A Slow Burning Fire
The Rise of the New Art Practice in Yugoslavia
The first comprehensive study of the former Yugoslavia's diverse and groundbreaking alternative art scenes from the 1960s to the 1980s.
This first comprehensive study of the former Yugoslavia's alternative art scene tells the origin stories of some of the most significant artists of the late twentieth century. In Yugoslavia from the late 1960s to the late 1980s, state-supported Students' Cultural Centers became incubators for new art. This era's conceptual and performance art—known as Yugoslavia's New Art Practice—emerged from a network of diverse and densely interconnected art scenes that nurtured the early work of Marina Abramović, Sanja Iveković, Neue Slowenische Kunst (NSK), and others. In this book, Marko Ilić examines Yugoslavia's New Art Practice in light of the political upheavals of the 1980s.
Countering the usual binary of official versus unofficial art, Ilić shows that the Students' Cultural Centers were an expression of Yugoslavia's “third way” political and economic system, which was founded on workers' self-management. Ilić examines key actions, gestures, and propositions affiliated with the New Art Practice, including the conceptual and dematerialized art practices that emerged from Zagreb's Student Center Gallery, the struggle of Belgrade's Students' Cultural Center (where Abramović performed her career-defining Rhythm 5), to break into the international art scene, the pre-Žižek culture of Ljubljana, and Sarajevo's miraculous dokumenta, held in the midst of Yugoslavia's disintegration.
Pre-Order Hardcover$39.95 T ISBN: 9780262044844 384 pp. | 7 in x 9 in 55 color illus., 75 b&w illus.
“Civil war tore Yugoslavia apart and shattered its vibrant and distinct art world. Marko Ilić's deeply researched and insightful study reconstructs it brilliantly.”
professor at the National College of Art and Design, Dublin, cocurator of Notes from the Underground: Art and Alternative Music in Eastern Europe 1968–1994
“Marko Ilić's book contributes a great deal to a better understanding of Yugoslav New Art Practice as an artistic proposal for more, rather than less, of the self-management form of socialism.”
director, Moderna galerija, Ljubljana, and author of Comradeship: Curating, Art, and Politics in Post-Socialist Europe