Impossible histories, historical avant-gardes, neo-avant-gardes and post avant-gardes in Yugoslavia,

1918-1991. Đurić Dubravka and Miško Šuvaković.

From 1921 to 1923, Micić and Poljanski formed an informal Zagreb avant-garde circle. In 1921
Belgrade Alfa group (Alek Braun, Miloš Crnjanski, Stanislav Krakov...) published a proclamation in
Kritika marking a break with zenitism, meaning also with avant-garde. The conflict was based on the
avant-garde position as the aspiration to a collective, modernist poetry rooted in individual, higly
aestheticised artistic poetic expression. Zenitism was lead by Ljubomir Ristić, dadaism by Dragan
Aleksić, hyponism by Rade Dreinac, constructivisim by Avgust Černigoj, surrealism by Marko Ristić.

The term neo-avant-garde refers to the second wave of te avant-garde which may be defined: as a
rehashing of the first ag, as a maturation, or as something entirely distinct from the earlier
movement (1951-1973). This includes writers Stanislav Vinaver, Ljubiša Jocić, Oskar Davičo, Bora
Ćosić, Vlado Kristl who aimed at reinstating modernism in the process of overcoming socialist
realism.

Last exibition in Zagreb 1973, Tendencies 5. Croatian neo avant garde: Exat 51, New Tendencies,
Gorgona group.

The development of post-avant-garde in Yugoslavia is defined from 1969 to 1995 as a group of

phenomena in conceptual art (1969-1971), in eclectic postmodernism (1981-1986) and in retro
avant gardes (1981 to now).