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Journal articles on the topic 'Art, Yugoslav'
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1
Calovic, Dragan. "Art politicking in postwar Yugoslavia." Zbornik Matice srpske za drustvene nauke, no. 137 (2011): 533–46. http://dx.doi.org/10.2298/zmsdn1137533c.
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In this paper, we are focusing on the process of art politicking in Yugoslav art theory in the period from 1945 to 1952. The work time span is determined by the existence of the Apparatus for agitation and propaganda, by means of which the development of art theory and practice was greatly determined in the postwar Yugoslavia. The set problem is to be approached through consideration of demands which official art theory was set to Yugoslav artist of this period, as well as through consideration of artistic and theoretic frames by which perspective of art politicking was determined. In this paper, art politicking is seen like specific manifestation of ideological position by which official political platform in the period from 1945 to 1952 was built. According to this, interpretation of art politicking not only as act of propaganda, but as well as symbol of fight for accomplishment of vision of new Yugoslav society is proposed.
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MATKOVIĆ, ALEKSANDAR. "CONCEPTUAL ART AND SOCIAL DEVIANCE IN SFR YUGOSLAVIA." Kultura polisa, no. 44 (March 8, 2021): 205–21. http://dx.doi.org/10.51738/kpolisa2021.18.1r.3.04.
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The paper investigates the relationship between the phenomenon of conceptual art and various manifestations of social deviance in the area of the Socialist Federal Republic of Yugoslavia. The first part discusses the general relationship between conceptual art and social deviance, while the second part presents the socio-political context in which Yugoslav conceptual art developed during the 1970s. The third part is dedicated to recognizing and analyzing several socially deviant forms that can be noticed in connection with the mentioned segment of Yugoslav art from the 1970s. Special attention is paid to the category of deviant phenomena which we defined as “anti-system deviations.” In the final, fourth part, the peculiarities of socially deviant Yugoslav conceptual art manifestations are noticed. Among the more significant insights, the considerable presence of anti-system deviations within the activities of one part of the Yugoslav conceptual scene was emphasized. The ambivalence of the Yugoslav regime in terms of its attitude towards the artistic neo-avant-garde was also identified: on the one hand, a significantly more liberal attitude compared to the Eastern Bloc regimes, but also readiness for decisive persecution in case of open encroachment on the ruling order. As one of the primary conclusions, it was noticed that Yugoslav conceptual art (following the fate of Yugoslavia as a state “between East and West”), in terms of social deviance, was also halfway between conceptualists from Western countries and those from the Eastern Bloc. In that sense, the socio-political regime in the SFRY provided a much higher degree of personal and artistic freedoms than was the case in most socialist states, but at the same time vigorously sanctioned anti-systemic and anti-state actions to ensure the ruling order.
3
Videkanić, Bojana. "Yugoslav Postwar Art and Socialist Realism: An Uncomfortable Relationship." ARTMargins 5, no. 2 (June 2016): 3–26. http://dx.doi.org/10.1162/artm_a_00145.
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This text examines the first official exhibition of the Yugoslav Association of Fine Artists, and the theoretical, socio-political, and institutional contexts of the Socialist Realist period in Yugoslav art (spanning roughly the years between1945 and 1954). Post-war artistic and cultural environment, the first exhibition, and critical aesthetic debates around Socialist Realism exemplify Yugoslavia's struggle to make sense of, and implement, Socialist Realism as an official artistic, cultural, and political category. Its development paralleled the state's own wrestling with notions of socialist governance and its proper implementation. Difficulties with Socialist Realist aesthetic and the ensuing paradoxes in its adaptation in Yugoslav art are at the core of the dialogs, theoretical discourses, and critical responses to the first exhibition. My analysis uses accounts and reviews of the exhibition, as well as official writings and arguments presented by the state and cultural officials to argue that Yugoslav art of the time was in fact transgressive, a hybrid of modernism and Socialist Realism. Rather than reading its hybridity as a failure, as some have argued, I read the hybridity of Yugoslav art as a space of possibilities that would have opened a new art praxis in Yugoslavia of the time.
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Atanasovski, Srđan. "Socialism or Art: Yugoslav Mass Song and Its Institutionalizations." AM Journal of Art and Media Studies, no. 13 (September 15, 2017): 31. http://dx.doi.org/10.25038/am.v0i13.185.
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The genre of the mass song is one of the fundamental phenomena in aesthetics and practice of socialist realism. Mass songs are supposed not only to be accessible to the lay audience, but also to be composed in a way that invites the participation of amateurs. Importantly, the institutions which have been disseminating the mass song under state socialism, such as various institutions of education, culture and art, have also served as mechanisms for the normalization of its ideological content. This article summarizes important aspects of the concept of the mass song in general and offers a multifaceted exemplification, before proceeding to discuss the history of mass songs in socialist Yugoslavia (including, by and large, what is usually referred to as partisan songs), with emphasis on the institutional framework through which they were practiced and disseminated, and on specificities that the genre had accrued within the Yugoslav framework. This historical framework of practicing mass songs in Yugoslavia provides a platform for opening the question of intrinsic incompatibility between the project of a classless society and the institution of art. In regards to this, article discusses contemporary practice of Yugoslav mass songs as practiced by self-organized choirs and their new political potential. Article received: May 6, 2017; Article accepted: May 14, 2017; Published online: September 15, 2017Original scholarly paperHow to cite this article: Atanasovski, Srđan. "Socialism or Art: Yugoslav Mass Song and Its Institutionalizations." AM Journal of Art and Media Studies 13 (2017): 31-42. doi: 10.25038/am.v0i13.185
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Radović, Srđan. "Channeling the Country’s Image: Illustrated Magazine Yugoslavia (1949–1959)." AM Journal of Art and Media Studies, no. 13 (September 15, 2017): 17. http://dx.doi.org/10.25038/am.v0i13.180.
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This paper briefly reviews and discusses the contents of the illustrated magazine Jugoslavija (Yugoslavia), published from 1949 to 1959, and edited by prolific Yugoslav intellectual and artist Oto Bihalji-Merin. This edition is critically examined as a means of creating an image of Yugoslavia in the years of momentous political and social changes in Yugoslav society, and during the height of the Cold War and country’s realignment in international relations. Serving also as a cultural window to the outside world, Jugoslavija promulgated concepts of a specific Yugoslav modernity, ethnic and national diversity, and a ‘third position’ on the global political and cultural map of the 1950s. Article received: May 5, 2017; Article accepted: May 13, 2017; Published online: September 15, 2017Original scholarly paperHow to cite this article: Radović, Srđan. "Channeling the Country’s Image: Illustrated Magazine Yugoslavia (1949–1959)." AM Journal of Art and Media Studies 13 (2017): 17-30. doi: 10.25038/am.v0i13.180
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Praznik, Katja. "Alternative culture, civil society and class struggle." Maska 35, no. 200s3 (December 1, 2020): 58–69. http://dx.doi.org/10.1386/maska_00043_1.
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Abstract The abridged Chapter 5 from Praznik’s Slovenian book The Paradox of Unpaid Artistic Labour: Autonomy of Art, the Avant-Garde and Cultural Policy in the Transition to Post-Socialism (Ljubljana: Sophia, 2016) reconsiders alternative art workers’ political agenda of the 1980s in light of political transformations of late Yugoslav socialism and the emergence of neo-liberal rationality. During the 1980s, art workers of the alternative art scene in Yugoslavia aimed to redefine and transform socialist production model by critiquing socialist ideology and institutions without taking issue with class differences in the arts. The chapter demonstrates how the 1980s alternative art scene did not consider transformations of working relations of the freelance art workers who were at that time redefined by cultural policy as socialist cultural entrepreneurs. By examining government’s attitudes of and policies for artistic labour the author argues that the spontaneous absorption of neo-liberalism (the realization of personal freedom) and exclusive focus on the critique of repressive state apparatuses during the late Yugoslav socialist period undermined the mandate of the welfare state’s institutions, which secured collective social reproduction and security. After the destruction of Yugoslavia in the early 1990s, the protagonists of the alternative art scene became members of the post-socialist precariat of self-employed cultural entrepreneurs who are divorced from social security and economic stability.
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Petrov, Ana. "In Search of ‘Authentic’ Yugoslav Rock: The Life and Afterlife of Bijelo Dugme." AM Journal of Art and Media Studies, no. 13 (September 15, 2017): 43. http://dx.doi.org/10.25038/am.v0i13.182.
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In this article I address the ways in which rock band Bijelo Dugme (White Button) has become one of the symbols of the former Yugoslavia, by analyzing its activities and reception, both in the Yugoslav and the post-Yugoslav periods. Starting from 1974, when its first album was released, Bijelo Dugme gained high popularity and drew the attraction of the public due to its specific sound and image. Being between the East and the West, Yugoslavia’s popular music scene was constantly focused on searching for a kind of music that would epitomize the ‘authentic’ Yugoslav music. The folk-influenced hard rock sound (so-called shepherd rock) was recognized as such a feature and it soon became one of the symbols of Yugoslav culture itself, making Sarajevo one of its epicenters. I here argue that the band appears to be a Yugoslav symbol since (1) its active years coincide precisely with the period in Yugoslavia that was marked with relevant changes, beginning with its 1974 constitution and ending with its disintegration; (2) it is regarded as a feature representing one of the most important successes of the country’s popular music industry; and (3) it has had a specific ‘afterlife’ that sheds light on the ways culture in the Yugoslav era is perceived currently. Article received: May 1, 2017; Article accepted: May 8, 2017; Published online: September 15, 2017Original scholarly paperHow to cite this article: Petrov, Ana. "In Search of ‘Authentic’ Yugoslav Rock: The Life and Afterlife of Bijelo Dugme." AM Journal of Art and Media Studies 13 (2017): 43-59. doi: 10.25038/am.v0i13.182
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Mancic, Ivana. "Outside of Memories We Belong, Women of Yugoslavia." Identities: Journal for Politics, Gender and Culture 17, no. 2-3 (December 30, 2020): 82–88. http://dx.doi.org/10.51151/identities.v17i2-3.460.
