Misko Suvakovic

The author discusses differences between the concepts of ‘political genres in art’ and concepts of ‘political functions of art’. In other words, I will point to the problem of the politisation of art works, i.e. the interpretation of the political characters of: Gustave Courbet’s painting L’Origine du monde (XIX c.), Marcel Duchamp’s ready made Fountain (1917), and Eduardo Kac’s project Green Fluorescent Protein – GFP (2000). In order to answer the questions “are these three art works – Courbet’s pornographic painting L’Origine du monde, Duchamp’s transgressive Ready Made Fountain, and Eduardo Kac’s transgenetically modelled rabbit with fluorescent fur GFP Bunny-Alba – political art works?”, “in relation to what are these art works political?”, the author has to make a theoretical and perceptual politisation of them or at least of some of their registers or regimes of appearing in society, culture, and worlds of art. The demand of politisation becomes relevant as a demand “after the...

The important difference between research and non­research art therefore seems predicated on the fact that non­research art sets out from established values, whereas research art seeks to establish those values and its own self as a value. Indeed, the first aesthetics that dealt with the very problem of art and its place among the activities of the spirit were born when art was first posited as research and when it first undertook to explore itself. (Argan 154)

This essay points to epistemological questions on relation between visual and verbal theorisation of contemporary media and Postmedia art. The discussion is poly-generic because I used the models of theoretical interpretations, manifesto assertions or modes of visual indexing to interpret visual or nonvisual aspects of contemporary art. The purpose of the discussion is to point out the antagonisms and conflicts of contemporaneity. In the discussion, I point to theorisations of modern and contemporary human, cultural, and artistic practices that refer to antagonistic and certainly turbulent processing of production and reproduction in visual arts. The new image/text THEORIES make meaning not only by building a new interpretative text through absorption and transformation of other texts, but also by embedding the entirety of other texts (analog and digital) seamlessly within the new.

In his paper, the author’s intent is to respond to the following questions: “Were selfmanaging, socialist Yugoslavia and the Socialist Republic of Slovenia within it Eastern European states/cultures?” And: “In what way did the Irwin group carry out an artistic, curatorial, and theoretical re-articulation of contemporary Slovenian art as an Eastern European art under the conditions of globalization?” The article first examines the theoretical problem of cultural and political relations – the rises and the crises – between SFR Yugoslavia, the Soviet Union, and the USA. The structures of cultural and artistic relations established during the Cold War that underwent changes in the global transitional revolution in 1989 are of interest as well. As a case study, the project “Embassy in Moscow” (1992) by NSK and Irwin is presented. In the conclusion, the article raises the question of the position of Eastern Europe as a cultural space following the fall of the Berlin Wall. Methodologically...

The author poses the dilemma whether we should view the relation between art and philosophy as an ecstatic and eclectic richness of the 'pleasure in the senses' of the possibility of advocating art and advocating philosophy, or as a nomadic displacement from 'one possible world of advocating' into a 'possible world'.

Namera mi je da dijagramski postavim jednu moguću potencijalnu teoriju De-Re medija lociranu u savremenosti globalnih ekoloških, ekonomskih, ratnih i, svakako, klasnih kriza. Razmatrana je piosebna situacija transformacije „slike sveta“ u „događaj sveta“, drugim rečima, načinjen je obrt od prikazivanja sveta do izvođenja sveta ili izvođenja u svetu. Postavljena je rasprava o sredstvima medijskog rada, proizvodnje i delovanja, tj. o instrumentima i njihovim konstruktivnim funkcijama. Analiziran je kontekst medijskog rada, proizvodnje i delovanja posredstvom modela dispozitiva/aparatusa. Reinterpretirana je iz „agrarne nauke“ i „ratne terminologije“ teorija rojeva te primenjna na novi pojam medijuma/medija. Preuzeta je i primenjena tradicionalna i moderna rasprava razlike De Dicto i De Re sudova. Postavljena je teorija De Re medija u odnosu na koncepte medijuma i medija, postmedijuma i postmedija, digitalnih i postdigitalnih medija.

