Život umjetnosti: postsocijalizam? // postsocialism?

8/15/2019 Život umjetnosti: POSTSOCIJALIZAM? // POSTSOCIALISM?

1/22


2/22

Život umjetnosti

-

ČASOPIS ZA SUVREMENA LIKOVNA ZBIVANJA MAGAZINE FOR CONTEMPORARY VISUAL ARTS

-

broj 94 / 2014.


3/22

Ulica grada Vukovara 68/III10 000 ZagrebHrvatska / CroatiaT. +385 1 6112744F. +385 1 6112742E. [email protected]. www.ipu.hr

za izdavača / for the publisher

Milan Pelc

glavna i odgovorna urednica /

editor in chief

Sandra Križić Roban

izvrŠna urednica / eXecutive editor

Sanja Horvatinčić

uredniŠtvo / editorial board

Leonida Kovač, Suzana Marjanić,Jelena Pašić, Irena Šimić, Vanja Žanko

prijevod / translationMarina Miladi nov (engleski / English)Ana Nemec (njemački / German)

lektura i korektura / language

editor and proofreading

Mirko Peti

dizajn i prijelom / design and layout

bilić_müller studio

grafička priprema / prepress

bilić_müller studio

tipografija / typography

Neue Helvetica, Minion Pro

tisak / printed by

Printera, Zagreb

naklada / print run

50 0

izdavanje časopisa financijski podupiru

ministarstvo kulture republike hrvatske,

ministarstvo znanosti, obrazovanja i

sporta republike hrvatske i gradski ured

za obrazovanje, kulturu i Šport grada

zagreba. / the magazine is financially

supported by the ministry of culture

of the republic of croatia, ministry of

science, education and sport of the

republic of croatia and the office for

education, culture and sports of the

city of zagreb.

Prilozi objavljeni u Životu umjetnostireferiraju se u Arts&Humanities Citation

Index (od 2008.) i bibliografskoj bazipodataka Elsev ier – Abstract & Indexingproducts SCOPUS (od 200 9.). / Životumjetnosti is abst racted and indexed (since2008) in Arts&Huma nities Citation Index;Elsevier Bibliographic Databases – Abstract& Indexing products SCOPUS (since 2009).

cijena / price

40 Kn / 8 € + pp

issn 0514-7794

(tiskano izdanje / printed issue)

issn 1849-2207

(online izdanje / online issue)

izdavač / publisher

Izdavanje časopisapotpomogao je ERSTEStiftung. / This projecthas been supported byERSTE Foundation.


4/22

ŽIVOT

UMJETNOSTI


5/22


6/22

Pojmovni kaos vremena u kojem trajemo kao da potvrđujepostavke Paula Virilioa o estetici iščeznuća. Sve gubi rang, razinu

i ukorijenjenost u određenome prostoru. Umjesto otvorenostivremena, implozija informacija sažima prostornu rastezljivost donulte točke zaborava prošlosti. Zbog toga nije nipošto čudno dase od 1989. godine i pada Berlinskoga zida s punim pravom može

govoriti o nastanku događaja bez svijeta, o prelasku društvenihodnosa u mreže tehnosfere, o ubrzavanju i zastarijevanju onog što je još preostalo od ideje radikalno novoga, s kojim je modernostotpočela kao pohvala znanosti i tehnike, totalne mobilnosti,stvaralačke euforije, eksperimenta svijeta u znakovima „novogačovjeka“. Pojmovi danas više ne dolaze iz onoga što nazivamorealnošću. Apsolutna konstrukcija svijeta odlučuje o konceptualnomearhipelagu. Tehnogeneza novih virtualnih svjetova pokazuje nam danelagoda s inacijom preksa post , neo, meta i trans pogađa gotovo

sva područja života koja nastojimo prisvojiti u novom kognitivnomemapiranju. Ako ubrzavanje vremena oduzima dah zato jer se radi o

The conceptual chaos of the age in which we persist seems

to conrm the hypotheses of Paul Virilio on the aesthetics ofdisappearance. Everything loses its rank, its level and roots in aparticular space. Instead of the openness of time, the implosion ofinformation contracts the spatial extensibility to the zero point ofoblivion in regard to the past. Therefore it is barely surprising thatsince 1989 and the fall of the Berlin Wall one can speak, completely

justiably, about the emergence of events without the world, aboutthe transfer of social relations into the networks of the techno-

sphere, and about the acceleration and outdating of what is left ofthe idea of radical novelty, which is what modernity started withas a laudation of science and technology, of total mobility, creativeeuphoria, and the experiment of the world in the sign of the “newman”. Concepts no longer originate in what we call reality. Theabsolute construction of the world decides about the conceptualarchipelago. The techno-genesis of new, virtual worlds indicatesthat the uncanny feeling caused by the ination of prexes such as