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This article addresses the issues surrounding the Yugoslav Civil War by offering my personal narrative in relation to loss and disappearance resulting from the exposure to war and sanctions in the nineties and the “Merciful Angel“ operation of the bombing of Serbia by NATO in 1999. It thus focuses on the female interpretation of people, ways of life, buildings and human artifacts belonging to the historical period of communist Yugoslavia which once were, yet no longer remain. The work with archives, especially the photographs which originate from my personal family possession, brings closer these ghosts of the past times to the present moment. At the same time, photography is a means to investigate the position and treatment of women during and after the period of Yugoslavia, their efforts and struggles for emancipation. The usage of photography as a visual narrative allows an insight into the lives of women during communism through the lens of my closest female family members. The article tackles different issues concerning women in communist Yugoslavia, and follows certain steps in their history, from the emancipation following the Second World War and participation of women in battle as combatants and nurses, their efforts in rebuilding the country and subsequent reestablishment of patriarchal values which occurred at the start of Yugoslav Civil war and conflicts that marked it. Autoethnography as a research method combined with personal narrative allows a deeper understanding of culture and values of Yugoslav society and their subsequent clash. In addition to this, it celebrates the importance of female voice and activism in the constant battle against patriarchy and women who chose to defy it by acknowledging responsibility and the patriarchal nature of war. Photographic practice-based research allows an insight into individual stories which form a deeper understanding of the pre- and post- war Yugoslav society and political circumstances surrounding it. Author(s): Ivana Mancic Title (English): Outside of Memories We Belong, Women of Yugoslavia Journal Reference: Identities: Journal for Politics, Gender and Culture, Vol. 17, No. 2-3 (Winter 2020) Publisher: Institute of Social Sciences and Humanities - Skopje Page Range: 82-88 Page Count: 7 Citation (English): Ivana Mancic, “Outside of Memories We Belong, Women of Yugoslavia,” Identities: Journal for Politics, Gender and Culture, Vol. 17, No. 2-3 (Winter 2020): 82-88. Author Biography Ivana Mancic, Nottingham Trent University Ivana Mancic is a Ph.D, researcher in Fine Art, School of Art and Design at Nottingham Trent University, U.K., with the focus on art practice aimed at the production of multi-disciplinary artworks, videos and installations, the purpose of which is to display the personal narrative to address the issues of war, loss and belonging, related to the specificity of the ex-Yugoslav context in order to contribute to the developing of the female voice of artists and pacifists in contemporary art. The personal narrative is presented in the written form through artworks, texts, essays and reflections on war experiences and current world crises through intersections between the present and the past.
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Ilić, Marko. "“Made in Yugoslavia”: Struggles with Self-Management in the New Art Practice, 1965–71." ARTMargins 8, no. 1 (February 2019): 6–30. http://dx.doi.org/10.1162/artm_a_00225.
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In September 1978, Zagreb's Gallery of Contemporary Art staged the first survey exhibition of conceptual and performance art in Yugoslavia: The New Art Practice, 1966–78. Forty years on, the phenomenon continues to attract a substantial amount of scholarly and curatorial attention, largely because of its globally-renowned affiliates, such as Marina Abramović, Sanja Iveković and Mladen Stilinović, among others. But academic work has been hesitant to address the deeper political, economic and institutional factors that underpinned the New Art's emergence and secured its prolific development. This article proposes that the New Art both came out of, and responded to, a complex and contradictory moment in Yugoslavia's history, when the country began to integrate itself deeper into the Western capitalist world system. It follows the emergence of the OHO group in Ljubljana and two particular episodes in the youth centers of Zagreb and Novi Sad alongside a brief, but decisive, period of liberalization, which began with a massive economic reform in 1965 and was briefly interrupted by a crisis in federal politics in 1971/2. To this end, it examines how artists addressed the impact of these developments on Yugoslav “self-managing” socialism, and its promises of grassroots participation and a more experimental political culture. While stressing the absolute importance of situating the New Art Practice in its precise historical context, the article seeks to provide a new model for a transnational study with a Pan-Yugoslav focus – by mapping how artistic ideas circulated in the Yugoslav cultural space, it provides a glimpse into the tightly woven networks of exchange that enabled the New Art scenes to thrive.
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Praznik, Katja. "Artists as Workers." Social Text 38, no. 3 (September 1, 2020): 83–115. http://dx.doi.org/10.1215/01642472-8352259.
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This article offers a contribution to the political economy of creative labor in socialist Yugoslavia, tracing the emergence of a socialist entrepreneur from the shell of an art worker. It discusses shifts in economic policies that restructured the economic and material conditions of art workers from models based on welfare in the early socialist period to a freelance and self-employment labor model implemented during the last decade of Yugoslav socialism. Linking socialist political economy with the study of art, the article analyzes legal regulation and rare artists’ interventions concerning the material conditions for artistic labor to animate the political critique of relationship between art and labor. The study of Yugoslav art workers’ demise reveals the detrimental effects of the bourgeois ideology of autonomy and creativity. Informed by feminist critique of reproductive labor, the argument is based on an analogy between housework and artistic labor to uncover mutual mechanisms of naturalization and economic disavowal of these types of labor. The author demonstrates that, unlike the ways in which reproductive labor is devalued, the exceptionality of creative work and the unique status of artists, which socialism maintained and glorified, made their form of labor vulnerable to exploitation and disavowal. The dissolution of labor identity of artists pitched creativity and subsistence against each other and became significant for neoliberal exploitation of artistic labor after the violent destruction of socialist Yugoslavia in 1991. Separating art from subsistence in the interest of articulating the value of artistic autonomy reintroduced false dichotomies and situated art at the heart of twenty-first-century forms of capitalist exploitation.
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Petrov, Ana, and Andrija Filipović. "Introduction: Towards Yugoslav Studies." AM Journal of Art and Media Studies, no. 13 (September 15, 2017): 1. http://dx.doi.org/10.25038/am.v0i13.186.
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Introductory essay for Main Topic: Towards Yugoslav StudiesPublished online: September 15, 2017How to cite this article: Petrov, Ana, and Andrija Filipović. "Introduction: Towards Yugoslav Studies." AM Journal of Art and Media Studies 13 (2017): 1-4. doi: 10.25038/am.v0i13.186
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Bago, Ivana. "Yugoslavia as World History: The Political Economy of Self-Managed Art." ARTMargins 8, no. 1 (February 2019): 73–93. http://dx.doi.org/10.1162/artm_r_00230.
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Branislav Jakovljević's study on performance and self-management in Yugoslavia and Armin Medosch's research on New Tendencies and post-Fordism share a number of analytical frameworks that the review argues partake in a broader shift towards political economy as a key framework for art historical inquiry. This shift elicits what could once again be called a world-historical perspective: both of these books anchor their narratives in post-war Yugoslavia but only in order to show that the telling of the story of Yugoslav art requires the telling of the story of the world, a story that is not simply an instance of global or transnational (art) history. Instead, these accounts affirm a certain political teleology; they (re)turn to Yugoslavia to recall something that is lost, a ruptural, future-bound history that never saw its future, and whose interrupted course they historicize, offering a recourse to historical understanding as a step towards a new strategy of resistance.
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Dedić, Nikola. "On Yugoslav Poststructuralism: Introduction to “Art, Society/Text”." ARTMargins 5, no. 3 (October 2016): 93–101. http://dx.doi.org/10.1162/artm_a_00160.
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“Umetnost, družba/tekst” was an editorial published in the Slovenian journal Problemi-Razprave (Problems-Debates) in 1975. The journal was the central outlet of the so-called Slovenian Lacanian school and as such the most important place for the reception of French anti-humanist philosophy in the former Yugoslavia. The concept of the journal was based on interpreting French post-structuralism in the spirit of the Tel Quel magazine, anti-humanist Marxism in the spirit of Louis Althusser, theoretical psychoanalysis in the spirit of Jacques Lacan and his followers, as well as on a special blend of Lacanian psychoanalysis and Althusserian ideology critique, which characterised the French journal Cahiers pour l'Analyse. One might also find theoretical and conceptual similarities between Problemi and other French post-structuralist periodicals, such as Peinture, cahiers théoriques and Cahiers du cinéma. The editorial presented here is thus a unique example of introducing structuralism, post-structuralism, and Lacanian psychoanalysis into debates about society, culture, ideology, and art in Yugoslavia in that time.
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Mijatović, Aleksandar. "Mono-kronološki ‘post’: sinkronizacija međuvremena nacija u povijestima jugoslavenske književnosti Antuna Barca i Pavla Popovića i (post)-jugoslavenska književnost." Poznańskie Studia Slawistyczne, no. 17 (November 6, 2019): 127–43. http://dx.doi.org/10.14746/pss.2019.17.9.
