Tijana Vuković | University of Warsaw (original) (raw)
Papers by Tijana Vuković
Teorije kulturne i kolektivne traume koncipirane su na dešavanjima i posledicama svetskih ratova... more Teorije kulturne i kolektivne traume koncipirane su na dešavanjima i posledicama svetskih ratova, a izazvane su ponovo novom (starom) Kovid - krizom. Teoriji kulturne traume nedostajalo je dublje i sveobuhvatnije poznavanje pojedinca. U kojoj meri je pandemija naložila preispitavanje i menjanje navedenih savremenih teorija u pravcu saznanja psihoterapije? Teoretičari kulturne traume i njeni utemeljivači (Roj Ejerman, Džefri Aleksandar) u velikoj meri odvajaju teoriju kulturne traume od studija traume uopšte i to je njen veliki nedostatak. Moj prilog temi nove normalnosti i izazovima današnjeg doba namenjen Kongresu, koncipiran je iz perspektive koja se sastoji od dva elementa, zapravo dve tačke posmatranja koje su mi dostupne – iz perspektive kulturoloških studija sa naučnom orijentacijom na kolektivnu traumu i institucije kulture kao mesta pamćenja i mesta izlečenja, kao i perspektive integrativne art psihoterapije. Pokušaću da pokažem prostor preseka ove dve perspektive u cilju osvetljavanja „novog doba“ koje se u društvu i svetu očitava sa Kovid krizom. Budući da je moj rad orijentisan na teoriju, tako će i integrativna art psihoterapija biti zastupljena sa svojim konceptualnim osnovama, pristupu traumi i traumatičnim događajima, i sa svojom idejnošću koja se na integrativnosti i integralnosti, kao na kreativnom i inovativnom pristupu problemu i izazovima (to je upravo ono što nova normalnost zahteva od nas). U mom radu zastupljene su osnovne vrednosti koje IAP pristup zastupa, kroz čiju prizmu ću pokušati da sagledam kulturnu traumu koju smo, sada već izvesno, pretrpeli u velikoj meri. Najpre ću prikazati teoriju kulturne i kolektivne traume i dovesti je u vezu sa trenutnim (aktuelnim) stanjem u društvu i svetu čiji se najkraći opis stiče već u nazivu nova normalnost. Terminom se sugeriše kompletni prelazak na novi način funkcionisanja (smena starog i novog u jednom, dramatičnom obrtu koji uspostavlja ne samo nove koordinate već i nove ose).
Colloquia Humanistica
As a Wall Came Down… New Boundaries, New Narratives (Yugoslavism and Yugoslav Artistic Space, Dis... more 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-Yugo...
COLLOQUIA HUMANISTICA, 2018
The main aim of this overview is to trace the presence and importance of Yugoslav narrative (dedi... more The main aim of this overview is to trace the presence and importance of 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 in the territory of the Balkans, as we argue in the paper, 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 a common cultural ground and art space exist in the postYugoslav period as well. The concept of the common cultural space is also known as the Yugoslav Artistic Space. The main goal of the paper is to form the conclusion that the Yugoslav Artistic Space, considering its tradition, still exists despite the political changes after 1989, particularly during the 1990s and the transition process, if not in another sense then as a core narrative of institutions (such as the Museum of Contemporary Art in Belgrade, for example). The paper also offers 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.
Поводом своје књиге (путописних) прича Приче на путу (Нови Сад, 2010), а одговарајући на вечито п... more Поводом своје књиге (путописних) прича Приче на путу (Нови Сад, 2010), а одговарајући на вечито питање о статусу књижевности данас, писац Михајло Пантић приметио je да се путопис као жанр променио. Савремени путопис, с обзиром на то да путовање више није искуство привилегованих (или прогнаних), има нешто другачије одлике. Он више не говори, пре свега о кретању у простору и времену, већ о мишљењу: "У новом добу, путопис се изменио, из разлога који су очигледни, путовање више није никаква изузетност, а визуелни медији преузели су на себе функцију описа непознатих предела. Путопис се утопио у друге жанрове и почео да нас поводом путовања извештава о мишљењу. Због тога и не морате ићи далеко да бисте написали шта мислите о животу..." 171 И заиста, Приче на путу, писца и универзитетског професора Михајла Пантића, награђене признањем "Мома Димић", садрже, како искуства са путовања у Мексико, Канаду, Русију, Ирску, тако 171 "Не говоримо ветру, него људима", Вечерње новости, интервју Бане Ђорђевић, интернет издање, говорио Михајло Пантић.