7/22

akceleraciji informacija, tada je jasno da se taj proces, poznat

iz lozojskih analiza Deleuzeove ontologije digitalnoga doba,mora istom igrom intenziteta snaga događati u onome što je

još preostalo od društva, politike, umjetnosti, kulture u najširemsmislu riječi. Preksi post , neo, meta i trans nisu, dakle, tekpukom modom izricanja stanja novosti, prelaska granica,

nadilaženja okvira, preusmjeravanja ideja s kojima je modernostotpočela kao furija napretka, a završila uglavnom onako kako

je to opisao Walter Benjamin u 9. Filozojsko-povijesnoj tezi .Ondje se, naime, govori o slici Paula Kleea Angelus Novus kao

paradigmi melankolije i propasti, jer anđeo na slici predstavljasvijest o katastro nadolazećega i o melankoliji onoga što jeprohujalo u vremenu.Pojmovi više ne odgovaraju realnosti naprosto zbog

toga što je svijet nakon 1989. godine u znaku globalnogaporetka neoliberalne distopije. Pritom su razlike izmeđuoligarhijske politike upravljanja društvom istodobno rezultat

post-, neo-, meta-, and trans- affects almost all spheres of life

that we seek to appropriate in this new cognitive mapping. If theacceleration of time leaves one breathless because it is, in fact,the acceleration of information, then it is clear that this process,known from the philosophical analyses of Deleuze’s ontologyof the digital age, must happen with the same play of intensityin that which is left of the society, politics, art, and culture inthe broadest sense of the word. Thus, the prexes post-, neo-,meta-, and trans- are not some sort of fashion in expressing thestate of novelty, the transgression of borders, the surpassingof frameworks, or the redirection of ideas with which modernityonce started in the fury of progress and ended largely as WalterBenjamin described it in its 9th Thesis on the Philosophy of

History . He speaks there about the painting Angelus Novus byPaul Klee as a paradigm of melancholy and decline, since theangel represents the awareness of the looming catastrophe andthe melancholy of what has gone with the winds of time.


8/22

krize suverenosti današnje nacije-države. Jedan od takvihnormativno-deskriptivnih pojmova kojim politolozi i sociolozinastoje objasniti prevlast mediokracije nad građanskimsudjelovanjem u javnim politikama jest i pojam postdemokracije.

Nije riječ ni o kakvome sumraku vrijednosti slobode ipravednosti u suvremeno doba. Štoviše, pojam u svojojneodređenosti upućuje na isključivanje naroda iz procesaodlučivanja. Sve se zbiva tako što elite moći oblikuju svijetdeliberativne demokracije, a umjesto političke jednakostigrađana suočavamo se posvuda s uzurpiranjem slobode uime učinkovitosti kompetentnoga odlučivanja o političkiminteresima većine. A kada više ono što se događa nema u sebirazliku između autentičnosti i vulgarnosti događaja kao takvoga,nestaje metazička shema istine i vrijednosti povijesti kao cilja

i svrhe ljudske avanture. Tako je i s pojmom postsocijalizmakoji se često povezuje s pojmom postkomunizma. Ako jepotonji pojam vezan uz strogo razlikovanje spram ideologije

Concepts no longer t the reality simply because, since 1989,

the world has been in the sign of the global order of neoliberaldistopia. Thereby the differences between the oligarchic politicsruling the society are at the same time a result of the crisis ofsovereignty in today’s nation-state. One of such normative-descriptive concepts that the political scientists and sociologistshave been using in their attempt to explain the prevalence ofmediocracy over civic participation in public politics is the notionof postdemocracy . It is not some sort of twilight of the values offreedom and justice in the present times. In its vagueness, theterm indicates the exclusion of the people from the decision-making process. What happens is that the power elites shape theworld of deliberative democracy, and instead of political equalityamong the citizens one encounters everywhere the usurpation offreedom for the sake of efciency in competent decision-makingabout the political interests of the majority. And when the eventas such no longer includes any difference between authenticity

POS T S OC IJ A L IZA M?

KRATKA POVIJEST

IŠ Č EZNU Ć A

POS T S OC IA L IS M?

A SHORT HISTORY

OF D IS A PPEA R A NC E


9/22

liberalizma, onda je postsocijalizam pojam koji se može odreditirazlikovanjem u odnosu na društvene poretke kapitalizma.

Već je odatle jasno da razlikovanje spram liberalizma ikapitalizma čini jasnu ideologijsko-političku razdjelnicu izmeđuekonomije kao temelja društvenih odnosa i politike kao načinavladavine društvom u dva modela povijesnoga razvitka. Pojampostsocijalizma uspostavio se danas kao neka vrsta tehničkogatermina za teorijsko i uopće kulturalno traganje za svijetom životau okružju istočnoeuropskih društava od 1917.–1989. godine ubivšem Sovjetskom Savezu, a od 1945.–1989. godine u drugimzemljama gdje se uspostavio ideologijsko-politički poredak realnoga socijalizma. Bez obzira na sve precizne teorijske razlike

između pojmova socijalizma i komunizma u tekstovima KarlaMarxa i marksista od Engelsa do različitih struja društvenih

pokreta za dokidanjem kapitalizma od sredine 19. stoljeća dokraja 20. stoljeća u svijetu, može se reći da je za razumijevanjestrukture i prakse realnoga socijalizma odlučujuće sljedeće:

and vulgarity, the metaphysical scheme of truth and the value of

history as the goal and purpose of human adventure disappear.The same happens with the notion of postsocialism, which isoften linked to that of postcommunism. If the latter is associatedwith a strict differentiation with regard to the ideology ofliberalism, then postsocialism is a term that can be dened bymeans of differentiation with regard to the social arrangementsof capitalism. It is quite clear that the difference betweenliberalism and capitalism functions as a clear ideological and

political demarcation line between economy as the basis ofsocial relations and politics as a way of governing the society, intwo models of historical development. The term “postsocialism”has emerged as a sort of technical term for the theoreticaland generally cultural quest for the lifeworld in the context ofEastern European societies: from 1917-1989 in the former SovietUnion, and from 1945-1989 in other countries that featured theideological and political order or real socialism. Regardless of all


