Damir Smith. Kosmoplovci . the cultural-political one) Radovan Popović (voice two.AlternAtive comics in serbiA 1980-2010 Aleksandra Sekulić (voice one. Wostok. Mirko Stoilkov Mirčez. Damir Rijovich. the comics-drawing one) Instrumental accompaniment: Metaklinika. Zograf. . SekulIć. intensive and peculiar production of comics outside the scope of its usual presentation model and distribution network. is a theatre taking place in unexpected places (it has its origins in the theatre of the suppressed). In accordance with its basic tenets and motivations.introduction into invisibility “Had to say something. questions the ways of movie presentations and politics of curatorship and screening (www. slowly. We will try to delineate a principle according to which its history has been structured as a part of one or several cultural systems and which has provided a continuity of the production that can be labeled a culture of enthusiasm. I could see right down it. roles and potentials of alternative/authorial/independent comics that have assured its invisibility1. I was beginning to feel frightened. R.com). Cuss interviews the stranger” A. He extended it straight towards me. embrangle and problematize its invisibility game. The invisible comics will now for the first time publicly „memorize“.filmskemutacije. “Mr. Chapter IV. Welles. Such an overview will expose representation levels.G. according to a definition. slowly—just like that—until the cuff was six inches from my face. this cultural scene will 1 The invisible theatre. H. PoPovIć – Alternative comics in Serbia 1980-2010 What is the specificity of this exhibition and this publication which allows us to describe them as a sort of screen broadcasting live from the world of invisibility? It is an experiment: an attempt to present a dynamic. 3 . Queer thing to see an empty sleeve come at you like that! And then—” “Invisible man”. likewise. The invisible movie. „The Invisible Comics“ virtual collection has been conceived as the connecting line between peculiar independent. The sad mainstream adherents. the seemingly empty space between the two comic strips. not known although it is felt. which will make a part of the entitled „’The Invisible Comics’ virtual exhibition.. Due to its innovativeness. authorial. so charmingly located in small round clouds. Saša Mihajlović. adherents of the commissioned written word. namely the drawn image and the written text. is not just a simple summing up of these two forms of expression. lazar Bodroža. Damir Rijowitch and Damir Šmit. this experiment actually announces a more thoroughgoing historiographical and archival work. You will understand me. R. but. alternative comics in Serbia experienced were in full swing in the 1990s. Zograf. However. Radovan Popović. alternative comics production in Serbia in the last 30 years and new possibilities of archiving and interface.. Continuing the tradition of samizdat activity that has characterized youth and alternative culture in Yugoslavia. blind followers of mainstream excess sizes lost in mathematics of literal understanding of activity of adding up the text to the image. PoPovIć – Alternative comics in Serbia 1980-2010 be presented through a series of selected time and space dots that constitute a personal map of alternative comics as experienced by the authors of this text. Milan Pavlović Stocca. contrary and in opposition to fun mathematics. is old.A. The story about comics as a hybrid of two media. fans of nice images. whoever can and whoever knows and wants and loves and dares and is able and has to and should feel. „The Invisible Comics“ collection will also display and preserve digitalized independent/ samizdat comics print and fanzine comics production that has not previously been systematically 4 . Wostok. capillary feed-in and developing an archival strategy that parallels the way of functioning of this scene – through joint and open exploration. blind to their own comics medium which. having even when he doesn’t have. because it was so and is so. It will not pretend to fully encompass the rich. the alternative comics turned out to be the cultural production from Serbia which was the most present on the international scene. despite the social circumstances that were greatly aggravating the lines of international communication. complex and interesting history with its few dots. love and love comic fanzines!!! The old comics from the Universe of the Future where the stars that still shine even though they have been dead for eons are throwing light on the path leading to but unable to take you back. enabled us to perceive their work in continuity of an alternative scene tradition and find ways in the new context to develop the discussion about what is an alternative – in both comics and culture.“ The text that follows is therefore logographic and represents an attempt to extract stories from individual experience that may help the reader gain an insight into the context that has shaped the selected works that make this exhibition. which will be supported by the National library of Serbia. is something in-between. educational or organizational activities. Maja veselinović. not that it’s not and because and why not. vuk Palibrk and a series of other authors who have been included in this dynamic development with their creative. my friends from the entire world of comics. but it has nevertheless proved to be effective in opening new platforms for production and exchange. Danijel Savović. producing a new generation of authors and generating growing interest by both institutions and audience. SekulIć. to reiterate for hundredth time. This cooperation was taking place outside the bounds of institutional culture. because alternative comics is the production that is rooted in alternative and samizdat modes of creation and distribution. as well as institutional culture. intensity and intertwining with tendencies in various other fields of alternative culture. Aleksandar opačić.. Nikola vitković. Its long-standing „invisibility“ for official representation of culture justifies the concept of digitalization in the form of a participatory platform containing an option of constant. my dear readers. something unsaid above the three dots. Nikola korać. older than the others. . between invisible. female and male pupils. PoPovIć – Alternative comics in Serbia 1980-2010 the future that you will need to be reminded about them at least once or twice. Feathered Friends.g. A.org/videografijaregiona (alternatively. Tom. infinite space of the universe which exists between comic strips. which can be found at the Studiostrip platform. only the fruit of love between image and word. in order to affirm more intensive institutional concern for this continual and vital production. Čovek iz bunara and so on. The levels of visibility of this peculiar production enable us to approximately define it as invisible comics. See more in Sherman. cartoons. for our audience. pre-history of comics. children of your children and children of their children. trends that you have just missed or that are about to happen. fanzines for the young and the old. implying the concept of fanzine as a vernacular2 print cultural production. sequential narrative. products of workshops and collective work such as Kuhinja. script writers. playwrights. that which you can catch up with if you hurry. that you can still catch up. Intimna Mašina etc). regional. comic strips. painters. fanzine stripped of information. Hororretard. underground. The small print run of this or that fanzine gives us the right to repeat the same empty words till eternity. 