The Yugoslav Documents exhibition held in 1989 in Sarajevo was one of the last large-scale
“Yugoslav exhibitions” before the dissolution of the country. To understand the socio-political
context of that decade better, and to answer the question how and why such an exhibition was
possible in 1989, we should explain with a handful of events and contextual factors of the late
1980s, including the political climate, the cultural politics of the time, and give a brief overview of
postmodernism as the leading artistic style of the day in Yugoslavia.
Written for the The Heritage of 1989. Case Study: The Second Yugoslav Documents Exhibition, Moderna galerija, Ljubljana
Words like solidarity, fraternity, equality, peace, and fight against imperialism, colonialism, and apartheid resonated at the NAM summits, at UNESCO seminars on culture, at political rallies around the world, in museums… It also seemed as though art and politics were united in their quest to create utopian models adapted to social and political changes. It is no coincidence that experimental museology and concepts such as the integrated museum, the social museum, the living museum, and the museum of the workers were widely discussed in the so-called Global South.
The text was first published at the L’Internationale on-line: http://www.internationaleonline.org/
Presented at the seminar “commons” in the frame of the Glossary of Common Knowledge, Moderna galerija Ljubljana: http://glossary.mg-lj.si/
Spremna beseda k slovenski izdaji knjige Claire Bishop, Založba Maska, Ljubljana 2013.
Umetni pekli, spremna beseda – pdf
Umetnik kot politiziran subjekt_SLO – pdf
Ko je Tomaž Mastnak konec osemdesetih napovedal vzpon t.i. totalitarizmov od spodaj je pravzaprav govoril o civilni družbi, ki je postala vpeta v hegemone odnose in boje za premoč v obvladovanju določenih segmentov družbe. A če je bila ta vpetost konec osemdesetih let značilna predvsem za odnose med civilno družbo in državo, za današnji čas nedvomno velja, da se kaže na vseh ravneh, in ena ključnih značilnosti tega procesa je skorajda popolna pasivizacija in nevtralizacija političnosti subjekta (oziroma depolitizacija njegovih zahtev po preobrazbi družbe in onemogočanja vznika politike) ki ga v končni fazi nadomesti ekscesni afekt.
This is All Film! – pdf
with Jurij Meden
Experimental film – one of the most exciting forms of cinematic expression and, paradoxically, also one of the most ignored by the various (historical, theoretical, critical, economic, academic, etc.) discourses on the cinema – has long been predominantly the domain of rather marginalized theory and practice, separated from the mainstream. One of the few “mainstream” theoreticians and philosophers (of not only film) to dedicate at least some interest to experimental film was Gilles Deleuze.
A text for NPB_Basbaum – pdf
Ricardo Basbaum’s works very often deal with the questions of “locating”, the “self”, “otherness”, and with the ways of forming various relationships between them and other elements, discourses, narratives, and social contexts. These connections are usually presented in the form of diagrams – mental pathways that can, in their extreme form, be interpreted as an analogy to the thought of Deleuze and Guattari: “becoming” or crossing creates an intermediate space where ideas, concepts, and elements pick up speed and become unique and new with every moment, thus expanding the possibilities of existence. Such spaces are filled with contradictions as well as potentials. Basbaum calls this process “transatravessamento”.