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Notes on education in art as personal/ public activity in Belgrade art scene in the 70s, by Jasna Tijardović

Posted on | July 12, 2011 | No Comments

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Jasna Tijardović’ text is part of a long-term research on art museums education in the former Yugoslavia in the 1960s and 1970s, initiated by

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REC. It was also presented at the international summer school for art educators in Ljubljana, Moderna galerija, June 2011.

**

I had alredy ’emancipated’ my education on art as one to be connected to ’life and art’ when I started to work as a curator in the education program at the Museum of Contemporary Art in Belgrade (1975-1990). I indetified

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These relations between ’daily activity’ as ’art activity,’ and as ’intimate/personal’ and ’private/public activity,’ were interwoven into passages of changes, as consequences of one representing the other. android gps tracker hidden In some way, my activity started in close proximity to the artististic practices of Zoran Popovic, who already twitter.com realized the heterogenty of art activity as the cognitive everyday process that move us forward. A week or two after the student protests in June in Belgrade

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from 1971-1973, these artists worked together to create a series of group/individual exhibitions and performances. After such one performance, titled as ART EVENT in the Edinburgh Art festival (organised by Richard Demarco gallery) in 1973, Zoran and I decided to go to New York in 1974.

This year (1974) of exceptional experience was also the time when we lectured on ’New Art In Serbia/Yugoslavia’ at famous schools and universities paydayadvanceusca.com/ in NY and the US, such as The Cooper Union

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its ideas marked a turn toward public auditorium rather than to profesionals , to the exteriority instead of interiority of the Museum that sildenafil vega was governed by twitter.com/drjonesbilly values of the local and so called Yugoslav modernism of the avant-garde exhibited exsclusively in paintings.

The ’Centre…’ promised the posibility of more individual and collaborative practices on the visual arts, as well as different subjects that could partake in the program. On one side, it practiced strong protocol of everyday administrative duties that embraced the politics of self-management that somehow reflected the popular democratic slogan on both sides of West and East, served as Art to the People: as a service for education for the general public, such as schools, students and working class people, guiding them through exhibitions and permanent collection of Yugoslav art; organized the travelling exhibtions in http://paydayloansonlinecaus.com/ working collectives or in other centres in Serbia out of Belgrade. Doing all those services , we managed (curators than worked in education programs) to project and mediate the new art production payday loans in the Museum, which we

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way we could realize. I made a number of exbitions that were related to my ’conceptual’ and other backgrounds, finding a balance between the what does of viagra works interests of the Museum and best android cell phone tracker my own in order to mediate the new artistic productions. I did exhibitions/promoted in the Museum verizon wireless phone tracker or in the Salon of the Museum gallery in Belgrade: lectures as well as editions of translated texts from The Fox (with the texts of Mel Ramsden, Ian Burn, Michael Corris, Andrew Menard, the last two have lectured in the Museum). Than followed the film exhibition Anti-film, 1963-1964/1965-1970; Films by artists; Film as document of Art work sms tracker android (international films http://genericviagra-edtreatment.com/ shows, with Slobodan Šijan and Nebojša

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Pajkić and Zoran Popović, 1976; Posters/works of Artists, international exhibiton, 1978; New Art Practice as the text on artist M. Abramović, E. Milivojevic, N. Paripović, Z.Popovic, R. Todosijevic, G. Urkom (edited by Gallery of Contemporary

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From period of 1990-2000 I was working as curator of New media (photography, film, video) in the Museum and work today as free lancer.

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