Yugoslavia — Serbia
The collective activity of the Belgrade Surrealists began in the inspiring atmosphere brought on by two Surrealist manifestos by André Breton. The first joint edition the almanac Nemoguće-L′impossible was published in 1930 in Belgrade, with the manifesto signed by thirteen founding members of the movement.The members of the Belgrade Surrealist movement published their contributions or acted as editors in avant-garde publications, they released the official periodicals of the movement, and in addition to textual contributions and various forms of extensions to the traditional creative process, their publications also included pieces made through visual experimentation, published novels, collections of poetry, essays, etc. In the period before the rise of Surrealism as an organised movement, between 1922 and 1930, several periodical publications were released with contributions from, or edited by, future Surrealists bringing texts that were in one way or another related to Surrealism.
In the journal Putevi, published from 1922 in Belgrade, the collaborators were Marko Ristić, Dušan Matić, Aleksandar Vučo, Milan Dedinac, and others. The new series of this journal was started in 1923, with Marko Ristić and Miloš Crnjanski co-editing its triple issue in 1924. Among other material, this journal published three excerpts from an essay by André Breton, that had appeared for the first time in Littérature, selected and translated by Marko Ristić. In Svedočanstva, Marko Ristić published his article “Nadrealizam” (Surrealism), which was the first paper produced in our culture to address this phenomenon, and it appeared immediately after the publication of the Manifesto of Surrealism by André Breton.
In the exhibition held in 1969 at the Museum of Contemporary Art in Belgrade, entitled Nadrealizam―Socijalna umetnost 1929-1950 (Surrealism―Social Art 1929-1950), the work of the Belgrade Surrealists was reconstructed, studied and exhibited as a whole for the first time. The activities of the Belgrade Surrealists were contextualised in the major exhibition of global Surrealism, Der Surrealismus 1922-1942, organised by Patrick Waldberg, a historian of Surrealism, held in 1972 in Munich and Paris. Within this project almost all the members of the Belgrade Surrealist circle were represented with a total of 43 works. In that way these creations were exhibited at the European level as well, and were duly integrated into the broader context of this phenomenon. At home, the last presentation of the Serbian Surrealism was the exhibition Nemoguće, umetnost nadrealizma (The Impossible: the Art of Surrealism), curated by Milanka Todić (PhD), and realised in 2002 at the Museum of Applied Arts in Belgrade.