The author explores relations between different theories of modernism. He takes into consideration: (1) general concepts and theories of modernism; (2) theories of international modernism inherent to Western twentieth-century hegemonic modernism; (3) theories of the local (national and regional Western) modernism; (4) revisions of the concept of modernity in contemporary theories of globalization. These topics are considered, in a first step, via the philosophical distinction between a historical perspective (international modernism) and geographical perspective (global revision of modernism). The author then interprets aesthetic universalism and the concept of the autonomy of art characteristic of international modernism (Adorno, Greenberg, Argan). He points to the transformation of the hegemonic aesthetic universalism into national modernisms which are characteristic of local modernisms. He argues that the theories of global modernity carry out a critical discussion of Western modernism as the ideal model. This shows that universalist western modernism appears as one of many modernisms in relation to colonial/post-colonial societies and to socialist/post-socialist societies.

The article conducts a comparative discussion on the strategic poetic and political similarities/differences between the respective contexts of neo-avant-garde and retro-avant-garde practices in relation to aesthetic, artistic, and cultural revolutions. I juxtapose two revolutionary potentials and effects of their actualisation: the utopias and projections of the international revolution relating to the “new sensibility” and the unity of “art and life” of 1968, and several projects and practices that undermine totalitarian systems, from punk cynicism to the national revolutions of 1989 that overthrew real socialism in the Eastern and Central Europe. In my comparative discussion I focus on two specific cases in Slovenian art and alternative cultures, highlighting the position of “experimental poetry,” “new sensibility,” and “conceptual art” of the OHO group, active between 1966 and 1971, and the position of “political cynicism” and “retro-avant-garde art” in the Neue Slowenische Kuns...

The paper analyzes and discusses two sets of issues: (1) differences between the avant-garde and the neo-avant-garde, and (2) different avant-garde and neo-avant-garde approaches to materialism in a philosophical, political, and aesthetic sense. The avant-garde and the neo-avant-garde were seldom doctrinaire, but one can nevertheless speak about the circularity of beliefs and attitudes, the mobility of theoretical and practical platforms from self-destructiveness to artistic and media nomadism, in the manner of rhizomatic manifolds. Certainly, there are common obsessions with the unity of art and life, or the fundamental turn of art into life, which are expressed by the macro-utopian projections of the new society (industrial society, communist society) forwarded by avant-garde artists, or by the concretizations of micro-utopias (communes, alternative production and exhibition institutions) by neo-avant-garde artists. Examples of primary materialism, aleatory materialism, historical...

Page 1. HiSTORiES orical Avant-gar vka Djuric a Page 2. Page 3. Page 4. ... Page 9. ^HISTORIES Historical Avant-gardes, Neo-avant-gardes, and Post-avant-gardes in Yugoslavia, 1918-1991 00 GO CO o CL edited by Dubravka Djuric and Misko Suvakovic Page 10. ...

A diagram is posited in line with the chosen construction of the appearance and legibility of an imagined or discovered reality by means of elements (graphs, words, signs, images, drawings, photographs) that do not imitate the form of that reality, but are rather meant to develop it further away from that form, toward processings through, above, or beyond form. A diagram is not a project pertaining to form, but an indexation of a path toward form, a path toward transcending or abandoning form, or merely a testimony about thinking about form in process. My intent is to develop a primary theory of diagrams as a basis for discussing the relationship between the sensory and conceptual performing of knowledge. My term for the production of sensory and conceptual knowledge related to and shown in the diagram model is "diagram aesthesis". For instance, the primary function of diagrams 1 in architecture and urban planning is to process an imaginative and conceptual sample, which is then elaborated and realised in architectural projects and organisational models for constructing objects, interiors , exteriors, buildings, urban districts, or entire cities. By means of project design and planning, a diagram is transformed from an imagined sample i.e. vision or expression of a mental representation into an applicable design for a building or anything else. The diagram is thus an instrument in architectural thinking: in imagining, conjuring up, in fantastic presentations, pragmatic and speculative thought. Already 1 Anđelka Bin-Binski, "Savremeni jezički problemi arhitektonskog crteža i njego-vo svojstvo dijagrama", in Srpska politička misao, Posebno izdanje: Politika, sva-kodnevnica i taktička umetnost/mediji, ed. Đorđe Stojanović i Miško Šuvaković (Beo-grad: Institut za političke studije, 2019), 223-241.

