dr.sc. Ljiljana Kolešnik, PI
dr.sc. Irena Kraševac
dr.sc. Petar Prelog
dr.sc. Tamara Bjažić Klarin
doc. dr.sc. Željka Tonković
doc. dr.sc. Dalibor Prančević
dr.sc. Artur Šilić
dr.sc. Sanja Horvatinčić
doctoral students
professional assistants
Irena Šimić, Head of the IAH Documenation and Archival collections; Copyright law specialist
Paolo Mofardin, digitalization and image management specialist
dr.sc. Ljiljana Kolešnik, PI
dr.sc. Irena Kraševac
dr.sc. Petar Prelog
dr.sc. Tamara Bjažić Klarin
doc. dr.sc. Željka Tonković
doc. dr.sc. Dalibor Prančević
dr.sc. Artur Šilić
dr.sc. Sanja Horvatinčić
doctoral students
professional assistants
Irena Šimić, Head of the IAH Documenation and Archival collections; Copyright law specialist
Paolo Mofardin, digitalization and image management specialist
dr.sc. Ljiljana Kolešnik, PI
dr.sc. Irena Kraševac
dr.sc. Petar Prelog
dr.sc. Tamara Bjažić Klarin
doc. dr.sc. Željka Tonković
doc. dr.sc. Dalibor Prančević
dr.sc. Artur Šilić
dr.sc. Sanja Horvatinčić
doctoral students
professional assistants
Irena Šimić, Head of the IAH Documenation and Archival collections; Copyright law specialist
Paolo Mofardin, digitalization and image management specialist
artnet
Ljiljana Kolešnik, Nikola Bojić, Artur Silić, Život umjetnosti 99, Zagreb, December 2016.
LIST OF DATA SOURCES
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Christoph Klütsch, Computergrafik: Ästhetische Experimente zwischen zwei Kulturen. Die Anfänge der Computerkunst in den 1960er Jahren, Vienna/New York: Springer, 2007.
Margit Rosen, A Little-Known Story about a Movement, a Magazine, and the Computer Arrival in Art New Tendencies and Bit International, 1961–1973, MIT Press, 2011.
Margit Rosen, "'They Have All Dreamt of the Machines--and Now the Machines Have Arrived': New Tendencies--Computers and Visual Research, Zagreb, 1968-1969", in: H.B. Higgins, Douglas Kahn (ed.), Mainframe Experimentalism, University of California Press, 2012.
Giovanni Rubino, The New Tendency: visual, kinetic and programmed works of art through exhibitions and the art critique between Italy and Croatia from 1963 to 1967., Disertation, University of Udine, 2011-2012.
Armin Medosch, New Tendencies Art at the Threshold of the Information Revolution (1961–1978), MIT Press, 2016.
Round table discussion "New Tendencies and Architecture: Abstraction, Ambience, Algorithm", International Architecture Exhibition, Venice, August 8th 2014Amir Mavignier’s personal website http://www.mavignier.com
Giovannia Rubina: "Italian Art in Yugoslavia, 1961-1967: An Overlooked Chronicle", Artl@s, Vol. 3, Issue 1, Spring 2014: 49-61.
Matko Meštrović, "Art and Technology - Yesterday and today", 1998.
Darko Fritz, "New Tendencies / Nove tendencije", Oris 10:54, Zagreb, 2008: 176-191. (English)/(Croatian)
Armin Medosch, "The Ultimate Avant-garde: New Tendencies and Bit International", The Next Layer, 2008. (English)
Christoph Klütsch, "The Summer 1968 in London and Zagreb: Starting or End Point for Computer art?", Proceedings of the 5th conference on Creativity & Cognition, ACM: New York, 2005: 109-117.
Lidija Merenik, "Before the Art of New Media", Mute, 3 October 2007. http://www.metamute.org/editorial/articles/art-new-media
Ješa Denegri, "Die Bedingungen und Umstände, die den ersten beiden Ausstellungen der Nove Tendencije in Zagreb (1961-1963) vorausgingen", 2007.
Margit Rosen, "Die Maschinen sind angekommen. Die (Neuen) Tendenzen – visuelle Forschung und Computer", 2007.
Peter Weibel, "Kunst als K hoch 8. Eine Korrektur", 2007.
