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Umetnost: Odporništvo, Subverzija, Norost 31/32 VOL 31/32 VOL. XI / Nº 1-2, 2009 umetnost: odporništvo, subverzija, norost 31/32 VOL. XI / Nº 1-2, 2009 umetnost: odporništvo, subverzija, norost Polona Tratnik (ed.) CIP - Kataložni zapis o publikaciji Narodna in univerzitetna knjižnica, Ljubljana 7.01:130.2(082) 111.852(082) ART : resistance, subversion, madness = Umetnost : odporništvo, subverzija, norost / Polona Tratnik (ed.). - Koper : Univerza na Primorskem, Znanstveno-raziskovalno središče, Založba Annales, 2009. - (Monitor ZSA : revija za zgodovinsko, socialno in druge antropologije, ISSN 1854-0376 ; vol. 11, no. 1-2) ISBN 978-961-6328-73-9 1. Vzp. stv. nasl. 2. Tratnik, Polona 245065472 Koper, Monitor ZSA – Revija za zgodovinsko, socialno in druge antropologije Posvetovalni odbor mlajših sodelavk in sodelavcev / Consiglio consultivo di giovani Rivista di antropologia storica, sociale e altre antropologie collaboratori e collaboratrici / Comité adjoint des jeuns collaborateurs / Consulting Board of Young Collaborators: Revue des anthropologies historique, sociale et autres Eva Brajkovič (UP FHŠ, Koper), Review of Historical, Social and other Anthropologies Alma Čaušević (UP FHŠ, Koper), Revista de antropologías histórica, social y otras Samuel Friškič (UP FHŠ, Koper), Zeitschrift für Historische, Soziale und Andere Anthropologien Marko Gavriloski (UP FHŠ, Koper), Izdajatelj revije / Editore della rivista / Éditeur de la revue / Publisher of the Review: Peter Kastelic (Fakulteta za humanistiko, Univerza v Novi Gorici), Univerza na Primorskem, Znanstveno-raziskovalno središče Koper, Založba Annales Alan Kelher (UP FHŠ, Koper), Garibaldijeva 1, SI-6000 Koper-Capodistria Maja Kohek (UP FHŠ, Koper), Maja Kolarević (UP FHŠ, Koper), © Vse pravice pridržane. Ponatis prispevkov je dovoljen le z avtorizacijo uredništva. / Tutti i diritti sono riservati. La Boštjan Lužnik (UP FHŠ, Koper), ristampa dei contributi è consentita solo con l’autorizzazione della redazione. / Tous les droits réservés. La reproduction Helena Menih (School of Criminology and Criminal Justice, Griffi th University, Brisbane, QLD, Avstralija), des articles est interdite sans autorisation du Comité de rédaction. / All rights reserved. No part of this publication may be Gašper Mithans (UP ZRS, Koper) reproduced without the authorization of the Editorial Board. Uredniški odbor »Kulturnih polj« / Comitato di redazione per la rubrica »Campi culturali« / Comité de rédaction des »Champs culturels« / Editorial Board of »Cultural Fields«: Alenka Koderman (akademska slikarka, Ljubljana), ISSN: - Miklavž Komelj (pesnik, prevajalec, samozaposlen v kulturi pri Ministrstvu za kulturo, Ljubljana), Taja Kramberger (literatka, prevajalka, UP FHŠ in UP ZRS, Koper), ISBN ---- Gašper Malej (prevajalec, samozaposlen v kulturi pri Ministrstvu za kulturo, Koper), Iztok Osojnik (pesnik, prevajalec, samozaposlen v kulturi pri Ministrstvu za kulturo, Ljubljana), Polona Tratnik (ustvarjalka na področju kulture, doc. za fi lozofi jo kulture, UP FHŠ, Odd. za kulturne študije, UP ZRS, Koper), Odgovorna urednica (Monitor ZSA) / Caporedattrice / Rédactrice en chef / Editor-in-Chief: Benjamin Virc (muzikolog, UP FHŠ, Koper), Taja Kramberger Barbara Zych (Mladinska knjiga Založba, Ljubljana) Urednica monografske številke / Redattrice della monografia / Tajništvo uredništva / Segreteria della redazione / La rédactrice de ce volume / Editor of the monograph: Secrétariat de rédaction / Editorial Office: Polona Tratnik Eva Brajkovič, Znanstveni in uredniški svet monografske številke (recenzenti) / Alma Čaušević Gruppo scientifico e redazionale del numero monografico (recensori) / (ob pomoči: Petra Kastelica, Maje Kohek in Maje Kolarević) Conseil scientifique et d’édition de ce volume / Scientific and Editorial Board of the Monograph: Oblikovanje naslovnice / Copertina / Couverture / Front page: dr. Polona Tratnik (UP FHŠ, Koper), Jože Požrl – JPStudio, Divača dr. Aleš Erjavec (SAZU, Filozofski inštitut, Ljubljana), Fotografija na naslovnici / Foto copertina / dr. Miško Šuvaković (Univerza umetnosti, Beograd) Photographie sur la couverture / Front page Photograph: Uredniški odbor / Comitato di redazione / Comité de rédaction / Editorial Board: Stelarc: Ear on Arm – fotografi nja: Nina Sellars Alenka Janko Spreizer (UP FHŠ in UP ZRS, Koper), Raunalniški prelom / Impaginazione / Tomaž Gregorc (UP FHŠ, Koper), Modelage électronique / Electronic design: Taja Kramberger (UP FHŠ in UP ZRS, Koper), Jože Požrl – JPStudio, Divača Sabina Mihelj (Loughborough University, Leicestershire), Jezikovni pregled / Revisione linguistica / Language supervision / Supervision linguistique: Monica Rebeschini (UP ZRS, Koper), Eva Erjavec (angleški jezik), Nataša Rogelja (samostojna raziskovalka), Maja Murnik (slovenski