Typology of radical emancipated language and practices.
NEŠA PARIPOVIĆ, From the Movie, 1977. Courtesy Trajkovic Collection, Belgrade
Belgrade’s Trajković Collection returns for its second Online Exhibition, this time focusing its attention on new art of the 70’s in Serbia.
Some of the main characteristics of new Serbian art from the 70’s include the dematerialisation of art, the use of discarded and cheap materials, performance art in urban and natural environments, the understanding of words and texts as a medium equal to visual art, theoretical discussions on the nature of art, the use of both still and motion pictures (such as photography, film and video) as well as the use of performances as a form of direct expression of the physical and mental energy in accordance with the notion of “artistic behaviour” and “first-person art”.
From its typology of radical emancipated language and practices, the new art forms that emerged in Serbia in the 70’s coincide with the international phenomena of art’s changing role within society. At the same time, the new art emerging in Serbia was primarily an original and unprecedented phenomenon in its own right, as it emerged from the very specific social, political and cultural circumstances of crisis brought about by late Yugoslav socialism. Works included in the Traijkovic collection originated from the social and spiritual climate of “the great refusal” of 1968. Each piece may be seen as a highly politically infused work that aimed to fight for the individual’s right for free expression. It criticised art’s status quo, the moderate modernism that was popular at the time, the cultural institutions that exhibited it and finally the conventionalised upright way young Serbian artists were educated during the time.
Here, the Trajković Collection shares its collection of 70’s Serbian new art.
KATALIN LADIK, Yet This Is Not Me, 1982. Courtesy Trajkovic Collection, Belgrade
KATALIN LADIK, Ballad of the Silver Bicycle, 1969. Courtesy Trajkovic Collection, Belgrade
RADOMIR DAMNJANOVIĆ DAMNJAN, In Honour of the Soviet Avantgarde (I)(series of 8 black and white photographs), 1972-73. Courtesy Trajkovic Collection, Belgrade
RADOMIR DAMNJANOVIĆ DAMNJAN, In Honour of the Soviet Avantgarde (I)(series of 8 black and white photographs), 1972-73. Courtesy Trajkovic Collection, Belgrade
RADOMIR DAMNJANOVIĆ DAMNJAN, In Honour of the Soviet Avantgarde (I)(series of 8 black and white photographs), 1972-73. Courtesy Trajkovic Collection, Belgrade
RADOMIR DAMNJANOVIĆ DAMNJAN, In Honour of the Soviet Avantgarde (I)(series of 8 black and white photographs), 1972-73. Courtesy Trajkovic Collection, Belgrade
RADOMIR DAMNJANOVIĆ DAMNJAN, In Honour of the Soviet Avantgarde (I)(series of 8 black and white photographs), 1972-73. Courtesy Trajkovic Collection, Belgrade
RADOMIR DAMNJANOVIĆ DAMNJAN, In Honour of the Soviet Avantgarde (I)(series of 8 black and white photographs), 1972-73. Courtesy Trajkovic Collection, Belgrade
RADOMIR DAMNJANOVIĆ DAMNJAN, In Honour of the Soviet Avantgarde (I)(series of 8 black and white photographs), 1972-73. Courtesy Trajkovic Collection, Belgrade
RADOMIR DAMNJANOVIĆ DAMNJAN, In Honour of the Soviet Avantgarde (I)(series of 8 black and white photographs), 1972-73. Courtesy Trajkovic Collection, Belgrade
RADOMIR DAMNJANOVIĆ DAMNJAN, Mothers Save your Children from Capitalism, 1978. Courtesy Trajkovic Collection, Belgrade
ANTE VUKOV, Wind Songs (IV), 1976). Courtesy Trajkovic Collection, Belgrade
ANTE VUKOV, Wind Songs (I), 1976. Courtesy Trajkovic Collection, Belgrade
ANTE VUKOV, Wind Songs (II), 1976. Courtesy Trajkovic Collection, Belgrade
ANTE VUKOV, Wind Songs (III), 1976. Courtesy Trajkovic Collection, Belgrade
