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Original scientific paper

A Decade of Freedom, Hope and Lost Illusions. Yugoslav Society in the 1960s as a Framework for New Tendenciesca

Ljiljana Kolešnik   ORCID icon orcid.org/0000-0002-5300-9645 ; Institute of Art History, Zagreb

Fulltext: english, pdf (182 KB) pages 211-224 downloads: 574* cite
APA 6th Edition
Kolešnik, Lj. (2010). A Decade of Freedom, Hope and Lost Illusions. Yugoslav Society in the 1960s as a Framework for New Tendenciesca. Radovi Instituta za povijest umjetnosti, (34), 211-224. Retrieved from https://hrcak.srce.hr/80926
MLA 8th Edition
Kolešnik, Ljiljana. "A Decade of Freedom, Hope and Lost Illusions. Yugoslav Society in the 1960s as a Framework for New Tendenciesca." Radovi Instituta za povijest umjetnosti, vol. , no. 34, 2010, pp. 211-224. https://hrcak.srce.hr/80926. Accessed 11 Aug. 2020.
Chicago 17th Edition
Kolešnik, Ljiljana. "A Decade of Freedom, Hope and Lost Illusions. Yugoslav Society in the 1960s as a Framework for New Tendenciesca." Radovi Instituta za povijest umjetnosti , no. 34 (2010): 211-224. https://hrcak.srce.hr/80926
Harvard
Kolešnik, Lj. (2010). 'A Decade of Freedom, Hope and Lost Illusions. Yugoslav Society in the 1960s as a Framework for New Tendenciesca', Radovi Instituta za povijest umjetnosti, (34), pp. 211-224. Available at: https://hrcak.srce.hr/80926 (Accessed 11 August 2020)
Vancouver
Kolešnik Lj. A Decade of Freedom, Hope and Lost Illusions. Yugoslav Society in the 1960s as a Framework for New Tendenciesca. Radovi Instituta za povijest umjetnosti [Internet]. 2010 [cited 2020 August 11];(34):211-224. Available from: https://hrcak.srce.hr/80926
IEEE
Lj. Kolešnik, "A Decade of Freedom, Hope and Lost Illusions. Yugoslav Society in the 1960s as a Framework for New Tendenciesca", Radovi Instituta za povijest umjetnosti, vol., no. 34, pp. 211-224, 2010. [Online]. Available: https://hrcak.srce.hr/80926. [Accessed: 11 August 2020]

Abstracts
Considering invisibility of the New Tendencies in the dominant narrative on European modernism, ongoing process of consolidation of the new media art might be a platform from which to introduce the New Tendencies into the context of new media art history. However explanations given in the recent interpretations of that international art Movement clearly demonstrate that along the lines of that process a spatial configuration of the New Tendencies could be significantly redefined. In order to provide a counter-balance to such an attempt, it is necessary to explain the reasons which made Zagreb and Former Yugoslavia unique locations and appropriate ideological and intellectual framework of that international art movement. Such an explanation is the content of this article.

Keywords
New Tendencies; neo avant-garde; neo-constructivism; Zagreb; Yugoslavia; self-managing socialism

Hrčak ID: 80926

URI
https://hrcak.srce.hr/80926

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