Nenad Milošević

Druga linija aka The Other Line is a product of many years of research of neo-avant-garde cultural and art scene in Novi Sad, Serbia (late 60s and 70s), which has been marginalized until today. This artistic movement was directly connected not only with important art centers of the former Yugoslavia, but also with existing flows of world art during its brief and productive activities (7e Biennale de Paris, 19th Berlinale). The cultural and artistic emancipation of that time had implied individual freedom of expression and strong reaction to established boundaries. This avant-garde movement had become threat to communist establishment, the authors' work were sabotaged, the films were sealed off, five artists were taken to trial, two were sent in prison. How is it that the retrograde mechanism of shutting down and removing the most creative and representative progressive impulses of our surrounding is still so current to this day?

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During the 1996/97 protests in Serbia a group of 200 students walked from Novi Sad to Belgrade to support students and citizens of the capital. A photobook by the same name, with photos from the same protests was published in 2016.

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In the summer of 1991 the war broke out in Croatia. In a holiday house in Fruška Gora hills in Serbia, near the border with Croatia, a group of young people are having a birthday party. They try to have some fun and act like nothing is going on. The party is shattered by the war. They can hear the artillery, but something is also happening between them. Inevitably, some of the boys end up on the frontline and everyone of them is effected by the war that is starting to rage. "The Party" is about individual destinies of the characters trapped in isolated house in hills and surrounded by growing paranoia of the officially not yet declared war.

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Druga linija aka The Other Line is a product of many years of research of neo-avant-garde cultural and art scene in Novi Sad, Serbia (late 60s and 70s), which has been marginalized until today. This artistic movement was directly connected not only with important art centers of the former Yugoslavia, but also with existing flows of world art during its brief and productive activities (7e Biennale de Paris, 19th Berlinale). The cultural and artistic emancipation of that time had implied individual freedom of expression and strong reaction to established boundaries. This avant-garde movement had become threat to communist establishment, the authors' work were sabotaged, the films were sealed off, five artists were taken to trial, two were sent in prison. How is it that the retrograde mechanism of shutting down and removing the most creative and representative progressive impulses of our surrounding is still so current to this day?

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