APA 6th Edition Milčić, A. (2015). Biennale mladih jugoslavenskih umjetnika u Rijeci, 1960.–1991.. Peristil, 58 (1), 171-181. Preuzeto s https://hrcak.srce.hr/157262
MLA 8th Edition Milčić, Ana-Maria. "Biennale mladih jugoslavenskih umjetnika u Rijeci, 1960.–1991.." Peristil, vol. 58, br. 1, 2015, str. 171-181. https://hrcak.srce.hr/157262. Citirano 26.09.2021.
Chicago 17th Edition Milčić, Ana-Maria. "Biennale mladih jugoslavenskih umjetnika u Rijeci, 1960.–1991.." Peristil 58, br. 1 (2015): 171-181. https://hrcak.srce.hr/157262
Harvard Milčić, A. (2015). 'Biennale mladih jugoslavenskih umjetnika u Rijeci, 1960.–1991.', Peristil, 58(1), str. 171-181. Preuzeto s: https://hrcak.srce.hr/157262 (Datum pristupa: 26.09.2021.)
Vancouver Milčić A. Biennale mladih jugoslavenskih umjetnika u Rijeci, 1960.–1991.. Peristil [Internet]. 2015 [pristupljeno 26.09.2021.];58(1):171-181. Dostupno na: https://hrcak.srce.hr/157262
IEEE A. Milčić, "Biennale mladih jugoslavenskih umjetnika u Rijeci, 1960.–1991.", Peristil, vol.58, br. 1, str. 171-181, 2015. [Online]. Dostupno na: https://hrcak.srce.hr/157262. [Citirano: 26.09.2021.]
Sažetak The Biennale of Young Yugoslav Artists (Biennale mladih jugoslavenskih umjetnika) was an art event organized in the Museum of Modern Art (today Museum of Modern and Contemporary Art) in Rijeka between 1960 and 1991. It appeared within the socialist wave of youth, development, encouraging youth manifestations and institutions, decentralization of various activities and the state’s opening to the West, and ended with the dissolution of Yugoslavia. The Biennale was open for participation of artists from the entire state aged between 18 and 35, regardless of their academic education. Exhibited and awarded works were selected by a jury composed of art historians from different parts of Yugoslavia. The Biennale was conceived as a review exhibition which would display all tendencies, practices and ideas in visual arts produced by the younger generation of artists. Its role was also to identify, make established and further promote talented young artists, as well as assess and document individual tendencies and movements in visual arts. The review character of the exhibition resulted in a multitude of styles and ideas, making it difficult to individuate the dominant features of some editions of the Biennale. However, there recur one or two tendencies that preoccupied the majority of artists. The consistency to achieve the set goals depended on the staff of the Museum of Modern Art and consequently on the jury, and varied from year to year. The Biennale, Salon 54 (and subsequent Salons) and the International Exhibition of Original Drawings (Međunarodna izložba originalnog crteža) were art manifestations held in the Museum of Modern Art which had a significant impact on the development of the local cultural scene and on raising the awareness of the audience which up to that point had not been offered any important events related to visual arts. Some editions of the Biennale did not entirely succeed in presenting the most recent artistic tendencies and were held contemporarily to events organized mostly in student cultural centres, covering and evaluating the completely different and already established practices.