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i vot umjetnosti
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ASOPIS ZA SUVREMENA LIKOVNA ZBIVANJA
MAGAZINE FOR CONTEMPORARY VISUAL ARTS
-
broj 94 / 2014.
Zivot umj 94.indd 1 6/30/14 4:08 PM
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IVOT
UMJ ETNOSTI
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ARKO
PAI
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POSTSOCIJALIZAM?
Kratka povijest
ieznua

POST-SOCIALISM?
A Short History of
Disappearance
Zivot umj 94.indd 4 6/30/14 4:08 PM
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Pojmovni kaos vremena u kojem trajemo kao da potvruje
postavke Paula Virilioa o estetici ieznua. Sve gubi rang, razinu
i ukorijenjenost u odreenome prostoru. Umjesto otvorenosti
vremena, implozija informacija saima prostornu rastezljivost do
nulte toke zaborava prolosti. Zbog toga nije nipoto udno da
se od 1989. godine i pada Berlinskoga zida s punim pravom moe
govoriti o nastanku dogaaja bez svijeta, o prelasku drutvenih
odnosa u mree tehnosfere, o ubrzavanju i zastarijevanju onog to
je jo preostalo od ideje radikalno novoga, s kojim je modernost
otpoela kao pohvala znanosti i tehnike, totalne mobilnosti,
stvaralake euforije, eksperimenta svijeta u znakovima novoga
ovjeka. Pojmovi danas vie ne dolaze iz onoga to nazivamo
realnou. Apsolutna konstrukcija svijeta odluuje o konceptualnome
arhipelagu. Tehnogeneza novih virtualnih svjetova pokazuje nam da
nelagoda s infacijom prefksa post, neo, meta i trans pogaa gotovo
sva podruja ivota koja nastojimo prisvojiti u novom kognitivnome
mapiranju. Ako ubrzavanje vremena oduzima dah zato jer se radi o
The conceptual chaos of the age in which we persist seems
to confrm the hypotheses of Paul Virilio on the aesthetics of
disappearance. Everything loses its rank, its level and roots in a
particular space. Instead of the openness of time, the implosion of
information contracts the spatial extensibility to the zero point of
oblivion in regard to the past. Therefore it is barely surprising that
since 1989 and the fall of the Berlin Wall one can speak, completely
justifably, about the emergence of events without the world, about
the transfer of social relations into the networks of the techno-
sphere, and about the acceleration and outdating of what is left of
the idea of radical novelty, which is what modernity started with
as a laudation of science and technology, of total mobility, creative
euphoria, and the experiment of the world in the sign of the new
man. Concepts no longer originate in what we call reality. The
absolute construction of the world decides about the conceptual
archipelago. The techno-genesis of new, virtual worlds indicates
that the uncanny feeling caused by the infation of prefxes such as
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akceleraciji informacija, tada je jasno da se taj proces, poznat
iz flozofjskih analiza Deleuzeove ontologije digitalnoga doba,
mora istom igrom intenziteta snaga dogaati u onome to je
jo preostalo od drutva, politike, umjetnosti, kulture u najirem
smislu rijei. Prefksi post, neo, meta i trans nisu, dakle, tek
pukom modom izricanja stanja novosti, prelaska granica,
nadilaenja okvira, preusmjeravanja ideja s kojima je modernost
otpoela kao furija napretka, a zavrila uglavnom onako kako
je to opisao Walter Benjamin u 9. Filozofjsko-povijesnoj tezi.
Ondje se, naime, govori o slici Paula Kleea Angelus Novus kao
paradigmi melankolije i propasti, jer aneo na slici predstavlja
svijest o katastrof nadolazeega i o melankoliji onoga to je
prohujalo u vremenu.
Pojmovi vie ne odgovaraju realnosti naprosto zbog
toga to je svijet nakon 1989. godine u znaku globalnoga
poretka neoliberalne distopije. Pritom su razlike izmeu
oligarhijske politike upravljanja drutvom istodobno rezultat
post-, neo-, meta-, and trans- affects almost all spheres of life
that we seek to appropriate in this new cognitive mapping. If the
acceleration of time leaves one breathless because it is, in fact,
the acceleration of information, then it is clear that this process,
known from the philosophical analyses of Deleuzes ontology
of the digital age, must happen with the same play of intensity
in that which is left of the society, politics, art, and culture in
the broadest sense of the word. Thus, the prefxes post-, neo-,
meta-, and trans- are not some sort of fashion in expressing the
state of novelty, the transgression of borders, the surpassing
of frameworks, or the redirection of ideas with which modernity
once started in the fury of progress and ended largely as Walter
Benjamin described it in its 9
th
Thesis on the Philosophy of
History. He speaks there about the painting Angelus Novus by
Paul Klee as a paradigm of melancholy and decline, since the
angel represents the awareness of the looming catastrophe and
the melancholy of what has gone with the winds of time.
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krize suverenosti dananje nacije-drave. Jedan od takvih
normativno-deskriptivnih pojmova kojim politolozi i sociolozi
nastoje objasniti prevlast mediokracije nad graanskim
sudjelovanjem u javnim politikama jest i pojam postdemokracije.