225 Ars Adriatica 10/2020. Materijalistička teorija avangarde i neoavangarde Miško Šuvaković The paper analyzes and discusses two sets of issues: (1) differences between the avant-garde and the neo-avant-garde, and (2) different avant-garde and neo-avant-garde approaches to materialism in a philosophical, political, and aesthetic sense. The avant-garde and the neo-avant-garde were seldom doctrinaire, but one can nevertheless speak about the circularity of beliefs and attitudes, the mobility of theoretical and practical platforms from self-destructiveness to artistic and media nomadism, in the manner of rhizomatic manifolds. Certainly, there are common obsessions with the unity of art and life, or the fundamental turn of art into life, which are expressed by the macro-utopian projections of the new society (industrial society, communist society) forwarded by avant-garde artists, or by the concretizations of micro-utopias (communes, alternative production and exhibition institutions) by neo-avant-garde artists. Examples of primary materialism, aleatory materialism, historical materialism, and basic materialism are given in order to point out the unstable relations between the medium (material) and the media (technique, technology) of communication, but also non-communication. ABSTRACT Odjel za humanistiku i teoriju umjetnosti i medija Fakultet za medije i komunikacije, Beograd Ul. Karađorđeva 65 SR-11 000 Beograd Primljen / U radu se analiziraju i raspravljaju dvije tematizacije: (1) razlike avangarde i neoavangarde i (2) različiti avangardistički i neoavangardistički pristupi materijalizmu u filozofskom, političkom i estetičkom smislu. Avangarde i neoavangarde su rijetko kada bile doktrinarne, prije se može govoriti o cirkularnosti uvjerenja i stavova, mobilnosti teorijskih i prak-tičnih platformi od autodestruktivnosti do umjetničkog i medijskog nomadizma te o antagonizmima istovremenog suočavanja s dijalektičkim napetostima i obratima, strukturnom proizvodnjom razlika i beskrajnim usložnjavanjima mogućnosti na način rizomatičnih mnogostrukosti. Svakako, postoje i zajedničke opsesije jedinstvom umjetnosti i života ili fundamentalnim obratom umjetnosti u život, koje se iskazuju makroutopijskim projekcijama novog društva (industrijskog društva, komunističkog društva) kod avangardista ili konkretizacijama mikroutopija (komune, alterna-tivne produkcijske i izlagačke institucije) kod neoavangardista. Izvedeni su primjeri primarnog materijalizma, aleator-nog materijalizma, historijskog materijalizma te baznog materijalizma da bi se upozorilo na relativne odnose medija (materijala) i medija (tehnike, tehnologije) komunikacije, ali i nekomunikacije. Ključne riječi: avangarda, neoavangarda, materijalizam, primarni materijalizam, aleatorni materijalizam, historijski materijalizam, bazni materijalizam Izvorni znanstveni rad / Original scientific paper SAŽETAK | 225-240 |

The article conducts a comparative discussion on the strategic poetic and political similarities/differences between the respective contexts of neo-avant-garde and retro-avant-garde practices in relation to aesthetic, artistic, and cultural revolutions. I juxtapose two revolutionary potentials and effects of their actualisation: the utopias and projections of the international revolution relating to the "new sensibility" and the unity of "art and life" of 1968, and several projects and practices that undermine totalitarian systems, from punk cynicism to the national revolutions of 1989 that overthrew real socialism in the Eastern and Central Europe. In my comparative discussion I focus on two specific cases in Slovenian art and alternative cultures, highlighting the position of "experimental poetry," "new sensibility," and "conceptual art" of the OHO group, active between 1966 and 1971, and the position of "political cynicism" and "retro-avant-garde art" in the Neue Slowenische Kunst movement founded in 1984. Keywords: art and society / Slovenian art / neo-avant-garde / post-avant-garde / retro-avant-garde / conceptual art / politics / revolution / OHO / Neue Slowenische Kunst 65 Primerjalna književnost (Ljubljana) 43.3 (2020) Ontology of late revolutionary practices, 1968-1989 In the 1960s, the left and liberal revolutionary potentials within the student and youth movements came into confrontation; they pursued either a "new sensibility" (Marcuse 23-24) or a "radical change in everyday life" in both developed and real socialist societies. The student and youth movement and its new leftist, spiritually exotic, and eman-cipatory political platforms were directed against the bureaucratization

