Магазин за наивну и маргиналну уметност

Broj 8 | ДЕЦЕМБАР 2018.

..
Journal of Na ve and Marginal Art
Number 8 | DECEMVER 2018

Oto Bihalji-Merin and

Architects of Modern
Thought
| Page | 8-9

2. e
Magic Vitality of the Marginal 25. januar - 25. april. 2019.
| Page | 2-3
,
3-5
: trijenalemnmu@gmail.com
: www.mnmu.rs

Sign up for the competition:

nd
2 Triennial of Self-Taught Visionary Art

25 January 25 April 2019

Only the artists without academic artistic education may

participate, by sending photo documentation of 3-5 original
Sculpture of Serbian works to the E-mail: trijenalemnmu@gmail.com
More details on the following MNMA Web address:

Self-taught Visionaries www.mnmu.rs

| Page | 4-5

| Encounters
| Page | 7
 Магазин за наивну и маргиналну уметност | Број 8 | Децембар 2018.
18 30.10.2018.
1,
, (
, 35 50
Vojislav Jaki Siamese Turtles (Apotheosis to War), Poisonous Drawing, 1999,
combined technique on paper, 35 x 50 cm, MNMA
, , 2012,
. , 100 70 , (
Slobodan ivanovi , Weightlifter, 2012,
combined technique on cardboard, 100 x 70 cm, MNMA
2
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Opening Ceremony: Vojkan Morar, Sa a Petrovi Berdujac, Ilija Filipovi , Zil Milano, Ivana Stanisavljevi Negi (Artists) and Dejan Maslikovi , Assitant
to the Minister of Culture
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Sculpture of Boris Deheljan, Miles Davis, 2016 Ilija Ba i evi Bosilj Apocalypse Chapter 19, 17, 18, 1967,
(Photo Marija Konjiku i ) oil on hardboard, 122.5 100 cm, MNA Ilijanum, id

Magic Vitality of the Marginal
The fascination with non-mainstream aesthetics clearly
marked the arrival and evolution of art, which with time less
and less remained on the margins of the Balkans. Personal
creative visions of artists who create beyond the predominant
culture overpower the disappointments and failures of
everyday life, thus transforming the lack of social life into
artistic brilliance. Raw and vital pictorial expression of Serbi-
an self-taught artists points primarily to the diversity and
freedom of artistic expression, which is not restricted by ste-
reotypes, already related to the concepts of art brut and out-
sider art, radiating with their authenticity, freedom of ap-
proach selection and unique morphology.
On Thursday, 18 October 2018 at 7.00 pm, Museum of
Naïve and Marginal Art, supported by the Ministry of Culture
and Information of RS, opened the exhibition of paintings
and sculptures of thirty- ve painters and sculptors from
Serbia, the self-taught raw vision artists entitled Magic Vitali-
ty of the Marginal. A hundred of artworks of the authors of
three generations from the collections of Museum of Naïve
and Marginal Art, Museum of Naïve Art from id (the works
of Ilija Bosilj Ba i evi ), National Museum in Kraljevo
(monumental drawings of Vojislav Jaki ), private collections,
and the authors' property illustrated the variety of sensibili-
ties of this kind of the pictorial in Serbia, which was many
times shown in the most signi cant international exhibitions
worldwide. Olivera Vukoti , Nina Krsti , the author of exhibi-
tion and Dejan Maslikovi Assistant to the Minister of Culture
gave speeches at the opening ceremony.
, , 2008,
Srboljub Kojadinovi , Ballad of Unborn Serbs, 2008, acrylic on canvas, 115 x 200 cm, MNMA
( ),
Detail from exhibition (works of Igor Simonovi and Barbarien), photo Marija Konjiku i
Journal of Naïve and Marginal Art | Number 8 | December 2018
Exhibition
18 30 October 2018
Art Pavilion Cvijeta Zuzori
Mali Kalemegdan 1, Belgrade
Among the representative works of world classics today,
Sava Sekuli , Ilija Bosilj Ba i evi , Emerik Feje , Vojislav
Jaki , Barbarien, Milosav Jovanovi , Slobodan ivanovi ,
Milanka Dini , Bogosav ivkovi , Dragutin Aleksi , Dragi a
and Milan Stanisavljevi , Ilija Filipovi and Ferenc Kalmar,
the works of Vojkan Morar, Jo kin iljan, Igor Simonovi ,
Ivana Stanisavljevi Negi , Boris Deheljan, Dragan Jovanovi
Gagac from recently closed exhibition organised by NMA at
Halle Saint Pierre (7 September 2017 31 July 2018) were al-
so on display. This exhibition was open for nine months than-
ks to great interest of the visitors. The artists who were espe-
cially remarkable for their original pictorial expression in the
last few years were Sa a Petrovi Berdujac. Srboslav Ili , Zil
Milano, Tomislav Blagojevi , I tvan Jan and Dragan
Milivojevi , whose works completed the presentation of ma-
gic vitality. Burning colouring in the realisations of a young
artist Jelena Jakoni and Barbarien, point to great potential of
raw pictorial expression.
The visitors of the exhibition Magic Vitality of the Marginal,
which was open until 30 October 2018 had the opportunity to
refresh their memory of some works done by unique and
somehow forgotten, non-living authors such as Miroslav
Jovanovi Dalton, Srboljub Kojadinoi and others. The works
of former residents of Institute in Palmoti eva Street (part of
the collection donated by Prof. Ljubomir Eri ) took a special
place as kind of strong, expressive energy created in special
spiritual exile. During the exhibition the accompanying mo-
nograph was promoted, bearing the same title, published by
MNMA.
Nina Krsti
| Slobodan ivanovi
, 115 200 ,
| Srboslav Ili
21. 22, 2017, , 48 x 21,8 , .
September 21nd and 22 nd, 2007, tempera on wood, 48 x 21,8, author
3
 Магазин за наивну и маргиналну уметност | Број 8 | Децембар 2018.

, 19
21.6 - 7.7. 2018
21. 7. 2018. , ,
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( )
Ferenc Kalmar (Photo from the MNMA Documentation)

| Ferenc Kalmar | Bogosav ivkovi | Ilija Filipovi

, 2009, , 31 30 , 1992, , 208 , , 1992, , 100 ,
A Golden headed, 2009, coloured wood, 31 x 30 cm My World, 1992, stone, height 208 cm, MNMA Petri ed Messages, 1992, stone, height 100 cm, MNMU

4
 Journal of Naïve and Marginal Art | Number 8 | December 2018

Sculpture of Serbian Self-taught Visionaries Exhibition

Gallery of the Central Military Club
Belgrade, Bra e Jugovi a 19
21 June 7 July 2018
In the period 21 June 7 July 2018, MNMA organised the
exhibition entitled Sculpture of Serbian Self-taught Visionaries
at Gallery of the Central Military Club, Media Centre
Defence . The speeches at the opening ceremony were given
by Director of Media Centre Defence, Colonel Stevica
Karapand in, Nina Krsti , the author of exhibition and Dejan
Maslikovi Assistant to the Minister of Culture and Infor-
mation of Republic of Serbia, who opened the exhibition.