Nije rije ni o kakvome sumraku vrijednosti slobode i
pravednosti u suvremeno doba. tovie, pojam u svojoj
neodreenosti upuuje na iskljuivanje naroda iz procesa
odluivanja. Sve se zbiva tako to elite moi oblikuju svijet
deliberativne demokracije, a umjesto politike jednakosti
graana suoavamo se posvuda s uzurpiranjem slobode u
ime uinkovitosti kompetentnoga odluivanja o politikim
interesima veine. A kada vie ono to se dogaa nema u sebi
razliku izmeu autentinosti i vulgarnosti dogaaja kao takvoga,
nestaje metafzika shema istine i vrijednosti povijesti kao cilja
i svrhe ljudske avanture. Tako je i s pojmom postsocijalizma
koji se esto povezuje s pojmom postkomunizma. Ako je
potonji pojam vezan uz strogo razlikovanje spram ideologije
Concepts no longer ft the reality simply because, since 1989,
the world has been in the sign of the global order of neoliberal
distopia. Thereby the differences between the oligarchic politics
ruling the society are at the same time a result of the crisis of
sovereignty in todays nation-state. One of such normative-
descriptive concepts that the political scientists and sociologists
have been using in their attempt to explain the prevalence of
mediocracy over civic participation in public politics is the notion
of postdemocracy. It is not some sort of twilight of the values of
freedom and justice in the present times. In its vagueness, the
term indicates the exclusion of the people from the decision-
making process. What happens is that the power elites shape the
world of deliberative democracy, and instead of political equality
among the citizens one encounters everywhere the usurpation of
freedom for the sake of effciency in competent decision-making
about the political interests of the majority. And when the event
as such no longer includes any difference between authenticity
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liberalizma, onda je postsocijalizam pojam koji se moe odrediti
razlikovanjem u odnosu na drutvene poretke kapitalizma.
Ve je odatle jasno da razlikovanje spram liberalizma i
kapitalizma ini jasnu ideologijsko-politiku razdjelnicu izmeu
ekonomije kao temelja drutvenih odnosa i politike kao naina
vladavine drutvom u dva modela povijesnoga razvitka. Pojam
postsocijalizma uspostavio se danas kao neka vrsta tehnikoga
termina za teorijsko i uope kulturalno traganje za svijetom ivota
u okruju istonoeuropskih drutava od 1917.1989. godine u
bivem Sovjetskom Savezu, a od 1945.1989. godine u drugim
zemljama gdje se uspostavio ideologijsko-politiki poredak
realnoga socijalizma. Bez obzira na sve precizne teorijske razlike
izmeu pojmova socijalizma i komunizma u tekstovima Karla
Marxa i marksista od Engelsa do razliitih struja drutvenih
pokreta za dokidanjem kapitalizma od sredine 19. stoljea do
kraja 20. stoljea u svijetu, moe se rei da je za razumijevanje
strukture i prakse realnoga socijalizma odluujue sljedee:
and vulgarity, the metaphysical scheme of truth and the value of
history as the goal and purpose of human adventure disappear.
The same happens with the notion of postsocialism, which is
often linked to that of postcommunism. If the latter is associated
with a strict differentiation with regard to the ideology of
liberalism, then postsocialism is a term that can be defned by
means of differentiation with regard to the social arrangements
of capitalism. It is quite clear that the difference between
liberalism and capitalism functions as a clear ideological and
political demarcation line between economy as the basis of
social relations and politics as a way of governing the society, in
two models of historical development. The term postsocialism
has emerged as a sort of technical term for the theoretical
and generally cultural quest for the lifeworld in the context of
Eastern European societies: from 1917-1989 in the former Soviet
Union, and from 1945-1989 in other countries that featured the
ideological and political order or real socialism. Regardless of all
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1. politika vladavina komunistike partije i totalitarnoga Voe u
narodnim demokracijama;
2. drutveni poredak bez privatnoga vlasnitva i dravni
aparat koji vlada s pomou totalne birokratske kontrole nad
stanovnitvom;
3. zapovjedna ekonomija zasnovana na industrijskome radu kao
pretpostavci ubrzane modernizacije drutva;
4. ideologijsko-politiko dokidanje razlike izmeu politike drave
i graanskoga drutva;
5. koloniziranje svijeta ivota i stvaranje novoga koncepta
demokratizirane kulture s kojom nestaje razlika izmeu visoke
kulture i masovne kulture.
Boris Groys, prominentni teoretiar avangardne umjetnosti
i voditelj interdisciplinarnoga znanstvenog projekta o
postkomunizmu u Istonoj Europi, zacijelo je najvjerodostojnije
ocrtao paradokse utemeljenja politike revolucije umjetnosti
u realnome socijalizmu Staljinova doba i zahtjeve za obnovom
precise theoretical distinctions between the terms socialism
and communism in the works of Karl Marx and the Marxists,
from Engels to various currents in the global social movements
for the abolition of capitalism between the mid-19
th
and the
late 20
th
century, one may say that the decisive elements for
understanding the structure and practice of real socialism are
the following:
1. Political rule of the Communist Party and a totalitarian Leader
in popular democracies;
2. Social arrangements without private property and the
presence of a state apparatus that rules by means of total
bureaucratic control over the population;
3. Directive economy based on industrial work as a precondition
for accelerated modernization of the society;
4. Ideological and political abolition of the difference between
the political state and the civil society;
5. Colonization of the lifeworld and the creation of a new concept
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pamenja o dogaajima od 1917.1989. godine danas. U
oba sluaja, kako u totalitarnome konceptu umjetnosti kao
ideologije u slubi poretka diktature Partije i Voe, tako i u
dananjem razraunavanju s nadomjestkom slobode u liku
neoliberalne tiranije trita, posrijedi je konstrukcija drutva
i novoga ovjeka. Avangarda se ne moe prepustiti tek
estetskim obnovama sjeanja na zlatno doba izgradnje
monumentalnih spomenika i projekta modernosti izvan logike
potroakoga drutva Zapada. Naprotiv, kada se u teorijskim
pretpostavkama istraivanja kulture svijeta ivota u realnome
socijalizmu danas govori o idejama socijalne pravednosti,
drutvene participacije i performativne kritike kulta Voe, tada
je potrebno jasno razluiti to znai razlikovanje sjeanja i
pamenja na dogaaje iz povijesti modernosti na prostorima
bive Jugoslavije osobito, jer se ini da je za postsocijalizam u
autentinoj formi singularnoga iskustva umjetnosti to iznimka
koja i potvruje i ne potvruje pravilo.
of democratized culture, which abolishes the difference
between high culture and mass culture.
