1968. u Muzeju savremene umetnosti u Beogradu

Abstract

U tekstu se mapiraju i analiziraju osnovni programski ciljevi i koncepcije Muzeja savremene umetnosti u Beogradu (MSU) u svetlu njegovih ideoloških pozicija i u kontekstu ideološko-političkih okvira socijalističke nesvrstane Jugoslavije, a na primeru izložbenog programa Muzeja tokom 1968. godine. Objašnjavaju se razlozi zbog kojih se Muzej savremene umetnosti može smatrati jednim od primera intelektualne opozicije. Kao prvi, izdvaja se politička kompatibilnost njegovog programa s idealnim verzijama unutrašnje (prosvećeni socijalizam, ravnopravnost i jedinstvo jugoslovenskih naroda uz poštovanje kulturnih različitosti) i načelima proklamovane spoljašnje politike socijalističke Jugoslavije (politike mira, popuštanja, nesvrstanosti), ali i njegova nekompatibilnost s onim što je bila svakodnevna politička praksa ili politička realnost, dok drugi leži u aktivnoj ulozi Muzeja u etabliranju apstraktne umetnosti kao dominantne oblikovne paradigme u umetnosti šezdesetih, ali i promociji novih pojava koje je establišment označavao dekadentnim i stoga nepodobnim i štetnim za jednu socijalističku zajednicu i državu.

Following the example of the exhibition program for 1968, the article maps and analyzes the basic program objectives and conceptions of the Museum of Contemporary Art (MCA) in Belgrade in the context of its ideological positions and in the ideological-political framework of the socialist and non-aligned Yugoslavia. It explains the reasons for which it is possible to consider the MCA as an example of intellectual opposition. The first is its political compatibility of its program with the ideal version of internal politics (enlightened socialism and the equality and unity of Yugoslav people, with respect to cultural differences) and in its stances regarding its foreign policies of the socialist Yugoslavia (the politics of peace, tolerance and non– alignment), but also in its incompatibility with the usual political practise and political reality of the time, while the other reason lies in the active role of the Museum in the establishment of abstract art as the dominant paradigm of shape in the art of the 60s, as well as the promotion of new phenomena labelled as decadent by the establishment and therefore unsuitable and harmful to a socialist community and country such as Yugoslavia.