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<https://www.theartnewspaper.com/news/serbia-recovers-from-cultural-genocide>  


Serbia recovers from ‘cultural genocide’


Simon Hewitt

4-5 minutes

  _____  

The Museum of Contemporary Art Belgrade reopened last October after a $6.8m 
renovation Relja Ivanic 

Museum-goers are used to institutions closing for a year or three in pursuit of 
ambitious modernisations, but the fate of Serbia’s top two museums takes some 
beating. The National Museum, which is due to reopen in Belgrade on 28 June, 
last welcomed visitors in 2003. The city’s Museum of Contemporary Art, which 
reopened last October, had been closed since 2007.

This dual hiatus was described by the artist and critic Vladimir Bogdanovic in 
2012 as “a cultural genocide against the Serbs”. In 2015, the Serbian 
government erected a digital clock on the façade of the National Museum, 
ticking down the seconds until its planned reopening the following year. The 
deadline came and went; so did the clock.

Zoran Eric, the chief curator of the Museum of Contemporary Art, says the “lack 
of political will to deal with culture or cultural institutions” was finally 
broken by Ivan Tasovac, the former head of the Belgrade Philharmonic, who 
“persuaded the political establishment that the reconstruction of the two 
museums was a priority” during his stint as culture minister from 2013 to 2016. 

Founded in 1844, the National Museum has occupied a neo-Renaissance former bank 
on Belgrade’s central square, Trg Republike, since 1952. Its RSD824m ($8.2m) 
refurbishment has increased the exhibition space to 5,000 sq. m by covering the 
courtyard and converting the basement into galleries.

The works will allow the museum to show more of its 400,000-strong collection, 
which ranges from prehistoric times to the 20th century. It is rich in 
antiquities from the Stobi and Trebenista archaeological sites in Macedonia 
(former Yugoslavia), numismatics and Medieval art, including icons, frescos and 
the illuminated 12th-century Miroslav Gospel.

“A lack of political will to deal with culture was finally broken” 

The fine art department holds 16,000 paintings, drawings and prints, plus 900 
sculptures. Its chief strength is Modern art, especially French, with works by 
Corot, the Impressionists, Gauguin and Matisse, as well as Van Gogh, Kandinsky 
and Picasso. Many of these were acquired by the Oxford-

educated Prince Paul, the Regent of Yugoslavia from 1934 to 1941. More than 500 
pieces come from the collection of Erich Slomovic, a close associate of the 
legendary French art dealer Ambroise Vollard. Bernard Berenson and Joseph 
Duveen also donated works to the museum.

When the distinctive post-war building of the Museum of Contemporary Art 
reopened after a RSD680m ($6.8m) revamp last October, admission was free for 
the first ten days. Nearly 50,000 visitors poured in, with queues extending for 
more than 300 yards across its newly landscaped park. The museum could have 
made a small fortune by selling drinks but it has no café and little incentive 
to open one, since most of its income goes to the state. 

Paying visitor numbers have since dropped to around 170 a day (a standard adult 
ticket costs RSD300, around $3). “Considering the overall interest of the 
Serbian public in contemporary art, the current figures are very good—and much 
higher than before we closed,” Eric says. “Our role is to educate the public.”

The new Sequences display charts Serbian and Yugoslav art from the early 20th 
century to the present. A modular design allows sections to be changed or 
removed depending on the size of temporary exhibitions. A retrospective for the 
Serbian conceptualist Ilija Soskic is due to open this October. The Serbian 
government, meanwhile, is expecting 500,000 visitors to come to the 
mega-exhibition on Belgrade native Marina Abramovic, planned for September 2019.

“The reopening of the museum is a boost for the city’s contemporary art scene,” 
says the local art dealer Ksenija Samardzija, although she acknowledges that 
the market has some way to catch up. “Serbia still has very few art collectors.”

 

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