МИОДРАГА ПАВЛОВИЋА "Упознавање прошлости понекад ствара човеку осећање да му се живот продужава. ... more МИОДРАГА ПАВЛОВИЋА "Упознавање прошлости понекад ствара човеку осећање да му се живот продужава. Знати како су ствари изгледале некад и како са њима стоји у данашњем времену, није мала привилегија." 123 О аутентичности Париза у Далеким предворјима, не треба много говорити. То је на први поглед, прво читање, један нарочит град, где је оном стварном, у особеном алхемијском процесу, писац Миодраг Павловић истовремено много одузео и много додао. Врло заокружен, а из фрагмената, налик слагалици сачињеној од све самих бесмртних спомен-места (јер наш је писац увек у потрази за бесмртношћу, и више него за прошлошћу), траје Париз Далеких предворја. Тако он постоји као нарочита слика Париза, у којој су најживље присутни управо стари, проминули, доказани облици, у извесном нескладу са новим, револуционарним, модерним. Са друге стране, нескривени шарм управо тог неслагања и дисхармоничности, можемо само окарактерисати као величанствени парадокс Париза, коме он и дугује своју неодољивост. Понекад, путописцу није лако да то призна. Пре свега, Павловићев путописни Париз јесте Париз уметности, у тихој пратњи Дебисија, то је шетња овим магичним градом у неко благо доба дана које не можемо лако да одредимо, у време које није оптерећено звуком, променада од једног музеја до другог, преко најпознатијих тргова, катедрала, и споменика.
Приповетке Драгослава Михаиловићаликови и начини приповедања У раду су приказани начини приповеда... more Приповетке Драгослава Михаиловићаликови и начини приповедања У раду су приказани начини приповедања и позиције приповедача у приповеткама Драгослава Михаиловића, са конкретним примерима из појединачних приповетки, при чему је лик казивача, приповедача или главни јунак, аналитички осветљен. Кључне речи: приповедање у првом лицу, објективно приповедање, сказ, главни јунак казивач, Драгослав Михаиловић Прва књига приповетки Драгослава Михаиловића, и прва објављена, Фреде, лаку ноћ, појавила се 1967, наишавши на одобравање критике и одушевљење публике. Уследиле су, мада са, понекад веома дугим периодима неиздавања, четири збирке приповетки Ухвати звезду падалицу, Лов на стенице, Јалова јесен, и најновија Преживљавање (2010). Познатији по својим романима, дужим приповеткама, или прозним циклусима ( Кад су цветале тикве, Петријин венац, Гори Морава ), данас je Драгослав Михаиловић, несумњиво, један од најцењенијих српских приповедача, незаобилазан у антологијама српске приповетке и заступљен у антологијама на енглеском, француском, руском, немачком, пољском и другим страним језицима.
Books by Tijana Vuković
REGAINING THE PAST. YUGOSLAV LEGACY IN THE PERIOD OF TRANSITION The Case of Formal and Alternativ... more REGAINING THE PAST.
YUGOSLAV LEGACY
IN THE PERIOD OF TRANSITION
The Case of Formal and Alternative Institutions of Art
and Culture in Serbia at the End of the 20th
and the Beginning of the 21st Century
REGAINING THE PAST. YUGOSLAV LEGACY IN THE PERIOD OF TRANSITION, 2022
Before, during the existence of the Yugoslav state and in the post-Yugoslav pe- riod, the common ... more Before, during the existence of the Yugoslav state and in the post-Yugoslav pe- riod, the common cultural (and art) space was shaped by the similar languages, culture, connections, mentality, territory, economic relations, (foreign) influences and art production.
After the dissolution of Yugoslavia in disastrous war conflicts, a large eco- nomic and cultural crisis hit the whole Balkan region. The cruelty of the Bos- nia war together with the embargo, economic crisis, severe inflation and protests caused a collective cultural trauma in all the former Yugoslav countries. Simul- taneously, a high level of (narrative) fragmentation occurred in all institutions as a consequence of the crisis in society. It was reflected in the dysfunctionality of institutions and eventually in their closing down.
After the dark period of the 1990s, in 2000, Serbia dived into progressive dem- ocratic changes and an unblocked transition process that would become a source of great disappointment in Serbian society. During all the changes and fluctua- tions, Yugoslavia (the idea and the state) was perceived as the main culprit for the crisis and a huge mistake in the newest history.
The individual memory and private space of citizens in Serbia was still crowded with memories of the previous period, but translating them into the cul- tural memory became doubtful. For that kind of translation, and for revitalisation of that part of the culture, a space for speech, discussion and search for meaning would be essential, initiated and placed in institutions of culture.
In my research I have investigated if and how Yugoslavia continued to ex- ist in cultural institutions as a phenomenon, through the values of its ideology and its common and wide cultural space, as a notion, motif and theme of proj- ects and events, in spite of all the aforementioned circumstances. I intended to present the importance of the Yugoslav legacy (as a symbolic heritage above all) from the perspective of creating continuity and finding (making) meaning about the past as a way of overcoming cultural trauma.