Monumental sculptures are an authentic cultural heritage

that makes the self-taught visionary art of Serbia recog-
nizable worldwide, which was this time proved by the most
representative part of the treasure of Museum of Naïve and
Marginal Art, including eighty displayed sculptures done by
twenty-two sculptors. The continuity of development of Ser-
bian self-taught sculpture in the period from mid twentieth
century until today was shown in the works of Serbian self-
taught sculptors, most of whom are considered world classics
today. The representative works of Bogosav ivkovi , Dragi a
Stanisavljevi , Dragutin Aleksi , Ferenc Kalmar, Milan Sta-
nisavljevi . Ilija Filipovi , Sa a Petrovi , Ivana Stanisavljevi
Negi as well as the works of other Serbian sculptors from the
MNMA collection were on display until 7 July 2018. During
the exhibition, professional guidance through the exhibition
was organised by Nina Krsti on Tuesday, 6 June, when the
visitors had the opportunity to see the lm of or e Kadijevi
A Man Who Ate a Wolf (1983).

This exhibition was accompanied by a monograph

published by MNMA; the authors were N. Krsti , M. Vra evi ,
and I. Jovanovi . The author of design was Sloboddan teti .
Authors of photographs were Mario del Curto and Slobodan
teti . A part of the exhibition (sculptures in wood) will be on
display at Gallery Farm of Linden Trees in Renan,
Switzerland in February 2019, within a joint exhibition Life
Juices, as the result of cooperation of our Museum and Mario
| Milan Stanisavljevi | Milan Stanisavljevi
del Curto and Bastien Genoux. , 1996, , 53,5 , ( a | Photo Mario del Curto)
N. K. Bird, 1996, wood, height 53,5 cm, MNMA

/ Dragi a Stanisavljevi
( / Photo Mario del Curto)

, ( : | Dragutin Aleksi
) , 1969, , 148 ,
From the Opening (detail: sculptures by Ivana Stanisavljevi Negi and Ferenc Kalmar) Village Wedding, 1969, wood, height 148 cm, MNMA

5
 Магазин за наивну и маргиналну уметност | Број 8 | Децембар 2018.

_
:
5 31. 7. 2018.
,
Katsumi Tsuji _ xhibition of paintings and sculptures

Exhibition
Katsumi Tsuji: Paintings and Sculptures
5 31 July 2018,
MNMA, Jagodina

( )
Katsumi Tsuji (Photo from the MNMA Documentation)

, During the programme of the Twentieth Art Colony,

20. , MNMA organised the solo exhibition of Katsumi Tsuji as a
, selection of the works from the artist's private collection and
. those that were done during the previous Colonies organised
by MNMA. Besides thirty smaller sized paintings in oil pastel
, - on plywood, a few very inventive sculptures of this author
. - were also displayed. The opening ceremony was marked with
- numerous artists from the country and abroad, this year's
, . - participants of MNMA Colony. During the exhibition of
- Katsumi Tsuji, youngest visitors were able to participate in
, art workshops and spend time with the artist, while other
visitors had the opportunity to see documentaries about Art
, Colony produced by MNMA, and other events. The author of
. exhibition and text in Catalogue was MNMA custodian, Nina
, . Ljubomirovi .

Katsumi Tsuji has been doing art for more than four
, - decades, and in recent years he became known to domestic
audience as a participant of major international events
organised by MNMA Art Colony and Biennial of Naive and
, 2017. Marginal Art, and since 2017 the Triennial of Self-taught
. 1958. ( - Visionary Art. He was born in Tokyo (Japan) on 6 January
). 1977. . 1958. He began exhibiting in 1977. He received many awards
in the domain of painting and graphic design, among which
: (1982); the most signi cant are Gakken Publishing Art Award (1982),
Grand Prix of Japan Modern Naive Art Society (2005) and Art
(2005), Award of the Society (2006). He is a member of Board of Japan
(2006). Modern Naive Art Society. He resides and creates in Tokyo.
. .
. . N. LJ.

| Katsumi Tsuji | Katsumi Tsuji

, 2017, , 55 20 , , 2012.
No Name, 2017 coloured wood, 55 x 20 cm, MNMA , 61 x 70 ,
Cat's Dream, 2012
oil pastel on plywood, 61 x 70 cm, MNMA

,
( )
From the Opening, Art Workshop
(Photo from the MNMA Documentation)

6
 Journal of Naïve and Marginal Art | Number 8 | December 2018

: , , | Encounters
( ), ,
11. 10 2. 11. 2018.
(2018) The exhibition Encounters (2018) is a result of cooperation
( ) , between MNMA and Bulgarian Cultural Institute (BCI) in
Exhibition
, Prague, aimed at promotion of nonconventional pictorial
Encounters: Joskin iljan, Marcela Vichrova, . , phenomena and artists. This time, three artists, Jo kin iljan,
Rosen Rashev , from Serbia, Marcela Vichrova from Czech Republic and
Bulgarian Cultural Institute (BCI), Prague, , Rosen Rashev from Bulgaria got together at the intersection
Czech Republic . , of the vital points of their artistic achievements. The portraits
, , of artists, given through separate pictorial oeuvres include
10th October 2nd November 2018
( . ). the selection of works in MNMA collection and the artists'
, , - private property (M. Vichrova). The exhibition included pain-
. - tings in combined technique on canvas, cardboard and paper,
, done in different periods of the authors' phases . The works
, , present authentic visions, which, in spite of their differences
. , in formal aspect have certain analogies, in both pictorial
. sense and contents. The basic element in all these artworks is
. - drawing as a primary medium of pictorial expression. Dra-
, wing is present here as a means and model of composing. It
. reveals essential distinctions in their pictorial languages and
, , - other characteristics of their artistic temperaments. Dif-
ferent in idea and style, the artworks of Jo kin iljan. Marcela
Vichrova and Rosen Rashev correspond to the bases whose
. origins should be searched in the spheres beyond the objec-
tively realistic.
10.
( ) , The exhibition Encounters opened at Bulgarian Cultural
Institute (BCI) in Prague on 10 October, supported by the
Ministry of Culture and Information Republic of Serbia with
. - colaboration of Embassy of Republic of Serbia and Embassy
, of Republic of Bulgaria in Prague. Numerous representatives
, , - of Czech institutions, diplomatic choir, Bulgarian and Serbian
: - diaspora were present at the opening ceremony, while Amba-
, , - ssador of Republic of Serbia, Vera Mavri and Ambassador of
, - Republic of Bulgaria, La ezar Petkov, director of MNMA Nina
, - Krsti and director of Bulgarian Cultural Centre Galina Todo-
. rova, as well as the artists Jo kin iljan and Marcela Vichrova
gave speeches at the ceremony.
-
, During the exhibition the audience had the opportunity to
. - see documentaries on current artists, and the art workshop
. . with J. iljan and M. Vichrova was organised as well.