Boris Groys, a prominent theoretician of avantgarde art
and the head of an interdisciplinary scholarly project on
postcommunism in Eastern Europe, has most convincingly
outlined the paradoxes in the rationale of the political revolution
of art in the real socialism of Stalins era and the present
requirements of memory revision regarding the events from
1917-1989. In both cases, namely in the totalitarian concept of
art as the ideology serving the dictatorship of the Party and
the Leader, and also in todays coping with the surrogate of
freedom in the form of the neoliberal tyranny of the market, the
central element is building up the society and the new man.
The avantgarde should not indulge in mere aesthetic revisions
of memories about the golden era of building monumental
sculptures and projects of modernity that escape the logic of
Western consumerist society. On the contrary, when speaking
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Pojmovni sklop unutar kojeg postsocijalizam ima svoje
mjesto normiranja dogaaja iz prolosti moderne konstrukcije
i dekonstrukcije kulture kao nove ideologije u politikim
znanostima 1990-ih do danas odreen je tranzicijom.
Budui da je sporno ne samo prema emu se ide nakon
propasti drutvenoga poretka realnoga socijalizma, ako to
nije vie samorazumljivost liberalne demokracije, kapitalizma
s idejom trita i profta, ovjeka kao homo oeconomicusa,
nego i zato se dogaa drugi povratak u prolost i to u
smjeru regresivnih ideja nacionalistike obnove kulture protiv
homogenosti globalizma, tada s pojmom postsocijalizma
treba uiniti nuno ogranienje uporabe. Jedno su istraivanja
kulturalne antropologije i etnologije o svijetu ivota u doba
kad je eljeti jo pomagalo s preobrazbom religijskih rituala
u sekularne tvornice iluzija, a neto posve drugo sjeanje
na fantastini imaginarij vjerojatno najboljih umjetnikih
ostvarenja u svim podrujima duhovnoga stvaranja. To
today of the ideas of social justice, civic participation, and
the performative critique of the Leader cult in the theoretical
premises of exploring the culture of the lifeworld in real
socialism, one should quite clearly and specifcally distinguish
the remembrance and memories of events from the history of
modernity in the territories of former Yugoslavia, since it seems
that, for the postsocialism in the authentic form of a singular
experience of art, it is an exception that both confrms and does
not confrm the rule.
The conceptual setting in which postsocialism has its place
in establishing norms for events from the past of modern
construction and deconstruction of culture as the new ideology
in the political sciences since the 1990s has been marked by the
transition. Since it is a matter of debate not only what is the
direction after the demise of the social order of real socialism,
if it is no longer that of self-understandable liberal democracy,
capitalism with its idea of the market and proft, and man as
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a homo oeconomicus, but also why this second return to the
past is taking place at all, moreover in the direction of regressive
ideas such as the nationalist renewal of culture against the
homogeneity of globalism, the use of the term postsocialism
should necessarily be restricted. Cultural anthropological and
ethnological research on the lifeworld at the time when wishes
still mattered, with its transformation of religious rituals into
secular factories of illusion, is one thing, but remembering the
fantastic imagery of probably the best artistic achievements in
all areas of intellectual creation is something quite different. It is
not a paradox of real socialism, but an aporia of its ideological
misery and grotesqueness. If names of flm directors such
as Andrei Tarkovsky, Milo Forman, and Andrzej Wajda, or
conceptual artists such as Tom Gotovac or Oleg Kulik, are a
witness of the greatness and frmness of invincible freedom
against the inner Ketman, a term used by Czesaw Miosz in
his study on communist ideology, then one must overstep the
nije paradoks realnoga socijalizma, nego aporija njegove
ideologijske bijede i nakaradnosti. Ako su imena flmskih
reisera poput Andreja Tarkovskoga, Miloa Formana,
Andrzeja Wajde ili konceptualnih umjetnika poput Toma
Gotovca i Olega Kulika svjedoanstvo veliine i otpora
nepokornosti slobode protiv unutarnjega ketmana, o kojem u
svojoj studiji o komunistikoj ideologiji govori Czeslaw Milosz,
tada je potrebno prijei s onu stranu dogmatskih okvira
povijesti ideja. Ideologija, naime, nikad ne moe biti totalnom
u smislu unitenja imaginacije i slobode stvaranja ak i
kada iza nje stoji permanentni teror i koncentracijski logori.
Tranzicija je tehniki termin za olako obeanje projekta koji
se nuno nikad ne ostvaruje. Radi se o tome da je suvremena
umjetnost danas, kao i u doba Staljina, Tita, Maoa, upravo
sve ono to vie ne pripada diskursu postsocijalizma. To je
pokuaj da se pronae mogunost bijega i prevladavanja jaza
izmeu zahtjeva da umjetnost slui interesima nove ideologije
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dogmatic boundaries of the history of ideas. For ideology can
never be total in the sense of destroying imagination and freedom
of creation, even if backed by permanent terror and concentration
camps. Transition is a technical term for an easy promise of a
project that necessarily fails. The point is that the contemporary
art of today, same as in the times of Stalin, Tito, or Mao, is
precisely all that which no longer belongs to the discourse of
postsocialism. It is an attempt to fnd a possibility for escape
and for bridging the gap to the demand that art should cater for
the interests of the new ideology of vulgar pan-economism as its
aesthetical backing and its political justifcation.