The main categories and points of view I have chosen as the methodolo- gy of this research could be called an interdisciplinary cultural study approach,
336ꢀRegaining the Past. Yugoslav Legacy in the Period of Transition...
involving content analysis, the notions of representation and interpretation, and the discovery of a symbolic or concrete presence/ absence.
The material for my research comprised catalogues from exhibitions and sub- sequent publications, articles from newspapers and magazines, academic litera- ture, nonofficial interviews, videos, comments on exhibitions, comments as part of the programme in institutions, the personal interpretations of the actors (art- ists, academics, curators, activists, audience) expressed in informal interviews and meetings, noted or recorded, so that they could be incorporated into my research.
The text is divided into four parts: State of the Art, Historical Context, Of- ficial Institutions and Alternative Institutions, preceded by the Introduction at the beginning, and followed by Conclusions at the end (together with a list of ref- erences and illustrations and a summary in English, Polish and Serbian). In the first chapter, State of Art, containing an overview of books, articles and projects that are connected with the theme of my work, I present different as- pects of its formulation and content.
The second chapter titled Historical Context outlines the history of South Slavic unity with an overview of Yugoslav history.
For the analytical part of my research I have chosen three official and three alternative institutions to describe and illustrate the place and role of the Yugoslav narrative and legacy in cultural institutions: the official ones are the Serbian pavil- ion in Venice (Paviljon Republike Srbije u Veneciji), the Museum of Contempo- rary Art in Belgrade (Muzej savremene umetnosti u Beogradu), and the Museum of Yugoslavia (Muzej Jugoslavije), while the nonofficial (alternative) ones are the Centre for Cultural Decontamination (Centar za kulturnu dekontaminaciju/ CZKD), the Inex squat, and the Catch-22 (Kvaka 22) alternative cultural centre. My assumption was that choosing from the different types of institution could help create a wider image and form the basis for a more complete map of institu- tions in Serbia in the post-Yugoslav period.
The analytical part titled Official Institutions contains three chapters describ- ing three institutions.
The first of these chapters discusses the Pavilion of the Republic of Serbia in Venice, formerly the Pavilion of Yugoslavia (in all of its state emanations). I have decided to investigate the Serbian (formerly Yugoslav) pavilion in Venice as the only institution where Yugoslavia still exists in the framework of interna- tional art and culture manifestations (even just as a living memory and context). The second chapter is dedicated to the Museum of Contemporary Art in Bel- grade, opened in 1965 as the most prominent cultural institution representing Yu- goslav and Serbian art of the 20th century. The Museum of Contemporary Art appears to be the institution–symbol of Yugoslav art and culture creation. The third chapter presents the Museum of Yugoslavia, the only institution in the former Yugoslav space fully dedicated to a representation of Yugoslavia.
Summaryꢀ337
This institution has shown enormous capacity for transformation, communicating the possibility of a new modern institution.
The analytical part devoted to alternative institutions also contains three chapters, preceded by a short introduction explaining and describing alterna- tive institutions as a phenomenon. The first chapter in the part titled Alterna- tive Institutions is discusses the Centre for Cultural Decontamination (Centar za kulturnu dekontaminaciju / CZKD). Being one of the oldest nonofficial organisa- tions in Serbia, having emerged from a decisive protest against the regime of Slo- bodan Milošević in 1995, the CZKD was my choice for the alternative institution of the older generation.
As the second case I decided to describe the Inex squat and cultural centre established in a building of the Inex Film Company.
The final chapter of the analytical part on alternative institutions presents the case of Kvaka 22, as an example of the youngest generations of artists and cul- tural workers, activists and citizens, and their approach towards culture and art, past and present.
In the Conclusions I have presented the common denominators of all the de- scribed institutions from the perspective of the Yugoslav legacy, and the wider context as a common space for them all. I have also accentuated the conclusion about the significance of cooperation between institutions in the field of cultural memory, but not only. The phenomenon of relatedness and interconnectedness ap- pears to be crucial for the resolution of the cultural crisis.
Thesis Chapters by Tijana Vuković
Regaining the Past, Pavilion in Venice (chapter), 2022
Before, during the existence of the Yugoslav state and in the post-Yugoslav pe- riod, the common ... more Before, during the existence of the Yugoslav state and in the post-Yugoslav pe- riod, the common cultural (and art) space was shaped by the similar languages, culture, connections, mentality, territory, economic relations, (foreign) influences and art production.
After the dissolution of Yugoslavia in disastrous war conflicts, a large eco- nomic and cultural crisis hit the whole Balkan region. The cruelty of the Bos- nia war together with the embargo, economic crisis, severe inflation and protests caused a collective cultural trauma in all the former Yugoslav countries. Simul- taneously, a high level of (narrative) fragmentation occurred in all institutions as a consequence of the crisis in society. It was reflected in the dysfunctionality of institutions and eventually in their closing down.
