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New Tendencies - 50th Anniversary - Miniature Sheet

Miniature Sheet
GBP £1.25
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Technical details
  • 15.04.2011
  • Orsat Franković and Ivana Vučić, designers, Zagreb,
  • Zrinski - Čakovec
  • Multicolor Offset Printing
  • 4 Colours
  • 65 x 113 mm (24,14 x 48,28 mm)
  • 1.36
Thematics
About New Tendencies - 50th Anniversary

Motif on stamp and souvenir sheet: reproduction of the poster of the 4th exhibition of New Tendencies All material used to prepare this issue was put at disposal by the courtesy of the Museum of Contemporary Art in Zagreb. New Tendencies (1961 – 1973): A Retrospective View Half a century that elapsed from the first exhibition of New Tendencies in 1961 is enough time to perceive the complexity of this art movement which made Zagreb one of the focuses of most important international art happenings. The movement New Tendencies and its five exhibitions (1961, 1963, 1965, 1968 and 1973), set up by the Gallery of contemporary Art (today Museum of Contemporary Art), did not happen incidentally. From first initiatives to conceptional and ideological platform it is not possible to conceive their appearance outside the context and continuity in which a special role played a group Exat. In the period of Cold War and tests of strength between East and West, New Tendencies gathered artists and art groups from different parts of the world, from France, Italy, Spain and Germany to USA, countries of Latin America and Soviet Union. They were connected by mutual program goals that annihilated the political signs of milieus from which they originated as well as by striving toward radically innovative forms of art practice which removed the borders between art and life, proclaiming art as experiment and investigation. On the trace of the inheritance of historic avanguarde they advocated a new world in which art - along with other segments of art production, would play one of the most important roles, would merge with everyday life and become accessible to all. Numerous artists like Julio Le Parc, Heinz Macke, Almir Mavignier, François Morellett and Otto Piene, published also theoretical texts; on the occasion of exhibitions and accompanying manifestations lively discussions took place, and Zagreb was visited by most prominent theoreticians, e.g. Giulio C. Argan, Umbro Apollonio, Umberto Eco, Udo Kultermann, Manfred Massironi, Abraham A. Moles, Frieder Nake, Frank Popper and many others. Parallelly, active were also Croatian theoreticians like Matko Meštrović, Boris Kelemen and Vera Horvat Pintarić, which is in the best way illustrated in the periodical Bit international, which published theoretical articles on most prominent subjects – from informational aesthetics and programmed art to the theory of media. Through visual identity of the periodical, and the way he created poster and catalogue, Ivan Picelj set top standards of visual communication and culture that are equally actual today. Matko Meštrović, writing about the aims of New Tendencies, summarised them in setting the „scientification of art” as a theoretical goal which, according to him, is the only one that can answer the needs of modern society. The consequence is a need for new methods of art production, i.e. the rejection of conventions resulting in an invitation to scientists to join the movement. In this context characteristic is the idea of introducing new technologies and concepts of programmed art. The idea to use computer in aesthetic investigations of the New Tendencies movement appeared at the third exhibition in 1965 to become a strategy at the exhibition Tendencies 4 and in the program “Computers and Visual Investigations“. Today, in the time when digital art has definitely taken its place as one of the most important fields in modern art, we have a good chance to look back at this art movement as one of the greatest in 20th century. Jasna Galjer