2009. natural and social scientists and their followers. Belgrade: DkSG. R. honest. classical and more comics. graphic novels. and experimental forms which are the result of the process of osmosis in the new media. authorial. applied visual arts. comic fanzines by authors and collectives directly stemming from punk fanzine culture.collected and preserved in institutions (including magazines the manner of production and distribution of which makes them equivalent to fanzines. Bolji život. Mutanat. the appearance of video portals and merging of various media have exerted a strong pressure from the new media to view vernacular creativity as a part of the cultural system rather than as an antropological-research resource. women and children. www. wives and husbands. and from the point of view of the history of comics in Serbia and the region. The collection will provide an insight into various materials both from the point of view of media archeology. the same images in two. e. present and future pupils and students of fine arts. Tvrdi strip. European. that you will be telling about to your children and grandchildren. Phantom works. about the past. collectors whose collections are incomplete without this hard. former. SekulIć. it has ensured increasingly intense involvement in current . special issue Make Films Politically. concrete and concretely hard and firm. such as Striper. three different comics. „vernacular video“ in: Videography of the Region. The times have passed when strip fanzines were bringing regular information about local. With its impressive development and emancipation from the existing codes of classical. far away past. such as Krpelj. self-issued graphic magazines in fanzine form published under labels such as Momci. writers. and about current trends. global or wider scene belonging to alternative. Morcina. girls and boys. Gorski vijenac. Tom Sherman: “vernacular video”. adult picture books. interdisciplinary attendants of multidisciplinary arts. pupils pedestrians. in five or six fanzines. for ten or dozen people. but noble and gentle like spring bud. 6 The context within which we hereby perceive independent comics production underlines the question of representative quality of authorial comics for the culture from which it stems. that will take hold so far away into the future that it is not certain at all that you will come to see them. Chto delat.medarh. Tit bit and others. and its graphic and drawing standards. oh.org ). Debilana. Bizar. from art schools. www. children and elderly. hardly tangible. Titov zabavnik or Zadrugar.chtodelat. that are drawing so close that you are already late in casting your glance on them. that can be followed at leisure or that will happen so far away into 2 vernacular production is the one that has not been created within the bounds institutional culture. The phenomenon of alternative authorial comics scene has been perceived in Serbia as a part of 1990s alternative culture. the new swing was produced by more intensive communication and increased mobility. The field of contemporary art was the first to show itself to be open and accessible for involvement with the alternative comics scene. barons and warlords.. The Socialist Yugoslavia has been making efforts to democratize its culture by supporting amateurism. Aleksandar Zograf and Danilo Milošev Wostok. here to remind us that even in deserted. rejects of civilization. bodybuilders dressed in boys tights. in public events and media public space in Serbia in the 1990s it almost does not exist. sad humorous comics. The village comics shows. failed writers.net/studiostrip. which has inherited its production and event forms from the previous decade. but it was the originality of Yugoslav cultural history that has enabled continuities that stem from the concept of the culture of the enthusiasm. 5 Studiostrip www. R.kosmoplovci.stripvesti. poor attempts at glamourisation. PoPovIć – Alternative comics in Serbia 1980-2010 trends on the international scene. Piles of freakish. presented and glorified across the border. SekulIć. 7 .com 6 one of the most conspicuous examples of such exchange has been documented in the text by the comics author Chris lanier in the Comics Journal no. white monkeys and stupid white men. What are they doing in comics? We hoped at least there they won’t be looking for us. eternal freaks.6 plagiarizers.. eternal autobiographers obsessed with a false picture they made about themselves with the help. With few exceptions in dailies and literary magazines3. hidden areas. everything looked exactly the same. bodybuilders in tights with occult symbols on their chests. again. overly aggressive. of the photoshop. vulgarities. and easier organization of international events. the gallery of thugs not eligible even for jail. unrealized patriots. superheroes comics. the same books. as well as through acquired reputation and popularity of certain authors4. products by authors whose works looked like forced deeds. articulation of Internet initiatives and portals5. at the same time. low kicks. thus too weak for the new. This production. untalented 3 For example: journal Reč. who managed to attract inquisitive glances to the entire scene. like the comics form nasty dwarfs exist. everything in its place. hesitant fanatics. the sorrow and bitterness. local adventure comics that look as if they were done by Chinese hired drawers cheaply and mass-produced commensurate to their quality. in the 1990s this representative role is partly enabled by the network of interchange and cooperation between comics scenes in the ex Yugoslav region through fanzine distributional and net strategies. 251 “ GRRR! A Travelogue of Sorts – A Tour on Serbian Cartooning scene” about his view of the comics scene in Serbia after the GRRR! Festival in Pančevo in 2003. although in official culture. within Serbian borders. the authorial alternative independent comics remain invisible for those outside its insider audiencecommunity. I approached the stand with comics. best friends. failed experiments of mother nature. the megalomania of emancipated hooligans. boring. the southern comfort. culture produced from enthusiasm and has provided the institutional framework for A. cheap photoshop tricks. bastards of genetic engineering and stepmother nature. in which he states that this scene is the central point of alternative comics in eastern europe. Naša borba daily 4 Primarily. After 2000. conceited. like something done for the sake of revenge. unsuccessful attempts of existence as such. the same people involved. patriarchate. repulsive faces. for adults. comics news www. destroyed charm of two-pence comics.At the first glance. and equally badly written by the same man. kid-like chauvinism. has found channels of international communication and has been recognized and found. too young for the war behind them. the same magazines. Paradoxically. is one of the most visible and present art practices from Serbia outside its borders. half – humanoids. . . unsuitable even for my deformed and perverted sight and sense of hearing. in short actors of the most grotesque story about the comics moved from the comics themselves to everything that surrounded it. encompassed wide range of activities. The space is contaminated. I thought. primitive drawings. individual expression and group work. alternative. comics. in parallel with the process of lack of or control over free time http:// www. lifetime religious rulers. all that reminded me of cave drawings. a human. unbelievably awful colors even without photoshop interventions. the culture of fanzines that followed and developed along music trends (punk and other movements). The point in time of media archaeology from which we observe the history of comics production as a medium is the time of the Internet era. R. two left hands leaping from the head. white men civilizes savages once again. The old air-brush school. cowboys against Indians. The actualization of the term of vernacular production in contemporary conditions of digital capillarization of cultural production has namely enabled the consideration of the specific tradition of independent. a black-and-white cover. given that alternative culture at the time had implied social networking. cheap mystics. ideas and roles. contagious. Just like rebellious youth and students press from the 1960s. lords of the ring. 10 7 Describing the work on the project “enthusiasm”. illustrates continuation of the culture of enthusiasm – from proclaimed state cultural policy to support amateurism to alternative culture practice in which enthusiasm represents a powerful engine of development of the independent scene. and the most recent. the field which is open for pushing the borders and for experiments. and authorial comics production. and contrasted current absorption of this necessity in the process of work and production. inspired precisely by the practice of selfgenerated editorial activity. Neil Cummings noticed on the example of film clubs in Poland the significance of these fields for art production precisely as places of enthusiasm. editors of morality.com/node/115 . The amateurism. mass-produced plagiarizations. The mainstream that nobody reads. Rabbit on the cover. without the red. The strengthening of this mode of vertical democratization of culture in the mid 20th century generated extremely important frameworks for the development of experimental film practices in the amateur film movement.A. The same strategies of production 8 Refers to komikaze fanzine. cowboys and so on. the development of which. Finally. among all that