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Kolekcje awangardy. Jugosłowiańska sztuka lat 60. i 70. W Wojwodinie

100%

Bogusławska M.

2020

vol. 74

issue 1-2 (328-329)

355-363

This article is part of research on the role of artistic practices in creating and defining regional identity in the Balkans. The author’s interest focuses on the neo-avant-garde movement formed in the period of socialist Yugoslavia in the multi-ethnic region of Vojvodina, where Central European and Balkan influences intersect. The cities of Novi Sad, Subotica, and Zrenjanin became the natural environment for the development of this formation. Although the artists who created it (Serbs, Hungarians, Jews, Croats, etc.), working in such groups as Kôd, Bosch+Bosch, Januar and Februar, enjoyed much greater independence than artists in the countries of the Eastern Bloc, they nevertheless clashed with the communist authorities of Yugoslavia, giving rise to the ethics of civil resistance. The purpose of this paper is to answer the question: how is the lesson of Vojvodina neo-avant-garde art being updated nowadays as a practice of social self-understanding, and according to what principles can it participate at present in shaping the regional distinctiveness and the cultural and artistic idiom of Vojvodina?

Etnotopografia Nowego Sadu – o dziedzictwie narodów osiedlających się w Nowym Sadzie

38%

Kwoka T.

Balcanica Posnaniensia Acta et studia

2017

vol. 24

127-142

The article is an attempt to catalogue the most interesting traces of the presence of nations which were part of the Novi Sad community throughout the ages. From the very beginning of its existence, Novi Sad was a meeting place for different ethnic and cultural groups settling down in the city. Serbs from the surrounding countryside moved to the oldest districts of Novi Sad, Podbara, Salajka, and Rotkvarija, at the beginning of the 18th century. At the same period nations from different parts of the Habsburg Empire, such as Germans, Hungarians, Slovaks and Ruthenians brought by Habsburgs to colonize Vojvodina, moved to the city. It was the time of continuous development of Novi Sad, which became an important trading and manufacturing centre, where businesses were also run by the Jews, Armenians, Aromanians (Tzintzars), and the Greeks. The turn of the 19th and 20th centuries was marked by the strengthening of presence of the Hungarian community, which ended with the First World War. After the establishment of the Kingdom of Serbs, Croats and Slovenes (1918), the ethnic structure changed seriously with the influx of Serbs from the southern regions of the country. This trend was followed after the Second World War and most recently during the period of the so-called Yugoslav wars at the Nineties. In the meantime, under dramatic circumstances of the second World War, German and Jewish inhabitants vanished from the city.

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1 Balcanica Posnaniensia Acta et studia

1 Konteksty - Polska Sztuka Ludowa

1 Bogusławska M.

1 Kwoka T.

1 2020

1 2017

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Kolekcje awangardy. Jugosłowiańska sztuka lat 60. i 70. W Wojwodinie

Etnotopografia Nowego Sadu – o dziedzictwie narodów osiedlających się w Nowym Sadzie