After the dark period of the 1990s, in 2000, Serbia dived into progressive dem- ocratic changes and an unblocked transition process that would become a source of great disappointment in Serbian society. During all the changes and fluctua- tions, Yugoslavia (the idea and the state) was perceived as the main culprit for the crisis and a huge mistake in the newest history.
The individual memory and private space of citizens in Serbia was still crowded with memories of the previous period, but translating them into the cul- tural memory became doubtful. For that kind of translation, and for revitalisation of that part of the culture, a space for speech, discussion and search for meaning would be essential, initiated and placed in institutions of culture.
In my research I have investigated if and how Yugoslavia continued to ex- ist in cultural institutions as a phenomenon, through the values of its ideology and its common and wide cultural space, as a notion, motif and theme of proj- ects and events, in spite of all the aforementioned circumstances. I intended to present the importance of the Yugoslav legacy (as a symbolic heritage above all) from the perspective of creating continuity and finding (making) meaning about the past as a way of overcoming cultural trauma.
The main categories and points of view I have chosen as the methodolo- gy of this research could be called an interdisciplinary cultural study approach,
336ꢀRegaining the Past. Yugoslav Legacy in the Period of Transition...
involving content analysis, the notions of representation and interpretation, and the discovery of a symbolic or concrete presence/ absence.
The material for my research comprised catalogues from exhibitions and sub- sequent publications, articles from newspapers and magazines, academic litera- ture, nonofficial interviews, videos, comments on exhibitions, comments as part of the programme in institutions, the personal interpretations of the actors (art- ists, academics, curators, activists, audience) expressed in informal interviews and meetings, noted or recorded, so that they could be incorporated into my research.
The text is divided into four parts: State of the Art, Historical Context, Of- ficial Institutions and Alternative Institutions, preceded by the Introduction at the beginning, and followed by Conclusions at the end (together with a list of ref- erences and illustrations and a summary in English, Polish and Serbian). In the first chapter, State of Art, containing an overview of books, articles and projects that are connected with the theme of my work, I present different as- pects of its formulation and content.
The second chapter titled Historical Context outlines the history of South Slavic unity with an overview of Yugoslav history.
For the analytical part of my research I have chosen three official and three alternative institutions to describe and illustrate the place and role of the Yugoslav narrative and legacy in cultural institutions: the official ones are the Serbian pavil- ion in Venice (Paviljon Republike Srbije u Veneciji), the Museum of Contempo- rary Art in Belgrade (Muzej savremene umetnosti u Beogradu), and the Museum of Yugoslavia (Muzej Jugoslavije), while the nonofficial (alternative) ones are the Centre for Cultural Decontamination (Centar za kulturnu dekontaminaciju/ CZKD), the Inex squat, and the Catch-22 (Kvaka 22) alternative cultural centre. My assumption was that choosing from the different types of institution could help create a wider image and form the basis for a more complete map of institu- tions in Serbia in the post-Yugoslav period.
The analytical part titled Official Institutions contains three chapters describ- ing three institutions.
The first of these chapters discusses the Pavilion of the Republic of Serbia in Venice, formerly the Pavilion of Yugoslavia (in all of its state emanations). I have decided to investigate the Serbian (formerly Yugoslav) pavilion in Venice as the only institution where Yugoslavia still exists in the framework of interna- tional art and culture manifestations (even just as a living memory and context). The second chapter is dedicated to the Museum of Contemporary Art in Bel- grade, opened in 1965 as the most prominent cultural institution representing Yu- goslav and Serbian art of the 20th century. The Museum of Contemporary Art appears to be the institution–symbol of Yugoslav art and culture creation. The third chapter presents the Museum of Yugoslavia, the only institution in the former Yugoslav space fully dedicated to a representation of Yugoslavia.
Summaryꢀ337
This institution has shown enormous capacity for transformation, communicating the possibility of a new modern institution.
The analytical part devoted to alternative institutions also contains three chapters, preceded by a short introduction explaining and describing alterna- tive institutions as a phenomenon. The first chapter in the part titled Alterna- tive Institutions is discusses the Centre for Cultural Decontamination (Centar za kulturnu dekontaminaciju / CZKD). Being one of the oldest nonofficial organisa- tions in Serbia, having emerged from a decisive protest against the regime of Slo- bodan Milošević in 1995, the CZKD was my choice for the alternative institution of the older generation.
As the second case I decided to describe the Inex squat and cultural centre established in a building of the Inex Film Company.
The final chapter of the analytical part on alternative institutions presents the case of Kvaka 22, as an example of the youngest generations of artists and cul- tural workers, activists and citizens, and their approach towards culture and art, past and present.
In the Conclusions I have presented the common denominators of all the de- scribed institutions from the perspective of the Yugoslav legacy, and the wider context as a common space for them all. I have also accentuated the conclusion about the significance of cooperation between institutions in the field of cultural memory, but not only. The phenomenon of relatedness and interconnectedness ap- pears to be crucial for the resolution of the cultural crisis.