pile of thrash. in the sense of practice performed not by professionals. one of the results is the comic strip fanzine. cardinals of theory. but in the meaning of practice free from academic or official regulations. . too easy and clichéd combination. The recent. heavy and tense. which partly makes impossible the emulation of influence and importance of the print comics medium at the time of print as the dominant medium. epic phantasmagorics. unbelievable. but by adorers and fans of art. informing and unity in getting together at events of this form of culture. PoPovIć – Alternative comics in Serbia 1980-2010 artistic creativity in leisure time7. was multiplied and distributed within the frames of unofficial cultural production. though invisible. torn pages of recent releases.chanceprojects. just like this. a form that enabled furious development of an entire generation of comics authors in Serbia in the 1980s and intensive interaction of the local with the international scene. his inquirers. still uninvented weapons. silent monologues. popes of comics. a good fanzine8. was realized as an idea precisely in the sort of culture that stood up against the given cultural system of a country that was taking itself less and less seriously: namely. the corridor. There’s nowhere left to go. Dark. but with huge influence on creating a youth culture model. naked women with huge and various-sized boobs out of all proportion. Suitable combination. even this last space of autonomous territory. SekulIć. nerds. in the alternative culture of the 1980s. communicative comics understood only by themselves. So let`s salute them! Politicians rockers. The Christ disciples. . which has emancipated the comics production from the mayhem of official editing in the 1990s and enabled to the comics fanzine as a medium to open a new public space for new authors and audience. Disguised in the veil of information. in sin. The communist in me was getting red. can in most cases be considered as fanzines. this comics scene developed performance aspects of its activities. Now it’s full of concrete blocks. In that moment the wind blew a bit harder. 60 years old. but with a limited range. feverish. The concept of unofficial economy of alternative culture is most clearly visible in the fanzine culture. underground. and all previous ones. and it was logical that the comics scene should develop in flux. and finally. I took it from the grave of my ancestors. that has developed out of the tradition of record stock exchanges. in autistic and closed media system. Now everybody could read what the story was about.I. She was just giggling. and developed through forms of joint event forms of alternative culture. During the 1990s.. comics one of the most widespread media of alternative culture in Serbia in the 1990s. I took off all of my clothes. (DoItYourself) activity that has had the strongest uprising in Yugoslavia in the 1980s as an attribute of punk – the music and social movement. unscrupulous to the wider audience. the typhoon was gathering people from the face of the earth. Somewhere in southeast/ southnostalgic /Asia. The alternative comics scene managed to create its audience and new generation of authors through initiatives of individual enthusiasm. PoPovIć – Alternative comics in Serbia 1980-2010 and distribution have emerged due to the influence of different fields of alternative culture. With the breakup of Yugoslavia. and has therefore developed parallel structures of production and dissemination. There are only skyscrapers there now. and was blowing them towards the sky. and in tandem with festival and rarities (magazines) production. symbiosis with the kindred scenes of the 1990s9.A. video. like all previous robberies and lies that we have more and more easily and unashamedly been firing from our filthy mouth with lurched lips. The catholic in me was burning in hell. supported. They never came back. The reader was reading the images that the viewer watched. the economic and cultural sanctions and isolation. There was no place anymore for self-doubt or doubt in one’s followers. I ran through the corn fields that once upon the time used to dominate my home landscape. literature. The orthodox giggled mysteriously. the key place for the exchange of information. they were speeding and going forward. and consequently in view of their range and role in the development of the entire scene. the alternative culture has increasingly defined itself in the framework of a culture dominated by the nationalistic model. a group of authors our Pictures – an association which during 1999 and 2000 toured the towns of Serbia to help sustain the continuity of the scene even after institutional venues and previous infrastructure for events of such fields of alternative culture have been destroyed. iron concrete chunks on the top of my building. open. through public workshops. Her eyes were green. cramped from crime callousness. exhibitions with musical. pulled the record from the sleeve. SekulIć. That`s Asia. nourishing an audience and a practice of collection of the 1980s alternative culture. I put the book in the plastic bag with my monogram on it. just a bit harder. music. in osmosis. Purple label. no more people such as us. has made 9 The example is Zadruga – created through cooperation of the Striper initiative with the low-Fi video movement. strengthened.Y. film and video content. The man was silent. Or women like you. the computer demo scene represented by the group Corrosion. I hurried back home. The last. half.. this medium has enabled authors from different cities to fully contribute to the development of the entire scene. Another murder. covered with sweat. promotions of magazines. The ink was dropping like blood from the tip of the knife that was just used as a weapon for a murder. R. In the centralized culture. 12 . film. Those rare comics magazines that featured alternative comics or which implied higher production and editorial policy standards have also been achieving their visibility in the context and framework of an alternative culture. D.mad. An important cohesive event of the comics scene was certainly a comics festival (rarely merely a fair). poured the whole glass of scotch over crushed ice. like the previous one. green like her blond hair. the wars. . pictures from pagan Russia. primarily through cooperation with the Stripburger magazine10. “Zograf was the only connection with the West. the print runs from those times were large and copies could still be found for years afterwards. On conspicuously offensive black and white cover – two figures. 12 Aleksandar Zograf has conducted a peculiar diary which was published in series throughout the world and thus enabled absurd images from Serbia under sanctions (the one which was translated the most was „life under Sanctions“) or horrible images of war and media contamination of life to appear in graphic narration. Macan) which somewhat exotizes it. A. The problem is that there is no continual attempting to do it. It`s time. PoPovIć – Alternative comics in Serbia 1980-2010 14 The magazine production which has enabled production and public context for alternative comics builds upon rich and interesting tradition of presence of comics in mass media. it has swiftly reacted with the support. this growing production was presented to the european audience in 2002 with an interesting . popular and youth culture in Yugoslavia. I moistened my hands with the special cream for leafing through fanzines. The theory of art has taught us how avant-garde selection and text (D. as well as a channel for its international promotion. velocity and unboundedness of Internet distribution as the key factor for international visibility of this production has been amply served its purpose in the case of Aleksandar Zograf11. Isolation is also the quality of the Serbian scene. reminiscent of similar processes in mediation of contemporary art production between the Balkans and europe. whose work has been printed and distributed worldwide at the time when Yugoslavia was undergoing the worst period of international isolation. through a network of international magazines and festivals. I sat in my favorite armchair. And will remain being mine. Shelton and other piracy editions of our friend Rigonat as well as local alternative comics. the fanzine was mine. closed society. The incense sticks started to spread their smell. R. The magazines such as Patagonija from vršac or lavirint from Čačak. the production and distribution strategy of which testifies that it has exceeded the fanzine level. it was an utterly