stars in the sky, from whence they seem- ingly descended on this white, almost glit- tering building, this temple of contempo- rary art, but also the public, without which there is no museum and no art. That is why the Museum was again reopened to the public, without exces- sive fanfare. The public was also consid- ered when an application was created for mobile devices as part of the“DemocrAR- Tisation”campaign, which made it possi- ble for some of MoCAB’s most important works to be made available to the pub- lic even during the building’s renovation. For its innovative approach to present- ing art, MoCAB received as many as five awards at one of the most important in- ternational festivals of creative advertis- ing, Golden Drum. Going to the Museum is a great expe- rience for foreign visitors to Belgrade as they can gain an insight into what’s go- ing on in this corner of Europe, which they may have considered as being peripher- al. The exhibition will refute such beliefs, convincing people that art from this area can keep pace with the latest trends. The more attentive visitors will note all the lo- cal peculiarities, often shaped into visual commentary on current affairs. That’s be- cause modern art does not exist without a concept and context, a definition adopt- ed long ago. Just as it is null and void un- til another pair of eyes see it, and the ob- server considers it seen. For another eight months, the pub- lic will travel through this archipelago of art from the 20 th century, stopping at its most attractive islands. It will then sail on to other worlds, guided by the vision of future curators.
Za strance je poseta Muzeju praznik, jer stiču uvid u to šta se dešavalo i šta se događa u ovom kutku Evrope Visiting the Museum is a must for travellers as it gives them an insight into what’s going on in this corner of Europe
all periods to date, both in this region and globally. However, this museum also inscribes a different aspect of history, a vortex of political change. The modernist tenden- cies it strove to promote faced judgement from then President Josip Broz Tito as soon as the museum opened. He saw this type of art as “worthless” and “decadent”, say- ing that anyone who “wants to deal with such paintings should do so at their own expense”. He quietly withdrew this state- ment in 1968...
Artistic maturity was expressed much earlier by such Yugoslav artists and sculp- tors as Milo Milunović, Nadežda Petrović, Sava Šumanović, Ivan Tabaković and many others, only for them to be joined later by the likes of Petar Lubarda and Krsto Hegedušić, then Mića Popović, Vladimir Veličković, Raša Todosijević, Marina Abram- ović et al., all the way to the most contem- porary – Zdravko Joksimović, Mrđan Bajić – and the youngest, like Milica Ružičić, all of whom are represented in MoCAB’s col- lections. It’s pointless to list them all, like
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