The History and Theory of Avant-garde and Neo Avant-garde (Bachelor’s Degree)

Pre-requisites: The attendance at lectures and seminars is mandatory.

Course objectives: The goal of the course is the comprehension of phenomena of historical avant-garde, their practical and theoretical elements, and ideologies.

Course description: The course includes both theoretical and practical segment. The theoretical segment includes presentations and analysis of contents concerning fundamental fact issues and historical dilemmas in relation to the phenomenon of so called historical avant-gardes, which are basically the series of movements developed and performed within European art between 1910 and 1930, including futurism, Russian avant-garde movements, Dadaism, surrealism, etc. The course will discuss the conditions of developing and forming the movement and its influence, as well as its official-language and theoretical terms, all including individual contributions of renowned authors in specified spheres. The practical portion of the course will focus on applying theoretical and critical approaches using concrete materials, art pieces, and various texts.

Learning Outcomes: The course is designed to acquire students with knowledge to understand the practical, theoretical and ideological elements of avant-garde, and to apply the gained knowledge towards the analysis of theoretical texts and art pieces.

Literature/Reading:

• 1. R. Podoli, Teorija avangardne umetnosti, Beograd, 1975 (41-78; 95-110; 125-132; 157-172)(alternativno pod 2.)
• 2. P. Birger, Teorija avangarde, Beograd, 1998 (Prvo poglavlje (Rasprava o Benjaminovoj teoriji umetnosti), Drugo poglavlje (Problemi istraživanja; Avangardna negacija autonomije umetnosti), Treće poglavlje (u celini)) (alternativno pod 1)
• 3. N. Stangos (ed), Concepts of Modern Art (revised and enlarged edition), Penguin books, 1981; 1990 (poglavlja: Futurism, 97-106; Dada&Surrealism, 110-138; Suprematism, 138-140; De Stijl, 141-159; Constructivism, 160-168)
• 6. Dokumenti za razumevanje ruske avangarde, Geopoetika, Beograd 2003
• 4. H. Foster, Y-A. Bois, B. Buchloh, D. Josert (eds), Art since 1900: modernism, antimodernism, postmodernism, Thames and Hudson, London, 2004 (90-97; 125-165; 174-185; 191-201; 214-227; 243-253; 295-299; 305-313)
• 1. K. Grej, Ruski umetnički eksperiment, Beograd 1978 ILI S. Mijušković, Od samodovoljnosti do smrti slikarstva. Umetničke teorije i prakse ruske avangarde, Geopoetika, Beograd, 1998.
• 2. A. Bear, M. Karasu, DADA-istorija jedne subverzije, Sremski Karlovci-Novi Sad 1997 ILI M. Gale, Dada & Surrealism, Phaidon, London, 1997 (9-65; 83-114; 117-168; 181-212)
• 3. M. Nado, Istorija nadrealizma, Beograd 1980 ILI M. Gale, Dada & Surrealism, Phaidon, London, 1997 (215-264)
• 4. M. Dišan, Izbor tekstova, sveske 3, Muzej savremene umetnosti, Beograd 1984
• 5. C. Harrison & P. Wood, Art in Theory 1900-1990, An Anthology of Changing Ideas, Oxford/Cambridge 1992; 1993; 1994; 1995; 1996 (278-300)