- About the Collection
- Permanent collection display
- What’s new in the collection?
- About Us
- Opening of the exhibition “TESTIMONY – TRUTH OR POLITICS: The Concept of Testimony in the Commemoration of the Yugoslav Wars” / Čolaković Legacy, 14.12.17. at 6pm
- Museum of Contemporary Art in Belgrade will be closed on Wednesday, December 6, 2017.
- Opening of the renovated building of the Museum of Contemporary Art / exhibition Sequences, MoCAB, 20.10.17. at 10 a.m.
- Conversation with the artist Selman Trtovac / Salon of the MoCAB, 12.10.17. at 6 p.m.
Fluxus in Belgrade / Guided tour / Salon MoCAB / 13.12.14. at 1pmTalk programs | 13.12.2014
Fluxus in Belgrade / Guided tour
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
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.