Tendencies 5


Poster tendencies 5
Design: Ivan Picelj

Tendencies 5, also known as T5, was the fifth international meeting from the New Tendencies. It took place at the Tehnički musej (Technical Museum) Zagreb from June 1st to July 1st, 1973.

Organized by by the Galerija suvremene umjetnosti Zagreb (Gallery of Contemporary Art, today the Museum of Contemporary Art), Galerije grada Zagreba (Galleries of the City of Zagreb), and the Tehnički musej (Technical Museum) Zagreb.

T5 focused on the “rational and the irrational in visual research” and was divided in three sections:

Constructive Visual Research
This section was dedicated to the field of constructive visual programs, and it aimed to show whether these fields were exhausted or whether there were sufficient remaining tasks to be accomplished; and also whether there was a real need for the solution of these tasks or whether commercial demand was giving the illusion that efforts of this kind were needed.
[Radoslav Putar. Originally published in tendencije 5, exhib. cat., Galerija suvremene umjetnosti, Zagreb, 1973, n. p., in: Rosen, 2011

Participants of the Constructive Visual Research section were:
ARC – Art Research Center (Lawrence Alton, Robert Blackman, Steven Conard, Nancy A. Stephens, Thomas Michael Stephens, Jon Brees Thogmartin), Vojin Bakić, Milan Dobeš, Juraj Dobrović, Julije Knifer, Julio Le Parc, Enzo Mari, Almir Mavignier, François Morellet, Koloman Novak, Lev V. Nusberg, Ivan Picelj, Zoran Radović, Vjenceslav Richter, Jesús Rafael Soto, Aleksandar Srnec, Miroslav Šutej, Victor Vasarely

Computer Visual Research
The focus of this data base is on computer art, for that reason there is a dedicated entry for the section Computer Visual Research.

Conceptual Art
This section presented “conceptual art” artworks in relation but not diametrically opposed to constructivism and to computer research. As Radoslav Putar writes in the exhibition catalog:
“One should not forget that the interpretations and fundamental statements made by a number of representatives of conceptual research largely coincide with at least some of the statements and programs of representatives of constructivism. Nor should one think that the methods of conceptualists can always be reduced to such data processing in which there is no rational control over the process. (Are all the stages in the computer research process entirely rationally controlled?) As in the case of constructivists and computerists, we find in examples of conceptual research that the final consequences, and even the initial assumptions, are not always acceptable to everyone.”
[Radoslav Putar. Originally published in tendencije 5, exhib. cat., Galerija suvremene umjetnosti, Zagreb, 1973, n. p., in: Rosen, 2011

Participants of the Constructive Visual Research section were:
Anonymous Collective (Gábor Attalai, Imre Bak, András Baranyay, Tibor Csiky, Miklos Erdely, Tibor Gayor, Gyula Gulyás, István Haraszty, Tamás Hencze, György Jovánovics, Ilona Keserü, László Lakner, Péter Legéndy, János Major, Dóra Maurer, Gyula Pauer, Tamás Szentjóby, Endre Tót, Péter Türk), Giovanni Anselmo, John Baldessari, Angelo Bozzolla, Daniel Buren, Giuseppe Chiari, Radomir Damnjanović-Damnjan, Antonio Dias, Braco Dimitrijević, Nušsa and Srečo Dragan, Barry Flanagan, Galerija Studentskog centra [Students’ Center Gallery] (Želimir Koščević), Gilbert & George, Douglas Huebler, László Kerekes, Jannis Kounellis, John Latham, Sol Le Witt, Slavko Matković, Giulio Paolini, Giuseppe Penone, Marko Pogacnik, Reiner Ruthenbeck, Howard Selina, Ilija Šoškić, László Szalma, Bálint Szombathy, Goran Trbuljak

T5 also included international symposium: “The Rational and Irational in Visual Research Today – Match of Ideas”
The symposium took place on June 2nd, 1973 at the AICA Congress (Association Internationale de Critique d’Art) Hotel Esplanade, Zagreb.

Participants of the conference:
Giulio Carlo Argan, Celestin Badibanga Ne Mwine, László Beke, René Berger, Waldemar Cordeiro, Nena Dimitrijević, Sreco Dragan, Herbert W. Franke, Hervé Huitric, Želimir Koščević, Fedor Kritovac, Jean-Claude Marquette, Peter Milojević, Abraham A. Moles, Frieder Nake, Radoslav Putar, Ronald B. de Sousa, Irina Subotić, Biljana Tomić

Contributors to the proceedings:
Jacques Arveiller (Groupe Art et Informatique de Vincennes, GAIV), Oskar Beckmann, László Beke, Vladimir Bonačić, Jürgen Claus, Waldemar Cordeiro, Braco Dimitrijević, Milan Dobes, Jacques Dupré, Herbert W. Franke, David Garrison, Patrick Greussay (GAIV), Grace C. Hertlein, Hervé Huitric, Želimir Koščević, Fedor Kritovac, Enzo Mari, Jean-Claude Marquette, Slavko Matković, Peter Milojević, Abraham A. Moles, François Morellet, Monique Nahas, Frieder Nake, Pierre-Louis Neumann (GAIV), Lev V. Nusberg, Zoran Radović, Ludwig Rase, Ana Seguí and Javier Segui, Thomas Michael Stephens, Bálint Szombathy, John Whitney, Edward Zajec


Poster tendencies 5
Design: Ivan Picelj


At the exhibition opening: Giulio Carlo Argan in conversation with Waldemar Cordeiro (right) GF. E16 S by Vladimir Bonačić, works by MBB Computer Graphics, 4 trames superposées, 0°, 90°, 30° 120° [4 Superimposed Grids 0°, 90°, 30° 120°] by François Morellet, Orange Extension by Jesus Rafael Soto, and computer graphics by members of the Grupo de Arte y Cibernética Buenos Aires (from left).


Cube, Computed Patchwork 01, Computed Patchwork 02, and Horloge [Clock] by Hervé Huitric and Monique Nahas, computer graphics by Tomislav Mikulić, Ground Plan and Section by Edvard Ravnikar, Linear Complementary Order and Parallel Complementary Order by Sergej Pavlin, and GF. E(16,0) -NS by Vladimir Bonačić (from left)


53°49’ N 1°34’ W (Leeds) by Howard Selina, august 1 by Barry Flanagan, Jedna od najnovijih slika [One of the Most Recent Paintings] by Braco Dimitrijević, One Second Drawing by John Latham (from left), and five paintings by Daniel Buren


Barson, Sir Ris, [-], and Zagreb by Victor Vasarely and Probabilité du noir égal au blanc n°4 [Probability of Black Being Equal to White, No.4] and Series 14 – No.2 by Julio Le Parc (from left)