10/22

1. politička vladavina komunističke partije i totalitarnoga Vođe u„narodnim demokracijama“;2. društveni poredak bez privatnoga vlasništva i državniaparat koji vlada s pomoću totalne birokratske kontrole nadstanovništvom;3. zapovjedna ekonomija zasnovana na industrijskome radu kao

pretpostavci ubrzane modernizacije društva;4. ideologijsko-političko dokidanje razlike između političke državei građanskoga društva;5. koloniziranje svijeta života i stvaranje novoga konceptademokratizirane kulture s kojom nestaje razlika između „visokekulture“ i „masovne kulture“.Boris Groys, prominentni teoretičar avangardne umjetnostii voditelj interdisciplinarnoga znanstvenog projekta o

postkomunizmu u Istočnoj Europi, zacijelo je najvjerodostojnijeocrtao paradokse utemeljenja političke revolucije umjetnostiu realnome socijalizmu Staljinova doba i zahtjeve za obnovom

precise theoretical distinctions between the terms “socialism”

and “communism” in the works of Karl Marx and the Marxists,from Engels to various currents in the global social movementsfor the abolition of capitalism between the mid-19th and thelate 20th century, one may say that the decisive elements forunderstanding the structure and practice of real socialism arethe following:1. Political rule of the Communist Party and a totalitarian Leaderin “popular democracies”;2. Social arrangements without private property and thepresence of a state apparatus that rules by means of totalbureaucratic control over the population;3. Directive economy based on industrial work as a preconditionfor accelerated modernization of the society;4. Ideological and political abolition of the difference betweenthe political state and the civil society;5. Colonization of the lifeworld and the creation of a new concept


KRATKA POVIJEST

IŠ Č EZNU Ć A


A SHORT HISTORY



11/22

00

pamćenja o događajima od 1917.–1989. godine „danas“. Uoba slučaja, kako u totalitarnome konceptu umjetnosti kaoideologije u službi poretka diktature Partije i Vođe, tako i udanašnjem razračunavanju s nadomjestkom slobode u likuneoliberalne tiranije tržišta, posrijedi je konstrukcija društvai novoga čovjeka. Avangarda se ne može prepustiti tekestetskim obnovama sjećanja na „zlatno doba“ izgradnjemonumentalnih spomenika i projekta modernosti izvan logikepotrošačkoga društva Zapada. Naprotiv, kada se u teorijskimpretpostavkama istraživanja kulture svijeta života u realnomesocijalizmu danas govori o idejama socijalne pravednosti,

društvene participacije i performativne kritike kulta Vođe, tada je potrebno jasno razlučiti što znači razlikovanje sjećanja ipamćenja na događaje iz povijesti modernosti na prostorima

bivše Jugoslavije osobito, jer se čini da je za postsocijalizam uautentičnoj formi singularnoga iskustva umjetnosti to iznimkakoja i potvrđuje i ne potvrđuje pravilo.

of democratized culture, which abolishes the difference

between “high culture” and “mass culture”.Boris Groys, a prominent theoretician of avantgarde artand the head of an interdisciplinary scholarly project onpostcommunism in Eastern Europe, has most convincinglyoutlined the paradoxes in the rationale of the political revolutionof art in the real socialism of Stalin’s era and the “present”requirements of memory revision regarding the events from1917-1989. In both cases, namely in the totalitarian concept ofart as the ideology serving the dictatorship of the Party andthe Leader, and also in today’s coping with the surrogate offreedom in the form of the neoliberal tyranny of the market, thecentral element is building up the society and the new man.The avantgarde should not indulge in mere aesthetic revisionsof memories about the “golden era” of building monumentalsculptures and projects of modernity that escape the logic ofWestern consumerist society. On the contrary, when speaking


12/22

Pojmovni sklop unutar kojeg postsocijalizam ima svoje

mjesto normiranja događaja iz prošlosti moderne konstrukcijei dekonstrukcije kulture kao nove ideologije u političkimznanostima 1990-ih do danas određen je „tranzicijom“.Budući da je sporno ne samo prema čemu se ide nakonpropasti društvenoga poretka realnoga socijalizma, ako tonije više samorazumljivost liberalne demokracije, kapitalizmas idejom tržišta i prota, čovjeka kao homo oeconomicusa,nego i zašto se događa drugi povratak u prošlost i to usmjeru regresivnih ideja nacionalističke obnove kulture protivhomogenosti globalizma, tada s pojmom postsocijalizmatreba učiniti nužno ograničenje uporabe. Jedno su istraživanjakulturalne antropologije i etnologije o svijetu života u doba„kad je željeti još pomagalo“ s preobrazbom religijskih rituala

u sekularne „tvornice iluzija“, a nešto posve drugo sjećanjena fantastični imaginarij vjerojatno najboljih umjetničkihostvarenja u svim područjima duhovnoga stvaranja. To

today of the ideas of social justice, civic participation, and

the performative critique of the Leader cult in the theoreticalpremises of exploring the culture of the lifeworld in realsocialism, one should quite clearly and specically distinguishthe remembrance and memories of events from the history ofmodernity in the territories of former Yugoslavia, since it seemsthat, for the postsocialism in the authentic form of a singularexperience of art, it is an exception that both conrms and doesnot conrm the rule.The conceptual setting in which postsocialism has its placein establishing norms for events from the past of modernconstruction and deconstruction of culture as the new ideologyin the political sciences since the 1990s has been marked by the“transition”. Since it is a matter of debate not only what is thedirection after the demise of the social order of real socialism,if it is no longer that of self-understandable liberal democracy,capitalism with its idea of the market and prot, and man as