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In this paper, I approach to the relationship between the art and the democracy via discussion of two histories of Yugoslav literatures. I propose and try to defend a thesis that both accounts of the history of Yugoslav literatures synchronize temporalities of the different national literatures, reducing thereby differences between them. Both histories substantialize Yugoslav literature as a remnant of the lost community. They argue that immediacy of that community had dissolved into the variety of nations, which led separate lives under the rule of empires. In the name of that mythical past, heterogeneous temporalities are synchronized to the single temporal flow. However, the similar substantializing operation and synchronization is present in the more recent concept of (post)-Yugoslav literature.
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Милановић, Алекса. "TRANS ARTIVIZAM NA POSTJUGOSLOVENSKOM PROSTORU." ГОДИШЊАК ЗА СОЦИОЛОГИЈУ 29, no. 1 (December 28, 2022): 169–83. http://dx.doi.org/10.46630/gsoc.29.2022.10.
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This text explores the field of trans artivism in the post-Yugoslav space as a platform of social and political intervention. Trans artivism is approached as a form of political art, but also of social action with a potential to enable and support social and political mechanisms of change. In other words, trans artivism is a hybrid modality of artistic and activist work enacted as a strategy of resistance to transphobia. In the post-Yugoslav space, trans artivism often appears as the most potent mode of social intervention left for the trans community. I explore both artistic practices made by trans artists and trans-related art which uses trans-related elements and approaches. The analysed examples are illustrative of the attitude that the social majority has towards gender minorities as well as of the attitudes that the trans individuals themselves have towards their own bodies, identities, and the wider trans community. Keywords: artivism, transgender, community organizing, post-Yugoslav space, trans community
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Jankov, Sonja. "Re-Thinking Architectural Modernism in Contemporary Art: Jasmina Cibic, Dušica Dražić and Katarina Burin." AM Journal of Art and Media Studies, no. 16 (September 5, 2018): 85. http://dx.doi.org/10.25038/am.v0i16.256.
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This paper analyses how three contemporary female artists approach Modernist architecture and its ideological context. Jasmina Cibic in her contemporary interdisciplinary installations addresses politization of architecture – both at the time it was conceptualised and now, when it is related to past political regimes. For Cibic, architectural objects are signifiers of larger narratives. This is how she approaches Slovenian trade fair that was supposed to be realised in 1941, but has never been, numerous renovations of the former summer residency of Yugoslav president Josip Broz Tito, lack of documentation on the Pavilion of Kingdom of Yugoslavia at the 1929 World Expo and the Palace of Yugoslav Federal Executive Council. In the case of Dušica Dražić, the paper focuses on her work New City, a large maquette of a non-existing city that contains buildings chosen from projects that were actually built but eventually destroyed. Katarina Burin fabricates sketches, documentary materials, architectural scale models, technical drawings and furnishings which are aesthetically, technically and theoretically bounded to the architectural design of the 1950s, in order to create Gesamtkunstwerk which criticizes the absence of women from architectural history of the time. Article received: March 24, 2018; Article accepted: April 10, 2018; Published online: September 15, 2018; Preliminary report – Short CommunicationsHow to cite this article: Jankov, Sonja. "Re-Thinking Architectural Modernism in Contemporary Art: Jasmina Cibic, Dušica Dražić and Katarina Burin." AM Journal of Art and Media Studies 16 (2018): 85−98. doi: 10.25038/am.v0i16.256
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Kerkezi, Recep. "Transformation of Modernism in Socialist Yugoslavia Architecture." PRIZREN SOCIAL SCIENCE JOURNAL 2, no. 3 (November 12, 2018): 18. http://dx.doi.org/10.32936/pssj.v2i3.61.
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The Socialist Yugoslavia regime, which was established after World War II, led to innovations in many areas, spreading the modernism that Yugoslavia inherited from the Kingdom period to many areas. It also allowed freedom of expression and opened up to Western European countries kel social, political, commercial and so on kel compared to the Soviet Union and other Eastern European countries. Provided the development of relations. These openings also led Yugoslav artists to explore various artistic movements abroad and to be inspired from abroad. In this study, it is aimed to examine the effects of the ideological background of the new regime on architecture. The effects of Tito on the transformation of the modernist movement that emerged in the Kingdom of Yugoslavia through the Tito period and the development and change of art and architecture.
Keywords: Yugoslavia, Modernism, Architecture, Socialist
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Bago, Ivana. "The City as a Space of Plastic Happening: From Grand Proposals to Exceptional Gestures in the Art of the 1970s in Zagreb." Journal of Urban History 44, no. 1 (June 13, 2017): 26–53. http://dx.doi.org/10.1177/0096144217710232.
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In the period of the late 1960s and early 1970s, a number of Zagreb-based artists, critics, and curators advocated the idea that art should leave the museum and engage in a direct encounter with the city and its inhabitants. Starting with the 1971 Zagreb Salon and its “Proposal” section titled The City as a Space of Plastic Happening, art took to the streets in a series of exhibition projects at the same time as Yugoslav students did so in protests that began in June 1968 in Belgrade, and continued in other cities, including Zagreb, where they were then followed by their ideological antagonist, the “Croatian Spring” movement in 1971. The notion of plasticity was a central discursive tool in the critical and theoretical accounts of the time, and the city was both the stage and target of the artistic gestures of “plastic” transformation. The article reads these projects and the discourses surrounding them as critiques of the Yugoslav socialist city, and by metonymical extension, of the failure of the Yugoslav state to live up to its promise of a just socialist society.
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Bogojevic, Anja. "“Sad svejedno da li je istinito – glavno da je logično” Društveno angažirano umjetničko djelovanje Mice Todorović / “Now, it doesn’t matter if it’s true – the main thing is that it’s logical” Socially engaged artistic work of Mica Todorović." Journal of the Faculty of Philosophy in Sarajevo (History, History of Art, Archeology) / Radovi (Historija, Historija umjetnosti, Arheologija), ISSN 2303-6974 on-line 8, no. 8 (January 10, 2022): 131–59. http://dx.doi.org/10.46352/23036974.2021.131.
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In the Yugoslav cultural and artistic space between the two world wars, engaged artistic activity with a pronounced social function represents a reaction to complex
and generally unfavorable socio-political circumstances, economic crises, social misery, and moral agony. Although it is possible to talk about the uniformity of artistic ideas and phenomena in Yugoslav social art in the period in question, in order to understand them, it
is necessary to keep in mind the peculiarities of local communities (republics) and specific socio-political, economic, and cultural and artistic constellations that directly caused
different forms of resistance through art. The text deals with the analysis of the cycle of drawings by the Bosnian-Herzegovinian artist Mica Todorović (1900-1980) from 1933 and
its setting in thematic contexts. The drawings represent a solitary example of socially engaged artistic activity in her entire artistic opus. These drawings will be interpreted in relation to
the main trends of Yugoslav and international art of the period, and special attention will be paid to stylistic and thematic similarities and differences with the artistic expression of the
Association of Artists “Zemlja” (1929-1935). The text, a segment of the broader doctoral research on socially engaged activity in fine arts, architecture, and synthetic theater in the
interwar period in Bosnia and Herzegovina, opens new possibilities for interpreting and evaluating Bosnian-Herzegovinian social art in the said period.
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Mevorah, Vera. "Yugofuturism and subversive mimicry: Ex/Post-Yugoslav Digital (Meme) Culture." Maska 36, no. 209 (September 1, 2022): 68–80. http://dx.doi.org/10.1386/maska_00115_1.
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The text deals with digital meme culture originating in ex-Yugoslav countries and the forming of a particular post-Yugoslav, (post)digital cultural space which we will examine both in the “affirmative” context of a (yet-to-be-conceived) Yugofuturism, and that of subversive affirmation strategy. This strategy ‐ in which subversion comes not from criticism and clear resistance to any given discourse and action, but from controversial and vivid forms of overemphasis of those same ideologies and imagery ‐ at first glance seems intrinsic to digital meme aesthetics. Following the footsteps of transitions of retrogardism (Neue Slowenische Kunst) and the wider field of contemporary subversive mimicry practices in post-digital art and culture, we will explore this ex/post-Yugoslav shared space in search of a possibility of a(n) (anti)utopic Yugofuturistic discourse.
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Jauković, Desanka. "CROATIAN LITERARY CRITICS AND TRANSLATORS, AUTHORS OF ITALIAN ARTICLES IN THE JOURNAL STVARANJE (1946–1991)." Folia linguistica et litteraria X, no. 32 (2020): 123–42. http://dx.doi.org/10.31902/fll.32.2020.7.
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On the pages of the journal Stvaranje, one of the most important messengers of culture in Montenegro and Yugoslavia after the Second World War, the Italian literary and cultural reality left a unique mark, to which, as authors of numerous Italian articles, Croatian literary critics and translators made an exceptional contribution. This specific permeation is due, among other things, to the vicinity of one Adriatic coast to another, which resulted in a strong intercultural exchange, especially in those parts of the former Yugoslavia, besides Montenegro and Slovenia, it was the case with Croatia, which is geographically, historically and commercially very close to Italy. Considering this, detecting the presence and treatment of Italian contributions signed by Croatian cultural representatives contributes to the reconstruction and revaluation of literary life in this area in the post-war period, illuminating not so known part of Yugoslav cultural history. From the total of 25 articles prepared by Croatian literary critics and translators in the journal Stvaranje during the specified period, which were part of a interpretive, demonstrative or receptive review of the current Italian literary and cultural scene, is not read one-way interest in Italian literature, language and art in the narrowest, national domain but also the search for the most diverse segments of Italian culture in the Yugoslav area.