( ) , Bilingual (monograph) Catalogue was published together

. with exhibition Catalogue in the Czech language.

: , - The authors of texts in the Catalogue were Ivana Jovanovi ,

, . MNMA senior curator and Nina Ljubomirovi , MNMA cura-
. tor. Custodian of the exhibition was Nina Ljubomirovi .

Nina Ljubomirovi

: , ; ,
; , , ;
, ; ,
, , ; , ,

Opening the exhibition: Ambassador

of Republic of Bulgaria, La ezar Petkov; Ambassador of Serbia, Vera Mavri ; Marcela
Vichrova, artist from Czech; Galina Todorova, director of Bulgarian Cultural Centre;
Nina Krsti , director of MNMA from Jagodina, Serbia; Jo kin iljan, artist from
Grdelica, Serbia

| Jo kin iljan | Marcela Vichrová,

, 2014, , , 2010, , 29 x 40,5 ,
71 101 , Bethlehem Ram, 2010, combined technique on paper, 29 x 40,5 cm, MNMA
Maybe This Is My Blue Cat, 2014 combined technique on cardboard,
71 x 101 cm, MNMA

, , 11. 2018.
| Rosen Rashev Opening the exhibition
, 2017, , 100 80 , in Prague, BCI,
Eve with a Snake, 2017 combined technique on canvas, 100 x 80 cm, MNMA 11 October 2018

7
 Магазин за наивну и маргиналну уметност | Број 8 | Децембар 2018.

- -
, 46,
- 1904-1993
19.10-6.11.2018.

, , - , ,
.
Exhibition , - , , .
Oto BihaljI-Merin and Architects of , , - , , .
Modern Thought , , , , , 2011. , -
Heritage House, Kneza Mihaila 46, Belgrade , , ,
. , , - .
19 October-6 November 2018 , - -
, -
, - , - : (Graf
Georg Arco), , (Henry Bar-
, busse), . (Adolf Behne), (A. Cesa-
- rec), (Albert Einstein), ( Maxim
, Gorky), , (Manfred Georg),
. , - (Georg Grosz), (Carl Grünberg),
, , , (Andre Baillon), (Jaroslav Ha ek),
, , - (Theodor Dreiser), (Jack London),
, , . , , (Hugo Kle-
- in), , , ,
, , - , .
: , , ,
, , , , , , , - , ,
, , , 1958.
. ,
, , , , - . , ,
, , , - :
, , , ,
, , 1972.
, - ;
, , 1962. ;
. , 1984. ( )
.
3. 1904. ,
, -
.
:
.
- , 1962, , 1965;
, , 1974. .
- - -
. .

. , 1930.
- ,
.
2009. - -
, -
.
- -
,
: , ,
je , 1933. . -
,
19. 6. 2018. , ,
. -
- - . - - , - ,
. , - (o 1941-1945). je , , , , -
: . , . - , -
, . , . , . , . - . .
, . , . , . , . - , - , ,
, . , . , . , . - . - ,
, . , -
, . , . , . , . -
, .
, , , ,
, : -
, , .
,
-
1981. - .

, ,
, -
, .
, ,
,
, -
.

Museum of Naive and Marginal Art organised thematic exhi-

bition entitled Oto Bihalji-Merin and Architects of Modern
Thought at Heritage House from 9 October-6 November 2018.
In addition to representative works of contemporary naïve
artists M. elebonovi , L. Vozarevi , M. Proti , E. Murti , D.
D amonja, K. Hegedu i , M. Popovi , L. Vujaklija, M. Srbi-
novi , S. Sekuli , I. Bosilj Ba i evi , V. Naumovski, M. Ra i , I
Generali , I. Lackovi , I. Rabuzin, B. ivkovi , M. Stanisav-
ljevi and others, numerous editions of Bihalji's books, to-
gether with authentic manuscripts, photographs and personal
objects portray Bihalji's life of a writer, an art critic, a revoluti-
onary and a publicist.
During the exhibition, numerous visitors had the
opportunity to see an interesting interview of Bora Krivokapi
and Bihalji in 1981, produced by RTS.

Filip Brusi Renaud, the director of Heritage House gave

the introductory speech at the opening night, while the aut-
hor of the exhibition and the monograph, Nina Krsti , spoke
of the very event. Danijela Vanu i , Assistant to the Minister
of Culture and Information of Republic of Serbia in the Sector ,
of Cultural Heritage Protection was present together with nu- From the Opening Ceremony, photo Marija Konjiku i
merous audience.