unfavorable. the only piece of furniture I had. purpose. Their imagery. wars and crises. dedicated to comics from the Balkans. as well as a handful of other print media. To the importance of this communication testifies the fact that this attention and the possibility of becoming acquainted with the global production has motivated an entire generation to preserve Pančevo on the map of the european alternative comics. It is a small wander that the international scene of alternative comics had no problems understanding and recognizing his work. symbolizing the idea that people can publish something there. The best performance. This time. Crumb. intensive communication and inclusion of his work in cutting-edge events.12 We have been reading two kinds of comics: the heritage of comic strips from the 1980s. Fanzines. also including the GRRR! Festival and other events from the “famous town of Pančevo”. I lighted up Hindu incest ropes and lit up the cigarette with the same taste. print media. The most luxury cream I owned.Stravinski. and subsequently 10 The special issue of Stripburger: Stripburek. logics and context build up preciselz on the corpus of global alternative comics with which Zograf’s generation was growing up. I usually do that when I read a borrowed book. There was a lot of communication within the scene. my favorite part of this damned planet. Like Russian alternative literature of the 1920s and 1930s. The Striper magazine. 11 Zograf’s fanzines Kreten and Iznad are probably the first or among the first comics fanzines in Yugoslavia and his activity was intensive and well-known internationally even before the 1990s. SekulIć. and effect. which I had previously scrubbed thoroughly with blueberry flavored soap. have enabled alternative comics to become included in the general overview of all current comics production outside the usual fanzine editions. has established the most direct magazine medium for new alternative comics in Serbia in the 1990s. and simultaneously domestic endeavors to make publications with foreign alternative comics. SekulIć. PoPovIć – Alternative comics in Serbia 1980-2010 . which has made numerous alternative comics focus on live meetings and live communication as a supplement to their electronic activities. We were threatened both by the regime.13 The establishment of the Studiostrip Portal marks establishment of a new form of independent electronic publishing. and narrow transmission of all that to the outside world. somewhere in between. it has produced a very successful symbiosis and rich issues which restore the idea of comics as a field for narrative experimenting in a grand manner. is certainly literary supplement Beton. Two things have emerged as an outcome of such a situation: a lot of originality. sleeping over at one another. A kind of permanent spot for fanzine and comics distribution is Belgrade bookstore Beopolis. R. 13 Radovan Popović quotes Wostok. and in which authors are given a rare opportunity to publish comic books (Aleksandar opačić. jealous because mainstream is not like that. continuing the activity of Striper magazine in the new circumstances. permanent exposition of alternative production and its live contact with the audience. including domestic publications. in the way that has made the potential of new comics visible in high level print production. little is publicized. under pressure from two sides. indigenousness and strangeness. The Grafička zavera magazine. one of the best and most successful examples of a publishing experiment on the crossroads between literature and comics is certainly Symposion magazine from Subotica: by connecting writers and comics authors into a process of creating a common graphic-literary work. namely its social engagement and criticism. like Jews. which is continually concerned with diffusion of information and dissemination of editions. editions of SkC (Student Cultural Centre) Belgrade and SkC (Student Cultural Center) Novi Sad provided in the 2000s occasional or regular insights into topical productions. which has stemmed from the overall activity of the kosmoplovci collective and exponentially accelerated both production and distribution. carried by emotions. We have been more accustomed to supporting one another. The possibility of limitless digital reproduction has somewhat problematized collectors’ rituals and live exchanges such as fairs and alternative culture stock markets. However.. A good example of making use of the potential of media externalizing and simultaneously of one of the most basic tenets of alternative nature of new comics. It continued to occasionally include comics in its editions during the 2000s. trying to survive. There was a lot of unconscious. In the backwaters of fanzines there were more authors. we have even been accused of being a sect. people helping each other. which has recognized this important element of alternative comics production and has been including it in this biweekly paper supplement last couple of years.movements have been emerging amid crises and we were trying to make use of that isolation as much as possible and I think it is good that we have had few contacts with the outside – thus we have been fantasizing and hallucinating a lot on the inside. little is known. Radovan Popović and others). lazar Bodroža. groups and sub-groups and 15 A. somebody said.. The cooperation of journal editor Dejan Ilić with alternative comics scene has reached its peak in an edition which represents joint production of publishing house Fabrika knjiga and Studiostrip. The journal for literature and culture Reč was among the first in the 1990s to open a space for affirmation of alternative authorial comics and has enabled permeation of new literary production in Serbia with experiments which alternative comics were conducting in narrative and visual modes. the dominant alternative comics medium – the fanzine – has continued to blossom in previous years and to experiment with new interfaces – digital distribution has provided independent publishing with an opportunity to overcome limitations of print run and transport and comic fanzines are produced and distributed in both print forms and on comic fairs and in electronic forms on Internet portals and among digital communities. un-thought-of. but also by the West. the very roots of original comics communities from the 1980s and 1990s. whereby the scene is presented in its full power as capable of mastering this demanding forms of comics. to experiment not only with content and form. Croatia. groups. 1999. one of the best examples is the GRRR!14 Festival in Pančevo. they have facilitated production through various workshops and editions. The Tarot comics. marginal city venues. promotion and exposition of alternative comics in Serbia today. indigenous rituals called forth by various methods. Macedonia. „interventory“ festival of the comics and all kindred activities and (re)connected an initial network of cooperation in the region of former Yugoslavia16. children from the Pančevo surroundings. on several occasions. shop windows. historians. Youth Hall). contacts have not been completely cut off. The desire is to rebuild and strengthen existing bridges. comics theoreticians.net/bio. magazines. the author who launched the local scene in the 1990s and who. Comics festivals have provided an opportunity for the scene to be created and for exchanges to take place. entry. the physically and conceptually inseparable moments of comic narration flow. letač. numerous local and regional groups and Turbo Comix organization. Spiral & lulu. writers – they have all been a part of an interesting experiment during this festival – thanks to the openness of Pančevo cultural institutions (Cultural Center Pančevo. one of the key events in Belgrade – the XeR Festival which was organized in 1998 by Striper magazine and Radovan Popović. audience from towns of Serbia. very strict and sometimes exhausting limitations within and during the work. local. interpretation of the past through comics. publishers and initiatives from Serbia.. city radio etc. In addition. PoPovIć – Alternative comics in Serbia 1980-2010 their projects than members and there was fantastic desire to create comics. The GRRR! has also distinguished itself from other such event with an additional trait – its continual work on development and promotion of historiography of comics in Serbia. and is probably the most active center of continual public presentation... It has introduced the concept of a festival-city. both ancient witchcrafts. but also with psychological aspects of the work on fanzines. its