![]() In seeking to address this situation, the curatorial duo saddled themselves with the ambitious task of documenting the accomplishments – and global reach – of Yugoslav socialist architecture and, in so doing, remapping the history of modern architecture. ( Martino Stierli and Vladimir Kulić, “Introduction,” Toward a Concrete Utopia: Architecture in Yugoslavia 1948-1980 (New York: The Museum of Modern Art, 2018), p. As exhibition curators Vladimir Kulić and Martino Stierli argue in the accompanying catalog, architectural history has repeatedly failed to offer a proper evaluation of the achievements of this region, owing largely to a strong Western-centric bias entrenched both by Cold War discourse and the Orientalist positioning of the region as Europe’s “Other”. The history of Yugoslav socialist architecture has to date largely been absent from the discipline’s canon. In showcasing Yugoslavia’s socialist architecture as a defined and distinct phenomenon, Toward a Concrete Utopia makes an argument for architecture’s capacity to produce a shared sense of history and identity within a highly diverse, multiethnic society. Structured around a set of thematic and biographical sequences, this momentous survey of socialist architecture brought together more than 400 drawings, models, photographs and video installations from a wide range of private and institutional archives across the former Yugoslavia and beyond. ![]() New York’s Museum of Modern Art (MoMA) recently provided a stage for a vital – and very much on-trend – examination of the brutalist, socialist architecture of the former Yugoslavia, exhibited under the title Toward a Concrete Utopia: Architecture in Yugoslavia, 1948-1980. ![]() Toward a Concrete Utopia: Architecture in Yugoslavia, 1948-1980, Museum of Modern Art, New York, J–January, 13 2019 ![]()
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