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Vukadinović, Igor. "KULTURNO I EKONOMSKO POVEZIVANJE ALBANIJE I KOSOVA I METOHIJE 1967–1971." Istorija 20. veka 39, no. 2/2021 (August 1, 2021): 375–96. http://dx.doi.org/10.29362/ist20veka.2021.2.vuk.375-396.
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Major changes in the position of Kosovo and Metohija’s autonomy in the late 1960s affected the province’s relations with Albania. In 1967, the Yugoslav State Secretariat of Foreign Affairs and the Yugoslav Federal Executive Council began to encourage cultural and economic ties between Kosovo and Metohija and Albania, justifying this as a strategy for the normalization of relations between Yugoslavia and Albania. Following the joint commemorations of the anniversary of Skanderbeg’s death in Priština and Tirana, an agreement was reached on the use of textbooks from Albania in the Kosovo and Metohija school system. The two sides organized mutual visits of folklore and art groups, as well as friendly matches of soccer teams. Kosovo companies were allowed small border traffic with Albania without any prior interstate agreements between Belgrade and Tirana. Constitutional changes in Serbia in 1969 enabled the expansion of economic and cultural cooperation between Kosovo and Albania. The University of Priština and the University of Tirana signed an agreement to hire professors from Tirana as lecturers at Priština faculties. In 1971, scientists from Tirana participated in the work of the Kosovo Archives, the Provincial Library, and the Priština Museum, while 41 Albanian professors gave lectures at the University of Priština. Reports by Albanian lecturers from Kosovo enabled the Albanian state leadership to be acquainted in detail with the political situation in Yugoslavia.
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Hočevar, Marko. "Art as praxis: Danko Grlić’s conception of art beyond technological determinism." Thesis Eleven 159, no. 1 (July 28, 2020): 96–109. http://dx.doi.org/10.1177/0725513620946944.
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The article explores the specific conception of art developed by Danko Grlić, a prominent member of the Yugoslav Praxis School. Grlić conceptualised art beyond both aesthetic norms and technological determinism. Within the context of praxis philosophy, a distinct theory of the subject and a Marxist humanist approach, he reconceptualised art as a distinct type of praxis, a revolutionary and creative practice of changing existing living conditions. The article explains how his unique understanding of art leads Grlić to analyse, criticise and refute various Marxist approaches to art: art as an ideology, art as a reflection of the objective world, art as sociological analysis. Moreover, while sharing many ideas and conceptions with Walter Benjamin’s materialist conception of art, Grlić reached the point where he became critical due to Benjamin’s belief in technology concerning processes of emancipation, which Grlić viewed with scepticism.
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Založnik, Jasmina. "The tactics of emancipation in new performative art practices in Yugoslavia (1965–1987)." Maska 35, no. 200 (September 1, 2020): 46–59. http://dx.doi.org/10.1386/maska_00029_1.
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In the contribution, I highlight cases of New Performative Art Practices in Yugoslavia in the period between 1965 and 1987 in which prominent changes in perception of the body and subjectivity emerged. With the term, I am accentuating the heterogeneity of the practices of my primary interest: I study performances, progressive theatre experiments, street theatre, contemporary dance as well as interdisciplinary performative experiments in music. By shedding light on these practices again I reveal connections between artistic practices of different periods in the aims of their attempts; in initiating socially relevant tactics and strategies and creating fresh cultural-artistic forms. By revealing the structural conditions for development and the boom of emancipatory artistic practices I show how they were socially constitutive, formed as a cause and a consequence of the Yugoslav social and political reality. The changes in approach, continued invention of new tactics and strategies, changes in contexts of work and audiences were necessary elements for assuring their social relevance and topicality.
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Badovinac, Zdenka. "Art Communities at Risk: On Slovenia." October, no. 178 (2021): 122–34. http://dx.doi.org/10.1162/octo_a_00443.
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Abstract “Art Communities At Risk: Slovenia” talks about how it is somehow easier to take a moral than a political position in times of crisis today—and how political manipulations often hide under seemingly moral attitudes. The author analyzes these issues against the background of growing authoritarian forces in Central and Eastern Europe, especially Slovenia, which saw the rise of covid-19 and Janez Janša as prime minister at the same time. Janša's government systematically ignores professional competencies in cultural institutions as well as in science, especially in relation to the epidemic.The voice of experts in the field of culture is ignored, and this is precisely because their specialized knowledge is not neutral. In a time when the space for free speech is shrinking, the need for a clear positioning becomes even more pressing. The author discusses the exhibition Bigger than Myself / Heroic Voices from Ex-Yugoslavia, which she curated for Rome's MAXXI museum last summer. The work shown there addressed Yugoslav emancipatory histories in relation to the issues of particular urgency today: global capitalism, the posthuman condition, and the return of authoritarianism, in particular. The Slovenian authorities took a hostile attitude towards the exhibition, not only because it presented critical voices from the region but also because artists from the former Yugoslavia were presented there, who, according to Slovenian right-wingers, are no longer worthy of participating in national cultural projects. Concerning the example of what is happening in Slovenia today, the essay asks why there has been such a strong turn to the right in Central and Eastern Europe, which is reviving “traditional” morality, patriarchy, and nationalism and engaging in political interference in cultural institutions. The current governments of Slovenia and other countries in the region want to get rid of the critical voices of left-wing experts in culture by favoring ostensibly neutral experts. It removes from important positions all those it considers to be leftists and replaces them with its own people in order to seemingly strike a balance between the various political options. This balancing act and new “neutrality,” however, are just one of the modern disguises of acute authoritarianism in Eastern Europe.
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Vuković, Tijana. "As a Wall Came Down…. New Boundaries, New Narratives (Yugoslavism and Yugoslav Artistic Space, Discontinuity and Fragmentation in the Core Narrative of the Cultural Institutions in Transition-Period Serbia)." Colloquia Humanistica, no. 7 (December 18, 2018): 114–34. http://dx.doi.org/10.11649/ch.2018.007.
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As a Wall Came Down… New Boundaries, New Narratives (Yugoslavism and Yugoslav Artistic Space, Discontinuity and Fragmentation in the Core Narrative of the Cultural Institutions in Transition-Period Serbia)The main aim of this overview is to trace the presence and importance of the Yugoslav narrative (dedicated to a common cultural and artistic space before, during and after Yugoslavia) as important for (re)creating and maintaining continuity and coherence in the core narrative as an internal structure of cultural institutions in Serbia, especially in the transition period (2000 – 2018). The emergence of the South Slavic unity idea at the territory of the Balkans, as we argue in the article, can be traced to a time long before the state of Yugoslavia was created as a concept. The fact that a common field (common ground) in the sense of cultural space existed long before the creation of Yugoslavia contains the assumption that common cultural ground and art space exist in the post-Yugoslav period as well. The concept of the common cultural space is also known as Yugoslav Artistic Space. The main goal of the article is to shape the conclusion that Yugoslav Artistic Space, considering its tradition, still exists despite the political changes after 1989, particularly during the ‘90s and the transition process, if not in another sense, than as a core narrative of the institutions (such as the Museum Of Contemporary Art in Belgrade, for example). It also delineates the thesis that marginalization of the Yugoslav legacy leads to discontinuity, fragmentation, and a status quo position in the transition process of Serbian cultural institutions. Kiedy mur upadł… Nowe granice, nowe narracje (Jugoslawizm i jugosłowiańska przestrzeń artystyczna, dyskontynuacja i fragmentaryzacja w głównym nurcie narracji instytucji kultury w Serbii w czasie przemiany)Celem artykułu jest prezentacja obecności i znaczenia jugoslawizmu i jugosłowiańskiej narracji, jak też fenomenu jugosłowiańskiej przestrzeni artystycznej (także po upadku Jugosławii), jako czynnika podtrzymującego kontynuację i jedność głównego nurtu narracji dotyczącego struktury instytucji kultury w Serbii w okresie przemiany (2000 – 2018). Kreacja jedności jugosłowiańskiej (południowosłowiańskiej) na terenie Bałkanów, jak będzie o tym [mowa] w tekście, ma swoje początki wiele lat przed powstaniem państwa jugosłowiańskiego. Fakt istnienia wspólnego pola w sensie kulturowym i kulturologicznym przed powstaniem Jugosławii daje nadzieję możliwości istnienia jednej kulturowej i artystycznej przestrzeni także w okresie post jugosłowiańskim, za sprawą znanego i niedawno zdefiniowanego terminu „jugosłowiańska przestrzeń artystyczna” Ješy Denegri (2011). W artykule jest położony akcent na jugosłowiańską przestrzeń artystyczną wraz z jej tradycją, która, pomimo zmian politycznych 1989 roku, a szczególnie lat 90-tych, trwa nadal w bardzo konkretny sposób, w głównym nurcie narracji instytucji kultury (czego przykładem jest Muzeum Sztuki Współczesnej w Belgradzie). [Autorka] eksponuje także twierdzenie [obecne w głównym nurcie narracji], że marginalizacja idei i tradycji juslawizmu prowadzi do zerwania kontynuacji i fragmentaryzacji, do przyjmowania pozycji status quo w procesie przemiany instytucji kultury w Serbii. Чим је Зид пао… Нове границе, нови наративи. (Југословенство и југословенски уметнички простор, дисконтинуитет и фрагментираност средишњег наратива институција културе у Србији, у периоду транзиције)Чланак представља осврт на присуство и важност југословенства и југословенског наратива, као и феномена југословенског уметничког простора (и после Југославије), у поновном успостављању и одржавању континуитета и јединства средишњег наратива као носећег, када је реч о унутрашњој структури институција културе у Србији, у периоду транзиције (2000 – 2018). Стварање јужнословенског јединства на територији Балкана, како ћемо навести у тексту, има своје почетке много пре прве концептуализације југословенске државе. Чињеница да је заједнички простор, у смислу културолошког и културног заједничког поља, постојао и пре стварања Југославије, наговештава могућност постојања јединственог културног и уметничког простора и у пост- југословенском периоду, познатим и дефинисаним управо термином југословенски уметнички простор, Јеше Денегрија (2011). У тексту се истиче да југословенски уметнички простор, узимајући у обзир његову традицију, опстаје упркос политичким променама 1989, нарочито ‘90тих година, све до данас – на конкретнији начин, или у средишњем наративу институција културе (Музеја савремене уметности у Београду, на пример). Такође, истакнута је тврдња да имаргинализација идеје југословенства и традиције југословенства, води у дисконтинуитет, фрагментацију, и status quo позицију у транзитивном процесу институција културе у Србији.