KRATKA POVIJEST

IŠ Č EZNU Ć A


A SHORT HISTORY



13/22

2

a homo oeconomicus, but also why this second return to the

past is taking place at all, moreover in the direction of regressiveideas such as the nationalist renewal of culture against thehomogeneity of globalism, the use of the term “postsocialism”should necessarily be restricted. Cultural anthropological andethnological research on the lifeworld at the time “when wishesstill mattered”, with its transformation of religious rituals intosecular “factories of illusion”, is one thing, but remembering thefantastic imagery of probably the best artistic achievements inall areas of intellectual creation is something quite different. It isnot a paradox of real socialism, but an aporia of its ideologicalmisery and grotesqueness. If names of lm directors suchas Andrei Tarkovsky, Miloš Forman, and Andrzej Wajda, orconceptual artists such as Tom Gotovac or Oleg Kulik, are awitness of the greatness and rmness of invincible freedomagainst the inner Ketman, a term used by Czesław Miłosz inhis study on communist ideology, then one must overstep the

nije paradoks realnoga socijalizma, nego aporija njegove

ideologijske bijede i nakaradnosti. Ako su imena lmskihrežisera poput Andreja Tarkovskoga, Miloša Formana,

Andrzeja Wajde ili konceptualnih umjetnika poput TomaGotovca i Olega Kulika svjedočanstvo veličine i otporanepokornosti slobode protiv unutarnjega ketmana, o kojem u

svojoj studiji o komunističkoj ideologiji govori Czeslaw Milosz,tada je potrebno prijeći s onu stranu dogmatskih okvirapovijesti ideja. Ideologija, naime, nikad ne može biti totalnomu smislu uništenja imaginacije i slobode stvaranja čak ikada iza nje stoji permanentni teror i koncentracijski logori.

Tranzicija je tehnički termin za olako obećanje projekta kojise nužno nikad ne ostvaruje. Radi se o tome da je suvremenaumjetnost danas, kao i u doba Staljina, Tita, Maoa, upravo

sve ono što više ne pripada diskursu postsocijalizma. To jepokušaj da se pronađe mogućnost bijega i prevladavanja jazaizmeđu zahtjeva da umjetnost služi interesima nove ideologije


14/22

dogmatic boundaries of the history of ideas. For ideology can

never be total in the sense of destroying imagination and freedomof creation, even if backed by permanent terror and concentrationcamps. Transition is a technical term for an easy promise of aproject that necessarily fails. The point is that the contemporaryart of today, same as in the times of Stalin, Tito, or Mao, isprecisely all that which no longer belongs to the discourse ofpostsocialism. It is an attempt to nd a possibility for escapeand for bridging the gap to the demand that art should cater forthe interests of the new ideology of vulgar pan-economism as itsaesthetical backing and its political justication.Instead of the cult of unconditional innovation and progress,which has today been taken over by the techno-sciences in theform of biogenetics and cognitive sciences, what matters is howto return to the space of moderation with regard to the mania of“novelty”. Contemporary art cannot be worth its position, whichhas become identical with the one of contemporary philosophy.

vulgarnoga panekonomizma kao njezino estetsko pokriće ikao njezino političko opravdanje.Umjesto kulta bezuvjetne novosti i napretka, što su danaspreuzele tehnoznanosti u formi biogenetike i kognitivnihznanosti, sve je na tome kako se vratiti u prostor suzdržanostiod mahnitosti „novoga“. Suvremena umjetnost ne može bitidostojna svojeg položaja koji je postao istovjetan onomekoji zauzima i suvremena lozoja. Bez tragova u prošlosti,ali s novim otkrićem povijesnoga događanja protiv politikezaborava, njezina je sudbina u neizvjesnosti i kontingenciji

samoga života. Otvorenost se zbiva u nagovještajima iznakovima jezika i slike s onu stranu sjećanja i pamćenjaza današnje tržište kulturnim relikvijama iz doba diktatorai bonvivana. Još je važnije izbjeći najveću opasnost nove

produkcije mitologema za neoliberalne jeftine svrhe.Paradoks je postsocijalizma u tome da umjesto kritičkereeksije ideologije ovoga „sada“ i „ovdje“ postaje novom


KRATKA POVIJEST

IŠ Č EZNU Ć A


A SHORT HISTORY



15/22

4

kulturom simboličkoga otpora poretku. Kao i svaki drugikulturalni proizvod društva spektakla, on savršeno služiistom „Velikom Drugome“ i kada ga navodno kritički razara.Kulturna industrija nostalgije postaje upravo ono što je u

jednom fragmentu izrekao Walter Benjamin kad je kapitalizamproglasio novim religioznim kultom. Od postsocijalizma kao

i od tranzicije preostaju ipak samo muzeji jedne furiozno

nestalne estetike iščeznuća.

--------------Literatura kao uputstvo za daljnje čitanje:

Boris Groys, Gesamtkunstwerk Stalin, Hanser, München, 1988.

Boris Groys, Das kommunistische Postskriptum, Suhrkamp, Frankfurt/M.,2006.

