In the late 1960s and '70s, artists in Yugoslavia rejected the official language of expression licensed by the regime, abstract art, and replaced it with "anti-art" - works on the borderline of the form that balanced between amateurism and professionalism and breached modernist conventions. These artists seized upon the opportunities to disseminate their art offered by film clubs - public institutions that brought together amateur artists and served as enclaves of freedom. "As Soon as I Open My Eyes I See a Film" explores this crucial period in the Yugoslav art scene and situates it in the broader cultural context of Central and Eastern Europe.

In the late 1960s and '70s, artists in Yugoslavia rejected the official language of expression licensed by the regime, abstract art, and replaced it with "anti-art" - works on the borderline of the form that balanced between amateurism and professionalism and breached modernist conventions. These artists seized upon the opportunities to disseminate their art offered by film clubs - public institutions that brought together amateur artists and served as enclaves of freedom. "As Soon as I Open My Eyes I See a Film" explores this crucial period in the Yugoslav art scene and situates it in the broader cultural context of Central and Eastern Europe.

In the late 1960s and '70s, artists in Yugoslavia rejected the official language of expression licensed by the regime, abstract art, and replaced it with "anti-art" - works on the borderline of the form that balanced between amateurism and professionalism and breached modernist conventions. These artists seized upon the opportunities to disseminate their art offered by film clubs - public institutions that brought together amateur artists and served as enclaves of freedom. "As Soon as I Open My Eyes I See a Film" explores this crucial period in the Yugoslav art scene and situates it in the broader cultural context of Central and Eastern Europe.