Teorije kulturne i kolektivne traume koncipirane su na dešavanjima i posledicama svetskih ratova... more Teorije kulturne i kolektivne traume koncipirane su na dešavanjima i posledicama svetskih ratova, a izazvane su ponovo novom (starom) Kovid - krizom. Teoriji kulturne traume nedostajalo je dublje i sveobuhvatnije poznavanje pojedinca. U kojoj meri je pandemija naložila preispitavanje i menjanje navedenih savremenih teorija u pravcu saznanja psihoterapije? Teoretičari kulturne traume i njeni utemeljivači (Roj Ejerman, Džefri Aleksandar) u velikoj meri odvajaju teoriju kulturne traume od studija traume uopšte i to je njen veliki nedostatak. Moj prilog temi nove normalnosti i izazovima današnjeg doba namenjen Kongresu, koncipiran je iz perspektive koja se sastoji od dva elementa, zapravo dve tačke posmatranja koje su mi dostupne – iz perspektive kulturoloških studija sa naučnom orijentacijom na kolektivnu traumu i institucije kulture kao mesta pamćenja i mesta izlečenja, kao i perspektive integrativne art psihoterapije. Pokušaću da pokažem prostor preseka ove dve perspektive u cilju osvetljavanja „novog doba“ koje se u društvu i svetu očitava sa Kovid krizom. Budući da je moj rad orijentisan na teoriju, tako će i integrativna art psihoterapija biti zastupljena sa svojim konceptualnim osnovama, pristupu traumi i traumatičnim događajima, i sa svojom idejnošću koja se na integrativnosti i integralnosti, kao na kreativnom i inovativnom pristupu problemu i izazovima (to je upravo ono što nova normalnost zahteva od nas). U mom radu zastupljene su osnovne vrednosti koje IAP pristup zastupa, kroz čiju prizmu ću pokušati da sagledam kulturnu traumu koju smo, sada već izvesno, pretrpeli u velikoj meri. Najpre ću prikazati teoriju kulturne i kolektivne traume i dovesti je u vezu sa trenutnim (aktuelnim) stanjem u društvu i svetu čiji se najkraći opis stiče već u nazivu nova normalnost. Terminom se sugeriše kompletni prelazak na novi način funkcionisanja (smena starog i novog u jednom, dramatičnom obrtu koji uspostavlja ne samo nove koordinate već i nove ose).
Colloquia Humanistica
As a Wall Came Down… New Boundaries, New Narratives (Yugoslavism and Yugoslav Artistic Space, Dis... more 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-Yugo...
COLLOQUIA HUMANISTICA, 2018
The main aim of this overview is to trace the presence and importance of Yugoslav narrative (dedi... more The main aim of this overview is to trace the presence and importance of 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 in the territory of the Balkans, as we argue in the paper, 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 a common cultural ground and art space exist in the postYugoslav period as well. The concept of the common cultural space is also known as the Yugoslav Artistic Space. The main goal of the paper is to form the conclusion that the Yugoslav Artistic Space, considering its tradition, still exists despite the political changes after 1989, particularly during the 1990s and the transition process, if not in another sense then as a core narrative of institutions (such as the Museum of Contemporary Art in Belgrade, for example). The paper also offers 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.
Поводом своје књиге (путописних) прича Приче на путу (Нови Сад, 2010), а одговарајући на вечито п... more Поводом своје књиге (путописних) прича Приче на путу (Нови Сад, 2010), а одговарајући на вечито питање о статусу књижевности данас, писац Михајло Пантић приметио je да се путопис као жанр променио. Савремени путопис, с обзиром на то да путовање више није искуство привилегованих (или прогнаних), има нешто другачије одлике. Он више не говори, пре свега о кретању у простору и времену, већ о мишљењу: "У новом добу, путопис се изменио, из разлога који су очигледни, путовање више није никаква изузетност, а визуелни медији преузели су на себе функцију описа непознатих предела. Путопис се утопио у друге жанрове и почео да нас поводом путовања извештава о мишљењу. Због тога и не морате ићи далеко да бисте написали шта мислите о животу..." 171 И заиста, Приче на путу, писца и универзитетског професора Михајла Пантића, награђене признањем "Мома Димић", садрже, како искуства са путовања у Мексико, Канаду, Русију, Ирску, тако 171 "Не говоримо ветру, него људима", Вечерње новости, интервју Бане Ђорђевић, интернет издање, говорио Михајло Пантић.