staging of special historiographical exhibitions and issuing of publications in cooperation with comics historian Zdravko Zupan. XeR Files. the festival catalogue. as well as products of workshops and documents from exhibitions that have been held at the festival. The comics were an essential component of the local cultural policy adopted as such alre- initiative of and organized by Saša Rakezić alias Aleksandar Zograf.A. 16 .. Bosnia and Herzegowina. disfunctioning of postal and traffic relations. but also pastry shops. collectives. brings articles reporting from Slovenia. conception and distribution of which has its origins in fanzine tradition. Mr. founded upon the 14 The GRRR! International Authorial Comics Festival was held for the first time in 2002 in the cultural center Pančevo.. R. vuk Palibrk. future telling. comics pioneers. the importance of the boost and the importance of the live meeting which the XeR has brought is hard to overestimate as well as all its imaginativeness with which it has overcome all objective hurdles in regional communication. SekulIć. during their work. musicians. but preferably by pure and uncorrupted limitless freedom. Numerous authors from the entire world. brought together a large number of authors. Zontag. Probably the most intensive contacts have been maintained by people engaged in alternative culture. unconsciously or subconsciously encountered phenomena such as clinical death. mass hallucinations.“ katarina Živanović and Radovan Popović.php 16 The XeR Files. Radio B92. The workshop „kuhinja“ and other activities have affirmed and instigated the local scene to make joint appearances (Stevan Markuš. clearing the way for new authors ady in 1992 when the First Comics Salon was organized in Pančevo. established a model of flexible. „Despite the war propaganda. The GRRR! continues to exist through events and discussion programs within elektrika Gallery in Pančevo.klopkazapionira. spreading programs and exhibitions throughout cultural institutions’ venues. owing to the realization of the inspiration inherent in limitations themselves. have enabled the scene in Belgrade to be established as a dynamic field of new expression and experiment. the method that has perhaps more than any other shaped and defined the work of fanzine and other comic studios as well as limitless exploration of the space between the strips themselves even in the case of not so rare Siamese strips. consciously. by organizing this festival in the 2000s. blockade. often spiced up with frameworks. modern technology and cheap chemistry. residence and occasional permanent habitation on the other side of the comic strip. Serbia. collectives and artists from the region of former Yugoslavia. in lively cooperation with Pančevo initiatives klopka za pionira15 and Ceger Fanzine. However. Napred u prošlost group and others). the region and around the world. have willingly or unwillingly. The promotions of Striper magazine. often to the detriment of mental and physical health of members themselves who. 15 http://www. unfortunately. 17 A. PoPovIć – Alternative comics in Serbia 1980-2010 . R. SekulIć. Aleksandar Gubaš) the aim of which was to produce programs that would project video and film works collected by open call. Igor Basorović. „The Bunch of Drugged Maniacs Terrorizes our Comics Scene. Subsequently this generation was followed by another. social engagement in decentralizing the culture in Serbia. whose parallel and intertwined opuses within both low-Fi video movement and the comics scene are probably the best example. Wostok gathered an odd group around the Krpelj production. The Cyber-Rex17 Platform has provided digital infrastructure for development of new interfaces and comics formats and inspired some long-term projects and cooperation between the demo scene and the comics. This interdisciplinary character has enabled the authors from various fields of alternative culture production to meet and articulate their ideas in workshops (authors of such varied profiles include Daniel kovač. etc…) 20 Since the first exhibition of comics in vršac in 1992.19 has displayed the fruitfulness of the crossover between currents and activity fields – probably best illustrated by the work of the Damir Rijovich& Damir Smith tandem. R. Stocca. from early fanzine actions of the 1980s to activities within Patagonija magazine. It consisted of domestic competition program. made up of works of film amateurs. The archive of this movement is being digitalized and gathered in the hope that they will resuscitate the microcinema principles in the new circumstances. Due to this project. Specific collage programs. numerous fairs and festivals. Milan Pavlović Mr. Miroslav lazendić. continuing to (re)animate the audience making use of social networks. the comics scene has swiftly developed and been recognized locally in only a couple of years: Wostok and Grabowski were awarded the october Prize in vršac in 1996. The comics scene in Subotica. led by Stipan Milodanović. Hundreds of numbers of Krpelj fanzine probably provide the best example of efficiency of this production and its influence. experimental Tv program on B92 Television. Seljak. reinforcing of alternative culture. After hundreds of programs. 18 low-Fi video was established in 1997 as an independent organization (Miloš kukurić. lazar Bodroža. Neda Dokić. and has managed to draw attention of that scene to the ongoing production in the entire region. the first Comics Meetings were held in vršac. including authors such as Maja veselinović. technical and institutional infrastructure for digital activities has been established and in 1999 alternative culture transformed its production and dissemination and has speedily increased its power of absorption of new ideas and communities such as the computer demo scene. Zlikovac. Saša Mihajlović. cultural production and exchange. which showed that provocativeness of alternative comics has mostly been recognized precisely as a dangerous competitor to the frustrated „mainstream“ scene. which has provided. Ivan Grubanov and others. opening an unsuspectingly wide field of influence on the wider audience for comics and for development of a new generation of authors. video activists. Nikola vitković and Momci group. one of the metacomics that has been created as a reaction to such attacks on alternative comics used one such text for its motto and name. in the town which hosted Yugo17 Cyber-Rex is a platform established in the Cultural Center Rex in Belgrade. It was this author who was the first to explore and test the possibilities of new interfaces for fanzine activism and alternative comics. with an aim to affirm digital field of cultural production and broach the possibility of education in the fields of digital communications. leo fon Punkerstein etc). slav Cheap Film Festival. 21 Particularly interesting is the case of the comics „Illegal Migrants“ published in one of the issues of Krpelj.“ 18 A. numerous review video and film programs as well as obligatory musical and accompanying programs of comics workshops and exhibitions. but also a number of other comics authors coming from Subotica (Damir Pavić Septik. PoPovIć – Alternative comics in Serbia 1980-2010 . promoting the idea of video as an accessible technology for „democratization“ of art creativity and promotion and rejuvenation of tenets of Yugoslav film amateurism. Danilo Milošev Wostok. With his extraordinarily varied work. established international cooperation and became included in the microcinema movement. who have produced an impressive number of fanzines and developed activities nearing an audio-visual performance. Burek and many other younger authors. but is also capable of drawing the most diverse audience. with its rich tradition of fanzines (Entropija) and alternative culture. low-Fi video decided in 2003 to freeze its activity. beginners and affirmed artists. cohesion of all active alternative culture currents and productions and exertion of mutual influence. international guest appearances and prizes (from the Sundance Festival in the uSA to the kansk Festival in Siberia). the 19 Yugoslav Cheap Film Festival (Jugoslovenski festival jeftinog filma -JFJF) has been taking place from 1998 to 2002 in Subotica and was organized by the low-Fi video movement and klJuN from Subotica. The scene has certainly been given a boost with its participation in the low-Fi video movement18. lola and others). low-Fi video has swiftly evolved into a movement gathering together hundreds of authors and giving a boost and cohesive event-organizing for alternative