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Working hours

Museum of Contemporary Art

Ušće 10, blok 15, Belgrade
Sunday–Wednesday
10 am – 6 pm

Thursday–Saturday:
10 am – 10 pm

The Museum is closed on Tuesdays

Tickets
· Individual ticket: 600 rsd
· Group ticket: 400 rsd
· Pupils, students, pensioners: 300 rsd
· Family ticket: parents (600 rsd) children from 7 to 17 (150 rsd)
· Free admission on the first Wednesday of each month
· Tickets can be purchased at the ticket counter or online at https://www.tickets.rs/

Information about group visits and guided tours are available on the telephone number 063-862-3129, and email info@msub.org.rs everyday except Tuesday from 10:00 a.m. to 18 p.m.

For information about ticket sales, MoCAB till (011) 3115 713

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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

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Gallery-Legacy of Milica Zorić & Rodoljub Čolaković

2 Rodoljuba Čolakovića St, Belgrade
Closed to the public.

The historical framework of memory
(ambieantal settings for listening to the voices of the past)

For audio workshop, the basis young musician had to start from, were the archival footages of the Radio Belgrade broadcasts featuring prominent figures, local politician, art historians, art critics and artists whose activity and work had an impact in the postwar period and influenced the cultural currents (Tito, Kardelj, Oto Bihalji-Merin, Mića Popović, Miodrag Protić, et al.). During the audio workshop, ephemeral fragments of personal recollections of these essential actors in artistic and cultural scene of the socialist Yugoslavia were incorporated into musical pieces which creatively re-articulate habitual forms of historical narratives.

In the workshop lead by Milorad Mladenović with students and the Faculty of Architecture graduates, the installations for the works made in the audio workshop were designed and executed. Through joint work of a composer and a participant of the workshop in spatial modelling the conceptions for the spatialisation of these compositions were brought about. The installations produced, a final result of the work of a team formed by one composer and one architect, were prepared specifically for the former Inex film premises. As for the choice of location, the crucial aspect was that the building was recognised as a symptom of social transformations in today's Serbia, where the vestiges of the previous social system live on side by side with the new forms of self-organised use of derelict spaces for cultural purposes. Together with the collective Expedition Inex Film, which, exploring the possibilities of self-organisation, solidarity and DIY philosophy of life in Belgrade at the beginning of the 21st century, operated in this building, an adaptation of the space where these installations were set was prepared.

The historical framework of memory <br/> (ambieantal settings for listening to the voices of the past)
The historical framework of memory <br/> (ambieantal settings for listening to the voices of the past)
The historical framework of memory <br/> (ambieantal settings for listening to the voices of the past)
The historical framework of memory <br/> (ambieantal settings for listening to the voices of the past)
The historical framework of memory <br/> (ambieantal settings for listening to the voices of the past)