Telling ‘through’ the texts of the historical avantgardes, Wostok performed a double perspective, giving both historical perspective and continuity to the absurd, a view on the social processes from both past and future. The connection to the historical and neo-avantgardes of Yugoslavia can be seen in the very framework of the comics fanzine, selforganized comics production of local collectives and workshops, interdisciplinarity of his projects which evolved to the complex performances – his overall methodology carries the continuity with the mechanisms of the emancipation of art from the official cultural infrastructure, which constitutes, according to Aldo Milohnic, the basic intervention of radical amateurism in Yugoslavia. Alternative culture in Serbia 1990s, the context which allowed alternative comics to develop their experiments and manifestations, claimed this continuity with the radical amateurism either through their manifestos (Low Fi Video movement, 1997-2003) or through their contemporary responses and methods of resistance to commodification, professionalization and allienation of culture (computer demo scene, Kosmoplovci collective). Wostok comprised all those practices, participates in them, and inspires new generations to draw from this continuity.

ALEKSANDRA SEKULIC

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