Tendencije 5: konstruktivna vizuelna istraživanja / kompjuterska vizuelna istraživanja / konceptualna umjetnost. Tendencies 5: Constructive visual research / computer visual research / conceptual art

“tendencies 5”, in 1973, was composed of three parts: “constructive visual research”, “computers and visual research” and “conceptual art”[8]. Organizers tried to merge these three artistic practices through the notion of the programme and by the works not being executed by the artist himself/herself. Radoslav Putar, the then Director of the Contemporary Art Gallery, used the term of “data processing” – describing the methods of conceptual art[9]. In the section of conceptual art, Sol Lewitt exhibits the Wall Painting,” created by the exhibition workforce, according to textual instructions encapsulated within a single sentence[10], which can also be viewed as a programme [the algorithm of descriptive geometry, expressed by text]. A media conscious work of “I am still Alive” by On Kaware was also exhibited, realized as five identical telegram messages, addressed in advance to Radoslav Putar, the Director of the Zagreb Gallery and President of the Organizing Committee of t5. The work structure can be considered a programme as well, using information and [tele]communication as its materialization, being simultaneously an institutional critique by its contents, and a speech by an artist in the first person singular. The symposium of “The Rational and Irrational in Contemporary Art” was a unique place where participants from all three artist groups and accompanying theoreticians were engaged in an open dialogue, that was however characterized by mutual misunderstanding.”

Text: Putar Radoslav, Dimitrijevic Nena et al. cm 20×21; BW ills.; paperback. Publisher: Galerija Suvremene Umjetnosti, Zagreb, 1973.

 350,00

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“tendencies 5”, in 1973, was composed of three parts: “constructive visual research”, “computers and visual research” and “conceptual art”[8]. Organizers tried to merge these three artistic practices through the notion of the programme and by the works not being executed by the artist himself/herself. Radoslav Putar, the then Director of the Contemporary Art Gallery, used the term of “data processing” – describing the methods of conceptual art[9]. In the section of conceptual art, Sol Lewitt exhibits the Wall Painting,” created by the exhibition workforce, according to textual instructions encapsulated within a single sentence[10], which can also be viewed as a programme [the algorithm of descriptive geometry, expressed by text]. A media conscious work of “I am still Alive” by On Kaware was also exhibited, realized as five identical telegram messages, addressed in advance to Radoslav Putar, the Director of the Zagreb Gallery and President of the Organizing Committee of t5. The work structure can be considered a programme as well, using information and [tele]communication as its materialization, being simultaneously an institutional critique by its contents, and a speech by an artist in the first person singular. The symposium of “The Rational and Irrational in Contemporary Art” was a unique place where participants from all three artist groups and accompanying theoreticians were engaged in an open dialogue, that was however characterized by mutual misunderstanding.”