ǂA ǂslow burning fire : ǂthe ǂrise of the New Art Practice in Yugoslavia

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 Abramović, Sanja Iveković, Neue Slowenische Kunst (NSK), and others. In this book, Marko Ilić 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. The first comprehensive study of the former Yugoslavia's diverse and groundbreaking alternative art scenes from the 1960s to the 1980s.This first comprehensive study of the former Yugoslavia's alternative art scene tells the origin stories of some of the most significant artists of the late twentieth century. In Yugoslavia from the late 1960s to the late 1980s, state-supported Students'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 Abramovic, Sanja Ivekovic, Neue Slowenische Kunst (NSK), and others. In this book, Marko Ilic examines Yugoslavia's New Art Practice in light of the political upheavals of the 1980s.Countering the usual binary of official versus unofficial art, Ilic shows that the Students'Cultural Centers were an expression of Yugoslavia's “third way” political and economic system, which was founded on workers'self-management. Ilic examines key actions, gestures, and propositions affiliated with the New Art Practice, including the conceptual and dematerialized art practices that emerged from Zagreb's Student Center Gallery, the struggle of Belgrade's Students'Cultural Center (where Abramovic performed her career-defining Rhythm 5), to break into the international art scene, the pre-Žižek culture of Ljubljana, and Sarajevo's miraculous dokumenta, held in the midst of Yugoslavia's disintegration. This first comprehensive study of the former Yugoslavia's alternative art scene tells the origin stories of some of the most significant artists of the late twentieth century. In Yugoslavia from the late 1960s to the late 1980s, state-supported Students' 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 Abramović, Sanja Iveković, Neue Slowenische Kunst (NSK), and others. In this book, Marko Ilić examines Yugoslavia's New Art Practice in light of the political upheavals of the 1980s. Countering the usual binary of official versus unofficial art, Ilić shows that the Students' Cultural Centers were an expression of Yugoslavia's - third way - political and economic system, which was founded on workers' self-management. Ilić examines key actions, gestures, and propositions affiliated with the New Art Practice, including the conceptual and dematerialized art practices that emerged from Zagreb's Student Center Gallery, the struggle of Belgrade's Students' Cultural Center (where Abramović performed her career-defining Rhythm 5), to break into the international art scene, the pre-Žižek culture of Ljubljana, and Sarajevo's miraculous Dokumenta, held in the midst of Yugoslavia's disintegration 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, Sanja Ivekovi, Neue Slowenische Kunst (NSK), and others. In this book, Marko Ili 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. Contents Acknowledgments Introduction 1 A Draft Decree on the Democratization of Art: Zagreb’s SC Gallery (1966–1973) 2 A Taster of Political Insult: Novi Sad’s Youth Tribune (1968–1972) 3 The International Strike of Artists: Belgrade’s SKC Gallery (1971–1976) 4 Artists at Work: The Group of Six Authors and RZU Podrum (1975–1980) 5 What is the Alternative? Ljubljana’s ŠKUC Gallery (1978–1984) 6 The Miracle of Miracles: Sarajevo and the Last Episode of the “Yugoslav” Contemporary Art Scene CONCLUSION Notes Bibliography Index "The first comprehensive study of conceptual and performance art in Yugoslavia from the late 1960s-1980s under the umbrella of socialism, inc. origin stories of artists such as Marina Abramović'"-- Provided by publisher "The first comprehensive study of conceptual and performance art in Yugoslavia from the late 1960s-1980s under the umbrella of socialism, inc. origin stories of artists such as Marina Abramović"-- Résumé de l'éditeur