jezik) Drago B. Rotar (UP FHŠ in UP ZRS, Koper), Ana Tominc (Lancaster University, Lancaster), Tisk / Stampato da / Imprimé par / Printed by: Polona Tratnik (UP FHŠ in UP ZRS, Koper), Collegium graphicum d. o. o., Štepanjska cesta 11b, Ljubljana Marta Verginella (UL FF, Ljubljana; UP FHŠ, Koper), Matej Vranješ (UP FHŠ in UP ZRS, Koper) Subvencija / Sovvenzione / Subvention par / Subvention by: Javna agencija za raziskovalno dejavnost RS, Mednarodni uredniški svet / Consiglio internazionale di redazione / Slovensko društvo za estetiko Conseil de rédaction international / International Advisory Board: Marie-Elisabeth Ducreux (École des hautes études en sciences sociales in Centre national de la recherche scientifi que, Pariz), Maria-Cecilia d’Ercole (Université de Paris I – Sorbonne, Pariz), Daniel Nordman (Centre de recherches historiques, Pariz) KAZALO ART: RESISTANCE, SUBVERSION, MADNESS stran CRITICAL RESISTANCE UNDER THE CONDITIONS MADNESS – FILM, PAINTING, LITERATURE, OF GLOBAL CAPITALISM THEATRE, INTERNET Polona Tratnik Notes on Contemporary Art: Darko Štrajn Pierrot le fou and Eternity in the Sixties Critical Resistance and Activist Approaches Constantinos V. Proimos Bojana Kunst Critical Potentiality Madness as the Instance of Decision. Miško Šuvakovi Around Althusserian-Lacanian Critique of A Philosophical Consideration of Autonomy of Art: Class and the Unconscious Light in Rembrandt’s Painting The Angel Stopping Abraham Nikola Dedi Art, Neurosis, Project: From Fordist to from Sacrificing Isaac to God Post-Fordist Model of Production Paula Zupanc The Fragmented Subject in Honoré de Balzac Matilde Carrasco Barranco Le chef-d’oeuvre inconnu: Contemporary Art. Subversion, Pluralism Precursor to Post-Modernism and Democracy Matej Vatovec O dveh oblikah psihoze, gledališu in internetu Mojca Puncer Odpor umetnosti proti instrumentalizaciji PERFORMANCE AND BODY ART SUBVERSION AND THEATRE, POETRY, Miško Šuvakovi Strategije i taktike performans umetnosti VISUAL CULTURE, MUSIC Maja Murnik Body art prakse: nekaj misli Tomaž Toporiši Artaud’s Theatre of Cruelty and Subversive Strategies in Today’s Art Stelarc Indifferent Body Dubravka Đuri Visuality, Orality and Performativity as Subversive Elements in Poetry HERMENEUTICS Evelin Stermitz Iconographic and Iconologic Art Practices with the Hoover. Feminist Artistic Subversions María Antonia González Valerio of the Female Body and the Household Mind the Gap. Hermeneutics and Analytic Aesthetics on Narrativity and Aleš Erjavec Power, Freedom and Subversion: Historicity in the Artwork Political Theater and its Limits Laurel Seely Sarajevo Cult Band SCH: Abstracts / Authors The Politics of Future Noise ART: RESISTANCE, SUBVERSION, MADNESS CRITICAL RESISTANCE UNDER THE CONDITIONS OF GLOBAL CAPITALISM CRITICAL RESISTANCE UNDER THE CONDITIONS OF GLOBAL CAPITALISM VOL. XI, Nº 1-2 (31/32), 2009 9 ART: RESISTANCE, SUBVERSION, MADNESS CRITICAL RESISTANCE UNDER THE CONDITIONS OF GLOBAL CAPITALISM Polona Tratnik NOTES ON CONTEMPORARY ART: CRITICAL RESISTANCE AND ACTIVIST APPROACHES Introduction: contemporary tactics of resistance If avant-gardes of the 20th century could be understood as a part of modern emanci- patory plan, today the teleological version of modernity (as Marx and other left-Hegelians took it after Hegel) doesn’t seem to correspond to the contemporary world and knowledge; the left-Hegelian calls for complete change, which would bring purifying results, are today acknowledged rather as utopian demands. However the question could be raised, whether there are any similar tendencies to modern or romantic avant-gardes in today’s culture? What kind is contemporary critical resistance in cultural or artistic practices and what is its function? Artistic and cultural practices that contain critical resistance, today follow the logic of information society and thus assert their voice in two manners: on one hand in the my- celium each receiver could be a potential broadcaster or each user a potential distributor, on the other hand in more radical approaches the cultural activists try to take over (to occupy) the broadcasting positions. Cultural activists aim to hold the information, to establish a matrix, within which they manipulate information. In the postmodern era the power is signifi cantly dispersed, the fi eld of power is no- madic, decentralized and deterritorialised.1 Th erefore also the tactics of resistance have to be of a new kind. An artistic collective NSK has, for example, established a NSK state, of which one can become a citizen and get a passport. Contemporary critical projects and re- sistance practices originate in the legacy of the artistic historical avant-gardes2 and in critical theory (Frankfurt school). Th ey often use such strategies to provoke shock and scandal, and
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