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Devedesete: Rečnik Migracija the Nineties: a Glossary of Migrations

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Devedesete: Rečnik Migracija the Nineties: a Glossary of Migrations Devedesete: Rečnik migracija The Nineties: A Glossary of Migrations Devedesete: Rečnik migracija The Nineties: A Glossary of Migrations Izdavač / Publisher: Muzej Jugoslavije / Museum of Yugoslavia Mihaila Mike Jankovića 6 11040 Beograd, Srbija www.muzej-jugoslavije.org Urednica / Editor: Neda Knežević Аutorke izložbe i urednice publikacije / Authors of the exhibition and editors of the catalogue: Ana Panić & Simona Ognjanović Stručna saradnica / Expert associate: Mira Luković Recenzenti / Reviewers: Danilo Mandić, Dragan Bulatović Arhitektura izložbene postavke / Exhibition architecture: Milorad Mladenović Grafičko oblikovanje, dizajn postavke i publikacije / Graphic design and exhibition setting: Zoran Pantelić Koordinatorka projekta / Project coordinator: Katarina Živanović Koordinatorka edukativnih programa / Coordinator of the education programs: Sara Sopić Katalog Devedesete: Rečnik migracija objavljen je povodom izložbe održane u Muzeju Jugoslavije u Beogradu od 5. decembra 2019. do 1. marta 2020. godine. The Catalogue The Nineties: A Glossary of Migrations was published to accompany the exibition hosted in The Museum of Yugoslavia in Belgrade, December 5th 2019 – March 1st 2020. Umetnici/umetnice i učesnici/učesnice izložbe / Artists and Collaborators: Aleksandrija Ajduković, Ana Miljanić, Centar za kulturnu dekontaminaciju (Center for Cultural Decontamination), asocijacija Apsolutno, Balint Sombati (Bálint Szombathy), Čedomir Vasić, Dejan Dimitrijević + Nebojša Šerić Shoba, Dušica Dražić, Goranka Matić, Grupa 484 (Group 484), Ivana Momčilović, Loran Vanson (Lorent Wanson), Jusuf Hadžifejzović, Udruženje Kardan – kultura sećanja (Kardan – Memory Culture), Kiosk – platforma za savremenu umetnost (Kiosk Association – platform for contemporary art), Kolektiv Migrative Art (Collective Migrative Art), Milena Maksimović, Milorad Mladenović, Nikola Radić Lucati, Rena Redle (Rena Rädle) & Vladan Jeremić, škart, Tanja Ostojić, Vahida Ramujkić + Dionis Eskorsa (Dionis Escorsa), Vesna Pavlović, Vladimir Radojičić, Vojvođanski građanski centar (Vojvodina Civic Center), Združena akcija Krov nad glavom (Joint Action Roof Over Our Heads) i Žene u crnom (Women in Black) Sadržaj / Contents: SIMONA OGNJANOVIĆ Rečnik migracija: jedno moguće tumačenje devedesetih 11 A Glossary of Migrations: One Plausible Interpretation of the Nineties 21 ANA PANIĆ Politička mitologija devedesetih 31 The Political Mythology of the Nineties 41 VLADIMIR PETROVIĆ Jugoslavija i etnički inženjering 53 Yugoslavia аnd Ethnic Engineering 63 MANUELA BOJADŽIJEV Najkraći put u svet – Der Kürzeste Weg in Die Welt 73 Migracija, građanska prava i EU u državama bivše Jugoslavije – Novi pogled nakon 15 godina The Fastest Route Into The World – Der Kürzeste Weg in Die Welt 83 Migration, Civil Rights and the EU in the Former Yugoslavian Countries – An update after 15 years Rečnik 93 Glossary Prateći tekstovi 273 Accompanying texts Pitanja i odgovori: Izbegličko pitanje u Srbiji 291 Q&A: The Issue of Refugees in Serbia Biografije 303 Biographies Rečnik migracija: jedno moguće tumačenje devedesetih Budući da smo uvek zatečeni usred neke mreže istorijski konstruisanih poj- mova i praksi, svaka priča, uključujući priče koje proizvode muzeji, nužno počinje in medias res. Osim što ne postoji neki „apsolutni” početak od kojeg je moguće početi bilo koji istorijski narativ, izazovi pripovedanja su utoliko veći jer svako vreme ima svoje operativne pojmove, koji nemaju rigidno definisane semantič- ke okvire već učestvuju u stalnim borbama i pregovaranjima oko hegemenog značenjskog sistema. Drugim rečima, locirati početak priče znači konstruisati ga, „staviti stvari u kontekst” znači proizvesti (poželjan) kontekst za tumačenje, a pojmovno artikulisati noseće probleme znači interpretirati, a ne objektivno mapirati činjenice. Otuda, čak i fragmentarno artikulisati svaki od pojmova koji stoji u nazivu izložbe Devedesete: Rečnik migracija, koju 2019. priređuje Muzej Jugoslavije, nipošto nije i ne može biti neutralan čin. Devedesete. Devedesetih godina XX veka na prostoru Socijalističke Fe- derativne Republike Jugoslavije na delu su najmanje tri međusobno uvezana procesa: dezintegracija državne zajednice, urušavanje društveno-ekonomskog socijalističkog uređenja i reartikulacija svih kohezivnih ideoloških i simboličkih formacija (nasleđa antifašizma i Narodnooslobodilačke borbe, ideologije bratstva i jedinstva, ideologije jugoslovenstva − da navedemo samo neke). Naravno, ovi procesi nisu počeli devedestih godina, ali su se u toj deceniji dramatično radi- kalizovali, temeljno izmenivši politički, društveni, ekonomski i kulturni prostor Jugoslavije. „Nenasilnim” otcepljenjem ili