- About the Collection
- Permanent collection display
- What’s new in the collection?
- About Us
- Creative Europe Forum 2018 at the Museum of Contemporary Art / MoCAB, June 21 and 22, 2018
- Public lecture by Niels Van Tomme: The Walking Institution (The curatorial programme) / Curatorial course „What Could/Should Curating Do?“ / MoCAB, Wednesday, June 27, 2018 at 6 p.m.
- Film screening „May 68, a Strange Spring“/ Museum of Contemporary Art, 7.6.18. at 6 p.m.
- The Museum of Contemporary Art will be closed on May 9, 2018.
Slobodan Šijan: Cinema Tom / book-launch event / Legacy of Čolaković, 29.05.12. at 6 P.M.Talk programs | 29.05.2012 Slobodan Šijan: Cinema Tom (Antonio G. Lauer or Tomislav Gotovac between Zagreb and Belrgade) / book-launch event
Gallery-legacy of Milica Zorić and Rodoljub Čolaković, 2 Rodoljuba Čolakovića St.
May 29, 2012, at 6 P.M.
Speakers: Ješa Denegri, Diana Nenadić, Dejan Sretenović, and author himself, Slobodan Šijan.
Discussion is accompanied by the projection of films by Tomislav Gotovac: Tomislav Gotovac (1996, 59“), Osjećaj šest (Sensation no. 6) (2000, 2.39“), and Pravac (Direction) (1964/1977, 7.30“)
“This book was written out of the need I feel to pay hommage to my friend and artist Tomislav Gotovac, a man whose presence in Belgrade made an indelible imprint on several generations of filmmakers gathered around the Academy of Theatre, Film, Radio and Television by the end of the 1960s and the beginning of the 1970s. No doubt about it, these generations can be regarded as lost ones, since the events ensuing the social outrage stirred by the film Plasticni Isus (Plastic Jesus), in which Tomislav Gotovac was one of the key participants, proved to be, to a great extent, a watershed for the rest of their lives, effectively putting an end to any significant and lasting role they could have had in the Yugoslav and Serbian film industry. The book is a “collage” of analises, recollections, quotations, photos, sketches, but also of attempts at understanding some of the processes that influenced Tom’s films or his views and practices in art. This “editing” is a sort of reconstruction of artist’s interaction with the world, film and art, aspiring to give an insight into Tom’s work from a more personal angle―that of someone exposed to the continual impact this charismatic personality exerted in Belgrade―offering previously unknown facts and contributing to better understanding of his work, thereby also explaining to myself the roots of some of my own views.”
This book is released in the framework of the project MoCAB-Cinema, in the edition MoCAB-Cinema notebooks. It is published jointly by the Museum of Contemporary Art in Belgrade and the Croatian Film Federation in Zagreb.