culture. SekulIć. through the events it has been organizing. Miloš Tomić. have created a context for the new scene that reacted to the autistic media environment by establishing a parallel system of critical reading of culture and social reality. The same year.21 despite the fact that many have been distributed in merely several copies.such as Danijel Savović. has managed to initiate workshop and exhibition events on the local scene of his hometown of vršac20 (Grabowski. work on introducing international production. he has been recognized at the international scene already in the early 1990s. Metaklinika. of course in potential form.. regardless of objective attractiveness of experiments from which the scene has successfully stayed away. which continues and intensifies regional and international cooperation of the scene that now faces new demands and challenges. A Bunch of Drugged Maniacs Terrorizing our Comics Scene. often also enemies. as well as comic strip drawers such as Aleksandar opačić and lazar Bodroža. The work of the Kosmoplovci group since their inception in 2001 has indicated vast and varied possibilities for symbiosis among the computer demo scene. the Turbo Comix organization. not be revealed. starting from regional cohesion to increasing number of authors and theoreticians 22 The example for such activity is Dejan uzelac from Zrenjanin. i. which is an important project of fanzine production. on the verge of true respect.. of course not from the point of view of the very scene of fanzine approach to comics. never in literal and actual form.e. its exclusively holy wing and so on. which will probably. thereby establishing new lines of communication between older and topical production and drawing unexpectedly large audience. The New Age Festival was created in close cooperation among Turbo Comix (organizers). often graphic non-telling.so-called „facebook librarianship“. frequently with ill-defined or no rules at all. using its time and energy. Serbian Orthodox Church i. by now intricately connected. even in titles of comics. extreme disrespect. Let us remember psychological-propaganda experiments such as Southern Solace. video and comics production within the framework of an Internet platform23. the defining feature of this work. individuals. This activity has been intensified in the last couple of years with the appearance of Turbo Comix organization. Studiostrip. Among the authors who have shifted understanding of comics as a two-dimensional space to its understanding as a new media experiment are those from computer demo scene such as Dominator and Ilke. for intensive cooperation with the international scene and regional authors and for organizing joint events. With his work on visualization and reading of the epic form (Gorski vijenac). Johanna Marcade established in Belgrade. workshops and exhibitions. material and human resources.”24 one of the numerous reasons for this designation is an allusion to increasingly obvious internationalization of alternative comics in Serbia. 23 www. labeling itself “the non-aligned comics. R. kragujevac and Novi Sad also generated a number of authors who have swiftly become included in alternative comics map22.novodobafestival. comics historian and katie Wozniacki. together with Bruno Tolić. exclusively graphical narration. especially with the group Komikaze from Zagreb.the New Age Festival. the work of which can fully be seen on one of the podcasts of the Kosmoplovci platform..e. conversely. Rascal Baby. Pančevo and Subotica.net from other countries who are becoming its actors and historians. often without making use of any text.“ These two scenes. the example of which is NoMAD – electronic Art Festival. Studiostrip and Metaklinika with komikaze group from Zagreb as well as initiatives from Belgrade. which in Belgrade in 2009 launched an event directly focused on alternative comics . is regional cooperation. it’s futile and sometimes not so harmless to discover all manipulations used by the discrete barrier of distance of fanzine approach for all those years since it had been established. The fanzine activity in Zrenjanin. Ceger Fanzine and the young generation of activists such as Bojana Petković. one of the most important activities of Studiostrip section. vladimir Palibrk and others. PoPovIć – Alternative comics in Serbia 1980-2010 . music. one of the first editions of this production was the book issued in 2009 „Strips/Strips – Contemporary Comics in Croatia and Serbia. which encompasses numerous tours. never. Bodroža has developed the initial comics form from a visual art study to a complex film provocation. namely klopka za pionira.kosmoplovci. 19 A. friends.net 24 www. the author.25 The joint work on a comic. with participation of various groups. 25 After comics exhibitions and workshops she organized in cooperation with the French Cultural Center in Belgrade and the elektrika Gallery in Pančevo. SekulIć. establishment of total communication. for direct work on comics themselves and graphic telling in general. are also associated with lisa Mangum. if the future history does not decide otherwise. complementing their electronic editions. immediacy even at the expense of banality. SekulIć. is proud to have established and conducted) by connecting the comics contextually and performatively with the alternative film and video scene. This was also an opportunity to summarize and reexamine the qualities which the scene perceives as its specificities26. unwittingly or wittingly. the Student City Culture Hall opened the possibilities. through the program edited by Maida Gruden since 2006. originality and autochthony on the verge of autism. And it will be entirely new. or works of authors whose comics would provoke a sad smile on the Comics Salon has created a new space for widening the comics audience and for diversification of streams and levels of comics production. PoPovIć – Alternative comics in Serbia 1980-2010 Since the 1980s and early 1990s direct and unmediated communication between comics and visual art institutions is established in the work of artists such as Srđan Đile Marković. fruitfully. R. which has enabled continual exhibition. who have grown up as artists through workshop work. even movements that have been appearing throughout the short but killingly rich history of comics. but mostly almost exclusively intuitively. the author of this text. provocation to the point of reexamination of one’s own as well as general aesthetical and ethical norms. the new scene of authors influenced precisely by 1990s or later fanzines. on the one hand. minimize and establish once and for all the shape his style. to continue what has objectively already been finished. which. exhibition catalogue „The End of the Episode. are staying true to experimenting with styles that had been an unwritten agreement from the very start. The example of recognition of importance of alternative comics is exhibition „The end of an episode“ held at the SuluJ Gallery in 1999. indicate that the new comics in Yugoslavia is treading its own. Inclusion of comics by Aleksandar Zograf and Stevan Markuš in major events and exhibitions such as october Salon 2000. communication approaching intimacy. are continuing. but on the other. Following initial presentations of alternative comics in programs of the Student City Culture Center. also fantastically intensively. participation of kosmoplovci group at the october Salon 2003. orthodoxy to the point of fundamentalism. Stevan Markuš and others. devastating subversion to the point of terrorism. This was subsequently confirmed on numerous occasions27. in Europe. The Student Cultural Center presented an exhibition „Hard Comics“ organized by Studiostrip in 2006 within the visual Program by Stevan vuković. with styles that have been derived from authors. music and video. The field of contemporary art in the 1990s showed an interest and potential to include alternative comics in its dynamics. to make complicated works. Saša Marković Mikrob. merging workshops. sometimes randomly. unexplored and impenetrable way. bad examples from the recent past and almost completely perfect examples especially from the early beginning. Jack Kerouac. exhibitions. by the way. the kosmoplovci group has continued to cooperate with the Academic Film Center in the 2005-2008 period (which Aleksandra Sekulić. has shown that contemporary art presentational field has the greatest potential to include alternative/authorial/independent comics in official institutional culture. The Student Cultural Center with its workshops and Now when literally every main or marginal author of parallel or wrong orientation seeks to simplify. USA or Japan. discussion and presentation of print production activities throughout the 2000s. 20 . which summarized the directions explored by the Studiostrip section as well as other groups. sermon-like power of the message and a defensive resolve to search for new expression even at the risk of being led astray into hermetic obscurity. The exhibition gave an overview of ample production and gave new boost to the youngest generation of authors. 