Meštrović, Matko, „Nepoznate potankosti : iz sačuvane korespondencije s Pierom Manzonijem“, Fantom slobode, (2010), 3: 207-215.
Matko Meštrović, „Povijesni prostor i procesi modernizacije : neke kriteriološke i epistemološke napomene“, Društvena istraživanja 5/6(25/26), Zagreb 1996: 1009-1026
Martin Krampen, Günter Hörmann (ed.), Die Hochschule für Gestaltung Ulm / The Ulm School of Design, Berlin: Ernst & Sohn, Berlin, 2003.
Matko Meštrović, "Computer and Visual Research – Ways of Thinking and Scope of Acting", in: Dispersion of Meaning. The Fading Out of the Doctrinaire World?, Cambridge Scholars Publishing, Cambridge: 2008.
Jerko Denegri, “Inside or Outside ‘Socialist Modernism’? Radical Views on the Yugoslav Art Scene 1950-1970”, in: Djurić, Dubravka, Miško Šuvaković (eds.), Impossible Histories – Historical Avant-gardes, Neo-avant-gardes, and Post-avantgardes in Yugoslavia 1918-1991, The MIT Press, Cambridge Mass., 2003.
Christoph Klütsch, "The Summer 1968 in London and Zagreb: Starting or End Point for Computer art?", Creativity & Cognition 12/II, 2005, 109.
Donald Drew Egbert, Social Radicalism and the Arts - Western Europe. A Cultural History from the French Revolution to 1968, Alfred A. Knopf, New York 1970.
Giulio Carlo Argan, L’arte Moderna 1770/1970, Sansoni, Firenza 1971., 666.
Frank Popper, Art – action and participation, Studio Vista, London 1975.
Gemma Calvert, Charles Spence, Barry E. Stein, (ed.), The Handbook of Multisensory Processes, The MIT Press, Cambridge Mass., 2004.
Frieder Nake, Susi Grabowski, Computers in fine art, aspects of history and aesthetics, http://www.agis.informatik.uni-bremen.de/LERNEN/Aktuell/webArt/01.pdf
Philip Graham, Hypercapitalism - Political economy, electric identity, and authorial alienation http://www.cddc.vt.edu/host/lnc/papers/graham_hyperc.htm (5.12.2015.)
Marijan Susovski (ed.), Exat 51 & New Tendencies: Avant-garde and international events in Croatian art in the 1950s and 1960s, katalog izložbe, Centro Cultural de Cascais, Cascais, May-June 2001.
Op art, exhibition catalogue, Schirn-Kunsthalle, Frankfurt, 17. 2. – 20. 5. 2007, König, Köln, 2007.
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Jasia Reichardt (ed.), Cybernetic serendipity: The computer and the arts, exhibition catalogue, London: Studio International, 104, 1968.
Participation - Groupe de Recherche d'Art Visuel: à la recherche d'un noveau spectateur - Garcia-Rossi, Le Parc, Morellet, Sobrino, Stein, Yvaral, Museum am Ostwall, Dortmund, 11.02.- 31. 03.1968, Dortmund, 1968.
Zero: 1958-1968 tra Germania e Italia, Siena, Palazzo delle Papesse, 29.05.-19.09.2004], Milano: Silvana, 2004.
ZERO aus Deutschland 1957-1966. und heute, Galerie der Stadt Esslingen, 3.12.1999 - 12. 03.2000, Ostfildern/Ruit: Hatje Cantz, 2000.
Zero Italien: Azimut/Azimuth 1959/60 in Mailand und heute, Galerie der Stadt Esslingen, 3.12.1995-25.02.1996; Cantz. Esslingen, Galerie der Stadt Esslingen, 1996.
Monohcrome Malerei, exhibition catalogue, Sdätisches Museum Schloss Morsbroich, Leverkusen, 1960.
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New Tendencies 2, exhibition catalogue, Galerija suvremene umjetnosti, Zagreb 1963.
Nuove tendenze 2, exhibition catalogue, fondazione Querini Stampalia, Venezia, 1963.
Neue tendenze, Sdätisches Museum Schloss Morsbroich, Leverkusen, 1963.
Tendencija 3, Galerija suvremene umjetnosti, Zagreb, 1965.