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Milanovic, Biljana. "The attitude of the state sphere towards singing associations in Serbia and Kingdom of Yugoslavia." Muzikologija, no. 11 (2011): 219–34. http://dx.doi.org/10.2298/muz1111219m.
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Financial dependence of singing societies in the state of Serbia and Kingdom of Yugoslavia is particularly analyzed in the paper, with a view to pointing to problems which hindered the advancement of music culture in the civil society. As other similar institutions of civic type, choirs did not have at their disposal sufficient financial, social and symbolic capital independent of the state, so they did not possess the power to influence on the government authorities. Although the period between World Wars brought evident improvement in the state treatment of music institutions, it could not be interpreted as a fundamental shift. The treatment of the Yugoslav singing union (Juznoslovenski pevacki savez), which fought for promotion of music culture in the Yugoslav society, is particularly indicative. This largest music organization in the country, fostering ideology of integral Yugoslavism, strived to contribute to ethnic and social cohesion of different regions through singing. In its plans for improving singing practice this organization exhibited a clear vision for activism in favor of the nation and state, but the state authorities did not know how or did not desire to make use of it. Certain information suggests indolent and at times negative, discouraging attitude of authorities towards different ways of improvement of music practice, both art and society wise, which opens a new horizon for future studies and for better comprehension of contemporary problems as well.
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Martinović, Marija. "Exhibition space of remembrance: Rhythmanalysis of memorial park Kragujevački oktobar." SAJ - Serbian Architectural Journal 5, no. 3 (2013): 306–29. http://dx.doi.org/10.5937/saj1303306m.
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War memorial architecture that emerged after World War II was a significant part of the building program of Yugoslavia. Marking the war events (traumas) is an important constituent of memory, and thus participates in the construction of contemporary knowledge regarding a given historical period. The aim of this paper is to present the influence of legislation and politics on the formation of the image of society and history of that period, through the analysis of the case study of Memorial park Kragujevački Oktobar in Šumarice, Kragujevac. After WWII, the dominant tendency in Yugoslav planning of memorials was to establish a new form of memorial park. Even though the building requirements in this case were clear, they were not carried out consistently, which left to the memorial incomplete. Nevertheless, within the Memorial park and Memorial museum in the park, there are several pieces of art of the highest quality, completed through a synthesis of different art disciplines. The influence of decisions of the authorities on the development of the Memorial park and the creation of its art will be described through the methodology of rhythmanalysis. The same analysis will be applied to determine how the construction of the park impacted the local community
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Matković, Aleksandar. "Social deviations and the "black wave" of Yugoslav cinematography: Multiperspectivity of deviance." Civitas 11, no. 1 (2021): 36–67. http://dx.doi.org/10.5937/civitas2101036m.
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The main goal of this paper is to investigate various forms of social deviations that can be related to the phenomenon of the black wave of Yugoslav cinematography. The analysis is structured according to our general typology of possible models of connection between artistic and deviant contents (1. artist as a deviant; 2. presentation of deviance as a theme of a work of art; 3. work of art as a deviant phenomenon or action [Matković, 2017]). The author noticed complex and heterogeneus perspective of the relationship between the black wave and the sphere of social deviance, present at several different levels, which provided a basis for concluding on the multiperspectivity of deviance associated with the aforementioned artistic orientation. Among other conclusions, it was pointed out that the most energetic socio-political reaction was caused by the presentation of social deviations with political connotations, as well as deviations related to the dissatisfaction of various categories of Yugoslav society (i.e. those deviations that directly threatened the survival of the official state ideology and ruling regime), while the cinematographic treatment of socio-pathological phenomena in a narrower sense, although also undesirable, was still more tolerated, being subjected to repressions of lower intensity.
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Gudović, Zoe. "Reality of female body: Feminist art in public space in post-yugoslav context." Genero, no. 21 (2017): 137–66. http://dx.doi.org/10.5937/genero1721137g.
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Savić-Bojanić, Maja, and Ilir Kalemaj. "Art and Memory as Reconciliation Tool? Re-Thinking Reconciliation Strategies in the Western Balkans." Southeastern Europe 45, no. 3 (December 21, 2021): 273–90. http://dx.doi.org/10.30965/18763332-45030001.
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Abstract The violent demise of Yugoslavia and the bloody period that marked most of the 1990s in this region have sparked academic interest in the peacebuilding and reconciliation initiatives which emerged after the conflict. Scholarly literature on the subject went in the directions of transitional justice, social psychology and socio-political approaches. However, an unexplored alley of scholarly interest remains in the role of the arts in these processes. By examining the role of arts and memory creation, this introductory article posits these against the background of a problematic reconciliation process in post-conflict areas of the Western Balkans as its core topic. Situated in a post-Yugoslav geographic space, where ethnic conflicts still hinder development, people rest much on the interpretation of the meaning of lived experiences, and the role of images, arts, myths and stories, which are used to either create or dissemble the path to peace between the many ethnic communities that inhabit this area of Europe. The use of several overlapping, yet differently interpreted themes relating to lived experiences and history shows them as symbolic transitional justice policies. They broadly deal with how such knowledges are interpreted through lived moments, such as cinema, museums and public monuments.
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Cvejić, Žarko. "Anxieties over technology in Yugoslav interwar music criticism: Stanislav Vinaver in dialogue with Walter Benjamin." New Sound 53, no. 1 (2019): 37–52. http://dx.doi.org/10.5937/newso1901037c.
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In Paris in late 1935, the exiled German-Jewish philosopher Walter Benjamin completed the first version of his well-known 'artwork essay', The Work of Art in the Age of Its Technological Reproducibility. In that essay, Benjamin famously welcomed the loss of 'aura' in art, the mystique, quasi-religious quality of unique, original, authentic, and aesthetically autonomous works of art, due to the advent of mass reproduction of artworks on an industrial scale, especially in the new arts of photography and cinema, rendering many of those quasi-religious qualities of 'auratic' art obsolete. Benjamin welcomed this in accordance with his leftist, anti-fascist political agenda, hoping that the loss of 'aura' would open art to politicization, communism's (or, at any rate, Benjamin's) response to fascism's aestheticisation of politics. That same year, 1935, in Belgrade, the capital of what was then the Kingdom of Yugoslavia, the Serbian-Jewish poet, intellectual, and literary and music critic Stanislav Vinaver wrote an essay titled Mehanička muzika (Mechanical Music). In his essay, Vinaver focused on the advent of technical reproduction in and its effects on music, an art largely ignored by Benjamin. Unlike his more famous contemporary, Vinaver was alarmed by the new technologies of radio and the gramophone record and their perceived negative impact not only on traditional music, performed live on traditional, acoustic instruments, but on organic life in general, replacing it with a mechanical surrogate carried by the waves of a dehumanizing technology. Vinaver's views were probably shaped by his passionate championing of modernism in Serbian and Yugoslav literature and music alike, which is evident not only in Mehanička muzika, but also in his criticism in general. Two more important factors may have also been the influence of the French philosopher Henri Bergson, Vinaver's one-time professor at the Sorbonne, and his valorisation of intuition in thought and artistic creativity, as well as Vinaver's somewhat nostalgic view of music as the only true and self-referential art, a view reminiscent of the re-conception of music in the early German Romantics such as E. T. A. Hoffmann, F. W. J. Schelling, and Arthur Schopenhauer, later taken up and elaborated by such disparate figures as the German music theorist Eduard Hanslick, English essayist Walter Pater, and Vinaver's own modernist hero Arnold Schönberg. Ironically, although Vinaver shared much of Benjamin's leftist politics, he did not see such a positive potential in the mechanical reproduction of music, but, perhaps, only another sign of humanity's headlong March toward self-destruction in a total war, on the wings of an aestheticised technology and instrumental reason run amok, no longer serving humanity but turning against it.