Instead of the cult of unconditional innovation and progress,
which has today been taken over by the techno-sciences in the
form of biogenetics and cognitive sciences, what matters is how
to return to the space of moderation with regard to the mania of
novelty. Contemporary art cannot be worth its position, which
has become identical with the one of contemporary philosophy.
vulgarnoga panekonomizma kao njezino estetsko pokrie i
kao njezino politiko opravdanje.
Umjesto kulta bezuvjetne novosti i napretka, to su danas
preuzele tehnoznanosti u formi biogenetike i kognitivnih
znanosti, sve je na tome kako se vratiti u prostor suzdranosti
od mahnitosti novoga. Suvremena umjetnost ne moe biti
dostojna svojeg poloaja koji je postao istovjetan onome
koji zauzima i suvremena flozofja. Bez tragova u prolosti,
ali s novim otkriem povijesnoga dogaanja protiv politike
zaborava, njezina je sudbina u neizvjesnosti i kontingenciji
samoga ivota. Otvorenost se zbiva u nagovjetajima i
znakovima jezika i slike s onu stranu sjeanja i pamenja
za dananje trite kulturnim relikvijama iz doba diktatora
i bonvivana. Jo je vanije izbjei najveu opasnost nove
produkcije mitologema za neoliberalne jeftine svrhe.
Paradoks je postsocijalizma u tome da umjesto kritike
refeksije ideologije ovoga sada i ovdje postaje novom
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kulturom simbolikoga otpora poretku. Kao i svaki drugi
kulturalni proizvod drutva spektakla, on savreno slui
istom Velikom Drugome i kada ga navodno kritiki razara.
Kulturna industrija nostalgije postaje upravo ono to je u
jednom fragmentu izrekao Walter Benjamin kad je kapitalizam
proglasio novim religioznim kultom. Od postsocijalizma kao
i od tranzicije preostaju ipak samo muzeji jedne furiozno
nestalne estetike ieznua.
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Literatura kao uputstvo za daljnje itanje:
Boris Groys, Gesamtkunstwerk Stalin, Hanser, Mnchen, 1988.
Boris Groys, Das kommunistische Postskriptum, Suhrkamp, Frankfurt/M.,
2006.
Christopher M. Hann (ur.), Postsozialismus: Transformationprozesse in Europa
und Asien aus ethnologischer Perspektive, Suhrkamp, Frankfurt/M., 2002.
With no traces in the past, but with the new discovery of historical
eventfulness against the politics of oblivion, its fate is in the
uncertainty and contingency of life itself. Openness occurs in hints
and signs of language and image beyond remembrance and memory
for todays market selling cultural relics from the times of dictators
and bon-vivants. What is even more important is to avoid the greatest
danger of all, which is producing new mythologemes for cheap
neoliberal purposes. The paradox of postsocialism is that, instead of
a critical refection on the ideology of here and now, it becomes
the new culture of symbolic resistance against the social order. Like
any other cultural product of the society of spectacle, it perfectly
well serves the same Great Other even when allegedly destroying
it with its critique. The cultural industry of nostalgia becomes
exactly what Walter Benjamin stated in one of his fragments, when
he denounced capitalism as a new religious cult. What remains of
both postsocialism and transition are merely museums preserving a
furiously precarious aesthetics of disappearance.
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Suggestions for further reading:
Boris Groys, Gesamtkunstwerk Stalin. Munich: Hanser, 1988.
Boris Groys, Das kommunistiche Postskriptum. Frankfurt/M.: Suhrkamp,
2006.
Christopher M. Hann (ed.), Postsozialismus: Transformationprozesse in
Europa und Asien aus ethnologischer Perspektive. Frankfurt/M.: Suhrkamp,
2002.
Maa Kolanovi (ed.), Komparativni postsocijalizam: Slavenska iskustva
[Comparative postsocialism: Slavic experiences]. Zagreb: Zagreb School of
Slavic Studies, 2013.
arko Pai, Slika bez svijeta: Ikonoklazam suvremene umjetnosti [Image
without the world: The iconoclasm of contemporary art]. Zagreb: Litteris,
2006.
arko Pai, Sloboda bez moi: Politika u mrei entropije [Freedom without
power: Politics in the net of entropy]. Zagreb: Bijeli val, 2013.
Petra Stykow, Postsozialismus, Version: 1.0, in: Docupedia-Zeitgeschichte
(April 22, 2013), http://docupedia.de/zg/
Paul Virilio, The Aesthetics of Disappearance. New York: Semiotext(e), 2009.
POSTSOCI JALI ZAM?
KRATKA POVI J EST
I EZNUA
-
-
POST- SOCIALI SM?
A SHORT HI STORY
OF DI SAPPEARANCE
Maa Kolanovi (ur.), Komparativni postsocijalizam: Slavenska iskustva,
Zagrebaka slavistika kola, Zagreb, 2013.
arko Pai, Slika bez svijeta: Ikonoklazam suvremene umjetnosti, Litteris, Zagreb,
2006.
arko Pai, Sloboda bez moi: Politika u mrei entropije, Bijeli val, Zagreb, 2013.
Petra Stykow, Postsozialismus, Version: 1.0, u: Docupedia-Zeitgeschichte,
22. 4. 2013, URL: http://docupedia.de/zg/
Paul Virilio, The Aesthetics of Disappearance, Semiotext(e), New York, 2009.