Christopher M. Hann (ur.), Postsozialismus: Transformationprozesse in Europaund Asien aus ethnologischer Perspektive, Suhrkamp, Frankfurt/M., 2002.

With no traces in the past, but with the new discovery of historical

eventfulness against the politics of oblivion, its fate is in theuncertainty and contingency of life itself. Openness occurs in hintsand signs of language and image beyond remembrance and memoryfor today’s market selling cultural relics from the times of dictatorsand bon-vivants. What is even more important is to avoid the greatestdanger of all, which is producing new mythologemes for cheapneoliberal purposes. The paradox of postsocialism is that, instead ofa critical reection on the ideology of “here” and “now”, it becomesthe new culture of symbolic resistance against the social order. Likeany other cultural product of the society of spectacle, it perfectlywell serves the same “Great Other” even when allegedly destroyingit with its critique. The cultural industry of nostalgia becomesexactly what Walter Benjamin stated in one of his fragments, whenhe denounced capitalism as a new religious cult. What remains ofboth postsocialism and transition are merely museums preserving afuriously precarious aesthetics of disappearance.


16/22

--------------Suggestions for further reading:

Boris Groys, Gesamtkunstwerk Stalin. Munich: Hanser, 1988.

Boris Groys, Das kommunistiche Postskriptum. Frankfurt/M.: Suhrkamp,2006.

Christopher M. Hann (ed.), Postsozialismus: Transformationprozesse inEuropa und Asien aus ethnologischer Perspektive. Frankfurt/M.: Suhrkamp,2002.

Maša Kolanović (ed.), Komparativni postsocijalizam: Slavenska iskustva [Comparative postsocialism: Slavic experiences]. Zagreb: Zagreb School ofSlavic Studies, 2013.

Žarko Paić, Slika bez svijeta: Ikonoklazam suvremene umjetnosti [Imagewithout the world: The iconoclasm of contemporary art]. Zagreb: Litteris,2006.

Žarko Paić, Sloboda bez moći: Politika u mreži entropije [Freedom withoutpower: Politics in the net of entropy]. Zagreb: Bijeli val, 2013.

Petra Stykow, “Postsozialismus”, Version: 1.0, in: Docupedia-Zeitgeschichte (April 22, 2013), http://docupedia.de/zg/

Paul Virilio, The Aesthetics of Disappearance. New York: Semiotext(e), 2009.


KRATKA POVIJEST

IŠ Č EZNU Ć A


A SHORT HISTORY


Maša Kolanović (ur.), Komparativni postsocijalizam: Slavenska iskustva,Zagrebačka slavistička škola, Zagreb, 2013.

Žarko Paić, Slika bez svijeta: Ikonoklazam suvremene umjetnosti , Litteris, Zagreb,2006.

Žarko Paić, Sloboda bez moći : Politika u mreži entropije, Bijeli val, Zagreb, 2013.

Petra Stykow, „Postsozialismus“, Version: 1.0, u: Docupedia-Zeitgeschichte,22. 4. 2013, URL: http://docupedia.de/zg/

Paul Virilio, The Aesthetics of Disappearance, Semiotext(e), New York, 2009.


17/22

MIMO PREZE NT-PERFEKTA

IL I P ITANJEM PREKARNO G

RADA O SADAŠNJOSTI

kapitalističke

RESTAURACIJE

IVANA

HANAČEK

AR OU ND TH E PR ES EN T

PERFECT, OR: DISCUSSING

TH E PR ES EN T STA TE OF

CAPITALIST R ESTORATION

TH RO UG H TH E IS SU E OF

PRECARIOUS LABOUR

5018

TR I GE ST E:

JurJević,

Burđelez, tolJ

MARKO

STAMENKOVIĆ

TH RE E GE ST UR ES :

JurJević,

Burđelez, tolJ

60

OKTOBAR :

ISP IT IVANJE

(MOTIVA)

POSTAVLJANJA

HETEROLOGIJE

BOJANA

MATEJIĆ

OCTOBER: AN

EXAMIN ATION OF

HETEROLOGICAL

POSITS

36

JUGONOSTALGIJA:

JUGOSLAVIJA K AO

METAPROSTOR

U SUVREMENIM

umJetničkim

PRAKSAMA

MILICA P OPOVIĆ

PETRA BELC

YU GO NO STA LG IA :

YU GO SL AV IA AS

A ME TA- SP AC E IN

CONTEMPORARY ART

PRACTICES


18/22

-

forum

-

-

AN DR EA L AZ E A PUBLIC AR T IN PO ST- SO CI AL IS T

ROMANIA. THE CASES

OF BUCHAREST AND

TI MI SO AR A

-

AN A KO VA ČI Ć, SA NJ A

SEK ELJ , LEA VENE

LIKVIDACIJA

-

SANJA POTKONJAK

katarina luketić. 2013.