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Journal for Politics, Gender and Culture, Identities, and Naum Trajanovski. "The Partisan Counter-Archive: Retracing the Ruptures of Art and Memory in the Yugoslav People’s Liberation Struggle by Gal Kirn; a review by Naum Trajanovski." Identities: Journal for Politics, Gender and Culture 18, no. 1-2 (December 10, 2021): 106–8. http://dx.doi.org/10.51151/identities.v18i1-2.483.
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Author(s): Naum Trajanovski Title (English): A Review of the Partisan Counter-Archive: Retracing the Ruptures of Art and Memory in the Yugoslav People’s Liberation Struggle by Gal Kirn Journal Reference: Identities: Journal for Politics, Gender and Culture, Vol. 18, No. 1-2 (2021). Publisher: Institute of Social Sciences and Humanities - Skopje Page Range: 106-108 Page Count: 3 Citation (English): Naum Trajanovski, “A Review of the Partisan Counter-Archive: Retracing the Ruptures of Art and Memory in the Yugoslav People’s Liberation Struggle by Gal Kirn,” Identities: Journal for Politics, Gender and Culture, Vol. 18, No. 1-2 (2021): 106-108. Author Biography Naum Trajanovski, Graduate School for Social Research, Institute of Philosophy and Sociology, Polish Academy of Sciences. Naum Trajanovski (Graduate School for Social Research, Institute of Philosophy and Sociology, Polish Academy of Sciences) is a PhD candidate at the GSSR. He was a project co-coordinator at the European Network Remembrance and Solidarity (2017) and a researcher at the Faculty of Philosophy, Ss. Cyril and Methodius University – Skopje (2018-2020). His major academic interests include memory politics in North Macedonia and sociological knowledge transfer in 1960s Eastern Europe. He authored several papers and a monograph, in Macedonian, on the memory politics in the state after 1991.
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Domazet, Sanja. "SPORT IN THE LIFE AND ART OF NOVELISTS." SPORTS, MEDIA AND BUSINESS 8, no. 1 (December 31, 2022): 35–44. http://dx.doi.org/10.58984/smb2201035d.
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The idea of a connection between sports and literature sometimes does not seem intuitive. However, considering that it is said that literature gives another meaning to the reality, thus depicting social circumstances, sport is one of the topics that many novelists have dealt with. Apart from the role of sport in literature, this paper also examines the connection between the novelist and sport as such, especially through the life and works of Miloš Crnjanski. Although novelists are usually perceived as lonely utopians who rarely engage in everyday social activities, this paper’s findings show the opposite especially through the analysis of the persona and works of Miloš Crnjanski, who was one of the founders of a sports magazine "Sportista". Through sports, Miloš Crnjanski displayed his extremely adventurous life, but also his patriotism. Besides his rich legacy in literature, his role in sports in the Yugoslav society remains indelible. Therefore, this paper aims at showing the connection between sports and literature by examining one novelist’s life circumstances.
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Stamenković, Aleksandra. "YUGOSLAV PAVILIONS AT INTERNATIONAL EXHIBITIONS IN ARTISTIC AND POLITICAL DISCOURSE 1918–1941." Istorija 20. veka 40, no. 2/2022 (August 1, 2022): 301–22. http://dx.doi.org/10.29362/ist20veka.2022.2.sta.301-322.
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Exploring the context of constructing the Yugoslav national pavilions at international exhibitions in the period between the Two World Wars implies the analysis of the used architectural styles, also certain political ideologies that find their expression in architecture (thus lending it a role of social engagement). The parallel flows of socio-political discourses and architecture also require resolving the following dilemma: was the architect selected based on his or her education, sensibility and experience for a particular project, or forced to conform to the demands of the political authorities. The heritage, status of the nation, the architect, furthermore numerous social, cultural and, above all, political factors influence the variations in the art programs showcased in the pavilions. One such factor – the ideal of cultural connection and political cooperation among the South Slavs, supported by King Alexander Karadjordjević – plays an important role in defining the program and stylistic characteristics of the pavilions because it suggests a specific artistic expression. Attempts to develop this ideal into the ideology of Yugoslavism, that in certain respects sought to establish itself as the national identity, marked the period between 1918 and 1941. Such attempts represented both a prerequisite and a directive in the representative programs of the Kingdom of Serbs, Croats and Slovenes/Kingdom of Yugoslavia.
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Vlajo, Koraljka. "Designing a Socialist Man." AM Journal of Art and Media Studies, no. 19 (September 15, 2019): 15. http://dx.doi.org/10.25038/am.v0i19.314.
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This paper asserts that graphic design can be analyzed as a performative act, particularly in relation to political performativity, a term coined by Reuben Rose-Redwood and Michael R. Glass after Judith Butler’s theory of performativity. Graphic design as a mass media tool enables persistent and everyday reiteration of regime authority, thus enforcing the construction of preferable identities of ideal citizens. In the text, the scope of political performativity of graphic design as an example of socialist Yugoslavia is analyzed, based on the cultural theory and the theory of political performativity, and by using examples of poster, magazine and catalogue cover designs created for political and cultural events in Socialist Federal Republic of Yugoslavia (SFRY) from the 1940s to the 1980s. It will be shown how graphic design has had an impact in shaping and reshaping the image of Yugoslav citizens through an everyday representation of men, women and youth in order to consistently reassert the dominant state/regime narrative. At the same time, it will be shown that graphic design, even when used within that narrative, is a powerful tool for subverting the regime’s authority and challenging the perceived ideal thus helping shape new identities.Article received: April 29, 2019; Article accepted: June 15, 2019; Published online: September 15, 2019; Original scholarly paperHow to cite this article: Vlajo, Koraljka. "Designing a Socialist Man." AM Journal of Art and Media Studies 19 (2019): 15-27. doi: 10.25038/am.v0i19.314
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Radojcic, Stevan, Sasa Bakrac, and Dejan Djordjevic. "Russian emigrants serving at the Military Geographic Institute in Belgrade from 1920 to 1957." Glasnik Srpskog geografskog drustva 102, no. 1 (2022): 55–86. http://dx.doi.org/10.2298/gsgd2201055r.
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In the first years after World War I, about 60,000 citizens of tsarist Russia, refugees from the civil war and the changes caused by the October Revolution, joined the newly created Kingdom of Serbs, Croats, and Slovenians. Most of them were members of the middle and upper classes: mostly officers and members of the civic elite with university degrees. Some moved on soon after, to the west, and about 40,000 decided to stay in the Kingdom of Serbs, Croats, and Slovenians. Their contribution to Serbian and Yugoslav society, science, art, culture, and other spheres of life is mostly known and well documented, as are their lives and the issues of refugee and emigrant life. There are numerous books, monographs, newspaper articles, films, and other material that testifies to the life, work, and contribution of Russian emigration to Serbia and Yugoslavia. However, even to the present day, untold stories about their lives can be revealed, such as the one we present in this article. The story of the work and contribution of Russian emigrants to the Military Geographic Institute in Belgrade is the subject of the present paper. These were mostly officers of the Russian Military Geodetic Service (Corps of Military Topographers). These findings were made thanks to a recent study by the Military Geographic Institute, whose comprehensive results are being presented to the general professional public for the first time. According to previous information, it was estimated that there were about thirty officers in the Russian Imperial Army. This research determined the number of at least 99 emigrants who worked at the Military Geographic Institute. Some worked for only a few months, others for several years, and some for more than 35 years. The research revealed that some of them became officers of the Yugoslav Army. Some of those who served in the Military Geographic Institute also gave a broader contribution to the geodetic service in Serbia and Yugoslavia.
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Srhoj, Vinko. "Ivan Meštrović i politika kao prostor ahistorijskog idealizma." Ars Adriatica, no. 4 (January 1, 2014): 369. http://dx.doi.org/10.15291/ars.509.