1. aparatusi i sablasti: uvod u teoriju ideologije Po Barthesu, ideosfere bi bile, grubo reËeno, govorni sustav, sfera govora jedne ideologije. U ovome trenutku, drugim rijeËi-ma, zanima me kako izvjesna umjetniËka djela ili objedinjujuÊi odnosi umjetniËkih djela i egzistencije njihovih stvaralaca i korisnika govore ili predoËuju "jednu ideologiju". Ali, kako se moaee uvesti pojam ideologije? Odgovor je jednostavan i varljiv-pojam ideologije moaee se uvesti na viπe naËina: ide-ologija je skup pozitivnih i pragmatiËnih uvjerenja, vrijednosti, oblika ponaπanja i Ëin-jenja πto ga dijeli jedna skupina teoretiËara ili praktiËara, odnosno, pripadnika kulture ili neke diferencirane formacije u kulturi; ide-ologija je skup pogreπnih predodaebâ, laaenih uvjerenja i uËinaka iluzija πto ih dijele pripad-nici druπtvenog sloja, klase, nacije, politiËke stranke, osebujne kulture ili svijeta umjetnos-ti, stvarajuÊi predodaebe moguÊega, aktualnog i trenutnog svijeta egzistencije; ideologija je skup simboliËkih i imaginarnih arbitrarnih i artificijelnih uËinaka kakve proizvodi sustav medija na mjestima oËekivane zbilje; ideologi-ja postavlja nas za objekt meu objektima potroπnje, zavoenja i zanosa, odnosno; ide-ologija medijskom rea-lizacijom postaje tehnoloπki umnoaeena nova realnost (hiper-realnost); ideologija kao aparatus istine ima fantazmagoriËnu konstrukciju πto sluaei kao podrπka "samoj" naπoj realnosti, drugim rijeËima, ona je iluzija kakva strukturira efek-tivne druπtvene odnose i maskira traumatske socijalne podjele ili sukobe kakve se ne moaee simbolizirati, zato je funkcija ideologije opskr-biti nas podnoπljivom druπtvenom realnoπÊu; ideologija je ono polje fenomena u okruaeenju πto se pojavljuju pred naπim tijelima i poj-movnost πto prati to pojavljivanje gradeÊi subjekt, druπtvo, kulturu, umjetnost; ideologi-ja je mnoπtvo kaotiËno i nekonzistentno prisutnih (anticipiranih, odloaeenih) znaËenja, zamiπljenih oblika produkcije znaËenja i pre-dodaebi kakve jednu kulturu nuaeno ili motivira-no povijesno odreuju, preobraaeavajuÊi je iz neregulirana (ili podreguliranog) sustava u regulirani (ili nadreguliran) sustav proizvod-nje, razmjene, potroπnje i uaeivanja smisla, robe, proizvodnje, informacija, moÊi i zastu-panja; ideologija je skriven (preπutan, nevid-ljiv, dubinski) poredak πto odreuje jedno druπtvo ili druπtveni ustroj, neovisno o tome izjaπnjava se ili ne u suglasju s njom kao ide-ologijom; ideologija je racionalno vrjednova-nje (legitimizacija) postojeÊeg poretka pre-doËavanja realnosti; ideologija nije "sama" realnost, veÊ regulacijski odnos draeavnog aparata, ustanova svakidaπnjeg aeivota i onih zamiπljenih tvorevina πto su u meusobnom odnosu; ideologija je trenutno iskustvo odnosa Ëovjeka i svijeta; ideologijom se nazi-va znaËenja, smisao i vrijednosti strukture moÊi kakvom jedna formacija ili druπtvo u cjelini raspolaaee ili kakvoj teaei; ideologija ima strukturu "istine", a to znaËi da djeluje kao fantazma (zaslon) πto nas odvaja od zbiljskog; ideologija je izvjesna metanaracija kakva osigurava poredak primjerima πto ustrojavaju ljudske odnose spram prirode, kulture, umjetnosti; ideologija je neka vrsta govora πto sadraei vjerovanje, ali, ona je i sus-tav znakova i oznaËitelja, kojima se jedno druπtvo postavlja u odnos prema bilo kojemu drugom sustavu znakova i oznaËitelja, i time se postavlja u odnos s bilo kojim drugim druπtvom, Ëak i u odnos sa samim sobom kao druπtvom, kulturom, svijetom... itd... ReÊi ide-ologija, u povijesnom znaËenju, znaËi fiksirati razliËite statuse "fantazama" ili "uvjerenja" (fantazma doveden do propozicijskog jezika u jeziku svakidaπnjice): (a) u tradiciji Zapada ideologija je prisut-na gotovo kao prirodan svijet u kojeg je uronjen subjekt i koji svoju ideoloπku nadde-91 miπko πuvakoviÊ umjetnost i ideologija pedesete u podijeljenoj europi

