Arika  Archive Menu
Accessibility Settings

text size

colour options

monochrome muted color dark

reading tools

isolation ruler
Lutz Becker reads a text, seated cross legged on a platform, against a blank wal

Kino Beleske (Film Notes)

Kino Beleske (Film Notes)

Recently rediscovered but still very pertinent, Kino Beleške was produced in 1975 with young artists, curators and critics in Belgrade. It presents a series of speech acts and performative gestures by protagonists of the new artistic practice in former Yugoslavia: each a personal take on the role of art in society.

Read

Lutz is a documentary artist filmmaker 1 and curator 2 .

Kino Beleške was collaboratively made with artists, curators and critics gathered around the Student Cultural Centre – Belgrade, incl.:

Marina Abramovic, Dunja Blazevic, Jesa Denegri, Goran Djordevic, Nesa Paripovic, , Bojana Pejic, Zoran Popovic, Jasna Tijardovic, Slavko Timotijevic, Rasa Todosijevic, Biljana Tomic, Goran Trbuljak, Dragomir Zupanc.

Recently rediscovered but still very pertinent, Kino Beleške was produced in 1975 with young artists, curators and critics in Belgrade. It presents a series of speech acts and performative gestures by protagonists of the new artistic practice in former Yugoslavia: each a personal take on the role of art in society.

Since being ‘rediscovered’ (a euphemism if ever there was one: the film was spared the excesses of the Milosevic regime at Belgrade Television by being hidden by unnamed persons until 2007), Kino Beleške has become increasingly influential. The artists appearing in the film seem to all take the view that self-regarding art criticism had to move on to a more engaged criticism of art as a cultural institution. Their attempts to express this concern via a range of formal experiments (deadpan voiceovers, allegorical micro-performaces, a re-reading of the state TV schedule over documentary footage of the street), increasingly chimes with artists today, including Brad and Karen from The Museum of Non Participation, who’ll be joining Lutz for a chat after the screening.

  1. His films incl.: Nuremberg in History (2006) and Vita Futurista (1987/2009).
  2. Exhibitions incl.: ‘Art and Revolution’ (1971) and ‘Piscator and Political Theatre’ (1972), to ‘Art and Power: Europe under the dictators 1930-45’(1995) all at the Hayward; and (reflecting on the art of the Russian and Soviet avant-garde): ‘Century City: Moscow’, Tate Modern (2001), ‘Construction: Tatlin and After’, State Museum for Contemporary Art, Thessaloniki (2002) and ‘Cut and Paste: Photomontage 1920-1945, Estorick Foundation, London, (2008/09).

Documentation

4 images, 1 video, 1 audio
Discussion
Download
CC BY-NC-ND 4.0
Lutz Becker sitting next to Karen Mirza who is speaking

▴ Credit: Bryony McIntyre

Audience members sitting on the floor during the discussion

▴ Credit: Bryony McIntyre

Lutz Becker sat on a chair during the discussion

▴ Credit: Bryony McIntyre

Lutz Becker talking to the audience

▴ Credit: Bryony McIntyre

Lutz Becker sitting next to Karen Mirza who is speaking

▴ Credit: Bryony McIntyre

Audience members sitting on the floor during the discussion

▴ Credit: Bryony McIntyre

Lutz Becker sat on a chair during the discussion

▴ Credit: Bryony McIntyre

Lutz Becker talking to the audience

▴ Credit: Bryony McIntyre