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Meštrović’s political activity, reflected in his sculpture and architecture, was closely tied to the idea of a political union of the South Slavs which culminated on the eve of and during the First World War. As a political idealist and a person who always emphasized that he was first and foremost an artist, Meštrović had no inclination for classic political activism which meant that he was not interested in belonging to any contemporary political faction. Since his political activism was not tied to a specific political party and since, unlike the politicians with whom he socialized, he did not have a prior political life, Meštrović cannot be defined either as a supporter Ante Starčević and an HSS man, or as a unionist Yugoslav and royalist. He was passionate about politics, especially during the time when the idea about a single South Slavic state took centre stage in politics, and he actively promoted this idea through his contacts with politicians, kings, cultural workers, and artists. He never acted as a classic politician or a political negotiator on behalf of a political party but as an artist who used his numerous local, regional and international acquaintances for the promotion of a political interest, that is, of a universal political platform of the entire Croatian nation as part of a Slavic ethno-political framework. Even within the political organization he himself founded, the Yugoslav Committee, Meštrović did not present a developed political manifesto but, being an artist and an intellectual, ‘encouraged the ideology behind the idea of unification through his activism and especially through his works’ (N. Machiedo Mladinić). The very fact that he was not a professional politician enabled him to ‘learn directly about some of the intentions of the political decision makers at informal occasions he attended as a distinguished artist, particularly in those situations when a direct involvement of political figures would have been impossible due to diplomatic concerns’ (D. Hammer Tomić). For example, he was the first to learn from the report of the French ambassador to Italy Camillo Barrera that Italy would be rewarded for joining the Entente forces by territorial expansion in Dalmatia. Equally known is Meštrović’s attitude towards the name of the committee because, unlike Trumbić and Supilo, he did not hesitate to use the word ‘Yugoslav’ in the name. He believed that a joint Yugoslav platform would render Croatian interests stronger in the international arena and that this would not happen had the committee featured ‘Croatian’ in its name and even less so if it started acting under the name of wider Serbia as Pašić suggested. Meštrović’s political disappointment in the idea of Yugoslavia went hand in hand with the distancing of Croatian and Serbian politics which followed the political unification. The increasing rift between him and the Yugoslav idea was becoming more and more obvious after the assassinations of Stjepan Radić and Aleksandar Karađorđević between the two Wars. His reserve towards the Republic of Yugoslavia, augmented by his political hatred of communism, was such that Meštrović never seriously considered going back to his native country and after his death, he did not leave his art works to the state but to the Croatian people. This article focuses on the most politicized phase in Meštrović’s work when he even changed the titles of the art works between displays at two different exhibitions: the works that bore the neutral names, such as ‘a shrine’, ‘a girl’, or ‘a hero’, at the 1910 exhibition of the Secession Group in Vienna were given the names of the heroes of the Battle of Kosovo the very next year and displayed as such in the pavilion of the Kingdom of Serbia at the exhibition in Rome. Special attention was given to the idea of the Vidovdan shrine, a secular temple to the Yugoslav idea, and the so-called Kosovo fragments intended to decorate it. The heightened controversy surrounds the sculpture and architectural projects Meštrović created during the period in which his political activism in the Yugoslav political and cultural arena was at its peak and he himself did not hide the intention to contribute to the political programme with his art works. This is why critical remarks which were expressed against or in favour of Meštrović’s sculpture during the early twentieth century are inseparable from the contrasting opinions about the political ideas from the turbulent time surrounding the First World War, and all of this, being a consequence of Meštrović’s political engagement, pulled him as a person into the political arena of the Croatian, Serbian and Yugoslav cause. The closest connection between Meštrović’s sculpture, architecture and politics occurred during his work on the Vidovdan shrine and the so-called Kosovo fragments. At the same time, there was a marked difference between Meštrović’s architecture which is eclectic and referential in its style and bears no political message, and sculpture which strongly personified the political programme based on the Battle of Kosovo and expressed in monumental athletic figures. Meštrović opposed the desire of the political establishment to depict his figures in national costumes so that they may witness ‘historical truth’ and, instead, continued with his idea of universal values and not historical and political particularism. Believing that only the passage of time could assess the historical protagonists best, he deemed that some of them would vanish while the others would remain, ‘so to speak, naked’ and acquire ‘supernatural dimensions’ (I.Meštrović). By depicting his figures as having torsos stripped of any sign of national identity, Meštrović wanted to provide them with a ‘general human meaning and not a specific one of this or that tribe’ (I.Meštrović). Aside from the Vidovdan Shrine and the Kosovo Fragments, the article discusses a number of other works onto which Meštrović grafted a political programme such as the Mausoleum of Njegoš on Mount Lovćen, the funerary chapel of Our Lady of the Angels at Cavtat, the equestrian reliefs of King Petar Karađorđević and ban Petar Berislavić, and the sculptures of the Indians at Chicago as ‘ahistorical’ pinnacles of his monumental Art Deco sculpture. The article argues that, based on the consideration of Meštrović’s ‘political’ sculpture, it can be said that the best achievements are found in the works in which political agendas and historical evocations (for example the caryatids, kings and bans, and even the portraits of Nikola Tesla and Ruđer Bošković) gave way to the naked ahistorical physis of a number of Kosovo heroes, female allegorical figures and, most of all, the pinnacle of the Art Deco equestrian sculptures of the Chicago Indians. What matters in the Chicago statues is the contraction of the muscles which accompany the movements of the Bowman and the Spearman and not the type of their weapons which are absent anyway, because this feature indicates that Meštrović focused on what he was best at: the naked human body relieved of the burden of costume, signs of civilization, and the pomp of political, ideological and historical attributes. This is why the politics of Meštrović’s sculpture is at its strongest when it is at its most general or, in other words, when it embodies an ideal and not a political pragmatism or a specific historical reality.
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Kovacek-Stanic, Gordana. "Availability of the assisted reproductive technologies in the region of former Yugoslav countries." Zbornik Matice srpske za drustvene nauke, no. 167 (2018): 357–67. http://dx.doi.org/10.2298/zmsdn1867357k.
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In the paper ?Availability of the assisted reproductive technologies in the region of former Yugoslav countries?, author analyzes laws in: Serbia, Montenegro, Macedonia, Croatia and Slovenia. There are two elements with the impact to availability of ART: who the subjects are (spouses, heterosexual partners, same-sex partners, woman without partner) and which procedures are regulated. For instance, surrogate motherhood is regulated only in Macedonia in present time. In addition, author analyzes regulation of the donation of the genetic material (sperm, ova, embryo) and posthumous fertilization in all mentioned countries.
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Milivojevic, Dejan. "Aesthetic discourses of Stanko Mandic, an architect and a professor." Theoria, Beograd 59, no. 3 (2016): 128–57. http://dx.doi.org/10.2298/theo1603128m.
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The works of professor Stanko Mandic featured both Yugoslav and Serbian architecture of the period from 1950-1983. In order that his creative work be perceived as a whole, it is necessary to examine both theoretical and aesthetic pulses that featured and formed such a creative work. Unlike most of his colleagues, Mandic had the ability to express his theoretical and artistic attitudes. Fortunately, he was prone to express himself in writing. He nourished poetic syntax. His works help us understand the procedures he applied in his designing practice. Stanko Mandic chose the composition of spatial architecture for the subject of his methodology. He respected the importance of metaphysics, logic and abstract language of art, but he was intuitively prone to the phenomenology which explains his works. For him, architecture is art expressed through form, in spite of all of its particularities. Although the most important source, the architect?s works are not a sufficiently strong argument to make any assumptions as far as aesthetic discourses of professor Mandic are concerned. Theoretical frame of the study is widened to involve philosophical, aesthetic and artistic discourses of the first half of and mid XX century in Europe. In this regard, the features of the Yugoslav philosophy of the 60s (praxis) are referred to, as well as the discourse exchange between Benedetto Croce and Mandic. Croce?s influence was immediate; it was the base for Mandic?s aesthetic choice. The philosophy of Martin Heidegger had an intermediate influence on him, whose works and lectures had a vast influence on development of a new science - the theory of post-Art Nouveau architecture. This paper deals with some installations of Edmund Husserl, Heidgger, Nicolai Hartmann and of the critic and art historian Marangoni Matteo. Other sources used to understand the period observed are theoretical and research works of both foreign and domestic architects. The theoretical frame proposed clarifies the dichotomy of Mandic?s aesthetic ideals reflected in dialectic pairs such as: progressive/historical; classical/abstract; intuitive/logic; academic/memorial etc.
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Videkanic, Bojana. "Lexicon of Tanjas Ostojic and feminism in transition." Sociologija 60, no. 1 (2018): 142–62. http://dx.doi.org/10.2298/soc1801142v.
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The text examines artist Tanja Ostojic?s interdisciplinary research project entitled Lexicon of Tanjas Ostojic, in the light of feminist materialist theories, participatory art, and socio-political analysis of the former Yugoslav region. Tanja Ostojic decided to frame her project around the lives of women who share her first and last name. Ostojic?s name-sisters became her collaborators as the work turned into a large-scale, long-term project involving 33 women and their personal histories. The women all share a mutual connection to the Yugoslav region that has directly or indirectly shaped their lives through its turbulent recent history. Artist?s intent was to use the stories encountered by collaborating with her name-sisters as a foil to uncover and highlight the connecting personal narratives following Yugoslav wars of succession in the 1990s and in doing so point to the detrimental legacies of war and transition on women?s lives. In this article, author?s main argument borrows from Karen Barad?s discursive-material ontology to point out that Lexicon activates a form of material feminism which functions intra-actively, in other words, in both its form and content the work recognizes that women?s lives are continuously constituted and re-constituted through multiple linguistic and material formations, or through complex relationships between humans, non-humans, and various discursive and material contexts. In using materialist feminist analysis, the author argues that Lexicon gives primacy to women?s agency and proposes a sustained, growing forms of resistance to the forms of post-socialist exploitation.
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Popadić, Milan. "Three reflections of Yugoslav modernity in the mirror of the Museum of Contemporary Art in Belgrade." Kultura, no. 161 (2018): 221–34. http://dx.doi.org/10.5937/kultura1861221p.
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Sovtić, Nemanja. "Rudolf Bruči and the criticism of the European avant-garde." Studia Musicologica 56, no. 4 (December 2015): 429–41. http://dx.doi.org/10.1556/6.2015.56.4.10.
