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TOTALITARIAN EASTERN EUROPE SIMON PAUL BELL a Thesis I ANGLIA RUSKIN UNIVERSITY LAIBACH AND THE NSK: AN EAST-WEST NEXUS IN POST- TOTALITARIAN EASTERN EUROPE SIMON PAUL BELL A thesis in partial fulfilment of the requirements of Anglia Ruskin University for the degree of Doctor of Philosophy Submitted: January 2014 ACKNOWLEDGEMENTS Dr. Alexei Monroe, Christian Matzke, Dr. Susan Wilson, Dr. Gianna Bouchard, Dr. Duška Radosavljević, Pil and Galia Kollectiv, Dr. David Crilly, respondents to the audience survey questionnaire (anonymous), Lili Anamarija No, Lina Dzuverovic of Calvert 22 gallery, the Chelsea Space gallery, Timo Vuorensola, Sakshi Gupta, IRWIN, the Slovenian Embassy, Avi Pitchon, Michelle Whitney, Dr. Rowlie Wymer, Paul Jackson, Dr. Michael Goddard, The NSK, Chris Bohn (a.k.a. Biba Kopf), Stephanie and Stevphen Shukaitis, Dr. Michael Goddard. Funding bodies The Equity Trust Fund. i ANGLIA RUSKIN UNIVERSITY ABSTRACT FACULTY OF ARTS, LAW AND SOCIAL SCIENCES DOCTOR OF PHILOSOPHY LAIBACH AND THE NSK: AN EAST-WEST NEXUS IN POST- TOTALITARIAN EASTERN EUROPE SIMON PAUL BELL JANUARY 2014 This thesis is a study of the Slovenian multi-disciplinary collective the NSK (Neue Slowenische Kunst), with particular focus on the music group Laibach. This thesis interrogates how Laibach and the NSK operate as a nexus between Eastern Europe and the West through the ritualised staging of ideology as a mechanism of power. This research addresses the wider issue of Eastern European aesthetic discourse in the context of hegemonic Western aesthetic discourse. Research involved an analysis of Laibach and the NSK’s prime aesthetic strategy, Retrogardism, in the context of Western aesthetic discourse. This required an analysis of diverse fields such as the historic avant-garde, European history, critical theory, cultural activism, and Performance Art. Comparisons with activist, popular music and performance groups were drawn, and a survey of Laibach’s audience undertaken as part of an analysis of Laibach’s interpellative qualities in the West. This research was conducted within a Performance Art framework, and reference made to current Performance Art praxis. Research revealed the dominance of Western aesthetic discourse and how this has resulted in an increased autonomy of Eastern European aesthetic discourse in a post-Socialist context. Laibach and the NSK are intrinsic to this discursive field, and effective engagement with Laibach is only possible within the discourse of this Eastern European autonomy. A study of Western reportage of Laibach was conducted, which demonstrated a failure of the West to engage with the complexity in the Laibach and NSK performative spectacle. It was found that this complexity is Laibach’s dominant interpellative quality. Laibach and the NSK articulate the dialectic between Eastern Europe and the West as both a point of communication and text for interpretation. Laibach and the NSK establish this point of nexus as one achieved by a process of non- alignment with any geo-political, temporal, aesthetic or ideological determinants. In this way they function as a site of resistance to late-capitalism, which has assimilated conventional forms of counter-cultural challenge. In this way Laibach and the NSK’s Performance Art contrasts with Western Performance Art discourse. Key words: Laibach, NSK, Slovenia, Retrogardism, Eastern Europe, Performance Art. ii TABLE OF CONTENTS Page Introduction …………………………………………………………………. 