МИОДРАГА ПАВЛОВИЋА "Упознавање прошлости понекад ствара човеку осећање да му се живот продужава. ... more МИОДРАГА ПАВЛОВИЋА "Упознавање прошлости понекад ствара човеку осећање да му се живот продужава. Знати како су ствари изгледале некад и како са њима стоји у данашњем времену, није мала привилегија." 123 О аутентичности Париза у Далеким предворјима, не треба много говорити. То је на први поглед, прво читање, један нарочит град, где је оном стварном, у особеном алхемијском процесу, писац Миодраг Павловић истовремено много одузео и много додао. Врло заокружен, а из фрагмената, налик слагалици сачињеној од све самих бесмртних спомен-места (јер наш је писац увек у потрази за бесмртношћу, и више него за прошлошћу), траје Париз Далеких предворја. Тако он постоји као нарочита слика Париза, у којој су најживље присутни управо стари, проминули, доказани облици, у извесном нескладу са новим, револуционарним, модерним. Са друге стране, нескривени шарм управо тог неслагања и дисхармоничности, можемо само окарактерисати као величанствени парадокс Париза, коме он и дугује своју неодољивост. Понекад, путописцу није лако да то призна. Пре свега, Павловићев путописни Париз јесте Париз уметности, у тихој пратњи Дебисија, то је шетња овим магичним градом у неко благо доба дана које не можемо лако да одредимо, у време које није оптерећено звуком, променада од једног музеја до другог, преко најпознатијих тргова, катедрала, и споменика.
Приповетке Драгослава Михаиловићаликови и начини приповедања У раду су приказани начини приповеда... more Приповетке Драгослава Михаиловићаликови и начини приповедања У раду су приказани начини приповедања и позиције приповедача у приповеткама Драгослава Михаиловића, са конкретним примерима из појединачних приповетки, при чему је лик казивача, приповедача или главни јунак, аналитички осветљен. Кључне речи: приповедање у првом лицу, објективно приповедање, сказ, главни јунак казивач, Драгослав Михаиловић Прва књига приповетки Драгослава Михаиловића, и прва објављена, Фреде, лаку ноћ, појавила се 1967, наишавши на одобравање критике и одушевљење публике. Уследиле су, мада са, понекад веома дугим периодима неиздавања, четири збирке приповетки Ухвати звезду падалицу, Лов на стенице, Јалова јесен, и најновија Преживљавање (2010). Познатији по својим романима, дужим приповеткама, или прозним циклусима ( Кад су цветале тикве, Петријин венац, Гори Морава ), данас je Драгослав Михаиловић, несумњиво, један од најцењенијих српских приповедача, незаобилазан у антологијама српске приповетке и заступљен у антологијама на енглеском, француском, руском, немачком, пољском и другим страним језицима.
REGAINING THE PAST. YUGOSLAV LEGACY IN THE PERIOD OF TRANSITION The Case of Formal and Alternativ... more REGAINING THE PAST.
YUGOSLAV LEGACY
IN THE PERIOD OF TRANSITION
The Case of Formal and Alternative Institutions of Art
and Culture in Serbia at the End of the 20th
and the Beginning of the 21st Century
REGAINING THE PAST. YUGOSLAV LEGACY IN THE PERIOD OF TRANSITION, 2022
Before, during the existence of the Yugoslav state and in the post-Yugoslav pe- riod, the common ... more Before, during the existence of the Yugoslav state and in the post-Yugoslav pe- riod, the common cultural (and art) space was shaped by the similar languages, culture, connections, mentality, territory, economic relations, (foreign) influences and art production.
After the dissolution of Yugoslavia in disastrous war conflicts, a large eco- nomic and cultural crisis hit the whole Balkan region. The cruelty of the Bos- nia war together with the embargo, economic crisis, severe inflation and protests caused a collective cultural trauma in all the former Yugoslav countries. Simul- taneously, a high level of (narrative) fragmentation occurred in all institutions as a consequence of the crisis in society. It was reflected in the dysfunctionality of institutions and eventually in their closing down.
After the dark period of the 1990s, in 2000, Serbia dived into progressive dem- ocratic changes and an unblocked transition process that would become a source of great disappointment in Serbian society. During all the changes and fluctua- tions, Yugoslavia (the idea and the state) was perceived as the main culprit for the crisis and a huge mistake in the newest history.
The individual memory and private space of citizens in Serbia was still crowded with memories of the previous period, but translating them into the cul- tural memory became doubtful. For that kind of translation, and for revitalisation of that part of the culture, a space for speech, discussion and search for meaning would be essential, initiated and placed in institutions of culture.
In my research I have investigated if and how Yugoslavia continued to ex- ist in cultural institutions as a phenomenon, through the values of its ideology and its common and wide cultural space, as a notion, motif and theme of proj- ects and events, in spite of all the aforementioned circumstances. I intended to present the importance of the Yugoslav legacy (as a symbolic heritage above all) from the perspective of creating continuity and finding (making) meaning about the past as a way of overcoming cultural trauma.