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Yugoslav composer Rudolf Bruči is known on the international scene primarily as the author of Sinfonia Lesta, a composition winning the first prize in 1965 at the Queen Elizabeth Competition in Belgium. On a national level, Bruči was a powerful social entity, not only in respect of his creative freedom. As a member of the League of Communists, Bruči spent a lifetime as an official in social organizations and cultural institutions, thus dictating the rhythm of musical life of Novi Sad and the Province of Vojvodina, until the collapse of Socialism when he was suddenly forgotten. The developmental line of Bruči’s oeuvre – leading from Zhdanovian national classicism, through the adoption of elements of the European avant-garde, to the reaffirmation of a national/regional idiom in the mid-1970s – largely corresponds to the general tendencies of postwar art music in the socialist countries of Eastern and South-Eastern Europe. Bruči broke with the European avant-garde models not only in his creative practice, but he also reasoned it in the articles “The Composers’ Role in the Modern Development of Self-governing Socialist Society,” “Statements of Yugoslav Music Forum Composers’ Workgroup,” and “Manifesto of the ‘Third Avant- Garde’,” where he based his discourse on conformism, lack of communication and dehumanization of avant-garde, and in particular on Yugoslav ideological projects, such as self-management, non-alignment, and deprovincialization. The article analyzes the context in which Bruči’s creative transformation during the 1970s was expressed as the criticism of the Eurocentric cultural model, as well as the suspicion towards the imperative of modernization in a world obsessed with technological advances.
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Pranjić, Kristina. "The significance of the Ljubljana Maska Journal (1920/21) in the context of the Yugoslav avant-garde." Zbornik Akademije umetnosti, no. 9 (2021): 111–21. http://dx.doi.org/10.5937/zbaku2109111p.
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The article is dedicated to the publications of Ljubomir Micić and Branko Ve Poljanski in Maska, the Ljubljana performing arts journal from 1920. While with his engagement in Maska Micić primarily wanted to present himself as a writer outside Zagreb (first, he published in Maska a review of the play Anfisa, and then his own play Istočni Greh was reviewed), Poljanski used his engagement in Maska for a polemic with Ljubljana critics, to later continue his critical response to Ljubljana's artistic milieu in his journal Svetokret, as well as in Zenit. Moreover, one of Poljanski's main motives for publishing an independent journal in Ljubljana was the continuation of the polemic he had started in Maska. Therefore, this article presents the assumption that for a complete genealogy of the beginnings of cooperation between Slovenian avantgarde and representatives of Yugoslav zenithism, it is necessary to take into account Maska, although it was not considered a revolutionary or avant-garde journal. Yet, its aspiration to become international and its openness to different languages and polemics contributed to the exchange of opinions about art and criticism of the time, which was a fruitful ground for the development of relations between various representatives of the Yugoslav avant-garde and their independent actions.
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Knežević, Vida. "Avant-garde and critical realism: Fragments of continuity in Yugoslav culture and art in the interwar period." Kultura, no. 161 (2018): 28–38. http://dx.doi.org/10.5937/kultura1861028k.
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Abrasowicz, Gabriela. "Lost in Transitions: Childhood and Child Characters in Post-Yugoslav Playwriting." Miscellanea Posttotalitariana Wratislaviensia 7 (April 13, 2018): 17–34. http://dx.doi.org/10.19195/2353-8546.2(7).2.
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Lost in Transitions: Childhood and Child Characters in Post-Yugoslav Playwriting. The history of Yugoslavia’s fall cannot be told without paying attention to transitions to democracy and its reflection in art. Playwrights from the emerging countries, including Serbia Biljana Srbljanović and Milan Marković, Bosnia and Herzegovina Tanja Šljivar, Montenegro Maja Todorović and Kosovo Jeton Neziraj, use political, economic, and national transitions as a biographical category, comprising various phenomena connected with “interruptions” and “passages” in human life, as well as identified with difficult, extreme, or critical situations. The authors focus on micro-social children’s stories, making these young protagonists repositories of anti-knowledge situated on the margins of society. The members of the young generation presented in these dramatic texts go through various transitions marked by new roles and responsibilities. Such descriptions and interpretations of transformations of the surrounding reality can be seen as a new way to illustrate the traumatic predicaments of people living in post-transitional societies.Потерянные во время перехода — детство и детские персонажи в пост-югославской драматургии. Трансформация действительности приводит к изменениям ее описания и интерпретации, что отражается в искусстве, в частности в современной пост-югославской драме. В произведениях драматургов из стран с формирующимся рынком — Сербии Биляна Србьянович и Милан Маркович, Боснии и Герцеговины Таня Шливар, Черногория Майя Тодорович и Косово Етон Незирай — переход функционирует как определенная биографическая категория, включающая в себя различные явления, связанные с «перерывами» и «переходами» в человеческой жизни, отождествляемая со сложными, экстремальными или критическими ситуациями. Некоторые драматурги не остаются равнодушными к изменениям, происходящим в более широком контексте, но они сосредоточены на микросоциальных историях детей. Эти художественные решения представляют молодых протагонистов как хранилище антизнаний, расположенных на периферии общества. Это новая перспектива для выявления травматических переживаний и трудных условий жизни и развития людей в постпереходном обществе.
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Ribić, Romana. "The structure, contents, and significance of periodicals in the holdings of the Library of the Faculty of Music in Belgrade." New Sound, no. 46 (2015): 181–95. http://dx.doi.org/10.5937/newso1545181r.
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This paper presents the structure, contents, and significance of Yugoslav, Serbian, and foreign journals on music and other topics (literature, pedagogy, library science and IT, culture, art in general) in the holdings of the Library of the Faculty of Music in Belgrade. This collection constitutes a large section of the overall holdings of the Library. The paper discusses current, less current, and archived periodicals and focuses on the most frequently used Serbian and foreign, mainly scholarly, music journals, with their impact factor (IF) measured in the last two years. Also, the paper details the Library's acquisition policy, processing treatment of the journals (in its book inventory, card catalogue, and classical alphabetic catalog), and the Library's inadequate storage facilities.
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Wright, Peter. "“Are there Racists in Yugoslavia?” Debating Racism and Anti-blackness in Socialist Yugoslavia." Slavic Review 81, no. 2 (2022): 418–41. http://dx.doi.org/10.1017/slr.2022.150.
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This article examines debates, scholarly studies, and literary representations of the phenomenon of racism in socialist Yugoslavia and Yugoslavs’ relationship to whiteness in the 1960s and 70s. I argue that the persistent activism of black African students helped provoke official, scholarly, and public discussions about the thorny question of racism in Yugoslav society during this time. The salience of black students’ accusations eventually made something that was taboo in the 1950s and early 1960s—namely, entertaining the prospect that anti-black racial prejudice existed in non-aligned, socialist, and anti-racist Yugoslavia—into an active subject of debate by the end of the decade. Importantly, the relative candidness with which academic studies and popular literature addressed racism indicates a reflexivity about “racial” questions on the part of socialist Yugoslav society, something that scholarship has largely neglected in favor of focusing on the suppression or elision of race and the inadequacy of state socialist responses to the problem of domestic expressions of prejudice.
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Nežmah, Bernard. "Oktobrska revolucija med mitom in realnostjo." Studia Historica Slovenica 20 (2020), no. 1 (March 30, 2020): 119–41. http://dx.doi.org/10.32874/shs.2020-04.
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The paper discusses ideological notions and myths in comparison with the reality of the October Revolution. Numerous works published in the period after the crucial year 1989 have gathered evidence and articulations, on the basis of which we can – paradoxically, only from the distance of a hundred years – in a more authentic manner deliberate upon the October Revolution as such and upon its further development. The article entails four thematic fields: i) overtaking of power through the insurgence of masses vs. coup d'état; ii) Lenin vs. Stalin: ideality and its deviation into totalitarianism; iii) the progressive Yugoslav vs. the Russian dogmatic communism with regard to the case of literary depictions of communist camps; iv) the role of revolution in the formation of the Russian avant-garde art.
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Abrasowicz, Gabriela. "Discourse on Corporeality and the Logic of Control in the Works of Contemporary post-Yugoslav Women Playwrights." AM Journal of Art and Media Studies, no. 18 (April 15, 2019): 51. http://dx.doi.org/10.25038/am.v0i18.296.
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The issue of corporeality is one of the dominant motifs in contemporary women’s playwriting in the countries formed after the collapse of Yugoslavia. At the turn of the 20th and 21st centuries women’s bodies function as a specific open register in their works, where real-life content is included. The body is also an instrument which detects the meanings of social actions and interactions. According to the authors – mainly from Serbia, Croatia, Bosnia and Herzegovina, and Montenegro – the body becomes a constantly-transforming palimpsestic, multi-layered body-text which delivers information about the logic of control. The body-centric perspective here is connected with the problematization of the characters’ reactions to some mechanisms of normalization, classification, and increasing productivity of the bodies in their population. The changes in the configuration of control modes and everyday practices in some areas of women’s life activity are presented. The female authors, e.g.: Milena Bogavac, Maja Pelević (Serbia), Lada Kaštelan, Ivana Sajko (Croatia), Jasna Šamić, Elma Tataragić (Bosnia and Herzegovina), Nataša Nelević (Montenegro), Simona Semenič (Slovenia) illustrate some rituals and transgressions concerning procreation, female visual representations and the body losing its fitness and becoming isolated. In their artistic descriptions the authors confirm the relationship between the cultural and psychological inscription of the female body and female difference in language and text. Article received: December 13, 2018; Article accepted: January 23, 2019; Pulbished online: April 15, 2019; Original scholarly paperHow to cite this article: Abrasowicz, Gabriela. "Discourse on Corporeality and the Logic of Control in the Works of Contemporary post-Yugoslav Women Playwrights." AM Journal of Art and Media Studies 18 (2019): 51–64. doi: 10.25038/am.v0i18.296