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The ‘Oho’ group was one of the most important conceptual art groups and movements of former Yugoslavia. Their intention was to find the path toward the autonomous essence of things. The name itself arose from the blending of the two Slavic words, oko (eye) and uho (ear). Supposedly it marked the need to unify the sense for the new outlook (close to the philosophy of rheism) and its non-violent, qualitative transformation that would go beyond the rationalist modern civilization. The group was active between 1965 and 1970. In that period from the group of like-minded enthusiasts, poets, visual artists and film workers dissatisfied with contemporary life, civilization and cultural activities (particularly those in their native socialist society) –it has grown into the most relevant artistic movement of its time. The numerous members developed group’s activities through varied artistic practices such as conceptual art, performance, happening, concrete and visual poetry, mail art, Arte Povera, experimental film et al. Books were published in the Edition OHO. Many collaborated with various culture-themed journals such as Perspectives, Tribuna, Problemi, and Znamenja (Markings). Promoting the interdisciplinary and multimedia approach, the members of the OHO pointed at the importance of the holistic approach to reality in order for its radical transformation. Their art practices and procedures were developed spontaneously, autonomously, simultaneous to the tendencies of the international scene, which had made them active participants in creating of the language of the contemporary art. Their greatest success came with the inclusion at the Informations 1970 exhibit held at Museum of Modern Art in New York. The members, realizing they were perhaps becoming the cultural elite, deliberately decided to break-up. Marko Pogačnik withdrew with his family and several friends to Šempas, the village in the Vipava river valley, where he established an alternative commune named Family from Šempas.

Alongside the OHO group founders Marko Pogacnik, Iztok Geister Plamen and Marjana Ciglič, this group consisted of Milenko Matanović, Andraž Šalamun, Tomaž Šalamun, David Nez, Matjaž Hanšek, Naško Križnar, Vojin Kovač Chubby, Aleš Kermavner, Franci Zagoričnik, Marika Pogačnik, Zvona Ciglič, Nuša and Srečo Dragan. The broader circle of collaborators included artists, theoreticians, critics and philosophers Ivo Volarič-Feo, Slavoj Žižek, Braco Rotar, Bojan Brecelj and Drago Dellabernardino.

The OHO program wanted to overcome the ideas of the Western rationalism, not specifically those of the socialist society. Their activity, the way they looked and behaved (inspired by the counter-culture of the 60’s), their alternative lifestyles, the condemnation of philistinism and growing consumerism, their theoretical foundation and artistic practices based on different perception of reality, their perception of freedom experienced outside of the realm of ideological norms of the socialist Yugoslav society, had deeply disturbed and provoked the representatives and officials of the government, including the cultural elite of the time.

Film production occupies special place in the OHO group activity. All members, in varied ways, took part in the making of them. But with their focus on the medium of film particularly excelled Naško Križnar and Marjan Ciglič. Film production is perhaps the best indicator of the group’s intermedia interests. In a sense, they extend and unite the literary experiments and research of language as material with the adequate visual methods. At the same time, the underlined structuralism of the film activity serves as a formal framework for documenting, constructing and performing of their actions and happenings in public space. It also represents space for the metaphorical exposition of their ecologically aware, anti-consumerist attitudes in favor of the alternative models for civilization and society.