BA LKA N: OD GEOGRAFIJE

DO FANTAZIJE. ZAGREB,

MOSTAR: ALGORITAM

-

WALTER SEIDL

SOWJETMODERNE

1955-1991. unBekannte

GESCHICHTEN

S A D R ŽA J / B R . 94

C ONT ENT S / NO. 94

114

AR HI TE K TO NS KE PR AK SE

POSLIJERATNE BOSNE I

HERCEGOVINE I ODNOS

prema nasliJeđu iz

RAZDOBLJA SOCIJALIZMA

NINA

STEVANOVIĆ

AR CH IT EC TU R AL

PRACTICES IN POST-

WAR BOSNIA AND

HERZEGOVINA: THE

TR EA TM EN T OF

SOCIALIST LEGACY

86

KRIT IKA IDEOLOŠKE

KONSTRUKCIJE IDEN TITETA

sociJalističke JugoslaviJe

u muzičkim videoradovima

VENCEREMOS (133)

I DISCIPLINE GRUPE

BORGHESIA

VANJA

TERZIN

A CR IT IQ UE OF ID EO LO GI CA L

IDENTITY CONSTRUCTION

IN SOCIALIST YUGOSL AVIA:

MUSIC VIDEO CLIPS

VENCEREMOS (133) AND

DISCIPLINE BY BORGHESIA

76

DESERTED

UTOPIA

TANJA

DEMAN

DESERTED

UTOPIA

104


19/22

2

d j j jznanosti na Filozofskom

f džb i zb, „Fjfj“. t hđposlijediplomski doktorski

j jž, bhj, Filozofskom fakultetu u Zagrebu,

j žjteorijska i interdisciplinarna

čj j,

fj jj j. B fj hforšpana za kino i televiziju.

PETRA

BELC

TANJA

DEMAN

v j đu Splitu. Diplomirala je

skulpturu na Akademiji likovnih

umjetnosti u Zagrebu te

završila poslijediplomski studij

fj iPiet Zwart u Rotterdamu.

Studijski je boravila u Nirox

Fondation, Johannesburg,

kk a, Bč,obf kühshwf, njč, iUniversity of Pennsylvania,

SAD. Sudjelovala je na brojnim

žb, bj f. njradovi dio su nekoliko javnih

zbirki. Deman koristi medije

fj, fž .ižj hj š

h jđ jž, š-č b j ž.www.tanja-deman.com

Has graduated philosophy

and religion at the Faculty of

Philosophy of the Society of Jesusin Zagreb, with a thesis on the

“Philosophy of Photography.”

Currently she is involved in a

doctoral programme in literature,

performing arts, cinema,

and culture at the Faculty of

Humanities and Social Sciences in

Zagreb, her research focusing on

the theoretical and interdisciplinary

y ,experimental cinema, and

photography through the prism

of intersection between reality

. sh in experimental photography and

h f fcinema and television.

Visual artist born in Split. She has

graduated sculpture from the

Academy of Fine Arts in Zagreband completed her postgraduate

hhyat the Piet Zwart Institute in

Rotterdam. Her residences include

Nirox Fondation (Johannesburg),

KulturKontakt Austria (Vienna),

obf kühSchwandorf (Germany), and

Indiana University of Pennsylvania

(USA). She has participated in

a number of exhibitions, as well

festivals. Her artworks have been

included in several permanent

exhibitions. Deman uses the

media of photography, photo-

collage, and video to explore the

psychology of the environment

through architectural heritage

and landscape, as well as the

dynamics of the socio-political

space that we inhabit.

www.tanja-deman.com

IVANA

HANAČEK

Ž zb, j ngo-, j žkustoski kolektiv BLOK. Bavi

se produkcijom i medijacijom

suvremene umjetnosti u javnom

prostoru i jedna je od kustosica

UrbanFestivala. Aktivno se bavi

edukacijom i predaje likovnu

umjetnost u Islamskoj gimnaziji

. ah sjć. ti kritike redovito objavljuje na

tć Hradija (Triptih), Kulturpunktu,

u Zarezu i u hrvatskom

j jč l diplomatique. Kao freelance

j š žb zemlji i inozemstvu, samostalno i

u suradnji. Dobitnica je nekoliko

nagrada za svoj (uglavnom

ć) .

VESNA

JOVANOVIĆ

Lives in Zagreb and works at an

NGO known as the women’s

curatorial collective BLOK. Sheis involved in the production and

mediation of contemporary art

in public space and is a co-

curator of UrbanFestival. Active

h f , hteaches visual arts at the Islamic

Secondary School “Dr. Ahmad

sjć”. H x criticism are regularly published

by the Third Programme of the

Croatian Radio (Tryptich ), in

Kulturpunkt and Zarez , as well

as the Croatian edition of the

monthly Le monde diplomatique.

As a freelance curator, she has

designed a number of exhibitions

in Croatia and abroad, alone or

in collaborations. She has won

several awards for her (mostly

unpaid) work.

Practicing architect involved in

territorial urban research and

teaching at ETH Studio Basel 2011. sh bher Master’s degree from the

University of Belgrade, and a

Postgraduate degree from the

Berlage Institute in Rotterdam.

She has worked as an architect

in Rotterdam on several projects

B f h 51n4e f,on large scale urban studies for

Istanbul and on a restructuring

project for the Brussels

Metropolitan Region. She has

guest lectured at the UdK, Berlin,

MARCH, Moscow, the Cultural

Center of Belgrade (KCB),

Belgrade, and the Institute for

Housing and Urban Development

Studies (IHS), Rotterdam.

Arhitektica koja se bav i

teritorijalnim urbanim

žj j ETH Studio u Baselu od

2011. . s j sčš Beogradu, a postdiplomski studij

završila je na Institutu Berlage

u Rotterdamu. Radila je kao

arhitektica na nekoliko projekata

r, 51n4e Bruxellesu, na urbanim studijama

velikih razmjera za Istanbul, kao

i na projektu restrukturiranja šire

gradske regije Bruxellesa. Bila je

č j

UdK u Berlinu i MARCH u Moskvi,kao i na Kulturnom centru

Beograda (KCB) i Institute for

Housing and Urban Development

Studies (IHS) u Rotterdamu.