The main categories and points of view I have chosen as the methodolo- gy of this research could be called an interdisciplinary cultural study approach,
336ꢀRegaining the Past. Yugoslav Legacy in the Period of Transition...
involving content analysis, the notions of representation and interpretation, and the discovery of a symbolic or concrete presence/ absence.
The material for my research comprised catalogues from exhibitions and sub- sequent publications, articles from newspapers and magazines, academic litera- ture, nonofficial interviews, videos, comments on exhibitions, comments as part of the programme in institutions, the personal interpretations of the actors (art- ists, academics, curators, activists, audience) expressed in informal interviews and meetings, noted or recorded, so that they could be incorporated into my research.
The text is divided into four parts: State of the Art, Historical Context, Of- ficial Institutions and Alternative Institutions, preceded by the Introduction at the beginning, and followed by Conclusions at the end (together with a list of ref- erences and illustrations and a summary in English, Polish and Serbian). In the first chapter, State of Art, containing an overview of books, articles and projects that are connected with the theme of my work, I present different as- pects of its formulation and content.
The second chapter titled Historical Context outlines the history of South Slavic unity with an overview of Yugoslav history.
For the analytical part of my research I have chosen three official and three alternative institutions to describe and illustrate the place and role of the Yugoslav narrative and legacy in cultural institutions: the official ones are the Serbian pavil- ion in Venice (Paviljon Republike Srbije u Veneciji), the Museum of Contempo- rary Art in Belgrade (Muzej savremene umetnosti u Beogradu), and the Museum of Yugoslavia (Muzej Jugoslavije), while the nonofficial (alternative) ones are the Centre for Cultural Decontamination (Centar za kulturnu dekontaminaciju/ CZKD), the Inex squat, and the Catch-22 (Kvaka 22) alternative cultural centre. My assumption was that choosing from the different types of institution could help create a wider image and form the basis for a more complete map of institu- tions in Serbia in the post-Yugoslav period.
The analytical part titled Official Institutions contains three chapters describ- ing three institutions.
The first of these chapters discusses the Pavilion of the Republic of Serbia in Venice, formerly the Pavilion of Yugoslavia (in all of its state emanations). I have decided to investigate the Serbian (formerly Yugoslav) pavilion in Venice as the only institution where Yugoslavia still exists in the framework of interna- tional art and culture manifestations (even just as a living memory and context). The second chapter is dedicated to the Museum of Contemporary Art in Bel- grade, opened in 1965 as the most prominent cultural institution representing Yu- goslav and Serbian art of the 20th century. The Museum of Contemporary Art appears to be the institution–symbol of Yugoslav art and culture creation. The third chapter presents the Museum of Yugoslavia, the only institution in the former Yugoslav space fully dedicated to a representation of Yugoslavia.
Summaryꢀ337
This institution has shown enormous capacity for transformation, communicating the possibility of a new modern institution.
The analytical part devoted to alternative institutions also contains three chapters, preceded by a short introduction explaining and describing alterna- tive institutions as a phenomenon. The first chapter in the part titled Alterna- tive Institutions is discusses the Centre for Cultural Decontamination (Centar za kulturnu dekontaminaciju / CZKD). Being one of the oldest nonofficial organisa- tions in Serbia, having emerged from a decisive protest against the regime of Slo- bodan Milošević in 1995, the CZKD was my choice for the alternative institution of the older generation.
As the second case I decided to describe the Inex squat and cultural centre established in a building of the Inex Film Company.
The final chapter of the analytical part on alternative institutions presents the case of Kvaka 22, as an example of the youngest generations of artists and cul- tural workers, activists and citizens, and their approach towards culture and art, past and present.
In the Conclusions I have presented the common denominators of all the de- scribed institutions from the perspective of the Yugoslav legacy, and the wider context as a common space for them all. I have also accentuated the conclusion about the significance of cooperation between institutions in the field of cultural memory, but not only. The phenomenon of relatedness and interconnectedness ap- pears to be crucial for the resolution of the cultural crisis.
Regaining the Past, Pavilion in Venice (chapter), 2022
Before, during the existence of the Yugoslav state and in the post-Yugoslav pe- riod, the common ... more Before, during the existence of the Yugoslav state and in the post-Yugoslav pe- riod, the common cultural (and art) space was shaped by the similar languages, culture, connections, mentality, territory, economic relations, (foreign) influences and art production.
After the dissolution of Yugoslavia in disastrous war conflicts, a large eco- nomic and cultural crisis hit the whole Balkan region. The cruelty of the Bos- nia war together with the embargo, economic crisis, severe inflation and protests caused a collective cultural trauma in all the former Yugoslav countries. Simul- taneously, a high level of (narrative) fragmentation occurred in all institutions as a consequence of the crisis in society. It was reflected in the dysfunctionality of institutions and eventually in their closing down.
