As the Cold War gained momentum in Europe, Tito’s break with Stalin led to Yugoslavia being expelled from the Eastern bloc in 1948. Confronted with this new reality, the Yugoslav government decided to bridge the indeterminacy of its cultural politics through a creative strategy: it commissioned young artists and architects to draft the aesthetics of a non-Soviet form of socialism.

The publication, like the exhibition itself, presents a variety of approaches that, through specific events and historical contexts, survey the theories and practices of radical leftist politics of the 1960s and 1970s and the relationship between politics and aesthetics.

Sweet Sixties is a long-term trans-regional research initiative working between art, research, media, and educational contexts around the world. Involving a particular group of experimentally oriented arts and research groups as well as individual artists, researchers, and media, Sweet Sixties investigates hidden histories or underexposed cultural junctions and exchange channels in the revolutionary period of the 1960s.

Titled Divided We Stand, the 9th Busan Biennale in South Korea focused on the theme of divided territories caused by war, conflict, or colonization, and also considered individuals’ feelings of separation, anxiety, fear, or paranoia that result from such geopolitical traumas.

The exhibition “The Whole Earth” is an essay composed of cultural-historical materials and artistic positions that critically address the rise of the image of “One Earth” and the ecological paradigm associated with it. The accompanying publication includes image-rich visual essays that explore key themes: “Universalism,” “Whole Systems,” “Boundless Interior,” and “Apocalypse, Babylon, Simulation,” among others.