53 * Umetnostna univerza, Beograd V pričujočem besedilu se bom ukvarjal z naslednjima vprašanjema: »Ali sta bili samoupravna socialistična Jugoslavija in s tem Socialistična republika Sloveni-ja vzhodnoevropski državi/kulturi?« In še: »Na kakšen način je skupina Irwin izvedla umetniško, kuratorsko in teoretsko reartikulacijo sodobne slovenske umetnosti kot umetnosti Vzhodne Evrope v pogojih globalizacije?« Pri iskanju odgovorov na omenjeni vprašanji si bom pomagal z modelom »ko-gnitivnega kartiranja« in nato s postopkom »reartikulacij« geografsko-ideolo-ških oblikovanj družbenega, kulturnega ter umetniškega prostora nekdanje Jugoslavije in še posebej Slovenije. Kognitivno kartiranje je teoretska metafora, ki jo je Fredric Jameson prevzel iz besednjaka geografa Kevina Lyncha. 1 Lynch z idejo »kognitivnega kartiranja« poimenuje načine, na katere ljudje osmišljajo svojo urbano okolico. Za Jamesona pa je kognitivno kartiranje način, kako po-sameznik razume svoj družbeni svet. Ideja o kartiranju je bistveno povezana s prakso delovanja v konkretnem kontekstu, ki je v razmerju do globalnega sveta definiran kot lokalni svet. Jameson zato lokalno družbeno situacijo subjekta ponazarja z modelom kognitivnega zemljevida, ki ustreza Althusserjevemu 2 tridelnemu temeljnemu pojmu ideologije-torej beleženju odnosov med indivi-dualnim subjektom, realnim ter imaginarno projekcijo, ki jo subjekt od predho-dnih družbenih odnosov razvija k prihodnjih. Toda tu ne gre za katerikoli »pri-mer izvajanja ideologije«, temveč za prikaz pogojev kognitivnega kartiranja v pričujočem svetu hladne vojne. 3 Toda, kaj se je zgodilo po koncu hladne vojne, ko je izgubljen očitno konstruirani, a tri desetletja vendarle stabilni zemljevid napetega odnosa subjekta kot individualizacije, izpeljane iz kolektivnega Dru-gega (politični Vzhod), postavljenega nasproti drugemu kolektivnemu Druge-1 Kevin Lynch, The Image of the City, The MIT Press, Cambridge MA 1960.

Modernizme XX. stoletja lahko prikažemo z različnimi interpretativnimi modeli historizacije. Modeli historizacije peljejo od greenbergovskega cilj-nonaravnanega, historičnega in esencialističnega modernizma, preko kuh-novsko-artlanguagevskega katastrofičnega in revolucionarnega 1 modela menjave umetniških paradigem, do popolnoma razpršenih in anarhičnih postmodernističnih pojmovanj postzgodovine, 2 metastazirajočega eklekticiz-ma, 3 večregistrske arhivistike, 4 medijske odtujenosti skozi taktike neekspre-sivnosti, 5 ahistorične teorije umetnosti znotraj študija kulture, določene z in-deksacijami preseka elitne in popularne umetnosti in kulture, 6 itd … itd … Interpretativne modele-zemljevide indeksiranih konfrontacij lahko, po drugi strani, konstruiramo znotraj velike in raztelešene modernistične paradigme po drugi svetovni vojni. Na primer: Filozofski vestnik