The country had a need to search for its collective identity elsewhere. They also make clear that Yugoslavia was expelled from the Soviet bloc in 1948, removing it from Stalin’s grip on spatial esthetics. The show’s curators, MoMA’s Martino Stierli and guest curator Vladimir Kulić, begin the show by asserting that this exhibition is a survey of architecture that has been all but absent from modern history. While female architects like Milica Šterić, Melanija Marušić, and Svetlana Kana Radević did not get a separate booth, they were largely present in galleries and through an essay on gender in Yugoslav architecture published in the exhibition catalog, written by curatorial assistant Anna Kats and Theodossis Issaias. An entire gallery is devoted to the brutalist reconstruction of Skopje featuring the work of Kenzo Tange with Janko Konstantinov, a graduate of Yale. Distinct rooms are reserved for individual architects that the curators have highlighted as key thinkers in the spatialization of the Yugoslav socialist identity, including Bogdan Bogdanović, Juraj Neidhardt, Vjenceslav Richter, and Edvard Ravnikar. ![]() The material is not presented chronologically but rather arranged spatially as a series of sequential topics ranging from Global Networks to Everyday Life and Identities, each branching into sub-topics. Toward a Concrete Utopia: Architecture in Yugoslavia, 1948–1980 is on view now through January 13, 2019. Approximately six hundred items are on display in salon style across MoMA’s galleries including original drawings, newly crafted scale models, and a series of commissioned photographs by a Swiss photographer Valentin Jeck. ![]() ![]() The Museum of Modern Art ( MoMA) in New York City is hosting an extraordinary exhibition surveying late modern architecture from a country that no longer exists: Yugoslavia.
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