8
 Journal of Naïve and Marginal Art | Number 8 | December 2018

Oto Bihalji-Merin and Architects of Modern Thought

Oto Bihalji Merin 1904-1993

The biography of Oto Bihalji-Merin, Peter Thoene, Pierre Merin,

is a story of a genuine idealist, the history of art and publishing in the
twentieth century, the ght for widening intellectual, cultural and
artistic horizons, the notion of artistic reality and above all, the ght
for better, more righteous, cultural and educated world, where the
differences among people meant the quality, not a barrier. With the
help of the theory of relativity, psychoanalysis, reminiscences of
heritage of old, primitive cultures and activities of faraway worlds at
Near and Far East, with the view of art through new artistic media,
lm and photography and other dimensions that provided extension
of borderlines of reality and changed the role of art, Bihalji marked
his era in wider European area in stormy times and on the crossroads
of new timelines. This pathway was followed by controversies,
sacri ces, success and failures, unique achievements not only in
Serbia and Yugoslavia, but also worldwide, together with disappoin-
tments, destructions, defeats, and charging into space.
: , ,
Behind his huge life and professional experience, unusual ,19. 2018
spiritual wealth, visible and invisible traces remained: innumerable Opening the exhibition: Nina Krsti , author of exhibition and Filip
Brusi Renaud , director oh Heritage House, 19 October 2018
editions, essays, reports, articles, records, manuscripts, theses, revi-
, , 1964.
ews, sketches, and documents translated into nearly all world langu-
Oto and Liza Bihalji, Budapest, 1964
ages spread all over the world. The same number of exhibition pro-
jects, editions, theatre performances, debates, round tables, lms, Jaroslav Ha ek, Theodor Dreiser, Jack London, Otokar Ker ovani, Museum of Naïve and Marginal Art initiated Oto Bihalji-Merin
newly-founded newspapers, radio programmes, created in turbulent Josip Kolund i , Hugo Klein PhD, Branko Kreft, Tone Seli kar, Ve- Foundation as a sign of memory and respect. Since 2009, on Triennial
and stormy times when the people with the same mission got selin Masle a. Marko Risti , Velinor Gligori and others. of Naïve and Marginal Art, as the greatest international event, the
together worldwide, those architects of modern taught were attrac- Honorary Recognition Oto Bihalji-Merin has been periodically
ted by unique magnetic elds which radiated with the future and As a spiritual leader of naïve art, free, authentic art of genuine awarded to art historians, designers, signi cant artists and art critics
new dimension of progress. heart, the art without borders and canons, Bihalji organised The First for extraordinary contribution in the promotion of naïve and
World Exhibition of Modern Art at Knokke le Zoute in 1958. Only a marginal art. The at of the Bihaljis, recently Salon Oto Bihalji-Merin
Oto Bihalji-Merin born in Austrian-Hungarian Zemun, the town year later he published the books that can be considered a manifesto in Nemanjina Street is a treasury of artworks, books, manuscripts,
on the crossroads of two cultures on 3 January 1904. Together with of naïve art: The Art of the Naïve in Yugoslavia and The Naïve Picture of photographs and correspondence that should be studied, additi-
his brother Pavle, he started the journal New Literature and the World (Das naïve Bild der Welt), which were later translated into all onally classi ed and protected. As a symbol of Bihalji's heritage, as a
publishing house Nolit. Two young intellectuals with progressive world languages, to be translated and published in Zagreb in 1972. continuation of his work on promotion of naïve and marginal artists
ideas, dreaming of better and more righteous world, published in Then he wrote Bogosav ivkovi - Dreams and Traumas in Wood, 1962, by publishing new editions, organisation of exhibitions and inter-
Serbia everything that was read worldwide, especially the articles Encyclopaedia of World Naïve Art in 1984 (together with Neboj a To- national cooperation, Mirjana Bihalji and Gerhard Scho-enberner
that opposed to censorship at the time. He spent the stormy years of ma evi ) and dozens of books on naïve art and artists. He wrote a donated Oto Bihalji-Merin's at to Museum of Naïve and Marginal
studies in boiling atmosphere of the end of Weimar Republic when series of large-circulation books, signi cant for the understanding Art.
the Nazi regime came on power. In 1930 he took part in the Congress of Modernism: Impact of Modern Art - Utopia and New Realities, 1962,
of Revolutionary Writers in Kharkov. In Berlin he met his life partner Architects of Modern Thought, 1965, Unity of the World in the Vision of Nina Krsti
Lisa, with whom he would spend his whole life in the same mission Art, 1974 etc. In the domain of his activities, Oto Bihalji-Merin can
and deep mutual respect and love. He was with her in front of be considered a protagonist of after-war enlightening Modernism.
Humboldt University in Berlin in 1933, watching the Nazi burn
books and Reichstag Building on re. On the eve of World War II,
thanks to Thomas Mann he received the permission to immigrate to
America. However, he returned to the Kingdom of Yugoslavia
instead and was soon imprisoned as an army of cer (1941-1945). In
that period he was a prisoner in German concentration camps, which
he miraculously survived. His good knowledge of languages and
numerous pseudonyms saved his life, but his brother Pavle was
executed in the rst days of occupation. The news of Pavle's death
reached Oto Bihalji in German prison for Yugoslav of cers.

By the end of his life he experienced the breakdown of his ideas;

however, he died at the time when Nolit's bookshops were visited
like the temples of culture, with respect and delight. Luckily, he did
not live to witness another burning of culture and spirit like
previously in Berlin. The latter was in Belgrade when Nolit's books
were burnt. Six years after the privatisation, in 2011, Nolit was
liquidated, and the new owner turned all Nolit bookshops into
boutiques.

Besides Oto Bihalji-Merin, the members of Literary Board of the

NOLIT literature association and Editorial Board of the journal were
Graf Georg Arco, Professor Ljubo Babi , Henry Barbusse, Adolf
Behne PhD, August Cesarec, Albert Einstein, Maxim Gorky, Branko
Gavela PhD, Manfred Georg PhD, Georg Grosz, Carl Grünberg PhD
etc. Later in the following editions the list included Andre Baillon, - , , 1964.
Oto Bihalji - Merin receives Herder Award, Vienna, 1964

- ,
Photographies from Salon Oto Bihalji-Merin, Belgrade

9
 Магазин за наивну и маргиналну уметност | Број 8 | Децембар 2018.

, (
, 2018,
Nadja Berruyer, Nina Ljubomirovi (kustos of Colony), Jean-Michel Chesné,
Marc Bourlier and Margot, Colony 2018, Zlatibor
20.
20 th International Colony of Naïve and Marginal Art
As one of practical methods to explore the forms of picto-
, rial expression, Art Colony organized by MNMA has a promi-
nent role in the domain of speci c elds of contemporary
-
non-academic creativeness naïve and marginal art. Fol-
.
, - lowing the principle of 'open atelier' i.e. creative workshop in
, the selected natural ambience, MNMA Art Colony provides
, - direct insight into the emergence, development and transfor-
. mation of artistic realisations that belong to the stated
, domains. By joining various artistic concepts, generations
, - and sensibilities, Art Colony symbolizes a bond among vari-
), - , , , , .
ous countries, nations, cultures etc. Since 1984, NNMA as a
1984. , -
- special cultural institution has organised Art Colony of inter-
, , - national character, whereby it consistently collected, studied
. and protected the outstanding artefacts.

20. , , 2018: , , ( . ),
, , , , , , , ,
, , , , - , , .
Participants of the Twentieth Colony of Naive and Marginal Art, Zlatibor, 2018: Vojkan Morar, Tomislav Blagojevi , Anuj Saini (and Mr. H. Lakhanpal),
Katsumi Tsuji, Desanka Petrov Morar, Marc Bourlier, Samo Jure i , Dobrosav Milojevi , Danica imi , Slobodan ivanovi , Jo kin iljan, Igor Simonovi , Zill
Milano, Ivana Stanisavljevi Negi , Sa a Petrovi , Jean-Michel Chesné, Nadja Berruyer, Margot.

