In order to challenge modernist historiography’s conventional positioning of socialist Yugoslavia’s architectural production as peripheral, incidental, or belated, the curators-Martino Stierli and Vladimir Kulić, with Anna Kats and a veritable team of researchers-had to start from scratch. Unlike in MoMA’s previous architecture exhibition Latin America in Construction: Architecture 1955–1980 (2015), which used MoMA’s own collection to supply the majority of objects on display, the materials showcased in Toward a Concrete Utopia were the result of extraordinary coordination by the curators and researchers to assemble the components of the exhibition from locales poles apart in terms of geography, institutional benefaction, and collection formality. The highly anticipated architecture exhibition at the Museum of Modern Art (MoMA) included over four hundred drawings, plans, photographs, models, and film reels related to the construction, ideological and physical, of the second Yugoslavia (Socialist Federal Republic of Yugoslavia).
CONCRETE UTOPIA VS ABSTRACT ARCHIVE
Toward a Concrete Utopia: Architecture in Yugoslavia 1948–1980 was an archive of radical potential. Performance Art/Performance Studies/Public Practice.Museum Practice/Museum Studies/Curatorial Studies/Arts Administration.
Drawings/Prints/Work on Paper/Artistc Practice.Digital Media/New Media/Web-Based Media.Architectural History/Urbanism/Historic Preservation.Subject, Genre, Media, Artistic Practice.
0 kommentar(er)