Zivot umj 94.indd 15 6/30/14 4:09 PM
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-
MI MO PREZENT- PERFEKTA
I LI PI TANJEM PREKARNOG
RADA O SADANJOSTI
kapi tali sti ke
RESTAURACI JE
-
I VANA
HANAEK
-
AROUND THE PRESENT
PERFECT, OR: DI SCUSSI NG
THE PRESENT STATE OF
CAPI TALI ST RESTORATI ON
THROUGH THE I SSUE OF
PRECARI OUS LABOUR
50 18
TRI GESTE:
JurJevi ,
Burelez, tolJ
-
MARKO
STAMENKOVI
-
THREE GESTURES:
JurJevi ,
Burelez, tolJ
60
OKTOBAR:
I SPI TI VANJE
( MOTI VA)
POSTAVLJANJA
HETEROLOGI JE
-
BOJANA
MATEJ I
-
OCTOBER: AN
EXAMI NATI ON OF
HETEROLOGI CAL
POSI TS
36
JUGONOSTALGI JA:
JUGOSLAVI JA KAO
METAPROSTOR
U SUVREMENI M
umJetni ki m
PRAKSAMA
-
MI LICA POPOVI
PETRA BELC
-
YUGONOSTALGI A:
YUGOSLAVI A AS
A META- SPACE I N
CONTEMPORARY ART
PRACTI CES
Zivot umj 94.indd 16 6/30/14 4:09 PM
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forum
-
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ANDREA LAZEA PUBLI C
ART I N POST- SOCI ALI ST
ROMANI A. THE CASES
OF BUCHAREST AND
TI MI SOARA
-
ANA KOVAI , SANJA
SEKELJ, LEA VENE
LI KVI DACI JA
-
SANJA POTKONJAK
katari na luketi . 2013.
BALKAN: OD GEOGRAFI JE
DO FANTAZI JE. ZAGREB,
MOSTAR: ALGORI TAM
-
WALTER SEI DL
SOWJETMODERNE
1955-1991. unBekannte
GESCHI CHTEN
SADRAJ / BR. 94
-
-
CONTENTS / NO. 94
114
ARHI TEKTONSKE PRAKSE
POSLI JERATNE BOSNE I
HERCEGOVI NE I ODNOS
prema nasli Jeu i z
RAZDOBLJA SOCI JALI ZMA
-
NI NA
STEVANOVI
-
ARCHI TECTURAL
PRACTI CES I N POST-
WAR BOSNI A AND
HERZEGOVI NA: THE
TREATMENT OF
SOCI ALI ST LEGACY
86
KRI TI KA I DEOLOKE
KONSTRUKCI JE I DENTI TETA
soci Jali sti ke Jugoslavi Je
u muzi ki m vi deoradovi ma
VENCEREMOS ( 133)
I DI SCI PLI NE GRUPE
BORGHESI A
-
VANJA
TERZI N
-
A CRI TI QUE OF I DEOLOGI CAL
I DENTI TY CONSTRUCTI ON
I N SOCI ALI ST YUGOSLAVI A:
MUSI C VI DEO CLI PS
VENCEREMOS ( 133) AND
DI SCI PLI NE BY BORGHESI A
76
DESERTED
UTOPI A
-
TANJA
DEMAN
-
DESERTED
UTOPI A
104
Zivot umj 94.indd 17 6/30/14 4:09 PM
132
diplomirala je flozofju i religijske
znanosti na Filozofskom
fakultetu drube isusove u
zagrebu, s temom Filozofja
fotografje. trenutno pohaa
poslijediplomski doktorski
studij knjievnosti, izvedbenih
umjetnosti, flma i kulture na
Filozofskom fakultetu u Zagrebu,
u sklopu kojega istrauje
teorijska i interdisciplinarna
podruja suvremene umjetnosti,
eksperimentalnog flma i
fotografje u optici presijecanja
stvarnosti i fkcije. Bavi se
eksperimentalnom fotografjom
i radi kao autorica flmskih
forpana za kino i televiziju.
-
PETRA
BELC
-
-
TANJA
DEMAN
-
vizualna umjetnica roena
u Splitu. Diplomirala je
skulpturu na Akademiji likovnih
umjetnosti u Zagrebu te
zavrila poslijediplomski studij
iz flma i fotografje na institutu
Piet Zwart u Rotterdamu.
Studijski je boravila u Nirox
Fondation, Johannesburg,
kulturkontakt austria, Be,
oberfalzer knstlerhaus
schwandorf, njemaka, i indiana
University of Pennsylvania,
SAD. Sudjelovala je na brojnim
izlobama, kao i na brojnim video
i flmskim festivalima. njezini
radovi dio su nekoliko javnih
zbirki. Deman koristi medije
fotografje, fotokolaa i videa.
istrauje psihologiju okolia
u arhitektonskom nasljeu i
pejzaima, i dinamiku drutveno-
politikog urbanog prostora u
kojem ivimo.
www.tanja-deman.com
Has graduated philosophy
and religion at the Faculty of
Philosophy of the Society of Jesus
in Zagreb, with a thesis on the
Philosophy of Photography.
Currently she is involved in a
doctoral programme in literature,
performing arts, cinema,
and culture at the Faculty of
Humanities and Social Sciences in
Zagreb, her research focusing on
the theoretical and interdisciplinary
felds in contemporary art,
experimental cinema, and
photography through the prism
of intersection between reality
and fction. she is also involved
in experimental photography and
the production of flm trailers for
cinema and television.
