Introduction to After Yugoslavia. Ed. Radmila Gorup. Stanford University Press, 2013. (original) (raw)
Related papers
2024
The volume deals with the traumatic experiences of the Yugoslav wars in the 1990s and focuses on artistic, and especially theatrical, responses to them. The authors consider the role of art in both the acute processing and the long-term formation of political and personal memory of the trauma of war and exile. Although the primary subject of the monograph is the relationship between art and trauma on the backdrop of Yugoslav wars, it also features a special section dedicated to the war in Ukraine and the genocide in Gaza.
Marina Abramovic's Time: The Artist is Present at the Museum of Modern Art
e-misferica, 2013
More than 750,000 viewers visited the MoMA exhibition and many more followed Abramović’s performance via a real-time webfeed. The show garnered a storm of critical and popular media coverage, including process pieces about inappropriate touching of the human art, and the New York Post’s coyly titled “Squeezy Does It.” This show played on a huge scale, and its organizers were obviously invested in “telling the story” of Abramović’s career clearly and dramatically. This required a simple narrative of her career that, in some ways, undermined the radical experience of Abramović's performed time...She has set forward “reperformance” as a model for preserving her work, one which she extends problematically to the entire field of performance art. As one of the 39 reperformers who took part in the exhibition, I confronted the issues brought up by the retrospective and reperformance from a perspective deeply embedded in the experience of Abramovic's performance works. http://hemisphericinstitute.org/hemi/en/e-misferica-72/levine
Representing a divided place: the artistic-military practice of Mladen Miljanovic
cultural geographies, 2016
This essay on the work of the Bosnian artist Mladen Miljanović, born in Zenica, Yugoslavia, in 1981, is wrought around an account of the divided place in which his art is mobilised. Following a short military term, Miljanović enrolled at the Academy of Arts, in Banja Luka, where he still lives. A potent opposition to a divisive ethnonationalist politics ever-present in the post-conflict, post-socialist, transition era of Bosnia-Herzegovina, Miljanović deploys what he calls an artistic-military practice. Incorporating cartographic and military surveying techniques learnt at a reserve officer military school, Miljanović deconstructs his own soldierly past and interrogates, through his artistic-military practice, an ethno-nationalist militarised Bosnia-Herzegovina. I focus in the main here on the artist's recent attempt to represent post-conflict Bosnia-Herzegovina at the 55th Biennale di Venezia, a granite triptych entitled, The Garden of Delights.
The Resilience of History. The Yugoslav Wars through Art
2024
The volume deals with the traumatic experiences of the Yugoslav wars in the 1990s and focuses on artistic, and especially theatrical, responses to them. The authors consider the role of art in both the acute processing and the long-term formation of political and personal memory of the trauma of war and exile. Although the primary subject of the monograph is the relationship between art and trauma on the backdrop of Yugoslav wars, it also features a special section dedicated to the war in Ukraine and the genocide in Gaza.
Women artists, Nomadic Slavs The Art in Exile, the Existential in Еxile
1990s had witnessed the disintegration of one of the 20 th century's most ambitious political projects which represented the multinational and multi-ethnic republic federation Yugoslavia. Some of the eleven women artists whose destinies we follow in this book, or rather their respective families, were born in different republics and territories of former Yugoslavia and some of them had left their homeland much earlier before their country officially and politically collapsed. It is often considered, and rightly so, that an artist is the most fragile and the most sensitive of all beings, but at the same time s/he is also the most resilient, the most politically aware and the most flexible being out of all other human fellows : he is at home everywhere and nowhere and when s/he dislikes the climate, political or social of his homeland, s/he is the first one to take the flight. The women artists here have all undergone specific individual changes and had suffered the consequences of the political regime of their times, but their common destiny perhaps illustrates the best the individual story of Marina Abramovic, a contemporary artist very much recognized in the world who shares, nonetheless, the respective paths of women-artists presented in this show.
Radovi Zavičajnog Muzeja – Visoko, 2024
This article discusses the fate of works of Visoko-based artist Ranko Milanović (1935–2012) on the theme of the 1941–45 People’s Liberation War and wider Socialist Revolution, and their state of preservation in the present day. The article begins with a (brief) biography of Milanović, and then, using a variety of primary and secondary sources, reconstructs what the author believes to be a complete list of the artist’s works on this theme (32 in total), the scope of which includes busts, reliefs, memorial plaques, and two stand-alone sculptural monuments. These monuments are then individually described, and their condition today discussed, with the article concluding by framing the works (and their condition) in the wider context of both the memorialization of the People’s Liberation War upon the territory of Bosnia & Herzegovina and other aspects of Milanović’s broader oeuvre. This analysis shows – with the caveat that data on authorship of works across Bosnia & Herzegovina is far from complete – that Milanović’s works on this theme have been removed from the public space or destroyed to a greater extent than those of almost any of his contemporaries, both proportionately and in absolute terms. This article offers not only a much-needed précis of one significant component of the opus of Ranko Milanović, but also sketches the fate of many memorials to the People’s Liberation War within contemporary society; particularly that of memorials created by artists of local and regional importance.