- The twentieth international Art Colony was held on Zla-

, 6. 14. 2018. - tibor from 6-14 July 2018. This year, twenty four artists,
. , painters and sculptors from six countries, Slovenia, France,
| Marc Bourlier , , : , Portugal, India, Japan and Serbia participated in the Colony.
(Cosmologie), 2018,
( ), 61 40 2,5 , , , . -
Cosmology, 2018, combined technique on paper (plywood), - Among numerous guests who attended this traditional
61 x 40 x 2.5 cm event for the rst time were our friends and collaborators Mr
: . . Anuj Saini and Harsh Lakanpal from Rock Garden in Chandi-
( ), - garh, India, then brilliant masters of drawing Nadja Berruyer
(Nadja Berruyer) - (Je- and Jean-Michel Chesné from France and Daniel Gonçalves
an-Michel Chesné) (Da- from Portugal, together with many-time participants from
niel Gonçalves) , - the country and abroad. Film projections, art workshops and
, . - interviews with artists were held within the program of the
, - Colony, as well as the visit to Medieval Monastery Mile eva
, , - near Prijepolje.
,
The exhibition of works done on the Twentieth Art Colony
.
MNMA was held at Cultural Centre City in Belgrade from 12-
24 November 2018.
, Nina Ljubomirovi
12. 24. 2018. .

| Dobrosav Milojevi
, 2018, , 50 40
Encounter at Night, 2018, oil on canvas, 50 x 40 cm

10
 Journal of Naïve and Marginal Art | Number 8 | December 2018

20.
The Exhibition of our Art Colony at Cultural Centre City
12-24.11.2018, ,
, 12. 2018. The exhibition of the Twentieth Colony of Naïve and Marginal Art
20. organised by Museum of Naïve and Marginal Art (MNMA), sup-
Exhibition - ported by Ministry of Culture and Information of Republic of Serbia
, opened at Cultural Centre City in Belgrade on Monday, 12 No-
The Twentieth Colony and Naïve and Marginal Art . vember.
12-24 November 2018, Cultural Centre City, Belgrade
48 - The selection included forty-eight works done in different tec-
, 24 - hniques by twenty-four artists from Serbia, Bulgaria, Slovenia,
, , , , , France, Portugal, India and Japan. From 12 24 November, the visi-
. 12. tors of Cultural Centre City had the opportunity to see the realisa-
24. : (Nadja Berruyer, tions of Nadja Berruyer (France), Tomislav Blagojevi (Serbia), Lau-
), ( ), (Lau- rence Bonnet (France), Marc Bourlier (France), Daniel Gonçalves
rence Bonnet, ), (Marc Bourlier, - (Portugal), Slobodan ivanovi (Serbia), Zil Milano (Serbia), Jo kin
), (Daniel Gonçalves, ), - iljan (Serbia), Margot (France), Dragan Milivojevi (Serbia), Do-
( ), ( ), - brosav Mlojevi (Serbia), Vojkan Morar (Serbia; Miodrag Pavlovi
( ), (Margot, ), - Dragomirac (Serbia), Desanka Petrov Morar (Serbia), Sa a Petrovi
( ), ( ), Berdujac (Serbia), Rosen Rashev (Bulgaria), Samo (Slovenia), Anuj
( ), ( ), Saini (India), Igor Simonovi (Serbia), Vladimir Smiljani (Serbia),
( ), ( ), - Ivana Stanisavljevi Negi (Serbia), Katsumi Tsuji (Japan), Jean-Mi-
(Rosen Rashev, ), (Samo, ), chel Chesné (France) and Danica imi (Serbia).
(Anuj Saini, ), ( ),
( ),
( ), (Katsumi Tsuji, ), -
(Jean-Michel Chesné, ) ( ).

20. -

. : -
, , ,
(John Maizels),
Raw Vision.
, ,
, :
Rock Gar-
den ( ).

, ,
- Anuj Saini and Harsh Lakhanpal Colleagues from Rock Garden, Chandigarh, India
, , -
. The exhibition of the Twentieth Colony of Naïve and Marginal Art
at Cultural Centre City meant the beginning of cooperation of
. MNMA and this institution. Aleksandar Stojanovi , curator of Cul-
tural Centre City and Nina Ljubomirovi , the author of the exhibi-
tion, gave speeches at the opening ceremony, while John Maizels,
the Editor of Raw Vision, the magazine for outsider art the exhi-
bition. Besides the authors from Serbia, Samo Jure i , the artist
from Slovenia and our dear guests from India, Anuj Saini and Harsh
Lakhanpal as representatives of famous Rock Garden from Chandi-
garh (India) were present at the opening ceremony.

The programme of exhibition included the projection of docu-

mentary on the Twentieth Colony, directed by Milan Nikodijevi , as
well as documentaries on the authors whose works were exhibited.
The Catalogue and photographs of artworks at the Colony were
designed by Slobodan teti .
Jelena Jovanovi

, Raw Vision ( )
Exhibition was opened by John Maizels, Editor of Raw Vision Magazine,
London

: , , , , , ,
, , , , ,
From the Opening ceremony: Igor Simonovi , John Maizels, Harsh Lakhanpal, Anuj Saini, Nina Krsti , Desanka
Petrov Morar, Danica imi , Vojkan Morar, Nina Ljubomirovi , Samo Jure i , Vojislav Vuj i , Ivana Stanisavljevi Negi

11
 Магазин за наивну и маргиналну уметност | Број 8 | Децембар 2018.

