Pluralising Yugoslav Art
By Maja Fowkes, on 29 April 2019
A constitutive element of the Confrontations sessions are peer seminars at which the members succinctly present their research related to the particular focus of the programme and then respond to questions and comments from the others. The first such seminar was held at the Museum of Contemporary Art in Zagreb and was focused on the uneven terrains of Yugoslav and post-Yugoslav art history, with presentations by Ivana Bago on What is Yugoslav Art?, Asja Mandić on The Centre-Periphery Relations in Socialist Yugoslavia: Multiple Art Histories and Sandra Bradvić on Jugoslovenska dokumenta (Sarajevo, 1984-1989): From ‘off-space’ to ‘big-scale-exhibition’.Much discussion ensued over the relation between Yugoslav art history and that of the individual countries of the former socialist federation, and how to evaluate moves during the post-communist period to assimilate Yugoslav art to a wider East European account. Productive debate was also sparked over how the narrative of Yugoslav art history could be pluralised to include artists and communities who were excluded from the celebrated ‘second line’ traced in canonical accounts from EXAT51 through New Tendencies, Gorgona and the New Art Practice to the post-avant-garde formations of the 1980s.