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- Opening of the exhibition “The Origin of the Matrix” / Gallery-legacy Čolaković, 14.2.18. at 6 p.m.
- Opening of the exhibition “Irena Kelečević: Where's My Place” / Salon of the MoCAB, 19.1.18. at 7pm
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Last Guded Tour / 50 artists from the collections of the MoCAB / 6 December at 12 pm / Heritage HouseTalk programs | 06.12.2014
50 Artists from the Collection of the Museum of Contemporary Art — Yugoslav Art from 1951 to 1989
Heritage House (46 Kneza Mihaila street)
6 december, 2014 at 12 pm
Last Guded Tour and Conversation with the author of the exhibition Zoran Erić.
With the approaching 50th anniversary of the opening of the building of the Museum of Contemporary Art in Belgrade’s Ušće, hoping that this marks the completion of its recon-struction which lasted far too long (seven years), MoCAB hosts the second ‘preparatory’ exhibition for the future, far more elaborated and comprehensive museum collection display. As a follow-up to the preceding exhibition 100 Works from the Collection of the Museum of Contemporary Art—Yugoslav Art from 1900 to 1945, it is a symbolical gesture towards the general and professional audiences—after so many years given another opportunity to see a representative selection of the artworks from the Museum’s collection.
The basic idea for the display stems from several spatial dispositions. In this limited ‘non- museological space it was not possible to present even a partial analysis of the major phe-nomena in Yugoslav art of the second half of the 20th century. Moreover, the space does not facilitate creation of more elaborated and comprehensive thematic and topical segments, or grouping of specific art phenomena and their clustering. And, finally, it was not possible to exhibit some of the key items from the collections of works in largest formats, which espe-cially applies to sculptures. The basic idea for the display came with the spatial restrictions: to present chronologically in separate rooms—‘stanzas’ of the Heritage House—with reference to the dominant ‘decimal’ model of historizing Yugoslav art since the foundation of MoCAB, the art of respective decades through small confrontations, juxtapositions and dialogs of significant works conceived by the prominent artists of post-war Yugoslavia. This time, the very space imposed this logic of conceiving the outlook of each ‘stanza’, which presents the work of artists who changed the language paradigms of art in their time and whose work reveals the relations between contemporary art and social reality.
The exhibition features works by Marina Abramović · Mrđan Bajić · Vojin Bakić · Vera Božičković-Popović · Stojan Ćelić · Radomir Damnjanović Damnjan · Slobodan Braco Dimitrijević · Marija Dragojlović · Dušan Džamonja · Eugen Feler · Branko Filipović Filo · Ivo Gatin · Tomislav Gotovac · Bora Iljovski · Sanja Iveković · Olga Jevrić · Bogoljub Jovanović · Julije Knifer · Ivan Kožarić · Vlado Kristl · Petar Lubarda · Tahir Lušić-ALAVANJA · Milovan De Stil Marković · Velizar Vasa Mihić · Slobodan Era Milivojević · Edo Murtić · Predrag Peđa Nešković · Grupa OHO (Andraž Šalamun · David Nez · Milenko Matanović · Tomaž Šalamun · Marko Pogačnik) · Petar Omčikus · Dušan Otašević · Nedeljko Neša Paripović · Ivan Picelj · Miodrag Mića Popović · Zoran Popović · Mileta Prodanović · Branko Protić · Miodrag B. Protić · Vladan Radovanović · Radomir Reljić · Vjenceslav Rihter · Balint Sombati · Gabrijel Stupica · Andraž Šalamun · Leonid Šejka · Ivan Tabaković · Dragoljub Raša Todosijević · Goran Trbuljak · Gergelj Urkom · Josip Vaništa · Vladimir Veličković.
One of the key conceptual standpoints of this reduced display is the assessment of Mo-CAB’s acquisition policies since the founding of the Modern Gallery in 1958 i.e. renaming of the institution to Museum of Contemporary Art in the newly erected building at Ušće, opened in 1965. Museum’s acquisition policy also confirms a clear orientation towards the Yugoslav art space—highly important considerations being timely reception, valorization and acquisition of the works of the most important individuals and most relevant artistic phenomena from each art scene in Yugoslavia. The selection and exhibition are, consequent-ly, entirely based on Museum’s acquisitions from the given chronological framework, and exclude the subsequent purchases and donations made after the dissolution of socialist Yugoslavia.
Although this exhibition does not aspire at new, especially not normative readings of Yu-goslav art from the second half of the 20th century in the limited space of the Heritage House Belgrade, every selection of art, even a showcase, demands a conceptual and curato-rial explanation. This exhibition may therefore be observed as a draft and introduction into future, more complex reflections on the development of Yugoslav art in the historical period 1951–1989, which is the starting point of the display.