oružanim sukobima stvorene su tzv. nacije-države, legitimisane kreiranjem novih ili reartikulacijom starih naciona- lističkih mitova, praćenih revitalizacijom etničkih i verskih podela. Osim što su legitimisali ratove i novoformirane političke entitete, nacional-populistički dis- kursi uspešno su amortizovali klasnu osnovu i ekonomske ciljeve ratnih sukoba, racionalizujući tranzicione neoliberalne strategije, koje će nove države većinski uvesti u zonu zemalja tzv. perifernog kapitalizma. Migracije. Traumatične posledice ovih procesa osećaju ne samo građani svih država nastalih nakon dezintegracije Jugoslavije već i oni koji su je devedestih 12 SIMONA OGNJANOVIĆ godina trajno napustili. Masovne migracije stanovništva koje su trajale tokom čitave decenije jedan su od najočiglednijih indikatora pomenutih procesa. Pre- ma uzročno redukcionističnim shvatanjima, raseljavanje lokalnog stanovništva unutar bivših republika najčešće se tretira kao cilj1 a ne kao posledica radikalnih nacionalističkih politika, koje su afirmisale homogenizaciju lokalnog stanovništa po etničkom ključu. Na isti način, iseljavanje stanovništva prvenstveno se sagle- dava kao posledica destruktivnih političkih procesa, ekonomskog kraha i straha od mobilizacije,2 dok se organizovano doseljavanje građana poreklom iz Kine u drugoj polovini devedestih tumači kao očigledan indikator početka sprovođenja neoliberalnih tranzicionih mera.3 Devedesete: Rečnik migracija. Sva tri toka migracionih kretanja (raseljava- nja, doseljavanja, iseljavanja), s korpusom socijalnih, pravnih, političkih i kulturnih problema koji su ih direktno proizveli, postaće predmet ne samo javnih politika i akademskih istraživanja4 već i referentni okvir za delovanje u polju umetnosti, aktivizma i civilnog društva. Na izložbi Devedesete: Rečnik migracija mapirani su različiti oblici angažmana kroz koje su upravo akteri u polju umetnosti, aktivizma i civilnog sektora adresirali probleme izazvane masovnim migracijama u Srbiju i iz Srbije tokom pomenute decenije. Primarni fokus izložbe usmeren je na mar- kiranje umetničkih pozicija i praksi, dok su pored toga predstavljene i pojedine aktivističke inicijative i organizacije civilnog društva koje u svoj rad uključuju sa- radnju sa savremenim umetnicima, ili koje su umetnici lično pokretali. Naravno, reč je o jednom mogućem pregledu, koji se nikako ne isrpljuje u ovoj selekciji. Osim što su ukrštene različite pozicije i domeni delovanja, na izložbi se prepliću i različite temporalnosti. Gotovo polovina predstavljenih umetničkih radova i aktivističkih inicijativa realizovana je devedesetih godina, i u tom smislu predstavlja veoma važne primere angažovanog mišljenja i delovanja u vremenu aktivne traumatizacije društva. To je naročito značajno u kontekstu umetničkih 1 M. Bobić, „Migracije, demografsko-sociološka analiza”, u: I. Milenković (ur.), Studije o izbeglištvu, Beograd, 2005, 124. 2 Više o motivima građana koji se odlučuju da napuste Jugoslaviju devedesetih u: J. R. Despić, Migracije visokoobrazovanih lica iz Srbije od 1991. godine u Kanadu i Sjedinjene Američke Države, doktorska disertacija, Beograd, 2015; M. Korać, U potrazi za domom, Beograd, 2012. 3 Više o vezi „tržišta tranzicionih ekonomija” i migracija građana poreklom iz Kine u zemlje Centralne i Jugoistoče Evrope vidi u: S. Milutinovuć, „Kineski transnacionalni preduzetnici u Budimpešti i Beogradu: u potrazi za tržištima tranzicionih ekonomija”, Sociologija, Vol. XLVII, 2005, N. 2, 143−160. Ova uzročno- redukcionistička razumevanja izrazito složenih procesa nipošto ne podrazumevaju da je uzroke i posledice moguće tako jasno razlučiti, kao i da se veze ne mogu vući i po drugim linijama. 4 I mada postoje brojni akademski tekstovi o ovoj temi, oni su mahom vrlo usko orijentisani, zahvatajući najčešće samo jedan aspekt izdvojenog problema. Koliko nam je poznato, nije bilo pokušaja da se u okviru jednog istraživačkog projekta sagledaju i ukrste u celini svi pomenuti migracioni procesi. SIMONA OGNJANOVIĆ 13 praksi i retkih primera tog tipa iz prve polovine devedesetih. Zapravo, ratni period snažno je obeležen pojavom tzv. aktivnog eskapizma (L. Merenik) u umetnosti, koji je podrazumevao bekstvo u kreiranje „paralelne − fikcionalne stvarnosti i sasvim ličnih istorija koje, opet, nikada ne bi nastale da nemaju (nisu imale) povoda u samoj egzistencijalnoj stvarnosti, koja je nekada uspevala da nadmaši samu fikciju”.5 Tek će se u drugoj polovini devedesetih veći broj umetnika okrenuti društveno angažovanim temama, a 1995. godina i potpisivanje Dejtonskog sporazuma jasno koincidira s tim rezom. Osim toga, na izložbi su istaknute umetničke i aktivističke pozicije s kojih se dvehiljaditih promišljalo o konsekvencama tih procesa u već izmenjenoj političkoj stvarnosti, kao i pozicije s kojih se o tome i danas govori i demonstrira solidarnost s ljudima koji te posledice još uvek žive.6
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