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"ARTISTS RESPOND" PROJEKT: REENA KALLAT (India)
06. srpanj 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: SMILJA JANKOVIĆ & ADELA JUŠIĆ (Bosna i Hercegovina)
03. srpanj 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: MIŠA SAVIĆ (Srbija)
02. srpanj 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: RÚRÍ (Iceland)
01. srpanj 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, Gorgona And After [ENGLISH]
04. srpanj 2018.

One of the most peculiar phenomena in the history of Croatian and Yugoslav art has entered the historiy books  under the name of Gorgona (‘Gorgon’), this being the name in Greek mythology for a monster, whose eyes, supposedly, had the power to turn to stone anyone who dared look into her face. 

 
Ješa Denegri, Gorgona [ENGLISH]
04. srpanj 2018.

It was the novel ways of comprehending the structure and the meaning of a work of art, based on mental and post-aesthetic attributes, as well as the emergence of a broader social and spiritual atmosphere, that had conditioned the newest developments and opened up the way to a better understanding of a whole range of artistic processes. In Zagreb, the phenomena to which this general comment refers include some examples of Radical Art informel that appeared between 1956 and 1962 and all the activities of the group named Gorgona (‘Gorgon’), which was active between 1959 and 1966.

 
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.

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