The New Art Practice in Yugoslavia, 1966-1978

what the subject defines as a notion of art represents
(his) boundary of activity in art.
in this way it is possible, by including all the experience of
new art practice, to speak of the subjective in art, not only
in terms of works but also in terms of the evalution of each
particular work of art.
III NEA PARIPOVIC (fig. 276)
it happens that certain artists, in their explorations ranging
from nature to the social being, do not succeed in achieving
unity of presentation, and little by little their research leads
too much emphasis on the idea, at the risk of neglecting the
them to private metaphysical results. others, on the other hand,
are practically immune to this, owing to the fact that they lay
very purpose of the idea.
since the so-called new art is in a critical situation
(archeological exhibitions of traces of the new art are
becoming more and more frequent) or at least its heyday is
now over, the question now arising is whether the reasons for
which it will disappear will be the same as those marking the
end of similar movements in the past. the natural lassitude and
relative productiveness of the present-day are reaching their
extreme limits and solutions are being cought in innovations
(stereotype documentarism, over-emphasis on the phenomenon
of particularity, the search for unpleasant elements, the social
involvement of the artist, etc.). though there are not many
similarities with other movements, nevertheless, the new art,
having made use of the psychological and social elements, is
now entering upon the calm waters of individual self-assertion.
and this gives rise to a situation in which too much stress is
laid on the thesis, while the principle of documentarism is
applied with too much consistency, with the hidden desire to
find the aesthetic even in the most elementary things.
restricting the problem of existence to a very ncrrow
framework and seeking solutions by «accused: society. and
enjoying in highly specialized investigations into the nature of
art.
by a systematic analysis of that which exists it becomes
apparent that the existing no longer exists, by viewing the
function and meaning of the artistic phenomenon in the
well-known order, catalogue conclusions are drawn which
ultimately become completely separated from the original idea
and become an accepted social property, most frequently serving
as a means of domination through a social body which gives us
the freedom to see things as they should be
IV MAJA SAVIC (fig. 273)
works in the medium of photography (1976)
binary relations in set of black and white-drawing (1976)
film (1976)
- book of drawings (1977)
in carrying out works in the photographic medium I
do
not deal
with the analysis of the medium, nor do I use photography as
a document (record of the work). work is formed as a
specialtemporal structure of the individual photographs, the
arrangement of the structure is based on a unique
phenomenological-analytical principle the phenomenological
approach in the selection of elements is conditioned by the
concentration of the energy of the material, the analytic nature
of the procedure. the recording of the dynamic inter-relation.
in my drawings I express an intuitive notion assuming that
certain relations exist. I do not assume the necessity of
experience for understanding the work. although the work is
not subject to the analysis of its components the analytic
nature of the procedure only allows for the work to be
articulated as a whole. the work can be regarded as an open
system since it does not reach a conclusion in a final sence
but is capable of self-development and of independent
determination of its proper boundaries, different contexts of
observation can lead to different interpretations which only
represent a partial understanding of the totality of the work.
the texts determine the interest, though they take the form of
the works adapted to their own proper mode of expression.
logical and strict nature of the mathematical way of thinking in
forming the structure of the text mathematical structure of
the text.
text 1
thought pervaded with feeling everything is felt to be
thought
discussion deprives thinking of its importance seriousness
truth.
thought written down also loses importance but sometimes it
gains new importance.
text 2
on the ubiquitous dense presence of games
on the areas in which games exist
the areas in which games exist are not determined by the
rules of the game
rules implicitly present in games
the non-disjunctive character of areas in which games exist
areas of qualitatively different existences from the existence
of games are contained in area in which games exist.
text 3
the period is thought
space the collection of all the periods
has the dimension of thinking
thinking is densely spread out in space
the openness of space in relation to what it is
the closed nature of space in relation to what it is not
V PAJA STANKOVIC (fig. 274)
deals with the problem of movement and with determinign the
non-superfluous character of the questions raised
prone to hypothetical deliberation
aspires towards the realization of a higher degree of
clarity and precision
by reduction to the elementary elements (quality)
by reduction to the simple elements (quantity)
uses various media (text, drawing, film, photography) without
assuming formal limits which consequently leads to the
appearance of multi-media articulated structures (i.e. text-
-drawing, film-poster)
1975.
carried out analysis of movement a series of assumptions
which were to precede an organized event
1976.
carried out works in book media using text and drawing, in
an attempt to determine qualities, states and relations books:
equilibrium I, equlibrium II, equlibrium III
carried out investigations into the static-dynamic principle
documented in film and poster
theoretical work on the organization of periods in the form
of text-drawing published in book of drawings joint work of
the members of the group 143
1977.
- realized situation at the sixth april meeting in students'
cultural center, belgrade.
deliberated on the need, the desire and the requirement
produced three photographs for the book of photographs
and seven drawings for the exhibition of drawings
1978
gave and presented number theory in the field of
visible-auditory manifestations colour theory sound theory
VI MIKO UVAKOVIC (fig. 275)
I primary position
determination of structure. structure: finite number of
elements.
process: finite number of states contextual components.
mental process: finite number of rational (logical) operations
of the mind which connects the finite number of visual states
in the context of behaviour.
determination of process: according to the process structure
beyond, in itself, process object syntactic structure, about the
process semantic primary structure.
starting premises: convention (possible rational bases: