B E L V E D E R E S Ljubomir Micić on Serbian Street in Cannes, 1934 Crnjanski, Rastko Petrović, Dušan Matić, Dragan Aleksić, Stanislav Krakov… Serbian modernists, however, did not cooperate long with Ljubomir Micić. They wanted to write about their poetics on the pages of Zenit, but this couldn’t pass. The June 1921 issue published the “Manifesto of Zenitism”, and they did not want to take part in the new art movement. They wanted to remain independent. The days of Zenit and Ljubomir Micić in Zagreb ended with a text published in 1923. The then authorities and Micić’s (intellectual) opponents did not like the caption stating that Zenitists will resolutely defend themselves from the “cooperation of mediocrities and despicable intruders and Central-European droppings”. MUTUAL MISUNDERSTANDING Another February, this time in 1924, meant a new beginning of Zenit. This time at its Belgrade address. In this issue, Micić tells: “Humanity can be united only by common work, on a common deed – for a common cause. Behold: we are united by new art”. He didn’t find more understanding for “new art” in Belgrade either. Micić replies in his own manner: “It is true that we are dangerous for a state of cultural philistines, painting dilettantes and plagiarist poets, of all empty pumpkins and hollow heads, braking at stinky paragraphs.” The resistance Micić was confronted with in the capital of the Kingdom of Sad and Uncertain Ending The beginning of painting of Branko Ve Poljanski, Ljubomir’s younger brother, is related to Paris. He had two exhibitions, in 1926 and 1930, after which he disappeared. The last document about him is from 1932, a letter of great French writer Henry Barby sent to Ljubomir Micić, telling him that his brother is tortured in the Parisian prefecture and that he will try to help him, with the support of “Le Monde”. There is no reliable information about what happened with him later. It is known that he ended up as a bum under the bridges of the Seine, probably before the beginning of World War II, but no one knows what kind of breakdown he had when he left poetry and painting “just like that” and departed with his brother, whose most faithful follower, comrade and fellow sufferer he had been ever since the appearance of “Zenit”. Serbs, Croats and Slovenians was, perhaps, most obvious in April that year, when he organized the First International Exhibition of New Art. He responded the only way he could, with a text in Zenit: “Officially cultural Belgrade was, unsurprisingly, absent. There were 12 countries with 110 originals – who in Belgrade would be interested in it, especially since it’s Zenit’s exhibition. Besides Kandinsky, Archipenko, Zadkine, Delaunay, Gleizes, Lissitzky, Lozovik, Biller, Peters, Paladini and many others, the audience could also see the first Zenitist painters Petrov and Josif Klek… Perhaps everything would be different if Micić was hanging in the middle of the exhibition hall, people would come in masses. But…” It’s worth to say that the exhibited works, belonging to “Zenit’s Gallery”, were actually an intersection of the avant-garde scene of the 1920s and, why not, the first encounter of Belgrade with modern art. They were collected since 1922 and Micić’s trip to Berlin, as well as with the help of his associates from Paris, Prague, Vienna and Berlin. He announced this gallery already in the double issue of Zenit 17-18, thus we know that he also possessed works of artists, mainly his associates, from Russia (most of them were exhibited recently in the already mentioned exhibition Russian Avant-Garde in Belgrade in the Museum of Yugoslav History), France, Yugoslavia, Denmark, Hungary, Czechoslovakia, the Netherlands, Germany, USA. The conflict and (mutual) misunderstanding between Micić and his environment, not only in Belgrade, did not cease. On the contrary. Micić did not hesitate to indicate everything that was, in his opinion, bad in the culture of the newly founded state. He even directly named the “guilty ones”, from painter Mirko Rački to writers such as Isidora Sekulić and Miroslav Krleža, and literary critics Jovan Skerlić and Bogdan Popović. He ragingly claimed that art is “absolute creation”, not “reproduction of nature”. Together with his brother Branko Ve Poljanski and a small group of supporters, he organized protests against the visit of the Indian poet, Nobel Prize winner, Rabindranath Tagore, to Belgrade. Dur- 66 SRBIJA • BROJ <strong>55</strong> • 2016.
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CONTENTS Panorama 04 PROLOGUE 06 CH
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cussed, and the use of new technolo
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Banjani and Rudine The first issue
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teaching-educational process, exten