26 This was articulated by Radovan Popović in the text of the catalogue: „elusive and unbelievable variety of visual identity of new comics. uroš Đurić.“ Radovan Popović: „The End of the Episode – Romanticized Monograph of New Yugoslav Comics“. 1999. for common actions of alternative comics. just like before. The Center for Cultural Decontamination curator vladimir Tupanjac organized in 2008 a one-day alternative comics program. in cooperation with comics scene protagonists was curated by Dejan Sretenović and produced by the Center for Contemporary Art. the work admired and even uncritically adored by Gertrude Stein. authenticity and honesty stripped to the point of confession. It has to find it all by itself. 27 one of the most important venues for gallery display of this scene was the independent Remont Gallery in Belgrade. in the necessary act of submission to contemporary market laws. groups. Belgrade.“ Center for Contemporary Art. The Cultural Center Pančevo was among the first in the early 1990s to enable gallery exhibition of comics. inclusion of Zograf’s work in the exhibition „on Normality – Contemporary Art in Serbia 1991-2001“ by the Museum of Contemporary Art in Belgrade in 2005. Pablo Picasso. Such exhibitions have reached their peak at the international GRRR! Festival that has supported the extraordinary enthusiasm of the newly emerging local scene.A. discussions and additionally the presentation of the computer demo scene and has subsequently developed this program line by cooperating with the Metaklinika group and the New Age Festival in 2010. . superfluous armor of bourgeois morality. non-school. staging a series of events assembling large audience and many authors in the public process of producing screen prints. again lower. construction and subversion. The exhibition has symbolically enabled this production to make a step into the dynamic of reformulating institutional culture in Serbia. The way to school. Fanzines which await to be born. oral. All-school. The future. comics workshops have occasionally been recognized and supported through local cultural policies as an interesting way of communicating with youth. groups. brary of Serbia.“ published by the National li28 The pioneering example is the activity of the Kuhinja workshop in Pančevo (and villages in Pančevo surroundings. multiplying of various comics forms.the lips of actors. north icic. one of the first and.. evening school. the workshops of vladimir vesović in the Student Cultural Center in Belgrade and numerous workshops within local scenes in vršac. infiltrating and expelling. a 5-dinar pencil. The old school. low school. Subotica. platforms. especially Banatsko Novo Selo where the Alternative Cultural Club used to function). ongoing process of creation and development of archival practice at the institutional level that will surely find also its performative shape. south southeastern school. as it turned out. has enabled externalization of the Invisible Comics in an open. Now. workshops and exhibitions. special school. with the digital collection of comics. pencilless pupils. In some cultural centers regular programs of this kind have been established28. comprehensive school. exchange. SekulIć. it is never late to fly dangerously. Novi Sad etc. rare examples of participation of alternative comics in programs of national institutions in Serbia was the exhibition organized in 2002 in the National library of Serbia by kosmoplovci group. astro. In the process of work on its own production. school of life and death. auto. something in between and not in the building itself. kosmoplovci collective promotes workshop work. PoPovIć – Alternative comics in Serbia 1980-2010 22 Insistence that openness for both new and initial and sophisticated forms of subversion of status quo and the given system based on educational-participatory-production programs is the essential quality that gives alternative comics its vitality and enables its constant . NoMAD and others. A. even lower one. beyond school and quasischool education. heavy school. air. eastern. 29 SFeF – The Serbian electrical Film Festival was held in Belgrade in 2002 organized by low-Fi video-Striper-kosmoplovci group and included parallel and interwined programs of computer demo-party. concerts.. R.. The library as the central locus of cultural memory. which was accompanied by an edition „The Travel to the universe. both collective and team work. self-supporting school for the self-taught. The favorite place in school has always been school library and exit leading to the street. comics workshops and exhibition. thus resembling comics collectives (Syndicate Bill Mclurre) who have authored science fiction comics and been included in Yugoslav youth magazines. far and middle eastern. but also as a part of its activity in public events in which it takes part. The street kung fu school. Thus. subsequent realization concerning distance from reality. corresponding. right now or whenever. entitled „The Museum of the universe“. school in flames. entry and exit from school. antischool. pupilless schools. literary performances and competitive film projections. Turbo Comix group has launched an interesting form of „performative distribution“ implying a tour of various towns in Serbia and the region. This form of open public happening acquired its shape already in the 1990s at festivals such as Yugoslav Cheap Film Festival (JFJF) and was subsequently developed by Serbian electrical Film Festival (SFeF)29. activists. After 2000. authors. two-pence fanzines. postschool. In addition to workshop activities enabling new generation and the youngest authors to meet the international scene. preschool. and then higher. written. subsequent school. or onthe-job printer of one of us. In the 1990s. both movements have deserved their status of an alternative mostly owing to the new social circumstances and their position within the cultural system. fiction and fact. or might have existed. previously exclusively reduced to the music scene. since they focus on the comics which has not yet had its „systematic overview“ and treatment. distribute and merge with other forms of public activities. By demonstrating such an open structure. is made possible precisely due to this flexibility. play of image and words. However. authenticity and minutely crafted plagiarism. this rich tradition. this production has not been included in this book and this exhibition. in the play of symbols exhausting to the point of masochism. experiment and critical attitude. and is very likely that this text could precisely be it. rather than owing to their formal or stylistic prerogatives as they pertain to official art disciplines. youth media etc. word in a sentence. Each strip and image. At the time of resuscitating samizdat and fanzine culture created by punk. false or not. twoway and sometimes multiple-way conversion of direct opposites. the idea that one’s own (even artistic) expression of rebelliousness is possible and accessible to everyone has remained the basis of subsequent history of what can be termed alternative comics. mostly through intensive substitution of arguments. empty clouds above nameless faces of invisible actors of the sketched show. frequently also generally established and moral. stirred response and resuscitated alternative culture. these movements accomplished the impossible: they gathered extraordinary strength. In the 1990s. even most probably another swindle of sphere of action of a certain number of people tied by a pencil. Therefore it is difficult to set alternative comics in opposition to mainstream comics of the 1990s – since the latter practically did not exist – or to local and global comics traditions30 – they were present as an object of appropriation and game. color and whiteness. but can potentially be created. stylistic. screen. unpredictable and – an alternative. Criticism and subversion manifested by alternative comics and have been recognized by socially engaged literature. a paper and a cheap copy shop or even their own cheap printers. wall or air. Erasing the border between