NEW TENDENCIES 

In the 1961-1973 period, the then Contemporary Art Gallery (today's Contemporary Art Museum), organized five international exhibitions under the name of "New Tendencies". They may be considered as a continuation, as well as a further development of thoughts expressed by individual Exat participants. The wider post-informel artistic climate that reigned in Europe towards the end of the 50's and the beginning of the 60's was in favour of such developments. The first New Tendencies exhibition was organized upon the initiative by the art critics Matko MeŲtrovi  and Radoslav Putar; the then Museum Director BoŻo Bek, curator Group from the beginning of the 50's, and the Brazilian-German artist Almir Mavignier, who was staying in Zagreb in the course of 1960. New Tendencies aimed at synthesizing various art forms of the 60's and 70's. The first, inauguratory exhibition (1961) was characterized by a wide variety of the topics treated. The painting was tautological and monochromatic, or oriented towards journal "Zero" /Oto Piene, Heinz Mack/ and the Italian Azimuth /Enrico Castellani, Piero Manzoni/. Nevertheless, the works prevailed that were oriented towards systematical research (Fran°ois Morellet, Karl Gerstner), and optical research of the object structure and surface (Marc Adrian, Julio Le Parc, Głnther Uecker, Gruppo "N" - Biasi, Massironi, Chiggio, Costa, Landi). One might also recognize the beginnings of programmed and kinetic art, whose characteristic language would be marking New Tendencies as a movement already starting from the following exhibition (1963). Requirements for providing a scientific dimension of art shall give preference to experiments visual perception based on Gestalt theory. Already the following, third exhibition of New Tendencies (1965) examined relations between cybernetics and art, preceded by a symposium on the same topic. The fourth exhibition (1968/69) was marked by a further penetration of the idea on theory of information and exact aesthetics. An international colloquium was also organized, treating the topic of "Computers & Visual Research". That same year, the Contemporary Art Gallery launched the "Bit international" magazine, as a bulletin of the said orientation (n( 1-9/1968-1972). Along with the section of computer visual research, two more sections appeared at Tendencies 5 /1973): one on conceptual art and another entitled "Canvas". The said manifestation included also a symposium entitled "The Rational and the Irrational in Contemporary Art". The 6th Tendencies exhibition never took place, although it had been envisaged. Merely an international symposium was held in 1978, while, in keeping with the changes that occurred in the course of the 70's, an exhibition was organized under the title of New Artistic Practice 1966-1978. 

The international event in question used to bring to Zagreb the most outstanding theoreticians of the neoconstructivist (Giulio Carlo Argan, Umbro Apollonio, Laszlo Beke, Palma Bucarelli, Umberto Ecco, Herbert W. Franke, Udo Kultermann, Enzo Mari, Manfredo Massironi, Abraham A. Moles, Frieder Nake, Frank Popper). Most of the artists that took part in it also published their theoretical contributions (Karl Gerstner, Julio Le Parc, Heinz Mack, Alberto Biasi, Almir Mavignier, Fran°ois Morellett, Otto Pienne, Gunther Uecker, Yvaral). As regards Croatian artists, the following took part in the Tendencies' exhibitions: Ivan Picelj, Julije Knifer (the only local participant at the first exhibition, Vojin Baki ), Vladimir Bonaňi , Ivan ĽiŻmek, Juraj Dobrovi , Vlado Kristl, Vjenceslav Richter, Aleksandar Srnec, Miroslav šutej, and Ante Vulin. The main theoretician of the New Tendencies as a movement treating the relation between art and society, requesting socialization of art, abolishment of a work of art's unique significance, and artistic equity, was Matko MeŲtrovi . As regards other Croatian theoreticians, more significant contributions were made also by Radoslav Putar and Vera Horvat Pintari . 

from the web page of the Museum of Contemporary Art, Zagreb