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Working hours

Museum of Contemporary Art

Ušće 10, blok 15, Belgrade
Working hours: from 10:00 to 18:00, Thursday from 10:00 to 22:00
The Museum is closed on Tuesdays
Admission fees
Individual visit - 300 rsd
Group visit - 200 rsd
Students, pensioners - 150 rsd
Free admission on Wednesdays/p>


Salon of the Museum of Contemporary Art

14 Pariska St., Belgrade
Working hours: from 12:00 to 20:00, except Tuesdays
Admission is free of charge


Gallery-Legacy of Milica Zorić & Rodoljub Čolaković

2 Rodoljuba Čolakovića St, Belgrade
Working hours: from 12:00 to 20:00, except Tuesdays
Admission is free of charge

Fluxus in Belgrade / Guided tour / Salon MoCAB / 13.12.14. at 1pm

Talk programs | 13.12.2014

Fluxus in Belgrade  / Guided tour

Salon of the MoCAB
December 13, 2014 

Guided tour with the author of the exhibition Dejan Sretenović

Eric Andersen, Joseph Beuys, George Brecht, Albert M. Fine, Robert Filliou, Henry Flynt, Wolf Vostell, Ken Friedman, Al Hansen, Dick Higgins, Arthur Koepke, Milan Knjižak, Takehisha Kosugi, George Maciunas, Jackson Mac Low, Alison Knowles, Yoko Ono, Nam June Paik, Ben Patterson, William De Ridder, James Riddle, Mieko Shiomi, Thomas Schmitt, Endre Tot, Emmet Williams, Ben Vautier, Robert Watts…

The first and only exhibition in Belgrade dedicated to Fluxus was held at the Gallery-Legacy of Milica Zorić and Rodoljub Čolaković in 1986 under the title “Fluxus” and it presented the works of the protagonists of this international neo-avant-garde tendency from the collection of the MoCAB that counts 18 works, as well as from several private collections. The exhibition “Fluxus in Belgrade” partly adopts the material from the previous exhibition and due to this it can be characterized as its new and altered version that also has a didactic character, and is primarily designed for new generations of art lovers. Having in mind that the material available now in Belgrade mostly comes from the period of the historic Fluxus (1962–1966) and the Fluxus from the first half of the seventies, the exhibition is concentrated on these periods, appending to the original works (boxes, objects, graphic works, drawings, scores) textual, photo, video and audio documents related to the activities of this movement, including exhibits related to the contacts of domestic authors (Branko Vučićević, Miroljub Todorović) with the protagonists of Fluxus.

Fluxus was not a movement but an incoherent constellation of authors from the fields of music, visual art, performance and poetry who, relying on the experiences of Dada and Duchamp, shared a common aspiration for tearing down the culturally set distinction between art and life, and therefore abolishing the bourgeois institution of art. Fluxus was an “active philosophy of experience that sometimes takes the form of art” (Ken Friedman) and that sometimes starts from the belief that artistic activity must be deprived of special status as a special activity and resituated inside the broader field of everyday experience. As opposed to the historic avant-gardes, the Fluxus artists did not strive towards positive utopia and making models for the transformation of world, but directed their creative potential towards small and simple events, situations and things that constitute daily life. The Fluxus artists employed a broad spectrum of expressive means that includes events, happenings, performances, objects, installations, music, poetry, films, video, multiple and mail art, all this through destruction of the specialist aspects of art.