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Impossible Histories
The first critical survey of the largely unknown avant-garde movements of the former Yugoslavia.
A Slow Burning Fire
Yugoslavia's diverse and interconnected art scenes from the 1960s to the 1980s, linked to the country's experience with socialist self-management. In Yugoslavia from the late 1960s to the late 1980s, state-supported Student Cultural Centers became incubators for new art. This era's conceptual and performance art--known as Yugoslavia's New Art Practice--emerged from a network of diverse and densely interconnected art scenes that nurtured the early work of Marina Abramovi&ć, Sanja Ivekovi&ć, Neue Slowenische Kunst (NSK), and others. In this book, Marko Ili&ć offers the first comprehensive examination of the New Art Practice, linking it to Yugoslavia's experience with socialist self-management and the political upheavals of the 1980s.
Essence of life
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Retracing Images
Drawing on visual materials (film, art, graffiti, street-art, public advertisement, memorials), the essays of this collection offer detailed views on the cultural and political dynamics that preceded and emerged in the wake of the Yugoslav conflicts of the 1990s.
FRA-YU-KULT
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Umbrella
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Artbibliographies Modern
Abstracts of journal articles, books, essays, exhibition catalogs, dissertations, and exhibition reviews. The scope of ARTbibliographies Modern extends from artists and movements beginning with Impressionism in the late 19th century, up to the most recent works and trends in the late 20th century. Photography is covered from its invention in 1839 to the present. A particular emphasis is placed upon adding new and lesser-known artists and on the coverage of foreign-language literature. Approximately 13,000 new entries are added each year. Published with title LOMA from 1969-1971.
Essence of life, art
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Neo-Aesthetic Theory
A permanent state of emergency: a neo-aesthetic view on contemporary politics and art Miško Šuvaković describes his experience of the twentieth and twenty-first centuries as a "permanent state of emergency". The author explores this perspective in relation to the politics of time (dialectic historicizing) and the politics of space (geographic difference). By mapping visual arts, performance arts, architecture, music, new media and postmedia arts with contemporary theory, philosophy and aesthetics, he challenges established conceptualizations in modern and contemporary art movements.