Jean-Marc Poinsot, "Pierre Restany: The Letter to Leo Castelli", Critique d’art [En ligne], 22 | Automne 2003, mis en ligne le 27 février 2012, consulté le 30 juillet 2016. URL: http://critiquedart.revues.org/1878; DOI : 10.4000/critiquedart.1878
http://americanart.si.edu/collections/mediaarts/paik/paik_pdfs/paik_archive_otto_piene_interview.pdf
Annick Bureaud, "From Zero to Sky Art. Interview with Otto Piene", Art Press 322, April 2006, online version: http://www.annickbureaud.net/wp-content/uploads/2011/01/PieneEN.doc.pdf
ZERO 1, ed. O. Piene, H, Mack, Dusseldorf, 1958.
ZERO 2, ed. O. Piene, H. Mack, Dusseldorf, 1958.
ZERO 3, ed. O. Piene, H. Mack, G. Uecker, 1961. (promocija ZERO – Edition, Exposition, Demonstration, Gallery Schmela, Düsseldorf, July 5, 1961.)
Zero Foundation - http://www.4321zero.com
Christine Mehring, „Television Art's Abstract Starts: Europe circa 1944–1969*“, October No. 125, Summer 2008.
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Maria Amália García, "Ações e contatos regionais da arte concreta. Intervenções de Max Bill em São Paulo em 1951", Revista USP, no.79, São Paulo, September–November 2008, 196–204.
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http://www.mavignier.com/aus_ein.htm
https://www.youtube.com/watch?v=96lynQzdi9I
[1] For more information on that exhibition see: http://www.4321zero.com/1959.html (last accessed on: 12 Mar. 2016).
Azimuth 1, 03.09.1959, EPI editorials periodicals italiani, Milano.
Azimuth 2, 01.1960, EPI editorials periodicals italiani, Milano.
Gallery Schmela, (1957-2008) http://www.oac.cdlib.org/findaid/ark:/13030/kt6z09s3jn/
Dirk Pörschmann, Mattjis Visser (Hg.), 4 3 2 1 ZERO, Düsseldorf, Richter Fey, 2012.
Otto Piene, "Die Entstehung der Gruppe ZERO" (1964), in: Dirk Pörschmann, Mattjis Visser (Hg.), 4 3 2 1 ZERO, Düsseldorf, Richter Fey, 2012
Conversation with Otto Piene, https://www.youtube.com/watch?v=96lynQzdi9I
Otto Piene, Heinz Mack, Zero, Cambridge, Mass.: MIT Press, 1973.
Bruno Corà, "Tinguely and Munari", exhibition catalogue Tinguely e Munari – l Opere in azione, CAMeC – Centro Arte Moderna e Contemporanea, La Spezia, 2004, 1–4.
Stefano Collicelli Cagol, "De Vitaliteit in de Kunst (1959–1960) and Van Natuur tot Kunst (1960) at the Stedelijk Museum, Amsterdam", Stedlijk Studies, 2, Stedelijk Museum, Amsterdam. http://www.stedelijkstudies.com/journal/exhibition-history-and-the-institution-as-a-medium/
Hans-Ulrich Obrist, "Systematic Thinking by the Late François Morellet", Art, July 2016; http://www.culturedmag.com/francois-morellet/
Mariastella Margozzi, "Arte programmata, arte cinetica. Categorie e declinazioni attraverso le poetiche", in: Arte programmata e cinetica Italiana, exhibition catalogue, MACBA – Museo de Arte Contemporáneo de Buenos Aires, October 10th – December 8th 2013, 15-16.
Spirale: internationale Zeitschrift für junge Kunst, Bern: Spirale-Verlag, M. Wyss, [1953]-1964.
Jesus Rafael Soto personal website http://www.jr-soto.com/fset_savie_uk.html
iovanni Rubino, "Sviluppi dell’ arte programmata italiana in Jugoslavia dal 1961 al 1964", Studi di Memofonte, 9/2012, 66-67.
Granzotto Govanni, "Arte programmata e cinetica: origini, successo, declino, rinascita", in: Arte programmata e cinetica Italiana, MACBA – Museo de Arte Contemporáneo de Buenos Aires, October 10th–December 8th 2013, 10.
„Interview with Emmett Williams: Fluxus Artist Extraordinaire”, UMBRELLA /March 1998; http://colophon.com/umbrella/emmet.html
