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Art and Activism in YU and Ex-YU 1968–2008 /Misko Suvakovic

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Art and Activism in YU and Ex-YU 1968–2008 /Misko Suvakovic Art and Activism in YU and Ex-YU 1968–2008 /MISKO SUVAKOVIC/ The methods of political, cultural and art activism1 take completely different forms, from individual actions, to different practices of self-organizing, to in- formal non-institutional or formally institutionalized activities. Types of ac- tivism range from protest by way of writing public messages to newspapers, electronic media, institutions or politicians, to cultural campaigns, to political, social, economic, or rather gender, racial, class actions in public marches, 1 STEVEN M. BUECHLE R, SOCIAL MOVE M ENT S IN ADVANCED CAPITALI sm : THE POLITICAL ECONO M Y AND CULTURAL CON S TRUCTION OF SOCIAL ACTIVI sm , OXF O RD UNIVER S ITY PRE ss , OXF O RD , 1999; MARINA GRZINIC (ED ), THE REAL , THE DE S PERATE, THE AB S OLUTE – Ess AY S ON ART S Y S TE ms , NARRATIVE S OF POWER, S TRATEGIE S OF I M PLO S ION , PER S PECTIVE S ON DI S A S TER S , OBJECT S A S M ON S TER S AND ACTIVI sm , GALERIJA so D ob NE U M ETN os TI , 2001 “OnE DAY, INSTEAD OF ONE NIGHT,REALITY A BUR SCHECKT OF art & actiVISM reaDer MACHINE-GUN Fire WILL FLASH, IF LIGHT CANNOT COME OTHERWISE”, MILICA TOMIC, 2009, PHOTOGRAPHER: SRDJAN VELJOVIC. DEDICATED TO THE MEMBERS OF THE ANARCHO-SYNDICALIST INITIATIVE - BELGRADE, 6 3. SEPTEMBER, 2009. 7 strikes, protests, or subversive, that is to say, guerilla actions. Activism can manifesto “Revolution is without a project…“, which became the manifesto of be of a left (union activism, socialist activism, communist activism, activism the new left. With it, a “permanent revolution” was proclaimed, based on “po- for human rights, anti-globalist activism) or right (fascist activism, national etic subversion”. The Theatre group Pupilija Frankeverk developed tactics of socialist activism, religious activisms, nationalist activisms, racist activism) micro-activism and luddism in their public performances. orientation, depending on which political goals it supports. Cultural activism is directed not so much towards protest against the state, as towards changing Practices of art activism in Croatia3 were anticipated in the post-constructivist everyday public opinion towards society and culture. Art activism is based on proclamations apropos the exhibition HIT ParaDE (1967), then in the intervention the critical, the subversive and the performance of an artistic act in society actions in urban space by artists like Boris Bucan, Braco Dimitrijevic, Goran and culture. In the age of globalism, activism is developing across a wide spec- Trbuljak, Sanja Ivekovic, Dalibor Martinis, Dejan Jokanovic, Jagoda Kaloper trum, from liVE actiVISM to Net actiVISM. and others. These authors are characterized by their engaged attitudes and demands that “plastic” or “post-objective interventions” and provocations of Art activism in the Yugoslav arts from the end of the sixties can be observed citizens-as-accidental-audience should be carried out in living surroundings through several “cultural” and “activist” models of intervention practices. It or political contexts. should be taken into account that “activist practices” have been established and carried out in differing political conditions that emerged from the changes Art activism in Serbia is connected with the activities of the KôD4 group from inside the state of the socialist Yugoslavia (SFRY), then the breakup of the Novi Sad at the turn of the sixties and the seventies. The KôD group was char- SFRY and, finally, from the creation of “new” national transitional states and acterized by art activism that developed on three planes: on the plane of urban cultures. behavioral actions, on the plane of private actions, the so-called, INVISIBle art, and on the plane of political activism through underground magazines and neo-revolutionary practices. The ideal of Kôdean activism was the articulation of alternative life styles and open artistic expression within socialist soci- ety. A Confrontation between two KôD group members, Slavko Bogdanovic and Miroslav Mandic, and the state apparatuses led to their arrest and sentencing to months in prison. 