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Signalism (in Serbo-Croatian: Signalizam, Serbian Cyrillic: Сигнализам) was an Neo-Avant-garde literary and art movement that rose up in the former country of Yugoslavia during the late 1960s, which later went international by the early 1970s. It was founded in the city of Novi Sad by Miroljub Todorovic, a poet, artist and theorist[1]. The artists of this movement sought to radically change Serbian art and poetry, and make it "compatible" with the contemporary times, in fact, it was among some of the first art movements to incorporate the use of new technologies into art and poetry[2].

Visuals[]

Some visuals prominent in Signalism include:

  • The symbol of Signalism (a red circle decorates with arrows and text)
  • Distorted and cluttered texts
  • Surreal figures
  • Duplicated imagery
  • Abstract geometric shapes and figures
  • Technological imagery
  • Arrows
  • Text labyrinths
  • Mixing science with art
  • Visual communication
  • Usage of computer-generated algorithms
  • Black, white and red color palette
  • Performance art (sometimes)

Philosophy[]

The artists of Signalism believed that art should be a form of communication, and that the artist is responsible for transmitting signals to the audience. These signals can be visual, auditory, or tactile, and that they can be used on a wide variety of media, including painting, sculpture, poetry, performance and cinematography. Signalists were also interested in the relationship and co-existence of art and science[3].

Media[]

Artists[]

Former Yugoslavia[]

  • Miroljub Todorovic
  • Marina Abramović
  • Nesa Paripović
  • Zoran Popović
  • Milivoje Pavlović
  • Ljubisa Jocic
  • Spasoje Vlajic
  • Jaroslav Supek
  • Vlada Stojiljkovic

International[]

  • Michele Perfetti
  • Julien Blaine
  • Keiichi Nakamura
  • Ruggero Maggi
  • Daniel Daligand
  • Willi R. Melnikov
  • Kum-Nam Baik
  • On Kawara
  • Klaus Groh

Gallery[]

References[]

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