Visual artist born in Split. She has
graduated sculpture from the
Academy of Fine Arts in Zagreb
and completed her postgraduate
studies in flm and photography
at the Piet Zwart Institute in
Rotterdam. Her residences include
Nirox Fondation (Johannesburg),
KulturKontakt Austria (Vienna),
oberfalzer knstlerhaus
Schwandorf (Germany), and
Indiana University of Pennsylvania
(USA). She has participated in
a number of exhibitions, as well
as numerous video and flm
festivals. Her artworks have been
included in several permanent
exhibitions. Deman uses the
media of photography, photo-
collage, and video to explore the
psychology of the environment
through architectural heritage
and landscape, as well as the
dynamics of the socio-political
space that we inhabit.
www.tanja-deman.com
AUTORI
-
-
AUTHORS
-
IVANA
HANAEK
-
ivi u zagrebu, zaposlena je u
ngo-u, poznatijem kao enski
kustoski kolektiv BLOK. Bavi
se produkcijom i medijacijom
suvremene umjetnosti u javnom
prostoru i jedna je od kustosica
UrbanFestivala. Aktivno se bavi
edukacijom i predaje likovnu
umjetnost u Islamskoj gimnaziji
dr. ahmad smajlovi. tekstove
i kritike redovito objavljuje na
treem programu Hrvatskoga
radija (Triptih), Kulturpunktu,
u Zarezu i u hrvatskom
izdanju mjesenika le monde
diplomatique. Kao freelance
kustosica priredila je vie izlobi u
zemlji i inozemstvu, samostalno i
u suradnji. Dobitnica je nekoliko
nagrada za svoj (uglavnom
neplaen) rad.
-
VESNA
JOVANOVI
-
Lives in Zagreb and works at an
NGO known as the womens
curatorial collective BLOK. She
is involved in the production and
mediation of contemporary art
in public space and is a co-
curator of UrbanFestival. Active
in the feld of education, she
teaches visual arts at the Islamic
Secondary School Dr. Ahmad
smajlovi. Her texts in art
criticism are regularly published
by the Third Programme of the
Croatian Radio (Tryptich), in
Kulturpunkt and Zarez, as well
as the Croatian edition of the
monthly Le monde diplomatique.
As a freelance curator, she has
designed a number of exhibitions
in Croatia and abroad, alone or
in collaborations. She has won
several awards for her (mostly
unpaid) work.
Practicing architect involved in
territorial urban research and
teaching at ETH Studio Basel
since 2011. she obtained
her Masters degree from the
University of Belgrade, and a
Postgraduate degree from the
Berlage Institute in Rotterdam.
She has worked as an architect
in Rotterdam on several projects
in Brussels for the 51n4e offce,
on large scale urban studies for
Istanbul and on a restructuring
project for the Brussels
Metropolitan Region. She has
guest lectured at the UdK, Berlin,
MARCH, Moscow, the Cultural
Center of Belgrade (KCB),
Belgrade, and the Institute for
Housing and Urban Development
Studies (IHS), Rotterdam.
Arhitektica koja se bavi
teritorijalnim urbanim
istraivanjem i predaje na
ETH Studio u Baselu od
2011. godine. stekla je titulu
magistra na sveuilitu u
Beogradu, a postdiplomski studij
zavrila je na Institutu Berlage
u Rotterdamu. Radila je kao
arhitektica na nekoliko projekata
u rotterdamu, za ured 51n4e u
Bruxellesu, na urbanim studijama
velikih razmjera za Istanbul, kao
i na projektu restrukturiranja ire
gradske regije Bruxellesa. Bila je
gost predava na institucijama
UdK u Berlinu i MARCH u Moskvi,
kao i na Kulturnom centru
Beograda (KCB) i Institute for
Housing and Urban Development
Studies (IHS) u Rotterdamu.
Zivot umj 94.indd 132 6/30/14 4:09 PM
133
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ANA KOVAI / LEA
VENE / SANJA SEKELJ
-
Kustoski tim Galerije Miroslav
kraljevi, nezavisne i
neproftne platforme i prostora
za suvremenu umjetnost,
posveene poticanju, istraivanju,
predstavljanju i dokumentiranju
suvremenih umjetnikih i
intelektualnih praksi koje analitiki
i kritiki propituju sadanjost,
osobito odnose politike i estetike.
BIOGRAFI J E
-
-
BIOGRAPHI ES
Curatorial team of Miroslav
kraljevi gallery, an independent
and non-proft platform and
venue for contemporary art,
dedicated to the promotion,
research, presentation, and
documentation of contemporary
artistic and intellectual practices.
The team analytically and critically
explores the present, especially
the relationship between politics
and aesthetics.
Bavi se postdoktorskim
istraivanjem na universitatea de
Vest u rumunjskom Temivaru,
na temu socijalistike javne
umjetnosti u Bukuretu i
temivaru. takoer je izvanredni
profesor na Fakultetu za
umjetnost i dizajn. Diplomirala
je flozofju i antropologiju na
sveuilitu u Bukuretu, i bila
stipendistica Agence Universitaire
de la Francophonie za doktorsko
istraivanje kulturne batine u
Rumunjskoj (Scoala Naional de
Studii Politice i Administrative)
i Francuskoj (sveuilite u
Bordeauxu). Disertacija joj je
objavljena 2012. godine na
rumunjskom jeziku pod naslovom
Prilog antropologiji spomenika i
pobatinjenje. Pitanje povijesnih
spomenika u Rumunjskoj. Glavne
teme njezina istraivanja su
kulturna batina, pobatinjenje
i javna umjetnost, a objavila je niz
lanaka i poglavlja u znanstvenim
asopisima i koautorskim
knjigama na te teme.
