Kunst als Entscheidung

With the exception of the work of Marina Abramovic, the artistic production at the Studentski Kulturni Centar in Belgrade during the late 1960s and 1970s has been little discussed. It encompasses performance practices, conceptual art and body art. The present study takes into account the history of Yugoslavian art and society, as well as Western art production, and the development of interpretation models for the Neo Avantgarde. Moreover, it also deals with the historical and ideological foundations of Yugoslavian art theoretical discourse, and refers in detail to the history of Marxist humanism and the criticism of humanism that began in the 1960s, which has had such a lasting impact on North American art criticism. The current analysis thus restores this neglected phase of art history and redefines the map of 1970s performance art.