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sábado, 25 de julho de 2015

The Belgrade Museum of Contemporary Art was opened on October 20th 1965.

 However, Museum activities began as early as 1958, when an act brought by the Cultural Council of the Peoples’ Committee of Belgrade established the Modern Gallery, an institution the purpose of which was to supervise the development of contemporary art in Yugoslavia. 

The Executive Council of the Socialist Republic of Serbia decided to construct a building which would live up to the standards of modern museological principles, and allots a location for it in New Belgrade, at the Sava-Danube junction, across the Belgrade Fortress. An open competition for the project of new building was announced in 1960. 

Architects Ivan Antić and Ivanka Raspopović won the competition with a project for which they would later, namely at the opening ceremony of the Museum, be awarded the October Prize of the City of Belgrade for Architecture. After the construction of the new building was completed, the Council of the Modern Gallery passes a new name for the institution – the Museum of Contemporary Art. The first director of the Museum was Miodrag B. Protić. 

The theoretical and practical experiences of the most distinguished international museums of modern and contemporary art were taken into consideration in the process of the creation of Museum’s guiding work principles.

Museum’s founder and its first director was Miodrag B. Protić, a painter and the author of many significant exhibitions, books and texts concerning the history of modern Yugoslav and Serbian art. The other directors of the Museum were: Marija Pušić (1980-1984), Kosta Bogdanović (acting director, 1984-1986), Zoran Gavrić (1986-1993), Radisav Trkulja (1993-2001), Branislava Andjelković Dimitrijević (2001–2013),Vladislav Šćepanović (acting director, 2013-2014) and Jovan Despotović (acting director, 2014-).

Authors: architects Ivan Antić and Ivanka Raspopović

The Building of the Museum of Contemporary Art is situated in New Belgrade, on the left bank of the Sava River, across the Belgrade Fortress. Its unique concept of the interior design and, on the other hand, its link to the surroundings represent an original solution which meets basic museological requirements. The building is an interesting example of museum architecture worldwide. It is surrounded by a sculpture park with works by the most significant Yugoslav sculptors of the 20th century.

The main volume of the building is a polymorphous crystal comprised of six cubes with cut angles. The facade are mainly covered with white marble panels and partly with glass, and the sloping roof surface is covered with glass. The interior is characterized by its functionality and spaciousness. A unique and specifically arranged interior space, without vertical partitions and corridors, is divided into five exhibition levels interconnected by stairs. These levels, which almost merge into one another, served as a means to connect a number of spaces of different heights into a whole. This solution made it possible for visitors to view the exhibits on the lower levels from multiple angles from upper levels, as well as to reach the upmost levels with minimum effort. The total area of the interior space is 5.055 square meters. The ground floor is standing 1.80 meters above the ground, and the first level is 3.90 meters above the ground. The difference in height between second and third level spans from 2.34 m to 1.56 m. The highest level is 10.14 m above the ground.

The Museum’s Building has been declared a cultural property of national interest in 1987. and is under the protection of Republic Institute for Protection of Cultural Monuments.


The Permanent Display of the Works of Yugoslav Art from the Collections of the Museum of Contemporary Art

Author and curator: Dejan Sretenović

The permanent display of the works from the collections of the Museum of Contemporary Art is changed every three to five years and is, as a rule, based on the author concepts of the reconstruction of historical periods, movements, tendencies, and individual phenomena in the Yugoslav art space. The last display comprised of 160 works of Yugoslav art originating from the 1900-1981 period, and wass structured as a make-up of a number of mini exhibitions, distributed in accord with the spatial units of the exhibition space.

The structuring of the display by means of autonomous exhibition units has been governed by a twofold reason: an exhibition is a place of the immediate communication between a work of art and an audience and a strategic model of the acquisition of knowledge about art. For that reason, every mini exhibition simultaneously functions as a text which configures and interprets certain chapters of the 20th century history of Yugoslav art, but also as a context for the comparative understanding of the intrinsinc meaning and historical position of every individual work of art. Besides, the reduced number of exhibits in every exhibition segment serves the purpose of emphasizing individual works of art which the history of art has, in general, already verified as anthology works of modern Yugoslav art. Thus conceptualized, the permanent display treats exhibited works as representative semantic and autochtonous esthetic objects, making it easy for the visitors to travel through the world of ideas, themes, and stylistic and linguistic orientation of the Yugoslav art space.

The basic segments of the display are arranged in the following manner: The Beginnings of Modern Painting (Symbolism, Impressionism, Realism), Cezannism and Postcubism, Expressionism (of color and shape), Intimism, The Pioneers of Abstract Painting, Historical Avant-Gardes (Constructivism, Surrealism), Socially Engaged Art, Expressive Figuration After 1945, Fantastic Art and “Dark Modernism”, Abstract Landscape, Informel, Neoconstructivism and Protominimalism, Late Modernist Sculpture, The Belgrade New Figuration, Conceptual Art, Video Performance, Foreign Graphic Art (Abstract Tendencies After 1945, Pop-Art).

The permanent display was situated on 2nd and 3rd level of the exhibition space, whereas the ground floor, 4th and 5th level were scheduled for current exhibitions. During the intervals between current exhibitions, 4th and 5th level were used for the representation of “modular”, predominantly thematic and monographic, exhibitions with the works from the collections of the Museum of Contemporary Art, which arise from the research work the curators perform within these collections. The body of works originating from 1980 onwards forms special modules, which could not become a part of the permanent display because of the exhibition space limitations. Modular exhibitions made the displays of the works from the collection more frequent, and were also scheduled for the display in provincial towns.

fonte: @edisonmariotti #edisonmariotti

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