-
ANDREEA
LAZEA
-
Postdoctoral researcher at the
West University of Timisoara,
Romania, works on the topic of
socialist public art in Bucharest
and Timisoara. She is also
associate lecturer at the Faculty of
Arts and Design. After graduating
Philosophy and Anthropology
at the University of Bucharest,
she obtained a doctoral grant
from Agence Universitaire de
la Francophonie for carrying a
research on the cultural heritage
in Romania (National School
of Political and Administrative
Studies) and in France (University
of Bordeaux). Her thesis was
published in romanian in 2012
under the title For an anthropology
of monuments and heritagization.
Perspectives on historical
monuments in Romania. Her main
research interests are the cultural
heritage, the heritagization, and
the public art and she published
a number of articles and chapters
in scholarly journals and collective
books on these topics.
-
MILICA
POPOVI
-
-
BOJANA
MATEJI
-
Studentica doktorskih
Interdisciplinarnih studija na
Grupi za teoriju umetnosti i
medija Univerziteta umetnosti u
Beogradu. Radi na tezi pod radnim
naslovom Emancipacijske prakse
u savremenoj teoriji umetnosti
pod mentorstvom dr. Leva Krefta
i sumentorstvom dr. Miodraga
uvakovia. sudjelovala je na vie
izlobi, projekata i konferencija na
podruju teorije umjetnosti i kulture
u zemlji i inozemstvu. Stipendistica
je Ministarstva prosvete i nauke
republike srbije i angairana je na
projektu Identiteti srpske muzike
u svetskom kulturnom kontekstu
Katedre za muzikologiju Fakulteta
muzike umetnosti u Beogradu.
angairana je u svojstvu asistentice
istraivaice u izvoenju nastave
na teajevima primenjena estetika
na osnovnim, master i doktorskim
studijama Fakulteta muzike
umetnosti u Beogradu, kao i na
teajevima opte teorije umetnosti
na doktorskim Interdisciplinarnim
studijama Univerziteta umetnosti u
Beogradu.
magistrirala 2012. godine na
universit paris 2 panthon-
Assas u Parizu s master radom
na temu Jugonostalgija
Jugoslavija u oima poslednjih
pionira pod mentorstvom
profesora Yves Surela. Osnovni
studij zavrila je na Pravnom
fakultetu Univerziteta u Beogradu.
trenutno pohaa kustosku
platformu u Zagrebu u okviru
koje se bavi suodnosima
umjetnosti i proizvodnje u
SFRJ i postjugoslavenskom
prostoru. arite njezina
interesa i istraivanja pitanja su
jugonostalgije, teorije sjeanja i
postjugoslavenskih drutava.
Doctoral candidate at the
Interdisciplinary Studies, Group
for the Theory of Art and the
Media, Art University of Belgrade.
She is working on a dissertation
titled Emancipatory Practices
in Contemporary Art History,
supervised by Dr. Lev Kreft and
co-supervised by Dr. Miodrag
uvakovi. she has participated in
a number of exhibitions, projects,
and conferences in the feld of
art theory and culture in Serbia
and abroad. With a scholarship of
the Serbian Ministry of Education
and Science, she is involved in
the project on the Identities of
Serbian Music in the Global Cultural
Context at the Chair of Musicology,
Faculty of Music in Belgrade.
Works as assistant researcher,
teaching Applied Aesthetics on
the BA, MA, and PhD levels at the
Faculty of Music in Belgrade, as
well as General Art Theory at the
doctoral Interdisciplinary Studies, Art
University of Belgrade.
Graduated from the Law Faculty
at the University of Belgrade
and obtained her MA degree
in 2012 from the universit
paris 2 panthon-assas, with
a thesis on Yugonostalgia -
Yugoslavia through the Eyes of
the Last Pioneers, supervised
by Prof. Yves Surel. Currently
attends the Curatorial Platform
in Zagreb, where she focuses
on the relationship between
art and production in socialist
Yugoslavia and the post-
Yugoslav space. Her main felds
of interest are Yugonostalgia,
theories of remembrance, and
the post-Yugoslav societies.
Zivot umj 94.indd 133 6/30/14 4:09 PM
134
-
MARKO
STAMENKOVI
-
istraiva-doktorand u centru
za etiku i vrijednosna ispitivanja
(Univerzitet u Gentu, Belgija).
Diplomirao je na katedri za
povijest umjetnosti Filozofskog
fakulteta u Beogradu i magistrirao
iz podruja kulturnih politika
na Univerzitetu umjetnosti u
Beogradu. Njegova doktorska
teza, na kojoj radi od rujna
2011. godine pod mentorstvom
prof. dr. Toma Klasa, nosi naziv
Kulture samoubistva: Teorije
i prakse radikalnog povlaenja
- Transnacionalna kulturalna i
medijska paradigma (2001.
2011.).
http://ugent.academia.edu/
MarkoStamenkovic
-
SANJA
POTKONJAK
-
Doktorirala etnologiju i kulturnu
antropologiju na Filozofskom
fakultetu sveuilita u zagrebu,
na kojem je i zaposlena u
statusu znanstvene suradnice.
Predaje kolegije iz kvalitativne
metodologije i etike znanstvenog
rada i rodnih studija. U posljednje
vrijeme bavi se istraivanjima
postsocijalizma i temama poput
transformacije javnih prostora,
politike sjeanja i kulture rada.