| Approaching the jubilee

| Ilija Filipovi
, 2019. , ,
, 50 ,
. .
, -
1944. , , , , .
, .
1966. . . - -

1969. . -
: 212 , 1973; , ,
, 1987, 1997. ,
2012; Galerie Charlotte, München, 1988; .
, 1997. . -
,
Ilija Filipovi , photo Mario del Curto .
- .
Naivi ), ( - , -
Next year, 2019, naïve artist Ilija Filipovii celebrates a rare , 1970; : ,
jubilee, fty years of artistic work. Naive Kunst Jugoslawiens, Palais Palffy, Wien, 1985; -
( 5 - . , , , -
Ilija Filipovi was born in the village of Rudna Glava near ) - , , .
Majdanpek in 1944. He began doing sculpture in 1966. He 1991; 5. trienale insitneho umenia, Slovenska , -
resides and works in Stepojevac. After1969, he had numerous narodna galleria, Bratislava 1997; , ,
solo and group exhibitions in the country and abroad. His sig-
, 2003; Croisements, Manoir de la Vil- .
ni cant solo exhibitions were organized at the Atelier 212 in
le, Martigny, 2004; ,
Belgrade, 1973; Museum of Naïve and Marginal Art in Jago-
dina 1987, 1997 and 2012; Galerie Charlotte, in Munich, 1998 , 2007; - .
and Ethnographic Museum in Belgrade, 1997. He received - , ,
numerous awards. , , 2008; Galerija likovnih .
samorastnikov, Trebnje, 2011; ,
His participation in international exhibitions is also , , 2015;
remarkable: Naivi in Zagreb (three times) as well as in group , , , 2018.
exhibitions in Kostanjevica on the Krka 1970; then in Naive
Kunst Jugoslawiens, Palais Palffy, Wien, 1985; Serbian Naïve
Art (where ve best naïve artists from Serbia were present),
Gallery of Primitive Art in Zagreb 1991; 5. trienale insitneho
umenia, Slovenska narodna galleria, Bratislava 1997; Naïve
Art in Serbia, Gallery of Serbian Academy of Science and Art in
Belgrade, 2003; Croisements, Manoir de la Ville, Martigny,
2004; Naïve and Marginal Art, Serbian Cultural Centre in
Paris, 2007; City Gallery in So a and Gallery of Hungarian
Applied Artists in Budapest, King Nikola's Palace in Bar, 2008;
Gallery of Self-taught Artists, Trebnje, 2011; Art I Spiritual
Exile, Gallery of Central Military Club, Belgrade 2015; Scul-
pture of Serbian Self-taught Visionaries, Gallery of Central Mili-
tary Club, Belgrade, 2018.

He participated in more than thirty Colonies from 1975

until today. He has been a member and permanent participant
in Krajina Circle since its foundation in June 1991. He has
continuously exhibited at Museum of Naïve and Marginal Art
in the exhibitions of Salons and Biennials of Naïve Art since
1973. In the same year he received the status of a freelance in
Serbian Association of Fine and Applied Artists, domain of
sculpturing.

Numerous art critics and connoisseurs (Oto Bihalji Merin,

Graham Green, Sreto Bo njak, Kosta Dimitrijevo , Kristofer
Reed, Milica Ma irevi , Koviljka Smiljkovi , Radmila
Cvetkovi , Radmila Vasiljevi , Bratislav Ljubi i , Dragi a Vi-
to evi , Moma Dimi , Ljiljana Koji , Nina Krsti , Zorica or-
evi , Marica Vra evi ) praised Ilija Filipovi , ranging him
among top artists in Serbia.

The myth of homeland on the one hand, and sculptural tra-

dition of the Kolubara region on the other, marked artistic
personality of Ilija Filipovi . In the beginning he did sculptu- 30 1975. | Ilija Filipovi
res in wood, but later he turned to stone. He achieved the . , - , 1993, , 32 ,
rhythm of volume by curved lines incised into the mass by , 1991. . -
Survival, 1993, stone, height 32 cm, MNMA
chiselling and hammering. He is inspired by natural forms of
the material. The shapes of stone with cracks and rough sur-
faces contain vivid sculptural forms, rich with unpredictable , 1973. .
associations. By using his creative imagination, the artist conti-
nues the work of the nature, transforming it into everlasting :
myths of fear, strength, birth, decay and ght for survival.
, 1974, ,
Sculptural artwork of Ilija Filipovi is deep and serious in- 6. -
terpretation of tradition rooted in ancient cultural experienc- , , 1993. . -
e. Filipovi creates phantasmagorical compositions, the cre- .
atures from folk legends and sagas, real or imagined animals,
human gures and heads with predominant sh-like mouths -
and large eyes. His gures often become symbols of certain -
emotional and spiritual states. They are tightly intertwined or ,
are freely spread over the stone surface, thus transforming ( - , , -
into a unique arabesque. A whole world of movable forms with , , ,
traces of long existence and primordial unity in nature , , ,
emerges from the mere nucleus of stone, or immerses into it,
, , -
thus re ecting the dramatics of life. Thereby cracks, holes,
, , , ,
polychromatic and fossil remains are an integral part of the
form. Filipovi achieves a vivid illusion of the archaic, by fol- , ...).
lowing the mere texture of the stone, his sense of compo-
sitional rhythm and own imagination. Speci c unrest that is , -
characteristic of great artists only, makes him nd the area for , -
acting on unclear paths of our mutual distant past. From the . ,
depth of stone, from a tiny grain of crystal, from dark depths .
of the past Filipovi elicits both tears and smiles. -
. . | Ilija Filipovi
, 1995, , 28 70 ,
Marica Vra evi Fear, 1995, stone, 28 x 70 cm, MNMA

12
 Journal of Naïve and Marginal Art | Number 8 | December 2018

IN MEMORIAM IN MEMORIAM

1941 2018 1942 2018

IN MEMORIAM IN MEMORIAM

BIBESCO SRBOLJUB KOJADINOVI

1941 2018 1942-2018

( ) 22. 1941. ( ). , , , , -
1995. . , , , 1. 1942. .
: ( , 1989, , 1990), ( , 1993), . . 1967.
( , 2006), ( 2006, , 2007), ( , 2009, 2012, , - -
2014, , 2008, , 2014, 2015). - . ,
, 2017. ( ), , : (1979),
( , ), (1989), , (2007). - (1982)
. - a (2007).
.
, , , -
.
, . 1980-2004
, ( , , , , , ).
, . , ( , , , , , )
( . . , , , 28, , -
, - ). ,
. - . -
. , .
.
31. 2018. .

. ,
. , ,
, -
,
. -
: , , . -
( , , , , , , ).

, , . -

5. 2018. .

