Comrade Tito has Died
With the exhibition “Comrade Tito has Died” displayed in the House of Flowers, the Museum of Yugoslavia continues to ponder the topics that are refracted through the character of Josip Broz Tito, as well as the role, the meaning and symbolism of the space itself in which the exhibition is presented. Starting with Tito’s death, the exhibition offers the opportunity of perceiving this event, but also the social uncertainty that followed, by inviting the visitors to connect the content of the exhibition with their own memories, feelings, experiences, and knowledge. The “common people” were given a big role in the exhibition, and for the first time, in this space, critical voices were introduced as well.
This collage-type exhibition is composed of various materials: of photographs, documents, press, batons, posters, followed by artefacts that represent a combination of folklore, folk handcraft, and outsider art, as well as art works by Dragan Srdić, Goranka Matić, Novi kolektivizam (New Collectivism) and Milenko Mihajlović.
The author of the exhibition is curator Tatomir Toroman, an ethnologist, who explains it in the following way:
“Tito was the most recognizable, strongest and inviolable symbol of socialist Yugoslavia, and this exhibition deals specifically with this aspect. His death decapitated the symbolic order and caused a dramatic crisis in the Yugoslav society. The reaction to it involved collective, mass and various forms of symbolic communication – honours, unrestrained outbursts of emotions, grand funeral, vows, songs and gifts, celebrations of his birthday years after his death. However, some saw the event as a unique opportunity for change, so criticism, provocations and disputes followed. In the social drama that socialist Yugoslavia was going through, we selected three levels – the first is official, state, normative; the second is national, direct and personal; and the third is a disputing level. We believe that by combining these three levels, we will contribute to a better understanding of the complexity of socialist Yugoslavia and the role of Josip Broz Tito in it, as well as of our legacy.”
The visual identity, graphic design and spatial solution were made by architect and designer Andreja Mirić. The following curators contributed to the set-up of the exhibition: Marija Đorgović, Simona Ognjanović, Ana Panić, as well as Radovan Cukić, Aleksandra Momčilović Jovanović, Jovana Nedeljković, Milica Tomić, Veselinka Kastratović Ristić, Vesna Mikelić, Vesna Mirković, Emilija Aćimović and Vladimir Čeh.
The Origins: The Background for Understanding the Museum of Yugoslavia
Creation of a European type of museum was affected by a number of practices and concepts of collecting, storing and usage of items.
New Mappings of Europe
Starting from the Museum collection as the main source for researching social phenomena and historical moments important for understanding the experience of life in Yugoslavia, the exhibition examines the Yugoslav heritage and the institution of the Museum