Art in the former Yugoslavia

Циљ рада је да прикаже рад предузећа Градски биоскопи Панчево и биоскопа предузећа у периоду од 1945. до 1950. године, у светлу грађе Историјског архива Панчева. Биоскопи у Панчеву постојали су и пре 1945. године. Након Другог светског рата и комунистичке револуције они су обновљени. Рад предузећа отворио је нова радна места, омогућио је грађанима да гледају филмове, али је исто тако служио властима да спроводе систематску пропаганду у биоскопима предузећа, у времену у ком је филм био најзначајније средство пропаганде. Овај рад пружа општи преглед панчевачког биоскопског предузећа у изузетно нестабилном периоду након револуције.
Кључне речи: Биоскопи, Панчево, период од 1945. до 1950. године, предузеће, пропаганда.

U stručnoj istorijsko umetničkoj i istoriografskoj literaturi posvećenoj kulturnoj i umetničkoj istoriji socijalističke Jugoslavije malo je teorijskih koncepata koji su ostavili tako dugotrajan i sveprožimajući uticaj kao što je to slučaj sa terminima nove umetničke prakse i druge linije. Autor pomenutih koncepata je jugoslovenski istoričar umetnosti Ješa Denegri koji ih je upotrebio još krajem šezdesetih godina prošlog veka u svojim pokušajima da interpretira ogromne promene koje su se u tadašnoj umetnosti dogodile sa nastankom konceptualizma, body arta, performansa, video umetnosti, siromašne umetnosti isl. Ipak, većina autora koji se bave navedenom problematikom, čak i kada eksplicitno izdvaja problem odnosa jugoslovenskog samoupravljanja sa svojim unutrašnjim kontradikcijama i umetnosti koja je nastajala oko beogradskog SKC-a, vrlo malo toga ima da kaže o odnosu samoupravljanja kao oblika proizvodnje i nove umetničke prakse kao simboličke formacije koja odgovara ovom obliku. Drugim rečima, do danas je ostala nenapisana kritika političke ekonomije jugoslovenske kulture oko 1968. godine.

The aim of this paper is to show the cultural phenomena created by the construction of two buildings in a socialist, industrial city
that have influenced its urban transformation.
In the case of the second largest Montenegrin city, Nikšić, two buildings marked the cultural and economic development, the Union
house built in 1962 by architect Đorđije Minjević (1924-2013) and the Home of revolution unfinished building which construction
began in 1977, designed by architect Marko Mušič (1946).
The Union house was among the first in Montenegro built in an international style and among the first in ex-Yugoslavia with vertical
brise-solei. The building contains several functions: a large cinema hall with 800 seats as well the library, classrooms and offices for
the Worker’s University. For industrial city that was rapidly developing, the existence of the Union house as a place where film
projections, concerts, theatre performances, and education took place was of great importance. In the context of architecture, this
building brought new trends and contents that soon became focus of everyday urban life.
In the former Yugoslavia during the seventies, it was common to build monuments and memorial buildings dedicated to victims of
the liberation struggles in the Second World War. The biggest memorial buildings with more the 22,000 square meters of different
functions and contents, called the Home of Revolution is located in the city of Nikšić. The building should present the economic
strength of the city at that time but also the unity of all Yugoslav nations, since a large number of donation from all over the country
were used for the construction. When Yugoslavia broke up in 1991, there was a suspension of construction of all federal projects
including Home of Revolution. Today the building is completely abandoned.

In Art Work, Katja Praznik counters the Western understanding of art – as an activity done out of love, a passion for self-expression, and without any concern for financial aspects – and instead builds a case for understanding art as a form of invisible labour. Focusing on the experiences of art workers and the history of labour regulation in the arts in socialist Yugoslavia, Praznik helps elucidate the contradiction at the heart of artistic production and the origins of the mystification of art as labour.

This profoundly interdisciplinary book highlights the Yugoslav socialist model of culture as the blueprint for uncovering the interconnected aesthetic and economic mechanisms at work in the exploitation of artistic labour. It also shows the historical trajectory of how policies toward art and artistic labour changed by the end of the 1980s. Calling for a fundamental rethinking of the assumptions of Western art and exploitative labour practices across the world, Art Work will be of interest to scholars in East European studies, art theory, and cultural policy, as well as to practicing artists.

In January 1980, the leading daily newspaper in Belgrade, Politika, published a small announcement for the opening, on January 29 at 6 pm, of an exhibition at the Students’ Cultural Centre (SKC) by the artist Goran Đorđević, entitled Against Art. The gallery also distributed a small invitation card, while omitting the exhibition’s title. The artist later stipulated that the gallery had objected to the title and consequently removed it. Nevertheless, the invitation card (the only printed document accompanying the exhibition) still contained a short statement in Serbian and English declaring that:

“A work of art expresses, among other things, certain attitude toward art. The works shown at this exhibition are not works of art. They are only attitudes toward art. More precisely they are attitudes against art. I think it is high time to tear the powdered mask of freedom and humanism off art and reveal its proper face of faithful and humble servant.”

