1969–1984 [ENGLISH]
04. July 2018

Yugoslavia was one of many European countries that move or less consciously  accepted the need to  get to rise to the challenge of the new  communications technologies and to get to grips with television, in particular, as a key factor in shaping the contemporary 'civilisation of the image'.

 
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