Srboqub Kojadinovi

( ), 2006,
, 98 98 ,

I'm Explaining Some Things

(Pablo Neruda), 2006,
acrylic on canvas, 98 x 98 cm,
MNMA

Bibesko, Pokloni Marmelada se anja 2, 2017,

kombinovana tehnika na platnu, 202 x 233 cm
Bibesco, Presents Marmalade of Memories 2, 2017 MNMA
combined technique on canvas, 202 x 233 cm

The painter Bibesco (Francesko Maria Masmata) was born in Genoa (Italy) on 22 July1941. He began
doing painting in 1995. He had solo and group exhibitions in his country and abroad, in Germany (Ham-
burg, 1989, Dusseldorf ,1990), England (London, 1993) Lithuania (Vilnius, 2006), Russia (Moscow 2006,
Sankt Petersburg 2007) Italy (Genoa, 2009, 2012, 2014, Florence 2008, Pavia 2014, 2015). As a participant
in the Nineteenth Naïve and Marginal Art Colony organised by Museum of Naïve and Marginal Art
(MNMA) in 2017, Bibesco exhibited his works in Serbia as well (Art Pavilion Cvijeta Zuzori , Belgrade),
while his paintings done at the Colony became part of MNMA treasure. The greatest collection of his works
is in Genoa.
Bibesco immersed deposited observations from the surrounding world into the depth of his subcon-
scious creative impulses of authentic imagination, transforming them into completely new pictorial reality.
In his canvases the artist imprinted his personal experience of the eternal topic of merciless transience by
using inventive compression of entangled traces of time, thus creating a speci c topography of signs and
symbols. The sublimed observations of the artist and intensity of his pictorial temper were accumulated in
dynamic linear intertwines in his largesized paintings, associating to both ancient worlds of forgotten
mystic calligraphic manuscripts of the past and nonconventional artistic forms of modern graf ti.
Srboljub Kojadinovi , a quite speci c, authentic personality our region, the artist, architect, constructor, sailor
and travel writer, was born in Belgrade on 1 July 1942. He completed secondary education in the Fifth Grammar
School in Belgrade. He began doing painting while still at secondary school. After he graduated under the
supervision of academician or e Lazarevi , Kojadinovi began constructing a sailing boat Kli-Kli alone, to sail
around the world with his family. During the several-decade-long adventure, besides regular monthly articles for
Ilustrovana politika, he wrote travel books: Sunny Sail (1979), Seven Years for Three Oceans (1989), Two Generations,
the Same Mast (2007). In cooperation with RTS he lmed a series Vanja from the Ocean (1982) and in cooperation
with RT Montenegro he made a lm Journey around the World (2007).
Covering in nite distances, rst in the Atlantic, then in Paci c and Indian Oceans, Srboljub Kojadinovi built his
equally interesting and intriguing world of art. In the period 1980-2004, while anchoring in various countries he
participated in more than thirty group and solo exhibitions (Polynesia, New Zealand, Reunion, Cyprus, Israel, and
Greece). In his latest period he stayed, painted and exhibited in France mainly (Nice, Manton, Cannes, Evian, Lavender,
Saint Tropes) and Belgrade (Art Pavilion Cvijeta Zuzori , Students' Cultural Centre, Central Military Club, Academy 28,
Gallery of Car Museum, Ethnographic Museum). Striking paintings of the artist drew attention of the wider audience
and professional public. He became the member of Serbian Association of Artists and Society of Painters in Saint
Tropez. He received the support of Aleksandar uri , our pronounced painter and theoretician. His artistic oeuvre was
analysed in detail by Aleksandar Milenkovi , PhD, in his book Pannonia Artistic Pan-opticum.

Bibesco died in Genoa on 31 August 2018. In dedicated, many-decade long artwork of Srboljub Kojadinovi rich pictorial oeuvre was created. The world of
paintings of this authentic artistic visionary is fascinating for its complex subject matters and equally pronounced
Ivana Jovanovi pictorial intensity. His mostly big-sized paintings, lled with whirlpools of the motifs intermingled until saturation,
connected faraway worlds of exotic seas and islands with Serbian tradition and spirituality, together with all past and
future apocalypses that threatened to destruct civilization. They portray the artist's preoccupation with essential,
global problems of contemporary era, wars, ozone holes and ice melting. The artist created thematic cycles (Caribbean,
Polynesian, ecological, Serbian, Byzantine, Creole, Provencal). Despite the present apocalyptic tone, the paintings of
this artist pulsated with vital rhythms of courageous compositional solutions, sound colouring, inventing forms and
playful drawing. By exploring cathartic world of paintings of Srboljub Kojadinovi we nd the lost traces of old maps,
which momentously open new road signs towards the in niteness of the universe.

Srboljub Kojadinovi died in Belgrade on 5 July 2018.

Ivana Jovanovi

13
 Магазин за наивну и маргиналну уметност | Број 8 | Децембар 2018.

Drawing as the imprint of creative

subconsciousness
, Drawing is the initial, oldest method of communication
www.mnmu.rs

. and expression. Search and expression by using the line of a

2019 CALENDAR , hidden, subconscious world of ideas, where the lost dreams
, mingle while forgotten virtues emerge to create some new
, ideals, lost in the machinery and absurd of the modern era are
, the inspiring motives of self-taught visionaries honourable
. - keepers of the primordial. On the crossroads of everlasting
: , , , antagonisms, life and death, light and darkness, love and
, hatred, the ghosts that chase them from the unconsciousness,
. their visions arouse from some parallel worlds in the white
- paper stage. Their nostalgia for the lost balance is a reaction
, . to the surprised subconsciousness, and unconscious location
in time.
,
- As an elementary element of a drawing, a line re-examines
. , , and establishes the inner iconographic world of personal
mythologies of the artist. Combining various kinds of sym-
bols and graphemes allows a subjective expression of the
. -
artist in the form of direct liberation of the suppressed. Uni-
que metamorphoses in the drawings of self-taught visionaries
, -
reveal the domain of open contemplative processes, where
. ,
raw energy merges with specific sensuality. The evasion of
,
figures, events and premonitions, emerging and vanishing in
.
space and time, occupies them in original context, thus imp-
elling them to create.

- The album of drawings of self-taught visionaries in the

, - MNMA collection is the authentic treasure of specific imp-
, , . rints of creative ideas, done as a result of obsessive recording
, - of intimate, seemingly coded, subjective messages. From the
, simplest to meditative and nightmarish phantasmagoria,
, - their drawings show an unusual unity of differences, a form
, of creative resistance by which the conscious and the uncon-
. scious combat the claustrophobia of the system which sup-
, , presses individuality. Curiosity and shrewdness of the artist,
, authentic sensibility and inventiveness, drawing passion for
, - exploration of the line and its potentials, and unknown out-
- comes relieve their facing own ideas and encountering the
. , new energy sources of hidden impulses. Caught in a moment,
- , subjective blend of numerous conscious and unconscious
| Vojislav Jaki horor vacui, - reflective processes of the artists, expressed as horror vacui,
, . , . , 30 x 21 , , , , results in the fear of emptiness, which they resist and fight in
Wrinkled Drawing, n. d, combined technique on paper, 30 x 21 cm, MNMA . their inventive way, thus leaving behind the inerasable
imprint.
| Jo kin iljan
', 2015, . , 35 45 , Nina Krsti
There I am, 2015, combined technique on cardboard, 35 x 45 cm, MNMA

| Sava Sekuli
, 1975, , 50 x 35,5 ,
Triplets, 1975, Indian In on cardboard, 50 x 35,5 cm, MNMA