20/22

ANA KOVAČIĆ / LEA

VENE / SANJA SEKELJ

Kustoski tim Galerije Miroslav

kjć, f za suvremenu umjetnost,

ć j, žj,

predstavljanju i dokumentiranjuh jčh h j č č j šj,osobito odnose politike i estetike.

IOGR A FIJ E

IOGR A PH IES

Curatorial team of Miroslav

kjć gy,

- f venue for contemporary art,

dedicated to the promotion,

research, presentation, and

documentation of contemporary

artistic and intellectual practices.

The team analytically and critically

explores the present, especially

the relationship between politics

and aesthetics.

Bavi se postdoktorskim

žj u Vest u rumunjskom Temišvaru,

jč jumjetnosti u Bukureštu i

tš. tđ j profesor na Fakultetu za

umjetnost i dizajn. Diplomirala

j j j sčš Bš, bstipendistica Agence Universitaire

de la Francophonie za doktorsko

žj bš Rumunjskoj (Scoala Naţională de

Studii Politice şi Administrative)

Fj (sčš Bordeauxu). Disertacija joj je

bjj 2012. rumunjskom jeziku pod naslovom

Prilog antropologiji spomenika i

pobaštinjenje. Pitanje povijesnih

spomenika u Rumunjskoj. Glavne

j žj

kulturna baština, „pobaštinjenje“i javna umjetnost, a objavila je niz

č j č knjigama na te teme.

ANDREEA

LAZEA

Postdoctoral researcher at the

West University of Timisoara,

Romania, works on the topic ofsocialist public art in Bucharest

and Timisoara. She is also

associate lecturer at the Faculty of

Arts and Design. After graduating

Philosophy and Anthropology

at the University of Bucharest,

she obtained a doctoral grant

from Agence Universitaire de

la Francophonie for carrying a

research on the cultural heritage

in Romania (National School

of Political and Administrative

Studies) and in France (University

of Bordeaux). Her thesis was

bh r 2012under the title For an anthropology

of monuments and heritagization.

Perspectives on historical

monuments in Romania. Her main

research interests are the cultural

heritage, the heritagization, and

the public art and she published

a number of articles and chapters

in scholarly journals and collective

books on these topics.

MILICA

POPOVIĆ

BOJANA

MATEJIĆ

Studentica doktorskih

Interdisciplinarnih studija na

Grupi za teoriju umetnosti i

medija Univerziteta umetnosti u

Beogradu. Radi na tezi pod radnim

naslovom „Emancipacijske prakse

u savremenoj teoriji umetnosti“

pod mentorstvom dr. Leva Krefta

i sumentorstvom dr. Miodraga

Šć. sj j šžb, j fj čj j j u zemlji i inozemstvu. Stipendistica

je Ministarstva prosvete i nauke

rb sbj ž j projektu „Identiteti srpske muzike

u svetskom kulturnom kontekstu“

Katedre za muzikologiju Fakulteta

č B. až j j žč đj čj pj na osnovnim, master i doktorskim

j F č

umetnosti u Beogradu, kao i načj oš j na doktorskim Interdisciplinarnim

studijama Univerziteta umetnosti u

Beogradu.

m 2012. ué p 2 phé- Assas u Parizu s master radom

na temu „Jugonostalgija –

Jj č jhpionira“ pod mentorstvom

profesora Yves Surela. Osnovn

studij završila je na Pravnom

fakultetu Univerziteta u Beogra

t hđ kplatformu u Zagrebu u okviru

koje se bavi suodnosima

umjetnosti i proizvodnje u

SFRJ i postjugoslavenskom. Žš j žj j jj, j jćj postjugoslavenskih društava.

Doctoral candidate at the

Interdisciplinary Studies, Group

for the Theory of Art and theMedia, Art University of Belgrade.

She is working on a dissertation

titled Emancipatory Practices

in Contemporary Art History ,

supervised by Dr. Lev Kreft and

co-supervised by Dr. Miodrag

Šć. sh h a number of exhibitions, projects,

f h fart theory and culture in Serbia

and abroad. With a scholarship of

the Serbian Ministry of Education

and Science, she is involved in

the project on the “Identities of

Serbian Music in the Global Cultural

Context” at the Chair of Musicology,

Faculty of Music in Belgrade.

Works as assistant researcher,

teaching Applied Aesthetics on

the BA, MA, and PhD levels at the

Faculty of Music in Belgrade, as

well as General Art Theory at the

doctoral Interdisciplinary Studies, Art

University of Belgrade.

Graduated from the Law Facu

at the University of Belgrade

and obtained her MA degree 2012 f h uép 2 phé-a, wha thesis on Yugonostalgia -

Yugoslavia through the Eyes o

the Last Pioneers, supervised

by Prof. Yves Surel. Currently

attends the Curatorial Platform

in Zagreb, where she focuses

on the relationship between

art and production in socialist

Yugoslavia and the post-

Y . H of interest are Yugonostalgia,

theories of remembrance, and

the post-Yugoslav societies.


21/22

4

MARKO

STAMENKOVIĆ

ižč- cza etiku i vrijednosna ispitivanja

(Univerzitet u Gentu, Belgija).