The article examines the reasons behind the establishment of the Ljubljana Fine Artists Society, its exhibition and art education practices and their activities in the social and political sphere.  Ljubljana Fine Artists Society (Društvo likovnih umentnikov Ljubljana – DLUL) was established on March 4 1982, after the Association of Slovenian Artist (Društvo slovenskih likovnih umetnikov – DSLU) was reorganised into the Federation of Associations of Slovenian Artist (Zvezo društev slovenskih likovnih umetnikov – ZDSLU).  The reorganisation was due to the tendency of the government for the decentralisation. From its beginnings, the Ljubljana Fine Artists Society was committed to advocacy for social rights and improvement of working conditions for artists and popularization of their work. Ljubljana Fine Artists Society organised more than two hundred exhibitions, countless lectures and artist talks and cooperated with other artists associations in Slovenia and abroad. They have strived to reach a diverse audience. The association focused strongly on art education for children and the organisation of didactical exhibitions. Ljubljana Fine Artists Society aim was to participate in the cultural politics of the municipality, one of their main agendas was to secure more working spaces, ateliers for artist living and working in Ljubljana.

Key words: Ljubljana Fine Artists Society, artist organisation, cultural politics, exhibitions, slovenian art, exhibiton history.
*
DLUL je bil ustanovljen l. 1982, ko se je stanovsko društvo likovnih umetnikov preoblikovalo v zvezo društev. V svoji 35-letni zgodovini so si prizadevali za izboljšanje materialnih pogojev umetnikov, organizirali so mnogo razstav, strokovnih predavanj, sodelovali z društvi doma in v tujini ter prirejali različne založniške akcije.

Ključne besede: Društvo likovnih umentikov Ljubljana, DLUL, umetniško društvo, ateljeji, kulturna politika, zgodovina rastavljanja.

Дневник Косте Ст. Павловића припада незаобилазној групи историјских извора без којих није могуће сагледати многе историјске процесе везане за прошлост Југославије у четвртој деценији XX века. Пре свега то се односи на дипломатску и политичку историју, као и на друштвени живот виших кругова српског грађанства. Никако не треба заборавити да је до наших дана сачуван мали број дневничких бележака личности које су ималеважну улогу у државном и политичком животу Југославије између два свет-
ска рата и да је још мањи број њих и објављен.

Легат Косте Ст. Павловића (Београд, 1905 – Саутемптон, 1988), који
је његов син историчар Стеван Павловић предао на чување Историјском архиву Београда, садржи дневничке белешке које су настале у периодима од 1930. до 1934. и од 1944. до 1954. године. Историчари др Срђан Мићић и др Наташа Милићевић су се длучили да приреде Павловићеве дневничке белешке од 1930. до 1932, када је он био секретар Војислава Маринковића (1876–1935), министра иностраних послова Краљевине Југославије 1927–1932. и председника владе од априла до јула 1932. године. Коста Павловић је у Лондону од 1955. до 1960. објавио и петокњижје (Vojislav Marinković i njegovo doba: 1876–1935) о животу и раду овог истакнутог српског политичара. Међутим, дневник који су приредили Мићић и Милићевић садржи непосредне записе не само о Маринковићу већ и епохи у којој је деловао, тако да они имају много шири значај, без уплива накнадних тумачења.

Kako je kroz istoriju socijalističke Jugoslavije postojalo mnoštvo feminističkih diskursa, od socijalističkog teorijskog promišljanja „ženskog pitanja” u okviru partijske strukture, preko akademskih feminističkih tekstova sociološkinja, filozofkinja i antropološkinja, do kasnije feminističke kritičke aktivističke delatnosti, potrebno je iznova promisliti iz kojih je okvira moguće govoriti o feminističkoj umetnosti u specifičnom jugoslovenskom istorijskom i političkom kontekstu. Cilj rada je da dovede različite feminističke teorije i prakse u vezu sa umetničkim praksama koje su imale feministički karakter. Rad nudi kontekstualno promišljenu analizu tema, formi i značenja feminističke umetnosti od njenog nastanka posle 1968. godine do 1990-ih. Uzimajući u obzir feminističke teorije, a potom i društvene, istorijske, političke i kulturne okolnosti u socijalističkoj Jugoslaviji, ovaj tekst predstavlja jednu moguću feminističku istoriju umetnosti, mapira njene ideje i forme, te izlaže metodološke probleme koji se pri ovom pokušaju istorizacije i teoretizacije javljaju.

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 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.