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"ARTISTS RESPOND" PROJEKT: VLADO MARTEK (Hrvatska)
27. svibanj 2020.

Institut za istraživanje avangarde i Kolekcija Marinko Sudac pokrenuli su projekt Artists Respond. Osvrćući se na trenutačnu globalnu pandemiju, cilj projekta je virtualno predstaviti misli i stavove umjetnika neoavangardne umjetnosti, njihovu energiju i poruku koju imaju za sadašnji trenutak. [...]

 
"ARTISTS RESPOND" PROJEKT: ZDZISŁAW SOSNOWSKI (Poljska/Francuska)
26. svibanj 2020.

Institut za istraživanje avangarde i Kolekcija Marinko Sudac pokrenuli su projekt Artists Respond. Osvrćući se na trenutačnu globalnu pandemiju, cilj projekta je virtualno predstaviti misli i stavove umjetnika neoavangardne umjetnosti, njihovu energiju i poruku koju imaju za sadašnji trenutak. [...]

 
"ARTISTS RESPOND" PROJEKT: CARRIE MAE WEEMS (SAD)
25. svibanj 2020.

Institut za istraživanje avangarde i Kolekcija Marinko Sudac pokrenuli su projekt Artists Respond. Osvrćući se na trenutačnu globalnu pandemiju, cilj projekta je virtualno predstaviti misli i stavove umjetnika neoavangardne umjetnosti, njihovu energiju i poruku koju imaju za sadašnji trenutak. [...]

 
"ARTISTS RESPOND" PROJEKT: RENATE BERTLMANN (Austrija)
24. svibanj 2020.

Institut za istraživanje avangarde i Kolekcija Marinko Sudac pokrenuli su projekt Artists Respond. Osvrćući se na trenutačnu globalnu pandemiju, cilj projekta je virtualno predstaviti misli i stavove umjetnika neoavangardne umjetnosti, njihovu energiju i poruku koju imaju za sadašnji trenutak. [...]

 
tekstovi
Ješa Denegri, Inside Or Outside ‘Socialist Modernism’? Radical Attitudes On the Yugoslav Art Scene, 1950-1970 [ENGLISH]
04. srpanj 2018.

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. 

 
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.

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