beautiful and ugly. . PoPovIć – Alternative comics in Serbia 1980-2010 rejuvenation is precisely what makes this scene so flexible. contains a trace of a manifesto that has truly never existed. both aesthetical and theoretical. is almost probably impossible. to transformations and experimenting. the current ideological platform that will change repeatedly out of recognition until the next time. even ironic self-historization which alternative comics sometimes writes of itself. The communication which alternative comics have enabled throughout former Yugoslavia. to enable simultaneous and joint presence of both beginners’ and top-notch works in the creation of a new context and intervention in the social and cultural system as an example of unexpected united action. music and other scenes that have included it in their critical discourses. this basis was also shared by the lowFi video movement: suspension of standards – professional and conventional . while its incontestable innovative quality and openness for exploring new possibilities and interfaces in integrated media systems hold huge potential for articulating a new alternative. frequently also blackness of the paper. within the international scene and among various fields of cultural production. keeping track of the global production.30 The history of the comics in Serbia usually begins with the first half of the 20th century and its huge impact by means of daily press until its peak in the production of specialized magazines. although in the general nature of things. contemporary art. this shying away from established and expected models. After 2000 subversiveness of alternative comics has been demonstrated largely with their capability to speedily react. R. SekulIć. the presence of comics in public media field is certainly an important element of a Buildungsroman of the generation who has launched alternative comics. regretted or not. tragedy and comedy.in the desire to externalize potential for enthusiasm. 1990s and 2000s. namely the alternative comics of the 1980s. pride and shame. 23 A. in the very construction and the overall mood. . Invisible comics sketched on the basis of dreams. . notes from the past and half-conscious thoughts. transcedental experiences. Grapes for Aaron .26 WoSTok . 27 WoSTok .Fifth scene . Fifth scene .28 WoSTok . 29 WoSTok .Fifth scene . Fifth scene .30 WoSTok . Fifth scene .31 WoSTok . Fifth scene .32 WoSTok . Fifth scene .33 WoSTok . A rat’s eating it .34 MoMCI . A rat’s eating it .35 MoMCI . 36 AlekSANDAR ZoGRAF .The well of prophecy . 37 AlekSANDAR ZoGRAF .The well of prophecy . 38 AlekSANDAR ZoGRAF. SloBoDAN TIŠMA .Metropolis (excerpt) . 39 AlekSANDAR ZoGRAF, SloBoDAN TIŠMA - Metropolis (excerpt) 40 WoSTok - The burrow 41 DeJAN uZelAC 42 DeJAN uZelAC . 43 DeJAN uZelAC . 44 DeJAN uZelAC . 45 DeJAN uZelAC . Đašt gnjuta .46 MIlAN PAvlovIć MR. SToCCA . Đašt gnjuta .47 MIlAN PAvlovIć MR. SToCCA . Đašt gnjuta . SToCCA .48 MIlAN PAvlovIć MR. 49 WoSTok . 50 MAJA veSelINovIć .Gone mad with beauty . 51 MAJA veSelINovIć .Gone mad with beauty . 52 MAJA veSelINovIć .Gone mad with beauty . 53 MAJA veSelINovIć .Gone mad with beauty . 54 ToMA PAN .Jova . Jova .55 ToMA PAN . Jova .56 ToMA PAN . Jova .57 ToMA PAN . New Age .58 ToMA PAN . 59 DANIJel SAvovIć . . Invisible comics in the dialogue with tradition and social legacy . 62 NIkolA koRAć .eddie . 63 NIkolA koRAć . The foundry of astro technology .64 NIkolA vITkovIć . 65 . WITH TWO SWORDS AND WITH TWO CROWNS ON HIS HEAD. WITH KORAN! 66 lAZAR BoDRoŽA .LO THE DEVIL WITH SEVEN SCARLET CLOAKS.The Mountain Wreath . THE GREAT-GRANDCHILD OF THE TURK. JUST AS LOCUSTS DEVASTATE THE GREEN FIELDS. NOW BYZANTIUM IS INDEED NOTHING BUT A DOWRY OF YOUTHFUL THEODORA.BEHIND HIM HORDES OF THAT ACCURSED LITTER. MARCH TO LAY WASTE TO THE WHOLE PLANET EARTH. 67 . THE STAR OF DOOM STILL HOVERS OVER IT. The Mountain Wreath . I'AM A LONE STRAW TOSSING IN THE WHIRLWIND. 68 lAZAR BoDRoŽA . A SAD ORPHAN WITHOUT FRIEND OR KINFOLK. NO PARENT'S HAND TO WIPE AWAY MY TEARS.WHAT CAN I DO? WHO IS THERE TO HELP ME? THERE ARE FEW HANDS AND ALL TOO LITTLE STRENGTH. MY PEOPLE SLEEP A DEEP AND LIFELESS SLEEP. The Mountain Wreath . 69 lAZAR BoDRoŽA .UPON MURAT PALEOLOGOS CALLS TO BURY BOTH GREEKS AND SERBS TOGETHER. THE WORLD HAS NOW BECOME A HELL FOR ME. YET I MUST FIGHT AGAINST THE WORST OF ALL! lAZAR BoDRoŽA . PEOPLE HAVE TURNED INTO HELLISH SPIRITS. IT DOES NOT HEAR MY CRIES OR MY PRAYERS.ABOVE MY HEAD THE HEAVEN IS SHUT TIGHT.The Mountain Wreath 70 . O MY DARK DAY! O MY BLACK DESTINY! O MY WRETCHED SERBIAN NATION SNUFFED OUT! I HAVE OUTLIVED MANY OF YOUR TROUBLES. MAY GOD'S WRATH BE ON YOU! IS HALF A WORLD YOU'VE ALREADY POISONED WITH YOUR MEAN DEEDS NOT LARGE ENOUGH FOR YOU.The Mountain Wreath .PLAGUE OF MANKIND. THAT YOU HAD TO SPEW OUT ALL THE VENOM OF YOUR BLACK SOUL ON THIS HARD ROCK AS WELL? 71 lAZAR BoDRoŽA . . . The herd .74 MIleTA MIJATovIć. JoHANNA MARCADé . 75 MIleTA MIJATovIć.The herd . JoHANNA MARCADé . . lethargy. arragonce and envy. . broken hearts.Moving and less moving human destinies. Graphisms .78 NeBoJŠA CveTkovIć . 79 NeBoJŠA CveTkovIć .Graphisms . Graphisms .80 NeBoJŠA CveTkovIć . 81 BeRNHARDA XIlko .In the meantime . 82 IvAN GRuBANov . 83 IvAN GRuBANov . 84 IvAN GRuBANov . 85 IvAN GRuBANov . 86 NeDA DokIć . evergreen .87 NeDA DokIć . uncle Misho? .88 NeDA DokIć . oedipus complex .89 vlADIMIR vukovIć SelJAk . examples .90 RADovAN PoPovIć . examples .91 RADovAN PoPovIć . 92 RADovAN PoPovIć .examples . 93 RADovAN PoPovIć .examples . 94 IvANA FIlIPovIć .My Neighborhood . 95 IvANA FIlIPovIć .My Neighborhood . lost youth .96 MIloŠ kRSMANovIć kRle . SToCCA .97 MIlAN PAvlovIć MR.The sudden death of waiter laza Derikoža . 98 MIRoSlAv lAZeNDIć .Talk Show . DAMIR RIJoWITCH oRIGINAlov .little emma .99 GeZA CSAT. Invisible comics with science fiction themes, intimate micro-universes, apocalyptic graphisms and an apocalypse of the genre. 102 ŽelJko loNČAR 103 ŽelJko loNČAR . 104 ŽelJko loNČAR . 105 ŽelJko loNČAR . 106 NIkolA vITkovIć .Glow in the grass . Glow in the grass II .107 NIkolA vITkovIć . 108 NIkolA vITkovIć .Glow in the grass II . Glow in the grass II .109 NIkolA vITkovIć . Gaze .110 NIkolA vITkovIć . 111 NIkolA vITkovIć .Gaze . 1922 (excerpt) .112 DANIJel SAvovIć . 113 DANIJel SAvovIć .1922 (excerpt) . 1922 (excerpt) .114 DANIJel SAvovIć . 1922 (excerpt) .115 DANIJel SAvovIć . 116 DANIJel SAvovIć .1922 (excerpt) . 117 DANIJel SAvovIć .1922 (excerpt) . 1922 (excerpt) .118 DANIJel SAvovIć . 119 DANIJel SAvovIć .1922 (excerpt) . 120 DANIJel SAvovIć .1922 (excerpt) . 121 DANIJel SAvovIć - 1922 (excerpt) 122 DANIJel SAvovIć - 1922 (excerpt) 123 DANIJel SAvovIć - 1922 (excerpt) 124 AlekSANDAR oPAČIć .The secret of spider’s blood . The secret of spider’s blood .125 AlekSANDAR oPAČIć . 126 AlekSANDAR oPAČIć .The secret of spider’s blood . 127 AlekSANDAR oPAČIć .The secret of spider’s blood . A member of the low-Fi video movement till 2003. in General literature and Theory. XeR Festival. Curated and organized programs of the Academic Film Center from 2005 to 2009.A. Comics author and publisher from Belgrade. the editor of the Studiostrip edition (Fabrika knjiga). of the kosmoplovci group and the Media Archeology team. B. Radovan Popović. employed at the Center for Cultural Decontamination in Belgrade since 2010. an initiator and editor of the Striper magazine. PhD student of Theory of Art and Media at the university of Arts in Belgrade.A.Text authors Aleksandra Sekulić. Authors of the Virtual Exhibition of Alternative Comics in Serbia Metaklinika www. an initiator and editor of numerous alternative comics events and comic fanzines in Serbia and the region. A member of the kosmoplovci group.metaklinika. in Cultural Policy Studies.com . M. a founder of the Studiostrip platform. rs belgrade.ThE InVISIblE CoMICS Alternative comics in Serbia 1980-2010 Publisher National library of Serbia Skerlićeva 1. Beograd ISBN 978-86-7035-232-2 CoBISS. 2011 The printing of this publication has been supported by the Ministry of Culture of the Republic of Serbia. Johanna Marcadé. CIP .SR-ID 182269196 .rs For the publisher Sreten ugričić Publication editor lazar Bodroža Text authors Aleksandra Sekulić and Radovan Popović Design and graphic layout Metaklinika (lazar Bodroža.rs [email protected]. Tijana Tropin (comics) Print Altanova Print run 300 Electronic edition www. Belgrade www.katalogizacija u publikaciji Narodna biblioteka Srbije.nb. Ivan kostić.nb. Nenad Trifunović. Dušan Đorđević) Translated into English by vanja Savić (text) Milan Petrović Tica.
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