1960s 5 During the sixties, we are talking about the emancipatory opening of the SFRY that arose from the establishment of important differences between Yugoslav self-management socialism and Soviet bureaucratic socialism. Yugoslavia proved itself as an open socialist state directed towards multilateral social, cultural and artistic cooperation with countries from both the West and East, 1970s but also with Third World countries. During the seventies a complex process was taking place in the SFRY, a process Art activism in Slovenia is connected to the emergence of the OHO2 group (1966– of enforcing state repression over alternative, subversive and critical artistic 1971) and its intervention in cultural artistic practices. The OHO group carried practices. The state repression begins with a showdown with the film neo- out a number of actions, like the anti-war posters of Marko Pogacnik that were avant-garde, and it was also being carried out in other fields of culture and art. installed in public places in Ljubljana (1967), or a happening as the sum total of 3 MARIJAN SU so V S KI (ED ), INOVACIJE U HRVAT S KOJ U M JETNO S T S EDA M DE S ETIH GODINA (INNOVATION S IN THE CROATIAN ART actions at the main city park Zvezda in Ljubljana (1969). Slovenian sociologist OF THE SEVENTIE S ), GALERIJA S UVRE M ENE U M JETN os TI , ZA G RE B , 1982 Rastko Mocnik, then a member of the movement OHO-Catalog, published the 4 MI S K O SUVAK O VIC (ED ), Re t R o s p e k t i v a : GR u p a kôD, ( I ( kôD (Re t R o s p e c t i v e : GR o u p kôD, ( AND ( kôD), GALERIJA S AVRE M ENE LIK O VNE U M ETN os TI , NO VI SAD , 1995 2 Igo R ZA B EL (ED ), OHO RETRO S PEKTIVA (OHO RETRO S PECTIVE), MO DERNA GALERIJA L JU B LJANA , 1994; MI š K O šUVAK O VI ć; THE 5 MI S K O SUVAK O VIC , DRA gom IR UG REN (ED S ), EVROP S KI KONTEK S TI U M ENTO S TI XX VEKA U VOJVODINI (EUROPEAN CONTE X T S CLANDE S TINE HI S TORIE S OF THE OHO GROUP , ZAV O D P.A.R.A.S.I.T.E, LJU B LJANA , 2010 OF THE XX CENTURY ART IN VOJVODINA), MUZEJ S AVRE M ENE U M ETN os TI VO JV O DINE , 2008 8 REALITY CHECK art & actiVISM reaDer 9 One part of experimental artistic practices was placed in “cultural reserva- At the end of the seventies we witnessed the formation of the first feminist tions”, above all, students’ cultural centers that were being founded all over groups and debate gatherings. The first feminist conference took place under COMRADE WoMAN… The FeMale QUEStioN – A NeW APProach? Yugoslavia during the sixties. The Students’ Center in Zagreb was established, the title “ ”12 in the Students’ Cultural as well as the Tribina Mladih in Novi Sad, the Students’ Cultural Center in Center in Belgrade in 1978. From the very beginning, the feminist movements Belgrade and SKUC in Ljubljana. These centers were the “spaces” of monitored and groups were formed in three fields: feminist activism, feminist theory and artistic and cultural freedom. feminist-motivated artistic practices. Feminist oriented artistic practices were realized by the artists Katalin Ladik, Sanja Ivekovic, Marina Abramovic. One form of activist work was directed towards the foundation of communes. What we have here is, actually, radical activism directed towards forming of new types of living communities. The first commune was established in Slovenia, where the members of the OHO group founded their new “non-artistic” life in the village of Sempas in 1971.6 Members of the Novi Sad groups KôD and ( es- tablished a city commune in 1973. Bosko Mandic with his family founded the commune “Porodica bistrih potoka” (“Family of Clear Streams”) in Brezovica, a 1980s village on the mountain Rudnik in Serbia.7 The emergence of postmodern artistic practices, in the first place, the revival Another form of activist work in the seventies was connected to the ideas of trans-avant-garde and neo-expressionist painting, signified the disappear- of “interventionism” in natural and urban space. The ecologically oriented ance of art activism from the mainstream scene. In Croatia and Serbia, activism group Tok8 (1971–72) from Zagreb acted in this context. This informal group of managed to survive only at the level of feminist actions. “Interventionists” acted under the premise that the city is a space of plas- tic occurrence. The A3 group (1970–1973) acted in Belgrade. The activities of In Slovenia it comes to the activation of the radical alternative13 in the cultural this group were based on public intervention and behavioral actions in urban scene of the new music (bands Laibach and Borghesia), as well as theatre and spaces of the city.9 All these occurrences were characterized by the luddistic art activism that entered into the field of political interventionism in culture and luddistic-critical approach to social life and its manifestations in public and society. We witness the emergence of gay and lesbian activism, namely, space. post-punk anarchism. Theatre, video and film artwork takes the form of provok- ing the socialist public and challenging the canonic dogmas of an “ordered One kind of post-activism is peculiar to public actions in the urban spaces that society”. From the combination of theory from the Slovenian Lacanians (Slavoj were carried out by Tomislav Gotovac10 and Grupa Sestorice11 from Zagreb in the Zizek, Rastko Mocnik), the art activism of NSK (Neue Slowenische Kunst) and second half of the seventies.
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