Socialist Yugoslavia was a country suspended between traditional cultures, competing concepts of modernization, and rivaling Cold War blocs. A tour de force display of more than four hundred photographs, architectural models, maps, graphs, videos, and installations, “Toward a Concrete Utopia” dazzles its viewers with seductive narratives of anti-fascism embodied in hybrid buildings that amalgamate influences of the Ottoman and Habsburg empires as well as various Western modernisms in the service of Yugoslavia’s socialist revolution. Co-curated by Martino Stierli and Vladimir Kulić, “Toward a Concrete Utopia: Architecture in Yugoslavia, 1948–1980” argues that social programs, collectivism, internationalism, and the freedom to experiment shaped the development of architecture in Yugoslavia, and that its distinctive socialist modernism was founded on the project of building a more just and diverse society. “And it’s not that there are no individuals who are nationalists, or racists,” she wrote, “but that the taking of a state position against nationalism, against racism is what makes it possible for a society like this to function.” The extraordinarily rigorous and thought-provoking exhibition of Yugoslav architecture, on view at New York’s Museum of Modern Art through January 13, similarly positions socialism as the political foundation for a multinational and anti-nationalist society. The show will be up starting on Jand will run through January 13, 2019.In 1976, black feminist poet and theorist Audre Lorde published “Notes from a Trip to Russia,” in which she marveled at the apparent harmony among diverse ethnicities in the Soviet Union. Janko Konstantinov, Telecommunications Center, 1972-81, Skopje, Macedonia. Work by important architects such as Bogdan Bogdanović, Juraj Neidhardt, Svetlana Kana Radević, Edvard Ravnikar, Vjenceslav Richter, and Milica Šterić will be featured emphasizing the unique range of forms produced in this time period. Photo: Valentin Jeck, commissioned by The Museum of Modern Art, New York, 2016. Stojan Maksimović, Sava Center, 1979, Belgrade, Serbia. MoMA's exhibition will explore themes of large-scale urbanization, technological experimentation, consumerism, monuments and memorialization, and the overall global reach of Yugoslav architecture. Photo: Valentin Jeck, commissioned by The Museum of Modern Art, New York, 2016.Īrchitecture from this period ranges from International Style skyscrapers to Brutalist "social condensers" manifesting the radical pluralism, hybridity, and idealism found in the Yugoslav state. Edvard Ravnikar, Revolution Square (today Republic Square), 1960-74, Ljubljana, Slovenia. Including over 400 drawings, models, photographs, and film reels from various municipal archives, MoMA introduces the exceptional built work of the former country's leading socialist architects. View of IMS Žeželj the construction site. Mihajlo Čanak, Leonid Lenarčić, Milosav Mitić, and Ivan Petrović. Toward a Concrete Utopia: Architecture in Yugoslavia, 1948–1980 will be the first major US presentation of the work developed within the country's 45 years of existence. The Museum of Modern Art has announced their summer exhibition exploring architecture of the former Yugoslavia.
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