{"id":7200,"date":"2013-01-28T02:30:31","date_gmt":"2013-01-28T01:30:31","guid":{"rendered":"http:\/\/meonline.hu\/?p=7200"},"modified":"2013-03-10T16:42:07","modified_gmt":"2013-03-10T15:42:07","slug":"looking-for-yu","status":"publish","type":"post","link":"https:\/\/meonline.hu\/en\/magyar-epitomuveszet-hirek\/looking-for-yu\/","title":{"rendered":"Looking for YU"},"content":{"rendered":"

Yugoslav Socialist Modernism, AzW, October 25th\u2013November 12th<\/strong><\/p>\n

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Zlatko Ugljen: \u0160erefudin feh\u00e9r mecset, Visoko, 1969-79 \u00a9 Wolfgang Thaler<\/p><\/div>\n

Text: Rudolf Klein<\/strong><\/p>\n

In the interwar period the central power supported the character, the supposed spirituality and the architectural equivalent of the \u201eYugoslavian ancient race\u201d with neo-Byzantine motifs. Massive monuments, quasi-Byzantine public buildings were erected in the age of the Bauhaus. However, in practice the western and central part of the county was built by students of Otto Wagner and Adolf Loos and their followers. Modernism was even more characteristic of the Vajdas\u00e1g than the architecture representing the neo-Byzantine \u201eDinari arche-power\u201d. Tito managed to make an advantage of the variety and the geopolitical position of the region and thus to create a unique culture the most important medium of which was the \u201esocialist modernist\u201d architecture. The exhibition in the Vienna-based Architectural Centre (AZW) gives an insight into this rich and unique architectural term\u00e9s by presenting the socialist architecture of Yugoslavia.<\/p>\n

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