On February 19th, 2015, Clemente Padín, the elder statesman of Uruguayan art, replied to an email from his compatriot and young artist Francisco Tomsich with a fateful attachment:
Sanja Horvatinčić, PhD, a researcher at the Institute of Art History in Zagreb, applies a bottom-up, heritage-from-below methodology to analyze Yugoslav WWII monuments and modernist architecture.
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