1 Chapter one: The European Context ………………………………………... 51 Chapter two: Retrogardism ……………………………………………...…... 95 Chapter three: Over-identification ……………………………………..……. 154 Chapter four: Nexus …………………………………………………….…... 199 Chapter five: Interpellation …………………………………………….…… 251 Chapter six: Conclusion: Resistance …………………………………….….. 309 LIST OF FIGURES Figure Page 1.1 Screenshot: TV Tednik interview……………………………................ 4 1.2 Das Dritte Reich. Allegorie des Heldentums, Richard Klein (1936)….. 4 1.3 Dan Mladosti, NSK (1987b)………………………………….……….. 4 1.4 Blut und Eisen, John Heartfield (1934)……………………………….. 9 1.5 Album sleeve (inner): Opus Dei, Laibach (1987)…………….……….. 9 1.6 NSK Passport (exterior)……………………………………….………. 10 1.7 NSK passport (interior)………………………………………….…….. 10 1.8 Einkauf, Laibach (2003a)………………………………………….…... 32 1.9 Opus Dei screenshot (1987c)……………………………………….…. 32 1.10 Laibach: Abbey Road, London. Press photo for Let It Be (1988)…..... 34 1.11 Laibachkunstderfuge (album sleeve) Laibach (2008)……….………….44 2.1 An Artist Who Cannot Speak English is no Artist, Mladen Stilinović (1992)……………………………………………… 52 2.2 Hammer and Sickle, Sándor Pinczehelyi (1973)…………………….… 84 2.3 Malevich Country, Aleksandr Kosolapov (1986)……………………... 86 2.4 Stalin and Voroshilov in the Kremlin, Aleksandr Gerasimov (1939)…. 86 2.5 Self-Portrait With the Palace, Zofia Kulik (1990)……………………. 87 2.6 The Red Room, Oleg Kulik (1999)……………………………………. 88 3.1 La Condition Humaine, René Magritte (1933)………………………... 96 3.2 Artist Condition I. (from) René Magritte 1934, Laibach (1981)…...….. 96 3.3 NSK logo (1984a)………………………………………………….….. 98 3.4 Laibach logo: Zahnrad (cog) with Malevich cross centre…………….. 100 3.5 Album sleeve: Nova Akropola (1986)…………………………………. 101 3.6 Album sleeve: Neu Konservatiw (2003d)……………………………... 101 3.7 Portrait of the Deer, IRWIN (1986)…………………………...…….... 101 3.8 Two Stags, IRWIN (1988a)……………………………………………. 101 3.9 Laibach performance (1986)…………………………………………... 102 3.10 Monumental Retro-avant-garde, Laibach performance (2012)……..… 103 3.11 Red Thrower, Laibach (1981)…………………………………………. 105 3.12 The Steel Worker, Laibach (2010)…………………………………….. 105 3.13 Sower, Ivan Grohar (1907)…………………………………………..... 106 3.14 Red Districts: Sower, IRWIN (1989)………………………………...... 107 iii 3.15 The Athens of Slovenia, IRWIN (1987a)……..………………….....…. 108 3.16 Kofetarica, Ivana Kobilica (1888)…………………………...………... 109 3.17 Ausstellung Laibach Kunst, Laibach (1983a)……..…………………... 110 3.18 Ausstellung Laibach Kunst – Perspectives 1980 – 2011 (2011)………. 110 3.19 Album sleeve: Rekapitulacija 1980-1984 (1985a)……………………. 111 3.20 Katedrala Svobode [Cathedral of Freedom] Jože Plećnik (1947)…….. 112 3.21 Red Districts, IRWIN (1987b)……………………………………….... 114 3.22 Kraft Durch Freude (KDF) Organisation poster (1930s)…………....... 116 3.23 Album sleeve: Sympathy for the Devil, Laibach (1988a)……………... 116 3.24 Einkauf shopping action, Laibach (2003b)……………………………. 