After the dark period of the 1990s, in 2000, Serbia dived into progressive dem- ocratic changes and an unblocked transition process that would become a source of great disappointment in Serbian society. During all the changes and fluctua- tions, Yugoslavia (the idea and the state) was perceived as the main culprit for the crisis and a huge mistake in the newest history.
The individual memory and private space of citizens in Serbia was still crowded with memories of the previous period, but translating them into the cul- tural memory became doubtful. For that kind of translation, and for revitalisation of that part of the culture, a space for speech, discussion and search for meaning would be essential, initiated and placed in institutions of culture.
In my research I have investigated if and how Yugoslavia continued to ex- ist in cultural institutions as a phenomenon, through the values of its ideology and its common and wide cultural space, as a notion, motif and theme of proj- ects and events, in spite of all the aforementioned circumstances. I intended to present the importance of the Yugoslav legacy (as a symbolic heritage above all) from the perspective of creating continuity and finding (making) meaning about the past as a way of overcoming cultural trauma.
The main categories and points of view I have chosen as the methodolo- gy of this research could be called an interdisciplinary cultural study approach,
336ꢀRegaining the Past. Yugoslav Legacy in the Period of Transition...
involving content analysis, the notions of representation and interpretation, and the discovery of a symbolic or concrete presence/ absence.
The material for my research comprised catalogues from exhibitions and sub- sequent publications, articles from newspapers and magazines, academic litera- ture, nonofficial interviews, videos, comments on exhibitions, comments as part of the programme in institutions, the personal interpretations of the actors (art- ists, academics, curators, activists, audience) expressed in informal interviews and meetings, noted or recorded, so that they could be incorporated into my research.
The text is divided into four parts: State of the Art, Historical Context, Of- ficial Institutions and Alternative Institutions, preceded by the Introduction at the beginning, and followed by Conclusions at the end (together with a list of ref- erences and illustrations and a summary in English, Polish and Serbian). In the first chapter, State of Art, containing an overview of books, articles and projects that are connected with the theme of my work, I present different as- pects of its formulation and content.
The second chapter titled Historical Context outlines the history of South Slavic unity with an overview of Yugoslav history.
For the analytical part of my research I have chosen three official and three alternative institutions to describe and illustrate the place and role of the Yugoslav narrative and legacy in cultural institutions: the official ones are the Serbian pavil- ion in Venice (Paviljon Republike Srbije u Veneciji), the Museum of Contempo- rary Art in Belgrade (Muzej savremene umetnosti u Beogradu), and the Museum of Yugoslavia (Muzej Jugoslavije), while the nonofficial (alternative) ones are the Centre for Cultural Decontamination (Centar za kulturnu dekontaminaciju/ CZKD), the Inex squat, and the Catch-22 (Kvaka 22) alternative cultural centre. My assumption was that choosing from the different types of institution could help create a wider image and form the basis for a more complete map of institu- tions in Serbia in the post-Yugoslav period.
The analytical part titled Official Institutions contains three chapters describ- ing three institutions.
The first of these chapters discusses the Pavilion of the Republic of Serbia in Venice, formerly the Pavilion of Yugoslavia (in all of its state emanations). I have decided to investigate the Serbian (formerly Yugoslav) pavilion in Venice as the only institution where Yugoslavia still exists in the framework of interna- tional art and culture manifestations (even just as a living memory and context). The second chapter is dedicated to the Museum of Contemporary Art in Bel- grade, opened in 1965 as the most prominent cultural institution representing Yu- goslav and Serbian art of the 20th century. The Museum of Contemporary Art appears to be the institution–symbol of Yugoslav art and culture creation. The third chapter presents the Museum of Yugoslavia, the only institution in the former Yugoslav space fully dedicated to a representation of Yugoslavia.
Summaryꢀ337
This institution has shown enormous capacity for transformation, communicating the possibility of a new modern institution.
The analytical part devoted to alternative institutions also contains three chapters, preceded by a short introduction explaining and describing alterna- tive institutions as a phenomenon. The first chapter in the part titled Alterna- tive Institutions is discusses the Centre for Cultural Decontamination (Centar za kulturnu dekontaminaciju / CZKD). Being one of the oldest nonofficial organisa- tions in Serbia, having emerged from a decisive protest against the regime of Slo- bodan Milošević in 1995, the CZKD was my choice for the alternative institution of the older generation.
As the second case I decided to describe the Inex squat and cultural centre established in a building of the Inex Film Company.
The final chapter of the analytical part on alternative institutions presents the case of Kvaka 22, as an example of the youngest generations of artists and cul- tural workers, activists and citizens, and their approach towards culture and art, past and present.
In the Conclusions I have presented the common denominators of all the de- scribed institutions from the perspective of the Yugoslav legacy, and the wider context as a common space for them all. I have also accentuated the conclusion about the significance of cooperation between institutions in the field of cultural memory, but not only. The phenomenon of relatedness and interconnectedness ap- pears to be crucial for the resolution of the cultural crisis.