Video Art from Conceptualism to Postmodernism
Cambridge: MIT Press, 2003
Due to its accessibility and tight relationship with television, video has the exceptional role of generating social change, even within the constraints of totalitarian management. In the context of a society ready to enter civil war, such privileged position of art can be brought into question. Through examination of rich and diverse forms of video art practices in Yugoslavia before the nation was divided (from the 1960s to the late 1980s), Borcic reveals the delicate ways in which the government and its opposition can confront, but also collaborate with and influence each other.
ITEM 2003.146 – available for viewing in the Research Centre
Videos, Artworks and Artists Cited
Rhythm 4 – Marina Abramović
Was ist Kunst, Who profits from art and who makes honest money – Goran Trbuljak
Belo mleko belih prsi (The white milk of white breasts), Video painting – Raša Todosijević
Rhythm – OHO
Cenzurišem se (I am censoring myself) – Nuša Paripović
TV-Timer (1973) – Mladen Stilinović
Videogram 4, Autovizija – Sanja Iveković and Dalibor Martinis
American Dream – Miha Vipotnik
Rhythm 4 – Bogdanka Poznanović and Marko Kovačič
Laibach
Video Heads
Ulay
Srečo Dragan