Diplomirao je na katedri za

povijest umjetnosti Filozofskog

fakulteta u Beogradu i magistrirao

čj h na Univerzitetu umjetnosti u

Beogradu. Njegova doktorska

teza, na kojoj radi od rujna

2011. prof. dr. Toma Klasa, nosi naziv

„Kulture samoubistva: Teorije

čj

- Transnacionalna kulturalna ij (2001.–2011.)“.h://../ MarkoStamenkovic

SANJA

POTKONJAK

Doktorirala etnologiju i kulturnu

antropologiju na Filozofskom

f sčš zb,na kojem je i zaposlena u

statusu znanstvene suradnice.

Predaje kolegije iz kvalitativne

metodologije i etike znanstvenog

rada i rodnih studija. U posljednjej b žjpostsocijalizma i temama poput

transformacije javnih prostora,

jćj .

WALTER

SEIDL

d j čjsuvremene kulturne povijesti. Od

2004. đj jčzbirku zaklade ERSTE Grupe,

j j č jčj čj šjič e. zhjjć zanimanju za fotografski medij u

j, s j đ jč jč c Austria. Bio je kustos brojnih

žbh j š e,Sjeverne Amerike, Hongkonga,

J Jž af. u j,recenzijama i kritikama uglavnom se

bavi transformacijama u politici slika

i konstelacijama identiteta koje su ujj ž. o 2011. Wb uy Bč j , žć jna Odjelu za kustostvo.

Holds a PhD in Ethnology and

Cultural Anthropology from

the University of Zagreb. She h hDepartment of Ethnology and

Cultural Anthropology, Faculty

of Humanities and Social

Sciences, University of Zagreb,

Croatia where she teaches

qualitative methodology, ethics

and gender studies. Recently,

she has been doing research

on post-socialism, with special

emphasis on public spaces in

transformation, post-socialist

public aesthetics, dissolution

of socialist communities, and

cultures of work.

Holds a PhD in contemporary cultural

hy. s 2004, h h b

building up the art collection of ErsteGroup and ERSTE Foundation,

which focuses on conceptual art

tendencies in the region of former

Eastern Europe. Due to his focus on

the medium of photography in art,

Seidl has also become involved in

the work of Camera Austria. He has

curated numerous exhibition projects

throughout Europe, North America,

Hong Kong, Japan and South Africa.

The focus of his essays, reviews

and criticism centres mainly on the

transformation in image politics and

the identity constellations inherent

h. s 2011, h h ban adjunct professor for Curatorial

Studies at Webster University Vienna.

PhD researcher at the Center for

Ethics and Value Inquiry (University

of Ghent, Belgium). He holds hisBA in Art History and an MA in

Cultural Policies from the University

of Arts in Belgrade (Serbia). His

doctoral thesis, undertaken since

sb 2011 by Prof. Dr. Tom Claes, bears the

title Suicide Cultures. Theories and

Practices of Radical withdraal - A

Transnational Cultural and Media

Paradigm (2001–2011).

h://../ MarkoStamenkovic

Doktorandica na odsjeku za

Teoriju i historiju arhitekture

Arhitektonskog fakulteta

(etsaB) thč f

kj (upc), j žjpitanje odnosa arhitekture,

j ()jkulturnog identiteta na primjeru

valorizacije arhitektonskog

jđ bj jna prostoru zemalja koje su

č sFrJ. m o odnosu pristupa revitalizaciji

h jđ č j hidentiteta obranila je na istom

fakultetu, dok je diplomu

h žj na Arhitektonskom fakultetu

Univerziteta u Sarajevu, gdjetrenutno na Filozofskom fakultetu

završava magistarski studij iz

čj j j jž.

NINA

STEVANOVIĆ

PhD candidate at the Department

of the Theory and History of

Architecture at the Faculty of Architecture (ETSAB), Polytechnic

University of Catalonia (UPC),

where she researches the

relationship between architecture

and ideology, and the process

f (-) ,on the example of evaluation of

architectural heritage from the

socialist period in the territories

of former Yugoslavia. She

has graduated architectural

engineering from the Faculty

of Architecture, University of

Sarajevo and obtained her MA

degree from the same university,

with a thesis on approaches to

the revitalization of architectural

h h wy f cultural identities. Currently she is

writing an MA thesis in art history

and comparative literature at the

Faculty of Humanities and Social

Sciences in Sarajevo.


22/22

IOGR A FIJ E

IOGR A PH IES

VANJA

TERZIN

d 2010. na Odsjeku za muzikologiju

i etnomuzikologiju Fakulteta

č Bna temu „Romi kao metafora

B ‘th t fGypsies’ Emira Kusturice“. Iste

godine upisala je doktorski

studij Univerziteta umetnosti

u Beogradu, Odsek za teoriju

umetnosti i medija. Zaposlena je

mčj Bkao urednica i organizatorica

2010. , bj poslove vezane uz manifestaciju

b čj gBeograd, u funkciji direktorice

mđ čjmč 2012.godine.

g 2010 f hChair of Musicology and

Ethnomusicology, Faculty ofMusic in Belgrade, with a thesis

on The Roma as a Metaphor of

the Balkans in the Opera “Time of

the Gypsies” by Emir Kusturica.

In the same year, she began her

PhD studies at the Art University

of Belgrade, Department of Art

Theory and the Media. Since

2010, h h b w fthe Musical Youth of Belgrade as

an editor and coordinator, and

2012 h h borganizing special events for the

City of Belgrade as the director of

the International Competition of

Musical Youth.

Život umjetnosti: postsocijalizam? // postsocialism?

Documents