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For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ivan Picelj Description An account of the resource Ivan Picelj (Okučani, 1924-Zagreb, 2011). A student at the Fine Arts Academy in Zagreb between 1943 and 1946, he abandoned his studies to begin experimental research that moved away from the impositions of the official art language. In 1951, together with architects Bernardo Bernardi, Zdravko Bregovac, Zvonimir Radić, Božidar Rašica, Vjenceslav Richter and Vladimir Zarahović, and painters Vlado Kristl and Aleksandar Srnec, Picelj founded the EXAT 51 group (Experimental Atelier 1951). This was the first Yugoslavian abstract art group, active during the first half of the fifties in the then-dominant climate of socialist realism. The group played an important role in Croatian art; its program advocated the synthesis of all visual art, an idea inspired by the legacy of Russian constructivist avant-garde and Bauhaus experiences. In 1959, Picelj began a successful collaboration with the Denise René Gallery in Paris, as well as with international galleries such as Howard Wise in New York, Baruch Gallery in Chicago and Galleria del Cavallino in Venice. In the early sixties, he was one of the founders of the New Tendencies movement, which shared several central themes with Picelj’s work, covering for the group as the role of editor of the BIT international magazine, and for the designers of posters and publications that were linked to it. Since that time, Picelj has produced several limited-edition artists’ books, collaborating with Richter, Vasarely and Alviani artists, amongst others. His works have been exhibited in many renowned local and international institutions and are included in several international museum collections, including the Museum of Modern Art in New York, Tate Modern and Victoria & Albert Museum in London, Centre Georges Pompidou in Paris and Boymans Museum in Rotterdam. Since 2011, the Museum of Contemporary Art in Zagreb has maintained a collection of Picelj’s work, as well as his archives and library. These formed an important gift from the artist to the institution, contemporary art scholars and the public. Creator An entity primarily responsible for making the resource Picelj, Ivan Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Yugoslavian Pavilion in Paris Description An account of the resource The Yugoslav Pavilion designed for the Paris Exposition in 1950 reflected the social and cultural climate following the Second World War, when the country was distancing itself from Stalinism and embracing the ideology of real socialism. There was a strong cultural revival, and the abstract and concrete historical avant-gardes were being reclaimed and analysed, especially Constructivism and the Bauhaus method. The search for a synthesis in the visual arts and architecture characterised the EXAT 51 programme and related 1951 Manifesto, signed by the Pavilion’s authors. <a href="https://www.repository.unipr.it/bitstream/1889/3686/4/-Picelj%2c%20Radic%2c%20Richter%2c%20Srnec_Yugoslavian%20Pavilion%20in%20Paris.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Picelj, Ivan Radic, Zvonimir Richter, Vjenceslav Srnec, Aleksandar Date A point or period of time associated with an event in the lifecycle of the resource 1950 Contributor An entity responsible for making contributions to the resource Bignotti, Ilaria Remondina, Camilla Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Still Image Rights Holder A person or organization owning or managing rights over the resource. Ivan Picelj MoRE museum Financial reasons Technical reasons