Between 1974 and 1975, Zoran Popović, a conceptual artist from Belgrade, Yugoslavia, and his wife Jasna Tijardović, an art historian, spent a year in New York. During that time they engaged closely with the New York Art and Language group. This friendship and collaboration resulted in a rare instance of East-West exchange in Conceptual art: Popović and Tijardović published both co-authored and individual articles in the US journal The Fox, and members of Art and Language (Mel Ramsden, Michael Corris, and Jill Breakstone) gave a seminar in Belgrade's Student Cultural Center in the fall of 1975. One of the most important outcomes of this exchange is Zoran Popović's film Struggle in New York—Борба у Њујорку, which he made on his return visit to New York in the fall of 1976, and which features the members of New York Art and Language and other artists and activists from the downtown Manhattan art scene of the mid-1970s. This essay argues that in this film, Popović uses documentary techniques to establish a space for the display of radical artistic practices that engaged in a vigorous critique of art institutions. In so doing this film marks a limit position of institutional critique that approaches the idea of the abolishment and abandonment of art practice altogether. Further, the essay explores some differences between Conceptual art practice in Yugoslavia and the United States, arguing that Popović uses the crisis that tore the New York Art and Language group apart to address the unraveling of politicized Conceptual art practice in Belgrade's Student Cultural Center.

中文翻译：

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纽约贝尔格莱德的适应不良斗争的How叫荒野

1974年至1975年之间，来自南斯拉夫贝尔格莱德的概念画家ZoranPopović和艺术史学家妻子JasnaTijardović在纽约呆了一年。在此期间，他们与纽约艺术和语言小组紧密合作。这种友谊和合作促成了概念艺术中东西方交流的罕见情况：波波维奇和蒂亚尔多维奇在美国《狐狸》杂志上发表了合著和个人文章，并发表了《艺术与语言》（Mel Ramsden，Michael Corris和吉尔·布雷斯通（Jill Breakstone）于1975年秋天在贝尔格莱德的学生文化中心举行了一次研讨会。这次交流的最重要成果之一是佐兰·波波维奇（ZoranPopović）的电影《挣扎在纽约》，这是他在2007年回纽约时所做的1976年秋天，其中包括纽约艺术与语​​言学院的成员以及1970年代中期曼哈顿市中心艺术界的其他艺术家和活动家。本文认为，在这部电影中，波波维奇使用纪录片技术来建立一个空间，以展示激进的艺术实践，对艺术机构进行激烈的批评。这样，这部电影标志着机构批判的极限位置，该批判完全接近了艺术实践的废除和废弃的观念。此外，本文探讨了南斯拉夫和美国的概念艺术实践之间的一些差异，认为波波维奇利用这场危机将纽约艺术和语言组织撕裂，以解决贝尔格莱德学生文化中心政治化的概念艺术实践的瓦解。