14
 Journal of Naïve and Marginal Art | Number 8 | December 2018

| Milosav Jovanovi | Du an Jevtovi

, 1992, , 50 x 70 ,M , 1988, - , 45 35 ,
Evening, 1992, Indian ink on paper, 50 x 70 cm, MNMA Messenger, 1988, Indian ink-watercolour on paper, 45 x 35 cm, MNMA

| Evelyne Postic | Dragan Milivojevi | Jean-Michel Chesné

, 2017, , 39 28,5 , , 1998, , 35 25 , , 2012, , 62 43 ,
Serbia, 2017, coloured ink on paper, 39 x 28.5 cm, MNMA Patriarch, 1998, Indian ink on paper, 35 x 25 cm, MNMA Imaginary Goddess, 2012, Indian ink on paper, 62 x 43 cm, MNMA

| Margot | Daniel Gonçalves

, 2017, , 75 110 , #190, 2018, , 70 100 ,
Light, 2017, coloured Indian ink on paper, 75 x 110 cm, MNMA #190, 2018, pencil on paper, 70 x 100 cm, MNMA

15
 Магазин за наивну и маргиналну уметност | Број 8 | Децембар 2018.

Museums and communication

7 8. 2018. - On 6 and 7 December 2018, the education programme of
Artis Centre entitled Museum and Communication know-
- , . ledge, skills and tools was organised at Historical Museum of
ICOM-a Serbia. With the support of ICOM and Ministry of Culture and
, - Information of Republic of Serbia the idea of education of
museum professionals was successfully realised in the do-
, - main of modern presentation and promotion of museum acti-
, vity, popularisation of museums and other cultural instituti-
; ons in classical and digital media, successful use of social net-
; works, advertising skill and overall animation of the audience
, . in various activities and accompanying exhibitions. The aim
- of the seminar was to train museum professionals to speci-
- alise in PR marketing and marketing of museum and cultural
. heritage in general. The development of communication le-
- vels between museums and programme on the one hand, and
, - media and audience on the other, will certainly contribute to
. more visible presence of museum programmes in the domain
of cultural heritage.

, -
, - On the rst day of seminar after the speeches of Du ica
, , Boji , PhD, Director of Historical Museum of Serbia, Slavko
ICOM-a , , / Editor:
Spasi , President of the ICOM Serbia, Tamara Ognjenovi ,
MsC, Director of Artis Centre, the participants in seminar to- ,
1917-1918. : - ok part in presentation of the Project The End of Great War
MUSEUM OF NAÏVE AND MARGINAL ART
- - 1917-1918. This was followed by the lecture of Sne ana Mi i , Jagodina, Serbia
PhD from Matica Srpska Gallery, entitled Case Study- as a / Supported by:
- possible model of communication strategy, with the examples of
. - successfully realised programmes and activities within the Ministry of Culture and Information of the Republic of Serbia
scope of public and audience relations. In the seminar on Mu- :
, - seology and Heritology, Assistant Professor at Faculty of Phi- 10, 35000
, , losophy, Department of History of Art, Nikola Krstovi , PhD, : +381 35 8223 419
had a lecture on museum performances from the audience to e-mail:info@ naiveart.rs
, a co-reator, while Mrs Nina Krsti , Director of Museum of info@marginalart.rs
. www.mnmu.rs
Naïve and Marginal Art in Jagodina presented the paper on
Museum Journal. / Editor-in-chief:
- - / Nina Krsti
, - As the author of numerous exhibiting and publishing :
- projects related to art beyond the dominant culture, I had the / Marica Vra evi , , / Ivana
- opportunity to share my experience with the participants in Jovanovi , / Nina Ljubomirovi ,
, - the seminar concerning the model of establishing visual iden- Gordana ori , / Ivan eli , / Petar
Jovanovi , / Radmila Paunovi tajn,
- tity of Museum, by using new strategies which have proved to / Slobodan teti , / Iva Para anin
, 2000. . - be successful in the country and abroad for a long time, / Zoran Cvetkovi
- especially after 2000. My presentation referred to Museum
/ Translation:
, Journal as one of signi cant segments of visual identity of / Radmila Paunovi tajn
. - MNMA and new successful model of communication with , / Design, photography:
media and audience. With my lecture and presentation I tried / Slobodan teti
- to conjure up rich and speci c exhibiting-publishing prog-
/ Printed by:
, , ramme and equally comprehensive and well-organised, clear , . . , / Birograf, Comp d.o.o, Zemun
, and suggestive visual identity of the Museum, total design and / Number of copies: 500
. , , the name Slobodan teti in its background, which makes
, - MNMA signi cantly visible, recognisable and eventually
2018 / December 2018
, unavoidable when speaking of skills of visual public presen-
. tation of Museum programmes.

One cannot ignore the fact that fascinating number of lux-

, - uriously furnished multilingual monographs, catalogues,
, , - posters and other advertising materials with modern, recog-
, nisable and easily acceptable design remains the trong sup-
port to all projects of Museum of Naïve and marginal Art in
. , Jagodina. Besides these editions, I emphasized the artistic
journal of naïve and marginal art, MNMArt, founded in 2015
CIP ‐ Каталогизација у публикацији
- , - on the fty- fth anniversary of MNMA. With this specialised Народна библиотека Србије, Београд
2015. 55 . art journal, new possibilities for us to create closer contacts 7
, - with our audience opened, thus providing periodical infor- MNMU Art : Muzej naivne i marginalne umetnos Art : магазин за
mation on our, and the projects of our colleagues in Serbia наивну
, - and abroad, in a simple, popular and powerful way. и маргиналну уметност = Journal of Naive and Marginal Art /
одговорни уредник Нина Крстић. ‐ 2015, бр. 1 (мај)‐ . ‐ Јагодина :
Музеј наивне и
, , - Nina Krsti маргиналне уметности. ‐ 2015‐ (Земун : Бирограф Комп). ‐ 48 cm
. Два пута годишње. ‐ Наслов лат., текст на срп. (ћир.) и енгл. језику

ISSN 2406‐2731 = MNMU Art

COBISS.SR‐ID 215101452

Цена 300 дин. / Price 300 rsd

16