-
WALTER
SEIDL
-
doktorirao je na podruju
suvremene kulturne povijesti. Od
2004. godine izgrauje umjetniku
zbirku zaklade ERSTE Grupe,
koja je usredotoena prvenstveno
na konceptualne umjetnike
tendencije na podruju nekadanje
istone europe. zahvaljujui svom
zanimanju za fotografski medij u
umjetnosti, seidl je takoer ukljuen
u rad umjetnike ustanove camera
Austria. Bio je kustos brojnih
izlobenih projekata irom europe,
Sjeverne Amerike, Hongkonga,
Japana i June afrike. u esejima,
recenzijama i kritikama uglavnom se
bavi transformacijama u politici slika
i konstelacijama identiteta koje su u
njoj sadrane. od 2011. godine radi
na Webster university u Beu kao
vanjski suradnik, drei predavanja
na Odjelu za kustostvo.
AUTORI
-
-
AUTHORS
Holds a PhD in Ethnology and
Cultural Anthropology from
the University of Zagreb. She
is scientifc researcher at the
Department of Ethnology and
Cultural Anthropology, Faculty
of Humanities and Social
Sciences, University of Zagreb,
Croatia where she teaches
qualitative methodology, ethics
and gender studies. Recently,
she has been doing research
on post-socialism, with special
emphasis on public spaces in
transformation, post-socialist
public aesthetics, dissolution
of socialist communities, and
cultures of work.
Holds a PhD in contemporary cultural
history. since 2004, he has been
building up the art collection of Erste
Group and ERSTE Foundation,
which focuses on conceptual art
tendencies in the region of former
Eastern Europe. Due to his focus on
the medium of photography in art,
Seidl has also become involved in
the work of Camera Austria. He has
curated numerous exhibition projects
throughout Europe, North America,
Hong Kong, Japan and South Africa.
The focus of his essays, reviews
and criticism centres mainly on the
transformation in image politics and
the identity constellations inherent
therein. since 2011, he has been
an adjunct professor for Curatorial
Studies at Webster University Vienna.
PhD researcher at the Center for
Ethics and Value Inquiry (University
of Ghent, Belgium). He holds his
BA in Art History and an MA in
Cultural Policies from the University
of Arts in Belgrade (Serbia). His
doctoral thesis, undertaken since
september 2011 and supervised
by Prof. Dr. Tom Claes, bears the
title Suicide Cultures. Theories and
Practices of Radical withdrawal - A
Transnational Cultural and Media
Paradigm (20012011).
http://ugent.academia.edu/
MarkoStamenkovic
Doktorandica na odsjeku za
Teoriju i historiju arhitekture
Arhitektonskog fakulteta
(etsaB) tehnikog fakulteta
katalonije (upc), gdje istrauje
pitanje odnosa arhitekture,
ideologije i procesa (re)defniranja
kulturnog identiteta na primjeru
valorizacije arhitektonskog
nasljea iz razdoblja socijalizma
na prostoru zemalja koje su
inile sFrJ. magistarsku tezu
o odnosu pristupa revitalizaciji
arhitektonskog nasljea i
naina defniranja kulturalnih
identiteta obranila je na istom
fakultetu, dok je diplomu
arhitektonske inenjerke stekla
na Arhitektonskom fakultetu
Univerziteta u Sarajevu, gdje
trenutno na Filozofskom fakultetu
zavrava magistarski studij iz
podruja povijesti umjetnosti i
komparativne knjievnosti.

-
NINA
STEVANOVI
-
PhD candidate at the Department
of the Theory and History of
Architecture at the Faculty of
Architecture (ETSAB), Polytechnic
University of Catalonia (UPC),
where she researches the
relationship between architecture
and ideology, and the process
of (re-)defning cultural identities,
on the example of evaluation of
architectural heritage from the
socialist period in the territories
of former Yugoslavia. She
has graduated architectural
engineering from the Faculty
of Architecture, University of
Sarajevo and obtained her MA
degree from the same university,
with a thesis on approaches to
the revitalization of architectural
heritage and the ways of defning
cultural identities. Currently she is
writing an MA thesis in art history
and comparative literature at the
Faculty of Humanities and Social
Sciences in Sarajevo.
Zivot umj 94.indd 134 6/30/14 4:09 PM
135
BIOGRAFI J E
-
-
BIOGRAPHI ES
-
VANJA
TERZIN
-
diplomirala 2010. godine
na Odsjeku za muzikologiju
i etnomuzikologiju Fakulteta
muzike umetnosti u Beogradu
na temu Romi kao metafora
Balkana u operi the time of
Gypsies Emira Kusturice. Iste
godine upisala je doktorski
studij Univerziteta umetnosti
u Beogradu, Odsek za teoriju
umetnosti i medija. Zaposlena je
u muzikoj omladini Beograda
kao urednica i organizatorica
od 2010. godine, a obavlja i
poslove vezane uz manifestaciju
od posebnog znaenja za grad
Beograd, u funkciji direktorice
meunarodnog takmienja
muzike omladine od 2012.
godine.
graduated in 2010 from the
Chair of Musicology and
Ethnomusicology, Faculty of
Music in Belgrade, with a thesis
on The Roma as a Metaphor of
the Balkans in the Opera Time of
the Gypsies by Emir Kusturica.
In the same year, she began her
PhD studies at the Art University
of Belgrade, Department of Art
Theory and the Media. Since
2010, she has been working for
the Musical Youth of Belgrade as
an editor and coordinator, and
since 2012 she has also been
organizing special events for the
City of Belgrade as the director of
the International Competition of
Musical Youth.
Zivot umj 94.indd 135 6/30/14 4:09 PM