118 3.25 Szobor Park [Memento Park], Budapest………………………….…… 120 3.26 Proun 99, El Lissitzky (1924)…………………………………………. 123 3.27 Yellow Cross, Lazar Khidekel (1923)…………………………………. 123 3.28 Painterly Realism of a Boy with a Knapsack, Kazimir Malevich (1915c)…………………………………………...... 123 3.29 Suprematism, Kazimir Malevich (1915b)………………………...…… 123 3.30 Album sleeve: Krst Pod Triglavom, (1987a)………...…….………….. 125 3.31 Transcentrala New York, NSK (1991)………………....….………...… 125 3.32 Transcentrala Moscow, NSK (1992)……………………….………..... 126 3.33 Transcentrala Ljubljana, NSK (1997)……………………….……...… 126 3.34 ‘Država’ video still, Laibach (1984)………………………….……….. 127 3.35 WAT publicity photograph (2003b)………………………………....…. 127 3.36 Photograph of The Last Futurist Exhibition ‘0.10’, (1915b)….…...….. 130 3.37 The Two of Us, IRWIN (1988)…………………………………....…… 131 3.38 Procession, Graz (2008a)…………………………………………........ 131 3.39 Procession, Skopje (2008b)……………………………………….….... 132 3.40 Organigram, NSK (1984b)………………………………………...….. 151 4.1 Blut und Eisen, John Heartfield (1934)………………………………... 156 4.2 Album sleeve: Opus Dei, Laibach (1987)………………………….….. 157 4.3 Paris Exhibition, 1937…………………………………………………. 161 4.4 Laibach (1980s)………………………………………………………... 164 4.5 Laibach (1980s)…………………….……………………………...…... 164 4.6 The Origin of Socialist Realism, Komar and Melamid (1982).……..… 166 4.7 Danger, Eric Bulatov (1975)…………………………………….…….. 173 4.8 Red Horizon, Eric Bulatov (1971-1972)……………….………..…….. 173 4.9 Evil Bert Laden, Mark Poster (2002)………………………….……..... 179 4.10 Advertisement, Finsbury Park tube station, London (2009)….……..… 186 4.11 Puccino’s ‘stupid little biscuit’ (2011)……………………………...…. 187 5.1 Cross, Kazimir Malevich (1923)……………………………………..... 206 5.2 Trieste - Ljubljana – Klagenfurt, NSK (1987a)………….……………. 210 5.3 Vojvodski prestol………………………………………….………..…. 210 5.4 Die Erste Bombardierung über dem Deutschland, Laibach (1985b)…. 211 5.5 Graz University Palace, NSK installation (1988b)….……………….... 212 5.6 Screenshot: Divided States of America, Podgoršek (2004)………....…. 214 5.7 Album sleeve: Opus Dei, (1987)…………………………………....…. 224 5.8 Laibach in American uniforms, WAT press release (2003a)……..….… 244 5.9 Laibach in Nazi uniforms, WAT press release (2003c)……….…..…… 244 iv 6.1 (Name and details withheld)…………………….…………………...... 267 6.2 (Name and details withheld)…………………………………………... 267 6.3 (Name and details withheld)………………………………….….……. 268 6.4 NSK Commissar Uniform, Christian Matzke (2006a)………………..... 269 6.5 NSK Commissar Uniform, Christian Matzke (2006b) detail…...…..…. 269 6.6 NSK Commissar Uniform, Christian Matzke (2006c) detail……...…... 269 6.7 Laibach figurine, Christian Matzke………………………………….… 270 6.8 Lego Laibach, Christian Matzke…………………………………….… 271 6.9 Lego Laibach, Christian Matzke…………………………………….… 271 6.10 Lego. Concentration Camp, Zbigniew Libera (1996)……………….… 271 6.11 Retrogarde Reading Room, Portland, Oregon, Christian Matzke (2003a)………………………….. 272 6.12 NSK State News, Christian Matzke (2011)……………………………. 273 6.13 Volk symbol above Laibach Zahnrad and cog (name and details withheld)…………………………………………… 274 6.14 NSK logo, with additional antlers (name and details withheld)….…… 274 6.15 Laibach Zahnrad
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